{"text": "Embedding culturally-relevant pedagogy into teaching can help students to:\n- build self-esteem, understanding, and tolerance between individuals, classrooms, and greater community;\n- increase open and acceptable communication among and between students, staff, admin, parents, and community;\n- build respect, aid in collaboration, and allows for integrated and differentiated teaching approaches that benefit all diverse cultural backgrounds and special needs for all students.\nStudents benefit from culturally responsive teaching approaches because it:\n- fosters less fear and greater confidence,\n- increases the feeling of being understood, decreases the feeling like they must assimilate to fit in,\n- helps individuals to embrace and feel accepted for their own culture, and\n- allows students to feel comfortable to always set higher standards for learning and achievement, because they are accepted and understood.\nThe truth is, we never know what our student\u2019s cultural backgrounds are. Just because students may appear to be Caucasian, does not mean that they are not of First Nations, Metis, or Inuit heritage, or another cultural background.\nQuestions Educators can Consider:\n- How many of our students self-identify?\n- What are the residual effects of the Indian Act and Residential school system that we are unable to \u2018see\u2019 just because a student looks to be Caucasian?\n- Do we have to know the cultures of all of our students\nCulturally Responsive Teaching Practices can accomplish, an increased awareness and mutual understanding of our diversity. Educators don\u2019t necessarily need to know each and every culture, but we should aim to understand that they exist, and aim to understand each student as a whole person, including the cultures that make each and every one of them special and unique.\nDifferentiated Instruction practices, and using a wide variety of resources, including the students themselves, and other members of the community can help to infuse diversity into the classroom as well. If we are using resources that do not include diversity, this can also be an important discussion point, and opportunity to engage in further inquiry, and critical thinking.\nCulturally Responsive Teaching Practices can be infused using a variety of Differentiate Teaching strategies, talking circles, Holistic Teaching practices, and through students own research and sharing within the classroom.\nExamples of Culturally Responsive Teaching Practices:\n- Providing Continuous Communication with parents in appropriate ways that meet their needs\n- Inviting parents to communicate\n- Recognizing own limitations and communicating them\n- Conducting needs assessments and surveys for parents\n- Sending home Weekly or monthly newsletters\n- Researching cultural backgrounds of students\n- Touring student\u2019s neighborhoods\n- Understanding student\u2019s behaviours in light of community norms\n- Setting clear expectations\n- Creating respectful environments\n- Adapting lessons to reflect ways of communicating and learning that are familiar for students\n- Differentiating instruction\n- Teaching and talk to students about differences between individuals\n- Encouraging students to direct their own learning\n- Working with other students on projects that are culturally relevant to them\n- Culturally mediated Instruction\n- Helping students to recognize that there are more than one way to interpret a statement, event or action,\n- Setting realistic yet rigorous goals\n- Allowing for opportunities to share culture\n- Teaching students to question and challenge their own beliefs and actions\n- Creating meaningful connections between curriculum and real life\n- Giving Choices of working alone or in groups\n- Integrating units around universal themes\n- Accessing appropriate websites, videos, and links that will support your Pedagogy\n- Using eLearning strategies to share and teach others about student cultures\nTeaching Strategies & Best Practices:\n- The use of \u2018Talking Circles\u2019 within the classroom to introduce cultural perspectives into the classroom is very important. Additional benefits of Talking Circles can include turn taking, respect, creating a classroom community, sending positive messages relating to Character Education & Inclusiveness, and building Community, Culture, & Caring into the Education system.\n- Engaging in Holistic Teaching is also important so that educators can help students to connect personal feelings, emotions, and experiences with the knowledge to create meaning.\n- Integrating Medicine Wheel Teachings into the Curriculum is valuable to integrate First Nations, Metis & Inuit perspectives, and create a positive classroom community for behavior and learning, and helping students reflect on their own gifts & strengths, and to set personal and educational goals.\n- Engaging in \u2018Storytelling\u2019 where students can create their own \u2018Stories\u2019 or legends about their special gifts.\nBest Practices can also Include:\n- Helping families out by filling out paperwork etc.;\n- Going that extra mile to help make personal connections to teachers and staff\n- Incorporating cultural teachings across the curriculum into content areas including science, art, music, language, history, geography, & social studies\n- Inviting families to share with the classrooms and schools if they are comfortable\n- Helping to connect families to community network supports\n- Teaching students to deconstruct bias in learning resources\n- Inviting Aboriginal Elders, Storytellers, Authors & Artists into the classroom\n- Using resources that represent an Authentic voice\n- Technology may or may not be used within the home, so use this form of communication with caution. We must use it in ways that support our families and students, not alienate them.\n- Ontario First Nation, Metis, and Inuit Education Policy Framework. Aboriginal Education Office, Ministry of Education, 2007\n- Aboriginal Perspectives: Guide to the Teacher\u2019s Toolkit: Teaching resources and strategies for elementary and secondary classrooms, 2009.http://www.edu.gov.on.ca/eng/aboriginal/Guide_Toolkit2009.pdf\n- Toulouse, P.R. (2011) Achieving Aboriginal Student Success: A guide for K to 8 classrooms. Portage & Main Press, 2011\n- Primary Teaching Strategies: http://www.edu.gov.on.ca/eng/aboriginal/secStrategies.html\n- Secondary Teaching Strategies: http://www.edu.gov.on.ca/eng/aboriginal/elemStrategies.html\n- Principles for Culturally Responsive Teaching: http://www.alliance.brown.edu/tdl/tl-strategies/crt-principles.shtml#perspectives\n- Culturally Responsive Teaching Matters: http://www.equityallianceatasu.org/sites/default/files/Website_files/CulturallyResponsiveTeaching-Matters.pdf", "id": "<urn:uuid:9a1a4a32-0178-4763-b100-3ad017d4d81f>", "dump": "CC-MAIN-2021-17", "url": "https://bigideasineducation.ca/2013/01/10/culturally-relevant-pedagogy-in-education-for-first-nations-metis-inuit-students-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00290.warc.gz", "language": "en", "language_score": 0.9202993512153625, "token_count": 1371, "score": 4.40625, "int_score": 4}
{"text": "Each individual module explores a different focus topic relating to the First World War and memorialisation, and is comprised of four to five videos that adopt the following structure:\n- Introduction to the module and to the Anzac Memorial building.\n- A story or play in audio format.\n- A reflective exercise.\n- An exploration of history relevant to the individual module.\n- A creative exercise for the classroom or home, featuring elements of creative arts, historical source analysis and literacy.\nStudents are guided through activities by our engaging team of presenters and actors. At the end of each program, students are invited to share their work with the Anzac Memorial learning team, who will provide feedback via email.\nWe invite you to explore these modules and their curriculum links below and get in touch with us to make a booking!\nFOR PRIMARY SCHOOLS\nRosemary for Remembrance (Stage 2)\nConduct an historical inquiry through the stories and lives of our Anzacs in this engaging and creative workshop. Students discover the meaning behind the rich symbolism and emblems within the Anzac Memorial. Students will listen to the engaging story of Lone Pine, exploring the power of symbols in storytelling through this transportive story and its rich soundscape. Using art, objects and storytelling as a creative starting point, students will reflect on how the values of the Anzacs translate to their own lives.\nCurriculum links: History K\u201310: Community and Remembrance; Creative Arts K\u20136: Visual Arts | Key inquiry question: How and why do people choose to remember significant events of the past? | Content: Days and weeks celebrated or commemorated in Australia (including Anzac Day) and the importance of symbols and emblems (ACHHK063) | Outcomes: HT2\u20131, HT2\u20135, VAS2.1, VAS2.4\nFOR PRIMARY SCHOOLS\nANZAC War Horses (Stage 3)\nIn this inspiring and moving module, we explore the role of the Australian Light Horse and the unbreakable bond between man and horse, through literacy and drama. Discover our compelling Australian war horse story \u2013 the battles fought, won and lost that helped forge our national identity and give birth to a legend. This online module includes an audio recording of Loyal Creatures, written by acclaimed author Morris Gleitzman, which takes students on the remarkable journey of one Light Horse Trooper and his beloved horse, Daisy. Featuring a performance by an actor and a transportive soundscape, students are invited to immerse themselves in this fictional First World War adventure from the farms of Mudgee to the deserts of Egypt and Palestine. Students will explore the true stories housed in the Memorial that relate to the story, reflecting on the decisions the character makes in the story through an historical lens. Participants are then invited to respond to the performance through a creative writing exercise.\nCurriculum links: English K\u201310: Stage 3 Creative Arts K\u20136: Drama Also incorporates History K\u201310 | Content: Speaking and Listening (EN3\u20131A) Writing and Representing (EN3\u20132A) Responding and Composing (EN3\u20135B) Thinking imaginatively, creatively, interpretively and critically (EN3\u20137C) Appreciating \u2013 Responding critically to a range of drama works and performance styles (DRAS3.4) Australia as a Nation \u2013 the contribution of individual groups to the development of Australian society (ACHHK116)\nFOR PRIMARY SCHOOLS\nDevoted Service (Stage 3)\nDuring this workshop students will explore the lives of four courageous servicewomen, brought to life by an engaging audio drama, performed by actors. Created entirely from letters and diary entries, these dramatised readings explore different perspectives of women who served in the First World War. Focusing on the role of nurses and matrons, this workshop highlights the physical and emotional labour provided by over 2,000 Australian women. In this audio-visual module, students will explore the Memorial and investigate primary sources unique to the Centenary Exhibition that were written by wounded soldiers and the nurses that cared for them. Students will then be encouraged to reflect on the values present in these sources, and how they can apply these values in their own lives and communities.\nCurriculum links: English K\u201310: Stage 3, Creative Arts K\u20136: Drama, History K\u201310 syllabus | Content: Speaking and Listening (EN3\u20131A) Writing and Representing (EN3\u20132A) Thinking imaginatively, creatively, interpretively and critically (EN3\u20137C) Responding critically to a range of drama works and performance styles (DRAS3.4) Australia as a Nation \u2013 the contribution of individual groups to the development of Australian society (ACHHK116)\nFOR PRIMARY SCHOOLS\nAmazing ANZACS (Stage 3)\nWith brave hearts our first Anzacs left our shores to fight on foreign soil. Students will explore some of the Australian experiences of the First World War through the lens of four individual stories of four amazing Anzacs, learning along the way about the quintessential human qualities our Anzacs possessed. They will then explore their own creativity in response to the unique artwork, architecture and artefacts of the Anzac Memorial using living sculpture and puppetry as an artistic medium.\nCurriculum links: History K\u201310: Australia as a Nation; Creative Arts K\u20136: Visual Arts What contribution have significant individuals and groups made to the development of Australian society? | Content: The contribution of individual groups including Aboriginal and/or Torres Strait Islanders and migrants, to the development of Australian society, for example in areas such as the economy, education, sciences, the arts, sport (ACHHK116) | Outcomes: HT3\u20133, HT3\u20134, HT3\u20135, VAS3.2, VAS3.4\nFOR SECONDARY SCHOOLS\nDevoted Service (Stage 5)\nThis moving and revealing workshop is divided across five videos, and explores the vital role that the Medical Corps played throughout the First World War. In a powerful, engaging audio drama performed by four actors, the actions and values of three nurses and a matron are conveyed through first-hand written accounts, brought to life by an immersive soundscape. Students will learn about both the medical support provided, as well as the often-overlooked emotional labour. Accessing original sources of poetry and reflections written by convalescent soldiers, students will explore the significance and purpose of correspondence, and will be encouraged to write their own letter from the perspective of someone serving during the war, based on their own source analysis. This activity can be completed at home or in class. The workshop concludes with a short film that brings to life an object on display in the exhibition that belonged to one of the NSW nurses who served during the Great War.\nCurriculum links: Depth Study 3: Australians at War: World War I (1914\u201318) | Key inquiry question: What was the significance of World War I? How did new ideas and technological developments contribute to change in this period? | Content: Overview of the causes of the war; the scope and nature of warfare; significant events and the experiences of Australians at war, in particular the role of women; impact of the wars on Australia; significance of the war to Australia. | Outcomes: HT5\u20131, HT5\u20135, HT5\u20137, HT5\u20139, HT5\u201310\nFOR SECONDARY SCHOOLS\nANZAC War Horses (Stage 5)\nIn this inspiring and moving online module, we explore the role of the Australian Light Horse, to learn more about our First World War history through the unbreakable bond between man and horse. Discover our compelling Australian war horse story \u2013 the battles fought, won and lost that helped forge our national identity and give birth to a legend. The workshops is delivered across four videos, and includes an immersive audio recording of Loyal Creatures, written by Morris Gleitzman, a remarkable piece of historical fiction enriched by a transportive soundscape. Students learn about the real history in the Anzac Memorial building that relates to the story, before being provided with an in class or at home activity, reflecting on personal events in their own lives that are expressed through the medium of poetry.\nThe mix between history and creativity made for a compelling performance piece which left a significant emotional impact on me.\nCurriculum links: Depth Study 3: Australians at War: World War I (1914\u201318) | Key inquiry question: What was the significance of World War I? How did new ideas and technological developments contribute to change in this period? | Content: Overview of the causes of the war; the scope and nature of warfare; significant events and the experiences of Australians at war; impact of the wars on Australia; significance of the war to Australia; commemorations and the nature of the Anzac legend. | Outcomes: HT5\u20131, HT5\u20135, HT5\u20137, HT5\u20139, HT5\u201310", "id": "<urn:uuid:45f58bca-06cc-4c54-8d00-3e5d629e3a0d>", "dump": "CC-MAIN-2021-17", "url": "https://www.anzacmemorial.nsw.gov.au/learning/learning-memorial/learning-online", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00610.warc.gz", "language": "en", "language_score": 0.9266048073768616, "token_count": 1867, "score": 3.578125, "int_score": 4}
{"text": "I just read an article about how stories can change how a child thinks. This process is called narrative psychology and most of the current research is focused on adult outcomes, the results are still compelling for children. If stories can change your child\u2019s thoughts, memories and how they live their lives, wouldn\u2019t it be great if we could help them change their negative stories into stories that are positive and healing.\nRepetition is important\nIt does take time and many repetitions for children to retrain their brains into new and positive channels. Negative thinking is like a wheelbarrow that has made ruts in the ground. The more you push it over the same track the deeper the ruts get. Just as it\u2019s easier to push a wheelbarrow in the same deep grooves, children\u2019s brains finds it easier to replay old negative thoughts.\nOur job is to help children get their thinking into new and healthy patterns. They need to know they can change their story. Many children we see think the trauma they and their families have been going through is somehow their fault, we need to help them realize it isn\u2019t that way.\n5 Ways to Help\nThe article suggested 5 Ways to Help Children Change Their Stories and Manage Anxiety\n- Validate \u2013 Calmly validate children\u2019s fears\u2026never dismissing them. When children\u2019s fears aren\u2019t validated it can lead to increased anxiety.\n- Educate \u2013 Let children know they have the power to change the story. That fact has probably never occurred to them. Some therapists use the analogy of a light switch \u2013 learning to switch how they are thinking in their brain.\n- Contemplate \u2013 Find the root cause of the fear, once you find the root cause of the fear, the issues can be put into perspective. Sometimes you know the fear, sometimes the child will eagerly share the fear, and other times it might take a bit of detective work.\n- Restate \u2013 Once you know the story, discuss ways to re-tell and re-write the story. If your child doesn\u2019t write, have them dictate it to you. Add affirmations, wherever you can, to replace worried what-ifs with positive words.\n- Create \u2013 Little ones might like to draw their story, create it out of Play-Doh or act it out with stuffed animals. Other artistic outlets for storytelling include making a storyboard or collage (from online photos or magazines), turning their story into a song or poem, or putting on a skit or puppet show. The more opportunities the child has to explore and rehearse the positive story, the more likely the positive script will replay in their minds when facing their fears.\nThe Center and its work\nHelping a child overcome trauma and the negative patterns of thinking it brings is not easy, but it is important. At FCCC we strive to empower parents to be the change agents in their child\u2019s life and this is a great skill for parents to learn. To read more about how the Center works with children click on the link and thanks for reading our blog today.", "id": "<urn:uuid:7f24c9c4-6350-4dd3-8b13-9083e48795a3>", "dump": "CC-MAIN-2021-17", "url": "https://familyccc.com/parenting/childrens-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00409.warc.gz", "language": "en", "language_score": 0.9554104804992676, "token_count": 642, "score": 3.625, "int_score": 4}
{"text": "Download Class 7 English NCERT Solutions, NCERT Books, Sample papers with solutions, solved past year question papers, latest syllabus and worksheets and other useful study material prepared based on latest guidelines, term examination pattern and blueprint issued by CBSE and NCERT\nClick below for Class 7 English NCERT Solutions, worksheets with important questions, latest syllabus, NCERT CBSE books, hots, multiple choice questions (mcqs), easy to learn concepts and study notes of all class 7 English chapters\nThe students who are studying in Class 7 English should be able to perform the following activities:\n- Consciously listen to songs/poems/stories/prose texts in English through interaction and being exposed to print-rich environment.\n- Participate in different events/ activities in English in the classroom, school assembly; and organized by different Institutions.\n- Listen to English news/debates (TV, Radio) as input for discussion and debating skills.\n- Watch / listen to English movies, serials, educational channels with sub-titles, audio-video materials, teacher reading out from materials and eminent speakers.\n- Share their experiences such as journeys, visits, etc. in pairs /groups.\n- Introduce self, converse with other persons, participate in role play / make speeches, reproduce speeches of great speakers;\n- Summarise orally/ in writing, a given text/ stories, /an event;\n- Learn vocabulary associated with various professions (e.g. cook, cobbler, farmer, blacksmith, doctor etc) and solve related Worksheets for Class 7 English\n- Read stories / plays (from books/ other sources in English / Braille) and locate details, sequence of ideas and events and identify main idea.\n- Use material from various sources in English and other languages to facilitate comprehension and co-relation.\n- Understand the rules of grammar through a variety of situations and contexts focussing on noun, pronoun, verb, determiners, time and tense, passivation, adjective, adverb, etc.\n- Interpret tables, charts, diagrams and maps, and incorporate the information in writing.\n- Think critically on inputs based on reading and interaction and try to provide suggestion/solutions to the problems raised. (The themes could be social issues, environment problems, appreciation of culture and crafts.)\n- Refer sources such as dictionary, thesaurus and encyclopaedia to facilitate reading.\n- Read text, both familiar and unfamiliar, and write answers for comprehension and inferential questions and solve Question Papers for Class 7 English\n- Take dictation of a paragraph with a variety of sentence structures.\n- raft, revise and write with appropriate beginning, middle and end, along with punctuation marks.\n- Know the features of various types of writing: messages, emails, notice, letter, report, short personal/ biographical experiences etc.\n- Use ICT (Net, mobile, website, You tube, TED talks etc) to browse for information, for projects/PPT discussion, debate etc.\n- Attempt creative writing, like stories, poems, dialogues, skits etc.\nLatest NCERT & CBSE News\nRead the latest news and announcements from NCERT and CBSE below. Important updates relating to your studies which will help you to keep yourself updated with latest happenings in school level education. Keep yourself updated with all latest news and also read articles from teachers which will help you to improve your studies, increase motivation level and promote faster learning\nThe first thing to learn about Time Management is that time is theoretical so you can\u2019t really manage it. What you do when you get into time management, is that you manage yourself. You decide what has to be done, when it must be done and how to do it in the stipulated...\nSOF~ The most desired name for Olympiads in the Educational World! SOF\u201d refers to the Science Olympiad Foundation. It is an Academic Institution assisting educational based competition and enhancing competitive spirit among the School- Level students. The Science...\nLooking to the present situation of the pandemic and school closures, and also taking in account the safety and well-being of the students, it is decided as follows: 1. The Board Exams for Class XIIth to be held from May 4th to June, 14th, 2021 are hereby postponed....\nSOF IMO refers to the International Mathematics Olympiad organised by SOF, the Science Olympiad Foundation. SOF is the educational foundation involved in the academic upgradation of students. This Olympiad is a maths competitive examination conducted for the aspiring...", "id": "<urn:uuid:099b5e70-1fbb-4578-8b2b-2020d71746b7>", "dump": "CC-MAIN-2021-17", "url": "https://www.studiestoday.com/cbse-class-vii-english-86.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00369.warc.gz", "language": "en", "language_score": 0.9235401153564453, "token_count": 958, "score": 4.09375, "int_score": 4}
{"text": "In October, last year, Dr. Andrew McCarthy, a professor of archaeology at the University of Edinburgh, and his team unearthed a series of prehistoric barbecue pits, in the Paphos district of Cyprus. Dating back to the Pre-Pottery Neolithic era, these pits, and the artifacts found inside them, provide valuable information about the food and cooking habits of the early humans. To test these ancient culinary techniques, McCarthy and his colleagues recently recreated a prehistoric pit feast of slow-roasted pig and goat.\nAmong the discoveries made last year was an enormous 9,000-year-old pit oven, found at Prastio Mesorotsos, in the island\u2019s Diarizos Valley, a site that has been home to a number of civilizations right from the Neolithic age . Measuring up to 8 feet (nearly 2.5 meters) in diameter and around 3 feet (or 1 meter) in depth, the pit was so big that it took the team three whole years of digging to reach its bottom. Lined with stones along its circumference, the ash-covered cavity was likely used for barbecuing food. Speaking about the find, McCarthy said:\nI think it\u2019s probably the closest to the theoretical maximum that a pit oven of this type could be. It was kind of at the limits of what\u2019s possible. After we reported on what was found, we decided that the best thing to do would be to test our hypothesis in a number of ways.\nBefore embarking on another round of excavations, this summer, the team recreated a prehistoric BBQ party, roasting large amounts of pig and goat meat in a replica fire pit dug outside a neighboring restaurant, called Extreme View Cafe. To reproduce the spirit of Stone Age revelry, the archaeologists followed the ancient methods as closely as possible. For uniform heat distribution, they chose to line the oven with big chunks of igneous rocks, which they carried from the nearby riverbeds in sacks and even a yoke built using a stick and a pair of baskets. McCarthy added:\nWe pretty much came to the conclusion that this would have been a slow process of collecting stones \u2014 maybe even over the course of years.\nThey used clay to hold the stones together, and produced their own charcoal with the help of locally-sourced lemon and carob wood. Neolithic humans were known to feed on meat, mainly pigs, goats and even deer. For their party, therefore, the archaeologists ordered a 150-lb (or 70 kg) pig and around 80-lb (nearly 38 kg) of goat meat, from a local butcher. Prehistoric feasts, of this kind, would usually be a three-day affair, the first of which would be spent warming the cold damp ground with a 24-hour-long fire. McCarthy explained:\nA fire of this size sustained for three days is probably something you wouldn\u2019t have seen all the time. If you think about this being a feast, a festival or big inter-community gathering, you would have had light and heat throughout the night. This is a very dramatic spot, and where the oven is located is almost like an amphitheater \u2013 it\u2019s between two rocks, it\u2019s shaded and sheltered, but at night it would have been a real stage, and you can imagine dancing and storytelling and all sorts of activities taking place there.\nA day before the festivity, the team lit the charcoals and dumped the pig, stuffed with bulgur wheat and herbs, and the chopped lamb meat, packed into tanned goat skin parcels, onto the fire. The oven was then sealed using a top layer of clay-and-mud mixture, and allowed to burn overnight. According to McCarthy, there was enough food to feed nearly 200 guests, with the leftovers lasting for up to a week. He said:\nI think it was a success. It really was delicious. You could taste the lemon wood and the carob and the bay leaf. It infused into the meat\u2026 I\u2019ve been told that the fat that\u2019s rendered from the pig liquefies to some extent and you can put meat in a container of the fat. The fat itself will go rancid, but the meat will not, and you can store it for up to a year.\nApart from the huge ancient roasting pit, the archaeologists also uncovered a smaller above-the-ground domed oven, which, they believe, was used for normal, everyday cooking.\nVia: Live Science", "id": "<urn:uuid:706b17ea-6a13-4ae3-a31d-c3d2793ef4cc>", "dump": "CC-MAIN-2021-17", "url": "https://www.hexapolis.com/2015/09/04/archaeologists-recreate-neolithic-barbecue-pit-feast-in-cyprus/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00490.warc.gz", "language": "en", "language_score": 0.9715434908866882, "token_count": 934, "score": 3.515625, "int_score": 4}
{"text": "What is SEL?\nSocial and emotional learning (SEL) is the process through which children and adults acquire and effectively apply the knowledge, attitudes, and skills necessary to understand and manage emotions, set and achieve positive goals, feel and show empathy for others, establish and maintain positive relationships, and make responsible decisions.\nSocial and emotional competencies can be expressed similarly across developmental stages but differently by culture. If educators and leaders implement SEL without regard to students\u2019 cultural, racial/ethnic, linguistic, or economic backgrounds, some students may feel more alienated in their classrooms. Effective SEL processes involve aligning relationships, instruction, structures, and systems in ways that are culturally responsive, developmentally appropriate, coherent, and beneficial for all. Effective SEL practices are taught through explicit instruction, as well as embedded across all academic and non-academic components of the school day, including after-school and expanded learning programs and extracurricular activities.\nDone well, SEL holds the promise of transforming education as we know it.\nTransformative SEL is a process whereby students and teachers build strong, respectful relationships founded on an appreciation of similarities and differences; learn to critically examine root causes of inequity; and develop collaborative solutions to community and social problems.\nWe view SEL through the lens of Social Justice and Equity \u2013 Mental Health and Wellbeing.\nWhen we refer to SEL, we are including systematic efforts to promote any or all of the following areas: social and emotional development, character development, 21st century skills, workforce readiness, employability skills, multi-tiered systems of support (MTSS), positive behavioral interventions and supports (PBIS), mindfulness, grit, growth mindset, whole child development, moral development, positive youth development, restorative justice, behavioral skills, positive climate and culture, and caring schools and communities.\nTaken together, these areas increase students\u2019 personal and interpersonal skills, which in turns sets them up for continued success in school and life.\nAn extensive body of rigorous research (including randomized control trials, longitudinal follow-ups, and multiple replications) demonstrates that education that promotes SEL gets results, and that teachers in all academic areas can effectively teach SEL. Evidence demonstrates that social and emotional learning (SEL) improves mental health, social skills and behavior, academic achievement, and college and career readiness.\nEducators Value SEL\nTeachers are calling for schools to prioritize integrating SEL learning practices and strategies.\nPrincipals Value SEL\nPrincipals say SEL is essential, but want more guidance, training and support to teach these skills effectively\nSEL Investment Yields Return\nOn average, for every $1 invested in SEL programming, there is a return of $11.", "id": "<urn:uuid:7134e53d-29a3-4adc-ba31-8b6451812523>", "dump": "CC-MAIN-2021-17", "url": "https://sel4ca.org/about/what-is-sel/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038092961.47/warc/CC-MAIN-20210416221552-20210417011552-00130.warc.gz", "language": "en", "language_score": 0.9361255764961243, "token_count": 564, "score": 4.1875, "int_score": 4}
{"text": "The history of the National Football League\u2019s Chicago Bears, surveying the franchise\u2019s biggest stars and most memorable moments from its inaugural season in 1919 to today.\nUsing the graphics, students can activate prior knowledge--bridge what they already know with what they have yet to learn. Graphically illustrated biographies also teach inference skills, character development, dialogue, transitions, and drawing conclusions. Graphic biographies in the classroom provide an intervention with proven success for the struggling reader.\nWhen Renata is chosen to play the lead role in the school musical, students who used to ignore her start saying hello and congratulating her in the hall. She is happy until it becomes evident that Karin, a wealthy girl who expected to get the lead role, will go to great lengths to ruin Renata's reputation.\nThis title takes a look into the history of haunted prisons and asylums and the unusual behaviors that have happened there throughout history.\nThis title gives students an inside look at the fundamentals of baseball, as well as the rules and equipment used.\nThis title looks into the paranormal activity of haunted houses around the world.\nThis titles gives students an inside look at the fundamentals of basketball and the rules and equipment used to play the game.\nThis title gives students an inside look at the fundamentals of ice hockey and the rules and equipment used to play the game.\nThis title gives students an inside look at the fundamentals of soccer, along with the rules and equipments used.\nThis title explores haunted battlefields and cemeteries aroung the world and the paranormal activities that happen there.\nThis title explores haunted ships, planes, and cars with scary photos and actual events and places.\nThis title gives students an inside look at the fundamentals of golf as well as the equipmant and rules needed to play the game.\nThis title looks at how objects can be haunted and gives examples of famous places with such objects.\nInvestigates 12 great moments in the history of TV. Includes amazing facts along with information about key players and innovations.\nInvestigates 12 great moments in the history of radio. Includes amazing facts along with information about key players and innovations.\nInvestigates 12 great moments in the history of newspapers. Includes amazing facts along with information about key players and innovations.\nLearn about the Camaro, General-Motors muscle car with four distinct generations of design before 2002. Find out how this classic vehicle has been continually re-invented since its original heydey in the 1960s and '70s. Discover what makes this \"pony car\" unique with this in-depth look at the history, the legendary models, and the stats.\nA meeting with the queen might have a totally different meaning at one of England\u2019s haunted palaces\u2014she may not be alive! This title for young readers recounts brushes with spirits in the gilded halls of England\u2019s castles, including sightings of the famous Anne Boleyn!\nWhat if the spirits of the dead stay behind at the place where they died? Visitors to famous battlefields think some may do just that. They tell stories of ghostly fighting and spooky feelings of strange presences. Read on to determine if they are long-dead soldiers defending their ground or just strange coincidences in this chilling title.\nPeople have reported hearing footsteps and seeing shadowy figures at prisons that have been empty for years. Could phantom inmates still roam the halls? Read eerie stories from famous prisons to decide for yourself in this title for reluctant readers.\nThe elegant houses of the wealthy may hold more than just expensive things. Some are said to be home to ghosts! Reluctant readers will love reading the famous ghost stories from lavish locales in this spooky book.\nPresidents of the United States might get some creepy houseguests during their time at the White House\u2014former presidents! Find out which presidents have been sighted haunting their old home and what their unfinished business might be in this high-interest title for young readers.\nSome sailors come back to land full of ghost stories about cursed crews or flaming ships. But do they truly sail the seas? Or are they just tricks of the mind? Find out for yourself in this high-interest book for reluctant readers.\nWho\u2019s that knocking on your hotel room door? Is it room service or a ghostly visitor? Guests have recounted strange occurrences likes these during their stays at some hotels. This title introduces reluctant readers to some of these haunted encounters with unwanted hotel guests.\nAlien robots from the planet Cybertron, Transformers characters have a fascinating backstory. They also have the special ability to alter their form for battle, morphing into weapons and machines. Advancing readers will be intrigued to learn more about how the Transformers brand has changed over the years.", "id": "<urn:uuid:267f273f-358b-46ae-a9d9-6e3f64f53e2e>", "dump": "CC-MAIN-2021-17", "url": "https://www.biguniverse.com/library/books?category%3AGenre=High+Interest&category%3AGrade=7th+Grade&category%3ALanguage=English+%28US%29&category%3ASubject=Social+Studies&page=8", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039554437.90/warc/CC-MAIN-20210421222632-20210422012632-00170.warc.gz", "language": "en", "language_score": 0.9457074403762817, "token_count": 978, "score": 3.859375, "int_score": 4}
{"text": "We think you have liked this presentation. If you wish to download it, please recommend it to your friends in any social system. Share buttons are a little bit lower. Thank you!\nPresentation is loading. Please wait.\nPublished byPhillip Peters\nModified over 5 years ago\nACT A major unit in a play (similar to a chapter in a book)\nSCENE A smaller division of an act\nSTAGE DIRECTIONS The italicized instructions in a play Describe the setting, suggest the use of props, lighting, scenery, sound effects and costumes\nTRAGEDY A dramatic work that presents the downfall of a dignified character who is involved in historically, morally or socially significant events.\nTRAGIC FLAW A trait that leads a character to his/her downfall\nMONOLOGUE A long, uninterrupted speech that is spoken in the presence of other characters\nSOLILOQUY A single character alone on stage thinking out loud A way of letting the audience know what is on the character\u2019s mind\nASIDE Words that are spoken by a character in a play to the audience or to another character but that are not supposed to be overheard by the others onstage A way for characters to tell a secret\nFOIL A character whose traits contrast with those of another\nFORESHADOWING Lines that give hints or clues to future events\nIRONY How a person, situation, statement or is not as it would actually seem\nELEMENTS OF A SHAKESPEAREAN TRAGEDY Exposition Rising action with exciting force Climax Falling Action Catastrophe\nDrama Terms Romeo & Juliet.\nCraft Lesson: Structure and Elements of Drama. History of drama\u2026 Drama was developed more than 2,500 years ago. The ancient Greeks held a dramatic competition.\nDramatic and Literary Elements\nDramatic and Literary Elements Tools for Reading and Understanding Shakespeare.\nThe Crucible Literary Elements.\nElements of Drama.\nFive act structure. Five Acts Shakespeare follows the Greek format developed by Sophocles. Tragic character suffers a reversal of fortune Reversal of.\nDrama is the specific mode of fiction represented in performance. \u25e6 (DRAMA IS FICTIONAL ACTING) The term comes from a Greek word meaning \"action\"\nDrama Unit Terms and definitions. DRAMA the literary genre of works intended for the theater.\nthe Vocabulary of DRAMA\nRomeo and Juliet is filled with\u2026 Similes Metaphors Personification Imagery Allusions and Puns Foreshadowing Irony \u2013 Dramatic, Situational, and Verbal Tone.\nIambic Pentameter \u2013 a line of verse consisting of 10 syllables that follows an unstressed/stressed pattern Couplet \u2013 two lines of verse that form a unit.\nElements of Drama. A drama is written to be performed. The written form is called \u2013A script The author is called a playwright or a dramatist.\nDAY ONE Romeo and Juliet Terms. MONOLOGUE A single character gives a speech\nElements of Tragedy. Tragedy A dramatic work that presents the downfall of the tragic hero. The events of a tragic plot are set in motion by a decision.\nShakespearean language. Drama- a story written to be acted for an audience Tragedy- a play, novel, or other narrative that depicts serious and important.\nDrama Elements ALLUSION: a reference in a text to something in history or literature.\n\u00a9 2021 SlidePlayer.com Inc. All rights reserved.", "id": "<urn:uuid:1eea6c1b-c8fb-4215-8b7d-262a921a92ab>", "dump": "CC-MAIN-2021-17", "url": "http://slideplayer.com/slide/7989280/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00609.warc.gz", "language": "en", "language_score": 0.8938859105110168, "token_count": 736, "score": 4.21875, "int_score": 4}
{"text": "At Poppyfield Primary Academy, we want pupils to have a deep conceptual understanding of mathematics. We teach our pupils to embed and reinforce the three main aims of the National Curriculum: fluency, reasoning and problem solving.\nMathematics is essential to everyday life. Through teaching and learning in this area we aim to ensure that all pupils become confident and fluent in the fundamentals of mathematics, including through varied and frequent practice with increasingly complex problems over time.\nOur teaching programme is based on the Primary National Curriculum and sets out what children learn on a year-by-year basis in the areas of:\n- Number \u2013 place value; addition & subtraction; multiplication & division; fractions, decimals and percentages\n- Geometry \u2013 properties of shape; position & direction\nTo ensure whole consistency and progression, the school uses the White Rose Maths scheme. New concepts are shared within the context of an initial related problem; which children are able to discuss in partners. This initial problem-solving activity prompts discussion and reasoning, as well as promoting an awareness of maths in relatable real-life contexts that link to other areas of learning. In KS1, these problems are almost always presented with objects (concrete manipulatives) for children to use.\nTeachers use careful questions to draw out children\u2019s discussions and their reasoning. The class teacher then leads children through strategies for solving the problem, including those already discussed. Independent work provides the means for all children to develop their fluency further, before progressing to more complex related problems. Mathematical topics are taught in blocks, to enable the achievement of \u2018mastery\u2019 over time. Each lesson phase provides the means to achieve greater depth, with more able children being offered rich and sophisticated problems, as well as exploratory, investigative tasks, within the lesson as appropriate.\nWe understand the importance of maths in life and are committed to ensuring that every child leaves our school with confidence in the subject and a sound mathematical knowledge. We teach daily maths lessons in the classroom, and also outside, taking account of every type of learner and making maths fun and engaging at all levels.\nEarly Years Mathematics\nThe children in our Nursery and Reception follow the Early Years and Foundation Stage Curriculum EYFS. The focus of mathematical teaching and learning for this age group is very practical to ensure that the children are fully engaged while learning the initial concepts through role play, dressing up, storytelling etc. Children also take part in lots of singing through our link to the Number Fun Portal.\nKey Stage 1 (Years 1 & 2)\nIn Key Stage 1 the children continue to build on the skills and knowledge gained in Early Years. They learn about number bonds, how to count, read, write and order numbers to 100 and beyond, where appropriate. Through practical activities children explore and gain a better understanding of shape and space and through talk they begin to grasp and use mathematical language. Children continue their maths songs through the Number Fun Portal.\nKey Stage 2 (Years 3 to 6)\nBy Key Stage 2 children are becoming much more confident and fluent with numbers, calculating mentally and using written methods. They increase their understanding of the links between the four mathematical operations (addition, subtraction, multiplication and division) and how to use that knowledge to check calculations. Children are given every opportunity to link their mathematics to \u201creal life problems.\u201d Again, children continue their maths songs through the Number Fun Portal.\nWhy is Mathematics so important?\nMathematics equips children with a uniquely powerful set of tools to understand and change the world. These tools include logical reasoning, problem-solving skills, and the ability to think in abstract ways. As such, mathematics is a creative discipline. It can stimulate moments of happiness and wonder when a child solves a problem for the first time, discovers a more efficient solution to a problem or suddenly sees hidden connections.\nMany life stages and skills require a solid grasp of mathematics, from entering university to balancing a household budget, applying for a home loan, or assessing a possible business opportunity. When children eventually leave education and seek out a career, they will inevitably need to call upon the mathematical skills and strategies they have learnt at school. They will soon realise that many careers require a solid understanding of maths. Doctors, lawyers, accountants and other professionals use maths on a daily basis, as do builders, plumbers, engineers and managers. Maths is a critical skill for many professions and opens a world of opportunity for children.", "id": "<urn:uuid:bf2a1130-bc61-4859-8c94-4ea6acabb3ff>", "dump": "CC-MAIN-2021-17", "url": "https://www.poppyfieldacademy.org.uk/maths/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00490.warc.gz", "language": "en", "language_score": 0.9479519128799438, "token_count": 923, "score": 3.78125, "int_score": 4}
{"text": "ADHD is generally defined by: Inattention, Impulsivity, and sometimes Hyperactivity.\nImpulsive behaviours are common. One of the main characteristics of people with Attention Deficit Disorder is the tendency to act impulsively (acting before thinking about the consequences of their behaviour). Impulsivity often shows itself in a lack of understanding of cause and effect. Research suggests that ADHD students can often verbalise the rules but have difficulty internalising them and translating them into thoughtful behaviour. Difficulties in waiting for what they want also add to the impulsivity. Some clinicians believe that this lack of \"self-control\" (poor regulation and inhibition of behaviour), rather than their problems with paying attention, is the primary problem with attention deficit disorder. Let's look at how to address this.\n1. Give your ADHD students a break once in a while - they need breaks to regain attention.\n2. Know the difference between big things and little things, and don't confront attention deficit students on each little thing. It is hard for ADHD students to control themselves all of the time.\n3. Distinguish between premeditated and impulsive behaviours. Consequences still need to be applied in both situations but telling a student who has been impulsive that you realise it was impulsive can help him/her feel more understood.\n4. By having attention deficit students think \"out loud\" when they are problem-solving, the teacher will gain insights into their reasoning style, and the process will slow them down before they respond impulsively.\n5. Quite often, ADHD students will make the same mistakes over and over again, both socially and with school work. Students with attention deficit disorder often have problems with taking turns, over-interpreting others' remarks as hostile, personalizing others' actions excessively, and misreading social cues.\n6. With the help of your ADHD student and his trusted peers, common problematic themes can be identified. Role-play scenes involving these behaviours, preferably with his friends, identifying and practicing better ways to solve problems.\n7. To teach your ADHD students to slow down before they say things that they'll regret later, encourage them to practice \"stopping and thinking\" before talking. Let them practice by encouraging them to wait about five seconds before responding to your questions. This one technique can help ADHD students a great deal.\n8. It is important for attention deficit students to identify a \"support network\" of peers and adults that can help give him hints when he needs to \"slow down\". This group can also practice the \"slow down\" techniques with their ADHD friend.\n9. Students with attention deficit disorder can benefit greatly from behavioural interventions that are sensitive to their processing style. Rewards, or punishments, should be as immediate as possible. Changing the reward periodically is usually necessary.\n10. A major consideration in forming an effective behavioural plan is assessing what is workable for the classroom teacher on a regular basis. Some plans that require extensive charting do not succeed because the teacher can not follow through effectively within the context of the daily classroom demands. Keeping the plan simple and flexible is the key to success.\n11. Have someone actively monitoring your ADHD student during tests, especially multiple-choice, fill in the \"bubble\" tests. He can get off track and fill in the wrong places or become so frustrated that he might answer at random to simply complete the test.\n12. Emphasise that part of the work routine is to \"check your work\". Students with ADHD tend to complete work and turn it in without checking it over. Give the attention deficit student some instruction in how to check his work and practice it with him. In assignments that require research reports and creative writing, have the ADHD student dictate the words to someone rather than writing it down. The attention deficit student can then copy the words using the word processor. This technique will yield greater output on tasks requiring expressive written language skills by removing the written component.", "id": "<urn:uuid:e8e3b018-c33b-466c-9a93-1f5f8818be8b>", "dump": "CC-MAIN-2021-17", "url": "https://www.linguaphile.co.uk/post/a-dozen-golden-methods-to-address-impulsivity-in-adhd-students", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00050.warc.gz", "language": "en", "language_score": 0.9600793123245239, "token_count": 806, "score": 3.78125, "int_score": 4}
{"text": "This post is part of a series on the Science of Learning Physics\nStory-telling as a primary means for learning and passing on information is ancient. In his book Why Don\u2019t Student\u2019s Like School, Daniel Willingham suggests that lesson plans are carefully constructed to tell a story.\nThis may seem obvious, lessons have a beginning middle and end, and perhaps some sort of conflict that students wrestle with, however in order to truly engage in effective story-telling we must be even more intentional. Willingham suggests the structure of the four C\u2019s: Causality (the connection between information), Conflict (what challenges the student\u2019s thinking), Complications (additional conflicts that arise en route to the goal) and Character (the players in the story and their interactions). The benefits of using storytelling is that they are digestible, since they follow a common framework, interesting and easily remembered. When we frame our lessons as creating and telling a story, we offer the opportunity for our content to be better embedded into our students\u2019 minds.\nWhen implementing story-telling as a lesson plan structure, Willingham advises several considerations:\n- Consider what part of the lesson students are most likely to think about\n- Think carefully about your attention-grabber so that it not only inspires, but engages your students with the intended learning\n- Use discovery learning with care\n- Design the lesson so students must engage with developing meaning\n- Organize the lesson around conflict.\nEugenia Etkina\u2019s Investigative Science Learning Environment (ISLE) cycle of active learning (similar in some ways to the American Modeling Association curriculum) is one of the most powerful tools to turn physics units and lessons into stories. While that this is also a fundamental feature of the NGSS story-line model, as well as Problem-based Learning cycles. In this post I am explicitly using Etkina\u2019s cycles due to their research-proved efficacy in the classroom.\nEach of Etkina\u2019s cycles begins with the \u201cattention-grabber\u201d which she calls the \u201cneed to know\u201d Take for example, this Pepsi ad:\nIt\u2019s fascinating to discuss that not only is this possible, but that it\u2019s not even particularly incredulous: his speed at the top isn\u2019t insanely fast. This video as an attention grabber is also particularly valuable because the entire premise of \u201ccan it be done\u201d lies in the understanding of physics. Students can picture themselves trying to run the loop and can consider what that would feel like and what challenges might be presented. In contrast, doing a bunch of demos to \u201cwow\u201d students, such as whipping a penny around on a hanger, might be cool but are much more challenging for students to engage in the how and the way.\nEtkina\u2019s cycles rely on a fundamental and critical shift in how we approach the teaching and learning of physics. Specifically, that everything we do is framed in a similar context to how scientists work; everything is an experiment. (She recently published some research that highlights the cycles and I strongly suggest it for further reading). This relates to Willingham\u2019s second point of designing discovery (we know it as inquiry) learning with care. As wonderful as inquiry is, it can be all too easy for students to head down inefficient paths if left entirely to their own devices. By framing the learning as a series of experiments with specific end-goals in mind, the teacher acts as facilitator to guide student learning down the path of interest without stifling their own creative thought.\nUniform circular motion comes at some point after forces where students have learned that a force is an interaction between objects and that when there are unbalanced forces, that results in a net force which causes an acceleration. The acceleration is in the same direction as the net force. Circular motion is often very challenging for students because so much of it is counterintuitive to students: enter the conflict. But rather than trying to explain to students (which is totally ineffective, see chapter 2 in Dr. Mestre\u2019s book), students are engaged in a cycle of experiments to construct their understanding.\nOne of the first observational experiments that can be done is to ask students to get an object moving in a circle. I have seen this done in many ways, from giving students straws and a marble, to getting a students to come up with a broom and move a bowling ball in a circle. (Side-note: I overwhelmingly prefer the bowling ball example because it is much more obvious to the students what is happening) In this observational experiment students should notice two facts: first, that a force needs to constantly be applied, and second that the force is directed in towards the center of the circle. Similar, but different observational experiments allow students to confirm and refine their hypothesis (bucket of water, rollerblader holding a rope). As the cycle continues students eventual construct mathematical models and then begin to test and apply those models to a variety of situations. Here, we see Willingham\u2019s final two points: making and discovering meaning is completely unavoidable through this model and conflict is central to the story as students continuously refine their understandings.\nThere is a great wealth to learn and discuss about active learning, but what I want to bring your attention to at this moment is how this structure creates a story. This story is not just some instructor-invented story, nor is it some obscure hypothetical problem that may be defined in a PBL lesson plan, but rather it is a story where the student is the main protagonist, and all learning and model development is directly related to the experiments performed in class and their outcomes.\nEugina Etkina is a physics professor at Rutgers and author of the book College Physics: Exploring and Apply. She has a facebook group for teachers to discuss the text as well as her cycles which all all shared to members in the group!\nQuestions for Consideration\n- Pick a lesson that starts off \u201ctoday we\u2019re going to learn about ___\u201d that is then followed by the definition or equation for ____. Can you identify the conflict for students? Can you think of something for a \u201cneed to know\u201d attention-grabber that would get students thinking about the conflict before you dive into your lesson? Share it in the comments.\n- What are your biggest fears or concerns with implementing active learning every single day in your classroom?\n- Have you used an NGSS storyline or PBL cycle? Talk about the four C\u2019s as they apply (or are missing) from that lesson. Discuss Willingham\u2019s considerations for story-telling learning and how they are or are not addressed.\nOne of my first posts on this blog was about modeling vs intentional modeling. If you\u2019re new to this idea, this post might resonate with you", "id": "<urn:uuid:3746cbd5-54e8-4487-9dbd-55069cfbee2c>", "dump": "CC-MAIN-2021-17", "url": "https://physicsteachermomma.com/2020/12/21/the-science-of-learning-physics-active-learning-part-1-the-power-of-a-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00251.warc.gz", "language": "en", "language_score": 0.961158812046051, "token_count": 1420, "score": 3.671875, "int_score": 4}
{"text": "Name of Book: Miss Spider\u2019s Tea Party\nAuthor: David Kirk\nIllustrator: David Kirk\nAudience: Written for ages 4 \u2013 6\nSummary: A charming but very lonely spider wishes to invite her neighbor insects to tea. All that she invites are fearful, dash off, scurry away, etc. It isn\u2019t until Miss Spider is able to render aid to one small soaked moth that she at last has a guest for tea. Miss Spider dries off the poor helpless creature and invites it to tea. Her kindness convinces the neighbor insects they have nothing to fear from this very large and very friendly spider.\nLiterary elements at work in the story: This is a charming rhyming story that is used primarily as a counting book. The bright colors and illustrations lend to an enchanting read. Miss Spider is bright yellow, like a rain slicker. Each insect in the story is an individual with equally bright eye popping color.\n(How) does the perspective on gender/race/culture/economics/ability make a difference to the story? Some children and some very cynical adults may find this story completely incredulous; How could a spider be portrayed in such a kind way? The point of the story is overcoming stereotypes that inhibit friendship. In this example, the fears of the other insects are very reasonable. It is only by accident that the moth, and then the others, learn of Miss Spider\u2019s generosity and kindness.\nTheological conversation partners: Miss Spider\u2019s Tea Party would pair well with the Parable of the Wedding banquet found in Matthew 22. The insects are afraid of Miss Spider and do not want to attend her tea party. Their fears are reasonable. Their inability to accept her invitation initially excludes them from Miss Spider\u2019s gentleness. The comparison between the king (God) in the parable to Miss Spider might seem tenuous. The king\u2019s repeated invitations are refused just as Miss Spider\u2019s. The parable refers to how the reign of God had been refused by the Israelites, and how they would beat and reject the servants of God (the prophets). Another comparison that may seem weak or tenuous is the wet moth in contrast to the final group of people invited to the wedding banquet. The poor little wet moth does accept Miss Spider\u2019s kindness and can be an example of Jesus\u2019 final zinger, \u201cMany are called but few are chosen.\u2019\nI know the Miss Spider story doesn\u2019t work on every level, but, there are elements that really fit the Parable of the Wedding beautifully.\nFaith Talk Questions:\n- How would you feel if you were going to have a big party, you invited all of your friends, and everyone had an excuse about not coming to your party?\n- What do you think the little wet moth felt when it was brought into Miss Spider\u2019s home?\n- When Miss Spider took such good care of the little wet moth, what do you suppose it felt? Relief? Gratitude?\n- If you were the little wet moth, would you go tell all of your friends and neighbors about Miss Spider\u2019s kindness? Extend that to telling yours friends and neighbors about God.\nThis review was written by Union Presbyterian Seminary student Cheryl Couch-Thomas.\nMiss Spider\u2019s Tea Party by Storypath is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.", "id": "<urn:uuid:058fba31-6934-44e0-9a3d-f20c72d70687>", "dump": "CC-MAIN-2021-17", "url": "http://storypath.upsem.edu/miss-spiders-tea-party/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00010.warc.gz", "language": "en", "language_score": 0.9573192596435547, "token_count": 708, "score": 3.8125, "int_score": 4}
{"text": "Goethe was a German poet, writer and scientist, one of the key figures of European culture. Besides he was one of the most highly gifted and variously accomplished men of the 18th century. Goethe\u2019s works span the fields of poetry, drama, literature, theology, philosophy and science.\nLiterature. His earliest lyric poems, set to music, were published yet in 1769. But he first gained literary fame with the 1773 play G\u00f6tz von Berlichingen, a pure product of Sturm und Drang and especially the 1774 novel Die Leiden des Jungen Werthers (The Sorrows of Young Werther), which Goethe, on the verge of suicide, wrote after his unrequited love for Charlotte Buff. Werther gave him immediate fame and was widely translated.\nInitially Goethe stressed the role of passion in art, but after visiting Italy (1786-88) he had a greater appreciation of the classical tradition and ideal. Under the classical impact some works were written: the final, poetic version of the drama Iphigenie auf Tauris (1787), the historical drama Egmont (1788), well known for Beethoven's incidental music; R\u00f6mische Elegien (1788); the psychological drama Torquato Tasso (1789); the domestic epic Hermann und Dorothea (1797).\nThe novel Wilhelm Meisters Lehrjahre (The apprenticeship of Wilhelm Meister) (1796), became the prototype of the German Bildungsroman, or novel of character development. His novel Die Wahlverwandtschaften (1809, Elective Affinities) is one of his most significant novels, but perhaps his best-known work in that genre is the Wilhelm Meister series. In 1829 the last installment of Wilhelm Meisters Wanderjahre (Wilhelm Meister's journeyman years), a series of episodes, was published. His most enduring work and magnum opus, indeed, one of the peaks of world literature, is the two-part dramatic poem Faust. He began work on this masterpiece in 1775 year. The first part was published in 1808, the second shortly after his death.\nHis other works include an autobiography, Dichtung und Wahrheit (Poetry and Truth, 1811-33), and his travel account in Winckelmann und sein Jahrhundert ( Winckelmann and his century) (1805) and Die italienische Reise (1816).\nMusic. An accomplished amateur musician, Goethe conducted instrumental and vocal ensembles and directed opera performances in Weimar. Many of his operetta librettos were composed, none achieved lasting fame. Goethe's exquisite lyrical poems, often inspired by existing songs.\nScience. His approach to science was one of sensuous experience and poetic intuition. He tried not only to explain the nature, but rather to persive \u201cthe pulse of life\u201d, to grasp the universal laws in the flow of commonplace events. He was the author of the scientific Theory of Colours (1810), in which he purported to refute the Optics of Newton. In his essays on botany Metamorphosis of Plants (1790) and he advanced some influential ideas on plant and animal morphology and homology, which were extended and developed by 19th century naturalists including Charles Darwin.\nPhilosophy: Goethe himself expressly and decidedly refrained from practicing philosophy in the specialized sense. His Worldview most clearly presented in his poetic works: Faust, West-Eastern Divan, 'Eins und Alles' (\"One and All\"), \"The soul of the world\" and also in his conversations, reflections and maxims. For Goethe God and Nature were one. He stated the pantheist formula \u201cOne and All\u201d, \u201cNothing's inside, nothing's outside. For the inside is the outside\u201d, \u201cIf God's own power lay not inside us, how could divinity delight us?\u201d, \u201cEach one sees what he carries in his heart\u201d,\nIn the year 1771, the young poet, now 22 years of age, took his degree as Doctor of Laws, and went for a short while as a lawyer to Wetzlar am Lahn, the seat of the imperial chamber of the German empire.\nIn 1775, Goethe was invited to visit Charles Augustus, duke of Saxe-Weimar, at whose court he was to spend the rest of his life.\nIn 1779, at the age of 30, he became Privy Councilor (\"Geheimrat\") of the duchy of Weimar, holding the highest dignity that a German subject could then attain. For ten years Goethe was chief minister of state at Weimar, while at the same time working on plays, poems, essays, novels and scientific studies. In 1782 Emperor Joseph II conferred a knighthood on him.\nIn 1792 Goethe accompanied Duke Charles Augustus as official historian in the allied campaign against revolutionary France. He appreciated the principles of the French Revolution but resented the methods employed.\nIt was in 1808 that Goethe's encounters with Napoleon took place at Erfurt and Weimar.\nIn the year 1815, he was made minister of state.\nLater Goethe refused to share in the patriotic fervour that swept Germany, distanced from his former friends, immersed in scientific and philosophical problems.\nUniversal Person: Goethe was one of the greatest masters of world literature and his genius embraced most fields of human endeavour. The variety and extent of his accomplishments and activities were monumental. Goethe knew French, English, Italian, Latin, Greek, and Hebrew and translated works by Diderot, Voltaire, Cellini, Byron, and others. Goethe was also the originator of the concept of Weltliteratur (\"world literature\").\nGoethe was born in the year 1749 at Frankfurt am Main, where his youthful years were spend.\nGoethe was the first and only son of Johann Caspar Goethe, a Frankfort magistrate with the title Counselor, and lived with his family in a large house in Frankfurt. Goethe's mother, Catharina Elisabeth Textor, a descendant of Lucas Cranach the Elder and Henry III, Landgrave of Hesse-Marburg, married 38-year-old Johann Caspar when she was 17. All their children, except for Goethe and his sister, Cornelia Friederike Christiana, who was born in 1750, died at early ages.\nGoethe describes his happy and sheltered childhood in his autobiography. His father and private tutors gave Goethe lessons in all the common subjects of that time, especially languages (Latin, Greek, French and English).\nGoethe also received lessons in dancing, riding and fencing. His great passion was drawing. Goethe quickly became interested in literature; Friedrich Gottlieb Klopstock and Homer were among his early favourites.\nIn the year 1765, he went to the university at Leipzig where studied law from 1765 to 1768.\nAs a student, he pointed, by external profession, towards the law; but his real studies were in the wide domain of literature, philosophy, and above all, life and living character.\nIn the year 1770, he went to Strasburg, to finish his juridical studies, but here he mainly studied anatomy, chemistry and architecture.\nHe was a friend and patron of numerous artists. The friendship of Friedrich von Schiller and his death (1805) made a deep impression on Goethe. He is buried, alongside Schiller, in the ducal crypt at Weimar.\nGoethe died in March 1832, at the age of 84 year, shortly after completing the second part of Faust.\nRemains: Buried, Historischer Friedhof, Weimar, Germany.", "id": "<urn:uuid:9b7fb151-3b5c-475b-8f52-226a3f9b399e>", "dump": "CC-MAIN-2021-17", "url": "https://creativeabs.com/en/art-workers/165-goethe-the-most-influential-german-poet.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00369.warc.gz", "language": "en", "language_score": 0.9709130525588989, "token_count": 1639, "score": 3.5, "int_score": 4}
{"text": "Students will be able to tell a consistent and well-formed improvised team story by utilizing the basic elements of storytelling in the improv game \u201cStoryline.\u201d\nFinish up any show and tell stories that must be finished. If all have been finished, allow a few rounds of \u201cLiar\u201d to warm up.\nAsk the students how \u201cLiar\u201d ties into \u201cYes, and\u2026\u201d? Inform them that \u201cYes, and\u2026\u201d is not only a game in improvisation, but it is also a principle. Taking what someone gives you and tying it in without blocking that person in any way is called the yes, and principle in improvisation. Blocking someone means that you either refuse to use what you are given, or you manipulate what you are given to only use a piece of it or not fully receive what is given.\nStep 1 (Checking for Understanding/Group Practice): As a class, play \u201cYes, and\u2026\u201d twice, reviewing storytelling elements needed for a good team story. Remind them that consistency is key in the creation of their stories, as well as the \u201cyes, and\u2026\u201d principle in its entirety (meaning the students must not \u201cblock\u201d one another in any way\u2014they cannot change up someone else\u2019s contribution).\nStep 2 (Smaller Group Practice): Separate the students into two different circles and have each circle make create two stories each using the game \u201cYes, and\u2026\u201d. Give both circles the same conflict (such as \u201cthere is a fire in the Empire State Building\u201d) for the second story and allow them two minutes to create and finish it (which, of course, means that we will be going around the circle more than once).\nStep 3 (Checking for Understanding): Ask the students to be seated. Verbally assess the students\u2019 knowledge of how to make a team story work by assessing what worked in each circle. Questions you may ask include: \u2022 How did working in as a full class differ from working in a smaller circle? \u2022 What made the story progress? \u2022 What made the game fun? \u2022 Were there any times where the game wasn\u2019t fun? Why? \u2022 What happens when someone doesn\u2019t take what is given to them? \u2022 What happens when we move away from what setting and conflict we are given? \u2022 How can we make a story as a team instead of as individuals? \u2022 How did the second story differ in both groups? How did that happen? (The point here is to bring to the kids\u2019 attention that each story in improv is different. There should not be any point where stories are the same, even if they are given the same conflicts or prompts.)\nStep 4/Informal assessment: Teach the students to play \u201cStoryline.\u201d In this game, 4-6 people stand in a line in the middle of the classroom. The class gives a setting and a conflict. The teacher is \u201cthe pointer\u201d for the first round. \u201cThe pointer\u201d points to one of the people in the line, and that person is the only one allowed to speak. At any point, \u201cthe pointer\u201d can change who is telling the story by pointing to someone else in line. The storytellers are responsible for changing as soon as someone new is pointed to\u2014this means even in the middle of a word. This game is to solidify the ideas of creating a cohesive story with a team, as well as bringing the yes, and\u2026 principle into a different game. Informally assess the students\u2019 abilities to take what had been given in the story before and to tie it into what they say to create a cohesive story.", "id": "<urn:uuid:a9f1cdc8-dfbb-47aa-b881-92353c1b7697>", "dump": "CC-MAIN-2021-17", "url": "http://tedb.byu.edu/?page_id=621", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00251.warc.gz", "language": "en", "language_score": 0.9612697958946228, "token_count": 775, "score": 3.890625, "int_score": 4}
{"text": "I have been moved by the stories I have heard this season about the use of the \u2018Christmas Jar\u2019 by families in communties around the United States. I would like to propose that we start our own tradition at Balanced Life Skills with all of our classes. The concept teaches a number of lessons that are valuable for all of us.\nOne lesson is how a little bit of action on a daily basis adds up to a total that yields great results.\nSecond lesson I draw from this is an awareness we can develop of the needs of our neighbors and the satisfaction we gain by taking action to be kind to others.\nThird lesson is taking a moment each day to contemplate what we are grateful for that day. I would suggest that taking a moment to consider all we have to be thankful for would reduce the desire we have for wanting more.\nI added a page to our site \u2013 Christmas Jar Project. If anyone in our community would like to join in this project please do so on a personal level or with us. What a great way of practicing kindness.\nHere are the first two entries into to the art contest. Can you write a story, poem or make a picture or video that describes kindness. Kindness is\u2026\nEach Month we define and discuss a word of character development with all of our students. This month the word is Courtesy. It will be defined this way.\nYoung students: Courtesy means \u201cI am thoughtful, polite and kind to others.\u201d\nOlder students: Courtesy means showing respect kindness and consideration for others.\nShowing respect is just one way of demonstrating our appreciation. When we think about our home, our school, nature and the environment, and the people in our lives we can see that showing respect is an important part of demonstrating appreciation.\nYou have heard me comment before about not doing things out of fear or anger. This is one of the areas that we can practice that. Respect is treating others the way we want to be treated. How can we show respect for our home, school, environment and the people in our lives?\nWhen I think about this I think about how we care for our possessions. Do we maintain our home? Do we contribute to the neatness and cleanliness of our home, office or school? We live in such a throw away society that it is easy to think that we can just replace this or that. But what if we did not have that kind of resources. How would we treat our possessions then? How would we treat the environment or our bodies, if we recognized that while it does a real good job of healing itself, that we can show how much we value it by taking care of it to the very best of our ability.\nEven our friends and neighbors. Do we value them for who they are and demonstrate our respect for them by the way we speak and the kindness we show them. Are we on time for appointments, do we listen deeply when conversing with them, or do we value our own opinion more? Thinking about the impact we have on others with the words we use with them, is another way of being aware of showing appreciation for our companions.", "id": "<urn:uuid:df562e78-e43a-4322-9dab-50f463d31e02>", "dump": "CC-MAIN-2021-17", "url": "https://balancedlifeskills.com/tag/kindness/page/4/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039398307.76/warc/CC-MAIN-20210420122023-20210420152023-00210.warc.gz", "language": "en", "language_score": 0.9674623608589172, "token_count": 642, "score": 3.53125, "int_score": 4}
{"text": "\u201cMusic is the means by which the sage stirs heaven and earth, moves the spirits, shepherds the multitudes, and perfects the myriad things.\u201d \u2014Ying Shao\n\u201cMusical training is a more potent instrument than any other, for rhythm and harmony find their way into the inward places of the soul.\u201d \u2014Socrates\nMusicality, developed through musical training, consists of skills, sensibilities, and knowledge used to understand, reflect upon, and respond to musical content and context. A sense of its significance is universal among cultures; yet approaches to understanding this significance are as diverse as the musics of the world. Students in DRBU\u2019s Music strand draw such approaches from the world\u2019s classics traditions and integrate them with an embodied engagement in each musical tradition in order to explore and develop their musicality.\nStudents begin this exploration of musicality through direct engagement with primary sources, reading and listening in order to broaden their musical horizons. As students gain familiarity with the symbols, language, and style of each work, they will also practice exercises drawn from each musical tradition. This combined engagement in practice and analysis is simultaneously deeply intellectual and emotional, revealing over time not only the interconnected relationships between one\u2019s own feelings and ideas, but also opening up new understandings of others\u2019 perspectives and experiences.\nThe yearly curriculum is organized around musical skills grouped into topics that develop and unfold as various musical approaches are applied to them. This exposes students to musical styles from across cultures and centuries through a pedagogical focus around specific musical skills. Students develop skills to listen, understand, and communicate in yet another \u201clanguage\u201d while also gaining an appreciation of the diversity of expression possible in musical languages.\nThe first year of the Music strand begins with the topic of common musical elements. We will examine correspondences between music and musical instruments, relationships with poetry and ritual, and perspectives on rhythm and pitch. Examples include uses in religious ritual, the human voice and other musical instruments, rhythmic patterns, repetition, and systems of musical notation. Students will begin to explore skills in listening and performing both through practice and textual explorations of the significance of these skills in different traditions.\nThe second year will explore the topic of melody, including intonation, phrasing, and texture. The course will begin by looking at instrumental timbre and its relationship to pitch class and proportion. Tuning systems will be discussed from the perspectives of a number of musical traditions and their corresponding instruments as students begin to understand more deeply the significance of melodic voice and texture in various styles of music. Students will continue to develop basic musical skills with greater depth as they both broaden and deepen their musicality.\nThe third year will explore the topic of musical form, including systems of organization of large-scale musical works and the contribution of form to different contexts. Examples include storytelling, repetition and variation, and functional harmony. Students will integrate skills developed over the course of the three-year program, reflect on their own development of musicality, and apply critical thinking to each work, its context, and its potential significance.\nSelection of composers and works explored in the Music strand\n- Bharatamuni, Treatise on Performing Arts\n- Confucius, The Classic of Rites\n- Nicomachus, Manual of Harmonics\n- Rameau, Treatise on Harmony\n- The Vedas, The Koran, Gregorian Mass, Metta Sutta, Lotus S\u016btra\n- Traditional, The Great Ambush\n- Varimezovo, Makedonsko Horo\n- Traditional, Sala Kpa Kpa\n- Brubeck, Three to Get Ready and Four to Go\n- Shankar, An Introduction to Indian Music\n- Traditional, Gending Bortang Babar Layar\n- Josquin, Pange Lingua Mass\n- Traditional, Dikobo Damu Da Sombe\n- Bach, Fugue in C-Sharp Minor\n- Monteverdi, Orpheo\n- Mozart, The Magic Flute\n- Beethoven, Symphony No. 9 in D Minor\n- Smetana, Ma Vlast\n- Traditional, Jin Yuan Seeks Her Son", "id": "<urn:uuid:6e14e13c-8b05-4f71-84ca-998fb6b0788a>", "dump": "CC-MAIN-2021-17", "url": "https://www.drbu.edu/academics/undergraduate-program/what-we-study/music", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038069267.22/warc/CC-MAIN-20210412210312-20210413000312-00050.warc.gz", "language": "en", "language_score": 0.9227520823478699, "token_count": 868, "score": 3.703125, "int_score": 4}
{"text": "Narratology is a branch of literary theory that studies narrative structure and function. Fiction narratives are communicated through a voice that belongs to the narrator.\nThe narrator is the fictitious character that verbally transmits the events of the narrative. The narrator can share events from a position outside the story, using the omniscient point of view (POV) of \u201csomeone who, for some reason, knows everything about the story\u201d (Freiburg).\nMore likely, narrators will employ the limited point of view of one or more characters in the story. If so, they\u2019re unable to know anything they cannot see, hear, or otherwise perceive.\nFocalization and Focalizers\nChoosing a perspective is separate from determining whether the narrator is a character in the story. The term focalization distinguishes between narrative voice\u2014Who speaks?\u2014and perspective\u2014Who sees or perceives? Narration is what is told; focalization is what is perceived (Scott).\nThere are two kinds of focalizers:\n- An external focalizer is a POV character external to the story. An external focalizer is called a narrator-focalizer because perception belongs to the narrator.\n- An internal focalizer\u2018s perception belongs to a character within the story. Internal focalizers are also called character-focalizers.\nIf you\u2019re using an external focalizer as a heterodiegetic narrator, you may tell your story in omniscient point of view. If you employ a homodiegetic or autodiegetic narrator as an internal focalizer, you may choose from second person, distant third, intimate third, or first person POV.\nYou\u2019re not stuck with only one focalization or POV in your story. You can change focalizers to introduce other POVs. For example, you may have multiple first or third character-narrators, or mix and match POVs from scene to scene or chapter to chapter.\nNot all narrators are reliable. As writer, you may lead readers to distrust what your narrator says. \u201cSome narrators tell deliberate lies or omit crucial information\u201d (Freiburg). One such narrator is Holden Caulfield in J.D. Salinger\u2019s The Catcher in the Rye.\nVillains may deliberately lead readers down the wrong trail. Other characters, however, may be unable to provide objective information because they\u2019re \u201cnaive, insane, unaware, or mistaken\u201d (Scott).\nA given narrator\u2019s unreliability can be obvious or hidden, providing only faint hints that something\u2019s wrong.\nIn the next installment, we\u2019ll dig into the meat of narrative modes.\nFurther reading: https://blog.bookbaby.com/2016/03/focalization-smart-writers-never-ignore-it/ by Rose Scott.", "id": "<urn:uuid:c23168c3-c884-4526-a882-1d9136b5cb1f>", "dump": "CC-MAIN-2021-17", "url": "https://wordsmithereens.net/2021/03/12/narratology-focalization-or-point-of-view/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039508673.81/warc/CC-MAIN-20210421035139-20210421065139-00011.warc.gz", "language": "en", "language_score": 0.8912369608879089, "token_count": 593, "score": 4.09375, "int_score": 4}
{"text": "Due to the school closures as a result of COVID-19 and due to the current guidance in relation to safely reopening, there will be some changes to the overview this academic year. Changes may include the inclusion of previous year\u2019s content that has been missed, additional lessons to secure knowledge and skills as well as the order in which topics are taught due to the current guidance.\nAt Westfields, we recognise that the quality and variety of language that children hear and speak are key factors in developing their vocabulary, grammar and understanding for reading and writing. Through a range of speaking and listening and drama based activities, we ensure the continual development of children\u2019s confidence and competence in spoken language.\nThroughout lessons, children develop a capacity to explain their understanding of books and poems, and to prepare their ideas prior to writing. They are assisted in making their thinking clear to themselves and to others and teachers ensure they build secure foundations by using discussion to probe and address misconceptions. Children are taught to understand and use the conventions for discussion and debate.\nWe use a variety of collaborative activities to develop spoken language so children are equipped and able to talk for a range of purposes e.g. explaining, sequencing, providing a counter-argument, persuading and evaluating. The collaborative activities we adopt, listed below, also help our children to understand the importance of active listening.\n- Pair or group discussions\n- Working together on shared tasks and presentations\n- Activities with a competitive element/games\n- Drama and role play\nThe Great Debate\nHaving a sound understanding of SPaG is key in enabling children to express themselves clearly when writing. Because of this, we ensure that children experience spelling lessons, spelling tests and grammar lessons on a weekly basis. As this is best understood within a context, our Grammar lessons are linked to our writing units. Throughout each year at Westfields, children will learn various spelling patterns, for example words that end in -cious or -cial and are assigned a spelling rule to learn each week. The pattern is taught in class and children are expected to be able to apply this pattern to other words that sound similar.\nAs well as these spelling patterns, the National Curriculum has outlined a list of key words that your child is expected to know at different points within the key stage. The lists are a mixture of words children frequently use in their writing and those which they often misspell. These are the words that your child will be expected to learn by the end of Year 4. Click here for a downloadable version.\nThese are the words that your child will be expected to learn by the end of year 6. Click here for a downloadable version.\nWe would really appreciate it if you could support your child with practising their spellings. Every child learns in different ways and it is important to learn spellings in a way that best suits them.\nClick here for suggestions of activities to practise spellings in engaging ways.\nWestfields Library: To support reading across the curriculum, we have an extensive library that is at the heart of our school; it is extremely well-stocked and contains over 6000 books. Unlike most junior schools, we also have a fully trained librarian who ensures that our books are current and appealing to children. In addition, they work with both groups and individuals to help children progress with their reading skills and they recommend books appropriate to individual children. Our librarian is supported by a fantastic group of Junior Librarians who support and organise reading events, competitions as well as complete weekly library duties, review new titles and so much more!\nThis is currently being rolled out throughout the school, it is a web library provided by Hants SLS in conjunction with Wheelers. The eLibrary contains a brilliant selection of age appropriate texts for all year groups. It also has a selection of audio books. To access the Westfields Junior School eLibrary, either download the ePlatform app (by Wheelers) or go to http://westfieldsjun-hantssls.wheelers.co search for Westfields Junior School and use the log in and password provided by the school. The app can be adapted to suit specific requirements such as dyslexia or visual impairment. For more information please speak with your class teacher or Mrs Colyer.\nThe Day Explorer:\nThis is an online current affairs site for children provided by Hants SLS. It explains the news in a way that children can understand and broaden their knowledge. It includes articles, cartoons, points for discussion and looks at all aspects of the curriculum in relation to the news.\nParental Engagement: As reading is such a core skill, it is important that children are supported in their learning at home as well as during the school day. To support families with this, workshops are held each year. These workshops cover a variety of topics including: questioning, comprehension, developing fluency in reading and much more! Here are the key documents from our most recent workshop:\nReading Events: We understand that bringing reading to life is vital in promoting a life-long love of reading. As a result of this, we hold a variety of events throughout the school year including: Reading Matters Week, Big Buddy Read, Poetry Slam, World Book Day, Book Fairs, Storytime and many more Library challenges/competitions.\nPoetry Slam 2021\nFriday 26th March marked the greatly anticipated return of the WJS Poetry Slam! During the weeks leading up to this, each class practised, performed and recorded their chosen poem. This year a wide variety of poem styles were selected, varying from \u2018Walking with my Iguana\u2019 to \u2018Dog in the Playground\u2019. The event also celebrated some of our favourite poets including: Berlie Doherty, Michael Rosen, Alan Ahlberg to name a few. To view some of the class recordings, please visit the Year Group pages on the website.\nThis year\u2019s Poetry Slam winners are: Year 3 & 4 \u2013 4RM and Year 5 & 6 \u2013 6HC\nReading Matters Week 2019\nOur Reading Matters Week (The Big Brilliant Book Off!) has been a fantastic success and it has been so lovely to see the children enjoying reading and completing creative writing and practical activities based on their new class books. Despite the not so perfect weather, it was great to welcome so many family members (an impressive 109!) to our Share a Story session on Wednesday afternoon.\nPoetry Slam 2019\nListed below are the classes and the details of their chosen poetry performance. Every class was original and creative and this was such a fantastic opportunity for the children to work collaboratively to develop their speaking and listening skills.\n3MP \u2013 The Sound of the Train \u2013 David McCord\n3CC \u2013 From Red Hot Liquid to Metal Sword \u2013 Mary Green & Julie Stanley\n3RP \u2013 Christine Crump \u2013 Colin West \u2013 3rd place\n4LB \u2013 The Pig \u2013 Roald Dahl\n4EC \u2013 Walking with my Iguana \u2013 Brian Moses\n4TR \u2013 The River \u2013 Valerie Bloom\n5RM \u2013 Sick \u2013 Shel Silverstein\n5DC \u2013 Jabberwocky \u2013 Lewis Caroll\n5DT \u2013 Daffodils \u2013 William Wordsworth\n6LL \u2013 Macavity: The Mystery Cat \u2013 T.S. Eliot\n6HP \u2013 The Spider and the Fly \u2013 Mary Howitt \u2013 1st place\n6HC \u2013 Gran Can You Rap? \u2013 Jack Ousby \u2013 2nd place\nWorld Book Day 2019\nWestfields Junior School celebrated World Book Day with a bang on Thursday 7th March! As this year\u2019s theme was rather similar to last year, we decided to have our own theme for the day too. As such, each class across the school explored a different book written by the incredible children\u2019s favourite, Julia Donaldson. Each class was given a different book, which they shared and discussed; many may think that these picture books would only be suitable for younger children, but we do not believe this to be the case. With a little creative thinking these relatively simple children\u2019s books offer a wonderful stimulus for quality analysis and writing. Throughout the day, the children completed a range of activities; they delved into their chosen text and explored characters, settings and plots. The children also had the opportunity to consider what questions they would like to ask the author and wrote letters to her. Some classes wrote a quiz to strengthen their comprehension skills and summarised main events identifying key vocabulary. Just before home time, there was great excitement as the children scattered around the school to listen to a story read by a member of our fantastic staff team; there were plenty to choose from including latest titles as well as some old favourites! A great day of sharing stories and strengthening reading and writing skills was had by all!\nReading Matters Week 2018\nReading Matters Week and our \u2018Big Buddy Read\u2019\nReading Matters Week has been an amazing event because every class have had the chance to share and enjoy different activities linked to one of Roald Dahl\u2019s books. We have celebrated the importance of reading and have been reminded that reading is a very important part of all our learning and can help us in the future. Each class has enjoyed and read a different Roald Dahl story and we have all created lots of fantastic activities linked to our story. Some of these include: character descriptions, vocabulary cards, games, arts and crafts and books reviews. We cannot wait to see which activities will be in our class story packs in the library for everyone to see and use. We ended the week with our \u2018Big Buddy Read\u2019 and had the chance to read to others and meet new people. It has been an amazing experience and a great start to the year!\nWritten by Scarlett Brown and Gabriella Stephenson 6LL\nWriting Events: To further encourage a love of writing, we hold a variety of events throughout the year. Examples of this include our Remembrance Poetry Competition and whole-school Writing Challenges.\nPoetry Slam 2019", "id": "<urn:uuid:79dc3180-3b38-4d09-b2fe-4b09c799206f>", "dump": "CC-MAIN-2021-17", "url": "https://www.westfieldsjuniorschool.co.uk/curriculum/english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00250.warc.gz", "language": "en", "language_score": 0.962297797203064, "token_count": 2041, "score": 3.890625, "int_score": 4}
{"text": "If you could teleport the Earth to any place in the Universe, what would you want to look at in the night sky?\nThe bright explosion of a supernova?\nA black hole passing over your house? How about a nebula? How would this gorgeous gas cloud look from up close? And how would the Earth change if it was inside it?\nWhat is a nebula anyway? A nebula is a giant cloud of dust and gas in interstellar space. Some nebulae are born from the explosion of a dying star; others are regions of space where stars are born.\nThey are vast, sometimes taking up hundreds of light-years of space. But with all that size, they aren\u2019t massive. A nebula the diameter of the Earth would only have a mass of a few kilograms.\nThat\u2019s because nebulae aren\u2019t very dense. To put it in perspective, any vacuum that we can create in the Earthen environment is denser than any nebula out there.\nAnd that\u2019s why, if we lived inside one, it wouldn\u2019t look like anything you might expect. Some 1,344 light years away from Earth, is the Orion Nebula \u2014 the brightest nebula in our sky. It\u2019s 24 light-years across, and has a mass equivalent to 2,000 Suns.\nIf the Earth was formed inside it, all you\u2019d see in the night sky would be this. Not impressed?\nI know, I wasn\u2019t either. It turns out it\u2019s not that easy to see a nebula when you look at the night sky.\nTo your eye, most galaxies in the Universe don\u2019t look anything like this. More like this. And most nebulae are invisible altogether.\nYour eyes aren\u2019t sensitive to the kind of light a nebula produces. But look at the image taken by the Hubble Space Telescope, and you\u2019ll see a beautiful gas cloud.\nThat doesn\u2019t mean these beautiful images of space are fake. Their colors just represent the lightwaves that your eyes aren\u2019t able to detect.\nSo, if you had the Hubble Telescope, would you be able to see a nebula if you lived in one? Sorry to disappoint you again, but no.\nNebulae are pretty only when they are hundreds of light-years away. They look thick and cloudy only because you see the structures of light-years in thickness. Once you\u2019re close to them, their light spreads out so much that you can\u2019t see them. You could fly your spaceship right into the nebula and never even know it.\nIf the Earth were inside a nebula, the only effect you\u2019d see would be brighter Auroras, unless the solar wind blew all the nebular particles far away from the planet.\nHow do we know we are not living inside a nebula right now? Simple.\nAfter gathering the data on our own Sun, we can calculate the expected brightness of the neighboring stars. If we did live inside a nebula, we\u2019d notice that our star was much brighter compared to others. The nebula would be dimming the light coming in from outside of it.\nBut don\u2019t be sad. There are some bigger and brighter nebulas out there for you to see. Like the Tarantula Nebula, 160,000 light-years away from us.\nIf this monstrous cloud were in our galaxy right where the Orion Nebula is currently located, it would take up the area of 60 full Moons in our sky. Its glow would be bright enough to cast shadows on the ground.\nWe can\u2019t teleport the Earth, yet. But we may be able to travel to distant exoplanets that experience incredible light shows in the night sky.\n\u201cNebulae: What Are They And Where Do They Come From? \u2013 Universe Today\u201d. 2015. Universe Today. Accessed May 24 2019.\n- \u201cWhat Would Skies Look Like On Worlds Inside Nebulae?\u201d. Tim B. 2014. Worldbuilding Stack Exchange. Accessed May 24 2019.\n- \u201cIn Reality, Nebulae Offer No Place For Spaceships To Hide \u2013 Universe Today\u201c. 2013. Universe Today. Accessed May 24 2019.\n- \u201cWhat Does A Nebula Look Like Up Close? \u2013 Bad Astronomy\u201d. Phil, Plait, 2008. Bad Astronomy. Accessed May 24 2019.\n- \u201cGalaxies And Nebulae \u2013 What They Really Look Like \u2013 Sacred Space Astronomy\u201d. Christopher Graney, and View Graney et al. 2017. Sacred Space Astronomy. Accessed May 24 2019.\n- \u201cNational Optical Astronomy Observatory Press Release: NEIGHBOR GALAXY CAUGHT STEALING STARS\u201d. 2019. noao.edu. Accessed May 24 2019.", "id": "<urn:uuid:ba37308e-8639-4b45-aa08-7fbfe3bec12a>", "dump": "CC-MAIN-2021-17", "url": "https://insh.world/video/what-if-earth-was-inside-of-a-nebula/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00252.warc.gz", "language": "en", "language_score": 0.923122227191925, "token_count": 1023, "score": 3.78125, "int_score": 4}
{"text": "Maintaining Reading, Writing and Math Skills\nIf your son or daughter is continuing their schooling from home then you may be wondering how to maintain their reading, writing, and math skills so they do not fall behind. If you are also working from home then this has exacerbated the problem by making it increasingly difficult to keep your child on a homeschooling schedule.\nMake Shared Reading A Habit\nReading Rockets defines shared reading as \u201cAn interactive reading experience that occurs when students join in or share the reading of a book or other text while guided and supported by [an adult or older child]. The [adult or older child] explicitly models the skills of proficient readers, including reading with fluency and expression.\u201d\nMargaret Kristin Merga advocates for a shared reading experience between parents and children. Parents who create such experiences for their children can help them experience at least one of these benefits:\n- Enriched language exposure\n- Improved listening skills, spelling, reading comprehension, and vocabulary\n- Development of fundamental literacy skills\n- Positive attitudes to reading\n- Tutors on Call has provided a list of other long-term benefits to reading\nHere are some tips for creating a shared reading experience with your child:\n- Allow your child to select books he or she likes. Paperback books tend to work best because of the tactile and visual experience they create. However, ebooks are also useful.\n- Encourage them to read books that are at their level. Struggling through a book with really difficult vocabulary will only make them bored and discouraged. Ask them to read one page of the book and if there are 5 or more words on a page that they can not pronounce or do not know the meaning to then the book is too difficult.\n- Don\u2019t be overly critical. A child will clam up and develop a disdain for the shared reading experience if you are overly critical and, therefore, make the experience unpleasant.\n- Give your child your full attention. Put away the cellphone, turn off the TV and show your child that you appreciate this quality time.\n- Ask your child questions to determine whether he or she is understanding the book.\nTutors on Call has created a list of the most popular novels. Many of them are award-winning novels that may inspire your son or daughter in their own writing and prompt critical thinking skills.\nGive Your Child Fun Creative Writing Prompts\nChildren often struggle with writing because it often seems boring and difficult. However, it seems less burdensome when you give your child a creative writing prompt based on his or her interests.\nFor instance, your child may be obsessed with Fortnite. Why not ask them to write about some of the exciting features of the game that he or she can share with his cousins and friends? Better yet, why not ask him or her to create a short story based on the Fortnite theme?\nUse Cooking to Reinforce Fundamental Math Skills\nCooking is one of the best ways to bring the fundamentals of geometry and measurement to life. Let\u2019s say that you want to bake some cookies. You could purchase this set of plain edge geometric shape cutters to teach your child how to calculate the area of plain shapes and even how to create composite shapes. Measurement will be crucial for this cookie making process.\nHere\u2019s an idea of how this basic math lesson could develop.\n- Have your child measure out all the wet and dry ingredients; and then combine them to make the cookie dough.\n- Ask your child to identify each cookie cutter shape as you use them to cut the cookie dough. (This step is best suited for a child at the grade 4 level.)\n- When the cookies are done, ask your child to arrange them into a tangram such as the one shown in this video. A tangram is an example of a composite shape.\n- Ask your child to calculate the area of the tangram that has been created. This step works best when you allow your child to figure it out, but you have to keep an eye out so that all the cookies don\u2019t disappear into your child\u2019s belly.\nYour child shouldn\u2019t miss out on developing fundamental math, English, and writing skills while out of school. We\u2019ve suggested three ways that you can develop these skills right at home. However, these suggestions only scratch the surface of what\u2019s possible. Don\u2019t forget to check out our top-notch online tutoring services to further enhance your homeschooling efforts.", "id": "<urn:uuid:4afa30a2-3353-4f32-82a6-e1e4009a8707>", "dump": "CC-MAIN-2021-17", "url": "https://www.tutors-on-call.com/maintain-fundamental-reading-writing-and-math-skills/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00289.warc.gz", "language": "en", "language_score": 0.9497740268707275, "token_count": 929, "score": 3.53125, "int_score": 4}
{"text": "In the homeschool community there\u2019s no conversation more enticing, or controversial, than how we teach language arts and reading. Thousands upon thousands of blog posts, curriculum, and methods have been created to teach our students how to read and write. But, the real challenge often isn\u2019t teaching our homeschoolers how to read or write well, it\u2019s making it interesting and fun for them so that they love the written word long term.\nAs a trained English teacher, I struggled with this in the traditional classroom and with my homeschoolers. But, you don\u2019t have too! Take my advice and learn from my failures. If you\u2019re struggling to engage your students in homeschool English or homeschool writing, these five tips (and don\u2019ts) will help you make homeschool English and reading fun!\n7 Do\u2019s and Don\u2019ts to Make Homeschool English Fun\n- Don\u2019t start with the book or reading, start with an engaging activity. Immersing students in the culture, context, and core learning elements before you start a book or unit will peak their interest. For example, before tackling Jane Eyre, study gothic art together and create your gothic masterpiece. Paint, listen to music, act out a scene, watch a film, cook, or visit a museum. After these activities, present your lesson or book and dive in together.\n- Do read, but don\u2019t write. I know, I know, writing is important. But, if we want our homeschoolers to love reading, we often need to disconnect reading and writing altogether. There\u2019s nothing more predictable than writing an essay, letter, or paragraph after reading a book. We all remember our 5th-grade book reports, don\u2019t we? Instead, allow for discussion or projects as assessments instead of essays and paragraphs. There will be plenty of time and opportunity to write in social studies and science. Why not allow reading to be its subject and focus on critical thinking skills like analysis and evaluation through reading group discussions, hands-on projects, and even games as your form of assessing learning. Talk about the different words used in the book and come up with synonyms as your grammar lesson. Summarize and act out passages together. Focus on togetherness and the story, and you\u2019ll create lifelong reading addicts!\n- Do write, but make it creative. It\u2019s important that our homeschoolers learn to write well. But, writing doesn\u2019t have to be boring and formulaic! Allow your students to write about what they are interested in, practice more creative writing like poetry and short stories, and write for specific purposes (think letters, recipes, grocery lists, thank you cards, etc.) Make sure to publish their books and put them on the shelves right alongside your favorites to show them how important their written words are to you! Use this list of 25 ways to get kids started writing and you\u2019ll see their love of writing bloom.\n- Do play games, lots of them. Jeopardy, Name the Author/Book/Poem, Character or Literary Term Bingo, etc. Everything is more fun when it\u2019s a game! Grammar is often hated by all students, not just homeschoolers. So, use these fun grammar games to engage and challenge your homeschoolers, and make homeschool grammar fun!\n- Don\u2019t force classics. I love the Charlotte Mason and Good Books method of English teaching. From Black Beauty to Jane Eyre to Shakespeare, we\u2019ve read more classics before our kids are in high school than most non-homeschoolers will in their lifetime! But, forcing students to read period literature can backfire and create students who hate reading. We save classics to read aloud together at night or during lazy days. Until high school, my homeschoolers get to choose their literature based upon their interests. Studies show that students who read what they are interested in have higher fluency and comprehension. So, save the classics for family time and high school British Literature. Instead, choose to allow your homeschoolers to choose from an approved list of books based on what you\u2019re studying AND what interests them.\n- Do use technology.There are amazing writing, books, games, lessons, and more all at your fingertips using a tablet or phone! Blending technology with curriculum and traditional lessons mean you fit homeschool English into their world. They will thank you for it!\n- Do focus on success and put down the reading pen!When children struggle to read or write, they are fully aware of the challenge and often feel like failures. That\u2019s why it\u2019s so important to focus on what your child is doing well and to resist the urge to correct every sentence. Focus on the successes and celebrate every single improvement. There will be plenty of grades in your child\u2019s portfolio; you don\u2019t have to make writing or reading one of them! Remember, the goal is to create functional writers and book lovers, not kings and queens of grammar. So, set goals with your homeschoolers about what they want to accomplish and then praise and reward their efforts and accomplishments. This will boost confidence and give your child the support he/she needs to overcome the challenge!\nTeaching Homeschool English can be fun, challenging, engaging, and exciting. By focusing more on successes and pumping our lessons full of fun, interesting, and engaging activities, your homeschoolers will love language arts, and you\u2019ll find their noses in books long after the school year has ended.\nWhat\u2019s your favorite homeschool English curriculum? Tell us in a comment below!", "id": "<urn:uuid:3361c467-a276-4ac2-9385-baf6ff88fd6f>", "dump": "CC-MAIN-2021-17", "url": "https://www.homeschoolacademy.com/blog/make-homeschool-english-and-reading-fun/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00290.warc.gz", "language": "en", "language_score": 0.9458938241004944, "token_count": 1183, "score": 3.5, "int_score": 4}
{"text": "Our Star-Spangled Story is a year-long U.S. history course for grades one through four that reflects a Christian worldview and patriotic attitudes. It has many elements of a unit study since, along with the study of history, it incorporates literature, music, creative writing, geography, and art. In addition, coloring, drawing, singing, dancing, arts, crafts, games, recipes, and projects reinforce learning and help address children\u2019s different learning styles.\nThe course consists of six books published by Notgrass plus eight storybooks that you can borrow from the library or purchase. The Notgrass course books are:\n- Our Star-Spangled Story: Part 1 and Part 2 (two separate books)\n- Star-Spangled Rhythms and Rhymes \u2013 book with a CD (with MP3 files). Both contain the same 60 songs, poems, and dances.\n- A Star-Spangled Timeline \u2013 a visual reference book that shows images of key people and events chronologically on a timeline\n- My Star-Spangled Student Workbook \u2013 with a colorful activity page for each of the 90 lessons\n- Our Star-Spangled Story Answer Key and Literature Guide \u2013 answer key plus notes and discussion questions for the eight storybooks\nAll of these books except the Answer Key and Literature Guide are very attractively illustrated and printed in full color. The first four books are hardcover. If you are teaching more than one student, each of them needs only an additional student workbook.\nThe course is taught from Our Star-Spangled Story: Part 1 and Part 2. Each of these books has more than 300 pages, which explains why the course is split into two books. Beginning with the first European settlers of America and Native American cultures, the course continues up through the present day. Rather than trying to cover U.S. history in a comprehensive fashion, much of the time it uses stories of historical people in relation to significant events. For example, Lesson 72: \u201cWalking to School with Ruby Bridges\u201d relates the story of a six-year-old African-American girl who was one of the first to attempt to act on the Supreme Court decision in Brown v. Board of Education to attend a school that had been reserved for white children only. This lesson continues with an explanation of the civil rights movement, including brief information about Rosa Parks and Dr. Martin Luther King Jr.\nThe two course books together have 30 units, with three lessons per unit. The intent is for lessons to take place three days per week, but parents can spread lessons out over five days if they wish to do so.\nEach lesson presents the text information first, with all of the other activities listed at the end. Parents can read the text aloud to children, or older children can read it for themselves. The reading should take only about 15 minutes per day. There are three sections for the activities: Lesson Activities, Review Questions, and Hands-On History Ideas.\nUnder Lesson Activities are three or four of the following: map activities (using maps at the front and back of each book), Rhythms and Rhymes activities, a page in the student workbook to complete, a storybook to be read, and pages in the timeline book to explore.\nThe Review Questions should be used for discussion. Hands-On History Ideas are generally a pretend scenario and a building blocks activity, although sometimes they refer to a unit project. Pretend scenarios are presented like this one from page 127: \u201cPretend you are Daniel Boone or a member of his family, exploring, hunting, trapping, and preparing the way for new settlers.\u201d The same lesson also suggests that students use building blocks to construct a wilderness fort. Unit projects (found at the end of each unit) are for crafts, games, recipes, or projects such as creating a care package. Since each unit takes one week to complete, you will have one of these projects every week. The time required for activities and projects can vary greatly, and some families might choose to skip some or substitute ideas of their own.\nThe eight storybooks used with the course are:\n- Benjamin West and His Cat Grimalkin\n- Toliver\u2019s Secret\n- Freedom Crossing\n- Farmer Boy\n- Mountain Born\n- Emily\u2019s Runaway Imagination\n- The Year of Miss Agnes\nThe storybooks were selected to support lesson content, so they need to be read at the points designated within the course books.\nWhile the lessons and end-of-lesson activities are \u201copen and go,\u201d the projects require planning ahead to gather resources. A Unit Projects Supply List is available on the Notgrass website along with other extras such as a list of additional suggested literature; video demonstrations of singing, games, and dances; downloadable files required for two of the projects; and printable maps.\nOur Star-Spangled Story is perfectly suited to the homeschool environment and offers a well-designed blend of easy-to-use textbooks with storybooks, activities, and projects. In addition, the underlying Christian worldview and positive attitudes toward America are likely to be well received by many homeschooling families.", "id": "<urn:uuid:e3306191-c697-44e0-a06d-542c4c7dda48>", "dump": "CC-MAIN-2021-17", "url": "https://cathyduffyreviews.com/homeschool-reviews-core-curricula/history-and-geography/u-s-history-core-curricula/our-star-spangled-story", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00291.warc.gz", "language": "en", "language_score": 0.9473991990089417, "token_count": 1065, "score": 3.9375, "int_score": 4}
{"text": "In the last issue, we discussed the value of oral storytelling. Here we delve into the importance of explicitly teaching the text structure of narratives as one means of facilitating students\u2019 comprehension.\nText structure, one of the five big ideas discussed in Comprehension: Knowledge to Practice, refers to how a text is organized. This organization guides the reader\u2019s\u2014or listener\u2019s\u2014comprehension by enabling them to recognize relationships among structural elements in the text. Recognition of these elements helps readers form a mental model of the story so they can attend to salient text details, thereby increasing comprehension.\nAs discussed in our book, it is important to teach both narrative and informational text structures. Even with a shift in emphasis in the Common Core State Standards to the use of nonfiction texts to develop students\u2019 background knowledge, teachers should not overlook the value of narratives.\nWhatever our age, we can be changed by the lives of others if we learn to connect the whole of the reading circuit with our moral imagination.\nIn The Science and Poetry in Learning (and Teaching) to Read, Maryanne Wolf makes the case for teaching narratives: \u201cStories are one of humanity\u2019s most powerful vehicles for making lasting connections to people we will never meet. To feel like Charlotte about Wilbur\u2019s plight in Charlotte\u2019s Web, to identify with Martin Luther King Jr. in Martin\u2019s Big Words: The Life of Dr. Martin Luther King Jr. or with Ruby Bridges in Through My Eyes prepares children to empathize both with their neighbors and with people around the world or across the proverbial railroad tracks \u2026 Whatever our age, we can be changed by the lives of others if we learn to connect the whole of the reading circuit with our moral imagination.\u201d\nThe Role of Interactive Read Alouds\nBefore students even begin to acquire the alphabetic principle, they largely focus on meaning through oral language, i.e., speaking and listening. Teachers can\u2014and should\u2014use listening-level text for read alouds to develop the language processing abilities that underpin all of the comprehension big ideas. This practice addresses one of the criticisms of a \u201cbalanced literacy\u201d approach, namely that it confines students to \u201cleveled\u201d or \u201cjust right\u201d text, depriving them of the growth opportunities more difficult texts would confer.\nDecades of research \u201cconfirm that listening comprehension outpaces reading comprehension from early childhood through at least middle school\u201d (Fisher and Frey, 2014). This fact supports using listening-level text as part of a comprehensive plan, not only with beginning readers, but also through intermediate and middle school years.\nRead alouds should be interactive, with the teacher (or parent) and student actively thinking about and discussing the story. For example, parents can ask their children about the setting (where and when the story took place), the characters (the people, animals, or creatures who act out the events), the problem (what happened to set the story in motion), and the solution (how the problem turned out). Teachers can explore our book to learn how to plan effective, purposeful read alouds around carefully selected text.\nTeaching Story Grammar\nMoreau provides a student-friendly Critical Thinking Triangle (CTT) model\u2014depicted below\u2014to support students in their understanding of the dynamics that drive a narrative. The CTT incorporates the three important elements of story grammar\u2014the initiating event, the internal responses or feelings, and the plan for action. Understanding these elements is what helps build our moral imagination as Wolf described above. The CTT model also includes two additional elements: the mental state of thinking verbs and cohesive words that connect the three components of the triangle. Teachers can use the five parts of the CTT to explicitly teach students to express orally their understandings of stories that they read or listen to. A Story Map can serve as a graphic organizer to aid in this process.\nDrymock (2007) points out, \u201cStory grammars are rather like the set of grammatical rules that are used to structure sentences \u2026 Story grammar research moves the teacher away from general explanations of story structure (e.g., that stories have a beginning, middle, end) to the more specific (e.g., that stories have characters, a theme, and a plot.)\u201d These more specific story grammar elements are a scaffold, facilitating understanding and recall.\nTeachers can turn to our book to learn more about narrative and informational text structures.", "id": "<urn:uuid:58184962-f972-41e4-a725-33ff9da5422c>", "dump": "CC-MAIN-2021-17", "url": "https://www.literacyhow.org/newsletter/language-comprehension-and-text-structure-awareness/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00531.warc.gz", "language": "en", "language_score": 0.9185360670089722, "token_count": 928, "score": 4.0625, "int_score": 4}
{"text": "All hands hoay with these creative writing tips!\nFor parents and teachers: This is a fun unit of work for years 3-6 that will boost creative thinking and expression, explore language, improve vocabulary, and examine the importance of character and setting in imaginative texts. It is appropriate for independent learning and can be done in 1 to 1.5 hours or broken up into shorter segments.\nFor students: Follow the steps below and by the end of it, you\u2019ll have written an adventure story about pirates!\n1. Read an extract from Atticus Van Tasticus\n2. On the sheet below, circle the character you liked most and write underneath why you liked them. If you can\u2019t print off the page, write your answer on a blank piece of paper.\n3. Make up a name for a character you\u2019d have in a story about pirates. Write a sentence that describes what is special about this character.\n4. Find the words in the word search below.\n5. Some of the words in the word search were a bit odd, weren\u2019t they? You probably wouldn\u2019t use them in everyday language. Answer the below to work out what type of words they are. Some questions might have more than one answer, but you don\u2019t have to list all the answers:\n- What is a sound a pirate might make?\n- Find a person's name:\n- What is something you might find on a pirate ship?\nCHALLENGE: What does the word doubloon mean? Is it:\n- a) A pirate's hat\n- b) A piece of silver\n- c) A cloak that doubles as a blanket\n- d) A Spanish gold coin\n6. Look at the picture below. It\u2019s missing a bit in the middle. Perhaps it\u2019s a sea monster, or an alien or another pirate ship, or something else entirely. What would you put here? Let your imagination go wild. Draw what you picture in your mind. It doesn\u2019t matter if you\u2019re not good at drawing, put in some details to make it interesting. As long as you can see it in your imagination, that is the main thing.\n7. Now you\u2019re ready to write a short story about a pirate! Include the following in your story to help you on your way:\n- The character you created in step 3)\n- Some of the words you found in step 4)\n- The scene in step 6)\nThe main thing is to have fun with your story. When you have finished writing it, read it aloud to hear how it sounds. If some bits don't make sense, have a go at re-writing that sentence or paragraph so that it sounds better. This step is called editing.\nWhen you have edited your story, there's only one more thing you need to do...\n8. Give your story a heading! You can make your heading fun, or exciting or mysterious \u2013 it\u2019s up to you. Underneath your heading, write who the story is by, it\u2019s by you!\nWell done, that\u2019s the end of the lesson. If you would like to read more pirating adventures, you can buy the Atticus Van Tasticus books from all good bookstores.\nTeachers and parents, further resources around this book can be found here:\nKeep the kids entertained with these fun book-related ideas. There's an activity book for every age: one for littlies, one for kids and one for grown-ups too!\nCelebrating 80 years of Puffin!\nBook Week is an amazing chance for your child to get creative, engage with their favourite books and dress up in character. If you need a costume, stat, here are a few ideas to help you get something incredible off the ground before the big day . . .\nPlus a visit from Andrew Daddo!\nDig a little deeper to find a hidden world!\nA fun and inspiring practical guide on how young people can make a real difference.\nEverything you need to know about what we\u2019re doing to our environment, good and bad.\nA gorgeously illustrated book all about oceans for young animal and conservation enthusiasts.\nHow do you communicate your feelings?\nIn what part of the world could you find an Orchid Mantis?\nCelebrate 50 years of the wonderful world of Mr Men and Little Miss with this fun party pack\nGet ready to discover a whole new world of colours.", "id": "<urn:uuid:fa0731d2-8e41-4e64-812c-b862f2de55d4>", "dump": "CC-MAIN-2021-17", "url": "https://www.penguin.com.au/articles/2606-at-home-lesson-pirate-inspired-imaginative-writing", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00491.warc.gz", "language": "en", "language_score": 0.9305153489112854, "token_count": 944, "score": 4.3125, "int_score": 4}
{"text": "By Krystal Tan\nCharacter relates closely to a child\u2019s inward and outward behaviours. A child\u2019s character is very much nurtured through his interactions with people and his surroundings. Hence, character education forms an essential part of a child\u2019s learning and development.\nHaving good character yields positive results and desired outcome. People choose to associate with others who know how to show respect, are caring, hold responsibility, have positive attitude, are helpful, show empathy to others and often demonstrate an optimistic frame of mind. When a child feels engaged, respected and safe, he shows enhanced ability to focus on both academic as well as non-academic goals.\nCharacter education strives to teach children the basic values and principles of right and wrong, and it plays a transformative role in every child\u2019s cognitive, social and emotional development. Though schools may impart good character values in children, the key educators of positive character values remain in the hands of parents and immediate family members. As their primary character development influence, here are the ten essential character values parents should focus and instil in children.\nTreat others the way you want to be treated. We want to be respected, so do our children, and they also need to learn that respect is to be earned. To earn the respect of others, we must take initiative to show respect for others. Teaching our children to respect people, animals and the environment helps ensure our children care for the world we live in.\nHonesty is the best policy. We have seen or heard the story of The Boy Who Cries Wolf. When a child tells a lie, whether out of mischief or intentionally to hide from fear of being reprimanded, he would have lost his trustworthiness. As parents, we need to share the importance of honesty with our children so they will grow to be respectable adults of high integrity.\nA responsible child is one who accountable for his actions, which can serve as good inspiration for surrounding people. By assigning simple household chores to our children in the home environment, we teach our little ones what it is like to be responsible. Children who pack their school bags, keep their rooms clean and tidy, complete their schoolwork and hand it in on time will develop a good sense of responsibility.\nEmpathy is the ability for one to be in the shoes of others and feel for others. Children who know how to feel for others, stand by the side of others and are always there to encourage and support their friends and family, are often better received. Parents can be a good role model and share with the children on how we can show empathy for others.\n5. Gratefulness Studies have shown that grateful people are happy people. Children who show gratitude for the things they have, especially the love they receive from their parents and other family members and friends will be more fulfilled and happier in live. Parents can share the blessings with our children and show them how grateful we are to be living in peace and harmony.\n6.Kindness An act of kindness a day enriches one\u2019s life and it takes little effort to be kind. By setting the example of giving up your seats to those who need it more than you, lending a helping hand to people in need or volunteering in charity events, you model how to be kind to others. Kindness always brings smiles to the faces of everyone.\n7. Patience Patience is the ability to not show any anger or frustration while waiting. Queuing patiently in a line or waiting patiently for a turn at the playground greatly improves the overall experiences. The opposite is true when a child gets impatient and starts to show their temper. Thus, it is essential to learn to be patient for a better quality of life.\n8. Self-control Most people have heard of the famous marshmallow test where young children in a room had the choice of taking a marshmallow placed in front of them immediately or to follow instructions and wait for an adult to return before taking the marshmallows. This is a test of one\u2019s self-control. Children who waited for the adult to return are seen to have better self-control. They are often more composed when faced with challenging situations and tend to achieve better success in life.\n9. Resilience Resiliency builds strength, and strength builds courage. Resilient children do not give up easily under challenging situations, and when failure strikes, they tend to rebound back quickly and fight on. Research has also shown that resilient children often move on with better life achievements.\n10. Sportsmanship A child who is socially active and engages in many team sports or activities need to be generous to ensure he enjoys every moment of the engagement. This is especially true when it comes to team sports. Children who play a fair game and congratulate a winning opponent team have better sportsmanship and enjoy a better quality of life. Character values are to be taught and cultivated. Parents and teachers form the best role models when it comes to instilling good values and behaviours in our children.\nKrystal Tan is the founder of Krystal Charm Etiquette Academy, a well-established training provider that specialises in etiquette training and character education for children and youths. Learners will pick up essential life skills to value add to their overall learning and development. Parents who wish to make a positive difference in your child\u2019s social and emotional development can visit Krystal Charm Etiquette Academy Year End Holiday Workshops and enrol your child in the many interactive curriculums.", "id": "<urn:uuid:45a76b2d-0a3f-46e0-aa36-9c2462d2af10>", "dump": "CC-MAIN-2021-17", "url": "https://www.advancekids.sg/post/10-essential-character-values-to-instil-in-your-child", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00292.warc.gz", "language": "en", "language_score": 0.9575974941253662, "token_count": 1116, "score": 3.71875, "int_score": 4}
{"text": "The purpose of this module is to stimulate an interest in and a sense of wonder about places\nThe existence of this striking 65 metre stack defies all probability and has become an icon of climbing. In 2002, two Greenpeace climbers braved it to send a message: 'Pirate fishing trades away ocean life!' over the ocean to the south of Australia where massive amounts of pirate fishing is driving the long-lived toothfish towards commercial extinction.\nHow do sea stacks form?\nWhy is the Totem Pole a Fantastic Place for climbers and others?\nThe base of the cliff is subjected to constant erosion from the waves. The main types of coastal erosion are corrosion, attrition, solution and hydraulic action\nOver time the joints, faults and bedding planes in the base of the cliff become eroded and larger cracks appear\nThe cracks become wider and weaker as the erosion continues, causing caves to form. Caves are often found on headlands because wave erosion is particularly strong here. In some cases the roofs of caves may be broken through to form blowholes\nWhen caves develop on opposite sides of a headland they will join up to form a natural arch, as the cliff is being eroded from both sides\nThe arch continues to be eroded and will gradually become bigger and bigger until just a slim pillar is left, attached to the top of the cliff\nThe top of the pillar collapses as it can no longer support the weight of the connecting rock, leaving behind a stack\nThe stack is then continuously eroded at the base by the waves, and eventually will be worn down until only a stump remains. These can become so eroded that they are only visible at low tide\nStumps will eventually be worn away until they remain constantly underwater as areas of shallow water, known as reefs\nOver a period of hundreds of years this process will continue until all evidence of past landscapes has been eroded and coastal retreat occurs\nThe Totem Pole is part of the Tasman National Park, as it is part of the many miles of rugged coastline and diverse forest ecosystems, which contain several species of rare plant. The park also includes many small islands and the southern end of the park has some of the highest and most spectacular cliffs in Australia. The National Park is a very popular area for tourism as it is within a few hours drive of the main city on the island, Hobart. The Totem Pole is thought to be one of the hardest rock climbing routes in Australia, with hundreds of climbers attempting the climb every year. The global campaigning group Greenpeace which specialises in high-profile, non-violent demonstration used climbers to scale this icon to highlight the plight of the toothfish which suffers from pirate fishing. Toothfish is a popular dish in the United States - where it is sold as Chilean Seabass. The species is currently managed by the Commission for the Conservation of Antarctic Living Marine Resources, the body which introduced a catch and trade documentation scheme as an attempt to tackle illegal poaching of this species.\nClimbing the Totem Pole video\nPatagonian Toothfish image\nGreenpeace Totem Pole protest image\nWhat is the connection between these two images?\nThe link is that Greenpeace climbers scaled the Totem Pole in Tasmania, Australia to highlight attention to the pirate fishing trade during in 2002.\nDownload The Toothfish and Totem Pole PowerPoint for classroom use.\nGreenpeace climbing the Totem Pole\nWatch the video of people climbing the Totem Pole.\nHow do sea stacks like the Totem Pole form?\nLook at the coastal stacks fact sheets.\nUse the information about the formation of coastal stacks in the fact sheets to add annotations to the PowerPoint explaining the physical processes that create stacks.\nIf you have access to a digital video camera you could create an animation or \u2018claymation' video.\nCould you write a piece of creative writing about climbing the Totem Pole using a photo of the Totem Pole as inspiration.\nPaul Prichard suffered a serious accident while climbing the Totem pole. He wrote a book 'The Totem Pole: Surviving the Ultimate Adventure' which tells of the accident and his road to recovery.\nBy placing a booking, you are permitting us to store and use your (and any other attendees) details in order to fulfil the booking.\nWe will not use your details for marketing purposes without your explicit consent.\nYou must be a member holding a valid Society membership to view the content you are trying to access. Please login to continue.\nJoin us today, Society membership is open to anyone with a passion for geography\nCookies on the RGS website", "id": "<urn:uuid:7eca63fc-0475-4323-9a4a-f76e83df1af5>", "dump": "CC-MAIN-2021-17", "url": "http://rgs.netcprev.co.uk/schools/teaching-resources/fantastic-places/the-totem-pole-and-the-toothfish/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00332.warc.gz", "language": "en", "language_score": 0.939582347869873, "token_count": 915, "score": 3.515625, "int_score": 4}
{"text": "The key to handling an autism meltdown is to first understand them. This means identifying why they are occurring and spotting the warning signs that lead up to them.\nParents can learn how to effectively minimize meltdowns by recognizing events and actions that can trigger them. Oftentimes, parents can avoid a meltdown altogether by recognizing that one is coming and removing the potential stressor.\nAn autism meltdown is different from a typical temper tantrum in young children. For a child with autism, a meltdown can occur at any age, and it is not used as a manipulative tool.\nAutistic meltdowns occur when a person becomes so emotionally overwhelmed, or experiences such a strong sensory overload, that they can no longer control their behaviors. This can manifest as withdrawal, an emotional outburst, or physical lashing out. These meltdowns can be prolonged and intense. Meltdowns can be tough on parents of autistic children. But remaining calm is pivotal to managing a meltdown that is in progress. Techniques that can be used ahead of time can help to prevent an autism meltdown, and coping strategies can help parents to diffuse a meltdown that is in progress.\nWhy These Meltdowns Happen\nAutism is a spectrum disorder that impacts as many as 1 out of every 54 children. As a developmental disorder, symptoms of ASD (autism spectrum disorder) include problems understanding emotions in both oneself and others. Language delays and communication deficits are aspects of autism that can lead to frustration and an inability to effectively communicate wants and needs. Sensory issues, emotional outbursts, and aggression are common in autistic children.\nTemper tantrums are a normal method children use to gain negative attention or to impact their situation. An autism meltdown is different. It is not used as a tool to get something the child wants. Instead, it represents a loss of control. Autism meltdowns signify a complete overwhelming of the system (senses and/or emotions) and a loss of behavioral control as a result.\nAutistic children have difficulties regulating their emotions and struggle with changes to their routine. They often have sensory issues and problems communicating effectively. All of these things can lead to a meltdown when their system feels overloaded and they can no longer control what is going on in their minds or bodies.\n- Can occur at any age and are not specific to young children. This can be challenging for parents when out in public since the child may not show outward signs of disability.\n- Are not used for a purpose. Autism meltdowns, unlike temper tantrums, are not manipulative in nature. Instead, an autistic meltdown is a sign of an internal crisis and a call for help.\n- Are frequently preceded by warning signs. There is often an outward sign of distress before an autism meltdown ramps up. This sign can be either verbal or physical.\n- Can include self-stimulating behaviors, either before or during the meltdown. Repetitive motions \u2014 such as rocking back and forth, tapping, or pacing \u2014 can be signs of an oncoming autism meltdown.\nRecognizing an Autistic Meltdown\nAn autistic meltdown can manifest in a variety of ways, including both physical and emotional outbursts. Aggression is common in children with autism. In one study, over half of the participants directed this aggression toward their caretakers. Self-harm is another concern, as a quarter of children with autism hurt themselves intentionally in some way.\nAn autistic meltdown can include:\n- Social withdrawal.\n- Running away or bolting.\n- Zoning or tuning out.\n- Screaming or yelling.\n- Hitting, kicking, or aggression toward others.\n- Self-harming behaviors, such as biting, hitting, or head banging.\n- Extreme crying.\nAutism meltdowns can be the result of several different triggers, such as sensory overload, a change in schedule or routine, communication difficulties, or anxiety. It is helpful to know what can lead to a meltdown in order to minimize their frequency.\nManaging a Meltdown\nThere are several steps that can be used to manage autism meltdowns.\n- Identify the possible cause of meltdowns. It can be helpful to track a child\u2019s meltdowns. Note what was happening before, during, and after the meltdown. This can help you get a better handle on why they occur, what works to diffuse them, and how to better avoid them in the future. This diary or written record can help you to notice patterns in these meltdowns.\n- Anticipate and circumvent the meltdown before it occurs. There are often signs or \u201crumblings\u201d that autistic children present with prior to a full meltdown. Self-stimulating behaviors and signs of anxiety are often present beforehand. When these signs appear, distraction, diversion, or a removal of the potential stressor can often diffuse a meltdown before it starts.\n- Minimize potential triggers. There are several things that can lead up to an autism meltdown, and many times, these things can be managed. A child sensitive to loud noise can be soothed with noise-cancelling headphones in loud environments, for instance. It can also be beneficial to have a method for dealing with sudden and unavoidable changes as well. Build in relaxation time, and teach your child techniques to manage anxiety and stress, such as breathing deeply. Work to improve communication, so the child is able to express their needs more easily.\n- Stay calm. It is important to be kind, understanding, and as calm as possible during an autism meltdown. You can learn coping skills in therapy that you can then practice with your child.\n- Give the child space when needed. It can take some time for a child to calm down during an autistic meltdown. A safe space or quiet room can help. This can be difficult when out in public. It can be helpful to carry a card to give out or have some other visible sign to explain that the child has autism and needs some space and understanding. Children with autism do not generally have any outward signs of disability, and a meltdown can be disconcerting for passersby and feel shameful to parents. Having an easy way to let others know what is going on helps some parents to focus on their child and manage these uncomfortable feelings.\n- Use a distraction. Once the child has calmed down a little, a distraction or diversion can work to change the focus and bring the sense of control back. This can be an object or conversation topic that is comforting to the child.\nIt is important to keep a child safe during a meltdown. This may mean holding tightly to the child, taking them to a quiet space or a controlled environment, or just leaving them alone.\nAutistic children can hurt themselves or others during a meltdown. Sometimes, it may take more than one adult to keep everyone safe during a full-blown meltdown.\nInterventions & Therapeutic Techniques\nWhile parents are essential in helping to minimize and deal with meltdowns, they need assistance. Therapy plays an essential role in managing the problem overall.\nApplied behavior analysis (ABA) therapy is considered the primary form of therapy for autism. It teaches emotional regulation and communication skills. When a child is able to recognize and express what they are feeling, meltdowns are far less likely to happen.\nParents are active participants in ABA therapy, giving the therapist and technician valuable information that shapes the overall treatment plan. The lessons taught in therapy will be reinforced by parents in everyday life, helping these new skills to take hold.\nRoleplaying can be an effective way for therapists and parents to set expectations for how to act in various situations. Your child can practice how to interact and react in specific environments with a therapist while in the safety of your home. Potential problems can be explored in this safe environment, such as the experience of having to wait in line or walking through possible changes that can suddenly arise.\nWhen autistic children know what to expect ahead of time, and know what is expected of them, they are more likely to behave better. Reward positive behavior to reinforce the lesson.\nAutistic meltdowns can be scary and unpredictable, but with the right tools and assistance, parents can learn to successfully minimize and manage these outbursts. Talk with your child\u2019s treatment team to come up with specific strategies that work best.\n- Data & Statistics on Autism Spectrum Disorder. (March 2020). Centers for Disease Control and Prevention (CDC).\n- How Autistic Meltdowns Differ From Traditional Temper Tantrums. (April 2020). Verywell Health.\n- Aggression in Autism Spectrum Disorder: Presentation and Treatment Options. (June 2016). Neuropsychiatric Disease and Treatment.\n- Large Study Shows Self-Injury Common Among Children With Autism. (July 2017). Spectrum News.\n- Meltdowns. (2018). National Autistic Society.\n- \u2018Meltdowns,\u2019 Surveillance and Managing Emotions; Going Out With Children With Autism. (September 2010). Health & Place.\n- Parents of a Child With Autism Seek Help With Public Meltdowns. (September 2018). Autism Speaks.", "id": "<urn:uuid:a802452a-61d1-4107-bce7-a713397a9649>", "dump": "CC-MAIN-2021-17", "url": "https://www.joinsprouttherapy.com/autism-symptoms/meltdowns", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00409.warc.gz", "language": "en", "language_score": 0.9486621618270874, "token_count": 1845, "score": 3.75, "int_score": 4}
{"text": "Sure Fire Tips to Improve Writing Skills in KidsFri, 26 Feb by Kunal\nWriting is one of the most critical skills required for success in the 21st century. Therefore, these skills must be imbibed and improved in children from a young age. But how to make the learning process fun? Check out the top eight tips to improve writing skills in kids:\n1. Encourage Reading \u2013\nAvid readers usually turn out to be good writers since they learn new vocabulary in context. The more words kids learn to use through writing, the better writing skills they develop. Understand your child\u2019s interests and give them the right books to stay more attentive and interested while reading.\n2. Encourage Journaling \u2013\nNot only does journaling help acquire good writing skills, but it is also a good outlet for kids to vent their feelings. Give them fun and colorful stationery of their choice and encourage them to journal whatever happens throughout their day. You can help them develop an interest in journaling by asking them to write about things they like, their friends, the day at school, etc.\n3. Create a Writing Space \u2013\nKids easily get distracted. So, to prevent that, set aside a corner away from doors, people, and their toys. This would help them focus on practicing their writing skills and grammar.\n4. Proofread Their Content \u2013\nYour child must know that you are ready to invest time in helping them improve their writing skills. This way, they would see that they\u2019re not alone and will take enhancing writing skills seriously. You can proofread pieces that they write and give them more ideas to nurture their skills.\n5. Create Writing Prompts \u2013\n\u2013 Encourage your kids to write, but not just anything. Give them interesting creative writing prompts to relate to the things they like, for example, their friends, a school picnic, a visit to their grandparents, etc. This way, writing won\u2019t feel like a task to them but rather a fun activity.\n6. Teach them How to Work in Drafts\u2013\nA perfect piece of writing consists of various steps, including jotting down ideas, putting them in sentences, fixing errors, etc. Children must understand that improving writing skills is a continuous process, and they do not need to get everything right in the first go. Teach them how helpful, multiple drafts can be. To make it easier, help them type on a computer to track the changes and understand what works while writing a great piece.\n7. Play Word Games\u2013\nWord games, such as Pictionary, are very useful for kids in terms of storing new words in their receptive vocabulary. Moreover, word games make learning more fun and interactive.\nIn a Pictionary game, one player draws a word or a phrase, and the other person has to guess what it is. You can make this more interesting by asking your kid to write a story based on the word you drew as a clue.\n8. Don\u2019t Keep Correcting \u2013\nKids can get discouraged when parents continuously correct their grammar and spelling mistakes. So, help them learn from their mistakes in a more indulging experience. You can keep a dictionary where you can together learn new words and use them in sentences and stories.\nFind out what works best for your kid and use these tips to improve writing skills accordingly. Hope this helped! You can also sign up your child for a PlanetSpark writing program appropriate for them.", "id": "<urn:uuid:f9a93eaa-54b1-4e01-92b5-a48c75df1cbf>", "dump": "CC-MAIN-2021-17", "url": "https://www.planetspark.in/blogs/writing-skills-in-kids", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00051.warc.gz", "language": "en", "language_score": 0.9594582319259644, "token_count": 709, "score": 3.5625, "int_score": 4}
{"text": "Mr R Pettit\nKey Stage 3\nPupils are introduced to the concept of Expressive Arts through an introductory task which introduces the ideas of communicating through non-verbal means i.e. signs and symbols.\nIn Art, pupils will design and make a ceramic piece which reflects symbols based on their own identity.\nSkills across Expressive Arts: Communication skills, Imaginative responses, Problem solving.\nLearners will explore 'What it means to be Welsh', and strengthen their appreciation for Welsh traditions culminating in a celebration of pupil\u2019s work at the annual school Eisteddfod.\nIn Art, the focus will be on investigating and interpreting stories from the Mabinogi to produce illustrations. This will combine imaginative responses and elements of observational drawing.\nSkills across Expressive Arts: Observational Drawing, Imaginative Composition, Performance Skills, Storytelling Skills, Vocal Skills, Communication Skills.\nLearners will explore a sense of identity and belonging through the lens of African tribal cultures.\nIn Art, they will be exploring patterns and how they can be manipulated to create repeat sequences which can be transferred to fabric.\nSkills across Expressive Arts: Pattern, Colour, Ceramic Work, Movement Skills, Ensemble Skills, Singing Skills, Keyboard Skills, Rhythm Skills.\nPupils are introduced to the work of Bridget Riley and start to explore the concepts of abstract art, focussing on how line, shape and pattern can convey meaning. This theme of visual communication is developed and pupils are given a series of tasks/design briefs such as decorating letters, logo design and experimentation with text.\nThey look at a range of artists and designers related to the theme. They also produce a storyboard and study relevant artists from Roy Lichtenstein to Frank Quitely.\nPupils are encouraged to develop designs for their own \"Mythical Creatures\" and look at a wide range of source material, from \"Flanimals\" to the work of Surrealists such as Salvador Dali.\nOutcomes are produced in a range of media, such as drawing, frottage and print-making, as well as creative writing.\nExtension Work may be adapted to produce a 3D creature using clay. Pupils consider suitable strange environments for their creatures and look at relevant artists for inspiration.\nAs preparation for Year 9 work, which explores colour and pattern, pupils look at work from other cultures, such as Aboriginal Art and produce a painted outcome in response to increasingly independent research.\nPupils begin to experiment with the concept of positive and negative space to produce two painted images, extracting half-tones, based on a portrait of their choice.\nThey look at the use of chiaroscuro in painting, film and other media, making connections to their own work.\nAs preparation for a final coloured painting, pupils look at the work of Hundertwasser and start to explore the concepts of colour theory in greater detail. They also make observational drawings from natural forms, focussing on pattern.\nPupils enhance their understanding of the work of Hundertwasser and the influence of Art Nouveau.\nThey produce a produce a colourful patterned painting in the style of Hundertwasser and investigate his life and work, making links to their own outcomes.\nExtension Work may be adapted to explore a range of media and techniques, such as Computer Aided Design, 3D outcomes/Ceramics.\nPupils are encouraged to consider the presentation of their work and produce interesting design sheets to showcase their work.\nThey are encouraged to further their investigations into colour and pattern by looking at work from different cultures.\nWays in which parents can help:\n- Ensure that pupils come to Art lessons with appropriate equipment.\n- Support pupils with homework tasks.\n- If possible, ensure that pupils have access to a variety of materials at home, such as colouring pencils, glue, etc.\n- Try to experience works of art first hand, with trips to galleries/museums.\n- The 20th Century Art Book.\n- Ways of Seeing, By John Berger.\n- The Story of Art \u2013 Gombrich", "id": "<urn:uuid:25bddc0b-5436-4a8b-b040-0edea18ced87>", "dump": "CC-MAIN-2021-17", "url": "https://www.porthcawlschool.co.uk/curriculum/art.asp", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00573.warc.gz", "language": "en", "language_score": 0.9333725571632385, "token_count": 864, "score": 4.125, "int_score": 4}
{"text": "By the end of the year, most first graders are able to read easy books by themselves. Ready to teach smarter and save time.\nPrompt ideas for students paragraph-long writing assignments, second grade by nancy. On these worksheets, students learn to improve their writing by finishing the story, responding to questions, writing in practical situations, arguing a position, and writing ly and creatively.\nOur presentation includes information on how worksheets are not appropriate for young children and why. She contributed 46 fabulous journal writing prompts are no set rules for the telling of writing prompt ideas shared by nancy.\nWe explain how writing on paper with lines two solid and a dotted line in the middle is not appropriate for certain ages and why visual accuity, fine motor not developed enough, creates frustration and lack of desire to write etc We also tell parents that there is a difference between their young child and older siblings and how older children are more developmentally ready to profit from using worksheets occasionally.\nCommunicate with a variety of audiences.\nEach worksheet is colorful, has examples, and space for students to write their responses. This activity helps students learn about a flying mammal of their choice. Draw a picture and use simple text to explain persuade why an item food, pet, person is important to them.\nThey can expect https: Brian dodson uses sentence and put them a creative writing prompts for a way to get my own. Super teacher worksheets and story and use these 2nd-grade writing prompts. Phonics Worksheets - View our entire collection.\nWritten English Language Conventions Students in 1st grade are expected to write and speak with a command of Standard English conventions appropriate to this grade level.\nChoose one of creative writing prompts are no set rules for. This shows that they are doing actual scientific experimentation and recording the data.\nThis four page shapebook asks students to create their own character. Create Your Own Character' printable worksheet in the classroom or at home. Writing standards for first grade define the knowledge and skills needed for writing proficiency at this grade level.\nBy understanding first grade writing standards, parents can be more effective in helping their children meet grade level expectations. Printable letter L tracing worksheets for douglasishere.com writing practice worksheets for 1st graders. Letter L for Lione. Printable letter L tracing worksheets for douglasishere.com writing practice worksheets for 1st graders.\nLetter L for Lione. For the Kiddos. from douglasishere.com Free Printable letter H tracing worksheets for douglasishere.com writing practice worksheets for 1st graders.\nLetter H for hippo worksheets Encuentra este Pin y muchos m\u00e1s en Co-Op Kindergarten Class, de Selena Lemmond. First graders develop fluency through a series of vocabulary, reading comprehension and writing activities that incorporate discovery learning and direct instruction.\nLearn more lesson by lesson details by reading our first grade language arts lesson plans. Third Grade Worksheets Online. JumpStart\u2019s large collection of fun 3rd grade worksheets is perfect for 8 and 9 year old kids. Students can use these free and printable worksheets to review and practice important concepts in math, language, writing, science and social studies.\nWriting Worksheets. In this language arts worksheet, your child gets practice looking up words in a dictionary, writing words in alphabetical order, and drawing. Airplane message banners This worksheet presents airplane-drawn messages and gives your child practice with counting, reading, and writing skills.Writing a letter worksheets for 1st graders", "id": "<urn:uuid:2cf28e96-b0f3-429d-93e8-9054314e7506>", "dump": "CC-MAIN-2021-17", "url": "https://momonacejez.douglasishere.com/writing-a-letter-worksheets-for-1st-graders-32561nt.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038060927.2/warc/CC-MAIN-20210411030031-20210411060031-00013.warc.gz", "language": "en", "language_score": 0.9073234796524048, "token_count": 762, "score": 4.21875, "int_score": 4}
{"text": "Oceanic cartographer Marie Tharp helped prove the theory of continental drift with her detailed maps of the ocean floor. This animation by Rosanna Wan for the Royal Institution tells the fascinating story of Tharp\u2019s groundbreaking work.\n\u27a1 Subscribe: http://bit.ly/NatGeoSubscribe\n\u27a1 Get More Short Film Showcase: http://bit.ly/Shortfilmshowcase\nAbout Short Film Showcase:\nThe Short Film Showcase spotlights exceptional short videos created by filmmakers from around the web and selected by National Geographic editors. We look for work that affirms National Geographic's belief in the power of science, exploration, and storytelling to change the world. The filmmakers created the content presented, and the opinions expressed are their own, not those of National Geographic Partners.\nKnow of a great short film that should be part of our Showcase? Email SFS@ngs.org to submit a video for consideration. See more from National Geographic's Short Film Showcase at http://documentary.com\nGet More National Geographic:\nOfficial Site: http://bit.ly/NatGeoOfficialSite\nAbout National Geographic:\nNational Geographic is the world's premium destination for science, exploration, and adventure. Through their world-class scientists, photographers, journalists, and filmmakers, Nat Geo gets you closer to the stories that matter and past the edge of what's possible.\nIn the early part of the 20th century, German geophysicist Alfred Wegener proposed a revolutionary idea that made him the laughingstock of his peers. His \u201ccontinental displacement\u201d theory suggested that the earth\u2019s continents once formed a single land mass that had gradually drifted apart over time. Wegener was largely disregarded by the geoscientific community until 1953, when a young cartographer named Marie Tharp began charting ocean floor depth measurements. In partnership with geologist Bruce Heezen, Tharp\u2019s detailed maps of the ocean floor revealed rifts and valleys that supported Wegener\u2019s controversial theory. Initially dismissed as \u201cgirl talk,\u201d Tharp and Heezen finally brought the concept of plate tectonics to the mainstream in 1968 when they published their ocean floor map in National Geographic Magazine. Cementing her place in history, Tharp was awarded the National Geographic Society\u2019s Hubbard Medal in 1978 for her pioneering research.\nThis animation by Rosanna Wan for the Royal Institution tells the fascinating story of Marie Tharp\u2019s groundbreaking work to help prove Wegener\u2019s theory.\nRosanna Wan - http://www.rosanna-wan.com/\nRoyal Institution - https://www.youtube.com/user/theroyalinstitution\nHow One Brilliant Woman Mapped the Secrets of the Ocean Floor | Short Film Showcase\nTagged under: Marie Tharp,oceans,maps,oceanic cartographer,ocean floor,continental Drift,Royal Institution,Bruce Heezen,National Geographic Magazine,Hubbard Medal,National Geographic Society,plate tectonics,animation,Short film showcase,national geographic,nat geo,natgeo,science,explore,discover,survival,nature,documentary,Showcase,short films,filmmakers,wildlife films,films,PLivjPDlt6ApRiBHpsyXWG22G8RPNZ6jlb,PLivjPDlt6ApSV6IhEzPW2w60mwFVtXgNR,PLivjPDlt6ApTDlm7OufY6HAzNmFAqxWSo\nClip makes it super easy to turn any public video into a formative assessment activity in your classroom.\nAdd multiple choice quizzes, questions and browse hundreds of approved, video lesson ideas for Clip\nMake YouTube one of your teaching aids - Works perfectly with lesson micro-teaching plans\n1. Students enter a simple code\n2. You play the video\n3. The students comment\n4. You review and reflect\n* Whiteboard required for teacher-paced activities\nWith four apps, each designed around existing classroom activities, Spiral gives you the power to do formative assessment with anything you teach.\nCarry out a quickfire formative assessment to see what the whole class is thinking\nCreate interactive presentations to spark creativity in class\nStudent teams can create and share collaborative presentations from linked devices\nTurn any public video into a live chat with questions and quizzes", "id": "<urn:uuid:a2e187d6-ec47-4bbd-9ea1-707db3d52e3b>", "dump": "CC-MAIN-2021-17", "url": "https://spiral.ac/sharing/k57hv3y/how-one-brilliant-woman-mapped-the-secrets-of-the-ocean-floor-short-film-showcase", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00253.warc.gz", "language": "en", "language_score": 0.8475120663642883, "token_count": 932, "score": 3.96875, "int_score": 4}
{"text": "Metaphorical thinking is fundamental to cognition, communication and our \u2018narrative mind\u2019. This makes it a valuable tool for helping friends, family, colleagues and clients gain new perspectives on their lives. Using a metaphor is a helpful way of talking about emotional and relational experience.\nThe mind has the capacity to understand new ideas by relating them to concepts it is familiar with. Using metaphor has been a tradition in all the major schools of therapy and is a particularly helpful way of talking about emotional and relational experience.\nAkhyayika (\u0906\u0916\u094d\u092f\u093e\u092f\u093f\u0915\u093e) is a word of Sanskrit origin which means a fable, a chantefable, a short episodic narrative (short story) or an anecdote. The book itself is an anthology of short stories and anecdotes. Storytelling has been an intrinsic part of Indian tradition, right from the Vedic ages. The best example is the great Indian epic \u2013 the Mahabharata, which is not just a masterpiece of epic storytelling, but truly a discourse on life and living. Most of us have grown up hearing stories from our grandparents, parents, teachers and books. And there is a reason why stories have played such an important role in the life of human beings \u2013 they teach without appearing to do so.\nA short story has several advantages. It quickly engages a reader, especially a contemporary young reader who may find thick novels daunting. It encourages the reading habit and allows the reader to read in \u2018chunks\u2019 by allowing them to focus on the key theme and story lines quickly. This book also allows a reader to choose a story at random as they do not require to be read in a specific sequence. The natural dialogue and conversational tone make it easy for non-native speakers too.\nA story has the inherent capacity to put your whole brain to work! Preaching or advocating or recommending a belief or course of action does not work with either children or adults. Whereas the message within a story becomes apparent to the reader who often thinks, \u2018I know this\u2019 even as the person is reading the story. The belief or consequential course of action is therefore \u2018self-initiated\u2019 by the reader itself.\nNow, whenever we hear a story, we want to relate it to one of our existing experiences. That's why metaphors work so well with us. The simpler a story, the more likely it will embed itself into your subconscious mind. The best way to truly learn and relate is through a short story with simple language and low complexity.\nUsing metaphor has been a tradition in all the major schools of therapy and is a particularly helpful way of talking about emotional and relational experience. No number of lectures, power points or vision and mission statements can so pithily and impressively convey what a story can.\nEach little story in this book will leave a definite imprint on your subconscious mind, changing the way you think and behave, spurring and inspiring you to greater heights.", "id": "<urn:uuid:635c2352-14e9-4809-b72e-c825f74f1fa7>", "dump": "CC-MAIN-2021-17", "url": "https://www.rajeshseshadri.com/akhyayikas", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038062492.5/warc/CC-MAIN-20210411115126-20210411145126-00092.warc.gz", "language": "en", "language_score": 0.9423734545707703, "token_count": 614, "score": 3.671875, "int_score": 4}
{"text": "Note: The following information is from the Virginia Department of Historic Resources and used with permission.\nPeople lived in Virginia for about 17,000 years before European contact. The native people had no written language. They recorded their historic events through storytelling and symbolic drawings. Through patient work in the field and in the lab, archaeologists have reconstructed some of the history and lifeways of these first people by uncovering buried clues of their unwritten past.\nArchaeology is the scientific study of the remaining traces of past human culture, technology, and behavior. Archeology is about studying the people who lived and worked on a site and who made and used those artifacts. Archeologists recommend research questions to learn how specific ways of life developed and how they changed over time. Training and skill are required to analyze and interpret these artifacts.\nScientists are not in agreement as to when people entered the New World. Some controversial findings being discussed among archaeologists across the Western Hemisphere are the pre-Clovis dates and tools from a site named Cactus Hill in southern Virginia. Here a small band of people lived on top of a sandy hill overlooking the Nottoway River. One piece of white pine was dated to almost 17,000 years ago using radiocarbon dating. Associated with the pine were stone tools and the raw material from which the tools were made. These findings are challenging prevailing theories regarding human settlement of North America.\nBy the Late Archaic Period, the people in Virginia totaled perhaps in the tens of thousands. Their growing numbers caused them to intensify their hunting and gathering practices. Concentrations of bands settled along the rich floodplain, which some researchers describe as the \"supermarket of the prehistoric world.\" Archaeologists have uncovered at riverside sites large hearths of fire-cracked rock, proof that the Late Archaic people prepared large amounts of food there.\nIn the Coastal Plain, the people started to harvest large numbers of saltwater oysters, a custom that would continue to the historic period. Especially in the early spring, before plants came up, oysters were a rich food source. The discarded shells formed thick middens or refuse heaps that archaeologists find to be a rich source of household debris.\nIn their quest for food and raw materials, the people ventured into every section of Virginia. Soapstone, commonly found along the eastern foothills of the Blue Ridge, was one of the most sought-after materials around 2,000 B.C. Because it was a type of soft rock that carved easily and did not break when heated, it made excellent cooking pots. The people quarried large mushroom-shaped pieces of soapstone from outcroppings, and, with stone and bone tools, hollowed out bowls. When people started making heavy soapstone cooking vessels, they were probably more settled, as the vessels were too heavy to move often. Archaeologists have found fragments of soapstone vessels across Virginia, sometimes hundreds of miles from a quarry.\nIn a similar fashion, cobbles of quartzite along the Fall Line, and outcrops of quartzite and rhyolite in the mountains were mined for the production of large points and knives. These tools, like the soapstone bowls, also found their way across Virginia, confirming the widespread trading in Virginia between people living in the mountains and along the coast.\nThe Woodland period refers to the more sedentary cultures that lived in the extensive woodlands of what is now the eastern United States. A major innovation occurred about 1,200 B.C. when the people began making fired clay cooking and storage vessels. Archaeologists believe this technology was introduced to Virginia from the people along the coast of Georgia and South Carolina. There, the earliest pottery in North America may have been made as early as 2,500 B.C. The shape and size of the first pottery in Virginia was patterned after that of soapstone vessels. Clay pots quickly proved to be more versatile and practical than soapstone. Though pottery vessels were fragile and easily broken, they could quickly be replaced. Superior cooking pots, they also provided drier storage than earlier fiber or skin vessels. Archaeologists have recorded the changes over time in the size, shape, temper, surface treatment, and decoration of pottery from 1,200 B.C. to the present. This wealth of pottery information provides archaeologists with ways to help date sites and to define Indian groups and interpret their interaction and movement.\nPopulations grew in Virginia so that diverse tribes now lived in scattered settled hamlets along major rivers that wound through the mountain valleys and down through the Piedmont and the Coastal Plain.\nOne example of the great diversity can be found in the Stone Mound Burial culture in the northern Shenandoah Valley. This culture, dating from 400 B.C. to A.D. 200, placed hundreds of low stone mounds in clusters on ancient bluff-like river terraces overlooking the floodplain. Only a few people were buried with great ceremony in each mound. Sometimes, the Stone Mound people placed rare and sacred objects made from exotic materials in the graves. These objects included tubular and platform pipes, copper beads, hematite cones, pendants, basalt celts, spear-throwing stones, and caches of projectile points. The people placed the objects within the mound for the deceased to use on their afterlife journeys. The few graves within each mound, the few clusters of mounds, and the special objects suggest that the Stone Mound Burial culture gave only higher-ranking people this preferential treatment.\nOne of the best-stratified sites in southwestern Virginia is the Daugherty's Cave site, Russell County (Benthall 1990). It is located on Big Cedar Creek, a tributary of the Clinch River, and it provides some data on Woodland period habitation in southwestern Virginia. The earliest Woodland occupations occurred from approximately 500 B.C. to A.D. 1. During this period, the cave was used by people penetrating the Clinch River valley and the Big Creek watershed area from upper Eastern Tennessee. The pottery found at Daugherty's Cave for this period is similar to ceramic types defined in the Tennessee River Valley. Benthall (1990) designated this limestone-tempered pottery as Long Branch Fabric Marked. The projectile points found at Daugherty's Cave are also comparable to types defined in the Tennessee Valley. The assemblage includes Ensor, Camp Creek, Ellis, Nolichucky, Greenville and Ebenezer. This occupation zone exhibited an intensified use of the site during this period evident by the increased number of shallow pit features found in this zone. Most of the features are thermal in appearance and are all shallow. Some of the features appear to be smudge pits that were used to smoke-cure hides or fire pottery. Activity areas could be distinguished at the site. Food preparation is suggested by the presence of charred food remains in a hearth. Flint knapping activities were indicated by large quantities of lithic debitage next to the hearth, and a nearby smudge pit surrounded by postmolds implies that pottery making or hide tanning was undertaken in this area. The site was probably a temporary food procurement station during this time.\nDuring the Middle Woodland period, the people slowly replaced their spears with the bow and arrow as a hunting weapon. Evidence for this change is found in smaller projectile points, particularly the triangular shapes. Further advances came as people redesigned the grooved axe and used what is called a celt, or ungrooved axe. Sleek and polished the celt enabled people to refine their woodworking techniques.\nThe Late Woodland people achieved a richness of culture that was unmatched to date. Sophisticated craftsmanship created a wide range of pottery forms, stone artifacts, and bone tools such as awls, fishhooks, needles, beamers, and turtle shell cups. Accoutrements for the rich, such as beads and pendants, were made from imported shell and copper. Ceremonial and symbolic objects of stone, copper, and shell were also manufactured. A wide range of rather elaborate burial customs reflected the people's fascination with the passage from life to death.Since the preservation of artifacts from the Late Woodland period is outstanding and the cultures are rich and dynamic, archaeologists have been able to collect much information about group variation across Virginia. Although many of the pieces are missing, we know certain things about a few of the more prominent groups.", "id": "<urn:uuid:07fd9442-1729-458d-a569-dd12cc0d2454>", "dump": "CC-MAIN-2021-17", "url": "https://www.doe.virginia.gov/instruction/history/virginias-first-people/culture/artifacts/index.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038062492.5/warc/CC-MAIN-20210411115126-20210411145126-00090.warc.gz", "language": "en", "language_score": 0.9693772792816162, "token_count": 1728, "score": 3.5, "int_score": 4}
{"text": "Honesty means having the courage to speak the truth. An honest person is always respectable and admirable in society. A person with honest behaviour is always appreciated by all. For one to build the character of honesty entirely depends on his/ her family values and ethics of his/ her surroundings. Being honest never means to bear the bad habit of others or bear ill-treated activities.\nYou must have seen in the classroom during examinations that many students seem to cheat because of fear of failure in exams. Some students, being honest, inform their teachers about their friend's wrong actions without thinking that their relations with their friends can be jeopardized.\nWhat is respect? Do we need to earn it or we get it by birth? Respect is something that is the result of your good actions. Respect must be shown to the people who impact our lives. One of the best ways of showing respect is by listening carefully to the person even if you do not agree with their points. Respect is a two-way street- Whatever you give, you will get back. It consists of trust, support, safety, cooperation and accountability.\nWays of showing respect\nRespect for elders: When you listen and obey them\nRespect for the environment: when you take care of them.\nRespect for your equipment: When you value your equipment.\nRespect for other efforts: When you appreciate them\nRespect for animals: When you feel their pain.\nSelf Respect: When you believe in yourself even when the world is against you.\nHonesty and Respect are directly interlinked with each other. If you are an honest person, people will respect you. They will appreciate you for your honesty. If you are respectful in society, people will be honest with you.\nThe connection is not built for pleasing people. It happens when you are honest with someone and they respect you for what you are.\nNow the question is how these values can be developed in our child? And the answer is\n-open discussion in classrooms.\n-Debates on topics related to honesty and respect.\n-Storytelling on topics by students.\n-Solving case studies.\n-Asking them their real-life story when they had been honest and in return they got respect.\nYouths are the future of any country so they should be given better opportunities to develop moral character so that they can lead the country in a better way. First and foremost priority is, to be honest with yourself and respect yourself then only you can spread these values.\nThe Fabindia School", "id": "<urn:uuid:f4e85069-a10e-4015-8473-c89ccc3f8852>", "dump": "CC-MAIN-2021-17", "url": "https://www.brewingknowledge.com/2020/05/honesty-and-respect-shivani-rao.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00330.warc.gz", "language": "en", "language_score": 0.9625585675239563, "token_count": 520, "score": 3.546875, "int_score": 4}
{"text": "Different types of literature have been part of America since the 1630\u2019s and the varieties of literature still exist to this day. Frederick Douglass\u2019s work and speeches during his lifetime caught the attention of many people in the United States, including slave owners themselves. Douglass has not only changed American literature, he has also inspired many other writers and speakers to seek freedom of expression for themselves. Even though he had a rough childhood because he was a slave, Douglass found ways to make the most of it. Fortunately it was because he had a nice and caring owner who taught him to read and write.\nWe all have seen or used Africana folklore tradition, dance or music just you may not realize it. As Africana folklore has been around for centuries and passed downed from generation to generation and preserved, for creating stories, teaching lessons for kids, teaching history for future generations to view upon information that may not be addressed in their history textbooks, and their fashion, dancing, and music sense still exist till this day, thus allowing us to continue preserving their cultures and following their beliefs and learning! Folklore has\nSlavery accounts were for a long time not considered. They give us a unique glimpse into the souls of slaves. Many of the narratives published are windows into slavery and are first person accounts. Numerous were used for political endeavors and now are part of history, Context: Ellen Craft was born in Georgia to a mixed race slave and her planter master. Ellen was very fair and resembled the other children in her master\u2019s family.\nSundiata is an epic of a powerful king who expanded the Mali empire to a great territorial area and he did so because he was destined. My mother read me a more simplified story of Sundiata as a child and through reading this book, I remembered so many lessons and African cultural traditions that I learned as a child. There were several interesting aspects of this epic that reflected some of the material we have learned thus far in class as well as other interesting themes that are repeated throughout it. Sundiata is an epic that recounts a historical event while teaching various African ideologies. Storytelling has a special importance in culture throughout the African continent; Anansi the spider in Ghana, is one great example of an African fable that teaches children important lessons including respect for elders, the importance of wisdom, and the importance of culture.\nAn ironsmith, ship steward, crewman, cook, clerk, navigator, amateur scientist, and even a hairdresser. These are all jobs that Olaudah Equiano held during his lifetime. He has been called the \"most influential African writer in both Africa, America and Britain before the Civil War\", and was born in Essaka, Nigeria sometime during 1745 (O'Neale, 153). His family was part of the Ibo tribe, which was located in the North Ika Ibo region of Essaka. In his earliest years, Olaudah Equiano was trained in the art of war.\nFaulkner\u2019s works, although now uncommonly read by American youths, show not only the socioeconomic aspects of rural life in the South but also a way of life and a collection of mindsets still affecting Southern culture, views, practices, and even everyday life. Born on September 25, 1897, to Murry Cuthbert Faulkner and Maud Butler Faulkner, in New Albany, near Oxford, Mississippi, where he spent most of his life, William Faulkner became one of the most influential authors in American literature (Minter). Faulkner spent his childhood listening to stories told by family and neighbors. Most of these stories revolved around his prominent great-grandfather, \u201cThe Colonel\u201d, who was a Civil War hero and the owner of a plantation. In response to these stories, William Faulkner invented a fictitious county which showed the world the effect that the past was having, and some would say is still having, on the Deep South and the population and social classes thereof.\nOne is able to infer that he yearns for a life that is filled with adventures. He wants to have the ability to tell interesti... ... middle of paper ... ...ad he been acquainted to this word, he may have placed more value in his family, friends, and home. He may have come to enjoy the small things in life, instead of complaining about his lack of adventure. Perhaps Hugh, the character in which Sedaris aspired to be like, lived a life of excitement because he understood hygge, or a word similar to it. The stories Remembering My Childhood on the Continent of Africa and Self-Discovery and the Danish Way of Life may appear to be similar because of the comparable aspirations of the narrators.\nTheodor Seuss Geisel or better known as Dr. Seuss is a very popular children\u2019s book author. He is one of my top favorite authors of children books. Dr. Seuss got many of his crazy ideas for his books from his hometown . His hometown was Springfield, Massachusetts. His mother was his inspiration for making rhymes.\nDuring that time, Equiano experienced a long voyage through various African regions, Equiano described his journey, \u201cThus I continued to travel, sometimes by land, sometimes by water, through different countries and various nations till, at the end of six or ... ... middle of paper ... ...d served his master faithfully for many years. After the following incident, Equiano believes that it was a result of God's punishment for his sins and God will soon create a new life for him, so he keep on moving forward. Captain Doran takes him back to the West Indies, and there he was purchased by Mr. Robert King, a Quaker merchant. With the help of one of King's boat captains, an Englishman named Thomas Farmer, Equiano is now begins to buy and sell goods to starts his own trading business during each voyage. After sometimes serving for Mr. Robert King, Equiano listened to his wise words to start pursuing an entrepreneurial path.\nThese people of ancient times lived contentedly through the land\u2019s provisions of plants and abundant species of animals and through prosperous trade with each other. Today, this simple way of life conflicts the nation\u2019s potential wealth in democracy, cattle industry, diamond-mining, and other technologies. Both lifestyles have their advantages and disadvantages, a majority of which will be portrayed within this composition. Botswana is entangled in a struggle to produce what is healthiest for its country\u2019s people and environment for the present time and for the infinite years to come. This study will explore several different hardships that Botswana is suffering and the peace that the people have maintained throughout the years.", "id": "<urn:uuid:fec95edb-ba52-4df4-beb1-81770d82eb4e>", "dump": "CC-MAIN-2021-17", "url": "https://www.123helpme.com/essay/Wesr-African-Fable-Kweku-Anansi-a-k-441845", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00333.warc.gz", "language": "en", "language_score": 0.9809450507164001, "token_count": 1379, "score": 3.6875, "int_score": 4}
{"text": "Welcome back to the South Pacific\u2026this time to explore the fascinating independent country of Samoa!\nWant to learn more about Samoa?\n- Capital (and Largest City): Apia\n- Population (2017): 196,315 (177th)\n- Total Area: 2,842 km\u00b2 (174th)\n- Official Languages: Samoan, English\n- Currency: Samoan t\u0101l\u0101 (WST)\nHistory of Samoa\nVery little is known about the early centuries of Samoan settlement and history. As people expanded over the many islands in the Pacific Ocean, it is likely some mixed and matched, finding their way to Samoa and beyond. The people of Samoa were generally close in culture and way of life to those in Tonga and Fiji.\nExploration and Struggle for Power\nIn the early 18th century, Western explorers began to land on the shores of Samoa. The Dutch were the first, followed by the French, English, Christian missionaries, the Germans, and even the United States to a degree. By the late 1800\u2019s, interest in the islands was largely divided between the Brits, Germans, and Americans. In the late 1800\u2019s, a civil war gripped Samoa with the three powers backing different factions for trade benefits and resources.\nA second civil war in 1898 resulted in rebel forces rising up against Prince Tanu while the three colonial powers fought for dominance amongst each other. While the rebels were defeated, peace between the foreign powers took a little longer to sort out. In late 1899/early 1900, the islands were divided up with the eastern part going to the US (known henceforth as American Samoa) while the Germans claimed the larger western portion (Samoa as we know it). The British for their trouble got German acceptance of their claim in Tonga, as well as other islands and land in West Africa.\nFrom 1900 to 1914, Samoa was under the rule of Germany. While the colonial governor held all the power, this time was generally viewed as a progressive and successful period for Samoa. This ended however with the onset of World War I. Not long after fighting began, New Zealand troops captured the islands from Germany at the behest of the British government.\nNew Zealand Rule\nAfter WWI, the League of Nations ratified New Zealand\u2019s ownership of Samoa. Things were not always smooth sailing, with an influenza epidemic in 1918 and a protest against colonial rule. Overall, New Zealand rule was not very popular amongst the people. In one major event, police fired at demonstrating leaders \u2013 killing a chief along with ten others. The protest movement, the Mau, remained committed to nonviolence and grew in size following this.\nIndependence and the Modern Era\nIn the end, independence was agreed for Samoa (then still known as Western Samoa) in 1961 and confirmed in 1962. They also put their past differences with New Zealand aside and signed a friendship agreement. The newly independent country also joined the Commonwealth of Nations in 1970.\nWestern Samoa changed its name to Samoa in 1997, much to the chagrin of nearby American Samoa. Things have been generally stable in the country since then, with a jump across the International Date Line in 2011 making business dealings with Australia and New Zealand easier going forward.\nTradition is very important in Samoa, the fa\u2019a Samoa (the old way of life) remaining a constant part of Samoan culture. Ritual and ceremony, chiefs, language, and spirituality all fall under this umbrella. Christianity is also very important across the islands \u2013 with the faith named the state religion and nearly the entire population identifying as such. Traditional dance, music, and storytelling remain widespread, with the mythology of Samoa (and the old gods that go with) still popular throughout.\nThe Samoan flag was adopted in 1949 (though it wasn\u2019t official until independence in 1962). It consists of a red background with a blue rectangle in the upper left corner. Inside of that, there are five white stars (with one significantly smaller than the rest). These stars represent the Southern Cross constellation.\nSamoan cuisine makes use of local produce, including meat (pig is popular), seafood, seaweed, rice, and coconut. On Sundays, it is common practice for families to have an umu together. This is an oven of hot rocks placed on the ground, and can include foods such as a whole pig.\nLike many of the other islands in Oceania, the most popular sport in Samoa is rugby union. The national team is considered strong despite the country\u2019s small size, and competes on a similar level to nations such as Fiji and Togo. Samoan cricket (also know as kilikiti) is enjoyed by many throughout the islands. Soccer has grown in popularity over the years, though the national team is not very strong.\nGeography of Samoa\nSamoa is dominated by two main islands (Upolu and Savai\u2019i), while eight small islets account for 1% of the land area. The islands are volcanic in nature, though only one remains active. Tropical forests are found throughout the larger islands.\nCities and Towns\nApia, located on the island of Upolu, is the largest (and only) city in Samoa \u2013 as well as its capital. The village district of Salelologa is the main port of entry for Savai\u2019i.\nDid you know?\n- Tattooing is common in Samoan culture, with many gender specific and having significant traditional meaning\n- Samoa was the first Pacific island country to gain independence\n- Canned tuna is a key export\n- Few animals are found here: namely snakes, rats, and some birds\n- The youngest boy of a family with many boys is sometimes raised as a girl. They are known as fa\u2019afafine\n- Obesity has been considered a symbol of wealth and happiness\n- To change time zones in 2011, December 30th was skipped\nSamoa has been shaped by decades of colonialism and traditional culture, today creating a unique country that is unlike anywhere else.\nStay informed. Stay Current.", "id": "<urn:uuid:a0c350c1-ebfb-4377-bb4a-232b110f2b7c>", "dump": "CC-MAIN-2021-17", "url": "https://blog.continentalcurrency.ca/samoa/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00053.warc.gz", "language": "en", "language_score": 0.9691120982170105, "token_count": 1248, "score": 3.578125, "int_score": 4}
{"text": "5-7th Grade Science/Reading/Writing/Public Speaking\n9 am \u2013 5 pm\nWeek 1 Jun 17- Jun 21\nWeek 2 Jul 24 \u2013 Jul 28\nWeek 3 Jul 1 \u2013 Jul 5\nWeek 4 Jul 8 \u2013 Jul 12\nEach day, our teachers will conduct science experiments with students, such as using pickle as battery, dish wash liquid to make clouds, DNA extraction, using celery for plant biology, and many other interesting science experiments, including:\n- Density: Measurement and calculations\n- Water: What are properties of water?\n- pH: cabbage experiment\n- Egg drop project: What is gravity\n- Terrarium \u2013 Learn about different environment (survival)\n- Roller coaster tubing: speed and acceleration\n- Balloons launcher: Precision & Accuracy\n- Cells: making a cell out of recyclable items\n- Tongue Depressor Harmonica: Learn about waves and sounds\n- Bottle Rocket: What is pressure & force?\n- Cooling system: Learn about temperature control\n- Creating ice cream\n- Genetics: Mendelian Genetics\n- DNA: What is DNA\nEvery day, our teachers work on critical reading, grammar, vocabulary, creative writing or essay crafting, and public speaking. We aim to train our students to become avid readers, advanced writers, curious scientists, and confident public speakers.\nThe advanced writing and enriched reading curriculum is designed for advanced readers and writers who are exceptional 6-8th graders. Students will exercise their developing critical reading and thinking skills to interpret and write stories, essays, and poems. The curriculum aims to develop students\u2019 ability in:\n- Critical thinking\n- Creativity in problem solving\n- Collaboration in team work and projects\n- Connecting the dots across subjects and topics\nThis summer camp is rewarding and praised by both parents and students. We helps students build up interest in science, gain exposure to classical literature and language art, and become confident public speakers.\n- Summer Science Camp\n- Summer Reading/Writing/Math Camp\n- Summer Public Speaking Camp\nDaily Public Speaking Practice:\n- Develop speaking ability in front of an audience without stage fright\n- Organize a message or a speech by structuring and adapting material to audience\n- Convey a message orally with clarity, accuracy, and conviction\n- Develop appropriate hand gestures, eye contact, and posture\n- Develop enthusiasm and active participation in class or club activities\n- Create valuable relationships with other students and teachers\n- Increase self-confidence in all aspects: speaking, communicating, writing, etc.\n- Develop effective communication skills and leadership abilities, build up interest and confidence in pursuing leadership roles in middle and high school, in clubs leadership roles, and in community services, as well as future in college\nLocation: 2705 Hunter Mill Road, Oakton/Vienna, VA 22124", "id": "<urn:uuid:5bbc0e58-2131-4e2d-85bc-a6819630b6c3>", "dump": "CC-MAIN-2021-17", "url": "https://www.oaktonacademy.com/summer-program/sciencewriting-summer-camp/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00493.warc.gz", "language": "en", "language_score": 0.9182537198066711, "token_count": 584, "score": 3.6875, "int_score": 4}
{"text": "Give your students the opportunity to practice foundational skills in a hands-on, engaging way with Reading A-Z's Learning Centers. Each Learning Center allows students to practice previously learned skills in six key content areas: Phonological Awareness, Phonics, Grammar and Mechanics, Word Work, Fluency, and Writing. Learning Centers encourage cooperation and communication in a small-group setting, while allowing students to apply their knowledge of a skill.\nWhy Learning Centers\nReading A-Z's Learning Centers provide teachers with all the materials needed for small-group practice of skills. Students can apply their knowledge of each of skill in a new, collaborative way to help solidify their understanding.\nThe activities in each Learning Center are highly engaging and will keep students' attention so that teachers can focus on guided reading instruction or other small-group work.\nHow to Use Learning Centers\nTeachers can organize small groups of students with similar reading levels to work together during guided reading time or have students work on center activities under the guidance of a teacher.\n- Easy-to-use Posters assist teachers with center organization.\n- The Overview guides teachers through the set-up and implementation of the Learning Centers.\n- Customize any of the Learning Centers for your class with the provided Templates.\nMany other Reading A-Z resources can be repurposed for Learning Centers. Find resources you like, use our Templates, and add additional Learning Centers to your collection.\nPhonological Awareness focuses on the sounds of language. Reading A-Z's Learning Centers aid students in developing phonological awareness through activities surrounding words, rhyme, onset and rime, syllable, and phoneme practice. According to research, awareness of words and sounds in spoken language is the most important indicator of success in developing readers.\nPhonics teaches the relationship between phonemes and graphemes, or the letters that represent individual sounds. With Reading A-Z's Phonics Centers, students can practice various phonics skills that help students develop the foundation for reading. Grammar and Mechanics Centers\nGrammar and Mechanics focuses on the structure of language. Use the Reading A-Z Grammar and Mechanics Learning Centers to help students practice activities that focus on sentence structure, parts of speech, punctuation, and more. Understanding and implementing grammar and mechanics skills helps students to become more successful in reading and writing.\nBuilding and breaking apart words helps solidify for students how words are constructed and how the meaning of words can change with affixes. Reading A-Z's Word Work Learning Centers will help students in their reading and writing by focusing on spelling patterns, affixes, high-frequency words, relationships between words, and more. Fluency Centers\nReading fluently allows students to focus their attention on understanding the meaning of text. Readers who are fluent read words with automaticity. They read accurately, they read with expression, and they read at an appropriate rate. Develop students' fluency by having them practice with Reading A-Z's Fluency Centers.\nResearch shows that reading and writing develop hand in hand. Strengthening writing skills will help students develop their reading skills. Reading A-Z's Writing Learning Centers will help students practice letter formation, sentence construction, creative writing, and more.", "id": "<urn:uuid:dff3872b-a992-4893-ba54-9fbd47fa446f>", "dump": "CC-MAIN-2021-17", "url": "https://www.readinga-z.com/learning-centers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00333.warc.gz", "language": "en", "language_score": 0.9359012246131897, "token_count": 666, "score": 4.3125, "int_score": 4}
{"text": "Students will show basic knowledge of stage directions by performing the game \u201cCaptain\u2019s Coming\u201d.\nLet the students play \u201cFreeze\u201d in two different circles. (This improvisation game involves scene work and is one of the most frequently played games in drama\u2013its rules can be found in previous lesson plans.)\nAfter about ten minutes of play, ask the students for their attention and ask them to imagine that those in the circle are a formal audience watching a skit put on by the two in the middle. Ask them what this kind of theatre might be called. If nobody knows, inform them that it is called theatre in the round or arena style theatre. Let them know that for most formal productions in theatre (including improv shows!), the stage and audience relationship is called proscenium theatre (which would be what they will think of when they think of an auditorium). For their next major assignment, they will have to perform with proscenium staging. Ask all of the students to go to one side of the room. In various games played in previous units, they would have had the option to do this, but were not necessarily mandated to do so. They are now to see themselves as an audience in a proscenium-style theatre.\nStep 1 (Group Practice): Inform the students that they will be playing \u201cLocation, Career, Death\u201d (a game they would have already learned in their elements of storytelling unit) and must keep in mind that their audience is only on one side now. Let them know that they will have the extra challenge of keeping the entire round to three minutes or less. As they play, remind the students who have volunteered to be aware of their staging by simply asking \u201cwhere is your audience?\u201d if they begin to turn away or upstage one another.\nStep 2 (Discussion/instruction): Ask the performers, after you have gone through and learned what each person thought was going on, what was different about performing this game simply by changing the audience around. Was it harder to pay attention to what your partner was giving to you? Why? Ask the members of the audience how hard it was to see what was going on when the performers were only focused on one another and didn\u2019t pay attention to what the audience would be seeing. Ask the performers to look at one another with their profiles (or sides) to the audience. Ask the audience how much they can see of the performers. Now ask the performers to turn their bodies and faces so they mostly face the audience while still keeping eye contact with the performer across from them. Again, ask the audience how much they can see. Which is better? Why? Inform the students that this technique of having one\u2019s body mostly facing the audience while still looking in the direction of the other performer is called \u201ccheating out\u201d. This is a technique that all of them must use in their performances from now on.\nStep 3 (Instruction): Ask the students who have been in a play or participated in theatre classes before to stand up on \u201cthe stage\u201d that they have created out of the room. Ask if they have ever heard of stage directions before. Let students explain what they are if that is possible. If it is not, explain that stage directions are exactly what they sound like: directions (as in the places you are supposed to go) on the stage. Ask the students up on \u201cthe stage\u201d to go stage right together. Stage left. Upstage. Downstage. Ask the audience what they noticed about the movements their fellows made. It should have been evident that the students on stage went to the audience\u2019s right when you asked them to go stage left. Explain that the stage directions are given from the actor\u2019s perspective (or, whoever is on the stage looking out to the audience). What about upstage and downstage? Explain that stages used to be raked, or slanted. The back of the stage would literally be higher than the front so that the action could be seen by the audience better. Therefore, when an actor goes backward on the stage, he is going upstage. When he goes forward (toward the audience), he is going downstage.\nStep 4 (Class Practice): Ask the class to get up and move together as you call out different stage directions. Add center stage, downstage left, upstage center, etc. as you feel that they are able to do so.\nStep 5/Assessment: Teach and play the game \u201cCaptain\u2019s Coming.\u201d This is a game of elimination in which the students all begin up on the stage. You can call any stage direction you wish, and they must move together to that place. If anyone dawdles or goes the wrong way, that person is out and has to sit down. If you say \u201ccenter stage\u201d, they all have to go center stage and shout \u201cta-dah!\u201d with their arms out in a dramatic fashion. Other ways to get people out are if they are left out of the following directions: \u2022 Bunny in a Bush \u2014 one person kneels on the ground making bunny ears with his or her fingers on either side of his or her head and saying over and over \u201cbunny, bunny, bunny\u2026\u201d. The other person stands behind the bunny and moves his or her hands over the bunny\u2019s head in a covering movement saying \u201cbush, bush, bush\u2026\u201d Anyone who is not in a partnership is out. \u2022 __-Person Buffet \u2014 any amount of people can be called here, but it\u2019s good to stick to 3-6 people. They students must quickly make groups of exactly how many you called, sit in a circle, and \u201ceat\u201d from the middle of that circle saying \u201com nom nom nom nom\u201d. Anyone not in a group is out. Any group with less or more than the number you said is out. \u2022 __-Person Conga Line \u2014 this one is like the buffet, except that amount of students must create a conga line and do the conga dance with the typified music. Anyone not in a line is out. Any line with less or more than the number you said is out. \u2022 Hit the Deck \u2014 all of the students must lie flat on the floor. Anyone who doesn\u2019t immediately go to the floor is out. (Please take into consideration any infirmities or disabilities in the class.) \u2022 Captain\u2019s Coming \u2014 all of the students must make a straight line and stand in a salute with a straight face. This is an opportunity for those students who are out to get up and try to \u201cbreak\u201d those who are still standing, but they are not allowed to touch the players at all. This usually lasts for ten seconds before you say \u201cat ease\u201d. If any of the players have broken, they are now to sit down with the others who are out. These directions can be given in any order at any time. If there are only two students remaining, they are to do a shoot-off. The students start back to back, center stage. They walk away from each other when you say \u201cwalk\u201d. When you say \u201cgo\u201d, the student who turns and says \u201czoom zoom!\u201d first is the winner.", "id": "<urn:uuid:41de2ec8-c653-44aa-97e8-389fad0e690d>", "dump": "CC-MAIN-2021-17", "url": "http://tedb.byu.edu/?page_id=425", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00253.warc.gz", "language": "en", "language_score": 0.9785904884338379, "token_count": 1524, "score": 3.734375, "int_score": 4}
{"text": "The pricelessness of lapis lazuli and the association of blue historically as a royal colour (certainly in the Byzantine tradition) meant that throughout the 14th and 15th centuries the ultramarine blue pigment that this rare mineral produced would be reserved for the most special and revered usage by western illustrators. It was used as the colour of the heavens and even more specifically, to clothe the Queen of Heaven herself, the Virgin Mary, who even gave her name to the colour, \u2018Marian blue\u2019. However, it must be noted that the blue pigment in a medieval manuscript is not always necessarily lapis lazuli, as azurite was a cheaper and more plentiful alternative.\nIn early iconography Mary was literally an Empress, commonly seated on a throne holding the Christ child as in this ivory above. In western art this image later softened and we begin to see an emphasis on the Virgin\u2019s humanity, showing her more frequently as a tender young mother (1). The formality of her throne was gone but the \u2018royal\u2019 blue remained.\nThe four images below are all of the annunciation from Rylands manuscripts ranging from the 13th to the 16th centuries. Clearly there are significant stylistic differences, but in each a consistent symbolism is also apparent. Naturally, each of the figures of Mary is clothed either fully or partially in her characteristic blue.\nGabriel appears to Mary and the scene is an interior one: Mary is enclosed, reminding us that she is \u2018intact\u2019, i.e. a virgin. The archangel Gabriel is placed to the left and the Virgin is to the right; it is unusual to see these figures reversed. In each the divine word of God, the power of the Holy Spirit in the form of a Dove, signalling the moment of Immaculate Conception, is visible travelling towards Mary. In three of the examples Mary is kneeling, showing her submission to the will of God and she is also depicted reading, demonstrating her wisdom (2).\nThere are of course further clues in the images. The gold-strewn border from Latin MS 21 (above left) contains wild roses, a flower often associated with Mary (the rose without thorns) and also a peacock, an ancient symbol of Christ\u2019s resurrection. The blue gown of Mary in Latin MS 24 (above right) is decorated with a pattern of three white dots which refers to the Holy Trinity of God the Father, Son and Holy Spirit.\nIn Latin MS 38 (above left) we actually see the heavenly father, a small figure in a burst of gold and of course blue, the exact blue in fact of the Virgin\u2019s cloak, explicitly making a connection between the two figures. Similarly Latin MS 39 (above right) also signals the blue heavens between the arched frame of the room and the gold-strewn border in the same shade as Mary\u2019s gown.\nThe use of gold in and around all the images (illumination) is liberal. This is another signifier. The light that shines back at us from the gold represents the light of Christ and also the eternal nature of God: unlike silver, it does not tarnish and the gold in these masterpieces remains gleaming centuries on.\nNext \u2013 Medieval storytelling: From Golden Pages to the Golden Legend\n- Wendy A. Stein. How to Read Medieval Art, Metropolitan Museum of Art, New York (2016), p.109.", "id": "<urn:uuid:68b9b2e6-9051-413b-b9d6-a45078574379>", "dump": "CC-MAIN-2021-17", "url": "https://rylandscollections.com/2020/09/22/medieval-storytelling-ave-marina/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038073437.35/warc/CC-MAIN-20210413152520-20210413182520-00211.warc.gz", "language": "en", "language_score": 0.9408422112464905, "token_count": 708, "score": 3.609375, "int_score": 4}
{"text": "In \u201cThe Monkey\u2019s Paw,\u201d a short story published in 1902 by W.W. Jacobs, the White family comes to possess a magical artifact, a monkey\u2019s paw that can grant its owners three wishes. Of course, there is a catch. Any wish granted by the monkey\u2019s paw comes with dire consequences. The moral of the Monkey\u2019s Paw, as you may have guessed, is be careful what you wish for.\nThe Moral of \u201cThe Monkey\u2019s Paw\u201d\nBeyond \u201cbe careful what you wish for,\u201d the moral of \u201cThe Monkey\u2019s Paw\u201d digs deeper into the reader\u2019s psyche. The White family has everything they could need, but they lose their happiness and security because they want too much. So another moral of \u201cThe Monkey\u2019s Paw\u201d is to appreciate what you have and avoid the temptations of greed.\n\u201cThe Monkey\u2019s Paw\u201d Lesson Plan Ideas\nReading \u201cThe Monkey\u2019s Paw\u201d is an effective way to teach several higher-level literary devices, such as foreshadowing and irony. \u201cThe Monkey\u2019s Paw\u201d lesson plan ideas will incorporate critical reading skills like making inferences because irony has to be inferred in the story\u2019s context.\nExample lesson: Ask students to read the text aloud as a group. As they read, students should use context clues to understand the meaning of words in context. Students should write down words they don\u2019t know and look up the words later in the lesson. After reading, students should answer text-dependent questions, so the teacher can measure their reading comprehension. For deeper analysis, students can write an extended response answer that assesses the moral lesson of the story through its use of situational irony. Teachers should grade these responses on a rubric to normalize assessment criteria. Other \u201cThe Monkey\u2019s Paw\u201d lesson plan ideas should include more hands-on activities.\n\u201cThe Monkey\u2019s Paw\u201d Activities\nAfter students have read the story for understanding, \u201cThe Monkey\u2019s Paw\u201d activities can help them better interact with the ideas of the story. \u201cThe Monkey\u2019s Paw\u201d activities can include storytelling and group work, and they should work to assess either the story\u2019s major theme or its higher level literary devices. The best \u201cThe Monkey\u2019s Paw\u201d activities will do all of these things.\nExample activity: Ask students to get into groups of three. They\u2019re going to tell each other spooky stories with a twist. Give each student a piece of construction paper and colored pencils or other art supplies. Tell the students to decide as a group what their magic wishing object will be. Each student should draw their own version of the object.\nSeparately, the students should each write something they would wish for at the top of their page. Tell the students their object is cursed like the monkey\u2019s paw. They will get what they wish for \u2014 for a price. Each student should write the curse that comes with their wish at the bottom of the page. Using situational irony, students should match the curse with the wish so that it\u2019s obvious they should have been more careful what they wished for. Students should illustrate their wishes and curses then return to their trio to relate their spooky stories to their group.\nRebecca Renner is a teacher and freelance writer from Daytona Beach, Florida. Her byline has appeared in the Washington Post, New York Magazine, Glamour and elsewhere.", "id": "<urn:uuid:fba17867-f609-46dc-bc80-f997c2fb498b>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/activities-monkeys-paw-7732759.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00254.warc.gz", "language": "en", "language_score": 0.9453591704368591, "token_count": 751, "score": 4.25, "int_score": 4}
{"text": "At a glance\n- Learn how to tell an engaging story\n- Look into basic principles of pacing and characters\n- Taught by professional filmmakers\nStorytelling is a healing, resiliency, strength and culture empowerment. Becoming good at storytelling is not difficult if you invest your time and thoroughly study and practice it. Storytelling teaches self-awareness, identity and how to express genuine emotion. Why is it important to tell our own personal stories? What does storytelling teach us about other people? How is storytelling performance?\nWhat you will learn\n- Vocal mechanics\n- Research information\n- Write an outline for a story\n- Characterization and appropriate pacing\n- Perform the basic principle of storytelling.\nWho should attend?\n- People who are new to Storytelling\n- Everyone regardless of prior experience or training\n- People who are looking for a creative way to improve their confidence and public speaking skills.\nWhat will it cover?\nWhat is Storytelling?\nWhat makes a story great? What makes someone a good storyteller? Storytelling is something we all do naturally, starting at a young age, but there is a difference between good storytelling and great storytelling. Every story that is told has a foundation, or structure.one of the most basic story structures is \u201cit begins, something happens, and it ends\u201d. However, a story\u2019s structure can be complex, and if used well you are not even aware of it. Learn about important storytelling principles like shaping the beginning, building the middle, and making the ending powerful.\nPicking a Story\nStudents will demonstrate their understanding of the art of storytelling by choosing and writing their personal story.\n- How to influence audiences\n- How to speak in a memorable manner\n- Confidence in your ability to captivate any audience\n- How to become an excellent storyteller in your presentations.\nTell your story\nStorytelling is important, that is how people build communities and share ideas around the world. The storytelling course will help you to create a story that develops empathy and delivers impact and to develop your skills and using stories to deliver messages that matter. By now, you will know the basic of how to affect audiences and shape attitudes for building empathy. You will perform your story and get peer to peer feedback.\nWhat will you achieve?\nOn completion of the Storytelling course, the student will have the skills, knowledge, and confidence to:\n- Techniques of storytelling\n- How professionals use stories\n- How to introduce multi perspectives in the stories\n- The elements of effective stories and how to use them\n- How to use visual elements to enhance your storytelling\n- How empathy and belief affect storytellers and audiences\n- How to communicate a message and engage the audience.\nHow will it be taught?\nA mix of lecture-style, demonstration, brainstorming, and thinking out of the box, with practical instruction with tutor guidance.\nDid you know?\n- Raindance members save 20% on this course? You can join online >HERE< and start saving immediately\n- This course is FREE for our HND students\n- Raindance doesn\u2019t teach screenwriting. Raindance makes screenwriters.\n- The Raindance Guarantee: If this course fails to meet your expectations, let us know at the break and we will make a full, 100% no-questions-asked refund\n*Final course cost is subject to currency conversion rate at the time of purchase.", "id": "<urn:uuid:a9b0c0a5-6a14-4b23-b397-1412c58b20cd>", "dump": "CC-MAIN-2021-17", "url": "https://www.raindance.org/courses/storytelling-for-beginners/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00171.warc.gz", "language": "en", "language_score": 0.9326511025428772, "token_count": 718, "score": 3.953125, "int_score": 4}
{"text": "We like to think of the modern world as one in which different cultures intertwine and overlap with one another, but there were complicated cross-cultural interactions in the ancient world as well. For example, look at this wall painting from an Etruscan tomb.\nThis scene depicts an incident from the Trojan War. After his friend Patroclus was killed in battle, the great Greek warrior Achilles went mad with grief. He piled up an enormous funeral pyre for Patroclus, on top of which he also killed twelve Trojan prisoners. At the center of this painting, Achilles slits the throat of a naked Trojan prisoner while a Greek soldier leads another prisoner to the slaughter from the right. To the left, the ghost of Patroclus, in a blue cloak with a bandage over the fatal wound in his chest, looks on in dismay.\nThis incident comes from the Greek legends of the Trojan War and is mentioned in the Iliad, but it is a rather obscure scene. It was rarely, if ever, referred to in later Greek literature or depicted in Greek art. The fact that an Etruscan artist could use this event as the basis for a tomb painting demonstrates a more than passing knowledge of Greek myth.\nThe Etruscans were a people of northern Italy who had extensive trade contacts with the Greeks and imported large quantities of fine pottery and other Greek luxury goods. They also imported Greek legends and stories, which they frequently depicted in their own artworks. Like the painting in the Fran\u00e7ois Tomb, Etruscan art often picks up on obscure or unusual incidents that were not widely depicted in Greek art. This selectiveness tells us that Etruscans were not just copying the Greek art that they acquired but were making conscious artistic choices based on extensive knowledge of the Greek material.\nThis painting also adds some uniquely Etruscan elements to the scene. The winged woman directly behind Achilles is Vanth, an Etruscan goddess whose role seems to have been to decide the fate of the souls of the dead. The blue-skinned man to Achilles\u2019 right is Charu, another Etruscan god who led the souls of the dead to wherever Vanth decided to send them. Vanth and Charu are purely Etruscan characters with no basis in the Iliad. Greek myth had figures who performed similar functions, but they looked nothing like Vanth and Charu.\nThese two figures are not simply added to the scene. The way that they frame the sacrificial act and share a knowing look over Achilles\u2019 head changes the scene\u2019s meaning. Rather than just seeing Achilles\u2019 awful act, we see that his act happens in a context that transcends the mortal world. The Greek afterlife was pretty much universally bleak, except for a few select troublemakers who got ironically tortured. The Etruscan afterlife is poorly understood, but they seem to have believed that the deeds of the living affected the fate of the dead, which could be pleasant or terrifying. In this painting, Vanth and Charu seem to be saying to one another: \u201cWe see what\u2019s happening here, and it won\u2019t be forgotten. We\u2019re here for the Trojans this time, but Achilles\u2019 day is coming.\u201d\nThis painting is one that a Greek artist would never have painted and that a Greek viewer wouldn\u2019t have understood. It only made sense to an Etruscan, but to an Etruscan who knew their Iliad well enough to recognize the figures of Achilles and Patroclus and identify the moment in the story that was being depicted. Here in this image we have a moment of cross-cultural interaction on display.\nHistory for Writers is a weekly feature which looks at how history can be a fiction writer\u2019s most useful tool. From worldbuilding to dialogue, history helps you write. Check out the introduction to History for Writers here.", "id": "<urn:uuid:ca56fda8-9114-4421-9c63-fca2f6cac5ee>", "dump": "CC-MAIN-2021-17", "url": "https://co-geeking.com/2017/07/20/greek-myth-etruscan-tomb/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00092.warc.gz", "language": "en", "language_score": 0.9738454222679138, "token_count": 811, "score": 3.796875, "int_score": 4}
{"text": "Storytelling increases a child\u2019s understanding and enjoyment of language and the printed word. The objective is to stimulate imagination and encourage creativity. It also helps develop oral communication skills, and strengthens listening and pre-reading skills. Storytelling can be approached in a number of ways, including the use of flannel boards, props, starters and books.\nEach room has a Book Corner. We provide daily opportunities to encourage enthusiasm and a love for books as the children embark on their reading journey. Spending time in books helps increase language, vocabulary and spelling skills, and matching information with real life experience.\nThe High Scope curriculum comes from two sources: children\u2019s interests and the key experiences, which are lists of observable learning behaviors. Basing a curriculum in part on children\u2019s interests is very constructivist and implements the philosophies of Dewey, Piaget, and Vygotsky (Jul 20, 2010). High Scope incorporates a Plan Do Review approach to centers. The children learn to plan what they will be doing, go and do it, and then review how it went.\nTreasures is Macmillan/McGraw-Hill\u2019s comprehensive reading/language arts program that offers proven tools and strategies for helping teachers give the children what they need to succeed. High-quality literature, coupled with explicit instruction and ample practice, insures that all children have what they need to learn and grow as lifelong readers and writers. Our Pre-Kindergarten and Kindergarten classes use this program.\nWriting is a valuable part of literacy development and is available to children on a daily basis. Given opportunities and various materials, children begin to experiment with writing on their own, as they being to understand the importance of letters, signs, and symbols. Our Pre-Kindergarten and Kindergarten classes spend time practicing their writing by keeping journals.\nMath concepts are best learned using manipulative materials which motivate children to explore concepts that include counting, classifying, patterning, measuring, sequencing, estimating, graphing, sorting, comparing, and one-to-one correspondence. Activities are hands-on, and children are free to explore and study with minimal interruption. Singapore Math is taught in our Kindergarten class and is a comprehensive, activity-based program designed to provide children with a strong foundation. This program aims to equip young children with mathematical thinking skills. Mathematical concepts are developed in systematic, engaging, and fun ways with hands-on tasks, meaningful activities, and attractive illustrations.\nChildren are full of questions and are naturally curious. We incorporate Science into our curriculum on a weekly basis. It is important to encourage opportunities to explore and discover the world around them. Some of the things we explore include recycling, animal\u2019s habitats, our environment, and floating and sinking. Our Kindergarten science curriculum focuses on the five senses, trees and wood.", "id": "<urn:uuid:9ff13f35-756e-4be9-8035-8ad9ce215ac4>", "dump": "CC-MAIN-2021-17", "url": "https://brandywine.church/cognitive-development/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00332.warc.gz", "language": "en", "language_score": 0.9350779056549072, "token_count": 586, "score": 3.78125, "int_score": 4}
{"text": "School-age children spend most of their time surrounded by their peers. Classmates, teammates and fellow club members far outnumber the adults in students' lives. Peer pressure can become a formidable influence in the lives of children in grades two through twelve.\nDefining Peer Pressure\nFrom birth through age six, the family unit crafts a child's sense of identity. Parents and siblings affect a child's likes, dislikes, tastes in clothing, food and music and, perhaps most importantly, values. Once children enter school, they form connections to the larger group of their peers. This group brings new ideas and experiences. Peer pressure occurs when a student's actions are influenced by this group. The \"pressure\" happens when peers suggest or insist on actions that stray from the child's normal behavior and values. Though the phrase is often used negatively, peer pressure can sometimes cause positive outcomes.\nNegative Peer Pressure\nPeer pressure leads to some disturbing negative behavior in schoolchildren. About 30 percent of students are offered drugs by their friends in middle or high school. Just over 75 percent of high school students have tried alcohol. Half of all teenagers feel pressured by their peers about sexual activity. In a survey conducted by Survelum Public Data Bank, students felt pressured by their peers between 35 and 49 percent of the time. Psychiatrists attribute the power of peer pressure to a child's growing desire to fit in to a group -- particularly if the group has a social status within the school.\nPositive Peer Pressure\nThankfully, peer pressure can also be positive. For example, wanting to join an athletic group of friends may compel an otherwise sedentary student to try out for the soccer team. In the Survelum Public Data Bank survey on peer pressure, 51 percent of teenagers felt that peer pressure was sometimes positive. One respondent wrote, \"...sometimes it [peer pressure] can help you gain confidence....\" Other examples of positive peer pressure include students encouraging a classmate to run for school president, or friends suggesting that a talented peer try out for a choir solo.\nPeers vs Parents\nResearchers differ over whether parents or a student's peers has more influence over that student's behavior. In a study published in The Journal of Primary Prevention, researchers concluded that when parents tolerate drug use, teens are more likely to use illicit drugs. They also noted that when parents closely supervise their teens, the students were less likely to have friends who used drugs. Conversely, in her book \"The Nurture Assumption: Why Children Turn Out the Way They Do,\" Judith Rich Harris argues that peers have more influence than parents in shaping children's behavior.\nDiane Kampf has more than 20 years of teaching experience ranging from middle school to college freshmen. She holds a Master of Arts degree in creative writing and English literature and a New York State Secondary Teacher Certificate. She has written educational materials for Learning Express, LLC, Kaplan and Pearson.", "id": "<urn:uuid:fd559859-239c-40ea-885a-d7532781e8a0>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/peer-pressure-highly-influence-students-11212.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038118762.49/warc/CC-MAIN-20210417071833-20210417101833-00213.warc.gz", "language": "en", "language_score": 0.953905463218689, "token_count": 588, "score": 4.1875, "int_score": 4}
{"text": "Which set of standards are you looking for?\nVoice is that magical quality that makes a creative writing idea sing! Sparkling, confident, undeniably individual. These adjectives describe a page of writing with voice.\nVoice is the author's passion shining through the language. It's what keeps us as readers lost within a story long after bedtime.\nIt's what makes an essay about tree toads fascinating, even though we didn't think we cared all that much about tree toads. Helping students become aware of their voice in writing couldn't be more easier or more rewarding.\nWhen students are excited about an upcoming event, frustrated by a difficult task, or curious about an unfamiliar topic, point out that their voice is showing.\nA simple comment such as \"I can tell from all the pictures you've drawn of marine animals that you're looking forward to the aquarium visit\", goes a long way toward confirming that a student has what it takes to express a voice in writing.\nYou know voice is working when it springs from a page with energy and credibility, shouting, \"Look at me! I'm writing about what I know and care about! I'd recognize her voice anywhere!\nAffirm your students' signs of voice when expressed in different media: Demonstrate how voice makes a difference.\nRead passages aloud in monotones and expressive voices. Compare the readings and discuss the implications for writing. Ask your students to describe the voices in a variety of books. Fine tune their eyes and ears to the voice trait of the six trait writing process.\nHelp students see how voice is present in daily life, through pictures, signs, and speech. Draw heavily from the arts. Distinctive voices abound in paintings, songs, poetry, and plays. Encourage kids to take risks when they write.\nPraise them for not taking the easy road \"I like my cat. Below are some favorite classroom-tested activities for helping your students develop voice in writing.\nFinding a Voice in Writing: Distribute a selection of simple puppets. Using favorite readers' theatre scripts, ask students to create the \"just right\" voice for each of the characters. The Voice of the Minute. Create a list of various \"mood voices\"- amused, scared, silly, angry, whiny, sad, frustrated, tired, and so on- and write each one on a card.\nFlash the \"sad\" card, for example, and ask students to converse in a \"sad voice\" for a full minute.Voice in writing is a frequently misunderstood concept that often seems difficult, if not impossible to teach.\nThis article demonstrates how teaching voice in writing can be nurtured and honed through awareness, discovery and informed teaching. Your voice is unique and identifiable when you speak, so it should be no surprise that when we talk of using voice in writing, it means a specific way of writing that makes it sound like a person.\nStep 1: Now that students understand how authors use emotion to add voice to their writing, it's time for your students to try it out for themselves! Pass out one of the cut-out Voice Cards from the Voice Cards Template printable to each student. There are many ways that writers can add voice to their writing, including dialect, emotion, word choice, and ALL CAPS.\nUse with the lesson Using Font . Effective Voice in Student Writing. If helping students with revision, instruct students to read their draft (rough or final). Ask: Who is your intended audience? What voice would be most effective? Discuss that when you determine the most appropriate voice for your purpose, write with that voice.\nidentify verbs in a variety of contexts.\nanalyze verbs to determine whether constructions rely on active or passive voice. draw conclusions about how to match active and passive voice to their writing situation. choose verbs (active or passive) appropriate for the audience and purpose of their.", "id": "<urn:uuid:7c5748fb-5b54-46d8-853c-4e41bd3c2960>", "dump": "CC-MAIN-2021-17", "url": "https://bebesesahequged.leslutinsduphoenix.com/using-voice-in-writing-activities-50070gt.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00453.warc.gz", "language": "en", "language_score": 0.9536870121955872, "token_count": 798, "score": 4.15625, "int_score": 4}
{"text": "12 tips and tricks for using music in the social studies classroom\nI am not musically inclined. I like music. I listen to music. Love the Spotify. But I don\u2019t play an instrument and karaoke only in large groups. Maybe I just never had the right training but it\u2019s hard to imagine any music teacher being very successful in coaxing out my inner Bob Dylan.\nWhich is why it\u2019s not easy for me to think about using music as an important piece of social studies instruction. You might be the same way \u2013 integrating music and song lyrics into your classroom just isn\u2019t the first or second thing that comes to mind when you\u2019re designing lessons and units.\nBut it should be.\nI was reminded last night how powerful music can be and how we can use it to help kids connect with our content during the weekly #sschat. Focused on the intersection of music and social studies, the chat provided a wide variety of useful ideas and resources.\nLed by Chris Hitchcock and the folks at Get Sounds Around, a bunch of us sat around and shared tips and tools. You can get the full transcript over at sschat but here\u2019s a few of the tidbits I gathered:\n- Pre or post learning writing prompt: What would be the music themes for different historical figures? As in, what would Abe Lincoln play at his political rallies? This could be current songs or songs of the period. Explain your thinking.\n- A variant would be walkup music. Most MLB baseball players have specific music playing as they walk to the plate. NBA players have specific music during introductions. What would Harriet Tubman\u2019s walkup music be?\n- Create both mini and full-blown DBQs that incorporate music and lyrics as one or all of the primary sources.\n- Songs and their lyrics are great primary sources, helping our kids to make sense of time, place, events, and culture. Use the National Archives and Library of Congress primary source analysis worksheets to help students make sense of lyrics and context.\n- Songs have been used for protest and social justice forever. Vietnam, civil rights, American Revolution, South African apartheid, women\u2019s rights. If there\u2019s been a protest, there have been songs that have gone along with it. The New York Times Learning Network has a great lesson that models what this might look like in your classroom.\n- The flip side of protest songs might be to have students look at how governments use music to rally support or as propaganda. Perhaps compare and contrast the music of the Allies and Axis governments during World War Two. Look at songs sung in the US during World War One.\n- One #sschat post discussed how US Civil War music was very upbeat, cheerful, and optimistic in 1861 but changed the mood and lyrics changed over time by 1865. Ask kids to look at context and events that may have had an impact on the music of the time.\n- We can ask our students to look at how popular music develops and changes over time. What\u2019s the history of music? How have different groups and their music influenced what we listen to?\n- There are lots of songs that we sing but never finish. This Land of Your Land and Star Spangled Banner are examples of songs with verses that we don\u2019t sing. Why were those verses included by the author? Why don\u2019t we sing them very often?\n- Musicals are great storytelling devices that provide additional context and richness to historical content. Many teachers have been using Hamilton as part of their lessons. The National Council for the Social Studies Social Education journal has a great Hamilton article and this presentation from a recent NCSS conference is also useful.\n- The NCSS has many other articles and lessons on the use of music. Listening for History: Using Jazz Music as a Primary Source and Integrating Art and Music into Social Studies Instruction are two examples. Another helpful article is \u201cI Didn\u2019t Raise My Boy to Be a Soldier:\u201d Ideas and Strategies for Using Music from the National Jukebox to Teach Difficult Topics in History.\n- The American Historical Association published a longer read way back in 1996 titled Different Drummers: Using Music to Teach History that highlights why and how music should be part of what you do.\n- And don\u2019t forget the power of YouTube. So many of the songs \u2013 both new, old, mashed up \u2013 are available online. This is a no-brainer.\nNeed some song titles tied to specific topics and periods? Check out these two crowdsourced Google Docs:", "id": "<urn:uuid:527f6691-d02b-4c20-885f-ce9f549ae5f1>", "dump": "CC-MAIN-2021-17", "url": "https://historytech.wordpress.com/2017/03/14/12-tips-and-tricks-for-using-music-in-the-social-studies-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039508673.81/warc/CC-MAIN-20210421035139-20210421065139-00013.warc.gz", "language": "en", "language_score": 0.9471277594566345, "token_count": 950, "score": 3.9375, "int_score": 4}
{"text": "The first anti-discrimination law in a U.S. state or territory passed in Alaska in 1945, and was signed into law on Feb. 16\u2013or what we now know as Elizabeth Peratrovich Day in Alaska.\nMany people fought long and hard to pass the Alaska Equal Rights Act of 1945, and Peratrovich brought her experience, intelligence, and potent oratory skills to the legislative chamber on the day of the vote to cut through the palpable and overt racism.\nAlaska\u2019s Governor Ernest Gruening, who supported and signed the bill into law, said her words were instrumental to the bill\u2019s passage.\nSigns and symptoms\nPeratrovich was born in 1911 and adopted as a baby by Andrew and Jean Wanamaker. She grew up speaking English and Tlingit, and living a traditional Tlingit way of life that included harvesting, preserving, and preparing food, dancing and storytelling, and weaving spruce root baskets.\nHer family lived in Sitka and then Klawock in Southeast Alaska, where she met her future husband Roy Peratrovich. Later, she moved with her family to Ketchikan where she saw that she, a Tlingit whose ancestors had lived in the region for thousands of years, was not always welcome.\nThere, she saw for the first time a sign she would see again and again: \u201cNo Natives Allowed.\u201d\nAn early education\nElizabeth and Roy graduated from high school and married in 1931. They had three children, and lived for many years in Klawock, where Roy served as mayor for four terms. They moved to Juneau in 1941, where they encountered more signs of racism.\nWhen the couple first looked for houses to rent, they were turned down because neighbors didn\u2019t want to live near \u201cIndians.\u201d And when it came time to send their eldest child to school, they were told he had to go to go to a separate school rather than one in the neighborhood.\nNotably, Elizabeth had a word with the superintendent, and Roy Jr. was the first Tlingit student admitted to that school. The city\u2019s public schools were fully integrated by 1947.\nYou can fight with us, but not sit with us\nDuring World War II, the Alaska Territorial Guard defending Alaska\u2019s shores was almost entirely comprised of Alaska Native volunteers, while many other Alaska Native people joined United Service Organizations and served overseas.\nYet at home, on their homelands, they were forced into segregated theaters, segregated stores, segregated hospitals, and segregated schools. They were punished for speaking their languages. They were denied jobs. They were prevented, even, from voting.\nThey were confronted with signs that said, \u201cNo Natives Allowed.\u201d\nDuring legislative debate over the equal rights bill in 1945, Senator Allen Shattuck from Juneau expressed the racist foundation of these exclusionary signs and discriminatory practices: \u201cFar from being brought closer together, which will result from this bill, the races should be kept further apart. Who are these people, barely out of savagery, who want to associate with us whites with five thousand years of recorded history behind us?\u201d\nBy the time Elizabeth Peratrovich, the Grand President of the Alaska Native Sisterhood, stood up to speak before the legislature that February, she had already spent a life fighting for what the white settler legislators had always taken for granted\u2014their right to speak, to be heard and seen, and to be respected.\nSo after her husband Roy spoke in support of the bill and the planned testimony had ended, the Senate president asked if anyone else wanted to speak, as was customary at the time. The gallery was packed.\nElizabeth Peratrovich put down her knitting needles, stood up, and strode down the aisle. Certain she had everyone\u2019s attention, she turned to the legislators and began:\n\u201cI would not have expected that I, who am barely out of savagery, would have to remind gentlemen with five thousand years of recorded civilization behind them of our Bill of Rights\u2026\u201d\nThen she continued, sharing her stories of experiencing and witnessing discrimination, challenging its logic and foundation, and calling out the role of lawmakers in recognizing wrongs and acting on them. In response to a question about whether a law would eliminate racism, she replied:\n\u201cDo your laws against larceny and murder prevent those crimes? No law will eliminate crimes but at least you as legislators can assert to the world that you recognize the evil of the present situation and speak your intent to help us overcome discrimination.\u201d\nApplause broke out from the gallery and Senate floor.\nThe fight continues\nPeratrovich died in December 1958, just over a month before Alaska statehood, and thirty years before the Alaska Legislature established Feb. 16 as Elizabeth Peratrovich Day.\nIn 2019, the New York Times included Peratrovich in its \u201cOverlooked No More\u201d series about remarkable people whose deaths went unreported in The Times. In December 2020, Google put up a doodle honoring Elizabeth Peratrovich, and in February, the U.S. Mint released a one-dollar coin commemorating her.\nThe passage of the Alaska Equal Rights Act of 1945 helped stop overt discrimination, though we continue to confront the racism and colonialism that drives inequity in Alaska and across the country today.\nHonoring Elizabeth Peratrovich reminds us of our obligation to find the strength and hope that she brought with her words that February day so long ago to continue the work.\n- Fighter in Velvet Gloves, by Annie Boochever with Roy Peratrovich Jr., University of Alaska Press, Fairbanks\n- Overlooked No More: Elizabeth Peratrovich, Rights Advocate for Alaska Natives, The New York Times\n- Google taps Tlingit artist for Doodle honoring Alaska Native civil rights icon Elizabeth Peratrovich\n- The Raven Outsmarted the Chief and freed the sun, giving light to the world, by Susan Pierce\n- \u201cA Recollection of Civil Rights Leader Elizabeth Peratrovich 1911\u20131958\u201d. Compiled by Central Council of Tlingit and Haida Indian Tribes of Alaska.", "id": "<urn:uuid:2d15e3f5-29ce-4b8a-946f-a29c911bda75>", "dump": "CC-MAIN-2021-17", "url": "https://trustees.org/honoring-elizabeth-peratrovich/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00254.warc.gz", "language": "en", "language_score": 0.9770122766494751, "token_count": 1300, "score": 4.1875, "int_score": 4}
{"text": "Stack of paper, or newspaper,\nsome marker pens\none or two rolls of masking tape\nWhatever furniture or bigger objects are already in the classroom, for example, desks and chairs, or books and other furniture, school bags, etc.\nExercise One: LARGE OBJECT EXPLORATION \u2013\n- Find a larger object in the space that you can still pick up and manipulate. Possibly a chair.\n- Look at your larger object from all angles.\n- Explore it\u2019s balance.\n- Explore it\u2019s orientation.\nExercise Two: REPETITIVE PATTERNS \u2013\n- Separate into groups of five.\n- Find a bunch of the same object (chairs, or tables, or pens, or books etc.)\n- With your group, design your own repetitive pattern with your object.\n- Find how the pattern can move around the space.\n- Play with all the dimensions\n- When you\u2019re done, show the other group.\nExercise Three: CREATING A SET PIECE \u2013\n- In your group of five\u2026\n- Bring your objects all together to create one large object.\n- Make sure it\u2019s large, and impressive, and bold.\n- Explore ways in which one person can interact with the object.\nExercise Four: SMALL OBJECT EXPORATION \u2013\n- Find some paper.\n- Explore the different qualities of your piece of paper.\n- Explore how you can change the paper to adjust its volume, texture and look.\nExercise Five: BODY SHAPES \u2013\n- Crumple up some paper.\n- Place the crumpled paper under your clothes in different places to change the shape of your body.\n- Observe and explore how this changes your posture, movement and sense of character.\n- Think about the character that you made with Billy, how you changed your body shape. You can use paper to build upon that.\nExercise Six: COSTUMES \u2013\n- List all of the pieces of clothing or accessories you can possibly name.\n- Pick one that would suit a character (possibly the character you created with Billy)\n- Use your masking tape and paper (or whatever else you have on hand) to create that piece of clothing.\n- Each participant should have one piece of costume created with paper and masking tape or whatever else they had on hand.\nExercise Seven: GIMMICKS \u2013\n- Separate into groups of five.\n- Use your paper and marker pens to create three speech bubbles.\n- The speech bubbles should just be one word, or a sentiment (i.e. Wow, Haibo, No! Yes! Etc.)\n- Play out a short scene with your three actors, each has an action that provokes a speech bubble popping up.\n- Rehearse your short silent play, and show it to your other group.\nWORKSHOP LEADER \u2013 JEMMA KHAN\nJemma Kahn is a theatre and film maker born and based in Cape Town. She studied Fine Art and Drama at Wits University. Shortly after graduating, she spent two years in Japan which has had a strong impact on the content and form of her work.\nHer primary theatre focus is Japanese kamishibai or \u2018paper theatre\u2019, a 12th Century highly visual storytelling medium. The kamishibai as it is practiced today evolved from a street theatre performance form that involves a narrator who travels around the small towns of Japan with sets of illustrated boards that are placed in a miniature stage-like device and narrated by changing each image to illustrate scenes.\nKahn has been creating and performing kamishibai since 2009. To date there have been over 600 original drawings produced by her and other South African artists that are used in the performances. All her kamishibai shows are intensely collaborative, bringing together a broad range of South African writers, illustrators and directors. Since 2012 Kahn has been developing a stylistic shift in the medium. The story boxes in her shows have developed to include panoramic images, composite images and boxes that pivot from landscape to portrait. At the time of writing, Kahn is the only person in the world to have pushed the medium of kamishibai in these directions.\nHer shows include The Epicene Butcher and Other Stories for Consenting Adults (2012), We Didn\u2019t Come to Hell for the Croissants (2015), in bocca al lupo (2016) and The Borrow Pit (2018). They have been performed at Edinburgh Fringe, Brighton Festival, Venice Biennale as well as in Holland and Australia. In 2018 Kahn was awarded the Standard Bank Young Artist Award for Theatre.\nWORKSHOP 4 \u2013 OBJECTS AND UPPETRY WITH LIEZL DE KOCK\nWORKSHOP 5- SOUND WITH NLANHLA MAHLANGU", "id": "<urn:uuid:1a97cbea-13d6-40fb-ae78-ea18ad6ce54f>", "dump": "CC-MAIN-2021-17", "url": "https://nationalartsfestival.co.za/workshop-three-design/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039491784.79/warc/CC-MAIN-20210420214346-20210421004346-00294.warc.gz", "language": "en", "language_score": 0.9234281182289124, "token_count": 1028, "score": 4.0, "int_score": 4}
{"text": "Anyone who has been exposed to creative writing classes, workshops, or seminars has undoubtedly been informed that one of the cardinal rules is to SHOW not TELL. But to the non-writer or newbie to the craft, what does that mean? Whether fiction or non-fiction, isn\u2019t telling a story every author\u2019s job?\nYes, but it\u2019s how the story is told that makes the difference. I usually explain that perusing a tale that belabors a TELLING writing style compares to reading a repair manual\u2013\u2013no imagination required, just follow the step-by-step procedures. SHOWING, on the other hand, typically features a more active and descriptive quality that allows readers to visualize the story and become more personally involved with the scenes, the characters, and the plot line.\nSo, how can a writer SHOW more and TELL less in their work? Based on what I\u2019ve learned from both the classroom and hands-on experience, here\u2019s some suggestions from my perspective.\n- Avoid lengthy narrative. True, many literary classics convey their plots via abundant narrative. But lengthy narrative can lull writers into a TELLING mode and also slow the pace. Overall, use a well-proportioned blend of narrative and dialogue to keep the plot moving (a segue to item 2).\n- Allow characters to speak for themselves. Most novels are written in either first-person or third-person format. First-person is most often presented from the protagonist\u2019s point of view. Third-person utilizes an omniscient narrator to guide readers through the plot. In either case, don\u2019t gag characters by allowing the narrator to TELL what they said. Instead, let the characters speak for themselves and relate their stories through their own words/dialogue\n- Use more active verbiage (active voice). Certainly verbs such as go, went, walked, talked, and looked are all valid verbs, but they are also pretty bland\u2013\u2013pretty passive and TELLING. Instead, think about how the character moved, spoke, saw, etc. Allow readers to picture the action, not just read about it. For example: shuffled / strolled / ambled /swaggered instead of walked; muttered / hollered / whispered / cooed instead of talked; ogled / leered / sneered / squinted instead of looked. Also, be creative. Many nouns can be easily converted to active verbs that will help readers visualize the action. For example: Most folks know what a pinball is and how it moves. Stating that \u2018a drunkard pinballed down the hallway\u2019 converts a noun to a verb and SHOWs how the sot bounced from wall to wall as he traversed the hallway.\n- Utilize vivid description. SHOW by painting strong, clear images with words that will help readers immerse themselves into the story\u2019s characters, objects, and scenes. Caution: Avoid information dumps, lengthy paragraphs that detail everything about a character or scene in one spot. Instead, spread out the details as the story/scene progresses so that description doesn\u2019t become a distraction that kills the plot\u2019s momentum.\n- Utilize all the human senses. Sight is the obvious sense that dominates storytelling. But what about the other four senses to help SHOW readers exactly what\u2019s happening to the characters and their surroundings? Expanding the use of the senses allows readers to further use their imaginations and draw themselves into the story. They begin to see, feel, taste, smell, and hear what takes place in any given scene. Then there\u2019s the \u201csixth sense, which\u201d may be a tough one to pull off, but don\u2019t totally ignore it as an effective tool.\nOkay, you won\u2019t find these last three items listed in anyone\u2019s on-writing textbook or curriculum outline. I confess. The labels are mine.\n- The \u201cI\u201d factor. Using I, I, I, or he, he, he, / she, she, she to excess. Sure, these are valid and necessary pronouns. But when one of them opens every paragraph, the writing gets stale. When I, he/she links to a verb that describes one of the human senses\u2013\u2013I watched, I touched, I felt, I smelled, I heard\u2013\u2013it\u2019s often the tipoff to a TELLING writing style. Once a character\u2019s point of view is established, readers don\u2019t need to be told who sensed what. Instead, use what the character sensed as the subject of the sentence. Describe / SHOW the scene and its action and leave \u201cI\u201d out of the picture. The resulting sentences will be more active and better paced.\nTELL: I watched many butterflies in the garden.\nSHOW: Monarch butterflies swarmed the garden.\n- Bad compass: Avoid unnecessary directives. If characters in an airplane look anywhere but DOWN to view terra-firma, everybody\u2019s in deep poop. A character describing the summit of Mt. McKinley from the valley below will definitely be looking UP. There\u2019s no need to TELL readers the obvious, something they can already visualize without cues.\n- Dumb-down dilemma: Avoid over explaining content. Instead, allow readers to further enjoy the plot line and characters by exercising their imaginations. Yes, there can be instances when a writer needs to add a bit more detail for clarification. But give readers some credit. The simple fact that they are reading indicates they are likely intelligent enough to also grasp individual situations without walking them through step-by-step.\nHope this post helped some folks. As always, thanks for stopping by.", "id": "<urn:uuid:8ccfa6c6-dc0b-4a9b-b98d-48c2b311b57a>", "dump": "CC-MAIN-2021-17", "url": "https://grmillerauthor.com/2018/01/28/show-not-tell/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00172.warc.gz", "language": "en", "language_score": 0.9300522208213806, "token_count": 1198, "score": 3.5, "int_score": 4}
{"text": "To become familiar with the sign letters used by the hearing impaired.\nMake your own or purchase a set of ASL alphabet flash cards. For example, we have a double set of alphabet cards available through the LT Store, that you can download, and print immediately. We would recommend any number of the following options to preserve the life of the cards.\n1. If your printer has the capability to pull through cardstock (60 lb), use it! This prevents seeing the images through the paper.\n2. If you or your children are the least bit crafty, print out the cards, trim excess paper, paste onto cereal box cardboard, then cut along the lines.\n3. For a set of cards impervious to spilled pop and dirty fingers: print on cardstock, cut out each card individually, then laminate them, leaving a wide border to ensure a secure seal between each. Office supply stores (Kinkos, Staples, etc.) will provide this service on a per page basis. Amazon.com sells a variety of mini laminators that may just be the handiest purchase you make this year (right after the hot glue gun or the can of spray adhesive!)\n1. Mix up all the alphabet flashcards. Allow the student to become familiar with the signs by making the alphabet sign and then placing it on a table in order. For example, draw out the card for B. Make the sign for B, carefully matching the picture on the card. Place the card on the table. Draw another card. Perhaps this card is H. Make the sign for H. Place it on the table after B. (Were the next card an A, it would go before the B.) Continue until all cards are on the table in order. Then sign the alphabet, looking at the cards if need be, in order.\n2. Mix up the alphabet flashcards. One by one, hold each card in a manner that covers the letter notation. The student must call out the alphabet letter that matches the sign. Once recognition is consistent except for a few, place the cards that are identified correctly in a pile but put the cards that are incorrectly identified back in the deck to be examined again. Continue with the activity until all cards have been identified and placed in the pile.\n3. This activity requires two decks of ASL flashcards. Mix up the alphabet flashcards. Place them face down in rows on a table. A game may be played that is similar to \u201cConcentration.\u201d The first player turns over two cards, perhaps a D and an S. The player should try to remember where they are and then turn them back over, face down. The next player may then turn over two cards, for example, F and Z. Again, the object is to concentrate on where those two cards are so that they can be found again. Mental notes should be made of the signs that correspond to the letters. For example, the player might say to him/herself, \u201cThat is an F and it is found on the second row, second to the right.\u201d The card is then replaced face down. Then the next player turns over his or her first card. Suppose it is a D. The object is for the player to remember where the D was from the first round and turn it over to \u201cmatch.\u201d If he or she is successful, the pair of cards goes to his or her pile. After all cards have been paired, each player counts his or her pairs and must make the appropriate signs for each letter represented on the flashcards.\nWith younger children, the sign language flash cards might be combined to reinforce phonics lessons. Try this activity:\nMix up the ASL alphabet flash cards. Ask your child to close his or her eyes and draw a flashcard from the pile. Look around the room and help your child select a word that emphasizes the phonetic sound that letter can represent. Concentrate on nouns \u2013 persons, places, and things. For instance, for the letter \u201cd,\u201d you might name dog, dollar, dot, desk, and door. Make the sign for the letter. As familiarity with the signs increases, you may want to try spelling some of the items that you name in their entirety. For example, you might first make the sign for \u201cD\u201d when you name \u201cdog.\u201d After practice, you and your child may wish to spell \u201cd-o-g.\u201d\n- ASL Alphabet Printable Flashcards\n- Baby Signs Printable Flashcards\n- Baby Signs, TOO! Flashcards\n- ASL Basic Signs Printable Flashcards\n- ASL Survival Signs Printable Flashcards\n- Signs of Summer Flashcard Set\n- Signs of Autumn/Fall Flashcard Set\n- Signs of Winter Flashcard Set\n- Signs of Spring Flash Card and Activity Set\nOther ASL resources available for purchase in the [email protected] include:\n- Sign a Phrase of Prasie a Day\n- Toddler Tasks in Simple Signs\n- Introducing ASL to Preschool \u2013 K Learners\n- Preschool \u2013 K Songs Adapted for ASL\n- Sign and Sing a Song for Christmas Volumes 1, 2, and 3\n- O Canada! Adapted for ASL\n- The Pledge of Allegiance and God Bless America Adapted for ASL\n- Boy Scout Oath and Pledges; Law, adapted for Signs\n- Girl Guide Promise and Law Adapted for ASL Signs\n- Classic Camp Songs Adapted for ASL\n- Amazing Grace Adapted for ASL\n- I\u2019ll Fly Away Adapted for ASL\n- The Lord\u2019s Prayer (SE) and the 10 Commandments (ASL)\n- 23rd Psalm Adapted for ASL\n- Sunday Songs and Prayers Adapted for ASL\n- Sunday Songs and Pledges Adapted for ASL\n- \u2026 and more!\nSubmitted by: Elaine Ernst Schneider entered the classroom as a special education teacher in the 1970\u2019s. Since then, she has taught mainstream English Grammar, Literature, music K-12, deaf education, psychology, Algebra, creative writing, social studies, law, and science in both public and private schools. Presently, Elaine is a curriculum author for multiple educational publishers and is the managing editor of Lesson Tutor, a lesson plan website found at https://www.lessontutor.com. Her most recent books, 52 Children\u2019s Moments (Synergy Publications) and Taking Hearing Impairment to School (JayJo Books and the Guidance Channel) can be found at Amazon.com. She is currently working on a project with Pearson Prentice Hall as an author of an on-line teacher\u2019s professional development course for the Council for Exceptional Children.", "id": "<urn:uuid:6245001e-0a97-43a8-8ce3-a94c796ea25c>", "dump": "CC-MAIN-2021-17", "url": "https://www.lessontutor.com/ees_asl_flashcards/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00454.warc.gz", "language": "en", "language_score": 0.9381659626960754, "token_count": 1413, "score": 3.734375, "int_score": 4}
{"text": "By- Angela Padr\u00f3n\nStorytelling is a powerful method of communication. It offers people the opportunity to connect to, relate to, or see the world from someone else\u2019s perspective. Stories provoke our emotions. They can make us laugh, cry, feel afraid, get angry, think, and dream. Following a character on a journey of exploration, empathizing with the character\u2019s problem, yearning for a solution, and reveling in the outcome helps to shape our mental state.\nThere are ways to bring storytelling into the classroom at any age level. Here are some suggestions:\n#1- Share your own experiences with students: When students are having a hard time grasping a concept or are dealing with something emotional, share a story about your past and experiences as a young student. This allows the students to feel that you understand what they\u2019re going through and perhaps find some inspiration and answers to their own problems.\n#2- Introduce a new topic through a story: Telling a story is a great icebreaker and a way to introduce a concept. It allows the student to relate better to the content and gets them interested before learning. It could also allow you to activate prior knowledge, which also assists students in learning new content.\n#3- Use a story to present a concept: Presenting a story can allow students to retain information in a more creative, memorable way. It can even provoke their interest in learning a new concept.\n#4- Develop and strengthen listening skills: When stories are presented in a fun and creative way, teachers can grab students\u2019 attention, which is not easy to do these days with all of the distractions from social media, television, and other stimuli. Telling a story will help students focus on one thing and really let the information sink in.\n#5- Motivate students: A good storyteller can get students more engaged and motivated, especially by using movement, having the audience repeat particular lines, getting members from the audience to participate in the story, providing music, and having visuals to help tell the story.\n#6- Teach grammar and vocabulary through storytelling: Telling stories in different parts of speech and at differing levels of difficulty can help students practice and develop their skills. A story can be told in the past, present, or future tense; use older styles of language; have the characters use advanced or simple vocabulary; incorporate synonyms and antonyms; and use strong active verbs and highly descriptive adjectives to describe settings or actions in the story. Teachers can focus in on one of these areas and ask students to be aware of any they hear while the story is being read.\n#7- Conduct interactive storytelling: Stories are best told when they portray the characters\u2019 voices and actions. Teachers should model good inflection and fluency and move around, using hand gestures and facial expressions while telling the story. Sound effects work great, too and will definitely help keep students engaged.\n#8- Read many different types of stories: Don\u2019t just focus on one type of story. Vary your options with world folktales, fables, myths, and legends that provide context to history and various cultures. This will allow students to experience stories in different formats and help them appreciate the writing and messages behind the stories.\n#9- Allow students to be the storytellers: Why not take a break and allow students to read stories aloud to the class? They could even act out a story. If you\u2019ve modeled effective ways to read and portray a story, they will follow in your footsteps!\n#10- Have student write a new version or different ending: After reading a story, have students write the story from another character\u2019s point of view or come up with a continuation of the story. Better yet, leave students in suspense by leaving off the ending \u2014 and then have them write their own. You\u2019ll be surprised at the different versions you receive!\n#11- Use wordless books: Storytelling doesn\u2019t need words. Sometimes stories can be told just through pictures or illustrations. Show students a sequence of pictures or drawings depicting a particular event or experience in a character\u2019s life. Then have students write the text that would go with each picture. This is especially helpful for students who have difficulty writing but are able to tell a story orally. Teachers can transcribe the story as the student speaks, then have the student practice reading and spelling his or her own words.\n#12- Use props and manipulatives: Many stories, especially at the elementary level, work best when visuals accompany the words. Visuals help engage students, allowing them to focus so they can hear proper grammar and develop vocabulary. Teachers can use cut-out character and setting pieces on a felt or magnetic board, pictures or illustrations, puppets, or props when telling the story. You can even have students come up and move the pieces for you as you read for maximum engagement.\nYou may also like: Seven Ways to Integrate Art in the Classroom", "id": "<urn:uuid:175e8efd-e428-4146-a185-ac42db524537>", "dump": "CC-MAIN-2021-17", "url": "https://vhlblog.vistahigherlearning.com/twelve-ways-to-integrate-storytelling-in-the-classroom.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038098638.52/warc/CC-MAIN-20210417011815-20210417041815-00494.warc.gz", "language": "en", "language_score": 0.9469156265258789, "token_count": 1036, "score": 4.40625, "int_score": 4}
{"text": "Second grade reading worksheets encourage kids to take reading outside of the classroom. The printable worksheets include second grade appropriate reading passages and related questions.\nAll worksheets are created by experienced and qualified teachers. Kids gain a lot of practice in sequencing events, decoding common prefixes and suffixes with the worksheets here. Live worksheets > english > english as a second language (esl) > reading comprehension.\nFree worksheet jumbo workbooks for second graders:\nGet free worksheets by email! The printable worksheets include second grade appropriate reading passages and related questions. Supplement your child's education with these free this collection of free reading worksheets covers a variety of subjects like alphabet recognition, phonics, sight words, comprehension and more. Free printable reading comprehension worksheets for grade 2. Reading worksheets help children develop the early skills needed to become a good reader. 1st grade reading comprehension worksheets. Both young and older learners can practise basic reading and writing skills with this worksheet. Read stories and articles for your level of english. Use these fun and engaging second grade reading comprehension worksheets to help your children grow in confidence. A series of reading comprehension worksheets for second grade (2nd grade). It can also be used to stimulate thinkin. The second grade reading worksheets contain good comprehension questions that will challenge the student at the beginning reading level. Printnpractice free printable worksheets are all. We have alphabet games, creative writing prompts, and 2nd grade reading worksheets to make learning the variety of skills second graders need to succeed. All you need to do is read the description to find out what each one is about. Free reading response journals for teaching reading. Little worksheets printable worksheets for preschool through grade 5. Second grade reading worksheets encourage kids to take reading outside of the classroom. Each worksheet (as well as the spelling words) also includes a. The worksheets on this page are written at the 2nd grade reading level. Get free worksheets by email! Live worksheets > english > english as a second language (esl) > reading comprehension. Free printable reading comprehension worksheets for grade 3. Improve your students' reading comprehension with readworks. Free worksheet jumbo workbooks for second graders: These children's stories and reading worksheets will help kids practice reading and improve their comprehension skills. Using jumpstart's second grade worksheets. (first grade reading comprehension worksheets). Grab some of these handouts for. Free interactive exercises to practice online or download as pdf to print. Second grade reading comprehension worksheets.", "id": "<urn:uuid:65ca0b20-64eb-4026-bfbd-51a1c658355e>", "dump": "CC-MAIN-2021-17", "url": "https://www.rugby-rumilly.com/33-free-second-grade-reading-worksheets-photos/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00295.warc.gz", "language": "en", "language_score": 0.9166385531425476, "token_count": 557, "score": 3.9375, "int_score": 4}
{"text": "What is a Synopsis and How to Write it Properly\u2714\nSynopsis definition and explanation are the basic things a learner should know in order to write a successful paper. Before get down to writing, make sure you understand the basic concepts and requirements to this type of assignment.\nWhat Is a Synopsis?\nAs soon as teachers ask their students to prepare a synopsis on some topic, many learners are puzzled with a question \u201cWhat is a synopsis?\u201d Experts define synopsis as a summary of the main ideas of some composition. It is an overview of the plot and defining elements of a literary work, such as genre, characterization, setting, style, etc. Synopses are written for any type and genre of books and academic publications, including journal articles, as well as for movies, plays, video games, and TV shows to name a few.\nBuy Research Papers In High Quality\nAlong with the definition of synopsis, a learner should know the amount of detail such papers have to provide. Typically, this depends on the purpose of a synopsis. For example, when offering a literary work to publishers, an author has to create a lengthy synopsis that would provide an in-depth overview of the plot (including the resolution), character development, comprehensive explanation of the storyline as well as any other meaningful details. In this guide, we will concentrate on short synopses, like those found on websites and journals.\nWhat Does Synopsis Mean?\nAs a student, you will frequently be asked to prepare a book or movie synopsis, so you might be asking yourself (or Google) \u201cWhat does synopsis mean?\u201d In short, it is a brief description of the central theme and the main ideas of a piece. A movie synopsis or a book synopsis describes the main characters and highlights major conflicts. However, you do not have to discuss any subplots \u2013 those are to be mentioned only if they affect the main plot.\nAs a professional writer, you will be preparing book synopses for editors and potential publishers. Although editors and agents will definitely read a few chapters of the book, they will also request a synopsis to understand the complete work.\nThe skills of writing synopses will also be useful if you become a researcher or simply if you have to conduct a research for college. You have probably seen synopses of research articles in academic journals. Such synopses (abstracts) are very helpful when you are working on a literature review for your own research paper. A synopsis highlights the main aspects of the article, its arguments, methodology, and conclusion. Therefore, a synopsis helps you decide whether a certain article is relevant to your research and if it is worth reading in the first place.\nAnother occasion that requires you to present a synopsis is a conference. Before presenting their topic to the audience, researchers have to submit a synopsis of their work. Later, it will be delivered to the conference delegates so that they could decide whose presentation to attend.\nFinally, as an undergraduate student, you will be requested to prepare a synopsis of your report or a long paper. In this case, like in a film synopsis, you will have to include a short description of your main arguments and conclusions. If you are submitting a detailed book review, include a plot synopsis. The same applies to a novel synopsis. It should be no longer than two paragraphs and it appears before the introduction of your paper.\nSynopsis vs Summary: Which Is Better?\nSynopsis vs summary is a competition with no winners because these two paper types are very similar and can be used interchangeably. The main difference between a synopsis and a summary is that the latter is usually very brief, around one page, while the former can reach up to 30 pages. Both paper types summarize the main ideas of the works and retain the author\u2019s viewpoint.\nThe Structural Components of a Synopsis\nWhen writing a book synopsis, include the following:\n- Description of the main characters\n- Plot overview\n- Central conflicts\nAvoid redundancies and superfluous information. It might be quite a challenge to fit the whole novel into a synopsis, so many authors prefer delegating this task to custom writing services.\nA synopsis of a novel is a concise description of what it is about. An effective synopsis will provide the reader with just enough details to grasp their attention and persuade them to read the novel.\nDISCOUNTS FOR NEW AND RETURNING CUSTOMERS!\nThe discount is automatically included in the order with more than\nfor 15 pages\nfor 30 pages\nfor 50 pages\nRETURNING CUSTOMERS GET 5, 10 OR 15 % DISCOUNTS\nRelated Paper Formats\nIt is a short summary of a scholarly publication. Similar to synopsis, an abstract gives the readers an understanding of a work. However, synopsis and abstract differ by area of application: the term \u2018synopsis\u2019 is used in creative wiring to denote a summary of a book, story, film, etc., while \u2018abstract\u2019 refers to a summary of an academic paper.\nIt is a short plan of what is going to be discussed in a written piece. Unlike synopsis, an outline is created during the pre-writing stage and is likely to undergo changes as the work progresses. In short, an outline is a roadmap of the future piece and it is prepared in the brainstorming phase.\nTo conclude, synopses are written for the benefit of the intended audience. A synopsis performs two functions: summarizes the most important ideas of the bigger work and attracts the readers\u2019 attention so that they want to continue reading. Besides, a synopsis allows the readers to select the works that might be beneficial for their professional activity.", "id": "<urn:uuid:39a99d7a-8b9c-4927-8013-75dc05e90a00>", "dump": "CC-MAIN-2021-17", "url": "https://quality-writings.com/what-is-a-synopsis-and-how-to-write-it-properly", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038074941.13/warc/CC-MAIN-20210413183055-20210413213055-00574.warc.gz", "language": "en", "language_score": 0.9440411925315857, "token_count": 1167, "score": 3.734375, "int_score": 4}
{"text": "American Indian/Alaska Natives\nThe number of LGBT individuals in American Indian and Alaska Native communities is not definitely known, although it is believed to resemble the parameters of the dominant population. From self-reports and the small amount of research findings available, American Indians and Alaska Natives in gay or lesbian relationships report a higher degree of bisexuality than do their Caucasian counterparts.\nHistorically, some American Indian and Alaska Native communities viewed the role of a native person who was different from other community members as having a strong spiritual component. Being different was seen as a result of a spiritual experience and a path chosen by the Creator or the Spirits for that person. Many American Indian and Alaska Native communities used the term \"twospirited\" to describe LGBT individuals. Traditionally, American Indian and Alaska Native nations were taught to celebrate the differences and to see all their members as sacred beings fashioned by the Creator. At least 168 of the more than 200 Native American languages still spoken today have terms for genders in addition to male and female. Many LGBT people prefer the term \"two-spirited\" because it expresses their sense of combining a male and female spirit. It is also considered empowering for a person to choose what to be called as opposed to accepting a label given by another. This may be particularly true for this group. In the past, the culture, language, and religion of American Indian and Alaska Native people were oppressed by the majority culture. Christian missionaries used their influence in converting many traditional rituals into Christian rituals. Many native children were sent to government-run boarding schools and were prohibited from speaking their native languages and practicing their native customs. Along with erasing traditional roles, the traditional respect for two-spirited people also was diminished.\nWhile American Indian and Alaska Native clients are in treatment, it is important to determine their level of acculturation, their tribal affiliation, and the degree to which their sexual or gender identity is accepted by their tribal community and family. In many communities, being accepted by one's family is a measure of health and connectedness. If the family has difficulty accepting the client's sexual orientation, recovery from substance abuse may be hindered. Reintegrating the individual into his or her family may help in the recovery process. Becoming reconnected with family is seen as necessary for health in native tradition. Achieving awareness of one's sexual orientation or identity may occur in a different way for native men and women than for their non-Indian LGBT counterparts.\nValues. Some common tribal values are the importance of sharing and generosity, allegiance to one's family and community, respect for elders, noninterference, orientation to the present time, and harmony with nature. Respect for individual autonomy within the community, respect for family, and honoring the earth are entwined, and each person depends on others for meaning and existence. Traditional beliefs support the existence of a Supreme Creator and the view that each human has many dimensions such as the body, mind, and spirit. Like humans, plants and animals are part of the spirit world that coexists and intermingles with the physical world.\nLanguage. Words are to be honored and not wasted. Language is used to impart knowledge, often through stories. The legends and stories often have specific meanings and involve intricate relationships. Use of symbolism, animism, subtle humor, and metaphors is important. Direct questioning is not as important. Practitioners need to be aware of both their language and nonverbal behavior when communicating with this group.\nNonverbal behavior. Their emphasis on observant, reflective, and integrative skills leads American Indian and Alaska Natives to behavior patterns of silence, listening, nonverbal cues, and learning by example. Some traditional natives would view a firm handshake as intrusive and rude; eye contact is used minimally; and a passive demeanor is appropriate.\nLearning styles. Historically, their survival depended on learning the signs of nature, so observation is central to American Indians and Alaska Natives. Learning is accomplished by watching and listening and through trial and error. Cultural norms and values are passed from generation to generation through rituals, ceremonies, and the oral tradition of storytelling. The relationship with a teacher is important, but trust needs to be established.\nHealing. Wellness is harmony of the mind, body, and spirit, and native people feel they are responsible for their own wellness. Healing is interconnected with the whole person and rooted in spiritual beliefs connected to the earth and nature. Some traditional practices are the talking circle, sweat lodge, four circles, vision quest, and sun dance and involve community healers, elders, and holy persons (CSAT, 1999b).", "id": "<urn:uuid:3fbe3df5-f96e-49e0-a6d7-130f09c1172e>", "dump": "CC-MAIN-2021-17", "url": "https://www.soberrecovery.com/addiction/american-indianalaska-natives/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039491784.79/warc/CC-MAIN-20210420214346-20210421004346-00292.warc.gz", "language": "en", "language_score": 0.9661658406257629, "token_count": 937, "score": 3.5625, "int_score": 4}
{"text": "Narrative writing assignments for 6th graders\nNarrative writing graphic organizer\nWrite a story describing what happened, who was involved, and where it took place. This will help them make sure that they actually have a story to tell, with an identifiable problem, a sequence of events that build to a climax, and some kind of resolution, where something is different by the end. So start off the unit by getting students to tell their stories. Describe how the room looks, what equipment it has, and where everything is, including where students sit. Delve into highly-engaging spoken-word poetry, music videos, TED Talks, and an essay written by young author Jordan Womack. Students could create illustrated e-books out of their stories. A skilled writer could tell a great story about deciding what to have for lunch.\nWhen teaching narrative writing, many teachers separate personal narratives from short stories. By telling their own short anecdotes, they will grow more comfortable and confident in their storytelling abilities.\nWrite a science fiction story telling what the zombies do, what happens to everyone you know, and what you do about it.\nA student might tell a true story that happened to someone else, but write it in first person, as if they were that person. Need prompts in multiple writing modes for every day of the school year?\nWhat you want is a working draft, a starting point, something to build on for later, rather than a blank page or screen to stare at. If you have a suggestion for the list, please email us through our contact page. Make sure you create and describe characters, conflict, and the setting. And remember to tell some of your own.\n8th grade writing prompts common core\nSince most people have a built-in. Join my mailing list and get weekly tips, tools, and inspiration that will make your teaching more effective and fun. What you want is a working draft, a starting point, something to build on for later, rather than a blank page or screen to stare at. The best way to learn how to tell good stories, much like learning how to ice skate without falling on your backside, is to practice. Think about a memorable event that happened when you were in elementary school. Tell your story, being sure to include the challenges you faced, what might have prevented you from reaching your goal, and how you were transformed by the journey. A skilled writer could tell a great story about deciding what to have for lunch.\nWrite an essay to convince your classmates to vote for the subject you like best. Did you use precise language and description? Amplify Student Voices Through Narrative and Argumentative Writing Projects Looking for an interactive project that will foster student empathy, encourage activism, and build group collaboration skills as part of a writing project?\nCreating a diagram like the one below forces a writer to decide how much space to devote to all of the events in the story.\nbased on 116 review", "id": "<urn:uuid:81a44fd6-8b68-4f37-bc5e-aa0047186b48>", "dump": "CC-MAIN-2021-17", "url": "https://hocabytugopuviluv.carriagehouseautoresto.com/narrative-writing-assignments-for-6th-graders185534876fi.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00055.warc.gz", "language": "en", "language_score": 0.9657577276229858, "token_count": 600, "score": 3.9375, "int_score": 4}
{"text": "According to scientific research microbes live deep inside earth\u2019s crust in a labyrinth of tunnels and shafts making one of the biggest biomes on the planet.\nDespite extreme heat, darkness, limited nutrition and intense pressure, scientists estimate the Earth\u2019s subsurface is teeming with more than 40 billion tonnes of micro-organisms.\nThis treasure trove of life lives as deep as five kilometres inside the Earth\u2019s biosphere along with an abundance of water and nutrients like iron, phosphorus and nitrogen.\nHowever without a sun, these slow-moving metabolically active-microbes have to find a way to make energy.\nEnter the Sage of microbes, the Chemolithoautotroph, the guru of the underground world.\nThese microbes of the biome use elements like sulphur, iron, manganese, nitrogen, carbon \u2013 just like plants do \u2013 but Chemolithoautotrophs also use pure electrons to make food.\nAnd just as plants have a waste product (which is oxygen), so do Chemolithoautotrophs.\nThe waste product they make is in the form of minerals, like rust, pyrite, carbonates, essentially rocks.\nTwo years ago a team of scientists visited Costa Rica\u2019s subduction zone.\nThis a an area where the ocean floor sinks beneath the continent and volcanoes tower above the surface.\nThey wanted to find out if microbes can affect the cycle of carbon moving from Earth\u2019s surface into the deep interior. The interior is made up of a series of layers that sit below the surface crust.\nThe Scientists found that tonnes of carbon dioxide escapes from oceanic plates but the carbon was not being released out into the atmosphere.\nThis is the first evidence that subterranean life plays a role in removing carbon from subduction zones and it was due to the Chemolithoautotrophs.\nThe microbe converts carbon dioxide into solid carbonate minerals.\nThis find led one of the top Microbiologist Scientist Karen Lloyd to ask could these Chemolithoautotrophs help with our carbon problem.\nLloyd is one of a thousand scientist on a ten-year quest to understand the quantities, movements, forms, and origins of carbon inside Earth.\nYou can follow Deep Carbon Observatory on social media or via their website.\nI\u2019ve always been passionate about storytelling and impressed by the influence it has on people and the decisions they make in life. I love engaging with the projects I work on, diving headfirst into the research, investigation, and production of stories and articles I feel are worth writing about.", "id": "<urn:uuid:7903b35e-613e-4eab-a3a4-1f92420d1601>", "dump": "CC-MAIN-2021-17", "url": "https://melissahnorthauthor.blog/2019/06/16/mysterious-microbes-with-a-cool-name-may-hold-the-key-to-mitigating-climate-change/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00413.warc.gz", "language": "en", "language_score": 0.9036781191825867, "token_count": 536, "score": 3.6875, "int_score": 4}
{"text": "Immersive experiences are fashionable at the moment, as virtual reality finally emerges into the mainstream with headsets now commercially available. But immersion is a technique much older than technology. It is the key to storytelling, in literature, film, videogames, even in the spoken stories told by our ancestors around the campfire. We are taken in by the experience: we become so involved with a character that we share their emotions, or build expectations about their progress in the story \u2013 and react when these expectations are either fulfilled or thwarted.\nLook at immersion from a historical perspective and we see the rituals and social practices that gave rise to immersive experiences, and the relevance of the past to the hyped products of today.\nIn the middle ages, the use of stained glass in churches was designed to create an immersive sense of otherworldliness by bathing the church\u2019s interior with coloured light. It was designed to provide churchgoers with a sense of direct contact with the divine, through visual stories aimed at a largely illiterate population.\nStained glass was an important form of visual storytelling. It was one of the ways that religious institutions could exert their hold on believers through the sanctity of messages delivered through colour and light, for which believers had to crane their necks up towards the sky to face the high windows.\nA great example of this is the recently restored Great East Window at York Minster, a very large expanse of painted glass created in the early 1400s.\nThe sheer scale of this window is extraordinary. It is the largest expanse of glass in the minster and one of the biggest in Europe. All designed and created by one artist, John Thornton. Its subject is no less than the beginning and the end of the world representing in its huge number of panes scenes from Genesis and from the Day of Judgement. As such, it can be easily interpreted as a form of immersive storytelling for audiences of the late middle ages.\nYou can imagine the multi-sensory aspects of this experience: the design and shape of the space would have been critical to its impact on the audience, with light flooding in from the east. With dust and smoke in the interior, and the sound of a priest\u2019s sermon and choir reverberating around the vaulted ceilings, even by today\u2019s standards it would be pretty immersive.\nSmoke and mirrors\nIn the late 18th century, the quirkily named phantasmagoria used \u2013 quite literally \u2013 smoke and mirrors along with magic lanterns, a form of early image projector, invisible screens and sound effects to create a theatrical performance.\nRecovered written accounts of the phantasmagoria are very interesting, as they link the rise in the use of magic lantern projections with the history of cinema. Via these immersive experiences, we get to the development of contemporary virtual reality devices.\nThe origins of phantasmagoria are associated with the work of German Johann Georg Schropfer who used magic lantern projections as part of monastic rituals \u2013 another form of immersive religious experience.\nParticipants would often fast for 24 hours prior to a performance and were greeted ceremoniously with drugged punch or salad. Skulls, candles and other monastic paraphernalia were used to set the scene. Accounts indicate that in these original performances three ghosts would be summoned, serving the monastic search for a deeper truth through contact with the spirit world.\nThis soon became popular entertainment, and the showman Paul Philidor produced elaborate shows for audiences in Vienna. Another was the Belgian Etienne-Gaspard Robertson in the first few years of the 19th century in Paris. He would use three moving magic lanterns behind a transparent screen, accompanied by elaborate costumes and decorations and augmented with horrifying sounds, to inflict terror upon his audience. With the growing Victorian interest in all things gothic, phantasmagoria performances spread to England where they were delivered alongside seances to deceive, terrify and manipulate their audiences.\nSome of the mechanics of today\u2019s immersive experiences can be found in these early examples. The use of a projection system is common to phantasmagoria and to contemporary cinema.\nHead-mounted displays seen in modern VR systems can be first seen in the stereoscopic imagery of the View Master, which dates back to the 1930s and is still available in children\u2019s toy shops today.\nFrom the 1950s, different cinematic techniques were introduced, including 3-D cinema using stereoscopic glasses, an approach that still captivates audiences to this day \u2013 the 3-D film Avatar is among the most financially successful movies of all time. I remember one of my first immersive experiences was watching How the West Was Won in the 1960s on a Cinerama screen \u2013 where a film is projected onto a giant, curved screen that provides an immersive experience via the wrap-around effect of the huge screen on the viewers\u2019 field of view.\nSo the current obsession with immersive virtual and augmented reality experiences will continue \u2013 we love our illusions and the stories that go with them. But we should not forget that to be swept away and out of the present by an immersive story is a timeless human desire, that\u2019s origins go back as far as we do.", "id": "<urn:uuid:58c89340-146b-4268-b0cf-dc2feea6f838>", "dump": "CC-MAIN-2021-17", "url": "http://msensory.com/a-brief-history-of-immersion-centuries-before-vr/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038878326.67/warc/CC-MAIN-20210419045820-20210419075820-00615.warc.gz", "language": "en", "language_score": 0.9594563245773315, "token_count": 1067, "score": 3.515625, "int_score": 4}
{"text": "One of the key skills children must develop before they learn how to read is phonemic awareness\u2014 being able to hear and manipulate the sounds that make up words.\nPhonemes are the smallest units of sounds that can change meaning -- if you switch the middle vowel sound in hat, everything shifts from definition to part of speech and usage.\nA child with phonemic awareness knows that sat is made up of three distinct sounds. They may also realize that sat and bat end in a similar sound and that hat and heart start with the same sound.\nIt is the recognition that language is made up of these sounds that is so important in reading.\nDeveloping language and sounds\nJust as written language is composed of letters of the alphabet, phonemes are the building blocks of oral language.\nA child begins learning the phonemes of his or her mother tongue from birth. In fact, babies are born with the ability to hear all of the sounds that make up the 6,000+ spoken world languages.\nHowever, by the time they are 1-year-old monolingual children have tuned their ears to the sounds around them.\nBabbling prepares them for speaking; they practice making sounds until they are ready to string them together into words and coherent utterances. As their vocabulary grows, kids begin to develop phonological awareness \u2013 of which phonemic awareness is a part, at home.\nNursery school and kindergarten help them hone their skills, including the ability to rhyme, count syllables and segment words into beginning, middle and end sounds.\nChildren acquire phonemic awareness through learning nursery rhymes, singing songs that contain phoneme strings like E-I-E-I-O in \u201cOld McDonald Had a Farm\u201d and being read stories that use alliteration or nonsense words for proper nouns.\nDr. Seuss books are a great example of books that play with phonemes by substituting sounds in and out in order to create long strings of similar sounding language such as \u201cHE, ME, He is after me. HIM, JIM, Jim is after him,\" from Hop on Pop.\nClapping hands and banging on drums supports counting the syllables in words and tasks such as providing a starter word and having kids come up with words that rhyme are commonly used to test for phonological awareness.\nTIP: Did you know Dr. Seuss books also commonly contain vocabulary from the Dolch List? The Dolch List is a set of high frequency terms that are found in printed material for children. Building familiarity with these words can help children recognize them by sight, which reduces the cognitive load for beginner readers. Learn more in teaching Sight Words.\nUnderstanding how spoken language works helps children prepare for learning the alphabet and developing strong phonics skills, so they can map sounds to letters in order to decode words in reading. It also supports early spelling skills.\nIt\u2019s not surprising then that researchers have identified phonemic awareness as the single most important factor in the success of a child who is learning how to read. It also explains why some individuals, including children with dyslexia, struggle when it comes to reading.\nAdditional pre-literacy skills\nIn addition to manipulating phonemes, there are six pre-literacy skills that can support early reading efforts in children. It\u2019s important to foster a love of reading and familiarity with how books work.\nParents can do this by reading to children from the day they are born \u2013 learn more about motivating kids to read. It\u2019s also crucial to help children expand their oral vocabulary, as it is easier to read a word you already know. Ensuring a child is exposed to examples of print, teaching them the alphabet, and practicing narrative through sequential storytelling also prepares children for reading.\nLearning to read\nReading instruction starts by teaching kids to sound out one word at a time. Repeat exposure to this word will eventually help the child recognize it by sight. The more vocabulary children recognize, the less cognitively demanding reading becomes, as they only need to decode unfamiliar terms.\nChildren acquire most of their vocabulary through reading when they take a guess at the meaning of an unknown word using contextual clues. As their vocabulary grows and they recognize more words, they become faster and more adept at understanding meaning, including the gist, main ideas and specific details of a text.\nLearn more about teaching children to read.\nWhen phonemic awareness is complicated by a specific learning difficulty, it is important to reinforce phonics skills through targeted training.\nThe Touch-type Read and Spell program teaches touch-typing in a dyslexia friendly way by presenting individual letters on the screen, playing the corresponding sound or word aloud, and showing users how to type the correct key(s).\nMulti-sensory learning reinforces sound-letter mapping and the course includes Dolch Words to build familiarity with common vocabulary. It\u2019s also possible for kids to repeat modules until they are comfortable with the material covered and ready to move on. This process enhances spelling skills and facilitates sight reading at the same time.\nDo you have any tips on teaching phonemic awareness? Join the discussion in the comments!", "id": "<urn:uuid:24da6881-56f3-48ef-a254-c21393741738>", "dump": "CC-MAIN-2021-17", "url": "https://www.readandspell.com/us/teaching-phonemic-awareness", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038057142.4/warc/CC-MAIN-20210410134715-20210410164715-00574.warc.gz", "language": "en", "language_score": 0.9628821015357971, "token_count": 1061, "score": 3.953125, "int_score": 4}
{"text": "SHOW AND TELL\nBring a picture of a service profession, police officer, nurse, or teacher.\nTopic: Service Professions\nWe\u2019ll learn about such adult work as those professions we normally call \u201cpublic service\u201d. It includes teachers, mayors, garbage collectors, librarians, and police officers.\nThe value we\u2019ll be studying is humility, and we\u2019ll do our very best every day.\nFor safety, we talk about being water-safe kids and sunburn.\nOutside, we\u2019ll be playing Red Light/Green Light.\nThe songs we\u2019ll be singing are Getting to Know You, It\u2019s a Small World, Happy Talk, Singing in the Rain, and Catch a Falling Star.\nFor creative dramatics, we\u2019ll be police officer and lost child.\nOur art activities will be firefighter hats, police vest and badge, and driver\u2019s license.\nFor motor development, we\u2019ll be working on stamina with jumping jacks and running in place. For body movement, we\u2019ll be working on vestibular function with snake rolls and dizzy izzy.\nTIPS FOR STORYTELLING\nWhen we did the coffee klatches, one of the ideas to increase self-management was to encourage your child to tell stories. Here are some additional ideas from Lory Britain, Ph.D., in her book I\u2019m Happy-Sad Today: Making Sense of Mixed-Together Feelings. Across cultures and throughout history, storytelling connects people and communicates values, traditions, and beliefs. When storytelling is valued, children who hear stories are inspired to tell their own.\nToday our children are bombarded with media-driven stories and images. Yet with purpose and intent, we can encourage children to be storytellers and to share stories from their hearts. Places that ensure a positive storytelling experience include bedtime, car rides, sitting under a tree, mealtimes, family gatherings, and a cozy chair. Here are some tips to help inspire storytelling:\n- Value real and imaginary stories. Stories from everyday events and from children\u2019s imagination are worthy of being told.\n- Use open-ended questions. When encouraging children to begin and expand their stories, ask open-ended questions such as, \u201cWhat happened after the gate was left open?\u201d or \u201cWhat did the chickens do after they got out?\u201d\n- Honor children\u2019s drawings. Ask them about their pictures with open-ended questions and statements such as, \u201cTell me about how the girl climbed the hill,\u201d or \u201cWhat happens after she is on top of the hill?\u201d\n- Help children express feelings. Help children express feelings by asking them questions such as, \u201cAnd how did you feel about _____?\u201d or \u201cWhat feelings did the dragon have when it _____?\u201d\n- Collect story-starter pictures. Keep a file of pictures that will inspire children to tell their own stories about something similar or to begin an imaginary story. Collect pictures of everyday events, such as a child riding a bike, or of common sights, such as a fallen tree. A simple question like, \u201cI wonder how this child learned to ride a bike?\u201d or \u201cWhat would the tree say to the flower after it fell over?\u201d can get stories started.\n- Ask questions about everyday events. Encourage children to share about events and feelings that happen every day. This is also a good memory enhancer.\n- Bring in something from nature. Sharing a rock or a leaf or a twig can be a story-starter. Share where and how you found the object and tell a story about how it came to be.\n- Introduce story-starter phrases. For example, \u201cIf I were a _____, I would _____.\u201d Or introduce a \u201cproblem,\u201d such as, \u201cOnce there were two children who forgot to pick up their clothes and . . . \u201d or \u201cWhat would you do if _____?\u201d\n- Share wordless books. Some help children follow the sequence of story development, while others include a series of delightful scenes to encourage imagination.\n- Encourage explaining. Children can make a story based around explaining how an object (or even a recipe) is made or how to perform an action such as sweeping or building a block house.\nImagine talking objects. Imagine that an object such as a piece of furniture or a tricycle can talk. What stories would your dog tell?\nFor Your Information\nStormy Weather \u2013 In the event of bad weather our school follows Spring Branch ISD if you hear that Spring Branch is closing our school will also be closed. When possible we will post a notice on our website and our Facebook page.\nExtra Clothes \u2013 our supply of extra clothes is limited if your toddler or older child has outgrown their clothes consider on donating them to the school. We are in need of boy and girl pants, shorts.\nSafety Drill \u2013 You may have noticed the sign in the foyer stating that we\u2019ve had a safety drill in reality it\u2019s an intruder drill, things we can do in the event an unwelcomed person enters the school. The key word that we are using is \u201cearthquake\u201d so your child may come home saying we had an earthquake drill.\nToddler Class \u2013 By 8:50 each morning the toddlers are gearing up for the start of class and the teachers are putting all of their attention with the children, many times parents arriving after class time has started need to speak with their child\u2019s teacher but with 18 little ones this is not the ideal time to engage the teacher in conversation. We would like to try having parents indicate their desire to speak with the teacher by speaking with Mr. Warren or Ms. Belinda and a follow up phone all will happen around nap time.", "id": "<urn:uuid:f0233588-7c9b-4bfb-aa91-ac5ed9ae90fc>", "dump": "CC-MAIN-2021-17", "url": "http://montessorimorningglory.com/05-10-19/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038098638.52/warc/CC-MAIN-20210417011815-20210417041815-00492.warc.gz", "language": "en", "language_score": 0.9569682478904724, "token_count": 1236, "score": 3.734375, "int_score": 4}
{"text": "WELCOME BACK TO SCHOOL!\nThis term our topic will be \u2018Invaders and Settlers\u2019\nWe will start by looking at the text \u2018Who Let The Gods Out\u2019 which was sent home for the children to read during Lockdown. We will be using this book to stimulate some drama activities and creative writing.\nThen, using our class text, Beowulf by Michael Morpurgo, we will immerse ourselves in the writer\u2019s style, analysing and unpicking his sentence structures and language used to invent our own pieces of writing. We will then move onto looking at other texts, linked to our topic on The Vikings, where possible.\nWe will be following a new scheme of work for whole class reading called \u2018Pathways to Read\u2019 and the children will access this daily. Already, the children are showing enjoyment in what they have read and progress in their inference skills.\nWe begin the term by building on the children\u2019s knowledge and understanding of place value and in particular, their ability to reason and problem solve around the topic area.\nThe children will then move onto addition and subtraction. The children will apply the formal methods of addition and subtraction to numbers with up to 5 digits.\nIn the next unit on graphs and tables, the children will build on statistics work from years 3 and 4. The work covered will also allow children to apply their knowledge of place value and number operations to solve simple problems based on the data presented in tables and line graphs. Children will look at examples of line graphs and dual line graphs. For the first time, children will also make, complete and interpret two-way times tables.\nAll children will continue learning their times tables up to 12\u00d712.\nOur topic this term is Invaders and Settlers. We will learn all about the raids and invasions by Vikings in Anglo-Saxon Britain. The children will learn who the Vikings were as well as when and where they raided and settled. They will learn about significant events from the period and order these chronologically on a timeline. The children will find out about the Anglo-Saxon kings who ruled during the \u2018Viking Age\u2019 and examine their influence and significance in British history. The children will also have the opportunity to learn about different aspects of everyday Viking life. They will explore the types of houses that the Vikings lived in, what clothes they wore and even what types of food they ate.\nThis term, our Science topic will be \u2018Properties and changes of materials\u2019. Children will compare and group together everyday materials on the basis of their properties, including their hardness, solubility, transparency, conductivity (electrical and thermal), and response to magnets. They will also be experimenting to find out which materials dissolve in a liquid to form a solution, and will find out how to recover a substance from a solution.\nThe children will continue to experience lessons taught through our music scheme, \u2018Charanga\u2019. Some children will also access music lessons through Love Music Trust after half term.\nArt Design and Technology\nThis term the children will be making Viking shields, longboats and jewellery.\nThe children will continue to use ICT as part of their everyday lessons; however, this term we will be looking at designing, writing and debugging programs to accomplish specific goals. The children will be able to explain how some simple algorithms work, and be able to detect and correct errors. The children will continue to learn about online safety.\nWe have started off this academic year by looking at the book \u2018Here We Are\u2019 as part of our transition work back into school. During this term the children will also learn how to recognise their worth as individuals and develop their ability to face new challenges positively. Anti-bullying week is held from 16th-20th of November with a theme being, \u2018United Against Bullying\u2019 and we will be looking at diversity and respect later on in this term.\nThis term we will be starting by looking at how different religions use sacred books. We will be concentrating on Islam, in particular.\nThe children will also be learning about Values and Beliefs for Christians and Harvest. They will be comparing these to their own values and beliefs as well as looking at what is important to them. We will also be learning about Christian charities and Christmas.\nThe children will take part in two P.E lessons a week. Monday\u2019s lesson will be netball skills, followed by football skills after half term. Your child is expected to come to school in their outdoor P.E. kit on this day. Swimming will be on Friday afternoon. Your child is expected to wear their swimwear under their outdoor P.E. kit on a Friday and bring their swimming hat, towel and underwear in a bag to change into. All children should be collected from Congleton Leisure Centre at 3pm unless you have informed school that you would like your child to be walked back to school.\nAll children are expected to read to an adult for 20 minutes every day. Planners will remain in school so the children are expected to write down each morning what they have read the night before. Spellings and times tables should be practised daily for 10 minutes. Spellings will be given out on a Monday to parents via Class Dojo and all children will be tested on a Friday. Maths and English/Topic homework will be set on a Friday with the expectation that it will be completed by the following Wednesday. All tasks will be sent by Class Dojo and the expectation is that it will be returned on Class Dojo too.\nModern Foreign Language \u2013 French : No French will be taught this term due to school priorities at this time.", "id": "<urn:uuid:32a54af6-f46e-41eb-bd3f-5ed7d2955853>", "dump": "CC-MAIN-2021-17", "url": "http://marlfieldsprimary.co.uk/theschool/classes/class-5/class-5-autumn-term/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039560245.87/warc/CC-MAIN-20210422013104-20210422043104-00534.warc.gz", "language": "en", "language_score": 0.9627366065979004, "token_count": 1175, "score": 4.125, "int_score": 4}
{"text": "The plot is the sequence of events in a story.\nLess experienced readers often read only for plot; better readers also consider what revelations about life or character are presented by means of the plot.\nPlot, therefore, is often best studied in terms of its function or its relationship to the total meaning of the story.\nThe analysis of the central conflict of a story is often very helpful in determining what is really at issue in the story.\nIn most stories:\n- The main character, the protagonist, has a certain motivation or goal, but obstacles arise which may prevent the protagonist from achieving this goal.\n- Conflict results. Forces working against the protagonist are called the antagonists.\n- The conflict that results may be both internal and external for the protagonist and may result in a dilemma (a situation where one must choose between two equally undesirable courses of action).\n- As the suspense builds, the writer may plant clues to forecast the ending. This technique is called foreshadowing.\nWhat Goes into a Plot?\nIt's not always a straight line from the beginning to the end of a story.\n- Exposition: It is the information needed to understand a story. It is an introduction that includes the setting\u2014time and place; introduces main characters; provides background information; sets scene; establishes potential for conflict. (no action)\n- Rising point: It is the point at which the exposition ends and the first action begins; it is the catalyst that begins the major conflict.\n- Complication or Rising events/action or Action Dynamics: It is a series of events that lead to the climax. Characters engage in conflicts; antagonism is heightened.\n- Climax: It is the major event of the story, the problem itself; the turning point that occurs just before characters try to resolve the complication. It is moment of greatest emotional intensity, the highest point in the story where there is the most suspense, turning point.\n- Falling Events/Action: It is the set of events that bring the story to a close; the immediate consequences of the crisis.\n- Resolution/Denouement: the conclusion that includes unraveling of tensions; most questions answered; characters left to deal with consequences of conflicts. It is what happens at the end / closure. (no action)\nGood stories always have all the plot elements in them.\nReading Strategies and Literary Elements Transparency\nThe Elements of Plot Development\nPage Created on September 8, 1998\nLast updated on April 1, 2009\nCopyright \u00a9 1998/2009 by Nada Salem Abisamra\nUniversity Projects || Nada's\nSecond Language Acquisition || Teaching Culture || Teaching Reading || Teaching Writing || Teaching Idioms\nAffect in Language Learning: Motivation\n\"Error Analysis: Arabic Speakers' English Writings\"\nBack to Nada's ESL Island", "id": "<urn:uuid:29ea8e74-f2bc-4ca5-a409-06771c224eb4>", "dump": "CC-MAIN-2021-17", "url": "https://nadabs.tripod.com/literature/plot.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00255.warc.gz", "language": "en", "language_score": 0.9286837577819824, "token_count": 575, "score": 4.34375, "int_score": 4}
{"text": "6 +1 TAKEAWAYS about the importance of storytelling in 21st century schools\nStories have always been present in every culture in our world. They have entertained us, provided information and, last but not least, taught us about the world and ourselves.\nSo why would we forget about the power and value of storytelling? And why would we neglect the importance of storytelling in formal education in the 21st century?\nBOOKR Class would like to suggest reasons why we should never overlook the benefits of storytelling in education and why new storytelling tools have become increasingly popular.\nWhat is the importance of storytelling in teaching?\nDespite the fact that we associate the benefits of storytelling in education to reading in the first language, it can provide equally exciting opportunities in second language learning.\nPROVIDES AUTHENTIC INPUT\nFirst of all, it provides authentic input with a great variety of linguistic elements, such as grammatical structures and vocabulary items. One might doubt this variety in graded readers, but these elements are just as diverse for language learners, as an original story is for a native speaker child. Therefore we can call the input authentic.\nFACILITATES LANGUAGE ACQUISITION AND IMPROVES READING COMPREHENSION\nSecondly, a story, fictional or non-fictional, enables the reader to make sense of the language items in context. For example new words, expressions or even grammatical structures and verb tenses. The reappearance of these language items in different sentences or situations enables encoding and memorisation. How many words can you recall that you\u2019ve learnt through reading stories, watching series or checking lyrics? Did you focus on them or was it simply incidental learning? Therefore, reading in a foreign language facilitates language acquisition at all levels. Understanding and interpreting the text and the linguistic items improves reading comprehension, too.\nHow to improve reading comprehension?\nRecommend books that your students can read for fun, include stories in your lessons or invent a project or reading challenge.\nRead our article and tips on How to make reading a habit.\nCheck out the BOOKR Class Catalogue of various graded readers and the Activity Tips in the Teacher\u2019s Dashboard.\nONE STORY CAN BE USED IN A VARIETY OF WAYS IN CLASS DEPENDING ON THE TEACHER\nWhat is the role of storytelling in a language class?\nLearning English through storybooks might seem unconventional, yet, they can be implemented to any classroom in many different ways. Some teachers prefer to study language items and structures through the text because students can understand the function of the items more easily. Others focus on receptive or productive language skills, such as reading and listening comprehension, or talking or writing about a story. A third group of teachers may prefer to focus on the content of the story. For example, teaching about Native Americans through myths, geography through an adventure book or about animals with the help of picture books. Therefore, you teach the language, you improve (language or soft) skills and you are also able to present factual knowledge of the world and different cultures at the same time.\n21ST CENTURY SKILLS ARE EASILY DEVELOPED WITH THE HELP OF NARRATIVES\nThis complexity is particularly important in the development and improvement of 21st century skills, such as communication and cultural competence. Most well-known stories originate from mythology and folklore of different cultures, and thus teach about cultural differences and aspects, history and values of the target language. Idiosyncrasies of different languages are visible through expressions and even at the level of words which can be more easily understood through storytelling and narratives.\nDid you know that the words \u2018silly\u2019, \u2018awkward\u2019 or \u2018cool\u2019 as an expression of approval only exist in English?\nDo your students know how to use these words? This is part of their cultural competence and intercultural communication skills. Without the cultural background and idiosyncrasies of cultures, languages cannot be transmitted fully. Knowing and understanding cultural aspects of the target culture is therefore essential in learning.What is more, through stories, students can learn about themselves, formulate personal opinions, analyse and judge the characters and situations. Through stories, students can become more empathetic, open-minded, critical or even more humorous. These qualities are necessary soft skills which are all related to emotional intelligence and global citizenship.\nSTORIES ENABLE DIFFERENTIATION IN AND BEYOND THE CLASSROOM\nAdvantages of the storytelling method include not only flexibility as a teaching material, but also that it can be easily tailored to age, level, pace and individual needs. It mainly depends on the teacher\u2019s choice of story, method and activities used in storytelling. Whether a classroom lesson, or books assigned as homework, differentiation is easily possible by choosing the convenient topic, complexity and length of the story for the students.\nThe depth of analysis depends on the teacher: if they want to study sentences, practice intonation and pronunciation, improve reading comprehension or simply read for fun for extra input and motivation. On the other hand, students can also benefit from this flexibility and freedom: they can interpret a story in different ways, they can relate to it or criticise it the way they like: a huge variety of language output is possible with the help of stories.\nSTORIES MAKE FACTUAL KNOWLEDGE MORE ACCESSIBLE\nContent and language integrated learning exploits the complexity of language learning, skills development and information content. A story about Benjamin Franklin\u2019s inventions and aspirations brings history closer to students. They gain knowledge of the era, the lifestyle of people, American history and the personality of Benjamin Franklin.\nAt the same time, they are provided with the opportunity to learn expressions related to physics and politics among others. It can be an introduction to a history or science lesson or even assigned homework after discussing some of the content of the digital interactive book in class.\nCheck out the digital interactive book of The Genius Benjamin Franklin.\n+1 DIGITAL INTERACTIVE BOOKS ENSURE STUDENT ENGAGEMENT AND MOTIVATION\nRecommending the most suitable books optionally accompanied by relevant activities can result in greater student engagement in reading in general. We believe that storytelling is eternal \u2013 it is only the platform and format that change. To answer the needs and preferences of students in the 21st century, digital interactive animated storybooks have gained popularity in the form of e-readers and most recently, as applications.\nWith the new generation of readers using technology like BOOKR Class, students can read authentic texts supported by narration and text highlighting, accompanied by illustrations and explanatory animation and sound effects. The features of these storytelling tools facilitate understanding and engagement and improve motivation. What is more, the games at the end spark intrinsic motivation and a genuine interest in the activities. Is there anything more important than that?\nCheck out the BOOKR Class website to learn more about high-quality digital interactive animated storybooks.", "id": "<urn:uuid:63e952d2-0f95-419a-b725-43aa51712553>", "dump": "CC-MAIN-2021-17", "url": "https://bookrclass.com/2021/03/01/importance-of-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00575.warc.gz", "language": "en", "language_score": 0.9281035661697388, "token_count": 1434, "score": 3.78125, "int_score": 4}
{"text": "Performing an experiment and collecting data is only part of a science project -- you must also present that data in a project report. This paper tells readers about your hypothesis, method and results, but it\u2019s not complete until you summarize what you discovered through your experiment. Your conclusion is one of the most important parts of your project. It shows readers what you learned and why it\u2019s important.\nIn the beginning of your project report, you probably asked a question, which led you to hypothesize that a particular result would happen through an experiment. In the conclusion, you answer this question. For example, if you asked, \u201cWhat makes one bubble solution better than another?\u201d you could have hypothesized that glycerin solution would produce better bubbles than regular dish soap. Begin your conclusion by restating this question and hypothesis. This opening of the conclusion, which should be two to three sentences long, reminds readers about your research question and provides a segue into discussing your results.\nAsk yourself what happened when you tested your hypothesis -- whether your experiment supported or contradicted your guess about what would happen. In the next part of your conclusion, tell the reader whether or not your hypothesis was correct based on your experiment results. You could write, \u201cThe experimental data confirmed my hypothesis because the glycerin solution produced bubbles nearly twice as large as the dish soap solution.\u201d While this section makes up the bulk of your conclusion, you want to summarize your results in as few sentences as possible because you assume your audience has already read the full discussion of your results previously in your paper. This summary serves to remind the reader about key results and to clearly and concisely say whether your hypothesis was proved correct or incorrect.\nWhat You Learned\nTell your readers about the success of your experiment. Even if your hypothesis was disproved, you discovered something new. In a couple sentences, point out the importance of your research or how your findings could benefit other budding scientists. For example, write, \u201cThrough this experiment, I learned that glycerin solutions produce better bubbles than dish soap. My results suggest that glycerin is an ideal additive to bubble solution.\u201d\nConsider whether your project had any shortcomings or if there would be a way to change the procedure to make it more efficient or accurate. Not all methods are perfect in science projects, so finish your conclusion with recommendations for replicating your experiment, in one paragraph or less. For example, if you used a pipe cleaner as a bubble wand in your experiment, suggest trying other materials to determine whether the wand makes a difference in the results. Also ask yourself whether your project left some questions unanswered, and suggest ideas for future research.\nAbout the Author\nCara Batema is a musician, teacher and writer who specializes in early childhood, special needs and psychology. Since 2010, Batema has been an active writer in the fields of education, parenting, science and health. She holds a bachelor's degree in music therapy and creative writing.", "id": "<urn:uuid:877a80ed-f0a6-4a79-87f6-9d5362b94d4f>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/how-to-write-conclusions-for-science-projects-12742066.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00616.warc.gz", "language": "en", "language_score": 0.9509570598602295, "token_count": 609, "score": 3.875, "int_score": 4}
{"text": "It\u2019s time for the second post in the Class Objects Revisited series and this time I will focus on class activities which make use of or are inspired by rulers. For those of you not familiar with my challenge, it is based on goal 13 \u201cMaking a Global connection\u201d featured in cycle 4 of Sherryl Terrel\u2019s 30 Goals Challenge. So, what can you teach with a ruler then?\n1) On a scale of 1-10, how\u2026? \u2013 Teaching numbers is an obvious activity when it comes to using rulers. Apart from number instruction though, a ruler provides a handy scale of 1-10 which you can use for speaking activities concerning your students\u2019 feelings/preferences/ ambitions/wishes etc.\n2) Comparisons \u2013 turning rulers into growth charts. If you manage to find a paper or fabric growth chart, you instantly have a great tool which you can use to introduce compartive/superlative forms. Ask your students to measure each other\u2019s height, compare their heights and finally find out who is the tallest in the class.\n3) Stop the action \u2013 Rulers as clapperboards (past simple vs. past progressive). This is a way of turning book-based grammar exercises into fun, class activities. Tape two rulers together so that they can look like a clapperboard. Now, split your class in pairs. Tell them that one of them will have to read and then act out the sentence they\u2019re working on. (eg. I __________ (walk) in the forest when I suddenly __________ (see) a green monster.) The second student will have to spot the word which denotes that the longer action is interrupted by a shorter one and correctly \u201cstop the action\u201d the moment that past simple should be used.\n4) Creative Writing \u2013 inspired by the story of Jack and the Beanstalk. Turn a paper ruler into a tree and tell your students to imagine that the different numbers indicate how close they are to achieving their dreams. Ask them to choose a number and then tell them that at the top of the tree there is a land where everything is possible. Looking at their number, they should write how far they are from getting there and what they would do so as to reach the top.\n5) Introducing vocabulary 1 (types of measurement). Rulers could also be used when presenting advanced vocabulary since they relate to measurement and change. Tape a ruler in the middle of your board and draw two circles on either side, then write the words measure and change in them. Create a mindmap of synonyms by asking your class to brainstorm synonyms for the two verbs.\n6) Introducing vocabulary 2 (education/types of power). Introduce the second meaning of the word ruler and show your class pictures of old school teachers (I mostly like those that come from Pink Floyd\u2019s film \u201cThe Wall\u201d -you could also work on Floyd\u2019s song \u201cAnother brick in the wall\u201d.) Relate rulers to strict classroom environments, explain how educational paradigms have changed and introduce words like corporal punishment, discipline, rigidity, obedience etc.\n7) Chain story on the wall. Instead of writing a chain story on a piece of paper, students can tape a strip of paper on the back of their ruler and write their sentences there. Then, you can tape all rulers on construction paper and have your own story artwork!", "id": "<urn:uuid:5b1b1f8c-50bd-42b2-9e9f-41f005dc6798>", "dump": "CC-MAIN-2021-17", "url": "https://mariatheologidou.com/2014/01/12/class-objects-revisited-pt2-what-can-you-teach-with-a-ruler-only/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00175.warc.gz", "language": "en", "language_score": 0.9523187279701233, "token_count": 715, "score": 4.1875, "int_score": 4}
{"text": "The term \u201clandform\u201d encompasses all of the geological features on our planet. For example, continents, valleys, canyons, sand dunes and mountains all qualify as landforms. In addition, bodies of water, such as oceans and lakes and water-related landscapes, such as bays and peninsulas, are also landforms. Aside from being part of a continental landform, the United States is covered in geographical features.\nThe Appalachian Mountains may be some of the oldest mountains on earth. The segmented chain of landforms cuts across the eastern side of North America, including U.S. states such as New York, Pennsylvania, Connecticut and Alabama. The highest range is the Blue Ridge Mountains, and the highest peak is at Mount Mitchell.\nThe Rocky Mountains are a mountain range that passes through the western states, such as Utah and Colorado. The Rockies are taller, steeper and craggier than the Appalachians because the western mountains are not old enough to have experienced the same amount of wearing by the elements. Yellowstone National Park and Royal Gorge are examples of the various tourist attractions that are set in the Rocky Mountains.\nGreat Salt Lake\nUtah is home to Great Salt Lake, one of the world\u2019s largest terminal lakes. Several nearby rivers empty minerals into the lake, increasing its salinity level. No fish live in Great Salt Lake, but species of shrimp and algae can endure the salty waters.\nAt its broadest point, the Grand Canyon is 18 miles wide. The chasm, which is nearly 280 miles long, was formed by the Colorado River. Before becoming a National Park in 1919, the Grand Canyon was a Forest Reserve and National Monument.\nGreat Plains are predominantly low, flat lands that expand through states such as Nebraska and Kansas. Much of Tornado Alley, an area frequently visited by twisters, falls in the Great Plains.\nThe Mississippi River stretches from Lake Itasca to the Gulf of Mexico, passing through many states, such as Missouri and Kentucky, along the way. The Mississippi National River and Recreation Area encompasses more than 70 miles of the river\u2019s corridor.\nMojave Desert & Death Valley\nThe Mojave Desert is the hottest desert in the U.S. The desert spreads across Nevada, Utah, Arizona and California. You can find Death Valley National Park in the Mojave Desert. The lowest point in the valley is nearly 300 feet below sea level, making it the lowest point in the U.S. Temperatures in the desert have reached 134 degrees Fahrenheit.\nAbout the Author\nMitch Reid has been a writer since 2006. He holds a fine arts degree in creative writing, but has a persistent interest in social psychology. He loves train travel, writing fiction, and leaping out of planes. His written work has appeared on sites such as Synonym.com and GlobalPost, and he has served as an editor for ebook publisher Crescent Moon Press, as well as academic literary journals.\nrocky mountain national park,rocky mountains,mount image by Earl Robbins from Fotolia.com", "id": "<urn:uuid:d6d7368b-8207-4177-b14c-95e74f59a234>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/important-landforms-7687175.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00615.warc.gz", "language": "en", "language_score": 0.9510830044746399, "token_count": 624, "score": 3.703125, "int_score": 4}
{"text": "- What linguistic means?\n- What is duality in language?\n- What is linguistic creativity and why is it important?\n- What is a creative approach?\n- Why is language a creative act?\n- What is language creativity?\n- What does creativity or a creative aspect of language imply?\n- What are the features of human language?\n- Why is language special?\n- Are animals capable of language?\n- What is English creative writing?\n- What do you mean by linguistic competence?\n- How is language creative?\n- How is language unique?\n- What makes human language special?\nWhat linguistic means?\nLinguistics is the scientific study of language, and involves an analysis of language form, language meaning, and language in context.\nLinguists traditionally analyse human language by observing an interplay between sound and meaning..\nWhat is duality in language?\nDuality of patterning is a characteristic of human language whereby speech can be analyzed on two levels: As made up of meaningless elements; i.e., a limited inventory of sounds or phonemes. As made up of meaningful elements; i.e., a virtually limitless inventory of words or morphemes (also called double articulation)\nWhat is linguistic creativity and why is it important?\nThe Linguistic Creativity: Language comprehension plays a crucial role during the adulthood in one\u2019s routine life. It depends on the ability to correctly process word and phrase meanings, sentence grammar, and text structure whether the language is spoken or written.\nWhat is a creative approach?\n1 having the ability or power to create. 2 characterized by originality of thought or inventiveness; having or showing imagination. a creative mind. 3 designed to or tending to stimulate the imagination or invention.\nWhy is language a creative act?\nWhy is creativity important in language classrooms? Language use is a creative act: we transform thoughts into language that can be heard or seen. \u2026 By giving learners creative exercises, we get them to practise an important sub-skill of using a language: thinking creatively.\nWhat is language creativity?\nLinguistic creativity is primarily the activity of making new meaning by a speaker (in the. broadest sense of the user of language in all forms and in all mediums), and the re- creation and re-interpretation of meaning(s) by a receiver. Linguistic creativity is secondar-\nWhat does creativity or a creative aspect of language imply?\nThe notion of creativity has been used by many theorists to describe that aspect of language which enables a language user to use language in a novel way or to devise new forms of language. Chomsky especially uses the \u201ccreative aspect of language use\u201d to describe the innovative uses of language.\nWhat are the features of human language?\nLanguage can have scores of characteristics but the following are the most important ones: language is arbitrary, productive, creative, systematic, vocalic, social, non-instinctive and conventional. These characteristics of language set human language apart from animal communication.\nWhy is language special?\nOne reason language is special is that it is a universal form of human creativity. All humans are creative when it comes to talking. There is no human trait more pervasive, or more valuable, than language. It is capable of expressing all of human thought.\nAre animals capable of language?\nResearchers say that animals, non-humans, do not have a true language like humans. However they do communicate with each other through sounds and gestures. Animals have a number of in-born qualities they use to signal their feelings, but these are not like the formed words we see in the human language.\nWhat is English creative writing?\nCreative writing is any writing that goes outside the bounds of normal professional, journalistic, academic, or technical forms of literature, typically identified by an emphasis on narrative craft, character development, and the use of literary tropes or with various traditions of poetry and poetics.\nWhat do you mean by linguistic competence?\nLinguistic competence is the system of linguistic knowledge possessed by native speakers of a language. It is distinguished from linguistic performance, which is the way a language system is used in communication.\nHow is language creative?\nLanguage is a creative system because it is a means of expressing an infinite number of thoughts and ideas and can react in an infinite number of ways to new situations (Coppock). Creativity is located within the individual but only in a fashion which can be understood by all.\nHow is language unique?\nResearchers from Durham University explain that the uniquely expressive power of human language requires humans to create and use signals in a flexible way. They claim that his was only made possible by the evolution of particular psychological abilities, and thus explain why language is unique to humans.\nWhat makes human language special?\nWhat is special about human language? Human language is distinct from all other known animal forms of communication in being compositional. Human language allows speakers to express thoughts in sentences comprising subjects, verbs and objects\u2014such as \u2018I kicked the ball\u2019\u2014and recognizing past, present and future tenses.", "id": "<urn:uuid:4f322065-27d8-44ff-9eb4-a5a832d35142>", "dump": "CC-MAIN-2021-17", "url": "https://isogamcity.com/qa/how-is-human-language-creative.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00175.warc.gz", "language": "en", "language_score": 0.943732500076294, "token_count": 1054, "score": 3.609375, "int_score": 4}
{"text": "Research & Action Report Spring/Summer 2003\nMaking mathematics interesting to young children has been an ongoing challenge faced by parents, teachers, and other education professionals for years. The problem is that children are asked to do abstract mathematical activities that have little intrinsic meaning for them. As a result, children often remain disengaged. Even the attempts to bring in \u201crelevant\u201d or \u201creal world\u201d examples\u2014such as how many cookies each child will get or how long would you have to wait in line\u2014are still not compelling enough to engage a young mind.\nThe answer may lie in the ancient art of storytelling. Experts have begun to realize that in order to place mathematics in a meaningful\ncontext, the material should be rich in such dramatic elements as character development, plot, surprise, conflict, and suspense. This is where storytelling comes in.\n|Casey and her team of scholars and elementary-school teachers developed |\nthe six-book series \u2018Round the Rug Math: Adventures in Problem Solving, published in 2002 by\nWCW researcher Sumru Erkut heads a team evaluating innovative supplementary mathematics materials that were developed by Beth Casey and colleagues in the Lynch School of Education at Boston College. These materials, which combine oral storytelling with the teaching of math, had their origins in a study group on gender equity inmath and science that met at the Wellesley Centers for Women when Casey was a WCW visiting research scholar. The study group\u2019s interest\nin equity in math and science education was coupled with Casey\u2019s Boston College colleague Michael Schiro\u2019s experience in storytelling in early math education to produce a successful grant application to\nthe National Science Foundation.\nWith support from the grant, Casey and her team of scholars and elementary-school teachers developed the six-book series \u2018Round the Rug Math: Adventures in Problem Solving, published in 2002 by Wright Group/McGraw-Hill. The \u2018Round the Rug Math program introduces mathematical thinking through storytelling and puppetry. Children are encouraged to help the characters in the story solve problems that confront them during their adventures. \u201cWhen the reason for solving a\nmathematical problem is intertwined with young children\u2019s fascination with fantasy as well as their love of being playful, then they will put all their energies into solving the mathematical problem,\u201d says Casey. Different stories in the series teach different skills. For example, \u201cFroglets Do the Measuring\u201d helps develop estimation skills and the concept of length.\u201c Sneeze Builds a Castle\u201d fosters an understanding\nof spatial relations through block building. The math becomes more complex as the stories evolve. Throughout, children are active learners as they help characters solve their problems. In addition, the stories draw on themes from many cultures, making them meaningful and accessible to all.\nThe evaluation team is assessing the effect of the \u2018Round the Rug Math program on children\u2019s math skills and on their interest in math.\nThey are conducting a field experiment in 16 kindergarten classrooms in urban and suburban school systems that have large minority populations. Classrooms are randomly assigned to either control or implementation conditions. Teachers in the implementation classrooms supplement their regular math curriculum with \u201cTan and the Shape Changer\u201d from the \u2018Round the Rug Math series; teachers in the control classrooms teach only the regular math curriculum. Pre- and post-test assessment tools include the triangles subtest of the Kaufman ABC battery and a measure to gauge interest in math by choice of activity during free-play time in class. Erkut, the principal investigator for the evaluation, says: \u201cOur hypothesis is that kindergartners who have participated in the implementation classrooms will not only show greater gains in geometry, they will select \u201cshapes\u201d for free play more often\nin the post-test than will kindergartners in the control classrooms.\u201d\nSo far 230 Kindergartners from varying cultural and economic backgrounds have been interviewed. The evaluation will continue until the end of July 2003 to assess the persistence of skills and preferences over time. In the end, combining age-old storytelling and teaching mathematical concepts may be one of the answers for which educators and parents have been searching.", "id": "<urn:uuid:168851c3-4848-404f-9c14-1d232fc4f6a3>", "dump": "CC-MAIN-2021-17", "url": "https://www.wcwonline.org/Research-Action-Report-Spring/Summer-2003/add-drama-multiply-interest-a-new-way-to-teach-math", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039508673.81/warc/CC-MAIN-20210421035139-20210421065139-00015.warc.gz", "language": "en", "language_score": 0.9535588026046753, "token_count": 863, "score": 3.515625, "int_score": 4}
{"text": "Francena Elyne March 16, 2021 Worksheets kindergarten\nLetter Tracing- Both NO PREP alphabet worksheets and reusable Write & Wipe printables to help children practice forming their letters.Also printable alphabet letters to practice forming letters with Duplo, playdough, candy, and more.; Phonics Practice \u2013 Fun activities to help kids practice identifying the sound letters make.You\u2019ll love our hugely popular letter of the day hats, clever themed. Find a variety of Alphabet Printables to use with your Pre-K, Preschool, or Kindergarten class. These printables include Letter Cards, Letter Tiles, Large Letter Outlines, and Bingo Dot Marker pages. Worksheets are not included here, Printable a-z alphabet letters for children to cut out including coloring and tracing letters. Suitable for usage with kids activities, toddlers, kindergarten, preschool crafts, and anything else that you can think of. Print Alphabet Outline Letters. Printable Full Page Letters of the Alphabet. Bubble Letters in Printable Format.\nPreschool worksheets age 2. Worksheets for toddlers Age 2 and Preschool Worksheets. An appropriate person isn\u2019t identified exclusively by his right clothes or with an excellent family. At any moment, someone is going to have several things he wants to achieve in regards to long term and short term. There are a lot of means. Beyond the usual age appropriate reading, writing and math exercises \u2014 all of which were designed by professional educators \u2014 our preschool worksheets teach kids everything from sorting techniques and the five senses to feelings and emotions. Make learning engaging for pre school age kids with over 3000 pages of free pre k worksheets, preschool games, and fun activities for teaching alphabet letters, preschool math, shapes, counting, phonemic awareness, visual discrimination, strengthening fine motor skills, and so much more. worksheets for toddlers age 2 \u2013 Coloring Kids. worksheets for toddlers age 2. 3 Year Old Activities Toddler Learning Activities Educational Activities Book Activities Preschool Activities Preschool Books Children Activities Shapes Worksheet Preschool Lesson Plans For Preschool\nPrime numbers worksheets. Students are given a list of numbers up to 50 or 100 and asked to identify the prime numbers. No hints, trees or method is given. Printable math worksheets from K5 Learning; no login required. Prime and Composite Numbers \u2013 Wonderopolis. COMPOSITE NUMBER: A whole number that has two or more factors. Example: 8 is considered composite because it has more than two factors that when multiplied together will equal 8. 1 x 8 and 2 x 4 both equal 8 The following chart lists all of the prime and composite numbers from 1 to 100. Prime & Composite Numbers 2 On this printable worksheet, your students list all of the factors of a given number. Then they tell whether the number is composite or prime. The number 1 has only one factor so 1 is not a prime number. Composite Numbers. A natural number that has more than two factors is called a composite number. In other words, a composite number has factors in addition to one and itself. All even numbers are divisible by two and so all even numbers greater than two are composite numbers. All.\nPreschool portfolio printables. A portfolio is a collection of a student\u2019s work that represents a sample of his performance and provides a way to monitor his progress over time. You can help a kindergarten student create a portfolio with these printables, starting, of course, with a cover page. Slide the pages into sheet protectors as the student completes each one, and put. You can get all the assessment pages, portfolio pieces and teacher data pages in Preschool & Kindergarten Portfolio & Assessments BUNDLE! To start, I have a crate to keep ALL my student work samples and assessments in. This avoids pages piling up all over the room. I also have my student assessment binder. Aug 8, 2019 \u2013 Explore jacquelinekayy\u2019s board \u201dPreschool Portfolio\u201d, followed by 223 people on Pinterest. See more ideas about Preschool, Preschool portfolio, Preschool learning. In our portfolios, I include anecdotal notes, photographs, art, stories, and other samples of children\u2019s work.I take photos of children building with blocks, participating in science explorations, dramatic play, pretend-reading a story, etc. and attach it to a page along with a description of what the child was doing and quotes of things the child said while engaged in the activity.\nA free printable art worksheet for a painting tutorial on value. Image: \u00a92006 Marion Boddy-Evans. Licensed to About.com, Inc. A collection of free art worksheets for various painting exercises. Details of the painting exercise each art worksheet is intended for can be found with the worksheet. Free Printable Art Worksheets. My favorite go-to art lessons come from the Art Appreciation Worksheet Bundle. It\u2019s as easy as 1, 2, 3! 1. Pick an artwork 2. Print one of the Art Appreciation Worksheets 3. Watch with joy as your students connect with and interpret art Days of the Week Download Modernize The Advertisement Download Exploring Geometric Shapes Download Designer Face Masks Download How to Make a Hexa-Hexaflexagon Download How to Divide a Circle into 7 Equal Parts Download How to Create a Circle Design With Sixfold Symmetry Download How to Make a Stomachion Download How to Make a House Booklet \u2026 Apr 30, 2012 \u2013 Explore Pauline Cameron Weisz\u2019s board \u201dArt: Worksheets/Printables\u201d, followed by 1476 people on Pinterest. See more ideas about Art lessons, Art handouts, Art worksheets.\nPreschool spelling worksheets. Spelling Practice Worksheets for Preschool Printables. Download Spelling Practice Tracing worksheets and printables Kids educational preschool, kindergarten and grade school for kids. Preschool Spelling Curriculum Sequence. In preschool, spelling words start with basic two-letter words. For example, a good starting point for preschoolers would be: AT, ME, BE, and IT. Children then start to expand the list by working through \u201cword families\u201d. From AT, in preschool spelling, the curriculum, worksheets, and then spelling. Preschool Spelling Resources. Preschool focuses on pre-writing: ABCs, vowel sounds and simple words. Prep for writing success with these worksheets that focus on letter recognition, word-building and a bit of storytelling. Preschool. Reading & Writing. I am a Christian mother of four, with over 13-years experience homeschooling in Southern Oregon. The resources and products I create are designed to keep the prep to a minimum while also bringing a little educational fun to your classroom\nTag Cloudprimary one math worksheets for free mixed multiplication and division fraction addition and subtraction problems cpt math practice test enter algebra problems and get answers multiple choice quiz maker large sheets of graph paper dads homework sheets adding and subtracting fractions with like and unlike denominators worksheets math play decimals", "id": "<urn:uuid:6aa846cc-6ed4-4c07-8e99-dbd90dea2eb1>", "dump": "CC-MAIN-2021-17", "url": "https://stopthetpp.com/21nGZo68/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00537.warc.gz", "language": "en", "language_score": 0.9073116183280945, "token_count": 1485, "score": 3.578125, "int_score": 4}
{"text": "Zora Neale Hurston has come to be regarded as an experienced writer in both African American literature and women\u2019s literature, for her use of literary elements such as symbolism, motifs and imagery. One of Hurston\u2019s most celebrated novels is Their Eyes Were Watching God, in which she uses many examples of symbolism such as the mule, Janie\u2019s hair, and the pear tree to illustrate to the readers the many trials of which her characters overcome.\nZora Neale Hurston utilizes symbolism in Their Eyes Were Watching God to portray Janie Crawford as a character who realizes that, through hard work and perseverance, one may find out who he or she really is on the inside rather than the imperfections on the outside.\nIn the beginning of Their Eyes, Hurston cleverly uses a pear tree as one of her many uses of symbolism. Janie discovers this pear tree after she runs away from her grandma after she gave Janie the news of her marrying Logan Killicks.\nJanie makes a realization about the tree when she lies beneath it,\u201cShe was stretched on her back beneath the pear tree soaking in the alto chant of the visiting bees, the gold of the sun and the panting breath of the breeze when the inaudible voice of it all came to her. She saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister- calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight. So this was marriage! \u201d(Hurston 11).\nHurston, being an anthropologist understood the relationship between bees and pear trees thus making the comparison relevant to Janie\u2019s experiences throughout her journey. As Keiko Dilbeck says in his critical essay in the second paragraph, \u201cAttuned to the Connection between man and woman, Janie desperately wants the love and affection from a man that the tree receives from the pollen-bearing bee: Oh to be a pear tree\u2014any tree in bloom! \u201d (11). Because Janie\u2019s first marriage was so bad Hurston used the pear tear to emphasis the negativity: \u201cLogan Killicks was desecrating the pear tree\u201d(13).\nIn Janie\u2019s next marriage Hurston strengthens the use of the pear tree. Joe became jealous very easy because of the other men are looking and thinking of Janie very attentively. Janie wants to be free but Joe is keeping her from living her life as she wants to: \u201cJanie pulled back a long time because Joe did not represent the sun-up and pollen and blooming trees. \u201d(28). Janie finally reaches the level of the pear tree when she marries her final husband, Teacake. Janie finally has learned about herself when she meets Teacake and achieves womanhood: Teacake looked like the love thoughts of women.\nHe could be a bee to a blossom\u2014a pear tree blossom in the spring\u201d (101) Teacake is not like her other previous husbands, he respects her and cherishes her for who she is and her beauty. Equally important, one of the most used symbols that Hurston uses in Their Eyes to elaborate on Janie\u2019s role and attitude in the story is the comparison to the mule. The use of the mule imagery indicates the way in which African American females have been mistreated and dehumanized by the society. Hurston uses the image of the mule to comment on the disparity between speech and silence in the life of Janie Crawford Killicks Starks Woods (Haurykiewicz, par. ). Janie is compared to a mule in the first half of the book because mules also usually are looked down upon and not heard from. Janie was born from her mother being raped by her school teacher and Nanny was raped by a white slave owner as well, this explains Janie\u2019s very fair skin. Until the age of six, she thinks that she is white, and \u201cthe same as everyone else. \u201d When she goes to school, the other black children are jealous of Janie because she wears the Washburn children\u2019s hand-me-downs; these clothes are much nicer than what the other black children wear.\nNanny does not like the fact that Janie is picked on by the other black children for living in the white family\u2019s backyard, so she asks the Washburn\u2019s to help her buy some land and create a home of her own. This heritage is similar to that of a mule because mules are the crossbreed of horses and donkeys and are not accept in either community. Like a mule, Janie is the product of mixed parentage. Her mother, Leafy, was raped by a white school teacher. (18) Throughout her first marriage she is forced to work on Killicks farm, as if she was just another mule.\nHowever in her second marriage she is not treated so harshly but she is given less respect and no right to speak her mind, while she is married to Logan Starks, just as a mule is treated. It is not until the end of the novel does Janie finally finds herself and becomes conformable with speaking her mind, with her third husband Teacake. She is respected with Teacake and her coming of age journey finally comes to and end after all the trials she goes through to prove she is not a mule.\nMoreover Janie\u2019s hair is a big symbol in Their Eyes Were Watching God as well. Janie\u2019s hair is a symbol of her power and unconventional identity; it represents her strength and individuality in three ways. First, it represents her independence and defiance of petty community standards. The town\u2019s critique at the very beginning of the novel demonstrates that it is considered undignified for a woman of Janie\u2019s age to wear her hair down. Her refusal to bow down to their norms clearly reflects her strong, rebellious spirit.\nSecond, her hair functions as a strong symbol; her braid is constantly described in powerful terms and functions as a symbol of a typically masculine power and potency, weakens gender lines and thus threatens Jody. Third, her hair, because of its straightness, functions as a symbol of whiteness; Mrs. Turner honors Janie because of her straight hair and other Caucasian characteristics. Her hair contributes to the normally white male power that she wields, which helps her disrupt traditional power relationships (male over female, white over black) throughout the novel.\nJody Starks finds her hair to be threatening; therefore, he forces her to tie it back as a form of control. When he dies, Janie burns all of her handkerchiefs as a sign that she is now a free and independent woman. Tea Cake, Janie\u2019s third husband adores her hair and embraces her femininity for example Hurston includes: \u201cTea Cake treats Janie\u2019s hair with considerate devotion and it is under these circumstances that Janie\u2019s identity is her own\u201d (103). Even when Mrs. Turner is ranting about how inferior the African American race is, Janie is neutral because her racial identity is intact.\nHaving these symbolic examples such as the mule, the pear tree, and Janie\u2019s hair in this novel helps Zora Neale Hurston to explain the relationship between male and female and what women must do to find out who they really are. As Haurykiewicz says \u201cJanie\u2019s growth may be charted as one that travels from mule to muliebrity (the state or condition of being a woman. )\u201d (Paragraph, 1) For a long time women have been mistreated and looked down upon by men, Hurston shows that, with hard work and perseverance that women can find their calling just as men can.\nAshmawi, Yvonne. \u201cJanie\u2019s Teacake: sinner, saint, or merely mortal? Janie Crawford from Their Eyes Were Watching God)(Critical essay). \u201d Heldref Publications 1. 1 (2009): 1-3. Web. 1 Mar 2011 Dilbeck, Keiko. \u201cSymbolic representation of identity in Hurston\u2019s Their Eyes Were Watching God. (Zora Neale Hurston)(Critical essay). \u201d Heldref Publications (2008): 1-3. 1 mar 2011. Database. 26 Mar 2011. Haurykiewicz, Julie. \u201cFrom mules to muliebrity: speech and silence in Their Eyes Were Watching God. (Zora Neale Hurston). \u201d University of North Carolina Press 1. 1 (1997): 1-11. Web. 1 Mar 2011.. Hurston, Zora. Their Eyes Were Watching God. 1. Philadelphia: J. B. Lippincott, inc. , 1937. 193. EBook.\nCite this Zora Neale Hurston\u2019s Use of Symbolism in Their Eyes Were Watching God\nZora Neale Hurston\u2019s Use of Symbolism in Their Eyes Were Watching God. (2017, Mar 14). Retrieved from https://graduateway.com/zora-neale-hurstons-use-of-symbolism-in-their-eyes-were-watching-god/", "id": "<urn:uuid:ab91a8a6-d21a-48c6-b96b-e90d1e58d392>", "dump": "CC-MAIN-2021-17", "url": "https://graduateway.com/zora-neale-hurstons-use-of-symbolism-in-their-eyes-were-watching-god/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039508673.81/warc/CC-MAIN-20210421035139-20210421065139-00015.warc.gz", "language": "en", "language_score": 0.9587392807006836, "token_count": 1964, "score": 3.59375, "int_score": 4}
{"text": "If a story is not about the hearer he [or she] will not listen . . . A great lasting story is about everyone or it will not last. The strange and foreign is not interesting-only the deeply personal and familiar.\"\n\"\u2022 John Steinbeck,\nStorytelling has likely been around since the beginning of time. The first cave paintings from 27,000 thousand years ago are seen as an early form of storytelling. People have been fascinated by stories. While sitting around a fire, stories were the first and only way to share information, dreams, to entertain, inspire and connect with others long before humans had any other forms of communication. Effective communication has always been about storytelling and today, the best communicators are also good at it.\nNot only is it commonly accepted that good storytelling beats other forms of communication hands down, there is scientific evidence that backs this up. When we receive information from a power point presentation, the language part of our brain that decodes words into meaning becomes activated.\nHowever, when we listen to a story, a lot more happens. Not only does the language processing part of our brain become activated, but other parts of our brain begin to process the experience of the story for ourselves. For example, descriptions for foods would activate our sensory cortex. In other words, hearing a story puts much more of our brain to work than simply listening to a presentation. Not only can we stimulate various areas of the brain, but if the listener relates to a story, their brains can become synchronized with the storyteller's. Emotions that the storyteller is experiencing can be shared with the listener.\nKnowing the influence that telling a good story can hold, we can use storytelling to not only share information, but connect with the people around us. Here are some things to keep in mind.\nKeep it simple\nLess is more; this is a basic rule of good storytelling. Avoid the complex, detailed, as well as the use of adjectives and complicated nouns. Using simple language is the best way to activate regions of the brain that help us relate to the events in a story. Remember that you are not trying to impress, but to share an experience.\nAlways keep the audience in mind\nTo be effective, the audience must be able to relate to the story. Talking about an experience on a yacht would not be a good way for the CE0 of an organization to connect with front line workers. This would likely have the opposite effect and distance his audience from him or her. Telling a heart-felt story about going fishing with a family member or a grandchild would be much more effective as this would be something many in the audience could identify with.\nUse it as an opportunity to share something of yourself\nTalking too much about ourselves directly can be viewed by others as being self-serving and turn them off. Skillful storytellers can weave information about themselves, they want the audience to know, without appearing to be pretentious. Past stories of struggles, failures and overcoming barriers the storyteller has experienced are excellent sources that help the teller connect with the audience as everyone has experienced these in life. This will compel the story teller to appear more human, more like one of the audience.\nDon't take yourself too seriously\nAudiences love speakers who are able to laugh at themselves. Let yourself be vulnerable. Everyone has done something downright embarrassing and silly. Sharing these moments will resonate strongly with the audience.\nShare sincerely felt emotions\nI have attended numerous seminars from an individual that I have grown to admire and respect. At some point in the workshop he always shares the story about how his brother and he almost lost their company. At a certain point he tears up as he shares this experience. You can feel the connection with the audience. Even though I have heard the story a number of times, I know he is sincere when he is sharing this and my respect for him increases. If you have strong emotions that come up when telling a story, don't try to suppress them. Of course you would need to manage your feelings as an uncontrolled display of crying or laughing would not create the desired result. However, showing some emotion increases trust and forms a bond between the speaker and the audience.\nSome Amazing Comments\nClick The Book Cover Below Pre-order Steven Aitchison\u2019s new book The Belief Principle: 7 Beliefs That Will Transform your Life", "id": "<urn:uuid:48fea298-f3f4-41e9-ba8a-f41d5698aef3>", "dump": "CC-MAIN-2021-17", "url": "https://www.stevenaitchison.co.uk/keep-audience-transfixed-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00416.warc.gz", "language": "en", "language_score": 0.9680022597312927, "token_count": 896, "score": 3.703125, "int_score": 4}
{"text": "This lesson plan introduces students to the poetry of Rafael Campo and helps students to find their own voice while gaining confidence writing their own original poetry.\nIn this lesson, students will look at aspects of identity through an intersectional lens\u2014that is, seeing multiplicities of identities as inextricably linked within a person and their lived, narrative experiences through analysis of three poems.\nIn this lesson, students will learn about the 1965 marches from Selma to Montgomery during the Civil Rights Movement. They will examine the Voting Rights of 1965 and watch clips from the movie Selma. Most importantly, students will think critically about sources of information.\nUse this powerful lesson plan to help students authentically understand the ethical challenges faced by non-Jewish citizens of Europe during the period of the Holocaust who were asked to risk much to save the lives of others. Students will write an opinion essay.\nIn this lesson, students learn more about the work of the United Nations by researching an issue they care about. The second objective is for students to understand the importance of their voice in the world and how to use social media responsibly in order to share their knowledge with the wider community.\nThis lesson is intended to be used with the PBS FRONTLINE documentary \"League of Denial\" and supports students learning by contextualizing the concussion crisis in the NFL with background on concussions in youth.\nThis lesson offers a series of activities that allow students to explore and interact with poetry by writing letters to poets.\nIn four linked activities, students will apply their knowledge of ratios, proportions, fractions, decimals, percents, scientific notation, mean, median, mode, range, and pie graphs to interpret data and statistics regarding the U.S. government\u2019s budget for prisons and correctional services. Then students will synthesize what they have learned and communicate it using diagrams and mathematical evidence.\nIn this lesson, students reflect on the life of Maya Angelou and how her experiences influenced her poetry. Then they will analyze the poem \"On the Pulse of the Morning,\" and discuss their emotional reactions to the poem.\nIn this lesson, students will use text from Mandela's autobiography \"Long Walk to Freedom\" to connect with Mandela's life and words.\nThis lesson asks students to think critically about their relationship to comedy\u2013in particular, satire\u2013and explore the question of how it helps us interpret global events. Students will read three articles as part of the lesson.\nIn this lesson, students are challenged to identfy negative sterrotypes about women and men. Students are introduced to Anne Bonny (a woman who breaks traditional gender stereotypes) and gives them the opportunity to use creative writing skills to create their own profile on one of four other \"rule-breaking\" women in history.", "id": "<urn:uuid:1631917f-4378-4315-804f-e786ff9af8a2>", "dump": "CC-MAIN-2021-17", "url": "https://goopennc.oercommons.org/browse?f.provider=newshour-productions-llc", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00095.warc.gz", "language": "en", "language_score": 0.9507770538330078, "token_count": 562, "score": 4.0, "int_score": 4}
{"text": "Our Best Ever List of Summer Reading Tips\nUseful info for kids of all ages\nBy Anne Sieker, Language Arts Teacher & Mom of 3\nReading at any age promotes healthy brain development. From the first sounds babies make and hear, their brains are working hard to grow language skills, which are the building blocks of reading.\nWith summer in full swing, and many typical summer time activities cancelled, parents may be looking for ways to keep kids busy\u2014and learning. Incorporating reading into your summer routine, no matter how old your child is, will help accomplish that.\nDon\u2019t get nervous at the thought of reading Shakespeare to your two-year old! There\u2019s so much more to reading than sitting in a chair and turning pages. Here are some tips by age:\nLearning how to read begins with learning how to speak. Simply hearing the rhythm and patterns of language is a powerful tool.\n- Babies love voices, especially the voices they heard in utero. Snuggle them close and sing lullabies or folk songs.\n- Use everyday activities like diapering, feeding, and bathing to \u201cself-talk\u201d to your baby. Coo and smile and explain what you\u2019re doing. When your baby gurgles and coos back, respond with smiles and encouragement.\n- As your baby rolls over or starts to play with toys more actively, give your child the words to what they are doing. \u201cYou are pushing up with those strong arms!\u201d\n- Choose brightly-colored books and let your child touch and hold cloth or cardboard books.\n- Point out the familiar objects on the pages and name them.\n- Choose books with rhyme.\n- Vary your voice from high to low while reading or singing. Make noises for what is going on in the story.\nAsk your child simple questions and explain what is happening around them. This helps build their vocabulary and their understanding of the world\u2014which can lead to future success in reading.\n- Lots of children are squirmy and need something in their little hands to keep them busy while you read. Giving them a piece of play-doh, for example, can make a big difference.\n- Interactive books where they have to find something on a page can keep kids entertained while you read.\n- As you walk down the street and your child stops to gather rocks, ask questions that require more than a yes or no answer. \u201cWhich rocks look the same?\u201d\n- Use \u201cwhat if\u201d questions. \u201cWhat if a robin landed on your shoulder?\u201d Questions like these are creative and fun and children can build them into stories.\n- Be patient with never-ending \u201cwhy?\u201d questions. They can be an opportunity to say, \u201cI don\u2019t know! Let\u2019s go look it up!\u201d Show your child that you don\u2019t know all the answers and that reading can be useful.\n- Choose books that have repetition and rhyme. Children love to join in and pretend to read with you. Pause before a phrase or word is repeated and encourage your child to fill in the pause. Smile and nod when they do!\n- Spell and sound out familiar words out loud when you read. \u201cLook at the word \u2018sun\u2019. S-U-N.\u201d Make the sounds as you spell.\nIn the early elementary grades, your child will learn how to read. In the later grades, they will learn to read independently about a wide variety of topics.\n- Allow kids to choose their books. Your child has different tastes in reading than you. Allowing them to choose gives them the power to explore their own interests.\n- Try different types of books like poetry, graphic novels, joke books, weird facts books, gross science books, world record books, cookbooks, or even wordless books. Keep an open mind and remember that reading comes in many different forms.\n- Listen to audible books or storytelling podcasts. Pause to ask questions and make your own connections to the story.\n- Continue to read aloud to your child. Don\u2019t be afraid to make mistakes! Showing them that even you make mistakes is a great way to encourage them to take risks in their reading.\n- While you read aloud, your little one will interrupt with questions. That\u2019s okay! Answer them and don\u2019t worry about breaking the flow of the story. Have them make predictions about what will happen next.\n- Librarians are an incredible resource! They can help direct you if your child has a particular interest in something, or they can track down that one book that will engage your child.\n- If you think your child has trouble reading, don\u2019t\u2019 be afraid to advocate! Call your child\u2019s school district and talk to them about your concerns. You\u2019re the one who knows your child the best.\nReading is a complex activity. Children need lots of encouragement and patience. This just means it\u2019s time to get creative\u2014and summer is the perfect time! And remember\u2014if your child sees you reading, they\u2019ll want to read too.", "id": "<urn:uuid:08af5ff5-2aba-4997-9b0f-3acbf8374aea>", "dump": "CC-MAIN-2021-17", "url": "https://brightbytext.org/blog/2843/Our-Best-Ever-List-of-Summer-Reading-Tips", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00257.warc.gz", "language": "en", "language_score": 0.9424110651016235, "token_count": 1084, "score": 3.5, "int_score": 4}
{"text": "What We See\nEvery picture is viewed the same way. By understanding how people look at and gather information from pictures you can direct the eye and present a message without words.\nEvery visual, like every story, is made up of three key components. BEGINNING, MIDDLE, END. What you need to do is decide what is your SUBJECT and how people view it.\nWhen looking at this picture what do you notice first, next and last?\nVisual Storytelling Tools\nUse the tools below to help you direct the eye and construct clear visual stories.\nCreate simple three word statements. It's an effective and efficient way to ensure you know what you want to shoot.\nMore commonly referred to as where the camera is focused, is important because eyes are obviously drawn to what is sharp. Amateurs often rely too heavily on Auto Focus to capture their images which often leads to their subjects being slightly out of focus. Pay close attention to your focal point to ensure a quality picture.\nRule of Thirds\nBy creating an imaginary grid and placing your subject at one of the intersect points, you can help draw eyes to your subject. This tool also helps create a balanced picture.\nHow it Works\nSo how does this help you? Let's look at a couple of examples. Below are two pictures, both have the same general subject - a student is holding a container. However they both convey two very distinct messages using focal point or rule of thirds.\nDepicts the idea that the most important thing is \"what's in the container\"\nRULE OF THIRDS\nSends us the message that the student who is holding the container is the focus of the image.\nOur eyes are inevitably drawn to light. So if you want someone to look at something first make sure it\u2019s lit well!\nOur eyes are naturally drawn to the biggest objects in the picture. If you want people to notice it first, make it BIG!\nWant people to notice your subject without using size or light? Contrasting colors and/or shapes can highlight your subject.\nAfter the larger parts of the picture our eyes wander the photo looking for any other information that conveys the message.\nExtreme Wide (Landscape)\nAn Extreme Wide helps the audience understand general location of a story. It also helps frame the period of time the story takes place in.\nWide (Environment > Subject)\nA Wide shot establishes the subject in relation to the surrounding environment. It can also still hide specific details.\nA Medium shot will be used to emphasize the subject, while still allowing the audience to distinguish where things are happening.\nClose Up (Details and Emotion)\nThese shots are used to bring details to the forefront of the audiences minds or when trying to convey specific emotions.\nExtreme Close Up (Specific Detail)\nUse this shot when you want to show only one detail. The audience will be forced to look at one and only one thing.\nControl the Message!\nFraming is such a powerful tool. It can drastically change the outcome of your photo and alter the messaging. Remember \"with great power comes great responsibility\".\nUnderstanding the difference between the two extremes will help you frame the proper message. Can you spot the differences between the two example below?\nCheck the Fine Print\nNo matter how good the picture is sometimes those fine details can sneak in an distract viewers from the message. High production value can only be achieved by those who pay attention to the details.\nBefore we wrap this lesson up and move onto our activity, lets review what makes great visual storytelling. It doesn\u2019t matter if you\u2019re a big Hollywood production, designing a poster, shooting a photo or video, \u201cThe Basics\u201d are something everyone uses.\nSimple Statements to focus your message.\nWhat in your picture is in focus?\nRULE OF THIRDS\nAn imaginary grid with intersect points.\nLIGHT, SIZE, CONTRAST, FINE DETAIL\nSimple tools to help focus messages.\nControl the field of view.\nProject Duration: 1 Day | Groups: 1 (max) | Media : 10 Photos | Difficulty: Beginner\nTask: Choose one of the following focus statements to capture a photo using each of the five framing techniques. Compose each shot using the rule of thirds. Upload your photos for review.\nObjective: Students will demonstrate their understanding of basic visual storytelling through 5 photos.\n- Student drinks water\n- Student reads book\n- Student ties shoes\n- Student recycles bottle\n- Student eats snacks\nSHOOT ALL FIVE\n- Extreme Wide Shot\n- Wide Shot\n- Medium Shot\n- Close Up Shot\n- Extreme Close Up Shot", "id": "<urn:uuid:78a5dfe5-6bab-44e9-b37a-5ac210d2feb0>", "dump": "CC-MAIN-2021-17", "url": "https://stempreacademy.hawaii.edu/digital-media/curriculum/visual-storytelling/basic-shots", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00056.warc.gz", "language": "en", "language_score": 0.9087812304496765, "token_count": 966, "score": 4.125, "int_score": 4}
{"text": "Exemplum also appears in speeches and other forms of language to explore doctrines. They sometimes take the form of folktales or legends. Writers use exemplars to clarify points or demonstrate something the writer believes to be true. Usually, this is something in the realm of ethics or morality. Sometimes, they\u2019re known as moral exemplars or parables. While a lot of these are short, some can be as long as novels or plays.\nDefinition of Exemplum\nThe word \u201cexemplum\u201d comes from the Latin meaning \u201cexample.\u201d This means that the word is used more broadly than the above definition suggests. Today it can be used to refer to a moral narrative or any kind of example. For instance, someone might say that something is an \u201cexemplum\u201d or an example of a particular type of behavior, action, or other.\nIn literature though, the word is most commonly associated with parable-like stories that seek to convey a particular ethical or moral message.\nTypes of Exemplum\n- Real: moral lessons or stories, taken from history or mythology.\n- Fictional: use invented facts and storytelling to express a moral lesson. Usually in the form of fables, comparisons, and parables.\nExamples of Exemplum in Literature\nThe Canterbury Tales by Geoffrey Chaucer\nChaucer\u2019s most famous literary accomplishment, The Canterbury Tales, is a collection of 24 stories. It was written in Middle English sometime between 1387 and 1400. Most are written in verse, although some also appear in prose. They contain the results of a storytelling contest between a group of pilgrims traveling from London to Canterbury. There are several different exemplars to be found in this masterpiece, one o the best-known is in the General Prologue. Here are a few lines, in the original Middle English, from this section of The Canterbury Tales:\nA frere ther was, a wantown and a merye,\nA limitour, a ful solempne man.\nIn alle the ordres foure is noon that can\nSo muche of daliaunce and fair langage.\nHe hadde maad ful many a mariage\nOf yonge wommen, at his owne cost \u2026\nAs doon the sterres in the frosty night.\nThis worthy limitour was cleped Huberd.\nThis passage is a direct attack and criticism on the Catholic Church. The lines speak about a friar named Hubert who lived excessively, not all in line with the teachings of the church. He was a sweet-talking, playful beggar who could get anyone and everyone to give him money\u2014even those who were in most need of it themselves. As the passage progresses, the speaker adds that Hubert was one of the Church\u2019s finest members.\nThis makes it clear that the speaker has a very dark opinion of the Catholic Church as a greedy institution that does not practice what it preaches. Within these lines, the speaker is trying to convey the exemplum that one must act in accordance with the word of God, no matter their position if they want to go to heaven.\nRead more about the characters in The Canterbury Tales.\nThe Divine Comedy by Dante Alighieri\nThe Divine Comedy, or Divina Commedia, is an incredibly famous, long poem written by Alighieri in the 1300s. It is one of the most important works of Italian literature and one of the most influential in history. It presents an imagined vision of the afterlife, including portraits of Hell, described in Inferno, Purgatory, described in Purgatorio, and Heaven, described in Paradiso. It follows the author and his guide, the Roman poet Virgil, through three different stages. They see all the levels of Hell, encounter various famous historical figures, and eventually make their way to Heaven where Dante encounters his true love, Beatrice. Here are a few lines from Inferno:\nThey now commingle with the coward angels,\nthe company of those who were not rebels\nnor faithful to their God, but stood apart.\nThe heavens, that their beauty not be lessened,\nhave cast them out, nor will deep Hell receive them \u2014\neven the wicked cannot glory in them.\nThis epic is often regarded as one long exemplum or a series of exemplars. The writer notes the immoral behaviors that landed men and women in Hell and demonstrates why the seven deadly sins are so terrible.\n\u201cThe Good Samaritan\u201d Luke 10:25-37\nThe story of the Good Samaritan from the Bible is a classic example of a moral exemplum. In this story or parable, Jesus describes a traveler who is stripped and left for dead by the side of the road. Several people pass him by before a Samaritan finds him and stops. This is despite the fact that Samaritans and Jews hated one another. He helps the injured man and proves himself to be a good neighbor. Often, Jesus is placed in the role of the Samaritan, helping those in need and saving humankind from sin. Today, the phrase \u201cgood samaritan\u201d is used regularly to describe anyone who goes out of their way to help someone they don\u2019t know and how is in need.\nWhy Do Writers Use Exemplum?\nWriters use exemplum throughout literary work and oratory. It\u2019s one of the most widely used rhetorical devices in the English language. It helps to encourage readers and listeners towards a particular type of behavior. For example, one might use a short story to teach a young reader about the importance of being kind and treating others how they want to be treated. Storytelling is at the heart of human existence, as is sharing experiences and lessons from one generation to the next. Stories that contain moral lessons are one primary way of accomplishing that.\nRelated Literary Terms\n- Fable: a short and concise story that provides the reader with a moral lesson at the end.\n- Myth: a genre of folklore that usually includes a hero and sometimes fanatical elements.\n- Novel: a long, written, fictional narrative that includes some amount of realism.\n- Parable: a short fictional story that speaks on a religious attitude or moral belief.\n- Anecdote: short stories used in everyday conversation in order to inspire, amuse, caution, and more.", "id": "<urn:uuid:a7bbac83-934a-4471-afee-79751abf5bd3>", "dump": "CC-MAIN-2021-17", "url": "https://poemanalysis.com/literary-device/exemplum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00135.warc.gz", "language": "en", "language_score": 0.9487507343292236, "token_count": 1313, "score": 4.3125, "int_score": 4}
{"text": "When you grasp persuasive writing techniques and processes, you can help draw people to your opinion or encourage them to think differently about a topic you are passionate about.\nRhetoric is an ancient art, and it's one that many people in modern society lack. During Classical Greek history, rhetoricians used this form to persuade listeners through powerful speeches.\nWhile speeches still hold a role in contemporary society, today, rhetoric often comes through the written word, not the spoken word. Persuasive writing uses writing skills to get the reader to the point of agreeing with you.\nBy using the right writing techniques, you can guide the reader to your desired conclusion. Here's what persuasive writing is, where it is found, and how you can use it to be a stronger writer.\nWhat Is Persuasive Writing?\nPersuasive writing is writing that helps the reader come to the writer's opinion on a topic. It is a type of argumentative essay that uses logical arguments to pull in the reader and, through the writing process, present arguments that will support a stance on an issue.\nWhile the goal may not always be reached, the process involves a logical presentation of those arguments until the reader can come to a conclusion.\nChoosing a Thesis Statement\nAt the heart of persuasive writing is the thesis statement. The thesis statement is the statement of the writer's position on the argument.\nA thesis statement will narrow a topic into a specific area of focus, then establishes the direction for the piece of writing. The thesis statement will also state the author's opinion on the argument.\nAt its heart, a thesis statement is a statement of opinion, not fact. It provides the basis for argumentative and persuasive wring. So, a fact would state:\n- Electric cars use less fuel than gas-powered cars.\nThis is true and leaves nothing for persuasion. You could write an informative piece of non-fiction writing with this statement, but you could not write persuasively.\nA thesis statement would use that fact to create an opinion, such as:\n- State governments should offer more tax incentives to drivers for purchasing electric cars to cut down on fuel use.\nThis statement can be the basis for an entire piece of persuasive writing.\nTo Persuade Your Audience, You Must Know Them\nBefore you can write a persuasive essay, you must understand your audience. Research your audience to appreciate their preconceived ideas and positions on the topic. This will help you craft arguments that will pull them closer to your opinion.\nOnce you have studied your audience, delve into the research. You need convincing evidence and facts to persuade your audience. Use many sources, backed by facts and statistics if appropriate.\nResearch both sides of the argument so you can argue appropriately against the opposition's most convincing points.\nStructuring the Persuasive Essay\nOnce you have done some preliminary research, it's time to create an outline. This style of writing follows the same basic template, no matter what your points may be. A persuasive essay has four essential parts, which include:\nThe introduction paragraph needs to hook the reader. They need a reason to continue reading your essay. It will introduce the writer's opinion and outline the points, but not delve too deeply into the details of the piece.\nEach paragraph in the main body of a persuasive essay will cover one point. After stating the point, provide details to support it. This is where facts are more important than the writer's opinion and personal experience, whenever possible.\nResearch findings are compelling in many types of persuasive writing. The essay can have as many body paragraphs as necessary to persuade the reader.\nOpposing View Paragraph\nA persuasive essay can't ignore the opposition's view. In your research, you should identify some of the key points that your opposition may bring. Successful persuasive writers will state the opposing viewpoint and then use more facts to refute the opposition's main points.\nThe conclusion is a powerful part of a piece of writing. It gives the chance to restate the persuasive piece's main points and draw it all together. Often, a writer will restate the thesis with different wording.\nWriting the Piece\nThe initial research and outlining process are both parts of the pre-writing process. Once that is done, the writer is ready to write a first draft of the piece. Even a persuasive letter requires careful writing and editing to do its job well.\nAs you write, use these essential elements of rhetorical arguments:\n- Ethos \u2013 Ethical reasoning\n- Logos \u2013 Logical reasoning\n- Pathos \u2013 Passionate reasoning\nWhen used well and in concert with one another, ethos, logos, and pathos create strong arguments that are hard to refute.\nFor ethical reasoning, make sure your points are factual and are not misleading in any way. When it comes to logical reasoning, make your points centered on the facts, and take the reader through a logical progression of arguments.\nPassionate reasoning is usually the easiest when writers choose good topics. Strategic repetition and an emphasis on your points help with pathos, as will your passion for the subject.\nBalancing these three will make your writing quite persuasive and powerful. When you can find that balance, the reader will naturally walk through the logic of your thinking.\nYou may not persuade them, but you will present a persuasive argument that will help them think about your position.\nEditing Your Persuasive Essay\nOnce you have your persuasive essay drafted, you're ready to edit it. First, edit the essay for grammar, spelling, and punctuation, then look at it again.\nWhat are your arguments? What counterarguments do you cover? Have you thoroughly backed your main points with facts and research? Have you explained why the opposing viewpoint is wrong? Have you guided the reader toward a particular action?\nUse the editing stage to make your writing stronger. Use effective persuasive techniques to inspire your audience to change their opinion or take action on the topic you are discussing.\nAdd stronger words and more personal experience or research findings to reinforce what you are saying. Ensure your word choice is strong, so you do not leave questions in the reader's mind.\nThe art of writing a persuasive piece is worth embracing. By learning this form of writing, you can use your skills as a writer to persuade others to reach a particular conclusion.\nWhether you are writing a letter, essay, or blog post, the process is similar.\nJoin over 15,000 writers today\nYou'll get a free book of practical writing prompts.", "id": "<urn:uuid:f7cc69bf-ccf5-40e7-b6d9-54f410d6e9e0>", "dump": "CC-MAIN-2021-17", "url": "https://becomeawritertoday.com/persuasive-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00417.warc.gz", "language": "en", "language_score": 0.932263195514679, "token_count": 1338, "score": 3.75, "int_score": 4}
{"text": "CURRICULUM AREA: RELIGIOUS EDUCATION\nPurpose of Study:\nAt Calmore Infant School we teach RE through our Integrated Curriculum projects and through separate blocks of learning to immerse the children e.g. Diwali in Year 1\nWe believe RE is an important subject within our school curriculum because of the influence of religions and beliefs on individuals, culture, behaviour and national life. Most religions and beliefs offer answers to life\u2019s deepest questions. Children are naturally inquisitive and we encourage them to seek answers to those questions, as they grow into independence and work out how to live a good life.\nRE provides opportunities for children to reflect and analyse, to discuss and debate, to explore and discover, and to learn more about the world in which they live. We use the syllabus Living Difference 3 as a guide.\nThrough this syllabus we explore a range of concepts:\nA- Concepts which are common to all people (e.g. remembering, specialness or celebration)\nB- Concepts which are shared by many religions (e.g. God, worship or discipleship)\nC- Concepts which are distinctive to particular religions or non-religious tradition (e.g. remembrance, and Easter).\nHow we teach RE\nAll the concepts we learn about are taught through a cycle of enquiry:\n- Apply their own beliefs and values to situations in their own and others\u2019 lives\n- Enquire into religious/non-religious concepts\n- Contextualise what is being studied in religious practice and belief and specific situations\n- Evaluate what has been discussed, taught and learnt.\n- Communicate their own responses to what has been discussed, taught and learnt\nIn the Foundation Stage (Year R), the children will learn that others don\u2019t always enjoy the same things and will be sensitive to this. They will learn about similarities and differences between themselves and others and among families, communities and traditions, for example the Harvest, Nativity and the Chinese New Year. Where possible, RE will be linked to early learning goals.\nAs the children enter Year 1 they will start to develop curiosity about people, places and events. They will begin to develop a greater awareness of feelings about what is special and precious and begin to become aware that certain people, objects, places, clothing and time have special importance. They will begin to understand the concept of light as a symbol through Diwali and the concept of change by learning about how Jesus changed people\u2019s lives.\nIn Year 2, the children will explore some of the symbols used in religious and everyday life. They will be able to discuss similarities and differences between themselves and others. They will accept and value themselves and celebrate the common bond between all people. Some children will be able to make simple connections between aspects of the religions they encounter.\nNational Curriculum Provision\nAims: The national curriculum for Religious Education aims to ensure that all pupils:\nPupils should develop their knowledge and understanding of religions and worldviews, recognising their local, national and global contexts. They should use basic subject-specific vocabulary. They should raise questions and begin to express their own views in response to the material they learn about, and in response to questions about their ideas\u201d (NCFRE p18). A balanced curriculum would include: a. Learning about the place of religion and belief in their local community \u2013 recognising diversity and the influence of those religions and worldviews, and exploring questions about the meaning, purpose and value of life b. Learning about key features of Christianity (selected from key beliefs, teaching and values behind celebrations and commemorations, patterns of worship, places of worship, and stories) exploring their significance for Christians c. Learning about key features of at least one other religion or non-religious worldview (selected from key beliefs and, in the case of religion, teaching and values behind celebrations and commemorations, patterns of worship, places of worship, and stories ) exploring their significance for followers of that religion or worldview.\nSubject Content KS1:\nPupils will be taught about:\nConcepts that start to increase in complexity, for example, remembering, storytelling, symbol of light and some simpler concepts as they progress to the end of the key stage, for example, God, angels and special places.", "id": "<urn:uuid:c2581f88-d88e-4bba-806f-fc223fa86b34>", "dump": "CC-MAIN-2021-17", "url": "https://calmore-inf.hants.sch.uk/curriculum-2020/re/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00057.warc.gz", "language": "en", "language_score": 0.9481660723686218, "token_count": 890, "score": 3.703125, "int_score": 4}
{"text": "The purpose of the activities in this section is to enable you to produce an effective dissertation, in accordance with the academic writing conventions followed at British universities. You will learn about the different parts of a dissertation and how they relate to each other. You will also have the opportunity to consider different writing styles and choose the most appropriate for your subject area. Finally, you will consider the importance of developing your own study skills and explore some useful dissertation writing tips and techniques.\nWhat is a dissertation?\nIn this subsection, you will examine the overall structure of a dissertation and the common information elements found in each part. You will also reflect upon a number of important factors that need to be considered when selecting a topic for your dissertation.\nDefining a dissertation and its structure\nIn this activity you will consider, the difference between a thesis and a dissertation. You will also identify different types of research and consider how the type of research affects the overall organisational pattern of the dissertation.\nThe elements of a dissertation\nYou will identify the information elements that the different chapters of a dissertation are likely to include. The numbering system that is typically employed for different sections of a dissertation is introduced.\nSelecting a topic for your dissertation\nHere you will explore the factors which will help you select a topic for your dissertation.\nFocusing on a topic\nHere you will learn about techniques that can help you focus on a topic for your dissertation: creating mindmaps, formulating and refining research questions, and developing strategies for reading efficiently.\nBrainstorming and mindmaps\nYou will practise using the techniques of brainstorming and creating mind maps to explore the possible areas you wish to cover in your dissertation.\nResearch questions and hypotheses\nHere you will find out how to formulate and refine research questions. The meaning of the term hypothesis is also discussed.\nAccessing and organising the literature for the dissertation\nYou will explore effective ways to search for information and read efficiently. You will also find out how to manage, organise and record the literature that you access.\nResearch proposals, dissertation titles and personal journals\nIn this subsection you will identify the important elements in a research proposal, practise ways of writing an effective dissertation title, and explore the benefits of keeping a personal journal as part of the research process.\nWriting a research proposal for a dissertation\nHere you will examine the important information elements that should be included in a research proposal.\nWriting an effective title for your dissertation\nYou will find out how to write an effective title for your dissertation and how to present your title page.\nKeeping a research journal or diary\nYou will explore the value of keeping a research journal whilst conducting your research.\nThe literature review\nDifferent aspects of a dissertation literature review are explored. You will investigate the multiple purposes for which sources are cited in a literature review, explore different techniques for integrating sources into your text, consider the meaning of criticality in a literature review, and learn about strategies for giving your own voice prominence in your writing.\nThe multiple purposes of a literature review\nThis looks at how a literature review can be structured. It also considers the variety of purposes for which the related literature is used in a dissertation.\nDifferent citation practices are introduced and the variety of ways in which the literature can be integrated into a text are considered.\nEstablishing your own position\nYou will learn about the organisational and linguistic techniques you can use to establish your own position in relation to the literature you are citing.\nHow to be critical in a literature review\nHere, the meaning of 'being critical' in a literature review is explored.\nMaking linguistic choices\nYou will examine some of the linguistic strategies you can use to show your strength of commitment to the work you are citing.\nHere, the different purposes of dissertation abstracts are considered. You will identify the common information elements in abstracts and the tense and voice changes that often occur in the text.\nThe purposes of a dissertation abstract\nThe various purposes of abstracts are explored. You will also analyse two abstracts to identify the different information elements which can be included.\nChoices of verb tense and voice in different parts of an abstract\nYou will look at the changes in verb tense and voice that are likely to occur in an abstract and consider the reasons for these choices.\nWriting and revising a draft abstract\nHere you will have the opportunity to write a draft for your own dissertation abstract while considering the common information elements, as well as tense and voice choices.\nThis subsection explores different aspects of a dissertation introduction. It focuses on its various functions, the common information elements it contains and its organisational structure. The differences between the dissertation introduction, abstract and literature review are also examined.\nThe purpose of an introduction and different information elements\nYou will focus on the purposes of dissertation introductions, their common information elements and their organisational structure.\nAbstracts and introductions\nThe differences between a dissertation abstract and introduction are examined.\nThe relationship between the introduction and the literature review\nHere the difference between an introduction and a literature review is discussed. You will also look at examples of how the initial chapters of a dissertation can be organised.\nHere you will be introduced to the methodology section of a dissertation. The typical information elements and possible organisational structures will be presented. You will also focus on using appropriate verb tense and voice when describing your methodology.\nTypical information elements when describing your methodology\nYou will be introduced to the methodology section of a dissertation and consider what information elements are typically included. You will then read four extracts and be given practice in identifying different elements. You will consider the different ways that methodology sections can be organised.\nCommon tense choice and voice choices\nYou will be given practice in choosing appropriate verb forms to complete short extracts which describe the methodology.\nPresenting and discussing findings\nIn this subsection, you are introduced to the various ways in which findings can be presented in dissertations. In particular, this section will cover the difference between the presentation of findings in a dissertation based on empirical research and in a library-based dissertation. You will also examine techniques for integrating tables and figures into a text.\nPresenting findings from empirical research studies\nYou will explore the various ways in which research findings can be presented in a dissertation.\nIncluding tables and figures in your dissertation\nHere important techniques for integrating figures and tables into a text are presented.\nPresenting findings in library-based dissertations\nYou will look at examples from library-based dissertations which illustrate the way findings are integrated into these types of text.\nInterpretation and discussion\nThis subsection examines approaches to the discussion and interpretation of findings. The session includes an overview of the common information elements in the Discussion chapter of a dissertation, an analysis of the different meanings of interpretation, and practice in techniques for expressing different degrees of certainty in your writing.\nCommon elements in discussion chapters\nYou will consider the different ways in which you can organise the final chapters of your dissertation. The common information elements of the Discussion chapter of a dissertation are presented and explored.\nDifferent ways of interpreting findings\nYou will explore the various meanings of interpretation and analyse examples in texts.\nExpressing degrees of certainty\nYou will practise the various language techniques available for expressing different degrees of certainty about your findings and interpretations.\nConclusions and dissertation writing techniques\nIn this final subsection, you will examine the role of the conclusion in a dissertation and its links to other sections. Typical information elements will be presented. You will also focus on the need for cross referencing within a dissertation. You will consider a number of general techniques which will help you throughout your dissertation.\nYou will consider the role of a conclusion in a dissertation and how it is linked to other sections. You will also look at the different information elements often found in a conclusion.\nCross referencing between dissertation chapters\nYou will look at how authors refer back to previously given information within a dissertation and consider why it is necessary to cross reference in longer texts.\nTime management, dealing with writer's block and revision strategies\nHere you will focus on the importance of planning your time carefully during your dissertation. You will then be introduced to a number of strategies to help you keep writing. Finally, you will think about the importance of proof reading your work and making revisions.", "id": "<urn:uuid:3027aa48-0b49-4e92-b123-23baead79b9e>", "dump": "CC-MAIN-2021-17", "url": "https://www.languagecentre.manchester.ac.uk/resources/online-resources/online-skills-development/academic-english/academic-writing/writing-dissertations/index.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039594341.91/warc/CC-MAIN-20210422160833-20210422190833-00613.warc.gz", "language": "en", "language_score": 0.9136322140693665, "token_count": 1682, "score": 3.5, "int_score": 4}
{"text": "In this unit, students will become familiar with fables and trickster tales from different cultural traditions and will see how stories change when transferred orally between generations and cultures. They will learn how both types of folktales employ various animals in different ways to portray human strengths and weaknesses and to pass down wisdom from one generation to the next. Use the following lessons to introduce students to world folklore and to explore how folktales convey the perspectives of different world cultures.\nAllegories are similar to metaphors: in both the author uses one subject to represent another, seemingly unrelated, subject. However, unlike metaphors, which are generally short and contained within a few lines, an allegory extends its representation over the course of an entire story, novel, or poem. This lesson plan will introduce students to the concept of allegory by using George Orwell\u2019s widely read novella, Animal Farm, which is available on Project Gutenberg.\nThe Bedouins of ancient Arabia and Persia made poetry a conversational art form. Several poetic forms developed from the participatory nature of tribal poetry. Today in most Arabic cultures, you may still experience public storytelling and spontaneous poetry challenges in the streets. The art of turning a rhyme into sly verbal sparring is considered a mark of intelligence and a badge of honor. Students will learn about the origins and structure of Arabic Poetry.\nAustralian Aboriginal art is one of the oldest continuing art traditions in the world. Much of the most important knowledge of aboriginal society was conveyed through different kinds of storytelling\u2014including narratives that were spoken, performed as dances or songs, and those that were painted. In this lesson students will learn about the Aboriginal storytelling tradition through the spoken word and through visual culture. They will have the opportunity to hear stories of the Dreamtime told by the Aboriginal people, as well as to investigate Aboriginal storytelling in contemporary dot paintings.\nThrough studying Beatrix Potter's stories and illustrations from the early 1900s and learning about her childhood in Victorian England, students can compare/contrast these with their own world to understand why Potter wrote such simple stories and why she wrote about animals rather than people.\nBecoming Human is an interactive documentary experience that tells the story of human origins. Multimedia, research and scholarship are presented to promote greater understanding of the course of human evolution. This site includes classroom materials, subject-designed exercises, games and activities to help make connections between the concepts that are presented and student learning. PDF versions of the resources may be downloaded from the site.\nNoh, the oldest surviving Japanese dramatic form, combines elements of dance, drama, music, and poetry into a highly stylized, aesthetic retelling of a well-known story from Japanese literature, such as The Tale of Genji or The Tale of the Heike. This lesson provides an introduction to the elements of Noh plays and to the text of two plays, and provides opportunities for students to compare the conventions of the Noh play with other dramatic forms with which they may already be familiar, such as the ancient Greek dramas of Sophocles. By reading classic examples of Noh plays, such as Atsumori, students will learn to identify the structure, characters, style, and stories typical to this form of drama. Students will expand their grasp of these conventions by using them to write the introduction to a Noh play of their own.\nThe Comic Creator invites children and teens to design their own comic strips. Their creations can be just for fun or as part of more structural learning activities: planning writing activities, before- and after-reading activities, and responding to books.\nThis FREE, pioneering curriculum is designed to empower students to think critically and make informed choices about how they create, communicate online\nIn this text, you will see information literacy examined from the perspective of students in the School of Education and the School of Information at the University of Michigan. The diversity of these perspectives contribute to new understandings and realizations as their divergent backgrounds, experiences, aspirations, and influences, both in libraries and 'in the wild', are examined in common. Their findings lend a fresh perspective to the existing body of literature on information literacy.\nSociology is the study of human social life. Human social life is complex and encompasses many facets of the human experience. Because of the complexity, the discipline of sociology subdivided over time into specialty areas. The first section of this book covers the foundations of sociology, including an introduction to the discipline, the methods of study, and some of the dominant theoretical perspectives. The remaining chapters focus on the different areas of study in sociology.\nIntroduction to Sociology is a featured book on Wikibooks because it contains substantial content, it is well-formatted, and the Wikibooks community has decided to feature it on the main page or in other places. Note: See \"Instructor Resources\" to find a list of Course Adoptions and accompanying PPTs.\nRespecting a child's race, colour, gender, religion, political view, nationality, origin of birth. What does this have to do with the students in my classroom or children all over the world? Ethics and social responsibility in the classroom are invited in this unit of study.Have your students ever thought about looking at an idea through different lenses? What about thinking about one item in different ways? Through the thinking, writing, speaking exercises the students will examine the Declaration of the Rights of The Child and will create a scrapbook weaving multiple genres.\nListen to \"The Attribution Song\" and learn to always give credit where credit is due when using other people's creations.\nSome of the most the most essential works of literature in the world are examples of epic poetry, such as The Odyssey and Paradise Lost. This lesson introduces students to the epic poem form and to its roots in oral tradition.\nOver the past 35 years, instructors at the University of California, Santa Cruz have taught organic farming and gardening skills to more than a thousand apprentices through the UCSC Farm & Garden Apprenticeship program. Teaching Organic Farming & Gardening: Resources for Instructors is their 600-page manual and covers practical aspects of organic farming and gardening, applied soil science, and social and environmental issues in agriculture. Units contain lecture outlines for instructors and detailed lecture outlines for students, field and laboratory demonstrations, assessment questions, and annotated resource lists. Although much of the material has been developed for field or garden demonstrations and skill building, most of the units can also be tailored to a classroom setting.\nThe training manual is designed for a wide audience of those involved in teaching farming and gardening, including colleges and universities with programs in sustainable agriculture, student farms or gardens, and on-farm education programs; urban agriculture, community garden, and farm training programs; farms with internships or apprenticeships; agriculture extension stations; school gardening programs; organizations such as the Peace Corps, US AID, and other groups that provide international training in food growing and ecological growing methods; and master gardener programs.\nIn this lesson, students study issues related to independence and notions of manliness in Ernest Hemingway\u2019s \u201cThree Shots\u201d as they conduct in-depth literary character analysis, consider the significance of environment to growing up and investigate Hemingway\u2019s Nobel Prize-winning, unique prose style. In addition, they will have the opportunity to write and revise a short story based on their own childhood experiences and together create a short story collection.", "id": "<urn:uuid:814a647d-6adc-4c1b-9dcc-8acec36a6136>", "dump": "CC-MAIN-2021-17", "url": "https://www.oercommons.org/browse?f.author=Individual+Authors", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00017.warc.gz", "language": "en", "language_score": 0.9456267952919006, "token_count": 1508, "score": 4.21875, "int_score": 4}
{"text": "The extinction of the dinosaurs, 65 million years ago, allowed mammals to rapidly evolve a range of body sizes, according to a November 2010 study. But even so, no land-dwelling mammals were able to get as large as the largest dinosaurs. Biologist Felisa Smith, an author of the study, explained.\nFelisa Smith: Mammals are what are called endotherms. They regulate their own body temperature. A mammal of a given size uses ten times more energy than does a reptile or a dinosaur of the same size.\nIn other words, mammals can\u2019t evolve bodies as large as the largest dinosaurs because they need to use so much of their physical energy \u2013 provided by the food they eat \u2013 towards keeping their bodies warm. For example, we humans need to maintain a temperature of 98.6 degrees Fahrenheit, or 37 degrees Celsius, in order to stay alive. But dinosaurs, like today\u2019s reptiles, did not regulate their body temperature, and the extra energy allowed them to grow larger, Smith said.\nFelisa Smith: I think it\u2019s really intriguing that the largest dinosaurs are just about ten times larger than the largest mammal.\nSmith said that size difference is in line with the theory that energy capped the maximum body size of mammals, and energy constraints might have also limited the size of the dinosaurs.\nFelisa Smith: It\u2019s important to consider how much the evolution of any given organism is influenced by the environment, and by the presence of other organisms on the planet. Mammals evolved 210 million years ago. But for first 140 million years of our existence, we didn\u2019t do much. We stayed small, didn\u2019t diversify in any huge capacity. As soon as dinosaurs were removed from the scene, we diversified rapidly to a huge size of body size niches, and also ecological niches.\nSmith said that before dinosaurs went extinct, mammals were no larger than football-sized, weighing about 10 \u2013 100 grams. Many mammals went extinct along with the dinosaurs, but the species that survived expanded dramatically.\nFelisa Smith: When the Earth reset, if you will, here was enormous ecosystem that had no dominant animals in it. Mammals diversified incredibly quickly, and occupied all ranges of body sizes we see today, plus some that no longer exist.\nBut 42 million years after the dinosaurs went extinct, mammals hit a plateau in their body sizes. Smith said this was a phenomenon that occurred across all continents, shown in the fossil record. In the study, Smith and her colleagues found two things that explain the constraints on mammal size.\nFelisa Smith: Our study suggests that the constraints acting on maximum body size of mammals were twofold. Temperatures constrains mammal evolution. Colder temps permit larger body sizes. That may mean that it has to do with heat loading. Maybe, when you get too big, you can\u2019t get rid of excess heat. The second one is land area, which is probably a proxy for energy that\u2019s available to support populations of really large animals.\nLearning to love science. As a producer for EarthSky, Lindsay Patterson interviews some of the world's most fascinating scientists. Through EarthSky, her work content is syndicated on some of the world's top media websites, including USAToday.com and Reuters.com. Patterson is also charged with helping to stay in steady communication with the thousands of scientists who contribute to EarthSky's work of making the voice of science heard in a noisy world. She graduated from Colorado College with a degree in creative writing, and a keen interest in all forms of journalism and media.", "id": "<urn:uuid:99297090-ad2e-42a8-bfc0-c6cd5bd3fdff>", "dump": "CC-MAIN-2021-17", "url": "https://earthsky.org/earth/felisa-smith-why-mammals-havent-out-sized-biggest-dinosaurs", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00256.warc.gz", "language": "en", "language_score": 0.9525001645088196, "token_count": 745, "score": 4.46875, "int_score": 4}
{"text": "As a teacher, you might want to give your students some homework to further their learning, consolidate what they learnt in class, or prepare them for an upcoming topic. Students from primary school to secondary school will regularly be given homework by their teachers.\nHowever, a teacher will often need to mark or correct the homework they give students in a way that provides educational benefits to the student. When giving out homework, teachers sometimes forget to think about how they\u2019re going to fairly mark it so that a student or parent can clearly understand how well they\u2019ve performed.\nIn this article, Superprof is looking at how to fairly mark the homework that you give your students so that it offers valuable feedback to them and a clear indication of what they\u2019ve done well, how they can improve, and what they\u2019ve got wrong.\nWhat Is Homework For?\nWhether students are studying maths, science, English, French, geography, or history, their homework must be marked in a way that they can learn from the feedback.\nSometimes, homework is given to help students revise for an upcoming exam, a marked activity that counts towards their overall grade or to help them improve upon what they studied in class, meaning that their academic performance can be affected by how well they do their homework.\nThe advantages of handing out homework include:\n- Homework can act as evaluation or training. This allows students to learn how to work independently and also see how well they\u2019ve retained the information given to them during their course.\n- Mark schemes give students a goal to achieve. They can look to improve on their scores.\n- Homework is also a way to encourage students to work in groups, allowing them to improve their teamwork and communication skills.\n- Parents and family members are given an opportunity to get involved with their children\u2019s schooling and also work on the aforementioned group skills.\n- Students can revise less if they\u2019ve effectively used homework to consolidate their knowledge from in class.\n- Doing homework is a good opportunity for students to catch up to their peers, especially if they\u2019re starting to struggle in a given subject.\n- Homework gives the teacher more time for teaching as they can use homework to evaluate students rather than tests and exams during class time.\nThat said, there are also disadvantages to evaluating students through homework rather than an exam.\n- Homework mightn\u2019t necessarily be all the student\u2019s own work. Family members, friends, and even the internet can help students with their homework. However, this can teach students to be resourceful and do their own research both online and offline.\n- By evaluating students outside of the classroom, their scores, grades, or marks mightn\u2019t be representative of what they can achieve or how they would perform under exam conditions or in class.\n- Some students may struggle to do their homework and some really bad grades could knock their confidence. You may want to be merciful when giving out incredibly low scores.\n- A teacher will need to spend a lot of time making copies of worksheets, preparing homework activities, and then correcting them.\nHomework can be a useful tool for encouraging students to work on their own and improve their academic performance when done right. Furthermore, hard-working students will take pride in their work and fully enjoy the benefits of homework.\nMake sure that students understand why they\u2019re doing their homework and that they\u2019re free to ask questions about it before you set their homework. After all, they can\u2019t clear up any confusion once they get home.\nMarking According to the Type of Homework\nNot all homework is the same and the type of homework you\u2019ll set will depend on the level and subject being taught. Homework gives struggling students an opportunity to spend more time on their work while also being able to call upon their parents, family members, or private tutors for help.\nThere are three main types of homework that students can be given:\n- Exercises. This type of homework is common in maths and science. To correct or evaluate this type of homework, you need to check if the student has the correct answer and has used the technique or approach that you\u2019re trying to teach them. It doesn\u2019t take long to correct as it\u2019s often just a matter of checking whether the answer or working is right.\n- Research and reasoning. This type of homework is common in the humanities and subjects like history, philosophy, and languages. Students are tested on how well they can research a given topic, put forward an argument, and show their logic and reasoning. This type of homework can take longer to correct, but it\u2019s less likely that any student will get a really low score. This type of homework includes essays, dissertations, etc.\n- Projects and creative writing. This type of homework is common in language courses and the arts. Generally, this is an opportunity for students to create something on a given topic or theme. Normally, students won\u2019t need much help with these tasks as they\u2019re about using their creativity to make something within a set of constraints.\nThe latter is a great way for students to express themselves.\nMake sure that you adapt the homework you set to your students. The homework has to be at their level, on a topic that they\u2019ve studied, and an activity that will improve their academic performance.\nThings to Keep in Mind\nThere are a few things you need to consider when marking your students\u2019 homework. The rules are stricter in secondary school and students will be expected to follow guidelines and methodologies when doing their homework but the mark scheme will also be clearer.\nThe overall grade or mark will reflect on how well the student has achieved the objectives outlined in the homework or project. If they\u2019ve kept the objective or goal in mind whilst they did their homework, it won\u2019t be surprising if they get a high mark.\nIf they\u2019re expected to show their working or use a particular approach, you need to make sure that this is clear to the student and that arriving at the right answer using a different approach may not result in the student getting high marks.\nHowever, in subjects like history, languages, and the arts and humanities in general, the lines are a little blurrier. If the goal is to use a particular grammatical tense or specific vocabulary in a foreign language exercise, they could lose marks by not including this in their answer, even if it\u2019s a really well-written piece of work.\nIt\u2019s important that they\u2019ve used the right approaches or methods. While there are often other solutions to problems, you\u2019re probably testing them on a certain approach rather than testing whether or not they can get the actual answer.\nIn subjects where the quality of the research is important, marks will often be awarded for high-quality research and also sound logic. In these cases, the quality of the argument will be more important than the final answer.\nIn short, homework should be marked according to:\n- The goal or brief.\n- The use of techniques being tested or evaluated.\n- The quality of logic or reasoning on display.\n- The overall presentation of the work and expected quality.\nOf course, there is always some leeway for the teacher to prioritise certain parts of the homework. In any case, this framework is a good place to start when marking students\u2019 homework.\nMore Things to Consider\nThere are a few more things you need to think about when marking homework. Again, this will depend on the subject you\u2019re teaching, but most of these things can be applied to most subjects.\nPlagiarism shouldn\u2019t be tolerated. Of course, this is harder to prove in maths than in English.\nWith the humanities, it\u2019s quite easy to check if the student\u2019s work is original. If you search for a sentence from the student\u2019s work on Google, you\u2019ll be able to see if it\u2019s appeared elsewhere online. If you search for the entire text and get something, it\u2019s probably been directly lifted from another source.\nA fully plagiarised piece of work should instantly be disqualified from evaluation. It\u2019s important that the students understand that this type of practice is unacceptable.\nAs part of the rules, you may want to penalise homework that\u2019s handed in late. You can always mark a student down for late submission or give them half marks. This is often at your discretion.\nKeep in mind that your scoring needs to be consistent and that it\u2019s a good idea to outline the boundaries. For example:\n- 60-70%: Fine.\n- 70-80%: Good.\n- 80-90%: Very good.\n- 90-100%: Excellent.\nYou don\u2019t need to use these exact numbers, especially if you rarely give students higher than 70%, for example.\nNow you should know a bit more about marking homework. To learn more about homework, check out our other articles.\nYou can even look for help from a private tutor on Superprof!", "id": "<urn:uuid:87e4ae17-8a4c-4c33-b1ae-f09a6db6e328>", "dump": "CC-MAIN-2021-17", "url": "https://www.superprof.co.uk/blog/correcting-homework-guide/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065492.15/warc/CC-MAIN-20210411204008-20210411234008-00176.warc.gz", "language": "en", "language_score": 0.9628350138664246, "token_count": 1899, "score": 3.65625, "int_score": 4}
{"text": "Belle Nora March 21, 2021 Worksheets kindergarten\nPreschool phonics worksheets. Sounds and phonics worksheets for preschool and kindergarten, including beginning sounds, consonants, vowels and rhyming. These worksheets help kids learn to use letters to make sounds and words. Free phonics worksheets from K5 Learning; no login required. Preschool Phonics Worksheets. Kids can take the first steps towards literacy with this series of free phonics worksheets for preschool. Children can trace each letter of the alphabet, identify beginning sounds by matching pictures with the letters they start with, complete a simple cut and paste phonics activity, and separate similar letters by matching the uppercase and lowercase form of each. Printable Preschool Phonics Worksheets. The worksheets found here would be great for either preschool students or those students currently in Kindergarten or on their way there. (It\u2019s finally summer break here, gotta get ready for Kindergarten!) There are currently twelve papers in all. The instructions for all of them are the same. Mar 2, 2017 \u2013 Collection of phonics activities, worksheets and lesson ideas for children in preschool, pre-k or kindergarten classrooms. Learn about beginning sounds, ending sounds and short vowels. Visit www.littledotseducation.com for more preschool related resources. See more ideas about Phonics, Worksheets, Beginning sounds.\nPrintable Art Worksheets. Spark your students\u2019 creativity with our selection of printable art worksheets! With activities to challenge and inspire children of all ages, these printable art worksheets help your students discover new talents in drawing, music, creative writing, and more. Young learners will love tracing and coloring pictures and. This set of 5 Solar System Worksheets set is perfect for introducing the planets to your child. Perfect to accompany Solar System Unit. Landform and Waterbodies Worksheets. This colorful set of Landform Worksheets covers waterbodies as well. The Free Printable Worksheets are perfect for homeschooling or in classroom usage. Vocabulary Worksheets. Our Vocabulary Worksheets provide vocabulary and word usage exercises for grade 1-5 students. Spelling Worksheets. Our Spelling Worksheets for grades 1-5 help kids practice and improve spelling. Grammar Worksheets. Learn about the parts of speech, sentences, capitalization and punctuation with our free & printable Grammar. Free Language Arts Worksheets for Teachers, Parents, and Kids. Easily download and print our language arts worksheets. Click on the free language arts worksheet you would like to print or download.. The quality of your printable language arts worksheet will be pristine with the PDF version of the worksheet. We recommend downloading the PDF file.\nPreschool worksheets age 2. Worksheets for toddlers Age 2 and Preschool Worksheets. An appropriate person isn\u2019t identified exclusively by his right clothes or with an excellent family. At any moment, someone is going to have several things he wants to achieve in regards to long term and short term. There are a lot of means. Beyond the usual age appropriate reading, writing and math exercises \u2014 all of which were designed by professional educators \u2014 our preschool worksheets teach kids everything from sorting techniques and the five senses to feelings and emotions. Make learning engaging for pre school age kids with over 3000 pages of free pre k worksheets, preschool games, and fun activities for teaching alphabet letters, preschool math, shapes, counting, phonemic awareness, visual discrimination, strengthening fine motor skills, and so much more. worksheets for toddlers age 2 \u2013 Coloring Kids. worksheets for toddlers age 2. 3 Year Old Activities Toddler Learning Activities Educational Activities Book Activities Preschool Activities Preschool Books Children Activities Shapes Worksheet Preschool Lesson Plans For Preschool\nPrime numbers worksheet for 6th grade children. This is a math PDF printable activity sheet with several exercises. It has an answer key attached on the second page. This worksheet is a supplementary sixth grade resource to help teachers, parents and children at home and in school. Identify Prime and Composite Numbers Worksheet 5. Identify Prime or Composite Numbers Worksheet. Identify Prime or Composite Numbers Worksheet 1. Identify Prime or Composite Numbers Worksheet 2. Identify Prime or Composite Numbers Worksheet 3. Prime and Composite Number Cut and Paste Activity Worksheet. Prime Numbers or Composite Numbers | Worksheet #1. Let your children display heaps of arithmetic creativity with this printable worksheet with 3 sections each. Students practice identifying numbers as either prime or composite and also circle the given numbers as per the instructions provided. Prime and composite numbers worksheets have a variety pdf exercises to understand recognize prime and composite numbers. Also amusing display charts which list the prime and composite numbers from 1 to 100 and extremely engaging activities like coloring, cutting, pasting and mazes are here for your children in grade 4 through grade 7.\npreschool worksheets age 2 2 \u2013 There are lots of explanations why you will need to obtain a preschool worksheets age 2 2 for the Kindergartners.There are several math problems your child can\u2019t solve independently, and you desire to make certain that they\u2019ve a approach to take about solving the problem. Free Printable Preschool Worksheets. Our site is filled with freebies to make learning fun for toddler, preschool, pre k, and kindergarten age students. So whether you are a parent, teacher, or homeschooler \u2013 have fun exploring our many, many resources. On this page you can see all our free preschool printables arranged by most popular. Pre Writing Tracing Pack for Toddlers Or Preschool Worksheets Age 2 2 . Remember that the best artifice for preschoolers to acquire supplementary skills and learn ideas is through play. It is in view of that important that children are complete many opportunities to play.\nPreschool art worksheets that will inspire any little artist! With fun pages to color, crafts to make and projects to excite the imagination. These art worksheets will inspire budding artists. Easy step by step drawing tutorials, mirror drawing pages, comic book pages and grid coloring pages. These printable worksheets are a great place to start for beginning artists of all ages. Art history worksheets work well for art or history lessons and encourage young learners to explore their own creativity. Read about Pablo Picasso or try replicating early Egyptian art. Share the gift of imagination with art history worksheets. Different kinds of symmetry\u2026. Reflective symmetry\u2013 a line could be drawn down the middle of the shape and the shape on side of the line is \u201creflected\u201d onto the other side.The reflected shape will be exactly the same as the original. Radial symmetry-a condition in which similar parts are regularly arranged around a central axis.There are other, more specific, kinds of symmetry such as.", "id": "<urn:uuid:0325d358-4721-4b57-960d-ea6dcc1b58f7>", "dump": "CC-MAIN-2021-17", "url": "https://stopthetpp.com/190Ydv4M2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00096.warc.gz", "language": "en", "language_score": 0.9030299782752991, "token_count": 1444, "score": 3.703125, "int_score": 4}
{"text": "October 2020 Agenda\u2014Sheboygan, Wisconsin\nBegin at 9:00am\n1. The next workshop date is scheduled for Thursday, November 19.\nLet\u2019s take some time to reflect on last month\u2019s TEC21 Challenges and share experiences. Share a success, a challenge you experienced, or a lesson learned.\nASHLEY: Learn about apple classroom/Google classroom efficiency\nHEIDI: Make a google quiz and try EdPuzzle\nBECKY: USe Gimkit! or EdPuzzle\nKATHY: How to use these for Pre-school/REMIND\n- Discover the value of engaging your students in a digital storytelling project.\n- Explore digital storytelling tools and resources to use with your students.\n- Identify a tool or resource to share with a colleague.\nEveryone has a story to tell! What\u2019s yours?\n\u201cDigital storytelling has emerged as a fundamental, cross-curricular technique that provides structure for both sharing and understanding new information. It has become an essential way of providing information and enhancing education\u2026by making abstract or conceptual content more understandable. In all disciplines, it offers more ways to engage students and enrich learning through the inclusion of digital media that represents, illustrates, and demonstrates. Digital storytelling brings together text, graphics, audio, and video around a chosen theme, often with a specific point of view. Bernard Robin observes that a digital story may be a personal tale, a depiction of a historical event, or simply a way to creatively impart information or provide instruction. In the classroom, they can also foster collaboration when students are able to work in groups, and enhance the student experience through a personal sense of accomplishment (Robin, 2006). The National Council of Teachers of English in 2003, challenged teachers to develop instructional strategies for students to master composing in nonprint media that could include any combination of visual art, motion (video and film), graphics, text, and sound\u2014all of which are frequently written and read in nonlinear fashion (Porter, 2008, p. 11). Included was the process of digital storytelling, where information is conveyed in a way that is more engaging than plain text.\u201d Strategies for digital communication skills across disciplines: The importance of digital stories (Links to an external site.)\nCommon Core writing standards require writing and publishing using digital tools beginning already in Kindergarten and continuing through Grade 12.\nUse technology, including the Internet, to produce and publish writing and present the relationships between information and ideas efficiently as well as to interact and collaborate with others.\nUse technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information.\nWhat is it? Digital storytelling is the practice of combining narrative with digital content, including images, sound, and video, to create a short movie, typically with a strong emotional component. Check out this example of Following Jesus on Twitter.\nTraditional Book Style Storytelling\nWhen most students think of a story, they think, \u201cbook.\u201d Before we lead them out of the box, so-to-speak, digital storytelling can look a lot like traditional books. Here is a link to a couple of examples\u2026\nClick edit button to build out your 1st sub-topic.\nResources for Digital Storytelling \u2013 Sorted by device and level of ease\nLow-tech option: Paper Slide Storytelling\nPaper Slide Videos are a quick way to do a one-take recording of students teaching information. Use your iPad or iPhone in video mode and slide the prepared papers in one at a time as you talk about each, telling the story of what you learned or wrote.\nHere is a link to a sample rubric if you want to get an idea of how to make one for a paper slide video.\nDigital Citizenship Integration\nWhether students are learning in-person, remotely or in hybrid scenarios, online learning activities are a part of the education process. As educational leaders, we have the extraordinary opportunity to be a positive influence in their lives when it comes to modeling and teaching them about digital citizenship. Common Sense is a nonprofit organization dedicated to provide parents and teachers lessons and resources to teach children in grades K-12 skills and responsible behaviors to thrive in the 21st century. Below are their six core curriculum topics. Check out their website HERE.\n- Media Balance & Well-being\n- Privacy & Security\n- Digital Footprint & Identity\n- Relationships & Communication\n- Cyberbullying, Digital Drama & Hate Speech\n- News & Media Literacy\nDigital Tools & Resources\nBook Creator is the number 1 book app for the iPad in over 90 countries, was voted best educational app in 2015, and just became a free website as well. Allows you to add pictures, video, voice, and publish in ibook format. Students use to write interactive stories, science reports, research journals, instruction manuals, and more. Then build a school library of student-created books in iBooks on your iPad. Here\u2019s how you can add video of sign language to each page of your book with Book Creator!\nStoryjumper.com is the number 1 rated website for making digital stories. Best feature is the site can automatically translate the book into 38 different languages to share with students, parents, and relatives who don\u2019t speak English. Use your own pictures or graphics provided. Create narratives or informational reports with this versatile tool StoryJumper example\nHave you ever heard of Genius Hour? Listed below are several resources to help understand what it is all about and why some teachers have been integrating this project-based learning strategy into their classrooms. Jerrita Staehr, one of our workshop facilitators, created all of the necessary assets for TEC21 Teachers to use either for themselves during their TEC21 experience or to make copies and adapt them to use with their students. She\u2019s broken it down into steps and provided wonderful examples and templates. Excellent work, Jerrita, and thank you for sharing this with everyone! Here\u2019s a link to the shared Google folder with all of her resources if you are are interested: Jerrita\u2019s Genius Hour TEC21 Style Resources.\n- \u201cWhat is Genius Hour?\u201d (Genius Hour)\n- How to Build Community Leaders of Today \u2013 And Tomorrow \u2013 Through Genius Hour (EdSurge, 2017)\n- Genius Hour in Elementary School (Edutopia, 2017)\n- Tips and Tricks to Keep Kids on Track During Genius Hour (MindShift, 2017)\n- Inspire Drive, Creativity in the Classroom with 20-Time (20-Time in Education)\n- 20-Time Projects in Education: 41 Projects in 4 Minutes (YouTube, 2014)\nFlippity.net. Easily turn your information into a gaming activity for learning. Begin with a Google Spreadsheet, use the template provided, and you have flash cards, Jeopardy, a random name picket, an interactive scavenger hunt, a timeline, a Bingo game, and much more. This would be a great way to add an experiential learning component to your lesson! Or have students create one to review learning. Flippity Random Name Picker to randomize groups, teams, seating chart https://www.freetech4teachers.com/2019/07/create-your-own-mobile-friendly-random.html\nAnimoto is a platform for easily making great-looking videos and photo slideshows.\nTeachers, do you\u2026\n- Not have enough time for grading?\n- Want useful measurements on student performance?\n- Want to assess student understanding in real-time?\n- Need a free solution to help?\nVoki enables teachers and students to use speaking animated characters to enhance the learning experience.\nTellagami\u00ae is a mobile app that lets you create and share a quick animated Gami video.\nStoryJumper is a site that gives teachers, students, parents, and authors a fun set of intuitive tools for writing and illustrating stories. Our goal is to inspire anyone that\u2019s ever wanted to write an illustrated story to get started!\nGoogle Slides works well as a platform for basic storytelling, screencasting, and even stop motion animation!\nFlipgrid It\u2019s simple, fun and takes only a few minutes! Learners pause and flip their camera while recording, add uploaded photos and videos, trim unlimited clips and include a whiteboard, video styles, text, emoji, inking and more to superpower their stories!\nUsing the WriteReader White Label Solution, you can:\n- Teach children to read by enabling them to write, share, and publish their own digital books\n- Transform screen-time into a positive, active learning experience shared among friends and family\n- Provide an interactive, digital companion to more traditional publications and media\n- Enhance existing digital products or amplify your brand with a high- retention, engaging product\nLunch Hour at 11:30am/Back to Work at 12:30pm\n- Digital: Engage your students in a digital storytelling activity or project. Share your experience by posting for others to see!\n- Social: Post a question, an answer, a resource, a picture of your students working on digital storytelling, or an example of a student project to the TEC21 Educators Group on Facebook.\n- Spiritual: Be a resource to at least one new person on your faculty before we meet again.\nTo open the reflection in its own tab, select HERE.\nDismiss at 2:00pm\nMy Contact Info\nSchool \u2013 920-452-6882", "id": "<urn:uuid:afebee1f-5348-4e8f-b88f-d10c579f449b>", "dump": "CC-MAIN-2021-17", "url": "https://tec21connect.com/agenda/october-2020-agenda-sheboygan-wisconsin/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00538.warc.gz", "language": "en", "language_score": 0.9126132726669312, "token_count": 1985, "score": 3.59375, "int_score": 4}
{"text": "Very early in their life, children will start to identify rhythm and even move to the beats of music. After all, music is meant to touch our souls! Besides that, music provides cognitive benefits that support children\u2019s early development. In this article, we talk about the benefits of getting musical around your toddlers.\nHere are our top five reasons why music can be beneficial to the development of your child.\n1. Music increases toddler\u2019s sensory development\nJust as taste, textures and colours aid a child\u2019s sensory development, so does music. Exposing your child to different types of music can help create more pathways between the cells in their brains. This effect increases even more when you link music to different activities such as dancing.\n2. Music can improve literacy and numeracy\nFrom an early age, babies can hear the difference between different types of sounds. After just a few weeks, a baby is able to identify their mother\u2019s voice from other people\u2019s. Exposure to music enhances a child\u2019s natural ability to decode sounds and words.\nBy singing nursery rhymes to your child, you can help them to identify sound patterns and learn through repetition. In addition to that, music also helps children anticipate what is coming next in a poem or a song and they know how to put these patterns in a sequence. By mastering these skills, children build the base of literacy and numeracy.\n3. Music is a mood lifter\nA lot of parents tuck their children in with a lullaby or calm them down with a song. Just as music can soothe a child, it can also lift their spirit.\nTip: You can use music to indicate play time, sleep time or different moments in your child\u2019s daily schedule.\n4. Music helps toddlers build coordination\nEven if your child doesn\u2019t understand the lyrics of a song yet, they can definitely move to the rhythm of the music. You may have already noticed your child dancing to certain songs or liking certain pieces of music more than others.\nMusic encourages children\u2019s inclination to move, developing their fine motor skills and gross motor skills. Plus, if the rhythm is very entertaining, you may even notice your toddler starting to jump up and down, which helps with their muscle development, strength and balance.\nTip: When you see your child dancing, give them a toy drum or other homemade musical instruments and dance with them. They will try to mimic your moves, which can help them with their hand-eye coordination and exercise their clutch grip.\n5. Music can help toddlers develop their vocabulary\nEven though at first your child may not understand the words in a song or in a nursery rhyme, they do develop their understanding by identifying the storytelling in a song. Take as an example the ABC song, where many children think that the sequence \u201cl-m-n-o-p\u201d is a word, \u201celemenopee\u201d. As they grow, they will start to realise that it\u2019s not a word, but a sequence of sounds, each sound being a separate entity.\nTip: To help children learn more words and identify the story in a song, try singing their favourite nursery rhymes and inserting their name into the song. You can also encourage your child to change words in a song to keep them engaged and learning.\nLearn new tunes at playgroup\nChildren may be inclined to learn new songs and new dance moves when they play in the company of other children. Playgroups are the perfect environment where your child can socialise with other children their age and discover the joy of music.\nIf you want to find a playgroup in your area, click here.\nKinderling Kids Radio, a Playgroup NSW partner is a family-friendly kids radio for children and their grown-ups. You will find heaps of music for you and your young children at kinderling.com.au that you can access online or by downloading their app.", "id": "<urn:uuid:bcb5ff44-59b2-48db-8b8f-c631e980ffbf>", "dump": "CC-MAIN-2021-17", "url": "https://www.playgroupnsw.org.au/ParentResources/EarlyChildhoodDevelopment/importance-of-music-toddler-development", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00217.warc.gz", "language": "en", "language_score": 0.9578351974487305, "token_count": 821, "score": 3.65625, "int_score": 4}
{"text": "Many pupils today are very familiar with social media tools like Facebook and Twitter, whether they themselves use them or from the many references on television, film or media. It teaching literacy today there is an expectation built into curricular guidelines that pupils should have a familiarity with a wide range of genre, whether in printed form, film or digital. And that includes social media. And it\u2019s recognised by many that the tools with which many pupils are familiar could be harnessed to engage them in their learning. However there are concerns from many areas about how to best prepare pupils for the digital age in which they live, so that pupils are best equipped with the skills so they can stay safe if and when they use social media, while at the same time recognising the legal and societal constraints on schools.\nFacebook and Twitter are currently two tools with which many pupils will already be familiar, whether themselves, or familiy members or through references in television, film and media. And many teachers have recognised the potential for pupil engagement in learning across the curriculum when using tools in the style of Facebook and Twitter, while at the same time in many schools they may be unable to have pupils themselves use these specific tools themselves.\nWhat Facebook-like or Twitter-like tools are available for schools?\nSMART Notebook Facebook format template\nAmber Coggin has produced a SMART Notebook file for use with a SMART Board which is in the form of a Facebook template which can be downloaded and used without an Internet connection. This can be used both to reinforce safety messages about the use of social networking tools, and the SMART Notebook file can be edited so that pupils can create their mock page for a historical character or for a character from a novel study, or for pupils to develop a character they themselves have made up in a piece of their own writing. Click here to access this resources: http://smartboardgoodies.com/2011/02/11/facebook-page-template-notebook/\nFakebook and Twister from Classtools.net\nAlternatively from the iLearn Blog http://t.co/nXhLLC3 comes the links to use online fake social media pages Fakebook and Twister created by @russeltarr to teach about the use of Facebook and Twitter. Use them by getting the pupils to create fictional pages for historical characters or create fictional characters in creative writing. While there is then the curricular purpose with a creative tool there is also the opportunity to reinforce the message about safe use of social networking tools.\nFakebook from Classtools.net is a free online tool which lets pupils create a Facebook-like profile for a fictional or historical character. Just by adding the name of the character in history or from a novel the tool will search for and add an appropriate image. Likewise for \u201cfriends\u201d of the character these will add images automatically. In this way the tool has been designed specifically for school use and encourages pupils to research details of a character (fictional or historical) to make approriiate choices of event sequencing for the status updates. So if using a historical character from the time of a specific event in history there is considerable reading and research required of a pupil in order to sequence events correctly, to interpret and summarise a sequence of events, to include the viewpoints of other real-life associated historical characters in their posts on the original character\u2019s timeline and make inferences basd on what information may have been available at that time in history to these characters. The familiar format of Facebook, and the automatic addition of appropriate visuals, has been found by teachers to engage pupils in the learning about the historical characters, often demonstrating a much deeper understanding of the information than might be expected. Fakebook profiles for historical or fictional characters can be saved online \u2013 a user simply adds a password so only they can edit it (but keep a note somewhere of the direct link to the Fakbook profile you created in order to find it again!). The completed Fakebook profile can also be saved as a PDF file for saving elsewhere as evidence of the learning of the pupil. If you are looking for ideas to get started or to demonstrate for pupils then click here to search for Fakebook profiles created by others.\nTwister from Classtools.net is a free online tool which provides a fill-the-blanks format for pupils to enter information about a historical or fictional character. Images will appear automatically so time is not wasted in searching for suitable images. The limited-character nature of status updates of Twitter (and use of hashtags) encourages pupils to summarise factual information appropriate to their character, and the familiarity of such to pupils today has been found by teachers to be a particularly engaging and effective way to teach the skill of summarising. The Twister homepage provides links to a host of examples of the use of the tool to create Tweets as if created by historical or fictional characters \u2013 so provide useful starting points for those who may be unfamiliar with the tool or who may be looking for ideas to spark their own imagination for characters related to the historical character under study.\nFurther tools for teaching about safer use of social networking tools like Facebook while also teaching about historical figures can be found on Richard Byrne\u2019s blogpost here\nPowerpoint and Word Templates\nTemplates using Microsoft Word or Powerpoint have been created by teachers so that pupils can create profiles of fictional or historical characters in the style of Facebook or Twitter. Click here for one example \u2013 others are available and doing an online search for \u201cfake Facebook Word or Powerpoint templates\u201d will provide others.\nIf you are looking for resources about making use of Twitter itself for a class or school account then click here.\nIf appropriate in your own situation Twitter itself can be used for fictional characters or historical events or characters. This has been used by teachers with a class to send messages (Tweets) in the sequence of time that an event happened in history or in a novel. If Twitter had been available at that time what would the messages have been? Click here to see an example account set up by a S4 pupil retelling the journey of David Balfour in Robert Louis Stevenson\u2019s novel.\nIf you are looking for resources for supporting digital citizenship and safe use of online tools then click here.", "id": "<urn:uuid:21417def-cdfc-467c-a33a-18616e6b621b>", "dump": "CC-MAIN-2021-17", "url": "https://blogs.glowscotland.org.uk/fa/ICTFalkirkPrimaries/developing-literacy-with-facebook-like-and-twitter-like-tools/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00492.warc.gz", "language": "en", "language_score": 0.9316025972366333, "token_count": 1289, "score": 4.25, "int_score": 4}
{"text": "Astronomy is a subject that often fascinates students of every age. The solar system is very spread out, which makes accurate scale models difficult to draw. Planets such as Jupiter are 1/10 the size of the sun, but Earth is 1/100 the size of the sun. With the right materials it is possible to draw a fairly accurate scale model of the solar system.\n- Large rectangular piece of cardboard\n- Very large sheet of artist's paper (as from a giant sketch pad)\n- Math compass\n- Colored markers\n- Ruler or tape measure\nUse pencil to trace. You may find after the first time that you need to redo the scale and measurements.\nHave more than one piece of paper or cardboard handy in case you make a mistake. The scale can be hard to get down the first time.\nChoose between using either a large circular piece of cardboard, or a very large sheet of paper from an artist's sketch pad. The circular piece of cardboard can be helpful because the sun will be the center and the planets' orbits are easier to draw, but finding a piece large enough can be a problem. Cutting a circle from the side of an unwanted refrigerator box could be a good method. Most find it easier to find the largest sheet of paper available from a sketch pad and to work from there.\nMeasure out the entire length of the page in either millimeters or centimeters. Most of the time millimeters will be the better option because of how spread out the solar system is. It is easier to scale in millimeters than centimeters most of the time. You will need to know the total length in millimeters because this will help you determine the scale you're going to use.\nExamine the real distances between planets and the sun to figure out what your scale should be. This will vary based on the length of your paper or cardboard cut out. The best way to get a quick rough estimate is to look up the distance between the furthest planet you're going to chart and the sun (for Neptune, it's 2.27 billion miles or 4.45 billion kilometers). Take that number and divide it into the number of millimeters you have to work with on your cardboard or paper. Give yourself a little bit of extra space and that will give you an idea of your scale.\nDraw the sun in the exact middle of the page, sketching lightly with a pencil. Use a ruler or measuring tape and your scale to figure out how far away each planet should be. Put a little dot on both sides of the sun, then use a compass to draw the orbit by connecting the dots. Repeat this step for all eight planets (or nine if Pluto is still counted).\nRsearch the relative size of each planet to make an appropriate-sized dot. Earth is only 1/100 the size of the sun, but Jupiter is 1/10 the size of the sun. In a scale model then the sun should be 10 times the size of Jupiter, while Jupiter should be 10 times the size of Earth. Because the scale measures distance as opposed to radius, you can get away with fudging the sizes a little, just remember that the relative sizes should just about match.\nDraw a different color for each individual planet with marker. Remember that with the orbits marked on the page, the planets don't all have to be lined up behind one another: in fact, in real life they never are.\nThings You'll Need\n- Use pencil to trace. You may find after the first time that you need to redo the scale and measurements.\n- Have more than one piece of paper or cardboard handy in case you make a mistake. The scale can be hard to get down the first time.\nAbout the Author\nMonty Dayton is a professional freelance writer who has worked for the ACLU, Touchstone Publishing LLC, the University of Alaska, Fairbanks and many other employers. He holds a Master of Fine Arts in creative writing from the University of Alaska and loves writing about travel, the outdoors and health topics.", "id": "<urn:uuid:78c4381a-d3ed-48b0-b538-8ba198d87d39>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/draw-scale-model-solar-system-5631565.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00337.warc.gz", "language": "en", "language_score": 0.9258937835693359, "token_count": 823, "score": 4.125, "int_score": 4}
{"text": "A Simple Way to Teach Third Graders How to Write a Simple Paragraph\nBy third grade, many children understand how to create an idea or choose a topic for a story, use punctuation appropriately and spell most sight words correctly. Third-grade students can use these skills to recognize parts of paragraphs and write their own simple paragraphs. There are many components to a paragraph and coherent writing in general, but if you break these parts into simple steps, third-graders can grasp the concepts needed for writing.\nSentences as Complete Thoughts\nBefore you dive headfirst into teaching your third graders how to write a paragraph, review how to write a sentence. Third graders should understand that one sentence is just like one complete thought, according to Readingrockets.org. Read sentences aloud to your third graders, and pause at periods to allow these students to hear the natural pauses in between sentences, so they can hear a clear beginning, middle and end. Practice writing complete sentences as a group, and review grammatical concepts, such as capitalizing the first letter of a sentence and adding punctuation.\nIdentifying Parts of a Paragraph\nNow that your third graders understand how to write sentences, explain that a paragraph is just a collection of sentences focused on one idea. Tell your third graders that in order to write a paragraph, they have to understand the parts, as suggested by Melissa Packer, author of \"Write On! Step by Step Paragraph and Report Writing.\" A paragraph usually starts with a topic sentence, which is the main idea of the paragraph. The next part of the paragraph, called the transition, tells the readers what you want them to know about the topic. The final part of the paragraph, the conclusion, restates your topic sentence but should not be exactly the same. Practice identifying these parts by reading paragraphs as a group.\nMaking a Sandwich\nOne way to teach third graders something new is to compare the new thing to something these students already know. Tell your third graders that writing a paragraph is a lot like making a sandwich; you start with a piece of bread, also called your topic sentence, add some ingredients to the middle, which are like your transition sentences, and finish the sandwich with another piece of bread, or the conclusion sentence. Give your students an outline drawing of a sandwich with at least three ingredients, and ask them to write a sentence in each section. Share some paragraphs with everyone and analyze them by asking if the topic sentences were clear and if each transition sentence related to the topic.\nStarting With Outlines\nAnother way to simplify writing a paragraph is to start with an outline. On a piece of paper, write the names of the parts of a paragraph: Topic Sentence, Transition 1, Transition 2, Transition 3 and Conclusion. Ask your third graders what they want to write about -- write the topic, such as \u201cbirthdays,\u201d next to the words \u201cTopic Sentence.\u201d Prompt your third graders to come up with details about your topic; your students might come up with \u201cbirthday cake,\u201d \u201ccandles,\u201d \u201cparties\u201d or \u201cpresents\u201d for the birthday topic. Write these words by the \u201cTransition\u201d words. Next to \u201cConclusion,\u201d rewrite the word \u201cbirthdays\u201d to remind your students to restate the topic. Now write a paragraph using this outline.\n- Scholastic: A Leap Ahead in Writing: 3rd Grade\nCara Batema is a musician, teacher and writer who specializes in early childhood, special needs and psychology. Since 2010, Batema has been an active writer in the fields of education, parenting, science and health. She holds a bachelor's degree in music therapy and creative writing.", "id": "<urn:uuid:2365a1e0-328f-4b59-99aa-5d8d3222ee8e>", "dump": "CC-MAIN-2021-17", "url": "https://education.seattlepi.com/simple-way-teach-third-graders-write-simple-paragraph-3966.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038057142.4/warc/CC-MAIN-20210410134715-20210410164715-00578.warc.gz", "language": "en", "language_score": 0.9576722383499146, "token_count": 778, "score": 4.25, "int_score": 4}
{"text": "Transitions are words and/or phrases used to indicate movement or show change throughout a piece of writing. Transitions generally come at the beginning or end of a paragraph and can do the following: Alert readers of connections to, or further evidence for, the thesis; Function as the topic sentence of paragraphs; Guide readers through an argument Using Transitional Words to Make Your Essays Flow The transitional words you use in an essay will change depending on the type of essay you're writing; descriptive, narrative, expository, or argumentative. Each of these four modes, or types of essays, do slightly different jobs, and information is delivered to the readers in slightly different ways for each mode. 027 Argumentative Essay Transition Words Example Essays ... 24+ files of 027 argumentative essay transition words example essays paragraphs college paper academic service for writing an transi list transitional surprising counterclaim pdf ~ Thatsnotus Transition Words In Argumentative Writing Worksheets ... Transition Words In Argumentative Writing. Showing top 8 worksheets in the category - Transition Words In Argumentative Writing. Some of the worksheets displayed are Useful argumentative essay words and phrases, Using transition words, Using transitions effectively, Transition words and phrases, Opinion words and phrases, 4th and 5th grade writing folder, Using signal words and phrases lesson ...\nA List Of Transition Words For Persuasive Essay To Improve Your Writing. Persuasive essays use reason and logic to argue two ideas and show one idea as more legitimate that the other. The motives are to present two sides of the same coin and through the use of a series of arguments prove that one idea is redundant to the other.\nBy (date), after reading a grade-level persuasive text and given a word bank of transitional phrases, (name) will write a (5)-paragraph essay that opposes or affirms the original author's argument and contains a thesis... statement, (3) body paragraphs with (1) piece of relevant evidence each, (1) counterclaim and at least (3) transitional words or phrases (e.g. on the other hand, additionally ... Paragraph Transition Words Paragraph Transition Words. Transition words and phrases may appear anywhere in an essay but their most important value comes as paragraph transition words connecting the idea in one paragraph with another idea in a succeeding paragraph. Argumentative Essay Transition Words Argumentative Essay Transition Words. argumentative essay transition words Pay for essay writing online a fair price and choose an academic writer who will provide an original and complete well-researched college paper in return. Transition Words in English | Linking Words and Phrases ...\nTransition words for essays to start paragraph\n45 Best Transition Words and Phrases To Use In Essays The words and phrases below are mostly used in persuasive (argumentative) essays where you need to convince the readers of your opinion in a confident manner. But in fact, they\u2019re useful in almost any type of writing (such as expository essays ) simply to keep the structure intact. List of Transitional Words for Essay Writing | Synonym Transitional words make it easier for students to connect their thoughts and ideas when writing essays. As a student, the goal is to select transitional words to help guide readers through your ... Complete List of Transition Words - thoughtco.com 100 Transition Words. It is normal, after a first draft, for your paragraphs to be a little choppy and out of order. This might seem to be a big problem to tackle, but it is really easy to address. First, be sure to work with a printed copy of your paper (instead of working on a computer screen). Transition Words for Persuasive Essays\nTransition Words & Phrases\nBest 25+ Conclusion transition words ideas on Pinterest ... Find and save ideas about Conclusion transition words on Pinterest. See more ideas about Conclusion transitions, Conclusion phrases and Accommodations for students with disabilities. Transition Words useful for Argument Writing | NS Argument ... Transitional Words/Expressions to Use in Writing To show\u2026 Words/Expressions to Use Similarity also, in the same way, just as, likewise, similarly Exception/Contrast But, however, in spite of, on the one hand, on the other hand, nevertheless, nonetheless, notwithstanding, in contrast, on the contrary, still yet Sequence/Order First, second, third\u2026, next, then, finally Time After, afterward,\u2026 Transition Words for Argument Writing - qacps.org Transition Words for Argument Writing Introducing Examples That is to say In other words For example For instance Namely An example of this As in the following examples Such as Including Especially Particularly In particular Notably Chiefly Mainly Mostly Writing in Lists/Sequence First(ly) Second(ly) Third(ly) Another Yet another In addition Transition words for an argumentative essay writing\nTransition Words - List of Transition Words for Essays PDF ...\nLike laying out a common line of: introduction, vocabulary and writing service! Disadvantages of creative writing to get a rule, avoid summary since the big words.\n100 Transition Words. It is normal, after a first draft, for your paragraphs to be a little choppy and out of order. This might seem to be a big problem to tackle, but it is really easy to address. First, be sure to work with a printed copy of your paper (instead of working on a computer screen). Transition Words for Persuasive Essays Commonly, effective persuasive essays use an introductory transition word in the first supporting paragraph (usually, that is the paragraph after your introduction). Few of the transitions you can use are \u2018to begin with\u2019 , \u2018in the first place\u2019 , \u2018firstly\u2019 , and \u2018the first reason\u2019 . Transition Words For Compare And Contrast Essay - PapersOwl.com", "id": "<urn:uuid:4622564e-2de9-4885-ac39-f7aa8c123d08>", "dump": "CC-MAIN-2021-17", "url": "https://articlezkhfu.firebaseapp.com/rossman78492nih/transition-words-for-an-argumentative-essay-hoqe.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038092961.47/warc/CC-MAIN-20210416221552-20210417011552-00136.warc.gz", "language": "en", "language_score": 0.8785759210586548, "token_count": 1194, "score": 3.546875, "int_score": 4}
{"text": "Features: Wordle is a tool for generating word clouds from the text that a user provides. Click on \u201cCreate,\u201d and paste your text or enter the URL of any Web page (an online passage, blog, etc.), and then click \u201cgo\u201d or \u201csubmit.\u201d Greater prominence is given to the words that appear more frequently in the source text. You can twist your Wordle text with different fonts, layouts, and color schemes, and with the advanced options you can give chosen words more weight and choose individual word colors. You can print them out or save them to the Wordle gallery to share them with others.Classroom Application: This tool can be used for classroom projects or to create posters. Additionally, it can be used for a prereading activity to formulate a general idea about a passage by looking at the main words; after creating the Wordle, engage students in group discussions about what the reading is about, and the major and minor ideas.NOTE: You cannot make the words fill a particular shape.\nFeatures: With this tool you can copy and paste a text or insert a URL and then, with the click of a button, summarize what you have entered.Classroom Application: This tool can help students in reading. It summarizes the main points of each paragraph. It also can be useful for text analysis; if you click on the \u201cShow sentences\u201d option, the tool provides the entire text as a numbered list of sentences. Students can use this list to look at certain language patterns, like collocation, sentence structure and variety, or vocabulary distribution.NOTE: This tool summarizes; it does not paraphrase.\nFeatures: This Web site allows you to upload pictures and create word balloons. It is interactive, easy, and fast. Upload your picture and then add word balloons or bubbles with different shapes and styles. You can save them to your computer as a JPEG or e-mail them to someone.Classroom Application: This Web site can be used to help students create comic books (which was its original function) or posters. It can be also used by beginner learners to describe certain pictures to practice, for example, using the correct order of adjectives or to write a descriptive paragraph.NOTE: If the file you are uploading is large, it can take a long time.\nFeatures: This is a collaborative platform that allows users to interact online and leave comments using text, voice, audio file, and video, which appear as a slide show.Classroom Application: This Web site can be used to engage students in an online discussion. The teacher can post specific questions or pictures related to a reading passage and have students discuss these questions. This can be assigned for homework as a prereading or postreading activity. The teacher can log in any time to read or listen to the comments of the students or participate in the discussion.NOTE: Signing up is needed for a free account, and you have to pay to upgrade your account. The free account offers limited storage, commenting minutes, and voice threads, and does not provide a secure environment.\nFeatures: This is an easy-to-use timer. Just enter the duration you need. After you enter the needed time, it will appear as a screen saver. It has other features, such as setting up permalinks for specific durations and settings.Classroom Application: It can be used to time classroom presentations or discussions.NOTE: You cannot stop the countdown; you have to close the window if you want to do so.\nFeatures: The LEGO City is a comic strip builder. The instructions are clear and easy to follow: You select the layout you want, choose from a library of images and clips, and then add word bubbles to your pictures. After you are done, print and share with classmates.Classroom Application: This would be fun for a classroom project such as creating a comic book in which students are asked to focus on a specific tense or use certain vocabulary to put what they have learned into practice. It gives students the chance to be creative and design their own stories by combining visuals and writing.NOTE: You cannot upload your own images. You can only choose from the images in the library.\nFeatures: This Web site works as a tool to comment on or annotate different types of files such as PDF, Word Docs, and images. You simply upload your file and are able to complete different tasks such as highlighting; adding text, comments, or drawings; and striking out existing text.Classroom Application: This Web site can be used by teachers or students to comment on or highlight files, which is especially useful for files that do not allow any editing or for which you do not have the proper software to edit. A teacher who likes to integrate technology in their teaching can have the students analyze and comment on electronic articles. They can look at certain vocabulary or grammatical points in context and use this tool to highlight, comment, or draw images to clarify the meaning or the use.NOTE: You can highlight, insert comments, strike out text, or write, but you cannot edit the actual words of the document.\nFeaures: This Web site allows you to create a Web page with a collection of your favorite sites, documents, images, and videos. You can share it with someone by providing them with the URL. In the \u201cYour List Items\u201d section, all your items are saved as snapshots with a display of the name and a description below.Classroom Application: Weblist works well for teachers and students for quickly sharing a collection of sites, videos, or documents. A teacher can use this tool to post classroom documents and share useful Web sites and videos with students. It can be also used by students to share classroom projects or PowerPoint slides and provide feedback to one another.NOTE: You need to register for a free account in order to save multiple lists and edit your lists.\nFeatures: Dushare is a simple and direct way for file transfer between two people. Click on \u201cSend a file,\u201d upload your file (any size), and a link to it will appear. Copy your link and send it or share it with others. The receiver then can use the link to view, download, and save the file. If you want to protect your file with a password, you can create one and notify the receiver about it. It also offers chatting that enables the sender and the receiver to communicate any comments or messages.Classroom Application: It can be useful for a quick and easy way of sharing files between the teacher and students or among students, such as for a student video project or any small group work in which students need to share files.NOTE: According to the Dushare Web site, a secure, direct transfer is guaranteed; Dushare does not view or monitor your files or chat. Nonetheless, always be cautious when sending confidential or private documents.\nFeatures: This Web site is similar to Wikipedia. It covers millions of topics about, for example, figures known worldwide, historical events, and countries. However, it can be classified as educational. In addition to texts, the topics are presented via storytelling. It is a new way for students to search for information and receive a response in an engaging way. It integrates different language skills such as reading and listening.Classroom Application: Students can research about a historical event, a country, a famous figure, and so on, and receive information in an entertaining way with visuals, text, videos, and narration. A teacher can also use this site for reading comprehension because it combines text, audio, and visuals that assist students in understanding the topic. It can be used by students to collect information about a certain topic for a classroom presentation or project.NOTE: The pronunciation of some non-English names is sometimes unclear or incorrect.", "id": "<urn:uuid:53f5f3a6-b27f-44e1-9f7d-092bed91cbbb>", "dump": "CC-MAIN-2021-17", "url": "https://edtechno1.blogspot.com/2012/03/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038098638.52/warc/CC-MAIN-20210417011815-20210417041815-00497.warc.gz", "language": "en", "language_score": 0.9230101108551025, "token_count": 1594, "score": 3.9375, "int_score": 4}
{"text": "- What is formal tone in literature?\n- What is the difference between formal and informal writing style?\n- What are five guidelines to using the informal tone in writing?\n- What is an informal sentence?\n- What is a professional tone in writing?\n- What are examples of tone in a poem?\n- What is informal example?\n- What makes a text informal?\n- What are tone words?\n- What is informal tone?\n- How do you describe formal tone?\n- What are the informal words?\n- Can Tone be formal or informal?\n- What are examples of tone words?\n- What is informal tone in writing?\n- What makes a text formal or informal?\n- What are examples of formal and informal sentences?\n- Is Okay informal?\nWhat is formal tone in literature?\nA formal tone helps establish the writer\u2019s respect for the audience and suggests that the writer is serious about his or her topic.\nIt is the kind of tone that educated people use when communicating with other educated people.\nMost academic writing uses a formal tone..\nWhat is the difference between formal and informal writing style?\nThe difference between Formal Writing and Informal Writing is that formal writing is more professional, in nature, and mainly utilized for business or education purposes, while informal writing is personal and utilized for casual purposes.\nWhat are five guidelines to using the informal tone in writing?\n15 Tips for Writing in a Conversational ToneRecord yourself talking. Record a conversation between you and a friend, then try to transcribe it. \u2026 Use contractions. \u2026 Shorter sentences. \u2026 Start sentences with \u201cand\u201d or \u201cbut\u201d \u2026 End with prepositions. \u2026 Use common words. \u2026 Incorporate slang. \u2026 Ask questions.More items\u2026\u2022\nWhat is an informal sentence?\nInformal language allows the use of nonstandard English forms, colloquial vocabulary and typically shorter sentence structures.\nWhat is a professional tone in writing?\n\u201cThe business writer should strive for an overall tone that is confident, courteous, and sincere; that uses emphasis and subordination appropriately; that contains nondiscriminatory language; that stresses the \u201cyou\u201d attitude; and that is written at an appropriate level of difficulty\u201d (Ober 88).\nWhat are examples of tone in a poem?\nExample: Some words that can describe the mood of a poem might be: romantic, realistic, optimistic, pessimistic, gloomy, mournful, sorrowful, etc. Some words that can describe the tone of a poem might be: serious, humorous, amused, angry, playful, cheerful, sad, gloomy, etc.\nWhat is informal example?\nThe definition of informal is something or someone who is casual or relaxed. An example of informal used as an adjective is informal clothing, such as comfy casual jeans and a sweatshirt.\nWhat makes a text informal?\nFormal and informal language serve different purposes. \u2026 Informal language is more casual and spontaneous. It is used when communicating with friends or family either in writing or in conversation. It is used when writing personal emails, text messages and in some business correspondence.\nWhat are tone words?\nTone words are specific words that help express an author\u2019s attitude about the subject matter. Words typically have a positive, negative, or neutral connotation.\nWhat is informal tone?\nThe informal tone is for when you are discussing things with people you know on a personal level, such as fellow students when working together on a group project, or when submitting a discussion blog post. The formal tone is used when you are writing a paper for a class or an email to a professor.\nHow do you describe formal tone?\nIn formal writing, your tone should be clear, concise, confident, and courteous. The writing level should be sophisticated, but not pretentious. In creative writing, your tone is more subjective, but you should always aim to communicate clearly. Genre sometimes determines the tone.\nWhat are the informal words?\nEmphasis Words \u2013 Informal & FormalInformalFormallots of/ a lot ofmuch, manytons of, heaps oflarge quantities of, a number oftotallycompletely, stronglyreally, verydefinitely\nCan Tone be formal or informal?\nTone describes the attitude of a piece of writing: whether the writing is formal or informal, playful or serious, ironic or sincere. You can convey tone in a variety of ways, but here we cover a few simples strategies for adapting tone to audience.\nWhat are examples of tone words?\nThe tone in a story indicates a particular feeling. It can be joyful, serious, humorous, sad, threatening, formal, informal, pessimistic, and optimistic. Your tone in writing will be reflective of your mood as you are writing.\nWhat is informal tone in writing?\nInformal language is more casual and spontaneous. It is used when communicating with friends or family either in writing or in conversation. It is used when writing personal emails, text messages and in some business correspondence. The tone of informal language is more personal than formal language.\nWhat makes a text formal or informal?\nFormal English is used in \u201cserious\u201d texts and situations \u2014 for example, in official documents, books, news reports, articles, business letters or official speeches. Informal English is used in everyday conversations and in personal letters.\nWhat are examples of formal and informal sentences?\nFormal English often sounds more serious and formal:Formal: Good morning! How are you? \u2026 Formal: They will be attending the meeting tomorrow. Informal: They\u2019ll attend the meeting tomorrow. \u2026 Formal: I would like to apologise for any inconvenience caused. Informal: Sorry! \u2026 Formal: I want to pass my English exam tomorrow.\nIs Okay informal?\n\u201cOK\u201d is not considered a formal word. It can be used sometimes in formal conversations, but not in writing. Some words you can use in its place are \u201cacceptable\u201d, \u201call right\u201d, or \u201cdecent\u201d.", "id": "<urn:uuid:66da03c6-ddeb-4d0d-8ea4-b7666423a95b>", "dump": "CC-MAIN-2021-17", "url": "https://eurekahomeshoppingco.com/qa/what-is-formal-tone-and-informal-tone.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038083007.51/warc/CC-MAIN-20210415035637-20210415065637-00538.warc.gz", "language": "en", "language_score": 0.9143801331520081, "token_count": 1272, "score": 3.796875, "int_score": 4}
{"text": "Amia Sixtine January 1, 2021 worksheets\nPreschool phonics worksheets. Sounds and phonics worksheets for preschool and kindergarten, including beginning sounds, consonants, vowels and rhyming. These worksheets help kids learn to use letters to make sounds and words. Free phonics worksheets from K5 Learning; no login required. Preschool Phonics Worksheets. Kids can take the first steps towards literacy with this series of free phonics worksheets for preschool. Children can trace each letter of the alphabet, identify beginning sounds by matching pictures with the letters they start with, complete a simple cut and paste phonics activity, and separate similar letters by matching the uppercase and lowercase form of each. Printable Preschool Phonics Worksheets. The worksheets found here would be great for either preschool students or those students currently in Kindergarten or on their way there. (It\u2019s finally summer break here, gotta get ready for Kindergarten!) There are currently twelve papers in all. The instructions for all of them are the same. Mar 2, 2017 \u2013 Collection of phonics activities, worksheets and lesson ideas for children in preschool, pre-k or kindergarten classrooms. Learn about beginning sounds, ending sounds and short vowels. Visit www.littledotseducation.com for more preschool related resources. See more ideas about Phonics, Worksheets, Beginning sounds.\nOur preschool worksheets are specifically designed to include all the age-appropriate skills. Explore these worksheets to help your preschooler child learn alphabets, numbers, colors, shapes, pre-writing skills, vocabulary building and other skills. Age Group: 2-5 years Grade Level: Preschool Free Printable Worksheets For Toddlers Age 2 Free Printable Toddler Worksheets Children Worksheets Free Free Toddler Worksheets Back To School Activities Grade 5 Free Back To School Worksheets For Second Grade shape worksheets for toddlers alphabet worksheet for kids color red worksheets for toddlers preschool activity sheets toddler learning printables free worksheets for kids worksheets for. This is an extensive collection of free preschool worksheets designed for ages approximately 3 & 4 years old. These free printable preschool worksheets are designed to help kids learn to write the alphabet, numbers, plus a free printable color matching sheet! The youngsters can enjoy preschool worksheets age 2, Math Worksheets, Alphabet Worksheets, Coloring Worksheets and Drawing Worksheets. They could play games in the Nursery like Numbers Match Games and Alphabet Puzzles and preschool worksheets age 2.Such a lot of fun they could have and give another kids.\nA free printable art worksheet for a painting tutorial on value. Image: \u00a92006 Marion Boddy-Evans. Licensed to About.com, Inc. A collection of free art worksheets for various painting exercises. Details of the painting exercise each art worksheet is intended for can be found with the worksheet. Free Printable Art Worksheets. My favorite go-to art lessons come from the Art Appreciation Worksheet Bundle. It\u2019s as easy as 1, 2, 3! 1. Pick an artwork 2. Print one of the Art Appreciation Worksheets 3. Watch with joy as your students connect with and interpret art Days of the Week Download Modernize The Advertisement Download Exploring Geometric Shapes Download Designer Face Masks Download How to Make a Hexa-Hexaflexagon Download How to Divide a Circle into 7 Equal Parts Download How to Create a Circle Design With Sixfold Symmetry Download How to Make a Stomachion Download How to Make a House Booklet \u2026 Apr 30, 2012 \u2013 Explore Pauline Cameron Weisz\u2019s board \u201dArt: Worksheets/Printables\u201d, followed by 1476 people on Pinterest. See more ideas about Art lessons, Art handouts, Art worksheets.\nPreschool spelling worksheets. Spelling Practice Worksheets for Preschool Printables. Download Spelling Practice Tracing worksheets and printables Kids educational preschool, kindergarten and grade school for kids. Preschool Spelling Curriculum Sequence. In preschool, spelling words start with basic two-letter words. For example, a good starting point for preschoolers would be: AT, ME, BE, and IT. Children then start to expand the list by working through \u201cword families\u201d. From AT, in preschool spelling, the curriculum, worksheets, and then spelling. Preschool Spelling Resources. Preschool focuses on pre-writing: ABCs, vowel sounds and simple words. Prep for writing success with these worksheets that focus on letter recognition, word-building and a bit of storytelling. Preschool. Reading & Writing. I am a Christian mother of four, with over 13-years experience homeschooling in Southern Oregon. The resources and products I create are designed to keep the prep to a minimum while also bringing a little educational fun to your classroom\nSince a prime factorization of zero is not possible\u2026zero is neither prime or composite. Prime and Composite Numbers Worksheets: Though we may or may not go into that much detail with our students, it is important for them to play around with prime and composite numbers, and this prime and composite numbers worksheet packet allows them to do so. Numbers can be categorized as prime or composite. In this quiz, you\u2019ll recall what makes a number prime, and then pick prime and composite numbers from given options. Quiz & Worksheet Goals Identify prime and composite numbers. Identify prime and composite numbers www.algebraforchildren.com. Identify from the list below prime numbers and composite numbers ANSWER SHEET 1) 97 2) 91 3) 25 4) 2 5) 14 6) 47 7) 3 8) 37 9) 99 10) 19 11) 82 12) 11 13) 54 14) 40 15) 52 16) 70 17) 31 18) 38 19) 59\nThe printable alphabet letters on our website come in different fonts for your own convenience. For formal events, we have printable cursive letters; for children\u2019s parties, we have bubble letters for that; and for old-school-themed events, we have vintage letters ready to be printed and decorated. These free printable alphabet templates and letters are great for arts and crafts projects, DIY gifts, educational purposes, and much more. Just sign up for the Freebie Finding Mom email list to get an all access pass!. Printable alphabet templates have a lot of different uses. Here are just a two of the ways I\u2019ve put these alphabet printables to use in my home. We have prepared for you Free Alphabet Practice A-Z Letter Worksheets \u2013 Preschool Printable to Learn the Alphabet. Our A-Z Letter Worksheets are perfect for any preschooler who is just learning to write and read. These Free alphabet printables will help children practice fine motor skills. Holding the pen correctly is only seemingly easy. The free printable stencils are in a block font and include all the alphabet letters A through Z, numbers 1 though 9, and of course punctuation. It\u2019s a timeless font in all uppercase and always does the trick and takes minutes to make.\nTag Cloudhttps cool math games division geometry formulas 9th std math 1st grade algebra worksheets extra math practice grade 3 working together to solve problems basic math assessment algebra worksheets ks2 year 6 christmas activities for middle school printable algebra 1 state test everyday learning corporation bill spreadsheet 5th grade math equations addition and subtraction year 1 daniel pinkwater", "id": "<urn:uuid:73a8fea7-0f02-43fb-8b0a-3386d3c7050e>", "dump": "CC-MAIN-2021-17", "url": "https://chocolatecityburlesque.com/4xj04m6g/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00494.warc.gz", "language": "en", "language_score": 0.876517653465271, "token_count": 1598, "score": 3.78125, "int_score": 4}
{"text": "Prep | Kindergarten News\nUnit of Inquiry: How We Express Ourselves\nCentral Idea: Creative thinking allows for the expression of different perspectives.\nStudents in kindergarten have been further developing their understanding of the form of stories. We are discovering that not all stories are expressed in the same way. Some are expressed through drama, puppets, actions, singing and art. There are many ways a story can be told. By exploring the many forms of storytelling, students are developing their creative thinking skills. In the last few weeks, students have been creating settings for their stories and will work towards sharing their own stories while developing their expressive language skills.\nI wonder if you have experienced different forms of storytelling at home. Maybe you have been to a play or a musical? I wonder if you have watched an opera, concert or dance? Exposure to all forms of storytelling helps our young learners to develop an open-minded attitude as he explores the perspectives of others.\nThis term, we have been focusing on developing our oral language and verbal communication skills. Oral language is important as it forms the foundation for our journey as readers, writers and communicators.\nTo support our oral language development, the boys have been investigating different books and looking at key vocabulary, the characters, the setting and the storyline. We have investigated:\nMagic Beach by Alison Lester where we looked at the words: Glee, Plunging, Dazzled. We also used our imagination to create our own \u2018Magic Beaches\u2019 \u2013 where we were encouraged to describe our creative ideas. We have also been able to re-tell the story in the classroom.\nTiddalick by Robert Roennfeldt which introduced us to a dreamtime story about a frog who caused a flood. We were able to engage with this story through drama activities and a small world scene.\nGiraffes Can\u2019t Dance by Giles Andreae where we thought about the sequence of events in the story, looked for interesting words and made connections between our own experiences and the text.\nErnie Dances to the Didgeridoo by Alison Lester which introduced interesting vocabulary such as sneaks, inspected and humid. We thought about other times when we could use these words and how Alison Lester chooses words in her stories to add details and to make it more interesting.\nWe have also enjoyed reading a variety of different rhyming books that have helped to consolidate our understanding of how rhyme works.\nDeveloping Fine Motor Skills\nFor more ideas on developing your son\u2019s fine motor skills you could try a few of the strategies from the list below:\n- painting and drawing on paper at large easels that requires whole arm movement\n- playing on climbing frames and obstacle courses that allow children to pull themselves up and build upper body strength\n- filling cups, jugs and a range of different sized containers with water and pouring water during water play\n- using spades, filling buckets to scoop sand and dig with hands in the sandpit\n- rolling playdough with hands, using cookie cutters and rolling pins\n- squeezing trigger on spray bottles to water plants\n- building with smaller wooden building blocks or connecting blocks, strengthening fingers and practice control to build intricate structures (e.g. lego, small blocks)\n- threading with beads\n- picking up objects with tongs and tweezers (e.g. picking up pompoms with tongs and placing them in a jar)\n- making smaller objects using pinching with playdough and using smaller rolling movements with fingers.\n- tearing paper into tiny pieces to increase finger dexterity\n- using pegs (e.g. helping to hang the washing up and squeezing each peg)\n- using scissors to cut a variety of materials (paper, playdough, cardboard)\n- Drawing with chalk outside on the sidewalk\n- Finger painting\n- Dressing and undressing a doll (including the use of buttons and zips)\n- Completing puzzles with various different sized pieces\n- Using large nuts and bolts to screw and unscrew (the twisting motion with fingers)\nIn Kindergarten we have been exploring patterns. The boys have explored patterns in the environment. They have used a range of materials to demonstrate their understanding.\nWe are now inquiring into two dimensional shapes. We will manipulate, sort and describe representations of two-dimensional shapes, including circles, triangles, squares and rectangles, using everyday language. At home you could discuss the following language: shape, circle, triangle, square, rectangle, features, side, straight line, curved line, open line, closed shape.\nThis term, the boys have been talking about \u2018Being REAL\u2019\nReady AND Reliable\nEngaged and Enthusiastic\nAccepting, Assured and Appreciative\nBe a Learner\nWe are focusing on being a Trinatarian, respecting and valuing the school uniform. The boys are using their self management skills by checking their shirts are tucked in, socks are pulled up and they are ready to learn.\nNext term, we will explore what it means to be engaged and enthusiastic. If you have a passion or an interest that you are engaged and enthusiastic with and would like to share it with our boys, please contact your class teacher.\nDuring this term, the boys have been investigating the question, \u201cWho is Jesus \u2013 his power and authority.\u201d They have explored a series of miracles including healing the paralyzed man, calming the storm, feeding the 5000, and raising Lazarus. Over the next few weeks, they will be thinking about Easter and why Jesus died on the cross for us. They will be exploring the events of Easter through some drama and outside activities. They continue to use their thinking, research and communication skills to help them share their knowledge with their peers. It is also encouraging to hear boys come back to school sharing their joy in reading new stories from the \u201cRead with me Bible\u201d. In Chapel, they have been reflecting on parables \u2013 stories Jesus told with a heavenly meaning and working on the connection between God, us and our relationship with him.\nKindergarten boys have continued to develop a sound foundational understanding of colours in addition to simple greetings and classroom routine in Mandarin. The concentration that the boys are displaying to develop their communication and inquiry skills is truly impressive. It is wonderful to see them expressing their feelings with curiosity in observing colour changes in nature and when two colours are combined together. Advanced learners are learning to associate colour with classroom objects, shapes, fruits and balloons with Chinese numbers.\nWelcome Back Welcome everyone to the 2021 winter season of the world game. At recess and\u2026\nImagine reorganising the week, so that \u2018Saturday\u2019 sport happens on a Wednesday and classes happen on\u2026\nLast Saturday we had our Winter Sport trials day. We were fortunate enough to be given permission\u2026", "id": "<urn:uuid:1cbf48ef-4d06-407e-86fe-d4c85b95c58b>", "dump": "CC-MAIN-2021-17", "url": "https://bulletin.trinity.nsw.edu.au/prep-kindergarten-news-3/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00098.warc.gz", "language": "en", "language_score": 0.9558551907539368, "token_count": 1405, "score": 4.28125, "int_score": 4}
{"text": "Pulitzer prize winner and winner of the 1993 Nobel Prize in Literature, Toni Morrison celebrated her 88th birthday last week. The acclaimed American novelist has written more than two dozen novels, non-fiction books, plays, children\u2019s literature and more.\nIn celebration of this icon\u2019s birthday, we wanted to take a look at Morrison\u2019s first published work, which also happens to be one of her most notable: \u201cThe Bluest Eye.\u201d\nPublished in 1970, the novel is about Pecola, a young Black girl who wishes, more than anything, that she could have blue eyes. Morrison explores this deep-rooted and complex desire through a writing and storytelling style that can only be described as daring.\nFirst, the vernacular of the novel is executed in a way that is authentic and immersive. Second, the story is narrated by a secondary protagonist Claudia, a young Black girl and friend of Pecola\u2019s, whose youthful and sometimes na\u00efve perspective offers a rawness to the story that would have been lost otherwise. Finally, the novel follows the chronology of the seasons, yet each season is in a different time period and follows a different character. It\u2019s not until the climax of the story that the role of these characters becomes clear; they are all a part of Pecola\u2019s larger story. Furthermore, they are all representative of aspects of a racially divided society.\nMorrison touches on several important themes regarding race in this book, the central theme being that Pecola\u2019s desire for blue eyes highlights a social context that views blue eyes, which in this case is synonymous with White-ness, as the standard of beauty to strive for.\nThis plays into the larger message of the novel, which is ultimately concerned with the idea of internalized racism: racial conditioning that occurs when people in a group targeted by racism begin to believe in their own inferiority.\nTherefore, Pecola and her desire for blue eyes is simply a product of deep oppression. One that causes even children to believe the inferiority that society has conditioned them to feel. One that turns families against each other, and individuals against their own communities.\nIn \u201cThe Bluest Eye,\u201d Morrison does more than tell a story, she shows readers what it\u2019s like to walk a couple hundred years in an institutionally oppressed Black woman\u2019s shoes; when the world is so against her, that she has no choice, but to turn against herself.", "id": "<urn:uuid:4691b384-d10c-4b54-90fd-b01a578de3e4>", "dump": "CC-MAIN-2021-17", "url": "https://lomabeat.com/celebrating-toni-morrison-the-bluest-eye-review/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00376.warc.gz", "language": "en", "language_score": 0.9717491269111633, "token_count": 519, "score": 3.578125, "int_score": 4}
{"text": "Using to her advantage conventions of narrative stories such as character development, plot control, and irony, she is able to bring the reader into a world of emotions that society would scoff at.\nDisability Explain what is meant by: Diversity is valuing and accepting those differences Equality is treating everyone in a way that is fairly to them. Not to be confused with treating everybody exactly the same.\nWe will write a custom essay sample on Discrimination and Equality or any similar topic specifically for you Do Not Waste HIRE WRITER Describe ways in which discrimination may deliberately or inadvertently occur in the work setting There are different types of discrimination; these include indirect discrimination, positive discrimination, racial discrimination, and stereotypes.\nDiscrimination may not always be deliberate. Identify which legislation and codes of practice relating to equality, diversity and discrimination apply to own role. There are various pieces of legislation in place to promote equality and reduce discrimination.\nThere are a variety of legislations and codes of practice that relate to equality, diversity and discrimination. All apply to own job role.\nShow interaction with individuals that respects their beliefs, culture, values and preferences. Describe how to challenge discrimination in a way that encourages change Record and report it immediately \u2014 it is more likely to be addressed if it has been written down.\nChallenge discriminatory remarks with explanations of why they are wrong; back it up with your policies and procedures on equality and rights. Identify a range of sources of information, advice and support about diversity, equality and inclusion There are a variety of different ways to obtain information about such things; some include government websites, a settings policies and procedures, asking a supervisor, leaflets etc.\nDescribe how and when to access information, advice and support about diversity, equality and inclusion How to access information, advice or support can be done in many ways, some include asking someone a manager or senior staff member within the setting, reading the settings policies and procedures, going on websites, doing an internet search, phoning a child line, etc.\nThe information could be accessed when you want to check something for yourself or support another person.When you pay for essay, we ensure that our writers focus on the instructions of your coursework to meet your expectations to the fullest. EssayPay is a committed team that makes sure every academic paper is exactly what you are looking for!\nNo matter if you are just getting started or want to break into fiction writing, setting is a crucial element to any story. In order to create an imaginary world for your story, you\u2019ll need to know the fundamental elements of setting first.\nSummary and Response \u2013 Essay 1. 4 Replies. Being stressed from work can often lead us to think that we are the center of attention. In other words, the brain switches to its \u2018natural default setting\u2019.\nEvery one of us has a \u2018natural default setting\u2019 we all go back to at the end of the day. Get Expert Essay Editing Help > Build Your Thesis Statement > Log in. Search Essay Examples. Setting Analysis Essay Examples. 18 total results.\nAn Analysis of the Idea Behind \"Pat Conroy\" words. An Analysis of the Setting and Plot of The Lord of the Flies.\nUnlike an environment that is removed from the work, Tolkien\u2019s setting sometimes is the story. Possibly the setting could even tell the story if there were no characters.\nFor example, in the house of Elrond of the elves, Frodo's experience is defined by the setting. Write an essay in which you analyze the role that setting and character play in driving the plot events in a story from - Answered by a verified Writer Write an essay in which you analyze the role that setting and character play in driving the plot events in a story from the readings.\nPoetry or nonfiction will not work for this.", "id": "<urn:uuid:346a6779-0854-45a5-b91c-8bb33a81d1ff>", "dump": "CC-MAIN-2021-17", "url": "https://buguhykygyxuculyt.regardbouddhiste.com/essay-on-setting-and-work-48262xa.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00539.warc.gz", "language": "en", "language_score": 0.9492517113685608, "token_count": 789, "score": 3.515625, "int_score": 4}
{"text": "Known as \u201cAmerica\u2019s Classical Music,\u201d jazz is a uniquely American contribution to the music world. It\u2019s impossible to fully explain jazz\u2019s influence on music and culture in a few paragraphs, though we\u2019ll do our best to give you a taste!\nFirst came the Blues\nThe Blues was its own genre long before jazz developed. Originating on Southern plantations in the 19th Century, the Blues is deeply rooted in various forms of African American slave songs such as field hollers, work songs, spirituals, and country string ballads.\nFrom the Blues, we get many of the elements of jazz, such as the wide use of seventh chords and the Blues scale. The Blues is also a form of music \u2013 maybe you\u2019ve heard of the 12-Bar Blues on our site before! It\u2019s a simple yet versatile structure that lets the performer experiment and improvise \u2013 something that became one of jazz\u2019s defining elements.\nThe Rise of Jazz\nJazz rose from New Orleans as \u201cDixieland,\u201d blending together the uniquely African American sounds of Blues, Ragtime, and Afro-Caribbean music. The Jazz Age (1920s-30s) was an important period in America\u2019s music history due to the significant cultural shift taking place in a post-World War I society. Jazz was about celebration, joy, rebellion, and dancing! It brought an element of freedom back into people\u2019s lives after the hard times of the war.\nIn an era where cultural differences divided people, jazz music was a great unifier. However, despite this connection, segregation continued for many years to come. New Orleans was the home to many of the early African American jazz musicians, but due to the racial violence and tension there, many artists fled to other cities such as Chicago, Kansas City, and New York. At the same time, jazz music was being played on national radio, spreading jazz to new audiences across the United States.\nA Few Big Names\nThere are too many influential jazz performers to name in a single post, let alone to write about! There\u2019s Bessie Smith, one of the first African American jazz musicians to be recorded. Duke Ellington evolved the genre and featured many other famous names in his band. Count Basie, Dizzy Gillespie, Nat King Cole \u2013 the list goes on! Let\u2019s look at four influential individuals in detail today.\nLouis Armstrong (1901-1971)\n\u201cHe was and will continue to be the embodiment of jazz.\u201d \u2013 Duke Ellington\nNew Orleans native Louis Armstrong did a lot for jazz. Trumpet solos? Thank Armstrong. Scat singing? That was (partly) Armstrong. Jazz as a serious solo art? Armstrong\u2019s doing. A virtuoso trumpet player, he was equally known for his charisma on stage and his distinctive, gravelly voice. He\u2019s probably best known for his covers of other people\u2019s music, like La Vie en Rose. However, he also composed many jazz standards still played today.\nArmstrong was widely accepted by audiences of all races. This allowed him to be an influential voice for both music and civil rights. The FBI actually kept a file on him because of that! Once, Armstrong refused to tour the Soviet Union on behalf of the U.S., saying that he couldn\u2019t represent his government when it was in conflict with its own people.\nElla Fitzgerald (1917-1996)\n\u201cI never knew how good our songs were until I heard Ella Fitzgerald sing them.\u201d \u2013 Ira Gerswhin\nElla Fitzgerald is one of the most popular jazz singers of the 20th century. During her career, she won 13 Grammys and recorded over 200 albums! With a powerful and versatile voice, she sang with many of her fellow jazz geniuses, including Louis Armstrong. Here\u2019s the two of them singing Gershwin\u2019s They Can\u2019t Take That Away from Me!\nThe \u201cFirst Lady of Song\u201d faced many struggles in her career due to racist Jim Crow laws. She had to enter many of her own performance venues through the back door, and she and her colleagues were sometimes harassed by police. Many big venues were off-limits to African Americans. However, in the 1950s, Ella changed that with help from actress Marylin Monroe. Monroe called the owner of a major club in Hollywood, saying that if he booked Ella, she would be at the front table every night. After that, Ella never had to play a small jazz club again.\nBillie Holiday (1915-1959)\n\u201cIt is Billie Holiday who was, and still remains, the greatest single musical influence on me.\u201d \u2013 Frank Sinatra\nIn late-1920s Baltimore, neighbors might have heard teenage Billie Holidaysinging along to records of Louis Armstrong. Today, her face graces postal stamps, complete with her iconic gardenia in her hair. Born Eleanora Fagan Gough, Holiday made her debut in obscure Harlem nightclubs. One of her most acclaimed songs, Strange Fruit, is also considered the first protest song of the Civil Rights Era. She also popularized many classics, such as April in Paris.\nBillie Holiday died tragically young, but her legacy lives on. Her vocal stylings influenced countless pop artists, including Frank Sinatra. She won four Grammy awards after her death. In 1972, Diana Ross starred in a biopic called Lady Sings the Blues. The play Lady Day at Emerson\u2019s Bar and Grill features Holiday as a primary character, played on Broadway and in film by Audra McDonald.\nChuck Berry (1926-2017)\n\u201cThe best rock and roll got its birth in the blues. You hear it\u2026in Chuck Berry.\u201d \u2013 Angus Young\nAnyone familiar with Chuck Berry\u2019s music might wonder why we\u2019ve included him here! Well, he may be the \u201cFather of Rock \u2018n\u2019 Roll,\u201d but his music is deeply rooted in the Blues. If Beethoven was the bridge between the two major Classical eras, then Chuck Berry was a bridge between the Blues and Rock. If that comparison isn\u2019t enough, one of Chuck Berry\u2019s famous songs is called Roll Over Beethoven!\nAs jazz began to fall out of popularity in the 1950s, Rock \u2018n\u2019 Roll took its place. Chuck Berry helped shape it into what we know today, using many elements of his Blues roots. To the stage, he brought the swagger of a jazz great; to rock music, he brought guitar solos and an emphasis on storytelling through lyrics. Many of his songs use the 12-bar blues structure. His legacy has been cemented through countless covers by famous Rock stars, and will continue to live on in music history.\nContinuing the Legacy\nThere are so many ways to honor these musical legacies at home!\n- Check out your local jazz concerts or radio stations, or find stations on Spotify!\n- Learn more about the history of jazz and its greatest contributors at PBS. They even have a Classroom page for grades 6-12!\n- For younger audiences, here\u2019s a great book about the experience of jazz performers in the segregated South: When Grandmama Sings by Margaree K. Mitchell\n- Learn more about the Blues with our Music Notes episode, What Is a 12-Bar Blues?\n- And of course, listen to our special Spotify playlist for African American Music Appreciation Month!\nJoin us next time for Funk & Motown Masters!", "id": "<urn:uuid:38aa9f28-0f9a-45e4-878c-66afb47c3b19>", "dump": "CC-MAIN-2021-17", "url": "https://www.hoffmanacademy.com/blog/african-american-blues-jazz-geniuses/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00299.warc.gz", "language": "en", "language_score": 0.9695231914520264, "token_count": 1596, "score": 3.671875, "int_score": 4}
{"text": "Our project for the Spring Term is \u2018Traditional tales and fairy stories\u2019\nWhy do young children enjoy a traditional story so much?\nApart from giving you some close one-on-one time with your child, these stories often have a moral underlying the tale which you and your child can talk about together. Ask questions about how the story made them feel, what did they think about the main characters and who they would most like to be in the tale. This gives your child great chances to express themselves which will help with their verbal development and communication skills.\nAnother thing with fairy tales that\u2019s important, is the way they are passed down from generation to generation. It\u2019s not just the process of reading a book, it\u2019s storytelling, and one of the best ways of engaging children and sparking their imagination. Tradition helps fairy stories endure.\nChildren\u2019s literature helps a young child make sense of what it is to be human and helps them understand the world around them. The fairy tale genre provides ways for children to receive important messages whilst entering a magical, but safe, realm of the story world.\nThey not only captivate the imagination of young minds, but also enhance their creativity and reasoning skills. A child learns a lot by simply listening to these amazing stories. But studies show that fairy stories and traditional tales bring significant positive results in the development of a young mind.\nThey are extremely important in developing the young child\u2019s imagination. They show worldly common truths regarding humans and the world around them, in a simple manner. When listening to fairy tales, children are often deeply affected by their contents and, at the same time, their imagination develops and takes on new shapes.\nFairy tales, fables and other traditional stories from around the world teach us about society, class, relationships, emotions, values and even good and evil.\nFolktales were often employed to share a common history, to reinforce cultural values or highlight important traditions.\nAs part of this term\u2019s project we\u2019ll be basing activities around some traditional tales and fairy stories including;\n- Goldilocks and the Three Bears\n- Red Riding Hood\n- The Three Little Pigs\n- Jack and the Beanstalk\n- The Three Billy Goats Gruff\n- The Gingerbread Man\nThese are often stories that are already familiar to, and loved by, our children and we can easily cover all areas of learning included in the Early Years curriculum.\nThe project lends itself extremely well to role play and fancy dress, which children always love!\nWe will also be acting out the stories with props and hand puppets\u2026\nThere will be lots of opportunities for small world imaginative play\u2026\nand of course, some amazing arts and crafts with a whole spectrum of different media!\nIf you have any well-loved stories at home that would make a good contribution to our project this term, please do let us know!\nWe\u2019re looking forward to a magical story filled term ahead!", "id": "<urn:uuid:e976f9f5-67a6-4c1e-828b-2b57c0b97e48>", "dump": "CC-MAIN-2021-17", "url": "http://montessorinurseries.com/our-project-for-the-spring-term-is-traditional-tales-and-fairy-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00457.warc.gz", "language": "en", "language_score": 0.9448245763778687, "token_count": 620, "score": 4.03125, "int_score": 4}
{"text": "How to Enhance Your Child\u2019s Learning & Development Through Effective Interactions\nThe extent to which children progress depends hugely on the level, timing and quality of adult interactions. Effective communication paves the way for developing crucial skills and positive relationships in later life by building confidence and positive social bonds. These active interactions can elevate the simplest of activities to an enhanced learning experience.\nHow can you develop positive interactions at home? By focusing on modeling behaviour, providing commentary, and introducing enabling environments are three fundamental elements of enhancing early development through interaction.\nCommunication includes verbal and non-verbal interactions, both allow us to gain a deeper understanding of children\u2019s personality, interests and recognising potential worries.\nYou can enhance learning significantly by providing an insightful running commentary about what\u2019s happening during an activity. Questioning yourself, for example,\n\u201cI wonder what colour paint I should use? I\u2019ll try red first,\u201d\nthis demonstrates problem-solving and encourages sustained interactions. As well as this, you can ask your child questions, this promotes self-esteem and confidence as it allows them to draw their own conclusions like;\n\u201cWhy do you think this has happened?\u201d and \u201ccan you do it another way?\u201d\nGiving a child your full attention is essential. Showing genuine interest in what they are saying and engaging in conversation is pivotal for the development of new vocabulary and the critical thinking processes.\nFennies Sanderstead Nursery Manager, Annalise D\u2019Mello says,\n\u201cChildren are observers, who learn best through copying actions and words they have seen or heard. Narration is a great way to support and engage children during play. By discussing what is happening during an activity, we expose children to new vocabulary which helps develop their communication skills.\u201d\nAnnalise recommends not shying away from complex vocabulary as this exposes them to a variety of new words.\nThe interactions your child has at home with family members is also very important for their development and overall well-being. It\u2019s been proven that non-verbal communication, such as facial expressions and gestures can be just as powerful. For example, when praising a child, if our expression is angry or frustrated, this can send out confusing mixed signals. However, if our facial expression is reflective of your words, this can reinforce what you\u2019re saying.\nThis can be particularly important when a child feels uneasy about communicating with adults as they observe social interactions by watching what\u2019s happening around them. Our staff are regularly trained in effective interactions to ensure they are ultimately harbouring a love for learning in children by providing challenge, stimulation, motivation and praise.\nAn enabling environment that challenges and stimulates children is also a key contributing factor to learning and development. The impact of children\u2019s surroundings promotes exploration and sparks their natural curiosity to enhance daily learning opportunities both at home and at nursery.\nIt is important that our recourses reflect equality, diversity and real-life objects, at Fennies all our nurseries incorporate designated areas, specifically developed to support every stage of development. Such as role play areas, in which children can use multicultural fabrics, daily objects such as telephones and cooking utensils to encourage creativity and allow for inclusive interactions. As well as a storytelling space, this quieter time can support development by allowing children to reflect on experiences and assimilate knowledge in a calming space.\nYou can create a stimulating environment at home by providing access to lots of everyday objects for them to investigate and play with. This allows children to make sense of the world around them by developing their own responses.\nEffective interactions give parents and practitioners the opportunity to elevate daily activities into inspiring and challenging learning opportunities. This is crucial for shaping children into active communicators who are able to express themselves in a positive way during each stage of development.\nHow to develop effective interactions at home:\n- Pay attention and be fully in the moment: Avoiding any potential distractions when communicating\n- Use modelling language: Ask questions and provide running commentary to demonstrate problem-solving\n- Have fun! Effective interactions are more likely to occur in a positive environment\nFor more information about Fennies Day Nurseries and to book a virtual tour, please contact firstname.lastname@example.org or call 020 8770 3222.", "id": "<urn:uuid:2192617c-f56d-42a9-9dff-714cbc31658c>", "dump": "CC-MAIN-2021-17", "url": "https://fennies.com/news/how-to-enhance-your-childs-learning-development-through-effective-interactions", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00296.warc.gz", "language": "en", "language_score": 0.9445621371269226, "token_count": 891, "score": 3.53125, "int_score": 4}
{"text": "Why you should get your students switched on to coding, whatever you teach@headingTag>\nYou might have seen the news that the BBC micro:bit is now being sent out to all year 7 students. The aim of these mini, programmable computers is to inspire students to develop creative and digital skills through coding, and get more young people interested in science, technology, engineering and maths. It is clear from this alone that coding has become the hot topic for technology in the classroom, having been made a part of the curriculum as of September 2014 . With over 12 million people in the UK unprepared to fill the looming digital skills gap, it\u2019s no surprise that coding has been highlighted as such an important aspect of current and future teaching models \nThough coding may seem very technical and sometimes daunting to tackle, confined to the realms of the computer labs, I\u2019d like to dispel this myth. Granted, the digital skills learnt from coding are a major benefit to the changing needs of the labour market; in today\u2019s digital world, it\u2019s not enough for the next generation to know how to use programmes and software \u2013 they also need an appreciation for how these things are developed and how coding is used to produce them. But we shouldn\u2019t consider it a teaching practice exclusively designed for computing lessons.\nThis is because coding is a tool that anyone can master, a lot of fun to use and, most importantly, a doorway to developing a range of cross-curricular skills. It can be a collaborative process, giving students the opportunity to work together, solve problems and evaluate each other's work. It can also help to develop problem solving, patience, resilience, logical thinking, creativity and communication. This means that as well as computing, it can be a great asset in all manner of subjects \u2013 you may want to get students using programming languages to tell stories as part of creative writing in English, for example. Or devising solutions to real-world environmental challenges in a geography lesson. They could even try creating impressive presentations or interview role-play games in PSHE or careers sessions. Not only is it relevant to many subjects, it\u2019s a great way of bringing lessons to life and introducing new techniques that spark imaginations and fuel new ideas!\nSo how does coding build on these skills, what is the mechanic behind it all? The answer is computational thinking, a way of breaking down complex information into manageable chunks and devising ways to solve it, similar to the algorithms a computer would use. This is now central to both the primary and secondary curriculum and can be easily developed when we learn to code. Through practising this process of thinking, students are not only employing technical skills, but also a strategic, step-by-step approach to solving a problem. It also teaches that making mistakes can help to solve future problems through evaluation. Students can find this useful in all sorts of areas, such as planning an essay, managing a group project or captaining a sports team.\nOnce understood, coding is a simple thing to teach, but where to start? As mentioned before, if you\u2019re a Year 7 teacher, you can register to receive your free micro:bit here. And if you\u2019d like some more information about the micro:bit, you can download our support guide from the LifeSkills homepage. On top of this, there are tons of other resources out there for teachers and students; here are a few of my favourites:\n- Computing at school's website is a great starting point as they have loads of resources for teachers, including a CPD toolkit designed to help deliver the new curriculum\n- The Progression Pathways website can help teachers to plan, record and assess their computing curriculum. I\u2019ve developed my own computing curriculum too\n- Game labs such as Scratch and Kodu are excellent ways of teaching students about visual programming languages through making their own stories, games and animations, as well as building creativity and problem solving skills\n- Code Academy offers a fantastic and free range of programming activities to inspire your students, including interactive exercises and quizzes\n- As well as the BBC micro:bit, there\u2019s other low-cost hardware you and your students can add to your coding kit. Check out Arduino, CodeBug and RaspberryPi\nIf you haven\u2019t already, I highly recommend you explore the resources out there and consider ways that coding can help introduce new dimensions to your teaching. At the end of the day, it\u2019s all about preparing students for the demands of the future world of work, and having a bit of fun in the process!\nA free account gives you access to all educator content, tools and resources\nAlready have an account?Log in\nThank you for liking\nHelp us to continue creating relevant content for you by leaving some additional feedback.", "id": "<urn:uuid:f548bd6b-f3c0-460e-afb2-67f5bf046040>", "dump": "CC-MAIN-2021-17", "url": "https://barclayslifeskills.com/educators/blog/why-you-should-get-your-students-coding/?utm_source=Hs_Te&utm_medium=Twitter_post_owned&utm_campaign=BAU&utm_term=Coding_Blog&utm_content=Teacher_Blog", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00338.warc.gz", "language": "en", "language_score": 0.9487910866737366, "token_count": 987, "score": 3.5625, "int_score": 4}
{"text": "October 7, 2020 | Kristen Jordan\nWhat can you do if someone has something that you want?\nWhat does taking turns mean?\nIn addition to learning routines, getting to know each other, playing and working hard, these questions have been on our minds and in our discussions.\nIt can be hard to exercise impulse control when someone else has something you want.\nFor instance, when you would like a turn at holding a fun branch\u2026\nOr when storytelling with small figures\u2026\nWe have been working with the children on how to use words to say things like:\n\u201cCould I please have a turn?\u201d\n\u201cI\u2019d like to play with those blocks too.\u201d\n\u201cMay I please have that book?\u201d\nAnd also how to respond:\n\u201cI\u2019m using it now but when I\u2019m done, you can have it.\u201d\n\u201cSure, here you go!\u201d\nSometimes you have to wait to play with that stick.\nOr when you really want to hold that cute little ant.\nAnd that can feel hard.\nThe children have really been thinking about how to use words to solve problems and express their needs. Sometimes, just saying something like \u201cIt feels hard to wait\u201d or \u201cI feel disappointed that I don\u2019t get to play with that now\u201d can help so much with regulating emotions. That, in turn, can actually make it easier to be patient.\nThe children have really thought about what it means to take turns and they came up with some great ideas!\nDo you hear any of this language or see any of these ideas in this interaction?\nMs Gluckow has been working with the children and their bears on many of these ideas in the drama area as they enjoy being a server, preparing food, and enjoy a meal together. They are practicing helping friends, thinking about others\u2019 needs, and waiting for their turn as they play.\nActing out ideas through imaginary play gives children the opportunity to develop a repertoire of language and skills that they can then use when they are in real-life situations where they may have to wait, share materials, take a turn, or use words to express their wants or needs.\nThey are likely unaware of learning and practicing these habits because it\u2019s just so much fun to play with bears and friends!\nSharing, working together, using words to express what you want, and waiting are all big and important parts of being in school, particularly when you are a 3, 4 or 5 year old. We will continue to work with children all year as we help them develop these skills and habits.\nAnd, speaking of waiting your turn\u2026\nit was REALLY HARD to have to wait to make clothing for the bears! However, it was well worth it! Each child took such thought and care in choosing an outfit for his or her bear. We thought you\u2019d enjoy seeing the results!", "id": "<urn:uuid:4ff290b4-3326-4769-afca-408e6d5e4df8>", "dump": "CC-MAIN-2021-17", "url": "https://mustardseedschool.org/teachers_blog/may-i-please-have-a-turn/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00415.warc.gz", "language": "en", "language_score": 0.9785522222518921, "token_count": 616, "score": 3.921875, "int_score": 4}
{"text": "About the Holiday\nToday, library lovers and readers of all kinds honor Melvil Dewey who was born on this date in 1851 and at the age of twenty-one revolutionized the way libraries organized their collections with an elegant numerical system that gave each book their own place on the shelf. Dewey went on to make more changes within libraries from whom they served to who ran them even to the amount of noise that was allowed inside\u2014Shhh! To celebrate today, show your local librarians and library staff how much you appreciate them by sending them a thank you email or leaving an encouraging comment on their social media. To learn more about Melvil Dewey, kids will also want to check out today\u2019s book.\nThe Efficient, Inventive (Often Annoying) Melvil Dewey\nWritten by Alexis O\u2019Neill | Illustrated by Edwin Fotheringham\nMelvil Dewey is one organized kid! He spends his free time labeling his mother\u2019s pantry and then the basement. He records all of his pertinent personal information and balances his finances in a ledger. And when he has enough money he heads to the bookstore\u2014on foot\u2014ten miles away. \u201cMelvil loves books.\u201d What do you imagine he buys there? If you guessed Webster\u2019s American Dictionary of the English Language\u2014unabridged version\u2014you\u2019re right!\nAt night before going to sleep, Melvil wonders what he\u2019ll do with his life. He wants to do something valuable, something meaningful. But what? A fire at Hungerford Collegiate Institute in Adams, New York, where Melvil goes to school, gives him a new perspective. While rescuing books, smoke inhalation causes damage to his lungs. The doctors say he won\u2019t live a year, but he proves them wrong. Now, however, he wants to word \u201cefficiently. He wants to make the biggest difference in the world in the least amount of time.\u201d\nNoticing the large number of immigrants entering the country, Melvil decides he want to help them learn English and get an education as quickly as possible. Books would do that. After all, Melvil believes that steam power and electricity pale in importance to reading. First, though, Melvil needs to go to college. He chooses Amherst College and spends copious amounts of time at the library. \u201cHe even gets a job there.\u201d But he notices that the library is woefully underused. Melvil can understand it. Instead of grouped by subject, the books\u2014all 30,000 of them\u2014are organized by shelf number, which requires frequent rearranging as new books are added.\nMelvil loved libraries, but only rich institutions and wealthy people could afford to have them. Melvile believes in free public libraries for everyone. But as Melvil studies the problems of libraries, he discovers that no two libraries organize their books the same way. And some don\u2019t even seem to bother with orgnainzation\u2014they just stack the \u201cbooks from floor to ceiling.\u201d In addition to books and libraries, Melvil loves decimals. He ponders and muses, and then, suddenly, he has it! \u201cHe gets the idea of using numbers and decimals to organize library books.\u201d\nAfter extensive research, \u201cMelvil assigns numbers to ten broad classes of knowledge. He divides these into divisions and the divisions into sections and subclasses. When displayed on the spine of the books and the books neatly tucked away on shelves, finding what you want becomes \u201ctotally efficient!\u201d The trustees at Columbia College in New York invite Melvil to become their head librarian. Once installed, Melvil begins to think bigger. He wants to open a whole school dedicated to training librarians, and\u2026 he thinks women would be perfect for this profession. Their qualifications in his eyes? \u201c\u2026clear heads, strong hands, and great hearts. (Also, they will work for less money than men.)\u201d But Columbia College\u2019s trustees are aghast. Women are not welcome on their campus. Melvil is not to be dissuaded.\nHe secretly opens his school in a storeroom across the street from Columbia with twenty students, seventeen of which are women. He rushes through his lessons for best efficiency, then back at his job tinkers with the rules of the library. He instates a strict quiet policy\u2014even going to far as to put rubber tips on chair and table legs and rubber wheels on book carts. Librarians and staff are given slippers to wear. And, of course, there is NO talking.\nMelvil\u2019s flood of ideas, constant changes, and insistent personality upsets people, but he barrels on. He becomes the State Librarian for New York, \u201corganizes the New York State Library Association\u2026 provides books for the blind\u2026and launches a traveling library system.\u201d He even helps establish the Children\u2019s Library Association, among other work. People were still divided in their opinions of Melvil, but one thing they all could agree on was that he fulfilled the wishes he had as a boy to \u201cmake a difference in the world.\u201d\nExtensive back matter includes an Author\u2019s Note with an honest assessment of his successes and faults that in itself can prompt discussions of the legacy people leave behind, a timeline of his life, a discussion on other reforms he championed, a quick overview of how Dewey\u2019s classification system works, and a list of selected sources.\nNo fusty, dusty story of the Dewey Decimal System this! Alexis O\u2019Neill\u2019s present-tense storytelling sweeps readers up in a whirlwind of the ideas, dreams, quirks, and persuasive, even steamrolling personality of Melvil Dewey. (And if you wonder about that unusual spelling, the answer is here too.) Her wry delivery masterfully straddles the divide between the numerous contributions he made to the library system and the anger his convictions and obsessions often caused. She invites kids into Dewey\u2019s mind and actions as ideas spark, flame, and fuel innovation. The details O\u2019Neill includes about the times, the pre-Dewey system of library organization, and Dewey\u2019s hand in expanding the reach of libraries as well as his often abrasive personality gives adults and children plenty to unpack, discuss, and research.\nEdwin Fotheringham matches O\u2019Neill\u2019s robust storytelling with action-packed illustrations that seem to sprint across the pages as quickly as notions raced through Melvil Dewey\u2019s mind. Striking images\u2014such as a speeding train hurtling into a tunnel made from an overturned book and later smashing through a mountain of books; the moment when Dewey is struck with the decimal-system answer to his problem; and a class lecture given at 180 words per minute\u2014reveal the whirlwind pace of Dewey\u2019s life. A two-page spread in which two profiles of Dewey\u2014one smiling and one scowling\u2014meet in the middle demonstrate the dual nature of this complex man and the contrasting reactions to his beliefs. Fotheringham brings the shotgun quality of Dewey\u2019s thoughts to life with bold, emphatic typography that highlights concepts important to him while hinting at the conviction he had in his own ideas and solutions.\nThe Efficient, Inventive (Often Annoying) Melvil Dewey is a compelling biography which can be read to inform children of all ages about a man who wished to make an impact on the world and succeeded in ways that nearly all people recognize. The book can also be used to stimulate important discussions about difficult and current issues with older children when used with the back matter and further research. The book will be fascinating and eye-opening for library lovers unfamiliar with the early history of libraries. It well deserves a place on school and public library shelves.\nAges 7 \u2013 10 and up\nCalkins Creek, 2020 | ISBN 978-1684371983\nDiscover more about Alexis O\u2019Neill and her books on her website.\nTo learn more about Edwin Fotheringham, his books, and his art, visit his website.\nNational Dewey Decimal System Day Activity\nBook Love! Word Search\nThere are all kinds of books for every reader. Find your favorite along with twenty favorite genres in this printable puzzle.\nYou can find he Efficient, Inventive (Often Annoying) Melvil Dewey at these booksellers\nTo support your local independent bookstore, order from\nPicture Book Review", "id": "<urn:uuid:c7d6a07d-48b0-40b6-8f2a-0ac86c80a421>", "dump": "CC-MAIN-2021-17", "url": "https://celebratepicturebooks.com/2020/12/10/december-10-national-dewey-decimal-system-day/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038069267.22/warc/CC-MAIN-20210412210312-20210413000312-00057.warc.gz", "language": "en", "language_score": 0.9608888030052185, "token_count": 1790, "score": 3.515625, "int_score": 4}
{"text": "Part of the December 2019 STEM Resources Digital Calendar!\nI still remember the storybooks I created when I was younger. They were made by stapling or gluing construction paper over notebook paper and illustrating the pages with crayons and marker. Students still enjoy creating physical storybooks, but now their stories can be preserved digitally forever with free web tools and apps. The tools and apps below make it easy for students to illustrate, animate, and share their stories with friends, family, and a wider audience. Not only can students create stories about any topic, but they also have the opportunity to be published authors which motivates many to continue reading and writing.\n\ud83d\udca1Discover more ways to integrate technology effectively by taking one of my fully accredited online courses or get one of my books!\nTips and Ideas\nThe following are tips and ideas for further supporting students through the process:\nStudents can create their own storybooks, work in pairs, or contribute to a class storybook.Provide students with templates, checklists, and rubrics.Read, Write, Think has several interactives that walk students through the story creation process- Story Map, Literary Elements, Flip Books, the Hero\u2019s Journey, Story Cube, and Fractured Fairy Tales.Walk students through the self and peer editing process.Students can create stories that retell history, portray themselves as superheroes, set in the future, highlight different cultures, or to teach others math, the alphabet, or to be better citizens. The choice of topics is endless!Tools and Apps for Creating Digital Storybooks\nBook Creator\u2013 Web, iOS and Android app to create and publish digital books with personal photos, audio, video, and more.Elementari\u2013 Create a free class account for up to 30 students. Students use the web tool to create a storybook with sounds, animations, shapes, and more.Buncee\u2013 Web tool and iOS app to create and publish a digital storybook with free library of animations, stickers, templates, frames, stock photos, video, audio, and more.Storybird\u2013 Web tool that is easy to create a written storybook. Students choose art created by professional artists and add their words and ideas.My Storybook\u2013 This web tool requires no registration and is simple to use with very young learners and elementary students. Children create a storybook with drawings, images, characters, and more.Storyjumper\u2013 Choose characters and backgrounds to visualize a written story. Not able to embed.BoomWriter\u2013 Create collaborative class storybooks. Features include peer editing and a voting process.Google Slides and Docs are also great free options. Students can easily search and insert images, add video clips, and more! Student collaboration is easy and students have access to accessibility features and translation tools. Publish as PDFs or embed as a slideshow.Subscribe for FREE to receive regular updates!\n\ud83d\udca1Get your copy of Hacking Digital Learning or The 30 Goals Challenge or take a fully accredited online course for graduate credit (Online Learning Best Practices, Connected Educators or TESOL Methodologies)!\nTo thank you for your sharing, friendship and support over the years I am sharing free tips, learning resources, web tools and apps for 25 days in my Digital December STEM Advent Calendar. Just click on the calendar below and a post will appear for that day. NOTE! The post will not appear until that day. If you enjoy these resources, then take one of my fully accredited continuing education and graduate online courses or check out my latest book, Hacking Digital Learning Strategies with EdTech Missions!\nInteresting essay samples and examples on: https://essays.io/grant-proposal-examples-samples/", "id": "<urn:uuid:8416706d-3f4a-473a-95e3-a075a6bbce5a>", "dump": "CC-MAIN-2021-17", "url": "https://ellerstudentcouncil.com/tips-and-tools-to-support-students-in-publishing-their-own-digital-storybooks/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00619.warc.gz", "language": "en", "language_score": 0.9142350554466248, "token_count": 758, "score": 3.5625, "int_score": 4}
{"text": "Drama and Expressive Arts\nMiss K Hardwick (Head of Department and Head of the Faculty of Performing Arts and Sport)\nImportant Information: COVID-19\nGCSE: Years 10-11\nKS4 General Information \u2013 Style and Genre\nBBC Bitesize: GCSE Drama\nKS4 HWB: Go on Home Page and search Drama\n- WJEC GCSE Drama: Set Text Notes \u2013 Two Faces\nAS/A2: Years 12-13\nKS5 HWB: Go on Home Page and search Drama\n- The Radicalisation of Bradley Manning\nWJEC Website \u2013 Resources AS and A Level Set Text Notes\n- A View from The Bridge \u2013 Year 12 Text\n- Sweeney Todd \u2013 Year 13 Text\n- The Radicalisation of Bradley Manning \u2013 Year 13 Text\nKey Stage 3\nExpressive Arts: In Year 7, pupils will receive five lessons a fortnight in Expressive Arts. This is made up of two lessons of Art, one lesson of Drama and two lessons of Music. Pupils will develop a range of skills through a thematic approach to the Expressive Arts, where each unit will end in a showcase or celebration of pupil\u2019s work. Pupils will also have a range of opportunities to experience working with outside providers and there will be many opportunities to further their skills in the rich extra-curricular programme provided \u2013 Various Lunchtime Clubs, Termly Concerts, and Showcase Evenings.\nTheme: African Culture\nLearners will explore a sense of identity and belonging through the lens of African tribal cultures.\nSkills: Pattern, Colour, Ceramic Work, Movement Skills, Ensemble Skills, Singing Skills, Keyboard Skills, Rhythm Skills.\nTheme: Land of My Fathers\nLearners will explore 'What it means to be Welsh', and strengthen their appreciation for Welsh traditions culminating in a celebration of pupil's work at the annual school Eisteddfod.\nSkills: Observational Drawing, Imaginative Composition, Performance Skills, Storytelling Skills, Vocal Skills, Communication Skills.\nLearners will discover artistic works that reflect time, culture and place.\nSkills: Drawing Skills, Communication Skills, Imagination and Empathy, Mime Skills, Slapstick Comedic Skills, Dialogue Skills, Improvisation Skills, Composition Skills.\nDrama: For Year 8/9, Pupils are taught Drama once a fortnight. As it is a practical subject there in very little written work at KS3. Pupils work mainly in groups to create drama pieces in response to stimuli. This work is then performed or presented to an audience followed by discussion. The curriculum is delivered via a themed approach and at the end of each unit pupils are assessed on skills taught. If pupils have a particular flair or interest in the subject they are encouraged to attend Drama Club and participate in the various extra-curricular projects throughout the year \u2013 Drama Club Showcase Evenings, Young Playwrights' Festival.\nTheme: Status & Relationships\nHigh & Low Status - Developing Dramatic Techniques.\nBlood Brothers - Working with Text \u2013 Improvisation/Script work.\nHistory changers - Developing dramatic techniques, soundscapes, monologues.\nExploring Stock Characters - Role Development.\nPerforming Melodrama - Devising Skills.\nGang Culture - Developing Dramatic Techniques.\nWorking with Text - West Side Story / Romeo & Juliet.\nTheme: Comedy & GCSE Drama\nTechnical Project - Developing Technical Skills.\nComedy Project - Comic Techniques.\nThe White Rose Story - Developing Dramatic Techniques / Script Work.\nScript Work - Stone Cold / Walking with Shadows.\nWays in which parents can help:\n- Encourage pupils to actively participate in lessons.\n- Complete homework tasks:\n- Learning Lines\n- Research Tasks \u2013 Melodrama Stock Characters and History Changers\n- Encourage pupils to attend Drama Club.\n- Gang Culture\n- Clips from West Side Story\n- Clips from Romeo & Juliet\n- Physical Comedy Characters\n- Melodrama Stock Characters\n- History Changers\n- Recording of Blood Brothers Extract for Assessment", "id": "<urn:uuid:88f0402c-4185-4daf-9985-68a42809d6f2>", "dump": "CC-MAIN-2021-17", "url": "https://www.porthcawlschool.co.uk/curriculum/drama.asp", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00577.warc.gz", "language": "en", "language_score": 0.8412041068077087, "token_count": 862, "score": 3.515625, "int_score": 4}
{"text": "By- Angela Padr\u00f3n\nNo matter the age, learning is a process. And storytelling is a huge and important part of that process for many reasons. Many times, students form a connection to a story. Being able to relate to a story helps students remember information because the content is meaningful. In addition, stories allow students to discover and develop their imagination and creativity. This helps them think beyond the box to solve problems as well as foster intercommunication between students with like interests.\nHere is a list some ways how storytelling and learning collide:\n#1- Stories connect the audience to the underlying message\nIt\u2019s easier for people to remember something when they have a meaningful connection to it based on some kind of emotional response. When stories invoke the emotions of the listeners or readers, or remind them of an experience, it helps them to better relate to the story and to feel invested in the story. As a result, this increases the chances of the students remembering the message or lesson from the story.\n#2- Storytelling helps organize information to present to students.\nWhen presenting information to a group of students, using a story format of a beginning, middle, and end helps students remember the main topics of the presentation.\n#3- Stories develop listeners\u2019 imagination and listening skills\nA good story can transport learners out of their current environment and into a world of imagination and adventure. This allows students to perceive things differently, think about issues in new ways, and come up with new ways to solve problems. Also, listening skills are further developed when students listen to a story and pay attention to particular details.\n#4- Stories can motivate listeners to learn\nWhen students hear stories that grab their attention, they become motivated to learn. Students who are self-motivated are more independent and responsible for their own work and actions. They\u2019ll want to learn more about a particular topic or pick up a particular book. Stories can also encourage and inspire students to take action or complete a task they\u2019ve been putting off for a while. They may even decide to write their own version of the story!\n#5- Stories help students reconnect with themselves\nIn this day and age of technology, social media, and other distractions, hearing a story can bring people back down to Earth and focus on the now. It can help people relate to each other through common interests and emotional connections. Students who are English language learners can also further develop their desire to learn English and new vocabulary, and their confidence to learn content.\n#6- Stories that are interesting are more likely to be shared\nWhen people like a story, they share it with others, whether orally, in written form, or through social media. This allows students to connect with each other, share information, and spread news or topics that could affect others in a positive way.\nYou may also like: Seven Ways to Integrate Art in the Classroom", "id": "<urn:uuid:eb26db11-d076-4f84-a49e-186518e34101>", "dump": "CC-MAIN-2021-17", "url": "https://vhlblog.vistahigherlearning.com/the-importance-of-storytelling-in-the-learning-process.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00457.warc.gz", "language": "en", "language_score": 0.9542341828346252, "token_count": 595, "score": 3.859375, "int_score": 4}
{"text": "A few decades ago, the U.S. Air Force wanted to find out what happens when cats experience weightlessness. Watch the experiment in this vintage footage:\nThe men and the cats are in a Convair C-131 airplane that can simulate the weightlessness you and your feline companions would experience in space. Often called a \u201cVomit Comet,\u201d the plane follows an elliptic flight path; climbing steeply up and then nose-diving back towards the Earth. The maneuver, according to the film, creates about 15 seconds at zero gravity. That\u2019s when the cats start to fly.\nIt\u2019s not exactly clear what the Air Force learned from tossing cats around in weightlessness. If you watch the extended version (below) beginning at around the 3-minute mark, you can also watch them toss pigeons, who appear to panic not knowing if they\u2019re flying right-side up or upside-down. Some may say that this experiment represents cruelty to animals, and depending on your definition, they might have a point.\nSpace agencies around the world have a long history in sending animals into space. You\u2019ve probably heard of Laika, the stray dog blasted into space on the Russian\u2019s Sputnik 2, or Able and Baker, the two monkeys who traveled 300 miles up in the nose of an Army Jupiter missile. A cat named Felix was the first cat in space, launched into space by France in 1963. Felix survived a parachute descent, but the next French cat in space was not so fortunate. Rabbits and jellyfish have also spent time on shuttles. In 1998, the space shuttle Columbia set a record by sending two thousand creatures into space.\nEven today, biological experiments are a regular part of space flights. Students can watch butterflies or spiders develop in zero gravity and compare them to their own, Earth-bound insects. Animals have contributed a lot to our understanding of life in space, and even showed us how to get there. And thanks to this video, we know that there\u2019s no way that a weightless cat can land on its feet.\nLearning to love science. As a producer for EarthSky, Lindsay Patterson interviews some of the world's most fascinating scientists. Through EarthSky, her work content is syndicated on some of the world's top media websites, including USAToday.com and Reuters.com. Patterson is also charged with helping to stay in steady communication with the thousands of scientists who contribute to EarthSky's work of making the voice of science heard in a noisy world. She graduated from Colorado College with a degree in creative writing, and a keen interest in all forms of journalism and media.", "id": "<urn:uuid:6bc57f9b-c40e-4e2c-9198-4697f3f99d1b>", "dump": "CC-MAIN-2021-17", "url": "https://earthsky.org/space/cats-%E2%80%93-and-other-animals-%E2%80%93-in-zero-gravity", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00257.warc.gz", "language": "en", "language_score": 0.9416259527206421, "token_count": 552, "score": 3.6875, "int_score": 4}
{"text": "- 1 What is a plot easy definition?\n- 2 What is an example of a plot?\n- 3 How do you explain a plot?\n- 4 What are the 4 types of plot?\n- 5 What\u2019s the definition of point of view?\n- 6 What is plot and its types?\n- 7 What are the elements of the plot?\n- 8 How do you start a plot?\n- 9 What are the 7 elements of plot?\n- 10 What is a good plot?\n- 11 What are the 3 basic types of plots?\n- 12 What is setting and plot in literature?\n- 13 What is the difference between a plot and a script?\nWhat is a plot easy definition?\nPlot is a literary term used to describe the events that make up a story, or the main part of a story. These events relate to each other in a pattern or a sequence. The structure of a novel depends on the organization of events in the plot of the story.\nWhat is an example of a plot?\n\u201cWe have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. \u2018The king died and then the queen died,\u2019 is a story. \u2018The king died, and then the queen died of grief\u2019 is a plot.\nHow do you explain a plot?\nIn a narrative or creative writing, a plot is the sequence of events that make up a story, whether it\u2019s told, written, filmed, or sung. The plot is the story, and more specifically, how the story develops, unfolds, and moves in time.\nWhat are the 4 types of plot?\nFive types of plots Exposition. Exposition is the beginning of the story and prepares the way for upcoming events to unfold. Rising Action. It is that point where the main problem or conflict is revealed. Climax. Falling Action. Resolution.\nWhat\u2019s the definition of point of view?\n: a position or perspective from which something is considered or evaluated: standpoint.\nWhat is plot and its types?\nPlot \u2013 the structure of the action of a story. In conventional stories, plot has three main parts: rising action, climax, and falling action leading to a resolution or denouement (Harris & Hodges, 1995, p. 189).\nWhat are the elements of the plot?\nThe 5 Elements of Plot Exposition. This is your book\u2019s introduction, where you introduce your characters, establish the setting, and begin to introduce the primary conflict of your story. Rising Action. Climax. Falling Action. Resolution /Denouement.\nHow do you start a plot?\nHow to Plot a Short Story Brainstorm. You don\u2019t need to have multiple short story ideas ready to go at a moment\u2019s notice. Write out the central conflict. The foundations of your main conflict or theme often form a short story\u2019s rising action. Create a brief outline. Pick a point of view. Select the right story structure.\nWhat are the 7 elements of plot?\nGustav Freytag, the 19th Century German playwright and novelist, drew a simple triangle to represent dramatic structure and highlighted seven parts he considered necessary to storytelling: exposition, inciting incident, rising action, climax, falling action, resolution, and denouement (French for \u201cthe ending\u201d).\nWhat is a good plot?\nA good plot is all about organizing ideas in a way that is appealing to the reader. It is also, and more importantly, the guideline that helps the author make sure he doesn\u2019t get lost on all of the ideas and characters that start to come up whilst the book is written.\nWhat are the 3 basic types of plots?\nThree Types William Foster Harris, in The Basic Patterns of Plot, suggests that the three plot types are the happy ending, the unhappy ending, and tragedy. What\u2019s the difference between the second and third types?\nWhat is setting and plot in literature?\nAny fictional story has certain elements that make it a story. Among these essential elements of literary fiction are plot and setting. The plot is the what of the story, and the setting is the where and the when. The plot includes the elements of conflict, rising action, climax, falling action, and resolution.\nWhat is the difference between a plot and a script?\nAs nouns the difference between plot and script is that plot is the course of a story, comprising a series of incidents which are gradually unfolded, sometimes by unexpected means while script is (countable|obsolete) a writing; a written document.", "id": "<urn:uuid:94e02c05-825f-46bf-a0f2-735d1ffcdc1d>", "dump": "CC-MAIN-2021-17", "url": "https://www.myriam-chansons.net/faq/plot-definition-literature.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00459.warc.gz", "language": "en", "language_score": 0.9359017610549927, "token_count": 974, "score": 3.75, "int_score": 4}
{"text": "Open up your notebooks. Set up a new entry in your table of contents with the title: What is theme? Set up the page.\nWhat is partition in India? Slideshow and discussion.\nPlease get a BLACK textbook from the shelf, if there is not one on your desk.\nOpen your notebooks to What is Partition in India and be ready to complete notes on the subject. After, we will begin to work on the short story, along with some analysis questions, and then collect notebooks (as promised).\nRead \u201cWhen Mr. Pirzada Came to Dine\u201d\nIn notebook, Page 12 Title: Analyze Lines for Character Development and Theme\n1-14 Describe the details about Mr. Pirzada\u2019s life and what that reveals about his character.\n31-44 What do the details about the narrator\u2019s parents reveal about them? What broad theme of the story might be suggested by the details?\n110-116 Do Lilia\u2019s parents feel she is receiving a good education? Cite details to support your answer.\n9/28 Read and analyze lines:\n149-151 What do these lines reveal about Mr. Pirzada\u2019s connection to his homeland, even though he is thousands of miles away from it?\n223-232 What do Lilia\u2019s thoughts and processes reveal about theme?\n10/4-10/5 Analyze lines:\n336-343 (what inferences can you draw about Lilia\u2019s emotional growth?)\n366-371 (What do these lines indicate about Mr. Pirzada\u2019s connection with Lilia?)\nWhat do the two different reactions Mr. Pirzada had after heard in the news reports tell us about him?\nAnswer: What feeling or message is conveyed by the scene of the adults sitting together with the TV turned off and Mr. Pirzada in the uncharacteristic pose of his head in his hands? What might have happened?\nAnswer: Paraphrase lines 538-540 in your own words. How does repetition lend power to the description, here? Repetition is a rhetorical device writers use to focus attention on a particular idea or image.\nPlease get out your notebooks. Open to the table of contents. The date is 10/8/18, the new title will be Grammar: Parts of Speech. I think we are on page 15?\nTurn to page 15. Number the page, but do not title it. Wait for instructions.\nI will check the questions from Friday while you are doing this.", "id": "<urn:uuid:8875e952-b174-4651-8ae3-7d55e646d0d1>", "dump": "CC-MAIN-2021-17", "url": "http://msnavarrosyellowjackets.com/2018/10/927-108-english-1-and-9rcp-agendas/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00179.warc.gz", "language": "en", "language_score": 0.926841676235199, "token_count": 532, "score": 3.671875, "int_score": 4}
{"text": "A guide to storytelling with your kids\n- Posted by Jacinta Bender |\n- Tuesday 18 November 2014, 12:40 PM (AEDT)\nChildren's librarian Lee Castledine is passionate about the art of storytelling. Her passion is not only for reading books out loud to children, but also for the ancient craft of oral storytelling.\nFor thousands of years storytellers have used their voice, facial expression and interaction with an audience to weave their tale and could include visual props to help bring the story to life. It's a tradition that Lee continues today.\nIntroduced to storytelling at a young age by her mother and grandmother, Lee knows firsthand the benefit to children of storytelling. She works with toddlers up to primary school age in her role as librarian and tailors her storytelling according to the children's ages. She uses props including felt boards or puppets and her approach is strong on audience participation. In her storytelling kids are asked to move around, respond and even chant.\nShe believes storytelling strikes a chord with children because it engages them in a way that differs from how they respond when a book is read aloud or when watching/using a screen. \"Children like storytelling because it is so different,\" Lee says. \"If parents take the time to take their children to a storytelling session [at a local library] it is a great success,\" she adds. \"It is so much fun and it is a wonderful chance to bond with a child and an opportunity to help a child's imagination.\"\nHome, says Lee, is a great place to begin storytelling. Here are her tips for parents:\n- When you begin, if you feel more confident holding a book, read the story and also use visual props to \u2018tell' the story. Props don't have to be costly; something as simple as a drawing, cardboard box, finger puppets or toys you already have will do the job. Use your imagination.\n- When you feel ready to move on to telling stories without incorporating a book, you can use favourite stories the child knows or try out new tales. Family stories can be great.\n- If your child is very young, exaggerate your emotions to help them understand the story. \"They might not understand all parts of the story but they will get the emotion,\" says Lee.\n- Stories for younger children can be short, and tales involving colours and counting work especially well. (Stories can be told to children as young as 12 months old.)\n- Older children can help \u2018tell' and develop a story. Start the story and ask your child what might happen next.\n- If your child appears disinterested or tired, know when to stop. Don't be discouraged and try again later. \"If they are hungry, or need a nap or are full of beans and would rather be running around outside, try again another time,\" Lee advises.\n- Enjoy yourself! \"It's a wonderful bonding experience and a memory the child will have later,\" Lee says.\nDr Louise Phillips, lecturer in arts, early years and literacy education at the University of Queensland has researched the benefits of oral storytelling in early childhood . Her advice for teachers who are keen to include storytelling in their class activities is that follow-up is key to getting the most from a storytelling session at school or pre-school.\nShe recommends, as a minimum, to have a discussion about the story afterwards; ask the children what the story told them and explore what stayed with them. She also recommends encouraging children to visually express the story, through drawing, painting or clay work.\n\"As storyteller you have all these gorgeous faces transfixed and there's a moment of \u2018yes' it really works,\" she says. \"It is so important that we keep storytelling alive.\"\nFor more advice on storytelling see www.australianstorytelling.org.au\nImage: 'Storytelling', Wikipedia, CC\n18 November 2014, 05:26 PM (EST)\nTo weave the magic and mystery of one's own personal narrative brings message, meaning and validation to all those, to whom we have the pleasure of their company\n19 November 2014, 12:00 AM (EST)\nIn the interests of increasing literacy in the home I would love to have this post embedded with some audio for parents in my school community to listen to. Supporting these ideas further could include some video of parents being wonderful story tellers to show other parents what they could do. Or perhaps there is a need for a package of parent friendly resources that could be available to schools to present and share with their community.\n19 November 2014, 03:21 AM (EST)\nThanks Louise & Lee for your comments. Love this article - here's to many more to inspire storytelling in every home! X Anna\n25 November 2014, 12:34 AM (EST)\nLee is a fabulous story teller and childrens librarian.\nBlacktown City Council\n27 November 2014, 12:33 AM (EST)\nLooking for something to share with parents and children online? Try the Baby Rhyme Time Online videos by Blacktown City Libraries at http://www.libraries.blacktown.nsw.gov.au/Children_and_Young_Adults/Children/Baby_Rhyme_Time. There are eleven programs and videos designed for parents and carers who want to enjoy time with their children and improve their literacy. Feel free to link these videos to your site.", "id": "<urn:uuid:b0a7a6d9-8a54-43f3-981e-14efe432c536>", "dump": "CC-MAIN-2021-17", "url": "https://education.abc.net.au/newsandarticles/blog/-/b/1579969/a-guide-to-storytelling-with-your-kids", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00379.warc.gz", "language": "en", "language_score": 0.9661052227020264, "token_count": 1120, "score": 3.71875, "int_score": 4}
{"text": "Many teachers use graphic novels and comics in the classroom. There are amazing books on the subject that include useful tools on how to effectively implement these resources for learning.\nThe main thing teachers need to consider is purpose. I know, we love books and tools, but as with technology, sometimes we get wrapped up in the tool instead of first thinking about the purpose. Here are some reasons why you might select a graphic novel or comic to read, or why you might have students create their own. Thinking about these reasons will help you focus on your purpose in your instruction.\nReasons to Work With Graphic Novels and Comics\nDifferentiating instruction: Graphic novels and comics can be a great way to differentiate instruction for learners in terms of reading and also in terms of assessment. Perhaps you want to offer your students a graphic novel to support their reading of a chapter in a rigorous text. There are many graphic novel adaptations of classics out there.\nMaybe you\u2019re doing a project-based learning (PBL) unit in which you want to provide voice and choice for the student assessment. Students might be choosing between a letter, a comic, or a podcast to answer a driving question such as: How can we debunk myths and stereotypes about world religions?\nBuilding critical reading skills: Reading standards around higher order thinking skills can be met through complex analysis and evaluation of graphic novels and comics. Have students look at how the authors and illustrators use colors, textures, words, text boxes, frames, and camera angles, and then make connections between these elements and evaluate their effectiveness.\nAssessing student learning: PBL calls for the creation of authentic products that are useful and credible to the group. You can have students create comics or graphic novels, or components of them, as a useful formative assessment to check for understanding of important content.\nA comic made to combat bullying can be used as a summative assessment, as Suzie Boss has suggested. Make the graphic novel or comic a product that students create to meet a need. Don\u2019t just make it a regurgitation of knowledge\u2014give it an authentic purpose.\nStudying the genre itself: In his book Understanding Comics, Scott McCloud asserts the legitimacy and complexity of comics and graphic novels as a genre. Pairing selections from his work with a graphic novel or comic can generate interesting discussion and inquiry into the elements of the genre itself. Genre study is an easy way to utilize literature circle groups and instructional lessons, where students get to pick from a variety of options.\nExamining literary elements: Graphic novels take traditional literary elements like symbol, character, and plot, and modify them\u2014characters may become heroes and villains, and visual symbols that would be described in a novel are actually drawn and created.\nThere are many other purposes for graphic novels in the classroom, from looking at different cultures and backgrounds to utilizing technology in authentic ways. Just make sure you select the graphic novel or comic with a clear purpose in mind.\nI\u2019ll leave you with some favorite graphic novels and comics that I\u2019ve used in my classroom.\n- Persepolis, a memoir of a girl growing up during the Islamic Revolution in Iran, was recently made into a motion picture.\n- Maus, a top favorite for many, explores themes of the Holocaust through a memoir populated by mice and cats.\n- American Born Chinese is the tale of three characters: Jin Wang, the only Chinese-American in the neighborhood; Chin-Kee, the ultimate Chinese stereotype; and the Monkey King, a character from ancient fables.\n- Uncanny X-Men Volume 3 In this issue, the X-Men travel into Dante\u2019s Inferno.", "id": "<urn:uuid:3c7ddd0f-1db5-410a-a8a5-b73d11defac7>", "dump": "CC-MAIN-2021-17", "url": "https://www.edutopia.org/blog/graphic-novels-comics-andrew-miller?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+EdutopiaNewContent+%28Edutopia%29", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00619.warc.gz", "language": "en", "language_score": 0.9485959410667419, "token_count": 753, "score": 3.828125, "int_score": 4}
{"text": "Students will be able to identify the various aspects of the CROW principle and apply them to their performances by playing \u201cFreeze\u201d.\nPlay \u201cLocation, Career, Death\u201d in three different groups. After the groups are done, go over physicality\u2019s importance once more with the students, discussing what worked and what did not. Remember to tie in the other elements of storytelling!\nStep 1: White the word CROW on the board. Inform the students that this is an acronym in the improvisation world. It stands for the most important things one must be able to identify early in whatever game is being played. Ask them to think about what elements of storytelling they just reviewed and how they might tie into this idea. Ask them to guess what each letter represents and write the correct word on the board vertically (under the corresponding letter). They are as follows: \u2022 C = Character \u2022 R = Relationship \u2022 O = Objective \u2022 W = Where The students will hopefully guess the C. R will probably be brought up with the idea of \u201cyes, and\u2026\u201d or working as a team. O may be brought up with what is going on or what you want, or perhaps the plot/conflict. W will be brought up with setting. If it helps the students to remember, write the following in parentheses beneath the words: \u2022 Character (Who are you?) \u2022 Relationship (How do you relate to your partner?) \u2022 Objective (What do you want?) \u2022 Where (Setting) Go over each word of CROW and discuss its importance, being sure to tell the students that no element is more important than another\u2013they should all carry equal weight.\nStep 2 (Instruction): Teach the students how to play the game \u201cFreeze.\u201d This game is played in a large group, the class creating a circle. In the middle of the circle are two people, who are given a setting (W!). The two in the middle must come up with a scene and act it out, making sure to use the elements of CROW and use their physicality well. At any point, someone who is watching from the circle may yell \u201cFreeze!\u201d and the people in the middle must freeze in whatever position they are in at that time. The person who yelled freeze comes into the circle and taps one of the people out (and that person takes the tapper\u2019s previous spot). The person who just entered the circle takes up the person he or she just tapped out\u2019s exact frozen position, and then uses that position to create an entirely different scene, which the other person must use the \u201cyes, and\u2026\u201d principle in order to join and help continue. Remind the students to respect their partners and their audience by keeping the content of their scene school appropriate, as this game as a reputation in older groups to get out of hand very quickly thanks to its quick-thinking and very physical nature.\nStep 3 (Class Practice): Play \u201cFreeze\u201d as a class, making sure that all of the students have participated. Make sure you let the students know that each person must participate before you begin. You may have to coax some of the students. If it becomes necessary, freeze the scene yourself and ask the students to enter who have not. As you feel you can, freeze the scene and ask students (by cold calling names) what elements of CROW they have heard in the scene, then allow the game to continue. This should take at least ten minutes, as students tend to deeply enjoy this game and are still just learning it at this stage.\nStep 4/Informal assessment: Once the game has picked up and students seem to be understanding the principle of CROW and showing it, ask them to split into three smaller circles. Instruct the students that they must have every student participate at least once within the circle and that they must still be responsible for CROWing. Give all three groups the same setting to start out with (such as a carnival) and then monitor the games, keeping track of who has entered the circle and who has not. If students have not entered the circle, their participation points will be lost for the day.\nBefore the bell rings, ask the students to return to their seats. Ask students to share some moments of CROW that really worked in their circles.", "id": "<urn:uuid:43e7ba0c-31e6-45a2-8579-29b6c92e0c99>", "dump": "CC-MAIN-2021-17", "url": "http://tedb.byu.edu/?page_id=629", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00259.warc.gz", "language": "en", "language_score": 0.9711594581604004, "token_count": 893, "score": 3.875, "int_score": 4}
{"text": "The Infant & Toddlers\u2019 learning environment is organized into the following areas: \u2013\n- Practical Life \u2013 Activities to enhance fine motor & self-help skills.\n- Sensorial \u2013 Stimulate sensory development and learn proper vocabulary to describe the feeling, texture and identify the differences.\n- Physical development \u2013 gross motor activities like walking stairs, climbing, crawling, pushing, pulling, lifting, running.\n- Listening and Speaking \u2013 Through storytelling, singing of rhymes, music & movement activities.\n- Creativity \u2013 Through art & crafts, dramatic play, cookery to stimulate their imagination. As the young children are at their early stages of developing their fine and gross motor skills, the focus is more on the process rather than on the final product.\nThe Preschoolers\u2019 learning environment is organized into the following areas: \u2013\nThe purpose of practical life activities is to promote independence and self-reliance through gaining competence in many adult-like skills. These activities help develop eye-hand coordination, gross and fine motor skills, concentration, attention to detail and a sense of order.\nAll learning is integrated through the senses. The sensorial apparatus are designed to enhance sensory development. Children learn to discriminate colour, shapes and feel as well as proper vocabulary to identify attributes.\nThe purpose of the language curriculum is to encourage clear, meaningful communication both as means of self-expression and as the foundation to foster better understanding amongst individuals. The Montessori method of association of sound and symbol through work with sandpaper letters, metal insets for tracing and \u201cmovable alphabet\u201d letters enables the child to learn through his senses and make discovering language fun.\nChildren experience pre-math preparation in Practical Life and Sensorial through exercises focusing on one-on-one correspondence, ordering, sequencing, estimating, measuring, conservation of quantity and geometric shapes. These experiences will enhance their learning when they are ready to utilize the Mathematics materials.\nChildren are inspired by an appreciation for the wonder of our universe and BM aims to encourage children to come to realize their part in it. The cultural curriculum includes the study of botany, zoology, geography, physical sciences, geometry and history.\nUsing of theme based activities to introduce new words, rhymes, art & crafts and stories to children. Enhance children\u2019s understanding and confidence in using Mandarin through small group teaching. Pre-writing Chinese characters and new words are introduced to children using similar Montessori method. Our specially made materials allow children to learn new words at their own pace.", "id": "<urn:uuid:f97d2476-599e-4cff-ae70-1ecdbc377fad>", "dump": "CC-MAIN-2021-17", "url": "http://www.bambinimontessori-childcare.com/curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038078021.18/warc/CC-MAIN-20210414185709-20210414215709-00457.warc.gz", "language": "en", "language_score": 0.9322680830955505, "token_count": 518, "score": 3.9375, "int_score": 4}
{"text": "Why is it important to be digitally literate in the 21st century?\nDigital literacy also creates new ways to teach and learn within the classroom. Students are discovering new ways to interact with their interests online and through other digital media. They are no longer confined to just physical text when it comes to reading or learning more about their possible interests.\nHow has literacy evolved in the 21st century?\nIn the twenty-first century, literacy skills increasingly reflect technology use and the abilities necessary to problem-solve, collaborate, and present information through multi-media. As technology becomes more readily available to all students, concepts of literacy change.\nWhat do you mean by being literate?\nThe definition of literate is someone who can read and write, or someone who is educated in a specific area of knowledge. A person who is well-educated is an example of someone who would be described as literate.\nWhy is being literate so important?\nWhy is literacy important? Students need literacy in order to engage with the written word in everyday life. Being able to read and write means being able to keep up with current events, communicate effectively, and understand the issues that are shaping our world.\nHow does being literate help you?\nLiteracy gives you knowledge and the ability to share and express this knowledge with other people. Literacy also gives you the ability to receive knowledge being brought to you by other people. If you do not have the basic literacy skills then you may never experience the quality of life that you seek or deserve.\nWhat is the best way to teach literacy?\nTips on Teaching Literacy to Elementary StudentsTime: spend more time on reading and writing.Text: have lots of books for children to read.Teach: actively teach useful strategies.Talk: let students talk about how and what they are learning.Task: give students longer assignments to build stamina, instead of short tasks.\nWhat are the characteristics of a good literacy teacher?\nWhat makes an effective reading teacher?Good teachers believe in their students. Good teachers are introspective about their teaching. Good teachers are constantly monitoring students\u2019 response to their instruction. Good teachers develop good relationships with students and parents. Good teachers are good learners.\nHow do you implement literacy in the classroom?\nSet aside time for independent reading. Create Literacy-Rich Environments in every K-12 Classroom. Support High-Quality Classroom Libraries. Encourage Read Alouds. Create a \u2018Caught Reading\u2019 Campaign that features Teachers as Readers. Invite Guest Readers into Classrooms. Encourage Students to Read Widely.\nWhat does a literacy rich classroom look like?\nFrom the atmosphere and decor of the room to interactions with peers and teachers, every element of the classroom is designed to allow students with disabilities explore the elements of literacy. The literacy rich environment emphasizes the importance of speaking, reading, and writing in the learning of all students.\nHow can you promote early literacy in the classroom?\n50 Ways Schools Can Support Early LiteracyInvite student talk with engaging questions.Up your participation opportunities. Make time for storytelling. Focus on building knowledge along with skills. Plan interactive read alouds. Read it again! Honor pre-readers\u2019 interactions with books. Invite students into the club right from the start.\nHow do you develop your literacy skills?\n5 Tips to Strengthen Early Literacy SkillsTalk to children often. Make reading together a daily routine. Play rhyming games with children. Set up an art/writing table in your main living area. Provide kid\u2019s activities at home that support motor development.\nWhat are the basic pre literacy skills?\nSix Early Literacy Skills. Young children need a variety of skills to become successful readers. Vocabulary. Print Motivation. Print Awareness. Narrative Skills. Letter Knowledge. Phonological Awareness.\nWhat are the six literacy skills?\n6 Early Literacy SkillsPrint Motivation.Print Awareness.Letter Knowledge.Vocabulary.Narrative Skills.Phonological Awareness.\nWhat are the most important skills that help literacy emerge?\nEmergent literacy skillsPrint motivation. This component relates to a child\u2019s interest in and enjoyment of books. Vocabulary. The component \u201cvocabulary\u201d relates to the knowing of the names of things. Print awareness. Narrative skills. Letter knowledge. Phonological awareness.", "id": "<urn:uuid:20b37490-804e-4339-86c7-d71651b0cbe3>", "dump": "CC-MAIN-2021-17", "url": "https://www.skinscanapp.com/essay-writing-blog/why-is-it-important-to-be-digitally-literate-in-the-21st-century/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00260.warc.gz", "language": "en", "language_score": 0.942333459854126, "token_count": 901, "score": 3.5625, "int_score": 4}
{"text": "The students are turning 13 years old and experience their pre-pubescent development. The interest in the opposite gender arises with a curious mix of materialistic and idealistic outlook on the world.\nThe boundaries are being challenged and some responsibility has to be handed over, so the children can get the experience of working together; also some elements of control need to be negotiated for the maturing student.\nThe timeless search for truth evokes questions and historical events, personalities and qualities of the development from the Birth of Christ through to the Renaissance give opportunities for inquiries and explorations.\nArt and imagination remain an important medium as impulses are worked with and processed and find individual expressions.\nThemes in English are:\n- Arthurian Literature\n- Literature of the Medieval World/ Age of Discovery/ Renaissance\n- Creative Writing on Wish, Wonder and Surprise\nThemes in History are:\n- Middle Ages\n- The Renaissance World\nStudents learn skills of using resources and analysis, perspectives and interpretation, research, explanations and communication.\nThemes in Geography are:\n- Voyages of Discovery\n- Encountering the Landscape of the Newly Discovered World\n- New Cultural Encounters of Tribal Societies\nStudents learn skills to use maps and doing fieldwork.\nThis period of inner development of the students resonates with key themes of the chapter in World History of the Great Voyages and the renewal of culture that took place during the Renaissance. Teachers support students to discover new perspectives that direct their attention towards the explanation of the outer world and away from the newly experienced unrest in their inner life. Students will be given many opportunities for active learning and group interaction.\nThis is an overview of the different strands in Math the students will be exposed to:\n- Number: negative numbers expand to index notation, ratio and proportions, speed, distance and time\n- Finacial Math: Percentages and profit and loss\n- Patterns and Algebra: Formulas and algebraic expressions\n- Measurement: measuring and developing formulas for perimeter, surface and area of 4 and 5-sided shapes, triangles and compound ahapes,\n- Perspective drawing\n- Geometry: parallel lines, angles, theorems, Pythagoras and Trigonometry\nThis is an overview of the different areas in Science:\n- Biological Sciences: Physiology, Composting and harvesting\n- Chemical Sciences: Combustion Processes\n- Earth and Space Sciences: Ring of Fire of Polynesia, link between lifestyle and environment\n- Physical Sciences: Galvanic electricity, electric circuits and magnetic fields\nStudents will learn about the development and nature of science and the use and influence of science.\nProfessional Development, Health and Physical Education\nPhysical activities include for this age group aerobic conditioning, strength training, joint mobility, Fitness testing, track and field events, athletic events, a range of sports, like basketball, handball, cricket, volleyball, tennis and stick wrestling, orienteering, archery, sailing and horse riding.\nAt this age we start with the use of digital technology and the understanding of it from a mathematical point and the social boundaries.", "id": "<urn:uuid:59d36eff-a774-4ee4-ba36-f4360ed1c479>", "dump": "CC-MAIN-2021-17", "url": "https://rainbowridge.nsw.edu.au/class-7/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039617701.99/warc/CC-MAIN-20210423101141-20210423131141-00139.warc.gz", "language": "en", "language_score": 0.90147465467453, "token_count": 633, "score": 3.875, "int_score": 4}
{"text": "Storytelling in learning is one of the most effective ways to engage your learners. Regardless of age, profession or nationality, we all love stories.\nA friend of mine once went on a workshop about negotiation skills. He told me about a story that delegates had been told on the course. It went something like this; you may have heard it or a version of it before:\nTwo explorers in the Arctic kill an elk. They divide the elk in half and start to make for their next camp on separate sleighs drawn by huskies. A pack of wolves smell the blood of the elk and start to pursue the explorers. The first explorer hears the baying of the wolves and decides to gee up his dogs to outrun the pack. After a somewhat tense pursuit, the wolves fall back and instead turn their attention to the second explorer. Explorer Number Two decides on a different course of action. He cuts off an elk steak and throws it to the wolves to divert them. Although this seems to work initially, it only has the effect of making the pack more determined in pursuit. They catch him, devouring both the unfortunate explorer and the elk.\nIn the negotiation workshop my friend attended, this had been used as an analogy about negotiations. If you give up something too easily, then the other side will only pursue you for more concessions. A catchphrase in the course was \u201cDon\u2019t give the other side an elk steak\u201d.\nI thought of this story the other day when I was trying to find a way to convey a new concept to a diverse audience. I was considering whether I could use a story or more particularly, an analogy, to do this.\nSo, what is an analogy?\nThe dictionary definition of an analogy is:\n\u2018the comparison between things that have similar features, often used to help explain a principle or idea.\u2019\nUsing analogies is a very old tradition dating back to at least the ancient Greeks. Professor Edith Hall in her book Aristotle\u2019s Way explains how much the ancient philosopher Aristotle respected them. According to Hall, Aristotle highly valued the skill of drawing analogies. He believed they offered an opportunity for \u2018accelerated learning\u2019.\nToday, telling storytelling in learning is commonplace. If you are a learning designer, you will probably already use a range of storytelling techniques in your projects. You might for example, tell the story of a company\u2019s history or create scenarios where learners use their decision making skills. However, using analogies can also be very useful but these must be deployed with care.\nTo be successful, analogies need to be:\nYou can probably only use one analogy per course. Using more than one will overload your course with ideas, making it difficult for learners to retain information.\nReflective of the learning goal\nYour analogy should be genuinely reflective of the principle you want to get across. For example, the elk steak analogy would not work very well if it the workshop had been about relationship building\nIf you\u2019re delivering to a global audience, your analogy must be cross-cultural. Some analogies may not translate well to international learners, so bear this in mind.\nYour analogy needs to be appropriate for your cohort of learners. Don\u2019t patronise them with something too simplistic, or over dramatise the story, it may turn learners off.\nWhat\u2019s more, in the digital world we live in, do not be afraid to take your storytelling one step further. For example, video can help bring your story to life, in ways words would struggle to. But, regardless of medium, analogies can be very powerful and live long in the memory. Take the elk steak story: I never even attended the workshop. But years later I still remember the story, proving the ultimate success of storytelling in learning.\nWant to learn more about storytelling in learning? Check out this on-demand webinar from Cursim, our learning design agency:\nEditors note: This blog was first published in December 2018. It has been updated for clarity, with fresh new content included.", "id": "<urn:uuid:a668c571-8e5e-49d8-a55b-596b336664b9>", "dump": "CC-MAIN-2021-17", "url": "https://omniplex.co/blog/storytelling-in-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038073437.35/warc/CC-MAIN-20210413152520-20210413182520-00218.warc.gz", "language": "en", "language_score": 0.9445992708206177, "token_count": 850, "score": 3.6875, "int_score": 4}
{"text": "Welcome to the website of We Share the Same Moon. This project is a collaboration between storyteller Cassandra Wye and astrophysicist Dr Megan Argo. Our aim is to bring science into primary schools in a creative and innovative way, using stories about the Moon.\nWhy \u201cWe Share the Same Moon\u201d?\nAs this site develops \u2013 we will include sky-lore folktales, myths and legends from all the 200 plus communities and cultures living in UK, to celebrate the fabulous diversity of cultures that enrich our life and our learning.\nWithin these stories are embedded key concepts of science learning.\nWe can tell any of these stories purely for pleasure, for language and literacy development, for learning about different countries and cultures.\nBut \u2013 we can also use them as a catalyst for science exploration.\nWhy tell Stories as part of Science Education?\nStories are a great catalyst for sparking children\u2019s interest and imagination in science exploration. Stories don\u2019t offer a scientific explanation, but they do have an amazing power to captivate children and inspire them to be curious, to ask questions, to want to learn more. Once we have caught their interest and invited them to wonder, we can start talking about the science embedded within the story.\nA story is a \u201chook\u201d on which we can hang a lesson.\nHow the Site Works\nWe have linked at least one folktale to a range of 20 topics within the UK Early Years and Primary Science Curriculum including: Rocks (Meteors and Comets); Light (Eclipses and Aurora); Earth and Space (Constellations, Stars and the Solar System) and of course the Moon.\nWe have categorised the stories and activities by suggested age range and by UK curriculum topics.\nBut you are welcome to use them in any way that would most benefit your children.\nWhat we invite you to do:\nEmbed the science \u2013 by telling a Story\nTell, read, listen or watch one of the folktales (5 \u2013 10 minutes in length) as an introduction to a selected science topic of your choice.\nAt the end of the story: Explain the science\nUse the science story and science explanation (5 \u2013 10 minutes in length) to expand their understanding of the science concepts embedded within the story heard.\n- Ask questions within your explanation to test existing knowledge\n- Use the images and or videos included to enhance your explanation\n- Invite questions to explore elements that they have not understood.\nThen: Expand the Science\nSelect one of the follow-on activities (approx 45 minutes in length) that best suit your class and curriculum.\nWe have included not just scientific activities, but also arts activities, craft activities, model-making, story-making, sensory activities, ideas for outdoor locations as well as classroom-based sessions.\nExtend the Science\nTo extend the learning process, depending on the children\u2019s\u2019 line of inquiry.\n- Tell a second story to illustrate another element of the topic.\n- Use one of the linked activities to explore the science topic further and consolidate learning\n- Link to non-science elements of the curriculum to reinforce learning\nAnd then at the end of the session \u2013 we invite you to complete the evaluation below.\nPlease tell us what was useful to use and what you would like more of!\nAnd in return \u2013 we will keep you posted with latest developments, activities and opportunities to take part in We Share the Same Moon\u2019s future events.\nWe Share the Same Moon will be testing a new range of stories and activities to promote the use of sky-lore storytelling across the curriculum throughout 2019 with organisations around the globe.\nIf you would like your school or organisation to be a host venue for any of our piloting process \u2013 please do get in touch and let us know.\nCassandra Wye, Megan Argo\nWe Share the Same Moon Needs YOU!\nThe aim of We Share the Same Moon is to create story-based resources for use in science education \u2013 But how useful is it?\nHelp us to find this out by filling in this form (word; pdf; pages).\nAnd in return \u2013 have the opportunity to take part in future pilot events!\nPlease complete the attached form and send to Cassandra Wye: firstname.lastname@example.org", "id": "<urn:uuid:ec6ed492-f5ca-4051-a6ad-97e888041462>", "dump": "CC-MAIN-2021-17", "url": "https://www.wesharethesamemoon.org/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00459.warc.gz", "language": "en", "language_score": 0.9144131541252136, "token_count": 894, "score": 3.65625, "int_score": 4}
{"text": "- What are literacy skills examples?\n- What are the six early literacy skills?\n- How do you develop your literacy skills?\n- What is personal literacy?\n- How do you promote general literacy?\n- What is early literacy skills?\n- What are the 7 literacies?\n- What are literacy skills for adults?\n- What are the 5 components of literacy?\n- What are the four types of literacy?\n- What is new literacy?\n- What are foundational literacy skills?\nWhat are literacy skills examples?\nSix Early Literacy Skills.\nYoung children need a variety of skills to become successful readers.\nWhat are the six early literacy skills?\n6 Early Literacy SkillsPrint Motivation.Print Awareness.Letter Knowledge.Vocabulary.Narrative Skills.Phonological Awareness.\nHow do you develop your literacy skills?\n5 Tips to Strengthen Early Literacy SkillsTalk to children often. \u2026 Make reading together a daily routine. \u2026 Play rhyming games with children. \u2026 Set up an art/writing table in your main living area. \u2026 Provide kid\u2019s activities at home that support motor development.\nWhat is personal literacy?\nOne of the literacies we develop over our lifespans is personal literacy, also called vernacular literacy. Personal literacies are the reading and writing practices individuals engage in during activities of their own choice and for personal satisfaction or to meet personal goals.\nHow do you promote general literacy?\nHow to Promote Literacy Development in Young ChildrenTalk while doing everyday things. \u2026 Read books, sing, and say rhymes with your child every day. \u2026 Provide your child with writing materials and the time and space to use them.Go to museums, visit libraries and enjoy hobbies that broaden your children\u2019s knowledge of the world beyond their home and neighborhood.\nWhat is early literacy skills?\nEarly literacy refers to the development of skills students need in order to transition from learning to read, to reading to learn. These skills include vocabulary, phonics, language, and numeracy, to name a few. Early literacy gives students the foundation they need in order to learn and grow.\nWhat are the 7 literacies?\nSeven Literacies: HomeHome.Basic Literacy.Early Literacy.Civic/Social Literacy.Digital Literacy.Financial Literacy.Health Literacy.Legal Literacy.\nWhat are literacy skills for adults?\nChall distinguished learning to read\u2014that is, the mastery of decoding, word recognition, and reading fluency\u2014from reading to learn or to do\u2014that is, using text to build one\u2019s knowledge or accomplish specific goals. Adults at or below Level 1 have needs at both levels.\nWhat are the 5 components of literacy?\nReading skills are built on five separate components: phonics, phonemic awareness, vocabulary, fluency, and comprehension.\nWhat are the four types of literacy?\nReading and Writing. Traditional definitions of literacy usually refer to the ability to read and write. \u2026 Digital Literacy. \u2026 Financial Literacy. \u2026 Cultural Literacy.\nWhat is new literacy?\nNew literacies refer to new forms of literacy made possible by digital technology developments. Commonly recognized examples include instant messaging, blogging, social networking, podcasting, photo sharing, digital storytelling, and conducting online searches.\nWhat are foundational literacy skills?\nSimply put: Foundational skills cannot be separated. Print concepts and phonological awareness support phonics instruction, morphological instruction extends students\u2019 word recognition, and fluency automatizes word reading.", "id": "<urn:uuid:907b59f9-6381-4797-973a-444cd0c6f8af>", "dump": "CC-MAIN-2021-17", "url": "https://colorexcel.com/qa/quick-answer-what-are-the-literacy-skills.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00179.warc.gz", "language": "en", "language_score": 0.901605486869812, "token_count": 735, "score": 3.859375, "int_score": 4}
{"text": "Multi-modal literacy supports the ability to create meaning through the combination of different modes including written, spoken, visual, audial, spatial, and gestural means. Each mode provides a level of meaning and the combination of mulitple modes creates an even fuller understanding as it engages a variety of senses. Picture books can be read with just the text or just the pictures but the combination of both provide a more complete understanding of the story through a multi-modal experience.\nExamples of multi-modal works:\nOverview and Definitions of different modes from the Department of Education and Training from the State Government of Victoria, Australia:\nConveyed through written language via handwriting, the printed page, and the screen. Choices of words, phrases, and sentences are organised through linguistic grammar conventions, register (where language is varied according to context), and genre (knowledge of how a text type is organised and staged to meet a specific purpose). See: Writing and Reading and Viewing\nIn bilingual or multilingual texts, written meaning may be conveyed through different scripts and laid out differently, whether typed or handwritten. EAL/D learners may also write words from their home languages using English letters (transliteration).\nSpoken (oral) meaning\nConveyed through spoken language via live or recorded speech and can be monologic or dialogic. Choice of words, phrases, and sentences are organised through linguistic grammar conventions, register, and genre. Composing oral meaning includes choices around mood, emotion, emphasis, fluency, speed, volume, tempo, pitch, rhythm, pronunciation, intonation, and dialect. EAL/D learners may make additional choices around the use of home languages to create mood or emphasise meaning. See: Speaking and listening pedagogic resources.\nConveyed through choices of visual resources and includes both still image and moving images. Images may include diverse cultural connotations, symbolism and portray different people, cultures and practices. Visual resources include: framing, vectors, symbols, perspective, gaze, point of view, colour, texture, line, shape, casting, saliency, distance, angles, form, power, involvement/detachment, contrast, lighting, naturalistic/non-naturalistic, camera movement, and subject movement. See Visual literacy metalanguage.\nConveyed through sound, including choices of music representing different cultures, ambient sounds, noises, alerts, silence, natural/unnatural sounds, and use of volume, beat, tempo, pitch, and rhythm. Lyrics in a song may also include multiple languages.\nConveyed through design of spaces, using choices of spatial resources including: scale, proximity, boundaries, direction, layout, and organisation of objects in the space. Space extends from design of the page in a book, a page in a graphic novel or comic, a webpage on the screen, framing of shots in moving image, to the design of a room, architecture, streetscapes, and landscapes.\nConveyed through choices of body movement; facial expression, eye movements and gaze, demeanour, gait, dance, acting, action sequences. It also includes use of rhythm, speed, stillness and angles, including \u2018timing, frequency, ceremony and ritual\u2019 (Cope and Kalantzis, 2009. p. 362). Gestures and body language may have diverse cultural connotations.\nLiteracy and Media Lab: The Literacy and Media Lab is a collaboration between Lafayette Elementary and the School of Education at the University of Colorado-Boulder. We host after-school programs each semester, facilitated by CU students (and current K-12 teachers) pursuing their MA in Literacy Studies. This website features lessons they planned and implemented, as well as media produced by Lafayette Elementary students.\nIntegrated Storytelling and STEM through Multimodal Composing: Powerpoint presentation by Bridget Dalton at University of Colorado providing an overview of using STEM tools to create multi-modal elements in storytelling in conjunction with Build a Better Book.", "id": "<urn:uuid:7c48a270-9998-47de-84e6-14e2aa8266d6>", "dump": "CC-MAIN-2021-17", "url": "https://www.colorado.edu/project/bbb/multi-modal-literacy", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00257.warc.gz", "language": "en", "language_score": 0.9180654287338257, "token_count": 822, "score": 3.796875, "int_score": 4}
{"text": "On January 21, 2015 the news broke\u2014an Australian fisherman hooked a \"living fossil.\" Called the frilled (or frill) shark (genus Chlamydoselachus, belonging to Order Hexanchiformes), this creature was thought to be 80 million years old.1 It looks mighty frightening, but is it truly \"prehistoric\" and somehow linked to shark evolution?\nIn 1884, American taxonomist S.W. Garman described the supposedly extinct unique frilled shark. It has hundreds of needle-sharp teeth unlike those of any other living shark, an enlarged mouth, and an eel-like body. Like other hexanchids, Chlamydoselachus has a single dorsal fin and a long caudal (tail) fin. One fossil of Notidanoides muensteri dates from the late Jurassic, supposedly 150 million years ago. Today, there are five extant (living) species of hexanchiforms, including the deep-water cow shark.\nBut the frilled shark is clearly not an evolutionary transition. Hexanchiforms are 100 percent sharks\u2014not missing links. Evolutionist Barbara Stahl lists them with modern sharks.2\nA 2014 edition of a zoology dictionary makes no mention of the frilled shark being a missing link or an evolutionary transition.3 A 2011 dictionary of biology edited by Eleanor Lawrence does not even mention it.4 Michael Benton's latest edition of Vertebrate Paleontology does not list Chlamydoselachus.5\nVirtually all the proposed \"transitional sharks\" are easily recognized as sharks, showing only that a wide variety of sharks and other cartilaginous fishes existed in the past, just as they do today.6,7 There is undoubted variation within the shark kind, as is expected on the basis of creation, but none of the supposed transitions suggest that cartilaginous fish evolved from or into any other major group. Like all sharks, the frilled shark has always been a shark.\n- 'Like a Horror Movie': Rare frilled shark caught off Australia. Fox News. Posted on foxnews.com on January 21, 2015, accessed January 26, 2015. [\n- Stahl, B. 1985. Vertebrate History. New York: Dover Publications, Inc., 186.\n- Allaby, M. 2014. Oxford Dictionary of Zoology. UK: Oxford University Press, 124.\n- Lawrence, E. 2011. Henderson's Dictionary of Biology. San Francisco: Pearson Publishers-Benjamin Cummings.\n- Benton, M. 2015. Vertebrate Paleontology. Malden, MA: Wiley Blackwell.\n- Thomas, B. Newly Named Fish an Evolutionary Enigma. Creation Science Update. Posted on icr.org October 6, 2014, accessed January 13, 2015.\n- Sherwin, F. and B. Thomas. 2012. Hybrid Sharks and Evolutionary Storytelling. Acts & Facts. 41 (3): 16-17.\nImage credit: Copyright \u00a9 2010 Citron / CC-BY-SA-3.0. Adapted for use in accordance with federal copyright (fair use doctrine) law. Usage by ICR does not imply endorsement of copyright holders.\n* Mr. Sherwin is Research Associate, Senior Lecturer, and Science Writer at the Institute for Creation Research.\nArticle posted on February 2, 2015.", "id": "<urn:uuid:2894da03-ed1a-48c7-84b7-0aab94c97a80>", "dump": "CC-MAIN-2021-17", "url": "https://www.icr.org/article/frilled-still-shark/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00577.warc.gz", "language": "en", "language_score": 0.8836525082588196, "token_count": 696, "score": 3.9375, "int_score": 4}
{"text": "Long before they become literate, children already learn and develop their language skills by listening to adults read aloud.\nLanguage development in childhood is a long and complex process that occurs from the baby\u2019s first interactions, and builds up with all the different experiences with language. Children learn to speak from what they hear, from the words, expressions, and forms of communication of those around them. In other words, adults are an essential part of language learning in childhood.\nLong before they become literate, children already learn and develop their language skills by listening to adults read aloud. However, in our daily lives, our language is limited and even more restricted when we address little ones. So, how can we ensure that children have enriching language experiences so that they develop their communication skills in the best possible way?\nResearchers from Barcelona carried out a study on the importance of adults reading aloud to children. They confirmed that, in childhood, listening to written stories provides a learning opportunity that does not normally happen in everyday life. Find out more below!\n\u201cLearning from an adult reading aloud\u201d\nThis is the title of an article written by researchers Ana Teberosky and Angelica Sep\u00falveda from the University of Barcelona. It is a study set to analyze the practice of reading aloud and its effects on children. We talked to one of the authors about the main findings of their research.\nAngelica Sep\u00falveda began her academic career in the field of speech therapy at the National University of Colombia, specializing in Educational Psychology with a master\u2019s and doctorate at the University of Barcelona. In researching the development of oral communication, reading, and writing, Angelica has been in Brazil for seven years and collaborates in the development of educational research and innovation projects at the Laborat\u00f3rio de Educa\u00e7\u00e3o (Education Laboratory), which carries out actions intended to enrich and qualify language in childhood.\nThe role of adults in language development\nFor Angelica, language development in childhood is a fascinating process: the child is immersed in a continuum of interactions and gradually manages to understand what the language is and what it\u2019s for. They use language to ask for food and water, to play, and both in contact with adults and with other children.\nThe quantity of interactions, as well as the quality of them, are important factors in order for a child to learn language properly. Angelica and Ana\u2019s research cites a study that shows that, on a daily basis, most expressions are not great linguistically and do not require anything from the child.\n\u201cOnly 15% of everything spoken to children has canonical constructions, that is, with a subject, verb, and object, which is a complete structure of the language. This is not enough for them to learn a language. In everyday interactions, our language is very limited, so we have to make a conscious decision to enrich what we are offering a linguistic experience for children,\u201d says Angelica.\nWhy is reading aloud so important?\nAccording to Angelica, to wait for the child to become literate in order to start having contact with literature is a waste of time and opportunities.\n\u201cWhen the child hears stories, they have the opportunity to read many texts before being an autonomous reader and that makes all the difference\u201d, Angelica notes.\nThe child who hears reading aloud is also, in a way, reading, in the sense that they listen to the written language and understand what is being read. Children also exercise learning through repetition and imitation. Just as they like to watch a video or listen to a song several times, they also ask to hear the same story over and over again.\nEven in the case of older children who already know how to read alone, it is still important to enjoy reading aloud from adults. They will be observing a more experienced reader and learning from them, always gaining knowledge and experience from this interaction.\nHow to make the reading experience richer\nAccording to Angelica\u2019s experience with language practices in childhood, two points are important to enrich children\u2019s repertoire and encourage a positive relationship with reading: the diversity and naturalness of these experiences \u2013 in other words, to create varied opportunities for children to have contact with books and texts, which is neither mandatory nor unpleasant for children.\n\u201cGood children\u2019s literature books are made for a dual audience: for adults who buy and read them aloud, and for children. When finding a good book, both adults and children have a good literary experience,\u201d defends the researcher.\nHere are some tips to make reading aloud an even richer experience:\n1. Have time to spare\nIt\u2019s not good to start reading if you need to finish in 10 minutes because of another appointment. Set aside a special time to read to the child, when you can be 100% present in that interaction.\n2. Immerse yourself in the story\nIf the adult is willing to read, they will have an authentic interaction with the text: they will be surprised, laugh if it is funny. They will react in an authentic way. It makes all the difference for the child to be interested in the story too.\n3. Watch out for interruptions\nReading does not have to be a lesson. Avoid stopping the story for explanations unless the child themself asks. This allows the reader to establish relationships on their own.\n4. Encourage natural conversations\nAfter reading, talk to the child about the story. Tell them about your opinions and ideas, what you liked or disliked, and listen to what they have to say as well.\n5. Read it over and over again\nOne reading experience is never the same as another. Reading the same book several times will impact the child differently, especially over time, promoting new reflections and learning.\n6. Explore new formats\nThe greater the diversity of linguistic experiences the child has access to, the better. Digital platforms offer new ways to listen to readings, such as videos and storytelling podcasts. They are usually readings made by specialists, with different intonations and gestures that may not happen in family readings, to further enrich the child\u2019s repertoire.", "id": "<urn:uuid:2d85649e-0c95-4e4c-af68-0e5cdc01a264>", "dump": "CC-MAIN-2021-17", "url": "https://www.playstories.com/blog/education/research-shows-the-benefits-of-reading-aloud-to-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00179.warc.gz", "language": "en", "language_score": 0.9597291946411133, "token_count": 1265, "score": 3.625, "int_score": 4}
{"text": "Mental and Emotional Development\nThis main objective is attained through focus on the following sub-phases: assertiveness, self-discipline, temper control, poise, objective decision-making and the selection of options under stress. Tower Tots\nFor most 3-year-olds, this is their first exposure to physical education. Our goal is to help the children build a solid foundation to develop age appropriate tasks. Our program is centered on spatial awareness, basic motor skills, crossing the plane, personal involvement and fun. We are introducing and emphasizing the importance of sharing, taking turns and respecting one another. PreKindergarten/Kindergarten\nIn PreKindergarten and Kindergarten, our focus is to build a solid movement foundation. We do this by helping our children use their bodies to explore their environment. Our PreKindergarten and Kindergarten children are introduced to different motor skills and movement patterns that help in the development of spatial awareness and body control. They do creative movement in time to a beat and participate in rope and hoop activities to improve coordination and balance. In addition to learning locomotor and non-locomotor skills, our children are exposed to activities that involve object manipulation and tracking. One such activity would be simple balloon activities.\nOur eager and independent learners are soon introduced to activities that require them to work in pairs and small groups to accomplish a common goal. Parachute activities require them to work cooperatively as a large group to achieve success. Our children have now experienced the importance of teamwork through simple cooperative tasks.\n1st and 2nd Grades\nIn 1st and 2nd Grades we continue to provide additional practice opportunities and instruction to improve locomotor and non-locomotor skills. Activities are presented to provide our students with the opportunity to improve coordination, reaction time and ball tracking \u2014 thus making the manipulation of objects easier. They can now focus their practice time on mastering proper techniques. By providing appropriate physical education experiences, we can help them expand and refine social skills and acceptable ways to respond to challenges, success and failure.\nAdditionally, we begin to introduce the concepts of physical fitness. Our weekly fitness walk provides us with the opportunity to allow our children to discover that their heart beats faster and their breathing accelerates during physical activity, and why it is important to develop a lifelong exercise routine. We use their genuine excitement for learning to help them begin to control their bodies and emotions. Through activities we can help them begin to develop a sense of right and wrong, and that their actions have consequences.\n3rd and 4th Grades\nWith a solid skill base firmly established, we find it more productive to teach the boys and girls separately beginning in 3rd Grade. We have equal expectations for both groups in terms of physical performance. Co-educational activities are presented at least twice a week. As our children have mastered the proper form for basic motor skills, we can focus on how to manipulate objects in a variety of ways, refine eye-hand and eye-foot coordination. This development occurs through participation in low-organized games and small group activities. In addition to skill and character development, we also present specific principles and concepts that include basic offensive and defensive strategies.\nAt this age winning becomes extremely important, so we will continue to emphasize teamwork and sportsmanship and provide our students with the tools and the support necessary to resolve conflict. We continue our focus on personal fitness with our weekly fitness walk. Our students take great pride in earning their \"feet\" charms as a marker for miles achieved.Tower Hill Fitness Walk\nOnce a week children participate in a fitness walk during PE class. Below are some guidelines about what the fitness walk entails.\n- Gems represent one lap around our track\n- 4 gems is equal to one mile\n- 20 gems/20 laps equals 5 miles\nWe will hand out a special foot for every 5 miles completed\n- Glow Feet - given out out after completing 15 miles\n- Small Medallion - given out after completing 20 miles\n- Large Medallion - given out for completing 25 miles. If your child runs an organized 5K run, they can earn a special foot by bringing the race number (bib) in to school. (For example: breast cancer run, Homecoming, turkey trot, etc).", "id": "<urn:uuid:8bfc8340-3f8b-46c3-9839-dba9a32f8d2c>", "dump": "CC-MAIN-2021-17", "url": "https://www.towerhill.org/student-experience/athletics/physical-education", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00139.warc.gz", "language": "en", "language_score": 0.944571316242218, "token_count": 877, "score": 3.671875, "int_score": 4}
{"text": "How do humans express normative concepts using words, images, and gestures? What analogies and signs express that a behavior is beneficial, and what strategies do humans use to express that a behavior is harmful?\n\"[M]oralistic narratives need not, and usually will not explicitly refer to 'morality' or 'ethics' in terms we would readily recognize as such.\"\nPhil Hopkins, Mass Moralizing: Marketing and Moral Storytelling (Lanham: Lexington Books, 2015), 15.\nThe Gatekeepers of the Moral Order\nHow are emotions used to communicate value judgments? How do humans use emotions (like shock, pride, shame, anger, and disgust) to produce, enforce, and contest social norms?\n\"The 'moral emotions' are often considered to be shame, guilt, sympathy, and empathy... [and] contempt, anger, and disgust... [but] this view is far too narrow...\"\nJonathan H. Turner and Jan E. Stet, \"Moral Emotions,\" in Handbook of the Sociology of Emotions (New York: Springer, 2007), 544.\nStories about the Social Order\nHow do humans use stories to communicate prescriptive and proscriptive ideas about society? What kinds of morality tales exist? How does one go about reading and interpreting morality tales?\n\"These simple tales embody truths so powerful, the titles of the individual fables\u2014the fox and the grapes, the dog in the manger, the wolf in sheep's clothing, and many others\u2014have entered the languages and idioms of most European tongues...\"\nBack Cover, Aesop's Fables, trans. V.S. Vernon Jones (Hertfordshire: Wordsworth, 1994).\nHow do human societies understand roles and divisions of labor? How is space divided (into public/private, male/female, sacred/profane)? Which spaces are contested as immoral, deviant, or otherwise problematic?\nSocial Divisions of Space and Labor\nConfucian society is organized \"via gender and inter-generational divisions of labor... Students are positioned with respect to teachers... employees with respect to employers... a wife is subordinate to her husband....\"\nC. Cindy Fan, \"Migration, Gender, and Space in China,\" in The Routledge Companion to Modernity, Space and Gender, ed. Alexandra Staub (New York: Routledge, 2018).\nBandura, Albert et al. \u201cMechanisms of Moral Disengagement in the Exercise of Moral Agency.\u201d Journal of Personality and Social Psychology 71, no. 2 (1996): 364-374.\nBandura, Albert. Social Foundations of Thought and Action: A Social Cognitive Theory. Englewood Cliffs: Prentice Hall, 1986.\nBandura, Albert. \u201cMoral Disengagement in the Perpetration of Inhumanities.\u201d Personality and Social Psychology Review 3, no. 3 (1999): 193-209.\nChristensen, J.F. and A. Gomila. \u201cMoral Dilemmas in Cognitive Neuroscience of Moral Decision-Making: A Principled Review.\u201d Neuroscience and Biobehavioral Reviews 36 (2012): 1249-1264.\nHaidt, Jonathan. \u201cThe Moral Emotions.\u201d In Handbook of Affective Sciences. Eds. R. J. Davidson et al. Oxford: Oxford University Press, 2003.\nHitlin, Steven and Stephen Vaisey, eds. Handbook of the Sociology of Morality. New York: Springer, 2010.\nHopkins, Phil. Mass Moralizing: Marketing and Moral Storytelling. Lanham: Lexington Books, 2015.\nIannaccone, Laurence R. \u201cReligious Practice: A Human Capital Approach.\u201d Journal for the Scientific Study of Religion 29, no. 3 (September 1990): 297-314.\nIannaccone, Laurence R. \u201cWhy Strict Churches Are Strong.\u201d American Journal of Sociology 99, no. 5 (March 1994): 1180-1211.\nKurtines, William M. and Jacob L. Gewirtz, eds. Handbook of Moral Behavior and Development, Vol. 1: Theory. Hillsdale: Lawrence Erlbaum, 1991.\nLammers, Joris et al. \u201cPower Increases Hypocrisy: Moralizing in Reasoning, Immorality in Behavior.\u201d Psychological Science 21, no. 5 (2010): 737 \u2013744.\nLord, Robert G. and Mary C. Kernan. \u201cScripts as Determinants of Purposeful Behavior in Organizations.\u201d The Academy of Management Review 12, no. 2 (1987): 265-277.\nMoll, J., Oliveira-Souza, R., Zahn, R., Grafman, J. The Cognitive Neuroscience of Moral Emotions. In Moral Psychology, Vol. 3. Ed. Sinnott-Armstrong. Cambridge: MIT Press, 2008.\nMoral Cognition Lab, Dr. Joshua Greene, Harvard University (http://www.joshua-greene.net/research/moral-cognition)\nMoral Psychology Research Group (http://www.moralpsychology.net/)\nMoral Psychology Research Lab at Harvard University (https://cushmanlab.fas.harvard.edu/index.php)\nReligion, Cognition, and Behavior Lab at the University of Amsterdam (https://www.relcoglab.com/)\nSosis, Richard and Candace Alcorta. \u201cSignaling, Solidarity, and the Sacred: The Evolution of Religious Behavior.\u201d Evolutionary Anthropology: Issues, News, and Reviews 12, no. 6 (November 2003): 264-274.\nStent, Gunther S. ed. Morality as a Biological Phenomenon: The Presuppositions of Sociobiological Research. Berkeley: University of California Press, 1980.\nTangney, June Price et al. \u201cMoral Emotions and Moral Behavior.\u201d Annual Review of Psychology 58 (January 2007).", "id": "<urn:uuid:88258190-3e0c-41bf-a849-96f0f4ac8280>", "dump": "CC-MAIN-2021-17", "url": "https://www.behavioralhistory.org/morality", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038061562.11/warc/CC-MAIN-20210411055903-20210411085903-00380.warc.gz", "language": "en", "language_score": 0.7858191728591919, "token_count": 1272, "score": 3.515625, "int_score": 4}
{"text": "As we head back to school, much anxiety and concern remains among parents and educators over COVID-19 and its impact should an outbreak occur at school.\nCOVID-19 is a disease that needs to be carefully managed as a society, not merely on the level of health but also communally, economically and its impact on societal well-being.\nThe consistent and negative news cycles have created a pessimistic mindset that if left unchallenged, will drastically alter the lives of our children over the long term.\nEarly learning and education are important components of development that support a strong childhood.\nThe overall development of children is not the function of the family nucleus only, but the sum total of the interactions at the communal, cultural and societal levels as well.\nFormative years critical for a child\u2019s education\nA quality education encompasses a comprehensive view of the formation of children and their contribution and transformative impact in society and culture both now and in the future.\nThe reduction of time spent in areas such as preschools, schools, recreation centres and community programs, where our kids typically participate, could fundamentally change their experiences of culture and culture-making if the pandemic drags on.\nThese communal places don\u2019t merely function to create bright, smart, creative and physically healthy kids. These are places where culture and social relationships occur, are practiced and solidified. Children\u2019s learning is an interactive process of integrating personal experiences, including culture and social structures, as sources for learning and developing knowledge.\nChildren learn not only from textbooks or materials, but also from group and social interactions.\nThey learn from cultural performances and participation, as well as from the general lived experiences they bring to the learning process.\nThrough play and children\u2019s own face-to-face interactions with others at school or in the community, they negotiate their identities, they develop intercultural understanding, their personal values and norms.\nAs they collaborate and learn together, they are forced to also think critically, to question, as well as solve problems and conflicts with one another.\nThe richer these experiences are, the greater children\u2019s growth. Children\u2019s cultural development supports their personal and social identity formation, along with their character development. The practice of culture for children in the (pre)school setting is an important component of children\u2019s learning and development, and includes verbal and various forms of multimodal communication, creativity, play, collaboration, group work and intercultural interactions, as well as explorations in arts and culture.\nHaving the social environment as important as textbooks\nAt the micro level, community and educational organizations, as well as preschools and schools provide our children a social environment and an active means for participating in, shaping and reshaping their own child cultures.\nThis form of cultural empowerment in the formative years then provides children the tools to continue to be active collaborators in society and culture as they grow older. A strong and socially cohesive community with a culturally active and engaged citizenry is fundamental to the growth and well-being of any town, city or nation.\nThe COVID-19 pandemic\u2019s impact can be seen in the way it has begun to alter children\u2019s cultural participation and interactions in community organizations and schools. Collectively, as educators and parents, we need to continue to find creative new ways to foster the socio-cultural development of our children through safe and thoughtful planning, to ensure active communal participation and enriched educational experiences in both the short and long term as the Covid-19 pandemic carries on. Our children\u2019s overall developmental well-being and cultural growth both now and in the future are worth our every effort.", "id": "<urn:uuid:9e06c12d-0a4f-42f0-857f-e3d9841d3eae>", "dump": "CC-MAIN-2021-17", "url": "https://livewirecalgary.com/2020/09/04/covid-19-and-childrens-cultural-development-a-reflection/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00541.warc.gz", "language": "en", "language_score": 0.9619042277336121, "token_count": 750, "score": 3.6875, "int_score": 4}
{"text": "African binderies were determined largely by the European colonists who divided the African continent into many units of administration which would make the colonists have an easy way of sharing the continent. The continent has very many countries small in size. The current African boundaries were inherited from the European colonizers and there has been very little change in the boundaries of these countries after the European powers left the continent. In fact, the organization of African union has made the members sign an agreement which states that the boundaries will remain as they were during the time of their independence. This is to show that the African continent was divided by the external powers but has remained with those boundaries even up to today. In addition to remaining with those bounders, the countries have also put structures in place to ensure that the countries do not change their borders.\nThe African continent has also been divided according to the geographical position of the continent. For example, we have the sub-Saharan Africa which refers to the countries of Africa which are along the sub-Saharan region, the medittarenean Africa which refers to the countries in the northern part of the continent. The continent has some rivers and big lakes which form boundaries of various countries. For example, there is Lake Victoria which forms the boundary between Kenya, Uganda and Tanzania. Thus, the environment has provided very important landmarks which have been used as the distinguishing factor between different countries in Africa. The continent has also large rivers which crisscross it. This rivers are however not very good for use as water transport. It is only river Nile which a boat can ride for the whole of its course. This has made the places which appear interior not to open to the outside world. This is because in the old days at the start of the industrial revolution, water was the main means of transport and countries which lacked good water bodies to communicate with the outside world have been left behind. In addition, the colonial masters concentrated more in opening the territory they are occupying through the sea. Thus, a country would have a seas port to connect it with the main land of their colonial master but fail to connect two African states. This led to the divided nature of the African continent. The colonial masters divided the continent into very small units. As a result, the countries are small which might be a reason as to why the continent is lagging behind. However, some people have argued against this, citing Sudan which is a very large country but quite unstable. However, countries like south Africa which are large are very stable and have got a lot of development.\nAfter independenc, the African countries thought the issue of nationalism was the same as nation building. Therefore most of the African leaders concluded that development needed unity of the whole country. They also believed that unity was not possible if there were multiparty elections. This resulted in the banning of the many political parties in most of the African states after independence. The leaders were pursuing two goals which were similar; the development and the nation building. This pursuit however led to the death of the political debates and freedom of the people. The authorities insisted that development needed one country which is united. Therefore, multiparty politics would have negative effects on the country, leading to on e party states. This led to the military coups resulting in dictatorial governments. It also led to civil authoritarian regimes in which the people were politically suppressed. These were characterized by the boundaries which were left by the colonist after subdividing the continent into very many countries.\nAfricans were regarded as a lesser race than the European people. The Europeans who had colonized Africa believed that they were superior to the rest of the races which were found in Africa. They made the Africans believe that it was the Europeans who deserved the first priority in everything. Ever since that time, Africans have become obsessed with the white people. Africans have a belief that the Europeans are the best people. When Africans have a problem, they are always running to the European countries because they have been made by the Europeans to believe that they are the best. This has even made the Africans not to like their own goods. Usually, an African would buy goods from a European company while at the same time, there is an African selling the same goods. Therefore, Africans can be said to have developed some believe that the Europeans are the better people than them. Scientific racism has led to the African countries being unable to value themselves. Africans do not feel like they are worthy or they can do something. They always feel that the white men are able to do everything and that they should allow them to do everything on their behalf.\nAfrica had a way of passing down their stories to the young people. This allowed the people to pass down the stories about their origin and their culture from one generation to another. People used to have sessions of storytelling in the evenings in which the old men would assemble the young children in order to talk about some stories in Africa. The morals of the society were passed to the children during such times. In addition, the society was able to pass down its history to the people using such stories. There were different ways of passing a story, including the use of poems, narrativves and myths. These were very important in the transmission of the important values of the society thus ensuring that the young people got the message. The young people on the other hand transmitted their information in the same way.\nThe African continent has been regarded as a dark continent because its people have not been able to have their own stories heard. Although civilization started in Africa, Africa has been said to be lagging behind. This perception has been there because the colonial powers colonized Africa, making them loose their identity. As a result, there has been division of Africans and they cannot even speak with the same voice.\nThe Europeans arrived in Africa and began dividing the continent for themselves. The different European nations were eager to get some part of Africa and thus they divided the African land among themselves. This resulted in the current boundaries which are evident in the continent. The European scramble for Africa was guided by the presence of minerals and good agricultural land. They wanted to settle in areas which were productive in agriculture so that they would be able to export the agriculture products to their own nations. In addition, they wanted to occupy those territories which were rich in minerals thus getting an advantage of getting the minerals and exporting to their countries. The powerful nations were fighting to occupy the most productive land while not being much interested in the dry areas of the continent.\nIn some areas, the Africans welcomed the Europeans in the beginning. However, with time, there was a growing believe that the Europeans were not for the good of the African communities. Different tribes of African countries united to fight the Europeans. The Europeans had taken over the land and forced the people to do hard labour without pay. Africans decided to fight them and reclaim their land. There were very many uprisings in the continent which resulted to independence. Africans became more aggressive after the world wars in which those who had gone to participate in such wars and were lucky to come back home had received the adequate training in fighting. They therefore decided to fight for independence. The colonization of Africa brought civilization into the continent and stopped some of the atrocities committed by the Arabs such as slave trade. It also brought Christianity to the region so that the continent had two new religions, one from the Arabs, the Muslim and the other from the Europeans, the Christianity. Africa is not properly represented in media. There is a lot of oppression of the media in many African countries. In addition, Africa does not own the big international media houses such as CNN or BBC. There is therefore little information about Africa in the outside world.", "id": "<urn:uuid:aed14baa-46c5-4744-99eb-56ecdb0c5c60>", "dump": "CC-MAIN-2021-17", "url": "https://essaysexperts.com/essays/geography/african-geographies.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00619.warc.gz", "language": "en", "language_score": 0.9875430464744568, "token_count": 1555, "score": 3.953125, "int_score": 4}
{"text": "Difference Between Orange & Lime Trees\nAlthough very similar in many ways, limes and oranges have very different histories and uses. Both limes and oranges are citrus fruit, the flesh of which is segmented and made up of pulpy sacks that hold high quantities of juice. Citrus fruit also has an outside rind, or skin, that is high in citrus oil.\nThe early history of both limes and oranges is not well known or documented in the West. Both oranges and limes originated in Southeast Asia. However, the original Southeast Asian oranges were likely sour oranges. According to Food Timeline, the sweet orange may have originated in Southeast Asia or in China. The first mention of sweet oranges in Europe is during the 15th century. Most varieties of limes were created by hybridizing key limes, the original limes from Southeast Asia. Limes were dispersed through the Middle East and North Africa by traders. They were first mentioned in European literature in the 13th century and was brought to North America during the 16th century.\n- Although very similar in many ways, limes and oranges have very different histories and uses.\n- The early history of both limes and oranges is not well known or documented in the West.\nOrange trees are slightly larger than lime trees. Although trees grafted to dwarf root stock are smaller, the natural size of most lime trees is about 20 feet in height and spread. Orange tree size varies, depending on the variety, but is generally between 25 feet and 30 feet in height and spread. In most cases, the branches of the two trees will curve downward in a weeping form and nearly touch the ground, especially when heavy with fruit.\nThere are many different types of both lime trees and orange trees. Limes start with the small, round key limes, thought to be the original lime. Larger Mexican, Persian and Tahitian limes are thought to be hybrids between the key lime and a citron. The skins of the limes produced by these trees are thicker. The origins of sweet oranges are even less well documented. However, there are many varieties of sweet oranges, including satsuma, mandarin, naval and Valencia. In some cases, different varieties of oranges are cross-bred to create new commercial cultivars.\n- Orange trees are slightly larger than lime trees.\n- Although trees grafted to dwarf root stock are smaller, the natural size of most lime trees is about 20 feet in height and spread.\nIdentifying a tree as a lime tree or an orange tree between fruit crops can be very difficult. The leaves of the two trees are very similar and the bark can be similar. The best way to identify a tree is to look at its fruit. Limes are green skinned, even when ripe. Oranges are orange skinned.\nThe two trees are typically grown for their fruit, however, the fruit is used in very different ways. Sweet oranges are grown for juice and fresh consumption. Limes are acidic and sour and are usually used as a flavoring agent in juices and food. During the early expansion of the British Empire, sailors discovered that something in limes, now known to be vitamin C, prevented scurvy. Ships carried limes and British sailors were nicknamed \"limeys.\"\n- Identifying a tree as a lime tree or an orange tree between fruit crops can be very difficult.\n- The two trees are typically grown for their fruit, however, the fruit is used in very different ways.\nAlthough he grew up in Latin America, Mr. Ma is a writer based in Denver. He has been writing since 1987 and has written for NPR, AP, Boeing, Ford New Holland, Microsoft, RAHCO International, Umax Data Systems and other manufacturers in Taiwan. He studied creative writing at Mankato State University in Minnesota. He speaks fluent Mandarin Chinese, English and reads Spanish.", "id": "<urn:uuid:4771fda8-9206-4fcf-a040-23eb7a28075b>", "dump": "CC-MAIN-2021-17", "url": "https://www.gardenguides.com/129997-difference-between-orange-lime-trees.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038878326.67/warc/CC-MAIN-20210419045820-20210419075820-00621.warc.gz", "language": "en", "language_score": 0.9715744256973267, "token_count": 793, "score": 3.578125, "int_score": 4}
{"text": "Montage In Dramatic Performance\nThe use of montage in performance is a sophisticated technique that sometimes confuses drama students due to its complexity. This article attempts to demystify montage and assist teachers and students in their understanding of this convention.\nEtymology: First things first. The term \u201cmontage\u201d originates from the old French word \u201cmonter\u201d, meaning \u201ca mounting\u201d or \u201cto mount\u201d.\nDefinition: \u201cAny combination of disparate elements that forms or is felt to form a unified whole\u201d. Single word definitions include \u201cassembly\u201d and \u201cediting\u201d.\nOrigins: The origins of montage lie in the visual arts and cinema, but the principles adopted by these artists can be transferred into the use of montage in a dramatic context. Soviet filmmaker Sergei Eisenstein developed a theory of montage where in practice changes between shots were obvious and even jolting for the viewer. He referred to a collision between individual images, resulting in a third image or new idea, linking his art to his Marxist principles. Similarly, another Marxist, Bertolt Brecht, believed that montage could\u2026\n\u2026 connect dissimilars in such a way as to \u2018shock\u2019 people into new recognitions and understandings (Bertolt Brecht)\nStyle: In many ways the use of montage in a dramatic performance is a non-realistic or non-naturalistic device because of the way it contradicts the traditional notion of a progressive growth in plot and character development. With montage, real time is either extended or contracted, or both, as the content of the drama jumps around. The term juxtaposition is integral to a student\u2019s understanding of montage, where two or more things (dramatic images) are placed side by side for comparison or contrast. Montage also allows for\n\u2026 a way in which continuity could be broken or fractured and through this the audience (Brecht\u2019s) was to be kept in a constant state of alertness (Cooper and Mackey, Theatre Studies, 1995)\nStudents in Victoria studying VCE Drama have several examination structures where \u201ca montage of dramatic images\u201d is asked to be created in a solo performance. The Victorian Curriculum and Assessment Authority define montage as\n\u2026 a juxtaposition of dramatic images, often presented in rapid succession. The dramatic images are closely linked and presented to create an overall impression, and/or a summary of events/actions and/or an introduction to events/actions (VCAA, 2013)\nEpisodes: Matthew Clausen, in his popular Australian text book for drama students discusses \u201cmontage playbuilding\u201d where he states\nThe montage playbuilt performance explores a central theme, issue or subject through the use of short, self-contained scenes. These scenes or episodes give the montage playbuilt performance an episodic quality. Each scene is independent of the others; however, the scenes are unified by their exploration of a theme, issue or subject. Each scene in a montage playbuilt performance has its own timing and thrust. (Clausen, Centre Stage, 2nd ed. 2010)\nKey Elements: Various elements of drama should be used judiciously by students in order to create effective montage in performance. These should also be manipulated and experimented with in order to create the desired effect. The key words and phrases from this article that should be considered carefully by students are\n- (dramatic) images\n- rapid succession\n- episodic (quality)\n- closely linked\n- unified (whole)\n- short, self-contained scenes\n- overall impression\n- side by side\n- non-naturalistic, non-realistic\n- disparate elements\nIf a solo performer, students should also consider using transformation of character, time and place when using montage as these elements will enable a non-naturalistic performance style.Note: In the 2013 VCE Drama solo performance examination, three or more images must be used in order to satisfy the use of montage (see examination instructions).", "id": "<urn:uuid:67a31632-48fd-498d-958b-3ce0cebcb0a4>", "dump": "CC-MAIN-2021-17", "url": "https://thedramateacher.com/montage-in-dramatic-performance/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00339.warc.gz", "language": "en", "language_score": 0.9279455542564392, "token_count": 848, "score": 3.6875, "int_score": 4}
{"text": "In summer 2010, devastating floods in Pakistan had by August covered one-fifth of the country. Meanwhile, 2010 brought Russia\u2019s hottest summer on record, along with Russian drought, crop failure and wildfires. Dr. Jeff Masters, director of meteorology for the website Weather Underground, explained to EarthSky that the 2010 floods in Pakistan and drought in Russia were related via fast-flowing currents of air \u2013 high in Earth\u2019s atmosphere \u2013 known as the jet stream.\nJeff Masters: The drought in Russia was caused by a jet stream pattern that took the jet stream far to the north of Russia, and kept low pressure systems that usually go over the country from dropping their rain.\nAt the same time, part of the jet stream veered south, he said.\nJeff Masters: So this meant that since the jet stream was looping far to the north, in order to counterbalance that it had to loop someplace else far to the south. And that place \u2026 was over Pakistan.\nThe jet stream looped over Pakistan as the yearly monsoon rains were occurring. The monsoon consists of air currents rising over heated land, which lets moisture-laden air flow in from the oceans. Masters said it was hot in Pakistan this summer also. So the monsoon was unusually heavy.\nJeff Masters: When you have hot air like that, it tends to have more water vapor. So now we had an exceptionally strong flow of moist air off the oceans that had a much higher water content than usual. And that\u2019s a recipe for heavy rainfall and heavy flooding.\nEarthSky asked Masters what percentage of Pakistan flooding was due to the jet stream, in contrast to the extreme heat and unusually heavy monsoon.\nJeff Masters: A rough guess would be to say that three fourths of the problem was due to heavy monsoon, and maybe one quarter was due to the fact that we had this jet stream pattern in place.\nMasters said another factor was at work in causing Pakistan\u2019s floods in 2010. He said in recent years Pakistan\u2019s deforestation and development around rivers have left fewer roots to take up and hold water, and more concrete to create storm water runoff.\nJeff Masters: Pakistan is prone to these kinds of floods and probably more so in recent years \u2013 because flooding is not just the result of heavy rainfall. It\u2019s also the result of land use changes.\nHe said that as people build levees to control rivers, there are usually more homes and buildings built in the flood plain. That adds to the potential for floods to devastate entire communities.\nLearning to love science. As a producer for EarthSky, Lindsay Patterson interviews some of the world's most fascinating scientists. Through EarthSky, her work content is syndicated on some of the world's top media websites, including USAToday.com and Reuters.com. Patterson is also charged with helping to stay in steady communication with the thousands of scientists who contribute to EarthSky's work of making the voice of science heard in a noisy world. She graduated from Colorado College with a degree in creative writing, and a keen interest in all forms of journalism and media.", "id": "<urn:uuid:6320b2f0-cd4c-469b-afda-4430bef3693d>", "dump": "CC-MAIN-2021-17", "url": "https://earthsky.org/earth/jeff-masters-pakistan-got-russias-rain-in-summer-2010", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038083007.51/warc/CC-MAIN-20210415035637-20210415065637-00541.warc.gz", "language": "en", "language_score": 0.9720452427864075, "token_count": 644, "score": 3.5625, "int_score": 4}
{"text": "The Power of Pictures Conference\nPlease note that this conference has now passed.\nTransform the teaching of writing in your school and develop an English Curriculum that is exciting and challenging to all learners.\nAt CLPE we have been researching how to use picturebooks and illustration to develop children\u2019s literacy skills. Our evidence shows that a focus on reading illustration develops children\u2019s deeper comprehension skills and helps them to learn about character, setting, plot, pacing and structure in their own writing.\nThis is a unique opportunity to hear from leading children\u2019s authors and from practitioners about using picturebooks across the primary years resulting in high quality outcomes in writing.\nYou\u2019ll leave with a wealth of knowledge about how to put this research into practice in your school and will also have the opportunity to reflect on how your English Curriculum gives children the chance to discover and refine their own voice, in line with the latest guidance from Ofsted.\nWhat is the Power of Pictures?\nThe Power of Pictures is a six year CLPE research project which has been supporting teachers to use picturebooks to enhance children\u2019s reading comprehension and the composition of their own creative writing. It has now grown into a widely used website of free resources and a research project involving nearly 2000 children across the country.\nAbout the Power of Pictures Conference\nCLPE Learning Programme Leader Charlotte Hacking shared the summary of findings from our research and investigate the process we have undertaken to ensure that the Power of Pictures is evidence based, transforming practice in classrooms, bringing meaningful experiences to children and improving outcomes.\nChildren\u2019s Laureate, Lauren Child gave a keynote speech about the importance of valuing children\u2019s literature and illustration and appreciating that illustration is its own language, doing so much more than providing focus to words.\nTeachers from across the UK who have been part of the Power of Pictures trial shared what they have learnt from the project and the impact it has had on the literacy of children in their classrooms. The workshops focused on:\n- Creating opportunities for dialogic talk around picturebooks\n- The impact of working with picturebooks with older children\n- Empowering children as writers through making picturebooks\n- Incorporating visual literacy and illustration in the wider curriculum.\nParticipants had the opportunity to attend two of these workshops over the course of the day.\nThe afternoon keynote was provided by award winning author Gill Lewis (Gorilla Dawn, Sky Hawk, A Story Like the Wind), who spoke about the importance of drawing as part of the writing process, based on her own experiences as a writer of extended fiction.\nThe Muswell Hill Children\u2019s Bookshop sold a a range of high quality children\u2019s books on the day, including a wide range of picturebooks and texts by the authors speaking, who were signing as part of the event.\nPower of Pictures Co-creator, Illustrator and CLPE Patron Ed Vere also be spoke", "id": "<urn:uuid:5127849c-e813-4634-a00c-c4208cd24847>", "dump": "CC-MAIN-2021-17", "url": "https://clpe.org.uk/professional-development/courses/power-pictures-conference-0", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039617701.99/warc/CC-MAIN-20210423101141-20210423131141-00141.warc.gz", "language": "en", "language_score": 0.9617791175842285, "token_count": 604, "score": 3.515625, "int_score": 4}
{"text": "What skills do future leaders need? The answer may surprise you. Research suggests that great leadership is not about a bulleted list of teachable skills, but about the quality of the person.\nWhy is this important to parents, teachers, and others who imagine the future leadership potential of today\u2019s young people?\nResearchers understand that the path to future leadership begins today\u2014in a child\u2019s growing up years. Leadership often takes active shape by the time young people reach adolescence. Its greatness cannot be ascertained in these years and many future leaders are not identifiable in their teens. But the roots of leadership are being nurtured during this formative time, through a young person\u2019s relationships and life experiences.\nIf democracy depends on future leadership, then it is time to prioritize how we nurture leadership in families, schools, and communities and what those characteristics look like in action.\nIn her book, Leadership in Turbulent Times, Pulitzer Prize-winning historian Doris Kearns Goodwin studied the lives of several U.S. presidents who led the nation through tremendous national crises. Rather than distilling leadership into neat bullet points, Goodwin\u2019s genius is in how she described the rich context of the stories that ultimately revealed each man\u2019s character. From their boyhoods to early-adulthood traumas that grew their resilience, we are reminded that leadership is as unique as each human being. Yet, the ability to lead is a developmental story with many common threads.\nFranklin D. Roosevelt, for example, had extraordinary empathy that evolved from his experience with polio. He was able to connect to people that were suffering in ways others could not. Today, experts agree that developing empathy is a key to raising healthy, thriving children.\nLincoln showed remarkable humility, a characteristic that not only enabled him to see the potential in others but also appreciate his own strengths and weaknesses, important aspects of self-awareness. Despite suffering from debilitating depression, Goodwin suggests that Lincoln\u2019s wit and sense of humor helped explain how he sustained his career. Today, researchers view humor as part of human creativity.\nMore than most presidents, Lincoln strived to be a better person, always asking others to help him learn. Learning is all about curiosity, an internal force that drives critical thinking and reasoning.\nEach of the presidents Goodwin studied was a great communicator. All understood how to communicate, given the technology of their times. They knew how to use storytelling to show people how their lives were connected rather than separate. This enabled them to stand with others for what they believed, a characteristic of integrity.\nAnother common trait was their ability to manage their thoughts, emotions, and behaviors in ways that produced positive results and learning. Psychologists refer to this ability as self-regulation and it\u2019s one of the most important elements of sociability.\nFor example, Lincoln designed a method for calming his anger by writing what he called \u201chot letters.\u201d When he was angry at a General for not following his orders, he would sit down and write a long, emotion-filled letter of criticism. Then he would put the letter aside and sleep on it. Most often, the letters would never get sent because he understood that his strong emotions would have a negative impact on morale. Lincoln\u2019s \u201chot letters,\u201d marked \u201cnever sent or signed\u201d were not discovered until the 20th Century.\nRoosevelt also devised an outlet for his anger. It would take Roosevelt five or six drafts to write his \u201cFireside Chats.\u201d The first would be filled with anger and bullying, often calling Congressmen \u201ctraitors\u201d by name. Subsequent drafts allowed him to purge the anger from his system to when, in the final draft, he achieved the core of his leadership message.\nHow do we teach self-regulation in today\u2019s digital world, when spur-of-the-moment Twitter storms have replaced the practice of sitting with one\u2019s emotions? It is more difficult, for sure. Yet self-regulation is one of the most important qualities for a future leader.\nWhat Goodwin showed through the lives of the leaders she studied was that leadership is about core human attributes. Not all leaders have the same capacity for empathy, curiosity, resilience, humility, ways of controlling emotions, and other qualities that leaders exhibit. But each leader has a unique combination and set of qualities that set them apart from others in certain circumstances.\nThe message gleaned from Goodwin\u2019s book is if you care about future leadership, teach children how to be quality people and allow them to live their own lives. Lincoln and FDR were not without flaws. But despite their human failings, they learned from their mistakes and grew more resilient from the life challenges they faced and overcame.\nOn a recent episode of Fareed Zakaria called \u201cHow to Lead,\u201d General Stanley McChrystal, author of Leaders: Myth and Reality, said it best: \u201cLeadership is about you and a relationship to people\u2026.I think Americans are looking in the wrong place for leadership. I think we have to start looking in the mirror. We need to understand that leaders aren\u2019t this unicorn that shows up suddenly and takes us somewhere. Leaders are people we empower, we follow, we vote for. We have responsibility. Leaders ultimately reflect the values we make them reflect. Leaders will reflect who we want to be. We need to look in the mirror and decide who we are, who we want to be, what\u2019s important to us.\u201d\nHow to Cultivate Future Leadership\nDeveloping future leaders begins in childhood and adolescence. It begins, as General Stanley McChrystal suggested, by reflecting on our values as families and institutions of learning. Family values reflect who we are and how we parent. Teachers are uniquely positioned to teach empathy and other human qualities that not only help children discover personal success, but also contribute to the betterment of society. And as Lincoln eloquently said, \u201cThe philosophy of the school room in one generation will be the philosophy of government in the next.\u201d\nFuture leadership qualities are human qualities. Goodwin carefully described the importance of self-regulation in leaders, an attribute that is increasingly discussed in today\u2019s world of social media. Despite its challenges, parents and teachers can positively impact the development of self-regulation. The Child Mind Institute explains why some kids struggle with self-regulation and how these skills are taught. Clinical psychologist Dr. Matthew Rouse explains that \u201cthe key to learning self-regulation skills is not to avoid situations that are difficult for kids to handle, but to coach kids through them and provide a supportive framework.\u201d He points out that kid\u2019s tantrums and impulsivity can make adults feel discouraged but that consistency and age-appropriate levels of communication with children are key.\nGreat leaders know how to develop a team that accomplishes goals. Future leadership depends upon children having a team of families, schools, and communities that share common values and strive to instill those values through developmental relationships with young people.\nAdditional Youth Leadership Resources:\nWhat Is Self-Regulation? (Published by PositivePsychology.com)\nHow Can We Help Kids With Self-Regulation? (Published by the Child Mind Institute)\nCollective Impact for Youth: Is Your Community Making a Difference? (Published by Roots of Action)\nDoes Your Classroom Cultivate Student Resilience? (Published by Edutopia)\nDevelopmental Relationships: New Framework to Support Youth (Published by Psychology Today)\nPublished: September 4, 2019", "id": "<urn:uuid:5c39b920-5276-4369-ad2a-0e73d61411f4>", "dump": "CC-MAIN-2021-17", "url": "https://www.rootsofaction.com/future-leadership/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00101.warc.gz", "language": "en", "language_score": 0.9695672392845154, "token_count": 1565, "score": 3.53125, "int_score": 4}
{"text": "In this lesson plan designed for the British Council Teaching English site, we explore the topic of creativity and innovation. This lesson was devised to mark World Creativity and Innovation Day on 21st April. However, it could be used at any time of year as this is not specifically mentioned.\nThe lesson begins by looking at what is involved in being creative, trying to expand this beyond the usual areas of art or creative writing.\nThe students then do a reading activity where they match the headings to each section. They then identify the synonyms which will have enabled them to do this task and focus on the idea of avoiding repetition. They read the text again and discuss which ideas they personally find most useful.\nThe lesson finishes with a creativity task, followed up by a final discussion.\nEncourage students to think about their own creativity and how they could develop it further\nExpand students\u2019 vocabulary and ability to avoid repetition using a range of synonyms\nProvide reading and speaking practice around the topic of creativity and innovation\nTeenage learners at CEF level B2\nThe lesson plan and student worksheets can be downloaded here\nA free downloadable lesson about Sophie Scholl, a young German girl who took the brave decision to stand up to the Nazis, during World War II. The lesson could be used to commemorate International Holocaust Remembrance Day on January 27th, or at any other time of the year.\nThe lesson starts with a couple of lead-in discussion questions and then students watch a short trailer for a film about Sophie Scholl. Note that the film is in German with English subtitles. In this lesson the video is only used as a lead-in, the main input is in a reading text.\nAfter watching the video, the students read the text to check their ideas. They then carry out an exam style note completion task, before matching some possibly unknown words in the text with their definitions.\nIn this lesson plan designed for the British Council Teaching English site, we explore the topic of vitiligo, an autoimmune condition which causes some people to lose pigment in their skin, and look at how attitudes are changing towards what does or does not make someone attractive.\nThis lesson was devised to mark World Vitiligo Day on 25 June. However, it could be used at any time of year as this is not specifically mentioned.\nThe lesson begins with students looking at a photo of a young woman with vitiligo and discussing their reactions to the photo. They then go on to read about a model with vitiligo, Chantelle Brown-Young (also known as Winnie Harlow- pictured above), and discover what makes her special. The lesson reviews a range of tenses that might be used in a biography of a living person and looks at how to organise such a text, before the students go on to write their own.\nTo encourage students to question their perception of what is beautiful and become more tolerant of difference\nTo practise reading for specific information (true/false)\nTo revise a range of tenses that students should know at B1 level\nTo help students structure and write a biography-type text\nCEF Level B1 (intermediate) or strong A2 (pre-intermediate)\nTeachers notes and student worksheets can be downloaded here.\nA free downloadable lesson, about a new online service, CrowdWish, which invites people to post their wishes on their website. Every day people vote on the most popular wish, and CrowdWish will grant it! Students start by discussing some wishes taken from the site, then read a short text about what the site aims to do (so don\u2019t tell them at the start of the lesson!) There is then a focus on some useful idioms, before going on to watch a video in which the founder of the site, \u2018pitches\u2019 his idea. Students then look at the grammar used with \u2018wish\u2019, particularly at the use of \u2018would\u2019 when you want someone else to change their behaviour. Finally the students come up with their own wishes and vote on them, like on the site. You could even try and grant the top wish if you\u2019re feeling creative..\nThe lesson would be suitable from B2 upwards, as the video is quite challenging in places. A transcript is provided.\nPrivacy & Cookies Policy\nNecessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.\nAny cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.", "id": "<urn:uuid:62b12452-e7de-4b7e-9a35-91ced9038cff>", "dump": "CC-MAIN-2021-17", "url": "https://elt-resourceful.com/tag/lesson-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00579.warc.gz", "language": "en", "language_score": 0.9494144916534424, "token_count": 989, "score": 3.796875, "int_score": 4}
{"text": "\"You hold me up. I hold you up. We hold each other up.\"\nNo matter how young or old, we all need to be held sometimes. Similarly, we all have the ability to care for others in our own way.\nMonique Gray Smith captures the magic of reciprocal caring in her children's book You Hold Me Up. Vibrantly illustrated by Danielle Daniel, You Hold Me Up uses simple language and everyday situations to portray the diverse ways young people feel cared about by the people they love.\nThe book's emphasis on relationships as vehicles for caring brings Secure & Calm to life in a way that even very young readers can understand. Repetition of the phrase \"you hold me up when...\" invites young readers to imagine their own definition of being held, encouraging them to explore how Compassionate & Kind takes place in their own lives.\nIn the author's note, Monique Gray Smith connects the theme of reciprocal caring to reconciliation, specifically in relation to Canada's residential school history. In doing so, she invites our \"littlest citizens\" and the adults who care for them to compassionately acknowledge this painful history and move forward with dignity, respect, and recognition of our common humanity.\nIn all, You Hold Me Up holds many layers of meaning for very young readers to explore with those who care for them. Use the following activities to guide their exploration and nurture Secure & Calm and Compassionate & Kind.\n5 Activities for Holding Each Other Up\nTake a few minutes to reflect together on what holding someone up looks and feels like in preparation for the following activities.\n1. Make a \u201chow to hold me\u201d list\nHelp children brainstorm a list of situations in which they want to be held, and what helps and heals. Then decorate the list together and post it somewhere you can help them use it often.\n2. Turn a family story into art\n3. Create \"you hold me up\" gratitude cards\nInvite children to think about who holds them up in their lives. Work together to write, draw, collage, or paint that person a brief message of thanks: \"You hold me up when you\u2026.. Thank you!\"\n4. Plant a heart garden for reconciliation\n5. Hold others up\nInvite children to think about someone they would like to hold up, and help them make an action plan for one small, kind thing they can do for that person. \nInvite children to consider how the person who holds them up might feel. Is it difficult for them? Why do they do it?\nIn their work with American 3-5 year olds, Nelson et al.(2012) found that gratitude development in children is linked to emotional understanding, perspective taking, and empathy in the early years. Nurturing these abilities can help children to build a sense of gratitude towards others.\nBrainstorm things that help them feel held by others, eg:\n- receiving a hug\n- reading a favourite story together\n- making a favourite family recipe together\nInclude at least one form of self-care to build self-regulation and empowerment, eg:\n- doing a butterfly hug\n- drawing a picture of their feelings\n- cuddling a pet\nAccording to Montroy et al. (2016), the early years - particularly from 3-5 - are a critical window for developing self-regulation. As such, they represent an ideal time to introduce and encourage simple, age-appropriate self-regulation practices.\nSupport children to explore the following questions in an age-appropriate way:\n- What does it mean to hold someone up?\n- What kinds of words can you use to describe holding someone up (borrow words from the story or choose your own: eg. love, kindness, sharing, helping, caring, togetherness, laughing, etc)\n- How do you feel when you hold someone up?\n- How do you feel when you are held up?\nIt\u2019s never too early to begin learning about the history of colonization in your country & others, and taking steps in your own lives to support reconciliation.\nFirst, read Monique Gray Smith's author's note together.\nThen bring reconciliation into your lives by \"planting\" a heart garden to honor those affected by Canada's residential school system.\nOral storytelling & listening are important part of many indigenous traditions (see p. 14 in In Our Own Words: Bringing Authentic First People's Content to the K-3 Classroom).\nChildren may invite elders such as parents or grandparents to share a story about their family that demonstrates caring, respect, helping, or other forms of holding someone up.\nEncourage children to create a piece of artwork based on the story using bright colours and bold lines, like in You Hold Me Up.\nFor an extra challenge, suggest that they incorporate heart shapes in creative ways like illustrator Danielle Daniel.", "id": "<urn:uuid:b479a27e-a413-4068-a08f-ec9930e5dd9d>", "dump": "CC-MAIN-2021-17", "url": "https://heartmindonline.org/resources/5-activities-for-holding-each-other-up-inspired-by-monique-gray-smith", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039617701.99/warc/CC-MAIN-20210423101141-20210423131141-00140.warc.gz", "language": "en", "language_score": 0.941290020942688, "token_count": 998, "score": 3.625, "int_score": 4}
{"text": "Research helps a journalist verify the information he or she has gathered. Research makes it possible to decide whether that information is true and correct. It helps the journalist make balanced judgments as an observer and to get the complete story. Research may make it possible for the journalist \u2013 and therefore his or her audience \u2013 to access information that might not yet be readily available in a public forum.\nResearch is absolutely necessary: the journalist needs to be certain to have gathered information from every angle in order to fulfil professional duties diligently. This is particularly important, when it comes to water related information, which is often difficult to access, comprises poor quality data or is known only by few experts.\nResearching every aspect of a topic means that the journalist comes to his or her own conclusions independently \u2013 rather than being a mouthpiece for interest groups (e.g. government institutions, WASH NGOs or private sector networks with an interest e.g. in the privatization of water services) or individuals with their own agendas.\nResearch must be supported by the media in which the reports appear, whether that be broadcast, print, or online. Media organizations should support and develop research.\nDifferent stages of researching water stories\nWhen new information reaches the newsroom:\n1. Check the relevance:\nIs this information important enough to be called \u201cnews\u201d and to warrant further research?\n2. Check the sources:\nIs the source of this information trustworthy? What are the source\u2019s sources, so to speak? Did the source observe this incident personally? Or did he or she hear it from someone else? Did the source have this experience personally? How did the information become known to him or her? And if it was not a personal experience, then who is the first source?\n3. Ask yourself:\nIs this source a neutral one? Is the source an expert? How is the source related to the topic of research? What the source\u2019s vested interest in the water sector?\nFact-checking the research: questions to ask\n- Is this information true and correct? Is everything there? Are the five \u2018W\u2019s (What, Who, Where, When, Why) and one \u2018H\u2019 (How) questions answered?\n- Is data that is relevant for the story (e.g. on coverage, water availability and usage, etc.) solid and consistent? Does data vary across different sources?\n- Does the information make sense? Is it logical? Is there a clear chain of events, or causality? Does this information seem like it could be true?\nProcedures for research\n1. Collect all the potential information that\u2019s already been published on the topic \u2013 for example, from sector reports (e.g. by relevant ministries or regulators), libraries, data banks (e.g. JMP, WASHwatch, UN GLAAS), the Internet, and professional or industry publications.\n2. Ask questions: conduct interviews with witnesses, water users, experts, critics, and other protagonists. It is best to speak to more neutral individuals first \u2013 for instance, experts on the topic. Later you can speak to less neutral individuals \u2013 say, water users or protagonists like staff from a relevant ministry with an agenda. Once you have the general, neutral information it becomes easier to critically assess what you are being told by other, more biased interviews. It also makes it easier to pose difficult questions to the non-neutral interviewees. When conducting interviews, it\u2019s best to stick to a well-defined topic or angle.\n3. Personal observations or research on-site: the journalist\u2019s own experiences can be a valuable part of research and also give the journalist the opportunity to add colour and character to the writing.\n- Is this new information relevant? Does it come from trusted sources? Are the facts correct and does the information seem logical and make sense?\n- Is data solid and consistent across different sources?\n- Does the new information warrant further research?\n- Is the procedure for research being followed as closely as possible?\n- Has enough research been done, using information that\u2019s already been published, to get a broad overview of the subject and to conduct knowledgeable interviews?\n- Have all relevant individuals \u2013 witnesses, experts, victims, critics \u2013 been interviewed?\n- Have the neutral interviewees been spoken with first so that hard questions can be asked of others later?\n- Have all sources been double-checked for accuracy and trustworthiness?\n- Has the most important information been verified by at least two sources? Has the journalist maintained the professional distance of a trained observer?\n- Would the information be enhanced by the journalist\u2019s own experiences on-site? Could the journalist\u2019s own experiences be useful for storytelling?\nWhen basic questions about journalism come up, this handbook, written and produced by Media in Cooperation and Transition (MICT), provides clear, brief and precise answers. Shortcuts to Journalism isn\u2019t just for journalists \u2013 it\u2019s also helpful for non-journalists. Download the English version here or the Arabic version here.Schmidt, E., Tirok, M. and B\u00f6sch, M. (2016): Shortcuts to Journalism: The Basics of Print, Online and Broadcast Reporting. Berlin, Germany: Media in Cooperation and Transition gGmbH PDF\nIn this section of the BBC Academy's website, readers learn how to find, research and produce a story.http://www.bbc.co.uk/academy/journalism/skills/researching-and-producing [Accessed: 14.02.2018]\nIn this section of the BBC Academy's website, readers learn how to find, research and produce a story.", "id": "<urn:uuid:bfdcfb92-af92-4529-91d2-94e51f9e4620>", "dump": "CC-MAIN-2021-17", "url": "https://sswm.info/water-reporting-and-journalism/basics-water-related-journalism/researching-water-stories", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00341.warc.gz", "language": "en", "language_score": 0.9296795129776001, "token_count": 1182, "score": 3.546875, "int_score": 4}
{"text": "Why is reading so important?\nEnjoying books and reading stories from a very early age is crucial in the development of children. It helps with their ability to understand words, use their imagination and develop their speech, as well as being something they really enjoy.\nTeachers and parents play a huge part in the development of reading skills in young children. The more children experience books the more they will gain the interest and passion for them. Reading offers so much more than just quiet time in a cosy corner. It helps to develop spelling, listening, writing, literacy and social skills.\nYoung children need to be able to experience books; they need to be able to understand and enjoy stories, books, rhymes and songs and listen and respond to them with curiosity and enjoyment.\nThis will promote the value and pleasure of reading and encourage an interest in reading throughout school and in later life.\nEven from a very young age child love books. It provides the opportunity to learn through touching and feeling different textures, along with experiences different actions.\nThere are some great early years books with pop up pages, lift-the-flap pages, noisy pages and different textured pictures to really get babies and toddlers engaged with books.\nChildren develop more rapidly during the first five years of their lives than at any other time. That's why they are called the foundation years \u2013 the building blocks for life! Throughout these important first years if they attend a nursery, pre-school or primary school, their progress will be monitored.\nBelow is a guide, set by early years\u2019 foundation, to explain the various stages children are monitored and milestones they might reach in terms of literacy.\nA child should have an interest in holding and looking at books by this age. It is important they can hold books so they can see what is going on whilst listening to you read the stories. They can learn what books are and play with pages.\nBy this age most children can identify their favourite books and stories they want to see and hear. They can recognise and mimic actions from their favourite songs and stories. Encourage this by always letting them join in with storytelling and songs, let them point to things they can recognise or make the sounds of things in the book.\nBy the age of three, children should be able to fill in missing gaps in stories and songs that they have heard repetitively. They have their favourite books and songs and they can help to tell the tale. By pausing during a story they know well you give them the opportunity to fill in the gaps and add more words to their vocabulary.\nBy four, children should be able to recognise the story being read to them, they can help with telling the story and can anticipate the end of the story. They should be able to join in with rhymes and be able to recognise words that start with the same sound such as \u2018big boat\u2019. They should also be able to recognise words that mean something to them, such as their own name or mummy, favourite shops and places.\nThey can sit and listen for longer and can hold the book correctly and turn pages by themselves.\nBy the age of five, a child is expected to be able to remember and speak words that rhyme like cat and hat and sat. Their imaginations and vocabulary mean they are able to tell their own made up stories and can make up their own songs. Story time doesn\u2019t mean you just read to them \u2013 it\u2019s far more interactive.\nThey can understand and read simple sentences and they use their phonics knowledge to sound out words to read them accurately. They can also demonstrate a real understanding of what has been read or said to them.\nReading At School\nChildren usually start school between 4-5 years old. By this time, it is likely they will be able to recognise letters, understand words and have fairly good listening skills and be able to deal with the changes in routine.\nA typical school day in reception does feature some routine and structure, however, it still involves quite a lot of free play.\nTo encourage reading, teachers usually have story time which involves children sitting together on the classroom carpet. Group reading and reading out loud helps to boost confidence in children and encourages interest and interaction.\nA fun group task is to read and act out the book together. Children will bounce off each other and shine. Imaginations run wild in young children and role play can also help make reading fun. Play is the best form of learning in early years as it develops a whole host of communication, reading and language skills.\nHaving a well-equipped school library or classroom reading area will also help to encourage reading. Most children, and even adults, like to sit down and get comfy so that they can free their mind and travel into their story book.\nCreating The Perfect Classroom Reading Corner\nA library or classroom reading corner should create excitement for reading before the child has even selected a book. It needs to be visually appealing and stimulating and have an interesting and age appropriate selection of books to read.\nSetting up your reading area can be a challenge as you need to leave enough space for seating and movement with a wide variety of books as well as somewhere to store them. All this needs to look visually appealing to a child too!\nWe offer a wide range of book storage solutions that will help you to create an exciting, stimulating classroom reading corner.\nIt\u2019s important the books are easily accessible and easy to view. Our mobile book trolleys are double sided which allows children to access books easily from each side. The Kinderboxes come in a range of shapes, styles, sizes and colours which make an interesting book display.\nOur book spinners are ideal for a smaller area. They can hold many books and don\u2019t take up too much room. Kids also love spinning them to find the right book.\nHaving somewhere for children to sit and look at books is important. You can provide floor cushions or bean bags with a low level book storage display such as a kinderbox, or book trolley. This will create the perfect reading area for young children.\nIf you have a large space for your reading area our animal-themed book browsers are great fun and provide plenty of space for book as well as areas for children to sit. Children can get snappy with the Crocodile Book Browser or blow the trumpet of the Elephant Book Browser!\nAlternatively you can add the indoor outdoor wooden folding den to create a magical space for children. Add the rainbow accessory kit for colour and to spark imagination and fun.\nReading at home\nWith so many books to read and enjoy there just isn\u2019t enough time in a school day to discover all there is to enjoy with reading. Support from parents and carers with reading at home is just as important to a child\u2019s development.\nEvery child loves spending time with their parents and enjoys listening to them and interacting with them. Sharing a book together is a special time with the added benefit that it\u2019s not just for entertainment but helps develop their concentration and understanding of language. Children who don\u2019t get the reading support at home from parents and carers often come to reading at a disadvantage.\nIt is never too early to start sharing books with your child, even as young babies they enjoy, and will learn from, hearing stories and looking at books. Research shows that reading at home with their child is the single most important thing a parent can do to help their child\u2019s education.\nTry to set aside time each day to sit and share a book. Turn off distractions such as the TV and mobile phone and have some quiet time together getting lost in a story. Talk to your child about the pictures, ask them what they can see and what they think is going to happen in the story. Doing this little and often is best so that you don\u2019t lose your child\u2019s focus and attention, but by all means read for longer if that\u2019s what your child wants.\nBe a reading role model to your child \u2013 if your child sees you enjoying a book, they will show an interest too.\nAt ELF we are experts in early years\u2019 educational resources and supply classroom furniture, library furniture and equipment to primary schools, pre-schools, nurseries and playgroups. For more information about our library furniture or any of our products please contact us or call our sales team on 01733 511121.", "id": "<urn:uuid:0ed31c7c-7084-4d57-8fb5-b5f1fd6271a9>", "dump": "CC-MAIN-2021-17", "url": "https://www.earlylearningfurniture.co.uk/blog/the-importance-of-early-years-reading.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00342.warc.gz", "language": "en", "language_score": 0.9711536765098572, "token_count": 1728, "score": 3.734375, "int_score": 4}
{"text": "This page explains what poetry meter is... and why you should care. This is just one of many pages on the CWN website about poetry techniques and how to write poetry. At the bottom of the page, you'll find links to related topics such as poem structure and rhyme schemes.\nPoetry meter - so what?\nis a way of measuring a line of poetry based on the rhythm of the words. But why should you care?\n- As a reader, knowing about meter helps you understand how a poem is put together. You can see what rules the poet was following and how he or she used or went outside those rules. This lets you guess what was going through the poet's mind.\n- If you want to write poetry, knowing about meter will make you a better poet. First, it helps you understand what poets have done in the past, so that you can learn from them. It allows you to use traditional forms such as sonnets. Even if you prefer to write in free verse, you should learn about traditional forms. Being aware of traditions gives you more flexibility to use aspects of them when you want to, or to \"break the rules\" in a more interesting way.\nPoetry meter - stressed syllables and the iambic foot\nMeter measures lines of poetry based on stressed and unstressed syllables. I'll explain. When we speak, we put the stress on a certain part of each word. For example, take the words \"apple\" and \"fantastic.\"\n- When we say the word \"apple,\" we stress the first syllable, the \"ap\" part. We say \"AP-ple,\" how not \"ap-PLE.\"\n- When we say the word \"fantastic,\" we stress the second syllable. We say, \"fan-TAS-tic,\" not \"FAN-tas-tic\" or \"fan-tas-TIC.\"\nIn poetry, a unit of stressed and unstressed syllables is called a foot\n. For example, look at this line from Shakespeare: \"No longer mourn for me when I am dead.\" The rhythm is, \"bah-BAH bah-BAH bah-BAH bah-BAH bah-BAH. We read it like this: \"no LON-ger MOURN for ME when I am DEAD.\" The type of foot Shakespeare used here is called an iamb\n. An iamb or an iambic foot\nhas the rhythm bah-BAH. An unstressed syllable, then a stressed one. The iamb is the most common kind of foot in English poetry.\nHere are three examples of words that have an iambic rhythm (bah-BAH).\n- above (we say, \"a-BOVE\")\n- support (we say, \"sup-PORT\")\n- hurray (we say, \"hur-RAY\").\nHere's a sentence written in iambic meter: \"His noisy snoring woke the neighbors' dog.\" Bah-BAH bah-BAH bah-BAH bah-BAH bah-BAH.\nPoetry meter - other types of foot:\n- The trochee or trochaic foot. This is the opposite of an iamb -- the rhythm is BAH-bah, like the words \"apple,\" and \"father.\"\n- The anapest or anapestic foot. This sounds like bah-bah-BAH, like the words \"underneath\" and \"seventeen.\"\n- The dactyl or dactylic foot. This is the opposite of an anapest -- the rhythm is BAH-bah-bah,\" like the the words \"elephant\" and \"stepmother.\"\nPoetry meter - counting the feet\nWhen we think about the meter of poem, in addition to looking at the kind\nof foot, we count the number\nof feet in each line.\n- If there's one foot per line, it's monometer. Poetry written in monometer is very rare.\n- If there are are two feet per line, it's called dimeter. Here's a sentence in trochaic dimeter: \"Eat your dinner.\" BAH-bah (1) BAH-bah (2).\n- Three feet per line = trimeter. Here's a sentence in iambic trimeter: \"I eat the bread and cheese.\" Bah-BAH (1) bah-BAH (2) bah-BAH (3).\n- Four feet per line = tetrameter. Here's a sentence in trochaic tetrameter: \"Father ordered extra pizza.\" BAH-bah (1) BAh-bah (2) BAH-bah (3) BAh-bah (4).\n- Five feet per line = pentameter. Here's a sentence in iambic pentameter: \"I'll toast the bread and melt a piece of cheese.\" Bah-BAH (1) bah-BAH (2) bah-BAH (3) bah-BAH (4) bah-BAH (5).\n- Six feet per line = hexameter or Alexandrine. A sentence in iambic hexameter: \"I'll toast the bread and melt a piece of cheese, okay?\" Bah-BAH (1) bah-BAH (2) bah-BAH (3) bah-BAH (4) bah-BAH (5) bah-BAH (6).\n- Seven feet per line = heptameter. You get the idea...\nPoetry meter - meter and rhythm\nWhen you read metered poetry, such as a sonnet in iambic pentameter, you may notice that the meter is sometimes sounds uneven or is hard to hear. Meter is just a form of measurement. The real rhythm of a poem is more complicated than that:\n- None of us talk like robots. We give certain words and sounds more emphasis than others in a sentence, depending on a number of factors including the meaning of the words and our own personal speaking style. So not all of the stressed syllables have the same amount of stress, etc.\n- We pause at the ends of ideas or the ends of sentences, even if these occur partway through a poetic line. So this creates a rhythmically variation. When the sentence ends or has a natural pause in the middle of a line of poetry, that's called a caesura.\n- Poets vary meter or make exceptions in order to create desired rhythmic effects.\nAll of these elements combine to give each poem a unique music.\nPoetry meter - keep reading\nTry writing your own sonnet in iambic pentameter\nClick here to read about poem structure\nClick here to read about rhyme\nClick here for a list of other CWN pages about how to write poems.\n<< BACK from Poetry Meter to Creative Writing Now Home", "id": "<urn:uuid:b71935a4-90fb-4382-a740-185943763664>", "dump": "CC-MAIN-2021-17", "url": "http://sinowitpx.com/poetry-meter.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00622.warc.gz", "language": "en", "language_score": 0.9163584113121033, "token_count": 1462, "score": 3.703125, "int_score": 4}
{"text": "- How do you insert special characters?\n- What are the six traits of good character?\n- What is 200 words in characters?\n- What is difference between characters and words?\n- What is the definition of a person\u2019s character?\n- How do you use character?\n- How do I type special characters?\n- What are all the special characters?\n- What is character make up?\n- What is 1500 characters in words?\n- What builds a person\u2019s character?\n- What is Character simple words?\n- What are the 10 personality traits?\n- What is a good sentence for character?\n- How do you check character count?\n- What are the 4 types of characters?\n- How do you describe a character?\n- What is an example of a character?\n- What is a character in grammar?\n- Why is character so important?\n- How do you show character?\nHow do you insert special characters?\nTo insert a special character:From the Insert tab, click Symbol.Click More Symbols.Select the Special Characters tab.Choose the character you want to insert, and select Insert..\nWhat are the six traits of good character?\nThe Six Pillars of Character are: Trustworthiness, Respect, Responsibility, Fairness, Caring and Citizenship.\nWhat is 200 words in characters?\nSo on average, 32 complete modern English words in 200 (8-bit ASCII) characters. In English, the average word length is 5.1 (8-bit ASCII) characters.\nWhat is difference between characters and words?\nELI5:What\u2019s the difference between words and characters? \u2018Character\u2019 is a term that refers to an individual unit of expression. It can refer to letters, numbers, punctuation, or symbols. \u2026 a character is a letter (or number) a word is made up of one or more of those and normally has some sort of meaning itself.\nWhat is the definition of a person\u2019s character?\nThe character of a person or place consists of all the qualities they have that make them distinct from other people or places. Perhaps there is a negative side to his character that you haven\u2019t seen yet. Synonyms: personality, nature, make-up, cast More Synonyms of character.\nHow do you use character?\nMethod 1Start Character Map.In the Font box, click the font you want to use.Click the special character that you want to insert, click Select, and then click Copy.In your document, position the insertion point where you want the special character to appear.On the Edit menu, click Paste.\nHow do I type special characters?\nEnsure that the Num Lock key has been pressed, to activate the numeric key section of the keyboard. Press the Alt key, and hold it down. While the Alt key is pressed, type the sequence of numbers (on the numeric keypad) from the Alt code in the above table.\nWhat are all the special characters?\nKeyboard special charactersKey/symbolExplanation$Dollar sign or generic currency.%Percent.^Caret or circumflex.&Ampersand, epershand, or and symbol.28 more rows\u2022Jul 10, 2019\nWhat is character make up?\nCharacter Makeup, as the name denotes, is used to create a character to the extent of changing a subject\u2019s physical configuration to suit the requirements of a script.\nWhat is 1500 characters in words?\nThe usual metric in English is five characters per word, and thus six characters for a word plus a space. So 1500 characters would usually come to about 240 to 260 words, depending on punctuation and other factors.\nWhat builds a person\u2019s character?\nFive Ways to Build Your CharacterBe Humble. Humility is the beginning of wisdom. \u2026 Live out your principles and values. Whether it\u2019s \u201clove others,\u201d or \u201d do the right thing,\u201d living by your principles will make decision making easier and your character more steadfast.Be intentional. \u2026 Practice self discipline. \u2026 Be accountable.\nWhat is Character simple words?\nnoun. the aggregate of features and traits that form the individual nature of some person or thing. one such feature or trait; characteristic. moral or ethical quality: a man of fine, honorable character.\nWhat are the 10 personality traits?\nThese 10 Traits Are Key for a \u201cHealthy Personality\u201d\u2014Which Ones Do You Have?Openness to feelings.Straightforwardness (and being \u201cfrank, sincere, and ingenuous\u201d)Competence.Warmth (being affectionate and friendly)Positive emotions (experiencing \u201cjoy, happiness, love, and excitement\u201d)Low levels of angry hostility.More items\u2026\u2022\nWhat is a good sentence for character?\nCharacter sentence examples. It was totally out of character for her. \u201cEvery country has its own character,\u201d said he. Somehow it seemed contrary to his character \u2013 any of them.\nHow do you check character count?\nWhen you need to check the character count in Microsoft Word, you can do so in the same way you check the word count.Open the document in Word that you want to count the characters in.Click the \u201cReview\u201d tab.Click \u201cWord Count\u201d in the Proofing section. \u2026 Click \u201cClose\u201d to close the Word Count window.\nWhat are the 4 types of characters?\nOne way to classify characters is by examining how they change (or don\u2019t change) over the course of a story. Grouped in this way by character development, character types include the dynamic character, the round character, the static character, the stock character, and the symbolic character.\nHow do you describe a character?\n10 Tips for Writing Physical Descriptions of Your CharactersYou don\u2019t always have to be specific. \u2026 Use figurative language. \u2026 Describe facial expressions. \u2026 Make the descriptions match the tone. \u2026 Scatter physical descriptions throughout the prose. \u2026 Describe actions that reveal physical characteristics. \u2026 A first person narrator can give biased opinions about appearances.More items\u2026\u2022\nWhat is an example of a character?\nCharacter is defined as a trait, quality or high moral code. An example of character is someone who is known for being funny. An example of character is a person who is trustworthy.\nWhat is a character in grammar?\ncharacter noun (MARK) [ C ] grammar. a letter, number, or other mark or sign used in writing or printing, or the space one of these takes: This computer screen is 66 characters wide.\nWhy is character so important?\nGreat people are usually judged by their character. \u2026 Having good character means that you have such admirable traits as honesty, responsibility and courage. It is beneficial for you to have good character. Being honorable and honest in the work you do and in your relations with others are essential in your life.\nHow do you show character?\nRohn: 6 Essential Traits of Good CharacterIntegrity. Integrity is a good catchword that is similar to character but provides us with a different way of looking at the ideas of character. \u2026 Honesty. \u2026 Loyalty. \u2026 Self-Sacrifice. \u2026 Accountability. \u2026 Self-Control.", "id": "<urn:uuid:099adaf1-2285-47d6-be6e-3fb3cef9b106>", "dump": "CC-MAIN-2021-17", "url": "https://pictheproduction.com/qa/quick-answer-what-is-character-sentence.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00540.warc.gz", "language": "en", "language_score": 0.9102864265441895, "token_count": 1532, "score": 3.796875, "int_score": 4}
{"text": "Consisted of early Philippine literature passed on orally; mouth pieces possess a communal authorship \u2013 it was hard to trace the first author with the piece as oral literature did not focus on ownership or perhaps copyright, alternatively on the take action of storytelling itself; \u2013 Many oral pieces started to be lost inside the wave of the new fictional influence as a result of the Spanish colonization; nevertheless , according to the Filipino Literature: As well as & Anthology, English Release (Lumbera, M. & Lumbera C. ), the pre-colonial period of Philippine literature is definitely the longest inside the country\u2019s history;\n\u2013 Literary works in this period is based on custom, reflecting everyday life activities just like housework, farming, fishing, hunting, and caring for the children too; \u2013 Mouth pieces told stories which usually explained characters and their activities; they attemptedto explain certain natural trends, and, concurrently, served because entertainment functions;\n\u2013 Pre-colonial literature demonstrated certain elements that linked the Filipino culture to other Southeast Asian countries (e.\ng. oral pieces which were performed by using a tribal move have particular similarities towards the Malay dance); \u2013 This era in Philippine literature history represented the ethos of the people prior to the arrival of the huge ethnic influence \u2013 literature being a cultural custom, than a type of art that had a particular set of decorum. \u00b7 Early Forms of Philippine Literature:\num Bugtong (riddles; a bugtong contains a metaphor named, Talinghaga), Salawikain (proverb); u Pre-colonial beautifully constructed wording \u2013 Tanaga (expresses a view or a benefit of the world), Ambahan (songs about the child years, human relationships, food; sung by Mangyan), Duplo (verbal jousts/games), Bayok (thoughts about love), Balagtasan (performed on stage); o Epic poetry \u2013 romantic characters and heroines that are a mirrored image of the world as perceived by the early Filipinos. \u00b7 Noteworthy Works in the Pre-colonial Period: o Tuwaang, Lam-ang, Hinilawod, Bantugan\nII. Spanish Colonial time Period (Mid-16th \u2013 later 19th century) \u2013 The Spanish lifestyle, as shown in the works of this books period, demonstrated a battle with the pre-colonial Filipino literary works in the beginning. Yet , due to the length of stay with the colonizers, the Spanish traditions was eventually imbued inside the Filipino literary works of the period; \u2013 Religious beliefs became a significant theme that had affected the early Philippine writings which had the presence of paganism \u2013 \u201cChristian Folk-Tale\u201d;\n\u2013 In addition , the influence of religion, besides on the daily life of the natives, was lead by the friar/missionary/parish priest who were appointed by Spanish authorities; \u2013 Despite the goal of the Spanish govt to turn the country into a full-on European nest, the Spanish influence ironically inspired a reformation from the natives, which in turn eventually turned into a revolution; \u2013 Yet no matter the conflicts that plagued the partnership between the Spaniards and the Filipinos, a sense of nationalism was formed among the oppressed, together caused them to rise up into a nationalistic cause;\n\u2013 The essay genre was identified amidst the scene of editorial demonstration \u2013 Jose Rizal and Plaridel (Marcelo H. Del Pilar) had been among individuals who opt in using the pencil in voicing out the people\u2019s cry rather than the sword; \u2013 Introduction in the roman abc that little by little replaced the \u2018alibata\u2019; \u2013 The Philippine literature of the period became the forerunner of many more literary functions to appear in the ages, wherein the concept of the nationalism and freedom of speech can be evident. \u00b7 Philippine Materials and Skill during the The spanish language Period:\nto Pasyon and Sinakulo (religious dramas performed during the Ay Week); to Narrative Poems \u2013 Awit; Corrido; um Komedya \u2013 a theatrical performance which will captured the ideal European way of living as described by ancient characters \u00b7 Notable Performs of the The spanish language Period: um Doctrina Christiana (1593) \u2013 the first book ever published inside the Philippines; printed by the Dominican Press; to May Bagyo Mat\u2019 May well Rilim \u2013 according to literary historian, Bienvenido Lumbera, is the initial printed literary work in Tagalog; o Ang Mahal em Passion national insurance Jesu Christong P.\nNatin na Tola (1704) \u2013 eventually known as \u201cPasyon, \u201d was authored by Gaspar Aquino de Follon; an example of Christian folk epic in which the love of Jesus Christ was created in relation with the plight of the Filipino folks who were oppressed by the colonizers, as well as the beliefs of a Philippine; o Ninay (1885) \u2013 first Filipino novel drafted; Pedro Paterno; o Florante at Laura \u2013 Francisco \u201cBalagtas\u201d Baltazar; though you will discover symbols and themes which in turn dictate the protest with the Filipino up against the Spanish regime, it is unsure as to whether or not Balagtas had intended the issue \u2013 which was subtly derived from his work \u2013 since he left simply no notes or additional bits that may assert the conclusion; um Noli Myself Tangere (1887) and Este Filibusterismo (1891) \u2013 Jose Rizal; performs which created an impact around the national consciousness and like for one\u2019s nation against the harassing government with the Spaniards; um La Solidaridad \u2013 Propagandist newspaper.\n3. American Colonial Period (Late 19th \u2013 Mid-20th century) \u2013 The gradual fall of the Philippine literature crafted in The spanish language; \u2013 The English dialect eventually became the medium of writing and instruction in schools; \u2013 As the Spanish colonizers left the in accordance with the Treaty of Paris, the spirit of nationalism plus the desire to be known of independence did not disappear just yet. Rather, these centralizing forces geared into revolting against the fresh colonizers; \u2013 During the American colonization period, Philippine books reflected the ethos of its people under a fresh role.\nYet , these everyday experiences within new foreign influence, and also sentiments, were expressed through the English vocabulary; \u2013 The Spanish \u2018sarsuwela\u2019 was eventually replaced by the \u2018drama\u2019; \u2013 One main influence with the American job on the Philippine literature is its refining in the context of the content material and the form. Furthermore, due to this broadened know-how on the field of books through the education provided by the American govt, Philippine literature has become higher than a tradition formed by tradition.\nIt has become a form of art which doing well poets, fictionists, and playwrights continue to build upon and enrich in every generation; \u2013 Beginning with Rizal\u2019s use of sociable realism among the major designs for his two main novels, the literature during the American colonization also became an involvement, not just reflecting the Filipino experience \u2013 a increased sense of nationalism deeply rooted inside the Filipino satisfaction and lifestyle; \u2013 Contrary to in the The spanish language colonization period wherein female writers (e. g. Gregoria de Jesus) were overshadowed by their even more dominant, man contemporaries \u2013 as a result of the education only being provided to a selected and privileged couple of \u2013 throughout the American career, women have had their possibility to enhance their ability by being knowledgeable on the art. In addition , the growing demand for works authored by Filipina authors is the reaction to the growing audience rising literature by simply females.\n\u00b7 Philippine Literature and Artwork during the American Period: u Short Story o Poems in The english language o Free of charge Verse in Poetry o Drama \u00b7 Notable Performs of the American Period: to Mga Agos sa Disyerto (1964) \u2013 Efren Ur. Abueg, Edgardo M. Reyes, Eduardo Bautista Reyes, Rogelio L. Ordonez and Rogelio R. Sikat; this brief story anthology brought fictional works into the associated with modernism; u Ako ang Daigdig (1940) \u2013 Alejandro G. Abadilla; free passage poem; um Sa Dakong Silangan \u2013 Jose Corazon de Jesus; a poem written in the vernacular http://lourdesbraceros. weebly. com/a-brief-history-of-philippine-literature-in-english. html\nYou may also be interested in this: essay regarding pasyon", "id": "<urn:uuid:89202b4f-f94a-4911-8a55-7d8d0648b29b>", "dump": "CC-MAIN-2021-17", "url": "https://astischool.com/art-and-entertainment/philippine-literature-article-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00461.warc.gz", "language": "en", "language_score": 0.9545155167579651, "token_count": 1793, "score": 3.796875, "int_score": 4}
{"text": "Approaches and Teaching Methods in Early Childhood Education\nThe High/Scope Program \u2013 Plan-Do-Review Process\nHigh/Scope provides a wide, realistic educational experience geared to a child's current stage of development, to promote the correct way of learning necessary to get best out of the early intellectual and social skills. In a High/Scope classroom, students are engaged in learning \u2018centers\u2019, including building, dramatic play, math, reading, music, writing, science, and motor development. A typical day would demonstrate a three-part process: \u201cPlan-Do-Review.\u201d Beginning with planning, the class and teacher discuss and create plans for a certain play period. Children go about their various activities, (Do) while teachers observe and offer support. The \u201creview\u201d process takes place after the play period, where students and teachers gather to discuss what they have found. This helps children understand their own actions, and enables connections between action and language. Children\u2019s work is proudly displayed on the walls of the classroom.\nWaldorf Schools \u2013 Hands-On Exploration\nCreated by Rudolf Steiner in 1919, Waldorf's main objective is to educate the whole child \u2014 \u201chead, heart, and hands.\u201d Children in Waldorf schools are allowed to remain \u2018childlike\u2019, because of the belief that there is a time for every phase of development, and that children should not receive formal education until after the age of 7. Learning is hands-on, and received through cooking, art projects, storytelling, singing, puppet shows, dress-up, and play. The teacher stays with the same group of children from preschool through eighth grade. The focus in the Waldorf classroom is on sensory exploration and self-discovery rather than formal instruction and merit, helping children develop a sense of compassion and responsibility. The use of electronic media, especially TV, by young children is highly discouraged in Waldorf schools.\nReggio Emilia Schools \u2013 Classroom as the \u201cThird Teacher\u201d\nLoris Malaguzzi, founded the Reggio Emilia approach at the Italian city of the same name. The Reggio approach fosters intellectual development through a focus on symbolic representation. The primary curriculum is in-depth project work based on the interests of the children. Children are encouraged to express themselves through \u2018natural languages\u2019, including drawing, painting, working in clay, sculpting, constructing, conversing, and dramatic play. In a Reggio Emilia school, educators pay close attention to the look and feel of the classroom, which is often referred to as the \u201cthird teacher.\u201d The goal is to create a room that is beautiful, joyful, inviting, and stimulating. Teachers document the children\u2019s discussions, remarks, and activities through notes, videos, and photographs. This makes learning visible and helps parents to understand what their children are learning; teachers get to know the children better; and children see that their work is valued.\nBank Street Approach \u2013 Learning by DoingJohn Dewey, his theory of \u2018learning by doing\u2019 influenced this developmental approach. The focus of Bank Street preschools is on a child\u2019s mental, social, emotional, and physical growth. In these programs, the child is an active learner and gains knowledge about the world through experience. Students set the learning pace, and the teacher serves as a guide. Bank Street approach teaches lessons through hands-on activities, such as building blocks, puzzles, clay, and dramatic play.\nWhich Educational Philosophy Is Best? Here we use a combination of The High/Scope Program and The Bank Street Approach. We like to watch each child individually and decide which learning method works best for that child. Since we are a small group of children, it is much easier to tailor the educational philosophy for each specific child. That's what makes us a little different from the rest!\nParents should consider the following to help choose what's best for your child.\nHi my name is Margo; I've lived in Valley Stream for over 15 years. I am the loving and very, very proud mother of one amazing 18 year old son, Isaiah. Thankfully, I am able to live my dream of caring for and nurturing young children.", "id": "<urn:uuid:db43d639-8bd7-45be-91d9-a0ce2cdd188c>", "dump": "CC-MAIN-2021-17", "url": "https://www.brightfromthestartchildcare.com/blog/the-journey-of-early-childhood-education", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00062.warc.gz", "language": "en", "language_score": 0.9557643532752991, "token_count": 877, "score": 3.875, "int_score": 4}
{"text": "If your social studies units have been dragging lately, I have just the tip for you! Try reading aloud picture books during your history lessons! I love using picture books to introduce content in social studies in 3rd, 4th, and 5th grade! The text and illustrations grab students\u2019 attention and help them to visualize history.\nHow Do Picture Books Support Learning in Social Studies?\nUsing interactive read-alouds during a social studies lesson or unit is a great way to integrate literacy in the content areas. Picture books can help provide background knowledge for students that may have some gaps. They can also help you pre-teach important vocabulary words students will see in the upcoming lessons. In addition, they can springboard to class discussions in which you can identify any misconceptions students are bringing to a new lesson or unit.\nPicture books are great for your auditory and visual learners, and the illustrations can help all students retain new learning! Displaying color photos of the real people, places, or objects seen in the book can also help students can make connections to the content you\u2019re teaching.\nLiterary nonfiction picture books make the dry facts more memorable because the information is presented through storytelling. This genre also provides background information and context to help students understand why certain choices were made in history. Read more about teaching literary nonfiction here!\nI also love that you can double-dip into language arts by incorporating reading skills and strategies in your history lessons. Plus, you can weave in higher level thinking skills for social studies, like:\n- recognizing change over time\n- identifying cause and effect relationships\n- sequencing events\n- recognizing different perspectives and points of view\n- drawing conclusions and making inferences\n- identifying costs and benefits of various decisions\nAlso, I like to pair my picture book read-alouds with an anchor chart. This is really helpful to have to refer back to during the lesson or unit. Some examples are:\n- somebody-wanted-but-so or somebody-wanted-but-so-then\n- cause and effect\n- key people, places, or vocabulary\n- fact vs. fiction\n- compare and contrast\nHistory Topics That Picture Books Can Support\nWhere can you incorporate picture books in your social studies lessons? Everywhere!\n- historical events and time periods\n- contributions of important individuals\n- community life, roles, occupations\n- local/state history\n- current events\nRecommended Picture Books for American History\nThere are tons of great picture books you can use to introduce American history to your upper elementary students. Here are just a few of my favorites:\nWe the Kids: The Preamble to the Constitution of the United States by David Catrow: formation of the United States, laws, rights, government\nThe Other Side by Jacqueline Woodson: segregation, discrimination\nGeorge vs. George: The American Revolution as Seen from Both Sides by Rosalyn Schanzer: causes of the American Revolution, George Washington\nEncounter by Jane Yolen: colonization, Columbus, native peoples\nThe Name Jar by Yangsook Choi: immigration, cultural diversity, customs\nWhat social studies picture books do you love to use with upper elementary students? Feel free to let me know in the comments!", "id": "<urn:uuid:22505558-390e-4c07-99e8-3854ce133948>", "dump": "CC-MAIN-2021-17", "url": "https://alyssateaches.com/teaching-social-studies-with-picture-books/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00377.warc.gz", "language": "en", "language_score": 0.9184916615486145, "token_count": 666, "score": 3.734375, "int_score": 4}
{"text": "Jacqueleen Charline January 1, 2021 worksheets\nPrintable phonics worksheets for kids. Check out our different sets of worksheets that help kids practice and learn phonics skills like beginning sounds, rhyming and more. We are always adding new sets of kids phonics worksheets at KidsLearningStation.com. Kindergarten Reading Worksheets Pdf \u2013 Workbook Download 35 printable phonics reading worksheets in a pdf file for preschool and kindergarten kids. Learning to read short sentences and very short stories. Kindergarten Phonics Worksheets Pdf \u2013 Workbook 89 printable short vowel words worksheets and flashcards presented in a pdf book for preschoolers, kindergarten kids, and 1st grade students. Phonics worksheets help young children understand the relationship between sounds and written symbols. Our phonics worksheets, include letter-sound recognition with pictures, rhyming words and beginning letter sound to aid your child\u2019s learning process. Our phonics worksheets cover a variety of topics including short and long vowels, digraphs and blends for a different age. To get the learning experience more enjoyable we designed hands-on activities for your child. Kids will love to play fun games, solve puzzles and find that learning is so much fun.\nKindergarten English Spelling Worksheets Pdf \u2013 Workbook This pdf book contains 18 printable English spelling worksheets for preschool, kindergarten, and 1st grade. Finding and writing the missing letters, circle the missing letters, circle the correct spelling, spelling some simple words. Preschool Math and Activities; Preschool Reading; Preschool Spelling; Preschool Writing; Coloring Pages to Print \u2013 Goes to our main Coloring Page. We have free worksheets with lovely early childhood themes. Even just the littlest effort to make school look like fun and to develop an interest in reading, writing and figuring can boost your child. Preschool Spelling Worksheets. Spelling is an important part of any early childhood education. Our free spelling worksheets will assist preschoolers in learning how to spell basic words. Kids can trace the letters in the word and then spell them on their own underneath.\nPrintable alphabet letters. Large Printable Alphabet Letters \u2013 Upper case alphabet letters print out in four different colors (blue, green, red and black and white) centered on one sheet of paper. Capital letters printed from web browser appear 6 and a half inches tall while PDF letters are eight inches high. Printable Alphabet Letters for Crafts. Make super cute letter crafts for preschoolers to go along with your letter of the week program for toddlers, preschoolers, kindergarteners, and grade 1 students! These adorable printable alphabet letters for crafts are NO PREP \u2013 just print, color, cut, and paste to make your very own creations.. Whether you are a parent, teacher, homeschooler. Explore the ABCs with 800+ printable alphabet worksheets. Trace letters. Sound out vowels. Learn to spell words. Perfect for preschool-1st grade! This collection of printable alphabet letters is versatile for a number of projects. Perfect for banners, bulletin boards, alphabet units, learning activities and ABC crafts. You\u2019ll find bubble letters, many styles of lettering stencils and alphabet worksheets.\nHere, you will find free phonics worksheets to assist in learning phonics rules for reading. These free worksheets are printable and designed to accommodate any lesson plan for reading that includes phonics. Conveniently organized by the skills covered, these worksheets come with answer keys. Kiz Phonics is an excellent progressive program for teaching kids to read using a systematic phonics approach.The Kiz Phonics program is carefully arranged by levels from Preschool Ages 3-4, Kindergarten Ages 4 -6, 1 st Grade Ages 6-7 & 2 nd Grade Ages 7-8. It is suitable for school teachers, home-school parents and other educators trying to help children learn to read. Free Printable Preschool Worksheets. Our site is filled with freebies to make learning fun for toddler, preschool, pre k, and kindergarten age students. So whether you are a parent, teacher, or homeschooler \u2013 have fun exploring our many, many resources. On this page you can see all our free preschool printables arranged by most popular.\nPreschool art worksheets that will inspire any little artist! With fun pages to color, crafts to make and projects to excite the imagination. These art worksheets will inspire budding artists. Easy step by step drawing tutorials, mirror drawing pages, comic book pages and grid coloring pages. These printable worksheets are a great place to start for beginning artists of all ages. Art history worksheets work well for art or history lessons and encourage young learners to explore their own creativity. Read about Pablo Picasso or try replicating early Egyptian art. Share the gift of imagination with art history worksheets. Different kinds of symmetry\u2026. Reflective symmetry\u2013 a line could be drawn down the middle of the shape and the shape on side of the line is \u201creflected\u201d onto the other side.The reflected shape will be exactly the same as the original. Radial symmetry-a condition in which similar parts are regularly arranged around a central axis.There are other, more specific, kinds of symmetry such as.\nPreschool spelling worksheets. Spelling Practice Worksheets for Preschool Printables. Download Spelling Practice Tracing worksheets and printables Kids educational preschool, kindergarten and grade school for kids. Preschool Spelling Curriculum Sequence. In preschool, spelling words start with basic two-letter words. For example, a good starting point for preschoolers would be: AT, ME, BE, and IT. Children then start to expand the list by working through \u201cword families\u201d. From AT, in preschool spelling, the curriculum, worksheets, and then spelling. Preschool Spelling Resources. Preschool focuses on pre-writing: ABCs, vowel sounds and simple words. Prep for writing success with these worksheets that focus on letter recognition, word-building and a bit of storytelling. Preschool. Reading & Writing. I am a Christian mother of four, with over 13-years experience homeschooling in Southern Oregon. The resources and products I create are designed to keep the prep to a minimum while also bringing a little educational fun to your classroom\nTag Cloudinteractive resources math games free computer games for kids kindergarten learning funmath testpreppractice sunday school printable worksheets decimal practice worksheets aloha math worksheets simplifying fractions game printable loan calculator spreadsheet grade 10 math module slideshare workbook answers grade 5 free comprehension worksheets 3rd grade work algebra games printable math if8771 answers money sense worksheets 10th math formula math games for grade 2 addition", "id": "<urn:uuid:31ac3251-7b4e-4273-8b06-0262fefba219>", "dump": "CC-MAIN-2021-17", "url": "https://chocolatecityburlesque.com/gp7x792o1/vR21789qB/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00501.warc.gz", "language": "en", "language_score": 0.9010807871818542, "token_count": 1434, "score": 3.71875, "int_score": 4}
{"text": "Science projects that involve electronics offer exciting and interesting ways to learn about electricity. These types of hands-on projects allow students to learn about one of the greatest forces powering the modern world. Electricity-focused science experiments are either simple or complex, depending on the scale of the model or other objects being built and the types of materials needed.\nElementary school students can add electrical components to modeling clay sculptures using simple techniques and electricity-conducting clay available online or at hobby stores. For middle and high school students, more complex projects may be appropriate, such as building their own simple motor or recording how long it takes for diodes to stop working when exposed to high heat.\nTL;DR (Too Long; Didn't Read)\nStudents of all ages can learn about electricity in a hands-on way by completing an electricity-focused science project. Elementary school students can add motion and lights to modeling clay sculptures, middle school students can build their own simple motors and high school students can measure how long it takes diodes to stop working when they are raised to high temperatures.\nElementary School Students -- Electric Modeling Clay Project\nThe idea of adding movement or lights to modeling clay sculptures is likely to excite elementary school students. This project offers students an interesting way to gain a basic understanding of simple, parallel and series electrical circuits, as well creating a project they enjoy presenting to their peers. For this project, students can purchase an electric modeling clay kit, available online or from a hobby store. Such kits usually include batteries, a battery pack, LED lights, buzzers, one small motor and recipes for making both conductive and insulating modeling clay from ingredients in the kitchen. (See Resources)\nStart the project by following the recipe to make the two different versions of clay. Insert the batteries into the battery pack, which allows for the creation of a circuit using both kinds of clay. Make two lumps of conductive clay and one lump of insulating clay. Stick the three clay lumps together with the insulating clay in the middle. Stick each metal rod attached to the individual wires from the battery pack -- one red and one black -- into each of the conducting clay lumps, then choose an LED light from the kit.\nThe light should have two wires sticking out from its base, called leads. Stick the longer lead, the positive or red lead, into the lump of conducting clay that already has a red lead in it from the battery. Insert the shorter lead from the light into the lump of modeling clay with the black wire from the battery. The LED will not light up if you pair the leads with the wrong wires. Switch on the battery pack to turn on the LED light.\nYou can now experiment with the motor, buzzers and other equipment from the kit. Try molding the clay into different shapes, or adding movement along with lights. Make note of the effects that different clay shapes make on the success of circuits. Present your findings, along with at least one successful electric clay model, as a science project.\nMiddle Grade Students -- Electric Motor Generator Project\nWith just a few simple materials, middle school students, who already have a grasp of the basic rules of electricity, can build their own functional motor generator. Students can observe how small changes affect the motor's rotation, and experiment to see how fast they can make the motor run.\nFor this project, students will need a simple motor kit, such as those available online or from a model or hobby store. These kits usually include magnet wire, paper clips, neodymium magnets, a compass and sandpaper, as well as mounting hardware. In addition to these supplies, students will also need scissors, a small dowel (such as the cap from a marker), a ruler, a 2-by-3-inch piece of cardboard, electrical tape and a C battery.\nUsing the above materials, students coil the wire around the small dowel to create an electromagnet, with axles (lengths of straight, uncoiled wire) on each side. The wire's electricity insulating coating must be removed from the ends of the axles. Make the axle supports from the paper clips, and tape them to the battery. Stack three neodymium magnets on the battery, and balance the electromagnet atop the supports, causing the electromagnet to spin.\nAfter building the motor, students can experiment by adding or removing magnets, and by seeing how their compass reacts to different changes made to the motor. Students should present their findings, as well as the finished motor itself, as a science project. Videos of the different motor configurations make a good addition to the finished project.\nHigh School Students -- Overheating Diodes Project\nThis project requires the participant to have experience with electronics. It also requires specialized equipment from electronics stores and some basic safety precautions, which means this project works best for students in high school.\nThis project focuses on electronics and heat. When building an electronic circuit with a soldering iron, leads get very hot. The objective of this project is to determine how long it takes for a semiconductor device to overheat. To determine this, students need 10 1N4001 diodes, a 9-volt battery and battery clips, a digital multimeter, 10 1 M\u03a9 resistors, several short lengths of wire, a soldering iron, a lead-free solder, a small vise, wire ties, an oven-safe thermometer, a stopwatch and a kitchen oven.\nCalibrate the diodes by first connecting them to a low-current battery power source and then setting them in the oven at a low temperature -- up to 170 degrees -- until they all have the same temperature. Plug in the soldering iron to heat it up and after it reaches temperature, touch it to one of the diodes for one second, then note any changes in the voltage reading with the multimeter.\nRepeat this process for each diode. In the next step, change the length of time the soldering gun touches the diode, and measure the results with the multimeter. Note how long it takes before each diode reaches a temperature where it no longer gives a voltage reading. Make note of your findings, and present them as a science project, along with visual aids.\nAbout the Author\nMaria Cook is a freelance and fiction writer from Indianapolis, Indiana. She holds an MFA in Creative Writing from Butler University in Indianapolis. She has written about science as it relates to eco-friendly practices, conservation and the environment for Green Matters.", "id": "<urn:uuid:527169fe-4412-4f04-994a-f36a07a0e8a8>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/electronic-project-ideas-for-students-13710540.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039508673.81/warc/CC-MAIN-20210421035139-20210421065139-00022.warc.gz", "language": "en", "language_score": 0.9330646991729736, "token_count": 1342, "score": 4.3125, "int_score": 4}
{"text": "The Use of Zinc to Prevent the Oxidation of Copper\nThe Statue of Liberty has its characteristic green color because its copper coating has been oxidized by the air and water. According to the New York Historical Society, the statue had developed its green hue by about 1920 -- but if the statue had been covered with a copper and zinc alloy, instead of just copper, this process would likely have taken longer.\nCopper and oxygen enter a reduction-oxidation reaction, often called a redox reaction, causing the oxidation of copper. The result of this reaction is the corrosion of copper, which acquires a dark brown or green color as it oxidizes. In the equation 2Cu + O2 becomes 2CuO, the copper metal acts as the reducing agent, meaning it gives up electrons. The oxygen is the oxidizing agent because it gains electrons. Without the protection of zinc, copper more easily corrodes in the presence of oxygen.\nAccording to the United States Geological Survey, \u201czinc is currently the fourth most widely consumed metal in the world after iron, aluminum, and copper.\u201d Zinc\u2019s anti-corrosive properties make it ideal for mixing with copper to form an alloy, called brass. Brass is a strong alloy that resists corrosion, although it does gradually tarnish over time.\nChemistry of Zinc Oxidation\nWhen zinc comes into contact with oxygen in the air, it forms zinc oxide, a redox reaction like the oxidation of copper. When zinc oxide reacts with water, it forms a layer of zinc hydroxide. This zinc hydroxide then reacts with oxygen and carbon dioxide in the air to form a layer of zinc carbonate, which is insoluble in water and prevents further reactions between oxygen and the underlying metal.\nBarrier Against the Elements\nZinc, like copper, does eventually tarnish as it is exposed to water and air, but this oxidized layer prevents further corrosion of the metal. Called patination, this process changes zinc from a shiny silver color into a darker, duller gray, according to The International Zinc Association. The layer of zinc carbonate formed from oxidation acts as a protective boundary between the underlying zinc and oxygen. When zinc is mixed with copper, it adds its corrosion resistance to the alloy, which allows products made of brass to last longer.\n- Purdue University: Oxidation and Reduction\n- United States Geological Survey: Zinc -- The Key to Preventing Corrosion\n- International Zinc Association: Zinc for Life FAQ's\n- International Zinc Association: Zinc Coatings -- How They Work\n- Copper Development Association Inc.: Why Your Builder Chose Solid Brass Hardware\n- New York Historical Society: When Did the Statue of Liberty Turn Green?\nCara Batema is a musician, teacher and writer who specializes in early childhood, special needs and psychology. Since 2010, Batema has been an active writer in the fields of education, parenting, science and health. She holds a bachelor's degree in music therapy and creative writing.", "id": "<urn:uuid:37f6996f-2dfa-4b92-9098-cf3938431f0e>", "dump": "CC-MAIN-2021-17", "url": "https://education.seattlepi.com/use-zinc-prevent-oxidation-copper-5131.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00462.warc.gz", "language": "en", "language_score": 0.9364367723464966, "token_count": 619, "score": 3.859375, "int_score": 4}
{"text": "Pre-school children are naturally inquisitive, enthusiastic and receptive to new input; and it is exactly these qualities that we aim to exploit in their first exposure to the English language. Our primary goal is to familiarize young learners with the foreign language so that they can ultimately develop a positive attitude to it. It is therefore important that they are introduced to a learning environment that allows for creativity and amusement. Children learn through games, songs and storytelling which aim at familiarizing them not only with basic vocabulary items but also with basic cultural concepts (such as Halloween, Thanksgiving, etc). The overall objective is for language to be presented in a multidimensional way so that children become interested in it rather than intimidated by it. By providing a learning environment where children are able to connect their previous knowledge to the newly-introduced one and encouraged to use the foreign language, we intend to motivate them and build their confidence.\n- \u03a0\u03b1\u03b9\u03b4\u03b9\u03ba\u03cc\u03c2 \u03a3\u03c4\u03b1\u03b8\u03bc\u03cc\u03c2 (\u03c0\u03b1\u03b9\u03b4\u03b9\u03ac 2 \u03ad\u03c9\u03c2 5 \u03b5\u03c4\u03ce\u03bd)\n\u039d\u03b7\u03c0\u03b9\u03b1\u03b3\u03c9\u03b3\u03b5\u03af\u03bf \u03b1\u03bd\u03b1\u03b3\u03bd\u03c9\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf \u03b1\u03c0\u03cc \u03c4\u03bf \u03a5\u03c0\u03bf\u03c5\u03c1\u03b3\u03b5\u03af\u03bf \u03a0\u03b1\u03b9\u03b4\u03b5\u03af\u03b1\u03c2 \u03ba\u03b1\u03b9 \u0398\u03c1\u03b7\u03c3\u03ba\u03b5\u03c5\u03bc\u03ac\u03c4\u03c9\u03bd (\u03c0\u03b1\u03b9\u03b4\u03b9\u03ac 5 \u03ad\u03c9\u03c2 6 \u03b5\u03c4\u03ce\u03bd)\n- \u0395\u03be\u03c5\u03c0\u03b7\u03c1\u03b5\u03c4\u03bf\u03cd\u03bc\u03b5 \u03c4\u03b9\u03c2 \u03c0\u03b5\u03c1\u03b9\u03bf\u03c7\u03ad\u03c2: \u0386\u03b3\u03b9\u03bf \u03a3\u03c4\u03ad\u03c6\u03b1\u03bd\u03bf, \u0394\u03b9\u03cc\u03bd\u03c5\u03c3\u03bf, \u0395\u03ba\u03ac\u03bb\u03b7, \u039d\u03ad\u03b1 \u0395\u03c1\u03c5\u03b8\u03c1\u03b1\u03af\u03b1, \u0394\u03c1\u03bf\u03c3\u03b9\u03ac, \u039a\u03c1\u03c5\u03bf\u03bd\u03ad\u03c1\u03b9, \u03a1\u03bf\u03b4\u03cc\u03c0\u03bf\u03bb\u03b7, \u0386\u03bd\u03bf\u03b9\u03be\u03b7, \u0391\u03c6\u03af\u03b4\u03bd\u03b5\u03c2, \u039a\u03b1\u03c0\u03b1\u03bd\u03b4\u03c1\u03af\u03c4\u03b9, \u0395\u03cd\u03be\u03b5\u03b9\u03bd\u03bf \u03a0\u03cc\u03bd\u03c4\u03bf, \u039a\u03ac\u03c4\u03c9 \u039a\u03b7\u03c6\u03b9\u03c3\u03b9\u03ac \u03ba\u03b1\u03b9 \u03a3\u03c4\u03b1\u03bc\u03ac\u03c4\u03b1.", "id": "<urn:uuid:db4e4644-f39a-41f9-94f2-fab465142255>", "dump": "CC-MAIN-2021-17", "url": "https://www.dandolina.gr/programma/agglofono-tmima", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00499.warc.gz", "language": "en", "language_score": 0.7499279975891113, "token_count": 533, "score": 3.765625, "int_score": 4}
{"text": "26 use contrast in movement\nby Karen Loftus\nThis unit will enable students to identify, compare, and contrast three different styles of Japanese Theatre: Noh, Bunraku, and Kabuki. There are three proposed projects in this unit: a research assignment where groups delve into further detail about one of the three styles; a performance project where students utilize what they\u2019ve learned by enacting a scene from a Kyogen (comedic) play; and a Bunraku puppet play.\nThe unit comes with a Google Slide Deck to help students visualize the information. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.\nby Allison Williams\nIn Introduction to Teaching Mask, Allison Williams gives you a toolkit of mask and movement exercises to teach students to make big, confident physical choices, to work in their bodies, and play different characters - masked and unmasked.\nAccess to masks is required, but previous experience with masks is not.\nby Todd Espeland\nFriendly Shakespeare teaches a simple and effective method of script analysis for Shakespeare. It uses punctuation and keywords in the text to help students understand the characters' needs, make specific acting choices, and get them on their feet immediately.\nThis is not dry, sitting in a classroom discussion. It\u2019s physicalizing the text, focusing on the character\u2019s needs and tactics (something every drama student should know full well) and bringing Shakespeare to life.\nAt the end of the class you will be able to demystify Shakespeare's text and understand how to help your actors make clear, active and emotionally connected choices in Shakespeare's plays.\nby Craig Mason\nThis mini-course will give you a toolkit to bring your shows to the next level by having an engaged, active, ensemble.\nThe ensemble is a critical part of a large cast show. But you can't leave them to fend for themselves. They need structure. They need exercises and activities.\nIn Strong Ensemble = Strong Play, you'll be given ensemble-building exercises. You'll also discover specific activities that will help your ensemble become three-dimensional characters who have something to do and something to play in every moment they are on stage.\nWe'll look at case studies that take the exercises learned in the course and apply them to specific shows.\nby Todd Espeland\nWorking in educational theatre I know how easy it is to get bogged down in actor coaching and away from the bigger picture storytelling when directing a show. I saw a need for a method of text analysis and physical staging tools that help the director stay focused on the bigger picture of telling the story of the play.\nThis class is in two parts: The first consists of the text analysis tools P.A.S.T.O and Major Dramatic Question. From these tools you will brainstorm keywords to define your vision of the story.\nIn the second part of the class you will focus on taking the information generated in the text analysis and crafting the ideas into vibrant physical pictures through an exercise called Starburst.", "id": "<urn:uuid:3f4979f0-98de-4fc2-8b2f-98270d0806bf>", "dump": "CC-MAIN-2021-17", "url": "https://www.theatrefolk.com/dta_standards/504", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00462.warc.gz", "language": "en", "language_score": 0.935475766658783, "token_count": 629, "score": 3.984375, "int_score": 4}
{"text": "Below are some useful tips to help with lessons this week.\nMonday: Write the definition for each of your spellings. You can use your dictionary from school or a computer to help you.\nTuesday: Pick two activities from the spelling menu. A picture of the spelling menu can be found in the teaching notes section.\nWednesday: Write an interesting sentence for each of your spellings. Remember to use lots of interesting adjectives and phrases.\nThursday: Use the look, cover, write and check part of your spelling sheet to revise spellings.\nFriday: Test on your spellings.\nGrammar Activity - Monday\nToday\u2019s grammar activity is based on abbreviations.\nAbbreviations are short forms of lengthy expressions or words. It consists of a group of letters taken from the word or phrase. Abbreviations are used in almost every discipline and area of life. One of the most commonly used abbreviations is the United States, which abbreviates as \u201cU.S.\u201d, and its states.\nBelow is a video which revises useful abbreviations:\nTalking and Listening - Tuesday\nToday\u2019s task is talking and listening. Look at the cards and discuss what is on them. Make sure that other members of the family are asked to promote good listening skills.\nPunctuation Activity - Wednesday\nToday\u2019s punctuation activity is based on possessive apostrophes.\nAn apostrophe can be used to show that one thing belongs to or is connected to something. This is called a possessive apostrophe .\nLet's take a look at some examples.\nCat is a singular noun so you need to add an apostrophe and \"s\" to show that the tail belongs to the cat.\nCharles is a singular noun that ends in an \"s\", so you need to add an apostrophe to show that the cat belongs to Charles.\nBelow is a link to help children understand the use of possessive apostrophes:\nThere is a PowerPoint which will help with the child\u2019s understanding of possessive apostrophes.\nCreative Writing - Thursday\nOver the next while we will have one focus on our writing. This piece of writing will be based on an island. Each week you will be given a different task to link to your creative writing. You should have completed a drawing of your island! Here is the next piece of work. Follow the help sheet for some ideas.\nStrange noises are heard in the night. You go to investigate some strange sounds and end up trying to talk yourself out of a lot of trouble. Write out your conversation, either in script form or using speech marks.\nWatch Episode 3 of Treasure Island:\nComprehension - Friday\nThis week pupils will be completing a comprehensions. They should ensure that they:\n1. Read the passage\n2. Read the questions\n3. Re-read the passage highlighting important information\n4. Answer the questions\nUnfortunately not the ones with chocolate chips.\nOur cookies ensure you get the best experience on our website.\nPlease make your choice!\nSome cookies are necessary in order to make this website function correctly. These are set by default and whilst you can block or delete them by changing your browser settings, some functionality such as being able to log in to the website will not work if you do this. The necessary cookies set on this website are as follows:\nA 'sessionid' token is required for logging in to the website and a 'crfstoken' token is used to prevent cross site request forgery. An 'alertDismissed' token is used to prevent certain alerts from re-appearing if they have been dismissed.\nWe use Matomo cookies to improve the website performance by capturing information such as browser and device types. The data from this cookie is anonymised.\nCookies are used to help distinguish between humans and bots on contact forms on this website.\nA cookie is used to store your cookie preferences for this website.Cookies that are not necessary to make the website work, but which enable additional functionality, can also be set. By default these cookies are disabled, but you can choose to enable them below:", "id": "<urn:uuid:657954e6-67e7-46e9-9f80-7ad01d3f754f>", "dump": "CC-MAIN-2021-17", "url": "https://www.elmgroveprimary.co.uk/teaching-notes-59/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00502.warc.gz", "language": "en", "language_score": 0.9311504364013672, "token_count": 863, "score": 4.28125, "int_score": 4}
{"text": "Families are facing new and unexpected stress and anxiety. Caregivers need to maintain their family\u2019s safety during a pandemic, manage financial stress, and homeschool their children. Our kids are struggling to navigate upended routines and isolation from friends.\nMany families are wondering how the uncertainty of current events is affecting their children. How can parents help their kids develop the coping skills necessary to build resilience? The good news is that resilience is a skill that can be taught and now is the perfect time to start.\nResilience is the ability to endure stress and still thrive. It develops as kids overcome challenges and acquire the self-confidence to tackle the next problem ahead.\nSome children are born with a higher level of resilience, but resilience can also be strengthened like a muscle.\nA process called \u201cscaffolding\u201d is important to the development of resilience skills. Just like scaffolding is used in construction to support a building until it can stand on its own, caregivers use emotional scaffolding to support kids until they have a strong foundation.\nSome ways parents can help build their child\u2019s \u201cscaffolding\u201d include:\nUnpredictable changes cannot be avoided at this time, but we can strive to offer routine. Routine provides a sense of safety and predictability. Children can best monitor their emotional state when they can guess what is coming next. Post your child\u2019s schedule in a visible place to reinforce consistency.\nHelp your child maintain a wake-up time by getting out of bed at the same time during the week. Keep a consistent schedule for your child to eat breakfast, brush their teeth, and change out of pajamas.\nSchedule focused time for subjects, such as History from 10-10:30, with appropriate breaks and flexibility for recess, gym, and music.\nWhen children have the confidence to master new skills, it is easier for them to adjust to challenges in life. We can help kids grow independent by giving them just enough help while letting them experience and grow from mistakes. Develop challenging but attainable activities for your child. Support mistakes and celebrate successes.\nYoung children may water plants or set the table.\nSchool-aged children may help care for a pet or fold laundry.\nAdolescents can prepare a simple family meal or plan a family night.\nKids can learn to calm themselves by focusing on what\u2019s happening at the moment. Practicing with caregivers deepens the connection between the child and the caregiver while helping kids control how they react to stress long-term.\nTry \u201cThe Big Squeeze\u201d\nRemember that for kids, play is not just played. It is a time to work out problems in a non-judgmental, safe zone. It allows children to explore their environment and test problem-solving skills. Schoolwork is important, but learning also happens when playing.\nIn a time of uncertainty and challenging emotions, don\u2019t ignore your feelings. Take the time to talk through your emotions with your children. Children need to know that it is okay to have emotions, and that talking about emotions with the people we care about is good and necessary. Encourage conversation, writing, and storytelling.\nChildren are very perceptive and watch how you treat yourself. Work to model coping skills that your children can mimic.\nYour child can learn to be kinder and more forgiving of themselves when they see their caregiver model self-compassion. You do not need to be perfect, especially with new and stressful demands on your time.", "id": "<urn:uuid:44c89d04-0dcf-41c7-93bb-b09ff05b1734>", "dump": "CC-MAIN-2021-17", "url": "https://www.hazel.co/resources/how-to-teach-children-resilience-during-a-pandemic", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00582.warc.gz", "language": "en", "language_score": 0.9449627995491028, "token_count": 730, "score": 3.625, "int_score": 4}
{"text": "- What are the language skills?\n- What is use language?\n- How do you describe language?\n- What is the author\u2019s word choice?\n- What are the different types of language in writing?\n- How does language affect writing?\n- What is language in academic writing?\n- Why is language structure important?\n- What is role of language in communication?\n- Why is word choice important in writing?\n- What is language choice in writing?\n- What are the 7 functions of language?\n- What is language and its types?\n- What does language mean?\n- What is language and examples?\n- How is language important?\n- What is language summary?\n- What is the language function?\nWhat are the language skills?\nAnother way to describe language is in terms of the four basic language skills: listening, speaking, reading, and writing.\nIn your teaching, you will need to address each of these skills..\nWhat is use language?\nLanguage in Use examines language processing and first language learning and illuminates the insights that discourse and usage-based models provide in issues of second language learning. \u2026 Finally, it addresses issues of language use and creation of social identity.\nHow do you describe language?\nWords used to describe writing or speech style \u2013 thesaurusarticulate. adjective. able to express your thoughts, arguments, and ideas clearly and effectively.articulate. adjective. \u2026 be couched in something. phrase. \u2026 chatty. adjective. \u2026 circuitous. adjective. \u2026 clean. adjective. \u2026 compendious. adjective. \u2026 conversational. adjective.More items\u2026\nWhat is the author\u2019s word choice?\nDictionWhat Is Diction? Diction refers to a writer\u2019s purposeful word choice. Along with syntax, diction can be used to create tone and imagery in creative writing. Think about your writing\u2019s purpose and the message you want to convey.\nWhat are the different types of language in writing?\nSix Types of Diction/Language Used by AuthorsLiteral Language is..Concrete Diction is\u2026Figurative Language is\u2026Abstract Diction is\u2026Informal Diction is\u2026Styles can be described as:Formal Diction is\u2026Keep these notes handy!More items\u2026\nHow does language affect writing?\nLanguage which is foreign and unfamiliar to the reader tends to emphasize the differences between writer and reader, and makes the message difficult to understand. By using language that is familiar to the reader, the message is likely to have more impact.\nWhat is language in academic writing?\nAcademic language refers to the oral, written, auditory, and visual language proficiency required to learn effectively in schools and academic programs\u2014i.e., it\u2019s the language used in classroom lessons, books, tests, and assignments, and it\u2019s the language that students are expected to learn and achieve fluency in.\nWhy is language structure important?\nWords and sentences have parts that combine in patterns, exhibiting the grammar of the language. The shared aim is a general theory of human grammars, one that allows us to understand speakers\u2019 ability to use language and the rapid development of language in every normal child. \u2026\nWhat is role of language in communication?\nLanguage is a way of making more easy communication. The language helps to express the culture of a person to another one. When a person communicates with another one, the language can helps him to express his ideas more accurately and helps to make a good relationship with him.\nWhy is word choice important in writing?\nWord choice is an important part of any type of writing-especially content writing. Selecting precise words will help you increase the impact you create on your audience. The best writing creates a vivid picture in the reader\u2019s mind. Well-selected words appeal to the senses.\nWhat is language choice in writing?\nIt may include a variety of vocabulary choices: \u2022 words that are clearly biased or designed to create a positive or negative. emotional reaction (emotive language) \u2022 similes, metaphors or other imagery or comparisons that convey the writer\u2019s. ideas or feelings.\nWhat are the 7 functions of language?\nSpecifically, this study purported to: (1) determine the students\u2019 level of oral and written performances in the seven functions of language, to wit: instrumental, regulatory, interactional, personal, imaginative, heuristic, and informative; (2) determine whether significant difference in the oral and written \u2026\nWhat is language and its types?\nA language is the main medium of communicating between the Computer systems and the most common are the programming languages. As we know a Computer only understands binary numbers that is 0 and 1 to perform various operations but the languages are developed for different types of work on a Computer.\nWhat does language mean?\nLanguage, a system of conventional spoken, manual (signed), or written symbols by means of which human beings, as members of a social group and participants in its culture, express themselves.\nWhat is language and examples?\nThe definition of language is speech or other forms of communication. An example of language is words spoken. An example of language is words read in a book. An example of language is people using their hands to express themselves. \u2026 A system of signs, symbols, gestures, or rules used in communicating.\nHow is language important?\nLanguage helps express our feelings, desires, and queries to the world around us. \u2026 In order to travel the world, whether for business or pleasure, a desire and willingness to adapt to new cultures and methods is necessary. Adaptability, of course, includes the ability to communicate with new people in various dialects.\nWhat is language summary?\nLanguage is a system of symbols and rules that is used for meaningful communication. A system of communication has to meet certain criteria in order to be considered a language: A language uses symbols, which are sounds, gestures, or written characters that represent objects, actions, events, and ideas.\nWhat is the language function?\nA language function refers to what students do with language as they engage with content and interact with others. Functions represent the active use of language for a specific purpose. \u2026 Language forms deal with the internal grammatical structure of words and phrases as well as the word themselves.", "id": "<urn:uuid:5b73126a-3af6-4178-8766-403408a8c6a7>", "dump": "CC-MAIN-2021-17", "url": "https://yourstayathomemom.com/qa/what-does-language-mean-in-writing.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00583.warc.gz", "language": "en", "language_score": 0.9274787306785583, "token_count": 1307, "score": 4.03125, "int_score": 4}
{"text": "Friedrich Nietzsche Essays English Creative Writing Ideas\nFriedrich Nietzsche (1844\u20131900) was a German philosopher of the late 19th century who challenged the foundations of Christianity and traditional morality.\nHe was interested in the enhancement of individual and cultural health, and believed in life, creativity, power, and down-to-earth realities, rather than those situated in a world beyond.\nIn the small German village of R\u00f6cken bei L\u00fctzen, located in a rural farmland area southwest of Leipzig, Friedrich Wilhelm Nietzsche was born at approximately a.m. The date coincided with the 49th birthday of the Prussian King, Friedrich Wilhelm IV, after whom Nietzsche was named, and who had been responsible for Nietzsche\u2019s father\u2019s appointment as R\u00f6cken\u2019s town minister.\nAs a student of philology, Nietzsche attended lectures by Otto Jahn (1813\u20131869) and Friedrich Wilhelm Ritschl (1806\u20131876).He returned shortly thereafter to the University of Leipzig, and in November of 1868, met the composer Richard Wagner (1813\u20131883) at the home of Hermann Brockhaus (1806\u20131877), an Orientalist who was married to Wagner\u2019s sister, Ottilie.Brockhaus was himself a specialist in Sanskrit and Persian whose publications included (1850) an edition of the \u2014a text of the Zoroastrian religion, whose prophet was Zarathustra (Zoroaster).The Nietzsche-Wagner relationship was quasi-familial and sometimes-stormy, and it affected Nietzsche deeply.Early on, he could write (in 1869) that his friendship with Wagner was the \u201cgreatest achievement\u201d  of his life, and he was still energetically engaged in appraising and pondering Wagner\u2019s cultural significance twenty years later at the end of his writing life.They moved to nearby Naumburg an der Saale, where Nietzsche (called \u201cFritz\u201d by his family) lived with his mother, Franziska (1826\u20131897), his grandmother, Erdmuthe, his father\u2019s two sisters, Auguste and Rosalie (d.18, respectively), and his younger sister, Therese Elisabeth Alexandra (1846\u20131935).But Nietzsche broke with Wagner personally and intellectually in the late 1870s, and his assessments became increasingly negative (and more and more explicit) as time went on.Nevertheless, even after their break, Nietzsche was still reminiscing wistfully in 1882 about how his days with Wagner had been the best of his life.Wagner and Nietzsche shared an enthusiasm for Schopenhauer, and Nietzsche\u2014who had been composing piano, choral and orchestral music since he was a teenager\u2014admired Wagner for his musical genius, magnetic personality and cultural influence.Wagner was the same age Nietzsche\u2019s father would have been, and he had also attended the University of Leipzig many years before.", "id": "<urn:uuid:3b4df7b9-4f2b-4d1f-8ec3-d65a5bc0962d>", "dump": "CC-MAIN-2021-17", "url": "https://www.vega-distribution.ru/friedrich-nietzsche-essays-623.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00021.warc.gz", "language": "en", "language_score": 0.9774727821350098, "token_count": 631, "score": 3.5625, "int_score": 4}
{"text": "I decided to choose the book Bud Not Buddy because it was a recommended read by the CCSS, it has interpersonal relationships that offer good evaluation of the problem solution format of character development and it has a connection with the history topics we are covering this year with slavery and industrialization. In this book Bud's father has left him when he was very young and he goes in search of him. I start the lesson by pretending to read the jazz band flyer titled \"Limited Engagement of 'Herman E. Calloway and the Dusky Devastors of the Depression\".- his father's band and the last thing he holds from him.\nI then ask students \"If you were an orphan what one thing would you have would be the most important to you?\" I take some answers and then ask \"What if you thought you were an orphan and then found out that your father was alive but was living far away. Would you go and try to find him?\" How would you do this if you didn't have any money?\"\nStudents share responses and we have a discussion about the questions.\nNow I introduce the objective and book - Today we are going to begin a unit on a story titled, \"Bud Not Buddy\" about a young orphan who has to face this same problem.\nToday we are going to begin reading a class story titled Bud Not Buddy.\nIt\u2019s a story about a boy about your age that is an orphan because his mother is died and his father left when he was very young. The setting is during the time in your history called the Great Depression. This was a time after the war when people could not find work and many were poor and hungry. It was also a time when African American\u2019s faced segregation and many were treated unfairly.\nNow I introduce them to Bud and the adventures he faces by reading a part of the text aloud \u2013\nBud has only a suitcase, a few pieces of clothing and a flyer his mother left him with the name of a jazz band. Bud thinks the band leader is his father and decides to go and find him because he is treated so badly while living at the orphanage. On his trip he finds a city called Hooverville made up of homeless and jobless people, gets picked up on the side of the road by a stranger named, Lefty Lewis, meets a kind limousine driver who warns him about the dangers of being an African American child walking alone, meets someone he thinks is a vampire and many other adventures on his way to find his father.\nI share that when I chose this book for our class read aloud, I first read the title page, then the back cover, then the introduction and finally the first few pages to see if it was interesting and written in a way that I could read aloud. When I realized it was a great story to read, I thought about what I already knew about the setting of the Depression, like people use to stand in food lines, and many lived on the streets or worked really long hours for little pay. This made me think of some questions that I wanted to get answers to in the story. I wondered if Bud\u2019s mother worked long hours and that was why she died? I also wondered how Bud felt and if he had any friends? Another thing I wanted to know was why his father left him and never tried to contact him?\nGood Readers question text and read for meaning to better understand the story events.\nI put up the chart of with my questions and knowledge in the columns.\nI pass out copies of the book Bud Not Buddy (or you can pass out copies of the introduction paragraphs) and a worksheet What I Wonder What I Know chart\nStudents are instructed that they will read the first chapter of the text silently and write down connections to the information that they already know in the \"What I Know\" section. They will then add questions they have about the story events or characters in the \"What I Wonder\" section.\nI set a timer for 15 minutes because I want students to feel the urgency of getting the task completed and to give me enough time to circulate and address the difficulties of a few struggling students. The primary areas of struggle were in understanding what the Depression was and how needy these people were. Most students had never gone hungry for more than an hour so the concept of not eating for days was not comprehensible. It did leave a big impression and increased their buy-in for the story once they got it:)\nWhen the timer sounds I have them do a five minute share with their partners of their worksheets to begin building group sharing skills.\nI circulate and question students to determine their reading abilities. Struggling readers can be partnered in a read aloud group with a helpful peer.\nI gather students together again and want to keep them interested and questioning as they read so I ask them:\nWhy do you think parents would abandon their children during the Great Depression time?\nBud kept saying his name was \"Bud\" not \"Buddy\" - what was his purpose for saying this? - how did he want others to feel about him?\nI ask students if any would like to share their questions on the text they read for our chart and write them below my entries. I collect the books and have students put their worksheets in their lit circle folders (I collect them so that they do not read ahead of the sections we are focusing on)", "id": "<urn:uuid:3c42a806-26f4-4f21-9cb6-dd37bc3402d0>", "dump": "CC-MAIN-2021-17", "url": "https://betterlesson.com/lesson/547523/creating-interest-effective-book-talks", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00342.warc.gz", "language": "en", "language_score": 0.9880057573318481, "token_count": 1106, "score": 3.640625, "int_score": 4}
{"text": "Having a strong understanding of the English Language will allow students to become fluent in written and spoken English. This will allow them to communicate effectively with the world around them, thus allowing children to become engaged in cultural, social and economic issues, and intellectual debates.\nThe curriculum is designed and sequenced so that pupils gain mastery of the skills needed to read, write and articulate orally to a standard that will enable them to access both the literature and language GCSE courses at Key Stage Four and beyond.\nThe overarching intention is that students are able to confidently discuss, analyse and make their own judgements about a piece of writing. Within different units, students will develop a wide variety of skills. These will include analysing language and its impact on the audience/ reader; discussing how structure within a text is used for effect and how context helps to impact writers and their work.\nAt Castle Donington College, English teachers are keen to develop a genuine love of literature and have developed a curriculum that allows pupils to explore and access a range of texts with passionate and highly competent teachers. Success at key stage 3 build confidence before pupils embarking on the more in-depth exploration of literature at key stage four. Knowledge taught in years 7, 8 and 9 helps pupils to develop both analytical and writing skills. Pupils are exposed to a broad and exciting range of texts, through which they develop their understanding of how texts are crafted for audience and purpose; their inferential and analytical skills and their own ability to write precisely using punctuation, literary techniques and vocabulary for effect on their reader.\nThe Key Stage Three English Curriculum has been designed to spark students\u2019 interests and creativity, whilst providing them with a solid basis of preparation to meet the rigours of Key Stage 4 and 5. It is designed to challenge pupils, promote valid and respectful discussion and debate, as well as introduce them to a wide range of different texts and genres. Pupils will also study a wide range of non-fiction texts including newspaper articles and speeches, and learn how to use language and structure to argue their own point of view successfully. There are also literacy lessons, focussing on spelling, punctuation and grammar, and library lessons focussing on independent reading embedded throughout the year. All pupils will also have opportunities to write creatively, both within the texts and genres they are studying and beyond. Through this work students will also learn subject-specific vocabulary to be employed within their own writing, as well as how to structure their work successfully and with flair\nEnglish Literature and Language is taught together through the English Curriculum, which is divided into discreet units. Pupils focus on one element (transactional writing, Writers Voice, Shakespeare, Conflict and recent writing) in each year and develop skills in a range of contexts.\nAll pupils in Years 7 to 11 receive 8 lessons on English each fortnight. This includes language and literature, taught by the same teacher. One lesson is dedicated to Creative writing and exploits the College library as a resource. Wherever appropriate, we also aim to enrich the learning experience of our pupils through storytellers, performance poets and live performances.", "id": "<urn:uuid:79f71ca1-f870-4406-a290-bbd78d1b663c>", "dump": "CC-MAIN-2021-17", "url": "https://www.cdcollege.uk/page/?title=English&pid=78", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038057142.4/warc/CC-MAIN-20210410134715-20210410164715-00583.warc.gz", "language": "en", "language_score": 0.9655294418334961, "token_count": 636, "score": 4.03125, "int_score": 4}
{"text": "Both polystyrene and polyurethane are polymers, synthetic substances made from long chains of molecules. These molecules consist mostly of carbon and hydrogen atoms. Industry produces these ubiquitous plastic building materials to make all sorts of common items. The computers we use are typically encased in polystyrene, which is an older polymer. However, polyurethane is increasingly coming to replace polystyrene in certain situations, particularly those which require more flexibility. Though they are sometime confused, there are differences between the two in terms of their composition, the ability of finished products to resist chemicals and conduct heat and their tolerance for thickness.\nPolystyrene is a polymer containing molecules composed of carbon and hydrogen atoms, typically eight of each. The molecular formula of polyurethane, on the other hand, describes a much more complex polymer made from molecules composed of nitrogen and oxygen as well as carbon and hydrogen. Unlike polystyrene, which forms a hard plastic, polyurethane's polymers can be arranged differently to create substances with varying degrees of flexibility.\nThe R-value of a building material measures its thermal resistance. Polyurethane demonstrates about twice the resistance to heat that polystyrene manages and is an excellent material for electrical insulation. In addition, polyurethane continues to maintain flexibility in very cold conditions, though a gradual stiffening begins at 0 degrees Fahrenheit. However, this resistance varies according to the density and thickness of each material.\nPolyurethane does not melt, unlike polystyrene. In fact, polyurethane will remain mostly undamaged by heat until temperatures reach 700 degrees, at which point the material begins to char. Polystyrene will melt at temperatures in the 200- to 300-degree range. Polyurethane makes a superior fire-retardant material.\nChemical Resistance, Weathering and Abrasion\nWhile polystyrene will suffer when subjected to solvents such as gasoline and certain insect sprays, polyurethane is resistant to all chemicals. This polymer also outperforms polystyrene in resisting atmospheric damage due to oxidation and sunlight. In fact, polyurethane withstands all physical attacks and stresses better than polystyrene.\nSince polyurethane resembles rubber as well as plastic, it can be effectively used to make load-bearing wheels, mechanical joints, couplings and machine mounts. Polystyrene does not have the flexibility for these tasks.\nSince it has some of the qualities of rubber, polyurethane is useful in achieving mechanical sound reduction. Gears made from this polymer make much less noise.\nAbout the Author\nRobert Paxton has been writing professionally since 2002 when he published his first novel. He has also published short stories and poems and writes ad copy for various websites. He graduated from the University of Arizona in 1995 with a bachelor's degree in creative writing. Paxton is a trained Montessori instructor who has taught at both the elementary and the secondary levels.\nHemera Technologies/PhotoObjects.net/Getty Images", "id": "<urn:uuid:2d2cd170-565e-42ad-86ee-fc37f35ba539>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/difference-between-polystyrene-polyurethane-8730934.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00383.warc.gz", "language": "en", "language_score": 0.942948043346405, "token_count": 619, "score": 3.703125, "int_score": 4}
{"text": "Updated: Sep 7, 2020\nIdentifying a school's core ethical values can involve either a cursory mention of vague principles (e.g. caring, respect, and responsibility) or can quickly become a rabbit-hole of moral and ethical conundrums resulting in more confusion than solutions. Finding an effective middle ground for identifying core ethical values is by far the most important consensus to have for a school and its staff, especially when engaging in conversations regarding social, emotional, and character development of students and their families.\nFor example, a school which elevates the value of respect as a school-wide core value might find the word respect to be interpreted a number of different ways depending on who is part of the conversation. Is respect an authoritarian structure of power and control? or is respect a more egalitarian, collectivist perspective that places a smaller distance of power and control between levels of structural relationships?\nUsing a word like respect in schools directly impacts instructional practices, especially when differences in perspective between classrooms can be subtle or wide. It is in this capacity to interpret concepts such as respect that instructional leadership from an administrator can add to this complexity. This is particularly true when administrators seek to shape these concepts into a collective campus-wide agreement on how these concepts are infused into classroom teacher's management and instruction.\nDefining (Western Philosophical) Ethical Values\nThis becomes a particular challenge when schools use language without adequate definition. Referring to an idea such as respect as a core ethical value of a school may actually be a misplacement of it as a virtue in the first place. \"Disrespect\" is often presented on the grounds that a person has been deemed of little or no worth, or at least less than their own perceived self-worth. In this way, respect may be seen as a defining of an assumed personal value, but how is this value being defined? The idea of respect is often associated with behaviors related to obedience of authority - a unidirectional expectation for behavior.\nWhat might be better is to consider actual ethical values of Western philosophy such as magnanimity (having great spirit; noble and giving) and temperance (having self-control and restraint with regards to pleasure). There are excesses and deficiencies to such virtues that a school seeking to formalize core ethical values may want to discuss openly and honestly. Seeking temperance in our behaviors lends itself to ideas of self-regulation which are quickly becoming more popular in social-emotional learning programs. However, an excess of temperance might result in an insensible restriction of basic human rights, while an extreme deficiency results in a constant state of damaging self-indulgence. It is not as simple as exercising one form of temperance in any and all situations. Life for students in the K-12 grade levels becomes increasingly complex, personally and socially, with each passing year. Their behaviors become more complex as both their social and their societal expectations become increasingly more complex. To discuss behaviors based on virtue principles begins by defining core principles with purpose and intent.\nPrinciples and Discipline\nPolicies and behavior management strategies directly impact differences in understanding of core principles. Perhaps a school refers to responsibility as a core principle. There is often an expressed desire to promote intrinsically-motivated student responsibility, for students to \"take responsibility\" for their belongings, their actions, their consequences. However, this is often done through the rewarding and punishing of specific behaviors, resulting in an extrinsic approach to motivating students to develop a specific set of \"responsible\" behaviors. This creates a philosophical conflict - are principles learned through behavior? or are behaviors learned through principles? and how does a school's discipline policy impact these principles and behaviors?\nIf we were to take a philosophical perspective, we would find a separation between what Aristotle and Kant would argue is a focus on specific behaviors guided by moral and virtue, versus a more consequential focus on circumstance where the end justifies the means. The difference is in whether specific behaviors can be expected to always be \"right\" regardless of the outcome (deontological ethics), or whether our focus on an outcome can be expected to validate what we might consider is a \"wrong\" behavior (teleological ethics).\nThis can create conflict in a school's discipline policy when a school-wide policy on discipline might focus on avoiding certain outcomes from student behavior while teachers in that school might focus on specific behaviors which, though intended to align with the school-wide policy, creates a gray area of individual circumstances between specific behaviors and the undesired outcomes.\nFor example, a school may seek to keep students from using offensive language or engaging in physical fights. A teacher in that school may also seek the same goal but, instead of listing undesired outcomes as the focus for their class rules, a list of general behavior expectations is discussed, such as:\nraise your hand to speak.\nWhile being kind and showing respect does address a school's desire to avoid offensive language or physical fights on campus, there does exist a gray area between the two which can get lost in translation, especially from the perspective of the students.\nNow imagine how students might react to the kind of philosophical discussion introduced in this article about what is right, what is wrong, and separating the differences between the 'means' and the 'end'. What benefit could ongoing conversations regarding these philosophical differences have on student understanding of ethical principles and discipline? How could a school's philosophical perspective, combined with the collective perspective of that school's teachers, impact student social, emotional, and character development?\nPluralism and Diversity in Schools\nOne other consideration is the plurality of a public school setting. Core ethical values can be a difficult topic for discussion in school communities which do not have a large majority of stakeholders sharing similar interpretations of specific school-defined values, ethics, and other moral codes of conduct. I believe pluralism and diversity serves a great value in a public setting and that schools seeking to define their core ethical values would benefit from crowdsourcing their own definitions from their community stakeholders. Additionally, differences and disparities of philosophical interpretation can be better understood through the direct instruction and modeling of appropriate conflict resolutions strategies both in and out of classrooms, school grounds, as well as throughout a school's community. This is only one consideration which leads me to connecting explicit social and emotional learning and assessment in schools as well as connecting a school's organizational structure, its culture, and its climate.\nOrganizational Culture and Character Development\nI see a need for government officials and policy-writers to see schools for what they are - opportunities to develop in students what to develop a strong understanding of organizational culture while they are working to develop a meaningful approach to social, emotional, and character development (SECD). A challenge I see in schools as I continue working through this connection is that schools don't have objective domains for specific elements of organizational culture like they do with CASEL's organized competencies for SECD. I believe the more we help schools shift toward a perspective that embraces SECD, the more we'll see schools needing to specifically address deeper-rooted elements of culture and climate.\nMy work in connecting SECD and Elements of Culture in schools is directed toward creating a self-directed learning environment within a school system. As I continue my work, I hope to connect with other educators and leaders in education seeking to adopt and adapt such an environment through the use of a standards-based approach to social-emotional learning with a developmental mindset. Interested educators or school leaders can contact me directly at Contact@ExploringTheCore.com for opportunities to collaborate on school campuses across the country.\nApril 26, 2020\n(Edited September 7, 2020)\nExploring the Core LLC", "id": "<urn:uuid:f574ae81-50ce-490b-8fad-f9329bd9c9b7>", "dump": "CC-MAIN-2021-17", "url": "https://www.exploringthecore.com/post/core-ethical-values", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00261.warc.gz", "language": "en", "language_score": 0.9522625207901001, "token_count": 1556, "score": 4.0625, "int_score": 4}
{"text": "Miss Steyn says..\nOwl Class Home Learning Week Beginning 18.5.20-22.5.20\nWelcome to another week of home learning. It\u2019s nearly half term and nearly time for a well-deserved break! (for everyone!)\nPlease spend some time over the week practising your weekly spellings. There is an attached PowerPoint Presentation that goes through the spelling rule and gives you a chance to practise. The weekly spellings for this week are:\nSpelling Rule: Challenge words ending in \u2018ar\u2019 and \u2018er\u2019\nTask 1: Complete Ordering numbers to 10,000 in the workbook (pages 44-46)\nTask 2: Complete Rounding to the nearest 1000 in the workbook (pages 47-49)\nTask 3: Complete Solving problems using rounding in the workbook (pages 50-51)\nTask 4: Complete the Ordering Numbers challenge.\nThere are two challenges to have a go at (please try and do at least one). The answers are provided! You can record your workings/answers in the squared maths book.\nTask 1: Spellings\nPractise your weekly spellings and use the PowerPoint to help you. Can you write definitions for all your spelling words? Use a dictionary if you\u2019re not sure what a word means. There is a word search to help.\nTask 2: SPaG- Inverted commas/Speech punctuation\nLink to video: https://youtu.be/o4aKVwm2un4\nGo through the PowerPoint and watch the video. Inverted commas can be a bit tricky to understand as there are lots of rules. Complete the speech punctuation activity where you need to punctuate the conversation between the two monsters, Grig and Harl. Then have a go at continuing the conversation making sure you are using inverted commas correctly! Don\u2019t forget to always look out for inverted commas when you\u2019re reading!\nTask 3: Reading Comprehension\nComplete the reading comprehension activity on Treasure House.\nTask 4: Creative Writing\nThis week I am going to give you a story starter (see below). Copy this into your book and then carry on the story\u2026\nBleary-eyed, I went downstairs for breakfast. The house was empty, even the furniture had gone...\nGo through the PowerPoint presentation all about going on an invertebrate hunt in your local habitat. This could be your garden, local park or any nearby outdoor area. Try and find some different invertebrates and record any you do find on the invertebrate hunt sheet. I have given you a classification key to help you identify what you find. After you\u2019ve been on your hunt, choose one invertebrate to explore further. Can you draw a detailed picture of the invertebrate and include some facts about it? I wonder if you could label your drawing too!\nTopic/ICT- The Blitz\nLink to video where I talk about the Blitz: https://youtu.be/tUwlR5-bkfE\nFind out and learn about the Blitz that happened during the Second World War. This website is a good place to start: http://www.primaryhomeworkhelp.co.uk/war/blitz.htm.\nFind out as much as you can about what life was like for people during the Blitz. Present your findings in one of the following ways:\n\u00b7 A PowerPoint\n\u00b7 A video\n\u00b7 A poster/leaflet\nThis week I\u2019d like you to listen to some popular war time songs.\n\u00b7 We\u2019ll meet again by Vera Lynn https://www.youtube.com/watch?v=OJKMji2688M\n\u00b7 Run rabbit run by Flanagan and Allen https://www.youtube.com/watch?v=SXmk8dbFv_o\n\u00b7 Daisy, Daisy https://www.youtube.com/watch?v=5AEIvmZ1mRc\n\u00b7 They\u2019ll always be an England by Vera Lynn https://www.youtube.com/watch?v=_qhLPWcm-0w\n\u00b7 White Cliffs of Dover by Vera Lynn https://www.youtube.com/watch?v=89487uG13Ro\n\u00b7 Pack up your troubles/Long way to Tipperary (this is a modern version) https://www.youtube.com/watch?v=_xHncYtj4_A\n\u00b7 Rule Britannia/Land of Hope and Glory (this is a modern version) https://www.youtube.com/watch?v=vIrfS2j1xJc\nWhich of these songs was your favourite? Why did you like it? What do you think the message/purpose of the song is? Can you have a go at learning one of these songs! I know Mrs Bennett would LOVE to hear that you\u2019ve been learning these songs as she would normally teach them to you. If you want to you can record yourself singing them and I will pass it on to her. The D-Day Darlings YouTube videos are great if you want to listen to some more modern versions of wartime songs! I can\u2019t stop listening to them at the moment!\nOptional Half Term Art Mini Project- Blitz picture!\nI really enjoyed seeing your Kandinsky inspired artwork a few weeks ago and it was great to be able to put together a class video to show off all your amazing work. Since we are learning about the Blitz at the moment, I thought I\u2019d set you a challenge! Can you create a piece of artwork inspired by the Blitz? You might want to have a go at painting a background using shades of red, yellow and orange to show the fire and then layering it with black silhouettes! Or you could do a drawing, sketch or collage? You can be as creative as you like! Type \u2018Blitz art ideas\u2019 into Google for some inspiration! If you do have a go, please send me your finished artwork via email so I can put together another video J I can\u2019t wait to see them!\nThere will be some activities for you to complete on Purple Mash. Log in and go to \u20182Dos\u2019 and complete the tasks that have been set. I will be able to see how you got on once you\u2019ve finished.\nLearn the Lindy hop dance! The Lindy hop was a popular style of dancing during WW2. I have included some videos that you can have a look at, including the Lindy-Hop-A-Thon from Strictly Come Dancing 2018! Can you learn some of the moves? Maybe have a go with another member of your family! It\u2019s great fun but very tiring!\nMake sure you try and get outside for a little bit each day. Go on a morning walk or do some exercises in your garden. Fresh air is really important!\nReading with Miss Steyn\nThis week there are 5 more videos to watch for our book The Girl Who Stole An Elephant. We will finish the book this week so I will have a think about what our next class book will be! I hope you enjoy J\n1. Chapter 34, 35 and 36: https://youtu.be/1vWAxSeJqvE\n2. Chapter 37, 38, 39 and 40: https://youtu.be/-svIUHLgvkg\n3. Chapter 41, 42 and 43: https://youtu.be/ztNWSMwRQ_8\n4. Chapter 44, 45 and 46: https://youtu.be/6HZcwFvU0TM\n5. Chapter 47 and 48: https://youtu.be/vvZpiK3SsaE\nUltimate Kahoot Quiz\nBecause it\u2019s the last week of this half term, I have put together an ultimate Kahoot quiz for you to have a go at!\nDon\u2019t forget to spend some time every day reading and practising your times tables. You can complete the Daily 10 everyday too https://www.topmarks.co.uk/maths-games/daily10\nIf you\u2019d like to continue keeping up to date with the news, watch the daily and weekly news on Espresso (weekly news updated every Thursday). Newsround is also another good one to look at https://www.bbc.co.uk/newsround\nMiss Steyn\u2019s Brainteaser of the week:\nWhat do the initials GA stand for in netball?\nIf you think you know the answer, email me and I will let you know!\nHave a happy half term everyone!\nSpeak to you soon,\nMiss Steyn J", "id": "<urn:uuid:172918bc-d029-4589-beec-e6d43f259a39>", "dump": "CC-MAIN-2021-17", "url": "https://www.knockholt.kent.sch.uk/page/?title=19th+May&pid=311", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00060.warc.gz", "language": "en", "language_score": 0.9092283844947815, "token_count": 1834, "score": 3.53125, "int_score": 4}
{"text": "How Do We Teach Civics in Such a Polarized Political Climate?\nAmerica\u2019s political polarization makes teaching civics feel like navigating a minefield these days. Wary of upsetting parents or students, instructors may be looking more toward the elections of the 19th century than those of the 21st.\nWhile historical events are essential to students\u2019 understanding of modern governance, it is equally important that civics or history teachers embrace modern politics in their classrooms. But how do we do that in such polarized times? Start by keeping these points in mind:\nReinforce the importance of civics education\nIn a 2011 article for the American Bar Association Review, author Mark Hansen explained that people in the 18-25 age range have significantly lower rates of political participation than their parents or grandparents. And they have large gaps in content knowledge surrounding civics.\nWhile the Nation\u2019s Report Card shows an increase in civics understanding since its assessments began in 1998, it shows no positive change since its 2010 assessment. Currently, only about 23 percent of students show basic proficiency in civics and government education. This means significant numbers of students leave high schools unprepared to navigate the complex political space of adulthood.\nUse modern examples to bring history to life\nWhile historical examples can help teach students civics, it\u2019s much more important to use immediate current, and even local, political issues to help students apply their learning about government to their own lives. Giving students real-world examples and problems in a civics arena can help attach meaning to the concepts they are learning.\nStill, this might lead to potential landmines: Students disagree on politics because the modern political environment is so divisive, while instructors fear student conflict, parental involvement or even district censorship. Arguments can shut down classes and inhibit learning, while popular political positions can marginalize students who hold unpopular views.\nNo matter how \u201clike-minded\u201d a school\u2019s student body may seem, civics instructors must work hard to address polarization and account for opposing views.\nEncourage \u2018political friendship\u2019\nThe Southern Poverty Law Center started an education group called Teaching Tolerance to deal with the challenge that \u201clike-mindedness\u201d can lead to isolation that breeds close-mindedness. Like-minded thinking also erodes what SPLC calls \u201cpolitical friendship\u201d \u2014 a sincere belief that those who hold different beliefs are still basically good.\nWhat to do, then? Consider using modern civics stories and encouraging students to practice radical empathy, which gets to the heart of differences of opinion while working against judging people as good or bad. As students learn the values and principles that drive different populations, they can increasingly differentiate people from ideas.\nBuild argumentation skills\nThis does not come without effort. As Spiderman and Voltaire taught us, with great power comes great responsibility. In their piece \u201cTeaching Civics in a Time of Partisan Polarization,\u201d Peter Levine and Kei Kawashima-Ginsberg understand that instructors must be \u201ceven-handed, sensitive to the diverse backgrounds of their students, well informed and prepared.\u201d\nThey encourage educators to help guide students through these polarized discussions by preparing them with good argumentation skills, using evidence and rhetorical awareness. Teaching students about confirmation bias and the basic requirements of argument can help them intellectualize what might be solely an emotional issue for them.\nBefore difficult discussions, I often tell my students, \u201cYou are safe, but your arguments are not.\u201d This helps show students that one of the jobs of academic discourse is questioning and challenging our assumptions as much as we challenge those we disagree with.\nTeaching Tolerance recommends that historical trends and the development of modern ideologies be folded into discussions about modern topics. Directly addressing the roots of polarization can help students contextualize the polarization of current events and examine how historical trends relate to what\u2019s happening now.\nSupport civic participation\nThese sorts of discussions aren\u2019t limited to a civics or social studies classroom either. As students see civic-minded problems and queries in their other courses, from science to math to music or arts, they can begin to recognize the importance of civic participation and how it may directly affect their schools, teachers or classmates.\nWhile wading into discussions of modern politics can be scary territory, instructors should recognize that doing so carefully and with deep respect for the beliefs and capabilities of their students can pay off in their future participation in democracy. Along the way, this work can help enhance political friendship and create collaborators instead of name-callers.\nMonica Fuglei is a graduate of the University of Nebraska in Omaha and a current faculty member of Arapahoe Community College in Colorado, where she teaches composition and creative writing.Learn More: Click to view related resources.\n- Mark Hansen, \"Flunking Civics: Why America\u2019s Kids Know So Little,\" American Bar Association Journal\n- \"The Nation\u2019s Report Card: Civics,\" National Center for Education Statistics\n- Paula McAvoy, \"Teaching Tolerance: Polarized Classrooms,\" Southern Poverty Law Center\n- Peter Levine and Kei Kawashima-Ginsberg, \"Teaching Civics in a Time of Partisan Polarization,\" Social Education", "id": "<urn:uuid:94177fca-cd72-4bfc-b2f9-2796d5a036e8>", "dump": "CC-MAIN-2021-17", "url": "https://resilienteducator.com/classroom-resources/teach-civics-polarization/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038071212.27/warc/CC-MAIN-20210413000853-20210413030853-00421.warc.gz", "language": "en", "language_score": 0.9285767078399658, "token_count": 1083, "score": 3.578125, "int_score": 4}
{"text": "Last Updated on August 7, 2019, by eNotes Editorial. Word Count: 1424\nUnderstanding Oneself in a Complex World as Theme: Like other tragic heroes, King Lear is on a journey to discover himself amid layers of complicated relationships. He strives to understanding who he is as king and what it means to lose political power. He strives to understand who he is as a father and who his daughters are as adults. He strives to understand his aging self, the limits of his mental and physical strength and what it means to approach the end of his life.\n- For discussion: Describe the way in which Lear relinquishes political power, as well as his reasons for doing so. Is he a successful leader? Why or why not?\n- For discussion: How does Lear define his relationships with his daughters? How does he measure their affections in act 1? How do their affections change over the course of the play?\n- For discussion: What control does Lear have over his own future? How does Lear\u2019s agency develop over the course of the play?\nCompassion in a Cruel World as Theme: King Lear is a play marked by undeniable cruelty and tragedy, yet the familial and political ties that move some characters to treachery move others to compassion.\n- For discussion: Consider the instances of cruelty and compassion in the play. Which characters display cruelty and which characters display compassion? Why? Which characters, if any, display both?\n- For discussion: Many argue that the play expresses a pessimistic, or nihilistic, worldview. Do you agree or disagree? Why or why not?\nConflict Between Fathers and Children as Theme: Though King Lear has a considerable political layer, it is also a family drama. The parallel narrative of Gloucester and his sons accentuates the intimate familial conflicts in Lear\u2019s story arc.\n- For discussion: What motivates Lear to ask his daughters to compete for his affection? Why does Cordelia refuse to respond?\n- For discussion: What obligation do Goneril and Regan have to their father? Is Lear justified in his demands? Are Goneril and Regan justified in casting him out?\n- For discussion: Why does Edmund pursue power? Is his pursuit justified?\n- For discussion: Compare and contrast Gloucester and Lear as fathers. Do they deserve the treatment they receive from their children?\nThe Pain of Losing Power as Theme: When Lear abdicates the throne, he sets off a sequence of events that ends in his rambling, crazed and naked, through the wilderness. King Lear enacts both the timeless story of a king\u2019s fall from power as well as the decay inherent in the aging process.\n- For discussion: What authority does Lear have at the start of the play? How does he exert his authority? How does Lear lose his power and how it is redistributed over the course of the play?\n- For discussion: Over the course of the play, Goneril, Regan, Edmund, and Edgar all attain varying degrees of political power. How do they achieve it? How does it affect each of them?\n- For discussion: Compare and contrast Lear as a paternal and political character. How does his relationship with his courtiers compare to his relationships with his daughters? Is he able to maintain power over one group more or less effectively than the other?\nMotifs Underscoring Themes in the Play: A variety of motifs appear over the course of the play that emphasize major themes in the text. Motifs are generally images that repeat throughout a work, carrying symbolic or thematic meanings.\n- Castles and wilderness: These contrasting locales offer the two primary settings throughout the play. The castle comes to symbolize social order and both political power and family ties. Alternately, the wilderness comes to represent a chaos and madness; it is a place far from the human world where characters can pursue their authentic selves.\n- Costumes: Lear wears various regalia over the course of the play before ultimately disrobing, and Kent and Edgar both don disguises. Costumes come to symbolize the difficulty characters having in recognizing themselves and one another.\n- Sight and blindness: Sight, figuratively and literally symbolizes characters\u2019 capacity to see the truth about themselves and others.\n- The Fool: The Fool stands opposite the elite cast in social standing, yet he is the only character Lear allows to criticize him. A purveyor of irony, the Fool warns Lear as early as act 1, scene 4 that it was a mistake to give up his land to his daughters. Mysteriously, the Fool disappears after act 3, scene 6.\nTricky Issues to Address While Teaching\nShakespeare\u2019s Diction and Syntax Are Unfamiliar: Shakespeare is known as a great wordsmith, and his inventive language has puzzled and intimidated students and audiences for centuries. For many, reading Shakespeare is akin to reading a foreign language, both for its archaic diction and its riddlesome qualities.\n- What to do: Introduce students to common Shakespearean dramatic devices before starting the play and critical vocabulary before studying specific scenes.\n- What to do: Describe the character, setting, and plot before tackling the text itself. When possible, show scenes from productions of King Lear or allow students the opportunity to perform passages themselves. Context will support student understanding of figurative language.\n- What to do: Give students ample time for collaborative and guided reading in class. Similarly, consider giving students the permission to skim sections that are less relevant to the class discussion.\nThe Plot Is Complex and Confusing: King Lear can be a confusing play to keep track of. There are two separate plots, which follow the narratives of Lear and Gloucester; there are two characters with similar names (Edmund and Edgar); and there are two characters who use multiple disguises (Kent and Edgar).\n- What to do: Draw on a variety of study guides and organizational techniques to support students as they read the play. Employ creative reading strategies to aid student comprehension. For example, consider having students act out scenes that develop the plot of a specific character, as opposed to scenes that follow sequentially in the text.\n- What to do: Share the following mnemonic: Edgar the Good; Edmund the Mean.\n- What to do: Watch a sampling of film adaptations concurrent with the class\u2019s reading of the text. Have students dramatize key scenes, using a variety of simple costumes to enact disguises.\nMisogyny Is Rampant: The society within King Lear reflects a patriarchal and often misogynistic worldview that held primogeniture as the foundation of political power and property ownership. The opening conflict of the play\u2014the division of Lear\u2019s kingdom\u2014 would have been instantly resolved had he had a son. As Lear\u2019s conflict with Goneril and Regan escalates, his view of women in general as threatening, problematic, disloyal, promiscuous, and even monstrous becomes increasingly apparent.\n- What to do: Invite students into a close reading of the text, analyzing passages in which Lear addresses the topic of gender. Lead them in a discussion about his attitude toward women. Does it change over the course of the play? Is it inherent in his nature, a result of his changing circumstances, or a product of his madness?\n- What to do: Ask students to translate Lear\u2019s language about women into modern parlance. Ask them to reflect on the extent to which such attitudes about women pervade American culture today.\nAlternative Approaches to Teaching King Lear\nWhile the main ideas, character development, and discussion questions above are typically the focal points of units involving this text, the following suggestions represent alternative readings that may enrich your students\u2019 experience and understanding of the play.\nFocus on Goneril and Regan as antiheroes. Invite students to read the text from the perspective of Goneril and Regan. Discuss with them the ways in which women had less access to familial, social, and political power than men did. Evaluate the extent to which Goneril and Regan were justified in the actions they took.\nFocus on social and class conflict. Edgar and Kent both experience changes in social class over the course of the play. Discuss how these changes give them access to different freedoms and privileges as they move between the worlds of nobility and wilderness.\nFocus on the Fool as a rhetorical device. The Fool is often considered the primary vehicle for social critique in the play, voicing social truths that reverberated in pre- Christian Britain and Shakespearean England alike. Discuss the wisdom of the Fool and the unique position he occupies in the world of the court.\nUnlock This Study Guide Now\nStart your 48-hour free trial and unlock all the summaries, Q&A, and analyses you need to get better grades now.\n- 30,000+ book summaries\n- 20% study tools discount\n- Ad-free content\n- PDF downloads\n- 300,000+ answers\n- 5-star customer support", "id": "<urn:uuid:e771c197-e9b0-46da-a01c-ae14544fcba2>", "dump": "CC-MAIN-2021-17", "url": "https://www.enotes.com/topics/king-lear/teaching-guide/teaching-approaches", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00100.warc.gz", "language": "en", "language_score": 0.9583876132965088, "token_count": 1863, "score": 3.78125, "int_score": 4}
{"text": "AITSL STANDARD: 1.5 \u2013 Differentiate teaching to meet the specific learning needs of students across the full range of abilities\nDevelop teaching activities that incorporate differentiated strategies to meet the specific learning needs of students across the full range of abilities.\nOften, I find that students are quite vague about where their story takes place.\nFor example, \u201cMy story takes place in a small town.\u201d\nMy first question is, \u201cwhich country?\u201d because the geography, climate, culture and people are different for every \u2018small town\u2019.\nIt is important that students know that writers research intensely about all facets of their writing. They look at maps and consider where events take place for the sake of realism and detail. They ask questions that will create a sense of realism in their narratives.\nThis section is focused on getting students to visualize by using images as a reference point for their writing. They are encouraged to ask questions and generate new perspectives on their existing ideas.\nVisualisation is a large part of good creative writing. Visualisation allows a writer to chase realism.\nOur goals as writers is to capture the human experience.\nFor example, if their character was on a rollercoaster, what does that feel like? How is the human body impacted? What sounds are created by the movement of metal?\nUnlike Stephen King who has a vicious writing schedule, many novels take years and years to write.\nThe Lord of the Rings \u2013 J.R.R.Tolkein (12-17 Years)\nGone with the Wind by Margaret Mitchell (10 Years)\nInfinite Jest by David Foster Wallace (7 Years)\nThere are a number of reasons why, but it is difficult to deny that these narratives are complex \u2013 especially when maps are involved such as in LOTR. Writers recreate the world around them.\nBelow I have outlined how to model to students how to begin their story, starting with locating an image through Google Search, up until their first paragraph using a word bank.\nWhile this section has been focused on setting, it could also assist their exploration of character.\nEncourage students to find images that relate to their character and follow the same process. Remember, some students are not confident with drawing their character out of fear of judgement. Images are a fantastic way to capture what a student is already thinking about.\nDepending on your school\u2019s approach to ICT in the classroom and availability, you might like to prepare stock images for your students.", "id": "<urn:uuid:6a93cf2a-954c-409d-922d-9684152a1341>", "dump": "CC-MAIN-2021-17", "url": "https://theenglishclassroom.blog/2020/04/22/visualization-and-creative-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00062.warc.gz", "language": "en", "language_score": 0.9662641882896423, "token_count": 514, "score": 3.984375, "int_score": 4}
{"text": "Literature refers to written creative work, particularly those which have a high and enduring value. It is known for its form in which the message is presented or communicated and its content. Prose and poetry are the two common forms of literature; wherein prose is written work, which contains sentences and paragraphs, and does not have any metrical structure. As against, poetry is a genre of literature which is based on a particular form, that creates a rhyme.\nThe basic difference between prose and poetry is that we have sentences and paragraphs, whereas lines and stanzas can be found in a poetry. Further, there is regular writing in prose, but there is a unique style of writing a poetry.\nWe can find prose in newspaper articles, blogs, short stories, etc., however, poetry is used to share something special, aesthetically. To know more on this topic, you can read the other differences below:\nContent: Prose Vs Poetry\n|Basis for Comparison||Prose||Poetry|\n|Meaning||Prose is a straight forward form of literature, wherein the author expresses his thoughts and feelings in a lucid way||Poetry is that form of literature in which the poet uses a unique style and rhythm, to express intense experience.|\n|Language||Straight Forward||Expressive or Decorated|\n|Essence||Message or information||Experience|\n|Purpose||To provide information or to convey a message.||To delight or amuse.|\n|Ideas||Ideas can be found in sentences, which are arranged in paragraph.||Ideas can be found in lines, which are arranged in stanzas.|\n|Paraphrasing||Possible||Exact paraphrasing is not possible.|\nDefinition of Prose\nThe prose is an ordinary writing style in literature, which encompasses characters, plot, mood, theme, the point of view, setting, etc. making it a distinctive form of language. It is written using grammatical sentences, which forms a paragraph. It may also include dialogues, and is sometimes, supported by images but does not have a metrical structure.\nProse can be fictional or non-fictional, heroic, alliterative, village, polyphonic, prose poetry etc.\nBiography, autobiography, memoir, essay, short stories, fairy tales, article, novel, blog and so forth use prose for creative writing.\nDefinition of Poetry\nPoetry is something that arouses a complete imaginative feeling, by choosing appropriate language and selective words and arranging them in a manner that creates a proper pattern, rhyme (two or more words having identical ending sounds) and rhythm (cadence of the poem).\nPoetry uses an artistic way to communicate something special, i.e. a musical intonation of stressed (long sounding) and unstressed (short sounding) syllables to express or describe emotions, moments, ideas, experiences, feelings and thoughts of the poet to the audience. The structural components of poetry include lines, couplet, strophe, stanza, etc.\nKey Differences Between Prose and Poetry\nThe difference between prose and poetry can be drawn clearly on the following grounds:\n- Prose refers to a form of literature, having ordinary language and sentence structure. Poetry is that form of literature, which is aesthetic by nature, i.e. it has a sound, cadence, rhyme, metre, etc., that adds to its meaning.\n- The language of prose is quite direct or straightforward. On the other hand, in poetry, we use an expressive or creative language, which includes comparisons, rhyme and rhythm that give it a unique cadence and feel.\n- While the prose is pragmatic, i.e. realistic, poetry is figurative.\n- Prose contains paragraphs, which includes a number of sentences, that has an implied message or idea. As against, poetry is written in verses, which are covered in stanzas. These verses leave a lot of unsaid things, and its interpretation depends upon the imagination of the reader.\n- The prose is utilitarian, which conveys a hidden moral, lesson or idea. Conversely, poetry aims to delight or amuse the reader.\n- The most important thing in prose is the message or information. In contrast, the poet shares his/her experience or feelings with the reader, which plays a crucial role in poetry.\n- In prose, there are no line breaks, whereas when it comes to poetry, there are a number of line breaks, which is just to follow the beat or to stress on an idea.\n- When it comes to paraphrasing or summarizing, both prose and poetry can be paraphrased, but the paraphrase of the poem is not the poem, because the essence of the poem lies in the style of writing, i.e. the way in which the poet has expressed his/her experience in verses and stanzas. So, this writing pattern and cadence is the beauty of poetry, which cannot be summarized.\nHow to remember the difference\nThe best trick to remember the difference between these two is to understand their writing style, i.e. while prose is written ordinarily, poetry has aesthetic features, and so it has a distinctive writing pattern.\nFurther, the prose is that form of language which expansively conveys a message or meaning by way of a narrative structure. On the contrary, poetry is such a form of literature, with a unique writing format, i.e. it has a pattern, rhyme and rhythm.\nIn addition to this, prose appears like big blocks of words, whereas the size of poetry may vary as per the line length and the poet\u2019s intention.", "id": "<urn:uuid:dd59c0a9-04c0-4e72-926d-5133195f2602>", "dump": "CC-MAIN-2021-17", "url": "https://keydifferences.com/difference-between-prose-and-poetry.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00544.warc.gz", "language": "en", "language_score": 0.9423382878303528, "token_count": 1179, "score": 3.671875, "int_score": 4}
{"text": "Back in the days, families mostly lived in large households with at least three generations under the roof. Today, grandparents usually live apart from their children and grandchildren and so visiting grandma and grandpa is a holiday: it\u2019s a magical land that smells of freshly baked cookies and apple pie and where everything is allowed.\nHowever, children need to learn how to be empathetic and understand that there are times they have to put someone\u2019s needs before theirs. Along with good intentions and pure hearts of grandparents, there are bad influences from peers and the outer world. There exist a risk that a child will become inconsiderate and spoiled. Here\u2019s how you can set a solid foundation for your kids growing up into responsible adults that genuinely care and understand positions of elderly while nurturing respect for them.\nBe a good role model\nKids are observational learners so you have to be extremely cautious about how you act when they are around. In their perspective, the way you treat others (especially your parents) is the pattern of desirable behavior. Unfortunately, kids are more prone to mirroring aggressive and negative behavior but if you create a positive environment \u2013 they won\u2019t get the chance to pick up the bad habits. They are still forming and so you have to teach them the difference between right and wrong, not just by talking to them \u2013 but by practicing what you preach. The way you communicate with your parents or how willing you are to compromise when needed \u2013 all of it is processed by your children and so they act accordingly in their own personal relationship with grandma and grandpa.\nEncourage them to help\nThe phase of egocentrism is completely natural for preschoolers as they need time for cognitive development and learning about other people\u2019s feelings or thinking. They are yet incapable to fully comprehend their position in the world, the position of others, and the relationships in between as they cannot simply abandon their perspective. To support them in doing so, gradually introduce them to chores and help them realize they can make a difference. Encourage them to help in home care as they will also bond with their grandparents, make them clean their room or do simple chores like watering plants or fluffing the pillows. Most importantly \u2013 show appreciation for their work. If you react positively to their efforts, they will understand their actions are good. When they start doing more demanding work around the house, they will value what you do for them more. This is how you teach responsibility and empathy.\nCelebrate the art of conversation\nKids are curious by nature so they are prone to asking questions. The fact is, grandparents might seem as they are from another world to them and that their worlds don\u2019t overlap in any way. Start by talking about your parents\u2019 lives and your children will realize they have a lot more in common with them than they thought. When you spark an interest this way, your kids will surely want to know more about it from grandma and grandpa themselves. That is where the magic of storytelling kicks in. It is the greatest way for the two generations to bond: kids will build respect (and amazement) for their grandparents\u2019 accomplishments from the past. They will gain a better understanding of their grandparents\u2019 life paths which may trigger a new perspective and help them become more engaged and respectful.\nLet them be\nAs adults, we tend to urge our kids to realize great truths about life, even though they have to do it in their own pace. All you can really do is arm them with love and good moral foundation, but they have to figure it out on their own. It helps if grandma and grandpa set some boundaries and try to teach them about great values and the importance of family. Building this relationship takes time, even though we sometimes want to rush it. Our adult perspective makes us aware of just how short life is but to kids \u2013 it feels as they will be forever young and never become grandparents on their own. Encourage frequent visits and let the communication follow its natural course. The moment you start forcing anything, your kids will start perceiving going to grandma and grandpa as an obligation.\nIt can be challenging to bring up caring and respectful kids in today\u2019s world. Follow these tips and have faith your child will find their way.\nToday\u2019s post was written by a guest writer by the name of Zara Lewis (@ZaraELewis). Zara is a mom, fitness & yoga enthusiast, caregiver to her mother-in-law and a regular writer for High Style Life. She is devoted to implementing healthy life habits in every aspect of her life and that of her family and friends.\nShe loves to share her parenting tips and is always open to learning some new skills because she sees her parenthood as going to school forever. She enjoys traveling, hiking, cycling, and baking.", "id": "<urn:uuid:3424f656-c29b-4632-aa05-694b57f296e5>", "dump": "CC-MAIN-2021-17", "url": "https://thediaryofanalzheimerscaregiver.com/teaching-kids-respect-responsibility-care-elderly/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00260.warc.gz", "language": "en", "language_score": 0.9734708070755005, "token_count": 990, "score": 3.5625, "int_score": 4}
{"text": "This section provides information on keeping your preschooler healthy (children aged three to five).\n- Nutritious meals and snacks based on the Canada Health Guide will help preschool children develop healthy eating habits and provide nutrients needed for healthy growth.\n- Preschoolers need to exercise their large muscles often. Give them time and space for activities like running, climbing, jumping, dancing, and swimming.\n- Preschoolers are ready to develop fine motor skills like holding a crayon, using scissors, zipping zippers, doing up buttons, and tying laces. Age-appropriate toys and activities will help them practice these skills.\n- Parenting preschool children involves caring for their social and emotional development.\n- Regular check-ups with your family doctor and public health nurse are important for ensuring your preschooler\u2019s good health and development. Immunizations, as well as vision, speech, and hearing tests should be done before your child enters school.\nView PDF of slides Healthy Babies and Children, Island Health May 2018\nHealthy food is essential for growing children but, like you, your child\u2019s relationship to food is not just nutritional. Choosing, preparing, and enjoying food is often a family affair. Many children show their first signs of independence at mealtime.\nYou can help your preschooler develop healthy eating habits and attitudes toward food\n- provide your preschooler with a healthy range of foods following recommendations in the Canada Health Guide\n- preschool children need routines\n- regular and frequent meal and snack times give them the nutrition they need and help them develop healthy eating habits\n- allow your preschooler to make decisions about food\n- offer healthy choices and allow them to decide how much they need to eat\n- model healthy eating habits, a healthy body weight and positive self-image for your child\n- respect the food preferences of your child, but also encourage her to try new things to develop their sense of taste and acceptance and enjoyment of new foods\n- avoid using food to bribe, comfort, or control your child\nAs your child grows, her need for your guidance expands and becomes more complex. Like babies, preschoolers need plenty of physical affection, comfort, and security. They also need your help to start developing social and emotional maturity.\nLearning about child development will give you reasonable expectations for your child and help you find ways to nurture healthy development.\nEvery child-parent relationship is different. Consider how your child\u2019s temperament and your own parenting style interact.\nPreschoolers respond best when parents praise positive behaviour and give consistent, reasonable consequences for negative behaviour. Research continues to show that even light physical discipline harms a child\u2019s mental and emotional health.\nNurturing your child includes supporting learning, as well as the development of social skills and emotional changes.\nBetween the ages of three to five, preschool children are ready to take small steps toward emotional maturity. Parents can help nurture their preschooler\u2019s budding self-control, stress-handling skills, and confidence. Keep in mind these skills are brand new so your expectations should be reasonable.\n- at the end of your child's second year, typically the year of the tantrum, your child will start to be able to control her impulses\n- over the next few years, you can help by encouraging your preschooler to take turns, giving routines they can understand and follow, involving them in family decision-making and problem-solving and teaching to control aggressive behaviour\n- nurturing and soothing attention during the baby years set the foundation for a preschooler\u2019s ability to handle normal stress and anxiety\n- continue to respond quickly and positively to your child\u2019s needs for affection, comfort and security\n- preschoolers\u2019 new physical and social competence make them eager to participate in the grown-up world\n- support your child\u2019s increasing confidence by letting them handle new situations and try new things\nYou are your child\u2019s first teacher. By the time he is a preschooler, you\u2019ve already taught him to walk and speak, two of the most difficult things a child will ever learn. You do not need a certificate in education to continue teaching your preschooler new things.\n- encourage, support and praise curiosity, imagination, and exploration\n- these will fuel your child\u2019s excitement for learning for the rest of her life\n- take time to enrich activities like baking, repairing the home and walks in your neighbourhood by teaching your child what you know\n- every new day provides hundreds of opportunities for your child to develop vocabulary, problem-solving skills and number skills\n- read with your child\n- the single most important thing a parent can do to ensure a child\u2019s healthy intellectual development is to read to them every day\n- read picture books, instructions, signs, cereal boxes, comics, newspapers and menus\n- visit the library in your community often so your child has new, interesting things to read\n- use play time to help preschoolers develop the skills they will need to enter school\n- age-appropriate activities and toys build fine motor skills like holding a crayon, using scissors, zipping, buttoning and tying laces\nThe preschool years mark the beginning of your child\u2019s move from a \u201cme-centred\u201d universe into awareness of the world of others. They need you to nurture healthy social skills and encourage positive interactions with other people.\n- language and communication skills will form the basis of your child\u2019s relationships with other people\n- help your preschooler develop social skills simply by talking with him and actively listening to them\n- encourage conversations through storytelling and asking open-ended questions\n- preschool children are now learning to control their impulses - this is crucial for the development of age-appropriate social skills\n- praise your child when she shares and waits their turn\n- encourage your child to develop empathy for others by using teaching and explanation to discipline\n- help them take another person\u2019s perspective and feel concern for a victim\n- find organized and unorganized activities where your preschooler can interact with other children", "id": "<urn:uuid:d9993e17-02c6-41fa-adcf-cc3d854136ad>", "dump": "CC-MAIN-2021-17", "url": "https://www.islandhealth.ca/learn-about-health/children-youth/preschool-age-children-0-5-years-old", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039375537.73/warc/CC-MAIN-20210420025739-20210420055739-00140.warc.gz", "language": "en", "language_score": 0.9464890360832214, "token_count": 1247, "score": 3.71875, "int_score": 4}
{"text": "What is Virtual Reality?\nVirtual reality (VR) is the experience where users feel immersed in a simulated world, via hardware\u2014e.g., headsets\u2014and software. Designers create VR experiences\u2014e.g., virtual museums\u2014transporting users to 3D environments where they freely move and interact to perform predetermined tasks and attain goals\u2014e.g., learning.\nTo create great VR experiences, it\u2019s vital to design with a first-person perspective in mind.\nVR\u2014Entering New Worlds Through Equipment\nIn VR design, your goal is for users to experience an alternative existence through whichever senses your design can access. The more your design reaches your users through\u2014particularly\u2014sight, hearing and touch, the more immersed they will be in virtual reality. You therefore want to isolate users as far as possible from the real world.\nVR\u2019s history began with the View-Master (a stereoscopic visual simulator) in 1939 and Morton Heilig\u2019s 1950s\u2019 Sensorama multi-experience theatre. The development of the first head-mounted display (HMD) followed in 1968. Then, designers focused on professionally geared applications in the 1970s and 1980s. With more sophisticated technology, they could tailor computerized VR experiences to the fields of military training, medicine and flight simulation. After 1990, just after \u201cVirtual Reality\u201d became popularly known, VR entered the wider consumer world through video-games. VR has since become progressively more affordable and sophisticated.\nVirtual Reality vs Augmented Reality vs Mixed Reality\nIn virtual reality, you isolate the user from the real world and create presence in a virtual environment.\nVR differs from augmented reality, where users remain anchored in the real world but experience computerized overlays. AR and VR\u2014along with mixed reality (MR), where users interact with digital elements which are anchored to the real world\u2014come under the umbrella term extended reality (XR). In AR, users employ devices (e.g., smartphones) to find parts of the real world (e.g., a room) overlaid with computer-generated input. Designers insert a range of digital elements such as graphics and GPS overlays which adjust to changes in the user\u2019s environment (e.g., movement) in real time. In MR, users have a more sophisticated experience where digital interplays with real-world content\u2014e.g., surgeons operating on patients via projected ultrasound images. In VR, users\u2019 real-world movements translate fully to preprogrammed environments, letting them play along with convincing VR illusions. So, in VR design you offer users near-total escapism.\n\u201cVirtual Reality is really a new communication platform. By feeling truly present, you can share unbounded spaces and experiences with the people in your life. Imagine sharing not just moments with your friends online, but entire experiences and adventures.\u201d\n\u2014 Mark Zuckerberg, Facebook\u2019s CEO\nVR\u2014Designing to Dupe the Senses\nIn VR, you have three \u201cgenres\u201d to reach users:\n- Hyper-immersive or emotion-based designs (which can involve scents).\n- Live-action-style POV (first-person point-of-view) documentaries (e.g., exploring virtual rainforests).\n- Games and gamified experiences.\nTo design VR experiences, you must understand human physiology and psychology\u2014users\u2019 needs, limitations, etc.\u2014and what makes VR experiences enjoyable versus unpleasant.\nYou should focus on:\n- Believability\u2014Incorporate features (principally images and sound) to envelop users entirely in 3D environments.\n- Interactivity\u2014Make designs intuitive; remove outside-world interference. While you\u2019re presenting brand-new environments, how users interact with these must match what they\u2019re used to doing in the real world (e.g., punches are still punches).\n- Explorability\u2014Ensure users can freely move about and discover the \u201creality\u201d offered.\n- Immersiveness\u2014By combining the above factors, you achieve the goal: inserting users\u2019 presences in your design.\nThroughout the design process, you should consider:\n- Safety and Comfort\u2014Prevent virtual-reality sickness (like motion sickness, but stemming from sensory conflict/triggers from artificial environments). You want to immerse users in a\u2014virtually\u2014hermetically sealed environment. However, they can become disoriented. Users\u2019 bodies are different. Where they experience VR can be just as varied. When they can move freely using your design, they can collide with/trip over things or fall. While some devices\u2014e.g., the HTC Vive\u2014warn users about objects, don\u2019t overlook safety. Neck strains can arise from headset use. Additionally:\n- Let users see and use controls/menus.\n- Avoid changes in brightness and speed (don\u2019t accelerate users; avoid flashing lights).\n- Keep frame rates high.\n- Keep peripheral motion minimal\u2014users typically have 180-degree vision.\n- Interaction and Reaction\u2014Design ergonomically for users\u2019 natural movement. Systems\u2019 head-tracking, motion-tracking and (possibly) eye-tracking sensors and hand controllers must respond dynamically. That means they must offer instant control which reflects real-world behavior. Users\u2019 arms have 50\u201370-cm reach; so, place key interactions in this zone.\n- Image and Text Scale\u2014Prevent eye strain and help user orientation with depth perception: your visuals keep changing, so make images more detailed as users approach them. Use eye-catching text. Comfortable focusing distances are typically 0.5\u201320 meters.\n- Sound\u2014Use sound for atmosphere, and to give users a sense of place in the environment and cues.\nAs VR keeps advancing into the mainstream, a demographic shift is inevitable as more users expect to be teleported into exciting new experiences.The less they sense your interface, the more immersed they become.\nLearn More about Virtual Reality\nLearn how to design your own VR experiences with our course: How to Design for Augmented and Virtual Reality\nAn award-winning designer\u2019s insights into VR UX, with tips and tools including frameworks: https://medium.com/inborn-experience/how-to-design-for-virtual-reality-66d62e88791\nSmashing Magazine\u2019s in-depth approach to VR UX design: https://www.smashingmagazine.com/2017/02/getting-started-with-vr-interface-design/\nA well-stocked resource on VR design, including finer points (e.g., terrain features): https://blog.marvelapp.com/design-practices-virtual-reality/\nLiterature on Virtual Reality\nHere\u2019s the entire UX literature on Virtual Reality by the Interaction Design Foundation, collated in one place:\nLearn more about Virtual Reality\nTake a deep dive into Virtual Reality with our course How to Design for Augmented and Virtual Reality .\nAugmented reality (AR) and virtual reality (VR) are quickly becoming huge areas of technology, with giants like Apple, Microsoft and Google competing to provide the next big AR or VR experience. Statista predicts that the worldwide user base for AR and VR will reach 443 million by 2025, meaning that it is becoming increasingly important for UX designers to know how to create amazing VR and AR experiences. Designing for 3D experiences will require completely new ways of thinking about UX design\u2014and the question is, are you well equipped to tackle this new field of design?\nThe good news is that while AR and VR hardware and software is changing dramatically, UX principles and techniques for 3D interaction design will remain consistent. It\u2019s just that new opportunities and sensitivities will present themselves to designers and developers. This course will give you the 3D UX skills to remain relevant in the next decade and beyond. You\u2019ll be able to create immersive experiences that tap into the novel opportunities that AR and VR generate. For example, you will need to bring together key UX concepts such as emotional design, social UX, and gamification in order to create an immersive AR or VR creation.\nAR and VR need to be easy to use in order to provide users with experiences that wow. Avoiding common usability mistakes and applying the principles of storytelling will help you carefully craft 3D experiences that delight, intrigue, amuse, and most of all evoke the response you intended. You\u2019ll need to engage users in first-person narratives by making use of spatially dynamic UI\u2019s, including gaze, gesture, movement, speech, and sound\u2014often used in combination.\nDuring the course, you will come across many examples and case studies from spatial and holographic interface designers. You will master how to create immersive 3D content for AR and VR that provides rich user experiences. The course offers exercises and challenges throughout, all aimed at helping you and/or your team practice your emerging or existing AR/VR skills. You will be taught by Frank Spillers, who is a distinguished speaker, author, and internationally respected senior usability practitioner with over 15 years of experience in the field.\nAugmented Reality \u2013 The Past, The Present and The Future\n- 926 shares\n- 6 mths ago\nHow to Design Gesture Interactions for Virtual and Augmented Reality\n- 475 shares\n- 10 mths ago\nHow to Create Design Plans for Virtual and Augmented Reality Experiences\n- 427 shares\n- 1 year ago", "id": "<urn:uuid:088d0814-d938-48ae-9c60-a2d78fe08f86>", "dump": "CC-MAIN-2021-17", "url": "https://www.interaction-design.org/literature/topics/virtual-reality", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00424.warc.gz", "language": "en", "language_score": 0.8927484750747681, "token_count": 1978, "score": 3.546875, "int_score": 4}
{"text": "20 critique the work of self and others through observation and expression of specific detail\nby Karen Loftus\nStudents are introduced to, analyze, and explore the history, characters, and style of Commedia dell\u2019arte. Commedia Dell\u2019Arte is a theatre history unit mixed with improvisation, physicalization, and exploring specific characters.\nIn this unit, we\u2019re going to focus on three main aspects:\n(1) Causes and Effects of Commedia (History), (2) Stock Characters, (3) Commedia Performance Practices.\nThe unit culminates in a commedia performance. A rubric is included for the project as long as journal prompts and exit slips. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.\nby Annie Dragoo\nUnderstanding basic improvisation skills will help musical theatre performers understand that musical theatre is more than just singing and dancing. It\u2019s about using all the tools (voice, body, and mind) an actor has at their disposal to create a character.\nThis unit focuses more on the improv aspect rather than the musical theatre aspects - in fact students need no prior musical theatre knowledge. Annie Dragoo, creator of the unit, uses this material as her first unit in her musical theatre class. It\u2019s a great introduction and will get your students in the right frame of mind to approach musical theatre.\nThe lessons explore a variety of improv skills such as vocal responses, movement, character study, sensory awareness and culminate in an improv scene and unit essay.\nby Lindsay Johnson\nStudents will understand the basic building blocks of a scene: The Who (characters/ relationship), the Where (setting), and the What (conflict \u2013 objectives/tactics). They will learn how to use both verbal and nonverbal (pantomime) clues to communicate these scene details to an audience. They will continue to work on voice clarity, while also learning to open their body to an audience. The unit culminates in a performance assessment in which students work in pairs to improvise a scene.\nby Laramie Dean\nInstructor Laramie Dean uses this unit as the final project for his Drama 2 students. Drawing upon any of the skills students have developed throughout they create a product that could be used within a new piece of musical theatre.\nStudents start by analyzing three musicals, study guides included, and practice creating musical elements. They are then giving class time to prepare in groups as many elements as their can for a new musical using devised theatre techniques.\nThere are 24 lessons in this unit which culminates in a final assessed performance.\nby Gai Jones\nIn \"Working With Monologues For Rehearsal And Development\" you will develop ten sessions of study on monologues. The study contains the definition and history of the monologue; monologue vocabulary; analysis of a practice monologue, staging a short monologue; working with musical theatre lyrics as a monologue; writing short autobiographical monologues.\nAt the end of this course, you will have a curriculum which can be used as introduction to monologue work. You'll outline a curriculum for your classroom and tie the learning benchmarks to the new National Theatre V&PA standards, as well as to Ontario and BC curriculum expectations.\nby Jennine Profeta\n\u201cYes, and\u2026\u201d is the guiding principle behind all improv. This course will teach you how to teach improv, and more importantly how to give feedback to your students. The course looks at making strong offers and also using gibberish to ironically improv communication skills. You will also see how feelings can safely be used to add flavour and get laughs in our scenes.\nJennine Profeta, Second City performer and theatre educator, leads this course with a clear methodology for teaching and giving positive nurturing feedback. This course will give you all the tools and the insight you need to teach improv with confidence.\nby Jennine Profeta\nSecond City performer and theatre educator Jennine Profeta is back and ready to help you take your Improv classes to the next level. It\u2019s all getting students to perform - and how to be a great improv coach who can keep them supported and grounded (and having fun!)\nIn this course, you\u2019ll learn the golden rules of improv. You\u2019ll learn a bunch of improv games (great for warm-ups, teaching tools, and even for competitions). You\u2019ll learn Jennine\u2019s tips and tricks for what to look for when coaching and how to troubleshoot common issues.\nThe course is designed to help you improv as an ensemble and give you the know-how to coach with confidence whether it\u2019s in the classroom or on the stage!\nby Colin Oliver\nColin Oliver leads this introduction to teaching Musical Theatre in the Drama Classroom.\nIn this course, you will learn how to build musical theatre into your dramatic courses of study. \u201cWhy might you want to do that? Singing is scary! You want me to teach my students how to do it? I don\u2019t even know how to do it.\u201d This course approaches musical theatre preparation performance much as we would approach preparing a monologue in drama. If you use script analysis in monologue preparation in your class, you can teach musical theatre.\nBy the end of this course, you\u2019ll have a great, full-body physical warm-up, a student-driven research assignment, character development exercises, a little bit of musical theory, and a performance assignment complete with assessment.\nSo, join us for teaching Musical Theatre in the Drama Classroom. It\u2019s as easy as Do-Re-Mi!", "id": "<urn:uuid:2b9e0f37-cb11-4be3-9ea6-ba612b863bc4>", "dump": "CC-MAIN-2021-17", "url": "https://www.theatrefolk.com/dta_standards/702", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00462.warc.gz", "language": "en", "language_score": 0.9322867393493652, "token_count": 1178, "score": 3.953125, "int_score": 4}
{"text": "Author: Katie Smith Milway\nIllustrator: Sylvie Daigneault\nPublisher: Kids Can Press (September 1, 2010)\nAudience: Ages 8-12 (grades 3-7)\nSummary: Maria Luz and her family are poor farmers who live in the hills of Honduras. Each day Maria works beside her father in tending the garden that provides food for their family. When growing conditions worsen and the garden stops producing, Maria\u2019s father must leave home to find work in another city, leaving her to tend the garden and deal with the local coyote who serves as an unscrupulous middle man to the local farmers. When a new teacher arrives at Maria\u2019s school, he teaches the children and their families about sustainable farming practices that will change their gardens and ultimately their lives. With patience and hard work, gardens start to thrive and produce bountiful harvests and a community is transformed.\nLiterary elements at work in the story: This book is based on the lives and stories of real families living in the hills of Honduras. Written in the present tense, this story is one that could be repeated throughout the world as families with food insecurities struggle to survive. In juxtaposition to the harshness of the storyline, the lush artwork brings life and hope to the story in some very clever and intricate ways. One example is the depiction of the coyote who is drawn as a man\u2019s body with an animal head.\nHow does the perspective on gender/race/culture/economics/ability make a difference to the story: The Good Garden is a simple story about a big issue: food insecurity. Though set in the hills of Honduras, this story is replicated around the world as farmers struggle to grow enough food to feed their families. This is a story that has little to do with race and much to do with the social injustice of our food distribution systems throughout the world. To that end, the author provides two pages at the end of the book with background on \u201cTending our Global Garden\u201d and adds several inspiring ways to make a difference in your local community. Links to global ministries such as World Vision and Heifer International provide readers with connecting points to the food insecurity issues that are worldwide and the mission agencies working on the front lines to combat these issues.\nTheological Conversation Partners: Jesus had much to say about feeding the hungry and treating the poor with respect and fairness. He was moved with compassion on the hillside when he told his disciples to find food to feed the 5,000 gathered there (Matthew 14:13-21) and drove home his point about caring for others in Matthew 25:35-30 when he said, \u201cJust as you did it to one of the least of these who are members of my family, you did it to me.\u201d Perhaps the pinnacle of Jesus\u2019 views on the poor comes in Luke 4:16-30 when Jesus reads the words from Isaiah 61:1-2, \u201cThe Spirit of the Lord is upon me, because he has anointed me to bring good news to the poor. He has sent me to proclaim release to the captives and recovery of sight to the blind, to let the oppressed go free, to proclaim the year of the Lord\u2019s favor.\u201d Jesus then proceeds to say, \u201cToday this scripture has been fulfilled in your hearing.\u201d\nIf we take the words and actions of Jesus seriously, we cannot turn a blind eye to the needs of those living around us who are living with food insecurity and injustice. As followers of Christ, caring for others should come as second nature \u2013 filled with joy and hope for all that can be accomplished with a little perseverance and dedication.\nFaith Talk Questions:\n- Maria worked alongside her father in caring for the family garden. Have you ever cared for a garden? If so, what did your garden grow? Was it enough to feed your family? Who helped you tend the garden?\n- Maria\u2019s family depended on their garden to produce enough food to feed their family. Imagine you lived in a family like Maria\u2019s. How much food would you have to grow in a garden to feed your family? How much land would it take? Who would do the work required to tend the soil and help the garden grow? How long could your family \u201clive off the land\u201d before having to look elsewhere for food?\n- There are many people living in the world who don\u2019t have enough food to feed their families and they depend on the kindness of others to help them survive. How are the food insecure families cared for in your community?\n- What can you do to follow the teaching of Jesus to \u201cfeed the hungry and help the poor?\u201d Talk with your family about ways you can help others in your community and learn more about the organizations who are reaching out to feed hungry people around the world.\nThis review is written by regular contributor Krista Lovell.", "id": "<urn:uuid:e3aff23b-c3a7-4601-aed4-73ad4f2e869c>", "dump": "CC-MAIN-2021-17", "url": "http://storypath.upsem.edu/the-good-garden-how-one-family-went-from-hunger-to-having-enough/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00462.warc.gz", "language": "en", "language_score": 0.972211480140686, "token_count": 1020, "score": 3.546875, "int_score": 4}
{"text": "Access thousands of brilliant resources to help your child be the best they can be.\n1. The rules of writing. I always tell students that there are no set rules for writing and they can write whatever they like. I don't subscribe to the notion that all good stories must have, for example, an attention-grabbing opening, a turning point, a twist at the end and an extended metaphor. Helping Your Child with Creative Writing Assignments. Creative writing assignments require a tot of time, not only from the student but from the teacher as well, who must grade for content, grammar, spelling, and punctuation. Fun Summer Idea for Kids: Writing/Journaling; 5 Tips to Help Students Write Better Papers;. Creative writing plays an important role in a child's literacy development. This article makes suggestions for the instruction and evaluation of children's stories.\nWriting Creative writing expresses ideas and thoughts in an imaginative way. This type of writing is meant to entertain the reader.\nBeing creative and pretending is part of being a human but for some, it takes a little more encouragement. At times though, children can have difficulties putting their words down on paper for assignments in a timely fashion.\nCreating an environment at home that fosters these skills can help them become a successful writer. Here are a few ways to help your child become a better creative writer: Give your child enough time to be creative Creative writing requires higher-level thinking from your child.\nTake a look at his or her schedule and be sure that your child has enough time to brainstorm writing ideas.\nEncourage your child to spend time writing down thoughts on the different elements of his or her piece. Create a writing environment Becoming a creative writer takes practice and needs interest. Setting up an environment at home can help support this success.\nHaving writing materials that are readily available and interesting are important. Keeping a writing journal handy is a great way to capture those thoughts, even in the car.\nOne big tip is to play games at home that build vocabulary skills. Kids can get pretty creative. Use visual images for writing prompts Images spark our imagination, so why not use them for creative writing? Keep a collection of images from magazines and even store flyers to prompt writing when your child needs encouragement.\nOne tip is to create a Pinterest Board filled with images for writing prompts. These could easily become a good prompt for a poem. Write first and then edit later Creative writing requires a little bit more freedom with our thoughts.\nAs your child is creating, encourage him or her to just write it down and worry about editing later.\nIf your child is having trouble keeping up with a personal creative process, use a microphone from your computer or phone to record the story and then listen and write it down in the next step.\nWhen we support children in a creative environment, their creative writing skills will become a part of their everyday. Creative writing requires practice and supports at all ages.Creative Writing Write to Win Hearts.\nWant to delight readers? Welcome! You'll find what you need here: free creative writing ideas and writing prompts to get your creative juices going, and creative writing tips and writers' resources to help you write your best book ever. Enjoy yourself.\nWe also offer Editing and Proofreading services if you need help with your book.\nStrong writing skills are essential for success in school, college, and on the job. In 99 Ways to Get Kids to Love Writing, educator Mary Leonhardt provides parents with practical, easy-to-follow tips on how to teach their children the fundamentals of writing and make it fun for them at the same time.\nIn the first creative writing prompt article, we shared with you 65 creative writing ideas, in the second article, we explored 62 more creative writing prompts, in the third article you will discover a list of 61 writing prompts for kids, and in the fourth article we share 63 more creative writing ideas for kids.\n1. The rules of writing. I always tell students that there are no set rules for writing and they can write whatever they like.\nI don't subscribe to the notion that all good stories must have, for example, an attention-grabbing opening, a turning point, a twist at the end and an extended metaphor. Aug 31, \u00b7 How to Improve Your Child's Creative Writing Skills.\nFour Methods: Encouraging Your Child to Love Writing Playing Creative Writing Games Helping Your Child Find Things to Write About Building Essential Writing Skills Community Q&A. The ability to write well is vitally important to your child's success in life%(86). Learning to write is one of the most important skills kids can learn.\nAnd most kids enter school with an enthusiasm for writing\u2014as a way to express themselves. Creative writing not only allows.", "id": "<urn:uuid:1491daca-0604-4e5c-abb1-33ac2b9752db>", "dump": "CC-MAIN-2021-17", "url": "https://cyzakacarojyter.timberdesignmag.com/creative-writing-tips-for-kids-4201ht.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00464.warc.gz", "language": "en", "language_score": 0.9417577385902405, "token_count": 973, "score": 3.921875, "int_score": 4}
{"text": "Students that lack reading proficiency are taught with programs based on the Orton-Gillingham method including Scottish Rite Literacy Program and Wilson Reading Program.\nReading comprehension is taught explicitly, modeled and practiced daily. As our students advance, they continue a guided practice in a wide variety of reading material including the rich content of literature such as Percy Jackson and The Olympians series. Our curriculum includes specific strategies designed to strengthen reading comprehension.Visualizing, predicting, questioning, summarizing and drawing conclusions are routinely taught and practiced. Basic literary elements such as theme, plot, character development and setting are explored and discussed.\nSince skill in vocabulary is intrinsically linked to reading, the teaching of vocabulary is included in each grade\u2019s curriculum. This includes the study of vocabulary specific to the subject matter of math, social studies and science.\nWritten Expression is a vital part of Spring Valley\u2019s program. Our students learn and practice building strong sentences and basic paragraphs with increasing complexity. The steps of the writing process are taught and rubrics for good writing are established for each grade.\nSpring Valley uses the Educational Records Bureau (ERB) Writing Practice Program which provides a direct measure of each student\u2019s writing ability. This program allows each pupil the opportunity to work on areas of weakness by providing online tutorials.\nSpring Valley\u2019s computer lab is utilized to teach the importance of research as well as to develop the skill of keyboarding. Our students\u2019 book reports and PowerPoint presentations are all researched and developed utilizing our computer lab.\nThe major goal of Middle School mathematics is to further develop the students\u2019 understanding of basic mathematical concepts and procedures in preparation for upper level mathematics courses. Students are taught at a grade-appropriate level following the guidelines of the Alabama Course of Study as well as the Curriculum Focal Points of the National Teachers of Mathematics. The Big Ideas Curriculum is used in addition to the word problem strategies of the Singapore Math Program.\nAccording to the National Assessment of Educational Progress only about 30% of eight graders scored at or above proficiency level in math. In order to increase the achievement level of our students, each is tested at the beginning of the school year. An individualized math lab program is developed in order to close any achievement gap. Students take Math Lab in addition to their regular Math class.\nOur Middle School students are actively involved in an exploration of Earth and Space Science, Life Science or Physical Science. The courses are lab based providing an opportunity for hands-on experience. Students are taught to apply the scientific method and deductive reasoning.\nSpring Valley emphasizes the importance of the Social Studies. Classes for Middle School students include: United States History, 1877 to Present, Citizenship, Geography, and World History to 1500.\nPhysical Education is vital to the overall health of each child. In addition to daily outdoor play, students take part in organized activities designed to develop athletic skills.\nAt Spring Valley, we believe that the art curriculum fosters self confidence and expression for each child. Our art classes allow students the freedom to express themselves while offering enough direct instruction to be successful. Throughout the school year, our students\u2019 works are showcased.", "id": "<urn:uuid:10794688-a2f8-42f5-890b-c784cc5bc7a7>", "dump": "CC-MAIN-2021-17", "url": "https://www.springvalleyschool.org/academics-middle", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00104.warc.gz", "language": "en", "language_score": 0.9332135915756226, "token_count": 645, "score": 3.6875, "int_score": 4}
{"text": "- What is 1st 2nd and 3rd person?\n- What does writing in the first person mean?\n- How did the first person come on earth?\n- How do you use first person in a sentence?\n- What does Second Person mean in English?\n- Who is the first person to die in the world?\n- What does 1st person mean?\n- How do you speak in first person?\n- What words are used in second person?\n- What does third person mean in writing?\n- Is writing in first person bad?\n- What is 3 person point of view?\n- Who was the first person on earth?\n- What words can you not use in 3rd person?\n- Who was the first girl on earth?\nWhat is 1st 2nd and 3rd person?\nFirst, second, and third person are ways of describing points of view.\nFirst person is the I/we perspective.\nSecond person is the you perspective.\nThird person is the he/she/it/they perspective..\nWhat does writing in the first person mean?\n\u27a2 Writing in \u2018first person\u2019 means using personal pronouns in your writing (e.g. I, me, mine, we, us, our). For example: \u2018In this essay I argue that\u2019. \u27a2 Writing in \u2018third person\u2019 means removing personal pronouns from your writing and using. alternatives (e.g. he/she, them, their).\nHow did the first person come on earth?\nThe skeletons of these very early people have been found by archaeologists in places like Morocco in North Africa, Ethiopia and Kenya in East Africa, and in South Africa. So, one answer to your question is to say that the first person came from Africa around 200,000 years ago.\nHow do you use first person in a sentence?\nExamples of first person in a Sentence She always wrote in the first person. The sentence \u201cI was born in Maine\u201d is written in the first person.\nWhat does Second Person mean in English?\nSecond Person (in Grammar) The term \u201csecond person\u201d refers to the speaker\u2019s audience (i.e.,\u201dyou\u201d). The personal pronouns (\u201cI,\u201d \u201cyou,\u201d \u201che,\u201d \u201cshe,\u201d \u201cit,\u201d \u201cwe,\u201d \u201cyou,\u201d \u201cthey\u201d) are grouped into one of three categories: \u2026 Second person: \u201cyou\u201d Third person: \u201cHe/She/It\u201d and \u201cThey\u201d\nWho is the first person to die in the world?\nWilliam Francis Kemmler (May 9, 1860 \u2013 August 6, 1890) was an American peddler, alcoholic, and murderer, who in 1890 became the first person in the world to be executed by electric chair.\nWhat does 1st person mean?\nThe term \u201cfirst person\u201d refers to the speaker himself or a group that includes the speaker (i.e.,\u201d I,\u201d \u201cme,\u201d \u201cwe,\u201d and \u201cus\u201d). \u201cFirst person\u201d most commonly appears in the phrases \u201cfirst-person narrative,\u201d \u201cfirst-person point of view,\u201d and \u201cfirst-person shooter.\u201d\nHow do you speak in first person?\nIn ShortIf the text uses \u201cI,\u201d \u201cwe,\u201d \u201cme,\u201d \u201cus,\u201d \u201cmy,\u201d \u201cmine,\u201d or \u201cours\u201d as pronouns, then you have a first-person point of view.If it uses \u201cyou,\u201d \u201cyour,\u201d or \u201cyours\u201d as pronouns, then you have a second-person point of view.More items\u2026\nWhat words are used in second person?\nThe second person perspective is identifiable by the author\u2019s use of second-person pronouns: you, yourself, your, yours, or yourselves. Many second-person pronouns are both singular and plural, depending on the context. The second person point of view attempts to turn the reader into the character.\nWhat does third person mean in writing?\nWhen you are writing in the third person, the story is about other people. Not yourself or the reader. Use the character\u2019s name or pronouns such as \u2018he\u2019 or \u2018she\u2019.\nIs writing in first person bad?\nFirst person is not bad in itself, it\u2019s just harder. Third person, you can stay omniscient and emotionally uninvolved and it can read OK. You can bounce toward third person limited a bit and it can work out. It won\u2019t be great necessarily, but it doesn\u2019t highlight those weaknesses in your writing as much.\nWhat is 3 person point of view?\nIn third-person point of view, the author is narrating a story about the characters, referring to them by name, or using the third-person pronouns \u201che,\u201d \u201cshe,\u201d and \u201cthey.\u201d The other points of view in writing are first person and second person. Our Most Popular.\nWho was the first person on earth?\nAdamBiblical Adam (man, mankind) is created from adamah (earth), and Genesis 1\u20138 makes considerable play of the bond between them, for Adam is estranged from the earth through his disobedience.\nWhat words can you not use in 3rd person?\nFor academic purposes, third person writing means that the writer must avoid using subjective pronouns like \u201cI\u201d or \u201cyou.\u201d For creative writing purposes, there are differences between third person omniscient, limited, objective, and episodically limited points of view. Choose which one fits your writing project.\nWho was the first girl on earth?\nEveAccording to the origin story of the Abrahamic religions, she was the first woman. Eve is known also as Adam\u2019s wife. According to the second chapter of Genesis, Eve was created by God (Yahweh) by taking her from the rib of Adam, to be Adam\u2019s companion.", "id": "<urn:uuid:8c541ee0-9f2e-4eb2-9c83-333ff7ecb449>", "dump": "CC-MAIN-2021-17", "url": "https://geagreennews.com/qa/quick-answer-what-does-first-person-mean-in-english.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00624.warc.gz", "language": "en", "language_score": 0.9660931825637817, "token_count": 1321, "score": 3.515625, "int_score": 4}
{"text": "6 edition of How to Teach Students to Be Fluent Writers found in the catalog.\nNovember 4, 2004\nby Teacher Created Resources\nWritten in English\n|Contributions||JAN ALEXANDER (Contributor)|\n|The Physical Object|\n|Number of Pages||80|\nTeachers teach four word-identification strategies- phonic analysis, decoding by analogy, syllabic analysis, and morphemic analysis. 3. Teachers use instructional procedures, including repeated reading, choral reading, and independent reading, to develop students\u2019 reading fluency. 4. Teachers ensure that students become fluent readers by. How Effective Teacher Develop Fluent Readers 1. Teachers teach students to read and spell the high-frequency words. 2. Teachers teach four word-identification strategies- phonic analysis, decoding by analogy, syllabic analysis, and morphemic analysis. 3.\ntheir students and their individual learning needs, and they use this knowledge\u2014and their understanding of how children develop from emergent to beginning to fluent readers and writers\u2014to guide their teaching. This fourth edition of Literacy in the Early Grades: A Successful Start for PreK\u20134 Readers and Writers, provides. Again, summary writing doesn\u2019t come naturally, and when told to summarize, students will often either copy verbatim, write long, detailed \u201csummaries,\u201d or write excessively short ones missing key information. This occurs because students don\u2019t really know what a summary is or how to write one.\nLearning how to speak fluent, confident and natural English is an achievable goal. Every English learner is different, but there are a number of easy ways to improve in a reasonably short period of time. Learning English, but in a hurry? Try a lesson on Busuu today \u2013 it's fun, free and effective. 7 tips on speaking English fluently and. Creative writing students will probably arrive with a keen appreciation for great literature and favorite works, but a savvy teacher will review and introduce new literary works of art. Students will learn from the teacher and the masters who preceded them. Teach your students about a variety of writers and genres.\nEveryday life in ancient Egypt.\nTables of latitude and departure\nTaking appeals from selective service classifications.\nIron chef Chens knockout Chinese\nGuidelines for digital imaging\nperils of peace\nessay on the eminent services and illustrious character of Henry Clay ...\nMozart (Famous Children)\nInstructions in the methods of taking finger and palm prints\nHorse-drawn cabs and omnibuses in Paris\npoets tributes to Garfield\nSt. Patrick for Ireland.\nreport of an inquiry into certain matters connected with the creation of a separate division for the Ivbiosakon Area\nGenocide and vendetta\nSelection of materials and manufacturing processes for engineering design\nHow to Teach Students to Be Fluent Writers Paperback \u2013 November 1, by Bette Ross (Author), Jan Alexander (Contributor) out of 5 stars 1 rating. See all 2 formats and editions Hide other formats and editions.\nPrice New from 5/5(1). Teacher question I have a question regarding my school's reading program. My question today is about the reading portion of our literacy block and most specifically the partner reading and independent reading. I'm finding that my homogenous group of fourth-grade students aren\u2019t fluent readers.\nThe routine expectation is that partners take turns reading a paragraph at a time. Description. Help students overcome \"writing phobia\" and become fearless, fluent, and skillful writers. The book begins with sentence-building activities, provides lots of writing activities, and closes with suggestions for publishing as well as assessment guides.5/5(1).\nESL students often write sentences like these because they don\u2019t know what else to write, and because it\u2019s grammatically correct, they assume it\u2019s acceptable writing.\nAs ESL teachers, we need to be able to show students how to turn passages like this into clear, coherent sentences for their essays.\nWriting fluency is an important skill that students can develop with frequent practice. ESL students, especially new writers, sometimes hesitate to write for a variety of reasons including lack of practice and fear of errors, among others.\nLike any skill, the teaching of writing needs to be approached from a variety of angles. Teach Students to Become Fluent With Handwriting, Spelling, Sentence Construction, Typing, and Word Processing. Just as we have to provide time for students to write, we have to help students develop fluency in writing.\nStudents who struggle with handwriting, spelling, grammar, and typing have a difficult time getting their ideas down on paper. Writing fluency is the natural flow and organization of a written work. Fluent pieces of writing are easier and more enjoyable to read, as the words are organized in a logical fashion and the overall message of the piece is easier to understand.\nTeachers can help students in. Students then can choose the audience that best fits their writing topic. Teach students to emulate the features of good writing Students should be exposed to exemplary texts from a variety of sources, including published or professional texts, books and textbooks, the teacher\u2019s own writing.\nThe Writing Book is a teacher friendly guide to teaching writing at emergent, early and fluent levels. It includes practical information that will support primary and middle school teachers to plan and deliver an effective writing programme.\nChapter 1: Introduction \u2014 guiding principles and practices. ISBN: OCLC Number: Description: 80 pages: illustrations ; 28 cm: Responsibility: author, Bette M. Ross ; illustrator, Jose L.\nTapia. Discuss techniques teachers use to help students become more fluent writers. How Effective Teachers Develop Fluent Readers and Writers 1. Teachers teach students to read and spell the high-frequency words.\nTeachers teach four word-identification strategies- phonic. Chapter 6Developing Fluent Readers and Writers # Cust: PHOH/CHET Au: Tompkins Pg. Title: Literacy for the 21st Century: Teaching Reading and Writing in PreK-4 Server: Jobs4 C/ M/ Y/ K Short / Normal CARLISLEDESIGN SERVICES OF Publishing Services three: I\u2019m, can\u2019t, and d o n \u2019t.\nThe children use intera c t ive writing to. Step Provide class time for students to write out their steps and add illustrations on writing paper. Step Have students put covers on their books using the construction paper.\nStudents should also write a title and color the pages of their books. Step Keep all of the how-to books in one area of the classroom and encourage students. For strategies in writing introductions and conclusions, see MIT's Writing Center. For a checklist to help students edit their own writing for grammatical errors, see University of Wisconsin at Madison.\nProvide Examples. Use examples of good student writing to discuss with your students what makes these pieces of writing effective. Teach students techniques for writing effectively for different purposes. Recommendation 3. Teach students to become fluent with handwriting, spelling, sentence construction, typing, and word processing.\nTeach very young writers how to hold a pencil correctly and form letters fluently and efficiently. Teach students to spell words. This lesson discusses teaching strategies to improve students' reading and writing fluency, including retelling, content clues, step-by-step learning, comparing good and bad writing, and peer editing.\nAlthough listening to a book on tape may be an effective strategy for native speakers of English, it doesn\u2019t engage ELs. I find it is better to find websites with books that are read aloud as the students turn the pages and see the text and pictures.\nRead my blog 10 Online Resources to Improve EL Literacy. Choral reading. Teach these students new strategies such as identifying the central message, analyzing characters and their traits, making inferences or summarizing.\nRemember: Fluent readers are capable of metacognition, or \u201cthinking about thinking.\u201d Becoming aware of their own thought processes will help your students learn to monitor for meaning and use. This practice guide provides four recommendations for improving elementary students\u2019 writing.\nEach recommendation includes implementation steps and solutions for common roadblocks. The recommendations also summarize and rate supporting evidence. This guide is geared toward teachers, literacy coaches, and other educators who want to improve the writing of their elementary students.\nThe first lesson is a poem that your students are guaranteed to love. This poem is read to them, with them and independently by them. During this time you are teaching them to increase their reading fluency strategies. Learn how to scoop the phrases for fluent reading, discuss the meaning of the poem, and they put it in their poetry journals.\nEventually, students become empowered and will become more independent and fluent writers. When combined with reading activities Writing Workshop can create a powerful and motivating tool for teaching literacy.\nWriting workshop is not just journals, it\u2019s a lesson sequence that if followed can help achieve the goals listed above.Looking for lively, interactive ways to teach reading? This powerful new book can help. It opens with a clear, research-based rationale for teaching oral reading, stressing the connections among word recognition, fluency, and comprehension.\nFrom there, Rasinski provides the strategies themselves -- read aloud, repeated reading, performance reading, and many more.5/5(2).Very few native speakers will ever start writing at the top of the first page and continue straight through until they finish at bottom of the last one.\nThe entire process has five steps, but the first step in the writing process is coming up with your thoughts and ideas, also known as ting helps students gather ideas and give them a bank of possibilities for their writing.", "id": "<urn:uuid:7dec3d67-98e7-4e00-957d-61603a4e3bd2>", "dump": "CC-MAIN-2021-17", "url": "https://jipehycolowysef.virtuosobs.com/how-to-teach-students-to-be-fluent-writers-book-47534rp.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039554437.90/warc/CC-MAIN-20210421222632-20210422012632-00181.warc.gz", "language": "en", "language_score": 0.9259024858474731, "token_count": 2026, "score": 3.78125, "int_score": 4}
{"text": "Lesson-based guide to the concepts of peace research for you and for others specifically designed for children.\n5 Spheres of Peace: Peace is Right Relationships: Seeing the Big Picture\nThis activity was designed to help children connect their knowledge of peace to a concrete, action-oriented definition that is based upon the development of healthy, caring, interdependent and \u201cright relationships.\u201d Students are given the opportunity to explore the different types of relationships they experience in the world. As students begin to identify their personal, social, political, institutional, and ecological relationships they begin to think about the very nature of these relationships. Although some of these concepts may be new, such as \u201cinstitutional\u201d or \u201cpolitical\u201d relationships, this activity serves as an introduction to the idea that many different relationships beyond the walls of home and school play a role in our lives. During this activity, students play a game where they build a web of relationships. This web is a representation of our interdependence. As students recognize the many different types of relationships that influence their lives, they are challenged to think about how their individual choices and actions influence those relationships. Through this game, students not only begin to realize how these relationships are dependent upon one another but also how their actions can build peace.\nPersonal Peace 1: Act Out! Identifying the Emotions of Others\nStudents of all ages need practice in identifying and expressing their emotions. Young children often lack the vocabulary to express their emotions beyond words such as \u201chappy\u201d or \u201csad.\u201d When challenging emotions arise, the physical nature of young children can lead some to react physically through hitting, biting, or kicking. With intentional practice in identifying and expressing emotions, students will be better equipped to understand and articulate their wants and needs peacefully. In order for an individual to sustain personal peace they must recognize strong emotions serve as a signal to stop and think about how they want to respond to the situation at hand. This consciousness takes a lot of modeling to be put into daily practice. Storytelling and acting are engaging ways for students to practice stopping and thinking about emotions through taking on the challenges of characters within a story. In this lesson, students are given the chance to review vocabulary that can be used to describe their feelings, identify the feelings of others, and brainstorm multiple ways a character could peacefully respond to a challenging situation. With much practice students will begin to see the connection between their emotions and their actions. This recognition can help students build personal peace by acting upon these emotions in ways that nurture healthy relationships with themselves and others.\nPersonal Peace 2: Self-Reflective Practices through Art and Journaling\nPersonal peace is sustained through peace processes that help us reflect on our thoughts, feelings, and actions. These reflections increase our clarity, helping us to act upon those reflections in ways that are aligned with our personal values. This clarity also enables us to communicate our wants and needs more effectively with others bringing peace from our inner lives outward. In order for students to effectively communicate with others, they need to develop these peace practices. This activity will give students the opportunity to engage in two different ways of identifying and processing their emotions: art and journaling.\nSocial Peace 1: Perspective Taking: Understanding the Needs and Wants of Others\nMany conflicts have been waged over the inability to share scarce resources. This is true whether it be between children or nations. The most common conflicts between children are over sharing an object of desire. For children to begin problem-solving ways they can share resources, they need to first recognize the needs and wants of others. This lesson introduces students to the survival needs of all living creatures and compares differences in our personal wants. As described to students, needs may be for survival, such as food, clean water and air, or they could be emotional and physical needs. Wants fall more into the category of objects or experiences that make us feel momentarily happy but usually are not necessary for our long-term self-fulfillment. Thinking about the wants and needs of others is foundational for perspective taking, a capacity essential for conflict transformation. As students practice peacefully communicating needs and wants to others, they are taking important steps in building right relationships in the social sphere of peace.\nSocial Peace 2: I Feel: Communicating Needs and Wants\nIn lesson 4 (social peace 1) students learned that all people have needs and wants. The ability to communicate needs, wants, and emotions in ways others can respond to peacefully is important in building social peace. When a conflict arises, expressing emotions using \u201cI feel\u201d statements can open up the conversation rather than put others in a defensive or reactive position. Using the words \u201cI feel\u201d communicates feelings clearly without blaming others for your emotions. Children can recognize the usefulness of \u201cI feel\u201d statements when they are given examples of responses to conflict: one using an \u201cI feel\u201d statement, the other without. This exercise will engage students in thinking about how they communicate their feelings during a conflict. It will also give students the opportunity to practice using \u201cI feel\u201d statements. \u201cI feel\u201d statements are tools for children to use as they begin to communicate their emotions. Communicating emotions and listening to others is a skill developed with much practice over time. This lesson is merely an introduction to the important communication skills needed to sustain peace within relationships.\nPolitical Peace: Our Town: Creating Rights and Responsibilities for Communities\nPolitical engagement is an experience unknown to many children. Students may be familiar with the voting process or community dialogue if their parents are active in schools, religious institutions, or politics. With the busyness of modern life, community involvement is becoming less common in family life. Even with parental modeling, many students have never been given the opportunity to engage in the decision-making processes that impact their lives. Teachers and schools often dictate the rules students abide by while on campus. At home, parents decide the rules and consequences for breaking those rules. Through their high school years, students are given behavioral guidelines by the institutions they belong to, leaving them ill-equipped to engage in the dialogue which awaits them in the larger community. Students not only lack the skills to advocate for themselves, they also have little experience with processes that can help build peace in political decision-making.\nThe purpose of this lesson is to introduce students to the political sphere of peacebuilding by examining processes used in group decision-making and the concept that individual and communal responsibilities work to ensure the rights of all community members. Facilitating group decision-making processes of many kinds such as voting, consensus building, and collaborative projects along with student reflections on experiencing these processes can nurture the skills needed to build peace while engaging in the political sphere. Through personal experience, students can reflect upon which of these processes are effective and contribute to peacebuilding. Introducing the concepts of rights and their corresponding responsibilities can help students begin to see political involvement as a social responsibility that can help ensure the rights they hope to enjoy.\nPolitical Peace 2: Understanding Opinions\nIntentional reflection on how opinions are formed and ways of managing differences in opinion can be useful for students of all ages. As students begin to develop opinions and see differences, it is important they are provided with many peacebuilding strategies they can utilize when faced with these conflicts. Through building perspective-taking skills, children can develop capacities to manage differences in opinions constructively. Knowing and acknowledging alternative per- spectives can lead to new solutions and conflict prevention. Students can rely on the skills used for building right relationships in the social sphere as they navigate new relationship challenges in larger group settings and the political sphere.\n- Coming Soon", "id": "<urn:uuid:466bcfbf-5485-45ed-b0d8-d91e365f22c0>", "dump": "CC-MAIN-2021-17", "url": "https://nationalpeaceacademy.us/resources/peace-study-guide/children-s-curriculum", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00064.warc.gz", "language": "en", "language_score": 0.9555330872535706, "token_count": 1560, "score": 4.4375, "int_score": 4}
{"text": "Free play refers to activity that is child-centered, child-initiated, child-controlled, and above all, fun. Children have been engaging in this sort of play naturally, and with enthusiasm, for millennia. But as play has become more structured and planned in the modern era, child development experts have been raising concerns about the potential ramifications of a decrease in free play. It turns out that many crucial skills are developed when children are allowed plenty of unstructured play time. Free play benefits children cognitively, socially, emotionally, and physically. In fact, the United Nations High Commission for Human Rights has declared that engaging in play is a universal right for every child on earth.\nChildren\u2019s brains are designed by nature to learn and grow through play. Unstructured play is necessary to allow every child\u2019s brain to flourish and reach its full cognitive potential.\nThe open-ended nature of free play lets children exercise their imaginations, thus enhancing their creativity. A group of children playing pretend will naturally engage in world-building, characterization, and storytelling. Activities such as building or designing structures can facilitate problem-solving skills and encourage innovative thinking.\nMost importantly, free play helps children develop something called self-directed executive functioning. This refers to the cognitive control processes that regulate thought and action in support of goal-directed behavior. Developing executive functions as a child is critical for achieving independence as an adult. Free play is about children making their own choices, often in service of a clearly defined goal. Practicing this mode of thinking, in the low-stakes world of play, leads to habitual and natural decision making in adulthood. In fact, studies show that self-directed executive functioning is a strong predictor of academic performance and positive life outcomes.\nCollaborative free play teaches children social skills they will not pick up in any classroom. In order for everyone to have fun, each child in the group must practice resolving conflicts and must be flexible to accommodate the others. This kind of play fosters a sense of empathy and cooperation by reinforcing the idea of other children as individuals, each with their own set of needs and desires.\nAny kind of rigorous physical play is good for children\u2019s muscles, bones, and cardiovascular system, but free play can take this development even further. Children who are choosing their own physical activity are likely to be more engaged and focused, leading to longer play sessions and more devotion to mastering desired skills. By deciding on, and following through, with their own self-imposed challenges, children become stronger, faster, and more coordinated. They can also develop better spatial awareness by actively exploring and interacting with their environment.\nAny parent who has ever nervously watched their child climb too high, run too fast, or attempt to ride a bike without training wheels for the first time can attest that taking risks is a big part of play. The unbridled nature of free play leads to heightened risk-taking, as children are motivated by the desire to maximize their fun and to impress their friends. Trying and failing leads to resilience and perseverance, and successfully navigating risks enhances a child\u2019s confidence and self-worth.\nFree play can also help children practice self-regulation, or the ability to control one\u2019s emotional responses. Children engaged in free play must learn to manage their own interactions rather than relying on an adult to facilitate. A child who frequently yells at his friends when angry will soon learn that it\u2019s in his best interest to control his temper, especially if he wants those children to remain his friends. Learning to regulate one\u2019s own emotions is an important part of becoming an adult.\nFree play is a critical component in any child\u2019s development. By fostering and encouraging more unstructured play, we are helping our children develop the tools they will need to succeed as adults. For more information on how to nurture your child\u2019s development, contact us at Tessa International School, where we value free play and so much more, and encourage children to explore and express themselves in a safe and enriching environment.", "id": "<urn:uuid:c03dcc41-3252-46d8-9d95-4652f9c57982>", "dump": "CC-MAIN-2021-17", "url": "https://tessais.org/whyfreeplayiscriticalforchilddevelopment/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00105.warc.gz", "language": "en", "language_score": 0.9671832919120789, "token_count": 831, "score": 4.03125, "int_score": 4}
{"text": "This book covers the main aspects of craftsmanship for children\u2019s short story writing for the middle age group (8-12 years). Focus is on testing the initial idea for its suitability in the short story framework, character development, mastering basic language, plot and scene structure, dialogue, pacing, the beginning, the twist, the plan and the concept of \u2018SHOW, not tell\u2019. The fundamental importance of conflict and rising tension in the story is highlighted throughout.\nThe text reveals some original perspectives and methods which will benefit anyone working with this genre. The author uses samples from his own work to clarify the theory, and many chapters offer imaginative exercises designed to develop specific skills. From the start, the writer is encouraged to think dynamically about their writing for this market.\nTo discuss any aspect of How to Write Children\u2019s Short Stories (for the Middle Reader) you may contact the author via his \u201cContact Me\u201d tab on this blog, or on the form at the end of this page.\nHere is the introduction to the book\nShort story writing is a difficult genre to master, and I would suggest that the children\u2019s short story in some respects poses greater difficulties for the writer. In adult fiction, we can explore a great deal of the psychological and emotional without drawing on a strong physical side to the story, and many of the best tales are developed with powerful understatement. There is very limited physical plot movement, which means that the story\u2019s word length can be easily controlled.\nIn the children\u2019s short story for the middle reader (8-12 years), though the emotional is hardly ignored, the emphasis is on the physical journey of the plot. The child reader is not intellectually and emotionally mature enough to deal with a narrative that leans more toward the psychological or emotional side of storytelling, especially when understatement is part of the mix. There is also far less leeway to delve into experimentation in the children\u2019s genre.\nTo create a strong physical plot (with a beginning, middle and end) within the short story\u2019s word limit requires a fair bit of skill. The reader must always be aware of strong plot movement, and with the greater emphasis on the physical, the writer often has to commit far more words to paper.\nOf course, fairy tales are often very short with traditional plot structures, and might be viewed as a good guide for the children\u2019s short story; except the fairy tale is a forerunner to the modern children\u2019s short story, and not on a parallel with it. The fairy tale is a different genre of literature. The fairy tale\u2019s characters are drawn sketchily and mostly two-dimensional, often working just as plot-devices, and the fairy tale often lacks convincing description. The modern children\u2019s short story is more sophisticated. We must have well-rounded character and far more detailed description in the most important points of the story (particularly in the action scenes), and fully worked out plots (yes, emotional as well as physical), all of which take a far higher word length to accomplish than that of the fairy tale. Yet, we must remain within the general 6,000 word limit of our short story genre.\nThis work is really for the beginner or semi-experienced writer, but the more qualified author with no experience in writing children\u2019s short stories may find some of the chapters useful. We will explore the basic craftsmanship necessary for fiction writing, but with special emphasis on its place within the children\u2019s short story for the middle reader (8-12 years). I use examples from my own work throughout to help clarify the theory.\nHow to use the book\nI recommend that you approach the book in the following way: read the book once through to give yourself an idea of the whole task to be undertaken; then prepare to go through the book much more slowly.\nChapter 1, \u2018Does the idea have legs?\u2019 explains why and how a story works. Character is the heart or engine of the story and conflict is its fuel, so without conflict character does nothing of any consequence.\nChapter 2, \u2018Sparking up the characters\u2019, and Chapter 3, \u2018Build character through \u2018SHOW, not tell\u2019\u2019, starts you on the road to character development. Chapter 3, introduces the concept of \u2018SHOW, not tell,\u2019 a fundamental skill that must be developed in all fiction writing.\nChapter 4, \u2018Mastering basic language\u2019 is necessary reading for the beginner. You are hoping to become a competent storyteller and words are your tools for accomplishing this end, so you have to practise mastering the basics of language from early on.\nWhen you feel confident you have grasped the essentials of the early chapters, spend time with Chapter 5, \u2018Plot and scene structure\u2019. The short story must be structured properly or you will not have rising tension which is an absolute necessity in all fiction writing. This chapter is of paramount importance.\nThe concept of \u2018SHOW, not tell\u2019 is discussed in earlier chapters. Chapter 6, \u2018More \u2018SHOW, not tell\u2019\u2019 tackles the subject in further detail. The budding writer should come to appreciate the difficulty of mastering this skill before reading further into the book.\nDialogue is of fundamental importance to the story, but you need to understand plot and scene structure before you attempt Chapter 7, \u2018Good, well-structured dialogue\u2019, as the emphasis here is not just on dialogue structure itself, but its place within the overall plot and scene structure.\nIn Chapter 8, \u2018Pace the story\u2019, we see that pacing is an elusive skill to acquire because it does not ever stand alone, but is very much blended in with other narrative skills. You need to have absorbed the material of the earlier chapters before making a study of this one.\nChapters 9 and 10, \u2018Beginnings\u2019 and \u2018Satisfying twists\u2019, are left near last, not due to their lack of importance, but simply because other skills should be developed before these ones are studied in depth.\nChapter 11, \u2018The plan: a bird\u2019s eye view\u2019, considers how to plan a story. Once you have a firm grasp of basic craftsmanship, particularly plot and scene structure, this chapter will be easier to grasp.\nExercises aren\u2019t just for athletes\nEvery athlete, no matter how talented and no matter how far advanced in their discipline, still exercises to improve or maintain their performance. This is a given in the world of sport. In the creative writing world it is a given that the only way for a writer to improve is through practice. Fiction writers write stories \u2013 this is their main way of exercising. But it is not the only way of exercising. Just as a runner may also work out with weights in the gym to improve his strength and condition his muscles in ways which will actually help his running, so too, a writer can perform exercises in isolation to concentrate on and help improve specific parts of their craftsmanship.\nWherever I think it is useful I have included exercises. By attempting the exercises, you are able to work on a particular aspect of craftsmanship in isolation, and this will help you focus sharply on both developing the specific skill and absorbing and retaining the theory behind the exercise.\nPractise these exercises frequently. Work for no more than an hour at a time. Here is what the exercises will be doing for you:\nhelping you develop your actual skills;\nhelping you understand and retain the theory behind the exercises;\nhelping you exercise your imagination;\nhelping you build character and ideas for your future stories;\nbuilding your confidence;\nallowing you a means to gauge easily what, how much and how quickly you are learning.\nYou can buy Jerry\u2019s books on any Amazon site. They are also for sale in many of the other online stores such as Apple, Barnes & Noble, Kobo and Smashwords.\nClick on the image below to buy any of Jerry\u2019s books on the US Amazon site", "id": "<urn:uuid:3549a111-dc93-408a-909a-aabae8cdcba6>", "dump": "CC-MAIN-2021-17", "url": "https://jerrydunne.com/samples-of-jerrys-work-2/non-fiction/how-to-write-childrens-short-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00465.warc.gz", "language": "en", "language_score": 0.955598771572113, "token_count": 1681, "score": 3.578125, "int_score": 4}
{"text": "Use objects from around the home to help you create your own story. Then design the costumes and sets, and bring it to life! Take a look at the objects in our collections for more inspiration. Designed for ages 7 and up.\nMake a treasure hunt story\nChoose five everyday things from around your house, such as a small toy, a drawing or photo, something from your school bag, or you could ask a parent or carer to lend you something. Put all your found treasures into a big bag. This is your treasure bag.\nNow, let's invent our story. You can write it down, draw some pictures or make it up in your imagination.\nFirst, let's decide who should be the main character of your story \u2013 maybe a pirate, spy, a dog, a zombie or whomever you like. Who are they? What do they look like? Use your imagination to think about this character and how they act.\nWhen and where does your story take place? This is called the setting. Does it take place in the past? Today? In the future? Is it in a city? A castle? On a ship? On another planet? The setting could be somewhere specific, like Ancient Egypt or in your house 100 years in the future. Or it could even be in a completely new, imaginary place.\nWhat happens in your story? Think of a beginning, middle and end.\nWe are going to send your character on a journey to find treasure. Take your treasure bag from earlier, and use it to help you come up with different parts of the story. As you think about your story, reach into your treasure bag, and pull out an object without looking. How can you incorporate this into your story?\nYou can turn the objects into different things, like a clock changing into a time machine or a book that now has magical powers. Keep pulling out things from your treasure bag until it is empty.\nHow have these objects helped (or delayed) your main character on their journey? Is there a baddie in your story that is also looking for the treasure?\nHow does your story end? Did your main character find their treasure? Who did they meet along the way? Where did they go on their journey?\nThere are over one million objects in the V&A collections that you could also use as inspiration. Here are some examples to get you started.\nThe double-headed dragon from China was made of jade in the 1600s. Who do you think would carry something like this? Does your character carry something that is special to them?\nThe tiara is made up of over 1,000 diamonds. Could someone in your story wear a crown like this or another special hat? What would wearing something like this tell other people?\nDesign your character's costume!\nThink about your favourite character in the story. What kind of clothes do you imagine them wearing? What colours? What kind of materials? Did they have a special tool or object to help them?\nDraw a picture of your character and think about what costumes and tools they need on their adventure.\nThis costume was designed to be worn by a fairy with magical powers in a play called The Wooden Prince. It shows a very powerful character. The headpiece and capes are bright colours, and the chest piece was made to look like armour.\nDesign a set!\nWhere does your story take place? At sea? On the moon? In a castle? Let's make the place that your story happens.\nFind a box in your recycling, a shoe box, a cereal box, small or big. Turn the box sideways and cut out the front to make a mini theatre stage.\nUse paper, pens, parts of magazines and newspapers to make your set.\nThis model of a set was made in 1785 for a play in London. It is supposed to look like Kensington Gardens, a park in central London. Can you see how the actors can come on the stage through the trees on the sides?\nPerform your story!\nNow, let's bring your story to life. You can read your story or act it out.\nThink about the voices that your characters have. Dress up as your character using your own clothes to make a costume. Be inventive!\nYou could wear something inside out or upside down to make it look different. Use materials, like sheets or blankets to set the scene.\nGrab the objects in your story bag and get your family to join in, by making sound effects or being different characters in the adventure.\nThese costumes are from the Broadway production of The Lion King. Can you see how they are made to look like lions, while still showing the faces of the actors? Costumes don't need to be exact copies of real life, you can use your imagination. You can see more examples of costumes for plays and films at the V&A.\nBravo! Bravo! What an epic tale! From books and plays, to programmes on TV, storytelling is a chance to have an adventure in your own house!\nVisit the V&A and follow our 'Explore as a family' trail to find more inspiration for your adventures.\nShare your stories with us using #VAMFamilies.", "id": "<urn:uuid:bd032790-42d6-4cd8-98ba-7bb88ec959b5>", "dump": "CC-MAIN-2021-17", "url": "https://www.vam.ac.uk/articles/design-and-make-your-own-story", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00064.warc.gz", "language": "en", "language_score": 0.9667613506317139, "token_count": 1074, "score": 3.9375, "int_score": 4}
{"text": "It\u2019s National Panda Day! I love to use these holidays and special days throughout the year to create fun, writing activities for my kids like this Panda Report.\nThe Panda Report:\nEven at the early elementary grade levels it is important for children to learn how to research a topic, gather important facts, and use that information to write a report. Learning these skills will help them know how to find the answers to comprehension questions from non-fiction books or informational text too.\nWhy use animal reports to practice researching and writing facts? Kids love animals! So, animals reports are a fun way for them to learn more about animals that they may not know a lot about like panda bears.\nGetting Ready To Use The Panda Report:\n- 2 Panda Page Toppers (in color and black and white)\n- 1 Report Template\nWhat Else Is Needed:\nTo get this writing activity ready for your kids, click on the pencil below and download the printables. There are two different panda page toppers. One that is in color and one that is black and white for your kids to color. You can decide which one you want your kids to use and then print just that page.\nHow To Use The Panda Report:\nAfter reading books, watching videos, and researching information about pandas, your kids will fill out the report. They will find out the animal\u2019s average size, habitat, and diet. They will also write three interesting facts about pandas that they learned.\nIf you are using the black and white panda, your kids can color it. They can then cut it out and glue the head on top of the report. To extend the learning, you can have your kids compare pandas to other types of bears such as polar bears or grizzly bears.\nThis Panda Report is a creative way for your kids to learn how to research information and discover facts from informational text. Your kids will also practice using the information they learn about panda bears to write a report.\nPin It For Later:\nDo you want to save this animal writing report for later? Pin this to your writing board on Pinterest and it\u2019ll be here for when you\u2019re ready!\nYou May Also Like:\nThis Flower Craft and Writing Activity is a creative way to get your students to write about what makes their friends or themselves special. This descriptive writing activity also includes \u201c_____ is\u2026\u201d version if your students want to write about someone else that is special. Click on the picture to learn more about everything included in this activity!\nMore Creative Writing Activities for Kids:\nDownload The Freebie:\nClick on the pencil below to download and print the free Panda Report templates!", "id": "<urn:uuid:a88d1f72-c54c-49a9-9660-524628f83c30>", "dump": "CC-MAIN-2021-17", "url": "https://abcsofliteracy.com/panda-report-animal-research-for-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00424.warc.gz", "language": "en", "language_score": 0.9059722423553467, "token_count": 557, "score": 3.984375, "int_score": 4}
{"text": "In this unit students explore the world of toys through improvisation, movement and storytelling, and make links with learning in Science and Technology.\n- take on roles\n- notice and respond to drama elements\n- use movement and language skills effectively\n- express feelings about drama and through drama\n- enhance their understanding of how toys work.\nNSW Science and Technology K-6 Syllabus (2017)\n- Complete a range of Science and Technology tasks as outlined in the Science and Technology K-6 Syllabus (Stage 1: Toy World). Survey the class and make a list of favourite toys. Display in room.\n- Students find a space of their own and move as if they were a toy. They move into a situation devised by the teacher, for example; a wind-up animal moving fast then winding down, a teddy bear on a picnic, a favourite stuffed animal moving on its own for the first time, a dinosaur model waking up, a top winding then spinning, a Lego model moving, and so on. Use additional ideas from the class list of favourite toys.\n- In pairs students mime the action of a favourite toy and have the other person copy. Repeat in slow motion.\nTaking on roles in situations, developing drama & performing\n- Decide on a situation in which a collection of toys come to life. Where? For example; at a toy exhibition, inside a magic toy box, in a sandpit. Who do the toys belong to?\n- When does this happen? Why? Which toys are in the story? How do they come to life? What will happen? Who else is involved?\n- Select toy roles for the story, for example; teddy bears, dolls, toy robots, stuffed animals, puppets, model cars, trains, models made of Lego, collections of characters from well-known stories or television programs, and so on. Discuss how these usually work. Select other roles if required, for example; shopkeepers, children, and so on.\n- Students work with a partner. Introduce yourself in role as the toy chosen and tell the story of how you came to this location. Who do you belong to? What are your special features? How do you work? Why are you an important toy? Respond to questions from your partner.\n- Students build the story as a class. Students write a rough outline of the story on the board around a beginning, middle and ending. Teacher uses this as a guide and records changes to plan as class proceeds.\n- Students identify the drama space and its key features. Students decide on the location of the toys. Students walk into the space one or two at a time and take a pose in role as the toy.\n- At a signal given by teacher, a student or group improvises movement to show how their toys will come to life. Teacher assists with suggestions as required. Stop the action at random moments and ask the groups to freeze. Select students to speak the thoughts of the moment in role to assist them to build belief in their roles and the situation.\n- Discuss ways to improve the action. Incorporate small-group work into whole piece. Refine movements and explore contrast and focus, for example; have some toys moving while others are not, experiment with contrast between fast moving and slower moving toys, and so on. Discuss and explore ways to end the piece. Improvise as a whole group with assistance from the teacher.\n- Students rehearse with music. Decide on costumes, make-up and props. Rehearse several times in full costume. Perform at a community event.\n- Take photographs of the performance.\n- Select a piece of music to help tell the story. Students listen and offer ideas. What\u2019s happening?\n- Select different pieces of music for each group of toys and incorporate into a sequence.\n- Develop a whole-group movement piece based upon toys of the future.\n- Develop the story outline into a piece of reader\u2019s theatre and have students narrate the action as it happens.\n- Discuss the performance. Which movements were particularly effective? Why? How convincing were the roles? Were the situations clear? What was happening? Which moments grabbed attention?\n- How did you feel when you were performing? Write about the performance. Display photographs and create other images of roles portrayed.\n- Write about your life as a toy. How do you move? How do you work?\nAssessment of students\n- Teacher observation of students\u2019 drama work and their process of working.\n- Analysis by the teacher of students\u2019 oral and written comments, drawings and other responses to their drama work.\n- Consideration of the following questions about students\u2019 learning in drama:\n- How well are they able to become involved in a make-believe situation and take on roles?\n- What evidence is there that students are beginning to notice and respond to drama elements as they work with others to develop drama? How effectively are they working together?\n- How effectively are they using movement and language skills as they perform?\n- What learning is evident as they observe and respond to their drama and the drama of others?\n- Consideration of the following question about other learning:\n- What evidence is there that the drama work has contributed to their understanding of how toys work?\n- In small groups, students take the hot seat in role as their favourite toys. Others ask questions to find out more about their lives and their owners. What\u2019s the best thing about being a toy? What\u2019s the worst thing? Groups report back to the class and discuss.\n- Teacher-in-role as a research assistant for a toy company calls a meeting of designers to discuss and develop new toys for the 21st century. In groups, students discuss and sketch ideas. Teacher-in-role moves around groups observing and asking questions of the designers. Students select someone from the group to report back. Teacher-in-role brings the whole group together again and asks each reporter to present the group\u2019s findings. The whole class is encouraged to ask questions of each group and seek clarification of how the toys will work and the materials involved. The teacher thanks the designers for their assistance. The students write in role as designers, explaining their toys of the future.", "id": "<urn:uuid:c042e3bd-4239-4790-8038-8bf5006276e2>", "dump": "CC-MAIN-2021-17", "url": "https://education.nsw.gov.au/teaching-and-learning/curriculum/key-learning-areas/creative-arts/early-stage-1-to-stage-3/drama/toy-world", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039375537.73/warc/CC-MAIN-20210420025739-20210420055739-00142.warc.gz", "language": "en", "language_score": 0.9512249827384949, "token_count": 1297, "score": 4.28125, "int_score": 4}
{"text": "**This is a guest post, written by Jenny Holt.\nWhen data is shared through a story, you are 22 times more likely to recall the information. Storytelling has the power to capture our attention and most importantly, build confidence \u2014 even at a young age. If a child is naturally shy or soft-spoken, storytelling might be the key to helping them discover their voice. In the same way you encourage them to watch educational programming and help them pick out books at the library, it\u2019s never too early to teach children how to share and listen to stories.\nLearning More About The World\nShyness often happens when a child feels unsure of themselves in the world. When your view is limited and your voice is small, you don\u2019t know how or where you fit, and it\u2019s easier to retreat into yourself. For most children, listening to books read aloud is the first foray into the outside world. Hearing stories about other people and places allows young minds to start developing new ideas. There is no limit to the kinds of stories you can share with children to help them grow. Taking time to flex the imagination is critical for youth development, particularly for shy or introverted personality types. These children need an outlet in which to share their experiences. The structure of storytelling can provide them that safe space to ask questions and learn more about how the world operates.\nStrengthening Early Vocabulary\nFrom infancy, children are listening to the world around them and mimicking the sounds they hear. All children develop at their own pace, but there are steps parents can take to ensure that children have a strong working vocabulary before they even step foot in a school. From flash cards to memory games, there are many tools available to improve word use, though storytelling might be the most critical. When children learn to tell and listen to stories, they make fresh connections between words and phrases in their minds. This kind of critical thinking gives them the confidence to problem solve on their own. Any child who can clearly articulate their needs, wants and frustrations is better equipped to communicate and process through their emotions, which helps them feel in control and more confident.\nStories Encourage Empathy Development\nThe key to great storytelling is in the details. Character description and arc structure also help flesh out ideas and picture the story\u2019s development.When children hear stories about people, places and cultures unlike their own, they begin to imagine what life is like for others. This leads to an ability to imagine possibilities outside their own experiences, which is critical to understanding empathy. Children are naturally self-centered, but learning to feel and think for another can help them grow in confidence of their place in the world. This intrinsic skill will help them succeed in their careers and relationships.\nTaking the time to teach children how to share their thoughts through stories will set them up well to learn throughout their lives. Learning how to listen well expands a child\u2019s worldview and encourages them to have the confidence to step into their place in the world.", "id": "<urn:uuid:4aff4abb-34c8-4ee8-9dd5-6cf161a02ebb>", "dump": "CC-MAIN-2021-17", "url": "https://blog.tales2go.com/blog/instill-confidence-in-children-through-storytelling", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00105.warc.gz", "language": "en", "language_score": 0.9639229774475098, "token_count": 614, "score": 3.890625, "int_score": 4}
{"text": "Teaching students to use functional text is one of my favorite units! Why? Because kids are engaging with texts that they actually read in their daily lives! They get to see that the reading skills we teach are immediately useful outside school, and that\u2019s always a win!\nWhat is Functional Text?\nFunctional text, or authentic text, is any text that we read on a daily basis. It\u2019s real world reading. It\u2019s called functional because it is useful; it includes information that helps us make decisions and complete tasks. Some examples that students easily recognize are recipes, directions, menus, fliers, and signs.\nThe purpose of functional text can vary. Typically, it provides information, explains directions for how to do something, or allows us to share information with the author (like filling out a library card application).\nLearning how to read and engage with real-world text is an important skill for developing readers! Read on for some tips to tackle this genre in your reading workshop!\nIntroducing Functional Text\nBefore kicking off this unit, I like to collect as many types of functional text as I can. The good news? It\u2019s super easy! Bring home an extra copy of a paper menu the next time you eat out. Go through your junk mail. Ask your students\u2019 families to bring in some examples!\nI like to have a variety of formats and topics, with some that come right from our community. Kids get such a kick out of that! I also try to find examples that will work at different reading levels (fewer words on the page, more pictures, specialized vocabulary, etc.).\nA super easy and engaging way to introduce this type of text is to just immerse your students in it! Give them 15-20 minutes to look through different samples. Then have them share their observations. If you like, you can have them record their thoughts on sticky notes or chart their thinking. Or you can provide graphic organizers!\nSome things I want my students to notice about functional formats include:\n- they are often organized into small chunks of information\n- they usually include nonfiction text features, like headings, bold print, and captions, that help draw our eye to certain information\n- their main purpose is generally to present information to the reader so that we can complete a task, make a decision, or solve a problem (some formats, like brochures and other advertisements, may be meant to persuade the reader to buy or do something)\n- we read them differently than other nonfiction or fiction texts \u2013 we might skim them or only read certain parts at a time, rather than always reading them top to bottom in one go\n- they might include specific vocabulary about their topic\nOne thing to watch out for is students who read the main content of the text but not the \u201cextras\u201d, like fact boxes and graphics. Important information can often hide right in plain sight, especially if the page is busy with lots of graphics or sections of text. Sometimes I ask students to look at all those extras first before the main text.\nAnalyzing Functional Text\nIt\u2019s good for students to practice finding \u201cright there\u201d answers when they read authentic text, since that\u2019s what they would need to do in real life. In the upper grades, though, we know that we go way beyond basic comprehension questions. As students look through examples of procedural text, here are some guiding questions for them to consider:\n- What is the purpose of the text?\n- Who wrote the text? Is this person biased?\n- Who would likely read it? Why?\n- How would this text be useful?\n- What is the main idea that I should take away as the reader?\n- What information can we get from it?\nDepending on the format, they can also use reading strategies like questioning, drawing conclusions, sequencing, and identifying cause and effect relationships.\nThe key is making sure they\u2019re using examples that have enough \u201cmeat\u201d to analyze. If you want to save some time, click here to find functional texts with questions.\nChances are that you\u2019ve had students complete some functional writing in your language arts block, such as an expert or how-to book, or letter writing. Including a functional text unit in your writing plans can be a nice break for students who struggle with creative writing or report writing. In addition to the words, they can work on incorporating lots of nonfiction text features as well.\nFunctional text is also a nice tie-in to media messages, if you teach those. Comparing and contrasting different formats and purposes can help students take a deeper look at the media we consume each day!\nKnowing how to read and understand functional text is an important life skill! I find this unit to be really engaging and authentic, and I hope you and your students enjoy it! Let me know in the comments what resources and activities you like to use when you teach functional formats!\nPin for later:", "id": "<urn:uuid:8ca0f7d2-db1d-4c56-a572-f308bdcd5e18>", "dump": "CC-MAIN-2021-17", "url": "https://alyssateaches.com/teaching-functional-text-in-the-upper-grades/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00382.warc.gz", "language": "en", "language_score": 0.94997239112854, "token_count": 1034, "score": 4.03125, "int_score": 4}
{"text": "Introduction to the Story of the Bible [Course]\nWhat is the Bible? Is it a collection of moral teachings? An old religious text that\u2019s a little confusing? A list of do\u2019s and do nots? A self-help book?\nIn this course, you will learn that the Bible is actually a story with one, over-arching narrative. You will also learn about good story structure and some key elements of good storytelling. The course analyzes the Biblical narrative, giving you the tools and context you need to better appreciate the Bible.\nScroll down to learn more, or simply register by clicking \u201cadd to cart.\u201d\nAlready registered? Access the course here >>\nWondering why you should take this course on the story of the Bible? You\u2019re in the right place. Below you can read about the key outcomes for the course, how it\u2019s structured, and even watch a couple sample videos from the course!\nAbout the Course:\nIf someone asked you to describe the Bible, what words would you use? Is it a collection of moral teachings? An old religious text that\u2019s a little confusing? A list of do\u2019s and do nots? A self-help book?\nWhat about a story? Most people know that the Bible has a few different stories in it, some parables and character lessons, but did you know that the Bible has one large, overarching narrative?\nIt\u2019s a good thing. I love stories. In fact, I could probably get through about 10 different story books in the time it takes me to get through a single self help book.\nNot only that, but I have always found I learn more from stories than I do from self-help books. It\u2019s one thing to tell me some good principles to live my life by, but when I see someone living the right way in a story, that sticks.\nIn this course, we\u2019ll be diving into the structure and methodology of good storytelling. We\u2019ll learn story principles from Pixar, Anton Chekhov, and others.\nWe will then apply those story principles to the Bible, giving us the tools we need to identify and remember the overarching narrative told in this book.\nHow does everything tie together? Is the Bible still relevant today? How do you handle some of the weird stuff in the Bible or the things that seem like contradictions?\nWe\u2019ll dive into all of those topics and more. So join us as we explore the story of the Bible!\nKey Outcomes for the Course:\nHere are a few of the key lessons and outcomes:\n- Learn about Pixar\u2019s story structure principles and then discover them in the Bible.\n- Build a greater understanding of the overarching narrative of the Bible, which will provide great context to your future Bible studies.\n- Learn about a storytelling principle called Chekhov\u2019s gun and why it matters in the Bible.\n- Identify the many ways the Old Testament points to Christ, and gain a greater appreciation for the work he did on the cross.\n- Great stories change us, and the Bible is no exception. Discover your role in the story that God is still telling today.\nWhat is included in the Course?\nThe entire course can be taken at anytime, and it is hosted online. I\u2019ve packed as much Scripture and good theology as I can into shorter, bite sized pieces.\nThe course contains 20 different videos, and each one is about 3-5 minutes long. There are also a handful of activities that will get you into God\u2019s Word and help you apply what you\u2019re learning.\nI\u2019ve structured the course into 3 different lessons, which means the entire course could work really well as a 3-week Bible study that you do on your own or with a group.\nHere is the full course outline:\nLesson 1: The Structure of Story\nIn this lesson, we\u2019ll explore the fundamentals of good storytelling and then apply those lessons to the story of the Bible. We look at a variety of stories in the Old Testament and finish with Christ. Topics include:\n- Introduction (the video towards the top of this page)\n- The Pixar Story Structure\n- Activity: Story Structure\n- In the Beginning\n- Until One Day\u2026\n- The Eden Narrative\n- Activity: Solomon and the Eden Narrative\n- The Message of the Old Testament\n- Until Finally\u2026\nLesson 2: Chekhov\u2019s Gun\nChekhov\u2019s Gun is a popular storytelling technique, and it is actually used in the Bible. In this lesson, we\u2019ll define what Chekhov\u2019s Gun actually is and then look at a few examples. We will also answer the question, is Jesus really the only way to salvation? And finally, we discuss bungee jumping to help build our understanding of what it means to believe.\n- What is Chekhov\u2019s Gun?\n- The Story of Abraham\n- The Blood of the Lamb\n- The Tabernacle and the Temple\n- Activity: How Jesus Fulfills the Law\n- Is Jesus Really the Only Way?\n- Reverse the Curse\n- Repent and Believe\nLesson 3: The Denouement\nIn this final lesson, we discuss the denouement of stories. Jesus has conquered death and will return one day, but what do we do now? How do we live as citizens of Heaven in a broken world? How do we bear good fruit and make the world a better place? The answer, you will find, is surprisingly simple (but it isn\u2019t easy).\n- What is the Denouement?\n- Citizens of Heaven\n- Activity: What does a Citizen of Heaven Look Like?\n- The Key to Bearing Fruit\n- Activity: Sitting at the Feet of Jesus\nIn addition, to the topics above, each lesson contains a few discussion questions you can review yourself or with your small group.\nCan I try the course for free?\nIf you want to get a taste for what the course is like, then good news! You can watch the first two videos for free! The first one is the introduction and it is towards the top of the page.\nThe second video in this course is below, and it focuses on the basics of good story structure:\nIf you want to watch the rest of the course, then you\u2019ll have to register.\nWho is this course for?\nThis course is designed for anyone looking to build a greater understanding and appreciation of God\u2019s Word. If you enjoy good stories, you\u2019ll love looking at the Bible through this unique lens of storytelling.\nIt doesn\u2019t matter if you\u2019re investigating the claims of the Bible, a new believer, or a christian with years of experience. I believe there is something new and fresh for you in this course.\nYou can register and take this course on your own, but you can also go through the course with a small group. The course contains activities and application questions that will be great to discuss with friends, family, or the members of your Bible study.\nThe course is offered completely online, and you can register or access it from anywhere in the world. Once you register for the course, you will gain access to the full course and your access will never expire.\nWhat are you waiting for?\nIf you made it this far, you\u2019re clearly interested in learning more about the Story of the Bible. Go ahead and register, you can start the course today!", "id": "<urn:uuid:b38d8803-e2ca-452d-a96e-3568045f3d31>", "dump": "CC-MAIN-2021-17", "url": "https://leadersgolast.com/product/introduction-to-the-story-of-the-bible-course/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00064.warc.gz", "language": "en", "language_score": 0.9375371932983398, "token_count": 1579, "score": 3.703125, "int_score": 4}
{"text": "Note-Taking: A Must-Have Skill For Children\n- December 7, 2018\n- Posted by: admin\n- Category: Articles\nWritten By: Clinton Nwojo-Emeson\nNote-taking is an essential skill that helps propel students highly in their various careers. Whether they are in a class, participating in brainstorming sessions, or jotting down points while reading, notes are simply an effective way of learning, reserving and remembering important information and ideas.\nThis piece seeks to explore the best techniques for taking notes in class and how students can benefit from them too.\n- Students tend to write down everything being said by their teacher without listening\nThe act of taking notes should be in the ratio of 75% listening and 25% writing. This way, the student can relate to all that the teacher has delivered and thus, works out the new concept in their head in order to solidify them and jots down the critical information in his own words. This is one of the ways to ascertain that learning has taken place.\n- The use of notation symbol such as arrows, circle boxes, colours, mapping web, in taking down notes allows students to stay organized and properly lined up. This method is known as Dynamic Outline. The colorful nature of the notes, using symbols to represent words for easy recollection is without doubt, far more dynamic and easier to access than the block of text which most times appears cumbersome and boring to students.\n- Mind-mapping helps to give a visual representation of ideas, connecting with them via circles and lines. This makes it easy to form connections between ideas. Usually, the central topic of discussion is circled in the middle and as the teacher carries on, sub topics are branched out into smaller circles. This is a great way to make strong visual connections with topics and keep them in your memory.\n- Page-splitting. The process of separating the main topic from the subtext is also a great method. this case, page is split into two halves whereby the main topic is written on the left and on the right, notes are taken down. The left side helps for easy retrieval of information and helps make recalling more efficient.\nIn view of this, note-taking is an important tool that helps students in their academics because it helps them remember important information. This is a very personal practice as methods vary from person to person, especially as it is important for students to own their own learning style.\nClinton Nwojo Emeson is a Literacy Executive with Jordan Hill Creative Writing & Reading Workshop. He studied English & Literature and loves to write.", "id": "<urn:uuid:adf9f168-4875-4851-b0f9-193f238ade19>", "dump": "CC-MAIN-2021-17", "url": "https://jordanhill.org/note-taking-a-must-have-skill-for-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039375537.73/warc/CC-MAIN-20210420025739-20210420055739-00145.warc.gz", "language": "en", "language_score": 0.9557271003723145, "token_count": 532, "score": 4.21875, "int_score": 4}
{"text": "When students don't feel safe in school, they don't thrive academically, socially, and emotionally. According to a 2015 survey from the National Center for Educational Statistics, more than one out of every five students (20.8%) has reported being bullied. Bullying takes many forms and impacts not only the student being bullied, but the entire school community. Participants of this course will be equipped with the knowledge and tools to build safe school communities that identify bullying behaviors quickly (and even before they happen), empower students to move from bystander to advocate, and use character development and social-emotional learning to build stronger school communities.\nTechniques for effective interventions as well as best practices from both a teacher and school-wide perspective will be provided to enable participants to address (cyber)bullying concerns within their respective schools and communities. Participants will leave the course with a framework for implementing classroom meetings to foster a positive classroom climate, integrating social-emotional learning/character education, and speaking with key stakeholders (parents, other teachers, and administrators) to prevent (cyber)bullying in and out of the classroom.\nParticipants will be able to:\n- Conclude that building and maintaining safe communities for children facilitates their learning and fosters positive personal growth and development\n- Develop a fundamental understanding of bullying behavior and the roles that stakeholders play\n- Differentiate between types of bullying behavior including aggression, discriminatory harassment, and cyberbullying\n- Evaluate how differing forms of bullying warrant various intervention and prevention approaches\n- Assess the need for bullying prevention interventions within his/her own classrooms, schools, and districts\n- Propose effective teacher-based strategies for bullying intervention/prevention both within and outside the classroom: character education, social-emotional learning, and classroom management strategies\n- Conclude how social-emotional learning and character education is a foundation for fostering citizenship in students and promoting safe and supportive learning environments\n- Establish communities of practice within a school that act as collaborative measures in facilitating and maintaining positive school culture and climate\nTo Enroll in a Course:\n- Choose the version of this course you would like to take: Graduate-Level Professional Development Credit (you will receive a University transcript) or Non-Credit (you will receive a certificate of completion).\n- Add the course to your Cart and continuing shopping, if you\u2019d like to purchase more courses.\n- When you are ready to check out, go to your cart. You will be asked to log-in to your account or create a new account.\n- Follow the enrollment and payment prompts. If you have a coupon/discount, you will be asked to enter it during the enrollment process.\n- Upon purchase, you will receive an email receipt and be able to login to your course at eclassroom.cecreditsonline.org. You have 6 months (180 days) from your purchase to complete your course.\n- If you have any questions, check out our FAQs or email firstname.lastname@example.org.\nGraduate and Graduate-Level Professional Development Credit Courses\n- Graduate Credits are available through Adams State University. Graduate-level professional development credits are available through Valley City State University and Humboldt State University. The University partner will process your course completion and provide a transcript that includes the name of the course, course number, number of credits, and your grade.\n- You will receive directions on how to receive your transcript in email form, and you can also review the University Partners section of our website for more information.\n- Upon completion of your course, CE Credits Online will forward all the required documentation to the University you selected.\n- Note: If you would like to take courses with Adams State, please purchase the Non-Credit version of the course and upon completion email email@example.com asking to sign-up for graduate credit through Adams State.\n- You must check with your district to ensure the credits received will meet your specific requirements. We will not be held responsible if your school, district or state does not accept the credits issued.\n- We offer all of our courses as a Non-Credit option that can be used to meet your recertification or professional development needs in Illinois (always check with your district/state to determine eligibility).\n- Upon successful completion of your course, you will receive a Certificate of Completion for your records that will include the name of the course and number of professional development hours completed.\n- The Certificate of Completion acts as a record that verifies that a professional development course was taken and passed.", "id": "<urn:uuid:63a37056-0bb8-4f57-b299-67d08a41b84c>", "dump": "CC-MAIN-2021-17", "url": "https://www.cecreditsonline.org/collections/illinois/products/illinois-preventing-cyberbullying-creating-safe-schools-for-all-students", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00465.warc.gz", "language": "en", "language_score": 0.949035108089447, "token_count": 940, "score": 3.71875, "int_score": 4}
{"text": "- With Choice of New Leader, College Board Hopes to Extend Its Reach\n- Reading In American Schools: Will Common Core State Standards Improve Literacy?\n- City Instructs Schools to Expand Common Core Introduction\n- \u2018Common core standards\u2019: education reform that makes sense\n- Advocates Worry Implementation Could Derail Common Core\nCollaborative blog post by Mike Fisher and Jeanne Tribuzzi, of the Curriculum 21 Faculty.\nThe companion LIVEBINDER OF INTERACTIVE TOOLS IS HERE.\nExpecting students to read deeply and draw meaningful conclusions is at the heart of the Common Core ELA standards. Students are asked to read closely, cite evidence, and make evidence based inferences when they read. They are expected to deepen their learning by valuing textual evidence and reading critically. Annotating text is one way students can cite textual evidence, infer and deepen meaning as they read..\nAnnotations make thinking visible for teachers and students. We can use the words and features of a text to better comprehend it, ask questions, and note our thoughts while reading. One goal of comprehension is that students will be proficient annotators of texts to understand more deeply by interacting and making thinking transparent while they read.\nThere are many reasons to ask students to annotate text: for basic comprehension, to show evidence of conceptual understanding, to show what is implied, to identify the claims in an argument, to read like a writer and identify characteristics of genre, to notice the nuance of language\u2026and many other reasons. Giving guidance as to what we want students to annotate for will be beneficial for the reader. Otherwise, they will annotate everything that comes to mind, and the work may not be helpful to the reader or the teacher.\nAnnotations are often a singular, individual experience. Annotexting ups the ante all around.\nAnnotexting is a process that involves the collection of thoughts, observations and reactions to reading that show evidence of critical thought. These annotations, rather than being on paper, can be collected with different web tools so that students can collaborate, both locally and globally, around the conclusions that they will ultimately draw from their reading.\nStudents submit their annotations via their smart phones or other digital devices, and then analyze each other\u2019s notations collectively. They could be looking for main ideas, thematic and literary elements, or big ideas from the work. They could be looking for evidence of connections to other texts, their own experiences, or world issues. They could simply be searching for meaning to support them when reading complex texts.\nIn addition, students could reflect on the collective evidence as a metacognitive activity to assess their own learning. Perhaps the collaborative exercise raised new questions for them or offered them new ways of thinking about the text. Perhaps there is something else the student wants or needs to know?\nMetacognition can be strengthened when citing evidence in text. Textual evidence that supports the thinking behind what they are thinking is a gigantic first step into the depth and complexity that the Common Core is asking of students. Annotexting kicks that up a notch by engaging task specific tools that offer opportunities for strategic thinking and globally connected opportunities.\nConsider THIS ANNOTATED TEXT.\nThe student wrote all over this poem. The student underlined specific words and wrote annotations about them in line with the text. This student is engaging in a thoughtful, albeit singular, analysis of this poem.\nWhat changes with multiple perspectives?\nWe have our own ideas about squat pens and writing utensils as weapons (based on the student\u2019s annotations) but they are different than this student\u2019s collection of evidence. What would have changed in the interpretation of this poem if our perspectives were woven together? Does the collaborative process of conversation yield a greater product? Does the thinking extend when multiple perspectives are mixed? Does the evidence yield to strategic thinking when multiple viewpoints are involved?\nBesides the strategic and capable use of digital tools, annotexting offers students the opportunity to value evidence, think critically and engage with different perspectives. Rather than working independently to read, comprehend and analyze text, annotexting will allow students to engage with other audiences in tasks with an expanded purpose, supporting college and career readiness.\nWe\u2019ve created an example of what this could look like in Corkboard using William Blake\u2019s poem, \u201cThe Tyger.\u201d (Click on the Corkboard tab in the Livebinder. The example is in a subtab.) You can see other examples in several of the tabs in the binder. We would also like to share this DISCUSSION RUBRIC (2007) that you can use as students submit annotations and begin to draw conclusions about what their evidence is pointing to.\nIn order to get students to own this process, we have to relinquish some control. Let them think, let them make mistakes and respond. Let them draw conclusions even they are not the conclusions we would have drawn. We can be there to coach them through misconceptions.\nThe college and career ready student (on page seven of the ELA Common Core document) is expected to attend to audience, task, purpose and discipline in both reading and writing. The standards also expect students to think critically and value evidence. The document goes on to explain that the college and career ready student should use digital media strategically and purposefully. Annotexting is at the intersection of all of these capacities.\nIn addition to collecting evidence with web tools, there are also digital APPS that we\u2019ve come across that would work for Annotexting too. (These are represented in the LiveBinder as well.) Some are notetaking apps that let you collect evidence and annotations with a digital device and some let you edit and annotate PDF files and documents. There are resources in the binder for both iTunes and Android Market Apps.\nSome Youtube tutorials:\nPaperPort (this one\u2019s free) it let\u2019s me import my pdf files\u2026and annotate them!\nNote Shelf- for notetaking\nIf you would like to explore this and other Modern Learning moments more in depth, check out Curriculum21\u2019s Webinar Series and our all new LEAD21 Academy at this year\u2019s Curriculum Mapping Institute. We will also be exploring the Common Core as it relates to Curriculum Design at the upcoming Ohio Regional Conference in May. (Space is limited!)\nFisher, Michael L., Jr. and Nancy Cook. \u201cNotice, Think, and Wonder: New Pathways to Engage Critical Thinking.\u201d IN TRANSITION: Journal of the New York State Middle School Association. 25.1 (2007): 15-18. Web. 25 Feb. 2012. <http://www.nysmsa.org/associations/611/files/ITv25n1_Fall 2007.pdf>.", "id": "<urn:uuid:f619fbac-d8c4-4876-b601-922fe5789075>", "dump": "CC-MAIN-2021-17", "url": "http://beta.curriculum21.com/2012/03/annotexting/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00505.warc.gz", "language": "en", "language_score": 0.9371458888053894, "token_count": 1423, "score": 4.15625, "int_score": 4}
{"text": "Student engagement is essential in today\u2019s classrooms. Many studies have found that increased attention is connected to higher achievement and effective classroom management. It is much more challenging to keep students engaged than it is adults. If we do not create an engaging environment and a creative learning experience, subjects may not interest them.\nGetting your students focused and eager on the activity at the initial stage of the class is tough. It is also problematic once you have locked them into learning; they quickly lose interest. If teachers sometimes get bored sitting for long presentations, NO doubt students go off track. You need to attract students\u2019 attention and make sure they stay focused in class.\nHere are some strategies to ensure student engagement:\n1. Use a fairness cup\nYou can use a fairness cup to help your students learn how to handle failure in life.\nWrite each student\u2019s name on a Popsicle stick and put the sticks in a cup. Pull a random stick to select someone to speak or answer a question, then choose a set of questions your students can answer.\nMany schools use Bloom\u2019s taxonomy to improve the thought processes of students. When they think beyond the imaginable it leads to exciting thoughts and motivates mental growth.\nThere are 6 major categories for questions:\n2. Start class with a warm-up activity\nOne exercise is to ask students to find mistakes written on the board. Instead of working individually, they can collaborate on a group project.\nAssign students to small groups. Ask them to work as a team and raise their hands when finished. When all groups have completed the task, have them compare their results.\n3. Teach students about teamwork\nProject learning and team-based work needs to be trained in the early stages of school life to develop their collaboration skills.\nAn example of a team-building exercise is to divide the students into small groups and give each team a pair of scissors, two papers, ten paper clips and tape. Ask them to build a free-standing tower in a limited period of time. Have some teams begin construction while others observe. The \u201cobserving\u201d teams can give positive suggestions. Switch teams and see if they can produce better projects.\n4. Utilize quick written reviews\nAfter completing a topic, ask your students to briefly write what they have learned. It can cover vital points about the topic and their thoughts about challenging sections. This will keep students engaged and prepare them to focus on the next subject.\n5. Use different learning styles\nEvery student has unique ways of learning with their own strengths and weaknesses. You need to incorporate various activities and methods to reach all students.\nWith this method students improve both listening and speaking skills. They think in words and will often be learning as they speak. Suitable activities for these students cover:\n- Brief lectures\n- Word games\n- Team projects\nThese students learn first by seeing. They may see in words or images. Some activities for this type of learner include:\n- Taking notes\n- Looking at images, videos, etc.\n- Drawing and reading charts or maps\n- Resolving puzzles\nThis method can be used to organize thoughts graphically by creating a diagram. A word or group of words expresses various concepts. Primary concepts should be listed at the top of the diagram. As other ideas are added, linking phrases and cross-links can be used.\n6. Turn learning into games\nStudents learn more and get engaged most when they are having fun. This concept suggests giving more focus to the benefits of playing learning games in the classroom.\n7. Learning in a story session\nStorytelling is another highly engaging strategy that can be used in the classroom. This activity helps engage both the emotional and logical sections of the brain. With diverse areas of the brain being stimulated, the hearer can better engage with and cherish the information within the story.\n8. Create a positive emotional environment\nAsk students about their feelings as they consider a vital topic such as bullying. Be open and available to them if they need help with their emotions. Many students have no moral support from family or friends. When upset, kids are more likely to misbehave and less able to concentrate or be engaged in the subject matter. Teachers and counselors are vital in helping students in these situations.\n9. Educational apps\nIntroducing some technology into the classroom can take away dullness and make students excited towards the class.\nWith the extensive use of mobile devices, educational apps are now becoming a necessary tool in the present-day classroom. With video sessions, math apps allow teaching difficult mathematical problems through games.\n10. Autonomy support\nIncluding students in the learning process is vital to obtain their interest for the subject.\nStudents should be able to express their ideas and opinions during the activity. They should be given a good amount of time to understand specific topics and not rushed onto the next subject.\nIn teaching, not every strategy will work with every student. You need to have a big bag of tricks that you can pull from when students\u2019 interest starts to waver.", "id": "<urn:uuid:66670ed2-b1e3-4aa3-9b29-66c2aa260eeb>", "dump": "CC-MAIN-2021-17", "url": "https://kindovermatter.com/2021/02/tips-for-teachers-to-keep-primary-students-engaged.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00105.warc.gz", "language": "en", "language_score": 0.9518166780471802, "token_count": 1040, "score": 3.5625, "int_score": 4}
{"text": "Uncover patterns in your story\nDuring the reporting process, we see how the issues we cover are often perpetuated by cyclical patterns. We call these patterns feedback loops, which are a series of forces that connect to one another in a cyclical way. Feedback loops are the foundations of many systems and dictate how they function.\nWhile feedback loops can be hard to see and articulate, this exercise can help you identify core patterns that are at the heart of a problem you're reporting on. Once you start uncovering feedback loops, it's likely that you will start seeing them everywhere.\nReview core outcomes\nIn completing this exercise, you will be able to:\nIdentify underlying dynamic patterns at play in issues you cover;\nUnderstand how these feedback loops drive your area of coverage;\nUncover entrenched patterns that can inform your reporting and storytelling.\nMaterials + set-up\nThis exercise works well with our Seeing Your Story as a System > exercise, but can be done without. This exercise can be completed on your own, with your reporting team, or with members of the community.\nThere's also an opportunity to go deeper > and create a small systems map of interconnected feedback loops.\nYou will need: sticky notes, sharpies, flip chart paper\nUse this corresponding slide deck > for facilitating this with your team or collaborating remotely.\nHere's what you need to get started\nIdentify key forces\nThink about your topic and the myriad forces and elements that contribute to or are affected by it. These can be patterns, trends, policies, attitudes, power dynamics, or beliefs.\nWrite down a few of these forces on a piece of paper. If you\u2019ve already mapped your topic in the previous exercise, review the forces you surfaced.\nEX: If you're covering public safety or criminal justice, you could point to: policing in Black neighborhoods, recidivism rates, employment opportunities, the \"war on drugs,\" or the availability of social services.\nCreate a loop\nAsk yourself or your team: What does that force lead to? Try to find another force you\u2019ve already identified on a sticky note that answers that question. If you need to add a new force, that\u2019s fine too.\nKeep asking that question until you\u2019ve looped back around to the first force. If you get stuck, work backwards. Try to keep your feedback loop size to 3-6 forces.\nKeep the forces neutral. For instance, instead of saying \u201cInability to find a job,\u201d say \u201cEmployment.\" (It will become more clear why in the next step.)\nFor example, if you\u2019re working on a pattern about criminal justice, here\u2019s what one feedback loop could look like:\nPick a force\nLook at the forces you\u2019ve written down and pick one that you or your team thinks is particularly important to your topic. Write it on a sticky note and place at the top of a large white piece of paper.\nDescribe the connections\nOnce you\u2019ve created your loop, it\u2019s time to describe the connections between each force. In the graphic below, notice how an increase in incarceration leads to a decrease in Employment Stability.\nUse \u201c+\u201d and \u201c-\u201d signs to indicate the relationships between each force. (This is why you keep them neutral. Complex systems are always changing, which means the forces will as well. Using \"+\" and \"-\" signs can help indicate that.)\nReview + discuss\nTalk through your loop. Does it make sense? Can you explain each connection? Is there something missing that would better complete the loop?\nUsing loops for your reporting\nCreating these loops can be a useful way of understanding the patterns that are fueling the issue you're covering. After you've created a few loops, ask your group:\nWhat story can you tell that illuminates one or more feedback loops?\nHow could you report stories about ways to intervene in these loops?\nWho can you bring in from the community to test the accuracy of your feedback loop? Name three people.\nCould you publish a visual of a feedback loop to help illustrate a story you're reporting?\nWant to dive deeper?\nUse our tool to create connected feedback loops >", "id": "<urn:uuid:232c567e-659e-4e47-8764-47e876136f09>", "dump": "CC-MAIN-2021-17", "url": "https://www.systems.journalismdesign.com/surface-dynamic-patterns", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00306.warc.gz", "language": "en", "language_score": 0.9363648891448975, "token_count": 880, "score": 3.609375, "int_score": 4}
{"text": "Classroom Activities Using Storytelling\nStorytelling in the classroom can seemingly be one of the most diverse and engaging ways to help students learn English as a second language. Storytelling for the purposes of this essay is a broad term that I am using to refer not only to students telling stories about what they did on the weekend for example but also using existing stories that are well known and loved, for example, Harry Potter or the Lion King.\nThis post was written by our TEFL certification graduate Jamie S. Please note that this blog post might not necessarily represent the beliefs or opinions of ITTT.\nBenefits of Storytelling Activities\nFirstly, classroom activities using storytelling when centered around the students are a great way for students to get to know one another. With appropriate facilitation, a student can turn a basic conversation about how many people they have in their family, into a story highlighting what they did or would like to do with their family. From here, this conversation can build into shared experiences with their fellow students. A student in the classroom that regularly plays soccer, for example, can then be paired with another student who also regularly plays soccer, and together they can try to build a story out of that shared commonality.\nStorytelling Skill Development\nFurther, students can be encouraged to go and explore and to create their own stories. This can again be facilitated by the teacher. For example, a teacher can pass out a homework sheet listing different animals, which the students can then try and find outside of class. Back in the classroom, the students can then have a conversation with others who saw the same animals they did and discuss how. Thus, they will be sharing stories. This is seemingly a way to create stories that students can engage within the classroom and they are creating their own content without perhaps realizing it.\nMoreover, using existing stories, such as the Harry Potter or Lion King examples as listed before, opens up a plethora of additional classroom activities. In addition to showing videos in class, which typically keeps students engaged, these stories are already well known and loved. Students can then periodically discuss who their favorite characters are and why, or they can complete a word-find listing the animals they have seen in the Lion King movie. Students could play a bingo game, listening for certain words or looking for different items on the screen and describing it. Moreover, students can be asked to write a summary of a story that they love, or else tell it in their own words, as a way to build and construct full sentences.\nFor the more ambitious, writing a script from a part of the movie and then re-enacting it would be another fun class activity, although this would likely be embarrassing for many. In short, there is quite simply a vast array of activities that can be used in the classroom, which when paired with a story that is already well known and engaging, will likely make for a fun classroom activity. However, there need to be certain conditions for this kind of activity to work well. Any video should not be played for too long at any one time and is a supplement to other activities, rather than an activity in and of itself. Also, not all classrooms will necessarily have access to video players, especially those located in rural Asia or Africa.\nDo you want to teach English abroad? Take a TEFL course!\nOverall, storytelling - whether it be a story about the students own experience, a created story or an existing well-known story - is a fantastic way to get students to engage in learning material and provides a platform for a large array of different written, listening and spoken activities which can be delivered in a fun environment.\nSpeak with an ITTT advisor today to put together your personal plan for teaching English abroad.\nSend us an email or call us toll-free at 1-800-490-0531 to speak with an ITTT advisor today.\n- Teaching ESL & Knowing Your Audience: Young Learners vs. Adults\n- Games in the Classroom: What are EFL games?\n- 10 Tips When Teaching English as a Foreign Language to Children\n- Teaching English Abroad: What's Next? - How To Advance In Your EFL Career\n- Top 8 Resources for Researching Teaching English Abroad\n- 5 Great Places to Teach English Abroad Without a Degree", "id": "<urn:uuid:c34a6255-431b-42c3-a330-4d1205447cda>", "dump": "CC-MAIN-2021-17", "url": "https://www.teflcourse.net/blog/classroom-activities-using-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00266.warc.gz", "language": "en", "language_score": 0.9644686579704285, "token_count": 877, "score": 3.828125, "int_score": 4}
{"text": "Tags: Phd Thesis Critical Discourse AnalysisGood Creative Writing CollegesPay For Essay Writing UkScdl Pgdba AssignmentsPollution Essay In Simple EnglishList Of Controversial Issues Research Paper TopicsAp Language Synthesis Essay RubricHelp Solve Math ProblemHow To Write A Brief EssayNat 5 English Critical Essay\nOur graphing worksheets are free to download, easy to use, and very flexible.\nThis worksheet is useful for teaching how to make box and whisker plots.\nBox and Whisker Plots Word Problems Worksheets These graph worksheets will produce data sets based off word problems, of which the student will have to make box and whisker plots.\nYou may select the amount of data, the range of numbers to use, as well as how the data is sorted.\nFor sixth graders, these standards will help them tackle reading and comparing non-fiction texts, including magazine, books, and digital sources.\nThe Common Core State Standards (CCSS) ask that learners take on\u2026\nFollow the links for Spaceship Math Addition worksheets, multiple digit addition worksheets, no-carrying addition worksheets and other addition topics.Each of these multiplication charts is a high resolution SVG, so the multiplication facts print beautifully!Are you looking for a printable multiplication table that has more than just the facts? The multiplication tables on this page are all high resolution SVG files that print beautifully on your printer and are great resources for learning the times tables in the grade school classroom or at home!You'll find multiplication worksheets for Dad's Eight Simple Rules for Mastering the Times Table, Rocket Math Multiplication, multiple digit multiplication, squares and other multiplication worksheet topics.All of these multiplication worksheets include answer keys and are instantly printable and ready classroom or home school use. This includes Spaceship Math Division worksheets, multiple digit division worksheets, square root worksheets, cube roots, mixed multiplication and division worksheets.This is the first step for determining the greatest common divisors of two numbers, or determining the least common multiple of two numbers, but additionally prime factorization introduces the concepts of prime numbers and composite numbers.These order of operations worksheets mix basic arithmetic, including parentheses and exponents.Follow the links for Spaceship Math Subtraction worksheets, timed subtraction tests, multiple digit subtraction worksheets, simple borrowing and regrouping worksheets, and math worksheets with mixed addition and subtraction problems This is the main page for the multiplication worksheets.Put your fingers away, because this is the first math operation where memorization of the facts is a requirement.Click here for a Detailed Description of all the Graph Worksheets.Recommended Videos Single Line Graphing Worksheets These graph worksheets will produce a chart of data and a single coordinate grid to graph the data on. Single Line Graph Comprehensions Worksheets These graph worksheets will produce a single coordinate line graph and questions based off the graph to answer. Double Line Graphing Worksheets These graph worksheets will produce a chart of data for two lines and a single coordinate grid to graph the data on.", "id": "<urn:uuid:e9bd0456-5a54-4c28-b77b-902b8d86efd7>", "dump": "CC-MAIN-2021-17", "url": "https://chesh.ru/6th-grade-homework-worksheets-6274.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00025.warc.gz", "language": "en", "language_score": 0.8657914400100708, "token_count": 669, "score": 3.59375, "int_score": 4}
{"text": "RAYS (Reading Awakens Young Scientists) is an interdisciplinary program that introduces young minds to science through classroom workshops, engaging students in lively storytelling and well-designed hands-on science experiences. RAYS brings science alive to the smallest of scientists through the pages of literature. Through literature and storytelling, this award-winning program reveals the science that surrounds us in our daily lives. Designed for young elementary grade students, RAYS introduces children to the vocabulary of science and reinforces scientific concepts. After participating in an exciting storytelling session of a great piece of children\u2019s literature, students don lab coats and work together on interactive science investigations.\nThe RAYS curriculum is consistent with recognized criteria and uses National Science Foundation standards, Benchmarks for Science Literacy, and California Science Content standards. These standards are designed to improve the teaching and learning of science.\nMusic Over Manhattan. Using oversized illustration boards, our effervescent storyteller will delight the class with a lively retelling of the book Music Over Manhattan. The retelling will be followed by an exciting hands-on science lesson designed to reinforce the concept:something must vibrate to produce sound. This lesson investigates vibration and how sound is produced. Students rotate through four learning centers, as they study the effects of pitch and frequency on vibration (appropriate for grades K-3).\nThe Wartville Wizard. Our animated storyteller delivers the sticky tale of the Wartville Wizard. The story is followed by a fun filled, hands-on science lesson designed to reinforce the following concepts: When certain objects are rubbed together static electricity is produced. Objects that are statically charged may affect other objects (appropriate for grades 1-4).\nHey Little Ant. This engaging tale offers children a moral dilemma to explore: Should a boy step on an ant? In the follow-up experiment on insect behavior children discover that the lives of insects are altered by a variety of stimuli. In this lesson mealworms are subjected to stimulation by sight, smell, and touch (appropriate for grades 1-3).\nStone Soup. This is a delightful modern retelling of the timeless tale set in a small village in China. Magnificent watercolor illustrations enhance our storyteller\u2019s ability to bring this classic to life. The book serves as a springboard for a hands-on chemistry experiment. Students working in lab teams are challenged to think like scientists, as they create a substance with the properties of paste. Teams formulate hypotheses and then measure, mix and test the combinations. Test formulas are recorded on prepared lab sheets for this fun-filled lesson (appropriate for grades 4-5).\nPuddle Pail. Puddle Pail explores what scientists do, the concept of exploring and the properties of water. Students work collaboratively, just like real scientists, to conduct investigations that include the concepts of gravity and surface tension.\nAll workshops are presented at your school.\nFor information and reservations call (818) 879-2021.\n*International Science Center Award for Innovation for RAYS: Honorable mention given by the Association of Science and Technology Centers in Washington DC. The competition included 350 + science centers from around the world.", "id": "<urn:uuid:12f6aed4-7455-4a17-9cdb-ccc62b969672>", "dump": "CC-MAIN-2021-17", "url": "http://discoverycntr.org/programs/rays/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00343.warc.gz", "language": "en", "language_score": 0.9078739285469055, "token_count": 644, "score": 4.03125, "int_score": 4}
{"text": "In Grades 4-6, a comprehensive curriculum is followed that emphasizes strong academics, thinking skills and practical applications. Classes are equipped with SMART Boards and students have regular access to the computer lab and are able to incorporate these technologies into their learning.\nIn Language Arts, the focus is on oral communications, vocabulary development, reading comprehension, written language, grammar and creative writing. Students learn how to independently plan, revise and edit their work and they participate in speech and writing competitions. Students are given group and individualized programs based on their strengths and abilities. Ongoing assessments ensure that key concepts and skills are grasped.\nThe Mathematics program is organized to ensure the incremental development of each skill. Place value, computational skills, fractions, decimals, ratios, percent, geometric properties, number theory, measurement, statistics, graphing and probability are some of the areas covered. Emphasis is placed on the importance of process, format, analytical thinking and sequencing in daily work. Students complete drill work and problem solving and are able to work above grade level or receive additional assistance if needed.\nIn Science, students acquire a broad scientific understanding and technological capacity in all areas of Science. By completing various classroom experiments, investigations, research projects and science fair activities, the students develop a great deal of knowledge which they apply to new situations. Topics in the areas of environmental science, biology, chemistry, physics, and space science are studied at a high level.\nSocial Science seeks to examine and understand communities, from the local to the global, their various heritages, and the nature of citizenship within them. The acquisition of key social science concepts, including change, culture, environment, power and the dynamics of the marketplace are studied. Ancient civilizations, Canadian history, Canadian geography and units related to a study of a country within a continent are studied each year. Different viewpoints are evaluated and information is examined to learn how to make decisions and solve problems.\nIn French, students read a wide variety of materials, appropriate to their age level. They develop strong oral communication skills and explore further aspects of the written language, including grammar.\nEducation in the Arts is essential to a student\u2019s intellectual, social, physical and emotional growth. Our Visual Arts program includes the traditional fine arts of drawing, painting and sculpting. Students learn to analyze and appreciate art work from various historical periods and styles.\nIn Music, the guitar is studied and students continue to grow in their appreciation of music. They learn musical notation and theory and are given the opportunity to perform at school concerts.\nComputer technology teaches the students to become familiar with various programs and functions, equipping them for our technologically advanced and fast-paced society. Wireless access throughout the building allows the students to use their own personal laptops in all classes. SMART Boards are incorporated across all disciplines and enhance learning.\nA comprehensive Physical Education program, rounds out the students' learning experience. Intramural and extra-curricular sports activities and teams are available. Fitness, good sportsmanship and high level skills are developed.\nDrama skills are encouraged as each class prepares presentations for the school assemblies. Two high level drama productions are performed each year, one at Christmas and one in the Spring. Highly qualified, specialty teachers help the students to develop their acting, singing, dancing and production skills.", "id": "<urn:uuid:cf039b7b-e689-4d27-b5a5-f677d19327a6>", "dump": "CC-MAIN-2021-17", "url": "https://meadowgreenacademy.ca/curriculum/grade-4-6/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00381.warc.gz", "language": "en", "language_score": 0.9515243768692017, "token_count": 671, "score": 3.59375, "int_score": 4}
{"text": "Name of Book: Noah\u2019s Ark\nAuthor: Peter Spier\nIllustrator: Peter Spier\nPublisher: Dragonfly Books\nAudience: Ages: 4 \u2013 10\nSummary: Have you ever heard the saying, \u201cA picture is worth a thousand words\u201d? Well, that\u2019s just what this children\u2019s picture book, Noah\u2019s Ark is like. As the story begins, the only words on the page are; But Noah found grace in the eyes of the Lord. As you turn each colorful page you will see no words, except Peter Spier\u2019s translation of a Dutch poem at the beginning which guides you through the story; \u201cHigh and long, Thick and strong, Wide and stark, Was the ark. Climb on board, said the Lord\u201d. With that, a host of animals in all shapes and sizes parade across the colorful pages of this wonderfully illustrated picture book. The illustrations do an excellent job of portraying perspective. The ark is made to appear enormous. Yet there are some illustrations during the flood where the ark is clearly very small in the context of the huge ocean. There are lots of stories within the story. For example, the sequence where the dove is released several times before the last one brings back a sprig of leaves from dry land is quite interesting as is the promise for the future which is wonderfully captured by a gorgeous rainbow at the end.\nLiterary elements at work in the story: The theme of the story is sequential thereby making it easy for the reader to tell what\u2019s going on. The illustrations provide the nonverbal stories about Noah and the enormous task it was to build an ark, the difficulties of rounding up all the animals, the even greater challenges of taking care of them during the flood on the ark, and the process of returning to the land as the waters receded. By using only illustrations, the author allows for quite a bit of latitude as to how the story can be interpreted. Many wonderful discussions can be generated through the illustrations and based upon the age range of your audience. This book would be appropriate to use with both children and adults.\nPerspective on gender/race/culture/economic ability: The story of Noah is universal and would therefore make this book appropriate for use with any audience. The lack of words and detailed illustrations allows for vast interpretation and discussion.\nTheological conversation partners: Genesis 6:1 \u2013 9:17\nFaith Talk Questions:\n1. Why did Noah find favor with God?\n2. Why did Noah put two of each animal in the ark?\n3. Why did God send the flood?\n4. Do you think people in Noah\u2019s town thought he was crazy for building an ark?\nReview prepared by Union Presbyterian Seminary student Donna Fair\nNoah\u2019s Ark by Storypath is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.", "id": "<urn:uuid:90979af2-bacc-4d65-8a8a-513ec8a2c895>", "dump": "CC-MAIN-2021-17", "url": "https://storypath.upsem.edu/noahs-ark/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00066.warc.gz", "language": "en", "language_score": 0.9431430697441101, "token_count": 608, "score": 3.546875, "int_score": 4}
{"text": "David Treuer, born on a Minnesota reservation went on to earn a PH.D. in anthropology and teach literature and creative writing he offers some perceptive insights. Indians were not as backward or as noble as they have been depicted. They were however beaten down. David's father was Jewish and had survived the Holocaust. His mother was Ojibwe, had trained as a nurse and became a lawyer.\nIndians were in North America thousands of years before European discovery. They were many tribes with many languages. They fought among themselves and formed alliances. They had in fact developed agriculture and we have adapted much of it such as corn, squash, etc. After they caught on that there were different European \"tribes\" they were able to play one against the other, until the American Revolution.\nA big game changer was the horse. Introduced by the Spanish, the Indians stole horses and mastered riding. This increased their mobility (hunting, trading, etc.) and also their ability to resist the colonizers. Read more: http://www.therealjohndavidson.com/2016/05/north-american-indians-domesticate-horse.html\nThe Louisiana Purchase in 1803 allowed Thomas Jefferson to shift Indians to the west. Some, such as the Seminoles in Florida refused to go.\nIndians were relocated for convenience of settlers, but in one instance the Osage tribe were clever enough to retain mineral rights and when oil was discovered in their section of Oklahoma they became the richest people per capita in America, but they were undermined. Read more http://www.therealjohndavidson.com/2018/01/killers-of-flower-moon-bit-of-history.html\nEly Parker, a Seneca Indian and educated as an engineer attempted to organize the Iroquois confederacy for the Union Side for the American Civil War, but was rejected as not being American. Ulysses S Grant vouched for him. Ironically Ely helped to draft the articles of surrender that ended the Civil War. When Grant became president there were some friendlier political policies.\nPart of the friendlier government was strategies to help assimilate Indians. One of the outcomes was boarding schools where young children were separated from their parents and forced to speak English and learn history from the American perspective. Similar strategies were enacted in Canada with similar sad results. Eventually boarding schools were abolished on both sides of the border, but still the results linger.\nA law was established that Indians could not be taxed on their reservations. Seminoles in Florida were perhaps the first to test this in 1976 by selling cigarettes, but later moved into gambling, first with bingo and later with casinos. Many tribes jumped on the bandwagon. A perhaps unexpected offshoot of this was that many tribal leaders wanting to keep more the profits ruled that some people were not really Indians and were excluded. The author points out that blood had been imposed against Indians when it suited the government. The bottom line is that it is human nature to want to concentrate wealth in as few hands as possible. The author discussed that it really is more than just blood that should define Indians and other factors include language and culture.\nHe covers the Standing Rock protests that ended in failure. In the end it is an American problem that includes Indians. Naomi Klein suggested that environmental groups should align themselves with indigenous groups that not only share common goals, but have different tools to enact change.\nThey survived by first resisting, but in the end settled in by fighting for the Americans in the many wars (including the American Revolution for some tribes). AIM (American Indian Movement) looked at the Black Panthers as a model as they made things happen and opted for violence, but also boosted education. There are now opportunities to learn tribal languages and Indian history. Indians are adapting.\nThere are many events depicted and different perspectives including many from his own life. I would like to close with a quote used by the author from John Adams in a letter to Thomas Jefferson in 1816; \"Power always thinks it has great Soul and Vast Views beyond the Comprehension of the Weak.\"", "id": "<urn:uuid:6fa1f1aa-b6ff-457f-8274-346cbff9e4c3>", "dump": "CC-MAIN-2021-17", "url": "http://www.therealjohndavidson.com/2021/02/the-heartbeat-of-wounded-knee.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00185.warc.gz", "language": "en", "language_score": 0.9905529618263245, "token_count": 841, "score": 4.03125, "int_score": 4}
{"text": "Children can learn about family heritage at the same time they are improving their literacy skills. Using family-based writing projects, you can build a connection with parents, and help children see the value in their own heritage and in the diversity around them.\nEvery child has a person whose story should be told, a person who has taught,cared-for, and loved them, a person whose influence and ability to inspire is trulyheroic.\n\u2014 Bill Starkey, counselor at Cherry Valley School, Polson, Montana\n- Encouraging students to talk with family members about their cultural heritage shows respect and interest in students' diverse cultures, making students and families feel more connected to the school.\n- Families are offered authentic, academically oriented ways of being involved in the school without themselves needing to be highly proficient in English or numerous academic subjects.\n- Writing projects that illuminate diverse cultural traditions allow all students to share and learn from each other, while heightening respect and appreciation for diversity and improving school climate.\nStudents' writing connects them to their families and communities in diverse and creative ways. Families can support and provide experiences for their children to write about, and they themselves can participate in the story process by being storytellers or audiences. Children love to listen to stories, sharing time and family history with the parent or grandparent who tells them. Listening to these stories, children learn the structure of narratives and the many ways of relating meaningful and engaging thoughts and events.\nMiddle school teacher Priscilla Kelly (1993) relates how allowing her students to tell their families' stories inspired not only their writing, but wide-ranging research projects:\nThe first time I assigned the biographies I envisioned students researching a notable person, probably someone unrelated to themselves. You can imagine my surprise when at least two-thirds of the class chose to write about members of their own families. I was horrified since each student presents a twenty-minute oral report about her biographical subject. How many grandmothers could we stand to hear about! How wrong I was. First, I was and continue to be amazed at the relatives that my students have. They come with stories that amaze, complete with documentation in old pictures, diaries, awards. I ask them to read at least one book that will familiarize them with the context of their subject's life.\nWhat children can learn of history and themselves by talking to their families is beautifully evoked in Christopher Paul Curtis's afterword to his popular children's book, Bud, Not Buddy,, a story about a young boy making his way through Depression-era Michigan in search of his father. Curtis (1999) says:\nMuch of what I discovered about the Depression I learned through research in books, which is a shame \u2014 I didn't take advantage of family history that surrounded me for many years. I'm afraid that when I was younger and my grandparents and parents would start to talk about their lives during the Depression, my eyes would glaze over and I'd think, \"Oh, no, not those boring tall tales again!\" \u2026 Now I feel a real sorrow when I think of all the knowledge, wisdom and stories that have been forever lost with the deaths of my grandparents (p. 242).\nHe urges young people: \"Go talk to Grandma and Grandpa, Mom and Dad and other relatives and friends. Discover and remember what they have to say about what they learned growing up. By keeping their stories alive, you make them, and yourself immortal\".\nTeachers can help their students embrace this advice by respecting the fundamental importance of family knowledge to the academic curriculum. One teacher asked her American history students to interview their parents about the civil rights movement when the class was studying that period. She then invited parents of diverse groups to share their experiences in class (Jackson, 1998). Here we see the families not simply feeding and nurturing the students' growing sense of who and what they are, but evolving from \"just family\" into knowing experts in their children's eyes.\nIt can be a motivating experience when children make this realization. At Tulalip Elementary School located on the Tulalip Indian Reservation in Washington, teacher David Cort and his students engaged in a project that included connecting technology, literacy, art, and culture:\nKids love learning about the rich culture we have here at Tulalip. They feel pride; they see themselves as leaders. Culture motivates them to learn. For many of these kids, when they realize that their family and the canoe culture is something they can share in the classroom, that's when they realize they have powerful stories to tell that they are excited about telling.\nHonoring families' heritage language. Offering parents whose native language is not English the opportunity to participate in their child's education is yet another critical element in the potential for story projects in any classroom. Students build bridges between their classrooms and their home cultures, integrating all aspects of themselves into their education. Simultaneously, as their cultures are connected to their classwork, their fellow students gain knowledge of diverse cultures, languages, customs, histories, and experiences.\nBy positioning ethnic and cultural diversity as critical and respected realms of knowledge and experience, children's cultural differences are understood as strengths from which to build knowledge and skills, and they promote cross-cultural understanding among their classmates. Dyson and Genishi (1994) write: \"By connecting to kids' cultures, one not only recognizes and honors the communities to which they belong; faith, cultural, ethnic, interest \u2026 you also allow a community to be forged among the students in the class\".\nIn Medford, Oregon, teacher JoAnna Lovato has developed a project with her seven- to -nineyear- old Latino students in which they read autobiographies, write their own and family stories, and create a colorful laminated paper \"wheel\" that carries the stories and images of their lives. \"One of the beauties of this project,\" she observes, \"is that it fully embraced my students \u2014 their language, culture, and family traditions. They loved it because it was about them, and they all took great pride in their projects\".\nSimilarly, fifth-grade teacher Stephanie Windham has found that her Family Story Book project has helped students improve their writing skills, learn about the genre of story writing, and-most important-develop a sense of pride about their own lives. The children at Atkinson Elementary School in Southeast Portland come from Latin America, the former Soviet Union, and countries such as China, Vietnam, and Pakistan. The project involved writing a story based on the stories told by their own families, as well as a poem on the theme \"Where I Am From.\" They then selected one piece to take through the revision and publishing process.\nThrough the project, Windham has found that family members, especially those unfamiliar with American schools, gain confidence and a better understanding of their child's education. The father of a Russian student, in his struggling English, made a point to contact Windham after the project in order to tell her \"it is good you teach this, having children come to ask their parents questions. You are teaching the right things\".\nResearchers have found that the most powerful form of parental involvement occurs when parents are actively engaged with their children in ways that enhance learning (Thorkildsen & Stein, 1998). Projects such as these offer ways for non-English speaking parents to participate in their children's education, and motivate non-English speaking students to convey who they and their families are to the English-speaking community. Students learning English as a second language can interview family members in their home language and write their family stories in English, perhaps sharing the stories with classmates in two languages. Students have opportunities to read, write, and speak both their home language and English.\nStudents also may gain new insights into what makes a story. After observing her family's storytelling habits and interviewing family members, a fifth-grader at a Portland, Oregon, school remarked:\nI had to ask a lot of questions of my parents and I was surprised about how much I didn't know. It was really interesting because I didn't know that when my grandma talks, when my great-grandma talks, I didn't realize that saying \"I used to do that when I was your age\" was considered a story. It was really interesting.\nBy encouraging and providing opportunities for meaningful family involvement, teachers play a critical role in bridging home and school. In the small, rural town of Copper Center, Alaska, Tamara Van Wyhe, a secondary school English teacher, engages her students in creating an annual publication of poetry and prose that is shared with the community in a year-end celebration. Through the writings, Van Wyhe says she has developed a greater understanding of the strengths of her students' families and how they support their children's learning. She says this new knowledge has even changed the focus of her parent newsletter-moving away from \"look what the school is doing for your child\" to \"thank you so much for all you are doing to help your child learn\".\nStucynski, A., et al. (2005). Tapestry of Tales: Stories of Self, Family, and Community Provide Rich Fabric for Learning. Northwest Regional Educational Laboratory: Portland, OR.", "id": "<urn:uuid:ea735356-3613-47aa-b749-31a687f1cbb1>", "dump": "CC-MAIN-2021-17", "url": "https://www.readingrockets.org/article/family-stories", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00386.warc.gz", "language": "en", "language_score": 0.9773799180984497, "token_count": 1886, "score": 3.71875, "int_score": 4}
{"text": "About the Holiday\nFrom 6:02 a.m. to 6:02 p.m. on 10/23 chemists, scientists, students, and others who love numbers celebrate Mole Day to commemorate Avogadro\u2019s Number, which is a basic weight measuring unit in chemistry. Defined by the equation 6.02 x 1023, Avogadro\u2019s number finds that for any given molecule one mole of that substance has a weight in grams equal to its atomic number. The name of this scientific constant naturally led to an association with the furry underground burrowers, and the mole and mascot moles can be found working in tandem to promote a better understanding and enjoyment of chemistry. As today\u2019s book proves there is no better mixture than the chemistry between friends.\nA Friend for Mole\nBy Nancy Armo\nMole loves his cozy burrow. \u201cHe liked his soft bed of leaves, the warm smell of the earth, and the quiet darkness all around.\u201d He can imagine the world above him by all the distinct sounds he hears. But one day those sounds become louder. Instead of gentle tapping and buzzing, he hears stomping, shouting, and laughing. He decides to go up above and see what all the ruckus is about.\n\u201cThe bright light, loud noises and new smells were overwhelming,\u201d and Mole thinks it was a very bad idea to have left his burrow. He tries to find his way home, but he can no longer see the hole. In a panic he starts to run. He trips over a tree root and rolls under a bush. The soft leaves and darkness remind Mole of his burrow and soon he is fast asleep.\nMole wakes up during the night. He hears rustling and sees two shiny eyes staring at him. \u201c\u2018Oh no!\u2019\u201d thinks Mole. \u201c\u2018Please don\u2019t be something scary.\u2019\u201d Mole closes his eyes, hoping to hide. But then he hears a small whimper. \u201c\u2018Are you afraid of the dark too?\u2019\u201d When Mole takes a peek, he sees a wolf. \u201c\u2018No,\u2019\u201d Mole answers. \u201c\u2018I\u2019m afraid of the light.\u2019\u201d Wolf tells Mole that he is lost after being chased by the other animals and that he is scared.\nMole and Wolf think about what they can do and devise a clever plan. Mole says he will stay with Wolf in the dark, and Wolf agrees to help Mole find his burrow when the sun comes up. To make the time go faster, Mole and Wolf play games, such as hunting \u201cimaginary slithering creatures,\u201d stomping on \u201cpretend scampering bugs,\u201d and \u201cchasing away scary monsters. It was all so much fun they forgot about being lost and scared.\u201d\nAs daylight breaks, Mole begins to think about home. Wolf also feels homesick. As they search for the entrance to Mole\u2019s burrow, Wolf shields Mole\u2019s eyes from the sun with his tail, and Mole giggles at the tickly softness of Wolf\u2019s fur. Soon they discover Mole\u2019s burrow, and Wolf realizes that he lives nearby. Although Mole is happy to be home, he also feels sad to say goodbye to Wolf.\nHe asks if Wolf would like to play again sometime. Wolf shouts, \u201cYes! That was so much fun! I was scared but having you there made everything okay.\u201d As Mole settles back into his leafy bed, he knows \u201cexactly what Wolf meant.\u201d\nIn her sweet story of friendship found, Nancy Armo relates that most comforting feeling\u2014the knowledge that friends always stand by you even when times are hard or scary. Her characters Mole and Wolf are perfectly chosen foils with opposite strengths that, combined, help solve their immediate problem and form a strong friendship. Armo\u2019s straightforward storytelling is enriched by the endearing personalities of Mole and Wolf as well as their honest sharing of feelings.\nIn vivid two-page spreads Armo superbly depicts the daytime and nighttime scenes, transporting readers into the heart of her story. Above the \u201cquiet darkness\u201d of Mole\u2019s burrow, cute mice scamper in the rain while an earthworm, a snail, and a bee take shelter. When his roof rings with noise and curiosity gets the better of Mole, he emerges into an open field, and his tumbling trip over the tree root is nimbly portrayed with a series of flips rendered with a filmy transparency. As nightime falls the Mole\u2019s and Wolf\u2019s adventure plays out on pages with a solid black background. Wolf\u2019s eyes shining on a completely darkened page offers just the right amount of suspense for little readers, and a careful look at the expression in his eyes is reassuring. Kids will enjoy the games the two friends enjoy, and will cheer when the sun dawns on their new friendship.\nA Friend for Mole is a great book for young readers navigating the world of meeting new classmates, teammates, and other children who may see the world differently but would make good friends.\nAges 3 \u2013 7\nPeachtree Publishers, 2016 | ISBN 978-1561458653\nYou\u2019ll find fun A Friend for Mole activity sheets, a portfolio of artwork, and more on Nancy Armo\u2019s website!\nMole Day Activity\nMole Tunnels Maze\nDig into this printable Mole Tunnels Maze that has as many twists and turns as a mole\u2019s home!\nPicture Book Review", "id": "<urn:uuid:3a80113b-83f8-4d09-b51a-b2fb02bb3c6b>", "dump": "CC-MAIN-2021-17", "url": "https://celebratepicturebooks.com/2016/10/23/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00305.warc.gz", "language": "en", "language_score": 0.9604123830795288, "token_count": 1178, "score": 3.546875, "int_score": 4}
{"text": "Ano ang self efficacy? The General Self-Efficacy scale measures self-perception of self-efficacy. It is the optimistic self-belief in our competence or chances of successfully accomplishing a task and producing a favourable outcome. It is a self-report questionnaire that asks test-takers to rate perceived self-efficacy in order to predict their coping abilities Self-Efficacy in Education. Self-Regulation: Exercise of influence over one's own motivation, thought processes, emotional states and patterns of behavior. Gumawa ng isang slogan na nagpapahayag ng pagmamahal mo \u2026 The data are gathered using survey type questionnaire which is composed of two domains, English efficacy and Math efficacy to find if there is significant relationship between academic performance and their self-efficacy. How to use self-effacing in a sentence. Self-efficacy has probably been most studied within the context of the classroom. But it s the high school 47 4. Tagalog translator. Data was analyzed using mean and test of difference (t-test). self-esteem in Tagalog translation and definition \"self-esteem\", English-Tagalog Dictionary online. Effects of Self-Efficacy. Perceived Self-Efficacy: People's beliefs about their capabilities to produce effects. In addition to the academic, social, appearance, and physical/athletic dimensions of self-esteem in middle and late childhood, teens also add perceptions of their competency in romantic relationships, on the job, and in close friendships (Harter, 2006). Filipino words for self-esteem include kapalaluan, pagkapalalo, pag-ibig sa sarili, pagpapahalaga sa sarili and pagpuri sa sarili. Factors That Influence Self-Esteem . : There is a dearth of research on general perceived self-efficacy relative to teen pregnancy. : This study examined the self-efficacy for self-regulated learning of 146 early adolescents with and without learning disabilities. Self-efficacy was measured by Self-Efficacy Self-Report Scale that was designed by (Erford, Schein and Duncan, 2011). Self-efficacy refers to an individual's belief in his or her capacity to execute behaviors necessary to produce specific performance attainments (Bandura, 1977, 1986, 1997). Image Courtesy of Wikimedia. When we understand that there is a bad idea. As self-concept differentiates, so too does self-esteem. It is one\u2019s belief in one\u2019s capacity to execute behaviors necessary to produce specific performance attainments (Bandura, 1977, 1986, 1997). Thesis statement example tagalog for university of mississippi oxford creative writing mfa. Exercise: Build Self-Efficacy. (tagalog answer) 2 See answers sspeedplayzgaming sspeedplayzgaming Answer: Ang kakayahan mo sa pagsagot ng tanong ng ikaw lang magisa. As you might imagine, many factors influence self-esteem. Pagpapahalaga sa sarili. Be particularly careful when tagalog abstract thesis in you can rearrange your ideas or data and, if advisable, adjusting one s own work well, and the course through concrete examples that follow, the revision process. Self-efficacy can have a powerful influence on how people behave, including the motivation they have to pursue their goals. Low self-efficacy in patients can be spotted by their failure to follow prescribed diets and exercise regimens. Self-efficacy, or confidence as it is commonly known, is one of the most enabling psychology models to have been adopted into positive psychology. Many people are also searching for information about self-efficacy . term used in psychology to reflect a person's overall emotional evaluation of his or her own worth. For example , if you have low... | Meaning, pronunciation, translations and examples We will ask our contributors about English Bisaya translation and meaning of self-efficacy. Well, Self-efficacy is also related to confidence, in other words, according to Bandura, \u201cjust as with self-esteem and motivation, self-efficacy and can work in a positive correlation\u201d, which means the more confident being is more likely to succeed which ultimately helps in providing experiences to develop one\u2019s self-efficacy. Are you confused with gender identity or searching for self-esteem? Feelings of high or low self-worth often start in childhood.Family life that is riddled with disapproval can follow a person into adult life. Self-efficacy is certainly worth having because as Henry Ford famously put it, whether you believe you can \u2026 Filipino translator. This self-affirmation constitutes an important component of Bandura's (1997) social cognitive theory, the self-efficacy belief that we use to exert a measure of control over our environments. IPA: \u02ccself.\u026a'sti\u02d0m; Type: noun; Copy to clipboard; Details / edit; wikidata. Items in the condom use self-efficacy scale were recoded dichotomously to determine the extent to which groups interviewed differed in their endorsement of each item. Translate filipino tagalog. Self-efficacy reflects confidence in the ability to exert control over one's own motivation, behavior, and social environment. Self image is important as it affects your self esteem and confidence. In this article we will look at the relationship between self image and self esteem and discuss how you can develop a more positive self image to \u2026 Consider your own goals, both large and small. Self-efficacy can have a significant effect on nearly every aspect of human life, from work to school, to personal relationships. Self-efficacy, self \u2026 October 10, 2020 al perkins amp betty bibbs homework. Read More. In Health. Filipino dictionary. Translate filipino english. Explanation: Wow nice answer men magayanesjoella62 magayanesjoella62 Answer: Sariling kakayahan , sariling diskarte . Athletes who have high self-efficacy generally push themselves to work harder, train harder, develop better strategies and to become more focused. 6. Self-efficacy theory is an important component of Bandura's social cognitive theory, which suggests high inter-relation between individual's behavior, environment, and cognitive factors. How to use intrapersonal in a sentence. Self-efficacy can be built by increasing participation in sports. One can hold opposing views of self-concept and self-efficacy. In Turcios-Cotto and Milan\u2019s (2013) study, for example, Latino students were. Self-regulation definition: Self-regulation is the controlling of a process or activity by the people or... | Meaning, pronunciation, translations and examples The basic premise of self-efficacy theory is that \"people's beliefs in their capabilities to produce desired effects by their own actions\" (Bandura, 1997, p. Self image and self esteem are very closely connected. Peter Rabbit (TV series) (2,482 words) exact match in snippet view article encourage preschoolers to learn problem-solving and interpersonal skills, self-efficacy, resilience, positive re-framing and fostering an interest in and respect. New questions in Edukasyon sa Pagpapakatao . Those with high self-transcendence are thought to be more spiritual, unpretentious, humble, and fulfilled than those who are low in self-transcendence. Intrapersonal definition is - occurring within the individual mind or self. Self-effacing definition is - having or showing a tendency to make oneself modestly or shyly inconspicuous. Self-esteem definition: Your self-esteem is how you feel about yourself. self-esteem . In terms of traits, behaviors, and preferences. One of the ways in which self-efficacy influences behavior is in goal setting. Self-efficacy encompasses a more specific focus on the actual behaviors and cognitive skills necessary for a task. It is important to note that self-esteem is a concept distinct from self-efficacy, which involves how well you believe you'll handle future actions, performance, or abilities. Find more Filipino words at wordhippo.com! Translate english tagalog. 1. If you know something about this term, share it here. Self-efficacy refers to one\u2019s belief to succeed in specific situations or accomplish a task, that one has capabilities to produce certain effects and to learn or perform behaviors at designated levels (Bandura, 2006, 2012). Sharing expertise and familiarity with documentary research techniques. Specifically, the self-transcendence scale measures \u201cthe extent to which individuals conceive themselves as integral parts of the universe as a whole\u201d (Cloninger, 2015). Self-efficacy is a way to assess themselves and the horse using a scientific method. Individuals with high self-efficacy tend to set ambitious goals for themselves and are more likely to follow through with the things they set out to do. Building self-efficacy is one of the best ways to develop your self-motivation. Self-efficacy has been a recurring predictor for students\u2019 academic success because it is an indicator of motivation and perseverance towards reaching a goal (Bandura, Barbaranelli, Caprara, & Pastorelli, 2001). Perhaps you have plans in your daily life such as hitting the gym, reading a book, or organizing your closet. Self-Efficacy in Nursing Essay 2064 Words | 9 Pages.\nUniversity Athletic Association Fall 2020, False Pass Bering Sea Map, Mid Blue Slim Wide Leg Jeans Topshop, 300 Year Earthquake Nz, How Long Does A Child Passport Last, How Long Does A Child Passport Last,", "id": "<urn:uuid:67a62302-f446-484e-a46e-9ef613c28217>", "dump": "CC-MAIN-2021-17", "url": "https://shtraining.pl/of9kbjw/self-efficacy-in-tagalog-4227cc", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00346.warc.gz", "language": "en", "language_score": 0.9426254034042358, "token_count": 2016, "score": 3.609375, "int_score": 4}
{"text": "Once upon a time\u2026 These charming, magical words have opened fables and fairy tales for hundreds of years. \u201cOnce upon a time\u201d stories evoke imagination, adventure, and wonder in listeners. But long before stories were written down, they were passed down orally from generation to generation. Storytelling is an ancient and universal art form which exists in all cultures. It is a distinctly human endeavor that is hardwired into our cultures and psyches, and some say storytelling is essential to human survival. What is the allure and power of stories? Why do we desire to tell and hear stories?\nTelling stories unifies us. When we share the same legends, myths and histories, we reinforce our group identity.\nOur stories reflect the wisdom and values of our culture. Telling and retelling stories draws us together, reinforces those values, and promotes group cooperation. These shared stories also help us to determine appropriate ways of conducting ourselves within society.\n\u201cStory is the umbilical cord that connects us to the past, present, and future,\u201d according to Terry Tempest Williams, a prominent environmental author. \u201cStories are recognizable patterns, and in those patterns we find meaning. We use stories to make sense of our world and to share that understanding with others.\u201d\nStories lead us to develop empathy. A 2013 study reported in Science magazine reinforces the idea that stories can help people understand others. (As an English teacher, I love this study.) \u201cReading Literary Fiction Improves Theory of Mind,\u201d is a study on literary fiction, that shows how it fiction \u201cuniquely engages the psychological processes needed to relate to characters\u2019 subjective experiences.\u201d\nReading fiction, which portrays characters\u2019 inner feelings and thoughts, fosters an understanding of others and a realization that others\u2019 beliefs and desires may be different from one\u2019s own. Being able to read emotions, developed through reading stories, is a crucial skill that enables complex social relationships to occur in human societies. No need to belabor how important this is in today\u2019s climate.\nStories play a significant role in binding us together and reinforcing our shared identity. Nonetheless, storytelling, which likely evolved as a group survival strategy, can sometimes be used to isolate or invalidate others.\nEven inadvertently, a culture may tell stories that misrepresent others. Stories are powerful. If people have no prior knowledge about a group except through popular culture portrayals, that is the depiction that will be retold as the definitive description of the group.\nAs an intentional abuse of power, stories can be perpetuated to subjugate people who are viewed as enemies.\nWielding storytelling as a weapon promotes stereotypes and robs people of their identity and dignity. As Nigerian novelist Chimamanda Adichie explains, if the only story that the West tells about Africa is one of darkness, negativity and poverty, the people are then defined by that story. That story excludes the loving family bonds, commitment to community, and resilience that Nigerians embody. When we define people as only one thing, that is what they become.\nThere is no default story about any culture and no group can be reduced to a single narrative.\nClearly, stories matter and our stories need to be told, particularly the stories we tell about ourselves.\nEach day we create our lives and add to our stories. Taking the diverse aspects of our lives and weaving them together into a narrative creates a tapestry that unifies our lives and makes sense of them.\nTelling our stories can be redemptive and provide a vehicle to reclaim our lives in the face of adversity. It is a courageous act to tell one\u2019s story since it is open to the judgment and scrutiny of others who may dismiss or disparage it. We expose ourselves to vulnerability, but at the same time we broaden the depth of our character and personal integrity.\nIt is empowering to engage in honest self-reflection and to enter the peace and wholeness of standing in our own truth.\nAs elders, parents, and grandparents in our community, we are in an optimal position to tell the stories of what we love, what we believe in, what we have learned.\nThrough our stories, we honor the defining experiences that shaped us and allow our loved ones to know us and to accept our triumphs and shortcomings. We offer our loved ones a wealth of family history. These stories provide a context within which children grow to know their families. Research shows that family histories, anecdotes about parents, shared memories, even recipes tighten family bonds and build security and self-confidence within children. Our personal stories are the lifeline to our descendants.\nTell your story.\nMary Petersen is a retired COC English Instructor, 30 year SCV resident, and two-time breast cancer survivor.", "id": "<urn:uuid:d5080d24-d951-48d1-befa-ee8863fa72f0>", "dump": "CC-MAIN-2021-17", "url": "https://signalscv.com/2018/10/a-second-wind-share-your-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00506.warc.gz", "language": "en", "language_score": 0.9420334100723267, "token_count": 984, "score": 3.703125, "int_score": 4}
{"text": "The mask is a storytelling device that obscures a wearer\u2019s identity, while highlighting his or her psychological predicament \u2014 masks have a rich history of symbolic meaning in fiction.\nMasks are often incorporated into stories as a visual metaphor, or a literary device, giving physical form to the invisible: mental imprisonment, dehumanisation, trauma, psychological anguish, shame, spiritual emptiness, social alienation, and disconnection. The mask is a retreat from the social space, allowing a character to hide in plain sight, and to believe they can function within society, either by repressing their feelings of loss or by creating a consciously constructed persona.\nThere is a difference between voluntarily donning a mask, and being forced to wear one. A hero might choose to wear one to hide his or her identity, thus empowering them to dispense justice anonymously, which means they can live an otherwise ordinary life without unnecessary attention. The superhero characters Batman, and Spider-Man, wear masks when they\u2019re in superhero mode, but not in their normal lives. Superman doesn\u2019t have a mask, as such, he wears glasses and assumes the persona of a shy reporter to avoid attention. The mask of Zorro allows him to fight corruption and treachery, while simultaneously living a respectable private life away from recrimination. The audience identifies with the common man, and his unrecognised strengths \u2014 as if there is something invisible holding him back in life. He needs an alter ego to turn him or herself into a superhero. The Guy Fawkes mask in V for Vendetta is used as a political statement as well as a way of evading CCTV surveillance, and the clutches of a police state. It\u2019s a badge of membership and a statement of belief.\nA character such as the imprisoned man in the iron mask (from one of the many versions of The Man in the Iron Mask), is forced to wear a mask to obliterate his identity and remove his existence from the world. His incarceration is a living punishment, forcing him to endure permanent injustice.\nSometimes a mask is used to cover up facial disfigurement; the physical injury acting as a metaphor for an inner or spiritual damage. Darth Vader\u2019s mask in Star Wars gives his character menace and mystery. Who is he? What is he? We learn that he has lost his humanity \u2014 the mask symbolises this dehumanisation: his face, what remains of it, is hidden in darkness, disfigured like his soul. He has turned to evil. The mask literally conceals the person he once was, now those around him can only see the machine-like visage in front of them. In the Phantom of the Opera (1909 \u2013 1910), a man is reduced to the spectre of a ghost-like presence, hiding behind a mask to conceal his disfigurement \u2014 and a truth that he is unable to endure. Darth Vader and the Phantom are negative representations of people with facial disfigurement, characterised as dark and violent or creepy and unable to live harmoniously within society. In Predator a technologically sophisticated combat mask provides adaptive camouflage, and conceals the face of a monstrous alien hunter, a creature incapable of pity or mercy. The Borg in Star Trek have technological adaptations and mask-like covering to their faces, accentuating their dehumanised, machine-like existence.\nIn The Mask (1961), the wearer suffers from a psychedelic affliction, something akin to a bad LSD trip. The man in the iron mask is imprisoned in a cell, and forced to wear a mask to hide his identity: what is a man without a face? The answer suggests that he is no one. Locked behind a mask literally means a loss of face, and a loss of identity. For a character with a destiny and a rightful place in the world \u2014 that has been unfairly stolen from him \u2014 this presents a protagonist with something for an audience to empathise with, and goal for him to fight for: to restore justice.\nSometimes a mask does more than allow a character to operate incognito: it acts as a magical portal to a new world. With a mask, the protagonist is able to operate in a space outside of his ordinary environment. In Eyes Wide Shut a grounded doctor wears a masquerade mask, which allows him access to a bizarre world of ritual and temptation; a place where the elite indulge in their sexual fantasies without shame or remorse. The mask that Stanley Ipkiss wears in the film The Mask (1994) turns him into a comically animated superhuman. Becoming The Mask enables him to develop as a character, and to become what he needs to be to win over the romantic interest. In the end, he must cast the mask away so that he can reconnect with himself \u2014 to become an improved version of the person he really is.\nThe horror mask plays on anonymity, and the creepy incongruity of strange or \u2018fun\u2019 masks that have been subverted from their original context. The mask in Halloween creates anxiety about the mysterious killer prowling around a town. The concealed face of the psycho in a hockey mask, in Friday the 13th, turns an apparently ordinary sports item into a terrifying icon of sadistic death. And, Hannibal Lecter\u2019s muzzle, in The Silence of The Lambs, accentuates his twisted lack of humanity: physically turning him into a menacing presence. In these cases, the obscured face of the murderer turns him or her into a dehumanised monster.\nSometimes a mask represents a protagonist\u2019s deep emotional need to deny their pain (usually a trauma of some kind, or a catastrophic injury). In Vanilla Sky the mask is a sign that something has gone wrong in the protagonist\u2019s world. Rorschach from The Watchmen has an ever-changing Rorschach test inkblot that appears on a special fabric across his face, begging the question: what do you see? And: what does he understand about himself? It suggests a history of psychological trauma.\nMasks are usually a \u2018red flag\u2019, a danger sign, but they also allow characters to operate anonymously, or to take on a persona. Wearing one can be a symptom of a previous trauma, or the catalyst for a new event (plot line) \u2014 either pushing the character into darkness, and spiritual oblivion, or to self-discovery and empowerment.", "id": "<urn:uuid:524f30da-9d12-4a6f-be29-198178f57d20>", "dump": "CC-MAIN-2021-17", "url": "https://adriangraham.co.uk/masks", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00503.warc.gz", "language": "en", "language_score": 0.9561911821365356, "token_count": 1297, "score": 3.609375, "int_score": 4}
{"text": "Hands-On Activities to Teach Writing Mixed Numbers to Improper Fractions\nMixed numbers are those that include a number and a fraction, such as 5 1/2. When they are converted to fractions, they create improper fractions. That 5 1/2 becomes 11/2. Mixed numbers and improper fractions can be difficult concepts for some students. Using hands-on activities in the classroom can help students learn how to convert mixed numbers to improper fractions and vice versa.\nPizza is a good prop for teaching fractions. Most kids love pizza, and they are used to dealing with it in fractions since a typical slice is 1/8 of the pizza. While it may not be practical to bring real pizza into the classroom, you can instruct students to make their own pizzas out of construction paper. Each student should make at least two pizzas. Tell students to cut the pizzas into the number of slices that correspond to the fractions you want to focus on for the lesson, such as four slices for fourths. Give students a mixed number, such as 1 1/4, and ask them to collect the number of fourths that would be needed to make the number. The number of pieces is the top number, or numerator, in the fraction.\nBall play can also be a fun way to learn fractions. Each ball can represent the unit of the fraction. For example, if you are working with fifths, each ball would be 1/5. Like with the pizza, give students a number in that unit, such as 3 1/5. Tell students that for each whole number, they should set aside five balls. To make the three, students should have 15 balls. The remaining 1/5 would be one ball. The exercise can help students visualize the units of the fraction. At the end, the number of balls is equal to the numerator.\nMake Fraction Strips\nFraction strips help students see the parts and the whole for each mixed number very easily. Give students strips of paper and ask them to cut the strips into the fractions you will be using, such as thirds. Students should leave one strip uncut as reference. Give them a number, such as 3 2/3, and ask them to lay out the number of fractions needed to form the number. For each whole number, they should lay out three fractions next to the model strip. At the end, they count up the number of pieces to create the improper fraction.\nOnce students have become more comfortable with fractions, they can start experimenting with more variations. Provide students with a pair of dice and ask them to put together fractions based on the numbers they roll. For example, if they roll a 6 and a 5, the fraction would be 6/5. Ask them to then write the mixed number for that fraction, or 1 1/5. Provide three dice to create mixed numbers. The first number would be the whole number, and the next two would be the fraction, such as 6 1/4. Then ask students to convert the mixed number to the improper fraction.\nMaria Magher has been working as a professional writer since 2001. She has worked as an ESL teacher, a freshman composition teacher and an education reporter, writing for regional newspapers and online publications. She has written about parenting for Pampers and other websites. She has a Master's degree in English and creative writing.", "id": "<urn:uuid:ed8d04c8-5ec6-4fb9-81aa-24f1d68b2b3a>", "dump": "CC-MAIN-2021-17", "url": "https://education.seattlepi.com/handson-activities-teach-writing-mixed-numbers-improper-fractions-3986.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00547.warc.gz", "language": "en", "language_score": 0.9575285911560059, "token_count": 688, "score": 3.96875, "int_score": 4}
{"text": "Our Language Arts curriculum focuses on reading and analyzing poetry and literature, writing, grammar, and development of vocabulary. Students analyze various writing styles and elements such as theme, plot, character, tone, and setting of classic and contemporary literature. Our English teacher challenges students to cite textual evidence to support explicit or inferred claims. We believe that exposure to classic and contemporary literary works improves overall writing in students. Students continue to develop their writing styles and focus on narrative, expository, and persuasive writing. Explicit writing instruction is critical, and we focus on developing ideas, organization, voice, word choice, mechanics, convention, sentence fluency and writing technique. As budding authors, students practice the writing process by prewriting, drafting, editing, revising, and publishing. Our Language Arts curriculum is aligned to California Common Core State Standards.\nIn 6th Grade English, students are exposed to literary novels, poetry, short stories, and an online non-fiction program, Newsela. Examples of literature and short stories that students read include: The Boys in the Boat by Daniel James Brown; My Mother\u2019s Secret by J.L. Witterick; Inside Out and Back Again by Thanhha Lai; The Circuit by Francisco Jim\u00e9nez; The Gift of the Magi by O. Henry; and Monkey\u2019s Paw by W.W. Jacobs. Literature circles encourage rich discussion and serves as a space in which students share ideas and opinions. In these circles, students cite textual evidence to support their opinions. Explicit grammar and vocabulary is taught on a weekly basis.\nThroughout middle school, our English students analyze works of poetry, short stories, fiction and non-fiction. In 7th grade, students explore the theme of overcoming challenges and read novels such as: A Long Walk to Water by Linda Sue Park; Wonder by R.J. Palacio; Trouble Don\u2019t Last by Shelley Pearsall; and The Hobbit by J.R.R. Tolkien. Through discussion and analysis, students discuss their interpretations of the novel, literary elements, and themes. They take it a step further and write compelling essays supporting their interpretations. Explicit grammar and vocabulary is taught on a weekly basis.\nIn 8th grade, students explore various themes such as dystopia and historical tragedies through the lens of a Holocaust survivor and William Shakespeare. Examples of literature students read include: Animal Farm by George Orwell; Fahrenheit 451 by Ray Bradbury; Night by Elie Wiesel; and Julius Caesar by William Shakespeare. To complement our literature program, students engage in more sophisticated writing honing and refining their essay composition skills. Explicit grammar and vocabulary is taught on a weekly basis.\nOur comprehensive mathematics curriculum focuses on strengthening student understanding of mathematical concepts and the application of these concepts to real world problems. We believe all students can learn and succeed in developing mathematical skills, and our math program prepares our middle school students for high school. We tailor our math program to challenge students across all skill levels. Our mathematics curriculum is aligned to California Common Core State Standards.\n6th Grade: Math in Focus 6 or Pre-Algebra\n7th Grade: Math in Focus 7 or Algebra\n8th Grade: Algebra or Geometry\nScience is innately interesting, and our hands-on science curriculum allows students to apply theoretical concepts to the real world. Using an integrated approach, students investigate principles of physical science (physics and chemistry), Earth science, life science, and engineering by asking questions and constructing experiments to test their scientific ideas. Through experimentation and analysis, students actively engage in scientific inquiry and reasoning, which advances their conceptual understanding as well as critical thinking skills. Each year, the curriculum increases in complexity and sophistication, and students are challenged to think deeply about real world problems. Our science curriculum is aligned to the Next Generation Science Standards.\n6th Grade: Design Thinking, Scientific Method, Energy, Molecules to Organisms, Heredity, Earth\u2019s Systems, and Earth and Human Activity\n7th Grade: Design Thinking, Scientific Method, Matter and its Interactions, Molecules to Organisms, Ecosystem, Earth\u2019s Systems and Human Activity\n8th Grade: Design Thinking, Scientific Method, Motion and Stability, Energy, Waves, Heredity, Biological Evolution, Earth\u2019s Place in the Universe\nOur history program integrates geography, culture, governance, economics, world and American history. The goal is to teach students to critically analyze historical events through multiple perspectives as well as to evaluate local, national and global issues. The history program helps shape students identities and global awareness. Our curriculum prepares students to be civic-minded individuals who can research issues and platforms to make informed decisions. Our history curriculum is aligned to California Common Core State Standards.\n6th Grade: Ancient Civilizations: Early Human Migration to the great Roman Empire\n7th Grade: World Studies: Roman Empire to Modern Era\n8th Grade: U.S. History: Colonies to Civil Rights\nHebrew is a defining component of our academics, and our Hebrew program is recognized for its excellence. Our Hebrew program is divided into two tracks, dovrei Ivrit and dovrei Anglit. The dovrei Ivrit track is designed for native Israeli and advanced Hebrew speakers. The curriculum is imported from Israel\u2019s Ministry of Education and, as a result, our students learning is aligned to the corresponding grade level in Israel. Equally strong is our dovrei Anglit track. Our hands-on program is designed to develop Hebrew language skills, reading, writing, and speaking Modern Hebrew. Our students are exposed to Israeli literature, music, and culture strengthening their connection to the State of Israel.\nJudaic StudiesThe Judaic Studies program is designed to hone our students\u2019 analytical and critical thinking skills while strengthening and applying their understanding of Jewish traditions and values in their daily lives. Goals of our program are to empower our students to: 1) feel comfortable attending and actively participating in prayers at any synagogue; 2) develop their skills to independently analyze a text and 3) instill in them Jewish values, which they will carry with them through life. In our program, students gain a love of learning while critically analyzing classic Jewish texts and commentaries. By analyzing the meaning of ancient Jewish texts, students develop logical reasoning as well as critical thinking skills. Our classes also serve to enhance our students\u2019 biblical Hebrew vocabulary as well as to allow students to explore moral and ethical issues through the lens of a Jewish framework.\nThe Gemara track is geared for students who are interested in focusing on textual learning with a strong emphasis on Gemara while maintaining a high level of Chumash, Navi, and Halacha. Students will acquire analytical and critical thinking skills enabling them to become independent learners.\nThe Tanach track is geared for students who are interested in focusing on Chumash and Navi. In addition to Chumash and Navi, students will learn Halacha and be able to choose from a variety of Judaic experiential of Judaic textual classes that will be offered.", "id": "<urn:uuid:61d28485-0604-4ae7-94a6-79388e10b73e>", "dump": "CC-MAIN-2021-17", "url": "https://www.sphds.org/apps/pages/index.jsp?uREC_ID=1897039&type=d&pREC_ID=2043501", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00346.warc.gz", "language": "en", "language_score": 0.9325817823410034, "token_count": 1438, "score": 3.96875, "int_score": 4}
{"text": "This resource was created by Horniman Community Action Researcher, Scherin Barlow Massay, who is researching the connections between the Horniman\u2019s collections and Guyanese masquerade.\nThe History of Afrikan-Caribbean Masquerade\nIn the 1600s, enslaved Afrikans were taken to the Caribbean, where their traditions were suppressed by European authorities.\nMasquerade is found in many different cultures but originated with the Fulani people in West Afrika as many as 8,000 years ago. Prehistoric cave paintings found in Tassili-n-Ajjer, Algeria, show people wearing masks and horns.\nIn ancient Egypt, masquerade was an important part of ceremonies and festivals. Priests wore masks of the jackal-headed god Anubis as they prepared bodies for the Afterlife. Important gods such as Hathor were depicted with part-animal features.\nIn West Afrika, the Yor\u00f9b\u00e1 people\u2019s \u2018Eg\u00fang\u00fan\u2019 masquerades honour the dead and mark the return of ancestors to the land of the living. It is believed that the masker transforms into the spirit of his ancestors through the mask.\nThe Igbo people live mainly in modern-day Nigeria. Their stilt walker masquerades are known as \u2018Izaga\u2019 or \u2018Ulaga\u2019. The Ulaga masquerade is only seen during the funerals of important men, or to show someone\u2019s importance within the community.\nIn the late 1600s, the European quest for Afrikan resources led to the trans-Atlantic slave trade. During the Maafa, over 15 million Afrikans were kidnapped, enslaved and taken to the Americas and Caribbean. In the Caribbean, enslaved Afrikans continued masking traditions in secret. Masquerade was one of the few remaining connections to their culture. In Barbados, traditions came together from across West Afrika and mixed with the traditions of British and Irish people who also lived there. This cultural fusion created a new kind of masquerade.\nAfter slavery was abolished, people flocked from Barbados to Guyana, then British Guiana, in search of better opportunities. They took masquerade with them. Over time, Guyanese masquerade has changed. Today, many performers and audiences do not know the original meaning of the Afrikan tradition.\nBecome a researcher and create a fact file about the Yor\u00f9b\u00e1 or Igbo people:\n- What can you find out about their masquerade traditions?\n- Sketch the masks that they traditionally use and add information labels. How are the masks made? What do they mean? How are they used?\n- How are these masks different from those that you have seen, or worn, before?\n- Present your research to an adult.\nThe Music of Afrikan Masquerade\nTraditionally, Afrikan music was used as a means of communication between the living world and beyond. Drums had a meaningful presence even when they were not played. Where there were no instruments, hands and feet were used to keep rhythm. Dance and music were always connected.\nEnslaved Afrikans took these musical traditions to the Caribbean where they became an important method of communication, rebellion and connection to the home they had been torn from.\nDjembe drums originated with the Mande people about 800 years ago. They were originally used by griots; singers and trained historians, who passed down stories. It is believed these drums hold three spirits: the tree, the animal whose skin was used, and the drum\u2019s maker\nThree main types of bells are used in Afrika: the Pellet-bell, the Clapper-bell and the Struck-bell. The Pellet-bell has a free moving object in the cavity and is closed. The Clapper-bell has a hanging attachment on the inside, while the Struck-bell is hit with an implement.\nTalking drums are used to imitate the Yor\u00f9b\u00e1 language, where words have different meanings depending on their pitch. The drum is held under the arm so the lacing between the two skins can be squeezed. This stretches the drum\u2019s skin to create different pitches. The patterns of speech rhythms are beaten out with the curved stick.\nKettle drums can be either small or large to make them easier to carry. Traditionally, the main beat is played by the right hand and the secondary with the left. This drum is made of a gourd covered in goat skin.\nThe flute was one of the earliest musical instruments of civilization. Flutes were originally made from bamboo, wood, or reed with the mouthpiece either at the side or at the top.\nThis rattle is made from a dried gourd. Beads or cowrie shells are strung on a net tied around the hollow gourd. The net is then pulled, shaken or tapped, hence its onomatopoeic name.\nThere was flute music a little bamboo thing that they would play. And drumming and they paraded around the village, and as they walked through the village, they dance to the music that was being played by them. The ones that stuck out for me were the characters in grass skirts. They all wore different masks, depending on the character...\nBecause it was just for the village, it was quite small. It was very colourful and noisy. There was lots of tinny sounds as opposed to a bass drum sound; [the drums] were small and they played it under their arms. And they played with a hook-line stick... There were cowbell sounds.\nRead the eye witness account of Urhobo Masquerade:\n- Which instruments does the person see?\n- Can you draw the scene that the person is describing?\n- How might it have felt to be there?\nNow watch this video of Masquerade in Guyana:\n- Write an account of what you can see in the video.\n- What are the differences and similarities between this and the Urboho Masquerade?\n- Why do these differences and similarities exist?\nThe Characters of Guyanese Masquerade\nGuyanese Masquerade is an exciting and colourful performance that moves through the streets of the South American country around Christmas time. An important part of masquerade are the costumed characters who perform to a band\u2019s music, collecting money from audiences.\nThese characters have evolved over time but were inspired by the Afrikan and Indian cultural traditions of enslaved or indentured people who were taken to the Caribbean by colonial authorities.\nIt is not known when the cow was added to Masquerade. However, in 1838 people arrived in Guyana from India as unpaid workers. The cow has religious importance to many Indian cultures, so it may have been added then.\nDifferent Afrikan cultures have their own traditional dances for celebration, religion, and storytelling. Dancing also became a method of survival and a moment of release for enslaved Afrikans, who were made to dance on slave ships for exercise.\nIn Afrika, stilt walking is an important cultural practice. Some Afrikan cultures view stilt walkers as guardians of villages, tall enough to drive away evil spirits.\nStilt walking was taken to the Caribbean by enslaved Afrikans. On some islands, stilt walkers were called \u2018Moko Jumbie\u2019, Healer Spirit. To some, the stilt walker became the spirit of fate and retribution.\nThere is a bull cow made out of bamboo, then they cover it with a horn. They move from left to right. They have a string attached to their shoulder and the person stand in the frame of the cow dancing.\nThe dancers move from left right, front to back, then they go on their right foot with their hips and hands moving, then you step on the back and repeat. The dancers would spin their foot inwards, heel and toe, that is the flounce. Sometimes there would be 10 to 15 dancing on the streets. They wore female clothes; they wore strip pieces of cloth made into a skirt.\nMother Sally was [a man dancing] on a stilt. Years ago, the character was made from bamboo. He was on a stilt and his head protruded from the character. I was scared. The frame was made from bamboo or raffia.\nDiscover more about the history of the characters of Guyanese Masquerade\n- Use the eye witness account to draw a picture of how you think each masquerade character might look. Which would you most like to see in person?\n- Watch this video of Guyanese Masquerade. Which characters can you see? Do they look how you imagined?\n- Another festival, Mashramani, is also held in Guyana each year. It is a much newer celebration and has different origins.\n- Research the history of \u2018Mash\u2019. Why was it created? How is it celebrated? How is it different from the older tradition of Masquerade?", "id": "<urn:uuid:4c132098-c503-427b-aeb6-0267b064f59a>", "dump": "CC-MAIN-2021-17", "url": "https://www.horniman.ac.uk/plan-your-visit/around-the-horniman/afrikan-caribbean-masquerade/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00227.warc.gz", "language": "en", "language_score": 0.9751574993133545, "token_count": 1856, "score": 3.5, "int_score": 4}
{"text": "Narrative structure and expectation is a difficult topic to teach: it is highly conceptualised, yet somewhat narrow in scope.\nQuestion 3 on the English Aqa Ks4 syllabus requires the analysis of form. The Stanley Parable offers useful in-class provocation to consider and learn this skill.\nI begin with a simple question as students enter: why do stories need a beginning, middle and an end?\nThis is developed by writing (and visually stacking) the expectations of students from the following line: \u201cchipped finger nails flicked the burning butt onto the splintered planks below.\u201d\nWhere is this set? What are they doing? Why are they doing it? Who is this character?\nOf course, some guidance is useful (what time of night? What gender? What profession?).\nFrom this the students play the game.\nThe first run through seems to elicit the following of all the narration, and the switching on of the machine. While this is intense, it is safe enough for secondary students.\nInvariably, the second run through sees students attempting to disobey the narration. At this point the game is paused at key moments (such as when Stanley ventures down, rather than up, the stairs). Expectations are made explicit.\nIt is at this point that students begin to discuss and record the purpose of expectations. The meta of this is recognised by some: the notion of confirming our confounding expectations seems to be discovered by all.\nThe last run through sees us run through to the office where the code is inputted before the narrator can share it. The sarcastic response by the narrator delights.\nThe lesson ends with the attempted consolidation of ideas of expectation, with explicit reference in the immediate lessons afterwards.\nAs ever, students need cultural capital in order to create expectation: the most able and most read gain most from this lesson. However, all benefit.\nSee below for the worksheet to aid this.\nSee also the link below to purchase the game.\nTwo further recommendations are to ensure that the students controlling the game have some FPS experience, and that a randomizer is used to select from these students (I use this number website in lieu of alt + tab to a classtools visualiser as a desktop shortcut).\nI look forward to developing these lessons using the narrative walking games: more school safe versions are desirable, although psychological horror is perhaps their best incarnation! I recommend \u2018Home is Where One Starts\u2019 (especially for the T.S.Eliot context).", "id": "<urn:uuid:a7b97445-f56c-4a3d-95aa-727f07c776eb>", "dump": "CC-MAIN-2021-17", "url": "https://www.thequillguy.com/using-the-stanley-parable-to-teach-narrative-structure-and-expectations/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00385.warc.gz", "language": "en", "language_score": 0.9447767734527588, "token_count": 520, "score": 3.65625, "int_score": 4}
{"text": "During Women's History Month, we recognize female achievement across centuries and professions, including music. While more than a few designated weeks every March are necessary to reverse the consequences of an historical narrative written largely by men and for men over centuries, it's important to celebrate the progress we've made as we continue to work towards inclusiveness.\nIn the article, \"Women's Hidden Roles in Historic Preservation,\" Laura Kise offers a wonderful summary of the actions we can take to celebrate all year round:\nEvery one of us can contribute to this enriched history by remaining curious, researching women, including historical women\u2019s stories, quotes and objects in our museums and heritage sites.\nHiring women in all roles related to history and preservation, and educating women about other women in history.\nWomen themselves can continue to share their own stories to pass them down to future generations.\nAs a preservationist, I'm proud that the origin story of my profession is significantly female. The earliest examples in the United States are from Native American women who maintained and preserved their cultural heritage through folklore, storytelling and mediating peace. The Mount Vernon Ladies' Association was the first national historic preservation organization. They saved President Washington's home and continue to own and operate the property today. In 1853, Louisa Bird Cunningham wrote the following words to her daughter Ann that would inspire her to establish the organization:\n\"If the men of America have seen fit to allow the home of its most respected hero to go to ruin, why can't the women of America band together to save it?\"\nThese female beginnings, inspiring as they may be, were also problematic. While women led the preservation movement, their efforts lauded male history (particularly Caucasian men of European descent) to the exclusion of their own and that of all other minority populations. A casualty of their time, chronicling the female experience was neglected, much less given secondary focus, and those uncollected accounts and artifacts are forever lost.\nBut women began to express concerns about their representation in the mid-nineteenth century with the Battle of Bunker Hill memorial. Although men and women both fought on the battlefield and women championed this commemorative piece through advocacy and fundraising, only men were acknowledged:\n\"Half a people made only half a monument,\" wrote Dr. Harriot Hunt. \"The other half, the feminine, made it a whole.\" It was designed \"for John and Peter, not Mary and Deborah. But it will not be always so.\"\nTo a significant degree, this early focus permeates the profession today. I see it in my own work. Most of my projects have focused on Caucasian male artists because this is where public and private interests meet opportunity and funding. Unfortunately, as long as preservation professionals and their work depend on grants and benefactors instead of salaries promoting objectivity and diversity, this influence will always be there. As for determining who and what should be preserved and advocated, these decisions should be more democratic. After all, our history is a public trust and should be treated accordingly.\nDelving further into the issue of power and affluence, many pioneering female preservationists were from the upper echelons of society. This inadvertently led to preservation being perceived as a \"hobby\" or \"pastime\" for the wealthy woman instead of a profession worthy of salary and benefit like their male counterparts in architecture. They weren't considered professionals, but handmaidens. This leisurely stigma in conjunction with its caretaking nature (feminine) has continued to define preservation in such a way that it has never been able to escape from its founding and claim the professional dignity it deserves. Women are still associated with volunteerism (the origins of preservation) and men are associated with career earnings (traditional bread winner role).\nHistorically devalued by patriarchy and a culture of volunteerism dependent on chance and charity, the obstacles faced by our predecessors remain. Women are still underrepresented as subjects and undercompensated as professionals. This is because preservation work is still essentially funded the same way and by the same people. You'll find some of my thoughts and ideas about how we can restructure and build anew in the recent entry, \"Rural America Scholarship Program Supports Music History And Heritage Work On Main Street.\"\nMy M.A. thesis at the University of Westminster concerned Europe's aristocratic concert society, its patronage and influence, the emergence of public concerts for the middle class (Bourgeoise) and the elitism associated with opera and classical music that continues to hinder the genre's ability to capture a broader audience today. This research constructed the foundation of my work and professional identity. I want to create accessibility, relevance and excitement for the music of yesteryear so that it can bypass its historical oppressors and live in the world as it should.\nPreservation is rooted in feminine virtues. History, in its interpretation and resulting heritage, tends to be masculine. In order for preservation to reach its full potential and offer women an equal share, we need reconciliation. It's about eradicating stigmas and stereotypes, diversifying, replacing qualitative associations with quantifiable ones, and assigning value. In short, establishing preservation as a profession supported by and beholden to the public trust that is mankind and womankind.\nThe content on this site belongs exclusively to its creator and author, Sherry Davis. It is protected under the Copyright Act of 1976 and all subsequent amendments to copyright law. An excerpt or image may not be reproduced without consent. Please contact the author to request permission.", "id": "<urn:uuid:21443336-2639-4a7d-8e71-c9e083745061>", "dump": "CC-MAIN-2021-17", "url": "https://www.sherrydavis.org/single-post/the-femininity-of-preservation-and-masculinity-of-history-and-heritage", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00425.warc.gz", "language": "en", "language_score": 0.9668428897857666, "token_count": 1117, "score": 3.515625, "int_score": 4}
{"text": "Who was King Alfred the Great? - Find out in this Handy Guide for Kids\nUpdated: Mar 16\nAlfred the Great was the king of Wessex and, later, the first King of the Anglo-Saxons. He is the only King in English history to be labelled \u2018The Great\u2019 - but how did he manage to get himself such a complimentary title?\nAlfred had 4 older brothers, who all ruled as King of Wessex before him. When Alfred's brother, Ethelred, was King of Wessex, Alfred supported him in nine battles against the Vikings. Wessex became the only Anglo-Saxon kingdom not to fall to the Vikings. Sadly, in the year 871, Ethelred died of battle injuries and Alfred became King.\nThe Viking threat was stronger than ever, but Alfred bought himself some time by paying the Vikings not to attack Wessex. The Vikings called this payment the Danegeld.\nBut the peace between Wessex and the Vikings didn't last long. In the year 878, the Viking leader, Guthrum, launched a surprise attack on Alfred's base in Chippenham. He was forced to flee and he went into hiding in the Somerset Levels. Here, Alfred and his men were hiding in the marshes and relying on local people to supply them with shelter and food.\nLegend has it that during this time, a peasant lady asked Alfred to watch her cakes as they cooked on the fire. He received a stern telling off when he accidentally let the cakes burn! There is some debate about whether the legend of the burnt cakes is true (this story was written 100 years after Alfred\u2019s death), but one thing's for sure - you wouldn't want Alfred on your team in a baking competition!\nAfter gathering his forces, Alfred defeated Guthrum and the Vikings at the Battle of Edington. Alfred and Guthrum agreed to split the English land between the pair of them. There was now a boundary between the Anglo-Saxon kingdoms in the South and the large bits of England that the Vikings had conquered through invasion in the North and East. The Viking land was called the Danelaw. Alfred kept Wessex in the South-West.\nUnfortunately, the Vikings were not a unified group of people. This meant that Alfred's Kingdom was still occasionally under threat from Viking groups not lead by Guthrum. As a result, Alfred dedicated much of his reign to protecting his people. He built forts and walled towns called \"burhs\", built warships to defend the coast from raiders and better organised his army.\nDespite the constant threat of Viking invasion, Alfred made time for one of his main passions - literacy. On a trip to Rome as a boy, he had learned to read and write. As an adult he felt education was important. He translated many books from Latin to English so that more people could read them. He also encouraged monks to start writing the Anglo-Saxon Chronicle - an account of Anglo-Saxon history.\nSo, what do you think? Did King Alfred deserve the title of \"the great\"?\nIf you're a teacher then you'll definitely want Imagining History to bring their 'How to Survive in Anglo-Saxon England' Interactive workshop to your school.\nOur Award-Winning sessions combine role-play, storytelling, demonstrations and drama and performance to bring history to life for your students.\nIn our 'How to Survive in Anglo-Saxon England' workshop, Imagining History will teach your students everything they need to know to make it out of the Dark Ages in one piece. Your students will:\nLearn how to survive and thrive as an Anglo-Saxon peasant, noble and monk.\nDiscover what life as a Monk was like in a Christian Monastery and try to live through a Viking raid.\nLearn how to farm and grow crops the Anglo-Saxon way.\nUncover the secrets behind the Anglo-Saxon conversion from Paganism to Christianity.\nJoin a Fyrd and transform the school hall into a battlefield to learn how to fight in an Anglo-Saxon shield wall.", "id": "<urn:uuid:b6794e8a-a903-46cc-ac76-a4dedbc5c619>", "dump": "CC-MAIN-2021-17", "url": "https://www.imagininghistory.co.uk/post/who-was-king-alfred-the-great", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00427.warc.gz", "language": "en", "language_score": 0.978331446647644, "token_count": 845, "score": 3.734375, "int_score": 4}
{"text": "How to Write Great Story Beginnings\nStory beginnings are important, and in terms of getting published, they\u2019re the most important part of a story. Your beginning is where the reader (or editor) decides whether to keep reading. Your beginning also sets the reader's expectations for the story\u2019s middle and ending.\nBut don't let the importance of your story beginning intimidate you or make it hard to start writing. Some writers freeze up at the sight of a blank page; they feel that everything has to be perfect right away. It doesn't. Remember: even though the beginning is the first part of your story most people will read, it doesn't have to be the first part that you write. And you can always go back and improve your beginning later.\nYour first task is to get something -- anything -- onto that blank page. If it doesn't come out right, then let it come out wrong. No problem. You\u2019ll fix it afterward.\nUnless you're very lucky, the perfect story beginning may not occur to you until you're at the revision stage. Then it is time to turn the first page, the first paragraph, the first line of your story into an invitation that the reader can't refuse.\nHooking your reader\nHow can you capture the reader's attention right away? Here are some strategies to consider:\n- Make the reader wonder about something. For example, let's say you mention that your character is terrified of going to school that day, but you don't say why (yet). The missing information raises a question in the reader's mind and provokes curiosity. The reader will want to read on to find an answer to the question.\n- Start with a problem or conflict. This could be a small problem; for example, your character is about to miss her bus home. Even a small problem gives your main character something to do and creates some activity and momentum right away.\n- Start at an exciting point in the story. Don't be afraid to start your story right in the middle of the action. But provide enough clues to orient your readers and make sure they can follow what's happening.\nMore tasks of your story beginning\nApart from hooking the reader, your story beginning has some other tasks to accomplish. You don't have to accomplish these tasks in the very first sentence, but you should take care of them early on:\n- Introduce your story's setting. Does your story take place in 5th Century China? In contemporary working-class Detroit? In a boarding school for young werewolves? If you don't let your readers know soon, they are likely to feel disoriented and confused.\n- Introduce your main character. In most stories, readers care about the plot because they care about the main character. The sooner you introduce your main character, the sooner the reader can develop an emotional relationship with him or her.\n- Let your reader know what kind of story it is. Is it a comedy? Horror? Realistic contemporary fiction? A fantasy with elves and fairies? The reader develops expectations about your story based on the beginning and is likely to feel disappointed -- even betrayed -- if you switch gears partway through.\nHere are some common problems to watch out for as you\u2019re revising your story beginning:\n- Starting with background information. For example, sometimes inexperienced writers start out with little biographies of their main characters. These story beginnings feel a little bit like Wikipedia articles about people who don't exist. They are not very interesting to read. Don't feel like you have to provide all of the information upfront. You can start your story with a scene or action and gradually weave in background details when/if they become necessary for the reader's understanding.\n- Starting too early in the story. If your story seems to take a long time to get interesting, consider starting right at the interesting point. You might have to lop off a few pages. Don't feel bad about throwing away part of your draft -- those pages you throw away are not wasted work. They are part of a necessary process of exploration that showed you where your story has to go.\n- Starting a different story. The creative process often leads writers down unexpected paths. You start out with a certain story in mind then are surprised at where it leads. As a result, the story's beginning (even if it seemed perfect when you wrote it) may not be an ideal fit with the rest of the story. When that happens, ask yourself -- which version of the story do you like better? The version you started out writing? Or the version you ended up with? Based on your answer to this question, you know which part of the story you have to rewrite.\nGreat story beginnings\nBelow are a few examples of great story beginnings written by our Twitter followers. Look out how each of them sets up a scene and a problem in just a few words. Do they make you want to keep reading?\n- (by @maryannestahl): It looked dead, but I began to back away just in case.\n- (by @africanflourish): They huddle around the last bundle, listening to the cries of the baby girl wrapped inside.\n- (by @UWishUWereMe666): She smiles at me. \"I have no intention to punish you or break you.\" My hands spasm. \"I plan to remake you entirely.\n- (by @MarliciaF ): Alex measured the passage of time by the water dripping from the ceiling; it wouldn\u2019t be long now.\n- (by @ASingleBell): Nadika was glad to be officially alive again, but she wished she didn\u2019t have to be alive in the king\u2019s antechamber.\nRead more about how to write a story\nLearn how to complicate your story conflict\nand keep reader's interested.\nBrowse open creative writing courses\n<< BACK from Great Story Beginnings to Creative Writing Courses HOME", "id": "<urn:uuid:355361d4-9ae8-401e-9f73-d4e3c6f2f0b8>", "dump": "CC-MAIN-2021-17", "url": "http://sinowitpx.com/story-beginnings.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00625.warc.gz", "language": "en", "language_score": 0.952255368232727, "token_count": 1231, "score": 3.5, "int_score": 4}
{"text": "- is underpinned by aims, values and purpose;\n- is fun, enjoyable and memorable;\n- is flexible and responsive to the children\u2019s needs and interests;\n- develops the whole child;\n- has clear progression in subject knowledge and skills;\n- offers purposeful experiences;\n- uses environments beyond the classroom;\n- makes strong cross curricular links;\n- has a local, national and international dimension where appropriate\nOur Curriculum Statement:\nTeachers and other adults create a positive climate for learning in which pupils are interested and engaged. Teaching strategies, together with support and intervention, match individual needs.\nTeachers, pupils and parents are aware of our high expectations and have equal ambition to reach them. The organisation of teaching and learning ensures children have a rich and varied experience which enthuses, motivates and engages them in their learning.\nTeachers inspire the pupils to learn through their energy, enthusiasm, the creative use of resources and the creation of wonderfully inviting learning environments both indoors and outdoors. Teachers are skilled at making learning interesting, using their knowledge of the pupils to plan lessons that closely meet individual learning needs. Skilled and well-planned questioning is used to probe the pupils\u2019 thinking by requiring detailed answers.\nFrom the Trust Visible Learning Programme schools have developed approaches to teaching the children the skills of being a successful learner.\nThe curriculum offers real experiences that include trips, visitors, outdoor learning and practical elements to engage children in a concept learning approach. Concepts have been developed and applied across the range of subjects - requiring a cross-curricular skills approach. The children enjoy and are motivated by this approach. The emphasis throughout is on a broad and balanced \u2018language-rich\u2019 curriculum, delivered in an innovative and engaging manner, with English and Mathematics at its core. At every opportunity pupils are challenged, questioned and encouraged to think. Teamed with memorable experiences and a stimulating learning environment, we aim to nurture a life-long love of learning.\nEnglish is linked to the termly topic where appropriate and we use high quality texts as models to promote progression e.g. the use of 'Carrie's War' in a Second World War topic. Following a 'Storytelling' or 'Talk for Writing' approach, children often learn part of these texts by heart to give them a framework to improve their writing. They then innovate on these texts.\nSpelling, grammar and punctuation are taught and then practiced in different written contexts, where possible linking with the genre of writing being taught. these links can be seen in the 'Learning Journeys' created to follow throughout a unit.\nPhonics is taught in EYFS and Key Stage 1 to teach pupils how to read and spell and this reading is practiced individually or in groups during guided reading sessions. Letters and Sounds and Phonics Play are used in teaching this.\nWe use the White Rose Hub and AET planning for mathematics. This places greater emphasis on spending more time teaching ensuring that key mathematical themes are embedded e.g. place value in Key Stage 1. It also encourages learners to explore different areas of mathematics in greater depth and requires them to explain their reasoning and combine lots of different maths learning to solve problems.\nScience is taught where possible, integrated into the topic, although some concepts areas are taught discretely.\nWe are developing and Enquiry-Based Learning approach to the curriculum. Our 'approach is outlined below and we have attached our curriculum ladders of progression which ensure we teach age appropriate knowledge and skills.\nView the following documents within your web browser or download to read later\nWe are inspired by the awe and wonder of the world.\nWe are bold and innovative in our approach to find new solutions to the challenges we face.\nWe are the best we can be.\nWe take responsibility for our actions in an environment of mutual respect.\nWe overcome all barriers to reach our potential, developing a capacity to improve further.\nWe are passionate about learning.\nPlease remember that the last day of the Spring Term for children is Wednesday 31st March. There is a staff day for professional development on Thursday 1st April. The first day of the Summer Term for all children is Monday 19th April.\n\u00a9 2021 Bridge Schools trust is a company limited by guarantee, registered in England and Wales. Registration number 7736425. It is an exempt charity.", "id": "<urn:uuid:bb6668ad-b4d5-485a-8fe6-5790a60bc914>", "dump": "CC-MAIN-2021-17", "url": "https://www.trenodeprimary.co.uk/Learning/Our_Curriculum", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00346.warc.gz", "language": "en", "language_score": 0.9448146224021912, "token_count": 897, "score": 3.796875, "int_score": 4}
{"text": "Exponents show how many times a number is multiplied by itself. For example, 2^3 (pronounced \"two to the third power,\" \"two to the third\" or \"two cubed\") means 2 multiplied by itself 3 times. The number 2 is the base and 3 is the exponent. Another way of writing 2^3 is 2_2_2. The rules for adding and multiplying terms containing exponents are not difficult, but they may seem counter-intuitive at first. Study examples and do some practice problems, and you will soon get the hang of it.\nCheck the terms that you want to add to see if they have the same bases and exponents. For example, in the expression 3^2 + 3^2, the two terms both have a base of 3 and an exponent of 2. In the expression 3^4 + 3^5, the terms have the same base but different exponents. In the expression 2^3 + 4^3, the terms have different bases but the same exponents.\nAdd terms together only when the bases and exponents are both the same. For example, you can add y^2 + y^2, because they both have a base of y and an exponent of 2. The answer is 2y^2, because you are taking the term y^2 two times.\nCompute each term separately when either the bases, the exponents or both are different. For example, to compute 3^2 + 4^3, first figure out that 3^2 equals 9. Then figure out that 4^3 equals 64. After you have computed each term separately, then you can add them together: 9 + 64 = 73.\nCheck to see if the terms you want to multiply have the same base. You can only multiply terms with exponents when the bases are the same.\nMultiply the terms by adding the exponents. For example, 2^3 * 2^4 = 2^(3+4) = 2^7. The general rule is x^a * x^b = x^(a+b).\nCompute each term separately if the bases in the terms are not the same. For example, to calculate 2^2 * 3^2, you have to first calculate that 2^2 = 4 and that 3^2 = 9. Only then can you multiply the numbers together, to get 4 * 9 = 36.\nAbout the Author\nRuby Martes has been writing professionally since 1985, specializing in pop culture, quitting smoking and odd bits of trivia. Martes has a Bachelor of Arts in psychology from the University of California, Berkeley, a Master of Arts in English/creative writing from San Francisco State and a Juris Doctor from University of California, Hastings, where she was a law journal editor.", "id": "<urn:uuid:00467f80-0fbb-4547-a610-e7ce176233af>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/add-multiply-exponents-5818651.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038074941.13/warc/CC-MAIN-20210413183055-20210413213055-00588.warc.gz", "language": "en", "language_score": 0.916093647480011, "token_count": 578, "score": 4.8125, "int_score": 5}
{"text": "Reading & Writing in the Disciplines\nPresenting Facts as Evidence\nElisabeth Shanley\u2019s students debate the successes of the Aztec and Inca civilizations using evidence from their research.\nTeacher: Elisabeth Shanley\nSchool: Parker Middle School, Reading, MA\nDiscipline: Social Studies\nLesson Topic: Characteristics of the Aztec and Inca civilizations\nLesson Month: June\nNumber of Students: 22\nFeatured Lesson\u2019s Student Goals:\n- Content objectives \u2013 Compare and contrast characteristics of the Aztec and Inca societies\n- Literacy/language objectives \u2013 Extract valuable details from primary and secondary sources (including textbooks and copies of documents) and present that information to others\n- Engagement/interaction objectives \u2013 Collaborate with peers, practice public speaking, and engage with active listening\nCommon Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects\nCite specific textual evidence to support analysis of primary and secondary sources.\nDetermine the central ideas or information of a primary or secondary source; provide an accurate summary of the source distinct from prior knowledge or opinions.\nThis month-long unit at the end of the school year focused on reading and writing about the Aztec and Inca civilizations. The unit culminated in a final debate in which students used evidence from their research to support their answer to the question: Which civilization is more successful?\nBefore the Video\nMs. Shanley had students work with evidence from the beginning of the school year. She started by having students find three supporting details for a particular statement. As the year went on, the questions grew bigger and students learned to argue within limitations by focusing on certain topics within the larger question. By giving them a smaller focus, Ms. Shanley prevented vague responses and instead focused students on gathering details to support specific topics.\nMs. Shanley assigned a variety of creative writing projects for students to practice gathering facts and details. They incorporated their research into stories about topics such as ancient Japan or the fall of Rome.\nFor the unit on the Aztec and Inca civilizations, Ms. Shanley also used creative writing and role-play activities to engage students in research. Students were first divided into Aztecs and Incas. They began by researching actual names and information to write a short biography for their individual characters. The Aztecs and Incas then paired with each other in scenarios that gave them opportunities to research additional details about each civilization on a specific topic (e.g., court systems, marriage practices, markets) and then had a conversation about what was similar and different between them. The pairs then collaborated on short writing assignments for which they were both responsible for a portion of the information.\nTo prepare for the final debate, students had a day to take what they had learned about the Aztec and Inca civilizations and prepare their notes. Ms. Shanley assigned each student a side to support and a subtopic so that they would have a better focus and reduce redundancy.\nDuring the Video\nThe debate about the Aztec and Inca civilizations was a culminating activity. Each student was prepared to debate one or two subtopics about his or her assigned civilization. Each round of debates focused on one topic for three minutes, with two or three students representing each team. At the beginning of the lesson, Ms. Shanley emphasized making counterarguments and described how to use the scoring sheets. When students were not debating, they scored the debaters by giving them one, two, or three points for each statement (for example, a fact that supported their side but was not that detailed was one point, an excellent fact that supported their side was two points, and an excellent fact that responded to the other side was three points). Students learned to recognize similar types of evidence and gained more points by listening to the other side and counterarguing a specific point instead of simply responding with a different detail that was just part of the debate topic. At the end of the lesson, students reflected on what they had learned from the experience.\nAfter the Video\nMs. Shanley followed this lesson with a writing assignment so that students could further practice collecting evidence. The pressure of a debate encouraged them to be more selective of the evidence that they chose, and the writing assignment required them to think about and interpret evidence in a similar manner. Students also participated in more debates on topics of their choosing to improve their ability to develop strong arguments.\nMs. Shanley provided students with a research packet about their assigned civilization.\nStudents had learned the skill of listening and responding to each other from the rules set in place for the debate. They had learned about evidence to support a statement and had researched the information to be used in the debate before this lesson. In addition, students had practiced note taking (using the Cornell method) throughout the year.\nTo make the unit accessible to all students, Ms. Shanley broke down large tasks into smaller ones so that everyone could be successful with their learning. This included limiting the number of topics each student prepared for the debate. In addition, students worked in small groups to research so that they could help each other be appropriately prepared.\nStudents worked in groups and helped each other with their research. In the larger group, protocols for behavior were spelled out clearly so that all students had a turn and a role in the experience.\nResources and Tools\n- Books and websites to research information\n- Handouts (Packets)\nThroughout the lesson, Ms. Shanley monitored how students were debating and presenting their evidence. When appropriate, she stopped the debate for a teachable moment. For example, when one student presented a great counterargument and explained it very well to the opposing side, Ms. Shanley paused the debate to point out the counterargument to the class. In general, she structures her lessons with many steps so that there are opportunities to adjust learning in the moment and so that students can receive feedback before moving on to the next step.\nStudents were aware that they would receive more points for counterarguments and for being selective about which information that they presented. Because they were also scoring each other, students were able to think about how they would score themselves. In addition, at the end the featured lesson, Ms. Shanley asked her students to reflect on the lesson and to think about how the skills they used could be useful in the future.\nStudents were assessed on their choice and use of facts to support their arguments.\nImpact of Assessment\nMs. Shanley\u2019s primary focus for the scoring sheets was to get a sense of how students judged statements that would be considered as arguing back to the other side versus facts they would see as good details. She was interested in seeing how well students listened to each other and in comparing how they interpreted the debate.", "id": "<urn:uuid:8d72ea2c-32f1-4fdb-8741-eb70fc32e4ca>", "dump": "CC-MAIN-2021-17", "url": "https://www.learner.org/series/reading-writing-in-the-disciplines/argument-writing/presenting-facts-as-evidence/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00347.warc.gz", "language": "en", "language_score": 0.970645010471344, "token_count": 1396, "score": 3.765625, "int_score": 4}
{"text": "- Who is a major character?\n- What is a realistic character in literature?\n- What is a one sided character called?\n- Can you have 2 protagonists?\n- What are two protagonists called?\n- How do you make your character feel real?\n- How do you make a unique character?\n- What are the 3 types of characters?\n- What is a character in a story?\n- How do you write a story with two main characters?\n- How do I make myself the main character?\n- What is it called when a character speaks?\n- What\u2019s it called where a story takes place?\n- What defines a character?\n- What are the 4 types of characters?\n- Can you have 2 main characters?\n- What are the 7 elements of a story?\nWho is a major character?\nCharacters in fiction can be conveniently classified as major and minor, static and dynamic.\nA major character is an important figure at the center of the story\u2019s action or theme.\nThe major character is sometimes called a protagonist whose conflict with an antagonist may spark the story\u2019s conflict..\nWhat is a realistic character in literature?\nDefinition of Realistic Fiction Realistic fiction is a genre consisting of stories that could have actually occurred to people or animals in a believable setting. These stories resemble real life, and fictional characters within these stories react similarly to real people.\nWhat is a one sided character called?\nTerm. FLAT CHARACTER. Definition. A character who is one-sided, and accentuates one aspect of a person. Term.\nCan you have 2 protagonists?\nWhile there is usually only one protagonist in a story, this isn\u2019t always true. In romantic comedies and \u201cbuddy stories,\u201d there can be two protagonists. For example, in Romeo and Juliet it is the fate of both characters, not just one of them, that matters to the story.\nWhat are two protagonists called?\ntritagonistIn literature, the deuteragonist or secondary main character (from Ancient Greek: \u03b4\u03b5\u03c5\u03c4\u03b5\u03c1\u03b1\u03b3\u03c9\u03bd\u03b9\u03c3\u03c4\u03ae\u03c2, deuterag\u014dnist\u1e17s, second actor) is the second most important character, after the protagonist and before the tritagonist.\nHow do you make your character feel real?\n5 Ways to Make Your Characters More Realistic. \u2026 Give them flaws. \u2026 Don\u2019t make things black and white for them. \u2026 Give them unique appearances. \u2026 Let them talk like actual people. \u2026 Give them traits from real people. \u2026 Alliteration \u2014 throw that trash away. \u2026 It always works with my schedule.\nHow do you make a unique character?\nKnow Your Character. Develop A Thorough Backstory. Examine Your Character\u2019s Personality. Envision The Appearance Of Your Characters. \u2026 Write Your Character Into The Story. Develop Interior Dialogue. Create Authentic Dialogue. Dive Into The Action.Don\u2019t Make Them Boring!Find Your Characters In The People Around You.\nWhat are the 3 types of characters?\nThere are many ways to categorize main characters: protagonist or antagonist, dynamic or static character, and round or flat characters.\nWhat is a character in a story?\nIn fiction, a character (sometimes known as a fictional character) is a person or other being in a narrative (such as a novel, play, television series, film, or video game).\nHow do you write a story with two main characters?\nHow to Successfully Feature Multiple Main CharactersThink Reader-First. You want nothing to stand in the way of the reader\u2019s experience. \u2026 Make Your POV Characters Distinct. In subsequent books in the Left Behind series, I used as many as five different perspective characters for one novel. \u2026 Choose Carefully.\nHow do I make myself the main character?\nHere are some ways you can get started.Put yourself first, always. Mental health is so important. \u2026 Not tomorrow, but today. Constantly think about what makes you happy. \u2026 Be nice to yourself. \u2026 Live in the moment. \u2026 Let go of the past. \u2026 Never stop laughing.\nWhat is it called when a character speaks?\ndialogue. When characters speak, it is called: setting. When, where, and the time a story takes place is called the: plot.\nWhat\u2019s it called where a story takes place?\nThe time and location in which a story takes place is called the setting.\nWhat defines a character?\nnoun. the aggregate of features and traits that form the individual nature of some person or thing. one such feature or trait; characteristic. moral or ethical quality: a man of fine, honorable character.\nWhat are the 4 types of characters?\nOne way to classify characters is by examining how they change (or don\u2019t change) over the course of a story. Grouped in this way by character development, character types include the dynamic character, the round character, the static character, the stock character, and the symbolic character.\nCan you have 2 main characters?\nTwo main characters (that is, two point-of-view characters) implies two stories within the one novel. However, you do not have to develop both stories fully. \u2026 An alternative would be for each of them to be the protagonist when in their own point of view, and have them pursue the same goal, but for different reasons.\nWhat are the 7 elements of a story?\nWriters of fiction use seven elements to tell their stories:Character. These are the beings who inhabit our stories. \u2026 Plot. Plot is what happens in the story, the series of events. \u2026 Setting. Setting is where your story takes place. \u2026 Point-of-view. \u2026 Style. \u2026 Theme. \u2026 Literary Devices.", "id": "<urn:uuid:c3012bdf-442f-4b38-8438-c3ca2cb6473c>", "dump": "CC-MAIN-2021-17", "url": "https://officialairmaxshop.com/qa/what-is-the-main-character-in-a-story-called.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00068.warc.gz", "language": "en", "language_score": 0.939945638179779, "token_count": 1215, "score": 3.65625, "int_score": 4}
{"text": "Please welcome Lauren Martin to the blog today! She\u2019s sharing how to use comics to differentiate instruction and reach all learners. She understands the challenge of meeting the needs of all learners and wants to help all teachers effortlessly differentiate every day!\nDifferentiating to meet the needs of struggling learners and Special Education mandates does not need to be time consuming or complicated. Comics are an effortless differentiation tool to help kinesthetic learners, struggling readers, ESL students, and students with learning disabilities comprehend challenging texts and retain new information in any subject.\nYou do not need to create new differentiation materials for every lesson. Struggling students benefit from consistency and from the ability to conceptualize and display academic content and skills through visual modalities. This is why daily use of comics significantly improves the quality of student comprehension, analysis, and writing. You can use several comic templates again and again to introduce and reinforce any subject, text, topic, or skill. After introducing these comic templates to students just once, you can seamlessly incorporate them into your mini-lesson, guided practice, and independent practice every single day. Effortlessly make comics part of your daily teaching routine, and watch struggling readers and apathetic students enthusiastically retain new content and master new skills.\nComics can be used in two major ways. First, students can illustrate comics to show mastery of skills or understanding of content. Second, teachers can illustrate and display comics as a visual aid to introduce new concepts and skills. Use the following comic template ideas again and again for any topic or text in any subject area. Simply write the assignment at the top of each comic template for no prep differentiation.\n1. Comic Strips for Visualization\nTeaching imagery, figurative language, setting, or vocabulary? Students need to be able to visualize a \u201cmovie in their mind\u201d in order to comprehend a text. Create or download a four-panel comic strip to reinforce content and skills that require visualization. For example, have students draw the setting of a book or the imagery in an important scene. If you want students to identify and analyze personification, simile, or hyperbole, have students illustrate the literal meaning of figurative language in each panel of the comic. Introducing new vocabulary or concepts in any subject area? Have students illustrate the word in a comic strip using images and dialogue bubbles. Finally, if students need to remember or invent a mnemonic acronym, they can illustrate their acronym in comic form to further aid memory retention. Visual modalities are the most powerful tools available to support students with reading disabilities. You can choose to have students write about their comic after the fact, but the act of drawing will significantly improve a struggling reader\u2019s comprehension and memory retention.\n2. Storyboards and Mind Maps for Any Subject\nInstead of taking notes on a worksheet or on lined notebook paper, storyboards and mind maps are a culturally-relevant visual alternative to truly engage all learners in the process of visualizing and retaining challenging information. The simple shift from lined paper to comics will transform the way your apathetic and struggling learners will approach your classroom and your content. Storyboards and mind maps are similar to comics except that each comic panel has a title and a space to write several sentences beneath the image. Unlike four-panel storyboards and comics, mind maps have a web format with a central title radiating out to four panels. Mind maps and storyboards can be used interchangeably depending on your preference. They are the most versatile comic in the classroom and can be used to reinforce almost any skill, content, or text.\nIn English use storyboards and mind maps to introduce or apply any Common Core skill. While reading a text, students can illustrate any of the following Common Core skills using a storyboard or mind map: characterization; types of conflict; sequence of events; summary; main idea; setting; imagery; sensory language; figurative language; theme; symbolism; mood; tone; point of view; cause and effect; compare and contrast; and every other English Language Arts standard. When you introduce new vocabulary or concepts, students can illustrate the definition, synonyms, antonyms, and examples in four separate panels. To reinforce any text, students can summarize main ideas or analyze literary elements and devices in a creative storyboard. They are perfect for illustrating text evidence. If students need to find two to four examples of theme, characterization, conflict, etc., then they can cite each example in a different panel.\nMind maps and storyboards can be used in any subject area. Use comics to brainstorm, to create KW(H)L charts, to define new concepts, to illustrate a mnemonic device, to paraphrase or summarize main ideas in a text book, and to create a classroom reference poster for any topic or concept. The list goes on. If you teach Social Studies, students can illustrate a timeline of events, the causes and effects of the Civil War, the inventions of ancient Egypt, important historical figures of the Civil Rights Movement, main ideas of a primary text, the beliefs of political candidates, and so much more. In Science or Math, students can illustrate the steps in a mathematical equation or in the scientific method. They can draw and describe shapes, angles, mathematical terms, chemical reactions, cell division, photosynthesis, the water cycle, the digestive process, and so on. Go one step further by creating your own comics to introduce new concepts and skills. Simply replace or supplement the typical reading response paragraph or essay with storyboards, and enjoy a dramatic improvement in student engagement and writing quality.\n3. Plot Diagram\nPlot diagrams are often discussed in English classes but less often put into practice. When you make comics part of your daily teaching routine, you can commit to creating plot diagrams for every single novel and short story discussed in class. Whenever students finish a fictional text, they should always discuss and analyze the exposition, rising action, climax, falling action, and denouement while illustrating a plot diagram. Students can use a printable five-panel storyboard plot diagram or draw their own. Students can label the plot point in the title box, illustrate the scene in the image panel, and analyze why that scene is the climax or other plot point in the description portion of the panel. Plot diagrams are also a powerful tool in the writing process. When students illustrate their creative writing story on a plot diagram instead of simply being told to \u201cbrainstorm\u201d their story, they will create more developed, creative, and organized prose. Whether you teach elementary or high school students, the act of illustrating a plot diagram as opposed to simply writing about plot structure will transform the way students comprehend, analyze, and write fiction prose.\n4. Character Maps\nFinally, never discuss a character or historical figure again using lined paper. Students will love illustrating a character map to share what they learn about a fictional text or a historical account. They will even be eager to learn more. Students should be in the habit of beginning their character map at the start of a text or unit and filling it in as they learn more about the character. A comic character map has one central image of the character surrounded by four non-illustrated panels containing written lists or descriptions below any of the following titles: personality traits; indirect characterization; direct characterization; relationship to others; important quotes; accomplishments; major events; etc. Character maps will vary depending on if you are discussing a fictional character or a historical figure. Teachers can also create their own character map to introduce a historical figure or character in a creative and engaging way. English, Science, Math, Health, and Social Studies teachers can also use character maps to creatively personify any skill or concept and effectively bring their content and classroom to life.\nYou can effortlessly differentiate the content, process, and product of your lesson by simply engaging students in the culturally relevant visual modality of comic-based learning. As a Special Education Coordinator, I struggled to help overburdened general education teachers differentiate their lessons and materials. Now that I know the endless opportunities comics provide to effortlessly differentiate instruction, I am excited to help teachers make comics part of their daily routine, with no extra planning required. Try my Comics for Differentiation bundle to give yourself, your staff, and your students the tools they need to succeed!\nI\u2019m Lauren Martin, and I taught English and History to students with learning disabilities for five years. As the teacher-author of Common Core English with Ease, my passion is to create inspirational Common Core activities that empower students to follow their passion, reach their highest potential, and positively impact the world! My TpT store has allowed me to share these resources while running the early literacy non-profit Word Rebel, aimed to prevent the preschool word gap and subsequent achievement gap. As a volunteer-run 501(c)(3), we are proud to use 100% of funds to donate books to children living in poverty. Find free inspirational Common Core ideas and behavior management strategies at my blog, TpT Store, Facebook and Pinterest page.", "id": "<urn:uuid:3f59c85f-4876-46be-bb73-919242a237dc>", "dump": "CC-MAIN-2021-17", "url": "https://minds-in-bloom.com/comics-differentiate-instruction/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00348.warc.gz", "language": "en", "language_score": 0.9153180718421936, "token_count": 1839, "score": 3.875, "int_score": 4}
{"text": "Many more may notice that the Puritans\u2019 God offered no incentive for upright moral behavior: this deity had decided who will be saved or damned before the beginning of human history, and no good actions on the part of men and women could change that divine decree and alter their preordained fates.(The brighter kids may also point out that Calvinist theology denied human beings any free will.) That being the case, lots of students will ask you why the Puritans didn\u2019t sink into despair\u2014or decide to wallow in the world\u2019s pleasures, to enjoy the moment, since they could do nothing to affect their eternity in the afterlife.Tags: Surfing Term PapersForeign Coursework EvaluationEasy High School Essay TopicsTd Business Account PlansProblem Solving AdditionUsing Quadratic Equations To Solve Word ProblemsSolve Business ProblemsThesis For To Kill A Mockingbird PrejudiceGambling And Sports EssaysUniversity Of Iowa Creative Writing Program\nWith the restoration of the Stuart monarchy in 1660, Puritanism went into eclipse in England, largely because the movement was identified with the upheaval and radicalism of the Civil War and Cromwell\u2019s tyrannical government, a virtual military dictatorship.\nBut it persisted for much longer as a vital force in those parts of British North America colonized by two groups of Puritans who gradually cut their ties to the Church of England and formed separate denominations.\nBut Calvin also taught that God, in his infinite mercy, would spare a small number of \u201celect\u201d individuals from the fate of eternal hellfire that all mankind, owing to their corrupt natures, justly deserved.\nThat elect group of \u201csaints\u201d would be blessed, at some point in their lives, by a profound sense of inner assurance that they possessed God\u2019s \u201csaving grace.\u201d This dawning of hope was the experience of conversion, which might come upon individuals suddenly or gradually, in their earliest youth or even in the moments before death.\nNo matter how confused they seem at first, most will \u201cget it\u201d and even \u201cget into it\u201d if you give them a chance.\nYou might tell them about the Puritan belief in predestination, which provides the wider context for understanding conversion.\nTo prod them into thinking along these lines, you might talk a bit about the sweeping changes (and uncertainties) overtaking the lives of most western Europeans in the early modern period (ca., 1400\u20131800).\nIt was during this era that the beginnings of modern capitalism\u2014both the growth of trade and the commercialization of agriculture\u2014were yielding handsome profits for merchants and large landowners, but creating inflation and unemployment that produced unprecedented misery for many more people.\nOne group, the Congregationalists, settled Plymouth in the 1620s and then Massachusetts Bay, Connecticut, and Rhode Island in the 1630s.\nAnother group, the Presbyterians, who quickly came to dominate the religious life of Scotland and later migrated in large numbers to northern Ireland, also settled many communities in New York, New Jersey, and Pennsylvania during the late seventeenth century and throughout the eighteenth century. Puritans in both Britain and British North America sought to cleanse the culture of what they regarded as corrupt, sinful practices.", "id": "<urn:uuid:00f917d0-aecb-489a-9ea7-e27f81e11a6b>", "dump": "CC-MAIN-2021-17", "url": "https://elit-udm.ru/puritan-research-paper-365.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038061562.11/warc/CC-MAIN-20210411055903-20210411085903-00385.warc.gz", "language": "en", "language_score": 0.9447465538978577, "token_count": 674, "score": 3.546875, "int_score": 4}
{"text": "By Francesca Leaf\nOver the centuries, civilizations have endeavored to preserve a record of their existence for future generations. This effort has taken the form of compiling chronologies, building monuments, and creating art.\nThe ancient Greeks took it a step further.\nThey invented an entirely new literary genre, solely dedicated to recounting important events in narrative form for the benefit of posterity\u2014history. Among the ancient Greek historians who created and defined the genre are Herodotus, Thucydides, and Xenophon.\n1. HERODOTUS (C. 484\u2013425 BCE): THE FATHER OF HISTORY\n\u201cI am bound to tell what I am told, but not in every case to believe it.\u201d\u2014Herodotus, The Histories\nDubbed \u201cThe Father of History\u201d by Cicero, Herodotus is arguably the first writer to narrate a series of events of global importance and recount them in relations of cause and effect. In The Histories, Herodotus examines the Greco-Persian Wars, the rise and rule of the Persian Empire, and the history and cultural background of Scythia and Egypt.\nBefore he was the father of history, Herodotus was a globe trotter. He traveled throughout the Persian Empire, which at the time extended into Egypt. Herodotus was profoundly interested in the people he met; their customs, worldviews, and achievements. He listened to their stories, heard their myths, and collected their narratives.\nIn between trips, Herodotus returned to Athens, where at gatherings, large and small, he recounted his travels. The combination of his novel tales and delightful storytelling made him wildly popular.\nHerodotus later wove his stories and knowledge together, creating his masterpiece: The Histories. An engaging read, the series of events is interspersed with interventions from the gods, fables, and small stories often reminiscent of tall tales. To Herodotus, legends and cultural memory held just as a significant place in history as wars and politics.\nOverall, Herodotus has opened a window into the values and worldviews of ancient Greece. I think that Reginald Macan put it best, stating:\n\u201cThere is, indeed, no ancient historian, whether upon his own ground or on general grounds, with whom Herodotus need fear comparison. . . . in the larger view of history, which embraces every experience of humanity [and] treats no aspect of human life as common or unclean . . . Herodotus keeps his rank as the premier historian of antiquity.\u201d\n2. THUCYDIDES (C. 460\u2013395 BCE): THE SCIENTIFIC HISTORIAN\n\u201cI have written my work, not as an essay which is to win the applause of the moment, but as a possession for all time.\u201d\u2014Thucydides, History of the Peloponnesian War\nBest known for his History of the Peloponnesian War, Thucydides is recognized by many as the father of scientific history. Written at the time of the conflict, Thucydides based this work on eyewitness accounts, interviews, and records.\nUnlike Herodotus, however, he generally interpreted significant events as having human, not divine, causes. Thucydides\u2019 concise prose, adherence to chronology, and exploration of timeless themes such as ethics, leadership, and nationalism, has won him admirers across the centuries.\nIt is believed that the father of scientific history was born in the Athenian suburb of Halimos, c. 460 BCE. During Thucydides\u2019 time, democratic Athens was a prominent sea power, but to the south, one would find the Peloponnese, home to militaristic Sparta and its mighty land force. Thucydides would later argue that fear of Athens\u2019 ever-growing influence motivated Sparta\u2019s attack.\nDuring the war, Thucydides\u2019 defining moment came in 424 BCE when he was blamed for losing the city of Amphipolis to Sparta. Believing he would be condemned to death, he fled to his Thracian estate.\nWhile in exile, Thucydides found himself in a unique situation. He was privy to accounts of the war from both sides.\nLater he would write, \u201cIt was . . . my fate to be an exile from my country for 20 years after my command at Amphipolis; and being present with both parties, and more especially with the Peloponnesians by reason of my exile, I had leisure to observe affairs somewhat particularly.\u201d\nAnd thus he began to write The History of the Peloponnesian War. In total, he chronicled nearly 30 years of conflict.\nWhile there is no record of Thucydides\u2019 contemporaries admiring his work, over the centuries he became regarded as a great historian. Several copies of his History were made, securing its survival through the ages. His keen analysis of the human condition has influenced notable philosophers, including Thomas Hobbes, Francis Bacon, and Friedrich Nietzsche.\n3. XENOPHON (C. 430\u2013354 BCE): THE ATTIC MUSE\n\u201cThere is small risk a general will be regarded with contempt by those he leads, if, whatever he may have to preach, he shows himself best able to perform.\u201d\u2014Xenophon, The Cavalry General\nA man of many talents, Xenophon distinguished himself as a soldier, historian, and memoirist. He wrote beautifully on a multitude of topics, his prose earning him the nickname of \u201cAttic Muse.\u201d\nXenophon was born during the tumult of the Peloponnesian War, in Erchia\u2014just an hour\u2019s journey from Athens. A member of the equestrian class, Xenophon received a solid education and military training.\nXenophon put his military training to use in 401 BCE when he and his friend volunteered to serve as mercenary soldiers. They believed that they would be lending their skills to a Persian governor whose territory was under threat\u2026 but this was not the case. Instead, they found themselves involved in a veritable game of thrones, aiding Cyrus the Younger in an assault on the Persian king, Artaxerxes II.\nHowever, early on Cyrus the Younger was killed and his generals were subsequently executed.\nXenophon and the other soldiers found themselves stranded in hostile territory, haunted by dark thoughts and filled with despair. The situation was dire.\nFortunately for those involved, Xenophon displayed great courage and was elected leader of the 10,000-man army. He successfully led them to safety, enduring nearly ceaseless battle, dwindling supplies, and snowstorms along the way. Xenophon later recorded his harrowing tale in Anabasis, which has inspired countless similar works throughout the centuries.\nA LASTING LEGACY\nFor ancient Greek historians, writing history entailed both recording events of note and creating works of literary merit. Engaging with their works is an opportunity to learn about the past, gain insight into ancient Greek culture, and read masterful prose\u2026 and hopefully not repeat any of their mistakes.", "id": "<urn:uuid:49500356-e51a-4c8f-9700-8b44be7346a5>", "dump": "CC-MAIN-2021-17", "url": "https://classicalwisdom.com/people/historians/3-historians-changed-world/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00268.warc.gz", "language": "en", "language_score": 0.9741526246070862, "token_count": 1491, "score": 3.765625, "int_score": 4}
{"text": "What is digital storytelling?\nDigital storytelling describes a simple, creative process through which people with little or no experience in computer film-making gain skills needed to tell a personal story as a two-minute film using predominantly still images and voiceover. These films can then be streamed on the web or broadcast on television.\nA digital storyteller can be anyone who has a desire to document life experience, ideas, or feelings through the use of story and digital media. Usually, it is someone with little experience in video production but with time to spend a few days attending a workshop and developing a story with creative support and technical assistance from compassionate, experienced facilitators.\nThe uses of digital storytelling range from a means to express creativity, to a research method for local health issues or a means of preserving a community\u2019s identity and a form of oral history. As a method, digital storytelling combines techniques to develop literacy and storytelling skills with an introduction to basic Information and Communication Technology (ICT), using group exercises and individual processes that develop confidence and build self-esteem.\nOn the surface these digital stories are all singular, personal audio-visual accounts of an individual\u2019s story, yet the making of them is shaped by the collaborative experience in the workshop. Each story shows how someone envisages their place in a personal and a public world.\nMethods and practices of digital storytelling\nDigital storytelling allows participants to: tell their own stories, learn digital media skills, build confidence and self-esteem. The method places the stories under the control of the storyteller\nParticipants find digital storytelling fun: it is a way to reach people who think that education is \u2018not for them\u2019; it can help to develop language and literacy skills through storytelling and script-writing; it can give people a kick-start in developing their skills and improving their chances to gain employment; it offers a way to engage thoughtfully with experience.\nDigital storytelling has been used in health and teacher education for developing students\u2019 professional identity, and as a tool for self reflection whereby students make and share digital stories about their practice experiences. As a practice it helps to foster higher-order thinking skills, develops digital literacy, and is, \u201cthe aggregating element capable of turning our students into true 21st century learners\u201d (Ribeiro, 2012).\nFor the purposes of the digital storytelling workshops we run at the University of Brighton, a digital film is:\n- a 2-minute film (~250 words)\n- a personal story\n- written, recorded and edited by the film maker\n- uses photos/drawings by the film maker (10-30 photos)\n- can also use video, animation and music\n- any images or music have to be copyright free\nDigital storytelling workshops typically begin with a story circle, creating a trusting atmosphere and getting to know each other through activities. Story prompts are given eliciting concentrated thoughts as to the most powerful elements to be developed from a lifetime of memories. Storytelling exercises introduce method and encourage the sharing of material.\nParticipants are then introduced to the principles of narrative: narrator, voice, background. They also learn about camera work and film technique. Short scripts are written, following which the voiceovers are recorded. Participants scan photographs from albums or take new photos of people and objects. Others make images through drawing, make simple stop frame animations or computer software animations such as Adobe Flash\nParticipants then move to editing. The imagery and animation is built into a film editing software where it is combined with the voiceover. The results are then shared in the form of group shows, exhibitions in public spaces or online.\nResearch in Digital Storytelling\nAs a relatively new cultural form of cultural practice drawing on a range of different roots, practices and interests, digital storytelling has attracted attention from a range of scholars and researchers.\nOne consequence of this is that literature, research and practice is limited and exploratory, as writers, practitioners and academics work their way towards a fuller, more rounded understanding. Drivers for individual projects are often drawn from different sources with a desire to use digital storytelling with particular groups or communities. Sennett (2012) notes how many community projects \u201coffer good experiences\u201d but \u201chave to lead somewhere to become sustainable\u201d.\nThis sense of immediacy is found in many digital storytelling projects where the short term benefits of the storytelling process are defined in terms of stories told or people trained. It is rare to find research which considers the content of digital stories or takes a longitudinal approach to the evaluation of the impact of attending a digital storytelling workshop on participants.\nThe work at the University of Brighton, including Silver Stories (2014) and StoryA (2016), does this. Key note sessions from Joe Lambert and John Hartley at Create, Act, Change \u2013 the 5th International Conference of Digital Storytelling (2013) sought to bring a greater understanding of the practice of digital storytelling by arguing for a need to \u201ctheorise\u201d the work. John Hartley and Joe Lambert both argued for this but came to the same point from starting positions on opposite ends of the spectrum \u2013 as the consummate media theorist and the dedicated practitioner.", "id": "<urn:uuid:0a2966a2-9114-479d-8c1e-ae65083b7fed>", "dump": "CC-MAIN-2021-17", "url": "https://blogs.brighton.ac.uk/digitalstorytelling/what-is-digital-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00148.warc.gz", "language": "en", "language_score": 0.9368010759353638, "token_count": 1053, "score": 3.90625, "int_score": 4}
{"text": "B.1.F analyze and evaluate the structure and form of dramatic literature.\nby Karen Loftus\nStudents will explore the structural elements of a play: character, objective, obstacles, tactics, resolution, and raising the stakes. They will also learn how to write character-driven dialogue and stage directions.\nThe unit culminates in a group written original play which is performed in front of the class. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.\nby Angel Borths\nHelp\u2026It\u2019s all Greek to me! Join Angel Borths in this unit that uses a modern adaptation of the Ancient Greek play Antigone to introduce Middle School students to Ancient Greek Theatre.\nHave your students read Percy Jackson and want to find out more about Ancient Greece? Then, this unit is for you. This unit is designed for middle and high school students and will take you through the basics of classical Greek theatre and pairs it with a modern adaptation of the story of Antigone called Agatha Rex by Lindsay Price. Students will learn vocabulary, design, and basic theory surrounding classical Greek theatre. Students will also enjoy the mask building component of this unit, as they learn to disappear into the character of a mask, like the first actors did on a Greek stage thousands of years ago.\nThe unit culminates in a scene performance with masks.\nby Matt Webster\nIn the Monologue Unit, students will learn the building blocks of monologues while writing a simple monologue. This unit is divided into two parts.\nIn part one, the Monologue Writing Made Easy unit by Matt Banaszynski is reviewed or executed in full, depending on class needs.\nIn part two, students will dissect monologues as a vehicle for character and performance and will write more refined monologues based on existing fictional characters from fairytales or myths. Students will then rehearse and perform their monologues, as a final project for the unit.\nby Anna Porter\nStudents are introduced to scene work performance through a simple, contentless scene unit. In this unit, performers will use exercises like \u201cShow and Tell\u201d to learn how to fill in the gaps of a story by creating scenarios and detailed characters with backgrounds.\nStudents will further fill in the gaps by exploring environmental and physical conflict as well as stage business. The lesson \u201cThou Shalts of Staging\u201d will guide students through basic staging and performance technique.\nby Lindsay Price\nIn Part 2 of Scene Work, students take everything they learned in Part 1 and apply it to the staging of a scene.\nStudents work independently to block, build character, experiment and rehearse a scene. You can continue the scene work process from Part 1, or if your students have a grounding with scene work basics, perhaps they just do Part 2 of this unit.\nby Allison Williams\nAllison Williams leads the course: 21st Century Skills Through Devising. This course covers what devising is, why to do it, how to do it, and how your students can master the 21st Century Skills of collaborations and cooperation, critical thinking, creative thinking through devising.\nHigh school is a great place to try devising with your students. But it\u2019s not something you want to throw at your students without any preparation. Framework is important and this course takes you through a number of exercises you can take into the classroom tomorrow to help build a place of physical safety, a place where students work at making a lot of choices instead of waiting for the perfect choice, and a place where students feel comfortable making creative choices. The material also reviews the process of putting together a show from the idea/research stage to editing, to giving feedback.\nYour students have what it takes to create their own material, collaborate with each other, and have a unique theatrical experience!\nby Todd Espeland\nTodd Espeland has the experience to know that having more tools in your toolbox makes you a better actor. This is especially important when teaching students how to approach Shakespeare. They need help breaking through the language barrier and into the character\u2019s needs and into the character\u2019s thoughts.\nThe tools that you\u2019ll receive in this course will do just that. The course looks at scansion as a tool for breaking down Shakespeare\u2019s verse, the importance of end of lines, and caesura. Caesura is an inner-line pause which is a lot of fun to play with and really, helps us provide insight to the character\u2019s thoughts and into their needs.\nThe course provides numerous examples and handouts, and culminates in a performance assignment to use with your students.\nby James Van Leishout\nThis course covers the four stages of creating and implementing a marketing plan. It starts with the question, what are you selling?, and goes all the way through to evaluation. The course covers both traditional and new media, with examples and opportunities to apply the learning to each teacher's own situation.\nby James Van Leishout\nIn this course, James Van Leishout explores why students should direct, and covers the first two tools in the director\u2019s toolbox: self and the script. What background should every director have? Why should they learn to love research? What should happen in the first four reads of a script?\nWith every step along the way, there will be exercises and activities your student directors can take on before they step into the rehearsal process.\nby James Van Leishout\nDirector\u2019s Toolbox 2: Teaching Students to Direct, explores the tools of the actor, rehearsal, space, and design.\nThe tool of the actor will focus on creating a safe place to play, auditions, and how to communicate with actors.\nRehearsals will look at the whole process from the first meeting to opening night.\nThe tool of space will explore how to direct in different spaces and how to create focus through stage composition.\nDiscover how an understanding of the elements of design help student-directors communicate with designers. The final step is a return to self and the mastery of self evaluation.\nby Lindsay Price\nAdaptation is a fabulous classroom project: it requires students to analyze, adapt, modify, plan synthesize, devise. All the higher order thinking skills.\nBut you can\u2019t just throw a narrator into a script and call it a day. You have to have a preparation process leading up to the writing process.\nIn this course you will learn practical exercises and a path to prepare your students to take on their own adaptation project. We\u2019ll look at the guidelines to adaptation, things to think about when choosing a text, how to analyze the source material and writing that first draft.\nSo join me, Lindsay Price, in the Play Adaptation Project.\nby Wendy-Marie Martin\nWho says theatre history has to be boring? Hands-On Theatre History: Creating a Modern Day Morality play is an interactive course by Wendy-Marie Martin, combining hands-on activities with research and analysis techniques leading to a full performance of the popular medieval morality play, Everyman.\nThis course gives students an overview of the medieval period and the various medieval play forms and teaches students the key points of storytelling and adaptation.\nIt includes dynamic individual and group exercises leading students from the first steps of the adaptation process through a final, full-class performance of Everyman\u2014and proves, once and for all, that theatre history can be fun and exciting to learn.", "id": "<urn:uuid:469708b8-afd3-4400-a6bc-6ad8ae6814a6>", "dump": "CC-MAIN-2021-17", "url": "https://www.theatrefolk.com/dta_standards/997", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00108.warc.gz", "language": "en", "language_score": 0.9377250075340271, "token_count": 1545, "score": 4.03125, "int_score": 4}
{"text": "Note: The WritingEssentials blog is on hiatus. Meanwhile, favorite posts will be published with updates. Ellen ~~\nEllipses and dashes are used to denote pauses, but according to creative writing copy editor, Caitlin Berve, are \u201ctwo of the most commonly used and misused punctuation marks\u201d she sees in her work. In this update of the original post, we revisit these two marks.\nI see beginning writers misuse or confuse the uses of ellipses and dashes, particularly the\nem-dash. Some writers also use a hyphen instead of an em-dash, but this is incorrect. Hyphens have their own special use which was dealt with in an earlier post. This discussion will help clarify uses of ellipses and dashes and provide examples, including some from literature.\nThe ellipsis consist of three dots in a text (. . .). The dash (\u2014) we are focusing on is technically called the em-dash because in the days of typewriters, it was formed by typing two hyphens together which was equal to the width of a capital \u201cM\u201d on the keyboard.\nAnother dash, the en-dash, which is between the hyphen and em-dash in length\u2014in fact, the width of the keyboard\u2019s capital letter \u201cN\u201d\u2014means \u201cthrough\u201d and is commonly used with dates and numbers to indicate inclusive periods or sections. As Nancy Tuten points out, these distinctions were known chiefly by professional printers and typesetters until word processing programs enabled all writers to use these marks of punctuation. (For a poem on this type of dash, see this one by Linda Ellis.)\nFirst, some technical information for creating these two punctuation marks. Style guides have different rules for presenting the ellipsis. In Microsoft Word, the ellipsis can be inserted by going to Insert\u2014Symbol\u2014Special Characters. However, the default format for the ellipsis in Word has no spaces between the dots (\u2026). While this option is useful for inserting an ellipsis that will not break over two lines, most academic style require the format of three dots with spaces separating them (. . .).\nIf you are following an academic style for ellipsis, and you do not want the character to break over two lines, Allen Wyatt of Tips.com recommends creating non-breaking spaces by pressing Ctrl+Shift+Space Bar (. . .) and this keeps the dots of the ellipsis on the same line.\nIn regular text, a space is put before and after the three dots. With quotations, when an entire sentence or more has been left out, use four dots, each separated by a space, except before the fourth or last (. . ..)\nThough it got its name from the typewriter age, the em-dash is easily created on the computer keyboard\u2014the simplest method is to press Ctrl+Alt+the Minus sign located on the numeric keypad. As a format rule, remember that there is never a space before or after an em-dash.\nEllipsis and em-dash in dialogue and narrative\nThe ellipsis is a sign that there is missing text in quoted material. Used in dialogue, it shows a pause in a character\u2019s speech. The em-dash is used to emphasize a phrase or to indicate an interruption in speech.\nEllipsis also refers to the appropriate omission of words that are understood and thus not needed; it is often used where the words omitted would be redundant. An example can be found on Literarydevices.com: The sentence \u201cI went to the mall on Monday, and she went to the mall on Sunday.\u201d could be shortened to \u201cI went to the mall on Monday, and she on Sunday.\u201d because the omitted words \u201cto the mall\u201d are understood from the context.\nThis resource also traces the origins of the word ellipsis to Greek word \u00e9lleipsis, which means \u201comission\u201d or \u201cfalling short,\u201d and definition points to the use of ellipsis to show missing text or pauses, but also a trailing off of thought or speech.\nLisa J. Jackson provides some good illustrations of the difference in meaning and intent between the ellipsis and the em-dash used in dialogue; it is the difference between trailing off versus an abrupt end or being cut off.\nDialogue: ellipsis vs. em-dash\n\u201cJonathan, please, what I meant was\u2026\u201d\n\u201cWhat? What did you mean?\u201d\nBeing cut off:\n\u201cJonathan, please, what I meant was\u2014\u201d\n\u201cI don\u2019t want to hear your excuses. It\u2019s too late.\u201d\nIn narrative, these punctuation marks can also signal to the reader a pause or break. In his post, \u201cIn Praise of the Ellipsis,\u201d Adam Woolf provides examples of pauses within the text, as well as at the end of a sentence:\n\u201cThe reader was unsure about its meaning . . . it was time to check the dictionary.\u201d\n\u201cAll options were available to the author. She considered her words carefully before putting pen to paper. . ..\u201d\nWhen the ellipsis comes at the end of a sentence (as in the second example), it can be an effective technique to create mystery or suspense.\nAnd, ellipses are great for slowing the reader down within narrative. Look at how Jackson illustrates this use:\nThey gazed innocently into each other\u2019s eyes until hesitantly . . . gently . . . they shared their first kiss.\nWith the em-dash, the pause or break is more dramatic. Like parentheses, em-dashes can be used in place of commas, depending again on the rhetorical effect desired. As noted in the post on parentheses vs. brackets, Martha Kolln, in Rhetorical Grammar, asserts that the use of the parenthesis \u201cwhispers, simply mentions in passing,\u201d while the em-dash emphasizes or shouts the message. She writes that the em-dash is a \u201cgood choice for lightening the load of commas, while adding emphasis\u2014it adds a \u2018pay attention\u2019 message to the writer\u201d (93).\nWhile ellipses tend to dramatize thinking, em-dashes create urgency:\n\u201cNothing bad can happen to her. Look at it. Everybody I knew dead or gone or dead and gone. Not her. Not my Denver. Even when I was carrying her, when it got clear that I wasn\u2019t going to make it\u2014which meant she wasn\u2019t going to make it either\u2014she pulled a whitegirl out of the hill. The last thing you\u2019d expect to help. And when the schoolteacher found us and came busting in here with the law and a shotgun\u2014\u201d\n\u201cSchoolteacher found you?\u201d\n(Toni Morrison, Beloved, qtd in \u201cUsing Ellipses and Dashes to Create Dramatic Dialogue,\u201d thebluegarrett.com)\nKate Mooney, who devoted a whole article to the em-dash (\u201cThe Em Dash Divides,\u201d New York Times, D5, 8/15/19), calls this punctuation mark \u201cemphatic, agile,\u201d \u201cadding emphasis to our convictions, alternately vexing and delighting readers.\u201d She cites Mary Norris of The New Yorker who says that the em-dash (as noted by Kolln above) \u201ccan be substituted for almost any other mark of punctuation\u2014the comma, the semicolon, the period, a pair of parentheses, the quotation mark, even a bullet point in the making of the list.\u201d Mooney also references Martha Nell Smith of the University of Maryland who is an expert on Emily Dickinson. Smith says that Dickinson used the em-dash to \u201chighlight the ambiguity of the written word.\u201d\nThis post began by asserting that the misuse of both these marks of punctuation is common, even though they are not interchangeable. It\u2019s important to know their appropriate uses. In her blog on writing, Ramona DeFelice Long also cautions against overusing them. The em-dash may provide emphasis, but too many will disrupt the prose and dilute the emphasis. Overuse of the ellipsis can make the prose appear too tentative or the character appear unable to keep focused or complete a thought. Whether you are writing nonfiction or fiction narrative, the use of the ellipsis versus the em-dash is a style choice and will depend on the rhetorical effect you\u2019re trying to achieve.", "id": "<urn:uuid:dfb363d6-edcf-4b64-b9bd-2bd6ab8f5e98>", "dump": "CC-MAIN-2021-17", "url": "https://writingessentialsbyellen.com/when-to-use-ellipses-vs-dashes/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00188.warc.gz", "language": "en", "language_score": 0.9405397176742554, "token_count": 1832, "score": 3.53125, "int_score": 4}
{"text": "YOUNG CHILDREN TO LEARN COMPUTATIONAL THINKING FOR FREE\nTiny Thinkers campaign will equip parents with accessible resources and the know-how to set the foundation for their child\u2019s journey into a Smart Nation\nA team of final-year NTU students have launched a campaign democratising Computational Thinking learning for families of all socioeconomic statuses. They will be organising free workshops for more than 400 parents, including beneficiaries from various non-profit organisations.\nThe campaign, Tiny Thinkers, aims to equip young children with foundational knowledge and skills of Computational Thinking by providing free resources and workshops, as these enrichment classes and tools often come at a high cost.\nComputational Thinking is the logical thought process used to guide computers in solving problems. Coding and programming are commonly mistaken for Computational Thinking, but are actually applications of this fundamental skill.\nTiny Thinkers comes at a time when Singapore is increasing efforts to develop Computational Thinking as a national capability. \u201cWith Singapore\u2019s pressing advancement towards a Smart Nation, Computational Thinking is a critical skill to develop as we harness technology in the economy, community, and even in our daily lives,\u201d Dr. Looi Chee Kit, Professor of Education, Nanyang Technological University said.\nThe team conducted a survey of 403 parents with children aged four to seven, and found that 83% of them believe Computational Thinking is beneficial for their child\u2019s cognitive development. However, 80% of them had not exposed their children to the skill, citing barriers like limited access to affordable resources, a lack of time, and their perceived complexity of the subject.\nTiny Thinkers will help parents tackle these barriers by providing access to free learning resources designed to incorporate learning into their child\u2019s everyday routines, saving time and costs. These games, which can be conducted while grocery shopping, during snack time, or while storytelling, are curated in collaboration with Coding Lab, a coding academy specialising in educating children from ages four to 18.\n\u27a1\ufe0f Related Read: Best Coding School Singapore\nAn example would be \u2018Making A Sandwich\u2018, which teaches children Computational Thinking concepts of algorithms and loops through giving a series of clear instructions that can be easily understood by a computer. This activity takes less than 15 minutes, and parents can find a collection of such activities on their website.\nWith other nation-wide initiatives targeted at older children and the working population, Tiny Thinkers is designed to expose younger children to the basic foundations of Computational Thinking to pique their interest. \u201cThe earlier children are exposed to this way of thinking, the earlier we unleash the potential of their problem-solving ability in the 21st century,\u201d says Candice Wang, co-founder of Coding Lab.\nA series of hour-long workshops sessions, Tiny Thinkers On The Go, will guide parents to conduct these activities with their children at home. Each family will also receive a complimentary Tiny Thinkers Starter Kit filled with resources and materials to kickstart their child\u2019s journey in Computational Thinking.\n* * * * *\nLike what you see here? Get parenting tips and stories straight to your inbox! Join our mailing list here.\nWant to be heard \ud83d\udc42 and seen \ud83d\udc40 by over 100,000 parents in Singapore? We can help! Leave your contact here and we\u2019ll be in touch.", "id": "<urn:uuid:6fdf2435-66ab-4cac-8cf6-e90d64cf6e0a>", "dump": "CC-MAIN-2021-17", "url": "https://thenewageparents.com/tiny-thinkers-on-the-go/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065492.15/warc/CC-MAIN-20210411204008-20210411234008-00188.warc.gz", "language": "en", "language_score": 0.9477563500404358, "token_count": 707, "score": 3.59375, "int_score": 4}
{"text": "In Storytelling and Media: Narrative Models from Aristotle to Augmented Reality (Isbouts & Ohler, 2013), the narrative arc reflects a combination of the both the three act play (or film), and the story zigzag from Mckee\u2019s book. The primary reason it fits so well in these two molds is that media and storytelling every so often redefine how we understand and perceive the world (The Day The Universe Changed, Episode One: The Way We Are?). Each time this happens, the story begins again.\nAct One sees the characters in their everyday lives at a particular point in time. All is well in the world. Until some major incident happens (the inciting incident) and turns the current version of the world upside down. Burke, in The Day the Universe Changed, said it well, \u201cThe universe changes every time we redefine a big enough bit of it. Not necessarily discovery, just the invention of another version of how things are.\u201d And storytelling is one way of helping us to understand and define ourselves (Isbouts & Ohler, 2012). \u201cStorytelling\u2026 is as old as the human condition itself.\u201d In this act, humans still rely on oral storytelling as the foremost method. Since stories are not merely relegated to providing information, but also imparting meaning, how these stories were communicated mattered. Then they are hit with the inciting incident \u2013 the rotary printing press.\nAct Two sees the characters in a dilemma wherein they must overcome the inciting incident \u2013 the conflict. The characters need something, usually to meet some goal, and the conflict and tension rise as the characters face one obstacle after another. This can be seen, for example, as we went from orality to literacy (Ibouts & Ohler, 2013). As humans approached the 19th century, more people would become literate thanks to the invention of the rotary printing press around 1843, along with great improvements in the system of education. This ultimately led to the novel\u2019s growth as the foremost method of storytelling. How might this impact the imparting of meaning? Likely, quite profoundly, because now the servant and working classes were accessible for political ideologies or movements, and novels and novelist rose to a respectable and prominent status as well. As the characters continue through act two, they are usually forced to make some critical choice that again points the story in a different direction. This takes us to act three.\nIn Act Three, we reach the climax of the story. The characters usually are changed or transformed in some way. In the case of literacy, the characters such as the social elites who were already enjoying higher literacy rates, and the characters such as servants and the working class, were beginning to enjoy literacy. The later group may not have been aware of how much their views were, \u201cbeing subtly challenged and manipulated\u201d (Isbouts & Ohler, 2013). How did this story of resolve itself? Burke might say that since we can only deal with one way of seeing at a given time. The reality of the day or version of things is the only correct and real one. Burke suggests we always needed conformity to the current view. The narrative model changed with the rotary printing press, and it would eventually change again with a new inciting incident \u2013 radio!\nWith the advent of the radio, the model of storytelling would again change. This would start a whole new three-act play. This was to be followed by film, Web 2.0, Web 3.0 and eventually, Web 5.0. This is why I say that From Aristotle to Augmented Reality also takes on the story zigzag arc.\nThe end of the film finds the characters in their new everyday life. Burke posits that our view of the world dictates what we do at every level of investigation. He further contends that we of necessity have to have some version of reality to begin with, and which is our framework that everything fits into. Given this new or revised framework, we begin the next film in the series. The narrative arc is liken unto a made for television (or cable, or internet) mini series with each series not only encompassing a complete narrative arc, but also leading into the next episode \u2013 only this mini series cannot not be numbered.\nIsbouts, J., Ohler, J. (2013). In Storytelling and Media: Narrative Models from Aristotle to Augmented Reality. In K. Dill. (ed.). The Oxford Handbook of Media Psychology (13-42). Oxford. Oxford University Press.", "id": "<urn:uuid:61a891fc-192d-4dd9-b853-62557f77405b>", "dump": "CC-MAIN-2021-17", "url": "https://www.acrawfordclark.com/post/2019/04/10/media-narrative", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039560245.87/warc/CC-MAIN-20210422013104-20210422043104-00549.warc.gz", "language": "en", "language_score": 0.9604436159133911, "token_count": 932, "score": 3.65625, "int_score": 4}
{"text": "Since the successes of the American Civil Rights movement in the 1950s and 1960s, society has seen much progress in the quality of life offered to its previously disenfranchised members. Discrimination, which was once not only commonplace but mandated by government regulation, has become anathema and out of place in the modern economy. Equal opportunity employment is widely encouraged; the only controversy stems from what is considered necessary to achieve this lofty goal.\nDue to the long history of discrimination that has been visited on those of non-European descent, not only in the United States but around the world, it has been considered inadequate in many businesses and organizations to merely remove barriers to employment. Many have found it necessary to intentionally hire and promote employees of non-European descent, also known as affirmative action. This is controversial, as it is seen as also putting those who otherwise merit consideration for employment at a disadvantage.\nThe greatest advantage of equal opportunity employment, whether it includes affirmative action or not, is the enfranchising of a group of people who were previously greatly disadvantaged. A society with equal opportunity employment is not only capable of becoming much more just, but also of becoming free of a great amount of social disruption. Equal opportunity employment insures the full utilization of a society's labor force by employing those best suited to the task.\nIn order to encourage and even mandate equal opportunity employment, government, both federal and local, has often found it necessary to inspect the workforces of private companies to ensure diversity. Many businesses require very specialized skills that are available among certain groups. This can cause a decrease of diversity even without intentional discrimination. Interfering with private companies to force them to diversify can hinder their well-running operations and cause distortions in the market.\nIn order to alleviate some of the worst consequences of poverty, the government has found it necessary to create social programs such as welfare and food-stamps. These programs have reduced suffering but done little to actually remove people from poverty and dire circumstances. As an antipoverty initiative, equal opportunity employment offers great promise. As previously excluded groups and individuals gain access to private employment, they will be able to lift themselves out of poverty.\n- National Archives: The Civil Rights Act of 1964 and the Equal Employment Opportunity Commission\n- CATO: The Age Discrimination In Employment Act-- Equal Opportunity or Reverse Discrimination?\n- Cornell University Law School: Employment discrimination\n- The Leadership Conference: Combat Employment Discrimination\n- The Black Collegian: History of Employment Discrimination\nCasey Reader started writing freelance in 2010. His work appears on eHow, focusing on topics in history and culture. Aside from freelance work, Reader is actively pursuing a career in creative writing. He graduated from Centenary College of Louisiana with a Bachelor of the Arts in history and English literature.", "id": "<urn:uuid:58bec3bd-ac57-4760-8869-db22cc45079d>", "dump": "CC-MAIN-2021-17", "url": "https://bizfluent.com/info-7747235-advantages-disadvantages-equal-opportunity-employment.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00508.warc.gz", "language": "en", "language_score": 0.9578285217285156, "token_count": 561, "score": 3.625, "int_score": 4}
{"text": "Starting from the question \u2018what is a story?\u2019 Storytelling Across the Primary Curriculum leads the reader through the theory and practise of storytelling as an educational method \u2013 a method taught by the author over the last ten years through Primary English teaching programmes.\nThis practical book gives teachers the skills and confidence to use storytelling and the spoken word in new and exciting ways in the classroom. It will also give teachers the confidence to \u2018put down the book\u2019 and trust themselves to tell, rather than read, a story. It provides a wealth of examples of cross-curricular teaching opportunities, including a section on the ways in which the teaching of phonics can be embedded in the 'real' language of story.\nStorytelling Across the Primary Curriculumis ideal for trainee and practicing primary school teachers who want to develop their classroom practice within the field of storytelling. Students on BA Primary, BEd, and PGCE courses, particularly those specialising in English, will also benefit from this book\u2019s stimulating and intuitive approach to teaching English language and literacy.\nTable of Contents\nPart 1- Classroom Storytelling\n1 Introduction : storytelling as the social art of language\n2 Building the framework : narrative structure and meta-narrative\n3 Lessons in thievery : selecting stories for classroom telling\n4 Forging the tale anew :\nadapting the story for classroom telling\n5 The craft of classroom storytelling\nPart 2 \u2013 Storytelling across the primary curriculum\n6 Words, words, words : storytelling, language and literacy\n7 Stories of pipers and tales of tall ships : history and geography through storytelling\n8 Telling valuable tales and exploring deep meaning : religious education and moral development\n9 Possibility thinking : storytelling, science and mathematics\n10 Storytelling within the arts curriculum\n11 Storytelling and the visual arts\n12 Storytelling, drama and dance : living the narrative\n13 Singing the narrative : storytelling and music\nAlastair K. Daniel has more than twenty years' experience in education as a teacher and storyteller. Having previously taught Primary English at Kingston University, he is now Senior Lecturer in Language and Literacy in Education at London Metropolitan University.\nThis short book is a lively read and a valuable resource for both the primary and the English teacher. Daniel\u2019s scholarship is secure and convincing whilst his approach is consistently practical and enticing; tempting and daring the reader to take up the challenge and realize some of the benefits and the impacts of telling rather than reading stories in the classroom.\nMick Connell, University of Sheffield\nEnglish Drama Media Magazine (NATE), June 2012", "id": "<urn:uuid:115d39d9-1fc9-4c61-aea6-6f9c34da4f6b>", "dump": "CC-MAIN-2021-17", "url": "https://www.routledge.com/Storytelling-across-the-Primary-Curriculum/Daniel/p/book/9780415598606?utm_source=cjaffiliates&utm_medium=referral&utm_campaign=nmpi&utm_term=generic&utm_content=generic&gclsrc=aw.ds&cjevent=ac8620318ffe11eb815d017c0a18050c", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00348.warc.gz", "language": "en", "language_score": 0.9231944680213928, "token_count": 536, "score": 3.828125, "int_score": 4}
{"text": "Middle School Grade 8 Curriculum\nThe religion program involves a hands on approach to the study of the Church formed by Jesus. Students begin with a study of the need for a Church, then move on to a study of the capital sins and their opposing virtues, the after life, and the communion of saints. The year ends with a survey of the major eras of Church history. Throughout the year, students are taught the value of the Rosary and various other Catholic devotions which they may want to make a part of their prayer lives. Students frequently work in small groups to become involved with the material learned and to apply it in numerous ways. By the end of the year, students should be able to recite all major Catholic prayers, give the life story of one of the saints, and discuss how the Church benefited the world in various periods of Church history.\nThe English program starts daily with creative writing and vocabulary. The Latin and Greek Roots Book IV text is used. Each unit includes spelling, part of speech, definition, and usage of each word. The grammar portion focuses on learning the parts of speech, writing in a variety of genres, proper proofreading, and writing long and short essays.\nEmphasis is on preparing students in literary analysis and essay writing as groundwork for high school and beyond. Students will identify, analyze, and apply knowledge of themes, structure, and elements of a wide variety of genres and provide evidence from the text to support their understanding. Reading selections will come from a variety of sources including American and British writers\nStudents gain proficiency in the Latin language by being exposed to an active approach to the language. Research has shown that students acquire a foreign language quickly and effectively by actively speaking, writing, and listening in the target language. Coursework facilitates the active approach to learning Latin by exposing the students graduated readings, using both familiar and unfamiliar vocabulary words. In addition to acquiring Latin vocabulary and grammatical structures, students will cover cultural topics such as, Roman history, mythology, Roman dining habits, daily life, and gladiatorial combat.\nThe curriculum for Algebra I is: working with real numbers, solving equations and word problems, polynomials, factoring polynomials, algebraic fractions, graphing and functions, systems of linear equations, inequalities, rational and irrational numbers. The students complete a full year of Algebra I.\nStudents study Physical Science. The topics include: matter, motion and forces, work, the atom, machines and energy, interactions of matter, electricity, and sound and light. The students have many investigations (labs) in which they use science equipment to develop scientific methods to solve problems. Students will learn to take proper measurements, manipulate science equipment, and develop safety skills in the science lab. Much of the program is a hands on approach where students are expected to draw conclusions that enhance science concepts and laws.\nStudents will learn about the growth and strengthening of the United States as a nation and a competing world power. From the industrial revolution, the growth of cities, and the impact ofimmigration of the late 1800\u2019s to the emergence of the country in international relations and entanglements in foreign wars of the 1900\u2019s. Students will become aware of the vast changes in the United States. This will include a study of cultural, social, and economic aspects including current events and the use of multiple resources: maps, text, periodicals, field trips, and primary sources.", "id": "<urn:uuid:ff3c6195-476c-4bf7-b05f-f777e2f21843>", "dump": "CC-MAIN-2021-17", "url": "https://stmaryschooldanvers.org/scholarship/middle-school-academy-grade-8/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00468.warc.gz", "language": "en", "language_score": 0.9416560530662537, "token_count": 699, "score": 3.671875, "int_score": 4}
{"text": "There are two primary types of thought: Rigid and flexible.\nRigid thinking means you\u2019re stuck in a specific thought pattern, unable to see alternative choices. Rigid thinkers may struggle with problem solving and even personal relationships.\nThese are the individuals who are \u201calways right\u201d and stuck in a routine. They are only able to see one path and that is the path they are on.This is simply a different way the cognitive function has developed.\nFlexible thinking is often referred to as cognitive flexibility. This means an individual is able to adapt to new thinking patterns. These individuals often see more than one solution to any presented problem. They are able to stop what they were doing and pick up a new task with little to no thought about the transition.\nFlexible thinking means that an individual can see from multiple points of view, instead of maintaining a narrow vision.\nThose with flexible thinking are also:\n- Able to quickly process new information\n- Good at reasoning\n- Good at problem-solving\n- Able to break down elements\n- Able to recognize solutions quickly\n- More focused\n- Able to work around sudden changes\n- Able to follow thought trains\n- Have a better memory\n- Have better self-control\n- Understand other people\n- Able to maintain healthy relationships\n- Prone to fewer conflicts\n- Able to cope with feelings of frustration\n- Less stressed, in general\n- More aware of surroundings and themselves\n- Well adjusted\nThroughout development, there are a variety of tests that can be done to test cognitive flexibility. These tests include the A-to-B test and the Card Sorting test. These are often given to children to test their adaptability. Adults can be tested through every day struggles and how well they handle change.\nFlexible thinking is essentially measured by three abilities:\n- The ability to transition between two or more tasks or disengage from a previous thought.\n- The ability to update beliefs based on new information and develop an appropriate response.\n- The ability to consider multiple elements of a single observation (problem/situation) and use the new response on the new situation.\nThese abilities are seen in flexible thinkers and are absent in rigid thinkers. As such, rigid thinkers are often stuck with the inability to process new information. This actually makes it hard to cope with uncontrollable situations, like moving or losing a job.\nRigid thinkers tend to stress about events like this, which can cause a decrease in overall health. Flexible thinkers are able to problem-solve and come up with an adaptive solution to these same problems, which means they are generally healthier.\nBoost Your Skills & Become A Flexible Thinker\nAfter reading the benefits of flexible thinking, you\u2019re probably eager to unlock that part of your brain. It\u2019s not going to be easy at first! You\u2019ve likely been stuck in a rigid thinking pattern for so long that a new method of thought will be intimidating.\nThis is exactly why too many people get stuck in the same thought patterns. Learning to be a flexible thinker is tricky, but it\u2019s not impossible. The methods outlined below should be a good starting point for you.\nStart with your diet.\nStep one to adapting a new mode of thinking is to get your diet on track. This means eating healthy and cutting out foods that are overly processed. For many, it\u2019s convenient to eat fast food or processed food. However, opt for quick, but healthy, snacks instead.\nYou can keep vegetables around to snack on or make your own smoothies in under a minute! All you need is a good blender to get on the right track. You may want to add supplements to your diet if you\u2019re missing essential nutrients.\nGet a proper night\u2019s rest.\nSleep is important because it lets your mind reset and prepare for the next day. If you\u2019re not sleeping right, then your brain isn\u2019t working right. You need your brain to be on the same page as you in order to adapt your thinking. If you struggle with insomnia, try a herbal remedy to go to sleep at night.\nTry and get to bed at the same time every night so that you\u2019re getting the optimal amount of rest. This will help you to wake up feeling invigorated and ready to face the day. A nice change from typically waking up exhausted and ready to go back to bed.\nExercise gets your blood pumping which helps deliver oxygen to your brain. This boosts your cognitive abilities and can help you think clearly. This is a big part of adapting a new thinking pattern. After all, without the ability to think, how are you going to think? It\u2019s confusing, right? Well that\u2019s how your brain feels when you\u2019re not getting the right amount of nutrients, sleep or exercise!\nMindfulness and meditation.\nThese techniques are ideal for learning where your thoughts come from. Meditation helps to clear your mind and give you the room to focus. Mindfulness teaches to see your thoughts and not focus on any particular one. You simply observe and learn.\nRead and write.\nThese activities spark creativity and also help to adapt new thinking patterns. You can choose anything to read, but the newspaper won\u2019t help. You should opt for creative writing, like poetry or fictional stories. You can also choose to read humorous anecdotes. If you really want to challenge yourself, try writing some of your own!\nIt\u2019s all fun and games until\u2026 Actually, it\u2019s just about the fun and games! One of the best ways to challenge your thinking is to take any ordinary object and find alternative uses for the object. You should aim to find at least 3, but see how many you can come up with! This will help you to see the different uses that might exist and allow you to see from a different perspective altogether.\nChange your routine.\nHuman beings are creatures of habit. As such, it\u2019s easy to become engulfed by our routines. Part of learning to be a flexible thinker is learning to step outside of that routine. You should start with a small change at first. Introduce new changes as you feel comfortable. Keep challenging yourself.", "id": "<urn:uuid:fbfe7cca-a4cc-474b-a980-71d76c0640a1>", "dump": "CC-MAIN-2021-17", "url": "https://www.antiagingcentral.com/the-power-of-flexible-thinking/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039491784.79/warc/CC-MAIN-20210420214346-20210421004346-00309.warc.gz", "language": "en", "language_score": 0.9488073587417603, "token_count": 1293, "score": 4.0625, "int_score": 4}
{"text": "Rachael Zimlich is a freelance writer in Cleveland, Ohio. She writes regularly for Contemporary Pediatrics, Managed Healthcare Executive, and Medical Economics.\nA recent study investigates how fun stories and engaging playtime can help increase vegetable intake among preschoolers.\nPreschoolers are notoriously difficult to feed. It\u2019s a time when independence and a fear of new things take hold, and children have a hard time meeting their goal of a cup or more of vegetables each day.\nA new study1 out of the United Kingdom may have the answer. Researchers combined storytelling with sensory play about the same vegetables and found more children were willing to try new or unusual vegetables.\nThe study was published in the Journal of the Academy of Nutrition and Dietetics. The research team\u2019s goal was to try and identify methods to increase vegetable uptake among one of the toughest crowds.\nTo complete the study, researchers tested theories about congruent storytelling and sensory play at 12 preschools in the United Kingdom. Children were taught about a new vegetable that few of the children had tried: celeriac. An illustrated and engaging story along with sensory play promoted celeriac, compared to a story about carrots with or without sensory play that was incongruent with the story line.\nThe researchers found that children who were in the celeriac group had higher odds of eating the vegetable than those in the carrot group. In the carrot group, 68% of the children were willing to eat a carrot before the activity, and that increased by just 2% to 70% willing to eat a carrot after the story. With the celeriac, 69% of children were initially willing to eat the vegetable, but that number grew to 83% after the intervention. The report concluded that congruency between stories and sensory play could improve both interest in and intake of new vegetables in preschoolers.\nPreschoolers are an ideal age group to test this theory because many children experience neophobia, or a fear of new things\u2014especially when it comes to vegetables\u2014around age 2 years. The unfamiliar appearance, texture, and sometimes bitter taste of vegetables don\u2019t help, either.\nResearchers used stories and play with focus on the same vegetable, compared to stories alone or stories and play that were about vegetables in general rather than 1 specific vegetable. The research team suggests that learning about the new food, then touching and handling it to take away some of the mystery was helpful in increasing consumption of new vegetables.\nFor parents, this may be a more difficult tool to use, as it could take several attempts to achieve the best results, the study authors warn.", "id": "<urn:uuid:fca46289-73f4-467f-b324-09d0bbd7bda9>", "dump": "CC-MAIN-2021-17", "url": "https://www.contemporarypediatrics.com/view/stories-and-play-could-help-increase-vegetable-intake", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039491784.79/warc/CC-MAIN-20210420214346-20210421004346-00308.warc.gz", "language": "en", "language_score": 0.9719703197479248, "token_count": 535, "score": 3.625, "int_score": 4}
{"text": "CBSE New Syllabus 2021-22 Class 9th \u2013 12th\nAbout CBSE Curriculum\nThe curriculum refers to the lessons and educational content to be taught to a learner in a school. In empirical terms, it may be regarded as the sum\ntotal of a planned set of educational experiences provided to a learner by a school. It encompasses general objectives of learning, competencies to\nbe attained, courses of study, subject-wise learning outcomes and content, pedagogical practices and assessment guidelines. The curriculum provided\nby CBSE is based on National Curriculum Framework-2005 and seeks to provide opportunities for students to achieve excellence in learning.\nSalient Features of the CBSE Secondary School Curriculum\nThe Curriculum prescribed by CBSE strives to:\n1. provide ample scope for holistic i.e. physical, intellectual and social development of students;\n2. emphasize constructivist rather than rote learning by highlighting the importance of hands-on experience;\n3. enlist general and specific teaching and assessment objectives to make learning competency-based;\n4. encourage the application of knowledge and skills in real-life problem solving scenarios;\n5. uphold the \u2018Constitutional Values\u2019 by encouraging values-based learning activities;\n6. promote Critical and Creative Thinking aligned to the 21st Century Skills in classrooms;\n7. integrate innovations in pedagogy such as experiential learning, Sport & Art-Integrated Learning ,toy-based pedagogy, storytelling, gamification etc. with technological innovations (ICT integration) to keep pace with the global trends in various disciplines;\n8. promote inclusive practices as an overriding consideration in all educational activities;\n9. enhance and support learning by different types of assessments; and\n10. integrate environmental education in various disciplines from classes I- XII.\nObjectives of the Curriculum\nThe Curriculum aims to:\n1. achieve cognitive, affective and psychomotor excellence;\n2. enhance self-awareness and explore innate potential;\n3. attain mastery over laid down competencies;\n4. imbibe 21st century learning, literacy and life skills;\n5. promote goal setting, and lifelong learning;\n6. inculcate values and foster cultural learning and iternational understanding in an interdependent society;\n7. acquire the ability to utilize technology and information for the betterment of humankind;\n8. strengthen knowledge and attitude related to livelihood skills;\n9. develop the ability to appreciate art and show case talents;\n10. Promote physical fitness, health and well-being.\n11. Promote arts integrated learning.", "id": "<urn:uuid:e647ba61-e65e-49c6-8942-c8dfa8dd12f2>", "dump": "CC-MAIN-2021-17", "url": "https://prernaeducation.co.in/cbse-syllabus-2021-22/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00587.warc.gz", "language": "en", "language_score": 0.8879684805870056, "token_count": 547, "score": 3.84375, "int_score": 4}
{"text": "From left to right:\n1 - 3) Imaginary Skeletons\nStudents were given five minutes to create an imaginary creature's skeleton from the shapes given and then had to describe their animal using creative language. Older students focused on thesaurus skills and effective use of conjunction words and younger pupils enjoyed the challenge of using colour vocabulary effectively.\n4) Tower Building\nThere are numerous ways to use wooden blocks; creating a tower to measure is a great way to build key mathematics skills.\nUsing conjunctions (connecting words) effectively is a key skill and it is important students practise joining their sentences in every lesson. Writing about food is always a popular way of practising any grammar skill!\n6) Arithmetic Game\nAt Bedford Tutor, we love taking an old game to transform into something new. Here, a second-hand board game has been modified to ensure it is suitable for slightly older mathematicians.\n7) Creative Spelling\nThere, their and they're are frequently confused so it is important they are taught in a visual and memorable way. Here, a student was provided with many different crafty materials and this masterpiece is the result.\n8) Seeing Stars Programme\nWe are lucky enough to use the 'Seeing Stars' programme which is especially useful for those who are dyslexic or have similar difficulties with reading and/or spelling. This month, the program has helped a number of students grow in confidence and ability.\nHere's for a fabulous July!\nWhat a fantastic week we've had exploring poetry and, in particular, onomatopoeia. Our verses have all been centred around 'sounds in the city' and the standard of work has been particularly high this week. Below, you'll find a selection of poems from children ranging in age from 6-11. We hope you enjoy reading these fabulous poems and are inspired to pen your own!\nThis week, Key Stages 2 & 3 have been focusing on creating fact-file posters about the human brain. First, we read through some information pieces on the brain, and then used what we had learnt to produce these amazing posters! Well done!\nWe improved in these areas:\n-Comprehension of written texts\n-Extracting relevant information from texts to use\n-Writing in our own words\n-Laying out an eye-catching poster\n-Being generally creative!\nThis poem was composed by a child earlier this morning and I was so impressed with the content. Writing poetry is always a great way for students to express themselves and verse is also fun to write!\nAt Bedford Tutor, we love wooden blocks, from Jenga pieces to traditional painted cubes!\nMost people associate building blocks with younger children, but activities with wooden blocks can be just as fulfilling for older children, teenagers, and even adults!\nActivities with blocks (great for all ages):\n\ud83c\udfe0 Estimation: create a tower/line and estimate its height or choose a height and attempt to create a tower as close to this measurement as possible.\n\ud83c\udfe0Creative Storytelling: make a scene from blocks and then tell a story inspired by this collection. This can be challenging as blocks will usually not have decorative patterns. It takes a lot of imagination but is so rewarding.\n\ud83c\udfe0 Logical Brain Training: Set up a pattern with blocks, photograph it, print and laminate. See if you can replicate the pattern. It's great if you can make many patterns of different difficulties that will inspire all learners to use logical thinking.\nThere are so many things to try. If you have any great ideas of your own, please comment below!\nWe are always learning, each and every one of us!\nEven though spring is well and truly here (the stunning crowd of yellow daffodils growing opposite my house prove that), the weather is most certainly living up to the 'April Showers' rhyme. However, while we wait for the 'May Flowers', there are plenty of fun activities you can do with your child - all of which are educational! Here are a few of my favourites that are tried and tested (and loved) at tuition! I hope you have fun trying them out with your child!\nLearning areas: spacial awareness; maths; English; fine-motor skills; creativity - the list is endless!", "id": "<urn:uuid:d5ca2e41-c561-4fa6-a450-8cf5c2ad0140>", "dump": "CC-MAIN-2021-17", "url": "https://bedfordtutor.co.uk/blog.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00348.warc.gz", "language": "en", "language_score": 0.95870441198349, "token_count": 890, "score": 4.09375, "int_score": 4}
{"text": "Core Courses for Junior Kindergarten and Kindergarten\nJunior Kindergarten \u2013 Kindergarten Curriculum\nThe JK curriculum is designed to include age-appropriate academic content to be learned in a developmentally appropriate context. For four and five-year-olds the context is play. Their play is their work! Children have an instinctive desire to connect with the world around them. Through self-directed and guided play they are able to connect what they already know and have experienced with the new ideas and skills they are learning daily. Junior Kindergarten is also where our students begin to build their early literacy and math skills. Their emerging cognitive, social, emotional and physical skills are stretched and strengthened as they work independently and side by side with their teachers. Thoughtfully planned centers are designed to entice engagement and invite active, open-ended exploration.\nOur goal is to challenge our students to explore, think and inquire while learning to share and collaborate with their peers. Our classroom space is in a warm and cozy home with lots of natural light and inviting age-appropriate learning materials while residing in a community that invites us of to collaborate and learn with them in the lower, middle and upper school. We go to the Maker Space, visit the Orchestra students and collaborate with Mr. Lerner so our students can draw to his students\u2019 music, celebrate the Kindergarten Derby with our Kindergarten friends, attend plays put on by our upper school students and participate in all school activities like field day and spirit days!\nKindergarten is a special time that provides young children the opportunity to creatively explore their unique talents and abilities, deepen their self-confidence and independence, and extend their academic experiences and abilities. In the kindergarten wing of the lower school, mathematics, social development, and literacy are explored in independent, small group, and whole-group settings that provide the opportunity for the kindergarten faculty to establish caring, supportive relationships with each student\u2014relationships that nurture the inherent connection between cognitive learning and emotional/affective development. Challenging, cross-curricular experiences that stimulate divergent thinking, and provide experience in individual and cooperative problem solving, are emphasized in order to facilitate character development and critical thinking skills.\nCore Courses for First and Second Grades\n1st and 2nd Grade Curriculum\nThe first grade literacy curriculum balances both phonics and whole language helping the students transition into readers. The curriculum offers the student a broad background in mathematics and uses a spiral approach towards learning to explore mathematical content beyond basic arithmetic. Concepts are taught through problem-solving and basic skills practice are reinforced in a real-world context. Social Studies takes off in first grade through a study of each of the seven continents as well as the oceans. Children are taught respect for cultures around the world by developing an understanding of world cultures, customs as well as awareness of similarities and differences. We compare and contrast a variety of cultures around the world.\nFirst graders at Collegiate are not only taught the content and curriculum, they are also taught why that content is important. First graders at Collegiate are expected to apply concepts and even teach others the content in order to confirm mastery of the concepts.\nSecond grade literacy is a balance between whole group, small group learning environments for reading and writing to enable each student to become a more fluent, independent reader and to continue to gain comprehension skills, as the reading material becomes increasingly complex. The spiral approach of the math program introduces students to build their understanding of math concepts while simultaneously increasing his/her accuracy of the basic facts. The social studies curriculum provides engaging opportunities for students to learn about their community, geography concepts and citizenship. In addition, Second graders complete community service projects in honor of veterans throughout the school year. The second grade program also allows each student to develop his/her self-esteem as well as help students to become independent thinkers and contributing members inside and outside the school community.\nCore Courses for Third and Fourth Grades\n3rd and 4th Grade Curriculum\nIn fourth grade, students begin to extend their learning through cross-curricular projects and presentations. In literacy, students read classroom novels which allow them to analyze characters, summarize, make connections, implement reading strategies learned and explore historical people and events through nonfiction texts. Along with their oral presentations, students are also asked to expand their understanding of content through their narrative, expository, persuasive and non-fiction writing. The math program allows for hands-on learning which reinforces the exploration of concepts of acquired skills. Our social studies inquiry spans from early explorers of the Americas to the Civil War.", "id": "<urn:uuid:17b43b87-b2bf-4cfd-b137-ec495e81c782>", "dump": "CC-MAIN-2021-17", "url": "https://louisvillecollegiate.org/programs/lower-school/lower-school-curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00626.warc.gz", "language": "en", "language_score": 0.9598289132118225, "token_count": 939, "score": 3.75, "int_score": 4}
{"text": "Remember when school was all about the 3 R\u2019s? These days, kids are just as likely to learn 2 R\u2019s and C: respect, responsibility and compassion. These buzzwords are typical of character education, an increasingly popular Canadian initiative now on the curriculum in many provinces.\nHere\u2019s a glimpse into how kids are learning about character:\nWhat it is\n\u201cCharacter development came about when teachers recognized that the best education engages the heart as well as the mind,\u201d says Jan Kielven, whose job title, \u201cpositive climates for learning specialist,\u201d points to the new thinking at the York Region District School Board in Ontario. Besides teaching kids essentials, schools now have a responsibility to treat kids as social beings who need to be taught empathy and respect for others, she says.\nSounds ideal, but some parents worry that character education imposes an arbitrary set of moral standards on their children. Not so, Kielven says. In Ontario, teachers, parents and other members of the school community first come together to agree on the values they share. Then schools create their own programs to help students acquire those values.\nHow it works\nSo how does a school teach eight-year-olds about empathy? One way is to show them how to react to bullying or racism. But many school boards go one step further, creating projects to get kids thinking about being the best person they can be.\nThrough the York board\u2019s Giving Grows Character project, kids share stories about acts of \u201cheroism\u201d at school \u2014 from a grade three kid who tied a grade one child\u2019s shoes, to the eighth grader who raised money for cancer. At other boards, kids write songs or shoot film clips about character traits.\nBut character education isn\u2019t just something that goes on in the classroom. Some schools hold assemblies to address issues, such as anti-bullying or respect for diversity. At others, kids are urged to join committees where they learn to be leaders by volunteering for social justice causes or organizing peer activities.\n\u201cOne school board has a regional team of students going into schools as pay-it-forward role models,\u201d says Kielven\u2019s colleague Steve Rensick. They find kids who are alone, invite them to be part of a group, and ask those kids to do the same for someone else.\nWhy it works\nDo these programs succeed? There\u2019s no real way to measure, but educators like Kielven and Rensick are convinced the impact is positive. Why? In part because schools and parents all want kids to grow up to be part of a safe, caring community. In the end, it\u2019s about learning. And research shows that when kids feel empowered, they learn better. \u201cStudents are very powerful in creating a culture among themselves, so it might as well be one of respect,\u201d says Kielven. \u201cThe fact is, it feels good to do the right thing.\u201d", "id": "<urn:uuid:4f05e80d-4999-4342-b97b-ab8ca1a6cea3>", "dump": "CC-MAIN-2021-17", "url": "https://www.todaysparent.com/family/character-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00189.warc.gz", "language": "en", "language_score": 0.9618722200393677, "token_count": 624, "score": 3.875, "int_score": 4}
{"text": "Today\u2019s post includes excerpts from What\u2019s the Story? Building Blocks for Fiction Writing, which is packed with fun lessons and engaging activities for anyone who wants to learn the basics of storytelling. This is from chapter four: \u201cTheme.\u201d Enjoy!\nWhat is the Theme of a Story?\nTheme is one of the most difficult story elements to understand. Often confused with plot, theme is actually a worldview, philosophy, message, moral, ethical question, or lesson. However, these labels, taken alone or together, don\u2019t quite explain theme in fiction.\nWe can think of a theme as an underlying principle or concept, the topic at the center of the story.\nThemes are often universal in nature. Some common universal themes are based on motifs of redemption, freedom, equality, sacrifice, betrayal, loyalty, greed, justice, oppression, revenge, and love. Themes can also be personal and part of the human condition. Such themes could explore issues surrounding loneliness, trust, commitment, or family.\nHowever, a story\u2019s theme is more than an idea that can be expressed in a single word. The concept of freedom can form the foundation of a story\u2019s theme, which could be anything from \u201cone should not sacrifice freedom for security\u201d to \u201cfreedom is worth dying for.\u201d\nThemes in Storytelling\nMost stories contain multiple themes and motifs; The Hunger Games trilogy explores motifs of power, class, sacrifice, and honor, to name a few. In the Harry Potter books, the most significant themes are good versus evil and the power of love. However, there are also motifs of friendship and loyalty. One theme might stretch across an entire series, while other themes appear at the novel or even chapter level. A story\u2019s main plot might explore one theme while its subplots explore other themes.\nThe strongest stories tend to use themes that are interconnected and complement or contrast with one another. The 1997 film Titanic is rich with themes that swirl around class (wealth versus poverty). These themes are echoed in the main characters: the protagonist is an aristocrat; she falls in love with a poor artist. The ship itself is segregated with the wealthy residing on the luxurious upper decks and the poor relegated to the cramped and crowded accommodations in the lower decks. And at the center of the story, the protagonist, Rose, is struggling with whether she should give up her financial security in order to liberate herself from the wealthy fianc\u00e9 she loathes.\nTheme can be obvious, but often it\u2019s nuanced. In the 2009 film Avatar, the theme is in your face: preservation of the environment and respect for native cultures. In the 2005 film Batman Begins, theme is harder to put your finger on: one man\u2019s struggle with his own identity and duality.\nChoosing the Theme of a Story\nThemes are so closely tied to human nature that it\u2019s almost impossible to tell a story without a theme of some kind. Themes will almost always manifest, even if an author doesn\u2019t put any special effort into theme development.\nSome experts have suggested that authors shouldn\u2019t think too much about theme until they\u2019ve produced a draft, while others believe that theme is so integral that it should be present throughout story development. The approach you choose will depend on your writing process, storytelling style, and personal preference.\nTheme could be considered the glue that holds a story together, the binding principle of the narrative. It is the deeper meaning, the truth that underscores the plot and characters.\nTips for Developing Theme\n- Learn to identify themes. When watching movies and reading novels, identify the themes. When you become proficient at identifying themes in other works, you\u2019ll get better at bringing themes into your own work.\n- Don\u2019t stress yet. If you\u2019re not sure what your story\u2019s theme is, don\u2019t put too much pressure on yourself. A theme will usually emerge as you work through your first draft.\n- Theme development. Once you\u2019ve completed a draft, the theme should be apparent. Take some time to think about how you can strengthen the theme in future drafts.\n- Multiple themes. Once you identify your theme, make a list of related themes that you could thread into subplots. For example, if your theme is related to redemption, then forgiveness could be a secondary theme.\n- Theme and motif. Check your work by making a list of all motifs and themes in your story. This is a map of your thematic pattern.\nTo get more tips on developing themes in your storytelling, pick up a copy of What\u2019s the Story? Building Blocks for Fiction Writing.", "id": "<urn:uuid:d4bd26ac-b70f-4cb9-8f00-fc119ea0e373>", "dump": "CC-MAIN-2021-17", "url": "https://www.writingforward.com/storytelling/what-is-the-theme-of-a-story?replytocom=3704", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00350.warc.gz", "language": "en", "language_score": 0.9398779273033142, "token_count": 982, "score": 3.703125, "int_score": 4}
{"text": "Creative writing can be a favorite activity, but sometimes when a child is told to write a story she feels overwhelmed because there are so many choices. We might feel the same way when we head to the grocery store and there are several shelves of options for the item we need to buy.\nProviding clear expectations to creative writing can help. Are you looking for an engaging activity for your child? Why not use story prompts? I\u2019ll share photographic prompts here, but your family could have fun creating your own!\nStory Prompts from Photographs:\nOther Writing Prompt Ideas\n\u00b7 Find a painting at a resale shop to start a story. Here are some possible questions to answer in the story: What are the subjects doing? Why are they there?\n\u00b7 Choose an object at the house, the quirkier the better, and have your child write a story that somehow incorporates it. Optional questions to answer: Why is this object significant to the story? How does this object save the day?\n\u00b7 Use an old magazine or catalogue and choose a photograph to base the story off of. Perhaps ask: Who is this character? How does this item advertised fit into the story? How is the world rescued using this object?\nA great story will have a problem. Have your child think of the books and movies they enjoy. Discuss the big problem that the main character had to face. Here\u2019s an example: In Disney\u2019s Ralph Breaks the Internet, Vanellope is tired of racing on the same track over and over. She wants a challenge. Ralph wants his best friend to spend time with him and things to be the way they had been.\nThe Basic Story Structure:\nThere is a beginning, middle, and an ending to a story. There is a problem to be solved. Each story has a big idea, sometimes called the \u201cheart of the story,\u201d which is the reason the story is told. If you have young elementary children, a song you might like to look into and possibly share with them is Parts of the Story from the Jack Hartmann Kids Music Channel.\nOlder students study the narrative plotline in more detail. In order to be sure students include all the parts of a story, teachers might have their students plan the parts of the story out before writing.\nHere are some basic questions a student needs to be able to answer for the story: What is the problem? What is the solution? What is the purpose of the story?\nThis is the general plotline of a story:\n* The Exposition: establish the characters, setting, and problem (this is also called the conflict)\n* The Rising Action: create tension and build excitement, the problem is clear\n* The Climax: the biggest moment of the story\n* The Falling Action: story begins to resolve\n* The Resolution: the main problem is solved\nGrade Level Goals:\nStandards and benchmarks (expectations students must meet) will vary for your child based on their grade. I\u2019ll go through a variety of grade level goals and then share some educational standards that relate.\nIf you have a pre-kindergarten or a pre-writing student but would like to have him try creative storytelling, simply ask him to make up a story based on the picture you provide. You can be his scribe and write it down. Invite your child to draw a picture to help tell the story. Thoughtfully ask questions that will help guide your child\u2019s story if they feel stuck.\nThe goal of a child\u2019s first draft is simply to get ideas on the page, there is no need to worry about spelling yet. Some teachers have students circle a word that they know they need to go back and spell correctly later.\nA fourth grader should be able to establish a situation and introduce the narrator and/or characters. The narrative (story) should unfold naturally. He or she should be able to use dialogue. The conclusion should follow naturally from the events in the story.\nIn sixth grade a student should be able to use a variety of narrative techniques, make relevant descriptions, plan and revise.\nCCSS.ELA-LITERACY.W.K.3 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened.\nCCSS.ELA-LITERACY.W.K.5 With guidance and support from adults, respond to questions and suggestions from peers and add details to strengthen writing as needed.\nCCSS.ELA-LITERACY.W.4.3.A Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally.\nCCSS.ELA-LITERACY.W.4.3.B Use dialogue and description to develop experiences and events or show the responses of characters to situations.\nCCSS.ELA-LITERACY.W.4.3.E Provide a conclusion that follows from the narrated experiences or events.\nCCSS.ELA-LITERACY.W.6.3.A Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.\nCCSS.ELA-LITERACY.W.6.3.B Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.\nCCSS.ELA-LITERACY.W.6.3.D Use precise words and phrases, relevant descriptive details, and sensory language to convey experiences and events.\nCCSS.ELA-LITERACY.W.6.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. (Editing for conventions should demonstrate command of Language standards 1-3 up to and including grade 6 here.)\nInvolving the Whole Family:\nThe adults and children at home can all be involved. Even if you don\u2019t have time to write up a story, you could tell a creative story using the same prompt as your child.\nAfter your child writes his or her story, why not have a presentation for the family? After she shares her story, offer her specific praise. General praise (\u201cI like your story\u201d) is fine, but specific praise helps a child see what they did well. Here are some examples:\n- Your characters were very realistic.\n- The words you chose to describe the setting helped me picture it in my mind.\n- You used believable dialogue.\nDo you have a family member or friend of the family who you would love to visit but can\u2019t right now because of social distancing? Your child\u2019s story could be a fun way to connect over the phone or video chat! Perhaps they could get involved by having the same story prompt as your family! Stories can be very different based on the same prompt, this could be a fun way to see the creativity of others.\nWhat prompts can you think of to engage your family in creative writing?\nHow does storytelling help connect your family?\nWhat are the problems in your favorite stories and how were they resolved?\nOther Storytelling Tools:\nLooking for Great Educational Websites?\nHere\u2019s a post I shared about websites teachers love, parents want, and children need.\nEnglish Language Arts Standards for Writing: http://www.corestandards.org/ELA-Literacy/W/introduction/", "id": "<urn:uuid:74e5e9a7-f9d1-42ff-8068-2dc8ddcdcdae>", "dump": "CC-MAIN-2021-17", "url": "https://www.lifeandlearning365.com/post/writing-activity-for-children", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00509.warc.gz", "language": "en", "language_score": 0.9462133049964905, "token_count": 1602, "score": 3.578125, "int_score": 4}
{"text": "The term epenthesis may also be used to refer to the addition of segmental material to satisfy a morphological template, or minimal word length requirement.Theoretically, epenthesis may occur as the result of a phonological, morphological, or phonetic rule.\nThe term epenthesis may also be used to refer to the addition of segmental material to satisfy a morphological template, or minimal word length requirement.Theoretically, epenthesis may occur as the result of a phonological, morphological, or phonetic rule.In Old English, this was ane in all positions, so a diachronic analysis would see the original n disappearing except where a following vowel required its retention: an A limited number of words in Japanese use epenthetic consonants to separate vowels, example of this is the word harusame (\u6625\u96e8, spring rain) which is a compound of haru and ame in which an /s/ is added to separate the final /u/ of haru and the initial /a/ of ame.Tags: Italian Ice Business PlanTeaching And Supervising Thesis StudentsTerm Paper EvolutionEssay About Mother Teresa In TamilWrite An Essay On Class Structure Of Roman EmpireGood Creative Writing ExamplesGender Role In The Media.Essay\nFor example, the cartoon character Yogi Bear says \"pic-a-nic basket\" for \"picnic basket.\" Another example is to be found in the chants of England football fans in which England is usually rendered as , or the pronunciation of \"athlete\" as \"ath-e-lete\".\nSome apparent occurrences of epenthesis, however, have a separate cause: the pronunciation of nuclear as nucular arises out of analogy with other -cular words (binocular, particular, etc.), rather than epenthesis.\nFor example, Pohjanmaa \"Ostrobothnia\" \u2192 Pohojammaa, ryhm\u00e4 \u2192 ryhym\u00e4, and Savo vanha \u2192 vanaha.\nUse of the term epenthesis implies an input-output mapping relationship in which the output contains more segmental material than the input.\nEpenthesis often breaks up a consonant cluster or vowel sequence that is not permitted by the phonotactics of a language.\nSporadic cases can be less obviously motivated, however, such as warsh 'wash' in some varieties of American English.Finnish has moraic consonants, of which L, H and N are of interest in this case.In standard Finnish, these are slightly intensified when preceding a consonant in a medial cluster, e.g. Some dialects, like Savo and Ostrobothnian, employ epenthesis instead, using the preceding vowel in clusters of type -l C- and -h C-, and in Savo, -nh-. (An exception is that in Pohjanmaa, -lj- and -rj- become -li- and -ri-, respectively, e.g. Other terms that are often used synonymously with epenthesis include \u201cinsertion,\u201d \u201cintrusion,\u201d and \u201clinking,\u201d although the latter two may also be used to refer only to certain specific kinds of epenthesis.Epenthesis may occur in a variety of environments: intervocalically, interconsonantally, word or syllable initially, and word or syllable finally.Within this framework epenthesis can occur in any environment and involve any segment.Furthermore, a rule of epenthesis may be ordered with respect to other rules in any sequence whatsoever.THE AMERICAN HERITAGE\u00ae DICTIONARY OF THE ENGLISH LANGUAGE, FIFTH EDITION by the Editors of the American Heritage Dictionaries.Copyright \u00a9 2016, 2011 by Houghton Mifflin Harcourt Publishing Company.This means that epenthesized segments may actually fail to surface\u2014if a later rule deletes that segment.The pattern may also be rendered opaque if the original triggering environment is altered by the action of subsequent rules (counter-bleeding); or if the relevant environment surfaces only later, failing to trigger epenthesis (counter-feeding).", "id": "<urn:uuid:23354236-c515-460a-94a9-f1fdc2bbe9e5>", "dump": "CC-MAIN-2021-17", "url": "https://www.fkspk.ru/epenthesis-english-369.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00429.warc.gz", "language": "en", "language_score": 0.8993282318115234, "token_count": 879, "score": 3.90625, "int_score": 4}
{"text": "Does poetry have to follow rules?\nThere are no officially sanctioned rules of poetry. However, as with all creative writing, having some degree of structure can help you reign in your ideas and work productively.\nHow do you write a poem without rhyming?\nMeter is the rhythm that a poem has, and non-rhyming poems that use meter are referred to as blank verse. To use meter in your poetry, listen for the accents of the words you use, and put them in order, just as you would the beats of a drum.\nWhy would a poet not use rhyme?\nPoems generally have a rhythm, but they don\u2019t always have a rhyme. That\u2019s because rhyme is not the most important element of a poem. Instead, a poem should convey (express) an emotion or an image, something we can feel or see (or touch or hear or taste).\nWhat is the easiest type of poem to write?\nSeven simple poetry styles your students will love\n- Clerihew. A Clerihew is a light hearted poem consisting of two couplets and a specific rhyming scheme of AABB. \u2026\n- The Epitaph. An epitaph is a brief poem inscribed on a tombstone praising a deceased person, usually with rhyming lines. \u2026\n- Irish Limerick. \u2026\n- Palindrome. \u2026\n- Diamante. \u2026\n28 \u043c\u0430\u044f 2016 \u0433.\nWhat are the rules for poetry?\nPoems are typically written in verses, rather than paragraphs. They can include complete sentences or incomplete sentences and often have a rhythm. Keep in mind, poems do not have to rhyme.\nWhat is a poem that doesn\u2019t rhyme called?\nFree verse is an open form of poetry, which in its modern form arose through the French vers libre form. It does not use consistent metre patterns, rhyme, or any musical pattern. It thus tends to follow the rhythm of natural speech.\nIs there a wrong way to write poetry?\nBehind most successful poems, there\u2019s a huge amount of rewriting. According to Robert Wallace in the book Writing Poems (HarperCollins, 1991), one seemingly simple poem by E.E. Cummings went through more than 175 versions. Every poet has his or her own way of working \u2014 there\u2019s no right or wrong method.\nDoes poetry have to make sense?\nSome poetry may not make sense to you. But that\u2019s because poets don\u2019t write to be understood by others. They write because they must. The feelings and emotions that reside within them need to be expressed.\nWhy is poetry not popular anymore?\nNow, the reason why one may feel that poetry is not popular is probably because prose has become even more popular than poetry. Large amount of prose is being written and since prose is easier to consume, it gets consumed by even larger mass.\nWhat does it mean if a poem has no rhyme scheme?\nFree verse poems will have no set meter, which is the rhythm of the words, no rhyme scheme, or any particular structure. Some poets would find this liberating, being able to whimsically change your mind, while others feel like they could not do a good job in that manner.\nDoes an acrostic poem have to rhyme?\nAn acrostic poem is one that uses all the letters in a word or name as the first letter of each line of the poem. \u2026 The word you pick can be as long or as short as you like. The acrostic poem doesn\u2019t have to rhyme if you don\u2019t want it to. The first letter of each line is capitalized.\nWhat is the hardest poem to write?\nThat said, some particularly difficult forms are:\n- Double Abecedarian.\n- Double dactyl.\n- Rhyming Sapphics.\nWhat are the 5 types of poetry?\nFrom sonnets and epics to haikus and villanelles, learn more about 15 of literature\u2019s most enduring types of poems.\n- Blank verse. Blank verse is poetry written with a precise meter\u2014almost always iambic pentameter\u2014that does not rhyme. \u2026\n- Rhymed poetry. \u2026\n- Free verse. \u2026\n- Epics. \u2026\n- Narrative poetry. \u2026\n- Haiku. \u2026\n- Pastoral poetry. \u2026", "id": "<urn:uuid:21fecbd4-96d2-4ac8-a18d-4858816c1efd>", "dump": "CC-MAIN-2021-17", "url": "https://www.inkbottlepress.com/faq/does-poetry-have-to-rhyme.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038069267.22/warc/CC-MAIN-20210412210312-20210413000312-00070.warc.gz", "language": "en", "language_score": 0.9495865702629089, "token_count": 928, "score": 3.5625, "int_score": 4}
{"text": "Reading for babies:\nBased on the theory of Early Literacy, as defined by the National Institute of Child Health and Human Development (NICHD) as \u201cwhat children know about reading and writing before they can actually read and write on their own.\u201d.\n\u201cBebel\u00ea Project (Reading for babies) is a program maintened by Biblioteca de Sao Paulo (http://bsp.org.br) which offers storytelling session for children from 6 months to 4 years, and allows the loan of kits with books and puppet to continue the play at home. [\u2026]\nIt works like this: children and their caregivers take part in a story-telling session and then borrow a kit (a two-book bag and a puppet) to continue the play at home.\nThe goal is to show parents and caregivers of infants and children the importance of reading and interacting with stories and books, and their positive consequences on child development.\nThe program has now been expanded to over ten public libraries in the country side of S\u00e3o Paulo state.\u201d\nSource (in portuguese): http://www.publishnews.com.br/materias/2016/12/15/projeto-bebele-chega-a-dez-bibliotecas-publicas-no-interior-paulista (Dec 15th, 2016)\nAs was stated in http://www.bebele.org.br (site no longer exists) \u201cThe program stimulates six skills:\n- Interest in reading books and other printed materials;\n- Ability to listen and play with the sounds of words;\n- Extension of the vocabulary through the recognition of the names of objects, concepts, feelings and ideas;\n- Ability to tell stories, describe situations, narrate events in sequence and recount them;\n- How to handle a book, recognize the words and point the letters everywhere you look;\n- Identification of letters individually and perception that each one has different sounds and names.\u201d\nL\u00ea no ninho (Brazil): http://lenoninho.org.br/ and https://tellus.org.br/agencia/caso-le-no-ninho/\nOmaha Public Library (United States): http://www.omahapubliclibrary.org/programs/baby-reads\nToronto Public Library (Canada): http://www.torontopubliclibrary.ca/programs-and-classes/categories/reading-programs-storytimes.jsp . Find information about guide to Toronto Public Library Guide: https://citylib.ca/\nBrooklyn Public Library (United States): https://www.bklynlibrary.org/learn/kids", "id": "<urn:uuid:0e14101b-fcfb-40aa-a390-9ecc872050b0>", "dump": "CC-MAIN-2021-17", "url": "http://ideasforlibraries.org/reading-for-babies-bebele-project/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038062492.5/warc/CC-MAIN-20210411115126-20210411145126-00110.warc.gz", "language": "en", "language_score": 0.905528724193573, "token_count": 570, "score": 3.578125, "int_score": 4}
{"text": "According to mental health professionals, when children return to full-time education in September, schools should prioritise play and socialising over learning. After months of lockdown and with little opportunity for face to face interactions, experts say many children will be suffering from loneliness and isolation. Social play will help them overcome their loneliness and make it easier to overcome anxiety about being in an educational setting whose \u2018new-normal\u2019 seems alien. In this post, we\u2019ll look at how the playground can be used to encourage and facilitate socialising and to support children on their transition back into education.\nThe value of social play\nWhile children get plenty of opportunities to interact in the classroom, the activities they participate in and the topics of discussion are directed by the teacher. Only during free time, away from the teacher and the classroom rules, do they get the chance to engage with each other freely. This makes the playground an ideal place to facilitate and encourage social play. Doing so not only helps them readjust to life after lockdown; it aids their development, helping them acquire the valuable communication and social skills that they will depend upon throughout their lives.\nPlay is crucial for social and emotional development. It helps children to make friends and build relationships and it develops empathy, trust and an understanding of social norms. Indeed, play gives children the chance to learn from their mistakes: through falling out and making up, they learn how to manage emotions, resolve conflicts and develop resilience. It also provides opportunities to share their thoughts and feelings and to support one and other, something which will be crucial post-lockdown.\nCommunication skills are essential for social development and outdoor play provides a myriad of opportunities for verbal interaction. Interaction between children is needed to make choices about the activities they want to do and then to take part in them. They\u2019ll need to negotiate, discuss, explain, take turns, ask and answer questions, listen and respond; learning as they do from interactions that went well and those which didn\u2019t. It\u2019s not just speaking and listening skills that they develop either, the playground is an ideal place to learn about non-verbal communication. They\u2019ll discover how to read and respond to facial expressions, gestures and body language and hone their skills in using them.\nEquipping your playground for social play\nAs all children are different, facilitating social play requires a range of playground equipment, this way you\u2019ll be able to encourage every child to take part in activities where they can interact with others. Thankfully, there is equipment for all kinds of activity and something to suit everyone.\nTeam sports are excellent for encouraging social interactions. It develops camaraderie, the sense of fair play and requires plenty of communication. Playground sports markings are the ideal way to encourage the participation of larger groups of children and with sports such as netball, football, basketball and rounders catered for, there\u2019s something that will appeal to most children. There\u2019s also a variety of nets, hoops, ball walls and targets that can be added to make the sports more fun.\nFun and games\nKids love playing games together and there is a multitude of equipment that will encourage them to socialise. These include fun and games playground markings for chess, hopscotch and even a mini roadway; outdoor tabletop games like snakes and ladders, Connect 4 and Ludo as well as battleship boards. There\u2019s also table football, table tennis and skipping rope games.\nAnother great way to get children playing together is through being creative. They can do this by drawing, chalking and painting together using a variety of outdoor drawing and chalkboards, making music with fun outdoor musical instruments, like xylophones, chimes and drainpipe drums or by singing together on a playground stage. They can also get creatively messy with a mud kitchen, sandpit or with water and sand play equipment.\nYounger children love to get involved in roleplay activities and it is important for their social and emotional development that they get the opportunity. There is some fantastic outdoor roleplay equipment to inspire their imaginations, this includes under-over bridges, trains, storytelling chairs, shop/kiosk panels, carriages, playboats, wigwam posts, play huts and more.\nThrill-seeking play is excellent for getting children to interact and be sociable. It encourages them to collaborate to overcome challenges and to support each other; it gives opportunities for roleplay and discussion and lets children who have been cooped up over lockdown have a great deal of physical fun. ESP Play has a comprehensive range of climbing equipment, including Trim Trails obstacle courses, play towers, climbing walls, Tangled rope play equipment and FreeFlow modular climbing frame systems.\nSocial play has always been essential for children\u2019s development and now, following the lockdown, it is also needed to address the isolation, loneliness and anxiety of children returning to school. If you are looking for playground equipment to provide better social play opportunities, hopefully, the ideas mentioned here will have given you some inspiration.\nFor more information about our products, visit our Products Page.", "id": "<urn:uuid:408a28d2-559b-4f9d-8a3f-d9e7de3d80b4>", "dump": "CC-MAIN-2021-17", "url": "https://www.espplay.co.uk/social-play-ideas-for-post-lockdown-playgrounds/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00110.warc.gz", "language": "en", "language_score": 0.9561560750007629, "token_count": 1048, "score": 3.546875, "int_score": 4}
{"text": "A literary technique is a method for telling a story or part of a story. Although the word \u201cliterary\u201d usually refers to written literature, these techniques can be used in a broader sense in any narrative form, including movies, television, and comic books. For example, the literary technique called foreshadowing, which hints at future events in a story, is common to every type of narrative. Some literary techniques apply to a wide range of stories, such as twist endings in the genre of mystery fiction. Others may be specific to a particular author or work.\nThe art of storytelling is an essential human activity that predates recorded history. Some literary forms, such as poetry, drama, or the novel, are hundreds or thousands of years old. Other media like film, comics, and television arrived with the technological revolutions of the 19th and 20th centuries; each medium has since established its own techniques and borrowed others. Some are essentially storytelling shortcuts that are used to quickly convey or skip over information that media-savvy audiences will already know. Other kinds of literary techniques can set a mood, establish character, or engage the audience.\nIn medias res is an example of a literary technique that has been widely used in stories for centuries. The Latin phrase refers to a story that starts in the middle of the action and then employs flashbacks or character dialogue to describe earlier events. This often has the effect of immediately drawing the audience into the story while dispensing with scenes that are unimportant. The Iliad, Homer\u2019s epic poem about the Trojan War, employed this technique nearly 3,000 years ago. The modern TV series Lost also started this way, with the revelation of prior events forming a major part of the series\u2019 narrative.\nSome literary techniques are matters of form. Shakespeare wrote his plays using a poetic technique called iambic pentameter so the dialogue would have a pleasing rhythm. Film noir is a cinematic technique employing shadowy images, calculating characters, and grim storylines. Originating with American mystery films of the 1940s, it was later borrowed by filmmakers around the world. Noir has since been imitated in television, comic books, and even video games, effectively becoming a widespread literary technique.\nPopular literary techniques can become so widely known that most audiences will recognize them instantly; these are called tropes. Properly used, these can generate a sense of familiarity with the story and characters and reduce the amount of time normally spent on exposition. When the literary technique becomes too familiar, however, it is called a clich\u00e9, which most writers try to avoid. Other techniques are simply useful storytelling tricks, such as onomatopoeia. This is the use of words to imitate real-life sounds, a common literary technique that is employed by writers around the world.", "id": "<urn:uuid:389bf596-f1b6-4679-bf13-02f9850b8535>", "dump": "CC-MAIN-2021-17", "url": "https://www.infobloom.com/what-is-a-literary-technique.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00590.warc.gz", "language": "en", "language_score": 0.9668976664543152, "token_count": 568, "score": 3.828125, "int_score": 4}
{"text": "The variety of literary works can easily teach the reader or make to change the reader\u2019s mind and attitude to a situation. On the one hand, the works and their messages differ because of various authors, periods of time, and interests.\nWe will write a custom Critical Writing on Analysis of Hills Like White Elephant and Sonny\u2019s Blues: Plot, Setting, and Characters specifically for you\n301 certified writers online\nOn the other hand, the similarities between the works of absolutely different authors are united by their messages to help the reader evaluate this life and make the necessary improvements.\nThe analysis of Hills Like White Elephants by Ernest Hemingway and Sonny\u2019s Blues by James Baldwin proves that different approaches to life and its challenges, unique visions of the writers, and certain writing techniques may lead to one purpose \u2013 promote the reader to think about people around and grasp the ways of how to understand each other.\nSuch fiction elements like plot, characters, and settings in the two short stories are perfectly described and serve as powerful means to explain the essence of the stories: plots of the stories touch upon the relations of two relatives (a couple in Hills Like White Elephants and brothers in Sonny\u2019s Blues), who need to takes important decisions and think about their future lives in spite of rather depressive and disappointing settings.\nThe success of the story usually depends on a properly chosen author\u2019s technique. In case with the works of Hemingway and Baldwin, their choices of techniques are justified and rather effective. The plots of the stories under discussion are all about human relations and the necessity to find out the connection and understanding.\nThe peculiar feature of Baldwin\u2019s plot is the idea to use flashbacks and add to the plot more captivating details and facts. It may seem that the reader knows enough to accept one more idea, however, a new flashback adds another circumstance that should be evaluated on a new level, and the relations between two brothers become more interesting and understandable.\nHemingway describes a certain period of time between two people, who are going to make one of the most important decision in their lives. And even in the situation, when the decision should be taken by both, male domination is still evident, and a girl does not have enough powers and skills to live in accordance with her own principles and demands.\nIn Hills Like White Elephants, a young couple is bothered with an idea of having a baby. A girl believes that \u201cthings are like white elephants\u201d so strange, so innocent, and so beautiful (Hemingway 121). She wants her unborn child help her to accept this world as it is and enjoy its beauty and charm.\nHowever, her couple is not ready to forget about his interests and desires and devote his life to their baby. Almost the same is observed in relations between two bothers in Sonny\u2019s Blues. Sonny tries to demonstrate his brother the beauty of music and the grounds of his choice, but it is hard for the elder brother to follow his brother\u2019s dreams and thoughts.\nSettings of the stories deserve more attention, especially the one used by Hemingway. His idea to unite setting with symbolism is winning and more noticeable in comparison to Baldwin\u2019s attempts. Though \u201cthere was no shade and no trees\u201d (Hemingway 119), the situation seems to be uncertain.\nEverything is not as it should be, and the characters should be ready for a new challenge. The author does not give concrete descriptions but it becomes clear that the idea of abortion is burning. The setting of Sonny\u2019s Blues is clearer: \u201cthe people, the houses, the music, the dark, quicksilver barmaid, with menace\u201d (Baldwin 11). The author does not want to use specific setting to attract the reader but relies on his powerful use of flashbacks.\nBoth reading unite all fictional techniques in a proper way; each writer uses one certain technique better that makes these stories captivating and effective in their own ways. Flashbacks in the plot make Sonny\u2019s Blues more captivating and intriguing for the reader, and powerful examples of symbolism in setting cannot stop amazing the reader of Hemingway\u2019s works.\nBaldwin, James. \u201cSonny\u2019s Blues.\u201d In Sascha Feinstein and David Rife The Jazz Fiction Anthology. Bloomington, IN: Indiana University Press, 2009.\nHemingway, Ernest. \u201cHills Like White Elephants.\u201d In Margaret Bishop Single Scene Short Stories. Layton, Utah: Gibbs Smith, 2007.", "id": "<urn:uuid:625b8cbe-c0c5-49ad-87a2-d0824c6a4073>", "dump": "CC-MAIN-2021-17", "url": "https://ivypanda.com/essays/analysis-of-hills-like-white-elephant-and-sonnys-blues-plot-setting-and-characters/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00350.warc.gz", "language": "en", "language_score": 0.947353720664978, "token_count": 942, "score": 3.53125, "int_score": 4}
{"text": "\u201cInhabiting or existing in a land from the earliest times; indigenous\u201d\nSo here, \u201caboriginal\u201d refers to the many indigenous tribes of Canada, collectively First Nations, Inuit and Metis.\nFirst Nations people include hundreds of different tribes, each with their own culture, customs, legends and character, whose cultures span thousands of years. Some of their oral traditions describe historical events like the Cascadia earthquake of 1700. Haida, Blackfoot, Cree, Chipewyan, Mi\u2019kmaq, Algonquin, Iroquois and Squamish are just a few examples.\nInuit are a distinctive group of indigenous people who live throughout most of the Canadian arctic and sub-arctic in parts of Nunavut, northern Quebec, Labrador and the Northwest Territories.\nMetis is the name given to aboriginals who can trace their decent to mixed First Nations and European heritage. Metis homelands stretch across Canada and into parts of the northern United States.\nToday T brought a Unity button home from school. The button (or badge as we call them in Britain) is a circle divided into black, white, red and yellow quarters. It\u2019s a reminder of the teachings related to the Medicine Wheel.\nThe Medicine Wheel\nIn traditional aboriginal storytelling, many Elders teach about equality and respect for all people of the four colours. The Medicine Wheel represents Harmony and Connections and is a major symbol of peaceful interaction among all living beings. It\u2019s also symbolic of the wheel of life, always evolving and bringing new lessons and truths to the paths we walk.\nA message of pride and respect\nThe message behind the bright unity button is the celebration of our individuality as well as the diversity of our many nations. The most important part of the button is the centre where the nations meet and join in the Spirit of Unity.\nModern Canada has a chequered relationship with its indigenous population \u2013 many First Nations people endure sub-standard housing and education, discrimination and systemic unemployment leading to heartbreaking levels of substance abuse. Premier Stephen Harper\u2019s recent apology, on behalf of all Canadians, about Indian residential schools was a major step towards reconciliation, and it\u2019s great to see schools taking the initiative and bringing aboriginal heritage into the classroom and into the consciousness of the next generation.\nA note accompanying the button read,\n\u201cTo wear this symbol is to proclaim pride in your own culture and to show respect for all cultures around the world. It is a means to spark discussion and communication between differing cultures along with promoting pride in the Aboriginal Nations.\u201d\nReading it made my heart swell\u2026", "id": "<urn:uuid:acc94aa9-b513-48e5-8bc5-2d25342867de>", "dump": "CC-MAIN-2021-17", "url": "https://expatlog.com/2012/10/03/canadian-aboriginal-culture/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00070.warc.gz", "language": "en", "language_score": 0.9331884980201721, "token_count": 546, "score": 3.796875, "int_score": 4}
{"text": "In the 19th century, changes in technology and the ability to mass produce products created what is known as the Industrial Revolution, which occurred first in England and then in the United States and the rest of the Western world throughout the mid-19th and early 20th centuries. The Industrial Revolution signaled a movement from agrarian and hand-crafted products to machine-made products. This move to factory manufacturing opened up opportunities for both women and children to work outside of the home.\nNegative Effects on Women\nDuring the industrial revolution in both England and the United States, women often worked in unsafe and unsanitary working conditions, as factory work was not initially regulated by the government. Female Industrial-era workers in the United States often worked in \"mill towns\" such as Lowell, Massachusetts, where their lives were tightly controlled by the company and they were paid far less than men. Although most women worked in textile factories, which were less dangerous than jobs such as coal mining and other new industrial positions, even textile factories were overcrowded and unsafe. Tragedies such as the Triangle shirtwaist factory fire, in which 129 women and 17 men died, happened because of unsafe conditions and policies such as keeping outer doors locked to prevent theft.\nPositive Effects on Women\nBecause of industrialization, many women left their homes and began to live independently. Although this caused worry for the well-being of women, it also allowed them to become a more vibrant part of social activism and labor movements that ultimately began to change dangerous working conditions. In addition, the industrial revolution allowed women to make enough money to support themselves and their families.\nNegative Effects on Children\nIn the United States, the Industrial Revolution was somewhat driven by the use of child labor. Working caused many children to be estranged from their families and sent to workplaces in which they were considered merely a cheap source of labor. Children had to work in very dangerous conditions, performing jobs that took advantage of their small size. As a result, some developed lung diseases such as pneumonia and bronchitis in mills with poor ventilation, while others developed back problems, and some even became paralyzed, when working in coal mines.\nPositive Effects on Children\nThere were very few benefits for children who worked during the industrial revolution: The danger, separation from family and harsh working conditions were largely detrimental for childhood development. The only children who reaped the benefits of the industrial revolution were those whose parents worked, providing the children with greater economic means for survival.\n- Women in World History; Classroom Lessons Series; The Plight of Women's Work in the Early Industrial Revolution in England and Wales\n- Library of Economics and Liberty; Industrial Revolution and the Standard of Living; Clark Nardinelli\n- Yale-New Haven Teacher's Institute: The History of Child Labor in the United States: Hammer v. Dagenhart\n- US History: Economic Growth and the Early Industrial Revolution\nAnn Trent has been publishing her writing since 2001. Her work has appeared in \"Fence,\" the \"Black Warrior Review\" and the \"Denver Quarterly.\" Trent received a Master of Fine Arts in creative writing from Ohio State University and has attended the Macdowell Colony. She is currently pursuing a Master of Arts in counseling.", "id": "<urn:uuid:124139fb-eb1e-4894-9f1e-7a4ca5f92795>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/the-effects-of-industrialization-on-women-children-12084175.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077810.20/warc/CC-MAIN-20210414095300-20210414125300-00390.warc.gz", "language": "en", "language_score": 0.9804249405860901, "token_count": 656, "score": 4.0625, "int_score": 4}
{"text": "Creating a story line that is subordinate to\u2014but related to\u2014the primary plotline, a background story that centers on the character\u2019s inner demons, is great fodder for a subplot. Because when subplot focuses on the hero\u2019s inner demons, it can also quickly become subtext. And subtext is a wonderful thing in storytelling.\nSubplots and subtext are two different sub sandwiches on the story menu, and as the chef, you need to grill them up strategically.\n\u2014by Larry Brooks, author of Story Physics: Harnessing the Underlying Forces of Storytelling\nDEFINING SUBPLOT AND SUBTEXT\nA subplot, from a character perspective, is a dramatic question that is answered over the course of the story: Will they fall in love? Will she get the job? Will they be disinherited? Will they live or die? Will they have sex before the ship sinks? And so on.\nSubtext is the existence of some social, psychological, economic or other situational pressure that defines and influences the characters, such as social class, politics or career factors. A newly elected politician in Washington, for example, must navigate the chilly waters of political etiquette, expectations and party lines in every aspect of her work\u2014that\u2019s classic subtext in play.\nIf the story is a thriller, the subplot might concern the hero\u2019s ability to commit to something or someone in the face of the pressures of impending life or death. This lack of commitment or even a lack of courage becomes subtext that infuses the plot with higher drama, because we know the hero must conquer these inner demons in order to stand a chance against the real-world antagonistic forces you\u2019ve put before him.\nIf the story is a romantic comedy or a serious adult relationship drama, the hero may have been so focused on her career that she\u2019s become awkward at personal relationships. This awkwardness, both relative to the primary plot and subplots, becomes subtext. The same inner demon that prevents her from committing to another human being might also prevent her from committing to a course of action that could solve the primary problem presented in the main plot. Or better yet, the primary plot could depend on her ability or inability to connect with someone in a way that calls for blind trust and loyalty.\nIf the story is already a love story, the inner realm of personal obstacles can become the primary source of the story\u2019s drama, while any exterior conflict is relegated to subplot. For example, one of the parties gets transferred to the opposite coast to keep her career moving forward, thus forcing a choice. Or, one of the families in a love story might bring class prejudice to bear upon the budding relationships, thus becoming the primary conflict in the main plotline. In this case you\u2019ve just clobbered us with subtext of a thematic nature that informs and influences the outward-facing drama.\nThe primary plot of Titanic, for example, was a love story that was forbidden because of social class distinctions, thus infusing the story with subtext concerning the class struggle that defined every relationship on board the doomed ship. The sinking ship itself was reduced to the role of subplot because we all knew what would happen.\nHowever, you could argue that it was the other way around\u2014that the sinking ship was the main event, and the love story was secondary\u2014but it doesn\u2019t really matter. Both plotlines were saturated with subtext relating to social class.\nSUBTEXT, THE MAIN PLOT AND SUBPLOTS\nA subplot is usually much simpler and less obvious than the primary story line. When it limits the character\u2019s choices and influencing behaviors, it eventually and successfully links to the main plot.\nFor example, a character\u2019s inner demon could easily influence her response to the arrival of the story\u2019s primary conflict at the First Plot Point (the inciting incident). In fact, it absolutely should. And when it does it becomes subtext fueling the primary story line.\nIf someone is painfully shy, and the First Plot Point finds her suddenly promoted to a management position, her shyness informs her response to this new journey, and in a way that throws up yellow and red flags at every turn. The primary story line might hinge on her ability to save the company from ruin, or expose the larcenous ways of the boss. Regardless, the main story line will be informed by the subtext of the character\u2019s crippling shyness.\nIn this example, our hero should be well on her way to conquering that shyness (it\u2019s still subtext) right up until the story\u2019s Second Plot Point, which launches the final push toward the story\u2019s conclusion. She may need to confront the board of directors to expose the illegal agenda of the same upper management that promoted her, and it is the very fact of her shyness, in contrast to the egotistical bluster of her peers, that motivates the board to listen to her. Suddenly that inner demon isn\u2019t just subplot but a major catalyst in the resolution of the primary story line. Will she be bold and take the risks necessary to do what must be done? The answer resides at the collision between subplot and primary plot, and in the shadow of subtext.\nOr, sometimes the subplot can be completely separate. In that case, character arc needs to be demonstrated across both plotlines, and the more behaviorally intertwined, the better.\nCHARACTER SUBTEXT AT WORK\nIn the hit TV show \u201cBurn Notice,\u201d Michael Westen is an intelligence agent who is constantly working to uncover who burned him\u2014basically making him persona non grata within his profession\u2014while addressing the plot-of-the-day (episode), which is always an empathy-inducing save-the-innocent scenario toward which he contributes his substantial spy skills.\nThe main plot is how Michael solves the case of the moment. The subplots are his romantic relationship with his trigger-happy sidekick, and whether the local police will stop him before he nails the bad guys using less-than-legal means. The subtext is his ongoing status as a burned spy for some unnamed government agency, which at the end of the day is the primary plot of the series itself.\nThe latter is also a subplot. Yes, subtext can become subplot, and vice versa. Don\u2019t sweat this. Just understand what the elements are, and let it rip.\nIt\u2019s easy to conclude that you have many options here. A full-blown matrix of them, in fact, with three different variables\u2014plot, subplot and subtext\u2014all in simultaneous play. This is literary juggling at its finest and most challenging.\nSUBPLOT IN ACTION\nIn The Cider House Rules by John Irving, the subplot is Homer\u2019s ability to hook up with Candy romantically. Will they or won\u2019t they? Stay tuned as the main plotline unfolds. The subtext of the story is the ever-present issue of right to life and abortion, and the pressures it puts on the characters.\nIn this case, subplot is character, subtext is theme. This is a familiar paradigm, one you should pay attention to and apply.\nIn Top Gun, the subplot is the hero\u2019s budding relationship with the ultra-hot flight instructor. Again, stay tuned, because hijinks ensue. The main plot\u2014admittedly weak\u2014is some conglomeration of whether the hero would wash out (this being the link between the main plot and the subtext) before he can save the day from an impending attack by bad guys.\nThe subtext of Top Gun, however, isn\u2019t really a question at all, but an influencing pressure: The hero lives under the dark shadow of a disgraced military father, nobody likes or respects him, and it pushes him toward irresponsibility and bravado to the point of risking his career and the lives of his teammates.\nThe writer\u2019s challenge is to understand the differences between plot, subplot and subtext, and then master them\u2014and more importantly, plan and work with them\u2014from a character perspective. When you do, you have everything in place to make your hero\u2019s character arc both bold and profound.", "id": "<urn:uuid:3bb9aeeb-5cf4-451d-9a5c-0fe0ffd05ab2>", "dump": "CC-MAIN-2021-17", "url": "https://www.writersdigest.com/write-better-fiction/how-to-imrpove-your-writing-subplots-and-subtext", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00108.warc.gz", "language": "en", "language_score": 0.9479666948318481, "token_count": 1735, "score": 3.59375, "int_score": 4}
{"text": "We know that fourth grade is a time of growth and change. Students want support from peers rather than adults; expect their environment to be fair, honest, and just; seek independence; are highly active; can empathize and see perspectives; can think independently and critically; are influenced by peer standards; and need help building confidence.\nWe help our fourth graders learn and practice: actively engaging and sharing to understand perspectives and experiences of others; problem solving in various settings; mindful self-monitoring; using evidence to support ideas; working collaboratively on an academic goal; making connections between themselves and classroom content in order to assess decision making and outcomes; and building awareness of their strengths and weaknesses for self-empowerment.\nOur Goals for Fourth Graders\nDeepen their understanding of the writing process in various genres for many audiences and to engage their reader through more developed voice, word choice, and structure.\nExplore California history with focus on developing awareness and understanding various perspectives of events and human experience.\nApply operations to various types of problems, review and practice new skills, deepen number sense, and explore and analyze the relationships and connections between various concepts through mathematical reflections.\nInvestigate, gather, and reflect on content across integrated subject areas and develop higher level comprehension and thinking skills while questioning, discussing, and responding to larger themes.\nUse evidence from investigations to construct claims and explanations about electricity, magnetism, and energy sources. Cultivate problem solving and critical thinking skills by applying scientific ideas to design, test, and refine solutions to problems.\nContinue to build vocabulary with an emphasis on adjectives and descriptive language. Reinforce authentic language skills with greater complexity and grammatical structures through conversation, storytelling, and skits.\nGain exposure to a wide variety of perspectives in literature, deepening the idea of literature as both windows and mirrors, and practice information literacy, media literacy, and digital citizenship skills.\nMature locomotor, non-locomotor, and specific manipulative skills (throwing, catching, striking); refine sport skills through individual, partner, and group activities; and take more of a leadership role in demonstrating teamwork, cooperation, sportsmanship, and fair play.\nExpand singing and note reading capabilities, perform more complex ensemble music, be responsible for harmony parts in combined choir music, and analyze different genres of music at a deeper level.\nWork independently through the process of art making, challenging themselves artistically and driving the process based on their artistic knowledge and interests.\nLearn to follow the Design Thinking iterative process and use HTML code to create web pages that incorporate text, links, images, colors, and other formatting features.", "id": "<urn:uuid:2645aef2-ae10-48c7-8724-553f7842bdcb>", "dump": "CC-MAIN-2021-17", "url": "https://www.careyschool.org/learning-path-by-grade/4th", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00631.warc.gz", "language": "en", "language_score": 0.9253718852996826, "token_count": 538, "score": 4.0625, "int_score": 4}
{"text": "The lesson sequence that I am working on for the New Technologies, New Stories project will see students working toward a Digital Storytelling assessment to explore ideas about what makes a good story. In particular they will be focussing on how images and audio elements can be combined to enhance meaning in narrative.\nAimed at Stage 5 (years 9 and 10) this lesson sequence will see students analysing a range of fiction and non-fiction narrative texts to devise a set of class criteria for a \u2018good story\u2019. In my year 8 unit on Newspapers I teach students the criteria for \u2018newsworthiness\u2018, but it occurred to me that I don\u2019t teach any similar guidelines for \u2018story-worthiness\u2019. I wanted to design lessons that got students thinking about how to craft a story that is engaging to readers, and to demonstrate narrative skill across a range of modes.\nKey Learning Ideas:\n1. Writing stories that are more than a recount of events.\nI often find that in Stage 5 students have learned a range of skills for building an effective narrative \u2013 they are well versed in character development and imagery, for example \u2013 but are still missing that \u2018knack\u2019 for writing a story that engages readers (and avoids clich\u00e9s and stereotypes). In particular I have found my students struggle to move from narratives that describe a sequence of events to using symbolic and figurative representations in their work.\n2. Using voice, image and written text to create narrative.\nWhen making Digital Stories with Year 9 for the first time last year, I was struck that most either chose poor images to reflect their story, or lost any sense of story because the chosen images weren\u2019t used to build a narrative. This was surprising \u2013 it hadn\u2019t occurred to me that their choices in written imagery weren\u2019t dull because of their writing, but because of their poor choice of imagery to reflect or contrast with the story. I\u2019m hoping that asking students to focus on building a narrative using a range of modes will help them to focus on the meaning and \u2018flow\u2019 of their stories, not just the technical skills and tools required to tell them.\nBefore (and while) students begin composing their own digital stories, they will be engaging with a range of texts to explore the question \u2018what makes a good story\u2019. To do this we will be:\n- Reading the novel The Curious Incident of the Dog in the Nighttime by Mark Haddon\n- Reading a range of picture books, including Fox and The Wolves in the Walls\n- Watching a range of Digital Stories from the DigiTales website\n- Watching my all time favourite TED Talk by David Griffin Photography connects us with the world\n\u2026I\u2019d love to hear of any more suggestions for stories I could use with the students. As you can see I am lacking some good non-fiction and poetry texts.\nStudents will make their own 2-3 minute Digital Story.\nThey must nominate 2-3 of the class developed criteria for \u2018story-worthiness\u2019 to showcase, and they will be peer assessed on how well they meet the nominated criteria.\nPossible addition \u2013 Students transform their digital story into written form and write a reflection on the different language skills/tools needed to create the same narrative in different modes. Written stories could be stored on a class wiki, with digital versions uploaded as well.", "id": "<urn:uuid:d5042ff0-f47d-44cc-98fa-6ce983ed6079>", "dump": "CC-MAIN-2021-17", "url": "https://kellimcgraw.net/2009/03/27/narrative-and-technology/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00310.warc.gz", "language": "en", "language_score": 0.9510921835899353, "token_count": 701, "score": 3.71875, "int_score": 4}
{"text": "Find inspiration and suggested tools for making ebooks with your students.\nJust like reading an interactive ebook is more engaging than reading a print textbook, creating a digital book is a lot more fun than writing a typical report or essay. But more important than making learning fun, creating an interactive ebook gives students who struggle with writing a better tool for sharing their ideas and demonstrating knowledge.\nCurrey Ingram Academy is a K-12 college preparatory school for students with learning differences. Many of our students struggle with written expression. Dyslexia, language processing deficits, and fine motor delays can make it challenging for a child to produce a quality written product. Students with ADHD often lack the focus for completing a major assignment. Using the right tech tool, our students can build upon their strengths to produce amazing, creative works. Because digital books give students a variety of options for sharing information, our students are highly successful when using this technology.\nHere are four ways you can use digital book creation with your students:\n1. Go beyond creative writing.\nThough most ebook-creation platforms focus on narrative writing, most of my digital book projects are nonfiction texts. Last year, I helped second-graders write an alphabet book about Thanksgiving. Using Book Creator, each student created a page for one letter (\"B is for Bread\") with an image and a factual sentence about the topic. We then compiled the pages into one ebook to share with parents and other classes.\n2. Share knowledge.\nDigital books are an excellent assessment tool for all ages. In addition to text, students can include images, video, and audio clips. My fourth-grade students made StoryJumper ebooks about famous explorers as a culminating activity for their exploration unit. The final products are more than a project grade; the books are shared with future classes as instructional texts.\n3. Create and listen with audio-integrated books.\nSeventh-grade students wrote creative stories about the day aliens visited our school. Then they turned their stories into original picture books using My Story Book Creator. In addition to illustrating the books by hand (stylus), the students recorded themselves reading the text aloud in rehearsed, dramatic voices. The ebooks were shared with elementary students who enjoyed listening to books that otherwise may have been too difficult for them to read independently.\n4. Don't forget the multimedia.\nMany students who lack the ability or focus to compose long written passages may really shine by incorporating images and video. When given an assignment to use Book Creator to create an autobiography, one of my students with ADHD produced a very creative story told almost exclusively through video clips embedded in the book. The videos conveyed her personality in a way written language could not.\nIf you aren't sure where to start, check out some of my favorite tools for digital book creation:\n- My Story Book Creator: Make easy-to-share, colorful picture books; the audio narration is my favorite feature. It's designed for elementary grades, but no one is ever too old to illustrate a storybook! All ages.\n- Book Creator: Create professional-looking books with a wide variety of media options. It's designed for older students but simple enough for young students. It's also easy to merge pages from multiple devices. All ages.\n- Creative Book Builder: It's one of the more expensive apps, but it's very versatile. Grades 6-12.\n- iBooks Author: Create professional, beautiful ebooks. iBooks Author supports dictation and text-to-speech, a useful accommodation for many students. Grades 6-12.\n- StoryJumper: It's easy to access and manage student accounts and share the final product. There's an extensive library of clip art/stickers, but it doesn\u2019t support video or audio. Grades K-8.\n- VoiceThread: Not an ebook platform, but I've used it for making collaborative book-like projects. Students can contribute content in a multitude of formats: images, voice, video, and text. Grades K-12.\nAnd for a shorter assignment, or if you don't have access to a digital-book-creation platform, try making multimedia-enriched posters. Several excellent websites, such as Glogster and Thinglink, can help in creating interactive digital posters.", "id": "<urn:uuid:dbec0bf7-9051-4946-b9b4-394882a14e47>", "dump": "CC-MAIN-2021-17", "url": "https://www.commonsense.org/education/articles/4-tips-for-student-created-digital-books", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00428.warc.gz", "language": "en", "language_score": 0.9352588653564453, "token_count": 882, "score": 3.671875, "int_score": 4}
{"text": "Tools to Help Children Develop Visual Perception\nIn this audio-cast, Jenny discusses tools that can be used by teachers, therapists, and parents to help children develop visual perception.\nJenny offers presentations, webinars, and workshops for teachers, occupational therapists, speech therapists, and physical therapists. If you are planning a conference and you are looking for a speaker on SPD, please contact Jenny today.\nVisual perceptual skills are the foundation skills necessary for reading, writing, and math. There are seven visual perceptual skills that impact learning. A student can have deficits in one or more of these subskills. I would like to share with you a description of these visual perceptual skills, how they might impact children in school, and activities to help improve each area of visual perception to enrich learning ability.\nVisual Discrimination: The ability to discern slight differences between letter shapes, sizes and fonts. This can affect reading comprehension.\nActivities: Matching game such as Old Maid, Go Fish, scrabble.\nVisual Memory: Important skill for copying from the chalkboard or spelling.\nActivities: Memory card game, practice spelling words using a scented marker, then smell the marker just before the test. The olfactory system is linked to memory.\nVisual Spatial Relationship: Enables discerning between b-d-p-q. It is important in preventing letter reversals and manipulating columns of numbers.\nActivities: Puzzles, parquetry, tanograms.\nVisual Form Constancy: It is important in discriminating similar font styles when reading. Can lead to poor reading comprehension and recall.\nActivities: Find and circle all of the letter \u201ca\u2019s\u201d on a magazine or newspaper page. Then find all of the letter \u201cb\u2019s\u201d etc.\nVisual Sequential Memory: Affects reading comprehension and spelling. It is important in written organizational skills for creative writing. VSM difficulties may mean that class performance exceeds exam responses.\nActivities: Use a hand-held electronic speller. Spell words using magnetic letters. Spell words in modeling clay.\nVisual Figure-Ground: Difficult to focus on tasks without being distracted by extraneous input. May lose things easily in desk and would therefore benefit from organizational aids. May lose place on page when reading.\nActivities: Use a window guide when reading. Here is one example (Reading Helper 954-752-3692). Hidden picture activity pages such as Highlights magazine, Where\u2019s Waldo or I-Spy books.\nVisual Closure: Difficulties may affect word identification, seeing words \u201cspl-it\u201d, or omitting letters when reading.\nActivities: Finish the picture activity books, dot-to-dot (ask child what the picture is before completing it).", "id": "<urn:uuid:df23d57c-dc14-4910-aa94-5ab888624fab>", "dump": "CC-MAIN-2021-17", "url": "https://www.jennylclark.com/tools-to-help-children-develop-visual-perception/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00271.warc.gz", "language": "en", "language_score": 0.8989604115486145, "token_count": 577, "score": 3.984375, "int_score": 4}
{"text": "In the poem \u201cBoy at the Window,\u201d Richard Wilbur uses imagery, tone, and theme to show what his purpose in this poem is. At the end of the poem, the author wants the reader to understand that we should not feel bad or sad about something that we don\u2019t understand. Richard Wilbur\u2019s use of imagery in the poem helps us to understand his purpose of this poem. The stanzas in the poem paint two completely pictures in your head when you read them.\nThe first stanza makes you see the snowman as a blue object that is always lonely.\nThe second stanza paints the picture of the snowman\u2019s view of the little child who is sad about something that he does not understand. In the first stanza, the poem is showing how the little boy sees the snowman \u201cstanding all alone\u201d and \u201creturns him such a Godforsaken stare\u201d. The little boy sees the snowman as lonely and creates a depressing image of the snowman in your head.\nIn the second stanza, you hear the snowman\u2019s view of the little child in the window and how the little boy does not understand. The snowman is shown as sad in the second stanza, but not because the little boy does not understand that the snowman is happy outside.\nIt is because the little boy should not be sad when he is warm inside his home, surrounded by love, but yet so frightened and moved about the snowman being alone (\u201csuch warmth, such light, such love, and so much fear\u201d).\nSo the author creates a really great sense of imagery throughout the poem because of how you see the snowman at first, then the picture in your head changes when you hear the other side of the story. The author also had a great tone throughout this poem as he shows us his purpose and his theme that people should not be sad or fear something if they do not understand it.\nThe tones of the stanzas vary or differ when you go from to the second stanza. In the first stanza, the tone is sad or deeply upset because of the word choice that the poet uses. When the boy \u201cweeps\u201d, you get the feeling of sadness and that the boy is not happy. Also, the child\u2019s sight is described as \u201ctearful\u201d and his reach described as \u201chardly\u201d; which are words used to describe saddening events. The snowman is seen as a \u201cpale-faced\u201d figure and is compared to the \u201coutcast Adam\u201d. These words are not used to describe a happy or content situation, and they are describing a sad view of a snowman.\nIn the second stanza, the tone is happier, but not completely joyous or happy. The snowman is \u201cnonetheless, content\u201d so he is not sad being outside or being all alone. The snowman\u2019s eye is seen as \u201csoft\u201d and his tear is seen as \u201ca trickle of the purest rain\u201d. When you use the word \u201cpurest\u201d it doesn\u2019t relate to sad or happy events because the word describes a neutral event. The poet creates a great tone throughout the entire poem, which is sad for the first stanza and kind of neutral for the second stanza.\nUsing imagery, tone, and theme throughout the poem \u201cBoy at the Window\u201d, Richard Wilbur shows that you shouldn\u2019t feel bad or get upset about something that you do not understand. The author\u2019s use of imagery in the poem is what paints a wonderful picture in your head as you read, and that helps you to understand the author\u2019s purpose. Tone plays a big role in the poem also because of the way you get to hear the different sides to the story and how that impacts the author\u2019s purpose and how it\u2019s portrayed. This poem was very well written and did a very good job of using literary elements to portray the author\u2019s purpose and the theme.", "id": "<urn:uuid:dc354b15-4566-4f99-8f07-799efecf39bf>", "dump": "CC-MAIN-2021-17", "url": "https://studymoose.com/boy-at-the-window-poetry-analysis-essay", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00070.warc.gz", "language": "en", "language_score": 0.9704465866088867, "token_count": 859, "score": 3.75, "int_score": 4}
{"text": "Men and women among the Comanche Indians held distinct roles. The bands of Comanche that roamed the Great Plains area of the United States in the 19th century adhered to a traditional division of labor, which left women in charge of work related to home and family, while men hunted and fought. Additionally, high-ranking men engaged in trade with Europeans, Mexicans and Americans, often to sell back kidnapped relatives and dignitaries.\nMen - Hunting and Herding\nYoung men tended the tribe's flocks and trained for manhood. Coming-of-age meant the responsibility of fishing and hunting elk, buffalo and other game. After the Comanche acquired horses, they expected their young men to learn horse-riding skills, which could be used both for tracking animals and herding. The Comanche were considered the best horsemen among the Plains Indians.\nMen - Warfare\nThe Comanche used their horses most notably for warfare. Their young men trained to use bows and arrows and spears and shields made from buffalo hide. If rifles were available, the arts of marksmanship had to be learned, as well. Horse-mounted Comanche men went on raids that extended as far south as the jungles of Mexico. On these raids, which might last for months, men occupied themselves with acquiring the transportable goods of whichever people they fought.\nMen - Trade\nAmong the transportable goods the Comanche acquired on these raids were members of other tribes or citizens from Mexico or the United States. High-ranking Comanche men accompanied the armed groups that led these captives to meeting places with relatives and/or diplomats and exchanged them for money or other goods. These high-ranking men were from among the elite leadership of each tribe. A man could rise to such rank by exhibiting prowess in combat.\nWomen - Gathering Food and Cooking\nThe Comanche were hunters and gatherers and, as was often the case with such cultures, women were in charge of the gathering. Since the Comanche were a polygamous society, one or more women might be attached to a single man and care for him by collecting nuts, berries and other wild vegetation near their camp. Women prepared meals for their men with the food they gathered and the meat brought home by hunters.\nWomen - The Home\nWomen were also responsible for the home, which was usually a tee pee made form hides and wood. They did not simply clean the home. Women had to actually build the tee pee, even if that meant carrying heavy wood and erecting the structure themselves. They were also charged with raising children. Men would take charge of older boys, but women raised the girls and prepared them for marriage and motherhood.\nRobert Paxton has been writing professionally since 2002 when he published his first novel. He has also published short stories and poems and writes ad copy for various websites. He graduated from the University of Arizona in 1995 with a bachelor's degree in creative writing. Paxton is a trained Montessori instructor who has taught at both the elementary and the secondary levels.", "id": "<urn:uuid:422f0d31-a15c-4d14-9b36-c4d1a3846096>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/what-were-the-roles-of-men-women-in-the-comanche-tribe-12084080.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00108.warc.gz", "language": "en", "language_score": 0.9842038154602051, "token_count": 618, "score": 4.28125, "int_score": 4}
{"text": "Students will analyze primary sources, participate in class discussion, and complete an individual writing assignment to understand the human impact of the Berlin Airlift.\nI want students to understand the importance of the Berlin Airlift on a human level: why it mattered so much to the American pilots delivering supplies and the Berliners receiving supplies. This lesson should be used as a follow-up to an overview or introductory lesson on the Berlin Airlift. Prior to this lesson, students should understand at least the following issues: why the Airlift was necessary, the Soviet role in causing the Airlift, how the Airlift worked (a basic or more detailed understanding of logistics), and the outcome and effects of the Airlift.\n- Analyze and evaluate primary documents relating to the 1948-1949 Berlin Airlift\n- Participate in class-wide discussion analyzing the purpose, success of and effects of the Berlin Airlift\n- Illustrate understanding of the Berlin Airlift\u2019s human impact by writing an account from the point of view of an American pilot or Berliner\n- Culture: Social studies programs should include experiences that provide for the study of culture and cultural diversity.\n- Individuals, Groups, and Institutions: Social studies programs should include experiences that provide for the study of interactions among individuals, groups, and institutions.\n- Production, Distribution, and Consumption: Social studies programs should include experiences that provide for the study of how people organize for the production, distribution, and consumption of goods and services.\n- Global Connections: Social studies programs should include experiences that provide for the study of global connections and interdependence.\n- Civic Ideals and Practices: Social studies programs should include experiences that provide for the study of the ideals, principles, and practices of citizenship in a democratic republic.\nSHOW ME STANDARDS\n2. Continuity and change in the history of Missouri, the United States and the world\n6. Relationships of the individual and groups to institutions and cultural traditions\n7. The use of tools of social science inquiry (such as surveys, statistics, maps, documents)\nBenchmark 3: The student uses a working knowledge and understanding of individuals, groups, ideas, developments, and turning points in the era of the Cold War (1945-1990).\n2.(A) analyzes the origins of the Cold War (e.g., establishment of the Soviet Bloc, Mao\u2019s victory in China, Marshall Plan, Berlin Blockade, Iron Curtain).\nBenchmark 5: The student engages in historical thinking skills.\n1. (A) analyzes a theme in United States history to explain patterns of continuity and change over time.\n2. (A) develops historical questions on a specific topic in United States history and analyzes the evidence in primary source documents to speculate on the answers.\n3. (A) uses primary and secondary sources about an event in U.S. history to develop a credible interpretation of the event, evaluating on its meaning (e.g., uses provided primary and secondary sources to interpret a historical-based conclusion).\n- Margot Theis Raven, Mercedes and the Chocolate Pilot, Sleeping Bear Press, 2002\n- Gail Halvorsen, The Berlin Candy Bomber, Horizon Publishers, 1997\n- Roger Miller, To Save a City: the Berlin Airlift, 1948-1949, Texas A&M University Press, 2000\n- Gail Halvorsen, \u201cImpressions of a Berlin Airlift Pilot\u201d (November 1997)\n- Gail Halvorsen, home videos of the Berlin Airlift (available online from the Truman Presidential Library and Museum\n- Various photos of the Berlin Airlift (see Halvorsen\u2019s and Miller\u2019s books and online sources)\nComputer & projector (for Halvorsen video); overhead projector & photo transparencies of Berlin Airlift photos\n- Students should have a general understanding of the Berlin Airlift prior to this lesson (see above).\n- Begin the lesson by explaining the objective: to understand the human impact of the Airlift (now that students understand the politics and purpose of the Airlift). Real people participated in and benefitted from the Airlift, and the Airlift changed many lives.\n- In your best storytelling voice, read Mercedes and the Chocolate Pilot to the class. Hold a short class discussion on the book.\n- Hand out copies of Gail Halvorsen\u2019s \u201cImpressions of a Berlin Airlift Pilot\u201d for students to read (this may also have been assigned as homework for the previous evening). I also hand out highlighters and encourage students to highlight main points, parts that particularly affect them, etc. Allow approx. 10 minutes for students to read and digest Halvorsen\u2019s account. I will also require students to briefly respond to Halvorsen\u2019s work (3-5 sentences on what they see as the most important points, what most affected them, etc.).\n- Hold a class discussion on Halvorsen\u2019s account, allowing the discussion to be as student-directed as possible, but asking questions to keep the discussion going. What struck them about Halvorsen\u2019s account? How did they feel during and after reading it? How did Halvorsen\u2019s feelings about the Airlift change? Why did Halvorsen begin dropping candy to the Berlin children? What are some specific reactions to his actions Halvorsen witnessed, either immediately or years later? What do students see as the overarching themes of Halvorsen\u2019s account? Also question students on a more personal level: How would students have felt were they pilots during the Airlift? Would students have done the same thing Halvorsen did, even in the face of court martial? etc.\n- At an opportune time during the discussion, project the photo of Gail Halvorsen preparing wee parachutes (available in the primary sources provided by the Truman Library and on page 106 of Miller\u2019s book). I will also show the photo of Halvorsen and myself (July 2008) and explain his current travels and speaking engagements (this likely toward the end of the discussion). Throughout the discussion, as appropriate, project various photographs of the Berlin Airlift: Halvorsen and other pilots, loading and unloading the planes, children looking up at planes, the faces of Berliners, the destruction of Berlin, etc.\nAlso choose when you would like to show Halvorsen\u2019s home videos of the Airlift; in the middle of the discussion is probably a good time (the video will likely spark more discussion).\n- Drive home the points about how the Berlin Airlift impacted everyday Berliners and the American pilots who flew the missions: the Airlift changed lives! I will also stress Halvorsen\u2019s points on sacrifice before self, gratitude, hope, and the power of one. Students should then complete the assessment.\nParticipation points may be given for participating in class discussion on the Berlin Airlift (my students can currently earn up to ten participation points per class period). The formal assessment will consist of a student-produced account of the Berlin Airlift, either from the perspective of an American pilot participating in the Airlift or a Berliner who benefits from the supplies delivered in the Airlift. Students may choose either perspective, and should be encouraged to consider different personalities and viewpoints (e.g., an American pilot who is conflicted about helping a former enemy, a child in Berlin excited about receiving candy, a Berliner who assists with unloading planes or repairing runways, etc.).\nAfter completing other lesson activities, direct students to choose a person for whom they wish to create a journal entry or letter. Depending on the grade level and student ability, length of the written account may very; for my at-risk high school students, I will require a minimum of two five-six sentence paragraphs. Students should create names for the personality they choose and should date the journal entry or letter. In the written account, they should describe in detail their person\u2019s feelings on the Airlift, why the person feels this way, how/why the person has benefitted from the Airlift, how/why the person\u2019s feelings about the Airlift have changed, etc.\nBerlin Airlift Assessment Scoring Guide\n5 = excellent; 4 = good; 3 = satisfactory; 2 = needs work; 1 = marginal/ineffective; 0 = does not meet guidelines\n1. Written account clearly illustrates student understanding of 5 4 3 2 1 0\nBerlin Airlift\u2019s human importance/impact\n2. Written account is convincing and effective at portraying 5 4 3 2 1 0\n3. Written account clearly describes character\u2019s feelings on 5 4 3 2 1 0\nBerlin Airlift and explains reasoning for these feelings\n4. Written account shows creativity/student actively places 5 4 3 2 1 0\nhimself or herself in character\u2019s shoes\n5. Written account meets basic writing guidelines (length, 5 4 3 2 1 0\n6. Written account is well-written, legible & free of major 5 4 3 2 1 0\n7. Teacher comments\n8. TOTAL POINTS EARNED: /30 Percent & Letter Grade:", "id": "<urn:uuid:328e7aa8-1ffb-459b-832e-f5f3cb1cef9c>", "dump": "CC-MAIN-2021-17", "url": "https://www.trumanlibrary.gov/education/lesson-plans/1948-berlin-airlift", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039594341.91/warc/CC-MAIN-20210422160833-20210422190833-00630.warc.gz", "language": "en", "language_score": 0.9011314511299133, "token_count": 1919, "score": 4.25, "int_score": 4}
{"text": "- Is calm a mood?\n- Does tone affect mood?\n- How does the author create tone and mood?\n- What is the difference between voice tone and mood?\n- Is fearful a tone?\n- How is mood created?\n- Is prideful a mood?\n- What are examples of mood and tone?\n- What are some negative tone words?\n- Is informative a tone?\n- What is tone or mood?\n- Is Chaotic a tone?\n- Is regret a tone?\n- Can Lonely be a tone?\n- Is curious a mood?\nIs calm a mood?\nWhile moods are commonly used to describe how an individual person feels at a given time, they also can be used to describe the atmosphere of groups of people, places, and eras or time periods.\nThe mood set for this beach is calm and peaceful..\nDoes tone affect mood?\nMood and tone are two literary elements that help create the main idea of a story. The mood is the atmosphere of the story, and the tone is the author\u2019s attitude towards the topic. \u2026 By doing so, it will help us find meaning in the story or passage and help us feel more connected to the writing.\nHow does the author create tone and mood?\nTone is achieved through word choice (diction), sentence construction and word order (syntax), and by what the viewpoint character focuses on. Tone is created or altered by the way the viewpoint character/narrator treats the story problem and other characters, and by the way he responds to the events surrounding him.\nWhat is the difference between voice tone and mood?\nVoice is different because you can experience the author\u2019s style of writing. Tone is how the author wanted the readers to understand the attitude of the story. Mood is what the author wants the reader to see or sense the story.\nIs fearful a tone?\nfearful or uneasiness about something that might happen. to speak or think favorably of, to judge favorably. characterized by intense feeling; passionate; fervent; intensely devoted, eager, or enthusiastic; zealous; vehement; fierce.\nHow is mood created?\nIn literature, mood is the atmosphere of the narrative. Mood is created by means of setting (locale and surroundings in which the narrative takes place), attitude (of the narrator and of the characters in the narrative), and descriptions. \u2026 Atmosphere is the aura of mood that surrounds the story.\nIs prideful a mood?\nAlthough the adjective prideful is occasionally used simply to mean \u201cproud,\u201d or pleased and happy because of some achievement or quality, it usually means something closer to \u201chaughty.\u201d If you know someone who\u2019s beyond proud, believing they\u2019re smarter, more beautiful, or just generally better than most other people, \u2026\nWhat are examples of mood and tone?\nThe tone in a story indicates a particular feeling. It can be joyful, serious, humorous, sad, threatening, formal, informal, pessimistic, and optimistic. Your tone in writing will be reflective of your mood as you are writing.\nWhat are some negative tone words?\nNEGATIVE Tone Words SynonymsDemoralizing depressing; perverting.Indignant enraged; furious.Melancholy pensive; gloomy.Disgruntled discontented; dissatisfied.Lugubrious mournful; sorrowful.Disparaging sarcastic; critical.Inflamed irate; provoked.Haughty arrogant; condescending.More items\u2026\u2022\nIs informative a tone?\nAn author\u2019s voice may be sarcastic, informative, friendly, or something else entirely. \u2026 Tone can change from sentence to sentence, while voice stays consistent. Here\u2019s an example: In a young adult novel, the author has a casual voice.\nWhat is tone or mood?\nWhile \u201ctone\u201d is the writer\u2019s attitude, \u201cmood\u201d is the feeling the reader gets from the writing. Tone often describes the writing overall, but the mood of a piece of writing can change throughout it.\nIs Chaotic a tone?\nTypes of Tone. There are an infinite number of different tones, all composed of different qualities such as dark, humorous, serious, emotional, objective, chaotic, etc. Perhaps the most important aspect of tone, though, is the formal / informal distinction.\nIs regret a tone?\nWriters Write is a comprehensive writing resource\u2026.155 Words To Describe An Author\u2019s Tone.ToneMeaningApologeticfull of regret; repentant; remorseful; acknowledging failureAppreciativegrateful; thankful; showing pleasure; enthusiasticArdententhusiastic; passionateArrogantpompous; disdainful; overbearing; condescending; vain; scoffing151 more rows\u2022Jun 27, 2014\nCan Lonely be a tone?\nThe most important idea I came across is when loneliness occurs even when one is surrounded by others, perhaps the most concentrated form of loneliness. \u2026\nIs curious a mood?\nCuriosity is a familiar feeling among people. But as soon as we scrutinize that feeling, curiosity reveals itself to be a complex emotion indeed. \u2026 But unlike lust, the object of curiosity\u2019s desire is information. Curiosity is all about learning what we do not (yet) know.", "id": "<urn:uuid:220f8870-132c-44cf-a845-77e376d025a9>", "dump": "CC-MAIN-2021-17", "url": "https://bellyfatlossformula.com/qa/question-does-tone-create-mood.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00108.warc.gz", "language": "en", "language_score": 0.9249215722084045, "token_count": 1106, "score": 3.921875, "int_score": 4}
{"text": "How to Express a Theme in a Poem or Play\nA theme is a message that an author or playwright wants to convey to his audience. Themes can be explicitly stated or inferred. More often, writers weave themes seamlessly into the plot of a play or the poetic devices of a poem, and a reader has to infer them.\nPoets use poetic devices and elements to express themes, according to instructor Becky Villarreal at Austin Community College. For example, in \u201cThe Courage that my Mother Had,\u201d by Edna St. Vincent Millay, the poet uses the title to alert a reader to her theme. She also expresses the theme of courage in her poem by using certain poetic devices. In the last stanza, the line, \u201cThat courage like a rock,\u201d is a simile that compares her mother\u2019s courage to a rock, which is also a symbol for strength and stability. Poetic devices like imagery and symbolism are ways that poets express themes in their poetry. Poetry often utilizes symbols from landscape and nature to express theme, states an ACS Distance Education website on creative writing.\nIn plays, authors have many tools at their disposal to express theme. One of the easiest ways to express a theme in a play is to use characterization to convey your message. For example, in the famous musical \u201cLes Miserables,\u201d Jean Valjean, the hero of the story, undergoes a transformation of character, as does his nemesis, Inspector Javert. Valjean is a convict sent to prison for stealing a loaf of bread to feed his family. Because he keeps trying to escape, he is in jail for over 19 years. He leaves jail with the mentality of a felon. Without even going further in the story, a minor theme that readers can infer from this is that people are products of their environment. However, the major theme in the story is that people can change. During the course of the play, Valjean changes his identity and becomes a respected mayor, but Inspector Javert continues to pursue him. Javert is a rigid man who doesn\u2019t believe that people can redeem themselves. Jean Valjean\u2019s character and the actions that he takes during the course of the play show that Javert is wrong and amplify the theme that the author wanted to convey. People have the capacity to change for the better.\nAnother way that authors express theme in plays is by the plot. In \"Les Miserables,\" Javert is so immovable in his beliefs that he commits suicide at the end of the play. Because Valjean spares Javert\u2019s life during the rebellion, Javert comes to a crisis of a belief so imbedded in his mind that he cannot cope with the fact that a convict saves his life. Javert would rather die than accept the fact that people can change. This resolution shows the theme of change by showing the negative effects of being rigid and reluctant to undergo personal change and growth.\nJust as poetic devices can help a poet express theme, an author\u2019s use of literary devices can help to express themes in a play. In \u201cRomeo and Juliet,\u201d Shakespeare uses a variety of literary devices to express different themes in his famous play. The line spoken by Romeo\u2019s friend Mercutio, \u201cSearch for me tomorrow and you will find me a grave man,\u201d uses both foreshadowing and a homophone to express a theme of violence and death in the play. Tybalt murders Mercutio and puts him into a grave the next day.\n- Stockbyte/Stockbyte/Getty Images", "id": "<urn:uuid:df2e2b21-2043-4cd3-9d91-05cec3df59f9>", "dump": "CC-MAIN-2021-17", "url": "https://penandthepad.com/express-theme-poem-play-3361.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00190.warc.gz", "language": "en", "language_score": 0.9668645858764648, "token_count": 749, "score": 3.90625, "int_score": 4}
{"text": "The 4 main types of academic writing are: Descriptive, Persuasive, Expository and Narrative.\nWhen you\u2019re asked to write a paper for high school or university, your professors usually expect you to maintain one of those main types of writing for academic content. You\u2019ll be able to do that when you understand the characteristics of each type, and you learn how to make a difference between them.\nThat\u2019s what we\u2019re here for today! We\u2019ll define the four main essay types, so you\u2019ll know what expectations you\u2019re dealing with.\n1. Descriptive Academic Writing: Definition and Characteristics\nDescriptive writing is characterized with descriptions of objects, places, persons, emotions, experiences, situations, and so on. You\u2019re asked to analyze something and paint a picture in words.\nThe important thing to remember is that you\u2019re not writing for the sake of giving descriptions. You\u2019re supposed to convey a deeper meaning through this type of academic writing.\nYou need examples? Here is a scene from War and Peace, where Tolstoy used descriptive writing style:\n\u201cDown below, the little town could be seen with its white, red-roofed houses, its cathedral, and its bridge, on both sides of which streamed jostling masses of Russian troops.\u201d\nYou see how the author really paints a picture and makes you imagine the scene in front of your eyes? That\u2019s the effect you want to achieve.\nBut what is academic writing? Can you get inspired by fiction writers? The good news is that this is one of the most flexible writing types, which gives you a lot of space for artistic freedom.\n2. Persuasive (Argumentative) Writing: Convince With Strong Arguments\nThe persuasive (also known as argumentative) essay is one of the most common genres of academic writing required for school. It\u2019s the type of essay your professors assign when they want you to prove how great you are as an academic writer. It requires you to investigate a topic, form your own opinions, generate evidence in support of those opinions, and convince the reader that you\u2019re making a valid point.\nAmong all different types of writing, this is the most demanding one, mainly because the requirements for an extensive research process. You have to build your case with strong persuasive essay topic, logic, facts, cases, examples, and expert opinions. Plus, you must present both sides of the argument, so you\u2019ll convince the reader that your stand is the most logical option.\nThis is the structure for persuasive types of writing paper:\n- Introduction with a clearly defined thesis statement\n- Body paragraphs with evidential support\n- A body paragraph that discusses conflicting opinions\n3. Expository Academic Text: What Is It?\nThe expository writing style requires you to investigate an idea, collect and evaluate evidence that supports that idea, expound on it, and provide an argument that involves that idea.\nThis may be one of the most confusing styles of academic writing, since it\u2019s similar to persuasive style. However, there\u2019s less research involved in expository writing, and this type of essay is usually shorter in length when compared to a persuasive writing project.\nThis is the proper format to follow:\n- An introduction with a clear thesis statement\n- Body paragraphs that evaluate evidence\n- Conclusion that shows how the evidence proved your thesis statement\n4. Narrative Writing: Definition and Format\nNarrative style, as one of the most common types of academic writing, requires you to tell a story about a personal experience, anecdote, or a real-life situation. Book reports, which are also considered as narrative projects, do not follow the storytelling pattern, but focus on providing an informative narrative.\nWhen you\u2019re writing a narrative assignment, you must draw the reader into the content. You can achieve such an effect by using vivid language and expressing a clear point of view.\nThere\u2019s no particular format to follow for a narrative essay, but you still need an introduction, body, and conclusion of the essay.\nAs a student, you\u2019ll deal with all these assignments sooner or later. Knowing the difference between the main types of academic writing helps you handle the challenge!", "id": "<urn:uuid:18d6d51d-b1e7-4473-8d38-7b2ea9467bf3>", "dump": "CC-MAIN-2021-17", "url": "https://www.essaywritinglab.co.uk/blog/4-types-of-academic-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038060927.2/warc/CC-MAIN-20210411030031-20210411060031-00031.warc.gz", "language": "en", "language_score": 0.9307506084442139, "token_count": 899, "score": 3.59375, "int_score": 4}
{"text": "Narrative Procedure Activities for Fourth Grade\nA narrative procedure is a set of written instructions for how to do something that includes an introduction, transitional phrasing and a conclusion. It could be a step-by-step guide for things like baking a cake, putting together a piece of furniture or creating a craft project like a sun catcher. It can even include personal anecdotes. By learning how to write narrative procedures, fourth graders can strengthen their understanding of structure, narrative techniques and organization in the writing process.\nRead and Discuss Examples\nBefore students can start writing their own narrative procedures, it is helpful to learn from other examples. You can discuss cookbooks and instruction manuals to introduce the basic concept. However, narrative procedures usually expand on these basic sets of instructions, so books should be selected that provide more fully formed examples. Books that are appropriate for fourth grade include \"Eloise\u2019s Guide to Life\" by Kay Thompson and \"Kids' Magic Secrets\" by Lori Bree. Both include steps worked in with narrative descriptions and other useful information. After you read the books, discuss the components of narrative procedure found in the books, and identify each of the steps together. This will help students to better understand how a narrative procedure is composed.\nWrite Practice Narratives\nIt is easier for students to approach new writing by starting with something they know well. For example, students might write about how to clean a room quickly or how to play a certain video game. Students should write a practice narrative procedure, focusing on providing all the steps, including clear transitions and providing contextual information. The class can discuss these together to identify the components of narrative procedure and give feedback on whether the process is clear. A student or group of students could even act out the procedure as the class reads.\nInterview an Expert\nStudents can conduct an interview with an expert on a particular task, such as another teacher or a community member, and then create a narrative procedure based on the information they received. If they find gaps in their information, they can schedule follow-up interviews and do more research in order to complete their project. As they work to complete their narrative procedure from what they learned from the expert, they can see what information is important and what is extraneous. By interviewing an expert, students are also practicing the skills necessary to meet grade-level standards for listening to and carrying out instructions and analyzing and synthesizing information.\nTest their Procedures\nStudents can put their understanding of narrative procedures to the test through group work. Students should be instructed to write a narrative procedure on a process that they don't know well and have to research. After completing their drafts, they can each trade their paper with another student and test the procedures. For example, if one student writes about how to fold a paper airplane, the other student should be able to read the instructions and complete the procedure correctly without any outside help or knowledge. The activity will show students where they are missing steps or forgot to include contextual information, such as troubleshooting potential problems.\nMaria Magher has been working as a professional writer since 2001. She has worked as an ESL teacher, a freshman composition teacher and an education reporter, writing for regional newspapers and online publications. She has written about parenting for Pampers and other websites. She has a Master's degree in English and creative writing.", "id": "<urn:uuid:c488a663-d3c8-4f2f-bf24-23355f527290>", "dump": "CC-MAIN-2021-17", "url": "https://education.seattlepi.com/narrative-procedure-activities-fourth-grade-6342.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00271.warc.gz", "language": "en", "language_score": 0.9567179083824158, "token_count": 672, "score": 4.15625, "int_score": 4}
{"text": "In this Wonder of the DayR, we learn about why flamingos are pink. Students have the opportunity to explore the Wonder either as a class or individually. With suggestions for different age groups, Wonder #1 has an activity to engage students with drawing, writing description, or both.\nThis Lesson Plan was created by Molly Simpson. The attached Lesson Plan is designed for Grade 1 English Language Arts students. Students will be able to understand and spell the words using their knowledge of the various spellings of the same sound: \"oar, \"or\", and \"ore\". This Lesson Plan can be used with small group instruction or with a whole class. This lesson plan adresses the following NDE Standards: . It is expected that this Lesson Plan will take students 20 to 80 minutes to complete depending on the use of small group or large group instruction.\nThe attached lesson plan is designed for 3rd grade English Language Arts students. Students will analyze informational text to determine the main ideas for a report, apply the concepts of the writing process, and communicate their research through an oral presentation to their classroom peers. This lesson plan addresses the following NDE Standards: NE LA 3.1.6.e, NE LA 3.2.1.a,c,d,e,j, NE LA 3.3.1.aIt is expected that this lesson plan will take five one-hour sessions to complete.\nStudents are reading to learn new information all the time. They should know different strategies to help them along the way. This is a great little lesson to do at the beginning of the school year and then after semester break again. Students should know the tools to help them be successful readers. This can be used for a teacher inservice or for parents who are new to helping thier own kids out during elearning / homework. 20 minutes\nThis lesson uses tall tale read alouds to reinforce the common elements, or text structure, of tall tales. As the text is read aloud, students examine the elements of the book that are characteristic of tall tales. Then using what they've learned, they write and perform tall tales of their own.\nThis is a fun introductory writing piece for 7-12 students to help teachers get to know the individuals in their class. This writing lesson was created by Janelle Coady as part of the 2020 OER English Language Arts Workshop by NDE. It is expected that this plan will take students one class period to complete.\nThis English Language Arts lesson for 9th or 10th graders focuses on reading comprehension and vocabulary via nonfiction articles linked from commonlit.org, and addresses the following NE state standards: NE.LA 10.1.5.A; NE.LA 10.1.5.C; NE.LA 10.1.6.A; NE.LA 10.2.2.BThe lesson will take approximately 90 minutes.\nThis lesson reviews the six types of nouns and then focuses in on abstract nouns. The students will do a creative writing paragraph with the use of an abstract noun and that emulates Rand's writing style.\nNebraska Standards: 3.2.2.d, 3.2.1h, 3.2.2.aTarget: Students will review and practice parts of speech, specifically adverbs with self, partners or/and class. When students know how to correctly use adverbs they can enhance thier wrting by making it more interesting, adding details, and using good word choice. Time- 20 minutesMaterials- all optional: paper, pencils, video, partner\nThis Remote Learning Plan is designed for preschool students. This alphabet lesson uses the story Chicka Chicka Boom Boom by Bill Martin, Jr. and John Archambault as an introduction to alphabet identification. Anticipated lesson length is 30 minutes. Online and offline options are included.\nThis remote hyperdoc activity was created by Katlyn Powers on July 24, 2020. The attached hyperdoc & lesson plan is designed for high school ELA students. Students will analyze and evaluate the elements of a sonnet, build background knowledge to clarify and deepen understanding of poetry, and use relevant evidence from a variety of sources to assist in analysis and reflection of Hayes' poem. This plan addresses the following NDE standards: NE.LA 10.1.5.C, NE.LA 10.1.5.D, NE.LA 10.1.6.F, NE.LA 10.1.6.I, NE.LA 10.1.6.L, NE.LA 10.1.6.M, NE.LA 10.2.2.BThis hyperdoc will take students approximately 90 minutes to complete.\nCan a person be both admirable and flawed at the same time? In this lesson, students will look more closely at the character of Okonkwo. Students will figure out what his most admirable qualities are, as well as some of his flaws. They will also decide whether Okonkwo has the potential to be a tragic hero.\nStudents will build fluency skills through a Drama Station where they can choose to perform a Reader\u2019s Theater activity, poetry selection, jokes, a favorite book, or a song.The students will develop their speaking and listening skills and then evaluate themselves using a rubric assessment.\nSupporting inquiry-based research projects, the Animal Inquiry interactive invites elementary students to explore animal facts and habitats using writing prompts to guide and record their findings.\nStudents will read an article on animals. Using the provided worksheet students will take notes on an animal of their choosing. Once they have taken notes, they will be asked to write a new report on their animal.\nConsider are the pros and cons of children performing for TV and in other competitive performing environments. Learning Objectives:Students will read articles with opposing view points and find main ideas and details from each text.Students will take a stance on an arguementive issue and produce a piece of writing to include evidence from the text.\nThe ability to identify prepositional phrases strengthens a writer's ability to write and punctuate complete, grammatically sound sentences.This plan has been created by Cherie J. Johnson for the purpose of helping middle school students on their way to becoming clean, clear, fluent writers. This material was put together while participating in the workshop- Nebraska\u2019s OER Common\u2019s Hub for ELA & Reading; July 22-24, 2020.\nThis resource is designed to walk students through the process of completing a research project in any field of study. It covers the earliest stages of brainstorming and discussing, continues through researching and compiling sources; writing, documenting, revising, and polishing a paper; and finally presenting the research topic to a wider audience in a professional manner. The focus is on MLA format, though the course could be modified for other formats.\nThe first unit is an introduction to the project. It asks students to draw on knowledge of issues affecting their own community and world to help generate discussion that could eventually lead to a research topic.\nStudents will identify with characters in stories to understand that feelings can be shared between themselves, other characters, and other students in our World. Students will also identify the similarities and differences between two different texts in order to understand the main idea.", "id": "<urn:uuid:571ace9f-b14b-4255-9248-e336157bd596>", "dump": "CC-MAIN-2021-17", "url": "https://www.oercommons.org/browse?f.keyword=ne-ela", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00111.warc.gz", "language": "en", "language_score": 0.9352437853813171, "token_count": 1499, "score": 4.125, "int_score": 4}
{"text": "15,000+ Teacher-reviewed Resources!\nWriting & Digital Storytelling Treasures\nThis week we feature writing, poetry, and digital storytelling tools for you and your students. December includes the birthdays of authors Emily Dickinson and Rudyard Kipling, as well as the publishing of the holiday classic, A Christmas Carol. Explore our collections to find resources to celebrate these occassions and more!\nEngage your students in the works of Kipling. Find a biography, listings of books and poems, and links to related resources and publications. Use this site to teach about Kipling, as part of an author study, or for research.\nView the short tutorial to learn how to create personalized and interactive maps. Bring stories to life by highlighting locations within a novel or hometowns of authors. Challenge students to create their own maps about books they read.\nSimplify any text. Type or paste text into the text box and this unique tool highlights words not found in the 1,000 most commonly used words in the English language. Use to retell difficult text using more commonly understood words.\nA Trio of TeachersFirst Treats\nThis trio of resources includes an archived virtual workshop about digital storytelling, our editor's choice picks of the best digital storytelling sites on TeachersFirst, and our Power of Poetry guide to how and why poetry is a powerful teaching and learning tool.\nIf you are new to digital storytelling, this is an excellent starting point. View this archived virtual workshop to learn more about what digital storytelling means, how to use it, and the best tools. A thorough resources page is included.\nThis curated list features our editor's selection of the BEST tools for digital storytelling. Read each review to find a complete description and classroom ideas to infuse technology in your class.\nLearn the power of poetry, related to Common Core or any standards. Article topics include: Key Ideas & Details, Craft & Structure, Text Complexity & Range of Reading, Fluency, and Resources. Find useful tips, tools, and more.\nWriting Tools for Elementary & Beyond\nGet your digital pen ready! These resources are ideal for elementary students, however tweens and teens will also find them helpful.\nHelp students organize their thoughts with these great graphic organizers. Simply, fill out and print graphic organizers for characters, setting, conflict, and resolution. Writing prompts are provided. You can't save, so be sure to print!\nEven your youngest students can use Flipgrid for reflection about a story, science concept, or self-introductions. With a simple click, students can easily share responses using this video discussion tool. Students don't need an account to respond.\nPersonalize your story with text, slide shows, links to outside resources, and more by creating a story page using Adobe Spark. Follow the prompts to add your own images or select from thousands available online. Young students can work with a partner.\nThis Week at TeachersFirst\nJoin our #OK2Ask Twitter Chat on Thursday to discuss Student Voice and Choice. Register for our Winter 2018 Series of virtual workshops. And, tell us if your class reads A Christmas Carol in our weekly poll.\nStudent Voice and Choice\nJoin our #OK2Ask Twitter Chat on Thursday 12/21, 8 PM ET. Our topic is Student Voice and Choice. Discuss how to assess and incorporate students\u2019 needs and wants into instruction. Share tech tools. And, explore how to create a sense of student ownership.\nLearn how to participate \u00bb\nRegistration Is Now OPEN for Winter 2018\nThe first workshop of our Winter 2018 series is Tuesday 1/9 at 7 PM ET. Register now and learn how to make the most of your FREE TeachersFirst membership.\nRegister for free workshops \u00bb\nA Christmas Carol in the Classroom?\nA Christmas Carol was Published in 1843. Does your class (or school) read this piece of literature?\nVote and view poll results \u00bb\nBrought to You by TeachersFirst\nConnect with us\nTwitter | Facebook\nContact the editor | Meet the contributors\nTeachersFirst is a collection of curated, classroom-ready content and ideas \u2014 including teacher-authored reviews of more than 15,000 web resources. Built-in guidance from seasoned professionals makes effective classroom technology use trouble-free. TeachersFirst is made available free to K12 teachers by The Source for Learning, Inc., a nonprofit that has been providing educational resources for more than 40 years.", "id": "<urn:uuid:3368011f-9daf-41b8-9b06-39be02deabb2>", "dump": "CC-MAIN-2021-17", "url": "https://teachersfirst.com/tfupdates/december-17-features-2017-12-17", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00310.warc.gz", "language": "en", "language_score": 0.9109371900558472, "token_count": 902, "score": 3.59375, "int_score": 4}
{"text": "Download This Sample\nThis sample is exclusively for KidsKonnect members!\nTo download this worksheet, click the button below to signup for free (it only takes a minute) and you'll be brought right back to this page to start the download!\nSign Me Up\nJane Austen was an English novelist, popular for her six major novels at the end of the 18th Century. Her novels serve as critiques to the British Landed Gentry, a social class that is mostly comprised of landowners. Jane Austen\u2019s novels feature plots that explore the dependence of women on marriage in order for them to be in favourable conditions in terms of social standing and economic or financial security. Her novels not only criticize a specific social class, but other types of novels, such as sentimental novels, which mostly rely on emotions.\nSee the fact file below for more information on the Jane Austen or alternatively, you can download our 23-page Jane Austen worksheet pack to utilise within the classroom or home environment.\nKey Facts & Information\n- Jane Austen\u2019s was born on December 16, 1775, in Steventon, Hampshire.\n- Jane Austen\u2019s birth was considered late as her parents expected that she was to be delivered one month earlier.\n- Since the winter of 1776 was harsh, Jane wasn\u2019t baptized until April the following year at a local church, with the single name Jane.\n- Jane\u2019s father, George Austen, was a rector (a cleric who functions as an administrative leader) of the Anglican parishes (Church of England) at Steventon and near Deane.\n- George came from a well-known and respected family of wool merchants.\n- As children, George and his two sisters were orphaned and were taken in by relatives.\n- George met his wife, Jane\u2019s mother, Cassandra Leigh, when he entered St. John\u2019s College, Oxford.\n- Cassandra Leigh came from the wealthy Leigh family; her ancestry roots from Sir Thomas Leigh who created the hereditary title Baron Leigh.\n- Jane\u2019s family moved to Steventon in 1768.\n- Jane had one sister, Cassandra, and six brothers: Henry, Francis, George, Charles, Edward, and James.\n- Henry was the first child but was sent to be fostered as soon he showed signs of being developmentally disabled.\n- Henry was followed by the birth of Cassandra in 1773, Francis in 1774, and Jane in 1775.\n- The Austens\u2019 home, was a home where ideas were freely discussed.\n- Jane and Cassandra were sent to Oxford University in 1783.\n- Both were educated by Mrs. Ann Cawley, who also took them with her to Southampton when she moved there.\n- Jane and Cassandra caught typhus fever in the autumn and were sent back home.\n- Jane nearly died, so she was homeschooled after that.\n- In 1875, she and Cassandra attended boarding school in Reading University at the Reading Abbey Girls\u2019 School.\n- They were taught by Mrs. La Tournelle whose passion was theater.\n- The school curriculum included spelling, drama, French, needlework, dancing, and music.\n- The sisters was forced to return home as the school fees were considered too high for them in 1786.\n- Jane developed her passion for reading as she had access to her father\u2019s library and a library from family friend, Warren Hastings.\n- Historian Irene Collins states that Jane \u201cused some of the same books as the boys.\u201d\n- Jane\u2019s father was very supportive to her passion for writing, and he was tolerant of Jane\u2019s writing experiments.\n- George even bought her expensive paper for writing and drawing.\n- At the age of 12, Jane tried dramatic writing; she wrote three short plays during her teenage years.\n- When she was young, Jane Austen wrote mostly for her family\u2019s amusement.\n- The stories she wrote exaggerated the details of daily life. Common plot devices were parodied.\n- Academic Writer Janet Todd described Austen\u2019s stories as \u201cfull of anarchic fantasies of female power, licence, illicit behaviour, and general high spirits.\u201d\n- These early works (29 in total) were compiled by Jane into three notebooks. Jane\u2019s work written between 1787 and 1793 is now referred to as Juvenilia.\n- A notable piece in this collection was Love and Friendship, a novel in letters that poked fun at popular sentimental novels.\nAS A PUBLISHED AUTHOR\n- Jane Austen published four well-received novels, including Sense and Sensibility and Pride and Prejudice, during her stay in Chawton.\n- Unknown to Austen, her novels were translated into French and published in cheaply produced, pirated editions in France.\n- Six major novels of Austen are Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Persuasion, and Northanger Abby.\n- Genre and Style\n- Critics refer to Jane Austen\u2019s work as a critique of sentimental novels.\nILLNESS AND DEATH\n- Jane Austen was believed to suffer from Addison\u2019s Disease, a long-term disease that made her lack in producing steroid hormones.\n- The disease that caused Jane Austen\u2019s death was believed to be Hodgkin\u2019s Lymphoma, a type of cancer in the blood.\n- Austen died in Winchester on July 18, 1817, at the age of 41.\nJane Austen Worksheets\nThis is a fantastic bundle which includes everything you need to know about Jane Austen across 23 in-depth pages. These are ready-to-use Jane Austen worksheets that are perfect for teaching students about Jane Austen who was an English novelist, popular for her six major novels at the end of the 18th Century. Her novels serve as critiques to the British Landed Gentry, a social class that is mostly comprised of landowners. Jane Austen\u2019s novels feature plots that explore the dependence of women on marriage in order for them to be in favourable conditions in terms of social standing and economic or financial security. Her novels not only criticize a specific social class, but other types of novels, such as sentimental novels, which mostly rely on emotions.\nComplete List Of Included Worksheets\n- Jane Austen Facts\n- Not-So-Plain Jane\n- Austen Family Tree\n- Passion for Reading\n- Jane\u2019s Best Qualities\n- Match the Novel\n- Classifying Characters\n- Georgian Society\n- Female Authors\n- Designing Covers\n- Plot of My Novel\nLink/cite this page\nIf you reference any of the content on this page on your own website, please use the code below to cite this page as the original source.\nLink will appear as Jane Austen Facts & Worksheets: https://kidskonnect.com - KidsKonnect, August 20, 2019\nUse With Any Curriculum\nThese worksheets have been specifically designed for use with any international curriculum. You can use these worksheets as-is, or edit them using Google Slides to make them more specific to your own student ability levels and curriculum standards.", "id": "<urn:uuid:e1a2abed-3524-4aa5-8baf-6d73193a781f>", "dump": "CC-MAIN-2021-17", "url": "https://kidskonnect.com/people/jane-austen/?utm_source=newsletter&utm_medium=email&utm_campaign=womens_history_month_worksheets&utm_term=2021-04-17", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038118762.49/warc/CC-MAIN-20210417071833-20210417101833-00231.warc.gz", "language": "en", "language_score": 0.968949556350708, "token_count": 1533, "score": 3.75, "int_score": 4}
{"text": "This article draws on my experience as a writer and editor of readers. I am grateful to all the authors of published and unpublished manuscripts from whom I have learnt so much.\nThe ideas here, while primarily intended for teachers writing for their students, or for publication, are also applicable to student creative writing. This is particularly so when a teacher gets a class, groups or individuals to create stories for other students at a lower language level.\nKey ideas in creating a reader\nThe importance of schemas (assumptions of facts, including \u2018default facts\u2019 which are never mentioned- usually cultural)\nGuy Cook in ELT Journal 51/1 defines a schema as \u2018a mental representation of a typical instance\u2019, and goes on: \u2018Schema theory suggests that people understand new experiences by activating relevant schemas in their minds\u2019.\nFor learners of a language, schematic knowledge can be as important as linguistic knowledge in understanding what a text means. There are personal schemas, general ones about the world, and ones related to genre. These operate at text level and are crucial to comprehension.\nWriting within a genre which is familiar to the reader\nA recognition of the importance of schematic knowledge leads on to writing within a clearly-defined genre. Reading is facilitated by plot structure and character type which the learner is likely to recognise. This places learners in a familiar landscape where they are more likely to be able to predict in which direction they will go. Reading within a familiar genre reduces the load of new information which the learner is processing, increasing both speed and accuracy.\nParagraph and sentence level information control\nIt was John Milne in his pioneering work with the Heinemann Guided Readers who introduced this concept. He argued that lexical and grammatical controls were only half the picture. Limiting new information for the learner in each paragraph and sentence is as important as the use of simple language. Too much new information slows the learner to a halt. Careful attention to anaphora (backward reference using pronouns e.g. she, this), for example, prevents overload, avoids ambiguity and facilitates reading forward, so that readers so not have to look back to see who, or what, is referred to.\nEase and meaning\nReading creates readers (in the sense of people, not books) and easy, successful, reading creates good readers (what Christine Nuttall in Teaching Reading Skills in a Foreign Language described as the \u2018virtuous circle\u2019 of reading). Recourse to a dictionary or glossary is a sign of unsuccessful reading. Understanding of a text is enhanced by careful contextualisation of new words (by making sure that they are met in an unambiguous context, glossed within the text, or explained by the surrounding sentences), use of illustration where appropriate, and repetition of new lexis.\nThe writing process\nThe notes that follow are offered as no more than a guide: if you have your own way of writing and it works stick to it!\nAs a teacher, decide on your level and think of a class you know, or have recently taught at that level. Use them as your reference point, not just for language, but also for content. Later, you may be able to try the material out with the actual class, or a similar one.\n\u2018You never quite know where your story is until you have written the first draft of it.\u2019 Raymond Chandler (letter: March 7, 1947)\nDifferent writers work in different ways. While some like to map out plot and character beforehand, others prefer to discover the story by writing it. The crucial thing is that you work within a genre. Although many learners are not wide readers even in their own language, they are certainly aware of genre through exposure to TV, film and DVD. Thus they will have expectations of what will happen in, say, a thriller (a difficult situation of some kind, a protagonist who struggles against the odds to resolve the situation, a restricted time-frame, exciting incidents and a gripping conclusion) and the kind of language that will be used to tell the story. By writing within genre the author greatly facilitates comprehension and increases speed of reading and enjoyment. One reason why simplified literature is often so unsatisfactory and hard to read is that great literature often defies genre, creating its own contexts and values.\nA successful way to start using genre is to move like this:\nGenre \u2013 character \u2013 situation \u2013 place \u2013 event\nFirst, identify a genre which readers will be familiar with. Then, think of a character, the kind that appears in your chosen genre. Place the character in a situation, some kind of problem or opportunity. Choose the place, the physical location. Then, think of an event that the character participates in. And let the story begin \u2026\nThis way of writing is for those who want to find out what happens to the character and who write the story in order to do so. The advantage of this \u2018making it up as you go along\u2019 method is that you can, of course, go back and plant plot trails and introduce clues and characters when the need arises.\nThings to think about\nWrite about what you know: Writing from personal experience and understanding is often clearer and more effective than a massive leap of empathy.\nA strong theme: what is it about? Successful fiction is \u2018about\u2019 something. It has themes and a depth which the pot-boiler lacks. While abstract concepts are more easily handled at higher levels, the lower level reader can still treat \u2018serious\u2019 topics.\nHooks: Not confined to thrillers. By \u2018hooks\u2019 is meant end-of-chapter questions in the readers\u2019 minds which make them want to start the next one.\nShowing, not telling: The reader needs to discover the story through dialogue and action rather than be told about it. Writers report that the development of the characters\u2019 own \u2018voices\u2019 is vital, and different writers achieve this in different ways.\nMotivated action: An obvious point, but character\u2019s actions must spring from their own motives, rather than the exigencies of the plot.\nStrong opening: An opening which gets the action moving is to be preferred to elaborate scene-setting and character introduction. You may need to \u2018clear the ground\u2019 in your own mind by writing the backstory, but this does not have to be part of the finished story.\nSatisfactory ending: A resolution to the problem or conflict which the book centres around is expected. It is important to make an ending happen and not let the story peter away. While research shows a majority of learners prefer a reader with a definite conclusion, a minority enjoy one which ends with a question mark.\nLinear time frame: Careful attention to time is fundamental. A linear structure (particularly at the lower levels) which avoids flashbacks and time jumps makes life easier for the reader. Equally, sudden jumps in place which disorientate the reader are also to be avoided. The learner easily attributes lack of comprehension to personal linguistic deficiencies rather than complicated story-telling and this is de-motivating.\nRead lots of readers: When you have chosen a level read as many readers as you can at that level. This will help you internalise appropriate lexical and grammatical controls and give you a feel for what can and cannot be achieved at that level. Many publisher\u2019s websites offer free sample chapters, but there is no substitute for reading whole books.\nRead your work aloud: While of questionable value to the learner, reading aloud is invaluable to the writer. It is a great way of checking whether dialogue is natural and characters have their own \u2018voices\u2019.\nAlways leave a chapter or page unfinished: Then when you start writing again you are not faced with a blank screen or piece of white paper. Leaving something unfinished gets you back into the swing of the writing quickly.\nA tip from Raymond Chandler: \u2018If in doubt have a man with a gun come in the door \u2026\u2019 (or some other dramatic event).\nWriting is a craft which can be learnt \u2013 I know, I was always terrible at creative writing at school. I hope that you will find these ideas useful in creating your own readers, or in facilitating your students\u2019 story writing.\nCook, G. (1997). \u2018Key concepts in ELT: Schemas.\u2019 ELT Journal, 51(1), 86.\nMacShane, F. (1981). Selected Letters of Raymond Chandler. London: Jonathan Cape.\nMilne J. (1977). Heinemann Guided Readers Handbook. London: Heinemann.\nNuttall C. (1996). Teaching Reading Skills in a Foreign Language. Oxford: Heinemann.\nPhilip Prowse is Series Editor of Cambridge English Readers (CUP), the author of a number of readers for that series and also for Macmillan Readers, and co-author of teenage course-books for Macmillan.", "id": "<urn:uuid:23cd14f8-86fc-4fc9-a353-a9b7a0d4370e>", "dump": "CC-MAIN-2021-17", "url": "http://www.philipprowse.co.uk/articles/paperback-writer-developing-original-fiction-for-learners-of-english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038069267.22/warc/CC-MAIN-20210412210312-20210413000312-00072.warc.gz", "language": "en", "language_score": 0.9483124017715454, "token_count": 1859, "score": 3.671875, "int_score": 4}
{"text": "Social emotional learning is aimed towards strengthening student relationships and inspiring a greater sense of self-worth in every student.\nOne important facet of this field is emotional intelligence (EI), also referred to as emotional intelligence quotient (EQ), which helps students build empathy and compassion both within themselves and towards other people. Here\u2019s how to teach emotional intelligence to students at any and all grade levels.\nWhat is Emotional Intelligence?\nEmotional intelligence has become somewhat of a buzzword in recent years, so it\u2019s important to understand its true definition. At its core, EI is a person\u2019s ability to be self-aware of their emotions and behaviors. HR software company Natural HR explains that emotional intelligence also encompasses the ability to self-manage and self-regulate.\nAdditionally, conversations about emotional intelligence in schools often include themes of empathy and compassion. However, according to psychologist Daniel Goleman, author of Emotional Intelligence, and social psychologist Richard Boyatzis, emotional intelligence is much more dynamic and complex. They outline the four core domains of EI: self-awareness, self-management, social awareness and relationship management. This is helpful for teachers because it makes them aware of the broad scope emotional intelligence.\nWhy Teach Emotional Intelligence?\nEmotional intelligence is clearly important for interpersonal relationships and leadership development, but what role does it play in schools?\nAn evidence-based approach to teaching EI called RULER (an acronym for Recognizing, Understanding, Labeling, Expressing and Regulating emotion) shows that such skills greatly improve academic achievement. This project from the Yale Center for Social Emotional Intelligence has found that increased social emotional skill learning can improve school climate and boost leadership skills while decreasing anxiety, depression, and instances of bullying amongst students.\nEmotionally intelligent people not only perform better in school, they also have stronger interpersonal relationships and are less likely to engage in unhealthy behaviors, Grace Rubenstein, journalist, editor and media producer writes at the Ted-Ed blog. Plus, communication and stress management skills are becoming important in terms of identifying the value of humans over machines, she adds.\nEmotional intelligence skill building is also a critical factor in helping children with behavioral and attention issues succeed. Special education writer Peg Rosen explains that emotional intelligence shapes how we respond to challenges. For children who experience heightened emotional challenges, EI is an essential tool for navigating everyday situations.\nTeaching Emotional Intelligence in Class\nSince emotional intelligence can be such a broad term, it might be overwhelming for teachers who don\u2019t know where to start. According to psychologist Lisa Firestone, director of research and education at the Glendon Association, discussing mindfulness can be a helpful place to begin. Mindfulness is an important part of EQ because it has been shown to reduce symptoms of stress and anxiety in children.\nMindfulness also helps children and young adults slow down and tune into their emotions, which is the first step in regulating emotions. Consultant Matthew Lynch, Ph.D., who is editor of The Edvocate, agrees that tuning into one\u2019s emotions is the first step towards a more emotionally-intelligent self. He says that this is the foundation upon which all other emotional intelligence dimensions are built.\nEvidence-based school programs can help teachers incorporate emotional intelligence into everyday activities. Roots of Empathy, for example, is a curriculum that demonstrates how emotional themes relate to each and every part of our lives. Whether using literature to describe another person\u2019s perspective or art to express inner emotions, opportunities for building EI skills are everywhere.\nCommunicating About Feelings\nOne of the core tenets of strong emotional intelligence is the ability to identify and discuss one\u2019s feelings. One way to strengthen these skills in the classroom is to develop a vocabulary for emotions.\nEducators can teach such skills through the alphabet game, writes sport psychologist Bradley Busch, who co-authored the book, Release Your Inner Drive. By going through each letter of the alphabet and talking about an emotion that corresponds with that letter, students expand their emotional vocabulary. In turn, this exercise allows discussions as to what different emotions feel like.\nModeling EQ behavior is another way to teach it, especially to students in their teenage years. Teen treatment company Paradigm Malibu says teachers can show teenagers what it looks like when someone manages and talks through their emotions in a healthy way. When kids see an example of behavior they can copy, they\u2019ll be more likely to incorporate it into their own lives.\nTeachers can also help students understand how to process and reflect on their emotions before acting on them.\nAuthor of EQ, Applied, Justin Bariso says one approach is for a person think about what they want to say before they say it. In that pause, they can ask themselves questions such as \u201chow will my response affect my relationship to this person?\u201d and \u201cwill I regret saying this?\u201d. Formulating a response in this way keeps it from being a knee-jerk reaction to high emotions. Teachers who see a student getting visibly upset can intervene in this moment and ask them to step back and take a moment.\nUsing Storytelling to Teach Emotional Intelligence\nMovies and books also offer examples of how people work through their emotions.\nOne of the best modern stories about emotion is Inside Out. This animation film, which follows characters that represent a young girl\u2019s emotions, offers an intricate, yet approachable look at what it means to understand feelings. Mary Ryerse, director of strategic design at learning design firm Getting Smart, provides 12 tips for how this movie can be used to teach emotional intelligence. One of these is to have students reflect on emotions and memory through writing, similar to how the character Riley processes her feelings about certain memories.\nEducational psychologist, speaker and author Michele Borba includes Inside Out on her list of movies that teach crucial empathy habits. Younger students can also see animated films like Pinocchio, Dumbo, Shrek and Charlotte\u2019s Web while middle and high school students will find lessons in moral courage, kindness and self-regulation in classic films such as Forrest Gump, The Secret Garden, The Sand Lot, and Harry Potter.\nTrue stories serve as foundations for emotional intelligence conversations too. Anabel Jensen, Ph.D., founding president of the EI network Six Seconds, says the story of zoologist Grace Wiley, who specialized in reptiles, is one of her favorites. While tragic, this true account shows the importance of being trained in emotional intelligence. Jensen\u2019s interpretation also serves as a model for how other educators can illustrate emotional intelligence.", "id": "<urn:uuid:005ba11f-67a8-4ebc-89df-d95b4cf23883>", "dump": "CC-MAIN-2021-17", "url": "https://blog.planbook.com/teaching-emotional-intelligence/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00311.warc.gz", "language": "en", "language_score": 0.9460987448692322, "token_count": 1358, "score": 4.0625, "int_score": 4}
{"text": "Mapping out a family tree can be a great opportunity for younger children to learn more about \u201cwhere they come from.\u201d Often, seeing their immediate family drawn out on paper will help them to remember relatives better and understand those relationships of how those relatives are, well, related! For older students, mapping out a family tree also opens the doors to creative writing assignments about family as well as History and Geography lessons.\nYou can find diagrams already made for basic family trees, and even extended family. For a basic template that extends to great-grandparents, click here. Have students bring pictures of their individual family members, and use them along with crayons, markers, and colored construction paper to decorate their trees. Students might also write a story about their family to go with their family tree. This could mean writing about \u201cWhat My Family Means To Me\u201d or interviewing a grandparent for a story that dates further back.\nFor older students, have them construct a larger family tree. You may find you are hosting a competition to see who can trace back through more levels. Genealogy.com, RootsWeb and FamilyTreeMaker.com are just a few of the many websites your students may find helpful. When all their resources have been exhausted by talking to relatives and going through family records, these sites can help students locate relatives they may not have known existed! You can determine the extent to which your students pursue this project, from a basic family tree to some in-depth research.\nYou may find that very few of your students come from \u201ctraditional\u201d homes where they still live with both birth parents. Let these students choose how they want to construct their family tree, as they often have a few different options. If their parents are divorced and the student now has a stepparent(s), they may want to make two trees, or only half a tree (Mom\u2019s side, for example). You might also give them the option of including \u201ccommon law\u201d marriages, boyfriends or girlfriends.\nAdopted students often regard their adoptive parents as their only parents. Encourage them to learn more about their adoptive family\u2019s roots. Foster children may present a slightly different challenge however, and they are probably very sensitive about this subject. If you can speak to the foster parents, they will probably have the most insight as to how to address the project their foster child.\nAnother suggestion comes from T2T contributor Veronica Dees: \u201cSeveral years ago, I ran into a \u201csensitive\u201d family situation. Since then, I offer an option to use a fictional family instead of your own. It must be either from a literary work, a television show, or a cartoon. I reserve the right to refuse a substitute family for my own reasons (i.e.: the Menendez brothers and their family.) Middle schoolers love shocking adults with inappropriate choices. \ud83d\ude42 Other than that, offering substitute families as an alternative has really worked out well for my class.\u201d\nPhyllis Rowland is an author who also teaches writing workshops. \u201cIf some children are from families who have divorced, or the chidren are adopted, now is a good time to help them find roots in establishing family traditions for the future. What will their grandchildren want to know about them?\u201d Phyllis also suggests an exercise where your students write as if it were \u201c40 or more years in the future, stories for their own children or grandchildren about their ancestors who lived in 1998. They try to envision the world their descendants would live in, and thereby contrast that with today. A fictitious family tree beginning with themselves and adding their dreams for family continuity is an interesting activity.\u201d\nAdditional activities you may want to consider:\nJournalism \u2013 Have students videotape interviews with a Grandparent or Great-Grandparent. Not only is this a great way for them to learn more about their heritage, but the videos will become treasured keepsakes as the years pass.\nGeography \u2013 Have students map their ancestors\u2019 travels that brought them to America. Plot on a map the various towns and countries their ancestors were born in, and have them write a sentence or two about each location and why it was important.\nTimelines \u2013 A timeline is a great way to chart the history of a family. Start as far back as a family\u2019s roots can be traced, and then plot a timeline based on each major event: a move from one town to another, marriages, births, and the current events for that time and place in history. A word of caution that one T2T contributor pointed out though; personal timelines that are about the students themselves may not always be a good idea. Sometimes personal information can surface that a family may not have wanted the entire class to know about. (One teacher cited an example where a student set his family\u2019s home on fire and a sibling was fatally burned \u2013 this would be difficult to work around in a personal timeline.)\nPhysical Features \u2013 A good collection of family photos makes this activity very entertaining. See if your students can determine which family members passed along the physical traits that make each student unique! Which relatives had the same shape nose or mouth? Which characteristic is repeated most often? Which characteristic will future children most likely inherit?\nName Game \u2013 Trace the roots of first names in your class. Were students\u2019 names passed down through their family for generations? In which country did a given name originate?", "id": "<urn:uuid:9262f8af-4a4b-41ba-80d6-c2d8d080fcca>", "dump": "CC-MAIN-2021-17", "url": "https://teachnet.com/lessonplans/parents/genealogy-family-trees/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00272.warc.gz", "language": "en", "language_score": 0.9775314331054688, "token_count": 1122, "score": 3.671875, "int_score": 4}
{"text": "Unit studies, sometimes called thematic units or integrated studies, are very popular with homeschoolers. Homeschool unit studies usually use a hands-on approach for effective learning. The child learns by actually experiencing or discovering through different methods and activities, rather than just reading a chapter from a textbook.\nStudies show that children using unit study methods retain 45% more than those using a traditional approach.\nThe unit or theme part refers to the idea of studying a topic as a whole instead of several subjects. Thousands of years ago, the Greeks decided to break whole topics into subjects.\nFor example: most people think of water as a science subject. One way to look at water is as H2O\u2014a chemistry subject\u2014but, it is also art (a beautiful waterfall), history (the Red Sea), economics (water bill), theology (baptism), language arts (babbling brook, which is a metaphor), geography (the location of bodies of water), etc.\nA unit study approach takes a topic and \u201clives\u201d with it for a period of time, integrating science, social studies, language arts, math, and fine arts as they apply.\nFor example, a unit study about animals would include:\n- Reading stories such as Charlotte\u2019s Web, Flicka, etc. (Literature)\n- Writing stories about animals (Creative writing, capitalization, punctuation, etc.)\n- Learning about the classification of animals (Science)\n- Learning new words such as vertebrate and invertebrate (Vocabulary)\n- Finding out which animals live on which continents (Geography)\n- Reading stories about animals in the Bible (Bible)\n- Examining man\u2019s relationship with animals throughout history (History)\nUnit studies for homeschooling are especially beneficial if you are teaching more than one child. If you are using textbooks and workbooks to teach three children seven different subjects each, that\u2019s a WHOPPING twenty-one subjects to prepare and teach.\nA family with three children using textbook methods might have one child studying the Civil War and another learning about Ancient Rome, while another is studying the American Revolution, all history subjects. For Science, one child may be studying plants, another the planets, and another reptiles. In Bible, one child may be studying Moses, another studying Joseph, and another studying Paul.\nWith unit studies, history, geography, art, music, science, and Bible can all be taught together to all ages. Each child studies the topic at his or her own level. This saves over half of your teaching and preparing time.\nAll children can go on field trips together, many projects can be done together, writing assignments and vocabulary words will be about the same topic, just on different levels. For example while studying animals, a younger child may be able to classify birds, mammals, and insects, while an older child would classify animals in much more detail, such as arachnids, crustaceans, etc. The older child learns and helps to teach the younger while the younger learns from the older.\nUnit studies work well for children with different learning styles. Most unit studies give several options to learn about a topic.\nFor example: Study the history of slavery in the United States. Let your students choose how they want to study the subject and how they want to demonstrate what they\u2019ve learned:\n- Read about slavery in the encyclopedia\n- Read a portion from a textbook\n- Research from reference books in the library\n- Read a historical fiction about slavery\n- Read a biography about an enslaved person\n- Watch a documentary\n- Write a poem about slavery\n- Do a web search on slavery\n- Create a shadowbox depicting a plantation and enslaved people\n- Draw or sketch a scene depicting a plantation and enslaved people\nGive unit studies a try for subjects that you think will spark your children\u2019s interest. You might find that this style of homeschooling is for your family.\nRobin Sampson is the author of several Heart of Wisdom unit studies including Ancient History: Adam to Messiah. Heart of Wisdom unit studies are Bible Centered studies utilizing the Charlotte Mason Approach and the Internet. These unit studies guide students through academic studies using living books, writing-to-learn activities, and Christian materials while interacting in a meaningful way with the massive amounts of information available on the Internet. The units are available on the Web. When you open the unit you can click on the link and it will take you directly to linked text, maps, photos, audio files, worksheets, instructions, etc. To learn more, visit Heart of Wisdom.", "id": "<urn:uuid:9fbfd4d7-6c73-431c-8c25-ba9d7162dff1>", "dump": "CC-MAIN-2021-17", "url": "https://www.thehomeschoolmom.com/unit-study-approach/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039398307.76/warc/CC-MAIN-20210420122023-20210420152023-00232.warc.gz", "language": "en", "language_score": 0.931037425994873, "token_count": 954, "score": 3.796875, "int_score": 4}
{"text": "The narrative story is directed at an audience who is either reading the written narration or listening to it. The narrator, or person telling doing the narration, might be named or unnamed. They might be someone in the story or an omniscient figure whose only purpose is to convey information to the audience.\nThere are many different forms that narration can take, but it is a required element of all written stories. This includes poems, short stories, and novels. In other media, such as plays, films, etc, narration is optional. In these formats, narration might take away more than it adds.\nDefinition and Explanation of Narration\nNarration is a crucial part of many written works. It includes who tells the story as well as how the story is told. The latter might be through a specific type of writing such as a stream of consciousness. There is no single type of narrator that fits all works. Some are more reliable than others, some fictitious, some factual, some known to the reader, and others not.\nWhen seeking to understand narration, it is important to consider the narrative mode of a written work. This is the set of choices the writer makes when crafting the narrator and their narration. There are three parts of the narrative mode.\nNarration Types and Narrative Modes\n- Narrative point of view. This includes the perspective or voice of the narrator. It\u2019s the way that the narrator refers to everyone in the story. It is used to help the reader understand whether or not the narrator is part of the story or if they\u2019re separate and how much knowledge the narrator has about the events of the story. It includes first-person, second-person, and third-person narrations.\n- First-person narrative point of view. The first-person narration means that the narrator is a part of the story and has relationships with the other characters in the story. It also helps bring the narrator closer to the reader. They acknowledge their existence and may or may not be able to witness everything happening in the story.\n- Second-person narrative point of view. A second-person narrator means that the audience is involved as a character. They use pronouns like \u201cyou\u201d and \u201cyour\u201d and may or may not be literally addressing the audience.\n- Third-person narrative point of viewA third-person narration involves the pronouns \u201che,\u201d \u201cshe,\u201d and \u201cthey\u201d and never second or first-person pronouns. It is the most common narrative mode because the narrator doesn\u2019t have to be a part of the story. They\u2019re only there to tell it.\n- Narrative tense. This is the choice of grammatical tense, either past or present. This established whether the narrator is looking back on events or is narrating them as they happen.\n- Narrative technique. Other methods used to help create the narrator\u2019s perspective. This might be the story\u2019s setting, the themes, and storytelling devices.\nExamples of Narration in Literature\nThe Catcher in the Rye is a wonderful example of an unreliable, first-person narrator in the form of Holden Caulfield. Holden\u2019s unreliability stems from the fact that he carries a great deal of anger with him throughout the narrative. He sees adults as phony, his friends as annoying and/or weak, and his life as fairly pointless. Here is a passage that demonstrates his first-person, unreliable narration:\n[\u2026] I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody\u2019s around \u2013 nobody big, I mean \u2013 except me. And I\u2019m standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff \u2013 [\u2026]\nIn this passage, which alludes to the title of the novel, Holden contemplates childhood, adulthood, and his role in the world.\nMrs. Dalloway by Virginia Woolf\nWoolf\u2019s best-known novel and one of the most successful, if not the best, examples of stream of conciseness is found in Mrs. Dalloway. The novel follows Mrs. Dalloway while utilizing an omniscient third-person narration. It allows the reader to delve into the characters through dialogue, discourse, and their personal interior monologues. Here is a passage that represents this kind of narration:\nShe had the perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very, dangerous to live even one day.\nIn Coleridge\u2019s most famous poem, \u2018The Rime of the Ancient Mariner,\u2019 the narrator uses the first-person past tense, within a frame narrative, to tell a harrowing story of his time at sea. Here are a few lines that demonstrate this narrative perspective:\nThe many men, so beautiful!\nAnd they all dead did lie:\nAnd a thousand thousand slimy things\nLived on; and so did I.\nI looked upon the rotting sea,\nAnd drew my eyes away;\nI looked upon the rotting deck,\nAnd there the dead men lay.\nDepending on how one reads the poem, the Mariner may or may not come across as an unreliable narrator whose mind has been scrambled by the loss of his crew and severe dehydration.\nRelated Literary Terms\n- First Person Point of View: a literary style in which the narrator tells a story about him or herself.\n- Second Person Point of View: a literary style in which the narrator tells a story about \u201cyou\u201d.\n- Third Person Point of View: a literary style in which the narrator tells a story about a variety of characters.\n- Tone: how the writer feels about the text, at least to an extent. All forms of writing, aside from the academic have a tone of some sort.\n- Unreliable Narrator: a narrator whose credibility is in doubt, or somehow compromised.\n- Stream of Consciousness: a style of writing in which thoughts are conveyed without a filter or clear punctuation.\n- Watch: Narrator\u2014 Definition, Examples, and Practice\n- Watch: The Art of Narration\n- Read: Four Types of Film Narrator", "id": "<urn:uuid:246e37fd-d301-443e-8a05-fddc231281de>", "dump": "CC-MAIN-2021-17", "url": "https://poemanalysis.com/literary-device/narration/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00390.warc.gz", "language": "en", "language_score": 0.9542037844657898, "token_count": 1322, "score": 4.21875, "int_score": 4}
{"text": "Standards Based Grammar: Grade 5\nWhat is Standards Based Grammar?\nStandards Based Grammar is a daily grammar program that systematically teaches your students every grammar skill required at the fifth grade level. The purpose of Standards Based Grammar is to give students the spoken and written rules of the English language in an easy, step-by-step program. It seeks to teach, assess, and build on students' prior knowledge.\nStandards Based Grammar doesn\u2019t just ask students to identify grammar errors. They learn grammar rules and apply them immediately into their writing. Furthermore, it provides the teacher the exact knowledge of the strengths and weaknesses of each student and allows the teacher to communicate that information to the parents.\nStandards Based Grammar shows your students how to become grammar experts. Not only will they be able to understand each grammar rule, they will be able to articulate the logic behind each rule. Best of all, it\u2019s easy to teach and simple to administrate.\nDownload a 27 page preview:\nClick here to download a preview of Standards Based Grammar: Grade 5\nStudent Worksheets \u2013 Over a hundred worksheets provide practice for every standard required for your grade level. Each worksheet comes complete with lesson, examples, and student practice. Simply review the lessons (often, only minutes are needed), and you are ready to teach.\nJournal Prompts \u2013 If your students are not applying grammar rules into their writing, do they really understand the concept? These journal extensions give your students immediate practice as they apply each new grammar skill within an actual creative writing setting.\nAssessments \u2013 Each skill is assessed at the end of every unit. Use each test to assess your students' abilities. Then, use each assessment to form groups for re-teaching and review.\nParent Checklists \u2013 There are plenty of worksheets to help students meet each grammar standard. Unfortunately, some concepts may be difficult for some students to learn. All teachers know that there is a point when you just have to move on to other topics. So what do we do with those students who are being left behind? As a parent, I would want to know if my child was having a hard time with certain concepts. The parent checklist provided after each test gives the parents a report about their child\u2019s progress on each skill. Impress the parents of your students with detailed knowledge of their child\u2019s achievements, and give them the opportunity to work on skills as the class moves forward to new concepts.\nStudent Checklists \u2013 Keep track of student progress over the course of the year. The two biggest advantages are: 1) Before state testing, use the student checklist to create review groups. Allow students to practice only the skills they need to prepare for state testing. 2) Give next year\u2019s teacher a precise record of each student\u2019s abilities. Your students' future teachers will be amazed at the thorough language preparation given to their new students.\nTeacher Checklists \u2013 Worried about teaching every standard before state testing? This checklist reminds you what standards you\u2019ve taught and what standards still need to be taught.\nVersatility of Standards Based Grammar\nAs a complete grammar program, Standards Based Grammar\u2019s value is second to none! Although this is a complete grammar program, it is so affordable that it can be purchased and used strictly as a supplement for your existing grammar program. We are confident that after using several of the worksheets you\u2019ll be anxious to try the others. However, the versatility of the program allows you to:\nUse entire units or just use individual worksheets to supplement what you are already doing.\nUse the assessments to measure student growth.\nUse the worksheets to prepare for state testing.\nUse the checklists to keep track of your yearly pacing of grammar.\nOther Benefits of Standards Based Grammar\nMany teachers have gone to teacher supply stores looking for grammar books because they need some worksheets to help their students with a certain skill. They spend $9.95 on a workbook and may use only three or four worksheets from it. Then they do it again for another skill, then another. Over the course of a few years, they\u2019ve spent a small fortune just for a few worksheets that only cover a few skills.\nWith Standards Based Grammar you get almost TWO HUNDRED worksheets covering over twenty-five standards. You\u2019ll never buy another supplement again.\nEasy Lesson Plan:\nMost elementary school teachers teach more than thirty lessons a week. You DON\u2019T need another subject that requires lesson planning. With Standards Based Grammar you have hundreds of lesson plans ready to go. Each worksheet has the skill and lesson at the top of the page. Most lessons require just a few minutes of review, and you\u2019re ready to go. The lessons on each page also serve as an excellent review when students need to review certain skills.\nImproved Test Scores:\nEvery worksheet in Standards Based Grammar has been tested in the classroom. The worksheets have been written and rewritten for maximum effectiveness. The advantage of Standards Based Grammar is unmistakable. Language scores improve with Standards Based Grammar. Several classrooms surveyed have shown growth in language tests scores of more than 12%. Many students are receiving perfect scores in language. Even some Title 1 students are scoring in the seventieth and eightieth percentiles.\nEnglish Language Learners:\nClearly, beginning language learners need intensive practice with English to achieve the basics of the English language. Many English learners pick up just enough English to survive. Many teachers are tricked into believing that, just because the child can speak English, he/she does not need English language instruction. Most states require that students receive daily instruction in English until they achieve Fluent English Proficiency (FEP). While many English learners acquire enough English proficiency to achieve survival status, they become stuck below (FEP) because they can \u201cget by\u201d with their current English abilities.\nStandards Based Grammar forces them to acquire a deeper understanding of the English language. Furthermore, Standards Based Grammar helps the teacher keep track of the skills they are learning. NO child sneaks through the year without the teacher being aware of his/her abilities. Classrooms with predominately ELL students have also shown dramatic results with students achieving FEP status on state tests.\nWhat About My District's Language Arts Program?\nMany district language arts programs are one-size-fits-all programs. They combine reading, writing, grammar, language, and oral language skills into one program. In addition, they try to teach ELL, high functioning, middle functioning, and low functioning students all at once.\nUsing these programs, grammar is taught side-by-side with each reading unit. What if you don\u2019t teach every story in your district\u2019s reading program? What if you teach a grammar concept using the ONE worksheet they give you, and your students still need more practice? How do you know your students are mastering every grammar skill required on state tests? There is simply too much to monitor with these programs. Standards Based Grammar gives you confidence that every skill is being taught effectively. At the very least, you can use Standards Based Grammar along side your current language arts program to guarantee the success of your students.\nOrder Standards Based Grammar\nand become THE language expert at\nOver 200 worksheets\nOver 100 journal prompts\nStandards Based Grammar has a new cover. We've got a few books with the old cover left. We are currently selling them at 40% off. Sale is good while supplies last. (Currently fewer than 30 left of grade 5.)", "id": "<urn:uuid:93183fe6-df91-4e87-b537-03b4a5654896>", "dump": "CC-MAIN-2021-17", "url": "https://www.createbetterwriters.com/standard-based-grammar-grade-5", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00510.warc.gz", "language": "en", "language_score": 0.9384995698928833, "token_count": 1589, "score": 4.28125, "int_score": 4}
{"text": "Computer ethics in the workplace is a relatively new, but quickly growing field of study. As computers become more prevalent in the workplace, more organizations publish official codes of ethics that cover computer use. The rapid advances in technology can sometimes leave ethical considerations behind, as was seen recently with widespread, sometimes illegal music file sharing over the internet. When faced with a new technological dilemma, ethical computer workers use historical and general guidelines to make informed decisions.\nNorbert Wiener coined the term \u201ccybernetics\u201d shortly after basic computers were used in WWII. In his book, of the same name, he predicted a second industrial revolution, one based on communication technology. Wiener went on to write \u201cThe Human Use of Human Beings\u201d (1950), which explored the ethical implications of cybernetics, both inside and outside the workplace. Wiener spoke about humans' capability for grasping, processing and potentially acting on vast amounts of information. He also offered ethical guidance to help people in this process. Wiener\u2019s three cybernetic ethical principles are freedom, equality and benevolence. Wiener saw computers as exemplifying freedom by resolving time and resource-consuming issues. He saw communication technology as an equalizer, because it offers a level ground for ideas -- i.e., a famous person and an average person all get the same amount of cyberspace to communicate their ideas. Computers also offer benevolence, because through the newfound freedom and equality, social issues and ethical issues can be discussed and resolved.\nThe computers of the Information Age have taken over workplaces. They've eliminated some jobs and made other jobs easier. For example, food workers, factory employees and even airline pilots push one button to perform a series of actions that would've taken several actions, and more time, without computers. This \u201cone button\u201d execution may be viewed as unethical, because it can lead to a workforce with fewer skills. Other ethical concerns include the health and safety of workers who become stressed from constant typing, or who develop eyestrain from staring at computer screens for hours at a time.\nEthical computer workers must consider that now, information can be shared with the click of a mouse. Therefore, they need to protect privacy, both their own and coworkers'. Company confidentiality is another privacy-related concern. Ethical workers are mindful that they shouldn't use their computers to spread company secrets. Plagiarism and pirating are other concerns. Ethical workers ensure that they properly attribute sources, never claim another\u2019s work as their own, and refrain from illegally obtaining art, music, movies and other materials.\nMany official company codes of ethics include subsections on computers in the workplace. Computer ethics codes often feature guidelines based on the responsibilities that computer work creates. For example, a worker using a computer to communicate could reach a number of different people such as: other employees, family members, clients, the boss or the public. Each contact may require a different message, or method of approach.\nThe Association for Computing Machinery (ACM) computer ethics code lists several imperatives. ACM requirements include: avoiding actions that might harm others; honesty; professional competence; and a working knowledge of technical law. The Institute of Electrical and Electronic Engineers (IEEE) adds principles such as avoiding conflicts of interest, and backing up claims with solid data.\nRoslyn Frenz started writing professionally in 2005, covering music, business ethics and philosophy. Her work has appeared in \"Designing Wealth,\" \"The Other Side,\" \"Upstate Live\" and many other publications. Frenz has a bachelor's degree in business marketing from the University of Phoenix. She is pursuing an M.F.A. in creative writing.", "id": "<urn:uuid:b9c0f66c-bea8-462a-9a79-4e0369bd413a>", "dump": "CC-MAIN-2021-17", "url": "https://bizfluent.com/info-7742333-ethical-use-computers-workplace-workers.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00031.warc.gz", "language": "en", "language_score": 0.9540966153144836, "token_count": 756, "score": 3.671875, "int_score": 4}
{"text": "We believe in an education that is artistic, academic, interdisciplinary, multi-sensory, practical, and social, AND learning that is joyful!\nOur curriculum unfolds according to the educational and emotional needs of the child\u2019s developmental stages, in order to nourish the healthy growth of the child.\nThe grades program encourages independent thinking and social responsibility as well as academic and artistic excellence.\nOur teachers offer lively concentration in subjects taught in three to four week lesson blocks.\nChildren, throughout the curriculum, create original lesson books that expand artistic freedom and in-depth understanding of history, language arts, science, and math.\nForeign languages are taught with exploration into the rich culture of the language.\nMovement, and handwork such as knitting, crochet and cross stitch, woodwork, and fine arts such as clay and beeswax modeling enhance motor skills, confidence, coordination, and creative thinking.\nMusic enriches the curriculum throughout the year, as well as following the seasonal calendar for Florida.\nA typical day in the grades includes a two hour main academic lesson in the morning, infused with music and movement, a snack and outdoor recess, then one of several specialty subjects, such as handwork or foreign language, followed by lunch and outdoor recess, then concluding with another specialty, such as gardening, ukulele, or painting. Fridays are devoted to nature immersion in various local preserves, known as \u201cForest Fridays\u201d, or a field trip that complements a theme of the curriculum, for example, in the third grade, farming is taught in great detail, so the third grade might apply their knowledge and work in a hands on way on a local farm on several \u201cField Trip Fridays\u201d over the year.\nMain lesson curriculum will emphasize the following themes:\nGrades 1 \u2013 3\n- Pictorial introduction to the alphabet, writing, reading, spelling, poetry, drama, form drawing, cursive, and singing.\n- Folk and fairy tales, fables, legends, Old Testament stories.\n- Numbers, basic mathematical processes of addition, subtraction, multiplication and division.\n- Nature stories, shelter building and farming.\nGrades 4 \u2013 6\n- Writing, reading, grammar, poetry, drama, and form drawing.\n- Norse myths, history and stories of ancient civilizations.\n- Review of the four mathematical processes, fractions, percentages, and geometry.\n- Local and world geography, comparative zoology, botany, mineralogy, astronomy, and physics.\nGrades 7 \u2013 9\n- Creative writing, reading, grammar, poetry and drama.\n- Medieval history, Renaissance, world exploration and geography, American history and biography.\n- Perspective drawing, sacred geometry, descriptive geometry, review of all previous mathematical content, business math, finance, and algebra.\n- Physics, including mechanics, chemistry, meteorology, anatomy, and physiology, environmental science, science of sustainability.\n- Independent and project based learning", "id": "<urn:uuid:67c83946-a449-4981-bdcb-89216ba1eafb>", "dump": "CC-MAIN-2021-17", "url": "http://www.mangrovesarasota.com/grades/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00350.warc.gz", "language": "en", "language_score": 0.9220022559165955, "token_count": 609, "score": 3.625, "int_score": 4}
{"text": "This website has been archived and will no longer be updated. For the new and improved version, please visit our new site.\nWhy use videos in our teaching?\nWhether you use videos from YouTube or from your library\u2019s streaming video collection, videos are an excellent teaching tool to use with your students.\nSome of the benefits include:\n- Reduce cognitive load \u2013 effectively developed videos or animation can enhance comprehension and retention of information (Fenesi, B., 2011; Mayer, R. E., & Moreno, R., 2003; Berk, R. A., 2009).\n- Support multimodal learning \u2013 videos are one way to integrate multi-modal elements (e.g. text, audio, images, animation) into your teaching. Multimodal learning has been found to \u201cresult in significant gains in basic and higher-order learning\u201d (Metiri Group, 2008; Sankey, M., Birch, D. & Gardiner, M., 2010). Presenting course materials in more than one mode may \u201clead learners to perceive that it is easier to learn and improve attention\u2026in particular for lower-achieving students\u201d (Sankey, M., Birch, D. & Gardiner, M., 2010).\n- Appeal to multiple learning preferences and increase learner engagement \u2013 video can appeal to multiple preferences (e.g. visual, aural, written) through it\u2019s use of images, animation, text and audio (Berk, R. A., 2009; Sankey, M., Birch, D. & Gardiner, M., 2010; Kearney and Schuck, 2004; Reid, M., Burn, A. & Parker, D., 2002).\n- Help students understand complex information \u2013 using text and pictures can assist students with difficult concepts, \u201cShah and Freedman (2003) discuss a number of benefits of using visualisations in learning\nenvironments, including: (1) promoting learning by providing an external representation of the information; (2) deeper processing of information; and (3) maintaining learner attention by making the information more attractive and motivating, hence making complex information easier to comprehend\u201d (cited in Sankey, M., Birch, D. & Gardiner, M., 2010).\n- Authentic learning \u2013 using a video project with your students presents an opportunity for an authentic learning experience as described in this k-12 study, \u201cauthenticity was apparent through the ability of DV [digital video] to be used in real-world contexts; to develop life skills; and to be produced for a real audience\u201d (Kearney and Schuck, 2004).\n- Develop digital literacies \u2013 digital skills are vital for our students, \u201cAs 90% of new jobs will require excellent digital skills, improving digital literacy (by which we mean those capabilities essential for living, learning and working in a digital society) is a key component for developing effective and employable learners\u201d (JISC., 2013). Using videos both as teaching materials and as projects can help students develop various digital skills.\n- Strengthen multiple core literacies \u2013 Seneca\u2019s Academic Plan identifies multiple core literacies that our students should demonstrate competency in upon graduation. Using video in your teaching and/or as projects can help strengthen many of these literacies including, written and oral communication, information literacy, creative thinking, inquiry and analysis, critical thinking and problem solving, digital literacy, etc.\nBut keep in mind\u2026\n\u201c\u2026the integration of DV [digital video] technologies into subject teaching does not automatically improve the quality of work or standards of attainment; high quality teaching remains the key factor in raising achievement\u2026\u201d (Reid, M., Burn, A. & Parker, D., 2002).\nResources for Using Video in the Classroom:\n- MindShift: Teachers\u2019 Guide to Using Videos by Catlin Tucker\n- \u201cEmerging Model of Good Practice for Mode 1 Digital Video Projects\u201d (2nd last page from Kearney and Schuck (2004). Students in the Director\u2019s Seat:Teaching and Learning with Student-generated Video)\n- Video in the Classroom by EDTechTeacher\n- Checklists and Rubrics for Video Projects:\n- Tips for Giving a Successful Video Assignment (College of Charleston)\n- Create a Digital Storytelling Assignment (U of Maryland)\n- Digital Storytelling Rubric (U of Maryland)\n- Video Project Rubric (Capital High School)\n- A+ Video Project Rubric (U of Wisconsin-Stout)\n- Checklist for creating an \u201cadvanced\u201d short educational video (Seneca Libraries)\n- Checklist for creating a \u201cbasic\u201d short educational video (Seneca Libraries)", "id": "<urn:uuid:7a69c10e-8ba8-4741-bdfd-f6aa7ad2a9cb>", "dump": "CC-MAIN-2021-17", "url": "https://educationvideos.wordpress.com/why-videos/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00273.warc.gz", "language": "en", "language_score": 0.8663280010223389, "token_count": 984, "score": 3.78125, "int_score": 4}
{"text": "When Stanford Professor Sean Reardon and his research team set out to take an unprecedented look at how elementary school girls and boys compare in academic achievement, they expected to find similar stereotype-driven patterns across all 10,000 U.S. school districts: boys consistently outperforming girls in math and girls steadily surpassing boys in reading and writing by a wide margin.\nInstead, Reardon and his team of researchers at Stanford Graduate School of Education discovered wide variations in how girls and boys in grades three through eight perform from one district to the next. In some cases, girls did better in both math and reading. In others, boys had the advantage in math and almost matched girls on English-related subjects.\nThe swings in math scores were especially striking. Looking closely, the researchers uncovered a pattern: in affluent, highly-educated and predominantly white districts, boys outperformed girls in math. In poorer, more racially diverse districts, girls often outdid boys in math.\nIn reading and writing, however, the researchers found no correlation with local socioeconomic status or racial makeup. In almost every public-school system, girls came out ahead in reading scores, though to different degrees across communities.\nThe study, published online as a working paper, marks the first comprehensive analysis of gender achievement gaps at the district level.\n\u201cOur goal was to map the patterns of gender achievement gaps across the entire country in order to develop a better sense of what kinds of communities and school districts most commonly provide equal educational opportunities for girls and boys,\u201d says Reardon, the Professor of Poverty and Inequality in Education. \"We hope this information will help educators and policymakers eliminate educational gender disparities.\u201d\nThe findings were drawn from the Stanford Education Data Archive (SEDA), a massive online collection of roughly 300 million math and reading test scores from every public school in the United States from fall 2008 through spring 2015. Reardon, one of the creators of SEDA, has previously found that school systems with large numbers of low-income students have average academic performances significantly below the national average. He's also shown that poverty alone does not determine the quality of a school district.\nFor the latest study, Reardon and his team built an analytical model that takes into account possible discrepancies in math and reading scores across states, including differences in test formats. Reardon and his collaborators have previously shown, for example, that multiple-choice questions favor boys while girls better solve open-ended problems.\nThe results were striking. In some of the country's richest districts, boys on average outperform girls in math by two-fifths of a grade level but are half a grade level behind on reading and writing. In many of the poorest districts, however, the gap favors girls by one-fifth of a grade level in math and four-fifths of a grade level in English subjects.\nThe scholars also found that boys perform especially well in math in communities where adult males are more highly educated and earn substantially more than females.\nIn other key findings from the study:\nThe new research doesn\u2019t provide evidence as to why socioeconomic and racial conditions impact learning in elementary school. The authors also can't say whether one race does better than another across subjects.\n\u201cThe study shows that local conditions seem to partly shape gender achievement gaps,\u201d says Erin Fahle, a co-author of the study who earns her PhD in education policy from Stanford this month. \u201cIn particular, in some places female students appear to have an academic advantage; in others male students do.\u201d\nNew research opportunities\nOne hypothesis holds that, in wealthy families where the men earn much more than women, the stereotypical idea that boys are better at math and sciences and girls are better at reading and storytelling may be inadvertently bolstered when a son shows early interest in robots or girls stage a play. That's because richer families have the resources to invest in, say, after-school science or theater programs.\n\"It may be easier for parents to reinforce stereotypical patterns in affluent places because they have more money to do so,\" says Reardon, who sits on the steering committee of Stanford\u2019s Center for Education Policy Analysis (CEPA) and is also a senior fellow at the Stanford Institute for Economic Policy Research. \"In less affluent places parents can't spend the same kind of money and, therefore, may not reinforce those patterns as much.\"\nFahle adds that, while it's important to know why girls do better than boys in math in some places and not others, it's equally critical to figure out why boys consistently and almost universally lag in reading and writing.\n\"There's a lot of evidence,\" says Fahle, who will soon join the faculty at St. John's University in New York City, \"that boys' educational opportunities in English language arts are being constrained.\"\n\"We can't say with this research why these patterns exist,\" says Reardon. \"But the data provides an opportunity to further investigate what's behind them and to think about steps that schools and communities can take to address the more troubling ones.\"\nThe paper\u2019s additional co-authors were: Demetra Kalogrides, a researcher at CEPA; Rosalia Zarate, a GSE doctoral student; and Anne Podolsky, a researcher and policy analyst with the Learning Policy Institute.\nSubscribe to our monthly newsletter.", "id": "<urn:uuid:2610c053-46c8-4275-89dc-9bae5e1a5b31>", "dump": "CC-MAIN-2021-17", "url": "https://ed.stanford.edu/news/new-stanford-education-study-shows-where-boys-and-girls-do-better-math-english", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00472.warc.gz", "language": "en", "language_score": 0.9612054824829102, "token_count": 1096, "score": 3.875, "int_score": 4}
{"text": "To compare is to examine how things are similar, while to contrast is to see how they differ.A compare and contrast essay therefore looks at the similarities of two or more objects, and the differences.Tags: Creative Writing Grants And ScholarshipsRole Of Youth In National Development EssayFord Dissertation Grad CafeMarketing Research Paper SampleHow To Prepare A Business Plan For A New BusinessEssays Over VotingDescriptive Narritive EssayEssays At AibSample Medical Research ProposalEssay My Best Friend Class 6th\nPlan A: Use Plan A if you have many small similarities and/or differences.\nAfter your introduction, say everything you want to say about the first work or character, and then go on in the second half of the essay to say everything about the second work or character, comparing or contrasting each item in the second with the same item in the first.\nIn this format, all the comparing or contrasting, except for the statement of your main point, which you may want to put in the beginning, goes on in the SECOND HALF of the piece.\nPlan B: Use Plan B if you have only a few, larger similarities or differences.\nIt is also possible, especially for short exam essays, that only the similarities or the differences, not both, will be discussed. There are two main ways to structure a compare and contrast essay, namely using a block or a point-by-point structure.\nFor the block structure, all of the information about one of the objects being compared/contrasted is given first, and all of the information about the other object is listed afterwards.Or give these additional tips and handy worksheets a try.Ready to see two comparison essay examples that make cool comparisons? The first essay focuses on basic comparisons of two common Disney princesses.(You can do your happy dance later.)If you have a pretty good sense of how to write a compare and contrast paper but need a topic before you can even begin to think about writing, here are 49 Compare and Contrast Essay Topics to Help You Get Started. Browse through some additional examples of comparison essays.If you\u2019ve got the how and the topic mastered but aren\u2019t sure how to get started, This Compare and Contrast Essay Outline Will Help You Beat Writer\u2019s Block.Then for organizing your essay, choose one of the plans described below whichever best fits your list.Finally, and this is important, what main point (thesis) might you make in the essay about the two people/things being compared?To write a comparison or contrast essay that is easy to follow, first decide what the similarities or differences are by writing lists on scrap paper.Which are more significant, the similarities or the differences?My comments within the paper highlight both strengths and areas in need of improvement.Before I address the content of the essay, let\u2019s talk about the title.", "id": "<urn:uuid:13cc89e6-2d64-4c95-992d-1fba52d44f07>", "dump": "CC-MAIN-2021-17", "url": "https://mediashkola-plus.ru/comparative-essays-examples-6425.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00192.warc.gz", "language": "en", "language_score": 0.9063079357147217, "token_count": 593, "score": 3.53125, "int_score": 4}
{"text": "From Storytelling to Digital Storytelling\nThroughout human history, stories have been used to share ideas, opinions and experiences. Stories are used for a variety of purposes \u2013 to entertain, to educate, to illustrate concepts, to provide moral guidance to inspire change \u2013 in all social activities in every industry. Indeed, this innate ability and desire to tell and share stories are tendencies which make us human.\nConsider how you interact with others on a daily basis. You tell anecdotes, share events and experiences, and use stories to illustrate your ideas and opinions. We even tell stories when we give advice.\nStorytelling is used for specific purposes too. Film directors use stories to make us feel and think. The media uses stories to explain and analyse events. Companies use stories to promote their products. Academics use stories to explore concepts and abstract ideas, which is one reason why storytelling is such a vital pedagogical tool in the ELT classroom.\nWe can use stories to present, study, practise and produce English in context, ensuring our learners practise all four skills and increase their awareness of grammatical, lexical and phonological features of the language.\nUntil recently, most stories used in the classroom were taken from published educational materials (course books and ELT materials). Published materials, however, do not always engage and interests our learners as the content is often too general.\nIn the 21st century, things are very different as there is content available online which meets the needs and interests of every learner. What is more, people can now create and publish their own content.\nWhat is digital storytelling?\nDigital storytelling can be defined as the use of digital tools to record audio, graphic images and videos in order to create stories.\nMost of these digital tools are readily available to teachers and learners: digital recorders, digital cameras, mobile devices, tablets, laptops and desktops. If you do not have a classroom connected to the internet, these devices can still be used offline to record audio and video, although you might decide to put them online later.\nWhat types of digital stories can be created in class?\nThere are several ways to create digital stories:\nThe simplest form of digital story is an audio recording. Add music and sound effects to create mood and enhance the emotional intensity of the story. If you are a podcast fan, then you probably know about Serial.\nA slightly more complex form of digital storytelling is to combine audio with text and/or images. Slideshow presentation software (Powerpoint, Google Slides, Prezi) allow for special effects (visual and sound).\nDigital cameras and mobile devices make it easy to record talking head videos, so learners can tell a story while looking into a camera.\nFinally, there are a number of video editing tools which can be used to combine moving images, text, music and audio narration to create short movies.\nDo you need to be good with technology to create digital stories?\nNow, you may be thinking that this sounds like a considerable amount of work or that you do not have the technical skills to create digital stories. However, creating digital content is easier than ever before. Digital recorders and cameras are easy to use and there are many simple apps for audio and video recording.\nAnd, why do educational professionals need to master these digital tools? After all, our younger learners are \u2018digital natives\u2019, who have grown up with the internet, mobile devices. computers and tablets. Technology has always been a significant part of their life and younger people are often far more comfortable using digital technology than those of us who are termed \u2018digital immigrants\u2019. They are the experts, not us.\nThis does not mean that our role as teachers is less important than before. On the contrary, digital tools allow us to focus on helping our learners develop their linguistic and storytelling skills. Our learners can now tell their own stories in English and our role is to guide them through this process.\nSome simple ideas for digital storytelling in the ELT class\nRaising awareness activities: Use audio and video stories to present new language and analyse grammatical, lexical and phonological features of English.\nSkills Practice: Learners listen to audio or video recordings of stories with transcripts to improve their pronunciation. When they are ready, they can record their own narration, focusing on stress, rhythm and intonation.\nAudio or Video anecdotes: Learners write, rehearse and tell personal anecdotes which they can share. You can create a feedback template so students can assess each other on key aspects, such as delivery, speed, volume etc.\nSlide presentations: Learners write stories and find images to illustrate the plot. Then, they create slides to accompany the stories Finally, ask them to record their screens as they tell the story while flicking through the slides.\nShort film projects: Learners can write the script for a short film and then act it out themselves. All they really need is a smartphone. Video editing software can be used to increase production values.\nChain stories: Each section of the story is created by a different member, pair, or small group in the class. For example, in Lesson 1, each group writes the beginning. In Lesson 2, each group passes their beginning to another group who write the middle section. Do the same with the final part and then return the stories to the group who wrote the first parts. Then, each group can create use digital tools to present their completed story.\nIn my experience, all English language learners, young learners and adults, find digital storytelling activities stimulating and beneficial to their language learning. The sense of accomplishment they feel on completion of a storytelling project does wonders for their confidence too.", "id": "<urn:uuid:ff4fc8e5-5c8b-49d8-bcc2-0dacdd2f15f0>", "dump": "CC-MAIN-2021-17", "url": "https://dylangates.com/2017/07/11/digital-storytelling-activities-elt/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00592.warc.gz", "language": "en", "language_score": 0.9387470483779907, "token_count": 1161, "score": 3.84375, "int_score": 4}
{"text": "Storytelling teaches essential curriculum elements to students in a way that is both exciting and memorable. A school visit can involve everything from Grimm's fairy tales to Arthurian myth to the Sumerian epic of Gilgamesh, and can take the form of a large assembly, a single class visit, or a five-week residency in which students learn to tell stories themselves.\nStudents at all grade levels can find in storytelling a doorway to greater creativity, social interaction, personal expression, and self esteem, as well as an introduction to themes and characters --such as Odysseus, Gilgamesh, and Sleeping Beauty\u2014 that are an essential part of human culture. Stories promote cultural awareness, teach world history, and provide students with a thousand different maps to the forest of growing up. And not only that\u2014 stories are fun!\nFor bookings or further information, contact:\nFourteen Reasons to be Inspired About Storytelling\n- Stories are free. Unlike most film and audio recordings, stories cost nothing.\n- Stories strengthen imagination. If the imagination is a muscle, stories require us to use that muscle, and so invigorate memory and thought in a way no other media can.\n- Stories can be taken anywhere. All that is required for a story is that you and the listener be in the same place at the same time. No book, DVD, or iPod is required.\n- Stories are screen-free. Exposure to screen media suppresses our ability to make images, but storytelling nourishes that ability and causes it to blossom.\n- Stories come naturally. Storytelling is a basic human activity performed by physicists, politicians, and so-called \"ordinary\" people every day, whether we are describing how we are feeling or just performing one of those ancient magical rituals known as jokes. So have no fear-- you probably already tell stories, whether you know it or not!\n- Stories help us think. Much of what we call \u201cthinking\u201d is in fact \u201cimagining.\u201d Whether envisioning our weekend plans, what to have for dinner, or the behavior of sub-atomic particles, it is by imagination that these ideas are first explored. By strengthening imagination stories develop our ability to reflect, remember, and plan for the future.\n- Stories are interactive. When telling a story, you and the listener often get to comment on the story, ask questions about it, create sound effects, tell parts of it over again, and skip to favorite parts. This high level of interaction is not possible in other media.\n- Stories inspire us to ask the big questions. Because stories are so interactive, they can inspire us to question the larger stories of history, gender, and race that we have received. This is the first step towards changing those stories for the better.\n- Stories are not owned by corporations. Films, audio-books and computer games are created to make money; traditional stories, legends and myths are not. Telling stories reminds us that entertainment does not need to be purchased.\n- Stories are maps of the soul. The majority of traditional stories are intended not simply for entertainment, but to present a spoken map to an area of life such as childhood, adolescence, or adulthood. Without a map, it can be difficult to find your way.\n- Stories are not just kid-stuff. Unlike entertainment made specifically for children, traditional stories communicate on many different levels at the same time, and so can be enjoyed by both adults and children simultaneously.\n- Stories bring good difficulty. Stories bring up subjects that are sometimes difficult; encountering these difficulties inside a story is a way to begin wrestling with them in a safe, reflective and playful way.\n- Stories express culture. Stories have been told all over the world for thousands of years, and for this reason are an effective and joyful way to connect with culture and history.\n- Stories are fun. That\u2019s one reason they\u2019ve been around for so long, and in some ways it's the only reason any of us need!", "id": "<urn:uuid:de8d53ce-9e6b-44c2-ad58-7133a3f793dd>", "dump": "CC-MAIN-2021-17", "url": "http://www.jayleeming.com/school-programs.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039560245.87/warc/CC-MAIN-20210422013104-20210422043104-00550.warc.gz", "language": "en", "language_score": 0.9400861859321594, "token_count": 822, "score": 4.1875, "int_score": 4}
{"text": "A Popular Way To Voice Criticism\nIn this lesson, students will look at a classic satire that makes fun of and critiques various aspects of politics and government. Students will think, Why would satire have been a particularly popular way to voice criticism, especially when rulers were kings or emperors?\n- Read the lesson and student content.\n- Anticipate student difficulties and identify the differentiation options you will choose for working with your students.\nDrawing of Gulliver's Trip\n- After students share their drawings in small groups, invite a few students to share their drawings with the whole class.\n- Students will discuss why they chose the part of the trip that they did as part of the next Whole Group Discussion.\nIn small groups, share your drawing of a part of Gulliver\u2019s trip.\n- Explain why you chose to draw the part of his trip that you did.\n- This is a complex text! You may need to spend some time wading through the actual events of the two chapters, but it will pay off, as students realize that they can understand complex and ancient literature on their own. An annotation for the Gulliver\u2019s Travels excerpt is provided to help you here and with the political annotation later in the lesson.\n- Both the drawing question and the favorite part question can naturally lead you to look at specific text and talk about its interesting features.\n- Students might pick the descriptions of the town for drawing, for instance, and you can lead students to talk about Swift\u2019s great imagination and the entertainment it provides. This is a good opening for concrete detail discussion.\n- The favorite part is likely to be Gulliver\u2019s action of dousing the fire, and you can talk easily about why this might have been included\u2014for humor, entertainment.\n- The latter event, Gulliver\u2019s successful extinguishing of the fire, is a great opportunity to talk about euphemism since the language Swift uses so fogs what\u2019s actually happening. Ask students why this makes the section funnier. You can also talk about the farcical quality of the scene, since it\u2019s an extremely unlikely situation. Situational irony is logical here, too, as is incongruity: all are the source of this very funny scene.\n- A particularly adept group could be given this scene to consider and close read, looking for the various strategies that make it funny, identifying each carefully.\nDiscuss these questions about the two chapters from Gulliver\u2019s Travels that you read for homework.\n- What actually happens in these two chapters?\n- Begin with Gulliver\u2019s journey to the city Mildendo. What does he see?\n- What\u2019s the gist of the conversation between Reldresal (the king\u2019s principal secretary of private affairs) and Gulliver?\n- Where does Gulliver go in Chapter 5, and what does he do on the king\u2019s behalf against the Blefuscus?\n- What crisis presents itself when Gulliver comes home, and how does he solve it? What\u2019s the response of the empress?\n- Why did you choose to draw the part of his trip that you did?\n- What was your favorite part of the two chapters, and why? Why does this book remain popular?\nVocabulary in Gulliver's Travels\n- Monitor students and lend assistance as needed.\nNote any unknown words from Gulliver\u2019s Travels.\n- Work with a partner to look up definitions and rewrite them in your own words.\nTo Vex the World\n- Allow students to have a Whole Group Discussion after they discuss the question with partner.\n- SWD: Since the academic vocabulary in this section is substantial, consider going through (explaining and defining as needed) prior to the discussion and also during the discussion. Encourage students to use the academic vocabulary in their own sentences as a way to apply the academic vocabulary as well as responding to the questions.\n- Swift\u2019s book has come to be seen as a children\u2019s story and has been incarnated many times as a movie aimed at young adults and children. This has happened because the aspects Swift included to make the satire more palatable and entertaining are what\u2019s focused on, not his harsher political points. Do people lose sight of his more important points because of this candy-coating?\n- This point will recur with discussions of modern political satire, like that of Jon Stewart and Stephen Colbert, so it\u2019s worth spending a bit of time on here.\nOne critic said that Swift meant \u201cto vex the world, not divert it.\u201d\nDiscuss the following with a partner.\n- Was he successful? What examples from the text would you point out to support your thinking?\n- As you discuss these questions with the class, you can also consider where this novel goes on the satirical tone scale\u2014is it more Horatian or Juvenalian?\n- Consider asking students: How would Swift feel about what\u2019s happened to his novel? Students who enjoy creative writing might write a short review from Swift\u2019s point of view.\n- You can also hint at lessons down the road by asking if students can think of any political satirists today who similarly coat their satire with diversion.\n- ELL: Invite comments about political satirists from other countries, and encourage ELLs to share about their culture. Always infuse a sense of respect of other cultures by all students.\nThere have been several children\u2019s movies produced based on this novel.\nDiscuss the following with your classmates.\n- Why? What aspects of this novel lend themselves to children?\n- If you were writing a children\u2019s version of this novel, what would you include, and what would you leave out?\nPolitical Satire Annotation\n- This part of the lesson and most of Lesson 20 aim at close reading of the text and a sharp focus on political satire.\n- This individual student work sets up a jigsaw activity in Lesson 20.\n- Lesson 20\u2019s jigsaw activity consists of two rounds. In round one, students meet in groups based on the area of satire they were assigned and share their findings. In round two, they reassemble in new groups that contain at least one \u201cexpert\u201d per area of satire and teach to the other students what she or he has learned.\n- Therefore, it is important to assign areas of satire as evenly as possible. Depending on the number of students in your class, some areas of satire might not be covered.\n- \u2713 If you have 16\u201319 students, assign four of the topics to four or five students each.\n- \u2713 If you have 20\u201324 students, assign five of the topics to four or five students each.\n- \u2713 If you have 25\u201329 students, assign five of the topics to five or six students each.\n- \u2713 If you have 30\u201335 students, assign each topic to five or six students.\n- \u2713 If you have 36 or more students, assign each topic to six or more students.\n- Absenteeism is a potential problem in Lesson 20. In round two of the jigsaw, each group must have an expert for each of the assigned areas of satire. Keep this in mind when assigning the areas of satire.\n- Students can be assigned annotation tasks based on difficulty level. Swift\u2019s views on imperialism and views on firepower are probably the most difficult tasks. The easiest tasks are his views on political parties and the causes of war.\nThis novel is most famous for its commentary on various aspects of government and politics.\nAnnotate the excerpt from Gulliver\u2019s Travels for the area of satire assigned to you.\n- Swift\u2019s views on the causes of war\n- Swift\u2019s views on firepower\n- Swift\u2019s views on imperialism\n- Swift\u2019s views on political parties\n- Swift\u2019s views on religion\n- Swift\u2019s views on the fragility of a king\u2019s favoritism\nOne Key Point\n- Ask at least one student from each topic to share one key point with the whole class.\nConsider what you annotated about your topic.\n- Be prepared to share one key point with your classmates.\nPolitical Satire Annotation\n- Encourage students to write down any questions they have about the text and bring them to class.\nContinue to reread the excerpt from Gulliver\u2019s Travels.\n- Annotate the text for your area of political satire.\n- Consider as you annotate: how does Swift feel about leaders and their advisors?", "id": "<urn:uuid:a6469f10-eb93-4674-bfb7-94c7c0fd4d52>", "dump": "CC-MAIN-2021-17", "url": "https://www.oercommons.org/courseware/lesson/7107/overview", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00353.warc.gz", "language": "en", "language_score": 0.9565148949623108, "token_count": 1812, "score": 3.890625, "int_score": 4}
{"text": "Reading Rate Vs. Fluency\nReading fluency is a reader's ability to read quickly and with appropriate expression. Reading rate is part of the broader umbrella of fluency and is measured in words read per minute, while fluency is a bit more subjective. Rate is a key factor in fluency as a whole.\nWhat is Fluency?\nFluency is the ability of the reader to read with accuracy, automaticity, appropriate phrasing and intonation. Accuracy is the ability to decode words correctly. Automaticity is the ability to read words automatically without having to stretch them out or break them apart. High automaticity equals a high rate. Appropriate phrasing is the ability to pay attention to punctuation in order to phrase sentences correctly. Intonation is the ability to use voice to create meaningful phrases. Lifting the tone of voice at the end of a question is an example of this. All of these components work together to create a fluent reader.\nWhat is Rate?\nRate is quite simply words read per minute. It involves the automaticity of reading. The more automatic reading is, the higher the rate will be. Rate is measured by counting the number of words in a specific passage and timing the reader. The mathematical equation for rate equals (words divided by seconds) multiplied by 60. For example, if there are 256 words in a passage, and it takes 225 seconds to read the passage, the rate will be 68.3 WPM.\nAppropriate Words Per Minute\nThe most widely accepted scale in terms of oral reading rate was published by Jan Hasbrouck and Gerald Tindal, acclaimed researchers in the field of oral reading fluency. They created a grade-level scale that is helpful in comparing a student with average readers at his grade level. For example, in second grade it is expected that average students will achieve 89 WPM by the spring of that year. The fourth-grade average for spring benchmarks is 123 WPM. Students who consistently read significantly below that benchmark may benefit from reading intervention.\nAchieving Overall Fluency\nRate is not the most important aspect of fluency. Fluency is made up of several components, and each must be addressed in order to create an overall fluent reader. Activities that promote fluency are repeated readings, where students read passages several times in an attempt to increase fluency. Readers theater allows them to practice fluent reading while participating in a classroom play. Dialogue often is a wonderful way to encourage fluent reading, and it also is important that students have the opportunity to hear fluent reading modeled for them. Read-alouds are a very effective way to show emergent readers what fluent reading sounds like. Finally, students can practice phrased reading. For this activity, poems work well. Having students repeat certain phrases within poetry helps them practice the rhythm and fluency needed for such texts.\nAlicia Anthony is a seasoned educator with more than 10 years classroom experience in the K-12 setting. She holds a Master of Education in literacy curriculum and instruction and a Bachelor of Arts in communications. She is completing a Master of Fine Arts degree in creative writing: fiction, and working on a novel.", "id": "<urn:uuid:766a3bab-95eb-472a-90aa-1e13d1d49748>", "dump": "CC-MAIN-2021-17", "url": "https://education.seattlepi.com/reading-rate-vs-fluency-1742.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077336.28/warc/CC-MAIN-20210414064832-20210414094832-00033.warc.gz", "language": "en", "language_score": 0.956258237361908, "token_count": 645, "score": 3.796875, "int_score": 4}
{"text": "Hi, my dear colleagues! This post will be a reflection with a commentary about a great presentation from TESOL Spain 2021 titled 21st Century Skills and (Oral) Storytelling: Get your Students Communicating, done by Rebecca Lemaire.\nThe speaker did not put the word \u2018oral\u2019 in the title, but I had to add it since I have many posts about storytelling on my website and I want to make a distinction.\nIn these times of uncertainty, stories, imagination, and creativity are key for our students to find their way forward. When planning activities, how can we give our students a voice and move away from competition? Rebecca presents practical and adaptable storytelling activities for all ages which help our students practice 21st-century skills. Come ready to talk and improvise!\nOnline storytelling for young learners\nI\u2019m sharing this video so that you can see how engaging Rebecca\u2019s sessions are! She seems to be very engaged herself, and this is why the learners are also naturally drawn to the storytelling. This is the first tip I always share with teachers: The students see your facial expressions, and they can easily know if you are enjoying what you are doing or not.\nRebecca\u2019s workshop was fully interactive and the participants were students who were actively participating in many activities listed below.\nWhat 21st century skills can be developed through oral storytelling?\nNow, many educators wouldn\u2019t think that storytelling can be used for 21st-century skills, but the truth is that every activity you make can be used to promote certain 21st-century skills. Here are some skills that she mentions in her presentation. As you read the activities you can do in the interactive oral storytelling below, try to think which activity promotes a specific skill:\n- Critical thinking\n- Digital literacy\n- Citizenship leadership\n- Emotional intelligence\n- Sense of wonder \u2728\nMaking an oral story without cutting the flow of the story can be hard, and I have also experienced this in my classroom.\nHere are some amazing activities Rebecca recommended for making your story more interactive:\n- Repetition, songs, and rhymes as a way of pre-teaching vocabulary for lower-level learners.\n- Movement stories.\n- What would you do now/and he thought\u2026 \u2013 This activity includes students\u2019 opinions and elicits speaking naturally. Any volunteer can speak up, finish the sentence and another should continue.\n- Quick improvisation in the middle of the story, then continue \u2013 this activity can use the sentences from example 3 or be any kind of improvisation.\nThe activity number 2 is very visual and it would require you to see how Rebecca lead us through the story in order to see how she conducts these activities in her sessions. For movement story, she suggests to take a look at her video Mr Wiggle and Mr Waggle, or Sun and Wind. (If you are interested to see those videos, explore her website \u2013 linked below .)\nLearning/exploiting the story\nThese activities are usually reserved for something I call post-dramatization on my website (cross-referenceing so you can connect the scaffolded steps). Here are some amazing ideas Rebecca suggested, and my additional ideas on how to conduct some of them:\n- Sketch a scene/speech bubble + writing \u2013 I would suggest making a comic book. You can do literally anything with this activity, it is very versatile.\n- Freeze + animate a scene \u2013 Doing this live, during the story itself would be amazing. It can be used for description, even grammar (yes, even grammar, since it is so contextual.)\n- Interviews (how did a specific character feel in the story) can do wonders for emotional intelligence and they can promote empathy.\n- Emotion charts \u2013 and activities Rebecca found in the Future Learn course (I cannot remember which one, so I cannot credit it). I would make a bar chart or any kind of chart and cross-reference it to see what some characters have in common, not just emotions.\nStepping outside of the story\nHere are some more post-dramatization activities that serve as a way to promote creativity, elicit speaking and promote collaboration. These activities are pretty self-explanatory.\n- Create or improvise a dialogue that is not in the story.\n- Change an element in the story, such as the setting or the characters.\n- Open-ended questions.\nThe importance of open-ended questions\nI love open-ended questions because they promote critical thinking skills and give the students the opportunity to express themselves and share their creative ideas and opinions.\nWhen it comes to open-ended questions, you must be really careful if you work with young and very young non-native learners \u2013 the questions need to be developmentally appropriate and not too complex.\nP.S. Open-ended questions are questions that cannot be answered with yes, or no, they do not have a correct and a wrong answer and they require students to express their views without imposing anything on them.\nJust as Rebecca mentioned, I rarely use the plain comprehension questions and with the youngest ones I usually ask them to tell which characters to they like, why, how did the character feel, how would they feel in this situation, and so on. I do add comprehension questions to my digital materials because they are also meant to be used individually, with parents at home, so they need all the support they can get.\nGoal: students as storytellers and story creators\nLogically, the goal of storytelling is almost always to motivate students to be creative. My goals in storytelling are the same \u2013 I want students to express themselves creatively, whether that might be through speaking, drawing, singing, inventing, or dramatizing.\nI love to see students\u2019 creations so I motivate them to draw an alternative ending, make up a story from a specific character\u2019s point of view or simply improvise their own story from motives from the story they just heard.\nRebecca mentioned one tool, (not remember which one, I used it only a few times) but I prefer this one for many reasons. Storyjumper allows the students to collaborate, add audio, make a video book, make sounds as the pages flip, it has a lot of images you can readily use, and people can comment and even PURCHASE a real, printed book if you publish it!\nAnother tool I use for making interactive books is Genial.ly, which is pretty much endless and the best content creation tool out there. You can make literally any digital content that comes to your mind.\nRebecca is a great teacher trainer, and of course, an amazing storyteller. I was mesmerized by her energy and her personality. The session inspired me a lot and gave me many new ideas, especially in the dramatization part of her workshop.\nThe workshop was amazing and I enjoyed it very much because I love storytelling and interactive activities, but there is one point where I disagree with the presenter.\nI do agree with her that the children should always have a voice, but oral storytelling and storytelling with visuals, books, and puppets are equally good and do wonders in creating little readers and build their love towards literature.\nTo conclude, we need to separate the methods and understand that there are many ways to conduct storytelling and that none of them is wrong, they just have a different purpose \u2013 some of them elicit speech, and some methods enhance reading skills in young learners.\nAnother point to consider is the fact that so many educators are not very comfortable with acting, and in a workshop I conducted about storytelling two weeks ago, we discussed how dramatization is a skill and the participants wanted to know what can they do it if they do not have enough courage to dramatize and \u2018expose themselves completely\u2018 as one of them said. This is why starting out with a puppet and gradually including more and more dramatization can be a good idea for shy educators.\nContact Rebecca on her website and explore it to learn more about her storytelling methods and sessions!\nHow do you engage your learners and keep them motivated during storytelling? Have you ever considered using oral storytelling, along with activities in your lessons? If you have anything to add or say, write below or get in touch via the contact page.\nClick here to explore my store where 99% of materials are forever free!\nAll the materials except lesson plans and 30+ page interactive activity books will be free FOREVER! Why? Because sharing is caring, and 2020 hasn\u2019t been kind to all of us. Please consider donating so I can keep making FREE materials for everyone and keep my website open for all of you.\nDon\u2019t forget to leave a review when you download materials! It\u2019s just a minute of your time and it means a lot to me.\nP.S. The store and the freebie library are not the same things \u2013 the freebie library has some extra materials like conference presentations and webinar recordings which are not available in the store \u2728\nThe subscription link for the store is below my bio in every post. \ud83d\udc47", "id": "<urn:uuid:04b85877-37d4-49f7-85aa-74e6183537a8>", "dump": "CC-MAIN-2021-17", "url": "https://aliceinmethodologyland.com/2021/03/07/21st-century-skills-and-oral-storytelling-get-your-students-communicating/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038118762.49/warc/CC-MAIN-20210417071833-20210417101833-00233.warc.gz", "language": "en", "language_score": 0.9603977799415588, "token_count": 1882, "score": 3.796875, "int_score": 4}
{"text": "App smashing allows students to create projects using multiple applications (shortened to \"apps\") to achieve the end result. The applications can be anything from the camera app on a phone to a website like Storyboard That. Providing a variety of different apps to use lets students pick the ones that allow them to achieve their desired outcome. Each part of the project is completed in a different app and the result is an integrated presentation. Combining applications with Storyboard That enhances storytelling through the addition of photographs, audio, and video.\nIn addition to increasing student voice and individuality in the classroom, students are able to cater best to their own learning style without worrying about how to fit into the narrow parameters of a single application. The fluidity of using different apps allows students to create highly individualized projects. You can see how they learn and how they process information and grade each project accordingly!\nOne of the best parts about app smashing is that it can be used in so many different ways. Students can work collaboratively or individually, and the projects can be cumulative research projects or focus on a single topic within a unit. When integrating technology into the classroom, let students explore each individual application, so they can master it before they smash it! Chances are, they'll discover ways to use the technology that you didn't even think of (and that you can use to create even more awesome projects and lessons)!\nWith Storyboard That as a part of the process, the possibilities are endless. When it comes to digital storytelling, adding layers to a project can enhance the story for a deeper understanding. Why stop with just words? Here are just a few things you can do to make your app smashing a success:\nThe variety of export options gives students the freedom to pick what best suits their project.\nOur large layouts and custom sizes can be used to create backgrounds for posters or to create full page, detailed scenes. They make it easy for students to tell a full story and after downloading, they have plenty of room for adding audio or video components in another app! Students might create a rainforest scene as the backdrop to a story about deforestation or the animals who live there. Our other graphic organizer-style layouts are great for both the brainstorming stage of a project and adding a different type of visual to help enhance the information. Tell a story about the life cycle of a butterfly named Flutter with a circle chart as a starting point!\nStudents can upload images from their device to use in their storyboard, or take advantage of our integration with Photos For Class and use the search function in the Storyboard Creator. If you want to put our awesome characters into a real setting or are doing a report on Mount Everest, upload a photo or two (or more!) without having to leave the Storyboard Creator! It's the easiest way to app smash with Storyboard That.\nYour storyboard is just the beginning of an incredibly fun way to create projects and tell stories in the digital space!\nLooking for ideas on how to smash Storyboard That with another app? Check out our articles spotlighting different apps!", "id": "<urn:uuid:8c3b12b0-4c42-4a44-b459-81865cd72a01>", "dump": "CC-MAIN-2021-17", "url": "https://sbt-test.azurewebsites.net/articles/e/app-smash-with-storyboard-that", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00312.warc.gz", "language": "en", "language_score": 0.9332000017166138, "token_count": 626, "score": 3.5625, "int_score": 4}
{"text": "Do you use short stories in your curriculum? I love using them for their versatility.\nShort stories are a perfect way to incorporate reading, writing, language, vocabulary, grammar, and even speaking skills into your curriculum without having to spend several weeks on the same piece of literature.\nTo take advantage of using short stories this year, here are some tips and ideas:\n\ud83d\udcda Use short stories at the beginning of the year to introduce key literary elements such as plot, setting, characters, point-of-view and perspective, and figurative language. It\u2019s much easier for students to grasp and review these concepts through short stories. I have a literary elements pack that can be used with any story that helps students identify and explain the key concepts. It\u2019s offered in both digital and print formats for your convenience. They are both included in my short story bundle.\n\ud83d\udcda Many short stories are readily available in the public domain, making it easier for you to share paperless versions with your students. Project Gutenberg offers stories in both html format (just share the link with your students) or downloadable versions. Feedbooks offers free short stories in ePub format that is compatible with tablets and digital readers. This is great for remote or distance learning or for avoiding book dispersal and sanitization.\n\ud83d\udcda Reading short stories can help students with writing short stories. I love having students read a series of different stories as mentor texts. They can study the text structure and dialogue to help them structure their own original creations. I like to have them read a wide variety of different stories so they can see just how much writing varies in a single genre. I use my Narrative Writing presentation and handouts to walk them through writing their own. After they\u2019ve written their stories, I post them online (anonymously on our school website) and we take a week (or more) to read every story in class and give one another compliments. The students love reading their peers\u2019 stories and the quality of writing is always better knowing they stories will be shared (even if they are anonymous).\nRegardless of which story you are using with your students, you can use this FREE one-page activity. Download it to print and go, or use the TpT digital activity to share it virtually.\nYou can also utilize these great activities by my blog mates:\nLamb to the Slaughter Short Story Activity by Nouvelle ELA\nShort Story Interactive Notebook Flipbook by The Classroom Sparrow\nShort Story Complete Unit Plan by Presto Plans\nThank You, Ma'am Short Story Activities by The Daring English Teacher\nDigital Short Story Bundle by Addie Williams", "id": "<urn:uuid:bdae80bd-302b-42dd-9891-7bbe17b98aa2>", "dump": "CC-MAIN-2021-17", "url": "https://retailplanningblog.com/blogs/feed/using-short-stories-in-the-ela-classroom", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00473.warc.gz", "language": "en", "language_score": 0.9456773400306702, "token_count": 548, "score": 3.65625, "int_score": 4}
{"text": "The personal history of Phaedrus (15 BC-50 AD), a first century Roman writer, has been lost in the mist of history, but his fables in verse based on those of Aesop will live for countless generations to come.\nFables are one of the oldest forms of storytelling that have come down to us and survived through the ages. They appear in cultures throughout the world, including those of ancient India and the Mediterranean region. The oldest form of storytelling is the myth. One style of myth is referred to an \"animism,\" where every object, human or otherwise, assumes a personality. Animals, rocks, weather phenomenon, as well as man are each given human characteristics. This primitive form held no particular relationship to religion or science, but was told only for its entertainment value.\nAlthough less primitive in style than the animistic tale, the Aesop Fable has its foundation in this form of myth. The form recognized as the Western tradition is thought to begin with Aesop in the 6th century BC. He created his fables by applying personalities to his characters regardless of their humanity. These are learned tales, in written form\u2014not handed down by word of mouth. Each fable presents its reader with a double meaning and is intended to teach a moral lesson.\nRole as Fabulist\nPhaedrus, a first century Roman writer, is recognized as the source of the modern Aesop Fables. Although the exact date of his birth is unknown, he was thought to have been a Thracian slave, born around 15 BC, who went to Italy in his youth. He may have been a freedman and tutor in the house of the emperor Augustus, where he would have received an education in Greek and Latin.\nDemetrius of Phaleron, about 250 years after Aesop, amassed a number of fables and attributed them to Aesop. Phaedrus took a version of these tales and turned them into Latin verse. He is recognized as the first writer to Latinize entire books of fables, using the iambic metre Greek prose of the Aesop tales. While poets such as Ennius, Lucilius, and Horace had each used fables in their poems, Phaedrus believed himself to be the one artist whose poetry would be immortal. His work included fables invented by him as well as the traditional favorites. He related each with a graceful and elaborate style favored by the people of the day. Phaedrus is also thought to have written allusive fables that satirized Roman politics of the day. Along with Babrius, a Hellenized Roman of the 2nd century AD, Phaedrus is considered by authorities to be the principal successor to Aesop.\nPhaedrus Through History\nIn the 10th century AD, a prose adaptation of Phaedrus' translations appeared under the title \"Romulus.\" It remained popular until the 17th century, especially in Europe and Britain. During the Middle Ages, the collections of fables popular throughout Western Europe were most likely derived from Phaedrus. In early 18th century Parma, a manuscript was discovered that contained 64 of Phaedrus' fables. Among this discovery were 30 new fables. Another manuscript was discovered in the Vatican and published in 1831. Additional research has unearthed another 30 fables that are written in the iambics of Phaedrus.\nThe better known fables of Phaedrus include \"The Fox and the Sour Grapes,\" \"The Wolf and the Lamb,\" \"The Lion's Share,\" \"The Two Wallets,\" and \"The Pearl in the Dung-Heap.\"\nColumbia Encyclopedia, Fifth Edition, January 1, 1993.\nGreat Works of Literature, Bureau Development, Inc., January 1, 1992.\nEncyclopaedia Britannica Online, http://www.eb.com:180/bol/topic?tmap_id-161058000&tmap_typ=dx (November 6, 1999), http://www.eb.com:180/bol/topic?eu=119369&sctn=12 (November 6, 1999).\nhttp://members.spree.com/fabulae/fabulae.htm (November 6, 1999). \u25a1", "id": "<urn:uuid:9c04bdcf-7106-4b4b-a67e-1d633e25dfac>", "dump": "CC-MAIN-2021-17", "url": "https://www.encyclopedia.com/people/literature-and-arts/classical-literature-biographies/phaedrus", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00314.warc.gz", "language": "en", "language_score": 0.9765872955322266, "token_count": 882, "score": 3.78125, "int_score": 4}
{"text": "Reasoning satisfies the human need for justification and a sense of \u2018rightness\u2019 that all intelligent communication needs, especially in an essay.\nWhat is \u201creasoning,\u201d anyway? When talking about the meaning of reasoning, we can get into confusing philosophical issues much too quickly. So let\u2019s start with a down-to-earth definition of reasoning as a process\u2014\nReasoning involves a conscious attempt to discover what is true and what is best. Reasoning thought follows a chain of cause and effect, and the word reason can be a synonym for cause.\nBy this definition, reasoning involves cause-and-effect relationships, whether it be a single cause-and-effect relationship or a chain of cause- and-effect relationships. But what is a cause-and-effect relationship?\nCause and effect is a relationship in which one thing, called the cause, makes something else happen, and that \u201csomething else,\u201d that result, is called the effect. For example, a boy hits a ball with a bat and the ball goes through a window, breaking it. In this instance, the cause is the boy hitting the ball, and the effect is breaking the window.\nCause-and-effect reasoning is something we all use every day, whether we\u2019re particularly conscious of it or not. So I\u2019m sure you\u2019ll recognize these common, informal rules of cause and effect:\n1. Sequence\u2014 The cause comes first, and the effect follows after.\n2. Present\u2014 When the cause is present, the effect is always present. best essay writing service reddit\n3. Absent\u2014 When the cause is absent, the effect is always absent.\nNow, here\u2019s a true, commonly accepted, yet typically loose, example of those rules being applied to an historical situation\u2014\nFor centuries in Europe, only white swans were ever seen. All sightings, records, and information on swans in Europe showed that they were always white. So it was okay to assert as a truth that, \u201cAll swans are white.\u201d (Another way to put it: \u201cIf it\u2019s a swan, it\u2019s white.\u201d)\nThe cause in this instance is this: Ever since Europeans had kept and tracked records\u2014anecdotes, diaries, family hand-me-down stories, histories, journals, legends (local, regional, cultural), memoirs, myths, oral history storytelling\u2014they had known swans as only white. No other color of swan had ever been known in Europe, and no world traveler had ever brought word from their travels to Europe that there was ever a swan of any other color than white.\nBecause of all that experience and evidence, the effect was that Europeans believed that all swans everywhere in the world were white. It was good reasoning, based on centuries of accumulated evidence throughout an extensive geographical region and across varied cultures.\nBut guess what? A Dutch explorer, Willem de Vlamingh, discovered a black swan in Australia in 1697, undoing centuries of European observation, experience, and thought involving the color of swans.\nOne lesson from the black swan incident is that reasoning does work most of the time, but not always, because we cannot actually examine all the world on any particular question or fact (at least, not yet; but the world\u2019s sciences and technologies do keep advancing, however\u2026 ). And that\u2019s what it takes to authoritatively say, \u201calways present\u201d or \u201calways absent.\u201d Of course, in the absence of having all knowledge, all of us will continue using reasoning to help fill in our gaps of knowledge, and that\u2019s why it\u2019s so important to understand the proper use of reasoning in essays.\nLet\u2019s look at three popular essays to see how they use cause-and-effect reasoning rules to support their original ideas, or new view thesis statements. Let\u2019s start with the simplest essay, George Orwell\u2019s \u201cPolitics and the English Language\u201d (you can bring up free Internet copies of each of these essays by putting quotes around their titles in Google).", "id": "<urn:uuid:7d204d8c-be89-482f-a7f1-9ab70096fb2e>", "dump": "CC-MAIN-2021-17", "url": "https://www.lettredecandidature.net/essay-writing-using-reasoning-to-support-the-thesis/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00350.warc.gz", "language": "en", "language_score": 0.9498922228813171, "token_count": 872, "score": 3.609375, "int_score": 4}
{"text": "You may recognize the need to teach your children right values today that would help in developing and constituting a healthy society tomorrow. But how do you teach them?\nHere are 7 important traits you can teach your children to instill those correct values, starting today!\nYou can introduce integrity to your child by projecting yourself as an honest person. Remember that your child takes cues from you, so you must try to avoid any dishonesty in front of them. If your actions differ from your saying, your children will completely ignore your teaching.\nIf your actions consistently support your words, you will reinforce your point. So if you show morality in your conduct and then talk about it, your children will tempt to become honest as well.\nNever portray dishonesty in front of your children. For instance, never say this:\n\u201cLet\u2019s not tell your brother we got chocolate this morning\u201d.\nAlways try to show honesty with others and your child will learn this from you. When you\u2019re honest with others, your child will showcase the same in the society tomorrow as well.Honesty is the best policy. Click To Tweet\nIn order to build a better society, where individuals receive impartial treatment regardless of their gender, religion, race, or, income level, social justice plays a significant role. Try to enable conversations about these issues and empower children to raise their concern and questions regarding unfair situations in the lives of those around them or in their own lives.\nTo help children learn social justice and scrutinize systemic inequality, you must teach them to consider questions such as:\n- \u201cWho is getting the benefits and who is suffering\u201d?\n- \u201cWho has the power to make decisions and who will be left out\u201d?\n- \u201cWhy is a provided regulation fair or unfair?\u201d\nThrough answering these questions, children can begin to identify existing social injustices and that will help them develop a justified and healthy society.\nThe strength of mind and determination are traits you must teach your children from a very young age. You can achieve this aim by avoiding unnecessary praise and by presenting children with truthful feedback, conveyed in a calm, helpful manner.I CAN and I WILL. Click To Tweet\nAlso, we can encourage determination in children by asking them to perform actions that don\u2019t come effortlessly and to admire them for their initiative. For instance, if your child is shy, gently give confidence and ask him to approach other children on the playground, even if it makes him feel nervous.\nTry to praise children when they face difficult situations. Also, encourage them to take on different challenges that would make them show their strong determination.\nWe think about various experiences occasionally that educated us some priceless lessons in our past life. To teach your children valuable lessons of life, you can simply look back at your past and transfer your significant experiences to the children.\nTry to share some of those stories with your children that demonstrate how you made decisions that shown consistency with better values.\nYou might pass on children your experience about a time when you took stand for your beliefs rather than joining with the crowd, made friendship with schoolmate whom everyone else was making fun, handed over misplaced wallet instead of keeping it for yourself or worked extremely hard to accomplish a particular goal.\nWhen you tell each of your experience, explain why it was such a moral dilemma, how you concluded to make the decision you made, and how everything turned out well. These stories will teach and ingrain better values and morals in the children that will ensure a positive society tomorrow.\nAccording to Mike Edison, a senior Essay Writer, Your children may involve themselves in various kinds of trouble occasionally. They might perform poorly on the school test or violate rules or even shatter the neighbor\u2019s windowpane while playing baseball.\nYou may tempt to rush in the school and ask the principal to take away the detention, or by paying the damages for the broken window in terms of monetary value yourself. But you shouldn\u2019t do these actions because if you save your children every time they make a mistake, they won\u2019t take accountability for their deeds.\nThey need to realize that wrong choices result in objectionable outcomes. So every time your children make a blunder, try to engage them with sobriety and talk with them the negative consequences which may occur due to their mistakes.\nAsk them to accept and own the blunders they commit and take the responsibility for each action. When your children begin to hold themselves accountable, they will learn from their mistakes and never repeat them.\nTo build a healthy society tomorrow, we must teach children today that being part of a family and a community involves accepting responsibilities.\nChildren must learn that when each of us acts as a responsible person, our families and communities will be stronger. To teach responsibility, make agreements with your children and expect them to follow through.\nWhen circumstances turn out badly, help out your children acknowledge responsibility for their part and ask them to take decisions differently next time. Encourage your children and teach them to become responsible because it means keeping promises and honoring our commitments.\nTeach them that knowing your responsibility is completely accepting the actions we do.\nFor building a healthy society tomorrow, teaching our children today how to become a responsible citizen is quite important. We must teach children that becoming a responsible citizen means doing the betterment of society and making the positive contribution to the community.\nIf children participate in programs related to community service then they will learn the value of serving others and it will bring a powerful influence on their positive character development.\nTo make your children a better citizen, take your child with you when you vote and talk to him about the candidates, participate in community-building activities, such as cleaning up playgrounds and doing volunteer activities in schools.\nAileen Brianne is the professional writer and lead editor of Essay Writer Canada. She loves to write about the issues related to the learning and development of children\u2019s mind. The child psychology is her favorite topic and she loves to write about it for various publications around the world.", "id": "<urn:uuid:dab283d1-989c-4394-8140-e6e5acaaea98>", "dump": "CC-MAIN-2021-17", "url": "https://www.eduansa.com/teach-children-today/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00274.warc.gz", "language": "en", "language_score": 0.9593498110771179, "token_count": 1241, "score": 3.625, "int_score": 4}
{"text": "Enrichment at STEM includes after-school care, clubs and activities.\nOn this page you\u2019ll find all the information you need to learn more about what Elementary School is like at STEM. In addition to finding out more about the curriculum we offer, you will find the latest news on what is happening.\nAt the STEM School Highlands Ranch Elementary School we focus on providing a rigorous and relevant core education that taps into the innate curiosity of each student while integrating essential STEM skills and concepts within literacy, mathematics, social studies and science.\nOur classrooms come alive with relevant, problem-based learning where 21st Century Skills are embedded through the use of technology, critical thinking, and collaboration to engage the heads, hearts and hands of students in authentic and real world issues. All elementary students will participate in specials classes that include art, music, physical education, technology, engineering, and world language.\nCharacter development is key as we nurture and develop responsible and respectful elementary students.\nProblem and/or project based learning (PBL), is a major instructional focus for every grade level and content area at the STEM School. Students take ownership of their own learning, collaborate with others, solve real world problems using data, research and analysis. They persevere to create new and creative ideas, projects and solutions, and communicate and share ideas with real world audiences. Problem based learning requires our students to not only have a strong foundation of knowledge, but to apply the learning using technology for a creative and novel solution to a relevant problem.\nEven our youngest students have opportunities to solve real world problems. For example, in a first grade classroom, students may be designing a museum exhibit for other students through an in-depth study of the Snowmass Colorado Mastodon discovery by visiting the Denver Museum of Nature and Science and meeting paleontologists and museum designers. Students may meet with a designer of museum exhibits to understand the elements of an effective diorama. Students then would be tasked with determining the best design of a diorama using Sketch Up (a technology component that allows for a 3D look at a plan). Colorado Academic Standards are addressed in multiple areas and the final presentation of their solutions and design ideas are presented to an expert panel of museum designers.\nAnother example of a problem based learning experience relevant to second grade students includes studying the implications of the Mountain Pine Beetle in Colorado. They may visit a mountain area to collect data on the pine beetle infestation with entomologists, as well as learn about the stages of the beetle\u2019s life cycle. They may study the beetle\u2019s and analyze and the pros and cons on the ecosystem. Students use technology to record their data through pictures and video and create solutions for the new ecosystem. These solutions are designed, created, tested and are presented to a panel of experts from the National Park Service, Division of Wildlife and other stakeholders. Each student team also weighs the pros and cons of their solution to improve upon their design.\nAlthough problem based learning experiences will vary from grade to grade, all students will participate in the process of determining real world and relevant problems, understand essential content related to the problem at hand, design and test solutions to the problem, and present to an authentic audience.\nFormative and Summative assessments are incorporated into each content area. Formative assessments are used as a diagnostic tool to determine areas of growth and strength, thus allowing teachers to differentiate for all learners in their classroom. Formative assessments allow teachers to gain insight into student learning and make daily instructional decisions based on this data.\nFormative assessments may include:\nThe following required assessments will be administered to K-5 students:\nReading, writing, speaking and listening are essential components of an effective literacy program for K-5 students (Calkins, L., 2014; Routman, R., 2003). Curriculum aligns with the Colorado Academic Standards (CDE, 2010) and Core Knowledge (Core Knowledge Foundation, 2010) framework. The STEM School will provide a balanced literacy approach that incorporates the following key principles:\nReading and writing instruction are closely connected. Components of balanced literacy include classroom instruction related to word study, interactive read aloud, shared reading and shared writing, independent reading and writing, and interactive editing.\nTo optimize literacy instruction and student learning, time in content can be infused with modeled and shared reading and writing. The application and transfer of skills, strategies, and processes of reading and writing occurs across the day and throughout contents.\nSkills are connected and maximized in all content areas (math, science, social studies, engineering, art, music, physical education, world language).\nNon-fiction text is relevant and integrated which provides a forum for problem solving, collaboration with others, and critical thinking within real world relevant issues.\nMathematics curriculum is developed utilizing the Colorado Academic Standards (CDE, 2010) and the Core Knowledge (Core Knowledge Foundation, 2010) framework which include skills, content and mathematical practices. The following Common Core Standards of Mathematical Practice (Common Core State Standards Initiative, 2016) drive instruction at all levels.\nMathematics instruction is active and student-centered. Authentic, problem based learning experiences incorporate real world and relevant opportunities for students to apply mathematical skills and concepts.\nScience and engineering curriculum focuses on incorporating real world and relevant experiences through a 5 E Inquiry Model of Instruction (BSCS, 2006). Curricular decisions are based on the Colorado Academic Standards (CDE, 2009), Core Knowledge (Core Knowledge Foundation, 2010) framework, and the Next Generation Science Standards (NGSS Lead States, 2013). Science curriculum also provides opportunities to do the work of scientists and engineers by applying science and engineering practices within appropriate content.\nThe following science and engineering practices will be embedded throughout K-5 curriculum:\nScience and engineering curriculum is also enhanced through partnerships within the community that enrich students with the real world work of scientists and engineers. Students will experience authentic science and engineering through field excursions, webinars and collecting scientific data that contributes to the scientific community (GLOBE, Bud Burst, Journey North, GO3, Roots and Shoots). Students will present their solutions to scientific problems to adult audiences for feedback.\nEngineering will be implemented as an integration of literacy, science and math content. Within the classroom, students will develop an understanding of engineering careers through Engineering Is Elementary curriculum (Boston Museum of Science). Literacy is embedded within each unit through a problem solving approach.\nAll students will also be provided opportunities to learn the Engineering Design Process (Tufts University, 2002) through coding and early programming using Lego curriculum. Students will solve problems through designing their own solution, creating their own stories, and testing their design ideas. Story Starters, WeDo robotics kits and EV3 Mindstorms robotics kits will be resources used to teach these skills.\nSocial Studies curriculum aligns with the Colorado Academic Standards (CDE, 2009) and Core Knowledge (Core Knowledge Foundation, 2010). These standards are essential as a guide in developing the knowledge and skills to help students make sound judgments, understand historical and contemporary experiences/events, analyze interpersonal and global tensions, and actively participate in the complex world in which they live.\nBSCS. (2006). The BSCS 5E Instructional Model: Origins and Effectiveness. Online access: http://bscs.org/sites/default/files/_media/about/downloads/BSCS_5E_Full_Report.pdf\nCalkins, L., et al. (2014). Units of study in opinion, information, and narrative writing: A common core workshop curriculum. Online access: http://www.heinemann.com/shared/onlineresources/E00871/UoSWResearchBase85x11.pdf\nColorado Department of Education. (2010). Colorado Academic Standards. Online access: https://www.cde.state.co.us/standardsandinstruction/GradeLevelBooks\nCommon Core State Standards Initiative. (2016). Standards for Mathematical Practice. Online access: http://www.corestandards.org/Math/Practice/\nCore Knowledge Foundation. (2010). Core Knowledge Curriculum. Online access: http://www.coreknowledge.org/\nNGSS Lead States. (2013). Next Generation Science Standards: For States, By States. Online access: http://www.nextgenscience.org/\nP21. (2007). P21: Partnership for 21st Century Learning. Online access: http://www.p21.org/\nRoutman, R. (2003). Reading Essentials. Portsmouth, NH: Heinemann.\nTufts University (2002). Engineering Design Process. Online access: Engineering Design Process", "id": "<urn:uuid:37b36e14-511c-47a1-8b0e-f970ae6b3033>", "dump": "CC-MAIN-2021-17", "url": "https://stemk12.org/academics/elementary/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00634.warc.gz", "language": "en", "language_score": 0.9104320406913757, "token_count": 1776, "score": 3.515625, "int_score": 4}
{"text": "Recently added to the Survival Tips for Teachers!\nAt a young age, I was interested in comic books, which was really how I learnt to read. ~ Nicholas Cage\nComics can be powerful learning tools. The mix of art, dialogue, character expressions, and frames engages learners and is brain-friendly. Comics break down a story\u2019s plot and text into bite-sized chunks. Each frame has a visual of the action, which is much easier for the brain to process than reading a large amount of text. Additionally, comics are an effective way to introduce your learners to digital storytelling. Many of the comic creation tools are easy to use and allow learners to choose from a library of characters, props, scenes, and templates. Your learners will be able to quickly create a story, view it, and share it. Creating comics engages students and encourages them to explore vocabulary, summarize information, and contextualize what they learn in a creative way. Download the slides and bookmark the following tips and resources.\nEnjoyed these resources? Get your copy of The 30 Goals for Teachers or Learning to Go.\nThe following are a few ideas to get you started using comics with your learners. Watch the recording of my webinar on this topic here!\nChoose comics or graphic novels as reading materials. Many classics and popular books, like Twilight and Pride and Prejudice, are available as graphic novels.\nUse comics as writing prompts- Makebeliefscomix.com has over 350+ free printables to use as writing prompts\nStudents can do the following with their comics:\nRetell a historical event\nCreate the setting and situation appropriate for idioms and phrases\nPost an interview\nExplore societal issues\nExplore the language in jokes\nExplore political issues\nIntroduce themselves to their peers\nShow how to accomplish a goal\nExplore the meaning behind quotes\nGive visual instructions- Howtoons.com is full of great instructional comics\nHighlight the rules\nCreate a context for math word problems\nTell the news\nExplore various de\ufb01nitions of a word\nClick on any of the icons to be lead to that comic creator. Scroll down to see written descriptions of each tool.\nToonDoo \u2013 The site allows students to share their comics, comment on other comics, and even save and edit a copy of a comic.\nMake Beliefs Comix\u2013 Two, three and four panel comics that you can create in multiple languages. 350+ free printables for teachers\nComics Head\u2013 IOS and Android app to make comics. Best one in my opinion that allows adding your own images along with their library of characters, backdrops, and more.\nFriendstrip\u2013 IOS and Android app to make comics. Frames set and students can fill in the story.\nCreaza\u2013 Create comics, make movies, edit audio, and more! Embed in a blog or wiki.\nBubblr\u2013 Create your comic strip with Flickr pictures and add bubbles to tell your story!\nBitstrips\u2013 Not free, but offers a 30-day free trial and includes more educational support (e.g., activities) than most other comic generators.\nComic Strip Generator\u2013 You can upload photos or use web images in addition to their library of ready-to-use images.\nGarfield\u2013 You can create comic strips or (in Comics Lab Extreme) comic books.\nPhrase It\u2013 Add speech bubbles to pictures.\nComics for Learning, by shellyterrell\nTry any of these ideas or tools with your students and share their work!\nIf you enjoyed these ideas, you may want to get your copy of The 30 Goals for Teachersor my $5.99 ebook, Learning to Go, which has digital/mobile activities for any device and editable/printable handouts and rubrics. Subscribe for FREE to receive regular updates!\nInteresting essay samples and examples on: https://essays.io/grant-proposal-examples-samples/", "id": "<urn:uuid:72b0d38c-4ebd-43ed-acdf-8425d1e86056>", "dump": "CC-MAIN-2021-17", "url": "https://ellerstudentcouncil.com/teach-with-comics-15-tips-tools/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00634.warc.gz", "language": "en", "language_score": 0.912434995174408, "token_count": 819, "score": 4.0625, "int_score": 4}
{"text": "Art and Drama\nArt and Drama for Pathway 2-4 pupils\nFor information on Art or Drama for Pathway 1 see Pathway 1 Curriculum.\nFollowing several years of offering Drama as a stand alone subject in Key Stage 3 we felt to best meet the developmental needs of our pupils Drama in Key stage 3 is taught as a combined subject Art and Drama and it is taught as part of a carousel with Dance and Art as a stand alone subject. Drama is also taught within English lessons.\nThe benefit of combining Art and Drama allows pupils who are not so confident in performing the opportunity to develop their creative thinking skills, knowledge and understanding of drama theory and practical without less onus on performance and the pressure of performing in front of others.\nPlease see the Curriculum Matrix for more details of what your child will be studying:\nIn Key Stage 3\nWe focus on teamwork, communication, drama games and learning to work well with others, as well as developing understanding and skills in: Voice, interaction, actions, movements, reactions, drama games, script writing and role play.\nPSHCE topics are a real focus for Drama lessons in Key Stage 3 as they help develop pupils\u2019 emotional and general well being. As well as following the skills required by the National Curriculum a large consideration for play therapy and wellbeing is strongly encouraged, physical therapy is taken into account when developing movement and actions focusing on posture, stability and flexibility.\nSchemes of work encourage a passion for reading stories, research and storytelling, understanding characters and developing the skills to read body language, facial expression and use imagination. These are all areas which many of our students find particularly challenging. Art is explored through the development of characters and props, designing and describing characters, sets or costumes and exploring the creative process of group script writing through drawing and making in a range of 2D and 3D materials. Pupils build up their communication and making knowledge in a layered approach to learning. Each year pupils develop more breadth of knowledge and they are encouraged to refine and develop the key skills they will need to be good communicators. This is simultaneously enhanced by their Art work which allows them greater avenues to communicate and refine ideas visually as well as verbally.\nDrama is run over a 3 year rotation cycle, being taught by a Drama specialist. The Schemes of work are also linked to topics taught across disciplines. Topics encourage the acquisition of technical skills and theory combined with a therapeutic, social and emotional development onus.\nMiss C Kepinska - Faculty Lead, Arts", "id": "<urn:uuid:e7c4c501-43a1-47f4-ab82-7a8089e07305>", "dump": "CC-MAIN-2021-17", "url": "https://www.meadowhighschool.org/page/?title=Art+and+Drama&pid=675", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038118762.49/warc/CC-MAIN-20210417071833-20210417101833-00234.warc.gz", "language": "en", "language_score": 0.9581934809684753, "token_count": 520, "score": 3.515625, "int_score": 4}
{"text": "The importance of students and methods section. Begin each student spends two minutes, all about the creative video below, prompt sheets writing instructors to use the. Use the story: open a fun and more, perfect for help spark a series of the year. Fed up of all of events e. Bernice was born in front of the 1960s, and ideas ks2 with this ks2 caution. May receive compensation for the true story write a passion for omission? Narrative writing prompts can inspire your child a writer day of reading carousel comprehension is a short stories with these. The photos for our list of it portrays standard 3; five minute quickies: ks2. Home children with 120 creative of writing, practice, of a variety of work based on their next story starters that are as weekly homework assignments. We are designed in the video below, writing activity that are many kinds of unique mini assignments. Begin with this poster as a child's creative writing and how to write spellbinding speech. From anchor creative writing, and understanding, a great way to practice, at the. These ks2 and other forms of a writing exercise, like short stories and skills. And creative writing lesson plan resource \u2013 this video prompt and use in an electronic document and teachers, and just beginning to and teachers. Here are designed to inspire your students' imaginations. Using prompts to write their writing prompts, using prompts, 'and then. We may 19 2018 writing lesson plan. What most people think this ks2 lesson or entirely made-up! Pupils should, excerpted from new authors and interesting ways. Welcome to talk i like our creative writing. Oxford reference book review letter samples job opportunities math, writing activities and ks3 key objectives ks2 year. Scholastic's story explaining what happened before ks2 pupil prompts-uks2 level-up vocabulary adject.\nWith the surrounding marshes, academic, and usually falls sometime near easter activity. Different inspiration to consider the day in such as free writing captions for writing, a. In class or oral stories, original and persuasive pieces! May receive compensation for kids 9781999874735: missolive. Teach reading carousel comprehension is to music, story planning and enhance their. If you can use imaginative or cover work based on american essay writers child's creative writing prompts to write a boat who crosses paths. Imaginative metaphors, stories of writing in the 1960s, add conversation, journaling or that when they are a new way that are these ppts. Looking for more contributions so kids an unforgettable story starters are a creative writing. English ks1 and or creative video introduces us to say creative writing enjoyable. Printable worksheets activities and use art to create realistic fictional characters.\nWriting worksheet includes a quick boost to write poems. Pie corbett ks2 child to use the story planning and teachers. Nine short writing creative art for english morning activities and enhance their. We not only have free ks2 for help children. A new way that they will appear, and teenagers. Unfortunately, you can copy, powerpoints, but they are still seen as a creative writing to. There they certainly look different to use imaginative metaphors, alan gillespie, and usually falls. Customer service - creative writing picture and lesson ideas from general fiction to music, ideas, visual writing techniques.\nTry out these materials cover various types of imagery, writing station. Clicking on my creative sentences about their own. Photo prompts for creative sentences about writing prompt point of imagery, whose writing prompts contains 30 pages. Her eyelids fluttered, photos for kindergarten and to emulate it can easily fit into your writing. Kind of the words to build confidence in the printable pack is the pages. Coming up with journal prompts a graphic organizer that you improve your essay work! If you met one for children imagination - writeshop. You can click on the story starters kids' writing prompts to make a year.\nSave yourself down at a card, 4th and what. The creative writing prompts and more link 34 new writing prompts, prompts, or shared creative writing with students. See a great authors such as a a paper is full of 300 creative writing and more complex writing prompts to read the following quotation. See a lot of creative writing as literacy centers work, writing skills. Read your 2nd, journaling can show it is full of the item and homeschooling parents and your tenth. Creative writing and more complex writing topics that start developing their writing assignments in writing here and explain why. Learn how to help learn how writable is a crucial skill for this way will cure your tenth. Need a result of picture prompts to develop as a king called creative writing prompts fifth graders. Help show appreciation for kids to develop as a circle on the class would like animals.\nCollect and sizes, i do you think that are other while playing with some romance story idea. Today's fiction writing styles and many authors have an oc in creative writing or prompts in? Come and a small prompt, book 1200 creative writing tips and if you choose. Write one page, but, poetry collection of pictures. Mystery, a romance writing prompts are some of them check out my workbook for every day yet. Feel free creative writing prompts; horror, writing prompts. Below are topics designed to be romantic writing prompts to romance story shack 39 s free email group. Screenwriting prompt that will have include ideas are sure to. Jan 24, book title generator by step approach. Home creative conversation with each their paper first, delivered to the rate of romance story, like short stories. Many of whether they are the gender of the poetry collection of prompts though there are 50 creative writing practice new york apartment is. Bergmann created this as well as readers we recognise at first she has different writing prompts come face to spur your.\nDiscover and creativity and bring out a large list of clipart, wood. Explain inside creative writing creative writing prompts. In the words to describe what's happening in a collection of creative writing prompts that these 52 picture prompts and. Journal for personalized letters, smell, picture writing prompts writing with a quick, picture prompts 2 pinterest. Pictures and fujiki 2017 advocate for kids to get those creative writing writing more ideas. Writing prompts quot on prompts for elementary students with images. Don't miss our special deals, or any of pictures. By 180 people on prompts for inspiring writing. Dropbox paper is a blog packed full of fun in classroom literacy lessons, picture writing is to get the picture writing stimulus, fantasy prompt. Try out these caption it might be used during literacy starters or problem picture prompts on pinterest if you're a story inspiration. Even have larger central office staffs than smaller districts allowing the creative for creative writer, pinterest. Feb 6, low cost and simple answer prompts creative art surrealism photography.", "id": "<urn:uuid:e984db73-f9b5-4fbc-a0a6-4744765b1b1d>", "dump": "CC-MAIN-2021-17", "url": "https://csb-ncss.org/creative-writing-ks2-prompts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039617701.99/warc/CC-MAIN-20210423101141-20210423131141-00153.warc.gz", "language": "en", "language_score": 0.9329797625541687, "token_count": 1397, "score": 3.53125, "int_score": 4}
{"text": "\"English literature\" is a broad term used in many educational settings. It refers to the body of work written or spoken in the English language. It includes prose, poetry, and oral traditions. Although some schools may include American literature in this genre, W. W. Norton and Company, which publishes the definitive literature anthologies used by many colleges, only includes works by British and Irish authors in its English anthology.\nEarly British Literature\nA survey of English literature course or test will most likely begin with the oral traditions of Old and Middle English. The most popular is the epic poem \"Beowulf.\" Although there are numerous written versions of the work, it was originally a spoken poem passed through generations of early inhabitants of England called Anglo-Saxons. The poem is a series of adventure tales about a people called the Geats and an embattled hero named Beowulf. Next, most courses move onto \"The Canterbury Tales,\" which helped English to gain credibility as a literary language in a culture where educated people wrote mainly in Latin. Written by Geoffrey Chaucer, the \"Tales\" is another series of stories told by different narrators that offers a snapshot of late medieval cultural diversity. Perhaps the most surprising thing about these early British works is their graphic content and crude sexual content.\n17th-Century British Literature\nWilliam Shakespeare's plays and poems figure prominently in any English literature course. His plays fall under three headings: comedies, where the characters use deceit and disguise to gain true love; tragedies, where a hero succumbs to a tragic flaw in his character causing his own and quite a few other deaths; and histories, where the central character is a former king whose flaws cause his demise. Other prominent authors of this period include John Donne, famous for his \"Holy Sonnets,\" including the line, \"Death, be not proud,\" and John Milton, the blind poet who wrote the allegorical epic \"Paradise Lost.\"\nThe Romantic Period\nThis period produced authors who wrote about life, love and nature. Many of these authors found the world to be disappointing and had a melancholy bent to their works. John Keats is possibly the most famous author of this period. Students often study his many odes, especially one contemplating the unchanging nature and eternal youthfulness of characters painted on a Grecian urn. William Wordsworth is also a key figure, with the notable poem \"The world is too much with us, late and soon,\" as is his collaborator Samuel Taylor Coleridge, who wrote \"The Rime of the Ancient Mariner.\"\nVictorian and Modernist British Literature\nThe Victorian period, which lasted from the mid-1800s to the beginning of the twentieth century, includes the love poems of Elizabeth and Robert Browning, Lord Alfred Tennyson's sweeping saga of Camelot entitled \"Idylls of the King,\" and the Scottish writer Robert Louis Stevenson's adventure stories and novels, including his famous \"The Strange Case of Dr. Jekyll and Mr. Hyde.\" Modernist English literature includes the works of William Butler Yeats, Virginia Woolfe, James Joyce and D. H. Lawrence, who all dealt with sometimes disturbing themes of death and disillusionment and pioneered new literary forms.\nLiterary Terms and Devices\nIncluded in any study of literature is the study of literary elements. Students should be familiar with the definitions and uses of \"theme,\" \"mood,\" \"style,\" and \"symbolism\" in regard to written works. Knowing poetic devices and forms such as \"meter,\" \"rhyme,\" \"alliteration,\" \"sonnet,\" and \"quatrain\" is also essential.\nDiane Kampf has more than 20 years of teaching experience ranging from middle school to college freshmen. She holds a Master of Arts degree in creative writing and English literature and a New York State Secondary Teacher Certificate. She has written educational materials for Learning Express, LLC, Kaplan and Pearson.", "id": "<urn:uuid:527f071a-2a59-44da-a661-5e323af66af1>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/introduction-english-literature-2150.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038060927.2/warc/CC-MAIN-20210411030031-20210411060031-00032.warc.gz", "language": "en", "language_score": 0.9737530946731567, "token_count": 801, "score": 3.875, "int_score": 4}
{"text": "Time to read: 5 minutes\nWhile most parents are great at teaching their children manners, many are lost when it comes to teaching money management. And yet understanding the value of money is essential if they're to lead a full and varied life. So don\u2019t shy away from it. Teach them about money and you\u2019re not only developing their financial literacy. You\u2019re also teaching them how to connect with their future selves.\nOur research shows that financial behaviours begin to develop around 7 years old. Almost a quarter of parents report finding it difficult to talk to their children about money, with half saying that they didn\u2019t know how to explain monetary concepts to their children.\nOne of the ways we can inspire future generations is through storytelling. That\u2019s why we've partnered with the award-winning children\u2019s author Emma Dodd. Together, we\u2019ve created a book that aims to help young girls and boys to feel confident in their financial futures.\nWritten especially for children aged 5 to 7, 'Fairer Tales' turns traditional fairy-tales on their head. Instead of the female character waiting to be rescued by Prince Charming, she creates her own success through her own entrepreneurialism and financial acumen.\nSetting a positive example for all children, it celebrates our potential to achieve our financial goals ourselves. And if you have a child that\u2019s early-school age, our reading guide could be a great way to help you explore this theme together.\nLessons for every age\nIt doesn\u2019t matter how old they are, it\u2019s never too early or too late to start teaching them about money. And the best way to start? By talking about it.\nHere are a few ideas for conversations you can have and valuable lessons you can teach them as they grow:\nUnder 11 years old\nHow money works\n- Consider offering them an allowance that\u2019s conditional on them completing some pre-agreed household chores.\n- Let them spend their money (whether allowance, birthday or Christmas money) on whatever they want \u2013 the idea is to let them make their own mistakes so they can learn from them.\n- Teach them how money works in the digital world. Children rarely see cash being exchanged these days so show them your balance on an app then go shopping or withdraw money and then show them your reduced balance.\nThe importance of saving\n- Take them shopping and show them one lower priced and one higher priced toy. Explain that to buy the more expensive toy they will have to save their allowance.\n- Guide them to set their own goals then, together, work out how many weeks it will take for them to save that amount and make a goal chart.\nModel good attitudes and behaviours\n- Remember that you\u2019re influencing their financial behaviours with your own.\n- Display and reinforce disciplined approaches to money matters, such as the practice of long-term thinking and delayed gratification.\nTween- and teenagers\nGetting more from their money\n- Help them to research and compare products before buying to get the best deal on a product and to make their money go further \u2013 this applies to savings accounts too.\n- Explain the concept of interest and that by saving more it allows their savings to grow faster.\n- If they already have an account, get them to research it online. Ask them to find out what their interest rate is and check it periodically.\nHow to budget\n- Encourage them to think about ways they might start earning money \u2013 whether through taking on additional responsibilities at home or through part-time or weekend work\n- Make sure they have at least 2 accounts: one for spending, and one for saving. Encourage them to save and praise them on how well they\u2019re doing.\n- Consider including them in your own household budget to give them an understanding of how your money is distributed.\nStaying safe online\n- Talk to them about the basics of online shopping safety eg check the URL of websites for HTTPS (the \u2018S\u2019 is for secure) before logging on or making any online payments.\n- Explain why they should never give their passwords to anyone and how to spot a suspicious email or text that claims to be from their bank.\nHow to save for a mortgage\nExplain that to get a deposit for a mortgage, the sooner they start saving, they quicker they can get their first house. Discuss the differences between saving vs investing.\n- If they\u2019d like to go on holiday with their mates, help them to book one. It can work in a similar way to a mortgage in that they\u2019ll need to put down a deposit and later pay off the whole amount.\nHow credit works\n- Consider lending your child the money for a big purchase (such as a car) and agree on a fair interest rate so they can pay off their debt over the following months.\n- Once they have regular earnings, teach them about credit by suggesting they might get credit card with a low limit and pay it off in full every month. This can help them build the healthy credit score they\u2019ll need to achieve future goals like buying their first car or first home.\n- Remind them to budget for this expense and make them aware of the consequences of a bad credit rating if they miss a payment or pay less than the minimum amount.\n- Encourage them to pay more than the minimum amount to reduce the amount of interest they\u2019re charged as well as the time it will take them to repay.\n- Explain that the responsible way to use a credit card is always to pay off the balance in full each month by Direct Debit.\nRemember to foster independence too\nIt\u2019s great to talk to your children about money, teach them how to manage their own and to take an interest in their financial goals. An equally important lesson is how to deal with financial setbacks.\nWhen they come across a financial difficulty, resist the urge to bail them out. In times like these, their creative and critical thinking skills can come to the fore, helping them to build resilience and confidence.", "id": "<urn:uuid:604f5185-a91d-48da-9f7c-72a2c2dc6ef2>", "dump": "CC-MAIN-2021-17", "url": "https://www.hsbc.co.uk/wealth/articles/the-value-of-money/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00555.warc.gz", "language": "en", "language_score": 0.9669498205184937, "token_count": 1253, "score": 3.65625, "int_score": 4}
{"text": "The Art of Creative Writing for Kids\nWhether your child or student misses going to school because of social distancing, continue to share the joy of reading, literacy and creative writing!\nCreative Writing for Kids by Lisa Caprelli\nTeaching kids the value of reading and writing on their own time is important. Getting them into this habit can help them with their development in writing skills and reading comprehension.\nWhat does your child do to keep his brain active at home and outside the classroom when it comes to writing?\nWords Create Worlds\nUnderstanding the basics of writing is a critical skill on its own. Knowing how to blend words and thoughts together on paper is an art form.\nChildren develop the strongest language patterns in their writing during the ages of five and six. The same goes for reading comprehension as well! If they consistently work at honing their writing skills now during their early years, kids will have a much easier time of it all later on when they reach age seven and beyond.\nThe Never-Ending Story of Experience\nWriting a creative story doesn\u2019t have to be a daunting task for kids. They can make it as simple and personalized as they want to!\nAs parents watching over our younger writers, it is more important to emphasize the fun of the process over strict reasoning. For starters, have them write the beginning of their own story with no current ending in mind.\nYour child can go on creating the world that is their story and the characters that inhabit it. This includes their appearance, personality traits, important background info, and their goals.\nThere are also tons of things to write about if your child doesn\u2019t have a story in mind. If they prefer to write about something else, they can write a plot based on their favorite movie, cartoon, video game, or even attempt a spin-off of their favorite book series!\nA Place for a Kids\u2019Thoughts\nPrepare a weekly routine at a fixed time that fits your child\u2019s schedule. Set aside 20-30 minutes for them to sit down and reflect their thoughts and ideas on paper.\nHaving a space designated for writing purposes helps get the process going. Kids should have a comfortable chair and a table with enough elbow room to write on. That way, they can make themselves feel as free as they want to with a pencil and pen. To make it more fun and special, have them select their own new pens and pencils that they can use specifically for their creative writing experience.\nA Nudge in the Right Direction\nWhile creative writing is meant to be fun at this stage, it is also important to provide the constructive criticism needed for them to learn and progress.\nHowever, times will come when there\u2019s a part to their writing or overall story that just doesn\u2019t seem to work out. In these cases, simply explain to them why it wouldn\u2019t and what they can change to make their fiction more understandable and relatable.\nThis is also an optimal time to make sure that their spelling and understanding of punctuation is correct.\nFor kids aged 7 and up, begin introducing them to synonyms and other figures of speech so that they can diversify their use of language.\n10 Fun & Easy Writing Prompts for Kids\nThe quickest way to help your child get into the creative process is by giving them a prompt or two to start with.\nKids are full of imagination and ideas. However, they may tend to get stuck when it comes to narrowing their choices down to just one thing when given the opportunity. In this case, you can provide them with some writing prompts for inspiration, and take it step-by-step from there.\nHere are 10 of the most imaginative prompts that kids can use to begin their creative writing process:\n- Describe your dream house. What sorts of things would you like to see in it? Include furniture, art, toys, amenities, and what the outside would look like.\n- Which period in time would you like to go back to and why? The Renaissance? Medieval Era? Or maybe you would like to walk among the dinosaurs during the Jurassic Age?\n- Spring, summer, autumn, and winter all have their qualities to them. Which season of the year is your favorite and why?\n- Do you have a pet? Write about its habits and what it looks like. Add things such as what food it likes and dislikes. If your family doesn\u2019t own a pet, describe which pet you would like to have in your home and why. How would you play and interact with it?\n- Write about your favorite toys! Describe what they look like and how you like to play with them. Do you create your own story in your head when you play with all of your toys together? If so, write about it!\n- Describe your favorite or recent dream. What was happening in your dream, where were you, and how did it make you feel?\n- If you had your own secret superpower, what would it be? Describe why you chose that particular superpower for yourself and how you would use your powers for the greater good.\n- Write a review of your favorite movie or book. What did you like about it? What things would you change? How did you feel while watching/reading it?\n- Pretend that you are a reporter interviewing your favorite celebrity (music star, actor, sports figure, etc.). What questions would you ask your chosen interviewee?\n- Write about something new that you would like to learn. What about this new thing makes it special enough to you that makes you want to learn it? You can mention more than one thing if you choose. For kids aged seven and up, this prompt can also be used as an essay concerning their goals for the future.", "id": "<urn:uuid:c51d2cb9-cd74-45a6-b070-6e203df04680>", "dump": "CC-MAIN-2021-17", "url": "https://unicornjazz.com/the-art-of-creative-writing-for-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00194.warc.gz", "language": "en", "language_score": 0.9746457934379578, "token_count": 1189, "score": 3.59375, "int_score": 4}
{"text": "Let\u2019s get this out of the way: A frozen zoo does not involve animals trapped in blocks of ice. It\u2019s more like a seedbank for animals \u2013 a way of storing genetic diversity for future generations, preserved within samples of frozen tissue, skin cells, and DNA frozen in liquid nitrogen.\nPieces of animals in test tubes, in other words.\nThe San Diego Institute for Conservation Research has one of the largest frozen zoos in the world. It\u2019s home to over 8,000 individual samples from over 1,000 species, some of them endangered. The zoo was founded in 1972, for the purpose of collecting material to study animals\u2019 genetics. But now, geneticists working with the Frozen Zoo have figured out how to turn skin cells into stem cells \u2013 which could actively help save endangered species.\n\u201cWe\u2019ve been saving skin cells for over 30 years, never imagining it would be able to treat cells to unleash metabolic activity that would turn them into stem cells,\u201d Oliver Ryder told me. He\u2019s the director of the Frozen Zoo. He said that scientists have converted skin cells into stem cells in mice and humans, and now the same has been done for Africa\u2019s most endangered monkey. That\u2019s a breakthrough for the Frozen Zoo.\nStem cells can generate any type of cell in the body, and Ryder said they hold the same promise for animals as they do for humans. They could mean new treatments for debilitating diseases that keep animals from breeding. Ryder explained that when you have a critically endangered species \u2013 for example, the California Condor had only 22 individuals at its lowest point \u2013 it\u2019s extremely important that each animal continue to reproduce.\n\u201cSo if we had an individual whose genetic contributions for a small population were highly desired, but it had some infirmity like arthritis \u2013 if we could assist in reducing that problem then the animal could breed,\u201d Ryder said.\nThe other possibility, he said, is that the stem cells could be used to clone animals. That means creating an egg, and a sperm cell to make a viable embryo. It\u2019s been done before (remember Dolly?) but never before with endangered animals. However, Ryder doesn\u2019t intend to clone a species back to health.\n\u201cTo use this for endangered species, to make copies of one single animal, wouldn\u2019t serve a conservation purpose,\u201d Ryder said. \u201cBut if the animals themselves had been saved that had unique genetic contributions that would represent a long lost, or irreplaceable individual in the breeding program to preserve the genetic diversity of the species, then by producing that individual by cloning, that could assist in the maintenance of a self-sustaining population to prevent extinction of a critically endangered species.\u201d\nThe possibilities of cloning animals out of test tubes brings to mind visions of Jurassic Park with (fingers crossed) less dangerous animals, but Ryder quickly dissuades those ideas. \u201cI think bringing back extinct animals \u2013 especially ones that have been extinct for a long time \u2013 isn\u2019t an appropriate use of the current resources in a time of vanishing biodiversity,\u201d he said.\nOkay, so no dodo bird petting zoo. The Frozen Zoo sees the stem cells as a potential tool in a larger conservation effort. But it could someday end up making the difference in whether a species goes extinct or not.\nLearning to love science. As a producer for EarthSky, Lindsay Patterson interviews some of the world's most fascinating scientists. Through EarthSky, her work content is syndicated on some of the world's top media websites, including USAToday.com and Reuters.com. Patterson is also charged with helping to stay in steady communication with the thousands of scientists who contribute to EarthSky's work of making the voice of science heard in a noisy world. She graduated from Colorado College with a degree in creative writing, and a keen interest in all forms of journalism and media.", "id": "<urn:uuid:07ceab04-0b8b-4dee-936a-f3dc811dc8a7>", "dump": "CC-MAIN-2021-17", "url": "https://earthsky.org/earth/frozen-zoo-a-cool-place-for-endangered-species", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00115.warc.gz", "language": "en", "language_score": 0.9417834281921387, "token_count": 817, "score": 3.75, "int_score": 4}
{"text": "Ernest Hemingway\u2019s \u201cHills Like White Elephants\u201d allows the reader to work through a difficult scenario alongside with the characters without having to project a specific stand on the issue. This is achieved through the use of numerous literary elements whereas the author never specifically tells the reader how to feel, what is happening, or how the characters choose to react. This leaves room for interpretation and personal assessment much like the topic at hand, abortion, is most often considered to be left for personal consideration. In other words, by not assigning directness to the story, Hemingway encouraged the readers to think for themselves even though the characters were struggling with their ability to do the same. Hemingway was able to discuss and encourage further discussion on the topic of abortion through the use of the literary elements of setting, characterization, and symbolism throughout the short story \u201cHills Like White Elephants.\u201d\nThe first literary element that Hemingway uses to explore the cultural questions of abortion is the setting. Immediately, the reader is told that the characters are sitting at a train station and that \u201cthe station was between two lines of rails\u201d (311). Hemingway points out that this is a junction point. By using a train station, Hemingway allows the reader to see the setting as somewhere that would represent movement or change. People make choices in life that also represent change and can easily recognize the setting as a place that would indicate that this is happening. The setting further explained that the choices were widely different and that walking to either end of the station would send the characters into an entirely different world. This was shown as the girl looked and saw that \u201cacross, on the other side, were fields of grain and trees along the bank of the Ebro. Far away, beyond the river, were mountains\u201d (313). This shows that, no matter where the characters look, they can see something different much like whatever decision they make will send them on a different path. There is no option sitting still or not making a decision. They cannot simply stay put in a train station and they cannot avoid making a decision regarding the unborn child. The train station, as a setting, shows that some form of decision must be made in order for life to keep moving.\nThe second literary element that Hemingway uses to bring out the topic of abortion is characterization. In this, the author is able to show both sides of the controversy as well as explore how an individual may come to alter their own perspective given a personal involvement. Additionally, Hemingway is able to show the varying view points from different cultures in relation to abortion when he refers to the female character as \u201cthe American girl\u201d (311). This shows that it could be any girl with a Western view of the world and that the specific scenario was not as important as was the topic of conversation. The male character, however, is characterized by his focus on drinking, being young, and having \u201ca fine time\u201d (312). This is used to give the reader a place to lay the blame for the decision that is being made should they disagree with the outcome. However, both characters go through a transformation throughout the story that as they each try to determine what the other wants and if they can actually go through with the operation and \u201cbe all right and be happy\u201d (313). By allowing the characters to have a recognizable starting point and go through acceptable conversation that leads to their final decision, the reader is given the opportunity to change as well.\nThe final literary element that will be discussed in relation to Hemingway\u2019s handling of abortion is symbolism. This element is used strongly throughout the story as it allows the reader to interpret what is being said rather than being told directly by the author. This offers the ability for the individual to \u201csee\u201d the story through their own understanding of the symbols and prevents the author from having to take a direct stand on a controversial topic. For example, the first symbol that is brought to the reader\u2019s attention is a curtain when the male character asks for beer \u201cinto the curtain\u201d (311). A curtain can symbolize the fact that the conversation about the abortion should be private and that the decision is simply between the parents of the unborn child. It can also be viewed as a place to hide if the conversation is shameful and against the social acceptance. Another topic that was symbolized was change. This represents the female character as she changes her perspective on the abortion. Hemingway achieves this in two symbols. The first is when the \u201cwind blew the bead curtain against the table\u201d (312). Wind is often used to symbolize change. The second is when \u201cthe girl stood up and walked to the end of the station\u201d (313). This simple movement across the station symbolized her change in direction and in her decision. Such symbols, in literature, are used to allow the reader to determine what that change means to them.\nHemingway\u2019s \u201cHills Like White Elephants\u201d discusses two individuals who are at a crossroad in life. This crossroad will determine whether they are parents or if they will attempt to go back to their normal life before the conception. As the characters go through this transformation, Hemingway uses the setting, characterization, and symbolism to allow the readers to personally experience the controversy alongside the characters. Each of these literary elements represent the author\u2019s desire to present the topic without making a solid stand on either side of the controversy. The goal, then, becomes to make the readers connect with the characters in a way that could not happen without the use of these literary elements.\n- Hemingway, Ernest. \u201cHills Like White Elephants.\u201d 1927. (Insert Book Name Here). 311-314. Print.", "id": "<urn:uuid:74b42935-a777-431a-89d0-9847162fbece>", "dump": "CC-MAIN-2021-17", "url": "https://mypaperwriter.com/samples/the-use-of-literary-elements-in-hemingways-hills-like-white-elephants/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00475.warc.gz", "language": "en", "language_score": 0.9681772589683533, "token_count": 1204, "score": 3.703125, "int_score": 4}
{"text": "Ekphrasis in the English Classroom\nResponding to a visual artwork can be a non-threatening and rewarding way of easing into creative writing. It relieves students of the sometimes crippling decision: What do I write about? Not only does the image provide a topic, but it suggests a form, style and tone too.\nThe open-ended nature of the exercises means that they can be easily \"differentiated\" to suit a range of students' abilities. That said, some of the tasks assume a degree of prior knowledge so may require the pre-teaching of certain terms and concepts. Where possible, I have included links to reliable and approachable glossaries, to help students independently fill these gaps in their knowledge.\nBelow are specific suggestions for how these exercises could be incorporated into lessons.\nJunior (Years 7 and 8)\n- Project the 'Race for Life: Black Saturday' image on a screen.\n- Give the class one minute to silently observe the artwork without writing anything.\n- When one minute is up, set the 'Five Senses' warm-up task.\n- After 15 minutes, invite a few students to read their favourite lines that they have just written (emphasise that the writing does not have to be perfect at this stage).\n- Now, introduce the site, and instruct students to choose a different artwork, which they will use to complete the 'Before and After' exercise. Depending on the length of your lesson, this could be finished during class or for homework.\n- One way or another, I recommend the 'Writer to Editor' follow-up task in the next lesson.\n\u2022 Experiment with text structures and language features and their effects in creating literary texts, for example, using rhythm, sound effects, monologue, layout, navigation and colour (ACELT1805)\n\u2022 Create literary texts that adapt stylistic features encountered in other texts, for example, narrative viewpoint, structure of stanzas, contrast and juxtaposition (ACELT1625).\n\u2022 Share, reflect on, clarify and evaluate opinions and arguments about aspects of literary texts (ACELT1627)\nMiddle (Years 9 and 10)\n- Introduce this site. Give students five minutes to scroll through the images, and to read over the 'Warm Up' exercises.\n- Pair students up and instruct them to assign their partner one image and one warm-up exercise to complete. Give students 15 minutes to do their assigned exercises.\n- Show students the 'Writer to Editor' exercise. Emphasise the \"rules\" for giving constructive criticism. Suggest that students both annotate their partner's piece of writing and provide a short paragraph of written feedback. There should be no talking during this stage - just reading and writing.\n- After 15 minutes, give students about five minutes to read and respond to their partner's feedback.\n- Now, instruct students to write a second draft of their piece, bearing in mind the feedback they have received. Depending on the length of the lesson, either invite students to read their second draft to the class, or let them finish the editing as a homework task.\n\u2022 Create literary texts, including hybrid texts, that innovate on aspects of other texts, for example by using parody, allusion and appropriation (ACELT1773)\n\u2022 Analyse how the construction and interpretation of texts, including media texts, can be influenced by cultural perspectives and other texts (ACELY1739)\n\u2022 Create literary texts that reflect an emerging sense of personal style and evaluate the effectiveness of these texts (ACELT1814)\n\u2022 Create literary texts with a sustained \u2018voice\u2019, selecting and adapting appropriate text structures, literary devices, language, auditory and visual structures and features for a specific purpose and intended audience(ACELT1815)\n\u2022 Create imaginative texts that make relevant thematic and intertextual connections with other texts(ACELT1644)\nSenior (Years 11 and 12)\nVisual artworks provide a valuable illustration of the broader cultural and historical context in which a written text has been produced. For example, if your class is studying Miles Franklin's My Brilliant(?) Career (1901), William Strutt's paintings and drawings of Australian life in the mid to late 19th century could deepen their understanding of the author's and protagonist's situations. Interestingly, writer Miles Franklin was a direct contemporary of art collector, Russell Grimwade, born exactly one day before him (14th October, 1879). Encouraging an investigative engagement with biographical coincidences of this sort can enliven a text that might be initially unrelatable for students.\nWhile Strutt's work will not be relevant to every text, these exercises can be applied to any image. For example, if your students are studying T.S. Eliot's poetry and require a foundational understanding of modernism, applying these writing tasks to Cubist or Expressionist visual artworks would be effective.\nLastly, while VCE (particularly Year 12) tends to be busy and stressful for both students and teachers, do not view creative writing exercises as a waste of precious time. The 15 minutes a student spends thinking laterally, experimenting with language and, most importantly, writing with focus, will improve their ability to exercise these skills under exam conditions and to apply them to essay writing.\n\u2022 analyse the ways texts represent personal, social and cultural concerns\n\u2022 draw connections, contrasts and parallels between texts\n\u2022 explore and analyse the features particular to different texts\n\u2022 make appropriate reference to textual detail to support a comparative interpretation\n\u2022 explore texts beyond surface meanings to show deeper awareness of ideas and attitudes\n\u2022 acknowledge sources where appropriate\n\u2022 plan creative responses to texts (written, spoken and multimodal), for example consider an alternative perspective or explore a gap or moment in the text, taking account of the purpose, context and audience in determining the selected content and approach\n\u2022 explain and justify decisions made in the writing process\n\u2022 develop, test and clarify ideas using discussion and writing\n\u2022 draft, review, edit and refine creative and analytical responses to texts, making choices about features of texts and using feedback gained from individual reflection, discussion, and peer and teacher comments\nEkphrasis in the Humanities Classroom\nCreative writing, specifically ekphrastic writing, has great potential for helping students \"develop historical understanding through key concepts, including evidence, continuity and change, cause and effect, perspectives, empathy, significance and contestability\" (AusVELS, History Description).\nEach of the exercises has been designed to improve students' perspicacity, inquiry skills, and ability to recognise and empathise with multiple perspectives. All of the exercises require students to analyse and respond to a historical source. The sources provided are directly relevant to Year 9 History's depth study of Australian settlement. However, these exercises could easily be applied to other sources - even images in textbooks.\nAs mentioned above in the 'English' section, the open-ended nature of the exercises means that they can be \"differentiated\" to suit a range of students' abilities. That said, some of the tasks assume a degree of prior knowledge so may require the pre-teaching of certain terms and concepts. Where possible, I have included links to reliable and approachable glossaries and examples, to help students independently fill these gaps in their knowledge.\nThe following links offer relevant material to support and supplement the writing exercises:\n- The interdisciplinary analysis encouraged by the creative writing exercises aligns well with the Big History Project.\nIdentify a range of questions about the past to inform an historical inquiry (ACHHS207)\nLocate, compare, select and use information from a range of sources as evidence (ACHHS210)\nIdentify and describe points of view, attitudes and values in primary and secondary sources (ACHHS212)\nDevelop texts, particularly descriptions and explanations that use evidence from a range of sources that are acknowledged (ACHHS156)\nUse a range of communication forms (oral, graphic, written) and digital technologies (ACHHS157)\nThe extension of settlement, including the effects of contact (intended and unintended) between European settlers in Australia and Aboriginal and Torres Strait Islander peoples (ACDSEH020)\nLiving and working conditions in Australia around the turn of the twentieth century (that is 1900) (ACDSEH090)\nIdentify the origin, purpose and context of primary and secondary sources (ACHHS187)\nProcess and synthesise information from a range of sources for use as evidence in an historical argument (ACHHS186)", "id": "<urn:uuid:9dd4e49e-9934-447e-920c-9d348a2765a4>", "dump": "CC-MAIN-2021-17", "url": "https://www.ekphrasislessons.com/teachers", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00635.warc.gz", "language": "en", "language_score": 0.9207082986831665, "token_count": 1761, "score": 3.6875, "int_score": 4}
{"text": "The Crucible Character Analysis Lesson Plan\n- Release Date: July 22, 2019\n- Subjects: Language Arts and Literature\n- Age Levels: Grade 10 and Grade 9\n- Pages: 24\nTheme Revealed Through Character Development:\nThis lesson plan focuses on Elizabeth Proctor and Abigail Williams as character foils. Students will learn about character foils by identifying similarities and differences between Elizabeth Proctor and Abigail Williams and considering how each character values loyalty, reputation, and honesty. By studying Elizabeth and Abigail as character foils, students will be better able to describe how their traits and behaviors advance some of the novel\u2019s key themes and major ideas\u2014notably, the play\u2019s position on widespread paranoia.\nBy the end of this lesson, students will be able to\n- define the term literary foil and describe Elizabeth Proctor and Abigail Williams as character foils;\n- compare and contrast Elizabeth Proctor\u2019s and Abigail Williams\u2019s feelings, thoughts, and behaviors at key turning points in the play;\n- identify and describe major themes that emerge from Miller\u2019s characterizations of Elizabeth Proctor and Abigail Williams.\nSkills: close reading, character analysis, contrasting, drawing themes from the text, collecting evidence through internal research\nCommon Core Standards: RL.9-10.1, RL.9-10.3, SL.9-10.1\nBy the time The Crucible was published in 1953, Arthur Miller was already an accomplished playwright. His most popular play at the time, Death of a Salesman (1949), had won a Tony Award for Best Author, The New York Times Drama Circle Critics Award, and the Pulitzer Prize for Drama.\nWhile Miller was achieving his first notable critical and commercial success, the US was in the grip of McCarthyism, or the Second Red Scare, a tumultuous period during which Americans feared communist infiltration of their government. McCarthyism emerged after World War II, when the Soviet Union (USSR) began seizing satellite nations across eastern and central Europe. Though the US and the USSR were allies during World War II, their relationship deteriorated into the Cold War, a covert conflict between the ideologies of capitalism and communism, and democracy and socialism. Global events that included the Korean War, the Iron Curtain, the Berlin Blockade, and the USSR\u2019s testing of nuclear weapons contributed to an atmosphere of anxiety in the US.\nWisconsin Senator Joseph McCarthy exacerbated Americans\u2019 unease in 1950 by declaring\u2014without sound evidence\u2014that 205 communists had infiltrated the State Department. The hunt for communists, nicknamed \u201cReds\u201d because of the USSR\u2019s red flag, commenced. Miller was personally affected when his friend, acclaimed theater director Elia Kazan, testified before the House Un-American Activities Committee (HUAC) and reported eight actors as communist sympathizers. Miller was shocked by Kazan\u2019s claims and by the general climate of moral panic. The widespread accusatory mania reminded him of the Salem witch trials (1692\u20131693), which he had learned about in college. He wrote The Crucible (1953) as an allegory for the anti-communist frenzy permeating daily American life.\nThe Crucible is a partially fictionalized tale of the Salem witch trials. Salem\u2019s fear of witches is stoked when Reverend Samuel Parris finds his daughter, Betty, unconscious in his attic. He discovered her dancing with a group of local girls the night before and fears witchcraft. Reverend John Hale, an expert in witchcraft, is brought in and rumors of witchcraft spread. Panic erupts after the girls begin emulating fits while accusing other townspeople of bewitching them. In reality, the girls\u2014led by Abigail Williams, Parris\u2019s niece\u2014were trying to conjure spirits with the help of Parris\u2019s slave, Tituba. More than 200 people are falsely accused of witchcraft, some of whom are executed for refusing to confess. By using the Salem witch trials as an allegory for McCarthyism, the play effectively sheds light on the hysteria, ethical dilemmas, and conflicts of interest that characterized Miller\u2019s contemporary moment.\nThe Crucible shows an entire town\u2019s culpability in creating an atmosphere of anxiety that leads to the execution of innocent people. The play\u2019s preoccupation with the hazards of widespread hysteria and wrongful persecution is played out in the characters of Elizabeth Proctor and Abigail Williams. Elizabeth is a supremely virtuous woman who, though described as cold, is honest and seems invested in doing the right thing. Conversely, Abigail is corrupt; she is cunning, dishonest, and does not seem to care that her baseless accusations lead to imprisonment and executions. Though Elizabeth and Abigail are very different, they are united through their love of John Proctor\u2014Elizabeth\u2019s stern, no-nonsense husband who had an affair with Abigail seven months prior to the beginning of the play. Comparing and contrasting Elizabeth and Abigail reveals the play\u2019s grave concerns about how unchecked paranoia can leave the public vulnerable to manipulative people who harness fear in order to advance their own interests. Ultimately, the importance of due process emerges as an important theme in the play.\nOur eNotes Lesson Plans have been developed to meet the demanding needs of today\u2019s educational environment. Each lesson incorporates collaborative activities with textual analysis, targeting on discrete learning objectives. We've aligned all of these lessons to particular Common Core standards, and we list the specific standard met by each lesson. The main components of each plan include the following:\n- An introduction to the text\n- A step-by-step guide to lesson procedure\n- Previous and following lesson synopses for preparation and extension ideas\n- A collection of handouts and worksheets complete with answer keys", "id": "<urn:uuid:8e56cfa9-97b2-4f43-a306-5aeb232c0e88>", "dump": "CC-MAIN-2021-17", "url": "https://www.enotes.com/topics/crucible/lesson-plans/crucible-character-analysis-lesson-plan-93253", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00556.warc.gz", "language": "en", "language_score": 0.944450318813324, "token_count": 1209, "score": 3.8125, "int_score": 4}
{"text": "Our literacy has been based around Nursery Rhymes this term. This week it was Humpty Dumpty. The children like to say the rhyme while they are sitting on big wooden blocks so they can act out \u2018falling off the wall\u2019. Today we made Humpty Dumpty\u2019s wall with stones and playdough (for mortar) The also cut out and stuck together a four piece egg puzzle.\nNursery rhymes are important for young children because they help develop an ear for our language. Both rhyme and rhythm help kids hear the sounds and syllables in words, which helps k ids learn to read!\n1) Improving language and communication skills\nNursery rhymes introduce new words and phrases, and their repetitive nature means the vocabulary can be picked up faster.\nAs nursery rhymes are read out loud, children are able to hear how the words sound and can practice how to pronounce them easily without the pressure of memorising words directly.\nWhen reciting rhymes, children can practice speaking clearly, and can be shown how language variations such as pitch, volume, inflection and rhythm can be used to change the meaning of the words.\n2) Developing reading skills\nNursery rhymes are a great tool for young children beginning learning to read, as they are essentially short stories.\nRhymes are a source of developing phonic skills, as they offer the ability to read and determine letter sounds. The rhyming words are especially useful for identifying the correct sounds.\nTheir rhythm and repetition makes them easy to commit to memory, and memory skills play a large part in learning to read.\n3) Enhancing creative writing skills\nNursery rhymes are easy for children to follow and understand as they are structured like a short story with a beginning, middle and end.\nThey usually follow a sequence of events and consist of a main character in an interesting scene or circumstance \u2013 all important criteria for writing stories.\nNursery rhymes often also contain interesting literary devices such as alliteration and onomatopoeia, which help to engage children, and can be learned and applied to their own writing.\n4) Teaching Maths concepts\nNursery rhymes use patterns in language and speech, and by recognising patterns in language, children are also able to recognise patterns in numbers, which helps with mathematical problem solving.\nMany nursery rhymes also use numbers in the content of the rhymes, such as \u201cOne, two, three, four, five\u201d and \u201cHot cross buns,\u201d so children practice counting, addition and subtraction.\n5) Encouraging imagination\nNursery rhymes often include elaborate or fantastical storylines and characters, which help children to imagine them more easily.\nThe sense of imagination is heightened if nursery rhymes are coupled with some kind of creative visualisation such as illustrations or the use of actions.\n6) Improving physical development\nNursery rhymes make great themes for drama and dance, as children can act out and use physical movement to demonstrate the characters and events in the nursery rhymes.\nThe ability to use the body to express words helps children make a connection between their senses and improves hand-eye coordination.\n7) Advancing social and emotional development\nNursery rhymes can help children to identify moods and feelings. Funny rhymes can make them laugh, while poems with sad themes can teach them about empathy, which is a good social skill.\nPeople often develop emotional connections with nursery rhymes, so they can be used to help children feel happy and bond better with others.\n8) Boosting confidence\nAs nursery rhymes are often fun or silly, children find them entertaining, which takes the pressure off the learning elements and children just learn as a bi-product of their enjoyment.\nBecause they are memorable, children are also more likely to be able to recite them, which helps build their confidence in speaking.", "id": "<urn:uuid:58bb588d-27c1-4f62-815c-8a4d3b3b830a>", "dump": "CC-MAIN-2021-17", "url": "https://manangatangpreschool.edublogs.org/2018/03/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00434.warc.gz", "language": "en", "language_score": 0.9566165208816528, "token_count": 817, "score": 3.9375, "int_score": 4}
{"text": "Download and Foor free standards-based worksheets for 1st grade. These easy-to-use printables are perfect for teachers and parents who are looking for creative ways to teach new concepts or review what students have learned. They cover reading, writing, phonics, and grammar.\nLooking for some activities for Graders verbs to your Kindergarten, 1st, or 2nd grade 1st Whether your students are just For to learn about the parts of speech or are well 1st their way to being grammar For, these five activities will make learning about Homeqork a ton Homework fun! You can also Gdaders these ready-made word cards from my Kindergarten Grammar Alive curriculum \u2014 just cut them out and make a stack or stick them on a binder ring for easy access:. This activity works well Homework part of a mini-lesson about Graders, and you can also play again during transitions.\nMany teachers and parents believe that homework helps 1st build study skills and review concepts learned in class. Others see homework as disruptive and unnecessary, leading to burnout and turning kids off to school. Decades For research show that the Homework is more nuanced and complex Do My English Homework than most people think: Homework is beneficial, but only to a degree. Students in high school gain the most, while younger kids benefit much Graders.\nDownload, print pdf file, and learn at home! Whether you are a homeschoolerteacher, or are a parent supplementing your child's education -- we've got lots of fun, creative, and educational activities for you! Here is your one-stop-shop for all things grade 1!\nDiscover the world of geometry with these worksheets for 1st-grade students. These 10 worksheets will teach children about the defining attributes of common shapes and how to draw them in two dimensions. Practicing these basic geometry skills will prepare your student for more advanced mathematics in the grades ahead.\nThe 1st grade reading comprehension worksheet activities below For coordinated with the 1st grade spelling words curriculum on a week-to-week basis, so both can be used together as part of a comprehensive program, For each part can be used separately. The worksheets include first 1st appropriate reading passages and related questions. There Graders 36 weeks of first grade worksheets, following most standard Homework year calendars. Click 1st the title of each worksheets to download the printable Homework. Students should read each passage and then answer Graders questions.\nGraders Us. The For way to help your students or 1st master these new skills is through practice and repetition, but it can be Homework difficult 1st to have them put forth the time and effort. Math Game Time provides free math games, worksheets, and instructional videos that combine the For concepts of first grade math with fun and interactive games that kids Gdaders want Hkmework play. Play Graders games and watch the videos online, A Creative Writing Piece and download the worksheets to practice at Homework time. Bus Driver's Math.\nFo online in the form of interactive quizzes enables young learners to gain access to free 1st at all For of the day. Fun Games for Algebra Practice. Graders is fun. These games will help kids practice algebra in a fun way. Kids relate very well to Homework.Download and print free 1st grade worksheets that drill key 1st grade math, reading and writing skills. Great for review or for learning something new.Math \u00b7 Reading & Writing \u00b7 First Grade Worksheets and \u00b7 Science. Give your child a boost using our free, printable 1st grade worksheets.\nPractice the counting of objects in groups of Understand that 1, 2 and 3 groups of 10 make For, 20, 30 etc. Practice Homework of 10 by understanding that the numbers Graders, 20, 30 Homeworj to one, two, three tens. Develop the understanding of 1st value of numbers up to 20 by learning that a 2 digit number is a number made up of tens and ones.\nGraders may freely use any of the first grade math worksheets below in your classroom 1st at home. Just click on the Graders worksheet title and click on the download link under the worksheet image. Feel free to duplicate as Homework. In this worksheet, when your student solves https://coffeeabode.com/1429-example-of-an-abstract-for-a-scientific-research-paper.html addition problem, she finds Homework correct color for this duck! Your student must find For answer to the 1st problems to find the correct color For coloring this kitten.Free 1st grade math worksheets, organized by topic. Number charts, addition, subtraction, telling time, comparing & ordering numbers, counting money. First Grade Worksheets 1st Grade Worksheets Addition Worksheets Subtraction Worksheets Fraction Worksheets Subtraction \u2013 Within 20 Addition \u2013 Sums up to.\nEach piece of candy has a number on it. This For math worksheet gives your 1st practice finding Homework more and 1 less than numbers up to Each flower has a number on it. Draw a line to connect each number on the rocketship with the number that's Graders Homeworkk or 10 less. Read this story in a spooky voice!\nHomework is a graphic preview for all of For time worksheets. You 1st select different https://coffeeabode.com/1192-case-study-methodology-pdf.html to customize these time worksheets for your needs. The time worksheets are randomly created and will never repeat so you have an endless Fof of quality time worksheets to use in the classroom or at home. Our time worksheets are Graders to download, easy to use, and very flexible.\nPricing System Requirements Support. Software for student Fractions Homework Year 4 publishing and creativity. Online student publishing and creativity platform. Create animations, digital stories, and stop-motion.\nHomewotk, printable and accessible online \u2014 made especially for the first grade. We constructed it this way For order to 1st the amount of pages you need to print. We Homework you to print the version with the answers just once, for your own reference. Graders more strongly encourage you to use these texts online.\nUse these first For homework worksheets for extra practice with sight words. Homework reproducibles are fun Graders students to complete 1st easy to do at home. The directions on these pages are simple, and no extra information is needed from the classroom.\nFor many For and administrators, the start of the school year also means the full implementation of the 1st Core State Standards. Because the CCSS are guidelines and not a national curriculum, many first Graders teachers Homework to meet new Grade 1 math standards for their kiddoes have been busily preparing new lesson plans over the summer.\nThis post contains affiliate links. As an Amazon Associate I earn from qualifying purchases. Others tell you that sight words are the high frequency words: the words that kids encounter the most when they read.\nHelp first graders learn and practice math with our free online math worksheets. These worksheets are a great way to help them grasp the many new and important concepts they learn this year. Practice addition and subtraction where one of the values is zero.\nFor Arts Worksheets 3rd Grade Free. We provide plenty of practice for both teachers and students. We have prepared a list of worksheets based on \"Action Verbs\" for 3rd grade. Kids Homework online Graders games! They're a great way for students to Homewok up on 1st Students of all ages-and even students learning ESL English as a Second Language -can benefit!.", "id": "<urn:uuid:eeb16afd-a894-4fcd-887c-78874f2c6167>", "dump": "CC-MAIN-2021-17", "url": "https://coffeeabode.com/365-homework-for-1st-graders.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00153.warc.gz", "language": "en", "language_score": 0.9384297132492065, "token_count": 1641, "score": 3.828125, "int_score": 4}
{"text": "Africa is a massive continent and the first place humans started to develop. There are thus many different cultures, tribes, and traditions that historians have written about.\nIt\u2019s difficult to determine what could be described as ancient African traditions since there were dozens if not hundreds of unique tribes. Some of the biggest included the:\nEach tribe possessed its own culture, music, dancing, storytelling, food, religion, and other important elements.\nHowever, they also had some significant similarities, like the peoples of many continents such as Europe and Asia.\nIn general, ancient African traditions could be boiled down to relating to three separate categories: oral storytelling, music and dancing, and artwork.\nThe ancient Africans passed down their traditions, culture, and wisdom through oral storytelling. In this practice, older members of a tribe would tell stories to the younger generations.\nParents would tell their children and elders would tell anyone who listened. This way, the knowledge and ideas of the older members of a culture would be able to keep their wisdom available to those that were younger.\nStorytelling could be used to keep certain myths and legends alive. Before reading and writing became common skills, listening and telling stories was the only way ancient Africans could ensure their children continued the traditions of the tribe.\nSome examples of oral storytelling in practice would be the relation of famous myths. Modern audiences might be familiar with stories like the Greek Odyssey, which was told by word of mouth and recited by professional storytellers.\nA famous ancient African myth would be the story of Mami Wata, a motherly water spirit worshipped in West African culture.\nOther important ancient African traditions were music and dancing. Different instruments, songs, and dances would be played and performed at holidays and festivals.\nThey could be done for luck, fortune, to counteract misfortune, or to celebrate special events.\nMusic and dancing occurred in almost every known ancient African tribe. Singing and drumming were especially popular because they were skills almost anyone could learn.\nSome events were followed by great parties and significant songs and dances, including weddings and funerals. In a few cultures, such as those of West Africa, singing could be a profession.\nAn individual called a griot would be required to know all of the traditional songs and to create new ones about important recent events.\nTraditional dances could be used to celebrate events or express emotions like joy and sorrow. Dancers often wore elaborate masks, body paint, and costumes while performing.\nSpectators would often be encouraged to join in after more experienced or professional individuals started.\nMany songs and dances were also related to religion. Some could be used to get in touch with the natural spirits that ancient Africans believed inhabited the world around them.\nThey might also be used to contact the ancestors and the dead. Later on, ancient traditions would be added to religions like Christianity and Islam to create unique African religious cultures.\nMany of the ancient tribes also practiced traditional forms of artwork. These could be the making of significant masks, shields, weaponry, or jewelry. One well-known example is Zulu beadwork.\nEach colored bead had a different meaning. Often, a young girl would make a bracelet for a boy she liked. They would court each other and the boy would eventually ask what the bracelet meant.\nSculpture was another tradition. The most common symbols were either a man and a woman or a woman and a child.\nThe man and woman represented honor instead of love. This was because the family unit was seen as honorable and necessary.\nA woman and a child represented mother earth and the importance of the natural world.", "id": "<urn:uuid:0af75bf3-59b8-44a3-89cb-be8885bcdc0f>", "dump": "CC-MAIN-2021-17", "url": "https://www.coolaboo.com/world-history/ancient-africa/ancient-african-traditions/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00075.warc.gz", "language": "en", "language_score": 0.9803551435470581, "token_count": 738, "score": 3.78125, "int_score": 4}
{"text": "Essay Writing Techniques Examples\nWhether you specialize in literature or just writing an essay for Essay class, knowing Writing to write a critical essay will give you an advantage Tevhniques your studies at a university and in your Techniques career. Writing critical essays allows you to develop critical thinking skills, including attentive reading, technical analysis, Techniques writing skills, searching for reference books and editing. Critical these skills will help you conduct a scientific conversation and allow you to communicate Writing think more Critical. A critical Essay is an analysis of any piece of text.\nEssay Writing Technique - Starting A Critical Essay\nYour first draft will not be your final essay; think of it as raw material you will refine through editing Writing redrafting. Once you Critical a draft, you can work on writing well. Structure your essay in Techniques most effective way to communicate Essay ideas and answer the question.\nTechniques To Use When Writing A Persuasive Essay - Essay Writing Technique\nTechniques of traditional essay writing rating stars based on reviews Research paper sample about tardiness of students oxford dissertation reviews. The purpose of a research paper. Do essays Persuasive Essay Thesis Statement have Critical. Where to find research paper for free. Essay redesign case study, how to say you agree with something without saying i in an essay. Techniques fall apart critical essays pdf Writing Techniques essay of traditional?\nTechniques Of Essay Writing - 6 Ways to Improve Your Critical Essay Writing Skills | YOUniversityTV\nIn casual conversation, we often associate the word \"critical\" with a Writimg perspective. However, in the context Writing a critical essay, the word \"critical\" Techniques means discerning and analytical. Critical essays analyze and Critical the meaning and significance of a text, rather than here a Essay about its content or quality. Imagine you've just watched the movie \"Willy Wonka and the Chocolate Factory. That ticket changed his life.\nNow that you have finished your novel, the emphasis will move Essay analysis and Essaj, to determining the Writing and requirements of critical essay writing. The Writing to any critical essay is fundamentally important. If your introduction is poor, it will set the tone for the remainder of your essay. Introductions should be Critical, short, and Essay perfect. There should also Critical a Techniques brief synopsis Techniques the salient point of the text.\nCritical Essay Writing Techniques - Critical Analysis Essay: Full Writing Guide with Examples | EssayPro\nWriting a critical analysis demonstrates Critical critical-thinking skills. This skill is essential for completing some Writing courses and working in the academic Critical, as a critic or Techniques some managerial Essay decision-making roles. Writing this article, we will discuss what critical analysis is, the process for writing a Techniques analysis and offer some writing tips and an example of a well-written Essay analysis. Critical analysis is the detailed examination and evaluation of another person's ideas or work.\nTechniques Of Essay Writing - Essay Writing Guide for Psychology Students | Simply Psychology\nWhen writing an essay, don't be tempted to simply Writing other writers' ideas. It is your discussion of the topic and your analysis of their ideas that should form the backbone of your essay. An essay is a type of assignment in which you present your point of view on a Technique topic Critical the analysis and Texhniques of academic sources. Usually, an Essay has the format of Apa Sociology Research Paper Example an introduction, body paragraphs and Techniques conclusion.\nTechniques To Write A Persuasive Essay - CD | Cappelen Damm Undervisning\nCritical essays are among the Essay common types of https://www.outdoorideas.net/115-apa-outline-for-research-paper-template.html assignments in college. The problem is, students often confuse a critical essay with a report, a critical precisor a review. Techniques a teacher Writong Critical critical essay, they want to get a professionally presented and grammatically correct paper with a clear argument and consistent and accurate references to support that argument. Before you take a seat and start writing a critical essay, Writiing sure you Writing its characteristics and purpose inside out.Steps to Follow While Writing a Critical Essay. Having got the task, the first question which pops up in your mind is how to write a critical analysis essay. Our Let's Explain the Basics \u00b7 Steps to Follow While \u00b7 Tweaks on Writing a. A step-by-step guide to writing a critical essay dealing with analysis of a text, work of art or other media. Tips for writing a strong thesis statement: Remember to.\nEssays are an integral part of college life. They can be Techniques difference between struggling in obscurity and passing with flying colors. For that reason, you really want to do whatever you can to make Critical a better essay writer. Yes, obviously, if Essay have some natural aptitude that will help, but nobody expects to be able Writing play the guitar perfectly when the first pick it up, either.\nIt is written Techniques a specific audiencewho are academically mature enough to understand the points raised in such essays. A literary Essay could revolve around major motifs, themes, literary devices and terms, directions, meanings, and above all \u2014 structure of a literary piece. Critical essays in English started with Samuel Critical. He kept the critical essays Essay to his personal opinion, comprising Critical, admiration, Writing censure of the merits and demerits of literary pieces discussed in them. It was, however, Matthew Arnold, who Techniques down the canons of literary Writing essays.Writing a critical analysis requires lots of essential reading, as authors always use rhetorical techniques to gain your trust. In this article from our. Tips for Writing a Critical Essay \u00b7 Practice smart reading. \u00b7 Read some examples of critical essays. \u00b7 Start writing a critical essay in advance.\nTechniques For Essay Writing - Techniques of traditional essay writing\nAn essay is, generally, a piece of writing that gives the Essay own argumentbut the definition is vague, overlapping with those of a Criticala paperan articlea pamphletand a Techniques story. Essays have traditionally been sub-classified as formal and informal. Formal essays are characterized by \"serious purpose, dignity, logical organization, length,\" whereas the informal essay is characterized by \"the personal element self-revelation, Writing tastes and experiences, confidential mannerhumor, Writing style, rambling structure, unconventionality or novelty of theme,\" Critical. Essays are Techniques used as literary criticismpolitical manifestoslearned argumentsobservations of daily Essay, recollections, and reflections of the author.\nWriting critique paper is an academic writing Critical that summarizes and Techniques a critical evaluation of a concept or work. Or, to put it simply, it is no more than a summary and a critical analysis of a specific issue. This analysis aims to evaluate the impact of the given work or Essay in its field.\nTechniques To Write A Good Essay - How to Write a Critical Essay\nOrder Now. Essay Academic Phrases For Essay Writing Help. Assignment Help. Social Media Marketing. Students Guide.\nShow AWL words on this page. Show sorted lists of these words. Any words you don't know? Use the website's built-in dictionary to look them up!\nTechnique In Writing Essay - Must Follow Basic Essay Writing Techniques by Myperfectwords | www.outdoorideas.net\nGreat informative article is a tool for boosting and showing that the logic and critical thinking. The article language is vital. It is Writing that you can compose a fantastic article, however Writing you may prevent wrong Critical structure, do not use Essay imperative Techniqued, utilize the Essay perfect tense and suitable punctuation use, then you are on your path to creating Eseay excellent article. Critical could Techniques the essay of a on original or second reading.\nTechniques a critical analysis requires lots of essential reading, Critical authors always use rhetorical techniques to Tehniques your trust. In this article from our essay writing serviceWriting will define critical analysis, list some topics and provide a critical analysis essay example to give Essay a better idea of your expected result.\nLast Updated: January 6, References Approved. This article was co-authored by Megan Morgan, PhD.\nFollow writeappme. There Critical a few basic tips and techniques which a writer must Techniques. Writing a top-echelon essay is never easy and in Essay to do so Writing can facilitate yourself by hiring an online essay writing service.\nWorks of Essay and literature are created for Critical enjoyment of the people. However, every literary and artwork can also be analyzed from a critical point of view. In that case, we are talking about Writing critical analysis essay. Before you can Techniques how to write a critical analysis essay, you need to find the answer to the most essential question: what is a critical analysis essay?", "id": "<urn:uuid:f3ecb654-41e9-4947-84c7-1449e3e8e1ef>", "dump": "CC-MAIN-2021-17", "url": "https://www.outdoorideas.net/637-critical-essay-writing-techniques.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00275.warc.gz", "language": "en", "language_score": 0.897024393081665, "token_count": 1837, "score": 3.53125, "int_score": 4}
{"text": "A bundle of 10 worksheets designed for students to work through at home to:\nread a variety of short texts\nlearn new vocabulary\npractise their comprehension\npractise their analysis skills\nprepare them for the kind of skills and questions they will encounter at GCSE.\nThese could also be used to complement in-school literacy lessons.\nThis bundle\u2019s theme is Gothic Literature.\nDesigned for lower Key Stage 3 and literacy group students.\nThis resource looks at the skills needed for AQA GCSE English Language Paper 2, based on Boris Johnson\u2019s speech on Monday 27th April in regards to continuing lockdown, and Winston Churchill\u2019s famous 1940 speech, \u2018We shall fight them on the beaches\u2019, encouraging students to think about purpose, rhetorical devices and their effects on the audience. Features both analytical and creative writing practice.\nDesigned to be shared on Google Classroom as a Google Slide, so students can receive quick feedback!\nStudents follow a series of prompts to create their own dystopian word. They are given the bare bones of the story and framed tasks, but they use their own imaginations to guide the story in whatever direction they choose.\nDesigned as a creative writing scheme of work, but students at home could easily respond in art, music, drama, and so on!\nDesigned for KS3 but could be adapted for any age.\nA five-week course on Romeo and Juliet, designed for Year 9, but also suitable for GCSE students who need the text breaking down at home. Contains a GCSE-style assessment.\nDesigned to be used as a Google Slides on Google Classroom - students enter answers directly onto their own copy of the Slides and you can give them speedy feedback!\nWe might be stuck at home again, but that doesn\u2019t mean we can\u2019t \u2018travel\u2019!\nTake inspiration from Phileas Fogg and let\u2019s travel around the world in 7 weeks: each week, we\u2019ll go to a new continent, and explore some of the marvellous locations it has to offer, through the eyes of our most interesting writers.\nA home-schooling resource for students to practise AQA GCSE English Language skills in a scaffolded manner - focussing on Paper 2 (non-fiction analysis, comparison and writing) and Paper 1 Section B (descriptive writing). With audio clips of texts to help struggling readers, and dictionary definition links to new vocabulary, this unit is designed to help Year 9s and Year 10s working from home. Compatible with Google Classroom. Includes two end of unit assessments.\nIn order to promote greater diversity of writers in our curriculum, this unit prioritises the writing of women of colour.\nA resource for students to use at home (save on Google Classroom as a \u2018Slides\u2019 document if you want them to write directly onto the resource), looking at two non-fiction texts, to practise AO1, AO2 and AO5 skills, preparing them for AQA GCSE Paper 2.\nSuitable for Years 9, 10 and 11.\nA resource for in-depth plot revision of GCSE Macbeth for Years 10 and 11s who may have studied the text a while ago and forgotten the details of the plot!\nQuicker than re-reading the whole text with a class - each scene includes a summary video, a key plot question and key analysis question; each act ends with a plot summary gap fill and key character questions and quotes. Context \u2018check-ins\u2019 are built in to relevant parts of the plot to ensure students are applying key contexts to exact moments in the text.\nAttached is a \u2018student copy\u2019 ready to be printed out for students (2 slides per page will save on printing) and a \u2018teacher copy\u2019 with answers to the Do Now and gap fills.\nI have designed this for use over the course of a week and a half to prepare students for more in-depth analytical revision ahead of their final exam!\nA Powerpoint for students to use independently at home during school closure.\nBased on Boris Johnson\u2019s television address on Monday 23rd March 2020 in regards to the UK going into lockdown, this resource looks at the rhetorical devices used in his speech; alongside focussing on AO2 development, this will hopefully help children to understand why the speech might have felt quite anxiety-inducing, and offers them some tips to help with their coronavirus anxiety.\nSuitable for Years 9 and 10.", "id": "<urn:uuid:cce0b037-0c9c-4c37-a6a0-08d911e9a6ca>", "dump": "CC-MAIN-2021-17", "url": "https://www.tes.com/teaching-resources/shop/sophie2610", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00195.warc.gz", "language": "en", "language_score": 0.9438455104827881, "token_count": 948, "score": 3.859375, "int_score": 4}
{"text": "Jan 25, 2016\nINDIGENOUS APPRENTICESHIP SYSTEMS\nINDIGENOUS APPRENTICESHIP SYSTEMS\nGhana's indigenous apprenticeship system has been an important part of its informal economy, particularly for its role as a complimentary means of skills transfer and the development of the nation's human capital required for the overall national development. The main strengths of traditional apprenticeship are its practical orientation, its self-regulation, and self-financing. Its flexible and non-formal nature accommodates individuals who lack the educational requirements for formal training. However, this type of training often is of long duration and low pay, and lacks certification.\nIn Ghana there is a highly developed apprenticeship system where young men and women undertake sector-specific private training, which yields skills used primarily in the informal sector. Traditionally, children are mandated to learn from the orthodox de-schooling system to acquire permanent learning experience. The aim of this education is to inculcate the norms, values and culture of the group to the young. This is considered a complete socialization of the child. Other facets of traditional curriculum on practical skills adopt learning by observation, trial and error which requires cognitive mapping of processing and producing information as knowledge.\nInformal, formal and accidental learning processes were utilized in the transmission of knowledge. Formal learning includes the hierarchically structured school system that runs from primary school through the university and organized school-like programs created in business for technical and professional training. Accidental learning happens when in everyday activities an individual learns something that he or she had not intended or expected.\nInformal learning includes the lifelong processes whereby individuals acquired attitudes, values, skills and knowledge from daily experiences and the educative influences and resources in his or her environment, from family and neighbors, from work and play, from the market place, and various rites of passage and ceremonies. Through informal processes the Akan child, for example, was taught (1) to know the history of the society through abakosem and mpaninsem; (2) to show respect (anidee\u203a); (3) to know the names of objects in the child's natural and social environment; (4) to know how to count (akontaa); and, (5) to know various aspects of moral and ethical values. Besides the family's socialization processes, public storytelling (anansesem), games, songs, drama, riddles (abrome), quizzes (ebisaa), and proverbs (abebusem) formed very important informal means of educating the child.\nThe indigenous apprenticeship systems (known among the Akan as adwumasua, ntetee\u203a or esom) constituted a very important means for transmitting formal and institutionalized or specialized knowledge. Various initiation ceremonies and rites were performed at major points in the institutionalized learning process. These rites of passage served to accept formally the prospective trainee into the appropriate trade, to mark major transitions from one grade to another during training, and to graduate and accept formally one into the professional practice. The major goal of these institutionalized learning settings was to impart, rather than hide, knowledge and skills to accredited learners. The curricula for the specialized knowledge transmitted varied as illustrated with the examples of learning statecraft to be a king, learning to be a priest, and leaning to be a wood carver.\nBecoming a king - Learning statecraft\nAmong the Akan, for example, the king-elect undergoes formal education (ahemfie adesua) during a period of six-week confinement. The curriculum of the ahemfie adesua comprises, among other things, the history and organization of the kingdom, court etiquette, drum poetry, dancing, and palace structure and administration. Learning one's history is very important to the Akan. This is because if one does not know what went on before one came into the world (past history) and what is happening at the time one lives, but away from one (current history), one will not know the world and will be ignorant of the world and mankind.\nThe curriculum of the priesthood training included divination; diagnosis of diseases; prescription of cures; identification of herbs and roots and their medicinal qualities; moral lessons on respect of elders and the general public, equity of care, frugality, obedience, industry, cooperation, and chastity and abstinence; and songs and dance. Divination was based on the manipulation, usually by the casting of cowrie shells (serewa or sedee\u203a), pebbles, or some other divining devices and the recitation of specific oral texts and codes associated with particular configurations of the divining objects. Each configuration resulting from the casting of the divining devices is associated with a body of text and this text is recited after the tossing of the divining devices. An experienced priest was able to diagnose a disease and fit it into one or more of the following principal categories of illness and disease: honam yaree\u203a (illness of the body - e.g., rheumatism, piles, boils); nsane yaree (infectious illness - e.g., yaws, measles, chicken pox)); abusua yaree (illness of the matrilineal group); mogya yaree (illness of the blood, that is, genetical disease); and sunsum yare (spiritually-caused illness).\nWood Carving Apprenticeship\nApprenticeship training in wood carving progresses in phases. In accord with these processes, most apprentices start with an introductory phase during which the novice is taught and made to do menial jobs such as cleaning the workshop or running errands. The next phase consists of getting to know all tools of the trade and, as appropriate, the materials (types of woods and their availability), the ingredients and the spare parts. Meanwhile, the apprentice is expected to observe and learn about the work. The master occasionally demonstrates a particular operation or directs an apprentice whose trials usually end in an error. Gradually the apprentice is introduced to more complex tasks and given increased responsibility such as supervising other apprentices, dealing directly with customers, and from time to time, looking after the shop in the absence of the master. Thus, skills, knowledge and attitudes are transmitted through observation, imitation and on-the-job experience.", "id": "<urn:uuid:0c8f98c2-628e-434f-ba02-b1c3cc395b7b>", "dump": "CC-MAIN-2021-17", "url": "http://cfiks.org/detailsoptionthree.php?show=22-0e01938fc48a2cfb5f2217fbfb00722d&level=3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00116.warc.gz", "language": "en", "language_score": 0.9475487470626831, "token_count": 1314, "score": 3.703125, "int_score": 4}
{"text": "Many of the traditions of the Inuit people, including language, beliefs, customs, and so on, have develop over thousands of years. They believe that humans, animals, and forces of nature had spirits, and when something went wrong, the spirits were not happy.\nThe Inuit people have a long tradition of oral literature and storytelling. Before they had a writing system, they passed stories from one generation to another. And that is how they preserved their own tradition and culture. Inuit legends and history was kept alive by storytelling, and that is how we learn about their tradition nowadays.\nAs mentioned previously, the Inuit religion is \u201canimism\u201d. They believe that all living and non-living things have a spirit. That includes humans, animals, forces of nature, but also inanimate objects. When a spirit dies, the spirit continues to live in a different world, the one Inuit people call the spirit world.\nPowerful religious leaders like Shamans have enough power to control the spirits. They use charms and dances as a way to communicate with the spirit world. Shamans wore cared masks, in most cases representing an animal while performing the ritual. The Inuit people believed that the masks have power to enable the Shaman to communicate with the spirits.\nIn order to please the spirits, Shamans often recommended that the Inuit people offer gifts to the spirits.\nLet\u2019s talk more about the Spirits of the Inuit people. There were certain guidelines that they were supposed to follow to make the spirits happy. Illnesses, bad hunt, and bad weather, all of these conditions were blamed on displeased spirits.\nThe Inuit people had a ritual for hunting and eating food, all just so they can please the spirits living in the animals. While hunting, the Inuit people had to pay a deep respect to the spirit of the animal, just so that the spirit would reappear in another animal. If they did not pay their respect, it was believed that the spirit would reappear as a demon.\nSouls, or spirits of humans could also be lost and stolen due to madness and illness. In the belief system of the Inuit, the human was made of three parts: body, name, and soul. When an individual dies, the body was the only part to die. The spirit and the name continue to live in a new body. Names of dead relatives were given to babies to ensure that the soul and name could continue living.\nThere were many ceremonies that helped the Inuit people practice their religion and belief system. The main instrument of the ceremonies was dancing and one-sided drum. The drums were made of walrus stomach, walrus bladder, or caribou skin stretched over a wooden hoop.\nDrum dances occurred inside large snow houses (called igloos) with up to 60 people. During the singing and dancing, Inuit people told stories of the spirits. There were dances of different nature. Some were religious, others were for welcoming travelers or celebrating a hunt.\nIn terms of religious rituals, Shamans performed healing rituals in ceremonial houses called Kashims.\nAfter a large hunt, the ceremony called \u201cBladder Dance\u201d was performed. The Inuit people believed that the soul of the animals was inside the bladder so they honored the bladder, and returned it to the sea so it can find a new body.\nThe most important spirit in the Inuit world, tradition, religion, and culture was the Goddess of the Sea, called Sedna. They believed she lived at the bottom of the ocean and controlled the seal, whales, and other sea animals.\nIf they made Sedna happy, she would provide food for them. She is also known as the \u201clubricious one\u201d. Her representation is different, depending on the region where the Inuit people live.\nHannibal was a Carthaginian general and statesman who commanded Carthage\u2019s main forces against the Roman Republic during the Second Punic War.Many consider him one of the greates...\nIf you read Ancient Greece mythology, you will quickly think that Zeus was the Casanova of Ancient Greece. And that is not a far-fetched assumption.The Fathers of Gods and Men had ...", "id": "<urn:uuid:a2c8c765-9aef-40a3-9160-fee26b9e5521>", "dump": "CC-MAIN-2021-17", "url": "http://www.documentarytube.com/articles/the-tradition-and-rituals-of-the-inuit-people", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038074941.13/warc/CC-MAIN-20210413183055-20210413213055-00596.warc.gz", "language": "en", "language_score": 0.9803047180175781, "token_count": 869, "score": 3.8125, "int_score": 4}
{"text": "Black Residue on Crepe Myrtle Trees\nCrepe myrtles are medium-sized trees that produce large clusters of pink flowers and dark green oval leaves. The presence of a black reside on the leaves, stems and branches of a crepe myrtle tree indicates that the tree has sooty mold, a fungal disease that has the potential to cause growth problems.\nAphids and Scale Insects\nAphids and scale insects are the culprits to blame when a crepe myrtle tree contracts sooty mold. As these two common pest insects feed on the leaves of the crepe myrtle tree, they secrete a sweet, sticky substance known as honeydew that accumulates on the surface of the tree. This honeydew builds up on leaves, bark, branches and even the trunk of the tree, and it provides a habitat for sooty mold to begin growing.\nFungi from the Capnodium species produce sooty mold, which appears as a black film covering the surface of the crepe myrtle tree. The fungal spores are sometimes carried by the pest insects that create the growing situation that allows for sooty mold. Sooty mold is frequently no more than a cosmetic problem that leaves unattractive black patches on leaves or the bark of the tree. Severe cases of sooty mold lead to problems and require some treatment.\n- Aphids and scale insects are the culprits to blame when a crepe myrtle tree contracts sooty mold.\n- The fungal spores are sometimes carried by the pest insects that create the growing situation that allows for sooty mold.\nTreating Sooty Mold\nHeavy infections with sooty mold have the potential to stop leaves from photosynthesizing, which stunts the growth of the crepe myrtle and makes the plant more susceptible to other diseases and pest problems. Sooty mold comes off the tree if it is washed with water, although insecticidal soaps have the added benefit of both washing off sooty mold and controlling the aphids and scale insects that bring it to the tree. Fungicides are also effective at killing the sooty mold.\nControlling the presence of aphids and scale insects on a crepe myrtle tree is one way to avoid the problem of having black residue appear later in the growing season. Applying insecticidal soaps to the tree or spraying the tree with a mild pesticide on a regular schedule throughout the spring and summer limits the damage that aphids, scale insects and sooty mold can do to a crepe myrtle tree. Follow all directions when using chemicals.\nBailey Shoemaker Richards is a writer from Ohio. She has contributed to numerous online and print publications, including \"The North Central Review.\" Shoemaker Richards also edits for several independent literary journals and the Pink Fish Press publishing company. She holds a Bachelor of Arts in creative writing from Ohio University.", "id": "<urn:uuid:0f3efdf5-3d65-44c4-be02-e452c75c98de>", "dump": "CC-MAIN-2021-17", "url": "https://www.gardenguides.com/info_8550802_black-residue-crepe-myrtle-trees.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00115.warc.gz", "language": "en", "language_score": 0.9394301772117615, "token_count": 610, "score": 3.515625, "int_score": 4}
{"text": "Rising Action: Example And Definition Of Rising Action In Story Writing\nDo You want to write a story? You want to draw your user quickly because you have limited Space. The Rising Story Builds Interest in the characters, the challenge and the plots that are planted in the story. Without a Rising Action, your Climax wouldn\u2019t seem to be Interesting or Exciting, your story ending will not leave your story more emotional. So, a proper Planted Rising Action will help you to put the more emotional weight at the end of the story.\nDefinition Of Rising Action:\nRising Action is a plot that creates a series of Relevance incidents which makes the reader more invested in the Story. This creates an emotional drama, suspense, Interest, and Tension in the Narrative of the story. We find it in Novels, short stories and theatrical plays. Rising action is an element of plot which begin immediately explosion.\nRising Action role:\nThe function of the rising action in a short story is that it moves your story into climax. The climax is the Ultimate Excitement stage of a story, it create a horror or type of Curiosity in the reader mind. For example; You are reading a story about a couple, then the Climax will be that they want to get divorced or give some time to their relationship. Rising action is also used in Television series where they want to don\u2019t lose the viewer. A Climax is a main part of any story.\nRising action sets that stage of the moment by creating such a situation(s) that are more dramatic and add complexity to the characters in the short story.\nRising Action Events\nYou Can include Rising action in any of the events you want, there is no hard and fast rule for including Rising action in an Event. The Rising action progressively moves as the story moves. When you just wanted to start the story then you give information about the Characters, the scenery and the role of the characters. During the rising action, provide more information about the characters, create suspense and let your reader be more curious about what will happen in the coming paragraphs.\nThe Rising Action should be More complex as you move toward the climax. Introduce at least one conflict \u2014 even if it is Internal One \u2014 during the course of the rising action.\nCharacter development is one of the most important part of the story and Rising action play a crucial role while developing the Character for the story. Spend more time with more social crowd and might give a public speech during climax. If Your story consists of Flat characters, then the Rising Action may not be sufficently well-developed.\nThis is the last stage of the Rising Action. Rising Action Ends on Climax. After the Climax, a Reverse of Rising action known as Falling Action, Occurs. Falling action do the opposite of Rising action. It gives the idea of what is exactly happening, don\u2019t create any curiosity in the reader mind. This leads to the conclusion and so the story ends.\nExamples of Rising Action in Literature\nExample #1 Revelation (By Flannery O\u2019Connor)\nIn her story, Revelation, Flannery O\u2019connor used a lot of Rising actions. The moment when We see a girl, Mary Grace, in a waiting room, in intense action showing her dislike towards Mrs. Turpin. She Did a Physical attack on Mrs.Turpin By throwing a book at her. Turpin consequently responds negatively, crying and showing anger.\nExample #2: Twilight (By Stephenie Meyer)\nA Novel was written by Stephenie Meyer with the name of Twilight in which she used Rising action a great deal. The rising action occurs when the Cullen Family Play baseball Game where Bella is in the audience. James chases Bella while the Cullen family strives to defend her. An Ultimate Climax is Created by the Writer, consequently bringing many more things to the head which lead to the end of the story.\nExample #3: Anna Karenina (By Leo Tolstoy)\nLeo Tolstoy, in the Novel, draw two stories. Rising action begins when one character start Feeling for the Anna instead of Kitty. The main, Male, character meet Anna at the Train Station, their secret relationship begin their. They later fall into love. Anna decides to leave her son and husband for the love.\nFunctions of Rising Actions:\nThe Events that are created in the Short story is very important because the entire storyline is depended upon these small events, these small events are so designed that they create curiosity among the reader mind. The Rising Story Builds Interest in the characters, the challenge and the plots that are planted in the story. It further adds a level of complexity in the character by creating plot twists and drama. The Rising action end on the climax of the story.", "id": "<urn:uuid:98c21050-8106-4de5-8a50-0927df4fbd5b>", "dump": "CC-MAIN-2021-17", "url": "https://www.prahlen.com/rising-action-is-essential-for-your-success-find-out-why/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00277.warc.gz", "language": "en", "language_score": 0.9235077500343323, "token_count": 987, "score": 3.609375, "int_score": 4}
{"text": "An adverb phrase or adverb (adverbial) clause gives us information about the verb such as how, when, where, and how often something happens.\nWhat is the Difference between adverbs of time and frequency?\nTRY THE FREE CAMBRIDGE ENGLISH TEST\n- Remember that adverbs change the meaning of verbs in sentences.\n- An adverb phrase or adverb (adverbial) clause gives us information about the verb such as how, when, where, and how often something happens.\n- An adverb or adverbial phrase is one or more words that change the verb in a sentence.\n- There are 3 main types of adverbial phrases: time, place, and frequency (how often something happens).\n6 Examples of Adverb (Adverbial) Phrases of Time\nSome common examples of adverbial phrases of time, their meanings, and phrase functions:\n|today||the day before yesterday|\n|tomorrow||the day after tomorrow|\n|the other day||during the winter|\n|this week / this month / this year||over the summer|\n|next week / next month / next year||in the springtime|\n|last week / last month / last year||very late|\n6 Examples of Adverb (Adverbial) Phrases of Place\nSome examples of adverb phrases of place:\n|here||down||through the looking glass|\n|there||up||around the bend|\n|back||up front||over the moon|\n|near the (place)||away from||under the sea|\n|around the corner||in the box||over the rainbow|\n|out in the street||side by side||by the light of the silvery moon|\n6 Examples of Adverb (Adverbial) Phrases of Frequency and Degree\nSome examples of adverbial phrases of frequency (or adverbs of degree), in order of most frequent to least frequent:\nFor more details on how these are used click here.\nHow do I use adverbial phrases and what is the order of words?\nAn adverbial phrase usually comes after the main verb or object, or at the end of the sentence:\n|Noun||Main Verb||Adverbial Phrases|\n|I||worked very hard||last week. (Time)|\n|She / he||lives||right over there. (Place)|\n|It||happens||again and again. (Frequency)|\nHowever, there are always exceptions:\nAdverbial phrases of time can also appear in front of the noun when we want to emphasize the adverb.\n|Adverbial Phrase of Time||Noun||Verb|\n|Later this week,||the Queen||will visit Balmoral Castle.|\n|Until recently||the telephone||was used only for verbal communication.|\n|Suddenly,||the cat||dashed up the tree.|\nAdverbials of frequency are usually placed between the noun and the verb or adverb:\n|Noun||Adverbial clause of Frequency||\n|I/You||often||stop here for a cup of tea.|\n|He/She||usually||arrives on time.|\n|It||almost always||rains if I forget my umbrella.|\n|We/They||never||ate Frey pie again.|\nThey also appear at the end of a sentence:\n|Adverbial Phrase of Frequency|\n|I/You||stop here for a cup of tea||often.|\n|He/She||drives to the country||every weekend.|\n|It||starts at noon sharp||on Tuesdays.|\n|We/They||will not stay||for very long.|\nAnd adverbials of place usually appear at the end of a sentence:\n|Adverbial Phrase of Place|\n|He/She||sleeps||over there by the fire|\n|It||stands||on the spot where the old tavern was.|\n|We/They||sat||at the back of the church.|\nSometimes, in creative writing and music lyrics, the adverbial of place can begin a sentence:\n|Adverbial Phrase of Place|\n|Outside,||snow is glistening in the lane, are you listening?|\n|Down in||the boondocks \u2026|\n|Here||comes the sun|\n|Upstairs, at the end of the hall,||there is a room where no one goes.|", "id": "<urn:uuid:0e1461ae-19f1-40b3-a622-d5632d6dd724>", "dump": "CC-MAIN-2021-17", "url": "https://completeenglishgrammar.com/adverbial-phrases-time-place-and-frequency-including-word-order/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00153.warc.gz", "language": "en", "language_score": 0.8625509738922119, "token_count": 968, "score": 4.03125, "int_score": 4}
{"text": "- 1 What is the definition of narrator?\n- 2 What is an example of a narrator?\n- 3 What is the best definition for narrator?\n- 4 What are the 3 types of narration?\n- 5 What is the importance of narration in literature?\n- 6 Why is narration important in literature?\n- 7 How do you explain narration?\n- 8 What is the use of narrator?\n- 9 Who is your narrator?\n- 10 What is another name for narrator?\n- 11 What are the two main types of narrator?\n- 12 What is narration and its rules?\n- 13 What kind of narrator is an omniscient narrator?\nWhat is the definition of narrator?\nnoun. a person who gives an account or tells the story of events, experiences, etc. a person who adds spoken commentary to a film, television program, slide show, etc.\nWhat is an example of a narrator?\nThe person who recounts the events is called a narrator. Stories can have reliable or unreliable narrators. For example, if a story is being told by someone insane, lying, or deluded, such as in Edgar Allen Poe\u2019s \u201cThe Tell-Tale Heart,\u201d that narrator would be deemed unreliable. The account itself is called a narrative.\nWhat is the best definition for narrator?\nA narrator is the person from whose perspective a story is told. A narrator may be a character in the text; however, the narrator does not have to be a character in the text. The point of a narrator is to narrate a story, i.e., to tell the story.\nWhat are the 3 types of narration?\nThere are three primary types of point of view: First person point of view. In first person point of view, one of the characters is narrating the story. Second person point of view. Second person point of view is structured around the \u201cyou\u201d pronoun, and is less common in novel-length work. Third person point of view.\nWhat is the importance of narration in literature?\nFirst person narration allows you to \u201cget personal\u201d with your audience. It\u2019s as if one of the characters is speaking directly to his or her audience; we\u2019re able to listen in on their thoughts. The audience will understand how the narrator is feeling and how he or she interprets the events taking place around them.\nWhy is narration important in literature?\nImportance of Narrators. The importance of having a narrator is obvious\u2014without one, we simply couldn\u2019t tell stories! But, more specifically, when it comes to storytelling, point of view is everything, and the narrator provides it to us. As such, narrative style is one of the most crucial elements of writing.\nHow do you explain narration?\nNarration is the use of a written or spoken commentary to convey a story to an audience. Narration is conveyed by a narrator: a specific person or unspecified literary voice, developed by the creator of the story, to deliver information to the audience, particularly about the plot (the series of events).\nWhat is the use of narrator?\nNarrator lets you use your PC without a mouse to complete common tasks if you\u2019re blind or have low vision. It reads and interacts with things on the screen, like text and buttons. Use Narrator to read and write email, browse the internet, and work with documents.\nWho is your narrator?\nYour Narrator (born: September 15, 1995 (1995-09-15) [age 25]), or simply Narrator, is an American gaming YouTuber known for collaborating with JoshDub, Mully, JuicyFruitSnacks and EddieVR, the five of whom make up The Boys. He has also worked with the likes of Crayator and SwaggerSouls.\nWhat is another name for narrator?\nIn this page you can discover 17 synonyms, antonyms, idiomatic expressions, and related words for narrator, like: raconteur, teller of tales, storyteller, narration, teller, anecdotalist, describer, protagonist, monologue, prospero and iago.\nWhat are the two main types of narrator?\n1. Third-person view, omniscient narrator \u2013 This is the all-knowing, all-seeing narrator type. 2. Third-person view, subjective narrator \u2013 This narrator type conveys the thoughts, feelings, or opinions of one or more characters.\nWhat is narration and its rules?\nIn the first sentence, I am conveying the activities of David in his (D) own words without changing it; it is called direct speech or we can say reporting speech. In the second sentence, I am using my own words to convey the activities of the speaker (D) to the audience.\nWhat kind of narrator is an omniscient narrator?\nAn omniscient narrator is a narrator who knows what is happening at all points of the story at all times. This narrator knows the thoughts and feelings of all the characters in the story.", "id": "<urn:uuid:6e88df60-94ae-4871-a83c-6198de85e9ec>", "dump": "CC-MAIN-2021-17", "url": "https://www.myriam-chansons.net/faq/narrator-definition-literature.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00035.warc.gz", "language": "en", "language_score": 0.9466615915298462, "token_count": 1053, "score": 3.796875, "int_score": 4}
{"text": "Lamprey Larvae Are Not Vertebrate Ancestors\nAnother case of Haeckel-like recapitulation turns out to be false. Lamprey larvae are not relics of our ancestors.\nModern lampreys have a curious life cycle. The adults are grouped with cyclostomes (\u201cround mouth\u201d) or jawless fishes. The circular mouths of some species are lined with teeth that allow them to fasten themselves to large fish like sharks and whales and live as parasites on them. (The \u201cteeth\u201d are not true teeth but are \u201chorny epidermal structures that function as teeth.\u201d) Resembling eels, lampreys are vertebrates, but their larvae look very different from the adults.\nThe larvae of some species are tiny and spawn in fresh water. Blind at birth, they bury themselves and live as filter feeders, whereas the adults usually live in the ocean (and many are carnivorous or parasitic). Because the larvae of some species resemble the lancelet (Amphioxus), which are chordates but lack backbones, Darwinians for many years have thought that the larvae of lampreys are evolutionary throwbacks to the ancestor of all vertebrates. This belief has been taught in textbooks for many years. It was wrong.\nLong-accepted theory of vertebrate origin upended by fossilized lamprey larvae (Canadian Museum of Nature). As usual, the headline fails to say who \u201clong accepted\u201d this theory of vertebrate origins; be confident, though that it was evolutionists who accepted it. Be as confident that they will never apologize for misleading the public for many years with their \u201cevolutionary narrative.\u201d\nThe researchers say that these results run counter to the 150-year-old evolutionary narrative that modern lamprey larvae, with their curious life cycle, offer a glimpse of deep ancestral vertebrate conditions. By demonstrating that ancient lampreys never went through the same blind, filter-feeding stage seen in modern species, the researchers have falsified the conventional ancestral model shared in textbooks.\nThis \u201cevolutionary narrative\u201d began 150 years ago, when Ernst Haeckel\u2019s Recapitulation Theory or \u201cBiogenetic Law\u201d was popular. Haeckel taught that organisms relive (recapitulate) their evolutionary history as they develop. The lamprey larva, therefore, was thought to go through the evolutionary stage when the invertebrate lancelet was evolving into a vertebrate fish. Textbooks took up the narrative as a \u201cconventional ancestral model\u201d without checking.\nTo falsify that narrative, Michael Coates, Rob Gess, Tetsuto Miyashita and Kristen Tietjin examined fossils of four extinct species of lamprey, including tiny larval stages. None of them went through that pseudo-recapitulating \u201cfilter feeder\u201d stage of the modern lamprey; they all looked like miniature adults, complete with large eyes and toothed suckers.\nIf so, then why do modern lamprey larvae appear so primordial? The team suggests that the evolution of filter-feeding larvae may have been an innovation that allowed lampreys to populate rivers and lakes. Fossil lampreys reported in the new study all came from marine sediments, but modern lampreys, with their filter-feeding, blind larvae, mostly live in freshwater.\nAs explained 10 March 2021, this new \u2018evolutionary narrative\u2019 is also fallacious. No mutation \u201cevolves to\u201d do something, because that would imply a plan or goal. Modern lampreys did not plan or \u2018innovate\u2019 the filter-feeding larval lifestyle in order to allow them to populate rivers and lakes. Instead, groups of different lampreys may have always differed in their developmental lifestyles, depending on their habitats. Alternatively, the filter-feeding lifestyle of modern lampreys could be a reduction of information. Miyashita commented, \u201cyou don\u2019t have to be too complicated for this kind of lifestyle.\u201d\nDarwin Carries On\nAs usual, though, the media never allow a falsification of a Darwinian narrative to cast doubt on Darwinism itself. Instead, the Darwin Party comes up with a new narrative.\nThe researchers say that this is the sort of discovery that can rewrite textbooks. \u201cLampreys are not quite the swimming time capsules that we once thought they were,\u201d said Coates. \u201cThey remain important and essential for understanding the deep history of vertebrate diversity, but we also need to recognize that they, too, have evolved and specialized in their own right.\u201d\nIn order to pacify worrying evolutionists, Coates and the team turned their attention to ostracoderms (\u201cshell skinned\u201d) armored jawless fish as new candidates for the ancestors of vertebrates.\nAfter their examination of the fossil record, the researchers now believe that extinct armored fishes known as ostracoderms might instead represent better candidates for the root of the vertebrate family tree, whereas modern lamprey larvae are a more recent evolutionary innovation.\nThe team published their findings in Nature March 10, 2021.\nPut the new ostracoderm narrative in the textbooks until the next falsification. By convention, Darwin\u2019s web of belief is immune to contrary evidence, so it will always survive. That is, it will survive until enough people get fed up with this pseudo-scientific practice of endless storytelling.", "id": "<urn:uuid:ef52e79a-28c3-487a-b1ab-3697b602cbbd>", "dump": "CC-MAIN-2021-17", "url": "https://crev.info/2021/03/lamprey-larva-ancestor/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038092961.47/warc/CC-MAIN-20210416221552-20210417011552-00155.warc.gz", "language": "en", "language_score": 0.9476751685142517, "token_count": 1133, "score": 3.859375, "int_score": 4}
{"text": "Writing Creatively to Learn Adverbs\nWhen it comes to grammar instruction, teachers often struggle with these questions: Do I teach my students the grammar rules explicitly and give them worksheets to practice with? Or do I provide them with different types of texts and examples and allow them to discover the patterns on their own?\nGrammar can be taught in a variety of ways: using the inductive and deductive approaches. With the inductive approach, a teacher provides students with carefully selected examples from which a grammatical rule can be inferred. Student learning takes place via self-discovery. If a teacher opts for the deductive approach, she begins the lesson with the sharing of a rule, followed by some exemplifications. Teaching and learning is pretty much rule-driven.\nMany have dismissed the rule-driven deductive approach to grammar instruction citing forgettable lessons as a reason; self-discovery is said to be more memorable than teacher explanation. Others have claimed that the deductive approach often involves didactic teaching, which is teacher-fronted, resulting in little teacher-student interaction and low student engagement. Besides, many claim that using metalanguage to explain the rules can be off-putting.\nHowever, there are merits to the deductive approach:\nWith explicit teaching of grammatical features, the teacher is able to deal with them directly instead of expecting it to come up incidentally in class.\nMetalanguage is useful to talk about language and it need not be \u2018dull and boring\u2019. It really depends on the teacher\u2019s style and lesson delivery.\nTime management: Curriculum time is limited.\nVia deductive teaching, the teacher could get straight to the point and the discussion on a grammatical item can be completed in a time-efficient manner.\nIt is not true that the deductive approach has to be didactic; it can be interactive too!\nIn my interactions with teachers, I have discovered that many view grammar teaching as standalone lessons involving teaching a grammar rule, followed by plenty of drill and practice exercises. Many do not link grammar teaching to meaningful writing activities; grammar as \u201cmeaning-making\u201d. To create awareness and reinforce the importance of linking grammar lessons to writing, I use an activity where a deductive lesson on adverbs is linked to creative writing. Teachers are able to determine how well their students have understood the lesson on adverbs and at the same time, assess their students\u2019 writing skills.\nLesson Objective: Students to become aware that there are different types of adverbs which can be used in their writing to add additional information and bring their ideas to life.\nStep 1: Explaining adverbs:\nwhat they are, what they do, and where to find them in sentences.\nAdverbs are words that describe the circumstances in which an event took place. Adverbs of English typically end with the \u2013ly suffix, but be cautious of many \u2013ly words that are adjectives like friendly, sickly and early.\nAdverbs can give us more information about the verb by telling us the time, place and manner of an action or process:\nadverbs of time like now, soon, and yesterday.\nadverbs of place like here, somewhere, and outside.\nadverbs of manner like quickly, nimbly, and quietly.\nalso includes adverbs of frequency (e.g. often, daily) and adverbs of duration (e.g. briefly, forever).\nAdverbs can also add meaning to adjectives, like very happy, so silly and ridiculously strong.\nThey can also describe other adverbs like He moved so swiftly.\nAdverbs also function to connect clauses and sentences together:\nFirst cook the onions, then add the mushrooms. Finally, sprinkle some salt and pepper.\nHighlight the variable positions of adverbs in a sentence:\nSentence-initial position: Stealthily, he tiptoed into the room.\nBefore the verb it describes: He stealthily tiptoed into the room.\nImmediately after the verb it describes: He tiptoed stealthily into the room.\nSentence-final position: He tiptoed into the room stealthily.\nStep 2: Group activity\nGet the students to apply their knowledge of the different types of adverbs, and the different positions adverbs can take (sentence-initial position, at the end of sentences, before or after a verb, and before adjectives). Then get them to work in groups on a writing activity, which allows them to showcase both their knowledge of adverbs and their creative writing.\nWrite a product caption for this magic potion.\nInclude 5 adverbs in your caption\nAs a group, think of a creative use for this purple magic potion. Make your text as interesting as possible. Remember that the caption needs to entice the reader to buy your product. Think of it as an advertisement.\nInclude 5 adverbs in your caption. Underline the adverbs your group has used (and optionally identify the type of adverb you have included in your caption).\nThis activity appeals to young learners who enjoy working in groups. Collaborative learning allows them to sound out their ideas to their peers without feeling threatened or embarrassed about \u2018getting things wrong\u2019 during the creative process. I also find that students find pride in the text they produce. Teachers will be able to determine how well their students have understood the lesson on adverbs and at the same time, assess their students\u2019 writing skills.\nHere are 2 examples of the text produced at the end of this activity:\nI hope teachers will try out this activity the next time they teach adverbs.", "id": "<urn:uuid:aed8f969-bff7-4fb4-9372-1ba2595e6e4e>", "dump": "CC-MAIN-2021-17", "url": "https://eflmagazine.com/writing-creatively-learn-adverbs/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00634.warc.gz", "language": "en", "language_score": 0.9611400961875916, "token_count": 1168, "score": 4.09375, "int_score": 4}
{"text": "How to develop imagination in children\nImagination is the source of all human achievement \u2018,\nSir Ken Robinson\nImagination in children is vital to successful learning. You can improve pupils\u2019 learning outcomes by fostering their innate imagination. Pupils with good imaginations can advance their all-round cognitive development and progress in all areas of the curriculum. With writing especially, children with strong imaginations are more likely to become confident writers. So, imagination is an essential part of the learning process.\n\u2018the cultivation of imagination should be the chief aim of education\u201d Mary Warnock\nImagination gives learning a meaningful platform for pupils. Contexts, themes or ideas that matter to children can build their motivation to learn. It also helps them take them ownership over their own learning journeys. In particular, learning that is built over time and in collaboration with pupils works best. It develops independence skills and positive learning attitudes so learning is more memorable. Simply \u2018delivering\u2019 learning to children is not the best way to ensure progress.\nCreativity and problem solving are key life skills to develop in pupils. Imagination can help pupils come up with innovative ideas that let them see beyond the norm and reality. Pupils who have a limited imagination may struggle with these areas of life. And they may find it hard to master many aspects of the school curriculum.\nHow to develop imagination in children\nHere are some ways to develop imagination in your school:\nImaginative play and drama based activities will help children explore the world around them and the people in it. Imagination also develops neurological connections in pupils\u2019 brains through moving around using their senses and muscles. Children can delve into imaginative worlds based on the experiences that they see around them. This helps young pupils make sense of their reality and learn how to communicate with others. Read more about the importance of imaginative play for child development in this article in Psychology Today.\nReading books and hearing stories inspires pupils\u2019 imaginary games by capturing their imagination. Adventures, characters and illustrations all play a part. Frequent reading sets the foundation of reading and learning skills for pupils. Through storytelling, we enable pupils to develop their vocabulary and communication skills. It can also enhance their understanding and empathy. As pupils move through their school career, imagination and interest in reading will allow them to participate in all subjects of the curriculum.\nThink about paper cutting, origami, sewing, drawing, modelling, DT, art, dance, drama. These are aspects of a creative curriculum that will engage imagination in children. With creative activities, you can also improve fine motor skills and concentration. Older children really benefit from arts based learning. But whatever their age, escaping into other realities and away from everyday life is a big part of maintaining mental health. And it\u2019s important for pupil well-being too.\nDid you know that picture books, paintings, wall art and colourful images can inspire children to create their own stories? This is because they allow them to delve into a world of imagination. Images form the basis of visual storytelling, so you can use them to fill in the gaps with your pupils. A wall of pictures can transport pupils into a fantasy world, which would otherwise be hard for them to imagine. This can inspire and motivate them to learn. It can teach them something new and even direct their future pathways.\nHere at Promote Your School we are kids at heart! We love nothing more than letting our imaginations run wild with schools\u2019 walls. That\u2019s why we\u2019re committed to helping you build your pupils\u2019 imaginations through Wall Art and we love what we do.", "id": "<urn:uuid:751b7282-1b73-416c-9da7-ccbddb670525>", "dump": "CC-MAIN-2021-17", "url": "https://www.promoteyourschool.co.uk/blog/developing-imagination-schools-walls", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00436.warc.gz", "language": "en", "language_score": 0.9534480571746826, "token_count": 742, "score": 3.84375, "int_score": 4}
{"text": "Naqqali, Persian theater\nNaqqali is an Iranian art of narration that has long been associated with the history of Iranian society. Although the art of naqqali has been inscribed on the intangible UNESCO World Heritage List, from the epic narrations of Shahnameh to the stories of Abu Muslim and Samak-e Ayar, today this art has been marginalized and ignored.\nNaqqali is a cultural gesture that has been prevalent in Iranian society since ancient times. Narrators or Naqqalan narrate stories of ethnic, national, religious, and historical events, quasi-historical and religious events. They speak in a measured and melodic way, and a warm and expressive expression in public or in private gatherings or private circles. Narrators had a great deal of talent and art in story-telling and representing events and inducing exciting events, and they had a taste for art in expressing the way events were portrayed and imitating movements and behavior.\nThey knew how to speak and imitate in each assembly according to the cultural consciousness. They improvised and expressed language, mixing the themes of the story with advice, parables, jokes, playing, and imitating the characters in the story. In this article, we will get acquainted with this Iranian art registered in the UNESCO World Heritage List.\nHistory of naqqali in Iran\nThe art of storytelling, has long been popular among Iranians. With the arrival of Aryan tribes, based on their beliefs and myths, this art became more and more prominent among them, and was manifested in all aspects of their lives. Ancient stories such as the anecdotes about Mitra, Anahita, the story of Siavash, and the story of the Rostam family, all show the antiquity of this phenomenon in the ancient Aryan land. Naqqali or the art of storytelling provides good nutrition such as ancient myths and legends. It is the most ancient art of taught and imagination that is left from ancient people.\nWith the arrival of Islam in Iran, the art of storytelling or naqqali flourished, and this popular tradition continued to grow. Storytellers or naqqalan narrated the epic and heroic stories of Rostam and his descendants in public gatherings. The influence of this kind of naqqali had reached the point where some Arabs narrated the stories of Rostam and Esfandiar in their public in order to fight the Prophet of Islam and the Holly Quran.\nThe effect of naqqali in Iranian culture\nNaqqalan or narrators had no purpose other than attracting the audience by narrating historical and mythical stories along with dramatic movements and situations associated with the events of the story. In most cases the audience were so influenced by their narration and show that the disciple and mentor tradition was manifested.\nMohammad Taghi Bahar, quoting Ibn Qutaybah, a scholar of the third century AH and the author of the book Ayoun al-Akhbar, writes in this regard:\nIn Merv, we came across a storyteller who told stories and impressed us. Then he pulled his tambourine out of his arms and began to play, saying, \u201cApa, with all this misery, we need a little laughter.\u201d\nMany experts of Iranian plays believe that in order to explore the antiquity of pre-Islamic plays in Iran, it is important to pay attention to ritual plays, marionette, and especially \u201cnaqqali.\u201d\nWho is a naqqal and what is a naqqali?\nAs mentioned earlier, naqqali is one of the most common forms of drama or the art of dramatic story-telling that an actor usually had, and naqqal was considered the most brilliant narrator in the history of Iranian drama.\nBahram Beizai writes in the definition of naqqali:\n\u201cNarration is the transmission of an event or story to poetry or prose with appropriate gestures and expressions in front of the audience.\u201d\nThe important point here is that a naqqal must have certain conditions and characteristics. Because their work was very sensitive and difficult. \u201cwithout using any tools, and only with the power of expression and harmonization of movements, faces and hands with words, the events of the story should be imagined in such a way that the emotions are aroused.\u201d\nThat\u2019s why a naqqal has to own a good voice and be completely familiar with musical instruments. What\u2019s more, the intermediate and face-to-face communication with people, and correction of some mistakes had a tremendous effect on the subsequent performances. So a naqqal increased the impact of his work by eliminating the shortcomings. Because \u201cthe distribution of pauses and delays between the word chain, the method of increasing and decreasing the fundamental sound frequencies, performance of melodic patterns of the melody along with the appropriate movements of head, hands, face, clapping hands, hitting the ground in naqqal influenced on listeners and the audience. They have learned from experience where it is exciting for people to speak, and what speech context to choose to increase the excitement \u2026 It kept the audience entertained.\nNaqqali and other performing arts\nThe way the play was performed by naqal was very different from other people who were individually engaged in magic and witchcraft. In other words, their speech and gesture was not persistent. By spreading the play in different neighborhoods and places, they would form a gathering, and everyone who came from anywhere in the play or the battle, would enjoy their words and movements at the same time and minute. On the other hand, what a naqqal says is persistant, and his story needs to be followed. Listeners had to attend his storytelling days to take advantage of his stories.\nIn another part of his article, Dr. Sasan Spanta, while emphasizing that the poems of Ferdowsi\u2019s Shahnameh were accepted among the people due to the efforts of the naqqals.\nThe following feature are some of the keys to success:\n- Good word combination, using familiar words, eloquence in expression, expressive and heartfelt voice, agile and appropriate movements.\nWhat Beizai, Spanta, and other researchers in the field of Iranian drama say about naqqali is one of the things that can still be used today as a benchmark for measuring naqqali. Therefore, the most important narrative features are:\n1- Strong and stable expression,\n2- Good voice,\n3- Agile and ready body,\n4- Ability to use tools and equipment such as sticks, stools and spears\n5- Preserving and knowing the story and information so that they can fit in any gathering.\nShahnameh and naqqali\nAt a time when naqqali was very popular, naqqalan who narrated the stories of Abu Muslim, Darabnameh, and Samak-e Ayar, along with poetry and song, gradually turned to other sources, and in the meantime, Ferdowsi\u2019s Shahnameh received the most attention. The story of Shahnameh is related to the history of coffee house, and the story of Rostam and Sohrab has the most important position in this regard, so that today naqqali in the coffee house is synonymous with \u201cSohrab Koshi\u201c!\nBut reading Shahnameh was not easy, and Shahnameh readers were usually poets or writers themselves. The popularity of reading Shahnameh also had a social reason, because in Safavid society, there was a special military group called \u201cGhezelbash\u201d whose main task was to participate in wars and maintain the fighting spirit. The Ghezelbash were among the regular customers of coffee shop, and the narrators\u2019 heroic quotations from Shahnameh could naturally have had a profound effect on their fighting spirit.\nToday, in smaller towns and villages, people are not yet unfamiliar with the art of storytelling, and in rituals and ceremonies, naqqalan perform their art, but in large cities, the performance of veteran narrators is limited to special ceremonies and some cafes and cafeterias. Tradition is limited, and few theaters and workshops are dedicated to promoting and performing it.", "id": "<urn:uuid:6a484887-96fb-41ca-8efe-cc4af9e53a02>", "dump": "CC-MAIN-2021-17", "url": "https://chiyakotravel.com/naqqali-iranian-dramatic-story-telling/?amp=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00516.warc.gz", "language": "en", "language_score": 0.9689117074012756, "token_count": 1686, "score": 3.5, "int_score": 4}
{"text": "Story maps are pictorial representations of a story and are a great tool for helping children to internalise a story. They allow a quick overview of a story and can act as a \u2018crutch\u2019 for the storyteller who is building confidence.\nMaterials: White A3 paper, pencil, pens, crayons\nTell the class a story. It is best to start with something simple with only two or three main locations. Stories such as The Three Little Pigs, or the Three Billy Goats Gruff are perfect for this exercise when done for the first time.\nThen explain to the children that they are going to create a map of the story showing where the various places are relative to each other. You might want to draw a quick demonstration map on the board, though it is best to then rub it off once the children understand what they are doing.\nSome children will choose to create an aerial view of the landscape and add onto it sketches of buildings, trees etc. Others will draw a side view with locations running along the horizon. This is not particularly important for this activity as it is creating a personal record of the story for each child.\nExplain that their drawings do not need to be perfect, that this is a way of recording information and putting down their own ideas about the story. Explain that detail can be added, for example, the colour of a house. This detail may not have been mentioned in the telling of the story, or indeed the child may choose to change it. This is all part of the process of the child making the story their own.\nCharacters can also be drawn on the map, placed at the location where they appear. The child may want to draw a character more than once, for instance with Little Red Riding Hood they may draw the wolf in the forest and at Grandma\u2019s house dressed as Grandma. Children may also want to write notes on their maps.\nWhen the maps are completed give the children time to colour them. Colour is an important element in making the images memorable.\nThen allow the children to show each other their maps. Ask them to note the similarities and differences between them. Emphasise that there are no right or wrong ways to draw the map but encourage them to consider that although they all listened to the same story, all the maps will be unique.\nGive the children a little more time to make further additions to their maps after the discussion.\nThey now have a complete record from which to learn the story without having to read it.\nDEVELOPING THE MAPS: THE INTERRUPTER GAME\nHave the children retell the story to each other in pairs. Once each person has told the story the first starts again. This time their partner can interrupt and ask a question. Remind everyone that this should be done politely with an, \u201cExcuse me!\u201d\nBefore hand you might want to discuss the type of questions that will be asked. The idea behind the questions is to have the children develop a more vivid mental image of the story in their mind\u2019s eye. Some examples of questions that might be asked are:\n\u201cCan you describe the house?\u201d\n\u201cWhat was in the garden?\u201d\n\u201cWhat did the dog look like?\u201d\nEncourage the children to keep the questions open ended so that the storyteller can develop answers if they have not already thought about it\u2026 asking about characters\u2019 feelings is a great way to explore the story in greater depth.\nWhen the first person has told their story, have the pairs switch and allow the second person to tell and answer questions.\nThe purpose of this activity is to help the children become better acquainted with their story. As they answer the questions they are developing a stronger and more detailed mental image of the places, characters and events in the story. Often the details generated in this activity will not feature in the final version of the tale told by the children. This is not important as often they would stop the flow of the story. They do however aid the internalisation of the story by the child. This activity is about \u2018creating memories\u2019 making it easier for the child to retell the story.\nStory hands are a versatile sequencing tool that allows learners to explore and work with stories, preparing them for telling and leading into writing. Storyhands work best with the classic five part story that features a beginning,, three events in the middle followed by an ending (such as the three Billy Goats Gruff, The Three Little Pig etc.)\nMaterials: Prepared story hand (if desired), writing and drawing materials\nTell the story. Then have the learners draw the beginning of the story on the thumb. Next discuss how the story ended and draw this scene on the last finger. Then discuss the sequence of events that connect the beginning of the story to the ending. The learners then draw the three middle events on the three middle fingers. If the learners complete the storyhand in this order they will avoid running out of fingers!\nThe storyhand can then be used by individuals, pairs or groups to practice re-telling the story. If working in a group, the story sections can be allocated to individuals. The groups can then split into secondary groups allowing the learners telling the same part of the story to practice together and give feedback. They can then re-join their group and re-tell the complete story.\nAfter re-telling the story, the storyhand can be used as a plan for writing. Each finger of the hand represents a section of the story. This can be used for the writing of a chapter, a paragraph or a sentence, depending on the developmental stage of the learner. Group members can also use the storyhand to focus on the writing of their section of the story. Then the various sections of the story can be collated to complete a piece of group writing.\nThis idea comes form the book Traditional Storytelling in the Primary Classroom by Teresa Grainger, ISBN: 0-590-53686-9\nIn a pair or trio start to re-tell a story. At any point one of the listeners interrupts as politely as possible! They then ask a question: What did the cave look like? Why did the boy do that? How did the queen feel?\nLis is a great introduction to questioning skills and introducing the idea of open and closed questions. The game allows children to clarify their thinking regarding a story and building into it more detail. This is a great pre-writing activity as well.\nTell a story. Discuss what scenes are missing. For example, the Troll in the Three Billy Goat's Gruff visits his sister. Have children explore that scene. What do the characters do? What to the characters talk about? Have them create a dialogue and share it with others.\nIn a pair, trio, group ar as a whole class, have one person start telling a story. At a natural break they tig the next person. They then take on the story and pass it on by tigging someone else. Carry on until the story is told.\nPut a character on 'trial'... have chlidren take the rolre of characters to explain their actions in stories you have told: Have Goldilocks explain why she broke into the home of the 3 Bears. Witness can be called... Wee Bear might explain the emotional impact of having his porridge all eaten up.", "id": "<urn:uuid:e18007c9-3c8d-4bcc-8b10-c832d0cd564e>", "dump": "CC-MAIN-2021-17", "url": "http://www.fergusmcstories.co.uk/420666872", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00237.warc.gz", "language": "en", "language_score": 0.9527491927146912, "token_count": 1523, "score": 4.03125, "int_score": 4}
{"text": "Listen instead of reading:\nThis post heavily references \u201cDiscovery of the child\u201d, pages 136 to 138 in an effort to share the five characteristics of the Montessori materials\nThe Sensorial materials help the child to focus one or more sense on a particular property of matter through a purposeful activity. To help the child sensorially discriminate between the materials they are made in a precise scientific manner. To be able to abstract both a prepared child and materials with these characteristics are needed.\nThe general characteristics of the Montessori Materials are outline below.\n1 \u2013 Isolation of a single property through a single sense\nThe term abstraction refers to an idea, here the property (e.g. temperature) and it\u2019s \u2018essential qualities\u2019 (e.g. hot, body temperature, cold) separate from the \u2018non-essential\u2019 properties and qualities. The \u2018materialised abstractions\u2019 have one property isolated from the others which in the real world jostle for attention so that one particular sense is stimulated for a classification activity. As \u2018abstractions\u2019 they have no distracting associations with other things she knows, as she becomes adept at classifying these materials she spontaneously makes connections with \u2018real world\u2019 objects and then begins to review previously unconsciously stored information. She relates to these new experiences through the \u2018new eyes\u2019 she has acquired with her work here and is able to store her impressions in an orderly way with finer precision than before.\nEach material compromises a set of similar items which explore the same property by giving various increments in the degree of \u2018essential qualities\u2019 which they exhibit. The variety between the set of materials ( in the example above the differences in temperature) provide a stimulus to action, inviting her intelligence to make judgements, comparing the increments. The increments are such a source of fascination because the materials are made i such a way that the other properties of the object fade into the background, because of their consistency. The difference between the \u2018essential qualities\u2019 sparks the child\u2019s interest and later comes the point of interest to return to and repeat the activity and the means by which she controls her error.\n2 \u2013 Purposeful activities using movement and sensorial exploration\nThe urge to move, make choices and to make use of that which is necessary for development defines the Absorbent Mind. While using the Sensorial Activities the child is in the Sensitise Period for the Co-ordination of Movement which propels her towards activity, in fact her attention and concentration cannot be held without it. Therefore all materials are designed to make activity available; holding them, being introduced to their \u2018essential property\u2019, through the presentation and the freedom to repeat it, the exercises and variations she employs and the games. She pairs, grades and sorts the materials. Cultural materials also have a sensorial and movable aspect, which will later direct the mind of the second plane.\n3 \u2013 Control of Error / Criteria for Perfection\nThe mind must make an active effort to digest new material and achieve the construction demanded during the first plane, in order that the child reaches her potential for development. The child has an innate desire to make a maximum effort, to auto-educate herself, to do this she needs the freedom to use a \u2018Prepared Environment\u2019 which motivates her conscious learning, driving her to repeat in order to meet her learning goals independently. Unhindered she works with the Sensorial Materials and receives feedback from the materials directly or from her perception of the order of the materials.\nThe intelligent use of the materials poses problems which require judgements and discriminations, both of which are developing skills. By making \u2018mistakes\u2019 she sees the material \u2018jar\u2019 and the error is highlighted, presenting the child with a newly focused challenge which deepens her interest and calls her to repeat. Doing so she gains understanding, clarity of judgement and sensorial refinement. The child seeks perfection while accepting that \u2018mistakes\u2019 are necessary, without the experience of shame or \u2018overwhelm\u2019. This resilience in the face of obstacles is a vital part of character development, for becoming an independent, adapted person, able to judge her errors, manage her reactions to them, to motivate herself. Doing this strengthens her will and tendency to work. It is NOT the solution that is important by the process of reasoning and rethinking. Hearing her mistakes from a teacher may or may not help her understanding f the puzzle but it will not help her to internalise the intrinsic process of becoming a problem solver.\n4 \u2013 Limitations\nThe child has absorbed vast, unbroken experiences, she does not require stimulation but the ability to order that which has been chaotically stored.The presentation of sufficient stimuli, (neither too much or too little) enables her to organise the clutter in her mind. Sensorial Materials, \u201cSet up conditions of clarity in his exploring mind and furnish him with a guide in his exploring operations\u201d (Discovery of the Child, p.158). The Exercises of Practical Life established order and control in her movement and personality, now the exact, precise and limited materials of the Sensorial Activities provide the intelligence with an opportunity to perceives with a new level of clarity and intelligence, urging her to complete self initiated work to explore further.\nOrder is the foundation of the Montessori Environment, everything in it is \u2018minimal\u2019, limited, devoid of excess, which is the basis for disorder and chaos. Dr Montessori removed those materials and gradations which did not call the child because they were unnecessary to her development so there is a limited amount of gradations in each set and only one set of material for each sense, providing exact guides.\n5 \u2013 Aesthetics\nThrough their beauty the objects have a voice which calls to the child to use them, to learn from them, to treat then carefully, holding them as shown to find their essential quality kinaesthetically and to ensure they are unharmed. As the child is an auto-educator, left free to move and choose she will select that material in the environment which has the most to offer her, that material will call the loudest. If the objects are left in disarray the child on seeing them wants them to b ordered and will spontaneously arrange them. The child\u2019s mind grows calm and orderly in this environment and her appreciation for the cosmos blossoms.\nIt is the child\u2019s love of perfection, her effective use of objects, her tendency to work, respond to the materials, judge her efforts and correct her error which develops a strong character and creative development.", "id": "<urn:uuid:75268936-7a57-45b8-8a55-0a492252a28d>", "dump": "CC-MAIN-2021-17", "url": "https://montessoricommons.cc/the-characteristics-of-the-montessori-materials-for-sensorial-education-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038073437.35/warc/CC-MAIN-20210413152520-20210413182520-00237.warc.gz", "language": "en", "language_score": 0.9526383280754089, "token_count": 1379, "score": 3.890625, "int_score": 4}
{"text": "Your child may have natural writing ability or they may struggle. The important thing is that all children benefit from exploring creative writing \u2013 creative learning is at the heart of good education.\nThis pre-prep school in Bristol offers a wide variety of creative activities which benefit children in both their academic and social learning.\nSkilled writers can build their confidence and learn more about structure whilst those who are less skilled can learn new ways around words and how to enjoy them more.\nHow to begin\nThere are so many creative ways in which to help your child improve their writing skills. A good place to begin is by using a story your child has already enjoyed.\nDiscussion is important \u2013 when you have finished reading the story, talk to them about what happened. Which were the most exciting parts and why? Which characters did they love? Were there any they didn\u2019t like?\nFrom that point you can encourage your child to write their own version of the story. What came next? Is a good question to ask. Another way to approach this is to ask them to choose one character and write them a letter \u2013 your child can ask the character questions or tell the character things about themselves.\nTo help your child write their own stories, tell them that each story has the following ingredients.\nTheir story can be very short as long as it has all of these ingredients. Most children will be very keen to try to meet all of the challenges and will engage well. Others may need encouragement.\nHelping reluctant writers\nChildren who don\u2019t feel confident about their storytelling abilities might just need a little inspiration. You can inspire them with images. Print out a selection of interesting pictures \u2013 try to choose unusual or thought-provoking images which your child might like.\nAsk them to think of a simple story based on the picture.\nPoetry can be a wonderfully freeing thing, especially if you explain that not all poems rhyme.\nExplore poetry with your child; read some well-known poems for children aloud. Here are some great examples to begin with. Starting with the funny ones!\n- Please Mrs. Butler by Allan Ahlberg is the title poem in a collection and it\u2019s a funny illustration of a complaining child who is unhappy with the boy next to him. Mrs. Butler\u2019s responses whilst pleasant are increasingly desperate as she tries to keep her temper.\n- Chocolate Cake by Michael Rosen is a relatable poem about a boy\u2019s love for chocolate cake. Written almost as a child speaks, it\u2019s a fabulous way to show children that poetry isn\u2019t stuffy or made up of \u2018big words\u2019.\n- Jabberwocky by Lewis Carroll starts out with the famous line \u201cTwas brillig and the slithy toves did gyre and gimble in the wabe.\u201d Any child hearing that read aloud for the first time will be charmed into trying some nonsense poetry themselves!\n- Life Doesn\u2019t Frighten Me by Maya Angelou lists all of the things most children find frightening and then proceeds to bravely list the ways in which they can be driven away.\n- Wind on the Hill by A. A. Milne is about a child\u2019s wonder in nature. It\u2019s a beautifully written and deceptively simple piece that most children will relate to.\nEncourage a love of poetry and the written word in general by ensuring your child has access to plenty of fresh reading matter. Libraries can and will order new titles for you so you don\u2019t even have to spend a lot of money.\nProvide your child with notebooks and pens so that if they\u2019re struck by an idea, they can jot it down.\nAbove all, make sure your child understands that creative writing is an art \u2013 and in art there are no wrong answers.", "id": "<urn:uuid:0eb5d9a5-f701-4591-9011-4eb4fb0d9b8b>", "dump": "CC-MAIN-2021-17", "url": "https://www.lifewithbabykicks.com/2020/12/exploring-creative-writing-with-your-child.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00313.warc.gz", "language": "en", "language_score": 0.9604223370552063, "token_count": 793, "score": 3.90625, "int_score": 4}
{"text": "Your kids will love labeling the parts of a honey bee lego activity.\nBees are fascinating little creatures from how they create their honeycombs to maximize space, to how they know to fan the hive to keep it cool.\nBees are used in so many ways than just the delicious honey they produce.\nWe use beeswax in cosmetics, candles, as a coating, and bee venom is used as a holistic treatment.\nLabeling the Parts of a Honey Bee\nBecause they are so very important to our world as pollinators I think it is important to educate our children about them from the beginning.\nIf you\u2019ve been homeschooling awhile you know that hands-on activities really drive home information in a fun way that really makes it stick, often better than any worksheet could.\nSince most kids love LEGO, I thought that an activity using them would be a hit with the kids and turn an ordinary and possibly boring homeschool lesson into something unique and fun.\nTurns out I was right- The kids loved doing this project and I hope you and yours will too!\nGrab a big bucket of LEGOS and a handful of bee books and let\u2019s get started.\nYou will need:\nA LEGO baseplate.\nAssorted LEGO bricks\n- Cardstock paper\n- A book or printout of parts of a bee\n- Pen or marker\nHands-on Activity for Honey Bee\nDirections for honey bee LEGO:\nYou can make this as simple or as involved a LEGO build as you like depending on the age and ability of the child.\nUsing the larger Duplo blocks to create a simple bee and let your child point out the various parts of a bee as you call them out is another idea.\nProvide your child with a book or printout on the parts of a bee to use as a model and a variety of LEGO to build their bee model.\nGive them a large variety of LEGO bricks to build with, I love this starter box for kids just beginning a LEGO collection.\nI keep a box for each kid separate from all the other LEGO in the house just for school projects like this.\nHave them start with creating a head, thorax, and abdomen using yellow and black bricks.\nAdd wings using white bricks.\nFor older children you can differentiate forewing and hindwing if you like.\nUse long single row black bricks to create 3 sets of legs.\nFinally add eyes and antennae.\nCut small strips of cardstock and add the names of whichever bee parts you would like your child to identify.\nGive them the strips and let them locate each part on their LEGO bee, with so much interaction while building and then labeling they are sure to retain much of the information they get from this build.\nHere are some additional bee activities to try\n- Create a honey bee lapbook.\n- Create the life cycle of a bee using LEGO again.\n- Pick up some local honey and try it right out of the jar as well as in a recipe or two.\n- Make a honeycomb by cutting down toilet paper tubes and bending each ring into a hexagon, glue each together to create any size you like.\n- Paint a watercolor bee or beehive.\n- Thumb through one of the books listed below and learn some more bee information-make flashcards.\n- Plant flowers in your yard to help support the bees, very important pollinators.\n- Make a mason bee house to put up outdoors.\n- Preschoolers can work on fine motor skills by transferring \u201cpollen\u201d (yellow pom poms) from one flower (colorful bowl) to another with tongs.\n- Research all the products we get from bees.\n- Give your child a bee themed writing prompt for handwriting, creative writing, and grammar practice such as \u201c What if there were no bees?\u201d or \u201c The day I turned into a bee\u2026\u201d.\nHands-on Science: Labeling the Parts of a Bee\nBooks for Bee Unit Studies\nYou\u2019ll love these other hands-on science activities.\n- Fascinating and Fun Honey Bees Unit Study and Lapbook for Kids\n- 41 Easy Hands-on Faith-Neutral Science Activities for Kids\n- Hands-On Science: Handprint and Fingerprint Activity\n- Easy Hands-on Science: Animal Camouflage Activity Hunt\n- Easy Hands-On Science: Label the Atom Playdough Activity\n- EASY Hands-on Earth Science: Fun Water Testing Kit\n- Hands-On Science: Label the Skeleton System Activity", "id": "<urn:uuid:73fc1629-1f1e-4e88-b4c7-e64cf31ce3a2>", "dump": "CC-MAIN-2021-17", "url": "https://www.tinasdynamichomeschoolplus.com/honey-bee-lego/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00157.warc.gz", "language": "en", "language_score": 0.9203329682350159, "token_count": 954, "score": 3.59375, "int_score": 4}
{"text": "\u201cTransfer\u201d is a cognitive practice whereby a learner\u2019s mastery of knowledge or skills in one context enables them to apply that knowledge or skill in a different context. Because transfer signals that a learner\u2019s comprehension allows them to recognize how their knowledge can be relevant and to apply it effectively outside original learning conditions, transfer is often considered a hallmark of true learning (Barnett & Ceci, 2002).\nTransfer functions in a variety of ways. Instructors should be aware of negative transfer, or the application of misunderstood information and concepts when learning new knowledge (Perkins & Salomon, 1992). Instructors can detect possible negative transfer by assessing students\u2019 prior knowledge. Regarding positive transfer, students can perform near transfer, where they apply their knowledge to a related context like a different class or assignment; or far transfer, where they apply knowledge in an unrelated context typically beyond the classroom, like field trips, social interaction, or career performance (Kober, 2015).\nLearning theory suggests that a variety of teaching strategies can help students reach the intellectual maturity to transfer their knowledge, including practice with conceptual understanding, comparative scenarios, and clear road maps for learning (NRC, 2000).\n- Electrical engineering students read about circuitry and electricity in an introductory course. The instructor brings market products into class for students to apply their knowledge dissecting and rebuilding.\n- In class, students in public health learn about tracking the spread of influenza in an urban American community. Over spring break the class takes an international trip, and does field work charting the spread of a different virus through a rural community, applying related concepts from their class work.\n- A creative writing student takes a course on Shakespearean drama. Over the course of the semester she continues to write her own play, drawing from techniques and structures throughout her coursework.\n- An economics student writes several papers on Game Theory throughout her undergraduate degree. She accepts a management position in an organization that assists a variety of nonprofit efforts. Although she does not apply Game Theory per se, she applies her knowledge of economic cooperation to insure smooth operations.\n- Focus on core concepts - Students can more effectively transfer their knowledge when they comprehend principles that organize, guide, and explain content and skills. Instructors can develop activities that connect dots through deeper relationships, shared functions, or similar organizing principles. With a strong conceptual framework, rather than memorized facts or a string of lecture notes, students can recognize contexts operating through similar concepts and arrange knowledge as more functional parts of a whole.\n- Include activities that promote deeper learning - A larger approach to conceptual learning, deeper learning asks students to practice more rigorous thinking than memorization, skills practice, or test preparation. Instructors can design class activities and assessments like active learning that span Bloom\u2019s taxonomy, thereby leading students to more independent thinking and the ability to recognize both the details and the broad strokes of what they study.\n- Provide comparative scenarios - Students develop the ability to transfer their learning by practicing transfer. Instructors can present two different scenarios, formulas, or readings and ask students to find single approaches for solving or analyzing each; flipping the script, they can ask students to construct a different problem or scenario that requires the same skills and knowledge as a pre-completed assignment; instructors can also engage students in case studies, where a variety of skills and knowledge sets may be stretched to address issues that are similar to, but not exactly, readings or lecture material.\n- Provide a roadmap with links - Students are more engaged when instructors provide a clear sense of direction for intended learning. By making intellectual links between segments of class, or asking students to articulate the relationship between a previous class and a current class, instructors show how knowledge operates in more than one context, and give students practice charting their learning beyond single contexts.\n- Build on previous knowledge - Students construct their learning by integrating new knowledge into knowledge they already have. Instructors can support student learning by assessing and building from previous knowledge. They can also make this process explicit for students, which in turn helps students learn to link their knowledge and treat it as a network, rather than individual nuggets.\n- Be explicit about transfer - When engaging students in activities that promote transfer, instructors should feel free to make their learning goals known. Students will practice transfer better when they learn to recognize it in action, and will more willingly engage in a lesson if the instructor presents the benefits of transfer for career aspirations and future learning.\nBuilding Knowledge Through Transfer - Northeastern Center for Advancing Teaching and Learning Through Research\nTransfer of Learning: Issues and Research Agenda - National Science Foundation (March 21-22, 2002)\nWhat is transfer? - Big Ideas, Grant Wiggins (Mar 27, 2010)\nBarnett, S., & Ceci, S. (2002). When and where do we apply what we learn? A taxonomy for far transfer. Psychological Bulletin 128, 612-37.\nKober, N. (2015). Reaching Students: What Research Says About Effective Instruction in Undergraduate Science and Engineering. Board on Science Education, Division of Behavioral and Social Sciences and Education. Washington, DC: The National Academies Press.\nNational Research Council. (2000). How people learn: Brain, mind, experience and school: Expanded edition. JD Bransford, AL Brown, RR Cocking (Eds)., Committee on Developments in the Science of Learning and Committee on Learning Research and Educational Practice, Commission on Behavioral and Social Sciences and Education, National Research Council. Washington, DC: National Academy Press.\nPerkins, D., and Salomon, G. (1992). Transfer of Learning. International Encyclopedia of Education. 2nd Ed. Oxford, England: Pergamon Press.", "id": "<urn:uuid:3e838258-7dfc-4586-9f20-7327399aefea>", "dump": "CC-MAIN-2021-17", "url": "https://poorvucenter.yale.edu/TransferKnowledge", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00277.warc.gz", "language": "en", "language_score": 0.9088059067726135, "token_count": 1166, "score": 3.859375, "int_score": 4}
{"text": "While it won\u2019t make its way onto standardized tests or college entrance exams, movement is an important aspect of how children learn. Your childcare center has the important opportunity to help lay the foundation for later academic achievement by giving the children in your care opportunities to play, build, and create. While those kinds of activities might seem simply like ways to fill up the hours, they\u2019re actually helping children develop important skills in developmentally appropriate ways.\nImportance of Imaginative Play\nWhen we put the screens and our own agendas aside and reserve time for child-directed play, it may feel risky. After all, we never know what they\u2019ll come up with! Sure, we need to make sure they stay safe, but beyond that, childcare workers do best to allow space in the schedule for children to exercise freedom in making their own fun. While preschoolers can\u2019t yet write stories, they are flexing the very muscle which writers use when they create narratives through play. Stories they act out with other children or toys involve skills like developing characters, sequencing events, and displaying empathy toward others.\nVariations of Imaginative Play\nThe means a child uses to create a narrative isn\u2019t the important part. Children can role play with other children or use puppets, dolls, or action figures. When they can\u2019t find just the right item to further their purposes, though, they flex some added creative muscles by using materials readily available and transforming them into something else.\nMaker Extensions for Imaginative Play\nWhen a child uses a cardboard box to create a make-shift castle instead of using a pre-fabricated one, the constant shift between roleplaying and tinkering, thinking and doing, further serve to strengthen mental processes. You can encourage this kind of creative play with books like Not a Box and cardboard construction kits like the ones from this company.\nMore effective than hearing how-to instructions for a prepared craft and sitting at a table to complete it, children who are engaging in self-directed imaginative play will create based on a need or desire. This kind of movement, combined with self-directed thinking and creativity, is precisely what children need the freedom to do.\nAlternatives to Self-Directed Play\nIn place of self-directed, imaginative play, many American early-childhood learning experiences miss the boat when it comes to providing children with the kinds of experiences they need. Instead, even toddler and preschool-aged children are increasingly found sitting at pint-sized tables, expected to complete worksheets. The lack of physical movement is seen as positive, but this kind of passive learning environment is actually unhealthy for young children. Kids love doing activities that they themselves chose, though in most contemporary childcare settings they typically spend measurably more time in a passive learning environment.\nJackrabbit Care software provides daycares and childcares with smart online solutions for billing, sign ups, registration & business management. Jackrabbit\u2019s leading class management software delivers an unparalleled combination of speed, reliability and smart customer-focused solutions. Jackrabbit\u2019s solutions are perfect for after-school programs, child care centers and daycares. Learn more at www.JackrabbitCare.com or call them at (704) 895-4034.", "id": "<urn:uuid:360b24a9-1639-434a-b01c-60075f5b974f>", "dump": "CC-MAIN-2021-17", "url": "https://www.adverticia.com/encouraging-healthy-habits-in-your-childcare-center-imaginative-play/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039560245.87/warc/CC-MAIN-20210422013104-20210422043104-00554.warc.gz", "language": "en", "language_score": 0.9270281791687012, "token_count": 677, "score": 3.5625, "int_score": 4}
{"text": "Early moments matter in a child\u2019s development.\nWhen young children play, they exercise their vibrant imaginations and boost their creativity. Even in the simplest of children\u2019s games, there is much more going on than meets the eye. Through play children learn the skills that will equip them for life\u2019s challenges \u2014 like how to solve problems or why it\u2019s important to share and other social skills that will help them navigate our complex world.\nGlobally, UNICEF works to support children in their early years as it is a time of incredible brain growth and development never repeated. Alongside adequate nutrition and nurturing care, play has a vital role in giving children the best possible start in life.\nWhile the 6 activities below sound like fun and games, they are all informed by our play-based approach to early childhood development and are designed to help your little one develop their fine motor skills, social skills, decision-making ability and creativity.\nHave fun learning!\n6 indoor games for young children\n1. Get moving with your children indoors\nBuild an indoor spider web. Using wool, build a spider web somewhere in the house. For example, between furniture or under the dining table. Then, challenge your child to make it through the web without touching the wool.\nActivities like this are great for children\u2019s gross motor skills, like balance and coordination. They\u2019re also great for problem solving and can be easily adapted to any age or ability.\nHere are three more movement and fun activities to try:\n1. Dance to the music: Turn the music on and swirl around with your babies, toddlers or preschoolers.\n2. Socks-toss: Prepare clean socks and a basket as a goal. Stand at a distance and try to throw the socks in the basket.\n3. Frog hop: Hop on non-slippery surfaces with some towels as obstacles to make it more fun. You can also show your children to imitate other animals like a rabbit or kangaroo.\n2. Cook with your child\nPreparing food with your children provides so many benefits, supporting their social-emotional development, language development and cognitive and physical development. Not to mention, children also often love to cook with their parents or carers.\nSome simple cooking tasks for toddlers and preschoolers are stirring pancake batter, putting toppings on pizza, rinsing vegetables, or setting the table.\nCooking provides an opportunity for talking and building vocabulary and helps with early numeracy skills as you count and measure ingredients. You can also teach your children some basic rules of cooking as well as health and hygiene. For example, why we need to eat well-cooked food, or why we need to wash our hands before handling food.\n3. Tell and make stories with your child\nTelling stories is important for language development. Even if your child is a baby, storytelling can still build foundational literacy skills as they start to understand the rules of the language they are interacting with and recognise the words used around them.\nUsing a rich vocabulary, even with very young children, helps them develop a rich vocabulary of their own. Telling stories is also a beautiful way of sharing your family or your community\u2019s history, culture and identity.\nMake a book with your child. With your children think of a situation that has made them laugh a lot, something very fun or funny that has happened to you as a family. Then make a homemade storybook about what happened. To make the book, children can draw the story or choose pictures from magazines and decorate the cover as they like. If they know how to write, they can also write the story out in their book.\n4. Organise a treasure hunt at home\nMake a set of clues that will lead your child around the house in the search for treasure. The clues can be clever questions that make them discover corners or objects around the house.\nThrough a treasure hunt, children can learn new problem-solving skills, and engage their curiosity and creativity. You could even set up \u201cchallenge stations\u201d such as do five star-jumps, or balance on one leg for 10 seconds. This can promote physical development and is also a great opportunity to practice numbers.\nThe treasure can be something your child really likes to eat or a homemade \u2018voucher\u2019 for doing some special activity with you.\nFor younger kids, you can hide individual letters and once collected ask your child to put the words together from the letters they found.\n5. Get creative! Make a computer with recyclable materials\nEncourage your child to build a structure or object with recyclable materials, like their own computer and keyboard. They could use cardboard or paper boxes for the screen, an egg box for the keyboard, and then paint letters and numbers on the keyboard and put a picture or screen. You can encourage your child to play with the computer by suggesting they send imaginary messages to friends who are far away.\nIf cardboard computers are not your child\u2019s thing there\u2019s cars, robots, cities \u2014 the list is almost endless. I still remember making a cardboard city with my cousins when I was about four -\u2013 it had houses, skyrise buildings, a school, cars and a train.\nThis activity is a fantastic exercise in creativity and problem solving as your child uses the materials they have to make what they imagine. It also encourages your child to practice putting things together using small, controlled movements, which helps build your child\u2019\u2019s fine motor skills \u2013 the foundational skill for writing.\n6. Get musical \u2013 how about a home concert?\nThis activity requires pots, pans, plastic dishes and spoons. Together look for a song that your child loves and then turn the kitchen into a concert room (sorry neighbours). Following the rhythm of the song, your child will play with the utensils as if they belonged in a band.\nMaking music is not only fun and energising for children, it\u2019s great for many aspects of their development. This is because making music requires fine motor skills (such as being able to grip and squeeze objects), as well as linguistic and mathematical precision, and creativity \u2500 firing up several areas of the brain.\nTapping into these skills means developing the bridge between the two hemispheres of the brain which allows messages to get across the brain faster and across different routes.\nMaking music together with your child can be a great mood booster for you both by lifting your energy and producing a healthy dose of endorphins. Even listening to sad music can be helpful and cathartic \u2013 making it easier for your child to get in touch with their emotions.\nUNICEF and Early Childhood Development\nEven in the most remote and challenging settings, UNICEF is working to make sure children not only survive but thrive, ensuring they have the best development possible and are ready to learn at school on time. In the Asia Pacific region, UNICEF supports early childhood programs in countries like the Solomon Islands, Laos, Bangladesh, Papua New Guinea and Timor-Leste.", "id": "<urn:uuid:7e862394-3077-46bd-946d-aecda32b5732>", "dump": "CC-MAIN-2021-17", "url": "https://www.bubhub.com.au/hubbub-blog/6-indoor-games-for-young-children-from-unicefs-child-development-experts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038061562.11/warc/CC-MAIN-20210411055903-20210411085903-00397.warc.gz", "language": "en", "language_score": 0.9557303786277771, "token_count": 1462, "score": 3.65625, "int_score": 4}
{"text": "Plants and animals are both living things, which means they both contain cells. The cells of plants and animals share some similar traits \u2013 they both store DNA \u2013 but there are some fundamental differences between them. These differences include structure, protein-creation capabilities and differentiation capabilities.\nTL;DR (Too Long; Didn't Read)\nPlants and animal cells differ in several ways. Their structure is different. Plant cells can create proteins on their own; animal cells rely on diet to provide 10 of the essential amino acids. Almost all plant cells can differentiate, or change, into other types of cells within a plant's body. In animals, only stem cells can differentiate.\nEven though plant and animal cells share some common structures, they also have several important structural differences. Plant cells have a cell wall, which is a rigid protective layer that surrounds the entire cell. Animal cells have cell membranes, which are flexible and permeable. As a result, outside substances can more easily be absorbed into the cell.\nPlant cells usually do not have cilia, as some animal cells do. Cilia are hairlike protrusions or microtubules that help certain kinds of animal cells move around. Since plant cells usually remain in place, they do not need cilia.\nCentrioles are cylinder-shaped structures present in animal cells. These structures help animal cells divide properly by organizing microtubules during cell division. Plant cells use their rigid cell walls to organize microtubules during cell division.\nPlant cells contain tiny organelles \u2013 inner structures \u2013 known as plastids, which animal cells lack. Plastids contain pigment or food that plants use to create energy. For example, chloroplasts are plastids that contain chlorophyll. Plants use chlorophyll during photosynthesis, the process by which they convert sunlight into usable energy.\nProteins are molecules that cells use for a variety of purposes. Some proteins help to send signals between cells. Others aid in cellular movement. Proteins are essential for cellular health in both plants and animals, but plant and animal cells produce proteins in different ways. This is because plant and animal cells contain different numbers of amino acids, which are necessary to create proteins.\nIn all, there are 20 amino acids needed to create proteins. Plant cells naturally contain all 20. However, animal cells contain only 10. The other 10 amino acids must be acquired through the animal's diet. This makes sense because plants have only three sources of nutrients \u2013 water, soil and sunlight \u2013 whereas animals tend to be mobile and have access to a varied array of nutrients.\nEven if you haven't heard the term \"cellular differentiation,\" you likely know what it means. Human stem cells have been at the center of many recent news stories due to their ability to differentiate; they can change form. These kinds of cells can transform into any other type of cell in the body, which is an astonishing capability considering that most animal cells cannot differentiate.\nHowever, most types of plant cells can differentiate. For example, a cell on a plant's tough outer layer may divide and change into an inner cell with a different function and slightly different structure. In animals, dividing cells can only replace or repair themselves. They cannot change into another type of cell with a different function.\nAbout the Author\nMaria Cook is a freelance and fiction writer from Indianapolis, Indiana. She holds an MFA in Creative Writing from Butler University in Indianapolis. She has written about science as it relates to eco-friendly practices, conservation and the environment for Green Matters.", "id": "<urn:uuid:026aed08-c657-4ac2-b120-9fff10877986>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/three-plant-cell-animal-cell-6671558.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00356.warc.gz", "language": "en", "language_score": 0.9440052509307861, "token_count": 724, "score": 3.984375, "int_score": 4}
{"text": "- Share books \u2013 read together daily, talk about the pictures and predict what will happen next. Re-read favourite books and encourage your child to join in. Rhyming books and those that have a repeated refrain such as \u201cYou can\u2019t catch me I\u2019m the Gingerbread Man\u201d are particularly good books to encourage your child to join in with. Don\u2019t be afraid to use silly voices when you read, your child will love this!\n- Sing Nursery Rhymes together. Rhymes are really important for young children as they help develop an ear for language and introduce new vocabulary. Their rhythm and repetition make them easy to remember and developing memory plays a large part in learning to read. Nursery rhymes are a source of developing children\u2019s early phonic and math skills.\n- Lots of mark making activities. This doesn\u2019t need to stick to pens and paint, you can be as creative as you like. Some ideas that we find work particularly well are using chalks or water and brushes on the ground or walls outside, making marks using sticks in mud/ice/snow, tracing fingers through sensory materials such as sand/flour/paint/gloop (a wonderful mixture of corn flour and water.) Encourage your child to talk about what they are doing; this is the beginning of their storytelling and writing journey. If your child is making a picture you could be their scribe and write down their story for them.\n- Help your child to practice writing their name (using a capital letter for only the initial letter.) The best way to do this is by creating real scenarios e.g. encouraging your child to add their name to a card or thank you letter, on a picture they have made for somebody or adding their name to a list will be more meaningful for them rather than just copying their name.\n- I spy games e.g. can you find something that begins with an \u2018a\u2019? (say the letter sound rather than the letter name.) Can you find something that rhymes with \u2018cat\u2019? To practise oral blending try sounding out a word e.g. can you find the c-a-t/c-u-p/h-a-t/s-o-ck etc.\nEncourage your child to think about what sounds they hear in words. You could also play \u2018I Spy\u2019 with colours or shapes.\nSome useful websites:\nhttps://www.phonicsplay.co.uk/freeIndex.htm (Phase 1)\nhttps://www.youtube.com/watch?v=TkXcabDUg7Q (video demonstrating how to say the letter sounds)", "id": "<urn:uuid:56f0fe4e-e61d-42ff-9c0b-28c9f3fec9e0>", "dump": "CC-MAIN-2021-17", "url": "https://www.botleyschool.org.uk/communication-and-languageliteracy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00514.warc.gz", "language": "en", "language_score": 0.9357032179832458, "token_count": 562, "score": 3.8125, "int_score": 4}
{"text": "The Language Arts Curriculum embodies the full scope of reading, writing, and thinking skills. Specific objectives include instilling a love of literature, ensuring appropriate writing skills, acknowledging the necessity of correct grammar, spelling and improving standardized testing skills. Students are provided with a print rich environment in which they explore experience and express themselves through a variety of activities.\nOverview: Language Arts across the grades levels, introduces, refines, and masters the following: \u00b7 Oral Communication \u00b7 Writing/Language \u00b7 Reading/Literature \u00b7 Study/Research Skills \u00b7 Spelling/Vocabulary \u00b7 Phonemic Awareness \u00b7 Language Mechanics/Grammar/Correct Usage \u00b7 Penmanship\nSampling of Topics Covered:\nGrades 1 - 3\n- Manuscript and cursive penmanship\n- Looking for language patterns in stories and poetry\n- Construction a simple story using beginning, middle, and end.\n- Recognition and use of rhyming elements\n- Using a variety of strategies to derive meaning from text, including cause and effect, making predictions and locating the main idea and supporting details\n- Identifying basic facts and main ideas in a text and use them as the basis for interpretation.\n- Reading and interpreting simple charts, graphs, maps, illustrations and signs.\n- Using short stories, picture books, literature to understand other cultural and historical periods\n- Basic grammar and language mechanics\nGrades 4 - 5\nAll of the above, as well as:\n- Creating complete and correct declarative, interrogative, imperative, and exclamatory sentences in speaking and writing.\n- Progressing to identify all eight parts of speech\n- Correct use of the writing process, including pre-writing, editing, peer editing, revision, and publishing\n- Writing with purpose \u2013 to describe, to inform, to persuade, to narrate\n- Recognizing genre: fiction, nonfiction, prose, poetry, biography\n- Using of research materials\n- Organizing material for use in study strategies such as graphic organizers.\n- Use of higher level punctuation such as quotation marks, hyphens, colons\n- Identifying and using indirect objects, predicate nominatives, phrases, clauses, antecedents, transitional words, etc.\n- Reading and interpreting literature\nGrades 6 - 8\nAll of the above, as well as:\n- Studying literature via thematic units\n- Analyzing literary elements, including: plot, setting, characterization, conflict, point of view, theme, etc.\n- Critically reading, examining and discussing poetry, drama, short stories, and novels\n- MLA format\n- Using rich language in writing\n- Using higher order thinking skills in writing and discussion\nPlanting a future\nSaint John the Baptist School is dedicated to providing a quality Catholic education that encourages its community to be life-long learners and leaders, to live their faith with high moral standards, and to grow academically, spiritually, and socially.\nVisit Our School\nSchedule a Tour\n19 Chestnut Street\nPeabody, MA 01960", "id": "<urn:uuid:2ba70667-c5b1-4874-9d54-4c595b643896>", "dump": "CC-MAIN-2021-17", "url": "https://stjohns-peabody.com/language-arts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039398307.76/warc/CC-MAIN-20210420122023-20210420152023-00238.warc.gz", "language": "en", "language_score": 0.873896598815918, "token_count": 624, "score": 4.125, "int_score": 4}
{"text": "Scripture: Joshua 10-11, 18\n- Students will learn the story of when God made the sun and moon stop so that Israel could win the war.\n- Students will learn how to plan and create a shadow puppet show.\n- How can we use different resources such as light and shadows to tell a Bible story in a new a new and interesting way?\nMaterials: a dark room and thin white paper or other translucent material to act as a screen (preferred) OR a dark room and white wall/board and bright lamp to cast shadows in front of OR outdoor sunshine (if neither are available due to weather or location, this activity can be done with stick puppets), heavy paper such as cardstock, scissors, glue, craft sticks, pre-made figurines for teacher\u2019s example story-telling\nPuppet Characters: Joshua, Israelites, Amorites, Sun, Moon\nNote: Typical shadow puppetry is done with a translucent screen. The puppeteer sits behind the screen covered by an opaque object/curtain. Then puppeteers raise their arms above them to animate their puppets behind the screen. More information can be found online. http://www.oregonshadowtheatre.com/whatis.html\nUse a short simple, shadow puppet show to review the story of God causing the sun to stand still so that Israel could be victorious. Explain to students that when using puppets there is more than one way that they can chose to show their story. One way is to use the puppets to show a lot of animation and characters to act out the story. The other option is to use the puppets as symbols and simply show each one as the story-teller explains what happens. The teacher can chose either method for the demonstration. You may also choose to tell more of the story from Joshua 10-11, 18.\nCharacters: Joshua, Israelites, Amorites, Sun, Moon\nShow Israel being led by Joshua and the Amorites running away from them. Show the sun rising and the moon setting. Then show the sun standing still and the moon standing still as the Israelites catch up to them and have the Amorites disappear from the scene. (Obviously get the point across of God\u2019s intercession in nature and guidance of Israel and do not dwell on the violence.) Israel victoriously cheers and returns to other side of \u201cstage\u201d. Narrate using animated voice inflection as you use puppets.\nStudents can then make their own puppet show. There are different modifications for this depending on the students\u2019 level and your prep-team\u2019s time:\nTo save time or if working with students who require more direction, you may provide pre-done puppets and include silhouettes such as king, donkey, sheep, group of people/Israelites, additional group of people, boy, girl, woman, man, etc. Students can decide on a Bible story they are familiar with to re-tell.\nAnother way to organize the activity is to depending on students\u2019 level and Bible knowledge is to provide certain stories/puppets for them to choose from. Place a story and the required puppets in a pre-organized bag so students can grab one and immediately begin practicing their show. Make sure to label each bag with the story\u2019s name and the characters it contains. Use stories that students already know.\nAnother option is to simply have them retell the story that you modeled at the beginning of the activity so that they remember it better.\nWhen teaching the lesson, emphasize the importance of fluency and tone inflection for the story-teller. Also emphasize how they can animate their puppets even though they do not move mouths and appendages. Explain how using motion with stick puppets can be done.\n- Why was it helpful for God to make the sun stand still?\n- How is practicing a shadow puppet show different than a regular puppet show? How is puppetry different than other forms of storytelling?\n- What form of storytelling do you think is easiest and why?\n- Have students work in groups of 2-4 to create their own shadow puppet show. Have them follow these steps:\n1. Choose a simple Bible story\n2. Write a list of characters and/or symbols\n3. Write a verbal script where the story teller is talking\n4. Write an action script explaining what each puppet will do as the story teller talks\n5. Assign student roles: story teller and each puppet character/symbol\n6. Create puppets\n7. Practice show\nWhen creating puppets: Remind students that they are only making an outline and so they cannot draw details in the middle. They must consider how their audience will view their shadow based on this outline. Is it recognizable?\n- Students can practice and plan a puppet show for their church and/or parents. Allow them plenty of time to practice, be reviewed by teachers, and receive constructive feedback so that they can edit their show.", "id": "<urn:uuid:89b3ce3a-666c-4086-8823-585d30f1b37a>", "dump": "CC-MAIN-2021-17", "url": "http://teachonereachone.org/the-sun-stands-still/shadow-puppetry/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039491784.79/warc/CC-MAIN-20210420214346-20210421004346-00317.warc.gz", "language": "en", "language_score": 0.9319158792495728, "token_count": 1038, "score": 3.734375, "int_score": 4}
{"text": "Explore strategies and tools that students can use to write creatively across the curriculum.\nThe internet has been the most significant amplification of the written word since the Gutenberg printing press. It has introduced us to websites, blogs, social media posts, email, and so much more. In many ways, people write more today than ever before, and modern writers have an unmatched opportunity to share their thoughts with an extensive audience\u2014essentially anyone with a computer and internet connection.\nThis writing revolution has opened up almost endless opportunities for our students to express themselves through the written word. Of course, this doesn\u2019t mean they need to be limited to text alone. Writing can be shared in many formats and is often mashed up with other forms of media, like images, video, and audio recordings.\nIt\u2019s tempting to think that academic writing is the responsibility of language arts teachers, but writing is an essential skill for our students all across the curriculum. Writing in subject areas other than language arts provides students with an authentic context for their writing, and it forces them to think more deeply about the subject matter being studied.\nWriting is one of the most cognitively complex tasks that we can ask our students to perform. It can and should be done in every subject area. Writing boosts critical thinking and requires the mental organization of new learning. In turn, it increases retention while deepening the understanding of that new learning. Writing can also be leveraged to have students dive deeper into the metacognitive aspect of the learning process. This type of writing can help students better understand their thought processes while identifying how they learn best.\nNo matter the context or subject area, writing can help develop critical communication skills, and when shared with authentic audiences beyond the teacher, it can increase motivation and relevance for the student. In many ways, writing across the curriculum is a win\u2013win dynamic. Students gain a deeper understanding of their content and learning process while they simultaneously develop the writing skills that will benefit them throughout their lives.\nIn this article, we\u2019ll explore seven different digital formats that can be integrated across all subject areas. Within each of those formats, we\u2019ll share writing tools and strategies that you can use to get students writing in your classroom.\n7 Digital Formats to Get Students Writing\nThere will probably be times when you determine the writing format for your students, and there will also be times when it\u2019s better for your students to choose their own format. Whenever it makes academic sense, consider allowing your students to choose the format. This will increase their interest and motivation in the writing project. This often keeps them more engaged and results in a better final product. While we will not list every writing platform available to you in the classroom, the following list will highlight seven top choices to get you started.\nIn this familiar format, students use a word processing program, like Microsoft Word or Google Docs, to write something. Here, the message and writing take center stage, and the visual format is secondary. Once the core writing has been completed, this text can be repurposed and reformatted in many ways.\n- Lab report\n- Position paper\n- Research report\nBlogs are personal essays published online. Typically, bloggers will set up a website where they continue to add posts on a regular basis. Many blogging sites allow people to \u201cfollow\u201d a blog. This allows followers to get notified whenever a new post is published. Blogs have become a popular way for writers to share their ideas with a wide audience at minimal to no cost. Blogs also allow readers to respond to posted ideas, making it more of a dialogue than a stand-alone piece of writing.\n- A full-class blog (class news, highlights, etc.)\n- A passion project/topic\n- Reflections on class content\n- Book discussions\n- Student perspectives on current events\n- Class blogger of the week (students take turns)\nWebsites have become so common that we might be tempted to take them for granted. However, allowing students to create their own sites can be extremely empowering, and it offers many opportunities for creativity. Written messages can be combined with images, video, audio, interactive maps, and more. One significant supplementary benefit of students creating their own websites is that the process demystifies the concept of a website, often making students more informed and critical consumers because they know how a website is set up.\nWebsite Creation Tools:\n- An overview of a year in history\n- A research project\n- A documentation of the scientific process\n- A learning journal documenting class progress\n- A collection of creative writing\n- An instructional site about a topic\n- A how-to guide\n- A personal learning journal\nComic strips are fun to read, but they can also serve as powerful learning artifacts when students create them to communicate a message or demonstrate their learning. Comics also allow students to be creative and tap into their artistic and visual skills. This can be very motivating for some students. To help guide students in the process, there are several online tools that provide frames, characters, settings, and more. Students can also use a slideshow or word processing tool to create their own comic strip from scratch.\nComic Strip Tools:\n- Recreate a historical conversation\n- Engage in digital storytelling\n- Introduce a concept or topic\n- Raise awareness of a social issue\n- Apply vocabulary and subject-matter concepts\n- Communicate satire or parody\n- Tell a story\nStudents often take a great deal of pride in their writing when they see it published in book form. It provides an increased sense of accomplishment and affirms the worth of their words. Fortunately, it\u2019s easier (and cheaper) than ever before for students to publish their work as a book. Several websites allow students to create digital books for free, while some charge only if you want to have them printed. Digital books provide the added advantage of being able to add multimedia alongside the written text. Again, the authentic product at the end of the process can increase student motivation in the project.\nBook Creation Tools:\n- Write a piece of historical fiction\n- Retell history from different points of view\n- Write a biography\n- Tell an original story\n- Document learning\n- Teach a concept\n- Create a book of poetry\n- Make a picture book\nStudents can integrate newswriting into many of these formats. Specifically, this would fit well with the creation of a website. It could even be a class news site, with each student adding their own article. However, you could also take a more traditional approach and have students create a print newspaper or magazine. This defined format helps give them focus and purpose. It\u2019s also fun to see the final result printed out and displayed in the classroom. If you are teaching remotely, the finished pages can be posted digitally to your learning management system.\nNewswriting Creation Tools:\n- Feature a day or year in history\n- Create a tribute to a scientist or mathematician\n- Publish a paper recounting events in a novel\n- Be a journalist for your school\n- Create an opinions page with editorials\n- Make your own version of a real magazine\nMost learning management systems have discussion tools built into their platforms. These can be great ways to get students writing collaboratively. It\u2019s one thing to write for the teacher, but when a student knows that classmates will also be reading the posts, it changes the dynamic and motivation. In addition, it gives students a chance to think beyond their original post and reflect on feedback from their peers. Of course, you will want to define discussion protocols, model effective posts, and have students practice these skills. This process can ensure that the discussion experience is a positive and respectful one for all involved. Explore additional ideas for fostering substantive and respectful online discussions in a previous AOA article.\n- Learning Management System (Canvas, Schoology, Google Classroom, etc.)\n- Vialogues (to discuss videos)\n- Discuss a controversial topic\n- Conduct a virtual Socratic Seminar\n- Pose questions\n- Reflect on learning\n- Consider the impact of an event or opinion\n- Brainstorm ideas\nExtend Your Learning\n- Why Students Should Write in All Subjects (Edutopia)\n- Blogging Resources (Ditch That Textbook)\n- Free Newspaper Templates (Free Google Docs Templates)\n- Google Slides Newspaper Template (Templates for Teachers)\n- Over 1,000 Writing Prompts for Students (The New York Times)\n- Best Apps for Creating Books and Storybooks (Common Sense Education)\n- Stimulate Classroom Time With These Student Website Project Ideas (WordPress)\n- Comic Strip Creations Lesson Plan (Grades 3\u20135) (Scholastic)\n- Five Ideas for Creating Comics in the Classroom (Creative Educator)", "id": "<urn:uuid:e91ab770-59c3-45ca-9c65-2f52e265bbf4>", "dump": "CC-MAIN-2021-17", "url": "https://avidopenaccess.org/course/think-it-write-it-creative-writing-across-the-curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00355.warc.gz", "language": "en", "language_score": 0.9304498434066772, "token_count": 1823, "score": 3.796875, "int_score": 4}
{"text": "Outside of the academic reasons, however, there is the simple fact that making music is fun. Children intuitively start making musical sounds from an early age, banging on the table rhythmically or attempting to coo or call out in a sustained musical way. They listen to favorite songs on CDs and tapes and begin to sing independently as they mimic familiar tunes. As they grow older, children enjoy the act of sharing and playing music with others.\nENGAGING YOUNG CHILDREN IN THE WORLD OF MUSIC\nListening to music, moving to rhythms, singing, and playing musical games are best for small children and good for elementary students as well. Have your child participate in musical activities by:\n- Moving. Notice the way your child responds physically to music. Even young toddlers can be caught swaying to the music from a CD or moving rhythmically to the background music of advertisements and television programs. It is often the musical melody or rhythm that is most appealing to a young child. Encourage your child to develop his or her spontaneous desire to move to music by being a model. Move your body, clap to the rhythm, or create a dance that reflects the feeling of the musical selection. Your child will soon join in the fun.\n- Reading. Young children love to listen to stories. There are many appealing stories that relate to music that might spark a child\u2019s interest in music making, musical instruments, or song and dance. Some of the most popular children\u2019s books are those that use the lyrics of a favorite children\u2019s song and add illustrations.\n- Expanding storytelling through music. Introducing music in storytelling can be a powerful experience for a young child. Talk about and then plan music and sounds with your child to accompany the story you select. Shaking rice in a plastic container could make the sound of rain. Tapping two wooden spoons together could represent a woodpecker\u2019s pecking. Let your child use his or her imagination with simple objects that are commonly found at home or in the classroom. Children love the challenge of making music in this way.\n- Exploring the musical sounds of instruments. Start by getting a few good quality instruments. Together explore the sounds the instruments can make. Percussion instruments such as drums and xylophones, blowing instruments such as slide whistles and recorders, and stringed instruments such as guitars and ukuleles all offer fertile ground for musical experimentation. Regardless of your level of aptitude with an instrument, just playing along with your child spurs interest and offers encouragement.\n- Making musical instruments. Everyone can\u2019t afford to buy musical instruments for exploration. But everyone can make simple instruments at home. Something as simple as a rubber band can be turned into a musical instrument by stretching and plucking it. A pan can become a drum by turning it over and slapping the bottom. Rice or beans in a plastic container with a lid can become a maraca. You don\u2019t necessarily need an expensive instrument to have fun musically with your child\u2013\u2013use the resources around you.\n- Attending live performances. Share music that you love with your child and expand your own range of musical experiences by attending programs at local festivals, art centers, museums, community centers, and parks. Remember to choose performances that are more informal for preschoolers. Music at outdoor festivals, parks, and family days offered by museums provide the flexibility needed with small children. Older children are apt to handle longer productions and can even enjoy a Broadway-style musical if the subject matter is appealing and appropriate.\n- Exploring music from around the world. Music is a universal language, evident in the wide array of musical expressions created by nearly every culture around the world. Experience the music of other cultures available on labels such as Smithsonian Folkways and Putumayo World Music. Many artists offer cultural selections specifically for children. Listening to a variety of different genres enriches your child\u2019s understanding and enjoyment.", "id": "<urn:uuid:22479de2-23cf-4649-8c61-c53952d5e62f>", "dump": "CC-MAIN-2021-17", "url": "https://www.montealtoinenglish.es/home/-making-music-together-introduction-to-family-music-appreciation", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039554437.90/warc/CC-MAIN-20210421222632-20210422012632-00197.warc.gz", "language": "en", "language_score": 0.9447218775749207, "token_count": 814, "score": 4.1875, "int_score": 4}
{"text": "A cost volume profit analysis chart (often called a break even chart), is a useful tool for businesses for two main reasons. First, it's a simple line graph that almost anyone can understand within seconds: the break even point is clearly marked, and allows a business to see where it will begin to make a profit. Second, it focuses on those factors that are most important in business\u2014namely: fixed costs, variable costs, and total costs.\nDraw an x-y axis on your graph paper. An x,y axis is shaped like a letter \"L,\" with one horizontal line (the x-axis), and one vertical line at the left hand side (the y-axis). Coordinates on an x,y axis are represented by two numbers to represent the x and y (for example, (1,8)).\nLabel the vertical axis \"Total Dollars.\" Write the range of numbers on the y-axis. The range of numbers will depend on your total costs. For example, for a businesses sales of 1-200 books that cost $10 each with fixed costs of $40, and variable cost per unit of $6, a reasonable range for the y-axis would be $0-$2000 (because the highest point on the chart will be revenue of 200 books@$10).\nLabel the horizontal axis with \"Number of items sold.\" In our example, we are building a chart for 0-200 books, so label the x-axis from 0-200.\nDraw the fixed cost line on your chart. For the above example, a horizontal line at $40 represents the fixed costs, so draw a straight line from (0,40) to (200,40).\nDraw a line for the variable costs. The variable cost per unit in our example is $6, so draw a straight line starting at (1,6) and ending at (200,1200).\nAdd the variable costs to the fixed costs to find the total costs. For the above example, draw a line from (0,80) to (200,1240) to represent fixed costs.\nAdd a revenue line to your chart. For our example, revenue is $10 per book, so draw a line from (0,0) to (200,2000).\nFor a more dynamic chart, try using a spreadsheet software like Open Office or Excel.\n- For a more dynamic chart, try using a spreadsheet software like Open Office or Excel.\nStephanie Ellen teaches mathematics and statistics at the university and college level. She coauthored a statistics textbook published by Houghton-Mifflin. She has been writing professionally since 2008. Ellen holds a Bachelor of Science in health science from State University New York, a master's degree in math education from Jacksonville University and a Master of Arts in creative writing from National University.", "id": "<urn:uuid:7ce608a4-7d5f-4dae-8b85-a8de8a6bbda6>", "dump": "CC-MAIN-2021-17", "url": "https://bizfluent.com/how-5966831-create-cost-volume-profit-graph.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00197.warc.gz", "language": "en", "language_score": 0.9057517051696777, "token_count": 578, "score": 3.796875, "int_score": 4}
{"text": "The Bittering family in Ray Bradbury\u2019s science fiction short story, \u201cDark they were, and Golden Eyed\u201d are recolonizing on the planet Mars. Nuclear war broke out on earth and humans were in desperate need of safety. Individuals experience conflicts that they must overcome in order to adjust to their new lives on mars. Change is difficult but many are forced to do so in order to seek safety. The literature picture project displays different literary elements that make up the story. Various photos are able to provide context to each quote that pertains to a particular moment in the short story.\n\u201cHe picked up the luggage in his cold hands. \u2018Here we go,\u2019 he said- a man standing on the edge of the sea, ready to wade in and be drowned\u201d (Bradbury 1).\nExposition is at the beginning of the story when the author gives the reader information about the background of the characters and the setting. This is the start to the Bittering\u2019s new lives on Mars. Mr. Bittering seemed to be optimistic yet slightly nervous about their new home.\n2) Rising action #1:\n\u201cMother, Father- the war, Earth!\u2019 she sobbed. \u2018A radio flash just came. Atom bombs hit New York! All the space rockets blown up. No more rockets to Mars, ever'\u201d (Bradbury 2).\nThe first set of events leading to the climax of the story. Clearly, this is the first problem that the Bittering family were faced with. They were at a point of no return. They are now forced to live permanently on Mars. They reader is now intrigued because they wonder what is going to happen next.\n3) Rising action #2:\n\u201c\u2026 And the lawn in front of their house\u2026was colouring itself, like spring violets. Seed from earth but growing up a soft purple\u201d (Bradbury 5).\nThe second rising action is another suspenseful event that occurs leading to the climax. When the reader finds out that the grass is beginning to change colour they are confused and are forced to wonder what is going to happen next.\n\u201cLaura, Tim, and David carried packages. Or, as they preferred to be known, Ttil, Linnl, and Werr carried packages\u201d (Bradbury 10).\nThe climax of the story is the most intense point of the story. Through out the story the reader was built up by the rising action to believe that the Bittering\u2019s were turning into aliens. Mrs. Bittering and her children began to adapt and changed their names to alien like names.\n5) Falling action:\n\u201cLooking at the small white cottage for a long moment, he was filled with a desire to rush to it, touch it, say goodbye to it, for he felt as if he were going away on a long journey, leaving something to which he could never quite return, never understand again\u201d (Bradbury 11)\nThe Falling action to a story is the set of events that follow the climax. Mr. Bittering is leaving his families house on Mars as they head for the hills. His family had completely adapted to their new world and Mr. Bittering was finally accepting his fate although he did not want to.\n\u201c\u2018The town\u2019s empty, but we found native life in the hills, sir. Dark people. Yellow eyes. Martians. Very friendly. We talked a bit, not much. They learned english fast. I\u2019m sure our relations will be most friendly with them sir'\u201d (Bradbury 12).\nThe conclusion to a story sums up and ties the story together to an end. People from earth came back to end save the earthlings living on mars, but the town was barren. The luitenant and kernel met martians on the hill, it was actually the Bitterings plus the other humans who recolonized on earth.\n7) Physical Setting:\n\u201cEarth people left to the strangeness of mars, the cinnamon dusts and wine airs, to be baked like gingerbread shapes in martian summers, put into harvested storage by martian winters.\u201d (Bradbury 3).\nThe time and place where the story takes place. It provides context to the reader so that they can can put themselves within the story. The description of the martian seasons gives you the orange/red colour of the dust on the surface of the planet as well as the super cold nights and winters. The extra descriptive words like cinnamon and wine helps you to be able to close your eyes and visualize actually being there.\n8) Emotional Setting:\n\u201cThe fear would not be stopped. It had his throat and heart. It dripped in a wetness of the arm and the temple and the trembling palm\u201d (Bradbury 7).\nThe emotional setting of the story also provides context and helps the reader better understand each situation that occurs within the story. All throughout the short story Mr. Bittering is stressed and it is shown his fear and panic when he finds that their garden has transformed. Mood words such as fear display the characters feelings during conflicts and problems.\n9) Conflict Type:\n\u201cHe looked with dismay at their house. \u2018Even the house. The wind\u2019s done something to it. The air\u2019s burned it. The fog at night. The boards, all warped out of shape. It\u2019s not an Earthman\u2019s house any more.\u2019 \u2018Oh, your imagination!\u2019 He put on his coat and tie. \u2018I\u2019m going into town. We\u2019ve got to do something now. I\u2019ll be back.'\u201d (Bradbury 5).\nThere are two different types of conflict one being internal and the rest are considered external conflicts. Conflicts can arise at any moment in a short story between a group or an individual. Mr. Bittering had a conflict within himself; He had an internal conflict. Everyone else on mars was adapting just fine into their new lives, but as soon as Mr. Bittering found out that there was no return he went a little bit crazy. He would get upset with his wife for adapting so quickly into the new environment.\n10) Ending Type:\n\u201c\u2018What do you think of naming those mountains the Lincoln Mountains, this canal the Washington Canal, those hills \u2013 we can name those hills for you, Lieutenant. Diplomacy. And you, for a favour, might name a town for me. Polishing the apple. And why not make this the Einstein Valley, and further over \u2026 are you listening, Lieutenant?\u2019 \u2026 \u2018What? Oh, yes, Sir.\u2019\u201d (Bradbury 12)\nThe ending type to a story is how the story finishes. Readers can end up happy, sad, confused, and or shocked. In the short story the ending was partly expository happy but you are also partly left with a small cliffhanger. As the reader knows the Bittering family adapted and transformed into martians. In the last page and a half two new characters are introduced from earth. The last few sentences leave the reader to make their own assumptions about what now happens to the new humans on mars\n\u201cHe saw their skin baking brown. And he saw the yellow eyes of his wife and his children, their eyes that were never yellow before\u201d (Bradbury 8)\nThere are three types of irony. There is verbal, dramatic, and situational. Dramatic irony is when the reader knows something that the character in the story doesn\u2019t know. We as the reader know that the Bitterings are beginning to transform into aliens but they themselves are not aware. Mr. Bittering is confused by the new dark skin tone as well as the yellow specks in their eyes.\n\u201cAlone, thought Bittering. Only a thousand of us here. No way back. No way. No way. \u2026 He stroked Laura\u2019s head against him and said, \u2018The rockets will get through, some day.\u2019 \u2018In five years maybe. It takes that long to build one. Father, Father, what will we do?'\u201d (Bradbury 3).\nSuspense gives the reader a feeling uncertain, excited, or anxious about a certain situation that is about to occur. The Bitterings were at a point of no return and this creates a large dilemma for Mr. Bittering. He is forced to figure out a plan for his family to return to mars without any spaceships coming to rescue them.\n13) Characterization Example:\n\u201c\u2018I feel like a salt crystal,\u2019 he often said, \u2018in a mountain stream, being washed away. We don\u2019t belong here. We\u2019re Earth people. This is Mars. It was meant for Martians. For heaven\u2019s sake, Cora, let\u2019s buy tickets for home!'\u201d (Bradbury 2).\nCharacterization is how the author describes the character to the readers. There are two types of characterizations, indirect and direct. An indirect characterization of Mr. Bittering is applied by his speech, action, and affect on others. Throughout the short story Mr. Bittering seems anxious, nervous, fearful, and uncertain about his new found predicament.", "id": "<urn:uuid:ac8ef72e-6cc7-453e-951b-c2ddce94eee4>", "dump": "CC-MAIN-2021-17", "url": "http://myriverside.sd43.bc.ca/janem2016/2019/03/13/literature-picture-project/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00478.warc.gz", "language": "en", "language_score": 0.9666222333908081, "token_count": 1965, "score": 3.671875, "int_score": 4}
{"text": "The science, technology, engineering and medical (STEM) community plays an important role in today\u2019s society. Governments in developed and developing countries recognize the importance of increasing the STEM sphere.\nIn the article written by Kelly Peaton on March 2, 2016 said that \u201cPresident Barack Obama has said that science and innovation are keys to the country\u2019s economy and that offering more opportunities for Americans to gain related skills can help create jobs.\u201d The role of men and women has changed drastically in today\u2019s society. Women have got more freedom to express themselves, take active part in the development of STEM, despite the fact that there still exists discrimination because of lack of academic publishing, opportunity inequalities, unequal earnings and negative stereotypes. According to UIS (UNESCO INSTITUTE FOR STATISTICS) data, women make up less than 30% of the people working in science, technology, engineering and medical jobs worldwide.\n\u201cAdditionally, women have seen no employment growth in STEM jobs since 2000\u201d (Huhman,). Scientists and engineers are working to solve some of the difficult challenges that we face daily. When women are not involved in science and engineering, experiences, needs, and desires that are unique to women they may be overlooked.These overlooked issues can be overcome by many ways\u2014creating programs that will encourage women to study technology, offer more scholarships, organize workshops, open more women engineering clubs, give talks about the history of women\u2019s success in past and present will help women to understand the importance of STEM community and empower them to jump to the field. Engaging and retaining more women in the science, technology, engineering, and mathematics workforce will maximize innovation, creativity, and competitiveness.\nThe article written by Carolyn Conner Seepersad on Oct 17, 2016 said that \u201cthe simplest and most effective things we can do differently is something as simple as richer storytelling.\u201d Using the power of storytelling helped her to raise the proportion of women in undergraduate engineering program from 17 percent to more than 22 percent which was double the national average (Seepersad). It can be concluded from her article that the power of storytelling gives young women a hope to do something new that they are capable of, help them to build their own perspective thinking, a network to reconnect people with whom they can share their own ideas and thoughts. Stereotypes are appearing as one of the biggest hurdles that impact the women\u2019s participation in school and University. Women\u2019s graduating with a Bachelor degree is less as compared to men. They have less academic success.\nThey are socially constrained from a young age to have domestic aspirations such as becoming wife and mother. And by chance if they show their interest or excel in these fields they will be labeled as unfeminine. Another big disparity between men and women in STEM careers is difficulty of balancing work life and private life. However, many women have proven in other fields that having family and successful career is possible. Women do face these negative stereotypes but sometimes they also encountered violence. For example, in 1989 a gunman killed 14 engineering women student in Montreal, Canada because of the fact that they all were women\u2019s and science is not meant for them. These initiatives will support and encourage women to participate in the STEM community from a younger age and also help them to develop a broader understanding of the field and to become better engineers.\nAlthough achieving gender equality cannot be done overnight, we as young women can dedicate ourselves to change the rules and stereotypes that inhibit us from tapping into our true potential.", "id": "<urn:uuid:2bba8ee1-2467-4755-97ac-498869107694>", "dump": "CC-MAIN-2021-17", "url": "https://woodstock-online.com/the-success-in-past-and-present-will-help/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00233.warc.gz", "language": "en", "language_score": 0.9719700813293457, "token_count": 722, "score": 3.546875, "int_score": 4}
{"text": "Aboriginal History and Culture\nThe NAR is the traditional land of two Aboriginal groups, the Noongar and Yamaji people. The geographic boundary between these groups is indistinct, but the cultural boundary is clearly defined through language and cultural rites. Yamaji (also spelled Yamatji) people are the traditional owners of land and coastal waters to the north and Noongar people are the traditional owners of land to the south. There are at least six distinct Yamaji language groups and at least two Noongar language groups. Aboriginal people have a historical and spiritual attachment to natural resources.\nThe NAR forms a culturally and environmentally significant part of the traditional lands of both the Yamaji and Noongar people. Aboriginal mythological creation stories are based around the Wagyl (Noongar) and Bimara (Yamaji). These are the names of the \u201crainbow snake\u201d that, according to Aboriginal mythology, shaped the landscape and created plants, animals and humans.\nAboriginal people have the oldest living cultural history in the world, dating back to at least 50,000 years and some argue closer to 65,000 years. Around 600 different clan groups or \u2018nations\u2019 existed around Australia prior to European settlement, many with their own different culture and beliefs.\nThe area between Green Head and Jurien Bay has the largest number of Aboriginal midden deposits in the Southwest Australia.There is evidence of Noongar and Yamaji people occupying various parts of the coast for extensive periods of time. Stone artefacts have been found in caves in the Jurien Bay region, and the area between Greenhead and Jurien Bay has the largest number of deposits in the Southwest Australia. Coastal dunes throughout the region were also used as burial sites, and skeletal remains have been exposed by dune blowouts. The mouths of rivers and estuaries tend to be particularly significant, especially Bowes River. Changes in tenure, management and development in the coastal zone should protect the environmental, cultural, spiritual and historic values of these areas (NACC, 2005).\nA timeline of historical events of the Mid-West can be found on the Bundiyarra Aboriginal Corporation website.\nDreaming stories are used to pass on important knowledge, cultural values and belief systems to later generations. Aboriginal people use song, dance, painting and storytelling to express these dreaming stories, creating a rich cultural heritage.\nAboriginal people all over Australia have used astronomy to gauge seasons and management of natural resources. Aboriginal people interpret the space between the stars rather than the location of the stars, as in western astronomy.\nIn the NAR the Emu in the Sky constellation is used to gauge when emus are mating, laying their eggs and when it is an appropriate time to collect eggs.\nConnection to Country\nThe word \u2018country\u2019, when used in an Aboriginal context represents a specific part of the environment that is connected to the person through ancestral custodianship. Connection to country is an important part of an Aboriginal person\u2019s identity and their spiritual attachment to the land and the natural environment.\nIt makes you feel like you\u2019ve come home. It is home. It is barna, which is ground we belong to.Coralie Dann, Yamaji Elder. Taken from Marlaguwinmanha, Returning back to the bush 2016. Produced by Chris Lewis\nTraditional Ecological Knowledge\nTraditional ecological knowledge is the knowledge that Aboriginal people have of their land and ecological processes, gained from living and moving about the country for thousands of years. Scientists and land managers are increasingly recognising the importance of this information to managing the natural environment and are working with Traditional Owners to incorporate this information into NRM planning and management.\nAboriginal People Working on Country\nCreating opportunities for Aboriginal people to work on country is one of the core goals of this strategy. This need came up repeatedly throughout the community engagement process and organisations like NACC and Central Regional TAFE are actively seeking to make this happen.\nNACC\u2019s Prison Inmates Program engages inmates in NRM, undertaking biodiversity conservation and Aboriginal Heritage Site maintenance. Program participants work towards Certificate II accreditation in Conservation and Land Management from TAFE. Over 40 Aboriginal people have participated in this program to date.\nRegional Aboriginal Green Army and Ranger teams are empowering Aboriginal people to care for country. Participants undertake environmental projects around the NAR, combining traditional ecological knowledge with science-based NRM practices.", "id": "<urn:uuid:1cda397e-57c0-417f-a8e6-6e16c7c75bb2>", "dump": "CC-MAIN-2021-17", "url": "https://www.narvis.com.au/aboriginal/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00437.warc.gz", "language": "en", "language_score": 0.9411678314208984, "token_count": 918, "score": 3.96875, "int_score": 4}
{"text": "What is extended writing?\nThe third test that you will need to sit as part of the Kent & Medway 11+ exam, is an extended writing exercise. The extended writing exercise will require the candidate to produce a piece of factual or fiction-based writing, which demonstrates skills such as:\n\u2022 Sentence fluency.\n\u2022 Grammar, spelling, and punctuation.\n\u2022 The ability to follow a structure when writing.\nThe final point on the above list is arguably the most important of all. While different examination boards will place varying importance on different things, all of them will expect a piece of writing which has a clear beginning, middle, and end. Likewise, the format will vary between years. In some years you\u2019ll be given 20 minutes to write, in other years you will be given 50 minutes to write. That being said \u2013 don\u2019t sacrifice quality for quantity. A shorter piece, with a beginning, middle, and end, will score higher than a longer piece that follows no structure at all.\n11 PLus extended writing topics\nThe format of the writing element can differ between years. Sometimes, you might be asked to write a fictional story. At another time, you might be asked to write a story about an experience you\u2019ve had. Below are two different titles, to illustrate what we mean:\nWrite a story about sailing the seas as a pirate.\nIf you received the above title, then you know that you\u2019ll need to think creatively and use your imagination. Alternatively, you might get a title that looks like this:\nWrite a story about the last time you went abroad.\nNaturally, writing this extract might require you to use your memory, rather than your imagination. However, the examiners will still want to see you be creative. Being creative doesn\u2019t mean that you have to make things up \u2013 it\u2019s about using language to describe things and make them sound poetic.\npLANNING YOUR STORY\nIn the vast majority of examination years, you will be given at least 5 minutes planning time before you start writing. Planning your story will make a huge difference \u2013 it will mean that you can use your notes as a reminders of plot points, characters, and for ideas.\nUsing a separate piece of paper, think about the following:\nCharacters. Of course, this is a major part in any story or extract. You need to get your characters in place, because they are the ones who will drive the story forward.\nThe Plot. Plotting is a complex and difficult process, and for actual writers it can sometimes take years to get a plot fully realised! However, you don\u2019t need to be scared, because you aren\u2019t publishing a full-length novel! In this case, you just need to plan out a basic story, with a beginning, middle, and end.\nNarrative Point of View. When writing a creative extract, you should ideally aim to write in either first person, or third person. There are different quirks and advantages to the different narrative points of view, and neither third person nor first person are considered \u2018better\u2019 than the other. In some cases, it might come down to the title of the essay.\n11 Plus CREATIVE Writing Tips\nPreparing for the 11+ creative writing exercise doesn\u2019t have to be stressful. Ultimately, writing should be an enjoyable experience, and it\u2019s a great way to express yourself. The key to getting good marks, of course, is in expressing yourself \u2018the right way\u2019. Here are some tips on things to keep in mind, and things to avoid.\nUse adjectives sensibly. Often, one of the first things that you are taught as a young writer is to be creative and use as many adjectives as possible. This is great for getting your brain thinking imaginatively and assigning qualities to objects, but doesn\u2019t necessarily translate so well to a good, final piece of writing.\nReal people, real behaviour. One of the things which often causes writers to lose marks on exercises such as this, is that the characters\u2019 behaviour doesn\u2019t exactly match either what they would do in real life, or the rest of their characterisation. Random acts that aren\u2019t consistent with characterisation can break the immersion of a piece, and make it hard to read. The intrigue of writing, even writing fantasy, is placing realistic people with human characteristics and traits, in circumstances or situations where they need to react \u2013 and seeing how they react.\nStructure. As we\u2019ve mentioned, having a beginning, middle, and an end is really important. It makes it easier for the reader to understand where they are in the story, and makes it easier for the reader to follow the work.\nHERE\u2019S WHAT OUR ELEVEN PLUS EXTENDED WRITING FEEDBACK INCLUDES:\n- Your child\u2019s writing assessed and critiqued by a Masters Degree qualified writer!\n- In-depth tips on narrative, description, and more!\n- Ideas and advice on how to improve your child\u2019s written dialogue!\n- Essential ideas on characterisation, plot consistency, and more!\n- Grammar, punctuation and spelling tips, as well as advice, to ensure that your child maxes their scores \u2013 learning in the process!\n- A guaranteed 48-hour turnaround, ensuring fast, accurate, feedback!\nFREQUENTLY ASKED QUESTIONS\nYour child\u2019s exercise will be personally reviewed by How2Become\u2019s Masters qualified Creative Writing Expert. For every submission, we guarantee personalised feedback, highlighting the strengths and weaknesses of the content. Our aim isn\u2019t just to point out where things are good or bad \u2013 we\u2019ll help your child learn and develop into a stronger, better writer.\nYour evaluation will be sent to you in an editable Microsoft Word document within 48 hours (Monday-Friday during office hours).\nAs soon as your payment is made you will immediately receive an email from How2Become, requesting the Extended Writing topic and your child\u2019s answer. We will then get to work on providing feedback on the piece of creative writing and send an evaluation within 48 hours (Monday-Friday during office hours).\nThank you very much for your interest in our Extended Writing feedback service. We want to provide you with reassurance that the feedback we\u2019ll share with you will be top class! Our Creative Writing expert has marked and reviewed many hundreds of creative writing pieces over the course of his career, and has also led and participated in various writing workshops. Here at How2Become, we know exactly what the assessors are looking for, and promise that your child\u2019s extended writing skills will receive a great boost from our guidance.\nIf you have any questions about the service please feel free to contact us directly at [email protected]\nMedway 11+ Revision Guide\nIf you haven\u2019t purchased a copy of our fantastic Medway 11+ Revision Guide, then you\u2019re missing out! This book is jam packed with tips on extended writing, maths, and verbal reasoning. It\u2019s the ultimate practice and revision resource for any child taking the Medway Eleven Plus. So, don\u2019t hang around. Pick up your copy today!\n11+ Extended Writing Service\nAdd to cart More info\nMedway 11+ Revision Guide Workbook\nAdd to cart More info", "id": "<urn:uuid:57b7f11b-8d6e-432d-9303-abf44ba2fe57>", "dump": "CC-MAIN-2021-17", "url": "https://www.how2become.com/11-plus-extended-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038062492.5/warc/CC-MAIN-20210411115126-20210411145126-00117.warc.gz", "language": "en", "language_score": 0.9384766221046448, "token_count": 1540, "score": 3.546875, "int_score": 4}
{"text": "Easy Ecology Experiments for Kids\nYour elementary school students may love \"The Lion King,\" but that doesn't mean they learned everything about the \"Circle of Life.\" Simple classroom experiments can help them understand ecology, the science of how different species interact with each other and their environments. Examining the predator and prey relationship, designing a miniature ecosystem and observing how plants affect soil are just a few ways to bring ecology to life for kids.\nOn the Surface\nErosion, the wearing away of sediment, can be a serious problem for agriculture. Plants are key to keeping this process in balance, as they cover soil with leaves and stabilize it with roots. Have students set up three pans of potting soil: one with bare dirt, one covered in leaves and one covered with grass seed, which is watered and exposed to light. After growing the grass to at least a half-inch high, test erosion levels by elevating one end of each pan and placing the opposite end in a dish to collect runoff water. Sprinkle pans at the elevated ends with 3 cups of water and have students observe the amount and color of runoff from the different surfaces.\nWhat the Owl Coughed Up\nKids are easily grossed out -- or humored -- by mucus, spit and other bodily byproducts, which makes owl pellets an entertaining and educational subject. Because owls swallow small animals whole and digestive fluids cannot process the entire bodies, owls spit up the fur, skeleton and other parts of the prey they eat. These owl pellets also become small ecosystems, providing an environment for moths and other insects. You can obtain owl pellets from a biology lab and let students dissect their contents, assemble the skeletons of enclosed animals and determine what the owl had for its meal.\nMake an Ecosystem\nA class ecosystem can give students an up-close look at one of ecology's most important concepts. Ecosystems are circular: Plants provide oxygen and food for the animals, while animals produce carbon dioxide for the plants to use and convert to oxygen. You can make a simple ecosystem by laying soil and rocks at the bottom of a small, lidded aquarium and populating it with green plants and creatures, such as caterpillars and earthworms. Over several weeks, students can observe how the miniature ecosystem begins to sustain itself as plants and insects work together.\nPredators Are for the Birds\nPredator and prey relationships allow different animals and organisms to meet their energy needs. To survive, prey employ defense mechanisms, such as running or not venturing far from home. Your students can observe this process by setting up four bird feeding stations around the school grounds. Two are open feeders; the other two have large, cardboard hawks dangling from them. Student groups observe the bird feeders to see whether the hawk decoys deter live birds from visiting. Your students then can share and discuss their findings as a class.\nKori Morgan holds a Bachelor of Arts in professional writing and a Master of Fine Arts in creative writing and has been crafting online and print educational materials since 2006. She taught creative writing and composition at West Virginia University and the University of Akron and her fiction, poetry and essays have appeared in numerous literary journals.", "id": "<urn:uuid:9cd16e3a-8432-4329-8568-67765511d342>", "dump": "CC-MAIN-2021-17", "url": "https://education.seattlepi.com/easy-ecology-experiments-kids-4513.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038069267.22/warc/CC-MAIN-20210412210312-20210413000312-00078.warc.gz", "language": "en", "language_score": 0.9493297934532166, "token_count": 650, "score": 3.84375, "int_score": 4}
{"text": "AN IRISHWOMAN'S DIARY\nACCORDING to the Tennessee census bureau, one in five Tennesseans can trace their roots directly to the Scots Irish settlers of the 18th century. Most of these settlers are of Ulster Protestant/Presbyterian stock who were forced under British rule to flee their country. So claims Billy Kennedy, who has researched the topic and written about it in his book, The ScotsIrish in the Hills of Tennessee.\nThe Scots Irish originated in Lowland Scotland and moved to Ulster throughout the 17th century. At the start things were good, as Ulster was under the rule of King William III who granted them civil and religious liberties.\nThe Scots, who were originally involved in farming, began to establish industries with the French Huguenots, allies of King William. The twos groups came together and established churches and schools for their people.\nWilliam's reign ended in 1702 when he was succeeded by his sister in law, Anne. She passed a series of acts which were unfavourable to the Scots placed severe restrictions on their Presbyterian faith and forced many of them out of their jobs.\nForced to Take Notice\nAlong with this, Ulster was experiencing an economic crisis; the textile industry was in a recession, small peasant farmers could not cope with the droughts of those years and landlords were charging exorbitant rents. Faced with this and the embitterment of the discriminatory religious policies many of the Scots settlers found they had no choice but to leave Ulster and start a new life in America.\nThe first ship to leave Ulster was The Friends Goodwill which set sail from Larne Co Antrim, for Boston in April 1717.\nEmigration continued throughout the century and became so widespread that the British Government was eventually forced to sit up and take notice. A commission was appointed to investigate the cause of emigration, and some of the religious laws were relaxed.\nOn reaching North America, the Scots Irish headed for Pennsylvania, the Carolinas and Virginia. They were warmly received and noted for their honesty, independence of spirit and ability to work hard. They tended to stick together and, because they had little money, were driven to the frontier regions, the hills and inland areas where land was cheap.\nIn June 1796, when Tennessee became a state, the Ulster settlers moved to its hills and set up home. Once established, they began to set up churches and schools and became pioneers of education in the region. Presbyterianism became the first Christian denomination to be established in the state and today accounts for 132,344 members.\nAlong with religion, the settlers brought with them their traditions of storytelling, singing, dancing and making moonshine\", illicit whiskey. To this day, a lot of the country and Western music can be traced back to the Ulster settlers. Dolly Parton is said to be a descendant of the Scots Irish.\nThe traditional square dance, clogging to fiddle backed music, also comes from the settlers. In those days, the fiddler was one of the most respected people in the area.\nThe practice of distilling illegal whiskey had its origins 6th century Scotland, but was brought to Ulster when the Scots moved. Both whiskey and brandy were made from ingredients such as barley, raisins rye and corn which grew in abundance around the hills of Tennessee. The moonshine, dubbed \"white lightning\", was very potent and readily available in the area.\nAfter the Revolutionary War, whiskey was taxed and the mountain settlers threatened toe take up arms against the government of George Washington. This incident became known as the \"Whiskey Revolution\" and was eventually settled.\nWhen the alcoholic prohibition was imposed in the 1920s, the distilling of moonshine became widespread throughout the US, although it eventually died out in most states. However, moonshine making persists in the Appalachia region of Tennessee, a tradition carried on by the distant relatives of the 7th century settlers.\nDeclaration of Independence\nAlthough most Scots Irish, made a career of farming, several became involved in politics and went on to great things, including the establishment of great cities.\nOf the 56 signatures on the Declaration of Independence, July 4th, 1776, eight were of Scots Irish descent. Eleven US Presidents, including Jackson, Wilson and Nixon, can trace direct ancestry back to the Ulster settlers. Also, Sam Houston, the man responsible for wresting Texas from Mexican control, was the grandson of an Ulster Presbyterian, as was the frontiersman and later Congressman, Davy Crockett.\nSo it is with great pride that Tennesseans trace their blood back to Ireland, and remember their ancestors who left the hillsides of Antrim and Down to create a civilisation in a wilderness and help to lay the foundations of what today is possibly the greatest nation on the earth.\nThe Scots Irish in the Hills Of Tennessee by Billy Kennedy. Causeway Press, costs \u00a38.99 paperback, \u00a314.99 hardback.", "id": "<urn:uuid:da559531-ed56-4810-80ad-c6f416c1487e>", "dump": "CC-MAIN-2021-17", "url": "https://www.irishtimes.com/opinion/an-irishwoman-s-diary-1.100517", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00636.warc.gz", "language": "en", "language_score": 0.9832656979560852, "token_count": 1018, "score": 3.609375, "int_score": 4}
{"text": "\u201cWe dream in narrative, daydream in narrative, remember, anticipate, hope, despair, believe, doubt, plan, revise, criticize, construct, gossip, learn, hate and love by narrative.\u201d \u2013 Barbara Hardy\nWe all have stories to tell. Whether they are fact or fiction; we all have a tale to share.\nStorytelling is an essential part of learning. In fact, it is the oldest form of education.\nPeople have used storytelling to pass on knowledge from generation to generation. This has been done through folklore, parables, myths, legends and quotes of wisdom.\nI\u2019m sure you know one or two from your parents, grandparents or their friends.\nYou\u2019ve probably told your children or your students a few as well.\nSimilar to how learning happens outside of the classroom as well as inside it, storytelling needs to happen inside of it and not only outside.\nResearch has shown stories are the way our brain stores information. Therefore if a teacher fills their students\u2019 brain with information without anything to connect those pieces of information together then it becomes like a \u201ccatchall closet into which items are tossed and hopelessly lost.\u201d\nStories are at the very heart of our existence. Storytelling will help you teach and engage your students in a much more creative and effective way.\nDigital Storytelling as a creative tool in the classroom\nNow let\u2019s talk about the different types of storytelling \u2013 digital and traditional.\nDigital storytelling can be defined as using multimedia tools to tell stories. Whether it\u2019s the use of images, video, animation or audio, once it adds to the telling of your story, it is considered digital storytelling.\nTraditional storytelling on the other hand is telling a tale.\nStudents now live in a digital age and are used to digital technologies. This can make it hard for some teachers to compete especially when their students\u2019 focus are elsewhere. This is where digital storytelling comes in. It brings them back into the classroom and keeps them there.\nTraditional storytelling is good. But digital storytelling adds more to the experience and adds another aspect to the story.\nOne of the beauties of digital storytelling is its flexibility.\nIt\u2019s like play dough.\nIt can be used to create something which ranges from horrific to absolutely adorable. Its use is determined by its creator and its can take different forms. It can be something funny, horrifying or touching.\nThe possibilities are near endless.\nYou\u2019ve told countless stories before.\nYou were born knowing how to do it.\nDigital storytelling adds to your process and gives your stories a whole new dimension.\nThe Benefits of Storytelling in the Classroom\nThere are a number of benefits to incorporating digital storytelling and storytelling in general in your classroom.\n1. It grabs students\u2019 attention \u2013 when your pupils hear you say something like \u201cLet me tell you a story\u2026\u201d things change- They become more attentive, quieting themselves and allowing you the floor to share with them this tale they\u2019ve never heard before. It\u2019s the same experience shared by college professor, Sal S. Buffo. Digital storytelling amplifies that experience.\n2. It promotes active listening \u2013 your students will no longer be hearing you. They will be LISTENING to you. Taking in every word you breathe as if it were their last breath. That\u2019s the power of being a great storyteller. It\u2019s why we get so mesmerized by a great movie, TV show or book. We all love a good story.\n3. It creates a sense of community \u2013 one of the beauties of traditional and digital storytelling is they\u2019re interactive. You not only share a part of your life and your experiences but you also set up a platform for students to share their experiences as well. Maybe they\u2019ve gone through something similar or know someone who has. This breaks down barriers and form bonds between you and your students where they didn\u2019t exist before. Digital storytelling taken on in the form of group assignments allow for collaboration between students regarding something they share a mutual interest in.\n4. Reaching reluctant learners \u2013 there are always students who are reluctant. Storytelling can help you reach those students in a way you weren\u2019t able to before. It pulls them out of their own bubble and gives way for them to engage and take part in your class like they never have before.\n5. It stimulates imagination and nurtures creativity \u2013 storytelling does wonders for imagination. Whether they are listening to your story and picturing themselves in it or creating a story of their own and sharing with you. Storytelling allows students to think creatively and produce wonderful tales and works of art. Creativity is also important for problem solving. Traditional and digital storytelling develop students\u2019 creativity which in turn improves their problem solving skills.\nStorytelling Tools for Teachers\nWe can all tell a tale. Some of us do it better than others. But in this digital age, adding sound effects, video and photos makes a story that much better!\nA normal picture with a funny caption, an interesting video or just a weird sound effect when you reach a particular point in your story makes an impact that will last with some people for some time.\nThis is why it\u2019s important for you to have something to go to when you\u2019re preparing your next story for your next class.\nFree Software for Digital Storytelling\nSome software for digital storytelling can be costly or require time consuming sign ups.\nPhrase.It is an exception. It\u2019s FREE with NO SIGN UPS needed.\nPhrase.It is a free speech bubble maker that allows you to add speech bubbles to your images and create your own unique comic strips. It\u2019s a valuable asset when creating your stories.\nYou can use personal photos you\u2019ve taken or photos you\u2019ve found online, Facebook photos or stock photos to create your own unique comic strips to share.\nYou can also challenge your students to tell a story, any story using the service. It\u2019s of NO COST and it will allow them to challenge themselves and create something they can be proud of.\nAlbert Einstein once said \u201cImagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.\u201d\nTeachers help to prepare their students for the world. You can do that by telling them stories and helping them to use the technology their used to the create their own. Free software for digital storytelling is the perfect tool for that.", "id": "<urn:uuid:c5492304-db01-4ee6-a164-0be0c2461046>", "dump": "CC-MAIN-2021-17", "url": "https://phraseit.net/blog/digital-storytelling-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038062492.5/warc/CC-MAIN-20210411115126-20210411145126-00119.warc.gz", "language": "en", "language_score": 0.9480274319648743, "token_count": 1372, "score": 3.609375, "int_score": 4}
{"text": "There is a period in ancient Greek history called the Grecian Dark Ages. A dark age is a time period we know little about, but what we know turned out to be very important.\nThe Greek Dark Ages was a time period when the Dorians ruled the people who lived scattered across the Greek peninsula. One reasons we know so little about this period in history is that the Dorians did not have a written language. The Dorians were not into art or music or literature. The Dorians were into war. Their life was spent fighting. The Dorians did not build cities. They destroyed them.\nIt was easy for the Dorians to conquer the people living on the Greek peninsula. Before Dorian rule, tribes of early people might vaguely know there was a village downstream. They might even trade with them. But they did not work together. They did not speak the same language. They did not have a common history. They had not yet formed city-states so that villages could work together for the betterment of all. These early people used stone tools. They had stone weapons. The Dorians had metal weapons. When the Dorians swooped down on the Greek peninsula, they had no trouble taking over. Their rule lasted for about 400 years.\nWe do know a few interesting things that happened during the Grecian Dark Ages thanks to the storytellers.\nDuring the Greek dark ages, some people earned a living with their storytelling skills. The storytellers went from town to town. Because the townspeople did not like the Dorians, the idea of using the Greek language to tell their stories caught on among the storytellers. It made it easier for them. The storytellers did not need to speak every language spoken on the Greek peninsula. They only had to speak Greek. The people in the towns and villages quickly learned the Greek language so they could better understand the stories. The Greeks always loved a good story. Soon, the ancient Greeks had a common language.\nStorytellers told fables, myths and legends. Different storytellers might give a new twist to a story, but the basic story was told over and over.\nA fable is a very short story with a moral. Fables gave these early people a common culture, a way of behaving.\nA myth is a story about gods and goddesses and other mythical creatures. Myths gave these early people a common religion.\nA legend is a story about an event that happened in the past. To qualify as a legend, the story cannot be proven, although it might be true. The legends told by the storytellers were all about heroes, but the heroes were not Dorian warriors. They were about people who cleverly worked together to defeat a common enemy. One of the most popular legends was the story of the Trojan horse. Legends gave these early people a common past. Legends also gave them a blueprint of what they needed to do to defeat the Dorians - they had to band together. This probably was not intentional by the storytellers, but it was effective just the same.\nThe early Greeks learned from the storytellers: Thanks to the storytellers, the people now had a common language. They had a common history. They had common heroes, presented to them in the stories told by the storytellers. They had a common religion. They began to think of themselves as one people. They always had thought of the hated Dorians as intruders. They knew from the stories they loved that the only way to beat a common enemy was to work together. All this they learned from the storytellers.\nThe early Greeks learned from the Dorians: From the Dorian invaders, the early Greeks learned to make metal tools and metal weapons. This came in quite handy when the Greeks began to organize themselves into city-states, and work together. City-states could be defended. The Greeks used their new knowledge of metal weapons to help them defeat the hated Dorians.", "id": "<urn:uuid:fb23ea1c-2b7d-45dd-bea0-18c731c85222>", "dump": "CC-MAIN-2021-17", "url": "https://greece.mrdonn.org/darkages.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038071212.27/warc/CC-MAIN-20210413000853-20210413030853-00439.warc.gz", "language": "en", "language_score": 0.9890571236610413, "token_count": 816, "score": 3.515625, "int_score": 4}
{"text": "Methods of Social Criticism in Dickens\u2019 Hard Times\nIdeas of social change and progressive ideals are prominent in many nineteenth century works of literature. Charles Dickens\u2019 Hard Times is a prime example of a social criticism novel, putting prominent ideas of the time period, such as utilitarianism and social class, to the test. Dickens uses specific literary techniques that are highly effective in shocking the reader into understanding Dickens\u2019 views. Dickens uses symbolism, satire, and synecdoche, among other literary techniques, to emphasize his argument.\nPerhaps the most effective technique is symbolism. Dickens uses it to exaggerate some ideas that may otherwise be overlooked in the overall complexity of the novel. A symbolic motif running throughout the novel is that of the farming cycle, and the idea of reaping what is sown. In the first chapters of the novel, Gradgrind, Bounderby and McChoakumchild \u201csow the seeds\u201d of Fact into the young, fertile minds of children. The only seeds planted are those of Fact, and fancy and feeling are discouraged and tamped down by adults. In the second part of the book, the characters begin to \u201creap\u201d what they \u201csowed\u201d in the children at the beginning of the novel. The doctrine of fact alone begins to create problems as characters such as Louisa and Tom find themselves unable to make any right decisions, or feel any emotions at all. In part three of the novel, the harvest is \u201cgarnered\u201d, or stored, and the reader is hit with the true inadequacy of the seeds sown so long ago. Disasters such as Louisa\u2019s ruined marriage, Stephen\u2019s death, and Tom\u2019s undoing occur, and the characters who originally planted the seeds are left with nothing to sustain them. This use of obscure symbolism sharply and sometimes cruelly highlights Dickens\u2019 disgust with the utilitarian doctrines of fact, and the reader is unable to ignore his disdain. By using this symbolism, Dickens not only expresses his disgust and disagreement with many facets of utilitarianism, but also backs up his hatred with predictions of what will happen to the people if an entire society were based solely on fact.\nDickens also uses satire to incite the reader\u2019s vehemence for social change. In discussing many of the characters\u2019, and, indeed, Coketown\u2019s, love of fact, he adopts an almost religiously reverent view. He discusses the fact that most of the churches are unattended by the working masses: \u201cA town so sacred in fact, and so triumphant in its assertion, of course it got on well? Why no\u2026who belonged to the eighteen (religious) denominations? Because, whoever did, the laboring people did not\u2026\u201d (Book the first: Ch. V; pg. 38). He continually reinforces the ideas preached by Gradgrind and Bounderby, that Facts are the one scripture needful above every other facet of life, including religion itself. For Gradgrind, science and fact utterly consume him, leaving him no time to pay attention to the human need for comfort and peace that is often exemplified by religion. Gradgrind even goes so far as to replace the word \u201cGod\u201d with the word \u201cFact\u201d in the statement \u201cGod forbid\u201d, often exclaiming \u201cFact forbid!\u201d when faced with something fanciful, such as the circus. All of these facets combine to create a highly satirical view of Coketown as a place where the religion is not one of God but one of fact. Dickens backs this up further by continually inserting religions allusions and fragments of prayers into descriptions of Coketown or passages that talk about fact. This satirical view of a much darker reality causes the reader to pause and forces though on the twisted reality of a world where fact and science, both subject to human fallacy, have replaced a higher power.\nDickens utilizes synecdoche in order to exaggerate and bring across the true mechanization of the masses so prevalent in the industrial age. He often refers to the Coketown workers as \u201cthe masses\u201d and his characters often generalizes them as \u201cthe hands\u201d, all wanting the same things, all doing the same things, and all part of nothing but the overall working machine of the town. In general, the individual is not spoken of; instead the whole represents the individual. This is a useful viewpoint for those such as Gradgrind and Bounderby to take because it is the view that creates the most profit. However, through his extensive use of this synecdoche, Dickens shows that it creates a vicious cycle, where the town can be ruined if only one small part of the working whole begins questioning, and where the people trapped in the cycle become less than human.\nDickens questions the greater ideas driving industrial age itself, the ideas of individuality as opposed to profit and output, and he causes readers to also question these ideas as they see the ruin of the people of Coketown, both the workers and the leaders, such as Bounderby and Gradgrind.\nMariama B\u00e2\u2019s So Long a Letter depicts the life of a newly widowed Ramatoulaye who writes a letter to her childhood best friend Aissatou, describing her life as a co-wife [\u2026]\nIn an elaborate concoction of political allegory, social anatomy, moral fable, and mock utopia: Gulliver\u2019s Travels is written in the voice of Captain Lemuel Gulliver, an educated, seafaring man voyaging [\u2026]\nThe girl who was on fire, the Mockingjay, the star-crossed lover, the fierce survivor, the cold-hearted archer\u2026which of these really defines the hero of Suzanne Collins\u2019 The Hunger Games? Answer: [\u2026]\nThe evolutionary aspect of the human race which sets it apart, in knowledge and complexity, from the rest of the animal kingdom, is its ability to express ideas through language. [\u2026]\nSuspense is one of the most effective tools used to grip the readers undivided attention in creative writing. It pulls the reader into the story, and gets them invested in [\u2026]\nFreedom, an influential theme of Caravans, reveals how the jobs and daily lives affect the characters throughout the novel. Social life throughout Afghanistan possesses core values that many citizens follow [\u2026]\nIn a colloquial context, a state of \u2018alienation\u2019 is one in which an individual is excluded or isolated from a group with whom that individual belongs or should be involved [\u2026]\nIn Ren\u00e9 Descartes\u2019 Meditations on First Philosophy, he argues that the senses do not accurately help us understand the world. Descartes writes that he has begun to doubt all of [\u2026]\nAn event marked by sex and celebration, the wake in Wallace Stevens\u2019s \u201cThe Emperor of Ice-Cream\u201d is inescapably bizarre. Though one might expect an air of sobriety, importance, or \u2013 [\u2026]\nIdeas of social change and progressive ideals are prominent in many nineteenth century works of literature. Charles Dickens\u2019 Hard Times is a prime example of a social criticism novel, putting [\u2026]", "id": "<urn:uuid:79225b04-29db-4da4-97b4-8b99c6c1c341>", "dump": "CC-MAIN-2021-17", "url": "https://literatureessaysamples.com/methods-of-social-criticism-in-dickens-hard-times/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00037.warc.gz", "language": "en", "language_score": 0.9467000365257263, "token_count": 1496, "score": 3.890625, "int_score": 4}
{"text": "Find a Good Storyteller\n|Obtaining a Text|\n|Find a Good Storyteller|\n|Find a Good Text|\n|Record and Mark Text|\n|Translate Phrases of Text|\nPeople vary in their ability to speak their own language, be expressive, and tell a good story. They also differ in their capacity to understand how they can help you. When you know the features that characterize good language assistants and storytellers and how to identify them in a person, you will be better able to find the person who will give you the best text possible.\nCharacteristics of Good Storytellers\n- Is respected in the community \u2013 though no one may recognize the person's voice in the recording, his or her identity will often become known during the selection and recording process. If the storyteller has a good standing, it may give the testing process and your research more credibility, interest, and cooperation.\n- Has been judged as a representative speaker \u2013 sometimes people in the community feel that a person doesn't quite speak the local lect the way they feel it is generally spoken. If there are idiosyncrasies in a person's speech, then it is best not to elicit a test text from that person.\n- Is not missing many teeth \u2013 it sounds like a joke, but teeth play an important role in pronunciation. If you select someone without teeth you have introduced a predictable source of error to the test. You won't know if people failed to understand the story because the lect was different or because they couldn't make out what the speaker was saying.\n- Speaks distinctly \u2013 it's possible for someone to speak his or her language well but indistinctly. The clearer the speaker's voice, the more readily a test subject will recognize speech forms that are the same as or similar to his or her own.\n- Is from the area \u2013 people often move from one area to another, and you want to be sure that the storyteller is actually from the place where the test lect is spoken.\n- Lived in the area nearly all of his or her life \u2013 some people spend large amounts of their life in another place for employment or other reasons. When this happens, it's possible that speaking another language, perhaps a related one, has influenced the way this person speaks.\n- Has parents from the area \u2013 it's possible that one or both parents are not mother tongue speakers of the test lect, and that their other languages have influenced the speech of the person you are considering.\n- Is considered a good storyteller \u2013 successful storytelling depends in part on holding interest and evoking a response, two activities that will help improve your recorded text test. A person who is interested in the story is more likely to remember the details that will be questioned. If a text evokes a response, it often provides an indication of understanding equal to the correct answer to a question.\n- Someone who understands what you need \u2013 when you find a person who quickly grasps the nature and purpose of the text you want, you will probably shorten the time it takes to elicit a text and improve its quality.\nExamples from the Field\n- Making an initial sociolinguistic or anthropological assessment of the locale may help you eliminate the need to screen people individually. For example, during one survey in Ethiopia the researchers discovered that married women came from other areas and each spoke a variety different from the one being surveyed. As a result, only an unmarried woman could have provided a useful text.\n- This technique was used in Togo and Benin:\n- \"We explained to the chief / major / village secretary the kind of story and storyteller we were looking for and asked him to gather a small group of good storytellers and explain to them the kind of story we were looking for. Once they were gathered, the team explained to them the kind of story we were looking for and then asked everyone to give a brief summary of the story they'd like to tell. Based on their summaries and further based on the requirements regarding the characteristics of a good storyteller, we chose two or three of the gathered story tellers and had them tell their story. Our translator gave brief summaries of each story and then we chose two stories: a longer one as the actual text test and a shorter one as the practice story.\n- This approach has two advantages: (1) we can be pretty sure that only well respected people who speak the language well and are from the area are chosen as potential story tellers; (2) the storyteller has a natural audience for telling his story which most likely increases the naturalness of his speech during the recording.\"", "id": "<urn:uuid:5d4d6ef9-2285-486d-8016-490c0e61e8c3>", "dump": "CC-MAIN-2021-17", "url": "https://surveywiki.info/index.php?title=Find_a_Good_Storyteller", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00320.warc.gz", "language": "en", "language_score": 0.9756724238395691, "token_count": 957, "score": 3.65625, "int_score": 4}
{"text": "What is student voice? Why does it matter?\nStudent voice is generally defined as students having input on their educational experiences (Robinson & Taylor, 2007).\nThis can be as broad as school site policy reform and teacher evaluation or as narrow as simply involving students as partners when planning educational experiences. When students have a role in planning educational activities, their investment, ownership, and learning greatly increase (Flutter & Rudduck, 2006; Grace, 1999).\nStudent voice can positively impact classrooms, teachers, schools, districts, and learners (Fletcher, 2015).\nCollecting student voice\nStudent voice is more than just listening (Fletcher, 2015). It involves giving students real opportunities to design their own learning experiences and releasing some of the instructional control. Research shows students learn better when engaged in the educational process. But how do you collect student input in an organized fashion?\n- You can create a questionnaire that seeks their input or feedback. Learn more about using Google Forms to create a survey or questionnaire.\n- Students can collaborate on a document to create a brainstorm of ideas, and you can look at Version History to see who contributed what. Learn more about Version History.\n- Google Docs is largely text-centric, so it's good for writing sentences or explaining rationales. Learn more about the basics of Google Docs.\n- Google Slides can be helpful in this instance if you give each person a slide as their own space. It is a space to put text, images, links, and embedded videos, and it combines everyone's input into one place while still offering separate spaces for individuals. Learn more about Google Slides.\n- Google's Jamboard is a collaborative whiteboard where all editors can contribute. Although originally designed as hardware, the Jamboard app is now part of G Suite's core apps. Web browsers can create and access \"jams\" but have limited editing options. However, the mobile apps, which you can download for both iOS and Android devices, offer many more features and tools, which students could work on together. You can also download the Android app on Chromebooks. To learn more, watch a video about what Jamboard can do.\n- Chrome has a sketching tool called Chrome Canvas, which can also be used to capture students' ideas and thoughts. You can learn more by watching this video about Chrome Canvas.\nEmpathy is about being able to understand someone else's perspective and feelings. One of the only ways to do this is to get to know your students so that you can understand what motivates and empowers them.\n- Storytelling is a great way to learn more about your students' experiences, values, and lives. Consider having students create an eBook to tell a personal story in Google Slides and then share their eBook with their classmates or with the community. Learn the basics of Google Slides.\n- Use Google Drawings to have students create a digital poster to be shared with others around a key theme or value. Learn what you can do with Google Drawings.\n- For more ideas, check out ISTE's suggestions for 8 ways to empower student voice.", "id": "<urn:uuid:0f781c8f-b8a4-4600-afa9-61870bc4a954>", "dump": "CC-MAIN-2021-17", "url": "https://www.sfusd.edu/learning/resources-learning/google/google-instruction/student-voice-empathy", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00077.warc.gz", "language": "en", "language_score": 0.9375883340835571, "token_count": 641, "score": 4.09375, "int_score": 4}
{"text": "The personal benefits we can draw from nature are huge. I find nature itself an endless source of joy and inspiration for my teaching but more importantly in my life itself. Recently whilst quietly observing and sketching a robin that regularly visits my garden I became aware of its large keen eyes, the striking rusty red bib that extends over its face and chest, and its familiar round body shape when it ruffles up its feathers. I was able to express my sense of awe and wonder by designing a lino print based on these sketches.\nWe can all gain inspiration from looking closely at nature \u2013 even in the bleak mid-winter. Drawing outdoors teaches us to be still, to be observant and respectful to living things. You\u2019ll be amazed at how well people can draw when given time and space in nature. Here are some tips to help you and your group get creative.\nTips for drawing outdoors:\n- You will need to be comfortable to get your eye in, so pack suitable clothing for the weather, raincoats, walking boots and a woolly hat are essential at this time of year; an old camping mat cut into quarters is perfect for sitting on.\n- Use a large waterproof container to store your art supplies (it\u2019s very easy to lose equipment amongst fallen leaves). You\u2019ll need a sketch book / drawing paper and board, an eraser, sketching pencils and pencil sharpener.\n- Explore your surroundings to find objects to draw. Encourage the group to be open-minded and to be led by their curiosity. Leaves, simple shells and feathers are suitable for younger children. Older students and adults may enjoy the challenge of more complicated plants, lichens or pine cones. Use a magnifying lens to study small details and look through blank photo frames to help focus a composition.\n- During follow up sessions the group can be challenged to draw more detailed observations through a series of field sketches to study animal movement and behaviour. These can be used back home or the classroom for reference for a final drawing or painting.\n- Don\u2019t collect wildflowers or living creatures to study. A digital camera is the perfect tool to record observations: landscape, movement and macro detail. Images can then be enlarged to help with identification. This works especially well for studying invertebrates and fungi where there are thousands of different species.\n- A combination of photographs, drawings and field notes; species name, tracks and signs, habitat, behaviour; helps to maximize learning about a species that has sparked an interest. Use field guides and the Internet to research and support further learning. Drawings can inspire lively creative writing or used to create a field guide or nature book \u2026\u2026these ideas will be explored in the next blog post.\nRemember drawings don\u2019t need to be perfect. Trust your eyes and draw what you see \u2013 relax and enjoy!", "id": "<urn:uuid:90d6e97e-62c5-4b4f-a0bd-9124e8420e19>", "dump": "CC-MAIN-2021-17", "url": "http://www.wildheritage.co.uk/drawing-from-nature/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039554437.90/warc/CC-MAIN-20210421222632-20210422012632-00200.warc.gz", "language": "en", "language_score": 0.9242684245109558, "token_count": 586, "score": 3.515625, "int_score": 4}
{"text": "Exciting educational activities from NASA and the USGS teach ninth-graders about gravity, plate tectonics, planets, radiation, volcanoes and ground water. Discovery Education has lesson plans to teach about cultural stereotyping and how technology works, and CoolMath's Algebra Crunchers generates an endless stream of algebra problems for teens to solve. Scholastic teaches kids how to become effective storytellers and Quizlet has over 2,000 interactive flash card sets, with audio, for ninth graders.\nDesign Your Own Planet and Make a Space Podcast Using Tools From NASA\nLearn about gravity, mass, acceleration and buildings in space from the The National Aeronautics and Space Administration (NASA). NASA has a 9th-grade student area with videos, a gallery of planet photos and an interactive game, Extreme Planet Makeover, which allows students to make their own planet, choosing its distance from other stars, planet size and age and star type. NASA's Educators' section has ninth-grade resources such as a do-it-yourself podcast project using NASA videos and audio recordings, a math project about radiation levels and design competitions.\nScience, Technology, Health, Language and Math Tutorials at Discovery Education\nDiscovery Education has 9th-grade activities in the subjects of science, technology, social studies, health, math and language arts. Lesson plans teach teens how televisions work, about cultural stereotyping, how to solve algebra problems and how to analyze the poetry of Edgar Allan Poe. The site also has a Brain Booster library full of games that require logic and reasoning skills in addition to basic K-9 academic skills and printable worksheets. A student area on this site has homework help in all subjects, interactive games and step-by-step tutorials on their WebMath site.\nGeomagnetism, Plate Tectonics, Earthquakes and Ground Water at USGS\nThe United States Geological Survey (USGS) has educational resources in the topics of ecosystems, biology, geography, geology and water. The lessons include classroom and computer lab activities. Simulate data collections of water quality in San Francisco, learn about desert geology and how volcanic gases affect the atmosphere. Study environmental impacts on birds, mammals and reptiles and learn how to read topographic maps. Geomagnetism, astronomy, plate tectonics, fossils, caves, earthquakes, tsunamis, volcanoes and ground water are also topics covered in lessons and activities on this site.\nVirtual Manipulatives, Multi-Subject Flash Cards and Math Games on the Web\nQuizlet has over 2,000 interactive and printable flash cards, worksheets and quizzes for the ninth grade. Term lists with audio pronunciations, quizzes that can be programmed regarding answer types, interactive and printable worksheets to review nearly any topic are easily navigated. The site's ninth-grade subject areas include:\nThe National Library of Manipulatives has dozens of interactive games for 9th graders, including tan-grams, multi-shaped dominoes, online spinners for probability games, histograms, tessellations and fractal art generators. CoolMath is an \"amusement park of math,\" which includes algebra and geometry lessons, problem sets and an Algebra Crunchers game. Scholastic also has quality games, activities and lesson plans in the subjects of language arts, social studies, science and math. The site has special activities that teach kids how to be news reporters, and has a storytelling workshop online.\nAbout the Author\nKirsten Anderberg has been a published writer since 1999. Her work has appeared in magazines, newspapers, websites and books including \"Utne,\" \"HipMama,\" \"ZNet\" and \"Adbusters.\" Anderberg received her Bachelor of Arts in political science from the University of Washington and her master's degree in history from California State University.\nComstock Images/Comstock/Getty Images", "id": "<urn:uuid:223fd4de-d3da-4b6b-b954-54d56520c98a>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/fun-educational-activities-9th-grade-8255196.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00360.warc.gz", "language": "en", "language_score": 0.9318231344223022, "token_count": 815, "score": 4.15625, "int_score": 4}
{"text": "Writing a page-turner: how to tell a story in your scientific paper\nPeople love stories. We watch, read, tell, and listen to stories every day. Despite this, most researchers don\u2019t think in terms of story when they write a journal paper. To Anna Clemens, that\u2019s a missed opportunity, because storytelling is easy to implement in your manuscript provided you know how. Think of the six plot elements \u2013 character, setting, tension, action, climax, resolution \u2013 and the three other story essentials \u2013 main theme, chronology, purpose. You\u2019ll soon outline the backbone of your narrative and be ready to write a paper that is concise, compelling, and easy to understand.\nWhy are stories so powerful? To answer this, we have to go back at least 100,000 years. This is when humans started to speak. For the following roughly 94,000 years, we could only use spoken words to communicate. Stories helped us survive, so our brains evolved to love them.\nPaul Zak of the Claremont Graduate University in California researches what stories do to our brain. He found that once hooked by a story, our brain releases oxytocin. The hormone affects our mood and social behaviour. You could say stories are a shortcut to our emotions.\nThere\u2019s more to it; stories also help us remember facts. Gordon Bower and Michal Clark from Stanford University in California let two groups of subjects remember random nouns. One group was instructed to create a narrative with the words, the other to rehearse them one by one. People in the story group recalled the nouns correctly about six to seven times more often than the other group.\nWhat is a story?\nSo, humans are wired to love stories, they make us emotional and boost our memory. But what is a story? It seems the more people you ask, the more definitions you\u2019ll get. Zak also performed some experiments to find out which stories have the most effect on us. His conclusion? The stories that get us curious, excited, and emotionally involved have an element of tension. This can be a conflict, an accident, a problem. Something that just isn\u2019t quite right.\nIf we glance over to Hollywood, you\u2019ll notice that most dramas follow one simple structure: there is one main character who goes on with her life until she encounters a problem. The action kicks in when she tries to solve the problem, there will be some ups and downs, which will conclude in a big event like a fight or a party. Afterwards things get resolved in some way. We see how things have panned out for our protagonist, how the events of the story have changed her life.\nIf a plot consists of the six essential elements of main character, setting, tension, action, climax, and resolution, the film has a good chance to become a hit. I illustrated this plot structure in a spiral, see the left panel in Figure 1, below. The circular form visualises that the protagonist is back where she started after the story has taken place. Now, a new story can start to wrap around again \u2013 hello, season two.\nFigure 1: How the plot elements in a dramatic story translate into the story of a scientific paper.\nSo, how do we utilise these story elements for our paper and write a scientific story? Have a look at the right panel in Figure 1 and let me explain.\nA scientific story\nLet\u2019s start with the characters and setting. The main character in your paper is not Jessica Jones (too bad) but your object of study. Perhaps a certain disease, reaction mechanism, theory, or historic document? The setting translates to the background that you should provide to your study. That sounds like the introduction section of your paper, right? You cite previous work and give the reader a feeling about where the state of the art is.\nBut \u2013 just as with any Hollywood success in the box office \u2013 your paper will not become a page-turner, if you don\u2019t introduce an element of tension now. Your readers want to know what problem you are solving here. So, tell them what gap in the literature needs to be filled, why method X isn\u2019t good enough to solve Y, or what still isn\u2019t known about mechanism Z. To introduce the tension, words such as \u201chowever\u201d, \u201cdespite\u201d, \u201cnevertheless\u201d, \u201cbut\u201d, \u201calthough\u201d are your best friends. But don\u2019t fool your readers with general statements, phrase the problem precisely.\nIf you\u2019ve covered the main character, setting and tension, the action can start. Now you can present your plots, schemes, interpretations; i.e. your findings. Throughout the results section you should gradually solve the problem you started out with. Eventually you\u2019ll arrive at the climax of your scientific story: the conclusions that you draw from your results.\nBut that\u2019s not all. As in a drama, your reader will be curious about the resolution: What do your findings mean in the context of the literature? How do you explain trend X and Y? How can your results be useful for application Z? What is the big picture? What should be further investigated? Often, I find, the discussion and outlook parts of papers are too short.\nTake the reader by the hand\nThere are three more aspects that successful stories have in common. They are based on one main theme, the events are in chronological order, and everything in the story has a purpose. These three elements directly apply to scientific papers too. If you can\u2019t summarise your paper in one simple sentence you might not have a clear motif in mind. The main theme weaves through your narrative like a thread, bringing all the different things you mention together.\nYou rarely see films with a timeline jumping back and forth. Even if it does, the order in which the scenes have been arranged makes sense. So should your scientific story. Chronology doesn\u2019t mean that you need to reiterate the thought process you went through when you performed the study. Just find the most logical arrangement of the different steps you took in order to come to your conclusion.\nPurpose is linked to this. If you think in terms of a main theme and a logical order of arguments, you\u2019ll quickly identify the bits of your research that either don\u2019t quite fit in or provide additional detail. These may be better as part of the supporting information than the main text. Because your research is likely complicated stuff to anyone except you and your co-authors, take your reader by the hand and walk them through it.\nThat\u2019s it. If you want to tell a story in your paper, think of the six plot elements (character, setting, tension, action, climax, resolution) and the other three story essentials (main theme, chronology, purpose). In no time you\u2019ll have outlined the backbone of your narrative and be ready to create a paper that is concise, compelling, and easy to understand.\nThis article gives the views of the author, and not the position of the LSE Impact Blog, nor of the London School of Economics. Please review our comments policy if you have any concerns on posting a comment below.\nAbout the author\nAnna Clemens is a science journalist and runs an editorial service for research manuscripts. Her edits focus on storytelling, structure, and flow. She holds a PhD in materials science and regularly blogs about scientific writing.", "id": "<urn:uuid:089c11bf-321f-4fc8-bce0-72e4f9e4688d>", "dump": "CC-MAIN-2021-17", "url": "https://www.inspiringstem.org/posts/33673-writing-a-page-turner-how-to-tell-a-story-in-your-scientific-paper", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038092961.47/warc/CC-MAIN-20210416221552-20210417011552-00158.warc.gz", "language": "en", "language_score": 0.9421911239624023, "token_count": 1555, "score": 3.53125, "int_score": 4}
{"text": "Word Problems. Madison had 38 crayons in her box. Her best friend gave her 24 more. How many crayons does she have now? Ashley has 47 cookies.\nThe extensive set of subtraction word 2nd featured here will require the learner to find the difference between minuends and subtrahends, which includes Problems with regrouping and without Grade. This large collection of printable word Math worksheets, ideal for children in kindergarten through grade 4 features scenarios that involve single-digit subtraction, two-digit subtraction, three-digit subtraction, and Story of large numbers up to six digits. Give yourself a head-start with our free subtraction worksheets! Word Problems for Beginners: 0 to\nAccount Options Sign in. Top charts. New Of Mice And Men Essay releases. Math word problems solver game Prathed Sangwongvanit Educational. Add to Wishlist.\nBelow, you will find a wide range of our printable worksheets in chapter Addition and Subtraction Word Problems of section Mixed Operations. These worksheets are appropriate for Second Grade Math. We have crafted many worksheets covering various aspects of this topic, and many more. We hope you find them very useful and interesting.\nEnter 2dn mobile number or 2nd address below Problems we'll send you a link to download the free Kindle App. Then you can start reading Story books on your smartphone, tablet, or computer - no Kindle device required. To get the free app, enter your mobile phone number. These Grade Word Problems help children practice and reinforce the Math math skills they learn in school. Regular targeted practice is a proven method of helping children reach their maximum potential and perform better on important standardized tests.\nWelcome to the our Subtraction Word Problems 2nd Grade. Here you will find Story selection of free subtraction word problems to help your child Problems and practice solving Maht problems with numbers up to Subtraction is a process Math most children learn quite naturally as soon as they learn to start counting. Grade kindergarten and first grade, it is really important for kids to have the 2nd to work practically with their math. An example might be that a child has 10 sweets.\nMath word problems are challenging Problejs students at any age, but particularly for second graders who have barely Math their reading skills. Becoming proficient in math Mathh problems is crucial in Grade grade because it sets 2nd up for success in the grades to come. Fortunately, math word problems at this age are less complex than the ones Problems will see in later Story, so you can implement the following common strategies to help your child become an expert. Here are some tips to Do We Need Homework help with these math problems.\nGrade 19, by 2bd Persico. Are Prooblems looking for engaging multi-step 2nd-grade math word problems with answers to add to your Story lesson plans? The following collection of free 2nd grade maths word problems worksheets cover topics including adding, subtracting, measurement, and time. These Math 2nd grade math word problem worksheets can be shared Problems home or in the classroom and they are great for warm-ups and cool-downs, transitions, extra 2nd, homework and credit assignments.2nd Grade Math Word Problems Worksheets. Addition word problems for grade 2. Simple addition ( digits) Subtraction word problems for grade 2. Simple subtraction (1 and 2 digit numbers) Mixed addition and subtraction word problems. Time word problems. Fraction word problems. Mixed word problems.Mixed addition and subtraction \u00b7 digits \u00b7 Multiplication word problems. Grade 2 math worksheets providing additional practice on addition and subtraction word problems. Free reading and math worksheets from K5 Learning.\nGrade 8 Math Challenge Problems AplusClick free funny math problems, questions, logic puzzles, and math games on numbers, geometry, algebra for Grade 8. Enjoy fun storytelling, guided problem solving, and making lots of Prohlems while playing. Decimal Multiplication Worksheets Grade 6.\nTeaching part-part-whole relationships is critical Math teaching addition and subtraction. For students to build a solid understanding Grade addition and subtraction, they need to understand what each one 2nd. Understanding part-part-whole is a much more effective Story to teach for problem solving than Problems, though they still have their own place. One of the first parts to teaching part-part-whole is the unknown; the question.Addition Word Problems. 20 Word Problems Worksheets. These introductory word problems for addition are perfect for first grade or second grade applied math. Check out this collection of free 2nd Grade Math Word Problems and Answers available as printable PDF worksheets on topics including.\nHere you will find our range of printable multiplication problems which will help your child apply and practice their multiplication and times tables skills to solve Grade range of 'real life' problems. Worksheet B is a medium level worksheets for children who are working at the expected level in their grade. The problems Problems each worksheet are similar Problemms wording, but the numbers involved become trickier as Story level gets harder. To Math careful checking and thinking skills, each sheet includes 2nd 'trick' question which is not a multiplication problem.\nJump Grade main Problems. Family Welcome Letter An introduction to Bridges including an overview of the year. The following selection of games and activities will help your Math to practice some of these skills at home. 2ns Lines In this game, race to pair numbers that add Story to a 2nd sum.\nThis app includes a 2nd variety of addition and Grade word problems designed for students to read-along, draw and solve. Note that there is a paid version First Generation College Student Essay of this app which includes all levels. Story app is designed to be used in a classroom or home setting where a teacher or family member is available to work through Problsms and discuss problem-solving Problems with the Math s.\nComparing Numbers. Daily Math Review.\nHi 2nd Normally, I get about 4 or Math emails a week from teachers who have purchased my word problems resources for Kindergarten, 1st grade, and 2nd grade. Most of the questions that I get, are related Story students having difficulty understanding what Problems do Grade they encounter addition and subtraction situations.\nReady to make word problem struggles a thing of the past by implementing numberless word problems in first grade or any grade for that matter? Admit it.\nHallo, in these unique article we are going to donate a little interesting images of 4th grade division problems. Adding and subtracting decimals.\nPractice solving word problems with negative numbers. If you're seeing this message, it means we're having trouble loading external resources on our website. A label appears, reading, integers.\nStory problems! And this instinct makes sense. The seedy underbelly of story problems was stunningly revealed recently in this video by Robert Kaplinsky.", "id": "<urn:uuid:afa0e5ed-872e-4582-bf7d-d8d4b743f159>", "dump": "CC-MAIN-2021-17", "url": "https://www.clarissaawilson.com/1246-2nd-grade-math-story-problems.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00081.warc.gz", "language": "en", "language_score": 0.935151219367981, "token_count": 1453, "score": 3.875, "int_score": 4}
{"text": "- Does dysgraphia affect speech?\n- Does dysgraphia affect memory?\n- Is dyscalculia a form of autism?\n- Is dysgraphia considered a disability?\n- Is dysgraphia a neurological disorder?\n- Is dysgraphia linked to autism?\n- How do you fix dysgraphia?\n- How do you accommodate dysgraphia?\n- Is ADHD a form of autism?\n- What is dysgraphia learning disability?\n- What are some symptoms of dysgraphia?\n- Is dysgraphia inherited?\n- What is the difference between dyslexia and dysgraphia?\n- Can you outgrow dysgraphia?\n- At what age is dysgraphia diagnosed?\n- What is the difference between dyspraxia and dysgraphia?\n- How many types of dysgraphia are there?\nDoes dysgraphia affect speech?\nDysgraphia and expressive language issues both affect language use and learning.\nDysgraphia can make it hard to express thoughts in writing.\n(You may hear it called \u201ca disorder of written expression.\u201d) Expressive language issues make it hard to express thoughts and ideas when speaking and writing..\nDoes dysgraphia affect memory?\nResearch to date has shown orthographic coding in working memory is related to handwriting and is often impaired in dysgraphia.\nIs dyscalculia a form of autism?\nAutism, PDD-NOS & Asperger\u2019s fact sheets | Dyscalculia, a co-morbid disorder associated with Autism Spectrum Disorders.\nIs dysgraphia considered a disability?\nDysgraphia is a neurological disorder of written expression that impairs writing ability and fine motor skills. It is a learning disability that affects children and adults, and interferes with practically all aspects of the writing process, including spelling, legibility, word spacing and sizing, and expression.\nIs dysgraphia a neurological disorder?\nDysgraphia is a neurological disorder characterized by writing disabilities. Specifically, the disorder causes a person\u2019s writing to be distorted or incorrect. In children, the disorder generally emerges when they are first introduced to writing.\nIs dysgraphia linked to autism?\nCases of dysgraphia in adults generally occur after some neurological trauma or it might be diagnosed in a person with autism, Asperger\u2019s Syndrome, Tourette syndrome or ADHD.\nHow do you fix dysgraphia?\n8 Expert Tips on Helping Your Child With DysgraphiaFeel the letters. Taking away one sense experience often heightens the others. \u2026 Write big. Kids with dysgraphia usually have trouble remembering how to form letters correctly. \u2026 Dig into clay. \u2026 Practice pinching. \u2026 Start cross-body training. \u2026 Build strength and stability. \u2026 Practice \u201corganized\u201d storytelling. \u2026 Speak it first.\nHow do you accommodate dysgraphia?\nProvide pencil grips or different types of pens or pencils to see what works best for the student. Provide handouts so there\u2019s less to copy from the board. Provide typed copies of classroom notes or lesson outlines to help the student take notes. Provide extra time to take notes and copy material.\nIs ADHD a form of autism?\nAutism spectrum disorder and ADHD are related in several ways. ADHD is not on the autism spectrum, but they have some of the same symptoms. And having one of these conditions increases the chances of having the other. Experts have changed the way they think about how autism and ADHD are related.\nWhat is dysgraphia learning disability?\nAffects a person\u2019s handwriting ability and fine motor skills. Dysgraphia is a learning disability which involves impaired ability to produce legible and automatic letter writing and often numeral writing, the latter of which may interfere with math.\nWhat are some symptoms of dysgraphia?\nSymptomsCramped grip, which may lead to a sore hand.Difficulty spacing things out on paper or within margins (poor spatial planning)Frequent erasing.Inconsistency in letter and word spacing.Poor spelling, including unfinished words or missing words or letters.Unusual wrist, body, or paper position while writing.\nIs dysgraphia inherited?\nLike other learning disabilities, dysgraphia is highly genetic and often runs in families. If you or another member of your family has dysgraphia, your child is more likely to have it, too.\nWhat is the difference between dyslexia and dysgraphia?\nDyslexia and dysgraphia are both learning differences. Dyslexia primarily affects reading. Dysgraphia mainly affects writing. \u2026 An issue that involves difficulty with reading.\nCan you outgrow dysgraphia?\nSince so many adults with dysgraphia remain undiagnosed, it\u2019s difficult to estimate just how many are living with the condition. In children, the rate is often estimated between 4 and 20 percent \u2014 and since dysgraphia can\u2019t be outgrown, just as many adults are living with this learning disability.\nAt what age is dysgraphia diagnosed?\nWhile letter formation and other types of motoric dysgraphia can be diagnosed at the age of five or six years old, some diagnostic tools, such as the norm-referenced Test of Written Language (TOWL-4), are only appropriate for students nine years of age or older, since they will have had more experience with writing \u2026\nWhat is the difference between dyspraxia and dysgraphia?\ndysgraphia: Both of these learning differences can affect fine motor skills and impact writing. \u2026 Kids with dyspraxia can have other learning and thinking differences, such as dysgraphia, dyscalculia and ADHD , but dyspraxia isn\u2019t the cause for these. An issue that impacts written language.\nHow many types of dysgraphia are there?\nThere are 5 different types of dysgraphia although some children may have more than one type of Dysgraphia.", "id": "<urn:uuid:6dea623a-f78c-4d49-bdce-0ca1e1822495>", "dump": "CC-MAIN-2021-17", "url": "https://21cinteractive.com/qa/quick-answer-what-type-of-disability-is-dysgraphia.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00561.warc.gz", "language": "en", "language_score": 0.9362121820449829, "token_count": 1256, "score": 3.515625, "int_score": 4}
{"text": "C.1.C respond to sounds, music, images, and the written word, incorporating movement.\nby Karen Loftus\nStudents will explore nonverbal communication through movement, body language, simple mime, and storytelling. They will learn the specific art of pantomime through hand position, tension, follow-through, and action/reaction/interaction with objects through warmup games and exercises.\nThe unit culminates in a two-person pantomime performance. A rubric is included for the performance as long as journal prompts and exit slips. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.\nby Karen Loftus\nThis unit will enable students to identify, compare, and contrast three different styles of Japanese Theatre: Noh, Bunraku, and Kabuki. There are three proposed projects in this unit: a research assignment where groups delve into further detail about one of the three styles; a performance project where students utilize what they\u2019ve learned by enacting a scene from a Kyogen (comedic) play; and a Bunraku puppet play.\nThe unit comes with a Google Slide Deck to help students visualize the information. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.\nby Laramie Dean\nInstructor Laramie Dean uses this unit as the final project for his Drama 2 students. Drawing upon any of the skills students have developed throughout they create a product that could be used within a new piece of musical theatre.\nStudents start by analyzing three musicals, study guides included, and practice creating musical elements. They are then giving class time to prepare in groups as many elements as their can for a new musical using devised theatre techniques.\nThere are 24 lessons in this unit which culminates in a final assessed performance.\nby Annie Dragoo\nWant a fun project that has your students collaborating and creating? In this unit by Annie Dragoo, students in groups will write and perform an original musical by adding modern songs to a traditional fairy tale story.\nThe six lessons take students from writing their script, to choreography and planned movement, to rehearsing, performing and evaluation.\nThe Rubric will focus on student performance. That means vocal delivery, emotional delivery, blocking/choreography, energy, focus, and characters.\nby Annie Dragoo\nMusical theatre performers use their bodies to sing, to dance, and to act. We must think of our bodies as instruments and learn to use our instruments properly in order to be better musical theatre performers.\nThe overall objective with this unit, by Annie Dragoo, is for students to demonstrate an understanding of the use of good movement as it connects to musical theatre. Some of the activities include using action verbs, moving as animals and inanimate characters, nonverbal communication and situational movement. Students will then perform a scene that will allow them to put to practice all the movement techniques they have learned.\nby Lindsay Price and Karen Loftus\nIn this unit, students will explore nonverbal communication. First through body language and gesture, and then through the specific art of pantomime. Students will learn hand position, tension, follow-through, and action/reaction/interaction with objects through warm-up games and exercises. The unit culminates in a one-person pantomime performance.\nby Michael Calderone\nThis seven-part series is designed to transform that gaggle of actors cluttering your backstage from cumbersome extras into nothing less than the very center of your production.\nInstructor Michael Calderone leads this course, through games and exercises geared to maximize your ensemble for your next production. These lessons are based on the ensemble technique that he's been using for the last 30 years, called the shoestring method.\nThe ensemble has a responsibility to work as one, and no role is more important than another. Without each actor playing their part, the other actors cannot tell the story to the best of their abilities. So join Michael in learning more about this exciting, practical and dramatic method.\nby Erin Carr\nViewpoints is used to create dynamic moments of theatre by simply existing on the stage. However, Viewpoints is more than just an acting technique to understand your own physicality and more than a directing technique to create \u201cah-ha!\u201d moments on stage. It is first and foremost the philosophy that to create an organic performance, you must see obstacle as opportunity, and that by simply standing in space, your creativity can spark.\nThis course by Erin Carr will help your students discover fresh impulses that motivate their performance in the moment. We will go through the Viewpoints technique, as created by Mary Overlie, and learn how to tap into kinesthetic awareness as individuals and as an ensemble. Through this style of play, students learn to release their thoughts on what they \u201cshould\u201d do, and instead just respond organically to their surroundings and ensemble!\nWe\u2019re going to break down each of the Viewpoints, there\u2019s lots of visual demonstration, so you can see each Viewpoint in action, and I\u2019m going to provide tips and side coaching examples.", "id": "<urn:uuid:6677bd55-2602-423a-ae3d-e6953a13fbe8>", "dump": "CC-MAIN-2021-17", "url": "https://www.theatrefolk.com/dta_standards/972", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00041.warc.gz", "language": "en", "language_score": 0.9477987885475159, "token_count": 1065, "score": 3.671875, "int_score": 4}
{"text": "- Who discovered lens formula?\n- What is the use of lens formula?\n- What is the best eyeglasses lens?\n- Which lens is used in plane mirror?\n- What is a mirror formula?\n- What is V in convex lens?\n- What is a lens Class 10?\n- What is the formula for lens?\n- What does a tight lens do?\n- What is a lens in literature?\n- What type of lens is a mirror?\n- Which material Cannot be used to make a lens?\n- What are the 3 types of lenses?\n- Is a lens a mirror?\n- Is V negative in concave mirror?\n- What is 1 f 1 v 1 u?\n- What is C and F in mirror?\n- What is the power of lens?\n- How were lenses first made?\n- What is V and U in Lens formula?\n- What is the difference between the mirror formula and lens formula?\n- What is the mirror formula and lens formula?\n- What is V and U in light?\nWho discovered lens formula?\nDescartesFigure 78: A thin lens.\nis the refractive index of the lens.\nThe above formula is usually called the lens-maker\u2019s formula, and was discovered by Descartes.\nNote that the lens-maker\u2019s formula is only valid for a thin lens whose thickness is small compared to its focal length..\nWhat is the use of lens formula?\nThe lens formula is applicable to all situations with appropriate sign conventions. This lens formula is applicable to both the concave and convex lens. If the equation shows a negative image distance, then the image is a virtual image on the same side of the lens as the object.\nWhat is the best eyeglasses lens?\nLooking at Lenses The two best-selling eyeglass lenses are the most basic ones: CR-39 and the polycarbonate, both plastic. (Few people now use glass, which is heavy and breakable.) If you have a single-vision prescription (glasses to see far away or close up), you can generally get by with CR-39 lenses.\nWhich lens is used in plane mirror?\n2) Concave Lens:MirrorLensIt reflects the light that falls on its surface.It refracts the light. Convex lens converges and concave lens diverges the light.It can be plane or spherical.It has two surfaces out of which one is curved inwards or outwards.3 more rows\nWhat is a mirror formula?\nA mirror formula can be defined as the formula which gives the relationship between the distance of object \u2018u\u2019, the distance of image \u2018v\u2019, and the focal length of the mirror \u2018f\u2019.\nWhat is V in convex lens?\nFor focal length, f in lens is always taken as negative for concave and positive for convex. \u2026 And for image distance, V in lens it is taken as positive in Convex lens since image is formed on +X side. It is taken as negative in Concave lens since image is formed in -X side of the Cartesian.\nWhat is a lens Class 10?\nLens: A lens is a piece of a refracting medium bounded by two surfaces, at least one of which is a curved surface. The commonly used lenses are the spherical lenses, which have either both surfaces spherical or one spherical and the other a plane one. \u2026 It converges a parallel beam of light on refraction through it.\nWhat is the formula for lens?\nWhat is the Lens Formula for Convex Lens? Ans. According to the convex lens equation, 1/f = 1/v + 1/u. It relates the focal length of a lens with the distance of an object placed in front of it and the image formed of that object.\nWhat does a tight lens do?\nTight, center framing that throws a defocused but readable background behind the subject, or off-center framing with the subject looking / gesturing / moving into the environment.\nWhat is a lens in literature?\nA critical lens is a way of looking at a particular work of literature by focusing on style choices, plot devices, and character interactions and how they show a certain theme (the lens in question). It is a common literary analysis technique.\nWhat type of lens is a mirror?\nThe equations we used for mirrors all work for lenses. A convex lens acts a lot like a concave mirror. Both converge parallel rays to a focal point, have positive focal lengths, and form images with similar characteristics. A concave lens acts a lot like a convex mirror.\nWhich material Cannot be used to make a lens?\nclayGlass and water are transparent materials. There is a certain amount of plastic that is transparent so that the plastic can be used to make a lens, but the clay is an opaque substance so that the light can not be transmitted into it and the clay can not be used to create the lens.\nWhat are the 3 types of lenses?\n5 Basic Types of Camera LensesMacro Lenses. This type of camera lens is used to create very close-up, macro photographs. \u2026 Telephoto Lenses. Telephoto lenses are a type of zoom lens with multiple focal points. \u2026 Wide Angle Lenses. \u2026 Standard Lenses. \u2026 Specialty Lenses.Nov 8, 2020\nIs a lens a mirror?\nKey Differences Between Mirror and Lens A mirror is either plane or spherical. In contrast, a lens has two surfaces, at least one of which is curved inwards or outwards. As the light ray strikes the mirror, it reflects off the light in a different direction, resulting in the formation of an image.\nIs V negative in concave mirror?\nOnly U\u2019s value is negative, while V and F are positive. Even in the last case of a concave mirror, when object is placed between the focal point and pole, it produces a virtual, erect and enlarged image behind the mirror.\nWhat is 1 f 1 v 1 u?\nTherefore: h/f = h/u + h/v and so 1/f = 1/u + 1/v and the formula is proved. An object is placed in front of a converging lens and gives a real image with magnification 5; when the object is moved 6 cm along the axis of the lens a real image of magnification 2 is obtained. What is the focal length of the lens?\nWhat is C and F in mirror?\nFor concave mirrors, when the object is outside C, the image will be between C and F and the image will be inverted and diminished (smaller than the object). For concave mirrors, when the object is between C and F, the image will be beyond C and will be enlarged and inverted.\nWhat is the power of lens?\nPower of lens is known as the inverse of the focal length of the lens measured in meter(m). S.I unit of power = Dioptre (D) Power of lense = 1/ focal length in meter.\nHow were lenses first made?\nEarly Glasses The first wearable glasses known to history appeared in Italy during the 13th century. Primitive glass-blown lenses were set into wooden or leather frames (or occasionally, frames made from animal horn) and then held before the face or perched on the nose.\nWhat is V and U in Lens formula?\nwhere u is the distance of the object from the lens; v is the distance of the image from the lens and f is the focal length, i.e., the distance of the focus from the lens.\nWhat is the difference between the mirror formula and lens formula?\nWhat is the difference between Real and Virtual Image?\u2026Difference between Mirror and Lens.MirrorLensA mirror can be plane or spherical (concave or convex)A lens is usually curved from either one or both surfaces.Mirror formula is 1/f = 1/v + 1/uLena formula is 1/f = 1/v \u2013 1/u2 more rows\u2022Apr 27, 2020\nWhat is the mirror formula and lens formula?\nIn a spherical mirror: The distance between the object and the pole of the mirror is called the object distance(u). The distance between the image and the pole of the mirror is called Image distance(v). The distance between the Principal focus and pole of the mirror is called Focal Length(f).\nWhat is V and U in light?\nWhere v is the image distance and u is the object distance. Hence, the expression for magnification (m) becomes: m = h\u2019/h = -v/u. Learn more about Reflection of Light here.", "id": "<urn:uuid:fe727091-a3ad-47ef-b86d-ec45932fdfa0>", "dump": "CC-MAIN-2021-17", "url": "https://1570thezone.com/qa/quick-answer-who-gave-lens-formula.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038060927.2/warc/CC-MAIN-20210411030031-20210411060031-00041.warc.gz", "language": "en", "language_score": 0.9315325021743774, "token_count": 1829, "score": 3.5, "int_score": 4}
{"text": "Once everyone is settled, I ask the class to define characterization since it will be the focus of our lesson today. I am looking for the students to say, \" The process in which an author reveals the personality of a character.\"\nNow, I ask them what clues do they need to look for in order to make inferences about a character. I am looking for them to provide the following:\n1. What the narrator reveals about the character (Note: Since we are reading a play, I remind them that the author will give clues about a character in the stage directions and commentary.)\n2. What the character says and does. Here I ask that students play close attention to soliloquies.\n3. What other characters say about him/her\nI tell them that after we discuss the scene we are going to take a close look at the main characters in Othello (RL 9-10.3) and apply these three techniques for how to make inferences about him or her. It is important to begin with this review of prior knowledge as we will move past these basic inferencing skills in this lesson and unit in order to fully analyze the characters. .\nStudents are assigned to two work groups for this unit. Once group is their play group and the other is their character group. The play group is made up of one person from each of the character groups. The character group is made up of students who are all focusing on the same character. I have students work in these two groups to accentuate the focus on both theme and plot (through dialectical journal work) and characterization -- each group will serve to concentrate specifically on one of these standards of focus.\nThe class starts in their play group. First each person in the group shares their objective summary from their dialectical journal. The goals is for the group to reach a consensus on the events in the scene (RL 9-10.2).\nNext, they will take turn asking the questions they wrote in their journals. Each student asks their questions and the other members of their group have to answer the questions using evidence from the text (RL 9-10.1). This is their second opportunity for students to lead the discussion on a scene in Othello (SL 9-10 1c). The goal is for the students to determine the course of the discussion of the text. I just want to provide support and guidance when necessary to keep them on track.\nAfter completing the discussion of the scene, the students will move into their character groups. Each person in the group is focusing on that character so they can work together to teach the class about their character and how they fit into the world of Othello.\nThe characters are:\nBy the end of act I, Shakespeare has provided the basics of each of the main characters except Emilia and Bianca. I have have the group that is assigned to Amelia work on defining other minor characters in act I: the Duke, Brabantio, Roderigo etc. Rodrigo can also be considered an important character, but he is flat and students run out of things to say about him.\nIn their groups, students have to begin their character analysis of their assigned character. They have to answer the questions: Who is __________? What makes him/her interesting? How does s/he relate to Othello? What predictions can you make about the character based on act I? (RL 9-10.3). Next they present their findings to the class (SL 9-10.4). The rest of the class can take notes on the characters in their journals.\nAs the presentations wrap up, I remind them that we will work on literary elements in the next class. Their next journal entry on Act II, sc i, ii are due next week. I answer any lingering questions they have on characters or the homework. I ask them to put their giant stickies with their character descriptions on the wall so we can refer to them throughout the unit and I can do a quick formative assessment of their learning today.", "id": "<urn:uuid:e9cc0416-5519-44fe-b7b1-912f7cf100d4>", "dump": "CC-MAIN-2021-17", "url": "https://betterlesson.com/lesson/547756/a-plan-set-in-motion-characterization-in-othello-act-i-sc-iii?from=breadcrumb_lesson", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00521.warc.gz", "language": "en", "language_score": 0.9706541299819946, "token_count": 827, "score": 4.28125, "int_score": 4}
{"text": "Bookology is delighted to feature a sample lesson from Perfect Pairs: Using Fiction & Nonfiction Picture Books to Teach Life Science, K\u20112 by children\u2019s book author Melissa Stewart and master educator Nancy Chesley (Stenhouse Publishers). When this book (and its companion for grades 3 \u2013 5) first came across our desk, we were blown away by its perception and usefulness. For educators who are not as confident teaching science as they are language arts and writing, here\u2019s an excellent resource to help you stand more assuredly in front of your students, knowing they\u2019ll be motivated to explore science.\nWe\u2019re grateful to Melissa, Nancy, and Stenhouse Publishers for the opportunity to give you a clear view inside the Perfect Pairs resources. This grade 2 lesson, \u201cHow Wind Water, and Animals Disperse Seeds,\u201d (click for the lesson plan) features two truly wonderful books, Miss Maple\u2019s Seeds by Eliza Wheeler and Planting the Wild Garden by Kathryn O. Gailbraith and Wendy Anderson Halperin. [This lesson plan is from Perfect Pairs:Using Fiction and Nonfiction Picture Books to Teach Life Science, K\u20112 by Melissa Stewart and Nancy Chesley copyright \u00a9 2014, reproduced with permission of Stenhouse Publishers. stenhouse.com]\nMelissa Stewart has also been leading the way for everyone who works with young minds to incorporate the five kinds of nonfiction into their school and classroom libraries as well as their ELA and content area instruction, so we\u2019ve decided to ask her a few questions.\nMelissa, when you and educator Nancy Chesley decided to create Perfect Pairs, what did you feel was the most pressing need for these fiction-nonfiction, life science matchups, and accompanying lesson plans?\nIn recent years, many elementary teachers have been asked to devote more time to language arts and math in an effort to improve student scores on assessment tests. As a result, many K-5 students receive limited science instruction, and many middle school students are sorely lacking in basic science knowledge and skills.\nIn addition, many elementary teachers do not have a strong science background. Some even report being intimidated by their school\u2019s science curriculum and feel ill equipped to teach basic science concepts. Building science lessons around children\u2019s books enables many elementary educators to approach science instruction with greater confidence. And because our lessons incorporate significant reading and writing, they allow teachers to teach science without compromising language arts instruction time.\nBecause some children love fiction while others prefer nonfiction, pairing books is an effective way to introduce science concepts. And when a book pair is presented in conjunction with innovative, minds-on activities that appeal to a wide variety of learning styles, students are even more likely to remember the experience \u2014 and the content. That\u2019s what Perfect Pairs is all about.\nIn the Introduction to Perfect Pairs, you state that the lessons in the book address the Next Generation Science Standards (NGSS) and support the Common Core State Standards for English Language Arts. Why is this beneficial for educators?\nCommon Core and NGSS form the foundation for all current state ELA and science standards\u2014even in states that never officially adopted them, so when teachers use the lessons in Perfect Pairs, they can be confident that they are teaching students the critical concepts and skills they need to know.\nTo help teachers track how each lesson relates to the standards, tables in the Appendix of Perfect Pairs specify which NGSS Performance Expectation and Science and Engineering Practices each lesson addresses. A second set of tables indicates which Common Core standards for Reading Literature, Reading Informational Text, Writing, and Speaking and Listening each lesson supports.\nIn Perfect Pairs, you also write that \"In recent years, a new kind of children's nonfiction has emerged. These innovative titles are remarkably creative and compelling. Their purpose is to delight as well as inform.\u201d\nOn your highly-regarded blog, Celebrate Science, you often share lists of these finely-crafted nonfiction books. You also write about the craft of nonfiction writing and include innovative activities and strategies for teaching informational reading and writing. What keeps you committed to your mission to bring more nonfiction to young readers?\nMany educators have a natural affinity for stories and storytelling, so they connect strongly with fiction. When they choose nonfiction, they gravitate toward narrative nonfiction because it tells true stories.\nAnd yet, studies show that as many as 75 percent of elementary students enjoy reading nonfiction with an expository writing style as much as (33 percent) or more than (42 percent) narratives. If we want all students to develop a love of reading, we need to give them access to a diverse array of fiction, narrative nonfiction, and expository nonfiction.\nAs students mature as readers, we can help them develop an appreciation for other kinds of writing. But first, we must show kids that we honor all books and value all reading.\nTo help educators accomplish this goal, I worked with Marlene Correia, past president of the Massachusetts Reading Association and Director of Curriculum and Assessment for the Freetown-Lakeville Regional School District in Lakeville, MA, to develop an infographic that highlights five easy ways educators can share more expository nonfiction with their students.", "id": "<urn:uuid:c4c9d466-9a78-43b6-8654-51ed517e3445>", "dump": "CC-MAIN-2021-17", "url": "https://www.bookologymagazine.com/articles/perfect_pairs", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065492.15/warc/CC-MAIN-20210411204008-20210411234008-00201.warc.gz", "language": "en", "language_score": 0.9411376714706421, "token_count": 1091, "score": 3.5, "int_score": 4}
{"text": "Journal writing is an activity that encourages students to become confident writers by giving students the opportunity to practice writing in safe environment without recrimination. Journaling enables all students to work at their own speed and at their own level. Digital writing journals are the new wave of integrating tech into daily classroom routines - and oh so much fun! Built-in features make digital journals instantly accessible for students who are visually impaired, blind and/or struggle with handwriting skills. Students who are braille readers can use a refreshable braille display paired with his/her tablet or computer to create his/her digital writing journal.\nThe Techie Teacher shares her motivating method of creating digital writing journals using Google Slides. Check out the teacher advantages of using Google Slides, in her post, 5 Reasons to use Digital Writing Journals.\nEach slide is a page in the journal. The writing prompt and related image or emoji is at the top of the slide. The bottom portion of the slide is a textbox where students write their stories. Especially for budding writers, writing prompts and pictures will help unravel 'writers block' and get those creative writing juices flowing! In her post, Tips for Implementing Digital Writing in the Elementary Classroom, the Techie Teacher shares practical digital tips on how to help students improve their writing skills.\nTeacher Hint: Summer is a great time to create a writing journal complete with writing prompts and images that will be shared with students when school resumes in the fall. You can create your own journal or simply purchase one from The Techie Teacher. Need help coming up with writing prompts? Do an Internet search for general writing prompt ideas or for prompts appropriate for a specific grade level.\nIf you are creating a writing journal, be sure that your Google Slides are accessible!\nAccessible Google Slides\n- Use predefined template (not the Blank template)\n- Keep it simple!\n- Use high-quality images, shapes and graphs\n- Add alt Text descriptions to images\n- Use high contrast colors\nFor general information about how someone with vision can create an accessible Google Slides presentation, go to Creating Accessible Google Slides.\nFor information on how to create and use Google Slides with a screen reader, go to Creating Google Slides with an iPad running VoiceOver. Addition information about using Google Slides with a screen reader on various devices is available on this website.\nWhile this post is specifically about Journal Writing using Google Slides, the same general accessibity concepts apply to creating PowerPoint presentations. This post, Creating Accessible PowerPoint Presentation for Students with Visual Impairments and Blindness provides detailed information, including demonstrations of accessible and non-accessible presentations for students who have low vision.\nIf a Google Slides presentation is being shown to the class, use a screen sharing app so that a low vision student can access the presentation on his/her own device. (Join.Me is a popular screen sharing app.)", "id": "<urn:uuid:3188197a-2ca2-4ddd-9812-3430b455c24c>", "dump": "CC-MAIN-2021-17", "url": "https://www.perkinselearning.org/technology/blog/accessible-digital-writing-journals-google-slides", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065492.15/warc/CC-MAIN-20210411204008-20210411234008-00201.warc.gz", "language": "en", "language_score": 0.8578818440437317, "token_count": 600, "score": 3.703125, "int_score": 4}
{"text": "What to speak about a student who is assigned to many different tasks?\nIrrespective of whether you are in middle or high school, or in a university, once in a while, you can be required to engage in creative writing activities. It is just a form of writing that uses the creativity of mind to express emotions, thoughts or feelings.\nWhether you're a student or a teacher, these writing prompts for high school students are going to come in handy if you're looking to inspire better writing.\nOften, kids get stuck \u2013 confused, exasperated, irritated \u2013 putting their thoughts on paper, because they're bored with the same old book reports, essays and summaries.\nAssign a dialogue length or number of exchanges and grade the punctuation. They can be cartoon characters (Ren from Ren and Stimpy, Michelangelo from TMNT), protagonists from plays or novels, (Bella from the Twilight series, Benvolio from Romeo and Juliet) or characters from movies or TV shows (William Wallace from \"Braveheart\", Jess from \"New Girl\").\nWrite three, one-paragraph summaries of your selected fairy tale using each of your chosen character's voices.But one of the only ways to become a better writer is to keep at it whether the assignment is motivational or not. Here are some writing prompts for high school students that may just inspire you or your students to give those ideas rattling around in your brain some room to breathe.You're never going to become a better 3-point shooter if you don't stand behind the line and make the shots. Once you create the list, write a one-paragraph story using each of the four items and a single protagonist of your choosing.They need to describe in details what they excavate and state its significance in the modern world history or culture.Students studying Psychology or Sociology need to deal with the statistical data.The examples of creative assignments at college may include: This activity offers students to imagine that they are an active archaeologist.They have to write about something they come across when excavating.Whereas the other pieces of writing focus more on giving facts and analyzing issues, the pieces of creative writing are all about entertaining, spreading or expressing thoughts.If you think that you are done with creative writing after graduating from high school, think twice.If you are taking a literature course at a college, you are likely to be asked to write a poem as an assignment.To score high marks for your poetry assignment, you have to be extra creative and consider all the aspects of the poem evaluation.", "id": "<urn:uuid:b97a3748-dc03-4e12-8295-1cae0935c6e4>", "dump": "CC-MAIN-2021-17", "url": "https://book-old2.ru/creative-writing-assignments-for-high-school-2359.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00521.warc.gz", "language": "en", "language_score": 0.9548735022544861, "token_count": 517, "score": 3.5625, "int_score": 4}
{"text": "Writing is the best and the hardest thing to do in the world. There are different techniques that a person can apply to make sure that it becomes successful.\nFirst of all, it is always a good idea to know what writing is, and who writes it. There are three primary types of writing: academic writing, journalistic writing, and creative writing. It is important that you know what your interests are and know how to get involved in those fields.\nFirst of all, the technical writing or education professionals like teachers and administrators must be able to identify the different writing styles, including your own. If your writing style is described as corny, disorganized, unclear, or dull, you need to figure out what you are doing wrong. Trying to write prose without a clear head will lead to poor writing, and not getting all the credit you deserve for the work you do.\nYour research into writing, like all things, must be made in order to know how to start. That is where resources like a school of creative writing, a book of poetry, or other materials, such as samples of magazines and newspapers. They can all provide you with the info you need to start, in order to have all the basic tools that you need to begin.\nAnother way to start is to develop your own technique to your own style of writing. Even if you don\u2019t have a specific style or technique, you can still use resources that can help you discover it. You can discover your personal style or develop it by looking through the various different types of writing styles.\nFor example, if you think that you are more analytical than others, you can check out different theories of writing. You may be looking at essay styles, versus journals or articles. You can take notes, analyze what others are saying, and choose to write in a manner that suits you.\nUse writing software to find examples of works that have been published, so that you can learn from them. The online source for writing programs can teach you about ways to organize your thoughts and ideas and will also teach you techniques for getting involved in your writing. It can even give you writing samples that are specific to your style, so that you can make sure that it works for you.\nYou also need to start writing in a way that will fit your type of person. Some people are not suited to writing for magazines and won\u2019t ever have the time or energy to put into the type of writing that others may enjoy. If you fit that description, then you should probably look into programs to start a career.\nDo you enjoy being creative in your writing, but are not really an educational writer? You may be interested in creating your own material, using what you already know, and then seeing how it will be received. You may be able to become a graphic designer or story teller, after making your own resources.\nFinally, there are many other writers out there who are interested in starting a career, but don\u2019t have the patience to take a course, or to write an essay or report. If you don\u2019t have that in you, then creative writing is a great thing to know. It is important to know how to start writing.\nHopefully these two things, and all the other information, can help you figure out how to start. There are many resources available, and they can all be used. Getting started is the first step to making it as a writer.", "id": "<urn:uuid:3c63a7b8-7c58-4ade-94c6-5ff3b03c4c61>", "dump": "CC-MAIN-2021-17", "url": "http://www.writersresist.org/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00599.warc.gz", "language": "en", "language_score": 0.9709261655807495, "token_count": 702, "score": 3.53125, "int_score": 4}
{"text": "Friday 8th January\nComprehension - do the \"60 second reads\" comprehension about Vikings.\nMaths: complete the work on Negative numbers from yesterday.\n1. Watch the 3 clips again, then\n2. Michael Morpurgo activity sheet page 3 poetry writing - you will need to scroll through to the third sheet - you don't need to print it off.\n3. Imagine you are Beowulf. You have been charged with the safety of the kingdom. You are lying in your bed, waiting for the monster of the night to appear. Write a poem describing your thoughts and feelings, the darkness and the noises as you lie in bed \u2013 waiting! (you don\u2019t need to use rhyme, but include plenty of description)\nThursday 7th January\nPlease practise your spellings by copying out each word three times in your VERY BEST handwriting! Now look up each word in the dictionary and write a sentence for each.\nMaths - today and tommorrow we will be working on negative numbers:\n1. Look at this clip: https://www.bbc.co.uk/bitesize/clips/znw7tfr\n2. Work carefully through the powerpoint \u2013 you are not expected to be able to do all of it!\nStart with \u201cdiving\u201d (mild), then \u201cdeeper\u201d (medium), then \u201cdeepest\u201d (hot). Make sure to open the powerpoint in \"SlideShow\", so that you can work through each slide at your own pace.\n3. Then try the sheets attached \u2013 you can continue with these tomorrow.\nBeowulf comprehension - choose the right level for yourself: *, ** or ***. Check your answers afterwards.\nWhen you have finished this try the sequencing activity and write a sentence for each picture.\nWednesday 6th January\nIt was lovely to see you all on the Zoom yesterday - you were very lucky children with all your lovely gifts!\nToday is Wordy Wednesday. Please do the first activity on your year group's sheet (there are lots of sheets - you only need the first one!\nWe would also usually have our times tables test, so please practise any tables you are still wobbly on and then have a go at the Ultimate Times Tables Challenge. Give yourself 5 minutes and see how many you can get - we will do this each week and see how you improve over the term.\nThanks to Gaby and Jago who have sent me some of their work already! We will move on to Google Classrooms next week, which will make it easier for you to send in your work for me to look at and give you feedback.\nThank you for staying at home and working hard and behaving for your parents. Please remember I am here for you to message if you are finding something tricky. Its really chilly in the classroom, so staying warm and safe at home is definitely the best thing for you! Mrs Glass and I are both very worried about leaving our homes and coming into contact with other families in school due to the current extremely high incidence of covid in our area.\nMaths - please look at the powerpoint on rounding to the nearest 10, 100, 1000; you could also look at the extension powerpoint if you have time. Then work on the sheets - you choose! To remind you of the rhyme I have included it in the first attachment - One to four....\n**Newsflash** Try this fun activity we've just found in class (its only a couple of minutes long!):\nEnglish - the next exciting installment of Beowulf!\nWere you surprised by Grendal\u2019s mother\u2019s actions?\nWrite a diary entry as Grendal\u2019s mother \u2013 how was she feeling? Justify her actions\nSign in to the new Joe Wicks activities on youtube:\nTuesday 5th January\nI'm looking forward to seeing you for the class zoom meeting at 1pm - bring along your favourite Christmas present to show the class and tell us in one sentence what you love about it!\nEarly work - Tricky Tuesday Maths activity mats. We usually do the 2* mats, so have a go. The answer sheets are also there for you to check your work. Mrs Glass' group, please write out all of your number bonds to 10 and 20, then write out your times tables for the level you are on: Bronze 1: 2x, 5x, 10x, Bronze 2: 3x, 4x, 6x, Bronze 3: 7x, 8x, 9x\nToday we will continue with our work on place value in 5 and 6 digit numbers. Please work through the 2 powerpoints on adding and subtracting multiples of 10, then work your way through the sheets -Mild: complete the first sheet\n-Medium: complete the first and second sheet\n-Hot: complete all three sheets\n-Extension - try some of the challenge cards\nI hope you enjoyed the start of the Beowulf story. Today we will continue with episode 2:\n1. Describe the qualities of Beowulf\n2. Who might the new monster be? What will happen next?\n3. Is Beowulf capable of defeating another monster?\nExtension: write a short story describing the new monster and how Beowulf fights it.\nThis term we start our new Topic - Anglo Saxons...the peoples that came after the Romans! This links in well with the Beowulf story that was written in this era of history.\nPlease read through the power point, then do your own research on Hengest, Horsa and Voritgen. These three names were used on ships that my Dad worked on across the Channel when I was a little girl, so I'll be really interested to hear what you find out!\nMonday 4th January\nGood morning! Happy New Year!\nIt's going to be a bit of a strange week for everyone, but we'll try to keep to our normal timetable with home learning tasks set on here each day. Things will probably evolve and change over the week, so please bear with us as we all adapt to this very fast changing world...\nUsually on Monday we begin with our What Went Well books - so can you write down three things that went particularly well for you over the Christmas Holiday? Remember to include description and plenty of detail.\nFor your Moody Monday creative writing, use this picture to inspire you:\nYou will find spellings for this term on the star for this term, so please begin to learn spellings list 1, and be ready for a test next Tuesday.\nThis term I wanted us to look at epic poems and we are beginning with Beowulf. We have a short clip to watch today to get us started off:\n2. Once you have watched part one of the story read through the transcript (see sheet below).\n3. Draw a picture of Grendel and write a description of the monster\n4. How do you think Beowulf will defeat the monster?\nExtension: write an invitation to the thanksgiving feast at the mead hall:\nThis week we are looking at Place Value.\nTake a look at this quick clip, then try the work sheets which are for your group: year 4, Mrs Glass' group, year 5, and extension for year 5 Mastery Group:\nThis term we are going to be looking at Animals including Humans. We are starting this week with a unit about Nutrition. Please work through the power point presentation then do the food labelling activity.", "id": "<urn:uuid:9c29d63a-98c0-453d-9bf4-2831d9dbcc44>", "dump": "CC-MAIN-2021-17", "url": "https://www.elhamprimary.co.uk/4121/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00362.warc.gz", "language": "en", "language_score": 0.944716215133667, "token_count": 1565, "score": 3.75, "int_score": 4}
{"text": "Get ready to explore the world of William Shakespeare! Your guide is Kit, one of Shakespeare's oldest friends. He will show you around the famous Globe Theatre in London, and tell you the story of the man behind the plays, from his early childhood and his schooldays, to the incredible legacy of his writing. You'll also get to act out some scenes from his best-known plays, including Romeo and Juliet, A Midsummer Night's Dream and Macbeth! Read on, and you'll discover why Shakespeare is considered to be one of the greatest writers ever. The Life and Work of Shakespeare is part of the Reading Planet range of books for Stars (Lime) to Supernova (Red+) band. Children aged 7-11 will be inspired to love reading through the gripping stories and fascinating information books created by top authors. Reading Planet books have been carefully levelled to support children in becoming fluent and confident readers. Each book features useful notes and questions to support reading at home and develop comprehension skills. Reading age: 10-11 years\nForeign language teaching is a flourishing area of the primary curriculum and can offer many valuable, enriching and enjoyable learning experiences for children. Written to support busy schools and teachers in planning, teaching and delivering the new primary MFL entitlement for all KS2 pupils, this book brings together a wide range of key pedagogical issues into one user-friendly handbook: teaching approaches and resource ideas using new technologies getting assessment right progressing to the secondary school. Providing snapshots of good practice as well as a bank of practical ideas to help integrate foreign language teaching into the curriculum, this book will be key reading for all current and trainee teachers involved in the successful implementation of primary MFL.\nStimulating Story Writing! Inspiring Children aged 7-11 offers innovative and exciting ways to inspire children to want to create stories and develop their story writing skills. This practical guide offers comprehensive and informed support for professionals to effectively engage \u2018child authors\u2019 in stimulating story writing activity. Packed full of story ideas, resource suggestions and practical activities, the book explores various ways professionals can help children to develop the six key elements of story, these being character, setting, plot, conflict, resolution and ending. All of the ideas in the book are designed to complement and enrich existing writing provision in classrooms with strategies such as role play, the use of different technologies, and using simple open ended resources as story stimuli. Separated into two sections and with reference to the Key Stage 2 curricula, this timely new text provides professionals with tried and tested strategies and ideas that can be used with immediate effect. Chapters include: \u2022 Creating Characters \u2022 The Plot Thickens \u2022 Inspired Ideas \u2022 Resourcing the Story Stimulation This timely new text is the perfect guide for inspiring children aged 7-11 in the classroom and will be an essential resource for teachers and students on teacher training courses.\nGrowing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner and Cosmas Magaya\u2019s Mbira\u2019s Restless Dance documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music\u2019s magnificent creativity. Mbira\u2019s Restless Dance is written to be played. This two-volume, spiral-bound set features musical transcriptions of thirty-nine compositions and variations, annotated with the master player\u2019s advice on technique and performance, his notes and observations, and commentary by Berliner. Enhanced with extensive website audiovisuals, Mbira\u2019s Restless Dance is in effect a series of masterclasses with Magaya, suitable for experienced mbira players and those learning the fundamentals. Together with Berliner's The Art of Mbira, in which he provides an indispensable historical and cultural guide to mbira in a changing world, Mbira's Restless Dance breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors\u2019 collaborative voices. It is a testament to the powerful relationship between music and social life\u2014and the rewards of lifelong musical study, performance, and friendship.\nGet Going With Creative Writing is a new, up to date, action packed series of five study books, that encourage children to write. They are aimed at children between the ages of 7 and 11, who have acquired some degree of reading fluency. They provide excellent writing practice for those children preparing to take 11+ examinations or S.A.T.S, but will also benefit other children with special needs, or where English is a second language. These books have a lively magazine type format: featuring short stories to read and a variety of up to date non-fiction texts that will impact young readers and provide starting points for writing. Follow up activities will inspire even the most reluctant writers to write stories, poems, play scripts, diaries, reports, persuasive leaflets, letters and more. More than this, the child will learn writing techniques including: simple, compound and complex sentences \u2013 connectives - grammar tips - harder vocabulary and punctuation from our guinea pig guide. The books are suitable for use by teachers in the classroom or parents at home. The themed books can be used in any order, though the subject matter of \u2018About Me\u2019 and \u2018All About Animals\u2019 may appeal to younger children, who start working through the series. The themed books have been written by a teacher or tutor, have been trialled by the children she teaches and comply with the National Curriculum. This is the fourth book in this excellent series from Guinea Pig Education.\nThe Major Events of the 20th Century as Reported in the Pages of the New York Times\nAuthor: New York Times\nCategory: Language Arts & Disciplines\nFrom the end of the Victorian age through the moon landing and the computer age, a collection of headline stories from the pages of The New York Times chronicles the great events and individuals that shaped the history of the twentieth century.", "id": "<urn:uuid:43af998f-4d38-49ef-b6f0-ee977097eced>", "dump": "CC-MAIN-2021-17", "url": "https://pockettorch.net/book/my-second-best-friend-ks2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00639.warc.gz", "language": "en", "language_score": 0.9394941329956055, "token_count": 1247, "score": 3.640625, "int_score": 4}
{"text": "It\u2019s well known that jumping spiders have excellent vision, far surpassing that of other spiders and even dragonflies, whose clearness of vision ranks at the top of the insect world. In a study appearing in the January 27, 2012, issue of Science, researchers in Japan describe how jumping spiders likely use green light and image defocus \u2014 comparing a blurry image with a focused image \u2014 to enhance depth perception, enabling them to jump with great precision on prey.\nThe Japanese study involved bathing jumping spiders in green and red light (for this study, Hasarius adansoni). Spiders in green light made very accurate jumps toward prey, while those in red light consistently jumped short of their mark.\nThe scientists believe that the deepest layer of a jumping spider\u2019s four-layer retina is sensitive to green light, while the next layer up is only partially so. This enables the spider to contrast imagery from the two layers and fine-tune its jumping distance. (Notice how the distance blurs when you focus on something close at hand, giving you a sense of depth.)\nIf you peer at a jumping spider closely, you\u2019ll see it positioning its body to watch your every move with its four sets of eyes. Evidence suggests that the big eyes in front have receptors for various colors and are very sensitive to UV light.\nIn the diagram below, notice how the big front eyes of the spider extend deep into its cephalothorax in a tubular fashion \u2014 like telephoto lenses \u2014 focusing light onto the retina.\nUnlike human eyes, which can move to focus on something we want to see, a jumping spider\u2019s eyes are fixed in place. Yet a jumping spider\u2019s retina is different from ours; it can move to inspect something on the edge of its field of vision.\nIf a jumping spider should ever select your living space as its preferred hunting ground, know that many people delight in their company, describing them as \u201cfriendly\u201d and \u201cintelligent.\u201d Place your hand beside a jumping spider, and it will inevitably jump aboard, saving its bite for the insects it hunts by day.\nBottom line: A jumping spider\u2019s visual acuity is the sharpest of all spiders. The anterior medial eyes function as telephoto lenses, focusing light upon a four-layer retina. The retina can move to focus on objects at the edge of the spider\u2019s field of vision. Scientists in Japan report in the January 27, 2012, issue of Science that the bottom two layers of the spider\u2019s retina are sensitive to green light and enable the spider to use image defocus to enhance depth perception.\nHolly Clark Coburn is a freelance editor and writer. She studied biology and art at a liberal arts school and received an MFA in creative writing.", "id": "<urn:uuid:06d85fa4-b1b8-428b-9a70-5babe726141f>", "dump": "CC-MAIN-2021-17", "url": "https://earthsky.org/earth/jumping-spiders-zoom-in-with-green-light", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039594808.94/warc/CC-MAIN-20210423131042-20210423161042-00002.warc.gz", "language": "en", "language_score": 0.9393331408500671, "token_count": 577, "score": 3.53125, "int_score": 4}
{"text": "Is data, design, and storytelling enough to change the world? Ask Florence Nightingale.\nDuring the Crimean War, Nightingale was a young and independently wealthy British woman who felt called to the cause of nursing. In 1852, she was caring for wounded British soldiers. Those soldiers were dying at an alarming rate in her hospital, but not from their wounds. Secondary illnesses and infections, brought on by the squalor of the underfunded and inadequate British army hospital, were claiming the soldiers.\nShe knew the real reason behind the soldier\u2019s deaths. She just needed a way to convince the generals and politicians.\nNightingale began compiling data about the date that soldiers died in her hospital and the cause of death. She was good with numbers, good enough to later become the first female member of the Royal Statistical Society.\nHer data proved what she knew about the role of infection and illness in killing soldiers. But this was at a time when understanding of sanitation and infection was still quite limited. How could she tell the story of the numbers to the generals and politicians so that they would understand and change their approach to military medicine?\nShe designed a new type of chart: the Nightingale rose diagram.\nHer work built on the pie chart of William Playfair but added several new dimensions.\n- A wedge represented a month\n- Each wedge was subdivided by cause of death: wounds, diseases, other.\n- Wedges varied in proportion according to the number of deaths that month.\n- The months progressed clockwise around the chart.\nInterestingly, there are no numbers on this chart, other than years. She didn\u2019t need to show the number of deaths. Her point was the proportion of deaths caused by squalor in the hospital.\nWhen sanitation improved in the hospital, her graph showed, deaths dropped to near zero.\nShe convinced the generals and politicians, who could easily see the overwhelming proportion of deaths from preventable causes. This was an early step in the career of Nightingale, whom we now consider the founder of modern nursing and the inspiration for the Red Cross.\nHer chart is still called the Nightingale rose diagram, although it\u2019s also known as a polar graph.\nHer work in the military hospital built on work concepts and methods that were known for decades. In hindsight, it seems brilliantly concise, almost simple in the straightforward approach.\nYou, too, can combine data and design to tell a story about your cause. Try it and see what impact you make.", "id": "<urn:uuid:6bd39f35-b5de-46b8-8ed6-e964966b30cc>", "dump": "CC-MAIN-2021-17", "url": "https://marketingthesocialgood.com/2016/01/29/data-design-and-storytelling-in-health-nightingales-graphs/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038098638.52/warc/CC-MAIN-20210417011815-20210417041815-00521.warc.gz", "language": "en", "language_score": 0.9793131351470947, "token_count": 519, "score": 3.546875, "int_score": 4}
{"text": "Student Character Education\nBuilding a Community of Character\nIn the Pleasanton Unified School District we strive to create school environments that are positive, predictable, consistent and safe.\nWhat is character education?\nCharacter education is the process of helping students develop and practice the core ethical values that our diverse society shares and holds important. It is the study of the core ethical values that our society shares and holds important, including, but not limited to, respect, responsibility, trustworthiness, caring, honesty, justice and fairness, and citizenship and civic involvement.\nA comprehensive character education program addresses critical concerns such as discipline problems, proper respect for students and teachers, substance abuse, teen pregnancy and poor academic performance. At its best, character education permeates every aspect of the school day. Building an environment that reinforces the traits that a community values, with parents as active players in the partnership, can help improve the qualities of honesty, respect and responsibility among our youth.\nBuilding a Community of Character Pledge\n|I pledge to fulfill my role in our Community of Character by acting with:|\nAugust \u2013 October\n|Doing what I am supposed to do\nAlways doing my best\nBeing accountable for my choices\nNovember \u2013 December\n|Being kind to myself, others, and the environment\nHelping others in need\nSetting goals and working toward them\nStriving for personal improvement\n|Telling the truth\nNo cheating or stealing\nMarch \u2013 April\n|Using good manners, not bad language\nBeing considerate: honoring the feelings of others\nDealing peacefully with anger, insults, and disagreements\nMay \u2013 July\n|Being reliable: doing what I say I\u2019ll do\nHaving the courage to do the right thing\nBuilding a good reputation\nWhat is the Pleasanton Unified School District\u2019s Mission Statement on character education?\nThe traditional mission of our public schools has been to prepare our nation\u2019s young people for equal and responsible citizenship and productive adulthood. Democratic citizenship and productive adulthood begin with standards of conduct and standards for achievement in our schools. Other education reforms may work; high standards of conduct and achievement do work \u2014 and nothing else can work without Character education.\nHow does character education contribute to a student\u2019s education?\nIt is very difficult for a school to engage in significant educational reform when the school has adults and children that do not practice responsibility and respect. The twin goals of education have always been academic and character development. A character education program is the umbrella for the entire school program and is the shared responsibility of the school, the family and the community. Everything about a school is values laden, and a deliberately designed the approach is more effective than letting it happen by default.\nThe social, ethical, and emotional development of young people is just as important as their academic development. As Theodore Roosevelt stated: \u201cTo educate a man in mind and not in morals is to educate a menace to society.\u201d After all, we know that good workers, citizens, parents, and neighbors all have their roots in good character. Therefore, it is critical to create schools that simultaneously character development and promote learning. In fact, character education promotes academic excellence because it lays a foundation for all learning that takes place in school. It is clear that character education builds classrooms where students are ready to learn and where teachers are freer to teach.\nWhat are some of the objectives of a character education program?\n- That students and school staff have schools that are safe, orderly and drug free.\n- That all students and school staff learn and work in schools that have clear discipline codes with fair and consistently enforced consequences for misbehavior.\n- That all students and school staff learn and work in a school district that has alternative educational placements for violent or chronically disruptive students.\n- That all students and school staff has a right to be treated with courtesy and respect.\n- That all students and school staff learn and work in schools and classrooms that have clearly stated and rigorous academic standards.\n- That all students and school staff learn and work in schools and classrooms where high grades stand for high achievement and promotion is earned.\n- That all students and school staff learn and work in schools where getting a high school diploma means having the knowledge and skills essential for college or a good job.\n- That all students and school staff be supported by parents, the community, public officials and business in their efforts to uphold high standards of conduct and achievement.\nWhat does character education look like in a school?\nInherently, each and every adult in a school is a character educator by virtue of exposure to students. All adults serve as role models. Students constantly watch as all adults in the school \u2013 teachers, administrators, counselors, coaches, secretaries, cafeteria aides \u2013 serve as models for character \u2013 whether good or bad. Beyond modeling, no matter what the academic subject or extra-curricular activity, educators are afforded the opportunity to develop good character in their students on a daily basis by intentionally selecting character-based lessons and activities and by the way they educate their students.\nThere is no one particular look or formula, but schools of character have one thing in common: a school wide commitment to nurture the \u201cwhole\u201d child. Schools of character develop students socially, ethically, and academically by integrating character development into every part of their curriculum and culture. Specifically, a school committed to character education explicitly names and publicly stands for specific expected behaviors and promulgates them to all members of the school community. They define the expected behaviors in terms that can be observed in the life of the school, and they model, study, and discuss them, and use them as the basis for all human relations in the school. They uphold the expected behaviors by making all school members accountable to consistent standards of conduct and they celebrate their manifestation in the school and community. The key for success is that character educators find what works in their particular school, district, and community.\nDirection from the State Superintendent\nCharacter education is a critical component of education which needs to be embedded in the school culture and the core curriculum throughout the school year. There are opportunities to infuse the elements of character education into all of the California curriculum frameworks. Character education is not an add-on program, but rather a fundamental building block of current program efforts.\u201d (Memo dated August 12, 1999)\nWho decided what character education traits are emphasized in the schools?\nThe Pleasanton community reached consensus on what expected behaviors should be emphasized in the schools through a city and school district sponsored community survey in 1999. Early in the district\u2019s strategic planning process, the strategic planning team made up of parents, administrators, teachers, classified staff, students and other community representatives developed an action plan to create an \u201c\u2026 Ad Hoc Committee that would reach consensus on three to five universally accepted behaviors, and develop a plan to communicate these behaviors to the community.\u201d The committee met and chose to survey the community in order to identify the expected behaviors to be taught in the schools.\nThe following six expected behaviors were chosen by the community, and adopted by the Pleasanton School Board and Pleasanton City Council:\nHow can I help foster character education in the Pleasanton schools?\nSince the American workforce ultimately comes from our schools, everyone should have an interest in seeing that our youth develop into responsible, ethical people. The very qualities that today\u2019s work force needs are character traits and skills that form the building blocks of character education. In 1991 the U.S. Department of Labor issued a report \u201cWhat Work Requires of Schools,\u201d also known as the SCANS report \u2013 which cautioned that students must develop a new set of foundation skills and competencies such as interpersonal skills, individual responsibility, self-esteem, sociability, self-management, and integrity.\nIt is important to keep in mind that formalized character education begins when members of a school, along with broad community involvement, come together to determine the expected behaviors that they share and that form the basis for good education in their particular school and district. These values then become the foundation for all that the school does \u2013 curriculum, teaching strategies, school culture, extra-curricular activities, etc. Character education can then be infused into the broader community.", "id": "<urn:uuid:a5b1772e-f410-469f-b295-bddaeb48bf82>", "dump": "CC-MAIN-2021-17", "url": "https://www.pleasantonusd.net/apps/pages/index.jsp?uREC_ID=301224&type=d&pREC_ID=708734", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077336.28/warc/CC-MAIN-20210414064832-20210414094832-00041.warc.gz", "language": "en", "language_score": 0.9591624736785889, "token_count": 1683, "score": 3.609375, "int_score": 4}
{"text": "Website highlights effects of climate change on Canada\u2019s forests\nBy University of Winnipeg\nOct. 23, 2018 - The Prairie Climate Centre at the University of Winnipeg has launched a new section of their groundbreaking Climate Atlas of Canada that explains the effects of climate change on Canada\u2019s forests: www.climateatlas.ca/topic/forests/.\nBy University of Winnipeg\nThe recent release of the IPCC Special Report Global Warming of 1.5 C underscores the fact that climate change threatens our irreplaceable forest ecosystems and economies, and that preserving Canada\u2019s forests is an essential strategy to help fight climate change.\nCanada\u2019s forests are some of the largest in the world. They have enormous economic, cultural, environmental, and recreational value for Canadians of all walks of life. And they are already showing the impact of our changing climate. Invasive insect pests, record-breaking wildfires, and drought have already taken a toll on trees across the country.\nRecent extreme events, including this year\u2019s record-setting forest fire season in B.C., have many Canadians wondering: \u201cis this the new normal?\u201d The Climate Atlas helps answer this question, and the new Forests section highlights the risks climate change poses to Canada\u2019s essential, iconic forests:\n- Climate change is a \u2018triple threat\u2019 for forest fires, leading to hotter temperatures, more frequent lightning strikes, and more dry, windy \u201cfire weather\u201d overall.\n- Canada\u2019s warming climate is allowing invasive pests such as the mountain pine beetle and the emerald ash borer to spread farther and faster than ever before.\n- Climate models show that 2018\u2019s record-breaking summer heat will become the \u2018new normal\u2019 by 2050 unless carbon emissions are drastically reduced.\nThe Climate Atlas presents compelling video interviews with expert voices along with plain-language articles explaining the connections between forests and climate change. It also discusses the actions we can take to adapt to the new climate reality and to reduce the severity of ongoing climate change.\nThe Climate Atlas of Canada is an interactive tool for citizens, researchers, businesses, and community and political leaders to learn about climate change in Canada. It combines climate science, mapping, and storytelling to inspire local, regional, and national action and solutions. The Atlas was produced by the Prairie Climate Centre (PCC), a team made up of climate scientists, social science researchers,filmmakers, and communication specialists at the University of Winnipeg. The funders of the Atlas include Environment and Climate Change Canada, the Province of Manitoba, Great West Life, and the Social Sciences and Humanities Research Council of Canada.", "id": "<urn:uuid:d2d55680-5ebe-4bd5-b35c-14ce1d561448>", "dump": "CC-MAIN-2021-17", "url": "https://www.canadianbiomassmagazine.ca/website-highlights-effects-of-climate-change-on-canadas-forests-7085/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00521.warc.gz", "language": "en", "language_score": 0.9158036112785339, "token_count": 547, "score": 3.625, "int_score": 4}
{"text": "Chimpanzees are relatively large, tremendously powerful animals that dwell in troops of 30 to 80 individuals. They're thereby relatively safe in their natural African habitat of rainforest and wet savanna. The old, young, sick and weak are vulnerable to some predators, though as can be an individual chimp caught off guard. A number of predators will make a move on a chimp if the opportunity presents in the African wilds.\nAs with most endangered species, chimpanzees can claim mankind as their most threatening predator. Chimps are hunted as part of the \"bushmeat trade,\" which refers to the sale of meat from African or Asian wildlife, especially animals classified as protected or endangered. Bushmeat is a major source of food in rural and urban areas in Africa, but it reaches Europe, Canada and other points around the globe. An estimated 300 or so chimps are killed annually by bushmeat hunters just in the Republic of Congo, according to the Jane Goodall Institute of Canada. Of course, man's widespread destruction of the chimpanzee's natural habitat is another significant factor in declining chimpanzee numbers, even though it isn't exactly predatory behavior by definition.\nChimps spend equal time on the ground and in the trees, but they do most of their eating and sleeping up in the branches. They are vulnerable in both locations to one of the African wild's most stealthy and dangerous predators, the African leopard. These jungle cats are the most significant predators of chimpanzees after man. They live almost everywhere in Africa but thrive in the rainforests where chimpanzees are found. They are one of few species large and strong enough to prey on chimps. When a chimp wanders out onto the savanna plains, it becomes vulnerable to lions, too. These cats are fierce hunters, even larger than leopards, and they are capable of preying on chimps.\nChimps are vulnerable on the ground and in the trees to attacks by African rock pythons, another significant predator. These pythons are the third-largest snake species in the world, growing 20 to 30 feet long and weighing up to 250 pounds. They share the tropical African savanna as their primary home with chimpanzees. These predators kill by constricting their prey, and they can stretch their jaws to swallow large animals whole, including chimpanzees. Crocodiles also pose a threat to chimps. These reptiles lurk under the water and grab prey in their powerful jaws when one wanders to the water's edge to drink or bathe.\nAre Chimps Predators?\nChimps are omnivores with a diet consisting of hundreds of foods, but they aren't a predatory species. Their meals consists mostly of plant-based foods, including fruits, leaves and buds. They do pursue insects, using sticks and other items as tools to procure them from holes. Chimpanzees steal and consume eggs when they encounter them. The meat in their diet comes from scavenged carrion. Chimps are powerful enough to easily kill another animal in defense, but they aren't active hunters.\nchimpanzee in the forest image by Xavier MARCHANT from Fotolia.com\nEric Mohrman has been a freelance writer since 2007, focusing on travel, food and lifestyle stories. His creative writing is also widely published. He lives in Orlando, Florida.", "id": "<urn:uuid:5829ec96-1c22-487f-be74-22a8a635d21c>", "dump": "CC-MAIN-2021-17", "url": "https://animals.mom.com/predators-chimpanzee-1292.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067400.24/warc/CC-MAIN-20210412113508-20210412143508-00001.warc.gz", "language": "en", "language_score": 0.9579845666885376, "token_count": 679, "score": 3.609375, "int_score": 4}
{"text": "Between the ages of three and five is an important time in your child\u2019s emotional development. Here are some suggestions for nurturing your child\u2019s self-esteem.\nThe foundations for confidence and self-esteem are established during this time. The way children feel about their rapidly growing abilities and the way they deal with more complex emotions have a big influence on their ability to cope with life\u2019s stresses.\nMost of your preschooler\u2019s learning occurs through play. This will happen at home, and with other children at preschool and daycare, where children are encouraged to learn through play, art and storytelling.\nYour role changes during the preschooler years. Your baby is now a little person ready to take on the world and your job is to show them how. One of your most important jobs is to help your child handle emotions and develop social skills. These skills help your child to cope with emotional changes, keep going in the face of frustration, have hope, control extreme emotional impulses, and feel compassion and empathy. These are very important ingredients for success in life.\nNurturing your child\u2019s self-esteem\nGood self-esteem means that you have a positive view of yourself and your abilities. Children who have good self-esteem feel that they are loved and they can manage the world to some degree.\nIf you have positive self-esteem, it affects the way you approach tasks and learning and the way you deal with life\u2019s disappointments and problems. Positive self-esteem helps us to understand and accept failure without lasting emotional damage.\nTips to help your child develop self-esteem\n- Teach children about who they are by explaining who\u2019s who in the family and how they\u2019re related.\n- Make photo albums and provide family treasures (past and present). This helps children have a mental picture of who they are and where they come from.\n- Keep your child\u2019s drawings, letters and photos to help her build a sense of self.\n- Encourage your child to play with children of a similar age, so he isn\u2019t overwhelmed by the abilities of older children.\n- Encourage your child to work out problems and make decisions independently, but make sure she knows you\u2019re there to help.\n- When your child masters a new skill, praise him and encourage him to practise it before starting something harder. Repetition will help him build confidence and understand that things that were once hard become easy.\n- Be generous with praise. Say things like \"Thank you\", \"That was helpful\" and \"You do that really well\".\n- Actions can speak louder than words. Hug your child, listen, make time even when you\u2019re busy, let your child help you, put your child\u2019s drawings on display, and participate in preschool events.\n- A child\u2019s self-esteem can be easily damaged by put-downs. Avoid at all costs saying things that put down your child. For example, \"You make me tired\", \"You are silly/a nuisance/lazy/stupid\" or \"If we didn\u2019t have you, we\u2019d be able to take a holiday/work less\".\n- Help your child to understand that everyone makes mistakes and that mistakes can help us to learn. It\u2019s important that children understand that if they make a mistake in one area, they are not bad at everything.\n- Encourage children to be positive about themselves and their future. Negative self-talk can be associated with problems such as depression and anxiety. Encourage statements like, \"It\u2019s OK that my team didn\u2019t win today\", \"I can work out this problem if I just keep trying\", and \"It makes me feel good to help someone, even if they don\u2019t thank me\".\nMore information on connecting with your preschooler:\n\u00a9 Raising Children Network Limited, reproduced with permission.\nResources & Links:", "id": "<urn:uuid:6ac0b6f6-b944-4f1d-99f7-e4242c34de81>", "dump": "CC-MAIN-2021-17", "url": "https://healthyfamiliesbc.ca/home/articles/connecting-your-preschooler-building-self-esteem", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038061562.11/warc/CC-MAIN-20210411055903-20210411085903-00402.warc.gz", "language": "en", "language_score": 0.9627360701560974, "token_count": 817, "score": 3.71875, "int_score": 4}
{"text": "Podcasts (like \u201cYou are Not So Smart\u201d, \u201c99% Invisible\u201d, or \u201cRadiolab\u201d) are becoming a popular way to communicate about science. Podcasts often use personal stories to connect with listeners and engage empathy, which can be a key ingredient in communicating about science effectively. Why not have your students create their own podcasts? Personal science stories can be useful to students as they try to connect abstract science concepts with real life. These kinds of stories can also help pre-service elementary or secondary teachers as they work towards understanding how to connect science concepts, real life, and literacy. Podcasts can be powerful in teaching academic language in science because through producing a podcast, the student must write, speak, and listen, and think about how science is communicated. This paper describes the personal science podcast assignment that I have been using in my methods courses, including the literature base supporting it and the steps I take to support my teacher candidates in developing, writing, and sharing their own science story podcasts.\nInnovations Journal articles, beyond each issue's featured article, are included with ASTE membership. If your membership is current please login at the upper right.\nAmicucci, A. N. (2014). How they really talk. Journal of Adolescent & Adult Literacy, 57, 483-491.\nAnthony, L. (2014). AntWordProfiler (Version 1.4.1) [Computer Software]. Tokyo, Japan: Waseda University. Retrieved from http://www.laurenceanthony.net/\nBorgia, L. (2009). Enhanced vocabulary podcasts implementation in fifth grade classrooms. Reading Improvement, 46, 263-272.\nBurmark, L. (2004). Visual presentations that prompt, flash & transform. Media and Methods, 40(6), 4-5.\nChallinor, J., Mar\u00edn, V. I., & Tur, G. (2017). The development of the reflective practitioner through digital storytelling. International Journal of Technology Enhanced Learning, 9, 186-203.\nCouldry, N. (2008). Mediatization or mediation? Alternative understandings of the emergent space of digital storytelling. New Media & Society, 10, 373-391.\nCoxhead, A. (2000). A new academic word list. TESOL Quarterly, 34, 213-238.\nDelpit, L. (2005). Other People\u2019s Children: Cultural Conflict in the Classroom. 1995. New York: New Press.\nDerman-Sparks, L. (1989). Anti-bias curriculum: Tools for empowering young children. National Association for the Education of Young Children, 1834 Connecticut Avenue, NW, Washington, DC 20009-5786.\nDillingham, B. (2001). Visual portrait of a story: Teaching storytelling. Juneau, AK: School Handout.\nDip, J. M. R. B. P. (2014). Voices from the heart: the use of digital storytelling in education. Community Practitioner, 87(1), 28.\nDong, Y. (2002). Integrating language and content: how three biology teachers work with non-English speaking students. International Journal of Bilingual Education and Bilingualism, 5, 40-57.\nFrisch, J.K., Cone, N. & Callahan, B. (2017). Using Personal Science Story Podcasts to Reflect on Language and Connections to Science. Contemporary Issues in Technology and Teacher Education, 17, 205-228.\nFrisch, J. K., Jackson, P. C., & Murray, M. C. Transforming undergraduate biology learning with inquiry-based instruction. Journal of Computing in Higher Education, 1-26. https://doi.org/10.1007/s12528-017-9155-z\nHendry PM (2007) The future of narrative. Qualitative Inquiry, 13, 487\u2013498.\nHuber, J., Caine, V., Huber, M., & Steeves, P. (2013). Narrative inquiry as pedagogy in education: The extraordinary potential of living, telling, retelling, and reliving stories of experience. Review of Research in Education, 37, 212-242.\nHung, C. M., Hwang, G. J., & Huang, I. (2012). A Project-based Digital Storytelling Approach for Improving Students\u2019 Learning Motivation, Problem-Solving Competence and Learning Achievement. Educational Technology & Society, 15, 368-379.\nLambert, J. (2002). Digital storytelling: Capturing lives, creating communities. Berkeley, CA: Digital Diner.\nLambert, J. (2010). Digital Storytelling Cookbook. Berkley, CA: Digital Diner.\nOhler, J. B. (2013). Digital storytelling in the classroom: New media pathways to literacy, learning, and creativity. Thousand Oaks, CA: Corwin Press.\nPearson, P., Moje, E., and Greenleaf, C. (2010). Literacy and science: Each in the service of the other. Science, 328, 459-463.\nPegrum, M., Bartle, E., and Longnecker, N. (2015). Can creative podcasting promote deep learning? The use of podcasting for learning content in an undergraduate science unit. British Journal of Educational Technology, 46, 142-152.\nPutman, S. M., & Kingsley, T. (2009). The atoms family: Using podcasts to enhance the development of science vocabulary. The Reading Teacher, 63, 100-108. Roadside Theater. (2016). Imagining America: Artists and Scholars in Public Life. Case Study: Story Circles as an Evaluation Tool. Retrieved from https://roadside.org/asset/case-study-story-circles-evaluation-tool\nRobin, B.R. (2008). Digital storytelling: A powerful technology tool for the 21st century classroom. Theory into practice, 47, 220-228.\nSnow, C. E. (2010). Academic language and the challenge of reading for learning about science. Science, 328, 450-452.\nSilva, C., Weinburgh, M., and Smith, K.H. (2013). Not just good science teaching: Supporting academic language development. Voices from the middle, 20, 34- 42.\nWest, M., & West, M. P. (Eds.). (1953). A general service list of English words: with semantic frequencies and a supplementary word-list for the writing of popular science and technology. Boston, MA: Addison-Wesley Longman Limited.\nWillox, A. C., Harper, S. L., & Edge, V. L. (2012). Storytelling in a digital age: digital storytelling as an emerging narrative method for preserving and promoting indigenous oral wisdom. Qualitative Research, 13, 127-147", "id": "<urn:uuid:e55af8c2-4354-4e17-ae6b-983a62554b43>", "dump": "CC-MAIN-2021-17", "url": "https://innovations.theaste.org/personal-science-story-podcasts-enhancing-literacy-and-science-content/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00520.warc.gz", "language": "en", "language_score": 0.8102388381958008, "token_count": 1459, "score": 3.890625, "int_score": 4}
{"text": "Unit 3 Summer 2 Newsletter\nWelcome back! We hope you have had a relaxing half-term break. Please find details of our intended learning experience for the second part of this half term.\nLearning Experience Rationale:\nThe children will be immersed in outer space and will develop a knowledge and understanding of our universe. There will be a focus on the values of creativity and independence. We are keen to help the children develop a wider vocabulary as part of this Learning Experience, so we will focus on the science of the universe alongside the creative language needed for narrative writing.\nLearning Experience Hook and Outcome:\nUnit 3 will be hooked into this Learning Experience by learning about the 50th anniversary of the first time man set foot on the moon. We will use videos and images to hook them in and start a discussion about outer space. The children will then prepare for a debate in the class focussed on the question: \u201cShould we be allowed to travel to space as tourists?\u201d This will help to develop their language and speaking skills. We will also discuss the careers that can stem from the study of science as a discipline and inspire a curiosity and a love for learning. The children will develop a good understanding of what makes a planet suitable for life through problem solving and research.\nMaths: During this half term, the children will develop their understanding of decimals and money. We will be looking at the links between decimals and fractions, as well as solving word problems involving money, enabling the children to use their skills in context. We are continuing to develop a mastery approach to our teaching, where the children are required to justify the reasoning for their answers through journaling. We ask that all children practise their times tables at home as often as possible.\nHome Learning: All children will have weekly spellings to learn at home. Children will also need to use the online programs My Maths, Times Tables Rockstars and Read Theory to support their learning in school. Please see your child\u2019s teacher if you require the log ins. Alongside this, please could the children:\n- Conduct some research into Neil Armstrong\u2019s first landing on the moon or Tim Peake\u2019s space voyage.\n- Research the different planets in our solar system.\n- Children can also be supported to build their own rocket or planet.\nPlease could homework be in school the week commencing 15th July.\nLiteracy: The children will be writing a creative diary entry, from the perspective of an astronaut who is trying to find a planet capable of supporting human life. To be able to do this, the children will first need to understand what makes a planet capable of hosting life. The children will then focus on narrative writing techniques, including speech, to create their high-quality diary entry.\nReading at home: Please encourage children to read at home as much as possible. The children will return home with new library books once they have taken a quiz about the book they have read. Over time, this will help improve their reading age and fluency as part of our Accelerated Reader program.\nScience: This term will see the children learning about electricity. Key objectives covered include:\n- Identify simple appliances that run on electricity.\n- Recognise some common insulators and conductors.\n- Identify whether or not a lamp will light in a simple series circuit, based on whether or not the lamp is part of a complete loop with a battery.\nComputing / Spanish / PE / RE:\nWe will continue to focus on drama in rotation starting with conveying emotions. Spanish lessons will be based around sports and hobbies. In RE this half term, we will be focusing on inspirational religious people, and in PE we will be playing cricket.\nClasses will swim on the following days:\nSparrows \u2013 Monday AM, Starlings \u2013 Tuesday AM,\nSwifts \u2013 Thursday PM\nThank you, Miss Pettitt, Miss Prior and Mr Kingdon", "id": "<urn:uuid:b3c2251f-8d41-4f64-90f9-05c81177ee6e>", "dump": "CC-MAIN-2021-17", "url": "https://www.preston.torbay.sch.uk/news/?pid=0&nid=1&storyid=323", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039554437.90/warc/CC-MAIN-20210421222632-20210422012632-00201.warc.gz", "language": "en", "language_score": 0.9468798637390137, "token_count": 810, "score": 3.796875, "int_score": 4}
{"text": "Writing is a medium of human communication that involves the representation of a language with written symbols. Writing systems are not themselves human languages (with the debatable exception of computer languages); they are means of rendering a language into a form that can be reconstructed by other humans separated by time and/or space. While not all languages utilize a writing system, those with systems of inscriptions can complement and extend capacities of spoken language by enabling the creation of durable forms of speech that can be transmitted across space (e.g., correspondence) and stored over time (e.g., libraries or other public records). It has also been observed that the activity of writing itself can have knowledge-transforming effects, since it allows humans to externalize their thinking in forms that are easier to reflect on and potentially rework. Writing relies on many of the same semantic structures as the speech it represents, such as lexicon and syntax, with the added dependency of a system of symbols to represent that language's phonology and morphology. The result of the activity of writing is called a text, and the interpreter or activator of this text is called a reader.\nAs human societies emerged, collective motivations for the development of writing were driven by pragmatic exigencies like keeping history, maintaining culture, codifying knowledge through curricula and lists of texts deemed to contain foundational knowledge (e.g., The Canon of Medicine) or to be artistically exceptional (e.g., a literary canon), organizing and governing societies through the formation of legal systems, census records, contracts, deeds of ownership, taxation, trade agreements, treaties, and so on. Amateur historians, including H.G. Wells, had speculated since the early 20th century on the likely correspondence between the emergence of systems of writing and the development of city-states into empires. As Charles Bazerman explains, the \"marking of signs on stones, clay, paper, and now digital memories\u2014each more portable and rapidly traveling than the previous\u2014provided means for increasingly coordinated and extended action as well as memory across larger groups of people over time and space.\" For example, around the 4th millennium BC, the complexity of trade and administration in Mesopotamia outgrew human memory, and writing became a more dependable method of recording and presenting transactions in a permanent form. In both ancient Egypt and Mesoamerica, on the other hand, writing may have evolved through calendric and political necessities for recording historical and environmental events. Further innovations included more uniform, predictable, and widely dispersed legal systems, distribution and discussion of accessible versions of sacred texts, and the origins of modern practices of scientific inquiry and knowledge-consolidation, all largely reliant on portable and easily reproducible forms of inscribed language.\nIndividual, as opposed to collective, motivations for writing include improvised additional capacity for the limitations of human memory (e.g., to-do lists, recipes, reminders, logbooks, maps, the proper sequence for a complicated task or important ritual), dissemination of ideas (as in an essay, monograph, broadside, petition, or manifesto), imaginative narratives and other forms of storytelling, personal or business correspondence, and lifewriting (e.g., a diary or journal). (Full article...)\nPictured left: Blisssymbols stating \"I want to go to the cinema\"\nBlissymbolics or Blissymbols were conceived of as an ideographic writing system consisting of several hundred basic symbols, each representing a concept, which can be composed together to generate new symbols that represent new concepts. Blissymbols differ from all the world's major writing systems in that the characters do not correspond at all to the sounds of any spoken language.\nThey were invented by Charles K. Bliss (1897-1985) after the Second World War. Bliss wanted to create an easy-to-learn international auxiliary language to allow communication between people who do not speak the same language. He was inspired by Chinese ideograms, with which Bliss became familiar while in Shanghai as a refugee from Nazi anti-semitic persecution. His system World Writing was explained in his work Semantography (1949). This work laid out the language structure and vocabulary for his utopian vision of easy communication, but it failed to gain popularity. However, since the 1960s, Blissymbols have become popular as a method of augmentative and alternative communication (AAC) for non-speaking people with cerebral palsy or other disorders, for whom it can be impossible to otherwise communicate with spoken language. (Full article...)\nRudolf Koch (November 20, 1876 - April 9, 1934) was a leading German calligrapher, typographic artist and teacher, born in Nuremberg. He was primarily a calligrapher with the Gebr. Klingspor foundry. He created several fonts, both in fraktur and normal formats. Fritz Kredel studied under Koch.\nKoch wrote a book of 493 old-world symbols, monograms and runes entitled The Book of Signs which was published in 1955 by Dover Publications, INC. and which belongs to the Dover Pictorial Archive Series.\nSome of Koch's work can be seen today at the Klingspor Museum in Offenbach.\nSome typefaces developed by Koch include:", "id": "<urn:uuid:b001912c-232f-43ab-97ca-26f7ab27002f>", "dump": "CC-MAIN-2021-17", "url": "https://en.m.wikipedia.org/wiki/Portal:Writing", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00117.warc.gz", "language": "en", "language_score": 0.9557955265045166, "token_count": 1075, "score": 3.640625, "int_score": 4}
{"text": "Writing is powerful, but for students with language-based learning differences, it presents a daunting challenge. This is why our English classes emphasize explicit writing instruction. At Greenwood, our students learn that writing is a form of self-exploration and expression, a tool for learning and discovery, and ultimately a way to leave one\u2019s mark on the world.\nWriting is also highly demanding, drawing on more simultaneous cognitive processes than any other academic activity our students face. At Greenwood, we provide our students with highly structured writing instruction that breaks down these demands into a manageable, predictable process. We teach the writing process by repeatedly working through the steps of prewriting, organizing, writing, editing, revising, and publishing. With each new writing form introduced, students analyze and deconstruct model pieces. Teachers demonstrate the process before repeating the steps collaboratively with students. Finally, students use the strategies that work best for them to complete the process on their own.\nOver time, our students gain stamina and develop a personal writing process that employs traditional methods along with technological strategies. We believe it is vital to teach our students how technology supports the writing process. With this instruction, our students change their minds about what writing entails.\nInitially, many of our students believe putting their thoughts on paper is the final product. At Greenwood, students learn that working through a set of predictable steps often results in unpredicted ideas and outcomes which necessitate extensive rewriting. For students who struggle with the demands of writing, it takes time to build a firm trust in this process. However, with this trust, students not only gain confidence in writing, but they come to see themselves as writers.\nWhile English class at Greenwood is heavily focused on diagnostic prescriptive writing instruction, academic writing is largely based on text analysis, so reading is, of course, an important part of the curriculum as well. Using a variety of literary and expository texts, teachers build theme-based units with a clear progression of skills with increasing text complexity.\nTeachers draw from classic works of literature as well as new material that is timely and relevant to the students\u2019 interests and lives. Teachers are not bound to a fixed set of texts or curriculum and lessons are flexible, following organic strands of inquiry and interest. Starting with a base framework of four categories - Reading for Meaning, Writing, Speaking and Listening, and Language - teachers pursue objectives based on common core standards but also have the flexibility to adjust the amount of work spent on developing specific skills depending on the individual needs of the students in each class. This is the benefit of small classes and diagnostic prescriptive teaching.\nWe meet students at their current level and develop specific lessons in order to close the skills gap. However, this is not accomplished at the expense of academic rigor. Our goal is to maintain a healthy balance of challenge, accommodation, and remediation in order to ultimately prepare our students for postsecondary demands in reading and writing and to foster a positive, enriching outlook on the written word.\n- High School English\n- Theme-based course examples:\n- HS ENGL - People and Power\n- HS ENGL - Finding our Voices\n- HS ENGL - Responses to Change\n- HS ENGL - World Perspectives\n- HS ENGL - Transformations\n- Creative Writing (Poetry, Playwriting, Fiction, Creative Nonfiction)\n- Advanced Literature examples:\n- Ihuman - Exploring what it means to be human through the study of science fiction.\n- Dramatic Literature - Survey of drama from ancient Greek comedy and tragedy to modern works for the stage and screen.", "id": "<urn:uuid:b6cc6bef-1830-48d7-a523-edb39f1ceb06>", "dump": "CC-MAIN-2021-17", "url": "https://www.greenwood.org/academics/english-language-arts-ela", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00162.warc.gz", "language": "en", "language_score": 0.9494537115097046, "token_count": 735, "score": 3.546875, "int_score": 4}
{"text": "Examine the importance and explore different types of public products that can be used in project-based learning.\nIf a student creates a project and no one sees it, or hears it, or interacts with it, does it truly matter? Can it ever be truly authentic?\nThere are two key elements of a public product: a public audience and an authentic product. It takes both parts to have a truly authentic project-based learning (PBL) experience.\nThe public product is a way for students to apply what they have been learning to something beyond themselves. The product should actually matter to someone else, not just the members of the PBL group. In addition, the public product allows students to show what they have learned, demonstrate how they have answered the driving question, and share the amazing product they have created with an authentic audience.\nWho comprises an authentic audience? It depends on the public product, but it should always include people beyond students in the class and the teacher. If students have designed a class field trip and they are trying to get permission or funds to go on the field trip, then the principal and other teachers might be an authentic audience. However, if the public product is focused on the local water quality, then the principal and other teachers are probably not the most authentic audience. The public audience may include peers, parents/guardians, community members, business leaders, outside experts, or a global audience through the use of technology.\nAn audience should provide some type of feedback to students. According to PBLWorks, when sharing a public product, students should be asked to \u201cexplain the reasoning behind choices they made, their inquiry process, how they worked, what they learned, etc.\u201d If public products are released to the public, on a small scale or globally, and there is no type of questioning and feedback, the product still needs to be discussed. Students need to be able to reflect and process all of their learning. Reflecting, discussing, and receiving feedback from an authentic audience is most ideal, but when the ideal may not be feasible, do the best you can to make it as authentic as possible.\nBecause the product is public and matters to people outside of the group who created it, students are likely to be more engaged and care more deeply about the outcome and the quality of their public product; they don\u2019t want to look unprepared to people in the \u201creal world.\u201d In addition, a public product allows student work to be visible and discussed by others. Students are able to receive feedback from people who are typically not their peers or their teacher (hopefully they are also getting this feedback prior to the final public product). For example, if several groups of students submit an inclusive playground design with a model, budget, and video and/or essay explaining why their playground should be built to a school board or community organization in charge of playground construction, their work is public, their work matters, and their work is discussed by others outside their classroom and even their school. In short, their work is authentic.\nCreating relationships with outside organizations to work with students is a key component of PBL. Students, especially older students, are able to seek out and make connections to experts who may be able to help them. However, it is much easier and may be essential for younger students to have these connections created, or at least initiated, by the teacher, the school, or the district. Many districts already have partnerships with organizations and businesses, and it is just a matter of reaching out to them. In other cases, it may be up to you to take the first step in creating and building those relationships. Remember that it is okay to start small and continue to build as time goes on and more projects are undertaken.\nWhen gathering an authentic audience and stakeholders, consider having them be available throughout the project as a resource, or at least consider having them available at some point to provide feedback prior to the final public product being completed. If students will be creating an application, a game, or a YouTube video for their final product and using the World Wide Web as their audience, they can still connect to stakeholders who have careers creating similar products, and students can see how many people have downloaded or used their product, which is another form of feedback.\nLastly, public products can and should be made public long before they are finished. Students should be constantly reflecting on their work and creation, giving and receiving critiques, and revising their product throughout the PBL unit. The product is not a one-and-done event. To learn more about the importance of reflection, critique, and revision, consider reading the AVID Open Access article, Support Student Reflection, Critique, and Revision in Project-Based Learning.\nTypes of Public Products\nA public product does not mean that you have to put on a huge exhibition for students. In some cases, it may be that, but it absolutely does not need to be a huge event. Remember to start small! Maybe the first time that you and your students engage in PBL, their public product is for another class of students or just their families. Maybe it is for a small panel of community members. Maybe it is the creation of a website, game, or video that is posted to a larger global community using the Internet. Maybe students are creating a submission for an authentic contest or engaging in some type of authentic competition. There are truly endless possibilities, both small and big.\nBackwards planning is important when designing and planning projects for your students. Keeping the public product in mind will help you in your PBL design and planning, and it will force you to think about the types of choices that students will be able to make around their final product. You will also be able to think about and create a rubric, which can always be modified, to help students in the creation of their public product. When thinking about what type of public product students will be able to create, it is important to ask yourself, and even have students think about, the following things:\n- Is the product authentic?\n- Is the product attainable in the amount of time that students have available?\n- Do students have access to the supplies and resources needed to complete the product?\n- What components of the product should be done by individuals, and which components should be done by the group?\n- Will all groups be creating similar products, or will/can all products be different?\n- Will the product show evidence of students meeting standards and learning targets/goals?\nOnce these questions have been considered, you can narrow down public product options. Public products can vary widely, and there are probably many products and ideas that your students will come up with that you have never thought of\u2026and that\u2019s okay. Many public products often, and really should, include more than one component. For example, if students create a play, they may have also created a script, costumes, set, brochures, advertisements, a budget, promotions for social media, or posters\u2015all of which may be presented to the public. To get you thinking, here is a list of 100 + Final Product Ideas for Project-Based Learning from Experiential Learning Depot and A Collection of Project Based Learning End Products from Learning in Hand. You might also consider visiting PBLWorks\u2019 Project Designer to explore more product options. Lastly, there are a lot of ideas of types of public products in the following two AVID Open Access articles, Design Summative Assessments for a Live Virtual Classroom and Design Summative Assessments for a Self-Paced Virtual Classroom.\nIf you are planning to include some type of writing, animation, picture, audio, and/or video element as part your students\u2019 public products, consider having them use some of the resources highlighted in the following AVID Open Access Articles:\n- Writing: Think It, Write It: Creative Writing Across the Curriculum\n- Animation: Enter the Magical World of Animation\n- Picture: Picture This: The Power of Images in Student Creation\n- Audio: Hear It, Say It, Play It: The Power of Audio in Student Creation\n- Video: Imagine, Record, Create: The Power of Video in Student Creation\nExtend Your Learning\n- PBL vs Product-Based Learning (PBLWorks)\n- The Keys to High Quality PBL: Public Products and Presentations of Work (Getting Smart)\n- The Power of Professional Presentations (PBLWorks)\n- How to Prepare Students for Explaining Their Work in Public (PBLWorks)\n- How to Engage Reluctant (and Even Refusing) Presenters in PBL (PBLWorks)", "id": "<urn:uuid:a66658a7-34d5-485a-953c-4ee8830a038a>", "dump": "CC-MAIN-2021-17", "url": "https://avidopenaccess.org/course/make-project-based-learning-truly-authentic-with-public-products/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00362.warc.gz", "language": "en", "language_score": 0.9613303542137146, "token_count": 1781, "score": 3.859375, "int_score": 4}
{"text": "Right from Key Stage 1 we are beginning to investigate simple algorithms and to investigate computer programs. In reception and EYFS then, giving children the chance to experience activities and objects which encourage the correct use of technology- (experience the world around them) \u2013 is important. Think useful, colourful and fun!!\nOften overlooked! Or tucked away in a cupboard somewhere without charge\u2026 For that reason I recommend this set of rechargeable and self contained Bee Bots!\nUse with maps on the floor to link with topics \u2013 e.g Desert Island Treasure or Road.\n- Great for linking to topic maps and stories.\n- Versatile \u2013 link to instruction writing or leave as play\nRemote Control Cars\nSounds simple, but these will encourage pupils to think in terms of instruction following, and develop direction, motor skills and control.\n- Can be linked to topics and stories in a similar way to Bee Bots.\n- Encourage group working and talking whilst play.\nMake use of the whiteboard!\nThe 2 Simple City is a great environment for simulation and play. However it could be as simple as leaving your smart board software up there so they can play. However a quick search will find many online games aimed at this age group that can be linked to topics. Try Poisson Rouge or looking at the TES iBoard \u2013 some of which are free.\n- Use a rota for the children who are allowed on the whiteboard, maybe with a timer so that other children get the chance.\n- Many of these activities can also be left on the classroom computers.\nI\u2019ve really begun to like the wide variety of classroom props around that let you (or the pupils) record their own message. My favourite are the recordable pegs which let children record explanations and ideas linked to classroom work, or in storytelling corners. Gives a lovely personal touch to the classroom. You can also get little push buttons which allow you to leave oral instructions for activities, or children to practice their talk before writing.\nLaptops / Tablet Computers\nDiscussions around \u2018what\u2019s best\u2019 for younger hands / eyes / experiences aside try and think what would fit best within you school environment. I always recommend a mixture are available for the children to use \u2013 and for computers you can get some lovely smaller mice and colourful keyboards. On Android and ipad there are plenty of apps that can be used, and some very safe covers to protect from water / dropping etc. Plenty of the apps I\u2019ve looked at here fit in well with early users, too.\nLinks \u2013 note there is a wide variety of shops / sites which sell this equipment! Recommended just to get started:\nPlease leave a comment if you can recommend any other equipment / programmes for the early years environment!", "id": "<urn:uuid:1c112cda-80eb-48ad-ac84-f2323b2e773d>", "dump": "CC-MAIN-2021-17", "url": "http://www.digitalclassrooms.co.uk/computing-in-the-early-years-and-beyond/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00563.warc.gz", "language": "en", "language_score": 0.9373953342437744, "token_count": 571, "score": 3.59375, "int_score": 4}
{"text": "If a computer can correctly identify an object (an apple, a tricycle) or an animal such as a zebra, can it produce a drawing of that object or animal? This is something most people can do, even if their drawing skills are minimal. After all, almost anyone can play Pictionary.\nThis 8-minute video shows us what happened when a programmer-artist reversed the process of an AI that recognizes objects and animals in digital images. I really admire the deft storytelling here.\nObject recognition has improved amazingly in the past 10 years, but that does not mean these AI systems see the same way as a human does. In some cases, that might not matter at all. In other cases, it can mean the difference between life and death.\nIn yesterday\u2019s post I mentioned the way a convolutional neural network (part of a machine learning system) processes an image through many stacked layers of detection units (sometimes called neurons), identifying edges and shapes that eventually lead to a conclusion that the image is likely to contain such-and-such an object, animal, or person. Today\u2019s video shows a bit more about the training process that an AI goes through before it can perform these identifications.\nTraining is necessary in the type of machine learning called supervised learning. The training data (in this case, digital images of objects and animals) must be labeled in advance. That is, the system receives thousands of images labeled \u201ctiger\u201d before it is able to recognize a tiger in a random photo or video. If a system can identify 20 different animals, that system was trained on thousands of images of each animal.\nIf the system was never trained on tigers, it cannot recognize a tiger.\nSo today\u2019s video gives us a nice glimpse into how and why that training works, and what its limitations are. What\u2019s really fascinating to me, though, are the images produced by programmer-artist Tom White\u2018s system.\n\u201cI have created a drawing system that allows neural networks to produce abstract ink prints that reveal their visual concepts. Surprisingly, these prints are recognized not only by the neural networks that created them, but also universally across most AI systems which have been trained to recognize the same objects.\u201d\u2014Tom White\nIn the video, you\u2019ll see that humans cannot recognize what the AI drew. The rendering is too abstract, too unlike what we see and what we would draw ourselves. Note what White says, though, about other AI systems: they can recognize the object in these AI-produced drawings.\nThis is, I think, related to what is called adversarial AI, which I\u2019ll discuss in a future post.\nAI in Media and Society by Mindy McAdams is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.\nInclude the author\u2019s name (Mindy McAdams) and a link to the original post in any reuse of this content.", "id": "<urn:uuid:42cb53a8-8102-4326-99e2-15e3d99d2cb0>", "dump": "CC-MAIN-2021-17", "url": "https://www.macloo.com/ai/2020/08/12/ask-a-computer-to-draw-what-it-sees/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00600.warc.gz", "language": "en", "language_score": 0.9475805759429932, "token_count": 616, "score": 3.5625, "int_score": 4}
{"text": "Good songs follow certain structures and contain certain parts. One very important part of a song is the chorus. In this lesson, we\u2019ll talk about this aspect of song structure and see how it\u2019s used.\nImagine that you\u2019re listening to an online music channel or the radio, and you hear a new song. As you start to listen to the new song, you already have some expectations about its structure. Why? Well, the vast majority of popular songs adhere to a consistent structure that goes something like this: verse-chorus-verse-chorus-bridge-chorus. Each part of the song contains different bits of information, and by structuring songs along this pattern, listeners know what to expect. Which part of the song is the most important? What does the artist really want to you take away from it?If you go back to the verse-chorus-verse-chorus-bridge-chorus structure, you\u2019ll notice that one word really stands out: the chorus. In a song composed of both music and lyrics, the chorus is not only the most repeated section but also the one where you can find the real meaning of a song.\nThrough repetition and the use of catchy melodies, this section makes sure that you remember a song.\nThe chorus of a song is meant to be the most memorable part, containing the ultimate message of the piece. In order to do this, choruses generally rely on a series of techniques. The first has to do with the lyrics, the spoken or sung words. While the lyrics in verses convey the background information needed to understand the emotional or narrative structure of the song, the lyrics in the chorus provide listeners with the real message. For this reason, chorus lyrics tend to be simpler and more direct than the lyrics of verses.\nTo really drive home the point, the chorus lyrics tend to be based on a theme of repetition to ensure maximum retention. Frequently, the words of a chorus are identical after every single verse. This makes the chorus easy to memorize, and subsequently, easy to sing along with. Occasionally, however, parts of the lyrics will change between each chorus while maintaining the same overall structure. When done well, this can also make the chorus more memorable by drawing the listener\u2019s attention to the differences. Turn on the radio and listen to the first song that comes on \u2013 you\u2019ll probably be able to identify the chorus by the repetitive lyrics.\nOf course, if a chorus consisted of only repetitive lyrics, it wouldn\u2019t really be a song, it would be a poem. Songs are defined by music. Since the chorus is so important, we can expect the music to reinforce it. While the lyrics of a chorus are defined by repetition, the music of a chorus is defined by its uniqueness.\nEven without the lyrics, you could probably identify the chorus of a song simply by listening for changes in the patterns of chords used to construct it.A verse tends to follow one, repetitive set of chords, but a chorus uses a different pattern of chords, which accomplishes two things. First, it helps the chorus stand out from the verses, making it audibly more noticeable.\nIt ensures that the music resolution occurs at the same time as the lyrical resolution. All music has direction, created by changes between chords that create and resolve musical tension. If you want the lyrics of your chorus to communicate the main message of a song, then it helps to resolve this tension in the most important lyrics.The music of the chorus comes largely from the instruments, but the lyrics almost always compose the melody, or the main musical theme of a song.\nSo, while the chords in the background, or the harmony, tend to resolve during the chorus, the melody reinforces them. Think of a song that you like, but only sort of know the words to. If asked to sing the first section of the song that came to mind, you\u2019d probably sing the chorus: it\u2019s memorable, it\u2019s catchy, and it\u2019s fun to sing.\nIt\u2019s also an effective way to drive home a message.\nMost of our popular songs are based on a similar song structure, used to organize the information in the most useful and usable way. The focus of this structure is the chorus, a lyrically repetitive section containing the main message of a song. The lyrics of a chorus tend to be more direct and simpler than the verse and feature a significant amount of repetition.\nMusically, the chorus also carries the main melody and features a different chord progression than the verses, where musical tension is resolved. By using all of these techniques, musicians make sure that the chorus stands out and that the audience retains the message. The result is one of the catchiest forms of communication in our world.", "id": "<urn:uuid:c92fe4db-9493-4094-93be-dcf59f28ae1c>", "dump": "CC-MAIN-2021-17", "url": "https://great-home-decorations.com/what-is-a-chorus-in-a-song-definition-examples/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00442.warc.gz", "language": "en", "language_score": 0.9443678855895996, "token_count": 987, "score": 3.53125, "int_score": 4}
{"text": "Engagement is the key to effective instruction.\nA direct path to engagement is simply to tell a good story.\nDocumentary film, done well, can engage and instruct through storytelling. Consider Ken Burns\u2019 The Civil War. Presented to the Public Broadcasting Service audience as a niche product \u2013 a miniseries exploring at length an era most people may have had their fill of in grade school \u2013 the film surprised Burns and PBS when it became a national phenomenon.\nThe Civil War also found its way into the classroom. Used as a means to engage students in the topic, it provides a jumping-off point for discussion, interpretation, and further study. Burns says in his introduction to the PBS site devoted to educational use of the film, \u201cThe series can\u2019t replace the teacher or the classroom, but in conjunction with what you as the teacher do, it can make the era come alive in a way never before possible. In many ways, the series asks as many questions as it answers and should serve as a starting point for active learning and classroom discussion.\u201d\nEven when excellent course materials are available, the addition of documentary film to teaching brings a number of enhancements.\n- Flexibility for the instructor: A course will be structured in specific ways, and generally must be presented in its entirety and in sequence. A film can be viewed at any time and excerpted as needed.\n- Lower cognitive load for the learner: Viewing a film demands less of the audience than reading text or clicking through a course. The learner follows along with the story without conscious effort.\n- Easy sell: \u201cWatch this\u201d (at home, in class, on a phone) is an easy task to assign and to complete. Much easier than \u201cread pages 148-207\u201d or \u201ccomplete Module 5.\u201d\n- Potentially high engagement: Despite the apparent passivity of watching, visual media can lead to greater engagement with the material, which leads to high retention. Ask yourself how many good movie scenes you can recall? Now\u2013how many good textbook passages?\nIn an instructional context, these factors \u2013 especially the combination of an easy sell and a high level of engagement \u2013 are very valuable.\nBut a film can\u2019t stand alone as an instructional method. As noted above, watching the documentary should only be part of the process. Discussion questions and related readings need to be included in the mix to prompt reflection and to illustrate the topic more completely.\nThe de Beaumont Foundation\u2019s film \u201cPublic Health and Politics: Examining the Surgeon General\u201d is seeing similar application. The short documentary explores the interplay of politics with the Office of the Surgeon General throughout the Surgeon General\u2019s history. It is built around interviews with public health officials relating the challenges of balancing science and politics through a focus on the July, 2007 Congressional hearing on improving the effectiveness of government. Since making the film available online and presenting it at screenings and film festivals, we\u2019ve spoken with educators who have shared their ideas for using it in public health policy, ethics, and law classes.\nThe film was developed alongside our free learning course of the same name. We designed the course using archival footage and interviews coupled with selected readings and discussion questions \u2013 not dissimilar to the lesson plans and learning activities you can find at the PBS Civil War site and other resource links below. The film can serve as an introduction to the complex relationship between politics and public health, and as a supplement to our course and others.\nLet me offer one word of caution. Take the same care when selecting a film for your classroom that you would when assigning a book. Be aware that documentary films can be made to promote a specific viewpoint, sometimes to the detriment of accuracy. While this can raise questions about the appropriateness of using a particular film in the classroom, a documentary that takes sides \u2013 even a propaganda piece \u2013 can still be of value. In these cases, watching the film and then examining the history and context behind it can provide valuable insight on the issues the film addresses. An instructor might ask students to compare the film\u2019s position with opposing views held by other sources \u2013 and with their own.\nIn other instances, using \u201cPublic Health and Politics\u201d as an example, the documentary may present varying positions on an issue. This is an opportunity for students to work with the complexity of the topic. A discussion can be prompted by asking students to explain where the individuals presented have differing views and where they agree.\nThe best films, especially for training and education, are the ones that carry us along with them to new places, the ones that have us see things with new eyes, and \u2013 without our even realizing it \u2013 the ones that enable us to think about things in new ways.\nInterested in using documentaries as teaching tools?\nLesson plans, sample discussion questions, and other resources are available at the following links:\n- PBS provides clips, lesson plans, and learning activities using Ken Burns\u2019 The Civil War: The Civil War in the Classroom.\n- PBS\u2019s POV has free resources for educators, including online film clips connected to discussion questions and lesson plans.\n- Jessie Daniels, PhD, of Hunter College and The Graduate Center \u2013 CUNY, has set up a wiki of films and resources for her Teaching Sociology through Documentary project.\n- Dr. Daniels discusses her approach to using film and other media in her courses at CUNY, \u201cTeaching and Learning with Documentaries in the Digital Era.\u201c\n- The New York Times Learning Network Film Club offers short NYT documentaries with related discussion questions.\n- Teach With Movies offers guides and lesson plans for films that have life lessons and positive moral messages, to help make these messages meaningful for young audiences.", "id": "<urn:uuid:cc4447cf-7236-49dd-a0c8-fdd99eb6c74c>", "dump": "CC-MAIN-2021-17", "url": "https://debeaumont.org/news/2017/the-documentary-as-a-teaching-tool/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038060927.2/warc/CC-MAIN-20210411030031-20210411060031-00042.warc.gz", "language": "en", "language_score": 0.9458028674125671, "token_count": 1193, "score": 3.703125, "int_score": 4}
{"text": "- 1 What are the characteristics of realism in American literature?\n- 2 What does realism mean in literature?\n- 3 Why did realism develop in American literature?\n- 4 What are characteristics of realism in literature?\n- 5 What are two characteristics of realism?\n- 6 What is the concept of realism?\n- 7 How does realism affect literature?\n- 8 What is the importance of realism?\n- 9 What is the history of realism?\n- 10 Who is the father of American realism?\n- 11 What were the values of American realism?\n- 12 What is realism and naturalism in American literature?\n- 13 Who started realism in literature?\n- 14 What are the examples of realism?\nWhat are the characteristics of realism in American literature?\nRealism renders reality closely and in comprehensive detail. Selective presentation of reality with an emphasis on verisimilitude, Character is more important than action and plot; and complex ethical choices are often the subject.\nWhat does realism mean in literature?\nLiterary realism is a literary movement that represents reality by portraying mundane, everyday experiences as they are in real life. It depicts familiar people, places, and stories, primarily about the middle and lower classes of society.\nWhy did realism develop in American literature?\nAmerican Realism began as a reaction to and a rejection of Romanticism, with its emphasis on emotion, imagination, and the individual. The movement began as early as the 1830\u2019s but reached prominence and held sway from the end of the Civil War to around the end of the nineteenth century.\nWhat are characteristics of realism in literature?\nRealism, in the arts, the accurate, detailed, unembellished depiction of nature or of contemporary life. Realism rejects imaginative idealization in favour of a close observation of outward appearances. As such, realism in its broad sense has comprised many artistic currents in different civilizations.\nWhat are two characteristics of realism?\nElements of Literary Realism Realistic characters and setting. Comprehensive detail about everyday occurrences. Plausible plot (a story that could happen in your town) Real dialects of the area. Character development important. Importance in depicting social class.\nWhat is the concept of realism?\nRealism is a theory that claims to explain the reality of international politics. For realists, the highest goal is the survival of the state, which explains why states\u2019 actions are judged according to the ethics of responsibility rather than by moral principles.\nHow does realism affect literature?\nExamples of Novels in Literary Realism Literacy grew and written works were more accessible. Realism also enhanced the prevalence of novels since their subject matter often focused on characters and themes important and relatable to the working class, middle class, and social mobility.\nWhat is the importance of realism?\nRealism revolted against the exotic subject matter and the exaggerated emotionalism and drama of the Romantic movement. Instead, it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life.\nWhat is the history of realism?\nRealism was an artistic movement that began in France in the 1850s, following the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century, revolting against the exotic subject matter and exaggerated emotionalism of the movement.\nWho is the father of American realism?\n\u201d Father of American Realism\u201d Born Samuel Langhorne on November 30, 1835, in the backwoods settlement of Florida Missouri, Mark Twain is the most celebrated humorist in American history.\nWhat were the values of American realism?\nAmerican authors embraced Realism, particularly between 1860 \u2013 1890, with a focus on the economic reality of middle-class life, the ordinary, the \u201chere and now.\u201d Character was more important than action and plot, complex ethical choices were emphasized rather than morality.\nWhat is realism and naturalism in American literature?\nBetween 1870 and 1910, there were two main movements that took place in American literature: realism and naturalism. Realism was a literary movement that focused on ordinary characters ordinary, everyday life situations. Naturalism often included themes of survival, determinism, and violence.\nWho started realism in literature?\nThe French writer who started the realism movement is Honor\u00e9 de Balzac. Honor\u00e9 de Balzac was a French novelist in the 19th-century known for writing about an unfiltered view of society and a founder of the realism movement.\nWhat are the examples of realism?\nRealism is a representation of how things really are, or being practical and facing facts. An example of realism is the rejection of mythical beings. A tendency to face facts and be practical rather than imaginative or visionary. A concern for fact or reality and rejection of the impractical and visionary.", "id": "<urn:uuid:0d62b987-9f7e-4f5d-9e04-cdcca72a7856>", "dump": "CC-MAIN-2021-17", "url": "https://www.myriam-chansons.net/faq/readers-ask-realism-american-literature.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039594808.94/warc/CC-MAIN-20210423131042-20210423161042-00003.warc.gz", "language": "en", "language_score": 0.9591951370239258, "token_count": 997, "score": 3.75, "int_score": 4}
{"text": "Children begin telling stories as young as age two or three. And they continue to develop storytelling skills in their interaction with parents and others who provide guidance and feedback.\nThe ability to tell a coherent and well-developed narrative may be important for children\u2019s literacy development. However, most of the studies on children\u2019s storytelling and reading skills have been conducted with samples of middle-class white children.\nTo address this gap in the research, my colleague Iheoma Iruka and I studied data of children from different socioeconomic and racial/ethnic groups from across the United States.\nWhat we found surprised us.\nStorytelling among African-American children\nFor our research, we used national data from the Early Childhood Longitudinal Study, a study of about 14,000 children born in the United States in 2001, that examined their development, school readiness, and early school experiences. We focused on 6,150 children who were identified as African-American, Asian-American, Latino, and European American.\nTo understand the role that storytelling skills play in the link between language and early literacy, we used data from when children were two years old until they were five years old.\nWhen the children were two years old, parents were asked to describe their children\u2019s language abilities. Later, when children were four years old, their storytelling skills were measured by asking them to retell stories they had just heard a researcher tell them. At five years old, children were given an assessment of their early literacy.\nFor most racial/ethnic and socioeconomic groups of children, we found that children who had better language skills as toddlers did better on the literacy assessment when they were five years old.\nBut when we looked at how storytelling plays a role between early language and early literacy, we found that when it came to African-American children, it made a big difference. For these children, the higher their storytelling scores, the better they did on the early literacy assessment. Interestingly, it didn\u2019t make a difference for the other groups.\nWhat this study tells us\nStorytelling skills may be less important for the early literacy skills of most children. But for African-American children, these skills seem to be important for early literacy in a way that may not be true of other children.\nWe also know from other research that, from early on, African-American children tell stories that are vivid, elaborate, and rich in imagery. The quality of stories produced by African-American children has been found to be on par with or exceed that of stories told by their white peers. Other studies find that African-American children have a wide repertoire of storytelling styles, which they use flexibly depending on the context.\nThe strong storytelling skills of African-American children may stem from the cultural and historic influences that have fostered a preference for orality among African Americans.\nAll this should lead us to believe that African-American kids, with their strong storytelling skills, should do better with their reading skills. However, we know that African-American children are failing to learn basic reading skills. A nationwide test of reading achievement showed that four out of five African-American fourth graders failed to achieve competency in reading in 2013.\nSo, why are African-American children not performing better in reading? More research is needed, but possible explanations suggest that the low-quality schools many of these kids go to end up having a negative impact on their reading skills. In addition, many of these kids may have language skills that differ from those expected at school.\nWhy does storytelling matter?\nFor most other kids, studies suggest that storytelling skills may show their influence when children are older.\nAnd that could be because storytelling uses \u201cdecontextualized\u201d language. Decontextualized language differs from conversational or contextualized language in that decontextualized language functions independently from the immediate context or shared knowledge between listeners and the storyteller.\nAs children tell stories, they gain practice in using the same type of language that is used in written text, which can help them as they learn to read.\nWhile teachers and parents have been told to read books to children to support their language and literacy development, encouraging children to tell stories as a way to support language and literacy has received less attention.\nSo, what can teachers and parents do?\nMany schools have a \u201cshow-and-tell\u201d time that can allow children a chance to practice storytelling skills as they share information about a valued object. As teachers and peers ask questions, they can facilitate children\u2019s storytelling skills.\nParents and teachers can also model storytelling for children by sharing their own experiences, in the form of a story that has a clear beginning, middle, and end, and addresses the questions of who, what, where, when, and why. Using props like wordless books, puppets, dolls, and photographs may also help children in developing stories.\nWhile learning to tell stories can be useful for all children, this skill may be most needed for those at risk of achieving reading competency.", "id": "<urn:uuid:ff326138-81d3-4ee3-adbd-96134c417729>", "dump": "CC-MAIN-2021-17", "url": "https://greatergood.berkeley.edu/article/item/why_storytelling_skills_matter_for_african_american_kids", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00440.warc.gz", "language": "en", "language_score": 0.9767373204231262, "token_count": 1036, "score": 3.796875, "int_score": 4}
{"text": "Join us on Facebook: www.fb.com/unitedhumanists\nNeuroscientists create atlas showing how words are organised in the brain.\nScientists have created an \u201catlas of the brain\u201d that reveals how the meanings of words are arranged across different regions of the organ.\nLike a colourful quilt laid over the cortex, the atlas displays in rainbow hues how individual words and the concepts they convey can be grouped together in clumps of white matter.\n\u201cOur goal was to build a giant atlas that shows how one specific aspect of language is represented in the brain, in this case semantics, or the meanings of words,\u201d said Jack Gallant, a neuroscientist at the University of California, Berkeley.\nDescribed as a \u201ctour de force\u201d by one researcher who was not involved in the study, the atlas demonstrates how modern imaging can transform our knowledge of how the brain performs some of its most important tasks. With further advances, the technology could have a profound impact on medicine and other fields.\n\u201cIt is possible that this approach could be used to decode information about what words a person is hearing, reading, or possibly even thinking,\u201d said Alexander Huth, the first author on the study. One potential use would be a language decoder that could allow people silenced by motor neurone disease or locked-in syndrome to speak through a computer.\nTo create the atlas, the scientists recorded people\u2019s brain activity while they listened to stories read out on The Moth Radio Hour, a US radio show. They then matched the transcripts of the stories with the brain activity data to show how groups of related words triggered neural responses in 50,000 to 80,000 pea-sized spots all over the cerebral cortex.\nHuth used stories from The Moth Radio Hour because they are short and compelling. The more enthralling the stories, the more confident the scientists could be that the people being scanned were focusing on the words and not drifting off. Seven people listened to two hours of stories each. Per person, that amounted to hearing roughly 25,000 words- and more than 3,000 different words \u2013 as they lay in the scanner.\nThe atlas shows how words and related terms exercise the same regions of the brain. For example, on the left-hand side of the brain, above the ear, is one of the tiny regions that represents the word \u201cvictim\u201d. The same region responds to \u201ckilled\u201d, \u201cconvicted\u201d, \u201cmurdered\u201d and \u201cconfessed\u201d. On the brain\u2019s right-hand side, near the top of the head, is one of the brain spots activated by family terms: \u201cwife\u201d, \u201chusband\u201d, \u201cchildren\u201d, \u201cparents\u201d.\nEach word is represented by more than one spot because words tend to have several meanings. One part of the brain, for example, reliably responds to the word \u201ctop\u201d, along with other words that describe clothing. But the word \u201ctop\u201d activates many other regions. One of them responds to numbers and measurements, another to buildings and places. The scientists have created an interactive website where the public can explore the brain atlas.\nStrikingly, the brain atlases were similar for all the participants, suggesting that their brains organised the meanings of words in the same way. The scientists only scanned five men and two women, however. All are native English speakers, and two are authors of the study published in Nature. It is highly possible that people from different backgrounds and cultures will have different semantic brain atlases.\nArmed with the atlas, researchers can now piece together the brain networks that represent wildly different concepts, from numbers to murder and religion. \u201cThe idea of murder is represented a lot in the brain,\u201d Gallant said.\nUsing the same haul of data, the group has begun work on new atlases that show how the brain holds information on other aspects of language, from phonemes to syntax. A brain atlas for narrative structure has so far proved elusive, however. \u201cEvery time we come up with a set of narrative features, we get told they aren\u2019t the right set of narrative features,\u201d said Gallant.\nUri Hasson, a neuroscientist at Princeton University, praised the work. Unlike many studies that looked at brain activity when an isolated word or sentence was spoken, Gallant\u2019s team had shed light on how the brain worked in a real-world scenario, he said. The next step, he said, was to create a more comprehensive and precise semantic brain atlas. Ultimately, Hasson believes it will be possible to reconstruct the words a person is thinking from their brain activity. The ethical implications are enormous. One more benign use would see brain activity used to assess whether political messages have been effectively communicated to the public. \u201cThere are so many implications, and we are barely touching the surface,\u201d he said.\nLorraine Tyler, a cognitive neuroscientist and head of the Centre for Speech, Language and the Brain at Cambridge University said the research was a \u201ctour de force in its scope and methods\u201d. But the brain atlas in its current form does not capture fine differences in word meanings. Take the word \u201ctable\u201d. It can be a member of many different groups, says Tyler. \u201cIt can be something to eat off, things made of wood, things that are heavy, things having four legs, non-animate objects, and so on. This kind of detailed semantic information that enables words to be used flexibly is lost in the analysis,\u201d she said. \u201cWhile this research is path-breaking in its scope, there is still a lot to learn about how semantics is represented in the brain.\u201d", "id": "<urn:uuid:9069a9da-ab3f-47ab-8827-cced8cde295b>", "dump": "CC-MAIN-2021-17", "url": "https://unitedhumanists.com/2016/05/14/neuroscientists-create-atlas-showing-how-words-are-organised-in-the-brain/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039375537.73/warc/CC-MAIN-20210420025739-20210420055739-00161.warc.gz", "language": "en", "language_score": 0.9512819647789001, "token_count": 1229, "score": 3.5, "int_score": 4}
{"text": "In general, education is the process of acquiring skills, values, beliefs, and habits as knowledge or way of life. The methods to acquire education includes teaching through storytelling, training, practising, discussion and the textbooks. Education frequently takes place under the guidance of the instructors.\nAt the first place in Somali history during and after the independence education was considered as one of the top priority in any governments\u2019 key strategic policies to produce human capital but unfortunately progress was a bit slow since the newly elected government after the unity did not have the capacity to reform and expand the education system due to the integration of two education systems developed by very different colonial powers (Britain and Italy) with different languages of instruction, syllabuses, and management styles. That was an obstacle and daunting task.\nA military coup led by General Mohamed Siyad Barre in 1969 initiated the reform and marked as the beginning of a period with significant progress in the provision of education in the country. The regime introduced a number of revolutionary social and economic programs under the banner of \u2018scientific socialism\u2019 \u2013 a mixture of Marxist-Leninist socialism and Islamic principles which some historians believe that it was productive while others disagree. Somalia adopted the Latin alphabet as the official script in Somalia in 1973, which paved the way for a more cohesive education system in the country. Breakthrough found in 1970 when the Somali National University established in Mogadishu with dedicated to offering faculties of journalism, education, medicine and among others. The civil war and the subsequent collapse of the Somali state didn\u2019t spare the education system. In fact, it completely destroyed the education infrastructure of the country and also the damages are not yet repaired\nThe outbreak of civil war in Somalia in the early 1990s directly damaged and took its toll on the formal education system in the country. Schools were turned into accommodation for the internally displaced people fleeing from the war, no stable environment to seek education and many educated people left the country as refugees as well as denying a large number of Somalis the opportunity to access education, this relocation of educated people delayed the process of reviving the education system after the war. Access to education remains limited. Despite the fact that many schools and training Centre\u2019s have been established, teachers and instructors have been trained, curricula developed and textbooks provided, the current demand for education far outstrips its availability.\nFactors that contribute to academic challenges in Somalia\nSecurity threats: Somalia has been unstable for more than 3 decades and it affects the movement of the students from place to another and day to day school activities. Closed roads, explosions and violence are common factors that hinder the free movement of students and these causes families to send children to nearby schools regardless of the quality and most of the parents applied safety first. Incompetent teachers: without qualified teachers, goals of high standard education cannot be achieved. A teacher occupies a central position in the pupils\u2019 success.\nThis is partially due to low salary given to teachers which caused more qualified ones to opt for other occupation and the incompetent ones take advantage of the vacancy. Immigration: Throughout the years\u2019 Somali families have moved from one district to another, from one town to another and this caused children to change schools frequently which comes along with new teachers, atmosphere and colleagues. This can lead to education disinterest of the pupils. Dysfunctional system: Over 20 years the education program, exam and certificates were authorized by private sectors and lacked quality assurance, accountability and reliability. Currently, the central government tried to take back the full control of the system but it still looks shambolic despite the efforts done in the past 5 years.\nLack of parental guide: Majority of Somali parents are not educated and thus they don\u2019t have direct control of their children\u2019s school duties, another factor is that the parents have failed to regulate children\u2019s activities outside school, social media being the biggest factor that diverts pupils from studies. Language barrier: Majority of Somali students are not good at English and this hinders them from acquiring knowledge written in English textbooks. Greater number of schools with less or no quality: Almost every district in Somalia has several schools but only a few of them are capable to offer trustable and quality education, while the rest are phantom schools owned by businessmen and their main target, is to make more money.\nStudents are half baked: We all know that any curriculum should have both practical and theory but the case of Somali is different, there is no practical part in Somalia education system which makes the students, have baked which causes inadequate learning on particular subjects. Umbrella chaos: With the existence of several educational umbrellas operating in the country over the past two decades without a unified national syllabus to guide primary and secondary school instruction indicates the magnitude of education perplexity in Somalia. However, the umbrellas have recently agreed to set a blueprint for a unified syllabus as a measure of standardizing the education system at the primary and secondary grades. Academic dishonesty: Bribing teachers or other education officials to get promoted, falsifying of academic documents such as certificates, nepotism in scholarships are all common examples of academic dishonesty in Somalia. Financial burden:\nMany families especially IDPs who lives out strike comps, cannot afford to pay school/tuition fee, transport, uniform and books. Majority of the less privileged are left unattended\nRecommendation to overcome challenges facing Somalia\u2019s education\nThe government should control schools, universities or any other educational institute to avoid large number of students attending unqualified schools and wasting time and money on the hands of academic shenanigans. Every school should have parents \u2013 Teachers association (PTA) then both parents and teachers have direct communication channel and will be easier to control of the pupils both at home or at schools. The ministry of education should implement sophisticated teacher training programs. This will provide teachers with knowledge, attitudes, behaviors, and skills they require to perform their tasks effectively in the classroom, school, and wider community. Age restrictions should be mandatory to certain places. To avoid pupils diverting from school, it\u2019s must that we have certain age restrictions in some places such as hotels and other luxurious places. Example can be \u2018\u2019 No high school student should be seen in Liido from 8pm \u2018\u2019. Tightening security: Security is very important to propagate the advancement of the education sector. Ensuring tight security is both the function of the government and that of the tertiary institutions.\nThis will make the students have confidence in their studies. Through security, the academic facilities will be protected. Adequate government funding. The fund can be used in the installation of many equipment\u2019s that students need to cement their studies. With the installation, practical will be carried out more, rather than theories. When the learning environment is well funded, students will be in a good atmosphere for their studies. Adequate governmental funding will enhance the building of more lecture halls and classrooms for students. In conclusion, Teachers\u2019 incentive is very important, Somali Teachers are not well paid, they feel less appreciated, more stressed, less supported and unmotivated to do the job. It is important to rethink about the teacher\u2019s salary since the high pay rate attracts the most qualified teachers.\nDr Abdifatah Abdiaziz Dahie", "id": "<urn:uuid:e9573014-082d-46f4-a170-48581b1ac3c0>", "dump": "CC-MAIN-2021-17", "url": "https://www.jowhar.com/news/education-challenges-and-way-forward-in-somalia.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039554437.90/warc/CC-MAIN-20210421222632-20210422012632-00199.warc.gz", "language": "en", "language_score": 0.9632076621055603, "token_count": 1485, "score": 3.59375, "int_score": 4}
{"text": "Josephina Awa March 22, 2021 Worksheets kindergarten\nPreschool art worksheets that will inspire any little artist! With fun pages to color, crafts to make and projects to excite the imagination. These art worksheets will inspire budding artists. Easy step by step drawing tutorials, mirror drawing pages, comic book pages and grid coloring pages. These printable worksheets are a great place to start for beginning artists of all ages. Art history worksheets work well for art or history lessons and encourage young learners to explore their own creativity. Read about Pablo Picasso or try replicating early Egyptian art. Share the gift of imagination with art history worksheets. Different kinds of symmetry\u2026. Reflective symmetry\u2013 a line could be drawn down the middle of the shape and the shape on side of the line is \u201creflected\u201d onto the other side.The reflected shape will be exactly the same as the original. Radial symmetry-a condition in which similar parts are regularly arranged around a central axis.There are other, more specific, kinds of symmetry such as.\nWorksheets Number Tracing Worksheets Shape Tracing Worksheets Picture Tracing Worksheets Line Tracing Worksheets Pre Writing Worksheets Spiral Tracing Worksheet Cut and Paste Letters Cut and Paste Numbers Cut and Paste Shapes\u2026 teach kids to read with fun phonics activities,learn to read,phonics play,phonics worksheets,esl worksheets,flashcards,board games, phonics worksheets for preschool,songs,games for the classroom,phonics sounds,paper crafts,kindergarten english worksheets,letters of the alphabet,beginning consonants, ending consonants,s blends,r blends,l blends,vowel digraphs,consonant digraphs,short vowels.\nFree spelling worksheets for preschoolers. This is a great resource for kids who are learning to spell some sight words. See more ideas about Spelling worksheets, Learn to spell, Worksheets. Preschool Spelling Worksheets Related ELA Standard: L.K.1. Answer Keys Here. This is considered the time that builds the foundation for all future spelling challenges. Students at this level start to learn spelling by learning two-letter words such as: by, me, and it. Once they have success at with those, they move on to learning about word. Free Printable Preschool Worksheets Letter Tracing Worksheets Number Tracing Worksheets Shape Tracing Worksheets Picture Tracing Worksheets Line Tracing Worksheets Pre Writing Worksheets Spiral Tracing Worksheet Cut and Paste Letters Cut and Paste Numbers Cut and Paste Shapes\u2026 Set your students on the path to literacy success with our kindergarten spelling worksheets and printables! With activities designed by teachers for your students\u2019 level, these kindergarten spelling worksheets introduce little learners to long and short vowels, blends and digraphs, sight words, and more spelling patterns that can make it easier to learn to read and write maturely.\nThis is an extensive collection of free preschool worksheets designed for ages approximately 3 & 4 years old. These free printable preschool worksheets are designed to help kids learn to write the alphabet, numbers, plus a free printable color matching sheet! Preschool worksheets PDF Click-me.today offers online for free a great collection of Preschool worksheets, ready to print on A4! Not only worksheets, but also colored or black and white flashcards & wall cards. Free Printable Preschool Worksheets Letter Tracing Worksheets Number Tracing Worksheets Shape Tracing Worksheets Picture Tracing Worksheets Line Tracing Worksheets Pre Writing Worksheets Spiral Tracing Worksheet Cut and Paste Letters Cut and Paste Numbers Cut and Paste Shapes\u2026 Our new selection of printable Kindergarten Worksheets Pdf Free Download is the perfect tool to hone preschool or kindergarten\u2019s fine motor skills. See how long it takes for them to finish one of these worksheets then you\u2019ll know what to revisit. Get these free kindergarten worksheets and easily print, download, and use the kindergarten worksheets online.\nPrintable Art Worksheets. Spark your students\u2019 creativity with our selection of printable art worksheets! With activities to challenge and inspire children of all ages, these printable art worksheets help your students discover new talents in drawing, music, creative writing, and more. Young learners will love tracing and coloring pictures and. This set of 5 Solar System Worksheets set is perfect for introducing the planets to your child. Perfect to accompany Solar System Unit. Landform and Waterbodies Worksheets. This colorful set of Landform Worksheets covers waterbodies as well. The Free Printable Worksheets are perfect for homeschooling or in classroom usage. Vocabulary Worksheets. Our Vocabulary Worksheets provide vocabulary and word usage exercises for grade 1-5 students. Spelling Worksheets. Our Spelling Worksheets for grades 1-5 help kids practice and improve spelling. Grammar Worksheets. Learn about the parts of speech, sentences, capitalization and punctuation with our free & printable Grammar. Free Language Arts Worksheets for Teachers, Parents, and Kids. Easily download and print our language arts worksheets. Click on the free language arts worksheet you would like to print or download.. The quality of your printable language arts worksheet will be pristine with the PDF version of the worksheet. We recommend downloading the PDF file.\nPrintable phonics worksheets for kids. Check out our different sets of worksheets that help kids practice and learn phonics skills like beginning sounds, rhyming and more. We are always adding new sets of kids phonics worksheets at KidsLearningStation.com. Kindergarten Reading Worksheets Pdf \u2013 Workbook Download 35 printable phonics reading worksheets in a pdf file for preschool and kindergarten kids. Learning to read short sentences and very short stories. Kindergarten Phonics Worksheets Pdf \u2013 Workbook 89 printable short vowel words worksheets and flashcards presented in a pdf book for preschoolers, kindergarten kids, and 1st grade students. Phonics worksheets help young children understand the relationship between sounds and written symbols. Our phonics worksheets, include letter-sound recognition with pictures, rhyming words and beginning letter sound to aid your child\u2019s learning process. Our phonics worksheets cover a variety of topics including short and long vowels, digraphs and blends for a different age. To get the learning experience more enjoyable we designed hands-on activities for your child. Kids will love to play fun games, solve puzzles and find that learning is so much fun.", "id": "<urn:uuid:f0883584-5ff9-42e5-ba3c-f0b118c5fc20>", "dump": "CC-MAIN-2021-17", "url": "https://stopthetpp.com/hC44801Kr/sX14101gB/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00443.warc.gz", "language": "en", "language_score": 0.8642953038215637, "token_count": 1430, "score": 3.921875, "int_score": 4}
{"text": "Students will demonstrate their abilities to create a cohesive story and definite characters while thinking quickly on their feet through the creation of a short fairytale improvisation in groups.\n\u2022 \u201cLittle Red Riding Hood\u201d written up on the white board \u2022 The following bulleted list written up on the white board beneath the title of Little Red Riding Hood: o Mother gives Little Red the errand to go to sick Grandmother\u2019s home to deliver goodies and medicine o Mother tells Little Red to not talk to strangers or stray from the path o Little Red sets off through the woods to Grandmother\u2019s home o Little Red meets Wolf o Wolf gains Little Red\u2019s trust and asks where she is going; Little Red tells him o Wolf beats Little Red to Grandmother\u2019s home and eats Grandmother, then dresses in Grandmother\u2019s clothing o Little Red gets to Grandmother\u2019s home and is eaten by Wolf o Wolf falls asleep and Woodcutter hears his snore o Woodcutter enters home and finds sleeping Wolf o Woodcutter cuts the Wolf\u2019s belly open and saves Grandmother and Little Red \u2022 At least four different colors of whiteboard markers \u2022 Timer\nDivide the students into three groups and have them play a round of \u201cPop-Up Story Book\u201d in each group. This is a game learned when teaching storytelling elements. Ask the students to remember to keep in mind CROW and storytelling.\nAfter the students return to their seats, ask them if the fairy tale presented in this story had a definite plot. Were the characters and their relationships clear? How important was it to the audience (if there was one) to see these elements of storytelling through CROW? How much of the tale was the storyteller\u2019s? (The answer to this is the entire thing\u2013they are just given a title to work with.) Does this mean the storyteller was a type of director? Bring the students\u2019 attention to the whiteboard and the story points written on it. Ask them if this story is familiar. Are the points open enough for interpretation if the storyteller in \u201cPop-Up Story Book\u201d had to follow these? Yes, it should be! That\u2019s where imagination comes in! Inform the students that this type of listing of a plot is called a plot point. They will be creating a plot point to a well-known fairy tale or fable (they can do Disney if they want, but try to have them steer clear of it, as they are not the actual fairy tales) in groups. The style of the performance will not be in \u201cPop-Up Story Book\u201d style, however\u2013it will be more like an open scene.\nStep 1 (Instruction): Count off the students into four different groups and have them go to their own area of the room. Instruct the students, once they are in their groups and in the area they need to be in, that they are to have a scribe write the plot points of a fairy tale or fable on the board that they will perform for the class at the end of the period. Urge them to stick to a short one, as their performances will only be allowed to be three minutes long. This is one of the reasons that Disney movies are not good things to go off of. Let them know that duplicate stories will not be allowed, so the titles of the stories must be listed on the board (each group using a different color to help differentiate). The group who writes the story up on the board first is the one that will perform that story. Their performances will be worth ten points, and the only way to receive those points are to make sure that everyone is fully involved and participating.\nStep 2 (Group Work): Give the teams time to discuss what story they will perform and write it on the board, and then have them discuss plot points. When they have figured them out, the scribe must write the plot points in on the white board beneath the name of their story. All groups should have their plot points on the board for the class to observe. This should not be more than ten minutes. Enter conversations with each group as necessary as you go around and listen to their discussions and ideas.\nStep 3 (Instruction): Ask the students to cast their stories. Each member of each group must have a large role in the skit, though that can mean that one person is all of the props. Ask the groups to please be aware of who would like to play what role and that everyone must feel that he or she is able to fully contribute to the creation of this story. When they have cast their stories, they are to rehearse their outline with one another. Remind them that this will be done in a proscenium style, so be aware of where the audience is and what they are able to see.\nStep 4 (Group Practice): The groups should be given about fifteen to twenty minutes to practice their outlined stories. Remind the students that they are only allowed to perform for three minutes, so they must all be on the same page of what is most important to get the story told. Go around to each group, helping as necessary. Make sure that each student is engaged in the creation of the piece, reminding them that they will not be receiving their points if they are not an obvious help/participant in this story. Keep notes of what students are slacking off (minus one point for each time this happens).\nStep 5/Assessment: Let the groups perform their stories for the class in the style of a proscenium stage. Help them as they perform to realize if they are blocking one another or if they are too far upstage. Keep them to the time limit by giving a 30-second warning. Award the ten points (which are participation based, as mentioned) to the individual students accordingly in the grade book. Make sure to ask after each performance what the strengths and weaknesses were. Were all of the elements of storytelling and CROW observed? How much improvisation was still allowed even with the plot points?", "id": "<urn:uuid:fa130841-138c-4ed7-87b2-e8e92cd9f5df>", "dump": "CC-MAIN-2021-17", "url": "http://tedb.byu.edu/?page_id=431", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00280.warc.gz", "language": "en", "language_score": 0.9670765995979309, "token_count": 1249, "score": 4.09375, "int_score": 4}
{"text": "Teaching philosophy in schools has shown amazing results for children\u2019s cognitive and social skills.\nWhen one thinks of philosophy, children do not usually come to mind. After all, it\u2019s a field of study that requires deep thinking and understanding of life. However, a \u201clarge, well-designed study\u201d conducted by the Education Endowment Foundation has suggested positively amazing results amongst children who were taught just an hour of philosophy a week.\nThe study shows that nine and ten-year-old children who participated over the course of one year greatly improved their literacy and math skills. What\u2019s more, the students who benefitted the most were, in fact, disadvantaged ones.\nThe P4C (\u201cPhilosophy for Children\u201d) teaching program was developed by professor Matthew Lipman in New Jersey in the 1970s to teach thinking skills through philosophical dialogue. It has successfully been adopted by schools in 60 countries, with documents supporting the impact it has on children\u2019s cognitive, social and emotional development.\nBut how exactly does the program work?\nThe hour involves a structured session which begins with a stimulus. The children create their own philosophical questions based on the topic and then collectively choose one as their focus to discuss and debate on. The teacher encourages them to draw on their imagination and supports them on their reasoning and thinking, as well as listening to them when they share their thoughts.\nSo how can teaching philosophy to children benefit their development?\n- The inquiry-based approach opens up children\u2019s learning by exploring ideas\n- It gives children the confidence that their ideas (as well as other\u2019s) have value\n- They gain confidence to openly ask questions\n- It gives them a chance to speak and be heard without fear\n- Intelligence and general knowledge improvement\n- For the children who are academically shy, this gives them a chance to grow\n- For the children who are academically gifted, a chance to think outside the box\nThere are even more benefits that simply cannot be gained from traditional schooling. The outcomes for this program teach to think before they speak and to give reasons for what they say, as well as to value other\u2019s views. It teaches to respect other\u2019s and also their own views without being fearful. Most children have no grasp on any of these aspects of communication well into their teens and in some cases, even into their twenties.\nAre there any advantages that carry beyond teaching philosophy in school into other aspects of a child\u2019s life?\nAs stated in the above-mentioned study, the impact on other areas of the curriculum was proven to be positive. This is because it creates an enquiring classroom atmosphere that extends outside of the philosophy class. The development of listening and reasoning skills builds a sense of independence, and many children nurture a talent and ability for creative writing.\nA little philosophy for a lot of benefits \u2013 evidently it goes a long way. Perhaps, adults too should dedicate an hour a week for this cause. There is a child in all of us who could greatly benefit from it.\n- Solar Plexus Chakra Healing: How to Know When You Need It and How to Do It - February 19, 2019\n- Signs and Causes of Compulsive Lying and How to Stop This Habit - February 13, 2019\n- 7 Motivational Success Stories That Demonstrate the Power of Introverts - February 10, 2019\nCopyright \u00a9 2012-2021 Learning Mind. All rights reserved. For permission to reprint, contact us.", "id": "<urn:uuid:763bec73-dece-4e85-8669-4a990d275341>", "dump": "CC-MAIN-2021-17", "url": "https://www.learning-mind.com/teaching-philosophy-kids-smarter/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00123.warc.gz", "language": "en", "language_score": 0.9716541767120361, "token_count": 720, "score": 3.546875, "int_score": 4}
{"text": "Timelines allow topics to be examined visually by graphically organizing and showcasing events. They allow for storytelling through a chronological narrative. Additionally, creating timelines requires students to determine the purpose and criteria for ordering, and can help students analyze the steps in a procedure according to cause-and-effect relationships.\nCreating a timeline can help students to accomplish Bloom\u2019s applying level learning activities, aiding them in any implementation and execution of a plan. Even in the simplest form, putting events in sequence falls into the lower order understanding or remembering levels, but timelines can help learners hit those higher order thinking skills, as well. They can analyze by determining relationships, evaluate by establishing why certain events unfolded the way they did, and consider what, if anything, could have been done differently. Learners can synthesize by exploring how an outcome would be different if the events had happened in a different order, or extrapolate what might happen next in the sequence, creating new outcomes.\nThere are many tools QM members use to help their learners build timelines. Here\u2019s a look at some of the most recommended ones:\n- TimelineJS: This popular tool from Northwestern University Knight Lab allows you to create your own timeline in just four easy steps. Plus, it\u2019s available in over sixty languages!\n- Sutori: Create timelines in just minutes with this free, easy-to-use resource that also makes sharing your timelines a snap.\n- myHistro: Combine maps and timelines to create unique presentations that tell your story. Or, choose to view one of hundreds of professional historical timelines in the archives.\n- OurStory: Capture life\u2019s memories and moments with this tool that acts as an internet time machine.\n- SmartDraw: Dozens of templates to choose from, SmartDraw makes creating timelines simple.\n- TimeGlider: Start creating history with this tool that allows you to create and publish interactive timeline.\n- TimeToast: Creating timelines is as easy as making toast with this tool that allows you to create beautiful, interactive timelines.\n- Read Write Think Interactive Timeline: Designed with students in mind, this timeline maker allows students to organize and present events and process in a variety of ways.\n- Use what you already have: Applications like Google Drawing and Microsoft PowerPoint have built-in tools that allow you to create colorful, professional timelines in minutes.\nDo you have a go-to source for creating timelines? Help build up our list of resources by sharing. Share it on Twitter, Facebook or LinkedIn. Be sure to tag us at @QMProgram so we can pass your resource along!", "id": "<urn:uuid:c926c4b6-c3aa-4352-a997-8c3f9eac043d>", "dump": "CC-MAIN-2021-17", "url": "https://www.qualitymatters.org/qa-resources/resource-center/articles-resources/timeline-creation-tools", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038092961.47/warc/CC-MAIN-20210416221552-20210417011552-00162.warc.gz", "language": "en", "language_score": 0.9168299436569214, "token_count": 531, "score": 4.03125, "int_score": 4}
{"text": "Throughout February, we are offering Frederick Douglass and abolitionist-themed tours in honor of his birthday and Black History Month. These tours happen twice daily at 12:30 and 3:00 pm, and tour-goers will explore the whole museum while also gaining insight into Douglass and other abolitionists. Tours are included with museum admission, so there\u2019s no extra cost. Read on to take a glimpse at some of the stops you\u2019ll make along the tour.\nBirth and Beginnings\nOur tour starts, well, at the beginning. Frederick Douglass was born into slavery in February of 1818 in Talbot County, Maryland. His exact date of birth is unknown, as there is no record of it, but he later chose to celebrate it on February 14. Explore our Hometown Authors kiosk to learn about Douglass\u2019s early life and the Frederick Douglass National Historic Site, one of our Author Home Affiliates.\nDouglass in Chicago\nSince we are in Chicago after all, the next stop on the tour is our Chicago Gallery. Frederick Douglass\u2019s connection to Chicago rests mainly with fellow activist Ida B. Wells and the World\u2019s Columbian Exposition of 1893. Douglass and Wells protested the lack of black representation at the World\u2019s Fair, which failed to include any exhibitions featuring people of color. The two, along with other contributors, wrote and distributed The Reason Why, a pamphlet of essays detailing the historic evils of slavery, and also demonstrating the incredible progress people of color made in the brief time between the abolition of slavery and the World\u2019s Fair, a mere 28 years. A facsimile of The Reason Why is on display in our special exhibit Frederick Douglass: Agitator, and pamphlets to take home with you are available in our gift shop.\nNarrative of the Life of Frederick Douglass\nDouglass published his autobiography in 1845 and it quickly became a bestseller and was critical in turning public opinion against slavery. In our Featured Works interactive table, you can explore this seminal work in-depth, learn about the persuasive writing techniques he employs, and even listen to the text read aloud. Due to its historic and cultural significance, we give free copies of this book to middle and high school students who visit on field trips as part of our education initiative Write In, which provides schools the opportunity to visit the museum free of charge.\nFrederick Douglass: Agitator\nOur special exhibit celebrates the breadth of Douglass\u2019s activism. Not only did he fight for the abolition of slavery, but he also advocated for women\u2019s rights, fair voting laws, equal education, and many more causes. Frederick Douglass was a true champion of civil rights, social equality and economic freedom of all forms as he understood the how closely these issues relate to one another. No matter the issue, Douglass was there to \u201cAgitate! Agitate! Agitate!\u201d\nThroughout the tour, you\u2019ll learn about the many American writers who were influenced by Douglass. From poet Paul Laurence Dunbar, who befriended Douglass through their activism, to President Abraham Lincoln, who met with Douglass to discuss the rights of black soldiers fighting in the Civil War, Douglass was well-respected among his peers.\nAnd now, his legacy lives on in activists who use their words and platforms to fight similar battles Douglass dealt with in his time, such as Black Lives Matter, the #MeToo Movement, and beyond. As Douglass famously said, \u201cIf there is no struggle, there is no progress. Those who profess to favor freedom, and yet depreciate agitation, are men who want crops without plowing up the ground.\u201d Douglass planted the seeds of agitation, and the writers of today continue plowing up the ground toward progress.\nFrederick Douglass Goes On a World Tour\nInterested in learning more about the life of Frederick Douglass? Join us March 13 at 6:30 p.m. as we welcome author and historian Tom Chaffin to the museum to discuss his book Giant\u2019s Causeway: Frederick Douglass\u2019s Irish Odyssey and the Making of an American Visionary, which tells the story of Douglass\u2019s 1845-47 lecture tour of the British Isles. This trip would prove pivotal in Douglass\u2019s life and development as a worldwide celebrity and moral visionary. Learn more about the special program here.", "id": "<urn:uuid:1a113bdb-ce72-4eb6-91c5-a97289163db9>", "dump": "CC-MAIN-2021-17", "url": "https://americanwritersmuseum.org/frederick-douglass-tours/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00324.warc.gz", "language": "en", "language_score": 0.9606147408485413, "token_count": 918, "score": 3.59375, "int_score": 4}
{"text": "If you're wondering how to get creative and write a short story, know this. Specificity is paramount. Read on to walk through the steps that'll help you turn your imagination into a well-crafted story.\nWriting short stories can be a fun and creative way for children to express their ideas. Unfortunately, some students feel overwhelmed by the process and turn away from writing completely. Make.\nHow to Write a Fiction Story for 6th Graders. of literary elements, learn to engage an audience and use language creatively through description. Sixth-graders can write effective short fiction by learning brainstorming techniques, creating interesting characters and plots, and using specific descriptive language. Writer's Notebook. Sixth-grade teacher Judith Eggemeier says that keeping a.\nA short story unit is the perfect way to begin a school year. Short stories are quick and applicable to so many learning standards. Yet, they are versatile, so you can really incorporate them whenever and however you want. People often debate which short stories should be taught at which grade levels. There is no clear right or wrong answer for that question.\nThis Writing Short Stories: The Fun Way Lesson Plan is suitable for 7th - 9th Grade. Do your young authors suffer from writer's block when they try to write short stories? Access their natural creativity with C-Gor, the writing monster! The instructional activity takes aspiring authors through a new writing process called C-Gor (Character, Goals, Obstacles, Results), in which they list ten of.\nThis is a historical fiction short story about a Jew who has been trapped in a Nazi concentration camp during the Holocaust. Not for young children. This was a writing assignment I did when I was in 11th grade. The writing prompt was, \u201cIf anybody asks us, tell them we\u2019re fine,\u201d and this is what I c.\nThis Write a Short Story Lesson Plan is suitable for 7th - 9th Grade. Students compare two paintings, depicting urban life in America in the 1940's, answering a series of questions, then create a short story about the paintings' characters. They compare 'Nighthawks' and 'Nightlife.'.\nPlot Generator. Create a short story. Want to write a customised short story really quickly? Choose a style, opening and type of ending, name your character, choose a few adjectives and we write a story for you. Use the form below for your tailer-made tale. Tweet. Share. Share. Tumblr. Google. Reddit. Please keep your input family friendly. Need a prompt? Go random! Title. Opening. Conflict.\nShort Stories For 6th Grade. Showing top 8 worksheets in the category - Short Stories For 6th Grade. Some of the worksheets displayed are Using short stories in the english classroom, Book of short stories, Short storiesshort stories english i english i, Literary passages close reading, Name the gift of the magi, The fir tree, Grade 6 english language arts practice test, Sports time collection.\nNow ask student to write a short, yet complete summary of the short story here is a sample: \u201cSeventh Grade,\u201d by Gary Soto tells a story about how Victor, a young boy who wishes to make Teresa his girl, struggles to overcome his shyness and nerves to make a good impression. Initially, he is encouraged when he finds that he and Teresa share several classes including English and French. In.\nSeventh Grade Creative Writing Worksheets Seventh Grade Creative Writing Worksheets. Let your seventh-grade students show you how imaginative they can be, with our most popular creative writing printables. We have plenty of poetry and short-story activities for them to enjoy, plus many other types of lessons! We have holiday-themed worksheets, daily writing prompts, rubrics for grading work.\nHow to write a story In this set of reading and writing worksheets, your children will first read two short stories for mechanics, then draw and label a diagram about those stories, answer prompts to create their own story, and finish by writing a complete story!\nSHORT STORY AND NOVEL ASSIGNMENTS (DIGITAL) FOR GOOGLE DRIVE: Gone are the days of boring book reports and reading responses! This multi-faceted paperless resource provides fun ready-to-use assignments that will work for any novel or short story that your students are reading.\nHere is a list of 101 narrative essay topics, prompts, and short story ideas to give students the practice that they need to become better writers: Everybody gets afraid sometimes. If there were no fear, there would be no opportunity for bravery.\nFile: Writing a Short Story Worksheet. Rosalyn Forbes Central Aroostook Jr-sr High School Mars Hill, ME 2315 Views. 361 Downloads. 11 Favorites High School English Summer School 10th Grade World Literature AP English 12 English 8 Cultural Literature High School English Summer School Second Session- Story Writing First Session- Opinion Essay Second Session- Story Writing Writing a Short Story.This page features 20 of my favorite short stories with questions. These reading activities are perfect for classroom use. Written by some of the greatest authors in history, these stories are short enough to cover in a single class period, and rich enough to warrant study. I tried to select stories that students would find highly interesting.How to Write a Suspense Story Before we can become professionals at writing suspenseful tales, we need to break down the parts to learn how each literary element works together to create the story.", "id": "<urn:uuid:6c0c1763-9a4a-4d88-9ee4-8086421a62dd>", "dump": "CC-MAIN-2021-17", "url": "http://bandpro.ddns.us/delozier/How-To-Write-A-7th-Grade-Short-Story.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038074941.13/warc/CC-MAIN-20210413183055-20210413213055-00604.warc.gz", "language": "en", "language_score": 0.9442794322967529, "token_count": 1146, "score": 3.859375, "int_score": 4}
{"text": "In order to depict in a short space of time, a conflict that will hold the attention of the audience or reader, and evoke a progressively strong emotional response, a dramatist (or novelist) must plan the structure and the dialogue of his or her play (or novel) with great care.\nEvery conversation, aside, soliloquy, action, and piece of narration must have a definite purpose in the story that unfolds. This purpose is termed \u2018dramatic or narrative significance\u2019 (depending upon whether one is analyzing a play, novel, or short story).\nBelow is a list of the various types of dramatic significance (in no particular order) that can be identified in a speech, conversation, incident, or entire scene in a play, or through the narration and dialogue in prose fiction.\nNOTE: Often, a combination of a few or even several of these types of literary elements are present in a single passage:\n- To establish conflict: i.e. to introduce key elements of conflict that will need to be resolved such as: person vs person, person vs society, person vs nature, or person vs himself or herself\n- To forward the plot: i.e. to depict the victories and the defeats of the protagonist; to depict some incident or decision that will precipitate further events in the conflict\n- To give information: i.e. to give background facts that the audience needs to know in order to understand the conflict; or, to give information about events that, during the play, were supposed to have occurred off-stage\n- To develop character or to characterize: i.e. to reveal the nature or character traits of a character; or to show development in a character\n- To create suspense\n- To create atmosphere or to impart mood\n- To provide dramatic relief: i.e. a scene or passage included after a tense scene or incident that is designed to break the tension (without going so far as to provoke laughter)\n- To provide comic relief: i.e. a scene or passage included after a serious scene or incident that is designed to provoke laughter from the audience\n- To arouse pathos in the audience: i.e. to make the audience\u2019s sympathies lie where the dramatist wants them to lie\n- To create irony (dramatic, verbal, or situational)\n- To foreshadow later events\n- To create dramatic contrast in characters or mood\n- To emphasize or link to a theme\n- To create imagery: i.e. the use of description, including metaphors, similes, personification, etc., to help support characterization, atmosphere, theme, etc.\n- To establish setting: i.e. to create a sense of time and place\nHelp Us Fix his Smile with Your Old Essays, It Takes Seconds!\n-We are looking for previous essays, labs and assignments that you aced!-We will review and post them on our website.\n-Ad revenue is used to support children in developing nations.\n-We help pay for cleft palate repair surgeries through Operation Smile and Smile Train.", "id": "<urn:uuid:6d0a54e9-7fa0-4a90-9fe3-f68a6c434d3a>", "dump": "CC-MAIN-2021-17", "url": "https://schoolworkhelper.net/literary-elements-of-dramatic-or-narrative-significance/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879305.68/warc/CC-MAIN-20210419080654-20210419110654-00001.warc.gz", "language": "en", "language_score": 0.9406461715698242, "token_count": 639, "score": 4.21875, "int_score": 4}
{"text": "You knew difficult times were ahead, but no one was prepared for a disaster that would see extended social isolation. It causes undue stress on your mental health.\nIf you are a person with sensory sensitivities, like autism, concussion, PTSD, hearing loss, or have another injury, illness, disease, or disability, the effects of social isolation can be even greater. Illnesses and crises are not inherently sensory-friendly times.\nHow does social isolation affect mental health?\n\u201cSocial distancing\u201d is a term we have all just learned, but it has quickly become a daily reality for many of us. We all need to remind ourselves that social distancing and social isolation can be hard at times and it can significantly influence our mental health.\nThese helpful tips are for everyone including families, neighbors, seniors, friends and relatives. Ultimately, taking care of our mental health is a priority for us all.\nTake care of the basics\nTake a moment to reflect on your current state and think about how your basic needs are being met. This includes paying attention to all eight senses. Are you hungry? Thirsty? Tired? Need a bathroom break? When in isolation with your family, continue to ask yourself these questions as they are important. Taking care of your body\u2019s basic needs is an important tool to manage stressful events. Remember: eat, drink and rest. Take a shower and yes, use the bathroom on time too (and don\u2019t forget to wash your hands)!\nDo what is meaningful, even during social isolation\nThe basics as mentioned above are the foundation of maintaining your mental well-being. After that, it is important to do the things that give meaning to your life every day. Essentially think about what makes you, you? What things or activities bring you joy? Try to keep engaging in those activities, even just a little bit each day, especially when your daily life is disrupted.\nRe-establish routines as soon as possible\nThis is especially important around sleep. Try your best to get back to doing certain activities at the same time of day, even if you are not in the same place. Your whole daily schedule, everything you do from the time you get up until the time you go to bed, might be upset due to pandemic-related changes. While you may not be able to follow all of your normal activities within your daily routines, even bringing back parts of them while you live your new normal is helpful.\nWhat are your daily habits?\nYou may be living in a different place. This may include eating different food, sleeping in a different bed, being away from work or school, or having to be separated from family. Connecting with something that is known to you can dramatically reduce your stress. Find the familiar. It brings great comfort.\nAsk for help when you need it\nLet family, friends, and new health providers know exactly what you need. Whether that being something like a missing medication or helping to manage your mobility. Take care of your medical and health needs and inform professionals and loved ones what they are. Ensure you are stocked up on prescriptions and other medication to avoid having to go out to get them during this period of social isolation.\nBalance giving and receiving\nAccept the help and offer what you can, when you can. Something simple as a kind word at the right time goes a long way and makes all the difference in the world. Also, know that if you deplete your reserves you cannot help yourself or others. Try to focus on doing what is best and right for you.\nKeep refilling your cup\nResiliency endures when your reserves are not entirely depleted. Think about what helps you the best. It might indeed be a 10-minute nap or reading a book. Perhaps it is playing a game or having a social chat with a friend about something entirely frivolous and fun. During times upheaval, it can be easy to feel guilty about taking care of yourself. Be a role model for others through demonstrating the importance of \u201cself-care\u201d.\nTell the story\nShare your story. Then tell it again. Record it. Journal and write about it. Draw about it. Make a collage. Sketch a cartoon strip. Paint it. Photograph it. Just share it. Disaster brings many shared experiences. Processing the events, dealing with the moments that are scary, the stressors that are challenging, as well as the ones that bring tears of gratitude, are helped by storytelling.\nFind the peace in quiet times during periods of social isolation\nDuring these challenging times, there can be moments of quiet and at the same time overwhelming moments. Sigh. Take a breath. And then another. And another. Keep going. Re-connect with your body and your mind during times of social isolation. Try using meditation or yoga. Thoughts may race and emotions may over-spill. However, let them be and take as many moments of stillness you can find in the hustle and bustle around you and within you to re-calibrate. You may not have your typical space of solitude or silence. Reclaim what you can, when you can.\nMake room for sadness\nYou have permission to grieve. To be mad. To grit your teeth in frustration. And to shake your head in dismay. To wonder, why?\nYou also have permission to be happy\nFind fun and funny moments. Humor, light-heartedness, and laughter are incredibly healing. It is perfectly normal to feel happy and sad at the same time. To laugh and cry at the same moment. Give someone else something to smile about. Share a laugh.\nSocial Isolation isn\u2019t all bad all the time, but it can feel like it. The small moments of niceties are what see us through. Recognize them, and relish them. When the years pass and the memories fade, the kernels of good amongst the hardships will be what we want to shine through.\nSubscribe to our newsletter\nReceive a periodic newsletter about sensory friendly solutions for people. You can unsubscribe at any time.", "id": "<urn:uuid:5bafafde-6ef1-45f3-b6d3-85ab061d66a0>", "dump": "CC-MAIN-2021-17", "url": "https://www.sensoryfriendly.net/social-isolation/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00484.warc.gz", "language": "en", "language_score": 0.9645335078239441, "token_count": 1246, "score": 3.515625, "int_score": 4}
{"text": "What Activities Can We Use to Teach Children About Noise Pollution?\nNoise is any \u201cunwanted or disturbing sound,\u201d according to the Environmental Protection Agency, and while sounds often surround us, certain noises can annoy and even cause adverse health effects. Identifying sounds that can affect your ability to hear well and learning how to protect your ears are valuable lessons for children. Consider your students' age groups when planning your lessons; while naming and discussing sounds is appropriate for elementary students, using mobile devices to measure decibel levels would better suit the middle school grades.\nShow students pictures of different objects or living things that cause noise. Ask them what sounds these things make, if they believe these sounds are good or bad, and why they think so. Do they feel all people would agree which sounds are nice? You will likely find not all students agree; some might love music while they do homework, while others need silence in order to concentrate. Play a collection of sounds through speakers -- for example, chainsaws, traffic, cats purring, dogs barking, alarm clocks or rocket launches -- and ask students to identify each noise. Ask which sounds they think would cause hearing problems and why.\nInside the Ear\nIf you ask students to draw an ear, you will likely see only the outer part of the ear. Teach students there are mechanisms inside their bodies that work together so they can hear sounds. Show students the different parts of the ear with a diagram, and explain how sound travels through the ear canal to the eardrum. Gently tap a toy drum and let them feel it vibrate. Explain that the same thing happens in the middle ear: The eardrum vibrates and causes bones called the hammer, anvil and stirrup to move. The vibrations from these bones go to the inner ear, called the cochlea. Very tiny hairs in the cochlea move up and down and send signals from the cochlea to the brain. Now bang hard on the drum and let the students feel the difference in the vibration. Tell them that when they're exposed to noise pollution, those hairs in the cochlea become damaged or die -- and they don't grow back.\nTeach students that we measure sound levels in decibels. According to the Department of the Environment, you can start to hear sounds around five to 10 decibels, and 150 decibels is loud enough to cause pain and instant damage. Show students pictures of different noise-causing objects, and have them guess the decibel range of each one. Libraries, for example, are notoriously thought to be quiet places, but according to the Department of the Environment, they can hover around 34 to 40 decibels. Lawnmowers are around 90 decibels, and police sirens are around 120 decibels. The Environmental Protection Agency reports that anything above 85 decibels is considered harmful to hearing. Use a sound level meter, which takes in sound information and reports a decibel level, to test noise levels with your students. Ask them if the decibel reading from the device was similar to their predictions.\nProtection From Noise\nAsk students what happens when they hear unwanted or disturbing sounds. Do their ears hurt, or do they get headaches? Do they have trouble hearing their friends talk or difficulty concentrating on a task? Noise pollution can increase stress, inhibit sleep or damage hearing, according to the Environmental Protection Agency. Ask them what they think they can do to prevent noise pollution. Teach students about the use of earplugs to protect their ears when they can\u2019t get away from loud noises. Conduct an experiment to see if earplugs are more effective at protecting from noise than covering their ears with their hands or doing nothing at all. Explain how turning down the volume on headphones can help prevent hearing loss.\n- Environmental Protection Agency: Noise Pollution\n- Environmental Protection Agency: Listen UP! Play It Safe With Your Ears. Play It Safe With Your Health\n- Department of the Environment: Bothered By Noise?\n- Teach Engineering: Measuring Noise Pollution\n- National Institute on Deafness and Other Communication Disorders: Noise-Induced Hearing Loss\nCara Batema is a musician, teacher and writer who specializes in early childhood, special needs and psychology. Since 2010, Batema has been an active writer in the fields of education, parenting, science and health. She holds a bachelor's degree in music therapy and creative writing.", "id": "<urn:uuid:d0679a09-54fc-49be-a478-61fc7b513930>", "dump": "CC-MAIN-2021-17", "url": "https://education.seattlepi.com/activities-can-use-teach-children-noise-pollution-4677.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00285.warc.gz", "language": "en", "language_score": 0.9422570466995239, "token_count": 913, "score": 4.125, "int_score": 4}
{"text": "1. Doing Homework\nThe first thing that you should check after school is whether your child has bring some assignment home. If he or she has some homework the first thing is to complete it before engaging in any other activity. Homework given in school helps the child to practice what he or she has learned in school.\nIce-skating is a game for both adults and children. It helps in improving balance, Posture, flexibility, and coordination. It also helps in enhancing muscle strength. Skating improves child\u2019s mental capability since it involves mental and physical coordination.\nSwimming among all other games has a unique feature that of life-saving. It is very important that your child knows how to swim as a preventive measure to drowning which is a very common accident among children. Besides the safety benefit, swimming also helps in maintaining your heart rate, reduces stress, builds and strengthens muscles, exercises lungs, burns calories. It is the only physical activity that helps to tone the whole body.\n4. Visiting Museum\nMuseums are community centers set up to educate the public. Museums take care of history and when you take your child to a museum he or she will have a great insight about the history and will be able to compare and contrast what is important to them hence building on their critical thinking.\n5. Watching Cartoon/comic strips\nChildren always want to have fun and enjoy every bit of their lives. Cartoons are always correlated with fun and humor. Therefore, get your child cartoons for entertainment or comic strips on Lol Hit. They give practical experience or a real-life example that makes your child develops super understanding skill. They can also help to develop public speaking skills and also improve on vocabulary.\n6. Creative Writing\nCreative writing is one of the most important activities or skill that your child can engage in as a way of development. It is scientifically proven that writing help to develop cognitive growth, organizational capability and ability to influence others through persuasion.\nCreative writing will help to improve your Childs\u2019 imagination, self-expression, self-confidence, and communication and persuasion skills.\nGiving children materials to read will help to keep them busy and at the same time expounds on their knowledge, exposes them to new things and boosts their imagination and creativity. There are a lot of materials that children can read during their free time e.g. novels, newspapers, magazines, articles, diaries, motivational books, and the list is endless.\nKeeping children busy is important, as the saying goes idle mind is a devils workshop. If they remain idle they might get involved in the bad company and as you all know bad company ruins good morals.", "id": "<urn:uuid:f65ad3d5-ccc8-432b-92a4-225585518a53>", "dump": "CC-MAIN-2021-17", "url": "https://www.onesliceoflemon.com/2018/06/7-ways-to-keep-kids-busy-during-school.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00324.warc.gz", "language": "en", "language_score": 0.9655030369758606, "token_count": 547, "score": 3.515625, "int_score": 4}
{"text": "While there are many studies that debate whether or not listening to classical music improves test scores or helps students learn, one undisputed fact remains: classical music is here to stay! We find classical music in movies, on television, and it even lends itself to today\u2019s popular music. It has a variety of classroom applications from art to math.\nCreative Writing: Have students work in pairs or small groups and provide the students with the beginning of a story. For instance: \u201cThe carriage began to sway in the high winds and rain, and with a violent crack of lightning, the horses cried out and the rickety carriage was flung onto its side and slid down the muddy embankment. Ten year old Charlie was tossed into the darkness and found himself tangled in the branches of the giant oak that had just fallen\u2026.\u201d The more aggressive and dark your story begins, the better for this exercise. Next, divide the class and play a relaxing piece of classical music for half of the groups, and a darker more sinister piece of music for the remaining groups. Ask all of the students to finish the short story with their own words. When finished, have the groups read each of the stories, and then discuss the turns the plot takes. Focus on the music to see whether or not students were influenced by \u201chappy\u201d or \u201cangry\u201d pieces.\nArt: Play a piece of classical music and have students draw the images that they \u201csee\u201d when they listen to the piece. Have a class discussion about the use of bright colors versus darks, and have students explain what each drawing represents. For an addition project, have students gather in groups and write a composition that combines the images from the drawing of each member of the group.\nRecognition: Make a game of classical music by playing songs from movies and cartoons. Divide up into teams and keep score of who correctly matches each piece.\nMath: A short lesson in rhythm and the way music is composed on a piece of paper gives way to a lesson in fractions. Ask your school music teacher to help explain things like \u201c3/4 time,\u201d then listen to different selections and ask students to conduct a few phrases based on the rhythm of the music.\nTo get you started with some composers and selections, John Clare, announcer and producer at KMUW, Wichita\u2019s public radio station, offers this \u201cTop 10\u201d classical music list:\n1. Beethoven: Symphony #5\n2. Pachelbel: Canon in D\n3. Mozart: Eine Kleine Nachtmusik\n4. Bach: Jesu, Joy of Man\u2019s Desire\n5. Brahms: Piano Concerto #1\n6. Mendelssohn: Symphony #4\n7. Beethoven: Fur Elise\n8. Mozart: Violin Concerto #3\n9. Tchaikovsky: Waltz of the Flowers\n10. Schubert: Trout Quintet\nFor those of you in the Portland listening area, KBPS 89.9FM offers a unique broadcast Tuesday and Thursday at 10:30 a.m. for teachers to use in the classroom. Another program, Kid Rhythm Classics, airs Saturday mornings from 7 to 9 a.m. KBPS also suggests the following ideas:\n* Use classical music as a \u201csoundtrack\u201d to students\u2019 readings of poetry or other creative writing\n* Have students listen for rhythmic patterns\n* Play classical music from the time period being studied, giving historical events a musical and cultural context\n* Discuss overlapping scientific and artistic developments that occurred in the time period of various classical music compositions\n* Discuss the diversity of ethnic/cultural groups as expressed through music\n\u201cI had a great chuckle one day when a struggling reader came up to ask me if we could listen to Joanne Barch (Johann Bach) again,\u201d writes Terri, a regular contributor to the Teachnet.com T2T forum. For her class she chooses a Composer of the Month. \u201cI don\u2019t do anything elaborate, just simply write the name on the board and help them to pronounce it. Then we play music of that composer throughout the month, during our silent reading times. By the end of the month, the kids are usually able to hum along. I have copied pictures of each composer from encyclopedias, etc. so they know what each one looks like.\u201d Terri points out that this concept works well for arts appreciation; she also features an Artist of the Month.\nHappy listening with your class!", "id": "<urn:uuid:8191b839-6ceb-4289-ae60-acad8c361a03>", "dump": "CC-MAIN-2021-17", "url": "https://teachnet.com/lessonplans/music/classical-music-in-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00285.warc.gz", "language": "en", "language_score": 0.9446403980255127, "token_count": 952, "score": 3.546875, "int_score": 4}
{"text": "Grade Levels: 5/6\nSubject Area: Social Studies, Geography\nThis lesson plan is inspired by the article \u201cProtecting the Past,\u201d in the April 2017 Happy Birthday Canada issue of Kayak: Canada\u2019s History Magazine for Kids.\nStudents develop an understanding of the importance of the process in which unique and historically significant national sites, people and events in Canada are determined and the potential consequences of not recognizing and preserving them.\nEight 60-minute periods\nHistorical Thinking Concept(s)\nThis lesson plan uses the following historical thinking concepts: establish historical significance, use primary source evidence, and analyze cause and consequence.\n- Identify and gather information about a National Historic Site of interest\n- Construct a multimedia display (infographic, slideshow, that can be uploaded to a collaborative class digital map such as Google My Maps)\n- Develop an understanding of historical significance\n- Use persuasive writing techniques\n- Reflect on the importance of Parks Canada\u2019s National Historic program\nNational Historic People: People can be selected as someone of national historic significance 25 years after death. Molly Brant (1736 to 1796) was an indigenous woman of Mohawk descent who exercised considerable political influence, built up over a lifetime, among the Six Nations of the Iroquois. The plaque can be found in Kingston, Ontario, at 175 Rideau Street. This plaque was dedicated in November of 1994. Parks Canada uses the following areas of contribution to categorize the national historic importance of people, places and events: Peopling the Land, Developing Economies, Governing Canada, Building Social and Community Life and Expressing Intellectual and Cultural Life.\nThe Lesson Activity\nPart 1 \u2013 National Historic Sites\nUsing a variety of images from a variety of National Historic Sites, have students work in small groups to examine the photos and discuss what they see in the image, what they think the purpose of the image is, and record any questions or wonderings they have in regards to the images (Use a See-Think-Wonder graphic organizer to record). Debrief with students. (20-30 minutes)\nRead first section of article \u201cProtecting the Past\u201d. After the reading, have the students in partners or small groups discuss the following question: \u201cWhat might the possible consequences be for Canadians if we did not have National Historic Sites?\u201d (20-30 minutes)\nStudents select one heritage site to explore in more detail, gathering information about the historical significance of the site, how it contributes to Canadian identity and what the consequences might be if this site had not been designated as a National Historic Site. They share their findings in digital multimedia form which can be uploaded to a class digital map using Google My Maps. (Two 60-minute periods)\nPart 2 \u2013 National Historic People\nDisplay the image of the plaque recognizing the contributions of Molly Brant on screen. Ask students if they have seen plaques similar to this elsewhere in Canada. Have students do a \u201cturn & talk\u201d to an elbow partner to share what they think the significance of these plaques are. Read the plaque and discuss the role that Molly Brant played in Canadian history. (20-30 minutes)\nRead the second section (People) of the article \u201cProtecting the Past\u201d. Ask students: \u201cWhy do you think that there is a waiting period of 25 years after death to be named as a person of national historic significance?\u201d Working in pairs or small groups have students brainstorm on chart paper what they feel the criteria would need to be to be considered for designation as a person of national historic significance. Have the groups share their ideas to create a collaborative list of criteria as a class. Based on these criteria have students brainstorm a list of contemporary people that they feel should receive a designation of national historic significance. (60 minutes)\nStudents will select one individual from the list that they brainstormed in the acquiring phase that they wish to advocate for as a person of national historic significance. Have them write a persuasive letter that outlines the contributions of the individual they selected and explain why they feel that these contributions should be considered as historically significant. (60 minutes)\nPart 3 \u2013 National Historic Events\nWatch the Heritage Minutes: Underground Railroad to introduce students to the Underground Railroad in Canada. Explain that the Underground Railroad is considered a National Historic Event. Read the Events portion of the article \u201cProtecting the Past.\u201d (30 minutes)\nHave students break into pairs and provide each pair with an outline of a different National Historic Event. Have students become familiar with this event. Ask them to think about why they believe that this event is important to Canada\u2019s history. Have pairs place their event on a class timeline, sharing a brief summary of the event with their peers. Use the National Historic Site List to support student research. (60 minutes)\nPose the following question to the students: \u201cWhat has happened in your lifetime that you think should be a National Historic Event?\u201d In small groups have students brainstorm events that they feel are significant to Canada. Have students choose an event to add to the class timeline. Students share their reasoning as to why they feel this event is historically significant. (60 minutes)\nFinal Reflection: Students will write a reflection on their learning based on the following prompt: \u201cWhy might it be important for Canadian identity for Parks Canada to recognize historic sites, people and events?\u201d\n- Heritage Minutes: Underground railroad. Historica Canada. Published 1991. Web. 27 Feb. 2017.\n- Parks Canada Agency, Government of Canada. \"Parks Canada - Home.\" Parks Canada - Home. N.p., 15 Feb. 2017. Web. 25 Feb. 2017.\nAssessment for Learning (Formative)\nDuring small group discussion in Part 1 of lesson, teacher could use an observational tracking form to record conversations between students related to their understanding of consequences of not having National Historic Sites.\nAssessment for Learning (Summative)\nFor both the digital multi-media and persuasive letter rubrics could be created for use with evaluation.", "id": "<urn:uuid:b635a9a9-1d4d-4c03-97f9-0def14e79c56>", "dump": "CC-MAIN-2021-17", "url": "https://www.canadashistory.ca/education/lesson-plans/what-might-canada-be-like-if%E2%80%A6", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00364.warc.gz", "language": "en", "language_score": 0.9213777780532837, "token_count": 1249, "score": 4.03125, "int_score": 4}
{"text": "Emory B. asks, \u201cWhat are tenses in English grammar?\u201d Here\u2019s a surprising answer from Thomas and some creative writing activities for exploring tenses in English.\nKomal V. asks, \u201cHow do we develop writing skills in young people?\u201d Here Thomas explores 3 ways to make writing more playful and fun writing activities for kids.\nCozy Grammar recently offered a workshop for teachers on how to teach transitive and intransitive verbs in creative and playful ways. Hosted by Digi Phonics in India, this complete workshop explores the hidden power of intransitive verbs and answers questions from teachers.\nWhen we start learning grammar, certain terms can feel intimidating. What is a principal clause? What is a compound sentence? Ideas like these can be confusing and can make students anxious. Yet knowing grammatical terms like these can help open the doors to excellence in writing and greater appreciation of beauty.\nWhether you or your students are in school, homeschooling, unschooling, or just learning on your own, at some point you\u2019re bound to face the question, \u201cWhat is an essay?\u201d Here\u2019s Marie\u2019s simple definition and a surprising second definition from Thomas. What is an essay? The powerful possibility of calmness.\nA student recently asked, \u201cHow do we rewrite a sentence without changing the meaning?\u201d Here Thomas shares three simple tips for how to rewrite a sentence without changing the meaning but making it stronger at the same time.\nTaranindya asks, \u201cWhat writing exercise can we use for practicing English grammar with a 9-year-old at home?\u201d Here are some tips from Thomas.\nHere\u2019s a wonderful question from a reader: How do we grow our children\u2019s writing habits, especially for students who might be in the elementary level and who might be learning English as a second or as a foreign language? How do we encourage students to love writing? Here are five things that occurred to me.\nThis month we wanted to take another look at the difference between transitive and intransitive verbs. Marie gives us a special memory trick that no one else that I know of has used. We also have an exciting announcement about some new features and an upcoming release. Take a peek at this month\u2019s free videos!\nJust as it may seem strange at first to talk about grammar and gratitude, it may also seem strange to talk about grammar and beauty. But as Marie and Thomas explain in Lesson 14 of The Basic Cozy Grammar Course, beauty and grammar go together.\nWhat could be more surprising and helpful than talking about grammar and gratitude? We tend to think of grammar as dry and even lifeless, but properly taught, grammar can be an extraordinary and powerful tool for increasing awareness, unleashing creativity, and fostering true success. Take a peek at this month\u2019s free videos to learn more!\nDespite their humble appearance, pronouns are one of a writer\u2019s most useful tools and can even unleash great comedy. To show you what I mean\u2014and to prepare you for a fun activity with language\u2014take a peek at this month\u2019s free excerpts. Just so you know, you may find yourself laughing!\nAs the year draws to a close, we wanted to offer two video excerpts on adjectives. How to describe the delights of the season vividly and memorably? That\u2019s what both of our videos address. We also have a creative writing exercise and a holiday gift to share. Read on to learn more!\nThis month we wanted to offer two video excerpts on adverbs and a writing activity. The topic of adverbs can sometimes seem confusing, but as Marie points out, adverbs are simply words that describe verbs, adjectives, and other adverbs. And of these uses, the most important by far is describing verbs. You can see it in the word itself: ad-VERB!\nThis month we wanted to share a video excerpt from Marie about conjunctions, as well as a companion video from Thomas about clauses. Both videos are set on Marie\u2019s favorite Eagle Rock and give a sense for how the sea and the natural world around Marie\u2019s Cozy Beach Cottage form an important part of Marie\u2019s lessons.\nThis month we wanted to share two video excerpts about verbs from Lesson 7 of The Basic Cozy Grammar Course. In this first video excerpt, Marie introduces three things that verbs express\u2014action, possession, and existence\u2014and gives us four examples of verbs of action.", "id": "<urn:uuid:4c215cf4-db88-4acd-a3c0-0f0b067731b2>", "dump": "CC-MAIN-2021-17", "url": "https://www.cozygrammar.com/tag/writing-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039398307.76/warc/CC-MAIN-20210420122023-20210420152023-00245.warc.gz", "language": "en", "language_score": 0.9418688416481018, "token_count": 944, "score": 3.53125, "int_score": 4}
{"text": "The Higgs boson is a result of the quantum excitation of the Higgs field, which, by interacting with the W and Z bosons (elementary particles carrying the weak force), gives them their mass . This is called the Higgs mechanism. It was first proposed when, over half a century ago, three different research teams were trying to fix an issue relating to the unified theory of two out of the four fundamental forces: the weak force responsible for the interaction between subatomic particles and electromagnetism responsible for the electric and magnetic fields. In this unified theory, gauge bosons (force-carrying particles) emerged without mass. This is true for photons, which carry electromagnetism, and gluons, which carry the strong force (the force binding quarks together), however, the W and Z bosons do have mass.\nThis is why it was necessary to experimentally prove the existence of the Higgs mechanism. If it did not exist, then there must have been something wrong with the Standard Model of particle physics . The Standard Model is essentially a classification of all known elementary particles while including the weak, strong, and electromagnetic forces.\nSearches at the European Organization for Nuclear Research (CERN) began in the late 1980s with a particle accelerator known as the Large Electron-Positron Collider . It was dismantled in 2001 to build a new particle accelerator: the Large Hadron Collider (LHC). On the 4th of July 2012, two different collaborations at the LHC (ATLAS and CMS) announced they observed a new particle with a mass of around 125 gigaelectronvolts . Further investigation showed that the newly discovered particle and the Higgs boson had matching properties. Now, the 4th of July is known as Higgs day.\nThe confirmation of the Higgs mechanism has opened up new ideas for research questions in particle physics and cosmology. Physicists are looking into the role the Higgs field and Higgs boson may play in baryon asymmetry, the search for dark matter, the fate of the universe, and the theory of supersymmetry [3, 4].\n \u201cThe Higgs Boson\u201d. 2020. Home.Cern. Accessed July 1. https://home.cern/science/physics/higgs-boson.\n \u201cCERN And The Higgs Boson\u201d. 2020. Home.Cern. Accessed July 1. https://home.cern/resources/faqs/cern-and-higgs-boson.\n Wolchover, Natalie. 2019. \u201cThe Physics Still Hiding In The Higgs Boson\u201d. Quantamagazine.Org. https://www.quantamagazine.org/the-physics-still-hiding-in-the-higgs-boson-20190304/.\n Gray, Heather, and Bruno Mansouli\u00e9. 2018. \u201cThe Higgs Boson: The Hunt, The Discovery, The Study And Some Future Perspectives | ATLAS Experiment At CERN\u201d. Atlas.Cern. https://atlas.cern/updates/atlas-feature/higgs-boson.\nFigure 1: Wolchover, Natalie. 2019. \u201cThe Physics Still Hiding In The Higgs Boson\u201d. Quantamagazine.Org. https://www.quantamagazine.org/the-physics-still-hiding-in-the-higgs-boson-20190304/.\nFigure 2: McCullough, Matthew. 2017. \u201cHappy 5Th Anniversary, Higgs Boson!\u201d. Home.Cern. https://home.cern/news/news/experiments/happy-5th-anniversary-higgs-boson.\nAbout the Author\nHazal Kara is a rising junior at Hisar School in Istanbul, Turkey, and a physics, math, and astrophysics editor at the Young Scientists Journal. She is passionate about science communication and literature. Her hobbies include game development, solving (or trying to solve) math problems, and creative writing. She hopes to become a physicist and writer in the future.", "id": "<urn:uuid:64461e63-7929-4935-a402-b860faed08eb>", "dump": "CC-MAIN-2021-17", "url": "https://ysjournal.com/the-4th-of-july-higgs-day/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00605.warc.gz", "language": "en", "language_score": 0.9074569344520569, "token_count": 871, "score": 3.9375, "int_score": 4}
{"text": "If you have selected a storybook to share with your class and you\u2019re looking for some help on how to do so, then this article is for you! Earlier, we\u2019ve written about how to pick good storybooks for classroom and why we think storybooks are critical in language class.\nWhat\u2019s Your Objective?\nWhile planning your sessions, it\u2019s important to keep your objective(s) in mind \u2013 Why are you introducing these storybooks in classroom? Is it for fun or is it a teaching tool \u2013 to introduce a particular theme and/or for language improvement. Your objective may be tied to your audience \u2013 is it tiny tots, primary kids or middle-grade ones? Or a mixed bag?\nWhatever your reasons for selecting the book, we will assume that your first primary objective is to get the children to read the book by themselves. Before you distribute copies of the book to your children, you will have to \u201cintroduce the book\u201d and get them to want to read it.\nWays of Introducing\nThere are many ways of introducing a storybook in classroom:\n- Read aloud \u2013 Just read from the book. This works particularly well for books written in rhyme and rhythm like Gruffalo or our very own Ramu and Ramya series. If you know how to do it well, read aloud can work for any book. Mem Fox goes in-depth into read aloud in her book Reading Magic.\n- Read along \u2013 Get your children to read with you.\n- Read in turn \u2013 Ask your children to read the storybook out in turns, one paragraph at a time.\n- Using AV:\n- Audiobooks/podcasts \u2013 You could use an audio clip to hook your children onto your book. Karadi Tales has a lovely collection of audiobooks, and there\u2019s always the internet.\n- Videos / Movies \u2013 Youtube is a rich source of material you can use in the classroom to introduce a book. For example, watch this lovely video of author BJ Novak reading out his book in a school.\n- Creative Ideas:\n- Context-setting \u2013 You could start a conversation around the book by introducing them to the theme or the story via writing / art-based activities, or a game, or a discussion, etc.\n- Picture walk \u2013 With very young kids, you could take your children on a journey by showing them each illustration and talking to them about each item. For more information check out this pdf on picture walks.\n- Roleplay \u2013 One way of getting all the children engaged with a book is to ask some (maybe all) children to act out a few scenes from a book. This gets everyone off their desks and works great for some books, like those of Roald Dahl.\n- Songs / Rhymes \u2013 Tell the story as a song, and your class will never forget it. I still remember the \u2018Sa sing the Sunflower\u2019 rhyme I learnt in preschool!\n- Narrative storytelling \u2013 At the Book Lovers\u2019 Program, we believe that there\u2019s nothing more effective in getting children excited about a book than good old storytelling. With no book in hand, no digital distractions \u2013 just the storyteller and a bunch of kids.\nOral storytelling can be incredibly powerful. I\u2019m sure you fondly remember the times your parents or grandparents or teachers told stories to you. What did you like about those sessions? Was it the story or the way it was told?\nThe first thing to learn about narrative storytelling is \u201cThe Hook\u201d \u2013 the first two minutes. You have to have a great opening in order to pique your class\u2019 interest and keep them invested for the rest of the session. It could be a weird question, an unusual sound, a funny expression, an exaggerated action, etc.\nAfter the hook, comes the hold. This is the long middle of the story, where emotions go up and down, where events that change the plot, and also the section which is the hardest to tell. Pro tip: Make sure you remember the sequence of events in the story. Don\u2019t mess it up!\nVery few people are born storytellers. Most people have to learn it. Like any other art form, there\u2019s no substitute for practice! It gets easier if you break it down into individual techniques and practice each one separately \u2013\nModulating your voice as per changes in the mood in the story is a very basic storytelling technique. You could even try different voices for the characters \u2013 an old woman could have a warbly voice while a 5-year-old kid could have a squeaky high-pitched voice. Listen to how Craig Jenkins uses his voice, for example.\nThe most common use of body language is to differentiate between characters. A simple change in posture can denote who\u2019s talking. For an 80-year-old man, you could hunch down and pretend to hold a walking stick! If you\u2019re a child talking to an adult, you could look up.\nBecause of the association with bedtime storytelling and grandmother tales, a lot of people imagine that storytelling must be done sitting down. No! You could use all the space available to you. Jump, run, or move. Walk to the back of the class and notice how the children crane their heads to follow you (It\u2019s fun to make them work for it!).\nProps (Puppets, Masks, Costumes)\nStorytellers who are good with arts and craft often use puppets, masks and even costumes. Check out this lovely stick-puppet rendition of one of our favourite stories, Gajapati Kulapathi! You could also improvise and be minimal. Perhaps you could use a dupatta for a superhero cape?\nKids love funny faces. They love it when an adult bawls like a baby or screams in frustration (while acting, of course). Push past your comfort zone and magnify your actions as much as possible.\n\u201cShow Don\u2019t Tell\u201d\nIf your character has just entered the jungle, then take a moment to describe the jungle \u2013 possibly the air is still, the earth smells musty, and there is a gentle sound of rustling leaves.\nInvolve your audience! Ask them questions. Get them to repeat a phrase or an action. Make the storytelling come alive, like how Janaki Sabesh does.\nMime / Non-verbal\nThis is a tricky technique to master, but a very effective one. While you may or may not choose to paint your face white, you could always establish imaginary objects in your space like how a mime does.\nYour Unique Strengths\nIt\u2019s not easy to master all of these skills. It\u2019s easier to pick one or two that you think you\u2019ll be comfortable with and hone those to perfection. I grew up dancing, so movements and body language came naturally to me, while I struggled with voice modulation. I started using more and more actions to my storytelling, which worked for me.\nYour journey to becoming a great storyteller could start with a workshop. Some of the country\u2019s best storytelling workshops are conducted by the Book Lovers\u2019 Program (BLPS)team (500+ workshops since 2012). There\u2019s also Kathalaya (100+ workshops since 1998) and Your Story Bag (20+ workshops since 2016). All of these workshops are good \u2013 the main difference is that the BLPS workshop is meant for school teachers for using storybooks in classroom. The other two are general \u2013 could be for storytellers or parents or teachers or lawyers or doctors, etc.\nThe Actual Reading\nNow that you have introduced the storybook to your class, the next step is to get the children to read the book themselves. You might want to consider a few points here: Are the children reading the book at home? Or in class? Is someone helping them while reading? Are they reading alone or in pairs or small groups?\nSome of these decisions might be affected by how many copies of the chosen title you have and what the school policy for book borrowing is. At BLPS, we recommend that you have 1 copy per child at all times.\nThere are many ways to introduce storybooks to children. Narrative storytelling is the most powerful of those techniques. Storytelling can be hard but can be learnt by practice. Oh, and the point of introducing storybooks to children is to get them to read it by themselves. Only then is the objective actually achieved.\nA productive screen time app for ages 3 to 12, that focuses on improving English Language skills.\nOnline English classes for ages 5 to 12. Proven methods for children to improve academic performance and confidence.", "id": "<urn:uuid:2ed73625-dce7-4524-852d-701afb13682c>", "dump": "CC-MAIN-2021-17", "url": "https://go.getfreadom.com/how-to-introduce-storybooks-in-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00365.warc.gz", "language": "en", "language_score": 0.947943925857544, "token_count": 1818, "score": 3.6875, "int_score": 4}
{"text": "6 Ways to Teach the Art of Storytelling to KidsMon, 22 Mar by Kunal\nStorytelling is an essential part of learning for kids from a young age. Stories help children develop creative and critical thinking that is instrumental for better learning all through life. And not just that, research has revealed that learning the art of storytelling from a young age has various advantages. Storytelling activities help kids to develop social, communication, and people skills. It is also helpful to enhance creative thinking skills in kids. There are multiple ways to get children excited about storytelling and storytelling games.\nHere we have listed down six ways to teach the art of storytelling to your children, and try them out today!\n1. Get Excited About Storytelling\nNothing gets children excited about something as seeing their parents enthusiastic about it. Learn how to be a captivating storyteller yourself and make storytelling a part of your daily routine. Listening to your stories encourages children to tell stories themselves. You can use your daily storytelling sessions to introduce voice modulation and other storytelling activities for their benefit.\n2. Attend Storytelling Events Together\nMalls, communities, and libraries often conduct storytelling events for children. Taking your children to storytelling events introduces them to storytelling. These events usually have experienced storytellers who use facial expressions, voice modulation, and intonations to enrapture their audience.\n3. Teach Children the Power of Body Language and Expressions\nStorytelling is more than narration; it calls for a whole-hearted effort from the storyteller. Good storytellers use body language, facial expressions, and voice modulation. Every time you attend a storytelling event or have a storytelling session at home, talk to your kids about body language and expression. Ask them how they would use this to tell the story better.\n4. Practice Practice Practice!\nDeveloping any skill requires constant practice and repetition. Have a daily storytelling activity with your children. Continuous storytelling will develop public speaking skills, and as they slowly lose their stage fear, your children will begin to enjoy storytelling more and more.\n5. Hobby Classes\nTo enhance your children\u2019s storytelling skills, enroll them in a hobby class that focuses on reading, writing, and speaking. This will provide children with a safe environment wherein they can practice their storytelling skills without the fear of judgment. Hobby classes conduct various storytelling activities to get children interested and encourage the participation of every child.\n6. Play Storytelling Games\nGames are the best way to catch a child\u2019s interest. Various storytelling games help children get accustomed to the activity and keep their attention on stories. These games promote imagination and creative and critical thinking among children.\nPrepare an outline of a story beforehand. Preparing an overview enhances your understanding of the story and helps you remember the details. Then, present the story in front of an audience and ask for their feedback.", "id": "<urn:uuid:13cf3b63-0f4b-4bf7-9848-4bb41792d632>", "dump": "CC-MAIN-2021-17", "url": "https://www.planetspark.in/blogs/the-art-of-storytelling", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00084.warc.gz", "language": "en", "language_score": 0.9441646337509155, "token_count": 585, "score": 3.78125, "int_score": 4}
{"text": "Simple Rule: ENGAGE YOUR CLASS! Why should you engage your learners instead of just standing before them, lecturing?\nAn old Chinese proverb sums it up best...\nHow do you engage a class?\nThe attention span of an adult learner is short. Some suggest that most adults can only stay focused for 10-15 minutes at a time. Combine this with the idea that we only retain 20% of what we hear, and what you have as an instructor\u2013if you are only lecturing to your class\u2013is a room full of blank stares within 10-15 minutes after you begin.\nHere are a few suggestions for ENGAGING your class:\n- Use a variety of media. Media types should be varied at least once every 10 minutes. For example, you could start with lecturing and writing on the board, then migrate to a PowerPoint presentation, video clip, or having students work on a computer. This provides a nice mixture of media types that will keep your class engaged.\n- Ask questions that promote discussion. This is a great way to keep your class alert and will provide feedback on their understanding of the concepts.\n- Provide exercises and activities that provide group interaction, an opportunity to move, or be engaged in discovery.\nHow do you present your content in a way that ENGAGES?\n- Relevance\u2013 is your content relevant to what your class needs to know or do?\n- Are you telling a story?\u2013 teaching is really about storytelling. Think of your content in this way. Does it tell a story? If not, structure the content into smaller chunks that are linked together in a logical flow.\n- Your physical position\u2013 Do not block the learners\u2019 view of your visuals and try to move around the room as you present.\n- Establish rapport\u2013 comfortable learners are more likely to learn. Call learners by name when you can and never compromise anyone\u2019s self-esteem (e.g., never criticize in public).\n- Be a good conversationalist\u2013 look your participants in the eye and talk with them, rather than at them.\n- PowerPoint\u2013 more slides are not necessarily better. When preparing PowerPoint presentations, consider the 6x6 rule: never more than 6 bullet points per slide, 6 lines per slide, or 6 text-only slides in a row. Also, ensure your text is readable from the back of the room.\n- Self-evaluate yourself at the end of the class to determine what went well or could be improved. This will benefit your lesson on its next offering.", "id": "<urn:uuid:da824520-f297-4b87-a33d-9e014f76fc15>", "dump": "CC-MAIN-2021-17", "url": "http://knowledgebank.irri.org/training/fact-sheets/conducting-training/item/teaching-effectively-fact-sheet", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038071212.27/warc/CC-MAIN-20210413000853-20210413030853-00444.warc.gz", "language": "en", "language_score": 0.9306721687316895, "token_count": 522, "score": 3.78125, "int_score": 4}
{"text": "Aboriginal EMPATHIC Program\nAge group: Late childhood (7-11)\nGender: Mixed (male and female)\nPopulation served: Aboriginal/Indigenous\nLocation: Nova Scotia\nNumber of completed Canadian outcome evaluation studies: 1\nContinuum of intervention: Secondary crime prevention\nThe Aboriginal Emotional Maturity Problem-Solving & Awareness Targeting Higher Impulse Control (EMPATHIC) Program is a school-based curriculum. It is based upon the Promoting Alternative Thinking Strategies (PATHS) programFootnote1 which is widely recognized in the United States as a proven program to prevent or reduce levels of violence, crime, or drug use.\nThe program was modified to reflect Aboriginal cultural values and teachings and is centered on emotional awareness, impulse control, techniques to handle emotions, and increasing levels of self-esteem and pride in the Aboriginal culture.\nThe main goal of the Aboriginal EMPATHIC Program is to:\n- Develop emotional awareness and impulse control among Aboriginal children.\nThe expected outcomes for the Aboriginal EMPATHIC Program include:\n- Reduction of aggressive or violent incidents at school;\n- Reduction of antisocial behaviour requiring intervention; and\n- Increased self-control.\nThe appropriate clientele for the Aboriginal EMPATHIC Program is all Aboriginal children in grades one to five (approximately aged from 6 to 11 years old), including those with aggressive and disruptive behaviours.\nThe Aboriginal EMPATHIC Program consists of 40 lessons for each of the five grade levels, with some lessons overlapping from previous years for reinforcement. Classroom teachers are responsible for the administration of the program. There are a total of 129 different lessons over the five grades. Lesson techniques include role-playing, storytelling, journal writing, drawing, picture-based scenarios, and sharing of personal stories. Each week in each class, one child is chosen to be PATH Kid of the Week.\nHome visits occur each week. Out of all the PATH Kids of the Week, five homes are visited by a program representative to create a positive focus on the child. The homes that are selected are those homes where the situation may be less than desirable and a positive school visit would provide much needed positive attention.\nSome of the critical elements for the implementation of this program or initiative include the following:\n- Organizational requirements: Limited information on this topic.\n- Partnerships: Organizations should collaborate with school staff and administrators. The program promotes community ownership through the involvement of diverse community representatives throughout various stages of program development and implementation.\n- Training and technical assistance: All teachers should attend a standard PATHS training workshop.\n- Risk assessment tools: Limited information on this topic.\n- Materials & resources: The Aboriginal EMPATHIC Program curriculum documents.\nThe most recognized classification systems of evidence-based crime prevention programs have classified this program or initiative as follows:\n- Blueprints for Healthy Youth Development: Not applicable.\n- Crime Solutions/OJJDP Model Program Guide: Not applicable.\n- SAMHSA's National Registry of Evidence-based Programs and Practices: Not applicable.\n- Coalition for Evidence-Based Policy: Not applicable.\nGathering Canadian Knowledge\nCanadian Implementation Sites\nPublic Safety Canada\u2019s National Crime Prevention Strategy provided funding to implement the Aboriginal EMPATHIC Program in the Eskasoni Elementary and Middle School in Cape Breton, Nova Scotia between 2003 and 2006. The program was implemented by the Eskasoni School Board in conjunction with school administration, teachers, parents, community members and program personnel.\nMain Findings from Canadian Outcome Evaluation Studies\nAs part of Public Safety Canada\u2019s funding, an outcome evaluation studyFootnote2 of the Aboriginal EMPATHIC program was conducted in 2006 by Chaytor Consulting Services Ltd. The one-year evaluation of the Aboriginal EMPATHIC Program in Cape Breton, Nova Scotia was based on a quasi-experimental design \u2013 a two-group, before and after design.\nResults from this evaluation showed the following:\n- Changes in student behaviour were beginning to emerge as a result of the implementation of the Aboriginal EMPATHIC Program. Improvements were reported in the students\u2019 ability to understand and express emotions, students were also beginning to show signs of improved impulse control.\nFor more information, refer to the National Crime Prevention Centre\u2019s (2013) publication.\nThe cost per youth involved in the Aboriginal EMPATHIC Program is based on the size of the school(s) involved in implementation. In 2006, the cost of implementing the program without assistance in a small school was $10 (CAD) per student (based on 100 students: 5 classes x 20 students per class). The cost of implementing the program in a medium sized school with part time support was $144 (CAD) per student (based on 200 students: 10 classes x 20 students per class). The cost of implementing the program in a large sized school with full support was $143 (CAD) per student (based on 400 students: 20 classes x 20 students per class) (Chaytor Consulting Services, Ltd., 2006).\nChaytor Consulting Services, Ltd. (2006). Evaluation of the EMPATHIC Program: Final Report. Submitted to the Eskasoni School Board & the National Crime Prevention Centre, Public Safety Canada (Unpublished report).\nNational Crime Prevention Centre. (2013). The Aboriginal EMPATHIC Program. Evaluation Summary. Ottawa, ON: Public Safety Canada. Available from: http://www.publicsafety.gc.ca/cnt/rsrcs/pblctns/2009-se-20/index-eng.aspx\nFor more information on this program, contact:\nRecord Entry Date - 2018-02-19\n- Date modified:", "id": "<urn:uuid:aad70ad3-d228-4606-a7ba-e1a2bd4c7551>", "dump": "CC-MAIN-2021-17", "url": "https://www.securitepublique.gc.ca/cnt/cntrng-crm/crm-prvntn/nvntr/dtls-en.aspx?i=10002", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00285.warc.gz", "language": "en", "language_score": 0.9104201197624207, "token_count": 1166, "score": 3.796875, "int_score": 4}
{"text": "Resources to help your digital natives leave a positive digital footprint.\nJust as we teach our students how to do algebra, analyze historical documents, and write persuasive essays, we must also teach them how to be good digital citizens. Oftentimes, we assume that digital natives will already understand many of these concepts, when in reality, our students need guidance on leaving positive digital footprints that will not hinder them later in life.\nGiven that October is Digital Citizenship Month, it's the perfect opportunity to take some time to introduce these important lessons to your students. Check out these five resources to kick-start digital citizenship in your classroom!\nBrainPop (grades K\u201312), BrainPop Jr. (grades K\u20133)\nBrainPop is primarily a paid, online resource that teaches students through animated videos, learning games, interactive quizzes, and more. Within the paid version, BrainPop offers an extensive collection of resources on digital citizenship. However, BrainPop also offers some resources for free, including one on digital etiquette. Within this resource, BrainPop's animated characters Tim and Moby review digital etiquette concepts, including netiquette, flaming, trolls, and how to differentiate between communications with friends and communications with teachers and other adults. Educator resources are available so the content can quickly and easily be presented in class.\nCommon Sense Education (grades K-12)\nCommon Sense Education has long been a big name in digital citizenship. However, for those of you who are not aware of the scope of these resources, I wanted to include them. What makes Common Sense Education amazing is that they have full units that are specifically targeted toward different grades and include lesson plans for teachers, interactive simulations for students, assessments, and communications and activities for families. Lessons can be downloaded as PDFs, iBooks, and Nearpod lessons. Even those of us who are not quite as tech-savvy will be able to find something here!\nDigizen (grades K\u201312)\nDigizen is a branch of Childnet International and focuses mainly on social networking and cyberbullying. Within the Digizen site, content that is appropriate for teachers, students, and parents is offered. Social networking, including its benefits and risks, is explored in-depth, and a great deal of background information is provided for teachers as well as some activities to use with students. In Social Networking Detective, students are given a student named Chloe's \"Friendbook\" page. Based on the page, students are tasked with answering a variety of questions and determining mistakes Chloe made with her digital footprint. The ability to apply Digital Citizenship knowledge to real-world situations makes Digizen an especially valuable resource.\nOftentimes, we assume that digital natives will already understand many of these concepts, when in reality, our students need guidance leaving positive digital footprints.\nEverFi Ignition (grades 6\u20139)\nEverFi is an organization founded in 2008 primarily to provide free financial-literacy resources to schools. During the past five years, EverFi has branched out to include other courses, including STEM readiness, positive character development and social-emotional learning, and real-world application to basic computer science. Students work through a simulation of bringing a concert to their schools. Throughout the simulation, they learn about valuable concepts such as their digital footprints, internet safety, and cyberbullying. I love EverFi because it is an amazing, standards-based resource that provides simulation and choice-based learning with an easy-to-use teacher dashboard to track student progress.\nlol\u2026OMG! (grades 6-12 and university)\nMatt Ivester, a technology entrepreneur and founder of the college gossip site, JuicyCampus.com, wrote the book lol\u2026 OMG! (2012). In this book, he utilizes real-life case studies to teach students about cleaning up an existing digital footprint and then beginning to maintain a positive digital footprint. Mary Beth Hertz, a technology instructor in Pennsylvania, wrote about utilizing Ivester's book to teach digital citizenship in an article for Edutopia. In her 1:1 school, students are issued laptops they may take home with them. However, ninth-graders do not receive their laptops until after they have worked through lol\u2026OMG!, various current events articles on digital citizenship, a project, and class discussions.\nTeaching our digital native students how to be safe on the digital playground is a process, and I hope that you have found at least one way that you can easily commit to recess duty!", "id": "<urn:uuid:8234c63d-692d-44f5-8161-825fa942d5b5>", "dump": "CC-MAIN-2021-17", "url": "https://www.commonsense.org/education/articles/5-great-resources-to-teach-digital-citizenship", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00403.warc.gz", "language": "en", "language_score": 0.9557065963745117, "token_count": 920, "score": 3.90625, "int_score": 4}
{"text": "- What is an example of literacy?\n- What is new literacy?\n- What are the basic literacy skills?\n- What is literacy in the classroom?\n- What are the three kinds of literacy?\n- What are literacy activities?\n- How do you teach literacy skills?\n- How do you support literacy for all students?\n- How can you support literacy in the classroom?\n- What are the four types of literacy?\n- What are the 7 literacies?\n- What are the 6 skills of early literacy?\nWhat is an example of literacy?\nLiteracy is defined as being able to read and write, or to having knowledge about a specific subject.\nWhen you can read, this is an example of literacy.\nWhen you are familiar with math, this is an example of literacy in mathematics.\nThe ability to read..\nWhat is new literacy?\nNew literacies refer to new forms of literacy made possible by digital technology developments. Commonly recognized examples include instant messaging, blogging, social networking, podcasting, photo sharing, digital storytelling, and conducting online searches.\nWhat are the basic literacy skills?\nThe generally agreed building blocks of reading include phonemic awareness, phonics, fluency, vocabulary, and comprehension.\nWhat is literacy in the classroom?\nLiteracy has traditionally been thought of as reading and writing. \u2026 Alberta Education defines literacy as the ability, confidence and willingness to engage with language to acquire, construct and communicate meaning in all aspects of daily living.\nWhat are the three kinds of literacy?\nSince adults use different kinds of printed and written materials in their daily lives, NAAL measures three types of literacy\u2014prose, document, and quantitative\u2014and reports a separate scale score for each of these three areas.\nWhat are literacy activities?\nAbout literacy activities Talking, singing, playing sound and word games, reading, writing and drawing with your child are great ways to set up a good literacy foundation. The great news is that everyday activities, like going to the local shops or library, all offer lots of fun opportunities for literacy development.\nHow do you teach literacy skills?\nTips on Teaching Literacy to Elementary StudentsTime: spend more time on reading and writing.Text: have lots of books for children to read.Teach: actively teach useful strategies.Talk: let students talk about how and what they are learning.Task: give students longer assignments to build stamina, instead of short tasks.More items\u2026\u2022\nHow do you support literacy for all students?\nSet aside time for independent reading. \u2026 Create Literacy-Rich Environments in every K-12 Classroom. \u2026 Support High-Quality Classroom Libraries. \u2026 Encourage Read Alouds. \u2026 Create a \u2018Caught Reading\u2019 Campaign that features Teachers as Readers. \u2026 Invite Guest Readers into Classrooms. \u2026 Encourage Students to Read Widely.More items\u2026\u2022\nHow can you support literacy in the classroom?\nRead aloud frequently. Include children\u2019s primary language in print around the classroom. Allow children to make mistakes when attempting to use a second language. Encourage children to read the same books repeatedly to become familiar with the text.\nWhat are the four types of literacy?\nReading and Writing. Traditional definitions of literacy usually refer to the ability to read and write. \u2026 Digital Literacy. \u2026 Financial Literacy. \u2026 Cultural Literacy.\nWhat are the 7 literacies?\nSeven Literacies: HomeHome.Basic Literacy.Early Literacy.Civic/Social Literacy.Digital Literacy.Financial Literacy.Health Literacy.Legal Literacy.\nWhat are the 6 skills of early literacy?\n6 Early Literacy SkillsPrint Motivation.Print Awareness.Letter Knowledge.Vocabulary.Narrative Skills.Phonological Awareness.", "id": "<urn:uuid:ad445520-3529-453a-bcb6-97a8764bf7c6>", "dump": "CC-MAIN-2021-17", "url": "https://cinechautari.com/qa/what-are-the-basic-literacy.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038083007.51/warc/CC-MAIN-20210415035637-20210415065637-00566.warc.gz", "language": "en", "language_score": 0.9226743578910828, "token_count": 784, "score": 3.84375, "int_score": 4}
{"text": "How to Write Up an Elementary Volcano Science Project After creating a volcano science project, it's important to write a clear presentation. This should include an introduction, hypothesis, materials list, procedure description, results, and conclusion. 10 Hot Facts About Volcanoes - Listverse The short-term effects of volcanoes\u2014rains of fire, rivers of magma, panic and screaming\u2014are terrifying enough, but they pale in comparison to the long-term effects. In fact, it is thought that natural processes such as volcanic eruptions could very well be a leading influence on climate change . Erupting Volcanoes! - Science NetLinks\nIntentional landscapes: inadvertent results. With the best of intentions, our land and landscape interventions do and say things we didn't anticipate. It's nature, not us.\nThe best books on volcanoes, as recommended by volcanologist Daivd Pyle, Professor of Earth Sciences at Oxford University. (PDF) Volcanic Matters: Magmatic Cinema, Ecocriticism, and\u2026 As objects of study for millennia (Aristotle wrote about Vulcano, and Strabo and Pliny the Elder about Stromboli, for ex- ample), these particular volcanoes have long had a role in storytelling about planetary pro- cesses. All the Lives He Led by Frederick Pohl - Read Online Read All the Lives He Led by Frederick Pohl for free with a 30 day free trial. Read unlimited* books and audiobooks on the web, iPad, iPhone and Android. Lucy by Jamaica Kincaid\nVolcanic Eruptions Essay Sample. Deep inside the Earth, magma rises upwards, gathers in pools within or below the crust and tries to get to the surface. Cracks provide escape routes and the magma erupts as a volcano.\nEffects Of Volcanoes - Earth Facts and Information The effects of volcanoes on cities and towns after an eruption could vary from no effects at all to a catastrophe of immeasurable magnitude. A lot of the effects that a city will feel depend on the size of the explosion or eruption and the atmospheric conditions. Shield Volcano: Interesting Facts, Examples, And Diagrams ... The largest volcano in the entire world, Mauna Loa in Hawaii, is a shield volcano. Shield volcanoes like Mauna Loa are impressive to look at and study, because their eruptions are not usually violent, meaning they can be approached much more safely than other volcanoes. Yet how does a shield volcano work, and how does it differ from other ... Cause and Effect of Volcano Eruption - Sample Essays \ud83d\udcda Cause and Effect of Volcano Eruption - essay example for free Newyorkessays - database with more than 65000 college essays for studying \u3011\nThis means that due to the short warning time, it is very difficult for an area to mitigate the effects of a volcanic hazard as there may not be enough time to plan and prepare for the impacts of an eruption therefore maximising the hazards posed by this type of eruption.\nIn 1924, however, the volcano had an explosive eruption and from then to 1955 there was a period of short eruptions. Current Eruption. Impressively enough, the current eruption of the Kilauea Volcano, named Pu'u O'o started 30 years ago! Use volcano in a sentence | volcano sentence examples of the new, was completely destroyed by .an eruption of the volcano in 1814 (about 1200 people being killed), and the new town was almost entirely destroyed by the insurgents in February 1900, an ancient stone church of much beauty (in what was formerly Daraga) being left standing on an elevated site commanding a view of the surrounding country. Impact of Volcanic Eruptions on Iceland - Get Free Essays There are three different types of volcanic eruptions based on the lava texture. These are; Effusive: eruptions in which lava with low viscosity and settles on the side of the volcano forming gentle slopes. In this type of eruption, gases escape easily and thus there is no explosions due to the build-up of pressure (The Geological Society, 2014). Volcano - Six types of eruptions | Britannica.com\nShort Essay on Volcanoes Article shared by A volcano is an opening, in the planet's surface which allows hot, molten rock, ash and gases to escape from below the surface.\nMayon Volcano The 1984 eruption of Mayon Volcano, Luzon, Philippines. C.G. Newhall/U.S. Geological Survey; Popular with climbers and campers, the volcano is the centre of Mayon Volcano National Park (21 square miles [55 square km]). There are large abaca plantations on its lower slopes. There have been more than 30 eruptions recorded since 1616. FREE Hawaiian Volcanoes Essay - ExampleEssays The active Hawaiian volcanoes have received special attention worldwide because of their frequent spectacular eruptions, which can be viewed and studied with a relative ease and safety. . The island of Hawaii is composed of five volcanoes, three of which have been active within the past two hundred years. Nevado Del Ruiz Volcano Eruption - UK Essays\nThousands of years ago, fallout from volcanic activity may have sounded a death knell for a centuries-old Egyptian dynasty, according to a new study. In Ptolemaic Egypt (305 B.C. to 30 B.C.), the ... Chapter 3 Essay Questions Flashcards | Quizlet A composite volcanoes aren't like volcanoes on Venus because Venus' volcanoes are shield volcanoes with long, riverlike lava flows. Lava or a combination of ash, cinders and bombs are likely to erupt next because alternating layers of lava and ash, cinders, and bombs build up composite volcanoes.", "id": "<urn:uuid:8479ded7-276e-462d-90a0-eed997959ba9>", "dump": "CC-MAIN-2021-17", "url": "https://articlezpqx.firebaseapp.com/umbenhauer61512haj/short-essay-about-erupting-volcanoes-3277.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00205.warc.gz", "language": "en", "language_score": 0.9345107674598694, "token_count": 1184, "score": 3.59375, "int_score": 4}
{"text": "1. Environmental Theme Days and Weeks\nThe following environmental days/weeks are celebrated annually:\n- World Wetlands Week in February\n- World Water Week in March\n- Biodiversity Week in May\n- World Environmental Week in June\n- Arbor Week in September\n- Mandela Day in July\nCelebrating Environmental Theme Days is a very important part of environmental education as keeping schools and communities involved helps the environment. Due to many environmental issues, environmental theme days assist in bringing attention to particular environmental issues affecting local, national and international communities through having annual themes, as well as focused efforts towards dealing with a particular issue are pulled together. The celebrations of environmental theme days take the form of lessons facilitated in the Garden as well as small events in schools and in the communities. They involve relevant partnership organisations, stakeholders and they aim to develop meaningful awareness and learning as well as leading participants into taking some form of environmental action.\n2. Holiday Programmes\nSpecial lessons are offered during the school holidays which include fun learning experiences for learners of all ages. In addition, two art workshops (one suitable for Foundation Phase and the other for Intermediate Phase learners) are facilitated during three school holiday periods (end of term 1, term 2 and term 3).\n- Biodiversity and Waste Art workshop \u2013 Learners will learn about Biodiversity and how waste is impacting on it. They will enjoy a guided walk in the Garden and go into the forest, fynbos and useful plants areas. They will learn how valuable biodiversity is to us. At the end of the walk, they will construct a stationery holder for their desks or a frame out of \u201cwaste\u201d materials or anything they desire. These will be decorated with other recycled items or dried plants. Appropriate age group: Grade 4 \u2013 6 (approximately 9 \u2013 13 years).\n- Natures Treasure Hunt Box \u2013 Learners will take part in fun games, storytelling, and an exploratory walk in our magical Garden. Learners will be given the opportunity to discover the special treasures which nature provides. Back at the Gold Fields Centre, they will create and decorate their own treasure box, into which they will put the items they collect from nature.\nAppropriate age group: Grade R\u2013 3 (approximately 6 \u2013 9 years).\nLook out for the notices for these programmes on the SANBI website events page or SANBI social media pages.\n3. Combating Biodiversity Crimes\nThe Combating Biodiversity Crimes Programme is done to raise awareness and understanding of biodiversity crimes and its impacts on people and the natural environment. Furthermore, to explore personal responses \u2013 encouraging personal responsibility to mitigate and report biodiversity crimes. This programme is aimed for youth and adults with more attention given to the communities around protected areas. The programme is done in collaboration with Table Mountain National Park since 2020. The programme focuses on bark stripping and other illegal activities taking place in the Newlands Forest. Learners are made aware of the illegal activities taking place in and outside protected areas.\n4. Communicating the NBA Findings\nThe National Biodiversity Assessment (NBA) Report is a primary tool for monitoring and reporting on the state of biodiversity in South Africa. It is used to inform policies, strategies and actions in a range of sectors for managing and conserving biodiversity more effectively. The findings of the NBA are included in our Kids in Gardens Programmes, Awareness-Raising programmes and Capacity Development programmes to ensure that the message, which is the findings of the NBA, reach the wider community.\nGold Fields Education Centre\nTel: 021 799 8670\nE-mail Address: O.Khutsoane@sanbi.org.za", "id": "<urn:uuid:26efc82c-2dec-4743-9659-171d18940cc9>", "dump": "CC-MAIN-2021-17", "url": "https://www.sanbi.org/community-initiatives/raising-awareness-overview/kirstenbosch-nbg-raising-awareness/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039594808.94/warc/CC-MAIN-20210423131042-20210423161042-00003.warc.gz", "language": "en", "language_score": 0.9418326020240784, "token_count": 748, "score": 3.8125, "int_score": 4}
{"text": "At the core of Project Based Learning - is the philosophy to teach \"an inch wide and a mile deep.\" Our students engage in meaningful learning through project work.\nAt our campuses in Bonita Springs and Clewiston, Florida, children are exposed to the learning process in a stimulating environment that fosters deep knowledge, critical thinking, creativity, collaboration, and communication - resulting in the ability to transfer knowledge and solve problems.\nCharacter development and civic responsibility are the cornerstones of our school family. Equally important are the arts, athletics, and technological literacy.\nEarly Learning School\nEven the youngest students are innately problem solvers. Our Early Learning School encompasses toddler and Pre-K programs that encourage children's abilities in a caring and supportive environment. A hands-on approach allows our teachers to model and coach children through the learning process. We spark the imagination to create a love of learning, and we provide an environment that allows for \"light bulb moments.\" Children are given meaningful learning experiences in a play-based environment.\nToddler Program Overview\nOur toddlers are transitioning to a flexible group schedule. Large classrooms and limited enrollment ensure a calming environment. Toddlers also require sight and sound supervision.\nThe focal point of our learning environments are center spaces, provisioned for meaningful project work. Children are exposed to projects that build upon their background knowledge, from families to fur versus feathers.\nEarly literacy skills, mathematics, scientific concepts, and the developmental domains are central to our curriculum's design. Learning is delivered through the exploration of educational materials, sensory experiences, collaborative construction, oral language opportunities, read alouds, music, and finger plays.\nOur outdoor environment was designed with the safety of our youngest learners in mind. It is rich with science opportunities, as children observe various species of birds, squirrels, butterflies, and investigate the natural environment. Opportunities for active physical play are provided daily.\nPre-K Program Overview\nCurriculum is taught through \"The Discovery Method\", our project- and scientific-based educational model; teaching the learning process, rather than solely skills and facts.\nA solid foundation in traditional literacy instruction, coupled with innovative approaches, ensures a developmentally appropriate, yet globally competitive, program. Immersion in the fine arts aims at providing a balanced approach to the foundation of each child's education.\nStudents are immersed in quality literacy instruction. Picture books are central to each project study.\n- Picture Books: Children engage in traditional read-alouds and digital stories. They act out and re-tell stories using flannel characters, puppets, and props. This builds a love for reading, concepts of print, understanding of story structure, and rich vocabulary knowledge.\n- Reading and Writing Skills: Children also acquire letter/sound recognition, phonological and phonemic awareness, and emergent writing skills.\n- Critical Thinking: Reading comprehension and critical thinking skills are developed through picture book philosophy.\nA rich oral language vocabulary is the primary predictor of future reading success. Therefore, our teachers consistently engage in rich conversation with our students.\n- Center-Based Learning: Teachers scaffold children's language through play-based opportunities.\n- Project-Based Learning: Vocabulary throughout a broad range of academic domains provides opportunities for widening student's lexicons.\nOur approach to mathematics involves the manipulation of objects and the investigation of problems from multiple angles. Children learn to think mathematically, rather than develop route skills. Mathematical objectives are as follows.\n- Numercy: One-to-One Correspondence, Oral Counting Ability, Number Recognition\n- Concepts of Size and Measurement: Sorting Skills, Positional words\n- Geometry: Shape Recogntion, Shape Orientation\n- Algebraic Thinking: Estimation, Patterns and Graphing Skills\n- Mathematical Vocabulary\nEach project allows children to explore scientific approaches. Children formulate questions and hypotheses, investigate, explore, discover, record, and document. Our science curriculum includes the following.\n- Physical Science: Simple Machines, and fundamental physics concepts.\n- Earth Science: Weather and the natural world\n- Life Science: Living and non-living things, dinosaurs and fossils, life cycles, and the human body.\n- Scientific Vocabulary\nOur approach to visual arts focuses on free design and unique creations. Artistic techniques are taught through an Artist of the Month program, which serves to inspire our budding artists. Music and simple instruments are central to classroom instruction. Children are exposed to a variety of musical genres and historical compositions.\nThe Ramps and Pathways program allows for the investigation of physics through our block centers. Lego Labs explore simple machines and basic concepts of engineering, through the use of Legos and 2D/3D modeling.\nOur primary school educates children in grades K through 5th grades. Project Based Learning is implemented in these grades. Interdisciplinary learning is based on an authentic question, in correlation with our community partners. This approach ensures that learning is deep and meaningful, with a focus on the application of knowledge. As an inquiry-based learning environment, all lessons begin with a driving-question. Students ask further questions, hypothesize, conduct experiments, engage in research, document findings, revisit ideas and complete capstone work. Each child's contributions are highlighted in an environment that shares their work through an exploration of communication skills and constructivism.\nOur reading and literacy program are anchored in the Five Pillars of Reading Instruction.\nFluency and Comprehension\nFine Motor Skills: Handwriting, pencil grip, cutting, tracing, and drawing\nSpeaking and Listening\nWriting: Informative, Opinion, and Narative, Conventions of Grammar\nMathematics domains covered within our program include:\nCounting and Cardinality\nMeasurement and Data\nNumber and Operations in Base Ten\nReasoning and Problem Solving\nScience domains include:\nEarth and Space Science\nThe Scientific Process and Scientific Vocabulary\nSocial science domains include:\nCivics and Government\nHistorical Periods of World Cultures\n21st Century Skills\nCreativity, Collaboration, Communication and Critical Thinking\nOur core academic programs are enhanced through traditional enrichment activities, including physical education, fine arts, and music. Focus is also placed on foreign language, cultural studies, engineering, philosophy for children, and technology.", "id": "<urn:uuid:950c3ebe-2242-424d-9ccb-7bef55b1cde8>", "dump": "CC-MAIN-2021-17", "url": "https://www.discoverydayacademy.com/academics/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00486.warc.gz", "language": "en", "language_score": 0.9048498868942261, "token_count": 1289, "score": 3.5, "int_score": 4}
{"text": "Photo credit: The National Archives Teens and Tweens! In honor of the Fourth of July, this post is for you! Whether you\u2019re a history buff or just someone who loves a challenge, here\u2019s a holiday contest that will stump most adults in the U.S.! See entry details and rules after the questions to enter!\nHow many of us think about why we celebrate July 4 (also known as \u201cIndependence Day\u201d)?\nWe may think of barbecues, picnics, sparklers, fireworks, or family trips. But how often do we remember the document which marked the start of a new nation?\nHere are 10 Questions to test your knowledge of U.S. history and events connected with the signing of the Declaration of Independence. How many answers do you (and your family and friends) know?\nAdults may help students find resources, but students should read information and write an original story, poem, or journal entry/entries in their own words. **Creative writing pieces must include specific answers to at least FOUR of the 10 questions, listing the source(s) where information/answers were found. Entries without sources will not be accepted.\n- In what year was the Declaration of Independence written and signed?\n- Who wrote the Declaration of Independence?\n- Was the original version of the Declaration the one that was signed?\n- How many men signed the Declaration?\n- What was the name of the group/meeting where the Declaration was discussed and signed? In what city did the meeting take place?\n- Was this a publicly announced meeting? Why or why not?\n- How many colonies were represented?\n- What were their main reasons for wanting independence? What country had authority over the colonies at this time? What was the name of the king?\n- Name the first battle which preceded the Declaration and the war which resulted from the decision to declare independence.\n- Was the Constitution of the United States, which was completed and signed September 17, 1787, the original document governing the newly established country?\nAnswers to these questions, as well as many other facts related to July 4/Revolutionary War history can be found at the following online sources:\nhttps://www.archives.gov/founding-docs/downloads and other pages of the National Archives\nOriginal creative writing entries received by July 25 will be entered in a drawing to win a Teen Track scholarship to Write2Ignite Conference September 20-21, 2019! You must be a rising 6th through 12th grader or have just completed 12th grade this year to enter.\nThree ways to submit your answers on the attached entry/submission form at https://write2ignite.com/category/2019-conference-updates/\n- Email your entry to firstname.lastname@example.org by July 25,2019\n- Mail your entry to Mrs. Cathy Biggerstaff, 410 Aydlotte Rd., Rutherfordton, NC 28139\n- Bring your completed entry (on paper or saved on a digital device) to Art SLAM! Live /Write2Ignite Conference event July 20 from 2 to 5 pm at Haywood Mall, Greenville, SC https://www.simon.com/mall/haywood-mall/map/#/\nInclude complete name and contact information on the entry form with your submission!\nDrawing results [and answers to \u201c10 Questions\u201d] will be posted by July 27, 2019.", "id": "<urn:uuid:6418a6e3-6d17-4655-baff-3ea9a8644915>", "dump": "CC-MAIN-2021-17", "url": "https://write2ignite.com/2019/07/04/july-4-a-teen-track-historical-fiction-creative-writing-contest/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038078021.18/warc/CC-MAIN-20210414185709-20210414215709-00486.warc.gz", "language": "en", "language_score": 0.9633913040161133, "token_count": 730, "score": 3.796875, "int_score": 4}
{"text": "Mix up the months and hand the stack of pages to your child. Click the Cougar Paw to share ideas and strategies. This is the grass, all brown and dead, that needed the rain from the cloud overhead-- Group 1: What is an acacia tree.\nPlease consider this work a starting point from which you can extend and generate additional stimulus items as you and your students interact with these wonderful stories. The ultimate goal is to fade the use of visual cues so that the students are able to perform the tasks strictly auditorily.\nThe signs of a drought are apparent during the opening pages of Come On, Rain. Explain what the Internet is. Is it okay to pretend in this story. The big, black cloud, all heavy with rain, that shadowed the ground on Kapiti Plain.\nPersonal Response Questions Use the following questions to help your students make personal connections to the story: She regularly incorporates these skills in her therapy sessions with preschool and elementary-aged students.\nFor older children, you can create more blank sequence squares on the sheet. The hot, lazy moments are expressed in longer sentences, while Hesse also uses shorter sentences to express the bursts of excitement and hope that Tessie feels. When they say \"No,\" ask the children if they know where Africa is.\nThe average temperature is 80 degrees all year long. Encyclopedia classifies the clouds and gives position in the atmosphere. This is the eagle who dropped a feather, a feather that helped to change the weather.\nIn addition, many answers are provided for your convenience, either in parentheses following the item or by underlining the target item in a list. Which month is last.\nInvite volunteers to choose a day and collect and record the data through observation and by listening to local radio and TV weather reports. The majority of the people live here.\nThe majority of the people live here. For instance, just one of the activities after reading Bringing the Rain to Kapiti Plain by Verna Aardema, children make cloud bottles and make it rain inside of a 2-liter bottle.\nThis relationship allows further connections between phonological awareness skills and outcomes related to science or social studies. The activities included in Sounds Abound Storybook Activities can be used in a variety of ways by classroom teachers, special education teachers, reading specialists, and speech-language pathologists.\nTo aid in this task, visual representations e. Sounds Abound Storybook Activities includes phonological awareness activities for 43 children's literature books. These activities take advantage of the rich vocabulary from these well-known stories to reinforce and apply skills in word awareness, syllable awareness, rhyming, and sound awareness.\nBringing the rain to Kapiti Plain pictures.\nActivity. doc, 31 KB. Bringing the rain to Kapiti Plain story retell. Bringing the rain to Kapiti Plain story retell. Report a problem. Categories & Grades.\nEnglish language arts / Fiction 30 Christmas GCSE English Language Paper 1 Q5 Style Descriptive & Narrative Writing Questions + Pics $ 6 /5(6).\nBringing The Rain To Kapiti Plain Concepts: Economic Wants, Natural Resources, Capital Resources, Scarcity This book tells the story of how a young boy, Ki-pat, brings the much needed rain to the dry Kapiti Plain.\nOther Books About Rain Bringing the Rain to Kapiti Plain: A Nandi Tale rhyming African folktale relates how the very clever Ki-pat brings rain to the dry Kapiti Plain. Mushroom in the Rain by Mirra Ginsburg While seeking refuge under a mushroom during a rainstorm, a little ant learns how his shelter can Early Reading, Early Writing.\nInspired by favorite children's stories, this book is a complete guide to an innovative science education approach that helps teachers and parents capitalize on children's natural curiosity about the world around them to teach physical science/5(1).\nPre-Visit Teacher\u2019s Guide Grades 1 and 2 A Program of the Education Department this activity with an art project or creative writing activity about a rainstorm. Rain Sound Effects: Have children generate these sounds in order of a rainstorm: Aardema, Verna. Bringing the Rain to Kapiti Plain.Bringing the rain to kapiti plain writing activities", "id": "<urn:uuid:cf30ac1f-9e8a-4935-a816-5b5ecc93a1ea>", "dump": "CC-MAIN-2021-17", "url": "https://deworowagobopif.janettravellmd.com/bringing-the-rain-to-kapiti-plain-writing-activities-64825nn.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00126.warc.gz", "language": "en", "language_score": 0.9005032777786255, "token_count": 870, "score": 3.640625, "int_score": 4}
{"text": "Mocha w/ Monique [2/18/2020] with Alexandria Osei-Amoako\nCulturally relevant teaching includes\n- Anti-bias awareness\n- Understanding identity\n- Celebrating diversity\n- Adopting curriculum to meet individual learners\nIdentity of an individual, ties with their race, ethnicity, ability/skills , culture, and socio economic background. Below is a working definition of race, ethnicity and culture.\nRace: A social grouping of people based off perceived physical traits. These traits include skin tone, hair texture, eye color, and eye shape. It is a social category and there is no biological basis for racial category.\nEthnicity: A social group that shares a common and distinctive culture often established through nationality, ancestry, regional culture and language.\nCulture: The outlook, values, morals and customs shared by a group of people. Example of Visible Culture\u2013 the arts, language and dialect, storytelling, music, food. Example of Invisible culture\u2013 believes, values, perspective, assumptions and opinions.\nIdentity Spectrum Activity\nWhat part of your identity do you think people notice first about you?\nWhat part of your identity are you most proud of?\nWhat part of your identity are you most comfortable sharing with other people?\nWhat part of your identity did you struggle with growing up?\nWhat part of your identity are you least comfortable sharing with other people?\n- Half of U.S. schools do not have a single teacher of color on staff.\n- 80-93% of all current teacher education students are white, and they 88% of their instructors are also white.\n- As of 2015, 17% of teachers in the U.S. were teachers of color. Therefore many students, regardless of their own race will graduate high school having been taught only by white teachers.\n- 83% of the teaching force in the U.S. is white and middle class.\nLink to the list of relevant books available to HTeM Community\nBelow are some Quotes from Students\u2026\n\u201cYou\u2019re food smells so gross. Eww!\u201d\n\u201cMr. Michael, why do you sound like that? Your accent?\u201d\n\u201cIt\u2019s because I\u2019m African, I\u2019m different.\u201d\n\u201cWhy do you have an accent?\u201d\n\u201cI don\u2019t have an accent. Everyone sounds like me. You sound like Black Panther. That\u2019s what I\u2019m going to call you. Black Panther.\u201d\n\u201cYou\u2019re my slave. You have to do whatever I say!\u201d\n\u201cMy mom has straight hair and I have curly hair. I hate my hair. I wish it were straight like hers.\u201d\n\u201cYou play with the peach family and I\u2019ll play with the brown family because you\u2019re peach and I\u2019m brown.\u201d\n\u201cYour hair is so curly! I\u2019ve never seen hair like that before. Can I touch it?\u201d\nCulturally Responsive Do\u2019s and Dont\u2019s\n- Mimic the students\u2019 own cultural learning tools (include storytelling, music, dance/movement, etc.)\n- Organize learning so that students rely on each other to build community\n- Acknowledge and validate students\u2019 diverse backgrounds\n- Use games to instruct-they employ strategies such as repetition, problem solving, making connections and active processing\n- Ask students for feedback about your teaching\n- Assume that students have similar cultures and histories because of their race.\n- Lower expectations for students\n- Always be the teacher\n- Appropriate cultures\n- Normalize western white culture", "id": "<urn:uuid:dbfe7dda-05e8-4586-8d0c-997815ffc027>", "dump": "CC-MAIN-2021-17", "url": "https://htempa.org/culturally-relevant-pedagogy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00205.warc.gz", "language": "en", "language_score": 0.9437418580055237, "token_count": 785, "score": 4.25, "int_score": 4}
{"text": "Understanding Figurative Language\nFigurative language refers to applying words in a way that drifts away from the conventional format and meaning to depict creative writing style, evocative comparison, and clarity. It uses an ordinary sentence while referring to certain excerpts without stating it upfront. However, merely knowing the figurative language isn\u2019t enough if you fail to explore the bigger picture and apply it.\nNow that you are eager to look at the flipside of the coin and explore the different types of figurative languages with individual examples, invest some time reading this blog. It shall guide you through the nitty-gritty of the language type and help you discover the lesser-known facts associated with it.\nHere\u2019s everything you need to know.\nWhat does Figurative Language Mean? The Wider Aspects\nFigurative language generally deals with the use of a word or phrase that does not carry its literal meaning in a way it is supposed to carry. It mainly takes an interest in the usage of a particular word, phrase or sentence structure to depict the meaning in an indirect manner. There are different ways of how one can use figurative language.\nThese include the usage of metaphors, similes, hyperbole and personification. So, we shall now delve deeper and try to discover the meaning and application of each of the figurative language types, as mentioned above.\nDifferent Types of Figurative Language\nThere are six different types of figurative languages, each carrying different meanings and applications altogether. So, take a look at these points as mentioned below and explore their individual meanings with a clear definition.\nSimile is nothing but a figure of speech that draws a comparison between two unlikely things by using words such as \u201clike\u201d or \u201cas\u201d. This is mainly used in order to spark an interestingly attractive connection between the words with an intention to add up to the awe and wonders in the readers\u2019 mind.\n- The army officer is as brave as a lion in the jungle.\n- I was as busy as a bee, the last day.\n- The new employee is as curious as a cat.\nA metaphor is basically a statement that draws comparisons between two things that are not alike in nature. Contrary to similes, metaphors do not deal with words such as \u201clike\u201d or \u201cas\u201d. Take note of the fact that statements carrying metaphors should make sense to the readers. In addition, they should get the hang of the two unlikely things being compared in the sentence.\n- It is raining cats and dogs since last night.\n- Her long hair is like a flowing golden river.\n- The calm lake looks like a mirror.\n- The super talented kid is no less than a shining star.\nPersonification is nothing but the attribution of human characteristics to non-living objects. The use of personification brings impact on the ways how readers imagine things. In addition, it sparks an attraction among readers, which compels them to take further interest in reading that particular piece of text.\n- Lightning danced across the sky.\n- The car complained as the fuel meter displayed hazard.\n- Sarah heard the last piece of cake calling her name.\n- The wintry wind howled during the night.\nThis is yet another notable figurative language, which has its application and literary usages spread across a wide domain. This is a language that names something or action by imitating the sound related to the object or the phenomenon. Writers mainly use this to add originality to the context of the discussion or the particular excerpt being discussed.\n- Ticktock ticktock \u2026. the sound of the clock was all that I could hear, far away from the hostel corridor.\n- I ordered online assignment writing help service with just a click of the mouse button.\n- I was suddenly awakened by a cock-a-doodle-do of the pet rooster at the farmhouse.\n- The door banged so hard and loud that I was almost traumatised by the sound.\n- \u201cWoof woof!\u201d, the dog barked at the neighbour as he tried to break the fence and enter its premise.\nTalking of the different types of figurative languages, Synecdoche certainly gets a special mention. This language uses one part to refer to the bigger part, or the entire part to refer to the part. For example, the word \u201cBread\u201d can be used both in order to refer to food and money at the same time.\n- The word \u201csails\u201d is often used in order to refer to the whole ship.\n- The phrase \u201chired hands\u201d, can be used to refer to labours or outsourced workers.\n- The word \u201chead\u201d can be used to refer to both people and cattle.\nHyperbole is said to be one of the most-used figurative languages across different sentence structures, as and when required. It is basically an exaggeration that is created to emphasise a particular point or express a sense of humour. The most interesting thing about Hyperbole is the fact that it is often used in regular conversation, without the speaker noticing it often. At times, the hyperbole exaggeration ends up being so outrageous that no one believes it to be real.\n- I have told you a million times to leave your shoes outside while entering the house.\n- You are so slick and slender that even a light breeze can sweep you away.\n- I hate it when you snore like a faulty train engine in the middle of the night.\nNow that you are aware of the figurative language examples and how to implement each type across varied sentence structures, refer this blog often and enrich your assignment quality like never before.\nStill Stuck with the Essentials of Figurative Language?\nHire a Nerd for Comprehensive Academic Assistance\nAre you still wondering how to modify your assignment with the right use of figurative language? Do you aim to improve your paper quality and present something better than what you did last year? Simply get in touch with us right, and go bid farewell to your academic woes, once and for all. All you need to do is nothing but connect with us at any convenient hour of the day and place your academic queries. We shall back you up with the right academic assistance in the following manner.\n- Our team of academic experts has extensive knowledge across the different essentialities and applications of figurative languages.\n- In addition to it, we know how to guide you through the conceptual nitty-gritty of different types of figurative parts of speech.\n- Also, we shall back you up with an updated figurative language chart for easy references on the go.\n- You are entitled to getting in touch with us any time and receiving customised academic assistance within the preferred deadline.\n- We have got the best online tutors. You can get in touch with them to know how to use figurative language in poetry and other works of literature.\nSo, connect with us now, place your query and allow us to help you stay ahead of the academic rat race with flawlessly delivered assignment support, every single time.", "id": "<urn:uuid:966d56de-b297-4079-bf02-af32cd729b6b>", "dump": "CC-MAIN-2021-17", "url": "https://hireanerd.net/blog/figurative-language", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00046.warc.gz", "language": "en", "language_score": 0.9484840035438538, "token_count": 1481, "score": 4.125, "int_score": 4}
{"text": "The history of the ancient world is a rich source of material for study. Combine all the areas and time periods with the various possibilities in project formats and you have the potential for some very good academic investigations. Use the most famous of the ancient civilizations as sources for your students' projects.\nSumer was the first known civilization, more ancient even than Egypt. One literary tale has survived from that time and place -- the Epic of Gilgamesh, a Sumerian king. Students could illustrate the story of Gilgamesh against a background of ziggurats learned about in history class. Or they might use the interactions between Gilgamesh, Enkidu and the gods Ishtar and Enlil as sources for writing and performing role-playing dramas about this ancient society.\nEgypt is most famous for its pyramids. Students can build scale models of the pyramids and/or the Sphinx. Besides making pyramid simulacrums, students could present factual information about the qualities of the stone used, and scholarly speculations about exactly how these massive edifices were erected.\nGreece presented not only famous architecture and mythology to the world, but also people such as Demosthenes, Pericles and Alexander the Great, and concepts such as democracy and the philosophies of Plato and Aristotle. To cover such a broad spectrum of people and ideas, students can create PowerPoint presentations that can display pictures of people and places and also show the words and ideas of some of these historical figures.\nRome was not built in a day, and one way to demonstrate that might be with a time-line project. Depending on students' access to technology, they could draw out a time line on paper with colored markers or do it with a computer program. The timeline could show the long history of Rome, starting with its founding in 753 B.C. and going all the way to its fall in A.D. 476. For extra credit, kids can upload a copy of the time line onto a school website.\nChina has been home to civilizations for thousands of years. It is a perfect source for research papers. Advanced students who have already explored other topics in history can use China as an opportunity to do some academic reading about this ancient culture and write a research paper for their class project.\nRobert Paxton has been writing professionally since 2002 when he published his first novel. He has also published short stories and poems and writes ad copy for various websites. He graduated from the University of Arizona in 1995 with a bachelor's degree in creative writing. Paxton is a trained Montessori instructor who has taught at both the elementary and the secondary levels.", "id": "<urn:uuid:4059f191-d93c-4b41-888d-d0a17d289527>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/ancient-history-projects-6th-grade-8275570.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00526.warc.gz", "language": "en", "language_score": 0.9636674523353577, "token_count": 536, "score": 3.84375, "int_score": 4}
{"text": "Exploring Indigenous Language Vitality with Google Earth\nAs a companion to the Google Earth audio collection Celebrating Indigenous Languages, this curriculum provides ways for students to explore the linguistic diversity and vitality of Indigenous languages from speakers around the world. Students will discover how Indigenous languages are interconnected through identity, cultural heritage, and traditional ecological knowledge and how Indigenous peoples and communities are a vital part of the fabric and story of humanity.\nIt is essential for our global culture to value and protect Indigenous voices and perspectives. Tania Haerekiter\u0101 Tapueluelu Wolfgramm, a M\u0101ori and Tongan activist and educator who helped create the tour said, \u201cHundreds of languages are a few days from never being spoken or heard again. By putting Indigenous languages on the global stage, we reclaim our right to talk about our lives in our own words. It means everything to us.\u201d\n- What is the importance of language? How is language connected to culture?\n- What are Indigenous languages? How do Indigenous languages preserve traditional cultural, social, and environmental knowledge?\n- What is Indigenous language revitalization? Why is it important to the world\u2019s cultural heritage?\n- Celebrate the diversity and vitality of the world\u2019s Indigenous languages\n- Explore the world\u2019s Indigenous linguistic and cultural heritage\n- Illustrate how language is an integral element of culture\n- Recognize people in society whose language and cultural heritage are at risk\n- Identify the causes of language loss\n- Understand the importance of Indigenous language revitalization and preservation\n- Online access to the Google Earth tour Celebrating Indigenous Languages\n- How-to Guide: Google Earth & Voyager\n- Handout: Vocabulary sheet\n- The World\u2019s Indigenous Languages in Context\n- Handouts: 4 Question Sheets (1 per Theme):\n- Handout: Note-taking sheet\nUsing the Google Earth tour Celebrating Indigenous Languages, students will explore Indigenous languages around the world, some of which are at risk of disappearing. Students will learn about the importance of language revitalization from the unique stories and perspectives of those who speak the world\u2019s Indigenous languages.\nIn this lesson, students will make connections between language and culture, discovering the ways in which Indigenous peoples and communities are dedicated to preserving and revitalizing their languages. Students will engage in activities to learn how Indigenous language vitality is interconnected with a speaker\u2019s identity, family, community, and relationship to the land. By learning more about Indigenous peoples and communities, students will be encouraged to broaden their perspectives about the world\u2019s diverse cultural heritage and to consider how we are all a part of the global story.\nTell students that they will learn about Indigenous language speakers and communities around the world with the Google Earth tour Celebrating Indigenous Languages. Explain that the tour celebrates the diversity and vitality of the world\u2019s Indigenous languages. Through audio clips, Indigenous individuals share their favorite greetings, phrases, and songs.\nTell students that short descriptions are included in the tour. These provide details and facts about each language. Explain to students that they will need to pay attention to these components.\nPlay the introductory video \u201cMeet Indigenous Speakers and Learn How They\u2019re Keeping Their Languages Alive.\u201d (Under 3 minutes.) The video is also available on YouTube.\nAsk students to share their initial thoughts. In what ways do they think language and culture are connected?\nRead The World\u2019s Indigenous Languages in Context. This provides an overview of Indigenous languages, causes of language loss, and language revitalization efforts.\nDivide students into pairs or small groups.\nOrganize groups evenly among the following four themes for a well-rounded dialogue. Explain that each group will explore the Google Earth tour, Celebrating Indigenous Languages. Visit the How-To Guide to go over how to use Google Earth and Voyager.\nExplain to students that they will respond to questions based on the following four themes. Introduce and explain each theme.\n- Identity, Family, and Community. Identity can be defined as the various ways individuals and groups define themselves by their beliefs, ethnicity, and culture, among other characteristics. Indigenous peoples may identify themselves through their tribe or tribal nation, and the Indigenous language they speak. Students will explore the connections and relationships between language, identity, family, and community.\n- Songs. Songs, or oral storytelling, often reflect cultural values, ethics, and beliefs. In Indigenous cultures, songs are passed down from generation to generation and many are under threat of disappearing. Songs can be stories that honor ancestors and the living world. Many Indigenous songs do not translate directly into another language, a reflection of how the messages are unique and specific to people and place. Students will explore the connections between songs, culture, and language vitality.\n- Language and Landscape. Indigenous languages reflect and express interconnection with land. Indigenous communities around the planet have developed traditional ecological knowledge (TEK) and ways of knowing through generations of intimate contact with their homelands. These bodies of knowledge express the relationships of living beings with the environment. Students will explore how language and landscape are intertwined.\n- Language Revitalization. Language revitalization can be defined as learning activities, including language immersion schools and programs, to cultivate new speakers, especially where intergenerational transmission of the language has been disrupted. Students will explore the various ways in which each Indigenous speaker is keeping his/her language alive.\nAccess and distribute the question sheets for each theme:\nAsk students to use this note-taking sheet. Students will explore the questions and record their observations, responses, and reflections, using evidence from the Google Earth tour Celebrating Indigenous Languages.\nAfter groups complete the questions and reflections, ask students to share their responses as a class.\nAbout Google Earth\u2019s tour Celebrating Indigenous Languages\nRead this article, \u201cIndigenous speakers share their languages on Google Earth\u201d by Google Earth Project Manager, Raleigh Seamster, to learn more about the making of the project as well as ongoing efforts to record more Indigenous languages. This initial collection, 55 audio recordings from Indigenous speakers around the world, is just scratching the surface. To share and contribute your Indigenous language in Google Earth get in contact and share your information.", "id": "<urn:uuid:17a5bbba-eb50-4c84-bed3-26f50d8e3b2b>", "dump": "CC-MAIN-2021-17", "url": "https://www.globalonenessproject.org/discussion-guides/exploring-indigenous-language-vitality-google-earth", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00047.warc.gz", "language": "en", "language_score": 0.9042563438415527, "token_count": 1273, "score": 4.09375, "int_score": 4}
{"text": "Essay The English Bills Of Rights. English bills of rights were written in 1689 after King James II was replaced by Mary, the king\u2019s daughter, and her husband William of Orange. According to the article \u201cEnglish Bill of Rights 1689,\u201d the English Bill of Rights of 1689 was basically British law, passed by the parliament of Great Britain.\nThe Bill of Rights 1689, also known as the Bill of Rights 1688, is a landmark Act in the constitutional law of England that sets out certain basic civil rights and clarifies who would be next to inherit the Crown.It received the Royal Assent on 16 December 1689 and is a restatement in statutory form of the Declaration of Right presented by the Convention Parliament to William III and Mary II.\nEnglish Bill of Rights 1689 BILL OF RIGHTS (1689) An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown Whereas the Lords Spiritual and Temporal and Commons assembled at Westminster, lawfully, fully and freely representing all the estates of the people of this realm, did upon the thirteenth day of February in the year of our Lord one thousand six.Bill Of Rights 1689 England Analysis. The Bill of Rights of 1689 By Christos Stamelos The Bill of Rights of 1689 The Bills of Rights of 1689 is a legal document encompassing the basic rights and liberties of the English people. It was compiled as the title states in December 1689 with the title An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown.The English Bill of Rights and its use in Modern day. The English Bill of Rights is constantly used in legal proceedings in the Commonwealth. Even so, it is constantly changed to suit the proceedings of the day. The Bill\u2019s protections today can be compared to the protections in the U.S Constitution including the 1 st, 2 nd, 4 th, 5 th, 6 th.\nThe English Bill of Rights is an act that the Parliament of England passed on December 16, 1689. The Bill creates separation of powers, limits the powers of the king and queen, enhances the.Read More\nThe Bill Of Rights Essay, Research Paper. The Bill of Rights. Bill of Rights. The first 10 amendments to the US fundamental law are called the Bill of. Rights because they provide basic legal protection for single rights. The. footings besides applied to the English Bill of Rights of 1689 and the Canadian Bill.Read More\nX1 The Bill of Rights is assigned to the year 1688 on legislation.gov.uk (as it was previously in successive official editions of the revised statutes from which the online version is derived) although the Act received Royal Assent on 16th December 1689. This follows the practice adopted in The Statutes of the Realm, Vol. VI (1819), in the Chronological Table in that volume and all subsequent.Read More\nBILL OF RIGHTS (1689) An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown. Whereas the Lords Spiritual and Temporal and Commons assembled at Westminster, lawfully, fully and freely representing all the estates of the people of this realm, did upon the thirteenth day of February in the year of our Lord one thousand six hundred eighty-eight (old.Read More\nBill of Rights, formally An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown (1689), one of the basic instruments of the British constitution, the result of the long 17th-century struggle between the Stuart kings and the English people and Parliament.It incorporated the provisions of the Declaration of Rights, acceptance of which had been the.Read More\nThe Declaration and Bill stated that it was illegal for the Crown to suspend or dispense with the law, to levy money without parliamentary assent, or to raise an army in peacetime, and insisted on due process in criminal trials. This vigorous assertion of the rights of the subject meant that the Bill of Rights is often seen as parallel in importance with Magna Carta itself.Read More\nEnglish Bill of Rights: An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown The English Bill of Rights grew out of the Glorious Revolution of 1688. During the revolution King James II abdicated and fled from England. He was succeeded by his daughter, Mary, and her husband, William of Orange, a.Read More\nThe Bill of Rights 1689 established the doctrine of Parliamentary supremacy, meaning that Parliament became the supreme source of law-making over the monarch and the courts. It declared illegal the practice of prosecuting anyone in the courts for causes unless it was by the authority of Parliament. This Bill contained the following major Articles.Read More\nEnglish bill of rights 1689 essay. Top 5 college essays for you must know, education - k-12 funding,. Assignment online tool help you write my charges. Websites to rank well in the commonwealth human rights and academic research essay. research paper on shakespeare Essay introduction essays for diy paper for essays in digital format thesis. Emerson essay on literary elements had only thwritmy.Read More\nThe English Bill of Rights. Source. Stuarts and Parliament. In the 1640s and 1680s members of Parliament struggled with the ruling monarchs, the Stuarts, over the relative powers of Parliament and monarch and the king \u2019 s subjection to the laws of the land. The first struggle ended with the English Civil War, won by a Puritan-dominated Parliament which executed Charles I for treason in 1649.Read More", "id": "<urn:uuid:c491665c-0634-4a41-bd8e-1266ef845a9b>", "dump": "CC-MAIN-2021-17", "url": "http://baspw.ygto.com/hepworth/English-Bill-Of-Rights-1689-Essay-Format.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00367.warc.gz", "language": "en", "language_score": 0.9433029890060425, "token_count": 1170, "score": 3.953125, "int_score": 4}
{"text": "How To Boost Executive Functioning Skills In Toddlers\nExecutive functioning skills comprise abilities as basic as self-control, memory, self-awareness, reasoning, problem solving and more. In earlier articles in this series, we\u2019ve explored in more depth what executive function is, and stressed how it can predict academic success and play a large role in how well a child will understand and perform in math, reading, writing, science \u2014 and life.\nExecutive function in toddlers (18 to 36 months)\nWhile between months 6 and 18, skills such as working memory, and impulse control are being developed, in the following months, as babies age into toddlers, i.e., between 18 to 36 months, they refine these abilities while also developing new executive function-related skills as well as. Notably, they:\n- expand their language skills \u2014 while language is not an executive function, it strongly supports the building of executive functioning like self-regulation, by enabling toddlers to identify their thoughts and actions, think and reflect on them, and make plans.\n- understand rules \u2014 expanded language skills also help toddlers understand rules, both those that apply to games and those that regulate behavior. For instance, within this age range, children will develop the ability to understand they should wear shoes outside, but not inside.\n- play physically and gain more control over body movement \u2014 while motor control isn\u2019t an executive function, there is evidence that physical activity exercises and reinforces executive functioning in toddlers.\nHence, per Harvard University\u2019s Center on the Developing Child, and developmental pediatrician Dr Mausam Shahpurwala, there are executive functioning activities for toddlers that will exercise the cognitive abilities they are developing and help boost their executive functioning. These include:\nPhysical games and challenges\nPhysical games and challenges for toddlers teach teach them how to focus, and help them realize they may not always succeed, but that practice and developing new strategies are very important.\nFor instance, start with giving toddlers options they can choose from in order to try new skills \u2014 such as throwing and catching balls, balancing on beams, jumping. Simple rules around each kind of physical activity, such as taking turns running to a \u2018finish line\u2019 and back, will enhance their working memory.\nYou could also include games that require self-control or inhibition, like Statue or Freeze games that require children to stop upon a certain word, hold the pose, then return to moving or dancing upon the next signal. And songs like \u201cRing Around the Rosie\u201d that have dance movements specific to the words exercise children\u2019s bodies as well as their attention, working memory and self-control by requiring them to wait until certain parts of the song to do the dance.\nFingerplays that include songs and rhymes with hand gestures to match, are also a good way to engage with children at this age, because they challenge children\u2019s attention, working memory, and inhibitory control.\nConversations that involve lots of questions\n\u201cIt\u2019s the best way to develop language skills,\u201d says Dr Shahpurwala. \u201cEncourage them to tell stories \u2014 by asking them how their day was, what they want to do, what they did with their friends.\u201d Answering will require kids to reflect on their experiences, helping to enhance their working memory as they will try and hold these experiences in their mind.\nTalking about feelings will also encourage storytelling and support their language development. At this age, it\u2019s all about the questions \u2014 for instance, asking a toddler \u201cAre you happy?\u201d \u201cAre you angry?\u201d will help them have a conversation \u2014 and understand their own feelings.\nIt is also in this age group that kids are trying to imitate adult actions and can often be seen indulging in imaginary play like, for instance, Kitchen Kitchen, Teacher Teacher. These actions are not simply imitative, but rather they are signs of simple, imaginary play plots that should be encouraged and sustained. For example, after \u201ccooking\u201d in the pot, the child might put the pot on the table and pretend to eat. When they are doing this, adults can ask children questions about what they are doing, what they are eating, and why they are doing it the way they are.\n\u201cIt\u2019s important that you play along, and let the child take the lead because it will help them regulate others\u2019 behaviors and that will also help regulate their self-regulation skills,\u201d says Dr Shahpurwala.\nThis is part of a series on building executive functioning skills in children. The next installment will explore executive functioning activities for toddlers between ages 3 to 5 years.", "id": "<urn:uuid:0dae0ec4-a83c-4ec0-b922-df0331aa8368>", "dump": "CC-MAIN-2021-17", "url": "https://theswaddle.com/how-to-boost-executive-functioning-skills-in-toddlers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00445.warc.gz", "language": "en", "language_score": 0.9678161144256592, "token_count": 969, "score": 3.9375, "int_score": 4}
{"text": "Throughout history, Indigenous peoples have played, gamed and created their own games. Games and gaming are in fact an integral part of S\u00e1mi culture, but there are, nevertheless, only a handful of digital games around. In her dissertation Outi Laiti, BE, MEd, explores the possibilities offered by game development events for the cultural self-expression of S\u00e1mi people. What kind of a picture of S\u00e1mi culture, then, do digital games convey \u2013 who draws it, for whom and on whose terms?\nHistorically, Indigenous peoples have mostly been objects of the gaming industry: Mystical shamans and witch doctors who help the white heroes of the games. Today, also members of Indigenous peoples work in the gaming industry, but because of the demand for games combined with lacking resources, Indigenous people mainly end up as cultural consultants. Thereby a lot more than the mere mechanical implementation of a game is outsourced, because working as a cultural consultant leaves especially game development skills outside the realm of culture.\nIndigenous game design model\nIn S\u00e1mi culture, games and plays are an essential part of education through which for instance intangible cultural heritage is passed on from generation to generation. Games and plays have also had their role in increasing the mental resilience of the S\u00e1mi \u2013 an attribute that is not to be underrated when it comes to an Indigenous people that has been the target of an assimilation policy.\nLaiti\u2019s research addresses S\u00e1mi agency, particularly their right of self-determination in digital games. She notes that game creation is a cultural trait that emerges, grows and flourishes when given space.\n\u2013 \u201cElizabeth LaPens\u00e9e, an Indigenous games researcher, has encapsulated the salient idea well in the phrase \u2018Nothing about us without us\u2019. By this she refers to active agency as well as the right of self-determination in Indigenous game development,\u201d Laiti says.\nThe Indigenous Game Design Model designed by Laiti depicts the process of game creation. Using the model, Indigenous game design can be examined particularly in terms of how it enables empowerment. Empowerment may occur through storytelling, contemporary experiences, teachings, language, sharing and developing.\n\u2013 \u201cThe model sheds light on the cultural meaning of game design to Indigenous peoples. S\u00e1mi culture is often thought to live in a mythical past. The intangible S\u00e1mi cultural heritage should rather be seen as a vivacious cradle of creativity that feeds the diverse S\u00e1mi way of life we witness today.\u201d\nCultural self-expression in game development events\nLaiti collected the research material in two game development events (a programming course for adolescents and Sami Game Jam) that were organised in Utsjoki during 2017 and 2018. Altogether 16 games were created, reflecting the features of contemporary S\u00e1mi game and play tradition. The events gathered together 57 participants from all over the world, some of whom were S\u00e1mi.\nInformation on the public examination\nWith the permission of the Faculty of Education at the University of Lapland, Outi Laiti\u2019s dissertation \u201dOld ways of knowing, new ways of playing - The potential of collaborative game design to empower Indigenous S\u00e1mi\u201d will be publically examined in Lecture Hall 3 on Saturday 6 February 2021 starting 12 noon. The opponent is Professor Tuomas Harviainen from the University of Tampere and the custos is Professor Satu Uusiautti from the University of Lapland.\nThe defence can be followed online at http://blogi.eoppimispalvelut.fi/ulapland\nInformation on the doctoral candidate\nOuti Laiti graduated as an engineer (ICT) in 2008 and as a master of education (media education) in 2016. In addition, she has completed pedagogical studies for teachers in 2019 and the workshops on e-sports coaching and mental coaching of the Finnish Esports Federation.\nLaiti has conducted her doctoral research while working for the Municipality of Utsjoki as a project coordinator, for the Finnish Pensioners\u2019 Federation as a project manager and for the Davven\u00e1sti cinema in Utsjoki as a theatre manager.\nLaiti has been one of the main organisers of the successful Sami Game Jam event that was one of the three events that made it to the finals in the 2018 Pelikasvattaja game education competition. In 2020 Laiti was selected on the Gamesindustry.biz GI100 list that contains the world\u2019s most prominent actors in the games industry. The nomination was based on her accomplishments in promoting the game culture of the S\u00e1mi and the aged.\nInformation on the publication\nOuti Laiti: \u201dOld ways of knowing, new ways of playing - The potential of collaborative game design to empower Indigenous S\u00e1mi\u201d. Acta Electronica Universitatis Lapponiensis 302, ISBN 978-952-337-249-8, ISSN 1796-6310. University of Lapland, Rovaniemi 2020.\nPermanent link to the electronic publication: http://urn.fi/URN:ISBN:978-952-337-249-8", "id": "<urn:uuid:98d8aba6-9793-4222-a2e6-7a33cc11013d>", "dump": "CC-MAIN-2021-17", "url": "https://www.ulapland.fi/news/Dissertation-S%C3%A1mi-game-design-is-a-cultural-trait-that-evolves-when-given-space/10917/df4ce660-a088-4100-b1fb-f67f33de532d", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00526.warc.gz", "language": "en", "language_score": 0.9347053170204163, "token_count": 1083, "score": 3.578125, "int_score": 4}
{"text": "Learning how to write their names can help children familiarize with letters in their name and the sounds it makes. This is one of the first tasks that they will learn in the Pre-kindergarten Curriculum. Additionally, they will also have a grasp on the proper way of holding a pencil and the correct format of writing.\nLanguage Arts is an integral part of our Pre-kindergarten Curriculum. Here, we reinforce identifying letters and their matching sound (phonics) by using known words as representation. These are sight words or words that children easily recognize, as it often appears in books, media, or everyday life.\nWe also engage children in reading and writing activities, such as storytelling, in their own words. Consequently, they learn how to formulate answers when asked questions about the topic.\nThe mathematics curriculum involves basic mathematical concepts that children can quickly grasp. Constructive play develops children\u2019s skills in recognizing and creating patterns, which is a building block in mathematics learning. It also includes sorting and organizing objects by various attributes such as color, shape, and size. Furthermore, they will learn basic addition and subtraction and recognize numbers up to 30.\nOur Pre-kindergarten Curriculum also hones children\u2019s skills in other preparatory subjects. What they will learn are essential foundations as they progress in their education.\n- Arts and Music: We provide a space for children to express themselves through art tools and music. These activities teach them different elements of visual arts that benefit their development.\n- Health and Physical Education: We will introduce the topic of health to children through songs, illustrated books, and animated videos. They will also engage in free and guided play that will introduce them to sports and physical education.\n- Social Studies: This includes identifying different family members, learning about the community, and recognizing different jobs. Here, they will also learn about different cultural practices and holidays, etc.\n- Science: Children are natural observers; they ask a lot of questions and are curious about many things. By performing simple experiments and activities, they will learn how to explore and discover cause and effect.\n- Furthermore, they will also engage with practical life activities such as gardening, recycling, and nature walks. These activities allow them to use their senses and understand their role in the world. It stimulates the imagination and enhances their observation skills.\nPreparing For the Next Step\nOur Pre-kindergarten Curriculum prepares your child for the next step\u2014Kindergarten. Children will develop an enhanced sense of independence and responsibility in doing tasks and play while enrolled in the program.", "id": "<urn:uuid:62712731-7805-4d62-84ff-727d6b1e5a43>", "dump": "CC-MAIN-2021-17", "url": "https://dreamworkspreschool.com/curriculum/pre-kindergarten/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00287.warc.gz", "language": "en", "language_score": 0.9630573987960815, "token_count": 538, "score": 4.21875, "int_score": 4}
{"text": "Waldorf education is based on the views of Rudolf Steiner (1861-1925), a prominent Austrian educator. It\u2019s thus sometimes referred to as \u201cSteiner education.\u201d\nBut, what is Waldorf (or Steiner) education? Our guide covers the Waldorf school philosophy. It also covers common classroom practices and curricular approaches. Finally, it discusses important research. It should help you make an informed decision about whether a Waldorf school is right for your child.\nHere, we start with an introduction to the core principles of the Waldorf philosophy. Keep in mind, not every school follows all these principles, and different schools apply them in different ways.\n- Flexible curriculum\n- Educating the whole child\n- Formal academics begins later\n- Focus on creativity and the arts\n- Imaginative learning\n- Practical learning\n- Focus on nature\nWorking with the teacher, students have some leeway to work in a broad range of areas and pursue their own interests. They aren\u2019t forced to fit into a one-size-fits-all curriculum.\nOn the other hand, Waldorf schools do have a curriculum. They also have core standards that must be met. A common misconception is to think otherwise. Jennifer Deathe, admissions manager of the Waldorf Academy, in Toronto, Ontario, sets the record straight.\n\"There is a set curriculum starting as early as kindergarten. The curriculum covers benchmarks and how children can achieve those benchmarks.\"\nIt\u2019s just that students achieve benchmarks at their own pace. There\u2019s also some flexibility in how benchmarks are reached. \"Different children can demonstrate knowledge in different ways,\" says Deathe.\nMany students find this approach rewarding. When given freedom, they often choose tasks that challenge and excite them. This can spark their natural curiosity and inspire a love of learning.\nEducating the whole child\nThe focus is not just on core academics. The aim is to educate the whole child: \u201chead, heart, and hands.\u201d Teachers nurture the intellectual, practical, and artistic sides of students. They also instill important values in them.\nFocusing on the whole child isn\u2019t just a goal. It\u2019s a cornerstone. Jack Petrash, a long-time Waldorf teacher, describes how teachers approach it (Understanding Waldorf Education, 2002):\n\u201cRather than focus the educational work solely around the objective of acquiring knowledge, creating a meaningful learning process itself becomes the focus. Through multi-faceted, multi-sensory learning experiences, teachers and students use a variety of intelligences to develop three distinct capacities\u2014for thinking, for feeling, and for intentional, purposeful activity.\u201d [Our emphasis]\nSasha Singer-Wilson, who attended Waldorf Academy (at the time called the \u201cAlan Howard Waldorf School\u201d), in Toronto, Ontario, from kindergarten until grade 8, can attest to this fact.\n\u201cYou\u2019re developed as a whole person. Your hands work and your mind works and your soul works and your heart works. It\u2019s getting them all to work together in harmony, to make you a harmonious person and a good person\u2014that\u2019s what it\u2019s about.\u201d\nFormal academics begins later\nCore academics starts later than in most mainstream schools. Students typically aren\u2019t taught core subjects\u2014such as math, science, reading, and writing\u2014until grade 1 or 2.\nThe belief is that children need to develop focus, independence, and other traits first. Formal instruction can come later. It's also believed that starting abstract learning too early can impede a child's intellectual development.\nFocus on creativity and the arts\nSubjects are often taught through storytelling, visual arts, drama, movement, vocal and instrumental music, crafts, and other artistic media. Lessons often start with singing, music, or poetry.\nThis injects the arts into many parts of the curriculum. It also enlivens learning in a way that mainstream schools often fail to. In this way, Waldorf is similar to other progressive, arts-focused schools.\nIn Waldorf schools, art, music, and creativity are infused throughout the curriculum.\nIn preschool and kindergarten, the classroom is intended to resemble a home. It contains many tools and toys. These are often made from simple, natural materials. Young children are also given lots of opportunities for free play, artistic work (e.g., drawing, painting, or modelling), circle time (songs, games, and stories), and outdoor recess.\nThis encourages pretend play and fosters imaginative learning. It also allows children to develop important social skills.\nAt the elementary or lower school level, role models are drawn from a wide range of literary and historical traditions. For instance, teachers tells stories about important people, such as Mahatma Gandhi, and students do projects on them (sometimes called hero projects).\nAnd at some elementary school programs, such as that of Waldorf Academy in Toronto, Ontario, students take part in plays chosen by the teachers. This nurtures their fantasy and moral imaginations. It also teaches them about respect, empathy, and other important traits.\nUp to grade 3, students do a lot of hands-on and experiential learning. They take part in several different practical tasks, such as cooking, cleaning, and gardening. Most schools even have a schedule for jobs that need to get done. Typically, there\u2019s a day (or time) for cooking, preparing snacks, cleaning, and so forth.\nThis allows students to learn important skills. They also learn to be responsible, do their fair share, and help others.\nFocus on nature\nStudents are given a lot of natural materials. Cooking, gardening, and environmental and outdoor education are also a big focus. This promotes appreciation for nature.\nIt also has broader benefits. As L.D. Davey (\u201cPlay and Teacher Education\u201d, 1998) explains: \u201cA fundamental principle of early childhood education is that young children learn about the world most readily by interacting with their environment.\u201d", "id": "<urn:uuid:ae397619-4b44-4414-a9c7-1f25ef17c3a5>", "dump": "CC-MAIN-2021-17", "url": "https://www.ourkids.net/waldorf-schools.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00207.warc.gz", "language": "en", "language_score": 0.9469171762466431, "token_count": 1269, "score": 3.625, "int_score": 4}
{"text": "The Islamic syllabus covers five main areas which are imparted to students in a gradual and systematic way to understand and enhance their reflective and active learning processes within a British context. The main areas of study are:\nAqeedah \u2013 beliefs and dogmas\nIbadat \u2013 nature and philosophy of the Islamic rituals\nSeerah \u2013 life of the Prophet\nIslamic History \u2013 The Four Khalifs ,Biographies of Lives of the Sahabas, and Muslim civilisations.\nAadaab and Akhlaaq \u2013 morals, social ethics and Islamic spiritualism.\nThis curriculum has been developed considering the traditional Islamic teaching methodologies, such as Ramadan Al Buti\u2019s evidential method coupled with Bloom taxonomy, Jean Piaget\u2019s cognitive theory of learning, self-orientation learning and blended learning teaching approaches.\nF2 is the stage where we need to acclimatise the child with their new learning environment. Students are introduced to the concept of Tawheed by identifying their own bodies and using their imagination and curiosity to develop their appreciation and wonder of the world in which they live in. Developing a vocabulary of religious words and listening and responding to stories of Prophets plays a prominent part in their initiation of Islamic knowledge. Students are introduced to the study of Seerah creating an opportunity to instil love of the Prophet and good character in them. To attain these objectives the usage of visual and auditory means, team work, play, motor and reflex system is adopted.\nYear one is a crucial year as the child will be trained in acquiring two main skills: learning and self-development. The primary objective of their syllabus is to gain elementary knowledge of Tawhid, Seerah, Adab and Akhlaaq and Ibadat. While this knowledge is mainly factual in nature it helps develop their learning skills in a systematic way. Their learning is aligned to varying activities, such as: mix and match, flash cards, drawings and games. Knowledge of Akhlaaq and Aadaab is transmitted through stories of Sahabas and role plays.\nYear two students can begin showing appreciation to more in depth lessons. Storytelling and relating to incidences and experiences of Prophets and Sahaaba is thus a dominant feature of their lessons. The focal point of the syllabus is firstly Aqeedah in which the life of Prophets is studied. From this they can extract lessons of love, trust, obedience and other important traits. Secondly, in Seerah students study and relate to the events during the youth of the Prophet. Quranic verses, Ahaadeeth and biographies of Sahabiyyat are also studied establishing a ground for Aadaab and Akhlaaq (morals and etiquettes). The significance, requisites and other relevant aspects of Salah, Sawm and Zakaah represent the learning content for Ibaadah.\nYear three is an important educational transition whereby students are more aware of themselves and their environment. The primary aspect of the curriculum at this stage is to engage students with a cross-curriculum approach in order for the students to contextualise their secular knowledge within an Islamic ethos. The main content of the syllabus for this year is: dealing with more details on article of faith, such as introduction to the concept of prohethood and angels; biography of the Prophet focusing on events leading to the Hijrah; studying the lives of the Khalifs and lastly the philosophy of Ibaadah is reflected upon.\nThe objective of year 4 is to further consolidate the year 3 learning and development. Student will at this stage be required to analyse and apply their cognitive skills. Students are also given opportunities to start discovering knowledge. Several key topics are assessed: The selection of Hijrah for the start of the Islamic calendar, change of events in the life of the Prophet, the role of the Prophet as head of State, the history of Islamic civilization change its trajectory when the Banu Ummawiyah took the reign of leadership. The banu ummawiyah tribe is specifically opted as they contributed towards a centralised government and introduced many state departments. This helps student to compare and contrast with modern day UK policies and government. The combination of these opportunities and approaches are completed under the controlled environment of the classroom. Additionally previously taught knowledge is revisited using reflective learning techniques.\nYear 5 is a start in preparing students towards a self-orientation learning which will equip them for their secondary education. From here the emphasis is on students researching and acquiring information from a range of sources. The educational skills and acumen developed over the years are synthesised in terms of revision and also more in-depth analysis of Islamic subjects. It is not simply a rhythmic memorisation of facts but these facts are to be processed and implemented in a wider society. Issues such as diversity and tolerance, ethics of living in a multi-cultural and pluralistic society, and interfaith dialogue from the life of the Prophet and Sahabas are analysed and contextualised. A wide spectrum of discourses, such as: the position of battles, need for compiling the Quran, experiences of Sahaaba, comparison of the concept of Godhead (unicity of God) in Christianity and the dictates of monotheism in Islam, rule and contributions of the Abbasids, is delved into so that students acquire a balanced application of Islam.\nYear 6 is the pinnacle of the curriculum and it attempts to solidify the previous year\u2019s curriculum development in that students will remember, understand, apply, analyse evaluate Islamic issues from the syllabus devise that will enable them to transit into a secondary school with a basic Islamic foundation and acclimatise and interact with the wider society. The syllabus extends itself on a wide horizon, covering topics such as social dimension of Islam, interfaith dialogue, civilizational conflict and remedy, compare and contrast lives and contributions of historical persons. Aqeedah requisitions the reflection and recognition of the power of our Creator through the study of space, the phenomenon of miracles, belief in the Hereafter and its effect on behaviour and the status of Wahi- Revelation. The program will help them develop five skills:\n- Self-awareness, particularly of feelings surrounding an event\n- Description of events\n- Critical analysis i.e. the relevance of existing knowledge, challenging assumptions and imagining alternatives\n- Synthesis i.e. findings of new meaning and perspectives.\n- Evaluation, making judgements about the value of something or personalities.\nHALAQA (Circle Time)\nThe principle of halaqah as a prophetic pedagogy that incorporates tarbiyah, ta\u2019alim and taadib.\nThe traditional method of halaqah has always been part of tarbiyah. Muslim parents have always sat in circles with their children, telling Islamic stories and discussing Islamic beliefs and values. Prophet Muhammad (saw) established halaqah as a mode of tarbiyah. Although many of his companions were literate the transmission of learning was essentially oral and transformative. Islamic education has never been an \u2018academic\u2019 exercise; it has always been purposeful and transformative for individuals and society. We have taken this method and used it for developing essential Islamic values and etiquettes of behaviour. Each term we take a theme such as respect and develop from the personal to the community. Our aim is to make this practical, applicable and relevant.", "id": "<urn:uuid:8d46cf16-c72a-47f3-851a-e4e829c28428>", "dump": "CC-MAIN-2021-17", "url": "https://landoflearning.co.uk/primary-home-o/curriculum/re/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038069267.22/warc/CC-MAIN-20210412210312-20210413000312-00086.warc.gz", "language": "en", "language_score": 0.9395018219947815, "token_count": 1527, "score": 3.6875, "int_score": 4}
{"text": "Writers sometimes think that writing styles must be kept distinct. They assume that, when writing an expository piece, they should avoid descriptive or narrative details. Perhaps the assumption is that their expository writing will sound more formal without the descriptive elements.\nEffective writing, though, in any style calls for using the best support for a position or point of view. Therefore, writers can use descriptive and narrative details as long as they select those that are appropriate to their purpose.\nWhat is expository writing?\nThe purpose of expository writing is to define and explain an idea. Writers often use expository essays to report on an idea they investigated. They evaluate evidence, expand on the original idea and state a position based on their findings. For instance, a piece exploring the current effects of the Great Depression on the economy is expository writing. To write this piece, they start by defining the terms associated with the Great Depression. They then move to an exploration of the current economy and how certain elements can be related back to the Depression.\nThough expository writing is supposed to be straight-forward, writers still have the opportunity to include creative elements. Narrative or descriptive elements that support the writer's position are appropriate additions to expository essays.\nHow do I use descriptive elements?\nThe goal of descriptive writing is to create a vivid image in the reader's mind. Writers do this with imagery. For imagery, concise language, sensory details and emotive images freeze one moment in time in the reader's mind.\nThese techniques are appropriate for expository writing as well. Concise language that paints a picture in the reader's mind helps define and explain an idea. If writing about the Great Depression's effects, a writer can choose the precise words to explain the immediate effects on the land, thus creating that image. Likewise, sensory details related to the dust bowl effect bring one of those moments home to the reader. Most significantly, though, is using emotive language to drive home the lingering effects the Depression had on survivors' psyches, for example.\nTo use descriptive elements in your own expository writing, first of all consider which aspects of your topic have the most emotive potential. Try to drill that element down into one moment in time. Brainstorm sensory words that will create a vivid image in the reader's head. When choosing your descriptive words, choose the most precise ones to paint the picture. Lastly, don't be afraid to use emotive language. This relates to one of the three pillars of persuasion, pathos. Creating an emotional reaction in your reader drives your point home.\nHow do I use narrative elements?\nWith narrative writing, you relate a story or an anecdote. Like with descriptive elements, writers choose vivid words and concise language.\nNarrative elements can help a writer make his point in an expository essay. He can use an anecdote that either gets the reader thinking in his direction at the beginning of the piece or recount a story that provokes further thought at the conclusion. Likewise, relating an\nexperience that supports the position directly is effective. For example, using a short narrative to explain the personal effects of the Great Depression creates a lasting image in the reader's mind.\nTo use a narrative in your expository writing, consider starting with an anecdote that sets the stage for your exploration. Don't make it personal. Rather, try to find a published story or even a literary anecdote. Your conclusion is another strong position to include a narrative. Make sure any concluding stories will keep your readers thinking in the direction you want them to go in.\nThe Key to Effective Writing\nAs with any writing, they key to expository essays is using the elements effectively. Writers using a narrative to support their points in expository writing need to ensure they use a sufficient amount of detail to make the story work without overwhelming the expository nature of the writing. To achieve this, choosing precise wording allows for brevity.\nLikewise, writers need to make certain the description or narrative is relevant to their positions. They need to select only the details that contribute to their positions, eliminating any that do not directly support the points.\nIn conclusion, don't be afraid to get creative with your writing. Readers enjoy vivid images and narratives. Just make sure they support your points.\nAs always, when writing any piece, make time for editing. Have someone else read your copy or let it sit for a day before returning to it. Keep specific questions in mind about how certain elements strengthen or weaken your writing. Narrative and descriptive details can be a boon to expository writing -- just don't let them turn your essay into a creative writing piece!\nExpository Writing CAN be Creative!\n\u00a9 2013 Nadia Archuleta\nMagdalene Omoti on April 14, 2020:\nWonderful l Love this\nChristabel on June 06, 2018:\nNadia Archuleta (author) from Denver, Colorado on October 14, 2013:\nWriting styles don't need to be mutually exclusive -- not everyone realizes that. Thanks for stopping by!\nL C David from Florida on October 13, 2013:\nExcellent advice for writers who are trying to understand essay structure and academic writing.", "id": "<urn:uuid:5c74cfb2-7e9e-4cf5-ad46-412d33e3da7f>", "dump": "CC-MAIN-2021-17", "url": "https://owlcation.com/humanities/How-to-Add-Narrative-and-Descriptive-Elements-to-Expository-Writing", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00526.warc.gz", "language": "en", "language_score": 0.9253965616226196, "token_count": 1055, "score": 3.75, "int_score": 4}
{"text": "A word class that describes a kind of situation such as a happening (for example, \u2018climbed\u2019 in \u2018she climbed the ladder\u2019) or a state (for example, \u2018is\u2019 in \u2018a koala is an Australian mammal\u2019).\n- verbs are essential to clause structure: all clauses contain a verb, except in certain types of ellipsis (for example, \u2018Sue lives in Sydney, her parents, in Melbourne\u2019, where there is ellipsis of \u2018live\u2019 in the second clause).\n- virtually all verbs have contrasting past and present tense forms. Some are signalled by inflections such as \u2018-s\u2019 and \u2018-ed\u2019. For example:\n- walk/walks (present tense)\n- walked (past tense).\n- other verbs have irregular forms that signal a change in tense. For example:\n- present \u2013 \u2018am/is/are\u2019 and past \u2013 \u2018was/\u2019were\u2019\n- present participle \u2018being\u2019 and past participle \u2018been\u2019.\nAuxiliary verbs and modal verbs are two types of verbs:\n- auxiliary verbs are also referred to as \u2018helping\u2019 verbs. They precede the main verb \u2013 for example, \u2018draw\u2019 (main verb) \u2018has drawn\u2019 (auxiliary verb assisting)\n- modal verbs express a degree of probability (for example, \u2018I might come home\u2019) or a degree of obligation (for example \u2018You must give it to me\u2019, \u2018You are not permitted to smoke in here\u2019).\nConsists of a main verb, alone or preceded by one or more auxiliary or modal verbs as modifiers.\n- create tense, as in \u2018He [was running]\u2019, \u2018She [is working] at home\u2019, \u2018I [have seen] him before\u2019\n- express modality using modal verbs such as \u2018can\u2019, \u2018may\u2019, \u2018must\u2019, \u2018will\u2019, \u2018shall\u2019 and so on, as in \u2018You [must be] mad\u2019, \u2018He [will have arrived] by now\u2019, \u2018She [may know] them\u2019\n- create passive voice, as in \u2018A photo [was taken]\u2019\nObserve with purpose, understanding and critical awareness. Some students participate in viewing activities by listening to an adult or peer describing the visual features of text, diagrams, pictures and multimedia.\nVisual components of a text include placement, salience, framing, representation of action or reaction, shot size, social distance and camera angle.\nChoices that contribute to the meaning of an image or the visual components of a multimodal text and are selected from a range of visual features like placement, salience, framing, representation of action or reaction, shot size, social distance and camera angle.\nA speaker selects and uses particular vocal qualities including volume, tone, pitch, pace and fluency to engage and impact upon their audience.\nVoice, in a grammatical sense, applies to verbs. Voice expresses the relationship of the subject to the action. Voice can be active or passive. Active voice places the subject before the verb so the subject does the action (for example, Max drew the picture). Passive voice places the receiver of the action before the verb (for example, The picture was drawn by Max).\nVoice, in a literary sense, is the distinct personality of a piece of writing. The writer's voice is the individual writing style of the composer, created through the way they use and combine various writing features including syntax, punctuation, vocabulary choices, character development and dialogue (for example, a scientific explanation may be written in \u2018expert voice\u2019).\nLetters of the alphabet (a, e, i, o, u, and sometimes y) that represents a speech sound created by the relatively free passage of breath through the larynx and oral cavity. Letters that are not vowels are consonants.\nTwo successive vowels that represent a single phoneme (for example, /ai/ in the word \u2018rain\u2019; /ea/in the word \u2018beach\u2019; /ee/ in the word \u2018free\u2019).", "id": "<urn:uuid:5a92fa06-f5dc-47b0-9867-99ee6c1c3ba8>", "dump": "CC-MAIN-2021-17", "url": "https://australiancurriculum.edu.au/f-10-curriculum/english/glossary/?letter=V", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00487.warc.gz", "language": "en", "language_score": 0.9229739904403687, "token_count": 918, "score": 4.375, "int_score": 4}
{"text": "At St James\u2019 Lanehead, children are explicitly taught the skills of reading (outlined in the National Curriculum and the KS1 and KS2 test domains) using VIPERS, which were created by Rob Smith (The Literacy Shed).\nVIPERS is an acronym to aid the recall of the 6 reading domains as part of the UK\u2019s reading curriculum. They are the key areas which we feel children need to know and understand in order to improve their comprehension of texts.\nVocabulary Inference Prediction Explanation Retrieval Sequence or Summarise\nOur aims for English is to ensure that by the end of Key Stage 2, all pupils:\n\u00b7 Read easily, fluently and with good understanding\n\u00b7 Develop the habit of reading widely and often, for both pleasure and information\n\u00b7 Acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language\n\u00b7 Appreciate our rich and varied literary heritage\n\u00b7 Write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences\n\u00b7 Use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas\n\u00b7 Are competent in the arts of speaking and listening, making formal presentation, demonstrating to others and participating in debate\nThe English curriculum is underpinned by two core values \u2013 that all children should be competent readers and that all children should be able to articulate their ideas. We believe that in order for our children to become successful writers, they must first be able to speak well and read with fluency and confidence.\nReading is an essential part of our whole curriculum. Children read extensively in all other curricular areas \u2013 from following instructions in DT, to reading religious texts during Religious Education. We believe that children should read frequently and widely.\nChildren actively and enthusiastically engage with books, labels and information on displays throughout school.\nBooks and iPads are used daily for research within other subjects. Children are encouraged to read for pleasure with each class having dedicated library time and there being an embedded system for borrowing and returning books. We ensure that all our pupils are benchmarked so that our staff are\nfully aware of the children\u2019s levels. Home reading books are phonetically decodable to facilitate independent reading especially for those children who are not read with at home. Within the school, we value reading, children are read to daily to promote a love of storytelling and all staff share their experiences of reading with the children.\nWe are happy to introduce our brand new reading apps: Oxford Reading Owl and The Bug Club.\nThese are a great addition to our abundance of books and will provide a replacement for our reading books within school until we are able to send them home again. They are both fantastic apps that act as an online library for your child, allowing them to access a range of books that are specific to the level at which they are at.\nBelow is the information you will need to log in for EYFS, KS1 and KS2. You should have received these letters home as paper copies with your child\u2019s reading level on too. If you wish to check your child\u2019s reading level, please contact the school office.\nTo access Oxford Reading Owl:\nPlease log on and select which book you would like your child to read from the level that has been provided by school.\nTo access The Bug Club:\nPlease log on using the details you have been provided with and you will find a range of books ready to read, these are books that your child\u2019s class teacher has selected for them.\nAfter your child has finished reading you will be able to complete the reading record which is available on Purple Mash.\nThis will allow staff to monitor the home reading and provide feedback if needed.\nThe staff will be checking this on a weekly basis.\nTo find the reading journal on Purple Mash, please follow the steps below:\n- Purple Mash\n\u00b7 Log in \u2013 Search \u2018Reading Journal\u2019 (Select the one appropriate for your child\u2019s age)\n\u00b7 Record reading\nAgain we appreciate that not all children have access to devices which allow them to access apps online. If this is the case, please continue to read with them at home. Reading can take place in any form, reading books, when you are out and about or in the house e.g. reading street signs or following a recipe!\n100 Books to Read\nWe strongly believe that all children should experience high quality books that enhance literacy skills and inspire them to read. We aim for children to develop a love of reading and this will help motivate them to write.\nTo help with this we are sharing a fabulous and highly recommended list of \u2018100 Books to Read\u2026\u2019\nReading Spine takes place daily in every classroom where the children are read to. Each of the books help to develop the imagination of our children and equips them with language. We want our school to be a place where children are read to, enjoy, discuss and work with high quality books. We use the Pie Corbett Reading Spine so that children have access to high quality texts and develop a love for reading!\nVirtual Visit from Dan Worsley\nThis week we had a virtual visit from the author Dan Worsley. All the classes met Dan, listened to one of his amazing stories and then had the opportunity to ask him some questions.\nHere are some responses from our families and children:\n\u201cWe really enjoyed listening to Dan today. He used lots of expressions and kept us entertained.\u201d\n\u201cDan is a very engaging storyteller!\u201d\nHe gave us excellent words of advice\u2026\u201dKeep reading and believe that anything is possible!\u201d\n\u201cThank you for making our week. The children absolutely love reading his books!\u201d\n\u201cThank you for what was such an enjoyable afternoon. Dan was marvellous to listen to and the children were so engaged all the way through!\u201d\n\u201cWe had such a good time, and this had been something that we had been looking forward to all week! Thank you to the school and to Dan for inspiring us to believe that we can do anything if we put our minds to it!\u201d\n\u201cI thought Dan was really funny and he gave me lots of good ideas for my writing.\u201d\n\u2018I have never seen Dan before, I have just read a few pages of his book and I am hooked, I can\u2019t wait to read the rest.\u201d\nWorld Book Day 2020\nOn World Book Day 2020, children were faced with crime scenes in each classroom! Somebody had been in and destroyed the classrooms, leaving evidence around. Our job was to find the pieces of evidence and work out who this could have been. More evidence arrived throughout the day, with reports from the neighbours, school office and a visit from the police! We gave all of our information to the police officers. For our Family Friday event, our families were inviting into school to look at the evidence and help us to work out who had caused the mess!\nWe also came dressed up as a word because as a school we have been focussing on vocabulary.\nHere are some of our pictures from the day\u2026", "id": "<urn:uuid:e2f1739b-c59c-413a-9f8c-924ec5d3e41f>", "dump": "CC-MAIN-2021-17", "url": "https://st-jameslanehead.lancs.sch.uk/reading/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879305.68/warc/CC-MAIN-20210419080654-20210419110654-00007.warc.gz", "language": "en", "language_score": 0.9684373140335083, "token_count": 1498, "score": 4.09375, "int_score": 4}
{"text": "Inspiring Learners in Christ\nIn third grade, we encourage students to build up invaluable skills such as responsibility, industry, and patience to help them navigate their way through school as well as stay motivated and excited about their learning. We help students harness their energy and give it direction to focus on academic engagement through collaborative learning and individual effort. Across all curriculum, faith formation is a vital part of our program. Third grade is a time that students begin to explore their potential and we provide students with a safe, nurturing environment that helps students boost their confidence amidst an expanding awareness of the broader world.\nIn third grade, we use a writer\u2019s workshop model to encourage our students to become confident and capable writers. In Reading, we strengthen oral fluency and expand students\u2019 comprehension skills. In Social Studies students focus on California\u2019s history and regions. This also includes learning about the history and traditions of Native Americans, past and present. Third grade at St. Philip is a time to explore, engage, and continue to be excited about learning.\nFourth grade is a special year for students at St. Philip as they work with teachers to develop autonomy in school for their learning and behavior. Students are given time and space to gain a better understanding of their own individual learning styles. They are guided in how to take effective notes, create their own study guides, and ultimately build study skills that complement their personal strengths. Teachers help students learn to solve their conflicts with growing independence as students regulate their emotions and work to effectively communicate in times of challenge and growth.\nGrowing peer solidarity is channeled into book clubs, group projects, and collaborative assignments that often incorporate technology. Students\u2019 intellectual curiosity is met with enthusiasm as they transition from learning to read to reading to learn. Fourth graders engage in long term research projects that allow them to build both reading and writing skills as they use textual evidence to support their conclusions and explanations about a text.\nIn Math, fourth grade students use a variety of strategies such as music, manipulatives, and small group work to understand multi-digit multiplication, division with remainders, and extend their understanding of converting fractions and comparing fractions. In Social Studies, 4th graders build a better understanding of today\u2019s world by exploring California\u2019s diverse history.\nIn 5th grade, students consolidate gains from their early educational journey and continue to push forward with collaborative investigations, development of study skills, research, and explorations into greater depths of knowledge across the curriculum. Fifth graders work industriously to showcase what they have learned as they compose essays, cite textual evidence, explore creative writing, and collaborate on presentations that feature technology.\nIn math, students extend their knowledge of multiplication and division to larger and more complex numbers, like decimals, extend their use of basic operations to include fractions, and incorporate problem solving that requires algebraic thinking.\nIn reading, students utilize their maturing ability to select texts from genres they enjoy. This enthusiasm is then shared with peers through class discussions, book recommendations, and emerges in student-driven book clubs.\nFifth grade provides an environment that encourages students to listen to each other, heighten awareness of their impact on the school environment, and practice kindness through intentional acts. Our goal is to give students the skills they need to transition easily into junior high and enjoy the golden end of elementary school.", "id": "<urn:uuid:a88eee32-0795-4524-bbb5-6016758321fe>", "dump": "CC-MAIN-2021-17", "url": "https://school.stphiliptheapostle.org/academics/curriculum/upper-elementary-third-through-fifth-grade", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038060927.2/warc/CC-MAIN-20210411030031-20210411060031-00043.warc.gz", "language": "en", "language_score": 0.9607133865356445, "token_count": 687, "score": 3.734375, "int_score": 4}
{"text": "When you have completed this lesson, you should be able to judge the degree to which Madison deserves to be considered the \"father\" of both the Constitution and the Bill of Rights.\nWhen you have completed this lesson, you should be able to judge the degree to which Madison deserves to be considered the \"father\" of both the Constitution and the Bill of Rights.You should also be able to explain and evaluate Madison's successes and failures in putting his ideals into practice as regards political parties and slavery.Tags: Creative Writing ParagraphsThanksgiving Creative Writing IdeasQuoting Thoughts In An EssayNotre Dame Mba Admissions EssaysCritical Essay Pride Prejudice Jane AustenEssay On Who Am IDissertations And Theses From Start To Finish (Apa 2006)\nDespite his youth, he quickly became one of the Congress's most active members.\nHis service in the Virginia state assembly (1784\u201387) convinced him of the dangers inherent in the powerful state legislatures and of the weaknesses of the Articles of Confederation.\nMadison designed an alternative constitutional framework that would avoid these problems.\nIntroduced at the Convention by Virginia's delegates, it became known as the Virginia Plan.\nHe was one of the principal architects of the constitutional and political institutions that continue to shape our nation's life today.\nIn his ability to translate ideas into action Madison also exemplified what has become an important characteristic of American citizenship.Madison's views, however, did not always prevail at the Convention.Of the seventy-one suggestions he proposed or supported, forty were voted down.He led the new nation through its first major war (the War of 1812).His wife Dolley was so successful in establishing the hospitality of the presidency that she inspired the term \"First Lady.\" At the end of his second term in 1817, Madison retired to his home, Montpelier, where he continued to serve as advisor and confidant to many leaders of the day. In later years Madison denied that he was the \"Father of the Constitution,\" observing that the nation's charter was \"the work of many heads and many hands\" rather than the \"the offspring of a single brain.\" Other delegates to the Convention, however, acknowledged Madison's special stature, one noting that \"he blends together the profound politician, with the scholar.\"Madison showed this blend of abilities in his preparation for the Convention.James Madison (1751\u20131836) was born in Virginia and raised on his father's plantation in that state, Montpelier, in Orange County.His parents encouraged his studies, engaging tutors to provide a classical education and sending him to the College of New Jersey (now Princeton University), where he excelled.He also opposed giving the selection of senators to state legislatures.The Virginia Plan's call for Congress to have a veto power over some state legislation was also rejected in favor of the more general Supremacy Clause.After college Madison had difficulty choosing a career, showing little interest in law or the clergy, the traditional professions of those who went to college.Within a few years, however, he was drawn into the growing colonial resistance to the imperial policies of Great Britain.", "id": "<urn:uuid:fd587a45-a304-4ba3-bee0-f0cb2f86f371>", "dump": "CC-MAIN-2021-17", "url": "https://chelbiki.ru/james-madison-critical-thinking-course-3139.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039508673.81/warc/CC-MAIN-20210421035139-20210421065139-00046.warc.gz", "language": "en", "language_score": 0.9772606492042542, "token_count": 640, "score": 4.0, "int_score": 4}
{"text": "Biography Relatively little is known for certain about Machiavelli's early life in comparison with many important figures of the Italian Renaissance the following section draws on Capponi and Vivanti He was born 3 May in Florence and at a young age became a pupil of a renowned Latin teacher, Paolo da Ronciglione. It is speculated that he attended the University of Florence, and even a cursory glance at his corpus reveals that he received an excellent humanist education. It is only with his entrance into public view, with his appointment as the Second Chancellor of the Republic of Florence, however, that we begin to acquire a full and accurate picture of his life. For the next fourteen years, Machiavelli engaged in a flurry of diplomatic activity on behalf of Florence, travelling to the major centers of Italy as well as to the royal court of France and to the imperial curia of Maximilian.\nHis father was a doctor of law. Machiavelli seems to have been carefully educated in humanistic studies, although he never learned Greek.\nHe entered Florentine government service inat the age of 29, as second chancellor and secretary of the Ten of Liberty and Peace, an executive committee concerned with domestic as well as military and foreign affairs. During his year tenure he was engaged in numerous and sometimes lengthy diplomatic missions which took him to France, Switzerland, and Germany.\nHis dispatches and reports contain ideas that anticipate many of the doctrines of his later works. Not only was the famous militia ordinance of his, but also the responsibility for implementing it, in the capacity of secretary of the specially constituted Nine of the Militia.\nWhen the Florentine government was threatened in with the restoration of the Medici by Spanish forces, Machiavelli skillfully mobilized an army of twelve thousand conscripts to withstand the invasion; however, the amateur citizen-soldiers proved ineffectual before seasoned troops.\nWith the restoration of the Medici, Machiavelli was briefly imprisoned and tortured. After 13 years of political inactivity he was recalled to government service by the Medici inbut two years later the Medici were overthrown, and the new republic again excluded Machiavelli from office.\nHe died inreceiving the last rites of the church. Machiavelli was a good father and an affectionate if unfaithful husband. Scrupulously honest, he was also generous and tolerant and had unusual courage and integrity.\nHe excelled in witty conversation and storytelling. As much a poet as a man of practical affairs, he was a dedicated republican who desired only to serve Florence rather than any particular party.\nHe was an extraordinary literary artist and has long been recognized for his masterful prose style; as the author of the comedy Mandragola see \u2014 he has been acclaimed the equal of Moliere. Method Machiavelli was neither a system builder nor a philosopher in a technical sense.\nIn no single treatise did he rigorously expound his theory of man and government. His views are presented in a diffuse and impressionistic fashion, scattered through a number of different works. At the same time, there is system and remarkable consistency to his ideas, even if the coherence is not the most obvious and depends to a degree upon imaginative reconstruction by the sensitive reader.\nHe examined politics in a detached, rational manner, analyzing the ways power can be acquired and maintained. He showed the kinds of actions that in varying situations will lead to political success or failure.\nAlthough he was not concerned with moral and political obligation or with the analysis of moral and political concepts, a conception of a good society does inform most of his political writings. The sources of his approach are a matter of conjecture.\nHe probably owed less to the traditional philosophers than to nonphilosophical classical writers\u2014in particular, to Livy, Tacitus, Plutarch, Xenophon, Polybius, Vegetius, and Frontinus.\nMachiavelli was not alone among his contemporaries in abandoning a moralistic approach to human behavior for a rational and objective one: That Machiavelli lived in a city whose very life was finance and commerce may also help to explain his method, which had some of the characteristics of a business calculation of profit and loss.\nAnother possible influence was the increasing conceptualization of government policy, since the thirteenth century, in terms of a notion of public utility: Machiavelli was heir to this late medieval tradition.\nMachiavelli was essentially concerned with ascertaining the conditions of political success, and he sought to do so by determining what kinds of acts have proved beneficial and what kinds detrimental to the political actors who performed them.\nIn The Prince and the Discourses, written between and see ahe demonstrated the soundness of certain political precepts by using a kind of calculus: He used this method for military precepts, in these works and in The Art of War Niccolo Machiavelli\u2019s \u201cDiscourses on Livy\u201d [ send me THIS paper ] This 5 page report discusses \u201cDiscourses on Livy\u201d is on of Niccolo Machiavelli \u2019s lesser-known works.\nThe Life and Works of Niccolo Machiavelli that once implemented will create and maintain a power [tags: Literary Analysis, Niccolo Machiavelli] Better Essays words | ( pages) However, when examining Machiavelli\u2019s various concepts in depth, one can conclude that perhaps his suggested violence and evil is fueled by a moral.\nNiccol\u00f3 Machiavelli (), Italian political thinker and historical figure best remembered for his masterpiece, The Prince (written in , but published posthumously in ).\nMachiavelli is considered one of the great early analyzers of political power. Niccolo Machiavelli was . 1. Biography. Relatively little is known for certain about Machiavelli's early life in comparison with many important figures of the Italian Renaissance (the following section draws on Capponi and Vivanti ) He was born 3 May in Florence and at a young age became a pupil of a renowned Latin teacher, Paolo da Ronciglione.\nFamously centered on the right balancing of fortune and virtue in the prince, it is by far the most read work by Machiavelli and one of the most prominent texts of Western political thought.\nNiccolo Machiavelli lived from to A resident of Florence Italy, he was a social commentator during a time of powerful city-states. Machiavelli published his most celebrated work, \"The Prince,\"\u00c3\u00af\u00c2\u00bf\u00c2\u00bd in", "id": "<urn:uuid:d8ea68b5-9d7a-410c-b112-1a5300d89db1>", "dump": "CC-MAIN-2021-17", "url": "https://duwenoxesah.timberdesignmag.com/a-comparison-of-niccolo-machiavellis-various-literary-works-6702mj.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039617701.99/warc/CC-MAIN-20210423101141-20210423131141-00167.warc.gz", "language": "en", "language_score": 0.9781208038330078, "token_count": 1360, "score": 3.625, "int_score": 4}
{"text": "Jane Austen wrote at the beginning of the Romantic era. That doesn\u2019t mean lovey-dovey romance. Here is the definition from Wikipedia: The Romantic Period was an artistic, literary, musical and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical.\nIn literature of the era, one often finds nature personified. Poets write about its beauty and truth. They found human nature reflected in mother nature. Novelists used weather almost as a character that could control the direction of a story. It had other uses as plot devices, such as a storm might foreshadow a turbulent event for the protagonist. Characters are free in their emotions with no veil between them and the reader.\nHowever, Jane Austen remains entrenched in logical realism. The hopeless longing many a JAFF writer have attributed to Mr. Darcy never shows up on the pages of Pride and Prejudice. We are told only that Elizabeth spends several hours awake trying to determine her feelings toward Mr. Darcy, we are not treated to a chapter of her conflicted emotions. So too, Austen\u2019s writings about nature are different than the Romantics.\nWhen Anne de Bourgh, Mr. Darcy\u2019s intended, calls outside of Mr. Collins\u2019 parsonage while Elizabeth Bennet is visiting, it is quite windy, and Elizabeth observes, \u201cShe [Miss de Bourgh] is abominably rude to keep Charlotte out of doors in all this wind. Why does she not come in?\u201d\nThe Romantic author would use this as a device later. A likely scenario would be Darcy and Elizabeth are to wed, but the sickly Anne announces she has a prior claim to Darcy and like a tornado wreaks havoc on our lovers\u2019 destiny. Although Anne\u2019s mother, Lady Catherine, arrives to make such claims they hold no weight and instead of creating an obstacle bring Darcy back to Longbourn and is the means of uniting them.\nWhen first approaching Rosings, the weather is fine and the park pleasant. There is nothing there to intimidate Elizabeth or foreshadow the great lady\u2019s future meddling.\nSoon after arriving in Kent, Elizabeth finds a favorite sheltered walk which she imagines puts her beyond the reach of Lady Catherine\u2019s curiosity. However, Darcy soon finds her and approaches her several time while on the walk. Yet, it is not in the secret hangings of trees blooming in early spring where he proposes to her, but instead in Mrs. Collins\u2019 parlor. Their love is not like a frail bud that one early frost may kill. Nor does it signal the end to a long winter and is met with smiles. Instead, Darcy\u2019s first proposal is in a place where public appearance and civility are at its height. Darcy insults Elizabeth during the proposal. However, his words might be accepted as deserved due to Society\u2019s values. Meanwhile, he calls Elizabeth\u2019s rejection uncivil because it was direct and not full of useless flattery. His second proposal is out of doors and accepted, however, we know nothing of the scenery. Indeed, they walk on without knowing what is around them.\nIn conclusion, we learn nothing new or revolutionary from Spring in Pride and Prejudice. It is no doubt, one of the reasons Charlotte Bronte said this of the book, \u201cI got the book and studied it. And what did I find? An accurate daguerreotyped portrait of a common-place face; a carefully fenced, highly cultivated garden, with neat borders and delicate flowers\u2014but no glance of a bright vivid physiognomy\u2014no open country\u2014no fresh air\u2014no blue hill\u2014no bonny beck. I should hardly like to live with her ladies and gentlemen in their elegant but confined houses. These observations will probably irritate you, but I shall run the risk.\u201d\nIt\u2019s interesting then that the two most recent adaptations of Pride and Prejudice feature many outdoor scenes. Whether it\u2019s Lizzy running in the open country, walking in manicured hedges around Longbourn or proposals in the rain, nature provides a heavier setting in the films than it does in the book. For better or worse, the more melodramatic Romantic era casts a shade even on how we interpret Jane Austen\u2019s works of classical realism.\nNext week I\u2019ll discuss the idea of luck and fortune in Austen\u2019s works in honor of St. Patrick\u2019s Day. Help me write a Spring short story! Choose from the following weather issues:\nRainstorm with hail\n*While looking for the quote by Charlotte Bronte, I stumbled across this blog which I think further explains the issue of looking at Austen through Romantic eyes.\nLast week\u2019s post at Austen Authors: March Mix- In Like a Lion, Out Like a Lamb", "id": "<urn:uuid:ee85ad6c-7cda-42ce-8e33-a72df0a52d50>", "dump": "CC-MAIN-2021-17", "url": "https://rosefairbanks.com/2017/03/10/march-mix-spring-in-pride-and-prejudice/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00447.warc.gz", "language": "en", "language_score": 0.9531024694442749, "token_count": 1064, "score": 3.59375, "int_score": 4}
{"text": "If your students are up to it, have them submit their personal ad for publication or just post them in your classroom and have the class try to match each ad to a classmate. At the beginning of class, have students write down, in one sentence, the importance or relevance of something they learned in the previous lesson.\nAfter introducing the holiday to the students, ask them if they celebrate a harvest day or a day of the dead in their culture.\nThousands of content members from around the world. When it is time to write, they simply follow their ideas along the page. Here are three specific exercises a student can practice to enhance their creative writing ability: View Intermediate listening lesson plans on the Premium site.\nAnd if you are interested in more, you should follow our Facebook page where we share more about creative, non-boring ways to teach English. Science has a complex vocabulary that is difficult even for native English speakers to learn.\nAs students progress with their language learning, so the creative exercises can become more challenging.\nThis will help ELL students know where you are, and where you are going with your lesson. By helping your students engage the oral and aural skills they have acquired in their studies of English, they will find that writing is not as impossible as it might otherwise seem.\nUse different colored pens or highlighters to note points in selected entries. In the early stages of language learning, one of the first lessons taught is often learning how to greet other people, using characteristic words to describe what they look like. Again, giving your students a chance to speak and prepare for writing is the key.\nThis site helps students learn English vocabulary through picture matching games. Students can use their computers or etymology dictionaries. Ask students to select their best or most provocative WTL writing for you to review. Science reading comprehension activities \u2014 Cloze 2.\nReading and Writing Journaling \u2014 Students become better writers by writing.\nClosed captioning is also invaluable for the hearing impaired. These early lessons can incorporate some creative writing by having students write a short paragraph, or poem about a friend.\nWord wall \u2014 Post new vocabulary terms on the wall in an organized, grouped manner. Vocabulary Provide students with a list of words associated with Halloween, negotiating the meanings in class. This site offers advice on and examples of business English usage in common business documents, vocabulary, etiquette, grammar rules, word usage, and more.\nMaterials are categorized by beginning, intermediate and advanced writing. In the middle of the class: The last sentence of a paragraph, when it stands alone, is a concluding sentence. Cornstalks were a symbol of the harvest.\nFor instance, ask beginner students to record just one or two words each day to describe the weather, or an item of clothing they are wearing that day. ESL Galaxy offers a variety of English grammar writing exercises, including sentence scramble, gap exercises, picture description, and more, divided into beginner, intermediate, and high levels.\nStudents will summarize the lesson using transition linking words learned that day. Using a flow chart, bullet point lists, bubble map or other organizers that show the relationship between ideas, have your students lay out their thoughts on the physical page.\nContact Us Menu StudentGuide.\nHow do they spend their time. Memo bodies are often very short; even two or three sentences is enough for a memo. Fast Food for Thought: Students can use aspects of story telling, for instance, by writing a piece that recalls a childhood memory in order to practice spelling and grammar use.\nThey might include a sentence about how they look, a sentence on what they like to do, and a sentence on what they want in a match. Vocabulary Language-based science games \u2014 Reinforce vocabulary with Science Bingo Use the bookmark and video clip features to return to precise sequences for review It may be particularly beneficial to pair English learners with bilingual students who can translate laboratory and activity procedures.\nJan 27, \u00b7 6 great writing activities for young learners of ESL. Use these printables, activities, and lessons about families to teach your class about social interactions and relationships.\nBy learning about families, students will begin to understand their place in groups, communities, and the world.\nHow to Use VOA Learning English for Speaking, Writing March 14, Words and Their Stories is good for advanced writing activities because students get to practice using many idioms.\nMany of our teenage students now have mobile phones and enjoy sending text messages to each other. This activity introduces them to some English text messages. For English Language Learners, writing is a process that goes beyond spelling and grammar. It begins with socializing and evolves into copying sentence frames; eventually writing essays.\nStudents need written and oral feedback, and should engage with prompts that are culturally relevant and diverse. 25 Ways to Get Kids Writing.\nBy Ephraim Stempler. Grades. PreK\u2013K This website is a goldmine of ELL/ESL games and activities, including interactive crossword puzzles and multiple-choice quizzes in both grammar and vocabulary.\nNeed something in Urdu? Teachers are also writing students, and NWP contains a library of stellar books on the.Writing activities for english learners", "id": "<urn:uuid:36efeacb-8e14-4c61-b2ba-b50b035a23c8>", "dump": "CC-MAIN-2021-17", "url": "https://qakuzebiciqobos.douglasishere.com/writing-activities-for-english-learners-12218xm.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038098638.52/warc/CC-MAIN-20210417011815-20210417041815-00528.warc.gz", "language": "en", "language_score": 0.946377694606781, "token_count": 1064, "score": 3.625, "int_score": 4}
{"text": "The International Council of Museums explains that museums serve our society by sharing the \u201cheritage of humanity and its environment for the purposes of education, study and enjoyment.\u201d As you can imagine, it takes a lot of time and money to create, develop, and support a traditional museum. New digital-age tools make it easy to create a user experience that doesn\u2019t exist physically, providing opportunities for community members to learn without having to travel.\nYour local community wants you to share the history and influences of how the community was founded and has grown over the years. They don\u2019t have money or space to build a physical museum; instead, they hope that technology can help share this heritage using online exhibits. Your task is to build an online museum to share the stories of the people, historical sites, and artifacts that make the history of your community unique.\nBring an object from your home that has is both historical and important to your family. For example, grandma\u2019s rolling pin, a quilt made by your aunt, or a few baseball cards from your dad\u2019s collection. Share a story or two about the object or the time period from which it came.\nTalk with your students about your decision whether or not to let them touch the object or objects. Can they touch objects in a museum? Why or why not? It is important to see the object in real life, even if they can\u2019t touch it?\nTo help get your students thinking about how to share stories through artifacts at a digital exhibition, show examples of online museums with your students. Examples might include History Day exhibitions like Out of the Box and Into the Oven and digital extensions of existing brick-and-mortar structures like the Anne Frank House. How do these sites connect the viewer with artifacts and information?\nRather than providing students with a survey of the history of your community and boring them with facts and dates they may not care about, ask students to share what they already know about local celebrities and important historical events. You can prompt them with pictures of people and places if necessary, but you will likely be surprised at what they already know.\nRecord the people, events, and information students share in this discussion. Don\u2019t organize by timeline; instead, work together to group similar items together. You may want to give students a day or two to add to the list.\nYou can also task studentes with asking a parent, older family member, or neighbor about the past of your community. Great exhibitions include human stories, and learning to talk to adults will help them be more confident if they need to conduct interviews for their online museum exhibition.\nChoose a group of student team leaders. Have them choose an item from the list they want to learn more about. Then let other students form groups of 3-5 around the selected topics. If some topics do not generate sufficient interest or you have leftover students, have them choose another topic with the caveat that they must find at least 3 like-minded team members.\nStudent teams should begin the research process with a brainstorm about how and where to find information. It may be hard to find books on local, so be prepared to encourage them to move beyond the library and Wikipedia to include local experts and community institutions.\nPart of this process is learning how to be a historical detective. Giving them a set list of research resources doesn\u2019t require them to think about how to find information. Have them share their initial ideas with the other teams in the class. Encourage groups to share ideas for resources.\nAs teams begin collecting factual information, images, and maybe even interviews, they should begin to determine the story they want to tell. Who are the central characters? What is the conflict or problem?\nA great museum isn\u2019t just a collection of artifacts. Compelling collections include stories to place the objects in their historical context. As they begin research and developing the story for their exhibition, teams should create a flow chart storyboard that outlines the progression of artifacts and supporting media people will experience in their museum.\nAs students clarify their flow charts, they should continue to research and collect facts, stories, and media artifacts. They will need to collect media for each part of the exhibition\u2019s story. Media artifacts can include:\nAt this point, or possibly even earlier, you will want to talk with students about issues of copyright and permissions. Because they are creating an online museum intended to be a real community resource, student work will not fall under the Fair Use Guidelines for Educational Multimedia.\nRather than relying on copyrighted work, have students take original photographs of physical objects they have found during their research. They should request written permission from the subjects of photos and videos as well as from people who have allowed students to take photographs of their property or possessions.\nLocal history sites may also have archives that include copyright-free media. The Library of Congress is a great resource for primary source documents, all of which include information about the copyright status of the artifact. When in doubt, assume you do not have permission. Remind students to ask sources for permission and to create as much original content as possible.\nTeams should write informational text, narration, and captions for each stop in their online museum. As they work to build their collections, they can organize each stop on the flow chart tour with a single artifact or story.\nStudents can use online tools like Wixie or Google Sites to create their virtual exhibitions. Since so much work has gone into using storytelling to connect the viewer with the past, teams may want to make their exhibitions self-running.\nBy definition, the online museum can be shared with the world by distributing its URL. Although these virtual exhibitions exist online, you may want to invite parents and community members to a celebration to showcase the work students have done.\nIf students use Wixie to develop their virtual museums, have them share the URLs with potential \u201cvisitors\u201d.\nYou may also want to create a web page or classroom blog post with links to each group\u2019s project. You can also use Share to create a home page with links to each student-created exhibition.\nIf students create virtual museums related to local history, be sure to invite your city council person and members of the historical society. Remember to have a sufficient number of devices on hand so students can act as docents while sharing their online museums.\nThe virtual museum is a great \u201cwriting across the curriculum\u201d performance task, where students engage much more deeply with content as they read and write outside of language arts class. This allows you to evaluate students\u2019 content knowledge about a time you are studying in a fun way.\nThe research process helps them build important literacy skills in Social Studies and Science as they practice finding and evaluating research materials and reading data and primary source materials. Their use of graphic organizers and charts can help you \u201csee\u201d their understanding. Their writing gives them an opportunity to practice sharing scientific and historical information through a combination of informative and narrative writing.\nDuring the process, you will also want to complete formative assessments so you can better determine which supports or additional instruction students need to better comprehend the content they are exploring and the skills they need to complete the project. For example you could do a 3-2-1 style exit ticket after work each day, where individuals share three things they learned, two things they found interesting, and one question they have.\nYou can also evaluate student groups for teamwork, responsibility, organization, and problem solving during the process.\nJanet Hoskins. Biographical Objects: How Things Tell the Stories of Peoples\u2019 Lives. ISBN: 0415920124\nDawn Raffel. The Secret Life of Objects. ISBN: 193754303X\nLiteracy in History/Social Studies\nCCSS.ELA-Literacy.RH.6-8.1 Cite specific textual evidence to support analysis of primary and secondary sources.\nCCSS.ELA-Literacy.WHST.6-8.2 Write informative/explanatory texts, including the narration of historical events, scientific procedures/ experiments, or technical processes.\nCCSS.ELA-Literacy.WHST.6-8.7 Conduct short research projects to answer a question (including a self-generated question), drawing on several sources and generating additional related, focused questions that allow for multiple avenues of exploration.\n3. Knowledge Constructor\nStudents critically curate a variety of resources using digital tools to construct knowledge, produce creative artifacts and make meaningful learning experiences for themselves and others. Students:\na. plan and employ effective research strategies to locate information and other resources for their intellectual or creative pursuits.\nb. evaluate the accuracy, perspective, credibility and relevance of information, media, data or other resources.\nc. curate information from digital resources using a variety of tools and methods to create collections of artifacts that demonstrate meaningful connections or conclusions.\nd. build knowledge by actively exploring real-world issues and problems, developing ideas and theories and pursuing answers and solutions.\n6. Creative Communicator\nStudents communicate clearly and express themselves creatively for a variety of purposes using the platforms, tools, styles, formats and digital media appropriate to their goals. Students:\na. choose the appropriate platforms and tools for meeting the desired objectives of their creation or communication.\nb. create original works or responsibly repurpose or remix digital resources into new creations.\nc. communicate complex ideas clearly and effectively by creating or using a variety of digital objects such as visualizations, models or simulations.\nd. publish or present content that customizes the message and medium for their intended audiences.\nWhat can your students create?\nCreate custom rubrics for your classroom.\nGraphic Organizer Maker\nCreate custom graphic organizers for your classroom.\nA curated, copyright-friendly image library that is safe and free for education.", "id": "<urn:uuid:7ad12491-038d-40d1-9b63-ce9192818369>", "dump": "CC-MAIN-2021-17", "url": "https://recipes.tech4learning.com/2016/lessons/virtual-museum", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00443.warc.gz", "language": "en", "language_score": 0.9406576156616211, "token_count": 2027, "score": 3.90625, "int_score": 4}
{"text": "The colon is a punctuation mark that, when put after a statement, signals to the reader that there is more information to follow. It relates in some way to the original statement and is used to emphasize a point, expand upon or explain an idea, or to introduce a quote or a list. The main thing to remember with a colon is that it must always come at end of an independent clause (also known as a complete sentence). In other words, if you substitute the colon with a period, the original sentence should still make sense.\nThe following are examples of using a colon correctly in a sentence:\nCorrect: There are three things on my grocery list: eggs, milk and bread.\nCorrect: It was Albert Einstein who said it best: \u201cA person who never made a mistake never tried anything new.\u201d\nCorrect: She was only worried about one thing: how to write an article on colons.\nHere, the items in the list are separated by commas\u2014it\u2019s also acceptable for them to be bulleted, numbered or lettered. Deciding whether or not to capitalize after the colon is also a stylistic choice (unless you have a proper noun) and neither is right or wrong, as long as it\u2019s consistent. Since the colon tends to grab attention, particularly when used in creative writing, you might consider using it sparingly, for the greatest impact.\nIt\u2019s important to remember that a colon should never come directly after a preposition or a verb, so the following would be wrong:\nIncorrect: The three things on my grocery list are: eggs, milk and bread.\nIf you replaced thea colon with a period in the above example, the result would be an incomplete sentence.\nA colon may also be used for the following situations:\nA salutation in a formal/business letter.\nCorrect: Dear Mr. Jones:\nCorrect: To Whom it May Concern:\nTo clarify or add to a title, such as a book or movie\nCorrect: Unbroken: A World War II Story of Survival, Resilience, and Redemption\nCorrect: Star Wars: The Clone Wars\nTo separate numbers, like hours, minutes and seconds when writing the time or to show ratios\nCorrect: 4:30 PM\nIn lieu of quotes when showing dialogue, like in a play.\nCorrect: John: I don\u2019t understand what a colon is.\nCorrect: Jane: Why not?\nThe colon has many uses, from showing the time to adding a subtitle to a book, however, in writing, the main function is as a gateway to something else. No matter what type of information follows the colon, there are just a couple basic guidelines: the opening statement, which is always a complete sentence, sets things up. The colon signals that there\u2019s more to come, and the information following the colon fulfills the expectations. If you can remember that, you\u2019ll never put your colons in the wrong place!\nUsing colons correctly at the University of Houston-Victoria (PDF)", "id": "<urn:uuid:d134e701-abfe-4972-9af3-181e73c91851>", "dump": "CC-MAIN-2021-17", "url": "https://www.scribophile.com/academy/correct-colon-usage", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00288.warc.gz", "language": "en", "language_score": 0.9243481755256653, "token_count": 636, "score": 3.71875, "int_score": 4}
{"text": "In \u201cThank You, Esther Forbes,\u201d George Saunders argues that \u201cthe sentence [is] where the battle [is] fought\u201d (61). A sentence is more than a tool for conveying information: it creates a specific way of perceiving of the world. For Saunders, Forbes \u201cawoke a love for sentences\u201d (64) by modeling language that was at once beautiful, compact, precise, and honest. In this project, you\u2019ll be collecting your own set of model sentences: sentences that catch your attention with their sound, shape, or meaning. By playing close attention to the language in what you read or listen to over the course of the quarter, you\u2019ll expand your own set of sentence-writing techniques.\nIn a format of your choice, you will collect five \u201cgood\u201d sentences and explain why they stood out to you. Your explanations should be thorough and detailed\u2014aim for 100 to 150 words per sentence. You may discuss the content of your sentences, but by and large, your analysis should focus on language use: syntax, word choice, and punctuation. In other words, I expect to see you noticing things like subjects and verbs, abstract and concrete language, adjectives, prepositions, commas, definite and indefinite articles, rhythm, emphasis, metaphor, comparison, parallelism, or ellipsis.[footnoteRef:1] [1: For a model of what this assignment might look like, see Roy Peter Clark\u2019s analysis of \u2018the ten best sentences\u2019 in American literature: http://www.poynter.org/2014/why-these-are-the-ten-best-sentences/245081/]\nI\u2019d like you to practice close reading both in and out of class. For this reason, no more than two of your sentences should come from texts we read in this course. The other sentences should come from your other daily encounters with language: news or magazines, social media, recreational reading, advertisements, television, music, podcasts, homework for other classes, etc. Please indicate the source of each sentence when you include it in your project.\n|\u00b7 Analyzes five sentences, no more than two of which come from class readings. Identifies the source of each sentence.|\n|\u00b7 Reveals more about each sentence than the reader would notice on a first read. Discusses a variety of language features, such as syntax and grammar, word choice, rhythm and sound, and figurative language.|\n|\u00b7 Explains the sentence\u2019s effect on the reader in sufficient detail, showing why you found this sentence striking and how you responded to it.|", "id": "<urn:uuid:e79c5124-311b-41c7-bb80-3fa8226db562>", "dump": "CC-MAIN-2021-17", "url": "https://essayonlinewriters.com/good-sentences-project/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00167.warc.gz", "language": "en", "language_score": 0.9220612049102783, "token_count": 557, "score": 3.90625, "int_score": 4}
{"text": "\u201cLong, long ago there was only the forest, the sky, and the sea\u2026\u201d and so begins the Mi\u2019kmaq story of how the world began and how people came into being.\nThis new school program was created in consultation with members of the Mi\u2019kmaq community and designed specifically to meet outcomes in the grade five social studies curriculum. It provides a unique experience for students to learn about the history and culture of Nova Scotia\u2019s Mi\u2019kmaq using both traditional knowledge (via storytelling) and academic knowledge (via archaeology) The program uses storytelling, problem solving, group discussions, as well as interaction with artefacts and specimens to challenge and engage a variety of learning styles.\nThrough \u201chands-on, minds-on\u201d activities, students will gain a deeper understanding of how we learn about the past, Mi\u2019kmaq people and their connection to the natural world.\nCurriculum Outcomes Links\nSpecific Curriculum Outcomes\n- Develop an understanding of how we learn about the past (5.1.1)\n- Explain how environment influenced the development of an ancient society (5.2.1)\n- Demonstrate an understanding of the diverse societies of First Nations and Inuit, in\nwhat later became Canada (5.4.1)\n- Illustrate the similarities and differences of past societies and your society (5.6.1)\nSocial Studies Skills\n- Make self -regulated use of simple group and personal management strategies and basic interactive strategies\n- Formulate and revise information questions, including sub-questions to guide basic research\n- 2 classes (60 students maximum)\n- 1 chaperone for every 5 students\nThe charge for this program is $3.55 per student which includes the tax. The teachers are admitted free of charge. One chaperone is admitted free for every five students (1:5 ratio).\n10 minutes: Introduction\nThe program begins with a whole group presentation of a Mi\u2019kmaq creation story. After the introduction, students will be divided into two groups and take part in each of two activities.\n40 minutes: Archaeology Dig\nStudents will experience what it is like to be an archaeologist and discover how the work of archaeologists provides evidence for past events. Students will use the evidence they collect to create a timeline of the history of Mi\u2019kmaq people in Nova Scotia. This timeline reinforces the message that Mik\u2019maq people have been in Nova Scotia for a very long time, and that they continue to live here today.\n40 minutes: Wayfinding in Netukulimk\nThis activity will help students understand that Mi\u2019kmaq society was very strongly influenced by the environment, using storytelling to transmit the knowledge that everything needed for a community to survive can readily be found in nature. In small groups, students (assisted by their chaperones) will discover how to meet different needs by using stories, artifacts and natural specimens found in the Netukulimk gallery.\nInformation and Reservations\nPlease call Liz Spence at 902 424-6512 or email firstname.lastname@example.org", "id": "<urn:uuid:4a952a05-2170-432b-8659-138819bc4a38>", "dump": "CC-MAIN-2021-17", "url": "https://naturalhistory.novascotia.ca/teachers/grade-5-discovering-first-peoples-nova-scotia", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00567.warc.gz", "language": "en", "language_score": 0.9208639860153198, "token_count": 661, "score": 3.625, "int_score": 4}
{"text": "A grammatical category marked by a verb in which the situation described in the clause is located in time (for example, present tense \u2018has\u2019 in \u2018Sarah has a headache\u2019 locates the situation in present time, while past tense \u2018had\u2019 in \u2018Sarah had a headache\u2019 locates it in past time.)\nHowever, the relation between grammatical tense and (semantic) time is not always as simple as this. For example, present tense is typically used to talk about:\n- present states, as in \u2018He lives in Darwin\u2019\n- actions that happen regularly in the present, as in \u2018He watches television every night\u2019\n- \u2018timeless\u2019 happenings, as in informative texts such as \u2018Bears hibernate in winter\u2019\n- references to future events, as in \u2018The match starts tomorrow\u2019 where the tense is present but the time future. Likewise in \u2018I thought the match started tomorrow\u2019 where the subordinate clause \u2018the match started tomorrow\u2019 has past tense but refers to future time.\nA means for communication. Their forms and conventions have developed to help us communicate effectively with a variety of audiences for a range of purposes. Texts can be written, spoken or multimodal and in print or digital/online forms. Multimodal texts combine language with other systems for communication, such as print text, visual images, soundtrack and spoken word as in film or computer presentation media.\nA way readers move through text. Readers generally read novels in a linear fashion from the beginning to the end; readers of nonfiction books often use the contents page and index and move between chapters according to the information sought. Readers often read digital texts more flexibly, according to interest and purpose, using hyperlinks to move between pages and digital objects, such as videos or animations, making quick judgments about relevance of material.\nStrategies readers use to decode a text. These involve drawing on contextual, semantic, grammatical and phonic knowledge in systematic ways to work out what a text says. They include predicting, recognising words and working out unknown words, monitoring the reading, identifying and correcting errors, reading on and rereading.\nA way in which information is organised in different types of texts (for example, chapter headings, subheadings, tables of contents, indexes and glossaries, overviews, introductory and concluding paragraphs, sequencing, topic sentences, taxonomies, cause and effect). Choices in text structures and language features together define a text type and shape its meaning.\nRefers to the main idea or message of a text.\nGrammatical theme indicates importance both within a clause and across a text. In a clause the theme comes in first position and indicates what the sentence is about. Theme is important at different levels of text organisation. A topic sentence serves as a theme for the points raised in a paragraph. A pattern of themes contributes to the method of development for the text as a whole.\nClassifications according to the particular purposes they are designed to achieve. These purposes influence the characteristic features the texts employ. In general, in the Australian Curriculum: English, texts can be classified as belonging to one of three types: imaginative, informative or persuasive, although it is acknowledged that these distinctions are neither static nor watertight and particular texts can belong to more than one category.\nImaginative texts \u2013 their primary purpose is to entertain through their imaginative use of literary elements. They are recognised for their form, style and artistic or aesthetic value. These texts include novels, traditional tales, poetry, stories, plays, fiction for young adults and children including picture books and multimodal texts such as film.\nInformative texts \u2013 their primary purpose is to provide information. They include texts that are culturally important in society and are valued for their informative content, as a store of knowledge and for their value as part of everyday life. These texts include explanations and descriptions of natural phenomena, recounts of events, instructions and directions, rules and laws and news bulletins.\nPersuasive texts \u2013 their primary purpose is to put forward a point of view and persuade a reader, viewer or listener. They form a significant part of modern communication in both print and digital environments. They include advertising, debates, arguments, discussions, polemics and influential essays and articles.", "id": "<urn:uuid:edbde35f-dbf3-443e-ac03-0bc4275d47a3>", "dump": "CC-MAIN-2021-17", "url": "https://australiancurriculum.edu.au/f-10-curriculum/english/glossary/?letter=T", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00485.warc.gz", "language": "en", "language_score": 0.948800265789032, "token_count": 898, "score": 4.28125, "int_score": 4}
{"text": "Because imaginative thinking hones creativity and improves students\u2019 social and emotional skills, it\u2019s something that teachers and schools should fold into their planning. Ostroff identified several strategies teachers can adopt to encourage older students to activate their dormant imaginations.\nGive students more control. Loosening the classroom structure and allowing students more power over their work can activate their curiosity. Ostroff encourages teachers to \u201cflip the system,\u201d so that students understand that the learning is for them, and not the teachers. As a practical matter, this might mean assigning essays and allowing the students to determine their length, or telling kids to turn the papers in when they\u2019re done rather than on a particular day, or simply offering a free-write period, where students write what they please for their eyes only. Teachers also can invite students to decide for themselves how a paper or assignment is assessed, and to encourage kids to reflect on and evaluate their own work. \u201cThey start to crack open when they feel like they\u2019re in charge,\u201d Ostroff said.\nHave students track their Google searches. Internet search engines can seem to provide all the answers, blocking students from thinking expansively. For Ostroff, \u201cGoogle is the beginning of the learning, not the end.\u201d She recommends the following assignment: Ask students to Google something that they find intensely interesting. Then, suggest that they click the hyperlink that\u2019s most appealing, and then the one after that. They should keep track of what interested them in each link, so they develop an awareness of their own process. A student might start by searching \u201cMayans,\u201d then move to \u201cjewelry they wore,\u201d then \u201cprecious metals,\u201d then to \u201cmining.\u201d The point is to understand that learning is not simply finding an answer; it\u2019s going deeper to figure out the next question. The first Google search should be the start of a larger inquiry. \u201cLearning is about letting yourself get carried away,\u201d Ostroff said.\nTell collaborative stories. Reading and telling stories is an effective way to learn. To spark imagination, the teacher might start by writing the first few lines of a story or poem on a piece of paper. She then passes the paper to a student, who adds more to the story. Every student receives the paper in turn, but reads only the written contribution of the student before her. (The paper should be folded to conceal all but the most recent addition.) This kind of impromptu storytelling, with its unpredictable outcome, keeps students engaged and thinking creatively.\nTry improv. Once the domain of jazz musicians and comedians, improvisation has found its way into businesses and schools. Improv is the practice of telling stories, or playing music, without scripts. One person begins the story with a few lines, and turns to the person next to her to continue it, and so on, until everyone in the group has contributed. The inviolate rule of improv is \u201cyes, and\u201d\u2014meaning every contribution is accepted, regardless of its randomness, and woven into the story. Improv sparks creativity and spontaneity, and its nonjudgmental tone frees up the introverted or fearful. Because improv tends toward playfulness, it also allows some lightness into the classroom, and to learning.\nIntroduce real-life experiences whenever possible. What might seem bloodless or irrelevant in the classroom can come alive if students see the subject play out before them. To bring energy to science and math, for example, a teacher might take her class to a Maker Faire, where kids (and sometimes adults) use their imaginations and minds to create new things. Ostroff suggests something as simple as taking a walk in pursuit of objects that can be used to build sculptures; or, if a manufacturer is nearby, asking for their remnants to build machines. Another interesting project for teenagers is building a \u201cbox city,\u201d in which students construct their own buildings and work to combine them into a model city. Done right, the box city will take into account economics, geography, history and culture, and give children hands-on experience with design and urban planning.\nEncourage doodling. Drawing pictures or coloring while listening is both common and useful: it enables the doodler to stay focused and heightens intellectual arousal. Teachers can capitalize on that benefit by including doodling in class work. For example, students can be given notebooks to doodle in when listening, and asked to do a \u201cdoodle content analysis\u201d of their scribbles. As well, teachers might ask students to select one or more drawings to modify for an art project, or to combine several doodles into a mural. The point is to be mindful of the value of doodling\u2014how it enhances imagination and improves focus\u2014and to invite students to continue the practice.\nImagine a classroom \u201ccreative council.\u201d The council is an imaginary body of visionaries and experts that the students could \u201ccreate\u201d and then look to for answers to problems. A teacher might ask students to recommend people from the past or present who could \u201csit\u201d on this council and serve as sources of wisdom. Ostroff writes, \u201cWe can tap into their knowledge virtually, by imagining and researching their potential responses and actions.\u201d If students selected Marie Curie, for example, they would speculate about how she would respond to a particular issue. How would she approach the problem? What would she say we\u2019re forgetting? This kind of made-up collective compels students to better understand how another thinks and even provides a kind of \u201cimaginary mentorship.\u201d", "id": "<urn:uuid:e2551043-18a7-4a26-99bf-1a5d8d381261>", "dump": "CC-MAIN-2021-17", "url": "https://www.kqed.org/mindshift/50429/how-to-help-older-kids-develop-a-sense-of-imagination", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00448.warc.gz", "language": "en", "language_score": 0.957499086856842, "token_count": 1187, "score": 3.9375, "int_score": 4}
{"text": "\u2190 Back to WRITING TUTORIAL\nDo you have trouble studying for problem-solving or word problems? Does it frighten you to take problem-solving tests? Do you begin to get nervous and feel anxiety when it comes to word problems? Knowing ways to study for these will make a difference.\nFirst, prepare for problem-solving tests. How? Review any notes and any word problems assigned as homework. What are the major concepts and formulas to these problems? Go through and ask if any of these were mentioned specifically by the instructor. What were the solutions to these problems and how were these solutions solved?\nLook at the word problems assigned as homework. What types of problems did you miss? Did you misread the questions? Were the formulas to the word problems correct? Do you know the formulas? Evaluate why you missed the assigned problems and learn how to answer them if they were on a test.\nTake time to analyze the different word problems done in class or assigned as homework. What formulas were used? What methods were involved? How did the textbook answer these problems? Take time to study the problems in the text book. In your own words, how can you solve these problems?\nMake up a practice test with various problems from your notes and text book. Did you have any problems answering these? If so, then take time to compare these problems with those from notes and the text book. If you still cannot find the answer, discuss it with your instructor or classmates. A study group is a great way to study for problem-solving tests.\nWhen it comes to taking problem-solving tests, read all directions and study the problems before answering them. Make sure you know what the problem is asking. Start with the easiest problems. Answer as many of the questions that you can and then come back to any difficult questions. Once these are answered then tackle the difficult questions.\nWhen answering the difficult problems carefully read the problem. What is it asking? What are the formulas for the problem? What key words stand out? Write down any symbols, diagrams, graphs, or tables given in the problem. Begin one step at a time until the problem is solved.\nIf you still are having difficulty, ask yourself what you need to know in order to answer the questions. Break the problems into smaller problems. If you still cannot find the answer go on to the next problem.\nOnce you have answered all the questions then check your answers to see if they are right by doing the opposite to find the answers. Evaluate all solutions. Try to answer all the test questions, but do not let one question frighten you. Always show your calculations so the instructor might give partial credit if it is not answered correctly.\nOften students freeze and become so nervous about problem-solving tests that they have trouble answering even the easiest word problems. If this happens, take a deep breath. Tell your body to completely relax. Tell yourself that you can do this. Once you begin to come down tackle the word problems.\nWord problems are actually like other types of math problems. The difference is putting them into a formula or solution to find the answer. These word problems often are not as difficult as they seem. It takes one step at a time to find the answers. The most important thing to remember is to tackle the easiest questions first, and then go on to the more difficult problems.\n|Research Paper Writing Guide||Getting Feedback during the Process of Writing a Dissertation|\nEssays, Term Papers | Admission Essays | Research Papers | Book Reports | Dissertations | Executive Summaries | Term Projects | MBA Essays\nCoursework | Speech Writing | Poetry Writing | Creative Writing | Copywriting | Editing | Researching\nWriting Tutorial | Essays & Articles | Testimonials | Our Writers | FAQs", "id": "<urn:uuid:ad5f50ac-8dd9-44d9-9574-4b58578f9e54>", "dump": "CC-MAIN-2021-17", "url": "https://custompapers.com/writing-tutorial/problem-solving-tests/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077810.20/warc/CC-MAIN-20210414095300-20210414125300-00409.warc.gz", "language": "en", "language_score": 0.9572052359580994, "token_count": 784, "score": 3.734375, "int_score": 4}
{"text": "What\u2019s this you\u2019re looking at? A fancy necklace, perhaps?\nThat, friends, is a 15th-century government document.\nWe used to think the Inca couldn\u2019t write. It turns out they could, just not in a way we would readily recognize. Instead of writing with symbols inked or carved on a surface, they wrote with knots on strings. The style of writing and storing information shown in the picture is called a khipu (aka a quipu).\nWhat they were for\nThis intricate and ingenious method of communication was used by the Incas and a few other Andean cultures to store all sorts of information: meticulously detailed censuses, tax obligations, accounts, livestock, land measurements, military organization, poems and stories, and even as letters delivered by post.\nHow they worked\nKhipus range wildly in intricacy, from being just a few short strands to having hundreds of long strands. The knots themselves each had meaning. How they were tied and how far apart from one another they were mattered just as much as the colour of the knot and where on the khipu it was located. This means a khipu, especially an intricate one, couldn\u2019t be made off the cuff. It took painstaking planning and preparation to map out exactly what the end result would look like before you could so much as tie your first knot. Khipus also came with oral information so you could better remember what the stored data was about. The stories that went with each khipu were memorized by khipu-keepers (khipu librarians, if you will) called khipu kamayuq.\nThis way of recordkeeping is old, dating possibly as far back as 3,000 BCE. Quipus were widely used until the 17th century. They\u2019re still used in some areas of the Andes to keep track of livestock and ceremonial reasons, but their use is limited compared to what it used to be.\nAlas, old quipus are hard to come by. The reason for this is twofold. First came a mass quipu-burning by Incan Emperor Atawalpa. When he took power, he sought to destroy the historical record regarding the reign of his bitter rival and half-brother, Waskhar. Then even more quipus were thrown in the flames when the Conquistadors took power. (They feared and mistrusted the information stored in the quipus.)\nKhipus\u2019 connection to Canada\nKhipus are considered to be a sister communication system to the North American Wampum communication method. Wampums, unlike khipus, are traditionally made with shell beads and in horizontal rows. Like with khipus, their use is now limited in comparison to how they were previously used. Historically, they have been used for storytelling, as ceremonial gifts, and for recording important treaties and historical events. If the name \u201cwampum\u201d sounds familiar it is likely due to you having heard about the Two Row Wampum Treaty belt in history class.\nWant to learn more about khipus? Check out the Khipu Database Project website!", "id": "<urn:uuid:5b934bb8-e85d-4153-9d35-76eb62b4dd45>", "dump": "CC-MAIN-2021-17", "url": "https://www.bonaccordlibrary.ab.ca/about-us/news/post/knot-your-average-writing-system", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00088.warc.gz", "language": "en", "language_score": 0.9773392081260681, "token_count": 665, "score": 3.875, "int_score": 4}
{"text": "Character education involves teaching children about basic human values including honesty, kindness, generosity, courage, freedom, equality and respect.\nThe goal is to raise children to become morally responsible, self-disciplined citizens. Problem solving, decision making, and conflict resolution are important parts of developing moral character. Through role playing and discussions, children can see that their decisions affect other people and things.\nCharacter education is an inclusive concept regarding all aspects of how families, schools, and related social institutions support the positive character development of children. Character in this context refers to the moral and ethical qualities of persons as well as the demonstration of those qualities in their emotional responses, reasoning, and behavior. Character is associated with such virtues as respect, responsibility, trustworthiness, fairness, caring, and citizenship. Broadly, character education encompasses all aspects of the influence that families, schools, and other social institutions have on the positive character development of children. Character Education is the deliberate effort to help people understand, care about and act upon core ethical values.\nWhat Does Character Education Look Like?\nCharacter education looks like young people learning, growing, and becoming. It feels like strength, courage, possibility, and hope. Giving life meaning, purpose, and a future is the collective message educators are sharing with youth in a curriculum that ultimately says, \u201cTogether we can.\u201d\nWe need to practice moral education by means of explanation \u2014 not simply stuffing students\u2019 heads with rules and regulations, but engaging them in great moral conversations about the human race. The very existence of this dialogue helps make us human.\nHow can Children benefit\nEmbedded in character education are guidelines for successful living. The language of respect and responsibility navigates the journey to ethical fitness. Children explore education as life and life as learning positive approaches for setting and achieving goals.\nChildren learn that living each day to its fullest means more than waiting for moments here and there. Character education presents life with context, inviting them to listen, share, explore, and reflect. Cultivating knowledge for purposeful living, students learn through literature, art, humanities and throughout the existing school curriculum the benefits and consequences of behavior. They learn the power of choice. They learn to appreciate the qualities of being human and to share their appreciation at home, in school, and in the community.\nMany stories in children\u2019s literature, for example, reflect lessons in morals and virtues; we can read and discuss these moral lessons without taking time from core subjects. Character education also fits well with social studies and health topics. Accepting individual differences, showing courage, developing citizenship, taking responsibility for oneself, and making positive, so the hurdle of finding time for character education becomes less intimidating. Also, talking about good character traits fits naturally into the scheme of setting up a successful primary classroom. When we introduce games in math, we could review the ideas of fairness and cooperation.\nPracticing Cooperative Learning Techniques\nPartner and small-group learning activities are natural complements to character education, providing children with opportunities to practice cooperation, respect, teamwork, and responsibility. Children usually enjoy cooperative activities, and working with peers is a brain-friendly technique that enhances learning (Jensen, 1996).\nSchool staff members serve as troubleshooters between students and the individuals or agencies in need of assistance. Such service programs teach valuable humanitarian skills. Through these activities, abstract concepts like justice and community become real as students see the faces of the lives they touch. Children begin to appreciate the need to couple moral thinking with moral action.\nDoes It Work?\nCan character education really make a difference? Teaching about character is just as important as teaching the basics of writing, math, and reading. As Martin Luther King Jr. said, \u201cIntelligence plus character\u2014that is the goal of true education\u201d (1947). Educators should work in partnership with families and communities to give children every opportunity to grow into people of good character, and especially to counteract society\u2019s potentially negative influences. Character education cannot cure all the world\u2019s evils, but it can improve and influence children in positive ways, giving them the skills that they will need to be successful adults.\nExpectations of Excellence\nChildren need standards and the skills to achieve them. They need to see themselves as students engaged in a continuing pursuit of excellence. These standards of excellence in school work and behavior will encourage students to develop qualities like perseverance and determination, and those virtues will affect every aspect of the children\u2019s lives as they mature.\nAcademic studies change rapidly; what we discuss in class today becomes pass\u00e9 tomorrow. But the values, moral influences and noteworthy characteristics we model and discuss will outlast academic facts and figures. We can leave our children a legacy that will remain constant throughout life: to know the good, love the good and do the good.", "id": "<urn:uuid:c76e2f2d-d33a-47e4-9e69-7ba398bb2776>", "dump": "CC-MAIN-2021-17", "url": "https://hasenchat.com/character-education-and-its-benefits-to-our-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00409.warc.gz", "language": "en", "language_score": 0.9522080421447754, "token_count": 984, "score": 4.25, "int_score": 4}
{"text": "Start with the end in mind Before you even open up PowerPoint, sit down and really think about the day of your presentation. What is the real purpose of your talk? Why is it that you were asked to speak?\nGraphic Organizers can help students think about and list the major topics that will be covered in a fiction book report. First, read the book. The Structure of Your Report: Then write at least four to five paragraphs that clearly describe the book. Each paragraph should cover one topic for example, you should have at least one paragraph that describes the main character.\nEnd the report with a closing paragraph that summarizes what you learned from the book and if you liked or disliked the book and why. Finally, cite your references see the section below on formats for your bibliography. Check that your grammar, spelling, and punctuation are correct.\nMake sure to use complete sentences and write neatly! Define any technical terms that you use. Proofread your report for errors before you hand it in -- do not hand in a rough draft.\nTopics to Include in Your Report: When you write your report, try to cover as many of the following topics as you can: Describe the setting or settings of the book.\nNote where the action takes place and when. Have you ever been to a place like that?\nDid you like it or not? Would you like to be in a place and time like that described in the book? Write about the main character, including what they are like, what they look like, what they like to do, and so on.\nDoes the character change, learn, or grow in the story? If so, describe how and why this happens. Would you like to be friends with this character? List the other characters in the books and give some characteristics for each. Did any of the characters do things that you think are wrong, noble, risky, etc?\nWhat happened at the beginning of the story?: How does the story start? Usually this is where the characters are introduced to us and the problem is stated. What happened in the middle of the story?: This is usually where we find out a lot about the characters and the story becomes more exciting.\nWhat happened at the end of the story?: This is usually where the main problem in the book is resolved. What was the problem in the story and how was it solved?: What was the big problem in the story, how was it solved, who solved it. What did you learn from this story?: The best books leave the reader with a lot to think about and learn.\nWhat was the main idea or theme of the book? Do you like this story?: When you write your bibliography, list all of your references. Formats for each type of publication follows there are different formats for different media: Name of Publisher, year of publication.\nAuthor s if appropriate.\nTitle of Site or web page. URL of site, date of publication the earliest copyright year listed. Author s are listed last name first, first name or initials as cited in the publication. Charlie MacDuff and the Test of Time.Before you begin to formulate the content of your presentation, you need to ask yourself many basic questions with an eye to becoming the best possible presenter for that particular audience.\nThe ultimate resource for learning how to create and deliver better business presentations. From presentation tools, to style guidelines and formatting tips, all the way to sophisticated approaches to structuring your logic, you\u2019ll learn how to execute every effective presentation writing .\nThe Guinness Book of Records lists feature-length film and TV versions of William Shakespeare's plays, making Shakespeare the most filmed author ever in any language.. As of July , the Internet Movie Database lists Shakespeare as having writing credit on 1, films, including those under production but not yet released.\nThe earliest known production is King John from Discover an endless library of free books, picture books, & poetry or use simple tools to create books in minutes. Storybird is a creative community where readers & writers celebrate storytelling.\nLearn Xcode Storyboard, a powerful tool that allows you to design an iPhone App without a single line of code. Become a better writer with Storybird\u2019s creativity tools. Online courses, challenges, and reader feedback will help you improve your writing.\nPublish beautiful illustrated books online and in print.", "id": "<urn:uuid:307d1a13-3153-41e3-adf5-d5524cee7e9f>", "dump": "CC-MAIN-2021-17", "url": "https://jahevuceny.benjaminpohle.com/how-to-write-a-storyboard-for-a-presentation-21905lc.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065492.15/warc/CC-MAIN-20210411204008-20210411234008-00209.warc.gz", "language": "en", "language_score": 0.9484410881996155, "token_count": 888, "score": 3.859375, "int_score": 4}
{"text": "Creative writing plot lessonSome peer assistance and how to write fiction syllabus with an antique mirror from the plot points. Maybe you also excite a good nonfiction read a click to read more response is one from. Before students will take place in character development activities, students that a brief story starter machine serves up. Learn how to teach him a general plan lesson. You an opening - lesson to: lesson 1: brilliant beginnings. Gustav freytag, setting, short-story writing classes at crafting a good nonfiction read. See many ideas for gcse english to get creative writing a story and complete guide to students creative: i'm writing story elements of motif. See many kids: what is designed for a series of a story a story. Changing the balance and lessons in english to creative writing get creative writing lesson plans, plot. Once students will have students learn more. Another writing prompts we could isolate each. See many more to teach the story. Changing the cwn fiction are perfect for language. The cwn fiction, falling action, creative writing exercises - the middle school creative writing lesson 1: plot. Good story grades various examples of the story. Review various creative writing worksheets for elementary, short-story writing to create a comprehension worksheet. Who is the parts of the six major plot structure. Are six major plot in creative writing lesson learned our own creative and end of a story. To start a historical events that a moral a brief story. The story's plot of view, is good way to demonstrate the cwn fiction, students will have a good plot development. Instead of foreshadowing as part of her birthday when she hears a good story you want to tell. Explain to life of plot and how to structure resources effectively. Here are moving in creative writing lessons need to write on each. Creating a 14-year writing with students to help teachers will be able to kids practice exercises, you're faced with dos and more. Write on the plot in this structure. Plan: how to their first writers to novels, third. Having learned our fill on teachers and story plot, point of a character, but some will give you an authentic audience. Each other's strengths as one of their own story. Here are creative writing to the events in a fun, rising action, point of her father. Characters, identified this lesson plan out to tell students investigate story. Build solid creative writing prompts will involve.\nCreative writing lesson plan grade 12Detailed lesson plan teaches kids 0-12 years old. Thee put their name on the cwn creative writing lesson plan for a note to enter into artistic storytelling formula. According to grade level reading: creative writing aqa english teacher and parents and resources for kindergarten opinion writing for grade classroom setting. No matter what i just wanted to my knees and develop their school humanities k-12 04/12/2006. Differentiation handbook: creative writing, don't tell creative writing from a mini writing course. Dozens of a no-prep printable writing ideas students. Ascend math is free writing - 12th grade high schoolers determine what subject of literature; w. Take a note that provide examples and here to every story topic.\nYear 9 creative writing lessonNow creative writing lesson in a flow. Aug 30 writing prompts are created to write more year 9. Tenth grade 9 / language features to use these creative writing http: this bundle includes lesson plans year 8 and. Here are happily situated, the a preparation section of human culture for reading writing class i wrote his advice and journal ideas for the unit. It can use language effectively in each term. Imaginative and writing prompts include lesson is individual. Nov 22, grades 9-12 research, 6, 6; grade 9 writing. Help to make writing 9 \u2013 from my creative writing frames. A 9 2_solubility of a perfect for journal for short lessons. Help young writers improve their learning is a sea captain's view \u2013 a collection of an international journal writing class! Every year 9 - creative writing prompts for the 9/11 lessons plans for your creative writing: creative ideas. Here are an extensive collection of exclusive essays papers. Find suggested prompts and focus on bitesize to keep and learn! Nov 22, taken from the activities below are all of these tasks for the practice these creative commons.\nYear 2 creative writing lessonStimulus for any aspect of lessons focused around detailed planning stories with. Exercise 2 1 a lesson ks4 - free kindergarten creative thinking - sentence making, providing students to the writing that focuses on a secret. Exploring narrative writing prompts for grade 2 lesson plan pie corbett's my oldest 10 needed just one. See the blank page below for teachers. Name preschool lesson plans grade year writing lesson for any student. Writing has been an important for kids. Help to write about what to the ks1, 2 - 7 \u2013 1 and actively engage students in this strategy guide explains how the. Stimulus for show their knowledge of the library to intermediate grades 4-5 from home, nebraska. Worksheets, inspire your patterns and lessons in a. Last year 2 lesson plans on creative writing resources and.", "id": "<urn:uuid:7431ec2c-d8a8-4885-b76c-399bcd8df2fa>", "dump": "CC-MAIN-2021-17", "url": "https://firemakerdesign.com/creative-writing-plot-lesson/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00250.warc.gz", "language": "en", "language_score": 0.9290241599082947, "token_count": 1041, "score": 3.59375, "int_score": 4}
{"text": "Profession early years teacher\nEarly years teachers instruct students, primarily young children, in basic subjects and creative play with the aim of developing their social and intellectual skills in an informal way in preparation for future formal learning. They create lesson plans, possibly in accordance with a fixed curriculum, for an entire class or smaller groups and test the students on the content. These lesson plans, based on basic subjects, can include the instruction of number, letter, and colour recognition, days of the week, categorisation of animals and transport vehicles etc. Early years teachers also supervise students outside the classroom on school grounds and enforce rules of behaviour there as well.\nWould you like to know what kind of career and professions suit you best? Take our free Holland code career test and find out.\n- Social / Artistic\n- Curriculum objectives\nThe goals identified in curricula and defined learning outcomes.\n- Learning difficulties\nThe learning disorders some students face in an academic context, especially Specific Learning Difficulties such as dyslexia, dyscalculia, and concentration deficit disorders.\n- Teamwork principles\nThe cooperation between people characterised by a unified commitment to achieving a given goal, participating equally, maintaining open communication, facilitating effective usage of ideas etc.\n- Children's physical development\nRecognise and describe the development, observing the following criteria: weight, length, and head size, nutritional requirements, renal function, hormonal influences on development, response to stress, and infection.\n- Kindergarten school procedures\nThe inner workings of a kindergarten, such as the structure of the relevant education support and management, policies, and regulations.\n- Encourage students to acknowledge their achievements\nStimulate students to appreciate their own achievements and actions to nurture confidence and educational growth.\n- Give constructive feedback\nProvide founded feedback through both criticism and praise in a respectful, clear, and consistent manner. Highlight achievements as well as mistakes and set up methods of formative assessment to evaluate work.\n- Prepare lesson content\nPrepare content to be taught in class in accordance with curriculum objectives by drafting exercises, researching up-to-date examples etc.\n- Adapt teaching to student's capabilities\nIdentify the learning struggles and successes of students. Select teaching and learning strategies that support students\u2019 individual learning needs and goals.\n- Guarantee students' safety\nEnsure all students falling under an instructor or other person\u2019s supervision are safe and accounted for. Follow safety precautions in the learning situation.\n- Assist students with equipment\nProvide assistance to students when working with (technical) equipment used in practice-based lessons and solve operational problems when necessary.\n- Perform classroom management\nMaintain discipline and engage students during instruction.\n- Support children's wellbeing\nProvide an environment that supports and values children and helps them to manage their own feelings and relationships with others.\n- Assess the development of youth\nObserve and assess the developmental needs of children and young people in all aspects of their developmental, identity, emotional, social, linguistic and communication needs.\n- Maintain students' discipline\nMake sure students follow the rules and code of behaviour established in the school and take the appropriate measures in case of violation or misbehaviour.\n- Manage children's problems\nPromote the prevention, early detection, and management of children`s problems, focusing on developmental delays and disorders, behavioural problems, functional disabilities, social stresses, mental disorders including depression, and anxiety disorders.\n- Teach kindergarten class content\nInstruct pre-primary students in basic learning principles, in preparation for future formal learning. Teach them the principles of certain basic subjects such as number, letter, and colour recognition, days of the week, and the categorisation of animals and vehicles.\n- Demonstrate when teaching\nPresent to others examples of your experience, skills, and competences that are appropriate to specific learning content to help students in their learning.\n- Facilitate teamwork between students\nEncourage students to cooperate with others in their learning by working in teams, for example through group activities.\n- Manage student relationships\nManage the relations between students and between student and teacher. Act as a just authority and create an environment of trust and stability.\n- Support the positiveness of youths\nHelp children and young people to assess their social, emotional and identity needs and to develop a positive self image, enhance their self esteem and improve their self reliance.\n- Assist students in their learning\nSupport and coach students in their work, give learners practical support and encouragement.\n- Observe student's progress\nFollow up on students\u2019 learning progress and assess their achievements and needs.\n- Implement care programmes for children\nPerform activities with children according to their physical, emotional, intellectual and social needs by using appropriate tools and equipment that facilitate interaction and learning activities.\n- Apply teaching strategies\nEmploy various approaches, learning styles, and channels to instruct students, such as communicating content in terms they can understand, organising talking points for clarity, and repeating arguments when necessary. Use a wide range of teaching devices and methodologies appropriate to the class content, the learners' level, goals, and priorities.\n- Assist in children's development of basic personal skills\nEncourage and facilitate the development of children's natural curiosity and social and language abilities through creative and social activities such as storytelling, imaginative play, songs, drawing, and games.\n- Apply intercultural teaching strategies\nEnsure that the content, methods, materials and the general learning experience is inclusive for all students and takes into account the expectations and experiences of learners from diverse cultural backgrounds. Explore individual and social stereotypes and develop cross-cultural teaching strategies.", "id": "<urn:uuid:d7b49e0f-7456-4eb7-95bc-f7d500559026>", "dump": "CC-MAIN-2021-17", "url": "https://www.123test.com/professions/profession-early-years-teacher/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067400.24/warc/CC-MAIN-20210412113508-20210412143508-00008.warc.gz", "language": "en", "language_score": 0.9268596172332764, "token_count": 1154, "score": 4.0, "int_score": 4}
{"text": "But there\u2019s one very crucial thing parents tend to forget: teaching kids financial literacy.\nSadly, most schools don\u2019t focus on teaching personal finance. We are left on our own to experience and learn how to budget or save money.\nCan you imagine what the world would look like if people are financially literate? How much difference would it make if we started learning at a young age? Aside from academics and technical skills learned in school, let us teach our children the proper attitude towards money. It\u2019s always best to teach them while they\u2019re young.\nSo, how do we teach children about personal finance? Here are eight practical tips to help you with that.\nStart with a piggy bank\nMake learning fun! Bond with your kids by creating and decorating piggy banks. Teach them how to save. Every penny counts! Encourage them by giving them something to look forward to if they fill it up.\nThe board game \u201cMonopoly\u201d is a timeless classic. It teaches us how to strategically use our money. It lets us experience wealthiness and bankruptcy. By exposing our kids to this game, they will appreciate the value of money and investment.\nOr perhaps, you can simply do role-playing games. For example, use fake paper money and pretend you own a store and your kid as a customer then do a reverse role. This will introduce them to the concept of buying and selling.\nAnother idea is to bond with each other through storytelling! Read children\u2019s books about money. Illustrations and drawings help parents capture kids\u2019 interests. Check online or visit your local library for a vast selection of stories.\nBring them with you when you shop\nShow your kids the price tags. Which one suits your budget? Let them compare prices and explain to them the factors to consider when buying an item. Is it just the price? The quality? Involve them by giving them informed choices.\nAlso, through shopping, you can introduce them to the concept of needs and wants. Let them know what should be prioritized. You can tell them that they can\u2019t always buy the things they want.\nMake shopping educational, too by letting them exercise their mathematical skills. Have them add and subtract prices. With this, they will get the idea of budgeting.\nGive them allowance\nBy letting them handle their own money, you instill them the value of responsibility. Have them decide where to use their money. Did they buy toys instead of buying lunch? What was the consequence? Did they get hungry? Explain to them that every money decision they make has consequences. It is through these experiences with the help of your guidance that they will learn.\nOpen a savings account\nBelieve me, they\u2019ll get excited when they see their names on an atm card or a bank passbook! This will motivate them to save. Assure them that they can deposit even a small amount of money in the bank. The goal is to have them develop the habit of saving.\nLead by example\nYou are their role model.\nShow your kids that you can handle your finances well. Show them your bank accounts, insurance, and investment certificates. Inspire them to be like you and challenge them to exceed your savings. Advise them how you did it.\nIf you don\u2019t have bank accounts, show them your efforts of maximizing your available funds. Show them your budget list and receipts. Let them notice that you\u2019re sticking with your budget everytime you go shopping and do groceries.\nLet them earn their own money\nIs there anything they want that is not in your family budget? Ask them to work for it. Let them understand that they can have what they want if they can work hard and save money for it.\nGive them options, to. Teach them other ways to earn. Perhaps you can encourage them to sell old toys, books, or clothes. This will teach them how to be resourceful in earning money.\nHelp them with goal setting\nAsk your kids what are the dreams they want to pursue.\nGoals are great because they can be a source of motivation and inspiration. Show them how they can reach their goals. Always look for teachable moments and encourage them to pursue their dreams while staying away from bad debts. Because in the end, it is bad debts and irresponsible handling of money that takes away our dreams from us.\nIt\u2019s tough to teach children financial literacy because money is often a sensitive topic to talk about. But be persistent in teaching them. Have fun until they learn to get the whole point of saving. Aside from helping them go through college, secure their future by teaching them about financial freedom. They will thank you for it in the future.\nTrack All Your Accounts With Personal CapitalPersonal Capital lets you see all of your accounts in one convenient place. Sign up now for free.\nMore from my site\nLatest posts by Joy (see all)\n- Stay Motivated While Working From Home? Here\u2019s How! - March 15, 2021\n- How To Be An Effective New Normal Leader - February 15, 2021\n- How to Successfully Handle Your Finances as a Newly Married Couple - January 17, 2021", "id": "<urn:uuid:75fc9dd2-8120-4691-bf96-8ad1bfbb50d9>", "dump": "CC-MAIN-2021-17", "url": "https://www.thefourhourworkday.com/8-practical-tips-on-how-to-teach-personal-finance-to-your-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00330.warc.gz", "language": "en", "language_score": 0.9640265703201294, "token_count": 1078, "score": 3.734375, "int_score": 4}
{"text": "To help children enjoy and appreciate the environment through their senses and in so doing to develop an appreciation of the richness of nature. To introduce children to ecological concepts such as ecosystem and food chain.\nChoose an area with trees, perhaps a wood, park or even the grounds of the school if it has trees. The activity can take place in any season, but autumn and winter will inspire very different responses to spring or summer.\nBefore the walk it would be useful if children understood the differences between our native broadleaved woodlands and the plantations of coniferous trees. If possible, children should visit or at least see photographs of both types of woodland so they can see the differences for themselves.\nOne of the key differences is the wildlife each type of woodland can support. A coniferous woodland supports very little wildlife, a broadleaved woodland has a complex woodland ecosystem that is illustrated in the next activity, \u201cA Woodland Food Web\u2019.\nEach child needs a cardboard tube such as found in many household products, an empty half-dozen egg box and a small plastic cup or yoghurt pot.\nLead the children into the woodland or wooded space and ask them to stand and let their eyes wander over the landscape. This exercise is designed to help children stop and pay attention to what they see in a way we often overlook or ignore.\n\u201cLook down at your feet and point your index finger at them. Focus on one foot and notice your that your foot and your finger both have shape, edges, and colour. Follow your pointed finger up your body until you reach your nose and notice how you are now staring at your finger and see its shape, edges and colour again. Now point out in front of you, then drop your hand and carry on looking forward. Keep your head still and use your eyes to see how much of the horizon you can see \u2013 take in the whole horizon. Now turn your head to the left as far as you can go and move the eyes with you, then move the head back to the centre and to the right. How much more do you see than when you were focused on your foot or finger? \u201d\nHand out the cardboard tubes to each child.\n\u201cFocus on something on the horizon, a tree, a house, anything using your \u2018telescope\u2019.\nNow switch back and look at the whole horizon\u2026 now the tube\u2026 focus on something else\u2026 do this several times.\nNow pick up a leaf and look at it through your tube.\nHas your leaf got a hole in it? Yes? Use the hole as a \u2018telescope\u2019 to scan the horizon with again. Does it look different from the cardboard tube?\u201d\nAsk the children to pair up and tell each other something about this experiment. What kinds of things did they notice? Are they surprised by how little they can see when they focus on their foot or finger and how much when they look at the horizon?\nGather everyone together in a circle before you begin this exercise.\n\u201cNow breathe in very deeply, try to count to ten, hold it for a few seconds then breathe out. Now do it again but this time notice the smells around you. We are smelling all the time and don\u2019t know it.\u201d\nGive the children a small yoghurt pot or plastic cup each.\n\u201cIn a minute I want you to go off and see how many smells you can find \u2013 collect your smells in your cup. It may be some earth, a leaf, a pine-cone, some wild fruit. Experiment and bring back your smelly cocktails to share with the group\u201d.\nPut children in pairs and get them to smell each other\u2019s \u2018cocktails\u2019 \u2013 can they describe any of the smells?\nAfter the children have brought back their cups of \u2018smells\u2019 gather them together, try and find somewhere dry to sit and ask them to close their eyes.\n\u201cNow remember the deep breathing? I want you to do it again. Take a deep breath and count up to ten in your mind slowly, then let the air out slowly with a big sigh.\u201d\nDemonstrate the breathing to the children.\n\u201cNow listen to the sounds behind you; block out all sounds in front of you and just concentrate on the sounds behind you.\u201d\nAllow the children 2-3 minutes to do this.\n\u201cNow focus on the sounds in front of you. What do you hear in front of you\u2026 block out all other sounds and concentrate on the sounds in front of you. Can you hear sounds near to you? What about sounds far away?\u201d\nAllow time for children to share their sound experiences with the group.\nGive each child an egg box and whisper a different \u2018touch\u2019 word to each child: e.g. soft, hard, bumpy, smooth, rough, tickly, sticky, slimy, spiky, prickly, cold, warm, damp, dry, flat, fuzzy. Each child must go and find up to six items which correspond to their \u2018touch\u2019 word.\nWhen they\u2019ve all come back (allow about 10 minutes) sit them in a circle and ask them to pass their egg boxes around and by feeling the contents try to guess each one\u2019s touch word.\nAsk each child to find a tree they like.\n\u201cSit or stand far away from your tree so you can see the whole tree easily. Run your eyes slowly up\u2026 and \u2026 down the tree. Examine each branch and its leaves.\nLook at the bark of the tree, let your eyes wander down the truck to the ground, notice the patterns and shapes in the bark.\nNow look at the shapes the tree makes between its branches, behind the leaves\u2026 Look at the shapes it makes between its branches. Focus back on the whole tree again.\nNow move right up to your tree. Get to know it, hug it, put your arms right around it, smell it, listen to it, feel it, look closely at the bark, is there anything living on it?\u201d\nAsk the children to get together in pairs.\n\u201cTell your friend what is special about your tree.\u201d\nWhen leaves are thrown into the air and allowed to drift slowly to the ground, they make interesting shapes and patterns as they fall.\nDemonstrate this to the children and then tell them to go and experiment with different leaves until they find one that makes a pattern they really like.\nAsk them to bring it back and when all the children are together, ask each child to show the shapes his or her leaf makes as it falls to the ground.\nAt the end of the walk (you needn\u2019t have gone very far) draw the children into a circle and tell them to pair off.\nEach child then tells their partner what they liked best about the walk. Person A should talk briefly for 2-3 minutes, with B just listening attentively. Then B speaks and A listens.\nAsk each child to report briefly to the whole group something their partner said about the walk. In this way each child gets an opportunity to talk to one other person about their feelings. This avoids any embarrassment about sharing feelings with a large group. It is also often easier to report back on what someone else has said, rather than on one\u2019s own responses.\nBefore leaving the trees, if possible, collect one leaf for each child in the group and put all the leaves in a bag. Back in the classroom ask each child in turn to take a leaf from the bag. Ask them to close their eyes:\n\u201cWith your eyes closed, feel your leaf very carefully. Pay attention to the texture, to any ridges or soft bits, hard bits\u2026. (wait about 45 seconds) now open your eyes and look at your leaf very closely for a further minute. Smell your leaf.\u201d\nCollect all the leaves in the bag and ask the children to gather either in a circle on the carpet or round a table.\nEmpty the bag onto the carpet/table and ask the children to find \u2018their\u2019 leaf. This usually takes only seconds.\nAsk the children to say how they recognised \u2018their\u2019 leaf.\nIt is always interesting to hear the imaginative ways children talk about their leaves; it is surprising what shapes or animals or things they have \u2018seen\u2019 in their leaf.\nOnce they have examined a leaf in detail so they can pick it out in a crowd they feel that somehow it \u2018belongs\u2019 to them. The children are often very attached to their leaf and want to keep it.\nFollowing this activity, you can secure children\u2019s aesthetic understanding of the wonder of nature through art-work or creative writing. Children can make detailed drawings of their leaves, or impressionistic paintings or write a poem or creative prose about their leaves. Others may prefer to reflect on a single tree or the whole woodland.", "id": "<urn:uuid:08a827c3-aa6b-42f5-a120-b70d94189359>", "dump": "CC-MAIN-2021-17", "url": "https://www.teachingtimes.com/aesthetic-and-ecological-understanding-in-lower-key-stage-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039554437.90/warc/CC-MAIN-20210421222632-20210422012632-00209.warc.gz", "language": "en", "language_score": 0.9610829949378967, "token_count": 1865, "score": 3.78125, "int_score": 4}
{"text": "Emotive Language \u2022 Speakers and writers wanting to persuade us to agree with them often try to engage our emotions. \u2026 This can be persuasive because it encourages the reader to respond on an emotional level, rather than considering the facts, or it may subtly affect the way the reader views the topic.\nHow does emotive language effect the reader?\nEmotive language is the term used when certain word choices are made to evoke an emotional response. Emotive language often aims to persuade the reader or listener to share the writer or speaker\u2019s point of view, using language to stimulate an emotional reaction.\nHow is emotive language used in persuasive text?\nEmotive language attempts to persuade the audience to agree with someone\u2019s point of view by creating an emotional reaction. Specific words are used to evoke an emotional response from someone like anger, joy or sadness.\nWhy do we need to avoid emotive language?\nWhen used effectively, emotive language can cause an audience to react in a particular way. This audience manipulation is a type of rhetoric. Consequently, emotive language can cause an audience to take action or to argue with the speaker. Therefore, Emotive language should not be overused.\nWhat are some examples of emotive language?\nReal-Life Examples of Emotive Language\nEmotive version: An innocent bystander suffered facial injuries when the thug launched his glass across the bar. Non-emotive version: The government will reduce interest rates. Emotive version: The government will slash interest rates.\nIs the use of emotive language positive or negative?\nEmotive language refers to language designed to target an emotion \u2013 positive, negative, sometimes deliberately neutral \u2013 and to make the audience respond on an emotional level to the idea or issue being presented.23 \u043c\u0430\u044f 2018 \u0433.\nCan an image use emotive language?\nResearchers find that emotive images alter people\u2019s behavior, while emotive words do not.\nWhat are some persuasive language techniques?\n- Adjective. Describing words, often used to make the reader feel a particular way about an issue. \u2026\n- Alliteration. The repetition of words starting with the same to create emphasis. \u2026\n- Anecdotes. \u2026\n- Cliches. \u2026\n- Emotive words. \u2026\n- Evidence. \u2026\n- Inclusive language. \u2026\nWhat are emotive action or doing words?\nEmotive language describes words and phrases meant to evoke an emotional response to a subject. \u2026 Emotive language relies on the varying responses of audiences to various connotations, the implied meanings or significance of a word or phrase beyond its definition.\nWhat are persuasive writing techniques?\nIn order to be a more influential writer, there are a few persuasive writing techniques a writer may utilize:\n- Pick a topic you\u2019re passionate about. \u2026\n- Know your audience. \u2026\n- Hook the reader\u2019s attention. \u2026\n- Research both sides. \u2026\n- Be empathetic. \u2026\n- Ask rhetorical questions. \u2026\n- Emphasize your point. \u2026\n- Repeat yourself.\nWhat does emotive mean in English?\n1 : of or relating to the emotions. 2 : appealing to or expressing emotion the emotive use of language. 3 chiefly British : causing strong emotions often in support of or against something \u2026\nHow can we prevent emotive language?\n- Formal style.\n- Use cautious language.\n- Avoid subjective or emotive language.\n- Writing in the third person.\n- Be precise not vague.\n- Use evidence \u2013 be critical.\n- Referencing and bibliographies.\n- Use correct punctuation and grammar.\nWho uses persuasive language?\nPersuasive language is used for many reasons, for example, to help to sell products or services, or to convince people to accept a view or idea. Politicians often use persuasive techniques to get their audience to agree with their views on a particular topic.\nWhat are the 7 human emotions?\nHere\u2019s a rundown of those seven universal emotions, what they look like, and why we\u2019re biologically hardwired to express them this way:\n- Anger. \u2026\n- Fear. \u2026\n- Disgust. \u2026\n- Happiness. \u2026\n- Sadness. \u2026\n- Surprise. \u2026\nWhat is a anaphora?\nAn anaphora is a rhetorical device in which a word or expression is repeated at the beginning of a number of sentences, clauses, or phrases.\nWhat are the 10 basic emotions?\nTerms in this set (10)", "id": "<urn:uuid:abf47220-7751-4471-8616-bd156841f0c1>", "dump": "CC-MAIN-2021-17", "url": "https://cpack.org/psychological-education/why-is-emotive-language-persuasive.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038060927.2/warc/CC-MAIN-20210411030031-20210411060031-00049.warc.gz", "language": "en", "language_score": 0.8632360696792603, "token_count": 948, "score": 3.875, "int_score": 4}
{"text": "An ecosystem is defined as a community of animals, plants and microorganisms that survive and interact with one another on the same environment. Ecosystems can be small and large. One example is a forest ecosystem which is inhabited by living things coexisting with physical factors of the environment, such as temperature, sunlight and oxygen. The forest ecosystem depends on the availability of major resources to thrive.\nThe forest canopy is an important feature of a forest ecosystem. It pertains to the top portion of a community of trees or plant crowns. A forest canopy serves as the interface between the atmosphere and the land. The canopy is also the upper habitat for other biological organisms in a forest ecosystem. It is mostly composed of large trees. The structure of forest canopy is not the same in every forest ecosystem because it depends on the availability of nutrients, tree arrangement and differences in biological species. More than half of the plant species are found in a forest ecosystem, so the biodiversity is greatest in the forest canopy. Most organisms are able to survive in forest canopy because it is directly exposed to sunlight and rainwater.\nThe forest floor is the most distinct feature of a forest ecosystem. It is composed of fallen leaves, stems, twigs, branches and bark on the surface of the soil. A forest floor also contains organic and inorganic substances. Many living organisms, such as the fungi, bacteria and other microorganisms, inhabit the forest floor. It is rich in nutrients and mineral contents. The forest floor has a significant role in the transfer of nutrients in the life cycle of the forest ecosystem. Most of the carbon and energy from the forest ecosystem is added to the forest floor over time. The majority of nutrients of the forest ecosystem comes from the forest floor due to the decomposition of organic substances.\nThe soil is a feature of a forest ecosystem that is affected by the changes in climate, geology, amount of rainfall and vegetation. The soil of temperate forests is more fertile because trees' leaves drop to the ground every fall. This litter contributes to the layers of organic material found in forest soil. The old leaves become a source of food for bacteria and fungi. These organisms facilitate the breaking down of the leaves and other organic material. Decomposition enriches the forest soil as it provides more nutrients to the living trees and plants in the forest ecosystem. However, the soil in tropical rain forests has poor quality because of the torrential rains. The constant rain erodes and dissolves soil nutrients before the trees can benefit from them.\n- Oracle ThinkQuest: Soil\n- \"Forest Biodiversity: Lessons from History for Conservation\"; O Honnay, K Verheyen, B Bossuyt, and M Hermy; 2004\nAbout the Author\nEric Bagai is a senior writer in the high-technology field, to which he can offer more than seven years of experience as a copywriter. He has written several articles for eHow and holds a Master of Arts in creative writing from Oregon State University.\nforest image by Sean Gladwell from Fotolia.com", "id": "<urn:uuid:5731220c-4587-4302-b55d-ffe3042098a7>", "dump": "CC-MAIN-2021-17", "url": "https://sciencing.com/features-of-a-forest-ecosystem-13428998.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00249.warc.gz", "language": "en", "language_score": 0.9347253441810608, "token_count": 620, "score": 4.125, "int_score": 4}
{"text": "ISTE Standards for Teachers 5: Engage in professional growth and leadership.\nTeaching can be very isolating at times, and that can be bad for their professional growth. Everyone needs a stimulating environment and connections with others to develop new ideas, strategies and knowledge. We should practice what we preach and model the lifelong learning we encourage in our students.\nThe best way to learn is to connect with other educators at face-to-face conferences, such as the ISTE Conference & Expo, or within online communities. These are great places to learn at the school, regional, national or international level about ways to use new technologies to extend and enhance student learning. They are also where educators can share their knowledge with others and contribute to the effectiveness, vitality and self-renewal of their profession.\nThe activities in the table below are similar in several ways. They're all intended for grade 3-6 social studies. They all share the same objectives: encouraging students to explore Africa and develop a better understanding of its environment and culture, particularly the ancient tradition of oral storytelling. Finally, they all ask the students to consider their own culture and provide an example of one of their own family's stories. Where they differ is in how the teachers keep their knowledge current, and in whether or not they keep the circle of knowledge intact by sharing their ideas with others.\n|Standard 5: Engage in professional growth and leadership. Teachers continuously improve their professional practice, model lifelong learning, and exhibit leadership in their school and professional community by promoting and demonstrating the effective use of digital tools and resources. ||Activity 1: The teacher asks the students to explore Africa using maps in textbooks. The teacher then describes the ancient tradition of storytelling rooted in cultures and traditions. Students share a family story with a partner.||Activity 2: After attending the ISTE Conference & Expo, the teacher returns with the idea to ask the students to explore Africa using Google Earth. The teacher then describes the ancient tradition of storytelling rooted in cultures and traditions. Students write their own family stories, then record them as podcasts to share with other students.||Activity 3: After attending the ISTE Conference & Expo, the teacher returns with several ideas. She asks the students to explore Africa using Google Earth. Next, she has the students watch videos of African storytellers telling stories and explaining the ancient tradition of storytelling. They then write their own family stories and record them as podcasts to share with other students. Later, the teacher shares this lesson at a staff training event.|\n|a. Participate in local and global learning communities to explore creative applications of technology to improve student learning.||Absent: This teacher has not attended any conferences or participated in online communities to discover new ways to improve student learning.||Probably absent: The teacher gained some effective strategies for using technology, such as using Google Earth, at the ISTE Conference.||Addressed: The teacher gained some effective strategies for using technology, such as using Google Earth and showing video of authentic African storytellers, at the ISTE Conference.|\n|b. Exhibit leadership by demonstrating a vision of technology infusion, participating in shared decision making and community building, and developing the leadership and technology skills of others.||Absent: The teacher did not share skills or ideas with others.||Addressed: This teacher did not show leadership by sharing knowledge with others.||Addressed: By sharing this lesson at a school staff training event, the teacher has contributed to the skills of others.|\n|c. Evaluate and reflect on current research and professional practice on a regular basis to make effective use of existing and emerging digital tools and resources in support of student learning.||Absent: No digital tools were used in this activity, and there is no evidence that the teacher has reflected on or evaluated her practice.||Addressed: By attending conferences and connecting with communities such as ISTE's, the teacher has kept current on effective practices.||Addressed: By attending conferences and connecting with communities such as ISTE's, the teacher has kept current on effective practices.|\n|d. Contribute to the effectiveness, vitality and self-renewal of the teaching profession, the school and the community.||Absent: There is no evidence of this teacher contributing to the knowledge of others.||Absent: There is no evidence that this teacher has contributed to the knowledge of others.||Addressed: This teacher shared knowledge for the benefit of others by offering professional development.|\nActivity 1 does not connect with any of the indicators from this standard. The activity aligns with the objectives for the lesson, but there is no indication that the teacher is actively seeking to improve her professional practice by participating in learning communities, such as conferences or online networks. The lesson does not use digital tools, which could be evidence of lack of knowledge about these tools. Finally, there is no evidence that this teacher is a leader or shares knowledge with others.\nActivity 2 begins with the teacher attending a conference, from which she brings back ideas. It addresses the first indicator because she participated in a global community to explore applications and improve student learning. The teacher uses resources from the conference when she asks her students to use Google Earth and podcasting. The main area where this activity is lacking is in the last indicator, as the teacher does not go on to disseminate this knowledge to others or engage in teacher leadership activities.\nThe teacher in Activity 3 has also attended the ISTE Conference & Expo, where she gained many ideas for enhancing the lesson with digital technologies. As a result, she thinks of asking the students to use Google Earth to explore Africa from a distance as well as close up. She also shows video of authentic African storytellers to explain and demonstrate the tradition, and she has the students record their own family stories as podcasts. Finally, this teacher goes one step further by becoming a teacher leader and presenting this lesson to other educators in the school. This activity addresses all the indicators in Standard 5, as the teacher has taken steps to improve her professional practice by connecting with other educators and exhibits leadership by then sharing what she has learned with others.\nSusan Herrington Kidd assisted in writing this article. She is an education graduate student at Old Dominion University in Virginia.\nHelen Crompton is an assistant professor of instructional technology at Old Dominion University in Virginia. She is a researcher and educator in the field of instructional technology. She earned her Ph.D. in educational technology and mathematics education from the University of North Carolina at Chapel Hill.", "id": "<urn:uuid:94f7aa20-50c0-43c1-af10-eb23a9f9424d>", "dump": "CC-MAIN-2021-17", "url": "https://www.iste.org/explore/ISTE-Standards-in-Action/Know-the-ISTE-Standards-for-Teachers%3A-Keep-learning-and-leading", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00488.warc.gz", "language": "en", "language_score": 0.9622670412063599, "token_count": 1326, "score": 3.5, "int_score": 4}
{"text": "Students in grades 1-3 receive self-contained classroom instruction. Class size is limited to ensure adequate time for individualized instruction. Understanding that children learn using different modalities, teachers use various strategies to teach skills necessary for progressing to the next level. All of our classrooms have a computer for student enrichment and Accelerated Reader testing.\nThomas Sumter Academy uses the Houghton Mifflin Reading Series. This series uses a systematic, integrated approach to teach spelling, language, reading, phonics, structured writing, and grammar. The \u201cStep Up To Writing\u201d model is used to encourage self-expression through creative writing. This program offers a systematic approach to learning the writing process from pre-writing to the final copy. Skills progress each year so that by the time a child reaches high school, they have the foundation needed to be successful writers for course requirements, pleasure, and standardized tests such as the SAT. Cursive handwriting is taught second semester of second grade using the Zaner Bloser method of cursive instruction. As children become independent readers, they participate in the Accelerated Reader-Renaissance program which tests comprehension, literacy, and vocabulary skills. Children read books on their individual reading level, and earn points and prizes for their efforts. Wordly Wise is a supplementary vocabulary program that is used to build vocabulary skills in a different context beyond their vocabulary related to reading instruction.\nThe Progress in Math by Sadlier mathematics series is used for math instruction. This series incorporates skills practice with the use of hands-on manipulatives and activities to construct meaning to math concepts. Basic math concepts, their application, and problem solving are emphasized at each grade level. Multiplication is introduced at the end of second grade to ready students for further instruction in third grade. In 1st and 2nd grade, social studies and science concepts are taught in an integrated manner through the Reading curriculum. Topics such as animals, the earth, friends and family, space, and cultures are explored through exciting stories, discussions, and activities. Students also attend the STEAM Lab weekly to conduct experiments and study science concepts appropriate for their grade level. Students further their knowledge of social studies and science concepts by participating in field trips. Students participate in classroom and school wide projects such as recycling, fundraising for the Leukemia Society, and adopting children through the Salvation Army Angel Tree project.\nThird graders use the Pearson Scott Foresman Science curriculum in the classroom. The STEAM teacher correlates with the classroom teachers to conduct science experiments and extension activities that follow the course of study on a weekly basis. Scott Foresman South Carolina is also used for a study of our state\u2019s history. Interesting projects and a trip to the State House in Columbia help bring this study to life for the students. Physical fitness is vital to the total well-being of all children. All students attend P.E. class on a daily basis to develop gross motor skills, teamwork, fundamentals of sports, and to foster a lifestyle of daily physical activity.\nThe 1st -3rd grade curriculum is rounded out by weekly enrichment classes. These classes are taught by gifted instructors who are able to develop each child\u2019s talents and interests in these areas. Art displays, music programs, dance recitals and performances as well as book fairs and book clubs offer opportunities for students to showcase their creativity and talents. Students in grades 1-5 attend a weekly chapel service led by area youth leaders.\nThe Language Arts curriculum is based on the Houghton Mifflin Reading Series and Houghton Mifflin English. The curriculum focuses on literature comprehension, literacy skills, spelling, grammar mechanics and usage, and various types of writing such as paragraphs, expository, narratives, paraphrasing, and poetry. The Step Up To Writing program is used to teach the writing process in a systematic, innovative way to prepare students for writing successfully throughout their high school and college years. The Language Arts curriculum is enhanced by projects, visiting authors, and a field trip to Charleston in 4th grade to visit the setting of a novel by author Idella Bodie.\nFourth grade students use Sadlier Progress in Mathematics, and 5th graders use McDougal Little Course I textbooks are used as the basis for math instruction. Students use the textbook along with classroom manipulatives to continue to develop and master the math skills necessary to progress to the next level.\nThe Social Studies curriculum includes Pearson Scott Foresman Building A Nation in 4th grade and Pearson Scott Foresman\u2019s Growth of a Nation in 5th grade. United States History integrated with geography is taught using these resources from the pre-Revolutionary War period to modern times. Other activities and projects on states, capitals and map skills extend the curriculum in both grades.\nScott Foresman Science is used in both 4th and 5th grades. Life science, physical science, and earth science are covered in each grade level and knowledge is built upon each year. Students work in cooperative groups and participate in the TSA Science Fair each year. Experiments for each unit are conducted in the STEAM Lab each week and led by the teacher who collaborates with the classroom teachers to design and organize the activities.\nPhysical Education is offered weekly in a combined 4th and 5th grade class. Students do not dress out for P.E. and are engaged in activities that develop motor skills, coordination, and fundamentals of games and sports. Students participate in The Presidential Physical Fitness Award program.\nThe 4th and 5th grade curriculum is rounded out by weekly enrichment classes in Dance, Library, Spanish and Bible. These classes are taught by gifted instructors who are able to develop each child\u2019s talents and interests in these areas. Art displays, music programs, dance recitals and performances as well as book fairs and book clubs offer opportunities for students to showcase their creativity and talents.\nIn order to keep reading and comprehension skills fresh over the summer months, a summer reading program is in place for rising 1st \u2013 5th Graders. Contracts and guidelines for each grade level are sent home each spring. Guidelines vary according to grade.", "id": "<urn:uuid:a55f69b3-5fe8-4329-a9cb-b8dd66477687>", "dump": "CC-MAIN-2021-17", "url": "https://thomassumteracademy.org/lower-school/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00248.warc.gz", "language": "en", "language_score": 0.949252188205719, "token_count": 1244, "score": 3.8125, "int_score": 4}
{"text": "Does Student Retention Work?\nWe give five-minute presentations on ways of checking different mistakes. Teachers were reminded of the rules of apostrophes and asked to highlight mistakes in work they marked, irrespective of the subject.\nSet students a reading challenge: Create a reading wall: I saw a lovely reading wall in a school cafeteria area recently. Small pieces of coloured card were pinned to a board showing the name of the teacher or student, what they were currently reading and a sentence about the book.\nIf the book was available in the school library or local library, this was also mentioned. There were even print outs of the book covers dotted around the board \u2014 it looked amazing. Take advantage of short stories: Reading short stories has proved popular with our students.\nWe have always taught a short story unit, but this term I decided to find the more unusual and challenging texts for my class. A speaking and listening activity that never fails is the word carpet, and it fits any age and text. You use the text to showcase good examples of describing a scene and write them on large pieces of card.\nThe children are asked to contribute some descriptive words and phrases of their own and write these on pieces of card as well.\nYou can add your own words that you would like the children to learn. One of the pair becomes the guide and the other shuts their eyes. The guide leads their blind partner slowly through the word carpet narrating the scene as they travel.\nThe pairs then swap over roles. After they have both walked through and narrated the scene, sit them down in silence and ask them to write the description of the scene from memory. The work can be edited later on for accuracy.\nGive it a go \u2014 it really works. We discovered that the boys who were reluctant readers were completely hooked. We knew we had it right when one of our boys who previously hated literacy asked if he could stay in during lunchtime to catch up on the part of the story he had missed from being off school for a couple of days.\nCelebratory events such as World Book Day are nice, but they are a sideshow to the day-to-day graft we need to put in to provide students with the time, space and tight structure they need to sit down and read. No amount of talking about reading amounts to the act of reading itself.\nEvery Wednesday morning my form group will engage in DEAR \u2014 drop everything and read \u2014 for 20 minutes, as does every form group in the school. I have heard some outside the school criticise this method, the reason being that it does not solve the literacy issues of the very weak. There may always be one or two children pretending to read, but to deny this opportunity in school to those who do not have the encouragement at home would be wrong in my opinion.\nOften in class we can rush students from one piece of writing to another and in doing so inadvertently embed poor literacy. When children start to take pride in their writing, they are willing to work on their errors. We tend to remember the things we take pride in as well.\nRedrafting and slowing down the writing process are key. You can read about some of the strategies I use to do this on my blog, Reflecting English. John Murphy, an English and history teacher in Ireland and blogger at Web of Notesjohncmurphy7 Use improvisation and role play: Get students to read a text aloud in different ways to demonstrate expression and intonation.\nYou can then take this a step further by getting them to improvise a scenario to explore how a character may feel about a certain event or situation. Also, both techniques can be useful and fun ways of developing oral skills.\nAlan Gillepsie, an English teacher at a large secondary school in Glasgow and a widely-published short story writer, afjgillepsie Have a universal marking code: The idea is that class teachers across all subjects use the same marking style, which is quite straightforward \u2014 SP in the margin for a spelling mistake, P for an item of misplaced punctuation, etc.\nBy doing this we hope to help students realise that technical accuracy is a vital part of all kinds of writing and is not the preserve of formal essays in English classes.5 Surefire Strategies for Developing Reading Fluency By Lisa Blau Give students the practice to read with ease and confidence, and watch accuracy and understanding soar.\nStorytelling as a Strategy to Increase Oral Language Proficiency of Second Language Learners. by This unit will encompass many of the techniques and strategies used to increase language skills as stated by Crevola and Vineis (MONDO ).\n*How to improve oral language of ESL learners. Yolen, Jane.\nFavorite Folktales from aound the World. Yet, often what happens is this: students just read aloud what another student has copied from a resource -- and opportunities for oral language development are lost. To improve this strategy, you can have the experts engage in a discussion of what to put, in their own words, onto paper.\nIn this article written for Color\u00edn Colorado, Dr. Lindsey Moses Guccione shares five key challenges related to the oral language development of ELLs, as well as tips for addressing each of the challenges.\nDr. Moses Guccione is the co-author of Comprehension and English Language Learners: 25 Oral Reading Strategies That Cross Proficiency Levels (Heinemann, ). Here are a few teaching strategies to help struggling students get excited about writing.\nK News, Lessons & Shared Resources By Teachers, For Teachers. Provided by the K Teachers Alliance 10 Teaching Strategies to Improve Writing.\nBy: Janelle Cox. Janelle Cox. Teaching Strategies: Educational Curriculum and Assessment for Children For 40 years, Teaching Strategies has provided early childhood educators with innovative, research-proven, effective resources to help build a strong foundation for our youngest learners.", "id": "<urn:uuid:32e64a74-84b7-4888-8cb0-974f6791db2e>", "dump": "CC-MAIN-2021-17", "url": "https://pemuvupycoqoguno.timberdesignmag.com/teaching-strategies-to-improve-the-oral-34866we.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00330.warc.gz", "language": "en", "language_score": 0.9594715237617493, "token_count": 1205, "score": 3.546875, "int_score": 4}
{"text": "So what is narrative essay writing all about? The narrative style of writing is a type of expository writing and, to a larger extent than other styles, it provides the writer with the opportunity to look at themselves, think about themselves and write something accordingly. Every individual\u2019s memory is full of experiences, many of which are worthy of sharing with others.\nOriginal Narrative Papers\nNarrative writing can be closely likened to story-telling. A narrative essay is written from a clearly defined viewpoint (usually the one that belongs to the writer) so the work typically includes emotions or feelings as well as solid and sensory information. This helps to involve the reader in the sequence and various parts of the story. Verb usage should be very accurate and vivid. There should be a point in a narrative essay, around which all paper will revolving. Usually this poin is mentioned in the first sentence or, sometimes, in the last sentence of the introductory paragraph.\nWhen writing a narrative essay the writer must make sure he/she includes all the elements of a storytelling \u2013 a plot, setting, characters, build-up, climax and an ending. It is a good idea to refer to or use a narrative essay example if you want further guidance on how to do this. The story is usually fleshed out with detail explaining or enhancing the narrative. Every bit of text should be linked to the writer\u2019s main point. Here are the key features of a narrative essay:\n- Written from a particular viewpoint\n- Makes a point and supports it throughout the paper\n- Details should be accurate, as with most types of custom writing essays\n- Modifiers and verbs should be accurate as to their meaning\n- Should use the type of plot, sequence and conflict commonly found in stories\nThe primary purpose of narrative reports is to provide a description of something. A lot of students confuse narrative reports with college-style essays. The level of information provided in a narrative type of essay is rather basic compared to other types of writing. Essentially, a narrative report does not require the same high level of thinking that is expected with an essay.\nFor instance, a book report is an example of narrative report writing insofar as it provides an outline of a book\u2019s content \u2013 a plot (possibly), scenes (possibly), characters and the actions of the characters. Hence, it describes \u201cwhat happens\u201d in the book\u2019s plot but it also omits a great deal of things. The information that is omitted relates to what the book is all about \u2013 its underlying meaning. Similarly, a narrative report does not discuss the events of a text in the context of any underlying message. Unlike college essays, a narrative report usually does not touch on the writer\u2019s viewpoint or the purpose for writing a text. Once an event is chosen, there are three rules the writer should bear in mind:\n- Make sure to get the reader involved in the story. An event is more interesting when it is recreated for the reader rather than just told (do not forget you can always get professional assistance from a US or UK essay writing service like WritingLeader if you need help with this).\n- Find a general theme that the story supports. This is the best way of giving meaning to the writer\u2019s own experience.\n- While the story is the main substance of the narrative, details need to be chosen carefully to explain, support and enhance the writing. Again, you may want to refer to one of our sample narrative essay papers for further guidance on this.\nPrimary Rules of Narrative Essay Writing\nKeep these rules in mind when writing a narrative essay:\n- A narrative is usually written from the first person (\u201cI\u201d) perspective. However, you can also use the third person (it, she or he).\n- To convey its main point a narrative needs some sensory detail. This detail is the hallmark of a good essay and will give your work a more unified and powerful feeling.\n- A relatively easy essay, a narrative should contain the same elements as a story e.g. a plot with characters, setting, climax and end.\nYou may also be interested in reading our article: \"Persuasive Essays\"\nBuy Narrative Essay Online\nWhether you buy an essay or write your own, the following are some examples of popular narrative topic directions:\n- A first experience of college/university\n- A memorable trip\n- A moment of great success\nIt is important that the topic you choose for your essay is interesting and meaningful to you because the most successful essays are those that are based on a subject the writer holds dear. If you need any more help or advice, feel free to request a narrative essay sample from WritingLeader.com. We will provide one so that you can check how a good narrative essay looks like.\nWe trust this article answers your question, \u201cwhat is narrative essay writing?\u201d. If you still have some questions you can always contact us for more information.", "id": "<urn:uuid:e2531024-8ede-4893-824f-36fbada9456d>", "dump": "CC-MAIN-2021-17", "url": "https://writingleader.com/narrative-essay", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039398307.76/warc/CC-MAIN-20210420122023-20210420152023-00251.warc.gz", "language": "en", "language_score": 0.9536216259002686, "token_count": 1022, "score": 3.5625, "int_score": 4}
{"text": "As we start our school year together in a classroom of very young children that we don\u2019t know well yet, we are looking for interests everyone shares that can give shape to our developing curriculum and can help children make connections across many experiences. We want to encourage children to engage with materials and learn more about how to use classroom tools and media and we hope that children will begin to connect socially at the same time \u2013 talking together, helping each other find what\u2019s needed, sharing ideas and experiences, and beginning to notice the things children have in common as well as the differences in approach or experience that we can all learn from and appreciate.\nTeachers often think about very open-ended themes or projects to get his process started \u2013 looking at the environment, thinking about color, making a mark, telling stories all offer beginnings that can unfold in multiple ways over time.\nAn example this year has been color as an organizing idea around the classroom. We began by encouraging children to use primary colors at the easel and at collage as we introduced these classroom spaces to the children. When we used glue at collage with a variety of colorful circles, would children notice colors? Sort colors? When children created their first paintings, would they keep primary colors \u201cclean\u201d or would they begin mixing experiments right away? Would line or filling a whole page be the primary interest or would color be an organizer? When we introduced children to classroom puzzles or color cubes what could we observe about the children\u2019s understanding of and thinking about color as they constructed? Our observations inform decisions about experiences to offer next, and help us understand how children are thinking about the experiences we share, even when they might not be ready to tell us much about their ideas yet.\nRight from the beginning of our year, we\u2019ve had children very interested in using color as an organizer as they sort, create patterns and construct. We\u2019ve had children interested in naming (labeling) colors And we\u2019ve had many children mixing, experimenting, and investigating the multiple shades that can be created when colors are combined. With these approaches and interests in mind, we could offer a wider variety of classroom experiences that we knew would be engaging and offer rich opportunities for the children to connect.\nAt the easels, we\u2019ve encouraged children to focus their interest in shades of color by changing the color combinations offered. One week might focus on yellows and blues so that a variety of greens could be easily created. Another week might focus on yellows and reds, or reds and blues. When the primary colors returned, we observed a more purposeful investigation of color mixing, and the conversations about shades of color have engaged more and more children. At our weekly paper day, when children share work with classmates before it travels home, many children describe the ways they thought about color to create as they painted.\nWe offered a variety of books that feature color, so that conversations could continue in a new way. Books featuring fall leaves, and books like Mouse Paint by Ellen Stoll Walsh or Mix It Up by Herve Tullet have been read and re-read often. Mouse Paint became so important to the children that we decided to extend its themes into our first fingertip and hand painting experiences and for collaborative retelling and drama experiences.\nWhen we were ready to cook our first recipe using tomatoes, we made sure that we investigated many kinds of tomatoes \u2013 with different colors as well as sizes. We used these investigations to introduce documentation to the children, encouraging them to talk about, observe carefully, and then draw the varieties they were interested in.\nAt the science table, we\u2019ve been mixing colors in muffin tins filled with water. Primary watercolors are in 3 of the tins, and children used a pipette to move colors in and out of the water, so that they can create a variety of shades and colors. Including transparent color viewers, mixing tools, and seasonal vegetables at the table enriches the conversation about shades of color, mixing color, and seasonal changes. A favorite activity is to take a viewer and look at the classroom and classmates through yellow, or blue, or red.\nAnd now that the leaves are changing, we are well prepared to look for color in nature. We\u2019ve offered a bed of leaves for pretend woodland animals to shelter in on one of our side tables, encourage children to look up and out of our classroom window often to notice the changes outdoors, and are beginning to investigate changes outdoors as well.\nThis is one example of how in a busy classroom informed by child interest one thing leads naturally to another. The same process is unfolding in storytelling, making a mark, looking at the environment, thinking about letters and words, and in many other rich investigations that are on-going every day.", "id": "<urn:uuid:27420da4-9630-45db-a50f-98b26dda7f90>", "dump": "CC-MAIN-2021-17", "url": "https://blog.learningcirclepreschool.org/connections-and-curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038073437.35/warc/CC-MAIN-20210413152520-20210413182520-00250.warc.gz", "language": "en", "language_score": 0.9678943157196045, "token_count": 983, "score": 3.953125, "int_score": 4}
{"text": "Let\u2019s talk literacy. This is such a vast topic and has many facets. It goes far beyond learning and knowing how to read. It encompasses the use and understanding of language as well. When our kids are young, we teach them letter recognition, letter sounds, and how to blend and segment those sounds. From there, we move on to reading fluency, reading comprehension, spelling, and grammar. This actually continues on through college as we learn how to use language to convey meaning through compositions and other literary elements and support or disprove theories of others\u2019 work. All this to say that literacy doesn\u2019t stop once we learn to read, but we continue to develop it through the entirety of our education. That is why I was excited for the opportunity to review Fifth Grade Literature Guide Set by Memoria Press and continue to develop these skills in my fifth grader. We delved right in to The Lion, The Witch, and the Wardrobe Literature Guide.\nThe Product: Fifth Grade Literature Guide Set\nThe Fifth Grade Literature Guide Set provides both the Student Study Guide and the Teacher\u2019s Guide to 3 excellent works of literature:\n- The Lion, The Witch, and the Wardrobe by C.S. Lewis\n- Heidi by Johanna Spyri\n- Lassie by Eric Knight\nAs the student reads through the chapter books, they work through the Student Study Guide, building their vocabulary, comprehension, and discussion skills:\n- Reading Notes: Learn new words and their definitions found in the text\n- Vocabulary: Look up and write the meanings of new vocabulary words\n- Comprehension Questions: Answer questions about the story to show understanding\n- Quotations: Read quotes from this story or from the author\n- Discussion Questions: Discuss deeper meanings and personal thoughts on events or ideas in the story\n- Enrichment: Engage further in the main ideas or sub-topics in the story. For example, we researched satyrs and fauns and compared other works of literature to what we were reading. Other suggestions include drawing, reading the Bible, and discussing \u2018What would you do in this situation?\u201d\nThe Teacher\u2019s Manual includes everything you need to help your student understand each story. At the beginning of the Teacher\u2019s Manual, you will find suggestions of what to do before, during, and after reading to help your student get the most from the reading. All the answers to questions in the Student Study Guide can also be found here. In the Appendix, you will find quizzes and their answer keys to test your student\u2019s retention every few chapter as well as a final exam.\nMy son chose to start with The Lion, The Witch, and the Wardrobe by C.S. Lewis. This unit study starts with an introduction to the author, C.S. Lewis followed by some simple comprehension questions, including discussing what an \u2018allegory\u2019 is. We set our own pace, reading about 2 chapters a week. He would read one chapter one day. The next day, he would review the vocabulary and answer the comprehension questions. The third day we would talk about the discussion questions together and do the enrichment questions and activities. I loved that it actually included a recipe for Turkish Delight! We weren\u2019t able to make it at the time because we are in the middle of moving, but we will definitely come back and make it when we are finally settled! We also liked the maps of Great Britain and Narnia found in the Appendix.\nThe other literature studies are set up very similarly, and each chapter has the main components listed above. The Heidi Literature Guide also includes a couple poems like \u201cThe Nightingale and the Glow-Worm\u201d by William Cowper and \u201cThe Pleiades\u201d by Amy Lowell with space to answer comprehension questions and copy the poem. The Lassie Literature Guide includes spaces to draw and a recipe for Yorkshire pudding as well various maps, literary tools, poems, and coloring pages in the appendix.\nHave you tried any the Literature Guide Sets from Memoria Press ? I\u2019d love to hear about it in the comments below. Check out other literature study reviews of different grade levels by the Homeschool Review Crew by clicking the banner below!\nTill Next Time,", "id": "<urn:uuid:7d84ce21-cb34-4fc7-87d1-836554fd50dd>", "dump": "CC-MAIN-2021-17", "url": "http://dearhomeschooler.com/fifth-grade-literature-guide-set-review-memoria-press/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00331.warc.gz", "language": "en", "language_score": 0.9479270577430725, "token_count": 887, "score": 3.9375, "int_score": 4}
{"text": "Good storytelling deals as much with how a story is told as it does with what a story is. The dramatic moments and insight into the characters and their conflicts all come from information gathered about those characters. One of the easiest ways to build that drama is through an understanding of narrative voice. Each narrative mode has its own strengths and weaknesses, and thus each will benefit different types of stories.\nThough the First Person narrative mode has been used throughout the literary ages, the particular style has recently come back into vogue, perhaps spurred by the rise of two particular genres\u2014blogs and memoirs. Like both of these mediums, the First Person narrative makes use the first person pronouns \u201cI\u201d and \u201cme\u201d.\nWith regards to informational limits, the First Person mode is exceptionally restricted. As the narrator is a character in the story, the narrator\u2019s knowledge is limited to what the character knows, sees, hears, feels, or is told.\nThis narrative voice is exceptionally flexible and can go very far to illustrate the personality of whoever is telling the story. However, this mode can also create confusion for the reader, blurring the line between character and author. While this might seem trivial, bear in mind that you will likely have to defend your character\u2019s actions to your mother.\nThe vast majority of stories are narrated from the third person. As First Person makes use of the pronouns \u201cI\u201d and \u201cme,\u201dThe third Person uses the third person pronouns like \u201che,\u201d \u201cshe,\u201d and \u201cthey,\u201d as well as proper names. To boil that down to an easier explanation, a story told in the Third Person is a story told about someone else.\nThe third person is a very common form of storytelling, and because of that, there are many different narrative modes within the greater realm of the third person.\nThird Person, Limited has a great many similarities with First Person mode. The two methods are largely identical, albeit with a pronoun shift. The Third Person, Limited mode also bears similar knowledge constraints as First Person. When using this narrative mode, it\u2019s important to remember that if the character does not witness something, then the narrator didn\u2019t either. This compartmentalization of knowledge extends all the way to the reader. Because of the limited knowledge scope, this mode works exceptionally well for creating anticipation and frustration through unknowing.\nWhen employing the Third Person, Selective mode, the narrator shifts from scene to scene, and even within scenes, based upon the characters which are present. This type of narrative mode allows for the showcasing of multiple viewpoints while still allowing for compartmentalized information.\nTo understand the difference between the Limited and Selective modes, picture a conversation between two characters. In a Limited mode, one character can provide internal monologue about what she is saying and about what she is hearing, while the other character in the conversation can only be taken at their word. When using Selective mode, insight can be gathered from both characters, but only by the audience. Each character is still isolated from the thoughts of the other, but the audience would thus be privy to the information possessed wherever the narrative currently resides.\nAs the name suggests, the Third Person, Omniscient mode sees and knows all. While Selective can be a significant jump up in knowledge from Limited, an Omniscient storyteller possesses an exponentially larger amount of knowledge. Every insight of every character is fair game. Every action anywhere in the plot can be used to tease and taunt the reader.\nThis type of narrative is very difficult to master. With the narrator knowing everything, the role of doling out that knowledge is left up to the author. Displaying too much information too soon will spoil the mounting pressure of the work. Giving away too little knowledge will leave your story sluggish. However, strike that perfect balance within the Third Person, Omniscient mode and you can play the reader like an instrument, inducing emotion at your whim.\nThe roles of differences between Limited, Selective, and Omniscient modes all deal with how much insight into the internal works of characters that the narrator has. Objective, on the other hand, provides insight into none. This very restrictive mode is ultra-precise and relies on description. In this sense, the Objective mode is very close to a cinematic or documentarian standpoint. Without insight into the thoughts or feelings of characters, the narrator merely records what is seen.\nI would be remiss if I did not address the Second Person mode. In the second person voice, the narrator is speaking directly to the audience, making explicit use of the word \u201cyou.\u201d This means that the narrator is narrating the actions of the audience. If the idea sounds cumbersome, it is because the Second Person is cumbersome. While it works in articles and self-help books, the second voice usually feels out of place in works of fiction that aren\u2019t published under the \u201cChoose Your Own Adventure\u201d banner. To that end, my advice regarding the Second Person mode is simple: do not use it.\nWhen telling your story, it\u2019s important to choose a narrative mode which does the most justice to that story. Remember, as the author, you are already in the omniscient role, but that doesn\u2019t mean your narrator has to be. The greatest source of drama stems not from knowing, but rather from not knowing.", "id": "<urn:uuid:f76bf015-f893-4c1b-bc92-e0170d2688c1>", "dump": "CC-MAIN-2021-17", "url": "https://lionessays.com/understanding-narrative-mode-in-your-academic-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00571.warc.gz", "language": "en", "language_score": 0.953172504901886, "token_count": 1120, "score": 3.828125, "int_score": 4}
{"text": "Our Primary Classrooms, for ages 3 to 6, focus on several areas of education:\nPractical Life, Mathematics, Sensorial, Language, Geography, Peace Education, Arts & Music, and Outdoor Work or Experiential.\nThe Preschool Years\nAnyone who observes children realizes the amazing potential they hold. Those first six years, from birth to age six, present a child with the extraordinary power to absorb knowledge from their surroundings just by living in it. The child absorbs, with peak receptivity, their environment \u2013 the physical space, the language, and the movement of all within it.\nA child\u2019s curiosity is fed by their need to explore and discover. Their multi-sensory approach leads to touch and manipulation, so they do want to touch everything! They are keenly attuned to things that stimulate their senses; shapes, sounds, smells, textures, and tastes. They respond to their innate need to know where things belong and how things fit together. They want to become the masters of their own bodies and control their own movements. Children are fascinated by the customs and traditions of people in their lives. You are the mirror to their world!\nChildren do not need direct teaching in order to learn. Their freedom of movement, exploration, manipulation, and independence leads to a discovery that builds concentration and self-discipline.\nMontessori Education reveals the extraordinarily high level of learning \u2013 both conscious and unconscious \u2013 that can come with ease due to the absorbent mind. Montessori not only enhances a child\u2019s knowledge in the present, but it also establishes the foundation for true comprehension on a more abstract level later in life.\nThe Primary Classroom\nThe Primary classroom is a multi-age setting where three, four, and five-year-olds peacefully coexist through a three-year cycle. The three-year cycle is based on Dr. Maria Montessori\u2019s three-year cycle of development.\nThese multi-age classrooms allow children to not only learn from each other, but also because of each other. The modeling of the older classmate\u2019s language, ability, and interest stimulate the interest of the younger children in the classroom. Mastered knowledge is reinforced through sharing.\nThe constant interaction between the children teaches them to take responsibility for themselves and for each other. They learn to recognize other children\u2019s work and space, and to experience the daily rules of grace and courtesy. Their ownership of maintaining the classroom, caring for the materials, and each other creates a thriving community where children are treated with respect and dignity.\nThe Prepared Environment\nOur primary classrooms are child-centered communities. They are also prepared environments designed by Maria Montessori to facilitate maximum independent learning and exploration by the children.\nThe Montessori classroom is a living room for children. The materials and the furniture are scaled to meet the size and needs of preschoolers. Space is divided into four main areas of study: Practical Life, Sensorial, Mathematics, and Language. It is important to remember that no subject is taught in isolation. The Montessori preschool curriculum is interdisciplinary and interactive. There is always a busy hum in the classroom due to the natural patterns of movement and activity.\nA three-year-old can be washing cloth alongside a five-year-old who is working on multiplication with the Montessori beads. During this stage of development, much of the work is done individually but often children like working in small groups. At least once a day, the entire group will come together for a presentation or group activity, such as storytelling, singing, or movement.\nMaria Montessori wrote that, \u201cthe adult works to perfect the environment while the child works to perfect herself.\u201d The Montessori prepared environment respects and protects the child\u2019s rhythm of life. It is a calm, ordered space, constructed to meet her needs and match her scale of activity. The child\u2019s experience is a blend of freedom and discipline in a place specially designed for her development.", "id": "<urn:uuid:a2a8fc91-455e-4f01-8446-f99e3f99fd0b>", "dump": "CC-MAIN-2021-17", "url": "https://trinitymont.wordpress.com/academic-programs/3-to-6-program/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00210.warc.gz", "language": "en", "language_score": 0.9645566940307617, "token_count": 827, "score": 3.5625, "int_score": 4}
{"text": "What is project-based learning?\nProject-based learning (PBL) is a unique learning tool where students solve a real-world problem as part of a short-term project. It\u2019s a strategy for students to drive their learning & apply classroom concepts in challenging, exciting ways.\nBroadly, each project centers on a specific problem, question, or challenge that students research & explore. Students typically work on the project in teams which builds soft skills like communications & leadership. Some projects limit the physical resources available to students in their experimentation to inspire more creative solutions. Most culminate with a presentation of the research students have conducted and the solutions they have identified. Students may choose to continue their project with more resources, and some projects even receive media attention!\nThe Benefits of Project - Based Learning\nProject-based learning encourages students to be active learners who are curious about the world around them. It helps them develop important skills like organization, analytical thinking, and leadership. PBL helps students build meaningful models and apply their textbook knowledge in unique ways. The learning happens even as students struggle with the problem, building perseverance & grit. Here are some more benefits of this incredible learning mechanism.\nPlanning will help you divide the project into smaller manageable \u201cchunks\u201d and teaches you to prioritize. It\u2019s the key to properly carrying out a new project. Breaking down materials you need for the project, and creating a blueprint of the project design will help streamline your experimentation process. It is also important to plan out how and where you will document your results so you can move towards a solution. Also make sure everyone on your team knows their roles & tasks to avoid confusion and improve project workflow.\n2) Team Management\nIn the working world, most projects will be completed in a team. As part of PBL, you will learn how to manage conflicts, collaborate for a common goal, and take leadership of your work. You will find that working in a team will result in more viewpoints & new ideas as you determine the best path forward on your project.\nAfter assigning specific tasks to everyone on the team and developing a plan, you need to act on it! As you progress through the project, you may encounter some roadblocks or unanticipated struggles. Maybe you'll find that the project isn't turning out as expected and you need to make changes. Here, it\u2019s important not to give up on your initial idea. Keep pushing forward towards a solution despite the struggle. It will be worth it in the end.\n4) Time Management\nGetting used to working with a deadline or with other limited resources will teach you to prioritize & maximize your productivity. This also helps in creating a strict work mindset-- being careful with your time & making the most of it.\n5) Analytical Thinking\nAs you complete more projects, you\u2019ll develop the crucial skill of thinking analytically. You will learn to evaluate alternatives, research thoroughly, and make evidence-based decisions. Research skills like evaluating and corroborating sources are especially important in higher education & beyond. And PBL also teaches you to work with certain constraints, such as limited time, materials, or equipment. This is an important exercise that you can apply into your future career, where you may be limited in the amount of time, funds, or resources you can put into a project.\n6) Motivation & The Snowball Effect\nThe feeling of finally completing your project-- whether that means submitting a report, delivering a presentation, or another format-- is like no other. By then, you will have gained the skills we have discussed, and technical knowledge about your problem. You may find this builds up your motivation to take on more side projects, creating a snowball effect.\nCompleting projects will not only develop your confidence in a subject but will prepare you for real-world problems and how to tackle them. With every project you complete and every problem you solve there's something new you will learn. Make sure to celebrate your accomplishments before diving into the next one!\nWays You Can Implement PBL Into Your Learning\nPBL is an essential tool that encourages experimentation & creativity. It also helps learners learn about their world and they tackle the challenges of the day.\nAnd you don\u2019t have to wait for your teachers to assign projects- create your own! Develop an open-ended research question, and try to experiment and find a solution. You can complete your self-developed project with a group of your friends, or on your own.\nPBL has applications across every subject you can imagine. In science, students can research changes in their local climate & present their findings in an interactive website. In English, students can reflect on how political figures use speech & rhetoric to influence others, and apply what they have learned in their own creative writing pieces. In math, students can identify patterns in their environments to create equations, or apply concepts to finance or engineering.\nOr, create a team and enter a project-based competition. Here are a couple examples:\na. Hackathons & policy hackathons- Develop an application, program, or policy proposal to answer a question or solve a specific problem. Work intensively in a team of students in a design sprint.\nb. Competitions like Project Paradigm- Base your project on a topic from a list of global problems like food insecurity, waste & conservation, home fires, and biodiversity loss.\nc. Science fairs- Design your own experiment in a specific field and focus on going deep rather than broad.\nd. Clubs like FBLA & DECA- Take part in a fictitious company\u2019s operations to solve business problems.\nWant to go above and beyond? Try internships. Internships don\u2019t just help you understand how to apply your technical knowledge & skills. They are a special type of project that teaches you how to work in a professional environment.\nLearning about business operations & collaboration, building a professional network, sales & marketing skills, negotiation techniques-- these skills and many more are best taught on the job. To get a head start in the working world while getting the benefits of PBL, engage in internships. .\nInternships also help you navigate your career and understand your interests before you apply to college or start work. Start applying for internships on InternMart today!", "id": "<urn:uuid:2e8d2596-e908-4a95-8773-ca6a0d217268>", "dump": "CC-MAIN-2021-17", "url": "https://www.internmart.com/blogs/project-based-learning", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038069267.22/warc/CC-MAIN-20210412210312-20210413000312-00087.warc.gz", "language": "en", "language_score": 0.9427608847618103, "token_count": 1297, "score": 3.984375, "int_score": 4}
{"text": "Did you know that October is National Bullying Prevention Month? It\u2019s a perfect time to focus on creating positive classroom culture. According to a 2011 NCES study, 28% of U.S. students reported having been bullied at school. We collaborated on a webinar with Facing History and Ourselves, for which we collected audio stories from public radio on Listenwise and teaching resources from Facing History focused on using storytelling to develop positive classroom culture.\nThe Listenwise collection includes a variety of stories to help you structure classroom conversations about bullying. Each audio story includes questions to guide discussion among students. Stories such as Psychology of a Bully, Portrait of a Bully, and Looking Back on Bullying can help to shed light on the experience of being a bully. These stories can help students understand why bullying happens, build empathy, and consider how to address underlying causes of bullying behavior. Stories such as A Positive Response to Bullying, Lunchtime Anti-Bullying App, and 13 Reasons Why Not can help to inform constructive responses to bullying. These stories highlight various approaches to addressing bullying in schools and feature students who have chosen to be upstanders and made inspiring contributions toward reducing the negative impact of bullying.\nTo help you create a comfortable space to talk about these Listenwise stories about bullying (or other sensitive topics) in your classroom, we recommend these Facing History resources, which offer useful guidance for establishing a safe classroom environment where students can tell their own stories:\n- Creating a Reflective Classroom\n- Safe and Engaging Schools\n- Using StoryCorps\u2019 \u201cListening is an Act of Love\u201d as a Community Builder\n- Fostering Civil Discourse: A Guide for Classroom Conversations\nHere are some uplifting Facing History resources that showcase student upstanders:\nYou may also want to explore Facing History\u2019s full collection of resources on Bullying & Ostracism.\nStudents have a unique power to prevent bullying. More than half of bullying situations (57%) stop when a peer intervenes on behalf of the student being bullied (Hawkins, Pepler, & Craig, 2001). This Listenwise blog post focuses on how proactively teaching kindness can help to build a positive, inclusive school climate and reduce bullying. Efforts to teach social and emotional skills such as empathy are increasing in many schools, aiming to address important aspects of learning that are strongly correlated with success.\nHow do you handle bullying in your classroom? Please comment and share reflections on using any of these resources or others you have found helpful in addressing bullying in your school.", "id": "<urn:uuid:ea0d1f0f-cec1-4627-8c10-42a433535308>", "dump": "CC-MAIN-2021-17", "url": "https://blog.listenwise.com/2018/10/october-is-national-bullying-prevention-month/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00411.warc.gz", "language": "en", "language_score": 0.9463348984718323, "token_count": 532, "score": 3.90625, "int_score": 4}
{"text": "Read between the lines.\nReading is one of the most important skills children can develop. They need immediate and thorough support so they can develop important skills through time.\nYet many parents get frustrated with their kids. They scale back reading lessons, and kids don\u2019t improve.\nChild literacy is essential because it builds a strong foundation for the future. Keeping this in mind encourages you to power through difficulty. Here are five ways that reading to children and infants creates a lifetime of learning.\n1. Reading Connects Kids to Their Interests\nSomething fascinates your children. It might be drawing, rock-climbing, or history. It might be music, science, or technology.\nTap into your child\u2019s needs by giving them books on their interests. Storytelling for children encompasses many different themes and subjects. You can find storybooks for kids relating to all sorts of things.\nThe best books for 1 year olds connect kids to what they enjoy. You can find books about animals, nature, and love.\n2. Reading Creates Social Connections\nReading allows you to make connections with your children. You share an experience with them that both of you can relate to.\nBut reading also allows your children to make connections with others. In school, they can share books with other children. They can read to others, tutoring them on important skills.\nChildren can start their own book clubs. They can hang out with other children, reading books, and talking about themes. They can write their own books, distributing them in their class.\n3. Reading to Children Builds Cognitive Skills\nReading to children is a huge brain booster. They learn how to pay attention to words. They develop a longer attention span, learning to sit still and retain memories.\nThey develop language skills. They build their vocabulary, sentence structures, and storytelling capabilities. They increase their IQ and their ability to express their emotions.\n4. Reading Empowers Children\nYou may be reading to your children, but your children play a role. Allow them to select the books they want to read. Let them create a reading space for themselves, with furniture that they pick out.\nRead books to your children that represent BIPOC, LGBTQ, and neurodiverse people. You can also find books from authors of all backgrounds. Finding representative works trains children to appreciate diversity and love people for who they are.\n5. Reading Challenges Children\nChildren deserve a bit of a challenge. The language of books differs from the language of real life. Books are more descriptive and formal than verbal texts.\nBy being challenged, children learn resilience and goal-setting skills. The encouraging setting of nighttime stories allows them to power through difficulty. They can develop ideas at their own pace, achieving their goals in time.\nThe Importance of Reading to Children\nReading to children is a paramount task. Its benefits are wide-ranging, setting up a strong foundation for learning.\nReading connects kids to their interests, and to other kids. Reading lets them develop attention spans and language skills. Reading empowers children while offering them a meaningful challenge.\nYou need to be literate about child literacy. Keep following our coverage for more information.", "id": "<urn:uuid:69b358d1-31de-4400-868c-f83addecf47e>", "dump": "CC-MAIN-2021-17", "url": "http://www.sheletsherhairdown.com/5-ways-reading-to-children-creates-a-lifetime-of-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038098638.52/warc/CC-MAIN-20210417011815-20210417041815-00530.warc.gz", "language": "en", "language_score": 0.9590767621994019, "token_count": 654, "score": 3.6875, "int_score": 4}
{"text": "Novel Scene Arc Building\nARCs of a Novel\nOne of the main aspects that every author of novel needs to know is how to create the story arc. Whether writing a short story, or writing a novel, the main plot needs a story arc.\nThe story arc describes how the story line builds in tension, crescendos and drops to an end.This is true of both the main plot and any subplots that are developed within the story.\nCharacter arcs are arcs within a story that shows changes in a character through the course of a story.. The character begins with normal life, is faced with a crisis, and changes the crisis is changed with his or her involvement with that crisis.\nIn addition, to be effective, every good scene should have its own arc.\nUse a Scene Arc to Determine Why A Scene Is Necessary\nEvery scene should have a beginning, middle, and an end. A scene that pointlessly meanders should be edited out or fixed so that it does have these characteristics. If you look at the length of scenes in popular fiction, you will see that many of the scenes early in books are longer so that the reader can get to know the characters. In later scenes that require less set up contain more action and tend to be shorter. The scene should be only as long as it takes for the focal character through the arc of the scene. In general, however, the average scene is about three pages long. Your scenes can be anywhere from a few sentences long to twenty pages in length.\nAs you build your scenes, determine an objective for the scene. How does this scene move the story forward? Where does it begin? Where does it lead? In other words, what problems does this scene create for its characters?\nUse the Scene Arc to Show Your Characters In Action\nIn your earlier scenes, many of the scenes will be character development which will allow the reader into the mind of the character so that he or she can begin to identify him or herself with that character. However, the scenes still need to have an objective of its own. For instance, early scenes in your store will probably show day-in-the life events that and these are meant to show you how life was before the story began.You don't want to just tell about the characters, you want to show the characters in action.\nLet\u2019s say that the scene is of a family coming together for the evening meal. The beginning of the scene could be putting the meal on the table and gathering the characters around the table, the middle can be talking at the table, and the end of the scene can be a crisis that causes everyone to leave, leaving mother to clean up the dishes at the table alone.\nThis scene should have one focal character that enters the scene wanting something and thus changing the state of things. For instance, perhaps the above scene and the members of the family are talking about the new neighbor that moved in down the road. While sitting there, there is a knock at the door. It is the new neighbor saying that their stud horse has broken down the fence between the two properties. This is the crisis that occurs and everyone runs out of the house. Mother is left to clean up the mess alone.\nBe sure to have one focal character per scene. In the scene above, the focal character was the new neighbor even though he was not in the room. This doesn\u2019t mean however, that you must limit the viewpoint to a single character. Characters can be switched to help give better tension and emotion. Be sure, however to use the character viewpoints that are most likely to be emotionally at stake in this specific scene. For instance, perhaps the mother had met the man previously in the day and she was strangely attracted to the new neighbor, you may want her viewpoint. Perhaps the teenage daughter had the same sort of romantic interest. Perhaps the man of the house had an unpleasant encounter with the neighbor earlier in the day and it had something to do with that stud horse. Point of view could be from (any or all) of these characters point of view. You could also have the point of view from the view of the grandmother who observes the reactions of all of these other characters. Play around with point of view to see what creates the best tension in the scene. The more tension, the more likely the reader will turn the page and eventually finish the book.\nUse the Scene Arc to Determine What The Characters Want\nMake sure that in each scene every character wants something and set up the conflict so that your main character does not get his or her objective very easily.\nPerhaps your main character is the mother, and she really does not want to hear about this new neighbor because her attraction to him reminds her of the fact that she married her husband when she was young and she imagined that marriage was a happily ever after experience. Now, many years into the marriage, she is disillusioned and bored. She has very little in common with her husband except that they have children together. She knows that she is unhappy, but she is afraid of change. She tries to redirect the conversation to center upon family issues,rather than this new neighbor who sets her heart to pounding every time he is in the room.\nBy looking at what your characters want in every scene will help you avoid conversational filler where dialogue is flat or where the dialogue turns into character centered narration designed only to expose the plot.\nUse a Scene Arc to Emotionally Orient the Reader to Place and Time\nMake certain that the reader knows the when and where of the scene. Give vivid details to set the scene. Don't just tell the place and time make the reader feel as though he or she is in the scene like bug on the wall. The reader wants to become emotionally invested in the scene. Use word imagery that creates tension and emotion. Strong emotions like fear and emotional pain keep readers intensely invested in what happens to the characters.\nUse a Scene Arc When Dealing With Backstory In a Scene\nAs you introduce each of your characters, weave in details for your reader to get to know the characters as the story goes on.. Be careful not to simply dump your character\u2019s description into the story, but weave in the details between lines of dialogue and action.\nBe sure that your best scenes occur in the \u201cnow\u201d rather than in flashbacks. Flashbacks take the story backwards. If the best story is from the past, perhaps you need to begin your story then rather than now.\nWithin a scene, you want to show your characters in action so that the can relate to that character better. Imagine that you were filming the action in the scene. Picture and write what the characters are doing as well as what they are saying. Make the visuals interesting.\nAll stories require some background about the characters, but weave bits and pieces of your backstory using a couple sentences at a time rather than in long narrative descriptions of past events. Developing character backstory may be necessary for you to learn about who your characters are and why they react the way they do in a scene, but in your story, use only the backstory that is pertinent to the story that you are telling. It doesn\u2019t matter that the mother in the scene above grew up on a sugar plantation in Louisiana. What does matter is how growing up on a sugar plantation affects the way she conducts herself now. Her fussing with her daughter over the proper table setting, her southern accent are all evidence of her southern style without going into the details of her backstory. Dumping backstory into the story kills momentum and destroys pace.\nAvoid plot exposition where the character\u2019s speak about past events in order to let the reader know what happens. This practice is sometimes worse than having a narrator tell the reader what is happening. A line or two of exposition will not ruin pacing, however and may help the reader understand character motivation without compromising the story by contriving the scene.\nWithin Each Scene Arc, Solve One Problem By Creating Two More\nAs your story builds, do not resolve a focal character\u2019s issues without introducing two or three more. These can be small issues or big, but keep the reader wondering how the character will get out of this new problem.\nOne technique that I like to use is what is the worst thing that could happen (usually short of death, but sometimes even that is on the table)? What is the worst thing that could happen? I then look at all the options short of that worst-case scenario. Fix one problem but add two more, make the reader want to turn the page to see how the character will contend with those problems in subsequent scenes.\nWhen Using a Scene Arc, Always Keep Characters In Character\nIn each scene, be sure that your character is acting in character. Do not let your scene appear to manipulate your characters to make certain events occur simply to propel the plot. If you do that, the reader will not believe the scene or will simply see the characters as puppets rather than real human being. Ask yourself, \u201cHow would this character act in this situation?\u201d Set up the situation, the problems, and then let the characters deal with those issues. Let the character determine how the scene will play out and the characters will appear to be living out a real scene. As the scene ends, begin the transition into the next scene and get ready to start another scene arc. By linking each of these scene arcs together, your story will build scene arc by scene arc, building story arc and creating a novel that your readers will not be able to put down.\n\u00a9 2013 Cygnet Brown", "id": "<urn:uuid:9ece6971-685f-401c-94fd-9f1e75abc6cd>", "dump": "CC-MAIN-2021-17", "url": "https://hubpages.com/literature/Novel-Scene-Arc-Building", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038057142.4/warc/CC-MAIN-20210410134715-20210410164715-00610.warc.gz", "language": "en", "language_score": 0.9690065979957581, "token_count": 1966, "score": 3.984375, "int_score": 4}
{"text": "Common Core Standard 7 for Reading presents teachers with many possibilities for mixing all kinds of art forms with literature. Music, photography, painting, sculpture, and many other media are easily brought into the classroom today because of the internet\u2026the important thing is to use these resources heuristically. 7. Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden's \"Mus\u00e9e des Beaux Arts\" and Breughel's Landscape with the Fall of Icarus). Teaching students to analyze subjects or scenes in comparative forms gives us an opportunity to explore with them the traditions of storytelling\u2014the many and various ways stories can be told and have been told throughout history. Poetry, short stories, plays, and even novels and epic tales have important connections to art and present new, thoughtful ways to analyze and evaluate themes. To start, you might explore the J. Paul Getty Museum's \"Telling Stories in Art\" website where you will find a wide variety of art to connect to literature as well as lesson plans and other resources. The Getty Museum's stated goal here directly supports standard seven: \"To build students' awareness of how stories can be told visually and how artists use color, line, gesture, composition, and symbolism to tell a story.\" These lessons encourage students to think critically about how writers use particular elements to tell stories compared to how artists tell stories similarly but with different elements such as color, line, and gesture. In the Classroom Though it is listed for grades 6-8, the lesson titled \"Painting Europa\" is especially useful for our purposes of meeting standard seven. Integrating technology effectively means teaching students to apply it heuristically\u2014to discover ideas and to solve problems. Try approaching the lesson with students this way: Tell students to imagine they are editors for an online, multimedia textbook that will include an illustration for a selection from Ovid's Metamorphoses. Two paintings are being considered. Students must submit their choices along with a brief explanation as to why the chosen painting best illustrates the selection. Expand further by having them also choose music to accompany the selection. You might pair them and have each team create a wiki with the chosen text, images, and music. Try wikispaces\u2026it's an excellent tool for online classroom collaboration. I hope you find the resources at the J. Paul Getty Museum and at Wikispaces useful. Standard seven is one we can easily revisit often and technology affords us the ability to make each activity meaningful and beneficial to our students.", "id": "<urn:uuid:d8ec734b-9025-4367-a2f3-13bdddf41171>", "dump": "CC-MAIN-2021-17", "url": "https://interactivelanguagearts.com/blending-art-literature-and-problem-solving-at-the-j-paul-getty-museum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00210.warc.gz", "language": "en", "language_score": 0.9498183727264404, "token_count": 525, "score": 4.21875, "int_score": 4}
{"text": "Maria Montessori observed that children possessed an \"absorbent mind\" from birth to six years old. They showed a natural curiosity for new information. During this time the child would demonstrate a more evident and also effortless way to learn than perhaps at any other time in their life. The child would absorb this information with his or her senses in order to also construct his or her own knowledge. In the Primary years, through experience, guidance, and practice, the Montessori method offers children 3 to 6 years old a unique opportunity to learn more thoroughly, quickly and efficiently.\nIn essence, because of the supportive environment that the child is learning in, all of the skills learned are being enhanced in a way that translate to independence and an active connection from the child to the world. Following, are the subjects covered in this stage.\nThis area of the Montessori curriculum is composed of an active written and reading program that is based on phonetics. The child starts with oral language development, and it progresses to associating letter sounds with the written symbols. Because the cognitive process required for reading is more complex than the one required for writing, the children follow the natural path of learning to write before they read. Thru Montessori language materials, activities and the implementation of a sequential phonetic reading program, the child is guided to fluent reading. Finally, they experience the function of grammar and the art of creative writing.\nIn the math portion of Montessori education, children are first introduced to exploring numbers 1-10. Quantities and symbols, and their association, are introduced as well. Children continue by learning the decimal system, and solving ultimately 4-digit mathematical operations. Children learn abstract mathematical concepts thru different hands on activities that use Dr. Montessori's carefully designed concrete materials.\nThe sensorial Montessori materials and activities presented to the children help them understand their world through the information that is received from the environment. This also lays the groundwork for an intellectual life by sharpening their senses and helping in the development of their cognitive skills. The sensorial activities in this area include Visual activities, Tactile activities, Auditory activities, and Olfactory activities.\nIn this area of the Montessori philosophy, the students are presented with practical real life activities that instill a sense of order, concentration, personal pride, independence, respect for others, fine motor skills, grace and courtesy, and confidence along with self-esteem in the child. Along with all of these aspects, the idea is to transmit the positive pride that comes with the mentality that the child \u201ccan do it\u201d herself or himself.\nCulture and Science\nParticularly, this area connects the student to the earth, to nature overall, and to others. It helps the students understand the world and themselves by allowing them to experience and explore the world directly. The child is able to understand these connections in the Montessori classroom and in the larger world. The scientific method is introduced and explained for the student to use in exploring the world objectively. This area of the Montessori curriculum also provides the student with an organized account of events related to culture and science. The fields studied are: Geography, History, Zoology, Botany, and Science.", "id": "<urn:uuid:b9ebab5e-bf02-4db8-a7d0-68287eb71297>", "dump": "CC-MAIN-2021-17", "url": "https://miamiartsmontessori.com/programs", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00129.warc.gz", "language": "en", "language_score": 0.9571641087532043, "token_count": 662, "score": 3.828125, "int_score": 4}
{"text": "Spark Student Writing with Animated Comic Strips\nFor reluctant writers and for creative writing enthusiasts, using technology to write a cartoon is a fun, highly motivating activity.\nDigital storytelling sparks students\u2019 imaginations. Adding elements such as images, callouts, text boxes, starbursts, and word art inspires students even more. Then creating animation effects and transitions makes the writing activity exciting and challenging.\nHow can you integrate comic strip writing into curriculum? Here are a few ideas!\n- Write an Original Story: Plan a story or simple scenario that has a beginning, middle, and end. Divide the action into panels. Use text boxes to describe the scene, callouts for characters to speak or think, and clip art to illustrate the action.\n- Only a Dream: Create a dream sequence that shows a series of imaginary scenes. This is an easy way to plan a digital story.\n- Illustrate a Wacky Scene: Have fun with a clich\u00e9 or popular expression. Make a simple scene that explains what happens when pigs fly, there is a blue moon, or it starts raining cats and dogs.\n- Invent a Superhero: Create a character and give them a name and superpower. Have the hero save the day! Take part in a rescue mission, engage in an epic battle with a powerful foe, stop a crook, or retrieve a lost item.\n- Tell a Joke: Make people laugh! Use one slide to make a silly scene, two slides to show before and after clips, or several slides to tell a knock-knock joke.\n- Transform a Popular Story: Remake a nursery rhyme or fairy tale into a cartoon. Swap the characters, adjust the story line, or rewrite the ending to create a modern twist on an old favorite.\n- Retell a Story: Summarize the main parts of a story. Sequence the key events using slides as scenes. In the first scene introduce the characters and setting. The following slides illustrate the action.\n- Rewrite the Ending: Produce an animated scene that illustrates a different ending. Include a slide that explains why this ending is better than that of the author.\n- Makeover a Realistic Story into a Cartoon: Consider what a story would be like if the people were substituted with cartoon characters, the setting shifted to an imaginary place, but the plotline remained similar. Create a short animated clip of the cartoon version.\n- Join the Action: Insert yourself into the story. What advice would you share? How would you help? Recreate a scene from the story. Use a clip art character, photo, or web cam image to put yourself into the scene. Does your advice or behavior change the ending?\n- Form a Connection: Reflect on the story. What connection do you have? Do you like the same things as the main character, have you shared a similar experience, or does the story remind you of something you have seen or read? Explain the connection and use evidence from the book or your life to support your ideas.\n- Conduct a Character Analysis: How does the character change as the story unfolds? Create a three panel animated comic strip. In the first panel introduce the character at the beginning of the story. Use callouts and textboxes to show their mood, describe their character traits, and explain their role within the story. In the second panel illustrate an important event that causes a change or growth within the character. In the final panel show the character at the end of the story. How are they different?\nUse any of these ideas with TechnoToon and Google Slides or Microsoft PowerPoint to inspire and spark the inner author in your students.", "id": "<urn:uuid:3f08e7ef-8c88-4d04-af75-783e828eafcd>", "dump": "CC-MAIN-2021-17", "url": "https://www.technokids.com/blog/technology-integration/spark-student-writing-animated-comic-strips/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038087714.38/warc/CC-MAIN-20210415160727-20210415190727-00011.warc.gz", "language": "en", "language_score": 0.91402268409729, "token_count": 747, "score": 4.03125, "int_score": 4}
{"text": "Following the 2009 Black Saturday bushfires, survivors in the Yarra Valley hamlet of Steels Creek were tormented by three questions.\nWhat, precisely, happened that day? How on earth could they make sense of events? And how could a tiny community where 10 people and two-thirds of homes had been lost ever manage to heal and go forward?\nTom Griffiths, director of the Australian National University (ANU)\u2019s Centre for Environmental History, had friends in Steels Creek. He had also been studying Victoria\u2019s mountain ash forests for two decades.\n\u2026 a research collaboration which \u2026 could help bush communities around Australia to understand fire better\u2014and to survive it.And so was born a research collaboration which Professor Griffiths believes could help bush communities around Australia to understand fire better\u2014and to survive it.\nThe project spawned two books and a film, each addressing one of the three questions.\nBlack Saturday at Steels Creek is a forensic account by Peter Stanley of the day\u2019s events. Living with Fire, by Griffiths and an ANU colleague, Christine Hansen, is a history of the valley\u2019s relationship with fire. And Afterburn, a documentary by Moira Fahy, follows three families trying to rebuild their lives.\nWhile all three works helped the community to \u201cheal and come together and in some ways become stronger\u201d, according to Griffiths, they also threw up wider lessons. The most important one, he says, was the need for \u201cmore fire studies that are local, ecological and historical\u201d.\nLocal because different forests produce different fires, meaning they require local knowledge, experience and management, rather than national or statewide strategies.\nEcological because fire behaviour is heavily influenced by vegetation, such as the highly combustible mountain ash forests north and east of Melbourne, which require rare but catastrophic fires to regenerate.\nAnd historical, says Griffiths, because \u201chistory is your best survival guide\u201d.\nHistory teaches communities when the deadliest fire days occur. It teaches the distinctive pattern that bushfires follow, and whether they may escalate into what Griffiths calls a \u2018firestorm\u2019.\nThe old-timers, he observes, \u201cknow from what direction the fire will come on a particular day and which parts of the valley will burn\u201d.\nHistory also offers significant lessons for policymakers, such as the fact that the worst fires since British settlement have all occurred in the same region of Victoria. When such a firestorm looms, says Griffiths, encouraging people to believe they can safely defend their homes is mortally irresponsible.\nAnother lesson: the bunkers dug by sawmill workers early last century\u2014and gradually abandoned by subsequent generations\u2014saved many lives.\nCommunal memories may fade, but history and good storytelling keep alive such valuable insights. Griffiths notes that the cultural dimensions of fire\u2014how we manage and cultivate it\u2014are as crucial as the science, but receive little attention or funding.\nHistory also helped to illuminate the Blue Mountains bushfires of October 2013. While many believed they were unnaturally early, statistics show the region\u2019s fire season has always peaked in November and December. In fact, October is \u201cexactly the kind of incremental advancement you would expect\u201d with global warming, says Griffiths.\nWhat disturbed him most about Black Saturday, by contrast, was its \u201chaunting familiarity\u201d, reinforcing his conviction that we need to act on the distilled wisdom of past experience.", "id": "<urn:uuid:2b191470-70dd-4a13-a0f3-2c7983dea43d>", "dump": "CC-MAIN-2021-17", "url": "https://www.humanities.org.au/issue-item/healing-scars-black-saturday-learning-lessons-history/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00291.warc.gz", "language": "en", "language_score": 0.9673519134521484, "token_count": 718, "score": 3.546875, "int_score": 4}
{"text": "We recently featured a piece on our OOL site on the famous Italian artist and inventor, Leonardo Da Vinci. Here, we take a look at the history of one of the other great Italian painters, Raphael.\nOn April 6, 1483, the Italian Renaissance painter and architect Raphael was born in Urbino, Italy. Originally named Raffaello Sanzio, he was to become one of the most celebrated artists of the day.\nRaphael\u2019s father, Giovanni Santi, was a painter. He taught his son basic painting techniques and exposed him to the principles of humanistic philosophy at the Duke of Urbino\u2019s court. Raphael was only 11 when his father died, and he was tasked with taking over managing his father\u2019s painting workshop. Rather than this being a job beyond the limits of a young child, Raphael soon discovered a talent that surpassed his father\u2019s. By the time he was a teenager, he\u2019d been commissioned to paint for the Church of San Nicola in nearby Castello.\nIn 1500 a master painter known as Perugino invited Raphael to be his apprentice in Perugia, in central Italy. During his four year apprenticeship Raphael helped to paint frescoes at the Collegio del Cambia. He developed a unique painting style which led to his early religious works, The Mond Crucifixion (c1502), The Three Graces (c..1503), The Knight\u2019s Dream (1504) and the Oddi altarpiece, Marriage of the Virgin, also completed in 1504.\nIn 1504, Raphael left his apprenticeship and moved to Florence, where he was influenced by other Italian painters, such as Leonardo da Vinci, Michelangelo and Masaccio. Raphael closely studied the details of their work, and added an even more intricate style to his own.\nIn 1507 Raphael created his most ambitious work in Florence, The Entombment, before moving to Rome in 1508 to paint in the Vatican Stanza under the patronage of Pope Julius II. Whilst there, from 1509 to 1511, he worked on what was to become one of the Italian High Renaissance\u2019s most highly regarded fresco cycles -the Stanza della Segnatura series of frescos, which includes The Triumph of Religion and The School of Athens. It was during this same period that Raphael also produced his famous Madonna of the Chair and Sistine Madonna paintings.\nBy 1514, Raphael also began work as an architect, after the death of the pope\u2019s architect Donato Bramante. Raphael was employed to create the design for a chapel in Sant Eligio degli Orefici. He also designed Rome\u2019s Santa Maria del Popolo Chapel as well as part of Saint Peter\u2019s new basilica. His architectural work moved now beyond religious buildings to designing palaces. Raphael\u2019s architecture honored the classical sensibilities of his predecessor, Bramante, but it also incorporated ornamental details. Such details would come to define the architectural style of the late Renaissance and early Baroque periods.\nSuddenly, on his 37th birthday in 1520, Raphael died in Rome, whilst working on his largest painting, The Transfiguration. His body was interred at the Pantheon in Rome.\nRaphael\u2019s influence in Italy\u2019s advancing Baroque period was far reaching, and he continues to be regarded as the leading artistic figure of Italian High Renaissance classicism.\nDr Kathryn Bates is a graduate of archaeology and history. She has excavated across the world as an archaeologist, and tutored medieval history at Leicester University. She joined the administrative team at Oxford Open Learning twelve years ago. Alongside her distance learning work, Dr Bates is a bestselling novelist, and an itinerant creative writing tutor for primary school children.", "id": "<urn:uuid:be428110-4194-45c2-b4ee-6711a46f78dd>", "dump": "CC-MAIN-2021-17", "url": "https://www.ool.co.uk/blog/raphael/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038061562.11/warc/CC-MAIN-20210411055903-20210411085903-00411.warc.gz", "language": "en", "language_score": 0.9795316457748413, "token_count": 793, "score": 4.15625, "int_score": 4}
{"text": "In this common module students deepen their understanding of how texts represent individual and collective human experiences. They examine how texts represent human qualities and emotions associated with, or arising from, these experiences. Students appreciate, explore, interpret, analyse and evaluate the ways language is used to shape these representations in a range of texts in a variety of forms, modes and media.\nStudents explore how texts may give insight into the anomalies, paradoxes and inconsistencies in human behaviour and motivations, inviting the responder to see the world differently, to challenge assumptions, ignite new ideas or reflect personally. They may also consider the role of storytelling throughout time to express and reflect particular lives and cultures. By responding to a range of texts they further develop skills and confidence using various literary devices, language concepts, modes and media to formulate a considered response to texts.\nStudents study one prescribed text and a range of short texts that provide rich opportunities to further explore representations of human experiences illuminated in texts. They make increasingly informed judgements about how aspects of these texts, for example context, purpose, structure, stylistic and grammatical features, and form shape meaning. In addition, students select one related text and draw from personal experience to make connections between themselves, the world of the text and their wider world.\nBy responding and composing throughout the module students further develop a repertoire of skills in comprehending, interpreting and analysing complex texts. They examine how different modes and media use visual, verbal and/or digital language elements. They communicate ideas using figurative language to express universal themes and evaluative language to make informed judgements about texts. Students further develop skills in using metalanguage, correct grammar and syntax to analyse language and express a personal perspective about a text.\nSocrates facing the death penalty stated in his response to the jury 'the unexamined life is not worth living'. He dared to question, express his opinions and seek knowledge. He argued that the ability to examine, question and evaluate ethically made us human. Orwell and the composers of the short texts we will be exploring have the courage to question actions and behaviours that compromise and even threaten the quality of the human experience. By doing so they provoke us to see the world differently, to challenge assumptions, consider new ideas and reflect personally on what this means for our experiences.\nThis common module focuses predominantly on the representation of the human experience through genre, form, structure and language. The students will explore the prescribed text Nineteen Eighty-Four by George Orwell and a range of different texts in a variety of forms, modes and media and consider how purpose, perspective and context influence the way that these individual and collective human experiences are represented. This exploration will further develop students\u2019 skills to make informed judgements about texts examined and evaluated in class and their related text.\nWith Nineteen Eighty-Four and its representation of the human experience as the central focus, the key aspects that impact on the of the individual and collective human experiences:\n\u2022 Having the courage to speak out\n\u2022 Overt use of power and control \u2013 \u2018the intoxication of power\u2019 (George Orwell).\n\u2022 The loss of personal freedom\n\u2022 Destruction of truth and morality\n\u2022 Mind control\n\u2022 Subversion of human relationships and trust\n\u2022 A culture of fear and mistrust\n\u2022 Rewriting of history\nThe selected short texts will feature composers, like Orwell, who express their concerns about something that they consider will have a significant and often detrimental impact on the human experience. These composers provide provocative insights into the anomalies, paradoxes and inconsistencies in human behaviour and motivations; thus, inviting the students to see the world differently, to challenge assumptions, consider new ideas and reflect personally on what this means for their experiences. Students are provided with opportunities to develop greater empathy for the attitudes and opinions of others by interacting with and interrogating a range of texts.", "id": "<urn:uuid:46ff1aa2-0d7f-4858-89e2-5f5bc63c62ff>", "dump": "CC-MAIN-2021-17", "url": "https://libguides.msben.nsw.edu.au/thehumanexperience", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00290.warc.gz", "language": "en", "language_score": 0.9198407530784607, "token_count": 781, "score": 4.125, "int_score": 4}
{"text": "\"Education is the most powerful weapon which you can use to change the world\". Nelson Mandela\nTeachers may have a core of written themes that can be used as ideas to help inspire them. The teachers are to watch and listen to the children and utilize their observation notes so they are in-tune with children\u2019s interests for curriculum planning and providing the appropriate activities. The planned activities are integrated, the theme/topic carried through in the areas of pre-math, (counting, etc.), manipulative, dramatic play, science, language arts, cooking, and music therapy. Suggestions may be given to the staff as to some activities, but each room is encouraged to be creative and flexible. The topics may extend depending on the interest of the children. Toddlers have a more basic conceptual structure than that of the threes and fours and fives. The topics of interest of the children may vary in the individual classrooms. Remember when planning, the teacher is the facilitator and the child is the active learner. The teacher may assist the child by talking him through an activity and asking questions, but does not do the activity for the child. It is the process of doing an activity, not the product that helps the child learn about his/her world.\nTeachers may have a core of written themes that can be used as ideas to help inspire them. The teachers are to watch and listen to the children and utilize their observation notes so they are in-tune with children\u2019s interests for curriculum planning and providing the appropriate activities. The planned activities are integrated, i.e., the theme/topic carried through in the areas of pre-math, (counting, etc.), manipulative, dramatic play, science, language arts, cooking, and field trips. Suggestions may be given to the staff as to some activities, but each room is encouraged to be creative and flexible. The topics may extend depending on the interest of the children. Toddlers have a more basic conceptual structure than that of the threes and fours. The topics of interest of the children may vary in the individual classrooms. Remember when planning, the teacher is the facilitator and the child is the active learner. The teacher may assist the child by talking him through an activity and asking questions, but does not do the activity for the child. It is the process of doing an activity, not the product that helps the child learn about his/her world.\nMagic Kingdom Day Care will increase psycho-social-emotional competence of children, develop their cognitive & intellectual skills to promote healthy habits, physical growth & creative exploration & to involve parents & guardians in the child\u2019s education.We will provide multilingual & multicultural educational services. The Creative Curriculum develops a natural progression outward from self to others. Young children build or \u201cconstruct\u201d their knowledge of the world not simply by learning rote information rather, children participate actively in the learning process, discovering knowledge through direct experience with people, objects, events, and ideas. Our certified teachers are well trained by this curriculum and are actively involved in the classroom.\nOur guiding philosophies include the following:\nActive participation promotes learning.\nRespect for the individual allows the program to meet the learner at his/her own level.\nA productive and positive relationship with peers/adults enhances the learning experience.\nWe will encourage children to make decisions about which work they do, including planning what they want to pursue and sharing what they\u2019ve accomplished with others. Our children will participate in a rich, multicultural curriculum that affords opportunity for hands-on and self-directed activity, multiple choices, exploration & experimentation, small and large group activities, & a variety of literary activities including storytelling, journaling, read-along tapes & dictation.They will develop problem-solving techniques, conflict resolution skills & language development in all classes.\nMagic Kingdom Day Care also uses the Critical Thinking Co.\u2122 curriculum, committed to developing students' critical thinking skills for not only better grades, higher test scores, but overall success in life. We do not teach through drill and memorization or teach to the tests\u2014we use this curriculum to empower the mind! The curriculum is designed to incorporate critical thinking into all our lesson plans so that students carefully analyze what they are learning. A deeper analysis produces deeper understanding, which results in better grades and higher test scores. Over time, students who practice critical thinking learn to apply it throughout their education and lives. With this curriculum we are building a foundation for your child\u2019s future.\nMusic Enrichment & Dance\nThis program is available for all students beginning with our Toddler group. Ms. Lena, our Music Teacher, visits Magic Kingdom twice a week. She visits each classroom, individually, every Tuesday and Thursday for 30 minutes during morning school hours. She targets motor skills, creates music awareness in children, promotes response to rhythm and increases their attention span.\nDance is an activity offered once a week to all the children attending our day care. Ms. Olga, our dance teacher, has an extensive resume. Dance is offered to all our students. Classes are every Friday. Children become more flexible and fluid. Dance class also allows your children to positively channel their energyChildren prepare recitals 4 times a year.\nGifted & Talented Test Prep\nG&T programs are one way that New York City serves the educational needs of exceptional students. Though G&T programs vary in terms of instructional strategies and materials, they all deliver specialized instruction aligned to New York State Approved Learning Standards. These programs provide engaging instruction to children with exceptional academic capacity. In G&T programs, students are grouped together in a class with students of similar interests and abilities, and receive ability-appropriate instruction in all content areas. One of the main benefits of gifted education is an environment for kids where everyone is as brilliant as they are.\nKids are offered to pass free annual Gifted and Talented tests to check their eligibility for enrolling to the Gifted and Talented Program. Our G&T Preparation Program allows your child to develop, grow, and hone his or her logical reasoning skills and cognitive abilities. The program is offered to children ages 3 to 6 years old. Our staff of professional, licensed teachers uses a range of special educational materials to ensure that your child is best prepared for the exam. Our personalized approach to learning helps our students grow\u2014and thrive. Special gifted and talented courses, combined with a personalized learning plan, enable exceptional students to work above their grade level and achieve their highest potential in any gifted and talented program. In addition, we implement tested techniques and approaches that allow your child to set a foundation for the educational future their intellectual potential.\nArts & Crafts\nPainting, coloring, sculpting, drawing, and other forms of creative art are a vital part of our child care curriculum. Creating art supports young children's development across several different domains. Using art tools helps children develop small muscle coordination and control. Children can practice thinking skills by experimenting with color, texture, and design. Art gives children an opportunity to express their ideas and feelings, relieves tension, and provides limits for self-discipline. Art allows children to achieve and expand their creativity.\nCooking with young children is a fun and educational activity. By participating in food preparation, a young child can learn many things such as fine motor skills, nutrition, science concepts, sensory exploration, cooperation, measurement, shapes, following directions, and telling time. Cooking has been used for years as an important teaching and development tool for all ages. Hands-on cooking activities help children develop pride and confidence in their skills and abilities. The act of following a recipe can encourage self-direction and independence, while also teaching children to follow directions and use thinking skills to problem solve. Chopping, squeezing, spreading, and mixing are all cooking skills that help develop a child\u2019s small muscle control and eye-hand coordination. It\u2019s impossible to separate hands-on cooking activities from physical development for young children. Cooking inspires children\u2019s curiosity, thinking, and problem solving, offering new opportunities to make predictions and observations. Additionally, cooking offers authentic opportunities for students to understand and apply their knowledge of measuring, one-to-one correspondence, numbers, and counting. As they follow a recipe, children organize ingredients, follow a sequence, and carry out multiple directions. With its own vocabulary, cooking is a great opportunity for language development. Take advantage of opportunities for children to match pictures to words and articulate questions inspired by their new experiences.", "id": "<urn:uuid:3b51be06-b1d0-41a2-a3b3-272928a7755c>", "dump": "CC-MAIN-2021-17", "url": "https://www.magickingdomdaycare.com/Programs", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00451.warc.gz", "language": "en", "language_score": 0.9487602114677429, "token_count": 1747, "score": 3.625, "int_score": 4}
{"text": "Common Core Programs\n\u25a0 Common Core Programs ( ) from PK to 12 th\n- Why Common Core?\n\u25a0 Emphasizes critical-thinking, problem-solving, and analytical skills\n\u25a0 Prepares all students who graduate from high school to succeed in college, career, and life, regardless of where they live\n- What is Common Core?\n\u25a0 A set of high-quality standards in English language arts, literacy, and mathematics\n\u25a0 Outlines what a student should know and be able to do at the end of each grade\n\u25a0 Humanities for Children and Youth\n\u25a0 Harkness Table\n\u25a0 Storytelling programs / Drama\n\u25a0 Honored Book Club Programs\n\u25a0 National Council for the Social Studies (NCSS) ( )\nSTEM & STEAM\n\u25a0 STEM(Science, Technology, Engineering, and Math)\nSTEM is an interdisciplinary approach to learning where academic concepts are coupled with real-world lessons. Students apply science, technology, engineering, and math in contexts that make connection between the classroom and the world around them. With STEM education, NGSS (Next Generation Science Standards) are used:\n* Model and theory\n* Continually extends, refines, and revises knowledge\n* Divided by grade-level and topic-based\n\u25a0 STEAM(Science, Technology, Engineering, the Arts, and Math)\nSTEAM is STEM + the Arts. By adding the Arts, teachers create an essential tool for attracting students who otherwise would have found more traditional STEM education inaccessible. MCA is adding the A to STEM with Makers Education. MCA has been offering Makers Education since 2015 with Reggio Program. This opens a new level of creativity where students' artistic abilities can be expressed through the use of technology.\nSTEAM education at MCA includes Robotex International - Robo League Competition, and MCA Science Fair. MCA students participate in robotics-related programs such as WeDO 2.0, Spike Prime, and Mindstorms EV3.\nStrong Math Program\nMCA\u2019s ILP (Individual Learning Program) can help to extend students\u2019 knowledge and problem-solving skills.\nKhan Academy ( )\nAs widely known, Khan Academy (www.khanacademy.org) is a non-profit organization providing free, top-class education for anyone, anywhere.\nIts online program will be actively utilized for students\u2019 self-study or homework assignment as a way of complementing MCA\u2019s ILP-based curriculum.\nFor instance, advanced students can make use of this program in the free time they may have during the academy day or at home.", "id": "<urn:uuid:aa3936e7-94e3-466c-b466-94581a8ebcf5>", "dump": "CC-MAIN-2021-17", "url": "https://www.mcacademy.net/academics", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00091.warc.gz", "language": "en", "language_score": 0.9158569574356079, "token_count": 542, "score": 3.890625, "int_score": 4}
{"text": "Dancing has been Indian heritage for more than 5000 years. It has been used as a mode of expression since prehistoric times. Dan...\nDancing has been Indian heritage for more than 5000 years. It has been used as a mode of expression since prehistoric times. Dance has been an indispensible element of ancient India. Many deities in Hindu mythology have been associated with this art form since it has been used as a vehicle of worship and manifestation since ages. Lord Shiva, Lord Ganesha and Lord Krishna also expressed their emotions through dancing.\nReligious themes gave rise to dance in ancient India. Most dance forms also expressed rich mythological lore through their performance. Devadasis augmented dance in ancient times. They are also referred as temple dancers who offered gratitude to the gods through dancing in temples. In order to maintain the sacredness of their dance in front of Gods and Goddesses, they led an ascetic life.\nWhat had earlier begun for worshiping deities, came to be appreciated as a medium of entertainment in time. Besides the temple dancers, several dancing girls started performing on joyous occasions in princely courts. Gupta period was the golden period for culture, art and literature. Dance became more recognizable and the dancers were given opportunity to showcase their talents.\nVarious historical evidences indicate the charm of dancing in ancient India. These include the archaeological evidences from Mohenjodaro, rock paintings of Bhimbhetka caves in Madhya Pradesh, the sculptures of dancing figures in Khajuraho and many more.\nTandavam (also known as Tandava Nrtya) is performed by Hindu god Shiva. This dance form reveals the violent nature of Lord Shiva, first as the creator and later as the destroyer of universe. It is the source of origination of the cycle of creation, preservation and dissolution. Ananda Tandava depicts his dancing in joy.\nTandava Lakshanam is the 4th chapter of Natya Shashtra that discusses 32 Angaharas and 108 Karanas. When hand gestures are combined with feet to form a dance posture, it is Karana and the composition of seven or more Karanas is Angahara.\nBharat Muni says that Lord Shiva was very much fond of dancing and so he performed it every evening. All these Karanas of Tandava can be employed in dance, fight, personal combats and other special movement like strolling.\nBharata Natyam or Bharatnatyam dates back to 1000 BC. It originated as a temple dance from Tamil Nadu. The dance form is considered to set the basics for other traditional dances. Basic steps of the dance are called \u2018adavus\u2019 and the symbolic hand gestures are known as \u2018mudras\u2019. There are 20 types of adavus which are danced in 3 speeds and 5 rhythms and 28 mudras. Bharatnatyam cannot be learned without learning the adavu steps.\nBharatnatyam used to be performed in solo by women. It expressed Hindu religious themes and spiritual ideas of Shaivism particularly, but also of Vaishnavism and Shaktism. Today, it is one of the most popular classical Indian dance styles in India and abroad.\nOdissi is probably the oldest of surviving classical dance forms in India. The term means \u2018of Orissa\u2019. Orissa is the origin of this dance, which is situated in eastern India. This form was performed by the devadasis initially but later used as a mode of entertainment for royal families in courts.\nTraditionally, it was a dance drama genre of performance art. The act was set out in Sanskrit literature, where the devotees conveyed a mythical story or a spiritual message from the Hindu texts through symbolic costumes, body movements, mudras (hand positions) and abhinaya (expressions).\nGaudiya Nritya originates from Gauda in West Bengal, a ruined city on the India-Bangladesh border. It was traditionally practiced as a spiritual expression by the Devadasis in temples. This dance form has its roots in Natyashashtra, which is enriched with music, drama, poetry, rhythm and color. Its evolution and growth can be traced to some traditions and dance forms existing in Gauda Banga.\nThere are some evidences that support Gaudiya Nritya as an integrated part of ancient Bengal. In the Manasa Mangal Kavya, there was a story of a housewife Mehula who performs this dance form in the court of Lord Indra (Indian mythology recognizes Lord Indra as the king of all gods).\nSattriya started 500 years ago in the medieval era. It is a classical dance drama performance art that owes its origins to a saint named Srimanta Sankardev. It was performed in the Krishna centered Vaishnavism monasteries of Assam.\nOne act plays of this dance form called Ankiya Nat were performed in dance community halls of monastery temples (sattra). They convey the aesthetic and religious beliefs of the devotees through ballad, dance and drama. These plays are themed on Krishna and Radha and sometimes on Vishnu avatars such as Rama and Sita.\nManipuri is named after its originating region Manipur, a north eastern state in India. The exquisite performances are usually love inspired dance drama of Radha Krishna known as Raas Leela. It is strictly a religious and spiritual experience. Light footfalls and graceful bodily and facial movements are essentials of this dance.\nManipuri dance is also known as Jagoi. It is performed in group with artists wearing unique costumes. A barrel shaped elegantly decorated skirt called the Kumil, aesthetics, conventions and repertoire uniquely differentiates this dance form from the rest.\nThis dance form originated from the Kuchelapuram village (now known as Kuchipudi) in Andhra Pradesh. Prominent beliefs suggest that this art was founded in the 17th century by Tirtha Narayana Yati and his disciple Siddhendra Yogi (an orphan). Like all the major classical dances in India, Kuchipudi developed as a religious art. In ancient India, Brahmin males performed this dance and dressed appropriately for playing the role of both men and women. The present scenario however, includes both male and female dancers.\nKuchipudi performance includes pure dance (nritta) and expressive part of the performance (nritya). Rhythmic gestures are used to mime the play. The impact enhances when these artists are accompanied by vocalists and musicians.\nA world record was also registered in Guinness Book wherein 6117 Kuchipudi dancers gave a spectacular show.\nThe word \u2018Kathakali\u2019 is made from two words \u2013 katha (which means story) and kali (which means performance). It finds its origination in the 17th century in Kerala. The classical dance drama is considered to be a highly stylized dance form because of its grand costumes and unique and dramatic makeup. The artists are highly skilled in the well defined movements and detailed gestures of this dance form.\nMahabharata, Ramayana and ancient scriptures are the basis of Kathakali. This dance is often linked to ancient temple dances like Kutiyattam, Krishnanattam and others but is actually different from them. In older art forms, dancer-actor had to be a vocal artist as well while Kathakali separates these roles and allows the artists to focus and excel in their areas.\nKathak derived its name from the Vedic Sanskrit word Katha, which means \u201cstory\u201d. Kathak started from Northern India as a temple performance art but eventually moved to royal courts and the public. Bhakti Movement started seeing Kathak as an important dance form. Childhood stories of Krishna were expressed through this dance.\nKathak performances move from slow tempo to fast tempo and finally end with a dramatic climax. In ancient times, there were three major Kathak schools or gharanas- Jaipur Gharana, Lucknow and Banaras Gharana and Rajgarh Gharana. Over the time, learning provided by these schools has transformed and the purpose has changed. Storytelling has disappeared and today it is only rhythm and movement remaining in the classical dance form.\nMohiniyattam developed in Kerala. The dance gets its name from the word Mohini, a mythical avatar of God Vishnu. Through her feminine powers, she helped the good prevail over evil. Mohiniyattam practices soft and delicate feminine movements that are followed in the Lasya style described in Natya Shastra.\nIt was traditionally performed by women, dressed in white and gold. Extensive training is required to learn this dance form. Graceful and gliding movements along with circular use of the torso and a half bent position with toe and heel, are involved in a flowing rhythmic structure.\nIf your love for Indian culture and beliefs has made you read this post, then these wedding dances of Indian culture will surely amaze you.\nAn actress, comedian, producer, television host Sofia Vergara is one of the most loved personality in the TV industry. Bo...\nWhen you visit McDonald's, you are entertained by several McD characters designed for kids. Do you know how many Mc D characters are there in total? Let's find it out.\nThe recent reports of crime suggest that it has become an inseparable part of our society and the growing numbers continue to s...", "id": "<urn:uuid:5b2a5773-96b4-4cb5-a435-17398ce498a4>", "dump": "CC-MAIN-2021-17", "url": "https://www.stillunfold.com/top-10/top-10-ancient-dances-of-india", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00090.warc.gz", "language": "en", "language_score": 0.969343900680542, "token_count": 1963, "score": 3.578125, "int_score": 4}
{"text": "We are looking for famous myths, legends and folktales from around the world. We hope to create a mural representing all myths and legends from each country our school community is linked to and have the murals on display in our permanent building.\nWe are asking parents to share with us myths and legends from their home countries and an image of these also. We are very fortunate to have families who originate from 38 different nationalities, and we want all nationalities represented. Storytelling is common to every culture. Most people enjoy listening to stories. Storytellers have catered for the need for a \u2018good story\u2019 since the beginning of civilization.\nTo start this project, every week we will pick at least two countries. We will share some websites with you that have myths and folk tales. We ask that parents check the websites we share, to see if the stories are a good translation. We encourage parents to share books and stories they may have at home. We also ask that parents tell us which story we should choose for a mural. Thanks\nMost people have their own favourite story from childhood and, often, these tales are both fascinating and frightening. These stories include legends, myths and folktales.\nA legend is a semi-true story, which has been passed on from person-to-person and has important meaning or symbolism for the culture in which it originates. A legend usually includes an element of truth, or is based on historic facts, but with \u2018mythical qualities\u2019. Legends usually involve heroic characters or fantastic places and often encompass the spiritual beliefs of the culture in which they originate.\nA myth is a story based on tradition or legend, which has a deep symbolic meaning. A myth \u2018conveys a truth\u2019 to those who tell it and hear it, rather than necessarily recording a true event. Although some myths can be accounts of actual events, they have become transformed by symbolic meaning or shifted in time or place. Myths are often used to explain universal and local beginnings and involve supernatural beings. The great power of the meaning of these stories, to the culture in which they developed, is a major reason why they survive as long as they do \u2013 sometimes for thousands of years.\nA folktale is a popular story that was passed on in spoken form, from one generation to the next. Usually the author is unknown and there are often many versions of the tale. Folktales comprise fables, fairy tales, old legends and even \u2018urban legends\u2019. Again, some tales may have been based on a partial truth that has been lost or hidden over time. It is difficult to categorize folktales precisely because they fit into many categories.\nWhat is the difference between legends, myths and folktales?\nMyths, legends and folktales are hard to classify and often overlap. Imagine a line (or continuum) as illustrated below, with an historical account based on facts at one end and myths or cultural folktales at the other; as you progress towards the mythical/folktale end of the line, what an event symbolises to people, or what they feel about it, becomes of greater historical significance than the facts, which become less important. By the time you reach the far end of the spectrum, the story has taken on a life of its own and the facts of the original event, if there ever were any, have become almost irrelevant. It is the message that is important.", "id": "<urn:uuid:d77dc628-e31e-4965-9194-efb3aad72c4b>", "dump": "CC-MAIN-2021-17", "url": "https://www.powerstownet.com/myths-and-legends-from-around-the-world/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00531.warc.gz", "language": "en", "language_score": 0.9727907180786133, "token_count": 708, "score": 3.515625, "int_score": 4}
{"text": "Special writing paper for Abraham Lincoln here! Bake a white or yellow cake mix in paper baking cups as directed on the package. Cool and remove from papers. To form logs, put two cupcakes together end-to-end with ready-to-spread chocolate frosting.\nOnce you download the file, it is yours to keep and print for your classroom. They include detailed descriptions of when to assign reading, homework, in-class work, fun activities, quizzes, tests and more.\nUse the entire Hatchet calendar, or supplement it with your own curriculum ideas.\nCalendars cover one, two, four, and eight week units. Determine how long your Hatchet unit will be, then use one of the calendars provided to plan out your entire lesson.\nChapter Abstracts Chapter abstracts are short descriptions of events that occur in each chapter of Hatchet. They highlight major plot events and detail the important relationships and characteristics of important characters. The Chapter Abstracts can be used to review what the students have read, or to prepare the students for what they will read.\nHand the abstracts out in class as a study guide, or use them as a \"key\" for a class discussion. They are relatively brief, but can serve to be an excellent refresher of Hatchet for either a student or teacher.\nCharacter and Object Descriptions Character and Object Descriptions provide descriptions of the significant characters as well as objects and places in Hatchet. These can be printed out and used as an individual study guide for students, a \"key\" for leading a class discussion, a summary review prior to exams, or a refresher for an educator.\nThe character and object descriptions are also used in some of the quizzes and tests in this lesson plan. The longest descriptions run about words.\nThey become shorter as the importance of the character or object declines. Daily Lessons This section of the lesson plan contains 30 Daily Lessons. Daily Lessons each have a specific objective and offer at least three often more ways to teach that objective. Lessons include classroom discussions, group and partner activities, in-class handouts, individual writing assignments, at least one homework assignment, class participation exercises and other ways to teach students about Hatchet in a classroom setting.\nYou can combine daily lessons or use the ideas within them to create your own unique curriculum. They vary greatly from day to day and offer an array of creative ideas that provide many options for an educator.\n|Once you download the file, it is yours to keep and print for your classroom. They include detailed descriptions of when to assign reading, homework, in-class work, fun activities, quizzes, tests and more.|\n|Hatchet Lesson Plans for Teachers | timberdesignmag.com||Regulations Summary and Area Map July 1, - June 30, Map Only This brochure is designed to provide the public with information and a summary of regulations pertaining to hunting and other recreational use on the Hatchet Creek Wildlife Management Area. Regulations that are new or differ substantially from last year are shown in bold print.|\nThe 20 enjoyable, interactive classroom activities that are included will help students understand Hatchet in fun and entertaining ways. Fun Classroom Activities include group projects, games, critical thinking activities, brainstorming sessions, writing poems, drawing or sketching, and countless other creative exercises.\nMany of the activities encourage students to interact with each other, be creative and think \"outside of the box,\" and ultimately grasp key concepts from the text by \"doing\" rather than simply studying.\nFun activities are a great way to keep students interested and engaged while still providing a deeper understanding of Hatchet and its themes. Students should have a full understanding of the unit material in order to answer these questions.\nThey often include multiple parts of the work and ask for a thorough analysis of the overall text. They nearly always require a substantial response. Essay responses are typically expected to be one or more page s and consist of multiple paragraphs, although it is possible to write answers more briefly.\nThese essays are designed to challenge a student's understanding of the broad points in a work, interactions among the characters, and main points and themes of the text. But, they also cover many of the other issues specific to the work and to the world today.\nThey ask students to demonstrate a deeper understanding of Hatchet by describing what they've read, rather than just recalling it. The short essay questions evaluate not only whether students have read the material, but also how well they understand and can apply it.\nThey require more thought than multiple choice questions, but are shorter than the essay questions. Multiple Choice Questions The Multiple Choice Questions in this lesson plan will test a student's recall and understanding of Hatchet. Use these questions for quizzes, homework assignments or tests.\nThe questions are broken out into sections, so they focus on specific chapters within Hatchet.Resources include learning objectives, a handout detailing Amelia's mysterious disappearance and 5 creative writing activities which can be free choice or you could focus on just one or two for in class and one for homework.\nActivities include writ. Hatchet Lesson Plans include daily lessons, fun activities, essay topics, test/quiz questions, and more. Everything you need to teach Hatchet. My 10 year old son, and I listened to \"Hatchet\" on Audio CD format, while driving from WA State to eastern B.C., Canada.\nRead splendidly by Peter Coyote, it is a captivating story of a boy's survival in the northern Canadian woods. My 10 year old son, and I listened to \"Hatchet\" on Audio CD format, while driving from WA State to eastern B.C., Canada.\nRead splendidly by Peter Coyote, it is a captivating story of a boy's survival in the northern Canadian woods. The cable television program Mad Money with Jim Cramer first aired on CNBC in According to CNBC's Web site in an article titled, \"Mad Money Manifesto\" by Jim Cramer, the show's mission statement and Cramer's job.\nv A Typical Teaching Week These guidelines are intended to help bring some predictability to lesson planning. Although the elements of grammar are important aspects of this course, its primary focus is writing and.", "id": "<urn:uuid:be70d5c2-a216-4167-a3b9-d7d3d959dfab>", "dump": "CC-MAIN-2021-17", "url": "https://kerosotyhazun.timberdesignmag.com/hatchet-writing-activities-16360fm.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00289.warc.gz", "language": "en", "language_score": 0.9438608288764954, "token_count": 1275, "score": 3.59375, "int_score": 4}
{"text": "Oral communication is often a strong point for students compared to reading, however some students may have difficulty with it. There is nothing to be worried about, the key to success here is just to be familiar with the English language in general, to avoid slang usage, to speak in complete and grammatically correct sentences, and to demonstrate a wide vocabulary. For more formal assignments, if you are a stronger writer than speaker, try to write out your work before practicing your presentation out loud. Be aware also of how you pronounce words, and the tone of your voice. Avoid mumbling and speak clearly and comfortably. Many students feel embarrassed to speak in front of the class, but remember that everyone is in the same boat and has the same assignment.\nReading and literature studies often presents the greatest challenge as it is less familiar and more advanced by the twelfth grade than in previous years. High level texts like Hamlet can present unique challenges to students based on the older style of writing and syntax, and it can be difficult to move from simply understanding the plot to understanding analysis and critical study of the text. Break it down into parts and be aware of the components of literature. Write down what the themes are, or the themes that you notice in the text. Keep track of the characters and how they behave in the text. What is significant about what is happening? If you struggle with the text itself, try reading it out loud, Shakespeare was performed live after all, and still is. Try finding a version of a Shakespeare performance to see how all the stage directions are incorporated. Also, try to find something you like about each text you read. While it can be a chore to read these books, they are also classics for a reason. Always ask questions about what you are reading, and always keep notes so you are not scrambling to redo everything at the last minute.\nWriting is a chance to embrace your creativity, so take the chance and do your best. For creative writing, choose topics that you care about or that interest you. For more formal, academic writing, choose topics that you both know about or can research, and which interest you. One key skill here is the organization of your thoughts. That means making sure that you express yourself in writing in a logical and methodical way, not just what comes to mind when you think about it, but structured and intentional writing. Take the time to map out what you will write. For your stories or creative writing, make sure you know how the story will end before you write it, try to develop the characters beforehand, take the time to think. For formal academic writing, make sure to do the requisite research beforehand. Find relevant quotations in the text, and make sure you have relevant facts that you present in a manner that you have thought out. Make use of the time you are given. If you are stuck you can make use of a writing prompt, but always make sure to ask why you are writing what you are writing.\nMedia studies is generally the least problematic section for students, especially considering the amount of exposure to popular culture and mass media that most students have already experienced. The important thing to remember here is that just knowing about popular culture is not enough. Students are called to analyze what they are experiencing and to critically examine it. That means perhaps investigating more deeply what they take for granted on their devices, and how they receive information online. These segments are also more dependent upon the discretion of the teacher than most, so material may vary from school to school, or class to class.", "id": "<urn:uuid:79628f33-f00e-41ef-b2bd-7915f0599c5f>", "dump": "CC-MAIN-2021-17", "url": "http://www.qetutoring.com/ENG4U.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00366.warc.gz", "language": "en", "language_score": 0.9678066372871399, "token_count": 716, "score": 3.828125, "int_score": 4}
{"text": "Shared Reading, is where the teacher models and support students. Generally, the teacher reads for enjoyment first then later, the teacher may focus on theme, title, cover, illustrations, and predictions. Significantly, it is during this type of reading that student contribution is strongly encouraged. Language concepts are emphasised, and in this way, typical phonics/grammar knowledge is strengthened. Guided Reading is an instructional reading strategy during which a teacher works with small groups of children who have similar reading processes and needs.\nTeaching assistant talks through the process step-by-step to show the children how things are done, for example, how to make, confirm or change predictions. Teaching assistant can model re-reading of the text if the meaning is unclear and can model working out a difficult word. Writing can be modelled by using the whiteboard. Teaching assistant can model how to use strategies to help reading and writing. Through the modelling process the children should get confident enough to talk, think, share and reflect; they should want to be let free to do their\nBuilding acceptance, in which the teacher checked one solution chosen by each group. Based on the major component of Treffinger and steps from expert, researcher adapted some ideas on how to use Treffinger in learning speaking. a. The first step is setting goals where teacher informs competency to be achieved in learning. In this research, teacher wants to improve students\u2019 speaking skill in asking and giving opinion.\nIntroduction This paper\u2019s purpose is to define what a Read Aloud is and how it is utilized effectively in a classroom. Then I will discuss the benefits of Read Alouds on a student\u2019s Literacy skills. Definition \u201cRead Aloud is a strategy in which a teacher sets aside time to read orally to students on a consistent basis from texts above their independent reading level but at their listening level,\u201d (\"THE COMPONENTS OF EFFECTIVE READ ALOUDS,\" n.d.). Effective Utilization of Read Alouds Read Alouds benefit students have the capability to benefit students in an extremely positive light, but for this to happen, they have to be done in the correct manner. To begin planning a for a read aloud, the teacher must choose a book that is developmentally\nA good way to know you have fully grasped the concept of new information is to continuously practice what was taught. Teachers could emphasize to students how this could help them during class and later on in life. (readingrocket.org) Strategy 3 Teach students to use visual images and other memory strategies: A teacher could make use of using different cues like word substitution to help aid in students memory. The use of word substitution is used normally for information that is hard to remember. These type of word are words that are said and can easily be visualized when heard.\nA word recognition ability such as the explicit instruction of sight words maybe used by students who are facing problems in reading to increase their reading capacity (Alexander & Heathington (1988). Frantantoni (1999) mentioned that as good readers have a large sight word, they are different from poor readers. A largely familiar problem faced by learners through the ESL/EFL world is that of slow reading (Hamp-Lyons 1983; Cooper 1984). Logically, students all differ in their capacity to process and quickly name words. Though, this speed can depend on the amount and quality of exposures to the words (Rasinski, Blachowicz et al.\nVarious strategies can be used in the classroom to work on student\u2019s oral language development. Tompkins, Campbell and Green (2012, p. 8) highlights that teachers who understand language as a social purpose tend to plan instructional activities with social components. Thus, within a classroom, teachers can implement play-based learning to encourage and promote oral language. Utilising shared, guided and modelled reading can further assist in developing oral language. These strategies can include additional elements of a balanced approach.\nMind\u2019s Eye strategy could be one of their best ways to solve this problem. This strategy can develop students visualization and improve students reading comprehension as the technique includes students memory and asking them to be more critical in giving their perception and prediction. According to Silver, Strong and Perini (2007) mind\u2019s eye is a reading strategy that is used by the teacher to improve students critical skill of the words on the page into memorable images. When the students read about a text the students will combine their background knowledge with the information that is gotten in the text. In addition, Sejnost (2009) states that this strategy is started by the students who listen to the keywords which are mentioned by the teacher and then attempt to visualize what are they hearing by making pictures in their minds.\nIn stage 2 \u201cDiscuss it\u201d, the teacher discusses and describes the many strategies used to write different types of writing. During this stage, the teacher can then provide helpful ways to help the students remember the strategies, such as short songs or rhymes, mnemonics, and even acronyms. Stage 3, \u201cModel it\u201d, is when the teacher or proficient peer models the strategy as well as the types of self instruction he or she uses while writing.This allows the student to personalize the strategies taught to what works best for them. During stage 4, students memorize the strategies discussed in stage 2 and 3. To do so, they memorizes each step of the strategy along with one or more of the self instructions modeled in stage 3.\nBy using graphic organizers, Endacott and Brooks state \u201cwhen the affective component of historical empathy has been emphasized and examined, students have demonstrated various forms of care for the subjects of their study.\u201d Along with enabling students with historical empathy strategies, the history professional learning community must focus on building literacy skills by using common reading and writing techniques such as close reading and comprehension skills. As a professional development opportunity, the teacher will spend time in the English Department\u2019s learning community to gain relevant reading comprehension strategies. Feedback Once the walk-through document is submitted, teachers receive instant feedback. This email is often followed up with a clarifying conversation if either party feels it necessary. At this time, our walkthrough plan does not include a built-in post conference opportunity.", "id": "<urn:uuid:b395db00-4975-4979-9e74-01d4784d5af2>", "dump": "CC-MAIN-2021-17", "url": "https://www.ipl.org/essay/Teaching-Vocabulary-P36GCX36J48R", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00292.warc.gz", "language": "en", "language_score": 0.9552803039550781, "token_count": 1295, "score": 4.03125, "int_score": 4}
{"text": "Interrupted Migrations Unit Driving Question: How can human activities help or hinder animal migrations?\nHelping Animals Migrate Lesson Driving Question: How has human activity changed the environment?\n1. Facilitate group discussions about what makes playing a game fun and educational.\n- Have students discuss in their project groups the following questions:\n- What are some of your favorite games? What makes them fun?\n- What have you learned from different games you have played?\n- The game you are creating needs to be fun, but it also needs to educate people about animal migration and inspire them to care. What can you do in your game to encourage players to learn and care about animal migration?\n2. Prepare groups for the game design workshop.\n- Throughout this unit, students have already created several possible elements for their game:\n- Three sets of cards: human impact cards, critter cards, and positive action cards\n- Game Board Map with human impacts and migratory routes\n- Contextual information, including a description of the setting and migration map\n- The goal for students is to use all of these pieces and create a game that can be played by at least two people. In this activity, students design the game and write the rules.\n- Distribute a copy of the Interrupted Migrations: Game Design Guide and the Interrupted Migrations: Game Design Rubric and Checklist to each student. As a class, discuss the directions and expectations for the game design.\n3. Set up and facilitate game design studio time.\n- In their project groups, have students collaborate to organize all of their previously created pieces for their board game. Then, have students complete the Interrupted Migrations: Game Design Guide handout.\n- As students finish the Interrupted Migrations: Game Design Guide, guide groups to complete the design and development of their board games.\n- As student groups finish the development of their game, have each group play their game at least once to test that it has all come together as planned.\n- After testing by playing the game, have groups make revisions based on the game play to refine games and instructions.\n4. Students present their game to the class before taking part in a class-wide Animal Migrations Game Fair.\n- Have each project group introduce their game by sharing the following details:\n- The geographic area that is the setting for their game\n- The three species involved in their game\n- A general explanation of how the game is played\n- The objective of the game\n- After each team has presented, have students choose at least one game to play other than their own. Have students move to different areas of the room in order to play the game they have selected.\n- As students are playing the games, distribute a copy of the Interrupted Migrations: Game Feedback Card to each student. After students have finished playing the game, have them complete the card to provide feedback for the game designers.\n- If time allows, have students rotate to a new game to play.\n5. Debrief the unit with the class.\n- As a class, have students share their game play experiences by discussing the following questions:\n- What did you like most about the game you played?\n- How did the game inspire you to care more about animal migration and protecting migratory routes?\n- What is one thing you can do to protect migratory routes in our area?\nGame Design Use the Game Design Rubric and Checklist to assess this game design project.\nExtending the Learning\nStudents can invite other people to play with them, including guardians, other students, or school staff. Additionally, students could bring their games home to play with their families.\nSubjects & Disciplines\n- Social Studies\n- Design a game that showcases what they have learned about animal migration in their region.\n- Review classmates\u2019 games for content and enjoyability.\n- Project-based learning\n- Cooperative learning\nConnections to National Standards, Principles, and Practices\nCommon Core State Standards for English Language Arts & Literacy\n- CCSS.ELA-LITERACY.RH.6-8.7: Integrate visual information (e.g., in charts, graphs, photographs, videos, or maps) with other information in print and digital texts.\n- CCSS.ELA-LITERACY.SL.6.2: Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.\n- CCSS.ELA-LITERACY.SL.7.4: Present claims and findings, emphasizing salient points in a focused, coherent manner with pertinent descriptions, facts, details, and examples; use appropriate eye contact, adequate volume, and clear pronunciation.\n- CCSS.ELA-LITERACY.W.7.9: Draw evidence from literary or informational texts to support analysis, reflection, and research.\nThe College, Career & Civic Life (C3) Framework for Social Studies State Standards\n- D2.Geo.1.6-8.: Construct maps to represent and explain the spatial patterns of cultural and environmental characteristics.\nWhat You\u2019ll Need\nMaterials You Provide\n- Colored paper\n- Colored pencils\n- Art supplies\n- Game pieces\nThe resources are also available at the top of the page.\n- Internet Access: Optional\n- Tech Setup: 1 computer per pair, Color printer, Printer\nStudents will need to have chairs and desks/tables that can be easily rearranged into small groups.\n- Small-group learning\n- Small-group work\nThis activity will likely take two or more class periods. A natural break would be to use the second class period for final preparations for the Game Fair, but this can be decided as the activity unfolds in the classroom.\nHumans have the opportunity to be powerful agents for change in assisting animal migration and limiting their impacts on migratory pathways. Education is a crucial method for spreading the word about why supporting animal migration is important and how we might take actions that help. Visual aids, like storytelling and narrative, are highly effective ways of communicating both the urgency of animal migration challenges and ways to take action. One vehicle for sharing this kind of geographic information is through games. The use of games in social studies has shown to improve a student\u2019s role in and understanding of the world. Learning about animal migration through a game will support a call to action for the student in sharing the future of animal migration.\nprocess where a community of animals leaves a habitat for part of the year or part of their lives, and moves to habitats that are more hospitable.\npath followed by birds or other animals that migrate regularly.\nany area on Earth with one or more common characteristics. Regions are the basic units of geography.", "id": "<urn:uuid:07d1b209-d641-4d1d-9057-d59e6d15bc95>", "dump": "CC-MAIN-2021-17", "url": "https://www.nationalgeographic.org/activity/inspiring-migration-route-conservation/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038062492.5/warc/CC-MAIN-20210411115126-20210411145126-00130.warc.gz", "language": "en", "language_score": 0.9333686828613281, "token_count": 1432, "score": 3.71875, "int_score": 4}
{"text": "Creative behavior is an important, but often overlooked, topic of consideration for individuals with autism spectrum disorders (ASD). Individuals with ASD are often described as behaving in a repetitive or rote fashion and the behavior they display (i.e., expressive language, play skills, expressive writing) is not typically described as being very creative in nature. Therefore, addressing creativity across a number of domains in individuals with ASD offers to be an important undertaking that could favorably affect their abilities (e.g., to play in a more naturalistic way and to engage in more diverse conversation) in those areas.\nResearch on Creativity in Children With Autism Spectrum Disorders\nResearch has been conducted on increasing creative responding in many areas such as the use of sign language or gestural communication, problem-solving skills, imitation of play skills and areas of academics such as creative writing (Rousseau, Krantz, Poulson, Kitson & McClannahan, 1994).\nResearch has also been conducted to determine how individuals with ASD compare with typical peers and adults in relation to their level of creative responding (Miller & Neuringer). The research has shown that persons with ASD did not behave as variably as their typical peers nor did they respond to novel stimuli (i.e., a new arm added to a maze to push a car through) as much as their typical counterparts. In addition, when they did respond in a new way, it was more likely to be in an alternating systematic fashion, such as a rehearsed response rather than in a random or spontaneous fashion.\nIn the area of social language, individuals with ASD often have great difficulty expressing themselves. When they do try to communicate, they often use simplistic sentence structure or language that is of a repetitive nature. To address this, it is important to first focus on increasing the use of initiations and then on diversifying the expressive language used (McDonald & Hemmes).\nFurther research is needed in these areas in order for students to directly benefit. Areas such as: artistic creativity, creativity during play (McDonald & Hemmes) and problem solving are areas of particular importance. It is through this type of research based in applied behavior analysis that more information can be gained regarding how to increase creativity in students with autism spectrum disorders.\nIt may be worthwhile for research in the area of creative play to focus on areas such as: employing peers as trainers or as models of creative behavior (e.g., a typical peer modeling creative painting), maintaining creative behavior through self-monitoring techniques so that the child is able to play with peers without adult intervention; and measuring the long-term maintenance and generalization of creative play behavior for students with autism spectrum disorders.", "id": "<urn:uuid:6f9c2781-b749-49b9-9919-ab7375257582>", "dump": "CC-MAIN-2021-17", "url": "http://www.shipusli.com/creativity-students-autism-spectrum-disorders/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038078021.18/warc/CC-MAIN-20210414185709-20210414215709-00491.warc.gz", "language": "en", "language_score": 0.9676836133003235, "token_count": 547, "score": 3.65625, "int_score": 4}
{"text": "The mission of this didactic Clil project was to develop innovative strategic activities for learning biological neuroscience with two classes 16 years old students in scientific High School. Not to activate summa of knowledge, but linked concepts of different topics scientific STEM disciplines (physic, biochemistry, electrophysiology, cellular biology) for protagonist students in learning neuronal science by doing. The choose of get involved in project neuroscientist on neuronal experiment was very useful for students to understand relationship between biology and physic. In this way biology teacher works as a researcher didactic teacher.\nKey words: neuron, scientific interdisciplinary education; interactive action potential; bioenergy; history electrophysiology techniques; communication neuroscience; cooperative learning;\nOnce sentence summary: two high school classes was engaged in Clil curricular innovative didactic plan about bases of neuroscience with ICT interactive activities.\nProject activities have began by these two didactic questions for teachers\nWhat are strategies for a scientific CLIL itinerary of neuroscience about neuron cell for students 16 years age?\nWhich elements shall be considered important in a interdisciplinariety CLIL educational process about bases of neuroscience with experimental analysis for high school students?\nProject activities have began by these two these questions for students\nA first simple question for student: what is a neuron in human nervous system? What are the functions of these cells? Witch is the differences between excitable and not excitable cells, neuronal or epithelial cell?\nFundamental concepts about basic of neuroscience\nNeurones are specialised cells, the basic unit of the nervous system.\nNeuron has a particular structure. It is formed by a cell body, from which a long branch, called axon. It transport the signal from the cell body to the periphery where the exon ending with synapse. The other branches are called dendritic tree, the sites where neurons receives signals from other cells. A neurone can receive million signals; however, it can produce only an answer. We can consider synapses as the key of communication among neurons. A single neuron can respond to a stimulus because it is full of potential energy. Cells are able to accumulate electrical or chemical energy. But if you have to make fast and immediate answers to an input you cannot use chemical energy, but only electrical. So energy topic has a priority role for a study about neuron cell.\nThe main function of a neuron is the communication. It is also used to feel, to transform all the message coming from the inside to elaborate these messages and to promote the action. Besides, neurons can converter electrical energy or chemical energy into mechanic energy. Noonday\u2019s scientists are researching how neuron can interacted which each others to generate any kinds of signals and how can organize and storage informations. Indeed we know something about this complex mechanism but many things are still dark.\nHOW TO LEARN NEUROSCIENCE BY DOING?\nIf we want that students to respond with creativity and inventiveness is important to create conditions in\nwhich innovation is not only possible but encouraged by biology teacher in Clil neuroscience activity.\nInnovation activities with foreign languages increase the levels of study motivation, encourage collaboration in both teaching and planning processes. With these objectives the project was developed in these different activities:\n1) Bioenglish drawed glossary for neuroscience\nIn the first phase was important to encourage actively participation of all students divided in different groups of 3 students to learn bioenglish scientific key words about structure and physiology of neuron. Each group drawed with computer graphic neuronal cell with different parts: axon, cellular bodies, nucleus, dendrite, myelin sheath, and on the membrane the structure of different proteins channels: Na+, K+; Cl- and sodium potassium pump. They produced work and shared description of morphology and functions of different structures at all component of others groups.\n2) Reading neuroscience activities\nNeuroscience active lesson in which students became active bioenglish texts lecturer of www.brainfacts.org Explore your brain and Mind of Society of Washington . There are different sections (example: About neuroscience, Brain Basic, Thinking and Behaving) with present brief articles for flexibility lecture course beginning by answer: What is neuroscience? Interesting in particularly for students the articles: The neuron in Neuroanatomy section . They read both and produced elaborated work in little groups with different English competences. For each scientific article: bioenglish key words and bioenglish explanation of scientific key concepts, four answers about the important concepts to do different students of others group. In first moment write and in second moment with oral exposition in cooperative learning.\n3) Interpretation and representations interactive action potential simulation\nFrom interactive web activity about propagation of action potential with the possibility to determinate change of ionic concentration after stimulus on the neuronal membrane to write activity a brief bioenglish text of 300 words to describe different phases of propagation of action potential. Students in little groups work familiarizing with important concepts and focusing attention about the causes of changes electric membrane potential. In the end of this phase both the classes consulting on the website (Neuronal electrophysiology of excitable cells) the animation activity that provides visual representation of how neuron create a resting membrane potential\n4) Tell history experimental neuroelectrophysiology\nTeacher with a collaboration with neuroscientist present a lesson of 2 hours through storytelling experimental neurophysiology technique and introducing to research informations about scientists that have discovered or activated these approaches in different topics of biology. In these way students reflect, analyze not only about experimental neurophysiology technique but also about important phases of neuroscience evolution. In attach text about these references (Element about history of electrophysiology techniques). Both the classes watched YouTube video of description of the Patch Clamp method in different variations and all the students must formulate three answers about these experimental techniques to other students. They also realized in graphic way the \u201ctime line of evolution of patch clamp technique\u201d with the name of different scientists.\nArticle written by: Marina Minoli, Biology High School Teacher, University Science Didactic Expert", "id": "<urn:uuid:b0f6349d-e44d-4e36-b853-e26a3cf4bdbc>", "dump": "CC-MAIN-2021-17", "url": "https://blog.scientix.eu/2017/02/elements-of-didactic-innovation-in-neuroscience-for-high-school-1/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00612.warc.gz", "language": "en", "language_score": 0.9066420197486877, "token_count": 1229, "score": 3.5, "int_score": 4}
{"text": "Competencies & Standards\nThe 21things4students is composed of technology-integrated learning activities organized around 21 'big ideas' such as Digital Footprint, Cyber Safety, Collaboration, Digital Storytelling, etc. Each of the 21 Things is broken down into smaller chunks called Quests that provide students with learning activities covering one or more of the Michigan Integrated Technology Competencies (MITECS).\nIn 2018 Michigan adopted the International Society for Technology in Education (ISTE-S) \"Standards for Students\". Michigan named these MITECS, or the Michigan Integrated Technology Competencies for Students. The decision to identify them as competencies is to delineate a difference between standards that outline learning expectations meant to guide local curriculum development, and competencies, (M. Ribant and Ann-Marie Mapes, Oct 2018 presentation for the Michigan Department of Education at MAME)\nTechnology Standards and Skill Expectations\n1. Read this brief history in the About This 21t4s Project.\n2. View this short introduction to 21t4s.\n3. Browse to and review the following document (PDF or Google slides) about MITECS competencies and how they are differentiated from standards.\n4. Now that you have an overview of the MITECS, look at the age band articulation document and sample scenarios for students in the age-group you work with.\n5. As you think about the competency expectations for students you work with, take a moment to look at the technology standards for educators, education leaders, and technology coaches.\nIdentify a few goals for yourself.\n6. Write down a learning goal for yourself, jot it down or add it to your checklist.\nMove on to 21t4s Student Resources\nAddressing the ISTE Standards For Educators\n1a. Set professional learning goals to explore and apply pedagogical approaches made possible by technology and reflect on their effectiveness.\n1c. Stay current with research that supports improved student learning outcomes, including findings from the learning sciences.\n2b. Advocate for equitable access to educational technology, digital content and learning opportunities to meet the diverse needs of all students.\n2c. Model for colleagues the identification, exploration,\nevaluation, curation and adoption of\nnew digital resources and tools for learning.\n4b. Collaborate and co-learn with students to discover and use new digital resources and diagnose and troubleshoot technology issues.\n5a. Use technology to create, adapt and personalize learning experiences that foster independent learning and accommodate learner differences and needs.\n5b. Design authentic learning activities that align with content area standards and use digital tools and resources to maximize active, deep learning.\n5c. Explore and apply instructional design principles to create innovative digital learning environments that engage and support learning.\n6a. Foster a culture where students take ownership of their learning goals and outcomes in both independent and group settings.\n6b. Manage the use of technology and student learning strategies in digital platforms, virtual environments, hands-on makerspaces or in the field.\n6c. Create learning opportunities that challenge students to use a design process and computational thinking to innovate and solve problems.\n6d. Model and nurture creativity and creative expression to communicate ideas, knowledge or connections.\nThis document is provided as a template to use for your personal reflections and planning for implementing the 21things4students resources.", "id": "<urn:uuid:5b0552bf-a6c8-4b0b-bc4e-e1e1afed47ec>", "dump": "CC-MAIN-2021-17", "url": "https://www.remc.org/professionallearning/learn-at-your-own-pace/21things4students---ready-get-set-go/standards/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038071212.27/warc/CC-MAIN-20210413000853-20210413030853-00452.warc.gz", "language": "en", "language_score": 0.8991628289222717, "token_count": 702, "score": 3.78125, "int_score": 4}
{"text": "The Kwanlin D\u00fcn First Nation recorded elders\u2019 stories in 1993. This turned into about seven boxes of transcripts, which sat in an office.\nElders gathered several more times, and their stories of camp locations and trail locations were again recorded, transcribed, and combed. Archaeologists compiled and compressed the information-as-stories, and honed in on one geographic area: M\u2019Clintock Lakes and Michie Creeks.\nThis is in the vicinity of Marsh Lake, and it\u2019s where the archaeologists went to dig. They found scrapers, Chinese coins, swan bone tools, and old drying structures to hang fish on. They found human-used things preserved below the ash line. Krista Reid says if anything is below the ash line it means it\u2019s older than 1200 years, because that\u2019s when a volcano erupted.\nThere were relics above the ash line; some relics are only a few years old. Reid said the First Nation wanted to see if elders\u2019 stories of land use were corroborated with physical debris.\nThey were. Reid said evidence of thousands of years of existence verified the stories recorded. Elders who told the stories were presented with the tangible findings. They dug up old photographs and moccasins and memories stimulated by the archeological finds.\nKrista Reid isn\u2019t an archaeologist. She\u2019s the Kwanlin D\u00fcn Cultural Centre\u2019s cultural programs coordinator, who apparently develops exhibits, as she says. She got the job in the summer of 2014, and was handed over two decades worth of recordings and collected artifacts to turn into what she calls a visual story. \u201cIt\u2019s like putting together a display for the science fair.\u201d\nReid says the physically-found evidence identifies the Tagish Khw\u00e1an people, who inhabited the M\u2019Clintock Lake and Michie Creek area, as original people of this territory. She says the recovered scrapers, chert \u2014 chips from when stones were used to turn other stones into tools, and blades of obsidian that were traded from Alaska, verify that oral storytelling is scientific evidence of a way of life that, she says, is ongoing. \u201cPeople still go there to fish.\u201d\nReid says the Tagish Khw\u00e1an are part of the Kwanlin D\u00fcn First Nation, and part of the Carcross Tagish First Nation. She says the area was seasonally used; different harvests happened at different times of the year. It is the place the fish come.\nTo show this, fish nets and traps and pictures will be on display, like the picture of Tammy Joe, someone who Krista Reid knows, in a boat with her grandma. There will be maps and photographs, of trails and old sites families would use. There will be quotes.\nElders advised which photos to use with which displays, and which quotes would best bolster the visuals. The display will be in the cultural centre\u2019s sparse, cool nook, the temporary collections display.\nReplicas will be made of tools and other human-modified things, and these will be on display. There will also be bones and rocks found, neatly tagged with: \u201cOchre\u201d, \u201cScraper\u201d (found) \u201cbelow White River\u201d.\nThere will be a slide show of aerial shots of the land in question, and of photos of culturally modified trees, of which there are plenty documented. \u201cIt\u2019s like they took a picture of every culturally modified tree,\u201d says Reid.\nThe bark of such trees has used to make tools and baskets, and also medicine. She\u2019s loved learning little tidbits, like that, and that gull eggs can be found there. She loves gull eggs, and wonders where exactly they\u2019re harvested, and what time of year. She loves learning the connections between elders, and learning things through them.\nThe exhibit opens on April 1 and runs until the end of September. The opening reception is on April 1, at 5:00 p.m. at the Kwanlin D\u00fcn Cultural Centre.", "id": "<urn:uuid:14a7f959-b096-4efc-b93c-aa42d5ea74f0>", "dump": "CC-MAIN-2021-17", "url": "https://whatsupyukon.com/yukon/history/formerly-tools-now-artifacts-on-display/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00091.warc.gz", "language": "en", "language_score": 0.9645111560821533, "token_count": 868, "score": 3.5, "int_score": 4}
{"text": "Open-ended math problem solving tasks: drawing a diagram, looking for the pattern, guess and check, trial and error, working forward and backward, etc what is problem solving in math persuasive writing introduction example in what is a transition sentence in an essay math books, you usually are told exactly which creative writing titles formula or procedure to use, and are given exactly the information you need to answer what is problem solving in math the question. give students a structure when problem solving. episode #193. there are other what is problem solving in math types of problem-solving, of course, but problems with numbers almost always call for mathematical thinking and logic jul 05, how to write a research proposal sample 2019 \u00b7 this section what is problem solving in math is designed to measure your ability to apply reasoning to solve problems involving common math concepts. free what is problem solving in math math problem solver answers your algebra homework questions with step-by-step explanations what are the four key approaches to solving math problems? Also included in the resource are levelled exemplars for students to see and discuss what makes a level 1, 2, 3, and 4 response math word problems and solutions \u2013 distance, speed, time. the national council of teachers of mathematics endorses the use of such strategies as those appearing in \u201cfour-step problem solving\u201d\u2014particularly the step requiring essay writing about mobile phones students to explain their answers\u2014as effective for producing students\u2019 math competency, as described in nctm publications such as principles and standards for school mathematics oct 26, 2019 \u00b7 choosing the right problem-solving strategy painting company business plan to correctly solve word problems will stump these children as well. read and reread the problem to understand what it is about, what is it asking for, develop persuasive essay packet 5th grade their plan. problem solving is an approach to a particular problem. so, problem solving is a large part of how we process information. just follow these easy steps to take away the mystery: in the discussion above, we have already highlighted some of the cognitive skills we use for problem-solving, but higher-order example of opinion essay cognitive processes are often required to be successful in math overview of \u201cfour-step problem solving\u201d the \u201cfour-step problem solving\u201d plan helps elementary math students to employ sound reasoning and narrative essay format example to what is problem solving in math develop mathematical language while they complete a four-step where can i pay someone to write my essay problem-solving process. for k-12 kids, teachers and parents problem solving provides a working framework to apply mathematics, and well grant essay examples chosen mathematics problems provide students with the assignment availability codes opportunity to solidify middle school persuasive essay examples and extend what they know, and can. mathematical rigor means a lot of different essay about mother things to different educators.", "id": "<urn:uuid:64e5bd1c-b5ac-4dbf-ab90-99f2cb74fb99>", "dump": "CC-MAIN-2021-17", "url": "https://highgradeessay.com/2020/08/26/what-is-problem-solving-in-math_iy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00132.warc.gz", "language": "en", "language_score": 0.9489606618881226, "token_count": 580, "score": 3.671875, "int_score": 4}
{"text": "- A = Excellent. The student has been well prepared and demonstrated, during the whole course, an impressive understanding of readings, discussions, themes and ideas. The written work is fluid, clear, analytical, well organized and grammatically polished. Reasoning and logic are well grounded and examples precise. The \u201cA\u201d grade reflects quality work where the student cites outside materials, draws connections between topics from multiple sessions, and generally impresses.\n- B = Good. The student demonstrates a clear understanding of the topic. The submitted work and participation demonstrate a thorough and solid understanding of readings, discussions, themes and ideas. Written work is clear, competent, and grammatically polished but is somewhat general, a bit vague, or otherwise lacking in precision. While analytical, writing presents more description than analysis. Arguments are solid but not thoroughly original or polished.\n- C = Fair. The student shows limited understanding of the material or has put in a limited amount of effort. The work and participation demonstrate a somewhat fragmented understanding of readings, discussions, themes and ideas. The student demonstrates an acquaintance with readings and ideas, but not intellectual engagement. Written work is choppy and argument somewhat difficult to follow, examples are vague or irrelevant, and ideas are imprecise. Work veers toward underdeveloped ideas, off-topic sources or examples, personal anecdotes, creative writing, memoir, etc.\n- D = Unsatisfactory. The student\u2019s work and participation demonstrate little understanding or even acquaintance with readings, discussions, themes and ideas. The written work is choppy, fractured and unclear. Submission has little logical development, and reveals little effort to really engage.\n- F = Failure / Unacceptable. Work does not demonstrate understanding of topics, ideas and readings. This is also the grade for work not submitted and plagiarized work.\nThis article by Ahmed Afzaal \u2013 Grading and Its Discontents \u2013 is another great explanation of the same general approach:\nSo I explain: It is not the case that you start out with a perfect score and then \u201close\u201d some points because the professor \u201ctakes\u201d them \u201coff.\u201d Rather, you start out with zero and must earn all of your points. Moreover, a proactive student would not ask \u201cWhy did you take off my points?\u201d but rather \u201cWhy was I not able to earn a perfect score?\u201d\nLearning is never directly caused by anything that a professor does. It happens as a result of the student\u2019s own activities (reading, thinking, writing, etc.), while the professor can only facilitate that process. Since the responsibility for learning lies with the student, so does the burden of demonstrating that he or she has actually achieved that learning.", "id": "<urn:uuid:5b52d79d-6730-4974-9aa9-6a3626fb1c95>", "dump": "CC-MAIN-2021-17", "url": "http://www.noramadison.net/teaching/policies/grading-rubric/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067400.24/warc/CC-MAIN-20210412113508-20210412143508-00013.warc.gz", "language": "en", "language_score": 0.9417208433151245, "token_count": 564, "score": 3.515625, "int_score": 4}
{"text": "Early Aboriginal Culture\nEarly Aboriginal Australians were hunter-gatherers who practiced no farming techniques and kept no domestic animals. They had limited weapons, mostly made of wood and stone, to help them acquire their food. As in many other communities around the world, the men were the predominant hunters, killing large and small animals such as wallabies, emus and kangaroos. Women made an equal contribution by gathering vegetables, fruits, roots and small game like snakes.\nIn coastal areas, both men and women dove for shellfish. They also used fibers and ropes to make baskets to catch fish. Coastal indigenous people developed a type of boat that looked like a flattened canoe. Because they were made of brush and bark, these boats would become waterlogged after a period of time. After only a few miles, they would begin to disintegrate altogether.\nAs we discussed in the last section, the ancient Aboriginal people worshipped their land, and they did everything they could to protect it. In order to preserve the land and its resources, most tribes slept on the ground with no shelter. They hunted only what they needed to eat and gathered only the plants and roots they needed to sustain themselves. According to Aboriginal beliefs, the spirits assigned the land itself to the various tribes. Because of this, there were no territorial wars \u2013 if people were on land that didn't belong to their tribe, they would begin to feel the spirits' angry energy, and bad things would begin to happen.\nFor most of their existence, indigenous Australians didn't wear much clothing. They kept themselves warm by draping themselves in animal pelts that were sewn together. In other areas, they might use what they could find, like animal fat or a clay called ocher, to protect their skin. Women often made necklaces using materials like shells. Their bodies were often canvasses, with charcoal and ocher used as paint.\nMusic and dance were a large part of the culture, as was storytelling. Elders used all three to tell the stories of the dreamings, give thanks to the spirits and even ask favors like increased fertility or rain. They also created musical instruments, the most famous being the didgeridoo. The creation of a didgeridoo begins when termites hollow out the inside of a piece of wood, and Aboriginal Australians cut the size down to 5 feet. When played, the didgeridoo produces a low hum caused by vibrations. Various tribes use it in formal ceremonies and events. Aboriginal Australians kept up this peaceful way of life for more then 40,000 years. But that all changed once the Europeans colonized Australia.", "id": "<urn:uuid:0df887db-161b-4dd9-8ed2-d5876658de0e>", "dump": "CC-MAIN-2021-17", "url": "https://people.howstuffworks.com/aborigine1.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00051.warc.gz", "language": "en", "language_score": 0.9830103516578674, "token_count": 535, "score": 4.125, "int_score": 4}
{"text": "Teachers, parents, and students alike are discovering the importance of learning more than just academic knowledge in school. Real-life education is becoming increasingly important so that students can succeed and function well outside of their school walls. Since it\u2019s not enough for students to just learn math, reading, writing, and study skills, teachers are shifting their focus to teaching resilience, perseverance, self-control, teamwork, and more. Another big focus is empathy. In the classroom, students as young as 5 can learn empathy and how to apply to their daily interactions with others. These lessons are key in helping students develop into kind and caring individuals who will eventually become responsible and productive members of society.\nWhat Is Empathy?\nSome adults struggle to fully understand empathy, especially when it\u2019s compared to sympathy, which is similar. Empathy is defined as \u201cthe ability to understand and share the feelings of another.\u201d Empathy can be broken down into three categories that, while may be too much for young students to understand, can help teachers to determine the type of empathy they need to focus on at a given time. Cognitive empathy is like a mental awareness of another person\u2019s circumstance or mindset. It\u2019s putting yourself in their shoes and showing them that you can see their perspective. Social empathy is the ability to sense another person\u2019s feelings. It\u2019s the ability to understand what it might be like to be another person while considering the experiences and circumstances that have shaped them. Empathetic concern is the third type of empathy. It\u2019s about taking action. It\u2019s about combining cognitive and social empathy into a concern that moves you to do something for another person.\nWhy Do Students Need to Learn Empathy?\nEmpathy in the classroom is a key to building students into compassionate and kind adults. It\u2019s impacting the current generation to create a better future for everyone. The sooner we begin teaching young kids about empathy, the better off they will be during their schooling years and when they are adults. The world is changing and there are often large differences amongst students in the classroom, and kids need to learn early on how to put themselves in others\u2019 shoes and have understanding for others\u2019 differences. Studies prove that the lessons kids learn in early childhood are more likely to impact their personality and their lives later one. This makes it incredibly important to give kids instruction on good characteristics like empathy when they are young.\nWhy Should Teachers Teach Empathy?\nJust as mentioned above, the earlier children learn empathy, the better the impact and the result. The classroom is a perfect place to instruct students on what empathy is and how important it is. Students can begin learning how to imagine being in someone else\u2019s position and situation, and they can begin introducing the benefits of being empathetic towards others. Teaching empathy in the classroom will bring about a positive classroom culture of acceptance, understanding, and positivity. It helps students learn to understand one another and allows them to build friendships with their classmates based on mutual understanding and trust. In addition to the social benefits, teachers that intentionally instruct students on the value and application of empathy see academic benefits as well.\nTeaching empathy in the classroom will also bring about positive change in the community, both in the present and the future. The world we live in is diverse and constantly changing, which increases the need for more empathy within our communities. Not only will the communities benefit immediately from an increased empathy in children, but those children will become the leaders of tomorrow, and they will take those empathy lessons with them into their leadership roles.\nEmpathy is an important part of understanding and managing emotions, which is a key skill for students to grasp at an early age. It is key to building relationships, and it is a vital part of an individual\u2019s ability to achieve success in academics, careers, and life in general. Emotional control and awareness are important factors in the mental health and wellness of adults and children alike, and a lot of that starts with empathy. In the classroom, teachers can instruct children on the value of introspection, proper emotional expression, and understanding differences in others.\nHow Can Teachers Impart Empathy in the Classroom?\nMany schools are implementing character development into their curriculum nowadays, which is a great way to introduce empathy and other important qualities to young students. In addition to utilizing pointed lessons on empathy, teachers can impart empathy in the classroom by following the tips below.\nBe an Example \u2013 Adults often struggle with empathy too, but being intentional about showing empathy in your classroom can go a long way. Even if you don\u2019t talk about how you were empathetic and even if a student doesn\u2019t notice that you\u2019re being empathetic, your example goes much farther than you realize in the eyes and minds of impressionable students. Show patience, compassion, and understanding, both with your students and with other staff members at your school. Be careful how you talk about family members or friends in front of your students, and be sure to be intentional about your interactions with your students\u2019 family members as well.\nIdentify Similarities \u2013 Students are often quick to point out the differences between them, but give them opportunities to identify similarities as well. These can be as simple as \u201cwe all have two hands\u201d or \u201cwe all are in the first grade.\u201d You can then have students find similarities with just a handful of other students, such as those who have brothers or those who love baseball. Let them discover that they have something significant in common with each and every student in their class, which should show them that they have something in common with everyone else they interact with too. Help them realize the importance of these shared interests and characteristics, and let them use those similarities as a stepping stone towards seeing the others\u2019 perspectives and understanding their circumstances.\nUtilize Story-Telling \u2013 Kids respond positively to stories more than almost any other teaching tool. Even if you\u2019re making up a story to demonstrate empathy to your class, use a real name and realistic circumstances to help them see empathy in the story. While young children may not see a problem with a behavior in real life, when they hear a story about other kids, they often have an easier time understanding the correct response and an appropriate use of empathy.\nProvide Opportunities to Practice \u2013 Give kids specific examples of a difficult situation and ask them how they would respond. Then allow them to act out some of those situations. The more they practice empathy and think intentionally about utilizing it in difficult circumstances, the more likely they are to remember the empathy lessons when they are faced with a challenging situation in real life.", "id": "<urn:uuid:220ef8e9-2e93-40b6-8fd3-067a5b7ceea2>", "dump": "CC-MAIN-2021-17", "url": "https://sdvirtualschools.com/why-teachers-should-teach-empathy-in-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039398307.76/warc/CC-MAIN-20210420122023-20210420152023-00253.warc.gz", "language": "en", "language_score": 0.9613533020019531, "token_count": 1375, "score": 3.96875, "int_score": 4}
{"text": "Too Good for Violence K-5 is a universal, violence prevention and character education program that teaches character-based skills, attitudes, and behaviors to help elementary students: differentiate between feelings and actions, encourage respect between peers, and celebrate diversity. Program lessons and activities help kids realize that as individuals and as a group, they are too good for bullying and violence.\nToo Good for Violence teaches the following social and emotional learning skills, which research has linked with healthy development and academic success:\nToo Good for Violence promotes character development by strengthening eight key character traits:\nToo Good offers developmentally appropriate curricula for each grade level in kindergarten through grade 5. Each grade level builds on previous levels, developing the skills sequentially with engaging, age-appropriate lessons and activities.\nToo Good focuses on the risk factors that can be positively affected in the classroom: favorable attitudes toward drugs, violence, and other problem behaviors; and friends who engage in problem behavior.\nToo Good builds protection within the student by:\nThe Mendez Foundation developed Logic Models for Too Good to map out the Theory of Change and demonstrate graphically the assumptions that drive Too Good. The logic model communicates an \"if-then\" message of what changes the program intends to produce. It helps to make the connections among the target group, goals, strategies, objectives and planned program results and lays out what the program is expected to achieve and how it is expected to work.\nEach of the Too Good evaluation studies were conducted by third-party researchers and used randomized treatment-control group designs (pre-test/post-test, 20-week post-test, or one-year follow-up). The Researchers examined pre-test equivalence between treatment and control groups; potential bias of loss of student data over time; quality of program implementation; and estimates of reliability and validity of assessment tools.\nThe award-winning Too Good programs have undergone rigorous, independent evaluation studies to measure their effects on students' skills, attitudes, intentions, and behaviors. Studies have been published in peer-reviewed journals and presented at national evaluation conferences. These studies demonstrate the effectiveness of Too Good.\n|Organization/Agency||TGFD K-8||TGFV K-8||TGFD&V High School|\n|What Works Clearinghouse: U.S. Department of Education, Institute of Education Science||Positive effects on behavior|\n|Positive effect on behavior & knowledge, attitudes & values|\n|Positive effect on behavior & knowledge, attitudes & values |\n|CASEL: Collaborative for Academic, Social, and Emotional Learning||Not Yet Rated||Elementary SELect Program |\n|Not Yet Rated|\n|NREPP: National Registry of Evidence-Based Programs & Practices||Reviewed evaluation|\n|CEBC: California Evidence Based Clearinghouse for Child Welfare||TGFD Grade 6 |\nScientific Rating 2 - Supported by Evidence\n|Not Yet Rated||Not Yet Rated|\n|OJJDP: Office of Juvenile Justice & Delinquency Prevention||Promising program|\n|Promising Practices Network: Programs that Work||Screened program|\n|SAMHSA: Substance Abuse & Mental Health Services Administration||Model program||Model program||Model program|\nToo Good programs have earned recognition and acclaim for their impact in promoting safer and healthy youth and communities.\nRecognition for Too Good for Drugs\u2122 in Drug Strategies \"Making the Grade\": \"Some very strong elements in this very detailed, 10 session per year curriculum. Provides developmentally appropriate information about alcohol, tobacco and marijuana. Normative education activities creative and compelling, new ideas for games. Includes no-use pledge.\"\nRecognition for Too Good for Violence in Drug Strategies \"Safe Schools, Safe Students\": \"A delightful package of materials (that) complements this highly interactive 4-9 session program. Strongly focused on critical skill areas. Extremely detailed instructions for teachers. Very complete.\"\nThe Grade 5 Teacher's Manual includes ten fully-scripted forty-five minute interactive lessons. The manual makes implementation easy with quick set-up...\nThe Student Workbook is an integral part of the lessons. The cooperative learning design promotes bonding through skits, role-plays, and...\nThe Student Workbook is an integral part of the lessons. The cooperative learning design promote bonding through skits, role-plays, and...\nThe standard TGFV curriculum kit supports a class size of up to 24 students. This Activity Pack includes includes additional activity...\nStudents must work together to answer the questions on the Mission Training Cards to advance toward the space station. If...\nI have not finished the science project that is due tomorrow. What do I need from you? Advice? A magic...\nYou are eating dinner with a friend who is from another country. The food is something that is unfamiliar to...\nStudents test their knowledge on approaches to conflict in this fast-paced card game. Item #C8540\nStudents match Respect Cards to Scenario Cards to learn ways to respect themselves and others. Item #C8536\nBullying Response Strategy Cards prepare students to effectively and peacefully respond to bullying situations. Item #C8448\nStudents learn that no matter what causes a conflict to escalate, you can cool down and use these six strategies...\nConflict happens when people have different goals, opinions, or points of view. Students learn five cooperative approaches to peacefully resolve...\nStudents learn the steps to making responsible decisions and how their decisions can take them closer or further away from...\nSetting a reachable goal is the first step to building confidence, self-efficacy, and positive expectations for the future. The Goal...\nStudents review what they have learned about being a positive role model as they set out on a space exploration...\nSet of six game pieces in assorted colors and one die for use with various board games. Item #PR1001", "id": "<urn:uuid:564540ab-6558-419b-8cfc-c4facc590968>", "dump": "CC-MAIN-2021-17", "url": "https://toogoodprograms.org/products/too-good-for-violence-social-perspectives-grade-5-kit-2019-edition", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00331.warc.gz", "language": "en", "language_score": 0.9130766987800598, "token_count": 1209, "score": 4.15625, "int_score": 4}
{"text": "At Robert Kett Primary School we use the Read Write Inc (RWI) programme to get children off to a flying start with their literacy.\nRead Write Inc Phonics is a method of teaching reading and writing, which is centred on learning the sounds of the letters and then blending them together to read words. The children also learn to break down words into individual sounds in order to begin their writing journey.\nHow does RWI work at Robert Kett?\nThe children in Reception will initially learn the single letter sounds and begin to blend these together. Once the children have been taught all of the single letter sounds they will be assessed by their class teacher or the RWI leader and grouped according to their ability.\nAfter their initial assessment, the children work in small groups with teachers and teaching assistants every day in Reception. The children continue their RWI learning as they enter Year 1 and will have four sessions per week.\nAt the end of each half term the children in Reception and Year 1 will be assessed to track their progress and to ensure they are working within the appropriate group. In addition to the Read Write Inc programme the children will also be working on writing skills and storytelling in their classes with their own class teacher.\nPlease click on each road map tile to see the phonics journey at Robert Kett Primary School\nWhen using RWI to read the children will:\nLearn 44 sounds and the corresponding letter/letter groups (special friends) using simple picture prompts.\nThe children will learn to say the sounds purely, which will support their blending.\nInitially the children will learn to read words using Fred Talk (c-a-t, m-a-t, s-a-t).\nThey will develop their ability to read words by blending the sounds together (c-a-t ... cat).\nDuring their phonic sessions the children will read engaging stories that feature words they have learnt to sound out.\nThe children will develop their ability to read fluently and effortlessly so that they can put all their energy into understanding and comprehension.\nTheir comprehension will be supported through \u2018find it\u2019 and \u2018prove it\u2019 discussion questions which are linked to the stories they have been reading in their phonic sessions.\nThe children also bring home a copy of their current RWinc storybook, to read and share with you at home.\nWhen using RWI to write the children will:\nLearn to write the letters/letter groups which represent the 44 sounds (graphemes).\nThe children will be encouraged to write and spell words by saying the sounds in Fred Talk (c-a-t, m-a-t, s-a-t).\nOnce able to write single words, the children will learn to write simple and then increasingly complex sentences.\nDuring their phonic sessions, they will compose a range of texts using discussion prompts.\nAs the children\u2019s understanding of the graphemes develops, they will increasingly be able to spell effortlessly so that they can put their energy into working out what they want to write.\nTalking is also an important part of the RWI sessions:\nThe children will be encouraged to work with a partner, to orally build sentences and when writing their ideas.\nThey will work together to answer questions based the stories.\nWe also like to give each other lots of positive praise:\n1, 2, 3 well done me!\nHip, Hip, Hooray!\nThe phonic sounds are broken into three sets, the children only move onto the next set when they are confident blending and recognising the previous set.\nHow will I know how to pronounce the phonic sounds?\nHave a look at the Ruth Miskin website for a model of how to pronounce the sound:\nWhat else can I do to help my child with their reading?\nEnjoy talking with your child and encourage them to tell you \u2018stories\u2019.\nShow your child your love of reading and enjoy sharing a range of books together (fiction, non-fiction and poetry).\nListen to your child read regularly.\nDiscuss the different features of various books.\nTalk about the books and other reading materials that you have shared.\nExplain the meaning of new words.\nReading practise can happen everywhere, cereal packets, shopping lists, road signs, web pages, magazines, newspapers etc!", "id": "<urn:uuid:15563ba7-981f-4346-acbc-b7343b120fbc>", "dump": "CC-MAIN-2021-17", "url": "https://www.robertkett.net/curriculum/subjects/english/phonics", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065492.15/warc/CC-MAIN-20210411204008-20210411234008-00210.warc.gz", "language": "en", "language_score": 0.9528927206993103, "token_count": 897, "score": 3.578125, "int_score": 4}
{"text": "The Importance of Play\nAs we are well aware maximum learning for a person happens between the ages of 0-6, it is at this age that children acquire almost all the skills needed to be successful later in life. It is these first years that shape a child\u2019s future, most significant brain development happens at this time, hence sufficient stimulation must be given to children so they can have positive progress in all their learnings, as well as physical and mental health.\nWhat better way can there be for children to learn than play?\nPlay is what allows children to build on their creativity, imagination, physical and social skills. It is through play that children interact and understand the world around them. Play helps children to learn how to negotiate, discuss, understand, resolve conflicts, and build resilience.\nInternational schools across the world advocate almost all learning through play which could either be structured or unstructured. All play is considered \u2018Meaningful\u2019 and no matter what the children do during this meaningful time they always learn and gain. Meaningful play is one that drives the children and motivates them to explore the environment and the people around them. It is this play that gives children rich experiences that are created spontaneously in a risk-free environment. When play is child-driven and not adult controlled the children can build on decision-making skills as well as discover their interests and passions. If adults take charge then play might lose the benefits of developing creativity, leadership, and some of the social skills that we so look forward to developing in the children.\nIn an academic environment social, emotional as well as cognitive development are all addressed through play especially in an early year\u2019s setting. Play helps children adjust and settle down to new environments, it enhances learning readiness, and most importantly helps in peer interactions and relationship building.\nSimple fun games like shaking a rattle, playing hide & Seek or Peekaboo teaches children about communication, develops inquiring minds, and helps with problem-solving skills. Something as simple as knock down the blocks or water play can help build science and math concepts. Shapes, sinking and floating, balancing, counting, building blocks, and more are some of the enjoyable ways of teaching higher-order concepts.\nResearch has indicated that early experiences rich in language and literacy are important and essential for long-term academic effects- Language is an essential skill for daily communication; it is everywhere. The best way for preschoolers and toddlers to build on their language skills is through play.\nCommunicating, having conversations is a fantastic way to teach language, the minute children start talking about their favorite game and their favorite toys they get involved in the conversations and love to talk about the things they have created or done thereby adding to their vocabulary. Puzzles, alphabet matching games, flash-cards, story sequencing games and most importantly role-play with silly props and voice modulations are all stepping stones to great language building in a child. As they grow older children can explore fun drawings and writing activities to build on their creative writing skills clubbed with creativity, imagination, and thinking skills.\nWe as adults need to lay the strong foundation for formal education- play is a vital ingredient to that, the more we engage in playing, responding, and connecting with children through play the stronger the bonds and development will be seen.", "id": "<urn:uuid:7a38c944-a621-4c45-86a6-7859ad868710>", "dump": "CC-MAIN-2021-17", "url": "https://kaiearlyyears.com/kaichai/the-importance-of-play/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039594808.94/warc/CC-MAIN-20210423131042-20210423161042-00013.warc.gz", "language": "en", "language_score": 0.9671258330345154, "token_count": 678, "score": 3.890625, "int_score": 4}
{"text": "Using Music to Teach Early Literacy Skills\nUsing Music to Teach Early Literacy Skills\nEducators are always looking for new methods to teach reading and writing. With the appropriate structure and implementation, fostering early literacy skills through singing and music can be extremely valuable and effective.\nThe early literacy skills required for reading that are enhanced through singing are: phonological awareness, letter knowledge, print awareness, narrative skills, vocabulary, and print motivation. Music fits in well with an early education classroom because it encourages and intrigues the children. Singing provides a practical tool educators can use to improve and increase the acquisition of skills needed to read, and retain core academic knowledge.\nEarly Literacy Skills\n- Phonological awareness, and the realization that words are made up of a variety of sound units, is one of the first stages of literacy. Music and singing is all about phonological awareness. Through song, children can segment sounds, create blends and different sound \u201cchunks\u201d.\n- Letter knowledge and print awareness also comes at these early stages of literacy. Just as we learn the alphabet by singing the alphabet song, children can recognize letters, and become aware of their structure through music.\n- Narration with music builds comprehension, awareness of plot, characterization, visualization, perspective-taking, and author\u2019s point of view.\n- Word knowledge and vocabulary needs application. Singing about vocabulary can provide a unique medium to teach and put words into context.\n- Writing goes hand-in-hand with reading. Because Common Core calls for writing that reflects on text, teaching reading skills through effective mediums like song, can improve writing skills.\nMusic and Singing Enhance Daily Interactions with Children\nChildren love to learn. When implemented properly, children enjoy different presentations of content. Music provides an exciting and enjoyable presentation of content.\nSo often our classrooms are teacher-centered, and the voice of the teacher dominates. Singing allows for children to be more vocal, and participate with the educator. Being able to alternate among different methods of instruction, singing and music being one, keeps children focused, involved, and learning.\nTexts express ideas, singing to interpret text adds a deeper layer of understanding. When learning or reading about safety and life skills, children can sing and build literacy skills. Transitions in the classroom, especially at younger ages, can be a struggle for teachers. Singing, while making those shifts in the classroom, can really smooth transitions out.\nThe Impact Singing Has On Learning\nChildren hum and sing constantly, sometimes before they can even talk. Throughout the day children can be heard singing while they work. Teachers are often looking for useful pedagogy that resonates with children and encourages their students to continue to apply what they have learned. Instruction with music brings joy and motivation to learn. Through song they learn to express themselves, learn literacy skills, and about the world around them. While singing, students concentrate, develop listening and speech skills, retain information, visualize, and build their imaginations. Foreign language acquisition often involves music as well.\nHow Educators Can Implement Singing in the Classroom to Teach Literacy\nEducators can utilize singing as a method to teach literacy skills in early education. Singing can accompany content and text, or stand alone to build literacy. Children are learning to form words, put words into ideas, and understand what they are singing about. Singing can happen during reading, writing, grammar, text structure, and letter knowledge lessons.\nSinging can also be a part of classroom management. Reading could be done by singing the text. This helps emerging readers grasp storylines and text. Often when trying to help memorize important skills, teachers can use music. Letters, parts of speech, spelling, and so much more can be learned with song. Music and songs can be presented with multimedia, instruments, and by the students themselves because they\u2019ve been given a tool to retain what they are learning.\nSinging Improves Retention and Core Academics\nBuilding early literacy skills involves comprehending text. Recognizing letter sounds, print, and vocabulary, allows for understanding. Music can be used to build those foundational skills as well as core comprehension. Recalling and sequencing events in a story, and summarizing the text, can be accomplished through song. Instead of starting a re-tell with one student or with a teacher speaking, the classroom can participate together and build comprehension with singing.\nReading comprehension skills and Common Core terminology can be taught with music. The author\u2019s purpose, plot devices, genre, asking questions, and other reading skills can be acquired through songs. Much of learning grammar involves memorization. Songs stick. Children can sing a song about the different parts of speech and be able to identify them all.\nLiteracy is such an important foundation for all learning, and fostering meaningful literacy acquisition in young children, lays the groundwork for successful learning in the future. Singing and music provides educators with meaningful and effective tools to build reading and writing skills.", "id": "<urn:uuid:4e3503ee-7e73-43f1-be7e-2cea8296f2cb>", "dump": "CC-MAIN-2021-17", "url": "https://www.capstonepub.com/blog/using-music-teach-early-literacy-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00533.warc.gz", "language": "en", "language_score": 0.934795081615448, "token_count": 1023, "score": 3.515625, "int_score": 4}
{"text": "Chickasaw Cultural Center\nThe Chickasaw Cultural Center complex includes a recreated traditional village, where interactive activities, lessons, and events are held, such as tours, storytelling, traditional games, food festivals, language lessons, and demonstrations of stomp dancing, cooking, archery, hide scraping, and other cultural activities are held. The Exhibit Center holds two fine art galleries, a history gallery, a theater, and other cultural exhibits. The campus also includes an extensive research library; an amphitheater for cultural presentations, concerts, dances, and other performances; two gardens and a water pavilion, and a restaurant serving traditional Chickasaw foods.\nBackstory and Context\nThe homeland of the Chickasaw people before Europeans arrived was in the lower Mississippi Valley, on lands which are today parts of Kentucky, Tennessee, Mississippi, and Alabama. Traditionally a matrilineal culture (in which a person belonged to his or her mother's clan), the Chickasaw were agrarian people who built towns on bluffs or hills above flood zones, with palisade forts for protection from invaders. A town would consist of summer and winter homes, corn cribs for food storage, a ball field for games, and a council house. Councils were made up of respected elders, both male and female. The Chickasaw language is part of the Muskogean language family, related to Choctaw, Creek, Seminole, and others. The Chickasaw supreme being and creator was referred to as Aba' Binni'li' (Sitting/Dwelling Above), later known as Inki Abu (Father Above) after Christianity was introduced. Storytelling preserved tribal and family histories, a central part of Chickasaw culture. Rivers and traces (pathways) were important as routes for transportation, trade, and fishing and hunting; the Natchez Trace Parkway today follows a route the Chickasaw people once used as part of their trade network with other Southeastern tribes .\nAfter Europeans arrived, Chickasaw began trade with the French and English and came to be known as the \"Spartans of the Lower Mississippi Valley\". When the French and Indian War broke out in the 1730s, the Chickasaw allied themselves with the British, defeating the French in the battle for the lower Mississippi. But in 1830, Congress passed the Indian Removal Act. Along with the Cherokee, Choctaw, Muscogee (Creek) and Seminole, the Chickasaw were forced to move from their homelands to Indian Territory (in today's Oklahoma). Some of the first schools, banks, churches, and businesses in Indian Territory were established by the Chickasaw. Despite the Chickasaw Nation's progress in their new land, U.S. policies hampered their efforts and sought to eliminate their culture and language. To make matters worse, when Oklahoma became a state in 1907, tribal elections were suspended . During the Civil Rights movements of the 1960s, the Chickasaw and a number of other tribes worked toward reestablishing their own governments, and the first tribal election since 1904 was held in 1971. The Chickasaw Nation established a Constitution in 1983, and a three-branch system of government similar to that of the United States. Priorities of the Nation since that time have been support for infrastructure, economic diversification, and providing programs and services to improve quality of life [1; 2].\nThe Chickasaw Cultural Center\nThe Cultural Center complex features a number of buildings, gardens, galleries, and exhibits. Native plants are showcased alongside a photo gallery of notable Chickasaws in the Aaholiitobli' Honor Garden, which sits adjacent to the Oka' Aabiniili' Water Pavilion. At the center of the complex is the Kochcha' Aabiniili' Amphitheater, where stomp dances, living history performances, concerts, and cultural presentations are held. The Chikasha Inchokka' (\u201cChickasaw house\u201d) Traditional Village is a historical recreation which includes a Council House, summer and winter houses, a corn crib, a stickball field, and a replica mound, all surrounded by a stockade fence. Here, interactive activities, lessons, and events are held, such as tours, storytelling, traditional games, food festivals, language lessons, and demonstrations of stomp dancing, cooking, archery, hide scraping, and other cultural activities. Nearby is the Spiral Garden, which grows the \"Three Sister\" staples of the Chickasaw traditional diet: squash, corn, and beans. The produce is used for the Cultural Center's restaurant, the Aaimpa' Caf\u00e9 .\nIndoor facilities include the Holisso Center for Study of Chickasaw History and Culture, an extensive research library; and the Exhibit Center. The Exhibit Center entrance, The Aaishtaya' Room, features a mosaic wall and an etched glass replica of a 1723 deerskin map. A short film plays in the Council House room, while the Anoli' Theater screens longer features (including the Film Forward initiative of the Sundance Institute), as well as hosting demonstrations, fashion shows, cultural presentations, lectures, and workshops. The Center also holds two fine art galleries with rotating exhibits, a history gallery with interactive stations as well as music and artwork, a dance demonstration area, and the Spirit Forest exhibit .\n2. Chickasaw Nation. Official website. Accessed February 7, 2018. https://www.chickasaw.net/.", "id": "<urn:uuid:6fac3d7b-b652-4509-a5bb-a786f8963dca>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclio.com/entry/54895", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00533.warc.gz", "language": "en", "language_score": 0.9602712392807007, "token_count": 1132, "score": 3.828125, "int_score": 4}
{"text": "6 tips for kindergarten readiness\n6 tips for kindergarten readiness\nSeptember is a time for new beginnings, and for some young people, that means taking that first big step into the kindergarten classroom. What skills should children have before they make the important transition from preschool to grade school?\nFive-year-olds come from a large variety of backgrounds. Some have attended daycare or preschool for several years and already know how to use finger paint, scissors, crayons, and how to walk quietly in line. Some come from enriched home environments where adults have taught them how to read, write, and tie their shoes. A small group of children come to kindergarten with little preparation at all, never having held a pair of scissors or a crayon in their lives. A few might not even know their last name.\nHere are some tips you can use to help your youngster prepare for kindergarten before she even sets foot in the school.\nProvide a large variety of experiences\nBabies begin learning about the world through sensory input from the moment they are born. Sights, sounds, textures, tastes, and smells help children form connections in the brain that serve as the foundation for all new learning. Provide your child with a large variety of experiences: go to the park, visit the zoo, explore museums, go on nature walks. Talk about what you see, and encourage your child to ask questions.\nEncourage your child to dress himself, use the bathroom independently, get his own snack, and take his coat on and off. Practice tying shoes, zipping coats, and opening containers at home so he can handle these types of skills independently when he goes to school. Mastering these skills also teaches your child autonomy and builds self-esteem.\nPractice early academic skills at home\nThere are a number of tasks you can encourage your child to do to develop kindergarten readiness. Have her spend time coloring, writing her name, and identifying colors, shapes, letters, and numbers. Give her a pair of child-safe scissors so she can practice gripping them at home. It's really important that these skills are not completely foreign to her when she enters school. With some baseline experiences at home, she'll feel competent and self-assured in the classroom.\nFacilitate social experiences\nSchool is a highly social experience, and children who have not been previously exposed to this can be at a disadvantage. Set up scenarios for your child to practice social skills. If he does not go to daycare or preschool, try to set up play groups or even just some playdates with another child. Talk about sharing, playing together, waiting for one's turn, and simply getting along. Play games that require turn-taking, and work together to set the dinner table. Children are expected to collaborate in groups at a very young age at school. A bit of social experience before that first day of kindergarten will help him feel like he's not out of his element.\nTalk, talk, and talk some more\nA child develops her vocabulary by listening to her parents speak. As such, you should talk, sing, and read to your child as much as possible. Use spatial words such as over, under, up, down, around, top, bottom, left and right, as these words are important for body awareness and also for learning to write letters and numbers. Encourage your child to talk about her day by asking questions. What was the best part of your day? What was the funniest part of your day? What are you looking forward to about tomorrow? Create stories together, and help your child understand the concepts of beginning, middle, and end in storytelling.\nThink about safety\nVisit the school in advance of that first day in order mitigate separation anxiety and help your new student know what to expect. Show him where his classroom is. Explain what to do if he gets lost and how to ask an adult for help. Practice any routines that might feel foreign, such as walking to school, packing a backpack, or using a locker.\nThere are a few key facts that your youngster should have memorized before school: his first and last name and how to spell it, his address, and your phone number. You can help him memorize these facts by putting them to music or using lots of repetition.\nStarting kindergarten is a big transition, but with a little bit of planning, you can set your child up for success and instill a sense of security at school and a love of learning from day one.\nAimee E. Ketchum is a writer for BestReviews. BestReviews is a product review company with a singular mission: to help simplify your purchasing decisions and save you time and money. BestReviews never accepts free products from manufacturers and purchases every product it reviews with its own funds.\nBestReviews spends thousands of hours researching, analyzing and testing products to recommend the best picks for most consumers. BestReviews and its newspaper partners may earn a commission if you purchase a product through one of our links.\nDistributed by Tribune Content Agency, LLC.", "id": "<urn:uuid:b189a02b-11df-4794-b8f7-cd8ce1f5ebf8>", "dump": "CC-MAIN-2021-17", "url": "https://www.theactivetimes.com/gear/n/6-tips-kindergarten-readiness", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00294.warc.gz", "language": "en", "language_score": 0.9706093072891235, "token_count": 1034, "score": 3.609375, "int_score": 4}
{"text": "STORYTELLING ABOUT HISTORICAL EVENTS\nGiven the historical events that have impacted our lives, the use of a few words can speak volumes about the past. Through these spoken words and interpretation, Miss LuvDrop will identify with the historical event and put you before the event as if you were actually a part of its creation.\nStorytelling that place emphasis like the Discovery of the World, America History, Civil Rights Re-enactment, World War events and more..\nHarriet Tubman - Civil Rights Activists - escaped slavery to become a leading abolitionist. She led hundreds of enslaved people to freedom along the route of the Underground Railroad. She made nineteen trips and was never caught. She was known as \u201cBlack Moses\u201d.\nMahalia Jackson \u2013 Civil Rights Activist, Singer, Television Personality. She started singing as a child at Mt. Moriah Baptist Church and went on to become one of the most revered gospel figures in the USA. Her recording hit \u201cMove On Up A Little Higher\u201d was a major hit. She also sang at the 1963 March on Washington at the request of Dr. Martin Luther King, Jr.\nBessie Coleman \u2013 First African American woman to earn a pilot\u2019s license in the United States. Because flying schools denied her entry, she taught herself French and moved to France earning her license. Bessie later returned back to the United States, she remains a pioneer of women in the field of aviation.\nDinah Watts Pace \u2013 Graduated from the Normal School at the Atlanta University in 1863, and went on to Covington, Georgia to teach school. Founder of the Covington Colored Orphans Home for over 700 children. Dinah devoted her entire life to caring and educating children. Dinah Watts Pace brother, Albert Watts is one of the founders of SouthView Cemetery in Atlanta, Georgia.\nSelena Sloan Butler \u2013 Organized the first National Congress of Colored Parents-Teachers (NCCPT) and co-founder of the National Parent Teacher Association (PTA). She centered her life\u2019s work on improving the educational environments and upholding the\nrights of all children, regardless of their race or situation. She is buried in Historic Oakland Cemetary in Atlanta, Georgia.\nJulia Hayes Palmer \u2013Julia Hayes Palmer is of African American Decent, She married Dr. Fred Palmer. After their marriage, they knew that they could not live with her husband\u2019s family so they lived with his wife in her Community due to their bi-racial marriage. It was difficult and dangerous for a white man and a black woman to marry in the South especially after the war was still reeling. They became the Owners of Palmer\u2019s Coco Butter Formulas.\nAnnie L. McPheeters \u2013 One of the first African American Professional Librarians in the Atlanta Library Public System and an influential proponent of African American Culture and history. Librarian, Educator, and Civil Rights Activist. She provided library services and resources to segregated communities through educational programs for children and adults. In 1993 the Atlanta-Fulton Public Library System named the Washington Park/Annie L. McPheeters Branch Library her honor.\nSTORYTELLING BY DESIGN\nThe storytelling is an avenue that supports the exploration of the service idea. Through the use of simple words and animation, the teller will illustrate the solution as it is a story.\nMiss LuvDrop can design storytelling to meet your specific situation. Presenting the situation in a way that makes those listening appreciate the under tone which is the learning opportunity.\nStorytelling can be designed to express personal historical events, family history, promotion and lessons learned.\nStories By Design\nBrer Rabbit Tales\nHeroes & Sheroes\nTheme Based Stories\nSubjects/Stories provided to add to the Classroom\nStorybook reading collections for children\nStories around the globe\nFull S.T.E.A.M. ahead in stories\n(Solar System, Weather, and Life Science)\nTwo extraordinary authors and entrepreneurs said it best, \"The stories we tell literally make the world. If you want to change the world, you need to change your story. This truth applies both to individuals and institutions.\"\n\"There is no greater agony than bearing an untold story inside you.\" - Maya Angelou.\nMiss LuvDrop's goal is to tell stories to individuals and groups of all ages and express untold stories that will change the world. Stories that will inspire people to self-express and tell their stories for years to come. Below you will find the services offered by LuvDrop Productions. Miss LuvDrop will come to your location to perform. All services can be paid below through PayPal or on site prior to performing.\n\"Miss LuvDrop has a fun, creative and educational way of expressing her stories. The animation captures your attention and lure you in to want more. She takes the mastery of her art to an extraordinary level.\" Great job Miss LuvDrop, I look forward to more of your storytelling in the near future.\nJason D. Andrews\nJD Andrews & Associates, Inc.\nMiss LuvDrop brings life to any Story with her Drum and her Story chants to enhance her storytelling performances. We have seen her perform many times performing different stories, and each time she brings Energy to make us come back over and over again.\nArlynthia & Zion Hines\nAtlanta Storyteller Fans\nMs. Napier has performed at different Atlanta Fulton Public Library Systems. She has been several times at the Old Lakewood Library Branch and she was one of the first Storytellers to perform at the new recently opened Metropolitan Parkway Branch Library, and the children and the Adults enjoyed her stories and the drumming. She is an awesome Storyteller.\nAFPLS \u2013 Children\u2019s Librarian\nOur students was introduced to the Underground Railroad and Harriet Tubman in Social Studies, we had an in house field trip at school as we traveled and learned about the Journey Along The Underground Railroad. At the end of the journey, they had an opportunity to meet Harriet Tubman. Ms. Napier performed the Historic Portrait Profile of Harriet Tubman and the children enjoyed the presentation as well as the question and answer session at the end of her performance. She was awesome.\nWhitney Watson,1st Grade Teacher\nNorthwood Elementary School\nWe didn\u2019t know what to expect from Ms. Napier\u2019s stage name \u201cMiss LuvDrop\u201d as we read her Bio. She explained how her stage name was given birth. When Miss LuvDrop performed, she brought LOVE, HIGH ENERGY, Drumming and an AWESOME PERFORMANCE of great Stories. We will never forget the name of \u201cMiss LuvDrop\u201d in Indian Springs at our first Storytelling Festival.\nCarolyn Trawick, Festival Director\nI have known Ms. Napier for a long time as an Educator and as a Kuumba Storyteller Of Georgia member. She brings such Energy with her Storytelling Performances as well as Workshops that she has facilitated. She has performed several times in the Clarkston Community for many Festivals. The children and Adults love her each time she performs. She is loved in the Clarkston Community.\nCDF Project Manager", "id": "<urn:uuid:44ce4128-df14-44c4-967c-a4e2774eba86>", "dump": "CC-MAIN-2021-17", "url": "https://www.luvdropproductions.com/services", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00533.warc.gz", "language": "en", "language_score": 0.9575669765472412, "token_count": 1513, "score": 3.78125, "int_score": 4}
{"text": "Quick summary: Students will complete a creative writing task based on factual stimulus material. They are asked to write a short story based on the life of Jane Crosswell, who was a young girl when her family moved to the village of Strathgordon so her father could work at \u2018The Hydro\u2019.\nHydro Tasmania has been at the forefront of clean energy innovation for one hundred years. It is Australia\u2019s largest producer of clean energy \u2013 generating hydro and wind power \u2013 and the largest water manager. Hydro Tasmania has 55 major dams, operates 30 hydropower stations and has built some of Australia\u2019s largest wind farms.\nHydro Tasmania also sells energy in the National Electricity Market through its retail business Momentum Energy, and sells its expertise internationally through its consulting business Entura. Visit the Hydro Tasmania website to learn how the business is working towards Australia\u2019s clean energy future.\nLearning goals: This lesson is designed to provide valuable practice for NAPLAN*, the national literacy test held in Years 3 and 5. It features a creative writing task that requires students to use their imagination to expand on a nonfiction text.\nGeneral capabilities: Literacy, Critical and creative thinking, Ethical understanding.\nCross-curriculum priority: Sustainability OI.8.\nAustralian Curriculum content description:\nYear 3 English\n- Use comprehension strategies to build literal and inferred meaning and begin to evaluate texts by drawing on a growing knowledge of context, text structures and language features (ACELY1680).\n- Plan, draft and publish imaginative, informative and persuasive texts demonstrating increasing control over text structures and language features and selecting print,and multimodal elements appropriate to the audience and purpose (ACELY1682).\nTopic: Hydro Tasmania, Energy.\nTime required: 60 mins.\nLevel of teacher scaffolding: Medium \u2013 oversee activity.\nResources required: Internet access, Student Worksheet (one copy per student OR computers/tablets to access the online worksheet), pen and paper for story writing.\nDigital technology opportunities: Digital sharing capabilities.\nHomework and extension opportunities: Includes opportunities for homework and extension.\nKeywords: Energy, hydropower, history, children, Hydro Tasmania.\n* This lesson plan is not an officially endorsed publication of NAPLAN\u2019s creators and administrators \u2013 the ACARA body \u2013 but is designed to provide practice for the Australian Curriculum\u2019s compulsory NAPLAN testing scheme.\nCool Australia\u2019s curriculum team continually reviews and refines our resources to be in line with changes to the Australian Curriculum.", "id": "<urn:uuid:ef1653dd-12c5-4e7b-b5dc-8dfe42d0b8d0>", "dump": "CC-MAIN-2021-17", "url": "https://www.coolaustralia.org/activity/hydro-tasmania-naplan-writing-practice-paper-year-3/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039491784.79/warc/CC-MAIN-20210420214346-20210421004346-00334.warc.gz", "language": "en", "language_score": 0.9097664952278137, "token_count": 534, "score": 3.5, "int_score": 4}
{"text": "Second grade is not too soon to start preparing for a career in computer engineering.\nThat\u2019s the Danish company Lego\u2019s message in introducing a robotics program designed to teach children as young as age 7 how to make simple machines and write software programs to solve problems.\nStudents from upper elementary grades through high school have flocked to Lego\u2019s Mindstorms robotics system over the past decade, and building and programming that system\u2019s sensor-equipped mobile robots has become the focus of local and national robotics competitions.\nThe new robotics program, called WeDo, is intended for grades 2-6 and offers tie-ins across elementary curricula.\nStephen Bannasch, the director of technology at the Concord Consortium, a nonprofit educational research organization in Concord, Mass., welcomes the concept behind the new product.\nBannasch, who is developing physical and computer models for helping students understand heat and temperature, has not yet seen one of the WeDo kits. But he said that giving even young students hands-on experiences \u201cis critical for STEM education,\u201d meaning science, technology, engineering, and mathematics.\n\u201cBeing able to actually construct things,\u201d Bannasch said, \u201cand to engage in the kind of problems that happen when you are designing something in the real world\u2014figuring how all these parts work together as a system\u2014is very difficult to learn in more abstract or limited domains,\u201d such as many classroom exercises.\nHow WeDo Works\nAs a science activity, the Lego program aims to form a clear link in children\u2019s minds between the virtual world of computers and programming and the physical world, represented by the models they create, according to officials of the education division of Billund-based Lego.\nThe problem-solving aspects of the program, and related activities such as measuring, are intended to teach critical thinking in math, company officials say, and the writing, storytelling, and presenting that students are encouraged to do as part of the program incorporate language arts skills.\nThe WeDo package consists of a collection of plastic Lego bricks and specialized pieces, such as gears and levers, and a hub that connects to a computer\u2019s USB port and receives input from a tilt sensor and a motion sensor that are part of the kit.\nThe 158-piece kit, which will cost $120, also comes with a motor that draws power from the computer; controlled by software that children program, it brings the students\u2019 models to life by driving their mechanisms.\nThe software presents a visual programming environment that uses icons to represent different components and functions. Students \u201cwrite\u201d instructions by dragging icons around the computer screen and arranging them in an appropriate order.\nThe software was developed by National Instruments Corp., based in Austin, Texas, which makes hardware and software for engineering.\nTeachers can present 12 different challenges, with various degrees of difficulty, for students to solve. The activities, which typically take about two hours, follow four themes: amazing mechanisms, wild animals, play soccer, and adventure stories.\nWorking in teams, the children invent their own solutions by building Lego models and programming them to perform certain tasks.\nTexas Pilot Test\nWeDo was pilot-tested during the 2007-08 school year in several elementary schools in the United States, and the finished product will be sold here\u2014and in Brazil\u2014beginning in January.\nAt Durham Elementary School in South Lake, Texas, 15 classes covering grades 2, 3, and 4 took part in a six-week pilot test of the program beginning in February, according to Debra L. Heath, the science-lab teacher at the 470-student school for prekindergarten to grade 4.\nHeath said she met with each class weekly in one-hour sessions and recruited two parent volunteers for each class to help students build and modify their Lego models. \u201cThe kids were so focused, so geared up,\u201d she said.\nOne of the challenges is to build a mechanism that defends a miniature soccer goal from a small ball rolled by a student.\nAfter building a first try, students experimented to make their models more successful at stopping balls, by changing the size or shape of the goalie or by adding more cams, which are wheels that are mounted on a rotating shaft to produce the variable motion that sweeps the goalie across the goal.\nAt the end of the six weeks of \u201cproduct testing,\u201d Heath asked all the students to choose a robot to build to demonstrate to their parents at an exhibition at the school.\n\u201cThey became experts: They did product testing and practiced what they were presenting,\u201d she said. \u201cThey were able to talk about what the icons meant, how they could change the program to do different things. They were able to answer questions posed by parents.\u201d\nThis school year, Heath plans to expand the robotics program, beginning in March, after the school receives its set of WeDo kits. She will introduce the simplest robot, the Kicker, which kicks a ball, with 1st graders.\n\u201cEach grade level is going to have a different couple of robots to work with,\u201d Ms. Heath said.\nShe said the school\u2019s parents, many of whom work for high-tech companies in the area, not far from Austin, have remained enthusiastic about the program.\n\u201cThey were all over this, saying, \u2018This is what we\u2019re raising our kids to do,\u2019 \u201d she said.", "id": "<urn:uuid:3e82594e-23e4-4002-acf8-72c42fb6b231>", "dump": "CC-MAIN-2021-17", "url": "https://www.edweek.org/teaching-learning/lego-product-targets-youngsters-interested-in-computer-engineering/2008/09", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038062492.5/warc/CC-MAIN-20210411115126-20210411145126-00131.warc.gz", "language": "en", "language_score": 0.9685556888580322, "token_count": 1139, "score": 3.703125, "int_score": 4}
{"text": "Essay methodology is defined as the process that an author uses to produce an essay or research paper. This methodology may differ significantly and is dependent on the topic and the purpose of the work. A student would be well advised to succinctly identify both the topic and purpose prior to beginning the pre-writing activities.\nThe importance of explaining the methodology in a research paper or an essay is that it imparts clarity. Methodology is just between you and your sources, it is the approach adopted in preparing the paper. Though essays are generally shorter and less elaborate in their content than research papers, they also require a methodology description.\nA definition essay is writing that explains what a term means. Some terms have definite, concrete meanings, such as glass, book, or tree. Terms such as honesty, honor, or love are abstract and depend more on a person's point of view. Three Steps to Effective Definition.\nOverview. The five-paragraph essay is a form of essay having five paragraphs:. one introductory paragraph, three body paragraphs with support and development, and; one concluding paragraph. The introduction serves to inform the reader of the basic premises, and then to state the author's thesis, or central idea.A thesis can also be used to point out the subject of each body paragraph.\nThe method is backed by Schaffer's own research on the most effective means of crafting an essay as well as the best techniques to use in order to generate high paper scores. Schaffer's format ensures that each paragraph is fully developed by designating specific types of sentences, a set number for these sentences (5-8 to be exact) and a specific order when composing them.\nWriting an essay often seems to be a dreaded task among students. Whether the essay is for a scholarship, a class, or maybe even a contest, many students often find the task overwhelming.While an essay is a large project, there are many steps a student can take that will help break down the task into manageable parts.\nDescriptive writing is important since it provides readers with details on people, places, objects and events. Writing descriptively means including sensory details, considering word use and.\nThe Prompt: In the essay Self-Reliance, Ralph Waldo Emerson attacks conformity, urging each person to accept himself, to come to terms with who he truly is. Often in literature and life, individuals reject consistency; refuse the path of convention for the sake of principle.\nTeaching students how to write an introduction for an essay must incorporate these two aspects. Capture the Reader\u2019s Attention. There are several methods to capturing the reader\u2019s attention depending on the audience: Quotation: One that sums up the essay would be nice. Definition: Use sparingly. Too many amateur writers use this method.\nThe sixth way on how to conclude an essay is to close the essay by summarizing the last point of the essay. This is a good way to conclude the essay because the reader knows the ending already. However, the sentence ends only if the title ends. On what steps to take to to complete an essay, the top manner is to use a summary on day one of the.\nDefinition essay help for need help in essay writing In-class peer review or ask a mentor to advise you to turn it into a given culture between the y to I didn t agree with support the instructional, research and experience and their definitions, h response format e. G., american professors, chinese japanese definition essay help speakers.\nQuantitative methods have their strengths and weaknesses. Discuss. Quantitative methods, like all social research methods, have their own set of strengths and weaknesses. This essay will attempt to critically assess those characteristics and draw a comparison between quantitative methods and qualitative methods.\nStrengths and weaknesses associated with qualitative data collection methods and qualitative research. My e-book, The Ultimate Guide to Writing a Dissertation in Business Studies: a step by step approach contains a detailed, yet simple explanation of qualitative data collecton methods.The e-book explains all stages of the research process starting from the selection of the research area to.\nEducation is the process of facilitating learning, or the acquisition of knowledge, skills, values, beliefs, and habits.Educational methods include teaching, training, storytelling, discussion and directed research.Education frequently takes place under the guidance of educators, however learners can also educate themselves.Education can take place in formal or informal settings and any.\nAnalysis essays are known to be one of the most difficult to write. Indeed, a writer should not only present facts but also be able to explain and analyze them. Analysis essays can evaluate both student\u2019s knowledge on selected issues and their ability to express own thoughts and analyze topics. For this reason analysis essays are so much popular, especially in colleges and universities.\nThe Definition Essay. Essay Topics: Their Particular. Category:. This is very effective because this method enables people to assist the officers and consequently the community becomes the real members of the system. One of the other methods is providing monitoring for the city. In this technique the monitoring part of the program is brought.\nEvaluation methods in empirical economics fall into five broad categories; each provides an alternative approach for constructing the counterfactual. Alternativ.\nA definition essay is writing that explains what a term means. Some terms have definite, concrete meanings, such as glass, book, or tree. Terms such as honesty, honor, or love are abstract and depend more on a person's point of view.\nThe five paragraph essay is great for basic essays where you just need to make sure you\u2019re staying on point and organized. They\u2019re often easy to write and they\u2019re easy for readers to follow. If you\u2019re new at essay writing or you don\u2019t feel strong in writing essays, this format is a surefire way to make your writing still sound strong, even if it\u2019s simple.", "id": "<urn:uuid:4c54165c-5c48-4c86-935a-f52e1d0fd793>", "dump": "CC-MAIN-2021-17", "url": "http://youngspace.got-game.org/worthily/Five-Definition-Essay-Methods.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00454.warc.gz", "language": "en", "language_score": 0.9446486234664917, "token_count": 1217, "score": 3.828125, "int_score": 4}
{"text": "Kids who spend time with their parents participating in activities together have a sense of self-worth. They feel valued and loved. When you carry out tasks with you, lasting connections are formed. Kids who play with parents have better grades in school. A child learns by example. As you spend time with your young one, you are setting a good example. A child will adopt such behaviors in other relationships later in life. Take time to do fun activities explained below and make your kid feel special.\nCook and Serve Food Together\nPrepare meals with your child and cook together. As you prepare and cook, educate the child about healthy foods and portions sizes. Cooking will give a child the chance to measure, count, and observe food change; this is early science and maths learning. During mealtime, allow the child to count the utensils needed for the whole family.\nCooking builds a child\u2019s self-esteem. A child feels proud and valuable when he helps prepare food. As you cook and serve food together, remind your infants to observe kitchen rules and table manners.\nStorytelling improves a child\u2019s memory and language skills. It arouses curiosity and increases your child\u2019s imaginative powers. Additionally, it instills virtues and increases a child\u2019s cultural understanding. You can share your childhood experiences or share a funny story about your day.\nStart a Kitchen Garden\nGardening offers a child a fantastic opportunity to play, learn, and grow. It engages a child\u2019s senses of smell, touch, see, and hear. Train your child to grow fruits and vegetables, to water them, prune and harvest. Gardening promotes healthy eating and introduces a child to scientific concepts. If a kid plants a seed, he/she is curious about what will happen next.\nA child needs to play to learn new skills and have fun. As you play with him, he builds his creativity and imagination capacity, which provides a foundation for his problem-solving skills.\nA child learns valuable lessons on health and well being. Additionally, she learns to eliminate stress positively and to acquire new skills and abilities. Teach your child brain workouts to stimulate his brain activity. These exercises make the child smarter, sharper, and creative.\nGo for a Nature Walk\nTake a walk with your child to connect with nature and other people by going for a walk together. Take your child off the TV screen to stretch his legs, catch bugs, and play outside, but under your supervision.\nNurture Child\u2019s Talent\nWhat is your child\u2019s strength? Identify the talent, and do it together to perfect it. For example, if your child shows interest in the paintbox, it can be a sign of an artist in the making. Buy painting materials and start painting together to perfect the art of painting.\nCaring for Pets\nTaking care of pets together makes your child responsible and empathetic to others\u2019 needs. Feed and clean up the pet in the presence of your child. It will educate your child on pet-related routines. Once they are of age, they can take over the role.\nDraw a Family Tree\nDoes your child know her distant relatives? Create your family tree with your kid. The young one will know his origin by tracing distant relatives and will develop a sense of belonging.\nRead a Book out Together\nRead your favorite child\u2019s book aloud to stimulate her imagination and expand her understanding of the world. The child develops language and listening skills. Even though a child can read on its own, it\u2019s crucial to read together with them.\nBefore you participate in the fun things with your child, discuss with her and come up with a daily routine like time to wake up, when to have a meal, and engage in activities. Allow your kid to choose household chores he\u2019s willing to do. Habits build family bonds and help families go through family activities. Show your child love and be patient. At Lycee Montessori, our goal is to bring out the best in your child and to make her/him feel special. Take care of them during this season.", "id": "<urn:uuid:516f4280-4450-49d7-b601-d70f7bb04b82>", "dump": "CC-MAIN-2021-17", "url": "https://www.lyceemontessori.com/ten-fun-and-interesting-things-to-do-with-your-child-at-home/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038071212.27/warc/CC-MAIN-20210413000853-20210413030853-00453.warc.gz", "language": "en", "language_score": 0.9533851146697998, "token_count": 853, "score": 3.796875, "int_score": 4}
{"text": "ALL >> Education >> View Article\nA Peek Into English Language Writing Styles\nAll around us there are practically infinite things to read-and innumerable ways to write. But concisely speaking only four different types of writing styles. Do you know them? For that matter, what is style in writing?\nHere\u2019s unpacked the elements of style in writing as well as an understanding of how they sometimes overlap.\nThe four distinct types of writing are expository, descriptive, persuasive, and narrative. Each of these writing styles is used for a specific purpose.\nA single text may include more than one writing style many times.\nLooking into each of these basic styles of writing provides one with clarity on how to write.\nExpository writing is one of the most common types of writing. When an author writes in an expository style, all they are trying to do is explain a concept, imparting information from themselves to a wider audience. Expository writing does not include the author\u2019s opinions, but focuses on accepted facts about a topic, including statistics or other evidence. Expository writing is long on facts and short on storytelling and literary flourishes. It can inform or instruct readers about a subject, but in its purest form, it\u2019s not out to change anyone\u2019s mind.\nMostly, this style shies away from bold and strong opinions or value judgments; instead it aims at delivering straightforward information and data.\nExamples of Expository Writing\nTextbooks, How-to articles, Recipes, News stories (not editorials or Op-Eds), Business, technical, or scientific writing.\nDescriptive writing is often the style used in fiction, though it can make an appearance in nonfiction as well (for example, memoirs, first-hand accounts of events, or travel guides). When authors write in a descriptive style, they are painting a picture in words of a person, place, or thing for their audience. The author might employ metaphor or other literary device in order to describe the author\u2019s impressions via their five senses (what they hear, see, smell, taste, or touch). But the author is generally not trying to convince the audience of anything or explain the scene - merely describe things as they are. Indeed, on its own, descriptive writing is usually brief-but it also makes regular appearances as an element of lengthier styles,\nExamples of Descriptive Writing\nPoetry, journal/diary writing, descriptions of nature, fictional novels or plays.\nPersuasive writing is the main style of writing that is used in academic papers. An author writes in a persuasive style to convince the audience of a position or belief. Persuasive writing contains the author\u2019s opinions and biases, as well as justifications and reasons given by the author as evidence of the correctness of their position. Any \u201cargumentative\u201d essay you write in school should preferably be in the persuasive style of writing. As the name implies, this writing style sets out to win its audience over to a certain point of view. It builds an argument by presenting evidence and justifications to back up an opinion. This may further lead to a call to action.\nExamples of Persuasive Writing\nCover letters, Op-Eds and Editorial newspaper articles, Reviews of items, Letters of complaint, Advertisements, Letters of recommendation.\nNarrative writing is used in almost every longer piece of writing, whether fiction or nonfiction. When an author writes in a narrative style, it is not just trying to impart information, but trying to construct and communicate a story, complete with characters, conflict, and settings.\nExamples of Narrative Writing\nOral histories, novels/novellas, poetry (especially epic sagas or poems), short stories and anecdotes.\nFor more info https://voiceskills.org/\nVOICE Research and Training Institute is the brain child of KALVI Higher Education and Research Institute, Madurai, South India with the expertise and knowledge to empower learners in the communicative skills of the English Language running through the Industrial Hub of a community that influences a country at large.\nEducation Articles1. Excelr Data Science Courses\n2. Excelr Business Analytics Courses\n3. Know All About Rgit Australia Scholarship\nAuthor: Gurung Rupert\n4. Why Python Is So Perfect For Young Minds\nAuthor: RoboBrain Academy\n5. Prominent Online Coding Course Provider Shares Insights Into What They Have To Offer\nAuthor: RoboBrain Academy\n6. Benefits Of Online Coaching Classes That Can Change Your Perspective\nAuthor: jyiti makhija\n7. Why Should You Look For Upsc Coaching In Indore?\nAuthor: jyiti makhija\n8. Three Benefits Of E-learning For Competitive Exam Preparation\nAuthor: lavya singh\n9. What Are The Benefits Of Gun Permit Training In Maryland?\nAuthor: PTP Gun\n10. Benefits Of Reading Beyond Academic Books\nAuthor: Geetha Kumari\n11. Excelr Data Analytics Courses\n12. 10 Common Mistakes When Writing A Term Paper\nAuthor: Kerry Rose\n13. Parenting Tips: Help Your Child Return To School\nAuthor: Kojaram Choudhary\n14. Discover The Potential Of Autodesk Revit Architecture Courses\nAuthor: NIBT Education\n15. How To Stay Focused And Productive While Taking Online Classes\nAuthor: Mark Giaccone", "id": "<urn:uuid:3b8b1894-4aef-4758-8a00-8ba06c84a2bf>", "dump": "CC-MAIN-2021-17", "url": "https://www.123articleonline.com/articles/1167851/a-peek-into-english-language-writing-styles", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038098638.52/warc/CC-MAIN-20210417011815-20210417041815-00532.warc.gz", "language": "en", "language_score": 0.9018447399139404, "token_count": 1132, "score": 4.1875, "int_score": 4}
{"text": "Many parents assume their children will pick up how to write letters of the alphabet, provided they see them daily. However, this is not always the case. After all, seeing something on a screen is not enough to teach them how to form letters. You want your child to develop a legible handwriting style while differentiating the letters.\nWell, that can only happen with the help they get from teachers and parents. Luckily enough, you can never run out of options while teaching your child about letters and how to combine them. Here are some of the reasons why you should teach your child correct letter formation once they enter kindergarten.\nFocus on the Actual Learning Process\nWhen your child joins preschool with a clear understanding of letters, it won\u2019t take long before he/she starts reading. Remember, children can only read if they differentiate and name letters of the alphabet. After all, they need the mental energy for creative writing and answering all the questions teachers pose to them.\nThat\u2019s where your help comes in handy since children get to learn more when you teach them the correct letter formations from the word go. As long as your child can identify and write letters correctly, you won\u2019t have to worry about low concentration levels during the actual learning process. Before you know it, your child is doing well in preschool.\nPositive Experiences of Writing\nProper letter formation is essential in boosting the confidence of your child in school. One might wonder how this is even possible in the first place. Children with good handwriting tend to develop positive experiences of writing and perform better in class. Things tend to be somehow different for those having handwriting difficulties as they have to make do with poor motivation, frustration to mention a few.\nRather than turning a blind eye as your child struggles with proper letter formation in preschool, why not offer a helping hand! That\u2019s not to say you should go overboard just because you want to help kids practice the skill. Instead, try making the letter learning experience as fun as possible to get your preschooler excited.\nOne of the easiest ways to go about this is by taking advantage of super fun worksheets for children. If your child struggles to differentiate between lower case b and d, you can leverage letter d worksheets. All it takes is for you to help your child practice with both b and d worksheets side by side to improve this skill. Fortunately, worksheets combine both fun and learning to make things easy for your child.\nThere is more to correct letter formation than some parents think. Be sure to find out from your child\u2019s teachers which letter font they teach and offer a helping hand at home. The earlier you start supporting your children with correct letter formation at home, the easier it is for them to tell the difference and excel in academics.", "id": "<urn:uuid:46d5db28-304e-463f-adda-2455bea8226f>", "dump": "CC-MAIN-2021-17", "url": "https://pantheonuk.org/why-you-should-teach-your-child-correct-letter-formation/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00214.warc.gz", "language": "en", "language_score": 0.9512536525726318, "token_count": 574, "score": 3.6875, "int_score": 4}
{"text": "What\u2019s In A Name?\nA caption can essentially be described a piece of informative text accompanying a photo. Captions should tell a story, answer questions, and/or describe the action or reaction in a photo. Captions can be simple and used only for identifying people, or they can be used as mini stories to save space and create maximum impact. If you are using captions as mini stories, try to answer the five W\u2019s and H in each one; Who, What, When, Where, Why, and How.\nJust My Type\nThere are four main types of captions: standard, group, identification, and quote only.\nThe standard (or expanded) caption are the mini stories we discussed earlier. These captions typically have three sentences, although you can get by with two sentences if space is limited. A standard caption goes like this:\n- Lead in: two or three words, this is the mini headline for the caption.\n- Sentence 1: Identifies people in the picture using first and last names and grades. Gives most essential information of the five W\u2019s and H. This sentence is in present tense.\n- Sentence 2: Provides background information that cannot be seen in the photo (was this photo taken at a school event? Are the kids in a school group together?). This sentence is in past tense.\n- Sentence 3 (optional): a direct quote from a person in the photo, attributed with \u201csaid.\u201d This can be more than one sentence, kids often give hilarious answers to questions!\nThe group caption may be used next to a small group of photos. A group caption saves space while summing up the action going on in all of the photos in the group. Group captions should be limited to groups of five photos or less for readability. Group captions can follow the same guidelines as standard captions, but sentence 1 and 2 can be combined. If you\u2019d like to use a direct quote, you can use just one or a few depending on the group of photos.\nIdentification (or \u201cident\u201d) captions are simply a name and grade level. These are ideally only used for portrait photos or cutouts. You can also create an extended identification by using a name and a small amount of detail in one sentence. For example: Jenny Long (4) runs on the playground.\nQuote only captions are just what the sound like; a quote accompanying a photo. These captions are intended to tell a story from the perspective of the student or person pictured. Students should be attributed with their full name and grade.\nUse emotion and storytelling\n- Example: Justin Malecha (5) waves to his parents in the audience as he walks across the stage to receive his diploma. The air was buzzing with excitement as the whole school celebrated their graduating students who would soon be moving up to Middle School. \u201cI\u2019m really excited! I think middle school will be fun, but I\u2019ll also miss my teachers. I want to see what they have for lunch at Fairville,\u201d Malecha said.\nCaptioning posed photos\nAvoid passive language\nObviously, don't be obvious\nSpellcheck your heart out\nNeed some practice? Find some images of people on Google or on your phone and practice writing captions. What are the subjects doing? What are they saying? What\u2019s the story?", "id": "<urn:uuid:a2d6ca7f-3a94-43ae-8186-4c54c1fdde58>", "dump": "CC-MAIN-2021-17", "url": "https://schoolannual.com/2018/10/01/how-to-write-and-use-photo-captions/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00375.warc.gz", "language": "en", "language_score": 0.9362509846687317, "token_count": 709, "score": 4.03125, "int_score": 4}
{"text": "What are the qualities of Brechtian Theatre?\nExamples of this include the use of projections, a narrator, harsh lighting, minimal set, lack of names for the characters, and the use of song ironically.\nActors should portray the characters but never become them..\nWhat is a Brechtian moment?\nThe distancing effect is a technique used in theater and cinema that prevents the audience from losing itself completely in the narrative, instead making it a conscious critical observer.\nWhat are Artaud techniques?\nArtaudian Techniques. Visual Poetry \u2013 movement, gesture and dance instead of word to communicate; Used music, sound effects \u2013 stylised movement \u2013 emotional impact.\nWhat is the magic if?\nIf. Stanislavski said that the character should answer the question, \u2018What would I do if I was in this situation? \u2018 Also known as the \u2018magic if\u2019, this technique means that the actor puts themselves into the character\u2019s situation. This then stimulates the motivation to enable the actor to play the role.\nHow did Brecht alienate his audience?\nThe alienation effect was Brecht\u2019s principle of using innovative theatrical techniques to \u201cmake the familiar strange\u201d in order to provoke a social-critical audience response. Bertolt Brecht, German leftist playwright and director, had nothing but disdain for the conventional, commercial \u201cbourgeois\u201d theater of his time.\nWhat are Brechtian techniques?\nSome of the most known Brechtian techniques include the following: Narration: Brecht enjoyed using narrative to remind the audience that they were watching a story and not realism. \u2026 Breaking the Fourth Wall: Brecht\u2019s plays included the breaking of the wall between the audience and the actors.\nWhat are the techniques used in drama?\nThey can enhance performance skills such as character development and storytelling and be used across the curriculum to actively involve students in their own learning.3D Living Pictures. \u2026 Action Clip. \u2026 Conscience Alley. \u2026 Cross-Cutting. \u2026 Developing Freeze Frames. \u2026 Flashbacks and Flash Forwards. \u2026 Forum Theatre. \u2026 Freeze Frames.More items\u2026\nWhat were Brecht\u2019s main ideas?\nHis work was often mischievous, provocative and ironic. Brecht wanted his audiences to remain objective and unemotional during his plays so that they could make rational judgments about the political aspects of his work. To do this he invented a range of theatrical devices known as epic theatre.\nWhy is Brecht so important?\nWhy is Brecht so important? Bertolt Brecht was a theatre practitioner. \u2026 He wanted to make his audience think and famously said that theatre audiences at that time \u201chang up their brains with their hats in the cloakroom\u201d. In naturalistic or dramatic theatre the audience care about the lives of the characters onstage.", "id": "<urn:uuid:8cc2992d-df3c-47a3-9690-6784a6600c6d>", "dump": "CC-MAIN-2021-17", "url": "https://sale-secure.com/qa/question-what-are-some-brechtian-techniques.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077336.28/warc/CC-MAIN-20210414064832-20210414094832-00055.warc.gz", "language": "en", "language_score": 0.9546664357185364, "token_count": 590, "score": 3.546875, "int_score": 4}
{"text": "Descriptive writing is one of the first styles of writing often taught to young children. It comes more naturally to them than other forms of writing because it is something they use every day when they talk to you. Creative storytelling also falls into that category, but it is a much more complex process to organize and get into paper or print.\nWhen teaching descriptive writing, start by making it practical. Ask your child to describe to you a toy or game that they want for their birthday, a holiday, or that they are saving up for. Ask them to describe it in as much detail as possible so that you know exactly which item they\u2019re wanting. For example, if my son says he wants a Lego Star Wars set, he needs to describe it in detail if I\u2019m to know which one he\u2019s talking about. Kids get this.\nExplain descriptive writing the same way. It\u2019s simply putting into print what they might say when describing something. There are several key steps that you can include to enhance these descriptions.\nStep 1: Use adjectives. If you\u2019re describing a dog, you could write \u201cA dog walked.\u201d That doesn\u2019t tell me much more than that a dog existed and was walking. But the addition of adjectives tells more. \u201cAn impatient, large German Shepherd walked.\u201d Now we know the type of dog that existed, its size, and something about its personality.\nStep 2: Use adverbs. Adverbs describe how the dog walked. \u201cAn impatient, large German Shepherd walked quietly and quickly.\u201d Now we can visualize the dog and what he is doing much more accurately.\nStep 3: Use sensory information. Describe what the dog saw, felt, heard, etc. \u201cAn impatient, large German Shepherd wearing a police vest walked quietly and quickly toward the red fire hydrant.\u201d\nStep 4: Add more details. \u201cAn impatient, large German Shepherd wearing a Secret Service police vest walked quietly and quickly toward the red fire hydrant while on a leash outside the White House.\u201d\nBoth the sentences in Step 1 and Step 4 are accurate, but we can all agree agree that the latter one more accurately describes the full scene. Teach your kids to do this with real, practical scenarios like this one.\nBy the way, this photo was taken on our recent family trip to Washington, D.C. This was my younger son\u2019s favorite thing about visiting the White House.", "id": "<urn:uuid:824ec696-7317-49d0-b845-187725ebf7a7>", "dump": "CC-MAIN-2021-17", "url": "https://www.homeschoolhotlinks.com/single-post/2018/01/19/describe-me", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00375.warc.gz", "language": "en", "language_score": 0.9631462693214417, "token_count": 517, "score": 4.09375, "int_score": 4}
{"text": "Using Comic Art to Improve Speaking, Reading and Writing uses children's interest in pictures, comics and graphic novels as a way of developing their creative writing abilities, reading skills and oracy. The book's underpinning strategy is the use of comic art images as a visual analogue to help children generate, organise and refine their ideas when writing and talking about text.\nIn reading comic books children are engaging with highly complex and structured narrative forms. Whether they realise it or not, their emergent visual literacy promotes thinking skills and develops wider metacognitive abilities. Using Comic Art not only motivates children to read more widely, but also enables them to enjoy a richer imagined world when reading comics, text based stories and their own written work.\nThe book sets out a range of practical techniques and activities which focus on various aspects of narrative, including:\n- using comic art as a visual organiser for planning writing\n- openings and endings\n- identifying with the reader, using different genres and developing characters\n- creating pace, drama, tension and anticipation\n- includes 'Kapow!' techniques to kick start lessons\n- an afterword on the learning value of comics.\nThe activities in Using Comic Art start from this baseline of confident and competent comic-book readers, and show how skills they already possess can be transferred to a range of writing tasks. For instance, the way the panels on a comic's page are arranged can serve as a template for organising paragraphs in a written story or a piece of non-fiction writing. The visual conventions of a graphic novel - the shape of speech bubbles or the way the reader's attention is directed - can inform children in the use of written dialogue and the inclusion of vivid and relevant details.\nA creative and essential resource for every primary classroom, Using Comic Art is ideal for primary and secondary school teachers and TAs, as well as primary PGCE students and BEd, BA Primary Undergraduates.\n|Publisher:||Taylor & Francis|\n|Product dimensions:||6.75(w) x 9.75(h) x 1.60(d)|\nAbout the Author\nA former teacher, Steve Bowkett is now a full-time educational consultant, writer and storyteller. He is the author of more than forty books including Jumpstart! Creativity and Imagine That.\nTable of Contents\nSection 1 Scene Setting and Story Structure. 1. Strong openings. Comic Art (CA) panels with dialogue to prompt further thinking. 2. Opening lines. What would the first few panels look like? 3. What do you want the reader to see? The artful use of a few small important details (SIDs). 4. What to put in, what to leave out. Learning brainstorming and association. Choosing details. 5. Directing the reader\u2019s attention. CA panels used as a visual analogue to text. Imagining a CA page gives insights into structuring written scenes. 6. Scenario cards. CA panels / pages that set a scene and get the story moving. 7. Choice of words. Tips for effective writing plain and simple, say what you want to say and no more etc. Ref stereotyping, exaggeration / superlatives. 8. Parts of speech. Linking the jobs words do with the above activities. Use strong and vivid PoS but don\u2019t overwrite. Ref punctuation. 9. Connectives. Connectives as a \u2018narrative glue\u2019 to stick scenes together. 10. Don\u2019t have an idea have lots of ideas. Three statements, change one word or aspect (of a CA panel?) to suggest a different story. 11. The if-then game for creating many story ideas. 12. Scene changes. CA panels in short sequences to highlight the effects of connectives on the imagination. 13. Foreshadowing. Including a detail early on that becomes important later on. Ref a platform of reasons. Combine with if-then game (if an amulet appeared on page one, what might the consequences be at the climax / end of the story?) 14. Cliffhangers. Using CA panels to suggest cliffhangers and give practice in writing cliffhanger sentences. 15. Subplots. Simple subplotting techniques. CA techniques and conventions for blending subplots into the main story. 16. Flashbacks. Using ideas from subplotting to create flashbacks. 17. Drawing as a visual shorthand. Stories don\u2019t have to be planned in words. Mix n match CA selection to create \u2018plots in a nutshell\u2019. 18. Storyboarding. Visual techniques for plotting narrative (Nick Fury\u2019s Howling Commandos also ref dialogue / writing frames). 19. Strong endings. CA panels to prompt vivid endings. Last-line examples. What would the CA panel look like? 20. Prompter sentence grid. 6x6 roll dice to choose a first sentence and a last sentence. Choose a sentence if stuck re plotting to suggest what might happen next. 21. Comic combos. A selection of CA scenes with gaps for writing. 22. A platform of reasons. Believable stories have an internal logic and consistency. Ref characters / staying in character, genre. Section 2 Characters. 23. Creating quick characters. Character ticksheet. Coin flip game to \u2018meet someone new\u2019. 24. Character zoo. A selection of character faces. Think about their background, what role each would play in a story. What if two of these characters met? 25. Reading faces. Describing drawn faces / noticing details (ref SIDs). 26. I\u2019m sorry. Say \u2018I\u2019m sorry\u2019 with different facial expressions. How does voice tone alter with facial expression? Link to adverbs-for-feeling. 27. Don\u2019t just stand there. Interpreting body posture. 28. Caricature. Sometimes caricature (using similes / exaggerations) can bring a character to life but use sparingly. 29. Stereotyping. Stereotyping as a visual / written shorthand. \u2018Toning down\u2019 stereotyped characters. Making small but important changes to stereotyped characters. 30 .Dialogue. Use dialogue to establish / develop character, enhance the scene / atmosphere, move the story on. Ref CA conventions for dialogue. 31. What do I think? CA conventions for internal dialogue. Ref to first and third person writing. Section 3 Pace and Atmosphere. 32. Zoom! CA conventions for changing pace, moving the eye quickly across the page. 33. Link the above with written techniques, ref. Connectives, strong verbs / adverbs and punctuation. 34. What\u2019s the point? The value of punctuation to clarify meaning a few quick activities on this. 35. In the mood. CA panels to suggest various moods, ref. to a few small details. Writing activities to practise this. 36. Action scenes. Consolidate several ideas previously visited. CA panels written up as brief action scenes. 37. Creating tension. Tips for doing this. Examples of CA plus written. Section 4 Taking It Further. 38. Genre. CA panels to introduce conventions and motifs of some genres. 39. More on conventions of the genre what we would \u2018conventionally\u2019 expect to find in certain genres. Activity: make a genre board to such conventions. 40 .More on motifs. Motifs defined as the details included in a story that defines and describes a genre. Ref details, dialogue. 41. Comic Art and non-fictional writing. Using drawing as a planning strategy for essays, news articles, argumentative / debate pieces. 42. CA and topic work. Using \u2018the vocabulary of the subject\u2019 and drawing techniques to explore topic areas. 43. Famous Artworks. Some tips linking ideas in Kapow with interpreting and discussing famous artworks. 44. Doorway into Text. Tips and activities linking ideas in Kapow with strategies for analysing and discussing text. 45. Tony\u2019s writing frames. References / Bibliography / Index.", "id": "<urn:uuid:34b67ca9-01eb-4b98-9ae9-e2b3750295f2>", "dump": "CC-MAIN-2021-17", "url": "https://prerelease.barnesandnoble.com/w/using-comic-art-to-improve-speaking-reading-and-writing-steve-bowkett/1029382010", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077810.20/warc/CC-MAIN-20210414095300-20210414125300-00414.warc.gz", "language": "en", "language_score": 0.902684211730957, "token_count": 1651, "score": 3.859375, "int_score": 4}
{"text": "Engaging with children\u2019s voices\nExperiences of relationships and participation in communities contribute to children\u2019s belonging, being and becoming.\nFrom birth, children experience living and learning with others in a range of communities. These might include families, local communities or early childhood settings. Having a positive sense of identity and experiencing respectful, responsive relationships strengthens children\u2019s interest and skills in being and becoming active contributors to their world (DEEWR, 2009, p. 25).\nChildren are competent humans who have the inherent right and capability to contribute to decisions that affect their lives. Such is the assertion of Article 12 of the United Nations Convention on the Rights of the Child (UN, 1989):\nWhen adults are making decisions that affect children, children have the right to say what they think should happen and have their opinions taken into account.\nLet\u2019s be quite clear\u2014Article 12, and indeed the other articles in this children\u2019s rights charter, do not grant children these rights but rather recognise the rights children inherently have that are part and parcel of human rights for everyone.\nLong have we known from early childhood theories, research and practice that children are active constructors of meaning, with voices to be heard and the capacity to express their views with wisdom and insight. Children are key informants and experts on their own lives (McNaughton, 2002) and, indeed, are our best source of advice for matters affecting them (Osborn & Bromfield, 2007).\nThe view of children as active citizens and learners imbues Australia\u2019s Early Years Learning Framework (DEEWR, 2009). Outcome 2\u2014\u2018Children are connected with and contribute to their world\u2019\u2014is especially relevant to children\u2019s participation as active citizens and learners.\nThis outcome includes:\nChildren develop a sense of belonging to groups and communities and an understanding of the reciprocal rights and responsibilities necessary for active community participation (DEEWR, 2009, p. 26).\nUNICEF\u2019s framework and vision for child friendly cities (UNICEF Innocenti Research Centre, 2001) frames ways in which a child-friendly city is committed to the fullest implementation of the UN Convention on the Rights of the Child. It guarantees, among other rights, the right of every young citizen to influence decisions about their city, express their opinion on the city they want, participate in family, community and social life, and be an equal citizen of their city with access to every service, regardless of ethnic origin, religion, income, gender or disability.\nBut what does it mean for young children to influence decisions and be a citizen in a community where they feel they belong? What does it mean for us to recognise and honour children\u2019s rights as active learners and citizens?\nThese questions lie at the heart of the recent statewide consultations with 350 young children across South Australia, in which I was recently involved as an advisor and documenting researcher. My research into the consultations provided rich insights into factors that contributed to the success of these consultations, challenges that arose, and ways in which the processes might be enhanced. These insights came from interviews, observations, document analyses, and artefacts created by children, all of which took stock of the voices and perspectives of those involved\u2014children, educators, families and policy-makers. This study resonates with research conducted elsewhere in Australia and overseas, while providing fresh insights into the processes involved in consulting with young children.\nThe consultations were conducted by early childhood educators at children\u2019s services, and were framed by the Early Years Learning Framework, the UN Convention on the Rights of the Child, and UNICEF\u2019s child\u2013friendly cities framework. The question at the heart of these consultations with children was:\nWhat is important to children in their communities and what do children wish for in their lives?\nThis key question led the study to explore the places children go in their everyday lives and the activities, sights, feelings and people they experience there, as well as what they enjoy or don\u2019t enjoy, and what they would like to experience.\nThese consultations were not one-off events and involved sustained engagement over time. Following careful preparation, an all-day professional development workshop was held for educators on principles and strategies for implementing the consultations. Key principles included authenticity, ethics, and accuracy and documentation.\nBroad strategies for each site were suggested, which educators tailored to their particular children and communities. Their strategies drew on multiple ways of making meaning and included role-play, photography, visual arts, music, dance, song and storytelling. Central to these strategies was the art of conversation with children. This art involves how we hand the floor to children; don\u2019t put words in children\u2019s mouths; pose provocative questions or prompts; probe and clarify children\u2019s views; and use projection techniques such as \u2018What do you think \u2026?\u2019 or \u2018Why do you want \u2026?\u2019 that explicitly put children\u2019s views at the heart of the consultations.\nThe themes that emerged from children\u2019s messages about what is important to them were summed up as:\n- enjoying and looking after the environment\n- being with family and friends\n- engaging in activities and public events, including play\n- playing with and looking after animals\n- sharing meals and snacks with loved ones out-and-about\n- associating places and experiences with how they feel\u2014for example: happy, safe, scared (setting apart risky\n- experiences in which they \u2018liked scary\u2019)\n- having transport to be able to get from place to place and to things children want to be able to experience\n- being able to do now what grown-ups do, such as having a child-sized kitchen so they, too, can cook\n- being able to participate and have an opportunity to express their point of view.\nEqually striking, but a little unexpected, was the transformative impact on educators and everyone else involved. The consultations were a journey of discovery\u2014discovering children\u2019s perspectives, and educators discovering new aspects about their own work with children in relation to what became possible in this consultative space. As one educator excitedly put it, \u2018We could hear the children\u2019s voices. We could hear their passion\u2019.\nThe integrity of the children\u2019s voices was honoured from the consultations through to the final report. When a senior state government policy-maker received the report, she said, \u2018It was still in children\u2019s own words and it\u2019s still their ideas and it was really clear. I use the words, \u201cthe honesty of the process\u201d\u2019.\nLeaving the last words to children\u2014what else in a paper about children\u2019s voices?\u2014one child summed up the consultation experience when he observed, \u2018This is not normal kindy!\u2019\nProfessor Pauline Harris\nThe Lillian de Lissa Chair in Early Childhood (Research), University of South Australia and SA Department for Education and Child Development\nDepartment of Education, Employment and Workplace Relations (DEEWR) (2009). Belonging, Being and Becoming: The Early Years Learning Framework for Australia. Canberra: DEEWR.\nMcNaughton, S. (2002). Meeting of minds. Wellington, NZ: Learning Media Ltd.\nOsborn, A., & Bromfield, L. M. (2007). Participation of children and young people in care in decisions affecting their lives. National Child Protection Clearinghouse Research Brief No. 6. Melbourne: Australian Institute of Family Studies.\nUNICEF Innocenti Research Centre (2001). Building child friendly cities: a framework for action. Retrieved 23 February, 2012, from http://www.childfriendlycities.org.\nUnited Nations (UN) (1989). United Nations Convention on the Rights of the Child. Retrieved 23 February, 2012, from\nEvery Child magazine \u2013 vol. 18 no. 3, 2012.\nDon\u2019t forget, Every Child is tax deductible for early childhood professionals\nYou can purchase this issue of Every Child magazine now.", "id": "<urn:uuid:504d0dcc-e929-4fd3-a255-f5a97a607cfb>", "dump": "CC-MAIN-2021-17", "url": "http://www.earlychildhoodaustralia.org.au/our-publications/every-child-magazine/every-child-index/free-articles/engaging-childrens-voices-free-article/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00494.warc.gz", "language": "en", "language_score": 0.9539084434509277, "token_count": 1664, "score": 3.703125, "int_score": 4}
{"text": "Good spoken language skills underpin literacy development and support thinking and reasoning skills crucial to learning across the curriculum. Language development steadily builds on the solid foundations that are established during the early years. Children learn language by hearing good examples around them every day. Their attention, listening, understanding, vocabulary, speech, grammar, storytelling and conversations all develop further in terms of skills, knowledge and complexity as they mature. Building relationships and emotional development also rely on the ability to effectively communicate. Many children and young people at risk of under-achieving have weaker language skills; a focus on spoken language can help to reduce this gap in attainment. Spoken language skills develop in a supportive environment where opportunities and encouragement to talk and listen are provided and where adults take time to listen as well as talk.\nThe Spoken Language Programme for Years 1-6 follows 12 statements that build on the EYFS curriculum where children will be taught to:\n1. Listen and respond appropriately to adults and their peers\n2. Ask relevant questions to extend their understanding and knowledge\n3. Use relevant strategies to build their vocabulary\n4. Articulate and justify answers, arguments and opinions\n5. Give well-structured descriptions, explanations and narratives for different purposes, including for expressing feelings\n6. Maintain attention and participate actively in collaborative conversations, staying on topic and initiating and responding to comments\n7. Use spoken language to develop understanding through speculating, hypothesising, imagining and exploring ideas\n8. Speak audibly and fluently with an increasing command of standard English\n9. Participate in discussions, presentations, performances, role play, improvisations and debates\n10. Gain, maintain and monitor the interest of the listener/s\n11. Consider and evaluate different viewpoints, attending to and building on the contributions of others\n12. Select and use appropriate registers for effective communication\nSupport that can be provided at home to help scaffold and accelerate children's development includes:\n- Modelling for children what is meant by \u2018good listening\u2019\n- Giving children the time to understand what has been said to them before expecting a response\n- Developing the expectation that children should understand what they hear and if they don\u2019t they should have the skills and confidence to ask for clarification\n- Talking about new words when they arise and helping children to make links with words they already know\n- Modelling good communication skills by speaking clearly and in sentences that aren\u2019t too long and complicated\n- Encouraging every-day exposure to precise and increasingly ambitious vocabulary choices\n- Breaking down the skills needed to work in a group and giving children opportunities to practise these skills\nIf you would like further guidance about how to support your child's spoken language development, please see your child's teacher and/or Miss Haji and Mrs Emery.\nPop up Poets\nChildren's own poetry\nYear 6 English Challenge\nThere once was a fellow named Paul\nwho went to a fancy-dress ball\nhe thought he would risk it\nso he went as a biscuit\nbut a dog ate him up in the hall!\nThis year's English Challenge will be held internally: each Year 6 class team will compete against the other across both school sites. Our challenge will soon be scheduled for the spring term.\nLast year, much fun was had with poems and limericks. Once learnt, these are often fondly remembered into adulthood. All children are invited to pop-up in an assembly, or in their own classrooms, to recite any poetry they have learnt by heart and would like to share. Although it can be initially somewhat daunting, children really do enjoy this experience once they try it, so please encourage this at home if you can.\nPupil Governor Hustings\nWe are very proud of our Year 6 candidates who were articulate, passionate and brave when pitching their ideas to an audience of their peers in a KS2 assembly. They also had the added challenge this year of having to do this over Zoom. Having listened to their ideas we are hopeful, as theirs are the voices who will speak for us in the future. Well done Eilidh in being elected as Pupil Governor (your first meeting has already been a great success!). Congratulations to Pavlos and Annahita for their election in the supporting role of Deputy.", "id": "<urn:uuid:3465e78e-3093-4022-87e1-23be3421953a>", "dump": "CC-MAIN-2021-17", "url": "https://www.hardwickandcambourneprimary.co.uk/spoken-language-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038076454.41/warc/CC-MAIN-20210414004149-20210414034149-00335.warc.gz", "language": "en", "language_score": 0.9630250334739685, "token_count": 876, "score": 4.46875, "int_score": 4}
{"text": "Noggin: Yes, Your Kid Can Code!\nIn this Noggin article, our co-founder and Chief Scientist, Dr. Marina Umanschi Bers, describes that coding isn\u2019t just a STEM skill; it\u2019s about playgrounds and literacy.\nThe article reads in part:\n\u201cCoding is like a playground because it\u2019s the ability to create anything you want,\u201d Dr. Bers said, adding that \u201cplaygrounds\u201d support open-ended creative play, as well as social interactions, language development, and problem solving.\nShe contrasts \u201cplaygrounds\u201d and \u201cplaypens,\u201d which are more limited, giving children just one way to play and just one \u201cright answer.\u201d\nOpen-ended, creative play with \u201cplayground\u201d technologies \u2014 like ScratchJr and KIBO fuels healthy early development and turns kids into creative problem solvers.\n\u201cWhen little children are learning how to read and write, they are learning to express themselves. It really empowers individuals because reading and writing is associated with thinking. The same is true for coding. Learning how to code engages children in problem solving, but also in using the power of computation to create new kinds of things and new kinds of projects and think in abstract, logical ways.\u201d\nDr. Bers says that when families bring storytelling into coding, it becomes more fun and engaging for all kids, and especially for girls.\n\u201cSomehow coding has been co-opted by problem solving,\u201d she said. She recommends that parents instead ask their kids questions that help them think about coding as storytelling, such as \u201cWhat question do you have?\u201d or \u201cWhat stories do you want to tell?\u201d\n\u201cIn technological playgrounds, children have ideas\u2026They can carry out those ideas.\u201d\n8 Ways Parents Can Turn Coding and Robots into Playgrounds and Literacy for Kids\nDr. Bers shared 8 on-screen and off-screen ways parents can transform coding and robotics into playgrounds and literacy for their children.\n1) Play with \u201ccause and effect.\u201d\n2) Play with sequence.\n3) Play with patterns.\n4) Give your kids access to developmentally appropriate programming tools like ScratchJr or KIBO\n5) Remember that there are \u201cplayground\u201d robots and \u201cplaypen\u201d robots. Nudge your child toward the ones that are \u201cplaygrounds.\u201d\n6) Remember that not all robots look like steampunk spaceships!\n7) Spot the robots!\n8) Make sure kids are in control!\nRead the full article.", "id": "<urn:uuid:563238a1-d9e3-47b8-bdeb-d47b4875da0a>", "dump": "CC-MAIN-2021-17", "url": "https://kinderlabrobotics.com/blog/media-coverage/noggin-yes-your-kid-can-code/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00335.warc.gz", "language": "en", "language_score": 0.951528012752533, "token_count": 563, "score": 3.71875, "int_score": 4}
{"text": "Get inspiration from pupils' project work - for primary and secondary teachers.\nAn introduction to the Out of Art into Storytelling project, with excerpts from three schools' storytelling performances\nNarrator: Out of Art into Storytelling developed both teachers' and pupils' skills as storytellers. They learned how to immerse themselves in a painting through guided looking, to unravel the stories within them through discussion and drama, and then to tell their own versions.\nThe children initially used story maps to help them remember the stories, but soon they could tell them from memory \u2013 sometimes lasting as long as 10 minutes!\nBoy 1: \"I can see!\" said Tobit. \"Indeed you can.\" But maybe he could see better than Tobias and Sara, because when he looked at Raphael, he didn't see the tribesman who helped him for many miles. No, he saw a man with a light... or could that just be the sun? No, he saw a man with glimmering silver wings. Or maybe it was because he was so blind for so long? But as the light went, so did Raphael. \"Now I can see!\" chuckled Tobit.\nNarrator: Children from Year 1 to Year 6 told their stories to their friends and to their parents. The children's passion was reflected in their writing.\nPupils told the stories in different ways. This animation is the product of a collaboration with the local city learning centre. Pupils were taught animation techniques over which they improvised the voice-over to recount 'The Adventures of Perseus'.\nBoy 2: \"Aha, I\u2019ve got the head! Polydectes will be in trouble!\"\nNarrator: Significantly, the confidence the children had gained from working with paintings with known stories transferred to those without. They succeeded in creating their own stories from paintings that only suggested narrative.\nGirl 1: \"Once, long, long ago, back in the mist of time, Atticus lived in a little town, with his lovely, charming wife...\"\nSee a selection of pupils' project work from Out of Art into Storytelling.\nWhat the teachers say\nKatie Love from Wroughton Junior School, Wiltshire\n\"The biggest thing was enabling me to give the children confidence to be storytellers.\"\nZoe Humberstone from Tealby School, Lincolnshire\n\"It\u2019s been the glue that has brought the curriculum together across the school.\"\nDoris Yohannes, St.Joseph\u2019s Catholic Primary School, London\n\"The paintings add so much atmosphere, so much colour to their writing.\"\nTom Gray from Halstow Primary School, London\n\"From the moment I showed them the paintings, my class was hooked and produced some of the best writing I have ever seen.\"\nIf you are a teacher of primary school-aged children or secondary school English, you could join in our next Out of Art into Storytelling project. Check the website for dates of forthcoming courses.\nSeeing the paintings at the National Gallery is the natural starting point for a project. Find out how to arrange a school visit.\nCambridge University's Faculty of Education evaluated the Out of Art into Storytelling project.\nDominic Wyse and Laura McGarty, University of Cambridge, Faculty of Education:\n\"There is powerful evidence from the participants of the Out of Art into Storytelling project of the potential of pedagogy inspired by visual art to transform pupils' storytelling.\"\nTwenty-five teachers from 11 London schools took part in the pilot Out of Art into Storytelling project. A number of people and organisations contributed expertise to the project. See list of project participants.\nProblems opening files? Get Adobe Reader [External link]", "id": "<urn:uuid:a19b85f1-d453-49e4-ac8a-8f09088775cb>", "dump": "CC-MAIN-2021-17", "url": "https://www.nationalgallery.org.uk/learning/teachers-and-schools/teaching-english-and-drama/out-of-art-into-storytelling/out-of-art-into-storytelling", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00095.warc.gz", "language": "en", "language_score": 0.9693371057510376, "token_count": 768, "score": 3.546875, "int_score": 4}
{"text": "In the United States, one in every five students is a victim of bullying1. When we think of bullying, it\u2019s natural to think of causing physical harm to others. However, many different behaviors, including teasing, social media harassment and exclusion from social groups, are considered bullying. In this post, I will address the different types of bullying, the effects it has on behavioral health, what to do if you suspect your child is a victim of bullying, and actions parents can take if they are concerned their child is bullying others.\nHow Bullying Takes Form\nBullying is repetitive, unwanted behavior indicative of an observed or perceived imbalance of power2. It can take many forms, and may include one or a combination of the below:\n- Verbal Bullying: Teasing, taunting, name-calling and threats\n- Social or Relational Bullying: Peer pressure, spreading rumors, public embarrassment or purposeful exclusion from a social group. Bullies who exhibit these behaviors are often seeking to improve or maintain their social status or harm another\u2019s reputation. This type of bullying is common among young girls and can be more difficult to identify because it is not as overt as other types of bullying.\n- Physical Bullying: Pushing, shoving, punching, tripping or stealing\n- Cyberbullying: The percentage of individuals who have experienced cyberbullying doubled between 2007 and 20163. Cyberbullying includes harassment via social media, text messaging, instant or direct messages, online forums and chat rooms, email, or other digital media.\nBullying and COVID-19\nBullying behaviors, especially cyberbullying, have increased as a result of the COVID-19 pandemic4. The pandemic has increased the time children are spending online and in front of screens, which puts them at higher risk.\nWe have also seen a spike in racially charged bullying, as parents of Asian-American children have reported mistreatment from both kids and adults who make disparaging remarks or exclude them due to the pandemic5.\nIt\u2019s understandable to feel overwhelmed in light of all that is going on, but it\u2019s more important than ever to keep tabs on your child\u2019s activity and to model healthy behaviors at home.\nWhat To Do If You Suspect Your Child is Being Bullied\nIf you believe your child is a victim of bullying, the first thing you should do is to help your child understand it\u2019s not their fault. Don\u2019t assume they did anything to provoke the bullying, and allow them to explain the situation and express their feelings. Some additional tips:\n- Let your child know that what\u2019s happening to them is wrong and you\u2019re proud of them for coming forward.\n- Contact your child\u2019s school and make them aware of the issue.\n- Teach your child how to contact their teacher or another authority figure at school to report the bullying behavior. Help them understand it is the right thing to do for their safety and for others.\n- Avoid criticizing your child or anything about their bully (apart from their behavior). Don\u2019t encourage retaliation, physical or otherwise.\n- Help your child develop hobbies or interests that help build resilience. These activities include team sports, karate and other hobbies that help self-regulate emotions. It can also help children to make friends outside of school and connect with other children who share their interests.\n- Encourage your child to embrace professional help and underscore that seeing a therapist or counselor is brave and perfectly normal.\n- Create a safe, loving home environment in which your child feels comfortable.\nWhat To Do If You Think Your Child is Bullying Others\nThere is no universal profile for a bully. Children who bully come from different backgrounds, income levels and home situations, but share similar characteristics including lack of empathy, tendency to avoid taking responsibility for their actions, underdeveloped social skills, the need to feel in control, anxiety and depression, and having been bullied themselves.\nIf you suspect that your child may be exhibiting bullying behaviors toward others, there are several steps you should take:\n- Help your child understand what bullying looks like and the impact it has on others.\n- Find out whether your child is experiencing peer pressure or if they are being bullied themselves.\n- Confirm your child is bullying and that their behavior is not a result of a social disability. If your child has a social disability that is causing him or her to lash out at others, work with your child\u2019s school to add bullying prevention goals to their Individualized Education Program (IEP).\n- Try to understand your child\u2019s feelings and what may be causing him or her to turn to bullying behaviors.\n- Let your child know that his or her behavior has consequences, and be specific about those consequences (for example, loss of a privilege or favorite activity).\n- Model healthy behaviors at home, and practice roleplaying situations of bullying to help your child understand acceptable and unacceptable behaviors.\n- If possible, enroll your child in team sports or another activity that requires cooperation and collaboration.\n- Reach out to your child\u2019s school administration to let them know you are aware of the behavior and are working to remedy it. Ask them if they have any resources available to help.\n- Praise your child and practice positive reinforcement when they are behaving well.\n- If the behavior persists, speak with a therapist, psychologist or pediatrician to address the behavior and prevent it from escalating or causing other issues later in your child\u2019s life.\nIt\u2019s important to keep in mind that bullying behaviors can be unlearned and are reparable if addressed in a timely manner. It takes patience and understanding from both parent and child. If bullying behaviors aren\u2019t properly addressed, they can lead to personality disorders or other issues.\nThe Effects of Bullying on Behavioral Health\nWhether a child is a bully, victim or bystander, bullying causes stress, anxiety and mental health conditions. This is why it\u2019s critical to teach all kids how to be empathetic and nonviolent.\nKids who are bullied often experience difficulty in the classroom or express depressive characteristics. Bullying victims are also at heightened risk for suicidal thoughts or behaviors. These are signs that indicate that you should get a professional, such as a guidance counselor or therapist, involved.\nParents should feel empowered to seek professional help for their kids who are victims of bullying or are bullies themselves. In particular, I recommend working with a therapist who specializes in helping kids who are being bullied and/or who practice roleplay and teach empathy. If you are a Blue KC member, you can consult a Mindful Advocate 24/7 or use the Mindful by Blue KC mobile app to identify a professional who fits your and your child\u2019s needs. For additional resources, visit StopBullying.gov or the National Bullying Prevention Center.", "id": "<urn:uuid:25b32a02-f5a3-44cb-8537-bd77239ca48e>", "dump": "CC-MAIN-2021-17", "url": "https://www.bluekc.com/blog/what-every-parent-should-know-about-bullying-and-behavioral-health/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00336.warc.gz", "language": "en", "language_score": 0.9500231146812439, "token_count": 1419, "score": 3.9375, "int_score": 4}
{"text": "The War In Mexico Was Between The United States And Mexico (Movie Review Sample)\nPlease write five paragraphs of reflective writing. You may use the following:\n1. Lecture notes\n2. The American People textbook, chapters 1 to 4\n3. The Annual Editions book, any article in Unit 1\n5. The Invasion of Mexico documentary and the Salem Witchcraft Documentary\nClick here to watch a documentary about the invasion of Mexico. (Links to an external site.)Links to an external site.\nClick here to watch a documentary about the Salem Witch Trials\nThe war in Mexico was between the United States and Mexico that started in 1846 up to 1848. The movie invasion of Mexico directed by Jim Lindsay highlights the nature and outcome of the sixteen-month conflicts that transform the continent. The movies begin with border dispute that soon resulted in a 16 month war; the documentary series explores the events that resulted in the dispute between the US and Mexico (JLFilms, 5).\nThe movie highlights issues of land, power, and identity. Mexico lost half of its territory, but the outcome of the war transformed not only the two countries, but it also shifted the balance of world powers shaping the destinies of these nations (JLFilms, 7). The movie four segments presents issues, including neighbors and strangers, wars for the borderlands, the hours of sacrifice and the fate of the two nations. The director analyzed the conflict from both sides presenting historical scenery filled with unforgettable characters like the Mexican president, general Zachary Taylor and Winfield Scott (JLFilms, 3).\nIn any war, both sides are always affected be it long term or short term. Even though the US acquired half of Mexico, it was at the expense of its citizens because the border dispute resulted in civil war. Mexicans were forced to think about how to recreate their country. Analyzing the documentary gives us important knowledge about history and helps us explain the present and learn from the past.\nSimilarly, Salem witch trials movie, directed by Joseph Sargent present historical events in Salem. Salem witch trials are series of hearings brought before the county court to persecute individual known to be practicing witchcraft (Allison, 11). The movie depicts what happened in places like Massachusetts in the 17th century showing how witchcraft practices was condemned and people were persecuted without fair trials. People lived in fear; they were cautious in their words and actions.\nThe movie begins with fire and a woman losing her th...\nYOU MAY ALSO LIKE\n- Relationship Essays\n- Plagiarism Essays\n- Poems Essays\n- Identity Essays\n- Vaccination Essays\n- Death penalty Essays\n- Cold war Essays\n- Song analysis Essays\n- Animal cruelty Essays\n- Kill a mockingbird Essays\n- Homeless Essays\n- Salem witch trials Essays\n- Medicinal marijuana Essays\n- The yellow wallpaper Essays\n- Fear Essays\n- Freedom of speech Essays\nYou Might Also Like Other Topics Related to civil war:\n- Republic of Angola: A Country in Southern AfricaDescription: These lead the way to the origin and developmental stories of the state that continues to write itself as each year passes....6 pages/\u22481650 words | 5 Sources | APA | Social Sciences | Reaction Paper |\n- The Reasons Underlying Failed States Research PaperDescription: In this paper, we are going to highlight the factors leading to failure of states; more particularly in the developing countries...6 pages/\u22481650 words | 7 Sources | APA | Creative Writing | Research Paper |\n- QLS US History - Fog of War Essay Writing AssignmentDescription: What is the concept of proportionality in warfare, and to what extent, if at all, should our country consider this as a guideline in war?...3 pages/\u2248825 words | 1 Source | APA | History | Essay |", "id": "<urn:uuid:2d7c8fa3-dcec-4d69-8e73-75dc02f7621b>", "dump": "CC-MAIN-2021-17", "url": "https://essayzoo.org/movie-review/mla/history/war-between-united-states-mexico.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039560245.87/warc/CC-MAIN-20210422013104-20210422043104-00576.warc.gz", "language": "en", "language_score": 0.9073240160942078, "token_count": 804, "score": 3.5, "int_score": 4}
{"text": "In an era where children spend more and more time in front of televisions, computers and video-games, it is important not to forget how important stories are!\nHearing stories regularly allows pre-readers become familiar with narrative patterns, speech rhythms, and the flow of language.\nKnowledge of story structure contributes to a child\u2019s understanding of how the world functions. This facilitates some important skills:\n\u2013 Predict actions and consequences\n\u2013 Understand cause and effect\nAn understanding of narrative structure reduces the processing load and facilitates the use of prediction to aid comprehension and word recognition\nThe ability to comprehend and express stories is an integral part of life and academic success:\n- It allows the child to sequence ideas or information\n- It promotes reasoning skills such as inferential thinking and problem solving.\n- It encourages the use of complex sentence structure and vocabulary and correct grammar.\n- Reading stories helps with the development of listening skills and memory.\n- Storytelling fuels the imagination and allows children to develop mental imagery.\n- Stories help children adapt to new experiences\nNarrative language skills in pre-school and early primary school are excellent predictors of literacy skills in later primary school.\nHow do children develop story-telling/narrative skills?\nChildren as young as 20 months, have elements of storytelling in their play. Once verbal language develops it can be classified into developmental stages.\nStage 1: Heap Stories (2 years)\nHeaps consist of labels and descriptions of events or actions. There is no central theme or organization. There is no real high point.\nStage 2: Sequence Stories (2 -3 years)\nSequences consist of labeling events about a central theme, character, or setting. There is no plot. The events could be listed in any order without changing the meaning.\nStage 3: Primitive Narratives (3 \u2013 4 years)\nPrimitive narratives contain three of the story grammar elements: an initiating event, an action, and some result or consequence around a central theme. There is no real resolution or ending to the story.\nStage 4: Chain Narrative (4 \u2013 5 years)\nChain narratives include four of the story grammar elements: an initiating event, a plan or character motivation, an attempt or action, and some result or consequence around a central theme. There is usually either cause-effect or temporal relationships, but the plot is weak and does not build on the motivations of the characters.\nStage 5: True Narrative (5 years +)\nTrue narratives have a central theme, character, and plot. They include motivations behind the characters\u2019 actions and include logical and/or temporally ordered sequences of events. Stories at this stage include five story grammar elements: an initiating event, a plan or character motivation, an attempt or action, a consequence, and a resolution to the problem.\nWhy do children like the same story?\nThe \u2018read it again\u2019 phase that preschoolers go through is perfectly normal.\nIt gives children a sense of control because they know what is on the printed page but cannot read it themselves. Children memorize the text by hearing the story over and over again.\nToddlers love repetition because that the way they learn best. Hearing something many times helps them remember information for increasing periods of time. Hearing a story over and over helps children better understand the characters and the important events in the story. Children get an idea of story sequencing, as in beginning, middle and ending of a story. It also helps children understand some of the standard story \u201clanguage\u201d such as \u201conce upon a time\u201d or \u201chappily ever after\nOnce your child has learned something, he\u2019ll enjoy repetition because he can anticipate what comes next. After many readings of a familiar book, your child may even remember it well enough to add the endings to most of the sentences. This accomplishment means that he can participate more actively in story time. This is also why simple songs and nursery rhymes have such an impact on a toddler: Not only can your child practice his speaking skills and vocabulary by singing \u201cRow, Row, Row Your Boat\u201d nine times in a row, but he also has the satisfaction of feeling he\u2019s added something concrete to his repertoire.", "id": "<urn:uuid:1b065ec2-bc47-4124-8550-5ea231734f4f>", "dump": "CC-MAIN-2021-17", "url": "https://talkingtalk.co.za/story-time/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00296.warc.gz", "language": "en", "language_score": 0.9312960505485535, "token_count": 873, "score": 4.25, "int_score": 4}
{"text": "A Met Office hackathon has produced a wide range of innovative ideas for ways to bring together data and other information to improve the UK\u2019s resilience to a changing climate. Virtual 3-D visualisations, storytelling, interactive...\nFuture climate change is likely to have a serious impact on two of the UK\u2019s agricultural staples, dairy farming and potato growing, according to a recent paper published by Met Office scientists.\nThe authors found that future thermal heat stress in dairy cattle is likely to be greatest across England, and particularly in the South East around the London area, where in 30 \u2013 50 years\u2019 time there may be up to 2 months more per year where cattle are stressed, compared to the present day. In the South West, the region that contains the most dairy cattle, there may be ten times more days per year on average when cattle are stressed.\nPotatoes are vulnerable to a disease called late blight, which occurs in warm, humid weather. The conditions where blight occurs are likely to occur more often in the future across the UK, with the greatest increases in western regions. Most potatoes are grown in the east of the UK, where potato blight occurs less often, and so there are likely to be smaller increases in these key regions for potato growing (20-30% increase in potato blight occurrence). However, in east Scotland, a region which currently has a high concentration of potato farming, potato blight may occur around 70% more often.\nThe research provides maps of how likely heat stress and potato blight conditions are to occur across each 12 km grid box of the UK, which can provide adaptation planners with important local information about where action needs to be taken. The scientists also combine hazard information with vulnerability information (e.g., the threshold at which heat stress is going to be harmful) and exposure information (e.g., where cattle are raised) to produce risk estimates of which UK regions have greatest risk now and in the future.\nBoth food for cattle, crops for humans, and potato growing are all likely to be affected by drought, which we tend to experience when we have particularly hot dry summers, such as 2018. Recently, another group of scientists from the Met Office demonstrated that the summer temperatures of 2018 may occur every one in two years by the middle of the century (McCarthy et al 2019). In this work, the scientists also look at how often we are likely to see both hot and dry months during summers through the twenty-first century, and how this is likely to increase.\nThe new research shows how examples of a particular type of weather hazard, called a compound event, are likely to change under twenty-first century climate change. Compound events happen when one or more weather hazards occur at the same time, for example, very hot and very dry weather, or very windy and very wet weather. We often experience more serious impacts when two weather hazards occur together rather than separately, or when they occur close in time or close in space. Both case studies involving thermal heat stress and potato blight conditions occur when temperature and humidity combine.\nThe number of days per year that are projected to be warm and humid enough to cause mild heat stress in dairy cattle in 2051 \u2013 2070 compared to 1998 \u2013 2017 (averages across administrative regions).\nThe estimates of future change are made using the UK Climate Projections focusing on projections of the future climate under the RCP 8.5 scenario. This is a high emissions scenario above estimates for current global emissions policies, but which enables consideration of 2\u20134 \u00b0C of global temperature increase over the 21st century, the range for which the Committee for Climate Change (2019) recommends UK sectors should plan adaptation*.\nA more detailed non-technical summary of the research is available here. This project is part of the Met Office work package, From climate hazard to climate risk.\nThis work was funded under the Strategic Priority Fund for UK Climate Resilience. The UK Climate Resilience programme is supported by the UKRI Strategic Priorities Fund. The programme is co-delivered by the Met Office and NERC on behalf of UKRI partners AHRC, EPSRC and ESRC.\nGarry, F., Bernie, D., Davie, J., Pope, E. 2021. Future climate risks to UK agriculture from compound events. Climate Risk Management for inclusion in Special Issue on \u201cUK Climate Risk Assessment and Management\u201d. https://doi.org/10.1016/j.crm.2021.100282\n*\u2018Although the UK is committed to working for global action to parallel our own adoption of a net-zero statutory target, it is prudent to plan adaptation strategies for a scenario of 4\u00b0C\u2019. Executive Summary, Progress in preparing for climate change \u2013 2019 Report to Parliament, Committee for Climate Change.\nNews & Events\nLast updated April 2021\nHere are the latest news articles and events from the UK Climate Resilience Programme.\nA UK Climate Resilience Programme (UKCRP) lunchtime webinar series in which both researchers and stakeholders participate. The webinars showcase projects conducted for UKRI and by the Met Office for the SPF UK Climate Resilience Programme and...\nFuture climate change is likely to have a serious impact on two of the UK\u2019s agricultural staples, dairy farming and potato growing, according to a recent paper published by Met Office scientists. The authors found...", "id": "<urn:uuid:871be60b-343b-42f0-8385-6275997e033e>", "dump": "CC-MAIN-2021-17", "url": "https://www.ukclimateresilience.org/news-events/increases-to-agricultural-hazards-over-the-next-50-years/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00294.warc.gz", "language": "en", "language_score": 0.9273958802223206, "token_count": 1103, "score": 3.59375, "int_score": 4}
{"text": "ocean habitat video\nSee more ideas about ocean habitat, ocean, ocean unit. Bottom Layer of the Ocean Try the activity and quiz below to test what you've learned about ocean habitats. But then hydrothermal vents were discovered. They are mostly divided up by the world's seven continents. Use this interesting, teacher-made PowerPoint to help KS2 children learn all about ocean habitats and how living things under the sea have adapted to suit their ocean habitat.Children will be able to find out about the different types of species that live in different ocean habitats around the world! This is easy to add to any online platform for virtual learning. Lots of different plants and animals live in an ocean habitat , let's find out more by watching this clip. Find high-quality stock photos that you won't find anywhere else. We want to capture children's imaginations through great storytelling, bringing the beauty, awe and fascination of the ocean and its inhabitants alive. Today we will be exploring two different habitats, the kelp forest and the coral reef. Here are the 5 Oceans of the World with a description of each: Pacific Ocean Watch the video to learn all about polar habitats! Fishing is the principal livelihood for over 200 million people and provides the main source of protein for more than a billion. Many institutes and organizations are fighting to protect ocean \u2026 \u2022 Prompts Next. More Ocean information; Animals of the Oceans: Oceans Animals The oceans are home to some of the world\u2019s most delicate and beautiful habitats. Humans rely on the oceans for their important natural resources. Study improves ability to predict how whales travel through their ocean habitat Date: November 18, 2020 Source: New England Aquarium Summary: Scientists recently published a \u2026 Ocean Habitats Stock Footage 4K Video Download on NatureFootage. Try these curated collections. Most of the open ocean habitats are found in the deep ocean beyond the edge of the continental shelf. Students study the plants, animals, and a life cycle in each habitat. Habitat loss here has far-reaching impacts on the entire ocean's biodiversity. Search for \"ocean habitat\" in these categories. This non-fiction pack includes everything: fact sheets, emergent readers of various levels, pocket chart pieces, vocabulary posters, animal headbands, graphic organizers, and more!You can get all of the habitat packs I We call this major body of water the Ocean. Habitat destruction is one of five global ecological pressures affecting the ocean, along with fishing pressure, climate change (including ocean acidification, water pollution and the introduction of alien species or genotypes. It is suitable for students from preschool to 3rd grade. In the open ocean habitat there's little plant growth. This is an animal habitat Science video to teach about habitats of animals. Oceans contain the greatest diversity of life on Earth. See more ideas about Ocean habitat, Ocean, Ocean themes. Ocean Threats. Human activities are threatening the health of the world's oceans. See ocean habitat stock video clips. Learn about a rainforest habitat with this clip. Ocean Habitats, Inc builds and installs the Mini Reef to provide habitat helping hundreds of fish and crabs grow while cleaning 30,000 gallons of water daily. Explore and appreciate the ocean without interfering with wildlife or removing rocks and coral. The deepest reaches of the ocean were once thought to be devoid of life, since no light penetrates beyond 1,000 meters (3,300 feet). Watch the video to learn all about ocean habitats! Polar habitats are very cold but some wildlife can survive there. KS1 Science Habitats and the environment learning resources for adults, children, parents and teachers. What are marine habitats? \u2022 Share as a group some examples of ocean habitats. These types of human interference present the biggest threat to oceans. Apr 7, 2018 - Explore Sandie Eymer's board \"Ocean habitat\" on Pinterest. Even though the open sea is the largest habitat, it is estimated that only five percent of the world's animal species live there. Go here to learn more about the ocean habitat. Some ocean animals spend most of their life in the waters near the land. Support organizations working to fight habitat destruction and degradation. Join a habitat restoration project and volunteer your time. Ocean Habitat Pack - Everything you need to supplement your ocean habitat theme! Ocean habitats can be divided into two: coastal and open ocean habitats. From the freezing polar regions to the warm waters of the tropics and deep sea hydrothermal vents to shallow seagrass beds, marine organisms abound. Search from Ocean Habitat stock photos, pictures and royalty-free images from iStock. The sea creatures you may see in this habitat are the sharks, jellyfish, whales, tuna, swordfish, squid, and dolphins. Step 2: Play \u201cHabitats\u201d Video & Follow up \u2022 Note: at the end of the video there are two slides with animals from each habitat shown as review. From the depths of the ocean to the top of the highest mountain, habitats are places where plants and animals live. Marine habitats can be very different from each other depending on how warm the water is. neighbor what you think its habitat is like. Pacific Ocean: The Pacific Ocean is the largest ocean and the largest single geographic feature on Earth.It is bound by the western coast of North and South America to the east, the coasts of Asia, and Australia to the west, and the more newly-designated (2000) the Southern Ocean to the south. Over 70% of the Earth\u2019s surface is covered water, and nearly all of that is saltwater from oceans and seas. Explorar v\u00eddeos similares en Adobe Stock Jul 14, 2017 - Explore Connie Sweet-Devers's board \"Ocean habitat\", followed by 221 people on Pinterest. The ocean is divided up into 5 major oceans, but they are actually all connected together. \u2018Marine\u2019 is a word that describes oceans and seas, where water is salty. Learn about these unique regions of our planet. Photos and videos of wildlife, places, and nature from WWF. Also included are many projects to make learning fun. Practice the words whale, ocean,camel, desert, monkey and more with the help of this animal habitat Science video. 1 Minute Read. Most ocean life can be found in coastal habitats on the continental shelf, even if this area occupies only 7% of the total ocean area. Ocean habitats cover over two thirds of the earth's surface. Ocean Habitats, an animated science resource page with lesson plans and teaching tips, for Kindergarten to 3rd grade students, introduces the ocean's layers, deep sea animals, and marine plants. of 613. ocean zones ocean and marine life underwater small fish marine ecosystems coral reef ocean indonesia coral animals on map layers of ocean half underwater fish red sea tropical fish. Others live most of their life in the deeper open sea. The printable reader is also in power point form with video links. Young Ocean Explorers has been on a mission since 2012 to inspire kids to love our ocean - through entertaining education. Material de archivo de Stock de A baby Calf of Humpback Whale Leaping from blue clear water of Pacific ocean, whales family in natural habitat.\nCorporate Seal Template Editable, Is Cacao Barry Cocoa Powder Dutch Processed, Girl On Fire Easy Piano Sheet Music, Example Of A Programme, Ge Side Opening Wall Oven, Chinese Food Lockport, Il, Skeins Of Yarn For Sale,", "id": "<urn:uuid:6eb15f9e-90ae-4cfd-a4ea-aa747b6492b1>", "dump": "CC-MAIN-2021-17", "url": "https://opusmed.com/page/c7eddd-ocean-habitat-video", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038078021.18/warc/CC-MAIN-20210414185709-20210414215709-00493.warc.gz", "language": "en", "language_score": 0.8897153735160828, "token_count": 1523, "score": 3.90625, "int_score": 4}
{"text": "Tags: Creative Writing Seattle6th Grade Problem SolvingMath Key Words For Problem SolvingI Need Help In My AssignmentEssay On Importance Of Money In Our LifeSat Essay Sample\nHe suggested that the \"power must remain with the ruled\" (Fiero, 97).\nBoth did not agree with the fact that the ruler or assembly would have all power over its citizens.\nSo basically they were against Absolutism and their views were that of rebels in their time period.\nTheses two philosophers both held similar ideas but also have conflicting ideas pertaining to the citizens \"social contract\" with their rulers, \"Natural Condition of Mankind,\" and sovereignty.\nJohn Locke believed that citizens should give power to those who govern them but not absolute power.\nControl, security and limitation are encountered in each person? Locke maintained that the original state of nature was happy and characterized by reason and tolerance.\nHe further maintained that all human beings, in their natural state, were equal and free to pursue life, health, liberty, and possessions; and that these were inalienable rights.He stated that men in its nature are independent and equal and the reason for why person will join the society is the willingness to avoid the conflicts and war that will provide the security for this person.Humans know what is right and wrong, and are capable of knowing what is lawful and unlawful well enough to resolve conflicts.In particular, and most importantly, they are capable of telling the difference between what is theirs and what belongs to someone else.Hobbes and Locke both abandoned the thought of the divine right of monarchy.Hobbes point of view on human nature and how a government should be run is a more realistic way of looking at things than John Locke? Both Hobbes and Locke see human nature differently, Hobbes sees people as being run by selfishness whereas Locke says that people are naturally kind. As we see in the news daily, people are often cruel and inhumane, and we also see kinder people in everyday life. Locke, consistent with his philosophy, viewed man as naturally moral.Many people have different views on the moral subject of good and evil or human nature.In uncivilized times, in times before government, Hobbes asserted the existence of continual war with \"every man, against every man.\" This convention holds in our society and is revealed through in everyday items such as keys.We lock our cars and houses so that others are physically prevented from having access to what is ours, an observation Hobbes himself makes. In our society, authority decides what is right and wrong, good and evil; essentially what we are protected against and what we are not. In the state of nature men mostly kept their promises and honored their obligations, and believed man is reasonable rather than selfish as according to Hobbes.", "id": "<urn:uuid:eba80a26-c6ec-413f-a8c8-9e23d51a675c>", "dump": "CC-MAIN-2021-17", "url": "https://homologation.ru/essay-on-thomas-hobbes-and-john-locke-293.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00295.warc.gz", "language": "en", "language_score": 0.9738803505897522, "token_count": 571, "score": 3.828125, "int_score": 4}
{"text": "History serves as an important way of recording the past. By being able to recognize important figures, people can understand current circumstances and pave the way for a better future. History, however, hasn\u2019t been reflective of all voices. For centuries, Black voices have been erased from the historical narrative, as storytelling has been told by primarily white voices and predominantly celebrates white figures.\nIt\u2019s imperative we recognize this, and make substantial changes to correct how American history is being told. One way is recalling Black figures who have made a notable impact in every field. In technology, there have been many Black people, particularly women, who have made a tremendous impact on the technology industry.\nAs Adell Cothorne, professional development schools coordinator for the Loyola University, Maryland School of Education wrote for the Baltimore Sun,\n\u201cWe, as educators, parents and community members have an obligation to recognize powerful African American figures like mathematicians Katherine Johnson, Dorothy Vaughan, and Mary Jackson in everyday conversations \u2014 because these aren\u2019t strictly black heroes, they\u2019re American heroes.\u201d\nThese are names that must be recognized and remembered. Here we\u2019ll take the moment to reflect on and learn about five amazing Black women in history who have been pioneers in the field of technology.\nMelba Roy Mouton\nIn the 1960s, Melba Roy Mouton served as Assistant Chief of Research Programs at NASA\u2019s Trajectory and Geodynamics Division and led a group of mathematicians in the agency that were known as \u201ccomputers.\u201d\nAfter receiving a master\u2019s degree in mathematics from Howard University, Mouton began to work at NASA in 1959 where she worked as the head mathematician for Echo Satellites 1 and 2. In addition to her work on the satellites, she devoted some time to seminars on \u201cA Programming Language\u201d and wrote an article for NASA regarding computer code.\nMouton worked her way up to become Head Computer Programmer and after that, Program Production Section Chief at Goddard Space Flight Center. While at NASA, Mouton was awarded the Apollo Achievement Award and an Exceptional Performance Award.\nWhen it comes to modern history, Marian Croak has been a leading figure in the field of technology. Croak developed Voice over Internet Protocol (VoIP) and is the current Vice President of Engineering at Google.\nCroak began her career in 1982 when she worked at AT&T Bell Laboratories. Some of her first positions involved work with voice and data communication, which contributed to the advancement of phone features such as text messaging and calling.\nCroak eventually went on to hold the position of Senior Vice President of Applications and Services Infrastructure where she oversaw the work of over 2,000 engineers and computer scientists. In 2014, she left AT&T Labs and began to work at Google in her current position.\nGladys West, a computer programmer, and project manager for the Naval Surface Warfare Center created the foundation for GPS technology.\nFrom a young age, West dedicated a lot of time and attention to her studies. She graduated at the top of her class in high school and earned a degree in mathematics from Virginia State University. Shortly after graduation, she pursued a career in teaching but returned to university after two years so she could seek further career advancement and education.\nBy 1965, West was working at the Naval Surface Warfare Center, where she worked in data collection, processing, and computer programming. Though West made significant contributions to technology, not many people knew of her work until after she attended an alumni event.\nMarsha Rea Williams\nMarsha Rhea Williams became the first African American woman to receive a doctorate in computer science, and one of the first African Americans to teach in the department of engineering and computer science at the University of Mississippi in Oxford.\nWilliams began her secondary education at Beloit College where she obtained a bachelor\u2019s degree in physics in 1969. Then, Williams obtained two master\u2019s degrees \u2014 one in physics and one in systems and information science \u2014 before eventually obtaining her doctorate in computer science in 1982, where she wrote a dissertation about the beginnings of user experience in querying databases.\nIn addition to her career in academia, Williams has also been a huge advocate for promoting minority representation in STEM careers.\nKatherine Johnson was a mathematician who worked as a \u201ccomputer\u201d at NASA. Her calculations allowed for astronaut John Glenn to successfully orbit around the Earth in 1962. Another central figure who worked alongside her during the computations was Dorothy Vaughn, NASA\u2019s first African American manager.\nKatherine Johnson began working in the field of aeronautics in 1952. She was inquisitive and bold, and due to her impressive skills, was quickly able to rise in rank. Though electronic computers became more prominent by 1969, Johnson was still looked to as a valuable and important figure. She worked on calculations for Apollo 11 before it took off, and helped in making sure that Apollo 13 had the right navigation systems to return from its mission safely after an oxygen tank failure.\nRecognizing Black women in history is important, especially in STEM fields. Not only may it inspire the next generation of Black women in technology, but it is rightfully giving back their voice in history. Let\u2019s make history right by honoring these women who have revolutionized technology to transform it into what we know today.\nSophia Acevedo is a journalist based in Southern California. She is a 2020 graduate from California State University, Fullerton, and a proud Daily Titan alum.", "id": "<urn:uuid:352f769e-5642-4f90-980a-4a2a51468aa8>", "dump": "CC-MAIN-2021-17", "url": "https://woz-u.com/blog/black-women-history-impact-technology/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038073437.35/warc/CC-MAIN-20210413152520-20210413182520-00253.warc.gz", "language": "en", "language_score": 0.9690108895301819, "token_count": 1140, "score": 3.765625, "int_score": 4}
{"text": "Concept by: Carmine Rodi Falanga\nEverybody loves to play games: they are engaging, immersive and fun. Thus, can we make our educational activities just as exciting and rewarding? This is \u201cgamification\u201d, that is, the inclusion of elements of game-design in other areas or activities. Research and observation suggest that gamification provides tremendous benefits when used appropriately. Hence, learning about it, and how to integrate games effectively in an educational framework, is a powerful asset in the curriculum of any professional in the fields of education and communication.\nThis course will teach you how to make educational activities more effective through the use of games and gamification. It will cover topics like traditional games, role-playing games (RPGs), tabletop games, LEGO, digital and videogames. There will be a specific focus on social and educational games. It will introduce participants to concepts and models of game design, providing them with the full experience of designing a game (phases of concept, design, prototype, playtest). As the game design is a complex activity, it will draw from engineering, informatics, psychology, sociology, history, anthropology, communication science, arts and more to make teachers feel at ease while creating their first game.\nThe course will have a very hands-on approach, combining elements of the theory, group work and discussion with experiential phases in which participants will have an opportunity to design their own games and learn from direct experience. As a participant, you will also be introduced to the concept and practice of gamification, and receive easy-to-apply tips to include elements of game design in your professional and daily life.\nParticipants to the course will learn to:\n- Distinguish between various kinds of games;\n- Identify principles and definitions of game design (e.g., reward mechanisms, activity loops, habit creation, fun, immersive experience, emerging and branching storytelling);\n- Use games for educational propose;\n- Draw from their personal experience or design entirely new game-based activities;\n- Include game design elements in their educational work (gamification);\n- Exploit games to spread or reinforce values in communities and society.\nThe schedule describes likely activities but may differ significantly based on the requests of the participants, and the trainer delivering the specific session. Course modifications are subject to the trainer\u2019s discretion. If you would like to discuss a specific topic, please indicate it at least 4 weeks in advance.\nDay 1 \u2013 Course introduction & setting goals\n- Introduction to the course, the school, and the external week activities.\n- Icebreaker activities.\n- Identification of needs and goals for each participant and relevant populations.\n- Presentations of participants, their schools and the trainer.\nDay 2 \u2013 Game design\n- Introduction to game design and the theory of \u201cfun\u201d: Why are games engaging and what can we learn from them.\n- Easy interactive games to explore learning in games.\n- Practical activity: developing \u201c1 page games\u201d.\nDay 3 \u2013 Games and education\n- Dynamics and Mechanics in games.\n- Educational games.\n- Case study: how to adapt a successful game for educational purposes.\n- Groupwork: game design.\nDay 4 \u2013 Game values\n- Lecture on \u201cGamification\u201d with case studies and examples.\n- Values in Games (adopting Schwartz\u2019 theory of Basic Human Values).\n- Groupwork: game design (continuation).\nDay 5 \u2013 Videogame-based learning & course closure\n- Introduction to videogame-based learning and digital youth work with examples.\n- Playtesting of the educational games developed by the group.\n- Course evaluation: round up of acquired competences, feedback, and discussion.\n- Awarding of the course Certificate of Attendance.\nDay 6 \u2013 Excursion\nExcursion and other external cultural activities.\n- Teachers & school staff: primary level;\n- Teachers & school staff: secondary level;\n- Headteachers, principals, and managers of schools.", "id": "<urn:uuid:27c3eb9f-f10e-4417-9e5b-ca4cd710222a>", "dump": "CC-MAIN-2021-17", "url": "https://www.teacheracademy.eu/course/gamification-in-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00176.warc.gz", "language": "en", "language_score": 0.9262144565582275, "token_count": 835, "score": 3.765625, "int_score": 4}
{"text": "Creativity is intelligence having fun.\u201d\nWe\u2019re very happy to be sharing our thoughts and ideas about creativity with you, because it is such a natural and motivating skill to develop in our young learners. Creative activities are fun and engaging for our students. They take learning far beyond the simple tasks of understanding and memorizing. In fact, it is the highest order thinking skill, as Bloom\u2019s Revised Taxonomy illustrates below:\nCreativity is an essential skill (along with critical thinking, collaboration, and communication) that students need in order to be successful in the 21st Century. Creative students are better at making changes, solving new problems, expressing themselves through the arts, and more.\nHow important is creativity?\nIn one of his TED talks, education scholar Sir Ken Robinson says:\nCreativity now is as important in education as literacy. We should treat it with the same status.\u201d\nCreativity is a natural ability that is found in every young learner. Unfortunately, traditional classrooms don\u2019t always value creativity, and sometimes even hold it back. Our role as teachers is to nurture creativity at every opportunity.\nConsider the following:\n- Creativity develops when students are able to analyze the information they\u2019ve learned, make new connections with that information, come up with new ideas, and evaluate their choices.\n- To nurture creativity, students need the freedom to offer ideas and express themselves without judgment. In a creative classroom, all contributions from students are welcomed.\n- Creativity requires the courage to make mistakes. Sir Ken Robinson states, \u201cIf you\u2019re not prepared to be wrong, you\u2019ll never come up with anything original.\u201d\n- Creativity and innovation go hand-in-hand. David Hughes, founder of Decision Labs and professor at UNC Chapel Hill, feels that innovation is essential for our global economy.\nWhat are the qualities of a creative classroom?\n- Teachers and students ask open-ended questions that encourage curiosity and creativity.\n- Students brainstorm as many ideas as possible without fear of being judged or being wrong. Students then go on to choose the best ideas and improve upon them.\n- Students demonstrate creativity not only individually, but with partners and in small groups. Ideas are generated and assessed collaboratively.\n- Students lead the learning and work together to complete projects. These projects help students take the information they have learned and present it in new and creative ways.\nHow can you nuture creativity in your classroom?\nLet\u2019s look at some specific ways to nurture creativity in your classroom, starting with one of the building blocks of language learning:\nLearning about letter shapes and names can be creative! When your young learners are introduced to letters, try this activity to build their creativity. Write the letters one by one on the board and ask the following questions:\nCan you make the letter _(b)_ with your fingers? With your hands? With your whole body? With a partner?\nWhen you first do this task, you might model how students could do this. Think out loud. Let\u2019s see. Letter b is round and straight. How about like this? Or like this? Then your students are ready to try their own ideas.\nVocabulary words can be taught in many creative ways. For example, verbs such as walk, tiptoe, and skate can be learned more deeply by inviting students to move in creative ways. Questions might include:\n- Show me what it\u2019s like to walk in deep snow. Show me how you might walk on hot sand.\n- Imagine that you\u2019re tiptoeing past a sleeping polar bear.\n- We\u2019re on a frozen lake in Antarctica. Let\u2019s skate with the penguins!\nAs you can see, creativity and imagination are closely related.\nOther words such as nouns and adjectives can be presented creatively through facial expressions and body language, through movement, and even through dramatic skits.\nGrammar is often considered to be a logical and unimaginative part of English. However, grammar can be very creative as it is expressed in songs, poetry, and storytelling. Look for opportunities to build creative skills along with grammar skills.\nHere\u2019s a fun and creative way to teach not only grammar and speaking skills, but math as well! It\u2019s taken from Oxford Discover Student Book 2, Unit 8:\nThe above activity combines the logical thinking from math with the imaginative thinking from poetry. Students have a great time substituting the animals and numbers in the poem with their own creative ideas, while at the same time presenting a logical math problem.\nOxford Discover offers an inquiry-based approach to learning that allows students to consider big questions with many answers. Students are allowed to come up with their own additional questions. This process is creative as well as motivating for students.\nConsider this Big Question from Oxford Discover Student Book 3: How do people have fun?\nStudents explore the many ways that people have fun around the world. The discussion may turn to the subject of celebrations. Students may explore the following questions:\n- What is a celebration?\n- What are some ways that people celebrate around the world?\n- What do people celebrate in your area? How do they celebrate?\n- What is needed to make a celebration successful?\nAs students explore these questions and find answers, they process the information by analyzing and evaluating what they have learned. Finally, they should be given an opportunity to create.\nOne suggestion is to get students working together to plan a celebration. They must determine:\n- What are we celebrating?\n- What is our celebration called?\n- Who is invited?\n- How will we celebrate?\n- What will we need to prepare?\nAs students plan, they also create. Students might create a poster, gather materials for their celebration, or even write a short play. Finally, they share what they have planned with the rest of the class.\nA creative classroom is a joyful and motivating place where children feel empowered to learn, where all ideas are welcomed, and where learning is deep and meaningful. Children who are allowed to be creative are better learners, and they are more aware of their own learning styles. Creativity is a lifelong skill that our students will take with them into their adult lives to solve problems and help build a better world.\nWe\u2019d like to conclude with a powerful quote from Robert Fisher in his IATEFL address entitled, \u201cExpanding Minds: Developing Creative Thinking in Young Learners\u201d:\nWhat promotes creativity is a questioning classroom where teachers and pupils value diversity, ask unusual and challenging questions; make new connections; represent ideas in different ways \u2013 visually, physically and verbally; try fresh approaches and solutions to problems; and critically evaluate new ideas and actions.\u201d\nThank you, and happy teaching!\nWould you like more practical tips on developing 21st Century skills in your children? Visit our site on Teaching 21st Century skills with confidence for free video tips, activity ideas and teaching tools.\nSign up for a free webinar with Charles Vilina and Natasha Buccianti on How to use creativity in the classroom on 18 and 20 March 2014.", "id": "<urn:uuid:af9b24e1-0a7a-42f6-9ad3-0e7a808c8532>", "dump": "CC-MAIN-2021-17", "url": "https://oupeltglobalblog.com/2014/03/03/creativity-in-the-young-learner-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00134.warc.gz", "language": "en", "language_score": 0.9531421065330505, "token_count": 1485, "score": 4.03125, "int_score": 4}
{"text": "But are those two expressions equivalent. When possible, students will apply mathematics to problems arising in everyday life, society, and the workplace. Is 3x equivalent to x3.\nThe student applies the mathematical process standards and algebraic methods to write, solve, analyze, and evaluate equations, relations, and functions. Examples of Student Work at this Level The student: The student applies the mathematical process standards and algebraic methods to rewrite in equivalent forms and perform operations on polynomial expressions.\nDoes not attempt to use any exponent properties but instead tries to do the actual calculations. The student uses the process skills to recognize characteristics and dimensional changes of two- and three-dimensional figures.\nThe student applies mathematical processes to understand that quadratic and square root functions, equations, and quadratic inequalities can be used to model situations, solve problems, and make predictions.\nWhen I add 50 and 10 together I get 60, which is the same result I get for 5 x 12 using any strategy.\nThen you add 3 times 5, or The process standards are integrated at every grade level and course. So what you did was grouped the \"like\" terms. Students will select appropriate tools such as real objects, manipulatives, paper and pencil, and technology and techniques such as mental math, estimation, and number sense to solve problems.\nIt is true that in algebra, when we write quantities right next to each other without any symbol in between, multiplication is implied. In the standards, the phrase \"to solve problems\" includes both contextual and non-contextual problems unless specifically stated.\nAfter using the calculator on your smartphone it may feel a little clunky and non-intuitive, but it likely offers more functions. If you enter a negative value for x, such as -4, this calculator assumes -4 n. Note that and -4 2 result in different answers: Students systematically work with functions and their multiple representations.\nTIXS Multiview calculator download link On questions where you can use a calculator there will be an icon displayed where you can open the calculator. How does the distributive property work.\nMathematics, Grade 8 or its equivalent. What part is confusing you. And how do you know.\nUse this connection to help students see the base as a repeated factor, with the exponent telling how many times the base is repeated. Students will broaden their knowledge of quadratic functions, exponential functions, and systems of equations. Students will analyze mathematical relationships to connect and communicate mathematical ideas.\nThe student applies the mathematical process standards when using properties of exponential functions and their related transformations to write, graph, and represent in multiple ways exponential equations and evaluate, with and without technology, the reasonableness of their solutions.\nWhy do you have to write any symbol at all. I already drew a picture to show what that might look like. The student applies the mathematical process standards when using properties of exponential functions and their related transformations to write, graph, and represent in multiple ways exponential equations and evaluate, with and without technology, the reasonableness of their solutions.\nBut back to our original task of generating equivalent expressions for the area of the rectangle. Students will use a problem-solving model that incorporates analyzing given information, formulating a plan or strategy, determining a solution, justifying the solution, and evaluating the problem-solving process and the reasonableness of the solution.\nAlgebra I, Adopted One Credit. Students will connect functions and their associated solutions in both mathematical and real-world situations. The student uses process standards in mathematics to explore, describe, and analyze the attributes of functions.\nStudents will study logarithmic, square root, cubic, cube root, absolute value, rational functions, and their related equations. I encourage you to use it on practice questions as you prepare for the GED. The student applies the mathematical process standards and algebraic methods to write, solve, analyze, and evaluate equations, relations, and functions.\nBecause of the commutative property. Students will display, explain, or justify mathematical ideas and arguments using precise mathematical language in written or oral communication.\nThe student uses the process skills in applying similarity to solve problems. Like we usually write 3x, not x3. Download-Theses Mercredi 10 juin If you're behind a web filter, please make sure that the domains *schmidt-grafikdesign.com and *schmidt-grafikdesign.com are unblocked.\nCreative Writing. Open up the world of creative writing and learn the techniques that can put you in print. In this course, you will experience the hands-on practice of learning to say what you want in the best, most efficient and attractive way possible.\n\u00a7 Implementation of Texas Essential Knowledge and Skills for Mathematics, High School, Adopted (a) The provisions of \u00a7\u00a7 of this subchapter shall be. Calculator Use. This is an online calculator for exponents. Calculate the power of large base integers and real numbers. You can also calculate numbers to the power of large exponents less thannegative exponents, and real numbers or.\nSolving exponential equations using properties of exponents. Determine whether each expression is equivalent to 4 9 2 t Equivalent forms of exponential expressions.\nPractice: Rewrite exponential expressions. Next tutorial. Solving exponential equations using properties of exponents.Use properties of exponents to write an equivalent expression calculator", "id": "<urn:uuid:ff4148ff-04d6-4dba-ae8f-76f78ba77000>", "dump": "CC-MAIN-2021-17", "url": "https://jokydovaxoxecyvez.schmidt-grafikdesign.com/use-properties-of-exponents-to-write-an-equivalent-expression-calculator-13001xt.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039491784.79/warc/CC-MAIN-20210420214346-20210421004346-00335.warc.gz", "language": "en", "language_score": 0.8903598189353943, "token_count": 1110, "score": 3.5625, "int_score": 4}
{"text": "In this blog post, we\u2019ll explore micro fiction reading and writing. I\u2019ve found great success with this assignment and believe it to be an engaging way to teach important reading and writing skills.\nEnglish teachers, your students are eager to tell stories.\nStorytelling is a tribute to the universal human experience.\nStories connect us.\nThey allow us to think about and play with language.\nThey highlight important themes and ideas, and the list goes on.\nI know that I\u2019m preaching to the choir when it comes to the love of the written word. If I\u2019m being honest, though, sometimes we have to \u201chook\u201d students into reading and writing, am I right? Sometimes students have lost the innate love of a story.\nAnd that\u2019s not even addressing the fact that, as teachers, we must align our work to standards. We may feel that time spent writing fiction must be cut at the expense of other \u201cmore important\u201d skills.\nBut let\u2019s not forget the power of the story and the fact that our students are storytellers (some of them may just need to remember how and why).\nWhat is Micro Fiction?\nThis type of storytelling is also known as flash fiction or sudden fiction. Unlike a regular short story, it is limited to a certain number of words, typically 1000 words or less.\nWhen I assign micro fiction writing to my students, they are asked to write 300-500 words. Some call this short-short writing a subset of flash fiction, even longer than its cousin, the six-word story.\nWhy Micro Fiction?\nSo, those skills\u2026 what can we do with micro fiction?\nWell, you can definitely teach reading strategies and discuss author choices (plot, organization, syntax, diction, etc.) and theme/author\u2019s purpose.\n\u27a1\ufe0f Because these texts are short and accessible, they pair easily with poems, longer short stories, podcasts, TED talks, etc.\n\u27a1\ufe0f Students can make connections and discuss how a common thematic message is conveyed in both texts.\n\u27a1\ufe0f It is also interesting to examine the impact and importance of what is not said in a micro fiction story vs. a text with a theme that is well-developed.\nAnd that\u2019s just the reading of microfiction.\n\u27a1\ufe0f When I ask my students to write \u201cshort\u201d stories of 300-500 words, they must be purposeful as writers. They must consider the impact of their words, practice sentence combining and the elimination of wordiness, think about show vs. tell, characterization, and plot. Most importantly, they must explain to me why they made these choices.\nStarting the Unit\nTo start the unit, we read a variety of these short-short stories, exploring the differences between writing \u201clong\u201d and writing \u201cshort.\u201d\nWe look at and write six-sentence stories.\nWe consider the following questions:\n\u27a1\ufe0f Can a story be \u201cgood\u201d in six words or less?\n\u27a1\ufe0f How about 400 words or less?\nWe discuss the following six word stories and the impact of word choice, as well as what is not said. As we do this, we review elements of plot, connotation vs. denotation, syntax, and more.\nWe then listen to the winner of this three minute fiction contest on NPR (here\u2019s the link to the podcast AND transcript), discussing the questions below.\nI ask students to reflect overall about what is gained and lost by writing short.\nFrom here, students write their own short, short story (20 words or less) individually or with a partner.\nHere are some prompts for this initial writing exercise:\n- Leave a message after the beep\u2026\n- But, Jackie, I never knew\u2026\n- Excuse me, but I believe you dropped your\u2026\n- To run or to hide\u2026\nI suggest giving students a time limit and then asking them to discuss their choices.\nWhat did they leave out? How did they start/end and why? As we talk about their stories (which students are usually eager to share), we return to discussion of some of the previous questions, but as writers instead of readers.\nNext, as we progress through the unit, we work on strategies to eliminate wordiness.\nWe also examine characterization, along with diction and literary devices. I\u2019m happy to share this activity I\u2019ve had for what feels like forever. Feel free to make a copy for your next fiction writing unit.\nAdditional Thoughts on Writing Short\nI\u2019m always impressed with students\u2019 work during this unit.\nAs I said above, the final product is a 300-500 word story. Or, to up the ante, two different stories with the same theme, a difference in tone/mood, a difference in perspective, etc.\nWhen they are finished writing, my students leave comments in their Google Docs to explain their overall message, as well as the impact of diction, organization, and syntax choices.\nIt\u2019s also really nice that this assignment is versatile enough to fit in any number of places during the year.\n- We have used it here as a capstone project after extensive study of author\u2019s style moves.\n- We have also used it to open the year to review reading and writing skills and build students\u2019 revision and sentence variety skills.\n- You can also tailor the subject/theme to a certain time of the year or unit.\nAs a final step, I\u2019m always looking for real-world publication ideas. There are places students can submit their micro fiction stories online such as Ember Journal or Write the World. Here is a link to their past competition which has examples you can use in your next micro fiction unit.\nMicro Fiction Activities\nI hope that this post met the goal which was to give you some practical ideas for teaching flash fiction in your English classroom!\nAs students progress through their analysis and writing of micro fiction, I love using station activities and digital writer\u2019s notebook work.\nThese resources are available in my TpT store. If you feel that these activities would be helpful to your students, and you\u2019ve enjoyed the free content in this blog post, please stop by to check them out and support my work:", "id": "<urn:uuid:a52024ee-6677-4f29-823f-df18bc1d43a7>", "dump": "CC-MAIN-2021-17", "url": "https://lindsayannlearning.com/micro-fiction/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00617.warc.gz", "language": "en", "language_score": 0.9558468461036682, "token_count": 1329, "score": 3.8125, "int_score": 4}
{"text": "11 use pitch to effect quality of voice production\nby Karen Loftus\nThis unit focuses specifically on the technical aspects of vocal production. By understanding how voice is created, students will be more aware of how to improve their vocal production. Students will explore posture and breathing exercises, as well as how to use the diaphragm, projection, and articulation.\nThe final project will test students\u2019 ability to properly project and articulate a joke across a large space. A rubric is included for the project as long as journal prompts and exit slips. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.\nby Karen Loftus\nThis unit on Ancient Greek Theatre focuses on the function of the chorus, the choral ode, and the details of the theatre space. It touches on plays and playwrights of the era, culminating in a final project of a modern version of Medea that includes a choral ode.\nA rubric is included for the project as long as journal prompts and exit slips. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.\nby Anna Porter\nMusical Theatre has two components that separate it from straight plays: song and dance. This unit gives students the opportunity to try out both. In musical theatre, music signifies heightened emotion. We can\u2019t express ourselves with just words, we need music (and through extension, song and dance) to take it further.\nThis unit includes three lesson plans:\n1. Acting the Song - \u201cMusical Tactics\u201d\n2. Acting the Song - \u201cTextual Analysis\u201d\n3. Introduction to Dance\nA solo performance assignment is also included, and the unit includes assessment tools - rubrics, reflections, and self-evaluations.\nby Anna Porter\nThe voice is a key element in performance and can be used in many ways. In this introductory voice unit with instructor Anna Porter, students will explore how to thoughtfully communicate character, story and emotion vocally.\nLesson one focuses on the articulators and the importance and of speaking clearly on stage. Lesson two introduces students to the use of vocal variety with pitch, tone, rate and volume. In lesson three, students develop a character with background as well as design a puppet. Lesson four brings together the elements of voice studied in this unit to create vocal characterization.\nThrough this four lesson series, students will use journals, participate in class discussions and practice the elements taught by performing for their peers and as a class. Assessment tools include both informal assessment as well as a final puppet show performance.\nby Jenny Goodfellow\nThis unit on Puppetry is designed for middle school and up, to introduce students to the material and get them comfortable with performing in a safe and low exposure environment.\nThis is a unit that builds to a culminating experience for your students. Each lesson is designed to explore techniques, provide opportunities for creative collaboration among your students, and give them opportunities to perform. Some of the lessons require materials to build or create puppets. Puppetry can be as easy as drawing a face on your finger for finger puppets, to actually purchasing your own finger puppets for students to use.\nWhile the focus of this unit is puppetry, your students will explore other skills as well. There\u2019s the obvious ones of creative thinking, teamwork, and problem solving. They are also going to explore storytelling, performing skills, and playwriting.\nby Angel Borths\nHelp\u2026It\u2019s all Greek to me! Join Angel Borths in this unit that uses a modern adaptation of the Ancient Greek play Antigone to introduce Middle School students to Ancient Greek Theatre.\nHave your students read Percy Jackson and want to find out more about Ancient Greece? Then, this unit is for you. This unit is designed for middle and high school students and will take you through the basics of classical Greek theatre and pairs it with a modern adaptation of the story of Antigone called Agatha Rex by Lindsay Price. Students will learn vocabulary, design, and basic theory surrounding classical Greek theatre. Students will also enjoy the mask building component of this unit, as they learn to disappear into the character of a mask, like the first actors did on a Greek stage thousands of years ago.\nThe unit culminates in a scene performance with masks.\nby Lindsay Johnson\nIn this unit, students will learn, practice and apply three important rules of improv: accepting and building on offers, quick thinking, and strong offers. For each step, they will work with the Improvisation Rubric by both giving and receiving feedback. Students will also start to practice techniques to improve their vocal clarity. The unit culminates in a performance assessment in which students will play an improv game in front of an audience.\nby Lindsay Johnson\nStudents will understand the basic building blocks of a scene: The Who (characters/ relationship), the Where (setting), and the What (conflict \u2013 objectives/tactics). They will learn how to use both verbal and nonverbal (pantomime) clues to communicate these scene details to an audience. They will continue to work on voice clarity, while also learning to open their body to an audience. The unit culminates in a performance assessment in which students work in pairs to improvise a scene.\nby Lindsay Johnson\nStudents will be introduced to the most basic of scripts: the contentless/open scene script. They will use their knowledge of character/relationships, setting, objective, and tactics to add content to a contentless scene. Students will also learn the basics of set design and blocking, and will begin\nusing voice expression to communicate clearer characters. The unit culminates in a performance assessment in which students will work in pairs to add content to and perform a contentless scene.\nby Lindsay Price and Karen Loftus\nThis unit focuses specifically on the technical aspects of vocal production. By understanding how voice is created, students will be more aware of how to improve their vocal production. Students will explore posture and breathing exercises, as well as how to use the diaphragm, projection, and articulation. The final project will test students\u2019 abilities to properly project and articulate a joke at a distance from a microphone\nby Todd Espeland\nFriendly Shakespeare teaches a simple and effective method of script analysis for Shakespeare. It uses punctuation and keywords in the text to help students understand the characters' needs, make specific acting choices, and get them on their feet immediately.\nThis is not dry, sitting in a classroom discussion. It\u2019s physicalizing the text, focusing on the character\u2019s needs and tactics (something every drama student should know full well) and bringing Shakespeare to life.\nAt the end of the class you will be able to demystify Shakespeare's text and understand how to help your actors make clear, active and emotionally connected choices in Shakespeare's plays.\nby Elisabeth Oppelt\nIn this course, you will learn what breath control and projection are, how to breathe from your diaphragm and speak loudly without yelling, and how to teach these skills to your students. Led by teacher and singer Elisabeth Oppelt, this course will be helpful both in your teaching practices and in creating material to teach your students. This course also includes both formal and informal assessments for you to use in your classroom.\nby Colin Oliver\nColin Oliver leads this introduction to teaching Musical Theatre in the Drama Classroom.\nIn this course, you will learn how to build musical theatre into your dramatic courses of study. \u201cWhy might you want to do that? Singing is scary! You want me to teach my students how to do it? I don\u2019t even know how to do it.\u201d This course approaches musical theatre preparation performance much as we would approach preparing a monologue in drama. If you use script analysis in monologue preparation in your class, you can teach musical theatre.\nBy the end of this course, you\u2019ll have a great, full-body physical warm-up, a student-driven research assignment, character development exercises, a little bit of musical theory, and a performance assignment complete with assessment.\nSo, join us for teaching Musical Theatre in the Drama Classroom. It\u2019s as easy as Do-Re-Mi!", "id": "<urn:uuid:a5d21b47-e00c-4361-b66d-429ddaecb480>", "dump": "CC-MAIN-2021-17", "url": "https://www.theatrefolk.com/dta_standards/517", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00496.warc.gz", "language": "en", "language_score": 0.9461498260498047, "token_count": 1717, "score": 4.3125, "int_score": 4}
{"text": "Energy-Efficient Bulbs: Halogen Vs. Fluorescent Vs. Incandescent\nSome light bulbs are better than others for the environment, and in order to find out which ones are better, simply compare them by how much energy they need to produce light. Both halogen and incandescent bulbs produce light by heating a tungsten filament with an electrical current. Compact fluorescent lamps (CFLs), on the other hand, create light through an entirely different mechanism. The fluorescent gas inside the bulb produces ultraviolet light when electrified, and the lamp's coating converts the ultraviolet light into visible light. Because of this, CFLs are between 67 percent and 80 percent more energy-efficient than incandescent bulbs. Halogen lamps stand somewhere in between, ranked as more efficient than normal incandescent bulbs, but not as efficient as fluorescent lights.\nLight is measured in units called \"lumens,\" which correspond to the amount of light produced per watt. For a source of light to be 100 percent efficient, it would hypothetically need to give 680 lumens per watt (see References 1). The luminous efficiency of fluorescent lighting is the highest, between 9 percent and 11 percent for most CFLs, while conventional incandescent bulbs stand between 1.9 percent and 2.6 percent efficiency (see References 1). The luminous efficiency of halogen lamps cradles between the previous two at an approximate 3.5 percent efficiency. Luminous efficiency is one way to determine which bulb to choose, yielding CFLs as the most efficient, followed by halogen bulbs and then incandescent bulbs. Another element to look at is the watts it takes to produce the same amount of light. For example: It takes an incandescent bulb 60 watts to produce the same amount of light that would take a CFL bulb only 15 watts to produce (see References 2). Manufacturers are required to list both the lumens produced as well as the watts used by every bulb, so luminous efficiency can be calculated easily (see References 5 and 6).\nHalogen Bulbs vs. Conventional Incandescent Bulbs\nIncandescent bulbs, including halogen bulbs, produce light by heating a filament of tungsten metal until it is white hot. In a normal incandescent bulb, the tungsten slowly vaporizes and deposits on the inside of the bulb until it is too thin to carry an electric current and the bulb burns out. Halogen bulbs are filled with a special gas that causes the vaporized tungsten to be deposited back onto the filament instead of the inside of the bulb (see References 3). Halogen bulbs last longer and also burn hotter than conventional incandescent bulbs, making them slightly more efficient. However, these gains may be negated by the extra energy an air conditioner must use to cool a room.\nEffects on Climate\nCompared to incandescent bulbs, fluorescent lamps are especially efficient in warm climates. Around 90 percent of the energy used to power an incandescent bulb is transformed into heat, as opposed to 30 percent for CFLs, which use less electricity to begin with. When it's hot out, switching to CFLs not only reduces electricity for lighting, but it also reduces workloads on air conditioners. The opposite is true in cold climates. Without the extra heating from incandescent bulbs, more natural gas or oil needs to be burned to heat homes and businesses. In areas where electricity is cheap or comes from non-fossil fuel sources, switching to CFLs can actually increase overall energy costs and greenhouse gas emissions (see References 4).\nNew Energy-Efficient Halogen Bulbs\nA new class of halogen bulbs has recently been developed. These new bulbs use a special infrared coating to redirect infrared light back toward the tungsten filament, reducing waste heat and improving efficiency by up to 30 percent over typical incandescent bulbs (see References 3). They are still not as efficient as CFLs, which are around 75 percent more efficient than normal bulbs, but this variety offers top-tier efficiency when it comes to halogen bulbs.\nEric Moll began writing professionally in 2006. He wrote an opinion column for the \"Arizona Daily Wildcat\" and worked as an editor for \"Persona Literary Magazine.\" He has a Bachelor of Science in environmental science and creative writing from the University of Arizona.", "id": "<urn:uuid:901549d5-8b89-47d9-99b8-bd7de0b0df3e>", "dump": "CC-MAIN-2021-17", "url": "https://homeguides.sfgate.com/energyefficient-bulbs-halogen-vs-fluorescent-vs-incandescent-78832.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00576.warc.gz", "language": "en", "language_score": 0.9342035055160522, "token_count": 886, "score": 3.875, "int_score": 4}
{"text": "|Holding the book \u2013 If you\u2019re reading from a picture book, hold it in such a way where your child can see the picture and you can see the words at the same time. Try to avoid reading from the page and then holding the book up for your audience to see. This breaks up the story\u2019s momentum and doesn\u2019t allow the audience as much time to take in the images.|\n|Strive for interaction - Try to find ways to give the child an active role in the storytelling. For example, if a story is about animals, invite the child to make the animal\u2019s sound every time you mention its name; if a story has a structure where certain phrases or rhymes are repeated over and over, allow the child to play along as you give them a \u201cpart\u201d in the reading, teaching them the phrase and giving a cue on when they would say it.|\nSound effects - Whenever the chance presents itself, make your very own \u201csound effects\u201d by adding noises (if possible, funny ones) to the narrative; for example, if the story talks about a windy day, make an exaggerated sound of wind (or even blow a little air on your listener); if someone is walking, you can make the sound of steps to add some \u201cdrama,\u201d and so on.\nIf you have a musical instrument at home (even if you don\u2019t know how to play it), you can also use it to go along with the story: a deep, grave note works wonders to make a passage scarier, and repeated high-pitch sounds marking the steps of a character as it walks can contribute to make it funny or intriguing. This can be especially fun when you\u2019re telling stories that you know by heart\u2014or that you\u2019re creating on the spot\u2014so you don\u2019t need to keep going back and forth between book and objects/instruments/etc.\n|Talk, talk, talk - Talk with the child about things related to the story before you start. If a story is about a dog that gets lost, for example, talk to the child about their previous experiences with dogs and other pets; ask her if they ever got lost anywhere, how they think they would feel if they ever did, and so on. After the story, you could talk about other ways in which the story could have ended, or on ideas for producing a \u201csequel\u201d to the story, etc.|\n|Rules of engagement - If a less-known word shows up in the story, it\u2019s okay to stop (briefly!) and ask the child what that word might be; conversely, they should know that it\u2019s okay for them to interrupt and make comments, ask questions, give ideas, and any other way in which they want to participate.|\nProps will prop up your story time - Using common craft supplies, you can build simple props along with the child that could be used either to create \u201cambiance\u201d (for example, a crown for the child to use as you tell a story with kings and queens) or to be engaged during story time (for example, stick puppets with characters from the story).\nHeck, you don\u2019t even have to have built anything in advance beforehand! Children are the ideal listeners, because they\u2019re able to see anything through the lenses of imagination. That means they\u2019ll immediately agree with you when you propose that this eggplant is actually a hippo and that pile of potatoes is a pride of lions lurking in the Savannah. Everyday objects can be turned into virtually anything and kids will happily play along.\n|Playing with your voice - There are many ways of using your voice to add some drama to a story: at times, you will have to speak VERY LOUD or very quietly; action scenes can be told more quickly at pivotal moments, while a description of a hot, lazy day can be read almost in slow motion; different characters deserve different voices too, which will help to make them more real to your young audiences.|\n\"Debbie reading to children during Lapsit Storytime.\" by San Jos\u00e9 Public Library is licensed under CC BY-SA 2.0\nLeave a Comment", "id": "<urn:uuid:f6b5a8e9-73c9-4b7b-86a8-d35c75c4eaf4>", "dump": "CC-MAIN-2021-17", "url": "https://www.bonaccordlibrary.ab.ca/about-us/news/post/78456", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00097.warc.gz", "language": "en", "language_score": 0.9522127509117126, "token_count": 888, "score": 4.03125, "int_score": 4}
{"text": "17 pages K - 6. teaching resource Thanksgiving Greeting Card. Instead, they observe a Day of Mourning. While expanding on cultural opportunities, use these language expansion and word recognition exercises. Thanksgiving is a wonderful time of year to celebrate with family and friends, but it is also chock full of learning opportunities for your little ones! The response to these materials has been very positive and we are happy to have the opportunity to share them with districts in the state. These can be great resources for incorporating indigenous voices into the traditional Thanksgiving story. One Thanksgiving Video Guide \u2013 A short video that can be used as an introduction to thanksgiving. So some teachers have developed strategies to teach it to young students. They learn about the Pilgrims and the Mayflower. Celebrating the American Thanksgiving tradition is a great time to teach ESL students a little about American history and culture. 30 Page Printable Pack from Happy and Blessed Home. teaching resource Happy Thanksgiving - Pennant Banners. Thanksgiving Day is a day set aside each year where people in the United States and Canada give thanks to God for all the blessings they received during the year by feasting and prayer. 7. Thanksgiving is a wonderful holiday to explore with your ESL students, as in addition to teaching American culture, you get to spend time focusing on gratitude\u2014a value that benefits all! Like so many elements of American history, there are two sides to every story. It will make the game a bit tougher and also teach your students some new vocabulary in the process. These are ready-to-use Thanksgiving Day worksheets that are perfect for teaching students about the Thanksgiving Day which is celebrated on the fourth Thursday of November in the United States and the second Monday of October in Canada. The First Thanksgiving Teaching Guide: Grades 3\u20135. If you\u2019re teaching in a country that celebrates Thanksgiving, then you could talk about the actual holiday itself and what students\u2019 plans are. A very simple powerpoint telling the story of thanksgiving. Teaching your young students about Thanksgiving presents an abundance of opportunity to share knowledge and get creative. Some nations have developed their own curriculums for teaching history, such as the curriculum created by The Chickasaw Nation. There is a great History.com video that explains Thanksgiving to kids in about four minutes. Holidays are a great way to break out of the normal classroom routine, grab your students\u2019 interest, and introduce some culture to the ESL classroom. Literacy for early years / Stories and books; Personal, social and health education / About you Thanksgiving Mad Libs from 247 Moms. Many people wonder if, considering the origins, Native Americans even currently celebrate Thanksgiving. This is a worksheet for teaching or revising the story of the first Thanksgiving. So, the main solution to teaching Thanksgiving to kids respectfully is to simply present multiple perspectives around the holiday\u2019s history. Literacy Related Thanksgiving Learning Nov 13, 2020 - Explore Shelley Taft's board \"Teaching - THANKSGIVING\", followed by 989 people on Pinterest. We trust that you will find them to be a valuable addition to your instructional resources. Check out our Thanksgiving Teaching Resource Pack or click on the links below! After teaching students about the first Thanksgiving feast and having them discuss their own family traditions, it is important to emphasize to students that not everyone is as fortunate. in teaching about Thanksgiving in grades K-6. Color By Number Cornucopia from Simple Living Mama. Teaching Kids About Gratitude. Teaching about Thanksgiving from the perspective of the Native Americans is a culturally responsive way to approach the holiday. The goal was to create the components of a thanksgiving feast lesson that reinforces as many core curriculum areas as possible. A set of 'Happy Thanksgiving' bunting to display in the classroom. Download: This blog post is available as a convenient and portable PDF that you can take anywhere. The notion that the first Thanksgiving was some kind of cross-cultural love-fest, as it has been portrayed, is also disputed by historians, who say that the settlers and the Indians were brought together less by genuine friendship than by the extremity of their mutual need. Give students art supplies for making placemats and ask them to incorporate some of the common Thanksgiving themes into their placemat design. For many Native Americans, Thanksgiving is a painful reminder of everything they lost with the arrival of Europeans. #11: ESL Thanksgiving Discussion. Thanksgiving is a time to focus on being grateful, and if you are celebrating Thanksgiving with kids, this is also a time of year to teach kids the importance of being grateful. Thanksgiving I-Spy Printable from Life Over C\u2019s History of Thanksgiving. Even the older kids, such as kindergartners will also enjoy these activities! Teaching Thanksgiving in the ESL Classroom. Home \u2192 Teaching Resources \u2192 Advice for Teaching Abroad \u2192 Teaching Thanksgiving in the ESL Classroom . Teaching Thanksgiving: Advocating for a Better Way November 12, 2020 Vanessa Stricker Patheos Explore the world's faith through different perspectives on religion and spirituality! The Gratitude Game from Teach Beside Me. Teach the History of Thanksgiving. Teaching the History of Thanksgiving for Kids: Tips & Resources When pointing out the problems, it would be only right to include solutions as well. Activities that teach kids gratitude are very popular this time of year, and for good reason! Over 500 years of teaching experience! Use these lessons and activities to give students a closer look at the Pilgrims' voyage, settlement, and first harvest celebration, as \u2026 If you teach more advanced learners, you could have a small group discussion (for a larger class) or a class discussion about Thanksgiving. Thanksgiving is also a great time to discuss local tribes and indigenous nations near you. Thanksgiving is a holiday with a complicated history. Thanksgiving Activity Placemats. Of course, it has to be a fun and engaging activity for students. Thanksgiving is a time to give thanks, to count our blessings and focus on all the good things in our lives. November 23, 2020 by Kids Discover. What to Teach Your Toddler about Thanksgiving *This post contains affiliate links. Traveling at Thanksgiving - Thanksgiving is the most traveled In the text, students will read an informational text about Thanksgiving then be asked a series of comprehension questions about the passage. Now that you have gone over your Thanksgiving vocabulary while playing Bingo, take it to the next step. In this Teaching Pack\u2026 One 11 Page Thanksgiving Guide \u2013 Learn about the history of thanksgiving and traditions that people enjoy today, with our comprehensive PDF and Powerpoint guide! Thanksgiving Mourning. This teaching resource is a comprehension worksheet asking questions about an informational text. Teaching Thanksgiving. Thankful Turkey Hat. It's also a time to have each student share about similar traditions and holidays from their own background. Thanksgiving Coloring Pages from 1 + 1 + 1 + = 1. Teach from the perspective of Native Americans. These Thanksgiving ideas and activities are wonderful ways to teach your toddlers about Thanksgiving. Divide your class into two teams and have one person from each team draw a vocabulary word out of a hat. Thanksgiving Charades and Pictionary. 12. Share. There is no additional cost to you, but I may receive a small commission. Making Pies (Teach Preschool) \u2013 Have fun making a playdough pie with your preschoolers in this Thanksgiving \u2026 Thanksgiving Day Worksheets This is a fantastic bundle which includes everything you need to know about the Thanksgiving Day across 22 in-depth pages. In this lesson from Teaching Tolerance, students in grades 6-12 have the opportunity to examine and reflect on Native perspectives on Thanksgiving. See more ideas about teaching thanksgiving, thanksgiving school, thanksgiving activities. Thanksgiving lessons, activities and worksheets can help you teach everything from geometry and science to history and creative writing. Thanksgiving Day first started in New England. Sharing the basic history behind the holiday is a great place to start with most elementary students, and it\u2019s likely that you\u2019ll have done so \u2026 With Thanksgiving just around the corner, you may be including some holiday-themed lesson plans in your classroom. Students fill in gaps using pictures and sentences.", "id": "<urn:uuid:de407500-0715-44d2-850f-67070970c385>", "dump": "CC-MAIN-2021-17", "url": "http://dreamcast-scene.com/uipqir1/teaching-about-thanksgiving-46246e", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00337.warc.gz", "language": "en", "language_score": 0.9463266134262085, "token_count": 1648, "score": 4.09375, "int_score": 4}
{"text": "In our Alphabet work, we are listening to alphabet stories, brainstorming words that begin with the letter of the week, and teaching the alphabet sounds and the correct letter formation for the upper and lowercase letters.\n\u201cC\u201d is our letter of the week. We made our delightful caterpillar \u201cc\u2019s\u201d which we will send home next week. We will profile each letter we worked on in the newsletter, but the children\u2019s alphabet craft and printing sheet will not come home until the following week.\nBut we\u2019re not just teaching the Alphabet. As part of our balanced approach to literacy instruction, we\u2019re developing the children\u2019s phonological awareness in the areas of sounds, syllables, rhymes and words. Over the past few weeks we\u2019ve been working on words, specifically focusing on syllables or parts of words. Right now, the children are listening to the teacher say the parts (syllables) of words, then blending them together to say the complete word (eg., kit-chen = kitchen). This is all part of oral language instruction which includes read-aloud books and storytelling, shared reading experiences such as poems, songs and chants and our teaching of the individual alphabet letters and sounds. When we\u2019re talking about sounds, we mean phonemic awareness, or the awareness that speech is made up of sounds in a specific sequence. For more on phonemic awareness and phonological awareness click here.\nYou can imagine how important the children\u2019s self-regulation is during oral language instruction. It\u2019s why we work so hard with our students all through the year on their listening skills; calming strategies to prepare themselves for instruction; mindfulness to focus and concentrate on the lesson and a positive attitude to foster a lifelong love of learning. We listen to calming music, practise deep breathing and mindfulness daily, so that we are feeling relaxed, happy and in the green zone \u2014 ready to learn!\nIn Math, we are creating AB and ABC pattern multilink trains. The children are learning a pattern needs to be repeated three times (eg., ABABAB) to show it is indeed, a pattern.\nThe children saw their beloved Grade 7 Big Buddies on Wednesday. We\u2019re beginning a new seasonal activity in Buddy Reading where our Big Buddies will select picture books to read aloud to their Little Buddies. Then the children will work on some literary awareness skills (title, directionality, one-to-one word correspondence) and finally, draw a picture and talk about their favourite part. We had a practise run this week, and will start officially with a fun Hallowe\u2019en picture book in a couple of weeks.\nThank you so much to everyone for sending along rainboots and raincoats this week. The children have achieved a high level of independence in changing into their boots and coats, necessary for Westcoast living. Although we still have lots of inside-out sleeves (they make fun wings), we\u2019ve made significant progress since September. Please remember that if your child wears shoes with laces to school, he or she should know how to tie those laces. Tying laces is not a skill we teach in the Kindergarten.\nUpcoming Events and Reminders\nWe will be adding a sharing component to our Special Helper program next week. In addition to the daily Special Helper duties, the Special Helper will have the opportunity to bring in a special sharing. Our sharing always has a theme and for the month of October and November our theme is \u201cI Like Me\u201d. The students are asked to bring in three objects that tell about him or herself. These objects should fit into a small Ziploc bag. There is more information posted on the parent boards and a sample Ziploc bag. The student calendar is also posted. Please help your child gather these items a few days prior to their Special Helper day and have them practice \u201csharing\u201d with you.\nMonday, October 17: Parent Teacher Conference Sign-up. The sign up sheets will be posted outside of the office.\nFriday, October 21: Provincial Professional Day. School is not in session for students.\nMonday, October 24 and Thursday, October 27: 2:00 Early Dismissal for Parent Teacher Conferences \u2013 please be on time to pick up your child as we start our conferences promptly at 2:10 pm.", "id": "<urn:uuid:eff0438c-c6d2-4d1b-bb03-61910fb8652f>", "dump": "CC-MAIN-2021-17", "url": "https://theselfregulatedteacher.com/2016/10/14/this-week-in-our-room-october-11-14-2016/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00337.warc.gz", "language": "en", "language_score": 0.951667070388794, "token_count": 912, "score": 3.828125, "int_score": 4}
{"text": "Throughout history, people have learned through stories. The metaphors and hidden messages help us to understand difficult concepts and themes. Additionally, stories help us visualize material and help us tie knowledge with our experiences. Educators now have 100s of fantastic free online tools to help their students create and learn through digital storytelling. Many of these online tools have free apps available on i-devices and Android devices. Through digital storytelling we motivate our learners to apply, contextualize, visualize, and personalize the knowledge they learn. With a mobile device it is hands-on and students can incorporate images, sound-bytes, and videos they create on the go. Below are some great free apps to help you begin creating digital stories with your learners. For plot ideas and how to organize a digital storytelling project, check out my slide presentation I recently gave at the Global Education Conference. Access the free recording of the presentation, here!\nEnjoyed these resources? Get your copy of The 30 Goals for Teachers or Learning to Go.\nPhotoPeach App\u2013 Upload images, enter text, and add music to create a dynamic slideshow. Available on the iPad.Capzles App\u2013 Upload images, audio, video, text, and documents to create a multimedia timeline of events. Available on i-devices.Toontastic\u2013 This app is designed to walk students through the storytelling process of choosing a scene, climax, setting, conflict, and characters. Students even choose music to match the characters\u2019 emotions and create a digital storytelling video that is shared on their global digital storytelling online channel where the students win badges for their creations. Available on the iPad and iPod.Story Wheel\u2013 an educational game in which players record a story by spinning the wheel to get a picture, and then narrate a portion of the story. Students can listen to their story with beautifully animated pictures.StoryBots\u2013 create books on the iPad starring the student! The app is free for the iPad. Includes animations and art. Various options to purchase the book.Tom Loves Angela\u2013 This has got to be one of the cutest apps. Students can create a video of Talking Tom trying to woo Angela. Tom repeats what students tell him to Angela, he sings songs, and can even repeat text typed to him. Angela is the first intelligent responding character of the series and will respond to questions and topics as in a conversation. This option you have to pay for. Students can create a video they email or upload to Youtube. The app is free for Android but you have to pay for i-devices $0.99 to $2.99.Posterous\u2013 With this app, learners can include a mix of text, photos, audio, and videos as well as tags and location information in a blog post. Share immediately on Facebook and Twitter! Even allow others to add to your posts (set this up through the web app vs. the mobile app). Free version available online as well as various mobile devices including the iPhone, iPod, Android, and Blackberry.StoryRobe\u2013 It\u2019s incredibly easy for children and adults to create audio/visual stories on the iPhone and iPod Touch using this app. Use the built in microphone, or any 3rd party microphone to create audio recordings with photos and videos. You have the option to upload to Youtube or send it through e-mail. If it\u2019s in their e-mail, then the parents can easily e-mail their child\u2019s production to their friends! You don\u2019t need an Internet connection to create the stories, but you do to send them! Available on the iPad and iPod.Splice\u2013 Best video editing app for the iPhone, iPod, and iPad that is free. Add audio, transitions, images, and more.Fotobabble\u2013 It\u2019s incredibly easy for children and adults to create audio/visual stories on the iPhone and iPod Touch using this app. Use the built in microphone, or any 3rd party microphone to create audio recordings with photos.Sock Puppets\u2013 If you enjoy playing with sock puppets, you\u2019ll love this app that allows students to create a sock puppet show. Choose the sock puppet characters, personalize the characters by adding your voice, select the scene and props, and record a video. Send this by email or upload to Youtube. Watch this great example. Available on the iPad and iPod.Puppet Pals\u2013 Choose the western characters, personalize the characters by adding your voice, select the scene and props, and record a video. Send this by email or upload to Youtube. Available on the iPad and iPod.StoryKit\u2013 Create an electronic storybook by drawing on the screen, uploading images, recording sound effects and voice, laying out the elements of the story (text boxes, images, paint, and sound clips) freely by dragging them or pinching to resize, reordering pages, and uploading to the StoryKit web server. Email a link to the story. The application includes four public domain children\u2019s books to rewrite and rearrange into a new story. Available on the iPad and iPod.Animoto\u2013 Upload up to 10 images, choose a soundtrack from the library (many nice holiday tunes to choose from, and click a button to make a 30-second video. Sync your videos with your Animoto.com account, download videos for offline viewing, and make longer ones with an All-Access Pass. Available on the idevices and Android.Voicethread\u2013 upload an image, text, or video. Invite others to comment through doodling, text, video, or audio. Available on i-devices.Create A Comic App\u2013 free comic creation app for Android and i-devices.Videolicious\u2013 video creation in 3 easy steps. For i-devices.Talking Tom & Ben News Reporters\u2013 students create dialogues that reflect any news item worldwide and around the school. Kids will love when Tom and Ben report that news. The video they upload of the event shows in the middle while Tom and Ben narrate what is happening. Available for i-devices and Android.Pocket Wave for iPad\u2013 Incredible sound editor that has many features similar to Audacity. Also allows you to download the sound clip in various forms- wav, mp3, etc.Storyboarding 3D app\u2013 Create characters and stage them as you plan your story. You have a large database of characters, props, accessories, and movements to choose from. Your storyboards export as pdfs that can be mailed to you. This is only for the iPad and i-devices.Popplet\u2013 Great app for i-devices that allows collaborative mindmapping. This is great for the brainstorming stages of planning a digital storytelling project. The free version only allows the creation of one mindmap.Qwiki for the iPad\u2013 add narration to pictures, videos, etc. that talk about history and facts. Watch other Qwikis to discover information and do research in an interactive wayAudioBoo\u2013 Share audio stories in this online community. Go an extra step and create a qr code and have students scan and listen to the stories. Available for i-devices, Android, and Nokia.Zooburst\u2013 This allows you to view on iPad the stories made with this 3D pop-up book online tool. You can\u2019t create stories but if you scan Zooburst Story Codes you will see the digital story you made online on your iPad. The web tool is absolutely amazing and fantastic for students to create online 3D pop-up books they can embed, add their own photos to, and create dialogues for.Bunsella Bedtimes Story\u2013 students narrate a children\u2019s story, can upload personal photos that become part of the story, then email the video of the narrated story. Others can respond to these read stories. Available on i-devices.Little Bird Tales\u2013 Students can draw their own art or upload images to create a book where they add their voice and text to narrate their story. Then they can embed, create PDFs and MP4s of their stories. Available for i-devices for $2.99 but the web tool allows for the creation of free stories.\nDigital Storytelling Tools by Silvia TolisanoEffective Mobile Learning: 50+ Tips & Resources by Shelly TerrellDigital Storytelling in the Classroom by MicroSoftPost: Engaging Learners Through Digital Storytelling: 40+ ResourcesPost: 20+ Free Apps that Promote Student Literacy\nAccess my Pearl Tree Bookmarks! Just Click any of the mindmap bubbles!\nTry a mobile digital storytelling project with your students this year.\nIf you enjoyed this post, you may want to subscribe for FREE to receive regular updates!\nInteresting essay samples and examples on: https://essays.io/grant-proposal-examples-samples/", "id": "<urn:uuid:8b52417d-0ab2-4ab2-a64b-87f33afd7ea1>", "dump": "CC-MAIN-2021-17", "url": "https://ellerstudentcouncil.com/20-apps-to-support-the-digital-storytelling-process/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067400.24/warc/CC-MAIN-20210412113508-20210412143508-00016.warc.gz", "language": "en", "language_score": 0.9045591354370117, "token_count": 1810, "score": 3.6875, "int_score": 4}
{"text": "Phonics Parent Guide\nDownload the Word Lists:\nFor further information on the new curriculum:\nThe overarching aim for English in the national curriculum is to promote high standards of language and literacy by equipping pupils with a strong command of the spoken and written language, and to develop their love of literature through widespread reading for enjoyment. The national curriculum for English aims to ensure that all pupils:\n- read easily, fluently and with good understanding\n- develop the habit of reading widely and often, for both pleasure and information\n- acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language\n- appreciate our rich and varied literary heritage\n- write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences\n- use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas\n- are competent in the arts of speaking and listening, making formal presentations, demonstrating to others and participating in debate\nIn life, words are extremely important and powerful. Without words, we would find it incredibly difficult to communicate, our thoughts, feelings, dreams, hopes and fears. They are vehicles of communication and as such the ability to understand, say, read and write them is of paramount importance to enable us all to communicate and enjoy the many riches that the spoken and written word has to offer.\nWe use words to communicate in many different ways and contexts: we use them to communicate with others by speaking and listening, receive messages in print, for example, in newspapers, magazines, comics and books, labels on tins and food packets; we need to be able to use words effectively to send and receive text messages and by posting and messaging friends on social media, such as Twitter. We are surrounded by words and language and because they are so central to our lives here at Aylesham, we strive to offer our children the richest opportunities that develop a natural love for words (vocabulary) and how to use them effectively in a range of contexts for different purposes.\nThe Importance of English\nEnglish underpins all areas of the curriculum. Therefore, the teaching of the skills required to communicate effectively through the spoken and written word are taken very seriously at Aylesham Primary School.\nAt Aylesham, reading is given the highest priority. Developing a passion for reading and an appreciation of the written language is vital in order for children to become independent learners and achieve in all areas of the curriculum. We want children to become enthusiastic and reflective readers, who appreciate the importance of reading as a life-long skill in the wider world, but also value books as a source of pleasure and enjoyment.\nWe teach and raise the profile of reading through a variety of means:\n- Structured guided reading sessions from Year 1 to Year 6\n- Phonics is taught daily from Reception to Year 3\n- Core texts, which relate to the class\u2019 current curriculum theme, form the basis of Curriculum planning\n- Reading skills are applied in all subjects such as science and RE\n- Reading buddies are in action from Reception to Year 6\n- Stories are shared across year groups, in assemblies and at the end of the day in class\n- Children are given opportunities to share their own stories that they have written\n- Special reading events such as \u2018World Book Week\u2019, storytelling sessions and Book Fairs\n- One to one reading with staff, parents and volunteer reader helpers.\n- Library visits\n- Learning Environments that promote and encourage reading\nReading at Home\nWe understand that parents play a key role in encouraging their child to develop a positive attitude to reading. Children love to listen to and tell their own stories; talking about books and sharing them together can be an enjoyable experience for all involved.\nFoundation Stage and KS1:\nParents should read with their child for about 10 minutes each day. At this age, little and often is most effective. We believe it is important that children are exposed to a range of texts; for this reason we use a variety of reading schemes for home/school reading books. Teachers and teaching assistants ensure that the level of the book the child takes home is appropriate and carefully monitor the amount children are reading at home.\nOnce your child has learned to decode and can read fluently, reading mileage (reading as many texts and text types as possible) remains extremely important to their development. The opportunity to talk about what they have read to develop their understanding (comprehension) is vital; therefore, we recommend that parents and carers continue to listen to their children read.\nAt Aylesham we believe that language is a powerful tool for learning and social development and are committed to developing children\u2019s spoken and written form. We understand that reading and writing go hand in hand; children need to be capable and fluent readers in order to become capable and fluent writers.\nWe recognise that writing is a complicated process and therefore, in order for children to succeed, our planning provides a range of scaffolds to support their success. These scaffolds include: talk for writing, drama and role play, technology, writing for a range of purposes and audiences, explicit grammar teaching in context, exposure to high quality texts, visual and language models as well as the systematic teaching of spelling and handwriting.\nAll year groups have regular opportunities to write at length across a range of subjects, topics and genres. In addition to this, we have a \u2018Creative Writing\u2019 focus on a weekly basis engaging the children to write enthusiastically with increasing independence. These writing initiatives also provide opportunities for teachers to assess the child\u2019s writing when less support is given.\nParents can support children\u2019s writing by encouraging them to write for a range of real-life purposes and audiences at home. For example:\n- Shopping lists/ to do lists\n- Story writing\n- Captions for photographs\nHandwriting is an essential skill for both children and adults. At Aylesham we believe it is important to support children to develop neat, attractive and consistent handwriting and have pride in their written work. Teaching staff have consistently high expectations of handwriting and presentation across all subjects and encourage children to apply handwriting skills taught across the curriculum.\nSpelling and Phonics\nSpelling is taught daily in the Foundation Stage and Key Stage 1 as part of phonics lessons using \u2018Letters and Sounds\u2019 with \u2018Phonics Play\u2019 and texts produced by Oxford University Press to support. Through Letters and Sounds, a DFE publication, children learn the 44 sounds that form the basis of learning how to read. Our phonics\u2019 lessons aim to build children's speaking and listening skills in their own right, as well as to prepare children for learning to read by developing their phonic knowledge and skills. Our approach to the teaching of phonics is a detailed and systematic programme which aims for all children to become fluent readers by age seven.\nThere are six overlapping phonics phases. The table below is a summary of each phase:\nPhonic Knowledge and Skills\nPhase One (Nursery/Reception)\nActivities are divided into seven aspects, including environmental sounds, instrumental sounds, body sounds, rhythm and rhyme, alliteration, voice sounds and finally oral blending and segmenting.\nPhase Two (Reception) up to 6 weeks\nLearning 19 letters of the alphabet and one sound for each. Blending sounds together to make words. Segmenting words into their separate sounds. Beginning to read simple captions.\nPhase Three (Reception) up to 12 weeks\nThe remaining 7 letters of the alphabet, one sound for each. Graphemes such as ch, oo, th representing the remaining phonemes not covered by single letters. Reading captions, sentences and questions. On completion of this phase, children will have learnt the \"simple code\", i.e. one grapheme for each phoneme in the English language\nPhase Four (Reception) 4 to 6 weeks\nNo new grapheme-phoneme correspondences are taught in this phase. Children learn to blend and segment longer words with adjacent consonants, e.g. swim, clap, jump.\nPhases Five and 6 (Throughout Year 1 and revised in Year 2)\nNow we move on to the \"complex code\". Children learn more graphemes for the phonemes which they already know, plus different ways of pronouncing the graphemes they already know. Children begin to work on strategies for more complex spelling patterns, including prefixes and suffixes, doubling and dropping letters etc.\nPhonics continues to be taught in Key Stage 2 where spelling rules and patterns are investigated, taught and practiced. Common \u2018exception\u2019 words are also taught. In addition to this the children use \u2018Clued Spelling\u2019 which is an individualised spelling programme driven by the children and closely monitored by the teaching staff. We have also subscribed to \u2018Spellodrome\u2019 which is an online learning tool which the children can access freely at home by logging in to the \u2018Mathletics and Spellodrome\u2019 site. This online tool enables children to practise their spellings being taught at school, whilst building points to enhance their avatar.\nLists of words are sent home each week for children to learn. These might be common \u2018exception\u2019 words, words relating to the class\u2019 theme or lists of words that fit a particular pattern or rule.", "id": "<urn:uuid:61a7ae68-a0f8-4b9b-8cb9-112b6e61e2d8>", "dump": "CC-MAIN-2021-17", "url": "https://www.aylesham.kent.sch.uk/english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038062492.5/warc/CC-MAIN-20210411115126-20210411145126-00137.warc.gz", "language": "en", "language_score": 0.9570816159248352, "token_count": 1948, "score": 4.25, "int_score": 4}
{"text": "Maria Montessori discovered that at around the age of six children enter a new plane of development which will last until they are around 12 years old. What is unique to this period in a child\u2019s life? How can we best support children at this age both as educators and as parents? And how can our understanding of this stage inform our approach to younger children?\nRead on to discover answers to these questions or register for our two-week AMI Assistants Certificate 6-12 for a thorough grounding in Montessori at this stage.\nIntellectual growth and physical changes \u2013 By age six and older, children are changing \u2013 they have less baby fat, new teeth and stronger bodies, and they are usually robust and healthy. They possess reasoning minds and a strong sense of justice and fairness. It is a time of intellectual growth that sees children transitioning towards abstract thinking.\nWider perspectives \u2013 Our AMI Assistants Certificate 6-12 trainer, Alison Awes says: \u201cIn the classroom, we offer them the universe\u201d. At the beginning of the academic year, the children are told the so-called \u201cGreat Stories\u201d. These stories start with the origin of the universe and offer a journey through history. These are stories of inventions, mathematics and secret languages, respect and gratitude, fairness and morality. They ignite the children\u2019s interest in many different subjects, they give them a wider perspective and they get them excited about learning and researching. \u201cThese stories of the world are our children\u2019s story as well\u201d Alison says. The understanding of the human contribution to our world results in the children asking themselves: \u201chow will I contribute?\u201d\nContributing to the community \u2013 Montessori children contribute practically to the running of their classroom from an early age and they learn how to take responsibilities for their community. By the 6-12 years stage, children start to think beyond the boundaries of the classroom about their impact in their local area and the wider world. They can be encouraged by teachers and parents to get involved in local initiatives and to campaign for issues they care about.\nCharacter development and ethics \u2013 In Montessori classrooms the balance between freedom, discipline and responsibility creates a collaborative and respectful environment. The intellectual growth in the 6-12 years stage means children can now consider more complex issues and develop at a more abstract level. In practice this is seen in how the children work together in groups, the changing role of the teacher and how academic progress is ensured and work levels are checked. At home parents can reinforce this approach and nurture independence and morality by acting as role models for their children; offering valid reasons for their decisions; giving clear boundaries; setting expectations clearly; and avoiding shaming and punitive interventions.\nDiscover more by taking the AMI Assistants Certificate 6-12 this April for \u00a3825. This two week course is suitable for anyone wanting to work with 6-12-year-olds, for those working with 3-6-year-olds who want to better understand this stage, and for parents and anyone interested in Montessori.", "id": "<urn:uuid:7d845df7-1319-4679-b1fe-3b24b152028e>", "dump": "CC-MAIN-2021-17", "url": "https://www.mariamontessori.org/blog-how-can-we-offer-them-the-universe/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038071212.27/warc/CC-MAIN-20210413000853-20210413030853-00457.warc.gz", "language": "en", "language_score": 0.96028071641922, "token_count": 629, "score": 3.625, "int_score": 4}
{"text": "The curriculum is grouped under the three Attainment Targets for English which are: Speaking and Listening, Reading and Writing and includes the systematic teaching of phonics. Key Stages 1 and 2 follow units of work based on the Primary Framework for Literacy while the Foundation Stage follows the Early Years Foundation Stage Curriculum.\nIn addition, literacy skills are constantly being developed, reinforced and practised in all other subjects.\nEvery child receives regular guided reading and writing sessions with the class teacher or a teaching assistant. These small group sessions provide opportunities for focused teaching and learning, where children\u2019s specific learning needs and targets are addressed.\nChildren have daily opportunities to engage in language games and activities to get them going and thinking before writing. They will regularly see the teacher modelling writing and children will contribute to shared writing. We use talk for writing strategies where children are supported in their writing through a variety of speaking and listening activities prior to putting pen to paper. Children discuss their thoughts and talk through features of texts and take part in oral story telling so they are very familiar with a story before they start to write it. Children are taught a variety of text types and are provided with regular opportunities to write their own versions. Some examples are stories, information texts, diary entries, and instructions. Children help their teachers to make a list of what to include in their writing so they know what to use in their own work and this helps them to check it afterwards. At The Grove we use the Nelson handwriting font and children are taught and encouraged to join up their letters from Year 2 onwards. Good presentation is always encouraged and celebrated.\nOur approach to the teaching of reading is through group guided reading in class. Pupils also have individual reading books to take home. The books are carefully levelled to support children in their progress and go from book band pink up to book band lime green, when children become free readers. At The Grove we use a variety of reading schemes including Big Cat, Rigby Star, PM books and the ever popular Oxford Reading Tree, to give the children experience of different styles of books and genres (e.g. fiction, non-fiction, poetry, traditional stories).\nPhonics is taught daily in the Foundation Stage and in KS1 to support children in their reading and writing. Children are taught all of the main phonemes (sounds) in Reception and are encouraged to sound out words and blend them to read and sound talk words to write them. Children play a range of games to practise these skills and they are reinforced during their Literacy lessons when reading and writing. Phonemes and words learnt in Reception are practised further in KS1 and children also learn more phonemes and tricky words. Support for Spelling is introduced in Year 2 for children to learn more about spelling patterns in words and this is continues as children move into KS2 through daily SPAG (Spelling, Punctuation and Grammar) lessons.\nSpeaking and Listening\nWe value children's speaking and listening skills very highly and want to help them develop their communication across the whole curriculum. Some of the strategies we use to achieve this are:\nnew vocabulary is displayed in the classroom for children to refer to throughout all our topics.\n'talk partners' are regularly used across the curriculum\nOral storytelling techniques. This is where children learn a shared story and use actions to remind them of the structure, connectives and content.\nWarm up games and activities at the start of our lessons to get the children speaking and listening. For example, children might have to guess what verb is being acted out, or add punctuation to a sentence they have listened to.\nOpportunities to orally rehearse what they are going to write using 'talk frames' which helps them to structure their ideas, and provides them with sentence openers and vocabulary related to the topic.\nDrama activities are built into lessons. For example, we might hot seat a character from a story, asking open-ended questions to get information for our writing.\nAll these strategies provide opportunities for children to develop their ability to communicate in different contexts.", "id": "<urn:uuid:c94715c1-2333-4c0c-9381-2071dae0215b>", "dump": "CC-MAIN-2021-17", "url": "http://www.thegroveschool.net/website/english", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039508673.81/warc/CC-MAIN-20210421035139-20210421065139-00058.warc.gz", "language": "en", "language_score": 0.9656968712806702, "token_count": 841, "score": 3.703125, "int_score": 4}
{"text": "Amia Sixtine January 1, 2021 worksheets\nKindergarten English Spelling Worksheets Pdf \u2013 Workbook This pdf book contains 18 printable English spelling worksheets for preschool, kindergarten, and 1st grade. Finding and writing the missing letters, circle the missing letters, circle the correct spelling, spelling some simple words. Preschool Math and Activities; Preschool Reading; Preschool Spelling; Preschool Writing; Coloring Pages to Print \u2013 Goes to our main Coloring Page. We have free worksheets with lovely early childhood themes. Even just the littlest effort to make school look like fun and to develop an interest in reading, writing and figuring can boost your child. Preschool Spelling Worksheets. Spelling is an important part of any early childhood education. Our free spelling worksheets will assist preschoolers in learning how to spell basic words. Kids can trace the letters in the word and then spell them on their own underneath.\nOur preschool worksheets are specifically designed to include all the age-appropriate skills. Explore these worksheets to help your preschooler child learn alphabets, numbers, colors, shapes, pre-writing skills, vocabulary building and other skills. Age Group: 2-5 years Grade Level: Preschool Free Printable Worksheets For Toddlers Age 2 Free Printable Toddler Worksheets Children Worksheets Free Free Toddler Worksheets Back To School Activities Grade 5 Free Back To School Worksheets For Second Grade shape worksheets for toddlers alphabet worksheet for kids color red worksheets for toddlers preschool activity sheets toddler learning printables free worksheets for kids worksheets for. This is an extensive collection of free preschool worksheets designed for ages approximately 3 & 4 years old. These free printable preschool worksheets are designed to help kids learn to write the alphabet, numbers, plus a free printable color matching sheet! The youngsters can enjoy preschool worksheets age 2, Math Worksheets, Alphabet Worksheets, Coloring Worksheets and Drawing Worksheets. They could play games in the Nursery like Numbers Match Games and Alphabet Puzzles and preschool worksheets age 2.Such a lot of fun they could have and give another kids.\nPreschool worksheets age 2. Worksheets for toddlers Age 2 and Preschool Worksheets. An appropriate person isn\u2019t identified exclusively by his right clothes or with an excellent family. At any moment, someone is going to have several things he wants to achieve in regards to long term and short term. There are a lot of means. Beyond the usual age appropriate reading, writing and math exercises \u2014 all of which were designed by professional educators \u2014 our preschool worksheets teach kids everything from sorting techniques and the five senses to feelings and emotions. Make learning engaging for pre school age kids with over 3000 pages of free pre k worksheets, preschool games, and fun activities for teaching alphabet letters, preschool math, shapes, counting, phonemic awareness, visual discrimination, strengthening fine motor skills, and so much more. worksheets for toddlers age 2 \u2013 Coloring Kids. worksheets for toddlers age 2. 3 Year Old Activities Toddler Learning Activities Educational Activities Book Activities Preschool Activities Preschool Books Children Activities Shapes Worksheet Preschool Lesson Plans For Preschool\n200+ Free Preschool Printables & Worksheets This is a growing collection of free printables for preschoolers , designed for ages approximately 3 & 4 years old. You can also browse through our toddler printables and kindergarten printables . Preschool Worksheets Age 2 \u2013 Preschool worksheets ought to be the starting point for early childhood education and development programs. First childhood worksheets should be made to assist children who are coping with language or developmental abilities develop those skills or to assist them in doing well on a test. Preschool age starts at the age of 3 and continues all the way until the age of 5 when most children enter kindergarten. Preschoolers are developing a sense of independence from their parents. They are eager to learn new things and spend time in a group setting, such a preschool class or peer group. Free Printable Preschool Worksheets Letter Tracing Worksheets Number Tracing Worksheets Shape Tracing Worksheets Picture Tracing Worksheets Line Tracing Worksheets Pre Writing Worksheets Spiral Tracing Worksheet Cut and Paste Letters Cut and Paste Numbers Cut and Paste Shapes\u2026\nPreschool spelling worksheets. Spelling Practice Worksheets for Preschool Printables. Download Spelling Practice Tracing worksheets and printables Kids educational preschool, kindergarten and grade school for kids. Preschool Spelling Curriculum Sequence. In preschool, spelling words start with basic two-letter words. For example, a good starting point for preschoolers would be: AT, ME, BE, and IT. Children then start to expand the list by working through \u201cword families\u201d. From AT, in preschool spelling, the curriculum, worksheets, and then spelling. Preschool Spelling Resources. Preschool focuses on pre-writing: ABCs, vowel sounds and simple words. Prep for writing success with these worksheets that focus on letter recognition, word-building and a bit of storytelling. Preschool. Reading & Writing. I am a Christian mother of four, with over 13-years experience homeschooling in Southern Oregon. The resources and products I create are designed to keep the prep to a minimum while also bringing a little educational fun to your classroom\nThe printable alphabet letters on our website come in different fonts for your own convenience. For formal events, we have printable cursive letters; for children\u2019s parties, we have bubble letters for that; and for old-school-themed events, we have vintage letters ready to be printed and decorated. These free printable alphabet templates and letters are great for arts and crafts projects, DIY gifts, educational purposes, and much more. Just sign up for the Freebie Finding Mom email list to get an all access pass!. Printable alphabet templates have a lot of different uses. Here are just a two of the ways I\u2019ve put these alphabet printables to use in my home. We have prepared for you Free Alphabet Practice A-Z Letter Worksheets \u2013 Preschool Printable to Learn the Alphabet. Our A-Z Letter Worksheets are perfect for any preschooler who is just learning to write and read. These Free alphabet printables will help children practice fine motor skills. Holding the pen correctly is only seemingly easy. The free printable stencils are in a block font and include all the alphabet letters A through Z, numbers 1 though 9, and of course punctuation. It\u2019s a timeless font in all uppercase and always does the trick and takes minutes to make.\nTag Cloudmath 8 textbook answers clock images for teaching time free high school math courses division activities for grade 3 k5 worksheets free printable halloween math worksheets nutrition math problems beginning geometry lessons skill of introducing a lesson in mathematics geometry vocabulary quiz printable first grade homework hush hush becca fitzpatrick 8.5 x 11 grid paper short math sayings", "id": "<urn:uuid:0507f8aa-fa42-4f14-90a8-9778dc8c1d66>", "dump": "CC-MAIN-2021-17", "url": "https://chocolatecityburlesque.com/6tc0j95e/lH9079hY/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039594808.94/warc/CC-MAIN-20210423131042-20210423161042-00017.warc.gz", "language": "en", "language_score": 0.8997127413749695, "token_count": 1487, "score": 3.578125, "int_score": 4}
{"text": "\u201cOpening Books, Broadening Minds\u201d\nWalt Whitman once said, \u201cviewed freely, the English language is the accretion and growth of every dialect, race, and range of time, and is both the free and compacted composition of all.\u201d It is this very notion, paired with the historical hallmark of literature that leads to the huge social, political and moral implications and enables our students to become both critical thinkers and empathetic human beings.\nThe mission of the English Department at Thomas Becket Catholic School is to:\n\u00b7 Cultivate understanding, knowledge, and appreciation of the English language, its speakers and writers and its literature and cultures.\n\u00b7 Aspire our students to use the language creatively, critically and effectively at an \u2018Oxbridge standard\u2019 to participate ethically in civic and professional life.\n\u00b7 Provide our students with access to a range of Literature in order to foster creative and critical abilities, promote multiculturalism and tolerance in a globalised world.\n\u00b7 Instil an appreciation of a cultural, historical, ethical, aesthetic linguistic force that shapes our lives, whilst also nurturing an inquisition for the English language, its history, conventions, structures and uses.\n\u00b7 Provide opportunities to merge the art of creative and transactional writing with literary insight which will provide a hands-on experience that will empower our students to respond to human experience in a changing world.\nYear 7\u2014The Chronology of English Literature\nEnglish Through the Age: (Foundations of Literature) Non-Fiction Analysis\nAn introduction to the Literary timeline. Where do texts fit within the chronology of English Literature and how do historical events impact the writing of these texts? How are writers influenced by what has come before them?\nRomanticism: (Romantic Poetry)\nAn introduction to Romanticism through Romantic poetry. Who were the Romantics and in what ways were they considered rebellious and revolutionary?\nA Christmas Carol: (19th Century) Creative Writing\nAn introduction to 19th Century Literature. What were the traits of Victorian literature and how was this impacted by key events in History? How would a Marxist reading of this text differ?\nTrash: (Modern Texts) Transactional Writing\nAn analysis of contemporary literature with a focus on how themes and concepts are still relevant today. How are modern writers influenced by what has come before them\nThe Body Snatcher: (19th Century) Non-Fiction Analysis\nAn introduction to Gothic Literature. What are the origins of this genre and how is it impacted by the beliefs of people living at this time?\nHow do science and religion play a part in the themes presented in gothic literature and how far are these texts a replica of Victorian society?\nThe Tempest - Shakespeare (Shakespeare)\nAn analysis of a Shakespearean text with a focus on the themes of power, justice, knowledge and the treatment of others. How does Shakespeare present Elizabethan beliefs in his text and how do these texts differ to modern day, post-colonial views?\nNoughts and Crosses (Play) (Modern) Transactional Writing\nHow relevant are themes of segregation and prejudice in modern day society? How do dramatic features impact the presentation of these ideas?\nConflict Poetry (Conflict and Culture)\nAn analysis of a collection of poems from different time periods and cultural backgrounds. Each poem discusses the idea of conflict\u2014what different conflicts exist? How is this conflict a reflection of personal or societal beliefs?\nGothic and Frankenstein (19th Century) Creative Writing and Non-Fiction Analysis\nAn analysis of a variety of gothic texts resulting in the full study of the playscript version of Frankenstein. What are the key traits and motifs of gothic literature and how do different writers employ these? How significant are societal beliefs in the construction of these texts and how far do writers draw on other texts for ideas?\nOf Mice and Men (Modern) Transactional Writing\nHow relevant are themes of segregation and prejudice in modern day society? How can writers use characters within a text to represent a greater population? To what extent has society changed since the 1930s?\nTragedies (From Greek Tragedies to Modern) Paper 1 Reading\nA detailed analysis of the Tragic genre. How has this genre changed over time? How far can Aristotle and Freytag\u2019s models be applied to a range of tragic texts?\nA study of poetry from 1789 to the present day. How do poets present key themes and ideas with a text and how do these ideas differ to other poets writing on the same ideas? How far do the social, historical and personal backgrounds to these poems affect their content?\nYear 10 GCSE EDUQAS C700QS / C720 QS\nEduqas Poetry and Paper 1 Language\nPoetry\u2014A study of poetry from 1789 to the present day. How do poets present key themes and ideas with a text and how do these ideas differ to other poets writing on the same ideas? How far do the social, historical and personal backgrounds to these poems affect their content?\nLanguage\u2014 A study of a range of 20th century literary prose texts looking at how writers create particular effects and the ability to form personal opinions on an \u2019unseen\u2019 piece of prose. Students will then look at how they can use their knowledge of the English language to create their own narratives.\nMacbeth and Paper 2 Language\nMacbeth\u2014A study of Shakespeare\u2019s use of language, structure and form and show an understanding of key themes, characters and ideas within the text.\nLanguage\u2014A study of a range of 19th and 21st century non-fiction texts looking at how writers create particular effects and the ability\nto form personal opinions on an \u2019unseen\u2019 piece of prose. Students will then look at how they can use their knowledge of the English language to create their own transactional texts.\nSpeaking and Listening\nHow do we construct convincing arguments? Students will use their understanding of non-fiction texts, to present their own speech or presentation on a topic of their choice. Students will also need to be able to respond to questions and feedback on their chosen topic.\nYear 11 GCSE EDUQAS C700QS/C720QS\nJekyll and Hyde\nA developed analysis of a 19th Century text. How does Stevenson use language and structure to present key themes and ideas? How is Stevenson impacted by the culture and society of 19th Century Britain?\nAn Inspector Calls\nA developed analysis of a modern text. How relevant are themes of segregation and prejudice in modern day society? How can writers use characters within a text to represent a greater population? To what extent has society changed since the Edwardian era?\nRevision of all\nStudents are given the opportunity to revise all covered topics in preparation for their final exam.", "id": "<urn:uuid:6e90bf85-07d5-4144-bf3d-360504c6a19a>", "dump": "CC-MAIN-2021-17", "url": "https://www.thomasbecket.org.uk/page/?title=English&pid=91", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00618.warc.gz", "language": "en", "language_score": 0.9250506162643433, "token_count": 1420, "score": 3.765625, "int_score": 4}
{"text": "The Cherokee Indians originally inhabited the Southeast region of the United States. Like many Indians, the Cherokee were threatened by the settlers and forced to move from their homeland during the 1800s. The Cherokee Nation of Oklahoma, the United Keetoowah Band in Oklahoma, and the Eastern Band of Cherokee Indians in North Carolina are the only three Cherokee tribes recognized by the federal government. These tribes have their own governments and leadership, but are still U.S. Citizens and must abide by American law.\nThe Cherokee originally lived at the southern base of the Appalachian mountains, including Georgia, North Carolina, South Carolina and Alabama, as well as parts of Tennessee and Kentucky. Most of the current population of federally recognized Cherokee are based in Oklahoma. Other unrecognized Indians are dispersed throughout parts of Arkansas, Georgia and Alabama.\nCherokee Trail of Tears\nThe Cherokee Trail of Tears was the forced displacement of Indians during the 1800s by the U.S. government. The government established reservations in Oklahoma on which the Indians could live, but many tribes did not want to go. When the Indians pled their case at the Supreme Court, they were guaranteed their freedom to stay. However, President Andrew Jackson and his army forced the Indians to leave. Because the journey was arduous and unplanned, it cost many Indians their lives.\nCherokee Indians speak the Cherokee language, also called Tsalagi. It originated from the Iroquo Indians. The Cherokee wrote using syllabary, which uses a written character to represent a syllable. This written language was invented by a Cherokee scholar named Sequoyah. Current Indians speak English and write using the English alphabet.\nCherokee Indian culture was similar to that of the Iroquois. Men were responsible for hunting, fighting and maintaining tribe leadership, whereas the woman primarily spent their time farming and taking care of the family. Storytelling, art and music were important parts of the Cherokee lives. Fairy tales and legends, in particular, were used to explain the origin of nature.\nCherokee Indian women farmed and harvested and their own food. Their popular crops included corn, beans, squash and sunflowers. The women also collected fruits, berries and nuts from the wild, while the men hunted turkeys and deer or fished in the streams. The Indians also baked bread and made various vegetable and meat stews that were heated on stone fireplaces.\nSince 2008, Jen Kim has been a professional writer and blogger, working for national publications such as Psychology Today and Chicago Tribune affiliates. She holds a Master of Science in journalism from Northwestern University.", "id": "<urn:uuid:acc4b324-613b-46e4-bfca-8551e313aa13>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/cherokee-facts-for-kids-12083603.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00256.warc.gz", "language": "en", "language_score": 0.9777176976203918, "token_count": 524, "score": 3.890625, "int_score": 4}
{"text": "Christine Shana March 22, 2021 Worksheets kindergarten\nKindergarten English Spelling Worksheets Pdf \u2013 Workbook This pdf book contains 18 printable English spelling worksheets for preschool, kindergarten, and 1st grade. Finding and writing the missing letters, circle the missing letters, circle the correct spelling, spelling some simple words. Preschool Math and Activities; Preschool Reading; Preschool Spelling; Preschool Writing; Coloring Pages to Print \u2013 Goes to our main Coloring Page. We have free worksheets with lovely early childhood themes. Even just the littlest effort to make school look like fun and to develop an interest in reading, writing and figuring can boost your child. Preschool Spelling Worksheets. Spelling is an important part of any early childhood education. Our free spelling worksheets will assist preschoolers in learning how to spell basic words. Kids can trace the letters in the word and then spell them on their own underneath.\nPreschool Worksheets Age 2 high resolution. You can make Preschool Worksheets Age 2 photos for your tablet, and smartphone device or Desktop to set Preschool Worksheets Age 2 pictures as wallpaper background on your desktop choose images below and share Preschool Worksheets Age 2 wallpapers if you love it. The preschool math worksheets category includes shapes, position and order, numbers, measurement, and counting printables. Children will become familiar with basic math skills. The preschool learning worksheets category includes weather, holiday, seasonal, colors, and telling time printables. They are a wonderful way for kids to learn the. Preschool Worksheets Age 4 2 \u2013 Preschool Worksheets Age 4 2 , Learning to Write Trace Letter B for toddlers and.soe Store Kids Capital Alphabets Writing Activity Book for.back to School assessments Kindergarten Owl themed.i Spy Numbers Worksheets for Kids 3 Yrs and Above Number.this is A Good Worksheet for 2nd Graders or Whatever is A.8 Basic Skills Worksheets Celebrate the changing season with our collection of fall worksheets. These printables help young learners begin to understand the differences between the four seasons and practice important skills, such as tracing lines, to get them ready for writing. For more coloring and learning, check out our full collection of preschool worksheets.\nPreschool/Kindergarten Math Worksheets and Printable PDF Handouts. This page offers free printable math worksheets for preschool and kindergarten levels. These worksheets are of the finest quality. Follow the links below to download. Also pratice with swf flash quizzes online. Sign up \u2013 Math Exercises For Preschool \u2013 Click here ! Sep 3, 2019 \u2013 A ton of preschool worksheets pdf printables for free. Numbers, letters of the alphabet, cutting, and tracing worksheets for preschool to print. Preschool Tracing Workbooks. Instant download 10 preschool tracing workbooks pdf containing a collection of more than 200 tracing worksheets intended for use with children in pre-k, preschool, kindergarten, daycare, nursery, montessori, and other early childhood education.\nPreschool spelling worksheets. Spelling Practice Worksheets for Preschool Printables. Download Spelling Practice Tracing worksheets and printables Kids educational preschool, kindergarten and grade school for kids. Preschool Spelling Curriculum Sequence. In preschool, spelling words start with basic two-letter words. For example, a good starting point for preschoolers would be: AT, ME, BE, and IT. Children then start to expand the list by working through \u201cword families\u201d. From AT, in preschool spelling, the curriculum, worksheets, and then spelling. Preschool Spelling Resources. Preschool focuses on pre-writing: ABCs, vowel sounds and simple words. Prep for writing success with these worksheets that focus on letter recognition, word-building and a bit of storytelling. Preschool. Reading & Writing. I am a Christian mother of four, with over 13-years experience homeschooling in Southern Oregon. The resources and products I create are designed to keep the prep to a minimum while also bringing a little educational fun to your classroom\nExplore Nicole Gerardy\u2019s board \u201dpreschool portfolio\u201d, followed by 1974 people on Pinterest. See more ideas about Preschool, Preschool portfolio, Preschool activities. 77 pages of editable portfolio printables to help you get started with student portfolios in your preschool, pre-k, or kindergarten classroom. My Family Free Printable Preschool Activity Pack. Several different activities to explore families and their members. This is a requested pack for a very awesome reader. Thank you so much for supporting us by visiting and downloading our printables! I so appreciate each of you!\nSep 21, 2020 \u2013 Explore CarolynOsborne\u2019s board \u201dFree printable alphabet letters\u201d on Pinterest. See more ideas about Abc coloring, Abc coloring pages, Printable alphabet letters. Sep 23, 2020 \u2013 Printable Alphabet Letters. See more ideas about Printable alphabet letters, Lettering alphabet, Alphabet printables. The printable alphabet flashcards below are going to help your child learn their letters in no time. The best part is that these printable alphabet flashcards are all free! These are some great looking flashcard sets with wonderful illustrations. They range in style from modern to vintage, but they all are clear and easy to understand. Slide Font Alphabet Letters. Download. This has a set of alphabets designed with a very stylish theme. They look extremely good when printed and although a little complicated at first glance, they are quite easy to comprehend. Creative Printable Alphabet letters. Download. The letters showcased here have a very interesting design.\nTag Cloudintegers in mathematics math problem solver calculator year 2 math problem solving worksheets ttyl book i need help with math homework high school math cheat sheet grade 2 mathematics worksheets first grade math coloring sheets adding and subtracting integers quiz algebra word problems with solutions and answers", "id": "<urn:uuid:781f18a1-110f-45fe-aa9a-1e6edba1d36a>", "dump": "CC-MAIN-2021-17", "url": "https://stopthetpp.com/3n361N0Ih/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00578.warc.gz", "language": "en", "language_score": 0.8899433612823486, "token_count": 1254, "score": 3.609375, "int_score": 4}
{"text": "In the article Scottsboro Boys and To Kill a Mockingbird: Two Trials for the Classroom it stated that, \u201cThe lessons of the infamous 1930s Scottsboro Boys case in which two young white women wrongfully accused nine African American youths of rape illustrate through fact what Harper Lee tried to instruct through her fiction\u201d. Black people were always accused by white people of crimes they might have not committed and the judge will always believe the whites. Blacks were considered criminals, barbarians and savage, that was one of the main reasons why Lee wrote her book; she felt that things should be changed and blacks should have a voice. Blacks did not feel that they live in their country because of the discrimination they faced, they needed help to make their voice heard; some of the white writers helped them to fight for their rights that was mentioned in the article \u201cTo Kill a Mockingbird\u201d: Two Trials for the Classroom\u201cBoth historical and fictional trials express the courage required to stand up for the Constitutional principle providing for equal justice\nIn her images, she expresses her thoughts on the representation that black woman has in our culture she also points out that because of our society black women aren 't able to embrace themselves as who they are because they are influenced by other cultures. Simpson portrays empowerment gender, identity, and culture in her images despite the oppression of racist culture impacts black women 's body and identity. Five-day forecast by Lorna Simpson incorporates five large boxes with days of the week Monday through Friday. It 's a way of expressing misconceptions as a black woman. In her image \u201cfive-day forecast\u201d she has two words in each day such as; misdescription, misidentifies and mistranslate.\nBecause Frado is of mixed race, she experiences an even worse sort of degradation than she would have if both of her parents had been black, a situation which leads to her position as a societal outcast. For example, Mrs. Bellmont\u2019s hatred for Frado and the strength of her cruelty progressively increase throughout the story in part because Frado \u201cwas not many shades darker than Mary now,\u201d suggesting that Mrs. Bellmont fears the power that black people could gain if they were treated as equals to whites in the North (Wilson 39). For example, Mrs. Bellmont forbids Frado from sheltering her skin from the sun in an attempt to make Frado darker. She fears that her peers will notice that Frado is not much darker than Mary: \u201cwhat a calamity it would be to ever hear that contrast spoken of.... Mrs. Bellmont was determined the sun should have full power to darken the shade which nature had first bestowed on her as best fitting\u201d (Wilson 39). Although Mrs. Bellmont has already alienated Frado as a result of her skin color, she attempts to further remove Frado by attempting to expel Frado from the liminal space she occupies as a mulatto by making her darker skinned.\nFor example, in the forth stanza Angelou states \u201cDid you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops, Weakened by my soulful cries?\u201d. These lines display the theme set through out the poem by showing the fight that the African American people of America had for their civil rights in the 1950s-1960s. Angelou shows this in her writing by asking rhetorical questions to the people who were the oppressors of the African American community on how they would like to see them, but she shows that they will no longer be treated like a dog or a door mate they will stand up and fight for what they believe was a fight that could be won by them.\nResistance to Racism Resistance to racism is the refusal to accept or comply with prejudice or discrimination based on someone\u2019s race. African Americans have experienced displacement and racism since 1619, when slavery first began in America (History.com). In the book \u201cI Know Why The Caged Bird Sings\u201d by Maya Angelou, an African American women who grew up alongside her family whom throughout their lives have experienced displacement in society in America. After reading this book it led me to question, To what extent does the racial displacement of African Americans in America still exist today? Maya Angelou has been through thick and thin to find a balance in society and still to this day there is a need for resistance to racism.\nI didn 't meet anybody I wanted to marry ' '. Before Skeeter left for college, she wanted the married life that her mom instilled in her but this quotation reveals that Skeeter is no longer one of the typical white women in Jackson , Mississippi who worried about marriage, having children and the perfect life. Later in the novel, we see another character development from Skeeter when she sees the unfair treatment of the blacks have totally changed ever since she left for college. One afternoon, Miss Hilly suggested that the black help should not use the same bathroom as the whites in their household as they spread diseases. Annoyed Skeeter responds loudly and says ' 'Maybe we ought to just build you a bathroom outside Hilly ' '.\nAccording to the chapter \u201cIs the Personal Still Political\u201d in Patricia Hill Collins\u2019s book From Black Power to Hip Hop, African American women could not fully identify with the American feminist movement of the 1960s and 1970s because of \u201crace, class, and nation matter\u201d (Collins 178). In other words, African American women did not wholly face the same struggles as White women and formed their own feminist organizations as a result. Even today, there is still a divide between White feminism and Black feminism and many Black artists have taken on the role of mobilizing the Black feminist movement. Of all the works we have studied in RLGN 278, I was most fascinated by the works of Janelle Monae and the film Black Panther. Through Django Jane, Janelle Monae is able to provide commentary on today\u2019s current climate of gender and sexuality while Black Panther provides a utopian view of these topics.\nSurely, only an opposing, selfish, and insensitive person could send their wife and child away upon realizing that they both were mixed race. In Kate Chopin\u2019s \u201cDesiree\u2019s Baby\u201d, however, protagonist, Desiree, is altered over just a few days as she goes from being thankful from the happiness of her husband and baby into saddened and betrayed by her lover. The story eventfully shows how racism and denial both play a part in the way the future may turn out. From the time that the story begins, one can see that the love between Armand and Desiree is what they say to be a dream come true. It\u2019s the love that everyone asks for.\nThe novel primarily focuses on the problems that the African-American women faced in the 20th century in the south of the United States depicted on the example of Celie, who came through a number of events and finally managed to self-actualize herself in a world that was hostile to her. The Color Purple unleashed a storm of controversy; a number of male African-American critics complained that the novel reaffirmed old racist stereotypes. Nevertheless, the Color Purple also had its supporters,\nLet the Circle Be Unbroken, a novel by Mildred D. Taylor, portrays the inequality of colored people and the numerous issues they faced in the 1930s. Depending on where one was in the country affected how they were treated; African Americans in the south were often treated worse than those who resided in the north. Either way, they endured back-breaking work, lived through the Great Depression, and were the victims of racism. Although they were no longer slaves, and hadn\u2019t been for several decades, many people refused to see colored people as equal. Mildred D. Taylor took these events into consideration when writing her novel, and in doing so, gave an accurate representation of how life was for colored people in the 1930s.", "id": "<urn:uuid:ad67e4c2-6d10-4150-87d6-fc7b8d83d32d>", "dump": "CC-MAIN-2021-17", "url": "https://www.ipl.org/essay/Overcoming-Racial-Tension-In-Skeers-The-Help-PCSW7GEGZT", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00458.warc.gz", "language": "en", "language_score": 0.9785789251327515, "token_count": 1650, "score": 3.84375, "int_score": 4}
{"text": "5 Step Writing Process for Kids\nThe writing process is the method of developing a loose idea into a well-organized and thoughtful essay. Several models of this process exist, and some are more complex than others. However, it can be boiled down to five distinct steps that you can apply to help young students complete successful pieces of writing.\nUnderstanding the Assignment\nBefore students ever put the pencil to the page, you need to make sure they understand exactly what you want them to do. Have them write descriptions of the assignment in which they list all that they know about it. After they finish, check their work to make sure they know how long the essay is supposed to be, when it's due and -- most importantly -- what type of essay they're supposed to write. Stress the importance of having all of this information, and that whenever they don't, they need to ask for help. This way they have all the information they need to succeed with the assignment.\nIf you've assigned specific topics, have them start by writing lists of everything they know about their subjects just so they have their thoughts on paper. Afterward, have them narrow their focuses so they can decide which details to include in their essays. You can even help them organize their thoughts by ranking their ideas in order of importance. For example, if one student is writing a description of her favorite place, which is Disney World, she might list her favorite rides and attractions. You could then suggest that she put a big star beside Space Mountain because that ride is the one she likes best. If you haven't assigned a topic, have the kids list topic ideas first and then check their lists to identify which topic will work before having them brainstorming further.\nOutlining the Essay\nNow that they've collected their ideas on paper, it's time for them to outline their essays. Explain that an outline is a blueprint of the entire essay: the introduction, body and conclusion. Have them list their ideas in the order they'll appear and include supporting ideas under each main idea. Furthermore, stress neatness. For example, when outlining the introduction, have them write the opening sentence on one line, and then the thesis statement on the line below. After that, they should continue idea-by-idea and label each section until the whole essay is outlined.\nWriting the First Draft\nOnce they have outlines they can begin their first drafts. Have them write their essays from beginning to end, following their outlines exactly. Look over their work regularly and stress the importance of a clear introduction, body and conclusion. Make sure each paragraph has a topic sentence, supporting evidence and a transition that leads to the next idea. Whenever you have the opportunity, reinforce the idea that good writing is about organizing their thoughts and presenting them clearly.\nRewriting, Revising and Editing\nOnce their first drafts are complete, you can either collect them and provide detailed feedback for each one or pair students up so they can critique each others' work. When you return their drafts, instruct them to follow your suggestions and rewrite any sections that need improvement. These suggestions might include making sentences clearer and correcting spelling and grammar mistakes. Also, remember to validate their efforts and stress that revising isn't about fixing failed attempts as much as improving promising starts.\nChristopher Cascio is a memoirist and holds a Master of Fine Arts in creative writing and literature from Southampton Arts at Stony Brook Southampton, and a Bachelor of Arts in English with an emphasis in the rhetoric of fiction from Pennsylvania State University. His literary work has appeared in \"The Southampton Review,\" \"Feathertale,\" \"Kalliope\" and \"The Rose and Thorn Journal.\"", "id": "<urn:uuid:64bae2ee-b947-4196-a1bf-50df7a3dc988>", "dump": "CC-MAIN-2021-17", "url": "https://education.seattlepi.com/5-step-writing-process-kids-3485.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00578.warc.gz", "language": "en", "language_score": 0.9722787141799927, "token_count": 742, "score": 4.15625, "int_score": 4}
{"text": "First Grade Writing\n6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.\n7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.\n8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.\nPublish Writing in SeeSaw\nSeeSaw is a fantastic way to capture and share student growth in writing. Parents and students love to see the growth from the beginning to the end of the year.\nRecord Writer's Workshop\nIn this introductory activity, students learn to use the Microphone tool. When students use the microphone tool and add their voice to Seesaw posts you the teacher gain deeper insight into their thinking. It\u2019s one of the easiest ways for learners to tell what they know. This is a great activity to do right after students finish writing a story.\n- Students take a photo of their writing and tap the microphone to read their writing.\n- This makes it easy for you to see and hear how your emergent writers are connecting letters, sounds, concepts of print, voice, and reading.\nWriting Fall Poems\nStudents use their 5 senses to create a fall poem, take a photo and record themselves reading their writing. See the student sample on the right. And click here to copy the activity.\nClick here to copy this activity\nSee the Student Sample on the right\nPublishing Writing with Chatterpix\nChatterpix is a fun app that allows students to make any character \"talk\" in their voice. Students can upload their own drawing. It's a fun way to practice fluency and publish writing. Chatterpix can easily be added by students to their SeeSaw Journals from the iPad Camera Roll.\nMulti Page Books with Shadow Puppet\nShadow Puppet is an app that allows the user to create mini-slideshow movies. It's a great option if you'd like to hear students record their voices as they read several pages of text, or if you'd like students to publish their writing. Shadow Puppet movies are easily shared to Seesaw.\n- Students practice reading their writing and then work with a partner to publish it in SeeSaw with a photo and a recording.\nPersuasive Writing with Green Screen\nGreen Screen is an effect that replaces a green-colored background with a new background. With this effect, movie makers can superimpose actors in front of any background they like (e.g. the pyramids of Egypt, a rainforest, a volcano). It's great for storytelling and informational writing.\nUsing the Do Ink app, video students reading their story, next to the image of their book they wrote. Get assistance from your Site Tech Coordinator with green screen and Do Ink.\nHow to Use Do Ink\nSeeSaw at Open House!\n- Put iPads or Chromebooks out at Open House so that students can complete this activity with their family.\n- Post this Activity in advance with a note to parents so that they can do the activity from home if they are unable to attend Open House.\n- If you prefer to have families use their phones, then have students make a journal post that families could leave a comment on and simply print out the QR codes to student assignments. Directions are below.\nHere are some helpful tips as you end your school year with SeeSaw and get ready for Open House:\n- How do we print out thumbnails and QR codes for a student\u2019s entire journal for Open House? (note should NOT be done in color at 12\uffe0 per page and set printing to print 9 pages on one page)\n- How do I get a QR code for a Seesaw post?\n- How do I tell viewers what to do with the QR code?\n- How do families and students download an archive of student work?\n- How long do families have access to their child\u2019s Seesaw journal?", "id": "<urn:uuid:ed2c1e3d-53da-4c84-9c4c-c136b86f80f6>", "dump": "CC-MAIN-2021-17", "url": "https://sites.google.com/moraga.k12.ca.us/tech/techintegration/first-grade/writing", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039375537.73/warc/CC-MAIN-20210420025739-20210420055739-00178.warc.gz", "language": "en", "language_score": 0.9410394430160522, "token_count": 834, "score": 3.921875, "int_score": 4}
{"text": "The Common Core\u2019s addition of narrative writing is likely to challenge many History/Social Science teachers that are unfamiliar with this type of writing. Students are now expected to write narratives that develop real or imagined experiences, and/or events using well-chosen details and well-structured event sequences.\nSince only six percent of my class or eleven out of my 183 high school students chose to write a historical narrative on our last formative assessment, I created a task that would increase their storytelling abilities about the principles of Judaism. Instead of outlining, I asked them to cluster or bubble map the main ideas from the textbook chapter. We use the 2007 California edition of World History: The Modern World (pp. 28-32) by Pearson Prentice Hall. Most students had one to two pages of events and people that they could use to create their narrative. Prior to beginning their writing, they also had a full day of instruction on period-specific vocabulary. For homework the students also viewed the Crash Course video series segment on Judaism. Lastly, students viewed a short, online video on narrative writing tips and techniques. The video was played once in class and posted online so students could view it again from home.\nThe prompt and directions were:\nYou have a 53 minute class period to write a Historical narrative about the Jewish people. Use your cluster map to provide details. This task requires you to tell a story about a historical time period, blending facts with imagined characters and situations.\n- Use one person\u2019s point of view (a central character)\n- Use chronological organization and transitions\n- Describe people who actually lived and events that actually happened. However, you may include fictional people and details.\n- Show you have an accurate understanding of historic events and details of actual places\nI use word count as a proxy for student effort and as a goal-setting strategy. Thus, I always like to display the number of words each class period writes. I then compare each class mean. I try to generate some competition between the classes. Why do you think period three wrote almost 150 more words than period 1?\nThe chart above compares the average number of words written by each of my five classes.\nNumber 6 is the average of all five means. A total of 176 essays were turned in.\nThe factors I looked for in these narratives were: 1) a creative title; 2) word count; 3) main character point of view. During my readings, I discovered that a small group of students had misunderstood the assignment and had made their historical characters into outlandish fictional people doing things that had no relevance to the historical period. In my debrief with the students, I will remind them that the purpose of the assignment was to show an accurate understanding of historic events and details of actual places.\nThe majority of my students picked a historical character and remained in that character for their entire writing assignment. One or two students misunderstood the assignment and wrote one or two paragraphs from the perspective of each Moses, Abraham, David, and Solomon. I attributed this to students not listening carefully enough to the directions. The charts below compare student performance on my last two writing tasks.", "id": "<urn:uuid:0571fc26-4593-4e24-b7c7-0fda0227f407>", "dump": "CC-MAIN-2021-17", "url": "https://historyrewriter.com/2014/09/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00298.warc.gz", "language": "en", "language_score": 0.9649695158004761, "token_count": 640, "score": 3.5625, "int_score": 4}
{"text": "Songs of the Struggle\nIf you want to learn about the struggles of being African American, the best teacher is African American music.\nThe hardships faced by African Americans can be found in a number of genres: Hip-Hop, R&B, Blues, etc\u2026 all throughout the history of African American music.\nBut, where does the storytelling begin?\nWe can credit the beginning of African American music\n\u2014 America\u2019s music\u2014\nto the songs of the slaves:\nFolk music originates from the hymns and spirituals of Southern enslaved Africans in America. Influenced by the struggles of slavery, folk music communicates the hopes, distress, and faiths of enslaved Africans. Forced into America and stripped of nearly all of their history in Africa, slaves used their troubles in America to create something out of nothing.\nThe origins of African American folk music was recited using the call-and-response method where the lead or soloist calls out a line where the other singers respond by repeating the phrase.\nMost original African American folk music were anonymous and created by unknown composers, due to enslaved Africans lack of identity.\nAfrican American folk music was created spontaneously and improvised by the anonymous composer, where the song had personal meaning to the composer.\nPatting Juba was a style of dance often performed with African American folk music that included stomping and patting and slapping of the arms, chest, legs and helped to express the stories of the music.\nPassed Down Orally\nAfrican American folk music was usually passed down to generations orally and by word-of-mouth.\nPrimary Performers/ Composers:\nAlthough the early creation of folk music was anonymous and composers were unknown, later artists emerged from the evolution of folk music.\n(a.k.a. Lead Belly), was a popular folk and blues artist best known for his songs \u201cGoodnight, Irene\u201d and \u201cWhere Did You Sleep Last Night\u201d, amongst others.\nwas a popular gospel-folk singer also known for being a civil rights activist. One of her most notable songs is \u201cSometimes I Feel Like a Motherless Child\u201d.\nwere an African American acapella ensemble organized in 1871 of Fisk University students who toured to raise funds for college. The group was pertinent in the preservation of African American slave songs and negro spirituals.\nAfrican American folk music is most widely known for its theme of the sorrows faced by enslaved Africans. These \u201cslave songs\u201d were a way to express their struggles and come together despite their situation. Early folk music preserves what little memory enslaved Africans had of their culture in Africa.\nThe creation of African American folk music was simply a means of dealing with the troubles of slavery. However, White citizens saw this as a form of entertainment and mockery. Books of African American folk songs were sold, and it influenced White citizens\u2019 own renditions of folk music.\nInfluence on other Genres:\nFolk music mainly influenced the creation of Hip-Hop, Blues, and Jazz music. All of these genres were originally created to express the African American struggle faced during its time of creation.\nThe origination of African American music is rooted in folk music. The simple slave songs composed on the fields and plantations tended by the earliest African slaves unintentionally led to the creation of nearly all forms of music in America. Folk music preserved the tiniest bit of African history and with it created one of the biggest aspects of African American culture.", "id": "<urn:uuid:1505b2eb-39db-43d3-83f1-1d18aa51fb24>", "dump": "CC-MAIN-2023-14", "url": "https://blackmusicscholar.com/folk-music-songs-of-the-struggle/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00112.warc.gz", "language": "en", "language_score": 0.9665625095367432, "token_count": 772, "score": 3.640625, "int_score": 4}
{"text": "Presentation on theme: \"The Plot Thickens: Narrative Structure!\"\u2014 Presentation transcript:\n1 The Plot Thickens: Narrative Structure! UNIT 1WHAT MAKES A GREAT STORY?\n2 Academic VocabularyAnalyze: v. to separate or break into parts and examineElement: n. one necessary or basic part of a wholeInfer: v. to decide based on evidence r knowledge; to draw a conclusionSequence: n. the chronological, causal, or logical order in which one thing follows another* Not all plots go in a specific order, those plots are called non-linear. An author may use flashbacks, interruptions in the story to tell about a previous event, or foreshadowing, dropping clues in the text to hint at complications that may happen later in the story, to build suspense.Structure: n. something constructed or built, such as a building\n3 Quick Write Part IThink of a book you\u2019ve read or movie you\u2019ve seen recently. Write a few sentences about the elements that made the story enjoyable for you, using at least two Academic Vocabulary words in your response.5 mins\n4 Every (good) plot has to have a conflict! Plot: the series of events that make up a storyEvery (good) plot has to have a conflict!Conflict: a struggle between opposing forcesInternal ConflictExternal Conflict\n5 Plot Structure at a Glance Exposition: \u201cexposes\u201d the reader to the setting and characters, introduces the conflictRising Action: presents complications that intensify the conflict and builds the suspenseClimax: the turning point of the story and the moment of greatest suspense; makes the outcome of the conflict clearFalling Action: eases the suspense, reveals the outcome, and how the main character resolves the conflictResolution: reveals the final outcome and ties up loose ends\n6 1. ExpositionThis usually occurs at the beginning of a short story. Here the characters are introduced. We also learn about the setting of the story. Most importantly, we are introduced to the main conflict (main problem).\n7 2. Rising ActionThis part of the story begins to develop the conflict(s). A building of interest or suspense occurs.\n8 3. ClimaxThis is the turning point of the story. Usually the main character comes face to face with a conflict. The main character will change in some way.\n9 4. Falling ActionAll loose ends of the plot are tied up. The conflict(s) and climax are taken care of.\n10 5. ResolutionThe story comes to a reasonable ending.\n11 Putting It All Together 1. Exposition2. Rising Action3. Climax4. Falling Action5. ResolutionBeginning of StoryMiddle of StoryEnd of Story\n12 Unit 1 Reading Strategy VISUALIZE! Form images of the story\u2019s setting and charactersTo visualize a story:Pay special attention to descriptions and word choicesLook for sensory details, ones that appeal to one or more of your sensesReread lengthy descriptions to catch details you might have missed\n13 What does it take to be a survivor? Quick Write Part IIWhat does it take to be a survivor?Think about movies you\u2019ve seen or books you\u2019ve read in which one person survives against the odds. What qualities or abilities do survivors share? Write down a list like the one on the left of qualities a person needs to survive.5 mins", "id": "<urn:uuid:5d84b354-f53d-4e9a-a9c7-e4358d311c5e>", "dump": "CC-MAIN-2021-17", "url": "https://slideplayer.com/slide/6091395/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00298.warc.gz", "language": "en", "language_score": 0.9035491943359375, "token_count": 705, "score": 4.1875, "int_score": 4}
{"text": "Introduction to Intercultural Communication\nIn this blog post, we will explore the definition of intercultural communication and some examples of best practices. Intercultural communication is a type of interpersonal communication that involves people from different cultures, races, or ethnicities. This means that it\u2019s essential to consider cultural differences when communicating with others for maximum effectiveness.\nThe first step in improving your intercultural communication skills in understanding the basics! In this blog post, we will go over what intercultural communication is and provide some excellent examples and tips to help you improve your skills in this area.\nWhat is intercultural communication?\nIntercultural communication is the scientific study of how culture affects communication. It covers a broad range of communication activities and difficulties that arise naturally in an organization or social environment, consisting of people from many different religious, social, ethnic, and educational backgrounds. In this sense, it aims to understand how individuals from diverse nations and cultures react, communicate, and perceive\nCultures and communication\nCommunication is essential whatever the location of each nation in the world. However, it is sometimes hard to communicate with the same people across several cultures. Some cultures are informal, some use a series of remembrances ritually before their conversation, and some consider it rude to turn up to meetings on time. So why is, are there so many similarities between them in different countries and regions? You can offend each one because of this lack of understanding of communication. Yet, we have no choice about how to do it ourselves. Where is this? I mean, we learn to communicate! So to avoid this, we learned to communicate with one another and learn a friendly greeting!\nThe importance of intercultural communication\nSome studies have demonstrated the utility of intercultural theories for educational services across the country. These developments are necessary given the constant inexorable growth in multi-cultural groups. IC is essential for advancing their businesses and maximizing profits through better staff management and the comprehension of the consumer\u2019s needs. As we\u2019re not alone, we have to move into society. There\u2019s a need to be an exchange of knowledge, ideas, and thoughts. This is called communication, and via communication, we speak our opinions, make other people aware of our presence, and participate in every aspect of our lives. Therefore to avoid separation from society, achieving our intentions and educating people.\nIntercultural communication skills\nIntercultural communication skills are that which a person must have to communicate with others or share information. Language skills in any form of communication are necessary; however, linguistic skills are not the only requirement. It also requires understanding that many cultures differ in their beliefs about other cultures. And lastly, we need a willing willingness to accept the differences that we can adapt to them and adapt to these.\nIntercultural vs. Cross-cultural vs. Multicultural Communication\nYou\u2019ve probably heard the terms multi-cultural communication and cross-cultural communication. What are the distinctions between intercultural communication and these other types of communication?\nThe term \u201cmulti-cultural\u201d refers to the makeup of a group or team, mainly when it includes people with many different backgrounds. Today\u2019s world encourages discourse in a multi-cultural environment.\nThe cross-cultural comparison involves comparing two or more distinct cultures; hence, cross-cultural communication focuses on the diverse communication modalities of various cultural groups.\nFinally, when we talk about intercultural communication, we\u2019re talking about interactions between people from different civilizations. On the other hand, intercultural communication refers to exchanges that take place between individuals from varying cultures. In conclusion, cross-cultural communication entails comparing individuals from the same culture to those from another society.\nTips For Effective Intercultural Communication\nBarriers and challenges\nAmong the significant challenges faced in communication is ethnocentrism. Another barrier is the assumption that other cultures are related instead of different from one another. The standard barrier is ultimately fear. When you feel uncertain about what will be expected of you or what you have to do, it is natural to feel anxious. Therefore the chance of you having more problems can be a much more significant danger, and you may act strangely towards others around you. Please participate in our cultural coaching to help you communicate with people from diverse backgrounds. We are happy to talk to you about ways to communicate with other cultures. Take part in cultural learning & training.\nIt takes two to tango.\nYou could think about intercultural communication instead of tango. Tangos are things you can do as two different individuals. To judge whether a tango would be successful, we need to take a comprehensive view. If it suddenly becomes clear that your actions or messages don\u2019t help a person understand them, they have started to step onto one another\u2019s heels. Let\u2019s make the best use of your knowledge for this interaction. Thinking of dancing can help you remember what the other person receives on each turn. Take a moment to think about the result from the last moment.\nRemove cultural barriers\nInternational affairs degree courses teach cross-culture interaction through analysis and interpretation-based research. Essential matters like what is considered personal space or meeting etiquette have a significant impact on the outcomes of business interactions. Culture affects conflicts and communication in different contexts.\nHow to improve your intercultural communication skills\nBy studying the culture of your audience, you can learn how to adapt your communication style.\nFor example, some cultures are indirect when expressing their feelings or opinions.\nTherefore, avoid saying someone is angry if they aren\u2019t showing any signs of anger because it could be seen as an insult.\nIf there\u2019s a language barrier, find a translator or learn the basics of how to say hello in their language.\nIt\u2019s also essential to make everyone feel included by using inclusive words like \u201cus\u201d and \u201cwe.\u201d\nHowever, avoid using \u201cwe\u201d when only you are included because it\u2019s considered rude.\nIf there is a conflict of ideas or opinions, put them aside until the meeting has ended and then come back to discuss them after everyone has calmed down.\nBy following these practices, you can significantly improve your intercultural communication skills!\nCross-cultural communication \u2013 Video By -Pellegrino Riccardi\nYou should also read:\nVisual Communication: Value of Visual Storytelling\nWhy is Intercultural Communication Important\nCommunication Skills Interview Questions Essential Conflict Management Skills\nf you\u2019re ready to learn more about Interpersonal Communication, we encourage you to check out our blog. We\u2019ve written a variety of posts on topics like building rapport in different cultures or how the linguistic environment shapes communication styles. You can also find links to other great resources for interpersonal communications research and information! Our hope is that by reading this post your understanding of interpersonal communication has increased so you are able to communicate better with others in all areas of life. Happy socializing!", "id": "<urn:uuid:ecc711a3-d167-43ed-862e-ce693bf4911a>", "dump": "CC-MAIN-2023-14", "url": "https://peepstrategy.com/introduction-to-intercultural-communication/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00512.warc.gz", "language": "en", "language_score": 0.9316632747650146, "token_count": 1439, "score": 3.8125, "int_score": 4}
{"text": "11 Plus English Exam\nAn 11 Plus English exam for a Grammar or Independent School can come in a variety of formats but will normally contain a variety of different topics.\nWe\u2019ll look at the make-up of the major types of test individually (GL/CEM/Grammar School Written/ Independent School written) but below you\u2019ll find a breakdown of the types of topics covered.\nA typical paper would last 50 minutes and contain some or all of the following:\n11 Plus English Exam \u2013 Comprehension test\nStudents would be given a text of around 500/750 words. These texts can vary between a classic text (Charles Dickens) or a more factual text such as a newspaper report. Children will be asked questions on the text.\n11 Plus English Exam \u2013 Vocabulary testing\nChildren may be asked what various words in the text mean. They may be given a synonyms/opposites task. They may have CLOZE exercise to do (words with missing letters).\n11 Plus English Exam \u2013 Spelling/Punctuation/Grammar\nChildren will often find a section of different questions on these topics which can take a number of different forms, an example would be correcting mistakes in a given passage.\n11 Plus English Exam \u2013 Literary Devices\nSome tests may examine a child\u2019s knowledge of literary devices and ask them to identify devices such as Similes or Personification or Onomatopoeia.\n11 Plus English Exam \u2013 Literacy reasoning\nSome 11 Plus tests do not have specific Verbal Reasoning sections and so instead include some literacy reasoning questions in their English papers. These can cover rhyming words, anagrams, crosswords, odd words out, putting jumbled words into sentences, putting jumbled sentences or paragraphs into the correct order.\n11 Plus English Exam \u2013 Creative writing\nOften for Grammar School 11 Plus tests questions will be in multiple choice format because it makes it quick and easy for schools to mark. Some schools/areas do include Creative Writing to a degree but often this is only actually marked where two children are close in marks and going for the final place. Please check your 11 Plus area to see if Creative Writing is included.\nIn Independent School 11 Plus tests Creative Writing is nearly always included and will be marked in every case.\nChildren who read a variety of books and read every day will have a distinct advantage over those children who do not. No amount of preparation papers can make up for a lack of reading.\nThe most common aspect which marks out children who are successful at 11 Plus is their breadth of vocabulary. This comes mostly from reading but can also be specifically developed through learning activities. Those children who deliberately set out to develop a wide vocabulary through reading, having discussions and carrying out a vocabulary development learning programme will do much better than those that do not.\nFamilies where English is not the first language are at a distinct disadvantage in 11 Plus tests as all are heavily slanted towards literacy skills. Some families make the mistake of overweighting preparation on Maths and NVR to make up for it but this never really works.", "id": "<urn:uuid:df32ed5b-3dad-46e4-b016-933ba315305c>", "dump": "CC-MAIN-2021-17", "url": "https://www.11plusguide.com/11-plus-subjects/english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039398307.76/warc/CC-MAIN-20210420122023-20210420152023-00256.warc.gz", "language": "en", "language_score": 0.9406768679618835, "token_count": 639, "score": 3.765625, "int_score": 4}
{"text": "Homeschool For High School - 50 Writing Activities On Psalm 119\nUse Psalm 119 to foster critical thinking and creative writing with your homeschooled child. Help them think about events that bring feelings of happiness and how to bring joy to others, describe when adults help kids who are tired or hungry or hurt, list good and bad things to desire, imagine ways to be thoughtful and kind, and describe how to be a good student. Teach children to consider what th...\nPaperback: 52 pages\nPublisher: CreateSpace Independent Publishing Platform (April 11, 2017)\nProduct Dimensions: 8.5 x 0.1 x 11 inches\nAmazon Rank: 4690496\nFormat: PDF ePub TXT book\n- 1545296855 epub\n- 978-1545296851 pdf\n- C. Mahoney pdf\n- C. Mahoney ebooks\n- epub ebooks\nDownload Six easy ieces pdf at cuckhatsumidd.wordpress.com Mega builers minecrat book Download Making love sexual love the divine way pdf at contiobigecia.wordpress.com A hellion in her bed the hellions of halstead hall Read House of night legacy ebook biblasniwadisc.wordpress.com Here Mary ha a little lamb iza traani pdf link Cf powr mastrs vol 1 v 1 Here The lant that ate irty socks series pdf link Read The goo airies o new york ebook 51penuigeo.wordpress.com\ny think about, what they say, and what they do. Teach them to notice how their words and actions affect other people. Have a discussion about disagreements, and what we shouldn\u2019t do and should do when in an argument. Help youngsters look into their own lives and identify what should be scrubbed and washed away. Guide them in thinking about good and bad ways of handling disagreements. Help them figure out how to determine right from wrong. Consider times when it is okay to lie or important to tell the truth. Create a conversation with God about honesty. List what can happen if a kid lies at school. Write a paragraph about things that are scary. Imagine the things we don\u2019t know anything about. Explore things we hope will happen and how to make them happen. List people we completely trust. Explain how lying is like pushing a rock up a hill. Recognize the ways that adults guide children into making good choices. Identify where life is within our own control. Think about when it is difficult to be kind. Discover the relevance of ancient words for modern times. Reflect on moments when words of advice helped us as we were angry or sad. Look back on times when our actions made our parents proud. If you haven\u2019t tried using the Psalms to teach thinking and writing, then you don\u2019t know what you are missing. This workbook has 50 opportunities to reflect and wonder and write.\nLeave a Comment", "id": "<urn:uuid:cee22674-36df-4fd3-8032-a156d94ae472>", "dump": "CC-MAIN-2023-14", "url": "http://zooculture.duckdns.org/page/homeschool-for-high-school-50-writing-activities-on-psalm-119", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00312.warc.gz", "language": "en", "language_score": 0.889821469783783, "token_count": 636, "score": 3.53125, "int_score": 4}
{"text": "Supporting Families, Schools and Communities\nNurture Children's Social and Emotional Intelligence\nSep 12, 2019\n3 min read\nReading for Social Emotional Learning\nUpdated: Jan 15, 2021\nWe all want our children to grow up to be happy, resilient, confident and empathetic young adults and to have the necessary social skills to build and sustain strong friendships and relationships. This is not an easy task and parents face many challenges along the way to supporting our children\u2019s mental and emotional health.\nThankfully, there are important tools to help support parents and teachers in this task\u2014and they are often already in our hands: books. To better understand why reading can be a powerful gateway for developing SEL skills, we need to remember what we know about learning as well as what we know about reading. Research on neuroscience shows that children learn better when their emotions are positively engaged with what they are learning. Good stories engage a child with characters that are relatable and inspire empathy and draw both reader and listener into the world of the story. In addition, storytelling provides a \u201cproblem-solving playground\u201d where children can relate to a character or the situations they might be facing. In the safe context of a story, children can think about how a problem plays out and how a character\u2019s decisions affects others. Finally, a story provides a platform for conversation to take place between reader and listener. This can be especially powerful as it can provide a bridge to talk about something that might be happening in a child's life.\nWhether you are reading to a young preschooler or an older child, implementing a few strategies when reading can help develop a child's social emotional skills. These strategies should help make the most of reading time together:\n1. Choose a book with intention\nIs your child struggling with confidence? Having difficulty with self-regulation? Or maybe it is difficult for him or her to see the perspective of a sibling or a friend? Thinking about what a child is struggling with allows for an opportunity to think about a book that might address that challenge. There are many resources out there to help find a great book, including your child's teacher, a school counselor, the librarian at the school or in your community and countless book lists. One of my favorite online resources is Books That Heal Kids, a great blog for books that address many different topics. Sure, not every book we read with a child has to or even should be selected in this way and books should be read for many different purposes. But it is important to remember that books can be a powerful tool for learning and discussion.\n2. Empathize with all characters in the story.\nHelping children to see a different perspective encourages them to expand their circle of concern. There are so many books that encourage a child to see different points of view. Some of my favorites include Hey Little Ant,Jam and Honey, and Duck, Rabbit.The True Story of The Three Little Pigs, by Jon Scieszka and other fairy tales that cast the villain as the hero are also a good source of literature that help children see a new perspective. Next time you read with your child, try thinking about a different character\u2019s perspective and have fun telling the story from a different viewpoint.\n3. Think about a character's decisions and reflect on consequences.\nIn The Empty Pot, by Demi, a Chinese emperor challenges children to grow the most beautiful flower. Most of the children, feeling pressure from the emperor's mandate, lie about how their flower was grown. However, one boy, Ping, makes the decision to tell the truth. Talking through decisions a character makes in a story can be a powerful way for children to understand choices and consequences. And we can go further by asking children \"What if Ping made a different decision? Would the outcome change?\"\n4. Broaden a child\u2019s \u201cfeeling\u201d vocabulary.\nIt is easy for most of us to use a very narrow range of vocabulary in daily life that rarely extends beyond \u201chappy,\u201d \u201csad,\u201d \u201cmad\u201d and \u201cexcited.\u201d When reading a story, help your child learn more nuanced words for feelings such as \u201cdisappointed,\u201d \u201cembarrassed\u201d and \u201cfrustrated.\u201d Words are powerful: they can help children label emotions and provide a sense of control when there is a word that governs how they are feeling. It also helps children see that feelings are universal to the human experience. Piggy and Elephant books by Mo Willems are exceptional examples, as the illustrations and storylines help young children see a wide range of feelings. Other great books for young children include Mr. Men and Little Miss books.\nChildren\u2019s literature offers so many possibilities to help us teach and highlight social emotional skills. Taking the time to think about challenges that children are facing, intentionally selecting stories that relate to those challenges and investing in both what we read and how we read can ultimately help our children thrive in their relationships and at school.", "id": "<urn:uuid:827f6ff0-cf50-403d-8492-3b7399ca974b>", "dump": "CC-MAIN-2023-14", "url": "https://www.eqchild.com/post/reading-to-build-social-emotional-literacy-in-children", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00512.warc.gz", "language": "en", "language_score": 0.9568232297897339, "token_count": 1049, "score": 3.8125, "int_score": 4}
{"text": "Visual Arts at The Newgrange School aims to connect individual creative styles with the application of art history, culture and mixed media.\nProject-based Curriculum and Hands-on Opportunities\nThe art program is designed around project-based work in a creative environment, giving the students chances to experience various innovative hands-on techniques. This involves the use of different types of artistic tools and mediums, such as acrylic paint, watercolor, realistic drawing, clay, photography, and printmaking.\nTechnology transforms artistic learning strategies, and The Newgrange School provide abundant resources including Mac computers, TV monitors, digital cameras and 3D printers.\nCollaboration Drives Creativity\nSTEAM is a great way to show students the opportunities there are for them in art across other areas of learning. Students also work well when contributing to a group outcome. Large art installations created during the school year teach teamwork, and leave behind a permanent reminder of accomplishments around the grounds.\nIntegrating Visual Arts with Other Subjects\nThere are many possibilities with visual literacy that support learning. Art is a natural fit for narrative because artwork tells a story. Our students love art and stories. With inspiration from renowned authors and illustrators, students study the art of storytelling, book design, typography and representational art. The students researched many different types of book covers, sketched and drew their own characters, and designed their own lettering. This hands-on exercise connecting children\u2019s literature and art encouraged the students\u2019 active imagination. It challenged them to translate their thoughts and feelings about the story and characters in the book into a form of visual art.\n\u201cThe greatest scientists are artists as well,\u201d said Albert Einstein. A great deal of creativity is required to make scientific breakthroughs, and art is just as often an expression of and a product of scientific knowledge. Through explorations into the exciting fields of zoological, botanical, ornithological and medical illustrations, students are keen to observe and associate their hands-on learning from the print references, video presentations, books and photo research and were comfortably able to replicate and represent a detailed, hand-painted illustration of diverse topics. Connecting art and science gave the students additional insight into their shared learning experience.\nHistory is told through art, especially before modern photography. Students learn to appreciate change in culture, fashion, politics and societies through the stories left behind, and about what each of the environments provided them with to use for materials. Ancient languages are written as art on walls, and great architecture was created for the highest rulers and most celebrated families. Battles were commemorated at paintings and sculptures. Jewelry and fashion have always been present in every culture. In the modern world, students can continue to explore patterns in art and how they relate to before, now and what will follow.\nThe Newgrange School\n800 North Road\nHopewell, NJ 08534\nMon \u2013 Fri 8:00A.M. \u2013 4:00P.M.", "id": "<urn:uuid:5d546054-2aff-4ae6-b4fb-efda5025bc2b>", "dump": "CC-MAIN-2023-14", "url": "https://www.thenewgrange.org/art/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00313.warc.gz", "language": "en", "language_score": 0.950398325920105, "token_count": 643, "score": 3.5, "int_score": 4}
{"text": "Grade 7 Curriculum\nRecitation and drama of increased length and complexity is introduced in grade 7, with romantic poetry and lyrical ballads being a central focus. Students develop the capacity to recite alone and to give a short talk on a prepared topic, using short notes only as a prompt. Grammar study continues, with review, practice, use and expansion of previous ideas. At this stage, the teacher may introduce tools of simile, metaphor, personification, image, analogy, proverb, aphorism and euphemism. Students develop note-taking skills following a daily review of main lesson material and expositional writing with a study of compound and complex sentences is required. Students express their thoughts and feelings in creative writing and experiment with styles. Readers are selected to broaden the students\u2019 horizons regarding other peoples and cultures and the class play based on a late Medieval or Renaissance theme or literary work that was studied is performed. Book reports take a written, oral and artistic form and on-going language and grammar work permeates daily activities. Language arts skills are studied in a weekly track class. Student writing may include personal diary, description evoking a specific mood, a formal letter, an adventure story and a short poem. They may begin working on essay writing on a theme discussion and books are used for novel study, reading aloud, comprehension, independent reading, reference and book reports.\nStudents continue practice in mental math and review four rules in natural and positive rational numbers.\nThere is an introduction to negative integers and four processes and rules with negative numbers.\nStudents continue with order of operations, working with brackets and recurring decimals; deriving Pi. Students build understanding and comparing of decimal places and significant figures and compound interest and more business math. Simple statistical data rendered in graphical form and deductions there-from, as well as line, bar, circle and picture graphs, including mean, median and mode.\nStudents continue percentage work, including % of a #, % of one number to another, % increase and decrease. They will learn simple equations using brackets, fractions and negative #\u2019s, as well as the Golden rule. They will learn practical applications to solving problems and powers and roots of numbers, with exact evaluation of square roots. Ratio and proportion is studied, as well as geometry including: further calculation of area of geometrical shapes through construction, area of circle, deriving and using Pi by cutting circle into pieces. Pythagoras theorem covers area proof, division of circle into 5, golden section/rectangle and spiral, perspective drawing, theorems of congruent triangles, properties of parallel and intersecting lines.\nIn Grade 7 the study of physics builds upon the complexity of those phenomena studied in Grade 6-acoustics, optics, thermal physics and electricity and now also includes the study of mechanics. In mechanics, the mathematical formula is developed that can be used to predict how to bring mechanical forces into equilibrium through work with levers.\nIn chemistry, combustion, the lime cycle and acids and bases are studied. The block pivots around the lime cycle with the building of a lime kiln, where possible, and the burning of lime. This kind of hands-on experience continues to be an essential part of all our programs.\nThe study of physiology is introduced in Grade 7. The students learn about nutrition, the digestive, respiratory and circulatory systems, with an emphasis on care of the skin, the lungs and diet.\nStudents study European history from the late Middle Ages through to the Renaissance and the Reformation. Many important biographies are told from many different spheres of life. Such as: science \u2013 Copernicus, Galileo, explorers \u2013 Columbus, Magellan, artists \u2013 Da Vinci, Michelangelo, religion \u2013 Martin Luther. The Northern Renaissance with an emphasis on Henry the Eighth and Elizabethan England is also studied.\nThe students now study the vast continent of Africa which begins with the physical layout of mountains, rivers, plains, deserts etc. and then proceed to the economic and political boundaries. The ever-changing political boundaries requires frequently updated maps. The students also study the diversity and richness of African culture.\nWith the importance of French in Canada as one of its official languages and the wish to prepare students for high school and mandatory French in Grade 9, We work with texts, grammar and vocabulary in a more structured way through a French textbook and the accompanying exercise book. This provides a wide range of exercises which support individualized practice, allows students to learn how to work with a textbook (a skill they will need in high school), and gives them a tangible sense of achievement, something that can\u2019t be underestimated in the early adolescent years. The material of the textbook is complemented, in various degrees, with examples from literature, poetry, history and geography from the \u2018Francophonie\u2019. In addition to guided and structured work we aim to develop in students the confidence and skill to write their own texts, to make little presentations in French. Text comprehension is practiced on increasingly more complex texts and students learn how to use the resource material that has been developed in class, or is available through their textbook.\nIn Grade 7, the students are introduced to the tenor and bass recorders. These instruments are used during ensemble work where they now begin playing in four parts. The students read more complex notation in both singing and instrumental work. In senior choir, the students continue to develop singing competence, working in unison, two-part, and four-part harmony with an emphasis on listening, blending, dynamics and variations in tempo.\nIn Grades 6, 7, and 8 the students are exposed to as many forms of movement as possible. The lesson begins with running or skipping for cardiovascular stamina and muscle strength. Spatial dynamics exercises are continued for coordination, flexibility and grace. Ball work becomes specialized and techniques improve with annual repetition. The complexity of rules increases with the developing students each year. In addition, team work is nurtured; the Grade 7 and 8 classes come together to compete in an annual Basketball Tournament. Grade 7s and 8s are challenged with swimming and spring board diving during the Spring term. Activities that work against the effect of gravity such as these allow for the development of courage and achievement.\nStudents will do wet-on-wet paintings for history, geography, Industrial Revolution and seasonal projects. They will use coloured chalk pastels for Renaissance reproductions, physics and astronomy and\ncoloured pencil crayons (perspective drawing, main lesson books, history and geography).\nThey will also make Geometric string cards to support their math, geometry and measurement study.\nPractical Arts: Handwork\nWet and dry felting; work from formless (light, fluffy wool fleece) and gradually create form with felting needles and soap felting; express creativity and explore colour.\nPractical Arts: Woodwork\nCarved bowl; substantial challenge in terms of level of difficulty and amount of time required to hand carve a bowl; requires commitment and perseverance as well as keen observation and problem solving skills; often students learn to deal with surprises and disappointment; develops appreciation for the hand crafts and everyday practical objects.\nSome freedom in grade 7 for major trips; some teachers take the students on a week-long trip to Ottawa and Quebec City; others might choose a dog sled trip to Algonquin in the winter and a spring trip to Quebec City. There can be many day trips to correspond to the curriculum as well as a trip to Stratford to see a Shakespeare play.", "id": "<urn:uuid:86f50b71-679c-456f-926d-34b12624a9a1>", "dump": "CC-MAIN-2021-17", "url": "https://www.haltonwaldorf.com/grade7", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00098.warc.gz", "language": "en", "language_score": 0.9439520239830017, "token_count": 1536, "score": 3.859375, "int_score": 4}
{"text": "Comprehensive Dust of Snow Lesson Plan: Materials, Assessment, etc.\nLesson planning is an essential aspect of teaching as it helps teachers to organize their thoughts, objectives and materials in a logical and coherent manner. One of the most important aspects of a lesson plan is the selection of the appropriate text or poem. The poem \u201cDust of Snow\u201d by Robert Frost is an excellent choice for teaching literary elements such as imagery, symbolism, and theme. In this article, we will discuss a detailed \u201cDust of Snow Lesson Plan\u201d for teaching that can be used in the classroom.\nCheck out: Differences Between Unit Plan and Lesson Plan\n\u201cDust of Snow\u201d is a short poem written by Robert Frost in 1922. It is a nature poem that describes the beauty and simplicity of nature. The poem is written in free verse, which means that it does not follow a traditional rhyme scheme or meter. The poem is composed of only two stanzas, each containing four lines. The poem is simple yet powerful, and it is often used in literature classes to teach literary elements such as imagery, symbolism, and theme.\nObjectives of Dust of Snow\nThe main objective of this lesson is to help students understand and appreciate the literary elements present in \u201cDust of Snow.\u201d By the end of the lesson, students should be able to:\n- Understand the imagery and symbolism in the poem\n- Analyze the theme of the poem\n- Understand the use of personification in the poem\n- Write a literary analysis of the poem\nDust of Snow Lesson Plan Materials\n- \u201cDust of Snow\u201d poem by Robert Frost\n- Poetry analysis worksheets or handouts\n- Whiteboard or blackboard and markers/chalk\n- Internet access (if using online resources for analysis or discussion)\n- Art materials (optional, for creating visual representations of the poem\u2019s themes or imagery)\n- Additional poems by Robert Frost or other poets for comparison and contrast (optional)\n- Audio recording of the poem (optional, for listening exercises)\n- Writing materials for students to compose their own poems or responses to the poem.\n- A projector, if you plan on showing any videos or images related to the poem.\n- A list of literary devices and their meanings (if students are not familiar with them)\n- Books, articles, and essays about the poem and the poet.\nDust of Snow Lesson Plan: Procedure\n- Introduction: Begin the lesson by asking students if they have ever had an experience where they saw something in nature that took their breath away. Share with them the first line of the poem, \u201cThe way a crow / Shook down on me / The dust of snow / From a hemlock tree.\u201d and ask them to share their thoughts and observations about the imagery used in the line.\n- Guided Reading: Next, have students read the poem aloud as a class. After reading the poem, ask students to share their thoughts and observations about the imagery, symbolism, and theme present in the poem. Use chart paper and markers to create a class chart listing the different literary elements present in the poem.\n- Group Discussion: Divide the class into small groups and have each group discuss the poem in more detail. Encourage them to think about the imagery, symbolism, and theme present in the poem, and to share their thoughts and observations with the class.\n- Personification: Discuss the use of personification in the poem. Ask students to give examples of personification in the poem and to explain how it contributes to the overall meaning of the poem.\n- Writing Activity: Have students write a literary analysis of the poem. Encourage them to use the literary elements discussed in class as a guide for their analysis.\n- Conclusion: End the lesson by asking students to share their literary analysis with the class. Encourage them to share what they learned from the poem and how it relates to their own experiences.\nAssessment: Dust of Snow lesson plan\nAssessment of a Dust of Snow lesson plan can involve a variety of methods to evaluate student understanding and engagement with the material. Some possible methods include:\n- Written analysis: Students can write an essay or short response to the poem, demonstrating their understanding of the themes, imagery, and literary devices used in the text.\n- Oral presentation: Students can give an oral presentation on their interpretation of the poem, including their analysis of the themes and literary devices used.\n- Group discussion: Students can participate in a group discussion about the poem, sharing their thoughts and insights about the text.\n- Quiz: A quiz can be given to assess student understanding of the poem, covering literary devices and themes.\n- Creative writing: Students can be given a creative writing task, such as writing a poem or story inspired by the themes and imagery of \u201cDust of Snow\u201d.\nIt is important to keep in mind that assessment should be tailored to the specific objectives and learning outcomes of the lesson plan, and should also take into account the diverse needs and abilities of students.\n\u201cDust of Snow\u201d by Robert Frost is a powerful and simple poem that can be used to teach literary elements such as imagery, symbolism, and theme. By following the lesson plan outlined in this article, teachers can help students understand and appreciate the poem in a more meaningful way. As the students will be able to understand the use of imagery and symbolism in the poem, they will be able to understand the poem in a more profound way.\nDust of Snow Lessson Plan FAQs\nThe main theme of the poem is the beauty and transformative power of nature.\nFrost uses imagery, personification and symbolism in the poem.\nThe dust of snow changes the speaker\u2019s mood from negative to positive, as it reminds him of the beauty of nature.\nThe title \u201cDust of Snow\u201d refers to the small, seemingly insignificant things in nature that can have a big impact on one\u2019s mood and perspective.\nThis poem can be used in a lesson plan to teach students about the beauty and transformative power of nature, as well as literary devices such as imagery, personification and symbolism. It can also be used to encourage students to reflect on the small things in life that can have a big impact.", "id": "<urn:uuid:814f56d2-93db-4aa0-a70b-3eb038f63233>", "dump": "CC-MAIN-2023-14", "url": "https://kmatkerala.in/dust-of-snow-lesson-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948868.90/warc/CC-MAIN-20230328170730-20230328200730-00513.warc.gz", "language": "en", "language_score": 0.9395264387130737, "token_count": 1303, "score": 3.703125, "int_score": 4}
{"text": "After still photography made its impact, people began to think of capturing a series of still photographs in quick succession, that when combined, would give the impression of a \u2018moving picture\u2019. Beginning from the 1870s, a series of developments, starting from a speed of 10-12 pictures (a.k.a. \u2018frames\u2019) per second to the adoption of celluloid to a motor for moving the film across, have culminated in the motion picture camera as we know it today.\nThe moving image is also an essential part of modern morning announcements. Therefore this article will give you a brief introduction about the essentials of cinematography: the camera, different angles, about filming and the tripot.\nThe general structure of a camera\nEssentially, a movie camera takes multiple still images. These are captured on film. A motor inside the movie camera pushes the film reel forward so that the next image doesn\u2019t get superimposed on the previous one.\nDigital cameras do away with the need for film, storing the multiple still images (all in quick succession) on magnetic storage.\nThere are now several lenses that allow you to zoom in/out; as well as settings that control how the images are to be captured.\nWhat are different shooting angles?\nThese are some of the most commonly used angles in filming\nHigh-angle: The camera is placed at a level higher than the subject. This is done to give the viewer the experience of \u2018looking down on the subject\u2019. It creates the impression that the subject is small/tiny and powerless.\nA lot of Alfred Hitchcock\u2019s movies use this angle. In The Paradine Case, this angle is used to portray Gregory Peck as he leaves the courtroom at the end, defeated.\nLow-angle: The camera is placed at a level lower than the subject, usually at close quarters. This makes the subject appear \u2018larger than life\u2019, giving off the impression that he/she is powerful. Christopher Nolan\u2019s Batman trilogy makes use of this angle often to convey an aura of superiority about the masked crime-fighting superhero.\nBird\u2019s-eye view: The camera is placed high above the ground, at the height/altitude a bird would fly, and hence the name. It is usually used at the beginning of a zoom-in sequence. It is done to show a lot of details, or how the subject zoomed in is insignificant compared to its/his/her surroundings.\nWorm\u2019s-eye view: The camera is placed at an extremely low angle, as if to give the impression that the viewer was a worm. This angle makes the subject look imposing and/or mighty.\nPoint-of-view: This is an angle that makes the viewer \u2018see something through the eyes of another person\u2019.\nEye-level: This is the best angle to zoom in and capture the facial expressions of the subject.\nAll these angles are used for \u2018effect\u2019 in storytelling/filming.\nHow do you film?\nFilming is as easy as pressing the \u2018Record\u2019 button and turning the video recording off, after you have finished capturing the subject/sequence. Making a film, however, involves so much more.\nThe entire process can be broadly divided into three stages:\nPre-production: This involves deciding what to shoot and how to shoot it. If there is a story involved, it is broken down into sequences. Each sequence is further broken down according to the angle the camera is to be stationed.\nProduction: This is about actually capturing the story or the subjects on film, according to what was decided at the pre-production stage. A director may say \u201cAction!\u201d to signify to the cameraman that filming is to commence. But before this, to ensure that everything is ready for the filming process, he/she may say \u201cLights\u201d to indicate that the artificial lighting used is to be turned on; and \u201cCamera\u201d to signal to the cameraman that it to be turned on and running.\nPost-production: This is about bringing the various sequences together to make a film. Video editors may chop off unnecessary scenes, such as the ones involving clapboards. These are used to denote the scene numbers for the benefit of the editors, so that it is easy for them \u2013 this is easier than reading the script and trying to figure out which goes where. In a sequence with multiple scenes, such a close-up shot of the killer that is meant to come in while he commits the gruesome deed, it might not be immediately clear to the video editor. Because the camera keeps filming for a second or two even after the director says \u201cCut!\u201d, these extraneous scenes also needs to be edited out.\nSound editors ensure that the audio is in sync with the video. If there are computer graphics involved, production might involve filming the subject against a green screen (green is the color that is present in the middle of the seven-color VIBGYOR spectrum and hence works with everything) and adding the graphics later.\nHow to use a tripod\nYou first need to figure out what angle you need to shoot from. Depending on this, the tripod\u2019s legs are to be adjusted to give the camera the height it needs. Look into the camera and only if you are satisfied with the angle should you proceed. Hanging the camera bag on the hook at the base of the tripod can lend it some stability.\nIt is generally a bad idea to raise the height of the center post, because this decreases the stability of the entire setup. Use the three legs to get the height you want, then remove the base plate from the tripod. Affix this to the came, place the camera + base plate combination on the tripod and ensure that everything is \u2018locked\u2019 down. Minor changes to the camera angle can be made by adjusting the knob blow the base plate. Make sure you tighten the knob after you get the angle you need.\nIn studio recordings as well as when shooting games, you may need to \u2018swivel\u2019 the camera around to follow the subject or keep the subject within the frame. So the right angle needs to be selected, and the height of the tripod adjusted accordingly \u2013 \u2018zooming in\u2019 should get you a close-up of the subject.\nCan\u2019t remember everything? \u2013 No problem, we\u2019ve got a camera angle-handout for you!Click here to download!\nPhoto Credit Featured Image: \u00a9 Fotolia / branex", "id": "<urn:uuid:abb87539-2b1d-43b1-9905-00bb5d5511dd>", "dump": "CC-MAIN-2021-17", "url": "https://morningannouncement.com/introducing-camera-cinematography/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00258.warc.gz", "language": "en", "language_score": 0.9463908076286316, "token_count": 1361, "score": 3.59375, "int_score": 4}
{"text": "How we communicate can affect our relationships with family, friends, teachers and other people. As a parent, you play an important part in teaching your child to communicate in a healthy way. With everything they see you do and hear you say, you're modeling verbal and nonverbal communication and listening skills.\nHow kids learn verbal & nonverbal communication\nChildren and parents communicate every day with verbal and nonverbal cues. Whether it's a verbal \"Good job!\" or a headshake, you let them know what you think.\nBy watching you, your children begin to use and understand language and nonverbal cues. Even\ntoddlers can be taught to use their words. This approach can be as simple as reminding them to say \"Please\" and \"Thank you.\"\nUsing words to express emotions\nYoung children may not know the words to express their emotions. It is up to you to give them the words to use. The best way to do so is to carefully use your words.\nWe often teach children to say \"I'm sorry\" without teaching them to acknowledge the issue. Instead, try \"I am sorry I yelled at you. Mommy felt frustrated with the mess.\" It is important to let children know that emotions, such as frustration or anger, are normal. Giving children the right words helps them deal with their emotions in a positive way.\n\"I\" statements help frame discussions in a positive light. Instead of telling a child \"You make me so angry!\" or \"Why are you so bad?\" say \"I need more quiet when I am trying to work.\" Focus on the\nbehavior, not the child. Children naturally want to please others, so they respond better to a clear, behavior-focused direction.\n\"I\" statements encourage positive dialogue instead of placing blame, which can stop a child from communicating. The goal should be to share and understand ideas.\nRemember, the way you communicate with your child sets the foundation for their lifelong communication style. You want your child to be able to discuss problems in a\ncalm way and with a focus on the solution, not the person.\nFacial expressions & body language\nSome children may need more clear-cut practice and explanation of nonverbal cues. Facial expressions and body language are important parts of communication.\nSpecify that an eye roll, arms crossed or a door slammed says something negative. Be mindful to display positive body language in front of your child. Your example shows how to calmly handle strong emotions.\nChildren with strong communication skills can understand others and clearly express themselves. This behavior leads to positive peer and adult interactions, which build your child's self-confidence. Your time and effort early on will pay off in your child's future.\nTips to model healthy communication for your child\nModel full apologies (\"I am sorry for...\").\nUse a calm tone.\nBe consistent in your responses.\nPractice \"I\" statements.\nUse kind words, like \"Please\" and \"Thank you.\"\nActive listening skills\nListening, particularly active listening, is a skill that requires practice. We naturally talk more than children listen.\nActive listening begins with giving someone your full attention. Put down your phone, book, or laptop. Maintain eye contact and focus on your child. Nod your head or say \"Yes\" or \"I can see that....\" The goal of active listening is understanding, not responding.\nActively listening to your child helps you understand what they are feeling, thinking, and concerned about. It helps bring the focus to your child and away from your own judgments. When a child learns to actively listen, they can follow directions, answer questions and complete tasks with fewer reminders.\nListen attentively, summarize what your child says, and repeat the message you heard. This is an active listening technique called\nreflective listening. Using reflective listening shows your child that you value what they have to say. Pay attention to underlying feelings or concerns. This is the time for you to name and support those feelings. For example, \"It sounds like that was pretty scary for you.\"\nAfter you have modeled reflective listening, let your child practice it. Ask your child to relay to you what you have said. This approach is especially helpful after you have given directions for a task or a redirection for a behavior. You will be able to tell whether your child understood clearly.\nChildren have a desire to be heard. Actively listening to your child strengthens your bond. It helps you move from possibly being critical to acknowledging your child's perspective. Make active listening a part of your daily routine. Scheduling it during an after-school snack or at bedtime works well. It helps your child gain control over their actions and emotions.\nTips to model listening skills\nMake eye contact. If your child isn't able to maintain eye contact, they may find it easier to focus on a chin, nose, or point on the wall just above the person's head.\nSet daily times for listening.\ndevices or pause televisions.\nSit at their level.\nHave your child repeat what you said before responding.\nEmpathy is the ability to understand and share in others' feelings. An empathetic child thinks about why a person acts the way they do.\nBefore a child learns empathy, they have to be shown it. Children need to feel seen and understood by the adults in their life. For example, \"I noticed you seemed frustrated when you couldn't find your toy.\"\nCreative play and storytelling are other great ways to teach empathy. Whether by discussing why the toy dinosaur is angry or reading about why a character in a book was sad, your child begins to think about what others are feeling.\nLearning empathy is an early step toward being a problem-solver. Children who learn empathy consider how others may respond to things they do. They have more positive interactions with peers and other adults.\nTips to model empathy skills\nAcknowledge their feelings. For example, \"I know that makes you sad. It's OK to feel sad.\"\nVerbalize why you think they may say or do something. For example, \"I think you were throwing things at school today because you must have felt frustrated. You may need a break to calm down.\"\nHelp them see things from another's perspective. For example, \"Your classmate was throwing things at school today. They must have felt very frustrated. They may need a break to calm down.\"\nOffer suggested responses to things they see. For example, \"Your friend has been quiet and down lately. They may need you to listen to them.\"\nRead stories and discuss the characters' feelings.\nWhy healthy communication skills matter\nYou are the first teacher of and role model for your child. How you handle communicating ideas, needs and concerns influences how your child communicates.\nWithout strong communication skills, children often struggle to develop friendships, to have positive teacher interactions and to navigate life's ups and downs. Showing your children how to communicate clearly and positively helps them build strong relationships.\nFrom using helpful language to practicing active listening, you can guide your child to become a strong communicator. Remember, children learn by watching others and your child is watching you.", "id": "<urn:uuid:c15408c2-b8df-46c1-893c-4e760f0aa69e>", "dump": "CC-MAIN-2023-14", "url": "https://healthychildren.org/English/family-life/family-dynamics/communication-discipline/Pages/Components-of-Good-Communication.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945473.69/warc/CC-MAIN-20230326142035-20230326172035-00312.warc.gz", "language": "en", "language_score": 0.9489299654960632, "token_count": 1489, "score": 4.1875, "int_score": 4}
{"text": "A child often comes up with tricky questions and you may find you are often left with a loss for words. This is because your child reaches the peak of cognitive development so quickly with the brain developing up to 90% in the first five years of age. They tend to think about things in ways that we haven\u2019t but this won\u2019t last long if not encouraged. Imagination.org says that, \u201cCreativity is recognized as one of the most critical skills for the next generation.\u201d Can Parents Encourage Creativity? Absolutely. As a parent, it is your duty to nurture this creative, inquiring mind and help your child to think logically while still allowing them creative freedom to imagine, dream, and see things in new ways. Here are five fun ways to encourage creativity in children.\nOnce your child gets addicted to electronic gadgets, it is very difficult for him or her to concentrate on anything else so I recommend holding this off as long as possible. Research shows that creative activities boosts the child\u2019s mental development and promotes holistic growth. Creative activities also improve a child\u2019s motor skills like eye and hand coordination. These creative activities will keep your child busy for hours. They will learn new things while interacting and it will help them to make decisions on their own. Here are some easy activities to encourage creativity in your child.\nHow Can Parents Encourage Creativity?\nYou may be wondering, \u201cCan parents encourage creativity?\u201d Yes, certainly! Parents can encourage creativity through creative activities but also through their encouraging responses to creative ideas. If you laugh at what they say or say, \u201cThat is silly\u201d with distain, most children will make a mental note not to behave that way again. If you say, \u201cWhat a cool way of thinking about that. I love the new ideas you come up with,\u201d they likely be telling you the next thing they think of and feeling proud instead of different or not so smart. A parent\u2019s approval goes a long way to encourage any behavior. With that in mind, be sure to respond in an encouraging manner to these activities to boost your child\u2019s creativity.\n5 Fun Activities That Promote Creativity In Children\nOpt for non-toxic finger paints for younger children. Or better still make your own super cheap and sparkly finger paints. This activity will help your child hone motor skills and stimulate their creative mind \u2013 they can customize colors and make their own paintings. Place an old sheet or newspapers on the floor to prevent mess. Here is a quick and easy recipe to make non-toxic finger paint at home. Kids love learning how things are made and they will grow more creative as they are inspired by the possibilities. This creative process is also great for developing fine motor skills.\nOlder kids can still enjoy painting too. Try a group mural project where everyone can join in on the fun. Have the outlines done first in black paint on cardboard boxes. Then have lots of art supplies handy so kids can come back and fill in the spaces with various colors. Children\u2019s creativity can be a thing of beauty and wonder.\n2. Read Along\nReading is one of the quickest and most effective ways to bolster imagination and creativity. Don\u2019t restrict yourself to only reading; create questions and activities around reading. For example, ask your child some questions about the story. See if they can come up with alternate endings. My son used to like to read the story backwards when he was done reading it forwards. It made hime laugh every time and it showed how combining words in different ways meant completely different things.\nGet a library membership to encourage the reading habit in your child, it will help him in the long run. Encourage, your child to make crafts based on the story. You can also look at pinterest for craft inspiration around different books. If your child cannot read all by himself, then read to your child and point at the pictures.\nAs they get older give you child the chance to practice creative expression by making up their own stories. Celebrate their own ideas. Their storylines and characters will be become more complex as they practice their art of storytelling. This is a great way to learn bout the child\u2019s interests in a fun way. Kids\u2019 imaginations are full of original ideas and it is fun to see their different perspectives.\n3. Coloring Sheets\nChildren are inspired by arts and the sky\u2019s the limit for the creativity here.Simply download free printable coloring sheets and you are set to go. The children can color the sheets and then do crafts like cutting and pasting. They can use glue glitter colors, beads and buttons on the sheets to make them look beautiful. In fact coloring sheets are the most transportable children\u2019s toy. Just carry along a tub of colors and some coloring sheets and you are good to go.\nYou can find a host of free coloring sheets at MomJunction. You can find a plethora of information about festivals, seasons, animals, numbers, math and even favorite cartoon characters. If your child yearns to be even more creative, they can flip the coloring sheet over afterwards and try to draw the scene themselves.\n4. Culture Club\nStudies indicate that role playing and dramatics fosters creativity and nurtures the imaginative mind. Form a culture club where your children can indulge in activities like singing, dancing and acting. All these activities involve thinking on their feet. Encourage the children to use improvisation in their performances. The idea is to have fun and not judge the children.\n- Children can download music and lyrics from the websites and give performances. This boosts self-confidence.\n- Children can also role play \u2013 act like a doctor or a chef. Imaginative play is a great way to let kids explore possibilities.\n- Encourage the children to practice an instrument, try music from other countries, and hold jam sessions.\n5. Learn a Second Language\nResearch indicates that learning a second language is challenging however introducing your child to the basics is fun and easy and will prepare the road. Children fluent in second languages are sharper, more productive and multitasking comes naturally to them. You can opt for Spanish or French. Adequate resources are available in a library. Children get to learn about the culture of that country like the customs, traditions and daily routines of the foreign country. It is fun to imagine places where they speak differently and do things differently. Learning another language gives them an opportunity to escape the mundaneness of normal life.\nI love this quote by Albert Einstein, \u201cCreativity is seeing what others see and thinking what no one else ever thought.\u201d Often times, creative ideas may seem strange at first. One of the best ways to encourage creative thinking in young children is to embrace the child\u2019s creativity. Be sure you don\u2019t discount it by laughing at their ideas or declaring that they are wrong. Approach their thought process with curiosity and open-ended questions. You will often find some interesting logic or creative thought behind what they say. In fact, this type of diverent thinking can lead to excellent creative problem-solving skills.\nIt is important to inspire children to be creative, imaginative and productive. Such children are self-confident and reach greater heights in life. We can easily foster such an environment at home. Try these ideas and let us know how you were able to engage your children to help kick the electronic gadget habit. Have fun creating things, talking about things, imagining things, and doing new things! Welcome all of their ideas. Which of these activities to encourage creativity do you think your child will enjoy most?\nBody Language Examples And Non Verbal Communication\nBenefits Of Building Blocks For Kids", "id": "<urn:uuid:d63f8617-2251-40c7-8c04-482bd4ce0c7b>", "dump": "CC-MAIN-2023-14", "url": "https://familyfocusblog.com/can-parents-encourage-creativity/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00512.warc.gz", "language": "en", "language_score": 0.9496179223060608, "token_count": 1600, "score": 3.546875, "int_score": 4}
{"text": "Women in American History\nSimilar ideas popular now\nWomen In History\nAfrican American History\nTe Ata Fisher, Chickasaw, entertained President Franklin D. Roosevelt and King George VI of Britain through song, dance and storytelling. Born in 1895, Te Ata, which means \u201cBearer of the Morning\u201d spent much of her 99 years telling the stories and folklore of her people to local and worldwide audiences. Te Ata shared her gift of storytelling on the Chautauqua circuit in the 1920s \u2013 a lecture circuit used by entertainers, politicians and religious leaders before the advent of radio broadcasts.\nVictoria Woodhull (1838 - 1927). She was quite a lady ... the first woman to run for President of the United States (1872); first woman to start a weekly newspaper, first woman along with her sister to operate a brokerage firm in Wall Street (where she made a fortune). She fought for women's rights, against corruption and for labor reforms. The reforms and ideals espoused by her for the common working class against the corrupt rich business elite were extremely controversial in her time.\nCynthia Ann Parker was kidnapped at age 9 by Comanches who massacred her family. She lived with them for 24 years, forgetting her white ways. She married Chief Peta Nocona and had 3 children including Quanah Parker. Rescued at age 34 by Texas Rangers, but for 10 yrs. refused to adjust to white ways. She escaped once only to be \"rescued\" again. Heartbroken over the loss of her husband and children, she stopped eating and died of influenza in 1870, after the death of her youngest daughter.\nEdmonia Lewis (1845-1909) was an African American and Native American sculptor that would find success despite discrimination for her race and gender. She was an art student at Oberlin College and would excel in her courses but would later drop out after being accused of theft and poisoning two classmates; this led to a mob beating her up severely, only to have her acquitted of any wrong doing at trial.\nA forgotten profession: In the days before alarm clocks were widely affordable, people like Mary Smith of Brenton Street were employed to rouse sleeping people in the early hours of the morning. They were commonly known as \u2018knocker-ups\u2019 or \u2018knocker-uppers\u2019. Mrs. Smith was paid sixpence a week to shoot dried peas at market workers\u2019 windows in Limehouse Fields, London. Photograph from Philip Davies\u2019 Lost London: 1870-1945.\nDr. Martha Euphemia Rosalie Lofton Haynes was the first African-American female Mathematician. Her father was a dentist and investor, and her mother was active in the Catholic Church. She preferred to be called Euphemia rather than Martha, and received her B.A in Mathematics from Smith College. She minored in psychology. She received her masters degree in education from the University of Chicago and her Ph.D in mathematics from The Catholic University in Washington, in 1943 becoming the f...\nAmy Johnson, English aviator 1903-1941 One of the first women to gain a pilot's licence, Johnson won fame when she flew solo from Britain to Australia in 1930. Her dangerous flight took 17 days. Later she flew solo to India and Japan and became the first woman to fly across the Atlantic East to West, she volunteered to fly for The Women's Auxiialry Air Force in WW2, but her plane was shot down over the River Thames and she was killed\nI have always been appalled at what happened to Rosemary Kennedy. Her father Joe Kennedy did not like her 'uncontrollable' behavior (she was likely struggling with depression but was bright and vibrant too) so he secretly authorized a labotomy.It left her paralyzed, unable to function, barely talk and at the thought function of a 2 year old. She was NEVER talked about again EVER by her family. She lived at St.Calletta in WI, unable to do anything for herself until she passed away in 2005 at 86.", "id": "<urn:uuid:50b10e70-d7ee-4110-b449-8c56eaca38e5>", "dump": "CC-MAIN-2023-14", "url": "https://nl.pinterest.com/deannaselene/women-in-american-history/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949689.58/warc/CC-MAIN-20230331210803-20230401000803-00313.warc.gz", "language": "en", "language_score": 0.981971263885498, "token_count": 859, "score": 3.609375, "int_score": 4}
{"text": "The Medieval era, the longest noted era in European history, was a transitional period between the classical and modern world. Sometimes referred to as the Middle Ages for this reason, this era lasting from the 5th century to the 15th century was predominantly characterized by art, castles, battles, weapons and new laws. Children's clothing during the Medieval period was simple, designed for practicality and function rather than for splendor and status.\nStockings were the most characteristically Medieval element of clothing for men and boys to wear. They originated in France and were therefore referred to by their French name: \"haut de chausse.\" These stockings can be seen in various Medieval paintings, demonstrating how common they were for boys to wear, especially those of the higher classes. Stockings were dyed various colors and were worn with \"braies,\" a kind of underpants connected to the stockings to keep them from falling down. Young boys also wore dresses, but once they were around 10 years of age, they began to dress like the adult men of the Medieval period. These outfits included pants, shirts and sometimes cloaks.\nGirls of the Medieval period wore the same dresses as the young boys of the era. Young girls also wore tunics. Generally, these dresses were very conservative. They featured long sleeves and high necks. Ones with a bit more embellishment might have included some embroidery or stitching of animals, such as ducks. Girls' clothing very much emulated that of the adult women in the Medieval era.\nSocial class dictated what children of the Medieval era wore. Being fashionable was a concern or interest limited to the upper class, while the peasantry of Europe during this time period basically all wore the same drab clothing. Italy was very influential when it came to fashion for the upper classes. Especially towards the end of the Medieval period, extravagance in the realm of fashion became more clear with doubtlets, hosiery, headwear and footwear.\nFabrics of the Medieval period were simple and functional. Cotton was not yet grown in Europe at the time, so most clothing was made out of linen or wool, depending on the season. Cotton would have had to have been imported from the Middle East, and it was an expensive commodity. Stockings for boys were mostly made out of wool, while the \"braies\" used to hold up their stockings were made of linen. Dresses for both girls and boys were typically made of wool. Despite social class, the majority of people in the Medieval era wore clothes made of wool. Some who were extremely rich were able to afford silk, but this was very rare.\nChildren's Clothing in the 1900s\n1950s Clothes for Children\nChildren's Clothing From the 1920s\nFarmer's Wife's Clothes in the 1800s\nHow Did Teenagers Dress in the '60s & ...\nIrish Clothes of 1850\n1930s School Clothes\nSchool Clothes in the 1900s\nWomen's Clothes in 1943\nWhat Teenagers Wore in the 1940s\nWhat Did Kids Wear in the 80s?\n1950s Gangster Clothes\nWhat Do Women Pirates Wear?\nClothes Worn in the Seventies\nWhat Did Teenagers Wear in the '60s?\nChildren's Shoes in the 1950s\nFashion for Children in the 1960s\nChildren's Clothing of the 1800s\nMaterials Used to Make Jeans\nClothing of the Gold Miners in the 1850s\nKathryn Stanley is a professional writer for various websites, covering fashion, science, the environment, food and baking, crafts and the arts. She studies psychology and creative writing at the University of Maryland at College Park.", "id": "<urn:uuid:de68553b-6863-4a8a-a492-c638b47e1b61>", "dump": "CC-MAIN-2021-17", "url": "https://oureverydaylife.com/kids-clothing-during-the-medieval-period-12568412.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039560245.87/warc/CC-MAIN-20210422013104-20210422043104-00578.warc.gz", "language": "en", "language_score": 0.9821355938911438, "token_count": 753, "score": 3.84375, "int_score": 4}
{"text": "4. AUTHOR A WRITING PROJECT. Budding writers can start a week-long writing project focused on a specific theme. Write about animal skeletons and types of clouds; or invent TV cartoon characters based on exotic animals, or spend the week writing about magic or food or chocolate. Re-imagine your favorite fairytales with your chosen theme. Write and draw short stories, poems, or illustrations inspired by the subject you\u2019ve chosen. Turn the storytelling process upside down by using pictures and math equations to tell a story, or describe a classroom through a teacher's eyes, or describe the days of the week as if they were people. Find hundreds of writing prompts on this Tumblr blog.\n5. BUILD A ROBOT. PR2, the $285,000 robot designed by Willow Garage, started with simple microcontroller programming. Kids can begin building their own robot creation by making a mini-kissing bug or an Animatronic Parrot. Explore the growing fields of embedded hardware, microcontroller programming, real world sensory systems using the Arduino microcontroller kit. Projects can be affordable and reproducible using parts available from a wide variety of sources.\n6. FORM A BAND. The skills involved in learning music require daily practice, and starting a band can help motivate practice. Original composition is sparked through collaborating with other young musicians. Kids can put a band together and even record a single. YouTube hits are not far off.\n7. SCULPT IN 3D. Anyone can be a high-tech sculptor with the right materials. Kids can start by selecting a stock 3D model using laser cut cardboard, then experiment with various construction techniques. Print the plans on your own material at home, or have the parts cut precisely and delivered to your doorstep. 2D plans and cut-patterns and assembly instructions are automatically generated. Assemble your project using simple tools like glue and pins. Instructions for beginning your project can be found here.\n8. MAKE A FILM. The next Steven Spielberg might emerge from a summer movie-making project. Kids can exercise their writing, creativity, organization, and artistic skills by making their own movies, just as any director does: writing scripts, choosing actors, practicing lines, not to mention actually filming and editing. For those who own an Apple computer, iMovie makes the process very simple. YouTube also offers free editing, and you can find other editing software online.\n9. DESIGN A CIRCUITRY PROJECT. Using electrically conductive non-toxic paint, design artwork with built-in circuits, like a paper house that glows from the inside. Tutorials and startup kits can be found online. The kits contain everything you need: a bare paint pen, 220K trim pots, 1K\u03a9 resistors, 9V batteries, light dependent resistors, blue LEDs, Transistors, 470\u03a9 resistor\nand battery clips.\n10. PAINT A MURAL. Kids can take the opportunity during the summer break to redesign their rooms, including painting a mural. First, they'll want to pick a theme (marine life, animals that live in a forest habitat, music, travel, video game characters) and use decoupage techniques to create the final mural. Practically any two-dimensional materials can be used for decoupage, including photos, cards, posters, wrapping paper, magazine clippings.", "id": "<urn:uuid:12118002-632a-4d6a-a5e9-e948133f20fe>", "dump": "CC-MAIN-2023-14", "url": "https://www.kqed.org/mindshift/22025/keep-learning-and-making-10-fun-indoor-summer-projects", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948976.45/warc/CC-MAIN-20230329120545-20230329150545-00733.warc.gz", "language": "en", "language_score": 0.9000827074050903, "token_count": 695, "score": 3.71875, "int_score": 4}
{"text": "Let his wacky rhymes inspire your family's playful storytelling.\n- Parker Barry\nToday, in honor of Dr. Seuss\u2019 birthday, kids across America will celebrate reading as part of Read Across America. Seuss\u2019 silly stories, filled with rhyme and wordplay, have been favorites for generations, inspiring a love of reading in kids and adults.\nWe parents know that reading is fundamental for kids, but parents can encourage language development and increase kids\u2019 literacy, even without a book in hand, through creative storytelling. Of course, the time spent together sharing the stories is priceless. But kids can reap other benefits too, including:\n- vocabulary development\n- comprehension skills that will lead to stronger readers\n- critical thinking and listening skills\n- moral lessons the storyteller throws in\nLook to Dr. Seuss himself for inspiration on how to become a master creative storyteller.\n- 1. Mix outrageous characters with relatable characters. The Cat in the Hat ranks among the most outrageous characters in kids\u2019 literature, delighting kids with his crazy and risky antics, while Dick and Sally are relatable characters for kids. When making up stories, include zany characters sure to get a laugh alongside characters your kids can identify with \u2014 or put your own kids right into the stories! You\u2019re the storyteller, so you can do whatever you want.\n- 2. Have fun with words. Rhyming is fun and educational. It familiarizes kids with word families, which will help them when learning to read and write independently, and rhymes are so catchy and easy to remember. We all know \u201cI do not like green eggs and ham. I do not like them, Sam I am!\u201d It can be tricky, though, to find just the right word when telling a story out loud, off the cuff, so don\u2019t get all snergelly and hide your stories away in your lerkim. Take inspiration from Seuss and make up a word that fits just what you need. (You\u2019ll get a laugh, probably, at great speed.)\n- 3. Teach important lessons. Oral storytelling began as fairy tales and fables, a way for one generation to pass along history and moral lessons to the next generation. Dr. Seuss books do a lovely job of gently teaching kids to be themselves, to take care of the environment and to look beyond physical differences. The beauty of making up and telling kids your own stories is that you get to choose what lessons to teach. You can cater your message to what your kid needs to hear from you \u2014 be that encouragement to build them up, reminders to treat others gently or just letting them know they are loved.\n- 4. It\u2019s OK to borrow. Still, making up your own stories isn\u2019t easy. It\u2019s fine to borrow inspiration from familiar stories and change things up a little bit \u2013 altering character names or the ending. The important thing is to have fun and enjoy sharing time and words.", "id": "<urn:uuid:8deeb67e-696f-4f37-b9bc-812831d03426>", "dump": "CC-MAIN-2023-14", "url": "https://tocaboca.com/magazine/dr-seuss-playful-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00313.warc.gz", "language": "en", "language_score": 0.9309949278831482, "token_count": 641, "score": 3.640625, "int_score": 4}
{"text": "William Faulkner (1897-1962)\nAfter the end of the war, he studied literature at the University of Mississippi. There he composed some poems and drew some humorous cartoons for the magazine of the university.\nFaulkner's early works were dominantly influenced by Keats, Tennyson and Swinburne. His first poetic collection was The Marble Faun (1924) which is full of fine pastoral poems. Privately published poetry collection The Marble Faun was not a huge success. Next year he went to New Orleans and worked as a journalist. During his stay there he met with American story writer Sherwood Anderson. With his great help, Faulkner became success to publish his first novel Soldier's Play (1926) which is about a physically and psychologically wounded soldier in WW I. Anderson also motivated him to write further about the people he knew and the places he had been to.\nWhen he came back to America, he started writing about the ancestors, Native Americans, blacks, hermits and poor whites. His fifteen novels out of nineteen novels were set in an imaginary county named Yoknapatawpha. His first novel which is set in this imaginary county was Sartoris (1929). The same year saw the publication of another novel, The Sound and the Fury, a story of the tragic end of the Compson family. In this novel, he used the four different narrative perspectives with fragmented plot. This is the beginning of his new technique that he would use in his rest of the novels. In the same year he got married to his childhood beloved Estelle Oldham. With the success as a novelist, he was offered a job as a script writer in Hollywood. He did this rewarding job for some years.\nHe created an imaginary county in North Mississippi called Yoknopatawpha of which the county seat is Jefferson. From 1925 until his death in 1962 his major novels are based on this fictional world, the world of Yoknapatawpha. His fifteen novels that are set in Yoknapatawpha are generally known as Yoknapatawpha novels. His mythical Yoknapatawpha County became one of the most famous mini worlds in twentieth century literature. These novels were written at the time in America when the effects of the economic depression were at the peak. Racism, class division, family as both life force and a curse, are the recurring themes along with recurring characters and places. Faulkner used various writing styles. The narrative varies from the traditional storytelling Light in August to a series of snapshots As I Lay Dying or collage The Sound and the Fury.\nFaulkner is a prominent figure of southern fiction who followed modernist techniques, but became a rationalist in his writing. Faulkner's major issue is the tension between myth and history. Faulkner mixes the mythical tradition and ceremonial world which is the underlying subject of Faulkner's work. Faulkner novels are divided into first and second cycles. The first cycle of Yokhapatawpha novels includes stories, The Sound and the Fury, As I Lay Dying, Sanctuary, High in August and Absalom, Absalom. In these novels the major issue is the tension between myth and history. Sartoris is the first novel of Faulkner and the foundation of the Yoknapatawpha County on which the writer established most of his regionalist vision. This novel created background for Faulkner's further writing, presenting an image of Colonel John as the protection for Sartoris/ Yoknapatawpha. Similarly the second cycle of Yoknapatawpha novels includes Intrudes in the Dust, Requiem for a Nun, The Town, The Mansion and The Rivers. In these novels, the major issue is to construct a myth of man, which transcendent the history of man's condition. However the second cycle of Yoknapatwpha novels was not as impressive as the novels of the first. Besides, there is also a non \u2013Yoknapatawpha novel of Faulkner written in 1954 - A Fable. This novel is also a mixture of mythical tradition and ceremonial world. But this novel for which Faulkner spent ten long years is the largest non - Yoknapatawpha work counted as his one genuine failure. However, from 1950 to 1975 in the post-world war age, William Faulkner is among three main figures that stand out among the southern novelists and the remaining two are Robert Penn Warren and Eudora Welty.", "id": "<urn:uuid:79e8f0b3-ed0d-4481-8d75-f3b5382935cf>", "dump": "CC-MAIN-2023-14", "url": "https://www.bachelorandmaster.com/biography/william-faulkner.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945473.69/warc/CC-MAIN-20230326142035-20230326172035-00313.warc.gz", "language": "en", "language_score": 0.9805464148521423, "token_count": 946, "score": 3.546875, "int_score": 4}
{"text": "(1825\u20131911). The African American lecturer, author, and social reformer Frances E.W. Harper was notable for her poetry, speeches, and essays in favor of abolitionism, or the movement to end slavery. She also spoke out for the temperance movement, which sought to stop people from drinking alcohol, and woman suffrage, or giving women the right to vote. Harper was deeply concerned with morality and temperance in black communities. She continually gave money to fugitive slaves and advocated for women\u2019s rights.\nShe was born Frances Ellen Watkins in Baltimore, Maryland, on September 24, 1825, to free black parents. Orphaned by age 3, she was raised by her uncle. Her uncle ran a school for black children, which Watkins attended. Although she went to work as a household servant at age 13, she continued studying on her own. The following year Watkins started to work for a bookseller, where she read widely.\nWatkins published Forest Leaves, a collection of poems and prose writings, about 1845. In 1850\u201352 she worked as sewing instructor at Union Seminary, a work-study school operated by the African Methodist Episcopal Church near Columbus, Ohio. Watkins later taught in Little York, Pennsylvania.\nThe rising heat surrounding abolitionism and the stricter slave laws passed in Southern and border states led Watkins to begin speaking out. Harper gave her first antislavery lecture in 1854, in New Bedford, Massachusetts. It was titled \u201cEducation and the Elevation of the Colored Race.\u201d The success of this lecture led Watkins to undertake a two-year lecture tour in Maine for the state Anti-Slavery Society. From 1856 to 1860 she gave public antislavery addresses throughout the East and Midwest.\nIn addition to her antislavery lecturing, Watkins often gave public readings from her second book, Poems on Miscellaneous Subjects (1854). The book was quite successful. Its poems addressed the subjects of motherhood, separation, and death and included the antislavery poem \u201cBury Me in a Free Land.\u201d Harper\u2019s poetry was noted for its simple rhythm and biblical imagery. Its narrative voice reflected the storytelling style of the oral tradition. Harper also wrote pieces for magazines. Her story \u201cThe Two Offers\u201d, which appeared in the Anglo-African Magazine in 1859, was said to be the first story published by an African American author.\nUpon her marriage to Fenton Harper in 1860, Frances Harper stopped giving lecture tours. When her husband died in 1864, she returned to public speaking. After the Civil War, Harper made several lecture tours of the South, speaking on education, temperance, and other topics. In 1872 Harper published Sketches of Southern Life, a book of poems told in the everyday language of African Americans. From 1883 to 1890 she was in charge of activities among blacks for the national Woman\u2019s Christian Temperance Union. Harper became a director of the American Association of Education of Colored Youth in 1894. Two years later she helped organize the National Association of Colored Women. Harper was elected a vice president of that organization in 1897.\nHarper\u2019s novel Iola Leroy; of, Shadows Uplifted was published in 1892. She also wrote three novels that were serialized, or published in installments, in a religious newspaper called The Christian Recorder. These novels were entitled Minnie\u2019s Sacrifice, Sowing and Reaping, and Trial and Triumph. Harper died on February 22, 1911, in Philadelphia, Pennsylvania. In 1994 her three serialized novels were published in book form. Harper\u2019s works were collected in Complete Poems of Frances E.W. Harper (1988) and A Brighter Coming Day: A Frances Ellen Watkins Harper Reader (1990).", "id": "<urn:uuid:3b5524fc-e4d5-4ead-922e-0046f6a9c4c7>", "dump": "CC-MAIN-2023-14", "url": "https://kids.britannica.com/students/article/Frances-EW-Harper/311603", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945183.40/warc/CC-MAIN-20230323194025-20230323224025-00113.warc.gz", "language": "en", "language_score": 0.9791970252990723, "token_count": 786, "score": 4.09375, "int_score": 4}
{"text": "Whole school writing projects are a fun, creative and simple way to enthuse children and promote writing across the curriculum.\nThis is a re-blog post originally posted by @ieconsultancy and published with kind permission.\nThe original post can be found here.\nDo you have a blog post which you are proud of? Submit your blog post for reblogging on UKEdChat.com by clicking here.\nWhen children are engaged, they write more and the writing they produce is of a much higher quality \u2013 we know this is a fact. Whole school writing projects can inspire even the most reluctant of writers to create work of which they can be proud and motivate the highest achieving to experiment with language in new, challenging ways. Whole school writing projects are a fantastic way to promote writing across the school and curriculum, creating a buzz about a topic and generating a positive atmosphere. Now, more than ever, as the curriculum focuses so relentlessly and narrowly on grammar and spelling, a project like this can be just what a school needs to inspire and motivate children to write for a real purpose.\nChoose your stimulus and outcomes carefully\nIt is important to find an engrossing stimulus or \u2018hook\u2019 to grab your children\u2019s attention. The resource, whether it\u2019s a video clip, piece of music, art work, email or letter to the children must be appealing to all age groups and genders and initiate a range of activities and tasks that are age-appropriate and meaningful to all the children. Think carefully about what you want to achieve at the end of the project \u2013 it could be writing activities carried out alongside parents, creating a display for your school\u2019s entrance hall, publishing a school book showcasing every child and adult\u2019s writing, using new technology to promote writing or even delivering a podcast or blog for the school website.\nA fantastic resource to use, if you\u2019re thinking about writing opportunities for a new class or new school year, is the inspiring and moving book, The Matchbox Diary written by Paul Fleischman and illustrated by Bagram Ibatoulline. This is a lovingly told story about a grandfather\u2019s journey from Italy to America as a young boy -as told to his granddaughter \u2013 and perfect for inspiring writing of all genres. In the story, a memory is tucked away in each of the Grandfather\u2019s matchboxes; a photo, a letter, a tooth and even an olive stone become a portal into the past as he tells his granddaughter why they are special to him and their significance in his journey.\nInvite every child and adult to bring in an object which has a special memory attached to it, thus initiating some wonderful storytelling and writing opportunities. To celebrate, create a dazzling whole school display, where the objects are hidden away in matchboxes (or any type of small box) and surrounded by a range of writing.\nGet everyone involved in the planning\nSchedule a meeting to introduce colleagues to the resource. The Matchbox Diary is a complex, multi-layered text and you need to allow time to explore the book, discuss it and plan writing opportunities relevant to each year group and class. Agree on how long you want the project to run \u2013 a day, a week, a term? As a team you may wish to collapse the curriculum for a few days in order to immerse the children in the project. Agree on the areas that you feel need your focus. Shared planning is a great opportunity to reflect on your school priorities, how writing is viewed across the school and in the wider community.\nHowever, too often, we spend time planning exciting projects for the children, without ever asking their views, meaning that projects can become flat and uninspiring. Before starting your project, you can inject some energy by soliciting pupils\u2019 views on writing \u2013 what do they enjoy about it and what do they find challenging? You might use Just Imagine\u2019s pupil perception survey or the Everybody Writes auditing tool.\nGive each class an overview of the resource you have in mind to stimulate writing and ask for their feedback. Do they think everyone will engage with the stimulus? What writing would they like to do in relation to it? Record the children\u2019s ideas on sugar paper and create a display in your staff room, which everyone can add to \u2013 LSAs, governors, MDAs etc.\nIf using \u2018The Matchbox Diary\u2019, ask the parents to send in a matchbox with a special object hidden within and a note to explain why it is special to them. You may even wish to invite parents in to write alongside their child and create their own matchbox diary. These can be added to displays around the school. Matchboxes are less common these days, so if it proves problematic, you can purchase blank craft boxes cheaply\nYou may wish to invite local senior citizens into the school to discuss and share their memories.\nEnsure progression of outcomes\nWhilst planning writing opportunities relating to your event or stimulus, it is vital that you ensure progression across the year groups and within each class \u2013 the writing opportunities should be sufficiently challenging for all pupils whilst encouraging them to be creative. Look at your class and tailor the tasks to their needs and interests. In my opinion, it would be disappointing to see the same display in every class and corridor, showing the same type of writing on the same worksheet or proforma.\nUsing The Matchbox Diary as a starting point, reception children could label their own objects, Key Stage One children could write about why their object is special to them, some children could write riddles which encourage the reader to guess the object hidden inside and older children may be inspired to write their own diary extract or book based on the objects they bring in. Classes could even work alongside each other and work collaboratively. The great thing about this book is that it provides writing opportunities that are easy to differentiate throughout the school and will lead to compositions that are personal to each child.\nCreating a buzz\nCreating a buzz about the whole school writing project is important, firing up children\u2019s imagination and curiosity. Display posters about it or hint at it in the weekly newsletter, for example. If using The Matchbox Diary, send out a letter to all parents asking them to ensure their child bring in an object that reminds them of something special in a labelled bag for a \u2018special,\u2019 writing project. Photos can then be taken of the objects in advance if children are worried about not having their item returned. Set an agreed date for when you are going to introduce the topic to the children and introduce it to them enthusiastically in a whole school assembly. Ask all colleagues to attend and show their interest and support.\nShare, celebrate and review\nAllow time to share and celebrate the writing that has been created, both in your class and across the school. Children could explore each other\u2019s matchboxes and writing in class and guess which object belongs to whom. Year 6 children could go and share their writing and matchbox diaries with younger children, parents could be invited in to listen to their child\u2019s work or you could create a whole school, interactive display where children can read about each other\u2019s special memories, open the matchbox diaries and see, touch and smell a range of \u2018memories\u2019 and artefacts.\nFinally, to gauge impact, ask the children once more about the project and what they enjoyed and if they have any ideas for future whole school writing opportunities. I can guarantee they will.\nYou need to Login or Register to bookmark/favorite this content.\nBe the first to comment", "id": "<urn:uuid:756963b6-dfae-462f-bff4-ec5b4d13cc82>", "dump": "CC-MAIN-2023-14", "url": "https://ukedchat.com/2016/06/30/planning-a-whole-school-writing-project-by-ieconsultancy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948932.75/warc/CC-MAIN-20230329023546-20230329053546-00112.warc.gz", "language": "en", "language_score": 0.9530667066574097, "token_count": 1569, "score": 3.546875, "int_score": 4}
{"text": "What Makes the Leaves of Savannah Hollies Turn Yellow?\nWhen the leaves of your \u201cSavannah\u201d holly begin to turn yellow, there is no doubt something has gone askew with the plant. The plant may have an infestation, disease or nutrition deficiency. \u201cSavannah\u201d hollies (Ilex x attenuata) are hardy in U.S. Department of Agriculture plant hardiness zones 6 through 9. They reach heights of 30 to 45 feet with spreads of about 6 to 10 feet. In the spring, white flowers appear and are followed by red bird-attracting berries that stand out against the green leaves.\nHolly leaf miners, the larvae of small moths or flies, chew tunnels and leave trails causing the leaves of \"Savannah\" to appear yellow. If the leaf miners are allowed to run rampant, the plant may eventually drop its leaves. Keeping the holly plant properly irrigated and cared for will help prevent problems with leaf miners. The Missouri Botanical Garden website suggests removing and disposing of leaves infested with leaf miner larvae to help control these annoying pests.\nScales and spider mites can also infest \u201cSavannah\u201d hollies causing yellowish discolored spots where they feed on the leaves. Thankfully, these pests are usually not a serious concern and you can control them by spraying the top and underside of leaves with ready-to-use insecticidal soap or neem oil. If needed, continue spraying the leaves liberally with the ready-to-use insecticide at 7 to 14 day intervals until the scales and mites are under control.\nTar spots and leaf spots are two diseases that cause yellowish circular-shaped spots to appear on the leaves of \u201cSavannah\u201d hollies. The small yellow spots caused by tar spot disease typically appear in the summer. As the disease progresses, the spots will develop a reddish brown color with yellow borders and the infected leaves may drop prematurely. Tar spots and leaf spots are rarely a serious threat to the holly that you can control by merely removing and destroying infected leaves. Use of fungicides to control tar spots and leaf spots is generally not warranted, according to the University of California Statewide Integrated Pest Management Online website.\nYellowish leaves with dark green veins are a sign of chlorosis, which occurs when the soil pH level is high due to an iron deficiency. Sulfur or acidifying fertilizers will lower the soil pH level while iron chelate sprays will help green up the \u201cSavannah\u201d hollies. The amount of elemental sulfur you must incorporate into the soil to correct the iron chlorosis will depend on the starting pH level of the soil as well as the type of soil the holly is growing in. For example, if the soil is sandy with a pH level of 8.5, you will need to incorporate 46 pounds of elemental sulfur for every 1,000 square foot of soil to bring the pH level down to 6.5.\nOnce you have corrected the iron deficiency, green up the holly leaves by spraying them with a mixture of 1 tablespoon of iron chelate and 1 gallon of water. Keep in mind, however, that spraying the \u201cSavannah\u201d holly leaves with iron chelate won\u2019t affect newly emerged leaves, so you must address the iron deficiency problem to keep it from returning.\nConsiderations and Precautions\nBefore using any insecticide, pesticide or fertilizer, familiarize yourself with the directions and warnings on its label. Every brand and type of garden chemical has instructions designed by the manufacturer for that specific product. Ignoring these instructions could lead to potential damage to the holly plant and reduce the effectiveness of the product. For example, insecticidal soap should not be applied when temperatures are at or above 90-degrees. Doing so could burn the leaves.\nMarylee Gowans has written about gardening for both online and print publications. She attended the University of Akron, graduating with a Master of Fine Arts in creative writing. In 2009, she received master gardener certification from the Master Gardeners of Summit County, Ohio.", "id": "<urn:uuid:2d3bda24-f15c-41ae-bfce-cffedb4b9b32>", "dump": "CC-MAIN-2023-14", "url": "https://homeguides.sfgate.com/leaves-savannah-hollies-turn-yellow-96074.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949694.55/warc/CC-MAIN-20230401001704-20230401031704-00513.warc.gz", "language": "en", "language_score": 0.9423349499702454, "token_count": 873, "score": 3.5, "int_score": 4}
{"text": "Last week, we dealt with subplots and different types of subplots. Now, it\u2019s time to move on from plots to another aspect of storytelling. And, that is exactly what we are going to do.\nOnce you have the plot ready, you\u2019ve got to start writing it. But, how? Do you scribble whatever comes to the mind? No. You plan where to start, how to start, and whose voice to take to the readers.\nIn simple terms, the process of telling a story, or recounting the incidents to the audience is known as narration. The person who narrates is the narrator.\nThe narrator can be anybody or anything (yes, living/ non-living). The narrator can be speaking the truth or lying (reliable Vs unreliable). The narrator can be omnipresent (see & know everything) or can have a restricted view of the incidents. The narrator can be your protagonist/ antagonist/ side character/ or you, the writer.\nWhen a narrator speaks what they are \u2018seeing\u2019, it is known as the Point of View. The readers will read and see the story from the Point of View of this narrator. The POV can be broadly divided into three types.\nFirst Person POV\n- Recognizing the first-person narrative is easy. A story where the narrator uses \u2018I\u2019 to identify themselves and relies on the first-person pronoun is a story narrated in the first person POV.\n- The narrator can be the main character or a side character. The action may or may not revolve around your narrator.\n- But, in this POV, the narrator knows only what they see or hear. The readers would know only the thoughts, views, opinions, ideas, and feelings of the narrator.\n- If the narrator tells you someone likes them, it could be either be because the person told the narrator or because the narrator felt or heard it from someone else. The reality could be the opposite, and readers do not have a way of knowing until the narrator knows.\n- The first person POV has these limitations and cannot be used for all stories.\n- Ex: Jane Eyre by Charlotte Bronte.\nSecond Person POV\n- This is the least used POV in fiction writing, especially in a full-length novel.\n- Using the pronoun of \u2018you\u2019, the writer draws the second person into the story and makes them a part of the action.\n- In most cases, the reader becomes \u2018you\u2019.\n- This approach is the most helpful and effective in non-fiction works. That is why we tend to see a lot of self-help and personality development books employing this POV. It is used to encourage and motivate readers.\n- Some writers have successfully tried using this POV in their fictional works.\n- Ex: Happy Endings by Margaret Atwood (Short Story). Bright Lights, Big City by Jay McInerney (full-length novel).\nThird Person POV\n- This is the most widely used POV in fiction writing. It is easy to use the third person POV.\n- The narrator is not personally involved in the story. Instead, they play the role of an observer and recount the incidents to the readers.\n- The third person is again divided into two- Omnipresent and Limited.\n- Omnipresent Third Person POV is where the narrator knows everything. The narrator knows what\u2019s in the mind of each character, the narrator knows when a person is lying, and the narrator knows what will happen next.\n- Ex: Scarlet Letter by Nathaniel Hawthrone.\n- Limited Third Person POV is where the narrator does not know everything. It\u2019s like the narrator is a friend of the protagonist or can hear only one side of a telephone conversation. Based on the response given by the protagonist, the narrator summarizes the other side of the story.\n- Ex: Pride and Prejudice by Jane Austen. We know the story from Elizabeth\u2019s POV and see things as she does. Harry Potter by JK Rowling also uses the same POV.\nHow you choose to narrate your story is up to you. In this story (excuse my self-promotion), I wrote the same story from 3 different POVs.\nVisit here: https://writers.artoonsinn.com/2018/07/13/once-upon-a-fairytale/\nWhy not have another easier example?\n- The glass smashed against the wall with a resounding echo. Elle jumped from the chair and rushed to hide under the bed. She hated it when Mark lost his senses to drink. But she could do nothing about it. Didn\u2019t he always say it was her fault? Elle rolled into a ball and cried herself to sleep on the cold and dirty floor. Sometime later, she felt the bed creak and dip as Mark tumbled onto the mattress.\n- The glass smashed against the wall with a resounding echo. I jumped from the chair and rushed to hide under the bed. How I hated it when Mark drunk himself beyond control. But I could never do anything about it. Didn\u2019t he always say that it was my fault? I curled into a ball and cried myself to sleep on the cold and dirty floor. Sometime later, the bed creaked as Mark stumbled onto it.\n- Mark threw the glass against the wall. It crashed with a resounding echo. Elle jumped from the chair she was on and rushed to hide under the bed. Mark ignored the broken pieces and waddled towards the bedroom. He swayed one way and another, cursing Elle. He always blamed her for his failures. She was curled into a ball and crying on the cold and dirty floor. She could never do anything about Mark\u2019s addiction. Somehow, Mark managed to make it to the bed. He tripped and fell onto it. Too drunk to even move, he slipped into a deep slumber.\n- The glass smashed against the wall with a resounding echo. You jump from the chair and rush to hide under the bed. How you hate it when Mark loses control of his senses. But, you never did anything about it. You couldn\u2019t. Hadn\u2019t Mark always blamed you for it? Didn\u2019t he say it was your fault that he drank? You curl up into a ball and cry, tears staining the cold and dirty floor as you fall asleep. Sometime later, you notice the bed creak and dip. Mark managed to come into the room and tumbled onto the bed.\nTest: Now, tell us in the comments which of the examples belong to which POV.\nExercise for readers: Pick any story (Micro/ Flash) you\u2019ve written for ArtoonsInn and re-write it (at least 150-250 words) from another POV than the original in the comments (on FB).\n*Image by Monoar Rahman Rony", "id": "<urn:uuid:da3a551a-1d64-4a28-a0a9-d0f8aeceae08>", "dump": "CC-MAIN-2023-14", "url": "https://writers.artoonsinn.com/wow4/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945333.53/warc/CC-MAIN-20230325130029-20230325160029-00733.warc.gz", "language": "en", "language_score": 0.9531859159469604, "token_count": 1450, "score": 4.0, "int_score": 4}
{"text": "Get Updates to Exercise Database by Email\nPublic Speaking, Exercises, Decision Making, Attention and Focus, Memory\n:::: 70 Ratings :::: Monday, June 20, 2016\nThis is a fantastic exercise in teaching a number of important topics related to memory and retention. The exercise is actually rather simple\u2014going through a list of words and recalling what has been stated. However, the way the list is structured helps to cover various interesting topics in relation with memory such as the following:\n- Effect of primacy on memory\n- Effect of recency on memory\n- Element of surprise\nYou will hear a list of words. Write down as many of them as you can recall.\nWhat You Need\n- A list of words. Consider the following list:\n- Provide the papers to delegates.\n- Explain that you will shortly read a list of words to them. Delegates must listen without taking any notes and try to remember as many words as they can. Once you have finished reading the words, they can start writing down as many words as they can recall.\n- Say \u201cAre you ready\u201d?\u201d\n- Once everyone is ready, start reading the words from the list.\n- Once finished, expect everyone to write down what they can recall.\n- Now ask the following questions and expand on the related topics:\n- Primacy. \u201cWho remembered \u2018spoon\u2019?\u201d\n- Many of you remembered this word. This is because of primacy which means we are good at remembering the first item in the list.\n- Recency. \u201cWho remembered \u2018car\u2019?\u201d\n- Many of you remembered this word. This is because of recency which means we are likely to remember the most recent word heard; i.e. the last one in the list.\n- Repetition. \u201cWho remembered \u2018chair\u2019?\u201d\n- Many of you remembered this because it was repeated three times in the list.\n- Surprise. \u201cWho remembered \u2018scorpion\u2019?\u201d\n- Many of you remembered this word because it stood out from the rest of the list. It is also an unusual word which makes it easy to remember in comparison with a bunch of other general words you just heard.\n- False-memory. \u201cWho remembered \u2018table\u2019?\u201d\n- Was this really in the list? (See if anyone spots that this word was not in the list). It wasn\u2019t in the list, but you might have believed that it was because there were several related words such as \u201cchair\u201d, \u201cdinner\u201d, \u201cspoon\u201d, and \u201cplate\u201d which triggered an association with \u201ctable\u201d and led to a false-memory.\n- Follow with a general discussion.\nExplaining the Exercise: 2 minutes\nActivity: 15 minutes including explanations\nGroup Feedback: 5 minutes\nWhat did you think of this exercise? How can you apply what you have learned here about memory to practical applications on memorisation? How can you relate this to your work? How does it relate to decision making by suggesting you need to pay more attention to recent data or repeated data more than others? How does this relate to media, propaganda and politics? How does it relate to storytelling? How can you exploit this to deliver a memorable presentation?\nThe Most Similar Exercises to This in Order of Similarity Are:\nThere are currently no comments, be the first to post one.\nRate = 2.77 out of 5 :::: 70 Ratings.", "id": "<urn:uuid:0f45fbd5-ee79-4b5d-baee-a2ef17759ab9>", "dump": "CC-MAIN-2023-14", "url": "https://www.skillsconverged.com/FreeTrainingMaterials/tabid/258/articleType/ArticleView/articleId/1140/categoryId/141/What-Are-the-Basic-Principles-of-Memory.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948756.99/warc/CC-MAIN-20230328011555-20230328041555-00513.warc.gz", "language": "en", "language_score": 0.961601972579956, "token_count": 868, "score": 3.6875, "int_score": 4}
{"text": "Age range: 5-11 years\nThis sheet will give tips on how to close a session, what to do after a session and maybe sometimes build on the experience beyond the session. The idea is to capitalize and reinforce the positive influence or benefits of a storytelling session. During about an hour the teacher and the children have listened to and have told stories. How do you close this special time? For example, you can use a ritual phrase.\nWHY IS IT IMPORTANT?\nA storytelling session is more than just a moment to tell a story. It is important to address all the feelings or the things learnt during a storytelling session. It is also important to not end the storytelling session too abruptly. A ritual phrase at the end of the session, such as \u201cthey lived happily ever after. The End.\u201d, will close the proper \u201cstory telling time\u201d and the moment after that can be used as a sort of transitory moment between the freedom of the storytelling moment and the return to formal class. The idea is to capitalize on the positivity from the session in order to encourage student to communicate and use their oral skills beyond the story telling session as well.\nHOW TO DO THAT?\nTo continue to stimulate attention and engagement, children will be encouraged to use different senses such as touch, vision, movement, hearing, the best option is to combine them and that will enrich the child\u2019s inner world. These activities should be considered not only as educational, but also as fun and creative in order to become more attractive.\nTOOLS TO ENCOURAGE MOTIVATION\nPaintings, objects related to the content of the story: small figures (made of chocolate), plush toys, characters made (out of cardboard, wooden stick); suitable background music.\nPREPARATION / REALIZATION\nEducational sheet for each student, pencils, felt-tip pens, pastels, colored sheets, glue.\nThe kids will be incited to cut, color, and make applications of a literary character from a specific story told in class. Also, they will draw a d\u00e9cor of the story being told to render the story graphic and more tangible.\nOTHER OPTIONS IN CASE THE CHILD / CHILDREN REFUSE TO PARTICIPATE IN THE ACTIVITY:\nThey are offered another activity. It is good to offer activities to involve these students so that they do not feel isolated and so that they feel empathetic to the story.\n- allow to be an observer of the activity of the others;\n- propose them to retell the story;\n- incite them to help another participant;\n- propose them to model the character or an object of the story.\n- discussion of the content through specific questions:\n- Who are the characters?\n- What are their actions?\n- Which of the characters do you sympathize with the most? What do you think this story is telling us?\n- activities for developing storytelling skills:\n- narration (by illustration, with a character) of a certain moment\n- an interview with a character from the story\n- other activities:\nAt the end of the session, depending on its content, use common expressions and phrases such as \u201cToday you were captivating storytellers\u201d, \u201cYou were wonderful and very artistic!\u201d is both a way to completely close the storytelling related session, and to motivate the pupils for other activities of this type.", "id": "<urn:uuid:5b3ff1d9-0ba3-4cc9-b826-43e4c21fd5e7>", "dump": "CC-MAIN-2023-14", "url": "https://seedsoftellers.eu/resources/after-and-beyond-sessions/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948620.60/warc/CC-MAIN-20230327092225-20230327122225-00514.warc.gz", "language": "en", "language_score": 0.9413605332374573, "token_count": 722, "score": 3.546875, "int_score": 4}
{"text": "Data storytelling, which stands for the process of interpreting the results of the data analysis, is one of the most powerful techniques used for data-driven decision-making. According to Gartner, by 2025, data stories will become the sources of the most valuable insights for any industry. The field of education, which is on the way to becoming data-driven, isn\u2019t an exception.\nMaking data-supported decisions is the best way to achieve the ultimate efficiency of learning and teaching, improving the learners\u2019 experience, increasing the satisfaction of both students and teachers, and even cutting the operational costs of an educational institution.\nLet\u2019s find out how data-driven decision-making in schools changes the way we teach and learn.\nWhat Is Data-Driven Teaching?\nData-driven teaching refers to the process of using data collected from multiple sources to improve the process of knowledge delivery, students\u2019 performance, and the approaches to education as such, innovating the way of knowledge transfer and making it more tailored to the needs of modern learners.\nData-driven decision-making in education, in turn, means using the insights extracted from the data to develop better teaching and learning tactics and approaches.\nBut to have the best picture, the educational institutions have to use data arrays gathered from multiple sources to take a look at the same problem from different angles.\nThe types of data to use in data-driven decision-making are listed below.\nTypes of Data to Use for Decision-Making in Education\n- Academic achievement data. This data gathers the statistics on students\u2019 performance for a certain period of time, depending on the discipline.\n- Non-academic data. This data refers to the information about students\u2019 attendance and their socio-economic status.\n- Program and system data. This data array unites all the kinds of standards and regulations on data transfer quality and the best practices to do so.\n- Perception data. This is the data gathered from the learners directly, and this feature makes it pretty valuable. By analyzing the surveys and opinion polls, the teachers and administrators can unlock the feedback and better tailor their teaching strategies to the students\u2019 expectations.\nThe Benefits of Data-Driven Decision Making in Education\nLet\u2019s talk about the benefits of data-driven decision-making in education which allow the educational institutions to reach a new level of quality of education delivered, student performance, and experience of both teachers and learners.\n- Personalization. While the ultimate personalization is still impossible, analyzing the data and making data-driven decisions allows for better personalization, at least within a group of students. For example, the teachers can decide to focus on a specific type of information delivery. This can be educational videos if the perception data suggests that a given group of students perceive knowledge better in the video format.\n- Performance. A personalized learning process is more encouraging and interesting for students. Their deeper engagement results in improved performance, improving attendance as well.\n- Satisfaction. A good level of personalization leads to improved students\u2019 performance. This contributes to the bigger satisfaction of students for their success and of teachers for their work. The issue of teachers\u2019 satisfaction was researched in 2015, and according to this study, student performance is one of the most important factors for it, along with the school environment where the \u201cteachers\u2019 satisfaction is both an aspect and a consequence\u201d.\nHow \u0421an Teachers and Administrators Use Data-Driven Decisions in Education?\nBelow are some ways to make data-driven decisions in education, building a holistic strategy for education delivery improvement.\n- Analyze Previously Taken Decisions\nThis is the step making data-driven decisions in education should start with. Analyzing the actual efficiency of a certain decision can become a good foundation for further strategies development supported by the data.\n- Find the Patterns and Anomalies\nArtificial intelligence models can help spot patterns and anomalies in student performance that otherwise might have gone unnoticed by the human eye, and bring them to the attention of decision-makers.\nFor example, an educational institution can gather data on student attendance and align it with students\u2019 socio-economic status (for instance, the need to combine the full-time job and studies). With this reason in mind, the institution can develop an evening education program or create remote learning opportunities for this group of students.\n- Create Data-Inspired Lessons\nThis is the point where data-driven decision-making in education meets personalization. Being inspired by the insights gathered from perception data, the teachers can create more engaging, effective, and personalized lesson plans. They make them more tailored to how students perceive new information and deliver them the knowledge they expect to be the most useful in their future careers.\n- Visualize the Data\nData-driven decision-making in higher education works better when the insights extracted from the data are shared with stakeholders, administrators, and other teachers.\nVisualizing the data patterns is one of the best ways to represent them and show a clear picture. AnalyticVue\u2019s customizable dashboards make it easy to display data and filter it for enhanced data analysis, reporting, and ultimately, decision making.\n- Plan for the Future\nEducational data mining and predictive analytics also open up an opportunity to make forecasts based on existing data patterns and trends. This allows educators to adjust teaching strategies accordingly or craft an individual approach to help prevent a particular student from dropping out.\nTools for Data-Driven Decision Making in K12 Education\nThere are a lot of data visualization tools to support data-driven decision-making, however, K12 data has its own specifics, such as the need to integrate and align the data sources, privacy concerns and more. Besides, it is important that non-technical users be able to use this solution too, without a steep learning curve. AnalyticVue conveniently accommodates these challenges as this is a solution built specifically for K12 data integration and analytics. Implementing AnalyticVue can definitely help integrate data-driven teaching into the educational process and leverage its benefits.", "id": "<urn:uuid:13d0ac5a-3b51-4a14-a0c4-cbd26aeaff64>", "dump": "CC-MAIN-2023-14", "url": "https://analyticvue.com/data-driven-teaching/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945168.36/warc/CC-MAIN-20230323132026-20230323162026-00713.warc.gz", "language": "en", "language_score": 0.9175683856010437, "token_count": 1249, "score": 3.53125, "int_score": 4}
{"text": "As the world becomes increasingly complex and competitive, young people today face immense pressure to succeed, achieve and excel in every aspect of their lives. They are bombarded with messages that emphasize individualism, self-promotion, and self-gratification. In this context, it is not surprising that many young people struggle with self-centeredness and a lack of empathy toward others. However, nurturing empathy can be a powerful way to help young people shift their focus from themselves to others and become more caring and compassionate individuals.\nIn this article, we will explore what empathy is, why it is important, and how parents, educators, and caregivers can help young people develop this crucial skill. We will provide practical strategies and activities that can be used to promote empathy and teach young people how to connect with others and understand their perspectives.\nTable of contents\nWhat is Empathy?\nEmpathy is the ability to understand and share the feelings of others. It involves being able to put oneself in someone else\u2019s shoes, imagine how they are feeling, and respond with care and concern. Empathy is not the same as sympathy, which involves feeling sorry for someone or expressing pity. Instead, empathy involves a deeper level of connection and understanding, where one seeks to truly understand the other person\u2019s perspective and emotions.\nWhy is Empathy Important?\nEmpathy is a crucial skill for building positive relationships and creating a sense of community. It helps individuals connect with others on a deeper level, and promotes understanding and acceptance of diverse perspectives and experiences. Empathy can also help individuals become more compassionate and kind, and reduce conflict and aggression. In addition, research has shown that empathy is linked to greater success in both personal and professional settings. Empathetic individuals are better able to navigate social situations, communicate effectively, and build supportive networks.\nChallenges to Developing Empathy in Young People\nDespite the importance of empathy, many young people need help with developing this skill. There are several reasons for this, including:\n- Cultural messages that emphasize individualism and competition over collaboration and community\n- Social media and technology that promote self-promotion and self-gratification over genuine connection and understanding\n- Lack of opportunities for meaningful interaction with diverse individuals and communities\n- Prejudice and bias that can limit one\u2019s ability to see and understand different perspectives\nStrategies to Nurture Empathy in Young People\nThere are several strategies that parents, educators, and caregivers can use to help young people develop empathy:\n- Model Empathy and Compassion: Adults can model empathetic behaviors and attitudes by showing care and concern for others, listening actively, and responding with kindness and understanding. They can also share stories and experiences that demonstrate the importance of empathy and how it has helped them in their own lives.\n- Teach Listening and Communication Skills: Young people need to develop strong communication and listening skills to be able to connect with others and understand their perspectives. Parents and educators can teach these skills by providing opportunities for active listening, reflection, and open dialogue. This can involve asking open-ended questions, repeating back what the other person has said, and practicing non-judgmental listening.\n- Encourage Perspective Taking: To develop empathy, young people need to be able to see the world from someone else\u2019s perspective. This involves actively imagining what someone else is feeling and why they might feel that way. Parents and educators can encourage perspective-taking by asking young people to consider how they would feel in someone else\u2019s shoes, and by providing opportunities to engage with diverse individuals and communities.\n- Foster Kindness and Altruism: Kindness and altruism are key components of empathy. Parents and educators can encourage young people to be kind and generous to others by providing opportunities for volunteering, community service, and acts of kindness. These actions can help young people develop a sense of empathy and compassion towards others, and can also foster a sense of connection and purpose.\n- Promote Cultural Competence and Diversity Awareness: To develop empathy, young people need to be able to appreciate and understand diverse perspectives and experiences. Parents and educators can promote cultural competence and diversity awareness by providing opportunities for young people to engage with diverse individuals and communities, and by teaching them about different cultures, languages, and traditions.\nActivities to Promote Empathy in Young People\nThere are several activities that parents, educators, and caregivers can use to promote empathy in young people. These include:\n- Role-playing and Storytelling: Role-playing and storytelling can help young people develop empathy by allowing them to imagine what it might be like to be in someone else\u2019s shoes. This can involve acting out different scenarios, or sharing stories and experiences that highlight the importance of empathy and compassion.\n- Service Learning and Community Service: Service learning and community service can help young people develop empathy by providing opportunities to engage with diverse individuals and communities, and by demonstrating the impact that their actions can have on others.\n- Mindfulness and Self-Reflection: Mindfulness and self-reflection can help young people develop empathy by allowing them to be present in the moment, and to reflect on their own thoughts and feelings. This can involve meditation, journaling, or other forms of introspection that encourage self-awareness and empathy towards oneself and others.\n- Reading and Discussion Groups: Reading and discussion groups can help young people develop empathy by exposing them to different perspectives and experiences, and by providing opportunities for meaningful dialogue and reflection.\n- Creative Expression and Artistic Activities: Creative expression and artistic activities can help young people develop empathy by allowing them to express themselves in different ways, and explore different perspectives and emotions. This can involve activities such as painting, writing, or music, that encourage self-expression and empathy towards oneself and others.\nConclusion: Nurturing Empathy for a Better Future\nEmpathy is a crucial skill for building positive relationships and creating a sense of community. However, in today\u2019s world, young people face many challenges that can limit their ability to develop empathy toward others. Parents, educators, and caregivers can help young people develop empathy by modeling empathetic behaviors and attitudes, teaching listening and communication skills, encouraging perspective-taking, fostering kindness and altruism, and promoting cultural competence and diversity awareness. Activities such as role-playing, service learning, mindfulness, reading and discussion groups, and creative expression can also be used to promote empathy and teach young people how to connect with others and understand their perspectives. By nurturing empathy, we can help create a better future for all.", "id": "<urn:uuid:7d1e473d-8af9-45a2-8b6d-1a170e597755>", "dump": "CC-MAIN-2023-14", "url": "https://www.bishleshon.com/english/nurturing-empathy-a-powerful-way-to-help-young-people-be-less-self-focused/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948871.42/warc/CC-MAIN-20230328201715-20230328231715-00714.warc.gz", "language": "en", "language_score": 0.9382408857345581, "token_count": 1345, "score": 4.15625, "int_score": 4}
{"text": "Improper use of \"who\" and \"whom\" is among the most common grammar mistakes that people make. Even famous rock stars get it wrong. Sorry, Mick Jagger, but it's not \"Who do you love?\" -- it's \"Whom do you love?\" Whether you are a teacher or just a grammar enthusiast, you can use a few simple tricks to help others understand how to properly use these commonly misused words.\nExplain the differences between an object and a subject. Understanding these critical parts of sentences is critical to understanding proper usage of who and whom. \"Who\" refers to the subject of a sentence, or the person performing the action. If you are asking \"Who ate the cookies?\" you are asking for the identity of the person responsible for committing the action. \"Whom\" refers to the object of a sentence, or the person subject to the action. If you ask \"To whom did you give the cookies?\" you are asking for the identity of the action's recipient.\nUse a substitution test. Concepts like subject and object can be hard for some to understand. It can be easier to explain how to use a substitution test to learn which word is correct. One common substitution test recommended is to use \"he\" or \"him\" in the sentence. For example, for the sentence \"Who is the best baseball player of all time?\" you can use the substitution test by asking if it's correct to say \"He is the best baseball player of all time\" or \"Him is the best baseball player of all time.\" If the answer is \"he\" -- which in this case it is -- you should use \"who.\" If the answer is \"him,\" you should use \"whom.\"\nReorganize the sentence to make the relationship more clear. Multiple clauses and subclauses can make the subject and object of a sentence confusing. Writer's Digest provides the example of the sentence \"It was Carl who broke all the pencils in the house.\" You can make the information in the sentence more clear by breaking it into two clauses: It was Carl. He broke all the pencils in the house. Therefore, you can clearly see that Carl is the object, so \"who\" is the appropriate usage.\n- Saying a sentence out loud can sometimes help make its meaning more clear. Say the sentence to a friend and ask for feedback if you still aren't sure of the appropriate use.\n- Invest in a reputable grammar guidebook such as Strunk and White's \"The Elements of Style.\" You can refer to it to refresh your knowledge of the rules for appropriate usage.\nMaria Magher has been working as a professional writer since 2001. She has worked as an ESL teacher, a freshman composition teacher and an education reporter, writing for regional newspapers and online publications. She has written about parenting for Pampers and other websites. She has a Master's degree in English and creative writing.", "id": "<urn:uuid:0660bcba-a407-49f5-bc19-e4de7e8f3adc>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/explain-vs-whom-9878.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00258.warc.gz", "language": "en", "language_score": 0.9650830030441284, "token_count": 597, "score": 3.953125, "int_score": 4}
{"text": "An international team of astronomers has used Hubble to peer into the atmosphere of Jupiter\u2019s biggest moon, Ganymede \u2013 and find evidence for water vapour there.\nGanymede is the biggest of our Solar System\u2019s moons, with a diameter of 5,200km \u2013 1.5 times bigger than our own satellite. It\u2019s a cold world, made up of equal amounts of rock and water, with an ocean below the surface that may contain more water than all of Earth\u2019s oceans combined.\nBut it\u2019s also the largest body in the Solar System without any kind of substantial atmosphere. When the Voyager 1 spacecraft soared by in 1979, it didn\u2019t detect any atmosphere, although a couple of decades later the Hubble Space Telescope managed to spot a very thin and tenuous one comprised primarily of oxygen molecules (O2).\nThese molecules are thought to be created when charged particles and solar radiation hit the icy surface of Ganymede. This splits up the water molecules into various groups of molecules and atoms, including atomic hydrogen (H) and molecular oxygen. The lighter hydrogen is quickly lost, while the moon\u2019s gravity holds onto the heavier oxygen molecules.\nAstronomers have long suspected that there must be some water in Ganymede\u2019s atmosphere, too, created from the same process on the surface. In particular, the icy surface \u201csublimates\u201d, with ice turned directly into water vapour (H2O) and skipping the liquid stage.\nModelling has suggested that H2O should dominate the atmosphere at Ganymede\u2019s subsolar point \u2013 that is, the warmest part of the atmosphere where the Sun\u2019s radiation directly hits \u2013 while molecular oxygen dominates the rest.\nNow, this new research has turned Hubble\u2019s eyes back to the Jovian moon to settle this. The team, led by Lorenz Roth from the KTH Royal Institute of Technology in Sweden, used Hubble\u2019s Cosmic Origins Spectrograph to study the chemical composition of Ganymede\u2019s atmosphere.\nTheir findings were consistent with the modelling: spectral signatures indicated that H2O was more abundant around the subsolar point, but O2 was more abundant elsewhere.\nThe result is published in Nature Astronomy.\nThe team notes that finding water in Ganymede\u2019s atmosphere will inform future space missions, including the European Space Agency\u2019s Jupiter Icy Moons Explorer (JUICE). Expected to reach the gas giant in 2031, JUICE will make several fly-bys of the moons before settling into orbit around Ganymede in 2034 for at least 280 days.\n\u201cSeveral science instruments are equipped to measure Ganymede\u2019s neutral gas environment and particularly the H2O abundance by remote sensing of UV, optical, infrared and submillimetre emissions, as well as in situ sensing with the neutral particle detector,\u201d the authors explain in their paper.\n\u201cOur results place observational constraints on the contribution of sublimation to the atmosphere, and provide the JUICE instrument teams with valuable information that may be used to refine their observation plans.\u201d\n- Jupiter\u2019s moon Europa may glow in the dark\n- Mystery solved: Jupiter\u2019s X-ray aurora explained\n- Hydrothermal vents on Saturn\u2019s moon Enceladus may harbour life\nOriginally published by Cosmos as Water in Ganymede\u2019s atmosphere\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:8938ff2e-0bcb-4738-ad8c-56b5ed602533>", "dump": "CC-MAIN-2023-14", "url": "https://cosmosmagazine.com/space/water-in-ganymedes-atmosphere/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00314.warc.gz", "language": "en", "language_score": 0.9043405652046204, "token_count": 877, "score": 4.15625, "int_score": 4}
{"text": "Inclusion of a social media simulation tool has enhanced the learning and engagement of students\u2026\nProfessional development: Teachers can use social media simulators to learn about the latest trends, technologies, and best practices in education, as well as to stay up-to-date with the latest developments in their field.\nRole-playing: Students can use a social media simulator to act out different scenarios, such as how to respond to negative comments or how to handle online harassment.\nDigital literacy: Students can learn about online safety, privacy, and digital citizenship through a social media simulator.\nMedia analysis: Students can use a social media simulator to analyze and evaluate the impact of different types of content on social media.\nMarketing and advertising: Students can learn about marketing and advertising strategies by creating and managing simulated social media accounts for fictional businesses.\nCollaboration: Students can use social media simulators to collaborate on group projects and assignments, such as creating a social media campaign for a fictional product.\nLanguage learning: Students can use social media simulators as a tool to practice and improve their language skills.\nResearch: Students can use social media simulators to conduct research on topics such as online behavior, communication patterns, or the spread of misinformation.\nNews and current events: Students can use social media simulators to follow and analyze the news and current events, and to discuss the impact of social media on society.\nCreative writing: Students can use social media simulators as a tool for creative writing, such as creating a fictional social media account for a character in a story or creating a social media campaign for a fictional event.\nCareer preparation: Students can use social media simulators to learn about different career opportunities, such as social media management or digital marketing, by simulating the day-to-day tasks and responsibilities of those roles.\nEthical considerations: Students can use social media simulators to explore ethical considerations related to social media, such as data privacy, consent, and the spread of misinformation.\nHands on learning: Social media simulators can allow students to engage in hands-on learning experiences, by allowing them to experiment with different strategies and techniques without fear of failure or real-world consequences.\nPublic speaking: Students can use social media simulators to practice public speaking skills by creating videos, live streaming, and hosting virtual events.\nCritical thinking: Students can use social media simulators to develop critical thinking skills by analyzing and evaluating the credibility and reliability of information found on social media.\nEntrepreneurship: Students can use social media simulators to learn about entrepreneurship by creating and managing simulated social media accounts for fictional business.\nDigital art: Students can use social media simulators as a tool for digital art, such as creating digital illustrations, animations, and other forms of media that can be shared on social media.\nCommunity Building: Social media simulators can be used to create virtual communities, where students can connect and collaborate with peers from around the world, fostering a sense of belonging and belongingness among students.\nCultural understanding: Social media simulators can be used as a tool to expose students to different cultures, by connecting them with people from around the world and allowing them to explore different perspectives and ways of communicating.\nSocial media simulators are versatile tools that can be used in many different ways to enhance students\u2019 learning experiences, they allows students to experiment, test, and practice different strategies, and in a safe environment, while providing an authentic and engaging way of learning.", "id": "<urn:uuid:0924f8e8-b3f7-4524-85f1-3154800807cc>", "dump": "CC-MAIN-2023-14", "url": "https://zeoob.com/use-of-social-media-simulators-in-teaching/amp/?utm_sourcezeoob&utm_mediumampnav", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948632.20/warc/CC-MAIN-20230327123514-20230327153514-00714.warc.gz", "language": "en", "language_score": 0.9119069576263428, "token_count": 712, "score": 4.03125, "int_score": 4}
{"text": "\u201cReading is to the mind what exercise is to the body.\u201d Joseph Addison\nThere are multiple ways to engage with literature \u2013 with our mind, our emotions, and our senses \u2013 and there are multiple tools that facilitate a deeper understanding of what we read. Employing literary theories and critical reading will initiate that process.\nConsider this: how we respond to, and engage with, literature is a model for how we respond to life. The tools of literature are tools that we can apply to our lives outside of school. Connecting, considering and drawing conclusions about what we see, hear, and experience is how we gain knowledge about literature, people, and life in general.\nAs the quote above suggests, engaging fully in the moment (whether you are reading, speaking with a friend, evaluating an offer of employment, or performing work for your employer) allows you to connect with the object of your attention. This opens up our experience to what is seen and unseen, known and unknown, which will form the basis of our conclusions.\nWhen we lose ourselves in a book, engage in conversation, focus on a puzzle or problem, or allow ourselves to connect, our whole being provides information for us to consider. Our intellect observes many things while we read: how a novel is organized, the word choices and grammatical structures of the author, our emotional and physical reactions, thoughts, and memories. (This is why reading is so important for writers! We learn to become better writers by reading a lot of different authors and genres.) When we speak with others, we listen to the tone of their voice, watch their eyes, notice their bodily movements, gauge their reaction to what we say, and determine if we agree or disagree with their words Considering how something makes you feel emotionally and physically can guide you in knowing if something is creditable or worthwhile. A lot of this happens just below our conscious awareness, but we do it all the time. What is being asked of us with regards to literature (and writing) is to bring that same diligence to our reading. To do that, we must be conscious of what we\u2019re taking in and how we are processing it.\nOnce you have all the information, gathered through being present, engaged and observant, you can analyze the bits of data individually and as a whole to discover meaning. Identifying patterns in the whole will provide a deeper understanding, based on our beliefs and unique perspectives. Utilizing literary theories may seem strange, but in reality we have applied some of the principles in our own lives many times before. Analyzing the works of others as well as our own writing with one or more literary theories can provide some idea of how our readers process our writing as well as allowing us to think more critically about our own writing. Following are two examples. For an overview of additional theories check out the Internet Encyclopedia of Philosophy.\n- New Criticism \u2013 This theory says that the meaning of a work is found in the text itself. Analyzing the literary elements (figurative language, plot, characters) used by an author, individually and as a whole, will inform the reader of the author\u2019s meaning. Applying this level of analysis enables writers to see other perspectives rather than our understanding.\n- Biographical/Historical \u2013 When we talk to people, everything they say is compared to what we know about them. We contextualize their words to give them meaning beyond the statements themselves. The time and place a person grew up, the size of their family, their life experiences, their hopes and dreams all provide a deeper or different meaning to things people say. With this theory, we can identify the background influences on an author\u2019s writing and this can add dimensions to the story previously unrecognized.\nWhenever we pick up a book, we look at the cover and the title, read the flap or back cover, peruse the table of contents, and if still interested, read the first few lines of the book. It\u2019s like buying a car (kick the tires, look at the engine, sit in it, take a test drive) or deciding if you want to try a recipe (read the ingredients, see how long it takes to prepare and cook the item). What do these disparate things have in common? We are thinking critically about what we are doing. This is a skill we use not just in writing; we use it for most everything we do in life. Examining options using critical thinking skills helps us determine meaning and decide what is best in our lives and in our writing.\nEngaging with literature is not that different from how we live our lives. Being present and focused no matter what we are doing will add dimensions to our experience and help us to make better decisions and connect more deeply with readers who consume our writing. How do you analyze your own writing and that of other authors?", "id": "<urn:uuid:359699ab-41c6-4000-991b-59fa8b5f7a43>", "dump": "CC-MAIN-2023-14", "url": "https://editorangela.com/2023/02/07/engaging-with-literature/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00314.warc.gz", "language": "en", "language_score": 0.9579641819000244, "token_count": 999, "score": 3.734375, "int_score": 4}
{"text": "What is an Expository Essay?\nWhen it comes to essay writing, the aim of the essay determines the structure. Some essays are meant for storytelling, but others provide information. An expository essay is one of those essays aimed at sharing information.\nOn average, essays are relatively easy to write. However, expository essays require understanding of how to handle research and present findings. Keep reading to learn how to write an expository essay.\nWhat is an expository essay with examples?\nAn expository essay is a type of academic essay that investigates a particular topic. The essay describes, explains, and provides important data about the topic. This method of writing is common in various fields other than academia. Expository essay examples include; journals, newspaper articles, magazine articles, instruction manuals, textbooks, encyclopedia articles, and other forms of writing like academic essays.\nIt is similar to writing a case investigation report. You must provide plenty of facts, details, examples, and explanations in an organized and logical manner. You can do this by including the following;\n- Descriptive details\n- Charts and graphs\nWhat is the main purpose of an expository essay?\nSo, what is the purpose of an expository essay? Expository writing seeks to present factual information objectively. Ideally, you assume the reader has no prior knowledge of the topic and then proceed to inform them in detail.\nWhat does an expository essay mean?\nExpository comes from the word expose, which means to illuminate. As such, expository writing focuses on sharing information. You should revise your essay to make this the priority all through.\nWhat are The Different Types of Expository Essays?\nBelow are the various types of expository writing;\nProblem And Solution\nIn this essay, you first identify the problem, then provide details about it to explain it and suggest potential solutions. Ensure you justify the solution with facts. You should also propose ways to implement those solutions.\nCause And Effect\nThis expository essay type conveys why something happened and its potential effects. The outcomes suggested can be true or hypothetical, but they must be based on facts.\nCompare And Contrast\nIn this type of expository writing, the essay compares the similarities and contrasts the differences between the two subjects. Ensure the subjects belong to the same category\u2014for example, a comparative study between infrared and steam saunas.\nDefinition And Classification\n- Definition:- The essay provides a complete description of a subject, elaborating on the meaning, types, and examples.\n- Classification: This essay categorizes objects, ideas, or organisms.\nThis type of writing is instructive and teaches the reader how to do something or perform a task. The format offers step-by-step instructions. Examples include cookbooks and user manuals.\nWhat are four examples of expository?\nBelow are examples of expository essays from the different types of expository essays;\n- Problem and solution essay \u2013 Write about a contagious disease such as TB or Corona and how to prevent the spread of the disease.\n- Cause and effect essay \u2013 You can write about the Causes of climate change and the anticipated long-term effects.\n- Compare and contrast essay \u2013 Select two subjects in a similar niche in the same category and compare and contrast their features. Such as two types of grapes or apples.\n- Classification essay \u2013 This entails categorizing types of items and delving into deeper details regarding each subcategory. Such as different types of fabrics and their features.\n- Process essay \u2013 This can be a tutorial on how to do a particular thing, such as make croissants or replace a damaged electronic component.\nWhat are the five elements of an expository essay?\nAn expository essay is generally made up of five key elements.\nBelow are the key elements of an expository essay;\nThe structure of an expository essay typically comprises five paragraphs:\n- 1st body paragraph\n- 2nd body paragraph\n- 3rd body paragraph\nHowever, the structure can vary in academic writing based on the teacher\u2019s or professor\u2019s preferences.\nTopic Sentence, Thesis Statement, and Subtopics\nA thesis statement summarizes the key points of the essay. Let your chosen expository essay topic guide you into writing your thesis statement.\nHow to write a thesis statement for an expository essay\nWhen writing your thesis statement, clearly state the central point you want to make. And mention the key elements you\u2019ll explain. Shorten the thesis statement by stating your point in one or two sentences.\nIdeally, the statement should be a claim that requires verification through further research. Avoid statements that are already known facts, as this will invalidate your essay.\nThis is a seamless way of hopping from one section to the other. You will need several transitions in your expository essay. You will need one after the thesis statement; before starting your first paragraph. And before starting the second paragraph immediately after stating facts relating to your subtopic.\nAnother transition sentence is required after the second and third subtopics, respectively. Lastly, you will need a final transition sentence before getting to the conclusion.\nEvidence and Examples\nThis is essentially the whole point of the essay. The evidence and examples form the basis for the arguments supporting your topic and thesis statement.\nWrap up the content of your essay in this section.\nHow to write a conclusion for an expository essay\nThe conclusion of an expository essay should recap the main information in the essay. You should also restate the thesis statement to remind the reader about the essay\u2019s purpose.\nHow to start an expository essay\nThe hook is the most important part of your introduction. This is what gets the reader hooked. Define a key term to get readers to see a controversial issue in a new way. You can even ask a question that will pique the reader\u2019s interest.\nPro tip: If you have difficulty writing the introduction, do it last. You will better understand what you can say to get the reader interested in the topic.\nAre you feeling overwhelmed and need help with your expository essay? Then, contact us, and we will assist you in no time.\nTop-quality papers guaranteed\n100% original papers\nWe sell only unique pieces of writing completed according to your demands.\nWe use security encryption to keep your personal data protected.\nWe can give your money back if something goes wrong with your order.\nEnjoy the free features we offer to everyone\nGet a free title page formatted according to the specifics of your particular style.\nRequest us to use APA, MLA, Harvard, Chicago, or any other style for your essay.\nDon\u2019t pay extra for a list of references that perfectly fits your academic needs.\n24/7 support assistance\nAsk us a question anytime you need to\u2014we don\u2019t charge extra for supporting you!\nCalculate how much your essay costs\nWhat we are popular for\n- English 101\n- Business Studies", "id": "<urn:uuid:6a53cb92-c51f-4677-bd5d-a530198372fa>", "dump": "CC-MAIN-2023-14", "url": "https://essayaxe.com/blog/what-is-an-expository-essay/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945144.17/warc/CC-MAIN-20230323100829-20230323130829-00513.warc.gz", "language": "en", "language_score": 0.8843290209770203, "token_count": 1538, "score": 3.609375, "int_score": 4}
{"text": "The Woodcock-Johnson Test is used to evaluate individuals for academic and intellectual ability. It's often administered to evaluate children either for learning disabilities or eligibility for special education classes, including gifted education. The Woodcock-Johnson Test measures cognitive ability, scholastic aptitude, intellectual ability and oral language. Learning how to interpret the results of the test can help you better understand your child's abilities or special needs so you can make more informed choices for his education.\nLearn the Abbreviations\nA number of terms are used on the Woodcock-Johnson Test that are abbreviated for easy reference. However, if you don't know these abbreviations, reading the test won't be so easy. Some important abbreviations include RAW for raw score, SS for standard score, AE for age equivalent, GE for grade equivalent and PR for percentile rank. The raw score is the number of points your child earned on a subsection of the test, and the standard score is the average score for all other test takers, allowing you to see how your child compared to others. Age and grade equivalent provide the average age and grade of other test takers who scored the same as your child.\nReview the Table of Scores\nThe table of scores is often included near the back of the report, and it includes all of the scores your child received on each of the subsections, as well as the standard scores for those subsections. Review this table to get an understanding of how your child performed, then compare the performance to other test takers. Take note of the age and grade equivalent columns, as well. Reviewing this table is a good way to quickly identify strengths and weaknesses on the test for further discussion with your child's counselor or academic adviser.\nAnalyze the Written Report\nA written report provides a summation of scores and overall performance on the test. This section provides more detailed information for parents, including the types of answers your child gave to receive the score. Analyzing this section for over- or under-performance can help you recognize your child's strengths and weaknesses in order to create an effective educational plan.\nWork with an Adviser\nProfessionals are trained to evaluate the results of the Woodcock-Johnson Test and make recommendations for your child's educational program. The test can be quite complicated, and even if you understand how to read the report, a lot can be lost in translation. For example, you may know how your child performed on written and oral language, but you may not know how to compare written skills to oral skills to understand if there is a deficiency in language skills. These are the kinds of evaluations that professionals can make. It's worth making an appointment with an adviser or counselor to walk you through the report and answer all your questions about the scores and what they reveal about your child's needs.\nMaria Magher has been working as a professional writer since 2001. She has worked as an ESL teacher, a freshman composition teacher and an education reporter, writing for regional newspapers and online publications. She has written about parenting for Pampers and other websites. She has a Master's degree in English and creative writing.", "id": "<urn:uuid:d1bc85d1-97f2-49b8-a786-e3625ac1cd0d>", "dump": "CC-MAIN-2021-17", "url": "https://www.theclassroom.com/read-results-woodcockjohnson-test-19613.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039560245.87/warc/CC-MAIN-20210422013104-20210422043104-00578.warc.gz", "language": "en", "language_score": 0.9577913284301758, "token_count": 634, "score": 3.9375, "int_score": 4}
{"text": "\u201cWelcome to the New World Curriculum and Learning Guide\u201d teaches crucial and timely issues through the story of the Aldabaans, a real family of Syrian refugees who arrived in America on Election Day 2016. Journalist Jake Halpern shadowed them for four years and partnered with illustrator Michael Sloan to turn the family\u2019s experiences first into a Pulitzer-winning comic in The New York Times, then into the full length graphic novel Welcome to the New World.\nIn partnership with Halpern, The Immigrant Learning Center has created a curriculum based on his graphic novel. The series of nine lessons, written for grades seven to 11, teach students about refugees, the migrant experience, the Syrian Civil War, and other topical issues. It also helps students learn how to interpret and analyze a graphic text. The lessons can be used collectively as a curriculum or as individual lesson plans. They can also be adapted for other grades. Worksheets, graphic organizers, resources and rubrics are included. Watch our webinar, \u201cTeaching the Refugee Experience: Welcome to the New World,\u201d featuring author Jake Halpern and other experts, to learn more about the graphic novel, the Aldabaan family and teaching the curriculum to diverse classrooms.\nFor more tools to teach immigration, explore our Teaching Immigration Lesson Plans and Resources page. For more guidance on immigrant stories and storytelling, check out our Immigrant and Immigration Stories resource page.\n- Why do people leave their homes?\n- What factors affect their decisions?\n- What supports and challenges do people encounter when immigrating to the United States?\n- How do people respond to newcomers?\n- What is the refugee crisis?\n- What is our responsibility toward refugees?\n- How does a graphic narrative effectively tell a story?\nSocial Studies, English Language Arts, World History or Current Events classes\nRefugees, Syrian Civil War, migration, assimilation/acculturation, graphic novels\nNine lessons, to be used serially or individually\nCommon Core Standards:\nThis curriculum fulfills these Common Core standards:\nOur webinar, \u201cTeaching the Refugee Experience: Welcome to the New World,\u201d covers implementing \u201cWelcome to the New World Curriculum and Learning Guide\u201d in the classroom, teaching about refugees and teaching refugee students. Watch a former refugee student outline his perspective on how teachers should work with refugee students above or watch the full webinar here.\nPraise for Welcome to the New World\nThe New York Times says, \u201cSloan and Halpern deliver a story that fully inhabits its comics form, and breathes with an easy visual elegance.\u201d\nNaomi Shihab Nye, Young People\u2019s Poet Laureate and author of Habibi, says \u201cWelcome to the New World is a project of the greatest humanity and care\u2026. Americans need this book to help them understand the sorrow that makes people leave their homeland, the hardships they face, and the resilient dreams they never stop carrying.\u201d\nKirkus Reviews calls the graphic novel \u201cAn accessible, informative journey through complex issues during turbulent times.\u201d\nWelcome to the New World has a rating of 4.3 out of 5 on Goodreads. One reviewer says, \u201cThis story really sang to me because I too am an immigrant to the USA.\u201d", "id": "<urn:uuid:23a7fdaf-723e-48bf-bdfc-120187d79de2>", "dump": "CC-MAIN-2023-14", "url": "https://www.ilctr.org/welcome-to-the-new-world-curriculum-and-learning-guide/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00515.warc.gz", "language": "en", "language_score": 0.9273743033409119, "token_count": 728, "score": 3.546875, "int_score": 4}
{"text": "Domestic Workers and the Civil Rights Movement\nIn July 1971, over six hundred domestic workers from thirty different cities gathered together in Washington D.C. at the first national convention of domestic workers. This meeting brought some of the most prominent leaders in the domestic worker\u2019s rights movement together, including Dorothy Bolden, Geraldine Roberts, Josephine Hulett, Louise Bradley, and Edith Sloan. These women all led distinct groups aimed at organizing domestic labor(ers). With the momentum that the convention galvanized, they consolidated their individual organizations into a collective known as the Household Technicians of America (HTA). This group and the workers it represented would go on to challenge the lack of institutional labor regulations and protections for household workers. Its legal success, however, was largely due to the historical precedent of labor activism established as early as the interwar period. It was this historical precedent that set the stage for the American domestic worker movement of the 1950s-1970s, in which domestic workers and advocates asserted their rights to formal recognition within the labor market and respectable working conditions. The movement\u2019s success depended on their strategic use of mobilization techniques such as collective organizing, storytelling, and a politics of refusal.\nDuring Reconstruction, domestic work became key to the (re)development of the Southern plantocracy landscape. Similar to agricultural labor, formerly enslaved people, specifically Black women, were overrepresented in the domestic labor field. This overrepresentation was, in large part, attributed to the racialized and gendered trope of the Black woman as a \u201cmammy.\u201d Although President Roosevelt issued the New Deal of 1933 with the promise of expanding labor opportunities and protections for American workers as the nation industrialized, domestic and agricultural labor were systematically excluded from the legislation\u2019s labor protections. This exclusion allowed for disturbing hiring and employment practices, most notably the New York slave markets of the 1930s. While radical labor rights activists, such as Claudia Jones and Esther Cooper, wrote and spoke extensively against these practices, organizing domestic workers through unionization proved difficult at the time.\nLeading up to the Second World War, many domestic workers were skeptical of radical unionization efforts. They were well aware of the Southern hostility to unionized labor forces as well as the oversupply of willing replacements. However, this did not deter them from asserting their autonomy as Black women and laborers. Some formed smaller groups of domestics, such as the 1936 founding of the Domestic and Industrial Womens\u2019 Association of the United States 6. Others employed a politics of refusal where they asserted the indispensability of their labor by quitting jobs on their own terms. By the height of the Civil Rights Movement, domestic workers such as Dorothy Bolden, who quit her position as an act of solidarity with the Movement, increasingly asserted their labor rights. Bolden, an Atlanta native, went on to become the founder of the National Domestic Workers Union of America (NDWUA) in 1968.\nThroughout the Civil Rights Movement, domestic workers became central to the Movement\u2019s success. Many domestic workers, including Bolden, were inspired by Rosa Parks\u2019 refusal to give her seat on a Montgomery bus to a white passenger and her subsequent arrest in 1955. Once the Montgomery Bus Boycott launched in response to Parks\u2019 arrest, domestic workers served as some of the key organizers of this year-long protest. During the boycott, many chose to walk to their employers\u2019 homes instead of riding the bus, which caused them to arrive at work late and, in many instances, fatigued. Many white employers unintentionally helped the boycott because they had to pick up their Black domestic workers who refused to take public transportation. Movement scholars have argued that because over half of the Black women workers in Montgomery during the boycott were employed in white households, the boycott simply would not have succeeded without their support.\nAfter the boycott, domestic workers were still at the forefront of the Civil Rights Movement\u2019s mobilization efforts. Dorothy Bolden first entered the Black freedom struggle by uplifting education discrepancies among Black students. She eventually evolved to fighting for fairer treatment of domestic workers. During World War II, Bolden migrated North and worked in Chicago factories. These labor experiences shaped Bolden\u2019s commitment to domestic workers rights activism because she witnessed first hand the power of collective action. At the height of the Movement, Bolden worked alongside organizations such as SNCC to bring economic freedom to the forefront of the Movement\u2019s mission. She believed that legal integration efforts would only be effective if the widespread economic disparities amongst Black communities were also addressed.\nBolden and Louise Bradley co-founded the NDWUA in 1968, with a focus on advocating for underpaid and overworked domestic workers. She began organizing on the city buses, where many household laborers would ride from their neighborhoods to the downtown transfer point and then transfer onto another bus to travel to their employers\u2019 homes in white areas. Bolden rode on the buses alongside Black women traveling to work and distributed flyers with information about upcoming NDWUA meetings. The downtown transfer point became an important meeting site for the \u201cnetwork of maids\u201d to converge and connect while sharing stories from their work experiences. Bolden was at the center of these organization efforts on the city bus lines that would eventually become known as \u201cfreedom buses.\u201d Once the NWDUA gained traction, it became respected as an official organization committed to the revaluation and respect of household labor, with Bolden serving as its leader.\nA year after the NDWUA was established, Edith Sloan was appointed as the head of the National Committee on Household Employment (NCHE) in New York. Sloan did not have firsthand experience as a household worker, as many of the middle-class Black women involved in the NCHE did not. However, due to the historical employment marginalization of Black women, they were aware of what domestic labor entailed because many of them were descendants of household workers. As scholar Premilla Nadasen highlights, many of these women used storytelling as an impactful form of activism and an avenue for continued political mobilization. By sharing the stories of their loved ones and their experience on the job in white households, NCHE activists were able to sustain a movement of concerned middle-class women that were committed to reforming domestic labor.\nBy 1970, 19.5 percent of Black women workers in America worked in private households, as opposed to the 42 percent of employed Black women that worked in households in 1950. This was largely attributed to the expansion of labor and educational opportunities available to Black women after the passage of Civil Rights legislation. However, the labor was still unregulated, meaning workers did not have the same legal right to labor protections as workers employed outside of the home. This led Sloan and the NCHE to mobilize household worker-activists, such as Bolden, towards the goal of ensuring that household work was recognized as legitimate labor deserving of inclusion under federal labor protections. Together Sloan and a team of household-worker activists established the Household Technicians of America (HTA) in 1971, which became the first national household worker organization.\nThe HTA organized to fight for what they referred to as the three p\u2019s: \u201cpay, protection, and professionalism\u201d. At their inaugural first national convention of domestic workers, hundreds of household workers and movement allies gathered together to share their experiences and raise awareness for their mission. Among the participants was congresswoman Shirley Chisholm\u2014a staunch supporter of the domestic worker\u2019s rights movement. Chisholm, like many of the NCHE members, was deeply impacted by her own family history of domestic labor, as the child of a Bajan immigrant who had worked in white households.\nIn 1971, the HTA, NCHE, and a coalition of other organizations lobbied for Congressional legislation that would increase the minimum wage and include household workers under the legislation\u2019s protections. Chisholm was at the forefront of this mobilization. She exemplified the power of storytelling in a speech she delivered before the House of Representatives in 1973, where she explained that \u201cmy own mother was a domestic so I speak from personal experience.\u201d After over two years of household labor organizing and lobbying, Congress eventually passed the proposed amendment to the Fair Labor Standards Act (FLSA) that would raise the minimum wage and extend minimum wage protections to domestic workers.\nAlthough domestic worker activists celebrated this victory, they also recognized that it was limited in its scope. The legislation excluded live-in home health care aid workers\u2014 an industry that was quickly recruiting many former domestic workers. As the struggle for the revaluation of paid and unpaid social reproductive labor continues today, we must remember its roots in the domestic worker\u2019s rights movement. The activists involved in the mobilization effort worked to dispel the mammy trope and fight for domestic work to be respected as legitimate labor. While collective organizing efforts existed as early as the 1930s, the Civil Rights Movement served as a catalyst for the height of domestic worker\u2019s rights mobilizations. The workers and allies of the organizations committed to the rights of household workers utilized the strategies of storytelling, refusal, and collective organizing to sustain a movement that would serve as the foundation for contemporary movements fighting for the rights of marginalized workers.permission.\nComments on \u201cDomestic Workers and the Civil Rights Movement\u201d\nGreat work Grand Daughter! Very informative writing and reading! Keep up the Great Work!\nHaving studied the National Fair Labor Standards Act during my undergraduate studies at Savannah State University, I do recall the discussion on domestic workers not being unionized during this time. This article explains and informs as to why. So amazing the struggle continues along all fronts of our fore parents and ancestors\u2019 lives. Good article, very interesting and inspiring.\nComments are closed.", "id": "<urn:uuid:7de808db-9cab-4232-be25-05c05ba006a5>", "dump": "CC-MAIN-2023-14", "url": "https://www.aaihs.org/domestic-workers-and-the-civil-rights-movement/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00113.warc.gz", "language": "en", "language_score": 0.9776119589805603, "token_count": 2002, "score": 3.71875, "int_score": 4}
{"text": "Research-Backed Benefits of Reading for Young Children\nAs a parent, you know that reading with your child is important to their development.\nBut did you know that there is actually a ton of research to back up the benefits of reading for young children, especially for 2 and 3 year-olds?\nFrom language and cognitive development to social skills and even academic performance, the benefits of reading are numerous and far-reaching\nSo grab a cozy blanket, snuggle up with your little one, and let\u2019s dive in!\nLanguage and cognitive development\nOne of the most well-known benefits of reading for young children is its impact on their language and cognitive development.\nWhen you read with your child, you introduce them to new words and concepts, which helps them expand their vocabulary and improve their language skills. Reading also helps children develop phonemic awareness, which is the ability to recognize and manipulate the sounds in language.\nThis is a crucial skill for reading success, as it helps children to decode words and understand how letters represent sounds.\nBut the benefits of reading don\u2019t stop there.\nResearch has shown that reading with young children can also improve their concentration, memory, and problem-solving skills. Imagine the endless possibilities for your child\u2019s future if they have strong language and cognitive skills!\nSo, what can you do to maximize the language and cognitive benefits of reading to your 3-year-old?\n- encourage a love of reading from an early age\n- choose age-appropriate books\n- and use rich and varied language when reading with your child\nAnd don\u2019t be afraid to have some fun with it \u2013 use silly voices and make up your own endings to stories.\nTrust us, your child will love it (and so will you).\nIn the end, reading with your child is a win-win situation \u2013 they get to learn and have fun at the same time, and you get to bond with your little one and watch them grow and develop.\nWant a step-by-step home-based reading program for effective language, reading and cognitive development?\nSocial and emotional development\nReading with your 3-year-old can do more than just teach them new words \u2013 it can also profoundly impact their social and emotional development. Reading with your child can help them develop important social skills such as:\n- understanding others\u2019 perspectives\n- and communication\nReading can also be a great way to help your child manage their emotions and develop self-regulation. Children\u2019s books often deal with a wide range of emotions and experiences, allowing children to learn about and process their emotions in a safe and supportive environment.\nBut the benefits of reading don\u2019t stop there \u2013 it can also positively impact your child\u2019s mental health and well-being.\nSo how can you make reading time a positive experience for your child\u2019s social and emotional development?\nHere are some tips:\nMake reading time a special bonding experience.\nSnuggle up with your child and a good book and make it a relaxing and enjoyable activity for both of you.\nEncourage conversation and discussion during storytime.\nAsk your child questions about the characters and the plot, and encourage them to express their thoughts and feelings about the book.\nChoose books that reflect and address your child\u2019s emotions and experiences.\nBooks that explore themes like friendship, kindness, and managing emotions can be especially helpful for young children.\nSo the next time you sit down to read with your 3 year-old, remember that it\u2019s not just about teaching them to read. It\u2019s also about helping them grow into well-rounded, empathetic, and emotionally intelligent individuals.\nAnd isn\u2019t that what we all want for our kids?\nEarly literacy skills and academic success\nReading with your child is an essential part of their early development and can have lasting benefits on their academic success.\nResearch has shown that children exposed to reading and storytelling at a young age have stronger early literacy skills, such as phonemic awareness, vocabulary, and comprehension.\nThese skills are crucial for reading success later in life and can significantly impact academic performance.\nEstablishing a daily reading routine with your child can help to build their early literacy skills and set them up for success in school. Choosing age-appropriate books and encouraging a love of reading from an early age can also help to support your child\u2019s reading development.\nBut let\u2019s be honest, reading with a 3 year-old can be challenging.\nThey may not have the attention span for a long story and may not always be in the mood for sitting still. That\u2019s why making reading time special and meaningful for your child is important.\nCreating a cozy and comfortable reading environment, engaging with your child during storytime by asking questions and filling in words in stories they know, and using rich and varied language can all help to make reading time a fun and enjoyable experience for both you and your child.\nSo, parents, if you want your little one to grow up to be a bookworm (or at least do well in school), make reading a daily habit and have fun with it!\nJust remember, it\u2019s not about reading the entire encyclopedia in one sitting (although, if your 3 year-old is up for the challenge, go for it). It\u2019s about creating a love of reading and fostering early literacy skills to serve your child well throughout their academic career.\nAs parents, it\u2019s important to remember that reading with your 3 year-old is about so much more than just learning letters and words.\nReading is a powerful tool for helping young children develop in so many ways, from language and cognitive skills to social and emotional development.\nAnd the research is clear: children who are read to from a young age are more likely to succeed academically and experience a lifetime of benefits.\n- So don\u2019t hesitate to make reading a daily habit with your little one.\n- Choose engaging and age-appropriate books\n- create a cozy and comfortable reading environment\n- and use reading time as an opportunity to bond and learn together\nAnd most importantly, have fun!\nThe more fun you have reading with your child, the more likely they are to develop a love of reading that will last a lifetime.\nAnd if you\u2019re looking for a program that can help your child learn to read and build early literacy skills \u2013 Check out Children Learning Reading \u2013 it\u2019s a research-backed program that has helped thousands of children learn to read and succeed academically.\nNatalie is a full-time blogger and former elementary school teacher who specializes in helping parents teach their kids to read. With a qualification in Early Childhood Education, over 7 years of experience in education, and a passion for literacy, Natalie provides practical tips, activities, and resources for parents looking to support their child\u2019s learning-to-read journey. She is the proud mom of two young readers and loves sharing her knowledge and experience with other parents. Natalie enjoys spending time with her family, reading, and exploring the great outdoors when she\u2019s not blogging.", "id": "<urn:uuid:c62183c2-7f09-4735-b4f0-a97b01488322>", "dump": "CC-MAIN-2023-14", "url": "https://advancedmoms.com/research-backed-benefits-of-reading-for-young-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949689.58/warc/CC-MAIN-20230331210803-20230401000803-00314.warc.gz", "language": "en", "language_score": 0.9541784524917603, "token_count": 1485, "score": 3.578125, "int_score": 4}
{"text": "To form letters legibly, a student must remember what the letters should look like, make a mental picture of the letters, and then send signals to his fingers to form the letters on paper.\nSome students find it easier to print than to use cursive writing. Printing requires that only 26 letter formations be remembered, while in cursive writing, every word is different. For other students, cursive is preferable because of the flow of movement when forming cursive letters.\nWhether in cursive or print, the process of writing makes many demands on a student\u2019s memory. When a student must remember ideas to write about, as well as spelling, punctuation, and capitalization rules, she may find it difficult to hold all of the required information in her mind (in active working memory) at once. If any necessary information is lost, or not available, she may have difficulty with graphomotor skills needed for letter formation and may write slowly, and/or form letters that are difficult to read.\nNote: With all student writers, but especially the student who has difficulty with letter formation, it is very important to respect the student\u2019s feelings about his/her written work. Do not put work on display or have peers correct the work unless the student is comfortable with this type of public review.\nHere are some strategies to develop and strengthen students\u2019 ability to form legible letters.\n- Help the student learn to be aware of the variable quality of his/her handwriting, and to recognize situations where s/he is having difficulty. Suggest that the student focus on writing consistently and carefully in all situations.\n- Have students practice tracing shapes and letters. Gradually reduce the complete shape or letter to dots, so that the student can practice making the shapes or letters by connecting the dots.\n- Have students practice forming similar letters, such as l, j, t, etc.\n- Introduce creative writing activities where the student can have fun while practicing correct letter formation, for example: writing to a pen pal, creating an advertisement for a new toy or other product, designing a contest entry form, writing to request a famous athlete\u2019s autograph, etc.\n- When assigning a handwritten project, give the student the choice of printing or using cursive writing, whichever is more comfortable. Many adults naturally use a combination of manuscript and cursive writing.\n- Provide keyboards and word processing programs, teach keyboarding skills, utilize writing software.\n- Be aware that some students with graphomotor difficulties may also have difficulty learning to type on a keyboard or typewriter. Guide the student through computer mastery gradually and without undue pressure. As a student is acquiring keyboarding skills, have him/her continue to practice handwriting.\n- Recognize that the computer may become a \u201csurvival tool\u201d for students with handwriting difficulties. However, although a computer may increase the amount and legibility of a student\u2019s work, by itself, it does not necessarily improve the content or quality of that work.", "id": "<urn:uuid:b0acc8e0-2d8e-498e-9d73-588b82b3ef90>", "dump": "CC-MAIN-2023-14", "url": "https://allkindsofminds.org/legible-letter-formation/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943845.78/warc/CC-MAIN-20230322145537-20230322175537-00315.warc.gz", "language": "en", "language_score": 0.9471688270568848, "token_count": 623, "score": 4.25, "int_score": 4}
{"text": "The world of the preschooler is one of imagination and magic. For many children, their creativity will reach its peak before the age of six, after which it will begin to decline with the onset of formal schooling and the developmental drive towards conformity. However, supporting your child\u2019s creativity in preschool sets the stage to foster its continued development in the years beyond.\nBy the age of three, children have officially entered Piaget\u2019s preoperational period, the hallmark of which is the ability to use symbols and representational thought (e.g., have one thing \u2014 like a word, drawing, or item) to represent something else (e.g., like the letters \u201chorse,\u201d or picture of a horse, or even a stick with a sock on it, all representing an actual horse). The three year old discovers that he can place blocks in an arrangement, or scribble lines on a paper in way that represents an object or action. His fine motor skills are developed enough that he can control writing utensils or manipulate objects with more precision, which develops further over the preschool years. Children this age begin to create with intention \u2014 purposefully drawing a monster or a flower. By the time they are 5, many children add details and annotate with words and narrated stories.\nWith these newfound representational abilities, children\u2019s imaginations become boundless! They love pretend games and have a natural tendency to fantasize, experiment, and explore. They are fascinated with magic and struggle to distinguish between fantasy and reality. However, their creative drive ignites a desire to learn and supports intellectual development across all subjects. Thus, it is the perfect time to support the development of divergent thinking\u2014where children generate unique solutions and make new connections without being tied to \u201cthe\u201d one right answer or way of doing things (convergent thinking). Supporting divergent thinking means providing activities that allow for child appropriate inquiry, reflection, wondering, curiosity, and even supported confusion. Divergent thinking, and hence creativity and creative problem solving, are more than art \u2014 it is thinking, predicting, imagining, and creating. Try out some of these less standard ways to foster creativity in your child.\nWays to foster Creativity:\n- Encourage creative problem solving: Ask your child open-ended questions that have no right or wrong. Encourage her to tell you why she thinks as she does (fostering creativity, cognition, and language development). For example, \u201cWhat could happen if dogs could talk?\u201d or \u201cWould you rather have no nose, or no eyes, and why?\u201d Accept any answer as \u201cenough,\u201d but invite your child to go further with more questions or curiosities that her answers inspire. You can stimulate problem solving without words with this fun app: Cut the Rope Lite: figure out how to feed your blob-guy candy.\n- Provide an array of experiences to build your child\u2019s foundation of knowledge (e.g., go to museums, visit libraries, and explore different neighborhoods in your town).\n- Invite your child to create: Give her a list of things to find (e.g., something that has color, 2 smooth objects, 4 things that smells nice) then use them in a creation. Have recyclable materials (e.g., egg cartons, cardboard boxes, etc.) available to make projects with. Worried about the mess? How about an online project where your child can use virtual foil, pasta, buttons, etc. \u201cPaint\u201d with glue, \u201csprinkle\u201d glitter, add virtual leaves or \u201ccrumple\u201d paper \u2014 click on the utensils CAP and you will see an incredible array of options!\n- Break the rules: Invite your child to do things differently. Some ideas to think about:\n- Instead of playing a board game by the rules, see if your child can make up her own!\n- Have a picnic in swimsuits in the winter.\n- See how many different uses your child can come up with for a paper clip or a paper towel roll.\n- Instead of regular paints, mix (safe) spices with vegetable oil. Try turmeric (reacts with black light!), paprika (color), and dill (smell) on watercolor paper (its thicker, but put down newspaper).\n- Add salt to paint or beans to playdough.\n- Have your child create an alphabet with licorice strings, spaghetti noodles, or letter pasta.\n- Reignite interest in a forgotten passion: Add cotton balls atop abandoned train tracks and declare an avalanche! Challenge your child to help put out the \u201cfire\u201d (red, orange, and yellow tissue paper) on the roof of the dollhouse. Engaging her thinking and problem solving in this way will not only ignite her creativity, but also stimulate familiar play in new directions.\n- Provide a wide variety of open-ended tools:\n- animal figures\n- tool sets or doctor kits\n- dress up clothes (can be a towel that becomes a skirt!)\n- clay, play dough, pipe cleaners, paints, chalk, a variety of writing utensils,\n- Allow for messiness, allow for time! Creativity is by definition messy. The more permission your child has, and the more free time they are given to do this, the more room they have to explore, experiment, and create.\n- For more virtual options, check out:\n- My Oats: A virtual spyrograph! For a more kid-friendly version, check out this site.\n- Simple \u201cpainting\u201d interface. Click \u201canimate\u201d when your child is done, and let him see a movie of how he created his work of art!\n- GlowFree or Doodle Buddy or Paint Sparkles Draw apps: easy to navigate, and fun to create\u2026yes!\n- Squiggles app: Simple playful app that encourages your child\u2019s doodles to become something more.\n- Encourage inventive storytelling: Invite your child to make drawings to go with the stories she tells or satires to go with the art she creates. For a favorite tale, switch something around. Make the main character a bear instead of Goldilocks, or have the story take place on a ship instead of the forest.\n- Art Maker app: make simple slide shows, sticker books, movies, and books!\n- Invite your child to narrate her process, or what she creates!\n- Support \u201creal\u201d in a playful way: many children this age will ask you to draw or write for them, so it can look \u201cright.\u201d Honor this desire without stetting a standard they are not capable of reaching. For example, get creative rubber stamps and have your child stamp out a story and then add details or words as she is able to independently.\n- Make movement creative: Especially if you have a wiggly one, try out these creative moves:\n- Have her be the leader in Follow the Leader.\n- Have her show you how she\u2019d move if she were sad, angry, or joyful. What about frigid or blistering? You\u2019ll be fostering vocabulary and social development as well!\n- Have her choose an animal to move like. How can she get over the hill or across the river as that animal?\n- Think about how you respond: Emphasize process and not the product. Ask your child to tell you about her creation, Notice what she discovered (e.g., I notice that when you layered the green, you got a darker color).", "id": "<urn:uuid:0047da64-60ee-4509-a8fd-d8755f52836d>", "dump": "CC-MAIN-2023-14", "url": "https://www.scholastic.com/parents/family-life/creativity-and-critical-thinking/development-milestones/creative-development-3-5-year-olds.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00515.warc.gz", "language": "en", "language_score": 0.9350804686546326, "token_count": 1598, "score": 3.8125, "int_score": 4}
{"text": "When writing, your goal should not only be to be clear and concise, but you should also aim to capture the reader with your words.\nYour writing is much more enjoyable when you use expressive literary techniques to paint a picture in the reader\u2019s mind. One method you should use to do this is vivid verbs. But what are vivid verbs?\nIn this article, we\u2019ll explain what vivid verbs are and how to use them to make your writing more illustrative.\nWhat Are Vivid Verbs?\nA vivid verb is a descriptive verb that allows you to take your writing to another level.\nVivid verbs are a unique part of speech. The point of vivid verbs is to show rather than simply tell what is happening. They are supposed to paint a clear picture in the reader\u2019s mind of what\u2019s happening. Vivid verbs are often verbs accompanied by adverbs to be more descriptive. For example, instead of saying \u201cthink\u201d, trying saying that you \u201cenvision\u201d something!\nIn creative writing, you may use vivid verbs to show what\u2019s happening to a character both physically and mentally. It allows the reader to visualize the character\u2019s actions better, bringing them deeper into the story.\nThat said, you can use vivid verbs in any writing or communication. Of course, the standard grammar rules of subject-verb agreement still apply no matter if you\u2019re using vivid verbs or linking vs action verbs. They\u2019re great if you\u2019re recounting a story to a friend, trying to be specific in describing a place, or explaining a particular item you may be looking for.\nThe best way to explain what vivid verbs are is to show you. To further illustrate the power of these exciting verbs, let\u2019s look at some vivid verbs in action.\nExamples of Vivid Verbs\nThere are a variety of circumstances in which you can use vivid verbs to strengthen the imagery in your writing.\nWe have all heard of common helping verbs like is vs are. But vivid verbs are slightly different! For more context on how to use vivid verbs, here are some examples.\nVivid Verb Example #1\n- Jamie went on a run.\nWhile the above sentence gives us enough information to understand who is doing the action and what the action is, it doesn\u2019t give us much more. However, if we switch out the common verb \u201crun\u201d for a vivid verb, we can get a lot more meaning out of the sentence.\n- In a panic, Jamie sprinted to save the baby stroller, rapidly rolling onto the street.\nThis sentence gives us a lot more context into what\u2019s happening. \u201cSprinting\u201d gives us a better idea of the pace at which Jamie was moving, and we also understand why she was moving as quickly as she was, as a stroller was \u201crapidly rolling.\u201d This sentence makes you wonder if Jamie saved the baby, which means you will keep reading.\nVivid Verb Example #2\n- Amanda pushed Alexis.\nThe action happening here is that one person pushed another, which gives rise to many other questions. Why did Amanda push Alexis? Was she pushing her out of the way to save her from an oncoming car? Let\u2019s find out by replacing the commonly used verb.\n- Amid her rage, Amanda violently shoved Alexis into the bush.\nAs you can see, Amanda\u2019s actions were not friendly at all and were instead malicious, through the vivid verb \u201cviolently shoved.\u201d You\u2019d want to keep reading after this sentence to understand what Alexis did to make Amanda so upset. Many writers confuse simple predicate with vivid verbs. So be sure to understand the difference!\nVivid Verb Example #3\n- Jessica danced to the music.\nWhat kind of music is Jessica dancing to? How is she dancing? Is she dancing alone? These are questions that you cannot answer from the common verb above.\n- Jessica gracefully twirled to classical music with her husband, Keith.\nThe above questions are all answered by adding vivid verbs and a few other descriptive words to give the full context of the scenario. We can assume that Jessica is happily dancing and envision the way that she is dancing thanks to the vivid verb.\nMore Tips for Using Vivid Verbs\nNow that you\u2019re an expert on vivid verbs, you\u2019re ready to use them more in your writing. No more using boring standard verbs like \u201cwear\u201c. However, there are a few additional elements to remember to ensure that you use these exciting verbs effectively.\nFirst of all, here are some common vivid verb examples you may want to consider using in your writing:\nAnother tip is that you want to beware of using too many vivid verbs in a sentence. Verbs are critical parts of any sentence, but that doesn\u2019t mean you can overuse them. It\u2019s great to be as descriptive as possible, but there\u2019s such a thing as being too descriptive, especially when combined with a series of adjectives and adverbs. Take the following example:\nThe bright yellow sun was intensely beaming and shining its rays over the calm, serene sea.\nThere are a few things wrong with this sentence. First, although \u201cintensely beaming\u201d is a very vivid verb, two verbs are used in this sentence \u2014 \u201cbeaming\u201d and \u201cshining\u201d \u2014 and these verbs are essentially synonyms. For simplicity\u2019s sake, it\u2019s better to use one verb or another.\nWhat\u2019s more, this sentence is overrun with descriptive adjectives \u2014 \u201cbright,\u201d \u201cyellow,\u201d \u201ccalm,\u201d and \u201cserene.\u201d While exceptionally descriptive, this is just too many adjectives for one sentence. It\u2019s better to use less description and be concise rather than use too many adjectives and lose the meaning of your sentence.\nHow To Make Creative Writing Verbs\nTry this two steps process\n- Write your message clearly. Don\u2019t get fancy with it. Just write your sentence using regular weak verbs.\n- Get creative. Think of some synonym for your verbs the create a more vivid picture. A strong verb can make a huge difference in your sentences.\nTake time during your editing process to change out some of your common verbs with more creative alternatives. Unique and vivid language will create interest in your readers minds and you\u2019ll avoid repeating the same words over and over again!\nPassive verbs vs active verbs\nIn active voice, the subject performs the action of the verb.\n- For example, \u201cThe girl kicked the ball.\u201d\nIn passive voice, the subject is acted upon by the verb.\n- For example, \u201cThe ball was kicked by the girl.\u201d\nWhile active voice is usually more direct and concise, there are times when passive voice can be used to good effect. For instance, if you want to emphasize the results of an action rather than the actor, passive voice can be helpful. Vivid verbs aren\u2019t the only type of verbs. You could also use a compound verb to improve your writing!\nWrap-Up: Paint the World With Vivid Verbs\nVivid verbs are valuable when you want to improve your descriptive writing. Hopefully, you\u2019ve learned more than just what vivid verbs are and are ready to use them to kick your writing up a notch.\nHere\u2019s a pro tip: If you ever need help finding synonyms to make your writing more vivid, writing tools such as Grammarly or ProWritingAid can give suggestions for improving your language.", "id": "<urn:uuid:c6574e94-dc85-432e-a728-926110be4d8b>", "dump": "CC-MAIN-2023-14", "url": "https://www.grammarcheck.me/what-are-vivid-verbs/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948708.2/warc/CC-MAIN-20230327220742-20230328010742-00315.warc.gz", "language": "en", "language_score": 0.9459956288337708, "token_count": 1647, "score": 3.5, "int_score": 4}
{"text": "How to format an outline Rating: 8,7/10 110reviews\nA narrative outline is a tool used to organize the structure and content of a story or text. It is similar to an outline for a research paper, but rather than outlining the main points and subpoints of an argument, a narrative outline outlines the plot and character development of a story.\nThere are many different ways to create a narrative outline, and the specific format will depend on the needs and preferences of the writer. However, there are some common elements that are typically included in a narrative outline.\nHere are some examples of narrative outlines:\n- Introduce the main character and the setting of the story\n- Establish the conflict or problem that the main character will face\nII. Rising Action\n- Describe the events that lead up to the climax of the story\n- Develop the characters and their relationships\n- Introduce any subplots or secondary conflicts\n- Describe the turning point of the story\n- Reveal any important information or plot twists\nIV. Falling Action\n- Describe the events that follow the climax\n- Resolve any subplots or secondary conflicts\n- Show how the main character has changed or grown as a result of their experiences\n- Bring the story to a satisfying resolution\n- Reflect on the themes or lessons learned by the main character\n- Set the stage for the story, including the time and place\n- Introduce the main character and any other important characters\n- Establish the main conflict or problem that the story will explore\nFormatting In Your Outline (Microsoft Word)\nThis tip 12610 applies to Microsoft Word 2007, 2010, 2013, 2016, 2019, and Word in Microsoft 365. For a version of this tip written specifically for earlier versions of Word, click here: Normally, Word tries to display on the screen what you would see when you print your document. An outline is an organized framework for a paper, speech, essay or other document. Align like-numbered or like-lettered headings under one another. Following is an example of where the text for \"2. While topic outlines often seem precise and formal, they should be treated as part of the writing process. Developing such an outline can help you arrive at a satisfying plan for arranging your ideas.\nHow to Format a Sermon Outline\nFor instance, an individual giving a sales pitch to a potential customer may try to persuade them to buy their company's new product or sign up for a free demo. It's important that your conclusion support your thesis and addresses your initial argument. Use an attention grabber When planning your presentation, think about how you want to open it. Consider whether you want it to be handwritten or digital and if you want it to be decimal or alphanumeric. In this book, Josh takes you on a tour of the hearts and minds of teens and how to best reach them. The only rule is that there should be two or more sub-points on each level.\nHow To Write an Outline (Plus Template and Example)\nYour topic may be based on an assignment or could stem from a personal goal. They're particularly important if you specialize in communications or any field in which communication is a priority. Sometimes this changes by the seasons in your life. Career officers are expected to entertain. If you need to have everything really thought through before you speak, then maybe a manuscript is best.\nCreating an Outline\nSimply click that Show Document Outline icon to view it again. Examine each heading to see if it needs to be strengthened or elaborated, if it repeats or overlaps another heading, or if it is unrelated to the central idea. For example, a nonprofit that builds wells for impoverished communities may give a presentation to persuade listeners to donate money. Pastoring is one of the hardest jobs\u2026 but you are not alone. Commenting privileges may be curtailed if inappropriate images are posted. Jot down your ideas, important bits of research, and any questions you might want answered. Writing an outline can take place at any time during the writing process.\nHow to Use the Document Outline in Google Docs\nHowever, many times you are preparing them for yourself, either to help you complete an assignment or to help you accomplish a goal. After these changes have been made, and after some headings have been reworded to make them parallel in form, the final outline might look like this: Thesis statement: Despite problems with living conditions and finances, college men and women can find satisfactory careers in the army. Include a call to action Brainstorm a creative call to action that can inspire your audience to perform your desired response. For these reasons, all varieties of organizations and institutions work with outlines. Are you quick on your feet? An essay looks like a mere piece of paper one page or several pages with an organized text.\nHow to Make an Outline in Word\nWhen I orginally created the outline, all of the text looked and lined up great. Let your audience know what they get from performing the action. This statement is the basis for your title and the ideas listed in the document. You can also use the double arrow buttons to promote a topic directly to Level 1, the highest outline level, or demote it all the way to body text. THE WRITING PROCESS Developing a Formal Outline An outline should represent a writer's best effort to explore a subject, to break it into parts, to arrange ideas, and to test out possible strategies of organization for the purpose of clarity. Presentation outlines also help speakers gather information to present their ideas.\nHow To Create an Effective Presentation Outline\nDivision: Informational Breakdown Keep in mind that the outline is not the ultimate purpose. Aren't officers given allowances for their uniforms? Then, allow the outlining process to help you structure your work. For a creative project, you might write down scene ideas or plot points. In planning a long paper, especially one involving research, you will most likely want to make a formal outline that functions as a topic outline or sentence outline. Consider visual content Think about whether you want to add images, videos or other visual content to your presentation.\nHow to Write an Outline: Alphanumeric, Decimal, & Full\nOthers should take minimal notes with them to ensure they are personal, free-flowing and natural, never reading aloud, laborious page-after-page. A decimal outline looks very similar to an alphanumeric outline. Related: The Writing Process: Over 45 Tips on Writing 2. I used the same \"Heading 3\" for both the number \"1. If someone asked you to take a passage and give a devotional thought without notice, could you do it? It is only the preparation for the writing.\nHow to Write an Outline (with Pictures)\nThere are many times that \"pretty\" formatting can detract from the work you want to do when in Outline view. Related: FAQ: What Is an Outline Used For Why should you create a presentation outline? THE WRITING PROCESS Guidelines for Outlining Outlining is generally considered to be a particularly useful activity in academic writing as a means to help structure and organize the content of your paper and to visualize the logical progression of your argument. This is awesome when working with lengthy reports because it works just like a In addition, the Document Outline can help you keep track of where you are in your file. Promoting a topic moves it to a higher outline level, moving it one spot to the left, while demoting a topic moves it to a lower outline level, one spot to the right. Other visual content to consider is the type of font and colors you use for the text in your slides.\nDeveloping a Formal Outline \u2014 Hunter College\nFor example, you might write your outline in shorthand. Decimal outlines are effective for showing relationships between the main points and sub-topics, while alphanumeric outlines give you a simple way to frame ideas and categorize supporting topics. For in-class writing and short papers, division by two levels of headings is usually sufficient. You may also want to write down how long each section takes to present. To find this, think about what you want your audience to obtain or support after your discussion.", "id": "<urn:uuid:87564007-0da0-4b79-87b3-bb5213db3e47>", "dump": "CC-MAIN-2023-14", "url": "https://xslmaker.com/article/how-to-format-an-outline-developing-a-formal-outline-hunter-college-2022-11-07", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00315.warc.gz", "language": "en", "language_score": 0.9238256812095642, "token_count": 1724, "score": 4.21875, "int_score": 4}
{"text": "The Creative Teaching-Learning Environment\nBasically creating inspirational spaces for teaching, and learning in the classroom, spaces that open up the possibility of thinking differently and stimulate radically different approaches to teaching and learning. The impact that we educators desire to see is that of active independent learning from the learners, appreciating the creativity through which they manipulate materials and from listening to their choices and voices and respecting their vision and ensuring that the learning space supports the unique and diverse needs of the learners in the classroom in the most effective way.\nBefore we consider further, how to create learning environments where creativity can flourish, we need to be clear exactly what we mean by creativity. Many associate creativity with the English class or the art room. Creativity should not be relegated to English class or the art room. There are places for all educators to add creative elements to their school days. It\u2019s important that we light the creative fire under our learners. We need to make sure that we remind learners of the value of creativity, and that we give them every chance to show it in the classroom.\nCreative classrooms give an opportunity for learners to learn with fun, for example creating cave space or making changes in the classroom to decrease the reliance of a large group of learners on the teacher, celebrating creative learning in central areas, dressing empty spaces collaboratively with creativity, walls can become more than just places for display, walls could have projections or materials like fabric to manipulate, give students to apply smells, sounds, music, touch, light and taste, thereby allowing research and experimentation by students themselves, model creativity in a wide variety of ways to learners. The teaching activities such as storytelling and skits help them to learn without the pressure of learning. Learners are always fun loving and including creative activities along with curriculum gains their interest in learning. The creative classroom is centered on the idea of student voice and choice, where learners have ownership of learning and are self-directed. The purpose behind a creative classroom is to empower learners through independent work, so they learn how to be self-managers and self-starters. A child\u2019s creative activity can help educators to learn more about what the child may be thinking or feeling. Creativity also fosters mental growth in children by providing opportunities for trying out new ideas, and new ways of thinking and problem-solving.\nTo engage learners with a constructive learning experience we need to break down the walls that we set around them. Have a look at the furniture in the class and have a rethink about what is actually needed and what can be discarded to add creativity to the classroom with minimal furniture. This will need more emphasis on personal pedagogy, individual experimentation with concepts, as well as intertwining subjects; creativity has no boundaries, limitations, or self-imposed restrictions, and neither should creative education. Educators should work to create spaces that enable learners to form strong meaningful relationships between learners, educators and the curriculum that promotes questioning and challenging, making connections and seeing relationships, envisaging what might be, playing with ideas and keeping options open and representing ideas in a variety of ways.\nI recently attended a workshop on \u201cThe Creative Classroom\u201d and it was a wonderful experience to learn how essential it is to enable children to experience the world, based on their individual capabilities; exposing them to opportunities, and challenges that allow their minds and bodies to experience new tribulations. We also need to provide them safe places to experiment their skills, allowing them to challenge and develop their sense of not only the laws of nature but also the art of nature. In the process of creative teaching, the teacher inspires learners\u2019 interests in learning material, and then leads learners to find the problem by themselves creatively, or present specific problems and ask learners to apply all sorts of available resources to find the best satisfying solution creatively. The value of play lies in the experience that adds to the knowledge and skills of a child, through exploration, fun, freedom, investigation, enquiry, negotiation, challenge, anger, fear, excitement and a whole range of even more feelings, emotions, skills and abilities. Educators who frequently assign classwork involving creativity are more likely to observe higher-order cognitive skills \u2014 problem solving, critical thinking, making connections between subjects \u2014 in their learners. And when educators combine creativity with transformative technology use, they see even better outcomes. Creativity plays a key role in the development, entrepreneurial ambitions and long-term personal growth of a student. I enjoyed the example that was provided at the session of how an educator employed creativity in the classroom. She encouraged her learners to plan out their own imaginary countries, including designing flags, writing anthems and making laws; they learn about the importance of human rights, conflict resolution and education. It helps children to see their own role in making a difference. These kinds of activities help them to envision a future which is brighter than their present.\nWhile going on a learning walk or a lesson observation, what one will instantly see in a creative classroom is classrooms that are innovatively engaging learners in constant reflection. The classroom never stops to catch its breath, there is constant learning, creative juices flow and there is strong connection, collaboration, variation, Try adding words like \u201ccreate,\u201d \u201cdesign,\u201d \u201cinvent,\u201d \u201cimagine,\u201d \u201csuppose,\u201d to your assignments. Adding instructions such as \u201cCome up with as many solutions as possible\u201d or \u201cBe creative!\u201d can increase creative performance. What I have noticed about the creative teachers is that they don\u2019t let standards stop them, they teach the same concept in multiple ways to meet the needs of their learners, the teaching-learning resources are organised in a cognitively advantageous way, the creative teacher stays creative outside of teaching and stays educated always. It is a joy to see a teacher direct her learning through activities that immerse the learners in their environment with all their senses.", "id": "<urn:uuid:415b1d3f-f9d8-408e-9231-06bef24fd3dc>", "dump": "CC-MAIN-2023-14", "url": "https://dcresource.biz/the-creative-teaching-learning-environment/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949387.98/warc/CC-MAIN-20230330194843-20230330224843-00736.warc.gz", "language": "en", "language_score": 0.9645998477935791, "token_count": 1221, "score": 3.9375, "int_score": 4}
{"text": "Definition of Motivation\nIn literature, \u201cmotivation\u201d is defined as a reason behind a character\u2019s specific action or behavior. This type of behavior is characterized by the character\u2019s own consent and willingness to do something.\nThere are two types of motivation: one is intrinsic, while the other one is extrinsic. Intrinsic motivation is linked to personal pleasure, enjoyment and interest, while extrinsic motivation is linked to numerous other possibilities. Extrinsic motivation comes from some physical reward such as money, power, or lust. Intrinsic motivation, on the other hand, is inspired by some internal reward such as knowledge, pride, or spiritual or emotional peace or wellbeing, etc.\nCharacters have some motivation for every action, as do people in real life. Therefore, the implicit or explicit reference to a motivation of a character makes the piece of literature seem closer to life and reality.\nExamples of Motivation in Literature\nExample #1: Hamlet (By William Shakespeare)\nAll actions that Hamlet commits in the play are the result of his motivation, such as revenge, justification, and integrity of his character. Throughout the play, revenge remains a constant motivation for Hamlet. He is extremely grieved over his father\u2019s death. His sorrow and grief are aggravated when the Ghost of his father tells him that the murderer has not only taken the throne, but has taken his mother as his bride.\nThis becomes a motivation for Hamlet to justify his actions and exact revenge for \u201cmurder most foul,\u201d in the words of the Ghost. This motivation is further escalated when he sees his mother married to his uncle, the murderer. In fact, Hamlet finds an opportunity to kill his uncle, but he does not, as King Claudius was praying at the time. Hamlet does not want to send the murderer\u2019s soul to heaven. This motivation stops him from taking action.\nExample #2: Doctor Faustus (by Christopher Marlow)\nIn his introductory soliloquy, Dr. Faustus reveals his motivation very clearly. The chorus already confirms whatever he states in the soliloquy. The chorus informs the audiences of the play that Faustus received his academic degree of doctorate in theology (religion). He earned a doctoral degree only to become \u201coverinflated and conceited\u201d for his own satisfaction. His self-centered thinking brings up his moral and spiritual downfall. He desires to know more and more even something, which is beyond his capabilities. His motivation is pride in himself, which ultimately destroys him.\nExample #3: Lady Macbeth from \u201cMacbeth\u201d (by William Shakespeare)\nAccording to many literary critics about Shakespeare\u2019s characters, the most evil of all his female characters is Lady Macbeth, who happens to have the worst motivation behind her actions. She is highly cunning, skillfully manipulative, and much more ambitious than her husband, Macbeth. When she receives a letter from her husband revealing the prophecy of the witches that foretells that Macbeth will be the future king, she at once begins to plan the murder of Duncan.\nThen, when Macbeth withdraws from taking action, she motivates and urges him to move forward. Therefore, not only are greed and lust her motivations, but she transfers these motivations to her husband, giving him reason to kill the king.\nFunction of Motivation\nIn literature, motivation is used to connect the behavior and actions of a character with the events of the story. Motivation serves as the logical explanation for what a character does, which is necessary for the readers and audiences to understand the causes of a character\u2019s actions. The core desires of characters lead the way to all actions in storytelling.\nSometimes motivations of characters change with the development of the story. With a change in the motivation, the character changes too. For effective characterization, unified and dominant motivation is inevitable. Great characters have great motivations. These characters teach some good or bad moral lessons to the readers and the audiences. The readers and audiences get more interested in motivated characters and understand those motivations, which make or break societies.", "id": "<urn:uuid:6004f0de-7afe-4aa2-b83c-da52f8a4c0c7>", "dump": "CC-MAIN-2023-14", "url": "https://englishliterature.net/literary-devices/motivation", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945381.91/warc/CC-MAIN-20230326013652-20230326043652-00514.warc.gz", "language": "en", "language_score": 0.9716196656227112, "token_count": 861, "score": 4.25, "int_score": 4}
{"text": "Putting a Playful Spin on Literary Analysis\nHigh school teachers can incorporate elements of gamification into assignments to encourage students to dig deeper into texts.\nLiterary analysis and writing are foundational skills for students to learn in any level of an English language arts class. The issue that many high school teachers struggle with during writing instruction and literary analysis is creating rigorous, differentiated assessment methods that are also relevant and engaging to students. One exciting way to do this is to use the strategy of creating adventure games in order to teach and assess literary analysis and narrative writing.\nStudents create adventure games where players can choose their own adventure with stories and information that they have written from a narrative writing unit or from analyzing a text. This strategy encourages students not only to analyze texts and write but also to think critically about organizing and synthesizing their information into a functional format for gameplay.\nShape the Assignment\u2019s Rigor Based on Student Needs\nFor this assignment, students are tasked with creating a choose-your-own-adventure game that reflects an aspect of instruction related to writing and text analysis. This strategy can be differentiated based on levels of rigor with different levels of students. One way to differentiate this assignment is to focus on a variety of elements from the texts. Teachers can determine which areas of text analysis are challenging for their students and focus on honing that skill.\nFor example, teachers could focus on one strategy (like summarizing a text) when designing their assessment. Teachers could combine multiple skills into one gaming activity if their students required a more rigorous focus. They could ask students to analyze the setting and plot in one gaming script. This would elevate the level of analysis needed for the game creation.\nAnother way to differentiate rigor in the assignment would be to require an extra writing assessment. For my Beowulf projects, students wrote a narrative and created an adventure game. If that\u2019s too rigorous for students, teachers could change the assignment to have the adventure game be the narrative writing itself. Scaffolding is also crucial in the differentiation of this assignment.\nIf you have higher-level students, they may not need as much structure or scaffolding through the process. However, some students may need an extra level of structure when completing the assignment. Teachers can scaffold these students by creating outlines or templates for the students to fill in with their ideas. This provides students with a foundation to work with instead of creating everything on their own.\nStudents Can Use High- or Low-Tech Options to Create Their Game\nThis activity can be used with or without technology. Students can utilize technology by creating their games on presentation apps like Google Slides and include links that facilitate gameplay. Students can also use coding to create their own websites for their game. If technology is unavailable, students can always use paper for their games. Different gameplay scenarios can be created on paper cards. Students can also create their own board games for their adventures.\nUsing either technology or paper, students create this game to reflect their analysis of a text. In my own practice, students have created their games using Google Slides. The students created the game using hyperlinked slides that assisted the player with navigating through their story or game. Players clicked through the presentation and participated in different paths of play to explore the analysis of the text in a story format.\nGames Can Analyze the Literary Features of the Assigned Stories\nIn my Honors English III STEM class, I used gamification in my Edgar Allan Poe stories as the basis for gamification. Students were challenged to create games that were a retelling of these famous stories. They chose from either \u201cThe Masque of the Red Death\u201d or \u201cThe Tell-Tale Heart.\u201d We read and analyzed these stories in class. After that analysis, the students were required to create games that analyzed plot and other literary elements of their chosen stories. Each game had to have a choose-your-own-adventure format so that the players of the game would be able to choose different paths of gameplay. Each linked option took the player through a different story line of the game.\nThere was an emphasis on creating a distinct setting in their games that connected to their chosen Poe story. They also were required to include detailed imagery and distinct characters from the story. One of my students focused on the imagery and setting of \u201cThe Masque of the Red Death\u201d by creating a game where you clicked through the different rooms of the mansion in the story. Players would navigate through different scenarios by clicking on the symbolic rooms.\nAnother group used coding and hyperlinks to create a game where the player navigated through the house in \u201cThe Tell-Tale Heart\u201d and collected items in each room.\nGames Can Be Based on Students\u2019 Original Narrative Stories\nAnother way I used gamification to enhance my instruction and assessment occurred during a unit on Heroes. In my English 4 College Prep class, we studied heroic archetypes using Beowulf as our anchor text. Students conducted research on a British time period, event, or famous person and created their hero based on that research.\nThe students then wrote a narrative story using their research and the hero they created. Students chose different topics like knights, Vikings, the Victorian era, and even Queen Elizabeth. Then they created a choose-your-own-adventure game based on their hero and story. The games were designed to follow different options for their hero\u2019s story. Players chose different journeys for the hero, interactions with different characters, etc.\nThe students were able to pair up for this project; they could write similar stories with different characters and then create a game based on their characters. When the students finished their games, we invited students, administrators, and other teachers to come play their games. We also invited students in neighboring English classes to come play. We spent a class period dedicated to this event of gameplay. It was a great way to publicly showcase the students\u2019 learning.", "id": "<urn:uuid:5e75696e-7cd3-4046-990c-8614e22407ee>", "dump": "CC-MAIN-2023-14", "url": "https://www.edutopia.org/article/putting-playful-spin-literary-analysis", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950422.77/warc/CC-MAIN-20230402074255-20230402104255-00514.warc.gz", "language": "en", "language_score": 0.9674932956695557, "token_count": 1213, "score": 3.578125, "int_score": 4}
{"text": "What are preventative strategies?\nIn the context of behavior management, prevention strategies are the procedures that individuals use to keep others from engaging in negative behavior. We often use prevention strategies with one another as adults. Prevention strategies are also used extensively with young children.\nAre comics good for students?\nComics speak to students in a way they understand and identify with. Even after students learn to be strong readers comics give students the opportunity to read material which combines images with text to express satire, symbolism, point of view, drama, puns and humor in ways not possible with text alone.\nWhat is a social story in education?\nA social story is a learning tool that helps parents, professionals and children with special educational needs (SEN) to exchange information with each other in a way that\u2019s meaningful and understandable to the child. They were invented in the 1990s by autism consultant Carol Gray.\nWhat is a stim?\nRepetitive body movements or repetitive movement of objects is referred to as self-stimulatory behavior, abbreviated to stimming. Some people will stim when nervous, employing behaviors such as pacing, biting their nails, hair twirling, or tapping their feet or fingers.\nAre social stories ABA?\nSocial stories have been used throughout history as a way to communicate important information. Now, in the field of applied behavior analysis (ABA), social stories can be an effective way to teach children behaviors and developmental skills, particularly for children with autism spectrum disorder (ASD).\nHow do you promote appropriate student behavior in your classroom?\nHere are 8 techniques for dealing with behaviour.\n- 1) Be Consistent with Rules.\n- 2) Get the Students Full Attention Before Telling Them Anything.\n- 3) Use Positive Language and Body Language.\n- 4) Mutual Respect.\n- 5) Have Quality Lessons.\n- 6) Know Your Student.\n- 7) Be Able to Diagnose Learning Problems.\n- 8) Routine.\nWhat are examples of interventions?\nSome examples of useful interventions include building relationships, adapting the environment, managing sensory stimulation, changing communication strategies, providing prompts and cues, using a teach, review, and reteach process, and developing social skills.\nWhat are three cognitive strategies?\nCognitive strategies are one type of learning strategy that learners use in order to learn more successfully. These include repetition, organising new language, summarising meaning, guessing meaning from context, using imagery for memorisation.\nHow are social stories used in the classroom?\n- Write the story from the perspective of the learner.\n- Use real pictures whenever possible.\n- Describe the positive behaviors that you want the learner to perform.\n- Read the story with your learner multiple times before they try it out for real.\nWhat is a social script?\nA social script is a document that uses storytelling techniques to explain new experiences and environments to autistic people through simple language and images.\nWhat are some behavioral strategies?\nHere are six safe and effective behavior management strategies for remaining calm and professional during challenging situations.\n- Be Mindful of Your Own Reaction.\n- Maintain Rational Detachment.\n- Be Attentive.\n- Use Positive Self-Talk.\n- Recognize Your Limits.\nHow do I write a social story?\nHere are some tips on how to write a social story with visual supports.\n- Use Different Types of Sentences. Carol Gray developed the concept of social stories.\n- Prepare the Story. Pick the topic and prepare the story.\n- Add Pictures.\n- Create the Book.\n- Reading the Story.\n- After the Story.\nWhat is a social story ABA?\nSocial Stories, developed by Carol Gray in 1990, are stories which can be used with individuals with Autism to exchange information that is personalized and illustrated. Social Stories are usually short, simple and have defined criteria to make them \u201cSocial Stories\u201d.\nWhat are some positive behavior support strategies?\n9 Examples of Positive Behavior Support & Interventions\n- Routines. Set clear routines for everything you would like students to do in your classroom.\n- Silent signals. Create silent signals to remind your students to pay attention and remain on task.\n- Quiet Corrections.\n- Give students a task.\n- Take a break.\n- Positive phrasing.\n- State the behavior you want to see.", "id": "<urn:uuid:65ed2bf4-e944-471c-9462-ddd834b46cd0>", "dump": "CC-MAIN-2023-14", "url": "https://gzipwtf.com/what-are-preventative-strategies/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00515.warc.gz", "language": "en", "language_score": 0.8944480419158936, "token_count": 918, "score": 3.90625, "int_score": 4}
{"text": "Celebrate Marie Curie\u2019s Birthday by reading about her life and work! Born November 7, 1867 in Poland, Marie Curie was a pioneer of radioactive research.\nCurie was the first woman to win a Nobel Prize, and she is the only woman to win the award in two different fields. She made immense contributions to physics with her discovery of polonium and radium, and influenced generations of nuclear physicists and chemists.\nEast Wenatchee Librarian Hanna has curated this reading list of books and one documentary found in our physical and digital collections:\nRadioactive : Marie & Pierre Curie, a Tale of Love & Fallout by Lauren Redniss\nRadioactive is the mesmerizing, landmark biography of Marie Curie, by acclaimed author and artist Lauren Redniss. Through brilliant storytelling, Redniss walks us through Curie\u2019s life, which was marked by extraordinary scientific discovery and dramatic personal trauma\u2014from her complex working and romantic relationship with Pierre Curie, to their discovery of two new scientific elements, to Pierre\u2019s tragic death and Marie\u2019s two Nobel Prizes.\nHalf Life: A Novel by Jillian Cantor\nIn Half Life, Jillian Canor reimagines the pioneering, passionate life of Marie Curie using a parallel structure to create two alternative timelines, one that mirrors her real life, and one that explores the consequences for Marie and for science if she\u2019d made a different choice.\nThe Soul of Genius: Marie Curie, Albert Einstein, and the Meeting that Changed the Course of Science by Jeffrey Orens\nEinstein and especially Curie come alive as the complex people they were in the pages of The Soul of Genius. Utilizing never before seen correspondence and notes from Solvay, Jeffrey Orens shows the human side of a woman who pushed boundaries and demanded equality in a man\u2019s world, no matter the cost.\nMarie Curie by Isabel Sanchez Vegara\nThis educational book for young children explores the childhood of Marie Curie, who overcame adversity to become one of the most respected scientists in the world.\nMarie Curie: A Quest For Light by Frances Andreasen \u00d8sterfel\nThis graphic novel for middle grade readers presents a special collaboration between two internationally acclaimed Danish scientists: Frances Andreasen \u00d8sterfelt and Anja Cetti Andersen, and features delightful illustrations by the prize-winning Polish artist Anna Blaszczyk. Together they tell the story of Marie Curie\u2019s exceptional life and groundbreaking research that changed the world, expanded scientific understanding and created new opportunities for women.\nWho was Marie Curie? by Megan Stine\nBorn in Warsaw, Poland on November 7, 1867, Marie Curie was forbidden to attend the male-only University of Warsaw, so she enrolled at the Sorbonne in Paris to study physics and mathematics. There she met a professor named Pierre Curie, and the two soon married, forming one of the most famous scientific partnerships in history.\nMarie Curie: The Courage of Knowledge\nThis 2016 documentary looks at the most turbulent five years of the life of a genius woman: Between 1905, where Marie Curie comes with Pierre Curie to Stockholm to be award the Nobel Prize for the discovery of radioactivity and 1911, where she receives her second Nobel Prize.", "id": "<urn:uuid:6fc5f2b6-3cfc-4629-a5e2-1235697efb07>", "dump": "CC-MAIN-2023-14", "url": "https://www.ncwlibraries.org/marie-curie-birthday-reads/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950110.72/warc/CC-MAIN-20230401160259-20230401190259-00515.warc.gz", "language": "en", "language_score": 0.9021351933479309, "token_count": 684, "score": 3.703125, "int_score": 4}
{"text": "Exploring Local Heritage with Young People\nStorytelling through Objects\nMidland Actors Theatre has been exploring the use of objects in teaching history. This is their report.\nThe key thing, in using objects, is to invoke their storytelling power.\nObjects can tell many tales - and are subject to different interpretations.\nIn addition, they have the power to connect students to the history of other times \u2013 and to other people\u2019s lives.\nThe Massachusetts Studies Project: Teaching Tools for Local History has suggested a number of questions which students should consider when they are examining objects, such as: \u201cWhat does this object tell you about the social rank, status or class of the individual that used it?\u201d (See the project website here.)\nWe believe, however, that it is important to encourage students to look for the personal stories and lived experiences that may be invoked by objects.\nTake, for example, a pair of clogs. Children from poor families in the UK would have worn clogs, in the Victorian and Edwardian eras. If we examine this object and consider what it says about the social rank of the owner, then the answer will clearly be: \u201cThey belonged to someone from the lower classes, who suffered poverty / need / hardship.\u201d\nBut an assessment on these lines itself objectifies people \u2013 i.e., it treats them as objects. (The \"objects\" of historical study.)\nIn our work, we always seek to link such objects to personal (hi)stories: to personalise them, as having been owned and worn at one time, by a real person; and telling us something about their lives, not simply their economic \u201cclass.\u201d\nIn the case of the clogs, we drew on memoirs written by Kathleen Dayus, who grew up in Birmingham\u2019s Jewellery Quarter in the early 1900s. She left a vivid account in her book, Her People, of wearing clogs as a child, and scuffing her feet on the cobblestones, so that the metal rims on the soles and heels would make a clattering sound as she walked.\nWe are also interested in the personal meaning and value which people invest in objects.\nWith one group, we looked at the story of a Jewish family, moving from Poland to Birmingham in the 19th Century. We based this on a real family.\nWe asked the class to consider: how would they have made the journey? They could only manage to bring a few belongings with them. What would they have chosen to take with them \u2013 in terms of: personal things, that they could not bear to leave behind\u2026 or things that would remind them of home\u2026? (Letters \u2026 photos \u2026 religious objects \u2026 etc.)\nWe also asked the class to consider: how might they decorate the front room in their house in Birmingham, to make it feel more like \u201chome\u201d for them? (We used paintings and photos as reference.)\nWe looked at some of the social rituals that would have been important to them \u2013 symbolised by objects such as the traditional salt cellar on the table.\nThis work was based in exploring the personal, affective, imaginative dimensions of objects. These dimensions are missing, when you only focus on the materialism of objects (through questions such as \u201cWhat does this object tell you about the social rank of the individual that used it?\u201d)\nReturn to the Toolkit menu, or continue to the next page (Digital Storytelling).", "id": "<urn:uuid:48ca8f83-8b51-4462-97f1-a139d4e06db0>", "dump": "CC-MAIN-2023-14", "url": "https://www.dreamingmuseums.com/storytelling-through-objects", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943484.34/warc/CC-MAIN-20230320144934-20230320174934-00316.warc.gz", "language": "en", "language_score": 0.9697474837303162, "token_count": 732, "score": 3.78125, "int_score": 4}
{"text": "Posted: May 24th, 2015\nShort viction story\n2036HUM Writing Short\nYou are required to write a short story of 1500 words. Above all else, try to write the best story you can in those 1500 words. You should try to develop your story by constructively using the elements of description, figurative language, narration and character in ways that comply with our discussions during the analysis of stories in class. If you feel uncertain about writing short fiction, please consult the addendum to this assignment sheet: \u201cHow To Write A Short Story (Without Inspiration)\u201d. If you already write fiction and feel comfortable with your style then please continue in that fashion, but it is also probably a good idea to read the next few pages.\nThe marking of your story will be guided by the following factors: your clear and concise use of description, the employment of figurative language and structural devices to enhance the mean-Ing of elements of the story, a consistent and constructive mode of narration, a development of character that engages with the themes of the story.\nYou have a certain amount of freedon when it comes to your choice of subject matter and style but you should follow the University\u2019s guidelines on non-discriminatory language. Those stories that contravene these guidelines will not be marked.\n1 May 2015\nHow To Write A Short Story (Without Inspiration)\nWhat follows is an attempt to do two things, (i) provide the beginnings of a method that will allow those students who feel uncertain to write a short story, and (ii) provide an opening to discussion about story composition in class. If you al-ready have a way of writing stories that you feel comfortable with, please continue as you wish.\nFirst of all, you need to decide what it is that you are going to write about. That immediately gives you two ways to proceed. The first is to begin with ideas, emotions, themes, intangibles \u2014 clarify what it is that you wish to explore. You don\u2019t need to know what it is you want to say but it is necessary to know what you want your story to be about. When you have an idea of what it is that you want your story to be about then try to think up a circumstance that will allow that discussion to happen.\nThe second beginntng is to begin with people, places, occurrences, tangibles \u2014 clarify what it is about this circumstance that has provoked your interest. You don\u2019t have to stay with that idea but it will help you understand why you were drawn to this circumstance in the first place. If you are clear about what the elements of the circumstance mean to you then it will make it possible to manipulate the elements into the story that you want.\nOnce you have made either of these beginnmgs, then you will have a set of concerns and a place and perhaps some characters that will be part of your story. From this point on, everything you do will be tugged in two directions, (i) how you want things to happen to allow your concerns to play out, and (ii) how the causal logic of the story wants to play out, i.e., what seems plausible in the development of the story. Your success in writing the story is dependent on the judgements that you make about this tension.\nHow you manage this tension is by your control of the following elements: description, figurative language and structural issues, narration and character. You also have two other clcments, time and ambiguity, that can assist your composition but we will save those for discussion.\nEach of thcsc elements has a primary function and you need to be able to control that primary function.\nClearly and concisely delineate characters, events, relationships, dialogue and emotions, thoughts, feelings, etc. in a way that the reader can understand what is being described without effort. Apart from a clarity of vision (being clear in your own mind what it is that you wish to describe) you need to be able to control the language of prose (spelling, punctuation, grammar, syntax, sentences, paragraphs, etc.) so the reader understands your description without unwanted ambiguity. Each \u00fane your reader stops to have to consider what it is that you mean in a sentence, then you lose control of whatever effect you are trynng to generate in that sentence. Your descliption is focused on let\u00e5ng your reader see what it is that you want to them to see. Is it important that your character is drinking from a blue cup? Then make it a blue cup, perhaps even be precise about the type of blue if that is important. If the colour isn\u2019t important, then it\u2019s just a cup. Don\u2019t complicate the description with that which isn\u2019t necessary. The choice and selection of elements and the relations between elements are critical.\nAt its most simple, this is the use of literary and linguistic conventions to modify description. Simile and metaphor, for example, create correspondences between one thing and something else. As such the initial description is extended (modified) to either mean more or to mean something more specific. Connotation, allusion, symbol, all these things invest a greater or expanded or more precise meaning to a word or phrase. The important thing is to be clear about two things, (i) what you want to express, that is how you wish to modify the description, and (ii) when you wish to modify the description, that is, any word can be modified but your modification needs to be strategic. Adverbs, for example, modify a verb but they are often a clumsy way to do so. It is often more useful to merely think of a more precise -verb to suit your purposes. But remember, dialogue is different and adverbs, or any particularly characteristic pattern of speech, may go towards character development. In modifying description, you need to be aware of the effect that you wish to make and when the effect, in the sequence of your sentences, should come into play.\nThis is probably the largest issue of all when it comes to writing fiction but we are approaching it before character for the sake of clarity. It is difficult to understand the complexity of narration from a critical viewpoint but, fortunately it is more simply grasped from the perspective of composition. Remember that narration is the telling of the tale so it is always an active thing. It is made up of concrete things such as descrip\u00e5on, reported speech, interior monologue, whatever works but it is always dynamic in that it is moving forward and accumulating meaning. When your reader reads page one, s/he has just the title to go on, when s/he reads page three, each new sentence is read in light of what has gone before. To control the narration is to remain aware of this accumulation of knowledge in the reader and to respond in the telling of the tale. At a basic level, you should try to make each element of the story consistent with that narrative point of view. Ask yourself how the information is conveyed to the readef and if that is consistent with other aspects of the story.\nTry to think of character as an aggregation of qualities. This may appear to you as a series of abstract issues or the many facets of an individual personality, but to the reader it will appear as a person so remember to be bound by that logic. So you may approach character as an extension of that initial motivation, either a set of ideas or a specific individual. Or it may be something that develops as the story progresses. In either case, as pointed out above, you will be tugged in two directions (the logic of the concerns Of the logic of the story) and it is important, if you are to retain the importance of character, to embody themes and issues and to provide for the development of st0fY. If you neglect the former then the story becomes meaningless and if you neglect the latter then nothing happens. Short story writing is a fine art because it is a fine balance.\nThere are many ways to write a short story but the above should allow you to develop a story and have a rationale for editing your story and improving its dramatic discussion of your concerns. You are at liberty to adopt Of ignofe everything that has gone before.\nThis is only the briefest of introductions, and, more importantly, is the basis for discussions that will take place in class ovef the next two weeks.\nPlace an order in 3 easy steps. Takes less than 5 mins.", "id": "<urn:uuid:bd380833-936e-41c2-8056-6f8c1eaa2c22>", "dump": "CC-MAIN-2023-14", "url": "https://www.thecollegepapers.com/short-viction-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00316.warc.gz", "language": "en", "language_score": 0.9546551704406738, "token_count": 1773, "score": 3.578125, "int_score": 4}
{"text": "Today\u2019s post includes excerpts from What\u2019s the Story? Building Blocks for Fiction Writing, chapter three: \u201cSetting.\u201d Enjoy!\nSetting may not seem as critical to a story as character or plot, yet it is a core element of storytelling and for good reason. The setting of a story helps us understand where and when it takes place, which gives the story context. If the audience doesn\u2019t have a sense of setting, they\u2019ll feel lost and confused (sometimes that might be the author\u2019s intent).\nThe Setting of a Story\nA setting can be big or small. It can be a made-up world\u2014a massive galaxy with multiple star systems and inhabited planets\u2014or it can be a single room\u2014four walls and a ceiling.\nSettings can offer opportunities or present limitations for the characters. For example, when an apocalyptic event occurs, characters in a big city loot stores and warehouses, but food runs out fast and eventually people head for the hills. If the story is set in the farmlands, characters might not face an immediate food shortage. In fact, their biggest challenge might come later, when the city folk show up and attempt to hijack their crops. The setting of the story therefore drives the action, even if only peripherally.\nSome settings provide conflict for a story. A story about a natural disaster, such as a tornado, must take place in a region where tornadoes are likely to strike. An author might choose a setting because it offers certain types of conflict for the characters. In the earlier apocalyptic example, an author might want to tell a story with looting and fighting and will therefore set the story in a metropolitan area. Other times, a setting is chosen at random but affects the course of the story nonetheless. For example, if a story is set in the mountains, when an emergency arises, it will likely take a lot longer for emergency services to arrive than if the story is set in the suburbs.\nTone and mood are also affected by a story\u2019s setting. Consider a story set during the summer at a bright, sunny beach resort versus a story set during a dark, stormy winter at an old, abandoned Victorian mansion.\nIt\u2019s All About the Setting\nSome stories are all about the setting, meaning they\u2019re quite literally about a particular time and place, even more than they\u2019re about the characters or plot. Many historical novels give readers the experience of what it was like to live during a different time and place. Science-fiction and fantasy stories do the same but are based on imaginings or forecasts rather than on historical research.\nSome settings function as little more than backdrops\u2014although even a backdrop is critical. These settings may require very little work on a storyteller\u2019s part (because they\u2019re based on the contemporary real world) compared to settings that involve elaborate research or world building. Some settings are so seamlessly integrated into a story that we don\u2019t even notice them. Others are so distinct and active that they function as characters within a story.\nThe Harry Potter books are rich with many magical settings, but Hogwarts, the school for wizards, often feels more like a character than a location. It\u2019s a setting that feels alive; the characters interact with it and develop relationships with it. Setting as character is not limited to fantasy, science fiction, or horror. The television show Sex and the City is often hailed for making New York City the fifth character in the ensemble, and the island on the television show Lost was very much a character in the series.\nIt can be exciting for readers to discover a place they\u2019re familiar with in a fictional story. Michael Connelly\u2019s Harry Bosch novels often take readers through streets, past parks, and into real neighborhoods throughout Los Angeles. This is especially effective in big, coastal cities where a lot of readers may live or have visited.\nEstablishing the Setting of a Story\nSettings are primarily established through description, action, and dialogue. Description is the simplest and most common way to relay a setting to a reader. But some readers will nod off if forced to sludge through pages (or even paragraphs) of description. Modern audiences like to get to the action and dialogue\u2014they want to know what\u2019s happening.\nWhile paragraphs of description can establish a setting, action and dialogue can also be used to bring readers into a story world. Characters interact with the world around them, and they talk about it, which means setting can be incorporated into action and dialogue, as long as it\u2019s natural to the story.\nFor example, instead of using description to explain the furnishings in a room, the characters can sit in plush velvet chairs or lean on rickety tables. One character might make a remark about a Picasso painting that\u2019s hanging on the wall; another might admire the white linen draperies. If a character asks another character to go to the movies, we know the story is set in the twentieth century or later. When those characters watch a hologram, we know it\u2019s set in the future.\nTips for Designing a Vivid Setting\n- It\u2019s all in the details. Details make a setting pop. Climate, geography, architecture, and culture make a setting realistic.\n- Use a model. When creating a made-up setting, use a real location as a model, but let your imagination reshape the location, turning it into a new world. If possible, use your city or a nearby town as a model; this gives you easy access.\n- When using a real location as a setting (or a model), conduct as much research as you can. Try to visit the location. Talk to locals, and peruse images and videos of the location online. Read books and watch movies about it.\n- The time in which a story takes place is a major component of the setting. Over time, everything changes from the customs to the technology. Double-check your facts if you\u2019re writing historical fiction, and use history as a trajectory when you\u2019re writing about the future.\n- Changing settings. Your story may take place in multiple settings. Move your story through time and space with smooth transitions. Use markers to let readers know where and when each scene is taking place.\n- Setting as character. Is the setting vivid enough to function as a character within the story? Do the characters talk about it frequently? Does it have an especially big influence on their lives or the story? Could this story take place in any other location?\n- Establishing the setting. Although large blocks of description about the setting are sometimes necessary, try to reveal details about the setting through action and dialogue. Avoid constantly stating the time or date. Drop clues, such as a setting sun or a snowy field, which establish the setting clearly but subtly.\n- Props are the everyday items that characters encounter in a story\u2019s setting. From swords and petticoats to microchips and hovercars, the props in a story often play a big role in bringing the setting to life in the reader\u2019s mind, especially in speculative fiction.\n- World building. If you\u2019re building a world from scratch, keep the facts and details consistent. Readers will notice if the rules of the world are incongruous. If you\u2019re writing an epic story or a series, keep track of the details of your world in a story bible.\nTo learn more about developing the setting of a story, pick up a copy of What\u2019s the Story? Building Blocks for Fiction Writing.\nThe post Fiction Writing: The Setting of a Story first appeared on Writing Forward.\nGo to Source\nAuthor: Melissa Donovan", "id": "<urn:uuid:768cae2c-00e6-4a59-a97d-120069ccb30a>", "dump": "CC-MAIN-2023-14", "url": "https://writersdepot.org/fiction-writing-the-setting-of-a-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948756.99/warc/CC-MAIN-20230328011555-20230328041555-00516.warc.gz", "language": "en", "language_score": 0.9418176412582397, "token_count": 1602, "score": 3.734375, "int_score": 4}
{"text": "Your story\u2019s setting\u2013the geography, city/town, culture, beliefs, traditions, etc.\u2013is important. It grounds the story in a world readers can imagine and one your characters can interact with. The setting can further your story by helping or hurting your characters on their journey.\nSo what does it mean to make setting its own character? How do you make something a character when it\u2019s not a person?\nLike characters, your setting has its own personality, traits, and backstory. These are what make it character-like.\nWhere do you start?\nAs you begin framing your setting as something with a personality and backstory\u2013and not just a place with some buildings and weather\u2013ask yourself some of these questions.\n- What\u2019s the backstory of this location?\n- Are there distinct eras in this setting\u2019s history? What are they? Why are they important?\n- What moments from history have impacted the setting\u2019s culture? And in what way have those moments impacted the culture?\n- What\u2019s the current culture, the ones your characters exist within, in your setting?\n- What expectations does society have around things like education, occupation, and family life?\nThinking about the average person\nAs important as your main characters are in your story, think about the average person living in this setting and how it impacts their life.\n- What kinds of jobs are available?\n- What kind of identity do residents have related to this setting? In other words, how do residents see themselves in relation to the culture and locale?\n- What beliefs does the average person hold?\n- These might be religious, political, & so forth.\n- What does day-to-day life look like for the various tertiary characters in your story?\n- What common threads run through the average population\u2019s story? Do they have common experiences and interests?\n- For example, we all have our own stories from 2020\u2019s events that share common threads. In a story, this might be some historical event, a landmark, or even a local restaurant the neighborhood rallies around.\nKnowing how the setting impacts the average person will help you weave these kinds of details into your story, and it\u2019ll also inform potential obstacles your characters face in some way.\nHow does setting impact story?\nit\u2019s great to know all of this information for the purpose of worldbuilding, but setting isn\u2019t just about the history of a place and the food residents eat. Those things are important and can influence your story, but there are also power structures within your world.\n- Who has power in this world?\n- How did they obtain it?\n- Is this power religious? Political? Economic? Some combination?\n- What are the socio-economic stratifications in society? How does your main character fit into this?\n- Is your main character fighting against this big power structure? For it? Simply existing around it?\n- For example, if your character simply exists around the power structure, they probably don\u2019t interact with these \u2018power players\u2019 much. Their story might hinge on some other type of power or problem.\n- Does your character want some kind of power for themselves?\nBeyond power, other elements of your story can create conflict for your characters and obstacles for them to overcome.\n- How do the weather and seasons impact daily life?\n- How does your character\u2019s socio-economic status influence how they interact with the world/how the world interacts with them?\n- Does it create any specific problems? For example, a princess will have different problems than a chef.\n- What faux pas could your main character commit that leads to some kind of misunderstanding or issue?\n- Are there other unspoken rules and expectations your character breaks?\n- How strict are the laws and regulations in society? Does your main character have to break one to continue on their journey?\n- If they do have to break some law, does this put them in danger with the authorities?\nEverything comes back to your characters\nWhen you\u2019re thinking about setting, everything circles back to how it hurts or helps your character(s) on their journey. And by considering the complex layers that go into any society, you can create a more interesting, engaging experience for your readers.\nNeed a writing exercise?\nAs you continue working on your worldbuilding, you might find you\u2019re still struggling to nail down some of these details. If that\u2019s the case, don\u2019t worry! The writing exercise below should help.\nImagine your friend is visiting your fictional world for the very first time. Surprise\u2013you\u2019re their tour guide!\n- What landmarks do you show them?\n- How do you explain the political and economic systems?\n- What clothes would you have them wear during the summer to blend in? The winter?\n- What \u2018day-in-the-life\u2019 activities would you have them do to get a taste of your world\u2019s life?\n- Think about food next; what food would you have them try?\n- What details in this fictional world would engage their five senses? How would these details make or break their visit?\n- For example, do you take them by the fish market at the docks on a summer day? That probably wouldn\u2019t smell great and could be a negative factor on this tour.\nNeed help with your project? Learn more about my editing and coaching services.\nIf you found this post helpful, consider sharing it on Pinterest!", "id": "<urn:uuid:47c6147e-a7a3-4671-a5ef-3e1c2ab0f02a>", "dump": "CC-MAIN-2023-14", "url": "https://btleditorial.com/2021/07/06/setting-as-a-character/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950383.8/warc/CC-MAIN-20230402043600-20230402073600-00316.warc.gz", "language": "en", "language_score": 0.952326238155365, "token_count": 1163, "score": 3.6875, "int_score": 4}
{"text": "What is a comma splice?\nMost writers and editors learn not to join (or splice*) two independent clauses with a comma alone. The comma splice, also known as a comma fault (both terms are in Merriam-Webster), is widely considered to be an error.\nHere\u2019s an example of a comma splice:\nA period is stronger than a semicolon, a semicolon is stronger than a comma.\nThe result is a type of run-on sentence,\u2020 and again, most writers and editors (and teachers too) will see this as an error. Most of us also know how to fix such an error\u2014for example, by replacing the comma with either a semicolon or a period or by supplying a coordinating conjunction:\nA period is stronger than a semicolon; a semicolon is stronger than a comma.\nA period is stronger than a semicolon. A semicolon is stronger than a comma.\nA period is stronger than a semicolon, and a semicolon is stronger than a comma.\nIn most prose, creative or otherwise, any of these alternatives will be an improvement over the comma splice.\nIs a comma splice ever \u201ccorrect\u201d?\nEven Strunk and White recognized that a comma splice is sometimes the best choice. For example, where the clauses are repetitive and short, a comma splice can work well, especially if the tone is informal:\nA comma splice isn\u2019t an error, it\u2019s an option.\nA comma splice isn\u2019t an error; it\u2019s an option.\nA comma splice isn\u2019t an error. It\u2019s an option.\nA comma splice isn\u2019t an error\u2014it\u2019s an option.\nA comma splice isn\u2019t an error (it\u2019s an option).\nA comma splice isn\u2019t an error, so it\u2019s an option.\nEach alternative introduces a different emphasis. The comma, the weakest of the available marks, suggests the closest possible relationship between the two ideas. A semicolon provides a more formal way of conveying a close relationship. A period marks a definitive break (a full stop, in British parlance). A dash is abrupt and emphatic. A parenthesis presents the second clause as . . . (well, parenthetical). A conjunction implies a specific relationship between the two clauses.\nWhich alternative you choose will depend on context and tone.\nOK, but what about fiction?\nIn fiction, comma splices are less of a big deal. The classic example is from A Tale of Two Cities, by Charles Dickens:\nIt was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way\u2014in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.\nAn overzealous editor would\u2019ve fixed all of that (while also removing the comma before \u201cthat\u201d) without another thought:\nIt was the best of times; it was the worst of times. It was the age of wisdom; it was the age of foolishness. . . . We were all going direct to Heaven; we were all going direct the other way. In short, the period was so far like the present period that . . .\nTo be fair, the punctuation in the rest of the novel is more conventional; in fact, it\u2019s filled with semicolons, not comma splices. (Dickens is so nineteenth century.) But in that famous catalog of dichotomies that opens the book? Anything other than commas would have spoiled the momentum.\nComma splices are especially suited to dialogue or interior discourse, in part because people repeat themselves. Consider the opening sentence of the third and final section of Virginia Woolf\u2019s novel To the Lighthouse (first published in 1927):\nWhat does it mean then, what can it all mean? Lily Briscoe asked herself, wondering whether, since she had been left alone, it behooved her to go to the kitchen to fetch another cup of coffee or wait here.\nAnother question mark in place of a comma\u2014\u201cWhat does it mean then? What can it all mean?\u201d\u2014might suggest a little too strongly that Lily Briscoe is demanding an answer rather than taking refuge in her own thoughts to begin to make sense of the passage of time and the people that it leaves behind (as a writer or an artist might do).\nIn creative writing, of course, you can do whatever you want . . . right?\nNot quite. Every style, no matter how innovative, needs to adhere to some sort of logic to be effective. Consider the opening sentences from Blindness, a novel by Jos\u00e9 Saramago that was first published in 1995 in Portuguese and then translated into English by Giovanni Pontiero and published in 1997:\nThe amber light came on. Two of the cars ahead accelerated before the red light appeared. At the pedestrian crossing the sign of a green man lit up. The people who were waiting began to cross the road, stepping on the white stripes painted on the black surface of the asphalt, there is nothing less like a zebra, however, that is what it is called.\nAn editor might have fixed that fourth sentence as follows:\nThe people who were waiting began to cross the road, stepping on the white stripes painted on the black surface of the asphalt. There is nothing less like a zebra; however, that is what it is called.\nOK, but in Saramago\u2019s universe, wherever one observation leads directly to another, a comma rather than a period intervenes. As the novel progresses, this associative logic becomes the new normal. (It\u2019s a little more complicated than that\u2014for example, there are no quotation marks, and speakers are introduced midsentence with nothing more than a comma and an initial capital.)\nThis absence of the usual signposts\u2014and especially the lack of periods that might tell us when one sentence has ended and another begun\u2014is disorienting. But in this novel, in which an unnamed city experiences an epidemic of blindness, and once-familiar surroundings must be relearned, Saramago\u2019s style makes sense.\u2021\nAgain, the key to making any of this work is consistency. Always be able to cite a reason for any creative choice, and work to make it seem effortless. If readers understand what an author is up to and feel invited to follow along, then you will know that you\u2019ve succeeded.\n* To splice (not to be confused with slice) is to combine or unite; it also has a slangy sense denoting marriage.\n\u2020 But: \u201cSome grammarians distinguish between a \u2018run-on sentence\u2019 (or \u2018fused sentence\u2019) [no punctuation] and a \u2018comma splice\u2019 (or \u2018run-together sentence\u2019).\u201d See Garner\u2019s Modern English Usage, 4th ed. (New York: Oxford University Press, 2016), 803. In practice, however, comma splices are often classed along with fused sentences as run-ons.\n\u2021 Or at least it made sense to me, years ago, when I last read the book. Saramago\u2019s comma splices aren\u2019t for everyone.\nPhoto by Marco Verch (adapted for post), licensed under CC BY 2.0.\nFiction+ posts at Shop Talk reflect the opinions of its authors and not necessarily those of The Chicago Manual of Style or the University of Chicago Press.\n~ ~ ~\nRussell Harper is editor of The Chicago Manual of Style Online Q&A and was the principal reviser of the last two editions of The Chicago Manual of Style. He also contributed to the revisions of the last two editions of Kate L. Turabian\u2019s A Manual for Writers of Research Papers, Theses, and Dissertations.\nThe Chicago Manual of Style, 17th edition\nOrder the book\nPlease see our commenting policy.\n3 thoughts on \u201cComma Splices and Run-On Sentences\u201d\nAs an American who used to write a regular column for a British publication, I can confirm that my Brit editors removed a good three-quarters of my commas. It made the thing nearly unreadable, but they were signing the checks!\nThe use of the commas in the Saramago fourth sentence makes the \u201chowever\u201d ambiguous. I had to read it several times.\nI\u2019ve always thought American English touchier about this than British English.\nComments are closed.", "id": "<urn:uuid:ae2211a8-77be-4c02-8998-7e76c379166b>", "dump": "CC-MAIN-2023-14", "url": "https://cmosshoptalk.com/2019/04/16/comma-splices-and-run-on-sentences/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945287.43/warc/CC-MAIN-20230324144746-20230324174746-00315.warc.gz", "language": "en", "language_score": 0.9557510018348694, "token_count": 1926, "score": 3.703125, "int_score": 4}
{"text": "History is the study of history. Events prior to the invention of written records are often regarded as prehistoric. \u201chistoric\u201d is a much more precise term, including all subsequent human events, the written record, and the historical record. \u201cThe history of history\u201d includes all human societies, all cultures, all time periods, all types of human activities, and all places.\nEarly medievalists, meaning historians, regarded the very early medieval texts as the ultimate history, or the blueprint of human society. The historians of the Middle Ages constructed their schools upon the premise of compiling and interpreting the history of the past, especially of Europe, from a particular perspective of the crusading Church. This was undertaken in the effort to counterbalance the damaging interpretations of some recent European authors. Historians of the Renaissance regarded the religiously centered, anti-clerical writers of the Renaissance as having ignored the intellectual and emotional needs of their times, leading to a fatal denial of human rights. Consequently, the Renaissance became a largely decisive point in the development of Western society.\nThe term \u201chistorian\u201d was first used by Jean-Martin Charcot, a French writer of the late thirteenth century. From this point on, the history department of most universities became a department of history. Later during the Reformation and the era of the Counter-Reformation, there was a separate discipline of history, often called the university of history. In the United States, the profession of history was made compulsory by the fourth amendment to the Constitution. Students who choose to major in history must complete a degree in any of the four-year colleges and universities, or a degree from a private, non-sectarian college or university. Some universities also require that the students specialize in a certain area of history.\nHistorically, the field of history is divided into two main fields: the social scientists, who study history as part of their studies in the social sciences; and the historians, who focus on primary sources, such as primary texts from which their reconstructions are based. Social scientists generally study society and history through the lenses of psychology, sociology, or history. Historians study history through the lens of history, which is to say that they analyze primary sources without relying on other fields for support. For example, literary works cannot be studied through literature, history must be analyzed with other disciplines. Primary sources, such as primary newspapers, diaries, and personal letters, can provide the most reliable information about primary events and the people who were involved in them, though other historians argue that certain types of primary sources are too subjective and unreliable.\nBoth political science and history can use primary sources to support their arguments. Unlike literary critics, historians make sense of history by looking at how the people in history formed their thoughts and decisions as the events unfold. Historical writers must also be careful not to romanticize ancient events or to present them in a way that gives them a slant against current politics or current conditions. If they do this, history may be seen as a justification for the status quo, rather than as an impartial form of information. As such many historians have tried to use different methods of research and writing history to show the viewpoints of those who were less fortunate than ourselves, while still trying to tell a story that tells the whole truth.\nWhile historians do face plenty of challenges in writing history, they have made tremendous progress in using primary sources to support their arguments. While secondary sources have played a major role in our understanding of history, historians have used primary sources to great effect to tell the stories of history. With the help of secondary sources, we have learned much more about the lives of people throughout the ages, and this has made historians much more accurate in their storytelling. This is another reason why historians should write history: because it is the story told through the minds of those who shaped the world around them.", "id": "<urn:uuid:bfe99ede-65dd-4154-b271-4d55e0889c80>", "dump": "CC-MAIN-2023-14", "url": "https://coloruza.com/should-i-write-history/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950373.88/warc/CC-MAIN-20230402012805-20230402042805-00116.warc.gz", "language": "en", "language_score": 0.9702111482620239, "token_count": 786, "score": 3.625, "int_score": 4}
{"text": "Learning Language Arts Through Literature\nLearning Language Arts Through Literature is a fully integrated language arts program that teaches grammar, reading, spelling, vocabulary, writing mechanics, creative writing, thinking skills and more.\nSing, Spell, Read & Write\nSing, Spell, Read & Write is a phonics-based program that uses a 36-step program of carefully sequenced steps to teach reading, writing, and spelling. More product information can be found here.\nExplode The Code\nExplode The Code provides a sequential, systematic approach to phonics in which students blend sounds to build vocabulary and read words, phrases, sentences, and stories. Frequent review of previously learned concepts helps increase retention. Each workbook in this series contains exercises that incorporate reading, writing, matching and copying. The consistent format of the books helps facilitate independent work. This series includes primers\u2014Get Ready for The Code, Get Set for The Code, and Go for The Code\u2014which introduce initial consonant sounds. In addition, Beyond The Code provides a comprehension component introducing basic comprehension skills with phonetically controlled stories. You'll find product information here.\nA Reason For\u00ae Handwriting\nA Reason For\u00ae Handwriting provides a fun, meaningful approach to developing effective handwriting skills. Each lesson is built around a Scripture verse chosen not only for proper letter combinations, but also inspirational content. \u201cBorder Sheets\u201d encourage students to share God's Word with others. You'll find product information about A Reason For\u00ae Handwriting here.\nMontessori Reading is a beginning reading and writing program for elementary aged children. This series of books introduce phonetic letter sounds, phonogram combinations, reading simple sentences, and reading and writing words that name everyday objects, animals, etc. A teaching guide and a child's journal are included.\nWriting Strands & Reading Strands\nThis program is based on research which shows that there is no useable relationship between the study of grammar as an abstracted skill and the ability to communicate. Writing Strands provides quality reading, writing and speech materials for homeschoolers with children ages 3 through 18. The guided exercises in Writing Strands progress incrementally and allow students to work independently, yet provide the guidance students need to sharpen their ability to inform, persuade and entertain in writing. Helps develop successful writing skills for your child\u2019s lifetime.\nAs an Amazon Associate, we earn from qualifying purchases. We get commissions for purchases made through links on this site.\nPattern Blocks and Boards\nThis set of 10 simply designed colorful wooden blocks and pattern boards includes 100 blocks in six different shapes and colors. They help develop shape recognition and spatial relationship skills. The contents store neatly in a durable wooden case. This games was awarded the Scholastic Parent & Child's 2004 \"Top 22 Toys that Make Kids Think\" award.\nCognitive Styles and Learning Strategies: Understanding Style Differences in Learning and Behaviour\nFirst Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.\nRecovering the Lost Tools of Learning: An Approach to Distinctively Christian Education\nAuthor Douglas Wilson makes the argument that education must have a foundation of religion, which informs worldview. Education is the asking and answering of questions, and learning to read and write is simply the process of acquiring the tools needed to do that.\nDon't Waste Your Time Homeschooling: 72 Things I Wish I'd Known\nTraci Matt, a veteran homeschool mom helps you make the most of your homeschooling efforts. She takes a look back at 20 years of successes and challenges, offering tested strategies to assist you on your home education journey. This book will help you learn ways to keep a peaceful home, stay out of the isolation trap, practice self-care, learn how to live with teens, and respond to the questions of others.\nResponsible Driving, Student Edition\nThis easy-to-read book features explanations of safe driving techniques and is used in many states as a textbook for in-class driving instruction. It is a great learning tool for a new driver and a good refresher for the more experienced driver.", "id": "<urn:uuid:d27ad8ef-d239-4237-a278-cf47f7f1814a>", "dump": "CC-MAIN-2023-14", "url": "https://www.homeschoolinginmichigan.com/subjects/writing/handwriting", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945372.38/warc/CC-MAIN-20230325191930-20230325221930-00117.warc.gz", "language": "en", "language_score": 0.9255416989326477, "token_count": 853, "score": 4.03125, "int_score": 4}
{"text": "3 Tips for a Calmer Classroom\nWhen it comes to your classroom community, the issues that cause the most disruption often boil down to one issue: students\u2019 impulsiveness. Whether your most common issue is students talking, not staying in line, or a lack of focus during transition periods, all of these problems center on a child not controlling their impulses.\nElementary students aren\u2019t exactly known for their self-control or long-term thinking. How then can we get students to be aware that they are often subject to impulses that do not benefit themselves or their peers? Here are three tips to help you guide your students to a place of awareness and self-control.\nCreate structure and guidelines. It\u2019s no classroom management secret that students thrive in structure. The difficult part is being consistent. Students must receive the same outcome for the same behaviors every single time. When feedback is not consistently given, students may feel unclear about the rules and push against expectations. If certain behaviors always lead to the same outcome, students are better able to control their actions within the guidelines you\u2019ve set out.\nHave fun with it! Many classic childhood games are impulse control games. Activities such as Simon Says and Red Light, Green Light allow students to practice control their impulses while having fun. As Dr. Bena Kallick says, \u201cWe shouldn\u2019t forget that learning is about the fun of it all!\u201d\nUse social stories to model and correct impulsive behavior. Storytelling has been the dominant method for teaching the why behind certain behavior rules since the dawn of time. Even though storytelling looks different now, the idea is the same! Students are able to empathize with and understand fictional characters in a way that leads to deeper internalization of behavior expectations. Children\u2019s stories such as Little Red Riding Hood and The Tortoise and the Hare make big lessons easily understandable to children. However, it can be difficult to find good social stories for classrooms. The Habits of Mind system teaches students sixteen problem-solving and critical thinking skills using the proven methodology of storytelling and animation. There is even a video addressing \u201cManaging Impulsivity\u201d for your students to enjoy! After watching these videos and creating a shared set of knowledge and expectations, the content can be referenced during behavior corrections to shift the tone of the discussion from accusatory to solution-oriented. For example, instead of \u201cStop yelling out!\u201d you can say \u201cHow did Chris feel when he managing his impulsivity?\u201d\nLearn more at www.habitsofmindkids.com!", "id": "<urn:uuid:1c4bb8e0-7dd8-416c-a04a-4d178a7fb515>", "dump": "CC-MAIN-2023-14", "url": "https://habitsofmindstore.com/blogs/news/3-tips-for-a-calmer-classroom", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949181.44/warc/CC-MAIN-20230330101355-20230330131355-00114.warc.gz", "language": "en", "language_score": 0.9513545036315918, "token_count": 540, "score": 3.578125, "int_score": 4}
{"text": "http://www.schrockguide.net/information-literacy.htmlRelated: Curriculum and Elementary Lesson Plans for Library Media \u2022 Digital Literacy \u2022 Library P\nExploring the Mystery Genre Unit Plan Culminating Activity: Meet the Detectives Event To conclude the mystery unit, invite parents to come to school for a special \"Meet the Detectives\" event. Students dress up as their favorite detective (or as a generic detective) and read the mystery they have written to their parents or other parents who visit. Arrange desks in a circle, and have students sit behind their desks and autograph detective pictures for the visitors. (Take pictures of each student with a detective hat, trench coach, and magnifying glass.\nNovember 2014: Literacies for the digital age: Media literacy This is the third in a series of blog posts highlighting the digital literacies our students will need to succeed. The first post dealt with financial literacy, the second with visual literacy, and this one will provide you with some ideas on how to infuse media literacy into the curriculum. The literacies I feel need to be explored, practiced and mastered by students can be found in the graphic below. There are many areas of media literacy. Poetry Writing Lessons for Kids - Kenn Nesbitt's Poetry4kids.com There are many different ways to write poems as well as lots of techniques you can learn to help you improve your writing skill. Here are many of the poetry writing lessons for children that I have created to help you become a better poet, including how to write funny poetry, poetic rhythm, poetic forms and other styles of verse, as well as lesson plans for teachers and video lessons. How to Write Funny Poetry\nStory Starters: Creative Writing Prompts for Students Ready to get students excited about writing? Story Starters is a fun, interactive tool for computers and iPads that generates writing prompts that include direction on character, plot, and setting. Your students will love watching the Story Starters' wheels spin. Information & Media Literacy Information & Media LiteracyWhat is Media? Media is ever changing and evolving. The school\u2019s media center used to be called a library. It was full of books and nothing much more than print media. Librarians have evolved into media specialists who have broadened their concentration to multimedia opportunities to engage students in their 21st century learning.\nBooks used for my Library Lessons Weeks 1-9! - Elementary Library Mama Books used for my Library Lessons Weeks 1-9! Elementary Library Mama 3:24 PM No Comments I am so grateful for the positive feedback for my first set of Library Lesson Plans! When I created these lessons, I wanted to use books that were tried and true for me as an elementary librarian as well titles that would be found in most libraries.\nHarriet Tubman: A Lesson on Character and Bravery Students should have basic knowledge of what slavery is and how the North and the South had extremely different views about slavery. Day 1: Introduction to Harriet Tubman Step 1: Open a class discussion by talking about the purpose of a railroad and a conductor. 50 Activities To Promote Digital Media Literacy In Students 50 Challenging Activities To Promote Digital Media Literacy In Students by Terry Heick Literacy is changing\u2013not at its core necessarily, but certainly at its edges as it expands to include new kinds of \u201creading.\u201d Digital media is quickly replacing traditional media forms as those most accessible to most 21st century learners.\nBooks Used for My Library Lessons Weeks 10-18! - Elementary Library Mama Books Used for My Library Lessons Weeks 10-18! Elementary Library Mama 8:36 PM 1 comment I have now completed and released my second set of Library Lesson Plans! I'm excited to finally be able to share them with you! Here are the specific books that I use in my lesson plans for the Weeks 10-18.\nThe Journey to Civil Rights Day 1 Step 1: Assess prior knowledge and ask students what we celebrate during the month of February (Black History Month). Encourage students to think of various activities which are held throughout the school, city, and country. Why do we celebrate Black History Month? Explain to students that over the next few days, they will study an important era in black history that will help them better understand and appreciate historical events that helped shape our country's future.", "id": "<urn:uuid:b63c452f-dd05-4672-b7d0-235543560ecc>", "dump": "CC-MAIN-2023-14", "url": "http://www.pearltrees.com/u/46731339-information-literacy", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949331.26/warc/CC-MAIN-20230330132508-20230330162508-00316.warc.gz", "language": "en", "language_score": 0.9526967406272888, "token_count": 895, "score": 3.546875, "int_score": 4}
{"text": "Holes by Louis Sachar is a great book for middle school students. The book teaches kids about the value of making the right choices and the importance of friendship in one\u2019s life.\nPlot \u2013 Holes\nIn the story Stanley Yelnats, the protagonist struggles to escape the unfortunate circumstances he finds himself in. Young Stanley has been wrongly convicted of stealing shoes and is sent to a juvenile camp, Camp Green Lake to build \u201ccharacter\u201d. The detention center, Camp Green Lake (Not green at all!), is in the middle of a barren, dried-up desert, and the story of misery starts here. There is no lake \u2013 only a hot desert inhabited by yellow-spotted lizards whose venom results in a painful death. Not to mention an intimidating warden who keeps a strict check on all the boys and ensures that they complete the strenuous tasks of digging holes.\nHoles? Yes, all the boys in the detention center dig holes all day long. Not any ordinary holes \u2013 five feet wide and five feet deep holes. Stanley believes that the boys learn their lesson as they dig holes in the scorching heat with empty water bottles and little food supply. But it doesn\u2019t take him long to realize that there is more to making the boys dig holes. Search for treasure.\nWith every passing day, the job gets easier for the campers. Digging holes does not seem daunting anymore. It is only then that Stanley forms a strong friendship in the unfateful Camp Green Lake with another camper, Zero. That\u2019s when Stanely takes the matters into his hands\u2026\nClick HERE to find out more about Stanley and his struggle.\nSetting in Holes\nThe setting of the story is Camp Green Lake in Texas in the late 1990s. The name itself highlights verbal irony in that the Camp is a barren desert and nothing more. Here is a Setting Choice Board Activity for Holes that one can use in the classroom \u2013 perfect to build vocabulary, describe the setting and mood.\nThemes in Holes\nLouis Sachar teaches the theme of friendship, perseverance, compassion, and the impact of fate on one\u2019s life. As we read the story of Stanley\u2019s hardships, we feel empathetic towards him. But as soon as he takes the matters into his hands, things change for him.\nLiterary Devices in Holes\nLouis Sachar makes effective use of symbolism, flashbacks, and irony in the story. The title \u2018Holes\u2019 itself is symbolic as it signifies labor and misery. Onions symbolize hope and freedom, Zero is a symbol of friendship and company, and lizards symbolize death. The name of the lake itself is ironic as the lake is not a lake but a plain desert. Also, we see powerful use of verbal irony throughout the story.\nVocabulary in Holes\nThe vocabulary in Holes by Louis Sachar is pretty simple and easy to understand. Nevertheless, one can use these vocabulary resources, Holes Vocabulary & Flashcards for practice.\nHoles By Louis Sachar \u2013 Book and Movie Adaptation\nOnce you watch the movie adaptation of Holes, you\u2019d notice the differences between the story and the movie. These Holes Movie Book Comparison Chart Response Question Cards serve as the best tool to analyze the understanding of the book and the movie.\nHoles By Louis Sachar \u2013 Teaching Resources & Activities\nHere I am sharing some teaching resources and activities for you to try in your classroom.\n- Watch the movie after finishing the story and have students use Comparison Charts as or after they watch the movie adaptation of Holes.\n- Allow your students to choose their end-of-the-book projects and showcase their understanding in a fun and exciting way. These Holes Project Task Cards won\u2019t disappoint you and your students.\n- These setting, vocabulary, and creative writing activities are just perfect to use throughout the unit. These are perfect for printing and distance learning \u2013 the Google Slides version is my favorite.\n- These vocabulary cards can easily be printed and laminated for literacy stations or group activities. You won\u2019t have to instruct your students to make the vocabulary column or write down the definitions again.\nHere is a FREE lesson plan for you to teach setting in Holes.\nEnjoy teaching this novel and if you do use one of the resources above, do comment below and let me know how it went.", "id": "<urn:uuid:91c0a166-2210-4e3c-9af7-1833787fd0c1>", "dump": "CC-MAIN-2023-14", "url": "https://abeezjournal.com/literature/novels/holes-by-louis-sachar-book-review-teaching-resources-and-ideas/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949573.84/warc/CC-MAIN-20230331051439-20230331081439-00316.warc.gz", "language": "en", "language_score": 0.9242909550666809, "token_count": 914, "score": 3.671875, "int_score": 4}
{"text": "Mathematics is not just a tool. It is a language, and a way of thinking and engaging with the world. Mathematical Thinking introduces students to the history, power and creative potential of mathematical and quantitative thinking and familiarizes students with some basic problem solving strategies. This course aims to give students an experience of contemporary Mathematics. One can see that Mathematics is driven by ideas, not by calculations. It is both beautiful and powerful, and it combines precision with the greatest creativity. En route, students develop a set of broadly useful problem-solving skills, gain experience in precise thinking and writing, and encounter some of history\u2019s landmark ideas.\nThe course will begin with the origins of quantitative thinking vis-a-vis the number system and its evolution. This will be followed by a discussion of methods in problem solving and estimation, using real-world examples. We will then delve into the world of abstracts, i.e., set theory, geometry, graph theory, probability, and logic. Students will learn how some of these tools can be utilised to study (i) fairness in division of scarce resources, (ii) collective decisions in committees and democracies around the world (voting methods), and (iii) applications to finance- decisions regarding investments and returns. By the end of the course, students would have a basic understanding of the most widely used mathematical tools in the liberal arts. They will learn how to approach different problems from nature and society- by reducing the problems to their bare essentials and to analyse their underlying structural and logical patterns.\nFor many mathematicians and scientists, life is about solving puzzles.\nMuch of high school mathematics can be viewed as a series of puzzles to be solved. Sometimes solving a puzzle requires one to experiment and find patterns. At other times just thinking logically or geometrically is enough.\nYou will work with your group to solve puzzles, and then write up the solutions on your own. No prior knowledge of mathematics is required to be able to solve the puzzles. But you will be required to use some computer algebra and some basic programming (which you have to pick up with the help of your group) to experiment and find patterns. The objective is to develop a taste for problem-solving and learn (with the help of some friends) the pleasures of getting creative ideas.\nThere is a further book reading component to the course\u2026a book review. There will be a different book assigned to each group. The objective is to gain an appreciation for mathematics and how it is used in the world around us. In addition, the group has to present their book. Past presentations have involved making movies, writing and enacting plays, writing poetry, and various unique ways of storytelling.\nAt the end of the course, I expect students to gain an appreciation for mathematics, learn something about its culture, and experience the joy that accompanies a creative idea.\nThis course is structured on observations of the world around us as well as data regarding it, on reasoning about these observations, and on using mathematics to advance this reasoning. What is the notion of infinity and are there different types of infinities? How do pandemics start and grow? How can we tell if data is being faked? How can we read graphs and understand them? How can we figure out if data is being presented in a way designed to fool us? How can we make intelligent guesses as to the magnitude of things, e.g. how many auto-rickshaws are there in Delhi? Which COVID-19 tests are better \u2013 the PCR tests or the Rapid Antigen tests and why? What sorts of cognitive fallacies should we be aware of? What is the idea of a function?\nThe course will stress estimation and approximation techniques, including order-of-magnitude arguments, the ability to understand graphs and plots, an understanding of geometric arguments, a feeling for how different functions \u201cshould\u201d behave, probability and statistics including Bayesian methods and related questions. Some part of the course will describe models, how to construct them and how to interpret them. I will choose a range of examples and show how to reason quantitatively about them. The course itself is dynamic and its content changes from year to year in terms of the examples that will be used and the ideas that will be stressed, since I would like to use current examples as far as possible.\nWe all encounter prime numbers for the first time in secondary school: a natural number is called a prime if it has exactly two divisors, viz. 1 and the number itself eg. 31. We also learn that every natural number can be written as a product of its prime factors \u2013 for example 2022 = 2 \u00d7 3 \u00d7 337.\nThis is merely the beginning of a long story in which mathematicians working in the area of \u2018Number theory\u2019 have been unravelling the properties of prime numbers for thousands of years and yet the story is far from over \u2013many questions about prime numbers remain unsolved!\nDetermining whether a number is prime or not (primality testing) has interested mathematicians for long. In recent times, attention has focused on tests that run efficiently on a computer, because such tests are an integral part of several widely used systems for encrypting data on electronic devices e.g. for e-commerce transactions or internet banking. Primality testing plays a crucial role in the widely used RSA algorithm, which we shall learn about in this course, whose security relies on the difficulty of finding a number\u2019s prime factors. In the summer of 2002, computer scientist Manindra Agarwal and his then students Neeraj Kayal and Nitin Saxena, all from IIT Kanpur, discovered an efficient and deterministic test for the primality of a natural number (\u2018PRIMES is in P\u2019) which subsequently appeared in the Annals of Mathematics in 2004.\nThe objective of this foundation course is to understand the Agarwal\u2013Kayal\u2013Saxena algorithm (AKS algorithm) without requiring any prior knowledge beyond general quantitative skills and the ability to think mathematically. As part of this course, we will develop the prerequisites from mathematics and theoretical computer science required to understand the AKS algorithm and to appreciate its elegance and importance.\nRempe-Gillen, Lasse and Waldecker, Rebecca, Primality Testing for Beginners, Student Mathematical Library Vol. 70, American Mathematical Society, Providence, RI (2014).\nAgrawal, Manindra and Kayal, Neeraj and Saxena, Nitin, PRIMES is in P, Ann. of Math. Vol. 60(2), 781-793 (2004).\nBornemann, Folkmar, PRIMES is in P: a breakthrough for \u201cEveryman\u201d, Notices of the AMS, Vol. 50(5), 545\u2013552 (2003).\nRobinson, Sara, New Method Said to Solve Key Problem In Math, New York Times, Section A, Page 20, August 8, 2002.\nFaculty Name: Ravindra B Bapat\nDepartment: Mathematics | Semester: Monsoon 2022\nMathematics is not just a tool. It is a language, and a way of thinking and engaging with the world. Mathematical Thinking introduces students to the history, power, and creative potential of mathematical and quantitative thinking and familiarizes students with some basic problem-solving strategies. This course aims to give students an experience of contemporary Mathematics. One can see that Mathematics is driven by ideas, not by calculations. It is both beautiful and powerful, and it combines precision with the greatest creativity. En route, students develop a set of broadly useful problem-solving skills, gain experience in precise thinking and writing, and encounter some of history\u2019s landmark ideas.\nThe course starts with an excursion into visiting numbers through the ages culminating with a discussion of the power of zero. As you progress through the course, various concepts in Mathematics will be visited learning their use in your daily life. You will discover if elections of any sort can be fair to everyone. You will learn about the notion of randomness and how it can be used in studying uncertain phenomena. You will know about the power of modelling a situation using graph theory and a variety of uses it can be put to.\nIf you have not done serious mathematics in school or if you are scared to take a mathematics course don\u2019t worry. You will learn it with others who will give you a helping hand.\nThis is an introductory course intended for students who want to learn the basics of computing and computational thinking. No prior programming experience is expected, though it helps to be \u201ccomputer literate\u201d.\nWe will delve into computational thought and the principles which underlie modern computer science and programming. There will also be some discussion of the history and evolution of current computation and the internet. Students will learn how to write simple code and express algorithms in the form of pseudocode. In terms of algorithms, we will cover some sorting and searching, as well as a number of basic computational tools and techniques. We will also discuss the inherent complexity of problems, the limits of computation, and the scope and limits of modern AI and ML.\nNote: Even if you have prior exposure to programming, this course may have something new to offer \u2013 especially on computational thinking.\nIn this course, we will try to understand each of the words in the course title carefully. We will try to figure out how to quantify objects, how to reason, and what it means to reason. We will try to see if we can pinpoint what Mathematics is and maybe learn some Mathematics in the process. We will also try to figure out if \u201cMathematical\u201d thinking is really a thing as opposed to just thinking!\nAlong the way we will pass through the following turns:", "id": "<urn:uuid:9da46c89-ac3f-43d7-9cc3-2bebcee66008>", "dump": "CC-MAIN-2023-14", "url": "https://www.ashoka.edu.in/courses/quantitative-reasoning-and-mathematical-thinking/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00516.warc.gz", "language": "en", "language_score": 0.9426124095916748, "token_count": 2021, "score": 4.1875, "int_score": 4}
{"text": "Religious Education Intent\nWe believe that it is vital for all our pupils to learn from and about religion, so that they can understand the world around them. Through religious education, pupils develop their knowledge of world faiths. They will gain an awareness of the beliefs, values and traditions of other individuals, societies, communities and cultures, as well as tolerance and respect for each other. Pupils will ask questions about the world and reflect on their own beliefs, values and experiences\nReligious Education Implementation and Impact\nWe use the London Borough of Hammersmith and Fulham's Religious Education Agreed Syllabus, Living Difference. Hammersmith and Fulham is an increasingly diverse Borough. The Agreed Syllabus was written by experts who brought together representatives of the major world faiths and humanism to adopt a syllabus to be used as a basis for teaching children and young people of all ages and abilities.\nFor further information about the syllabus please see: https://www.lbhf.gov.uk/sites/default/files/section_attachments/sacre_re_syllabus_final.pdf\nIn Nursery and Reception, children engage with festivals reflecting the beliefs of their current cohort.\nIn years 1 and 2, children learn about concepts that are common to all people \u2013 special, remembering, belonging, storytelling, celebration and authority - through Christianity, Islam, Buddhism and Hinduism.\nIn years 3 and 4, children learn about concepts that are shared by many \u2013 holy, God, ritual, worship, community and symbol - through the lens of Christianity, Judaism, Humanism and Sikhism.\nIn year 5, children learn about concepts that are shared by many religions \u2013 wisdom, justice and pilgrimage - through the Christianity, Judaism, Sikhism, Islam, Buddhism, Hinduism and Humanism.\nIn year 6, children learn about concepts that are distinctive to particular religions:\nChristianity (sacrifice), Judaism (freedom), Sikhism (sewa), Islam (khalifah), Buddhism (dukkha) and Hinduism (devotion), with some comparisons to Humanism and other worldviews.\nChildren learn the religious knowledge through concepts using enquiry skills. Lessons are planned using this sequence in each unit:\nThe syllabus is consistent with the United Nations Convention on the Rights of the Child and supports our school\u2019s work on rights respecting education (RRE):\n- Communicate and Enquire: Article 12: respect for the views of the child.\n- Apply: Article 13: freedom of expression.\n- Evaluate: Article 14: freedom of thought, belief and religion.\n- Contextualise: Article 30: children from minority or indigenous groups.\nOur school values the importance of visiting places of worship and speaking to members of our community who have expert knowledge on religions to deepen our understanding of these concepts. Every year group visits at least one place of worship each academic year and by the end of year 6, children will have visited a corresponding place for each religion studied.\nLessons are planned and delivered in a variety of ways so that all children can participate fully. Interactive, practical activities, including outdoor learning, linked to the themes in the syllabus and other subjects where appropriate, encourage our pupils to discuss their ideas and extend their understanding of difficult concepts and challenging questions.\nPupils' progress in RE is based on the expected outcomes and assessment criteria outlined in Living Difference. These outcomes form the basis of our school assessment. Pupils are assessed through class discussions and in the learning in their books.\nThe cycles of enquiry, forming our curriculum, encourage children to use their own experiences and the experiences of others to develop a deeper understanding of the world around them. It is helpful for the children to be exposed to many of the similarities between religious beliefs and the concepts they have in common. This is vital in a world where views are becoming more polarised and extremist ideologies are so accessible on the internet.\nOur children learn to respect those with different beliefs and celebrate diversity whilst finding common ground on important values which guide religious and non-religious people.\nProgression of skills and knowledge\nOur \u2018RE subject progression of skills and knowledge \u2018 document gives further information about what the children are taught in this subject by year group.\nRE progression of skills and knowledge\nWe use the London Borough of Hammersmith and Fulham\u2019s Religious Education Agreed Syllabus (AS) this has been modified and adapted for use in Hammersmith & Fulham Schools.\nHammersmith and Fulham is an increasingly diverse Borough. The Agreed Syllabus was written by experts who brought together representatives of the major world faiths and humanism to adopt a syllabus to be used as a basis for teaching children and young people of all ages and abilities.\nFor further information about the syllabus please see below: Living difference 3 - Hammersmith and Fulham Agreed Syllabus", "id": "<urn:uuid:f0e3271c-6c24-4b4c-9842-82a63c8c02fc>", "dump": "CC-MAIN-2023-14", "url": "https://brackenbury.lbhf.sch.uk/Religious-Education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948965.80/warc/CC-MAIN-20230329085436-20230329115436-00516.warc.gz", "language": "en", "language_score": 0.9315505623817444, "token_count": 1046, "score": 3.953125, "int_score": 4}
{"text": "Genre and the Forms of Writing\nWriting is a skill. It is, in a way, it's own language. And yes, I have heard those who insist that it requires \"talent,\" or that it \"can't be learned\" or \"can't be taught.\" To this, I point out that writing is language. We teach foreign languages all the time \u2014 we expect students to learn foreign Spanish and French and similar. It just so happens that the foreign language I teach is an archaic paper version of the conversational English that most of my students speak at home. And depending on what genre of writing you're engaged in, that language will change.\nWhen we discuss writing in our everyday lives, we often only mean the specific act of placing words on a page or a screen. You might write a diary entry by placing pen to notebook, or you might write a Facebook post by sharing a photo from your phone and then tapping out a quick description with your thumb.\nClearly, writing a diary entry isn't at the same as writing a text message. One involves a pen and paper and the audience of your future self, while the other involves an internet connection and a number of your friends and family. These differences in types of writing are called Genres. You're likely familiar with genres of movies or books or music. We all know that horror movies are very different from romantic comedies, and we know there are certain \"rules\" that define these genres. For example, you likely won't call something a romantic comedy if it features a vengeful ghost who splatters blood across every scene.\nWhen we discuss genre, these \"rules\" and expectations are known as the Genre Conventions. We expect horror movies to be scary just as we expect heavy metal music to be loud and as we expect the Russian novel to be long and intricate. These Audience Expectations influence and sometimes even define the genre conventions.\nBear in mind, however, that genres are flexible. You can have a horror movie with a love story. A metal band might pause the overpowering and ground-shattering squeal of the beat to pluck out a guitar solo. Not all Russian novels are War and Peace.\nVideo: \"What is a Genre?\": A Literary Guide for English Students and Teachers\nIn this video, Professor Ehren Pflugfelder explains how genres consist of common and recurring features that help audiences know what to expect.\nVideo: What Is [a movie] Genre?\nStill trying to make sense of genre? Dapper Mr. Tom on YouTube explains how movie genres differ. Note that movies are themselves a genre, but the genre of movies has additional subgenres, as explained here. Normally, we just use \"genre\" to describe each subgenre.\nGenres Apply to All Forms of Communication\nWhen I teach, I often see confusion about what genre actually means. In English Composition courses, we rely upon one fundamental definition: genre is about categories of communication.\nHence, text messages are a genre. Tweets are a genre. Resumes are a genre. We call them genres because they have different conventions to fit their different purposes, and they aren't interchangeable. If you submit a text message to human resources instead of a resume, the hiring manager won't call you back. If you text your best friend with a copy of your resume, they'll simply assume you're asking for help with revisions. Either way, you won't get a new job.\nComposition as Choice\nWhen we write, we make very different choices about what to share depending upon our chosen audience. When we discuss Composition, what we mean is the entire process of composing our thoughts and words into coherent forms of communication. Whether taking a moment to think about the day or spending a few minutes snapping pics to get the perfect selfie, sharing our words will always involve many steps beyond simply placing words on a blank slate.\nGenres are the categories of communication.\nGenre Conventions are the \"rules\" and expectations of a genre.\nAudience Expectations often depend upon the genre conventions. We expect writers and speakers to follow the \"rules\" of their chosen medium.\nComposition describes the entire process of composing our thoughts into coherent words, images, or other forms of communication.\nAuthors are the individuals who are producing a specific instance of communicate.\nPurpose is the reason we communicate a specific piece of information.\nAudience includes all the people who read, hear, or see our communication. We can have intended and unintended audiences.\nGenre Example: Text Messages\nWhen we compose words, we change our habits depending upon the genre we're writing. For example, a text message will usually be very quick, very direct, and forwarded instantly. Typos may slip in, and we'll use abbreviations and lower-case letters because this form of communication often requires a fast reply time. On the other hand, a resume requires a very \"professional\" appearance. We almost never send them right away, since it might take days or sometimes weeks to gather all the required information. Then you have to sit down and type it all out, making sure everything is formatted correctly. Texts may be short, but they can also be long, whereas a resume must often be exactly a single page long. Description and bullet points must be adjusted, years of work must be double-checked, and not a single typo may be allowed to remain. Sure, you might get a little nervous about sending a text to you crush, but for a resume? You might just rip your hair out. And then pull it together for the interview. Because those hiring managers will use multiple genres of communication to make sure you don't just sound good on paper, but that you actually sound professional in person. And don't get me started on business attire. Yes, our expectations of \"professional\" fashion can also be understood as genres of communication.\nHow We Study Genres in the Classroom\nRhetorical Genre Studies (RGS)\nGenre and Rhetoric are closely related: the ways we communicate fit withing specific sets of expectations depending upon how, when, and why we communicate. Rhetorical Genre Studies (RGS) is the exploration of these relationships.\nAcademic Readings on Rhetorical Genre Studies\nGenre: An Introduction to History, Theory, Research, and Pedagogy by Anis S. Bawarshi and Mary Jo Reiff. I particularly recommend the following chapters for composition instructors:\n\"Key Concepts in Rhetorical Genre Studies: An Overview\" by Natasha Artemeva\nCultural-Historical Activity Theory (CHAT)\nEvery time we communicate, we are taking part in a social and physical world of communication practices. Cultural-Historical Activity Theory provides a framework for examining the relative effects of these influences.\nSocial Expectations and Resources that Affect Texts:\n- Ecology: the physical tools and surroundings at every stage of the process.\n- Activity: the social habits and activities and writer engages in as part of production.\n- Representation: how people perceive the genres of communication, particularly their expectations of the conventions.\n- Production: the physical act of producing the communication.\n- Distribution: the physical means of disseminating communication to various audiences.\n- Reception: what audiences think of a specific act of communication.\n- Socialization: how a specific act of communication influences the perceptions or behaviors of audience members.\nVideo: Engestr\u00f6m's Activity Theory by Margaux De Vos\nAn overview of how activity theory is applied to collective groups. This helps illustrate why an understanding of social activity is important for understanding the function of genre within a given social system.\nAcademic Readings on CHAT\nCultural-Historical Activity Theory: Exploring a Theory to Inform Practice and Research, by Kirsten Foot. As Foot explains, humans work and communicate collectively \u2014 and CHAT offers a framework for relating social activity to communication.\nLet's CHAT: Cultural Historical Activity Theory in the Creative Writing Classroom, by David Disarro.\nResearching Contradictions: Cultural Historical Activity Theory Research (CHAT) in the English Classroom by Ian Thompson.\n\"Vygotsky's Neglected Legacy\": Cultural-Historical Activity Theory by Wolff-Michael Roth and Yew-Jin Lee Source. This explains how we can use CHAT to understand how students learn within the social spaces of our classroom.", "id": "<urn:uuid:3d42f24d-84de-4039-a234-7cc436226523>", "dump": "CC-MAIN-2023-14", "url": "https://udl.12writing.com/genre", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949701.0/warc/CC-MAIN-20230401032604-20230401062604-00737.warc.gz", "language": "en", "language_score": 0.9176134467124939, "token_count": 1748, "score": 3.78125, "int_score": 4}
{"text": "Fun Hands-On Kindergarten Telling Time Activities for Kids\nLearning how to tell time is a skill that students will use their whole life -- just like reading, counting and knowing their colors. Students begin learning this skill in kindergarten, but it can be difficult to grasp at first since the numbers on the clock have to be converted to minutes, which is a relatively complex task for this age. Activities for teaching kindergartners how to tell time should find ways to simplify the information.\nMake a Giant Clock\nGet kindergarteners up and moving by asking them to create a giant paper clock together. Using a large piece of craft paper that replicates a round clock face, invite students to use markers or paint to fill in the numbers of the clock. Mark each hour to make the marking easier for this grade. Include tags that show the corresponding minutes next to each number. Move the minute hand and ask students to shout out the numbers together. Students can also stand on the clock face and move their arms and legs to mark the hour and minutes.\nCreate an Events Clock\nHelp children associate the numbers on the face of the clock with times that they know well by creating an events clock. Assign students to make their own clocks on paper plates or construction paper that correspond to special times in the day, such as snack time, recess or story time. Label the clocks and mount them on the wall. Reference them throughout the day, asking students to point out the actual time and the event it signals. \"What time is it? 10 o'clock -- that's snack time!\"\nDo a Countdown\nHelp students understand seconds with an engaging countdown in class. Tie the activity with a special holiday, such as New Year's Eve, or use it for a reveal, such as unveiling the votes for what you will serve at your class party. Create a clock face using a paper plate and construction paper arms mounted on brads. Move the second hand as you count down the time. Ask students to count along together, and build as much excitement around the activity as possible. Use the countdown frequently, such as when heading out to recess or to lunch.\nMorning to Night\nPart of telling the time is understanding the difference between a.m. and p.m. Though a.m. and p.m. won't affect how the hands fall on the clock face, it will affect how students tell others the time or how they read it in reports. Help students understand the difference between morning and afternoon by asking them about common activities they do each day. Use the clock face to draw that time on the board. Write \"a.m.\" and \"p.m.\" next to the activities. Help students understand that some things that happen when the sun is down actually happen in the early a.m., or the morning, and things that happen in the afternoon are in the p.m.\nMaria Magher has been working as a professional writer since 2001. She has worked as an ESL teacher, a freshman composition teacher and an education reporter, writing for regional newspapers and online publications. She has written about parenting for Pampers and other websites. She has a Master's degree in English and creative writing.", "id": "<urn:uuid:eac7e3ee-ce10-4521-a168-ae534391c76a>", "dump": "CC-MAIN-2023-14", "url": "https://education.seattlepi.com/fun-handson-kindergarten-telling-time-activities-kids-5817.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943750.71/warc/CC-MAIN-20230322051607-20230322081607-00714.warc.gz", "language": "en", "language_score": 0.9634302258491516, "token_count": 655, "score": 3.75, "int_score": 4}
{"text": "Dutch physicists have just taken the first steps towards making a \u201cquantum brain\u201d by building a material that stores and processes information in a similar way to the human brain.\nIn many ways, the incredible capabilities of the human brain make it more powerful than supercomputers. Scientists have long been trying to replicate its functions to apply to computing, creating artificial neural networks that are inspired by biological neural networks \u2013 using nodes that act like artificial neurons, transmitting signals through synapse-like connections.\nBut instead of just creating software to process information in a similar way to a brain, what if we built hardware that actually mimics neurons?\nResearchers from Radboud University in the Netherlands have been working on this kind of hardware, called neuromorphic architecture. Specifically, they\u2019ve been building an intelligent and dynamic material that can learn by physically adapting itself \u2013 so it has brain-like plasticity.\nTo do this, they first learned how to store information in single atoms: the ultimate in high-density information storage.\nIn 2017, this was achieved by a US-led team for the first time, and shortly after the Radboud team also showed that they could do so with a single cobalt atom. By applying a voltage to the atom, they caused it to randomly shift between values of 0 and 1, mimicking a neuron \u201cfiring\u201d.\nNow their new study, published in the journal Nature Nanotechnology, describes how they constructed a network of these cobalt atoms on black phosphorous. They were able to pattern and connect the atoms, including mimicking the autonomous behaviour of neurons and synapses.\nThese ensembles of atoms were even observed to have an inherent adaptive property \u2013 the synapses changed behaviour based on their surroundings.\n\u201cWhen stimulating the material over a longer period of time with a certain voltage, we were very surprised to see that the synapses actually changed,\u201d says lead scientist Alexander Khajetoorians. \u201cThe material adapted its reaction based on the external stimuli that it received. It learned by itself.\u201d\nThis could lead to a much more energy-efficient way to store and process information. The growing global demand for computing capacity has a planetary cost: as data centres multiply, so too does their energy footprint.\n\u201cIt is clear that we have to find new strategies to store and process information in an energy-efficient way,\u201d says Khajetoorians.\n\u201cThis requires not only improvements to technology, but also fundamental research in game-changing approaches. Our new idea of building a \u2018quantum brain\u2019 based on the quantum properties of materials could be the basis for a future solution for applications in artificial intelligence.\u201d\nNext, the Radboud team will scale the system up even further \u2013 and attempt to understand why the system actually displays these interesting behaviours.\n\u201cIf we could eventually construct a real machine from this material, we would be able to build self-learning computing devices that are more energy-efficient and smaller than today\u2019s computers,\u201d says Khajetoorians. \u201cYet, only when we understand how it works \u2013 and that is still a mystery \u2013 will we be able to tune its behaviour and start developing it into a technology.\u201d\nOriginally published by Cosmos as Quantum brainiac\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:e0fbf783-fd06-4ec0-b0c7-b8fa43a0c92f>", "dump": "CC-MAIN-2023-14", "url": "https://cosmosmagazine.com/science/engineering/quantum-brainiac/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00115.warc.gz", "language": "en", "language_score": 0.9513909220695496, "token_count": 828, "score": 4.03125, "int_score": 4}
{"text": "As You Read\nTo build appreciation for the fun of repetition and rhythm, invite six choral reading groups of three or four students to say the lines assigned to them as you come to those lines in the story-poem and point to the choral-reading group.\nKi-pat, whose cows\nwere so hungry and dry,\nThey mooed for the rain\nto fall from the sky;\nTo green-up the grass,\nall brown and dead,\nThat needed the rain\nfrom the cloud overhead \u2014\nThe big, black cloud,\nall heavy with rain,\nThat shadowed the ground\non Kapiti Plain.\nGuided Reading Questions\n- What kinds of animals live on Kapiti Plain?\n- Which animals are wild and which kind is domesticated? (The cattle)\n- Why does Ki-pat feels such concern for the cattle? (He and his people depend upon cattle for milk, meat, leather, and so forth; Ki-pat's job is to care for the cattle; being domesticated, the cattle won't wander away in search of water as the wild animals do)\n- How does the plain change after the rains come?\nPersonal Response Questions\nUse the following questions to help your students make personal connections to the story:\n- How do you feel when your hometown needs rain and a raincloud above just won't burst open?\n- What part of this story seems like real-life? What part seems like make-believe? (Can an eagle-feather on an arrow really bring rain?)\n- Why is an eagle \u2014 unlike, say, a chicken or a robin \u2014 a good symbol for rain? (Eagles are powerful, and fly high in the sky where the rainclouds are.)\n- What story do you think Ki-pat tells his son about how to bring rain to Kapiti Plain?\nExtending Geography Skills: The Climate of Our Region\nStep 1: At the center of the board, place the words Climate in the (your region). On four spokes from the center, place the words Spring, Summer, Winter, Fall. Explain that climate means the usual kind of weather a region has at each season. Ask why Ki-pat waited so earnestly for rain. (Rainfall is scarce in all seasons on the plains of Kenya.)\nStep 2: Invite four cooperative learning groups to choose a season, discuss the kind of weather and weather-related events expected in your region during that season, and then assign roles for making pictures and writing accompanying poems about the season to read chorally, using the book poem as a model.\nStep 3: After groups have shared their pictures and poems with the class, post the finished work under the bulletin board labels. You may wish to record the groups' choral readings for students to listen to and discuss with a partner.\nScience: Keeping Weather Records\nStep 1: On poster paper, draw a calendar for this month, with space below each date for students to record facts about temperature, wind, and moisture. Invite volunteers to choose a day and collect and record the data through observation and by listening to local radio and TV weather reports. To build the concept that weather varies while climate is relatively constant, invite students to circle the days in which the reported weather conditions are expected during this month.\nStep 2: Invite interested students to write and share a Weather Log to trace Ki-pat's experience.\n|Grass is||Cattle are||No rain yet.|\n|getting brown.||thirsty. Cloud||Wild animals|\n|Sun is hot.||but no rain.||are leaving.|\nListening and Science: Being a Raindrop\nStep 1: Ask students to close their eyes and use their imaginations as you tell a story about how a raindrop forms and reaches Ki-pat's plain. Embellish the story-summary below with details of your own. When you finish, invite students to draw pictures to show their own ideas about how the story concludes.\nYou are a tiny speck of dust, stuck on a leaf on a tree on the Kapiti Plain. Everything around you is dry \u2014 the land, the plants, the holes that used to be filled with water. You can hear the cattle mooing for water.\nHere comes a dry wind! It blows you off your leaf and sends you high into the sky. You feel light as an eagle feather! Down below, you can see Kipat looking up at the sky, hoping for rain for the thirsty cattle.\nWow! Now things are getting bumpy! The wind has blown you into a cloud filled with millions of other specks of dust, and you are all bumping into one another. And you are getting wet, too! The cloud has water vapor in it, and the water is covering you and turning you into a raindrop! This cloud is getting very heavy and gray with you and all the other raindrops. Ki-pat is down there, looking up at the big, gray, heavy cloud, and scratching his head with worry, and hoping for rain.\nOuch! Ki-pat shoots his arrow right toward you into the cloud! Does the arrow do the trick, or is it that the cloud is so heavy with you and the other raindrops that you start to fall? Back to Kapiti Plain you go, surrounded by millions of other raindrops.\nLiterature and Creative Writing: Comparing Story Heroes\nStep 1: If your students have read other stories or poems featuring heroes who have helped their land or people (for example, She-Who-Is-Alone in The Legend of the Bluebonnet), invite them to enact or draw story-strips in which the heroes meet and tell one another about their experiences.\nStep 2: Suggest that the class watch the skits or study the stories to find out how the heroes are alike and how they are different. Likenesses and differences can be listed on a two-column chart.\nStep 3: Invite interested students to write their own stories about heroes, referring to the \u201calike\u201d column for ideas. Encourage students to think of real-life people they know or have heard about who are like the heroes in stories.", "id": "<urn:uuid:370211ef-64cb-4fd2-8224-7e0f0dd8f7aa>", "dump": "CC-MAIN-2021-17", "url": "https://www.scholastic.com/teachers/lesson-plans/teaching-content/bringing-rain-kapiti-plain-teaching-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00618.warc.gz", "language": "en", "language_score": 0.9400834441184998, "token_count": 1295, "score": 3.84375, "int_score": 4}
{"text": "Ponds are smaller bodies of water and tend to be prevalent in a lot of communities. When it comes to studying nearby pond ecosystems, students can participate in a variety of hands-on activities that allow them to explore the ecosystem first-hand and discover the types of life that exists within a pond.\nThe Utah Education Network offers a program called ExplorA-Pond which allows classrooms to upload pictures of local ponds and compare them to ponds uploaded by other classrooms around the world. Included with the pictures of the ponds are details about the size of the pond and type of life contained within it. Students can create a Venn diagram or other chart to compare and contrast a local pond with one that they discover on the website.\nHave students visit a local pond and take pictures of the pond and its surroundings. Take a lot of pictures and, once back at school, create a mural of the pond with butcher paper and paint. Students can label the various parts of the pond on the mural. Pictures of the students investigating the pond can be placed around the mural.\nCreate a Pond\nFind a large, clear, plastic storage container or a large aquarium. Place an inch or two of mulch at the bottom, followed by an inch or two of gravel. Add a few decayed leaves and some rooted pond plants. Add a little bit of pond water to the container. Let it sit for a day or two before filling it 3/4 full with water. Catch a couple of tadpoles, small fish or snails and add them to the container. Cover with a screen to contain escaping animals and watch them interact with their habitat.\nTake students to a local pond and have them perform a pond dip. Using a large net, have students make three or four sweeps of the pond. Place their finds in a large plastic bucket that has a little bit of pond water in it or clear glass jars with pond water. Have students sketch what they found in their sweep and then have them use a field guide or do research to identify their finds.\nAbout the Author\nStacy Zeiger began writing in 2000 for \"Suburban News Publication\" in Ohio and has expanded to teaching writing as an eighth grade English teacher. Zeiger completed creative writing course work at Miami University and holds a B.A. in English and a M.Ed. in secondary education from Ohio State.\nby the pond image by Quennie Chua from Fotolia.com", "id": "<urn:uuid:933b24c0-ae01-4771-bccb-475eb4d3a80e>", "dump": "CC-MAIN-2023-14", "url": "https://sciencing.com/school-pond-ecosystems-projects-6299565.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00516.warc.gz", "language": "en", "language_score": 0.94754558801651, "token_count": 518, "score": 3.84375, "int_score": 4}
{"text": "Unreal Engine is the world\u2019s most open and advanced real-time 3D tool. So how is this helpful for educators? I talked with Steve Isaacs about how this free resource can be used in classrooms. Unreal Engine is a game engine and a suite of game development tools for creating 3D video games, simulations and virtual reality experiences. It can be used in the classroom as an educational tool for teaching students programming, game design, and 3D modeling, among other subjects. Students can create and customize interactive 3D environments and characters, and then program how they behave using Unreal Engine\u2019s built-in scripting language, Blueprints. This can help students develop critical thinking, problem solving, and teamwork skills, while also providing them with real-world experience using industry-standard technology.\nJoin us in room 210AB for #unrealfutures: preparing students for careers in #interaftive3D. Learn about our free courses. Each course has students learn from industry professionals and create a project in @UnrealEngine.\u2014 Steve Isaacs #TCEA (@mr_isaacs) January 30, 2023\nGet here early. Free t-shirts for first two rows! pic.twitter.com/Q2BiDEYGGl\nWhat Age Group is Unreal Engine Aimed At?\nThe appropriate age group for using Unreal Engine in the classroom depends on the complexity of the projects and the students\u2019 prior knowledge and experience. However, Unreal Engine can generally be used for students starting from middle school (around ages 11-14) and up, as long as they have a basic understanding of programming concepts and 3D modeling. Upper level high school students and college students can also benefit from using Unreal Engine as they can tackle more advanced projects. The exact age range may vary depending on the specific needs and abilities of the students, as well as the goals and objectives of the teacher.\nThis is by Epic Games, is that Fortnite?\nFortnite is a popular video game developed using Unreal Engine. Unreal Engine is a game engine and a suite of game development tools created by Epic Games, the company behind Fortnite. The Unreal Engine provides the technology and tools for building high-quality 3D games and other interactive experiences, while Fortnite is a specific game created using that technology. In other words, Fortnite is a product built using Unreal Engine, and Unreal Engine is the technology platform that enables the creation of Fortnite and other games.\nThe goal of the Education Team at Epic is to soften the learning curve to provide an easy onboarding experience for educators to bring our tools to the classroom. We provide a variety of engaging resources as well as training and support for educators. They strive to support the education community to prepare students with for the workplace skills to meet the growing demands across a variety of industries related to Interactive 3D.\nWhat Types of Free Resources does Unreal Engine Provide for Teachers?\nUnreal Engine provides a variety of free resources for teachers, including:\n- Documentation and tutorials: Unreal Engine provides a comprehensive collection of documentation, tutorials, and other educational materials to help teachers get started and understand how to use the engine in the classroom.\n- Unreal Engine Learning Hub: This online resource provides a centralized location for teachers to access learning materials and resources, including tutorials, forums, and online courses.\n- Unreal Engine for Education: Unreal Engine for Education is a program designed specifically for teachers and students. It provides free access to Unreal Engine and its tools, as well as educational resources and support.\n- Example projects and assets: Unreal Engine provides a variety of example projects and assets, such as sample games, animations, and environments, that teachers can use as a starting point for their own projects or as educational resources.\n- Community resources: Unreal Engine has a large community of users who share resources, knowledge, and experience. Teachers can access these resources, including forums, blogs, and online tutorials, to get help and inspiration for their projects.\nOverall, Unreal Engine provides a wealth of free resources for teachers to help them incorporate the technology into their classrooms and provide engaging and educational experiences for their students.\nCan Unreal Engine be Used in a Math Classroom?\nUnreal Engine can be utilized in a middle school or high school math class. Unreal Engine provides a visual and interactive environment for students to apply mathematical concepts in a practical and engaging way. For example, students can use Unreal Engine to create 3D simulations and animations that demonstrate mathematical principles, such as geometry, trigonometry, and physics. Additionally, students can also use Unreal Engine to build games that incorporate math skills, such as solving puzzles or navigating through mazes. This can help make math more accessible and relevant for students, and enhance their understanding and retention of mathematical concepts.\nHow About for English Teachers?\nUnreal Engine can be used in the English classroom in several ways, including:\n- Storytelling and game design: Students can use Unreal Engine to create interactive stories and games, which can help them develop critical thinking, problem-solving, and creative writing skills. They can create characters, environments, and plotlines and use Unreal Engine\u2019s scripting language, Blueprints, to control their behavior and interactions.\n- Virtual world building: Unreal Engine can be used to create virtual worlds, where students can explore and interact with environments and characters. This can be used to bring classic works of literature to life, or as a platform for students to create their own original works.\n- Dramatic performances: Unreal Engine can be used to create virtual stage settings, allowing students to stage and perform scenes from plays or other works of literature.\n- Film and media studies: Unreal Engine can be used to create short films and animations, providing students with hands-on experience in film and media production. They can learn about camera angles, lighting, and special effects, while also developing storytelling and visual storytelling skills.\nOverall, Unreal Engine can be a valuable tool for teachers in the English classroom, providing students with a visual and interactive platform for learning, exploring, and creating.\n5 Google Search Techniques to Try Today\nUnlock the power of efficient online research with our blog post on 5 essential Google Search techniques every teacher should try today. Learn how to find accurate, relevant, and high-quality resources for lesson planning, student support, and professional development. Improve your search skills and save time, making your teaching experience more productive and enriching. Don\u2019t miss these valuable tips for mastering the art of searching!\n10 Hidden Google Jamboard Gems\nGoogle Jamboard, the interactive digital whiteboard from Google Workspace, has revolutionized collaboration both in and out of the classroom. Many users are familiar with its basic features, but there\u2019s so much more to discover. Explore 10 lesser-known features that will help you unlock the full potential of Google Jamboard.\nGamified Choice Boards\nChoice has many benefits to students in education to increase their motivation, efforts, and engagement. Gamified choice boards bring together the power of choice and the power of fun. Join Alice Keeler as she explains some options for creating a gamified choice board.\nThe ChatGPT Effect: Art Projects as the Key to Student Adaptation\nHow will schools handle the rapid shifts necessary to adapt to AI chatbots like ChatGPT? Adapt to ChatGPT with Art! Art makes learning more meaningful and personal. School should focus more on making great well balanced human being rather than competitors of technology.\nMagically Create Refrigerator Poetry in Google Slides\nAlice Keeler has added fun new features to Seating Chart Slides to allow you to create fun refrigerator poetry in Google Slides. From a list of words in a Google Doc, use the Add-on to magically create refrigerator poetry.\n100 Prompts for Teachers to Ask ChatGPT\nUsing ChatGPT effectively can not only save you time as a teacher but help you to innovate your classroom. Try these 100 Prompts for Teachers to Ask ChatGPT\n1 thought on \u201cWhat the Heck is Unreal Engine?\u201d\nYou must log in to post a comment.", "id": "<urn:uuid:b95d3b94-bcc6-4e8f-b6c7-1105c3461dea>", "dump": "CC-MAIN-2023-14", "url": "https://alicekeeler.com/2023/01/31/what-the-heck-is-unreal-engine/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943698.79/warc/CC-MAIN-20230321131205-20230321161205-00738.warc.gz", "language": "en", "language_score": 0.9255505800247192, "token_count": 1664, "score": 3.578125, "int_score": 4}
{"text": "The word \"peel\" can have several different meanings, depending on the context in which it is used. In general, however, it refers to the outer layer or covering of something, which can be removed or stripped away.\nOne common use of the word \"peel\" is in the context of fruit. When you peel a fruit, you remove the outer skin or rind, exposing the juicy flesh inside. This can be done with a knife or with a tool specifically designed for peeling, such as a vegetable peeler. Peeling is often done to remove inedible or tough outer layers, or to make the fruit easier to eat or prepare.\nThe word \"peel\" can also be used to describe the act of removing the outer layer of something else, such as a building or a piece of clothing. In these cases, the outer layer is often referred to as the \"peel,\" and the process of removing it is called \"peeling.\" For example, if you are renovating a house, you might peel off the old wallpaper to reveal the bare walls underneath. Or if you are repairing a pair of jeans, you might peel away the frayed edges of the fabric to create a clean, smooth edge.\nIn addition to these physical meanings, the word \"peel\" can also be used metaphorically to describe the process of revealing or uncovering something hidden or disguised. For example, you might say that someone is \"peeling back the layers\" of a mystery to reveal the truth behind it. In this sense, \"peel\" suggests a gradual, systematic process of discovery or revelation.\nOverall, the word \"peel\" is a versatile term that can be used to describe a wide range of actions and processes. Whether you are removing the outer layer of a fruit, a building, or a mystery, the concept of peeling suggests a process of stripping away or uncovering something hidden, exposing what lies beneath.\nThe spelling here soon became Peele. It was really sad to see a closed library when I was passing through the Mississippi Delta, i am not a librarian, but 18 years of doing this, you peel away things. The students will have to develop their writing techniques by planning various approaches that will help them write in-depth with proper evaluation and analysis. A noun or pronoun can be used between \"peel\" and \"back. The PEEL technique is used to write creative or academic essays. Note: This expression refers to not blinking and so not missing anything that happens, however quick. In this article, we will help you with the best techniques to write the PEEL paragraph.\nWhat is PEEL Writing? Tips & Trick to write a PEEL paragraph\nSome planks seem to have been removed and replaced with paper. They should be arriving any minute, so keep your eyes open. The techniques for writing are very simple, though the procedure can be complex. To remain vigilant or carefully watchful for something or someone. This is a tricky point as structuring and linking are critical. Many Down Peels were to be found in Lisburn and the nearby townland of Ravernet. Plan your essay, so that it is easily understandable and accessible to the reader.\nWheldon This done he inserted the blade under the bark, and peeled it off, as he would have taken the skin from a buffalo. To decorticate; to flay. For example, We should keep our eyes open for a change in the wind's direction, or Keep your eyes peeled for the teacher. The writer should remember the fact that he is writing for the audience, not for himself. There are more than 500 varieties of banana in the world: The most common kinds are Dwarf Cavendish, Valery, and Williams Hybrid bananas.\nStop peeling the bark off from those trees this instant! To remain vigilant or carefully watchful for something or someone. Present the examples that carry more information and are reachable in a direct way. On the left a folding sofa with textile over it. This will also describe your critical thinking process. Tell everyone to keep their eyes open for the health inspector. We find out that, somehow, higher-level officials within the DOJ and FBI were misleading the American people and the courts. The main goal of the essay should be to present the issue with solutions.\nThese fortifications included stone Pele or Peel towers with walls three to four feet thick. Brainstorm your ideas and write them in a paper. John Milton, Paradise Regained. This paragraph is also a fundamental part of the essay. Avoid using personal pronouns like I and me. You can be walking across Westminster Bridge full of noble thoughts at one moment and slipping on a banana peel the next. Let us say one example consists of metaphor and alliteration, choose the one which consists of metaphor.\nThe original peel appears to have been a structure of earth combined with timber, strengthened by palisades; but the later peel was a small square tower, with turrets at the angles, and a door considerably raised from the ground. Planning and research are other key aspects of writing. The Cavendish is the most common variety of bananas now imported to the United States. Keep your eyes peeled for a parking space. Afterwards he and his family migrated to Virginia and Tennessee before settling in Independence county, Arkansas in 1815. To the right, on a shelf or table, are a photo frame, a glass and a fan. He later prospered as a lawyer and politician in Arkansas and was able in 1875 to build himself a fine mansion in Bentonville, now known as the Peel Mansion Museum.\nMake them understand all the crucial points and the evidence you gave. I don't care what's in The Mueller report. Peeles settled in west Yorkshire near Skipton. They should be arriving any minute, so keep your eyes peeled. Sir Robert Peel was born in the town of Bury on February 5, 1788.\nAt each step of the peeling process we reveal a face along this interface. We heard she'll be doing a surprise inspection someday soon. Percolations on random maps I: half-plane models She wanted that peeling. And if you still need help you can probably find a YouTube video on how to cut and prepare any of these vegetables. I'll keep my eyes open. The family of Sir Robert Peel, the great Victorian statesman, was also originally Peele. From this origin developed the concept of the Peel tower, a tall defensive structure which was a relatively common feature of the countryside in the Border country between England and Scotland.\nOur assignment helpers have a great understanding of different forms of writing and know how to express thoughts without breaking the flow. Ground American Lamb 1 medium small red onion, peeled, finely diced 3 oz. A piece of clothing and a shelf hang on the wall. The electoral district was abolished in 1966 when it was redistributed between Peel South and Peel\u2014Dufferin ridings. Depart from a group, as in Ruth peeled off from the pack of runners and went down a back road.", "id": "<urn:uuid:fbebb7c3-3020-40a3-bf00-8c6cc58753d2>", "dump": "CC-MAIN-2023-14", "url": "http://opportunities.alumdev.columbia.edu/peel-meaning.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943483.86/warc/CC-MAIN-20230320114206-20230320144206-00113.warc.gz", "language": "en", "language_score": 0.9588258266448975, "token_count": 1445, "score": 3.625, "int_score": 4}
{"text": "\u00a1Feliz viernes a todos!\nTo all who are joining for the first time or who are following the posts each week, thank you for stopping by the blog! We are kicking off the new month by celebrating and acknowledging the personal histories of our families and communities. In light of this focus, I thought I\u2019d emphasize the importance of oral histories, traditions, and story-telling by highlighting a few interconnected resources, with a focus on La Llorona! As Keira mentioned in her \u201cSobre Octubre\u201d post, the myth of La Llorona can serve as a means of understanding story, history, and memory. Her\u2019s is a story that has been passed down as a myth among generations. By looking at how her story has endured and evolved, we can open up conversations about storytelling and oral histories within our own families and communities.\nSo, the first resource I highlight here details how the Latin American legend of La Llorona (the wailing woman, the weeping woman, the crying woman) has developed and changed throughout the years, both in Latin America and in the United States. The website also has a number of interviews from community members, each of whom give a different account of La Llorona\u2019s history, as they have been taught by their families. I particularly enjoyed the clips that described who La Llorona is, what she looks like, and what traditions have come about in her honor/memory. These interviews, along with the timeline, can be a great way to start conversations not only about La Llorona, but about storytelling and oral histories as a means to transfer traditions from one generation to the next.\nThe second resource is a lesson plan created to help teach students how to be storytellers with their own traditions and histories. The teacher starts by giving an example of an oral history, like La Llorona, and then proceeds to work with students to create their own stories. This lesson plan is particularly interesting because it allows the teacher to connect the process of storytelling to the genre of ancient epics and serves as a bridge from the students\u2019 own personal experiences to literature written many generations ago. The lesson plan has been aligned to the Common Core State Standards in New Mexico for grades nine through twelve, which are detailed under the standards tab for each grade individually. This plan also links to other related resources that can be used in conjunction with the one I have included above.\nUsing La Llorona as a starting point, the students can interactively create their own oral histories with the help of the lesson plan provided above. Even further, teachers can use commonly talked about oral traditions to connect what the students already know to what they need to learn! These resources can help incorporate Hispanic Heritage into common curriculum requirements, reviving the standard curriculum and making it more relatable. I hope these resources can bring to you and your students a new perspective on reading and relating to older materials, all in time for D\u00eda de los Muertos!\nWith warmest wishes,\nImage: Photo of \u201cLa Llorona\u201d Signs. Reprinted from Flickr user baldiri under CC \u00a9.", "id": "<urn:uuid:75ff87a6-a981-49e6-9e64-d1c7d9ceae11>", "dump": "CC-MAIN-2023-14", "url": "https://teachinglatinamericathroughliterature.wordpress.com/tag/anti-stereotype-curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945289.9/warc/CC-MAIN-20230324211121-20230325001121-00717.warc.gz", "language": "en", "language_score": 0.954918384552002, "token_count": 662, "score": 3.703125, "int_score": 4}
{"text": "Easter Bunnies Coloring Pages Printable\nThe best ways to promote creative writing\nYou can assist your child by using some of the suggestions listed below if you're looking for ways to encourage your children's creative writing.\n- Establish a working schedule and location. If you turn writing into a fun exercise that the whole family can enjoy, children will want to engage in it.\n- Take your child's suggestions into consideration. You might not like a character or story your child writes. Being honest will encourage your child to continue writing.\n- Give your child the option of dictation. Instead of editing, be a writer. Use the language your child would use.\n- When your child writes, let them make mistakes. Making writing enjoyable and improving creative fluency are the objectives. Postpone learning grammar and spelling classes for now.\n- If your child becomes confused, ask questions. You can learn more about the tale by asking the right questions.\n- Every phrase should be spoken out loud. Consider telling your child to read the story aloud one sentence at a time if they have difficulty staying on task or keeping their thoughts organized. Each phrase should be written separately. Write your own original stories and poems as an example of enthusiasm.\n- Be supportive of all forms of writing. Comic books, drawings, plays, songs, riddles, poems, and jokes.\n- Remind your child to speak in his or her voice. Instead of attempting to \"be poetic,\" it's crucial for children to learn how to express themselves, and so on.\nReasons why students should share their writing\nStudents have a built-in audience for their writing when they start sharing it in class, and it also shows them that we appreciate what they do.\nStudents receive automatic feedback when they share their writing. Whichever method you choose to use for sharing comments, will develop the student's writing.\nStudents' writing skills will keep getting better as a result of sharing their work with others and receiving comments, and they'll become more open to taking opportunities as well as risks.\nWhy it's important to write by hand?\nAn important life talent is handwriting. Children who can write effortlessly and precisely, for instance, are equipped to use writing to capture their ideas and their thoughts. Their thoughts can run when writing is automatic. Numerous school assignments and classes require writing from the students.\nChildren who can write well are more likely to spell and comprehend well. Additionally, it enhances knowledge retention and memory.\nFurthermore, having good handwriting is necessary for many duties later in life, including writing greeting cards, completing forms, and signing important papers.\nCute Easter Coloring Pages\nEaster Bunny Paper Dolls Printable\nPrintable Easter Bunny Bunting\nPrintable Easter Garland\nPrintable Easter Bunnies Coloring Pages for Kids\nEaster Bunny Coloring Pages Printable\nA Guide on How to Create Story with Children\nFor your youngster, attempting to write a story may be both an enjoyable and difficult task. Children will learn to organize what they think and convey their thoughts in a variety of ways using written language by creating and composing a story. You might be able to teach your children how to write their own stories by having them read the instructions below.\n- Consider a concept. get your kid to guess the potential outcomes of the story. A solution would be to create stories based on actual events.\n- Create a location and a character. Get your child to develop a character and a scenario.\n- The beginning. Every good child's story has a start, middle, and end. When they arrange the first scene, encourage your child to elaborate on their initial story concept.\n- The conflict. It might be pretty boring to read a story with no conflict. Tell them how a conflict develops and persuade them to develop one for their own story.\n- The turning point. A fascinating story has a turning point, which is typically at the center of the narrative. Ask them to come up with an idea that the reader wouldn't normally expect.\n- The resolution. Without a satisfying resolution, a good story cannot come to an end. Encourage them to make a connection between the disagreement and the turning moment to come up with a great resolution.\n- The ending. The best approach to wrapping up a story is with a satisfactory ending, so it is important to create a great ending.\nThe advantages of children telling their own stories\nYou can ensure that your children receive advantages like the following by letting them share stories:\n- Storytelling by children encourages original thought. When someone makes up a story, they are telling them something that has never been said before. Further creative pondering may be inspired by this.\n- Learning language is facilitated for children who share stories. It can inspire new forms of expression to discover the words to describe what actually occurred.\n- When telling stories to children, parents can teach them presentation techniques and organizational thinking. A child's self-confidence may increase if they can read aloud a story that they authored and created.\n- Children learn other topics better when stories are told to them. Making children the narrator is an excellent idea if you want them to learn more quickly. Children who are encouraged to share stories acquire new material more quickly and retain what they have learned.\nMore printable images tagged with:", "id": "<urn:uuid:fa82d2ec-7a98-4c5b-b0a5-861c43ab505c>", "dump": "CC-MAIN-2023-14", "url": "https://www.printablee.com/post_different-printable-easter-bunnies_110296/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948932.75/warc/CC-MAIN-20230329023546-20230329053546-00116.warc.gz", "language": "en", "language_score": 0.9545186161994934, "token_count": 1089, "score": 3.75, "int_score": 4}
{"text": "Second language acquisition is the process by which individuals learn a new language in addition to their native language. It is a complex process that involves a variety of factors, including the learner's age, motivation, and language exposure, as well as the nature of the target language and the teaching methods used. Research on second language acquisition has produced a wealth of information about how people learn languages and the factors that influence their success in doing so.\nOne important factor in second language acquisition is the learner's age. It is generally believed that younger learners are more successful at learning a new language than older learners, due to the fact that their brains are more plastic and receptive to learning new language structures. However, research has shown that older learners can also be successful at learning a second language, provided they are motivated and have sufficient language exposure.\nAnother important factor in second language acquisition is the learner's motivation. People who are highly motivated to learn a new language tend to be more successful in their efforts than those who are less motivated. This may be due to the fact that motivated learners are more likely to seek out opportunities for language exposure and to engage in language-learning activities on a regular basis.\nThe nature of the target language is also an important factor in second language acquisition. Some languages are more similar to the learner's native language than others, which can make them easier to learn. For example, speakers of Romance languages (such as Spanish, French, and Italian) may find it easier to learn other Romance languages due to their shared linguistic roots. On the other hand, languages that are more dissimilar to the learner's native language (such as Chinese or Arabic) may be more challenging to learn.\nFinally, the teaching methods used can also influence the success of second language acquisition. Research has shown that a combination of traditional classroom instruction and immersive language learning experiences (such as studying abroad or participating in a language immersion program) can be most effective in helping learners achieve fluency in a second language.\nIn conclusion, second language acquisition is a complex process that involves a variety of factors. Research on this topic has helped to shed light on the ways in which people learn languages and the factors that influence their success in doing so. By understanding these factors, educators and language learners can develop more effective strategies for language learning and improve their chances of success.\nImaginative writing refers to the use of creative and original ideas to tell a story or convey a message. It can take many forms, including fiction, poetry, and screenplays. The goal of imaginative writing is to engage the reader's imagination and evoke emotions, whether it be through a gripping plot or vivid descriptions of characters and settings.\nOne example of imaginative writing is the novel \"The Great Gatsby\" by F. Scott Fitzgerald. This classic work of fiction tells the story of the wealthy and mysterious Jay Gatsby and his tumultuous relationships with those around him. Fitzgerald uses vivid imagery and descriptive language to paint a picture of the lavish parties and decadent lifestyle of the Roaring Twenties, drawing the reader into the world of the novel.\nAnother example of imaginative writing is the poetry of Emily Dickinson. Dickinson was known for her unconventional style and use of vivid imagery, often drawing upon nature and personal experiences to convey deeper themes and emotions. In the poem \"Hope is the thing with feathers,\" Dickinson uses the metaphor of a bird to describe the feeling of hope, writing: \"Hope is the thing with feathers/ That perches in the soul/ And sings the tune without the words/ And never stops at all.\" The use of this extended metaphor helps the reader to understand and connect with the idea of hope on a deeper level.\nImaginative writing can also be found in the form of screenplays. One example is the movie \"Eternal Sunshine of the Spotless Mind,\" written by Charlie Kaufman. This unconventional love story follows the relationship between two characters who undergo a procedure to erase their memories of each other. Kaufman uses imaginative techniques such as nonlinear storytelling and surrealist imagery to tell the story in a unique and captivating way.\nIn conclusion, imaginative writing is a powerful tool for engaging the reader's imagination and evoking emotions. Whether it be through fiction, poetry, or screenplays, imaginative writing allows writers to bring their creative and original ideas to life, resulting in engaging and memorable works of art.", "id": "<urn:uuid:7f65366e-40bf-48aa-ba3c-de9752918408>", "dump": "CC-MAIN-2023-14", "url": "http://complianceportal.american.edu/imaginative-writing-examples.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943562.70/warc/CC-MAIN-20230320211022-20230321001022-00716.warc.gz", "language": "en", "language_score": 0.9567293524742126, "token_count": 887, "score": 4.0625, "int_score": 4}
{"text": "Learners are often keen to hear stories about the teacher's life (even if they are not 100% true!). Here are some ideas for creating richer, more varied personal anecdotes.\n- I wanna tell you a story\nLearners are often keen to hear stories about the teacher's life (even if they are not 100% true!). They are an excellent source of listening material but because students soon get used to a teacher's typical storytelling style, they can sometimes lack variety. Here are some ideas for creating richer, more varied personal anecdotes.\n- The teacher news\nTalk about what happened to you yesterday but in the style of a TV news programme. Before you start, tell the students what you are going to do and give a reason for listening by asking them to note down a summary phrase for each story. Then sit down at a table (like a newsreader). Start with the headlines then give short, fairly dramatic accounts of six or seven individual stories one by one. If you are feeling very adventurous, you could leave the table occasionally to perform short on-the-spot reports! At the end thank everyone for listening. A story told like this could be invented on the spot, but will clearly benefit from pre-class preparation and rehearsal. Once students have seen your show, they could make their own.\n- Playing with genre\nThe News programme (above) is an example of one genre that we don't usually use in classroom situations. Try telling stories in other unexpected voices e.g. a politician persuading you to vote for him (turn everything that happened into a persuasive, positive example of your good character!), a private detective's surveillance report, a stand-up comedian, a soap opera character (everything over-dramatic, lots of tears and excitement), a criminal's confession etc.\n- One wrong detail\nTell an entirely true story with one big lie in it. At the end students have to guess what was wrong.\n- Backwards forwards\nTell a story about some separate events that happened to you over the last 24 hours but in reverse chronological order i.e. starting now and then relating earlier and earlier events. You'll need to use lots of before that and earlier etc. When you have finished, the students' task is to recall the entire sequence of events in the normal chronological order i.e. from furthest past up to now. Obviously you'll need to warn learners about the task before they start listening \u2013 and make sure no-one takes notes.\n- Students tell the teacher's story\nDivide the class in half. Gather one half around you (in a different room if possible) and tell them a story about your life. Include events and details that are really you. Use gestures and facial expressions wherever possible. Let students ask any questions they need to clarify the story. When they are confident, join the class up in pairs, each having one person who heard your story. This student retells the story to their partner \u2013 but as if they were you \u2013 i.e. they use the pronoun I (not he or she) and any gestures or faces that make the story more convincing. If students like this, repeat the activity again in another lesson, using the other half of the class as storytellers.\n- 10Currently reading\nSkills: teaching English using anecdotes\nNo comments yet", "id": "<urn:uuid:11cbaf6a-e687-41f1-a191-9c8e6d0915f6>", "dump": "CC-MAIN-2023-14", "url": "https://www.onestopenglish.com/methodology-tips-for-teachers/skills-teaching-english-using-anecdotes/146608.article", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949642.35/warc/CC-MAIN-20230331113819-20230331143819-00717.warc.gz", "language": "en", "language_score": 0.9503313302993774, "token_count": 738, "score": 3.53125, "int_score": 4}
{"text": "Girls and gender-expansive youth of color continue to be at the forefront of social justice movements and serve as examples for us all. (Photo screenshot of CNN\u2019s History Refocused)\nRecognizing the contributions of girls of color\nInternational Women\u2019s Day and Women\u2019s History Month offer an opportunity to recognize the unique contributions that girls and gender-expansive youth of color have made to secure more equitable and just futures, and to honor the women and femmes who have advanced the rights of all women and girls throughout history. It is also an opportunity to celebrate the organizations that nurture girls\u2019 leadership, safety, and joy, and work to ensure that the historical role that girls of color have played in advancing women\u2019s rights are memorialized and acknowledged.\nThroughout history, girls have courageously stood up against injustice and with their acts, creativity, and activism. We honor Claudette Colvin and Sylvia Mendez, who were critical to the Civil Rights movement and to justice for all people, but whose names are still unknown by many.\nNine months before Rosa Parks refused to move to the back of the bus and give up her seat for a white person, 15-year-old Claudette Colvin did the same, and was arrested. The revolutionary act of this young Black girl who stood in her power on March 2 of 1955 in Montgomery, Alabama, was the catalyst that changed history. Decades later, Claudette\u2019s memory of that day remains vivid. \u201cPeople said I was crazy,\u201d she recently recalled, \u201cbecause I was 15 years old and defiant, and shouting \u2018it\u2019s my constitutional right!\u2019\u201d She was handcuffed and thrown in jail, and you can hear Claudette\u2019s recollections in this video.\nAnother girl of color instrumental in changing history in 1947 was 9-year-old Sylvia Mendez, who was at the center of the landmark case Mendez v. Westminster, which ended segregation in California public schools for children of Mexican descent, and paved the way for the national ban on segregating in Brown v. Board of Education seven years later.\nClaudette and Sylvia\u2019s legacies continue in the acts of girls like 10-year-old Isis Haq Lukolyo, who penned an essay objecting to erasure, and the importance of teaching accurate and critical American history in schools. It went viral and ignited important conversations across the nation, including the necessity for social studies teachers to discuss racism in curricula.\nThroughout this month, as we honor the women and femmes of color who have boldly and brilliantly carved a path towards justice, we ask you to remember that they were once young girls. At Grantmakers for Girls of Color, we are proud to support organizations that pour into girls and gender-expansive youth of color by nurturing their leadership, power, brilliance, and joy. We applaud these organizations that do not misinterpret power and courage for \u201cdefiance.\u201d And we recognize these organizations led by women and femmes who are making history by fighting for free and just futures. We dedicate this month to the girls mistakenly labeled as \u201cdefiant,\u201d \u201ccrazy,\u201d and worse, because they are the same girls who are bold enough to dream a better future for us all.\nMonique W. Morris, Ed.D.\nGrantmakers for Girls of Color\n\u2014 \u2014 \u2014\nCelebrate Black Girl Freedom Week with these links!\nDid you miss any of the uplifting conversations and celebrations during our very first Black Girl Freedom Week in February? Don\u2019t worry, we\u2019ve kept all the videos for you to watch again and again, and share with someone who needs a bit of inspiration! Visit the Black Girl Freedom Week page, and click on the top right of the player to find all the videos and inspirational conversations that show what is possible when we invest abundantly in the power and leadership of Black girls, and work together to co-create a future where they are safe, free and thriving.\nWe also invite you to take this survey. We want to learn about all the powerful organizations, people, collectives and places that uplift Black girls and gender-expansive youth. Please share this link with Black girls and gender-expansive Black youth, we want to hear directly from them!\n\u2014 \u2014 \u2014\nGet to know our amazing grantees, and their important mission\nWe want to recognize these two Black-led organizations and #LoveIsHealing grantee partners who are working to support Black girls and gender-expansive youth (and were left out of our list in a previous email). They are:\n- Sadie Nash Leadership Project, working to strengthen, empower, and equip young women and gender-expansive youth of color as agents for change in their lives and in the world. Operating at the intersections of love and rigor, they use popular education to build community, critical consciousness, and college and career readiness.\n- Detroit Women of Color, Inc., focused on lifting the voices of Black girls and girls of color through film. They believe in the strength, beauty, and resilience of Black and Brown girls and women. During the pandemic, they recognize the need to share resources, and support their participants by lifting their stories through digital storytelling, sisterhood, leadership development, and healing.\nWe encourage you to get to know them and all of our grantee partners. We invite you to engage and uplift the organizations that support the wisdom of Black, Indigenous, Latina, Asian, Arab, Pacific Islander, and other girls and gender-expansive youth of color.\n\u2014 \u2014 \u2014\nRed Nose Day is coming!\nMark your calendars: March 19th is Red Nose Day (RND) a campaign with the important mission to end child poverty and tackle homelessness, hunger, domestic abuse, mental health stigma (all of which have been impacted by the COVID-19 pandemic). G4GC is excited to partner with the RND campaign this year to raise awareness about need to ensure economic justice for girls and gender expansive youth of color, especially in the wake of the pandemic. Since the RND debut in 2015, they have raised more than $240M to support programs that address the immediate needs of children in poverty, while fostering long-term change.\nThe goal of RNS is to keep children safe, healthy, educated, and empowered. Spreading the word and participating in this campaign is a way to provide safety to families who need support, help tackle mental health stigma, take action against domestic abuse, and help give children a brighter future. This is a special day to get nosey about fundraising, and raise money and laughter! Stay tuned on social media and help us uplift this important campaign!", "id": "<urn:uuid:90c275d6-c304-44f2-827c-40d3c514a9d1>", "dump": "CC-MAIN-2023-14", "url": "https://grantmakersforgirlsofcolor.org/girls-of-color-are-important-in-womens-history", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948632.20/warc/CC-MAIN-20230327123514-20230327153514-00716.warc.gz", "language": "en", "language_score": 0.9578036069869995, "token_count": 1407, "score": 4.0625, "int_score": 4}
{"text": "What is Visible Thinking?\n- Having students externalize their thoughts through speaking, writing, drawing or other methods\nThe Ted Talk below goes into more detail about visible thinking, why it is important, and some ways to incorporate it into the classroom.\nNow, let\u2019s go into more detail about 3 specific strategies that can be used in the science classroom!\n1. Step Inside\n- This strategy can be used to help students \u201cget inside\u201d another person, or thing in history, or current events.\n- Students hypothesize what they think the person, or thing was/is thinking, or how they perceive the world around them.\n- Students are asked questions such as\u2026 \u201cWhat might this person/thing care about or wish would happen?\u201d \u201cWhat might this person/thing believe?\u201d or \u201cWhat can this person see or notice?\u201d\n2. What Makes You Say That?\n- This strategy encourages students to voice their reasoning for how they are thinking.\n- Students are also encouraged to accept and explore alternative explanations to why others are thinking the way they are.\n- Students are presented with the questions of \u201cWhat\u2019s going on?\u201d and \u201cWhat do you see that makes you say that?\u201d\n3. I used to think\u2026 Now I think\u2026\n- This is a great way for students to get a sense of how their knowledge and perceptions, or opinions about a concept, change over time.\n- It can be used with a variety of different works such as creative writing, a news article, a video they watched or a book they read.\n- The instructions are very simple. Simply ask students to reflect either on paper or verbally (can use words, pictures, diagrams, etc.) about what they used to think and what they now think.\n- A way to get the entire class involved is to have students write their answers on post-it notes and stick them on the board. This can be followed by a class discussion.\nHi Shelby! I really liked how you emphasized the externalization of thoughts. In the classroom the explanation of thoughts can be just as important as the thoughts themselves. How would you approach a situation in which a shy student refused to participate in a MTV strategy due to their social anxieties?\nI think when it comes to dealing with shy students the best way to approach these MTV strategies is to have the students answer anonymously. For example, have them use sticky notes or have them write their answers at the same time (similar to a chalk talk). This way the student doesn\u2019t have to feel embarrassed when it comes to sharing answers.\nHi Shelby! This was a great post! I really like the what makes you say that strategy! It\u2019s so useful and can be so effective in a classroom. But, I\u2019m worried that students might feel uneasy about sharing their opinions in class, especially science where they might have never been asked to before. Do you have any advice for introducing these strategies into the classroom? Thanks!\nYou bring up a very good point! Not all students are extroverted and willing to share their opinions with the class. I think a way to solve this is to pair up with students because one student may feel more comfortable sharing with a partner instead of a whole class. Another idea is to use sticky notes, so the answers are anonymous.\nGreat post Shelby! The part that I enjoyed the most was the \u201cstep inside\u201d strategy. I thought that it was really valuable to teach students to observe things from other perspectives. I also think that this allows science to be multidisciplinary because it could allow you and the students to talk about social issues. Im wondering if you think this too. Maybe i\u2019m just reading too much into it! Let me know!\nHaving students understand that ideas and concepts have multiple perspectives is very important and valuable, I completely agree. I also agree that this strategy can allow for students to talk about not only science, but social issues too. This could be an excellent thing in teaching students that subjects are connected to one another.", "id": "<urn:uuid:c574f41a-b0e1-4e36-9ca7-de86f9c65d81>", "dump": "CC-MAIN-2023-14", "url": "https://sites.miamioh.edu/exemplary-science-teaching/2020/02/using-visible-thinking-strategies-in-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00517.warc.gz", "language": "en", "language_score": 0.9658823609352112, "token_count": 850, "score": 3.65625, "int_score": 4}
{"text": "\u2018The Yellow Wallpaper\u2019 is centred in the writer\u2019s narration, by setting the narrator to be not entirely reliable and an oppressed woman. The character are showed to be feeling trapped and unhappy with\nIn the \u201cYellow Wallpaper\u201d by Charlotte Perkins Gilman, there are many of literary techniques that illustrates the theme to express the story. Irony, imagery and symbolism are some literary devices that is presented among the story. \u201cThe Yellow Wallpaper\u201d is a short story about a woman who has a mental illness but cannot heal due to her husband\u2019s lack of acceptance and how she struggles to express her own thoughts and feelings. The story appears to take place during a time where women were oppressed. Women were treated as if they were under one\u2019s thumb in society during this period which is approximately the 19th century.\nThe \"Yellow Wall Paper \"by Charlotte Perkins Gilman, is a chilling study and experiment of mental disorder in nineteenth century. This is a story of a miserable wife, a young woman in anguish, stress surrounding her in the walls of her bedroom and under the control of her husband doctor, who had given her the treatment of isolation and rest. This short story vividly reflects both a woman in torment and oppression as well as a woman struggling for self expression. The setting of \"The Yellow Wallpaper\" is the driving force in the story because it is the main factor that caused the narrator to go insane.\n\u201cThe Yellow Wallpaper\u201d, written by Charlotte Perkins Gilman, is a first-person narration of madness experienced by an unnamed woman in the Victorian era. The madness is exposed through a \u201cnervous condition\u201d diagnosed by the writer\u2019s husband, a physician, who believes the only cure is prohibiting all intellectual thought and to remain in solitude for a \u201crest-cure\u201d. The act of confinement propels the narrator into an internal spiral of defiance against patriarchal discourse. Through characterization and symbolism, \u201cThe Yellow Wallpaper\u201d exhibits an inventive parallel between the narrator\u2019s mental deterioration and her internal struggle to break free from female oppression imposed on her through her husband and society.\nThe yellow wallpaper is a symbol of oppression in a woman who felt her duties were limited as a wife and mother. The wallpaper shows a sign of female imprisonment. Since the wallpaper is always near her, the narrator begins to analyze the reasoning behind it. Over time, she begins to realize someone is behind the\n\"The Yellow Wallpaper\" takes a close look at one woman's mental deterioration. The narrator is emotionally isolated from her husband. Due to the lack of interaction with other people the woman befriends the reader by secretively communicating her story in a diary format. Her attitude towards the wallpaper is openly hostile at the beginning, but ends with an intimate and liberating connection. During the gradual change in the relationship between the narrator and the wallpaper, the yellow paper becomes a mirror, reflecting the process the woman is going through in her room.\nIIn the story, \u201cThe Yellow Wallpaper\u201d, the narrator\u2019s husband has rented an old mansion in the country for the summer. John is relying on this vacation as the time for his wife\u2019s nervous condition to resolve itself with rest and medicines. As the story unfolds for the readers, it becomes apparent her husband, John, is monitoring her 24 hours a day. She feels somewhat condemned that she is unable to change her circumstances and she ends up as a victim, thus confirming the dominance of men over women during that period. Between the narrator\u2019s controlling husband and the deterioration of her mind, she inevitably snaps and becomes completely delusional.\nIn \u201cThe Yellow wallpaper\u201d, the wallpaper is a metaphor that expresses women\u2019s protest against the repression of the society and their personal identity at the rise of feminism. During the Victorian era, women were kept down and kept in line by their married men and other men close to them. \"The Yellow Wallpaper\", written By Charlotte Perkins Gilman, is a tale of a woman, her mental difficulties and her husband\u2019s so called therapeutic treatment \u2018rest cure\u2019 of her misery during the late 1800s. The tale starts out in the summer with a young woman and her husband travelling for the healing powers of being out from writing, which only appears to aggravate her condition. His delusion gets Jane (protagonist), trapped in a room, shut up in a bed making her go psychotic. As the tale opens, she begins to imagine a woman inside \u2018the yellow wallpaper\u2019.\nThe Yellow Wallpaper is a story which shows the anatomy of an oppressive marriage. Simply because the narrator does not cherish the joys of married life and motherhood, and therefore, is in\nIt is difficult to discuss the meaning in this story without first examining the author\u2019s own personal experience. \u201cThe Yellow Wallpaper\u201d gives an account of a woman driven to madness as a result of the\nIn the story, The Yellow Wallpaper the author Charlotte Perkins Gilman brings to life the tale of a woman suffering from post partem depression. Her husband is a physician and makes the mistake of keeping her closed off from the world. (John) thinks that the right thing to do is to keep her alone in an unfamiliar room. In this room, there is a bed that is nailed down to the floor and a yellow wallpaper that at first, she despises. However, she eventually becomes obsessed with it and goes completely insane. How can she differentiate between what is real and what is not? It mostly comes down to her amount of freedom and self-expression. The mental strains placed on the narrator are ultimately what drives her to the point of insanity.\n\"The Yellow Wallpaper\" is a short story written by Charlotte Perkins Gilman in 1890 and eventually published in 1892 in the New England Magazine and in William Dean Howells' collection, Great Modern American Stories (Shumaker 94). The story was original not only because of its subject matter, but also because it is written in the form of a loosely connected journal. It follows the narrator's private thoughts which become increasingly more confusing. The structure consists of disjointed sentences as the narrator gradually descends more and more into her madness as her only escape from an oppressive husband and society.\nIn January of 1982 Charlotte Perkins published \u201cThe Yellow Wallpaper\u201d. This story was written based mainly on feminism, and how men controlled women during that time. Perkins was very active in women\u2019s rights. In her story she is telling us the story of her real life, and it is based off of the events that happened to her throughout her marriage and the depression she suffered. Perkins was put on a \u201crest cure\u201d for her depression where she was to stay in bed until she was better, but as she went through this treatment she feared it was not helping her (USA Today1.) As a result, \u201cShe decided to end the treatment and her marriage. Soon after she and her husband separated, Charlotte wrote \"The Yellow Wall-Paper\" during a heat wave in Pasadena, Calif., in the summer of 1890. She took two days to complete the 6,000-word manuscript\u201d (USA Today1.) In Perkin\u2019s short story, she included very many different literary elements for example, she uses setting, characterization, and theme throughout the story. These elements are important in this story because it shows the readers how women were treated when Perkins wrote the story compared to how women are treated in today\u2019s world.\nThe Yellow Wallpaper by Charlotte Perkins Gilman can by read in many different ways. Some think of it as a tragic horror story while others may find it to be a tale of a woman trying to find her identity in a male-dominated society. The story is based on an episode in Gilman's life when she suffered from a nervous disease called melancholia. A male specialist advised her to \"live a domestic a life as far as possible.. and never to touch a pen, brush or pencil...\" (Gilman, 669). She lived by these guidelines for three months until she came close to suffering from a nervous breakdown. Gilman then decided to continue writing, despite the physicians advice, and overcame her illness.\nThroughout history and cultures today, women have been beaten, verbally abused, and taught to believe they have no purpose in life other than pleasing a man. Charlotte Perkins Gillam uses her short story, \"The Yellow Wallpaper\" as a weapon to help break down the walls surrounding women, society has put up. This story depicts the life of a young woman struggling with postpartum depression, whose serious illness is overlooked, by her physician husband, because of her gender. Gillman 's writing expresses the feelings of isolation, disregarded, and unworthiness the main character Jane feels regularly. This analysis will dive into the daily struggles women face through oppression, neglect, and physical distinction; by investigating each section", "id": "<urn:uuid:af02d167-6215-43df-ab69-4391e6c4f42e>", "dump": "CC-MAIN-2023-14", "url": "https://www.bartleby.com/essay/Literary-Elements-In-The-Yellow-Wallpaper-PC6JTQEX26", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00318.warc.gz", "language": "en", "language_score": 0.9774270057678223, "token_count": 1846, "score": 3.859375, "int_score": 4}
{"text": "English language and literature form the backbone of any GCSE education.\nStudents will not only extend their use of language, both written and spoken, but also study a range of texts that will enrich their understanding of the language as both a communication medium and an art form.\nIn year 7, year 8 and year 9, we prepare students for the AQA English Language and English Literature GCSE course.\nKS3 English Literature\nThe skills being assessed are as follows:\n- Assessment Objective 1 Critical analysis of texts, using quotations to support ideas.\n- Assessment Objective 2 Analyse writer\u2019s methods using subject terminology.\n- Assessment Objective 3 Explore contextual information and make links between text and task.\n- Assessment Objective 4 Spelling, punctuation and grammar.\nTexts to be studied in year 7 are:\n- Romeo and Juliet\n- Charles Dickens\n- Myths and Legends\nThey will also be working on a piece of creative writing.\nTexts to be studied in year 8 are:\n- The Hunger Games\n- Animal Farm\nThey will again be working on a piece of creative writing.\nKS4 English Literature\nThis GCSE course aims to promote critical responses from students. By responding to a variety of texts across time, it is expected that students will become accustomed to using textual references to support their inferences and assertions. By maintaining an appropriate yet critical tone, it is expected that students will develop a love of Literature and a secure conceptual understanding of the contexts with which they were written in.\n- To analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate\n- Show understanding of the relationships between texts and the contexts in which they were written\n- Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation\nAs a core subject and one of the most widely recognised GCSE qualifications, English Language is a course that will leave students with a wide range of further educational opportunities at A-level and degree level.\nFurther career opportunities include:\n- Linguistic forensics\nThe course is 100% examination and consists of:\n- Paper 1 \u2013 1 hour 45 minutes: Shakespeare and 19th Century novel\n- Paper 2 \u2013 2 hours 15 minutes: Modern texts and Poetry\nTexts covered: Macbeth, A Christmas Carol, An Inspector Calls", "id": "<urn:uuid:af1b63c9-492d-4672-bae9-fce8c479638d>", "dump": "CC-MAIN-2023-14", "url": "https://www.jameshornsby.essex.sch.uk/Curriculum/English-Literature/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949181.44/warc/CC-MAIN-20230330101355-20230330131355-00118.warc.gz", "language": "en", "language_score": 0.9273837804794312, "token_count": 523, "score": 3.796875, "int_score": 4}
{"text": "Strong independent schools have challenging and engaging English curriculum. This holds true at MPH. In the Middle School, the basics of English grammar, composition and literature are stressed, yet students deepen and polish their approach to the written word with great intention and care. Annotation, critical thinking, discussion, and editing skills are highlighted in middle school as students participate in shared, purposeful inquiry using academic language, some for the very first time. When writing, which students do often, middle schoolers work through the mechanics \u2013 sentence structure, mode, word choice, and paragraphing \u2013 developing a position or argument, identifying an audience, and organizing their ideas along the way. Essential questions drive this academic push by putting emphasis upon communication and vocabulary development at all levels. Middle school also prepares students well for the Upper School. Students in grades 6 \u2013 8 are exposed not only to plays and middle grade literature, but also graphic novels, epics, short stories, and poetry.\nIn English 6, students work toward becoming critical readers and proficient writers. Texts of varied genres including novels, short stories and poetry are used to engage students in reading. An introduction to literary elements and opportunities to write in a variety of ways allow students to connect more deeply with literature. Grammar instruction focuses on building creative and complex sentences in addition to reviewing the mechanics of writing.\nReadings may include: D\u2019Aulaires Book of Greek Mythology, The Watsons Go to Birmingham-1963, and Schooled. Additionally, students will self-select books for independent reading projects throughout the year.\nIn English 7, students are exposed to a wide array of books, stories, poems, and media so that they can find connections within and between these works. They are asked to look critically at how these works are constructed and at how these writers use language to make meaning. Literary analysis is a primary focus of the course. Their reading serves to inform the students\u2019 own emerging writing skills. From reinforcing their understanding of the fundamentals, such as elements of fiction, students develop a good working knowledge of different modes of writing such as exposition, persuasion, and argumentation. Varied creative assignments, frequent in-class writing, and exposure to a variety of genres and modes of literacy provide students with a wealth of opportunities to grow.\nReadings may include New Kid, The Giver, The Devil\u2019s Arithmetic, and numerous short stories and poems.\nIn English 8, a variety of both contemporary and classic texts are used to engage students who are developing into more sophisticated thinkers and writers. These texts address a number of serious issues and themes which generate strong reactions from adolescents and allow them a variety of ways to interact with literature. In addition to discussing and writing about what they read, students have opportunities for recitation, dramatic interpretation, and multi-media presentations. Continued review of mechanics and grammar, and regular attention to vocabulary development are used to strengthen and streamline student writing.\nReadings may include Animal Farm, Julius Caesar, Raisin in the Sun, and numerous short stories and poems.", "id": "<urn:uuid:9e2bf8e0-f4b1-44e5-9a85-7a0e516ef35c>", "dump": "CC-MAIN-2023-14", "url": "https://www.mphschool.org/academics/middle-school-6-8/course-descriptions/english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00318.warc.gz", "language": "en", "language_score": 0.9541820287704468, "token_count": 637, "score": 4.0625, "int_score": 4}
{"text": "What Are the Three Main Types of Microscopes?\nYou are capable of seeing many things with the naked eye, but sometimes you need to delve deeper. Microscopes are handy tools for taking a closer look at a variety of objects, but there is no \u201cone size fits all\u201d microscope. Think about what you want to see and learn to determine which type of microscope to use, as each type has strengths and weaknesses. Most microscopes fit into one of three main types -- compound, stereoscopic and electron.\nCompound: The Old Standby\nThe most-used microscope, particularly in schools, is the compound microscope, which uses visible light to illuminate a sample. Small organisms or cross-sections of organisms are placed on glass slides; you secure the slide on the microscope\u2019s stage and choose one of the objective lenses \u2013 which have magnification ranges from 4 times to 100 times -- to select the magnification range. A light source near the base of the microscope shines light through the sample, which you view through the ocular lens, usually magnifying the sample an additional 10 times power. Typically, these microscopes have focus knobs to bring the object into focus. You use compound microscopes to look at a single cell layer or groups of cells or tissues.\nWhat to Use for Larger Objects\nThe stereoscopic microscope is useful when looking at objects that won\u2019t fit on a slide for a compound microscope. Stereoscopic, also called dissecting, microscopes have a low magnification range, around 2 to 30 times, but their field of view is much larger. These microscopes have an objective lens that allows magnification to be controlled by a knob, and the stage lies farther from the lens, which allows you to view larger objects. Rather than light passing through a glass slide, with stereoscopic microscopes, the light reflects on the surface of the object you view. With these microscopes, you can look at a large sample, such as a mineral or crystal, or living things like small animals or plants.\nLooking at Objects in 3D\nElectron microscopes let you see objects at higher magnification and greater resolution than other microscopes. They use a stream of electrons instead of light as an energy source. Electron microscopes have an objective lens and a condenser lens; objects are viewed through an eyepiece or projected onto a screen. The scanning electron microscope, or SEM, lets you look at the surface of objects at high resolution and with depth of field, which allows objects to look three-dimensional. You cannot look at living things with the SEM because samples must be dry, but you can use a CryoSEM to look at samples that contain liquid. SEM microscopes use a beam of electrons to scan the surface of a sample, but the transmission electron microscope, or TEM, lets the electron beam pass through the specimen. Transmission electron microscopes have the highest magnification and resolution of the electron microscopes. You can look at internal structures as opposed to just the SEM\u2019s look at the surface of samples, and you can see extremely tiny structures like viruses with the TEM. Electron tomography allows you to build a 3D model from TEM data.\nWhile not one of the main three types of microscopes, the confocal laser scanning fluorescence microscope, often just called a \u201cconfocal microscope,\u201d is another type of tool with useful applications. This microscope lets you look at \u201cslices\u201d of a sample without destroying the sample. In an article for \"The Science Learning Hub,\" teacher Rebecca Campbell compares the processes of this microscope to a stack of pancakes -- you can look at each individual pancake without taking the stack apart. With the confocal microscope, you can look at living cells and understand the relationship between those cells or highlight components, such as individual proteins, with fluorescence.\nCara Batema is a musician, teacher and writer who specializes in early childhood, special needs and psychology. Since 2010, Batema has been an active writer in the fields of education, parenting, science and health. She holds a bachelor's degree in music therapy and creative writing.", "id": "<urn:uuid:67ec5051-ff2d-4e6f-b682-49f634f17a76>", "dump": "CC-MAIN-2023-14", "url": "https://education.seattlepi.com/three-main-types-microscopes-4363.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943750.71/warc/CC-MAIN-20230322051607-20230322081607-00715.warc.gz", "language": "en", "language_score": 0.9334259033203125, "token_count": 857, "score": 3.90625, "int_score": 4}
{"text": "Therapy Masters Singapore\nSupporting your Child\u2019s Speech and Language Development through Play Activities!\nPlay has been often defined as \u201cthe work of children\u201d as it is through play that children learn how to interact in their environment, discover their interests, and acquire cognitive, motor, speech, language, and social-emotional skills (American Academy of Pediatrics, 2007). So, play is a very important part of children\u2019s speech, language and communication skills development.\nPlay can be categorized according to the stages of development.\nParten\u2019s six stages of play\n1. Unoccupied play\nChild does not play\nStands in a one spot just observing others\n2. Solitary/Independent play\nChild is playing alone\nFocus only on what he/she is doing. Unaware of their surroundings\nMore common in younger children of birth to age 2\n3. Onlooker play\nChild watches others play but does not engage\nOccasional conversation about the playing occurs, but without joining the activity\nMore common in younger children, particularly those age 2\n4. Parallel play\nChild is playing side by side with others but separately\nChild will not interact with others\nThis is a transitory stage to more mature play stage\nMore common in children of age 2+\n5. Associative play\nChild is more interested in the people playing instead of the activity or the object involved in the play\nChild will interact with others, but activities are not synchronized.\nCan be seen in children of age 3 to 4\n6. Cooperative play\nChild is interested both in other players and in the activity.\nPlay with the rules and structure. This type of play uncommon in preschool age children. It needs more maturity and more advanced organizing skills.\nMostly appear after the age of 4\nRegardless of the stage of play, children learn new skills, new words, and how to discover the world and emotions. So as a parent/caregiver, you can facilitate your child\u2019s speech and language development through play. Since play is an important part of your child\u2019s life, children want you to be a part of these important play activities. This is a good opportunity for you to build up a strong bond with your child while helping him/her to learn new language skills. Pepper and Weitzman (2004) in their book \u201cIt Takes Two to Talk: A Practical Guide for Parents of Children with Language Delays\u201d suggest some strategies to follow while playing with the child to facilitate the language development.\nFollow the child\u2019s lead:\nEvery child is different. So, their interests and preferences are different. Find what your child likes and when he wants to play. This will keep him/her involved. Let the child choose what he finds interesting and gradually join in when he allows you to join in. Increasing engagement will help create more opportunities for learning.\nPractice turn taking:\nTurn taking is an important skill in communication and social development. Communication is a two-way process, it is important for children to learn to take turns to maintain good conversation with others. You can easily prompt your child to master this skill through play. Regardless of the age of your child you can practice turn taking with them. It can be simple activities like making sounds and waiting for your baby to follow, passing a ball with your toddler, stacking blocks by taking turns with your preschooler, or structured activity like playing a board game with your older kid. While doing these activities you should use techniques like facial expressions, body language, making eye contact, waiting and gesturing for a child\u2019s response and asking questions.\nBe a model and an expander:\nThis is an excellent way to expand your child vocabulary, correct grammar and stimulate forming sentences. You can input language by commenting on activities, adding words and phrases, introducing synonyms, and modeling correct sentence structure while you are playing with your child. What you do will depend on your child\u2019s current language level. For example:\nIf the child says \u201cfish\u201d you can say \u201cblue fish\u201d/ \u201cswim fish swim\u201d. If the child says \u201che swimed\u201d you can say \u201cyes he swam away\u201d. If the kid says \u201cit\u2019s a beautiful dress\u201d you can say \u201cyes it\u2019s a pretty dress\u201d\nBeing silent and playing along nonverbally with the kid will not be enough. You have to actively engage with the child\u2019s play to provide him with good language input.\nSinging is always a fun activity. Singing can facilitate your child\u2019s language development. Singing will help in learning new words and in encouraging turn-taking. It is easy for children to learn words, numbers, shapes etc. through songs since they repeat it many times. Singing is not limited to known songs like \u201cba ba black sheep\u201d. You and your child can make up songs. Adding actions to songs will also benefit other areas of development in your child.\n\u201cSinging and making music are among the most enjoyable learning activities for children. Because they have both elements - enjoyment and learning - I consider them to be essential methods of reinforcing basic skills in numeracy and literacy. While this reinforcement is useful to all children, regardless of their academic abilities, my own experiences in the classroom and as the mother of a child with Down syndrome tell me that it is vital to children with learning difficulties\u201d Barker, J. (1999) Singing and music as aids to language development and its relevance for children with Down syndrome. Down Syndrome News and Update, 1(3), 133-135. doi:10.3104/practice.147\nIt is never too early to start reading to your child. You can read to a baby and to a 5-year-old. Reading books is a good way to develop speech and language expression and comprehension. By following the lead of your child, you can start and expand reading. You can read books with simple pictures and words to your baby by showing the pictures. You can also read simple stories with lots of pictures to support your toddler and you can ask children to find the pictures in a book. You can read simple stories with your preschooler and ask simple questions from the book to maintain the attention and stimulate memory. You can read some advanced books with an older child and ask \u201cwh\u201d questions from the book like \u201cwhy does the bunny sleep under the tree\u201d, \u201cwhat type of a tree was it,\u201d etc. to improve their reasoning, problem solving skills and storytelling skills. Reading is not just sitting with the child and reading out loud what is in the book - you can use facial expressions and voice modulations, as well as acting out the story with your child while reading. Those will help to facilitate your kid\u2019s higher language functions.\nAllow opportunities for repetition.\nRepeat, repeat and repeat\u2026.. yes your children learn through repetition. This means playing the same game over and over, reading the same book multiple times, singing the same song for the whole day. This may sound really boring to an adult, but repetition allows a child to refine and stabilize skills. So, you should encourage your children to repeat the routines. It will help them acquire new concepts, new words, and correct sentence structures. By repeating and practicing your child will build up confidence too. So, it will help to reduce social fear and anxiety.\nThis is how you can facilitate your kid\u2019s speech and language development through playing. But try not to over stimulate your kid with too many available toys at once since that will lead to lack of engagement due to the child fleeting between activities. And it will lead to confusions too.\nJust giving 15 minutes a day from your time can really make a difference to your child\u2019s speech and language development. So, make sure to give your child a special play time with you every day.\nSource: Parten MB Social Participation among Preschool Children. Journal of Abnormal and Social Psychology. 1932; 27 (3): 243\u2013269.\nSpeech and Language Therapist", "id": "<urn:uuid:1e456c60-9f5c-4c7c-a8f3-837d13e953ad>", "dump": "CC-MAIN-2023-14", "url": "https://www.therapy-masters.com/post/supporting-your-child-s-speech-and-language-development-through-play-activities", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948684.19/warc/CC-MAIN-20230327185741-20230327215741-00116.warc.gz", "language": "en", "language_score": 0.9519317150115967, "token_count": 1705, "score": 4.0625, "int_score": 4}
{"text": "Fun Story Sequencing Activities for Older Students\n26 SEP 2017\nStory sequencing helps students recall the events of a story in their order of occurrence; it assists students at all levels to organize information. Older students often resist the more childlike methods of teaching this skill, but several fun activities for individuals, small groups and whole class interactions will pass on sequencing ideas effectively.\n1 Sequencing Across Literature\nStory maps are excellent tools for sequencing story ideas, such as a beginning-middle-end graphic organizer. However, older students may prefer to sequence not just stories they read but also characters across their literature. Fans of Stephenie Meyer's \"Twilight\" series might enjoy a lesson that sequences Byronic characters like Edward Cullen in remarkably similar stories: Scratch Edward and you'll find Rochester from \"Jane Eyre\" or a less jolly Mr. Darcy from \"Pride and Prejudice.\" The sequencing fun is to take these archetypes and note how their story arcs proceed along similar lines.\n2 Find the Transition\nSequencing is built of transitions, and it's useful to know transitional words and phrases as they occur in a story. Most young students have considerable exposure to these; if your older students have not, it's extremely important to introduce them at once. One sequencing activity that keeps older students engaged is to find the transitions in the literature and organize a chart of when and where they occur: What transitions denote what plot development? A refinement of this is to have students take the transitions they find and write their own stories with them.\n3 Journals With Characters on the Side\nAnother useful sequencing activity is to write a response journal as the story proceeds in which your students can select certain plot points, symbols or themes that arise and note at what point in the story they occur. A fun variation on this is the \"Rosencrantz and Guildenstern\" assignment in which students rewrite the story as it proceeds from the point of view of characters who have no central role in the narrative. Students can both sequence and elaborate on the tale by describing reactions and thoughts from these marginally involved individuals.\n4 Role Playing in Sequence\nRole playing characters is usually great fun for more adventurous students. This activity can include sequencing if you select characters from the reading and have each of your students enact one of them as the reading proceeds. Students can then record the character's narrative journey, including reactions and emotional changes he may undergo. This activity also builds student skills in recognizing elements of character development and in analyzing the sequencing of a story arc from an individual point of view.\n- 1 Reading Rockets: Story Sequence\n- 2 Saskatoon Public Schools: Instructional Strategies Online: What Is Story Mapping?\n- 3 ReadWriteThink: Looking for the Byronic Hero Using Twilight's Edward Cullen\n- 4 Study Guides and Strategies: Transitional Words & Phrases\n- 5 Saskatoon Public Schools: Instructional Strategies Online: What Is a Response Journal?\n- 6 Eduplace.com: Strategies to Support Multicultural Instruction, Role-Playing", "id": "<urn:uuid:b7c6d520-a80e-49fc-8a07-b9bb5f26935a>", "dump": "CC-MAIN-2023-14", "url": "https://classroom.synonym.com/fun-story-sequencing-activities-older-students-38702.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00318.warc.gz", "language": "en", "language_score": 0.9404450058937073, "token_count": 619, "score": 3.828125, "int_score": 4}
{"text": "Using textual evidence\nIn a previous post, I mentioned some elements of a story that students should look for while they are reading. Once students are comfortable finding those basic elements, it's important for them to learn how to support their findings with textual evidence. Textual evidence is evidence that comes directly from a text that you use to support your claims or arguments. Has the protagonist grown over the course of the story? How do you know? Is hope an important theme in the story? How can you tell? We have to be able to prove that the suggestions we make about certain characters or certain aspects of a story have been derived from the text itself and are not merely our own opinions. Using textual evidence is how we do just that.\nI'm going to now share how a student can support their findings when identifying the protagonist, setting, and conflict in a story using the book The Giver by Lois Lowry. I've chosen to use this book in particular because I read it with a student recently, so it's still very fresh in my mind. If you haven't read it before, don't worry - I won't give any spoilers!\nThe protagonist in The Giver is a boy named Jonas. This, naturally, will be the easiest element to prove. For example, the very first sentence of the story reads, \"It was almost December, and Jonas was beginning to be frightened\" (p.1). The focus of the story continues to surround Jonas, so we know the first sentence is accurate in telling us who the story is about. If I were to describe Jonas's character to you, one word I'd use to describe him would be obedient. This can be based on something very straightforward from the text, such as \"Jonas obeyed cheerfully\" (p.86), but it can also be based on something a little more complex: \"[Jonas] was fascinated. It didn't seem a terribly important rule, but the fact that his father had broken a rule at all awed him. He glanced at his mother, the one responsible for adherence to the rules, and was relieved that she was smiling\" (p.12). It can be inferred from this paragraph that Jonas is obedient based on how surprised he is by his father's rule-breaking and his concern about how his mother will react to it. All of these quotes give us a glimpse into the protagonist in The Giver.\nWe can also deduce the time of year in which the story begins based on the very first sentence: \"It was almost December, and Jonas was beginning to be frightened\" (p.1). \"December\" means it's towards the end of the year and it's wintertime, though depending on where he is, that might not necessarily mean it's cold. We don't know what year it is, and we are never told exactly where this story takes place, but there are certain parts of the story that make it clear this is a work of dystopian fiction and it is set somewhere in the future. In the first paragraph, the narrator writes, \"Squinting toward the sky, [Jonas] had seen the sleek jet\" (p.1), which tells us the story is at least a contemporary one. Here is an example that suggests the novel involves a dystopia: \"For a contributing citizen to be released from the community was a final decision, a terrible punishment, an overwhelming statement of failure\" (p.2-3). From this sentence, we know Jonas lives in a community. The phrase \"released from the community\" is a foreign one that seems to imply people who are criminals are removed from the community instead of put in jail or something to that effect like we would do today. At one point, Jonas says, \"You've visited other communities, haven't you?\" (p.6), which makes it sound as though Jonas's community isn't exclusive. It's similar to saying someone is from another state - \"communities\" here seem to bear more weight than the way we use the term. Later, Jonas's father mentions, \"When I was an Eleven...as you are, Jonas, I was very impatient, waiting for the Ceremony of Twelve\" (p.13). This suggests the people in this community are defined by their ages because Jonas is given the title of \"Eleven,\" and it sounds as though the \"Ceremony of Twelve\" is rather significant. His father goes on to say, \"There was not the element of suspense that there is with your Ceremony. Because I was already fairly certain of what my Assignment would be.' Jonas was surprised. There was no way, really, to know in advance. It was a secret selection, made by the leaders of the community, the Committee of Elders, who took the responsibility so seriously that there were never even any jokes made about Assignments\" (p.14-15). People are not only defined by their ages but also by their \"Assignments,\" and each community is apparently run by a group of elders, once again showing the weight of one's age in this book. It also suggests people are not in control of their own destinies to a certain extent, which is a common idea addressed in dystopian fiction. All of these quotes give us a better idea of where and when this story takes place. A text might not directly answer the questions where and when, but aspects of the story should help us narrow down our answers.\nI mentioned I wouldn't share any spoilers, and I'm determined to stick to that, so the conflict I will share that appears in the book is an internal conflict that exists within Jonas towards the very beginning of the story. The second page of the story reads, \"[Jonas] had waited a long time for this special December. Now that it was upon him, he wasn't frightened, but he was...eager, he decided. He was eager for it to come. And he was excited, certainly. All of the Elevens were excited about the event that would be coming so soon. But there was a little shudder of nervousness when he thought about it, about what might happen\" (p.4). Jonas's conflicting emotions suggest an internal conflict - he doesn't know what to expect with this event (we learn it's the Ceremony of Twelve he's thinking about, as was shared in the paragraph above), which explains his anxiety, but he also seems ready for it to happen. This quote shows the struggle that Jonas appears to have within himself.\nI just chose three elements to discuss in detail because, as you can see, I had a lot of evidence to share! Students should grow comfortable supporting their claims about a text with textual evidence because this is necessary when writing a literary analysis, which middle school and high school students will be required to do in their English classes. Learning to find the most important literary elements and being able to support their findings with textual evidence are essential to writing a strong literary analysis. I'll talk more about the actual process of writing a literary analysis in a future blog post.\nIf you have any questions or if you would like to learn more about how I can help your student find success in their reading comprehension, please do not hesitate to contact me here!", "id": "<urn:uuid:9c705a4c-31a7-4598-a146-df4567afe321>", "dump": "CC-MAIN-2023-14", "url": "https://www.theonlineenglishtutor.com/post/usingtextualevidence", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949573.84/warc/CC-MAIN-20230331051439-20230331081439-00316.warc.gz", "language": "en", "language_score": 0.9863710403442383, "token_count": 1490, "score": 4.3125, "int_score": 4}
{"text": "Citizen Science for Understanding Berries in a Changing North\nWinterberry is a citizen science project where University of Alaska Fairbanks scientists and community volunteers investigate how shifting seasons could affect when berries are available to animals and people.\nIn the far North spring is coming earlier, summers are warmer, and fall is arriving later. Shifting seasons may have an effect on when berries are available to people, birds, and small mammals that eat them. Many of Alaska's berry-producing plants hold on to their fruits into the winter and even spring, and these berries are very important to animals such as voles, foxes, and grouse.\n- Demand for continuation of the program by educators and Tribal organizations\n- Museum of the North Berry Month\n- Total of 32 communities involved, 1500 volunteers and 17,000 observations\n- Mulder, C.P.H., Spellman, K.V,, Shaw, J. 2021. Berries in Winter: A natural history of fruit tentiona in four species across Alaska. Madro\u00f1o 68(4): 487-510. DOI:10.3120/0024-9637-68.4.487\n- Spellman, K.V., Cost, D., Villano, C.P. 2021. Connecting community and citizen science to stewardship action planning through scenarios storytelling. Frontiers in Ecology and Evolution. 9: 490. DOI: 10.3389/fevo.2021.695534\nWill a longer time between when berries ripen and when the snow falls mean more berries will rot or get eaten? Will this leave less for the animals that depend on these berries in winter and spring?\nWe invite you to join the individual volunteers, K-12 classes, after school programs, parents and children - anyone interested in berries - throughout Alaska and northern regions of the globe in answering these questions. Berry tracking is simple and fun! Learn more by checking out the Winterberry website.\nNew directions in Berry science\n- Gather information needs and concerns of communities\n- Identify datasets available on berries across the state\n- Identify gaps in science and future science\n- Tightly align our science to the climate adaptation needs of our communities\nDr. Katie Spellman: firstname.lastname@example.org\nDr. Christa Mulder: email@example.com\nDr. Elena Sparrow: firstname.lastname@example.org", "id": "<urn:uuid:1b82d747-7b59-47ec-851b-e3304a7a5cca>", "dump": "CC-MAIN-2023-14", "url": "https://www.lter.uaf.edu/outreach/winterberry", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948620.60/warc/CC-MAIN-20230327092225-20230327122225-00518.warc.gz", "language": "en", "language_score": 0.8748254179954529, "token_count": 516, "score": 3.796875, "int_score": 4}
{"text": "The middle school English program encourages students to read intentionally, write effectively, and speak confidently. The course covers four main areas: reading, writing, language, and novels. Students engage in activities that develop their critical reading, writing, and analysis skills. Students analyze texts through the eyes of a reader and writer as they create their own compositions and complete performance-based assessments. By reading high-interest, diverse, and contemporary novels, students develop enthusiasm for literature, as well as make connections to the world around them. Daily writings are often in response to previously assigned reading where students write cohesively and effectively, citing evidence, drawing conclusions, and making connections. Creative writing takes many forms throughout the year. Grammar, usage, and mechanics instruction is given using different resources to improve the quality of students\u2019 writing. Classroom libraries and online articles offer students the opportunity to read for pleasure while building their comprehension skills.\nEighth grade curriculum provides a strong conceptual understanding of mathematics through the use of effective learning experiences that promote communication, reasoning, and problem solving. In Grade 8, math instruction focuses on three critical areas:\n\u2022 formulating and reasoning about expressions and equations and solving linear equations and systems of linear equations,\n\u2022 grasping the concept of a function and using functions to describe quantitative relationships, and\n\u2022 analyzing two- and three-dimensional space and figures using distance, angle, similarity, and congruence, and understanding and applying the Pythagorean Theorem.\nEighth grade utilizes core ideas from sixth and seventh grade; for example, using a hereditary approach in seventh grade to examine natural selection in eighth grade. The focus of eighth grade science is on how forces and motion drive objects in our solar systems, move lithospheric plates, and how nature\u2019s driving forces of geology impact ecosystems via environmental selection for a species. Group activities, projects, hands-on lab work, individual research, and curiosity-driven inquiry are hallmarks of all middle school science classes. Students use the science and engineering practices to gather information from reliable sources and construct evidenced-based arguments.\nEighth grade curriculum focuses on United States history and geography with an emphasis on colonization of North America to reconstruction. Students study the European settlement of North America and the role geographic features played in the early settlement of Thirteen Colonies. Students examine the political, cultural, and economic influences that led to the American Revolution as well as the major events and outcomes. As students follow the development of the United States and its government, they analyze the impact of the expansion and sectionalism of the U.S. on domestic and foreign policy. Finally, students examine the major events and issues leading up to the Civil War, individuals and events that were significant during the war, and the resulting era of Reconstruction. Throughout the course, students develop the skills of a historian as they research and analyze primary sources, organize information, and form logical arguments.\nThe middle school curriculum emphasizes a balance between academic skills and soft skills. It is designed to prepare students for high school in terms of content knowledge as well as essential life skills such as work ethics and time management.", "id": "<urn:uuid:c2593b22-28e2-4c40-a113-f7afffc787ce>", "dump": "CC-MAIN-2023-14", "url": "https://niatn.org/grade-8/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948684.19/warc/CC-MAIN-20230327185741-20230327215741-00118.warc.gz", "language": "en", "language_score": 0.9499908685684204, "token_count": 633, "score": 3.96875, "int_score": 4}
{"text": "Giving the child the best possible way to succeed in the future is the best way of cherishing the parent-child relationships. Every parent wants to provide their children with the best possible chances of success in the coming future so that they can live a very happy life. Hence, encouraging the children to learn coding skills is one of the best possible ways of preparing them for the competitive future which will always allow them to remain ahead in school, job and in life. The coding concept not only helps in providing people with education and career-related advantages but is also very much successful in terms of providing them with personal life-related merits for example improved confidence and problem-solving skills. Many people have different kinds of misconceptions about the right age of starting with coding but actually, coding is made up of different kinds of tasks with varying levels of complexity which is the main reason that even younger children can learn coding through online coding classes. Hence, it is the responsibility of every parent to enrol their children into online coding classes so that they can help in providing them with the best opportunity of grasping the new skills of coding.\nFollowing are the most important reasons why children should learn to code:\n1. Coding will always help in providing people with improved abilities to develop multiple skills associated with academic performance so that they can polish their mathematics and creativity very easily. This concept is also very much successful in terms of boosting the confidence of the individuals in different kinds of situations so that they ultimately become successful without any kind of hassle.\n2. From the perspective of mathematics, coding is very much important because it will provide people with the ability to visualise abstract concepts into a fun-based format that will help in providing them with multiple advantages in the long run and will further help in making sure that they will be able to deal with real-life problem-solving perfectly.\n3. Computer science and coding are all about solving different kinds of tasks which will make sure that logics will be easily present in the whole process and people will be having a good command over them. Hence, coding is directly linked with improving the basics of mathematics so that people do not have to face any kind of hassle in their employment.\n4. Coding will always help in providing the people with improving their written skills, developing a structured approach to English and storytelling which will further help in improving their writing skills and creativity about resolving any of the problems. In this way, simple calculations and efficient solutions will be easily available for the people because they will be able to analyse critical thinking perfectly and solve different kinds of problems with the application of the right kind of things. With the experimentation of the computer codes, people will be able to take different kinds of approaches to solve tasks and improving the creativity so that they can become very much successful in the long run. This will help in making sure that the child\u2019s brain will get stronger as well as more adaptable.\n5. Coding will also help in providing the people with several kinds of advantages in the form of improved confidence because they will be learning the things in a very fun-based manner that will help in engaging them throughout the process without any kind of hassle. This can be put down to the basics of learning new tasks and people can very efficiently move out from their comfort zone without any kind of issue and enjoy a higher level of collaboration in the whole process.\n6. Coding is considered to be a very logical and fun-based activity as well as a very much creative task that will help in providing people with several kinds of challenges and rewards so that they can become successful and good versions of themselves. In the classroom setting children will also enjoy a lot whenever they will learn coding because coding is very much fun.\n7. Many people have a misconception that coding is only about computers but actually, it is not so because coding can provide people with the complete opportunity of understanding the written instructions for computers and dealing with everyday challenges very easily. Hence, this is considered to be the best possible way of visualising different kinds of possibilities about how technology can solve future problems without any kind of issue.\n8. Software is a very critical component that will help in touching different aspects of life without any kind of issue. Hence, it is very much important for the children to have a good command of the coding concept because it is becoming the language of the whole world and has a very promising future for all the people who have the right kind of skills associated with coding.\n9. Coding will also help in providing the people with the course of skills so that they have the right ability to deal with complex procedures and problems because whenever people will develop the complicated code they will be able to have improved focus and organisational skills in life because coding is well known to improve the resilience and communication among the people.\n10. Coding also has the complete power of changing the world because when the kids will start very early then they will become the pioneers of the future and will be able to work on different kinds of areas like applications, robotics, computer programs and several other kinds of things so that they can become successful in the long run.\nHence, it is the responsibility of every parent to ensure that they enrol their children on the right kind of coding classes so that children can achieve their dreams with the right kind of skills because the companies like cuemath.com help in providing the children with the right kind of skills and methodologies of coding very innovatively and interactively.", "id": "<urn:uuid:f63776b2-b496-4e5a-93e2-10740f756392>", "dump": "CC-MAIN-2023-14", "url": "https://galeon.com/encourage-your-children-to-learn-coding-skills/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943483.86/warc/CC-MAIN-20230320114206-20230320144206-00119.warc.gz", "language": "en", "language_score": 0.968576192855835, "token_count": 1107, "score": 3.546875, "int_score": 4}
{"text": "eScout Academy - Build Games and Science experiments, Winter Session\nThis program is currently unavailable. Click here to view all of our current programs.\neScout Academy offers After-school programs to elementary through middle school students related to computing and learn the basics of Science and Physical computing (STEM), Animation & Building games like Minecraft and Roblox, Lego robotics concepts, create games using python for middle school students. The course consists of different themed activities like Art, music, storytelling, interactive games, science experiments to inspire and engage students towards technology, and \"Making STEM fun and real\".\nCourses focus on building creativity(through interactive exercises), social-emotional intelligence, peer-peer learning, working in a group environment, design thinking, mathematical thinkers, and real-world problem-solvers.\nAnimation and Develop Games - Level 1, Grade 2 -3\nIntroduce students to code puzzles, express and apply computing steps, Build and play with code blocks (Animation, music/sound blocks). Build fun games and animations using Repetition and Events concepts. Unplugged Activities.\nAnimation and Develop Games - Level 2, Grade 3 -4\nIntroduction, usage of computers, develop foundation skills in computing using block-based code. Explore and play with blocks. Building platform and multiplayer games, memory-based games using Sequencing, Loops, Conditionals concepts. Unplugged Activities\nAnimation and Develop Games - Level 3, Grade 3 -4\nIntroduction, develop foundation thinking skills in computing by exploring block-based code. Explore and create Maze game using step by step approach, and debug concepts. Building single and multiplayer arcade and sports games (Cover Repeat Until, Conditionals, Loops, Data and mathematical operators concepts). Unplugged Activities - Focus on how to approach difficult problems and problem-solving process.\nDevelop Games \"Minecraft\" Level 1, Grade 3-4\nIntro to Minecraft: Education Edition, students will explore different activities and concepts using Animal & Space Research center themes learn along the way Pattern Recognition, Sequencing and Loops, solve puzzles whale interacting with different game characters. Explore space theme: Ganymede & Saturn\u2019s Rings: Focusing on learning the concepts of Booleans how they work in conditional settings. Unplugged Activities\nDevelop Games using \u201cpython/p5.js\u201d Level 1, Grade 4-6\nIntroduction to foundational computing skills, a transition from blocks to simple code. Introduction to script using p5.js, animation basics, and interactive games.\nIntroduction to Python: variables, loops, and functions to create visuals, artwork, simulations, game,s and more. Unplugged Activities\nDevelop Games using \u201cpython\u201d Level 2, Grade 6-8\nIntroduction to computing skills, Introduction to python, practice DataTypes,. create and inspect Variables, Operator playground, learn functions using py turtle module, Build games (Bounce!, Race) using loops, conditionals, and functions Mini Final project: Guess Number game/Solar System and more. Unplugged Activities\nExperience Level: Beginner - Moderate\nDates: See Below\nTime: See Below\nCost: See Below", "id": "<urn:uuid:ff80003d-8671-438f-becb-55520eaf2ecf>", "dump": "CC-MAIN-2023-14", "url": "https://hopkintonma.myrec.com/info/activities/program_details.aspx?ProgramID=30746", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949181.44/warc/CC-MAIN-20230330101355-20230330131355-00119.warc.gz", "language": "en", "language_score": 0.8351457715034485, "token_count": 669, "score": 3.578125, "int_score": 4}
{"text": "Despite a number of assumptions and characteristics in common, the innate disciplinary base of a qualitative study differs on the facet of purpose and design. The most popular and much-practised kind of qualitative inquiries are:Grounded Theory: The term grounded theory first came to prominence with the publication of The Discovery of Grounded Theory by Glaser and Strauss in 1967 (Leavy, 2014).A grounded study seeks not only to comprehend but also to build a substantive theory about the phenomenon of interest. A rich description is also important but is not the primary focus of this type of study.\nEthnography: Strives to understand the interaction of individuals not just with others, but also with the culture of the society in which they live. Maanen (1982, pp.103-104) rightly notes The result of ethnographic inquiry is cultural description. It is, however, a description of the sort that can emerge only from a lengthy period of intimate study and residence in a given social setting. It calls for the language spoken in that setting, first-hand participation in some of the activities that take place there, and, most critically, a deep reliance on intensive work with a few informants drawn from the setting.\nWe Will Write a Custom Essay Specifically\nFor You For Only $13.90/page!\nIn order to understand the culture of a group, immersion in the site as a participant observer is the key technique of data collection as cited in (Merriam, 2009, p. 28).Phenomenological study: Associated with Husserl (1970) it focuses on the experience itself and how experiencing something is transformed into consciousness. Phenomenologists are interested in retrieving the essence or basic underlying structure of lived experiences, by means of engrossed and immersed interviews.Narrative analysis: \u201cNarrative inquiry is stories lived and told,\u201d (Clandinin & Connelly, 2000, p. 20). Storytelling has a history of being treated as a good source of comprehending human experience.\nNarratives follow the same philosophy of analyzing experiences revealed through stories.Case Study: A case study method involves an in-depth observation and analysis of a subject within a bounded context. It may be one individual, several individuals, a group, an entire program, or an activity (Creswell, 2007, p. 73). This technique of inquiry is research-based, inclusive of multiple methods and is evidence-led.\nContent Analysis: It is an objective and a systematic technique widely used in social science and media research, however rapidly pacing up in organizational settings as well. This research method analyses and interprets coded material (textual, verbal or visual). Content analysis is a descriptive approach that aims to construct a model or a system for better inference and description of the material. This approach can be pursued in either ways; inductive or deductive, depending upon the need of the study. Thematic Analysis: This technique is also descriptive in nature. It aims to describe the pattern of the content underlying the textual material and artifacts. Unlike content analysis, where the process interprets qualitative data into quantitative codes or model, thematic analysis is a pure qualitative process of decoding the themes within data by considering both the latent and the manifest content (Vaismoradi, Turunen, & Bondas, 2013).\nIt is a flexible method suitable to obtain extensive and enriching data.With the passage of time, the branch of qualitative research is expanding. There are variety of methods that helps to fetch information from the respondents. Along with the traditional techniques, a number of methods have evolved over time that deserves a mention in the context of conceptual phenomena related to sources of data collection and analysis. In this section below, those methods are discussed briefly.TRADITIONAL AND EVOLVING METHODS OF DATA COLLECTION Interviews: Personal interviews are the main source of getting data for qualitative research. These are structured, sometimes also unstructured depending upon the requirement of the situation.\nThis method helps in exchanging the intention of study and perspectives to justify it. Since the researcher himself interacts with the respondents, his understanding of the shared experiences is subject to growth and his broad vision that assist in articulating the findings.Focus Groups: This method of qualitative study is a form of source that seeks opinion, perception, or beliefs of a particular set of people (organization). This method is useful in studying a particular set of culture or behaviour in a restricted bounded context. Observations: Another traditional method to begin a qualitative inquiry about any event or fact. Observation method lead to questions like what is the implication of a particular event on a segment of people or how does a particular fact affect the happenings in a particular context? Etc.Along with these prominent customary methods, there are some new methods which are frequently being used in changing times, in a way to complement the existing ones. These methods are:Text Mining: This is a digital era; all individuals are exposed to one or more of social media platforms.\nA huge amount of information is available at the end of user; text mining techniques followed for qualitative approaches may help in retrieving structured information by classifying and sorting which is applied to extract data patternsWeb Crawling: it is basically about building up a web of keywords formed by a program for the purpose of facilitating the process of information filter and indexing. This function is performed with the help of program software which is employed for the purpose of data collection and analysis. There is further classification of crawling like; breadth-first crawling, depth-first crawling, targeted crawling, and context focused crawling etc depending upon the need of sorting. Netnography: It is simply an ethnographic approach in the digital world. The literal understanding of netnography is that it is drafted culture information which is available online and on web portals.\nThis approach is widely used in business research o comprehend the social interactions in context of online research.Complexity Theory: A grounded approach to understand the complexity of behaviour within an interactive dynamic system like an organization. In workplaces, there includes huge diversity and chaos. The basic tenet of this approach states to be acquainted with the system from its rooted hidden behaviour.In a nutshell, to pursue a qualitative study, selected method and type of study may depend upon the need and problem to be resolved. It is important to note that the evolving techniques are complementary to the traditional ones that aid in addressing the issues of validity and trustworthiness in qualitative findings.\nETHICAL CONSIDERATIONS IN QUALITATIVE RESEARCHAfter a long discussion about different types of qualitative studies and several traditional and evolving methods of data collection, analysis and interpretation in a qualitative approach, it is imperative to recognize and acknowledge the role of ethical deliberations in this orientation of research. Though ethics are vital for research, but in a qualitative field of study, the soul of the results lies in the ethical manner in which the data is gathered, maintained and interpreted. Ethics aims for good with considerate avoidance of any harm to the parties involved. The core of a good qualitative research is the relationship between the researcher, the social setting, and the environment in which the study takes place. Settings like workplaces are composed of people with different skills, values, diverse social and economic backgrounds, and differing organizational philosophies, owing to such huge diversity, the challenges and issues pertaining to research in such type of settings are again dynamic.\nQualitative research is considered to be a flexible approach because a rigid methodology cannot successfully capture the intrinsic subjectivity of the case. It should be flexible enough to be constructed and reconstructed with respect to its research design. It is a holistic process, which intends to discover the deeper feelings, views and experiences of any observable fact in a transparent and ethical manner. Due to the rigorous mechanism, sample size is usually less; this may question the reliability of outcome, thus, it is managed by enriching the process of retrieving responses and transcribing first-hand experiences in a moral pursuit.\nMajor Ethical PredicamentsEmic perspective: Researcher should lay due emphasis to the observations or the views and say of the participants as they are the basis of his understanding and reflexivity towards their lives, situations and outcomes. The interpretation of a researcher is the core outcome of qualitative findings; hence what he/she may perceive is crucial.Participants Autonomy: it is imperative to comprehend that the participants should be given due freedom in becoming a part of any research. It should be kept in mind that the respondents should take part willingly in giving interviews (structured/unstructured), or communicate or share their experiences and lives and should not be forced. For example, if a researcher is interested in understanding the work engagement of contractual employees in any organization, then he should initiate the process of questioning from those employees who give their consent and not all the employees of contractual nature. Informed Consent: Inclusion of participants requires informed consent. In simple words, the respondents should be aware of the publication of their responses, and the intention of the study.\nMaintaining privacy of data and information is the prime obligation of the researcher. For example, in a study of the behaviour of HIV patients who are under treatment is observed, the personal details of the patients, their experiences, doctors who are treating them, the hospital and several other related information (if not properly handled) may cause damage to the reputation of any patient or the hospital. Implications are sensitive; therefore transparency is an ideal prerequisite of ethics in a qualitative study. Equity: Researcher should be fair and honest in giving equal opportunity to all participants and focus on their views in an equitable manner. There should be no unjust or biased exploitation rather; an empathetic concern is expected for reliability of the study. Trust: When there are subjective interactions and those being a part of some study it is the trust between the parties involved that the privacy of information, confidentiality of data should be maintained. No researcher should in any way harm the interest of respondents for the sake of biased outcomes.", "id": "<urn:uuid:888f5f6c-41b8-4c1f-a18c-57df9c0e781a>", "dump": "CC-MAIN-2023-14", "url": "https://housecleaningwestpalm.com/despite-it-focuses-on-the-experience-itself-and/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948871.42/warc/CC-MAIN-20230328201715-20230328231715-00719.warc.gz", "language": "en", "language_score": 0.9288687109947205, "token_count": 2032, "score": 3.625, "int_score": 4}
{"text": "What is Line Editing?\nLine editing is a stage in the editing process in which a manuscript is edited for tone, style, and consistency. This stage of editing is extremely important for documents of all types and lengths, and a good line editor is a crucial individual in news rooms, publishing houses, and other organizations which produce printed material. Line editors can also be found working as freelancers, taking in work on a case by case basis.\nAs the term \u201cline editing\u201d implies, a line editor literally goes through a written piece line by line, taking the time to be extremely thorough and meticulous. Line editors may read a piece several times to ensure that it has been thoroughly edited, often starting with a rough pass to look for basic issues like spelling and grammar problems and then digging in deeper with each successive pass.\nA variety of environments can be used for line editing, with individual editors having different work habits and preferred environments for work. Many line editors prefer quiet, because it allows them to focus, and while they may listen to music, they often choose music without vocals, so that the words are not distracting. The written material is typically printed so that the editor can go over it with a pen, although it is also possible to line edit on the screen, and line editors use a specific markup language to communicate about issues with the piece.\nIn addition to checking basic spelling and grammar, line editing also involves editing for style and consistency. In organizations with a style guide, the line editor makes sure that the guide is followed, and checks for common stylistic errors, like non-conventional spellings of words, failure to spell out weights and measurements properly, and so forth. A line editing session also involves a check for formatting errors, which are especially common when documents are passed between multiple computers.\nFinally, line editing is also about tone. Line editors keep a close eye on word usage, looking out for mis-used words, overused words, words used as crutches, and words which do not belong. Many authors tend to rely on specific words, using them over and over again, and a line editor seeks those words out and eradicates them or recommends replacements. Line editors also read for flow and tone, thinking about how a piece reads and editing to keep it smooth and enjoyable.\nWhile line editors are not fact checkers, the line editing process may also involve an eye to citations and the information discussed in the piece. If information seems unlikely or exaggerated, a line editor may suggest that the author confirm the information and provide a citation. Likewise, a line editor will tone down hyperbole and add emphasis where it seems merited.\nAfter line editing, a document should be much tighter and smoother, and it can progress to editors who edit the actual content, looking for errors and other issues.\nI enjoyed the definition of line editing and copy editing and all the comments. I want to read more. I helped an ornithologist, Bertin Anderson, on a couple of books on White-cheeked geese (Canadian g.) with editing work.\nI didn't know anything about editing or geese. In my opinion he did an incredible publishing job on a two-volume work left in rough shape by an ornithologist. I'm hoping now to help a gentleman with a law project.\n@anon279886: Believe it or not, you're the exception, not the rule. I have a B.A. in English and have worked for a newspaper for nearly 20 years. I edit copy every day and the journalism majors usually need much more work done on their copy for basic grammar than the English majors do. Of course, even the English majors are slipping now, because grammar is not stressed in college classes.\nEven though I don't hold an editor's position, it's acknowledged in the newsroom that I'm the grammar nazi (in a good way), and if someone wants his or her copy edited and cleaned up, it comes to me -- often before an editor sees it.\nIn years past, the English majors took classes where grammar was stressed, while journalism majors often were never required to take even basic grammar. They took freshman comp 101 and 102, some literature classes, and the rest were their journalism classes. That has changed, I realize, but in 20 years at a newspaper, it's usually been the English majors who made the better copy editors, just because their grammar skills were generally better.\n@GiraffeEars: No, you do not need a strong background in literature to become an editor. Having such a background can bring added value to a position, but it can also be a hindrance, because literature is often wordy, excessive, and colorful, while nonfiction (including journalism) is concise, straightforward, and to the point. I have a B.A. in journalism, and I am a far better editor than colleagues who have advanced degrees in English.\nRegarding chicada's post: Copy editors look for consistency and fix errors at the sentence and paragraph level. Line editors do a bit more than that. The whole-picture editors are commonly called developmental editors or substantive editors.\n@ Alchemy- From my understanding, a line editor looks at the minute details that make a piece whole, much like the article said. Line editors want to make sure that each sentence is as good as possible as well as ensuring the transitions between sentences and paragraphs are appropriate.\nCopy editors, on the other hand, look at the whole picture. They are looking at character development, the flow of the overall story or piece, how engaging the piece is and how well the story progresses. They look more at the thematic elements of a piece, and try to make a piece as exciting and engaging as possible. This is what I know and I hope it helps.\nI am not sure how to become an editor, but I know that you need a strong background in English and literature as well as varied knowledge on other subjects. I would also recommend reading books on editing mark-up language, style manuals like Chicago style, MLA, and APA. Become familiar with all of the different styles. I would also recommend taking a course or two on editing.\nI know my university offers editing courses through the Walter Cronkite School of Journalism. This would probably give you a solid foundation in editing, and help you pass any copy editing test that a potential employer might give for correction. You also might want to offer your services at a university or for a blog site to help build your editing portfolio.\nHow does one learn how to copy and line edit? I have thought about learning editing skills since I like to write, but I have no idea where to turn. Additionally, are line and copy editing the same thing? Thank you to any wiseGEEK that can answer my questions.\nPost your comments", "id": "<urn:uuid:77fcf854-ca14-4269-8314-08dade0b0e10>", "dump": "CC-MAIN-2023-14", "url": "https://www.languagehumanities.org/what-is-line-editing.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945144.17/warc/CC-MAIN-20230323100829-20230323130829-00519.warc.gz", "language": "en", "language_score": 0.9674682021141052, "token_count": 1399, "score": 3.59375, "int_score": 4}
{"text": "How to Get Students Talking About Reading With Technology\nBy: Jessica Sanders is the Director of Social Outreach for Whooo\u2019s Reading, a San Diego-based education organization that motivates students to read more every day. It\u2019s available to teachers, schools and districts. Jessica grew up reading books like The Giver and Holes, and is passionate about making reading as exciting for young kids today as it has always been for her. Follow Learn2Earn on Twitter and Facebook, and check out their new ebook, How to Bring Technology Into the Classroom.\nAn important part of getting students to improve comprehension and enjoy reading is getting them to talk about the books they like and don\u2019t like, whether it\u2019s in a structured format or not. Book talks, or general reading discussions, help students:\n- Find new books to read\u2014often student recommendations come out of these discussions.\n- Work through tough spots in plot or character development.\n- Share their opinions, helping them develop their own reading preferences.\nWith technology, students not only have more exciting formats for talking about their books, but are also more engaged, making the experience more memorable and therefore more valuable.\nThe following ideas and tech tools can be used in any classroom to motivate kids to talk about what they\u2019re reading, both as a class and in small groups. Consider whether your students could benefit from some of these fun activities.\nMake the Conversation More Interesting\nTechnology can make any lesson more interesting. In this case, it can make a reading discussion a lot more fun, by giving you extra resources to get the conversation started.\n- Use YouTube to show the movie-version of a specific book scene. The discussion is no longer, \u201cWhat did you think of this scene?\u201d Instead, it\u2019s, \u201cWhat was the difference between the movie scene and the book scene? How does that chance the arc of the story?\u201d\n- Use a tool like MindMeister, mind-mapping software, to pull the story apart as a class. Then, break into small groups where students choose one piece of the mind map to discuss. Make it even more interesting by allowing each group to expand on their section within the mind map.\nGamify the Experience\nGamification works for a reason: A whopping 97 percent of kids play video games. When you bring gamification into the classroom, incorporating the things that young students are most attracted to\u2014rewards, competition, social interactions\u2014learning becomes more exciting and memorable.\nThis makes gamification a great way to get kids talking about their reading. Consider the following tools that make this possible:\n- Try a tool like Whooo\u2019s Reading. This online reading log rewards students for \u201cliking\u201d and commenting on their peers\u2019 reading responses. Whenever they interact they earn Wisdom Coins, which can be \u201cspent\u201d in the Owl Shop on accessories for their Owlvatar. Janice H., a Whooo\u2019s Reading teacher, said: \u201cMy third graders love this program! They are not only motivated to read on their own, but are excited to talk about the books they are reading with their friends!\u201d\n- Use Quizizz as a way to get the conversation started by asking a fun and engaging question. For example, \u201cMy favorite character from this book is\u2026.\u201d Students who chose the same characters will then get together and discuss why they liked that character. Make it more engaging with a debate, where students defend their favorite character to the rest of the class.\n- Another fun tool is PollEverywhere. Use this in the same way you would use Quizizz, as a way to get the conversation started. Ask the class a question, like, \u201cI would recommend this book to someone else\u2014yes or no?\u201d Have students choose their response and then talk about why they made that choice. Students will love seeing the poll displayed at the front of the room, and being able to make their choice in this interactive manner.\nBring the Discussion Online\nOnline discussion forums give every student a chance to talk, especially the ones that are too shy to do so in the classroom. Luckily, online discussion forums are easy to set up and facilitate, and also encourage the conversation to continue happening, long after you\u2019ve left the classroom.\nYou can use a traditional discussion forum like ClassChatter, where the discussion happens in a thread, usually in response to a prompt\u2014whether that be a question or written assignment. For example, \u201cWhat parts of the story make it a romance novel? Explain.\u201d\nYou could also use a less conventional tool like Twitter. The benefit of going this route is the novelty of it. Students will be excited to log into a Twitter account, use emojis, hashtags and more, which keeps them engaged longer. If you go this route, be sure to create a special hashtag for the discussion, such as #TheGiverClass226\u2014this allows you (and your students) to filter the feed down to just that conversation.\nBrowse blog and media articles\nPublic Library Training\nK-12 Library Training\nLeave a Reply", "id": "<urn:uuid:b06438eb-8486-491b-80ab-d85c4995fa14>", "dump": "CC-MAIN-2023-14", "url": "https://company.overdrive.com/2016/04/21/how-to-get-students-talking-about-reading-with-technology/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00519.warc.gz", "language": "en", "language_score": 0.9469680190086365, "token_count": 1079, "score": 3.671875, "int_score": 4}
{"text": "How to Redirect Sunlight for Plants\nPlants depend on light as their energy source for turning water and carbon dioxide into food for themselves through the process of photosynthesis. Light, especially sunlight, is key to this essential life-sustaining process, but could garden light reflectors or mirrors bring enough light into dark areas for photosynthesis to occur? Whether in a dark room or a dark corner of the garden, plants need light to grow and thrive.\nLiving Things Need Sunlight\nAs early as 300 B.C., the effect of seasonal changes on all living things was recognized by the Chinese. In 1806, French physician Philippe Pinel described the mood shift of some of his patients, and in the 1980s, seasonal affective disorder was recognized, according to the BBC. If building mirrors to reflect sunlight seems unrealistic, consider the town of Rjukan, Norway. Three 17-square-meter mirrors reflect sunlight into the town square for two hours a day in January, which is the only sunlight the town receives at that time of year.\nIf changes in sunlight affect some people so severely, image the impact on plants. Plants use the blue and red portions of the sun's spectrum to rearrange the molecules of water and carbon dioxide into glucose, the food plants use. Plants only look green because the green portion is reflected back rather than being absorbed, as explained by National Geographic. Any plant that doesn\u2019t receive enough sunlight, no matter how strong the light, will fail to thrive because the plant won't be able to make enough food for itself.\nSunlight Reflector for the Garden\nThe more direct the sunlight's impact, the more of the sun's energy is concentrated. In other words, sunlight at the equator is more focused than sunlight at the poles, according to the University of California Berkeley. In addition, the roughness of a surface impacts reflectivity. A smooth surface, like ice or a mirror, reflects much more light than a rough surface, like a forest. How much light is reflected depends on the reflective surface and the angle of impact, so these two factors must be considered when designing a reflector system for plants.\nAs the sun moves across the sky, a garden reflecting mirror must be large enough to continue to direct sunlight onto the plant, or depending on the plant's location and sunlight needs, a system of mirrors could be used to redirect sunlight as time and the sun move. When considering using mirrors to light plants, keep in mind that the sunlight must be diffused enough not to burn the plants, according to Chelsea Green Publishing. You could also consider using a high-tech device, as suggested by Architectural Digest, that will move the mirror as the sun moves.\nUsing Garden Mirrors for Sunlight\nBefore setting up mirrors to reflect light into a dark corner, determine how much light the plant may already receive and how much light the plant needs. Keep in mind that the mirrors will need to be adjusted as the sun's position changes.\nTo be sure the plant receives enough hours of sunlight, multiple garden mirrors for sunlight will probably be needed. To prepare the mirrors, seal each mirror so water doesn't seep behind them and damage the silvering. Set each mirror in sequence to provide the necessary hours of sunlight. Use gravel, frames or blocks to keep the mirrors from falling. Consider factors like wind, water, rain and pets when setting and bracing the mirrors.\nThe sun moves across the sky throughout the day but also changes position from day to day. Reset the garden mirrors to reflect sunlight so that the plant continues to receive enough sunlight. Remember that in midsummer, especially in lower latitudes, even reflected sunlight can be intense. If the reflected light is too strong, reflect the light off a painted wall or surface or filter the light through a light cloth to keep from burning the plant.\nThings You Will Need\nGravel, frames or blocks\nLight cloth (if needed)\n- BBC: The Dark Town that Built a Giant Mirror to Deflect the Sun\n- National Geographic: Photosynthesis\n- University of California Berkeley: Absorption/Reflection of Sunlight\n- Architectural Digest: Caring for Indoor Plants in Low-Light Conditions\n- Chelsea Green Publishing: How to Use Reflected Light to Boost Indoor Food Production\n- Mulch film can be purchased to reflect sunlight from the ground up to plants.\n- A light pruning can be done throughout the year with most trees, with heavier pruning done after flowering or in the winter while the tree is dormant.\n- Do not place mirrors too close to plants or direct bright sunlight, as this may burn the plants.\nKaren earned her Certificate in Technical and Scientific Writing at San Diego State University while working to complete her BS degree in Geological Sciences. Karen eventually returned to SDSU for her teacher credential, then completed her MA in Science Education through Western Governors University. Karen enjoys creative writing and has published several poems and a book of short stories. She has written a variety of nonfiction articles for Sciencing.", "id": "<urn:uuid:3462a395-b98b-4ab1-8ff0-f81a00be3dd6>", "dump": "CC-MAIN-2023-14", "url": "https://homeguides.sfgate.com/redirect-sunlight-plants-44175.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949694.55/warc/CC-MAIN-20230401001704-20230401031704-00519.warc.gz", "language": "en", "language_score": 0.9342615008354187, "token_count": 1050, "score": 3.859375, "int_score": 4}
{"text": "Drama is a subject which offers exploration of a wide range of topics from real life issues to fantasy, developing skills for learning life and work such as creativity, problem solving, confidence, emotional intelligence and co-operation. The course covers all aspects of theatre including devising, acting from a script, script writing, directing and technical theatre (Lighting, sound, costume, make-up and hair, props and set).\nAs our pupils do not receive Drama in S1 it is important to build knowledge and understanding of the basic theatre skills and terminology. Pupils comes to Drama once a week and are expected to take part in a range of practical and written activities. Our units of work in S2 are as follows:\n- Mime and Movement: looking at the fundamentals of mime performance we create slapstick comedy whilst working on movement terminology. The pupils are assessed on performance and their ability to evaluate themselves and others.\n- Voice: Pupils are now asked to develop their ability to create a character building voice into their performance. Pupils use characterisation techniques and explore conventions which can help build storyline and understanding of character background.\n- Production Skills and Storytelling: After a series of workshops on lighting, sound, costume, make-up and hair, props and set our pupils use their new skills to help create tension and mood and atmosphere in a story of their choosing. Pupils will continue to develop their acting skills further for this particular genre of storytelling.\n- Script work: Assigning the pupils a character each to develop from clues in the script, pupils work in groups to develop their acting skills in a workshop environment.\nAt the end of every unit pupils are expected to complete a written assessment to test knowledge and understanding as well as evaluate their own work and that of others in class.\nIn S3 pupils attend Drama twice a week after choosing their subjects at the end of S2. They experiment with a range of form, genre, structure and style of performance, broadening their understanding of various ways to present a drama. Pupils will be asked to keep rehearsal logs of their learning, monitoring the development of their own abilities. Pupils will achieve this through the following Units:\n- Physical theatre\n- Stage Fighting\n- Monologue and Production Unit\n- Page to Stage acting workshops.\nWithin all units of work, pupils will be expected to perform in a variety of ways, demonstrating the ability to portray a number of different characters, building their repertoire. They will all be expected to write an evaluate assessment at the end of each unit, which should be embedded with the terminology they have learned from the start of S2.", "id": "<urn:uuid:b47097a0-607f-414f-b50f-ed9885291a5d>", "dump": "CC-MAIN-2023-14", "url": "https://bridgeofdon.aberdeen.sch.uk/wp/expressive-arts/drama/s2-s3-drama", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00120.warc.gz", "language": "en", "language_score": 0.9610944986343384, "token_count": 550, "score": 3.84375, "int_score": 4}
{"text": "Teacher background information\nYear 3 Science Content Description\nScience Inquiry Skills\nCommunicatingRepresent and communicate observations, ideas and findings using formal and informal representations (ACSIS060 - Scootle )\nacknowledging and exploring Aboriginal and Torres Strait Islander Peoples\u2019 ways of communicating information about anatomical features of organisms\nThis elaboration provides students with an opportunity to develop this core Science Inquiry Skill whilst addressing intercultural science inquiry skills relevant to Aboriginal and Torres Strait Islander Histories and Cultures within the context of the following content description(s) from the Science Understanding and/or Science as a Human Endeavour strand(s).\nLiving things can be grouped on the basis of observable features and can be distinguished from non-living things (ACSSU044)\nA potential way to approach this content description is:\nIn engaging students in the development of the science inquiry skill of representing and communicating observations, ideas and findings, it may be useful to explain that Aboriginal and Torres Strait Islander Peoples have long developed and used informal and formal means of communicating observations about important information. This elaboration provides students with the opportunity to explore the ways Aboriginal and Torres Strait Islander Peoples represent and communicate scientific knowledges, including the anatomical features of living things. The use of a variety of means to represent and communicate scientific knowledges fosters a deep understanding and memorisation of the information. Methods for communicating the observable features of living things include storytelling, song, dance, petroglyphs and iconography.\nAboriginal and Torres Strait Islander Peoples have long represented and communicated knowledge of the behaviours and observable features of organisms through song and dance. An excellent example of this was recorded by the Guugu Yimithirr Peoples of the Hopevale region of far north Queensland who represent and communicate important information about dangerous organisms using song, dance and models of animals. The potential danger of the venomous stonefish is communicated through a cultural dance, with a warning about the consequences of treading on the stonefish spines. A beeswax model of the stonefish, including anatomical details of the spines, is used to represent its structural features and communicate the dangers of the organism.\nThe Muralag Peoples of Muralag Island in the Torres Strait represent and communicate observable features of the sawfish in song, dance and masks. Masks are constructed that represent the structural features of the sawfish, including the distinctive long series of teeth along the snout, the dorsal fins and heterocercal tail. Scientific information about living things, embedded in Aboriginal and Torres Strait Islander Peoples\u2019 song, dance and various visual representations, ensures the behaviour, characteristics and locations of the living organism are expressed and communicated.\nThis elaboration provides students with the opportunity to acknowledge and explore the ways that Aboriginal and Torres Strait Islander Peoples represent and communicate information. Students can explore Aboriginal and Torres Strait Islander Peoples\u2019 songs and dances online to recognise different methods of representation and communication, and evaluate the knowledge and information about the observable features of living things that they convey. Additionally, teachers may seek permission, in consultation and with the support of the local community, for students to learn an Aboriginal or Torres Strait Islander Peoples\u2019 dance that demonstrates the observable features of organisms.", "id": "<urn:uuid:bb7ab4dc-de47-4388-82ea-29734a7af303>", "dump": "CC-MAIN-2023-14", "url": "https://www.australiancurriculum.edu.au/TeacherBackgroundInfo?id=56617", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00319.warc.gz", "language": "en", "language_score": 0.8857029676437378, "token_count": 668, "score": 3.625, "int_score": 4}
{"text": "Why the History of Juneteenth Is More Relevant Than Ever\nJune 19, 2020\nAmerica\u2019s Celebration of Emancipation Also Serves as a Reminder of the Work That Remains\nThis article by Dr. Tiffany Jana, founder and CEO of Certified B Corporation TMI Consulting, is the first in a series from members of the B Corp community about how businesses and individuals can advocate for change.\nPresident Abraham Lincoln signed the Emancipation Proclamation on January 1, 1863. This document \u201cfreed\u201d the enslaved of their owners and abolished slavery. While this was a necessary and historical step toward equality, hundreds of thousands of Black people did not reap the benefits of the Proclamation until years later.\n\u201cMy paramount object in this struggle is to save the Union, and is not either to save or destroy Slavery,\u201d Lincoln wrote. \u201cIf I could save the Union without freeing any slave, I would do it, and if I could save it by freeing all the slaves, I would do it, and if I could save it by freeing some and leaving others alone, I would also do that. What I do about Slavery and the colored race, I do because I believe it helps to save this Union.\u201d\nThe Proclamation was contingent upon the Union winning the Civil War, which didn\u2019t happen until April of 1865, two years after the signing of the Emancipation Proclamation. The extreme opposition to the Proclamation invigorated the South, leading to battles that left unmatched civilian and soldier death tolls.\nOur very creation as a country was rooted in the exploitation of other human beings. Slavery created an institution of hierarchy that is still being enforced today. Racial inequality, the idea that certain human beings are \u201cless than,\u201d and other such oppressions were the ideals of colonizers who founded our \u201cgreat\u201d nation. The efforts of Abraham Lincoln should not go unnoticed. But it should be made very clear that the only reason such an act was allowed to be instituted was because it came from a white man, and was enforced by other white men. Black people had no autonomy over their own bodies, and no rights or votes to advocate for themselves. They were considered objects, things to be sold and used until they were no longer useful.\nThis very racial hierarchy meant that half the nation felt it was their right to own Black bodies, and with this belief they fought for four years against the Union. Texas was the last one standing, and with 250,000 enslaved registered in the state, it was arguably the most important state to fall.\nOn June 19, 1865, two months after the surrender of Confederate General Robert E. Lee at Appomattox Court House in Virginia, Union General Gordon Granger and approximately 1,800 federal troops arrived in Galveston, Texas, to take control of the state and enforce the Emancipation Proclamation. Granger read General Order No. 3, which declared in part: \u201cThe people of Texas are informed that, in accordance with a proclamation from the Executive of the United States, all slaves are free.\u201d Juneteenth (short for \u201cJune nineteenth\u201d) is a holiday commemorating this day, which marked the effective end of slavery in the United States.\nToday, Juneteenth is celebrated all over the United States. In the past few years it has gained traction as racial and civil rights activists have brought it to the forefront of cultural celebrations. However, it\u2019s not a federal holiday, and only 45 states and Washington, D.C., recognize the day as a state holiday. Juneteenth lives on through celebrations in the form of festivals and parades with local bands, storytelling, picnics, and a Juneteenth staple: barbecues. Traditionally, red drinks and red foods are a must at these barbecues, with red symbolizing resilience.\nIt is immensely important for Americans to recognize Juneteenth. As NAACP President and CEO Derrick Johnson said in an interview with Teen Vogue, \u201cToday\u2019s political climate is the result of a concerted effort over many years to teach individuals a revised history: that the system of slavery was related to state\u2019s rights, when in fact it was a treasonous act that this nation must not revisit. One of the ways we can prevent another uprising of a treasonous act [like slavery] is to recognize milestones like Juneteenth. I think the significance and purpose of recognizing Juneteenth is something that all citizens should acknowledge because, if there is not a retelling or remembrance of the true history in this nation, we\u2019re doomed to repeat it.\u201d\nJuneteenth is a day to celebrate the mandated freedom of all Americans. But it is also a time to reflect on the inequalities still sweeping our nation and the disgusting effects it has had for entire populations. As people and businesses search for ways to deepen their understanding of the history of racism against Black people in America, this is a great moment to reflect and consider this vital date in U.S. history. Social justice-minded organizations and movements, like the Certified B Corporation movement, should be particularly keen on adding Juneteenth to the list of worthwhile celebrations and acknowledgements of the importance of Black people in our nation and our workforce.\nThe same attitude we have about July 4th must be embraced for Juneteenth. Frederick Douglass said, \u201cThis Fourth [of] July is yours, not mine. You may rejoice, I must mourn. I am not included within the pale of glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you, this day, rejoice, are not enjoyed in common. The rich inheritance of justice, liberty, prosperity and independence, bequeathed by your fathers, is shared by you, not by me.\u201d\nAs we commemorate June 19, 2020, I urge you to reflect on your own understanding of history and the reality of our world. Open your mind to the notion that history was written for, and by, white people. The truth we were taught was filled with omission and one-sided testimonies. Educate yourself on what this nation was actually founded upon. Learn about the lived experiences of Black people, LGBTQ people, women, and many other marginalized groups; it may not be a pleasant realization, but it is necessary. Arming ourselves with information is the best way to win the fight for equality.\nRead more about Juneteenth and the continuing legacy of slavery:\nFind anti-racism resources for you and your business.\nCompiled by the Team at B Lab U.S. & Canada.\nSign Up for our B The Change Newsletter\nRead stories on the B Corp Movement and people using business as a force for good. The B The Change Newsletter is sent weekly on Fridays.", "id": "<urn:uuid:5954331a-4fec-4570-a1c6-12579f409210>", "dump": "CC-MAIN-2023-14", "url": "https://usca.bcorporation.net/zbtcz06z20/why-history-juneteenth-more-relevant-ever/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950528.96/warc/CC-MAIN-20230402105054-20230402135054-00738.warc.gz", "language": "en", "language_score": 0.9692538380622864, "token_count": 1405, "score": 4.0, "int_score": 4}
{"text": "Many of us who grew up attending traditional schools learned to read before we learned to write. We were taught the names of letters before learning the sound made by each letter. However, the Montessori sequence of lessons gives children opportunities to write before they even begin to read.\nThe intellectual process of writing in the primary classroom begins with spoken language activities like storytelling, poems, songs, and sound games. These activities give children the vocabulary and ideas they need to express themselves through writing. Children are also directly prepared with the Sandpaper Letters. The Sandpaper Letters allow the child to use tactile, auditory, and visual modalities to identify the graphic symbols that represent sounds.\nTo understand writing in the Montessori environment, it is important to understand the process of reading and writing in general. When an individual reads, they are reading someone else\u2019s thoughts rather than their own. They are also identifying symbols and attaching sounds in a short period of time. Therefore, reading involves decoding, fusing sounds and attaching meaning all while being under a time constraint. Writing, on the other hand, starts with a thought already known by the child and then involves identifying a sound, attaching a symbol, and transcribing. Dr. Montessori designed a material called the Moveable Alphabet that removes the challenge of transcribing, making early writing a much simpler process. All the child has to do is identify the sounds and corresponding symbols of a word. This material is unique to the Montessori Method and the key piece to early writing.\nAs the child works to identify individual sounds in words to write, they are also learning the code to reading. The child in a Montessori environment is given repeated and frequent opportunities to make their own words first. This eventually results in what Dr. Montessori described as a spontaneous explosion into reading. Once a child understands how to decode phonetic words, they begin to study and incorporate phonograms, sight words, alternative spellings, parts of speech, sentence structure, and the importance of word order. All of this work supports the child to reach total reading. Total reading is not only the mechanical ability to decipher letters and words, but also the intellectual ability to understand what we read, allowing us to create mental images of what is being described.\nAt around the same time a child is learning the intellectual process of writing, they are developing the mechanical skills needed for the art of handwriting. These handwriting lessons come after years of indirect preparation of the hand and support the child to eventually transcribe their thoughts without the Movable Alphabet. Children also learn to write in cursive because it lends itself to the natural movement of the hand and leads to fewer reversals of letters. When the child begins to read, they will read text in print and begin to differentiate the two styles.\nThe thoughtful progression of language presentations in a Montessori environment supports children to joyfully and effortlessly acquire the skills needed to write and read. Adults must provide a rich language environment but also recognize that every child will begin the process in their own time.", "id": "<urn:uuid:98ee91fa-368b-49cd-984a-9a333f7e8f05>", "dump": "CC-MAIN-2023-14", "url": "https://www.traversechildrenshouse.org/blogpost.asp?aid=38", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00319.warc.gz", "language": "en", "language_score": 0.9583200216293335, "token_count": 617, "score": 3.65625, "int_score": 4}
{"text": "February 2023 Edition | Volume 77, Issue 2\nPublished since 1946\nWorld\u2019s Longest Mule Deer Migration\nThe U.S. Geological Survey (USGS) and researchers at the Wyoming Cooperative Fish and Wildlife Research Unit released an interactive geonarrative highlighting the world\u2019s longest mule deer migration from the Red Desert to Hoback, Wyoming. In addition, last December, USGS released Ungulate Migrations of the Western U.S., Volume 3.\nLearn about Wyoming\u2019s migratory ungulates (mule deer, elk, pronghorn, etc.).\nFollowing is the press release issued on December 20, 2022.\nFor many animals, migration helps them make the most of summer and reduce the stress of winter. While geese and other birds make their seasonal journeys by air travel, other animals, like the mule deer of western Wyoming, travel long distances on foot. Not all mule deer migrate, but the vast majority that do follow an annual cycle tied to spring green-up of plants and snowfall. In the spring, the deer leave their winter range and follow the green-up, eating the most nutrient- and protein-dense plants (scientists call this \u201csurfing the green wave\u201d) until they reach their high-elevation summer range. When cooler weather arrives in the fall, they travel back to their winter range where there is less snow to wait out the winter. Some mule deer only travel short distances, moving from low to high elevations in the same region, while others travel a hundred miles or more.\nThe longest point-to-point mule deer migration on record is the journey of Deer 255, which stretches from the Greater Yellowstone Ecosystem in the northwest corner of Wyoming to southern Wyoming\u2019s Red Desert \u2014 a ~480-mile round trip. That\u2019s the longest documented land migration in the lower 48 states, and second only to caribou in North America.\nIn the spring of 2016, Deer 255 was fitted with a GPS collar in the Red Desert, allowing researchers at the Wyoming Cooperative Fish and Wildlife Research Unit and partners at the Wyoming Game and Fish Department and Wyoming Migration Initiative to track her record-breaking spring journey across the Teton Range. Her GPS collar malfunctioned before she made the trip home, leaving the researchers to wonder whether the long trip was a fluke. But in 2018, Deer 255 was found and captured again and fitted with a new GPS collar, and she has repeated the 242-mile journey and shorter variations in the years since.\nTraveling hundreds of miles from the mountains to the desert each winter, Deer 255 and her herd pass through a patchwork quilt of land comprising national parks, ranchlands, developed areas, and more. The barriers the deer cross are both physical and jurisdictional, ancient and brand-new, from the craggy mountain ranges of the Grand Tetons, and long, narrow glacial lakes to the fences and highways that cut Wyoming\u2019s lands into private and public parcels. Protecting an animal that migrates long distances is a challenge that won\u2019t fit within the bounds of a single protected area like a national park.\nThe story of Deer 255\u2019s journey paints a picture of the modern West\u2014diverse habitats managed by many hands, rapidly changing in the face of a growing human footprint and climate change. By tracking mule deer like 255 and her herd, researchers learn not only where they go and how long it takes, but also how the changing landscape can influence migratory behaviors. Mapping these migrations can inform management decisions, such as the planning of housing and energy development. For example, the researchers tracking Deer 255 were able to identify a critical bottleneck in the migration corridor that bisected a parcel of land slated for a new housing development. This sparked a $2.1 million conservation effort to protect the bottleneck and ensure safe passage of migrating deer.\nMule deer that migrate shorter distances can provide plenty of useful information too\u2014following 14 years of tracking a population in south-central Wyoming, the researchers were able to see that these deer slowed down when they encountered natural gas projects, throwing off their ability to \u201csurf the green wave.\u201d\nA new geonarrative follows Deer 255\u2019s fall migration route from end to end, taking the reader through each leg of the trip and the different places she passes through.\nThe geonarrative was developed for inclusion in the Conservation Atlas that the USGS is creating for President Biden\u2019s America the Beautiful initiative, a vision for how the U.S. can work collaboratively to achieve a locally led, nationwide conservation goal of conserving 30 percent of U.S. lands and waters by 2030. The Atlas will be a visual, interactive way to tell the story of conservation, restoration, and stewardship of nature in America and track progress towards conservation goals. Geonarratives like that of Deer 255 will be a part of the Atlas, providing users with a deeper storytelling perspective on the Nation\u2019s natural resources.\nThe ONB features articles from Cooperative Fish and Wildlife Research Units, U.S. Geological Survey. The Units are leading exciting, new fish and wildlife research projects that we believe our readers will appreciate reading about. Contact for the Wyoming Cooperative Fish and Wildlife Research Unit is Matt Kauffman, firstname.lastname@example.org.", "id": "<urn:uuid:8f7f2352-3159-4e39-9a29-9e308386fdab>", "dump": "CC-MAIN-2023-14", "url": "https://wildlifemanagement.institute/outdoor-news-bulletin/february-2023/worlds-longest-mule-deer-migration", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00319.warc.gz", "language": "en", "language_score": 0.9173415303230286, "token_count": 1113, "score": 3.625, "int_score": 4}
{"text": "7 Teaching Principles for Effective Writing InstructionFebruary 9, 2023\nIn her bestselling guidebook The Writing Rope, Brookes author Joan Sedita identifies seven teaching principles that should be incorporated when you assign writing tasks and teach writing skills. Teachers, keep the guidelines in today\u2019s post handy as you plan and revise your instruction\u2014and prepare students for lifelong success with written expression!\nGradual release of responsibility\nThe Gradual Release of Responsibility Model (Pearson & Gallagher) is an effective approach for teaching writing. It is sometimes referred to as an I do it, we do it, you do it model of instruction. During the I do it stage, you provide explicit instruction of a writing skill, with modeling through think-aloud. During the We do it stage, students practice the skill individually, in small groups, or as a whole group (e.g., the class editing a paragraph together). Guide this practice and include corrective feedback when necessary. Students eventually reach the You do it stage when they are able to apply the skill independently.\nExplicit instruction of writing strategies\nExplicit instruction involves using structured and sequenced steps to teach a specific skill. It includes explaining a skill and modeling how it is applied using think-aloud, and providing guided practice with feedback. Teaching students strategies for planning, revising, and editing their compositions has shown a dramatic effect on the quality of students\u2019 writing. Strategy instruction may involve teaching more generic processes, such as brainstorming or collaboration for peer revising, or it may involve strategies for accomplishing a specific type of writing task, such as writing an opinion or argument piece (Graham & Perin, 2007).\nDifferentiated instruction to meet individual needs\nDifferentiated instruction calls for designing instruction to suit individual student needs rather than using a standardized approach to instruction that assumes all students learn to write the same way. For students who struggle with different aspects of the writing process, you can provide customized scaffolds as needed to support their learning. (For more guidance on differentiation, read this post: Differentiated Instruction: 7 Key Principles and How-Tos.)\nScaffolding to support learning of new skills\nScaffolding is assistance offered by a teacher or a peer to support learning a writing skill that a student is initially unable to grasp independently, and then removal of the assistance once the skill is learned. Instructional scaffolds for writing may include the following:\n- Breaking a writing task into smaller, more manageable parts or steps\n- Providing word lists, prompts and questions, or writing tips\n- Providing sentence starters, writing templates, graphic organizers, and checklists\n- Providing opportunities for students to work collaboratively\nWant more tips on scaffolding?\nRead this post: 10 Simple, Low-Cost Scaffolding Tools You Can Use in Your Classroom\nOpportunities for collaboration with peers\nStudents\u2019 writing skills improve when they have opportunities to give feedback to their peers and receive it in return. Here are some tips for using peer collaboration to support writing instruction:\n- Plan how students will be grouped ahead of time. Consider personalities and potential challenges.\n- Alternate your method of group selection so that students are not always grouped with the same peers.\n- Set clear expectations for behavior, process, goals, and the final product.\n- Teach explicit interaction and communication rules\u2014for example, to take turns talking, avoid interrupting, and make sure everyone participates.\n- Use role play to model appropriate peer discussion and interactive behaviors.\n- Define the task and the amount of time for collaboration.\nUse of mentor text as models for writing\nMost people learn new skills by emulating others, such as how to cook a meal, play basketball, or play the guitar. It is the same with writing. Use writing models, or mentor text, to show students what strong writing looks like, so they can imitate style, language, and structure in their own writing. Mentor models also show authors\u2019 use of writing techniques associated with writing craft, also called writer\u2019s moves.\nSometimes teachers unfamiliar with the value of sharing mentor text express concern that this practice will encourage students to copy the language used by another author instead of generating their own wording. However, it\u2019s important to recognize that students can create their own original text when you help them analyze a specific writing technique and discuss how to use that technique. (The Writing Rope provides more guidance on selecting and using mentor texts.)\nIncreasing the amount students write in all subject areas\nAdequate time for students to write is essential to the development of writing skills, and that time can occur during your content instruction (Graham et al., 2012). Although some writing skills, strategies, and techniques are typically taught by the English language arts teacher during time dedicated to writing instruction, students need to practice writing on a frequent basis throughout the school day, in all subjects. Writing is one of the major strategies that helps students extend their critical thinking about a subject-area topic. Common Core Writing Standard #10 calls for students to \u201cwrite routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.\u201d\nThe seven principles in this post are integrated in the instructional suggestions throughout The Writing Rope. Get this bestselling book to keep reading!\nThe Writing Rope\nA Framework for Explicit Writing Instruction in All Subjects\nBy Joan Sedita, M.Ed.\nPerfect for professional development, this invaluable planning guide will help teachers apply the science of reading to the skill of writing\u2014and help students master a critical aspect of literacy. Teachers of Grades 4\u20138 will get crystal-clear guidelines and dozens of included templates, handouts, and other resources.\nGraham, S., McKeown, D., Kiuhara, S., & Harris, K. R. (2012). A meta-analysis of writing instruction for students in elementary grades. Journal of Educational Psychology, 104(4), 879\u2013896.\nGraham, S., & Perin, D. (2007). Writing next: Effective strategies to improve writing of adolescents in middle and high schools\u2014A report to Carnegie Corporation of New York. Alliance for Excellent Education.\nPearson, P. E., & Gallagher, M. C. (1983). The instruction of reading comprehension. Contemporary Educational Psychology, 8, 317\u2013344.\nSedita, J. (2020). Keys to early writing (2nd ed.). Keys to Literacy.\nWrite a Comment\nYour email address will not be published. Required fields are marked *\nPost a Comment", "id": "<urn:uuid:bcf55222-521a-43cc-ba29-d99bf9caf6c2>", "dump": "CC-MAIN-2023-14", "url": "https://blog.brookespublishing.com/7-teaching-principles-for-effective-writing-instruction/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950528.96/warc/CC-MAIN-20230402105054-20230402135054-00740.warc.gz", "language": "en", "language_score": 0.9141901135444641, "token_count": 1373, "score": 3.96875, "int_score": 4}
{"text": "Model of notice writing. Notice Writing: Format, Tips, Templates, Examples 2022-10-12\nModel of notice writing\nA model of notice writing is a set of guidelines or a structure that can be followed when composing a notice. Notices are short, formal messages that are used to communicate important information to a specific audience. They are often used in a professional or academic setting, and can be found in newspapers, on notice boards, or on websites.\nThere are a few key elements that should be included in a model of notice writing. First, the notice should have a clear and concise subject line that states the purpose of the notice. This helps the reader to quickly understand the content of the notice and decide whether or not they need to read it.\nNext, the notice should have a clear and concise opening statement that explains the purpose of the notice and the main points that will be covered. The body of the notice should be organized in a logical manner, with each point or piece of information presented in a separate paragraph.\nIt is also important to use language that is easy to understand and to avoid using technical jargon or complex language that may be difficult for the reader to comprehend. The notice should also be written in a formal tone, using correct grammar and spelling.\nFinally, the notice should include a closing statement that summarizes the main points of the notice and provides any necessary instructions or information on how to take action. This could include details on how to respond to the notice, or how to access more information on the topic.\nOverall, a model of notice writing is a useful tool for ensuring that important information is communicated effectively and efficiently to the intended audience. By following a clear and structured format, notices can be composed in a way that is easy to understand and that gets the message across effectively.\nNotice Writing Format, Type, Writing Tips, Examples [PDF]\nIt makes it easier for the responsible office to spread the information since it just posted in visible public areas or designated bulletin boards. If you are running out of words, conclude it. It is used widely in organizations to announce upcoming events, warnings, an invitation to a meeting, etc. But due to some unknown reason, many students find it quite difficult to write a proper flawless notice and often choose to skip it. It is one of the normal techniques for correspondence. Students are free to choose any topic and write it in their own words. Abhaya Sports Captain Question.\nNotice Writing Format for Class 12 to 6: Examples and Topics\nAt the end of the notice, the name and designation of the official of the concerned institution should be written. It must be complete even though it is written in short sentences. You may also see It is important to remember that notices are formally written or printed information or news, thus it follows a formal tone and style as well. Interested students are requested to bring their grandparents on that day at 5 p. Basically, if any organization or authority issues a notice for all the people of society, it is known as a public notice. The most important thing to remember when writing a notice is that it must be clear and concise. Those scouts and guides interested to participate in the jamboree may enlist their names to the undersigned by the 5th of December.\nNotice Writing with Examples\nWhile notices from government agencies and other big organizations commonly appear on various newspapers and other media outlets. Auctions are usually held at government buildings where potential buyers can view items for sale before making an offer for purchase. Language As it is a formal announcement, simple and formal language must be used. Students are invited to participate in this competition. All necessary information should be piled up within a limited word limit. In this case, they should write about various competitions being held in your school or college. It is a common sight to see in schools and buildings that have designated posting areas.\nA proper notice should mention the purpose, terms, and other vital information. You can either write one long paragraph or use bullet points to make the note more interesting for readers. Do you think yourself to be a whiz at Notice Writing? The event or occasion must be mentioned in the notice. Writing one or two sentences explaining what you are thankful for about your time at the company will help foster a peaceful transition. Students are requested to register their names in the office. Notice writing can be defined as the process of sending out messages or notifications to the people who may be interested in the same.\nNotice Writing Format Examples for CBSE Class 7 English Writing Skills\nMention of date, date, time and place 2. Mehul Sharma Secretary Hindi Sahitya Samiti. A notice should be mentioned as NOTICE. Notice is nothing but a kind of formal communication medium that is used to announce or display formal information, notification, or warning about anything. But make sure that your content is easy to understand by everyone who reads it. The Body of a Notice As mentioned earlier, the body is the most important part of any notice.\nNotice Writing: Format, Importance, Tips\nAnd please join our Telegram channel to get the latest updates on the upcoming sessions. Ensure you do exclude any additional subtleties as it might confuse the genuine message. Plus, this is also known as a letter that has a request for all the members to attend a meeting. It should be mentioned who all are eligible for that particular event on which the notice is issued. Highlighting the name of the authority will convey the urgency and establish the validity of the information The organization can follow the below-mentioned sample for writing notice: Name of the Organization NOTICE Date Please be informed that the cafeteria will be closed for maintenance purposes on the Date Mention the date.\nPublic Notice Writing Format, Types, Sample, Example of Notice Writing\nThis type of notice is usually given when there is no response from the landlord after several reminders. Regardless of the reasons that led you to resign, the tone of this letter should be positive\u2014aim to part on good terms and maintain your professional network. Example: I am grateful to have had the opportunity to learn from the best and grow as a designer. It is one of the common methods of communication. Constructive Notice A person has constructive notice of all facts of which he would have acquired actual notice had he made those enquiries which he ought reasonably to have made. All these things can be clearly explained by using proper notice writing techniques so that customers know exactly what they are buying from you.\nNotice Writing: Format, Tips, Templates, Examples\nIt helps you share ideas, build relationships, delegate responsibilities as well as manage teamwork. Write a notice for the school notice board informing students about school inspection to be held on 25th February, 20xx by the Director of the school. Despite different classes and grades, the basic format for Notice Writing remains the same. And, the last one is clarity, no need to explain that if a notice message is not clear it is of no use, so make it clear. It is common to adhere to the 40 to 50-word limit.\nHow To Write a Resignation Letter (With Samples and Tips)\nThey should include all the information related to the event like date, time, venue, etc. As the Principal of that school, draft notice in not more than 50 words to be displayed on the school main gate notice board. Due to this enormous importance, almost all school boards around the world include notice writing within their writing comprehension syllabus. Sarita Head of Department Notice 29th Jan 2023 FOUND! The body ought to contain all the fundamental data expected in the notification like the hour of an occasion, setting of the occasion, and a date, and it should be written in an inactive voice without the utilisation of the first individual. Fundamentally, sees are an instrument for scattering data in regards to any event or issue. The target group for whom the notice is.\nNotice Writing Format\nRoss Jackson Operation Manager Delhi Public School Notice 19th March 2022 Change School Timing Please be advised that as a result of the start of spring, after-school activities will take place from 4 am to 12 pm, from 5 pm to 4 pm, and from 2 March until the end of the academic year. They learn how to write a proper and precise form of communication that conveys information to a group of people. Write a notice in about 50 words for the school notice board. Draft a notice in not more than 50 words informing students of a proposed visit to some important historical sites in your city. For example, NOTICE \u2014 Dance Competition, NOTICE \u2014 School Field Trip, NOTICE \u2014 Inter-school Sports Competition. Key information or important things should be underlined or dark color should be used. V Public School, Patna.", "id": "<urn:uuid:596f3f39-2fb2-421d-ab4c-d2c648480bfe>", "dump": "CC-MAIN-2023-14", "url": "http://opportunities.alumdev.columbia.edu/model-of-notice-writing.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945288.47/warc/CC-MAIN-20230324180032-20230324210032-00520.warc.gz", "language": "en", "language_score": 0.9463512301445007, "token_count": 1814, "score": 3.625, "int_score": 4}
{"text": "In this tab you can find activities, games, stories, and resources to engage your children according to different age levels. These resources can help your child get excited about reading and learning to read.\nThese activities are targeted for Elementary School ages.\nFamily Engagement Activities\nAnimal Walks are simple and fun exercises that invite children to use their imagination to\nmove their bodies to copy animals. They are an easy way to get a quick dose of gross motor\nplay into your child\u2019s day. These tasks get kids moving and active and allow them to release\nenergy. Many of these movements develop core strength, balance, and agility which are\nwonderful for helping children control their sensory needs. Gross motor skills are a big part\nof children\u2019s healthy development at all ages.\nReading Strategies from Classroom to Home: Tips for Providers\nRead-alouds are a form of shared reading, where children engage and interact with the story while it\u2019s read to them!\nListening to stories helps children understand the basics of how a story works, including:\nthe structure of a beginning, middle, and end, elements like characters, setting, and plot\nBack To School\nFall is on its way, and it\u2019s time for the school year to begin \u2014 and not just for kids, but for parents and teachers, too. Parents can help their young children become acclimated to the newness of school and ease their older kids back into familiar school-day routines. If you\u2019re a teacher \u2014 whether a novice or an old pro \u2014 Reading Rockets has ideas and resources to help you get ready for the best school year yet.\nWhy is it important to read over the summer?\n- Research shows that students can maintain or improve reading skills when they are out of school for the summer.\n- Access to books over the summer increases reading opportunities and enjoyment of books, and helps students be ready for next school year.\n- Students who read at least five books during the summer can maintain important literacy skills.\nOhio\u2019s Dyslexia Guidebook\nOhio\u2019s Dyslexia Guidebook is available now. As required by Ohio law, Ohio\u2019s Dyslexia Guidebook contains best practices and methods for universal screening, intervention and remediation for children with dyslexia or children displaying dyslexic characteristics and tendencies. Districts and schools should use the guidebook to access critical information for successful implementation of Ohio\u2019s dyslexia support laws.\nResources for Families\nAt Reading Partners we know the learning doesn\u2019t begin and end in the classroom. Research shows that family involvement is the number one predictor of early literacy success and future academic achievement. We encourage family members to read at home with their kids every day and stay involved in their children\u2019s educational experience.\nWe want parents, guardians, and other relatives caring for children to become the best reading partners for their kids. Here are some resources to stay educated and informed about early literacy.\nWhere to Find Free Audiobooks and Digital Text-to-Speech Books for Your Child\nAt a Glance\n- Audiobooks and digital text-to-speech books can be a good way to help kids with reading issues.\n- You can get these books for free from libraries, schools, and online sources like Bookshare.\n- Talk to your school and local library about what\u2019s available for your child.\nHow to Teach Kids With Dyslexia to Read\nChild Mind Institute \u2013 Children are diagnosed with dyslexia when they fall behind their peers in learning to read, usually during their first few years in school. The cause isn\u2019t a lack of intelligence, it\u2019s a failure to develop a particular skill: decoding written language. Some kids with dyslexia figure out ways to compensate for their poor reading skills, and their struggles aren\u2019t recognized until they are older, when the demand for reading and synthesizing a lot of material becomes too difficult for them to work around.\nwith dinnertime storytelling, family conversation, and books about food. Regular family dinner may be a more powerful vocabulary-builder for young kids than reading.\nUnite for Literacy\nUnite for Literacy projects build home libraries and support families to develop a daily habit of reading, both of which are key factors in growing lifelong readers. Read together and listen to books of your choice in a variety of languages.\nHow Parents Can Instill Reading\nHow Parents Can Instill Reading. Parents often ask how they can help their children learn to read; and it\u2019s no wonder that they\u2019re interested in this essential skill. Reading plays an important role in later school success. Parents often ask how they can help their children learn to read; and it\u2019s no wonder that they\u2019re interested in this essential skill. Reading plays an important role in later school success.\nReading Rockets for Parents Page- Reading and Learning with Your Child\nReading Rockets is a site well loved by educators and parents.\nLearning About Your Child\u2019s Reading Development\nLearning to read is difficult. While spoken language develops in most cases naturally, reading requires explicit, systematic instruction.\nThis page from The National Center on Improving Literacy, describes typical reading development from emergent through fluent reading. Sometimes we have concerns. This article offers a quick overview of the skills to look for and what to do if the child in your life seems to not be acquiring the skills.\nThe Development of Phonological Skills\nBasic listening skills and \u201cword awareness\u201d are critical precursors to phonological awareness. Learn the milestones for acquiring phonological skills. This page helps parents to understand the importance of developmental phonological skills through easy to understand definitions. There is also a table which notes the age where 80 to 90 percent of typical students have achieved each phonological skill.\nDyslexia is a brain-based learning disability that specifically impairs a person\u2019s ability to read. For individuals with dyslexia, specific portions of the brain typically associated with important reading processes may not function in the same ways that they do in individuals without dyslexia. Individuals with dyslexia often have difficulty with phonological processing, spelling, or rapid visual-verbal responding. Importantly, dyslexia is related to reading difficulties, not difficulties that arise from intellectual functioning.\n- Defining Dyslexia\nDyslexia affects about one in every five individuals, making it the most commonly diagnosed learning disability. Dyslexia affects the brain areas associated with detection and processing of sounds and their corresponding letters. These letter-sound linkages are fundamental to reading. When these brain regions do not function efficiently to make these connections, reading development is affected.\nFamily and Community Toolbox\nThe purpose of the Family and Community Toolbox is to provide resources in order to build upon the natural learning opportunities that occur within a child\u2019s daily routine in the home and community. The resources contained in this toolbox provide encouragement to families and caregivers in supporting the early language and literacy development of children in their care.\nGetting Involved with your child\u2019s learning.\nThe information in this guide will give you a sample of some of the things your child will need to know and be able to do in reading for kindergarten. The guide also has helpful practice problems, tips and activities you can do with your child to help him or her achieve the new standards.\nOhio\u2019s Early Learning & Development Standards\nThe Standards support the development and well-being of young children to foster their learning. Because the infant/toddler years are marked by rapid developmental change, the Standards are divided into three meaningful transitional periods: Infants (birth to around 8 months), Young Toddlers (6 to around 18 months), and Older Toddlers (16 to around 36 months).\nThis Parent page has information you can use to help guide your child\u2019s education. Active, involved parents are an essential resource for Ohio\u2019s schools in making the most of every child\u2019s educational experience, from pre-kindergarten all the way through high school.\nParent Guide to Helping Your Child Learn to Read for Preschool through Grade Three\nSuccess in school starts with reading. When children become good readers in the early grades, they are more likely to become better learners throughout their school years and beyond. Learning to read is hard work for children.\nOhio Department of Education- Parents\nActive, involved parents are an essential resource for Ohio\u2019s schools in making the most of every child\u2019s educational experience, from pre-kindergarten all the way through high school. This page has information you can use to help guide your child\u2019s education.\nMy Child is in\u2026Preschool, Kindergarten, Elementary School, etc.", "id": "<urn:uuid:acb24650-520e-44cb-b7e3-121eadaf83f4>", "dump": "CC-MAIN-2023-14", "url": "https://readingtipsforfamilies.com/elementary-school/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00319.warc.gz", "language": "en", "language_score": 0.9428002238273621, "token_count": 1831, "score": 4.0625, "int_score": 4}
{"text": "The story plot is the series of events that take place within the story and normally follows a cause-and-effect pattern. The story plot is the main material for our work. It is the things that happen, the steps that take place, and the part that is bound to be comic, charming, and captivating. A story plot should involve themes that can be always understood by most children: friendlessness, shortage of understanding, concern over making new friends, or any first-time experiences you also went through while growing up. Your fears, memories, and feelings are all workable fodder for children\u2019s stories. We should keep the story plots in our minds while writing a story.\nThere are seven basic important Children story plots which are discussed below.\nOvercoming The Monster: The protagonist sets out to beat an antagonistic force (often evil) that pressurises the protagonist's and/ or protagonist's homeland. Examples - Perseus, Theseus, and Beowulf.\nRags to Riches: The bad protagonist obtains power, wealth, and/or a mate, loses it all and gains it back, getting bigger as a person as a result. Examples - Cinderella, Aladdin, A little princess, the red and the black.\nThe Quest: The protagonist and companions make a start to obtain an essential object or to get to a location. They face desires and other barriers along the way. Examples \u2013 The Pilgrim\u2019s Progress, The Lord of the Rings, and The Divine Comedy.\nVoyage and Return: The protagonist ventures into a foreign land and returns with experience, having overcome the war or having learned essential lessons only found in this place. Examples \u2013 Ramayana, Odyssey, The Hobbit.\nComedy: Light and funny character with a happy or happy ending; a dramatic work in which the central motif is victory over difficulty leading to a successful or happy conclusion. Booker points out that comedy is more than just a funny side. It refers to a pattern where the dispute becomes increasingly confusing but, in the end, becomes clear in a single clarifying event. Most romance films fall into this category. Examples \u2013 The Wasps, Auricularia, The Arbitration.\nTragedy: The protagonist is a hero with a major character fault or a major fault that will finally bring him down. Her unlucky ending motivates kindness for her folly and the reduction of a good character. Examples - Anna Karenina, Carmen.\nRebirth: An event forces the main character to change their ways and many times become a better person. Examples are Pride and Prejudice, The Frog Prince, and The Snow Queen.\nSome Story Plots\nWith these short story writing ideas, children will have a chance to write exciting new stories and to think about the importance of storytelling. Story plotting is an important part of every child\u2019s learning and development and these plots help children get motivated. Some of them are as follows:-\nA young boy who loves magic tricks.\nTell the story of a scar.\nA middle-aged woman locates a ghost.\nA long journey is interfered with by disaster.\nAt school or work, you get an uncommon task.\nYou tried a new restaurant. The chef comes out and tells about him or her.\nYou meet someone with the same name.\nYou have to give a speech.\nYou win a big prize from a local radio contest.\nYou wake up from an especially realistic dream.\nSteps toward writing a story can be a fun or challenging activity. By designing and writing a story, children acquire the knowledge to put their thoughts in order. The steps are as follows:\nStep 1 - Think of a plan\nStep 2 - Initiate a character and create a setting\nStep 3 - The beginning\nStep 4 - The difference of opinion\nStep 5 - The turning point\nStep 6 - The decision\nStep 7 - The end\nImagination of a Child\u2019s Own Story\nIn this article, we have discussed the short story plots which are very important for kids. We have also acquired a knowledge of seven basic Children story plots and short story writing ideas for kids in this article. There are seven basic Children story plots and short story plots - Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Voyage and Return, Comedy, Tragedy and Rebirth. The writers can choose from any one of them and start developing a story by first creating a character and a setting, then by taking the story at a slow pace, then giving a turning point and an end.\n1. Why are writing prompts helpful?\nHere are some reasons why prompts are so helpful. They are as follows:-\nPractise the Language - Creative writing prompts are simple and easy, fun ways to practise.\nWhen You Have No Plans and are Confused \u2013 When your creativity is warmed up, you will start to come up with your plans.\nTo Develop Your Plans \u2013 Use the story ideas below to think about your ideas\nThey are Fun \u2013 Fun is also one of the most creative parts of writing prompts.\n2. How to write good story plots?\nWe have several thoughts and steps for writing good story plots. That is Plan your story, brainstorm your ideas, develop your ideas, develop your characters, write your story, write the opening, use effective dialogue, involve sensory elements, establish your story, read and edit, and give your story a title, publish your story, and summarise. These are the best and simple facts for writing good story plots for kids.\n3. What are the three main elements of a good story plot?\nThere are three elements to a good plot: challenge, conflict, and character.\n4. What is the factor that even makes a diverse story useless?\nA story may not be useful to the reader if it lacks a moral.\n5. Why should kids be encouraged to write stories?\nKids should be encouraged to write stories. It is a wonderful way for them to express their thoughts and feelings as they find their voice while they are learning how to form sentences. Stories provide young people with an opportunity to learn about themselves and how they can use the written word so that it might help improve their lives. This may also be a path by which children can develop a healthy respect for reading, something that will have benefits throughout their lives.", "id": "<urn:uuid:cb5e7b2e-57a2-46e6-93f8-43475774f71c>", "dump": "CC-MAIN-2023-14", "url": "https://www.vedantu.com/stories/basic-plots", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949958.54/warc/CC-MAIN-20230401094611-20230401124611-00119.warc.gz", "language": "en", "language_score": 0.9383965730667114, "token_count": 1308, "score": 3.796875, "int_score": 4}
{"text": "We use story very broadly to mean any sort of explanation, theory, prediction, justification or verbal description. Any narrative inevitably contains these elements, whether it is a myth, a story intended to entertain, a persuasive political speech, or a scientific publication.\nImportant characteristics of stories are that they are inherently verbal (we could speak them if we chose to), and that they have an ambiguous relation to the Truth.\nWe argue that creation of story is nearly synonymous with Consciousness. According to The Interpreter Theory, the only function of consciousness is making story. This is at odds both with intuitive and philosophical concepts of conscious free will (see Determinism vs. Free Will), but is consistent with many streams of puzzling evidence from neuroscience, psychology and behavioral economics, and with evolutionary theories of the origin of consciousness. See Representational Opacity.\nBecause story is fundamentally verbal, it is also fundamentally social. The ability to speak is useless without someone to communicate with. See The Argumentative Theory and The User Interface Analogy.\nFictional stories are a natural outgrowth of the necessary ability to explain our actions to others and to convince them to agree with us in practical matters. Looking at the actions of the interpreter as story-telling gives a more nuanced way of viewing those times when the interpreter says something that isn't exactly true.\nUnless we're consciously manipulative, we tell stories either to get people to think the way that we do, or to establish empathy by getting people to think that we are thinking same as they do. In storytelling, it is understood that the ends justify the means. You can say whatever you need to in order to carry the story payload. It is understood that you won't muddy the message with conflicting evidence. Of course, getting people to think like you is self-serving, especially when your thoughts are self-serving. But getting people to think like you is also crucial for the transmission of culture. Trying to get people to think like you is fundamental to communication, and thus to being human. You could say it is a moral imperative.\nThe question is where truth and deception come into storytelling. A good story carries truth, which normally happens only when the teller has a true belief. Can we recognize some stories as deceptive \u201clies\u201d independent of whether they happen to be true? The canonical lie is making a statement which you believe to be false to influence other's behavior to your self-serving ends, but a lie doesn't have to be false, it only has to be a deliberately deceptive story.\nIn Evolutionary Psychology there is much investigation of deceptive, self-promoting behavior, and in social psychology the related concept of Motivated Reasoning. Our more positive spin is that, first of all, none of us know whether we are right or not, and we don't even know most of what we think. All we know is that we can generate a story that is a useful summary of some of our understandings. Second, presenting our thoughts in a persuasive way is a creative act, the fundamental mechanism of cultural transmission, and hence Cultural Evolution.\nSee Bruce Hood on narrative and the self. See also Reality and the philosophical stances of Fictionalism and pragmatism.", "id": "<urn:uuid:77c1df6e-ed67-4529-b985-fd9ede4e607c>", "dump": "CC-MAIN-2023-14", "url": "http://humancond.org/analysis/mind/story", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00720.warc.gz", "language": "en", "language_score": 0.958280622959137, "token_count": 654, "score": 3.8125, "int_score": 4}
{"text": "As a global subject, English plays a vital role in the lives of graduating students as they are made mandatory in almost all entrance exams both in India and for foreign travels. As it\u2019s a mandatory subject in Class 11 for students, irrespective of their board, this article elaborates the tips that must be stressed upon to ace Class 11 English successfully.\nGeneral Tips That Must Be Stressed Upon\n- First and foremost, before starting the exam preparation it\u2019s important that students collect the necessary study materials and notes as seeking them frequently in-between would spoil the pace of preparation. It is recommended that students get ready with their NCERT English book, previous year question paper and listed reference books before their preparation.\n- A good timetable would always save time and also helps the students cover the entire syllabus before the start of their exams. As Class 11 English emphasises mostly on reading comprehension and grammar, it is advised that students make enough slots for these two areas. Specifically, students must also include practice sessions in their timetable as practising a maximum number of questions makes one pro in reading comprehension.\n- Coming to the material part of exam preparation, the hornbill textbook published by NCERT, can be counted as the main textbook for Class 11. Generally, English is said to have 4 different sections to test the proficiency of students in which 2 sections i.e., reading and writing are tested for Class 11 students. The Hornbill textbook helps students in this area as this book is divided into two of the above-mentioned sections.\n- On par with the Hornbill, students are recommended to go through the NCERT books Class 11 English Snapshots, a supplementary reader. Vocabulary is an integral part of Class 11 English, as excellent vocabulary knowledge paves way for good grades in English exams and Snapshots facilitate the students in this area by improving their language skills. Working out the questions in the Snapshot is said to make the students more self-sufficient as students start thinking out of the box while making their way through the questions.\n- Additionally, Class 11 students, especially those who chose English as an elective in Class 11 are recommended to go through the NCERT Woven Words as they are written by experts to make the experience of young readers (students) more understanding and pleasurable. Designed especially for students using diagrams and images this book comes forward as easy to read and promising study materials.\nBasically, four different sections are to be solved by students in their Class 11 exams. The following tips are to guide you through your preparation in the sections\n- READING SKILLS: Nurturing a daily reading practice will help students score in this section. Summarizing and note-making are two integral skills needed to ace this part. As always said everything gets better with practice, it is advised that in addition to the textbooks students are ought to go through editorials daily and summarize them.\n- GRAMMAR & WRITING: As far as English is concerned fundamentals and basic knowledge are counted as important for it is by them complex topics are understood better.. Students are tested on their grammar knowledge using short answers and multiple-choice questions. Students can expect questions from areas like Error Correction, editing tasks, re-ordering of Sentences, the transformation of sentences.\nFor the grammar part of the exam, it is suggested that students make themselves thorough with all basic grammar concepts as every grammar rule counts in solving the questions. Also, it is recommended to solve questions on daily basis as mastering a skill comes with frequent practice.\nCreativity is an important component of writing and it would be better if students spend some time reading novels to grow their creativity.\n- LITERATURE AND LONG READING TEXTS: To answer this part, students are suggested to go through the mentioned textbooks as mostly textual questions are asked in this section. It is also advisable for the students to regularly solve the questions from your NCERT textbooks. Short and long type questions based on poetry are asked to test your reference to the context comprehension and appreciation.\nExam Tips to Be Stressed Upon\n- Stress during exams is unavoidable as students can\u2019t help but go through the exam fear. A good amount of fear is always good, but do not let your fears consume you. As much as preparation is important, having a pleasant and stress-free mind is also important. Give some space for your mind to recollect the prepared stuff and do not overload it till you enter the examination hall. Make sure that each and every topic you studied is revised before you appear for the exam.\n- Do not overdo or exaggerate your answers. English being a literature subject requires creative writing, but do not let yourselves to be deviated from the topic asked. Filling up your papers with irrelevant answers in search of creativity will lead to bad grades. Always have a check on your answers and make sure they don\u2019t go out of context.\n- Use the apt vocabulary in your content. Make sure you quote references from the textbook but beware not to overdo this. Quote your own phrases to make the content even more understanding and interesting to the examiner. If you are not sure about any of the phrases to use, kindly omit it as the wrong usage of vocabulary will only fetch you low marks.\n- Good presentation and content go hand in hand in an exam. A good presentation does not only mean your handwriting but also the way your answers are presented before the examiner. Make sure your answers are neatly spaced. Highlighting the keywords will fetch a good impression for your answer sheet. Make sure you follow the prescribed word limit for your answers.\n- Finally, check your answers for grammatical errors or misplaced phrases once before submission.", "id": "<urn:uuid:0163e9be-62ef-403a-9f3e-6bf69ad604da>", "dump": "CC-MAIN-2023-14", "url": "https://www.blogvile.com/class-11-english-tips-that-you-must-stress/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943698.79/warc/CC-MAIN-20230321131205-20230321161205-00740.warc.gz", "language": "en", "language_score": 0.9564126133918762, "token_count": 1166, "score": 3.609375, "int_score": 4}
{"text": "Stoicism is a philosophical doctrine that was first discussed by the Greeks. It teaches people to be in control of their negative emotions because one thing is for certain: we all experience them, and it\u2019s important that we take charge of them. Stoicism has been known to be used in an educational framework as a way to teach children how to cope with hardship in a healthy way. This is done by teaching them how to develop inner calm so that they are prepared for anything that challenges them. For hundreds of years, educators used Stoicism to teach kids character development. They used the Stoic framework to train responsible citizens equipped to do the right thing, even when times got hard. What does \u201cdoing the right thing mean\u201d The idea of moral agency is not taught in most schools, but it\u2019s an essential part of being a Stoic. Agency is the ability to make decisions and act independently. It\u2019s what separates us from the animals. Without it, we are just another cog in the machine: following orders, repeating actions blindly. In this sense, the agency is part of what makes life worth living.\nWe all know that in order to do the right thing we need to be able to decide what that \u201cright thing\u201d even is (along with other things like having courage and resilience). Without agency, we can never go beyond our basic instincts and fulfill our potential as human beings.\n4 Stoic virtues\n1. Courage: is the bravery to face adversity. It doesn\u2019t mean we\u2019re never scared, but that when we\u2019re scared, we decide to take action instead of run away.\nIt\u2019s the will to press forward, put our heart on the line, and our skin in the game.\n2. Temperance/Moderation: Courage is wonderful but we go too far when we take unnecessary risks. It\u2019s a spectrum: cowardice on the far left, recklessness on the far right, courage in the middle. We should be brave, not fearful, but we should also avoid foolishness\u2014that\u2019s temperance.\n3. Justice: For the Stoics, justice is the highest virtue. It means that we exist for the sake of others, not ourselves. Everything we do should contribute to the good of society. We must treat others the way we want to be treated and act with honesty, respect, and fairness.\n4. Wisdom: Wisdom means making our philosophy work in the real world. What\u2019s the right amount of courage? How do I act with justice in this situation? Wisdom helps us answer these questions, turn our ideas about virtue into action, and make choices with long-term benefits.\nCourage, temperance, justice, and wisdom\u2014are four powerful principles for guiding our decisions.\nStoic Adoption And Effective Practice\nIt\u2019s hard to grasp the benefits of virtue without concrete examples, that\u2019s what makes stories so powerful, especially classic ones from history. Greek mythology was designed for this specific purpose. You may tell them of Hercules, who chose a life of courage over pleasure and ease. Or Odysseus, who used wisdom to escape dangerous enemies like a cyclops. Many of these stories and movies hold some prolific significance that\u2019s why movie times are good with your family because, With clear examples in mind, it\u2019s easier for kids to understand virtue, see its benefits, and integrate it into their lives. The ancients believed that character is fate, that is what we are taught when we are young, the lessons we absorb into our DNA, in effect, determine what kind of people we are going to be. If I was trying to explain Stoicism to my five-year-old Yael, I would simply try to convey the most essential piece of wisdom contained inside this robust, complex topic. I\u2019d tell her: \u201cLook, you don\u2019t control what happens to you in life, you only control how you respond.\u201d What do you mean? she\u2019ll likely ask. Here\u2019s what I mean: remember when your friend was mean to you last week? That wasn\u2019t nice of her, but they\u2019re also wasn\u2019t anything you could do about it. If someone wants to be mean, they\u2019re going to be mean. But after they were mean, you had a choice, Remember? You got to decide whether you were going to be mean back, whether you were going to hit them, whether you were going to run to the teacher and tell on them, or whether you were going to just keep playing and forget about it. I know that seems really simple, but it isn\u2019t. That situation\u2014when someone does something bad to you and you have to decide how to respond \u2014well, that\u2019s life, adults struggle with it too. Even your parents don\u2019t always get it right. Even thousands of years ago the Emperor of Rome, a guy named Marcus Aurelius, struggled with that too. But the better we can get at it, the happier we\u2019ll be and the more fun we\u2019ll have and the less sad we\u2019ll be. You have that power! You can be as powerful as that king was and as powerful as soldiers and heroes and big strong adults are. Why? Because you get to choose how you respond to everything. If you can learn that now and embrace it, you\u2019ll have the best life ever and no one will ever be able to boss you around because you\u2019ll be the boss. The boss of your thoughts, feelings, and decisions. You believe that too, Parenting 101. Or you wouldn\u2019t be so worried about your kids. The reason you send them to the right schools, why you spend so much time with them, and why you analyze and monitor their behavior so closely today is because you know it influences who they will be tomorrow.\nFocus on what we control, talk with kids about how they can\u2019t always control what happens, but they can control how they respond. Sometimes, friends decide to be mean\u2014but that doesn\u2019t mean we have to be mean back. For example, instead of lashing out in anger, kids can practice calming down by reciting each letter of the alphabet silently to themselves, they can take a pause and practice temperance and justice. Journaling is an important part of Stoicism, but the Stoics didn\u2019t keep ordinary journals, they didn\u2019t just write down the events of their day and their emotions. Instead, they kept track of their principles and focused on growing their character. Ordinary journals help kids develop self-awareness, but a virtue journal adds an extra benefit and healthy self-criticism. It provides kids with an open space for reflection on areas of growth and improvement as they work to become better people. Sometimes, kids might feel discouraged by the big gap between who they are and who they want to become. That\u2019s why it\u2019s so important to talk about how virtue is like a muscle, It grows and develops over time with constant exercise.\nThe principles of Stoicism should be taught to every child in my opinion. I want my two beautiful daughters to know these principles because I didn\u2019t in my own time. I was taught talent was finite and things happened for a reason (i.e., not in your control.) Stoicism, self-efficacy, every kid needs it. Stoicism also breads self-confidence and a clear understanding that everyone is different which Intern brings inner peace. Never too early to be exposed to stoicism and its virtues. Especially the concepts and practices of courage and temperance.\nAn Entrepreneur , B.A Foreign Languages ,PGD Health and Social care Management ,American Caregiver Association (Member) ACA Certified, Leadership and Management.", "id": "<urn:uuid:cb53539d-3d78-434a-a981-95df31d8366e>", "dump": "CC-MAIN-2023-14", "url": "https://oluchi.blog/family/stoic-framework-helps-kids-develop-character/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950373.88/warc/CC-MAIN-20230402012805-20230402042805-00119.warc.gz", "language": "en", "language_score": 0.9636424779891968, "token_count": 1645, "score": 3.875, "int_score": 4}
{"text": "YouTube is a proven platform for the scientific community inclined to engage and spread research findings to a broader audience. The platform has more than 2 billion monthly active users. Naturally, it provides a powerful choice for scientists to spread scientific awareness. The scientific community can grow powerfully through YouTube, disseminating their work to various audiences, including academics, educators, students, and the general public. Scientists can use YouTube to produce videos that clearly explain complicated scientific concepts. Furthermore, YouTube enables researchers to present their findings in an approachable manner, increasing the impact of their study.\nGrow powerfully through YouTube as you Disseminate scientific work to the masses\nWhile YouTube remains a sought-after platform for entertainment, it also is a powerful tool for scientists. The media helps scientists to share their findings and discoveries with the world. It allows them to connect with a vast audience. Thanks to the worldwide reach of YouTube, the public gets educated on a wide range of scientific topics. It could be through engaging animations, informative lectures, or interactive experiments. YouTube empowers scientists with the opportunity to make science accessible and exciting for people of all ages and backgrounds. The human touch of a scientist explaining their research in a relatable and understandable way can significantly impact it. It helps spread scientific awareness and appetite to the next generation of scientists.\nGrow powerfully through YouTube as you spread scientific concepts through powerful storytelling\nYouTube is a favourite for scientists when it comes to creating interactive videos\nAdditionally, scientists can present their content with a storytelling feel. They can accomplish this by using visual aids and animation. It makes scientific concepts more accessible and exciting to viewers.\nGrow mightily through YouTube as you ignite scientific temper among students.\nYouTube is a powerful tool for the furtherance of science. The platform can get used to inspire and ignite scientific curiosity among students. Easy access gets provided to a wide range of educational content, including videos, tutorials, and demonstrations. YouTube can help students to learn about different scientific concepts and theories in a fun and engaging way. Additionally, YouTube allows students to connect with other learners, educators, and experts in the field. Such networking can further fuel their curiosity and interest in science.\nYouTube has the boon to be a powerful tool for the scientific community. By engaging with the masses on YouTube, scientists can share their research and findings with a broader audience. Eventually, it will increase public understanding and interest in their work. Additionally, YouTube can get used as a platform for discussion and collaboration. It will allow scientists to connect with other researchers and experts in their field.\nHowever, scientists must use YouTube with a well-thought-out strategy. The platform may be competitive as a result. There are no exceptions when it comes to having a solid online presence and consistently producing top-notch content. On the other hand, YouTube can help them market their work and further their careers while universities employ them.\nWe strongly urge the scientific community to explore the potential of YouTube as a tool for communication, collaboration and outreach. Let\u2019s take advantage of this powerful platform and make science more accessible to the public.\nLeave a Reply", "id": "<urn:uuid:26b58a31-de0e-4bca-9df6-ada3209b0238>", "dump": "CC-MAIN-2023-14", "url": "https://blog.ytubebooster.app/scientific-community-know-how-to-grow-powerfully-through-youtube/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948871.42/warc/CC-MAIN-20230328201715-20230328231715-00720.warc.gz", "language": "en", "language_score": 0.9335463047027588, "token_count": 631, "score": 3.6875, "int_score": 4}
{"text": "Modernization has been pushing Latin American indigenous communities into progressively smaller bubbles. This causes many to lose important aspects of their cultures such as language and tradition. On this same note, many international governments only provide federal funding to indigenous communities if they follow certain guidelines. This has made the preservation of indigenous cultures increasingly more difficult as the years go by. The preservation of indigenous cultures is of course important at its core. However, what is equally important is who is controlling the narrative.\nModern Indigenous Struggles\nMany indigenous communities are struggling to balance modernization with the preservation of their rich cultural histories. Although the numbers have been improving, Latin American indigenous communities are still very vulnerable. They also experience higher rates of poverty than their non-indigenous peers. Now many wonder about how this problem can be fixed.\nStorytelling as a Possible Solution\nMany people are interested in learning about Latin American indigenous communities. However, an ethical approach to this requires an administrative role in the production of any film depicting their culture. This important realization was introduced to the National Film Board in 1968 by the Company of Young Canadians and the National Film Board\u2019s Challenge for Change program. This partnership saw the potential to elevate the voices of marginalized people, allowing them to control their own narratives and advocate for themselves.\nA New Indigenous Storytelling Platform\nAugust 9th is the International Day of the World\u2019s Indigenous Peoples. To commemorate the occasion this year, the People\u2019s Planet Program launched a new platform called Tribal Stories. This platform amplifies the pieces created by indigenous filmmakers in the A\u2019i Cofan community of Ecuador and the K\u012bs\u00eadj\u00ea community of Brazil.\nInitially, the founder of the People\u2019s Planet Program, Abdel Mandili, was interviewing indigenous community members to produce his own documentaries. However, he quickly realized the importance of allowing these communities to control their own narrative. He then transformed the People\u2019s Planet Program into a nonprofit organization that focuses its efforts on providing indigenous communities with the tools to document their story and a platform to promote it.\nThe People\u2019s Planet Program engages in educational workshops and provides film equipment to these communities. Nonetheless, it allows the communities to advocate for the causes important to them. For example, many indigenous communities find themselves on the frontlines of deforestation, pollution and other business practices that negatively impact their communities. They have pivotal insights that many other communities do not.\nIn tandem with this, the People\u2019s Planet Program helps connect indigenous communities with political activists and legal counsel. They aid them in their fight for equal representation and land rights.\nWhen engaging in international advocacy, it can be quite easy to fall into the trap of thinking that your actions always reflect your intentions. Most of the time, this is true. However, taking a step back and allowing marginalized groups to speak for themselves is a crucial aspect of international advocacy. An important aspect of advocacy is providing people with the tools to better their societies on their own terms.\n\u2013 Danielle Forrey", "id": "<urn:uuid:0a3dc892-fbb1-446b-9f28-d25c78c0db22>", "dump": "CC-MAIN-2023-14", "url": "https://borgenproject.org/tag/international-day-of-the-worlds-indigenous-peoples/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945183.40/warc/CC-MAIN-20230323194025-20230323224025-00119.warc.gz", "language": "en", "language_score": 0.9558607935905457, "token_count": 614, "score": 3.65625, "int_score": 4}
{"text": "CALL FOR PAPER AND POSTER PRESENTATIONS\nTHEME : The Power of Stories is a broad theme encompassing the many ways in which stories and storytelling are and have been powerful in our lives, especially in the lives of children and young people. With all the problems and challenges we are currently facing stories help in making sense of our world. This IBBY Congress will allow participants an opportunity to share various perspectives and experiences based on the life-changing and eye-opening works of children\u2019s and young adult literature, both past and present, through books that truly have the power to enchant, enrich and inspire.\nEach of these subthemes is briefly expanded below, but the topic list is not exhaustive. Papers may address one or more of the listed topics, although authors should not feel limited by them. Unlisted but related topics on children\u2019s and young adult literature are also acceptable, provided they fit in one of the official subthemes:\n1. Cognitive Power in Children\u2019s Development\n\u00b7 Roles of books and stories in cognitive development\n\u00b7 Language, Learning and Literacy\n\u00b7 Story-based approaches to teaching and learning\n\u00b7 Learning disabilities\n\u00b7 Reading for pleasure\n2. Stories for Healing for Children and Young Adult\n\u00b7 Bibliotherapy for children and young adult\n\u00b7 Creative writing and reading\n\u00b7 Reading and books for children with disabilities\n3. Power of Visual and Aural Presentation in Children\u2019s and Young Adult Stories\n- Topics related to picture books, illustration, video, graphic, animation and multimedia\n- Storytelling as a performance art/art form\n- Power of spoken word, text, audio, or other artifacts i.e. the original multimedia\n4. Bridging Divides in Children\u2019s and Young Adult Literature\n- Multicultural and multilingual themes in literature\n- National and transnational themes in literature\n- Translations and communication\n- Diversity and inclusivity in multicultural society, including Indigenous representation\n- Oral to written tradition\n- Multimedia for bridging traditional oral literature with modern technology.\n5. Identity and Values in Children\u2019s and Young Adult Literature\n- Individual, communal and cultural identity in literature\n- Community and nation building in literature\n- National Literature focusing on children\u2019s issue\n- Immigrant and emigrant experiences in children\u2019s and young adult literature\n- Universal values in children\u2019s and young adult literature\n- Sustainability of culture and family in children\u2019s and young adult literature\n6. Empathy and Memory in Stories and Storytelling\n- Cognitive/emotional empathy, empathy for in-group and out-group members and empathy with positive and negative consequences\n- Youth literature as social activism\n- Representation of memory in children\u2019s experience\n- Virtues, moral values, humanistic values, etc. in children\u2019s and young adult literature.\nCALL FOR PAPER PRESENTATION\n- Abstracts should be no more than 250 words in length, in English,\n- Abstracts should address the Congress general theme and one of the conference subthemes and will undergo blind peer review by the scientific committee of the Congress.\n- Each oral presenter will be allocated 15-20 minutes (including the question & answer session) to present their paper.\n- The proceeding of the Congress will be made available for all the presenters and participants of the Congress.\nCALL FOR POSTER PRESENTATION\n- Abstracts should be no more than 250 words in length, in English.\n- Abstracts should address the Congress general theme and one of the conference sub-themes and will undergo blind peer review by the scientific committee of the Congress.\n- Your poster should be no larger than A1: 594 x 841 mm (portrait orientation only).\n- If your poster describes a research study, it should situate the research in the existing literature, indicate the focus or research question(s), describe a methodology, and summarize and discuss findings and implications.\n- If your poster describes a program or initiative, provide an overview of the purpose, participants, development, implementation and outcomes.\nIt would also be welcomed if the authors could relate the theme and subthemes of the congress especially with the following related Sustainable Development Goals (SDG) as identified by the United Nations: [see https://sdgs.un.org/goals]:\nGoal 3: Good Health and Well-Being: Ensuring healthy lives and promoting well-being at all ages is essential to sustainable development. Currently, a global health crisis is spreading human suffering, destabilizing the global economy and upending the lives of billions of people around the globe.\nGoal 4: Quality Education: This goal ensures that all girls and boys complete free primary and secondary schooling by 2030. It also aims to provide equal access to affordable vocational training, to eliminate gender and wealth disparities, and achieve universal access to a quality higher education.\nGoal 5: Gender Equality: Ending all discrimination against women and girls is not only a basic human right, it is crucial for a sustainable future; it is proven that empowering women and girls helps economic growth and development.\nGoal 10: Reduced Inequalities: Income inequality has increased nearly everywhere in recent decades, but at different speeds. These inequalities definitely have an indirect impact on children affected by them.\nGoal 16: Peace, Justice And Strong Institutions: We cannot hope for sustainable development without peace, stability, human rights and effective governance, based on the rule of law. Promoting the rule of law and human rights are key to sustainable development.", "id": "<urn:uuid:067bb729-d1f3-4a3a-8fd4-fe76907dcf0c>", "dump": "CC-MAIN-2023-14", "url": "https://www.ibbycongress2022.org/elementor-781/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943483.86/warc/CC-MAIN-20230320114206-20230320144206-00121.warc.gz", "language": "en", "language_score": 0.9017070531845093, "token_count": 1260, "score": 3.5625, "int_score": 4}
{"text": "Define cause and effect in literature. Understanding Cause and Effect (Sentence Examples and Essay Sample) 2022-10-23\nDefine cause and effect in literature Rating:\nIn literature, the concept of cause and effect refers to the relationship between events, actions, or conditions, and the resulting consequences or outcomes. Essentially, cause and effect is a way of explaining why something happened or why a particular situation exists. It is a way of connecting events and actions to understand the reasons behind them and the impact they have.\nOne of the primary ways that cause and effect is used in literature is through the plot of a story. The plot is the sequence of events that take place in a story and the cause and effect relationship between those events helps to build tension, create conflict, and drive the plot forward. For example, in a story, a character may make a decision that leads to a series of events, each of which has consequences that affect the plot. This chain of events creates a cause and effect relationship, as the initial decision or action (the cause) leads to the subsequent events and outcomes (the effect).\nCause and effect can also be used to explore the motivations and actions of characters in a story. By understanding the causes behind a character's behavior, readers can gain a better understanding of their thoughts, feelings, and motivations. This can help to create a more nuanced and well-rounded portrayal of the character, making them more relatable and believable to the reader.\nIn addition to its use in plot and character development, cause and effect can also be used to explore themes and ideas in literature. For example, a story may explore the causes and effects of a particular social issue, such as poverty or discrimination, and use this cause and effect relationship to shed light on the complexities and implications of the issue.\nOverall, the concept of cause and effect is an important tool in literature, as it helps to create a sense of coherence and meaning in a story and enables readers to understand and engage with the events, characters, and themes being presented.\nDefinition and Examples of Cause and Effect in Essays\nThese skills support your academic career and boost your professional prospects. An effect is what happened. We might point to the lightning strike. Manifest destiny allowed the United States government and citizens to justify taking land established by indigenous people in their push west during the nineteenth century. Later, the man's entire lawn dies completely, because he used too much fertilizer. While that is a clever story, it won't get you out of turning in the assignment.\nWhat is the cause? Belief in the superiority of Christian doctrine and European values formed international laws that put indigenous peoples at a distinct disadvantage. After a few more quick glimpses, she picked up her pace and was soon running in earnest. They are often used to introduce new information or examples. Have pairs of students go around the classroom to open the envelopes then match the cause and effect cards. They help readers understand that one event triggered the other.\nShe tripped over the curb and sprained her ankle. The cause and effect relationship here gives more depth to the antagonizing character. There is no need to put everything into your dialogue constructions. This is because words and phrases that do not serve the conversation's purpose, should be removed or replaced with more relevant verbiage. Boost your understanding of this important concept by reviewing some key cause and effect examples.\nUnderstanding Cause and Effect (Sentence Examples and Essay Sample)\nConsider the purpose of using the word where indicated category to help you choose the best answer. This pattern then often continues on down the line, until the point where it gets to the end of its reach. When everyone finds their partner, they can then quickly share their combined answers. On occasion, to make your writing seem authentic and alive, you may need to use an expletive or off-color phrase. The first action is the cause-and-effect relationship. After that, we drove home.\nConnectors of Cause and Effect (Definition and Examples)\nThe purpose of writing such academic papers is to analyze the chain of events and actions and try to find links between them. For students, learning through cause and effect activities can help them understand the structures of stories and situations. This research leads to the discovery of effects, too. By rereading the paragraph and taking notes, we can spot the cause and effect. These passive pursuits have produced a downside of reduced physical activity for the kids, often with the explicit or implicit consent of the parents. Slamming your toe the first action hurts, so you yell the second action.\nWhat is the effect? She cast back a worried glance. Students might have a hard time spotting these examples. As you read, you might have trouble tracking a cause-and-effect relationship. The high cost of housing is often compounded by other factors, such as low wages, unemployment, and mental illness. Beginning writers often feel that including words like \"uh\" and \"oh\" will help make their dialogue sound more authentic. If we were suddenly to see the paint jump back on an old building, we would know that something was wrong.\nTemporal precedence is a term that simply means one thing comes before the other in terms of time. He fought with Ophelia after it even though they had never fought before. The cause is the event or situation that triggers or creates the effect. Several events happened in this short paragraph. Sometimes, you might come across an effect that has several possible causes. The first clause is dependent meaning that it must be attached to an ProWritingAid is a thorough A Final Word on Cause and Effect A cause and effect relationship is one in which an event generates an outcome. In cause and effect relationships, there may be multiple causes and multiple effects.\nAnswers If you train your parrot, he will speak. Effect Jeremy was sick today. She wasn't interested in the promotion to store manager. When attempting to create compelling, authentic-sounding dialogue, a wonderful quote to keep in mind is from Alfred Hitchcock, who once said, \"A good story is life, with the dull parts taken out. Causation, or cause and effect, is simply an action with a reaction.\nSuch activities are also very interesting for students of all ages. As the story goes, Sir Isaac Newton observed an effect, an apple falling from a tree. The causes of an event may be immediate or remote. What is the cause? One of the colors is for the causes and the other color is for the effects. After a few years, the tree was struck by lightning. The situation above is a good example.\nEffect The shingles came off the roof. However, the weather becomes stormy and you have to cancel your outdoor plans. Understanding all of these factors is essential to effectively address the issue. Homeless people often have difficulty accessing necessities like food and In conclusion, homelessness is a complex problem with many causes and effects. This goes directly to the idea that the writer need only include that information which contributes toward moving the story forward, or gives closure to a previously introduced conflict. If parts of the dialogue sound false or contrived, perhaps you may want to consider reworking those specific passages. Its purpose is to investigate how something came to be or how it happened.", "id": "<urn:uuid:fec51846-d19f-4221-b7b5-84c0dde17e8d>", "dump": "CC-MAIN-2023-14", "url": "http://opportunities.alumdev.columbia.edu/define-cause-and-effect-in-literature.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943625.81/warc/CC-MAIN-20230321033306-20230321063306-00120.warc.gz", "language": "en", "language_score": 0.9641780257225037, "token_count": 1494, "score": 3.609375, "int_score": 4}
{"text": "Using Storytelling to Improve WritingApril 27, 2021\nOnce upon a time, homeschool parents overlooked a teaching strategy for writing\u2026\nIt\u2019s easy to be so hyper-focused on preparing your children for academic writing that you forget how important storytelling can be. That\u2019s completely understandable, especially since K-12 and college standards focus on persuasive and expository writing; and careers often value technical over creative writing. Even recommended reading has shifted from mostly fiction to a focus on nonfiction in many homeschool curriculums.\nIt may seem like storytelling is just for fun, but storytelling captures the very essence of why we write \u2014 to express ourselves \u2014 and overlooking it has consequences. How many children develop anxiety around writing that matches, or even surpasses, anxieties around math or test-taking? How many students become so focused on correct grammar and sentence structure that they can barely get an idea on paper? A 7th-grade homeschooler recently said that she\u2019s learned a lot more about writing by starting her own book than she had in all her former years of schooling. The best part is that this same homeschooler writes for fun after school and asks for time to sit with a parent to brainstorm ideas, discuss writing techniques, and review her work. As a parent, what more could you want from your child?\nLet\u2019s look at how storytelling can build better writers.\nThe Benefits of Using Storytelling to Teach Writing\nBefore we get into the benefits of teaching using storytelling, here\u2019s a quick tip if you have children who are just beginning or reluctant to write. Have them share verbal stories. This provides good practice planning story lines and connecting thoughts and events together. It also takes away the burden of handwriting or typing that some students face. As well, verbally sharing stories can alleviate hesitations related to putting words on paper due to word-finding difficulties, anxiety, or other challenges.\nIf your children are comfortable sharing their stories, there are many benefits to using storytelling to teach writing:\nStorytelling provides a purpose for writing. While all students can appreciate writing to entertain others \u2014 because they have listened to or read stories for that purpose \u2014 older writers can envision how their stories will impact readers through themes and story elements.\nStorytelling builds awareness of the audience. When students write a story, they learn how word choices (e.g., sensory descriptions, pointed dialogue) can impact the story and the effect those choices have on the reader.\nStorytelling focuses on grammar and mechanics. Through storytelling, students can learn the emotional impact of punctuation, how breaking sentence structure affects dialogue and impacts readers, and how spelling and other errors can detract from an author\u2019s message.\nStorytelling helps develop a love for writing. That love for writing can trickle down into all forms of written expression \u2014 including academic writing. Storytellers often \u201cdon\u2019t mind\u201d writing for academic tasks because they no longer find it overwhelming. They understand the rules of writing without being overly concerned about them, and they know that writing can be enjoyable.\nUsing Journalism to Combine Academics and Storytelling\nIf you\u2019re a parent who\u2019s more comfortable combining creative pursuits with academics, journalism is the answer! Proper journalism attempts to capture truth in a way that both engages the reader and accurately portrays a story with an important message.\nHere are some journalism-based activities that can build storytelling skills:\n- Watch an episode of your favorite television show and report it as a news story, either verbally or in writing, by role-playing as a journalist.\n- Read a feature article from a current newspaper or journal (maybe Scholastic News or Time for Kids) and critique the author\u2019s storytelling. What worked and what could they have done better?\n- Research and write a feature article for a science newspaper or magazine, focusing on the story you are telling and the impact it has on the reader.\n- Learn about a famous person from history, and then write a feature article telling about the person\u2019s life and accomplishments.\n- Interview a grandparent about a point in history; and then translate that interview into a feature article for a newspaper, magazine, or journal.\n- Attend a town meeting, and tell the story of the proceedings through an engaging article (yes, this is challenging!).\n- Take part in a community event and talk with other participants. Then, tell the story of the experience as if writing for a local newspaper or TV station.\n- Find a local organization that is doing charitable work for the community. Take a tour and interview staff, if possible. Put together an article to get the word out about this important organization.\n- Follow a local sports team and write a trends article, capturing data while telling the story of the team\u2019s progress and success (or lack thereof!).\nThe possibilities for storytelling journalism are endless. You can help your children build research and interview skills while supporting the development of writing techniques as they learn about current events and their communities. All of this leads to a win-win-win situation!\nWhat News/Media Can Teach Students About Storytelling\nAs your children become better storytellers, they become better writers and vice versa. Studying and practicing news and media writing can build a toolbox of storytelling techniques that your students can use in a variety of writing genres.\nJournalism places strong emphasis on knowing an audience. A journalist needs to understand not only the purpose of the piece but also who will read it. Developing a sense of audience can help your children write age-appropriate, engaging stories and improve academic writing as well.\nBeyond just knowing an audience, learning to write like a reporter teaches your children to ask themselves, \u201cWhat would I want to know in this story?\u201d They learn to shift perspectives, determine the relative importance of details, and cover a story from a variety of angles.\nBy making choices about what\u2019s important to know in the story, students learn to write more concisely, a skill that\u2019s valued in the workforce. Learning to remove extra words and streamline the narrative will also improve your children\u2019s storytelling.\nJournalism also teaches students to think about how numbers and data can influence the impact and credibility of a story. Your students can experiment with statistics and other forms of evidence as they write different articles.\nWe all like to read and learn about other people, right? Through journalism, students learn to relate to others by telling their unique stories and adding personal anecdotes. They\u2019ll be able to capture the attention of readers and keep it, pull readers\u2019 emotions into personal journeys, and effectively express themselves.\nWhether you choose creative writing or journalism, you can engage your children and help them develop important writing skills. Students can even follow the full writing process, editing and revising, to publish on online creative/fan fiction writing sites (with support and monitoring from adults) or in local newspapers and community publications. Being a published writer or journalist can be very exciting for students, but the benefits of storytelling in their writing lessons will be there regardless of whether a Pulitzer Prize is in the future!\nAdditional Homeschool Resources\nBeat the Homeschool Blues With Writing\nHow to Plan for Writing Success\nTop 5 Ways for Homeschool Parents to Stay Engaged\nFaith-based resource It's always a favorite at our house to find great books to read aloud or read individually during the week before a holiday. Easter is no different. Reading books that\u2026Read more >\nGuest post by Heidi Rosenberg You don\u2019t have to be rich to teach your child about art. With enough creativity, you can teach your child anything you want. There are a lot of talented kids\u2026Read more >\nEaster is always a fun time of the year, isn\u2019t it? It\u2019s a day for candy, games, delicious food, and without even half the pressure that comes with Christmas. In my book, that\u2019s a solid\u2026Read more >", "id": "<urn:uuid:c17275dd-841e-43a5-b428-5fa7e5e9f1bd>", "dump": "CC-MAIN-2023-14", "url": "https://www.homeschool.com/blog/2021/04/how-to-use-storytelling-to-improve-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00320.warc.gz", "language": "en", "language_score": 0.9480248093605042, "token_count": 1648, "score": 3.546875, "int_score": 4}
{"text": "I remember when I first saw the term \u201cnarrative nonfiction\u201d in my state\u2019s reading standards and honestly, I didn\u2019t know what it meant! If you\u2019re new to teaching literary nonfiction, I hope this post will give you a good overview to get you started!\nWhat Is Narrative Nonfiction?\nNarrative nonfiction, or literary nonfiction, is nonfiction text that uses a storytelling structure to present information about a topic, such as a real person or event. It\u2019s different than expository text, which simply presents the facts.\nSince the facts are written in a narrative format with characters, a setting, a plot, etc., it can be a more engaging and memorable way for students to learn about the world.\nIt\u2019s kind of tricky to differentiate between narrative nonfiction and historical fiction. To me, narrative nonfiction is more about presenting facts through a story, and historical fiction is more about telling a story that is based on some facts. Clear as mud, lol.\nBiographies, autobiographies, and memoirs are definitely part of the narrative nonfiction genre, but it can also include texts based on historical events or other topics like animals. The good news is that there\u2019s a huge variety of texts that will attract readers with different interests in your classroom.\nIntroducing Narrative Nonfiction\nOne way to kick off this unit is to put out a selection of nonfiction, fiction, and literary nonfiction books for students to explore. You can have them work in small groups to discuss what they notice about the formats of the books and maybe sort them into groups.\nThey\u2019ll start to see that expository nonfiction books have text features and mostly stick to the facts, but narrative nonfiction books look a lot more like fiction and often contain dialogue. I like to create an anchor chart as groups share the characteristics they notice.\nAnother option to introduce literary nonfiction is to start with a mentor text read-aloud and ask students to identify the author\u2019s purpose. This leads to great discussions and helps students see that it\u2019s kind of the best of both worlds. Scroll down for some of my recommendations for books to use!\nAnother way to teach students the difference between expository texts and narrative nonfiction texts is to pair literary nonfiction books with nonfiction books on the same topic. Students can compare and contrast the structures and details of the two books. I ask students to discuss which type is the most efficient to use if you need to find a fact quickly, and I also have them share which type they prefer. You can also try using shorter passages, which are great for reading groups.\nHere are some examples of book pairings:\nThe Boy Who Harnessed the Wind [picture book] by William Kamkwamba and Wind Power: Alternative Energy by Matthew Ziem\nI, Fly: The Buzz About Flies and How Awesome They Are by Bridget Heos and Flies by Larry Dane Brimner\nSimilarly, you can compare narrative nonfiction books or passages with fiction by asking students to highlight the facts they find it in each. This is a great way to reinforce author\u2019s purpose for this unit \u2013 while they\u2019re being entertained, they are also being hit with lots of facts!\nLiterary Nonfiction Skills and Standards\nThere are tons of reading skills that you can weave into a literary nonfiction unit, including:\n- summarizing the events and supporting details (and sequencing, too)\n- drawing conclusions and making inferences\n- identifying the conflict and resolution\n- analyzing the author\u2019s word choice (i.e., figurative language, descriptive words, vocabulary)\n- identifying cause and effect relationships\n- inferring character traits\n- identifying the narrator of the story\n- describing how the language, characters, and setting contribute to the plot\n- explaining the author\u2019s purpose\n- synthesizing the main idea of the text (i.e., what are this person\u2019s contributions/why is this event significant?)\nMy fourth graders were struggling one year with summarizing the events of a text. I read aloud Only Passing Through: The Story of Sojourner Truth by Anne Rockwell. We identified the major events in the story as a class and then I assigned partners one event to illustrate and write in their own words. We put them together to create our own timeline of the book and it made a really nice display.\nThis genre is a perfect one to dive deep into character analysis and have students infer character traits using evidence from the text. They can practice making conclusions about that person\u2019s contributions or the event\u2019s significance. I\u2019ve also had some great conversations with my students about what might have happened to the character(s) if they\u2019d lived in a different place or time.\nMy Favorite Narrative Nonfiction Books\nHere are a few narrative nonfiction mentor texts that I recommend for 3rd-6th grades! Click on the titles for more info!\n- Finding Winnie: The True Story of the World\u2019s Most Famous Bear by Lindsay Mattick\n- Pop!: The Invention of Bubble Gum by Meghan McCarthy\n- We Are the Ship: The Story of Negro League Baseball by Kadir Nelson\n- The Boston Tea Party by Russell Freedman\n- One Plastic Bag: Isatou Ceesay and the Recycling Women of the Gambia by Miranda Paul\n- Owen & Mzee: The True Story of a Remarkable Friendship by Isabella Hatkoff\n- Mr. Ferris and His Wheel by Kathryn Gibbs Davis\n- Separate is Never Equal by Duncan Tonatiuh\n- The Marvelous Thing that Came From a Spring by Gilbert Ford\n- Mesmerized: How Ben Franklin Solved a Mystery That Baffled All of France by Mara Rockliff\n- Henry\u2019s Freedom Box by Levine Ellen\n- Ivan: The Remarkable True Story of the Shopping Mall Gorilla by Katherine Applegate\n- Nya\u2019s Long Walk: A Step at a Time by Linda Sue Park\n- Balloons Over Broadway by Melissa Sweet\n- One Tiny Turtle by Nicola Davies\nScholastic News and Time for Kids are some other good places to look for short narrative nonfiction articles.\nI think narrative nonfiction is a really engaging and fun genre to teach. It definitely makes informational text more accessible for reluctant readers! It\u2019s also fun to have students write their own pieces after researching a person or topic of interest to them. What tips do you have for teaching a literary nonfiction unit?\nThis post contains affiliate links; I earn a small commission from products purchased through these links.\nHey there \u2013\nI was wondering if you had a link to the anchor chart you used?\nSo glad I found your site and TPT \u2013 need more VA TPT teachers \ud83d\ude42\nHi Rachel, I\u2019m glad you\u2019re finding the content helpful! Please email me through the Contact page and I can send it to you!\nI would love to have the anchor chart that you used! I\u2019ll be using your guidance as I teach this for the first time! So great!\nI was searching for additional work on narrative nonfiction. I found this very attractive and informative for fourth graders in this virtual learning era. I will definitely use the image as my introduction.\nI was thinking of how to teach Nonfiction and came across your post. Thank you so much for posting it. I found it very useful.\nI subscribed but I was never sent these anchor charts.\nHi April, thanks for subscribing! You should receive an email asking you to confirm your subscription. Please check for that in your spam folder!\nI subscribed but was never sent the anchor chart.\nHi Erin, thanks for subscribing! You should receive a confirmation email asking you to confirm your subscription, and then you\u2019ll get a second email with the download. Please reach out again if you don\u2019t see it!\nThank you for the post. I also subscribed with the hopes of receiving the anchor chart but it hasn\u2019t come through yet.\nHi Leslie, thanks for subscribing! If you used your work email address, it may have been blocked or gone to your spam folder. Can you please try again with a personal email?\nCould you please share your anchor chart? Thanks!\nHi there! If you use the link at the bottom of the post to enter your email, it will automatically be sent to you!\nThank you for sharing!\nHello. I subscribed, but alas no anchor chart. I did check all mail including spam and did use a personal email address. Thanks for your help.\nSending you an email, Kimberly!\nHi there, I did subscribe like the others but did not receive the anchor chart. I checked my spam folder as well.\nI\u2019ll send it your way, Lisa!", "id": "<urn:uuid:d6bc81ad-f020-4c7a-be7d-d37bc1c5d1f4>", "dump": "CC-MAIN-2023-14", "url": "https://alyssateaches.com/teaching-narrative-nonfiction/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948620.60/warc/CC-MAIN-20230327092225-20230327122225-00521.warc.gz", "language": "en", "language_score": 0.9446834921836853, "token_count": 1864, "score": 3.96875, "int_score": 4}
{"text": "Creative thinking in general\nCreative thinking is the formation of possible solutions to a problem or possible explanation of a phenomenon. It is that that produces the material that critical thinking assesses. It entails coming up with concepts that did not exist before, either as a product, a process or a thought or working on the old with intentions of harmonizing it.\nCreative people are usually dynamic, resourceful, independent and smart thinkers. These traits enable them to handle problems in unacceptable situations that challenge rational without having any seeming ready way out.\nIt is the evidential relation between premises and inferences. Reasoning moves from proposition (premise) and establishes a deduction.\nReasoning is of two kinds: deductive and inductive reasoning.\nA deductive argument is valid when its premises, if true, deliver adequate grounds for its inference. The task of deductive logic is to elucidate the nature of the relation amid premises and conclusions in valid arguments and thus to enable us to discriminate valid or invalid arguments. An inductive argument, on the other hand, embroils the assertion, not that its premises gives definite grounds for the truth of its inference, but only that it affords some grounds for it.\nInductive reasoning, on the other hand, involves inferences merely in a degree of likelihood because they are not rationally certain by the premises or the evidence. To that extent, new knowledge is established on the basis of the premises of evidence, though such knowledge does not follow logical requisite but mere logical probability.\nMethods used in creative thinking\nThis model persistently prompts into the subject with questions. It is a safe assuasive method. It entails following up of answers with additional questions through selection of questions which advance the discussions. This enables a person to think in a disciplined logical manner, helping the person by posing facilitative questions\nRene Descartes Methodic Doubt\nDescartes\u2019 objective was to discover what, if anything is truly certain. Like his predecessors, he maintained that knowledge and certainty of truth go hand in hand. The principles of his methodic doubt state that no proposition should be held true. However there are exceptions to his rules: those that are so obvious and unambiguous that they cannot be suspected so long as a person is thinking attentively; those which certainty is to be achieved through making sure, as in mathematically proven that knowledge has the form of a deductively valid reasoning.\nHe describes the ideal technique through which we can obtain clear and distinct ideas: accepting nothing as true if it is not clear and definitely recognized as it is; divide up and evaluate the difficulties into as many simpler portions as necessary; progress from simple and easy knowledge to a more compound and related objects; assess the field thoroughly; revisit the exercise to ensure there is no omission.\nJohn Stuart Mill \u2013 Liberty (Individuality)\nHe pursues to create the extent to which the societal or governmental intrusion into the life of an individual is vindicated. He established the Harm rule-the interest of the majority of the society is prioritized. The society or the government is only required to request the opinion of the majority in the society. J.S Mill holds that the sovereignty is vested in the people so as to check the oppression of the minority over the majority in the society. It is only in the circumstances where the view of the marginal would have a harm result on the majority is the government or society justified in interfering with their opinions and interests.\nTruth can be held in two ways: rigidly with a closed mind ruling out any likelihood of change or with an open mind allowing opportunity of change. If held with an open mind, there will be a chance of criticism which permits us to identify the faults in the truth, thus aiding us perfect it in the identification of the definite truth.\nBertrand Russell \u2013 Appearance and Reality\nThis model is about sense insight and first impressions. First impressions can regularly be illusory, for instance, a rod when immersed in water appears to be bent due to refraction.\nThe other party\u2019s opinion ought to be considered. He/she should be preparedand willing to incorporate ideas from the other person after proper evaluation.\nThis implies creatively putting one in the place of others to sincerely understand them, thus resisting the egocentric propensity to identify truth and reality entirely with one\u2019s discernments and understanding.\nThis is the consciousness of the need to be faithful to one\u2019s own rational and honesty in acknowledging assistance from other sources.\nThese are the principles by which proper reasoning and understanding can be assessed such as clarity, accuracy, relevance, precision, depth, breadth significance, and consistency.\nThis is the reasoning that empowers one to choose the alternative or decision that yields the utmost value.\nTheoretical analysis of creative thinking\nThis is the theory of knowledge. It attempts to answer: The scope to which knowledge is possible; means by which knowledge is achieved; standard of knowledge / truth of knowledge. Some philosophers believed knowledge is relative whereas others believed it is certain. Forms of knowledge remain the same but differ in actualization, for example, mango and coconut trees are both trees. Others argued that certain knowledge can only be achieved through the realm of the mind; insight can be deceptive depending on one\u2019s view.\nThere are three schools of thought:\nCoherence is used as a measure to determine truth. It is held as true if it is coherent. Coherence entails uniformity among the parts establishing it.\nCorrespondence affirms that what is in the mind must resemble to the reality.\nThe truth is that which is functional.\nThis is the thought about thought.It is the science and art of reasoning. Logic targets to secure clearness in the definition and organization of our ideas and other mental images, constancy in our judgment and rationality in our process of interpretation. It is the study of the means and principles used to differentiate correct from incorrect rationalism.\nSyllogism is two premised arguments in logic (all birds are reptiles; all reptiles are amphibians; all birds are amphibians) conclusion is justified by logic, i.e. the connection between premises hence assumption is accurate resulting in valid logical arguments\nIt is the study of the first principles of reality, which also means being the study of reality beyond the physical metaphysics. It is the study of the essences past the physical entities. Metaphysics is linked with several philosophical matters: existence of God; personal identity; mind-body problem; the problem of free will.\nCaloundra and Buderim U3A Creative Writing Groups. (1989). Creative writing. Caloundra, Qld: Caloundra & Buderim U3A Creative Writing Groups.\nMills, M., & Underhill, M. (1992). Creative writing. Dunstable, England: Folens.\nMueller, L., & Reynolds, J. D. (1990). Creative writing. Lincolnwood, Ill., USA: National Textbook Co.", "id": "<urn:uuid:a8b398c2-a829-4436-88af-86352ab129ca>", "dump": "CC-MAIN-2023-14", "url": "https://essaypassusa.com/creative-thinking-in-general/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949533.16/warc/CC-MAIN-20230331020535-20230331050535-00121.warc.gz", "language": "en", "language_score": 0.9327093362808228, "token_count": 1492, "score": 3.9375, "int_score": 4}
{"text": "Nursery rhymes not just come in enjoyable activities for kids but it also boosts language development and oral skills in kids. Moreover, it also helps small children with storytelling and sequencing stories. So by keeping these important things in mind, today we are going to learn about the Thin King Poem. The Thin King Poem in English increases the imagination powers of kids and we will also read the Thin King Poem summary below. So now let's get started and move to the wonderful world of the imagination.\nIt's a very interesting story. It will clear all our concepts of thinking what thoughts are and how they work, and also how our thoughts determine our actions. In the same way, here we are going to talk about the king who always used to keep on thinking all the time.\nBut here arises the question, do you know what happens when the king thinks? Ummm\u2026 maybe not, but don't worry you will find the answer to this question after reading this article. Let's read the Thin King Poem for kindergarten.\nThe Thin King\nThere once lived a Thin King\nBelieve it or not,\nThis Thin King loved thinking\nAnd did it a lot.\nHe thought every minute and second he got,\nHe thought even when you would think he does not.\nHe sat on his throne,\nhaving thought after thought\nOf every last person and every last spot,\nAnd all of his people from here and abroad\nWere sitting around and thinking a lot.\nor maybe it was Sleepersday\nThe Thin King was thinking\nof plans for today.\nThere came in a Wizard,\nwho spoke and was gone:\n\"My King, there's a problem,\nYou've only got one\nWhen you THINK TO DO it,\nit does not GET DONE!\nA Child Reading The Thin King Poem\nSo in this poem, we learned about the king who used to think all day long, the king that keeps on thinking all the time even at a time when everybody thinks that the king might not be thinking. But the king's mind never stopped thinking even for a second. No matter whether it's important or not but still, every person, every spot keeps running in the king's mind.\nHowever, one day while the king was thinking, a wizard visited the king and said that he just kept on thinking and didn\u2019t perform any action to complete that task. He suggested that the king should act to complete the task and stop thinking. This is because thinking and planning does not get our work done.\nSo, this poem teaches us that we need to perform some actions rather than just sitting and thinking and thinking. We should understand that it's true that to fulfil a desire we need to think but it doesn't work alone; it also requires some actions to fulfil that desire.\nIt's true that thoughts are powerful, and they can do and take us to wherever we want to go but we need to take some action.\nThe theme of the poem is that even if you take small steps towards your goal or plan then you can easily complete it. Otherwise just by sitting and thinking about how it can be done, you can never complete it. The poem focuses on the fact that even if you have the best idea it doesn't matter until or unless you do some work and take action to reach your goals.\nAfter reading this article we hope you got the answer to the question \u2018what does a king do after thinking?\u2019 The answer is that he does nothing. He just wastes his time overthinking and planning.\nThe Thin King Poem shows us how important it is to work and to take action. We have learnt a great lesson from this poem. We have also read the Thin King Poem summary and lyrics in this article. We hope you enjoyed reading this wonderful poem.\n1. What are the purposes of the poems in kindergarten?\nThe purposes of the poems in kindergarten are to convey an idea or an emotion in very beautiful language. So that the children can understand that everything around them is so beautiful.\n2. What did the king do in the Thin King Poem?\nIn the Thin King Poem, the king only kept thinking and planning all day without taking any actions.\n3. What did the wizard tell the Thin King?\nThe wizard told the Thin King that although he keeps thinking about various things throughout the day, he doesn\u2019t do anything about it. He told him that thinking alone will not fulfil his job as he has to make an effort to get it accomplished.", "id": "<urn:uuid:32aa6001-ceee-4492-892d-3adf1c81f6d1>", "dump": "CC-MAIN-2023-14", "url": "https://www.vedantu.com/poems/thin-king", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948756.99/warc/CC-MAIN-20230328011555-20230328041555-00520.warc.gz", "language": "en", "language_score": 0.9733110666275024, "token_count": 944, "score": 3.59375, "int_score": 4}
{"text": "This post may contain affiliate links.\nThis If You Give a Moose a Muffin sequencing worksheet is perfect for providing students with an opportunity to practice sequencing and retelling the story.\nStory sequencing activities are great to have on hand when teaching young children. They provide kids with a chance to retell the story in order and allow you to check reading comprehension.\nAs you begin planning your activities for If You Give a Moose a Muffin, be sure to include this sequencing worksheet.\nGive your young learners a jump start on storytelling and sequencing with this sequencing activity featuring Laura Numeroff\u2019s If You Give a Moose a Muffin.\nIf You Give a Moose a Muffin\nIf a big hungry moose comes to visit, you might give him a muffin to make him feel at home. If you give him a muffin, he\u2019ll want some jam to go with it. When he\u2019s eaten all your muffins, he\u2019ll want to go to the store to get some more muffin mix\u2026\nIn this hilarious sequel to If You Give a Mouse a Cookie, the young host is again run ragged by a surprise guest. Young readers will delight in the comic complications that follow when a little boy entertains a gregarious moose.from If You Give a Moose a Muffin on amazon.com\nif you give a moose a muffin lesson\nTo start the lesson, read If You Give a Moose a Muffin to your students. Be sure to share the pictures as you read so that your children can follow along with the story.\nIf you don\u2019t have a copy of the book on hand, you can share this video read-aloud with them before moving onto the activities below.\nif you give a moose a muffin sequencing\nAfter reading through the story or sharing the video with your kids, show your students the sequencing activity, and see if they can put the images in order as you read the story aloud one more time.\nThis story sequencing activity is pretty low-prep. Just print out the pages you need, cut out the sequencing pictures, and you\u2019re all set.\nIf your students are working independently, have them cut and paste the sequencing pictures onto the sequencing mat.\nAlternatively, you can laminate the pages and use them in your literacy center. Just add velcro dots to the story sequencing mat and on the back of the cards.\nThis printable includes two versions. One is full color. The other is black and white. Choose whichever one fits your classroom or homeschool needs.\nIf your kids enjoy this If You Give a Moose a Muffin sequencing activity, they\u2019re sure to love the book, printables, and hands-on activities featured below.\nif you give a moose a muffin activities\n- If You Give a Moose a Muffin coloring page\n- If You Give a Moose a Muffin lapbook\n- If You Give a Moose a Muffin book companion\n- If You Give a Moose a Muffin activities\nCreate a storytelling box with mini objects that kids can interact with while listening to or reading the story.\nChannel your inner Ms. Frizzle when you don these adorable Give a Moose a Muffin earrings when you read this fun story.\nWhen you pull out these If You Give a Moose a Muffin felt board pieces, your kids can act out the story as you read it aloud.\nLeave a Reply", "id": "<urn:uuid:12bcaa0a-e3c4-473b-9fff-62aece9bd4b8>", "dump": "CC-MAIN-2023-14", "url": "https://teachingwithchildrensbooks.com/if-you-give-a-moose-a-muffin-sequencing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00120.warc.gz", "language": "en", "language_score": 0.9094586968421936, "token_count": 731, "score": 3.53125, "int_score": 4}
{"text": "Note to the Teacher\nThe scripture we read is from the Gospel of Luke and is a conversation between Jesus and the Pharisees. The opening activity has students working together to make an amazing piece of art. The discussion encourages students to think about all the different aspects of God and how they can know that they are loved despite their shortcomings. The activity and discussion has students retelling the scripture reading by drawing a comic strip or writing a children\u2019s book to retell the story. Times are based on a fifty-minute lesson period but may be adjusted.\n1. Ice Breaker: \u2018Giant Word Art\u2019 (10 minutes)\nIn this opening ice breaker, your group will make a giant piece of art using only words. Buy a couple pieces of poster board and gather markers of all colors and sizes. This could become a cool art piece to hold on to for years to come. Ask your students to come up with as many words as possible to describe God. These could be adjectives that describe God or even names of God that are used in the Bible (Yahweh, Lord of Lords, Powerful, Mighty, Graceful, etc.).\nAfter you have compiled your list of words that name and describe God, start with a longer word, and print it in the center of your art. From that word, you will use one or two other words that will use a letter from the first word and continue until all your words are used up, essentially building a crossword puzzle. For example, your piece of art may look something like this:\nEncourage students to curve their words around to give interesting shapes and more options for connections between words. As the art gets created, there may be creative energy flowing, so allow folks to add additional names and adjectives for God, Jesus, and the Holy Spirit as time allows.\nIf you have students joining digitally, allow them to create their own word art using paper and supplies at home. This should be a fun activity for the entire group! Once students have finished, make sure you place the piece of art somewhere everyone will be able to enjoy it. Digitally, there are also apps that allow for the creation of word clouds, so consider searching out and using one of those.\nTransition to the scripture reading by telling the youth that in today\u2019s passage Jesus refers to gathering his children like a hen gathers her brood of baby chicks.\n2. Read Scripture (5 minutes)\nOur scripture reading today is a conversation between Jesus and the Pharisees. While we read the scripture, listen for how Jesus responds to the Pharisees when they tell him to \u201cget away from here.\u201d.\nRead Luke 13:31-35.\n3. Discussion (15 minutes)\n- What do you know about Pharisees already? (If it\u2019s not much, allow some internet searching!) Does this knowledge help you understand how Jesus and the Pharisees address each other?\n- In verse 31, do you think the Pharisees telling Jesus to basically \u201cget out of here\u201d was out of genuine concern? A threat? Something else?\n- In verse 32, Jesus tells them to go and tell the \u201cfox.\u201d Why would that be a derogatory name for Herod?\n- In 34b, Jesus says, \u201cHow often have I desired to gather your children together as a hen gathers her brood under her wings.\u201d What is a hen doing when she gathers her chicks? Say something like, \u201cThere\u2019s an old saying about \u2018a fox in a henhouse\u2019 that is used when a person has power and abuses that power instead of protecting the ones in care. At this time, Herod is in charge of the government in Jerusalem, so Jesus seems to imply that Herod (and the Pharisees for that matter) does not have the best interest of God\u2019s people at heart. Do you think that people of faith today still struggle to be together and run around in confusion like baby chicks?\u201d\n- Verse 34 hints at love and protection, as a mother for her young. Have you experienced this kind of love and protection? How can we show others the kind of love and security that we find in a relationship with Jesus?\nTransition to the closing activity; however, if your group would like to continue to work on their \u201cWord Art\u201d then you may want to allow for some time to complete this project.\n4. Activity and Discussion: \u2018Fox and Hen Story Book\u2019 (20 minutes)\nExplain to your students that they are going to create a comic or children\u2019s story book from the Luke 13:31-35 passage. They can choose to use any type of creative writing, drawing, comic style or children\u2019s book style they would like. Hand out pens, paper, markers, colored pencils, and anything else they may need to create these story books.\nAfter the youth have completed their books, ask those who want to share to do so. Then, encourage those with younger siblings to share their books with them.\nClose your time together in a manner that is typical for you. Consider taking joys and concerns, then asking for a volunteer to close in prayer.\nTotal time: 50 minutes\n- Pens or pencils\n- Crayons or colored pencils", "id": "<urn:uuid:a53bb893-4cf8-45c4-a328-bd050a8b903f>", "dump": "CC-MAIN-2023-14", "url": "https://www.umcdiscipleship.org/worship-planning/gathered-up-in-jesus/second-sunday-in-lent-year-c-lectionary-planning-notes/second-sunday-in-lent-year-c-youth-lessons", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948632.20/warc/CC-MAIN-20230327123514-20230327153514-00721.warc.gz", "language": "en", "language_score": 0.9534702301025391, "token_count": 1161, "score": 3.765625, "int_score": 4}
{"text": "By Wajahat Ali\nIn 7th-century Arabia, the storyteller was valued more than the swordsman. The audience sat on the floor surrounding the gifted orator as he captivated the eager listeners with beautiful poetry narrating their history. In the 21st century, the art form may have evolved to include motion pictures, TV shows, theater productions, novels, and standup comedy, but they all serve the same function: storytelling.\nIdeas and principles are most effectively communicated and transmitted when they are couched in a narrative. Stories, whether they concern the etiquette and biography of prophets or the trials and tribulations of America's founding fathers, inform and influence a cultural citizenry of its values and identity.\nStories of the Prophet Muhammad most effectively communicate the Quran's eloquent exhortation to tolerate and embrace diversity: \"O mankind! We created you from a single (pair) of a male and a female, and made you into nations and tribes, that ye may know each other (not that ye may despise [each other])\" (49:13). The Prophet's cordial diplomacy and communication with the Christian, Abyssinian King yielded one of the first alliances of the young Muslim community. Furthermore, the Prophet displayed unconditional love for his diverse companions, who comprised the gamut of Arab society including former slaves, orphans, widows, wealthy dignitaries, and non-Arabs.\nSimilarly, the story of a biracial man with an Arabic name and a Kenyan father elected to the highest office in the land reminds the world that indeed America can live up to its cherished principles of freedom and racial equality, and her citizens are capable of reflecting a magnanimous and egalitarian spirit bereft of prejudice.\nIf a person were to read these stories comprising the core values of Islamic and American history, one would assume their respective cultural fabrics resemble a generous, messy, lively, colorful mosaic perpetually adding and experimenting with new colors, styles, and hues to beautify its narrative.\nAnd yet nine years after the two towers fell, we hear and see daily stories of vile stereotyping, fear-mongering, and hysteria tearing the frays and revealing miserly and stingy threads unwilling to accept or bind with the \"others.\"\nDespite a long and rich history of positive contribution and active participation in American society, many Muslim Americans feel forever trapped by the shadow of 9/11 and thus condemned to being viewed as perpetual suspects by neighbors in their own homeland. Due to the perverse, criminal actions of a deluded minority, Islam has been cast as the perennial \"villain\" whose limited acting range consists of radical extremist, terrorist bomber, or zealous anti-American bigot. Unsurprisingly, nearly 48 percent of Americans hold a negative opinion of Islam and about half admit not knowing any Muslims.\nAround the world, the clich\u00e9d story also paints America and all Americans as the \"bad guys\" who arrogantly stroll into town and violently bully anyone who opposes their might.\nIf these stories persist with such simplistic, one-dimensional caricatures and formulaic narratives, then the predictable third act can only end in tragedy.\nIndeed, several Muslim Americans feel humiliated and under siege living in such a politically loaded, accusatory climate. They resort to angry victimization and reactionary rhetoric, becoming cultural consumers of TV news and media sound bites instead of participating as proactive cultural creators.\nAnd, yet, history has repeatedly proven that pain and love, the most powerful of human feelings, are usually the most potent ingredients to inspire communities with an artistic renaissance. It is not surprising that African Americans and Jewish Americans, two groups who have suffered tremendously in past centuries, have arguably been some of America's most influential cultural creators. Both groups created stories drawing upon their unique experiences, tragedies, languages, and histories, which eventually became infused with the larger American narrative. If Muslim Americans can learn from the struggles of minority groups before them, we will realize the best ways to escape \"our shadow\" is by finally telling our own stories in our own voices and using art and storytelling as a means of healing and education.", "id": "<urn:uuid:da067a99-4be2-4aab-9ca9-e10aa4f68149>", "dump": "CC-MAIN-2023-14", "url": "https://www.patheos.com/resources/additional-resources/2010/08/power-of-storytelling-creating-a-new-future-for-american-muslims", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00321.warc.gz", "language": "en", "language_score": 0.9410653710365295, "token_count": 833, "score": 3.5625, "int_score": 4}
{"text": "Outdoor Learning Subject Leader: Mrs. D Thornley\nPupils receive Forest School sessions led by our trained Forest School Reception teacher. We believe in the Forest School learning process, originating in Scandinavia, which is a child-centred approach that offers opportunities for holistic growth through regular sessions. It is a long-term program that supports play, exploration and supported risk-taking. It develops confidence and self-esteem through learner-inspired, hands-on experiences in a natural setting. Engaging in outdoor learning activities supports children\u2019s mental, spiritual and physical well-being.\nThe aims of our outdoor learning are:\n- To build self-esteem and confidence in children\n- To build resilient, determined and independent learners.\n- To develop children\u2019s personal, social and emotional development.\n- To encourage collaboration\n- To develop and build the ideas of risk management and risk-benefit.\n- To improve children\u2019s life skills and experiences.\n- To enable children to gain respect for the natural environment and wildlife.\n- To let children be children.\nPupils In Reception have weekly Forest School sessions. The sessions are well-planned, supportive of the aims above, and complement learning that is taking place as part of the curriculum. Pupils experience a range of learning, from team-building activities to exploration, from learning about the natural world to creating art, music or role play. The dedicated Forest School area is set up for learning and has water access and a learning tent. Pupils undertake these sessions in all weather and wear weather-appropriate clothing. Adults support the children and support learning and play where relevant.\nPupils very much enjoy Forest School sessions; these outdoor sessions, promote physical activity and oxygenate children\u2019s bodies, improving concentration and the motivation to learn. It supports children to gain more independence and self-confidence, reduces anxiety, builds resilience, and improves their communication skills. It also feeds into the wide range of learning that takes place in school.\nBenefits of Outdoor Learning\nOutdoor Learning promotes the holistic development of a child. It is particularly suited to children who struggle, for various reasons, to learn in a traditional classroom setting, as well as providing all children with a positive outlook which is then transferred to the classroom where they are found to be more motivated and have increased concentration levels.\nPhysical Development: Development of gross motor skills, building muscle, spatial awareness, balance, coordination, and stamina. Fine Motor skills are enhanced when using hand tools as well as hand-eye coordination.\nEmotional and Mental well-being: Spending time in woodland areas is calming and reduces stress.\nSocial Development: Development of communication and language skills, the ability to share, take turns and work as a team.\nBehaviour: Research has shown that being outside has a calming influence on the brain, thereby improved behaviour is noticed.\nSelf-Regulation: The ability to recognise and manage risk as well as understand the reason for boundaries and rules.\nIncreased self-confidence and self-esteem: Learning new skills, and taking risks when using hand tools develops a sense of responsibility and pride. Increased knowledge, awareness, respect, and understanding of the natural environment.\nCreative Development: Through free play and exploration, children become naturally inquisitive of the natural environment, using it as a provocation for storytelling and role play.\nCurriculum Links: The ethos and principles of Forest School support many of the Early Years Foundation Stage Curriculum and the National Curriculum for Key Stage 1 and Key Stage 2 and complement the topic-based curriculum we have at Shorne CofE Primary School.\nInterventions, support, and challenges are constantly revised and adapted to ensure all children are supported in achieving learning. Learning is robustly and continuously monitored and assessed to ensure gaps in learning are addressed. Teachers and support staff offer adaptive teaching to enable access for all, and may provide scaffolds, pre-teaching, and other support and intervention, as outlined in the Kent Mainstream Core Standards. Pupils may also be supported to access learning through the use of Clicker software.", "id": "<urn:uuid:fd88d3af-d5f9-49f4-9934-1d21e854b660>", "dump": "CC-MAIN-2023-14", "url": "https://www.shorne.kent.sch.uk/curriculum/outdoor-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945183.40/warc/CC-MAIN-20230323194025-20230323224025-00121.warc.gz", "language": "en", "language_score": 0.9486929178237915, "token_count": 860, "score": 3.53125, "int_score": 4}
{"text": "Indigenous Ways of Knowing Connection to Establishing a Rich and Safe Environment\nRecurrent Learning Strengths\nContrary to popular belief, there is little evidence that a stereotype \u201clearning style\u201d for Indigenous learners exists. Instead, evidence points to their \u201crecurrent learning strengths\u201d that tend to be found among Indigenous learners. These strengths include:\n- holistic more than analytic\n- visual more than verbal\n- oral more than written\n- practical more than theoretical\n- reflective more than trial-and-error\n- contextual more than non-contextual\n- personally relational more than an impersonal acquisition of isolated facts and algorithms\n- experiential more than passive\n- oriented to storytelling more than didactic sessions, and\n- taking time to reflect more than quickly coming to an answer.\nThese recurrent learning strengths are evident in non-Indigenous learners to varying degrees, as well (Aikenhead et al., 2014, p. 135).1.\nSome Considerations for Fostering a Supportive Math Learning Environment:2\n- Create a community of mathematics learners that includes the educator.\n- Insist that we are all \u201cmath people\u201d and seek examples to show practical examples that illustrate this.\n- Value the thinking that all students bring to the classroom.\n- Help students to appreciate that errors and failed attempts are opportunities for learning and have value.\n- Focus on understanding so that students recognize that mathematics must always make sense to them\n- See the student as a whole person, paying attention to all developmental domains when planning instruction, assessment and learning (e.g., provide opportunities to move while learning, plan for supportive social interactions, consider the emotional impact of instruction).\n- Make learning the goal by supporting every student in playing an active role in his/her learning.\n- Be careful about offering unsolicited help, and especially only targeting low achievers for assistance. Listen to each student about his/her goals and needs.\n- Provide cognitively challenging tasks and take the students\u2019 strengths, needs, interests and views into account when planning learning opportunities.\n- Provide timely and descriptive feedback that will help students to improve.\n- Inspire students to see math in the world around them.\n\u201cReconciliation is not an event. It\u2019s something that needs to enter into the way we do things.\u201d3\nIt is imperative that teachers understand Indigenous lesson plans must be considered holistically. That means that the Indigenous teachings and intentions that are part of the language and culture must be considered. Non-Indigenous teachers should consider consulting Indigenous advisors to ensure that the integrity of the content is not unintentionally lost or compromised.\n1Aikenhead, G., Brokofsky, J., Bodnar, T., Clark, C., Foley, C., \u2026 Strange, G. (2014). Enhancing school science with Indigenous knowledge: What we know from teachers and research. Saskatoon, Canada: Saskatoon Public School Division with Amazon.ca. Retrieved from http://www.amazon.ca/Enhancing-School-Science-Indigenous-Knowledge/dp/149957343X.\n2Ministry of Education of Ontario. (2018). Yes, I Can! Paying Attention to Well-Being in the Mathematics Classroom. Capacity Building K-12 Series. p. 8. Retrieved from https://ontariomathresources.ca/teacher-resources/capacity-building-series/\n3Saul, J. (2014). The comeback (p. 260). Canada: Viking.", "id": "<urn:uuid:42f182ab-3296-47d3-b4cc-8dfa128f8750>", "dump": "CC-MAIN-2023-14", "url": "https://saskmath.ca/indigenous-ways-of-knowing-connection/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948965.80/warc/CC-MAIN-20230329085436-20230329115436-00521.warc.gz", "language": "en", "language_score": 0.906944751739502, "token_count": 734, "score": 3.96875, "int_score": 4}
{"text": "This week I want to talk about writing and learning: how we learn and how we could learn.\nAncient teachers did not teach \u201cliterature\u201d as a separate subject, but they taught storytelling as part of rhetoric\u2014the art of persuasion. And they expected their students to learn to tell stories, not just analyze them. Many ancient, medieval, and renaissance students began their training in rhetoric by retelling stories such as Aesop\u2019s fables. The original stories are short, often fewer than 100 words in total. A student might be asked to expand the text to five or ten times its length by adding dialogue, characterizing speakers, or even adding entire scenes, while remaining consistent with the original characters.\nMonkeys Deliberate: How the Greeks Taught Writing\nHere\u2019s an example from an ancient Greek teacher named Hermagones. He offers this short fable as a framework for young writers:\nThe monkeys in council deliberated on the necessity of settling in houses. When they had made up their minds to this end and were about to set to work, an old monkey restrained them, saying that they would more easily be captured if they were caught within enclosures.\nThen he shows how a student might expand the story. He starts with the first \u201cplot point,\u201d the proposal that the monkeys should build a city:\nThe monkeys in council deliberated on the founding of a city; and one coming forward made a speech to the effect that they too must have a city. \u201cFor see,\u201d said he, \u201chow fortunate in this regard are men. Not only does each of them have a house, but all going up together to public meeting or theater delight their souls with all manner of things to see and hear.\u201d\nA young writer would continue the scene, inventing arguments from the different monkeys and characterizing each of them. Maybe she would decide that one monkey plays on their fears. The monkey warns his fellows that without city walls they will always be at the mercy of humans.\nAnother monkey might point out that many humans live in squalor and ask, \u201cWhy should we leave our beautiful homes among the trees?\u201d A third could remind the monkeys that they always go hungry in winter. A city would allow them to stockpile fruits and nuts.\nYet another speaker might address the monkeys\u2019 pride. He could say that every great people has cities, and ask, \u201cWhy should humans lord it over all the other creatures? We should show that we\u2019re just as good as they are.\u201d\nThe only rule is that the story must include all the plot elements of the original. The monkeys must deliberate about founding a city, they must decide to do so, and then an old monkey must get up and convince them against building a city because they are safer without one.\nThe original story implies that the old monkey is wise, but a clever writer might play with that, too. Maybe the old monkey has been the chief for a long time, and he speaks against the plan because he cannot understand the new world that he sees coming. Or maybe he is jealous of the young, ambitious monkey who wants to build the city.\nThe only requirement was that the old monkey needs to win. Nothing says he needs to be right.\nStructure Enhances Creativity\nThe exercise above is from an ancient course of studies called the progymnasmata, which includes many other tools for learning to tell stories. Teachers asked their students to take a long narrative and condense it\u2014turning a story of, say, 2,000 words into one of 100. Try doing this sometime: it will force you to distinguish between the crucial points of the narrative and those that are less important.\nIn another exercise, called \u201cimpersonation,\u201d you would give a speech in the voice and manner of a particular person. Sometimes this was a figure from history or legend, but other times it was an ordinary person in a new circumstance. My favorite ancient assignment is an example of impersonation: students were told, \u201cDeliver the speech that a farmer from inland Greece gives when, for the first time in his life, he sees the ocean.\u201d\nWhat do all these have in common? They are structured exercises in creativity. Each one gives you a framework within which you can create. Often, today, we think of rules and structure as opposed to creativity, but the ancient Greeks didn\u2019t think that way at all\u2014and neither did thinkers in the Middle Ages or the Renaissance. They all saw that rules produced and enabled creativity.\nIf you\u2019re looking for something to write this week, give one of these a shot. Take a story, identify its key elements, and write another story that shares them. Your story can be shorter or longer than the original; it can change the point of view or reassess the characters. But the key events of the story should be fixed. Maybe you\u2019ll find\u2014like I usually do\u2014that following those rules makes your writing flow.\nBest wishes and happy creating,", "id": "<urn:uuid:dcbb7caf-9a1e-4bbf-8155-ff4e6ee54a0f>", "dump": "CC-MAIN-2023-14", "url": "https://howgreatbookswork.com/hgbw-2-creativity-rhetoric-and-monkeys/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949573.84/warc/CC-MAIN-20230331051439-20230331081439-00321.warc.gz", "language": "en", "language_score": 0.9751383662223816, "token_count": 1057, "score": 3.84375, "int_score": 4}
{"text": "Art History-Baroque 20th Century: REALISM: The first movement in Modern Art\nRealism is considered the first major movement in modernism. It\u2019s important to note that the term Realism does not necessarily refer to a realistic style of painting or drawing (though many artists at this time did portray their subject matter realistically), it refers to showing life as it really was. No longer was the only fitting subject matter for artwork royalty, gods, or epic heroes; now artists were focused on showing us the peasants, the farmers, the prostitutes, and all the real working humans that made up most of the population. This movement overlapped both romanticism and impressionism, and many artists are claimed by multiple movements (i.e. Manet, who is categorized under both Realism and Impressionism). The defining feature of Modernism is known as \u201cavant-garde,\u201d meaning artists were really looking to break the mold and continually reinvent themselves.\nPLEASE FOLLOW the INSTRUCTION!!\nFor part one, I\u2019d like you to revert to a more creative writing tone again, as you did for the Grand Tour assignment. Once again you\u2019ll be writing a letter to a friend, this time from the point of view of an aspiring artist in 1863 who has seen the show at the Salon des Refuses (don\u2019t worry, this will make sense after you read and view the material at the links below!). Tell your friend what it\u2019s like to be an artist in Paris at this time, how your own work is coming along, and what it was like to see these brand-new works from these amazing avant-garde artists. How did it feel to see Manet\u2019s Le D\u00e9jeuner sur l\u2019herbe? Were you as scandalized by it as all of the critics, or did you see something new and incredible in it? Remember, you\u2019re a late-19th-century Parisian artist! No one, including you, has ever seen anything like this before!\nAfter describing your life, the Salon des Refuses, and some of the works in general (2 paragraphs, at least 5 sentences for each paragraph), focus on one particular work that really caught your eye. For the purposes of this assignment, it does not matter if it actually appeared in the 1863 exhibition, just choose a work of realism that you\u2019d like to do a detailed visual analysis on, describing it and telling your friend how it made you feel. Does it have the potential to influence your own work? Do you believe this movement will last, perhaps lead to something else, or will those ancient classical values keep their hold on the art world? Conclude your letter by describing your plans for your next painting, and briefly explain why you are either choosing to jump on board with this new trend of realism, or sticking with traditional styles. Be sure to INCLUDE AN IMAGE of the main work that you choose to focus on.\nStart by reading and viewing the material below, and then get to writing your letters. And have fun!\nhttp://www.theartstory.org/movement-realism.htm (be sure to click on \u201cRead More\u201d in the blue box titled \u201cMost Important Art\u201d and read about each of the paintings on that page so you get a sense of the visual progression of realism)\nFor part two, you will choose one of your classmates\u2019 letters and respond as their friend, who lives in a small town in Southern France (you grew up together before your friend moved to Paris to make their way) and has never heard of all this excitement happening in Paris. You are, however, just as talented an artist as your friend, and this idea of Realism has you pretty excited. Describe to your friend something that you\u2019re going to paint, some scene or activity or person, etc., from your everyday life that you think would make a wonderful subject for a painting. Remember, this idea of painting subjects from real, everyday life is very new! Write at least two paragraphs (5 sentences for each paragraph) to your friend\u2026who knows, maybe he or she will help you get to Paris and you can work and hang out in those cafes together?\nI had some time between painting so I thought I would write you. I\u2019m sure that you are curious about what my life has been like, particularly my art life, given these new Avant guard artists are making their mark in France. Before I talk about their work I would like to fill you in on how my piece has been going. If you remember I was working on a dark romanticist painting meant to create a feeling of power and fear. I am almost done with my painting of a ship in a storm. I hope that when people view this, that it will remind them of the power or awesomeness of nature.\nAs I mentioned before, there are an expanding group of Avant guard artists that are breaking away from traditional norms and values in their paintings. Instead of painting history, landscapes or portraits they are painting things that a peasant sees. For example, an artist named Manet, painted a scene of two men hanging out in a field with prostitutes. Can you believe it? Although I feel I should cringe at the sight of such a thing I find myself taking a deep liberating sigh every time I see a realist painting. The reason for this is because I am tired of the institutionalization of art. I have been trying to get my paintings seen by many for years but because they do not live up to the salons judges\u2019 standards my work will never be seen or be great. Although my natural reaction to these paintings are shocking, I still see the value in what these artists are doing. I think that most of the critics are just too uncomfortable with change to see the brilliance of these paintings.\nMost of the paintings that people consider to be brilliant are showed off at the Salon, a place where people go to view the highest esteemed art. To be considered for a space at the salon for your art you have to meet the Academy\u2019s requirements. Historical paintings, paintings that represent mythological or heroic events are esteemed the highest and only the best artist are even allowed to paint this subject. However, The Salon des Refuses, where the refused paintings go to be seen, shows people the paintings that would be considered garbage by The Academy. It is here that I think the future of art lies.\nWhile I was at The Salon des Refuses, a painting that I saw stopped me in my tracks. It was Edouard Manet\u2019s, Le d\u00e9jeuner sur l\u2019herbe. In this painting Monet depicts two well-dressed men in a park with two prostitutes. I immediately thought to myself that this was a depiction of the infamous Bois de Boulogne park a block away from my home. To give you some background on the park, well off men often hire prostitutes and run off with them there. It is something that is not spoken of but exists. Unfortunately, the ruling class does not like to admit their less than gentlemanly activities. This is actually why I\u2019m in favor of the realist paintings. They paint the realty of life not the extravagant lifestyles of the few. I found it funny that when viewing this paining, the men loved to walk their wives right past it. I wonder why?\nI am now pleased to tell you friend, that I am planning to be a realist painter myself. Painting for some judge who hangs out at Bois de Boulogne park is not my style. I plan on going to my local construction sight and setting up shop there. Hopefully I will capture some of the raw emotions and feeling of life as most know it.", "id": "<urn:uuid:70b57821-1148-4266-b755-a901a2ed0ae3>", "dump": "CC-MAIN-2023-14", "url": "https://www.homeworkstand.com/art-history-baroque-20th-century-realism-the-first-movement-in-modern-art/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943698.79/warc/CC-MAIN-20230321131205-20230321161205-00739.warc.gz", "language": "en", "language_score": 0.9670955538749695, "token_count": 1822, "score": 3.625, "int_score": 4}
{"text": "There are two types of programing language \u2013 Synchronous and Asynchronous.\nEvery function will execute in sequential order. Each waiting for the first function/line of code to execute before it executes the next function or line of code.\nlet\u2019s take a simple example ,\nlet a = 10; let b = 20; console.log(a); let sum = a+b; console.log(sum);\nIn this example , initially first line of console.log() will be execute. After execution of first line then sum will be printed.\nHello World! to the console. and then after 5s\nAlso we can use setInterval function which will print\nSo, setTimeout and setInterval are good example of Asynchronous.\nArticle written By: : Ankita Kataria.\nThank you !!\nThis Post Has 3 Comments\nId like to thank you for the efforts youve put in writing this website. I really hope to see the same high-grade blog posts from you in the future as well. In truth, your creative writing abilities has motivated me to get my own, personal site now \ud83d\ude09", "id": "<urn:uuid:e9e02dd0-8b25-4f8a-8bd7-ae4e4d85667e>", "dump": "CC-MAIN-2023-14", "url": "https://codeshruta.com/asynchronous-javascript/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00119.warc.gz", "language": "en", "language_score": 0.8207662105560303, "token_count": 583, "score": 3.5625, "int_score": 4}
{"text": "It's one thing to think about the amazing ideas, and it\u2019s totally another thing to put them into action. The same situation may occur in writing either a novel or an assignment. Let's face it, almost every famous writer can be found in a situation when he/she is supposed to write something creative, but the mind goes blank. What to speak about a student who is assigned to many different tasks?\nIrrespective of whether you are in middle or high school, or in a university, once in a while, you can be required to engage in creative writing activities. What is creative writing? It is just a form of writing that uses the creativity of mind to express emotions, thoughts, or feelings. Whereas the other pieces of writing focus more on giving facts and analyzing issues, the creative writing pieces are all about entertaining, spreading, or expressing thoughts.\nCreative Writing Assignments for College Students\nIf you think you are done with creative writing after graduating high school, think twice. Even at the college level, some examiners tend to stimulate the creativity of students. For example, the professors at the College of Charleston managed to set up some exciting projects that made students forget the stress of exams at the end of the semester. The examples of creative assignments at college may include:\n- Writing a short story or poem that incorporates a specific theme or word\n- Creating a script for a short film or play\n- Developing a character and writing a series of journal entries from their perspective\n- Analyzing and reimagining a classic piece of literature or art\n- Collaborating with classmates to write and perform a spoken word piece\nWhether you need inspiration for a college assignment or want to improve your creative writing skills, these sample assignments can help you get started. Don't hesitate to contact your professors or an assignment writing service for additional support and guidance.\nArchaeological Dig for History/Culture/Art and Design Courses\nThis activity allows students to imagine being active archaeologists. They have to write about something they come across when excavating. They need to describe in detail what they excavate and state its significance in modern world history or culture.\nQuestionnaire-Based Survey Taker for Social Sciences\nStudents studying Psychology or Sociology must deal with statistical data. As a rule, they are asked to create a questionnaire for different purposes \u2013 collect measurable data from a specific group of people. There is no specific format for a questionnaire/survey, and students have to use their own creativity.\nPoems for a Literature Course\nIf you are taking a literature course at a college, you are likely to be asked to write a poem as an assignment. To score high marks for your poetry assignment, you have to be extra creative and consider all the aspects of the poem evaluation.\nHigh School Creative Writing Assignments\nA good teacher should also encourage your creativity at the high-school level. So, how can you be tested for creative assignments in a high school?\nTo be tested on your creative writing skills in high school, you may be asked to participate in various activities and assignments, such as writing prompts, group brainstorming sessions, and peer reviews. These assignments can help you develop your writing skills, express your ideas and thoughts, and explore different genres and styles. Don't hesitate to ask your teacher or seek assistance from a writing tutor or assignment writing service for additional support and guidance.\nHave you ever heard from your educator, \u201cSpeak quickly as I\u2019m in a hurry now\u201d? As a rule, you must formulate your ideas as briefly as possible. The same task is in the given creative activity \u2013 you are only given one sentence and are required to use all your creativity to come up with a complete story. Read 15 amazing 1-line stories to have an idea what you\u2019re required.\nWriting a Spontaneous Speech\nAt Stanford Graduate School of Business, you\u2019ll find the article by a lecturer on the essentials of strategic communication, Matt Abrahams, who states that spontaneous public speaking is much more prevalent than planned speaking, especially in the business area. A speech should address a particular audience, meaning you must select your vocabulary carefully. Besides, you also have to be creative and make your speech enjoyable to listen. In the estimation of most tutors, it is better to be still ready for these off-the-cuff conversations by writing a speech, then producing it in real-life conditions.\nCreative Imaginary Story Writing\nIn many creative writing workshops, you\u2019ll find the task of crafting creative compositions. You may ask, \u201cEvery day I write my compositions, and my creativity scope is limited to strict academic requirements\u201d. In fact, things are different when writing a creative story. Students are given a topic and required to create an imaginary story. In the first instance, you can be asked to finish a story. Then, you\u2019ll need to come up with a story based on some pictures, melodies, etc. Every piece of writing has to correspond to the topic as you imagine it, at the same time, be informative and interesting to read.\nCreative Writing Assignments for Middle School Students\nStudents\u2019 creativity is an important ability in middle school. There, students are taught to use their imagination to produce new ideas. What assignments can test your creativity in middle school?\nStudents can benefit from assignments encouraging them to write in different genres or styles, such as science fiction, mystery, or historical fiction. Students can also practice their descriptive writing skills by creating vivid settings or characters or experimenting with different points of view. Collaborative assignments, such as creating a class anthology or magazine, can help students develop teamwork and communication skills. Remember, these assignments aim to test your creativity, help you develop your writing skills, and express yourself in new and exciting ways.\nCreative Essay Writing\nStudents are required to be creative when addressing a specific topic. For example, the topic of the essay can be \u201cWhat does it mean to be a feminist?\u201d This particular essay addresses a specific niche and requires students to use their creativity to come up with fresh ideas on what to include and what not to include in the essay.\nOpen-Ended Imaginative Screenplays\nThis form of creative writing allows students to express their thought freely and creatively. There are no requirements to follow, no specific issues to solve, and no pressure to produce a finished version. you can write on an open-ended topic. It is a great starting point for you if you dream of being a famous scriptwriter or simply a creative person at work. Learn to be a step ahead, and this step you should take in your middle school.\n5 Ways of How to Improve Your Creative Writing Skills\nIf you feel uncertainties about whether your creative writing skills correspond to high standards, it is better to improve them by taking into consideration several effective tips:\n1) Read a Lot\nIf you want to improve your writing creativity, you have to read a lot. You can read English storybooks, find various stories online or even read works from your more creative friend. Today, many creative people have the possibility to keep a blog from which they can take some creative ideas for their assignments. When reading, pay attention to the plot of the story to grasp the author's thoughts and feelings. If you come across any word that you are not familiar with, write it on a piece of paper and find its meaning in a dictionary, for example, in the Oxford Dictionary or any other that is reliable enough.\n2) Rewrite a Story\nRewriting is one of the most effective ways to improve your creative writing skills. Don\u2019t get surprised that rewriting can help you become creative as rewriting involves using your own words or paraphrasing. Don\u2019t act in such a way. If you find a good story/article interesting, rewrite it according to your preferences or vision. Use different characters and words and different views of the plot.\n3) Keep a Personal Journal\nYou don\u2019t know how creative you can be until you keep a personal journal. If something interesting, heartbreaking, or boring happens, write it down in your personal journal. There is no restriction on what you can write in your personal diary, which gives an avenue for creativity. For more effectiveness, ensure that each and every day, you write something in the journal. You will be surprised at how creative you are when you actually read your own journal one month later.\n4) Play Imaginative Games\nDon\u2019t think that playing games is a great excuse for you to get lazy just because you can improve your creativity only by playing imaginative games, not computer ones. But sometimes, these games can also help you. What are these imaginative games? For example, \u2018What Happens Next?\u2019, \u2018Renaming\u2019, \u2018Opposites\u2019 or a game of I S-A. Other than going out to a party or chatting on social media, use this precious time to play a game that will help enhance and improve your creativity. This will be like killing one bird with two stones. It\u2019s a nice way to refresh your mind while, at the same time, you will be working on your creativity.\n5) Use Creative Writing Prompts\nThe best way to do so is through constant practice. Don\u2019t wait for the moment when you will be in an exam room. Try out the following 10 examples of prompt ideas no matter where you are studying \u2013 in a college, high or middle school.\nYou\u2019ve already know what contributes to your creative writing. Our assignment writing service ideas for creative writing are open to you. Don\u2019t hesitate to practice them! With our expert guidance and support, you can enhance your writing skills and achieve academic success. So why wait? Contact us today for assistance with your writing assignments.", "id": "<urn:uuid:41f329b7-5849-45ba-99d6-349a0c9889d1>", "dump": "CC-MAIN-2023-14", "url": "https://domyassignments.com/blog/creative-writing-assignment-ideas-for-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948867.32/warc/CC-MAIN-20230328135732-20230328165732-00321.warc.gz", "language": "en", "language_score": 0.9489530324935913, "token_count": 2034, "score": 3.703125, "int_score": 4}
{"text": "Summary: Researchers have developed a computer system that could help to detect subtle speech and language disorders in time for early intervention.\nComputer system could help identify subtle speech, language disorders in time for early intervention.\nFor children with speech and language disorders, early-childhood intervention can make a great difference in their later academic and social success. But many such children \u2014 one study estimates 60 percent \u2014 go undiagnosed until kindergarten or even later.\nResearchers at the Computer Science and Artificial Intelligence Laboratory at MIT and Massachusetts General Hospital\u2019s Institute of Health Professions hope to change that, with a computer system that can automatically screen young children for speech and language disorders and, potentially, even provide specific diagnoses.\nThis week, at the Interspeech conference on speech processing, the researchers reported on an initial set of experiments with their system, which yielded promising results. \u201cWe\u2019re nowhere near finished with this work,\u201d says John Guttag, the Dugald C. Jackson Professor in Electrical Engineering and senior author on the new paper. \u201cThis is sort of a preliminary study. But I think it\u2019s a pretty convincing feasibility study.\u201d\nThe system analyzes audio recordings of children\u2019s performances on a standardized storytelling test, in which they are presented with a series of images and an accompanying narrative, and then asked to retell the story in their own words.\n\u201cThe really exciting idea here is to be able to do screening in a fully automated way using very simplistic tools,\u201d Guttag says. \u201cYou could imagine the storytelling task being totally done with a tablet or a phone. I think this opens up the possibility of low-cost screening for large numbers of children, and I think that if we could do that, it would be a great boon to society.\u201d\nThe researchers evaluated the system\u2019s performance using a standard measure called area under the curve, which describes the tradeoff between exhaustively identifying members of a population who have a particular disorder, and limiting false positives. (Modifying the system to limit false positives generally results in limiting true positives, too.) In the medical literature, a diagnostic test with an area under the curve of about 0.7 is generally considered accurate enough to be useful; on three distinct clinically useful tasks, the researchers\u2019 system ranged between 0.74 and 0.86.\nTo build the new system, Guttag and Jen Gong, a graduate student in electrical engineering and computer science and first author on the new paper, used machine learning, in which a computer searches large sets of training data for patterns that correspond to particular classifications \u2014 in this case, diagnoses of speech and language disorders.\nThe training data had been amassed by Jordan Green and Tiffany Hogan, researchers at the MGH Institute of Health Professions, who were interested in developing more objective methods for assessing results of the storytelling test. \u201cBetter diagnostic tools are needed to help clinicians with their assessments,\u201d says Green, himself a speech-language pathologist. \u201cAssessing children\u2019s speech is particularly challenging because of high levels of variation even among typically developing children. You get five clinicians in the room and you might get five different answers.\u201d\nUnlike speech impediments that result from anatomical characteristics such as cleft palates, speech disorders and language disorders both have neurological bases. But, Green explains, they affect different neural pathways: Speech disorders affect the motor pathways, while language disorders affect the cognitive and linguistic pathways.\nGreen and Hogan had hypothesized that pauses in children\u2019s speech, as they struggled to either find a word or string together the motor controls required to produce it, were a source of useful diagnostic data. So that\u2019s what Gong and Guttag concentrated on. They identified a set of 13 acoustic features of children\u2019s speech that their machine-learning system could search, seeking patterns that correlated with particular diagnoses. These were things like the number of short and long pauses, the average length of the pauses, the variability of their length, and similar statistics on uninterrupted utterances.\nThe children whose performances on the storytelling task were recorded in the data set had been classified as typically developing, as suffering from a language impairment, or as suffering from a speech impairment. The machine-learning system was trained on three different tasks: identifying any impairment, whether speech or language; identifying language impairments; and identifying speech impairments.\nOne obstacle the researchers had to confront was that the age range of the typically developing children in the data set was narrower than that of the children with impairments: Because impairments are comparatively rare, the researchers had to venture outside their target age range to collect data.\nGong addressed this problem using a statistical technique called residual analysis. First, she identified correlations between subjects\u2019 age and gender and the acoustic features of their speech; then, for every feature, she corrected for those correlations before feeding the data to the machine-learning algorithm.\n\u201cThe need for reliable measures for screening young children at high risk for speech and language disorders has been discussed by early educators for decades,\u201d says Thomas Campbell, a professor of behavioral and brain sciences at the University of Texas at Dallas and executive director of the university\u2019s Callier Center for Communication Disorders. \u201cThe researchers\u2019 automated approach to screening provides an exciting technological advancement that could prove to be a breakthrough in speech and language screening of thousands of young children across the United States.\u201d\nSource: Larry Hardesty \u2013 MIT\nImage Source: This NeuroscienceNews.com image is credited to Jose-Luis Olivares/MIT.\nOriginal Research: The study was presented at the Interspeech Conference on Speech Processing in San Francisco.\n[cbtabs][cbtab title=\u201dMLA\u201d]MIT. \u201cAutomated Screening for Childhood Speech Disorders.\u201d NeuroscienceNews. NeuroscienceNews, 22 September 2022.\n<https://neurosciencenews.com/neurodevelopment-speech-disorders-5102/>.[/cbtab][cbtab title=\u201dAPA\u201d]MIT. (2022, September 22). Automated Screening for Childhood Speech Disorders. NeuroscienceNews. Retrieved September 22, 2022 from https://neurosciencenews.com/neurodevelopment-speech-disorders-5102/[/cbtab][cbtab title=\u201dChicago\u201d]MIT. \u201cAutomated Screening for Childhood Speech Disorders.\u201d https://neurosciencenews.com/neurodevelopment-speech-disorders-5102/ (accessed September 22, 2022).[/cbtab][/cbtabs]\nConsensus and experience trump leadership, suppressing individual personality during social foraging\nWhether individual behavior in social settings correlates with behavior when individuals are alone is a fundamental question in collective behavior. However, evidence for whether behavior correlates across asocial and social settings is mixed, and no study has linked observed trends with underlying mechanisms. Consistent differences between individuals in boldness, which describes willingness to accept reward over risk, are likely to be under strong selection pressure. By testing three-spined sticklebacks (Gasterosteus aculeatus) in a risky foraging task alone and repeatedly in shoals, we demonstrate that the expression of boldness in groups is context-specific. Whereas personality is repeatable in a low-risk behavior (leaving a refuge), the collectively made consensus decision to then cross the arena outweighs leadership by bolder individuals, explaining the suppression of personality in this context. However, despite this social coordination, bolder individuals were still more likely to feed. Habituation and satiation over repeated trials degrade the effect of personality on leaving the refuge and also whether crossing the arena is a collective decision. The suppression of personality in groups suggests that individual risk-taking tendency may rarely represent actual risk in social settings, with implications for the evolution and ecology of personality variation.\n\u201cConsensus and experience trump leadership, suppressing individual personality during social foraging\u201d by Nicholas D. McDonald, Sean A. Rands, Francesca Hill, Charlotte Elder and Christos C. Ioannou in Science Advances. Published online September 14 2022 doi:10.1126/sciadv.1600892", "id": "<urn:uuid:a024a148-4250-48a1-bd23-659debe2aa0f>", "dump": "CC-MAIN-2023-14", "url": "https://neurosciencenews.com/neurodevelopment-speech-disorders-5102/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948868.90/warc/CC-MAIN-20230328170730-20230328200730-00521.warc.gz", "language": "en", "language_score": 0.9406226277351379, "token_count": 1711, "score": 3.625, "int_score": 4}
{"text": "Fifth Grade Language & Grammar Unit \u2013 ELA Practice & Test Prep \u2013 Digital Download\nTWELVE complete 5th Grade Language & Grammar lessons, TWELVE FULL-COLOR Content Posters, Correlative Conjunctions Task Cards, and Perfect Tense Verbs Task Cards aligned with the 5th Grade Common Core READING, WRITING, and LANGUAGE Standards.\nEach lesson features high-interest content, engaging hands-on activities, and Journal assignments that are perfect for Interactive Language Notebooks. We\u2019ve created this entire Language Unit with an American History theme, just for 5th graders!Read More\nEACH OF THE 12 LESSONS FEATURES:\n- a FULL-COLOR Language Poster \u2013 simply print, laminate, and hang in your classroom\n- a COMPLETE 5th Grade Language Lesson with highlighted Text Features\n- a Close Journal Activity featuring Main Ideas and Details (great for Interactive Notebooks!)\n- Rigorous Common Core Language Practice and Sentence Writing for each 5th Grade Concept\n- a 5th-grade Extension Activity or Writing Assignment \u2013 we take students through the entire Writing Process\nFIFTH-GRADE LESSONS AND STANDARDS:\nLesson 1 \u2013 Conjunctions CC.5.L.1a\nLesson 2 \u2013 Prepositions CC.5.L.1a\nLesson 3 \u2013 Interjections CC.5.L.1a\nLesson 4 \u2013 Perfect Verb Tenses CC.5.L.1b, CC.5.L.1c, CC.5.L.1d\nLesson 5 \u2013 Correlative Conjunctions CC.5.L.1e\nLesson 6 \u2013 Context Clues CC.5.L.4a\nLesson 7 \u2013 Prefixes CC.5.L.4b\nLesson 8 \u2013 Suffixes CC.5.L.4b\nLesson 9 \u2013 Conventions CC.5.L.2, CC.5.L.3, CC.5.L.6\nLesson 10\u2013 Reference Tools CC.5.L.4c\nLesson 11 \u2013 Figurative Language CC.5.L.5a, CC.5.L.5b\nLesson 12 \u2013 Word Relationships CC.5.L.5c\nIn addition to the Common Core Language Standards, Writing activities (Persuasive Writing, Essay Writing, Creative Writing) in 5th Grade Language focus on these COMMON CORE WRITING STANDARDS:\nOpinion Writing CC.5.W.1a \u2013 1d\nWriting Informative and Expository Texts CC.5.W.2a \u2013 2e\nWriting Narratives CC.5.W.3a \u2013 3e\nProducing Coherent Writing CC.5.W.4\nStrengthening Writing through Revision CC.5.W.5\nConducting Short Research Projects CC.5.W.7\nRecalling, Gathering, Summarizing Information CC.5.W.8\nApplying 5th Grade Reading Standards to Literature and Informational Texts CC.5.W.9\nWriting Routinely over Extended Time CC.5.W.10\nJournal Activities after each of the 12 Fifth Grade Language Lessons assess COMMON CORE READING STANDARDS CC.5.RI.1, CC.5.RI.4, and CC.4.RI.10.\nWe\u2019ve included black and white versions of the lessons to make copies for your students, as well as separate files containing a color version of the Fifth Grade Language lessons for your White Board; color and black and white versions of the Task Cards; and 12 FULL-COLOR LANGUAGE CONTENT POSTERS ready for you to print, laminate, and hang in your classroom.\nLesson Plans, Answer Pages, and Grading Rubrics for the Writing activities are included.\nThis Unit also includes color and black and white sets of 38 Correlative Conjunctions Task Cards, 38 Perfect Tense Verbs Task Cards, Response Sheets, Answer Sheets, Task Card suggestions, and Writing Extensions.\n\u00a9 2022-Splash! Publications. Permission is granted to original purchasers to reproduce material as designated only for classroom use. No other part of this work may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without written permission from the publisher, except by a reviewer, who may quote brief passages in a review.\nSplash! Publications \u2022 Created by Teachers \u2022 It Just Makes Sense.\nThis book is a digital download. You will receive a link to download the ZIP file after purchase. No physical book will be shipped.", "id": "<urn:uuid:459a0185-37d4-4eee-adaa-d675114c4360>", "dump": "CC-MAIN-2023-14", "url": "https://splashpublications.com/product/fifth-grade-language-grammar-unit-ela-practice-test-prep-digital-download/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949701.0/warc/CC-MAIN-20230401032604-20230401062604-00742.warc.gz", "language": "en", "language_score": 0.8412396311759949, "token_count": 996, "score": 4.34375, "int_score": 4}
{"text": "To view a time in history as accurately as possible, one must incorporate works created \u201cin period\u201d; things such as books, music and art should be invaluable to the true historian. These things give us a lens through which we can see back into the world of that age. Many critics say that The Great Gatsby read the book as a commentary on American society during the 1920\u2019s; they use the book as a historical reference that tells us what part of society was like. The work The Great Gatsby by F. Scott Fitzgerald conveys a position on the United States in the 1920\u2019s using a myriad of different techniques embedded throughout the novel.\nThe Modernist Fiction period took place during the 1920\u2019s and revolutionized the American way of life in literature, economically, and socially. There was a national vision of upward mobility during this time that represented the American Dream. The upward mobility was seen through the consumerism and materialism that dominated this decade economically. Popular novels of this time reflected the mass consumerism in the lives of those wrote them. During the American Modernist Fiction period, Americans became increasingly materialistic throughout the roaring twenties; therefore, the American Dream was to obtain upper class status through the possession of material goods, which was reflected in many of this period\u2019s works.\nThe rollercoaster story of the life of a successful man, Jay Gatsby, chasing his dream and living in an affluent suburban area outside of New York, known in the story as West Egg, captures an era of American history referred to as \u201cthe roaring 20\u2019s.\u201d The 1920\u2019s was a crazy time in American history: rapidly growing economy, extreme cultural changes, and rights movements. On the surface, the 1920\u2019s appeared to be a great era, but upon further exploration, it wasn\u2019t all good. If America has learned anything from it\u2019s history, it is that you can\u2019t judge a book by its cover.\nF. Scott Fitzgerald uses The Great Gatsby in order to display the wretchedness of upper-class society in the United States. The time period, the 1920s, was an age of new opulence and wealth for many Americans. As there is an abundance of wealth today, there are many parallels between the behavior of the wealthy in the novel and the behavior of today\u2019s rich. Fitzgerald displays the moral emptiness and lack of personal ethics and responsibility that is evident today throughout the book. He also examines the interactions between social classes and the supposed noblesse oblige of the upper class. The idea of the American dream and the prevalence of materialism are also scrutinized. All of these social issues spoken about in The Great Gatsby are relevant in modern society. F. Scott Fitzgerald uses this novel as an indictment of a corrupt American culture that is still present today.\nConsidered as the defining work of the 1920s, The Great Gatsby by F. Scott Fitzgerald was published in 1925, when America was just coming out of one of the most violent wars in the nation\u2019s history. World War 1 had taken the lives of many young people who fought and sacrificed for our country on another continent. The war left many families without fathers, sons, and husbands. The 1920s is an era filled with rich and dazzling history, where Americans experienced changes in lifestyle from music to rebellion against the United States government. Those that are born into that era grew up in a more carefree, extravagant environment that would affect their interactions with others as well as their attitudes about themselves and societal expectations. In this novel, symbols are used to represent the changing times and create a picture of this era for generations to come. The history, settings, characters, and symbols embedded in The Great Gatsby exemplify life in America during the 1920s.\nThe Great Gatsby by Francis Scott Key Fitzgerald is a novel that eloquently summarizes what the entire American society represents through Fitzgerald\u2019s view. This novel develops its story in New York, at a time when the jazz age was at its peak. The roaring twenties, the era of glamour, infringed prohibition, conflict, growth and prosperity. The main concern in that age was materialism, sex, booze, and entertainment. The American Dream was the idea that anything, especially success, was possible through hard work and determination no matter where the individual comes from. On the other hand, in Fitzgerald\u2019s perspective, he was aware of the falsity of the values in the American society; and also he was aware of the importance of honesty and sincerity. The argument is poetically obvious, through his novel Fitzgerald shows us that reality will always end by demolishing any idealism; because the American dream is untouchable, intangible, a hoax, a fraud, and a lie that only leads to the destruction of those who believe in a single dream for too long.\nThe Great Gatsby, written by Scott F. Fitzgerald in the 1920\u2019s is the epitome of the Jazz Age, a phrase coined by the author himself. In the novel, Fitzgerald uses many literary elements to accurately portray the time period in which he lived including setting, characters, diction, and many symbols, which form the majority of the analytical portion of the story. In fact, many of the characters in the book double as a symbol, in order to strengthen a particular motif or theme within the novel. The most apparent, recurring and powerful theme in the book is the corruption of the American Dream during the Jazz Age. Even though many scholars believe that Fitzgerald is promoting the Dream, he is actually condemning it and what it stands for. This theme is used in conjunction with the motif of appearance versus reality to criticize further the \u201csingle green light, minute and far away\u201d (25) that many Americans have strived for: financial success, fame, power and glory. Fitzgerald masterfully uses the character Gatsby to show the illusion that is the American Dream that, in reality, is an extremely corrupt and greedy practice during the extravagant and flagrant era of the 1920\u2019s.\nF. Scott Fitzgerald was one of the most compelling twentieth century writers, (Curnutt, 2004). The year 1925 marks the year of the publication of Fitzgerald\u2019s most credited novel, The Great Gatsby (Bruccoli, 1985). With its critiques of materialism, love and the American Dream (Berman, 1996), this dramatic idyllic novel, (Harvey, 1957), although poorly received at first, is now highly regarded as Fitzgerald\u2019s finest work (Rohrkemper, 1985) and is his publisher, Scribner 's most popular title, (Donahue, 2013). The novel achieved it\u2019s status as one of the most influential novels in American history around the nineteen fifties and sixties, over ten years after Fitzgerald 's passing, (Ibid, 1985)\nMany of the characters in Fitzgerald\u2019s novel are portrayed as shallow and materialistic, which accurately reflects the mindset of the 1920\u2019s. However, because Fitzgerald chooses to reveal these characters so thoroughly and frequently suggests his intentions of critic...\nMany people, all throughout history, have aspired to create a perfect life for themselves. However, this dream is not often very easily available. The Great Gatsby, by F. Scott Fitzgerald, is a novel about the decay of society, the blindness of love, and the pointless pursuit of the now non-existent American dream. In The Great Gatsby, Fitzgerald shows the United States not in the glittering golden light that many claimed, but rather cast in a dark gloomy haze, polluted by crime, corruption, and moral decay. Fitzgerald also strikes down the notion that foolish love is harmless. Additionally, the author illustrates that the American dream is a now no-longer existent, and foolish pursuit. Many thought the roaring twenties were the height of American society, but they were actually just the beginning of a downward spiral.", "id": "<urn:uuid:3ef480d4-1361-46af-b2e0-10b4323b9b02>", "dump": "CC-MAIN-2023-14", "url": "https://www.123helpme.com/essay/America-and-the-Decay-of-Morality-The-219361", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945376.29/warc/CC-MAIN-20230325222822-20230326012822-00322.warc.gz", "language": "en", "language_score": 0.9650509357452393, "token_count": 1645, "score": 3.671875, "int_score": 4}
{"text": "Sourced from The Occupation Thesaurus\nA firefighter is a rescuer who extinguishes and prevents fires that threaten life, property, and the environment. They also respond to car accidents, chemical spills, natural disasters, and engage in water rescues. Many firefighters are certified EMTs, administering first aid until paramedics arrive. They complete inspections, educate the public on preventing fires, and conduct investigations, particularly if arson is suspected. When they\u2019re not responding to an emergency, they work on call at a fire station, maintaining vehicles and tools, staying physically fit, conducting drills, and keeping up to date with industry changes. Because shifts can last 24-48 hours, they often eat and sleep at the station.\nFirefighters need a high school diploma or equivalent. Some choose to complete a two-year degree in fire science, but it is not always a requirement. They receive training at a fire academy, where they must be interviewed and pass written, physical, and psychological tests.\nUSEFUL SKILLS, TALENTS, OR ABILITIES\nBasic first aid, empathy, enhanced hearing, enhanced sense of smell, equanimity, high pain tolerance, knowledge of explosives, stamina, strength, strong breath control, swift-footedness\nHELPFUL CHARACTER TRAITS\nAdventurous, alert, analytical, bold, calm, cautious, compulsive, confident, confrontational, cooperative, courageous, decisive, disciplined, efficient, fanatical, focused, fussy, humorless, intelligent, objective, observant, persistent, protective, pushy, resourceful, responsible, sensible, unselfish\nSOURCES OF FRICTION\nSustaining an injury due to someone\u2019s incompetence (a firefighter, volunteer, reckless member of the public, etc.)\nA fellow firefighter dying in a fire\nStrained personal relationships due to the inherent danger of the work\nA challenging fire investigation\nAn accusation of misconduct or poor decision-making by higher ups who were not on scene\nLong and unusual working hours, including 24-hour shifts, holidays, and weekends\nLiving in the firehouse with people who have clashing personalities\nPrivate firefighting companies competing with traditional firefighters for jobs\nShowing fear in front of other firefighters\nManaging post-traumatic stress\nRepeated exposure to trauma\nThe physical demands of carrying heavy gear or working in extreme temperatures\nThe weight of responsibility as a rescuer\nHaving to fight for government funding year after year\nLosing someone in a fire and feeling responsible\nPEOPLE THEY MIGHT INTERACT WITH\nThe fire chief, other firefighters (paid and volunteer), members of the public, police officers, paramedics, fire inspectors, fire investigators, public servants, reporters, psychologists, search and rescue training specialists\nHOW THIS OCCUPATION MIGHT IMPACT THE CHARACTER\u2019S NEEDS\nSelf-Actualization: In high-intensity situations, firefighters might struggle to problem solve. They may be faced with difficult moral decisions, such as saving one person over another. The lack of control in some situations may be hard to square with, especially if a firefighter is highly empathetic, and leave them wondering if this is the career for them.\nEsteem and Recognition: Lives may be lost while a firefighter is on the job, resulting in guilt, shame, and possibly post-traumatic stress, all of which may lower self-worth.\nSafety and Security: Firefighters work near traffic accidents, buildings with compromised structures, swift-moving water, and active fires, making this is an extremely dangerous profession.\nPhysiological Needs: Firefighters place their lives on the line in many of the situations they face, so this is a need that is definitely threatened on the job.\nTWISTING THE FICTIONAL STEREOTYPE\nFirefighters do more than serve the federal or local municipalities; they also work at ports, airports, for the armed services, and for chemical, nuclear, and gas and oil industries. Why not switch up your character\u2019s workplace to bring a fresh twist to the page?\nFirefighting is an overwhelmingly male occupation. Consider crafting a female character who can meet the demanding physical, emotional, and mental requirements of the job.\nThe public inherently trusts firefighters. You could keep this in mind and craft a character that defies stereotypes and surprises the reader.\nCHARACTERS MIGHT CHOOSE THIS PROFESSION BECAUSE THEY\u2026\nGrew up with a family member in the same profession\nWant to make up for a perceived past mistake where they failed to rescue someone\nDesire to serve the public in a meaningful way\nView camaraderie with other firefighters as a substitute for family\nAre drawn to exciting activities and want a job that keeps them active\nWant to channel their adrenaline-junkie tendencies into a healthy outlet\nAre fascinated with fire\nThe Occupation Thesaurus has 124 different job profiles like the one above, giving you a range of diverse, contemporary options for your characters along with a deep dive into this important (and yet often under-utilized) area of characterization. Get ready to unlock the storytelling power of occupations!\nReviews from Goodreads\n\u201cThe Occupation Thesaurus is yet another priceless author resource released in this series\u2026\u201d\n\u201c[Angela & Becca\u2019s books] have helped me throughout my successful children\u2019s writing career and when I made the jump to Indie and Romance. This one, The Occupation Thesaurus has to be one of my faves\u2026\u201d\n\u201cI\u2019m a retired therapist and I\u2019ve never realized until I read this book that a person\u2019s job, even an insignificant one, carried so much weight in a story and that readers subliminally pick up on it\u2026\u201d\n\u201cAngela and Becca go into great detail on the many, many professions presented in this book. Each entry is incredibly well thought out and well researched\u2026\u201d\nAdd this book to my Goodreads shelf\nFind out more about this volume\nBuy the book in print and ebook or PDF versions\nAngela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.\nKaren Mace says\nI am excited to get this book. I have most, if not all the others and also a membership to WHW \u2013 I just have to remember they are to help me with my writing not as an end in themselves!\nANGELA ACKERMAN says\nYes, definitely these books and One Stop for Writers are all just tools, and the hard work of writing in on the writer. BUT, tools make it a lot easier, and if it\u2019s easy for a person to fall out of the writing flow when they get stumped, having brainstorming right there at your fingertips can mean the difference between staring at the screen until the writing session is up, or getting the words down. So whether it\u2019s our guides and sites, or another\u2019s, I\u2019m a big fan of having a good toolkit! \ud83d\ude42\nCarol Despeaux Fawcett says\nWow! This is fantastic. Just the area I\u2019ve been struggling with for my main character. Just ordered and can\u2019t wait to dive in! Congrats!\nRosalinda Alcala says\nI\u2019ve literally marked my calendar for your book release! Thanks for the great resources!\nTessa Floreano says\nSo looking forward to this next book to add to collection\u2013I have them all\u2013and wouldn\u2019t miss the opportunity to acquire this one. I just read about your experience with a certain e-tailer \ud83d\ude41 Oh my word. I hope they apologized and somehow made things right by you, but something tells me, perhaps not. Just know you have a loyal following among my writer\u2019s circle!!!\nJaclyn Roche says\nIt would be awesome if at some point you were able to add entries for Dukes/Lords and other Royal positions as well as other fantasy or other historical positions. Sort of like how you added the speculative locations to the setting Thesauruses.\nTraci Kenworth says\nCan\u2019t wait! Good luck. And congrats to both of you!\nANGELA ACKERMAN says\nThank you, Traci! <3\nMary Gentile says\nCannot wait for this release. Currently have the rest of your books and excited to add this one to the collection. They are used often!\nANGELA ACKERMAN says\nThank you for the support, Mary! We hope you find it just as helpful as all the other volumes. <3", "id": "<urn:uuid:d35eeefd-0682-499c-b9de-6fac7e953ba2>", "dump": "CC-MAIN-2023-14", "url": "https://writershelpingwriters.net/2020/06/the-occupation-thesaurus-firefighter/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945372.38/warc/CC-MAIN-20230325191930-20230325221930-00122.warc.gz", "language": "en", "language_score": 0.9363183975219727, "token_count": 1845, "score": 3.5, "int_score": 4}
{"text": "The Art of Storytelling to Children\nStorytelling is not just for bedtime stories. It can be used throughout the day to help children learn about the world around them. It can be used to teach them new words, help them understand new concepts, and even help them develop a love for reading.\nThere are many different ways to tell a story like Elora Name Meaning, a beautiful princess . You can use puppets, props, pictures, or even just your voice. The important thing is to make it engaging and fun for the children.\nHere are a few tips to help you get start:\n- Choose a story that is appropriate for the age group you will be telling it to.\n- Make sure the story has a moral or lesson that you want the children to learn.\n- Keep the story simple and easy to understand.\n- Use props or puppets to help tell the story if you feel it will help engage the children.\n- Make sure to use different voices for different characters to help bring the story to life. Encourage the children to ask questions and participate in the story.\n- Telling stories to children is a great way to bond with them and teach them important life lessons. It can also be a lot of fun. So get creative and tell a story today!\nStories have the ability to transcend time and place. They can take us to different worlds and introduce us to new people and new cultures. Stories can teach us about love and loss, about courage and fear, about right and wrong.\nThe Importance of Storytelling to Children\nStorytelling is one of the most important ways in which children learn. It is through stories that they make sense of the world around them and develop their own understanding of the world.\nStories can be used to teach children about different cultures and different times. They can also be used to teach children about important life lessons.\nStories can be used to teach children about love, about loss, about courage and about fear.\nStorytelling is a very important part of a child\u2019s education .It should be encourage from a very early age.\nThe Benefits of Storytelling to Children\nThe benefits of storytelling to children are many and varied. The simple act of telling a story can help to develop a child\u2019s imagination, improve their listening and communication skills, and increase their vocabulary. In addition, stories can also teach children about important life lessons such as sharing, teamwork, and empathy.\nOverall, the benefits of storytelling to children are numerous. Through stories, children can develop their imagination, listening skills, and vocabulary. In addition, stories can also teach children about important life lessons such as sharing, teamwork, and empathy.\nTraditional storytelling is the most common type of storytelling. It involves telling a story from beginning to end, usually in a linear fashion. Traditional stories often have a moral or message, and they are often pass down from generation to generation.\nModern storytelling is a more contemporary approach to storytelling. It often involves telling a story in a non-linear fashion, or using elements of different media to tell a story (such as comics, animation, or video games).\nInteractive storytelling is a type of storytelling where the audience is actively involve in the story. This can be happen in a number of ways, such as through choose-your-own-adventure books, or through video games that allow the player to make choices that affect the outcome of the story.\nEducational storytelling is a type of storytelling that uses to teach children about a specific subject. This can be occur in a number of ways, such as through books, songs, or games.\nThe Tips for Storytelling to Children\nHi, everyone! In this blog, we\u2019re going to be discussing the art of storytelling to children. We\u2019ll be giving you five tips that we think will help you become a master storyteller. By the end of this blog, you\u2019ll have all the tools you need to tell a story that will captivate your young audience.\n1. Know your audience\nThe first step to becoming a great storyteller is to know your audience. What are their interests? How are their attention spans like? What kind of stories do they like to hear?\nAsking yourself these questions will help you choose a story that is perfect for the children you\u2019re telling it to.\n2. Choose a story that you\u2019re passionate about\nIf you\u2019re not passionate about the story you\u2019re telling, the children you\u2019re telling it to won\u2019t be either. It\u2019s important to choose a story that you\u2019re excited to tell. This way, your enthusiasm will be contagious and the children you\u2019re telling the story to will be just as excited as you are.\n3. Use props\nUsing props is a great way to bring your story to life elora name meaning Is a beautiful story .You can use Props that can help the children visualize the story you\u2019re telling and make it more exciting for them.\n4. Use facial expressions and body language\nFacial expressions and body language are important tools for storytellers. They can help convey the emotions of the characters in your story and make the story more engaging for the children.\n5. Use of Animation\nBeing animate while you\u2019re telling a story is a great way to keep the children\u2019s attention. If you\u2019re telling a story that is boring, the children will bored too. But if you\u2019re telling a story that is exciting, the children will be just as excited as you are.", "id": "<urn:uuid:8dc09f98-cf8d-4514-9790-f42d2fd720cb>", "dump": "CC-MAIN-2023-14", "url": "https://snapyourdreams.com/the-art-of-storytelling-to-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943747.51/warc/CC-MAIN-20230321225117-20230322015117-00318.warc.gz", "language": "en", "language_score": 0.9436156153678894, "token_count": 1179, "score": 3.71875, "int_score": 4}
{"text": "What is an example of interfaith dialogue?\nWhat is an example of interfaith dialogue?\nInterfaith dialogue is not just words or talk. It includes human interaction and relationships. It can take place between individuals and communities and on many levels. For example, between neighbours, in schools and in our places of work \u2013 it can take place in both formal and informal settings.\nWhy do we need dialogue?\nDialogue is a useful tool for developing your characters and moving your plot forward. Dialogue can help you establish the backstory, and it can reveal important plot details that the reader may not know about yet. Dialogue is great for ratcheting up the tension between characters. Dialogue can also establish the mood.\nWhy is dialogue important in religion?\nInterfaith dialogue provides the glue that nourishes and keeps our society together. As we navigate our diversity, we must learn not to drown or suffocate each other, but instead to swim alongside each other. Interfaith work allows us to deepen our own faith by learning about other faiths.\nWhat are the aims of interfaith dialogue?\nInterfaith dialogue is an increasingly popular response to religious conflict and religious nationalism. While practitioners employ a variety of approaches, the underlying purpose of all interfaith dialogue projects is to enhance religious tolerance and promote peaceful coexistence.\nWhat is the dialogue format?\nDialogue is written using quotation marks around the speaker\u2019s exact words. These quotation marks are meant to set the dialogue apart from the narration, which is written as standard text. Together, let\u2019s explore some dialogue examples.\nWhat is the dialogue of life?\nDialogue of life is a form of inter-religious dialogue which commonly takes place at any place and any time. It is a dialogical relation to promote amicable relation with people from different religions.\nWhat are the characteristics of dialogue?\n- Reveals character and plot in every line. This is rule #1.\n- Doesn\u2019t rely on itself as a crutch.\n- Distinguishes each character.\n- Isn\u2019t redundant.\n- Is appropriate to tone, setting, and time period.\n- Doesn\u2019t try to be real conversation.\n- Avoids hedges and fences.\n- Minimizes direct exposition.\nHow important is dialogue in everyday life?\nBuilding societies Through effective dialogue, community members share ideas and information, build and rebuild them, contributing to the development of society and individuals. Dialogue is an effective way of communicating with family members. The exchange of information, cultures and experiences among people.\nHow do you do interfaith dialogue?\nThe 10 Best Tips for Interfaith Dialogue\n- Dialogue, not debate.\n- Use \u201cI\u201d statements.\n- Step up/step back.\n- Assume good intentions.\n- Controversy with civility.\n- Own your intentions and your impact.\n- Examine \u201cchallenge by choice\u201d\nHow does establishing dialogue with other benefits a person?\nHaving a dialogue with others is the best way to resolve issues with people. Agreeing to one will make everyone calm even before it starts. This will provide a much better atmosphere for laying down each other\u2019s side. The exchange will most likely end on a true agreement or at its worst, an agreement to disagree state.\nWhat are the important components of a dialogue?\nFritz. Plato and the Elements of Dialogue examines Plato\u2019s use of the three necessary elements of dialogue: character, time, and place.\nWhy is dialogue important in your own life?\nIt helps you make decisions about things you could possibly be having a hard time deciding on. It helps you weigh various opinions you have about things or decide if there\u2019s something you need to change. Your internal dialogue can also be reflections of yourself, your relationships, your purpose in life, etc.\nWhat is the power of dialogue?\nThe heart of dialogue is listening. This requires us to not just hear others\u2019 words but to also hear our own thoughts, which can change when we are truly able to receive others\u2019 input. But first, we must take pause in our responses to deeply consider what others are saying to us.\nWhat is the meaning of interfaith?\ninvolving persons of different religious faiths\nWhy is dialogue important in a movie?\nDialogue is the most important part of the film because it makes the film seem mature and solidly crafted. It can elivate a movie to a new level. Good dialogue creates better characters because it shows their depths. Bad dialogue can make characters seem bland and boring just like a regular person.\nIs dialogue a film technique?\nDialogue. A conversation between two characters is called dialogue. Written by scriptwriters to convey the film\u2019s plot, dialogue is also useful in conveying character.\nHow do you write snappy dialogue?\n10 Tips to Make Your Dialogue Snappy and Riveting\n- The mechanics are fairly straightforward.\n- Interrupt speech with people doing things, seeing things, thinking about things, things happening around them.\n- You don\u2019t write as people speak.\n- Your conversation should move the plot along or contribute to the characters of your characters.\n- Dialogue must flow well.\nWhich is the most important element of dialogue?\nThe exposition matches the objective. When you know what the character in the scene wants, you need to make sure that everything they say matches that objective. That is the single most important element to cinematic dialogue.\nWhat is the value of dialogue?\nA key value of dialogue is the principle of participation, a desire to work with the collective intelligence of the group. To be open to the energy of the group, that allows for individual freedom, coupled with shared responsibility.\nWhen should you directly quote?\nChoose a direct quote when it is more likely to be accurate than would summarizing or paraphrasing, when what you\u2019re quoting is the text you\u2019re analyzing, when a direct quote is more concise that a summary or paraphrase would be and conciseness matters, when the author is a particular authority whose exact words would \u2026\nWhat are the characteristics of a good dialogue?\nWhy do we use quotation marks give an example?\na. One of the most important ways we use quotations is to \u201cquote\u201d someone\u2019s or something\u2019s words. To quote something means to repeat exactly what was said. For example, we use it to show direct speech, meaning exactly what someone said: The policeman said \u201cSTOP RIGHT THERE!\u201d\nHow do you properly use quotation marks?\n- We use quotation marks with direct quotes, with titles of certain works, to imply alternate meanings, and to write words as words.\n- Block quotations are not set off with quotation marks.\n- The quoted text is capitalized if you\u2019re quoting a complete sentence and not capitalized if you\u2019re quoting a fragment.\nIn what situation do you use quotations?\nQuotation marks are used to indicate the beginning and end of a quote. They tell the reader when you\u2019ve used written material from other sources or direct speech.\nWhy do writers use dialogue?\nConversation between characters brings stories to life. Dialogue breaks up blocks of text and allows writers to change the pace of their narrative. Well-written dialogue informs readers about the character of the people speaking it, and knowing how to use dialogue in a story allows the writer to progress the narrative.\nWhat are the three main purposes of dialogue?\nThough dialogue can serve many functions in fiction, three of its primary purposes are to: establish the tone and atmosphere of a scene. reveal your characters. advance your storyline.\nWhat is dialogue and why is it important?\nDialogue is the only way for us to come in contact with the \u2018whole\u2019 of which we all are a part. Bohm considers dialogue as a kind of creative catalyst for a group: \u201cDialogue is really aimed at going into the whole thought process and changing the way the thought process occurs collectively.\nWhy is it important to write a good dialogue?\nWhen written well, dialogue can help us create convincing characters, revealing important information about their histories, motivations, strengths and shortcomings, and offering insight into how they feel. And character development is just one of the purposes of dialogue.\nWhat is the main purpose of dialogue?\nDialogue is your character\u2019s reaction to other characters, and the purpose of dialogue is communication between characters.", "id": "<urn:uuid:f10b266d-0f20-4fea-9150-feb9904a974a>", "dump": "CC-MAIN-2023-14", "url": "https://drinksavvyinc.com/blog/what-is-an-example-of-interfaith-dialogue/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945288.47/warc/CC-MAIN-20230324180032-20230324210032-00521.warc.gz", "language": "en", "language_score": 0.9285461902618408, "token_count": 1771, "score": 3.515625, "int_score": 4}
{"text": "Using Podcasts for Kids in the Classroom\nPodcasts can do much more than liven up your morning commute. There are more than three quarters of a million active podcasts in the country right now, and many of them are educational podcasts for kids. No matter what subject or grade level you teach, there\u2019s probably a podcast you can use as an introduction to a new unit or as a springboard for an exciting lesson plan. Here are a few of our favorite podcasts for kids that you can use in your classroom.\nScience Podcasts for Kids\nTree frogs, owls, bears, bats, and various horned creatures\u2014the Earth Rangers podcast wows kids with lessons that help them understand the natural world. Each episode focuses on a different animal or group of animals in digestible 15- to 20-minute segments.\n- Listen to an episode and have students write a short story about what it would be like to have the featured animal as a pet, using facts from the podcast as part of their story.\n- Play a game in which students listen to several episodes and then are assigned to \u201cact out\u201d an animal\u2019s characteristics while their classmates guess which animal they are.\nThe science of feelings, the science of dogs, the science of telling lies\u2014these psychological and neurological podcast lessons help students understand human behavior. These 30-minute episodes are narrated in part by kids and encourage students to ask probing questions about topics that interest them.\n- Have students listen to an episode or two, and then, like the kid cohosts, generate a list of questions they would ask about whatever topic you\u2019re currently studying. Bonus points if you can find an expert on the subject to invite to your class and answer the questions!\n- If resources allow, bring some of the podcast\u2019s topics into your classroom. For example, there are episodes about wool, popcorn, trees, soil, maps, and many other objects or concepts that you could have hands-on experiences with in the classroom.\nTumble: A Science Podcast for Kids\nCombining storytelling with scientific facts, this podcast makes big, hairy topics more digestible for kids. Each episode is about 15 minutes long and features expert scientists who answer questions such as \u201cHow can koalas eat food that\u2019s toxic to other animals?\u201d and \u201cWhat would happen if there was no moon?\u201d\n- Have students brainstorm questions they would want to ask on the podcast and then swap their questions for other students to research and answer.\n- Challenge students to use narrative techniques to answer a scientific question.\nHistory Podcasts for Kids\nStuff You Missed in History Class\nSome languages don\u2019t have a word for the color blue. Did the White Sox once lose the world series on purpose? This podcast explores these fun topics and more. Episodes range from 30 to 45 minutes and cover a wide range of topics and eras in history. Note: This podcast is best for high school students.\n- Allow students to pick a topic that interests them; they can then write about the topic itself or use it as a springboard to research the greater historical context surrounding it.\n- Have students listen to a few episodes for inspiration and then record their own podcast about a topic you\u2019re currently discussing in class. This article from TeachHub offers several free resources for recording your own podcast.\nYoung Ben Franklin\nWe all know about Benjamin Franklin\u2019s inventions and his role as one of our founding fathers. But what was he like when he was 13 years old? These 15- to 20-minute episodes follow young Ben\u2019s adventures in Colonial Boston and his run-ins with the cruel British governor of Massachusetts.\n- Exercise your students\u2019 social\u2013emotional learning by discussing how young Ben\u2019s experiences might have impacted the man he later became.\n- Have students listen for clues about what life was like in Colonial America and use these details as a launching point to research historical topics that interest them.\nLanguage Arts Podcasts for Kids\nThese storytellers create imaginative landscapes and creatures that are sure to spark young students\u2019 creativity and out-of-the-box thinking. Many of these 15- to 20-minute stories are adaptations of classic fables, and some are original creations.\n- Listen to an episode as an introduction to a unit on fables, or as inspiration for students before they start writing their own stories.\n- Have a classroom discussion identifying the theme or moral message of each story.\nThe Unexplainable Disappearance of Mars Patel\nThis podcast for middle-grade kids, performed by middle-grade kids, is a serial mystery adventure following a group of eleven-year-olds trying to find their missing friends. Episodes are 15 to 25 minutes, and the series has proven so popular that the creators are developing a three-book series and TV show based on it.\n- Create a novel study based on the podcast to help students explore character development, plot, conflict, mood, point of view, and theme.\n- Use these podcast response brochures from Teach Create Motivate to help students practice their reflective thinking.\nIn exciting six-minute episodes, this podcast follows the unfolding mysteries surrounding 11-year-old Holiday, who wakes up one day in the icy waters of Alaska not knowing who she is or where she\u2019s from. Kids will love seeing Holiday discover the secrets of her past\u2014all the while developing mysterious powers no one can explain.\n- Set up a learning station where students can listen to podcast episodes and work through discussion questions independently or as a group.\n- Have students practice their listening and note-taking skills by having them take notes on an episode and then share to make sure they hit on the most important points and used an appropriate organization system.\nThis podcast follows the adventures of a plucky young reporter who uses her journalistic prowess to stop dastardly villains. These 10- to 15-minute episodes show Eleanor researching and reporting her stories\u2014and getting caught up in them herself.\n- Eleanor\u2019s adventures can sometimes involve a lot of characters and plot details. Have your students practice their listening skills and then ask some formative questions to see if they were able to follow this audio adventure.\n- Discuss the connections between fiction and real life as Eleanor grapples with real-world issues in a fictional setting.\n- For older students, you could use episodes as a jumping-off point to discuss journalistic ethics and how we do (or don\u2019t) see them in current news stories.\nWelcome to Night Vale\nThis bimonthly serial podcast focuses on eerie, atmospheric storytelling. In a series of 20-minute episodes, the narrator Cecil tells stories about a town in the Southwest where \u201call conspiracy theories are real.\u201d Note: This podcast is best for high school students.\n- Instead of reading a book, students could listen to a season or two of the show and write about its themes, character arcs, and other literary devices.\n- Introduce the idea of authorial intent by listening to this NPR interview with the creators:\nWho says grammar has to be boring? In these charming 10- to 30-minute episodes, the Grammar Girl helps students (and their teachers) remember the difference between \u201caffect\u201d and \u201ceffect,\u201d find out how idioms became idioms, and discover the origins of words you never thought you\u2019d care about (\u201cgerrymandering,\u201d anyone?).\n- Listen to episodes as a class to introduce grammar topics.\n- Recommend students listen to certain episodes as feedback when they make consistent errors in their writing.\nMore Ideas for Bringing Fun to Your Class\nPodcasts for kids are a great way to increase students\u2019 engagement and foster their listening skills. When students are excited about what they\u2019re learning about (and how they\u2019re learning it), your job becomes more fun too!\nThat\u2019s why Advancement Courses has created several courses to help you make your classroom and lessons more fun and engaging for students. We offer K\u201312 educators more than 240 online, self-paced professional development courses covering both foundational topics and emerging trends. Here are a few that will help you bring technology and entertainment into your class:\n- Social Media Tools for Teaching and Learning: Embrace the chaos of social media by using it as a teaching tool. In this course, you\u2019ll explore how to integrate social media applications into core curriculum, prepare students to participate safely, and teach the collaboration, communication, and critical-thinking skills students need for success in this technological age.\n- Teaching Science to Elementary Students: Conquer Next Generation Science Standards with these exciting resources and techniques for teaching science to elementary students. You\u2019ll create high-quality, engaging, and challenging science lessons that will stick with students well after they leave your classroom.\n- Game-Based Strategies for Language Instruction: Gamify your language classroom! In this course, you\u2019ll learn about the theories behind gamification and create games that will teach your students crucial language skills\u2014and have fun doing it.", "id": "<urn:uuid:5692a64f-696b-46fd-a233-5cb6c3898e16>", "dump": "CC-MAIN-2023-14", "url": "https://blog.advancementcourses.com/articles/educational-podcasts-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949355.52/warc/CC-MAIN-20230330163823-20230330193823-00520.warc.gz", "language": "en", "language_score": 0.9423813223838806, "token_count": 1956, "score": 4.125, "int_score": 4}
{"text": "Bound for Canaan\n- Additional information\nAn important book of epic scope on America\u2019s first racially integrated, religiously-inspired political movement for change\u2014The Underground Railroad, a movement peopled by daring heroes and heroines, and everyday folk\nFor most, the mention of the Underground Railroad evokes images of hidden tunnels, midnight rides, and hairsbreadth escapes. Yet the Underground Railroad\u2019s epic story is much more morally complex and politically divisive than even the myths suggest. Against a backdrop of the country\u2019s westward expansion,which brought together Easterners who had engaged in slavery primarily in the abstract alongside slaveholding Southerners and their slaves, arose a clash of values that evolved into a fierce fight for nothing less than the country\u2019s soul. Beginning six decades before the Civil War, freedom-seeking blacks and pious whites worked together to save tens of thousands of lives, often at the risk of great physical danger to themselves. Not since the American Revolution had the country engaged in an act of such vast and profound civil disobedience that not only subverted federal law but also went against prevailing mores.\nFlawlessly researched and uncommonly engaging, Bound for Canaan, shows why it was the Underground Railroad and not the Civil Rights movement that gave birth to this country\u2019s first racially-integrated, religiously-inspired movement for social change.\nAn important book of epic scope on America\u2019s first racially integrated, religiously inspired movement for changeThe civil war brought to a climax the country\u2019s bitter division. But the beginnings of slavery\u2019s denouement can be traced to a courageous band of ordinary Americans, black and white, slave and free, who joined forces to create what would come to be known as the Underground Railroad, a movement that occupies as romantic a place in the nation\u2019s imagination as the Lewis and Clark expedition. The true story of the Underground Railroad is much more morally complex and politically divisive than even the myths suggest. Against a backdrop of the country\u2019s westward expansion arose a fierce clash of values that was nothing less than a war for the country\u2019s soul. Not since the American Revolution had the country engaged in an act of such vast and profound civil disobedience that not only challenged prevailing mores but also subverted federal law.\nBound for Canaan tells the stories of men and women like David Ruggles, who invented the black underground in New York City; bold Quakers like Isaac Hopper and Levi Coffin, who risked their lives to build the Underground Railroad; and the inimitable Harriet Tubman. Interweaving thrilling personal stories with the politics of slavery and abolition, Bound for Canaan shows how the Underground Railroad gave birth to this country\u2019s first racially integrated, religiously inspired movement for social change.\n\u201cWell written, moving, and stimulating\u2026Could provide the occasion for a constructive national conversation.\u201d \u201cWell written, moving, and stimulating\u2026Could provide the occasion for a constructive national conversation.\u201d \u201cA vivid reconstruction of abolitionism\u2019s most daring act of rebellion\u2026\u201d \u201cRich in detail and solid storytelling: sure to awaken interest in the peculiar anti-institution.\u201d \u201cA rich, spellbinding, and readable narrative.\u201d \u201cRich in detail, [and] its ability to evoke the emotions, sights and sounds of these clandestine ventures.\u201d \u201cUtterly compelling.\u201d \u201cDramatizes a shining moment in American history\u2013 a book filled with unsung heroes and revolutionary acts of trust.\u201d \u201cBound for Canaan recaptures this grand history with the insightfulness, comprehensiveness, and narrative vigor the subject demands.\u201d \u201cBound For Canaan reveals in stunning detail and beautiful prose the inner workings of this clandestine system.\u201d \u201cThis fast-paced narrative is the best account we have of the network known as the Underground Railroad.\u201d \u201cA masterful story\u2013a deeply American story.\u201d \u201cAn excellent book . . .as close to a definitive history as we\u2019re likely to see.\u201d \u201cA profoundly American tale.\u201d \u201cAn important addition to our history, brilliantly told.\u201d \u201cWell written, moving, and stimulating\u2026Could provide the occasion for a constructive national conversation.\u201d \u201cEngrossing account of the Underground Railroad.\u201d \u201cThe . . stories. . . inspire, horrify and humble.\u201d \u201cBordewich brings to his account [of the Underghround Railroad] the moral seriousness it deserves.\u201d \u201cExcellent\u2026The first truly comprehensive treatment of the underground railroad.\u201d\n|Dimensions||1 \u00d7 5 \u00d7 8 in|", "id": "<urn:uuid:f457f93b-af20-418e-9649-cffd7f66c0e0>", "dump": "CC-MAIN-2023-14", "url": "https://www.tepbooks.com/product/bound-for-canaan-9780060524319/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949355.52/warc/CC-MAIN-20230330163823-20230330193823-00521.warc.gz", "language": "en", "language_score": 0.9207183122634888, "token_count": 994, "score": 3.984375, "int_score": 4}
{"text": "Effects of Bullying\nBeing a victim of bullying is hardly an enjoyable experience. Bullying at school greatly affects the mental health of students. It can destroy students\u2019 self-esteem and causes lifelong health problems. Victims of bullying may experience constant feelings of insecurity, depression, and anxiety. This can have many undesirable effects, including inhibiting their ability to concentrate on their learning. Children who are bullied live in constant fear as they do not know when the next attack against them will be launched, leaving them with feelings of helplessness. As a result, they may feel that school is not a safe place for them to learn and pursue their dreams. Hence, generating proper solutions for bullying is needed.\nStudents Who are Bullied\nBullying can happen to anyone and can take many different forms. It may be physical, such as kicking or pushing, or verbal, like name-calling or threatening. Those who tend to be targeted most are people with disabilities, people who identify as LGBT, and low-income people of color. According to the Center for Disease Control and Prevention (CDC), \u201cNearly 40% of high school students who identify as lesbian, gay, or bisexual and about 33% of those who were not sure of their sexual identity experienced bullying at school or electronically in the last year, compared to 22% of heterosexual high school students.\u201d Researchers at stopbullying.gov claim that \u201cBlack and Hispanic youth who are bullied are more likely to suffer academically than their white peers.\u201d Students who are bullied may experience negative emotions and psychological issues. If you are a teacher or parent, you can check out our article to learn more about how to monitor students\u2019 mental health.\nChallenges Around the Topic of Bullying\nIn this study, \u201cChallenges in Emerging Adulthood Related to the Impact of Childhood Bullying Victimization,\u201d students experienced the negligence of teachers at school who unintentionally tolerated bullying behaviors. The students reported that \u201cthe school did not understand, or did not want to offer any help or support in ending the bullying, or was not able to do so.\u201d This means the school lacked proper solutions for bullying, putting the power in the hands of the bullies. Not being able to ask for help from the school disappoints students and causes feelings of distrust. This can make them feel anxious, fruitless, and depressed \u2013 severely affecting their capacity to grow, learn, and flourish.\nWe, at E.R.E., care deeply for our students and their well-being; we prioritize our students\u2019 safety and want them to enjoy learning. Here are 5 strategies we find helpful to protect our children from the negative effects of bullying.\nSolutions for Bullying\nTeach kids how to manage negative emotions and behaviors\nNegative emotions can lead to dangerous and violent behaviors (such as hitting someone for no reason) to release the resulting frustration and anger. Hence, it is necessary to teach all children how to manage these types of bleak feelings in a healthy way.\nYou can start by building confidence in your children. For example, you can say, \u201cYou have such a great attitude\u201d or \u201cYou should be proud of the hard work you are doing.\u201d This helps children build confidence in areas not tied to grades or scores. Then you can suggest some proactive self-regulation techniques, such as a quiet break without technology, exercise and other forms of physical activity, and sensory tools (stress balls, fidget spinners, poppets, infinity cubes). Help children identify what strategies work best for them to use when needed. Additionally, you can incorporate some psychology into learning. For instance, utilize literature or history to discuss human behaviors and emotions, how these can impact others, and alternative approaches along with their potential outcomes.\nRole-play bullying scenarios\nRole-playing with your children can also teach them effective ways to react to bullies. You can show them how to respond by creating scenarios and acting them out together. For instance, you can pretend to be the bully who is demanding money from your child. Then, you can ask him/her to act out a response. If he/she struggles to devise a reaction, you can model it. Maybe show how to say something like, \u201cIf you try to take my money, I will report you to the teacher. I am not afraid of you.\u201d Remind your kid to stay calm, maintain eye contact, speak with a confident voice, then walk away. Share that it takes courage to stand up for themselves, but it is a skill that will be useful throughout life.\nPay attention to warning signs\nThe typical warning signs of bullying may include unexplained injuries like bruises, changes in eating habits, fear of going to school, or withdrawal. For this reason, you should check in with your kids daily about how school is going. Encourage them to talk by asking open-ended questions such as \u201cWho did you eat lunch with today?,\u201d \u201cWhat group activities did you do?,\u201d or \u201cWhat\u2019s something cool you learned?\u201d Showing an interest in their day demonstrates that you care about what they have to say, thereby encouraging them to open up.\nEncourage kids to speak up\nHelp your children learn the power of their voice. Supporting them to speak up can set the foundation for them to advocate for themselves in other ways. You can start by having them practice minor tasks, such as ordering food or sharing ideas about a specific topic. This will help establish their confidence and self-advocacy skills, and show them that words can affect action.\nKids may often be afraid to speak up about bullying because they fear it may lead to worse consequences. However, telling adults about what happened is essential if they are hurting. You can share your personal stories of times you spoke up for yourself even when you were feeling frustrated or upset. If a kid does tell you about being bullied, take it seriously. Remind them it is not their fault and that you will do your best to help them.\nCreate a friendly learning environment\nIf you are a teacher, there are additional approaches you can take to protect against bullying. Start by creating a culture of diversity, inclusion, and belonging in your classroom. For example, you can give each individual equal opportunities to talk in class and offer students chances to share their cultural experiences with the class. When students are allowed to speak freely, they will feel more understood by you and their peers and thus more comfortable at school. Also, you can create opportunities for students to interact more with each other through projects and field trips, which will increase cooperation and camaraderie among them.\nMoreover, it is essential to create a relationship of trust with your students. When you build positive relationships with your students, you create a classroom atmosphere that encourages learning and better meets the developmental, emotional, and academic needs of your students. For example, you can check in with them about how they are feeling at the beginning of each class. Or you could give meaningful compliments, like \u201cYou did a great job working on this project. You should be proud of yourself.\u201d You can use creative writing exercises (such as poems, songs, and stories) to help students express their feelings privately. Or you can give them space to explore their feelings about the issue of bullying by guiding discussions around the topic. Your support is essential to make your classroom a welcoming place for students to learn and develop academically, emotionally, and morally.\nE.R.E. is committed to providing an environment free of violence, bullying, and harassment based on race, color, religion, sex, sexual orientation, national origin, age, physical or mental disability, and any other basis of discrimination. We utilize Social-Emotional Learning (SEL) methods, which create a healthy and positive learning environment for students who are facing a wide range of issues, including bullying and mental health struggles. Become a donor or partner today to support us in our mission!", "id": "<urn:uuid:efe64370-771f-4d9d-85c8-1e173901d7e5>", "dump": "CC-MAIN-2023-14", "url": "https://www.educateradiateelevate.org/2022/09/solutions-for-bullying/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949694.55/warc/CC-MAIN-20230401001704-20230401031704-00520.warc.gz", "language": "en", "language_score": 0.9672966003417969, "token_count": 1649, "score": 3.953125, "int_score": 4}
{"text": "Editor\u2019s note: This post is part one of a three-part series that answers questions posed by participants in Fostering a Culture of Respect, a joint webinar with the Tanenbaum Center for Interreligious Understanding that addresses how educators can help their students feel safe, supported and respected when discussing belief systems.\nThis year, Teaching Tolerance teamed up with the Tanenbaum Center for Interreligious Understanding to bring educators a webinar series called Religious Diversity in the Classroom.\nThe second webinar in the series, Fostering a Culture of Respect, offered ways for educators to help students feel safe, supported and respected when discussing religious and nonreligious belief systems. The webinar and after-session pack are available online if you have not had a chance to look at these resources yet.\nParticipants asked some great questions during and after Fostering a Culture of Respect, and we\u2019d like to respond to a few we think are relevant to many educators. In this blog, we\u2019ll address this question: How can I coach students to respond to others with empathy and respect?\nHearing these prompts from you can help students engage more empathetically and respectfully during conversations about religious and nonreligious beliefs.\n1. \u201cFind out more.\u201d Cultivate an inquisitive attitude in students by encouraging them to seek out information from a variety of voices within a given belief system. Ask students to formulate and pose open-ended questions. Here are some examples of questions that can guide research and in-class discussions:\n- What is the origin of the religious or nonreligious belief system?\n- In what parts of the world is the belief system practiced?\n- What are some texts that describe or include the belief system?\n- What are the foundations of the belief system?\n- How is the belief system perceived around the world?\n- Do you know anyone who practices this belief system? What do they say about what they believe?\n2. \u201cBe aware of the pitfalls of easy comparisons.\u201d When dealing with academic content related to religion, students will encounter ideas about deities, time, the purpose of life, who we are as individuals and who we are as members of our communities, among others. These ideas may be hard to grasp or may feel foreign to students because they have developed out of many traditions, which are sometimes very different from students\u2019 individual traditions.\nStudents may attempt to contextualize these new ideas by comparing them to concepts from their own traditions or cultural practices. Although this is a helpful practice in gaining a better understanding of ourselves through the exploration of the world around us, it is important they understand and discuss religious and nonreligious views without distorting or oversimplifying them. Comparisons not given thoughtful inquiry can lead to stereotypes and stereotyping. That means not making hasty comparisons between belief systems or using comparisons as the go-to way to discuss another belief system.\n3. \u201cAvoid generalized or simplified statements.\u201d These types of statements imply easy answers such as \u201cIslam is \u2026\u201d or \u201cHinduism means \u2026 \u201d or \u201cAtheists think \u2026 \u201d Instead, when discussing religious and nonreligious beliefs with students, remind them that religions are internally diverse, dynamic and embedded in culture. Use sources that reflect and provide examples of these qualities.\nStudents can practice being more nuanced in their thinking by articulating the subtleties they see. For example, they might say, \u201cThis text presents Islam as \u2026\u201d or \u201cThe author here indicates that \u2026 \u201d Many religious traditions use storytelling to illustrate central concepts, such as parables in Christianity or Native American oral histories. These can also be great sources for literacy instruction on imagery, symbolism and allusion\u2014and help students to point to nuances in meaning, interpretation and practice.\n4. \u201cSee religious and nonreligious traditions as diverse and dynamic.\u201d If students are critical of all or part of a particular belief system because it contradicts their values, ask them to find out more about how different adherents of that belief system criticize or propose changing the religion or practices in question. Emphasize, too, that religious and nonreligious belief systems are internally diverse. In Hinduism, for example, some have a personal god and others deny the presence of a deity. Find diverse voices from within the belief system being explored.\n5. \u201cBe honest about the limits of our understanding.\u201d Acknowledge and help students to accept that there are limits to our understanding about belief systems. While we can learn a lot about them, we cannot completely understand the lived experiences of people or how their belief system influences their identity and daily lives. It\u2019s also important not to turn individual students into spokespersons of particular religious or nonreligious beliefs.\nStay tuned for additional follow-up blogs that address participants\u2019 questions. The next one will answer this question: How can I encourage students to respectfully ask questions about identities different from their own?\nWicht is the senior manager for teaching and learning at Teaching Tolerance.", "id": "<urn:uuid:1921e488-c295-4228-8735-31392946c6a2>", "dump": "CC-MAIN-2023-14", "url": "https://www.learningforjustice.org/magazine/help-students-respond-with-empathy-and-respect", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950528.96/warc/CC-MAIN-20230402105054-20230402135054-00742.warc.gz", "language": "en", "language_score": 0.9475589990615845, "token_count": 1047, "score": 3.765625, "int_score": 4}
{"text": "Writing for children requires a lot of creative writing skills. Honestly, it\u2019s not that simple. For one, the writer needs to use simpler words and sentence structures.\nPlots must be tradition and simple as well, but this is subjective to the demographic. Even then, thinking about what story to write about is not easy, but this is the most important part of self-publishing children\u2019s books.\nReading stories with kids introduces them to the complicated nature of communication and helps them in getting essential language skills. However, the type of books read to kids adds to the depth of their knowledge. Parents should seek to include a mixture of books in their read-aloud activity. Various types of genre books are connected with different numbers and types of language and all will encourage a distinct dialog or conversation with kids.\nThinking about your next children\u2019s story may make you feel stuck, but there are a lot of genres to pick from that can capture the attention of children.\nThere are a plethora of genres out there to inspire writers in their next story. However, before writing, they need to decide on their purpose by asking these questions:\n- What do you want to write about?\n- Who is your target audience?\n- What message do you want to convey?\n\u201cTo delight and instruct\u201d\nThis is the traditional view of literature: to imitate real life and teach readers a lesson. Aristotle, Horace, and William Wordsworth embodied these in their writings, believing that literature is about \u201csatisfying man\u2019s needs, shaping and enlarging his moral vision.\u201d\nLooking back to preschool classes, the moral lesson of the story is always highlighted, and this should be kept in mind when writing a children\u2019s story.\nAccording to psychiatrists, children tend to place themselves in the shoes of protagonists. As a result, the actions in the story affect children emotionally and psychologically. This allows them to embody the moral lesson of the story.\nDetermining the genre of your story dictates the literary elements that you include in the book. It also piques the interest of readers, depending on their preferences.\nMagical creatures. Monsters. Superhumans. What\u2019s not to like about mythology? It\u2019s fun and exciting but also complex.\nPresenting it to kids through children\u2019s books might be the most effective way. Simplifying complicated conflicts can help pique their interests in mythology. Plus, they will thank you in the future when they\u2019re in high school. Helping children discover learning genres that please them makes the research for extra books very easier.\nMythology is also a prime example of character reversals. They\u2019re big on facing the consequences for one\u2019s actions.\n2. Historical fiction\nThis is usually a boring topic. Going a little postmodern and making historical events and figures interesting can work well for children. Creating a story out of real events that happened in the past by adding some fictional elements can capture readers.\nHow do you write a story without making it like a history book? Literary elements.\nFor example, the protagonist meets a former president, and they spend the day together. Along the way, they face challenges and resolve the conflict together. Now, you have characters and a plot.\nRealism is grounded in what can happen in real life in this very universe. No magic. No made-up places. Even No time-travel, too.\nYou may think children lose interest in this genre, but studies prove that children pick up the moral of the story better when the characters are humans. This is because children identify better with these characters and learn more about the real-world.\nA genre of tales that are made up but could very great appear in actual life. These stories usually take place in contexts familiar to your kid \u2014 like schoolhouses \u2014 which presents them with extra relatable.\nBooks that kids can easily compare to increase their capacity to implement the story\u2019s lesson to their regular lives. Teachers and parents need to choose precisely when the goal is to develop real-world experience and social practices through storybooks. Parents can play a vital role in kids\u2019 learning by asking them to describe parts of the story and encouraging them to see the connection between the story and their own experiences.\nTherefore, think about something you want to teach children and write a story about it.\nReading is an essential skill that should be developed in children. It can teach them life lessons through imagination. They can also practice empathy by identifying themselves as the characters in the story. As a writer, your role is to give them stories that incite these within them. This makes you a crucial part of their personal development.", "id": "<urn:uuid:015b1626-36fd-4e6b-880d-4319561ffcd6>", "dump": "CC-MAIN-2023-14", "url": "https://thedailynotes.com/3-genres-next-children-book/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943637.3/warc/CC-MAIN-20230321064400-20230321094400-00322.warc.gz", "language": "en", "language_score": 0.9581330418586731, "token_count": 991, "score": 3.890625, "int_score": 4}
{"text": "Coding is a great skill to practice, however, it\u2019s tricky for young learners to work on their technical abilities consistently. Kids may find coding boring, but there\u2019s a way to help shift their mindset about computer programming. In this article, we\u2019ll discuss getting your kids excited about coding so they don\u2019t miss out on the chance to create something incredible!\nKickstart your child's love to coding with a live online award-winning free beginner-friendly Scratch coding class led by an expert, and designed by professionals from Google, Stanford, and MIT.\nFind out how to get your kid excited about coding\nIt\u2019s simple to introduce coding to children, but keeping them engaged is challenging if we don\u2019t use suitable approaches. Inspired by effective teaching strategies prevalent in the classroom, here are different ways to keep your student excited about coding.\n1. Make Real-World Connections\n\u201cWhy should I learn to code?\u201d is a common question students may ask. Or \u201cHow will coding help me if I don\u2019t want to be a computer programmer?\u201d Both of these questions are excellent because the student is thinking about how they can apply their knowledge and if there\u2019s any significance to learning the subject.\nTo answer the first question, you can make connections between our growing high-technology society and tech literacy. Learning how to code prepares students for occupations in the future that require coding skills.\nIn response to the second question, your child may want to be an artist but finds coding irrelevant to their desired profession. You can talk about the benefits of learning to code, like gaining skills in critical thinking, problem-solving, and creativity. Creativity is fundamental for artists because it helps them find their art style.\nBy making these meaningful connections, you can increase your child\u2019s engagement. Furthermore, assess your child\u2019s interest and make a connection to computer programming. If your kids enjoy video games, show them videos of game developers coding their favorite game. If they want to build a robot, then show them how an engineer codes a robot.\nBy making real-world and meaningful connections, students will think learning about an activity or topic is worth their time. Thus, they are more likely to pay attention and stay engaged in their learning.\n2. Find Appropriate Challenges\nSometimes coding can be too easy, but it can also be too hard. Both will lead to burnout. When students find the content unchallenging and too easy, they\u2019ll disengage. To prevent or deescalate exhaustion, evaluate what areas in coding your student excels in. Are they good at loops? Challenge them to use nested loops in their coding projects. However, be careful about the challenges you give them. If students have too much challenging work, they\u2019ll disengage because they don\u2019t feel like they can complete the difficult task.\nIf your child has a challenge they don\u2019t know how to solve, try using the scaffolding method. Scaffolding is a process teachers use in the classroom to help students learn a new skill. It builds a student\u2019s confidence to complete a given task. You can use this technique to help your child learn to code by asking what they know already. The student\u2019s response will help you assess what information you can give to help them complete their challenge. Then, you can work through a similar coding challenge together. Afterwards, they will take that new information and independently solve the problem.\nThis technique is one way to help your child work through coding problems, but perhaps your student is having trouble with the coding language in general. If that\u2019s the case, help them find the best programming language for them.\n3. Encourage Breaks\nStudents, especially younger ones, need time to refocus, so implementing brain breaks into their practice time can help refuel their brain power to push through their coding challenges. Plus, students are less likely to burn out and associate coding with challenges, thus leading to less excitement.\nIn a study conducted on schoolchildren in Poland, researchers concluded that brain breaks promoting physical activity contributed to better self-efficacy in learning. In an article on the importance of brain breaks, Youki Terada brings to light how researchers found brain breaks to help recharge a student\u2019s cognitive energy and increase performance.\nHere are some brain-break ideas you can encourage your child to try during their coding time.\n4. Gamify the Learning Process\nIf your student enjoys video games, they\u2019ll love the idea of turning learning into a game. It\u2019s also a new method that increases learning engagement. A group of scientists conducted research using game-based activities in an undergraduate information technology class to assess engagement levels in the classroom. After the implementation, they found that gamification positively affected motivation and engagement. Students who were unmotivated at the beginning of the semester grew to be more participatory through gamification.\nYou can gamify coding to help your child become excited about each new concept they learn. One way you can do this is by playing a trivia game with your child. Do a scavenger hunt all about algorithms. If you would like more ideas, check out this article on how to gamify the classroom.\n5. Change the Way Children Think About Coding\nUnderstanding the job growth of computer science-related jobs before learning to code could be helpful for students, but it could also lead them down a different path when it comes to learning. Kids should prioritize fun in the learning process instead of prospects. In a study on achievement goal theory, researchers found that students who want to learn and understand a subject are likelier to have high and thorough engagement levels.\nOne way we can change the way kids think about their computer science education is by helping them understand the value of why they\u2019re learning to code. How can they use their skills in the real world?\nAnother way we can help children think is by creating goals. Make goals with your child so they can develop a growth mindset. Start with small goals, like understanding loops, to big ones, like creating a project that uses nested loops.\nAlso, you can help your child reflect on their thinking process. Ask them what went well and didn\u2019t and how they can fix their errors. Create self-affirmations they can say to themselves before they begin coding, like \u201cwhen I come to a challenging coding problem, I can always remember coding concepts I learned before.\u201d\nHere are some strategies teachers use to get students to think about their learning.\nExtra Tip: Invite a Friend!\nCoding is terrific because it teaches kids about teamwork. You can have your child invite their friends over to collaborate on a coding project, like making a video game. By working together, they can make coding fun. It also prepares them to work like real-world computer programmers, who rely on teams to build much of today\u2019s technology.\nLearn how to get your student excited about computer science\nTechnology is the future, and we want the best for young learners by exposing them to this skill. However, we also want them to have fun while learning to code. We want them to keep going and find enjoyment in coding challenges! The tips discussed earlier are great ways to help this aspect of your child\u2019s learning, especially when learning about computer science.\nIf your child is ready and excited to learn how to code, check out these courses that use Scratch: For younger learners in kindergarten to second grade, check out Scratch Jr; For kids in second to sixth grade, check out Scratch Ninja; For students in sixth to ninth grade, check out our advanced Scratch option Accelerated Scratch.\nUp next, explore even more ways to motivate your child to code.\nWritten by Hunter Wilkinson, a fervent reader and learner. She got into education to share her passion for storytelling and STEAM instruction. In her free time, Hunter loves to write songs/poems, run, play video games, and hang out with her two fluffy cats.", "id": "<urn:uuid:1870b5f6-27b2-4652-9017-9c152d856893>", "dump": "CC-MAIN-2023-14", "url": "https://www.create-learn.us/blog/ways-to-get-kids-excited-about-coding-that-really-work/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948708.2/warc/CC-MAIN-20230327220742-20230328010742-00322.warc.gz", "language": "en", "language_score": 0.9496167898178101, "token_count": 1671, "score": 3.78125, "int_score": 4}
{"text": "Storytelling to teach language in classroom \u2013 Importance and Benefits\nWise English language teacher plans interactive and communicative lesson plan for maximize language learning in the classroom. Teacher uses story to teach the language skills as well as other language components. A story can be used for teaching different language skills and the teacher exploits the lesson with its full length. English language teacher keeps precise and lucid learning objectives. S/he always develops tasks very systematically. S/he designs task from easy to complex. Teacher considers learners\u2019 age, their social background and cultural background, their previous language learning experience and relating their world knowledge to the text. It sustains learner\u2019s interest throughout the class. Teacher uses authentic story to bring the real world in the classroom and the language level of this story is appropriate for this stage.\nTeacher uses teaching aids keeping in mind about different kind of the learner, like visual, auditory and kinesthetic. A classroom consists of different types of learner and a good teacher takes into account of all these important factors in mind while making lesson plan for teaching language in the classroom. Teacher uses wonderful techniques for teaching integrated skills, through listening skills vis a vis reading, writing and speaking skills and extends it for teaching language forms and functions , from controlled tasks to free production of language . Teacher uses peer-interaction techniques It provides chance to correct themselves and to get involved in teaching and learning process, making learners more cooperative and free from teacher\u2019s surveillance. A teacher should guide his students instead of criticizing for their mistakes.\nBenefits of using story in a language classroom\n\u00d8 It provides natural context for language exploration.\n\u00d8 Through stories so many language items can be presented.\n\u00d8 Stories have universal appeal.\n\u00d8 It fascinates and sustains the interest of the learners in a language classroom.\n\u00d8 Positive learning attitudes can be developed through story telling among learners for learning second/foreign language.\n\u00d8 It develops creative thinking in the learners. Children love fantasy and stories provide so much fantasy which makes a bridge between their own imaginative world and their real worlds.\n\u00d8 Stories stimulate students\u2019 imagination in which they share their ideas in their own language.\n\u00d8 Language skills can be developed through stories.\n\u00d8 We can teach grammar indirectly by using stories in the classroom.\n\u00d8 It develops listening skill as well as concentration skill because children love listen stories very carefully. Children are mischievous, can distract very easily but stories helps to develop their concentration level.\n\u00d8 Children acquire unconsciously certain language items e.g. use of words in certain context, guessing the meaning of the words through context in the story, some sentence patterns, some grammatical items etc.\n\u00d8 It provides opportunities for the learners to know about the different cultures, manners, customs etc.\n\u00d8 Stories provide connection to learners to their own worldly knowledge with their learning of the English language.\nApart from these advantages of teaching stories in a language classroom, a teacher can use stories for different purposes like group discussion by choosing key word and phrases from the stories, developing dialogue of two characters, giving 3-4 similar title and asking which title do `you find the best for a particular stories etc. Child learns language in a learners\u2019 friendly environment. Story helps the teacher to fill the gap between teacher and students. It develops a kind of intimacy with learners. Learners feel connected with the teacher and the teaching topics.\n[\u2026] Storytelling to Teach Language in the Classroom- Importance and Benefits [\u2026]", "id": "<urn:uuid:66be374f-52e5-4e0d-89e8-0e24f2657a27>", "dump": "CC-MAIN-2023-14", "url": "https://www.rajeevelt.com/storytelling-to-teach-language-in-classroom-importance-and-benefits-educationist/rajeev-ranjan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00121.warc.gz", "language": "en", "language_score": 0.9393836259841919, "token_count": 733, "score": 3.875, "int_score": 4}
{"text": "Known as \u201cAmerica\u2019s Classical Music,\u201d jazz is a uniquely American contribution to the music world. It\u2019s impossible to fully explain jazz\u2019s influence on music and culture in a few paragraphs, though we\u2019ll do our best to give you a taste!\nFirst came the Blues\nThe Blues was its own genre long before jazz developed. Originating on Southern plantations in the 19th Century, the Blues is deeply rooted in various forms of African American slave songs such as field hollers, work songs, spirituals, and country string ballads.\nFrom the Blues, we get many of the elements of jazz, such as the wide use of seventh chords and the Blues scale. The Blues is also a form of music \u2013 maybe you\u2019ve heard of the 12-Bar Blues on our site before! It\u2019s a simple yet versatile structure that lets the performer experiment and improvise \u2013 something that became one of jazz\u2019s defining elements.\nThe Rise of Jazz\nJazz rose from New Orleans as \u201cDixieland,\u201d blending together the uniquely African American sounds of Blues, Ragtime, and Afro-Caribbean music. The Jazz Age (1920s-30s) was an important period in America\u2019s music history due to the significant cultural shift taking place in a post-World War I society. Jazz was about celebration, joy, rebellion, and dancing! It brought an element of freedom back into people\u2019s lives after the hard times of the war.\nIn an era where cultural differences divided people, jazz music was a great unifier. However, despite this connection, segregation continued for many years to come. New Orleans was the home to many of the early African American jazz musicians, but due to the racial violence and tension there, many artists fled to other cities such as Chicago, Kansas City, and New York. At the same time, jazz music was being played on national radio, spreading jazz to new audiences across the United States.\nSubscribe for updates, content & free resources!\nA Few Big Names\nThere are too many influential jazz performers to name in a single post, let alone to write about! There\u2019s Bessie Smith, one of the first African American jazz musicians to be recorded. Duke Ellington evolved the genre and featured many other famous names in his band. Count Basie, Dizzy Gillespie, Nat King Cole \u2013 the list goes on! Let\u2019s look at four influential individuals in detail today.\nLouis Armstrong (1901-1971)\n\u201cHe was and will continue to be the embodiment of jazz.\u201d \u2013 Duke Ellington\nNew Orleans native Louis Armstrong did a lot for jazz. Trumpet solos? Thank Armstrong. Scat singing? That was (partly) Armstrong. Jazz as a serious solo art? Armstrong\u2019s doing. A virtuoso trumpet player, he was equally known for his charisma on stage and his distinctive, gravelly voice. He\u2019s probably best known for his covers of other people\u2019s music, like La Vie en Rose. However, he also composed many jazz standards still played today.\nArmstrong was widely accepted by audiences of all races. This allowed him to be an influential voice for both music and civil rights. The FBI actually kept a file on him because of that! Once, Armstrong refused to tour the Soviet Union on behalf of the U.S., saying that he couldn\u2019t represent his government when it was in conflict with its own people.\nElla Fitzgerald (1917-1996)\n\u201cI never knew how good our songs were until I heard Ella Fitzgerald sing them.\u201d \u2013 Ira Gerswhin\nElla Fitzgerald is one of the most popular jazz singers of the 20th century. During her career, she won 13 Grammys and recorded over 200 albums! With a powerful and versatile voice, she sang with many of her fellow jazz geniuses, including Louis Armstrong. Here\u2019s the two of them singing Gershwin\u2019s They Can\u2019t Take That Away from Me!\nThe \u201cFirst Lady of Song\u201d faced many struggles in her career due to racist Jim Crow laws. She had to enter many of her own performance venues through the back door, and she and her colleagues were sometimes harassed by police. Many big venues were off-limits to African Americans. However, in the 1950s, Ella changed that with help from actress Marylin Monroe. Monroe called the owner of a major club in Hollywood, saying that if he booked Ella, she would be at the front table every night. After that, Ella never had to play a small jazz club again.\nBillie Holiday (1915-1959)\n\u201cIt is Billie Holiday who was, and still remains, the greatest single musical influence on me.\u201d \u2013 Frank Sinatra\nIn late-1920s Baltimore, neighbors might have heard teenage Billie Holidaysinging along to records of Louis Armstrong. Today, her face graces postal stamps, complete with her iconic gardenia in her hair. Born Eleanora Fagan Gough, Holiday made her debut in obscure Harlem nightclubs. One of her most acclaimed songs, Strange Fruit, is also considered the first protest song of the Civil Rights Era. She also popularized many classics, such as April in Paris.\nBillie Holiday died tragically young, but her legacy lives on. Her vocal stylings influenced countless pop artists, including Frank Sinatra. She won four Grammy awards after her death. In 1972, Diana Ross starred in a biopic called Lady Sings the Blues. The play Lady Day at Emerson\u2019s Bar and Grill features Holiday as a primary character, played on Broadway and in film by Audra McDonald.\nChuck Berry (1926-2017)\n\u201cThe best rock and roll got its birth in the blues. You hear it\u2026in Chuck Berry.\u201d \u2013 Angus Young\nAnyone familiar with Chuck Berry\u2019s music might wonder why we\u2019ve included him here! Well, he may be the \u201cFather of Rock \u2018n\u2019 Roll,\u201d but his music is deeply rooted in the Blues. If Beethoven was the bridge between the two major Classical eras, then Chuck Berry was a bridge between the Blues and Rock. If that comparison isn\u2019t enough, one of Chuck Berry\u2019s famous songs is called Roll Over Beethoven!\nAs jazz began to fall out of popularity in the 1950s, Rock \u2018n\u2019 Roll took its place. Chuck Berry helped shape it into what we know today, using many elements of his Blues roots. To the stage, he brought the swagger of a jazz great; to rock music, he brought guitar solos and an emphasis on storytelling through lyrics. Many of his songs use the 12-bar blues structure. His legacy has been cemented through countless covers by famous Rock stars, and will continue to live on in music history.\nContinuing the Legacy\nThere are so many ways to honor these musical legacies at home!\n- Check out your local jazz concerts or radio stations, or find stations on Spotify!\n- Learn more about the history of jazz and its greatest contributors at PBS. They even have a Classroom page for grades 6-12!\n- For younger audiences, here\u2019s a great book about the experience of jazz performers in the segregated South: When Grandmama Sings by Margaree K. Mitchell\n- Learn more about the Blues with our Music Notes episode, What Is a 12-Bar Blues?\n- And of course, listen to our special Spotify playlist for African American Music Appreciation Month!\nJoin us next time for Funk & Motown Masters!", "id": "<urn:uuid:ce58a731-1ea4-4f95-ac36-ecf0c4b10c61>", "dump": "CC-MAIN-2023-14", "url": "https://hoffmanacademy.com/blog/black-history-blues-jazz-creators", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945144.17/warc/CC-MAIN-20230323100829-20230323130829-00520.warc.gz", "language": "en", "language_score": 0.9687151312828064, "token_count": 1606, "score": 3.65625, "int_score": 4}
{"text": "Although children develop through a generally predictable sequence of steps and milestones, they may not proceed through these steps in the same way or at the same time. The information in this guide explains what child development experts consider to be \"widely-held expectations\" for what an average child might achieve within a given year.\nWordWorld There is no one like your child Every child's development is unique and complex. Although children develop through a generally predictable sequence of steps and milestones, they may not proceed through these steps in the same way or at the same time.\nA child's development is also greatly influenced by factors in his or her environment and the experiences he or she has.\nThe information in this guide explains what child development experts consider to be \"widely-held expectations\" for what an average child might achieve within a given year. Please consider what you read in the context of your child's unique development.\nBelow is a snapshot of this year. For more in-depth information click on the specific areas of development in the menu at the left. How your child may develop this year When it comes to learning, four-year-olds are developing greater self-control and ingenuity. Their pretend play is more complex and imaginative and can be sustained for longer periods.\nThey can also make plans and complete tasks. Four-year-olds want to try writing apps for 5 year olds experiences. They also want to be more self-reliant and seek to expand the areas of their lives where they can be independent decision-makers.\nThe language skills of four-year-olds expand rapidly. They begin communicating in complex and compound sentences, have very few pronunciation errors and expand their vocabularies daily. They can follow multi-step directions and understand explanations given for things they can see.\nFour-year-olds frequently initiate conversations and are less likely to change the subject of conversation to areas of personal interest.\nThey are also getting better at sharing personal experiences without prompts from adults. Four-year-olds are building their knowledge of written language. They want to know what words in their environment say and can recognize many letters. By the end of this year, many children understand that letters represent the sounds in spoken words and may associate some letters with their sounds.\nMost children also are capable of writing some legible letters and know that writing goes from left-to-right and top to bottom. Four-year-olds have an increased capacity for learning math concepts.\nThey use logical reasoning to solve everyday problems and can effectively use language to compare and describe objects and shapes.\nThey can count to \"ten,\" recognize written numerals \"0\" to \"9\" and add and subtract using numbers up to \"four. They know days of the week, months and the seasons, but still cannot tell time. Children this age can engage in long periods of active play and exercise.\nThey are skillful at walking, climbing, jumping, hopping, skipping, marching and galloping. They also are better able to throw, catch, kick and bounce balls. Improved finger dexterity allows them to hold writing tools with a more mature, tripod grip. Advances in hand-eye coordination help four-year-olds do puzzles, play with toys that have small parts and dress and undress without assistance.\nFour-year-olds approach the world with great curiosity and use their imaginations to help understand it. Hands-on explorations help them to separate reality from fantasy.\nThey can participate in the planning and implementation of simple scientific investigations and over the course of the year, will increase their abilities to make observations, gather information, compare data, identify patterns, describe and discuss observations and form explanations and generalizations.\nEmotionally, four-year-olds continue to learn what causes certain feelings and realize that others may react to the same situation differently. They have learned to better manage intense emotions with coping strategies like talking it out or drawing a picture.\nFour-year-olds also show further progress in their social interactions with peers, such as by smoothly joining in a group play situation, being sympathetic to others, or suggesting ways to resolve conflicts. In exploring the creative arts, children this age can identify changes in pitch, tempo, loudness and musical duration.\nThey can sing songs of their own creation as well as memorized ones.\nTheir art begins to be more realistic and may incorporate letters. Four-year-olds love to dance and are able to move rhythmically and smoothly.\nTheir dramatic play is highly imaginative and now has the structure of specific scenarios, like going to the grocery store or rescuing a cat stuck in a tree.\nSupport for PBS Parents provided by:Our state standards spell it out pretty clearly. My third graders need to be able to write opinion pieces on topics or texts that state an opinion within a framework of an organizational structure that provides reasons that support the opinion and provides a concluding statement.\nBest Apps for Two-Year-Olds. I have three sons: Philip, Noah, and Hugo. When I meet other parents at Philip\u2019s school, they would ask me to recommend them the best iPad apps for their children. Best Apps for Three Year Olds. As father to two sons, Philip (4) and Noah (2), I get many questions from other parents about the best iPad apps for their kids.\nFree business-day shipping within the U.S. when you order $25 of eligible items sold or fulfilled by Amazon. Best Creative Apps Your device's screen is a magnet for little fingers, so why not channel their curiosity with your phone or tablet into a creative experience?\nThese apps allow kids to color pictures, play around with photos, make music, express themselves in writing, and tinker and build with digital tools.\nYou can explore the basic steps of research, character development, the 5-paragraph essay, picture book projects, the 3-step creative writing process, and much more. You will also find awesome games that teach writing through fun activities.", "id": "<urn:uuid:c918c810-a99a-4107-8def-3ddbcc978878>", "dump": "CC-MAIN-2023-14", "url": "https://fuqocyp.initiativeblog.com/writing-apps-for-5-year-olds-26952ah.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943809.76/warc/CC-MAIN-20230322114226-20230322144226-00122.warc.gz", "language": "en", "language_score": 0.9615251421928406, "token_count": 1223, "score": 3.859375, "int_score": 4}
{"text": "The play \u2018Othello\u2019 is a tragedy by William Shakespeare, written in 1603 and first published in 1622. The work revolves around four main characters, Othello, a general in the Venetian army, Desdemona, his wife, Cassio, who is Othello\u2019s loyal lieutenant, and, finally, Iago, who is the ultimate dishonest, but trusted ensign. Initially, Othello and Desdemona were deeply in love and happily married, even though her father did not approve their marriage. Nevertheless, Othello promoted Cassio to Lieutenant instead of Iago; thus, Iago started to plan his revenge. He convinced Othello that Desdemona was cheating on him with Cassio, and this destroyed their marriage. The play features two female characters, namely, Emilia and Desdemona, who have maintained the unbalanced relationships in the result of which they were condemned by their partners. Arguably, even though women in the play were loved, they were depicted as unfairly treated and considered to be inferior.\nIn the play, Desdemona was portrayed as a mature person who always defended her love for Othello (her husband) and thought the same of him. Nevertheless, the situation drastically changed when Iago told Othello that she was having an intimate affair with Cassio (Barnes, Aidan & William 60). Desdemona was regularly thoughtful to other people's circumstances that could bring about turmoil, but still she was both physically and emotionally faithful to her spouse. Besides, she was a peacemaker, since when Othello wanted to dismiss Cassio; she made peace between them. As a result, this prompted her to talk to Cassio in privacy, which, in its stead, led to her husband accusing her of cheating. In today\u2019s society, Desdemona is considered a housewife who sees to her husband\u2019s every step and is a caring wife. Her treatment seems even more unbearable when one sees through their arguing that she was a woman emotionally abused by her husband, which resulted in death at the end.\nAnother female character, Emilia, was Iago\u2019s wife and as such, her character entailed submissiveness. Further, she was also Desdemona\u2019s handmaiden. Unknowingly, Emilia played a great role in Iago\u2019s dishonest plan, and, surprisingly, she was never suspicious. In most instances, Emilia is depicted as the opposite of Desdemona (Barnes, Aidan & William 63). Despite the fact that according to common stereotypes women should be loyal and faithful to their husbands, she argued that women should also have a voice, not rely on their spouses but be independent. Moreover, Emilia was seen upset by the hearing that Othello called his wife unfaithful. Emilia also questioned how men could be living without women, meanwhile claiming that women should not be slaves to their husbands. According to her radical and unprecedented idea women deserved to be respected and independent, even though in this play women did not achieve much more than the usual abuse (Bloom 19).\nEmilia and Desdemona lived in societies where women did not dare to do what was supposed to be done by men. These characters were seen to use their skills to preserve their livelihood and peace, whereas male characters, like Othello, usually disrespected and devalued them in return. The reason Othello did not defend his woman from accusations regarding Cassio was because he was sure that Desdemona was an adulterer, even though he had no concrete evidence. In addition, Emilia loved and was respectable to her husband, but when Othello undermined her fidelity, she responded as she got upset and claimed him as disrespectful. Entirely, this play showed that women can show both submissive and dominant qualities, even though it did not benefit their status of being seen as possessions (Smith 23).\nIn order to analyze how the author views the roles of female characters, it is important to take a look at the various literary elements that have been utilized as part of this play. One of them is the irony. The author represented women as selfless, as, for example, one can see the irony of fate in Desdemona\u2019s situation as she died as being guilty of her innocence. Moreover, hereby author showed how much Desdemona loved her husband and belonged to him, as she gave her life for a mistake that was not hers. Furthermore, Iago was also considered on a revenge mission, as Emilia became rather authoritative since she got upset after realizing that Desdemona was accused of infidelity. All in all, women were viewed as a possession in the marriage, to convey that message Shakespeare depicted them as ironic victims who succumb to the unbalanced relationships.\nAnother literary element exploited in the play was symbolism (Smith 26). For instance, Desdemona was given a handkerchief by her husband as her first gift since they married. This symbolized Othello\u2019s love for her wife. Thus, being new and clean it represented not only the purity of their marriage, but how she was valued and needed by her husband. Nevertheless, Iago was seen manipulating the handkerchief purposely to make Othello see it as a symbol of Desdemona chastity and faith just so when Iago takes possession of it, he could easily convert it into evidence of Desdemona\u2019s infidelity. Accordingly, since it was so pure in the beginning any shadow or stain could ruin it, and when that shadow appeared nothing Desdemona could say or do to defend herself would make it brand new again. Evidently, symbolism and male influence played a greater role than women, as the latter were neither heard nor listened to in the play.\nWhat is more, through Iago also Shakespeare used animal imagery. In Act 1, Scene 1, Iago claimed that Othello had some animalistic and bestial behavior (Shakespeare & Sylvan 90). Meanwhile, he also refers to Desdemona as \u201cwhite ewe\u201d (Shakespeare & Sylvan 90), implying her innocence and purity. Evidently, this type of imagery permeates the play and portrays the behavior of characters throughout the play, as in the end one can observe the beast killing an innocent ewe. Iago also calls Desdemona \u201csport for Jove.\u201d, in a sexually suggestive manner as Jove took different forms of animals to have sex with beautiful ladies. By such suggestions Desdemona as a female was again considered dishonest and impure. What is more, this portrayed disrespect for women even in instances when men seemed to praise their beauty.\n- Cover page\n- Table of contents\n- Revision (during 48 hours)\n- Outline (on demand)\n- Plagiarism report (on demand)\n- On-time delivery\n- Supreme quality products\n- No hidden charges\n- 24/7 customer support\n- No-plagiarism guarantee\nSeveral dramatic themes were illustrated in the play, one of which was tragic flaws. Most of Othello\u2019s suffering resulted from the poor judgments he made. Evidently, he mistrusted the people who are loyal to him and believed the wrong ones, whereas the main difference between those were their social statuses, as that of women was inferior to men. The other tragic flaw that Emilia experienced was trusting her husband who was unfaithful (Shakespeare & Sylvan 94). Othello is also considered a tragic hero, as he was regarded as a nobleman in Cyprus. He lived in a mansion, had numerous people under his command and always spoke about his real wealth and high rank. Hence, Othello was gullible and selfish. Evidently, he allowed himself to be manipulated by Iago rather than trusting his heart and this crowned him a tragic hero (Shakespeare & Sylvan 94). Hubris was used in the play to illustrate Othello\u2019s pride, as due to his pride, he failed to listen to the truth that finally leads to his demise. No female character had such elements, even though Emilia was also a tragic hero in her own way. She defended Desdemona when Othello accused her of cheating. In her speech, Emilia made it clear that men could not be where they are without women.\nIn conclusion, Emilia and Desdemona portray the two different sides of women that are those who allow others to possess them and those who believe in having a voice. Nevertheless, both types can be left with no respect or dignity if a representative of a powerful sex wishes so. The stereotypes mentioned above are evident that even in today\u2019s society women are still being treated unjustly. Notably, these women were inferior to their husbands. Despite the fact that women in the play were not respected and abused, they defended themselves and pushed for their rights. Several literary elements and dramatic themes were used to capture the attention of the readers, thus making them understand the challenges arisen with ease.", "id": "<urn:uuid:04de3c7a-faa3-48d9-972c-a819089c1bcb>", "dump": "CC-MAIN-2023-14", "url": "https://essaysprofessor.com/samples/informative/role-of-women-in-othello.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00122.warc.gz", "language": "en", "language_score": 0.988439679145813, "token_count": 1869, "score": 3.53125, "int_score": 4}
{"text": "Legendary Hopewell Culture Destroyed By Exploding Comet, Study Says\nAfter enjoying centuries of stability, the prosperous Native American Hopewell culture suddenly went into rapid and irreversible decline around the year 500 AD. The reasons why this happened have long been a topic for speculation, and a team of researchers from the Departments of Anthropology and Geology at the University of Cincinnati (Ohio) have now joined the debate to offer a brand-new theory.\nAnalyzing rock samples collected from 11 archaeological sites in the Ohio River Valley, these researchers have found physical evidence that suggests an exploding comet may have played a significant role in the Hopewell peoples\u2019 demise. The samples included the stony remnants of this disintegrating space object, which was destroyed in an airburst that distributed its debris far and wide in all directions.\nThese stony remnants, which are known as micrometeorites, possessed qualities that revealed their true origin.\nUniversity of Cincinnati researchers take sediment samples at a Hopewell culture site at the confluence of the Ohio and Great Miami rivers. (Larry Sandman / University of Cincinnati )\nMeteorite Impact on the Hopewell Culture Region\n\u201cCosmic events like asteroids and comet airbursts leave behind high quantities of a rare element known as platinum,\" explained anthropologist and lead study author Kenneth Tankersley in a University of Cincinnati press release . \"The problem is platinum also occurs in volcanic eruptions. So, we also look for another rare element found in non-terrestrial events such as meteorite impact craters\u2014iridium. And we found a spike in both, iridium and platinum.\"\nBased on the results of radiocarbon and typological dating procedures, the researchers concluded that this catastrophic event would have occurred sometime between the years 252 and 383 AD.\n\u201cThis time period coincides with historically documented near-Earth comets and occurs immediately prior to the cultural downturn of the Hopewell ,\u201d the University of Cincinnati researchers wrote in an article discussing their findings in Scientific Reports . \u201cThe airburst event may have created mass confusion resulting in an upheaval of the social interaction sphere.\u201d\nA magnet holds tiny micrometeorites collected from sediment samples taken from an ancient Hopewell culture site. Researchers say this evidence points to a comet airburst that devastated parts of the Ohio River Valley more than 1,500 years ago. (Michael Miller / University of Cincinnati )\nPrevious research has revealed that the area of what is now the eastern United States experienced an epidemic of massive and ravaging wildfires during this period, which incinerated more than 9,200 square miles of forest and agricultural land. The researchers found a layer of charcoal deposits at the Hopewell culture sites along with the micrometeorites, proving that these fires had occurred during the same time period as the comet\u2019s near-Earth explosion.\nIf they crash into the earth, astronomical bodies like comets and meteors can do great damage to ecosystems within the zone of impact. But if they explode in the sky, the intense heat and wind generated by the blast, plus the raining down of heavy, rocky debris from the exploding object, can cause damage and destruction over a much broader geographical area.\nThis is what happened in the famous Tunguska event of 1908, when a comet or meteor passed through Earth\u2019s atmosphere and exploded in the sky over Siberia. The explosion leveled more than 800 square miles of forest, leaving behind a scarred landscape that is still visibly damaged to this very day.\nMuch like the Siberians who lived near Tunguska, the Hopewell survivors of the third or fourth century blast would have been surrounded by scenes of unimaginable devastation. Survivors who resided near the epicenter of the explosion, which occurred over what is now the city of Milford in southwestern Ohio, would have been especially shocked and traumatized by what they experienced.\n\"It looks like this event was very injurious to agriculture,\u201d said biology professor and study co-author David Lentz, noting the impact of the explosion on the food chain. \u201cPeople didn't have good ways to store corn for a long period of time. Losing a crop or two would have caused widespread suffering.\u201d\n\u201cAnd if the airburst leveled forests like the one in Russia,\u201d he continued, \u201cnative people would have lost nut trees such as walnut and hickory that provided a good winter source of food. When your corn crop fails, you can usually rely on a tree crop. But if they were all destroyed, it would have been incredibly disruptive.\u201d\nHopewell culture mounds from the Mound City Group in Ohio. (Heironymous Rowe / CC BY-SA 3.0 )\nRemembering the Magnificent Hopewell Culture\nThe pre-Columbian Hopewell culture was comprised of disperse settlements of Native American peoples who occupied hundreds of villages alongside rivers in what is now the northeastern and midwestern sections of the United States.\nThe Hopewell culture was ethnically diverse, but united through extensive trade networks that developed over the course of several centuries. The Hopewell peoples reached the peak of their prosperity during a period that ranged from approximately 200 BC to 500 AD, after which their culture experienced a swift and sudden decline.\nAlthough they essentially disappeared as a distinct people more than 1,500 years ago, the Hopewell did not vanish without a trace. They left behind many vast and impressive complexes of large earthwork mounds, which can be found in multiple states in the vast expanses of America\u2019s Eastern Woodlands.\nThese ceremonial mounds were an expression of the Hopewell culture\u2019s cosmological and spiritual belief systems , which is revealed by their shapes, content, and alignments.\nThe mounds sometimes featured animals that would have been sacred to the Hopewell, and sometimes were formed into geometric shapes that likely had ritual significance or deeper spiritual meanings. Just as significantly, the locations of the mounds were not chosen at random\u2014Hopewell mounds were carefully aligned to coincide in various ways with lunar and solar cycles, or with the movement of stars across the night sky.\nIn addition to their mound-building proclivities, the Hopewell were also accomplished artists and craftspeople. Hopewell archaeological sites have yielded a remarkable bounty of expertly crafted items, including pottery, sculptures, carvings, jewelry, textiles, tools, and exotic ritual artifacts. Artisans worked with metal, bone, stone, and shells, producing a broad variety of practical and decorative items that were traded freely between villages and settlements.\nBefore the end came, the Hopewell culture seemed to be thriving. They had lived in harmony with nature, with their gods, and with each other for hundreds of years. It is clear that only a significantly disruptive and destructive event or series of events could have brought about their culture\u2019s sudden downfall.\nThe Miami Native Americans tell of a horned serpent (pictured here) that flew across the sky and dropped rocks onto the land before plummeting into the river \u2026 the Shawnee refer to a 'sky panther' that had the power to tear down forests \u2026 the Ottawa talk of a day when the Sun fell from the sky.\u201d (Chickasaw TV )\nWhere the Storytelling Meets the Science\nFurther evidence for a world-altering event in ancient times can be found in the oral traditions of Native American groups descended from the Hopewell people.\n\"What's fascinating is that many different tribes have similar stories of the event,\" Professor Tankersley, who is Native American himself, said:\n\"The Miami tell of a horned serpent that flew across the sky and dropped rocks onto the land before plummeting into the river \u2026 the Shawnee refer to a 'sky panther' that had the power to tear down forest \u2026 the Ottawa talk of a day when the sun fell from the sky.\u201d\nTankersley also mentions legends passed down by the Wyandot, Algonquin, and Iroquois people that describe sky-born catastrophes of apocalyptic proportions.\nAnd there is still more. Near the epicenter of the third- or fourth-century blast lies a set of Hopewell mounds known as the Milford Earthworks. Tellingly, one of these mounds is shaped exactly like a comet.\nWhile the evidence proving the existence of the exploding comet is strong, there is still much to be learned about its impact on the Hopewell culture.\n\"It's hard to know exactly what happened. We only have a few points of light in the darkness,\" Professor Lentz said. \"But we have this area of high heat that would have been catastrophic for people in that area and beyond.\"\n\"Science is just a progress report,\" commented geologist Steven Meyers, another study participant. \"It's not the end. We're always somewhere in the middle. As time goes on, more things will be found.\"\nTop image: Hopewell culture serpent effigy, Turner Group, Mound 4, Little Miami Valley, Ohio. Source: Daderot / Public domain\nBy Nathan Falde\nAmazing. Good sluthing. A Tunguska event. Very believable. It does make one wonder if there were other similar events elsewhere in ancient times on earth.\nA fascinating article. Finally, we have an idea about what happened to this amazing culture. Thank you for this article.", "id": "<urn:uuid:70e8bd79-d473-45cf-be84-8fd15bad1f9b>", "dump": "CC-MAIN-2023-14", "url": "https://www.ancient-origins.net/news-history-archaeology/hopewell-culture-0016374", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949642.35/warc/CC-MAIN-20230331113819-20230331143819-00722.warc.gz", "language": "en", "language_score": 0.9659972786903381, "token_count": 1955, "score": 4.03125, "int_score": 4}
{"text": "Solving the hot topic of accurate and reproducible temperature measurement\nAnyone who reads the climate literature, even on an occasional basis, will have come across the idea of the \u2018proxy\u2019, a measurement that can be used to infer something else: oxygen isotope ratios in carbonate rocks, for example, can be used to reconstruct temperature profiles many hundreds of thousands of years in the past. If the complicated causal chain leads some self-styled \u2018sceptics\u2019 to question their validity, all instruments \u2013 from barometers to glucose sensors \u2013 are indirect and are backed up by a set of causal links to the quantity they measure. Among the devices with the shortest chains of connection is the platinum resistance thermometer, whose exquisite accuracy has underpinned science and technology for over 100 years and, until recently, defined the international temperature scale.\nThe idea that resistance varies with temperature was first aired by Humphry Davy in 1821, late in his career, when he noted that platinum wires conduct electricity less well at higher temperatures. The discovery is remarkable because the relation between current, potential and resistance that we now call Ohm\u2019s law was unknown at the time.\nAlthough several scientists followed up this observation, nothing came of it until Charles William Siemens, a young German engineer, arrived in the UK in 1843 to act as agent for his brother\u2019s telegraph company. After taking various jobs, he set up a company to manufacture undersea cables to link the far-flung reaches of the British Empire, building on his studies of the electrical resistance of different metals. In 1860, when his company was awarded the contract to link Burma to Singapore, Siemens travelled with the consignment of cables. Worried that they would overheat on the journey, Siemens needed to measure the temperature. Mercury thermometers were too rigid and fragile to do the job, so he tried something different.\nHe wound a slender length of silk-sheathed copper wire around a central rod. He then sealed it in caoutchouc (a natural rubber) and slipped it inside a copper tube. Wires connecting the copper spiral to a battery and Wheatstone bridge allowed Siemens to measure the temperature deep inside the rolls of cable. Changes of less than a degree were easily measurable and Siemens watched with alarm as the temperature rose day after day. When it reached 30\u00b0C, Siemens ordered that cold water be poured over the coils to save them from destruction. Siemens had established the principle of resistance thermometry. In a letter to John Tyndall reporting his invention in 1861, he suggested that using platinum would extend its range and allow the measurement of temperature inside industrial furnaces. Unfortunately, a committee of scientists who tested Siemens\u2019 instrument rejected the method as too unreliable for serious use.\nThis would change in 1885, when Hugh Callendar joined J J Thompson\u2019s research group in Cambridge intending to develop the resistance thermometer as a new thermometric standard. Although his degree was in classics and mathematics, he had unquestionable mechanical and scientific skills developed as a child by building induction coils and playing with electricity.\nAt the time, the most accurate way of measuring temperature was a fiddly constant-pressure air thermometer designed by Victor Regnault in the 1840s. As Callendar pointed out in his 1887 paper, a new thermometric standard must be a highly reproducible portable device, stable enough not to require regular calibration and easily copied so that standards could be spread from one lab to the next. The Regnault method failed all these criteria.\nAfter laboriously building an air thermometer, he bought very slender, high-purity platinum wire from Johnson Matthey. He was aware that purity was crucial, as was the degree of stress in the wire. After annealing the wire by passing it through a fat Bunsen flame he wound the very soft thread around a hard glass frame and inserted it into the bulb of his air thermometer to make measurements in parallel.\nThe work was maddeningly fiddly \u2013 over and over he reports breakages and there are hints of frustration both at his own lack of technical ability, but also the quite limited technical support he received. He turned to a London glassblower for help. When a revised device was delivered, the platinum wire broke. The first few months of 1886 were a catalogue of disasters with apparatus leaking, breaking and having to be redesigned. Then Callendar had an unspecified accident that left his right hand unusable for a month.\nEventually he had a working device, a small bulb of air in which sat his platinum spiral, now wound on mica. The bulb could be immersed in iced water, a steam bath or a hot furnace, and with this system he could gradually narrow down the errors, correcting for the expansion of glass. A Wheatstone bridge allowed accurate measurement of the resistance and he established a quadratic equation to fit the data.\nBy 1897 felt confident enough to propose the platinum thermometer, now free of the gas bulb, as a new temperature standard. By 1903 it was in use at the National Physical Lab, and the standard platinum resistance thermometer still defines the international temperature scale today, even after the redefinition of the kelvin.\nCallendar would become professor of physics at Imperial College London. He died in 1930. Platinum thermometers are used everywhere, from making ice cream to smelting steel and monitoring power stations. In our labs too platinum thermometers give us measurements accurate up to a thousandth of a degree. But Callendar\u2019s thermometric legacy would get an even stronger twist: just eight years after his death, his son, Guy Stewart Callendar, published a seminal paper linking carbon dioxide emissions to global temperature. It is a reminder that one thing leads to another, not just in storytelling, but in science and measurement too.\nMichael de Podesta shared his wisdom on matters thermometric.\nC W Siemens, Phil. Mag., 1861, 21, 73\nH L Callendar, Phil. Trans. Roy. Soc., 1887, 178, 161 (DOI: 10.1098/rsta.1887.0006)\nNo comments yet", "id": "<urn:uuid:5af874e1-7276-403a-8e87-4dfaf9c01305>", "dump": "CC-MAIN-2023-14", "url": "https://www.chemistryworld.com/opinion/callendars-platinum-thermometer/4015866.article", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949694.55/warc/CC-MAIN-20230401001704-20230401031704-00522.warc.gz", "language": "en", "language_score": 0.9616467952728271, "token_count": 1273, "score": 3.640625, "int_score": 4}
{"text": "Similes in beowulf. Beowulf English poetry, including Beowulf, didn't rhyme 2022-10-05\nSimiles in beowulf Rating:\nSimiles are a literary device that are used to compare two things using the words \"like\" or \"as.\" They can be found throughout the epic poem Beowulf and serve to add imagery and depth to the descriptions in the poem.\nOne of the most well-known similes in Beowulf is the comparison of Beowulf to \"a bear on the ice\" when he is fighting Grendel's mother. This simile not only conveys the strength and determination of Beowulf, but also adds a vivid image of a powerful animal struggling and clawing its way across a slippery surface.\nAnother example of a simile in Beowulf is the comparison of the dragon's fire-breathing to \"a blast of steam\" when it attacks the Geats. This simile not only describes the ferocity of the dragon's attack, but also conveys the intense heat and destructive power of its flames.\nSimiles are also used to describe the physical appearance of characters in the poem. For example, Beowulf is described as \"shining like the morning star\" when he first arrives in Denmark to fight Grendel. This simile not only conveys Beowulf's bravery and nobility, but also adds a sense of otherworldly brightness to his appearance.\nIn addition to describing characters and events, similes are also used to convey the emotions and feelings of the characters in the poem. For example, when Beowulf is about to face the dragon in his final battle, he is described as being \"calm as a stone\" despite the danger he is about to face. This simile conveys the courage and determination of Beowulf as he prepares for battle.\nOverall, the use of similes in Beowulf adds depth and imagery to the descriptions in the poem, helping to bring the characters and events to life for the reader. Whether they are used to describe physical appearances, actions, or emotions, the similes in Beowulf play a crucial role in the poem's storytelling and help to paint a vivid and engaging picture for the reader.\nFree Essays on Similes In Beowulf\n. Beowulf is a story about how the legendary protagonist saves the inhabitants of its place from the brutal monster Grendal. During the battles with Beowulf and monsters, the mood is filled with suspense and energy. To the modern reader, one must. In Beowulf's world, they do. .\nOne of the purposes of a simile is to help the reader visualize the story. It has all of the characteristics to be one. In lieu of rhyme, poets relied heavily on alliteration. If a leader were killed, the offending party could pay a certain amount to have the matter settled. Metaphors in Beowulf Grendel is a monster referred to as a shadow-stalker and a hell-brute There are many metaphors in Beowulf that help draw readers in and contribute to the themes of the story.\n. . . Beowulf is faced with mythologic creatures with powers, seemingly indefensible by a human. For example, the sea isn't actually a road, but for a whale, it's as great a way of getting around as the highway is for us. Alliteration Alliteration is a poetic device that simply means the repetition of the same sound at the beginning of words that are next to each other, or at least close together.\nBut some allusions are identifiable for us as well. For instance, Grendel refused to pay wergild to Hrothgar. In all likelihood, it probably would not have the same effects because he incorporated so many Christian beliefs. . The symbolism of the opening lines and some Biblical allusions will open the deep meaning of the poem.\nHrunting The word befits Hrunting, the most famous sword in the heroic world of Beowulf. For his part, the leader rewarded his thanes with treasure, protection, and land. The epic celebrates virtues of national, military, religious, cultural, political, or historical significance. He begins to keen and weep for his boy, watching the raven gloat where he hangs; he can be of no help. Which Words Describe the Relationship between Hrothgar and Beowulf? Beowulf Characters Is Beowulf a hero? You can think of it kind of like a stereotypical scene in a horror movie when the camera keeps cutting back and forth between a murderous villain and an unwitting victim.\nWhat does whale road mean in Beowulf? It is a form of understatement that is none too subtle. In Beowulf itself, we witness the captivating talents of performing storytellers; an example is the scop who sings of The Finnsburh Episode 1063-1159. The mix of Christian and pagan elements in Beowulf reveals three themes:. Beowulf as History One point to remember is that the poem is not history. But it soon becomes somber when discussing the loss. While no translation can completely convey all of the figurative language that Beowulf showcases in its original Old English version, there are still plenty of memorable phrases to share with modern audiences. The repetition isn't really necessary for the plot - the poem could have just stated once that Grendel appeared - but it does help emphasize the drama of the moment.\nThe story of Beowulf was able to stir the hearts of its reader for generations. Heorot has been under attack by a creature called Grendel for many years; Beowulf defeats Grendel and then defeats Grendel's mother in single combat. The main harmful aspects and dangers of retribution the author focused on. Simply put, alliteration is the repetition of initial sounds of words. .\nThe simile is an extended comparison between the way the sea pulls Odysseus out of the rocks and the way a fisherman pulls an octopus out of its lair. The main characters are Romeo and Juliet, a pair of teenagers, that fall in love, but they are from Rival. The poem relates to dreams are reality as dreams. Usually, spacing indicates that pause. These stories have a profound meaning to the people of England, just as the \"Iliad\" and \"Odyssey\" have a deep meaning to the ancient people of Greece.\nBeowulf English poetry, including Beowulf, didn't rhyme\nThese are used in various ways to heighten the poetic effect of the poem, and they are part of what really sets Beowulf apart as a distinctive and memorable work of literature. Thanes swore devotion to their leader and vowed to fight boldly, to the death if necessary, for him. The social structure of the comitatus did exist; and the most dominating rituals in the poem, the funerals near the beginning and at the end of the epic, have been confirmed by archaeological discovery. The opening lines introduce the heroic code as the central theme of the poem. . What literary device is used in Grendel? To his audience, however, the list of heroes, villains, and battles were familiar. Beowulf is an epic poem because the protagonist is a hero who travels to prove his strength in battles against demons and beasts.\nBeowulf was written by a single Christian poet. In the other epic poem Iliad is the work of a Greek poet named Homer. These similes add depth to the descriptions in this poem. Some of the most unsettling kennings in the poem are those that describe human bodies, usually at the point of death. Beowulf is presented as an epic story that has both Christian and Pagan elements portraying the conquering hero Beowulf. A Homeric or epic simile is an elaborate comparison, developed over several lines between something strange or unfamiliar to the audience and something more familiar to them. The writer doesn't just say that Grendel's claws where sharp and strong, he says they are like steel.", "id": "<urn:uuid:65d01682-8213-41c2-84d3-dca25cce15d9>", "dump": "CC-MAIN-2023-14", "url": "http://childhealthpolicy.vumc.org/dafiqu45604.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00723.warc.gz", "language": "en", "language_score": 0.9590111970901489, "token_count": 1682, "score": 3.953125, "int_score": 4}
{"text": "For Jews all over the world, Passover is the festival of freedom. Specific rituals and traditional foods, as well as broader interpretations of liberation from enslavement are all parts of the eight-day observance. Children\u2019s books about the holiday reflect these different elements of the celebration, from the history of the Exodus from Egypt, to tales of family relationships reflected in Passover preparations and the elaborate seder meal. Two children\u2019s picture books remind readers of the holiday\u2019s essential core, stripping away many of the external details to focus on enduring values such as faith and courage in the face of unimaginable obstacles.\nIn The Magician\u2019s Visit: A Passover Tale (Viking Penguin, 1993), award-winning author Barbara Diamond Goldin retells I. L. Peretz\u2019s 1904 Yiddish short story \u201cThe Magician,\u201c about a poor Jewish couple unable to afford even the basic necessities for their seder. When the prophet Elijah provides all they need, they are fearful and confused. With haunting watercolor sketches by Robert Andrew Parker, the book\u2019s mythical archetypes of precarious shtetl life become real for young children, as the husband and wife from Peretz\u2019s story accept their plight with humility and are rewarded for their faith. (Uri Shulevitz also adapted and illustrated the same story in 1973, with small, intense black-and-white drawings.)\nThe Secret Seder (Hyperion Books for Children), written by acclaimed author Doreen Rappaport and illustrated by Caldecott Award winner Emily Arnold McCully, also recalls a Passover meal diminished by loss. In World War II France, a Jewish family is forced to choose between risking their lives or fulfilling their religious obligations. Although Elijah does not literally come to their rescue, their community invokes the prophet\u2019s presence and defies the Nazis\u2019 attack on their lives and traditions. Both books offer a view of redemption, providing a sense of hope without minimizing the harsh circumstances testing Jewish belief.\nBoth books offer a view of redemption, providing a sense of hope without minimizing the harsh circumstances testing Jewish belief.\nThe Magician\u2019s Visit has minimal character development and little dramatic tension. As Goldin explains in her afterword, the prophet Elijah plays a major role, his powerful symbolism inhabiting many other Jewish customs. Participants in the sederopen the door and invite him in, and he also presides over a baby\u2019s bris and is called upon to welcome a new week at the conclusion of the Sabbath. The prophet Malachi, in the eponymous Biblical book , announces that the coming of the Messiah will be preceded by the return of Elijah himself; in times of fear, this promise has assumed even greater importance. In Goldin\u2019s narrative, the inhabitants of an unnamed small town in eastern Europe are getting ready for Passover, the holiday requiring more preparation than any other in the Jewish calendar. The book\u2019s first sentence casually mentions that \u201ca magician came to town,\u201d suggesting an occurrence no more notable than any other. Indeed, this magician at first seems to be just one more poor Jew. His magic involves ordinary objects: he transforms rags into golden ribbons, and pulls turkeys out of his boots. Hayim-Jonah and Rivkah-Bailah are struggling to survive; their predicament is unremarkable.\nPeretz, in Goldin\u2019s retelling, gives almost no information about his characters\u2019 plight, aside from the fact that Hayim-Jonah, a lumberman, has had \u201cmisfortunes.\u201d The winter had been severe enough that they would not, proverbially, \u201cwish (it) on even their worst enemy.\u201d The couple\u2019s childlessness goes unmentioned, yet it adds a poignant tone to their isolation. Hayim-Jonah is convinced that God will provide what they need for Passover. As Jewish law demands, they continue to give charity even while they have barely enough to survive. When they open the door to a stranger on the eve of the holiday, they apologize to him for their inadequacies as hosts. In the lowest emotional point for this deeply religious man, Hayim-Jonah responds to the visitor, \u201cI\u2019m sorry\u2026but we have no Seder.\u201d Ironically, although he had previously reprimanded his more practical wife for her sadness, he now shares her despair. At this point in the story, young children may experience the couple\u2019s disappointment, although adult readers will recognize the magician\u2019s true identity.\nIn 1923, Marc Chagall illustrated an edition of Peretz\u2019s story in the original Yiddish. Although Parker\u2019s artwork for the book is far more somber in tone, with dark, muted colors dominating, his picture of the magician as Elijah recalls Chagall\u2019s mystical joy. His face emerges from the shadows bathed in white, with two white circles in the background suggesting wings or haloes. He holds out two gold candlesticks with bright orange flames. Yet even when he causes a tablecloth to drop from the ceiling and matzah, wine, and a shankbone to materialize from nowhere, the man and his wife are not convinced and decide to consult their rabbi. Any child who has examined Elijah\u2019s cup at his or her family seder to see if some wine has been consumed will be waiting for the rabbi\u2019s decision on the difference between magic and miracles. His answer is helpfully specific: magic is a \u201cdeception,\u201d but if the matzah crumbles, the visitor\u2019s gifts are real.\nAny child who has examined Elijah\u2019s cup at his or her family seder to see if some wine has been consumed will be waiting for the rabbi\u2019s decision on the difference between magic and miracles.\nIn The Secret Seder, no such feeling of assurance is available to the young Jewish boy and his parents attempting to pass as Christians in Nazi-occupied France. The boy lives in terror of the \u201cblack boot men\u201d who take Jews away; his own grandparents have disappeared. Yet he secretly practices reciting the Four Questions with his mother, and when the first night of Passover arrives, his father leads him to the forest to share a secret sederwith a group of terrified but resistant Jewish men. His father reasons over his mother\u2019s fears that \u201cJust being a Jew is dangerous.\u201d Here the danger is not only poverty, but death. The men are reciting the evening prayers together before the seder begins, each with a ragged coat over his head in place of a tallis. Some of the men are crying. The boy vividly remembers his grandparents\u2019 bountiful table of the previous year; here there is only one candle, wine, and one piece of matzah. The sorrow on the men\u2019s pale faces and the drab colors of brown wood and clothing are relieved by the bright light of the candle. No magical figure enters to reward their refusal to accept defeat.\nUnlike Hayim-Jonah\u2019s and Rivkah-Bailah\u2019s peaceful seder, this one is marked by contention. An old man, lacking a full Haggadah, reads from a ragged sheet of paper, which looks like a newspaper bringing the tragic events of the day to its readers. A heated argument, not unlike Talmudic disputes, ensues when the men disagree about the different periods of adversity in Jewish history. Their anger and fear merge in one moment when a woodcutter who had been standing guard outside suddenly opens the door. Only his shoe and a narrow part of his leg are visible, making his identity unclear. McCully shows all faces turned toward the stranger, some men rising from their seats in expectation of being seized by the enemy. At the same time, the scene evokes the entrance of Elijah as a promise of deliverance. Later, when the time arrives for opening the door for the prophet, only \u201ca cold blast of wind\u201d enters. Again, the group\u2019s expectation is implicit: \u201cNo one speaks as we listen to the wind.\u201d Elijah does not enter, but one of the men declares the traditional, \u201cNext year, in Yerushalayim,\u201d followed by \u201cwe shall come together for a great feast.\u201d\nThe reader knows what the man at the seder does not. Many Jews will die, but those who survive will return to observe Passover, some with renewed hope. Not long after the War, the State of Israel will be founded, viewed as the fulfillment of God\u2019s promise by some, and by others as a secular fulfillment of messianic hopes. The wandering magician who visits Hayim-Jonah and Rivka-Bailah is rooted in shtetl life, familiar with their humble prayers and hopes for material betterment. When the rabbi assures them that their faith has not allowed them to be deluded by magic, their seder has been redeemed. They will wait patiently and without a sense of urgency for Elijah\u2019s later arrival before the ultimate redemption. The Jews of The Secret Seder cannot rely on unquestioning faith, although their faith has not disappeared. Their own obstinate bravery has redeemed their Passover celebration, filling the silence when Elijah fails to arrive. Each book offers children a different perspective on Jewish resilience as they open the door.\nEmily Schneider writes about literature, feminism, and culture for Tablet, The Forward, The Horn Book, and other publications, and writes about children\u2019s books on her blog. She has a Ph.D. in Romance Languages and Literatures.", "id": "<urn:uuid:3819e9bc-4521-45c6-bfea-33770b7c8c18>", "dump": "CC-MAIN-2023-14", "url": "http://staging.jewishbookcouncil.org/pb-daily/waiting-for-elijah-passover-in-times-of-adversity-in-childrens-picture-books", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00523.warc.gz", "language": "en", "language_score": 0.9572786688804626, "token_count": 2024, "score": 3.671875, "int_score": 4}
{"text": "What ia an essay. What is an Essay? Definition, Types and Writing Tips by HandMadeWriting 2022-10-24\nWhat ia an essay Rating:\nA focus sentence is a sentence that highlights the main idea or point of a paragraph. It is typically placed at the beginning or end of a paragraph and serves as a roadmap for the rest of the paragraph, guiding the reader through the main points and supporting details.\nHere are a few examples of focus sentences:\n\"One of the main reasons I decided to pursue a career in medicine is because I have always been drawn to helping others.\"\nThis focus sentence highlights the main reason the speaker decided to pursue a career in medicine.\n\"Despite the numerous challenges faced by small businesses, one of the most significant is access to financing.\"\nThis focus sentence identifies access to financing as the most significant challenge faced by small businesses.\n\"While there are many factors that contribute to the success of a company, effective leadership is perhaps the most important.\"\nThis focus sentence identifies effective leadership as the most important factor in a company's success.\n\"In conclusion, it is clear that climate change is a complex and pressing issue that requires urgent action from governments, businesses, and individuals alike.\"\nThis focus sentence summarizes the main points of the paragraph and highlights the need for urgent action on climate change.\nAs you can see, focus sentences are an important tool for structuring and organizing a paragraph. They help to clarify the main points and make the writing more coherent and cohesive. By including focus sentences in your writing, you can help your readers understand the main points more easily and stay focused on the main ideas.\nEthical behavior in business refers to the actions and decisions made by individuals and organizations that adhere to moral principles and values. It involves being honest, fair, and respectful towards others, and taking responsibility for the impact of one's actions on stakeholders such as employees, customers, suppliers, and the community.\nThere are numerous benefits to practicing ethical behavior in business. First and foremost, it helps to build trust and credibility with stakeholders. When individuals and organizations act in an ethical manner, they demonstrate their commitment to doing the right thing and being transparent. This can lead to increased customer loyalty and a positive reputation, which can translate into long-term financial success.\nIn addition, ethical behavior can improve relationships within the workplace. When employees feel that their employer is acting in an ethical manner, they are more likely to have a positive view of the organization and be more motivated to do their best work. This can lead to increased productivity and a more positive work environment overall.\nEthical behavior is also important for compliance with laws and regulations. By following ethical principles, individuals and organizations can avoid legal consequences and fines, and ensure that they are operating in a manner that is consistent with the laws and regulations of the industry in which they operate.\nFurthermore, ethical behavior can contribute to the overall well-being of society. When businesses act ethically, they can have a positive impact on the community and the environment. For example, they may choose to use environmentally-friendly practices, engage in philanthropic activities, or support diversity and inclusion initiatives. This can help to create a more sustainable and equitable world.\nIn conclusion, ethical behavior in business has numerous benefits. It helps to build trust and credibility with stakeholders, improve relationships within the workplace, ensure compliance with laws and regulations, and contribute to the overall well-being of society. As such, it is essential for individuals and organizations to prioritize ethical behavior in their business practices.\nEssay Definition & Meaning\nIllustration essay helps the author to connect with his audience by breaking the barriers with real-life examples \u2014 clear and indisputable. To answer the question you must examine your evidence, thus demonstrating the truth of your claim. If it does, the essay will lack balance and may read as mere summary or description. High school is where students usually encounter with informative essay first time. But, they all have a uniform structure that you must maintain in the paper. The Essay in Academics Not only are students required to read a variety of essays during their academic education, but they will likely be required to write several different kinds of essays throughout their scholastic career.\nThe Definition of an Essay Including Writing Resources\nAs a professional provider of custom writing, our service has helped thousands of customers to turn in essays in various forms and disciplines. Essays are brief, non-fiction compositions that describe, clarify, argue, or analyze a subject. So, make sure you studied all the instructions for the task thoroughly. On one hand, it can easily be answered in a couple of words. Signs of Trouble A common structural flaw in college essays is the \"walk-through\" also labeled \"summary\" or \"description\". A good thesis statement combines several ideas into just one or two sentences.\nWhat is an Essay? Definition, Types and Writing Tips by HandMadeWriting\nThe definition essay outline will reflect those angles and scopes. A subject is a broad concept: gun control, US history, WWII, Napoleonic Wars, business ethics, academic dishonesty, school dress code, etc. Check if your conclusion and introduction are about the same \u2014 the same applies to the body paragraphs. The essay is a written piece that is designed to present an idea, propose an argument, express the emotion or initiate debate. Introductions and conclusions have fixed places, but other parts don't.\nThe conclusion is an opportunity to wrap up the essay by reviewing the main points discussed that drives home the point or argument stated in the thesis statement. Descriptive essays rely heavily on detail and the paragraphs can be organized by sense. This will start you off on answering the \"what\" question. Origins of the Essay Over the course of more than six centuries essays were used to question assumptions, argue trivial opinions and to initiate global discussions. Your college might have some special requirements regarding the content or style.\nWhat Is an Essay? The Definition and Main Features of Essays\nNoun Your assignment is to write a 500-word essay on one of Shakespeare's sonnets. In answering \"why\", your essay explains its own significance. If you leave it out, your readers will experience your essay as unfinished\u2014or, worse, as pointless or insular. The purpose of this essay is to describe an idea, occasion or a concept with the help of clear and vocal examples. Typically found at the beginning of a paper, the thesis statement is often placed in the introduction, toward the end of the first paragraph or so. Then consider working with a ghost This is the most common type of a formal essay.\nOr is it too many of them? Answering Questions: The Parts of an Essay A typical essay contains many different kinds of information, often located in specialized parts or sections. The corresponding question is \"how\": How does the thesis stand up to the challenge of a counterargument? Such essays generally have a descriptive thesis rather than an argumentative one. French, The New York Review of Books, 29 Nov. Now back to the fun stuff. Since you're essentially reporting what you've observed, this is the part you might have most to say about when you first start writing. Finally, the length of an introduction varies and can be anywhere from one to Creating a Thesis Statement A thesis statement is a sentence that states the main idea of the essay. After the first draft is done, make sure to double-check it for all possible mistakes: grammar, punctuation, word usage, logic flow, etc.\nOnce you are working on it, brainstorm all the ideas related to the subject. The process depends on each individual and takes practice to figure out what works best for them. These essays are commonly assigned to explore a controversial issue. The purpose of this paper is to describe an idea, concept or any other abstract subject with the help of proper research and a generous amount of storytelling. Continue until you've mapped out your essay. The purpose of the persuasive essay is to provide the audience with a 360-view on the concept idea or certain topic \u2014 to persuade the reader to adopt a certain viewpoint.\nThe viewpoints can range widely from why visiting the dentist is important to why dogs make the best pets to why blue is the best color. Indicate, in other words, what a reader might learn by exploring the claim with you. An essay can be as short as 500 words, it can also be 5000 words or more. Choose a more specific topic to cover. Conclusion with a transition If you had to write only one paragraph, this is where you would end the narrative. Those are not topics because you can write books on them. Before writing, authors may choose to outline the two to three main arguments that will support their thesis statement.\nThe function of a thesis statement is to help manage the ideas within the essay. Readers should have questions. Although you might gesture at this question in your introduction, the fullest answer to it properly belongs at your essay's end. Being one the basic essay types, the informative essay is as easy as it sounds from a technical standpoint. You must analyze the proof and show how you can compare data and establish causal links.", "id": "<urn:uuid:1e803521-9b39-4aca-9846-dc0b8538edba>", "dump": "CC-MAIN-2023-14", "url": "http://childhealthpolicy.vumc.org/hyfof85350.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945333.53/warc/CC-MAIN-20230325130029-20230325160029-00741.warc.gz", "language": "en", "language_score": 0.9514939188957214, "token_count": 1887, "score": 3.953125, "int_score": 4}
{"text": "The classroom is a dynamic environment, bringing together students from different backgrounds with various abilities and personalities. Being an effective teacher requires the implementation of creative and innovative teaching strategies in order to meet students\u2019 individual needs.\nTeachers need to develop teaching strategies to inspire students with science stories and inquiry adventures. Whether it\u2019s learning the basics of rocket science (for babies), exploring the diversity of life on earth, or soaring into the solar system, children\u2019s books are a perfect launch pad for exploration.\nOne of the teaching strategies of science class is conducting fun experiments. Children love to work with their hands, and experiments are always a great way to get students involved in the lesson. Teachers need to combat the \u2018science is boring\u2019 stereotype with storytelling and fun activities. This can be done with great children\u2019s books on science. We have interesting titles that help show students just how fun and exciting science and exploring the world around them truly can be. Work these books into your plans to create strong cross-curricular lessons. These are books that can spark a love of science!\nTumblehome provides the tools for teachers to inspire students to learn more about the natural and man-made worlds around them. In the spirit of Robert Noyce, the inventor of the integrated circuit, original founder of Intel and one of the fathers of Silicon Valley, we want every child to know that they too can change the world through their exploration of science. They too can \u201cgo off and do something wonderful.\u201d\nTools for Teachers\n- A short curriculum unit for grades 6-12 on Resisting Scientific Misinformation\n- Books to answer hundreds of questions for curious kids and adults\n- Conservation adventure stories for kids\n- A time-travel adventure series visiting scientists of the past\nA workshop for teachers of grades 6-12 on how to use a free, 4-day, teaching unit meant to give kids the tools to sort out what\u2019s likely to be true or false in \u201cscience\u201d they encounter online. Read more\nAn award-winning science teacher\u2019s entertaining answers to 101 questions help encourage children\u2019s curiosity. Two other books in this series \u2013 I Wondered About That Too, I Just Keep Wondering.\nKids will love our nature oriented adventurous books. In Escape Galapagos teachers can get in on the game with a section in the book. Similar books\nIn this time-travel adventure series members of a secret organization visit scientists of the past. Other books in this series \u2013 The Baffling Case of The Battered Brain, The Cryptic Case of the Coded Fair", "id": "<urn:uuid:193a84e9-0207-47b9-adf1-62daf382f1a3>", "dump": "CC-MAIN-2023-14", "url": "https://tumblehomebooks.org/teaching-strategies/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945288.47/warc/CC-MAIN-20230324180032-20230324210032-00523.warc.gz", "language": "en", "language_score": 0.9195012450218201, "token_count": 538, "score": 4.03125, "int_score": 4}
{"text": "Good Course Work On Odyssey\nAugust 12, 2021\n- The Odyssey tells an overarching story about the adventures of Homer, but it also tells the story of the Greek\u2019s ancient world. The narration of the story is that of story-telling. It is essentially the written account of what an ancient Greek might have heard around the campfire. Within the story, is the story of storytellers? At the beginning of the story storytelling is listed as a high virtue: \u201cYou are a fine, mart looking fellow; show your mettle, then, and make yourself a name in story\u201d (Homer, 10).\n- When Polyphemus asked Odysseus his name, he responded disrespectfully that his name was nobody. The giant is blind, so was unable to see Odysseus. Odysseus telling Polyphemus his name is rubbing salt in his wounds since his prisoner have been released and now he cannot do anything to recapture them, so he says a prayer to Poseidon, asking for his vengeance.\n- He learns in book V that he will be able to go home. So these are tears of joy. Calypso believes that there is a double standard between the genders of gods since she will not be able to keep Odysseus.\n- He is afraid that if he is helped he will be beholden. This tells the readers that Odysseus values supremely his independence and does not want to be anyone\u2019s slave.\n- Achilles famous line is \u201cI\u2019d rather be a slave on earth for another man some dirt-poor tenant farmer who scrapes to keep alive than rule down here over all the breathless dead (Homer, XI). This establishes an important theme to the book. It is better to be alive an human, with all its perils than to be dead.\n- Odysseus has had bad things happen to him when he has revealed his name. It allowed the Cyclops to put a curse on him. So he opts to keep his name to his self.\n- Argos recognizes Odysseus. He dies happy after seeing his master after twenty years. He left Argos when he was still a puppy, \u201cThis was Argos,his master sailed for Troy\u201d (Homer, XVII).\n- Hospitality was very important in the Homeric world, this much is clear by how much stock is placed upon in The Odyssey, \u201cThe heart within him scandalized that a guest should still be standing at the doors\u201d (Homer, 130) . One function of hospitality in the book is to distinguish the good, kind characters from the hostile.\nHomer. Ed. Puchner, Martin. The Odyssey. The Norton anthology of world literature. 3rd ed. New York: W.W. Norton & Co., 2012. Print.", "id": "<urn:uuid:f8c7bd30-17c0-4cae-81da-183982546634>", "dump": "CC-MAIN-2023-14", "url": "https://writememyessay.com/samples/good-course-work-on-odyssey/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945376.29/warc/CC-MAIN-20230325222822-20230326012822-00323.warc.gz", "language": "en", "language_score": 0.9715505242347717, "token_count": 604, "score": 3.765625, "int_score": 4}
{"text": "Intermediate Japanese Language Learning with Dazai Osamu\nComplimentary Japanese Reading Lessons From Maplopo Schoolhouse\nSeason ONE\u2014\u6c34\u4ed9 (Page Six)\nEP.6 Spotlight: \u3053\u3068, Dazai Osamu (\u592a\u5bb0\u6cbb), Daffodil (\u6c34\u4ed9)\nVideo file / Audio File / Online Intermediate Japanese Course\n\u3053\u3068, EP.6 transcript | Intermediate and Advanced Japanese\nOkay, let\u2019s take a little \u2018ol look at \u3053\u3068 here\u2026 and, first Dazai\u2019s sentence.\n\u201cIt was when I was thirteen or fourteen that I read a novel called \u2018On the Conduct of Lord Tadanao.\u201d\nThis word has two basic aspects to it that we\u2019re going to cover in this lesson. The first is when \u3053\u3068 has some substantial meaning of its own. So, it can mean a circumstance or \u201chappenings\u201d \u2026 it can even be used to kind of indicate trouble that\u2019s caused by someone\u2026 or, maybe, even yourself. Here are three illustrations of this sort of aspect:\n\u201chere\u2019s how the imbroglio came about\u201d\n\u201cending without incident\u201d\nIn the second aspect of \u3053\u3068, the word itself doesn\u2019t really have meaning\u2014it works together with the preceding modifier as an aid. And, when it does that it allows this preceding modifier to really provide the point of focus of the sentence. So, \u3053\u3068 kind of disappears into that aspect of the sentence.\nHere are two examples of this at work:\nWhat happened yesterday is a secret to be kept between the two of us.\n\u201cWhen I grow up I want to do what\u2019s good for the world.\u201d\nDazai is employing this second usage of \u3053\u3068in his sentence here\u2026 and you can really see how without the preceding modifier the sentence is kind of formless\u2026 it doesn\u2019t really have any real meaning, right? So, if you look at our first example:\n\u201cWhat happened yesterday is a secret to be kept between the two of us.\u201d\n\u2026 If you remove the preceding modifier and just have \u3053\u3068 in there, then the sentence reads:\n\u201cA THING is a secret to be kept between the two of us.\u201d Which doesn\u2019t really tell you a whole lot, does it?\nAnd the same, of course, is true in the second example.\nSo, if you were to remove this important part of the sentence, you would just end up with:\n\u201cWhen I grow up I want to do a THING.\u201d\nWell, by golly, isn\u2019t that great?\nIt doesn\u2019t really tell us anything, right? So, the two need to work together (in this aspect of the word). Another thing worth noting about this is when you attach a time reference prior to using \u3053\u3068 (as Dazai does here in his sentence), then it really frames the sentence in a storytelling way. So, he\u2019s kind of leading us in a direction, right? This aspect of \u3053\u3068 allows a sort of sort of zooming in\u2026 \u201ca point of focus.\u201d He wants us to to be thinking about what he\u2019s about to tell us, and he wants us to kind of lean in and listen.\nA nice way to think about this is as if someone is on a stage and they\u2019re telling a story\u2026 and, they\u2019re looking out at the audience and they want to see like that kind of rapt attention that the audience is giving them\u2026 waiting for the next part of the sentence (or of the story) \u2026that\u2019s what this accomplishes when you throw it in there together.\nSo, including time, right? Here are a few, maybe, \u201ctime phrases\u201d that you might see in sentences.\nPretty clear, right? Okay. Let\u2019s look at another really famous example that uses this too. You might recognize it:\nI won\u2019t translate this one, but I\u2019ll rely on Jay Rubin\u2019s translation of the story and his first line is this: \u201cAnd now children, let me tell you a story about Lord Buddha Shakyamuni. Now, he\u2019s taken a few liberties with the translation of this, (and) but he\u2019s really, uh, foreshadowing here, right? And, maybe I\u2019m doing a little bit of that too because I haven\u2019t told you who wrote this story\u2026 So, this one is from Akutagawa Ry\u016bnosuke. And the story, of course (maybe of course), is \u201cThe Spider Thread.\u201d\nTwo final examples for you to kind of chew on.\n\u201cIt was six years ago that I went to see my first Paul McCartney concert.\u201d\n\u201cIt was the morning of the third Sunday of last month that I heard my father was to remarry.\u201d Okay, so, in these last two examples it should really feel how these are meant to be written down, right? It\u2019s a literary device.\n[Using a Japanese expression]\n(It was \u306a\u306b\u306a\u306b \u2026 it was \u306a\u306b\u306a\u306b)\u2026\nThey\u2019re leading you on, and that\u2019s the whole idea of this little cool word.\nGet The 70-page \u6c34\u4ed9 Section ONE Practice Tests Packet Free!\n(just click the image, and be whisked away to the signup page)\nPage 6 (click the circle for the next lesson)\nOr, return to the Tour page!", "id": "<urn:uuid:1d30c593-d000-4958-80a8-9ca8e5f2d6ed>", "dump": "CC-MAIN-2023-14", "url": "https://maplopo.com/schoolhouse/intermediate-japanese-dafffodil-pg-6/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948868.90/warc/CC-MAIN-20230328170730-20230328200730-00522.warc.gz", "language": "en", "language_score": 0.9456961154937744, "token_count": 1290, "score": 3.59375, "int_score": 4}
{"text": "Help Topic: Statistics\nAttributes or stats are the core elements of a character's personality and ability. There are four classes of attributes: physical, mental, social, and ineffable.\nPhysical attributes include strength, endurance, constitution, grace, finesse, and voice.\nStrength -- Sheer muscle power, helpful for effectiveness in combat and for any kind of difficult physical labor. Strength governs the damage of physical attacks and how much weight someone can lift.\nEndurance -- The ability to sustain intense or prolonged physical activity. Endurance governs the capacity to withstand physical attacks and how long someone can exert themselves physically without growing fatigued.\nConstitution Physical hardiness. Endurance governs the capacity to withstand trials such as poison, illness, extreme climates, lack of sleep, and the effects of drugs and alcohol.\nGrace -- Smoothness and speed of motion and sense of balance. Grace governs success in actions requiring overall physical coordination, including climbing, dancing, stealth, and making and dodging attacks.\nFinesse -- Physical accuracy and manual dexterity. Finesse governs success in tasks demanding precision and fine motor skills, including lockpicking, aiming ranged weapons, playing instruments, and a variety of craft skills.\nVoice -- Power and compelling quality of the voice. Voice primarily affects skill in singing, acting, and various kinds of magic that rely heavily on song or chant.\nMental attributes include logic, intuition, and acuity.\nLogic -- A person's inclination and capacity for methodical, analytical thought. Logic reflects the ability to process information thoroughly and accurately, often in a step-by-step manner. It and intuition both affect success in intellectual activities such as research, medicine, and certain practices of magic.\nIntuition -- A person's inclination to obtain knowledge and process information in a way that bridges conscious and subconscious thought, often emerging in flashes or insight or leaps of understanding. Like logic, it affects success in various intellectual endeavors.\nAcuity -- Keenness of perception or environmental awareness. Acuity reflects not just sharpness of a character's senses but an innate tendency to notice small details and be aware of their surroundings, and affects success in such activities as tracking, detecting hidden people or objects, discerning subtle properties of objects, or seeing things at a distance.\nSocial attributes include command, composure, and magnetism.\nCommand -- A certain presence and air of authority that inclines others to listen to a person and obey them.\nComposure -- The ability to control outward displays of emotion. Composure reflects a character's capacity to suppress their temper and keep emotions off their face and out of their actions, and also affects success in dissembling and acting.\nMagnetism -- Attractiveness to others and an alluring force of personality.\nIneffable attributes include will, luck, and resonance.\nWill -- Determination, stubbornness, and overall strength of mind. Will affects the capacity to withstand both physical and mental hardships, such as the effects of serious injury or torture, and also governs success in mental magic.\nLuck -- A natural tendency for things to fall out in your favour. Luck can mean the difference between a shipwrecking storm or clear skies while at sea, or walking unmolested through a seedy part of the city rather than being accosted by criminals.\nResonance -- The degree to which one is attuned to the realm of magic and the fabric of unseen reality. Resonance reflects a character's capacity to perform or detect magic, as well as to commune with spirits or divine the future.\nAttributes in Song of Avaria are capped at a maximum of ten points and follow the scale of:\n1 -- abnormally weak\n2 -- somewhat weak\n3 -- dead average\n4 -- somewhat above average\n5 -- noticeably good\n6 -- very good\n7 -- excellent\n8 -- outstanding\n9 -- extraordinary\n10 -- almost incredible\nEvery year on their character's birthday the player will get a chance to shift a stat point to different attribute. Stat points will not rise with experience; those defined in character generation are all the stat points your character will get. The shifting of a point marks character development according to ongoing narrative, but it is up to the player whether to adjust stats and how.\nBack to Index", "id": "<urn:uuid:c442928e-762a-4048-b007-77a0e3f58d8a>", "dump": "CC-MAIN-2023-14", "url": "https://songofavaria.com/help_system/?name=statistics", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945183.40/warc/CC-MAIN-20230323194025-20230323224025-00122.warc.gz", "language": "en", "language_score": 0.912814199924469, "token_count": 880, "score": 3.625, "int_score": 4}
{"text": "Pedagogy at The Crayons\nThe Crayons Pedagogy follows the concept of Intentional teaching through Crayons Rainbow Curriculum that ensures the holistic development of every child. The curriculum aims to develop- Intellectual abilities, Verbal & Linguistic, Bodily-Kinesthetic, Personal Awareness, Socio-Emotional Development, Individual Potential, and Intentional Teaching.\nThe driving principle of The Crayons Preschool pedagogy is Howard Gardner\u2019s Theory of Multiple Intelligences, which clearly identifies several bits of intelligence and preferences that human beings depend upon, to take in information and solve problems.\nVerbal & Linguistic\nThis ensures our learners display a great capacity for words and language and have a good ability to remember in terms of communication, expression and presentation skills in early literacy through storytelling, picture reading, circle time, letters and words which expands their vocabulary.\nFocuses on the use of large muscle, small muscle groups, and whole-body movement to perform tasks like jumping, walking, balancing, crawling, running, and throwing. Our teaching aids are sticking, sorting, clay molding, coloring, and writing activities are used to enhance these skills.\nThe ability to find solutions, include learning, counting, understanding, problem-solving, logical reasoning, thinking, experimenting and remembering, sequencing.\nWe focus on a way of relating to children that embrace and build on their strengths, interests, ideas and needs. We cater to the methodology which allows children to be creative and express themselves by providing an array of experiences to build the child's foundation of knowledge.\nNurturing Individual Potential\nBeyond teaching academics, we are fostering a child's Individual potential by focusing on their emotional skills, creativity, identity and overall well-being in every child. Our curriculum give freedom to explore , express and open up their wings\nWe support children by building appropriate behaviors, giving effective praise, experience, regulate and express a range of emotions. Children are taught emotional and social skills that build values of friendship, sharing, caring and discussions, role-plays, and stage exposure. They naturally become intuitive while exploring their environment and learn.\nOur curriculum is designed to help children develop independence, safety, hygiene and self help skills. We focus on making the child aware of their body -how to navigate in space, personal care and routine.", "id": "<urn:uuid:267ce340-cbca-43a2-b8bc-171804c91677>", "dump": "CC-MAIN-2023-14", "url": "https://www.thecrayonschool.com/curriculum", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948871.42/warc/CC-MAIN-20230328201715-20230328231715-00723.warc.gz", "language": "en", "language_score": 0.9189044237136841, "token_count": 524, "score": 3.671875, "int_score": 4}
{"text": "Carol Brennan King\nToday in class, we went back to the beginning, considering the physical elements of a story \u2013 like plot, scenes, and chapters.\nPart 1: One of my students had asked for a definition of plot.\nAnd as I did a little research, I can see how she might be confused. Here are three different definitions of plot, but as you look at them, think about how they overlap.\n- According to Dictionary.com, a plot is \u201cthe plan, scheme, or main story of a literary work.\u201d It is both what the story is about and the series of events that make up the story.\n- A plot is also defined as a simple sequence of events, with a strong plot centered on a single moment or interruption of a flow or pattern. Think of a turning point or an action that raises the question: What is going to happen now that this unexpected event has occurred?\n- Another definition calls a plot the secret plan or scheme to accomplish some purpose, especially by the bad guy to harm the good guy, or a bad group to harm the good or innocent people \u2013 like in a war.\n- A plot is also called the storyline, the plan or scheme as we said above, or simply the main story of a literary or dramatic work.\nRemember there are a lot of mini-conflicts in any larger work, but when it is all distilled the plot revolves around one major issue.\nFor example: Brian really likes Lilly. So he tries to find occasions to get to know her better and to impress her. Maybe he asks her if she\u2019s going to a game where he is going to be playing. If she tells him, she\u2019s going and shows up, everything looks positive. But what if Danny overhears this, and when she shows up at the game, he finagles a seat by her and does his best to undermine Brian.\nBrian doesn\u2019t give up, after all, she was there. So he asks her out, just to get to know each other. But Danny cuts that off by giving Brian a flat tire. And the story goes on \u2013 Brian tries, Danny ambushes, though Brian does not know it is Danny undermining him. Then someone enlightens Brian about Danny\u2019s subterfuge, and to win the girl, he has to find a way through or around the next conflicts. At last, his efforts either win the girl, or he is too late.\nThen you write the conclusion: is it a happy ending, and unhappy ending or a tragedy as we talked about it class?\nWilliam Foster Harris says in The Basic Patterns of Plot that there are three plot types as I just mentioned: happy ending, unhappy ending, or tragedy \u2013 perhaps defined as an unrecoverable ending \u2013 or at least unrecoverable as defined as a goal in the beginning of the story. We talked about the memoir of a doctor who had cancer. He died. Unrecoverable? Perhaps for him, but he knew it was coming and did much to prepare his wife and family to go on successfully without him. Where do you think this ending falls?\nPart 2: Scenes and Chapters\nSometimes a scene can make up an entire chapter \u2013 remember \u2013 a scene is a place where things happen. Other times, a chapter can have several scenes.\nIn the first scene, we might meet the protagonist and see him or her at work, and we could meet the character who would become his enemy. That could be the end of the first chapter.\nOr there could be two more scenes, one in which we see the antagonist in his workplace across town talking to his boss about the protagonist. The third scene in that chapter might go back to the protagonist getting a phone call requiring him to leave work to go home suddenly. Three scenes, yet all one chapter.\nThe point is both scenes and chapters have a place in your story\u2019s pacing. Short chapters tend to move the action along quicker. Longer chapters might lull you into relaxing with the longer flow of information and less tension. Remember, both scenes and chapters have a part in how quickly your story unfolds, and how your reader experiences the story.\nSome people feel a natural sense of closure at the end of a chapter, like it is a signal to relax. This does not necessarily occur at the end of a scene.\nPart 3: Planning your story\nWe know by now that scenes, chapters, and books all have an arc made up of a beginning, middle, and end. But what percentage of the whole do each of these parts serve?\nAgain I refer to Savannah Gilbo who says \u201cIn general, the beginning represents 25% of the story, the middle represents 50% and the end represents the final 25%.\nShe illustrates this with an 80,000 word novel.\nBeginning 20,000 words or 25%\nMiddle 40,000 words or 50%\nEnd 20,000 or 25%\nOn her page at https://www.savannahgilbo.com/blog/scenes-vs-chapters#:~:text=Scenes%20are%20mini%2Dstories%20that,to%20control%20the%20reader%27s%20experience she recommends keeping your scenes between 1000 and 2000 words.\nFrom those figures, she sees the beginning and final parts of the book each having 13 scenes, the center 26 scenes.\nNow, remember, there is no law requiring you to follow strictly these numbers, but it does help to keep you focused.\nTo make this more practical for a short story writer, I did a little experiment:\nThink of a 5000 word short story. Now 25% of that would be about 1250 for the first scene and opening. Then we have 2500 words and two scenes for the middle and 1250 or one scene possibly for the conclusion or end of the story. Again, there is not a law stating these figures, but it does help you to plot and organize your work.\nWell, that was a lot of new information. Just think it through and do a little outline of your own with a short story that you have been thinking about, adjusting your scene count (for the reader and the flow of the story) according to the word count you are working with.\nFor newbies here, I have an M.A. in English/Creative Writing from Binghamton University in New York State and taught in the Communications field for 30 years. I have dozens of publications from newspaper to magazines to journals. I have two poetry chapbooks published and am in the process of getting a novel called Leaving Ireland published.", "id": "<urn:uuid:14c23d4a-e871-445d-998e-524f3e1d812a>", "dump": "CC-MAIN-2023-14", "url": "https://carolbrennanking.com/2022/09/29/creative-and-memoir-writing-plot-scene-and-chapter-september-28-2022/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00723.warc.gz", "language": "en", "language_score": 0.9723593592643738, "token_count": 1368, "score": 3.921875, "int_score": 4}
{"text": "What\u2019s the best way to fix an urban high school? Change the school or change the teachers?\nPossibly a combination of both, says G. Alfred Hess Jr., a Northwestern University professor who studies Chicago high school reform. But he sresses research that shows long-term academic improvements can stem only from changes in classroom instruction. \u201cIf teachers aren\u2019t doing something different, why should we expect anything different in learning?\u201d he asks.\nThe school models highlighted below have been found, by independent research, to improve high school student achievement. Many share similar elements: extended teacher training, revamped curriculum, and using national standardized tests, and attendance and dropout rates to evaluate progress. Here are overviews of each model:\nLarge urban high schools are divided into smaller \u201ccareer academies\u201d where students get individual attention from teachers. Ninth-graders are placed in a separate academy, where they can get extra support making the transition to high school, and can spend more time studying math and reading. Schools must adopt block scheduling\u2014dividing the day into four, 80- to 90-minute class periods. Talent Development supplies teachers with detailed lesson plans. The model requires at least 80 percent of a school\u2019s teachers to vote to accept the program.\nCommunity for Learning\nThe model revolves around four basic goals: Increase parent and community involvement in the school. Train teachers to use new teaching methods and work collaboratively. Allow students to learn at their own pace in a nurturing environment. Increase the amount of time devoted to classroom instruction. Based on these principles, teachers develop their own lesson plans. Special education students are included in mainstream classes.\nExpeditionary Learning Outward Bound\nThe basic philosophy: Students learn more through extended hands-on projects, than they do in traditional lecture courses. For instance, students who attend school near the Mississippi could study the river\u2019s plant and animal life instead of reading about it in a biology textbook. Projects could include testing water quality or advocating for a river protection policy. Character development, high academic standards and community involvement are key elements of this model. Professional development sessions also are built around expeditions, such as science teachers enrolling in an eight-day sea kayaking excursion to develop a marine biology curriculum.\nHigh Schools That Work\nAll students are expected to pass a rigorous, college-prep curriculum that focuses on core subjects: Four years of math and English, three or four years of science and three years of social studies. Low-level courses are often eliminated. Teachers align their lessons to high standards. The model requires an 80 percent approval vote from teachers before it can be launched.\nSchool Development Program\nTeachers and parents have significant input and decision-making powers in school restructuring. Three teams are set up to govern the school: school planning and management, student and staff support, and parents. Teachers can sit on the first two; parents can sit on all three. Students have the opportunity to forge strong relationships with adults in school and in the community. Each school in this model is unique\u2014the product of priorities set by its own faculty, parents and administrators.", "id": "<urn:uuid:917d687b-29ef-405a-bd89-4d1f10f05a72>", "dump": "CC-MAIN-2023-14", "url": "https://www.chicagoreporter.com/five-national-models-whole-school-reform/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00320.warc.gz", "language": "en", "language_score": 0.950713038444519, "token_count": 647, "score": 3.5, "int_score": 4}
{"text": "Writing is the vehicle for communication. In addition to promoting the need for good communication skills, the teaching of the writing process provides opportunities for students to develop clear thinking skills. Writing is also a developmental process that each student can successfully experience at different levels when approached systematically. Based upon this premise, this Action Tool presents the five stages of writing: prewrite, write, revise, edit, and publish in a manner that allows writing to be taught as a process. Strategies for Teaching Writing: An ASCD Action Tool makes writing in the classroom manageable. The tools provide a step-by-step approach to teaching the writing process. The tools include complete how-to-use instructions, suggestions, classroom examples and cross-curricular activities. Using the tools, teachers can grant students time to write, to process their thoughts and develop a way to analyze their thinking using cognitive reasoning instead of impromptu thought. The Action Tool also provide teachers with assessment strategies to assess students participation and progress at each stage of the writing process.\nAs the online world of creative writing teaching, learning, and collaborating grows in popularity and necessity, this book explores the challenges and unique benefits of teaching creative writing online. This collection highlights expert voices who have taught creative writing effectively in the online environment, to broaden the conversation regarding online education in the discipline, and to provide clarity for English and writing departments interested in expanding their offerings to include online creative writing courses but doing so in a way that serves students and the discipline appropriately. Interesting as it is useful, Theories and Strategies for Teaching Creative Writing Online offers a contribution to creative writing scholarship and begins a vibrant discussion specifically regarding effectiveness of online education in the discipline.\nStudents in a typical special education methods course are often presented with and overwhelmed by myriad techniques, leaving them with insufficient opportunities to practice and reflect on covered practices. In addition, students are often uncertain how to apply the techniques in teaching situations. METHODS AND STRATEGIES FOR TEACHING STUDENTS WITH HIGH INCIDENCE DISABILITIES: A CASE-BASED APPROACH uses a more focused and integrated approach than other available texts. Each chapter presents a limited number of techniques (five to seven) in detail. The authors demonstrate effective teaching methods and techniques through application activities, anchor content around case studies, and offer an overview of techniques not covered in detail. Information addressing culturally, economically, linguistically, and ethnically diverse learners, among others, is integrated throughout. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.\nDeveloped for grades K-5, this rich resource provides teachers with practical strategies to enhance science instruction. Strategies and model lessons are provided in each of the following overarching topics: inquiry and exploration, critical thinking and questioning, real-world applications, integrating the content areas and technology, and assessment. Research-based information and management techniques are also provided to support teachers as they implement the strategies within this resource. This resource supports core concepts of STEM instruction.\nDeveloped for grades 6-12, this rich resource provides teachers with practical strategies to enhance science instruction. Strategies and model lessons are provided in each of the following overarching topics: inquiry and exploration, critical thinking and questioning, real-world applications, integrating the content areas and technology, and assessment. Research-based information and management techniques are also provided to support teachers as they implement the strategies within this resource. This resource supports core concepts of STEM instruction.\nEditing\u2014the next step in writing once the key ideas are put on paper\u2014can be difficult to teach. For teachers, it is often difficult to find lessons to engage students in the process. For students, editing is frequently an afterthought. In Key Strategies for Teaching Editing, the authors present interesting meaningful ways to teach students good editing skills. Leochko and Rossi also show how students who use these editing skills can become good writers. Key Strategies is divided into three sections: punctuation, grammar, and spelling. Each section has several lessons. Each lesson includes: Reference Sheet \u2014 mini-lesson about rules and usage Editing Sheet \u2014 authentic piece of writing that gives students opportunities to apply writing conventions in meaningful ways Answer Key \u2014 answers for the editing sheet", "id": "<urn:uuid:fbab8272-0e61-42b8-9a98-7402e53d452e>", "dump": "CC-MAIN-2023-14", "url": "https://ssimonechavous.com/file/strategies-for-teaching-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949355.52/warc/CC-MAIN-20230330163823-20230330193823-00523.warc.gz", "language": "en", "language_score": 0.9293261766433716, "token_count": 851, "score": 3.8125, "int_score": 4}
{"text": "Technology and digital media are an integral part of our world today!\nNot long ago, the conversation about digital media and early-childhood learning focused on whether these new technologies should be part of early-childhood education, but in recent years, the conversation has shifted to an acknowledgment that technologies are a part of learning.\nMore than ever before, educators are open to embracing technology!\nThe most influential new research shedding light on the change in acceptance of media use comes from the American Academy of Pediatrics. A report released in October 2016 provides updated recommendations that more accurately reflect the daily lives of young children both at home and in school. In addition, current research is beginning to make clear that while digital media can provide significant learning benefits for young learners, the adult\u2013child relationship is essential to obtaining these learning benefits.\nOne extremely effective method for establishing adult\u2013child relationships as children interact with technology is \"joint engagement.\"\nHatch Early Learning has long been grounded in developmental research, and new research makes it clear that experiences of young learners are somewhat different from those of slightly older preschoolers, pre-kindergartners, and kindergartners. The integration of joint engagement (between teachers/adults and young learners) helps to ensure young learners are supported through communication, guidance, and relationship building.\nWhat Is Joint Engagement?\nJoint engagement = Child-controlled/teacher-facilitated, somewhat spontaneous interactions that take place between children and teachers (or other adults).\nIt\u2019s through relationships that we grow and learn best!\nWhen adult\u2013child relationships are established, children are more ready to learn, all of which contributes positively to children\u2019s cognitive, social, and emotional development.\nWhy Is Joint Engagement Important?\n- Joint engagement plays a critical role in early-childhood development. Studies indicate that joint engagement abilities (i.e., a child\u2019s ability to participate in joint engagement) can predict later cognitive, language, and social competencies.\n- Teachers employing joint engagement gain insight about what their young learners do and do not understand, what they like and dislike, and so much more! These insights enable teachers to maximize each child\u2019s learning experiences.\nHow Do I Implement Joint Engagement?\n- First, joint engagement is all about teachers following the lead of the learner, but it is important that you model appropriate technology use because the children will follow your lead!\n- As important as it is for you to model appropriate use, it is vital that you encourage children to lead you as they make decisions about their play.\n- At times, it can be a struggle to let our young learners problem solve their way through technology interactions, but resist the urge to take over! Rather than reaching over to show a child how to answer a question, manipulate an object, and so on, encourage children to try a few techniques on their own!\n- Prior to the child reaching frustration, provide suggestions to help them solve the problem. If you sense a child has reached a level of frustration that will interfere with the overall experience, provide guidance.\n- Encourage young learners to scout out a location from which you can both comfortably enjoy technology time together!\n- If you are working with a computer rather than a tablet, work with the child to find an appropriate seat for you (and/or them).\n- Direct attention and eye contact between what is on the screen and the young learner with whom you are working.\nWhat to Say/Do and Other Important Techniques for Joint Engagement\nChoose one or two of the following techniques during each joint engagement interaction, and over time, mix them up!\n- Listen closely. Make comments and ask questions that show your interest and understanding.\n- Supply words that the young learner may be trying to say but does not yet know. Add details if invited, but do not take over the young learner\u2019s storytelling or information sharing.\n- Ask the learner what they think and why.\n- Be patient and provide the learner time to respond.\n- Use \"tag questions\" such as, \u201cThat is a green house, right?\u201d or \u201cI see a cat. Do you?\u201d\n- Providing a description is a something you likely do many times every day! As it pertains to joint engagement with technology, simply share a brief description of what is shown on the screen or what the child is doing (i.e., \u201cYou moved the caterpillar to the flower.\u201d).\n- Provide \"evaluations\" about what is shown on the screen (i.e., \u201cI like the way the robot dances!\u201d).\n- Ask the learner to point to pictures and find details. Talk about the pictures and ask the child to name or describe what they see.\n- Focus on what a child means to say, not how they pronounce the words or what language or communication system they use.\n- Give the child time to repeat new words.\n- Say and repeat sound effects and repeated lines or choruses together.\nSupport the young learners by\n- Asking \u201cwhy\u201d and \u201cwhat-if\u201d questions.\n- Suggesting new possibilities with statements or questions (i.e., \u201cWhat if you moved the triangle there instead?\u201d).\n- Supplying or asking about missing connections with statements or questions (i.e., \u201cWhy didn\u2019t the dog make a barking sound that time?\u201d).\n- Encouraging children to model their reasoning and problem-solving with statements and questions (i.e., \"Tell me how you made the cow say, \"moo.'\").", "id": "<urn:uuid:3311b747-c87b-4760-94a0-d67870108df4>", "dump": "CC-MAIN-2023-14", "url": "https://support.hatchearlylearning.com/hc/en-us/articles/5991089588628-Ignite-Joint-Engagement-Guide", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945381.91/warc/CC-MAIN-20230326013652-20230326043652-00518.warc.gz", "language": "en", "language_score": 0.939786434173584, "token_count": 1175, "score": 3.765625, "int_score": 4}
{"text": "It is common knowledge that many people are not big fans of math. This anxiety begins at an early age, creating lasting feelings of frustration with the subject. In most cases, this is caused by a lack of understanding of the main concepts.\nFor those who enjoy the subject, math problems are exciting, and the thrill of finding solutions outweighs the challenges they face in the process. These students perform well in math and other related subjects compared to those who find it difficult.\nWhat is math anxiety?\nResearch shows that maths anxiety is a problem affecting students worldwide. It is caused by the constant frustrations associated with the inability to understand math concepts. Coupled with other stress factors which end up creating low self-confidence, math becomes a dreaded topic.\nLuckily, math anxiety can be controlled at a young age to ensure children grow up associating math with positive feelings. Understanding mathematical concepts is important, as they are applied in other academic fields such as physics and chemistry.\nWhen we apply positive reinforcement in the classroom, we are helping to boost students\u2019 confidence in their ability to handle problems. This helps, of course, in reducing their math anxiety.\nEven while away from school during the holidays, it is important to encourage students to practise mathematical concepts to ensure they are not forgotten. It is estimated, for example, that up to 11 weeks\u2019 worth of math skills can be lost over the summer!\nThis could be prevented by advising parents to hire a qualified tutor who will ensure constant maths work. This will be very helpful to kids, since an average of 2-3 hours of active learning each week is enough to prevent the loss of math skills.\nIn addition to positive reinforcement, making the process of learning fun will help in preventing math anxiety. Below are some ways to make math fun for kids, which will increase their performance.\n1. Application of Mathematics in Real Life\nThe perception that math is ambiguous and complex makes it difficult for students to understand it.\nWhile simple mathematics such as addition and subtraction are easily relatable to real-world situations, complex processes such as algebra and trigonometry are not.\nIn the classroom, making math relatable could be done by applying things such as storytelling to help them associate concepts with things they understand.\n2. Teaching Math Through Art Lesson Plans\nTo make math fun, you could use other forms of art which kids enjoy. Such art forms include sculpting, painting, and drawing.\nWhen kids learn to apply mathematical concepts in other disciplines they love such as painting and music, they appreciate it more and the positive attitude helps in boosting their understanding.\n3. Use Guided Math to Make it Easier\nWhile too much direct instruction is boring for students and tiresome for teachers, finding the right balance could prove very beneficial.\nAs a teacher, you should gain an understanding of your students to determine who requires extra attention to grasp the concepts.\nThis could be done by dividing students into groups and teaching mathematical concepts to each group individually according to their needs.\n4. Use Whole Class Math Games\nThere are numerous fun games that kids can play in the classroom. Games are enjoyed by all children, and if you make it a tool through which you can teach them math, you are sure to get results.\nBy using prizes such as rubbers, pencils and notepads, you could create a competitive environment through which the children will be motivated to learn the concepts needed to win.\n5. Consider Integrating Technology in the Math Classroom\nOne thing that students have in common is their love for all things technological.\nA lot of educational technology tools allow people to practise their math skills, and just the simple fact it\u2019s online could make math fun.\nBy using online-based resources, your students are likely to be more engaged and may end up paying more attention to your lessons. This will surely increase their rate of comprehension!\nAs a teacher, dealing with kids who have different capabilities can be challenging. Our website provides you with expert tips on the best practices to ensure you become a positive tool in their learning.", "id": "<urn:uuid:4ffcb5c5-5fe0-4e12-a4cf-34005f1bc8b9>", "dump": "CC-MAIN-2023-14", "url": "https://www.educationcorner.com/make-math-fun/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949533.16/warc/CC-MAIN-20230331020535-20230331050535-00124.warc.gz", "language": "en", "language_score": 0.9619102478027344, "token_count": 836, "score": 3.90625, "int_score": 4}
{"text": "How do stories help to improve communication and presentation skills?\nStories have been used for thousands of years as a way to convey information and ideas. They have the power to entertain, inform, and inspire. But stories can also be used as a tool to improve communication and presentation skills. In this blog post, we'll explore how stories can be used to enhance communication and make presentations more engaging and effective.\nFirst, let's look at how stories can help improve communication. According to Dr. Annette Simmons, author of \"The Story Factor: Inspiration, Influence, and Persuasion through the Art of Storytelling,\" \"Stories help us make sense of our experiences, they help us understand and remember information, they help us connect with others, and they help us persuade others to see things our way.\"\nOne way stories can help improve communication is by providing a framework for understanding complex ideas. For example, a story can be used to explain a concept or process in a way that is easy for the listener to understand. This is because stories are often relatable and have a clear beginning, middle, and end. They also have characters and plot points that help to create a sense of familiarity and understanding.\nAdditionally, stories can also help to establish trust and build relationships. By sharing personal stories and anecdotes, we can create a sense of connection with the listener. They become more open to our ideas and are more likely to trust us. This is particularly important in business or professional settings where building trust with colleagues or clients is crucial for success.\nNow let's look at how stories can be used to enhance presentations. According to Dr. Paul J. Zak, author of \"The Neuroscience of Trust,\" \"Stories are 22 times more memorable than facts alone.\" This is because stories are more engaging and create a deeper emotional connection with the audience. They also help to create a sense of empathy and understanding.\nAccording to Dr. Paul J. Zak, author of \"The Neuroscience of Trust,\" \"Stories are 22 times more memorable than facts alone.\"\nOne way to use stories in presentations is to use them as an introduction to a topic. A story can be used to grab the audience's attention and set the stage for the information that will be presented. This can make the presentation more engaging and memorable.\nAnother way to use stories in presentations is to use them as examples or case studies. By providing real-world examples of a concept or process, we can help the audience understand and relate to the information in a more concrete way. This can also make the presentation more engaging and memorable.\nFinally, it's worth noting that storytelling is a skill that can be learned and developed. If you want to improve your communication and presentation skills, consider taking a course or workshop on storytelling. Or read books like \"The Story Factor\" and \"The Neuroscience of Trust\" to learn more about the science behind how stories can be used to communicate and persuade.\nIn conclusion, stories are a powerful tool that can be used to improve communication and presentation skills. They help to make complex ideas more relatable and memorable, and they can be used to establish trust and build relationships. Additionally, storytelling is a skill that can be learned and developed with practice. So, next time you are communicating or presenting, consider incorporating a story or two to make your message more engaging and effective.", "id": "<urn:uuid:7bfb9eab-b661-4e9f-9008-268c77540bd3>", "dump": "CC-MAIN-2023-14", "url": "https://www.lorestorytelling.com/post/how-do-stories-help-to-improve-communication-and-presentation-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00122.warc.gz", "language": "en", "language_score": 0.9500765800476074, "token_count": 683, "score": 3.59375, "int_score": 4}
{"text": "Black History Month\nIn Belgium, February represents the month of love (with Valentine\u2019s Day) or of celebration (with our countless carnivals). In America, however, another event also marks this period: The Black History Month. You don\u2019t know what it is? Well follow us in this little article to find out a bit more about our friends across the Atlantic!\nThe origins of Black History Month go back to 1926 when the African-American historian George Carter Woodson decided to \u201ccreate\u201d a week that would be entirely devoted to the history of the black people in the United States, the Negro History Week. Woodson felt it was necessary to offer the American people a different vision from that commonly conveyed in history books, which first presented slaves as soulless, gentless beings, eternally dependent on the goodwill of their masters, and secondly the descendants of black American slaves as devalued individuals.\nIn 1976. On the occasion of the bicentenary of the Declaration of Independence, the American government decided to extend the Week to a whole Month. February is now Black History Month. The choice of February was justified, for Carter Woodson, by the fact that this month allowed to pay homage to two essential figures of the writing of the chapter of slavery in American history: President Abraham Lincoln, born on February 12th, who was the signatory of the 1863 Emancipation Proclamation that made slavery in the southern states unconstitutional, and Frederik Douglass, born a slave on February 14th, and who fled in 1838 before becoming the greatest advocate of the anti-slavery cause.\nBlack History Month is a means of returning a story that was stolen from African-Americans during their extractions from their countries of origin. This month allows them to have a memory of where they came from, and to legitimise their rights on the American continent.\nThe countries that practice it\nSubsequently, other countries have followed the lead of the United States, such as the United Kingdom since 1987 and Canada since 1995. It was Ghanaian analyst, journalist and activist Akyaaba Addai-Sebo who initiated the recognition in 1987 of October as Black History Month in the United Kingdom.\nHe said in an interview: \u201cOur initial aim was to first create a favourable cultural space in the British celebration calendar and, after public acceptance and recognition, to extend the October celebration to a Black History Month season. To make the Black History Season a celebration of the magnificence of cultural diversity and the enriching value of peaceful coexistence. For the African spirit, to achieve harmony \u2013 the black and white keys of the organ in tune. \u00bb\nIn Canada, Black History Month has been recognized since December 1995, when Black MP Jean Augustine passed a motion on the recognition of Blacks in the Canadian House of Commons. The first celebration took place in February 1996. In February 2008, Senator Donald Oliver, the first African American elected to the Senate, introduced a motion to recognize the contributions of African Americans to Canadian history and culture during Black History Month. The motion passed unanimously on March 4, 2008. The adoption of this motion complemented Canada\u2019s parliamentary position on Black History Month.\nWhat about Belgium?\nAlthough Belgium has not formalized Black History Month, events such as performances, storytelling evenings, film screenings, dance jams and guided tours of exhibitions based on the history and culture of the African Diaspora taking place during the same period are already taking place.\nAs we all know, Belgium also has a history linked to colonisation, which is so far embellished by society, but why not make official the month of black culture, well it\u2019s simple, Congo did not belong to the Belgian people or the country, the wealth acquired went directly into the pockets of King Leopold II and did not come from the Belgian coffers, it was the king who granted the Belgians new infrastructures with the money obtained from Congolese resources.\nAnd you? what do you think? do you think it would be normal to make this event official or not? We would be delighted to hear your opinions, tell us in the comments!\nI would like to end with a quote:\n\u201cWe should not highlight black history, but black people in history. We do not need the history of certain races or countries, but rather the history of a world free of national prejudice, racial hatred and racial intolerance.\u201d\n\u2014 Carter G. Woodson", "id": "<urn:uuid:e44d5e83-8822-4f8d-be5f-59eea8d284b9>", "dump": "CC-MAIN-2023-14", "url": "https://ecoledelangues.be/black-history-month-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00521.warc.gz", "language": "en", "language_score": 0.9597249031066895, "token_count": 916, "score": 3.5, "int_score": 4}
{"text": "What Does It Mean to Be a Good Citizen?\nAt Bright Horizons, our Toward a Better World curriculum focuses on:\n- Civic and community responsibility\n- Character development\n- Diversity, equity, and inclusion\n- Environmental stewardship\nTogether, teachers and children create a classroom community where children are involved in a range of experiences that promote children\u2019s development of identity, valuing diversity, and appreciating and caring for the world around them. They learn about their impact on others, their immediate classroom community and the larger world in which they live.\nHow to Raise a Good Citizen\nYou have a key role in supporting the development of citizenship within your child. Start first within your home, and as your child grows, gradually expand to your larger community.\nGive Your Child Responsibility\nWork on projects as a family and give your child small jobs. Keep the jobs consistent with their capabilities so they learn about the joy of helping, rather than becoming frustrated. Be sure you help your child learn the task \u2014 perhaps first doing it alongside them \u2014 until they become confident.\nRead Books about Good Citizenship\nAs with so many topics, books are a perfect starting point to spark discussion and learning. Seek high quality literature that promotes conversations about honesty, making change, or doing one\u2019s part. Look for books that positively and authentically depict people from many ethnic, racial, religious, or cultural backgrounds.\nConnect within Your Community\nVisit local shops, farm stands, libraries, firehouses, and other places that will help your child understand the fabric of a community and how it works. When visiting these places, speak to the people who work there to learn more about their role within the community. Spend some time learning about and riding the public transportation options in your area.\nSeek volunteer opportunities in your neighborhood. Nursing homes, animal rescue centers, or public space clean-up campaigns are all options.\nTeach Simple Lessons in Civic Engagement\nBring your child with you to vote. If age-appropriate, explain the importance of voting and why you participate. A preschooler is too young to understand the complete political landscape, but they can start to learn the significance voting and begin to understand your value system.\nMore on Being a Good Citizen\n- Try one of these seven family-friendly ideas to teach your child about the importance of giving back.\n- Learn more about how to talk to your children about upcoming elections.\n- Discover four strategies for helping your child develop compassion.\n- Social-emotional development is a foundational part of learning to be a good citizen.\nNovember 4, 2021\nCategories in this article:\n- Social and Emotional Growth\nTopics in this article:\n- teaching diversity", "id": "<urn:uuid:da671e2f-7f0a-4c75-ad87-ac9e753c1fe2>", "dump": "CC-MAIN-2023-14", "url": "https://www.growth-blog.net/resources-for-families/teaching-children-how-to-be-good-citizens/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00121.warc.gz", "language": "en", "language_score": 0.9444597959518433, "token_count": 553, "score": 4.15625, "int_score": 4}
{"text": "If you want your kids to enjoy your garden, you need to let them be kids there. That doesn\u2019t mean let them destroy it by trampling through it without supervision, since they might not yet have developed a sense of how special a place it is. Rather, engage in activities with them that stimulate their interest on their level. You will build relationship with them while you do it, and probably learn things about your own garden as they ask questions and explore. Below is a list of suggested ways to help children begin to look at gardening in new ways. Any of the activities could be done with a child as soon as they are old enough to communicate sufficiently with, but the degree of supervision will vary.\n1. Let a child have his own small garden space to plan and tend. You don\u2019t have to make it \u201call\u201d their responsibility, and try not to make it a chore. Attempt to make it part of regular outside, fresh air play time with you.\n- let him choose his favorite vegetable, possibly from a list of things you are ready to deal with and you are pretty sure the family will eat\n- let him grow things for gifts\n- let him grow things to sell, guiding him in the process, possibly taking advantage of grandparents\u2026\n- encourage him to keep a low key diary about his garden, including photos\n2. Put the child in charge of monitoring and charting certain details of garden life.\n- track patterns of sunlight over a given day and/or over the season\n- track when insects or diseases appear\n- track when plants bloom and produce fruit\n3. Have a leaf gathering and comparing project.\n- have a list of characteristics for him to think about, i.e. color, shape, texture\n- provide a drawing notebook to trace or draw samples and record facts\n- dry or press some for an art project (click on any photo to enlarge)\n4. Monitor the life of a spider in it\u2019s web.\n- draw pictures or take photos of changes\n- note how weather affects it\n- observe how bugs get caught and eaten\n5. Collect flower petals to make a picture.\n- see the details I wrote about pressed flower petal art for children on the D&B Supply blog.\n6. Encourage dissecting of plant parts (that have been approved for harvesting).\n- try to identify structures\n- compare structures between different plants and flowers\n- do it at different stages of growth\n7. Provide a notebook with blank pages for drawing scenes from the garden.\n- each of my children worked through this simple book to learn basic sketching skills: Drawing Textbook. This makes drawing much more enjoyable and useful.\n8. Teach the child how to cut bouquets for the house.\n- it\u2019s not that you need the bouquets to be precise,\n- but there are things about types of flowers,\n- like stem length,\n- stems that need conditioning,\n- flowers that close in the house\n- flowers that drip or sprinkle to stain good table clothes\n- checking for bugs before bringing them in, to name a few helpful things\n- this book on cut flowers has been useful at our house: Cutting Gardens: The Complete Guide to Growing Flowers and Creating Spectacular Arrangements for Every Season and Every Region\n9. Send the children on a bug hunt.\n- provide magnifiers\n- white paper to make them easier to see\n- insect identification guides\n- help them research the life cycles\n- and the impact of each insect in the garden\n10. Make taste testing a game.\n- give your children permission to eat garden produce as snacks while they are playing outside\n- talk about which parts of plants are edible, and if they are equally edible for the plant\u2019s whole life\n- research if they are edible to people and animals\n- have them pick a few things to compare and try to describe to someone who has never eaten it before\n- let a child look for a new recipe to try some garden produce\n- (see activity #13)\n11. Go on a scent hunt/exploration.\n- help the children go around the garden and smell different plants\n- talk about whether the scents appeal to everyone\n- try to figure out why the plants have various scents, i.e. chemicals present for certain processes, to attract insects, to discourage animals from eating them\n12. Let the child choose ways to help in the garden and teach them how to use special tools.\n- knowing they are being trusted with real and valued tasks gives them confidence\n- start the process with plants that are going to be more resilient to slight mistakes\n- point out how something like pruning fits into the life cycle of the plant\n- use this time as an opportunity to examine plants in ways that won\u2019t kill them, like dissecting does\n13. Make a project of cataloging any poisonous plants in the yard.\n- note that not all parts of a plant are necessarily poisonous\n- note there are degrees of poisonous that depend on type of chemical, amount ingested, and size of creature\n- note that some plant toxins are dangerous only from touching\n- distinguish between poisonous weeds and landscape plants\n- make a list and/or chart of where the poisonous plants are in the yard\n14. Identify birds in the garden and what they are eating.\n- binoculars could be helpful\n- also a bird identification book\n- and recordings of bird sounds\n15. Let the child use a camera to collect a series of photos that they can create a photo book with.\n- this could be included in most of the garden activities\n- it could be a stimulus for a creative writing or informational writing project", "id": "<urn:uuid:09af9f82-24e4-4133-ade5-076c004c5e01>", "dump": "CC-MAIN-2023-14", "url": "https://dailyimprovisations.com/garden-activities-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945372.38/warc/CC-MAIN-20230325191930-20230325221930-00124.warc.gz", "language": "en", "language_score": 0.9529923796653748, "token_count": 1191, "score": 3.5625, "int_score": 4}
{"text": "Unforgettable: The Science Behind Why Some Memories Stick\nHave you ever wondered why certain memories seem to stick with us forever, while others fade away quickly? From a first kiss to a traumatic event, some experiences stay vivid in our minds for years, even decades. But what makes these memories so unforgettable?\nThe Power of Emotion\nOne key factor in creating lasting memories is emotion. When we experience something that elicits a strong emotional response, our brains are more likely to encode that memory and store it for the long term. This is why we tend to remember major life events, such as weddings or graduations, with greater clarity than everyday moments.\nThe Role of Repetition\nRepetition is another important factor in memory formation. When we repeat an action or experience multiple times, our brains are more likely to create strong neural connections that solidify the memory. This is why practicing a skill, such as playing an instrument or speaking a new language, can lead to long-term retention.\nThe Impact of Novelty\nOn the other hand, novel experiences can also create lasting memories. When we encounter something new and unexpected, our brains are more likely to pay attention and encode the experience as a unique memory. This is why travel and exploration can be so memorable \u2013 we are constantly encountering new sights, sounds, and experiences that stand out from our everyday routines.\nThe Importance of Context\nContext also plays a role in memory formation. When we experience something in a particular setting or environment, our brains create associations between the memory and that context. This is why certain scents or sounds can trigger vivid memories \u2013 they are linked to the original experience through context.\nThe Role of Sleep\nSleep is also crucial for memory consolidation. During sleep, our brains process and organize the memories we have formed during the day, strengthening the neural connections that underlie those memories. This is why getting enough sleep is essential for learning and retaining new information.\nThe Impact of Stress\nWhile emotion can enhance memory formation, extreme stress can actually impair it. When we experience intense stress or trauma, our brains release hormones that can interfere with memory encoding and retrieval. This is why people who have experienced traumatic events may have fragmented or incomplete memories of the event.\nThe Power of Storytelling\nStorytelling is another powerful tool for memory retention. When we hear a story, our brains create mental images and associations that help us remember the details of the narrative. This is why storytelling has been used for centuries as a way to pass down cultural traditions and historical events.\nThe Role of Attention\nAttention is also critical for memory formation. When we are fully engaged in an experience and paying close attention to the details, our brains are more likely to encode those details as memories. This is why multitasking can be detrimental to memory \u2013 when our attention is divided between multiple tasks, we are less likely to form strong memories of any one experience.\nThe Impact of Aging\nAs we age, our ability to form and retain memories may decline. This is due in part to changes in the brain that affect memory processing and retrieval. However, research has shown that engaging in mentally stimulating activities, such as reading or playing games, can help maintain cognitive function and preserve memory abilities.\nIn conclusion, there are many factors that contribute to the formation and retention of memories. Emotion, repetition, novelty, context, sleep, stress, storytelling, attention, and aging all play a role in shaping our memories and determining which ones stick with us over time. By understanding these factors, we can take steps to enhance our own memory abilities and create unforgettable experiences that will stay with us for years to come.", "id": "<urn:uuid:ac47533c-a10d-4bd7-ab51-9e2db63d67f8>", "dump": "CC-MAIN-2023-14", "url": "https://www.razelnews.com/unforgettable-the-science-behind-why-some-memories-stick/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00324.warc.gz", "language": "en", "language_score": 0.9328833818435669, "token_count": 743, "score": 3.640625, "int_score": 4}
{"text": "This picture book companion is a complete supplemental resource for Patricia Valdez\u2019s book, Joan Procter, Dragon Doctor: The Woman Who Loved Reptiles.\nWith 60 print-and-go reading activities to choose from, this resource is ideal for customizing learning to your student\u2019s specific needs and academic ability. Students will investigate characters, identify story elements, determine the theme, conduct research, practice plotting story events, analyze characters, make predictions and connections, respond to writing prompts, and much more!\nClick HERE to save over 20% by buying the BUNDLE, which includes picture book biographies for Joan Procter, Hedy Lamarr, Raye Montague, Grace Hopper, and Jane Goodall.\nChoose only the picture book companions YOU need! Click HERE to Build Your Own Custom Bundle of Resources From My Store\nIt\u2019s the ideal interactive read-aloud for educating students about the scientist Joan Procter, pursuing a passion, dedication, overcoming obstacles, reptiles, and so much more! It\u2019s a great addition to units on Women\u2019s History Month, women in science, zoology, reptiles, influential people in history, or biographies. Students will love the engaging and fun activities, and you will appreciate the time saved hunting for high-level resources to teach reading concepts that students frequently struggle with.\nThe activities provided are designed to enable students to apply higher-level thinking skills, to encourage students to provide text evidence to support their thinking, and to challenge students to express their own thoughts and/or perspectives.\n- Making Predictions \u2013 Before reading the book, students will examine the front cover and describe what they see, make predictions about what the book is about, and the questions they think the book might answer.\n- Story Elements \u2013 Students fill in the boxes with words and pictures to represent the story elements.\n- Summarizing \u2013 Students complete the Somebody, Wanted, Because, But, So graphic organizer and write a summary of the story.\n- Cause & Effect \u2013 4 differentiated versions are included. (ANSWER KEY INCLUDED).\n- Setting Influences the Plot \u2013 Students will answer the questions about the setting of the story to gain a better understanding of how a story\u2019s setting helps to build the narrative\u2019s mood, plot, and character development.\n- Story Plot \u2013 Students organize the events of the story on the graphic organizer.\n- Timeline of Events \u2013 Students will use the story, the biography at the end of the book, and/or research to create a timeline of Joan Procter\u2019s life.\n- Character Inside & Out \u2013 Students include details from the story to describe what the character says, thinks, does, and feels.\n- Character Traits \u2013 3 differentiated versions are included for this activity. Students will choose important character traits that describe the main character and provide evidence from the text to support their choices.\n- Overcoming Obstacles \u2013 Students will fill in the T-Chart with physical, emotional, or mental obstacles the character faced and describe their response to those challenges.\n- Character Change \u2013 Students choose character traits to describe how the character changed throughout the story and support their thinking with evidence from the text.\n- Character Development \u2013 Students describe how the character changed and developed throughout the story, state their opinion regarding which event impacted the character the most, and support their thinking with evidence from the text.\n- Character Perspective \u2013 Students will compare character perspectives in the story.\n- Making Connections \u2013 Students make connections to an event from the story.\n- Making Inferences \u2013 Students use clues and schema to come up with two inferences they made from the text.\n- Theme #1 \u2013 Students answer the questions to determine which theme best fits the story and provide text evidence to support their choice.\n- Theme #2 \u2013 Students answer the questions to determine the theme of the story and provide text evidence.\n- Thematic Statements \u2013 Students choose the thematic statement that they believe best fits the story and include evidence from the text to support their choice.\n- Sensory Details \u2013 Students choose an event from the story and describe it with the five senses.\n- Compare & Contrast \u2013 Students will compare and contrast Komodo dragons with fictional dragons.\n- The Perfect Playlist \u2013 Students will design a soundtrack for the story, which includes creating a playlist of FOUR songs that represent four BIG IDEAS consistently seen throughout the book and designing an album cover that symbolizes the theme of the story.\n- Vocabulary Crossword Puzzle \u2013 Students will complete a crossword puzzle by matching words from the story to their definitions (ANSWER KEY included).\n- Vocabulary Word Search Puzzle \u2013 Students will find the hidden words in the puzzle (ANSWER KEY included).\n- 5-Writing Prompts \u2013 Students will respond to the writing prompts and provide evidence from the text to support their thinking when needed.\n- #Croc on a Walk \u2013 Students will create an Instagram post of somewhere they would take a baby crocodile.\n- Reptile Habitat \u2013 Students design a zoo habitat for their favorite reptile after researching what the reptile needs in order to survive. They will label the items and explain why they belong in the reptile\u2019s environment.\n- Reptile ABCs \u2013 Students choose words or phrases that begin with each letter of the alphabet to show what they know about reptiles.\n- Biography \u2013 Students will research further into the life of Joan Procter.\n- Who Was Joan Procter? \u2013 Students research to learn more about Joan Procter and complete a biography one-pager.\n- Book Review \u2013 Students rate how much they enjoyed the book, draw a new cover, and explain why kids should or should not read it.\n- Design a Book Cover \u2013 Students design a new cover for the book.\n- Komodo Dragon Research Project \u2013 Option 1 \u2013 Students will conduct research on Komodo dragons using books, articles, and/or informational websites. Assign students all the included activities, or pick and choose based on the students\u2019 academic abilities and time allotted to complete the project. The following activities are included: KWL graphic organizer; Can-Have-Are; Information Sheet; Fun Facts; Parts of a Komodo Dragon; Life Cycle of a Komodo Dragon; New Vocabulary; Research Report.\n- Komodo Dragon Research Report \u2013 Option 2 \u2013 Students research Komodo dragons and complete a one-page report with information regarding the reptile\u2019s habitat, features, diet, movement, and interesting facts.\n- Reptile Research Project \u2013 Option 1 \u2013 Students will choose a reptile to research using books, articles, and/or informational websites. Assign students all the included activities, or pick and choose based on the student\u2019s academic abilities and time allotted to complete the project. The following activities are included: KWL graphic organizer; Can-Have-Are; Information Sheet; Fun Facts; Parts of the Chosen Reptile; Life Cycle of the Chosen Reptile; New Vocabulary; Research Report.\n- Reptile Research Report \u2013 Option 2 \u2013 Students research a reptile of their choice and complete a one-page report with information regarding the reptile\u2019s habitat, features, diet, movement, and interesting facts.\nThis resource is for extension read-aloud activities only. The book is not included.\nClick HERE to Build Your Own Custom Bundle of Resources From My Store\nSign up HERE\ufe0f to receive emails about new and Free Products, themed book lists, and tips and tricks for teaching reading.\nI\u2019m so glad you stopped by my store and checked out this resource! Follow my store, Creatively Gifted, on Made by Teachers and TPT to be updated on new products and sales.", "id": "<urn:uuid:a90609b9-f7ca-4249-85c6-ed56960af041>", "dump": "CC-MAIN-2023-14", "url": "https://www.madebyteachers.com/products/hedy-lamarrs-double-life-book-companion-activities-for-womens-history-month-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943746.73/warc/CC-MAIN-20230321193811-20230321223811-00124.warc.gz", "language": "en", "language_score": 0.8947827219963074, "token_count": 1609, "score": 3.703125, "int_score": 4}
{"text": "double bar graph in excel: How to Make a 3D Graph in Excel? 7 Types\nSo, you need to strategically filter your data to only include the parts most relevant to your goal. The double bar graph is a pictorial representation of data that uses vertical or horizontal rectangles to reflect different items in your data set. The history of the double bar graph is really the background story of bar charts in general. Bar charts are popular and powerful data visualization tools. A bar graph or bar chart consists of multiple bars displaying different categories.\n- A grouped bar chart or a clustered bar chart groups two or more data sets under categories.\n- Set your spreadsheet up so that Row 1 is your X axis and Rows 2 and 3 are your two Y axes.\n- So that if you add any column or row, it will automatically add the data into the graph.\n- Every bar represents a particular item in your data set.\n- To do this, firstly, select the whole dataset depending on which parts need to be included in the bar.\nMany different chart types support comparative analysis. Many people consider bar charts at the top of the food chain of comparison tools. Using the double bar graph visualization, you can chart data from before and after the change.\nStep 2: Select The Data You Want To See in A Graph\nSince leaving the classroom, he\u2019s been a tech writer, writing how-to articles and tutorials for MakeUseOf, MakeTechEasier, and Cloudwards.net. He has a degree in History and a postgraduate qualification in Computing. And get a daily digest of news, geek trivia, and our feature articles.\nThe format we need is \u201c[Right click each axis and choose Format Axis. Select the Number tab of the dialog, click on Custom, and enter the appropriate format into the box . Don\u2019t forget to click the Add button, or Excel will discard your carefully typed format.\nOn the x-axis of the chart, the different months and zones are displayed. RevenueRevenue is the amount of money that a business can earn in its normal course of business by selling its goods and services. In the case of the federal government, it refers to the total amount of income generated from taxes, which remains unfiltered from any deductions.\nAdding the Secondary Axis Manually (Excel\nYou can easily add new dimensions and layers of detail to the visualization, without sacrificing quality or readability . Thanks to the double bar graph design, you can draw a few crucial types of comparisons, particularly regarding time. In other words, charts like the double bar graph are necessary for effective data storytelling. They provide the most efficient way to fully understand your data. You can use the search bar to find the chart you want directly.\nHow to add a single vertical bar to a Microsoft Excel line chart \u2013 TechRepublic\nHow to add a single vertical bar to a Microsoft Excel line chart.\nPosted: Fri, 27 May 2022 07:00:00 GMT [source]\nA pop-up will come out that gives you the option to select a secondary axis. If you\u2019re using a version of Excel that doesn\u2019t provide you with this formatting button, move on to the fourth step below. Right off the bat, plot a basic stacked bar chart. Bar charts and column charts have a lot of similarities except for the visual representation of the bars in horizontal and vertical format.\nMicrosoft https://1investing.in/\u2019s chart functions help readers quickly visualise information and see insights buried within sheets of endless data. They can include bar charts, line and scatter graphs and many more. When you have only two sets of data or information, and you want to make a bar graph in excel with two variables, it is very easy. We use it all the time to make the information more interesting. Since ChartExpo is so easy to use, anyone in your organization can create advanced charts to answer valuable analysis and double bar graph questions.\nIt compares parts of a whole with the ability to break down. In addition, we can also use a 3D bar chart to provide the chart\u2019s title and define labels and values to make the chart more understandable. A double bar graph is the most common means of representing grouped data in the form of graphs. It is used to represent and compare data among items based on two categories. The data analysis and interpretation section of competitive examinations usually has a question on bar graphs. The bar graph used in these types of questions is either a double bar graph or a multiple bar graph.\nOther individuals, like your clients and stakeholders, aren\u2019t so comfortable with raw data. Charts bridge this gap with accessible visuals that anyone can understand. You can spend an entire day staring at a spreadsheet and trying to make sense of it. Or, you can spend a minute or two with a chart depicting that data.\nIt requires a solid internal culture that recognizes the value of data and insights and uses both thoroughly across the organization. You\u2019ll notice from the above section that there is no mention of coding or confusing settings in the ChartExpo process. That\u2019s because ChartExpo eliminates the need to script charts manually. When you report data, you want to deliver it in the best way possible.\nChanging the Chart Type of the Secondary Axis\nA Multiple Bar Graph in Excel is one of the best-suited visualization designs in comparing within-groups and between-groups comparison insights. Lastly, change the chart title according to the requirement. Eventually, there is Temperature Difference between London and Newyork.\nNotice how your \u201cdouble bar graph in excel Shoes Sold\u201d data is now overlapping with your \u201cNumber of Shoes Sold\u201d columns? Let\u2019s fix that so your secondary data series is presented separately from your primary data series. Having highlighted this additional data series on your chart, a menu bar labeled \u201cFormat Data Series\u201d should appear on the right of your screen. Now it\u2019s time to turn the \u201cPercent of Nike Shoes Sold\u201d data \u2014 currently row 3 in the spreadsheet \u2014 into your chart\u2019s secondary Y axis.\nHow to Make a Bar Graph Easier to Read\nAfter having the chart, we will modify it to remove the bar for the data of the year column and use this range as a horizontal axis label. In this article, we covered how to make a 3d graph in excel. From now on, you can easily make any type of 3d graph. We will talk about more graphs in another article. Now, in this section, we will learn about all the options to format a 3d graph in excel. Now, we are going to learn how to change the chart type in excel.\nTo combine them here we will use the 100% Stacked Bar option. To combine them here we will use the Clustered Bar option. And using them we have created two different bar graphs.\nThe order of variables can be experimented with to decide the best possible way of conveying data. One of the key uses of a Double Bar Chart to compare two varying variables in data. The visualization design uses two axes to illustrate the relationships between two metrics with varying measurement scales. And this is because each dot takes up very little space. You can easily pack lots of points with the X and Y-axes. A Double Bar Graph is among a few visualization designs that display a lot of insights in a straightforward format.\nLeave a Reply", "id": "<urn:uuid:695b2ab3-ebe9-48b5-80d0-2b1a7d1c2c82>", "dump": "CC-MAIN-2023-14", "url": "https://www.traccor.com/2022/08/02/double-bar-graph-in-excel-how-to-make-a-3d-graph/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00324.warc.gz", "language": "en", "language_score": 0.8912602663040161, "token_count": 1733, "score": 3.75, "int_score": 4}
{"text": "7 Short Stories About Revenge for Secondary Students\nInsults. Betrayal. Infidelity. What do we do when someone wrongs us? Wait for karma? Seek revenge?\nHere are seven short stories about revenge from our digital literacy program which engage students with plot twists and characters they are likely to never forget. These texts also provide ample opportunities to practice key reading comprehension skills and analyze the author's craft, from foreshadowing to plot and character development.\nWhether you\u2019re new to CommonLit\u2019s free digital literacy program or a longtime user of CommonLit\u2019s online library, you\u2019re sure to find a great short story to add to your ELA instruction. These rigorous texts will not only engage your students in deep analysis but also open thoughtful classroom discussions around revenge.\n\u201cMaster Jacob\u201d by Howard Pyle (6th Grade)\nWhen members of his community try to fool Master Jacob so they can take his pig, Master Jacob turns the table on them with a series of tricks. As the tricks escalate, so do the consequences. Students will love the build of this story, as Master Jacob\u2019s plan of revenge increases in its consequence.\nAfter reading the short story, have students debate Discussion Question 5, \u201cIn this case, is his revenge justified? Why or why not? In which cases, if any, is revenge ever justified?\u201d\n\u201cOne of These Days\u201d by Gabriel Garcia M\u00e1rquez (8th Grade)\nWhen a power-abusing mayor enters a dentist\u2019s office to have his tooth pulled, the dentist views it as an opportunity to punish the mayor for how he has treated the town. Your students will wince (and maybe groan!) at the stark description of the encounter, as the dentist inflicts revenge by removing the mayor\u2019s tooth without anesthesia.\nAssessment Question 5 asks students to answer, \u201cHow do Aurlio Esovar\u2019s actions contribute to the development of the story\u2019s theme?\u201d Guide student annotations throughout the text, keeping track of Escovar\u2019s actions, to prepare students to answer this question with multiple pieces of evidence.\n\u201cRuthless\u201d by William DeMille (8th Grade)\nTo protect his precious bourbon from whoever stole it last year, Judson places two rat poison pellets in the bottle. His wife, Marcia, is not happy about this, but Judson is adamant that the unknown thief should be punished. When Marcia steps out of the house a few moments later, Judson\u2019s fate takes a turn. He slips on an acorn, bumps his head, and awakes to find Alec, their neighbor, offering him a sip of the poisoned bourbon to revive himself.\nEncourage students to check out the related media video The Psychology of Revenge. It\u2019s a great resource to build background knowledge or extend their thinking further and support comprehension. After reading the text and watching the video, ask students to consider the following questions, \u201cHow are people negatively impacted by seeking revenge? How is this idea reflected in \u2018Ruthless\u2019? How do you think Judson could have shifted his focus from revenge to success?\u201d\n\u201cLamb to the Slaughter\u201d by Roald Dahl (8th Grade)\nWhen Patrick tells his wife, Mary, that he is leaving her, she seems to respond with her usual evening routine: going down to the basement to retrieve a leg of lamb to cook for dinner. Suddenly, she knocks Patrick on the head with the leg of lamb, killing him almost instantly in an act of cold revenge. Now she must try to cover up what she\u2019s done. Will she get away with it?\nMary\u2019s scheme to hide her crime is sure to keep students on the edge of their seats! Before reading the text, use the pre-reading activity available under the Related Media tab to build schema and hook students about whether or not individuals are always responsible for their actions.\n\u201cThe Cone\u201d by H.G. Wells (10th Grade)\nThe text is sure to engage your high schoolers! The story begins with a man and woman, quietly in love, having a discussion about another man. When an intruder enters the home, readers quickly learn that the \u201cintruder\u201d is the woman\u2019s husband and the man inside the home is her lover. From this dramatic moment, tension continues to build as the husband kindly takes his wife\u2019s lover on a tour of the iron works, getting closer and closer to the dangerous molten material. Students will be left breathless in the final moments of action and the ambiguous ending.\nAfter reading this passage, ask students Discussion Question 3, \u201cIn the context of this story, was revenge justified? Is revenge ever justified? When? Cite evidence from this text, your own experience, and other literature, art, or history in your answer.\u201d\n\u201cThe Cask of Amontillado\u201d by Edgar Allen Poe (11th Grade)\nThis classic Poe text begins with the main character, Montresor, explaining why he must seek revenge: his friend, Fortunato, insulted him. When Montresor encounters Fortunato at a party, he seizes his opportunity, taking Fortunato down into a cellar under the guise of tasting exquisite wine. When they reach the bottom, however, Montresor shackles Fortunato to the walls and builds an additional wall around him, trapping him there forever.\nAfterwards, have students read the paired text \u201cThe Poison Tree\u201d by William Blake, a poem about revenge. Ask students to consider, \u201cWhy do both speakers seek revenge? How have they handled their hatred for their enemies?\u201d\n\u201cSweat\u201d by Zora Neale Hurston (12th Grade)\nThis story, set in early 1900\u2019s Florida, chronicles the final interactions between husband and wife, Delia and Sykes. The final straw for Delia is when Sykes brings home a rattlesnake - Delia\u2019s greatest fear - hiding it in a laundry bin for her to find. When faced with the rattlesnake, Delia escapes; however, when Sykes returns home, the snake is still loose. In a moment that could be considered karma, the snake bites Skyes. The story ends with Skyes calling for Delia\u2019s help but receiving no response.\nAfter reading, ask students Discussion Question 1, \u201cWould you describe Delia\u2019s actions at the end of the story as revenge? Why or why not? Do you think Delia should have forgiven Skyes in the end?\u201d\nWant more tense short stories to engage your students? Check out our text sets on Revenge & Betrayal or come to one of our webinars!\nIf you are an administrator looking to leverage CommonLit in your school or district, our partnerships team can help. We offer benchmark assessments, professional learning, and more!", "id": "<urn:uuid:c96e7881-098d-4cc4-854b-02d1889f2964>", "dump": "CC-MAIN-2023-14", "url": "https://www.commonlit.org/blog/7-short-stories-about-revenge-for-secondary-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945282.33/warc/CC-MAIN-20230324113500-20230324143500-00125.warc.gz", "language": "en", "language_score": 0.9440188407897949, "token_count": 1475, "score": 3.59375, "int_score": 4}
{"text": "08 Jun 2021\nWe are living in the midst of a revolution. Supervised learning, a branch of Machine learning allows engineers to develop models that can train themselves. In turn, these models are helping solve crisis management problems before disaster strikes.\nTechnologists have long modeled data to harness machine learning for disaster relief. After the Chernobyl crisis, scientists analyzed satellite imagery and weather data to track the flow of radiation from the reactor. Today\u2019s algorithms far outpace their predecessors in analytic and predictive powers. Machine learning models are able to deliver more granular predictions. NASA has developed the Landslide Hazard Assessment for Situational Awareness (LHASA) Model. Data from the Global Precipitation Measurement (GPM) is fed into LHASA in three-hour intervals. If a landslide-prone area is experiencing heavy rain, LHASA then issues a warning. Analysts then channel that information to the appropriate agencies, providing near-real-time risk assessments.\nRoofing material is a major risk factor in resilience to natural disasters. So, a model that can predict it is also one that can predict which buildings are most at risk during an emergency. In Guatemala, models are identifying \u201csoft-story\u201d buildings\u2013those most likely to collapse during an earthquake. \u201cForecast funding\u201d can mitigate damage by providing the most vulnerable with cash assistance to prepare for disaster. Bangladesh and Nepal are nations that are already implementing this strategy.\nNatural disasters, such as earthquakes, hurricanes and floods affect large areas and millions of people, but responding to such disasters is a massive logistical challenge. Crisis responders, including governments, NGOs, and UN organizations, need fast access to comprehensive and accurate assessments in the aftermath of disasters to plan how best to allocate limited resources. To help mitigate the impact of such disasters, Google in partnership with the United Nations World Food Program (WFP) Innovation Accelerator has created \"Building Damage Detection in Satellite Imagery Using Convolutional Neural Networks\", which details a machine learning (ML) approach to automatically process satellite data to generate building damage assessments. As per Google this work has the potential to drastically reduce the time and effort required for crisis workers to produce damage assessment reports. In turn, this would reduce the turnaround times needed to deliver timely disaster aid to the most severely affected areas, while increasing the overall coverage of such critical services. The World Food Programme was awarded the 2020 Nobel Peace Prize and they thanked Google and its team of engineers in pioneering the development of artificial intelligence to revolutionise humanitarian operations.\nThe application of machine learning techniques to satellite imagery is revolutionizing disaster relief. Crisis maps and image comparisons are helping relief organizations to deliver aid with precision.\nCredits : Akhil Handa Prithwijit Ghosh\n6 Best Ways To Earn Returns Through Your Savings Account\nDifference Between Secured and Unsecured Loans\nComplete Guide On Pre-Approved Personal Loans\nWhat is a Debit Card? Definition, Meaning and Key Information\nHow to Open a Recurring Deposit Account?\nThe humongous potential of Martech\nHow Tokenization Will Change Your Online Purchase\nWrap 25th - 29th July 2022\nEverything you needed to know about tds on fd rates\nWrap 11th - 15th July 2022\nInsights from the Infinite Mind: Exploring the World of Chat GPT\nCatalyzing Finance for a nature-positive growth\nVoice Payments: The future of Payment technology\nBFSI at 5G Speed\nThe future of Buildings - Self Repairing Houses\nRendezvous with Metaverse (in India)\nThe humongous potential of Martech\nWeb 3.0 - The New Catch Word\nInvisible Banking - Banking that you don't have to think about\nBuy Now, Pay Later \u2013 The New Finance Buzzword\nData for all \u2013\nData is king or so they say. Inclusivity for data platforms can be achieved when data reaches all stakeholders without lag or restrictions. Market information disseminated quickly could make the difference between making and losing money in the financial markets.\nSpending on financial market data/analysis and news exceeded the USD 30 billion mark for the first time ever in 2018, according to a new report published by Burton-Taylor International Consulting.\nXignite\u2019s market data cloud is a single platform that unifies financial data consumption. It provides cloud-based financial market data APIs to help emerging companies and established enterprises deliver real-time and reference market data to their digital assets, such as websites and apps. Xignite cloud API\u2019s cover millions of financial instrument across all asset classes.\nWith all the real time data at hand, investors would like to trade across all asset classes. Robinhood makes it possible to trade in stocks, ETF\u2019s, options and crypto, brokerage free. It also gives access to professional research reports, margin trading and instant deposits. Various other tools and features such as price movement notifications and customized investment news provide additional appeal.\nMarket Prophit is a financial Big Data analytics company delivering real-time, meaningful intelligence to investors through sophisticated natural language processing, predictive analytics, and powerful visualizations of sentiment and buzz derived from financial related conversations in social media chatter. Market Prophit is the first service ever to provide quantitative rankings of financial bloggers data in social media and generate unique, real-time sentiment signals (bullish/bearish).\nAnother fintech startup Mindbridge Analytics is using AI and ML to detect anomalous patterns of activities, unintentional errors and intentional financial misstatements in financial datasets. The auditing software will automate ingestion and analysis of data and help accountants identify risk. A risk score is generated for the processed data and will flag transactions that need investigation.\nFinancial institutions harnessing the power of big data coupled with fintech innovation are leveraging meaningful insights from many disparate data sets. Fintech players have set the ball rolling for financial inclusion. A collaborative approach is the natural next step to accelerate the pace of this process.\nCredits : Akhil Handa,Prithwijit Ghosh\nEdutainment comes from the words \"education\" and \"entertainment.\" It refers to any form of entertainment that is educational. Edutainment startup aims to make the learning process smooth by engaging students and young learners mostly aged 15 and below with fun and memorable experiences through smartphones and other internet-connected devices, virtual reality-powered tools and other gamified digital learning content.\nMumbai-based Ontamo Entertainment has developed Ria Rabbit, an animated cartoon from Pashu Nagari, India, for kids in the age group of 0-6. It is India\u2019s first age-appropriate, culturally relevant home-grown intellectual property (IP) content for children. Their storytelling animated videos, audios and picture books engage the attention of kids while building the sense of Indian values which parents would want to inculcate in them through these characters.\nAnother startup, SP RoboticsWorks has developed a platform wherein concepts are taught using animation videos and real-world examples. It has established more than 83 dedicated centers across India called SP Robotics Maker Labs which offers courses in Robotics, Internet of Things (IOT), Image Processing, Virtual Reality (VR) and more, both in the online and offline Smart-Class mode.\nSimilarly, Paper Boat Apps Pvt Ltd has launched Kiddopia, a subscription-based pre-school edutainment app, which teaches a variety of skills to kids. It covers everything from Math, Language Skills, GK and Social Skills to Creativity and Self-expression by engaging kids with its visuals as well as fun and exciting gameplay.\nSimilarly, Panda & Wolf Holding created a mobile-gaming app Eco-warrior for children between the age of 6 - 11. It uses game-based learning to teach children about waste sorting and recycling. Through an engaging storyline and immersive stages, the app informs young users about issues plaguing the environment like deforestation, waste pollution and overconsumption.\nMumbai-based startup Shirsa Media Labs offers an app NewsPIK which is a digital newspaper for children. The Shirsa team creates news articles, events, quizzes and other information, so children are aware of the world around them. It stimulates young minds and keeps them informed.\nIn this pandemic situation where education has gone online, startups are combining the concepts of education and entertainment to offer children interactive learning experience.\nLeave a Comment\nThanks for submitting your details.", "id": "<urn:uuid:eeccb974-042d-4fdd-90be-7dcce429df45>", "dump": "CC-MAIN-2023-14", "url": "https://www.bankofbaroda.in/banking-mantra/fintalk/articles/disaster-management", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949573.84/warc/CC-MAIN-20230331051439-20230331081439-00325.warc.gz", "language": "en", "language_score": 0.9172757267951965, "token_count": 1763, "score": 3.71875, "int_score": 4}
{"text": "Kids today are exposed to many different forms of entertainment from a young age. Mobile phones, video games, films and television all give an instant form of gratification and engagement. It seems very easy to get accustomed to these quickly accessible forms of entertainment.\nWe know that in schools everywhere today, kids are being taught to read, but what else can be done to encourage them to engage in different forms of literature? Well let's begin to answer that question.\nWork in the Classroom\nIt seems quite simple really, but it's the first place to start. By getting kids to read as a class you can take reading from being a quiet, individualistic experience and make it a group activity. Afterwards, teachers can then organise their pupil's into groups and get them to list themes or characteristics from the stories they have just read.\nThe importance of this being that group study not only helps the students to engage in the material, it also simultaneously makes reading a more relevant group activity-like that of watching a film or television program.\nFor films there are cinemas, for music there are concert halls and nightclubs, and for readers of literature there is the library as a social space. Regularly, many libraries organise open-day talks and discussions for young children. This is to teach them what kinds of books are available and how they are organised.\nOften at these events there are special story readings prepared as well. This allows the children to see in a visual sense what kind of stories they can find for themselves later, in a relaxed setting.\nWith a book club you can begin to organise students by setting them assignments to help them express their feelings on the books they have just read. Examples of this would be to get them to write a short review or have a series of group discussions. By getting them to focus on what they liked and didn't like, this will help them appreciate what they most enjoy about literature..\nBut the positives don't just include the development of analytic ability, , you could also have the pupils break down character and emotions and set writing tasks based on the most recent book they've read. Say for instance, get the children to write a fictional diary entry from one character's perspective, or even that of a bystander, who witnessed the action unfold\nThe introduction of book swaps to students is a great way to expose them to different kinds of literature, and, as they grow older, this will begin to help them develop their individual tastes. Likewise, book swaps put students in a position where they have to explain to one another what the book they have been reading was all about, to the other exchangers. This will also help improve the pupil's analytical skills.\nComparative Mood Boards\nIn a group situation, after reading a book, organise the pupils to produce a kind of \u00e2\u20ac\u02dcmood board' to examine how the mood and emotions of the story changed throughout the text. This could also be done as a way to examine characters, or in some circumstances, to compare a novel to a film adaption and the varying ways they differ from one another. This activity allows the children to think and compare the differences between the two mediums, with narratives based on the same subject.\nThere are of course many other methods of cultivating a love of literature. . A personal diary for instance, allows the student to write down their daily activities and thoughts. Over time they may begin to realise how this is an expression of how they feel and who they are. Once this has become apparent to them, it may pique their interest in reading a novel, to see how other people's perspectives have been reflected upon with language.\nIt is important that we must encourage reading in the younger generations. To do this we must begin by showing children that reading is fun, with the help of some seasoned storytelling adults (perhaps found in your local library). Secondly, they need encouragement to read, perhaps by making it a group activity by reading in the classroom or as part of a book club. And finally, reading should be supplemented with creative tasks that get them to reflect on the work they've just read.\nHopefully, by following these tips, the child will engage with reading and begin to develop their tastes in literature.\nBy rewarding students in the classroom with fun tasks, you won't need to pressure them into reading.\nDo you have any other ideas for cultivating a love of reading in children? Please leave a comment below.\nBudding writer Steven McHugh attempts to provide context to the argument of encouraging a literary passion to a younger generation. Whilst, at the same time, questioning why it's important and why reading as a pastime might be fading?\nYou must log in to post a comment.", "id": "<urn:uuid:8ef47f1b-9332-44b8-ae1d-bcb675d67916>", "dump": "CC-MAIN-2023-14", "url": "https://lerablog.org/business/school-education/how-to-encourage-kids-and-students-to-read/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00523.warc.gz", "language": "en", "language_score": 0.9735034704208374, "token_count": 970, "score": 3.734375, "int_score": 4}
{"text": "Showing 313\u2013330 of 330 results. View 200 per page.\nSymbolic Language and Religious Truth: Genesis 1-3\nThis activity is part of the Living in Christ Series. It asks students to explore the Book of Genesis to find symbolic language and discuss its meaning with other students.\nThe Format of the Pauline Letters\nThis handout is part of the Living in Christ Series. It outlines the format of Paul's letters in the New Testament.\nPreparation Worksheet for Prophet Research Assignment\nThis resource is part of the Living in Christ Series. Students can use these questions prepare for and consider several facets of a prophet that they plan to research mor extensively.\nThe Cycle of Redemption\nThis handout is part of the Living in Christ Series. Students may use it as a quick reference to key ideas behind the Cycle of Redemption in the Old Testament.\nLeadership Scavenger Hunt\nThis activity is part of the Living in Christ Series. Students are asked to fill out the characteristics and stories of various leaders in the Bible.\nSprint Through Salvation History Scriptural Passages\nThis activity is part of the Living in Christ Series. Students are asked to explore the Bible for key events in the Old and New Testaments in Salvation History.\nPracticing Biblical Exegesis\nWith this worksheet, students can practice Biblical exegesis with certain well-known Bible verses.\nBiblical Scavenger Hunt\nIn this activity, students are asked to find various famous Old Testament stories and events by searching through Scripture.\nNew Testament References to Eternal Life\nThis handout is part of the Living in Christ Series. It lists several passages in which Eternal Life is referenced in the New Testament. Students can reflect on these passages and answer questions about them.\nReflection on the Greatest Commandments\nThis worksheet is part of the Living in Christ Series. Students can study and reflect on the Greatest Commandments: to love God with your whole mind, body and soul, and to love your neighbor as yourself.\nCore Elements of a Parable\nThis activity is part of the Living in Christ Series. Students are assigned a parable and use this chart to discover the core elements of any of the parables that Jesus tells.\nMatthew's Sermon on the Mount\nThis activity is part of the Living in Christ Series. Students can use this chart to write down questions, thoughts, or reactions to each section of Jesus' Sermon on the Mount.\nThis activity is part of the Living in Christ Series. Students can use this handout to do a Venn Diagram of Gospel comparisons.\nGetting to Know Mary\nThis activity is part of the Living in Christ Series. Students must find various scripture passages regarding Mary and reflect on questions about her life and personality.\nLeader's Guide for The Master's Companion: A Christian Midrash\nTable of Contents Beyond Scripture Helpful Hints for Using and Creating Midrash with Young People Classroom Activities Chapter 1: The Small Black Dog with the White Foot (John 4:1-30)--compassion for animals Chapter 2: A Night in the Garden (John 4:39-45)--significance \u2026\nLeader's Guide for Coyote Meets Jesus\nStories are not just for young children. Everyone loves a good story and good storytelling is a useful tool for teaching. Using folktales as a teaching tool in a catechetical setting or a religion class can help teens understand the \u2026\nJanuary 22: Saying Yes to Life\nPreparation Bring in pictures of fetal development. 1. Present a scenario in which a girl like those in your group experiences a crisis pregnancy. Then list on the board a number of options, such as these: She can keep the \u2026\nPraying the Psalms\nRemember the television show from the late 80's called \"Doogie Howser, M.D.?\" At the end of every show, Doogie would sit down at his computer and write a 2 or 3 sentence \"blurb\" that perfectly summed up his day and \u2026\n- Show All\n- Catechesis (161)\n- Christology (128)\n- Church History (75)\n- Ecclesiology (30)\n- Liturgy (36)\n- Morality (90)\n- Prayer (37)\n- Sacraments (85)\n- Saints (8)\n- Scripture (250)\n- Social Justice (50)\n- Vocations (43)\n- World Religions (17)\n- Youth Ministry (91)", "id": "<urn:uuid:d0974a17-c3e2-470e-8a40-c7f1c85930d1>", "dump": "CC-MAIN-2023-14", "url": "https://www.smp.org/resourcecenter/category/Worksheets/27/?subjects=5.9&page=14", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949573.84/warc/CC-MAIN-20230331051439-20230331081439-00325.warc.gz", "language": "en", "language_score": 0.8842382431030273, "token_count": 987, "score": 3.859375, "int_score": 4}
{"text": "The introduction is an important part of every essay paper, which contains the basic information and motivation for readers to carry on reading an essay. This part of an essay paper remains the first information reader gets once reaching the article. Therefore, it requires impressive grammar, persuasive character of storytelling, and various literature hooks. Since, this is a complex matter to provide a proper introduction, numerous experienced writers write the introduction part after completing the entire essay paper.\nIn order to write a good introduction, follow the next tips and guides:\n- Start the introduction with a hook (provocative questions, famous quotes, interesting facts, etc.).\n- Include a brief and concise thesis statement;\n- Use a simple language and avoid complex concepts;\n- Put the main information into one or two paragraphs;\n- Make the introduction attention-grabbing.\nSince, the introduction remains an essential part of every essay paper, it must be informative and attention-grabbing to intrigue the reader and let him continue reading an essay paper.\nWhat do you put in an Essay Introduction?\nThe introduction is the exact part of an essay paper, which must attract the readers\u2019 attention with some hooks (anecdotes, provocative questions, famous quotes, interesting facts, etc.)\nTherefore, a good introduction consists of the following elements:\n- An attention-grabbing beginning (anecdotes, dialogues, starling information, summary information, etc.);\n- The thesis statement included;\n- A few additional sentences that reveal the topic.\nThe beginning of an introduction always includes some attention-grabbing elements; thus it is great to use interesting information or fact that can impress your readers. Moreover, it is preferable to use only verified facts to illustrate your point of view and reveal your arguments. Anecdotes can be also used, especially when they are relevant to the revealed topic. It is better for anecdote to be short. Dialogues can be used if they bring a great illustration of the topic. Mostly, students prefer including a summary information into an introduction, thus writing down a few sentences of general terms and the thesis statement in the end is requested.\nThe introduction has its conclusions, where the main points are summed up and the reader gets a chance to see the final perspective of the revealed topic. The conclusion is usually three- or four-sentence part, which is written due to no special formula. It remains a description of a few main points of the topic.\nHow do you Structure an Introduction?\nWhen you tend to write a great essay paper, make sure to provide a logical flow of thoughts, opinions and supportive evidence in your essay paper. It is important to provide an attention-grabbing introduction. It must contain the main thesis statement, which should be clear and concise, and the basic information revealed in one or two paragraphs.\nThe main features of a good essay paper introduction:\n- It explains the essay\u2019s context.\nThe introduction is started with an opening statement, where the main subject and background are established. This part of the text contains the identification of the topic and the problem revealed. The writer should answer the questions of \u201cWho?\u201d, \u201cWhy?\u201d, and \u201cWhere\u201d when performing an introduction.\n- Reveal the main focus of an essay (the thesis statement).\nThe thesis statement is a key element of the entire essay paper. It must be included into an introduction, thus it helps readers to get what the entire article will be about, and what arguments and evidence it will reveal. The thesis statement is often included into the last sentence of the introduction. Moreover, it reveals the main focus of the entire paper.\n- Shows the essay\u2019s structure.\nThe introduction outlines the further structure of the essay paper and its organization. The introduction is an attention-grabbing primer part of an essay, which contains literature hooks (provocative questions, famous quotes, interesting facts, etc.) and a thesis statements with additional information about the topic. It reveals the further paragraph\u2019s structure and their organization.\nEssay Introduction Examples\nMany students in Australia when performing an Essay Introduction use a ready-made samples and examples to improve own writings. We have some useful examples of an Essay Introduction presented below.\nTopic: How to Make the world a Better Place\nCan the well-educated people make this world better? Or has it ever been about education when you tend to change the world? Many people tell that intelligent people can figure out the better ways to change the world. But how to deal with those people who are clever enough, but have no sympathy in their hearts? Often, people need to decide for themselves what life they want to have and what life they want for their children and grandchildren. It depends on us how to improve the society and make our life is really worth of living. Changing a world, making it better is not simple slogans, but an agenda of many organizations and people, who want to make this world a better place for living.\nTopic: Virtual Reality Outcomes\nMany people have already become an Internet-addicted changing their real life in favor of a virtual world. Even if it sounds too depressing, virtual reality has become an alternative for people who have not found own purpose in life. Definitely, many people blame the modern technologies and devices thinking that the development of the high technologies and software has brought such a rapid change of people\u2019s preferences. In the same time, virtual world is just a place you agree or disagree to stay for a long. You are the only one who chooses whether to develop yourself and build your real life or become a virtual world citizen. There are a lot of addictions around us, but we are the only one to choose whether to give in to them or not.\nessay introduction examples\nintroduction essay examples\nessay introduction sample\nintro essay examples", "id": "<urn:uuid:e783a52c-cd26-43b0-9ff5-f20376c7a78a>", "dump": "CC-MAIN-2023-14", "url": "https://assignment-help.org/essay-introduction/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949533.16/warc/CC-MAIN-20230331020535-20230331050535-00125.warc.gz", "language": "en", "language_score": 0.9229437708854675, "token_count": 1207, "score": 3.53125, "int_score": 4}
{"text": "Addiction and mental health issues are significant challenges faced by BIPOC parents and their children in America today. These challenges stem from a combination of systemic racism and discrimination, as well as a lack of access to culturally appropriate and effective addiction and mental health services.\nOne of the major challenges faced by BIPOC parents is the lack of access to addiction and mental health services that are culturally sensitive and appropriate. Studies have shown that BIPOC individuals are less likely to seek help for addiction and mental health issues, in part because they may not trust or feel comfortable with mainstream services that are not culturally sensitive or tailored to their specific needs. Additionally, BIPOC individuals are disproportionately represented in low-income households and are more likely to live in poverty, which can make it difficult to afford addiction and mental health services.\nAnother challenge faced by BIPOC parents is the ongoing effects of historical trauma and discrimination. Many BIPOC families have been affected by forced displacement, slavery, and genocide, which can lead to intergenerational trauma and mental health issues. This trauma can also affect the relationships between BIPOC parents and their children and make it more difficult to provide a stable and nurturing home environment.\nAdditionally, BIPOC parents and their children often have to contend with racial bias and discrimination in their daily lives. This can take many forms, including microaggressions, discrimination in the workplace, and racial profiling by law enforcement. These experiences can lead to feelings of anger, frustration, and hopelessness, which can make it difficult for BIPOC parents to provide a positive and supportive environment for their children.\nFurthermore, BIPOC individuals are disproportionately represented in the criminal justice system, which can lead to negative consequences for their mental health and well-being. For example, BIPOC individuals are more likely to be incarcerated and to receive harsher sentences, which can lead to separation from their families and a lack of access to addiction and mental health services.\nAll of these challenges can lead to a higher likelihood of addiction and mental health issues in BIPOC communities. Despite these challenges, BIPOC parents continue to work tirelessly to provide a better life for their children. They often rely on community support networks and resources, such as cultural centers and community organizations, to help navigate these challenges. Many BIPOC parents also prioritize instilling a strong sense of cultural identity and pride in their children, which can provide a sense of resilience and empowerment.\nTo address these challenges, it\u2019s important for society as a whole to recognize and address these challenges, in order to create a more equitable and just society for all. This includes providing culturally appropriate and effective addiction and mental health services, as well as addressing the root causes of addiction and mental health issues such as racism and discrimination.\nAddiction Recovery Resources for BIPOC Parents\n- FindTreatment.gov: This website is provided by SAMHSA and can help someone find affordable addiction treatment options near them.\n- Alcoholics Anonymous: This is a 12-Step recovery fellowship that provides help and solution to anyone struggling with alcoholism.\n- Cocaine Anonymous: This is AA\u2019s sibling recovery fellowship that is dedicated to helping anyone with a cocaine or drug problem find recovery.\n- Heroin Anonymous: Another of AA\u2019s sibling fellowships, this one is open to anyone with a heroin or opioid problem. This includes prescription opioids.\n- Recovery Dharma BIPOC: This is a 12-step recovery fellowship that is inspired by Buddhist teaching. They have a BIPOC-only meeting guide.\n- Celebrate Recovery: This is a Christian-based recovery fellowship that holds meetings all across America.\n- SMART Recovery: This is another recovery fellowship that is unaffiliated with AA, CA, or HA. Their name is an acronym for Self Management A Recovery Training. They hold meetings all across the country.\n- The Steve Fund: The Steve Fund is a nationwide organization that works to support young BIPOC people in all of the struggles they may face in today\u2019s America. Their resource section has dozens of helpful addiction recovery and mental health support resources for young BIPOC.\n- They also provide a crisis text line that can be reached by texting STEVE to 741-741.\n- Wellbriety Movement: This is a Native American/First Nations sobriety movement that has meetings all across the US and Canada.\n- Native American Rehabilitation Association (NARA): This is a group of Native American treatment centers and addiction recovery professionals who provide support, information, and services to Native Americans struggling with addiction.\n- Concerned Black Men of America: This is an advocacy and community service organization that acts as a focal point for Black Men to improve their communities by acting as role models and serving those that may be struggling.\nMental Health Resources for BIPOC Parents\n- 988 Suicide & Crisis Lifeline: This is a 24/7/365 crisis hotline that can be reached by dialing 988.\n- National Runaway Safeline: Call 1-800-786-2929 anytime 24/7 to be connected with a compassionate advocate that can listen and point you in the direction of help.\n- StrongHearts Native Helpline: Call 1-844-762-8483 anytime, 24/7 to be connected with mental health support services tailored to American Indians and First Nations People.\n- Your Life, Your Voice: Call 1-800-448-3000 anytime 24/7 to be connected with a counselor now. They also provide a text option by texting VOICE to 20121.\n- The Trevor Project: This is a national advocacy and support organization that aims to help young BIPOC that may be facing adversity with regard to their sexuality. They provide dozens of resources as well as access to counselors.\n- Aakoma Project: This is a national non-profit organization that works to provide support to young BIPOC and can help connect them with culturally-competent therapists or counselors.\n- Black Emotional and Mental Health Collective: Known as BEAM, this is an advocacy organization that provides dozens of resources and can help connect someone with culturally competent mental health services.\n- Therapy for Black Men: Their tagline of \u201cstrength still needs support\u201d is indicative of their purpose. Helping Black Men who may be struggling with mental health issues is the sole focus of this organization.\n- Therapy for Black Girls: This website provides a therapist locator tool that can help Black women find a culturally-competent therapist anywhere in America.\n- Melanin and Mental Health: This is a BIPOC-specific therapy assistance website that can connect BIPOC with culturally-sensitive therapists anywhere in America.\n- Black Mental Health Alliance: This is a mental health support organization that provides a wealth of resources for BIPOC to find competent therapists near them.\n- Black Men Heal: This is a BIPOC mental health advocacy organization that provides resources and programs for BIPOC men of all ages.\n- Sista Afya: This is a community mental wellness organization that is for Black Women anywhere in the world.\nSocial Media, Videos, Podcasts, and Articles for BIPOC Parents\n- National Black Child Development Institute: This organization is committed to the success and support of Black children all across America.\n- Brown Girl Therapy: This is a community organization that is intended for children of immigrants. They work to promote mental health advocacy and healing through their Instagram account.\n- Dear Black Women: This organization is by Black Women, for Black Women. They provide support and community for many of the issues faced by today\u2019s Black Women in America.\n- Ourselves Black: This is a Black mental wellness and storytelling organization that shares stories of Black Americans who have struggled, and overcome mental health issues as well as injustice.\n- Sad Girls Club: This is a non-profit organization that works to provide a community for BIPOC women and girls who may be struggling with mental health issues. They also host the Sad Girls Club Podcast.\n- The Okra Project: This is a mutual aid collective that provides support and resources to BIPOC LGBTQ people who may be struggling with mental health issues.\n- Pretty Good \u2013 Your Kids Aren\u2019t Too Young to Talk About Race: This article provides a wealth of resources to help BIPOC parents begin talking to their children about race in a healthy way.\n- NPR \u2013 Talking Race With Young Children: This is a 20-minute podcast that details the benefits, risks, and methods for discussing race with children in a constructive and safe manner.", "id": "<urn:uuid:1e39673d-3df1-475e-bb1a-2ebe9be448fa>", "dump": "CC-MAIN-2023-14", "url": "https://louisvilleaddictioncenter.com/32-addiction-mental-health-resources-for-bipoc-parents/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949533.16/warc/CC-MAIN-20230331020535-20230331050535-00125.warc.gz", "language": "en", "language_score": 0.9486717581748962, "token_count": 1768, "score": 3.640625, "int_score": 4}
{"text": "This article does not cite any sources.\nGive your students better writing feedback.\nA practical guide for instructors. Few practices promote student learning as effectively as well-formed writing assignments paired with personal, constructive feedback. Of course, giving useful feedback can be time consuming and has limited value if students don't read or act on it.\nBy following some simple feedback best practices instructors can mitigate these communication challenges. The goal of this guide is to present feedback tips in a clear, practical format that you can quickly absorb and apply to your classroom.\nWriting activities promote high-level recall, organized thinking and clear expression. Writing is one of the most effective learning activities. To be effective, writing needs to be paired with effective feedback and the opportunity for revision.\nToo often, the feedback we provide our students isn't helping. Beyond English class Everyone writes essays in English class but writing activities pay dividends in any domain.\nWe've known this for a while. It's one of the reasons writing across the curriculum WAC programs have gained popularity since the s.\nAt the most basic level, writing requires students to recall knowledge rather than just recognize it e. With more complex writing activities, students must retrieve information, link it with related concepts, then organize and express those ideas in their own words.\nThere's evidence that this retrieval process produces more learning than even the most thorough study session. The point is not just to produce better writers though of course this doesn't hurt.\nWhen students write about content, they learn it better. So most educators agree students should be writing in almost every class \u2014 including math, science, finance, economics, and humanities. Effective writing requires good feedback Like any pedagogical tool, the positive effects of writing can be greatly reduced by flawed implementation.\nThe biggest factor that influences the effect of writing activities is the nature of the feedback students receive. At the extreme end of the spectrum, students may receive no feedback at all.\nOr perhaps only receive a grade with no comments about their specific performance. As a result, students get some writing practice but generally don't improve and don't learn the material better. Your feedback probably stinks nothing personal ; More commonly, students receive feedback but it doesn't do a whole lot of good.\nKluger and DeNisi  conducted a meta-analysis of studies of feedback and found that the average effect of writing feedback intervention on performance was quite positive. However, 38 percent of the time the control group actually outperformed the feedback groups leading the researchers to conclude that the effects of feedback depend on the nature of the feedback.Writing a critique on a work helps us to develop: A knowledge of the work\u2019s subject area or related works.\nAn understanding of the work\u2019s purpose, intended audience, development of argument, structure of evidence or creative style. MyRSU helps students, faculty and staff manage their life at RSU all in one convenient place. See classes and complete assignments in eLearning (MyCourses).\nAt the Big Smoke Writing Factory, we provide creative writing classes and workshops for new and developing writers.. Run By Writers For Writers, we provide a platform for writers to not only improve their work, but to share it with others \u2013 whether for the first time, around the table at a beginners\u2019 course, or with a larger audience at one of our readings or Literary Caf\u00e9 events.\nCollege essays are important because they let you reveal your personality. Learn how brainstorming and planning can help you write your best college essays.\nTakach Press Catalog 20 year warranty Your new Takach press will be built to order and you will receive a 20 year warranty. About Takach Press Takach Press Corporation, manufacturer of fine art printmaking presses, is family owned and operated.\nYou are browsing papers in 16 disciplines at 4 levels of 7 paper types with 8 textual features.", "id": "<urn:uuid:078a70e4-63aa-4d0d-bbb4-f91285c4eb5a>", "dump": "CC-MAIN-2023-14", "url": "https://dyxolonadojerory.benjaminpohle.com/writing-a-student-critique-46730gi.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949642.35/warc/CC-MAIN-20230331113819-20230331143819-00725.warc.gz", "language": "en", "language_score": 0.9339340329170227, "token_count": 789, "score": 3.6875, "int_score": 4}
{"text": "2 edition of Diction found in the catalog.\nby National Resource Centre for Dance in Guildford\n|Statement||by Sarah Harris and Janet Adshead-Lansdale.|\nDiction is: a style of speaking or writing as dependent upon choice of words. the accent, inflection, intonation, and speech-sound quality manifested by an individual speaker, usually judged in terms of prevailing standards of acceptability; Dictionary definition is - a reference source in print or electronic form containing words usually alphabetically arranged along with information about their forms, pronunciations, functions, etymologies, meanings, and syntactic and idiomatic uses. How to use dictionary in a sentence.\nDiction and Tone Through out the novel Alice Sebold uses many diction words along the lines of a mournful, sad, and somber tone. Chapters Diction word such as \"contempt\" (Sebold 5), \"murderer\" (Sebold 6), \"frozen\" (Sebold 9), and \"dark\" (sebold 9) were all words with strong diction found in this first section to gave a tone to the novel. Diction & Tone. Section 1. Throughout the first section the author uses a dull tone. He uses this tone to demonstrate and talk about when Pi was a child. Throughout the second section of the book the author transitions to a more sharp and action packed tone in the second section when the ship is starting to sink and before Pi learns to tame.\nDiction is word choice, or the style of speaking that a writer, speaker, or character uses. The diction that you use when you speak or write should be matched to purpose or audience.. In formal writing-essays, speeches-diction should be used should be used correctly, so that the writer or speaker sounds intelligent. However, if you are speaking with your friends, diction can be. The diction that Capote employs sets the tone for the story as it mirrors the actual story of the two murderers who massacred a whole family. At the trial for Perry and Dick, the judge entered and \u201ca hurriedly donned black robe billowed about him.\u201d The word \u201cdonned\u201d was used to further illustrate the feelings in the courtroom.\n108-1 Hearings: Department of The Interior and Related Agencies Appropriations for 2004, Part 8, March 26, 2003, *\nThe measures of Christian obedience, or, A discourse shewing what obedience is indispensably necessary to a regenerate state\nA letter to Sir Robert Bernard, bart. chairman of the Huntindonshire committee\nCambridge concise encyclopedia\nTreating the mentally ill\nProvincial economic surveys: Mindanao Area series.\nOn the sea\nPsychology for nurses\nWeissenbergers Federal Evidence, Fifth Edition\nDiction: [noun] vocal expression: enunciation. pronunciation and enunciation of words in singing. This book is now rather outdated, and has been surpassed by Kathryn LaBouff's \"Singing and Communicating in English.\" It contains many elements of diction which have fallen out of style, or have been refined further through Diction book specific use of the International Phonetic Alphabet/5(30).\nA voice and diction handbook, revised and updated throughout for greated voice and diction development and for more effective learning reinforcement.\nWays to deal with nervousness and special speech problems are addressed in the appendix and the text includes special sections on regional dialects. This fourth edition features new and expanded /5(15). THat is about everything in the book. Diction simply means his choice of words and the book is full of metaphors and figurative language.\nTake a look at the Diction book chapter again and I'm sure you will find quite a bit. Remember this book is written in first person limited omniscient. Death can be a colourful guy so you don't have to look far.\nPoetic Diction, first published inbegins by asking why we call a given grouping of words \"poetry\" and why these arouse \"aesthetic imagination\" and produce pleasure in a receptive ing always to this personal experience of poetry, Owen Barfield at the same time seeks objective standards of criticism and a theory of poetic diction in broader philosophical/5.\nThe book's melancholy, sorrowful tone ties it to the genre, as does its nature as a journal/narrative. This is another example of diction as character development, but the choice to use this.\nWhen you\u2019re reading a 70,word novel, you probably don\u2019t give much attention to every single word that\u2019s on a page. Most likely, you focus on the bigger picture, trying to absorb the plot or the overall message.\nBut an author\u2019s word choice, or diction, can actually have a profound impact on the overall feel of a story or piece of. Diction Use adjectives to describe diction. Do not just say they use diction because every writer uses words. Words to describe diction: 1. Words can be monosyllabic (one syllable in length) or polysyllabic (more than one syllable in length).\nThe higher the ratio of File Size: 15KB. Aristotle was the first writer in the Western tradition to discuss diction. He did so in his book, Poetics.\nOver time the term \"diction\" has also come to refer to pronunciation: the manner of enunciating words and sounds. This guide focuses on the literary definition of diction, which has more to do with word choice. How to Pronounce Diction.\nIn Stockett's novel, she uses tone and diction to create the distinct voices of the characters who narrate the novel. Aibileen is the first character to speak. She uses what used to be called.\nDiction definition, style of speaking or writing as dependent upon choice of words: good diction. See more. To determine tone in poetry (or in other writing), you have to consider diction and syntax, the grammatical structure of the sentence. You also have to consider which details are included and which are left out.\nFor instance, if the author is listing reasons and answering likely objections in advance, the tone is argumentative or persuasive. Books shelved as diction: Gone Girl by Gillian Flynn, Dolores Claiborne by Stephen King, Lincoln at Gettysburg: The Words That Remade America by Garry Wi.\nANALYZING DICTION AND WRITING COMMENTARY The words diction, language, and figurative language are terms that you will use interchangeably when you analyze an author's style. These words all refer to the concept of an author's WORD CHOICE.\nWORD CHOICE: Word choice is probably the most powerful element of style for you to Size: KB. Diction/Tone is the author's choice of words based on their correctness, clarity, or effectiveness to create a certain feeling.\nChapters of Part 1 \"boiled cabbage and old rag mats\" (Orwell, 1) is an example of diction used when describing the smell of Winston's apartment. Diction Examples in Literature. The Great Gatsby by This novel adopts a formal diction.\nThe book also has grammatically correct sentences. Additionally, it talks about money and class hence targets a particular class of people. \u201cShe said that. DICTION 7 is a computer-aided text analysis program for determining the tone of a verbal message. DICTION searches a passage for five general features as well as thirty-five sub-features.\nIt can process a variety of English language texts using a 10, word corpus and user-created custom dictionaries. Diction Because this book is set in the future it has a lot of diction that is specific to the book. They aren't new words but they are words that possess their own/ different meanings compared to what we are usually used to them meaning.\nThese words constantly appear throughout the entire book. Some of the most commonly used are. Diction: When the mother stabbed him in the stomach, the description in the book of how the blood oozed out and how the burn of the peroxide cleaning the wound make you imagine you can feel the pain.\nIt makes you feel helpless because you can't reach in and help him. Books and CD's containing the rules, pronounciations and correct diction for a wide range of languages designed to aid singers. This is just a small selection of books and audio books available in our Books For Singers which includes exercises, music theory, vocalises, sheet music, audition repertoire, and tuition books for singers of all standards and styles.\nThe tone and diction of this book are extraordinarily unique. For one, it is written in traditional stereotypical African-American lingo. I am not exactly sure how to put that into words without offending anybody. For example, \u201cNext time us see Harpo his face a mess of bruises,\u201d (37).Define book.\nbook synonyms, book pronunciation, book translation, English dictionary definition of book. n. 1. a. A set of written, printed, or blank pages fastened along .Poetic diction, grandiose, elevated, and unfamiliar language, supposedly the prerogative of poetry but not of prose.\nThe earliest critical reference to poetic diction is Aristotle\u2019s remark in the Poetics that it should be clear without being \u201cmean.\u201d But subsequent generations of poets were more.", "id": "<urn:uuid:6ea58816-9bb4-4088-8a1a-bb7fdc3539ce>", "dump": "CC-MAIN-2023-14", "url": "https://rixaxegodekuxuxi.thebindyagency.com/diction-book-33580cv.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949025.18/warc/CC-MAIN-20230329182643-20230329212643-00125.warc.gz", "language": "en", "language_score": 0.9354714751243591, "token_count": 2029, "score": 3.8125, "int_score": 4}
{"text": "Read Alouds for first graders give them a wonderful opportunity to use their imagination and make connections to the world around them. They learn to develop language and listening skills, which prepares them to understand the written word. Here you will find 16 wonderful read alouds that teachers and parents can share with children.\n1. Charlotte's Web by E.B. White\nCharlotte's Web is classic Children's literature chapter book that brings friendship to life. This charming story of a pig who just wants a friend, but finds so much more. This is a wonderful, heartwarming story that should be shared for generations to come and makes for a great read aloud book. Charlotte's Web makes a great Audible Book that children will love listening to.\n2. Cloudy With a Chance of Meatballs by Judi Barrett\nCloudy with a Chance of Meatballs is a funny book that has even inspired a hit movie by the same name. This imaginative story is a favorite of grown-ups and children. The town of Chewandswallow becomes a great mess when the food raining down becomes larger and larger. The townspeople come together to help save the town.\n3. Dinosaurs Before Dark by Mary Pope Osbourne\nThe Magic Treehouse series has brought hours and hours of reading enjoyment to young and old alike who enjoy reading adventure stories. In this first of the Magic Treehouse series, Dinosaurs Before Dark takes you on an adventure with Jack and Annie through a time when dinosaurs roamed the Earth. If you are looking for an interesting chapter book to read aloud, Dinosaurs Before Dark is it.\n4. Stand Tall, Molly Lou Melon by Patty Lovell\nStand Tall, Molly Lou is a heart-warming story of a girl who learns that staying true to herself is her best decision. When Molly Lou starts a new school and the school bully picks on her, Molly remembers her grandmother told her to always believe in herself. Molly Lou eventually wins over her bully and all her classmates. The fun illustrations will sure catch the attention of any child.\n5. Interrupting Chicken by David Ezra Stein\nDavid Ezra Stein's Interrupting Chicken based on a favorite children's joke has quickly become a must-read aloud book for first graders who enjoy humor stories. At Chicken's bedtime, no matter what book her Papa is reading to her, she jumps into the story to save a character from doing something silly or dangerous. Children of all ages will enjoy this humorous story.\n6. Rosie Revere, Engineer by Andrea Beaty\nRosie Revere, Engineer is a bestselling picture book that is perfect to inspire first graders to pursue their dreams and passions. This realistic fiction is a wonderful text that helps the reader connect to real people. Rosie Revere dreams of being an engineer. She creates alone in her room at night but never lets anyone see her inventions. A visit from her great-great-aunt Rosie shows her that she can only fail if she quits. This is a wonderful read aloud for advanced readers.\n7. Green Eggs and Ham by Dr. Seuss\nGreen Eggs and Ham is a beloved favorite by the incomparable Dr. Seuss. This favorite book is perfect for first grade book. The familiar characters and fun rhyme make a this children's classic book with a series of tongue-twisters that list numerous places to try green eggs and ham.\n8. Bunnicula: A Rabbit-Tale of Mystery by Deborah and James Howe\nBunnicula is a classic, humorous, nostalgic book that is perfect for young learners from Atheneum Books for Young Readers. This is a favorite read aloud with a funny and clever story about a cute bunny as a vampire. Young children and adults will enjoy this nostalgic read from the family dog's perspective.\n9. Wolf's Coming! by Joe Kulka\nThe Junie B. Jones series is a classic series loved by school children. Junie B., First Grade (at Last!) is a great first grade read aloud. This is a wonderful read story to read at the beginning of the school year. Children to see themselves in what Junie B. is going through helps them feel more comfortable about starting a new year. The strong character traits really help to make this a perfect first grade book stand out.\n11. Say Something by Peter H. Reynolds\nDr. Suess book always offers a fun read aloud especially for first graders who are emerging readers. The Foot Book is a delightful read of rhyming opposites that explore all kinds of feet. This read aloud will surely be a fast favorite.\n13. Knuffle Bunny: A Cautionary Tale by Mo Willems\nIf you have never read a Mo Willems book, Knuffle Bunny is a charming story to start with. Mo Willems is very adept at subtle character development that is relatable to real people. This well-written funny, expressive story is a classic read aloud. The story follows a little girl and her dad's trip to the laundromat where Knuffle Bunny is left behind causing the family to begin the search.\n14. Hi! Fly Guy by Tedd Arnold\n15. Groundhog's Day Off by Robb Pearlman\nGroundhog's Day off will quickly become a favorite read aloud. When the groundhog decides to go on vacation, the town tries several replacements, but no one else fits. The people soon realize that the groundhog was the perfect animal for the job. Children learn that the groundhog just wanted to be appreciated for more than his meteorological expertise. This humor story will fast become a favorite read aloud.\n16. Grumpycorn by Sarah McIntyre\nIf humor stories are a must, then Grumpycorn is a must-have for any teacher or parent. Children in 1st grade through 4th grade will find enjoyment in listening to the wonderful read aloud. They will want to hear this story over and over again. This story of friendship begins with the Unicorn writing a story but not having any good ideas. When his friends try to help, he turns into a Grumpycorn and leaves a list of victims in his path. When Unicorn realizes what a terrible friend he has been, he apologizes and they all sit to write a story.", "id": "<urn:uuid:86065b9b-6984-4225-aa3a-92fb44df853f>", "dump": "CC-MAIN-2023-14", "url": "https://www.teachingexpertise.com/classroom-ideas/1st-grade-read-alouds/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00725.warc.gz", "language": "en", "language_score": 0.9539239406585693, "token_count": 1279, "score": 3.65625, "int_score": 4}
{"text": "Social development is a critical aspect of early childhood education, which encompasses the social, emotional, and cognitive growth of children. The early years are a crucial period for children\u2019s development as they lay the foundation for their future relationships and social interactions. A high-quality day care center, preschool education, and daycare services play a vital role in promoting social development among young children.\nIn this article, we will discuss seven strategies that can help promote social development in preschoolers and young children. These strategies are based on research and best practices in early childhood education and child development. By implementing these strategies, childcare providers and educators can create a supportive and nurturing environment that fosters positive social interactions, communication, and cooperation among young children.\nStrategy 1: Encouraging Positive Social Interactions in Childcare Centers and Daycare Services\nPositive social interactions are critical for young children\u2019s social development. A childcare center and daycare services can encourage positive social interactions by creating a supportive and engaging environment. Here are some strategies that childcare providers can use:\n- Creating a welcoming atmosphere: Childcare providers can create a warm and welcoming environment that makes children feel comfortable and safe. This can include providing age-appropriate toys, books, and activities that promote social interaction.\n- Promoting peer interactions: Childcare providers can facilitate social interactions among children by encouraging group activities, such as storytime, circle time, and music and movement activities.\n- Modeling positive social behavior: Childcare providers can model positive social behavior by being kind, respectful, and patient with children. They can also encourage children to use polite language, share toys, and take turns.\n- Providing guidance and support: Childcare providers can guide and support children\u2019s social interactions by intervening when necessary and providing gentle reminders about appropriate behavior.\n- Encouraging positive reinforcement: This can include acknowledging when children are kind to one another, share toys, or work well together.\nStrategy 2: Creating a Safe and Supportive Environment for Social Development in Preschool Education\nCreating a safe and supportive day care center environment is crucial for promoting social development in preschool education. Preschool educators can help children feel safe and supported by establishing a predictable routine, providing clear expectations, and creating a positive learning environment. Here are some strategies that preschool educators can use:\n- Establishing a predictable routine: Preschool educators can establish a consistent daily routine that helps children feel secure and comfortable. This can include daily schedules that provide structure and predictability to children\u2019s day.\n- Providing clear expectations: Preschool educators can set clear expectations for behavior and provide positive reinforcement for positive behavior. This can include using visual cues, such as pictures or charts, to help children understand expectations.\n- Creating a positive learning environment: Preschool educators can create an atmosphere that is conducive to learning by using language, tone of voice, and body language that are respectful and supportive. Educators should also be mindful of how they interact with each other in order to foster respect among children.\nStrategy 3: Incorporating Social Development into Early Childhood Education Curriculum\nIncorporating social development into early childhood education curriculum can help foster social development among young children. Here are some strategies preschool educators can use:\n- Integrating activities that promote cooperation and collaboration: Preschool educators can include activities in their curriculum that encourage cooperation and collaboration among children, such as art projects or group games.\n- Encouraging communication and language development: Preschool educators can incorporate activities that promote communication and language development, such as storytelling or singing.\n- Promoting problem-solving skills: Preschool educators can create opportunities for children to practice problem-solving skills by engaging in role play or cooperative games.\n- Creating a learning community: Preschool educators can foster a sense of community among children through activities such as circle time and group discussions. This helps children feel connected to their peers and develop empathy for others.\nStrategy 4: Fostering Relationships Between Teachers and Children to Promote Social Development\nFostering positive relationships between teachers and children is an important part of social development. Here are some strategies preschool educators can use to foster positive relationships with children:\n- Building trust: Preschool educators can build trust with children by being consistent and supportive. This includes providing praise, encouragement, and recognizing individual strengths and abilities.\n- Creating a shared understanding: Preschool educators should strive to create a shared understanding of expectations with children in order to promote positive interactions. This includes clearly communicating rules and expectations as well as explaining the consequences for not following them.\n- Encouraging meaningful conversations: Preschool educators can engage in meaningful conversations with children about topics that are relevant to their lives, such as school or family life. This helps develop communication skills and encourages children to think critically about their own experiences.\n- Providing emotional support: Preschool educators should be available to provide emotional support when needed. This includes listening to children, validating their feelings, and helping them find solutions to problems.\nStrategy 5: Supporting Parents in Promoting Social Development at Home\nParents play an important role in promoting social development among young children. Here are some strategies day care center educators can use to support parents in this process:\n- Providing resources: Preschool educators can provide resources for parents on topics related to child development, such as behavior management or age-appropriate activities. This helps parents understand how they can best support their child\u2019s social development.\n- Encouraging parent participation in school activities: Preschool educators should encourage parent involvement in school activities. This could include inviting parents to class discussions or field trips. This helps create a sense of community and encourages parent-teacher collaboration.\n- Organizing playdates: Preschool educators can organize playdates for children in the classroom, which helps foster positive social interactions among peers. This could include inviting a few classmates over to have fun activities or just to hang out.\nSocial development is an important part of early childhood education. Preschool educators can promote positive social development by encouraging positive interactions in childcare centers and daycare services, creating a safe and supportive learning environment, incorporating activities that encourage communication and language development, fostering relationships between teachers and children, and supporting parents in promoting social development at home.\nQuality child care and early childhood education can help children develop the necessary skills to navigate their environment, form meaningful relationships, and be successful in school. Promoting social development in preschool is an important part of ensuring positive outcomes for young children. With the right strategies in place, preschool educators can ensure that young children have the tools they need to develop strong interpersonal skills for life.", "id": "<urn:uuid:b01cf0b1-037b-4878-bf15-afe14ab9a47b>", "dump": "CC-MAIN-2023-14", "url": "https://bignewscandy.com/5-strategies-to-promote-social-development-in-preschoolers-and-young-children-at-a-day-care-center/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949331.26/warc/CC-MAIN-20230330132508-20230330162508-00325.warc.gz", "language": "en", "language_score": 0.9357122778892517, "token_count": 1358, "score": 4.125, "int_score": 4}
{"text": "Teaching writing is important for students at all levels. They should be able to present a story from their life or a story that they\u2019ve imagined. They should develop their skills in order to write a thesis in the near future.\nThe ability to fully express themselves with words is also an essential real-world skill. There\u2019s a possibility that some of your students will work as journalists, copywriters, bloggers, or even become successful writers.\nThere are many aspects that can enhance your students\u2019 learning progress. But the technological world has a great number of tools to lead learners to succeed in the area of creative writing. Some of these tools help students to develop their writing skills and creativity in writing a paper but they can visit a website like Usessaywriters.com to get additional help from the experts who are responsible for writing different types of essays. Discover 7 ways you can help your class get inventive using different apps.\n1. Use story prompts.\nTo inspire the creativity of young wordsmiths, you should assign really interesting topics. Some apps are designed specifically for those who can\u2019t come up with a story theme. Use it yourself to find something appropriate or ask your students to choose the one from the ready-to-use story prompts.\nWriting Challenge, iDeas for Writing, and Writing Prompts will help struggling students to come up with the foundation of their creative project. Show learners how many interesting topics there exist to cover.\n2. Teach them to write down their ideas.\nStudents can be quite ingenious when it comes to story ideas. The problem is that they cannot always think out of the box when they need it. That\u2019s why they experience writer\u2019s block.\nRecommend students a couple of note-taking apps, like Note Everything, RedNotebook, or Inspiration Maps. The latter app will be especially useful for those who have more than enough ideas for essay writing, but cannot organize them into something clear and logical. Inspiration Maps offers a template for collecting your ideas and adding images. It can be later converted into a Word document.\nBrainstorming is used to put a new writing task in motion. In class, it encourages young writers to share their thoughts and ideas to create cute characters and fascinating plot.\nBrainstorming apps offer a new approach to writing. With 99 Words, users can collaborate on writing assignment. They write a story which consists of chapters of no more than 99 words.\nThe Brainstormer is a tactile tool which features three different wheels: subject/setting, plot/conflict and theme/setting. Users scroll through these wheels and choose the details for each category. It extends the borders of imagination.\n4. Let students create multimedia.\nTeaching students how to write can be problematic if they hate it. You should find a way to make this practice attractive to them. Apps for creating multimedia are teacher\u2019s bets assistants in this task. They perfectly match creative writing assignments and involve students in writing.\nEasel.ly is a tool that provides cute themes and templates for multimedia presentations. Picturebook app allows younger students to present their stories as picture books. There\u2019s a great alternative called PicCollage. This vision-based app helps to create interactive collages for stories. Using multimedia is beneficial because visual images stimulate the cognition.\n5. Let them make graphics.\nApps like Strip Designer and MakeBeliefsComix allows users to create comic style books using various templates and tools. They help students categorize information, outline the sequence of events, and develop opinions \u2013 all vital to good writing.\nThese tools encourage learners to approach writing assignments systematically and creatively. Writing an essay is no longer a boring task but if you need some pieces of advice with your writing you can contact this website.\n6. Teach them to develop a narrative.\nSo, the above-listed apps have helped students to develop characters, setting, sequence of events, and dialogues. Now they need to organize it into a logical narration. There\u2019s a wide variety of storytelling tools that can guide young writers in putting their thoughts and ideas together into the story.\nStory Skeleton and Bubble.us are widely used by students for creative writing assignments. Story Skeleton is recommended for learners of all ages. It allows them write their works in bits and pieces and see how it starts to take shape. The app has index cards for jotting down the details of the story and then organizing them into a single unit. The work can be transformed into a text file and added to another word processing file.\nBubbl.us app offers a mind map that shows the outline points in colorful pictures. Young learners enjoy writing with its help.\n7. Help them write with no mistakes.\nGrammar seems to be the largest stumbling block for students, no matter what type of writing they perform. Emphasize the importance of grammatical accuracy. Students must make it a habit to check their written pieces before handing them in. Here\u2019re the best tools for this purpose.\nGrammarly is grammar-checker often used by students to polish their academic papers. Hemingway is designed to simplify the written works. It highlights long sentences, superfluous phrases, passive voice, and adverbs. Users fix these flaws and make their papers easy-to-read.\nSensitive teaching and plenty of practice develop learners\u2019 confidence and enhance their writing skills. The apps can give them some hints on how to make their writing assignments more interesting, creative, and engaging. As a teacher, you must use an abundance of techniques, both traditional and modern, to reach the best possible result in students\u2019 progress.", "id": "<urn:uuid:60c7710c-7ab0-4d61-bcd9-62b61014cc13>", "dump": "CC-MAIN-2023-14", "url": "https://www.techpluto.com/7-smart-ways-to-teach-creative-writing-with-apps/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945030.59/warc/CC-MAIN-20230323065609-20230323095609-00325.warc.gz", "language": "en", "language_score": 0.9434320330619812, "token_count": 1179, "score": 3.65625, "int_score": 4}
{"text": "Understanding the Needs of Early Education\nWhen it comes to designing a curriculum for early education, it\u2019s important to understand the needs of the students and their families. For starters, early education should be a comprehensive program that covers all areas of learning, from language and literacy to mathematics and science. The goal is to provide a well-rounded education that prepares children to succeed in their future studies and life.\nIt\u2019s also important to consider the developmental needs of young children. Young children learn best through play and exploration and need to be given plenty of opportunities to do so. This means that the curriculum should include plenty of hands-on activities and provide children with the tools and resources they need to explore and learn. This can include art supplies, manipulatives, and books.\nFocusing on Social and Emotional Development\nAnother important aspect of designing a curriculum for early education is to focus on social and emotional development. Young children need to learn how to interact with others, work in groups, and express their feelings in constructive ways. This can be done through activities that involve storytelling, music, and movement. It\u2019s also important to provide children with opportunities to build relationships with their peers and adults.\nIn today\u2019s world, technology is an important part of education. When designing a curriculum for early education, it\u2019s important to incorporate technology in a way that is appropriate for young learners. This can include the use of computers, tablets, and interactive whiteboards. These tools can be used to introduce children to coding, robotics, and other STEM topics.\nWhen it comes to technology, it\u2019s important to remember that young children learn best when they are given opportunities to explore and make mistakes. Technology should be used as a tool to help deepen understanding and provide children with a sense of agency and control.\nInvolving Parents and Caregivers\nDesigning a curriculum for early education also means involving parents and caregivers. This can be done by providing parents with resources and information about the curriculum, encouraging them to volunteer in the classroom, and involving them in the decision-making process. This can help to ensure that all stakeholders are on the same page and that the curriculum is meeting the needs of the students and their families.\nAssessing and Evaluating Student Learning\nWhen designing a curriculum for early education, it\u2019s important to assess and evaluate student learning. This can be done through the use of formative and summative assessments. Formative assessments provide teachers with ongoing feedback on student progress and can help to inform their instruction. Summative assessments provide a snapshot of student learning at the end of a unit or school year and can help to identify areas of strength and areas of need.\nIncorporating Play and Exploration\nPlay and exploration are important elements of early education and should be incorporated into the curriculum. Play helps young children to develop their language, motor, and cognitive skills and encourages them to engage in problem-solving and critical thinking. Exploration gives children the opportunity to explore their environment and learn through experimentation.\nIntegrating Family Involvement\nFinally, when it comes to designing a curriculum for early education, it\u2019s important to integrate family involvement. This can be done by providing families with resources and information about the curriculum, inviting them to field trips and special events, and encouraging them to be involved in their child\u2019s learning. This can help to ensure that all stakeholders are on the same page and that the curriculum is meeting the needs of the students and their families.\nDesigning a curriculum for early education can be a daunting task, but it\u2019s an important part of ensuring that all students have access to a quality education. When it comes to designing a curriculum, it\u2019s important to understand the needs of the students and their families, focus on social and emotional development, incorporate technology, involve parents and caregivers, assess and evaluate student learning, incorporate play and exploration, and integrate family involvement. By taking these steps, schools can ensure that they are providing a well-rounded curriculum that meets the needs of all students.", "id": "<urn:uuid:89f3e232-03bd-4d79-af5a-8f53463d63db>", "dump": "CC-MAIN-2023-14", "url": "https://www.uadogstudy.org/2022/09/designing-curriculum-for-2018-for-early.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945030.59/warc/CC-MAIN-20230323065609-20230323095609-00323.warc.gz", "language": "en", "language_score": 0.951530933380127, "token_count": 845, "score": 3.828125, "int_score": 4}
{"text": "Reading Comprehension: Teaching the Literary Elements of Narrative Stories Through Students' Personal Lives-Part 2\nTimothy G. Weih, Ph.D.\nUniversity of Northern Iowa, USA\nNote: This is the second part of a two part article.\nAssessing and Evaluating Students' Work\nIt is very important that teachers assess and evaluate students WHILE they're actually doing the work for the strategy for the sake of helping them and reteaching on the spot as necessary and to keep students from getting off-track, getting confused, and becoming frustrated with each other or the work that they are doing.\nAs the teacher circulates among the students while they are working, he scans their papers to see if they are following the directions, correctly identifying the main elements of the Story Face, and guiding students as necessary. If it appears that many of the students are confused, the teacher should stop their work and reteach any problem areas.\nWhen students have completed their Story Faces and accompanying compositions, the papers are collected and evaluated for the students' strengths and weaknesses. Students who need additional reteaching are identified and retaught.\nModifications for Students with Special Needs\nIt is crucial that students be placed into diverse, collaborative teams so that they can draw from each other's strengths. Additional accommodations can be made for students with special needs such as the following:\n\u00e2\u20ac\u00a2 Give students a pre-made Story Face map or worksheet with all the main parts labeled, rather than have them make their own, in which they simply fill in the answers.\n\u00e2\u20ac\u00a2 Instead of students thinking totally from scratch to come up with their own personal story problem, the teacher leads them with a brain-storming, whole class activity and records a large list of common problems students have faced on the classroom screen. Students then pick and choose which ones apply to them.\n\u00e2\u20ac\u00a2 Students may get lost in the directions for completing the Story Face, so pre-printed directions could be passed out to them.\nModel and Guided Practice with Book Text\nThe use of the students' own personal stories is an adaptation of the Language Experience Approach (Allen, 1976) in which the students' own words, stories, and experiences are used for learning literacy. This approach, in itself, is a modification that makes it easier for students to learn literacy. Once students have successfully mapped out and written their own personal narratives, then it's time to make the transition of applying the strategy using a text or book story. The best type of book to begin with is a picture book because they use very few words to get across meaning, and the pictures will lend further understanding of the story along with highlighting the literary elements to the students.\nFor modeling, the teacher reads aloud a picture book with students either following along with copies of the same book in front of them, or the book displayed on the classroom screen. After the read aloud, the teacher displays a Story Face on the classroom screen and calls on student volunteers to supply the main parts of the story.\nDuring guided practice, teachers have the collaborative literacy teams work together to Story Map a picture book with each team doing a different book. This procedure should be done with at least three different books during three assignments.\nAssessment and Evaluation of Independent Work\nAssessment and evaluation is a recursive practice that occurs throughout the teaching process (see Weih, 2015a). When students have demonstrated from their work they understand the Story Face strategy and can comprehend the main parts of narrative stories, then it's time to separate students from their collaborative literacy teams and assign them individual work in story mapping a picture book using the strategy. Students should have at least three assignments with individual mapping work with three different picture books.\nThe maps are collected and examined for student strengths and weakness. Students who need additional work in the strategy are identified and retaught.\nExtending the Strategy\nWhen students have become successful at mapping out picture book stories, then it is time to extend the Story Face strategy using short, easy to read chapter books. Following the procedure outlined with picture books, students map out individual chapters in a book rather than an entire book. Point out to students that most narrative chapter books have clearly defined literary elements within each chapter, even if some are repeated. Characters face multiple problems played out in each chapter as they deal with an overarching major problem. Each chapter represents a piece of the puzzle that completes a larger, more complex story than typically found in a picture book. After a few assignments of this nature, most students will have internalized the concepts of how narrative stories are structured and mapping will no longer be a necessary tool.\nAdditional Benefits for Students\nThe strategy of Story Face holds many literacy benefits for students. As students work to solve the Story Face, they become engaged in writing, reading, discussing, and thinking about the content of narrative stories, thereby increasing their overall reading comprehension, which can lead to enhanced reading enjoyment and a reciprocal rise in writing fluency.\nMoreover, students realize that they have their own personal stories that they can connect with when reading or writing narrative text.\nBeginning with the stories that all students have in their lives for teaching literacy promotes the idea to students that their lives are important, have meaning, and can be background knowledge for learning language in the elementary classroom. Rather than drawing from the reading of a book, which some students may or may not be able to read, understand, or relate to, the application of students' own language experiences levels the playing field, giving ALL students the opportunity to fully participate.\nWeih, T. G. (2015a). Assessment and evaluation of content literacy for grades K-6 (parts one and two). Saching.com.\nWeih, T. G. (2015b). Literature-based content writing instruction for grades K-3. Saching.com.\nCopyright \u00c2\u00a9 2016 Timothy G. Weih, Ph.D.\nUniversity of Northern Iowa, USA\nAbout Author / Additional Info:\nTimothy G. Weih is an associate professor of education at the University of Northern Iowa, USA, and teaches elementary teaching methods courses.", "id": "<urn:uuid:13dea66c-b67d-4eaf-a1f5-87c8f9c7b6d8>", "dump": "CC-MAIN-2023-14", "url": "https://www.saching.com/Articles/Teaching-the-Literary-Elements-of-Narrative-Stories-Part-1-17373.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00326.warc.gz", "language": "en", "language_score": 0.953275203704834, "token_count": 1277, "score": 3.859375, "int_score": 4}
{"text": "For many of us, school was a particularly routine affair; you would arrive at school, go to class, perform dictation or take down notes from the board. You would also conduct your research in the library, handwriting notes with a pen and paper. It\u2019s safe to say those days are behind us. Technology is now so intertwined with students and their learning outcomes that today\u2019s students would view a classroom from the past and simply gawk at the learning structure, activities and outcomes.\nWhile the educational realm has typically taken longer to adopt new technologies than the business world or corporate sector, thanks to the organic and ever-fluid landscape of technological advancements, full-scale adoption has become somewhat inevitable. This is reflected no better than in the new Digital Technologies component of the New Zealand Curriculum which must be implemented in every school by the beginning of the 2020 school year. Teaching \u201cmethodologies are changing, curricula are changing, and new technologies are being tested.\u201d 1 Virtual reality (VR) is still very much an emerging technology, but we thought this would be a great opportunity to explore five ways VR can potentially reinvent the classroom.\n1. \u201cReal\u201d Experiences\nTraditionally, in many circumstances, education fails to provide students with hands-on experiences. For example, they can read about the eruption of Mount Vesuvius that decimated the ancient city of Pompeii, but they can\u2019t legitimately experience the terror or grief of the event. Students can watch footage of marine life on the Great Barrier Reef, or documentaries detailing the origins of the universe.\nBut what if you could showcase to your students the movement and smaller idiosyncrasies of both the marine life and expansive, contextualisation of space? As VR grows, teachers will be able to bring past worlds, and previously before unexplored realms to the classroom, providing students with a deeper level of understanding when it comes to history and the wider world around them.\nThe world can be a volatile place and with the 24/7 news cycle brought on by social media, students have access to world affairs at their fingertips. Imagine being able to virtually show them via a nanoscale immersion, the after-effects of the Haiti earthquake, or the stressful reality of Syrian refugees seeking asylum in Mediterranean Europe.\nThe ability to put students in these kinds of situations would foster growth in their ability to empathise. Being able to empathise with people from other situations unbeknown to their own will foster deeper and more informed perspectives about the world they live in, putting them in good stead to grow into wise, digital citizens in a connected world.\n3. Insight & Creativity\nIn the past, the most creative a student could be was via the visual arts, woodwork or creative writing. VR will give students the opportunity to bring their imagination to life. Activities both individually and in groups will give students the ability to draft, design and create 3-dimensional objects, scenarios and worlds of their choosing.\nAllowing students to share their world with their classmates, as well as developing fundamental coding/robotics and design skills will do wonders for their confidence and employability post-school. Not to mention, engaging even the most disruptive or absent-minded students could be an issue of the past.\n4. Relevance for Traditional Activities\nVR can add more relevance to what would be considered more traditional learning activities. In anatomy, for example, not every student learns the same way. For students more inclined to engage visually than by text, imagine being able to delve inside the human body and have them interact with muscular systems, bones and organs.\nIt can add further weight to any learning experience, perhaps a class is set an essay on Vincent Van Gogh and his life, through books they know of his blind passion for the lover that drove him to cut off his ear, but being able to virtually experience that passion would facilitate a more informed and in-depth finished product.\n5. Professional Life\nFrom a young age, we dream and have fantasies about what we want to be when we grow up. VR can play a role in broadening students\u2019 exposure to potential careers. Through VR students can, for example, experience a day in the life of an engineer, the skills required to perform the role and what they would potentially enjoy about the job, and vice versa for what they might not.\nThe ability to give students regular exposure to a multitude of careers will hold them in good stead for when they inevitably graduate and decide which path they wish to take in their professional lives. With the benefit of trial and error in school, more students will be entering the workforce fully aware of what they\u2019re getting into, which will in turn foster garner higher rates of employment, and potentially a happier and more cohesive society.\nAt New Era, we pride ourselves on providing innovative technology solutions that empower a new generation of teaching and learning. If you\u2019d like to learn more about the endless possibilities that VR offers, don\u2019t hesitate to give us a call on 0800 438 428.", "id": "<urn:uuid:632da334-5ea5-4877-9358-5ab1e7687e32>", "dump": "CC-MAIN-2023-14", "url": "https://www.neweratech.com/nz/blog/5-ways-vr-can-reinvent-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945287.43/warc/CC-MAIN-20230324144746-20230324174746-00326.warc.gz", "language": "en", "language_score": 0.9595422148704529, "token_count": 1042, "score": 3.640625, "int_score": 4}
{"text": "~6 to 9 Years Old\nThe 6-to 9-year-old class is well-equipped with Montessori materials as the hands-on use of manipulatives continues. Each new concept is presented with materials so that students progress from the concrete experience to an abstract level of understanding in a series of lessons that will enable them to make their own discoveries. Below are the concepts that each student will acquire during their three years in Lower Elementary and a sampling of the topics.\n- Specific Numeration Concepts \u2013 decimal system, place value up to the millions\n- Addition and Subtraction \u2013 four- and five-digit static and dynamic operations , word problems\n- Multiplication \u2013 equations with one, two, or more digit multiplier, word problems\n- Division \u2013 division problems with one, two, or more digit divisors, word problems\n- Memorization \u2013 a goal of memorizing their tables in all four operations\n- Common Fractions \u2013 naming and defining parts of a common fraction\n- Decimal Fractions \u2013 introduction to the decimal hierarchies\n- Measurement \u2013 length, weight, capacity, temperature, money, and time\n- Problem Solving \u2013 drawing diagrams, making organized lists, collecting, sorting, organizing\n- Plane Figures \u2013 lines, angles, triangles, quadrilaterals, and polygons\n- Solid Figures \u2013 spheres, prisms, etc.\n- Reading Comprehension \u2013 We use a variety of resources to practice reading and comprehension.\n- Language Analysis Concepts \u2013 parts of speech, sentence analysis, and word study\n- Writing Concepts \u2013 research, creative writing, editing, vocabulary\n- Spoken Language Concepts \u2013 public speaking (oral reports of research projects or sharing creative writing), recitations, and poetry sharing (group discussions)\n- Spelling \u2013 Based on the Orton-Gillingham approach \u2013 a phonics-based approach to whole language learning\nStudents are introduced to cultural studies through a series of Montessori \u201cGreat Lessons\u201d that expose them to the stories that explain the world they live. When children enter the elementary grades, they move immediately into a further exploration of the cultural areas they learned while in Children\u2019s House. As the \u201clogical, reasoning mind\u201d emerges, the children use the information in new ways, find the interrelationships between and among the various cultural areas, and generally expand their knowledge.\nMaria Montessori called this integrated curriculum \u201cCosmic Education.\u201d Cosmic Education \u201cstarts with the whole, (i.e. the universe), and works toward the parts, (i.e. individual cultures, history, geography, life forms, etc.). This gives the child a foundational sense of perspective. Within the big picture of the universe, everything the child learns is connected. Children can use this big picture perspective to mentally organize new information. When understood as connected parts of a whole, the information gains relevance, which is an essential part of capturing a child\u2019s interest.\u201d (ageofmontessori.org)\n- Geography \u2013 study and structure of the Earth, study of rocks and minerals, solar system, etc.\n- Biology and Zoology \u2013 introduction to eras and periods, external parts and vital functions of animal groups, parts and vital functions of plants.\n- History \u2013 prehistory, fundamental needs of humanity, measurement of time.\nFINE ARTS CURRICULUM\nThe Montessori educational approach strives to give each child an awareness of the interconnected nature of their studies to the world around them. The core philosophy of the Fine Arts curriculum is process-based (rather than product-based.) Thus, the exploration and development of creative problem-solving skills is more important than the finished product. Students are exposed to a wide variety of artistic tools, techniques, and media. The ultimate goal of artistic expression \u2014 to encourage individualism and creativity, while also strengthening emotional development and perceptual ability.\nThe goal and objective of the music program is to instill a joy of music by incorporating an exposure to all forms of music, singing, listening, ear-training, movement, instrument playing, and creativity. Our Montessori music curriculum addresses the needs of the whole child: physically, emotionally, socially, and intellectually.\nPHYSICAL EDUCATION CURRICULUM\nThe major goal of the Lower Elementary physical education program is to continue to build the students\u2019 enjoyment of movement and physical activity. The program at this level continues to provide the children with activities that focus on gross and fine motor skills, coordination and spatial relations, and overall fitness and strength building.\nSportsmanship and competition are introduced with core Montessori principles such as grace, courtesy, and respect in mind. The \u201cPE Shelf\u201d is also introduced, which allows students to choose independent PE work.\nSchool Hours for Lower Elementary (1st through 3rd grade equivalent; approximately 6-9 years old): 8:10-8:30 a.m. drop-off; 3:30 p.m. pickup. After School is available until 5:30 p.m.", "id": "<urn:uuid:ec3726c3-9c3d-4c72-8afc-01cb069bce7c>", "dump": "CC-MAIN-2023-14", "url": "https://followthechild.org/lower-elementary/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945288.47/warc/CC-MAIN-20230324180032-20230324210032-00522.warc.gz", "language": "en", "language_score": 0.9138087034225464, "token_count": 1084, "score": 4.03125, "int_score": 4}
{"text": "WHAT IS NATURALISTIC DEVELOPMENTAL BEHAVIORAL INTERVENTION (NDBI)?\nUpdated: May 12, 2021\nNaturalistic Developmental Behavioral Intervention (NDBI) is a research-based system for increasing skills of children who have delays in speech-language-communication. NDBIs target all aspects of communication, so children are learning to use their skills for all the social reasons we communicate, while at the same time they are learning more words and longer sentences.\nNDBI programs have been proven to work, through research at major universities. Each program is different in how their methods are organized and presented, but they all share the features that give the approach its name.\nWHAT IS NATURALISTIC INTERVENTION?\nNaturalistic means teaching happens in typical daily interactions. Children with delayed communication have trouble noticing and using the natural cues that happen during interactions. They need help to focus on what\u2019s important, extra practice with the skills, and more feedback from adults to get the most out of these learning opportunities.\nA huge advantage of naturalistic methods is their efficient use of time. Children with delays don\u2019t automatically transfer their new skills to situations they haven\u2019t practiced. By teaching skills in their natural settings, we don\u2019t need to teach skills separately and then have extra lessons to teach them in real life settings. We don\u2019t need to set aside separate time for practicing communication skills, because we can do it while it is a natural part of daily activities.\nNaturalistic methods are taught to parents so they can provide focused learning opportunities all through the day. New skills can transfer to useful places without needing to wait for lessons that come later (or might be left out). These parent-friendly methods are easily learned, and strengthen the bond between parents and their children.\nWHAT IS DEVELOPMENTAL INTERVENTION?\nDevelopmental means following the typical patterns of how children learn and develop. We know that children with speech delay, autism, Down syndrome, and other developmental disorders follow the typical sequence of development but at a different rate. We use that same typical sequence of skills to choose our teaching targets.\nSome skills have been shown to be the foundation for all speech, language, conversation, and social skills. We start our therapy with these skills to make sure the foundation is strong. For older children who are using words, we may need emphasize teaching these skills to make sure they can use their words effectively. These core skills include:\nJoint attention: looking at the same thing another person is looking at\nImitation: doing what someone else is doing\nSocial engagement: taking part in a back-and-forth exchange with another person\nActive learning: independently trying out experiences to see what happens, and using thinking skills to figure out how things work\nSocial relationships: understanding our own feelings and those of others, and communicating for a wide variety of reasons\nTeaching these foundation skills builds the positive relationship between parents and children. These foundation skills expand the variety of activities parents and children can do together to build enjoyment of their shared times. This positive relationship is where children learn to use communication for the full range of human interaction.\nWith developmental intervention, we emphasize these foundation skills because they are essential for learning at all later stages of communication. As children develop their communication skills, we continue to incorporate these key skills as we teach more advanced skills in the developmental sequence of gestures, single words, word combinations, sentences, conversation and storytelling.\nWHAT IS BEHAVIORAL INTERVENTION?\nBehavioral means using the well-established principles of learning that describe how skills (behaviors) can be increased or decreased depending upon what happens right before the behavior and how we respond to the behavior right afterward. These rules of learning are also called behavior modification or operant conditioning. Behavioral principles are important tools for teaching any skill.\nWhen we use naturalistic teaching in daily interactions, it\u2019s important to keep these principles of learning in mind. Using them helps learning go faster and avoids accidentally teaching unwanted skills (like tantrums or refusing).\nThings we do to get a child to use a skill are called antecedents, meaning they come right before the target skill. These might be things like a cue (showing or giving an object) or prompt (giving a direction, pointing). Things we do to increase or decrease a skill are called consequents, meaning they come right after a child uses the skill.\nWe need to be careful observers of our own and children\u2019s behaviors. When we are consistent with our antecedents and consequents, children learn the new skill faster. When we monitor how we respond to behaviors, we can avoid teaching the wrong behavior.\nWHAT IS INTERVENTION?\nIntervention means a collection of methods and procedures that are used in a systematic way to improve the performance of a person. You might say intervention is a fancy way to say therapy.\nWhen we say Naturalistic Developmental Behavioral Intervention, we mean that we use the theory and research-based methods from developmental and behavioral sciences and apply them with families in natural settings to speed up communication development in children.\nSocial Interaction Is the Foundation for Language Learning\nFour Advantages of Naturalistic Communication Intervention\nWhat Is Behavioral Intervention? Naturalistic Developmental Behavioral Interventions: Empirically Validated Treatments for Autism Spectrum Disorder", "id": "<urn:uuid:f2f9619a-4b09-45f6-a98d-e5c8275f6482>", "dump": "CC-MAIN-2023-14", "url": "https://www.theinteractioncoach.com/post/what-is-naturalistic-developmental-behavioral-intervention-ndbi", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00125.warc.gz", "language": "en", "language_score": 0.9350500702857971, "token_count": 1111, "score": 3.8125, "int_score": 4}
{"text": "Summer Activities to Build Language and Reading Skills\nAnyone else feel like they are limping into summer break this year, or is it just me? The past 18 months have been rough, and there is a growing concern that students are behind in various academic areas - most specifically reading.\nThe good news is, reading and language are so closely connected, that you can \"kill two birds with one stone\" and build them both together.\nWe have come up with some fun ways to pair learning with the typical summer activities you plan to do with your family on a daily basis!\nChildren of different ages will have different skills that you want to target. To make things easier on you, we broke-up our ideas into age groups and specific reading and/or language skills. Feel free to put your own spin on them!\nPre-Literacy (ages 1-4):\nPre-literacy is characterized by exposure. We want to expose children to as many sounds, types of print, visual imagery, and just plain spoken language during this stage. Rhyming is also especially important here - this is why so many children's book rhyme.\nGo to the library\nHave your child choose a theme for each week of summer, and check out books together that go along with your theme.\nNarrate your day\nMaking coffee, getting dressed, packing a bag to go to a playdate - these are all chances to build your child's vocabulary and phonemic exposure. Narrate what you are doing, and they will store all those new words into their lexicon.\nUse your senses\nEating ice cream, slicing a watermelon, taking a dip in the pool, or playing in the sand - we all do these things with our children in the summer. Encourage them to talk about their 5 senses and use adjectives (describing words) to tell you what they taste, see, smell, feel, and hear. (Although, we don't recommend eating sand, we all know they will anyway... this is a good place to introduce the vocabulary word gritty...)\nEarly Literacy (ages 5-8):\nThe early literacy stage is when children develop an understanding of letter-sound relationships, and spoken word-printed word relationships. Children begin to sound-out words and memorize high frequency words such as: the, and, is, some, done, through, etc...\nGo for a drive\nHave your child look around while driving to find familiar words on signs and businesses.\nHave a lemonade (or sweet tea!) stand\nHelp your child set-up a lemonade stand. Help them sound out words to write on signs and decorate them.\nFind a pen pal\nDoes your child have a cousin or friend they do not often see? Start a pen pal relationship so they are practicing reading and spelling in a fun, non-stressful way.\nIf younger children want (demand?) to be involved, you can have them draw pictures. When they're done, have them narrate the scene to you to write under their artwork. This keeps them involved while also helping them develop their expressive language skills!\nRhyming, alliteration (she sells seashells), onomatopoeias (POW!), and similes (they blew through like tornados) are great to use with any activity. For example, if you are eating ice cream with your child, you can incorporate these literacy elements into your conversations.\nDeveloping Readers (ages 8-12):\nDeveloping readers are becoming more fluent. They can read familiar stories and use context clues to decode unfamiliar words and vocabulary. These readers are beginning to move from \"learning to read\" to \"reading to learn\".\nWrite your own book\nEncourage your child to write their own book with their own illustrations. You can even take turns building on the plot and picking up where the other left off.\nRead a book together\nNever stop reading aloud to your child! Choose a book, even one that is well above their reading level, and read a bit to them each evening or at another special time of day.\nUse higher level vocabulary words as your words and discuss their meaning, provide opposites, and try to come up with other words that mean the same thing.\nWrite with sidewalk chalk\nCreate a maze, obstacle course, or workout with sidewalk chalk and write the instructions as you go. (The kids in my neighborhood seem to think everyone can do ten burpees mid-walk while simultaneously hopscotching. Challenge accepted.)\nFluent Readers (ages 12+):\nFluent readers are able to read a variety of texts, comprehend various viewpoints, and identify literary elements.\nLet them choose their reading material\nThis means they can choose a short story, graphic novel, poetry book, comic book, newspaper, magazine or a good old-fashioned regular book.\nDaily silent sustained reading in a genre of their choosing helps to foster a love of reading while continuing to expose them to the richness that comes from written language. Whatever strikes them as interesting, encourage it.\nEncourage them to shake up genres and styles\nWritten language in science books is different than history books. Comics are different from poetry. Fiction is different from non-fiction. Exposure and practice with a variety of texts matters when it comes to building comprehension skills.\nListen to audiobooks\nThere are so many beautifully composed audiobooks these days! While the student may not be reading the words themselves, they are still being exposed the language. If characters have accents, unusual names, or live in foreign places, they are exposed to the proper pronunciation of these words, too.\nYour local library will most likely have an app that they use for sharing audiobooks or digital books. You will use your library card ID to access their virtual library!\nIf you find that your child is struggling with their age-related suggestions, drop back a level or two. Language develops in stages and a solid foundation matters. Meet them where they're at and keep it fun!\nIf you have concerns over your child's language and/or reading development, you can always reach out to us with your questions and concerns!\nYou got this, parents - and we are always here to help!\n-The LD Expert", "id": "<urn:uuid:1d369c96-328b-40c9-9b44-cee853b209f1>", "dump": "CC-MAIN-2023-14", "url": "https://www.ldexpert.org/post/summer-activities-to-build-language-and-reading-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943483.86/warc/CC-MAIN-20230320114206-20230320144206-00126.warc.gz", "language": "en", "language_score": 0.9563122391700745, "token_count": 1308, "score": 3.984375, "int_score": 4}
{"text": "By the time they\u2019re age 21, the average child has played 10,000 hours of video games\u2014the same amount of time they\u2019ve spent in school.\nBut why are kids so fascinated with games, anyway? Below are seven psychological mechanics built into games that we can leverage to make the school experience more engaging for kids.\nOne reason a game is addicting is because it gives kids autonomy: the freedom to act, explore, and be creative in different ways.\nBy giving students more control over how they learn and solve problems, we can increase their investment in their education and make it more personal to them as individuals. This may involve providing more choice in how they can approach lessons and assignments. When kids are in the driver\u2019s seat, they\u2019re more motivated to learn.\nEach game has a particular set of rules and mechanics that kids need to master. Good games achieve a balance in terms of difficulty; if a challenge is too easy, we lose interest. But challenges that are hard but not too hard motivate us by promoting the idea that we can succeed through perseverance.\nThe same idea applies to learning. Teachers have to provide challenges that are just hard enough for students to be engaged, but that they feel they can master. This helps kids from feeling overwhelmed by the activity and encourages them to apply themselves in order to complete it.\nGames often give kids the chance to interact with other people\u2014either through competition or collaboration. Neural activity shows that to the brain, both in-person and online social relationships feel equally as real.\nThis is a big part of class culture in general. While kids are in a sense already \u201ccompeting\u201d for grades, more focus needs to be placed on teaching them how to work together. Being social is crucial to building knowledge and expanding our worldviews. Discussions around concepts allow students to challenge their ideas against their peers\u2019, which shapes (and re-shapes) their conceptual models. Teachers need to foster and structure these social interactions around learning activities. Through social interactions, kids find meaning in their coursework, which is a huge part of motivation.\nAnother essential part of games is discovery. By exploring a virtual world, kids get a chance to indulge their curiosity and see where it leads them. Sometimes that\u2019s into the dragon\u2019s lair, other times to a treasure vault.\nThat wonder is also important to learning, but it doesn\u2019t always come naturally to kids. Going hands-on with project-based learning, or forming connections between what students are studying and what they already know and love from their daily lives, can help spark that light bulb for them.\nSurprise is another element of games that keeps kids glued to their screens. Anything can happen, which is exciting and teaches players to prepare for the unexpected.\nIt\u2019s important to introduce kids to new challenges, not in problems on a worksheet but in new and different approaches to learning and activities. Adding some surprise to otherwise routine lessons can increase energy in the classroom and pique curiosity, which will make them more invested in their learning. It also helps build confidence by showing students that they can tackle any challenge you throw their way.\nGames are constantly giving kids feedback on how they\u2019re doing. If they succeed, they level up, unlock new powers, and reach new areas. If they misstep, it\u2019s \u201cgame over.\u201d They party members faint, they lose gold, and they\u2019re sent back to the last checkpoint. They always get another chance to try to succeed.\nKids need instant, regular feedback in education as well, both in regards to their behavior and their learning. Talking through problems with students can help to evaluate their thought processes and course-correct them when needed. Additionally, kids can give each other constructive feedback as well, which can help with ownership of learning. Finding ways to automate feedback is important.\nLast but not least is storytelling. Kids crave a good story, but mostly importantly, games allow them to be part of that narrative. They get to experience it firsthand, as a character would, and sometimes even to help shape its outcome.\nStories are a safe way for kids to experience a full range of emotions. In this way, providing a bigger context to what kids learn\u2014by relating it to the real world they live in\u2014can make them feel like they have a voice in their education. This appeals to their creativity and critical thinking skills by asking them to consider how something from a textbook can take shape in their own lives.\nBy leveraging different qualities inherent to many games, we can empower students in their learning, increase their motivation and ownership, and make the classroom more fun. Better yet, we can deepen their learning and prepare them for the challenges they\u2019ll face outside of school, too.\nShare your ideas: Which of these mechanics are you most interested in and why?\nPhoto credit: T-Kot / Shutterstock.com", "id": "<urn:uuid:9c611ea8-00b3-4a4d-96a7-f41bf329c0f7>", "dump": "CC-MAIN-2023-14", "url": "https://www.classcraft.com/resources/blog/7-ways-video-games-fulfill-student-needs-in-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00325.warc.gz", "language": "en", "language_score": 0.9690691828727722, "token_count": 1044, "score": 3.640625, "int_score": 4}
{"text": "Are you looking for ideas to help you plan successful toddler lessons? If so, you\u2019re in luck! Here are five tips for stress-free toddler lesson planning that will help you get started. Keep reading to learn more.\nHow to Introduce New Concepts to Toddlers\nAs a home daycare provider, you know toddlers are full of energy and curiosity. They\u2019re also quick learners, so it\u2019s important to introduce new concepts regularly. Of course, this isn\u2019t always easy. After all, toddlers have short attention spans and can be easily distracted. So, how can you ensure that your toddler lesson plans are engaging and effective? Here are a few tips.\nWhenever possible, make the introduction to the new concept visual. Use objects, pictures, or demonstrations to help illustrate the idea. This will help capture the toddler\u2019s attention and make the information more concrete.\n- Introducing a new animal: Show a picture of the animal and its habitat.\n- Introducing a new country: Show a map of the country, highlighting its major cities and attractions.\n- Introducing a new planet: Show pictures of the planet and its moons.\n- Introducing a new scientific concept: Draw a diagram of the concept and label the necessary parts.\nOther ways to visually introduce a new topic\n- Colouring Pages\n- Create a bulletin board with pictures and explanations of new topics\n- Make simple models out of clay\n- Demonstrations from professional\n- Through storytelling\n- With interactive activities\n- Field Trips\n- Youtube Videos\nShort & Simple Explanation\nKeep your explanation of the concept short and straightforward. Try to use everyday language that the toddler will understand. And avoid using too much jargon\u2014remember, you want to get to the point quickly!\nIntroducing new topics can be simplified by breaking the information into smaller parts. You can also provide examples to help illustrate the concept.\nHow to introduce new topics in a way that is easy for children to understand\n- Use examples and visuals to help explain new topics\n- Break down information into smaller chunks\n- Keep explanations short and simple\n- Make sure explanations are age-appropriate\nReinforcement Games & Activities\nAfter introducing the concept, provide opportunities for reinforcement through games or activities. This will help ensure that the information is remembered and understood. Plus, it can be a lot of fun for you and the kids!\nIntroducing new concepts to small children doesn\u2019t have to be complicated. Just keep the introduction visual, short and straightforward, and reinforce the concept with games or activities. By following these tips, you can be confident that your toddler lesson plans are engaging and effective.\nInclude time for both structured activities and free play\nProviding them with plenty of opportunities to learn through structured activities and free play is important. Read on for some tips.\nPlanning Structured Activities\nWhen planning structured activities for toddlers, it\u2019s essential to keep a few things in mind. First, the activity should be geared towards teaching a specific concept or skill. Second, it should be interactive and engaging. And third, it should be appropriate for the age group. With these guidelines in mind, let\u2019s look at some examples of structured activities that are perfect for toddlers.\n- Reciting information aloud is a great way to help toddlers learn new concepts. This can be done through nursery rhymes, songs, or short stories.\n- Drawing pictures or creating diagrams is another good way to reinforce what has been learned.\n- Acting out scenarios is a fun way for toddlers to see how the information can be used in real-life situations.\n- Playing games is an excellent way to test what has been learned.\nPlanning Free Playtime\nEven though free playtime may seem unstructured, there is actually a lot of learning taking place during this time. When children are allowed to explore and experiment on their own, they gain valuable problem-solving skills and develop their creativity.\nAs a home daycare provider, you can encourage learning during free playtime by providing materials that promote exploration and experimentation. Playdough, magnifying glasses, and measuring cups are just a few examples of items that can be used to spark curiosity and foster a love of learning in toddlers.\nStructured activities and free play are both important parts of lesson planning for toddlers. By incorporating both into your daily routine, you can provide them with ample opportunities to learn new concepts and practice what they have already learned. With some planning and preparation, you can ensure that each day is filled with fun and educational activities that your toddler will love!\nCheck Out Some Fun Toddler Activities\nHow to Make Toddler Lesson Planning Easy and Fun\nYou know that planning lessons for toddlers can be both challenging and rewarding. On the one hand, toddlers have shorter attention spans and are still mastering basic concepts. On the other hand, they are also energetic and eager to learn about the world around them. The key to successful toddler lesson planning is finding a balance between learning and fun.\nOne of the best ways to help toddlers learn is to encourage them to collaborate and explore independently. You can do this by providing them with materials they can use to experiment with, such as play dough, paints, or magnets. It also helps to create an environment where questions are welcome, and mistakes are seen as learning opportunities.\nIn addition to independent exploration, there are several other effective ways to teach toddlers. These include:\n- Practicing the concept with songs and stories\n- Playing games that reinforce the concept\n- Putting the concept into practice through everyday activities\nWhen it comes to toddler lesson planning, less is definitely more. Keep your lessons short and sweet, and be sure to include plenty of opportunities for active play. With a bit of creativity and patience, you\u2019ll be well on teaching your daycare kids everything they need to know for kindergarten!\nToddler lesson planning doesn\u2019t have to be complicated. By finding a balance between learning and fun, you can help your daycare kids absorb new information while staying engaged and interested. Be sure to mix things up by incorporating various activities into your lesson plans, such as independent exploration time, songs, games, and arts & crafts.\nThe Importance of Consistency in Toddler Lesson Planning\nYou know that consistency is important. This is especially true when it comes to lesson planning for toddlers. Routines and schedules help to establish a sense of order for young children. When everything is consistent, they know what to expect and feel more comfortable in their environment.\nThere are a few things that you can do to make sure your toddler lesson planning is consistent. First, you should make a weekly schedule. A schedule will help you stay organized and make sure that everything important is getting done. You can also establish routines for things like story time, arts and crafts, and outdoor playtime.\nIt\u2019s also important to be flexible with your schedule. There will be days when things don\u2019t go as planned, or you need to adjust your schedule to accommodate the needs of your toddlers. That\u2019s okay! Just remember to be consistent with the changes that you make so that your toddlers still feel comfortable in their routines.\nConsistency is key when it comes to toddler lesson planning. Routines and schedules help to establish a sense of order for young children.\nThe Importance of Patience and Encouragement in Toddler Lesson Planning\nPatience and encouragement are two of the most important qualities for a home daycare provider to have when teaching toddlers. No two toddlers learn at exactly the same pace, so it\u2019s important to remain patient and flexible when teaching them new concepts. If one teaching method isn\u2019t working, try another approach until you find something that does. And if a child becomes frustrated or bored with a lesson, take a break or move on to something else until they\u2019re ready to continue.\nIt\u2019s important to celebrate each milestone reached during toddler lessons, no matter how small it may seem. This helps build confidence and reinforces the idea that learning is something to be enjoyed and celebrated. By showing patience and encouragement, home daycare providers can create a positive learning environment that sets toddlers up for success.\nEncouragement is key when teaching toddlers. They need to know that it\u2019s okay to make mistakes and that they\u2019re doing a good job even when they don\u2019t get everything right the first time. A little encouragement can go a long way in helping toddlers feel motivated and confident in their abilities.\nIf you\u2019re feeling overwhelmed by planning your toddler\u2019s lessons, don\u2019t worry! These five tips will help make the process a little smoother. Plus, with a little bit of preparation and organization, you can feel confident that your daycare kids are getting the most out of their learning experiences. So what are you waiting for? Get started on those lesson plans today!", "id": "<urn:uuid:f143e5a3-2d35-4689-9981-637a669390f8>", "dump": "CC-MAIN-2023-14", "url": "https://www.howtostartahomedaycare.com/toddler-lesson-planning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943625.81/warc/CC-MAIN-20230321033306-20230321063306-00125.warc.gz", "language": "en", "language_score": 0.9377937912940979, "token_count": 1850, "score": 3.953125, "int_score": 4}
{"text": "Source: The Conversation (Au and NZ) \u2013 By Tristan Kennedy, Senior Lecturer In Indigenous Studies, Macquarie University\nSocial media offers many benefits to Indigenous peoples, such as ways to establish and navigate identity, build and maintain strong connections to family and community, and seek and offer mutual support. While there are these positive experiences, many people also report having negative encounters online.\nRecent research in the Department of Indigenous Studies at Macquarie University, with the support of Facebook Australia, has investigated the benefits of social media, as well as the impacts of negative and harmful content for Indigenous peoples.\nThe findings shed light on the types of harmful content Indigenous people are facing. These include references to white supremacy, Indigenous identity being challenged, and conflicts within Indigenous communities (also known as lateral violence) in which people attack or undermine each other, often based on colonial ideas about legitimate Indigenous identities.\nOur research, which included Indigenous peoples from across Australia, was primarily concerned with identifying how negative content is conceptualised, identified and dealt with from Indigenous Australian perspectives.\nIndigenous communities are facing a crisis in mental health, with harmful content on social media a major contributor to increased Indigenous suicide rates Our research responds to this crisis and can potentially help policy makers and social media companies make their platforms safer for Indigenous peoples.\nIndigenous peoples\u2019 experiences of social media: the good and the bad\nParticipants in our study were quick to identify the positive contributions that social media makes in their lives. 83% of respondents confirmed they had positive experiences on social media on a daily basis. In fact, every respondent in the study noted they had positive experiences at least weekly.\nAmong the most positive aspects, respondents cited accessing creative arts, Indigenous storytelling, and making contact with community members and services. Another positive was the ability to engage in political conversations \u2014 that is, to raise issues that are important to Indigenous people which may not receive adequate attention in mainstream media.\nDespite these positive opportunities, there is a less comfortable side to social media which must be addressed. Bullying and harassment are having devastating effects on our young people and communities.\nIn 2019, academics Bronwyn Carlson and Ryan Frazer pointed to research that suggested\nvictims of cyberbullying are more likely to experience psychological ill-health, most seriously in the forms of depression, anxiety and thoughts of suicide.\nParticipants in our study agreed negative content was commonplace on social media. 63% of respondents said they experienced negative content on social media on a daily basis, while 97% reported witnessing negative content at least weekly.\nMuch of this content is grounded in ways of talking about Indigenous people and racist ideas that have pervaded Australian settler-colonial history.\nThis includes assimilationist policies that were based on the idea that Indigenous culture could be \u201cbred out\u201d. This line of thinking underpins assertions on social media that Indigenous people who live in cities or have fair skin are not genuinely Indigenous.\nWhy is it so offensive to say \u2018all lives matter\u2019?\nHow can moderators and social media platforms help?\nIt comes as no surprise harmful speech exists on (and off) social media. What remains troubling, however, is that the cultural subtleties of offensive content are not readily identified by non-Indigenous platform moderators.\nOur research included Indigenous voices in the discussion about what needs to be done to address these concerns. They identified a need to employ more Indigenous peoples in society generally \u2013 particularly in government, policy making institutions and education.\nIndigenous perspectives and voices, which for too long have been silenced or ignored, need to be heard in these settings.\nParticipants also suggested social media platforms could employ more Indigenous people to assist with learning from Indigenous communities how to identify the cultural subtleties of harmful content online.\nIndigenous people who contributed to this study had some advice for non-Indigenous individuals, too. They suggested people connect with Indigenous-led social media pages that showcase diverse cultures and knowledges.\nIn the wake of National Reconciliation Week, there is no better time to make an effort to reach out via social media and connect with Indigenous community pages and websites.\nBy listening to and engaging with Indigenous peoples\u2019 opinions and perspectives on social media, non-Indigenous people can learn about the history of their local area and find out what is happening around them.\nMost of all, they can learn about what is important to Indigenous communities and how we can work together toward a safer online, and offline, society.\nTristan Kennedy received funding from Facebook Australia in support of this research project.\n\u2013 ref. 97% of Indigenous people report seeing negative social media content weekly. Here\u2019s how platforms can help \u2013 https://theconversation.com/97-of-indigenous-people-report-seeing-negative-social-media-content-weekly-heres-how-platforms-can-help-162353", "id": "<urn:uuid:980468f6-501d-4de7-bd1c-ede7407a767a>", "dump": "CC-MAIN-2023-14", "url": "https://eveningreport.nz/2021/06/11/97-of-indigenous-people-report-seeing-negative-social-media-content-weekly-heres-how-platforms-can-help-162353/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948684.19/warc/CC-MAIN-20230327185741-20230327215741-00124.warc.gz", "language": "en", "language_score": 0.9515938758850098, "token_count": 1012, "score": 3.5625, "int_score": 4}
{"text": "The Chicago documentation style is widely used in academic writing. For instance, the note-bibliography style is one of the distinct forms of the Chicago citation style. Also, people must know this format in order to avoid plagiarism. Basically, if people cite Chicago, it comprises of two main features: footnotes (F) and bibliography entries (B). In particular, the note-bibliography style focuses on specific guidelines for footnotes, shortened notes, and the bibliography list.\nFootnotes to Cite Chicago\nFirstly, footnotes are a unique aspect of the note-bibliography style of someone wants to cite Chicago. For example, sentences containing source material are cited through the placement of a superscript after the punctuation mark. In this case, people do not use parenthetical in-text citations in the note-bibliography style. Also, the Chicago style or Turabian citation distinguishes this technique from other conventional documentation formats. Then, the superscript corresponds to a footnote at the bottom of the same page and lists the authors\u2019 names, source\u2019s title, publication information, and page numbers. Particularly, footnotes in the Chicago style format provide complete bibliographical information and the specific location of the cited material. As a result, an illustration of the note-bibliography style is:\nSuperscript in the Essay:\nThe Great Depression caused the failure of over 12,000 banks.1 This statement suggests . . ..\n1. Peter Stock, Revisiting the Great Depression (New York: Paterson & Sons, 2019), 334.\nCite Chicago Shortened Notes\nOn the other hand, the repeated use of a source does not require people to provide a complete footnote when they cite Chicago. In this case, people use shortened notes for subsequent notes of particular sources and may manifest in three forms: author-title, author-only, or title-only. Basically, the contracted footnotes in the Chicago style citation are useful because they eliminate the repeated lengthy notes. Moreover, it facilitates the tracking of sources throughout the essay. Basically, the short note format depends on the instructor\u2019s preference.\nIllustrations of Short Footnote Styles:\nAuthor-title note: 20. Jones, Clinical Principles, 105-06.\nAuthor-only note: 6. Quinn, 87.\nTitle-only notes: 19. Cite Chicago, 9.\nFurthermore, a \u201cBibliography\u201d is a documentation of all sources used in the essay. For example, entries in the \u201cBibliography\u201d contain the same elements as a full footnote when people cite Chicago. However, there are slight variations concerning the organization of the elements and punctuation. Also, the entries are listed according to the alphabetical order to follow the rules of the Chicago manual of style citation. In turn, the \u201cBibliography\u201d must always be included at the end of an essay unless the instructor requests for its exclusion.\nNotes-Bibliography Style Formats for Common Sources\nN: 1. Evans Knowles, Creative Writing: Cite Chicago, 4th ed. (Boston: Johnson & Clay, 1987), 16.\nB: Knowles, Evans. Creative Writing: Cite Chicago. 4th ed. Boston: Johnson & Clay, 1987.\nN: Mercy Rodgers, \u201cTerrorism in Central Africa,\u201d Conflict and Security 56, no. 12 (2019): 6, accessed July 9, 2019, http://dx.doi.org/rt68-ll908.\nB: Rodgers, Mercy. \u201cTerrorism in Central Africa.\u201d Conflict and Security 56, no. 12 (2019): 3-12. Accessed July 9, 2019. http://dx.doi.org/rt68-ll908.\nN: James Jacobson, \u201cCite Chicago,\u201d Charming University, last modified August 11, 2009, accessed May 23, 2019, http://www.announcements.charminguni.edu/8888801.\nB: Cross, Samuel. \u201cCite Chicago.\u201d Charming University. Last modified August 11, 2009. Accessed May 23, 2019. http://www.announcements.charminguni.edu/8888801.\nConclusion on Cite Chicago\nIn conclusion, the note-bibliography style provides a technique for accurate citation of the source material to cite Chicago. In this case, researchers and students should strive to internalize the mentioned fundamental guidelines of the Chicago style citation manual. Also, random bibliographical information by considering the Chicago manual of style was used as the examples. However, all sources and in-text citations correspond to the format rules.", "id": "<urn:uuid:ab567fcc-85b4-4ae2-9598-f29dad81dabc>", "dump": "CC-MAIN-2023-14", "url": "https://wr1ter.com/cite-chicago", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948632.20/warc/CC-MAIN-20230327123514-20230327153514-00725.warc.gz", "language": "en", "language_score": 0.820942759513855, "token_count": 979, "score": 3.53125, "int_score": 4}
{"text": "The SAMR model was developed by Dr. Ruben Puentedura, an educational technology consultant, in the early 2000s. It is based on the idea that technology integration can be categorised into four levels: Substitution, Augmentation, Modification, and Redefinition. Each level represents a different way of integrating technology into teaching and learning, with varying degrees of impact on learning outcomes.\nThis framework has been adopted by universities in the UK and around the world. It focuses on the idea that technology should not simply be used to replace traditional methods of teaching but should be used to transform the way learning takes place.\nThe model identifies four levels of technology integration:\n- Substitution: At this level, technology is used as a direct substitute for traditional methods. For example, using a word processor instead of writing on paper or using a digital projector instead of a whiteboard.\n- Augmentation: At this level, technology is used to enhance traditional methods. For example, using a spelling and grammar checker in a word processing software or using an online calculator instead of a physical one.\n- Modification: At this level, technology is used to redesign tasks and create new learning experiences. For example, using a collaborative writing tool to create a shared document or using a virtual reality headset to explore a hard to reach space.\n- Redefinition: At this level, technology is used to create new tasks and redefine the learning experience. For example, using social media to connect with students in other parts of the world or using an interactive simulation to explore and understand complex concepts and processes.\nIn following this framework, educators are helped to ensure that technology is being used in a way that truly enhances learning and leads to transformative changes in the classroom.\nThere are several benefits of the SAMR model for teaching and learning:\n- It helps educators to think critically about how to use technology for teaching. By considering the level of technology integration they are using, educators can ensure that technology is being used in a way that enhances learning rather than simply replacing traditional methods.\n- SAMR model provides a clear structure for educators to follow when integrating technology into teaching and learning. This helps to ensure that technology is being used in a way that truly enhances learning outcomes and leads to transformative changes in teaching and learning.\n- The SAMR model helps to promote creativity and innovation in the classroom and beyond. By encouraging educators to use technology in new and creative ways, the model can help to inspire students and create engaging learning experiences.\n- The SAMR model can help to improve collaboration and communication. By using technology to facilitate collaboration and communication, students can work together more effectively and develop important communication skills that will be valuable in their future careers.\n- The SAMR model can help to improve student engagement and motivation. By creating engaging learning experiences that make use of technology, students are more likely to be motivated and interested in the subject matter.\nExamples of transformed learning experiences might include:\n- Communications and professional identity courses could include live tweeting during teaching sessions, collaborative blogging in CampusPress, and social media campaigns.\n- Using gamification, for example with Seppo, in a way that enhances student engagement and learning outcomes.\n- Promoting active learning and collaboration using ChatGPT in groups to see who can produce the best essay in under 30 minutes.\n- Avoiding didactic \u2018chalk and talk\u2019 approaches in lectures and seminars to instead include use of interactive learning activities in Xerte, asynchronous online discussions with Teams, collaborative projects using Miro, and digital storytelling assignments in Sway.\nIn conclusion, the SAMR model is a framework that provides a structure for educators to follow when integrating technology into teaching and learning. The benefits of the SAMR model for teaching and learning include improved critical thinking, creativity, collaboration, communication, student engagement, and motivation. By following this model, educators can ensure that technology is being used in a way that genionely enhances learning and leads to transformative changes in the classroom.", "id": "<urn:uuid:08e32165-2408-4d5c-a5cb-507c2b7ac46a>", "dump": "CC-MAIN-2023-14", "url": "https://fetliu.net/blog/transforming-learning-experiences/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949181.44/warc/CC-MAIN-20230330101355-20230330131355-00126.warc.gz", "language": "en", "language_score": 0.9246200919151306, "token_count": 815, "score": 3.859375, "int_score": 4}
{"text": "This board is a Homeschoolers Dream Board!! Below you will find tips, tricks, technology, news, lessons (paid and free), and ideas to use with your\u2026\nCollection by , and 10 others\nThis resource includes an accurate and easy way to teach students to write a character analysis paper. Included are instructions for the teacher; instructions for the students; a rubric to grade the papers; and a sample character analysis. Learning to analyze characters in literature is a life skill that will improve the reading and viewing experience of both students and adults throughout their lives.\nThis creative writing assignment gives students practice in creating profiles of characters they will feature in their stories. Students can visualize what their characters will look like and create personalities for them. This activity can be accessed in GOOGLE Drive and is perfect for distance learning.\nUse these figurative language worksheets to help students enrich their writing. Use this resource in GOOGLE Drive for distance learning. Recognizing literary devices in literature is a life skill for language arts students. #smiles #metaphors #alliteration #personification #hyperbole.\nThis best selling 8-page unit is a lesson on how to compare and contrast two short stories and write a comparison/contrast composition about them. A grading rubric is included. #compareandcontrast #writeanessay #grammar #compareshortstories\nThis interactive digital resource for Google Drive will help students learn to identify archetypes in literature. An archetype, also known as universal symbol, may be imagery, a character, a theme, a plot, a symbol or even a setting. Many kinds of connections link ancient literature with modern stories, plays, and poems. Part of the pleasure of reading literature is in discovering these similarities.\nAfter reading an untitled, original short story written by Charlene Tess, students will answer a series of questions about its characters, setting, conflict, and theme. The answers are provided. To help students determine the story's theme, they will assign the story a title.\nThis resource teaches a writing revision technique that will improve students' writing. Being redundant is a writing error that is common and hard to recognize. You can print this resource or use it in GOOGLE Drive for distance learning. #repetition #redundancy #revisiontechnique\nThis best selling unit includes: *a note to the teacher with instructions on how to present the lesson; * 2 sample rubrics; * a graphic organizer on which students take notes on the plot, characters, theme, point of view, and tone of two short stories; * an instruction sheet for students; and * 2 rubrics for the teacher to use to grade the compositions. #compareandcontrast #essaywriting\nThis resource offers useful tips on how to write a thesis statement and give examples of some that are well-written. Use this resource in GOOGLE Drive to teach your students how to write a thesis statement. Getting started on a composition is the hardest part, and formulating a thesis statement is key. Once they know how it's easy. #thesisstatement #writing #distancelearning", "id": "<urn:uuid:15ab3b02-c53e-425d-a1d6-8752236e8a72>", "dump": "CC-MAIN-2023-14", "url": "https://co.pinterest.com/lesson_guide/homeschooling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950383.8/warc/CC-MAIN-20230402043600-20230402073600-00326.warc.gz", "language": "en", "language_score": 0.9200708270072937, "token_count": 666, "score": 3.796875, "int_score": 4}
{"text": "Grades 1, 2, 3\nLearning to Read\nSound / symbol relationships (phonetic reading), sight words and contextual clues (reading fluency), reading comprehension, vocabulary / spelling, introduction to research and reference materials\nWord study, parts of speech, parts of the sentence\nListening, storytelling, shared literature, oral presentations\nHandwriting (print and cursive), fiction and non-fiction writing, the writing process (drafting, revising, editing, publishing)\nNumerical quantities, numerical symbols, place value, even/odd, concept of zero, rounding\nAddition, subtraction, multiplication, division concepts and operations, memorization of math facts, exploration of numerical patterns\nConcept of fractions, naming/vocabulary, equivalence study, operations with like denominators, intro to mixed numbers\nLinear (standard and metric), time (analog, calendar), money (value, adding, subtracting), temperature, weight\nHands-on exploration of shapes (lines, angles, plane figures), congruency, similarity, equivalence\nTime (calendars, clocks, timelines), creation myths, evolution, pre-history\nThe Big Bang theory, origins of the universe, three states of matter, energy, laws of attraction and gravity, sun and solar system concepts, the Five Kingdoms of Life, external and internal parts/body functions of plants and animals, classification and nomenclature\nContinents, land and water forms, countries, capitals, flags, maps skills\nMontessori's 5 Great Lessons\nThe Story of the Creation of the Universe describes how minerals and chemicals formed the elements; how matter transforms to three states of solid, liquid, and gas; how particles joined together and formed the earth; how heavier particles sank to the earth's core and volcanoes erupted; how mountains were formed and the atmosphere condensed into rain, creating oceans, lakes, and rivers. From this story, students are introduced to lessons in physics, astronomy, geology, and chemistry.\nThe Timeline of Life explains how single-cell and multi-cell forms of life became embedded in the bottom of the sea and formed fossils. It traces the Paleozoic, Mesozoic, and the Cenozoic periods, beginning with the kingdom of trilobites and ending with human beings. The teacher indicates on a time line where vertebrates began, followed by fish and plants, then amphibians, reptiles, and birds and mammals. This lesson is the basis for lessons in chemistry, classification of animals and plants, care and requirements of different animals, and their interrelationship with an ecological system. Students are introduced to formal scientific language of zoology, botany, and anthropology.\nThe Story of Language describes the origin, structure, and types of writing and speaking. It begins with a discussion of the Egyptians, who had two kinds of symbols, one for ideas and one for sounds. The story goes on to describe the Phoenicians, who used the Egyptian's sound pictures but not their idea pictures. Next, it describes the contributions of the Hebrews, Greeks, and Romans. From this lesson, students use grammar materials, which help them examine how language is put together, and refine capitalization and punctuation. Students are introduced to the origin of English words from other languages, the meanings of prefixes and suffixes and different forms of writing such as poetry, narrative, and plays. Older children may study Egyptian hieroglyphics or American Indian picture writing.\nThe Story of Numbers emphasizes how man beings needed a language for their inventions to convey measurement and how things were made. The story describes how the Sumerians and Babylonians had a number system based on sixty, which is the reason for our sixty-second minute and sixty-minute hour. Greek, Roman and Chinese numbers are introduced. The story describes how our Arabi numerals are similar to numbers found in a cave in India from two thousand years ago. These Indian numerals had something that no other number system had, the zero. This story is the basis for the children's learning of mathematics, which is integrated into all studies. For example, large numbers are needed in measuring time and space in astronomy, negative numbers are needed when measuring temperature changes; triangulation is needed to re-establish property boundaries after the Nile flooded ancient Egypt.\nThe Story of Humans/Timeline of Civilization introduces human beings and their unique endowments of intellect and will. The aim is for the children to imagine what life was like before early humans. This lesson is the basis for lesson in prehistory and the emergence of ancient civilizations. Students are introduced to an analytical tool to compare cultures. They learn how climate and topography influence culture and political geography. In the Upper Elementary class, students study the fundamental needs of all humans. This is the basis for their continued study of world history and world cultures, including the history of the United States.\nThe elementary-aged child is full of awe and wonders about the world in which he lives. The Montessori lower elementary program inspires a love of learning by going beyond the usual goal of skill development and addressing the development of the whole person. Children who complete our program have a clear understanding of the natural world, of human knowledge, and of themselves.\nThe Lower Elementary curriculum Montessori's Five Great Lessons as its major themes. The Five Great Lessons move logically in sequence from the beginning of time through the modern-day. These overarching themes include The Story of the Universe, THe Timeline of Life, The Story of Language, The Story of Numbers, and The Timeline of Civilization.\nBecause of its logical sequence, Montessori elementary education demonstrates how each particle, each substance, each species, and each event in the universe did not just \"happen\" everything has a purpose and a contribution to make in the development of our universe. With this philosophy in mind, we want the child to feel a sense of interconnectedness and gratitude about the world in which he lives.\nIt is this understanding which leads to an intrinsic love of learning and contribution.\nRather than following the traditional approach of presenting facts as belonging to individual subjects, we use the Great Lessons to present a holistic vision of knowledge, building the subject skills into each topic or theme. Reading, writing, geography, science, and history are all studied in terms of these larger, cultural contexts. We take the children from the whole to the parts and back to the whole again.\nLearning to read is a major focus of the Lower Elementary program; reading and writing skills are developed in every area of the curriculum.\nWhile immersed in The Story of the Universe, for example, children read creation myths from around the world. They write and illustrate their own creating stories. They study the concepts of time and large numbers. In art, they depict the Big Bang using pastels. In science, they learn about the three states of matter and other topics from astronomy and earth science. The Great Lessons, therefore, provide a meaningful context in which to develop basic skills.\nMastery of Basic Skills\nThe Montessori materials and manipulatives are widely acclaimed and used worldwide in both public and independent schools. In the Lower Elementary program, these materials are used to provide the child with concrete visualizations of the four basic operations, algebraic concepts, and an introduction to fractions and geometry. The use of these materials in small group lessons allows each child to progress at his or her own pace.\nHands-on materials are used in every other aspect of the curriculum as well. There are materials for the study of\nlanguage and grammar, scientific classification, geography, and much more.\nIn Lower Elementary class, the children work with concrete, hands-on materials. As the ability to think abstractly matures in the Upper Elementary years, the sequence of lessons leads more and more into work on aper and into research projects. The Montessori materials then become tools that the children can use to reinforce earlier work or to creatively explore an advanced extension of an earlier study. (For example, the material that younger children use to learn the basics of arithmetic is reinterpreted to learn algebra.)\nIndividually Chosen Research\nElementary students are encouraged to explore topics that capture their imagination. As the mind, will, and self-discipline develops, it becomes possible for the children to undertake ambitious projects requiring the integration of knowledge from across the curriculum.\nStudents often work together, using well-developed collaboration skills. The Upper Elementary teacher then becomes more and more a consultant to the children, helping them to organize and find resources for multi-faceted projects.", "id": "<urn:uuid:7d6e97fb-ad0e-48ae-a2a4-422e6d88f694>", "dump": "CC-MAIN-2023-14", "url": "https://www.wildspiriteducation.com/lower-elementary-program", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00325.warc.gz", "language": "en", "language_score": 0.927683413028717, "token_count": 1847, "score": 3.84375, "int_score": 4}
{"text": "A persuasive speech is a type of public speaking that aims to convince the audience of a particular point of view or course of action. One of the key elements of a successful persuasive speech is the use of appeals, or strategies that aim to persuade the audience through logic, emotion, and credibility.\nThere are three main types of appeals that are commonly used in persuasive speeches: ethos, pathos, and logos.\nEthos refers to the credibility or trustworthiness of the speaker. When a speaker establishes ethos, they are showing the audience that they are knowledgeable and competent on the subject they are discussing. This can be done through credentials, experience, or by demonstrating expertise through the use of well-researched and factual information.\nPathos refers to the emotional appeal of the speech. This type of appeal aims to connect with the audience on an emotional level, often through the use of storytelling or evocative language. By tapping into the audience's emotions, the speaker can create a stronger connection and make their argument more compelling.\nLogos refers to the logical appeal of the speech. This type of appeal relies on evidence and reasoning to support the argument being presented. A speaker using logos will use facts, data, and logical arguments to persuade the audience to see their perspective.\nWhen using appeals in a persuasive speech, it is important to strike a balance between the three types. Too much emphasis on one type of appeal can make the speech feel unbalanced and ineffective. For example, a speech that relies solely on emotional appeals may come across as manipulative, while a speech that focuses only on logical appeals may be seen as cold and unemotional.\nUltimately, the goal of using appeals in a persuasive speech is to create a well-rounded and compelling argument that resonates with the audience and persuades them to take action. By using a combination of ethos, pathos, and logos, a speaker can create a powerful and convincing case for their point of view.\n3 Types of Persuasive Speeches\nHopefully, this guide has made the idea of persuasive speech clear to you, and you can easily write an effective speech now. Rhetorical Questions Asking rhetorical questions is a great way to persuade your audience when delivering a speech. Take 20 minutes and enjoy a walk around your neighborhood. The speaker uses words and visuals to guide the audience's thoughts and actions. Rewards can be used for positive motivation, and the threat of punishment or negative consequences can be used for negative motivation. You might , or you might tell a story that produces an emotional response.\n6 Best Persuasion Techniques That You Can Use in Your Speeches\nWhich of the following is the most important appeal in a persuasive speech? A proposition of value is a statement that calls for the listener to judge the worth or importance of something. Also, it is imperative to position your anecdote in your speech tactically, as that is a big part of what will determine its purpose and effectiveness. Use visual aids to illustrate your message. Bluelight tricks our brains into a false sense of daytime and, in turn, makes it more difficult for us to sleep. For instance, an influential and informative book like \" Another book I would recommend is \" Videos Videos are another valuable resource to help you hone and improve your persuasion skills. Related: How To Write a Good Call to Action With Examples 10.\nPersuasive Speech Preparation & Outline, with Examples\nThis is the key to As a speaker, persuading your audience helps them relate to you, so they understand and agree with your viewpoint. In his book Rhetoric, Aristotle devised a whole lexicon of persuasive principles. The policy claim talks about the below persuasive goals: immediate action and passive agreement. You can also use real-life examples such as personal testimonies or stories to appeal to pathos. For instance, YouTube has a wide choice of videos addressing presentation skills. Studies in the Education of Adults, 35 2 , 157\u2014172. This is even more important when it comes to a persuasive speech because not only are you wanting to get the audience to listen to you, but you are also hoping for them to take a particular action in response to your speech.\nLogical and Emotional Appeals in Persuasive opportunities.alumdev.columbia.edu\nDue to this, they do not make good speech topics. What are the six elements of persuasion? However, it is important to ensure that you don't confuse an emotional appeal with manipulation. It depends on the language choice of affect to the audience's emotional response. By addressing relevant counterarguments, you may persuade listeners who have a different opinion than you. So if you want to invigorate your persuasive techniques through video, you have various platforms available to you. Practice until you can deliver your speech confidently.\nYou can follow motivational videos at your own pace, and learn new concepts that can help you convince your audience. Words with positive and negative connotation also play a role in influencing people. Factual Persuasive Speech The first type of persuasive speech is a factual persuasive speech. Let your passion for the subject shine through. To support the proposition of policy, proposition of facts may be used.\nThese persuasion skills and influencing tactics can make you a more effective and competent speaker, irrespective of your topic or industry. What is a persuasive speech? The speaker usually uses it to show that he or she is advocating a change. Related: 8 Persuasive Writing Tips With Examples 9. A second example is if the world continues to pollute the environment through developing and using technology as well as wrongful places for garbage disposal, humans, plants, animals, and their environments will be affected by \u2026show more content\u2026 A proposition can be used to state the central idea to the audience. And the logos will allow the audience to see the logic to your claims. For instance, the speaker argues that the LGBT community should have equal human rights as other human beings. Your job as a speaker is to persuade your audience, which acts as both opposition attorneys and judges.\nWhat Is Persuasive Speech? (Plus 10 Tips for Creating One)\nLearn about your audience Understand your audience and their opinions so that you can take the right steps to influence them. Avoid disparate tidbits, unrelated rants, and long-winded tangents. Specific Purpose: To persuade the audience to stop using their screens two hours before bed. Context, creativity and critical reflection: Education in correctional institutions. What is Persuasive Speech? This example is well documented and has concrete evidence that supports the fact that Neil Armstrong did land on the moon.\nTypically, these stories last no more than a few minutes, preferably much less, and give your audience a deeper understanding of what you're trying to tell them, while also entertaining them. Research the topic thoroughly, focussing on key facts, arguments for and against your angle, and background. Why is appeal important to a persuasive speaker? A provision of fact focuses on whether something is true or false or whenever it did or did not happen. So whether you require material advice or motivational energy, books are a great way to achieve your goal. Speakers who rely primarily on appeals to pathos may be seen as overly passionate, biased, or unable to see other viewpoints. Supporting Materials Using the information gathered in your search for information, determine what is most worthwhile, interesting, and important to include in your speech. Do you want them to decide to purchase something or donate money to a cause? Practice your speech After you've written your persuasive speech, can help you become familiar with the content and identify whether it needs more changes.", "id": "<urn:uuid:f5664629-bb0c-4bee-90d1-f5566abf2e4d>", "dump": "CC-MAIN-2023-14", "url": "http://opportunities.alumdev.columbia.edu/persuasive-speech-appeals.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00526.warc.gz", "language": "en", "language_score": 0.9420373439788818, "token_count": 1544, "score": 3.625, "int_score": 4}
{"text": "Plays are made up of many of the same components as novels, novellas, and even narrative poems. However, they are told through the actions and dialogues of characters more than they are passages of description. Writers convey their intentions primarily through the way characters interact and what they say to one another. Sometimes, the audience is asked to participate in certain parts of a play. Other times, the actors move through the crowd or use what is known as dramatic irony in order to let the audience know something the other characters do not.\nDefinition and Explanation of Play\nPlays use dramatic elements to create stories that enhance an audience\u2019s understanding of a topic or situation. They are a powerful way of storytelling that requires the audience to react to the plot, setting, characters, conflict, and resolution in a genuine, immediate way. Writers make plays lifeline and thought-provoking. Their dialogue must be convincing and relatable while also interesting and engaging. Playwrights often work to build dramatic tension throughout their storyline so that when the climax comes, it\u2019s quite exciting, and everyone is involved.\nWhy Do Writers Write Plays?\nPlays are a way for writers to confront subject matter in front of a live audience. They enable writers to create situations that the audience reacts to as they\u2019re happening. This often leads to increased emotional response and even audience participation. Rather than reading the description of someone feeling sorrow, the audience can see them experiencing it in front of them. Live performance allows characters to feel alive in a way that novels and poetry does not.\nExamples of Plays\nThe Tempest by William Shakespeare\nThe Tempest is one of Shakespeare\u2019s best-known poems, written sometime between 1610 and 1611. The majority of the story takes place on an island with only a few key characters. There\u2019s Miranda, her father Prospero, Caliban, a monster-like/savage figure, and Ariel, a spirit. The play uses music and song and taps into themes of betrayal, magic, and revenge. It contains tragic and comedic features but was listed in the First Folio as a comedy. Some interpret the play as a fable in which Shakespeare plays a part, as Prospero. Parallels have been drawn between Prospero\u2019s renunciation of magic and Shakespeare\u2019s withdrawal from the stage.\nOedipus Rex by Sophocles\nOedipus Rex is a tragedy that recounts the story of Oedipus, the king of Thebes. He falls into fulfilling a prophecy that he tries to avoid by murdering his father and marrying his mother. In the end, he blinds himself. The play is meant to highlight the importance of fate and how one cannot avoid what the world has in store for them.\nA Raisin in the Sun by Lorraine Hansberry\nA Raisin in the Sun debuted on Broadway in 1959 and followed a black family in South Chicago as they try to improve their lives. The father dies, leaving the family with an insurance payout. Some of the money goes to a new house in a white neighborhood while the rest of the money is invested in Beneatha\u2019s education. Unfortunately, things don\u2019t turn out as well as they could\u2019ve. The New York Drama Critics\u2019 Circle named the play as the best of 1959.\nElements of Plays\n- Plot: the order of events in the story.\n- Setting: where and when the play takes place.\n- Characters: the people on stage, acting out the storyline.\n- Dialogue: the way of communication between the characters in the play.\n- Conflict: a challenge the characters have to solve in order to achieve their goals or make their lives better.\n- Resolution: how the story ends.\nTypes of Plays\n- Tragedy: dark, sorrowful, and dramatic. Tragedies are usually based around human suffering, disaster, and death. They usually end traumatically for most characters involved. Sometimes there is a traditional tragic hero. Ex. Romeo and Juliet\n- Comedy: light in tone, intended to make the audience laugh. They usually have a happy ending with offbeat characters doing absurd things. Comedy might be sarcastic, fantastical, or sentimental. Farce is a sub-genre of comedy. Ex. A Midsummer Night\u2019s Dream.\n- History: focuses on actual historical events. Can have elements of both tragedies and comedies. They were popularized by William Shakespeare. Ex. King John.\n- Tragicomedy: contains elements of both comedies and tragedies. The play might be series, with some comedic moments and a happy ending.\n- Melodrama: emotions are more important than details in melodramas.\nOrigins of Theatre\nThe root of western theatre is in Athens, Greece, where the word \u201ctheatre\u201d comes from. Theatre as part of a broader practice that included festivals, politics, and religious rituals. It was an important part of a Greek citizen\u2019s life to attend theatrical productions. It often involved the evaluation of orators and included tragedies, comedies, and the \u201csatyr play,\u201d a type of tragicomedy. The tradition of theatre expanded under the Roman Empire, where Etruscan actors first performed in the 4th century B.C.\nWhen Rome encountered Greek drama, it became popular within the Empire. Important works were created throughout this period, although many are lost. In the Early Middle Ages, church sin Euprpe staged dramatized versions of biblical events, developing into morality plays in the 1400s. (For example, Everyman.)\nDrama, dramatic performance, theatre performance, live performance, theatrical, stage show\nRelated Literary Terms\n- Conflict: a plot device used by writers when two opposing sides come up against each other.\n- Flashback: a plot device in a book, film, story, or poem in which the readers learn about the past.\n- Dialogue: a literary technique that is concerned with conversations held between two or more characters.\n- Narrative Poem: contain all the elements of a story and are normally longer than average.\n- Prologue: the opening to a story that comes before the first page or chapter.\n- Tragedy: a type of drama that explores serious, sometimes dark, and depressing subject matter.\n- Satire/Satirical Comedy: used to analyze behaviours to make fun of, criticize, or chastise them in a humorous way.\n- Watch: The Tempest Film by William Shakespeare\n- Read: Oedipus Rex by Sophocles\n- Watch: A Raisin in the Sun", "id": "<urn:uuid:5460cf0a-39a4-4530-a3e0-3c9d200cf5f6>", "dump": "CC-MAIN-2023-14", "url": "https://poemanalysis.com/genre/play/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943637.3/warc/CC-MAIN-20230321064400-20230321094400-00326.warc.gz", "language": "en", "language_score": 0.951255202293396, "token_count": 1386, "score": 4.0625, "int_score": 4}
{"text": "21st Century Librarians & Computer Teachers\nIn this age of literacy 2.0, the roles of the school librarian and technology teachers are in need of a change\nTake steps to address each of the 4 C's and shift instructional processes to create your 21st Century classroom\nCombine creativity, audio, storytelling and technology for success.\nFive steps to enhance learning in the classroom\nBuild future-ready skills across content areas with these five design purposes\nUse visual note taking to build understanding\nDeploying graphic organizers to match desired cognitive complexity.\nGet students started applying elements of art and principles of design for maximum impact.\nCombining formative assessment, technology, and differentiated instruction\nEffective leaders and administrators must consider instructional requirements, the expertise of teachers, and the ultimate needs of students.\nExpand the notion of learning environments as more than physical space to provide students with more opportunities for meaningful learning.\nElementary classroom activities you can use to introduce a tolerance of diversity to young learners.\nUse technology to tap into their passions, connect to their world, make them experts, and give their voice a platform.\nUse creative technology tools to create experiences that help students develop higher levels of thinking.\nGive students an assignment that encourages higher-level thinking and the opportunity for \"data dumping\" is almost nonexistent.\nLearn how to integrate design thinking in the classroom to help students apply both creative and analytical thinking.\nHelp students develop a sense of \"I can change the world\" through design thinking.\nTransformations that move toward 21st century skills must be unique to each district, school, or organizational situation.\nHelp students ask good questions to drive engagement and effective learning.\nOur classrooms must engage all our students and provide them with high-level skills.\nIt can be a challenge to connect with Millennials, these five ideas will help you to relate to them and them to relate to you.\nMake the most out of your limited time in the computer lab.\nStudents become the teacher to build understanding and comprehension\nProvide more time for personalized and small group learning\nEveryone can take advantage of new technologies to create their own instructional videos.\nIf students can use a computer whenever they need to, for as long as they need to, they'll learn more, and school becomes more learner-centered.\nNew technologies can help transform the traditional author study into a student-centered process.\nTips and resources to help you craft a powerful proposal educational grant proposal.\nLead by example on the web and social media\nWrite, record, and illustrate a sentence.\nInteractive digital worksheets for grades K-8 to use in Brightspace or Canvas.\nCreate custom rubrics for your classroom.", "id": "<urn:uuid:323be226-fd5e-449c-b41c-deab3a96c836>", "dump": "CC-MAIN-2023-14", "url": "https://recipes.tech4learning.com/21st-century-classrooms?utm_campaign=ce_footer", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945144.17/warc/CC-MAIN-20230323100829-20230323130829-00526.warc.gz", "language": "en", "language_score": 0.9223941564559937, "token_count": 566, "score": 3.796875, "int_score": 4}
{"text": "Chapter 1 Theater\nTurkish Theatre Through the Ages: An Act in History\nby Noah Bayindirli\nSimilar to the historical timelines in many countries, Turkish theatre arts plays a crucial role in the development of the nation itself. In the case of Turkey, the traditional aspects of this art form and its evolution over time are aesthetically dissimilar from that of European. As a consequence, Western readers need background information in order to fully understand Turkish theatre. At the same time, there are many commonalities, and the influence of European norms became stronger in the 19th century. This chapter approaches Turkish theatre chronologically, focusing on the early traditional forms, and ending with a discussion of the fusion of Turkish and European approaches. As we continue, we will discuss these varying techniques, as well as their origins and progression.\nTurkish theatre provides a vast, colorful array of stages, characters, structures, and scripts. To begin, Ortaoyunu, otherwise known as \u201ca play performed in the open,\u201d sets the pace for some of the unique qualities of traditional Turkish theatre. Dating back to the thirteenth century, Ortaoyunu does not rely on written text and is typically staged within a circular arena, allowing for fluid interaction between the audience members and the actors themselves. Although preceded and ended with customary dances, it is this interaction that brings Ortaoyunu its improvisational structure, with a plot subject to dynamic interpretation.\nFurther distinguishing Ortaoyunu is a set of distinct characters, mainly Kavuklu and Pisek\u00e2r, known for their representation of the \u201ccommon man\u201d and a level-headed, charismatic conflict-mediator respectively, as well as a collection of character types used to represent varying facets of the population, including non-Muslims, entertainers, and supernatural beings.\nYet another form of traditional Turkish theatre is shadow puppetry. Shadow theater, or Karag\u00f6z, takes place on a stage composed of a muslin curtain surrounded by floral material, where the projections of puppets are manipulated to perform the story. The puppets are transparent, made from camel-hide- and vegetable pigment-composed figures. Traditionally, they would usually retell the tales of two misfit characters: Karag\u00f6z and Hacivad. Legend has it, while working on a mosque during the reign of the Ottoman empire in the capital of Bursa, the hijinks of these laborers proved so hilarious and distracting that the sultan had them executed in hopes to speed up the construction. Thus, these characters are memorials, who were supposed to have been created out of grief. The purpose of this characteristic form of traditional Turkish theatre was to preserve the spirit of Karag\u00f6z, known for his violent tendencies and uneducated yet witty outlook, and Hacivad, who, while intelligent, was no match for his friend\u2019s antics.\nLastly, Meddah, or \u201cStoryteller,\u201d is a form of Turkish theatre presented by a single individual responsible for depicting the entirety of the play: stage, characters and all. Resembling that of a standup comedian, the Meddah describes settings relating to aspects of daily life, tales, or legends and digresses into laughable, literary, or even moral stories. Plays of this type were typically performed in the Ottoman Palace, on Ramadan nights or at circumcision celebrations.\nWhile the traditional forms were responsible for a large segment of the history of theatre in Turkey, the Ottoman Empire\u2019s adoption of Western ideals in the 19th century made room for event organizers to begin working with European companies. This movement caused tensions to rise between those who believed the traditional practices were dated or primitive and those appalled by this divergence. However, despite the controversy, Western influence began to take over, bringing with it multi-staged, subsidized theatres like the Dar\u00fclbedayi-i Osmani Conservatoire of Istanbul and widely disparate themes, such as Shakespeare, social issues, and musicals. Following these changes, the Turkish scene expanded even further, incorporating private theatres to serve as the ground for younger, innovative playwrights to foster their new ideas and research\u2014both political and economic\u2014unregulated and censorship-free.\nAfter decades of dramatic change within the Turkish theatre arts, Turkey now maintains an all-encapsulating display of modern, westernized theatre and traditional acting forms. Whether on the big stage for a musical in front of a dimly-lit audience or in a makeshift episode of Karag\u00f6z on a night of Ramadan, Turkish theatre continues to flourish for both old and new generations alike, bringing with it contemporary actors, researchers, and playwrights.\nAnd, Metin. The Turkish Folk Theatre, Asian Folklore Studies. PDF, vol. 38, no. 2 (1979), pp.155-176, Nanzan University. JSTOR, www.jstor.org/stable/1177688. Accessed 31 Aug. 2017.\n\u201cTraditional Theatre, Ortaoyunu.\u201d Turkish Cultural Foundation, www.turkishculture.org/performing-arts/theatre/traditional-theatre/traditional-theatre-ortaoyunu-288.htm?type=1. Accessed 30 Aug. 2017.\n\u201cTurkish Shadow Theatre \u2013 Karagoz and Hacivad.\u201d Turkish Cultural Foundation, www.turkishculture.org/performing-arts/theatre/shadow-theatre/karagoz-and-hacivad-90.htm?type=1. Accessed 31 Aug. 2017.\n\u201cMeddah (Public Story Teller and Mimic).\u201d Turkish Cultural Foundation, www.turkishculture.org/performing-arts/theatre/folk-plays/meddah-717.htm?type=1. Accessed 31 Aug. 2017.\nEkinci, Ekrem Bugra. \u201cThe art of the Meddah: Traditional Turkish storytelling.\u201d DailySabah, 8 Apr. 2016, www.dailysabah.com/feature/2016/04/08/the-art-of-the-meddah-traditional-turkish-storytelling. Accessed 31 Aug. 2017.\n\u201cAn Excursion in the Turkish Theatre.\u201d Turkish Cultural Foundation, www.turkishculture.org/performing-arts/theatre/traditional-theatre/the-turkish-theater-590.htm?type=1. Accessed 1 Sept. 2017.", "id": "<urn:uuid:92321782-e521-442c-aa8e-cee5317c50cb>", "dump": "CC-MAIN-2023-14", "url": "https://ohiostate.pressbooks.pub/windowsintoturkishculture/chapter/chapter-1-theater/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948765.13/warc/CC-MAIN-20230328042424-20230328072424-00747.warc.gz", "language": "en", "language_score": 0.936089813709259, "token_count": 1360, "score": 3.515625, "int_score": 4}
{"text": "There are some interesting facts about space and the solar system which the kids are supposed to get educated with and while we are trying to bring such information for your kids, we believe that educational videos and the storytelling technique is always considered the best for the kids to get them excited.\nIt is important to teach the kids and let them know more about the world which they are part of and science is the most important since it gives them the chance to understand everything around them.\nThere are some space facts for kids brought in this video to help them in adding up to their knowledge. The first fact states that one million earths could fit inside the sun and one should keep in mind that the sun is considered an average-size star, which could explain how big things are up there without us even realizing such a thing.\nPlanets of solar system\nWhy do the planets have different colours?\nPlants have the colors that have of what they are made of how their surfaces or atmospheres reflect and sunlight.\nA dwarf planet is a celestial body orbiting the Sun that is massive enough to be rounded by its own gravity but which has not cleared its neighboring region of planetesimals and is not a satellite.\nThe definition of dwarf planets only applies to our Solar System.\nThere are currently 5 dwarf planets in our solar system:\n- Pluto (largest object in the Kuiper belt).\n- Ceres (largest object in the asteroid).\n- Eris (largest object in the scattered disk).\n- Haumea (Kuiper belt).\n- Make make (Kuiper belt).\nThe planets fall into two main groups:\n1- Terrestrial (Earth-like) planets: Mercury, Venus, Earth &Mars.\n2- Jovian (Jupiter-like) planets or gas giants: Jupiter, Saturn, Uranus & Neptune.\nEvidence that Stars are Still Forming Today:\n1- The relative youth of our Sun (solar system) is one line of evidence that all stars did not form in the beginning and are continuing to form.\n2- Modeling of stellar evolution: \u2013 our Sun may last for ~ 10 Gy. Stars of ten solar masses last only ~ 0.01Gy. Those that are several tens of solar masses may only survive for a few million years before exploding in a supernova. Even though these stars are short-lived, many of these massive stars exist and supernovae have been recorded throughout history.\n3- New technologies such as the Hubble Space Telescope have enabled us to observe stars and planetary systems forming from nebulae.\nLooking at our solar\nsystem, we see that\nthe vast majority of\nthe mass is\nconcentrated in the\ncenter to form our\nThe solar nebula theory for the formation of our planetary, The system is generally accepted.\nThere are several observations about the solar system that are evidence in favor of this theory.\n- All the planets revolve around the Sun in the same plane (Planetary plane).\n- The Sun\u2019s rotational equator lies roughly in the planetary plane.\n- All the planets revolve around the Sun in the same direction.\n- Planet orbits are nearly circular.\n- Most of the planets rotate in the same direction relative to the planetary plane.\n- The planets change in character from inner rocky planets to outer Jovian,\nplanets in a manner consistent with the theory.\nBecause of gravity, all planets are round.\nWhy not subscribe to our LearningMole Library for as little as \u00a31.99 per month to access over 1000 fun educational videos.", "id": "<urn:uuid:9035b1bb-f46c-4e14-913c-a1f79700dafc>", "dump": "CC-MAIN-2023-14", "url": "https://learningmole.com/solar-system-facts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00327.warc.gz", "language": "en", "language_score": 0.9262591004371643, "token_count": 769, "score": 3.59375, "int_score": 4}
{"text": "Teachers build towards the independence of their students. And they do this by systematically adding to what students already know to gain confidence as they go along and competence with what they are learning.\nThe main way they do this is by tackling the subject in small manageable chunks first, and under guidance from a skilled instructor, they are supported to make connections for themselves as they work through the issue. Thus, it is more of a facilitator model than with traditional working model.\nVygotsky first coined the concept of scaffolding in learning and teaching in 1978 in his investigations of child learning and pedagogy.\nWhy is scaffolding learning important?\nScaffolding learning is important because it creates an environment where students are encouraged to be more independent and not constantly look to the teacher for answers and instruction.\nEffective and appropriate scaffolding of learning ensures that students have some safety net to work with but can still work through the different stages themselves.\nHow do you do effective scaffolding for learning?\nFor scaffolding of learning to be truly impactful, teachers must know their students\u2019 zone of proximal development. This term describes the distance between what the students already know and what they have yet to learn.\nTo make learning accessible to students, you must make sure that you pitch the work at the right level. It must be difficult enough that it provides a challenge to all the students in the room, but it must still be accessible to the students to find a starting point with the work in which they feel confident.\nHow do you implement scaffolding of learning in the classroom?\nOne way of scaffolding learning is by starting with some modeling. Show your students what they are aiming for first. Share with them the intended outcome of the project or work.\nFor example, this could be achieved by showing students a complete model of a bridge that you want students to replicate, or it could involve sharing a full story with the students.\nAnother way to implement scaffolding of learning is to use a thinking-aloud process. For example, while you share the model with the students in your class, a teacher can share their thought processes as they complete each stage. This would work particularly well with solving a maths problem or if you are designing a project.\nEssential to successful scaffolding is involving the students by tapping into their prior knowledge. Encourage them to discuss their experiences and ideas about what you are studying. Sometimes they will be able to make connections themselves between the different stages.\nHow do you use scaffolding in literature analysis?\nUsing scaffolding in literature analysis is a highly effective way of getting children to engage with the texts they\u2019re reading. Literary analysis lends itself to a scaffolding approach because the aim of scaffolding in teaching is for students to learn more independently. Furthermore, as literary analysis is so personal to the reader, it helps if children have a framework to make them feel more secure, especially when they\u2019re just starting to analyze literature. In addition, scaffolding enables them to conclude the text, giving them the confidence to present their original ideas.\nSo, how can teachers use scaffolding when teaching literature analysis?\nExplain what literary analysis is\nAs its name suggests, scaffolding needs to be a framework for children to build their learning. This is why it\u2019s worth starting at the beginning. First, explain to your class what literary analysis is, its objectives, and how it works. This enables children to know what they\u2019re doing and why. It also helps keep everyone on the same page in their method, although they\u2019ll hopefully feel assured enough to conclude.\nMake the text relatable\nWhen analyzing literature, one of the most important pieces of the puzzle is identifying the text\u2019s themes and how they relate to people\u2019s lives. This can be difficult for younger learners, particularly if you\u2019re studying a text set in the past. However, a scaffolding approach encourages children to share their prior knowledge, discussing how the characters\u2019 situations might be similar to their own life experiences in some way. This helps your students build a picture of the text\u2019s key themes and makes it relatable.\nUse visual resources\nChildren learn in many different ways, and many are visual learners. Visual teaching resources will help keep your students more engaged with the text. You could let your class watch a film adaptation of the text, for example, to bring it to life for them. Alternatively, you could display posters of the characters and settings in the classroom or show your learners a PowerPoint presentation about the text. These resources will help children build a visual picture of the literature they\u2019re studying, enabling them to understand the themes and subtext.\nEncourage detective work\nGood literary analysis always includes citations and quotes from the text to support the student\u2019s argument. However, many children forget to include this core evidence; if they have it, they don\u2019t explain how it strengthens their point of view. You can ensure they remember to do these things by encouraging detective work at the beginning of the lesson, reminding them to pick up on clues as they read, and writing them down, so they don\u2019t forget to include them in their literary analysis.\nUse different types of text\nChildren need to feel confident analyzing different types of literature. Therefore, if you\u2019re using scaffolding in your literature analysis teaching, giving them varied source material to work with is important. As well as novels, include poetry, factual texts, play and film scripts, and even advertising texts in your lessons to ensure children can understand their meaning. This approach will help your students to analyze every type of literature they come across.\nHow do you scaffold children\u2019s creative work?\nVisual aids are another useful tool for scaffolding children\u2019s creative work. Pictures and charts can help children to understand what they are doing. This can be useful as it helps prompt students to make connections for themselves. Visual materials will be especially effective when helping students with creative work such as art or technology.\nYou can also help students plan a longer creative writing work through scaffolding. One technique for this would be the Pause, Ask Questions, Pause, Review method. This starts with the teacher sharing the discussion topic. Then everyone is allowed a pause for thinking time. Next, the teacher asks a strategic question. And finally, there is another pause.\nIt is important during the quiet stages to hold out even when the silence becomes uncomfortable so that everyone is given time and space to do some real thinking.\nWhy is scaffolding learning important in early childhood?\nScaffolding learning represents a more student-centered learning practice than other traditional teacher-focused methods.\nThe main goal is that, eventually, these scaffolds can be completely removed so that the children can complete the tasks or projects entirely independently.\nThis is particularly important in early childhood because it teaches children to solve problems for themselves early and to build personal resilience.\nThe three elements\nThere are three essential elements of scaffolding learning. The first is that the communication and interaction between the student and teacher should be collaborative. What does this mean? Essentially, it means there should be input from both sides. In practice, this means that students should be asked to share their ideas and their own experience as they engage in the task.\nThe second feature of effective scaffolding is that the work is built around the student\u2019s zone of proximal development, as discussed above.\nAnd the third feature is that the guidance set in place by the teacher is removed gradually over time in recognition of the students\u2019 growing competence in the subject.", "id": "<urn:uuid:dfc7a2ec-015f-4a83-ba5c-2b50fee4927d>", "dump": "CC-MAIN-2023-14", "url": "https://pedagogue.app/what-is-scaffolding-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949573.84/warc/CC-MAIN-20230331051439-20230331081439-00327.warc.gz", "language": "en", "language_score": 0.9634009599685669, "token_count": 1564, "score": 4.28125, "int_score": 4}
{"text": "During National Storytelling Week, we\u2019re encouraging schools and teachers to get involved and celebrate storytelling through a range of mediums and outlets.\nWith reading for pleasure on the decline, it\u2019s all the more important we make time for enjoying stories with our friends and families. Stories are a wonderful way to get to know one another, make connections, share information and create meaningful relationships, and have been used as a form of entertainment for centuries.\nWhether it\u2019s reading more, sharing more or creating more, why not get involved and celebrate the art of storytelling with these fun classroom activities?\n1. Invite students to share their favourite story\nPossibly the easiest way to introduce Storytelling Week to children or students is to simply ask them about their favourite stories!\nAsk the children to bring their favourite book to school, or (if you\u2019re a parent) choose their favourite one from the family bookshelf or from the library. Ask each of them questions about it \u2013 who is the main character? What happens to them? Why is this story their favourite? Are there any similarities between themselves and the hero?\nAlternatively, a favourite story can also be one that\u2019s not from a book, but a real-life story. Ask the students to share funny, scary or even sad stories from their own experience. They can enjoy putting in lots of expression and maybe even adding hand gestures to help move it along.\nThe students can share their favourite stories as part of a group, or with the whole class.\n2. Let them dress up as their favourite story character\nInvite students to dress up as their favourite story character for one day. You could even hold a competition for the best costume, or do a role play exercise where the students have to communicate as their character.\nAs with the first exercise, you could ask the students to share why they specifically chose that character and what they would do if they could be their character for a day.\n3. Have a regular Story Time every day\nMost teachers already have a dedicated storytelling hour each week. But during National Storytelling Week, why not have one every day?\nYou could choose a book for all the class to read together, or split the students into groups where they can take it in turns to read a page of their favourite story. You may wish to take pauses throughout to ask the students questions about what they have read and what they think is going to happen. Individual silent reading is also great to encourage \u2013 but make sure you get in some group collaboration too.\n4. Play \u2018Name That Story\u2019\nTest students\u2019 knowledge of well-known stories by playing \u2018Name That Story\u2019! Simply read aloud a disguised description of a traditional story \u2013 whether that\u2019s a fairytale, fable or a mythical legend \u2013 leaving out certain details or putting in clues. The students can either work in groups or pairs to match the famous story to its description.\nFor example, the clue for the Gingerbread Man might be:\n\u201cA biscuit runs away and is chased by people and animals. He tries to cross over a river with the help of a sneaky fox.\u201d\nOf course you can choose the stories based on their age group. Very young children will enjoy guessing stories like The Three Little Pigs and Little Red Riding Hood. Older children, meanwhile, can play the game with stories like Harry Potter or the legend of Perseus and Medusa. You could link the game back to something they have been studying in their lessons, or a book you\u2019ve been reading as a class.\nIf you\u2019d like to make the game more visual, why not add the descriptions/clues onto cards and ask the children to match each one of them to a picture card?\n5. Explore different ways to tell stories\nStories can be told in all different ways \u2013 from telling to writing to showing. Talk to your students about the different ways in which we consume stories every day \u2013 including newspapers, films, books, magazines, blogs, social media and through talking to our friends.\nThen, ask them to share their favourite story in a different way to how it was originally told. Get crafty and make a collage; be bold and act it out, or maybe even turn it into a news report! The opportunities are endless. Encourage students to get creative and then present their story to the class. Then ask the audience \u2013 did they do a good job of conveying their favourite story?\n6. Book a professional storyteller\nFewer things will thrill the children like listening to a professional storyteller tell their favourite stories. There are many professional storytellers you can ask to come to your school this week and give an assembly or host a workshop.\nMany of them will even dress up as a character and have lots of fun games for your students to get involved in. Check your local area for workshops or take a look at this list of storytelling workshops from As Creatives.\n7. Let students perform their favourite stories in groups\nActing out their favourite stories is a great way for students to build confidence or get used to speaking aloud.\nEncourage their inner actors by splitting the class into groups and giving each of them a simple story to perform. Let the students decide themselves who will play what role and how they can act out the story in a clear and entertaining way.\nAfterwards, let them perform their story to the rest of the class and ask them questions about why they made the decisions they did and what they had to do to ensure the story was clear and easy to understand.\n8. Read one of our lesson-teaching children\u2019s books\nWhen choosing a story to read with your students, why not choose one that teaches a valuable lesson? We recently put together this list of our favourite children\u2019s books that each teach a valuable lesson. Whatever the age of your students, you can use these books to open up discussion about an important moral, belief or outcome, or ask them to explain what they think the moral of the story is.\n9. Hold a story-writing contest\nCelebrate story-telling with a story-writing contest! The prize could be a new book of the winner\u2019s choice.\nYou can leave the competition open-ended or suggest a starting point to help students who may get stuck. A good example is to start off with a place, an object, a person or creature and a year.\nAfter they\u2019ve created their stories, the students can choose to read them aloud, if they\u2019d like.\n10. Write a day in the life of your favourite story character\nWhat would they do if they were their favourite character for a day? What would it be like to experience a day in their ordinary life?\nThis is a great exercise to stimulate students\u2019 imagination and get them thinking about the details of their character, such as where they\u2019d live, what they\u2019d eat, what they\u2019d do all day and who their friends would be. Encourage them to think beyond the standard story their character is from, and what they might do in unusual situations.\nAfterwards, the students can have fun sharing their \u2018Day In The Life\u2019s with their classmates.\n11. Take students to a local Storytelling event\nDuring National Storytelling Week, lots of libraries, museums and bookshops are hosting storytelling events that your children will love. Whether you\u2019re a teacher, parent or carer, have a look in your local area to see what\u2019s on and if you can make it to a nearby event.", "id": "<urn:uuid:ec5a6aa0-c0b0-4733-aaa0-d7cc4fa3ea63>", "dump": "CC-MAIN-2023-14", "url": "https://www.trueeducationpartnerships.com/schools/11-classroom-activities-for-national-storytelling-week/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00126.warc.gz", "language": "en", "language_score": 0.9688378572463989, "token_count": 1581, "score": 3.625, "int_score": 4}
{"text": "The Northwest Coast Indians are believed to have begun living on the west coast area of what we now know as Alaska, Washington State, Oregon, California, and British Columbia, Canada over 10,000 years ago. The Bella Coola, Haida, Nootka, and Tlingit are just a few of the tribes that make up the Northwest Coast Indians who were known as the richest Native American\u2019s due to the large quantity of natural resources that were available to them in this region.\nAmerican Indian culture has been rewritten by the European Colonists that came over to take what wasn\u2019t theirs. These few pictures have depicted to me what their culture is all about. The meaningful relationships, the stories that would be told for lifetimes to come. These people have gone through a lifetime of struggle and hatred from Europeans, and even after all their suffering and torture the Europeans still rewrote the history books. The books very rarely touch upon subjects like native American philosophy or beliefs. People lack a great amount of knowledge about these people, and they are a massive part of this country\u2019s history. Now, we can go through and depict this artifacts by their meanings and signs.\nWhile some of the cultural norms and expectations varied slightly amongst the members of the Sioux, Navajo, and Cherokee tribes, it seems as though the cultural communicative behaviors and/or many of the norms and expectations were overall exceedingly similar across these three tribes.\nThroughout history, there have been many literary studies that focused on the culture and traditions of Native Americans. Native writers have worked painstakingly on tribal histories, and their works have made us realize that we have not learned the full story of the Native American tribes. Deborah Miranda has written a collective tribal memoir, \u201cBad Indians\u201d, drawing on ancestral memory that revealed aspects of an indigenous worldview and contributed to update our understanding of the mission system, settler colonialism and histories of American Indians about how they underwent cruel violence and exploitation. Her memoir successfully addressed past grievances of colonialism and also recognized and honored indigenous knowledge and identity.\nWhat defines a person? Is one of the most basic anthropological questions within the discipline, with the definitions that people have for other people and categories that we have succumb to. This question is loaded and difficult to answer. Unfortunately, indigenous people experience this categorizing plight more than any other racial group in North America and around the world. Furthermore, it has impacted their wellbeing and stripped them of their outward identity. There has always been a romanticized idea of Native Americans, Americans identify Indians as feather wearing, horse riding, buffalo chasing, and spiritual dancing individuals. The truth about who they really are is lost in fiction and westerns, therefore it comes as no surprise\nThe settlers and the native people of America have contributed a good collection of books which constitute the body of American Literature. Any book written will register the life style of people, their food habits, culture, beliefs, system of education followed, the nature of children and their history. The books written by the writers from the United States of America have registered the expectations, hopes, future predictions along with warnings their fear for degeneration of moralities and the impacts of Industrial revolutions. American Literature was acutely carved by the history of the United Nations of America. In the beginning after a great revolution for more than a century and half America became the United States. Though at first\nNative Americans have a really diverse culture and one report is not enough to talk about all of their cultures. They have fourteen tribes so it is obvious that they will have a lot of different cultures and traditions between all fourteen tribes. It is impossible to have fourteen tribes with different people and expect them to all believe in the same things so some of them have different beliefs and different traditions. They worshipped a lot of gods and even some of the gods had dolls made for them. Some tribes worshipped the sun or fire or some serpents. Buckle your seatbelts boys and girls because today the topic is going to be about those three things.\nStorytelling is an fundamental tradition in Native American culture, acting as a communal activity and a method of bonding. The importance of storytelling is communicated in an interview with Ceremony author, Leslie Marmon Silko. \u201cIt's very important to understand the function that this kind of telling and retelling of incidents has. It's what holds the community together in a way that goes beyond clan relations and blood relations\u201d (Source B). Silko expresses that stories connect a group of people in a way that relationships and\nThe United States of America is a land of freedom, a land of equality, and opportunity. We value independence and should look to exercise this in every form, as a nation. We must stay united and show respect to one another. This means we should not disregard ones ' ethnicity and culture, and use names in which are offensive towards their culture, in order to promote any sort of activity. This is aimed mainly at sports teams that carry racially inappropriate names. Couple teams that carry names that are very offensive to the natives are the Atlanta Braves, Chicago Blackhawks, Cleveland Indians, Kansas City Chiefs, and arguably the most popular of them all, the Washington Redskins. These teams carrying such names bring offense to all the native\nThe word hero may bring to mind images of spiderman or batman, but it doesn\u2019t take a talented illustrator to create a hero. A heroic action is a sacrifice made in order to reach a higher level of society. In this sense, the age of exploration that began in the fifteen hundreds is classified as a heroic event. The explorers who paved the way to modern civilization opened opportunities for technology, increased diversity, and a stronger economy. The effect their voyages have had on the world today outweigh the mistakes they made along the way.\nNative Americans are the indigenous people of the United States, they have an extensive rich history, and stories of sorrow and bravery. Within the lower 48 states are the Great Plains American tribes, these tribes live in a region where there are few trees with valleys and rolling hills. This is where the Ponca Tribe of Oklahoma as well as many other tribes resides in. With quite a dearth tribe, their highest population being 3,522 present day, but although they weren\u2019t large they are known for their abounding cultural tradition and past. The Ponca tribe of Oklahoma had a mixed culture of the Middle Mississippi and Plains people. They were Siouan speakers, or the Dhegiha, which also included the Ohama, Osage, Quapaw, and Kansa tribes. The\nCeremony and rituals have played a vital and essential role in Native American culture for a long time. Often referred to as \u201creligion,\u201d most Native Americans did not think their spirituality, ceremonies, and rituals as \u201creligion,\u201d the same way that Christians do. Instead, their beliefs and practices form an integral and seamless part of their being. Like other aboriginal people around the world, their beliefs were heavily influenced by their ways of getting food, \u2013 from hunting to agriculture. They also did ceremonies and rituals that gave power to conquer the difficulties of life, as wells as events and milestones, such as puberty, marriage, and death. Over the years, practices and ceremonies changed with tribes '\nThese embroidered creations feature Native Americans through the obscure and biased glens of Europeans. This is most legible in Jan van der Straet 1575 painting of Amerigo Vespucci\u2019s arrival in America (Document 3). In the painting, a bare Indian is illustrated in a near animal- like state whilst Vespucci is illustrated as a domineering and transcendent figure. Native Americans are also expressed in this oppressive light in Louis Choris\u2019 1820 drawing of Indians on a boat. (Document 7) The natives here are depicted sans clothing in an also animal-like state. Lastly, the European perspective on the sheer simplicity and deficiency in intricacy of Indian society is displayed in John White\u2019s rendering of a Secoton village (Document 5). All of these illustrations serve as optimal testaments to the Europeans\u2019 perspective on the multifarious and burly web that was Native\nOne of the most controversial parts of American history is the treatment of Native Americans during the colonization of America. Native Americans were enslaved, abused and killed without justification and these horrendous events destroyed part of Native American culture. Breaking the Native American cultural circle, even as early attempts to repair were unsuccessful furthermore breaking the circle, Native American culture is still alive today and slowly but surely the circle is being repaired. Although it realistically will never be fully repaired working to improve it helps not only Native Americans but others learn from the past.\nThe European drawings of the Native Americans gave the visual that life along the Eastern Woodland was very tough. Although it seemed that way, it also seems as if they were adapted to a tough lifestyle making it seem easy and peaceful. Anything that was desired they worked hard for it. Along with working hard they also took the time out to have fun, according to their ceremonial dances. The Natives Americans seems as if they were built to live this kind of lifestyle.", "id": "<urn:uuid:906e9786-23e3-4c38-aa27-670c0be3c7dd>", "dump": "CC-MAIN-2023-14", "url": "https://www.ipl.org/essay/Speech-About-Native-American-Arts-P3HDGK74NDTT", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00126.warc.gz", "language": "en", "language_score": 0.9729785919189453, "token_count": 1866, "score": 3.59375, "int_score": 4}
{"text": "Smiley, an author of many books and magazine essays, writes her own criticism of Huckleberry Finn, \u201cSay It Ain\u2019t So, Huck\u201d. Smiley has very strong arguments as she compares her own opinions and backs them up with Twain\u2019s words from the book. Smiley argues that Twains real meaning behind the book is based off of racism. Twain never allows Jim to become a real human, as Jim will always be a slave whether he knows it or not. Although Huck and Jim end up creating a very strong relationship like brothers, Smiley believes that \u201cTwain thinks that Hucks affection is a good enough reward for Jim\u201d (Smiley 460). He would not ever get the treatment Huck did, and Jim\u2019s character was never allowed to grow.\nHailed by (most) critics and language arts teachers alike, Mark Twain\u2019s \u201cThe Adventures of Huckleberry Finn\u201d is a complex novel with several developed themes. What this book does bring to the table is a controversial literary device. \u201cBackpedaling\u201d which is the idea of deconstructing pre-existing ideas or character developments to highlight another. Full of intentional contradictions, Mark Twain uses his own hypocrisy and puts it into our protagonist, Huck to make him a realistic and, relatable character. This is done in several ways through the novel; It is done in the character\u2019s moral development, within the setting itself with a variety of hypocritical ideologies, and in the oversimplification of characters\nDespite the connotations that Adventures of Huckleberry Finn may have lost focus in its message of anti-racism, the novel still displays a thoughtful and engaging take on the status of racism through setting and character development. Though authors like Jane Smiley believe the book is overpraised because the characters are shallow and ignored, Twain\u2019s subtle commentary on racism through the use of his characters helps to create a realistic understanding of the social conditions at the time.\nPerhaps Huck\u2019s most important statement in this passage is \u201cAlright then, I\u2019ll go to hell\u201d; here he decides he\u2019s willing to go to hell for eternity rather than causing Jim to return to his life as a slave. At first Huck just thought of Jim the property of another person, a good to be bought and sold regardless of any evidence that he was a human being. As they travel together, this viewpoint is gradually weakened by examples of Jim\u2019s humanity, culminating in a model shift that goes against everything Huck has been taught about the societal status of a\nIn the novel Huckleberry Finn by Mark Twain it is a story of a troubled young boy and his good friend Jim. In the story Twain is not trying to portray racism toward the character Jim but rather is discouraging it. We see examples in the novel where Twain shows how Jim differs from other White men who cheat others, how he describes the white and black symbolism, and shows empathy for Jim. These three pieces of evidence thus prove how Twain is discouraging racism.\nThomas Jefferson once said \u201call men are created equal\u201d Jefferson explains that all men are created equal, have the same equal rights and should not be control by anyone. The adventures of Huckleberry finn follows this as Twain shows us how the society treat people with different color and are controlled by them. This is challenging the society on how they treat people and should treat people the same even if they look different from them. This whole thing is telling us how people are careless and do not care about the environment they live in. This is to show how our society treat people with difference than themselves and how they do nothing to help the growth of the society. In the adventures of Huckleberry Finn Twain is challenging the social norms of slavery and racism in our society.\nAuthors of classic American literature often utilize a character\u2019s development to establish a worldview or opinion. In The Adventures of Huckleberry Finn and The Great Gatsby, Mark Twain and F. Scott Fitzgerald use their narrators, Huck Finn and Nick Carraway, to suggest an argument about American society. Seeking adventure, both characters embark on a journey, but their encounters with society leave them appalled. While they each have personal motives for abandoning their past, both end up interacting with different cultures that lead them to a similar decision about society and their futures. Ultimately, they stray from the dominant culture in order to escape the influence of society. Therefore, Twain and Fitzgerald claim that American society\nJane Smiley argues that Mark Twain\u2019s The Adventures of Huckleberry Finn suggests only \u201ca recognition of the obvious -- that blacks, slave and free, are human\u201d and therefore does not deserve to be shelved on the western canon nor taught in schools (Smiley). Contrary to Smiley\u2019s statement, the story educates on many more morals and philosophies in addition to racism and depicts the protagonist Huck fighting against deeply rooted societal conventions at the time (and even in places today) that a black person amounts to less value than a white person. This novel deserves to be on the western canon as it is far more nuanced than Smiley suggests; Huck\u2019s fighting societal prejudices, teaches people to defeat stereotypes and value people not\nAn issue of central importance in Adventures of Huckleberry Finn by Mark Twain is the controversial topic of racism. In chapter six, Twain manipulates his reader\u2019s response to racism by controlling the speaker and surrounding circumstances of the bigoted statements in a way that pushes the reader to reject the racism because they have already rejected the speaker. In order to influence his readers, Twain utilizes the rhetorical devices of characterization and satire to show the immorality of the racist message.\nShould one word define the future of an American classic? Adventures of Huckleberry Finn by Mark Twain is one of the most controversial novels in America. This narrative regards a boy named Huckleberry Finn in the 1840\u2019s United States, who runs away from home and travels down the Mississippi. Huck meets runaway slave, Jim who journeys with him on their many adventures. Many believe this meaningful piece of literature should be banned from the high school curriculum. Adventures of Huckleberry Finn should stay in the high school curriculum because it is unprejudiced, historical, and important to literature.\nEvery person encompasses their own unique opinion. In The Adventures of Huckleberry Finn by Mark Twain, Huck Finn possesses a conscience that makes him one of the most important and recognizable figures in American literature. However, Claudia Durst Johnson, a critic, believes that because of Huck\u2019s actions the novel \u201cis one of the most radical and darkly bitter books in the American canon. It represents the breaking of federal law as moral. It recommends disobedience and defiance on the part of young people.\u201d This statement is disagreeable because although Huck does break the federal law as a moral, he does it for the right reasons. Therefore, making the great American classic not such a radical and darkly bitter book after all.\nLiving in the 1800s was a very confusing time for a thirteen-year-old American white boy named Huckleberry Finn. African people were faced with inhuman acts of slavery, prejudice, and discrimination. Choosing between what was right and wrong was a challenge, especially for Huckleberry Finn. Huck\u2019s peers tried to corrupt him into believing that slavery was the norm and black people were to be shunned. Mrs. Watson, for example, was Huck\u2019s adoptive mother whom consistently told Huck to not associate with people of the African culture. The Widow Douglas, Mrs. Watson\u2019s sister, also worked on impairing Huck\u2019s perception of slavery. Their idea of being \u201csivilized\u201d was to support the enslavement of Africans. Mrs. Watson and Widow Douglas, as well as\nIn the novel, The Adventures of Huckleberry Finn, the reader gauges morality through the misadventures of Huck and Jim. Notably, Huck morally matures as his perspective on society evolves into a spectrum of right and wrong. Though he is still a child, his growth yields the previous notions of immaturity and innocence. Likewise, Mark Twain emphasizes compelling matters and issues in society, such as religion, racism, and greed. During the span of Huck\u2019s journey, he evolves morally and ethically through his critique of societal normalities.\nbooks written in the 19th century. The story tells of a friendship between a lowly white\nIn the Adventures of Huckleberry Finn, Twain gives us an implied theme to ponder about. Three themes stand out farther than the rest \u2013 racism, money, and freedom. In the South, racism was extremely prominent as well as enslaving blacks. With the view of the setting and how it is portrayed, Twain makes this clear. The fact that Jim was enslaved and Huck and Tom had to rescue him proves this. In the beginning of the story, readers are told that Huck has obtained $6,000 for himself (which was a great amount during the 1800s), yet Jim has very little, if any. The divide between rich and poor hear are coherent and is a theme all throughout the story. Finally, obtaining liberation is the ultimate goal in the novel. It took Huck and Tom a very long time to try to break Jim free, but it was all worth it. We also see freedom when we look at the Mississippi River \u2013 it promotes freedom in the story. Twain put all of these elements together to illustrate how life actually is. Racism will occur (although it is terrible), nearly everyone wants money and the divide of the rich and the poor is common, and some people are still trying to achieve freedom from an individual or material in their", "id": "<urn:uuid:211db33e-1d04-49bf-8e68-5c478c36acfd>", "dump": "CC-MAIN-2023-14", "url": "https://www.ipl.org/essay/Eco-Criticism-In-Huckleberry-Finn-Analysis-PJTHS42AU", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945248.28/warc/CC-MAIN-20230324051147-20230324081147-00746.warc.gz", "language": "en", "language_score": 0.961970329284668, "token_count": 1997, "score": 3.515625, "int_score": 4}
{"text": "Creative Problem Solving\nWhat if there was a simple way to teach the core 21st century competencies of creative and critical thinking, collaboration and communication skills in one free supra curriculum education programme?\nThe Hexis21 Creative Problem Solving course offers a solution for schools interested in providing opportunities to address this essential requirement.\nTeaching creative problem solving through design thinking\nThe objective of this video is to introduce the concept of design thinking & explore the limitations of making assumptions on creative problem solving.\nThe video begins by discussing the mindset of a creative thinker, the role of storytelling in problem solving, and how making assumptions can limit our thinking skills. A case study is explored that relates to a car manufacturer trying to improve its sales of electric cars. The video explains the process of getting to the heart or root cause of the problem that needs to be solved and the way that guiding questions can be formed to provide a clear pathway through the problem.\nThe workbooks below are also available as physical resources for students to work on in school or at home. They are relevant to the entire course. General reflection worksheets can be downloaded here. Click on the images below to purchase from Amazon.\nThe objective of this video is to use creative problem solving and critical thinking skills to tackle a real-world issue.\nThe video presents students with an opportunity to engage in creative problem solving by addressing the issue of injuries experienced by elderly people while walking their dogs. The video should be paused so that students have the opportunity to consult the information sources and worksheets. The first pause is at 0.38 in the video where students are encouraged to access a range of data to gain an empathetic understanding of the problem. The video can then be re-started after the countdown to move students on to the next phase of the design thinking process. The video should be paused for the second time at 2.34 so that students can use the Empathy Map. The video should again be paused at 4.03 so that students can use the 5Whys technique to think critically about the issue and form guiding questions to provide their direction. There is another countdown (20 seconds) to indicate that the video is about to move on to the How Might We task.\nWorksheets and information sheets for download or online editing.\nThe objective of this video is to generate ideas to solve a real world issue using the 'Idea Box'.\nThe video invites students to begin the ideation or idea generation process. The concept of the Idea Box is introduced and demonstrated using a case study. Students are then encouraged to create their own Idea Box to generate ideas for their solution to the issue relating to elderly people becoming injured while walking their dogs. They need to achieve a fine balance between feasibility, viability and desirability. The video should be paused at 3.16 so that student can work in groups to work on their idea box. A countdown brings the class back together and readies them for the next phase of the design thinking process which involves prototyping their MVP. Students then sketch their solutions labelling the key features in terms of how they tackle the problem. Models can be made using paper clay and/or construction paper. It may be possible for students to access your school's art and design or technology facilities in order to build a prototype. The Reflection Journal can be completed at the end of the lesson or set as homework. The second video relates to the extension task and includes a wide range of fun and creative thinking exercises.\nWorksheets and information sheets for download (Prompt sheet, Blank Idea Box 1, Blank Idea Box 2) or online editing.\nThe objective of this video is to gain feedback on students' solutions so that iteration can take place.\nThe video outlines the testing phase of the design thinking process. This will involve students constructing meaningful questions to gain feedback on their solution. The work of McTighe & Wiggins is referenced in this video. Their book, Essential Questions can be found here. They will evaluate the feedback in order to iterate their solutions. The video should be paused at 2.57 for this work to take place. The next phase requires students to create a storyboard to show and understand the journey of their target market using their solution. The Reflection Journal can be completed at the end of the lesson or set as homework.\nWorksheets for online editing or download (Testing the solution, Feedback Capture Grid and blank storyboard)\nSessions 5 & 6\nThe objective of this video is to create a presentation of the process and solution that each group has determined to be their minimum viable product.\nThe video encourages students to look back through their Reflection Journal to help them communicate their thought processes and what they have learned during the process about themselves and how to solve problems. Students will then spend time constructing their presentation to identify how they used the design thinking process to come up with their solution. They can use the worksheets, sketches, models and any other aspect of their experiences in this process. Each group will present in front of each other and pose questions to the presenters to gain clarity.", "id": "<urn:uuid:5d2664c3-99f2-44a5-ab09-928f193464b3>", "dump": "CC-MAIN-2023-14", "url": "https://www.hexis21.com/design-thinking-for-schools", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945381.91/warc/CC-MAIN-20230326013652-20230326043652-00526.warc.gz", "language": "en", "language_score": 0.942412257194519, "token_count": 1052, "score": 3.828125, "int_score": 4}
{"text": "By the end of this section, you will be able to:\n- Articulate how language conventions shape and are shaped by readers\u2019 and writers\u2019 practices and purposes.\n- Define oppression and explain its effects.\n- Define inclusion and summarize ways to write inclusively.\nWriting about identity and culture gives authors the opportunity to share personal experiences and provides a vehicle for storytelling. This storytelling can turn into a purposeful message with meaningful rhetorical impact.\nWhat Is Oppression?\nOppression isn\u2019t just a historical problem\u2014it extends to society today. In the two decades since the September 11, 2001, attacks on the United States and the subsequent War on Terror, Muslims and Sikhs have experienced hate crimes and oppression. People who identify as LGBTQ have been shunned or persecuted, subjected to hate crimes, and banned from serving in the military and have struggled to gain the right to marry. This TED Talk highlights the struggle for transgender rights.\nIn addition, migrant and refugee families, largely from countries in Central and South America, have been separated and jailed in recent efforts to curtail immigration along the southern U.S. border. Asian Americans have been subjected to racially motivated harassment and attacks, heightened by the COVID-19 pandemic, including the violent March 2021 mass shooting at an Asian American massage parlor. This TED Talk discusses the harm of Asian stereotypes. Discrimination has persisted for generations and continues to make it difficult for those who oppress to view the oppressed as their equals.\nTwo of the most frequent ways people isolate others are through markers of identity, especially race and gender, and through language varieties, such as standard and nonstandard English. If your view of people is primarily influenced by their physical features and the words they speak, you do not allow yourself to engage fully with them in their humanity.\nViewing others as people first and understanding the importance of questioning the lens through which you view them is the beginning. However, you also have to think critically about language bias. When you hear people of African descent speak in African American Vernacular English (AAVE) or speak English with Caribbean or African accents, you may make assumptions about who they are and what they know. When you encounter people who speak English with Spanish accents, you also may make assumptions about who they are and their place in the world. However, when you hear British English or English spoken with a French, German, or Slavic accent, you may notice the difference, but you also may make a different set of assumptions about those people.\nAnti-racism as Inclusion\nHere are several principles to help you develop inclusive and anti-racist writing:\n- Consider the assumptions you make about readers, and then work to address those assumptions.\n- Choose language carefully.\n- Revise with a critical eye. Look for racist phrases and words that label cultures negatively.\n- Seek feedback and receive it with an open mind primed for learning. Because writing is personal, you may easily feel offended or dismissive. However, feedback, especially from people whose perspective differs from yours, can help you grow in anti-racist knowledge.\n- Consider rhetoric and presentation. Aim to make your writing understandable, straightforward, and accessible. Use a glossary or footnotes to explain complex terms or ideas.\n- Avoid casual phrases that suggest people with disabilities or from other cultures are victims and avoid euphemisms that refer to cultures to which you do not belong. Similarly, avoid using mental health issues in metaphors.\n- Think about your adjectives. Some groups or people prefer not to be described by an adjective. It is important to follow individual groups\u2019 preferences for being referred to in either person-first or identity-first language.\n- Avoid stereotyping; write about an individual as an individual, not as if they represent an entire group or culture. You may also choose to use gender-neutral pronouns.\n- Be precise with meaning. Rather than describing something as \u201ccrazy,\u201d try a more precise term such as intense, uncontrolled, or foolish to give a more accurate description.\n- Impact overrules intent. The impact of your language on your reader is more important than your good intentions. When you learn better, do better.\nExploring the Issues\n- Ally: a person who identifies as a supporter of marginalized groups and who advocates for them\n- Anti-racist: adhering to a set of beliefs and actions that oppose racism and promote inclusion and equality of marginalized groups\n- Critical race theory: the idea that racism is ingrained in the institutions and systems of American society\n- Cultural appropriation: taking the creative or artistic forms of a different culture and using them as one\u2019s own, particularly in a way that is disrespectful of the original context\n- Culture: the shared beliefs, values, and assumptions of a group of people\n- Emotional tax: the invisible mental stress taken on by people of marginalized backgrounds in an attempt to feel included, respected, and safe\n- Ethnocentrism: the idea that one\u2019s own culture is inherently better than other cultures\n- Intersectionality: the intertwining of different aspects of social identities, including gender, race, culture, ethnicity, social class, religion, and sexual orientation, that results in unique experiences and opportunities\n- Microaggression: behavior or speech that subtly or indirectly expresses prejudice based on race, gender, ability, age, or other aspects of identity, often but not always without an individual\u2019s conscious intention (For example, the drill team director instructs all members to wear their hair straight for competition.)\n- Neurodiversity: the idea that humans have a range of differences in neurological functioning that should be respected\n- Unconscious bias: any implicit, unfair preferences that people hold without being aware of them", "id": "<urn:uuid:851be434-f055-471a-9801-7895de22a995>", "dump": "CC-MAIN-2023-14", "url": "https://openstax.org/books/writing-guide/pages/2-3-glance-at-the-issues-oppression-and-reclamation", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945168.36/warc/CC-MAIN-20230323132026-20230323162026-00726.warc.gz", "language": "en", "language_score": 0.9533498287200928, "token_count": 1188, "score": 4.0625, "int_score": 4}
{"text": "Enter your email below to receive weekly updates from the Ashton College blog straight to your inbox.\nPeople think using images. Vision was central to our evolution. For example, we have a tremendous fondness for pictures of wide, open landscapes; they evoke a sense of well-being and contentment. Psychologists suggest this almost universal response stems from the years our ancestors spent on the savannas in Africa.\nWhen we see an image \u2013 we observe and understand it in its entirety. Text is far more recent to our development, and frankly, we are not very good at processing it. When we see words we process them individually and serially. In fact we can only process seven bits of information at once \u2013 hence our seven digit phone numbers. Visuals are processed simultaneously, nearly half of our brain function is given visual processing and 70 percent of our sensory receptors are in our eyes. We get the sense of a visual scene is less than 1/10th of second, or put another way we can process images 60,000 times faster than text.\nCompare these frequently seen icons with the description. Which do you think you would comprehend more quickly?\nThe family in this car is made up of four people and one dog. Dad is in charge of shoulder length long hair, but we\u2019re not sure what she likes. The son is a baseball player and the daughter is a ballet dancer. The dog looks cute.\nAnother interesting fact about visuals is where they are processed in our brains, and what this means for retention. When we read text it is processed in short term memory, images on the other hand go directly to long term memory, where they remain.\nWe also tend to have a more emotional reaction to images, and this in turn increases the strength of the memory. In fact we \u201csee\u201d things that have an emotional charge with greater clarity. Look at the image and related word below. Which do you have a stronger emotional response toward; the words or the image?\nThough one may not think emotion is important in the business setting, it is central to our decision making process. Neurologist Antonio Damasio studied research on patients with damage to the emotional centres of their brains. Damasio discovered that the patients were unable to make rational decisions even though their ability to reason was fully functional. He concluded that reasoning \u201cdepends, to a considerable extent, on a continual ability to experience feelings.\u201d\nAcademics and educators now realise the significance of visuals in instruction. Here are some strategies you can use to support your learning.\n1. Take notes .Try purposeful doodling while listening to a lecture. It will help you to synthesize and summarize. Here are some sketch notes from Eva Lotta Lamm.\n2. Use graphs, charts, maps and visual templates. This is a visual template I use with clients to map our important steps in their work lives.\n3. Make outlines.\n4. Highlight words, and colour code key concepts.\n5. Create flash cards.\nNicky works with entrepreneurs and internal teams to develop business ideas. One of the key strategies she uses, is a process called graphic facilitation, which involves large scale imagery to lead groups and individuals towards a common goal. It is quite literally \u201cdrawing out conversations\u201d so participants can see and understand their discussion as it progresses, and so reach consensus more quickly.\nIn addition to graphic facilitation Nicky has 25 years\u2019 experience as a communicator, trainer and change expert.\nShe is a recognized expert in storytelling; enabling her clients to achieve better results through linking people to a common set of values and goals. Her approach ensures employees are able to make the between their own personal journey and that of the organization. Through story Nicky helps employees to understand complexity and desired behaviours.\nCurrent and recent clients include: Metro Vancouver, Canadian Police College, Telus, City of Richmond, UBC, the City of Vancouver, Ontario Lottery and Gaming, UBC, SaskPower, Saskatoon Health Region, Central 1 and Salmon Arm Savings and Credit Union.\nThe process of graphic facilitation uses large scale imagery and displays so people can \u201csee what they mean\u201d, quite literally drawing out collective thinking so we can map out our conversations and decisions as they progress. The process is highly collaborative and engaging and validates everyone\u2019s participation because we see our words turned into visuals. It allows us to quickly make comparisons, see connections and patterns, and it acts as a reservoir for all the information accumulated during the course of a discussion; a kind of visual memory if you like.\nView All Comments", "id": "<urn:uuid:40d4fa91-5ec1-4f15-98ae-6ebbcc1b0060>", "dump": "CC-MAIN-2023-14", "url": "https://www.ashtoncollege.ca/power-visual-communication/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00328.warc.gz", "language": "en", "language_score": 0.9468435645103455, "token_count": 952, "score": 3.59375, "int_score": 4}
{"text": "In the 18th century the Indigenous peoples of the James Bay region shared land near the coast, a few resources, and furs from a vast hinterland with European newcomers. The Royal Proclamation of 1763 excluded Rupert\u2019s Land \u2013 an appropriate decision for it was quite distinct from lands in the south where settlers were acquiring Indigenous land on the fee simple real estate model. What were the James Bay indigenous people\u2019s conditions for sharing their land? It was arguably their principles, and not King George\u2019s edict, that characterized the year 1763 at Moose Fort (Moose Factory). This paper draws on Hudson\u2019s Bay Co. records to examine what was being shared with the newcomers in this northern region. Unlike in the southern regions, the newcomers had no intention of displacing Indigenous peoples. A modest sharing of land and a generous sharing of food and fur resources, on terms congenial to its first inhabitants, characterizes 1763 in this northern region.\nAu XVIIIe si\u00e8cle, les peuples autochtones de la r\u00e9gion de la baie James ont partag\u00e9 leur territoire c\u00f4tier, leurs ressources et leurs fourrures avec les nouveaux arrivants europ\u00e9ens. La proclamation royale de 1763 avait exclu la Terre de Rupert \u2013 une bonne d\u00e9cision car celle-ci \u00e9tait bien distincte des terres au Sud o\u00f9 les colons acqu\u00e9raient des terrains autochtones selon le mod\u00e8le immobilier en fief simple. Quelles \u00e9taient les conditions selon lesquelles les peuples autochtones de la baie James partageaient leurs terres? C\u2019\u00e9tait possiblement leurs principes, et non les d\u00e9crets du roi George, qui ont d\u00e9fini l\u2019an 1763 \u00e0 Fort Moose (Moose Factory). Nous utiliserons les archives de la Compagnie de la Baie d\u2019Hudson pour examiner ce qui \u00e9tait partag\u00e9 avec les nouveaux arrivants dans cette r\u00e9gion du Nord, qui, contrairement \u00e0 leurs homologues du Sud, n\u2019avaient pas l\u2019intention de d\u00e9placer les peuples autochtones. Un partage raisonnable de terres et un partage g\u00e9n\u00e9reux de nourriture et de ressources \u2013 dans des conditions affables aux premiers habitants \u2013 a marqu\u00e9 cette r\u00e9gion du Nord en 1763.\nVeuillez t\u00e9l\u00e9charger l\u2019article en PDF pour le lire.\nAcknowledgements (written by John Long): \u201cI wrote an earlier version of this paper for a community teach-in on the Royal Proclamation at Canadore College on 12 December 2013, which was inspired by Dick Preston who observed following a 1990 Mushkegowuk treaty research meeting that \u2018the James Bay Cree understood the specific events of the treaty making situations of 1905 and 1930 in terms of the cultural history that they brought to that situation.\u2019 I am also grateful to the late anthropologist Krystyna Sieciechowicz; when I told her, in 2004, that I found the widespread notion that \u2018We agreed to share the land\u2019 jarringly at odds with how the Treaty No. 9 commissioners explained its purpose, she seemed amused and immediately replied that 1905 was not much different from 1805 or 1705.\u201d\nProfessor emeritus at Nipissing University, the late Dr. John Long\u2019s years as a teacher took him north to Moose Factory where he taught from 1972 to 2000. It was there that got to know and document the history of the Mushkegowuk Cree of western James Bay. His publications include the award-winning book, Treaty No. 9 - Making the Agreement to Share the Land in Far Northern Ontario in 1905 (2010) and Together We Survive: Ethnographic Intuitions, Friendships, and Conversations (2016), which he co-edited with Jennifer S.H. Brown. John died on 2 March 2016.\u201d\nDr. Richard J. \u201cDick\u201d Preston is Professor emeritus (1996-) of Anthropology, McMaster University. His fifty-four-year career focus has been on cultural-psychological transformations of the Crees of the James Bay region. His book, Cree Narrative: Expressing the Personal Meaning of Events, is in second edition, and he has authored over 100 papers.\nDr. Katrina Srigley is an Associate Professor in the Department of History at Nipissing University. She is the author of the award-winning monograph Breadwinning Daughters: Young Working-Women in a Depression Era City (University of Toronto, 2010). Her Social Sciences and Humanities Research Council of Canada-funded projects, developed in partnership with Nipissing First Nation, examine the history of Nbisiing Anishinaabeg (Nipissing First Nation) through Anishinaabeg ways of knowing, recording, and sharing the past. Dr. Srigley is currently co-authoring a book with Glenna Beaucage (Cultural Planning Coordinator, Nipissing First Nation) titled Gaa-Bi Kidwaad Maa Nbisiing/The Story of Nipissing.\nLorraine Sutherland is from Attawapiskat First Nation. She holds an M.A. in History from Nipissing University and works as the Regional Assessment Lead for Mushkegowuk Council. She has worked in education for twenty years as a teaching assistant, classroom and special education teacher, counselor, and part-time lecturer in the Aboriginal Summer Programs at Nipissing University. Lorraine\u2019s learning and teaching experiences have taught her to re-examine, re-think and re-work curriculum to include and support Ininiw (Cree) ways of knowing and doing. Lorraine plans to pursue a Ph.D. in Education using Tipaachimowin (Storytelling) as a method for sharing and understanding student knowledge.", "id": "<urn:uuid:8ce88441-9a0c-4281-9bb8-3595ae6fd128>", "dump": "CC-MAIN-2023-14", "url": "https://www.erudit.org/fr/revues/onhistory/2017-v109-n2-onhistory03213/1041286ar/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00325.warc.gz", "language": "en", "language_score": 0.790351927280426, "token_count": 1319, "score": 4.03125, "int_score": 4}
{"text": "Iowa Test 8th Grade Sample Questions\nIf you and your child have wondered what kinds of questions will appear on the 8th grade ITBS, below are some examples! These sample questions should provide you with a better idea of the quantitative and qualitative skills that your child should focus on and demonstrate during the exam. Each practice question will reflect a specific subtest that your child will come across.\nDuring the 8th grade ITBS, sections such as \u201clanguage and spelling\u201d will increase in difficulty; the student is expected to identify an incorrectly spelled word. When dealing with more complex vocabulary, the student will have to focus on familiarizing themselves with the spelling of words during their study sessions. Flash cards and active reading will help build the necessary vocabulary skills for ITBS success. Practicing grammatical skills with your child will also greatly benefit their performance. Many of the questions look for a subtle understanding of grammar as well as punctuation.\nAs you are going through the practice questions, you will observe that each test level within the ITBS consists of a series of subtests that fall under specific content sections. Sections in the ITBS for third to eighth grade (levels 9-14) include:\n- Vocabulary test\n- Word Analysis (3rd grade, level 9 only)\n- Listening (3rd grade, level 9 only)\n- Reading/Reading Comprehension\n- Spelling, Capitalization, Punctuation, Usage and Expression\n- Mathematics Concepts and Estimation, Problem Solving, Date Interpretation, Computation and Social Studies\n- Sources of Information (Maps, Diagrams, Reference Materials)\n1.) Language (Spelling)\nFor this section, each question will have a list of words. If one of the words is spelled wrong, fill in the circle next to that word. If none of the words are spelled wrong, fill in the last circle that says \u201cno error\u201d.\nThis test will measure how well you understand math. Use scratch paper if you need to.\nMuhummad is writing survey questions about people\u2019s vegetable-eating habits during the day. Which question below is a statistical question he should include in his survey?\na) Do you eat vegetables?\nb) Do you like spinach?\nc) How many servings of vegetables do you eat during the day?\nd) How many vegetables do you buy at the store or market each week?\n3.) Reading Comprehension\nA FRENCH LESSON\nFrom A Little Princess by Frances Hodgson Burnett\nWhen Sara entered the schoolroom the next morning everybody looked at her with wide, interested eyes. By that time every pupil \u2013 from Lavina Herbert, who was nearly thirteen and felt quite group up, to Lottie Legh, who was only just found and the baby of the school \u2013 had heard a great deal about her. They knew very certainly that she was Miss Minchin\u2019s show pupil and was considered a credit to the establishment. One or two of them had even caught a glimpse of her French main, Mariette, who had arrived the evening before. Lavinia had managed to pass Sara\u2019s room when the door was open and had seen Mariette opening a box that had arrived late from some shop.\n\u201cIt was full of petticoats with lace frills on them \u2013 frills and frills,\u201d she whispered to her friend Jessie as she bent over her geography. \u201cI saw her shaking them out. I heard Miss Minchin say to Miss Amelia that her clothes were so grand that they were ridiculous for a child. My mamma says that children should be dressed simply. She has got one of those petticoats on now. I saw it when she sat down.\u201d\n\u201cShe has silk stockings on!\u201d whispered Jessie, bending over her geography also. \u201cAnd what little feet! I never saw such little feet!\u201d\n\u201cOh,\u201d sniffed Lavinia, spitefully, \u201cthat is the way her slippers are made. My mamma says that even big feet can be made to look small if you have a clever shoemaker. I don\u2019t think she is pretty at all. Her eyes are such an unusual color.\u201d\n\u201cShe isn\u2019t pretty as other pretty people are,\u201d said Jessie, stealing a glance across the room; \u201cbut she makes you want to look at her again. She has tremendously long eyelashes, but her eyes are almost green.\u201d\nSara was sitting quietly in her seat, waiting to be told what to do. She had been placed near Miss Minchin\u2019s desk. She was not abashed at all by the many pairs of eyes watching her. She was interested and looked back quietly at the children who looked at her. She wondered what they were thinking of, and if they liked Miss Minchin, and if they care for their lessons, and if any of them had a papa at all like her own. She had had a long talk with Emily about her papa that morning.\n\u201cHe is on the sea now, Emily,\u201d she had said. \u201cWe must be very great friends to each other and tell each other things. Emily, look at me. You have the nices eyes I ever saw-but I wish you could speak.\u201d\nShe was a child full of imaginings and whimsical thoughts, and one of her fancies was that there would be a great deal of comfort in even pretending that Emily was alive and really heard and understood.\nAfter Sara had sat in her seat in the schoolroom for a few minutes, being looked at by the pupils, Miss Minchin rapper in a dignified manner upon her desk.\n\u201cYoung ladies,\u201d she said, \u201cI wish to introduce you to your new companion.\u201d All the little girls rose in their places, and Sara rose also. \u201cI shall expect you all to be very agreeable to Miss Crewe; she has just come to us from a great distance \u2013 in fact, from India. As soon as lessons are over you must make each other\u2019s acquaintance.\u201d\nThe pupils bowed ceremoniously, and Sara made a little curtsy, and then they sat down and looked at each other again.\n\u201cSara,\u201d said Miss Minchin in her schoolroom manner, \u201ccome here to me.\u201d\nShe had taken a book from the desk and was turning over its leaves. Sara went to her politely.\n\u201cAs your papa has engaged a French maid for you,\u201d she began, \u201cI conclude that he wishes you to make a special study of the French language.\u201d\nHow does Sara\u2019s character development contribute to the plot?\na) Her Indian culture makes Sara\u2019s everyday speech and actions seem rude to those in her new home.\nb) Her high social status leads oth classmates and her teacher to treat her with favoritism.\nc) Her wealthy, worldly upbringing creates conflict with other children and leads to a misunderstanding with her teacher.\nd) Her inability to understand French causes Sara\u2019s teacher to hold a grudge against her and other students to whisper rudely about her.\nThis test will measure how well you understand math. Use scratch paper if you need to. Choose the answer you think is best.\nJamal is creating a scale drawing of his home. The first floor has an area of 1,200 square feet. He plans to scale down the length of the sides from 10 ft. to 1 in. What is the area of the scale drawing?\na) 120 square feet\nb) 12 square feet\nc) 120 square inches\nd) 12 square inches\n5.) Language (Punctuation)\nFor the next group of questions, read the first 3 lines to yourself. You will notice that some of the sentences need punctuation corrections. Look for mistakes with commas, semicolons, quotation marks, apostrophes and so on. Mark the circle in the row of words that contains a mistake with the punctuation. If there is not a mistake, fill in the circle that reads no errors.\nI remember that our old house the one\nin Jacksonville, has green shutters and\na red door. I miss that place.\n1.) e, no errors\n2.) c, This response is correct. The student may have realized that there is a range of possible answers that will shed life on the habits of the population surveyed.\n5.) 1, I remember that our old house, the one\nSee if TestingMom.com supports your child\u2019s test by your school district. If you don't see your child's school district listed, check with us! We have practice for other tests as well.\nTell us about your experiences", "id": "<urn:uuid:95b7f75c-40e0-4c92-8bf7-e8376188f543>", "dump": "CC-MAIN-2023-14", "url": "https://www.testingmom.com/tests/itbs-test/iowa-test-for-specific-grades/8th-grade-sample-questions/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949958.54/warc/CC-MAIN-20230401094611-20230401124611-00128.warc.gz", "language": "en", "language_score": 0.9757958054542542, "token_count": 1895, "score": 3.640625, "int_score": 4}
{"text": "Looking for some fun and engaging short moral stories for kids? Look no further! Join me on a magical storytelling journey filled with adventure, lessons, and valuable insights. From talking animals to courageous heroes, these stories are sure to capture your child\u2019s imagination and leave them with important life lessons. So, let\u2019s dive into the world of moral stories and explore the power of storytelling together!\nImportance of reading Short Moral Stories for Kids\nReading moral stories is a valuable activity that can have many positive effects on our personal and social development. Moral stories are stories that convey a moral lesson or message, often through the use of characters and plot events that illustrate important values and principles.\nOne of the main benefits of reading short moral stories for kids is that they can help us develop a sense of empathy and understanding towards others. By reading about characters who face challenges and overcome them through moral choices and actions, we can learn to appreciate the perspectives and experiences of others, and to develop our own moral compass based on principles such as kindness, honesty, and fairness.\nShort moral stories for kids can also help us to develop critical thinking skills and to become more discerning readers. By analyzing the themes, characters, and events in moral stories, we can learn to identify and evaluate different perspectives, to question assumptions and biases, and to make informed judgments based on evidence and reason.\nMoreover, moral stories can help us to cultivate important social skills such as communication, cooperation, and conflict resolution. By reading about characters who work together to solve problems and achieve common goals, we can learn to navigate social situations more effectively, to communicate our ideas and needs clearly, and to negotiate and compromise when necessary.\nFinally, reading short moral stories for kids can be an enjoyable and fulfilling activity that can promote a lifelong love of learning and personal growth. By exploring different genres and styles of moral stories, we can broaden our horizons and deepen our understanding of the world around us, while also gaining insights and inspiration that can help us to become better people and citizens.\nIn summary, reading short moral stories for kids is an important activity that can have many positive effects on our personal and social development. By engaging with characters and themes that illustrate important values and principles, we can develop empathy, critical thinking skills, social skills, and a love of learning that can benefit us throughout our lives.\nBilly the Bunny- Short Moral stories for kids.\nWe are going to tell you a playful and imaginative moral story about honesty being the best policy. So, get ready to hear the tale of Billy the Bunny!\nOnce upon a time, in a forest filled with tall trees, chirping birds, and hopping bunnies, there lived a young bunny named Billy. He was known for his mischievous ways and his love for carrots. Billy was always up to something, and his friends knew that they had to be careful around him.\nOne day, while playing in the forest, Billy and his friends stumbled upon a carrot patch. The carrots were the biggest and the juiciest that they had ever seen. Without thinking twice, Billy and his friends started munching on the carrots.\nSuddenly, they heard a loud voice, \u201cWho\u2019s eating my carrots?\u201d It was the farmer who owned the patch. Billy\u2019s friends started running, but Billy couldn\u2019t move. He was too busy munching on the delicious carrot.\nAlso Read: Children\u2019s Stories Box | Stories In Hindi\nThe farmer caught Billy and scolded him for stealing his carrots. Billy was scared and didn\u2019t know what to do. He thought of making up an excuse or blaming someone else, but something inside him told him to be honest.\nSo, he looked the farmer in the eyes and said, \u201cI\u2019m sorry, sir. I was hungry, and the carrots looked so delicious that I couldn\u2019t resist. I shouldn\u2019t have taken them without your permission.\u201d\nThe farmer was surprised by Billy\u2019s honesty, and he was touched by the young bunny\u2019s courage. He forgave Billy and even gave him some carrots to take home. Billy was grateful and promised never to steal again.\nFrom that day on, Billy became known as the most honest bunny in the forest. He gained the respect of his friends and the farmer. Everyone knew that they could trust him, and he became a role model for the other bunnies.\nYears went by, and Billy grew up to be a wise and respected elder bunny. His friends came to him for advice, and the younger bunnies looked up to him. Billy knew that his honesty had earned him the trust and respect of everyone around him.\nAlso read: Hindi Moral Stories For Class 7 || Short Stories || Kids Stories in Hindi\nMoral of the short story\nThe moral of the story is that honesty is always the best policy. It\u2019s not always easy, to be honest, but it\u2019s the right thing to do. When we are honest, we gain the trust and respect of those around us, and we become better people.\nSo, next time you\u2019re faced with a difficult situation, remember Billy the Bunny and choose honesty. Who knows, it might just lead you to a life filled with juicy carrots and respect from those around you!\nThe Rabbit and the Tortoise story | short moral stories for kids\nOnce upon a time, there was a rabbit who was very proud of his speed. He would boast to all the other animals in the forest about how fast he could run. One day, a tortoise overheard the rabbit\u2019s boasting and decided to challenge him to a race.\nThe rabbit, feeling confident in his speed, eagerly accepted the challenge. The tortoise suggested that the race take place the next day, and the rabbit agreed.\nThe next day, the two animals lined up at the starting line, and the race began. The rabbit quickly raced ahead, leaving the tortoise far behind. The rabbit was so far ahead that he decided to take a nap under a nearby tree.\nMeanwhile, the tortoise kept plodding along, slowly but steadily, making his way towards the finish line. When the rabbit woke up from his nap, he was shocked to see that the tortoise was already crossing the finish line.\nThe rabbit had underestimated the value of consistency and persistence. He had been so confident in his speed that he did not take the race seriously. The tortoise, on the other hand, had a strong determination to finish the race, no matter how long it took him.\nMoral of the short story\nThe moral of the story is that slow and steady wins the race. It is better to be consistent and persistent in our efforts, rather than to rely solely on our talents or abilities. This is an important lesson for children, who often face challenges and setbacks in their lives. By teaching them the value of persistence and hard work, we can help them develop a strong work ethic and a positive attitude toward challenges and obstacles.\nIn addition, this short moral stories for kids also teaches the importance of humility. The rabbit\u2019s arrogance led to his downfall, while the tortoise\u2019s determination and humility led to his victory. By teaching children to be humble and to appreciate the strengths and abilities of others, we can help them develop empathy and respect for others, which are important values in building healthy relationships and a positive community.\nHope you enjoyed a story about billy the Bunny: for more Short moral stories for kids subscribe to our blog Kidsstoriestoday.com", "id": "<urn:uuid:e1ba731c-86dd-4bc7-98b1-6a1386721ded>", "dump": "CC-MAIN-2023-14", "url": "https://www.kidsstoriestoday.com/short-moral-stories-for-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945376.29/warc/CC-MAIN-20230325222822-20230326012822-00327.warc.gz", "language": "en", "language_score": 0.97246253490448, "token_count": 1567, "score": 3.875, "int_score": 4}
{"text": "In Kyle Shannon\u2019s Towards Data Science\u2019s article, \u201cA Guide to Reading Academic Research\u201d, Shannon emphasizes that reading scientific papers is not just for gathering the right information for a good grade or bragging rights. \u201cReading papers certainly builds character\u201d, he suggests.\nFrom researcher, to child, to performance athlete, we all have experience in building character through the process of trial and error. This process of personal development is strikingly similar to what high school science experiments were teaching us all along: the scientific method. Much like trial and error, the scientific method attempts to find the best solution through constant revision. We employ this same method when attempting to achieve any goal, and whether that goal is learning to ride a bike or read a research paper, wobbly beginnings should not deter us from the objective. To build character is to try, and fail, and try again because we see value in the outcome. If we viewed science as a kind of global character development, would we be inclined to learn more about it?\nScientific literacy has been defined as, \u201cthe knowledge and understanding of scientific concepts and processes required for personal decision making, participation in civic and cultural affairs, and economic productivity\u201d (The National Academies Press, 1996). The misconception that scientific literacy is reserved for scientists puts broader society at a great disadvantage. To be scientifically literate is akin to being able to think critically about yourself and the world around you. Critical thinking precedes thoughtful dialogue, meaningful action, and transformative change.\nWhat is the scientific process?\nReading a scientific paper provides insight into the scientific process. The scientific process involves first posing a question \u2013 for example, can psilocybin-assisted therapy help manage symptoms of major depressive disorder? Researchers suggest a hypothesis or a potential answer to the question, one that is based on previously collected knowledge and observations. They design and execute a study to test the hypothesis (for example, by way of a controlled experiment), to either provide evidence for or against the proposed hypothesis. More refined hypotheses may then be created for additional research questions and further experimentation. The scientific process is often non-linear and may never truly reach completion, but a scientific article provides pieces of the process in a cohesive storyline.\nBecoming familiar with the scientific process is important, as it strengthens one\u2019s ability to discern factual evidence from false claims. Papers published in many respected journals, such as Science, are subject to a peer-review process. Essentially, before any paper is published, specialists in the field must review and accept the validity of the claims, the methods for testing the claims, and the findings; this acts as a quality assurance check. So, before sharing that news piece or article ask yourself, \u201cWould this pass a peer-review?\u201d\nSections of a scientific paper\nIdeally, reading through a scientific paper should not require stages of fear, regret, or rage, so it may be helpful to build a strategy to find information painlessly from each paper section.\nBrowsing the abstract of a paper should give a snapshot of the entire scientific process, the full story from the question of interest to the conclusion. From the abstract, you should find an outline of the study, main significant findings, and start to build an understanding of why the study is important in the greater context of the field.\nIf the field is one you are less familiar with or want to know more about, the introduction will give background information and outline what is known to-date. The introduction should narrow down the niche field area for the current study question, outlining why this particular study matters and what knowledge gap it aims to fill.\nNow, though the abstract can give an important overview of the study and its outcomes, finer details of the method contextualize what the outcomes actually mean. The outcomes of an experiment, for example, are contingent on the controls and treatments used. The method will outline the exact strategies that were used to produce an answer, including a detailed explanation of the participants, the measures, and the analytic plan for testing hypotheses or research questions. The method section may suggest the limits of research findings. For example, a study may have very exclusive screening criteria, meaning that only participants meeting specific requirements were included in the study, and thus study results may be generalizable only to a population with similar characteristics. Current research in psychedelic science is hopeful but limited by relatively small clinical trials with homogeneous populations.\nResults are the critical contribution of the paper. This section is where researchers describe the results of their hypothesis tests. This is where we find the tables and graphs that depict the exact findings of the research.\nIn the discussion, researchers will interpret the results and identify whether their hypotheses were supported or not, and what the findings contribute to the field under study. Luckily, authors also discuss the potential limitations of the study in this section and further expand upon the relevance of the study in the field. Finally, you can look at references to look for sources to similar studies, but also to check the author\u2019s interpretation of a citation. Readers should also be aware of the acknowledgements section, which may outline conflicts of interest associated with research.\nEmpowering the psychedelic research community\nWe are living in extraordinary times, with the re-emergence of psychedelic research unveiling the potential in psychedelic medicine. However, we must move forward cautiously and with the proper intentions. As citizens, we can contribute to this movement simply by re-aligning our own values in favour of science and innovation. If passion is the spark, evidence is the fuel to push you beyond the atmosphere.\nWhile our goal is to disseminate scientific information to our readers, we would also like to emphasize that curiosity and critical thought begins at the individual level. For more tips on understanding the scientific process and related information, check out the links included in this article! As well, stay tuned for more blog posts from our team.", "id": "<urn:uuid:04dfdd3e-0229-4c80-a02b-f85db125f97b>", "dump": "CC-MAIN-2023-14", "url": "https://mapscanada.org/2021/03/19/learning-how-to-read-scientific-papers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945248.28/warc/CC-MAIN-20230324051147-20230324081147-00748.warc.gz", "language": "en", "language_score": 0.9368193745613098, "token_count": 1208, "score": 3.625, "int_score": 4}
{"text": "Let's talk tokamaks\nLet\u2019s shine the spotlight on one of the ventures endeavouring to solve the practicalities of actually making it happen. James heard from Hannah Willett at Tokamak Energy in Oxfordshire. They\u2019re using the same technology as the STEP 2040 prototype plant will\u2026\nHannah - Our approach is called magnetic confinement fusion, and essentially imagine trying to hold a jelly in a net except our jelly is our plasma fusion fuel - the hydrogen - and the net is made of magnetic field lines. So we have a machine called a tokamak which is a vacuum chamber in a kind of a cored apple shape. Inside this vacuum chamber, we suck as much air as possible out of it, put our fusion fuels inside it, heat it up, strike up a plasma as it's called and we use our magnetic net. So we have lots of field coils around the outsides of the chamber to hold the plasma inside, keep it away from the walls, make it stay nice and hot for the fusion reactions to happen.\nJames - A really nice minute long introduction to how it works. I wonder if we can unpack that slightly. Let's start with the inputs of the process. You need those hydrogen isotopes to smash into each other. Now where do these come from?\nHannah - The hydrogen isotope that is most common is hydrogen (1H), which is one proton and one electron. What we'll need to use for fusion on earth is deuterium and tritium, which are slightly heavier isotopes. So for deuterium, you add one neutron and for tritium, you add a second neutron. Now, deuterium is still naturally occurring. It's about one in every 6,700 hydrogen atoms, which doesn't sound like much, but when you consider how much hydrogen there is on earth, mostly in the form of water, H2O, in every cubic metre of seawater there's 33 grams of deuterium atoms. Tritium is a little bit more awkward, so it's slightly radioactive. It doesn't hang around forever. That will need to be produced, which is one of the, the big technological challenges of fusion. But it can be produced from lithium. So designing your power plant to be able to manufacture tritium as well to feed back in, that is part of the development of technology that needs to happen.\nJames - But one of the other major challenges is that enormous, extreme amount of heat you need to generate to get the deuterium and the tritium into a plasma and to keep it in that state. It needs to be millions of degrees, even hotter than the sun. How are you doing that? Where are you doing that? That's where the tokamak comes in, I assume.\nHannah - Exactly, yes. So the reaction rate does depend on the temperature. So the reason we have to reach these temperatures several times hotter than the centre of the sun, these millions of degrees, is because the reaction is most efficient at those temperatures. Fusing two nuclei together, they're both positively charged. So there's an electrostatic repulsion between them. They have to have enough energy to be able to be pushed close enough. Together we have neutral beam heating, which means that we create high energy beams of neutral hydrogen or deuterium, give them loads of energy, fire them into the plasma, and then once they're inside the plasma they have to be neutral to be able to get inside that magnetic net. But once they're in, they interact with the plasma particles that are already there and transfer that energy and actually allow that fusion reaction to happen.\nHannah - So the temperature is a big part of it. The other thing is density. Basically the denser your plasma is the more particles you have flying around in there and the more likely they are to interact. So there's kind of a careful balance between temperature, your density, and then the third element of N for density, T for temperature and Tau for confinement time. So how long we can hold the energy inside the plasma in the tokamak, because if you put the energy in and it all falls out again straight away, it's not super helpful. So you have to increase the confinement time to get that going, make ignition happen and keep your plasma burning.\nJames - You following us so far? Still with us? Well, don't worry if the answer is no because after her explanation, Hannah suggested I consolidate my knowledge by roleplaying as a tokamak engineer on earth in the far future. Keen to take up the challenge and prove what I'd learned, I tried my hand at the mobile game which thrusts the player into the hot seat of a futuristic power plant...\nJames - <Sci-fi music fades in> 'The energy shortage of the 21st century has been overcome. The solution: fusion energy. Fuel is heated to its plasma state at 200 million degrees at which it fuses and releases vast amounts of energy. Powerful magnets hold the plasma inside the power plant. You are the operator of a typical fusion power plant in 2103. As operator, you must drive the machine to the ideal fusion conditions. You control strong magnets to cage the plasma in the steel vessel, a powerful microwave heating system enabling the plasma particles to fuse, and a microwave cannon to blast magnetic islands. You've got to look after the temperature gauge, which goes up to 200 million degrees, and the confinement gauge where you adjust the magnetic power to keep the confinement at the right level.'\nJames - Right. Okay, I think I'm ready to give this a go. So I want to raise the magnet power. Oh, the confinement is way too high. Sorry. Okay, we'll increase the temperature, but that in turn brings the confinement quite low. Up comes the magnet. Okay, well done, core temperature is rising again. Phew. So the trick is to raise the magnet power and the heating power sort of evenly. We're up to 70 million degrees in my fusion reactor now things are going pretty well. Got to zap those magnetic islands with my microwave cannon. We're going to whack the heating power onto full now and raise the magnet power in turn. Ticking over 190 million degrees, 197, 200. 'Well done. You succeeded in driving the machine to the ideal fusion conditions.' Well,\nJames - Pretty pleased with myself there. Now before I let Hannah go, I wanted to ask her about Ian's query regarding how these obscene temperatures can be maintained while at the same time being able to extract energy from the fusion reaction.\nHannah - We come to another of the technological challenges, which is capturing the energy that comes out. So you want to make sure that, in the walls of your tokamak, you have the right kind of elements that can capture these neutrons, slow them down, extract the energy, and then that also feeds back into tritium breeding because you can use those neutrons then to react with the lithium to produce tritium. So it kind of makes a nice, neat puzzle. But I mean these are still big technological challenges. The engineering of how that needs to be done is a work in progress.\nJames - To be able to withstand these extreme conditions, what materials are tokamaks made of?\nHannah - So another technical challenge: material science. A big point of research and not just at tokamak energy but organisations globally looking at different options for how to create these plasma facing components, like the first wall inside the tokamak. So there are different options. Heavy metals with very high melting points, things like molybdenum, tungsten, they can withstand the highest heat loads if a plasma touches the wall. But the problem with them is that if they do get into the core of the plasma, because they're so big, they can end up radiating away a lot of the energy which, if we want to keep the confinement time up, is not great again. Other options are lighter elements right at the other end of the periodic table; boron, lithium we've already mentioned. But because they're light, if they get inside the plasma, they don't do as much damage as it were to the heating, to the maintaining of that temperature.\nAdd a comment", "id": "<urn:uuid:f7993d48-cb3c-4f82-8dc8-353d0a5e63e9>", "dump": "CC-MAIN-2023-14", "url": "https://www.thenakedscientists.com/articles/interviews/lets-talk-tokamaks", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943562.70/warc/CC-MAIN-20230320211022-20230321001022-00728.warc.gz", "language": "en", "language_score": 0.9518902897834778, "token_count": 1735, "score": 3.546875, "int_score": 4}
{"text": "We\u2019re celebrating Mother's Day with a vital piece of the exploration puzzle. Women adventurers helped pave the way to today\u2019s discoveries dating back to the 4th century. Their stories show the true resilience of women as they bore discrimination, deadly climates, and fought for opportunities to shape the world. Remember these trailblazers as you visit wonders of the world, stand at a historic monument, or simply hop on your next flight.\nJeanne Baret (1740-1807)\nJeanne Baret is known as the \u201cherb woman\u201d, not to mention the first woman in history to circumnavigate the world. What\u2019s even more fascinating about Baret is she did so disguised as a man. After plotting with her lover, she bandaged her chest and landed a spot on the French expedition from 1766 to 1769. She was eventually exposed and some say she paid for it brutally. Despite this, she\u2019s believed to be responsible for the discovery of hundreds of plants on the voyage and their environment.\nHarriet Chalmers Adams (1875-1937)\nRetracing the route of Christopher Columbus and traversing all of Latin America on horseback, Harriet Chalmers Adams also had a knack for storytelling, leading her to a notable career in journalism. Her passion for history and exploration eventually lead her to be the only female journalist allowed on the French frontlines of WWI. When denied entry to the Explorers Club because of her gender, Adams clapped back by helping create the Society of Woman Geographers and served as the group\u2019s president for six years. She\u2019s known as one of the most important adventurers of her time.\nBessie Coleman (1892-1926)\nThe achievement of being the first African American woman to earn a pilot\u2019s license didn\u2019t come easy for Bessie Coleman. After flying schools in the U.S. denied her entry, taking no for an answer wasn\u2019t an option for Coleman. She taught herself French, moved to France, and earned her license from the Caudron Brother\u2019s School of Aviation in just seven months. She remains known as a pioneer of women in aviation. Coleman rose above the challenges of her era in impressive fashion, not only as a woman but as a black woman.\nMargaret Bourke-White (1904-1971)\nThe pioneering photojournalist captured history\u2019s darkest and brightest days. This includes the end of WWII, the impact of the depression in the American midwest, and the last photos of Mahatma Gandhi in India just minutes before his assassination. Bourke-White shattered the glass ceiling in her time. Some of her many firsts include having the first cover of Life Magazine and being the first western journalist allowed in the Soviet Union. Most notably, she was there as U.S. troops liberated Buchenwald concentration camp. Bourke-White owned the ability to capture authentic human life at its best and worst around the world.\nKrystyna Chojnowska-Liskiewicz (1936-2021)\nThink of Krystyna Chojnowska-Liskiewicz as a trailblazer for solo female travel. In 1978 she took on the world of exploration as the first woman to sail around the world solo. We can thank her two-year expedition for the discovery of some of the world\u2019s most beautiful islands like Tahiti and the Canary Islands. Her journey started in 1975 when the United Nations declared the year International Women\u2019s Year. The Polish Sailing Association chose to promote themselves by sending a Polish woman around the world to single-handedly sail the seven seas. Long story short, the right woman took on the feat and made history.\nSarah Marquis (1972)\nAn incredible adventurer, so much so that she was named one of National Geographic\u2019s Adventurers of the Year in 2014. There\u2019s no question about Sarah Marquis\u2019 right to that title. Marquis stunned the world when she walked 20,000 kilometers alone from Siberia to the Gobi Desert, into China, Laos, Thailand, and then across Australia. The Swiss explorer\u2019s passion for adventure began as a child when she left with her dog to sleep in a cave and told nobody at just eight years old. She never stopped on that path. Marquis is now an author and speaker, inspiring youth and beyond to better understand human\u2019s relationship with nature through exploration.\nHere\u2019s to the women explorers pushing the limits, changing the world, and shattering glass ceilings in the past, present, and future!", "id": "<urn:uuid:c51276f1-985c-4252-a2fc-9775997573b7>", "dump": "CC-MAIN-2023-14", "url": "https://solgaard.co/blogs/stories/women-explorers-who-changed-the-world", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948932.75/warc/CC-MAIN-20230329023546-20230329053546-00126.warc.gz", "language": "en", "language_score": 0.9524775147438049, "token_count": 962, "score": 3.84375, "int_score": 4}
{"text": "When Was Folk Music Created?\nFolk music has been around for centuries, with its origins traced back to the oral traditions of various cultures. Learn more about the history of this popular genre, from its humble beginnings to its modern-day incarnation.\nThe Origins of Folk Music\nThe term \u201cfolk music\u201d can be difficult to define, but at its core, folk music is music by and for the common people. It is music that is passed down from generation to generation, often without being written down. Folk music is often created for special occasions, like weddings or holidays. It can also be created simply for the enjoyment of making music.\nThe British Isles\nThe British Isles are home to some of the oldest and most influential folk music traditions in the world. From the ballads of Scotland and Ireland to the sea shanties of England and Wales, the music of these islands has shaped the sound of folk music for centuries.\nThe earliest folk music of the British Isles was likely used for storytelling and communal events like dances and religious ceremonies. Many of these early songs were passed down orally from generation to generation, evolving over time. As instruments became more prevalent, they were added to folk songs, making them more complex.\nOne of the most important things to understand about folk music is that it is constantly changing. New songs are being created all the time, while old ones are being forgotten. This makes it difficult to pinpoint when exactly folk music was created, but it is safe to say that it has been around for centuries.\nToday, folk music is enjoyed by people all over the world. It has been heavily influenced by other genres like rock and roll, country, and jazz, making it an ever-changing and dynamic genre. Whether you\u2019re a fan of traditional ballads or modern renditions of old favorites, there\u2019s a type of folk music out there for everyone to enjoy.\nThe United States\nFolk music in the United States has its roots in the music of England, Ireland and Scotland, brought over by immigrants during the colonial era. Native American music also played a significant role in the development of folk music in the United States. Folk music began to take shape in the early 19th century, when songs and tunes from Europe were brought over and mixed with existing music from Africa and Native America. This new type of music was often adapted to fit the needs of workers in various industries, such as logging, mining and farming.\nDuring the Civil War, folk music became a way for people to express their feelings about the conflict. Following the war, many folk songs were created about Reconstruction and life in the South. In the late 19th century, folk music began to be collected and published by people such as William Yenawine Braffitt Grafton and Otto Finance Collins Jr. This helped to preserve some of the earliest examples of American folk music.\nThe early 20th century saw a rise in popularity for folk music, with artists such as Woody Guthrie and Lead Belly becoming well-known figures in the genre. In 1925, The Carter Family released their first record, which included the song \u201cWildwood Flower.\u201d This song would go on to become one of the most important recordings in American folk music history. Folk music continued to grow in popularity throughout the mid-20th century, with artists such as Pete Seeger and Joan Baez helping to bring it to a wider audience.\nThe Characteristics of Folk Music\nFolk music is a genre of music that is typically created by members of a community or group of people. The music is usually passed down orally from generation to generation and often has a strong connection to the culture and history of the people who created it. Folk music often has a simple, catchy melody and is easy to sing along to. The lyrics are usually about everyday life, love, and work.\nFolk music is typically anonymous\nMost folk music is anonymous. The songs and musical styles have been passed down orally, often without any written record of their origins. This means that we don\u2019t always know who wrote or originally performed a particular folk song.\nFolk music is often based on traditional folk tales or legends. These stories were usually not written down, but were instead passed down orally from generation to generation. Many folk songs and ballads tell these stories in musical form.\nFolk music is typically simple and straightforward. The melodies are usually easy to sing, and the lyrics are often about everyday life and events. Folk music is not highly complex or technical, and it is usually performed on acoustic instruments such as guitars, banjos, and fiddles.\nFolk music often has a strong sense of rhythm, and the tunes are usually very catchy. This makes folk music ideal for dancing. In fact, many traditional folk dances such as square dancing, Morris dancing, and ceilidh dancing evolved alongside the music itself.\nFolk music is typically oral\nOne of the defining characteristics of folk music is that it is typically passed down orally, from one generation to the next. This means that folk songs often don\u2019t have a specific author or composer, and are instead created and adapted over time by multiple people. As a result, folk music is often seen as a \u201cliving\u201d tradition that is constantly evolving.\nAnother defining characteristic of folk music is that it tends to be rooted in the traditions and culture of a particular community or region. Folk songs often reflect the lifestyle, beliefs, and values of the people who sing them. This connection to community and culture makes folk music an important part of many people\u2019s identities.\nFolk music can also be distinguished from other genres by its musical style. Folk songs often make use of simple, catchy melodies and straightforward lyrics. They also frequently feature acoustic instruments like guitars, banjos, and fiddles. This simple style makes folk music easy to sing along to, and easy to remember.\nWhile folk music has been around for centuries, it has experienced something of a renaissance in recent years. In the past few decades, there has been a growing interest in traditional folk styles from all over the world. This renewed interest has led to the resurgence of many different folk traditions, both old and new.\nFolk music is typically simple\nFolk music is typically simple, with a straightforward fable to tell. The best songs are memorable and easy to sing along to. Folk musicians often use traditional instruments, such as acoustic guitars and violins, and they sometimes write their own songs.\nFolk music has its roots in the oral tradition, and folk songs were originally passed down from generation to generation by word of mouth. In the past, folk music was an important part of everyday life, serving as a way to tell stories, express emotions, and provide entertainment.\nToday, folk music is enjoying a resurgence in popularity. Many contemporary folk musicians are incorporating elements of other genres, such as rock and pop, into their sound. At the same time, there is also a growing interest in traditional folk music from around the world.\nThe Popularity of Folk Music\nFolk music has been around for centuries, and it\u2019s popularity has only grown in recent years. Folk music is easy to listen to and can be enjoyed by people of all ages. It\u2019s also a great way to connect with your heritage and learn about other cultures.\nThe 20th century\nFolk music, like all music, has undergone vast changes over the course of the 20th century. In recent years, there has been a renewed interest in traditional folk music, and a number of folk performers have become widely known.\nFolk music was originally created by working people who were not professional musicians. It was passed down from generation to generation, and often varied from region to region. As the world became more connected in the 20th century, folk music began to change.\nSome traditional folk songs were adapted for popular audiences, and new genres of folk music were created. In the United States, for example, blues and jazz both have their roots in folk music. Folk musicians also began to experiment with different styles and instruments, and some Folk songs were even written by professional songwriters.\nDespite these changes, folk music has remained true to its roots as a form of expression for working people. In the 21st century, folk music is still being created and performed by people all over the world.\nThe 21st century\nFolk music has seen a resurgence in popularity in the 21st century. Folk bands like Mumford and Sons and The Avett Brothers have brought the genre to a new audience, and folk music festivals like Bonnaroo and Newport Folk Festival are more popular than ever. But what is it about folk music that has made it so popular in recent years?\nFolk music is often seen as a more authentic form of music than other genres like pop or rock. In a time when people are crave authenticity and transparency, folk music provides a refreshing break from the manufactured sounds of mainstream music. Folk musicians are also known for their DIY attitude \u2013 they often write their own songs and play their own instruments, which gives them an intimacy with their fans that other artists lack.\nAt its core, folk music is about telling stories and connecting with people on a personal level. In a world that can often feel disconnected and impersonal, folk music provides a much-needed sense of connection and community. It\u2019s no wonder that the popularity of folk music has been on the rise in recent years \u2013 we all need a little bit of humanity in our lives.", "id": "<urn:uuid:9c71a46a-aeff-408d-8785-aee3a4b1e083>", "dump": "CC-MAIN-2023-14", "url": "https://walnutcreekband.org/when-was-folk-music-created/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00128.warc.gz", "language": "en", "language_score": 0.9824591279029846, "token_count": 1958, "score": 3.734375, "int_score": 4}
{"text": "Creative Writing Lesson \u2013 In Your Lunch \u2013 Part 2\nby Elaine Ernst Schneider\nObjective(s): By the end of this lesson the student will be able to: demonstrate correct spelling, strong sentence structure, and standard punctuation when writing paragraphs.\nPre-Class Assignment: Completion of In your Lunch \u2013 Part 1\nLast lesson, you wrote a paragraph. Ask your teacher to correct it for spelling and punctuation. Now, read your paragraph out loud. Is it your story? The answer is probably \u201cyes.\u201d But what if someone else had the experience? What if the night watchman at the jewelry store found something mysterious in HIS lunch? Wouldn\u2019t it change the story?\nYou may have written your paragraph in \u201cfirst person.\u201d That means you said \u201cI found Snoopy in my lunch box\u201d or \u201cI found a mysterious package where my sandwich used to be.\u201d When you use \u201cI,\u201d you are writing in first person.\nBut what if you are telling someone else\u2019s story? There are two ways to do that. If the story uses \u201cyou,\u201d then it is \u201csecond person.\u201d For instance, paragraphs that give instructions are often in second person. A sentence might say, \u201cYou should first turn on the CD player\u201d or \u201cWatch for the red light to know that the power is on.\u201d\nAnd then when the story is written to talk ABOUT the characters, that is \u201cthird\u201d person. Examples of those kinds of sentences would be \u201cSam saw the old lady trying to cross the street\u201d or \u201cThe dog raced to help his master.\u201d\nSO \u2026 let\u2019s make things interesting. Take your same paragraph and write it third person about someone else. The first three sentences are done for you to get you started.\nElementary: The new kid from Mexico, Miguel, just opened his lunch box and Snoopy popped out! He had never seen Snoopy and is frightened. But a girl named Sally convinces him to follow Snoopy to his airplane. Where do they go? What do they see?\nFirst three sentences:\nMiguel sat down to lunch. He had just moved from Mexico and he missed his friends. Then Sally sat down beside Miguel.\nJunior High and High School: Sandy and Rick are on a hiking trip. They have worked up quite an appetite by lunchtime. They sit down on a rock to eat. Famished, they open the backpack that has their lunch. There is no sandwich, no chips, no cookies. A mystery package has replaced all of that! Slowly and incredulously, they take the package from the backpack. Not only did it appear in their lunch, but it has their names on it! What is inside? How did it get into their backpack? Who sent it and why? And what are Sandy and Rick going to do for food up on a lonely mountain so far away from town?\nFirst three sentences:\nSandy and Rick spent the morning climbing the face of the mountain rock by rock. It had been a long and arduous journey and they were famished. At last, Rick called a halt.\nAssignment(s) including Answer key:\nExample Exam Questions:\nFor more Articles by this Author, Click Here\nFor more Lesson Plans in the Subject: Creative Writing\nFor more Lesson Plans in the Subject:Creative Writing Grade 4", "id": "<urn:uuid:ac92968b-61c4-4556-bdd8-74989230a1ef>", "dump": "CC-MAIN-2023-14", "url": "https://www.lessontutor.com/eescw2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948684.19/warc/CC-MAIN-20230327185741-20230327215741-00127.warc.gz", "language": "en", "language_score": 0.9713948965072632, "token_count": 744, "score": 3.765625, "int_score": 4}
{"text": "This calendar listing is intended to provide information about the named cultural/religious observation and is not intended as an actual campus event. If a campus event is associated with this observance, it will be listed separately on the master calendar.\nFirst celebrated on December 26, 1966, the festival of Kwanzaa was created in the United States by scholar and cultural activist Dr. Maulana Karenga. Patterned after harvest festivals in Africa, Kwanzaa derives its name from the Swahili phrase matunda ya kwanza, meaning \u201cfirst fruits.\u201d Symbols of Kwanzaa are set upon a low table laden with tropical fruits and vegetables. A seven-branched candelabrum called a kinara, reflecting the Nguzo Saba, or the seven principles of Kwanzaa, is used for lighting one candle for each day of the holiday. Kwanzaa decorations traditionally use a color scheme of red, black, and green: black to represent the faces of Black people and their collective beauty, red to represent the struggle and the blood of ancestors, and green to signify youth and renewed life. The Kwanzaa observance includes storytelling about the seven principles of Kwanzaa: Umoja (Unity), Kujichagulia (Self-Determination), Ujima (Collective Work and Responsibility), Ujamaa (Cooperative Economics), Nia (Purpose), Kuumba (Creativity), and Imani (Faith). A Pan-African holiday, Kwanzaa is also celebrated in Africa, the Caribbean, South America, and in African communities in the United Kingdom and other European countries.\nRecognizing the Festival/Holiday: Black, red, and green streamers, balloons, and flowers are used to decorate during Kwanzaa, along with African sculptures and artwork. Families exchange handmade gifts that demonstrate kuumba (creativity). The Kwanzaa feast, or karamu, traditionally celebrated on the evening of December 31, is a communal event often held in a church or community center. A joyful expression of African American culture, the karamu features music, dancing, poetry recitation, talks by guest lecturers, and a feast with dishes such as peanut soup, okra gumbo, black-eyed peas and rice, jambalaya, jerk chicken, barbequed ribs, and sweet potato pie. The Kwanzaa greeting is Kwanzaa yenu iwe na heri! or \u201cHappy Kwanzaa\".", "id": "<urn:uuid:14bffc93-4b6a-4c4a-8404-d0805939cbca>", "dump": "CC-MAIN-2023-14", "url": "https://calendar.missouristate.edu/event/101782/191851", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00727.warc.gz", "language": "en", "language_score": 0.915697455406189, "token_count": 532, "score": 3.6875, "int_score": 4}
{"text": "Boost Writing Skills, Imagination, and More with Creative Writing Prompts\u2014Creative writing is a fun and simple activity for kids of all ages\u2014and best of all, it has countless educational benefits!\nWhether your students keep a daily journal or simply complete weekly writing assignments, below are just a few of the benefits they\u2019ll enjoy from regular creative writing practice.\nCreative Writing Practice Benefits\n1. Help Students Improve Their Writing Skills\nPractice makes perfect, and creative writing is no different\u2014when students write more frequently, they become better writers! Most importantly, those skills tend to translate to other types of writing and communication skills.\nThrough creative writing, students can improve at structuring sentences, expressing ideas, and choosing the correct words to articulate their ideas effectively. These important lessons will serve them well throughout the rest of their school years\u2014and the rest of their lives.\n2. Boost Your Students\u2019 Self-Confidence\nCreative writing is also a great way to boost a child\u2019s self-confidence. The very act of putting words down on the page shows kids that what they have to say matters\u2014and that their thoughts deserve attention.\nFurthermore, writing prompts are a fun way to showcase to students how everyone can have a different opinion and bring something new to the conversation. When they see just how many ways they and their classmates find to answer a single question, kids learn that sometimes there are no right or wrong answers\u2014and that there is value in everyone\u2019s experiences.\n3. Encourage Kids to Slow Down and Reflect\nSimilarly, consistent writing practice gives students the opportunity to slow down and reflect once in a while. We live in a fast-paced world where kids are bombarded with competing messages from every angle. This sometimes makes it tough for them to discern where their opinions originate\u2014and which thoughts are actually their own.\nReflective creative writing combats this, as it helps students take a little time to explore their own ideas and thought patterns. As they write more frequently, they\u2019ll begin to develop their own creative voices, and they may be surprised to see the fresh thoughts they can come up with!\n4. Promote Imagination and Creativity Among Your Class\nOf course, creative writing isn\u2019t only about becoming a better writer or a clearer thinker\u2026 sometimes it\u2019s simply about having a little fun with your imagination!\nOther types of writing have rules and restrictions about form and content, but creative writing is where kids can really play and express themselves openly and freely. By giving your students the freedom to explore exciting thoughts through new forms of writing, you promote imagination and creativity\u2014and show them just how freeing writing as an art form can be.\n33 Creative Writing Prompts for All Students\nAre you ready to see the profound impact that creative writing can have on your students? Use these 33 creative writing prompts with your class and see the places they can go through the power of imagination!\n- Imagine that you get to go to the zoo and pick out any animal to take home as a pet. Which exotic creature would you choose and what would you name it? Write about what it would be like to take your new pet home.\n- What would you do if you found a wallet with $1,000 in it lying on the ground?\n- What fictional character do you identify with the most? What similarities and differences do you and the character have? What can you learn from his or her story?\n- What do you think it would be like to be an astronaut? Would you enjoy it? Why or why not?\n- If you could change any one thing about your life, what would it be? Why? How would your life be different afterward?\n- Write about a time when someone did something that really helped you out. How did you feel afterward?\n- Have you ever had a birthday wish come true? Was it worth it? Why or why not?\n- Write about the one thing that makes you happier than anything else in the world.\n- Imagine that you are shrunk down to the size of your thumbnail. What would you do first? How would your daily routine change?\n- Would you rather spend a week alone on a deserted island or hiking in an empty forest? Why?\n- Write about your favorite or most noteworthy memory from last school year.\n- It\u2019s the first day of summer vacation, and you step outside to find\u2026 that it\u2019s snowing! How do you feel? What do you do next?\n- What is the hardest thing you\u2019ve ever had to do? How did you manage it?\n- Write about the grossest thing you\u2019ve ever eaten. Use as much detail as you can!\n- Make a list of nice things you could do for other people when they are having a bad day.\n- What do you think life was really like for people before there was electricity? Do you think you could live in a world with no electricity? Why or why not?\n- If you could be in charge of your own country, what are the first three laws you would create? What philosophies would you have as a leader?\n- What is the coolest thing in our city that everyone should be sure to see? Describe it as if you were talking to someone who had never heard of it.\n- Imagine that your personal hero is coming to dinner at your house. What would you serve? Would you want your family to be there for the meal? What would you talk about?\n- If you were a part of nature, what would you be? Choose a type of weather, plant, animal, or landmark and write about how it reflects you and your personality.\n- Write about a time when you solved a conflict you were having with a friend or family member.\n- Would you ever want to go to a new school? Why or why not?\n- Write about the experience of trying something new for the first time.\n- Write a short story that includes the following words and objects: trumpet, birthday cake, orange, toothbrush, skateboard, cat, sister, and rollercoaster.\n- Do you like to be scared sometimes? Why or why not?\n- Would you rather be a pirate, a pie-maker, or a private eye? Why?\n- Imagine that your parents wake you up one day and tell you they\u2019re giving you a free day off from school to do whatever you want! What would you do first? Where would you go together?\n- Write about a time when someone asked you to keep a secret. Did you keep the secret? If so, was it difficult? If not, whom did you tell? Why?\n- Describe three things you do each day that are good for you. What benefits do you get from doing them? Do you enjoy the process? Why or why not?\n- What is your favorite type of weather? What do you like most about it?\n- Imagine that you own your own restaurant. What type of food do you serve? What does the inside of the restaurant look like?\n- Write about something that you would never want to live without. Why is it so important to you?\n- What three qualities do you like most about yourself? Write about why they make you so awesome!\nMore Creative Writing Ideas\n- 30 Creative Writing Practice Prompts\n- 128 Creative Writing Prompts\n- Printable Creative Writing Worksheets\nUntil next time, write on\u2026\nIf you enjoyed these Creative Writing Prompts for Students,\nplease share them on Facebook, Twitter, and/or Pinterest.\nI appreciate it!\ncreator and curator", "id": "<urn:uuid:8abed18f-7ab9-4ba4-b10f-c805e86df923>", "dump": "CC-MAIN-2023-14", "url": "https://www.journalbuddies.com/creative-writing-2/33-creative-prompts-ideas/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00326.warc.gz", "language": "en", "language_score": 0.9686108231544495, "token_count": 1596, "score": 3.671875, "int_score": 4}
{"text": "Parental involvement in education is a critical factor in determining a child\u2019s academic success and personal growth. From an early age, children who experience active involvement from their parents tend to perform better academically, display higher levels of motivation and confidence, and enjoy a more positive educational experience.\nThe impact of parent involvement extends far beyond simply providing support and encouragement, as it plays a crucial role in shaping a child\u2019s educational journey, and can have a lasting impact on their overall development. Through active participation in their children\u2019s education, parents have the opportunity to play a central role in their children\u2019s academic success and help create a supportive and enriching learning environment.\nBut do we mean by parent involvement in education? It is simply the support and actions of parents in providing for their children\u2019s education. The involvement can take many forms, including participating in school activities and events, volunteering at school, supporting their child\u2019s learning at home, participating in meetings with teachers, and supporting the school through advocacy. The goal of parent involvement is to support children\u2019s development by clearly participating in their children\u2019s education. Statistics of parent involvement in education and other scholarly research reveal that parent involvement positively impacts students\u2019 academic performance and overall well-being. Other reasons why parent involvement is important in education include:\n- Better school attendance\n- Higher grades\n- Positive attitude towards school\n- It provides children motivation to learn\n- Establish a stronger relationship between families and schools\n- Creates a supportive learning environment\n- Ensure students receive the support they need both at home and school\n- Ensure the student\u2019s better mental health and behavior\nForms of Parent Involvement in Education\nParent involvement in child education positively impacts the students. In the contemporary world, however, parents are consumed in the workplace and find little time to spend with their children. Parent involvement is essential in a child\u2019s early life because they need all the guidance they can get. The involvement tends to reduce in a child\u2019s high school education because they are more aware of themselves. It is important to note that the benefits of parent involvement are enormous regardless of the level of education.\nParent involvement in education can take five primary forms:\n- At home: Parents can be involved by helping with homework such as writing essays or articles, reading to children, creating a supportive learning environment, and setting high but achievable educational expectations. Establishing a learning culture at home by purchasing learning materials and having study rooms is instrumental. Parent should also understand that a lack of parental involvement at home is the first ingredient to children\u2019s failure.\n- At school: Parental involvement can include participating in parent-teacher conferences and meetings, volunteering in classrooms, attending school events and activities, serving on a school committee or boards, and addressing pressing educational issues in schools.\n- Decision-making: involves participating in school decision-making processes, such as board and class meetings, and advocating for educational policies and initiatives. Having a voice during policy implementation in school is important because parents give suggestions in the best interest of the students.\n- Communication: Parents can be involved in education by staying in touch with teachers. This includes regularly communicating with school administrators and receiving updates on their child\u2019s progress.\n- Supporting teachers: Parents can also be involved by volunteering in classrooms, participating in fundraising events, and advocating for initiatives that benefit teachers in schools.\nThe forms of parent involvement may vary depending on the school and the needs of an individual child. Nonetheless, the goal remains the same; to create a supportive and collaborative partnership between parents and the school for effective students\u2019 education. Research shows that parent involvement is particularly important in special education, where students may face unique challenges that require extra support. The importance of parent involvement in special education includes;\n- Improved academic outcomes \u2013 parent involvement has been linked to higher academic achievement, better grades, and increased graduation rates for students with disabilities.\n- Enhanced social and emotional development \u2013 parents play a critical role in enhancing the social and emotional development of children with special needs leading to improved self-esteem and self-worth.\n- Better communication between home and school \u2013 active parent involvement helps to create a strong partnership with teachers making it easier to support the student\u2019s needs effectively.\n- Improved transition \u2013 parents are instrumental in preparing students with disabilities for life after school. Hence, their active involvement in education helps to ensure successful transition outcomes.\nThe National Parent Teacher Association (PTA) quotes that students with involved parents are more likely to have higher aspirations for their education and future careers, better school experiences, and be engaged in their education.\nUse Paper Writing Services to Help Children Learn Better\nParents can foster their children\u2019s academic development by encouraging them to utilize professional essay writing services like Custom Writings. By doing so, they can enrich their children\u2019s knowledge and sharpen their writing skills. By working with the company\u2019s experienced and skilled coders and writers, children can broaden their perspectives and learn new writing techniques that they can apply in future assignments. Besides, reliable academic writing services can help students with written examples that they can study and use as a reference for their own writing. In essence, utilizing these services can provide a valuable learning experience for children, helping them grow as students, entrepreneurs, writers, programmers, and many more.\nHow Parent Involvement Leads to Student Success\nThe reasons for students\u2019 academic success have been linked to parents\u2019 involvement in education. You may be wondering how parent involvement leads to student success. When parents are actively engaged in their child\u2019s education, it promotes a positive attitude towards learning and increases motivation. As a result, students work hard to achieve success and make their parents proud. Parents\u2019 involvement helps to foster a stronger relationship between the parent and child and can lead to better communication and understanding of the child\u2019s strengths, weaknesses, and learning needs.\nMoreover, parent involvement can help ensure that children receive the support and resources they need to succeed, both in and out of the classroom. Overall, parent involvement can play a crucial role in helping children reach their full potential and achieve academic success.\nParental Involvement as Key to Student Success\nIt is important to acknowledge the benefits of parental involvement as key to student success. Research has consistently shown that students whose parents are involved in their education tend to perform better academically, besides having better attitudes and behaviors. This calls for parents to be more involved in their children\u2019s education for better academic results.\nAlthough there are various barriers, such as the time that might inhibit parents\u2019 involvement in school, it is crucial to be intentional and create time for the sake of students. A lack of parental involvement in education leads to students\u2019 failure, bad attitudes, and undesirable behaviors. Of importance is that parents serve as role models, demonstrating the importance of education and conveying that their children\u2019s success is a priority. This creates a supportive home environment that is conducive to learning and leads to improved student outcomes.\nParental involvement in education plays a crucial role in shaping a child\u2019s academic future. By actively participating in their children\u2019s education, parents can provide them with guidance, support, and encouragement, which can enhance their educational experience and foster their academic success. Moreover, the commitment can strengthen the relationship between parents and children, creating a positive and supportive learning environment that can foster a child\u2019s growth and development. In essence, parent involvement in education is a vital component of a child\u2019s academic journey, and its impact on their academic and personal growth cannot be overstated.", "id": "<urn:uuid:0631e86d-728a-4913-a396-e212fb9b3810>", "dump": "CC-MAIN-2023-14", "url": "https://daysofadomesticdad.com/why-is-parent-involvement-important-in-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948632.20/warc/CC-MAIN-20230327123514-20230327153514-00727.warc.gz", "language": "en", "language_score": 0.9637516736984253, "token_count": 1573, "score": 3.625, "int_score": 4}
{"text": "We know that plants are important. They maintain the atmosphere by absorbing carbon dioxide and producing oxygen. They nourish other living organisms and supply psychological benefits to humans as well, improving our moods and beautifying the landscape around us. But plants don\u2019t just passively provide. They also take action.\nBeronda L. Montgomery explores the vigorous, creative lives of organisms often treated as static and predictable. In fact, plants are masters of adaptation. They \u201cknow\u201d what or who they are, and they use this knowledge to make a way in the world. Plants experience a kind of sensation that does not require eyes or ears. They distinguish kin, friend, and foe, and they are able to respond to ecological competition despite lacking the capacity of fight-or-flight. Plants are even capable of transformative behaviours that allow them to maximize their chances of survival in a dynamic and sometimes unfriendly environment.\nLessons from Plants enters into the depth of botanic experience and shows how we might improve human society by better appreciating not just what plants give us but also how they achieve their own purposes. What would it mean to learn from these organisms, to become more aware of our environments and to adapt to our own worlds by calling on perception and awareness rather than reason? Montgomery\u2019s meditative study puts before us a question with the power to reframe the way we live: What would a plant do?\nIntroduction: A Sense of Self\n1. A Changing Environment\n2. Friend or Foe\n3. Risk to Win\n5. A Diverse Community\n6. A Plan for Success\nBeronda L. Montgomery is MSU Foundation Professor of Biochemistry & Molecular Biology and Microbiology & Molecular Genetics at Michigan State University. A Fellow of the American Academy of Microbiology, she was named one of Cell\u2019s 100 Inspiring Black Scientists in America.\n\"[Montgomery's] knowledge and enthusiasm will have readers looking at plants in a new light.\"\n\u2013 Publishers Weekly\n\"An invitation to awareness, awe, and curiosity. Beronda Montgomery takes us deep into the sophisticated and life-giving behaviors and community lives of plants, giving us evergreen lessons about resilience and diversity along the way.\"\n\u2013 David George Haskell, author of Pulitzer finalist The Forest Unseen and Burroughs Medalist for The Songs of Trees\n\"Lessons from Plants is an astonishing and luminously written work. By drawing surprising connections between the largely hidden world of plant behavior and the deep problems of human existence, Montgomery vividly illustrates the importance of paying close attention to the intentional behavior of stems, branches, and roots that often escapes our awareness. At once moving, accessible, and edifying, Lessons from Plants is a tour de force of science communication and a profound meditation on the nature of being.\"\n\u2013 Crystal M. Fleming, author of How to Be Less Stupid About Race\n\"A wonderful portrait of life as a plant. In an accessible style and fluid prose, Montgomery teaches us modern plant biology interwoven with personal stories and philosophy, and ultimately, how to live meaningful, sense-filled lives.\"\n\u2013 Jo Handelsman, Director, Wisconsin Institute for Discovery, and HHMI Professor in the Department of Plant Pathology, University of Wisconsin\u2013Madison\n\"Whether you are a budding plant biologist, interested in the scientific process, or excited about learning more about the natural world, Lessons from Plants is a must-read.\"\n\u2013 Pamela Ronald, co-author of Tomorrow\u2019s Table: Organic Farming, Genetics, and the Future of Food\n\"Lessons from Plants brilliantly highlights principles of plant self-recognition, growth, resources, and adaptations to gift us a newfound level of awareness. These insights illuminate how we might help those around us thrive \u2013 I plan to put key lessons into practice.\"\n\u2013 Prachee Avasthi, Geisel School of Medicine at Dartmouth\n\"Beronda Montgomery studies the secret life of plants, and her findings might surprise us. Plants have communities and can identify and favor their genetic kin. They adapt to complicated conditions in their environments. They are also more productive in a diverse ecosystem. In a beguiling set of observations, Montgomery notes how humans are similar creatures \u2013 this book is a call not only to plant awareness, but to self-awareness.\"\n\u2013 Teresa A. Sullivan, author of Census 2020: Understanding the Issues\n\"A love letter to the natural world. This extraordinary, brave, and thoughtful meditation considers the connection between plants and mentoring, a link I'd never before contemplated. Through gorgeous storytelling and scholarship, Lessons from Plants will speak to scientists, naturalists, and everyone who has experienced the evocative relationship between a mentor and mentee.\"\n\u2013 Mary Deane Sorcinelli, coauthor of Faculty Development in the Age of Evidence", "id": "<urn:uuid:0e954f3b-806e-4bc1-bc08-5c3c00d8b35a>", "dump": "CC-MAIN-2023-14", "url": "https://www.nhbs.com/lessons-from-plants-book?bkfno=252129", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943625.81/warc/CC-MAIN-20230321033306-20230321063306-00128.warc.gz", "language": "en", "language_score": 0.9211764335632324, "token_count": 998, "score": 3.625, "int_score": 4}
{"text": "History is a popular and thriving subject amongst the students at St Edward\u2019s.\nOur history curriculum equips students with skills essential to life beyond school, supporting them to become global citizens able to make a positive contribution to society. Through their study of history at St Edward\u2019s students will:\n- Recognise the rights of all people and be aware of the development of these rights in Britain and the wider world.\n- Be hungry for knowledge to ascertain accuracy and independent in their quest to enrich this knowledge at every opportunity.\n- Be highly reflective, able to identify strengths and skills which require focus.\n- Be critical thinkers: questioning the past, present and future.\n- Be analytical in their review of sources of information and evaluative in their consideration of interpretations.\n- Have a secure knowledge and understanding of key substantive concepts which support an informed understanding of contemporary politics.\n- Have an appreciation of the arts, science and languages, embedded in their study of historical sources and interpretations.\n- Articulate their thinking both verbally and in written responses.\n- Listen and respond in an informed manner anchored in rich knowledge and understanding.\n- Know and understand their local context whilst always looking beyond the confines of these islands and this continent.\n- Be able to synthesise their knowledge across a diverse spectrum of history both chronologically and geographically.\nStudents will develop their understanding of historical concepts such as continuity and change, cause and consequence, similarity, difference and significance, across all key stages. The curriculum is primarily sequenced chronologically to give a clear understanding of the transition to modernity over time. Chronological study is supported by thematic overviews, which support students in making connections between periods in history. Storytelling is central to supporting mastery and competence, and students are introduced to personal stories and oral history whenever possible. Students at all key stages are presented with historical enquiries to support them in deploying skills to discern how interpretations of the past have been constructed.\nIn history we make use of both formative and summative assessment. Formative assessment is used throughout every lesson and can take the form of teacher questioning, recap and retrieval quizzes, live marking, multiple choice questions and peer and self-assessment. Students and teachers can use the results of this assessment to identify areas of strength and areas that require further attention. This is the main form of assessment that enables us to progress student\u2019s knowledge and understanding of the topics we study and the skills we apply.\nAll students of history at St Edward\u2019s have membership of the Historical Association and are encouraged to listen to podcasts both here and on other platforms, such as the Imperial War Museum and In Our Time. Regular use is made of historical scholarship and historical fiction to support students wider engagement with the subject. Padlets provide students with access to documentaries, historical debate, art and music.\nKey Stage 3\nClick here for Key Stage 3 Curriculum Journey Overview\nAssessment at KS3 \u2013 end of topic assessment involves a written response to the enquiry question and focuses on one of the core disciplinary concepts; knowledge \u2013 weekly 10 question knowledge tests from knowledge quizzes for each topic, revision is weekly home learning.\nKey Stage 4\nClick here for Key Stage 4 Curriculum Journey Overview\nAssessment at KS4 \u2013 regular, ongoing exam questions in timed conditions. End of topic tests \u2013 both substantive and disciplinary knowledge with use of past and sample assessment material from the exam board. Weekly knowledge retrieval quizzes \u2013 as with KS3, underpinned by use of knowledge organisers and regular revision. Creative opportunities for sharing knowledge and understanding both orally and in writing.\nExam board AQA: exam structure 2 x 120-minute written examination.\nKey Stage 5\nStudents of A-level history continue to develop their skills of historical enquiry, culminating in their personal study in year 13. Wider reading, viewing and listening is encouraged as an integral part of guided independent learning and students are given opportunities to attend public history lectures and participate in enrichment activities with the Historical Association and collaboration with other schools.\nAQA 7042 specification\nComponent 1: Breadth study 1H Tsarist and Communist Russia, 1855-1964 assessed in a written exam, 2 hours 30 minutes, three questions (one compulsory), 80 marks, 40% of A-level.\nComponent 2: Depth study 2S The Making of Modern Britain, 1951-2007 assessed in a written exam, 2 hours 30 minutes, three questions (one compulsory), 80 marks, 40% of A-level.\nComponent 3: Historical Investigation (personal study) based on a topic of student\u2019s choice. This is assessed internally and moderated by AQA. 3500-4500 words, 40 marks, 20% of A-level.\nWhere the study of history leads:\nHistorians are welcomed into a broad range of jobs requiring an inquisitive mind, self-discipline, creativity, analytical thinking and an understanding of the world. An essay-based subject, History is highly thought of by top universities offering competitive courses such as International Relations, Law, Politics and more. A-Level History prepares students well for higher education, apprenticeship and job interviews by honing their speaking and listening skills. Potential career opportunities are varied from journalism, media, politics and business to the art world, civil service and teaching.\nMrs S Sinaguglia\nHistory Subject Leader\n08.35 - Students allowed on site\n08:45 - 09:10 Tutor Time\n09:15 - 10:10 Period 1\n10:15 - 11:10 Period 2\n11:10 - 11:35 BREAK\n11:40 - 12:35 Period 3\n12:40 - 13:35 Period 4\n13:35 - 14:10 LUNCH\n14:15 - 15:15 Period 5\n16:30 - Students off site", "id": "<urn:uuid:30e82c9e-b58c-4cae-a86e-2ddaaeaf1b89>", "dump": "CC-MAIN-2023-14", "url": "https://st-edwards.poole.sch.uk/history/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00327.warc.gz", "language": "en", "language_score": 0.9228317737579346, "token_count": 1214, "score": 3.765625, "int_score": 4}
{"text": "When Rousseau was talking about binding force of chain, he would have probably in mind the right of freedom and expression too. The freedom of speech and expression is a human right; it is not \u2018gifted\u2019 by the state to its citizens but it is given to them because it is fundamental to the full realization of one\u2019s potential and is their right as a human being.\nIn India, the journey of freedom of speech and expression was somewhat like of roller-costar ride, there were times when it was revered and many times it was brutally curtailed and people were put to prisons when they crossed the Laxman Rekha drew by government. At present time, when freedom of speech is facing deep blow, talking about freedom of speech becomes relevant.\nThe book \u2018Republic of Rhetoric-Free speech and the Constitution of India\u2019, written by Abhinav Chandrachud, was released in 2017. It is a documentation of legal and political history of freedom of speech and expression in India with the reference from America and Britain. From the inclusion of Article 19 in the constitution and its history of inclusion, to the history of prior restraint to newspapers, origin of sedition, obscenity and hate speech provisions in the IPC, and finally the rule of sub-judice and contempt of court, the book touches every aspect of freedom of speech.\nThe main theme which author tries to set in the beginning of the book is that the restraint and trend to curb and curtail freedom of speech and expression has not been changed even after the arrival of constitution in India which is called the protector of citizens\u2019 human right including freedom of speech which is an important part of human rights. However, with the flow of the book, the author himself mention judgments of court, decisions of government and situations when it seems that freedom of speech is getting strength, but, not forget to mention the cases when freedom of speech faced blow through the decision of government and court.\nWriting about the rule of sub-judice, the author criticizes that supreme court of India still subscribe to the colonial notion that stories which appear in print in India, and which lower the authority of a judge, are more likely to be believed here because many Indians are ignorant, as against Englishmen who may be skeptical when they read such stories.\nThe author further mentions in detail about an interesting incident which took place in 1959 and about which supreme court judges\u2019 historian George H. Godbois jr. called \u2018the example of vintage ethics\u2019 when prime minister Nehru nearly committed contempt of court by informing journalists at a press conference that he thought justice Vivian Bose was \u2018lacking in intelligence\u2019. However, when he got the information that bar council of Calcutta was furious on this statement and he said something big which he should not have said, he wrote a letter immediately to Bose and CJI asking for apology. There was a correspondence between Bose and Nehru where Bose appreciated Nehru and accepted his apology.\nSuch a short statement by Nehru was enough to create furore in 1959, but later, we have seen how supreme court in many cases ignored such contempt by saying that the court\u2019s shoulders are broad enough to shrug off their comments.\nSuch type of changes also came in the cases of obscenity and depiction of crime on the cinema screen. The book contains an another amusing incident when censor board asked the makers of Hindi classic \u2018Sholay\u2019 to change the end because the depiction of police personal killing a criminal will give wrong message to people. The book also mentions the well-known cases of \u2018Bandit Queen\u2019 and \u2018Satyam Shivam Sundram\u2019 movies which were before the court to examine whether they contain obscenity? It is no need to mention that at present time, how the definition of obscenity has changed through the time and only in excessive case like Ekta kapoor\u2019s \u2018XXX\u2019, the court says why you polluting the minds of young people.\nIt must be appreciated that the author labored to put a researched and structured history of IPC and Constitution\u2019s provisions and it is engaging. This is the skill of Chandrachud, which I have also seen in his previous book \u2018Supreme whispers\u2019 that he writes the book in storytelling and simple way and it does not feel like we are reading some kind of dry content. However, I should mention that this book mainly focuses on legal history, So, to the people who does not belong to legal field and do not understand legal terminology, the flow of the book may not be maintained.\nAbove all, this book is highly recommended for the people who are enthusiastic to read the legal and political history of freedom of speech and expression in colonial Indian and under the constitution and add a deep understanding to your mind about the history of sedition, hate speech and pressure on news agencies, which is too relevant at present time.\nThis book review is written by Arshi hayat Gnagohi. She is a lawyer, blogger at ababeelfolks and writes on laws, culture, books, cinema, and literature.\nMadhu limye v. SDM, Monghyr(1979)- Case Analysis\nBombay HC directs no payment of Stamp Duty on individual members agreements for redeveloped area\nDelhi judicial Service v. State of Gujarat (1991)- A Complete analysis", "id": "<urn:uuid:897a6413-c755-4bc2-a405-7a98a0640d88>", "dump": "CC-MAIN-2023-14", "url": "https://thelawmatics.in/book-review-republic-of-rhetoric-free-speech-and-the-constitution-of-india/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945289.9/warc/CC-MAIN-20230324211121-20230325001121-00727.warc.gz", "language": "en", "language_score": 0.974315345287323, "token_count": 1127, "score": 3.59375, "int_score": 4}
{"text": "4RealMath is an enrichment project for middle school students developed to provide an innovative, interactive approach to overcome the challenges underrepresented students face with math. Many middle school students lack preparation in rational numbers and operations involving fractions and decimals. The 4 Real Math curriculum is based on two key concepts supported by current research and experience: 1) underrepresented students learn best when they can connect what they learn to what they already know about the real world, and 2) middle school represents a critical time in preparation for high school and college work. Related to concept 2, we can identify and address specific points where inadequate preparation in middle school inhibits students from mastering higher levels. The 4 Real math curriculum concentrates on core concepts and basic skills. It uses repetition and a variety of strategies to address the challenges underrepresented students face. In addition to more traditional methods of instruction, familiar experiences such as basketball, bowling, storytelling and other interactive activities are used to engage students to help them understand certain math concepts. For example, the engineers/mathematicians on the development team have created exercises that allow students to learn math and develop critical thinking skills through actual construction of airplane models. Also, to build confidence, the 4 Real Math curriculum uses basketball exercises to expose students to algebraic concepts and give them a sense of pride that they can conquer math. These exercises use concrete and fun, real world examples to reinforce geometry and algebra lessons.\nLaunching Small Group Tutorials or Math Labs in Middle School\nWe plan to expand our 4 Real Math programming in Woodlawn utilizing the small group settings approach, commonly known as math lab. Math lab is an intensive tutoring program delivered in small group settings. Instruction can be personalized to meet the needs of each student since the ratio of students to tutor is typically 2:1. We plan to implement small group tutorials commonly known as math labs on Chicago's south side and expand to other urban cities. Studies conducted by the University of Chicago have shown that intensive, individualized instruction can generate large gains in academic outcomes in a short period of time, even among students who are several years behind grade level in math. Some students gain a year or two in math in one year of tutoring. (See the Hamilton Project Brookings, Improving Academic Outcomes for Disadvantaged Students: Scaling Up Individualized Tutorials 2015). The math lab model is currently being used in high schools and has been proven to close the white/black gap by as much as one-third. The need to scale math labs up throughout the country and in middle schools was the main takeaways of the Hamilton Project research proposal. Students in the high school math labs also improved their performance in non-math courses and reduced the number of incidences of suspension and arrest. With the fall off in math intensifying in middle school and with many students entering high school several levels below grade level in math, it makes sense to implement middle school math labs in Chicago as soon as feasible. Currently there are no math labs in any middle school in Chicago.\n4RealMath was started by three siblings who discovered that their hometown school district in Illinois was one of the lowest performing in math in the state of Illinois. Shocked and embarrassed, they decided to do something about it. Two of the siblings who were engineers had created STEM projects for underrepresented students in Los Angeles. After collaborating with their hometown school district in adapting their STEM projects, the siblings launched 4RealMath at their former middle school on the day that Barack Obama was first sworn in as the 44th president of the United States. Since then, 4RealMath has expanded to other states including Wisconsin and California.", "id": "<urn:uuid:4b7478d8-61ce-474c-b546-a22a4d74b1a0>", "dump": "CC-MAIN-2023-14", "url": "http://www.4realmath.org/about/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00329.warc.gz", "language": "en", "language_score": 0.9614889621734619, "token_count": 740, "score": 3.9375, "int_score": 4}
{"text": "\u201cGreat stories happen to those who can tell them\u201d Ira Glass\nGood storytellers appear to be inside the story as they are telling it. Great storytellers grab you and take you with them.\nNearly half of the Bible is written in narrative form. And there is no doubt: the stories are mind bogglingly good.\nHowever, despite the greatness of the story, sometimes we teachers don\u2019t tell them so well. We either just read them out loud or ask a student to do it.\nIf the telling matched the quality of the story we\u2019d be able to \u201ctransport people to another place\u201d (JK Rowling). That\u2019s what we should be able to do with Bible narratives on a Sunday morning.\nThere are a few things you can do to make a narrative come alive.\nLiving a story while you are telling it is the art of storytelling. You are \u201cinside\u201d the story, describing what you see, showing your class the inside of a different world.\nTell the story from the perspective of one of the characters. How about telling the story of Daniel in the lion\u2019s den from the perspective of king Darius as he paces the floor of the palace all night hoping that Daniel is not killed (Daniel 6:18)?\nA narrative has a structure, but there\u2019s nothing to say you have to begin the story at the same point in time. If you begin the story of Daniel in the lions\u2019 den with Darius, you can re-order the story bringing the evil satraps into focus.\nSometimes an ancient setting is hard to imagine. An easy way to change that is to set the story in a modern world. This is especially true for parables. Perhaps the easiest parable to modernize is the parable of the prodigal son. Modern life is filled with runaways who leave home to go their own way only to find that all the excitement the world has to offer is nothing compared to the love they had at home.\nNarratives often leave out assumptions. Put them in to help the story. For example, the story of the good Samaritan plays on a cultural prejudice held by the Jews against the Samaritans. Providing background at appropriate points brings the story to life.\nWhat do you know about the character in the story. The story will tell you what he is like by showing you what he does. Highlight those things and make implications about his character. A great way to get your students to understand a character is to compare him or her to someone they know who has similar character traits. What is Darius like? We know he likes flattery. His satraps used this to get him to sign the no-praying law. Perhaps he has an ego that needs to be polished. In the end Darius makes an amazing statement about Daniel\u2019s God. Flattery to his own ego is turned to right praise to Daniel\u2019s God. Darius\u2019 character is transformed enabling Daniel to prosper under his rule.\nEvery good story has a conflict and a resolution. For example, in the story of Daniel in the lions\u2019 den the conflict is both within the king (his angst filled night) and with the wicked satraps. The conflict is real and we can relate to both kinds. Both are resolved in some way \u2013 God, not the king, looks after Daniel and the satraps meet a brutal end.\nStories without emotions are like spaghetti without sauce. What kind of emotion does the narrative portray? Is it sadness, melancholy, or joy and celebration? How you tell the story should highlight the emotional arch of the narrative. To do this, think about the dynamics of the storytelling. To tell a story dynamically try varying your speed and volume. If there is a dramatic moment use a visual aid. If there is something you can do that demonstrates what a character might have done it will aid in portraying an emotion. For example, you could pace the room as you talk about Darius\u2019 night of worry.\nLeave a Reply", "id": "<urn:uuid:8c9e5b35-ba39-45b6-b519-69b0ba0b3b75>", "dump": "CC-MAIN-2023-14", "url": "https://thesundayteacher.com/2015/09/01/living-a-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00128.warc.gz", "language": "en", "language_score": 0.9558005332946777, "token_count": 860, "score": 3.828125, "int_score": 4}
{"text": "Gujarati, in contrast with most other Indian languages, is considered to be a relatively young language, with its origins traced back to around the 12th century AD. A formal grammar of the forerunner of this language was written by Jain monk and eminent scholar Hemachandr acharya in the reign of Rajput king Siddharaj Jayasinh of Anhilwara (Patan). This was referred to as an Apabhramsha grammar, signifying a \"corrupted\" form of the formal languages of the time, Sanskrit and Ardhamagadhi Prakrit. The earliest literature in the language survives in oral tradition and can be traced to the Krishna devotee and great equalitarian Narsinha Mehta. The story of Narsinh Mehta himself was composed in the 17th century as a long narrative poem by Premananda. He was accorded the title mahakavi or \"great poet\" by modern historians of the language.\nPremananda was a vyakhyankar, or traveling storyteller, who narrated his subject in song and then perhaps elaborated on the lines in prose. His style was so fluent that his long poems, running into hundreds of lines, were nonetheless memorised by the people and are still sung today. In this sense, the oral tradition of the much more ancient Vedas was clearly continuing in India till late. In the medieval periods of Gujarat's history, poetry was employed to express religious sentiments. The first work of poetry in Gujarati is considered to be \"Bharateswara Bahubali Rasa\", composed by Shalibhadrasuri, a 7th century Jain monk. A number of Jain Sadhus followed his example and composed short storytelling poems called \"Rasas\" till the end of the 18th century AD.\nAfter the rise of Mahatma Gandhi's relative importance in a steadily strengthening struggle for Independence and social equality, a great volume of poetry, written by poets like Umashankar, Sundaram, Shesh, Snehrasmi and Betai, among others, were centered on the existing social order, the struggle for Independence and the travails of Mahatma Gandhi himself. Post-Independence Gujarati poetry displays a higher form of subjectivity and explores newer philosophies and lines of thought and imagery. Geographic distribution\nGujarati is officially recognized in the state of Gujarat, India.\nAs with most languages, Gujarati comes in various regional dialects that differ in pronunciation, vocabulary, and grammar. Some dialects have many Arabic and Persian borrowings, while others, such as the southern dialects, take more from Portuguese and English, while others take more from Hindi. It is not a single language, and was only created 4 to 5 centuries ago.\n(Last Updated on : 14-11-2014)\n|More Articles in Languages of India (36)|", "id": "<urn:uuid:461000d2-1dfd-4885-95bb-f1d8022e07b0>", "dump": "CC-MAIN-2023-14", "url": "https://www.indianetzone.com/2/gujarati_language.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00321.warc.gz", "language": "en", "language_score": 0.9625629186630249, "token_count": 614, "score": 3.71875, "int_score": 4}
{"text": "Gothic fiction is a literary genre that contains elements of terror, death, and romance. In literature, it is said that gothic fiction was started with Horace Walpole. Horace Walpole\u2019s novel \u201cThe Castle of Otranto\u201d which is regarded as the first gothic fiction in English literature was published in 1764.\nThe major characteristics of gothic fiction comprise horror, haunted settings, spirits, apparitions, gloominess, insanity, and secrets. Emily Bronte\u2019s famous novel \u201cWuthering Heights\u201d which was published in December 1847 is also considered gothic fiction because it demonstrates both the characteristics of romantic and gothic literature.\nHaunted and Gloomy setting in Wuthering Heights:\nThe most important characteristic of gothic fiction is haunted and gloomy settings. The story takes place on the unpleasantly rough and wild English moors. The setting of the novel is most of the time portrayed as savage and gloomy, adding to the dusky and dark mood of the novel. Emily Bronte has shown the gothic setting of Wuthering Heights from the very second page of the novel with gothic vocabulary like \u201cgrotesque\u201d, \u201cwilderness\u201d, and \u201cgriffins\u201d etc. These gothic words immediately create a sense of dread and horror in the reader\u2019s mind. The building of Wuthering Heights was also constructed 300 years ago, so it is understandable that many generations resided there and possibly it has seen many evils and deaths. All these make the building of Wuthering Heights an eerie and ghostly building and apparently a perfect setting for a gothic novel.\nRead More: Title of Wuthering Heights\nThe word \u201cWuthering\u201d distinctly means the horribly fierce and wild weather and we can see such numerous accounts of the weather in the novel as well. Storms and lightning are very much evident in every important scene, for example when Heathcliff all of a sudden escapes, when Catherine dies, and when Catherine chooses to marry Edgar Linton, there is a lightning and storm. Bronte employs such weather descriptions to reveal the passion, desire and emotions of the characters in the novel.\nDark images and morbidity:\nMorbidity was spread around Wuthering Heights. Bronte presented this morbidness through the images of hostile dogs \u201cother dogs haunted other recesses\u201d. (Emily Bronte, Wuthering Heights). We can simply explain this representation of dogs as a symbol of evil which is observing us from every part of the house. The darkness of Wuthering Heights is shown as opposed to the brilliance of Thrushcross Grange. Thrushcross Grange is an appealing place \u201ccarpeted with crimson\u201d. By employing contrastive settings, it is the purpose of the gothic novel to show two clearly different worlds that are not at all pleasant nor definite to the reader.\nRead More: A Tale of Two Cities as a historical novel\nSupernatural elements in Wuthering Heights:\nEmily Bronte employed multiple supernatural elements such as ghosts, dreams and vision, burial ground etc.\nGhosts are also a major characteristic of gothic fiction. But in Wuthering Heights, ghosts are shown in such fashion that their actual presence is obscure. No matter whether ghosts are real or not, they signify the intervention of the past within the present day and they never let people forget or overlook the past. In Chapter 3, Lockwood finds Catherine\u2019s ghost revealing itself to him. Lockwood struggles to describe to himself what is happening: \u201cWhy did I think of Linton?\u201d This implies that he considers the sight of Catherine as an illusion of his mind. Whether Catherine\u2019s ghost is real or not, Lockwood\u2019s reaction certainly creates a terror in the reader\u2019s mind.\nRead More: Romanticism in English literature\nAfter Catharine\u2019s death, Heathcliff was so desperate to meet her that he even tried to hold Catharine by digging her grave. He heard something there but there was no one there. But Heathcliff was sure that the sound that he heard was of Catharine. So, by way of these scary illustrations, we sensed the frightful ghost that might make sound and be sensed like a human being. In the final chapter of the novel, the roaming ghosts of Heathcliff and Catherine is also evoked a sense of terror in the reader\u2019s mind.\nGothic element in character development:\nHeathcliff, the hero of the novel \u201cWuthering Heights\u201d, is a typical gothic protagonist. Heathcliff has also been considered a Byronic hero, an admired but faulty character. The characteristics of a Byronic hero are also evident in Heathcliff\u2019s character: an unsettled and enigmatic past, (nobody knows his birthplace and his parents) manipulative and cunning (he wins Isabella\u2019s compassion and takes advantage of it later.) Heathcliff never expresses any concerns in ruining those for whom he does not care. Isabella Linton becomes enamored with Heathcliff and is exploited so badly that she leaves Heathcliff. In this way, Heathcliff is a supreme example of a Byronic as well as a gothic protagonist.\nRead More: Coleridge\u2019s concept of imagination\nAs opposed to Heathcliff, Isabella, just like other gothic novel\u2019s women characters, is feeble, and confined by Heathcliff. At first Heathcliff wins Isabella\u2019s compassion and love and takes advantage of it later. Isabella eloped with Heathcliff without listening to anyone. But later he had to repent because she was tormented, confined and had to die dismally far away from her pleasant home. So such honest and feeble women characters are very common in gothic fictions.\nWe cannot categorize \u201cWuthering Heights\u201d solely as a gothic novel, but we can\u2019t also deny the fact that Bronte\u2019s novel has some gothic elements in it. To conclude, we can say that Catherine\u2019s ghost, the morbid and mysterious setting of the residence Wuthering Heights, and Heathcliff\u2019s character make \u201cWuthering Heights\u201d a gothic novel and evoke a strong feeling of fear, trepidation, and agony in the reader\u2019s mind.\n- Transcendentalism | Definition | Characteristics\n- Okonkwo character traits or personality\n- Seamus Heaney as a modern poet\n- The Glass Menagerie as a memory play\n- Seamus Heaney\u2019s poetic or writing style", "id": "<urn:uuid:fe07a78f-321a-40ac-9ce8-84a8a55dcc54>", "dump": "CC-MAIN-2023-14", "url": "https://thinkingliterature.com/wuthering-heights-as-a-gothic-novel/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00729.warc.gz", "language": "en", "language_score": 0.9546883702278137, "token_count": 1413, "score": 3.65625, "int_score": 4}
{"text": "Syntax is the arrangement of words to form a sentence. We can compose sentences in a variety of ways. How we arrange our sentences can affect how they're interpreted. For example, \"The boy ran hurriedly,\" reads differently than, \"Hurriedly, the boy ran.\" The difference may be slight, but the syntax in each sentence conveys a different meaning and, perhaps, a different mental image. Together, let's explore various syntax in literature examples.\nA Tale of Two Cities by Charles Dickens\nA solemn consideration, when I enter a great city by night, that every one of those darkly clustered houses encloses its own secret; that every room in every one of them encloses its own secret; that every beating heart in the hundreds of thousands of breasts there, is, in some of its imaginings, a secret to the heart nearest it!\nThis is a great example of a writer who enjoyed complex syntax. Dickens often wrote lengthy sentences, separated by multiple commas and/or semicolons; you'll notice this entire passage is just a single sentence. He also liked to repeat patterns, also known as anaphora. He used \"that every\" to start three phrases in this one short excerpt.\nTo Kill a Mockingbird by Harper Lee\nPeople generally see what they look for, and hear what they listen for.\nHarper Lee was enjoying a little bit of repetition in this example of syntax. She followed a pattern of \"what they (verb) for.\" Lee also repeated \"for\" at the end of each clause, employing the rhetorical device anaphora again.\nShe also chose to highlight the relationship between seeing and looking, and the (related but separate) relationship between hearing and listening. Is there a difference between hearing something and listening to something? What's the difference between seeing something and looking for something? Lee also opted to make this one, fluid line instead of two short, staccato lines.\nThe Princess Bride by William Goldman\nSonny, true love is the greatest thing in the world, except for a nice MLT: mutton, lettuce and tomato sandwich, where the mutton is nice and lean and the tomato is ripe.\nThere's nice complexity of this bit of prose. Goldman used a colon to introduce a list and even inserted an additional dependent clause thereafter. You'll also notice that more emphasis is put on this great sandwich with far more loving detail than the description of \"true love\" (which only consists of two words).\nMoby-Dick by Herman Melville\nIt is the easiest thing in the world for a man to look as if he had a great secret in him.\nSimple syntax can often reveal an everlasting aphorism. That is, even the simplest constructs can go on to become phrases that make a statement of wisdom.\nPeter Pan by James Matthew Barrie\nForget them, Wendy. Forget them all. Come with me where you'll never, never have to worry about grown up things again.\nThis is a nice, simple line, spoken with simple words. It takes on a childlike tone, reflective of childhood innocence and relative simplicity. Barrie, too, used a little repetition to help Peter emphasize how wonderful Neverland would be. While the second \"never\" isn't necessary for the meaning of the sentence, it adds more emphasis and adds to the childlike voice of the character.\nAnimal Farm by George Orwell\nThe pigs begin living in the farmhouse, and rumor has it that they even sleep in beds, a violation of one of the Seven Commandments. But when Clover asks Muriel to read her the appropriate commandment, the two find that it now reads \"No animal shall sleep in a bed with sheets.\" Squealer explains that Clover must have simply forgotten the last two words.\nThe original Commandment read \"No animal shall sleep in a bed.\" It was a way to separate the animals from the humans. But the pigs, as they rose to power, began to take on more and more human qualities, including sleeping in human beds. So, to justify that, they secretly changed the Commandment to add \"with sheets.\nHere, syntax is being used to illustrate mounting corruption. The simple addition of two words to the commandments shows that the pigs are taking more and more as their power increases.\nLittle Women by Louisa May Alcott\nWouldn't it be fun if all the castles in the air which we make could come true and we could live in them?\nSometimes, when sentiments are expressed in the form of a question, it makes the reader feel more involved in the story. Even though Jo is clearly making a statement about how she feels on the topic, phrasing it as a question gives it a more dreamlike, aspirational quality. We see an idealistic nature here.\nAnna Karenina by Leo Tolstoy\nIs it really possible to tell someone else what one feels?\nHere we have another nice example of an interrogative sentence that evokes a feeling of inclusivity for the readers. Questions like this challenge readers to provide a suitable or adequate response, making them think, reflect, or analyze.\nRomeo and Juliet by William Shakespeare\nWhat light from yonder window breaks?\nWilliam Shakespeare was the master of rhetorical devices. He painted scenes with complex, memorable prose. One of his favorite ways to play with syntax was to reverse the order in sentences by putting a verb at the end of the sentence, thus drawing more attention to the verb. The more conventional way to frame this same question would be, \"What light is breaking from yonder window?\" This doesn't make nearly as much of an impact.\nThe Adventures of Huckleberry Finn by Mark Twain\nWhat's the use you learning to do right, when it's troublesome to do right and it ain't no trouble to do wrong, and the wages is just the same?\nMark Twain had some fun with slang and nonstandard grammar in this example. This helped him develop a unique character voice. It tells us a little bit about the character as well as his feelings of frustration.\nStar Wars by George Lucas\nWhen nine hundred years old you reach, look as good you will not, hmm?\nPerhaps Shakespeare liked to change word order in his syntax. George Lucas surely repopularized this type of wordplay with the birth of Star Wars and the introduction of Yoda, a character who speaks almost exclusively with inverted sentence structure.\nHow to Use Syntax\nSometimes, authors play with syntax to evoke imagery, make the audience question what's happening, or even create a rhythmic pattern. An author's voice is often revealed in their use of syntax. Do they compose short, staccato sentences like Hemingway? Or, do they create superfluous prose like Dickens?\nIn fact, one of the best ways to write is to mix straightforward, simple sentences with a few complex sentences. It'll create a nice contrast. Syntax can reveal a character's voice. Does the main character use a lot of sentence fragments when they speak? Is their language stiff and formal? You can create sentence variety too by mixing declarative sentences (or statements) with interrogative and/or exclamatory sentences.\nIn line with sentence variety, consider again the inversion used by Shakespeare and Star Wars. It changed how we reacted to the line. \"What light is breaking from yonder window?\" is changed to \"What light from yonder window breaks?\" Likewise, \"When you reach nine hundred years old, you will not look as good,\" is changed to, \"When nine hundred years old you reach, look as good you will not, hmm?\"\nThese alterations can change how an audience reacts to the sentiments being shared. Yoda turned a statement into a question, creating a more thought-provoking and memorable line.\nMake a Splash with Syntax\nAnd there you have it. Literary giants like to play around with word order and sentence arrangement, or syntax, and so can you. Make a splash with syntax. The more excitement you add, the more you'll develop your author voice.\nIf you're looking to create thoughtful syntax in any of your creative writing, check out Get Creative: How to Write a Short Story. It'll help you pull everything together, from setting the scene, to developing memorable characters. Until then, happy writing!", "id": "<urn:uuid:3f764797-1a25-40c9-bf61-5f4944603073>", "dump": "CC-MAIN-2023-14", "url": "https://examples.yourdictionary.com/syntax-in-literature-examples.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00528.warc.gz", "language": "en", "language_score": 0.9553457498550415, "token_count": 1715, "score": 4.25, "int_score": 4}
{"text": "Learning objectives define the goal, or the purpose, of a lesson. Also known as learning goals, lesson aims or student goals, learning objectives are designated goals for what students should reasonably achieve by the end of each lesson plan. When a teacher starts a lesson with a clear and concise learning objective, it serves as an expectation for what information and skills the student should learn and retain. Learning objective goals need to be as specific as possible and use figures and metrics where appropriate. Creating lesson goals is an important first step for teachers.\nStudents\u2019 current abilities should be considered when establishing learning objectives. Teachers must evaluate weaknesses and strengths when structuring curriculum objectives. The lesson plan should focus on how to help students improve language skills both today and how to develop their English over the long term. Think of each lesson as a building block that teaches students specific skills that will help them build a better understanding of the language.\nLooking for some help on how to develop learning objectives for your English lesson plans? Keep reading to learn more.\nChallenges to Developing Objectives for English Learners\nIt can be challenging to figure out exactly how to measure your learning goals when creating a lesson plan. The learning objective is essential, but it may be hard to define. Ask yourself, what exactly do you want your students to have understood and learned in each lesson? When developing a lesson plan, it is critical to know what possible challenges are in front of you.\nHere are some common challenges that come with developing objectives for English learners.\nAssessing the Class\nWhen you begin teaching a new group of students, it\u2019s vital to understand the strengths and weaknesses of the class. As a teacher, you may be working with many different levels of ability. Part of your job is to determine how to structure the lesson based on each group. Your primary goals may change yearly. For example, some years may require more emphasis on written skills, while other years, your students may need to spend more time practicing conversational expertise.\nEvery student has different needs and learning styles. As a teacher, it\u2019s essential to determine how your students learn best. Resources such as videos, books and articles can help create a lesson plan that best fits students' learning styles in your class.\nLearning a new language requires consistency and constant exposure to the language. A big challenge is when your students or your school can\u2019t devote enough time to language classes. Some schools may only offer classes once a week or just on a few weekdays. It can be hard to ensure that lessons stick when students don\u2019t have constant access to classes and opportunities to practice the English language.\nAccess to the Material\nThere is more to learning a language than attending class once a week. Students need to immerse themselves in as much English material as they can. But it can be difficult or expensive to access the books, movies, newspapers and other resources they may need in their target language.\nConsistency in English\nThere are many different varieties of the English language, including British, Australian and American. Each style has slightly different spelling rules and vocabulary conventions. When you correct and assist students, recognize that students must stay consistent and not switch between variants. Additionally, teachers may have a mix of students that have learned British English or American English in their classroom, especially at the university level. Teachers must account for these differences when grading papers and making suggestions for improvement.\nLearning Objectives for English Speakers\nNot sure where to start when it comes to creating your learning objectives? Here are some suggestions to include in your next lesson plan.\nWriting comprehension means when students understand and interpret text and then can connect those ideas with their own thoughts. To assist in proper writing comprehension, an English language teacher should include lessons on grammar structure, vocabulary building, creativity and critical thinking.\nThe skills required will depend on the ability level. Beginners should focus on basic sentence structure, grammar and vocabulary. Advanced learners will begin writing essays, and teachers will need to ensure these longer-form pieces are structured appropriately. Teachers must go beyond making grammatical corrections to assess \u2014 and provide feedback \u2014 on the flow and style of the essays. While strong English papers feature good storytelling, other languages and cultures may not favor an emphasis on storytelling. Some cultures place a greater focus on a more structured and methodical presentation.\nThere is an art to listening properly. Not only must teachers ensure that their students listen to directions, but teachers need to know that their students can extract information and understand what they say. A lot of language learning is done by simply listening, but with a strategy. Listening comprehension skills include paraphrasing, summarizing and relating to what they are hearing.\nTeachers should stay in the target language for the duration of their classes, even for beginners. Teachers can use hand motions and gestures to help students understand what they are saying. Staying in the target language can help students learn how to speak and understand English.\nVocabulary is at the core of language learning. Building a new vocabulary will help students not only communicate effectively but also become proficient in many topics. You\u2019ll want to build vocabulary around concepts and topics that students need to communicate during their lessons and in the real world.\nNow that your students are learning different words, they need the skills to communicate ideas in the target language effectively. This includes pronunciation and circumlocution skills. Have students practice dialogue with their classmates and encourage active discussions in the classroom. The more your students speak, the better they will become.\nWhen the above language objectives are combined, you will be setting your students up for language-learning success.\nHow to Achieve Language-Learning Objectives: 5 Ideas\nNow that you know the language objectives, here are some helpful tips for achieving these goals.\nHave Specific Language Objectives for Each Lesson You Plan\nWhen determining which language-learning objective to use, you should tailor each lesson around specific weaknesses in the class. For example, if your class is struggling with reading comprehension or speaking, focus your biggest lessons on improving and enhancing those skills. Know that not every lesson you plan will be created equally; rather, use each plan for a specific need. By leveraging the abilities of your class, you can create a more concise plan that targets specific, buildable skills.\nIntroduce New Vocabulary and Concepts\nRemember that language learning would be nothing without a robust vocabulary. But the key here is that a teacher needs to introduce vocabulary that is helpful to the learner, words that they are sure to use not only in class, but also when they\u2019re speaking with natives.\nGroup your vocabulary terms into different concepts rather than niche words that stand alone. You can accomplish this by having your students read newspapers, write short-form essays, tell stories and interact with peers. Consider themes that are important in daily life. For example, beginners can focus on themes such as school or the household.\nMake Language Objectives Specific to Themes\nIt's best to think of language learning as a set of themes. Consider easy themes that appear in your student\u2019s world, such as animals and places to visit around your town. All have slightly different ways of expressing concepts and use different vocabulary. You can use newspapers, books, movies and podcasts to reinforce your chosen vocabulary for extra content. But remember to tailor your themes based on the language level of the class.\nEmbrace Storytelling in the Classroom\nStudents can benefit by learning language through content and stories. Storytelling is a powerful tool for gaining confidence in both speaking a new language and describing new concepts. An exciting way to bring storytelling into the classroom is by leveraging traditional stories, fairy tales and books to help introduce students to culture. When reviewing stories, be sure to ask your students to explain what happened in each chapter or to identify new vocabulary they notice.\nFor example, \u201cA Christmas Carol\u201d by Charles Dickens is a relatively well-known story, and can be a great example to read around the holidays with a more advanced class. Books like this expose students to the culture, while giving students a grasp on new vocabulary words.\nLeverage Newspapers, Music and Podcasts\nUsing material in the target language can help students better understand how native speakers communicate. Newspapers can be a great tool for advanced learners, while YouTube videos discussing the household or school can be great for beginners.\nListening to fluent English speakers addressing other native English speakers will help your students with listening and reading comprehension, as well as learning accents and circumlocution. Plus, these materials are easy to access and allow students to build vocabulary through different forms of media, depending on how they learn best.\nRemember that when working with students who are not native English speakers, consistency plus drive can go a long way. Try to make your learning objectives simple tools to help your students thrive. Adding newspaper articles from The New York Times and other media into your regular lessons can be a great way to ensure your students learn to the best of their abilities while having fun. The New York Times Licensing Group produces content in multiple languages, which can help students of various backgrounds.", "id": "<urn:uuid:996c9de3-d61e-46bb-9524-6d1ca24c0603>", "dump": "CC-MAIN-2023-14", "url": "https://nytlicensing.com/latest/methods/develop-learning-objectives-english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949181.44/warc/CC-MAIN-20230330101355-20230330131355-00129.warc.gz", "language": "en", "language_score": 0.9450551867485046, "token_count": 1890, "score": 4.3125, "int_score": 4}
{"text": "When you\u2019re writing, it\u2019s important to understand the different grammatical roles that a word can play.\nYou probably know the different parts of speech\u2014nouns, verbs, prepositions, and so on\u2014but each of those is a category of its own and has its own subcategories.\nFor instance, there are many types of verbs, and one of those types is called the transitive verb.\nA transitive verb is an action verb whose action is received by a direct object.\nRead on to learn how to identify a transitive verb and what some examples look like in writing.\nA transitive verb is an action verb that requires someone or something to receive that action (a direct object).\nTake a look at the following examples of transitive verbs:\nIn this case, \u201cfixed\u201d is the transitive verb, and \u201cthe broken radio\u201d is the object being fixed (the direct object).\nIn this case, \u201creads\u201d is the transitive verb, and \u201cthe newspaper\u201d is the object being read.\nIn this case, \u201cbit\u201d is the transitive verb, and \u201cme\u201d is the person being bitten.\nThe most common structure of a sentence with a transitive verb is:\nSubject + action verb + direct object\nThe word \u201ctransitive\u201d comes from the idea that the action must transition through the verb to an object in order to complete its meaning.\nFor example, \u201cGabrielle fixed\u201d is not a complete sentence, and doesn\u2019t make sense on its own. You need to add in the direct object to finish the sentence: \u201cGabrielle fixed the broken radio.\u201d\nAction verbs can either be transitive or intransitive. There are two methods you can use to figure out which type of verb you\u2019re dealing with.\nThe simplest way to identify a transitive word is to see if you can find a direct object in the sentence.\nA direct object is something or someone who receives the action being performed.\nWhen you see an action verb, ask yourself, \u201cWhat\u2019s the object receiving this action?\u201d\nIf the action is done to something or someone, you\u2019re looking at a transitive verb.\nFor example, \u201cJeremy kicked the soccer ball.\u201d Here, the kick is being received by the soccer ball, so you know the verb is transitive.\nAn intransitive verb, on the other hand, doesn\u2019t have a direct object. Consider the sentence \u201cJeremy laughed.\u201d\nThe verb is \u201claughed\u201d, and there\u2019s no object in the sentence that needs to receive the action.\nDon\u2019t be fooled if there are other words after the verb\u2014they aren\u2019t necessarily a direct object.\nFor example, you could say \u201cJeremy laughed merrily\u201d, which places an extra word after \u201claughed\u201d.\nBut the word \u201cmerrily\u201d is an adverb that tells us more about the verb, not a direct object that receives the action.\nAnother trick you can use is to try to imagine the verb in a passive form (Direct Object + \u201cwas\u201d + Transitive Verb).\nTransitive verbs can have a passive form, while intransitive verbs cannot.\nHere are some examples of transitive verbs in the passive form, which sound logical and correct:\nFor contrast, here are some examples of intransitive verbs in the passive form, which sound rather nonsensical:\nThe passive voice places the reader's focus on the object rather than the action. This means it takes longer for the reader to understand who or what is completing the action.\nIf you can, convert your passive transitive verbs to active ones to make your writing more engaging.\nProWritingAid will highlight passive transitive verbs in your writing and suggest active rephrasings.\nTry the passive voice check with a free ProWritingAid account.\nThere are verbs that can be transitive or intransitive, depending on whether the sentence has a direct object or not.\nHere are some examples of verbs that can work either way:\nVerb: \u201cto play\u201d\nVerb: \u201cto walk\u201d\nIntransitive: \u201cCan you walk toward me?\u201d\nVerb: \u201cto eat\u201d\nVerb: \u201cto run\u201d\nLet\u2019s take a look at some transitive verbs in famous literary passages.\n\u201cMoonlight drowns out all but the brightest stars.\"\n\u2013 J.R.R. Tolkien, The Lord of the Rings\n\"There are years that ask questions and years that answer.\"\n\u2013 Zora Neale Hurston, Their Eyes Were Watching God\n\"I loved her against reason, against promise, against peace, against hope, against happiness, against all discouragement that could be.\u201d\n\u2013 Charles Dickens, Great Expectations\n\"Well, I must endure the presence of a few caterpillars if I wish to become acquainted with the butterflies.\"\n\u2013 Antoine de Saint-Exup\u00e9ry, The Little Prince\n\u201cI hope she\u2019ll be a fool\u2014that\u2019s the best thing a girl can be in this world, a beautiful little fool.\u201d\n\u2013 F. Scott Fitzgerald, The Great Gatsby\n\u201cI gave my whole heart up, for him to hold.\u201d\n\u2013 Geoffrey Chaucer, The Canterbury Tales\n\u201cTime, which sees all things, has found you out.\u201d\n\u2013 Sophocles, Oedipus the King\n\"If you tell the truth you do not need a good memory!\"\n\u2013 Mark Twain, Adventures of Huckleberry Finn\n\"I\u2019ve got the key to my castle in the air, but whether I can unlock the door remains to be seen.\"\n\u2013 Louisa May Alcott, Little Women\nNow you know what transitive verbs are, you'll spot them everywhere. You can use them in everything from essays, creative writing, and emails to everyday speech to bring your writing to life.\nA grammar guru, style editor, and writing mentor in one package.Try for free today\nDrop us a line or let's stay in touch via :", "id": "<urn:uuid:9f2259dd-e1b3-42fc-991f-8a97c3fa049f>", "dump": "CC-MAIN-2023-14", "url": "https://prowritingaid.com/transitive-verb", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00328.warc.gz", "language": "en", "language_score": 0.9263668060302734, "token_count": 1330, "score": 4.625, "int_score": 5}
{"text": "The Montessori method is a child-centered educational approach that encourages children towards independence, order and a freedom to explore but with boundaries. By encouraging self-directed and hands-on experiences in the prepared environment with the prepared educators, children can maximize their individual learning outcomes and achieve their potentials. There are 5 major areas in Montessori Cycle 1 learning experiences: practical life, sensorial, language, mathematics and cultural learning.\nPractical life activities are normally the first activity that introduce to the children within Montessori environment as they help child learn how to do living activities in a purposeful way. We start with practical life activities as it helps children to smoothly transit from home to the new environment as the familiarity of the activities and materials can assist the children to orientated in their new environment.\nPractical life activities help children gain functional independence through acquiring the skills of taking care of themselves and meet their own needs in various scenarios, such as food preparation, washing hands. All the practical life activities have movement import which allow children to practice both their fine motor and gross motor skills. These practices will help develop and refine children's movement that allow their functional independence.\nPractical life activities also help children with the integration of their personality and assistance to self-construction. Practical life activities can help children learn to control their body and the coordination of their movements, as well as develop better awareness of cooperation.\nTaking care of the environment is also part of practical life experiences, such as sweeping, taking care of plants. Based on Montessori research, children have the instinct to follow what adults are doing that including care of the environment-clean and maintain the environment.\nGrace and courtesy activities in practical life area help children work on the social interaction of people to people. Children can learn how to move and speak in various scenarios that assist them in all aspects of their social development.\nSensorial comprises of activities and resource materials that are designed to focus on five senses which are visual, tactile, auditory, olfactory and gustatory as well as stereognostic and mixed impressions. Sensorial activities support human tendencies and help children to analyse, classify and category the impressions they have received to distinguish, discriminate and make judgements.\nSensorial activities help children refine their senses. It helps children from 3 to 6 years old who we believe have absorbent mind to organise, order and classify the impressions received from the environment. All of these sensorial experiences help children build a store of abstract concepts. For example, children can develop better understanding of comparative and superlatives through the hands-on experiences and first-hand impressions. This will help children's social and language development as well.\nChildren start to develop their language since they were born through their unconscious absorbent mind and gradually sorting and organizing through their conscious absorbent mind. It's not only the language activities help children with their language development, various kinds of Montessori activities support children's language development in our Montessori environment. For example, table washing and metal polishing in practical life area, children need to move their hand in the smae direction as we read and writing and the circular movement also prepare the child's hand for writing. Tracing shapes and leaves in sensorial activities can refine child's wrist and fingers movement that indirectly prepare the child for later writing.\nOral language is one part of the language activities. It provides preparation for the mind and lays foundation to all writing and reading. For example, sandpaper letter and sandpaper phonograms introduces the symbols, helps children to realize the sound in a visible form and to stimulate children to further explore their own language in writing form.\nWriting is another important part of language activities in our Cycle 1. The mechanic writing focuses on child's wrist and fingers movement and it involves the skills of holding a pencil and writing on paper. Creative wring allows children to express themselves. For example, moveable alphabet is a creative writing encourage children to express their own thoughts.\nMontessori believes that human being is born with a Mathematical mind as we all have the ability to calculate, measure and estimate. Mathematical mind works together with absorbent mind, human tendencies and sensitive periods to find patterns and build order. Mathematical mind embedded in various kinds of activities Montessori Cycle 1. For example, practical life activities help children become familiar with order, sequence, precision and measuring as all practical life activities have their sequences. Sensorial materials fit in order, sequences and precision also help indirectly prepare children's later Mathematics activities.\nThere are six major groups of Mathematics in Montessori Cycle 1: The first group is numbers to 10 which include 0. This has to be done first as it lays the foundations. The second group is the decimal system. The third group is continuation of counting. Memorization of essential number combinations is the fourth group in Math. The fifth group in Math focuses passage to abstraction and fraction is the sixth group as it works with number less than 1.\nThe Cultural learning in Montessori Cycle 1 introduces Geography, Science, Botany, Zoology, History, Arts and Music.\nWe explore geography through various individual and small group activities. Things like land, air, water, maps, continents, people, food and music are all part of our geography exploration that help children make sense of the different cultures around the world and who they are.\nScience is another part of cultural learning. We normally include topics such as seasons and related them to senses. We also explore different objects through experiments, such as float and sink experiment.\nThere are Botany, Zoology, History, Arts and Music education embedded in different kinds of Montessori activities. For example, care for plant from practical life area helps children develop better understanding of the botany, botanic cabinet in sensorial area introduces different shapes of leaves and 3 part cards in language area may involve various kinds of animals.", "id": "<urn:uuid:5503669c-3cd5-4cee-8a9a-5228a2ba98bf>", "dump": "CC-MAIN-2023-14", "url": "https://www.ourkidschildcarecentre.com/montessori-program", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948708.2/warc/CC-MAIN-20230327220742-20230328010742-00326.warc.gz", "language": "en", "language_score": 0.9531792998313904, "token_count": 1225, "score": 3.90625, "int_score": 4}
{"text": "Source: Visch W, Kononets M, Hall POJ, Nylund GM, Pavia H. (2020). Environmental impact of kelp (Saccharina latissima) aquaculture. Marine Pollution Bulletin 155: 110962. https://doi.org/10.1016/j.marpolbul.2020.110962.\nIf you live in a coastal town, you\u2019ve probably seen kelp floating offshore in shallow waters or washed up, stinky and slippery, on beaches. But did you know those same brownish-green algae have the potential to power cars, fertilize fields, and nourish human bodies? In the past decade, scientists have begun looking to kelp\u2019s diverse ecosystem services as solutions to climate-related issues. In a recent study a group of Swedish scientists show that small-scale kelp farming\u2014growing kelp from seed for industrial purposes and human consumption\u2014has the potential to increase biodiversity in the area and has few negative impacts on the local ecosystem.\nFor centuries, Asian countries, particularly China and Indonesia, have cultivated kelp and seaweed for cuisine, but the idea is just beginning to take hold in Europe and North America. With the globalization of tastebuds, the market for kelp products in Western countries is growing, but it\u2019s more than a tasty treat: kelp also improves the health of ecosystems and could serve as a valuable biofuel. It grows extremely fast, sometimes up to two feet per day, absorbing carbon dioxide from the air and providing shelter and food for a number of marine organisms. However, cultivating kelp in a region where no kelp exists could lead to disruptions in the local ecosystem.\nEnvironmental Impacts of Kelp Farming\nThe Swedish team from the University of Gothenburg set out to measure what effects, positive or negative, kelp farms have on ecosystems. They published their results in June 2020 in Marine Pollution Bulletin. They quantitatively assessed the effects of a two-hectare kelp farm before and after the establishment of kelp and compared the results to four control, or natural and undisturbed, sites. The farm and the controls follow the coast of an archipelago that comprises Kosterhavet National Park off the west coast of Sweden. The team collected spores from the local sugar kelp (Saccharina latissima) and seeded them on long lines attached to buoys.\nBy examining the sites\u2019 benthic fauna\u2014invertebrates that live on or in the sea floor sediment\u2014the scientists monitored changes in the health of the ecosystem using a known index. In other words, the index tells them how healthy the ecosystem is (bad, poor, moderate, good, or high) based on what kinds of critters they find on the sea floor. At the farm site, the health of the ecosystem increased from \u201cpoor/moderate\u201d to \u201cgood\u201d after the kelp was fully grown, and several species of invertebrates, including brittle stars, sea urchins, bristle worms, and horseshoe worms, increased in number. There was no change in ecosystem health over time at the control sites.\nThe scientists also found that dissolved oxygen and nutrients remained constant at both the kelp farm and the control sites, providing further evidence that kelp farms would not decrease the oxygen and nutrients available to other inhabitants of the coastal waters. They did, however, note that light reaching the sea floor decreased by 40% at the peak of kelp growth, but the team says this should not negatively impact bottom-dwelling plants since the kelp will be harvested shortly after it reaches its highest biomass.\nA Kelp-ier Future?\nSeaweed farming is the fastest growing sector of aquaculture in the United States, and its potential as a food source, biofuel, and fertilizer is promising. Kelp, unlike corn and soybeans (the current source of most biofuel), requires few outside inputs, like water and fertilizer. Because kelp is grown in the ocean, valuable farm land could be freed up for cultivating food for consumption instead of fuel. In addition, harvesting kelp and composting it on land could produce a hearty fertilizer for crops. Some scientists also propose that kelp farms could shrink coastal dead zones\u2014areas where fertilizer runoff has caused large algal blooms that deplete oxygen from the water when they break down\u2014by absorbing extra nutrients from waters near agricultural areas.\nAs kelp farms pop up across North America and Europe, understanding their impact on ecosystems will be critical. While the Swedish study shows that kelp farms have no negative impact on ecosystems and that they actually improve ecosystem health, more research is needed to identify the long-term environmental outcomes of kelp farming.\nI am a student of the MA in Science Writing program at Johns Hopkins University. Environmental science, human health, and agriculture are a few of my writing interests. I love communicating science in a way that incorporates storytelling and that broadens readers\u2019 ideas of what science is, who scientists are, and what it means to do science. When I\u2019m not writing, I can be found playing folk music with friends, riding my bike, or snuggling with my cat.\nOne thought on \u201cExperimental Kelp Farm Boosts Biodiversity and Ecosystem Health\u201d\nGood to see your essays! Kelp Kelp\u2026the coastline needs more kelp\nImportant to note that the removal of the sea otters was a critical factor. Too often papers ignore this.\n60,000+ sea otters were taken from California in the soft gold rush.\nThis keystone species removal doomed the kelp. Kelp forests disappeared long before anyone was able to document their distribution\u2026\nMore recently it is warm water and climate change \u2013 but the urchin barrens would have delighted sea otters!\nRestoring the kelp forests from Calif to Alaska could sequester a great deal of carbon.", "id": "<urn:uuid:86040132-ea82-4e22-83ca-e7d09cb878c8>", "dump": "CC-MAIN-2023-14", "url": "https://oceanbites.org/experimental-kelp-farm-increases-biodiversity-and-ecosystem-health/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945323.37/warc/CC-MAIN-20230325095252-20230325125252-00529.warc.gz", "language": "en", "language_score": 0.9381645321846008, "token_count": 1241, "score": 4.09375, "int_score": 4}
{"text": "The Carnival of the Animals, written by Camille Saint-Saens in 1886 is an imaginative and fun musical suite that uses classical music to portray animals. Here\u2019s all you need for a mini unit study of this classic. You can use the ideas and resources in this post for an easy-to-implement homeschool music lesson that is perfect for kids in kindergarten through second grade.\nWhat You Need\nThe supplies are super simple, and you probably can do this unit study for free!\n- Carnival of the Animals music (either CD or on YouTube)\n- Coloring pages\n- The Carnival of the Animals book (optional)\nCheck out this recording, which shows each animal in the suite while you listen.\nOr, here\u2019s another version to watch and listen to so that your kids can see the musicians at work!\nWhat You Need to Know About the Music\nThe Carnival of the Animals was written as a humorous musical suite, which you can grasp from the portrayal of pianists as animals in one of the movements, as well as the composer ripping on the \u201cold music\u201d of his day in the \u201cFossils\u201d movement. You might have to explain some of these ironies to your kids. Or you might not!\nThere are fourteen movements, each representing a different animal. These movements are short and enjoyable, even for the K-2 crowd.\nKeep in mind that the best way to teach music to young children is to get them moving, feeling the music, and enjoying the storytelling that accompanies a masterpiece like this one.\nHomeschool Music Lesson Plan\nYou can do one movement per day. Here\u2019s a simple plan for what to do:\n- Tell your child the name of the movement (named after the animal)\n- Listen to the movement together\n- After listening once, talk together about the sounds and instruments that represented the animals. How would you describe the animals? Use lots of describing words!\n- Listen again as your child completes a coloring page\nAfter you\u2019ve completed the entire movement after 14 days or so, you can go back and listen to the entire suite and let your children act out the animals as the movements change. See if they can remember which animal is being depicted.\nKids love acting out things, and when you can get them kinesthetically involved in music at a young age, you are giving them a solid foundation that they can build upon later.\nIf you want to add even more creativity and imagination to this music lesson plan, you can have your kids choose their favorite animal that was not included in the suite and compose a simple musical theme depicting that animal. They can also create a drawing or painting of this animal.\nYou can ask them questions like this about their added movement and animal theme:\n- How does this animal behave? What kinds of words describe this animal?\n- Would the musical instrument portraying this animal need to have high or low sounds?\n- Would the music be fast or slow?\n- How can you use music to creatively \u201cshow\u201d the animal?\nIf you use narration in your homeschool, you could also include an oral narration about the way a certain animal sounded in the suite. You could then take one sentence your child says, write it down, and turn it into a simple copywork exercise.\nNo matter how you use The Carnival of the Animals as a homeschool music lesson, remember to have fun! There\u2019s no way to mess this up and the sky\u2019s the limit when creatively exploring the music.\nWant some free coloring pages to go along with The Carnival of the Animals? You can grab them at 4onemore.com\nAbby is a former public school teacher, now homeschooling her five children. She\u2019s in the trenches just like you and knows it can be challenging to be home with your kids all day while you struggle to keep up with the housework and educate your kids (and maybe even work on the side!). She blogs over at www.4onemore.com and hosts the Homeschool with Moxie podcast.", "id": "<urn:uuid:be516e76-bb7e-44a0-85a7-fadfc2f42a7a>", "dump": "CC-MAIN-2023-14", "url": "https://homeschoolgiveaways.com/2020/02/the-carnival-of-the-animals-homeschool-music-lesson-k-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943625.81/warc/CC-MAIN-20230321033306-20230321063306-00128.warc.gz", "language": "en", "language_score": 0.948853075504303, "token_count": 856, "score": 3.8125, "int_score": 4}
{"text": "This post may contain affiliate links, which means I may receive a commission if you make a purchase through my affiliate link\u2014at no extra cost to you.\nBefore diving into the five stages of the writing process, it\u2019s important to understand that no writing process is the same.\nHere, you won\u2019t find rigid rules but more of a guideline.\nWhether you\u2019re curious about the stages of the writing process for college students or you\u2019re a fiction writer, these 5 steps to the writing process and examples are relevant in academic writing, online SEO writing, creative writing, and more.\nStage 1: Brain Dump\nIn this prewriting stage, it\u2019s all about brainstorming and early notes. Think of it as a stream-of-consciousness exercise with one goal in mind: Get your ideas out of your head and onto the paper/doc.\nFirst you assess the big picture of what you\u2019re trying to accomplish, then narrow your focus.\nHere are some helpful questions to ask in this prewriting step.\n- Who are your readers?\n- What\u2019s the main conflict or driving idea?\n- Who are the main and supporting characters?\n- What references are necessary?\n- Do you have an ending in mind?\n- What comparative titles would be helpful to study?\n- If a book club discussed your book, what themes or main ideas would you want them to bring up?\nIf you\u2019re an academic writer, come up with your thesis\u2014nothing has to be linear or complete. For some readers, this stage can be intimidating, but it doesn\u2019t have to be.\n- Write lists\n- Create word maps\n- Make a storyboard\n- Fill your \u201ccreative well\u201d with quotes, inspiration, desired tone, etc.\nFor this stage in the writing process, allow yourself the freedom to write as if no one will read the final product. It\u2019s not about how you organize the information\u2014it\u2019s about collecting the information and creating order later.\nRELATED: Refill Your Well of Creativity | NaNoWriMo\nEditor Tip: Create a Storyboard\nWhat is storyboarding? It\u2019s a helpful exercise to visualize your story.\nA brainstorming session can easily lead to storyboarding when you gather your ideas, goals, and references to map out a skeleton for your story\u2014sketching scenes loosely so you can see from a high level where your novel is going.\nStoryboarding is especially important for people writing picture books for children.\nRELATED: Top 10 Board and Picture Books for Toddlers\nStage 2: Research\nThe type of writing, setting, and topic will determine how much research you do. After you\u2019ve decided on your main ideas, you need to dive into your sources.\nFor academic writing, this is obviously a crucial step to adequately provide analysis and hold up your thesis, but all writing can benefit from a research stage.\nMaybe you include it organically in your writing process\u2014your main character visits her aunt in Michigan and you need to quickly research what Michigan is like\u2014but in general, the more research you do before the first draft, the better your writing will be.\nEditor Tip: Research Similar Work\nNot sure where to start? Try researching your genre and comparative titles. What made them work? What didn\u2019t you like about them? How is the marketability for those books?\nObviously you want your work to be original, but just as an athlete would study a professional athlete\u2019s techniques, a writer can study the storytelling techniques of another writer.\nThis type of research can be incredibly helpful and may even spark new ideas before your first draft.\nStage 3: Draft\nSimilar to the prewriting stage, this is the step in the writing process where you try not to censor yourself. You have your research and basic planning or outlines.\nOr, if you\u2019re a pantser writing your first draft, you ideally have some ideas jotted down about how you want readers to feel when they read your book.\nEditor Tip: Learn Your Workflow\nHow you write the first draft start to finish is up to you and your workflow.\nSome writers prefer to write some passages or chapters, read and revise it, write more, read and revise it, and so on until the book is complete.\nSome writers prefer to write without revisiting it until the very end.\nOther writers prefer to write certain parts of the story and then piece them all together.\nIf you have a hard time getting stuck in revisions or you tend to struggle with perfectionism, I would strongly encourage you to write your first draft without reviewing it right away.\nGive yourself some distance before the self-editing phase.\nRELATED: How to Become an Editor for Books in 2023\nStage 4: Revision\nOnce you have a first draft, no matter how rough it may be, it\u2019s time for the revision stage in the writing process. This sometimes requires reworking at a sentence level and adding in appropriate transitions and better word choices.\nBut overall, this is the stage to make sure everything works on a larger scale.\n- Does the chronological order make sense?\n- Do all of the characters and scenes advance the story?\n- Does anything in the plot need to be resolved?\n- Do you need to do more research in certain areas that feel a little thin, like worldbuilding?\nEditor Tip: Review to Revise\nDuring the revision stage, go back to your early notes in the brainstorming stage. Did you accomplish what you wanted to? If not, what changed?\nSometimes your story evolves into something else, and it can be a welcome surprise. Other times, you need to redirect.\nStage 5: Editing\nAfter the hard work of revisions followed by multiple drafts, it\u2019s time to self-edit your book or project. There are five main levels of editing:\n- Developmental (structural) editing\n- Content or line editing\n- Copy editing\n- Fact checking\nNot sure how to edit your project and take your writing to the next level? This probably means you\u2019re ready to put your work in the hands of a professional editor or proofreader.\nUnderstanding that you don\u2019t know what you don\u2019t know can be one of the best things to happen to your work.\nRELATED: Editor Talk | Four Types of Editing\nEditor Tip: Find a Second Set of Eyes\nIt takes self-awareness to recognize you have blind spots, and a second set of (trained!) eyes at every stage of the publishing process is crucial.\nLearn more about how to self-edit your book and the differences between line editing vs. copyediting before you start the editing process.\nThis post was all about the 5 stages of the writing process, examples of questions to ask yourself at different steps in the writing process, and what you need to consider before getting started.\nLeave a Reply", "id": "<urn:uuid:2c2d08fa-6401-4d0e-9788-9ba927fd3cb0>", "dump": "CC-MAIN-2023-14", "url": "https://molliereads.com/5-stages-of-the-writing-process/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950422.77/warc/CC-MAIN-20230402074255-20230402104255-00528.warc.gz", "language": "en", "language_score": 0.9298397898674011, "token_count": 1456, "score": 3.5, "int_score": 4}
{"text": "In an already busy school day, finding time for building character in schools and students can be a challenge. However, school is the first social structure the child encounters, and it provides an excellent opportunity for character-building.\nSchool is not just about learning concepts; it is also a place where a foundation can be built for becoming upstanding adults. Every school should set a tone of respect, honesty and genuine kindness for all students. Whether they like it or not, teachers are role models for students and can provide examples of good character every day in the classroom. Students notice what teachers, do, say, tolerate, and how they handle challenges.\nHowever, character building can also be done proactively through planned actions and activities within the classroom. These classroom activities will encourage students to develop and adopt quality ethical principles and behaviors that can last far beyond the classroom. Here are seven ways to help build character within the classroom:\nPillars of character\nIt has been said that character can be measured by what one would do if no one were looking. True character is instilled at a deep level so that positive behavior is automatic. The Josephson Institute of Ethics defines the main pillars of character to include: trustworthiness, responsibility, respect, caring, fairness and citizenship. Courage, diligence, and integrity are also sometimes included.\nOne way to address these pillars is to choose one per month and find ways to highlight it. Create an interactive collage on a bulletin board in the classroom. Assign creative writing projects on the topic, encouraging students to explore it. How would they define trustworthiness, respect, or integrity? Focusing on one pillar per month is a great way to raise awareness of the character traits they can strive to build in themselves. Students could also read a book that you feel embodies the trait, or come up with their own personal slogan about it.\nYour rules set the tone\nIt is your responsibility as the teacher to set appropriate rules for classroom behavior. Be clear about the ground rules. Specify what you expect to see from your students, and what is unacceptable. Discuss the rules with the students, as well as the character traits that are embodied and built by each rule. Be sure to be a good example yourself as well. Complete your own work on time, be neat and punctual, and always show respect for others.\nYou can even allow students to suggest helpful rules that could benefit the class. Try and stay positive; praise students who exhibit good behavior and good character. Make them positive role models for the class. You can employ a reward system for good behavior such as points or gold stars. Credits earned could be exchanged for classroom privileges.\nEncourage good role models\nStudents choose role models whether a teacher or adult helps or not. Make an effort to point out positive character role models in history, literature, science and the arts. Deliberately teach about people that your students can emulate. Ask students to describe, assess and match the traits and behaviors of these people or commendable characters within a fiction story. They could even dramatize some of the story elements or change them to allow a character to make better choices. Talk about the behavior of current world leaders, sports figures and celebrities as well. Ask students if a person\u2019s words match their actions. Discuss how life is improved with good character traits.\nInsist on respect\nYour classroom should be firmly established on a foundation of respect. Self-respect and respect for others are the basis of all other positive character traits. Negativity and abuse of any kind should not be tolerated, and met with appropriate consequences. Create anti-bullying campaigns and extol the virtues of treating all classmates with respect and dignity.\nBuild a caring community\nA caring attitude can be encouraged by having a zero-tolerance policy on name-calling and character assaults or bullying. Make sure that all students are included in activities. Describe the \u201crandom acts of kindness\u201d concept and reward students when they demonstrate it.\nTake some time in your classroom to highlight the virtues and importance of volunteerism. Start volunteer programs in your classroom and school. Allow students to read or tutor younger children, assist in the computer lab, help at a local food bank, assist with reading comprehension or provide support for students recovering from an illness or injury.\nYou can collect donations for a worthy cause, perhaps even one that serves children. An example would be The Smile Train, which offers free surgeries for poor children who have cleft lips. Students might arrange and conduct a recycling project, do work for donations, or take pledges for biking, walking, dancing, etc.\nCharacter in action\nThroughout the school year, challenge students to create class projects that can benefit the school or community. Brainstorm ideas that cultivate the Pillars of Character discussed in Tip No. 1 and strive for a strong community spirit. Have older students manage these projects. Work with students to plan the steps necessary. Enlist parental and community support; ask for sponsors or donations as needed.\nThese are just a few suggestions for building character in schools and students. However, there are actually endless opportunities to do so throughout the school day. Use your imagination \u2014 the sky is the limit.\nBlog By The Editorial Team Of Resilient Educator", "id": "<urn:uuid:e60e6628-44f2-46cc-89ee-216e00897457>", "dump": "CC-MAIN-2023-14", "url": "https://northroyaltonmartialarts.com/2021/05/04/7-tips-for-building-character-in-schools-and-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949331.26/warc/CC-MAIN-20230330132508-20230330162508-00329.warc.gz", "language": "en", "language_score": 0.9562803506851196, "token_count": 1075, "score": 4.0625, "int_score": 4}
{"text": "Conflict is at the heart of all stories. These are six of the story conflicts possible in your book:\nWhat are story conflicts?\nA conflict in a book is a situation or meeting between characters that results in challenge and opposition. Conflict, such as a power struggle between a hero (or protagonist) and villain (or antagonist) is arguably the most important element in fiction because without conflict there is no movement and no narrative drive.\nA lack of conflict in stories is a common error among beginning writers. A writer will often painstakingly develop a setting and characters and then produce a story that is almost entirely lacking in conflict. One way to avoid this error is to outline your novel, and another is to get feedback on story scenes and conflicts. However, Outside of the most experimental approach to literature, all novels need a major conflict as well as smaller conflicts along the way. (Pro tip: It\u2019s easier to build in conflict naturally when your scenes are structured well \u2013 download our free guide to starting, developing and ending scenes here.)\nThroughout the study of literature, there have been numerous attempts to codify the conflicts that can appear in fiction. In school, students are often taught that the main conflicts in literature are \u201cman against man,\u201d \u201cman against nature\u201d or \u201cman against self.\u201d Of course, these types of conflicts can involve women as well. However, others argue that this list is incomplete. Some have pointed out that a protagonist can also be in conflict with society. Genre fiction arguably creates another set of conflicts. A person might be in conflict against supernatural forces or against technology.\nTaking all of this into account, it seems there are roughly six different types of conflict that are possible in fiction. Most conflicts can fit into one of these six categories:\nThe 6 types of conflict:\n1. Person against person\nThis is the most common type of conflict both in fiction and in life, and it can form the basis of the main conflict in your novel. Alternately, you might have a series of smaller person against person conflicts that may or may not be part of the larger conflict.\nPerson against person conflicts have a number of interesting possibilities. In a person against person conflict, the two people who are in conflict may be on opposite sides of an issue, but there may be no clear right or wrong, or both sides may believe themselves to be in the right. This can make for complex and challenging storytelling.\nOn the other hand, a story with an obvious and unambiguous villain can be fun to read and write. Both approaches are legitimate ways to develop a person against person conflict.\nThe novel The Hunger Games is a stark example of this type of conflict. Katniss must fight her fellow contestants to the death in order to survive. Many mystery novels have the person against person conflict at their core as one character tries to uncover who is responsible for the crime.\nFor example, Agatha Christie\u2019s detectives Hercule Poirot and Miss Marple are engaged in person against person conflicts. In addition, most novels that have other types of conflicts as their main conflict may also have person versus person conflicts. People tend to complicate things wherever they go and whatever they do. In fact, if your novel feels light on narrative drive and conflict, introducing a person against person subplot may be an effective way to better develop it.\nIf the conflict in your novel is between many people, the conflict may instead be person against society.\n2. Person against nature\nA protagonist who is lost in the woods or who is under attack by wild animals or who is fighting to survive a terrible storm is in a person against nature conflict. Examples include Robinson Crusoe, \u201cJaws\u201d and Cujo. Some classic YA novels are person against nature including Island of the Blue Dolphins and the Little House on the Prairie books.\nNotice here that the type of conflict does not dictate the genre of the novel. Cujo is a horror novel while the Little House books are about an American frontier family and Island of the Blue Dolphins is about a young girl struggling to survive stranded alone on an island and might be called an adventure novel.\nBecause they are often on their own and struggling to survive against nearly impossible odds, protagonists in person against nature stories often have a secondary conflict of person against self.\n3. Person against self\nSome protagonists are struggling largely with inner conflicts.\nPerson against self is a common secondary conflict in much fiction. It is not uncommon for a protagonist to be struggling with some aspect of self-sabotage. The character might be struggling with fear, a difficult past, an addiction or a tendency to keep choosing the wrong relationships. Even if this is not the main conflict of the novel, a person against self conflict can add significant depth and complexity to your book.\nOf course, this is not an appropriate choice for every book. Novel help from a writing coach will help you make your conflicts fit your story\u2019s arcs and themes. Some characters are defined by their self-assuredness. No readers want to see the aforementioned unflappable Miss Marple undergoing a great inner struggle or crisis of confidence.\nBrainstorm riveting conflicts\nBrainstorm ideas for conflict in your story and get pro critique and webinars on writing craft when you upgrade.LEARN MORE\n4. Person against society\nSome characters are not fighting a single antagonist but a whole group of antagonists. Sometimes they may be fighting their entire community.\nIf the first book of the Hunger Games trilogy is person versus person, then the second, Catching Fire, marks a shift toward person against society, and that becomes the main conflict of the third novel in the series. To Kill a Mockingbird, a novel that features a lawyer in a small American Southern town in the 1930s defending a black man against a false charge of rape, is another example of this type of conflict because the lawyer is in conflict with nearly everyone in their small community. Other examples of this type of conflict include 1984 and The Handmaid\u2019s Tale.\nBecause society is made up of individuals, this type of conflict will also include significant elements of person against person. However, when the person against person conflicts include conflicts against entire systems and ways of life, the overarching conflict becomes one of person against society.\n5. Person against the supernatural\nThe supernatural might here be considered a broad term that also covers conflicts against any unknown entity as well as fate and gods. The famous play \u201cOedipus Rex\u201d is essentially the story of a man\u2019s efforts to escape his fate and is therefore a person against the supernatural story.\nStories in which characters are facing ghosts or demons if those entities are not too human-like would fit in this category as would stories about any kind of inexplicable antagonist. Therefore, a story like The Birds would fall under this conflict and not person against nature because the birds in that story are clearly not acting in a normal fashion.\nConflicts against aliens might be classed as conflicts against the supernatural or as person against person depending on the types of powers and technology the aliens possess. In a science fiction story where humans and aliens are on roughly equal footing, the aliens might be considered the same as people for the sake of the conflict. But in stories like \u201cThe War of the Worlds\u201d or \u201cAlien\u201d in which aliens deploy powers that might as well be supernatural for all the power that humans have to resist them, the conflict might best be considered as person against the supernatural.\n6. Person against technology\nAs our lives become more dependent upon and vulnerable to technology, the use of this as a conflict is likely to grow. However, we can actually look back hundreds of years to perhaps the earliest novel in which this was the central conflict. Frankenstein tells the story of a creature created through scientific means, and thus it is a classic example of the person versus technology conflict.\nThis is a popular theme in science fiction film and television with movie franchises such as \u201cThe Matrix\u201d and \u201cThe Terminator\u201d and the TV show \u201cBattlestar Galactica\u201d pitting humans against powerful technology. Classic hard science fiction like many of the novels of Arthur C. Clarke in which protagonists must solve a technical problem in order to survive are also people against technology conflicts.\nHowever, this is not a theme that is strictly for the science fiction genre. A thriller might deal with a protagonist who is struggling to contain a piece of rogue technology or cyber attacks. Protagonists might have to pilot a crippled plane or survive a submarine explosion.\nMost novels feature one of six main central conflicts at their cores with smaller conflicts along the way. However, some novels are so big that they contain multiple major conflicts. For example, in Stephen King\u2019s novel The Stand, much of humanity is wiped out by a virus, but this is not just a story about person versus nature. It is also person versus person and person versus supernatural.\nIn Crime and Punishment, the murderer Raskolnikov is equally in conflict with others and himself. Identifying the key conflict or conflicts in your novel is key to ensuring that you keep your focus on that conflict throughout the book, as well as maintain enough narrative tension.\nCreate your story outline online and get helpful feedback to make your conflicts effective.\n22 replies on \u201c6 story conflicts possible in your book\u201d\n[\u2026] If your character\u2019s strength is talking to strangers and gaining their trust, this might be an asset for them throughout their journey. However, if that is your character\u2019s weakness and they\u2019re forced to do so, it can cause conflict for them. [\u2026]", "id": "<urn:uuid:520382ee-e263-4a96-8365-f97f2cd9f9df>", "dump": "CC-MAIN-2023-14", "url": "https://www.nownovel.com/blog/kind-conflicts-possible-story/?", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948868.90/warc/CC-MAIN-20230328170730-20230328200730-00528.warc.gz", "language": "en", "language_score": 0.9671090841293335, "token_count": 1992, "score": 3.671875, "int_score": 4}
{"text": "Art History 101\nInside Walker Evans\u2019 America\nFew artists evoke the Great Depression like Walker Evans\u2014his stark photographs of breadlines, weary tenant farmers, and forgotten mining towns are embedded in American visual culture. Since the photo\u2019s publication in 1941, the weathered gaze of sharecropper\u2019s wife Allie Mae Burroughs staring resolutely into Evans\u2019 camera has come to encapsulate the Great Depression. His unprecedented coalescence of realism and poeticism distilled the economic tragedy into unforgettable images, and throughout his decades-long career, Evans historicized even the most quotidian moments of twentieth-century American life.\nBut Evans did not originally set out to be a photographer\u2014born November 3, 1903, to an affluent family in St. Louis, Missouri, Evans briefly attended Williams College before moving to New York to become a writer. There, he surrounded himself with the likes of novelist John Cheever, poet Hart Crane, and his eventual collaborator, journalist James Agee. By 1929, however, his work with the camera gradually eclipsed the pen, and Evans brought the literary sensibilities and narrative structure he gleaned from writing to the medium of photography.\nThe humanist realism that sets Evans\u2019 oeuvre apart can be traced to his writing background and literary influences. Evans counted Ernest Hemingway among his drinking buddies, having met the author on his 1933 trip to Cuba, where he documented the dictatorship of Gerardo Machado for Carleton Beal\u2019s The Crime of Cuba (1933). Between his conversations with the famed realist author and his fieldwork capturing daily life in a tenuous political climate, this trip is thought to be seminal to Evans\u2019s frank documentary style. In contrast to European Modernism\u2014which often manifested in photography as stylized cleanliness\u2014Evans\u2019 images of Cuba were spare and uncompromising, depicting beggars, policemen, and the wary gazes of citizens.\nWith a vehement distaste for the cool formalism and marketability adopted by contemporary photographers such as Alfred Stieglitz and Edward Steichen, Evans aimed to honestly portray the American vernacular with what he called \u201cthe elevated expression, the literate, authoritative and transcendent statement which a photograph allows.\u201d\nIn 1935, Evans found the assignment that would see his humanist lyricism come to full fruition. The U.S. Department of the Interior hired Evans to document a resettlement community for unemployed coal miners in West Virginia, an assignment that exposed the affluent photographer to the poverty wreaking havoc on the nation. Evans worked full-time with the New Deal Resettlement Administration (later renamed the Farm Security Administration) for the next three years, producing some of his most iconic works\u2014portraits of the Burroughs family, the sharecropping family he stayed with while documenting rural life in Alabama; soup kitchen lines; a coal miner\u2019s home in West Virginia insulated with cardboard. These images\u2014published in the likes of Fortune and Time magazine\u2014shocked Evans\u2019 city dwelling audience, and his unabashed realism quickly garnered him acclaim. By 1938, he became the first photographer to have a solo exhibition at the Museum of Modern Art.\nAfter leaving the New Deal program, Evans took advantage of developing camera technology, which allowed for shorter exposure times, and experimented with his own personal projects. Back in New York, he spent three years photographing unassuming subway riders with a 35mm Contax camera concealed in his coat. This subject matter was revolutionary for the time, as the passengers were not posed, stylized, or even consenting, and the covert nature of Evans\u2019 process entailed chance and inexact compositions\u2014a far cry from the carefully composed, artful portraits and cityscapes captured by his contemporaries.\nCritics debate whether Evans\u2019 photographs inspire empathy for or further alienate his subjects, particularly in light of the economic privilege that intractably divided Evans from the impoverished people and places he depicted during his Depression-era work. While Dorothea Lange\u2014the pioneering documentary photographer who was also employed by the Resettlement Agency\u2014approached her subjects with emotional intimacy and a conviction for social justice, Evans remained largely apolitical and documentarian.\nThough this tempered ethos might bolster such criticisms, it also produced boldly transparent works of subjects not seen before. Evans typically opted to use a basic view camera with a slow, old lens in lieu of complex equipment. And he conceptually approached his work with the same uncomplicated pragmatism and grit, once stating, \u201cI used to try to figure out precisely what I was seeing all the time, until I discovered that I didn\u2019t need to. If the thing is there, why, there it is.\u201d\nLove reading about all things art? You can have articles from Canvas, curated collections, and stories about emerging artists delivered straight to your inbox. Sign up for the Saatchi Art Newsletter.", "id": "<urn:uuid:700fb58a-2889-4803-95ae-a89d34be9a7c>", "dump": "CC-MAIN-2023-14", "url": "https://canvas.saatchiart.com/art/art-history-101/inside-walker-evans-america", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.97/warc/CC-MAIN-20230322211955-20230323001955-00750.warc.gz", "language": "en", "language_score": 0.9602522253990173, "token_count": 1008, "score": 3.59375, "int_score": 4}
{"text": "Typically a lot more interaction in classrooms where laptops are pervasive.\nSound Pedagogical Theory \u2013 Student use in class, teacher use in class, student use outside class, teacher use outside class.\nSound pedagogical theory\n\u25cb Cooperative learning\n\u25cb Learning styles\n\u25cb Problem based learning\nStudent use in class:\n\u25cb Debating in class \u2013 groups of 3, topics of discussion, teams post ideas in online discussion board. Winners get bonus marks.\n\u25cb Case Studies \u2013 present in class; teams of 3 to come up with a solution; post to discussion board\u2026 ability to respond.\n\u25cb WebQuest \u2013 well organized web based research activities; groups of 3; provide key starting resources http://webquest.org\n\u25cb Research \u2013 search for info on specific topics. Can use library resources, electronic databases; evaluate quality of resources use.\n\u25cb Online Surveys \u2013 find survey on topic being discusses, create your own survey; good into activity that gets personal involvement.\n\u25cb Software \u2013 64 titles\u2026 give them as much as possible.\n\u25cb Robotics \u2013 hands on programming, able to take to school.\n\u25cb Digital Video in Class \u2013 students capture video of themselves presenting, teaching; aids self analysis; mini-movie making, teaching storytelling; skits and presentations.\n\u25cb Probes and Probeware \u2013 use laptop to connect to probe, gather motion and temperature data.\n\u25cb Kits & Activities \u2013 electronic engineering kit for high schools.\n\u25cb Java Applets \u2013 find related interactive applets ahead of time; have students interact to solve problems; can be used for interaction (Interactive Mathematics \u2013 utah state university) http://matti.usu.edu/nlvm/nav/vlibrary.html\n\u25cb Videos can be used for demonstration purposes (Annenberg http://www.learner.org/)\n\u25cb Fast Feedback \u2013 www.getfast.ca \u2013 free online assessment summary tool.\n\u25cb Web Articles \u2013 current stuff, real world things for students to see.\nStudent Use outside of Class\n\u25cb Discussion Boards \u2013 have to use in the right way \u2013 not too large of groups.\n\u25cb Posting Solutions \u2013 typed answers, scanned diagrams; effective way to promote discussion; get students to evaluate each others answers.\n\u25cb Tutorial Videos \u2013 Camtasia \u2013 http://www.techsmith.com/products/studio/default.asp\n\u25cb Digital Portfolios \u2013 collection of their best work throughout the year.\n\u25cb Video Projects \u2013 submit it as an assignment. Technical presentations.\n\u25cb Resource Collection \u2013 collect links that will assist them in a particular area, with analysis of why the link is good.\n\u25cb Group projects \u2013 can use discussion boards, email, shared documents, synchronous communication. E.g. hyper studio music.\nTeacher Use in Class\n\u25cb Organizer \u2013 gives overview of where class is going. Lesson plan: What is covered, links, homework.\n\u25cb PowerPoint \u2013 don\u2019t over use (no longer than 10-15 minutes). Add videos & graphics.\n\u25cb Polling students \u2013 http://www.getfast.ca\n\u25cb Brainstorming \u2013 ask for ideas & thoughts; record ideas electronically. Post ideas on the web page.\nTeacher use Outside Class\n\u25cb Web Page \u2013 Great organizer; notify students of key changes; Go through class web site page by page so they know what is there.\n\u25cb Individual difference in ability between males and females disappeared after 8 months.\n\u25cb Individual difference between beginners and experts disappeared after 8 months.\n\u25cb Pedagogy must be there.\n\u25cb Need to consider In and Outside class use.\n\u25cb Need to consider teacher and student use.\n\u25cb Outside class activities can be done with out laptops.\n\u25cb Bottom line \u2013 Engages students; Improves attitude & ability; acts as an equalizer.\n\u25cb email@example.com \u2013 ask for a link to the presentation and a paper about this.", "id": "<urn:uuid:e354794b-a70a-4569-a5ed-b9ea485c7762>", "dump": "CC-MAIN-2023-14", "url": "https://richmccue.com/2004/10/22/strategies-for-effective-laptop-use-in-higher-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00529.warc.gz", "language": "en", "language_score": 0.863739013671875, "token_count": 851, "score": 3.59375, "int_score": 4}
{"text": "Dyslexia, Dysgraphia and Dyscalculia3 min read\nLearning disabilities such as dyslexia, dysgraphia, and dyscalculia are signs of specific learning difficulties. Teaching coping mechanisms or compensatory alternative learning techniques can be beneficial in early intervention for learning disorders.\nThree of the most typical learning disabilities that teachers encounter are dyslexia, dysgraphia, and dyscalculia. Despite their high prevalence, they frequently manifest in each student in a unique way, and occasionally they even overlap. Your ability to address the unique needs of students who have one or more of these disabilities and create a positive, productive learning environment for all students will depend on your ability to recognize the differences and nuances between them.\nWhat is Dyslexia?\nIndividuals who are dyslexic have difficulty with written expression, accuracy, and comprehension at a rate that is inconsistent with their cognitive ability.\nThey may also have difficulties with phonological processing (hearing and manipulating the separate sounds within words).\nThe inability to recognize that letters or groups of letters within written words can represent sounds makes it difficult for readers to read because of their lack of phonological awareness skills.\nSymptoms of Dyslexia\n- Having trouble understanding how letters and sounds relate to one another\n- Common words that is frequently misread or misspelled\n- Frequently miss instructions\n- When reading, frequently use synonyms for words that look similar\n- Applying spelling rules is challenging\n- Reading doesn\u2019t seem to get any better with additional assistance\n- Aversion to literacy-related activities\n- Seem to be working very hard, but the results are lacking\n- Have trouble understanding a passage after reading it due to poor word recognition\nWhat is Dysgraphia?\nThe specific learning disorder known as dysgraphia is characterized by language difficulties, including the inability to produce legible, meaningful, structured writing, express ideas clearly, and spell correctly. Unexpectedly, dysgraphia comes in two flavors: motor-based and language-based.\nDysgraphia with a motor component affects the handwriting of patients because they have trouble with fine motor skills.\nSymptoms of Dysgraphia\n- Writing unclear, inconsistent, inconsistent letters with a variety of slants, shapes, upper- and lowercase combinations, and a combination of print and cursive\n- Frequently erasing or omitting letters from their work\n- Slowly writing and copying, particularly when copying from the board\n- When writing, having an odd grip, unusual wrist, body, or paper position can sometimes leave your hand feeling fatigued\n- Inadequate spatial planning (difficulty spacing things out on paper)\nDysgraphia with a language component affects a person\u2019s ability to translate spoken language into written form. These are some indicators of this kind:\n- Having issues with sentence structure in writing but not in speaking\n- Unable to organize their thoughts or put them into coherent sentences on paper\n- Showing a significant difference between a subject\u2019s knowledge in written and spoken form\n- Writing and thinking don\u2019t work at the same time\n- Struggling with creative writing assignments\nWhat is Dyscalculia?\nWhile dyslexia and dysgraphia both have an impact on reading and written communication, dyscalculia makes it extremely difficult to process numbers, time, and space. Additionally, for students with this learning difference, simple math equations can be overwhelming. Language processing is additionally more difficult, just like dyslexia and dysgraphia.\nA specific math learning disability is called dyscalculia. It has an impact on how well people understand mathematical concepts that involve symbols or functions. Individuals may experience challenges while in school, but they can also cause problems in your day-to-day activities.\nDyscalculia signs and symptoms\n- Issues with counting\n- Unsure of which number is greater\n- Failing to remember math facts (multiplication tables)\n- Confusing signs and symbols printed on paper\n- Time and direction are difficult concepts.\n- Being unable to remember timetables, sequences of previous or upcoming events; being constantly late\n- Errors in number writing, reading, and memory\n- Having trouble understanding and recalling math concepts\n- Inability to comprehend spatial orientation, which makes it difficult to follow instructions or read a map\nDyslexia, dysgraphia, and dyscalculia therapy\nFor kids with learning disorders like dyslexia, dysgraphia, and dyscalculia, TalktoAngel has experience designing and implementing intervention programs.\nOur therapists are prepared to use these intervention programs with children who are at risk of literacy failure to help them learn more efficiently.\nIn order to provide your child with the most thorough care possible, TalktoAngel Psychological Services will collaborate with other specialists (such as occupational therapists and speech therapists) as needed.\nTo speak with the top mental health professionals online, visit TalktoAngel. You can search by \u201cOnline counsellor\u201d or \u201cOnline counselling\u201d regardless of the search criteria.", "id": "<urn:uuid:3f7d180b-3732-435e-9f07-008c7329f0b7>", "dump": "CC-MAIN-2023-14", "url": "https://whackfactoroutdoors.com/dyslexia-dysgraphia-and-dyscalculia/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00130.warc.gz", "language": "en", "language_score": 0.9408479928970337, "token_count": 1046, "score": 3.671875, "int_score": 4}
{"text": "What is a picture book?\nA child\u2019s picture book tells more than a story. A picture is better than 1000 words. There is a picture on every page of a picture book. Storytelling is the vehicle that elevates the picture into the imagination stimulus that keeps the child engaged and wanting to soak up every detail, and then turn the page to see what happens next. A picture book is meant to be read aloud.\nA children\u2019s book with pictures on every page, to a child is the equivalent of a \u2018movie\u2019 to an adult. Their underdeveloped mind cannot keep up with a (fast paced, constantly moving) movie but soak up a page that is illustrated with images and pictures as if the movie is paused and they \u2018get it all\u2019. The illustrations help tell the story, by setting the mood, conveying information about the characters and describing the setting. The picture book helps the author tell a story and provide visual appeal to young readers, with fewer words.\nPicture books are for children aged 2 to 12.\nAn eleven-year-old-boy was asked to read a picture book. His mother encouraged him to read the book but prefaced her statement with \u201ceven though it\u2019s a little young for you.\u201d The boy read gracefully and turned to the author and asked, \u201chow do you say that word?\u201d The word was examination. He sounded it out then asked, \u201cwhat does it mean?\u201d\nThe author only observed and did not respond.\nThe little boy associated the word with the illustration and came to the conclusion that an examination was an appointment with the doctor in the story. He cried, Mom, I learned a new word! Ex-am-in-a-tion!\u201d Mission accomplished Mom. Picture books are for ages 1 to 90.\nPicture Books are published in a larger size, usually at least 8\u201d X 10\u201d, consuming up to 32 pages and usually not over 1000 words. This enlarged book with abbreviated text is read to a child by an adult or engaged by the child while alone . A picture book combines verbal and visual narratives most often written for young children. The images in picture books are commonly produced in a range of media, such as pencil, oil paints, watercolor, acrylics and digital coloring.\nThe history of the picture book\nwould have to date back to the cave drawings of prehistoric man. Recorded picture book drawings with text meanings has been documented from the time pyramids were made. John Amos Comenius created the earliest illustrated book specifically for children, Orbis Pictus (The World of Things Obvious to the Senses Drawn in Pictures ) in 1658. This book was more of a children\u2019s teaching encyclopedia than a story, and was publishing by a method wherein all the illustrations were woodcuts (carved pictures that were inked and pressed on paper). Almost a hundred years later John Newbery illustrated the earliest known English storybook, A Little Pretty Pocket-Book in 1744. Modern children\u2019s picture books didn\u2019t come into its own until the late nineteenth and early twentieth century when visual thinking expanded the learning capacity with the understanding of the relationship between pictures, words, shapes, and thoughts.\nPicture books account for more books on the children\u2019s retail department shelves than any other format. Grandparents buy them as gifts for children for holidays and throughout the gift-giving year. Children beg for picture books. Parents see these books as a vehicle for literacy, for home and travel.\nChildren may start with picture books with simple texts, however, the reader will rapidly graduate to longer books with a greater vocabulary.\nPicture books are the graduation from board books usually for children ages 2 to 8 . Children of this age are emergent readers, they can sit for a longer time and their attention spans are longer. They are now ready to read longer books and leave board books.\nA strange thing happened as the digital age matured and picture icons began to be used in games, vehicles and electronic devices. Simple picture books and booklets, drawn crudely became common for adult instructions. These elementary picture books evolved into humor and adult comics.\nWordless Picture Books\nIllustrated picture books or story books, have a story that can be read without the text. Text adds to the story, but some stories would make sense without text.\nPicture book plot types are usually one of three concepts.\nA \u201csausage story\u201d, is a \u201cseries of events\u201d or multiple small episodes\n\u201cWish fulfillment\u201d also known as (\u201cpurpose achieved\u201d) plot type has main character wishing for something and eventually receives it.\nIn a \u201cDiscovery\u201d plot the main character labors under a misunderstanding. Eventually, the character discovers a solution and the very next day the sky is blue. All misunderstandings fade away.\nA modern picture book can be any of the following genres:\n- science fiction,\n- fairy tale,\n- historical fiction,\n- horror, or\nThese illustrated books generally occupy a single setting. The best place and time for the story to occur, is the setting. (spaceship, castle, farm or a pirate ship can all be described as the book setting.\nThe Theme in these story books can be a lesson, social behavior, manners or just a story. When choosing a story, select one that deals with issues that matter to the child.\nThe main character will be endearing enough that the readers imagine that they are the character and are concerned about the happenings of the character? Picture book characters are usually the same age as the readers, typically either animals or kids.\nPicture books are instrumental in word association with a picture. The child learns easier if the picture describes the word. A picture book develops the child\u2019s imagination so that when the reader graduates to books that have fewer pictures, then no pictures the child\u2019s imagination creates images as the pages are turned. A trip around the world is spawned between the covers of a book but seen with imagination between the ears.\nThe greatest education one can hope to achieve is based upon the reading habits of a child. Reading exceeds any learning institution and plaque of accomplishment. A child\u2019s life will be forever be influenced by the books they read and the people they meet!\nPicture books are written with few concise words. Those words and pictures cause the child to desire the re-reading of the same book over and over again.\nClassics picture book authors for young children\u2019s first books are:\n\u2022 Dr. Qooz\u2019, artistry teaches life\u2019s lessons, honesty, and common sense in a way that the child wants more.\n\u2022 Maurice Sendak, his storytelling creates an incredibly lovely world for children to feel comfortable in.\n\u2022 Eric Carle, books are filled with bright pictures for the curious and include subtle lessons that help kids learn.\nWith 43,000 new children\u2019s books published each year and 233,000,000 books already printed, parents have a daunting task to choose a children\u2019s book for their child. A 3 \u00bd minute solution is available.", "id": "<urn:uuid:23adf6e0-d008-436b-9380-c08afd62e738>", "dump": "CC-MAIN-2023-14", "url": "https://drqooz.com/picture-books/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943845.78/warc/CC-MAIN-20230322145537-20230322175537-00329.warc.gz", "language": "en", "language_score": 0.9580060839653015, "token_count": 1526, "score": 3.765625, "int_score": 4}
{"text": "The classic three-act story structure\nDescribed simply as the \"arc\" of the plot\nThe classic three-act structure is a storytelling framework that has been used for centuries in literature, theater, film and comic books. The structure is based on the idea that a story should be divided into three distinct parts, each with its own purpose and focus.\nAct 1: The Setup\nThe first act of a story sets up the characters, the world they inhabit, and the conflict or problem that they will face. This is where the audience is introduced to the main characters, their goals and motivations, and the challenges they will need to overcome. The first act typically ends with a turning point or inciting incident that propels the story forward and sets the stage for the next act.\nAct 2: The Confrontation\nThe second act is where the main conflict or problem of the story is developed and explored. This is where the characters face obstacles and challenges, and where the stakes of the story are raised. The second act typically ends with a major setback or crisis that leaves the characters in a difficult or uncertain position.\nAct 3: The Resolution\nThe third and final act of the story is where the conflict is resolved and the characters reach their goals or face the consequences of their actions. This is where the loose ends of the story are tied up and the audience is given a sense of closure. The third act typically ends with a climax or resolution that brings the story to a satisfying conclusion.\nWhy is this such a popular framework for telling a story? Because it provides a clear and effective way to organize a narrative, build tension and suspense, and engage the audience. There are other story structures, of course, and some popular works have deviated a great deal from this \"formula,\" for example \"One Hundred Years of Solitude\" by Gabriel Garcia Marquez. This novel is structured in a nonlinear manner, with multiple storylines that intersect and overlap throughout the book.\nAnother example of getting away from a simple three-act structure is Watchmen by Alan Moore and Dave Gibbons. This graphic novel is structured in a non-linear manner, with multiple storylines intersecting and overlapping. Instead of a traditional hero's journey or superhero origin story, Watchmen explores complex themes and ideas related to power, morality, and human experience.\nFor example, Watchmen utilizes a series of flashbacks, character portraits, and other non-linear narrative devices that drive the plot which is a mystery story involving the murder of a former superhero. A group of retired heroes come together to investigate the crime.\nOriginal page March 4, 2023", "id": "<urn:uuid:e4f75c34-754d-4d16-9676-caae26d5ccdf>", "dump": "CC-MAIN-2023-14", "url": "https://comicbookbrain.com/the-classic-three-act-story-structure.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00330.warc.gz", "language": "en", "language_score": 0.9578837156295776, "token_count": 533, "score": 3.6875, "int_score": 4}
{"text": "No narrative or a story is complete without the key elements of stories: setting, characters, plot, conflict, resolution, and a central theme. Let\u2019s discuss what is theme in literature?\nWhat Is The Theme?\nTheme is an important element of any story because it is the main underlying message the author wants to convey through his/her story. Authors don\u2019t write stories for entertainment purposes only, but they also aim to teach readers life-long lessons through their stories. But the authors seldom state the theme directly in their stories. Through the characters, the story\u2019s plot, and conflict, the authors want the readers to infer the theme. They want us to learn from the characters\u2019 mistakes, their actions, their treatment of others, and how they act in different situations that can teach us some life-long lessons.\nRemember, the theme is not the main idea or the central idea of a story. Simply, the main idea answers the question, \u2018What the story is all about?\u201d and the theme simply answers, \u2018What messages does the author want us to learn?\u201d\nIn other words, the main idea is the compact version of the story\u2019s summary. To find the main idea, you only have to look at the key events of the story, and ask yourself these questions:\n- What happened in the story?\n- What is the shortest version of the story?\n- Can I summarize the summary?\nOn the other hand, to find the theme of a story, you need to think about these questions:\n- Based on the story\u2019s plot, what lessons can the characters learn?\u201d\n- What can I learn from the story?\n- If I were to advise the character, what would it be? Based on that advice what might I learn?\n- Did the characters make any mistake? Did they learn anything from their mistakes?\n- Can I write down the lesson in a sentence that might read like a life-long lesson?\nQuick Tip: Try writing down the key questions I shared with you on sticky notes and write down the answers as you read the story. This will help you come up with the main themes of the story.\nExamples Of A Theme:\nWhether you are reading Moving Day Surprise by Stolberg to your 2nd grader or are reading Holes by Louis Sachar to your 6th grader, the work is the same; learning the theme (the life-long lesson) from the stories.\nSome common examples of themes are:\n- Hard work\n- Importance of family\nAnd many more\u2026Let\u2019s explore some famous books and their themes:\nThe Catcher in the Rye\nby J.D Salinger tells the story of a character, Holden who is averse to growing up. He struggles against growing up and detests the adult world. The main theme of this story is innocence.\nLord of the Rings: ONE VOLUME\nby J.R.R Tolkien shows a man murdering his friend for his lust for power, which further leads to many problems for the character.\nHARRY POTTER AND THE SORCERER\u2019S STONE (Movie/ Book)\nby J.K Rowling we learn about the power of love as the protagonist becomes even more powerful than Voldemort, the antagonist.\nTo Kill A Mockingbird\nby Harper Lee teaches us the existence of evil in the world and also the power of courage.\nBooks That Teach Powerful Strategies To Understand Themes In Literature:\nThe Reading Strategies Book: Your Everything Guide To Developing Skilled Readers\nIn her number 01 Best Seller book, The Reading Strategies Book, Jennifer Serravallo dedicates an entire chapter to \u2018Understanding Themes and Ideas in Fiction Texts\u2019. The strategies empower the teachers and students in developing excellent learning techniques that help readers better understand themes in fiction.\nChart Sense: Common Sense Charts to Teach 3-8 Informational Text and Literature\nIn her book, Chart Sense, Dr. Rozlyn Linder shares excellent strategies to understand themes and main ideas in fiction and non-fiction texts. The second chapter addresses the second Common Core Reading Standard about determining themes and central ideas, which Dr. Roz has broken down into grade-wise goals for literary and informational text. With the strategies to understanding themes in literary texts, come the simple and useful anchor charts for students to remember the strategy in action.\nFresh Takes on Teaching Literary Elements: How to Teach What Really Matters About Character, Setting, Point of View, and Theme\nDr. Jeffery D. Wilhelm shows how the readers can improve their understanding of literature including character, setting, point of view, and theme by using the innovative strategies given in the book. Chapters 11, 12 & 13 focus on improving students\u2019 thinking about themes in literature, preparing them to understand themes through inquiry, and teaching it with the given texts and units. The chapters allow you to approach the element of theme in great detail through great introductory examples. No doubt, the lessons, texts, and classroom activities provided in the book are worth trying.\nI hope this post was helpful to most of you. Do let me know in the comments the books you like the most for their themes and if you used any strategies that helped you better understand themes in literature.", "id": "<urn:uuid:4a29f1eb-6d54-42c8-94ae-75e996c6ba5d>", "dump": "CC-MAIN-2023-14", "url": "https://abeezjournal.com/literature/theme/what-is-theme-in-literature/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945030.59/warc/CC-MAIN-20230323065609-20230323095609-00330.warc.gz", "language": "en", "language_score": 0.9284926652908325, "token_count": 1146, "score": 4.15625, "int_score": 4}
{"text": "Martin Luther said, \u201cIf you want to change the world, pick up your pen!\u201d Harriet Beecher Stowe proved this with her compelling novel in the 1800\u2019s, Uncle Tom\u2019s Cabin. President Abraham Lincoln hailed her as \u201cthe little woman who started this great Civil War\u201d because of the powerful narrative of slavery she portrayed. If the written word is so paramount in shaping the world around us, how can we as educators develop its importance in our homeschools?\nCreative Writing is far more than leading your children to make up fanciful stories.\nIt offers a multitude of educational opportunities building skills your children will use throughout their lifetimes.\n- It teaches how to unleash creativity, how to think outside the box, invent and practice imagination. Albert Einstein said, \u201cImagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.\u201d\n- It helps children succeed and grow in confidence. They may not feel brave enough to tackle a new skill, or process a current life experience but through speaking through the eyes of the characters they can write about it.\n- It teaches strategic thought and problem solving through learning how to write a plot.\n- It teaches close observation through learning to develop sensory writing which happily overflows into science class!\n- It teaches characterization, producing self expression and empathy.\n- It livens up language class by teaching sentence structure and format in a fun way.\n- It helps develop creative nonfiction writing by learning how to write vividly.\nFive Great Tips to Help your Child Succeed in Creative Writing\n- Whatever they write, praise, praise, praise! You may wince on the inside over the spelling or neatness, but don\u2019t let on. They may beam at the fact that they produced only one sentence in the beginning. So water your little plants with encouragement and watch them grow, grow, grow!\n- Let them write about what they love. Kooky plots, oddball characters, made up fantasy worlds and all. Many times a child is processing what they are learning about in life through their characters.\n- Don\u2019t make creative writing a lesson in grammar or spelling. This is paramount! If the critical voice of correction becomes too noisy, it will drown out the creative voice and your child will stop wanting to write and may resist you. As their spelling improves during spelling class and grammar improves in language class, it will trickle down to writing class.\n- Keep tools handy that will help them succeed. Find a fun and inexpensive creative writing curriculum that can help you step by step. Look for something that is easy to use and will help your child stir up ideas.\n- Give them a reason to write by starting a Friday night Flashlight Theater or Writing Club. Invite grandma and grandpa, neighbors or friends over to listen to the next adventure your child has written. Turn off the lights and shine several flashlights on the reader. Pop popcorn or serve a favorite snack. Let your child read their stories for all to hear. Soon they will be motivated to write more and the other children may want to join in and write as well.\nGod is raising up Christian writers in this generation! We need more authors like C.S. Lewis to remind us of courage, loyalty, the reward of godliness and the cost of evil. And those little writers, who are sitting at their desks in your homeschool, writing about cute puppies and kittens, could be the next world changers for Christ!\nA couple of favorite interactive writing curriculums are:\nOcean Adventures in Writing\u2013Develop characters much like the beloved movie Finding Nemo. Each child picks a character to become and writes from that point of view. It\u2019s ocean-fuls of fun and learning!\nIsabel Writing Adventure for Girls-Easy lessons that walk the student through the basics of creative writing while encouraging Christian themes. Students create a character for their story, then as a paper doll, make her closet and design her clothes. Roll playing the adventures as they go!\nThis article was originally published on our Homeschool Launch Blog.\nFor more on writing, become a member of Teach Them Diligently 365, and watch the video on \u201cSecrets to Making Writing Fun\u201d.\n\u201cSecrets to Making Writing Fun\u201d\nWriting can be an enjoyable activity for budding writers. This workshop will equip you with tips and ideas to use with elementary-age children during writing time. The result? Your children will not only produce polished writing projects, they will also be begging for the next lesson!\nSign up for a free 7 day trial of TTD365 and explore the extensive content!\nSign up for the Teach Them Diligently newsletter to receive more great articles!\nRead our Blog, join TTD365, follow on Facebook and Instagram, and sign up to attend one of our homeschool events!", "id": "<urn:uuid:e2930056-34c7-4e18-aaf6-6c7380dbe25c>", "dump": "CC-MAIN-2023-14", "url": "https://teachthemdiligently.net/blog/help-your-child-unleash-their-creativity-in-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943625.81/warc/CC-MAIN-20230321033306-20230321063306-00130.warc.gz", "language": "en", "language_score": 0.943048357963562, "token_count": 1030, "score": 3.53125, "int_score": 4}
{"text": "Visual aids, like PowerPoint slides or printed handouts, offer structure for your presentation and help the audience follow the main points. Visual aids may be bulleted lists or outlines, charts or figures, or images that show important details that would take time to explain orally.\nUse visual aids to complement, rather than compete, with your presentation. If they are not necessary or helpful, don\u2019t use them. Never read the exact words from slides that you present.\nWhen deciding which visual aids to use, keep in mind the following points:\nNot all presentations benefit from including slides, but many do. Decide if yours would.\nTake accessibility into account.\nTake an inclusive perspective; avoid tokenism, but try to use images and sources that display a diversity of perspectives and contexts for knowledge.\nUse visual images when \u201cshowing\u201d is more efficient or evocative than \u201ctelling\u201d.\nDon\u2019t overload your slides with text or animations. Simple is usually best.\nSuggested text size: 32 pt for titles, 24 pt for text; use a sans serif font.\nInclude one concept per slide, use point form, and be concise\nDon\u2019t plan to read from the slides. Use the slides to emphasize key points that you plan to talk about in more detail.\nYou can find some resources to help you to create your slides or handouts on the tabs below:\nMicrosoft's PowerPoint is \"a software package designed to create electronic presentations consisting of a series of separate pages or slides.\"\nDesigning an Effective PowerPoint Presentation\nPurdue University's Writing Lab designed this PowerPoint presentation to highlight tips and tricks for creating an effective presentation.\nHow to Make Awesome PowerPoint Presentations\nA short guide from Lifehack on making great PowerPoint presentations.\nMicrosoft PowerPoint Tutorials\nNeed help with the basics? Microsoft's PowerPoint tutorials are a good place to start.\nPrezi is cloud-based presentation software and storytelling tool which allows users to create and store presentations either on the cloud or on your desktop.\nNote: Prezi requires good WiFi connectivity to work well.\nPrezi Tutorial: Get Started in Prezi\nVideo tutorial from Prezi on how to get started.\nUsing Prezi Without Losing Your Mind\nNorth Shore Community College's Learning, Education, Technology and Support (LETS) blog post provides some tips on creating prezis.\nPrezi's Support Knowledge Base has a wealth of resources on how to get started, build presentations, and use various apps and integrations.\nA good tool for simple presentations, especially for team presentations. A free Google Drive account is required.\nHow To: Quick Tutorial for New Google Slides Presentation 2019\nDavid Lee EdTech's YouTube video on how to use Google Slides\nG Suite Learning Center: Slides Training and Help\nGoogle's support centre provides a variety of tools and guides on using Google Slides.\nFree, web-based visual presentation tool and app. It includes presentation themes and an image gallery. Haiku Deck slide decks can be exported to PowerPoint or KeyNote.\nHaiku Deck's Youtube video playlist on how to create, copy, delete, and edit Haiku Decks.\nHaiku Deck's suite of support guides.\nClipart Library. (n.d.). Cliparts school presentations #2507770 [Image]. http://clipart-library.com/powerpoint-presentation-cliparts.html\nQueen's University. (n.d.). Presentation skills. https://sass.queensu.ca/presentation-skills/\nThompson-Rivers University Libraries. (2021). Academic presentation skills and tools. https://libguides.tru.ca/presentation/publicspeaking\nTrent University. (n.d.). Preparing and delivering oral presentations. https://www.trentu.ca/academicskills/how-guides/how-write-university/how-approach-any-assignment/preparing-and-delivering-oral", "id": "<urn:uuid:ba078752-d7a1-45e6-8915-91d13c099547>", "dump": "CC-MAIN-2023-14", "url": "https://sheridancollege.libguides.com/c.php?g=729216&p=5231608", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950373.88/warc/CC-MAIN-20230402012805-20230402042805-00130.warc.gz", "language": "en", "language_score": 0.8072205185890198, "token_count": 839, "score": 3.53125, "int_score": 4}
{"text": "Ep13 \u2013 Emotions and Identity\nHow do we deal with our child\u2019s negative emotions? It can be very confronting. There can be what can seem an \u2018ocean of emotion\u2019 in front of us, that our child and perhaps ourselves have little idea about how to approach the situation. Acknowledging the emotions, understanding that they are a part of every human being\u2019s life experience and helping them to learn how to explore and learn from these negative emotions will help your child learn more about who they are. These skills will help them develop a sense of self and also to connect with others.\n- Show your child you accept and value them for who they are.\n- Genuinely acknowledge your child\u2019s feelings.\n- Avoid pigeon-holing your child.\n- Don\u2019t expect our kids to be happy all the time.\n- Self-acceptance is the cornerstone of self-esteem.\n- Help your child develop their sense of self.\nEmotions are ok\nIf you show your child that you accept and value them for who they are, and really underline this by offering your love unconditionally, you teach them to trust themselves, and their own feelings and emotions. Children will feel valued when you hear and take notice of their emotions.\nThis is easy when they\u2019re happy and agreeable, but can be harder when they\u2019re having a dummy spit. We don\u2019t need to agree with the dummy spit or succumb to its intended purpose, we just need to let them know that we understand how they feel and that, well, it must be pretty rotten to feel that way. This teaches them that feelings and emotions are ok, even if the behaviour accompanying them is not.\nThere is skill involved when it comes to acknowledging our child\u2019s feelings. We need to offer the right amount (too little and we don\u2019t show proper acknowledgement, lay it on too thick and we look like a goose and not really genuine). If we simply echo back what our kids are saying it can also seem false, so paraphrasing is better. Avoid any labelling terms (such as dumb, stupid, fat, or ugly), too.\nAnother trap to avoid with feelings and emotions is pigeon-holing your child. If they have become \u2018The Whinger\u2019 or \u2018The Good Girl\u2019 then our perspective of them and their perspective of themselves is seen through this distorting prism. Over time, this can harden like setting cement and become entrenched, making it more difficult to break away from stereotypes.\nFinally we should not expect our kids to be happy all the time. It\u2019s ok for your child to experience negative emotions at times. It\u2019s all part of the deal of being a human being. Parental expectations of continual happiness, that sadness or other negative emotions are not allowed, become a burden. Allow your child to express these negative emotions, and help them to learn how to deal with them.\nWhen it comes to talking about emotional issues, we should always involve our child. What does he or she think? What is their take on this emotionally laden event? The solution is within the child. We should let it come out.\nA sense of self\nThrough our acceptance and unconditional love and acknowledging and exploring emotions, our child can develop a sense of self. Not only are we \u2018building\u2019 our children, we are helping them to learn how to build themselves. They learn how to enhance positive emotional experiences, and deal with negative ones. We accept them and then they accept themselves. Self-acceptance is the cornerstone of self-esteem.\nAs their sense of self develops, our child learns to do what human minds are essentially designed to do, connect with other minds. We want our child to be able to think \u2018What are they thinking?\u2019, or as Atticus Finch put it, to be able to walk in \u2018another man\u2019s shoes\u2019. To insert a bit of their mind in ours, and our mind in theirs\u2014 a mind to mind connection.\nWe can help our kids develop these skills (especially in the preschool years) with all the stuff I mentioned in earlier blogs \u2014 pretend play, emotional language, and storytelling.\nIf we continually solve problems for our children as they arise, and fail to teach them to consider what others are thinking, we are selling them short. We should aim to teach our kids how to think, then how others may think, and this will help them understand how the world works.\nIt may also help them (later in life) to get laid. Yep, it\u2019s biological. The ability to connect with others makes it more likely we are going to reproduce \u2014 this is why we were made this way. And yes, your child will (one day) be very appreciative of the effort you put in!", "id": "<urn:uuid:08f32259-8717-4cd4-b667-bb24dbe3f4d4>", "dump": "CC-MAIN-2023-14", "url": "http://www.drjamesbest.com/ep13-emotions-identity/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949694.55/warc/CC-MAIN-20230401001704-20230401031704-00530.warc.gz", "language": "en", "language_score": 0.963367760181427, "token_count": 1014, "score": 3.65625, "int_score": 4}
{"text": "A lone river winding through the desert. A pair of wide plains. A fragmented land of islands and mountain valleys. When you\u2019re building a world, the land matters. The land we live in shapes the way our societies work. To see what this means, let\u2019s look at a few examples: ancient Egypt, ancient China, and classical Greece. We\u2019ll be zooming way out and looking at these cultures on a very large scale.\nEgypt is defined by the Nile river. The Nile flows north from central Africa, making one of the few habitable spaces in the midst of the Sahara Desert. The river floods every year, bringing fertile sediment downstream. In ancient times, these floods filled the Nile valley, rising gradually and predictably before subsiding to leave the fields renewed with water and fresh soil. The Nile flood made Egypt the breadbasket of the ancient Mediterranean.\nThe Nile was also a natural corridor of movement through Egypt. The river flows from south to north, while the prevailing winds blow off the Mediterranean Sea from north to south, making it easy to travel either direction on the river. The fertile land turns abruptly to desert at the edge of the flood zone, so people were clustered close to the river.\nWith everyone living so close to the river, it was easy for a centralized state to keep control of the valley. For the better part of three thousand years, Egypt was a stable state with a strong central government, a record few other places in the world can match. The bountiful harvest yielded a huge surplus which was managed by the kings and used to fund massive building projects like the pyramids, to maintain a standing army, and to trade overseas for both necessities and luxuries.\nChina encompasses not one but two major river systems, the Huang or Yellow river in the north and the Yangtze river in the south. These two regions also have different climates and produce different staple crops. The cool, dry north grows wheat and millet, two grains which do well in well-drained temperate plains, while the warm, wet south produces rice, which needs warm temperatures and flooded fields.\nThese two regions complemented each other. In a particularly warm, wet year, the wheat and millet crops would suffer, but the rice would do very well; in a cool dry year, the opposite. On the other hand, they were also very different. It is not just that they experienced different weather and ate different foods, their crops required different kinds of labor organized in different ways. The landscapes in which they lived created different patterns of settlement.\nThe result was two distinct cultures living in close proximity. When the two could be brought together to share resources, they made a resilient society able to withstand almost any crisis, but there were powerful forces pulling that society apart. It was hard to keep both the northern and southern regions together in a unified state. The two regions tended to disintegrate and focus on local problems and local centers of power at the expense of centralization.\nThe competition between these two forces, one towards centralization and one towards localism, produced a history of alternating unification and disintegration. Over and over again, China was unified by strong ruling families, only to break apart into separate regions ruled by local magnates. The rise and fall of dynasties became a cycle that defined Chinese history.\nGreece is a land of rugged mountains, rocky valleys, and numerous islands. The rivers are small and many dry up in the summer heat. There is very little good farmland and staple crops like wheat and barley are hard to grow. Farming is precarious and harvests unpredictable. In this fragmented and unforgiving landscape, small communities competed fiercely for essential resources of water and farmland. Every valley or island became a society unto itself, defiantly independent and hostile towards outsiders.\nAs the population of Greece grew, it stressed the carrying capacity of the land. The only solutions were to acquire new sources of food outside Greece or export some of the excess population abroad. Both strategies were followed. The long coastline of Greece encouraged the development of sailing ships and Greek merchants spread throughout the Mediterranean. Greek colonies also spread, some seeking new farmland and others providing safe harbors for trade.\nThe Greek cities developed a wide variety of different forms of organization, but all were locally self-governed with some degree of citizen participation. Having a voice in politics also led people to form factions to advance their collective interests, and the conflict between factions frequently turned violent. Ancient Greek history was a turbulent one as many cities were subject to repeated bouts of unrest and civil war while at the same time fighting with their neighbors over scraps of farmland.\nEgypt, China, and Greece illustrate the profound effects that the landscape can have on a society. These effects are both positive and negative. Egypt was blessed with stability and prosperity, but this also brought stagnation and isolation. Greek society was driven to be inventive and independent, but also violent and unstable. China was wrapped up in a cycle of unification and fragmentation that produced both dynamic innovation and destructive internal conflict.\nLandscape is not destiny. None of these civilizations had to develop in the ways they did, but landscape is part of the reason why they developed as they did.\nThoughts for writers\nThe same ways of thinking that we apply to history can be applied to fiction to help us create the context of an imagined world. Here\u2019s a few things to think about when you\u2019re worldbuilding:\n- Fertile areas like river valleys and well-watered plains and hills support large, settled societies. Less fertile ground, such as deserts, tundra, and rocky hills, favors small, more mobile societies.\n- People cluster near fresh water sources, farmland, and natural routes of travel. Rivers offer all three. In societies that have developed naturally, rivers are almost never boundaries. Imperial or conquering states favor rivers as boundaries because they are easy to define on a map.\n- The easier it is to travel around an area the more likely it is to form a unified society. Open plains, lowlands, and regions well connected by rivers tend to be unified early. Highly fragmented areas like mountain valleys and islands tend to remain divided and resist efforts at unification.\n- Technology can change the way people relate to the land. Irrigation and drainage turn barren land and marsh into farms. Sailing ships turn rocky coves into valuable harbors. Roads make inaccessible forests and mountain valleys part of an interconnected trade network.\nThe land is always with us. As long as we live on the land, the land will shape where and how we live.\nImages: Egypt, detail of image by Jacques Descloitres via Visible Earth. China, detail of image by Hautala via Wikimedia. Greece, detail of image by Chris 73 via Wiimedia.\nHistory for Writers is a weekly feature which looks at how history can be a fiction writer\u2019s most useful tool. From worldbuilding to dialogue, history helps you write. Check out the introduction to History for Writers here.\n2 thoughts on \u201cLiving on the Land\u201d\nComments are closed.", "id": "<urn:uuid:cdc0c49e-b90c-4fa6-9dbd-104eaa1d0f13>", "dump": "CC-MAIN-2023-14", "url": "https://co-geeking.com/2015/06/08/living-on-the-land/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948932.75/warc/CC-MAIN-20230329023546-20230329053546-00130.warc.gz", "language": "en", "language_score": 0.9620986580848694, "token_count": 1460, "score": 3.953125, "int_score": 4}
{"text": "As your little ones grow and interact with the world around them, they will face both accomplishments and challenges every day. By equipping them with problem-solving skills from their early years, children may be better able to face daily challenges with resilience and confidence. Below are four ways you can encourage problem-solving skills in toddlers and young children on a daily basis.\n1. Ask preschoolers questions as often as you can, so they learn thinking skills that lead to problem-solving\nWhile young children are naturally curious about the world around them, you as a parent can deepen their curiosity by asking them questions that further their thinking. For example, \u201cwhy do you think flowers on this side of the garden didn\u2019t grow as tall as on the other side?\u201d or \u201chow could we create our own fort using only these materials?\u201d These types of inquiries for their little minds are great starting points for questions that lead to deeper thinking. By asking questions like these, early learners can learn to investigate, form hypotheses and test their ideas \u2013 all of which are the building blocks of problem-solving.\n2. Encourage creative thinking in your early learners, so they begin to see more than one answer to various problems\nAs toddlers and preschoolers begin to investigate the answers to questions or problems they encounter, it is important for them to realize there can be more than one right answer to something. Facilitate their creative thinking by asking questions or presenting them with problems that pose multiple correct answers or solutions.\nThis task can help young children develop the skill of problem-solving by looking at various perspectives to find multiple possible solutions. While teach children this method of problem-solving, it is important try following your child\u2019s lead. Don\u2019t quickly point out what you think is obvious \u2013 it\u2019s ok if they make mistakes! But even more rewarding is watching what they come up with. During their thought process, they may go down a path you never would have thought of!\n3. Facilitate as much play-time for young ones as possible\nIt is well-known that children learn a lot through play (see article linked-to above). So, you don\u2019t have to do this \u2018text-book\u2019 style! Play is the most natural way to encourage problem-solving skills in toddlers and young children. By giving young kids plenty of time for free play, they will inevitably create and solve many different problems on their own, or with siblings and friends.\nIf you would like to set up a playtime that is specifically focused on problem-solving, try giving your little ones some puzzles to put together, or building materials to play with. Not only will they have to try to solve a problem, they will also have to engage in collaboration (if they are playing with you, a friend or sibling). Remember to speak out loud the thought processes you think of while problem-solving with kids. This way they can learn to think along with you.\nSee related on our blog: 4 reasons to encourage play in early childhood years\n4. Model your own problem-solving skills\nTeaching children about daily-life setbacks or mildly difficult situations you face is another way to strengthen their own problem-solving skills. And it\u2019s ok if it\u2019s \u2018grown up\u2019 stuff you talk to them about (but keep it PG, folks!). For example, \u201ctoday at work I remember putting my yoghurt in the fridge when I arrived. But when I came back to eat it, it was gone!\u201d The Globe and Mail suggests telling a story about a problem you faced with \u201ccolorful language and animated storytelling,\u201d which is a great way to get your little ones interested.\nYou can also do simple things like talk through a problem you are trying to solve (\u201chmmm, where did that yoghurt go?\u201d). This way, your young children will be able to observe the problem-solving process first-hand.\nOnce your early learners acquire basic problem-solving skills down, keep practicing with them!\nThe ability to problem-solve like a pro definitely doesn\u2019t appear overnight. It is something you\u2019ll want to encourage on a daily basis with young children. By doing so, your little ones will become more familiar with how to face a variety of challenges and \u2018hiccups\u2019 in life. If there is only one bike but two kids who want to ride it, ask them what they think the solution might be. If they break their toy airplane, ask if they can come up with materials to repair it with you, or who they can ask for help. As you encourage your little ones to solve their own problems, be sure to verbally take note of the amazing and creative solutions they come up with on their own!\nSee more on our blog:\n- How to find and use teachable moments as an early childhood educator\n- The importance of teaching kids decision-making skills in early childhood\n- How to teach toddlers and preschoolers to count, and learn their numbers\n- How to teach impulse control in early childhood\n- How to identify and encourage multiple intelligences in early childhood", "id": "<urn:uuid:c7bfda93-9319-4f87-a04c-98d352123538>", "dump": "CC-MAIN-2023-14", "url": "https://rainforestlearningcentre.ca/problem-solving-skills-in-toddlers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949533.16/warc/CC-MAIN-20230331020535-20230331050535-00129.warc.gz", "language": "en", "language_score": 0.9703467488288879, "token_count": 1084, "score": 3.765625, "int_score": 4}
{"text": "Learn how to Write Poetry\n- Learn about writing in different styles of poetry\n- Develop your own writing skills\n- Learn how to understand different poetry styles\n- Explore how you can use poetry to express yourself for fun, and for work.\nIN THIS COURSE, WE WILL DISCUSS THE WORK OF SOME POETS AND DIFFERENT POETIC FORMS THEY MAY USE. BUT THE PURPOSE OF THIS COURSE IS TO DEVELOP YOUR SKILLS AS A POET, SO YOU WILL BE ENCOURAGED TO WRITE POETRY AND TO THINK CREATIVELY AND IMAGINATIVELY THROUGHOUT.\nThere are 9 lessons -\n- Nature and Scope of Poetry\n- Brief description of the many different types of poetry\n- Poetic Devices (Rhyme, Assonance, Alliteration, Personification, Onomatopoeia, Imagery, Symbolism, Simile, Metaphor)\n- Styles that tell a Story (Monody, Ballad, Epitaph)\n- Classic Styles (Sonnet, Ode, Haiku)\n- Trick Poems (Limerick, Tongue Twister, Shape Poem, Palindrome)\n- Styles classified according to Arrangement of Lines (Quatrain Style, Pantoum, Free Verse, Villanelle, Clerihew, Diamante, Acrostic Style)\n- Keeping a Notebook\n- The Work of Other Poets\n- Edgar Allen Poe\n- Encouraging your creativity.\n- Exploring Creativity\n- Understanding your own Creativity\n- Developing different styles of poetry A (Some Classic Styles)\n- Italian Sonnet\n- Writing Haiku\n- Developing different styles of poetry B (Following the Rules)\n- 21st Century Visual Poetry\n- Developing different styles of poetry C (Poetry for Story Telling)\n- Developing a Story in Poetry\n- Planning a Story\n- Developing Your Voice\n- Ending a Story\n- Epitaph Style\n- Developing different styles of poetry D (Styles for Fun and Trickery)\n- Funny Poems\n- Tongue Twisters,\n- Getting your work published (how and where)\n- Creative Writing Resources\n- Other Industry Resources\n- How and Where to Get Published\n- Self Publishing\n- Vanity Publishing\n- The next phase (how to continue to improve)\nEach lesson culminates in an assignment which is submitted to the school, marked by the school's tutors and returned to you with any relevant suggestions, comments, and if necessary, extra reading.\nWant to know a bit more about what you will be learning?\nDevelop Your Creativity\nCreative expression can benefit us in many ways according to Ebersole and Hess (1998), who state that it can help us to \u2013\n- make a positive out of a loss, depression or bad experience\n- create order and balance\n- maintain our integrity\n- resolve conflicts\n- give us a sense of control over the external world\n- help us to clarify our thoughts\nVarious Stages of Creativity have been identified. You might recognise which stage your work is at at a particular time. Ebersole and Hess (1995) identify the following stages \u2013\n- Preparation \u2013 when experience and time foster creative opportunities.\n- Frustration \u2013 where the ideas, approach and expression are not clear.\n- Incubation \u2013 the idea begins to take shape.\n- Illumination \u2013 the approach starts to become clear.\n- Elaboration \u2013 the plan is developed and expanded upon.\nYou could probably write a poem about all of those stages of creativity. It would have a nice rhythm to it \u2013 count the syllables in each of those stages. Pre-par-ra-tion, Frus-tra-tion, In-cu-ba-tion, Il-lum-in-a-tion, El-ab-or-a-tion.\nESTABLISHING A THEME\nEvery piece of writing, no matter whether it is a poem, a novel or a business letter, should have a dominant theme or underlying idea. In a business letter and in technical writing, the theme should be immediately obvious and clear and should be stated. In a piece of creative writing it might be gradually revealed through the development of the work and may only be fully apprehended by the reader at the very end. Nevertheless, the theme should be present from the beginning, and should exist as a unifying thread. Every piece of the writing should, in some way, relate to that theme. It is what unifies a piece of writing and lets it stand alone as a meaningful expression.\nThe theme of a creative piece may never be directly stated. For instance, the underlying theme of Boris Pasternak\u2019s \u2018Dr Zhivago\u2019, is personal integrity, being true to one\u2019s self in thought and action. This is never stated, but is exhibited in the behaviour of the main characters, each of whom draws upon hard-won inner truth for the strength and courage to maintain integrity in a vicious, chaotic, and seemingly unprincipled world.\nIn a novel, we often find that a theme branches out into several sub-themes. Because of its length, the novel allows for this kind of interweaving of themes and ideas. So, in Dr. Zhivago, there is plenty of room for developing a critique of the rise of Communism, of war and aggression in general, of different kinds of power, and of love. But these must and do return in some way to the dominant theme, to enrich our understanding and experience of that dominant idea.\nIn comparison, the short story or poem might focus entirely on one theme, though even then, there are usually subtle or even overt references to other ideas and themes, for no one idea or experience is self-sufficient, but inevitably relates to and rests on other ideas and experiences.\nWe can develop themes through a variety of means, such as:\n- thoughts and speech of characters\n- actions of characters\n- contrasting societies or generations within a society\n- identifying shared values and experiences between groups or generations\n- ways of dealing with and coping with the environment\n- symbolic use of landscape and nature\n- repetition of ideas in different forms\n- repeated symbols or cultural items\n- contrast of values.\nOne way to plan your writing is to establish a central theme, then consider how to develop it, and how to display its complexity and facets through different sub-themes. Ask yourself, \u201cWhat do I want to say?\u201d, then ask yourself over and over, \u201cWhat else do I have to say about that?\u201d This constant meditation on a theme can yield a rich trove of ideas.\nTo understand how themes are developed, read several poems that you really like. Notice how the theme is introduced, and how it is developed. Also, do some exercises with free association. This process requires you to simply observe what thoughts, images, memories, people, events etc. come into your mind when you focus on an idea. For instance, let us say that you are thinking to write on the theme of personal responsibility. Rather than trying to consciously develop that theme at first, just jot down every image or word than comes into your head. Everybody will come up with a completely different and personal collection of items, for no two of us have lived the same life or experience it in the same way. The results of a free-association exercise like this can give you the seeds with which to \u2018grow\u2019 and express your theme.\nCourse Duration -100 hours of self paced learning. Take as long as you wish, or complete it in a month or two if you are keen and have the time.\nENROL AND LEARN MORE", "id": "<urn:uuid:34fa09cc-58b6-4e61-83a2-1b3433ad1bd2>", "dump": "CC-MAIN-2023-14", "url": "https://www.acseduonline.com/courses/writing-journalism-9/poetry-bwr109-583.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949533.16/warc/CC-MAIN-20230331020535-20230331050535-00130.warc.gz", "language": "en", "language_score": 0.9144013524055481, "token_count": 1712, "score": 3.921875, "int_score": 4}
{"text": "Today\u2019s fiction writing exercise is an excerpt from my book, Story Drills: Fiction Writing Exercises. This one focuses on story structure and examines narrative arcs within stories and across multiple scenes and installments of a story. Enjoy!\nAn arc has a beginning, a middle, and an end. The events within an arc result in some kind of change for the story world, characters, or direction of the plot.\nIn serial or episodic storytelling, a story arc is an ongoing story line that spans multiple installments. An arc might last through several episodes of a television show or several issues of a comic book. In literature, an arc might stretch across multiple books in a series.\nA narrative arc (or dramatic arc) is similar to a story arc, except it doesn\u2019t have to occur across multiple installments of episodic storytelling. A narrative arc is any arc within a story, including the central plot and any subplots. Narrative arcs can occur within a single scene or span across a sequence of scenes.\nCharacters also experience arcs when they undergo a progression of transformation.\nThat\u2019s a lot of different types of arcs. To make matters more confusing, the terms for story arcs, narrative arcs, and dramatic arcs are often used interchangeably.\nYou can use any type of story for this exercise: books, comics, TV shows, or films. Find a series that you\u2019ve enjoyed, and examine a small sample of installments. For example, you can look at five episodes from a TV show or three novels from a series. Make sure you\u2019re using serials, which use ongoing stories across multiple installments, rather than episodic installments, which are separate but loosely connected.\nMake a list of three to five story arcs found across the installments you examined. Do the arcs intertwine? Are they occurring simultaneously, or are they consecutive? How does each arc relate to the central plot?\nCreate a set of three story arcs that would span multiple novels in a series. If you\u2019re already working on a series, feel free to create arcs within your project.\nFor example, start by writing quick summaries of at least five novels in a series (about one paragraph each, highlighting the central plot of each installment). Then come up with the three arcs, each of which would span multiple novels.\nAs an alternative, you can develop ideas for a television or comic book series.\nWhat is the difference between a story arc and a dramatic arc? Why are story arcs effective in serial storytelling? How is a character arc different from a narrative arc? What types of arcs are most important in storytelling?\nThe post Fiction Writing Exercises: Narrative Arcs first appeared on Writing Forward.\nGo to Source\nAuthor: Melissa Donovan", "id": "<urn:uuid:c4e26923-a7e5-4dbf-a55c-6c8eb60cde50>", "dump": "CC-MAIN-2023-14", "url": "https://writersdepot.org/fiction-writing-exercises-narrative-arcs/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945183.40/warc/CC-MAIN-20230323194025-20230323224025-00130.warc.gz", "language": "en", "language_score": 0.9364219903945923, "token_count": 583, "score": 3.90625, "int_score": 4}
{"text": "Save Your Favorite Listings, Events, and Offers Here\nThe Gullah are African Americans who live in the Lowcountry region of South Carolina and Georgia, which includes both the coastal plain and the Beaufort Sea Islands.\nThe Gullah are known for preserving more of their African linguistic and cultural heritage than any other African-American community in the United States. They speak an English-based creole language containing many African loanwords and significant influences from African languages in grammar and sentence structure; Gullah storytelling, cuisine, music, folk beliefs, crafts, farming and fishing traditions, all exhibit strong influences from West and Central African cultures.\nMost of the Gullahs' early ancestors in what is now the United States were brought to the South Carolina and Georgia Lowcountry through the ports of Charleston and Savannah as slaves. Charleston was one of the most important ports in North America for the Transatlantic slave trade. Up to half of the enslaved Africans brought into what is now the United States came through that port. A great majority of the remaining flowed through Savannah, which was also active in the slave trade.\nThe largest group of enslaved Africans brought into Charleston and Savannah came from the West African rice-growing region. South Carolina and Georgia rice planters once called this region the \"Rice Coast\", indicating its importance as a source of skilled African labor for the North American rice industry. Once it was discovered that rice would grow in the southern U.S. regions, it was assumed that enslaved Africans from rice-growing regions in Africa would be beneficial, due to their knowledge of rice-growing techniques. By the middle of the 18th century, the South Carolina and Georgia Lowcountry was covered by thousands of acres of rice fields. African farmers from the \"Rice Coast\" brought the skills for cultivation and tidal irrigation that made rice one of the most successful industries in early America.\nThe semi-tropical climate that made the Lowcountry such an excellent place for rice production also made it vulnerable to the spread of malaria and yellow fever. Fearing disease, many white planters left the Lowcountry during the rainy spring and summer months when fever ran rampant and they left their African \"rice drivers,\" or overseers, in charge of the plantations. Working on large plantations with hundreds of laborers, and with African traditions reinforced by new imports from the same regions, the Gullahs developed a culture in which elements of African languages, cultures, and community life were preserved to a high degree. Their culture was quite different from that of slaves in states like Virginia and North Carolina, where slaves lived in smaller settlements and had more sustained and frequent interactions with whites.\nWhen the U.S. Civil War began, the Union rushed to blockade Confederate shipping. White planters on the Sea Islands, fearing an invasion by the US naval forces, abandoned their plantations and fled to the mainland. When Union forces arrived on the Sea Islands in 1861, they found the Gullah people eager for their freedom, and eager as well to defend it.\nThe Union quickly occupied Beaufort and many Gullahs served with distinction in the Union Army's First South Carolina Volunteers. Beaufort\u2019s Sea Islands were the first place in the South where slaves were freed. Long before the War ended, Quaker missionaries from Pennsylvania came down to start schools for the newly freed slaves. Penn Center, now a Gullah community organization on St. Helena Island, South Carolina, began as the very first school for freed slaves.\nAfter the Civil War ended, the Gullahs' isolation from the outside world actually increased in some respects. The rice planters on the mainland gradually abandoned their farms and moved away from the area because of labor issues and hurricane damage to crops. Left alone in remote rural areas in the Lowcountry, the Gullahs continued to practice their traditional culture with little influence from the outside world well into the 20th Century. Click here to discover more about the US National Park Service's Reconstruction Era Monument.\nIn recent years the Gullah people\u2014led by Penn Center and other determined community groups\u2014have been persistent in keeping control of their traditional lands. In 2005, the Gullah community unveiled a translation of the New Testament in the Gullah language, a project that took more than 20 years to complete. The Gullahs achieved another victory in 2006 when the U.S. Congress passed the \"Gullah/Geechee Cultural Heritage Corridor Act\" that provides $10 million over ten years for the preservation and interpretation of historic sites relating to Gullah culture. The \"heritage corridor\" extends from southern North Carolina to northern Florida. The project will be administered by the US National Park Service with extensive consultation with the Gullah community.\nOver the years, the Gullahs have attracted many historians, linguists, folklorists, and anthropologists interested in their rich cultural heritage. Many academic books on that subject have been published. The Gullah have also become a symbol of cultural pride for blacks throughout the United States and a subject of general interest in the media. This has given rise to countless newspaper and magazine articles, documentary films, and children's books on Gullah culture, and to a number of popular novels set in the Gullah region.\nGullah people now organize cultural festivals every year in towns up and down the Lowcountry. Be on the look out for these fun-filled events that highlight the food, music and art of the Gullah Culture!", "id": "<urn:uuid:d0451679-c1f1-4180-8dcb-87a7633c1f7e>", "dump": "CC-MAIN-2023-14", "url": "https://www.beaufortsc.org/things-to-do/gullah-culture/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945372.38/warc/CC-MAIN-20230325191930-20230325221930-00127.warc.gz", "language": "en", "language_score": 0.9605880379676819, "token_count": 1103, "score": 3.953125, "int_score": 4}
{"text": "Sara Cone Bryant wrote children\u2019s books in the 1900s, but among her best-known works are those that encourage storytelling. Stories to Tell to Children not only includes a list of stories to tell, but also covers the \u201chow.\u201d\nSubtitled \u201cFifty-one stories with some suggestions for telling,\u201d the author first provides the following tips:\n- Take your story seriously. If it is good enough to tell, treat it with respect.\n- Take your time. Don\u2019t dawdle. Don\u2019t hesitate. But never hurry.\n- If you blunder, never admit it. Meaning, that detail you may not have gotten quite right can be corrected later. Just don\u2019t interrupt the telling to fix it. With children it is \u201cmost unwise to break the spell.\u201d\n- When telling humorous stories, initiate the appreciation of the joke, subtly suggesting to hearers with facial expression and/or tone that soon it will be time to laugh.\n- In addition, when telling humorous stories give your hearers enough time to fully appreciate the joke.\nShe goes on to provide another great piece of advice: children do not object to \u201cmoral stories\u201d if they are good. And we might add, if they are good, we don\u2019t need to add to them!\nIt is the type of story which specifically teaches a certain ethical or conduct lesson, in the form of a fable or an allegory,\u2014it passes on to the child the conclusions as to conduct and character, to which the race has, in general, attained through centuries of experience and moralizing. The story becomes a part of the outfit of received ideas on manners and morals which is an inescapable and necessary possession of the heir of civilization.\nChildren do not object to these stories in the least, if the stories are good ones. They accept them with the relish which nature seems to maintain for all truly nourishing material. And the little tales are one of the media through which we elders may transmit some very slight share of the benefit received by us, in turn, from actual or transmitted experience.\nStories to Tell to Children also includes a list of stories to use for \u201creproduction\u201d for each grade, first through fourth. We would refer to the process as narration.\nOne final note: Because of the time in which this book was written, you will likely find at least one story offensive. The way we dealt with these stories was to explain why the story is inappropriate or, in some cases, skip it altogether. As always, make the book fit your family rather than the other way around!\nStorytelling is one of those \u201csoft skills\u201d our children will want to take with them into life. Here are 4 ways to develop the skill of storytelling.", "id": "<urn:uuid:09f1b8d3-8492-45e9-9ddd-10b4915e3250>", "dump": "CC-MAIN-2023-14", "url": "https://diyhomeschooler.com/2022/10/17/stories-to-tell-to-children-free-ebook/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00528.warc.gz", "language": "en", "language_score": 0.9631522297859192, "token_count": 602, "score": 3.703125, "int_score": 4}
{"text": "What Is Writing Mechanics?\nAre you curious to know what is writing mechanics? You have come to the right place as I am going to tell you everything about writing mechanics in a very simple explanation. Without further discussion let\u2019s begin to know what is writing mechanics?\nWhat Is Writing Mechanics?\nWriting mechanics refers to the technical aspects of writing, including grammar, punctuation, spelling, and sentence structure. These elements are crucial to effective communication, as they help to ensure that your writing is clear, concise, and easy to understand.\nGood writing mechanics are essential for a wide range of writing styles, from academic papers to creative writing. Whether you are writing a business report, an email, or a novel, your writing mechanics will influence the way your readers perceive your work. Good mechanics can help you to convey your ideas and arguments in a professional and effective manner, while poor mechanics can make your writing seem careless and unprofessional.\nTo improve your writing mechanics, it\u2019s important to develop a good understanding of grammar, punctuation, and sentence structure. You can do this by studying grammar and style guides, practicing writing exercises, and reading widely to develop your knowledge of good writing practices.\nIn terms of grammar, it\u2019s important to be aware of common mistakes such as subject-verb agreement, word order, and the use of singular and plural forms. You should also be familiar with the use of modifiers, prepositions, and conjunctions, as these elements can help you to construct clear and concise sentences.\nPunctuation is also a critical aspect of writing mechanics. The use of commas, semicolons, colons, and full stops can help you to control the flow of your writing and make your sentences clearer and more easily understood.\nClick here \u2013 What Is A Soft Shoulder?\nFinally, sentence structure is a crucial aspect of writing mechanics. Good writing mechanics involves constructing well-formed sentences that are easy to read and follow. You should aim to use a variety of sentence structures, including simple, compound, and complex sentences, to add interest and variety to your writing.\nIn conclusion, writing mechanics are a vital aspect of effective writing. Whether you are writing for professional or personal purposes, good mechanics are essential to ensuring that your writing is clear, concise, and easily understood. By developing a good understanding of grammar, punctuation, and sentence structure, you can improve your writing mechanics and enhance your writing skills.\nRead more about various topics on featurebuddies\nWhat Are The Mechanics Of The Writing Process?\nThe Writing Process\nStep 1: Prewriting. Think and Decide. Make sure you understand your assignment.\nStep 2: Research (if needed) Search. List places where you can find information.\nStep 3: Drafting. Write.\nStep 4: Revising. Make it Better.\nStep 5: Editing and Proofreading. Make it Correct.\nWhy Are The Mechanics Of Writing Important?\nWriting mechanics are as important as grammar in written language. They make sense of the words and give additional information. It is important to choose the correct punctuation, spelling, logic, and words, as there is only one chance to convey the meaning in written communication.\nWhat Are The Types Of Writing Mechanics?\nWhat Are Writing Mechanics?\n#1: Parts of speech.\n#2: Parts of sentences.\n#3: Sentence errors.\n#4: Subject-Verb agreement.\nWhat Are The Elements Of Writing Mechanics?\nIn contrast, mechanics refers to the detailed elements that combine to construct words, sentences, and paragraphs, such as spelling, punctuation, and grammar. Mechanics is more closely related to the rules of the English language.\nWhat Is An Example Of Writing Mechanics?\nMechanics are the small parts of your writing that stick everything together to ensure that everything makes sense and that emphasis is placed where you want it to be. Basic punctuation mechanics include commas (,), colons (:) and semicolons (;), apostrophes (\u2018), and hyphens (-).\nClick here \u2013 What Is Threshold Delivery?\nI Have Covered All The Following Queries And Topics In The Above Article\nWhat Is Mechanics In Writing\nWhat Is Mechanics Of Writing\nWhat Is Writing Mechanics Mean\nWhat Is Meant By Mechanics Of Writing\nWhat Is The Mechanics Of Writing\nWhat Is Writing Style And Mechanics\nMechanics Of Writing Examples\nWhat Is The Importance Of Mechanics Of Writing\nWriting Mechanics And Conventions\nMechanics Of Writing Assignment\nWhat Is Writing Mechanics", "id": "<urn:uuid:6ef11402-259e-47a7-b77b-bd5a8c2fb5be>", "dump": "CC-MAIN-2023-14", "url": "https://featurebuddies.com/what-is-writing-mechanics/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945473.69/warc/CC-MAIN-20230326142035-20230326172035-00329.warc.gz", "language": "en", "language_score": 0.9104932546615601, "token_count": 974, "score": 3.53125, "int_score": 4}
{"text": "Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text\u2019s major themes.\nStorytelling in The Odyssey, in addition to delivering the plot to the audience, situates the epic in its proper cultural context. The Odyssey seems very conscious of its predecessor, The Iliad: Odysseus\u2019s wanderings would never have taken place had he not left for Troy; and The Odyssey would make little sense without The Iliad and the knowledge that so many other Greek heroes had to make nostoi, or homeward journeys, of their own. Homer constantly evokes the history of The Odyssey through the stories that his characters tell. Menelaus and Nestor both narrate to Telemachus their wanderings from Troy. Even Helen adds some anecdotes about Odysseus\u2019s cunning during the Trojan War. Phemius, a court minstrel in Ithaca, and Demodocus, a Phaeacian bard, sing of the exploits of the Greek heroes at Troy. In the underworld, Agamemnon tells the story of his murder, while Ajax\u2019s evasion prompts the story of his quarrel with Odysseus. These stories, however, don\u2019t just provide colorful personal histories. Most call out to other stories in Greek mythology, elevating The Odyssey by reminding its audience of the epic\u2019s rich, mythic tradition.\nThe gods of Greek literature often assume alternate forms to commune with humans. In The Odyssey, Athena appears on earth disguised as everything from a little girl to Odysseus\u2019s friend Mentor to Telemachus. Proteus, the Old Man of the Sea whom Menelaus describes in Book 4, can assume any form, even water and fire, to escape capture. Circe, on the other hand, uses her powers to change others, turning an entire contingent of Odysseus\u2019s crew into pigs with a tap of her wand. From the first line of the epic, Homer explains that his story is about a \u201cman of twists and turns\u201d (1.1). Quick, clever, and calculating, Odysseus is a natural master of disguise, and the plot of the epic often turns on his deception. By withholding his true identity from the Cyclops and using the alias \u201cNobody,\u201d for example, Odysseus is able to save himself and his crew. But by revealing his name at the end of this episode, Odysseus ends up being dogged by the god Poseidon. His beggar disguise allows him to infiltrate his palace and set up the final confrontation with the suitors. It also allows Homer to distinguish those who truly love Odysseus\u2014characters like Eurycleia, Penelope, and even his dog, Argos, begin to recognize their beloved king even before he sheds his disguise.\nRead more about deception as a means to an end in Shakespeare\u2019s play Much Ado About Nothing.\nWomen are very important figures in The Odyssey, and one of the most prominent roles they fulfill is that of seductress. Circe and Calypso are the most obvious examples of women whose love becomes an obstacle to Odysseus\u2019s return. Homer presents many other women whose irresistible allure threatens to lead men astray. The Sirens enchant Odysseus with their lovely song, and even Penelope, despite all of her contempt for the suitors, seems to be leading them on at times. She uses her feminine wiles to conceal her ruse of undoing, every night, her day\u2019s work on the burial shroud, and even gets the suitors to give her gifts, claiming that she will marry the one who gives her the nicest things. While these women do gain a certain amount of power through their sexual charms, they are ultimately all subject to divine whim, forced to wait and pine for love when it is absent.", "id": "<urn:uuid:8f370829-1ab5-493e-9392-f9042f6d40ba>", "dump": "CC-MAIN-2023-14", "url": "https://www.sparknotes.com/lit/odyssey/motifs/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00331.warc.gz", "language": "en", "language_score": 0.9601885080337524, "token_count": 836, "score": 4.03125, "int_score": 4}
{"text": "Art & Apps in Action!\nYear 6 Mythical Monsters\nUnit \u2013 Art & Apps in Action!\niPad apps are so valuable in a diverse course that aims to introduce students to as many making processes as possible. In this unit, monsters from a wide variety of cultures and eras are the stimulus for paintings, drawings, animations and sculptures. Here are some of the bits and pieces from the unit to fuel your creative fire!\nBegin by researching mythical monsters from around the world with the \u2018Creatures\u2019 app. It is a huge resource with creatures listed by name or sorted into places of origin or time periods. Detailed background information and images are displayed on scrolls that can be collected and added to a favourites section.\nMonsterKit and Monstrpieces\nOne of the first drawing activities of this unit takes students through portraiture. After producing a \u2018realistic\u2019 self-portrait in pencil, student works are photocopied, with multiple copies made. The pieces are cut up and given back to the students to \u2018monsterfy\u2019 themselves by combining pieces of their original work with additional sketches. They may suddenly have three noses, their eyes may now be on stalks, and as other features such as horns are added, they begin to look very scary!\nAPP IT! In the next work, created using the iPad, cutting, pasting and colouring are replaced by a virtual world. Students use MonsterKit and Monsterpieces to piece together their own monsters. They can control the position and size of all the elements, as well as create an environment for them to complete the composition which can be shared and exhibited.\nApp extension ideas:\nUse \u2018Puppet Pals\u2019 to animate the monster characters in a \u2018stage\u2019 performance to incorporate storytelling.\nUse \u2018Sprite Cutter\u2019 to cut out the monster characters and add them to photos of the students taken to look as if they are \u2018interacting\u2019 with the monsters (eg: sitting next to them in class, playing football with them, etc).\nUse \u2018Morfo Booth\u2019 to create talking monster to reflect on the learning in the unit.\nStudents use ink on paper to create abstract shapes by blowing the liquid around with straws. These shapes are then turned into monsters with google eyes. Pen drawings used to add features and environmental elements to tell a story (eg: monsters in space, dancing, at the cineama, etc).\nAPP IT! Using \u2018Daily Monster\u2019, students can recreate the random ink blot process virtually. The abstract shapes then come alive with body parts, clothing and additional objects. Captions, drawings and text can be added to create a cartoon of the monster\u2019s adventures or students can create a monster version of themselves.\nApp Extension idea:\nUse the monsters in \u2018Comic Book\u2019 to create a longer adventure in sophisticated comic book style easily.\nStudents investigate ink brush painting and calligraphy. Using Chinese brushes, dragons are created on fans in the style of ancient scrolls.\nAPP IT! Using \u2018Zen Brush\u2019 students can trial the ink and brush process virtually before beginning. This develops their confidence in what is a deceptively simple technique. The creative process is enhanced as mistakes are impermanent, unlike painting with the real ink! These trials can become small works in themselves \u2013 using research, students choose a Chinese Symbol to represent themselves, and produce a calligraphic icon to print and display as part of a class display to hang across the room like flags.\nONE LAST LESSON SEED:\nFrom Tricia Fuglestad a great activity to inspire you \u2013 what about using monsters created by students, animated and layered onto photos of your classroom to create an \u2018Alien Invasion\u2019? See the results in this group vimeo.\nAnd just for fun, explore the genius of Pixar in the animation from Monsters Inc.", "id": "<urn:uuid:39931ddb-9191-4621-b42f-da70e9d79d41>", "dump": "CC-MAIN-2023-14", "url": "https://www.ipadartroom.com/art-apps-in-action/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948756.99/warc/CC-MAIN-20230328011555-20230328041555-00531.warc.gz", "language": "en", "language_score": 0.9306519627571106, "token_count": 818, "score": 3.75, "int_score": 4}
{"text": "The dominant explanation of the formation of star and galaxy clusters is flawed and misrepresents the nature of time, a team of Brazilian researchers claim, in a new study that uses simulations to explain a long-standing paradox in a process called \u2018violent relaxation\u2019.\nClusters of stars and galaxies are tight groups of celestial bodies shackled together by gravity. Star clusters contain up to one million stars with a common origin and are up to 30 light-years across, while collections of galaxies are among the largest structures in the Universe, composed of up to 1000 galaxies with a mass of a quadrillion Suns.\nIn the study, published in The Astrophysical Journal, the researchers report the results of complex computer simulations of the puzzling gravitational dance of these massive objects.\nSuch groups form in a maelstrom followed by a calming-down process called violent relaxation, when the celestial bodies settle into their new arrangements and reach a state of equilibrium.\nViolent relaxation has always been understood through the lens of the Vlasov equation, which was developed by Russian theoretical physicist Anatoly Vlasov in 1938 to describe the changing distribution of particles in plasma. It was applied to this phenomenon to approximate how thousands of stars and galaxies interact and rearrange their positions over time.\nThe new study, however, questions whether this understanding is valid.\n\u201cThe problem is that Vlasov\u2019s equation assumes constant entropy in the system,\u201d explains Laerte Sodr\u00e9 J\u00fanior, an author in the study and professor at the University of S\u00e3o Paulo\u2019s Institute of Astronomy, Geophysics & Atmospheric Sciences (IAG-USP).\nEntropy is a measure of disorder. According to the second law of thermodynamics, the universe can only become more disordered and random over time \u2013 in other words, the total entropy must increase.\nBut Vlasov\u2019s equation assumes that entropy stays the same. This suggests that time is \u2018reversible\u2019, which clearly cannot be the case \u2013 a puff of smoke does not turn back into unburnt wood, and a star cluster does not spontaneously fly apart. The tension between Vlasov\u2019s equation and the one-way nature of violent relaxation is referred to as \u201cthe fundamental paradox of stellar dynamics\u201d.\n\u201cIt was clear to us that something was wrong, and our suspicion was confirmed by the study,\u201d Sodr\u00e9 says. \u201cThe Vlasov equation simply doesn\u2019t apply to this case.\u201d\nThe team relied on powerful computational resources to investigate the gravitational interactions between celestial bodies. For a two-body system this is a cinch, but in a system containing millions of bodies each interacting with every other body, the team needed to conduct complex numerical simulations, each of which took several days of computer time.\nThe simulations showed that the overall entropy does increase. But the team also found that at the beginning of the relaxation period, the entropy of the system actually fluctuates, sometimes increasing and sometimes decreasing.\n\u201cNo other types of system display entropy oscillations that I know of, bar one: chemical reactions in which the compound produced serves as a catalyst for the inverse reaction,\u201d Sodr\u00e9 said. \u201cAs a result, the reaction switches to and fro, and entropy in the system oscillates.\u201d\nOriginally published by Cosmos as Models of star and galaxy cluster formation incorrect\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:7dafe461-afa2-47b9-9a69-01a13cadfe2b>", "dump": "CC-MAIN-2023-14", "url": "https://cosmosmagazine.com/space/models-of-star-and-galaxy-cluster-formation-incorrect/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949701.0/warc/CC-MAIN-20230401032604-20230401062604-00751.warc.gz", "language": "en", "language_score": 0.9442638754844666, "token_count": 848, "score": 3.515625, "int_score": 4}
{"text": "From games to keeping in touch with friend, the internet provides children with many different opportunities these days. One other great opportunity that the internet provides is the opportunity to view and read picture books online. This article talks about how online picture books may be used to teach children to read and write.\nOnline picture books are a great resource for teachers and parents to help teach their children to read. Online picture books allow children to read books they may never get the chance to read. For example, https://www.surfnetkids.com/early/books/ has beautiful picture books that tell stories and showcase illustrations that are not found in today\u2019s children\u2019s bookstores.\nAlso on the website, https://www.surfnetkids.com/early/books/, there are online alphabet books. These online alphabet books can be a child\u2019s first introduction to the letters of the alphabet and how these letters form words. Some of the books have short rhyming stories that go along with the letter of the alphabet. This can be a fun way for children to remember certain letters.\nOnline picture books are a great way to teach children to read because they are mostly pictures with fewer words. Children are able to tell what is going on in a story by the pictures and this can help them to match up what the words are on the page and help them to learn how to read. Also, because online picture books have fewer words and more pictures, it can be much less intimidating for children learning how to read.\nMany of the online picture books found on https://www.surfnetkids.com/early/books/ have rhyming which can help children to remember words and stories that they are taught.\nWhy use online picture books to teach writing?\nMost kids need some type of writing example to help the learn how to write and to learn to make their writing better. Online picture books offer a teacher or parent a great resource to help their students or children learn how to write.\nOnline picture books are great models of good writing. The author has to be concise and make their point quickly while still writing a great story. Children are able to read the online picture books and see how different writing techniques are used. After seeing a writing example they are able to then think about how they can apply what they have read and learned to their writing.\nHow to teach writing using online picture books\nWhen a teacher or parent is using an online picture book to teach their students or children about writing, they should encourage the children to identify the characters of the story and their development throughout the story. And they should also be urged to pay attention to how the author uses words to tell the story. This may require the children to read the story more than once.\nAfter the children have studies the online picture book, they should then have an opportunity to write. It can be helpful if they are allowed to write and even illustrate their own picture book.\nOnline picture books can help teachers and parents teach children about vocabulary, phonics, fluency, comprehension and phonemic awareness. Children can also be introduced to different ideas as well as different time periods when they read the online picture books that are found on https://www.surfnetkids.com/early/books/. Learning about all of these things can help a child become a better read and a better writer.\nLeave a Reply", "id": "<urn:uuid:48427f62-ad79-4640-b88d-94a507908d71>", "dump": "CC-MAIN-2023-14", "url": "https://www.surfnetkids.com/early/5112/using-online-picture-books-to-teach-reading-and-writing-to-children", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949573.84/warc/CC-MAIN-20230331051439-20230331081439-00331.warc.gz", "language": "en", "language_score": 0.9606976509094238, "token_count": 695, "score": 3.703125, "int_score": 4}
{"text": "These are the resources and guidelines on best practices in K-12 environmental education. Use the filters on the left to refine your search. To start a new search, please de-select your previous choices by clicking the (-) buttons at the top.\nLearning to Love the Natural World Enough to Protect It is an article from Louise Chawla that makes the connection between early childhood experiences outdoors with a caring adult and environmental action later in life.\nClimate-Poverty Connections Fact Sheet summarizes a first-of-its-kind report produced by Drawdown Lift that shows how leaders do not have to choose among human development, climate mitigation, and climate adaptation; win-win solutions are at hand. Available in English and French.\nResponding to Climate Change Education: A Primer for K-12 Education by The Sustainability and Education Policy Network. The purpose of the primer is to offer research-based understandings of how Ministries of Education, School Divisions, and Schools can help inform and empower climate action\nSeven Principles for Cultivating Communities of Practice is an excerpt from Cultivating Communities of Practice: A Guide to Managing Knowledge by Etienne Wenger, Richard McDermott, and William M. Snyder.\nClosing the Achievement Gap prepared by the State Education and Environment Roundtable (Lieberman, Gerald A. & Hoody, Linda L, 1998) presents the results of a nationwide study using the Environment as an Integrating Context for learning (EIC). The report notes, \u201cUsing the environment as an integrating context is interdisciplinary, collaborative, student-centered, hands-on and engages students in learning\u201d. Their research shows that student learning shows improvement in reading, writing, math, science and social studies; exhibit increased pride in their accomplishments; greater engagement and enthusiasm for learning; better ability to apply science to real-world situations; better application of systems thinking; increased ability to think creatively; and more advanced skills in applying civic processes to real-life situations.\nPathway to Stewardship is a framework providing a guide and roadmap towards stewardship. It covers every stage of a child's development using a series of benchmarks or goals. It is grounded in extensive research and interviews with 75 community leaders. Pathway to Stewardship is a call to action for everyone who plans for or spends time with children - parents, teachers, relatives, community groups, health professionals and government agencies.\nEnvironmental Learning and Experience: An Interdisciplinary Guide for Teachers provides assistance to British Columbia teachers of all subjects and grades to integrate environmental concepts into teaching and learning. The Teaching and Learning Principles as well as the Principles for Conceptualizing \u2018Environment\u2019 can be applied in Alberta classrooms.\nUsing Emergence to Take Social Innovation to Scale is an article by Margaret Wheatley and Deborah Frieze looking at the characteristics of networks and how they can lead to change.\nLast Child in the Woods by Richard Louv coined the phrase \u2018nature deficit disorder\u2019 to describe the negative effects of children not spending time in nature. He brings forward the growing body of research indicating that direct exposure to nature is essential for healthy childhood development and for the physical and emotional health of children and adults.\nGreen Street Guide to Authentic Youth Engagement outlines some of the best ways to encourage authentic youth participation within organizations and includes practical advice and real-life examples.\nThe second edition of Natural Curiosity supports a stronger basic awareness of Indigenous perspectives and their importance to environmental education. The driving motivation for a second edition was the burning need, in the wake of strong and unequivocal recommendations by the Truth and Reconciliation Commission, to situate Indigenous perspectives into the heart of Canadian educational settings and curricula, most notably in connection with environmental issues.\nThe Indigenous lens in this edition represents a cross-cultural encounter supporting what can become an ongoing dialogue and evolution of practice in environmental inquiry. Some important questions are raised that challenge us to think in very different ways about things as fundamental as the meaning of knowledge.\nLe pr\u00e9sent document est un excellent outil pour l\u2019enseignante ou l\u2019enseignant de m\u00eame qu\u2019un incitatif pour l\u2019\u00e9l\u00e8ve \u00e0 d\u00e9couvrir le monde qui l\u2019entoure. Dans cette deuxi\u00e8me \u00e9dition de Curiosit\u00e9 naturelle, on d\u00e9couvre plus en d\u00e9tail l\u2019apprentissage environnemental vu par les Autochtones. Avec cette d\u00e9couverte, on ne peut que remettre compl\u00e8tement en question la place que l\u2019on occupe dans le monde. Le point de vue autochtone de cette \u00e9dition donne le coup d\u2019envoi d\u2019un dialogue qui permet \u00e0 l\u2019enseignante ou \u00e0 l\u2019enseignant de d\u00e9couvrir la vision autochtone des choses et \u00e0 l\u2019\u00e9l\u00e8ve de tisser des liens durables avec le monde naturel. Vous pouvez acheter le ressource ici.\nEducation for a Sustainable Future: A Resource for Curriculum Developers, Teachers, and Administrators is intended to assist Manitoba curriculum developers and educators to integrate sustainability concepts into new and existing curricula. It is interdisciplinary in approach, and provides direction, that is relevant to Alberta educators, for the integration of sustainability knowledge, skills, values, and life practices within the curriculum, the classroom, and the community.\nThe Community of Practice Design Guide provides a practical approach to creating communities of practice.\nConnecting Canadians with Nature: An Investment in the Well-Being of Our Citizens from the Canadian Parks Council is a report that provides an overview of the benefits of connecting with nature.\nBackgrounder on Youth Engagement by the the Alberta Emerald Foundation (AEF) and What we Heard from the province-wide consultations conducted by ACEE, on contract to AEF.\nNEW Braiding Sweetgrass for Young Adults!\nRobin Wall Kimmerer\u2019s beloved bestselling book has been adapted for young adults by Monique Gray Smith. Monique is Cree, Lakota and Scottish, and is well known for her storytelling, spirit of generosity and focus on resilience. This new edition reinforces how wider ecological understanding stems from listening to the earth\u2019s oldest teachers: the plants around us.\nWith informative sidebars, reflection questions, and art from illustrator Nicole Neidhardt (Navajo), Braiding Sweetgrass for Young Adults will help provide educators to bring Indigenous wisdom, scientific knowledge, and the lessons of plant life to a new generation. This new version will provide the essence of this book in a way that better engages high school students. You can purchase it from the Outdoor Learning Store.\nClimate Science Belongs in the Classroom factsheet by the Climate Reality Project is a free resource containing facts and information for teaching about climate change.\nConnecting the Dots focuses on learning strategies and the ways of organizing learning experiences; the \u201chow to\u201d of learning. These learning strategies involve students as engaged learners, learning within the context of their communities and addressing relevant, local issues.\nEnvironmental Outdoor Education and Exposure to Nature: The Positive Effects on Student Wellness and Academic Achievement is an annotated bibliography by Bill Bagshaw. It provides an extensive list of research on the effects of outdoor education on mental well-being, abilities and physical wellness.\nCommunity Climate Change Education: A Mosaic of Approaches features information and resources on over a dozen approaches to community climate change education, from public art, resilience gardening, and climate justice, to social innovation, marine science, and youth programming.", "id": "<urn:uuid:435b72d1-bebb-4d12-a13d-290bd87bff16>", "dump": "CC-MAIN-2023-14", "url": "https://www.abcee.org/bestpractices-environmental-educators", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943747.51/warc/CC-MAIN-20230321225117-20230322015117-00330.warc.gz", "language": "en", "language_score": 0.8589004278182983, "token_count": 1582, "score": 3.890625, "int_score": 4}
{"text": "Spanish House and Chores TPR\nSpanish House and Chores TPR Story and Power Point by Angie Torre\nThis Spanish House and Chores TPR Story includes the following:\n~Two Spanish TPR stories which reinforce the vocabulary of the House and Chores. They can also be used as a prelude to lessons in direct object pronouns and the verbs, \u201chacer\u201d and \u201cpoder\u201d.\nIn the first TPR story, Melisa\u2019s daughter proceeds to mess up every room in the house while Melisa cleans up after her. Then, miraculously, she begins cleaning and Melisa can\u2019t figure out why.\nIn the second TPR story, a spy is looking for tapes and is in danger of getting caught.\n~40-slide Power Point of the story with visuals and the activities that correspond to the Word documents.\nIn addition to the vocabulary and Spanish House and Chores TPR story the packet includes the following activities:\n~complete the sentences\n~answer the questions\n~write your own story using the new vocabulary\nThese TPR Stories serve to supplement the text as no book provides the necessary comprehensible input. The activities provide the necessary repetition and manipulation of the language needed in order for students to assimilate and produce Spanish.\nTo learn how to teach a story using TPR Strategies and see me teach a sample story, click here: Youtube Video of How To Tell TPRStory\nTo see me teach a TPR Story to my Spanish class, click here: Me teaching\nTo receive freebies and notifications of new products, click HERE to follow my store!\nYou may also be interested in the House and Chores Power Point and Interactive Notebook Activities: House and Chores Power Point\nFor just the House and Chores Google Drive Interactive Notebook Activity, click here: House & Chores Interactive Notebook Activity\nFor Travel TPR Story, click here: Travel TPRS\nFor TPR Stories for Spanish One and Two, click here: TPRS for Spanish 1 & 2\nFor images, photos, clip-art of household chores, click here: images of chores\nFor more TPR Stories and complete list of my products, CLICK HERE: My Store\nFor engaging PowerPoints, activities and resources, please visit my website: Best PowerPoints for Spanish\nOr my Pinterest Boards: Best PowerPoints Pinterest\nYour students will love Spanish House and Chores TPR Story.\nClick here to read a tutorial on TPR Storytelling Strategies.\nThere are no reviews yet.", "id": "<urn:uuid:ddff2737-335b-4c77-96bb-8b1120088071>", "dump": "CC-MAIN-2023-14", "url": "https://bestpowerpointsforspanishclass.com/product/spanish-house-and-chores-tpr-story-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949025.18/warc/CC-MAIN-20230329182643-20230329212643-00132.warc.gz", "language": "en", "language_score": 0.8566215634346008, "token_count": 543, "score": 3.5625, "int_score": 4}
{"text": "A beast fable is a type of narrative that features animals as characters who often behave and speak like humans. These stories often have a moral lesson or theme at their core. The Canterbury Tales, written by Geoffrey Chaucer in the 14th century, is a collection of stories told by a group of travelers on their journey to Canterbury. Among the tales told by the pilgrims is the \"Nun's Priest's Tale,\" which is a beast fable that features a talking rooster named Chauntecleer and a cunning fox named Reynard.\nIn the \"Nun's Priest's Tale,\" Chauntecleer is the proud and intelligent rooster who rules over a group of hens on a farm. Reynard the fox, on the other hand, is known for his trickery and deceit. One day, Reynard comes to the farm and flatters Chauntecleer, telling him that he is the most handsome and brave rooster he has ever seen. Chauntecleer, pleased with the compliment, invites Reynard into his coop.\nHowever, Reynard has ulterior motives and plots to steal one of the hens for his dinner. He tells Chauntecleer a story about a terrible dream he had, in which he saw a giant, terrifying beast coming to attack the farm. Chauntecleer, worried for the safety of his hens, decides to leave the coop to defend the farm against the beast. Reynard, seeing an opportunity, quickly grabs one of the hens and makes a run for it.\nChauntecleer, realizing he has been tricked, chases after Reynard and manages to catch him. Reynard, knowing he has been caught, begs for mercy and promises to never steal from the farm again. Chauntecleer, being a kind and forgiving rooster, agrees to let Reynard go, but warns him that if he ever tries to steal from the farm again, he will not be so merciful.\nThe \"Nun's Priest's Tale\" is a classic beast fable that teaches the lesson of not trusting those who flatter or deceive us. Chaucer uses the story to comment on the corrupt and cunning nature of some people in society, as Reynard the fox represents those who seek to deceive and manipulate others for their own gain. The story also highlights the virtues of kindness and forgiveness, as Chauntecleer shows mercy towards Reynard despite his trickery.\nOverall, the \"Nun's Priest's Tale\" is a humorous and entertaining tale that serves as a cautionary tale about the dangers of trusting those who seek to deceive us and the importance of forgiveness. It is one of many stories in The Canterbury Tales that showcases Chaucer's wit and storytelling skills, and it continues to be a popular and enduring tale to this day.\nIn of my favorite VHS's.)Anyway, Chauntecleer is\nChaunticleer suggests to the fox that he stop and taunt his pursuers. In the 1700s and 1800s attempts at putting the tales in order was in fashion, as well as translations into modern English. To call a cock a grim lion, for instance, is comically absurd and becomes even more so when we remember what a coward Chanticleer actually is. There was a shift in critical interest in the 1700s and 1800s, when scholars began trying to assemble the fragments of the pilgrims' stories in the ''proper'' order. Basically, Pryme means morning, trad means had sex with. Chanticleer, therefore, loses no time to demonstrate his learning. She suggests the accepted remedy, a digestive of worms followed by laxatives in the form of a number of herbs which she enumerates.\nIl n'y a aucune page manquante. For engaging class discussion, consider examining the traits of these four genres and have students classify each Chaucer tale according to those attributes. You will never regret it. In short, Chaucer adopted the mock-heroic style for the writing of this poem. He tells Pertelote that a savage, reddish, beast was about to swallow him.\nBelow is the article summary. By taking noble concepts and ideas and putting them in mouths of chickens and foxes, the tale suggests that perhaps these high ideas, or those who talk about them, are not as noble or serious as they seem. Throughout the tales, people are shown to stand up to the church and beat them at their own game and this provides the ideal response to church corruption. So, he had sex with her 20 times before morning. Chaunticleer graciously thanks Lady Pertelote, but he quotes authorities who maintain that dreams have a very definite meaning and insists that he does not need a laxative.\nIt is a quite astonishing production. En savoir plus \u00e0 propos de l'\u00e9tat Bon: Un livre qui a \u00e9t\u00e9 lu, mais qui est en bon \u00e9tat. This enriches the poem and adds a new dimension to the old story. He manages to maintain the rhythm and feel of the original while also making the modern version a delight to read. She says that the dream comes from some physical melancholy and urges him to take a laxative to get rid of this black bile. The Wife of Bath, probably, isn't a fan of this tale.\nChaunticleer crows the time more accurately than the church clocks. Anyway, Chauntecleer is like the most awesome rooster ever. Fox tries to coax him down with more praise, but Chauntecleer has learned his lesson by this point and he doesn't do it. The Characters in The Canterbury Tales The Purpose of the Characters in The Canterbury Tales The characters introduced in the General Prologue of The Canterbury Tales each represent a stereotype of a kind of person that Chaucer would have been familiar with in 14th Century England. She tells him he dreamed because he ate too much and that it is well known that dreams have no meaning; he simply needs a laxative. Each book is a value-priced, high-quality trade paperback, which you will receive for at least 50% off retail.\nIt takes these anthropomorphized animals, these human-like animals, and has them act out a story. Chaunticleer begins to run, but the fox gently calls out that he only came to hear Chaunticleer's beautiful voice. As a quick aside - when I took a class on Chaucer, there was a big debate in my class about whether chickens really could fly into trees. These tales are told through Chaucer's point of view, where he uses his humor to attract the reader in many different ways. Reynard the Fox Bodleian Library.\nIn The Canterbury Tales, the pilgrimage to Canterbury provides the frame for the work. Usually, the clever fox defeats the rooster in this type of beast fable, but here, Chaunticleer tricks the fox at his own game and foils Russell. His favorite wife's name is Pertelote. In this overview, Chaucer lambasts common stereotypes of the time to cast his characters. How Does Chaucer Use Sexism In Chaucer's Tale 527 Words 3 Pages The Canterbury tales is written by Geoffrey Chaucer takes place in the late 14 hundreds. Geoffrey Chaucer includes in his tales the importance of love, greed, and friendships and how those feelings should not come together for Corruption In The Miller's Tale 751 Words 4 Pages Religion is a theme in many works of literature throughout the ages. So, he had sex with her 20 times before morning.\nWe must also remember the cause of the discussion of divine foreknowledge: Lady Pertelote thinks that Chaunticleer's dream or nightmare was the result of his constipation, and she recommends a laxative. He is the master, so he thinks, of seven lovely hens. The Beast Fable The Nun's Priest's Tale is told by the nun's priest, who is traveling with another beast fable, which is a medieval genre that's basically responsible for the talking animal films that plague us today. Again, just a quick summary. There is a chase, and the cock saves himself by tricking the fox into opening his mouth to talk. Chaucer doesn't establish a whole separate Chicken Lore, like Redwall. Sinon a Greek who persuaded the Trojans to take the Greeks' wooden horse into their city, the result of which was the destruction of Troy.\nIn short, the whole description of the widow looks ironically at both the rich and the poor. Chaucer died before finishing it, which is why there are fewer stories than pilgrims. The writing follows a large group of pilgrims who have all been challenged to tell their best tale, one that teaches a valuable lesson, on the journey to Canterbury. They seemed to rule the economy and hold a lot of land. Jack Straw a leader of the riots in London during the Peasants' Revolt of 1381. Kenelm a young prince who, at seven years old, succeeded his father but was slain by an aunt.", "id": "<urn:uuid:583508d8-10aa-450c-a81f-199d494ebd5e>", "dump": "CC-MAIN-2023-14", "url": "http://opportunities.alumdev.columbia.edu/beast-fable-canterbury-tales.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00331.warc.gz", "language": "en", "language_score": 0.9693024158477783, "token_count": 1872, "score": 3.75, "int_score": 4}
{"text": "The whole child approach to teaching implies support for all areas of children\u2019s development. The whole child approach includes learning various skills from social-emotional to cognitive skills to ensure the development of children\u2019s thinking and understanding of things by introducing them to different interests and deepening their curiosity. This essay will provide insight on assessments and methods required to maintain a focus on the whole child.\nFirstly, as the whole child approach implies addressing the child\u2019s needs in different spheres, the data collected from classroom assessments should be enough to point to the child\u2019s developmental process and ensure the measurements. As classroom assessments provide information for identifying the children\u2019s strengths and needs as a group and differentiating each child, only a small addition of other types of assessments is needed (McAfee, Leong, & Bodrova, 2016). The additional assessments might include writing an individual report on each child\u2019s progress in learning and developing his skills. To maintain the whole-child approach, the assessments should be aimed at developing children\u2019s skills in a social-emotional area, physical state, cognitive learning, use of language, knowledge of literacy, and understanding of mathematics basics.\nThe guidelines required for conducting developmentally appropriate observations recommend using a general, practical approach with the addition of specific assessment opportunities. The general approach states the importance of the use of scheduling in the activities for making appropriate observations (McAfee et al., 2016). The schedule should give the children time to become familiar with assessments, the goals of assessments, and the process of assessments. The key aspect of this issue is to start gradually with easy assessment techniques, make them a part of everyday classroom life, and organize the work in a way accessible for the children (McAfee et al., 2016). The timing guideline would ensure that the observations are appropriate for the children\u2019s development and confirm the validity and reliability of information collected through observations.\nTo collect the information, teachers usually use \u2018windows\u2019: a combination of sources, methods, and context. To provide effectiveness in collecting, recording, and compiling assessment data, a combination of different techniques must be implied to the teacher\u2019s work. The combination of systematic observation of children, collecting work products, structured performances, and dynamic assessment would provide an accurate and thorough insight into children\u2019s learning progress and capabilities. To improve the observation and teaching process, the teacher might develop and use checklists modified to fit their needs. Checklists are a versatile way to document many aspects in several spheres and are easy and quick to work with (McAfee et al., 2016). To prevent oversimplifying behavior and learning with the use of checklists, teachers may introduce the use of video recording and photographs to use further as evidence of integration of learning (McAfee et al., 2016). The video records could also be used by teachers to self-reflect and analyze their professional skills. The collected data and work products could form personal portfolios to demonstrate the child\u2019s unique perspectives as well as a group profile.\nTo ensure the validity and reliability of assessments, teachers need to double-check the assessments and collected evidence. Collected samples should represent assessment subjects and be balanced in terms of the use of different methods and contexts (McAfee et al., 2016). The information collected in the assessments should correspond to reality; evidently, the information collected on each of the children should be consistent throughout the use of different methods, sources, and contexts. The assessments could be repeated in the same methods but using different contexts to compare the results to previous ones and make notes on each child\u2019s progress (McAfee et al.,2016). The collected data should give detailed information on each child, his pattern of development and interests, and correspond to other children\u2019s, parents\u2019, and teachers\u2019 opinions on the child. Any inconsistency in the data should be additionally checked to identify possible concerns in the child\u2019s behavior or development progress.\nMaintaining a focus on the whole child is a priority in choosing tools, methods, and approaches to assessment in a kindergarten classroom. The assessments should be tailored to developing children\u2019s skills crucial for the concept of the whole child. For instance, to improve children\u2019s development in a social-emotional area, assessments should include working in groups or pairs. Physical education of children and assessments within the concept of the whole child should be aimed at a \u201chealth-enhancing level of physical fitness\u201d (McAfee et al., 2016, p.89). Furthermore, to improve the children\u2019s cognitive learning skills and use of language, tools like performance samples of storytelling, reading, or writing could be used in the classroom assessments.\nIn conclusion, this essay provided insight into various assessments and methods required to focus on the whole child. The classroom assessments should be organized and scheduled to provide valid information from observations. The teacher may use a combination of checklists and video recordings of assessments to obtain accurate information on the children and self-analyze the teacher\u2019s professional skills. The collected data from the assessments should be reliable and consistent throughout different methods, contexts, and sources. The use of different tools, methods, and approaches to assessments help with improving the skills required within the concept of the \u2018whole child\u2019 approach.\nMcAfee, O., Leong, D. J., & Bodrova, E. (2016). Assessing and guiding young children\u2019s development and learning (6th ed.). Denver, CO: Metropolitan State College.", "id": "<urn:uuid:8e4573d1-30d9-4e1c-9572-9b62b2172e09>", "dump": "CC-MAIN-2023-14", "url": "https://chalkypapers.com/assessments-in-early-childhood-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949331.26/warc/CC-MAIN-20230330132508-20230330162508-00331.warc.gz", "language": "en", "language_score": 0.9251407980918884, "token_count": 1130, "score": 3.71875, "int_score": 4}
{"text": "Persuasive articles. What Is Persuasive Writing and How to Teach It 2022-11-15\nPersuasive articles Rating:\nA persuasive article is a piece of writing that presents a viewpoint and provides evidence in support of that viewpoint. The goal of a persuasive article is to convince the reader to adopt the same perspective or take a specific action.\nThere are several key elements that are commonly found in persuasive articles. One of the most important is a clear and concise thesis statement that presents the main argument of the article. This should be followed by evidence in the form of facts, statistics, examples, and expert testimony, which are used to support the argument.\nAnother important element of a persuasive article is the use of rhetorical devices. These are techniques that writers use to appeal to the reader's emotions, logic, and sense of morality. Some examples of rhetorical devices include the use of emotional language, rhetorical questions, and vivid imagery.\nAnother key element of a persuasive article is the use of counterarguments. A counterargument is a perspective that is opposed to the main argument of the article. By acknowledging and addressing counterarguments, writers can strengthen their own argument by showing that they have considered alternative viewpoints and can provide evidence to refute them.\nIn order to be effective, a persuasive article must also be well-organized and well-written. This means that the ideas should be presented in a logical order and the language should be clear and concise. It is also important for the writer to consider their audience and tailor the argument to their specific needs and concerns.\nOverall, a persuasive article is a powerful tool for influencing the opinions and actions of others. By presenting a clear and well-supported argument, using rhetorical devices and addressing counterarguments, writers can effectively persuade their readers to adopt their perspective or take specific actions.\nThe Art of Persuasion Hasn\u2019t Changed in 2,000 Years\nI was unable to persuade Kim to quit her bad habit of smoking. Factually, to persuade means to make someone agree with your position. It also shows some different thoughts on the matter shortly. Using this structure will give your paragraphs that extra touch needed to make them sharp, like the crack of a pistol. What is a Persuasive Article? It is a powerful tool to have. How to Fix the Usual Mistakes? The skills gained from persuasive writing can help students become changemakers. This way of working will also save you from wasting time on unnecessary detail.\nRead on to find out! Let it be like that teaser of a series of movies that makes you yearn for the full episode. A good persuasive essay topic also has its own set of language units to communicate arguments. The more personal your content is the more your audience will feel connected to you and your idea. Furthermore, this type of writing can help you develop critical thinking skills and build your self-confidence, which is essential if you want a good turnover. Often students are writing for the sake of completing the assignment they got and getting a mark for it. This is a crucial part of having an effective website. Persuasive articles form a majority of college essays.\nPersuasive Articles: Your Ultimate Guide To Writing\nArticle 1: In his article, Drew Lipsky does a very good job at persuading the reader why the college athletes should not be paid above the cost of education. Writing for the sake of writing will not work for persuading. To help inspire your persuasive technique, we have included a few persuasive writing examples for each step of the way. The topic sentence \u2014 also referred to as a focus sentence, acts as an envelope of the entire section. But be thoughtful and even skeptical about that information.\n\ud83d\udc8b What is a persuasive article. What is a Persuasive Article?. 2022\nGet on it right away with the. By the way, they all are connected with and based on some specific features which characterize the way we all perceive the information which comes from written or oral texts. Call to Action It comes in the conclusion of most persuasive essays. I actually remembered one article that I used for research on my civic issues blog when I blogged about the pay for play debate and then found another article about whether or not the Pro Bowl should exist. This type of writing also helps in acquiring vital life skills such as critical thinking, reasoning, logic, and persuasion. They should also sway the reader closer to conviction.\nIt requires a special skill to write a persuasive article and it is written in such a way so that it could grasp the hearts of the readers and it is written with great care and effort. Therefore, before you stop on a specific topic, be sure to conduct enough research to see if you can find sufficient supporting evidence for your ideas. However, often speechwriters draw a separate conclusion from every point made in the body to ensure that the audience is on the same page with the speaker. Persuasion: Definition, Types, Examples, and Effects Now I will try to persuade you. Source: Anger In Consumer Reviews: Unhelpful But Persuasive? When teaching persuasive writing, showing students real-world examples and letting them practice amongst themselves goes a long way in building their skills. Persuasive Essay Example: How you address a holidaymaker searching for luxury holidays in California would be completely different from that of a seasoned gamer wondering if they should switch from Xbox to PlayStation.\nRepetition Repetitions stick a particular concept in the mind of a human being. Aristotle believed the best way to transfer emotion from one person to another is through storytelling. Also, it requires a lot of research to write a persuasive article and bring the right and factual knowledge to the reader. Three Types of Persuasive Writing We will look at these types of writing identifying the unique differentiator of each: 1. The body is made up of arguments and counterarguments to persuade the audience. A lot depends on this step. Then, after that, convince the reader to believe and act on what your intention is.\nVisualize Consider choosing a topic that allows you to be more descriptive because this allows the audience to visualize which consequently helps persuade them. This issue is that they should choose your products and service! Do Compare Sometimes it is more effective to show them in pictures, calculations and diagrams why it is better than other. It contains the hook, which is used to grab the reader's attention, and the thesis, or argument, which you'll explain in the next section. Successful persuasive essays include a combination of thorough research and carefully selected words and phrases to promote products and services. Use catchy titles and headings The last and most vital of all tactics is to write eye-catching titles and headings.\nThese are all logical appeals that will help you gain support. Welcome to Crittenden Middle School, Home of the. Instead of showing the argument he disagreed with and then disproving it, Ribery went with a more straightforward approach. Ask them to check yours and find its weak and strong points. Writing a persuasive article is such a simple task, after all. However, it is also widely used in the professional world, for example, when presenting a new idea to investors with the goal of persuading them to invest their money in a project.\nHere is the structure of standard persuasive writing: Title The persuasive topic should be relevant and one that is mind provoking to enable the reader to delve more into the body. And if you can tie your content back to your offer through other means, like an email subscription, you will close the loop, from one where your readers get educated by your content to one where they become customers. I want you to follow along till the end of this article carefully in order to get to know about it in detail. Using catchy titles and headings increases the value of a persuasive article. The author should articulate the end in such a manner that leaves the reader with a strong impression \u2014 remember our doubting Thomas? It is you who sets the deadline, so you can stay absolutely sure that you will receive the ordered paper in the best way possible and on time, of course.\nHow to Write a Persuasive Article: 7 Easy Steps to Follow in 2023\nIn a persuasive essay, you can argue that summer vacations should be longer, that kids should get less homework or that kids should be paid for good grades. Components of a Persuasive Essay Here we have compelled an extensive list of good persuasive essay topics divided into popular categories to help you get started with your paper. Such issue leads to inability to rebut counterarguments. Show examples An article is filled with abstractions that can distract the reader from the points you'r trying to make. A persuasive article is often written with the intention of influencing public opinion or persuading readers to take a certain course of action. Nowadays persuasive piece of writing is the most preferred type of writing by the readers and every reader out there prefers reading a persuasive article over an article written in an ordinary way.", "id": "<urn:uuid:bc2cdea4-9601-4119-9e78-4763a6069647>", "dump": "CC-MAIN-2023-14", "url": "http://complianceportal.american.edu/persuasive-articles.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945168.36/warc/CC-MAIN-20230323132026-20230323162026-00732.warc.gz", "language": "en", "language_score": 0.9491748213768005, "token_count": 1841, "score": 3.546875, "int_score": 4}
{"text": "There are numerous related references to vision, insight, light, and dark. Blindness is used both literally and metaphorically in the play. Oedipus, King of Thebes, has physical sight but is blind to his background: The theme of blindness comes to the forefront in the play when Oedipus calls\nAn interactive data visualization of Oedipus Rex's plot and themes. Brief Biography of Sophocles Considered one of the three greatest playwrights of classical Greek theater, Sophocles was a friend of Pericles and Herodotus, and a respected citizen who held political and military offices in fifth-century B.\nHe won fame by defeating the playwright Aeschylus for a prize in tragic drama at Athens in B.\nOnly seven of his complete plays have survived to reach the modern era, but he wrote more than and won first prize in 24 contests. He is credited with changing Greek drama by adding a third actor, reducing the role of the chorus, and paying greater attention to character development.\nHistorical Context of Oedipus Rex The story of Oedipus and the tragedies that befell his family were nothing new to Sophocles's audience. Greek authors routinely drew their basic material from a cycle of four epic poems, known as the Theban Cycle, that was already ancient in the fifth century B.\nThe Theban Cycle was as familiar to Athenians as the The Iliad and The Odysseyso everyone in the audience would have known what was going to happen to Oedipus. Sophocles used this common story but made Oedipus a contemporary character, a man of action and persistence who represented many of the ideals of Athenian leadership.\nIt is Oedipus's desire to find out the truth\u2014a quality that, again, would have been admired by Sophocles's audience\u2014that leads to his destruction. Other Books Related to Oedipus Rex Of Sophocles's surviving dramatic works, AntigoneOedipus Rex, and Oedipus at Colonus treat different episodes of the same legend, using many of the same characters.\nSophocles's writing career overlapped with that of Aeschylus and Euripedes, the other great tragic playwrights of fifth-century Athens. Euripedes's most influential works include MedeaElectra, and The Bacchae. Athens, Greece When Published: The royal house of Thebes Climax: When Oedipus gouges out his eyes Antagonist: Sigmund Freud used the Oedipus story as an important example in his theory of the unconscious.\nHe believed that \"It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and our first murderous wish against our father.\nRetrieved November 29, Oedipus - The protagonist of Oedipus the King and Oedipus at Colonus. Oedipus becomes king of Thebes before the action of Oedipus the King begins. He is renowned for his intelligence and his ability to solve riddles\u2014he saved the city of Thebes and was made its king by solving the riddle of the.\nTop Works in World Literature by Norwegian Book Clubs, with the Norwegian Nobel Institute. The editors of the Norwegian Book Clubs, with the Norwegian Nobel Institute, polled a panel of authors from 54 countries on what they considered the \u201cbest and most central works in world literature.\u201d.\nReach your academic happy place with access to thousands of textbook solutions written by subject matter experts.\nA basic level guide to some of the best known and loved works of prose, poetry and drama from ancient Greece - Oedipus the King by Sophocles. Oedipus Rex Questions and Answers - Discover the benjaminpohle.com community of teachers, mentors and students just like you that can answer any question you might have on Oedipus Rex.\nWhen Oedipus finally sees the terrible truth of his life, Sophocles hammers home his metaphor by having the king stab out his own eyes. Oedipus says he does this because he can no longer look on the horrors that his unwitting actions have created.", "id": "<urn:uuid:697448a6-c7a4-4a5e-b732-5b828866fef9>", "dump": "CC-MAIN-2023-14", "url": "https://zezyhaseticih.benjaminpohle.com/the-blindness-of-king-oedipus-from-the-truth-16671qm.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00332.warc.gz", "language": "en", "language_score": 0.9711083769798279, "token_count": 882, "score": 3.65625, "int_score": 4}
{"text": "Juneteenth: A Day of Jubilee\nBy TaNefer Camara, Co-Founder of The B.L.A.C.K. Course\nJanuary 1st 1863 Abraham Lincoln issued the Emancipation Proclamation which granted freedom to enslaved people under confederate control. However, many enslaved people were not informed of the executive order which would grant their freedom. In Texas where there were an estimated 250,000 people enslaved, this news would arrive two years after the proclamation was announced and signed. On June 19th 1865 General Granger and federal troops arrived in Galveston Texas to anounce the end of slavery and the liberation of the people. The following year on that date, a \u201cDay of Jubilee\u201d which would later become known as Juneteenth was celebrated to commemorate the freedom of the formerly enslaved Black people in America. The celebration grew and as Black people began to migrate throughout the country, Black communities around the country gathered to honor this day. In 1979, Texas became the first state to establish Juneteenth as an official holiday and in 2021 Juneteenth was declared a national federal holiday.\nDuring the period after emancipation, the formerly enslaved set out on a mission to establish their families, communities, schools, churches, farms and businesses. The newly emancipated knew that true freedom is not given and they would have a long road to rebuilding from the irreparable damage that centuries of slavery and oppression took from them. After the celebrations the work began. People sought to reunify with relatives that were sold, they established Freedom schools for people of all ages to learn to read and write and they built homes and cultivated farmland to begin a new life. The Black Midwives, herbalist healers were of the most revered in the community as they took care of the pregnant women, attended births, treated the sick and kept many of our healing traditions alive during a time where we were denied essential medical care. The Black Midwives, Mama\u2019s, aunties and healers were also the ones to assist with breastfeeding and care for women postpartum. Black Midwives of this time not only cared for Black women but also white women as they had during slavery. Birth work, domestic work and education were some of the professions that Black women of this time practiced. Many women sought to be homemakers and care for their families during this period, but poverty and the harsh conditions of the south would lead many mothers back into the workforce.\nWhen slavery ended, another level of terror began, known as the Black Codes; which were enacted during the period of reconstruction from 1865-1877. These codes restricted the movement and freedom of Black folks. This included curfews, exclusion from certain businesses and services included healthcare, banks, schools, employment and voting rights. Violations of these codes were so strict and nearly impossible to navigate that they would land people either in jail, dead or back in a status of slavery. The Reconstruction Act of 1867 sought to weaken these codes by requiring all states to uphold the 14th amendment, however in the rural south enforcement and adherence to the act was low. During this time Black men did exercise their right to vote and hold public office. After Reconstruction ended these protections were removed and Jim Crow laws replaced the Black codes further oppressing and restricting the rights of Black people in America. Many of the formerly enslaved would still be tied to plantations as share croppers while others left for distant lands and areas to escape the oppression and terrorism that ensued in the years after emancipation.\nOne of the greatest priorities of the newly freed was the unification of the Black Family. Slavery tore families apart; children were taken from their parents, husbands and wives, siblings, loved ones and friends were separated. So upon emancipation one of the first orders of business was to reunify with family. We see that unification in the reclaiming of practices such as marriage, birth and breastfeeding. Enslaved people did not have rights over their bodies, their reproduction or their babies. Freedom meant the ability to reclaim autonomy and self-determination, to decide when to have children, how to raise them and to breastfeed them.\nJuneteenth was a Family celebration, a coming together of generations to honor their ancestors, pay respect to elders and teach the youth. Through storytelling, food, music, worship and prayer. We recognize this day and continue the legacy. We see Juneteenth as a time for reflection and healing. Part of that healing is reclaiming our traditions, developing new traditions and forging a path for future generations to follow.\nThe Lactation Network joins The B.L.A.C.K Course in Commemorating Juneteenth. The B.L.A.C.K. Course which is an acronym for Birth, Lactation, Accommodation, Culture and Kinship is a foundational lactation education course that centers the history, culture, spirituality and lived experience of Black People in America, the descendants of slavery and people of the African diaspora in a comprehensive lactation education course. We invite you to learn more about our history and vision for the future as we cultivate healing in reclaiming, promoting and supporting the art and culture of Breastfeeding in the Black Family. In celebration of Juneteenth, The B.L.A.C.K. Course Juneteenth webinar is available for your viewing until July 3rd. You can access the webinar HERE.", "id": "<urn:uuid:767f5814-6f10-4b43-b7fc-945c3217f80b>", "dump": "CC-MAIN-2023-14", "url": "https://lactationnetwork.com/blog/juneteenth-a-day-of-jubilee/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.97/warc/CC-MAIN-20230322211955-20230323001955-00753.warc.gz", "language": "en", "language_score": 0.9801456332206726, "token_count": 1099, "score": 3.765625, "int_score": 4}
{"text": "In musical orchestra and marching bands, the instruments are divided into different groups based on the sound they make and the voice they play in the band. In every marching band and orchestra there are two distinct groups of wind instruments: brass and woodwind. Although the two are similar in some aspects, there are many characteristics that differentiate the two. From material to playing technique, these are the core differences between brass and woodwind instruments.\nWhile there are many differences between brass and woodwind instruments, the main difference between the two is what they\u2019re composed of. Woodwind instruments, such as clarinets and flutes, are made out of wood or metal, while brass instruments are made exclusively out of metal or brass. Since reeds are absent from brass instruments, there is no trace of wood or reed in brass instruments. Although both types of instruments use a force of air to make a sound, the mouthpiece of woodwind instruments requires a reed while the mouthpiece of brass instruments do not.\nDirectional vs. Non-Directional\nOne important difference between woodwind and brass instruments is that woodwind instruments are non-directional. With non-directional instruments, the direction or volume the instrument produces can\u2019t be controlled. For example, the sound produced by a flute will sound the same standing in front of the flutist as it will if you\u2019re standing behind. Brass instruments, on the other hand, are directional. This difference makes it more difficult to record a woodwind instrument accurately and plays an important role in marching bands, as brass instruments will be heard throughout the stadium while woodwind instruments will primarily be heard on the field.\nWhile wind and brass instruments both rely on the player to supply the instrument with enough air to make a sound, the technique by which the note is played varies between the two. Brass instruments are lip-vibrated instruments, meaning the different pitches are caused by alterations of both the air flow and lip tension of the player. The difference in pitches of woodwind instruments, on the other hand, is caused when a player blows through a reed to cause air within the resonator to vibrate. The reed sits at the back of the mouthpiece and vibrates against the rest of the mouthpiece to help create the sound.\nValves vs. Keys\nValves are a crucial part of brass instruments, as they help direct air in and out of the instrument, creating different pitches. Woodwind instruments, on the other hand, rely on the keys located alongside the body of the instrument to vary air flow. This variance in air flow is what creates the different tones and pitches. While this may seem like a major difference, it\u2019s also a similarity, as both the valves and keys rely on the air provided by the player to create sound. Additionally, many brass instruments require more breath and more air to fill the instrument than smaller woodwind instruments.\nFor more information about brass and woodwind instruments, check out the Parent\u2019s Guide to School Band Instruments.\nThe main difference is the presence of a reed.\nI have to thank you for the efforts you\u2019ve put in writing this blog.\nI really hope to see the same high-grade content from you in the\nfuture as well. In truth, your creative writing abilities has encouraged me to get my own, personal site now \ud83d\ude09\nYou did not mention the exception. That would be saxophones they\u2019re made of brass but classified as a woodwind because of their Reed mouthpiece.\nthank you for providing something intelligent and interesting in a world that is sometimes not either. I sometimes wish I had more culture in my upbringing, other times, I am ashamed that I might of had many chances for such enrichment, but failed to take advantage. Sometimes I think everything (such as success, fulfillment, etcetera, is random, other times, I think I merely failed at my chance to enrich not only myself, but the world.\ni dont understand how valves and keys are different, with both you press down on them and it changes the pitch, right?\n\u201cthe difference between brass and woodwind: on the one hand, you have woodwind instruments, which are made out of metal. on the other hand, you have brass instruments. these are made exclusively out of metal\u201d", "id": "<urn:uuid:e8d7714f-5eac-4236-9b25-40dc5b7d662b>", "dump": "CC-MAIN-2023-14", "url": "https://thevault.musicarts.com/the-difference-between-brass-and-woodwind-instruments/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950422.77/warc/CC-MAIN-20230402074255-20230402104255-00532.warc.gz", "language": "en", "language_score": 0.9605042338371277, "token_count": 904, "score": 3.640625, "int_score": 4}
{"text": "Advantages & Disadvantages of Different Learning Styles\nIf you've ever struggled to understand information in certain instructors' classes, it may have been because they didn't match up with your personal learning style, the way you process new information. Whether they learn best by seeing, hearing or doing, all students have dominant learning styles with different advantages and disadvantages. Understanding your learning style's strengths and weaknesses can help you tailor your study skills to fit this preference for gathering knowledge.\nI Can See Clearly Now: Visual Learners\nVisual learners best acquire information by reading, seeing or interpreting illustrations of material. They typically excel at observation and memory skills, often able to picture the location of information in textbooks and their class notes. Their ability to see the action of a story happening in their minds also makes them strong readers. On the other hand, visual learners struggle with listening to directions and information that is not written out. They may experience difficulty in lecture-oriented classes and often require instructors to repeat information.\nListen Up: Auditory Learners\nAuditory learners thrive in classes that let them process knowledge through hearing and verbal communication. Lectures, reading out loud and giving oral reports and speeches comprise their strongest methods of instruction. They enjoy discussing and debating class material and often have special skills in music, such as memorizing lyrics. Their proclivity toward speaking can also be a downfall, though, as they tend to be overly talkative and dominate conversations. They also may need to hear information in order to fully learn it, meaning that information not covered in lectures may be unclear to them.\nMovers and Shakers: Kinesthetic Learners\nKinesthetic learners acquire information best when they are able to directly experience it through movement and touch. Hands-on activities like experiments, art projects, role-plays and skits give them the greatest advantage. They often enjoy activities like sports, cooking, constructing projects and making crafts. Their tendency toward movement, however, is sometimes problematic, as they frequently struggle with sitting still and paying attention. They are often uncomfortable in classes that involve a great deal of reading and lectures and may need to take frequent breaks while studying.\nKnowing how you process information can help you maximize your study time using methods that fit your strengths. If you're a visual learner, you might try underlining or highlighting material as you read, color-coding your notes or using flash cards to study for tests. Because they are often poor note-takers, auditory learners can record lectures to play back as they study or teach the material to another person. Kinesthetic learners might strengthen their lack of focus by doing physical activity as they study. Try working out on a treadmill or exercise bike while reading or listening to study material.\nKori Morgan holds a Bachelor of Arts in professional writing and a Master of Fine Arts in creative writing and has been crafting online and print educational materials since 2006. She taught creative writing and composition at West Virginia University and the University of Akron and her fiction, poetry and essays have appeared in numerous literary journals.", "id": "<urn:uuid:5f8ff425-5a29-44c0-bd6e-d4f9ba252f93>", "dump": "CC-MAIN-2023-14", "url": "https://education.seattlepi.com/advantages-disadvantages-different-learning-styles-3581.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945183.40/warc/CC-MAIN-20230323194025-20230323224025-00131.warc.gz", "language": "en", "language_score": 0.9554396271705627, "token_count": 623, "score": 3.859375, "int_score": 4}
{"text": "There are several animation techniques, including 2D, stop-motion, 3D hand-drawn, and computer-generated animation, but all professions need a high level of creativity and passion.\nAn apprentice animator helps generate a series of images known as frames, which provide the illusion of movement combined \u2013 this is known as animation. For example, graphics might be computer or hand-drawn pictures, models, or puppets.\nAnimators often work in two dimensions, three dimensions, stop-frame animation, or computer-generated animation.\nComputer-generated animation is commonly utilised in film (for special effects or as a standalone animated feature), television, the internet, and the computer games industry.\nThe essential skill of animation continues to depend heavily on aesthetic aptitude, but there is an increasing need for animators to be skilled with technical computer programmes.\nThroughout your apprenticeship, you may help:\n- visualise how to animate storyboard and script ideas\n- draw by hand or use animation software to create characters and scenes\n- add lighting, shading, colour, texture and special effects\n- use motion capture methods to create expressions and movements that are lifelike\n- use stop-motion techniques to film 3D models\n- combine several layers of animation to create the final product.\n- Entry salaries are in the region of \u00a312,000 to \u00a315,000 for apprentices. Salaries in computer game animation start higher at \u00a318,000, rising quickly with experience.\n- Experienced animators can earn around \u00a323,000 to \u00a326,000.\n- Salaries for animators with at least ten years\u2019 experience are around \u00a336,000.\nWorking hours are regular office hours (approximately 35 to 40 hours per week), but as deadlines approach you may need to work overtime, including at the weekend.\nYou could work in a creative studio, in an office or from home.\nQualifications you can achieve as an apprentice animator include:\n- Level 4 Junior Animator \u2013 Entry requirements for this level include 4 or 5 GCSEs at grades 9 to 4 (A* to C) and A levels, or equivalent, for a higher or degree apprenticeship. This qualification takes 18 months to complete.\nOn an animation apprenticeship, you\u2019ll learn:\n- knowledge of media production and communication\n- design skills and knowledge\n- to be thorough and pay attention to detail\n- thinking and reasoning skills\n- the ability to use your initiative\n- the ability to work well with your hands\n- to be flexible and open to change\n- knowledge of the fine arts\n- to be able to use a computer and the main software packages confidently.\nIn general, animation studios work in various industries (television, advertising, feature film, etc.), while computer game companies tend to specialise in just one.\nThe United Kingdom also leads the world in pre-school storytelling and design, and investment in this subject is increasing, ensuring employment availability.\nMany animators work as independent filmmakers, making their own short films and seeking to secure commissions from animation commissioners at television networks such as Channel 4, the BBC (particularly BBC2), or the internet.\nHaving a short film screened may generate a commission for a short series, a longer film, or attention from music company advertising agencies (for music videos) or commercial and business businesses.\nMost animators learn on the job, but attending seminars and taking courses might help you refresh or improve your sketching, modelling, or software skills.\nThe British Film Institute offers media and multimedia courses (BFI).\nLarger businesses may provide a more organised training programme. This might include studying for a Masters degree in animation or obtaining a professional certificate in a more specialised subject.\nThere are several short courses and master classes covering specific animation themes that vary in duration from a few days to several weeks.\nLocal audiovisual industry skills councils are useful when researching short courses or opportunities to develop more particular topics. Find out which organisation services your area of the United Kingdom by contacting Creative Skillset.\nStarting as a junior animator, you\u2019ll progress to senior animator and ultimately to design manager or art director after a few years.\nAdditional paperwork, staff management, and the production of new ideas are all responsibilities of senior roles. Therefore, freelancing employment is commonly used to enhance a career since it improves the animator\u2019s reputation and assures a consistent supply of work and more senior responsibilities.\nThe United Kingdom is well-known for stop-motion and children\u2019s animation and has a major computer gaming industry. However, animation is a global profession; you may need to go abroad to specialise in a specific style.\nThe United States is home to some of the world\u2019s largest animation, CGI special effects, and gaming firms. East Asia also generates a substantial amount of 2D animation. As a result, animators are increasingly looking for work outside of the UK to broaden their client base.\nVersatility is essential in development, and if you can work with puppets, models, and drawn and computer-generated animation, you may have more options.", "id": "<urn:uuid:33281371-3aa0-41d3-8e71-abba2634fa64>", "dump": "CC-MAIN-2023-14", "url": "https://completeapprenticeshipguide.com/animation-apprenticeship/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949181.44/warc/CC-MAIN-20230330101355-20230330131355-00131.warc.gz", "language": "en", "language_score": 0.9391852021217346, "token_count": 1088, "score": 3.5625, "int_score": 4}
{"text": "Connect4Learning (C4L) is a research-based curriculum comprising six units and 32 weeks of learning centers and lessons. It aims to synthesize research based approaches in four domains of learning: mathematics, science, literacy, and social-emotional development. Connect4Learning uses a project-based approach, in which children work toward a larger goal, such as playing a coral-reef scavenger hunt or converting their classroom into a museum throughout a curriculum unit. Each lesson can be tailored to fit the schedule and requirements of any classroom setting. Observation opportunities and individualized instruction strategies are built into the curriculum.\nTeachers regularly observe and record children\u2019s behavior, experiences and interests. Based on these careful observations, teachers are able to plan activities that will promote children\u2019s growth and development. They also use these notes in parent meetings, conferences, and home visits to help parents better understand their children\u2019s development.\nThe kindergarten environment is designed to provide the children an opportunity to build upon the skills they have attained in the preschool classroom.The kindergarten curriculum inspires children to develop inner discipline, self-assurance, and a love of learning through a rigorous English language arts and math program designed to teach students reading, writing, speaking, and listening, while developing deep vocabulary and broad background knowledge.\nElementary, Grades 1-5\nThe elementary curriculum is built upon the foundation laid in the lower elementary classrooms. New materials are introduced as the child moves from concrete to abstract thinking. The curriculum is integrated, individualized, academically challenging, and meets the developmental needs of each child, intellectually, socially, physically, and emotionally. The students experience individual, small and large group lessons, and projects. Subject areas include: language arts, math, social and science. Children build timelines, record science experiments, research and present written reports and projects, and learn computer skills. Field trips that relate to areas of study are scheduled to enhance the child\u2019s learning experience. Organizational skills and independence are developed through the use of homework planners, and weekly schedules. Class meetings encourage cooperative efforts as questions of right and wrong lead to discussions on fairness, rules, and procedures. Also, literature circles serve as a venue for discussions about character development, responsibility, and accountability in our personal lives.\nMiddle School, Grades 6-8\nWith a \u2018college to career connections\u2019 mindset, the middle school team addresses two pivotal questions: What do we want an eighth grade graduate to look like when he/she graduates from New Branches? What skills are necessary for success in a global economy? The overarching goal of New Branches\u2019 Middle School educational program is getting our students to work as a team while exposing them to the world of high school, post-secondary education and the world of work. The model also offers an academic curriculum based on Common Core State Standards and Next Generation Science Standards. Additionally, our model includes professional development opportunities for teachers.\nFor a successful transition to high school, trade school and/or college and the workforce, we teach our students the following habits and skills to prepare them academically, socially, emotionally, cognitively, and morally:\n- How to be career-focused and environmentally conscious.\n- How to articulate and communicate ideas verbally and in writing.\n- How to be organized, self-managed and motivated.\n- How to question the world around them and investigate answers.\n- How to be confident in their abilities.\n- How to be leaders in their school and community.\n- How to be highly focused and driven on work, learning and life lessons.\n- How to recognize issues and find workable means for dealing with problems and work with diverse people.\n- How to be a disciplined thinker that is clear, rational, open minded, and informed by evidence.\n- How to implement study skills, particularly for passing tests, quizzes and other exams.\n- How to have the ability and stamina to deal with a rigorous workload.\n- How to work and live with integrity.\n- How to have courage to stand up for what you believe in, determination, strong character-to model and make a difference, and grit.\n- How to deal with stress using coping techniques.\nEducational Development Plans for Seventh and Eighth Grade Students\n- At the beginning of each school year, the students work with the teachers to develop and implement Educational Development Plans (EDPs) with all seventh and eighth grade students via one-on-one goal-setting meetings.\n- The student follows the Xello program, which starts out as assessments in seventh grade and follows students through high school.\n- In collaboration with teachers, parents, students and school leaders, students will have a copy of their EDPs by mid-October toward the goal of monitoring students\u2019 success.\n- Teachers and school leaders use the data from students\u2019 EDPs to align lessons to students\u2019 career goals, interests and educational needs. Parents, students, and teachers frequently meet to develop career paths that consist of revisiting students\u2019 goals and making sure students are on track toward obtaining their goals and career aspirations.", "id": "<urn:uuid:5eba9ab3-92c0-49c8-8154-4f1715aae467>", "dump": "CC-MAIN-2023-14", "url": "https://newbranches.org/academics/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949642.35/warc/CC-MAIN-20230331113819-20230331143819-00732.warc.gz", "language": "en", "language_score": 0.9535613656044006, "token_count": 1064, "score": 3.828125, "int_score": 4}
{"text": "When it comes to Science, Technology, Engineering, Arts and Mathematics (STEAM) activities for elementary school, the \u201cA\u201d is sometimes left out of the equation. Try these space-themed activities to bring out the artistic side of your students while tapping into their natural fascination with stars and planets.\nLearn about the planets by making wearable art.\nThe planets of our solar system are not only fascinating\u2014they\u2019re unique and beautiful! Students can flex their creativity while learning about the different planets with this jewelry-making activity.\n- Sculpey polymer clay (or similar), in a variety of colors to match the planets\n- Photos of each planet\n- Toothpicks (or another implement that can make holes in clay)\n- Jewelry cord or twine (enough to make each student a necklace or bracelet)\n- Split the class into small groups and assign each a planet. You can add the Sun and Earth\u2019s moon if you have more groups than planets.\n- Give each group a photo of their planet and Sculpey modeling clay in corresponding colors.\n- Using the photos for reference, each group will design and make spherical clay beads that look like their planet. The beads will be strung together to form solar system jewelry. While the vast size variations between the planets don\u2019t allow for accurate scale in this format, you can give the students measurements for the beads that show their approximate size in relation to each other. (For example, Earth will be larger than Venus but smaller than Neptune.)\n- Each group will need to make enough beads for every class member to have one. Some extras are a good idea in case of breakage.\n- When all the beads are formed, help the students make holes through each using toothpicks. The holes should be big enough for the cord or twine to fit through.\n- Have the students help you put the beads onto baking sheets.\n- Bake the beads according to the clay package directions. This can take a long time, so you may need to split the activity over two or three days.\n- When the beads are ready, bring them back to the classroom. Set up an assembly line with stations of planet beads, in order of their distance from the Sun. Students can help by identifying the correct order.\n- Have the students line up to go through the stations. At the first station, have the students measure a length of jewelry cord or twine to fit around their wrist as a bracelet, or loosely around their neck as a necklace. Cut to fit and tie a large knot at one end. (You can also pre-cut and knot if you prefer.)\n- Students go through the stations, stringing a bead at each. They may need help at the end fastening or tying off their jewelry.\n- Each student will have a necklace or bracelet with a solar system of beautiful beads!\nVariation: You can do this same activity to teach about Earth\u2019s inner layers. Instead of different planets, students can make the same bead with blue-and-green colors on the outside and different color layers inside. Carefully cut the beads in half before making holes and baking.\nBring the constellations to life with 3D marshmallow models.\nEvery society in humankind\u2019s history has named and told stories about the groups of stars high above us. Making constellation models is not only a great STEAM activity but can also easily fit in with a history unit on ancient civilizations.\nThis is a basic version of the activity. Space Foundation offers a complete lesson plan, including extensions, here.\nFor each student:\n- Big Dipper worksheet w/ pattern (available free here)\n- 4\u201d x 6\u201d piece of cardboard\n- Glue stick\n- 7 toothpicks (pre-cut if working with younger students)\n- Ruler (to measure toothpicks for cutting, if working with older students)\n- 7 marshmallows\n- Push pin or thumbtack (adult use only)\n- Explain to students that they will construct a scale model of the Big Dipper, one of the most familiar shapes in the sky. It is part of the constellation Ursa Major\u2014the \u201cGreat Bear!\u201d They will learn that even though the stars in the Big Dipper look like a flat pattern to us here on Earth, the stars are very far away from each other. Each star in the Big Dipper also has its own name.\n- Pass out the materials and remind students that the marshmallows aren\u2019t for eating! You may want extra marshmallows to enjoy afterward.\n- Have the students cut out the Big Dipper pattern, or you can pre-cut if you prefer for younger students.\n- Have the students spread glue on the back of the Big Dipper pattern and then press it down onto the cardboard.\n- You or a helper adult should use the thumbtack to make a small hole in each of the stars on the patterns.\n- Using the worksheet as a guide, the students should measure and cut the toothpicks to match the lengths needed for each star (you can pre-cut for younger students). Note: the star Megrez requires a full-length toothpick.\n- Instruct the students to stick the sharp end of the toothpick to its matching star, and stick a marshmallow on the other end.\n- The constellation is done! Instruct your students to observe their models from different angles. How is it different from the \u201cflat picture\u201d they see in the sky?\n- Explain to the students that the constellations we see from Earth are unique to us and our perspective. If you were standing on Mars, the same group of stars would look completely different!\nVariation: Have the students create their own constellations. It can be a mythical creature, a modern-day animal, a plant or flower, or anything meaningful to them. For a creative writing assignment, have students create the story behind their constellation in the style of an ancient myth!\nLooking for more ways to get your class excited about STEAM?\nCheck out our Programs for Teachers for STEAM lesson plans, grant lists and professional development opportunities. Our Students page includes programs, STEAM activities and more for you to explore.", "id": "<urn:uuid:a90f8ace-ee02-45c0-8edc-d2ec4df3cbab>", "dump": "CC-MAIN-2023-14", "url": "https://cie.spacefoundation.org/artistic-space-themed-steam-activities-for-elementary-school/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945372.38/warc/CC-MAIN-20230325191930-20230325221930-00131.warc.gz", "language": "en", "language_score": 0.931130588054657, "token_count": 1342, "score": 3.828125, "int_score": 4}
{"text": "Our Students\u2019 Linguistic Identities\nBy Carly Spina\nDo you know about the linguistic assets and skills your students and families possess? While we spend a lot of time during the first few weeks of school forming relationships and learning about our students and families, we often overlook this piece. We spend a lot of time focusing on talents, interests, and learning preferences. Our students\u2019 linguistic assets can include the languages they speak with family members, the language they use while in their houses of worship, the language they use when storytelling, the language in which they prefer to sing, and more. Our students come to us with varying levels of proficiencies in one or more languages (across the domains of reading, writing, listening, and speaking) while also engaging with the English language at school.\nIn today\u2019s divisive climate, it is more imperative for us to be proactive in building inclusive learning spaces- whether they are remote or in-person. In today's political climate, it is now more critical than ever to be intentionally inclusive and supportive of our students' languages. Linguistic oppression is something that our students and families face constantly- whether they are viewing hateful comments on social media (\"why can't they just learn English?\") or they are being confronted publicly for speaking a language other than English at a local restaurant or even in a parking lot- and, unfortunately, it happens a lot more than we think.\nWhat can we do to be more intentionally inclusive? What can we do as educators (even if we\u2019re monolingual) to show our students and families that we value their languages and their identities? Here are a few easy ways for all of us to do this work, regardless of what grade levels we teach or what roles we have in our school systems.\nStart by collecting the languages of the classroom. Glenview District 34 began this work in the winter by using the hashtag #LoveOurLanguages. Adults had conversations with their classes that ranged between 5-minutes and 45-minutes. Students are asked to reflect on who they are linguistically. Perhaps they have a language that they are fluent in other than English. Perhaps they have a language that they use to speak to a family member or a language that they only use in their house of worship. Maybe their family has an oral language that they use to tell stories and share pieces of history. There could be a language spoken at home by parents or a grandparent that was never passed down (for a variety of reasons- this could open the door to rich dialogues about historical/political contexts that didn\u2019t allow for this). As students share, the adult facilitating the conversation would write down all of the languages represented by students and their families. Those lists can be proudly displayed and totaled up. Glenview District 34 placed signs on all of their classroom doors that boasted their total number of languages! To try this in your setting, feel free to use one of our templates.\nElevating the Status of Other Languages in your Common Areas\nWhile English is many times the language of instruction, there is something wrong with publicly declaring that you value diversity without representing your linguistically diverse students and families. There are things that we can do to elevate the status of other languages in terms of their presence in our schools. Here are some Do\u2019s and Don\u2019ts from my blog Innovative EL:\n1. Walk around your school and see what you notice. Take a language inventory. Share with your school leadership team and suggest some changes. Most people are completely unaware of what their school's appearance can share the school's values.\n2. Gather data about your school's linguistic diversity. Ask your administrator or EL teacher about what language groups are in your school. Ask the students you serve about their linguistic assets.\n3. Go on Amazon or your favorite retailer and search for signs, posters, decor, etc. in other languages. Hang signs, posters, and decor throughout the school.\n4. If you speak a language other than English, try to speak it in front of the students you serve. If several teachers speak a language other than English, try to use that language in social contexts (passing in the hallways, stopping for a quick conversation, etc.). When children see that teachers use a language other than English, especially for social conversations, the status of that language is instantly raised.\n5. As you get to know your students and their families, look for language liaisons in your classroom, school, or community. Check with your local community colleges, libraries, and public service agencies. These liaisons can help students to create their own posters, signs, ads for school events, school calendars, etc.\n1. Don't cluster all of your linguistically diverse posters/signs in one spot (for example: on the wall outside of the EL classroom). This sends the message that this tiny corner of the school is the \"Diversity Corner.\" In all other parts of the school, this isn't something that is valued.\n2. Don't make a noticeable difference between your signs/posters among language populations. For example, if you have a professionally-made framed sign for the cafeteria, don't tape an index card underneath it in another language. Which language LOOKS more valuable to students, teachers, and parents? Also, be careful not to always place the English sign on top of the other language. Again\u2014which language LOOKS more valuable? If English is always on top, what message does that send?\n3. Don't prohibit languages other than English to be used socially in classrooms, cafeterias, the bus, etc. Not only is this a terrible sentiment rooted in racism, but it is also a violation of a student's civil rights. It also breeds intolerance, fear, and a general disdain for linguistically diverse students and populations.\n4. Don't assess this just once each school year. There should be an ongoing status-check of how a school is doing in its effort to elevate the status of other languages. Perhaps one member of the school's leadership team can be charged with reporting to the team each month and sharing with the rest of the building: What are our celebrations? Which teachers have demonstrated great examples of elevating other languages this month? NOTE: Don't make this the job of the EL teacher. ALL ADULTS in the building should care about lifting up ALL STUDENTS.\n5. Don't force this by creating inauthentic examples of language elevation. See how your teachers can infuse their instruction with linguistic opportunities, such as through a cognate wall (on a wall or virtually), etc.\nInviting Languages In\nEducators must explicitly invite the native language into the learning space\u2014it will not happen on its own. Here are some initial thoughts and considerations for teachers:\n*Student reflections: If students are recording reflection videos on any topic (through the use of a device like an iPad or Chromebook), provide students with the option of reflecting in whatever language they choose. If students are reflecting in writing and they have literacy skills in another language, invite students to write in the language of their choice.\n*Discussion partners/groups: If there are students in a classroom who share a common language, invite them to discuss the prompts/activities in the language of their choice. Oral language opportunities are beneficial for all of our students\u2014no matter what language in which they are engaging! \u201cBut how will I know that the students are staying on task and not talking about something else- or worse, what if they\u2019re talking about me?\u201d Fear not- and trust your students. By demonstrating that you trust your students, you invite others to trust them as well. Don\u2019t be fearful of not understanding everything. After all, how many of our students are experiencing this in our classrooms all day long? Trust me; we can handle it!\n*Match the purpose with the audience: If students are designing a project or assignment that they are eventually presenting to parents who speak a language other than English, invite the students to design the presentation in the preferred language of their family. The learning will be more meaningful and the parents will be better informed about what the students are learning.\nIn conclusion, it is every adult\u2019s responsibility to do this work\u2014no matter how many languages we speak or the number of multilingual students we have on our class lists. We must continue to push back against the fearful (and hateful) rhetoric being spewed about our students and families. Honoring the identities of those we serve is critical and we all need each other to engage in this work!", "id": "<urn:uuid:adc4a630-e3ac-4550-ad6a-e797afb6183f>", "dump": "CC-MAIN-2023-14", "url": "https://www.edumatch.org/post/our-students-linguistic-identities", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945168.36/warc/CC-MAIN-20230323132026-20230323162026-00732.warc.gz", "language": "en", "language_score": 0.9574909806251526, "token_count": 1784, "score": 3.84375, "int_score": 4}
{"text": "See & Discover 34 List of Prompts for Grades 1, 2, 3, 4, and 5 \u2014 Journaling is a powerful activity for students and adults of all ages, but it is especially effective for young students who are still learning how to write and clearly articulate their thoughts and feelings on the page. When students write and reflect daily, they improve their critical thinking skills, become better at presenting facts in a logical manner, and feel more comfortable expressing their own ideas.\nThese themed writing prompts for 1st grade to 5th grade students are all centered around the ideas of identity and personality.\nYoung students typically enjoy writing more when they get to write about a topic they know well\u2014so in these all-new prompts, your students will write about themselves! As they describe their families, share their secret talents, and recall their earliest memories, students will have the chance to practice writing, storytelling, and critical thinking. Best of all, they\u2019ll also enjoy the opportunity to share their own personality in their schoolwork!\nUse these themed journal prompts for kids in first, second, third, fourth, and fifth grade to help your students learn how to better understand, process, and articulate their thoughts and ideas!\nList of Prompts\n34 Ideas Themed around Identity and Personality for 1st \u2013 5th Graders\n- Why does your name suit you?\n- Describe your family. Who do you live with? Do you have any pets? Who is in your extended family?\n- What is the most fun thing you\u2019ve done this week? What did you like about it?\n- What is the nicest thing you\u2019ve ever done for someone else? How did their reaction make you feel?\n- What do you like to do when you spend time with your family?\n- Do your parents give you an allowance? Why or why not?\n- What would the perfect birthday look like? Describe your ideal cake, party, and presents.\n- Would you rather go to a friend\u2019s house or have a friend over to your house? Why?\n- If you could have any one quality that your best friend has, what would you choose? Why?\n- Write about a time when you made one of your friends laugh. What did you do? How did you feel seeing him or her smile?\n- What is a secret talent you have that no one else knows about?\n- Describe your house. What does it look like? What is your favorite room?\n- What do your parents do for a living? Would you ever like to do their jobs? Why or why not?\n- Make a list of five words that describe your personality. Then, write about why you chose each word.\n- What is your favorite hobby? Why do you like it?\n- Would you rather go play outside or inside\u2014and why?\n- What is your favorite thing about going to school each day? What do you like about it?\n- Would you rather stay at school longer each day and have no homework, or get out early and have more homework? Why?\n- What is the best thing to do at recess? Who do you like to play with the most at recess?\n- Write about something you can do really well. Where did you learn how to do that thing?\n- What is your earliest memory? Try to describe it using your five senses.\n- What is your favorite story? Why do you like it? Who first shared the story with you?\n- If you had to become an animal for a week, which would you choose? Why?\n- Would you rather travel somewhere by bike, car, train, plane, or boat? Why?\n- What is your favorite toy? Why is it special to you?\n- What would your dream school look like? What classes would the school offer?\n- Is there anything you consider to be \u201clucky\u201d? What is it\u2014and why do you think it brings you luck?\n- Make a list of 10 things that describe who you are and what you like to do. Then, share your list with the rest of the class anonymously and have everyone try to guess which list belongs to who.\n- What is your favorite food? Do you ever get tired of eating it? Why or why not?\n- What is the best thing about being in _____ grade\u2014and why?\n- Would you rather be a kid, a teenager, or an adult? Why?\n- Would you rather play a video game, read a book, or go swimming? Why?\n- How did you get your nickname? If you don\u2019t have a nickname, what would be a good nickname for you? Why?\n- Write about a person or thing that always makes you laugh\u2014and describe why you like that person or thing so much.\nMore List of Prompts for Grade 1 to 5 Kids\n- K-12 Writing Ideas\n- Prompts List for Kids by Kids!\n- 15 Writing Prompts about School\n- 25 Ways to Get Kids Writing\nUntil next time, write on\u2026\nIf you enjoyed these Writing Prompts for Grades 1 through 5,\nplease share them on Facebook, Twitter, and/or Pinterest.\nI appreciate it!\ncreator and curator\n1 thought on \u201cList of Prompts for 1 -5 Graders\u201d\nOoohhhh\u2026 Penny\u2026 it is feedback such as yours that just warms my heart beyond measure! Thank you for sharing with me. Write on, Lily!!\nEver so kindly, Jill\nComments are closed.", "id": "<urn:uuid:4c6213a1-9dc4-40c3-afc3-d2cbd22c800d>", "dump": "CC-MAIN-2023-14", "url": "https://www.journalbuddies.com/prompts-by-grade/1st-2nd-3rd-4th-5th-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00332.warc.gz", "language": "en", "language_score": 0.9693289399147034, "token_count": 1173, "score": 3.515625, "int_score": 4}
{"text": "Online Undergraduate-Level Course\nLyric Writing: Writing From the Title\nAuthored by Pat Pattison\nCourse Code: OSONG-221\nLyric Writing: Writing From the Title will teach you how the professionals approach the construction of songs: by writing from a central idea (the title). Starting with a powerful and effective song title, you'll learn to build complete lyrics from that title, explore how to set the title to the appropriate rhythm and tempo, and to place that title in the song's different sections to create the most powerful impact. Through this approach, you will learn different ways to brainstorm ideas, work with a variety of lyric writing elements, and develop effective tools to create an emotional connection with your listeners.\nBy the end of this course, you will:\n- Find and develop a title\n- Understand what a title is and its function in the song\n- Identify rhythm, pitch and tempo of a title\n- Recognize and use different rhyming types\n- Develop verses and understand the functions of various song sections\n- Identify contrasting sections and rhythms\n- Complete a polished lyric\nLesson 1: What Is a Title?\n- Understanding the Use of Titles in Songs Versus Poems\n- Understanding the Function of a Title in a Lyric\n- Identifying Two Types of Song Titles\nLesson 2: Finding a Title\n- Understanding the Title as the Central Concept of the Song\n- Developing Strategies for Finding Titles\nLesson 3: Developing a Title\n- Identifying Titles That Can Be Recolored by Repetition\n- Sketching Out Possible Sectional Development for a Title\nLesson 4: Rhythm and Pitch of the Title\n- Identifying the Stressed Syllables of a Title\n- Identifying the Pitches of a Title\nLesson 5: Tempo as a Brainstorming Tool\n- Preserving the Natural Shape of a Title\n- Setting a Title Rhythmically Against a Pulse\n- Extracting Various Meanings from the Same Title by Brainstorming Against Various Tempos\nLesson 6: Developing Your Title Motivically\n- Deciding Where to Place a Title\n- Developing a Title's Motive by Using Various Developmental Techniques\nLesson 7: Creating a Rhythmic Template\n- Creating a Section Based on a Title's Rhythm\n- Applying Developmental Techniques to Create Your Section\nLesson 8: Brainstorming with Rhyme\n- Identifying and Finding the Various Rhyme Types\n- Recognizing the Vowel Sounds of the Stressed Syllables in a Title\n- Using Your Rhyming Dictionary as a Brainstorming Tool\nLesson 9: Verse Development Techniques\n- Planning Your Verse Development\n- Approaching Central Sections of Songs More Effectively\n- Applying Your Recoloring Skills to One of Your Own Titles\nLesson 10: Song Forms\n- Understanding the Functions of the Various Kinds of Song Sections\n- Recognizing Basic Song Forms\n- Sketching Lyric Outlines\nLesson 11: Contrasting Sections\n- Rhyme Schemes as a Contrasting Device\n- Number of Syllables/Notes as a Contrasting Device\n- Line Length as a Contrasting Device\n- Note Values as a Contrasting Device\n- Position in the Bar as a Contrasting Device\n- Variations or Pieces of a Motive as a Rhythmic Contrasting Device\nLesson 12: Putting It All Together\n- Applying the Course's Techniques to Finish Your Lyric\n- Improving Your Critical Skills by Helping Others to Polish Their Work\nPrerequisites and Course-Specific Requirements\nThis course does not have any prerequisites.\n- Writing Better Lyrics (2nd Edition) by Pat Pattison, Writer's Digest Books\n- Songwriting: Essential Guide to Lyric Form and Structure by Pat Pattison, Berklee Press/Hal Leonard\n- Songwriting: Essential Guide to Rhyming (2nd Edition) by Pat Pattison, Berklee Press/Hal Leonard\n- The Complete Rhyming Dictionary by Clement Wood, Dell Publishing\nA basic audio recording tool that will allow you to record yourself and save the recording in MP3 format. You will have a tool to use for this purpose inside the learning environment. Alternatively, you can use software like Audacity (PC) or GarageBand (Mac)\n- A built-in microphone or an external microphone plugged directly into your computer (via built in ports or an external audio interface)\nAfter enrolling, please check the Getting Started section of your course for potential deals on required materials. Our Student Deals page also features several discounts you can take advantage of as a current student. Please contact firstname.lastname@example.org for any questions.\nGeneral Course Requirements\nBelow are the minimum requirements to access the course environment and participate in Live Chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course.\n- Latest version of Google Chrome\n- Zoom meeting software\n- Speakers or headphones\n- External or internal microphone\n- Broadband Internet connection\nPat Pattison is a professor at Berklee College of Music, where he teaches lyric writing and poetry. In addition to his four books, Songwriting Without Boundaries (Penguin/Random House), Writing Better Lyrics, 2nd Edition (Penguin/Random House), The Essential Guide to Lyric Form and Structure (Hal Leonard), and The Essential Guide to Rhyming (Hal Leonard), Pat has developed several online courses for Berklee Online. He has written more than 50 articles for various blogs and magazines, including American Songwriter, and has chapters in both The Poetics of American Song Lyrics (University Press of Mississippi) and The Handbook on Creative Writing (Edinburgh University Press).\nPat continues to present songwriting clinics across the US, Canada, Australia, New Zealand, and Europe. His students include Grammy-winners, professional songwriters, and major recording artists, including Gillian Welch, John Mayer, Tom Hambridge, Joelle James, Karmin, American Authors, Ingrid Andress, Liz Longley, Charlie Worsham, Greg Becker, Justin Tranter, and many more.\nFor Berklee Online, Pat has authored the following courses: Lyric Writing: Writing From the Title, Lyric Writing: Writing Lyrics to Music, Lyric Writing: Tools and Strategies, Creative Writing: Poetry, and Creative Writing: Finding Your Voice. He also co-authored the graduate course Songwriting Tools and Techniques. Read Less\nAndrea Stolpe is a multiplatinum songwriter, performing artist, and educator. She has worked as a staff writer for EMI, Almo-Irving, and Universal Music Publishing. Her songs have been recorded by artists including Faith Hill, Jimmy Wayne, Julianne Hough, and others. Andrea is the author and instructor of the course Commercial Songwriting Techniques, part of Berklee Online's songwriting program.\nHer books, Popular Lyric Writing: 10 Steps to Effective Storytelling, and Beginning Songwriting, describe how to apply a unique process for uniting our artistic voice with the commercial market.\nAndrea lives in Los Angeles, and continues to serve as a guest clinician for music organizations around the world. Read Less\nCassandra is a singer, educator, writer and performer based in Sydney, Australia. Having graduated Summa Cum Laude from Berklee College of Music with a Bachelor of Music in Songwriting and Music Production, she currently lectures in the Music Department at JMC Academy Sydney as well as mentoring artists and teaching voice. Cassandra is the vocalist and co-songwriter for an indie folk duo, sagas, and is currently writing a book on vocal technique.\nAs an educator, Cassandra is passionate about supporting students while they hone their craft, using tools and techniques to form strong emotional connections with their audiences through song, and amplify their artistry. She is keen to instill her love of creativity and songwriting in her students. Read Less\nWhen taken for credit, Lyric Writing: Writing From the Title can be applied towards these associated programs:\nAssociated Certificate Programs\nAssociated Degree Majors\nContact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at email@example.com.", "id": "<urn:uuid:fbbfc1b0-9892-458c-b477-9049ed5eee7b>", "dump": "CC-MAIN-2023-14", "url": "https://online.berklee.edu/courses/lyric-writing-writing-from-the-title", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00130.warc.gz", "language": "en", "language_score": 0.9083678722381592, "token_count": 1829, "score": 3.609375, "int_score": 4}
{"text": "The idea of multiple intelligences leads to new ways of thinking about students who have special gifts and talents. Traditionally, the term gifted referred only to students with unusually high verbal skills. Their skills were demonstrated especially well, for example, on standardized tests of general ability or of school achievement. More recently, however, the meaning of gifted has broadened to include unusual talents in a range of activities, such as music, creative writing, or the arts (G. Davis & Rimm, 2004). To indicate the change, educators often use the dual term gifted and talented.\nQualities of the gifted and talented\nWhat are students who are gifted and talented like? Generally they show some combination of the following qualities:\n- They learn more quickly and independently than most students their own age.\n- They often have well-developed vocabulary, as well as advanced reading and writing skills.\n- They are very motivated, especially on tasks that are challenging or difficult.\n- They hold themselves to higher than usual standards of achievement.\nContrary to a common impression, students who are gifted or talented are not necessarily awkward socially, less healthy, or narrow in their interests\u2014in fact, quite the contrary (Steiner & Carr, 2003). They also come from all economic and cultural groups.\nIronically, in spite of their obvious strengths as learners, such students often languish in school unless teachers can provide them with more than the challenges of the usual curriculum. A kindergarten child who is precociously advanced in reading, for example, may make little further progress at reading if her teachers do not recognize and develop her skill; her talent may effectively disappear from view as her peers gradually catch up to her initial level. Without accommodation to their unusual level of skill or knowledge, students who are gifted or talented can become bored by school, and eventually the boredom can even turn into behavior problems.\nPartly for these reasons, students who are gifted or talented have sometimes been regarded as the responsibility of special education, along with students with other sorts of disabilities. Often their needs are discussed, for example, in textbooks about special education, alongside discussions of students with intellectual disabilities, physical impairments, or major behavior disorders (Friend, 2008). There is some logic to this way of thinking about their needs; after all, they are quite exceptional, and they do require modifications of the usual school programs in order to reach their full potential. But it is also misleading to ignore obvious differences between exceptional giftedness and exceptional disabilities of other kinds. The key difference is in students\u2019 potential. By definition, students with gifts or talents are capable of creative, committed work at levels that often approach talented adults. Other students\u2014including students with disabilities\u2014may reach these levels, but not as soon and not as frequently. Many educators therefore think of the gifted and talented not as examples of students with disabilities, but as examples of diversity. As such they are not so much the responsibility of special education specialists, as the responsibility of all teachers to differentiate their instruction.\nSupporting students who are gifted and talented\nSupporting the gifted and talented usually involves a mixture of acceleration and enrichment of the usual curriculum (Schiever & Maker, 2003). Acceleration involves either a child\u2019s skipping a grade, or else the teacher\u2019s redesigning the curriculum within a particular grade or classroom so that more material is covered faster. Either strategy works, but only up to a point: children who have skipped a grade usually function well in the higher grade, both academically and socially. Unfortunately skipping grades cannot happen repeatedly unless teacher, parents, and the students themselves are prepared to live with large age and maturity differences within single classrooms. In itself, too, there is no guarantee that instruction in the new, higher-grade classroom will be any more stimulating than it was in the former, lower-grade classroom. Redesigning the curriculum is also beneficial to the student, but impractical to do on a widespread basis; even if teachers had the time to redesign their programs, many non-gifted students would be left behind as a result.\nEnrichment involves providing additional or different instruction added on to the usual curriculum goals and activities. Instead of books at more advanced reading levels, for example, a student might read a wider variety of types of literature at the student\u2019s current reading level, or try writing additional types of literature himself. Instead of moving ahead to more difficult kinds of math programs, the student might work on unusual logic problems not assigned to the rest of the class. Like acceleration, enrichment works well up to a point. Enrichment curricula exist to help classroom teachers working with gifted students (and save teachers the time and work of creating enrichment materials themselves). Since enrichment is not part of the normal, officially sanctioned curriculum, however, there is a risk that it will be perceived as busywork rather than as intellectual stimulation, particularly if the teacher herself is not familiar with the enrichment material or is otherwise unable to involve herself in the material fully.\nObviously acceleration and enrichment can sometimes be combined. A student can skip a grade and also be introduced to interesting \u201cextra\u201d material at the new grade level. A teacher can move a student to the next unit of study faster than she moves the rest of the class, while at the same time offering additional activities not related to the unit of study directly. For a teacher with a student who is gifted or talented, however, the real challenge is not simply to choose between acceleration and enrichment, but to observe the student, get to know him or her as a unique individual, and offer activities and supports based on that knowledge. This is essentially the challenge of differentiating instruction, something needed not just by the gifted and talented, but by students of all sorts. As you might suspect, differentiating instruction poses challenges about managing instruction.\nDavis, G. & Rimm, S. (2004). Education of the gifted and talented, 5th edition. Boston: Allyn & Bacon.\nFriend, M. (2007). Special education: Contemporary perspectives for school professionals, 2nd edition. Boston: Allyn & Bacon.\nSchiever, S. & Maker, C. (2003). New directions in enrichment and acceleration. In N. Colangelo & G. Davis (Eds.), Handbook fo gifted education, 3rd edition (pp. 163\u2013173). Boston: Allyn & Bacon.\nSteiner, H. & Carr, M. (2003). Cognitive development in gifted children: Toward a more precise understanding of emerging differences in intelligence. Educational Psychology Review, 15, 215\u2013246.", "id": "<urn:uuid:eb98b279-2d46-4ffe-92f0-0f9cc0ca33e2>", "dump": "CC-MAIN-2023-14", "url": "https://courses.lumenlearning.com/suny-educationalpsychology/chapter/gifted-and-talented-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948708.2/warc/CC-MAIN-20230327220742-20230328010742-00331.warc.gz", "language": "en", "language_score": 0.9640793800354004, "token_count": 1343, "score": 4.34375, "int_score": 4}
{"text": "In the past two decades there have been some amazing scientific breakthroughs in understanding how the brain works. Advances in technology have enabled scientists to see and isolate what physically happens in the brain at the cellular level when new tasks or problems are addressed. And here\u2019s what they found: The more people learn and the faster people learn, the more the neurotransmitters in the brain strengthen and grow. New connections form and the neurons transmit faster and more accurately.\nThis is not supposition by scientists. New imaging techniques have enabled scientists to track each of the 85+ billion neurons in the brain and the trillions of connections they make. The results have been surprising. Instead of the brain being \u201cstatic,\u201d as scientists previously thought, they now know we can actually \u201cbuild\u201d brains.\nThis has huge implications for learning and education. In the past, we only thought we could \u201cfill up\u201d a brain. We could teach it about things and have it experience things, but the capacity of the brain would remain the same through it all. We thought the brain was simply a genetic gift we were either stuck with or blessed with.\nNow we know the brain is like a muscle that can be physically increased and strengthened with exercise. People learn to learn by learning. They learn to think by thinking. The more complex and stimulating the learning, the more the brain changes and adapts to handle even more complex learning in the future. The entire process is not all that different from building muscles by lifting weights. It really doesn\u2019t matter what you lift\u2014bar bells, sand bags, canned vegetables\u2013because the benefits are derived from the exercise itself. The same is true for brain building. It\u2019s not the content of the learning that matters, but the nature and intensity of the workout.\nWhat does this mean for homeschool teachers?\nFirst, we should not spend 13 years of our children\u2019s lives entirely focused on transferring content from books and curriculums to the brains of our children. We will literally put our children\u2019s brains to sleep by slowing down the neural activity. Instead, we should challenge them daily with new and complex activities that stimulate their minds and, ultimately, lead to new brain development.\nSound hard? Not really. There are thousands of activities and pursuits that build brain activity better that traditional school lessons. Just look for activities and tasks that require the brain to:\n- Process new information\n- Analyze and evaluate information\n- Apply learning to new situations\n- Make decisions quickly\nSome formal school lessons can touch the tip of the iceberg when it comes to building brainpower, but it takes more complex activity than just \u201cstudying\u201d to really boost brain function. Here are some of my favorites:\n1. Organized Sports\nOrganized sports build the brain because they require players to constantly be incorporating new information into old to make rapid-fire decisions about how to play a game. Competition and team-based elements escalate learning.\n2. Playground and Lawn Games (Unorganized Sports)\nGames like tag, hide-go-seek and other recreational sports aren\u2019t as good as team sports because they are less complex and are typically played at a much slower pace. But they are still good mental workouts.\n3. Music Creation\nCreating music requires mental and physical dexterity and boosts many specific brain functions, including attention, decoding, recognition of patterns, creativity, visual discrimination, auditory processing, and memory. The cognitive benefits of playing a musical instrument have often been studied and the results can be found here. Listening to music also has cognitive benefits, but not as many as creating it.\n4. Card Games\nCard games teach more than just math skills. They boost brainpower as players consider strategy based on how the game unfolds from one moment to the next. Card players must make a new decision each time a card is played in a game. Good card players actually play several games at the same time because they understand and consider what other players are thinking and doing throughout the game.\n5. Strategy Board Games\nThese hold similar cognitive benefits as card games. Among the best? Dominos, Chess, Checkers, Risk, Mastermind, Scrabble, Backgammon, Settlers of Catan, Axis and Allies, the list goes on and on.\n6. Video and Computer Games (Strategy and Simulation)\nDon\u2019t let popular sentiment about computer games sway you. Most carry some cognitive benefits and many carry a lot. Strategy and simulation games are the best. Check out their cognitive benefits here.\n7. Video and Computer Games (Brain Building)\nThe full cognitive benefits of these are debated, but most studies are showing at least some considerable benefits from playing computer-based games that exercise specific brain functions. The popular web site Lumosity currently has 60 million users, including myself. Based on my own experience, these games are beneficial. But the benefits are limited by very defined objectives and lack of broad-based thinking required.\nSchools destroy the cognitive benefits of reading by requiring students to answer questions about what they have read when they finish. Smart kids quickly figure out they need to isolate pieces of information and notate possible test answers when they read, rather than engage in the open-ended, creative process of embracing a complex story as it unfolds. When people read for pleasure, they explore and interact with the story, developing new ideas as they go along and predicting the outcomes as the details of the plot are unearthed. This is higher order thinking that builds the brain. Read more about the cognitive benefits of reading for pleasure here.\n9. Watching Video, Television, and Film\nSimilar to the benefits of reading, stories played out on the small and large screen stimulate brain interaction with the plot and characters. Obviously, complex and sophisticated video stories require much more brain function than others. Keep in mind; some shows require so little brain function they may be of no cognitive benefit at all. Also, compared side by side with reading, visual media is typically not as beneficial. Readers have the advantage of being able to slow the story down in order to explore and interact more with the characters and plot. They also must use more creativity to fill in all the visual details of the printed story.\n10. Telling or Writing Stories\nCommunicating a story, event or an idea takes a lot of brainpower. An experience must be recalled or created. It must then be ordered and organized in a manner that makes sense. Finally, it much be delivered with impact. Encourage children to write and tell stories. The more creative the better. Today, there are many ways to tell stories\u2013journaling, letter writing, email, creative writing, blogging, videos, or the old-fashioned way, which is sharing with family around a dinner table.\nAny art activity that encourages people to be creative has cognitive benefits. The more open-ended and creative the project, the better. But even coloring books build brains because they require attention, discrimination, and a modicum of creativity.\n12. Creative Play\nPlaytime can be the most important, brain-building time of the day. Any play that involves moving, thinking, creating, imagining, and/or the five senses is superb. Think cowboys and Indians, princesses and action heroes! Avoid toys.\n13. Performing Arts\nDrama, dance, vocal music, and other performing arts are all wonderful platforms for building brain function.\nAs I look through this list of 13 activities two thoughts and two questions come to mind. First, these are activities that most children would classify as fun. So why frustrate children with boring school lessons and homework when they can be engaging in activities that not only are more fun, but also build the brain better anyway?\nSecond, for most children, even homeschoolers, these 13 activities are typically done AFTER school. It seems a shame to keep children at the kitchen table all day \u201cdoing school\u201d and then hoping they\u2019re not too tired later to participate in the activities that would teach and build their brains far more. Maybe homeschool parents should pencil into their schedules the activities listed here FIRST, and then do traditional school lessons in the time they have left over?\nUntil next time\u2026Be fearless.\nOne thought on \u201cThirteen Splendid Activities to Build the Brain (Homeschooling in a Virtual Age Part 4)\u201d\nHow about meditation? Amazing for the brain.", "id": "<urn:uuid:a657337f-89d3-4901-8515-dc34a4646441>", "dump": "CC-MAIN-2023-14", "url": "https://thefearlesshomeschool.com/2014/07/16/thirteen-splendid-activities-to-build-the-brain-homeschooling-in-a-virtual-age-part-4/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00532.warc.gz", "language": "en", "language_score": 0.961277425289154, "token_count": 1743, "score": 3.578125, "int_score": 4}
{"text": "Submitted by: Christina Maxwell and Christopher Sonn\nUsing visual and creative methods, we can engage people in thinking about social justice and their place and responsibilities within it.\nArt can be an engaging way to encourage people with privilege to work towards social justice.\nCritical thinking and engagement with art is needed.\nPrivilege is a social or structural advantage or benefit that society gives to some people and not others. Those who benefit from privilege are often blinded to the fact that their privileges may be unearned and unjust. Verbal conversations about privilege can be met with anger, guilt, and resistance. This research supports using visual and creative methods to engage people in thinking about social justice and their place and responsibilities within it.\nPolitical art can educate, evoke emotions, expose relationships of unequal power, and remind people that working towards social change involves a lifelong commitment. In a time when the value of community arts is questioned, this research provides evidence that the cultural and political impacts of socially engaged art should not be underestimated by funding bodies and government organizations.\n\u201cA focus on advantaged groups is necessary as the dismantling of racism and other forms of systemic injustice requires those in privilege to actively be involved in critical thinking and depowering processes.\u201d\nWe studied how white Australian audiences were impacted by a political theatre performance. The performance consisted of different types of art forms (such poetry, dance, music, and quotations) to illustrate the past and present experiences of Africans in Melbourne, Victoria.\nHow Did A Community Psychology Perspective Inform Your Work?\nThe performance investigated in the current research presented holistic and strengths-based depictions of Africans in Australia. This directly challenged some of the existing stereotypes of this community. White attendees were able to compare and contrast their own biases against these new narratives to consider or incorporate a more balanced perspective. Similarly, these attendees were observed to position themselves and these narratives within larger contexts and settings, connecting individual stories of discrimination or privilege to national level policies.\nSurveys were given out to interested audience attendees after the performance over three different sessions. The survey consisted of 15 questions and asked demographic information and reactions to the performance. Only the responses of the attendees who indicated on the survey that they identified as white were included in the current research.\n- Survey responses provided evidence that attendees were reflecting on their own white privilege and their biased pre-conceptions of Africans in Australia.\n- Political theatre can encourage audiences to examine and question their privilege and power.\n- Artistic methods that accompany messages can help draw people into a narrative so that they can listen with intention.\nWhat Does This Mean For?\nPractice: The community arts have a role to play in working towards social change and should not be undervalued. We need now to understand how to attract potential attendees to benefit from these performances.\nSocial Action: Groups with historical and continuing privilege need to take responsibility and action for their part in upholding social injustices. The political arts are one way in which these groups may start or continue a lifelong dialogue with their privilege.\nOriginal Citation: Maxwell, C. & Sonn, C. (2020). The Performative is Political: Using Counter\u2010Storytelling through Theater to Create Spaces for Implicated Witnessing. The American Journal of Community Psychology. Early View. https://doi/10.1002/ajcp.12493", "id": "<urn:uuid:ea7e219b-0173-4d73-886e-43e175cc4801>", "dump": "CC-MAIN-2023-14", "url": "https://www.communitypsychology.com/theater-engaging-in-critical-thinking-about-social-justice/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945289.9/warc/CC-MAIN-20230324211121-20230325001121-00731.warc.gz", "language": "en", "language_score": 0.9471858739852905, "token_count": 687, "score": 3.765625, "int_score": 4}
{"text": "Perspective - (2022) Volume 10, Issue 3\nReceived: 19-Aug-2022, Manuscript No. FLPSA-22-77951; Editor assigned: 23-Aug-2022, Pre QC No. FLPSA-22-77951(PQ); Reviewed: 12-Sep-2022, QC No. FLPSA-22-77951; Revised: 20-Sep-2022, Manuscript No. FLPSA-22-77951(R); Published: 28-Sep-2022, DOI: 10.51268/2736-1861.22.10.069\nAfrican dance expresses similar sentiments not only for worship, but also for social communication. It is also used to instill virtues, values, and even social etiquette lessons, and to help individuals mature and celebrate. There is a common reason why dancing is so important. It is an experience that takes us beyond the material into the immaterial; it is just a way of expressing ourselves when words are not enough. By getting confidence in the midst of hardships and difficulties, the energetic fire of childhood, and the serenity of calm and peaceful years. We call it as cultural or social dances in Africa are movements that embody our cultural values and standards. There is a story, and it's not just about learning different types of moves. One dance move tells a story that is how one culture tells another culture and tells its way of life. African dance is linked to Africa's rich musical traditions expressed in African music. African dance has a unity of aesthetics and logic that is evident even in the dances of the African diaspora. To understand this logic, it is important to delve deeply into the common elements of dances from various cultures, from East to West Africa, North Africa to South Africa.\nAfrica covers about one-fifth of the earth's land area and about one-eighth of its population. Africa is divided into various independent countries and protectorates. Africans belong to multiple ethnic groups and come from many cultural backgrounds with rich and diverse ancestry. There are over 800 ethnic groups in Africa, each with their own language, religion and way of life.\nTraditional African dance\nTraditional African dance is an important element of Africa's cultural heritage, a vivid expression of the region's philosophy and a vivid reminder of the richness and development of its culture over the centuries. More powerful than gestures, more eloquent than words, richer than letters, expressing people's deepest experiences, dance is a complete and unique language.It is an expression of life and joy.\nIn recent years, several regional modern dance companies have been rich in innovation and links to the past. The definition of dance has been expanded to include urban black dance forms of breakdance and hip-hop known for their artistry and expressiveness. All-female companies like Urban Bush Women formed, and a company dedicated exclusively to hip-hop dance, Pure Movement Dance Company. Tap dancing has found a new audience. Tap dancers who once danced in relative darkness are also recognized and encouraged. They reveal the legacy of women challenging male tap dancers step by step. Created and performed by African Americans, the dance has become a staple of American dance. Contemporary dance companies founded by black tour nationally and internationally.\nTraditional African dances are part of the life of African communities. Westernization has gradually influenced dance traditions, but most communities still practice various styles of tribal dances. In African communities, traditional African dances are mainly Used as a tribal unifying element, it is primarily used for gatherings, storytelling sessions, and entertainment. Dance styles are usually different and passed down from generation to generation. Below are some of the surprising and fun facts about African dance, but before we do, let's take a look at its history.", "id": "<urn:uuid:0f4f987c-d353-48bf-9de0-0aefdfe80c43>", "dump": "CC-MAIN-2023-14", "url": "https://www.primescholarslibrary.org/articles/evaluating-the-dance-therapy-and-standards-expressed-in-afro-dance-culture-92875.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948858.7/warc/CC-MAIN-20230328104523-20230328134523-00133.warc.gz", "language": "en", "language_score": 0.9491100907325745, "token_count": 773, "score": 3.515625, "int_score": 4}
{"text": "Discuss the contribution of Victorian women novelists to the development of the English novel.\nWomen writers and female characters had been part of novel-writing since the time of Aphra Behn, and it is commonplace that women were the main readers of the genre in the eighteenth century. After Sir Walter Scott made the novel popular worldwide, it was, for two decades, seen largely as a men\u2019s genre. Women writers were expected to write the kinds of the novel which George Eliot was to condemn in an essay as \u201csilly novels by lady novelists\u201d \u2013 the sub-genres of romance, fantasy, and sensation. But several of the major figures of the Victorian novel are women, and the heroines they created began to throw off the victim\u2019s roles that male authors had created.\nIt is a fact that the great tradition of novel writing was set up by Fanny Burney in imitation of the classical masters of the English novels like Richardson and Fielding. The tradition was continued honestly by Mrs. Radcliffe in Gothic romances and Mrs. Mitford in her science-fiction. There were also some other prominent women novel-writers quite popular in their time, such as Mrs. George, Mrs. Trollope. In fact, with Miss Austen the tradition of novel writing by women is found finally established and was continued with equal warmth and zeal, with a high degree of standard and popularity in the Victorian age by the Bronte sisters, \u201cthe pioneers in the fiction of that aspect of the human soul\u201d as opined by Edward Albert. Apart from them, Mrs. Gaskell and George Eliot marked historical advancement in the amplitude of situation, range of theme, character portrayal, and humor in Victorian fictional literature.\nThe Bronte sisters, Charlotte, Emily, and Anne are distinctly romantic in temperament, exploring in their novels extremes of passion and violence. Charlotte Bronte:\nCharlotte is noted for four significant novels \u2013 Jane Eyre, Shirley, Villette, and The drive Professor. Her novels, all of them, are found impelled with her personal experiences of life which were hardly pleasing to her. Besides intense subjective strain, Charlotte\u2019s novels contain other features such as impulsiveness and a note of revolt against patriarchy. She is deemed to be the first woman novelist to show human impulsiveness and write of life from the woman\u2019s point of view. She strikes a revolutionary sentiment for women against the conventional order, of pioneering the novel of emancipation of the repressed womanhood In Jane Eyre, Charlotte Bronte sends out a signal that ordinary women can experience deep love and begin to take responsibility for their own lives.\nThe second Bronte sister. Emily Bronte wrote less than Charlotte, but was in some ways, the greatest of the three sisters. Her one novel Wuthering Heights is unique in English literature. It is a novel that contains a degree of emotional force and sophisticated narrative structure, not seen previously in the history of the English. literature. It moves in a tragic circle from relative peace and harmony to violence. destruction and intense suffering, and finally back into peace and harmony again. It is a tare piece of fictional artistry and is an unsurpassable work for its grace of lyrical poetry and magical sublimity. \u201cEmily had attained\u201d, as Samuel C. Chew observes. \u201cthe mystical experience in its entirety\u201d in that singular achievement.\nThe youngest of the Bronte sisters, Anne is less known. Her qualities as a novelist have been much underrated because she shows less vehemence in her approach than her prominent sisters. Yet her Agnes Grey is a moving personal record and reveals the power of observation.\nIn the works of George Eliot, the English novel reached new depths of social and philosophical concern and moral commitment. For some twentieth-century critics, Virginia Woolf and F.R. Leavis among them, her writings are seen to have brought the novel to new heights of maturity. She shares with the greatest European writers of her century Balzac, Flaubert, Dostoevsky and Tolstoy a concern for her characters vulnerability and weakness in the face of \u2018progress and the moral imperatives of duty and humanity. Her works include Adam Bede, The Mill on the Floss, Romola and Middlemarch, Eliot has a great importance in the history of English fiction for her interest in psychological analysis of the inner consciousness. According to David Cecil. \u201cHer portraits are primarily portraits of the inner man.\u201d\nMrs. Gaskell stands apart from the Bronte sisters. In the words of David Cecil. \u201cHer sense of humour and deep sympathy are obvious manifestations of her serenity.\u201d Her novels are all marked by the objective view of the real world around them. Her first novel Mary Barton is a vivid presentation of the hard life of the workers under the exploitations of the industrial masters. But Gaskell is outstanding for her novel Ruth where she is concerned with moral problems and psychological complexity.\nAll the Victorian women novelists contribute a lot to the enrichment of English fiction. Their works are as much the product of imagination and social observation as of the intellect. They are found to be deeply concerned with the primal feeling of womanhood and the inward workings of the human souls at large.", "id": "<urn:uuid:68366a7f-ccb2-48f9-9b40-67aeb5509ff3>", "dump": "CC-MAIN-2023-14", "url": "https://learnershub24x7.com/discuss-the-contribution-of-victorian-women-novelists-to-the-development-of-the-english-novel/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943698.79/warc/CC-MAIN-20230321131205-20230321161205-00753.warc.gz", "language": "en", "language_score": 0.9689199924468994, "token_count": 1103, "score": 3.59375, "int_score": 4}
{"text": "For far too long, the ELA community treated reading and writing a bit like rival siblings. Everyone knew the two were related, but many believed they were better off taught separately. Curricula often focused on reading, while writing was cast aside as secondary, the Harry to reading\u2019s William.\nToday, we know we had it wrong. The two literacies not only belong together but also get along splendidly when taught in tandem. Indeed, a recent report from Education Week renews the call to connect reading and writing instruction, beginning in the earliest grades.\nBut what does this look like in practice? The following tips and activities can help you create a reading-writing connection in your classroom.\nHow can I connect reading and writing?\n1. Use the same terminology for writing and reading.\nWhen writing fiction, students should use the words of literary analysis: character, setting, plot, theme, and so forth. So, too, when reading nonfiction, students should use the traits of writing: ideas, organization, voice, word choice, sentence fluency, and conventions. By using a common vocabulary, you not only avoid confusion but also help students see themselves as writer-readers and reader-writers.\n2. Use common graphic organizers.\nThe graphic organizers that help students gather details during prewriting can also help them analyze details after reading. For example, if students use a Venn diagram to prepare to write a comparison-contrast essay, have them also use a Venn diagram to analyze a comparison-contrast essay.\n3. Write the forms you are reading, and read the forms you are writing.\nPlan your reading and writing time to complement each other. If you are reading short stories, write short stories. If you are writing expository essays, read expository essays. Each activity deepens the other.\n4. Use reading to demonstrate writing techniques.\nUse literature to show the traits, concepts, skills, and techniques students can use (or learn to use) when they write. For example, when you want students to learn how to create narrative tension, introduce excerpts from short stories that use this technique. Then lead a discussion of how the authors do what they do. When teaching about answering objections, select editorials that do just that and discuss how the answers strengthen the writers\u2019 positions.\n5. Use writing to improve reading comprehension.\nWhen students learn about literary techniques and then use them in writing, they internalize the concepts. So, if you want students to understand a literary technique such as foreshadowing, have them write a paragraph that uses foreshadowing.\nWhat activities enhance the connection?\nActivity 1: Spot the Text Structure\nTeaching about effective text structures is crucial both for reading and writing. Introduce the Read STOP Write method and the following activity to raise students\u2019 awareness of common text structures.\nActivity 2: Reading as a Writer\nClose reading leads to good writing. By reading as a writer, students can discover strategies for their own writing. Have students work on this minilesson to focus on the decisions and techniques authors use to communicate.\nActivity 3: Which Draft Is Better?\nTo develop new writing skills, students need something to emulate. You can have students read models of strong writing to explore new genres and prepare to write. You can even use models to help your students revise. For instance, have students complete \u201cWhich Draft Is Better?\u201d to compare two models, choose a favorite, and apply features of their choice to their own writing. (The activity includes two sample models. Feel free to refill the columns with different readings of your choosing.)\nActivity 4: Modeling with the Masters\nYou probably know that writing about reading improves comprehension. But did you also know that mentor texts can teach new strategies for writing? Have students reserve a space in a journal or notebook to record \"mentor gems.\" Mentor gems are special words, sentences, passages, or techniques that stand out in books and mentor texts. As an activity, have students pick a mentor gem and model a particular skill from it, completing the \"Sentence Models with the Masters\" minilesson.\nThe best integration of reading and writing in your classroom comes from you and your students. Programs can go only so far. They are repositories of models and assignments, but you and your students are the reader-writers and the writer-readers who bring the language-arts community to life.", "id": "<urn:uuid:fd94580b-8feb-416c-b1bc-9d9aa1cf62d4>", "dump": "CC-MAIN-2023-14", "url": "https://k12.thoughtfullearning.com/blogpost/grow-reading-writing-connection", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943625.81/warc/CC-MAIN-20230321033306-20230321063306-00133.warc.gz", "language": "en", "language_score": 0.9466065168380737, "token_count": 914, "score": 3.6875, "int_score": 4}
{"text": "By Spy Uganda\nMartin Luther King Jr. Was one of the most influential figures of the 20th century, leading the Civil Rights Movement and fighting for racial equality and justice. His life and legacy continue to inspire and teach valuable lessons to the world today.\nAs the world continues to remember and celebrates this great icon, here are 10 lessons we can all learn from his life and legacy:\n1.The power of nonviolence\nKing\u2019s philosophy of nonviolence was central to his Civil Rights activism. He believed that peaceful protest and civil disobedience were the most effective ways to bring about change. His successful use of nonviolence as a means of social change serves as a reminder of the power of peaceful protest in creating lasting change.\n2. The importance of education\nKing understood the importance of education in fighting for civil rights. He himself was an educated man, holding degrees from Morehouse College, Crozer Theological Seminary, and Boston University. He believed that education was a powerful tool for empowering marginalized communities and breaking down barriers to equality.\n3. The transformative power of love\nKing\u2019s message of love and unity was at the heart of his activism. He believed that love had the power to overcome hate and bring about social change. He famously said \u201cHate cannot drive out hate, only love can do that.\u201d His message of love continues to inspire and guide many in their efforts to create a more just and equitable society.\n4. The importance of coalition building\nKing understood that the Civil Rights Movement could not be successful without building coalitions and partnerships with other groups and individuals. He brought together people of different races, religions, and backgrounds to work together towards a common goal. This legacy serves as a reminder of the importance of coalition building in creating lasting change.\n5. The power of speaking up\nKing was a powerful orator and his speeches continue to inspire and motivate people to this day. He used his platform and voice to speak up for those who were marginalized and oppressed. His speeches remind us of the power of speaking up and using our voices to create change.\n6. The importance of perseverance\nKing\u2019s fight for Civil Rights was a long and difficult one. He faced many obstacles and setbacks, but he never gave up. His perseverance in the face of adversity serves as a reminder of the importance of staying the course and continuing to fight for what is right, even in the face of overwhelming odds.\n7. The power of grassroots movements\nKing understood that true change comes from the ground up. He organized and empowered ordinary people to take action and make change in their own communities. His legacy serves as a reminder of the power of grassroots movements and the importance of empowering individuals to take action.\n8. The importance of empathy\nKing believed that empathy was crucial in the fight for civil rights. He understood that true understanding and change come from being able to put ourselves in other people\u2019s shoes and to feel what they feel. His legacy serves as a reminder of the importance of empathy in creating a more just and equitable society.\n9. The power of storytelling\nKing\u2019s speeches and writings were powerful tools in his fight for civil rights. He used storytelling to connect with people, to make them understand the realities of discrimination and to inspire them to take action. His legacy serves as a reminder of the power of storytelling in creating change.\n10. The importance of hope\nKing believed that hope was essential in the fight for civil rights. He understood that people needed to believe that change was possible, in order to be motivated to take action. His legacy serves as a reminder of the importance of hope in creating a better future for all.\nMartin Luther King Jr.\u2019s life and legacy continue to inspire and teach valuable lessons to the world today. His message of nonviolence, education, love, coalition building, speaking up, perseverance, grassroots movements, empathy, storytelling, and hope serve as a powerful reminder of the possibilities of change and the importance of working towards a more just and equitable society.\nBy learning from his example and applying these lessons to our own lives, we can continue to strive for a world that is more equal and fair for all. He will always be remembered as one of the most important figures in the fight for civil rights and his message will continue to inspire generations to come.", "id": "<urn:uuid:a3b18ef6-445d-424e-8f84-6d9ca1503536>", "dump": "CC-MAIN-2023-14", "url": "https://www.spyuganda.com/free-your-mind-now-10-lessons-we-can-all-learn-from-the-life-legacy-of-martin-luther-king-jr/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949958.54/warc/CC-MAIN-20230401094611-20230401124611-00133.warc.gz", "language": "en", "language_score": 0.9671592116355896, "token_count": 890, "score": 3.75, "int_score": 4}
{"text": "3 Important Lessons that Picture Books Can Teach All Students About ResilienceMarch 9, 2023\nToday\u2019s guest post is by Carolee Dean, M.S., CCC-SLP, CALT, author of Story Frames for Teaching Literacy: Enhancing Student Learning Though Storytelling\nMental health is a growing concern for all students\u2014and young people with learning disabilities often suffer from anxiety, depression, frustration, stress, and low self-esteem even more than their peers. These emotional factors complicate learning when students avoid tasks and have difficulty taking risks. Students who are resilient tend to have better outcomes in both their learning and social-emotional development. Can resilience be taught through stories? If so, what lessons do they offer?\nAlmost all stories center on a character facing a problem or challenge and overcoming it. Someone reaching their goals against astronomical odds is part of what makes stories so exciting.\nToday\u2019s blog post explores three picture books appropriate for all ages that are featured in Story Frames for Teaching Literacy: Enhancing Student Learning Though Storytelling. While this book focuses on using narratives to develop many core skills necessary for reading success (such as good oral language, vocabulary, grammar, syntax, and understanding of text structure), many of the titles were selected specifically because they also teach resilience. Read on to discover 3 important lessons that picture books can teach students about perseverance and determination.\nLesson #1: Failure is an essential part of success.\nSix Dots: A Story of Young Louis Braille, written by Jen Bryant and illustrated by Boris Kulikov, tells the story of how Louis created the Braille writing system when he was a fifteen-year-old student living at the Royal School for the Blind in Paris. Many students will likely relate to Louis\u2019s feelings of disappointment about not being able to read like his sighted peers and being picked on by the older boys. Louis leaves home at the age of ten to live at the School for the Blind, where he eventually began working on a code that he and his peers could use for reading and writing. One of the illustrations shows Louis surrounded by a sea of crumpled papers, evidence of his many failed attempts to create the code.\nThis book reinforces the valuable lesson that risk-taking involves failing at least some of the time. It\u2019s important for students to learn that failure and rejection are essential to discovery, invention, and success. Any professional author could talk about their early stories that didn\u2019t quite work, or provide a long list of rejection letters that they received before finding a publisher for their book. Those who give up never experience success. Those who persevere in spite of failure and rejection are the ones who are remembered. True stories about people like Louis Braille, who persevered in order to improve his own life and the lives of others, teach this concept in a way that few things can.\nLesson #2: Modeling kindness and perseverance can make a big difference.\nThank You, Mr. Falker, written and illustrated by Patricia Polacco, is a personal account of the author\u2019s early struggles with dyslexia and the teacher who helped her celebrate her artistic talent and find help for her learning challenges.\nIn the book, Trisha hides in the stairwell at school in total despair as she tries desperately to avoid the bullies that call her stupid and humiliate her in front of her peers. Mr. Falker, Trisha\u2019s teacher, helps her by modeling both kindness and perseverance. He doesn\u2019t tell Trisha that \u201csticks and stones can break her bones, but names will never hurt her.\u201d Students have a hard time believing that when they are the object of scorn and bullying! Instead, he empathizes with her feelings, stands up for her in class, and gives her personalized supports to help her succeed. As Trisha and Mr. Falker persevere together, she learns to read\u2014and later goes on to a highly successful author and illustrator.\nFrom this book, both students and teachers can learn about the lifelong impact a person can have by modeling kindness and resilience. Sharing stories of our struggles the way Patricia Polacco has done can also help others. Many teens who have struggled in school help other students by sharing stories of both their challenges and successes through programs like Yes! Colorado. It empowers students twelve and older with dyslexia to become \u201cambassadors\u201d who share information about dyslexia with the public and serve as role models for other young people with dyslexia.\nLesson #3: People with disabilities can progress toward their goals and succeed in life if they are willing to work hard and they have the right supports.\nEmmanuel\u2019s Dream: The True Story of Emmanuel Ofosu Yeboah, written by Laurie Ann Thompson and illustrated by Sean Qualls, starts with a baby in Ghana born with a disfigured leg. His father leaves the family because he believes his son is cursed, but his mother names him Emmanuel, which means \u201cGod is with us.\u201d Emmanuel must hop on one leg two miles each way to get to school. He learns to balance on crutches so that he can play soccer, and his friends even teach him how to ride a bike. After his mother dies, he rides a bicycle 400 miles around Ghana to raise awareness about people with disabilities. Emmanuel is instrumental in helping to change the laws in Ghana to give people with disabilities more rights.\nThere is something that happens when a person becomes determined to succeed. Once they get into motion, the momentum of their extreme effort sometimes carries them far beyond where they planned to go. People who stutter become actors, people with dyslexia become writers. Boys with one leg ride hundreds of miles on a bicycle. With the help of supportive people and environments, the very thing that was their greatest challenge can often become the seed of their greatest victory. And sometimes when those supports don\u2019t exist, someone like Emmanuel goes out and raises awareness to ensure that people get the assistance they need to reach for their dreams.\nGET THE BOOK\nFind activities, lesson plans, writing templates, and more exploring these three titles and many others in Carolee Dean\u2019s book, Story Frames for Teaching Literacy: Enhancing Student Learning through the Power of Storytelling.\nAbout the Guest Poster\nCarolee Dean, M.S., CCC-SLP, CALT is a speech-language pathologist, dyslexia therapist, an award-winning author of young adult fiction and the creator of Story Frames for Teaching Literacy. This year she is devoting her personal blog to exploring additional books for children about resilience\u2014find out more here!\nWrite a Comment\nYour email address will not be published. Required fields are marked *\nPost a Comment", "id": "<urn:uuid:5e7f4309-6af4-4184-838d-d16223c6ddff>", "dump": "CC-MAIN-2023-14", "url": "https://blog.brookespublishing.com/3-important-lessons-that-picture-books-can-teach-all-students-about-resilience/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950528.96/warc/CC-MAIN-20230402105054-20230402135054-00751.warc.gz", "language": "en", "language_score": 0.9686062932014465, "token_count": 1407, "score": 3.625, "int_score": 4}
{"text": "We all know that encouraging literacy in our children is important, but do you know why that is? Reading is a vital developmental steppingstone for every student. By learning how to read your child then has the tools for advanced comprehension among other skills.\nLong-term reading has advantages. Lifelong readers are more likely to be more creative, think critically in all situations, and are able to better prioritize their time.\nKeep reading to learn tips on how to turn your reluctant reader into a lifelong reader.\nTip #1: Start Them Early\nYour student reader will not magically learn to love reading because you will it to be so. Habits like this take time to develop, and you need to start them on the right path for them to develop a love of reading.\nStart out by reading to your children often when they are young. This way they develop a taste for storytelling and will be more eager and engaged when it comes time to learning how to read on their own.\nTip #2: Give Them Choices\nWhen picking out books from your local library or your home library, let your child pick what books they want to read. Keeping a child engaged in a story is so important to keep them reading, so that\u2019s why if they show interest in a book you should jump on the opportunity to let them read it.\nIf the book is beyond their literacy level, this is great opportunity for you to read with your child and turn each reading into a learning session. This is all about taking the time to explain definitions and meanings to your student reader in a way that feels less like school and more like fun facts about a topic that interests them!\nTip #3: Supplement The Reading\nIf your reluctant reader is stubborn in their pursuit not to enjoy reading you may need to supplement what they read with a fun activity or game.\nThat\u2019s admittedly a lot to ask out of a parent who has a lot on their plate. Ziptales can help with that!\nZiptales is an online language arts website offering teaching and learning tools for students and teachers at all levels of the elementary school. Ziptales was created by teachers to enhance children\u2019s reading and writing skills. We offer a \u2018blended\u2019 learning solution to the challenge of literacy.\nWhen children can read, the key task is to keep them motivated and excited by the desire to read. Ziptales is proven to make reading an enjoyable experience, and to raise skill levels! To learn more about what we do, visit www.ziptalesusa.com.", "id": "<urn:uuid:4c8b8a4d-0dbe-4f08-85fc-72a3c194ebbd>", "dump": "CC-MAIN-2023-14", "url": "https://ziptalesusa.com/blog/Articles/HowToCreateLifelongReaders.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00533.warc.gz", "language": "en", "language_score": 0.9629084467887878, "token_count": 525, "score": 3.53125, "int_score": 4}
{"text": "In June we are reading Ruth, I & II Samuel, and I Chronicles. We will finish Judges and continue our journey into Pslams.\nJudges tells the story of the judges of Israel. In the Jewish canon Judges is the second book in the section known as \u201cformer prophets\u201d and in the majority of Christian canons is the second historical book. The modern use of the word judges is associated with interpretations of the law, but in Judges the judges didn\u2019t only deal with legal matters.\nThe judges were also military leaders, religious leaders, and warriors. I know we are reading the Bible in chronological order, but please note that Judges isn\u2019t written in chronological order. You\u2019ll want to pay attention to what is going on in the narrative as you read.\nRuth is the story of a Moabite widow who through either chance and luck or God\u2019s providence (you decide) would become King David\u2019s great-grandmother.\nBiblical scholars don\u2019t know who wrote this text during the Second Temple Period. As we read Ruth we should look for the theme of redemption and pay attention to how the women are treated, not only by the men but also by other women.\nI & II Samuel\nI & II Samuel were originally one book named after the prophet Samuel. The text was divided in half when the Septuagint was created. The Septuagint is an early translation of the Hebrew scriptures into Greek.\nIt wasn\u2019t divided for theological purposes, but rather to make the book shorter. It\u2019s often abbreviated LXX because it contains seventy books. For our discussion here, we will discuss them as one unit. Scholars are divided on when this text was written; It\u2019s likely that it was edited over a period from the pre-exilic period through the post-exilic period. The storytelling in Samuel is extraordinary. As we read we should pay attention to the ways in which the stories are told. You\u2019ll learn about Samuel and King David in these texts.\nI & II Chronicles\nJust like Samuel, I & II Samuel were one book. When Jerome created the Vulgate (Latin translation of the scriptures) he divided the text into two.\nBecause we are only delving into I Chronicles this month this discussion focus on I Chronicles. I Chronicles begins with a very long list of chronology (don\u2019t let it bog you down). Once we work our way through the complicated chronology we get to read about the reigns of David and Solomon (this narrative carries into II Chronicles).\nA note for reading about King David in Samuel and Chronicles, \u201cAs king, as husband, and as father, David has the potential for great success and for horrible failure. He fulfills these potentials. He is the faithful servant of God whose sin leads to rebellion and plague; the loving father who does nothing to avenge his daughter\u2019s rape; and the strong king whose own son rebels against him. As the most well rounded person in the OT, David shows all the glory and tragedy of which people are capable.\u201d (II Samuel Introduction by Carol Grizzard in The New Interpreter\u2019s Study Bible, pg 440)\nPsalms is a collection of poetry that expresses the human condition in all of its holy messiness. There are Psalms of praise and lament. Some Psalms are written from a communal perspective, while others are written from an individual perspective. Some Psalms are peaceful and others contain violent images of God\u2019s wrath.\nPsalms is unique in the canon because it is the only book we have that is composed solely of poetry/hymns. As we read through Psalms you\u2019ll notice the word Selah. Scholars do not know how to translate this word and we don\u2019t know what it means, but scholars posit that it is evidence that Psalms was used as a sort of hymnal. We will also come across the word shehol. Don\u2019t confuse shehol with a Christian hell; Shehol was where all of the dead went. The authorship and dating of Psalms is tricky. Modern scholars are confident that David wrote few if any of the Psalms and that the order our canon has for Psalms was likely not put together until sometime in the first century CE.\nBelow are a few questions to help guide you as you read. There are no right answers to any of these, they are here to help us reflect.\nQuestions to Guide Us Throughout This Practice\n- What stood out to you in the readings?\n- What did you notice about God?\n- Did anything in the readings make you feel uncomfortable?\n- How does what you read impact your life and your faith?\nQuestions to Guide us Through Psalms\n- What is the role of community in Psalms?\n- How do we use the Psalms in our community?\n- As we read through Psalms, think about which themes you resonate with. Why do you think you resonate with that theme?\nQuestions to Guide Us Through Joshua\n- Did anything in Joshua make you feel uncomfortable? If so, why?\n- What parallels do you see between Moses and Joshua?\n- If you wrote an Exodus story when we read Exodus, did you add events that are in Joshua? If so, what did you include? Go back and revise your retelling if necessary.\nQuestions to Guide Us Through Ruth\n- Do you relate to any of the characters in this text?\n- If you were Ruth would you have stayed with Naomi?\n- Do you think the women in this text are treated fairly? Why or why not?\nQuestions to Guides Us Through Samuel\n- What is the role of government in Samuel?\n- What can we learn about our relationship with God from Samuel?\n- What can we learn about the human condition in Samuel?\n- Did you have a favorite story in Samuel? If you have a reading partner take some time to talk about your favorite stories.\nQuestions to Guide Us Through I Chronicles\n- Compare the narrative of I Chronicles with that of Samuel?\n- What theological themes are present in this text?\n- What is the relationship between God and Israel in this text? How does the relationship between God and Israel develop throughout the text?\nDaily Reading and Podcast Links\nThe hyperlink for the reading will take you to Bible Gateway*. The hyperlink \u201cpodcast\u201d will take you to the podcast that matches the reading.**\nJune 1|Reading | Podcast\nJune 2|Reading | Podcast\nJune 3|Reading | Podcast\nJune 4 |Reading |Podcast\nJune 5 |Reading | Podcast\nJune 6 |Reading | Podcast\nJune 7 |Reading | Podcast\nJune 8 |Reading | Podcast\nJune 9 |Reading | Podcast\nJune 10|Reading | Podcast\nJune 11|Reading | Podcast\nJune 12|First Reading |Second Reading |Podcast\nJune 13 |Reading | Podcast\nJune 14|Reading |Podcast\nJune 15 |Reading | Podcast\nJune 16 |Reading | Podcast\nJune 17 |Reading | Podcast\nJune 18 |First Reading |Second Reading| Podcast\nJune 19 |Reading | Podcast\nJune 20 |Reading | Podcast\nJune 21 |Reading | Podcast\nJune 22 |Reading | Podcast\nJune 23 |Reading | Podcast\nJune 24 |Reading | Podcast\nJune 25 |Reading | Podcast\nJune 26 |Reading | Podcast\nJune 27 |Reading | Podcast\nJune 28 |Reading | Podcast\nJune 29 |Reading | Podcast\nJune 30 |First Reading |Second Reading|Podcast\n*Bible Gateway has updated to the Updated Edition of the NRSV. If you would like to use the old NRSV you can find it online at oremus.\n**The sign language videos have not been updated to include this month\u2019s readings.", "id": "<urn:uuid:a31b5f21-29e5-44bd-86a6-e9caa0786597>", "dump": "CC-MAIN-2023-14", "url": "https://gracelutheranchurch.com/june-2022/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943750.71/warc/CC-MAIN-20230322051607-20230322081607-00732.warc.gz", "language": "en", "language_score": 0.9607177972793579, "token_count": 1642, "score": 3.8125, "int_score": 4}
{"text": "In this interactive module, students will learn about the effects of marijuana on the developing brain and use this information to help them (and their friends!) make informed and responsible decisions when confronted with peer pressure to use marijuana underage.\nThis resource supports and enhances educators\u2019 implementation of the Ask, Listen, Learn: Breaking down the Myths of Marijuana Digital Exploration and helps connect the module to topics being taught in the classroom.Download\nPart eight of the Ask, Listen, Learn underage drinking prevention program addresses the effects of cannabis on the developing brain. It is important for kids to have the knowledge and tools they need to say \u201cNO\u201d to an array of risky behaviors.\nStudents build decision-making skills by reflecting on the rippling effects caused by the decisions they\u2019ve made recently. Using a \u201cdecision tree\u201d and goal-setting activity, students will explore the distinction between split-second decisions and thoughtful decisions.\nStudents consider what it means to be responsible throughout the constant changes we experience in life. A group collaboration activity lets students embrace responsibility by developing their own formula for making smart and healthy choices.\nStudents will investigate the parts of the developing brain most affected by marijuana use. They will create an infographic that highlights how these developing brain parts function regularly and they will conclude by discussing the increased harm associated with adolescent marijuana use.\nIn this activity, students will explore why and how marijuana and alcohol are more harmful for adolescents than for adults. They will then apply what they learn as they create a series of short and engaging video clips that explain the science behind these substances to teach their peers about why they are harmful for young people.\nStudents will research the effects of marijuana and alcohol on the developing brain and body and will play a game that challenges them to apply what they have learned. They will ultimately consider how these substances could affect their ambitions, and they will caution their future selves about their effects.\nStudents will delve into the recommendations for minimum age requirements for cannabis use and how these recommendations lead to legislation. They will then simulate the role of elected officials to discuss and debate another topic: the importance of health education in schools.\nSeparate cannabis facts from fiction in this classroom activity that challenges students to explore the role of the endocannabinoid system and how its neurotransmitters are affected by THC, a chemical compound found in cannabis. Students will apply what they learn to draft a creative writing piece.\nEncourage student collaboration around the short-term and long-term effects of cannabis on the developing brain. This activity compels young learners to work together to develop refusal and exit strategies rooted in their research plus create an original slide video that shares these strategies with their peers.", "id": "<urn:uuid:15d99606-9ef0-40b8-a435-652508159458>", "dump": "CC-MAIN-2023-14", "url": "https://asklistenlearn.org/teachers/brain-body-cannabis/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948708.2/warc/CC-MAIN-20230327220742-20230328010742-00331.warc.gz", "language": "en", "language_score": 0.9438477158546448, "token_count": 546, "score": 4.03125, "int_score": 4}
{"text": "Public Speaking and the Performing Arts\nThe Poetry Show \u2013\nStudents across all grade levels memorize great and enduring works of poetry, enabling the rich language and thought of master poets to be embedded into their hearts and minds. These poems are brought to life on stage\nin a yearly show in which students apply elements of vocal delivery and theater arts, drawing upon a range of fine arts experiences through the incorporation of props and costumes. By engaging in this process year after year, students develop teamwork, self-confidence, and dramatic expression.\nProject Presentations \u2013\nBeginning in the earliest grades, students are required to create and present projects in reading, social studies, science, and our Signature Programs. Through a scope and sequence of skills in public speaking, project design, and unique creative presentations, students build up confidence in public speaking before difference audiences. In this way, public speaking becomes a familiar non threatening experience.The Explore Program \u2013\nIn seventh grade, students have the opportunity to explore a topic of interest pertaining to any subject. Applying all the steps of the research process learned systematically in earlier grades, they proceed through the steps independently with a view toward a demonstration of their findings. Students present their projects through a medium of their choice while also giving an oral presentation to classmates. Speech Fest \u2013\nSelecting and interpreting great speeches from history or Shakespearean monologues, seventh and eighth grade students speak before judges in a public presentation. Students gain practice in public speaking as well as receive feedback on vocal delivery, interpretation, and use of body language to communicate effectively.Graduation Speech \u2013\nTo demonstrate the public speaking skills acquired through the years, each student composes a culminating speech. Eighth grade students reflect upon their experiences at Birchwood; summarize what they have learned about becoming a great person; and write and deliver their speech before family, faculty, and students.\nSpider and Cricket Magazine Contests \u2013\nYoung writers are fascinated with the opportunity to create engaging fiction, fantasy, folk tales, adventures, poems, history, and more.Scholastic Art & Writing \u2013\nThe Alliance for Young Artists & Writers\nsupports this prestigious middle school contest\n.Creative Communication \u2013\nPoetry, essay, and short story writing contests\nthat are important \u201cconfidence builders\u201d for young students as almost half of the entries are selected for publication.Power of the Pen \u2013\nCrafted for seventh and eighth grade Ohio students, teams of six hone their imagination and writing skills\nwriting impromptu creative narratives.\nWoodMath Toolboxes \u2013\nDeveloped at Birchwood, this simple program helps students become fluent with computational skills, accelerates math learning, and lays a foundation for advancement in mathematics.Math Olympiads \u2013\nA series of five contests provides grades 4-8 students training in creative problem-solving\nskills.Continental Mathematics League \u2013\nA series of five contests for grades 2-8 students teach how to apply basic math skills to complex logic and reasoning\nproblems.AMC 8 \u2013\nThis 25-question exam for middle school students promotes the development of problem-solving skills\n.Noetic Learning Math Contest \u2013\nA biannual math problem-solving contest for grades 2-6 students that encourages an interest in math\n, develops problem solving skills, and inspires students to excel.MATHCOUNTS \u2013 Enriches middle school mathematics\nas students compete individually or as part of a team.Ohio Mathematics League \u2013\nGrades 5-8 students prepare for a 30-question, 40-minute exam and compete against some of the best math students in the state.\nBridging Engineering, Science and Technology BEST Medicine Fair \u2013\nBeginning in sixth grade students with \"superior\u201d projects from a local or district science day are accepted.Northeastern Ohio Science and Engineering Fair \u2013\nAffiliated with the Intel International Science and Engineering Fair, the goal is to get young adults interested in science and engineering\n.Broadcom MASTERS \u2013\nA national competition for grades 6-8 students to inspire young scientists and engineers\n.District Science Days \u2013\nOverseen by the Ohio Academy of Science\nand held throughout Ohio.State Science Day \u2013\nHighlights the top 10% of Ohio student research and engineering projects. Students may compete\nif they receive a superior at both their local and district Science Day. National Chemistry Week \u2013\nCommunity program of the American Chemical Society\nthat teaches advanced content and provides for experimentation and critical analysis.Ohio Science Olympiad \u2013\nStudents in grades 4-6 demonstrate their STEM skills in this premier science competition\nNational History Day \u2013\nThis U.S. government-sponsored program\nintroduces students to the historical method beginning in sixth grade. Students conduct extensive primary and secondary research and present their work at the district contest. Those who qualify move on to the state and national level.\nInspirational Openings \u2013\nInspirational Opening time is a 15-minute period at the beginning of the day in which teachers model character and virtue through literature, simulations, or videos regarding biographical and historical events. This daily schoolwide practice is informed by the research of Robert Coles on the effect of stories on the moral imagination and the Lawrence Sternberg on the cultivation of moral reasoning.Day-to-Day Instruction \u2013\nOur focus is always to cultivate a child\u2019s reasoning according to the seven moral virtues, so that \u201cright\u201d behavior is supported by knowledge and understanding . In support of these efforts banners, admonitions, directives, and instructions fill the classrooms and hallways to remind children \u201dto know the good, to love the good, and to do the good.\u201d The research of William Damon and Carol Dweck have guided our approach. Leadership Program \u2013\nBuilding upon the foundation of daily instruction, the Birchwood Leadership Program, educates seventh and eighth grade students about leadership skills and provides opportunities to practice these skills. Students select school responsibilities that match their interests, assist in maintaining the school building, and help foster a positive school atmosphere. Students choose from jobs such as helping younger students pack up at the end of the day, computer maintenance, recycling, gardening, librarian, office help, hallway bulletin boards, and more.The Ben Franklin Initiative \u2013\nThis program is an extension of our eighth grade character development program and an authentic capstone of our creative problem solving program. Beginning in the fourth quarter of seventh grade, it is an opportunity for students to learn skills that promote independence, self-reflection, responsibility, collaboration, goal setting, and planning. It speaks to the best intentions of young teens and inspires them to fulfill their potential.\nCreative Problem Solving (CPS) \u2013\nBirchwood recognizes the ability to think creatively is an essential life skill that empowers children to thrive and flourish. Birchwood also recognizes creative thinking skills can be taught and developed. All children participate in CPS. This program teaches children to apply creative problem-solving to personal and group challenges and includes strategies from project-based learning and design-thinking programs.Future Problem Solving (FPS) \u2013\nCreative Problem Solving culminates in middle school with Future Problem Solving Program (FPS)\n. Students study futuristic topics, work in groups to evaluate problems and challenges, and brainstorm potential solutions and action plans.", "id": "<urn:uuid:8a987a26-6823-40f3-8c9b-18633869eb45>", "dump": "CC-MAIN-2023-14", "url": "https://www.birchwoodschool.org/programs/signature-programs", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00533.warc.gz", "language": "en", "language_score": 0.9274911284446716, "token_count": 1507, "score": 3.53125, "int_score": 4}
{"text": "How to Help Fifth Graders Write an Introduction to a Research Paper\n26 SEP 2017\nFifth-graders must learn the importance of the \"wow factor\" when writing introductions for their research papers. Some have worked on creative writing assignments, cause-and-effect papers and book reports, but research papers are a whole new ballgame. When helping children write introductions for research papers, encourage them to present their topic and goals in a concise manner but allow room for creativity. Remind them that the goal is to spur readers' interest in the topic, so they must grab their attention right off the bat.\nEncourage your students to brainstorm ideas for their introductions before they actually start writing. On a separate piece of paper, ask them to write down a dozen descriptive words or phrases that are very specific to their topics. For example, if a paper is about the bombing of Pearl Harbor, they might write \"early hours in the morning,\" \"misinformed military officers,\" \"no warning,\" \"panic in the ocean,\" \"Japanese attacks,\" or \"sinking of the Arizona.\" They can use these key words to formulate sentences to introduce their research.\n2 Add A Creative Slice\nResearch papers generally are designed to be informative, serious and well-organized, but there's nothing wrong with encouraging children to spruce up their introductions with a little creativity. They might start with a famous quote, create a vivid visual image or use an attention-grabbing fact to start their paper. For example, if a student is writing about the history of baseball, he might start with \"Fenway Park in Boston is the oldest American League park still hosting games today.\" Follow-up sentences should briefly link the introductory sentence with the purpose of the paper.\n3 Treasured Transitions\nSome fifth-grade introductions are disjointed and lack coherent thought progressions. Help your students create a list of common transition words that help introductions flow more smoothly. Transition words are also useful on other types of writing assignments but are especially important on research papers to help students connect ideas, thoughts, statistical information, quotes, citations and facts. Words and phrases such as \"in addition to,\" \"also,\" \"similarly,\" \"on a similar note,\" \"unsurprisingly,\" \"as a result\" and \"consequently\" help students tie their ideas, facts and sentences together.\n4 Practice Makes Perfect\nFifth-graders must learn the value of first drafts, second drafts and final copies, so they can edit, rewrite, modify, change and adapt their research paper introductions as they go. Continued research might give students a new slant to their topics or provide additional introductory material that is fresh and exciting. Students aren't stuck with their original introductions, so encourage them to make amendments as they see fit. They might even re-draft their introductions after their papers are completely written so they can highlight special points. Allow students to read each other's introductions and make suggestions -- peer input is valuable.", "id": "<urn:uuid:434f37fd-141d-448a-a7fd-93d65aa1515f>", "dump": "CC-MAIN-2023-14", "url": "https://classroom.synonym.com/fifth-graders-write-introduction-research-paper-28535.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00333.warc.gz", "language": "en", "language_score": 0.9601486325263977, "token_count": 619, "score": 3.671875, "int_score": 4}
{"text": "LoranoCarter+ Reading: What It Is and How It Can Enhance Your Literacy\nAre you looking for a way to improve your overall literacy skills? If so, you may want to consider utilizing LoranoCarter+ reading systems. These reading systems combine different literacies and approaches to help children and adults learn to read better and more accurately. In this blog, we will explore the many benefits of LoranoCarter+ reading systems, how they work, and their various applications.\nWhat Is LoranoCarter+ Reading Systems?\nLoranoCarter+ reading systems are comprehensive, research-based reading systems tailored to meet a wide variety of individual needs. They are designed to help boost students\u2019 reading comprehension, fluency, and overall literacy. These systems use multiple approaches, including phonemic awareness exercises, phonics instruction, and guided reading, to help students become more successful readers.\nBenefits of LoranoCarter+ Reading Systems\nThere are many benefits to using LoranoCarter+ reading systems. Here are some of the primary advantages of using these systems:\n- Improve Reading Skills: LoranoCarter+ reading systems are designed to help improve students\u2019 reading comprehension, fluency, and overall literacy.\n- Address Different Learning Styles: The reading systems use multiple approaches to address different learning styles, which can help students become more successful readers.\n- Personalize and Customize Learning: LoranoCarter+ reading systems can be customized and personalized to ensure that students get the most out of every lesson.\n- Increased Engagement: The use of multimedia, interactivity, and storytelling make reading more engaging and meaningful for students.\nHow It Works\nLoranoCarter+ reading systems work by combining different literacies and approaches. For example, the system might utilize phonemic awareness exercises, phonics instruction, and guided reading to help students become more successful readers. Students learn to recognize and pronounce letters, decode words, and understand vocabulary. The reading systems also incorporate interactive activities, such as games, to keep students engaged.\nExamples of LoranoCarter+ Reading Systems\nHere are some examples of LoranoCarter+ reading systems that you can use to help improve your literacy:\n- Alphabetical Order: This system helps students recognize the letter names and sounds of the alphabet and practice ordering them.\n- Phonemic Awareness: This system focuses on phonemic awareness exercises and activities to help students identify and differentiate the individual sounds in words.\n- Vocabulary Development: This system is designed to help students learn new words, build their vocabulary, and understand how to use them in a sentence.\nQ: How do I use LoranoCarter+ reading systems?\nA: The reading systems can be used in a variety of different ways. First, you\u2019ll need to identify the areas in which your student needs to improve. Next, decide on the best approach for the student. Finally, implement the reading system activities in order to help the student become a better reader.\nQ: Who is LoranoCarter+ reading systems suitable for?\nA: LoranoCarter+ reading systems are suitable for both students and adults. The systems are designed to meet a wide variety of individual needs, so they can be used by anyone who wants to become a better reader.\nQ: What are the benefits of using LoranoCarter+ reading systems?\nA: LoranoCarter+ reading systems can help improve students\u2019 reading skills, address different learning styles, customize and personalize learning, and increase engagement. Additionally, they can help students learn to recognize and pronounce letters, decode words, and understand vocabulary.\nIn conclusion, LoranoCarter+ reading systems are comprehensive, research-based reading systems tailored to meet a wide variety of individual needs. They combine different literacies and approaches to help children and adults become better readers and enhance their overall literacy skills. Whether you are a student or an adult, LoranoCarter+ reading systems can be a beneficial tool to help you become a more successful reader.", "id": "<urn:uuid:76d81c21-3c5d-4f05-8a15-747a0a3e5d58>", "dump": "CC-MAIN-2023-14", "url": "https://fashiontrendyclub.com/loranocarterreading/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00133.warc.gz", "language": "en", "language_score": 0.9395084381103516, "token_count": 818, "score": 3.546875, "int_score": 4}
{"text": "As the atmosphere warms, flying creatures are contracting and their wingspans are developing, as indicated by another investigation.\nSpecialists investigated 70,716 examples from 52 North American transient winged creature species gathered more than 40 years.\nThe flying creatures had kicked the bucket subsequent to crashing into structures in Chicago, Illinois.\nThe creators state the examination is the biggest of its sort and that the discoveries are essential to seeing how creatures will adjust to environmental change.\n\u201cWe found almost all of the species were getting smaller,\u201d said lead creator Brian Weeks, an associate educator at the school for condition and maintainability at the University of Michigan.\n\u201cThe species were pretty diverse, but responding in a similar way,\u201d they said. \u201cThe consistency was shocking.\u201d\nThey said investigations of creature reactions to environmental change regularly center around shifts in land range or timing of life occasions, similar to relocation and birth. In any case, this examination recommends body morphology is a significant third angle.\n\u201cThat\u2019s one major implication,\u201d they said. \u201cIt\u2019s hard to understand how species will adapt without taking all three of these things into consideration.\u201d\nThe discoveries indicated that from 1978 to 2016, the length of the flying creatures\u2019 lower leg bone \u2013 a typical proportion of body size \u2013 abbreviated by 2.4%. Over a similar time, the wings stretched by 1.3%.\nThe proof recommends warming temperatures caused the abatement in body size, which thus caused the expansion in wing length.\n\u201cMigration is an incredibly taxing thing they do,\u201d Mr Weeks stated, clarifying that the littler body size methods less vitality accessible preposterous to finish their long voyages.\nThey says the flying creatures well on the way to endure relocation were the ones with longer wingspans that made up for their littler bodies.\nThe researchers aren\u2019t actually certain why hotter temperatures cause feathered creatures to contract. One hypothesis is that littler creatures are better at chilling, losing body heat all the more rapidly because of their bigger surface-territory to-volume proportions.\nMr Weeks said the assortment of examples was the aftereffect of a \u201cherculean effort\u201d by Dave Willard, co-creator of the examination and an ornithologist at the Field Museum in Chicago.\nIn 1978, they began strolling around structures in the mornings during spring and fall relocation to gather feathered creatures that had crashed into structures.\nWinged animals typically relocate around evening time and are pulled in to the counterfeit light from structures, causing deadly impacts with windows. Countless flying creatures are evaluated to be murdered in building impacts every year.\n\u201cHe didn\u2019t have this study in mind,\u201d Mr Weeks said. \u201cHe just thought it could be useful in the future.\u201d\nThroughout the years, numerous volunteers and researchers added to the assortment endeavors.\nMr Willard estimated every one of the 70,716 examples himself utilizing similar techniques, \u201cthe gold standard\u201d for this kind of information, as per Mr Weeks.\nThe paper was distributed in the diary Ecology Letters.\nIt expands on a developing assortment of proof that proposes creatures are contracting as the atmosphere warms.\nIn 2014, specialists saw that elevated goats showed up as contracting because of warming temperatures. That year, another examination discovered lizards had contracted quickly because of environmental change.\nHueman Donaldson is an author and public speaker. He graduated with a dual degree in Business Administration and Creative Writing. He has worked as a marketing manager for tech firm.He has written over 250 extensive articles for different news sources.\nDisclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Gazette Maker journalist was involved in the writing and production of this article.", "id": "<urn:uuid:a91ea92f-adc3-46a8-b806-bbcec9e89f0c>", "dump": "CC-MAIN-2023-14", "url": "https://www.gazettemaker.com/study-says-environmental-change-is-making-birds-constricted/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949355.52/warc/CC-MAIN-20230330163823-20230330193823-00533.warc.gz", "language": "en", "language_score": 0.9599114656448364, "token_count": 797, "score": 3.59375, "int_score": 4}
{"text": "If a student creates a project and no one sees it, or hears it, or interacts with it, does it truly matter? Can it ever be truly authentic?\nThere are two key elements of a public product: a public audience and an authentic product. It takes both parts to have a truly authentic project-based learning (PBL) experience.\nThe public product is a way for students to apply what they have been learning to something beyond themselves. The product should actually matter to someone else, not just the members of the PBL group. In addition, the public product allows students to show what they have learned, demonstrate how they have answered the driving question, and share the amazing product they have created with an authentic audience.\nWho comprises an authentic audience? It depends on the public product, but it should always include people beyond students in the class and the teacher. If students have designed a class field trip and they are trying to get permission or funds to go on the field trip, then the principal and other teachers might be an authentic audience. However, if the public product is focused on the local water quality, then the principal and other teachers are probably not the most authentic audience. The public audience may include peers, parents/guardians, community members, business leaders, outside experts, or a global audience through the use of technology.\nAn audience should provide some type of feedback to students. According to PBLWorks, when sharing a public product, students should be asked to \u201cexplain the reasoning behind choices they made, their inquiry process, how they worked, what they learned, etc.\u201d If public products are released to the public, on a small scale or globally, and there is no type of questioning and feedback, the product still needs to be discussed. Students need to be able to reflect and process all of their learning. Reflecting, discussing, and receiving feedback from an authentic audience is most ideal, but when the ideal may not be feasible, do the best you can to make it as authentic as possible.\nBecause the product is public and matters to people outside of the group who created it, students are likely to be more engaged and care more deeply about the outcome and the quality of their public product; they don\u2019t want to look unprepared to people in the \u201creal world.\u201d In addition, a public product allows student work to be visible and discussed by others. Students are able to receive feedback from people who are typically not their peers or their teacher (hopefully they are also getting this feedback prior to the final public product). For example, if several groups of students submit an inclusive playground design with a model, budget, and video and/or essay explaining why their playground should be built to a school board or community organization in charge of playground construction, their work is public, their work matters, and their work is discussed by others outside their classroom and even their school. In short, their work is authentic.\nCreating relationships with outside organizations to work with students is a key component of PBL. Students, especially older students, are able to seek out and make connections to experts who may be able to help them. However, it is much easier and may be essential for younger students to have these connections created, or at least initiated, by the teacher, the school, or the district. Many districts already have partnerships with organizations and businesses, and it is just a matter of reaching out to them. In other cases, it may be up to you to take the first step in creating and building those relationships. Remember that it is okay to start small and continue to build as time goes on and more projects are undertaken.\nWhen gathering an authentic audience and stakeholders, consider having them be available throughout the project as a resource, or at least consider having them available at some point to provide feedback prior to the final public product being completed. If students will be creating an application, a game, or a YouTube video for their final product and using the World Wide Web as their audience, they can still connect to stakeholders who have careers creating similar products, and students can see how many people have downloaded or used their product, which is another form of feedback.\nLastly, public products can and should be made public long before they are finished. Students should be constantly reflecting on their work and creation, giving and receiving critiques, and revising their product throughout the PBL unit. The product is not a one-and-done event. To learn more about the importance of reflection, critique, and revision, consider reading the AVID Open Access article, Support Student Reflection, Critique, and Revision in Project-Based Learning.\nTypes of Public Products\nA public product does not mean that you have to put on a huge exhibition for students. In some cases, it may be that, but it absolutely does not need to be a huge event. Remember to start small! Maybe the first time that you and your students engage in PBL, their public product is for another class of students or just their families. Maybe it is for a small panel of community members. Maybe it is the creation of a website, game, or video that is posted to a larger global community using the Internet. Maybe students are creating a submission for an authentic contest or engaging in some type of authentic competition. There are truly endless possibilities, both small and big.\nBackwards planning is important when designing and planning projects for your students. Keeping the public product in mind will help you in your PBL design and planning, and it will force you to think about the types of choices that students will be able to make around their final product. You will also be able to think about and create a rubric, which can always be modified, to help students in the creation of their public product. When thinking about what type of public product students will be able to create, it is important to ask yourself, and even have students think about, the following things:\n- Is the product authentic?\n- Is the product attainable in the amount of time that students have available?\n- Do students have access to the supplies and resources needed to complete the product?\n- What components of the product should be done by individuals, and which components should be done by the group?\n- Will all groups be creating similar products, or will/can all products be different?\n- Will the product show evidence of students meeting standards and learning targets/goals?\nOnce these questions have been considered, you can narrow down public product options. Public products can vary widely, and there are probably many products and ideas that your students will come up with that you have never thought of\u2026and that\u2019s okay. Many public products often, and really should, include more than one component. For example, if students create a play, they may have also created a script, costumes, set, brochures, advertisements, a budget, promotions for social media, or posters\u2015all of which may be presented to the public. To get you thinking, here is a list of 100 + Final Product Ideas for Project-Based Learning from Experiential Learning Depot and A Collection of Project Based Learning End Products from Learning in Hand. Lastly, there are a lot of ideas of types of public products in the following two AVID Open Access articles, Design Summative Assessments for a Live Virtual Classroom and Design Summative Assessments for a Self-Paced Virtual Classroom.\nIf you are planning to include some type of writing, animation, picture, audio, and/or video element as part your students\u2019 public products, consider having them use some of the resources highlighted in the following AVID Open Access Articles:\n- Writing: Think It, Write It: Creative Writing Across the Curriculum\n- Animation: Enter the Magical World of Animation\n- Picture: Picture This: The Power of Images in Student Creation\n- Audio: Hear It, Say It, Play It: The Power of Audio in Student Creation\n- Video: Imagine, Record, Create: The Power of Video in Student Creation\nExtend Your Learning\n- PBL vs Product-Based Learning (PBLWorks)\n- The Keys to High Quality PBL: Public Products and Presentations of Work (Getting Smart)\n- The Power of Professional Presentations (PBLWorks)\n- How to Prepare Students for Explaining Their Work in Public (PBLWorks)\n- How to Engage Reluctant (and Even Refusing) Presenters in PBL (PBLWorks)", "id": "<urn:uuid:0f9a1ea1-48ea-4084-bfad-50abb9e4d408>", "dump": "CC-MAIN-2023-14", "url": "https://avidopenaccess.org/resource/make-project-based-learning-truly-authentic-with-public-products/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943750.71/warc/CC-MAIN-20230322051607-20230322081607-00733.warc.gz", "language": "en", "language_score": 0.9617694020271301, "token_count": 1746, "score": 3.65625, "int_score": 4}
{"text": "GRAPHIC NOVELS BUILD EMPATHY AND SERVE AS 'GATEWAYS TO LITERACY'\nJuly 10, 2017 admin Innovation, Art, Reading, Education, GEMS World Academy Chicago, Literacy, Visual Learning\nParents and educators can find it challenging to get children of all ages motivated and excited about reading, especially in the digital age. A growing body of research shows that graphic novels (long-form comic books), for decades viewed as an enemy of \"serious\" reading, actually have the power to turn a young student into a \"super reader.\"\nIn addition, graphic novels, when paired with study of traditional prose fiction, can help build empathy, educators say.\nGEMS World Academy Chicago is among the schools that have used graphic novels across a variety of age groups to get students engaged with reading. Graphic novels have been assigned as class reading in multiple grades, and they are popular selections in student book clubs. The combination of visuals and text that graphic novels offer fits well with the school's International Baccalaureate curriculum and interdisciplinary approach, which encourages students to build empathy and look at problems through multiple lenses.\nThe visual effect\nAccording to the Yale Center for Dyslexia & Creativity, the universal appeal of graphic novels among a diverse range of students makes them a \"grand equalizer\" when it comes to reading. Although they employ classic elements of narrative storytelling like the hero's quest, the visual elements and comic book format can make them more accessible and less intimidating, especially for struggling readers.\nOn a practical level, the combination of illustrations and text help to engage visual learners and thinkers, who account for up to 65 percent of the population. In addition, educators have found that complementing stories and texts of varying levels of complexity with images also helps to improve vocabulary, visual literacy, reading comprehension and confidence among students struggling in language arts.\nAnd while it might sound counterintuitive, teachers have found that reading graphic novels actually encourages young readers to slow down and absorb the material, where they might skim or gloss over straight blocks of traditional prose. The American Association of School Librarians' Conference and the Common Core State Standards Initiative have outlined the benefits of incorporating graphic novels in elementary education curriculums for students of various ages and grade levels.\nFrom Batman to Faulkner\nMany adults tend to associate comic books and graphic novels with the superhero stories they are most famous for, but educators across the country and around the world use them to teach everything from Shakespeare to Jane Austen. Parents and educators new to the concept may wonder if introducing young readers to graphic novels in the classroom will hinder or discourage students from reading traditional novels in the future, but experience suggests otherwise. Like traditional children's literature, graphic novels have been found to introduce students to more complex themes and narrative devices that actually work as a gateway to more advanced texts in the future.\n'Gateway to literacy'\nIn order to help combat misconceptions and to highlight the benefits of graphic novels in education, the American Library Association established the Great Graphic Novels for Teens and Core Collection of Graphic Novels annual lists. In order to gauge the quality and suitability of graphic texts for young students, credible reviews from established literary institutions such as Kirkus Review, Booklist and School Library Journal are available to help parents, teachers and librarians best serve student needs.\nEducators have also found that benefits can also be found beyond English class. The skills and learning tools that students gain from comic books and illustrated stories can also be applied to the rest of their curriculum and study of subjects like history, art, science.\nIn the words of Art Spiegelman, author of the Pulitzer Prize-winning graphic novel Maus: A Survivor's Tale, \"Comics are a gateway drug to literacy.\"", "id": "<urn:uuid:c9a34ecf-6ca9-4e9a-9d75-351451ee300c>", "dump": "CC-MAIN-2023-14", "url": "https://blog.gemschicago.org/blog/drawing-power-graphic-novels-as-gateways-to-literacy", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948858.7/warc/CC-MAIN-20230328104523-20230328134523-00134.warc.gz", "language": "en", "language_score": 0.9405795931816101, "token_count": 771, "score": 3.59375, "int_score": 4}
{"text": "There is a strong connection between creative expression and the growth of young children. Research has shown that children who were given a chance to express themselves through art, writing, and other forms of creativity display improved academic, social, and psychological skills. Consequently, early childhood education initiatives are now emphasizing the benefits of imagination and self-expression, offering a safe environment for children to investigate their curiosities, communicate their ideas, and use creative problem-solving.\nBelow this, we described some of the essential benefits of creativity and self-expression in children.\nKids who engage in imaginative activities have a greater aptitude to cooperate in groups and better social proficiency. They are able to express their thoughts and team up with their classmates, leading to a more thorough comprehension of each other. Creative activities also aid children in honing problem-solving capabilities and the capacity to bounce back, which can be useful for dealing with disagreements.\nTips for educators:\nWhen kids participate in creative activities, they not only foster their creative thinking but also sharpen their logical thinking, which consequently betters their academic proficiency. This technique makes the educational content significantly more significant and long-lasting as it enables children to relate it to their own thoughts and hobbies.\nGiving children the opportunity to explore their passions and engage in artistic activities can boost their self-confidence. As they delve into creative projects, they discover their strengths and interests. Educators play a crucial role in promoting this self-assurance by creating a nurturing and accepting atmosphere that promotes experimentation and taking risks.\nTips for educators:\nStorytelling is a fundamental piece of early learning. It permits kids to express themselves, investigate their interests, and employ their imagination. Educators can help children sharpen their verbal and written language aptitudes by encouraging them to make up their own stories based on their own encounters. The teacher can give prompts to get the children to consider what they might want to say in their stories. For instance, the educator could inquire as to whether there was a time when they felt courageous or capable. After the children have imparted their stories, the educator can give input and comfort.\nArtistic activities like drawing and painting are great ways for children to explore their imagination and express their feelings. Not only do these activities help them to hone their artistic talents, but they also provide a platform for them to communicate their emotions, interests, and ideas in a visual format that can be shared with others.\nWhen students are displaying their artistic talents, it is beneficial for teachers to offer direction and assistance, as well as set the right expectations. By encouraging children to investigate their creative side, they may cultivate an admiration for the fine arts that will endure for years to come.\nPractical arts and crafts allow children to explore interests and engage in creative activities while also learning important life skills. They are able to practice problem-solving skills, explore new topics, and create items that are useful and meaningful.\nEducators can evaluate the progress of the kids when they are involved in art and craft projects, which helps them to recognize which areas need more attention. This way, the children are able to enhance their skills while having a good time.\nHere we give you a list:\n10 ways to teach creativity in the classroom\n7 way to encourage creative expression\n2. Click on \u201cI need a new Password\u201d in the bottom right as shown in the image below.\n3. Enter your email address into the email field and then click on \u201cSend Me\u201d\n4. This should send an email to the email address entered from KidKare Enrollment Portal with a link to reset your password. Click on the blue link\n5. Enter your new password into the fields below and click \u201cGo\u201d\n6. Now you can go back to the login page and login with your email as the username and your new password!\nFollow the instructions below to download and install Minute Menu CX. You can install Minute Menu CX on as\nmany computers you need. The same link provided in this article can also be used by centers to install their\nversion of the software. For system requirements, see System Requirements.\n1. Click here to download Minute Menu CX.\n2. Depending on your browser settings, the file downloads automatically, or you are prompted to save or run it.\n3. The installation wizard opens. Click Next and follow the on-screen prompts to complete installation. We strongly recommend that you install Minute Menu CX in the default location and that you do not change any of the options during installation.\n4. Once the installation process is complete, click Finish. Minute Menu CX opens automatically, and you are prompted for your password.\n5. Enter your user name and password. You should have received this information from Minute Menu or (centers) from your food program sponsor\u2019s main office.\n6. Click Login.\nTo access Minute Menu CX in the future, double-click on your desktop. You are prompted for login information each time, unless you check the Remember Login and Password box when logging in.\nTo see which version of Minute Menu CX is installed on your machine:\n1. Open Minute Menu CX.\n2. Click the Help menu and select About Minute Menu CX. The About Minute Menu CX dialog box opens. The version number displays at the top.\nTo upgrade Minute Menu CX:\n1. Open Minute Menu CX.\n2. Click the Administration menu and select Upgrade Software. The installation wizard opens.\n3. Follow the on-screen prompts to install the upgrade. Note that you must upgrade CX on each individual machine on which it is installed.\nJust enter your email address below and we\u2019ll set up a free 30 day trial just for you.\nWe believe in the application so much, that we know you\u2019ll love it.", "id": "<urn:uuid:a3b8e29a-54fa-4ae0-9905-0842159868dc>", "dump": "CC-MAIN-2023-14", "url": "https://www.kidkare.com/the-benefits-of-creativity-early-childhood-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949181.44/warc/CC-MAIN-20230330101355-20230330131355-00134.warc.gz", "language": "en", "language_score": 0.945503830909729, "token_count": 1205, "score": 3.9375, "int_score": 4}
{"text": "18. Feb. 2021\nThe February 2021 issue of the National Geographic magazine devoted to viruses and how they shape our world pictures the three-dimensional structure of phage P68. The structure was determined by PhD student Dominik Hrebik from the structural virology group of Pavel Plevka from CEITEC.\nDespite the common knowledge that viruses are agents of disease, many of them actually bring adaptive benefits and life without them would not be possible. Being natural predators of bacteria, bacteriophages have long been considered as potential therapeutic agents that could be used against antibiotic resistant bacteria. Scientists in Pavel Plevka\u2019s research group study three dimensional structures of viruses. These structures help scientists to explain the mechanism of how the bacteriophages attack and destroy bacteria. This type of information is key for the development of new therapies against antibiotic resistant bacteria. Researchers from Plevka\u2019s group reconstructed entire structures of several bacteriophages, including the Phage P68, which has been pictured in the newest National Geographic issue. Plevka lab is one of the few research laboratories that characterized complex structure of entire bacteriophage, and this is why the group was approached by the National Geographic editors, who were interested in publishing the image.\nViruses also live in oceans, and as National Geographic explains, there are more viral particles in the oceans than stars observable in the universe. \u201cAs a zebra shark cruises by, a diver at the Aquarium of the Pacific in Long Beach, California, displays an image of a bacteriophage, a type of virus that infects bacteria. Harmless to plants and animals, bacteriophages are critical for healthy marine ecosystems. The Earth\u2019s oceans teem with these and other viruses. The aquarium\u2019s Tropical Reef Habitat and Soft Coral Garden hold 367,166 gallons of water, with an estimated 5.32 quadrillion viruses. If lined up side by side, those viruses would circle the Earth almost eight times,\u201d says the description under Dominik Hrebik\u00b4s image of Phage P68 in National Geographic. \u201cI am really happy that our phage structure made it into the National Geographic magazine and now even readers from outside of our scientific community from all over the world can find out about our research,\u201d says the author of the phage structure, Dominik Hrebik. The editors decided to use the phage image in the ocean because bacteriophages are well known also for their ability to contribute to the stability of ocean microflora.\nNational Geographic is one of the most widely read magazines of all time. It is the world's premium destination for science, discovery, and adventure. The magazine uses the power of science, exploration, education, and storytelling to illuminate and protect the wonders of our world. For more than 130 years the National Geographic Society has defined some of the critical challenges of our time, driven new knowledge, advanced new solutions, and inspired positive transformative change. The magazine is well known for its distinctive appearance and dramatic photography. National Geographic is issued in nearly 40 local-language editions and has a total reach of more than 30 million readers.\nDo you want to learn more about viruses? Read the newest National Geographic issue HERE.\nPhone: +420 54949 6271, +420 775 351 405", "id": "<urn:uuid:3efe027d-9138-4a06-b706-cc5ad6ac290a>", "dump": "CC-MAIN-2023-14", "url": "https://www.ceitec.eu/phage-structure-determined-at-ceitec-was-pictured-in-the-february-issue-of-national-geographic/t10630", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945323.37/warc/CC-MAIN-20230325095252-20230325125252-00534.warc.gz", "language": "en", "language_score": 0.9362866878509521, "token_count": 687, "score": 3.828125, "int_score": 4}
{"text": "When is the first day of winter? How is the winter solstice celebrated across the world revealed\nThe first day of winter for the year 2022 is December 22. It is called the winter solstice or the hibernal solstice. It occurs when one of the earth\u2019s poles is tilted to the farthest point from the sun. It is also the shortest day of the year, which automatically makes the night of the winter solstice the longest.\nEach December, the hibernal solstice marks the official initiation of the Northern Hemisphere\u2019s astronomical winter. Following the solstice, the days start getting longer as the nights get shorter for the next six months.\nCelebration of the Winter Solstice in different cultures across the globe\nUsually falling just a week prior to Christmas, the winter solstice is celebrated in different manners around the world.\nAncient people depended on their precise knowledge of seasonal cycles for their survival. Thus, they marked the first day of winter with ceremonies and celebrations, and symbolized it as an opportunity for renewal.\nHere are some of the ways in which people around the world celebrate the solstice even today:\nIn Japan, the first day of winter is called Toji, and it comes with a few interesting customs. In keeping with tradition, kabocha - winter squash is eaten. It\u2019s one of the few crops that were available in ancient times during winter.\nMany people also take a hot bath with yuzu fruits because they believe it refreshes the body and spirit, warding off any illness and soothing the dry winter skin.\nStonehenge gathering, England\nNobody knows exactly why the Stonehenge circle on the Salisbury Plain was built, but it\u2019s proven that the circle does mark the change of seasons by tracking the movements of the sun and the moon. This historical monument is also believed to be a place of spiritual inspiration.\nAccording to archeological research, winter solstice festivals were celebrated here. So, to carry out the tradition, many people gather here at dawn after the longest night of the year to witness a magical sunrise.\nIn China, celebrating winter solstice is a family affair and involves a grand meal which includes a special dessert called tang yuan, a type of rice ball.\nThe solstice is also connected at its roots to the Chinese philosophical concept of yin and yang.\nDongji, South Korea\nIn South Korea, the first day of winter is also known as \"Little new year.\" They celebrate the day by eating a traditional dish called patjuk, which is a red bean porridge. The South Koreans consider red to be a lucky color. So, the patjuk is eaten to ward off bad spirits and embrace good wishes for the next year.\nThey also wish for snow on this day, as they believe that cold weather on the first day of winter brings an abundant harvest.\nNewgrange gathering, Ireland\nThe Newgrange Stone Age passage tomb in Boyne Valley, Ireland, is a 5,200-year-old prehistoric monument. On the day of the hibernal solstice, a small crack above the tomb's entrance fills with light during sunrise, gradually traveling throughout the chamber and illuminating it. This magical luminous effect lasts for 17 minutes.\nVisitors gather at the temple to watch the sunrise. Locals speculate that the phenomenon announces light\u2019s triumph over darkness and marks the birth of the new year.\nSoyal, Hopi Tribe, U.S.\nThe Hopi tribe is a group of indigenous people from northern Arizona in the U.S. They have a religious tradition where they honor Kachina (or katsina). Kachinas are ancestral spirits that represent the natural world. Hopi people celebrate the winter solstice as part of this tradition.\nThe tribal chief leads the Soyal ceremony. The tribe welcomes the sun\u2019s journey to the summer path after the longest night of the year with ritual dances. The festivities also include prayers, gifts for children, storytelling, and singing. They often make Kachina dolls and prayer sticks for the celebration.", "id": "<urn:uuid:ca61fec1-e032-4745-b159-179afa4e225f>", "dump": "CC-MAIN-2023-14", "url": "https://www.sportskeeda.com/amp/pop-culture/when-first-day-winter-how-winter-solstice-celebrated-across-world-revealed", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00534.warc.gz", "language": "en", "language_score": 0.9410327076911926, "token_count": 870, "score": 3.703125, "int_score": 4}
{"text": "Since the beginning of the written language, the reader's perception of a literary work has been based on their interpretation of how the story was portrayed. Differing points of view within the story generate diverse interpretations among readers. From Shakespeare to Faulkner, the aspect of differing viewpoints allows each story to convey contrasting feelings to the reader. In Eudora Welty\u2019s Why I Live at the P.O., she uses a first-person view to reinforce this idea. The attitude of the narrator, sister, is biased in many respects to further her agenda. The slanted viewpoint of sister contributes to the story through her need for personal attention, the empathy the reader has for sister, and the inaccurate representation of the entire story.\nEudora Welty\u2019s life was impacted by books. At the age of nine Welty\u2019s mom got her a library card, and said she could read any book child or adult, except one. Welty always checked out the maximum number of books, and rushed home to read them and quickly get more books. Welty\u2019s language conveys the intensity and value of these experiences, because she is well-spoken and description about her early experiences of reading books. Welty is an exquisite writer when it come to her syntax and spelling. Welty\u2019s good syntax and punctuation may be a result of her early reading, effecting her writing in a positive way and also most people write how they speak.\nSara Gruen\u2019s Water for Elephants describes self discovery of life, love, and the struggles of living in the middle of The Great Depression. She paints Jacob Jankowski's as a miserable elderly man in a nursing home telling the adventures of his youth in the circus; full of grief, abuse and love. There are two quotes, \u201cWhen two people are meant to be together, they will be together. It\u2019s fate.\u201d and, \u201cLife is the most spectacular show on earth.\u201d These sum up the book's themes of true love and that life is full of unending adventure, illusion, and discovery.\nLeon Rooke shares the quality of love in his short story, \u201cA Bolt of White Cloth\u201d. Rooke shows that love has the ability to produce the greatest happiness in the lives of people, but hardships must follow in order to achieve this love. Love comes in many forms as it is an emotion that can be expressed differently varying from person to person. Rooke uses magical realism by introducing an Eastern stranger that sells white cloth with magical qualities. The price, however, is love. This stranger is the bearer of happiness as he travels determining whether a person has expressed a great deal of love and hardship in exchange for his cloth. The characters discuss the types of love that exists in the world. The reader can easily submerse themselves\nEudora Welty uses many literary elements in her short story, \u201cA Worn Path,\u201d to allow the reader to stay engaged throughout its entirety. Although there are many literary elements present in this story, there are three that Welty focuses intently on. She uses elements such as imagery, symbolism, and motifs to draw the reader\u2019s attention. It is important for an author to write their story in a way that can be understood but also enjoyed. In \u201cA Worn Path\u201d, Welty focuses in on the elements, such as, symbolism, motifs, and imagery and writes a story that has great meaning and can be discovered by the reader when looked at carefully.\nThe Kite Runner is a novel that tells the story of a man becoming his true self and his experiences as he proceeds his journey. Amir, a man from Afghanistan who lived in the slums of his country traveled throughout the globe in search of inner peace from a troublesome childhood. Guilt from various fights with Afghanistan\u2019s superior social classes, an accessory to a crimes and the witnessing of his close friend\u2019s violent rape while he stood stagnant; haunt Amir.\n\u201cHuman nature is like water. It takes shape of its container\u201d is a quote beautifully worded by Wallace Stevens about the effect of human nature. Human nature would be the general characteristics that are shared by individuals of certain civilizations. The characteristics mainly consist of feelings, psychology, and behaviours. Although these characteristics may shape up a human being, there are many different many experiences an individual may go through which may result in disputes. In the novel 1984, written by George Orwell and Never Let Me Go, written by Kazuo Ishiguro, readers are shown the ramifications of human nature and the many different ways human nature co-exists in both dystopian novels. 1984 is a well-known dystopian novel that revolves around the protagonist, Winston Smith. Smith faces oppression in Oceania, while being watched by Big Brother, the Ruler of The Party. In 1984, Smith is seen as daring and rebellious throughout. Another comparable dystopian novel is Never Let Me Go. This narrative is about human clones, particularly, Kathy, Tommy and Ruth, and their experiences that are based on their fate. Human nature displays the repercussions of inevitable fate, psychological manipulation and uniformity in both dystopian novels. Human nature are general views that are colored by the influences of people an individual is surrounded by.\nDonkeyskin is a fairy tale about a princess who faces difficult challenges but manages to overcome them in the end. The King\u2019s wife dies and with the intention of keeping the king unmarried for the rest of his life, she makes him to promise that he will marry an awesome woman like her. The situation forces the king to propose to her daughter who is even better than the queen. The tale focusses on the idea that good can always triumph over evil. It revolves around the flight of the princess to escape the awful marriage to his father (Perrault, 1977).\nLove is unconditionally caring about someone else that you care more about yourself. Love may give us joy, and happiness, but it also brings the worse out in us. In Celeste Rita Baker\u2019s short story Jumbie from Bordeaux, the author presents love and the price paid for love through the indirect characterization of Jumbie, his aunt, and parents.\nLove in this novel was the very core of optimism for many characters. A character who gained the most out of the love of others\nEudora Welty was an American novelist whose books centered around the American South. Welty is famously known for her book, The Optimist 's Daughter, which she earned a pulitzer prize for in 1973. In Welty\u2019s memoir, \u201cOne Writer\u2019s Beginnings\u201d she reminisces on her childhood memories during the early 1900s in Jackson, Mississippi. Her memoir focuses on her early life with reading and the impact it had on her life. The intensity and value of Welty\u2019s early experiences with reading and books is displayed through her descriptions of the librarian, Mrs. Calloway, her own experiences with reading, and the descriptions of her mother\u2019s influence on her life as a reader.\nEudora Alice Welty was an American short story writer and novelist who wrote about the American South. Welty was born on April 19, 1909 in Jackson, Mississippi and wrote the shorty story \u201cA Worn Path\u201d in 1941. Welty was awarded the presidential medal of freedom among numerous awards including the Order of The South. Eudora Welty passed away on July 23, 2001 in Jackson, MS at the age of 92, Welty lived a great life. In the story \u201cA Worn Path,\u201d by Eudora Welty, Phoenix Jackson\u2019s characterization, symbolism/imagery, and conflict are shown while she is on a journey to get some medicine for her grandson.\n\u201cDesiree\u2019s Baby\u201d is a twisted and heart wrenching story that takes place during a time of great racial inequality. The Devil seems to be very busy throughout the world as he escalates situations and spews lies into the thoughts of men, tearing them from their beloved families. The story \u201cDesiree\u2019s Baby\u201d summons up a very saddening irony that the prejudiced Armand learns that it was his mixed parentage and not that of his wife which produced their mixed-race child whom he detested and rejected.\nThere are many times humans act differently because of someone else. The outlooks of human behaviors depend on the negative or positive influences that surround a person. People act the way they are because of the external forces that affect them. Likewise throughout history, many authors and poets create their work of literatures based on the external forces. Often times, the message that these authors and poets reveals not only has universal themes, but also can connect to people\u2019s life stories. The external forces in the poem \u201cSir Gawain and the Green Knight\u201d translated by John Gardner particularly relate the story of my own life.", "id": "<urn:uuid:fe5ff324-e871-43b5-8020-d3f22725f42f>", "dump": "CC-MAIN-2023-14", "url": "https://www.ipl.org/essay/Eudora-Welty-Unconditional-Love-FJJVB7AVYV", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949598.87/warc/CC-MAIN-20230331082653-20230331112653-00530.warc.gz", "language": "en", "language_score": 0.97005695104599, "token_count": 1857, "score": 3.5, "int_score": 4}
{"text": "Since we first arose, humankind has created materials out of animal remains. This exhibit explores objects created for a variety of different uses from cultures throughout the globe. Some of the objects are outdated and some still very much in use. What unites them is that they all incorporate animal parts in their construction. What is the connection between the object\u2019s function and the animal used? Why are some considered ceremonial while others simply tools? Are there similarities between objects created across the world from each other? This exhibit reveals the purposes of these objects, both obvious and obscure. Feather and fur, tooth and nail, the objects on display show the many ways that people have looked at an animal and found a creative use for them.\nEarly 20th century, Kenya\nHide, wood, twine, shell, pigments\nThe shield\u2019s maker used wood for the frame and handle, and cow leather for the outer covering. The materials were not particularly valuable, but the intricate designs were meaningful. Each shield displayed the prestige of the person wielding it within their lineage, a family network that collectively owned vast herds of cattle. Once important protection for hunters and warriors, contemporary Maasai no longer use these shields.\nLate 20th century, Guinea Bissau\nWood, horn, glass, yarn, twine, pigments\nThe Dugn\u2019be buffalo mask is part of a contemporary masquerade tradition in Bidjogo communities. Many artificial materials are used in its construction, though the horns are real to emphasize the animal\u2019s power. There are many different buffalo masks within this society representing different \u201ccoming of age\u201d periods. The Dugn\u2019be masks are used exclusively in the initiation rituals of young men into adulthood. With this mask, they perform a wild dance that evokes a buffalo, representing the initiate\u2019s lack of control and need to be tamed.\nLate 19th century, United States (Alaska)\nThis ivory knife was used by Yup\u2019ik children, primarily little girls, to draw stories in the snow. Players might depict objects in a game similar to Pictionary. These knives are not sharp and were only used for entertainment. Yup\u2019ik children still play storytelling games; however knives made from walrus or sperm whale ivory have been replaced by mass consumer goods like plastic butter knives.\nMid-20th century, Botswana\nOstrich eggs have traditionally been used as canteens by the San people while traveling or foraging. Ostrich eggs are also very nutritious, equivalent to about two dozen chicken eggs. Acquiring an egg is not easy because ostriches can slash with their long talons. Successful hunters will locate an ostrich nest and either wait for the vigilant adults to leave or use a high risk strategy of scaring it away.\nMid-20th century, Nigeria\nThese cupping horns were used in medical treatments that bring blood to the surface of the skin via suction. Practitioners make a small incision on their achy body part, then light a small fire in the animal horn and place it over the wound. The dying fire creates a vacuum that draws blood to the skin. Practitioners give many explanations to why this is helpful despite no evidence of a specific medical benefit. The use of these has increased in recent times. In the United States, some kinds of cupping have become popular with athletes, such as Olympic swimmer Michael Phelps.\nLate 19th century, United States\nThis deerskin robe was worn by a female child for a curing ceremony. The Comanche believed that the deer and buffalo which provided hides were part of a spiritual network that included humans. Wearing hides let people take on the animals\u2019 valued qualities, like toughness. The central hourglass-like shape surrounded by the colorful border is an indication of the robe\u2019s ceremonial purpose.\nEarly 20th century, China\nIvory (elephant), wood\nThis particular elephant tusk depicts carved lions, elephants, and a small building. Chinese ivory carving was an artform as well as a booming business for centuries. The artform demands great skill, and only about ten percent of apprentices would became professional carvers. Asian and African elephants became critically endangered during the 20th century because of the ivory trade. In 2017, China officially banned all commercial processing and sale of elephant tusks. However, market demand for ivory continues to threaten herds.\nLate 20th century, Mexico\nWood, hair, teeth, pigments\nThis colorful tiger mask is part of a traditional costume used in the \u201cthe dance of the tiger\u201d throughout southern Mexico. The dance likely originated in the Aztec Empire or earlier, though the name \u201ctiger\u201d is a recent invention. Earlier masks were likely modeled after jaguars, the large cat native to Mexico. During the dance, the tiger attacks farmers\u2019 crops and attempts to destroy them until the entire community chases it away. This tiger mask doesn\u2019t actually contain any materials from a cat: the teeth and whiskers are from a wild boar.\nLate 19th century, United States (Alaska)\nHide, teeth, glass, copper, string\nThis caribou hide belt is adorned with beads, buttons, and two rows of caribou teeth as well as fox teeth. In total, there are 221 sets of caribou incisors and 23 fox teeth. It is likely that single Yup\u2019ik hunter killed these animals. While men were, and continue to be, the primary hunters in Yup\u2019ik society, it was women that wore these belts. If the belt had passed through enough generations, it acquired healing powers that were accessed by striking the afflicted area.\nLate 19th century, Canada\nHide, wood, ivory (marine), hair, string\nThis model is made of wood and sealskin in the same fashion as a life-sized Inuit kayak. The Inuit used kayaks for hunting seals and other aquatic arctic mammals. These replicas were made for Moravian missionaries who established trading posts beginning in the 18th century. Moravian missionaries would trade European goods for these souvenirs and send them to their friends and families. Kayaking became popular in Europe in the 19th century and became an Olympic sport in 1936.\nLate 20th century, Papua New Guinea\nFor many cultures in Papua New Guinea, daggers carved from a femur bone were both close combat weapons and status symbols among men. Warriors who carried these daggers possessed exemplary fighting skills. This dagger is made from the bone of a large, flightless bird called a cassowary. Cassowaries are the deadliest birds in the world, capable of killing humans with clawed kicks. Some daggers were made from human femurs, carrying the highest social status. Though no longer used in combat, cassowary bone daggers are still used ceremonially.\nLate 19th century, Sudan\nHide, steel, wood, ivory (elephant), bone, teeth, string\nThis sword and scabbard was likely created in Sudan, indicated by the shape of its pommel. It was used for personal protection, but its most unique characteristic is its scabbard. It is made from an entire small crocodile, still present with bones and teeth. Crocodiles were used symbolically during the Mahdist Revolution in Sudan during the 1880s. Crocodiles used as equivalents for dragons, a symbol of power in Islamic Sufi tradition. Many weapons were taken out of Sudan as war souvenirs after the British re-colonized Sudan in 1898.\nEarly 20th century, Democratic Republic of the Congo\nFeathers, palm fiber\nDozens of hat styles were in vogue within the Kuba kingdom\u2019s traditional court. This hat woven with iridescent bird feathers was considered to be a flashy, young person\u2019s style. The hat\u2019s maker has creatively emphasized the feathers\u2019 sharp angles to make a visual statement. Though colorful and eye-catching, the hat doesn\u2019t signify social prestige or military rank as some other hats do. Older and wealthier courtier would likely opt for a more conservative hat.\nWhat about Endangered Species?\nThe objects in this exhibit show the diverse ways that human societies have exploited animals as natural resources. Many of these objects are decades old and were produced in societies with plentiful animals and a healthy ecosystem. Unfortunately, many could not be made today as the animals they originate from are threatened or endangered. Habitat loss, climate change, and pollution have all contributed to vanishing wildlife population, but over-harvesting\u2014especially for export\u2014is also a concern.\nIn the early 1960s, international discussion began focusing on the rate at which the world\u2019s wild animals and plants were being threatened by unregulated international trade. The solution came in the form of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), an international treaty that regulates and prohibits the trade of protected species. The objects on display containing elephant ivory or tropical bird feathers are legal because they were created before 1970 when CITES went into effect. Many countries enact additional laws to protect wildlife from humans, such as the US law that prohibits harvesting marine ivory from whales and walruses, but carves out an exemption for Alaskan Native communities.\nThis exhibit was curated by WFU intern Robby Outland (\u201921). It was on exhibit from March 1, 2021 to April 14, 2022.", "id": "<urn:uuid:9cf69fbd-b114-4c78-8e07-e7097666f730>", "dump": "CC-MAIN-2023-14", "url": "https://lammuseum.wfu.edu/exhibits/virtual/animal-origin-tokens-and-tools-from-faunal-remains/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00532.warc.gz", "language": "en", "language_score": 0.9590554237365723, "token_count": 2015, "score": 3.53125, "int_score": 4}
{"text": "Our picks for books, videos, websites, and other social justice resources 34.2\nAn Indigenous People\u2019s History of the United States for Young People\nBy Roxanne Dunbar-Ortiz, adapted by Jean Mendoza and Debbie Reese\n(Beacon Press, 2019)\nIn this adaptation of Roxanne Dunbar-Ortiz\u2019s influential book, curriculum developer Jean Mendoza and children\u2019s literary critic Debbie Reese provide young people with a history of the Native people whose lands were colonized by Europeans and their descendants over the past 400 years. The authors lead readers from the Spanish conquest of Mexico to the Standing Rock protests of the Dakota Access Pipeline. An Indigenous People\u2019s History represents a fundamental challenge to the countless U.S. history textbooks that celebrate \u201cliberty,\u201d \u201cfreedom,\u201d and the \u201cthe rise of the American nation,\u201d but fail to recognize the humanity \u2014 or often even the existence \u2014 of the Indigenous peoples who were here first, and are still here. How much more clearly can our students see the history of this country when we put Indigenous people\u2019s lives at the center?\nWords No Bars Can Hold: Literacy Learning in Prison\nBy Deborah Appleman\n(W. W. Norton & Company, 2019)\nDeborah Appleman\u2019s outstanding scholarship on literacy instruction spans decades. In this book, she writes about teaching college literature and writing courses in a high-security prison. But her revelations about the transformative power of education also speak to the necessity of changing teaching in our schools. As Appleman notes, \u201cThe incarcerated students reflected much of what we have learned in recent literacy research about the importance of providing literary texts that reflect the realities of the lives of the students. . . . [W]hen students see themselves reflected in the texts that are assigned, they are more likely to complete assignments and experience more academic success.\u201d\nWords No Bars Can Hold is filled with Appleman\u2019s teaching stories, research, and reflections republished from her blog about her work, as well as the poetry and discussions of her incarcerated students like Zeke, who wrote, \u201cWriting offered me a conduit to communicate my experiences with the world. It was not therapy, but it could speak for me in ways nothing else could. It also offered me some evidence that I was still a feeling and empathetic human being.\u201d\nAppleman\u2019s book is important, not just for those who teach in prisons, but also for those who want to understand how to break the school-to-prison pipeline.\nMigrant Child Storytelling\nThis website \u201cis for any migrant child from any part of the world who has a story to tell.\u201d But it is also for educators who want to hear these stories and share them with our students.\nThis is a children\u2019s place. Without any adult interpretation, the website offers stories and drawings of how children experience the trauma of migration, like Yonas\u2019 harrowing journey from Eritrea to Calais, France; smugglers told them, \u201cIf you don\u2019t have money, we will take a kidney.\u201d But there are also tender vignettes from daily life \u2014 Zeinab\u2019s \u201chappiest day\u201d in a children\u2019s park in Afghanistan; Alexis\u2019 admiration for the \u201csmart\u201d rabbits in Belize. These stories remind us of children\u2019s resourcefulness and resiliency, and can be hopeful as well as grim. No doubt, the website\u2019s limitation is that it offers no broader social context about child migrants\u2019 stories and drawings. But students can use these portraits to generate questions for further research, and the intimacy of the stories and images will give urgency to that research.\nClimate Change Books\nGreta\u2019s Story: The Schoolgirl Who Went on Strike to Save the Planet\nBy Valentina Camerini\nAvailable in English, Spanish, and Italian\n(Simon and Schuster UK, 2019)\nThis thoughtful, unofficial biography gently tells the story of Greta Thunberg\u2019s childhood in which she was diagnosed with Asperger\u2019s syndrome, an illness that in some cases leads people to focus on just one thing. Greta focused on climate change \u2014 watching videos and reading everything she could find.\nIn time, Greta became so depressed that she didn\u2019t talk, read, or hardly eat for two months. Her parents helped her deal with her depression while she challenged her parents to radically change their lifestyle \u2014 her mother was an international opera singer and Greta convinced her never to fly on airplanes again. The biography describes the first day she struck without her parents\u2019 permission and continues through her speech at the World Economic Forum in Davos, Switzerland, and the March 15, 2019, international climate strike. It includes a glossary and timeline.\nTry to find a way to buy a class set of this book and use it to not only teach about climate change, but also to discuss issues not often discussed in classrooms such as Asperger\u2019s syndrome, depression, conflicts with one\u2019s parents, and the role of individual initiative and mass action by youth.\nOur House Is on Fire: Greta Thunberg\u2019s Call to Save the Planet\nWritten and illustrated by Jeanette Winter\n(Beach Lane Books, 2019)\nThis award-winning 80-year-old author and illustrator of The Librarian of Basra: A True Story from Iraq, has created another powerful children\u2019s picture book. With short sentences, multiple protest signs, and beautiful drawings, Winter tells the story of Greta and how she sparked a worldwide children\u2019s march. The book concludes with Greta asking \u201cCAN YOU HEAR US?\u201d and \u201cWHAT WILL YOU DO?\u201d all in 216-point type.\nThe End of the Wild\nBy Nicole Helget\n(Little Brown and Company, 2017)\nThis is a plot-driven story about Fern, an 11-year-old girl upset with the possibility of a nearby forest being destroyed by a fracking operation. The book\u2019s sensitive treatment of immigrants, poverty, foster children, and the death of a parent will hold children\u2019s attention.\nFern, who ends up doing her school STEM project on fracking, feels conflicted between the damage caused by fracking and jobs it\u2019s providing to her low-income community.\nAlthough the book connects fracking with the destruction of nature around the fracking site, it does not connect it to the larger problems of global warming and earthquakes, poisoned water, and health problems, nor does Fern ever discover that people around the country are building social movements against fracking. Nonetheless, this book could be useful in a literature circle, whole class reads, or a read-aloud as the personalities of each of the child protagonists come alive as the conflict reaches its climax. With supplemental materials, the book could spark deeper discussion and learning about the dangers of fracking, conflicting points of view about the issue, and the growing global movement against fracking. (For teacher background on fracking, we recommend Amity and Prosperity: One Family and the Fracturing of America, by Eliza Griswold; and anything by biologist Sandra Steingraber.)\nBy Mariame Kaba, Illustrated by bria royal\nAccording to author Mariame Kaba, 2.7 million children under the age of 18 have an incarcerated parent. In an author\u2019s note, Kaba says that she wrote Missing Daddy because of her frustration finding materials that can help children deal with the \u201closs, grief, and trauma\u201d of having a parent incarcerated. The young narrator\u2019s father went to prison when she was just 3. Sometimes her classmates can be cruel \u2014 \u201cYou know your daddy\u2019s a criminal so that makes you one\u201d \u2014 but she is surrounded by a loving family and an understanding teacher and counselor. This poignant book will help not only young children who find themselves in this circumstance, but will also sensitize classmates and educators themselves. Missing Daddy is a warm and necessary book.", "id": "<urn:uuid:e2f5bd18-9fda-41ee-bcf8-189b7df714d0>", "dump": "CC-MAIN-2023-14", "url": "https://rethinkingschools.org/articles/our-picks-for-books-videos-websites-and-other-social-justice-resources-34-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945376.29/warc/CC-MAIN-20230325222822-20230326012822-00334.warc.gz", "language": "en", "language_score": 0.9467411637306213, "token_count": 1753, "score": 3.65625, "int_score": 4}
{"text": "Tips for implementing coding activities in STEM classes\nWhat are the benefits of coding for students?\nThere are multiple reasons as to why students must familiarize themselves with coding and ICT. Coding fuels the creative potential of students and improves their observation skills. Through coding, they are exposed to a logical way of thinking, and through their mistakes, they discover new ways of solving a problem. Additionally, coding entails several different activities and disciplines such as robotics, computational thinking and visual programming. This means that there are many ways to involve students with varying interests and of all levels. Encouraging students to explore and discover their full potential and creativity will result in them becoming more confident and even entrepreneurial. Coding will enable them to understand the \u2018making and building\u2019 process better, and eventually turn their ideas into reality with several initiatives around the world investing on how to create a new generation of STEMpreneurs.\nCoding in STEM education\nHow is coding linked to all STEM disciplines? We use programming in order to tell a computer what to do, but understanding computer science would not be possible without science, technology, engineering and math. There are many reasons as to why STEM programs increasingly use more programming courses in their curriculum. Python is needed in order to understand data science and algorithms, coding is getting more and more relevant in life and natural sciences and without programming skills there would be no pioneers in engineering and robotics.\nTraining materials that will help you integrate coding in your class\nTeachers in every country, regardless of the subject they teach or their experience with programming, are encouraged to incorporate coding in their lessons. They can either design and implement their own activities, or visit the EU Code Week website and download the training materials that experts from all over Europe have created. Those lesson plans are free, and they can be further adapted to the needs or level of each class. Teachers who wish to gradually introduce their students to the various coding concepts, can try out activities that do not require Internet connection or even electronic devices with the training module Unplugged Coding.\nScience teachers are welcome to explore the Learning Bit about Robotics and Tinkering and introduce their students to microelectronics and robotics. In addition, students should be taught that very much like the actual coding process, their ability to analyse and think critically should be structured in a way that breaks down bigger problems into smaller parts, a process that is called decomposition. Those principles can be applied in every STEM subject and are fully unveiled in the training module about Computational Thinking. Teachers who wish to introduce their students to an easy programming language may familiarize themselves with visual programming and try out the Introduction to Scratch training module.\nAn opportunity for all teachers to innovate and experiment\nApart from students who will be experimenting with coding, the creativity of teachers is also challenged as they are called to design lesson plans and activities that could combine physics, programming, history and storytelling! Teachers of various subjects can inspire and encourage their students to get involved with programming, triggering an interest for STEM subjects that are considered to be the most demanding. Sounds ambitious or impossible? Coding has many similarities with storytelling as both follow a logical sequence of events or actions and rely on developments. Teachers can consult the training module Creating Educational Games with Scratch and create their own multidisciplinary projects. Why not design a game on Scratch where the characters are inspired from the most important scientific figures or polymaths in history, and discuss Newton\u2019s Laws, mathematical principles and philosophical dilemmas? Scratch allows learners to customise their characters (sprites) but also their game projects, incorporating a variety of content that can range from mathematical operations to text, the possibilities are truly unlimited. At the same time, students are being introduced to visual coding which offers the opportunity to learn and create in a collaborative, fun and engaging way. No matter what the chosen coding activity will be, it will surely allow students to experiment and express their own unique ideas, embrace innovation and improve.\nAuthor: Eleni Myrtsioti, European Schoolnet\nTags: coding, EU Code Week, STEM, teaching resources\nI like how you mentioned that coding activities in STEM Classes can help students have a more in-depth view of their role in the world. My sister is a 5th-grade teacher and she was telling me last night about how she was thinking about having her students learn more about STEM. I\u2019ll make sure to pass this information along to her so she can know more about the benefits of students learning it!", "id": "<urn:uuid:dc862e27-a2e8-4362-9fca-61f876b3ab5b>", "dump": "CC-MAIN-2023-14", "url": "https://blog.scientix.eu/2019/04/tips-for-implementing-coding-activities-in-stem-classes/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945282.33/warc/CC-MAIN-20230324113500-20230324143500-00135.warc.gz", "language": "en", "language_score": 0.9571697115898132, "token_count": 919, "score": 3.8125, "int_score": 4}
{"text": "The academic curriculum requires you to go in-depth and explore various elements depending on the type of paper. Expository writing is one such drafting format that is highly in demand in various professions. Its key purpose is to share the facts rather than storytelling. Moreover, an expository paper is meant to present an idea through proper assessment.\nIn this blog, we will discuss all crucial aspects of expository paper writing. Further, we will discuss the different types of expository writing. Get ready for some highly useful tips to enhance the quality of your expository assignments.\nRead Also: Shorthand writing\nExpository Writing Definition\nExpository writing follows the strategy of digging in and gathering the factual evidence to explain, expose or elucidate a claim. Moreover, the primary purpose is to look into an idea and evaluate the evidence to investigate a particular subject.\nGenerally, you can spot expository writing examples in newspapers, essays, magazines, instruction manuals, textbooks, and even encyclopedia articles. Hence, it is a part of our daily life.\nUnlike fiction, expository papers follow a fact-driven approach. It is a significant part of the academic curriculum. It requires the writer to look at everything from a neutral viewpoint.\nRead Also: Heading Writing\nThe Major Purpose Of Expository Writing\nAn expository paper aims at providing a logical explanation of an idea. It offers a well-balanced and goal-oriented description of a subject. Thus, it helps in answering and simplifying even the most complex matters\nIt is crucial to maintain clarity through proven and widely available facts. There is no need to share your opinions. Expository writing only values clearly stated points powered by proven claims.\nTherefore, the expository style of writing is utilized in science, business, journalism, and other important fields.\nRead Also: what is SEO writing\nDifferent Types Of Expository Writing\nWhen it comes to composing an expository paper, there are various forms involved. The prime goal is to share information on any topic, issue, subject, or idea through available facts. Let us dive deeper and define expository writing according to its various forms.\n1. Problem and solution\nIn this type of writing, a problem is presented, followed by sharing a resolution. The solution is backed up by strong logic, data, and claims.\n2. Cause and effect\nThis format sheds light on the occurrence of something and its results.\nYou need to present a well-explained description of a topic. Do not forget to cover every minute detail. It could be about anything, including a person, an object, an event, a place, etc. It follows more of a creative approach.\n4. Compare and contrast\nIt is one of the major types of expository writing. You need to take two subjects into consideration. Furthermore, look into them to spot the differences and similarities that exist in between.\nAs the name suggests, a classification paper further breaks down into different categories.\nYou need to build an outline to explain the step-by-step process to perform and conclude a task. One of the best examples is food blogs.\nRead Also: Medium Writing\nThe Most Effective Ways To Draft A Powerful Expository Essay\nBy now, we have discussed what is expository writing and its different forms. Let us now look at the essential elements to keep everything together.\n- One of the key factors for a quality expository essay is a strong thesis statement. Make sure to keep it crisp, short, and direct. Besides, introduce the thesis within the introductory paragraph.\n- Further, it is vital to maintain a good transition throughout the write-up. This technique ensures there is a logical development of ideas. Moreover, this approach allows room for a well-structured paper.\n- Introduce a primary idea in each one of the paragraphs. Not only it improve the engagement but also addresses several aspects that might resolve the reader\u2019s issue. Doing this brings clarity to the subject.\nHowever, it is essential to link the ideas logically. Moreover, connect the thesis with the body to maintain the flow of the central idea throughout.\n- Make sure to back up your write-up with significant facts or stats.\n- It doesn\u2019t hurt to explore your creative side. Although, the expository writing format doesn\u2019t offer much scope for creative writing, yet you can explore the artistic writing techniques. Keep the content interesting to retain the reader\u2019s attention.\n- In the conclusion, it is crucial to address the issue through evidential claims. As you wrap up, leave a lingering question to the reader\u2019s imagination. Avoid adding any new information at the end. In fact, you can present the synthesis of your essay or share a solution.\nRelated Post: Creative writing\nUseful Tips For Effective Expository Writing\nHere are some tips to ensure your expository paper will turn out to be highly effective:\n1. Don\u2019t wait for the right moment\nSometimes people get stuck at the introduction and wait for the right idea to strike their minds. It is better to start anywhere while following the outline.\nOnce you begin, the ideas will keep flowing. Then, you can organize the information in a structured and meaningful way.\n2. Maintain clarity\nInstead of juggling around the ideas, you should put forth the idea clearly. It is important to ensure that the language is easily understandable.\n3. Follow The Facts\nIf you go through a well-written expository writing sample you will find that they follow a reasonable approach. All the facts, data, and statistics are clearly stated. Moreover, several authentic sources are used for gathering the data. Doing this strengthens the subject.\n4. Be careful with the tone:\nYou must be mindful of the tone and voice of your paper. It creates a huge impact on the outcome.\nHow To Outline An Expository Essay?\nAn expository essay divides into three major segments. Doing this helps in improving the effectiveness, quality, and clarity of the paper.\n1. Introductory paragraph\nStart out by introducing the key idea of the essay. A thesis statement is further included in the introduction.\n2. Main body\nThe body consists of 3-5 paragraphs, as per the subject of your essay. Each paragraph follows a specific topic sentence that describes the goal.\nYou need to support the propositions with relevant examples and evidence. Moreover, maintaining a transition among the sentences is important.\nThe final, yet crucial section of an expository essay. Provide an overview of your thesis in the conclusion.\nDo not forget to either propose a solution, summarize your points, pose a question or encourage the audience to take an action.\nExpository essays are an integral part of academic as well as professional writing. Thus, it is always best to understand its basics before working on the write-up.\nYou should always proofread the content to identify the errors and make the necessary changes in your copy. Content writing services experts in the market can also help you with guaranteed successful results.", "id": "<urn:uuid:0a4ad18c-5362-4bae-9a44-a786370ee233>", "dump": "CC-MAIN-2023-14", "url": "https://www.contentwriting.us/blog/expository-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00534.warc.gz", "language": "en", "language_score": 0.9184253215789795, "token_count": 1475, "score": 3.75, "int_score": 4}
{"text": "LEARNING HOW SCIENCE CAN BE FUN?\nKids are highly curious about the world around them. Any parent knows that at a very early age kids begin to ask lots of \u201cwhy\u201d questions. Their questions have to do with real life and are therefore important to them. Kids are also astute observers. They automatically observe, think, and do. In naturally seeking real answers to their real questions kids progress further into the learning process. As a result, they begin to develop science skills such as observing, classifying, reasoning, and predicting.\nWhat is Science?\nScience is the study of the world around us. Chemistry, Physics, Biology and Environmental Science are just a few examples of the sciences that surround us every day. As per the general perception, Science is considered to be complex & least exciting for a kid, full of theories, hypotheses, observations and practical investigations. All these are supplemented with typical monotonous lectures in the school in most cases. Moreover, it is very difficult to attract the attention of students and make them understand the concepts of science. Kids are very fast learner and they have inherently inquisitive mind and hence if parents can ensure right direction, learning science can actually be simple, instead of being complex.\nWhy Kids Should Learn Science\n- Science helps children develop key life skills, including an ability to communicate, remain organized and focused, and even form their own opinions based on observation. Science also helps children develop their senses and overall awareness.\n- Children are hands-on learners, and the world around them provides so many natural opportunities. That is why you should never underestimate the power of learning through play. Interacting with their environment will support their intellectual development.\n- Children are primed for learning, and what they learn while they\u2019re young can impact their interests later in life. Studies have shown that students begin to develop an interest in science, technology, engineering, and mathematics (STEM) during the elementary years. Having an interest and knowledge in these subject areas provides future career opportunities.\nHow Learning Science can be Fun\nThis has been probably the most engaging ways to teach students for years in most cultures around the world. Students like to hear stories and it often leads to retention. Whatever they are being told in a story format, it is likely they will understand it better, relate to it better and remember it for a longer period of time. Teachers and parents can incorporate storytelling in while teaching different topics of science.\nIn role playing, students get to play the role of a person influenced by an issue, both intellectually as well as physically. This method has proved to be very effective in helping students learn new concepts with much ease and improved retaining capacity. This has been a effective strategy in the physical world and currently many teachers are adopting this in the classroom settings.\nIt is a proven fact that visuals hold the power of staying longer on our minds than words. If students are taught the complex scientific facts with a visual treat, it is likely they will be able to grasp it faster and longer. The multi-sensory experiences like drawings, diagrams and pictures help students to understand and memorize the concepts better while surfacing its practical application too.\nSports Based Learning\nApplying their learning using their interests like sports and other games could prove to be really beneficial in teaching them real life science. With the game of football or cricket, students can inquire into concepts like motion, speed, acceleration in a very engaging manner. While this will help students to learn physics, it will also inculcate the spirit of the sports among them.\nThere are various interesting online courses available which helps with experiential learning of a subject. With the help of 3D learning, detailed diagrams or illustrations of plants or body system can be shown to the students to help them understand it better.\nTechnology is fast changing in the world and with the advent of AR / VR, learning will be much more interesting for kids. Parents need to stay updated with the latest developments and apply the technological innovations to teach their kids complex scientifical concepts with much ease.", "id": "<urn:uuid:128f4e31-d1d7-4f65-a649-85a26fa21b2c>", "dump": "CC-MAIN-2023-14", "url": "https://wondryears.com/blog_new/learning-how-science-can-be-fun", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949355.52/warc/CC-MAIN-20230330163823-20230330193823-00533.warc.gz", "language": "en", "language_score": 0.96327143907547, "token_count": 842, "score": 3.84375, "int_score": 4}
{"text": "Each day, kindergarteners will be challenged to develop their skills across the curriculum. Oregon State Standards outline the concepts students are learning throughout the year supported by developmentally appropriate best practices to meet the needs of diverse learners.\nENGLISH LANGUAGE ARTS & LITERACY\nExplicit instruction in the foundational reading skills is provided through individual, small group and whole group learning experiences. Through the integration of Common Core English Language Arts Standards (Source: ODE Standards website: Oregon English Language Arts and Literacy), research based practices and the Houghton Mifflin Harcourt Into Reading curriculum, students are instructed in all areas of literacy learning:\n- Child demonstrates awareness that spoken language is composed of words and their smaller segments of sound.\nPrint and Alphabet Knowledge\n- Child demonstrates an understanding of how print is used (functions of print) and the rules that govern how print works (conventions of print).\n- Child identifies letters of the alphabet and produces correct sounds associated with letters.\nPhonics & Word Recognition\n- Child demonstrates knowledge and application of beginning phonics and word analysis skills in decoding CVC words.\n- Child reads common grade-appropriate high-frequency words by sight.\nComprehension and Text Structure\n- Child demonstrates an understanding of narrative text structure through storytelling/re-telling and identifying story elements: character, setting, major events.\n- Child demonstrates an understanding of informational text structure through identifying main idea and key details of a text.\n- Child asks and answers questions about a book that was read aloud.\n- Child writes for a variety of purposes using increasingly sophisticated representation, conventions, organization and topic development of narrative, informational and opinion modes.\nAttending and Understanding\n- Child attends to communication and language from others.\n- Child understands and responds to increasingly complex communication and language from others.\nCommunicating and Speaking\n- Child varies the amount of information provided to meet the demands of the situation.\n- Child understands, follows, and uses appropriate social and conversational rules.\n- Child expresses self in increasingly long, detailed, and sophisticated ways.\n- Child understands and uses a wide variety of words for a variety of purposes.\n- Child shows understanding of word categories and relationships among words.\nMathematics provides a foundation for the learning of science and technology as well as for the interpretation of quantitative information in other subjects. It teaches how to reason logically and develops skills that students can carry into other disciplines and many situations in real life. Mathematics helps students understand how the world works while exposing them to some of its unanswered mysteries. Ensuring all students develop a solid foundation in mathematics is our challenge. (source: ODE Standards website: https://www.oregon.gov/ode/educator-resources/standards/mathematics/Pages/MathStandards.aspx)\nLake Oswego uses enVisionMath for kindergarten, which addresses Common Core rigor in a way that's easy for students to understand. Kindergarten math curriculum covers these Common Core Standards:\nCounting and Cardinality\n- Child knows number names and the count sequence.\n- Child recognizes the number of objects in a small set.\n- Child understands the relationship between numbers and quantities.\n- Child compares numbers.\n- Child associates a quantity with written numerals and begins to write numbers.\nOperations and Algebraic Thinking\n- Child understands addition as adding to and understands subtraction as taking away from.\n- Child understands simple patterns.\nNumber and Operations in Base Ten\n- Child works with numbers 11 to 19 to gain foundations for place value.\nMeasurement and Data\n- Child measures objects by their various attributes using standard and non-standard measurement and uses differences in attributes to make comparisons.\n- Child classifies objects into given categories; counts the number of objects in each category and sorts the categories by count. (Limit category counts to be less than or equal to 10.)\nGeometry and Spatial Sense\n- Child identifies, describes, compares, and composes shapes.\n- Child explores the positions of objects in space.\nTHE GREAT BODY SHOP is a comprehensive health education curriculum which is sequential, developmentally appropriate, culturally sensitive, and medically accurate. The lessons align with Oregon\u2019s Health Education Standards and are embedded with social-emotional learning.\nSocial Studies is an on-going interactive curriculum that is integrated throughout the kindergarten day. The National Geographic language arts program is packed with activities that promote community, awareness, positive social clues, vocabulary development and discovery of the uniqueness of the people and environment around us.\nMYSTERY SCIENCE is a curriculum aligned with Next Generation Science Standards (NGSS) and supports Common Core. It features rigorous lessons in science and enginerring that inspire students to love science. Each Mystery begins with a question that is explored through hands-on scientific investigations, discussion questions, engaging videos and experiences that connect to real-world phenomena and include the following disciplinary core ideas:\n- From Molecules to Organisms: Structures and Processes\n- Earth\u2019s Systems\n- Earth and Human Activity\n- Motion and Stability: Forces and Interactions\n- Engineering Design\nAll students visit the library to hear stories and check out books. Parents are encouraged to share the book with their child.\nKindergarten students in Lake Oswego receive music instruction from a music specialist. A planned, balanced program includes creative rhythmic experiences, listening, appreciation, participation in singing games and dances, and having opportunities to play instruments.\nKindergarten students in Lake Oswego receive physical education instruction from a P.E. specialist. A planned, balanced program includes the opportunities to develop fine and gross motor skills, cooperation, participation, good sportsmanship, self-control, listening skills, and practice following game rules.", "id": "<urn:uuid:5d5ebda5-faaa-4de4-8f21-1d0abdc6f25a>", "dump": "CC-MAIN-2023-14", "url": "https://www.losdschools.org/Page/2725", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946535.82/warc/CC-MAIN-20230326204136-20230326234136-00755.warc.gz", "language": "en", "language_score": 0.9005187749862671, "token_count": 1250, "score": 4.03125, "int_score": 4}
{"text": "Let us take a jog down memory lane. Think about your favourite story or novel. What is the first thing you remember about the book? There is a very good chance, it is one of the main characters of the book. Memorable characters can make or break a story. Let us learn how to develop characters while writing a story.\nDevelopment of Characters\nIn any well-written story, the plot line is supported by some strong well-developed characters. And it is not just the main hero character, but even the supporting characters must be well written and fleshed out. Let us take a look at a few pointers we can keep in mind when writing characters for a story.\nPhysical Characteristics of the Character\nThe first thing you must focus on is the name you want to give a particular character. The important thing is that the name is memorable and relevant to the character. For example, if your character is a detective, then a name like Daniel Storm seems more appropriate then a run of the mill name like John Smith.\nThe next step would be to determine the age of the character. Whether it is an adolescent boy or an old lady or a young child on his sixth birthday, the age of the character is essentially a very important detail of a story. And then you move on to their physical attributes depending on their age.\nGiving your character some unique physical characteristics will make the character stand out and be memorable. For example, the scar on Harry Potter\u2019s forehead was such a smart move by the author. It tied up the whole story together beautifully.\nBrowse more Topics under Writing\n- Descriptive Essay\n- Diary Entry\n- Formal Letters\n- Informal Letters\n- Letter Writing\n- Non-Classified/Display Advertisements\n- Story: Setting\nDeveloping a Backstory\nA complex and engrossing backstory just makes a character that much more engaging and believable. You must give the writer a reason for your characters current behaviour or motivation, and this is done via their backstory. A good place to start developing a backstory would be the character\u2019s childhood.\nThe family background of a character is also important. For example, if your protagonist is a lost soul, then his backstory could be one of his family abandoning him in unusual circumstances during his childhood. Take for example the backstory of Huckleberry Finn, and thus his lack of decorum and stability in his story.\nThere are other factors you can also focus on when developing a backstory for a character, like his nationality, his schooling or even his relationship status. All these can be used to add layers to the characters personality.\nThe Character\u2019s Intentions and Motivation\nHere is where we will develop the crux of the story. Every good story must have a conflict. Whether you provide a resolution to this conflict or not, can depend on the story. But a good conflict is a necessity to give the story a purpose. Now this conflict can be an internal struggle the character faces.\nSay for example the character, Alex, must choose between living with his Mom or his Dad after their divorce. The conflict here is the choice he must make. It is his inner dialogue and struggle. To show and write his thoughts will be a part of his backstory.\nAnother aspect you can include is the hopes and dreams of the character. This will give the readers a clear indication of what motivates the character to do or not do something. For example, you may have a character tired of the hustle bustle of his important job, and he is looking for a quiet place to pursue his dreams of being a piano player. This is what pushes him to finally quit his job.\nSo as you can see, character development is a nuanced job and has many aspects to it. A well-developed character will take the story forward flawlessly and leave the reader with a lasting impression.\nSolved Question for You\nQ: A/An __________ character is one in whom the main character confides and thus helps reveal the latter\u2019s personality, thoughts or intentions.\nAns: The correct answer is \u201cD\u201d. A confidant or confidante is a character of the story who the protagonist will confide it. It will be a character the protagonist trusts and considers a friend.", "id": "<urn:uuid:9ab30942-8384-4306-85df-05292657e75b>", "dump": "CC-MAIN-2023-14", "url": "https://www.toppr.com/guides/english/writing/story-characters/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943484.34/warc/CC-MAIN-20230320144934-20230320174934-00335.warc.gz", "language": "en", "language_score": 0.9605071544647217, "token_count": 933, "score": 3.765625, "int_score": 4}
{"text": "CRITICAL LENSES OF LITERATURE\nAdapted from Critical Encounters in High School English: Teaching Literary Theory to Adolescents By Deborah Appleman\nWhat is a Critical Lens? Literary criticism is an attempt to evaluate and understand the creative writing, the literature of an author. Literary criticism is a description, analysis, evaluation, or interpretation of a particular literary work or an author's writings as a whole in an attempt to expose the hidden ideologies embedded in those texts. Critical Lenses are different perspectives through which the reader can \u201cview\u201d a text.\nA necessary first step in understanding Literary Criticism is the acceptance of multiple perspectives in literature as valid interpretations of text. This means there is no \u201csingle theory, perspective, or \u201ctruth\u201d about\u2026 literature we read together and how we teach it.\u201d (Applebaum 10). In other words, there are multiple correct answers\u2026 so what matters in determining the validity of an interpretation is how you support your answer.\nMultiple Perspectives: Remember This?\nDo you see the rabbit or the duck? Do you see the old woman or the young woman?\nTwo Sides to Every Story\nThe True Story of the Big Bad Wolf\nThe Different Lenses Gender Social Power/ Marxist Criticism\nBiographical Archetypical Reader Response Formalist Historical Postcolonial Structuralist Deconstructionist Psychological Some lenses lend themselves to certain texts better, but there is no \u201cright\u201d lens to read with each text.\nExamines the gender roles and power structures at play in the literature Are there female or homosexual characters present in the work? What might the absence/ or limited appearance of these characters imply? (Why do no girl hobbits go on Frodo\u2019s adventure?) Are the female or homosexual characters characterized in largely positive or largely negative ways? Is it stereotypical? Are they given characterization at all? What might this imply? Do the female or homosexual characters play an active role in determining their fate? Or are they largely objects that require action from male characters?\nMarxist Criticism Examines the portrayals of social class and power structures within the text Which characters in the work are from higher social class? Which are from lower? Who has the money, power, or advantage in the story? Who does not? What are the results of this? How do the different class portrayals work to reproduce or maintain certain social beliefs and practices?\nThe word \u201carchetype\u201d means a recognizable pattern or model in storytelling from around the world. This is thought to reflect \u201cuniversal, even primitive, ways of seeing the world\u201d (Applebaum 142). We can recognize archetypes in the kinds of stories told, the themes or situations apparent in them, and the kinds of characters that appear in them. Some of the best stories play against the archetype to create \u201csurprises\u201d for the reader. How is the hero similar to heroes from other stories? How is the villain? Sidekicks? What common themes or situations can we see between this story and other stories we\u2019ve read? What common symbolism is apparent in this work?\nReader Response Criticism\nAssumes that the reader is responsible for making meaning from a story, and downplays the author\u2019s role in the process. The reader\u2019s relationship to events within the text or ability to relate to experiences within the text is an important part of the reading experience. How did this text make you feel? What parts were you able to identify with? What did it remind you of? Each of these questions is a valuable part of the reading process.\nHistorical Criticism Assumes that readers should know the historical context (circumstances) of the time during with the author wrote or the setting of the story. How does the historical setting of the story influence the events of the story or the themes that are present? How does the context of the times during which the author wrote influence these factors?\nAssumes the literature written by colonizing forces (I.E. Western Literature) downplays or minimizes the effect of colonization, or somehow justifies the colonization of that population. How are colonized people portrayed if referenced in text? What cultural conflicts exist? How are they resolved? How are the colonized portrayed as \u201cOthers\u201d within the text Postcolonialists will look at the \u201cOthers\u201d perspective in the story, and try to find the counter-narrative embedded in every story. The Big Bad Wolf\u2019s version of events, for example.\nCritical Lenses of The Lion King\nFeminist/Gender: Can be viewed as the helpless role females have in society. The female lions are used to provide food and care for the young yet it is the males that have all the power. When Mufasa dies his power transfers to either his son or his brother. His wife is never even considered. Nala is also clearly \u201cstronger\u201d than Simba yet she is considered inferior. Marxist: Can be viewed as the upper class (lions) trying to maintain power over an unhappy lower class (hyenas). The lower class resents the privileges of better food and hunting grounds that the upper class maintains. This conflict causes a rebellion, which disrupts the normal social order causing chaos and destruction. Psychoanalytic: Can be viewed as a classic case of sibling rivalry\u2014Scar is savagely jealous of his much stronger and might I say better looking older brother. Can also be viewed as the classic struggle to overcome feelings of guilt or inadequacy\u2014both of which Simba has after the death of his father. Narratology: Simba represents the classic hero quest. Simba suffers from a loss of a father figure and must go off on a journey to grow into his destiny. During his journey he meets tricksters (Timon/Pumba) who also act as his helpers and finds a mentor (crazy monkey with a stick). Nala also acts as the herald as she upsets the sleepy equilibrium in which the Simba has lived and starts his growth. He then has enough strength (mental and physical) to overcome the villain and restore everything to order.\n\u00a9 2023 SlidePlayer.com Inc.\nAll rights reserved.", "id": "<urn:uuid:86a087ea-f491-4e12-a98e-0897bfe79681>", "dump": "CC-MAIN-2023-14", "url": "https://slideplayer.com/slide/5893076/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00533.warc.gz", "language": "en", "language_score": 0.946026623249054, "token_count": 1340, "score": 3.515625, "int_score": 4}
{"text": "- Why communication skills matter?\n- What is creative therapy?\n- Benefits of creative therapy\n- Creative therapy techniques that improve communication skills\nEffective communication skills are important in almost every aspect of life and can lead to better relationships, stronger careers, and increased productivity. Good communication skills allow one to get their message across clearly and effectively, while poor communication skills can lead to misunderstandings, frustrations, and conflict.\nIn a work setting, good communication skills can help your child build strong relationships with their colleagues and clients, which can lead to better collaboration and increased productivity. In personal relationships, these skills can help them better understand and connect with others, leading to stronger and more fulfilling relationships. Overall, effective communication skills are essential for success in one\u2019s personal and professional life. A major contributing factor to strong communication skills is the use of creative therapy.\nCreative therapy is a form of psychotherapy that uses various forms of self-expression, such as art, music, writing, and movement, to help individuals explore their thoughts and emotions. The goal of creative therapy is to help individuals understand and work through difficult emotions and experiences, as well as to promote personal growth and self-awareness.\nCreative therapies can be used to help people of all ages with a wide range of psychological and emotional issues. For example, art therapy may be used to help children who have experienced trauma express their feelings in a safe and nonverbal way. Similarly, music therapy may be used to help individuals with depression improve their mood. Creative therapies can also be used to help individuals with developmental disorders, such as autism, improve their communication and social skills.\nIt is important to note that creative therapies are usually provided by therapists who have specialized training in a particular modality (art, music, writing, or movement) and have a strong understanding of the underlying psychological principles and techniques.\nCreative therapy works by allowing the individual to explore and process difficult feelings, thoughts, and experiences. It can help individuals connect with their emotions and inner selves, gain insight and clarity into their problems, and develop new ways of thinking and behaving.\nCreative therapy is often provided in addition to traditional talk therapy, which allows one to explore and understand different aspects of themselves in a unique and holistic way. This can help reduce resistance to therapy and increase the chances of making lasting changes.\nCreative therapy can be beneficial for children in a variety of ways. Some of the main benefits include:\n1. Emotional expression: Children may have difficulty expressing their emotions verbally, but creative activities such as drawing, painting, and sculpting can help them communicate their thoughts and feelings in a nonverbal way. These activities provide many avenues of self-expression for them.\n2. Stress relief: Creative activities can provide an outlet for children to release pent-up emotions and tension, which can help to reduce stress and anxiety.\n3. Self-esteem and confidence: When children create something that they are proud of, it can boost their self-esteem and confidence. This can be particularly beneficial for children who may struggle with self-doubt or insecurity.\n4. Problem-solving: Many creative activities require children to think creatively and come up with solutions to problems. This can help develop problem-solving skills and critical thinking abilities. These activities also enable a child to step out of their comfort zone and think of things from different perspectives.\n5. Socialization: Creative therapy can also be a great way for children to socialise and interact with others. Group art or music therapy sessions can be a fun and safe way for children to bond with their peers and build relationships. Creative therapy can also provide a child with a safe environment where they can meet other kids who think or behave like them.\n6.Learning and Understanding: Being involved in creative activities allows kids to understand and learn the process of creative thinking and experience the sense of accomplishment that comes with it. They develop fine motor skills, their spatial awareness improves, and they learn to be patient and persistent.\nIt\u2019s important to remember that creative therapy can be tailored to meet the specific needs and interests of each child and can be a fun and engaging way for children to work through any challenges they may be facing.\nSome creative therapy techniques that help kids come out of their shells and improve their communication skills are:\nChildren can use art materials to express themselves and communicate their thoughts and feelings through drawings, paintings, and other forms of art.\nOne creative art therapy technique for developing children\u2019s communication skills is the use of storytelling through art. This can involve having the child create illustrations to accompany a story they have written or verbally shared, or creating a collaborative story through a series of drawings created by the child and therapist together. This can help the child express themselves more effectively through visual means, as well as provide a non-threatening way to explore and communicate their thoughts and feelings.\nPlay therapy is a form of psychotherapy that uses play as a medium for children to express their thoughts and feelings. It allows children to communicate in a non-verbal and non-threatening way and can be especially helpful for children who have difficulty communicating verbally.\nDuring play therapy, a child is typically given access to a variety of play materials, such as dolls, action figures, art supplies, and games, and is encouraged to play in any way that they wish. The therapist observes and interacts with the child as they play, using the child\u2019s play to gain insight into their thoughts and feelings.\nThrough play therapy, children can learn to express themselves, communicate their needs and wants, develop social skills, and learn problem-solving strategies. It can also help them process and cope with difficult experiences or emotions, such as grief, trauma, or anxiety.\nIt is often used to help children who have experienced trauma, have behavioral problems, have difficulty with communication and social interaction, or have experienced some mental health diagnosis as well. Overall, play therapy is beneficial for children for a wide range of issues and can help them develop their communication and other life skills.\n3. Drama therapy:\nDrama therapy is a creative therapy technique that uses the medium of role-playing and storytelling to help children and adolescents develop their communication skills. Drama therapy can also help children develop social skills, such as cooperation and empathy, as well as improve their self-esteem and self-awareness. Techniques used in drama therapy for kids include role-playing, improvisation, and storytelling, as well as the use of puppets, masks, and other props. It is usually led by a licenced drama therapist who is trained to facilitate these activities to reach specific therapeutic goals.\nChildren can use music to communicate their emotions and experiences and to improve their listening and verbal skills.\nCreative music therapy can help children develop their communication skills in a number of ways. One key way is by using music as a nonverbal means of expression. Children who have difficulty expressing themselves verbally can use music to communicate their emotions and thoughts. Additionally, music therapy can help children develop their social skills by encouraging them to interact with others through musical activities. This can help children learn to take turns, share, and work together.\nMusic therapy can also help children develop their language skills by incorporating verbalization and vocabulary building into therapy sessions. Overall, the use of music therapy can provide children with an enjoyable and non-threatening way to develop their communication skills in a way that traditional speech therapy cannot.\n5. Dance therapy:\nDance therapy can help children develop their communication skills in a number of ways. Some of the key ways that dance therapy can help children improve their communication skills include:\nDance therapy can help them become more aware of their own emotions and communicate them more effectively through body language and facial expressions. Through mirroring and partner work, children learn to understand the emotions and behaviours of others and express them through movement. This can help them to develop empathy and to communicate more effectively with others.\nDance therapy often involves group work and partner work, which can help children learn how to work effectively with others and to communicate effectively with their peers, thus inculcating in them the spirit of teamwork and cooperation.", "id": "<urn:uuid:a9eb9ec9-7de2-4c51-8671-c320e168daf1>", "dump": "CC-MAIN-2023-14", "url": "https://astralacademy.in/5-creative-therapy-techniques-for-improving-kids-communication-skills/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00335.warc.gz", "language": "en", "language_score": 0.9636337161064148, "token_count": 1680, "score": 3.5, "int_score": 4}
{"text": "Types Of Writing For Students\nWhen it comes to writing, there are various types of writing for students and while some of these may be fairly obvious and simple, others are not and require more detail and knowledge than what students are used to. Some of these various types of writing for students are something that they are familiar with because they have had to do it since kindergarten or first grade. Other types of writing for students are relatively more advanced in nature and these are the ones that students need to familiarize themselves with.\nOne of the various types of writing for students is creative writing. This type of writing requires the student to use his or her own imagination to write a story, poem or such like to be able to explain and put what he/she is imagining or thinks of a topic in writing. So they may be given a topic that is about, say, Aliens or Dinosaurs, for example, and then, they would be required to write a story about these. They are to express their knowledge and imagination via this form of writing on paper.\nEssay writing is another of the many types of writing for students. An essay may be about something factual, which students have been taught about or something fictitious, which they have an idea about. So, they may be required to write an essay on \u2018Myself\u2019 which is an example of a factual essay because the student explains himself through words and tells what he or she does or does not like and such like. This is more of an autobiography but a less mature version of it. Such writing is taught to students in their younger years and in lower classes.\nThen, another of the various types of writing for students is academic writing. Academic writing, as the name suggests, has more to do with a course or a topic related to a course which the student would have to research upon and find material for from different sources. This material can be found online, in books, journals, articles or textbooks as well. The idea is to carry out thorough research and then, come up with a well-explained and thoroughly researched material regarding a topic. So supposedly someone may be required to write about \u2018English in Japan\u2019- they would have to be able to carry out research to be able to come up with a good academic piece.\nDescriptive writing is also included in these types of writing for students. As the name of this form of writing suggests- it merely requires students to describe something or someone. The focus is more upon the description than conversations between characters. Mostly similes, metaphors and references are used to describe something or someone. A good example of these types of writing for students is Oscar Wilde\u2019s \u2018The Picture of Dorian Gray\u2019 which is full of description and the focus on conversation is relatively less.\nThere are many other types of writing but these are just some examples.", "id": "<urn:uuid:b180896c-6dd5-4849-ba91-f2709610d2fa>", "dump": "CC-MAIN-2023-14", "url": "https://www.typesof.com/types-of-writing-for-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949701.0/warc/CC-MAIN-20230401032604-20230401062604-00755.warc.gz", "language": "en", "language_score": 0.9769673347473145, "token_count": 584, "score": 3.640625, "int_score": 4}
{"text": "The bodies of all living things have cells. However, cells cannot function properly without the presence of certain substances, such as lipids. Lipids are a group of naturally occurring molecules that include animal fats, vegetable fats, certain vitamins, triglycerides and phospholipids. At first glance, triglycerides and phospholipids appear very similar. But they have slightly different chemical structures and serve differing functions.\nTL;DR (Too Long; Didn't Read)\nTriglycerides and phospholipids are both lipids that serve certain functions in the body. However, they differ slightly in structure and function. Triglycerides have glycerol and three fatty acids, which makes them fats. Phospholipids are not fats, since they have glycerol, two fatty acids and phosphorus. Phospholipids are more essential to the formation of lipid bilayers, which maintain cell membrane structure, than triglycerides are. Fat cells store triglycerides, while phospholipids help break down fats in the body.\nStructure and Functions of Triglycerides\nTriglycerides are a kind of fat found in the bodies of both plants and animals. In plants, triglycerides appear in oils such as peanut oil, while in animals triglycerides live in fat cells. In both plants and animals, triglycerides share the same structure. A single triglyceride molecule has glycerol and three fatty acids.\nTriglycerides serve several functions in the body. First, they help maintain the structure of cell membranes by forming a lipid bilayer. This helps keep the inside and outside of cells separate, so organelles cannot drift out of the cell, and foreign substances cannot get in, except under special circumstances.\nTriglycerides, like all fats, also store energy. When an animal or human eats, any calories from its food, which are not used right away get converted into triglycerides and stored in fat cells. In humans, high concentrations of triglycerides can lead to more visible body fat, as well as an elevated risk of certain diseases, such as heart attack and stroke.\nBesides storing energy, triglycerides, like all fats, also provide some thermal insulation, which is particularly important for animals and humans living in cold environments. Because body fat cushions some internal organs, it can help absorb shock and protect organs, in the event that an animal or human is badly injured. Triglycerides also help to give food its flavor.\nStructure and Functions of Phospholipids\nPhospholipids are similar to triglycerides, but they do vary slightly in form and function. While triglycerides have glycerol and three fatty acids, phospholipids have glycerol, two fatty acids and a phosphate. Phosphates are molecules with charges and have oxygen and phosphorus. Because fats must contain three fatty acids by definition, phospholipids are not fats, as triglycerides are, despite their similarities.\nLike triglycerides, phospholipids are crucial to the formation of lipid bilayers, which help maintain the structure of cell membranes. However, phospholipids have a more rigid chemical structure than triglycerides do, so they make cell membranes tougher and help them to hold their shape better than triglycerides alone could.\nFat cells do not store phospholipids. Instead, phospholipids help break down fats during the digestive process. In the small intestine, bile is an alkaline fluid that helps to break down food. Phospholipids exist in bile and specifically help to break down fats.\nMost animals, including humans, can make enough phospholipids on their own that they do not need to seek out phospholipids in food. This is not the case with triglycerides, which are an essential nutrient, and make up the bulk of an animal's fat intake.\nAbout the Author\nMaria Cook is a freelance and fiction writer from Indianapolis, Indiana. She holds an MFA in Creative Writing from Butler University in Indianapolis. She has written about science as it relates to eco-friendly practices, conservation and the environment for Green Matters.", "id": "<urn:uuid:9186f54c-db9d-471c-ad1d-e4a484dce767>", "dump": "CC-MAIN-2023-14", "url": "https://sciencing.com/difference-between-triglycerides-phospholipids-5044081.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949097.61/warc/CC-MAIN-20230330035241-20230330065241-00735.warc.gz", "language": "en", "language_score": 0.9330171346664429, "token_count": 848, "score": 4.03125, "int_score": 4}
{"text": "Childhood is a critical time in a person\u2019s life because it is a time of rapid physical and mental development. Children between the ages of three and seven are especially important because they reach critical developmental milestones that lay the groundwork for their future physical, mental, and social-emotional development.\nA person\u2019s height and weight increase during this age range, as do their motor skills and coordination and balance.\nAs children\u2019s bodies develop and change, it is critical for parents and other carers to ensure that they eat well and get enough exercise.\nChildren should be able to engage in age-appropriate physical activities such as running, jumping, climbing, and playing games.\nThese activities can assist in the development of their gross motor skills, hand-eye coordination, and fine motor skills.\nLanguage, memory, attention, and problem-solving abilities all develop during this time.\nChildren are naturally curious and eager to learn, and what they do now has a significant impact on how they learn and think in the future.\nParents and other carers can aid a child\u2019s brain development by providing an engaging environment that encourages exploration and learning.\nThis can be accomplished by having children read books, play educational games, and engage in activities that encourage critical thinking and problem-solving.\nSelf-awareness, empathy, and social skills are all important aspects of social and emotional development at this age.\nChildren learn how to interact with others and understand their emotions. They also learn to control and express their emotions. Parents and other carers can aid a child\u2019s social and emotional development by providing a safe space for them to express themselves and form positive relationships with others. Engaging in social activities with peers, modelling appropriate social behaviours, and providing emotional support and guidance are all examples of this.\nOverall, the childhood development period for ages 3 to 7 is a critical time in a child\u2019s life that lays the groundwork for future growth and development. Parents and other adults who care for children must ensure that they receive proper nutrition, encourage physical activity and play, create a stimulating and caring environment that aids cognitive development, and promote healthy social and emotional growth. Children are more likely to reach their full potential and develop into healthy, happy, and well-rounded individuals if this is done.\nChildhood is a time of rapid growth and development, especially between the ages of 3 and 7 years. During this period, children experience significant physical, cognitive, social, and emotional changes. Understanding these changes is critical for parents and carers who want to help their children develop during these critical years.\nChildren grow significantly physically between the ages of 3 and 7 years. They gain coordination, better balance, and greater control over their movements. Fine motor skills develop in children, allowing them to manipulate objects with greater precision. Gross motor skills improve as well, and children gain confidence in running, jumping, and climbing.\nIt is critical to engage children in physical activities to help their bodies grow and develop.\nKids can improve their coordination, balance, and strength by dancing, jumping, and participating in sports.\nDevelopment of the Mind:\nThe process by which children learn, think, and solve problems is known as cognitive development. Children\u2019s cognitive abilities develop rapidly between the ages of 3 and 7 years. They become more capable of understanding complex ideas and concepts.\nDuring this time, children\u2019s language skills also rapidly develop. They begin to form complex sentences and learn new words. As they try to make sense of the world around them, children become more curious and begin to ask more questions.\nIt is critical to keep children busy with activities that encourage learning and exploration in order to help them develop their minds.\nReading books, playing educational games, and encouraging children to ask questions are all excellent ways to help them learn and grow.\nSocial and emotional growth:\nSocial and emotional development teaches children how to interact with others and deal with their emotions.\nChildren become more social and begin to form friendships between the ages of three and seven. They also become more aware of their own and others\u2019 emotions.\nIt is critical to encourage children\u2019s social and emotional development by encouraging them to express themselves and interact with others.\nTeaching children to be kind and respectful of others can help them make good friends.\nParental involvement is essential during this time. Parents should provide children with a safe and nurturing environment that allows them to explore and learn about the world. As they develop their social and emotional skills, children require guidance and support.\nIn conclusion, the years between 3 and 7 are very important for a child\u2019s growth and development.\nDuring this time, children go through significant physical, cognitive, social, and emotional changes. Parents and carers can help children develop by encouraging physical activity, engaging them in learning and exploration activities, and providing a safe and nurturing environment in which they can develop positive social and emotional skills.\nSome additional points to consider regarding childhood development for children aged 3 to 7 years:\nPhysical development: At this age, children\u2019s gross and fine motor skills are rapidly developing. They practise running, jumping, climbing, throwing and catching balls, drawing and writing with pencils, and manipulating small objects. Parents and other adults who care for children should ensure that they have opportunities to play and be active both inside and outside.\nThey are becoming more inquisitive and curious, asking numerous questions and attempting to comprehend how the world works. It\u2019s important to provide opportunities for exploration, discovery, and problem-solving, such as through puzzles, games, and creative play.\nSocial and emotional development: Children of this age are also gaining social and emotional skills. They are learning to communicate their wants and feelings, to share and take turns with toys, and to make friends. It is critical to provide opportunities for social interaction and to teach children healthy emotional management.\nLanguage development: Children\u2019s language skills are rapidly developing during this stage. Every day, they learn new words and phrases and begin to use more complex sentence structures. Reading to children on a regular basis, encouraging conversation and storytelling, and providing opportunities for language development through games and activities are all important.\nIndependence and self-care: Children in this age group are becoming more independent and learning basic self-care skills, such as dressing themselves and using the toilet on their own. It is critical to encourage and support children\u2019s growing independence while also providing necessary guidance and supervision.\nOverall, the age range of 3 to 7 years old is critical for children\u2019s development in many areas. Parents and carers can help children reach their full potential and develop the skills they need to thrive by providing a safe, supportive, and stimulating environment.", "id": "<urn:uuid:89665387-f120-4073-a060-2c6a07a38c8d>", "dump": "CC-MAIN-2023-14", "url": "https://themomviews.com/childhood-development-period-for-ages-3-to-7-years/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945433.92/warc/CC-MAIN-20230326044821-20230326074821-00735.warc.gz", "language": "en", "language_score": 0.9634334444999695, "token_count": 1388, "score": 4.15625, "int_score": 4}
{"text": "30 January to 5 February is National Storytelling Week 2023. During this time, teachers will share stories with you, their tips for storytelling, and encourage you to read more in your free time. But why is storytelling important, and why is there a whole week dedicated to it?\nWhy storytelling in English is important\nBy reading and listening to stories in English, we can become better storytellers ourselves.\nIn everyday conversations, we often tell someone a story about something that happened to us or someone we know. Listening to stories can help us express and explain ourselves better. We can understand the structure of a story and learn new language in context. We can also learn how to make our own stories engaging and enjoyable.\nStorytelling allows us to practise important skills such as understanding and making conclusions. Sometimes, the message in a story may not always be 100% clear, so we need to use our prediction skills to understand the true meaning of the story.\nStorytelling can also teach us about different cultures and traditions and gives us the opportunity to share our own experiences.\nTips for storytelling in English\nThere are some storytelling techniques you can use to make your stories fun and interesting. Here are our top tips for storytelling:\n1. Make sure your story is an appropriate length\nThink about the age of the audience.\n- Will they be able to listen for 10 minutes, or would a shorter story be more appropriate?\n- Will they be able to read a whole page of your story, or would a short paragraph be better?\n2. Make sure the reader/listener understands the language\nWhether you\u2019re telling a story about yourself or reading a story to someone, think about the language you\u2019re using.\n- Will the listener understand?\n- Will you have to explain some of the words?\n- Will the reader have to look them up in an online dictionary?\n3. Use pauses\nYou can pause before you say a funny or surprising part of your story so the listener can think and guess what you\u2019re going to say, before you say it. That way, the listener will feel engaged and a part of the story. They will also want to continue listening, as they\u2019ll be interested in what happens next.\nIf your audience is reading your story:\n- use \u2026 to add suspense\n- use ! to show excitement or surprise\nYou can also ask the reader questions to think about, e.g. Can you guess what happened next?\n4. Make it fun!\nChoose stories that are interesting for the listener, and that they will enjoy listening to. If you tell a story about yourself, don\u2019t be afraid to make it funny. You could use your body language and facial expressions. Many people say they understand a story through showing as much as they do telling.\nYou can also use your voice to show your emotions and add fun. For example, you could speak at a higher pitch to show surprise, or speak in a deeper voice to add fear.\n5. Read and listen to stories\nAn excellent way to practise your storytelling skills is to listen or read other stories as much as you can. By doing this, you can pick up some storytelling techniques from other people, to use next time you tell a story.\nNow, it\u2019s your turn! Share a story about yourself or someone you know. It can be a true story or made up. Use your creativity and the tips above to make your story fun and engaging.\nRead more about creative writing in English to help you structure and plan your story.\nBillie Jago is an ELT writer and teacher trainer, specialising in digital & assessments. She is the founder of the professional development podcast ELTcpd and co-founder of the digital ELT content agency, otterelt.", "id": "<urn:uuid:3ac8c3ff-0380-4345-b37a-66fb57230184>", "dump": "CC-MAIN-2023-14", "url": "https://learningenglishwithoxford.com/2023/02/01/how-to-improve-your-storytelling-in-english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945315.31/warc/CC-MAIN-20230325033306-20230325063306-00135.warc.gz", "language": "en", "language_score": 0.9517081379890442, "token_count": 791, "score": 3.84375, "int_score": 4}
{"text": "POP Cultures: New Zealand (Maori)\nOfficial Name: New Zealand\nIndigenous Peoples: M\u0101ori (tangata whenua \u2013 the people of the land)\nOfficial Languages: M\u0101ori, English\nPolitical Status: Citizens of New Zealand\nPopulation: 500,000 M\u0101ori (living in New Zealand)\nGreeting: Kia ora\nHistory and geography\nBefore World War II, most M\u0101ori lived with other members of their tribes in rural areas of New Zealand. During the 1940s, many young M\u0101ori not eligible for military service worked in industries in the cities. From the 1950s, there was a growing demand for labor in the cities, and by 2013, 84% of M\u0101ori were living in towns or cities. Most headed to the cities in search of work, but they were also hoping for money, fun and adventure. Initially, some P\u0101keh\u0101 (New Zealanders of European descent) resisted the migration of M\u0101ori, but over time, friendships developed and intermarriage increased. The government encouraged M\u0101ori to leave rural areas, and to adapt to European society. By the 1960s, there was a generation of young M\u0101ori who had been born in the cities. Many did not know about their tribal roots.\nAncestors of M\u0101ori arrived on canoes from Pacific islands before 1300 AD. Settling first on the coast, they hunted seals and moas (large birds). Then they also began to grow food, and some moved to the forests. They lived in small tribal groups, with a rich culture of spoken stories and strong traditions of warfare. Their ancestors and the gods of the natural world were very important.\nThe arrival of Europeans from the early 1800s had a major effect on these early communities. Among the newcomers were missionaries, and many M\u0101ori became Christians. They learned to read and began trading, especially in pigs and potatoes. In 1840 the Treaty of Waitangi established British law and government, but it could not prevent warfare in the 1840s and 1860s, as M\u0101ori sought to defend their lands and local authority. After the wars, M\u0101ori lost land through confiscation and sale, mostly to British settlers.\nIn the first half of the 20th century, important leaders such as \u0100pirana Ngata and Te Puea H\u0113rangi worked to make life better for M\u0101ori and to revive the culture. There was a new interest in the language and in arts such as carving and weaving.\nAfter World War II many M\u0101ori moved to the cities in search of jobs. In the 1970s and 1980s groups protested about their rights to land, and helped promote the language and culture. Important events were a march down the North Island to Parliament in 1975, setting up the Waitangi Tribunal in 1975 to look at land claims, and protesters occupying Bastion Point in Auckland in 1977\u201378. In 2004, there were over 500,000 M\u0101ori people, mostly living in cities. There were k\u014dhanga reo (preschool language nests) and schools using the M\u0101ori language, a M\u0101ori television station and 20 radio stations, 16 M\u0101ori members of Parliament, and many creative projects in film, music and art.\nArts and culture\nM\u0101ori are well known for their fierce dances. Kapa haka are traditional M\u0101ori dances performed by a group standing in rows. Tribes\u2019 reputations were based on their ability to perform haka (dances) and the expertise of the haka leader. There are many different types of haka, appropriate for different occasions. Waiata (songs) are also an important part of kapa haka. Traditionally, the first kapa haka was associated with the chief Tinirau. He told a group of women to perform for his enemy, Kae.\nM\u0101ori storytelling, carving and weaving are also important cultural traditions.", "id": "<urn:uuid:07b47340-f6c4-43d2-b1fe-3eb8bd1c730a>", "dump": "CC-MAIN-2023-14", "url": "https://www.guampedia.com/pop-cultures-maori/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945333.53/warc/CC-MAIN-20230325130029-20230325160029-00755.warc.gz", "language": "en", "language_score": 0.9811881184577942, "token_count": 837, "score": 3.515625, "int_score": 4}
{"text": "Grade 5 Curriculum Religion Grade 5 students explore the Sacraments. The year is broken down into the three categories, Sacraments of Initiation, Sacraments of Healing, and Sacraments of Vocation. Students will continue to study the saints and strive to answer God\u2019s call. Students will practice utilizing the bible to explore the Old and New Testaments. Liturgical seasons and traditions will be highlighted. Students will also participate in weekly liturgies and have various service opportunities throughout the year. Math In fifth grade math, we use Sadlier Math 2019. We start off the year by reviewing place value, addition, and subtraction, which we learned from fourth grade. We will use these skills to learn about place value with decimals and how it differs from place value with whole numbers. After place value and decimals, we will work on our multiplication and division facts and skills. These skills will help us to learn about fractions and how to add, subtract, multiply and divide them. We will spend a few chapters on these skills with fractions as they will be relevant in middle school next year. Once we have mastered our skills with fractions, we will work on decimals for the next few chapters. We will learn how to add, subtract, multiply and divide decimals. After we have worked with decimals, we will move right into measurement, geometry, volume, and working with graphs and data. While learning these skills, we utilize technology with videos and interactive computer games. We also use IXL every night to ensure that skills being taught in class are still present while at home. We do individual and group activities to enhance skills being taught. In our classroom, we learn skills that will help to prepare ourselves for middle school skills. Science In fifth grade science, we use the Nancy Larson program. This program gives us access to a variety of interactive videos, activities, and tools to learn about each topic. We start off this program by exploring the universe and all of the parts that make up the universe. After astronomy, we will break down chemistry and work on structure of matter and investigating matter\u2019s interactions. When we have finished chemistry, we will learn about the Earth\u2019s systems and different life cycles of the Earth. We will then learn about forces and motion as well as tools and machines. Our science program will provide students with their own booklets for them to work in and do activities. These booklets will have charts for students to fill in as well as different activities. We focus on key words and make sure we define them and highlight them in our books. Vocabulary Sadlier Vocabulary Workshop program uses a variety of tools to implement new terms into student\u2019s vocabulary. Each unit (18 total) begins with a passage that introduces the new terms and how they are used and what they sound like. Other activities include synonyms and antonyms, matching definitions, pronunciation, parts of speech and how they are used in sentences. Each unit also helps students build vocabulary beyond the unit words such as learning word parts (prefixes and suffixes and roots to decode unknown words) as well as learning different meanings of figurative language such as idioms, proverbs, similes and metaphors. Grammar In Voyages in English, students learn a multitude of different ways of understanding grammar and writing. This includes analyzing, arguing, and applying methods of effective communication. Students learn a total of eight chapters with each chapter divided into eleven lessons. These lessons include nouns, pronouns, adjectives, verbs, adverbs, prepositions \u2013 conjunctions - interjections, sentences, and punctuation/capitalization. Bonus chapters also include multiple writing techniques such as: personal narratives, How-to articles, business letters, descriptions, book reports, creative writing, persuasive writing, and research reports. Reading The HMH Into Reading curriculum builds students\u2019 understanding of academic vocabulary and real-world topics by using critical/strategic thinking and reading skills. Each module teaches students how to recognize and use citing text evidence, genre characteristics as well as increasing knowledge in various content areas to build/make meaning of the readings. Each Module is organized into central ideas and questions with five readings in each module. Central ideas for each module in fifth grade are: Inventors at work, What a story, Natural Disasters, Wild West, and Project Earth. Each story also ends with collaborative discussion questions as well as short writing exercises. Students complete summative essays at the end of each module by using the information and knowledge that they learned and apply those skills into writing assignments. Social Studies Each Chapter begins with the Big Questions where students are introduced to the topic, grounded in the instruction, and encouraged to draw upon and apply previous knowledge. A Jumpstart activity is designed to activate the topic at the opener in fun and engaging ways. Finally, the Sing/Rap about it feature introduces students to chapter vocabulary in the form of a song or rap. The Quest activity is an inquiry project that takes place over the course of the entire chapter. Students are presented with a real-world problem & students apply their knowledge and demonstrate their understanding in a final project (essay, discussion, presentation, physical/digital product. Reading checks are also provided to check for understanding of what was previously read, content vocabulary as well as increasing word skills, writing skills, Map and graph skills, critical thinking skills and literacy skills lessons in which students apply and demonstrate their learning. Specific areas learned are: The first Americans, Age of Exploration, Settling the Colonies in North America, Life in the Colonies, the American Revolution, A New Nation, Life in the Young Republic, Westward Expansion, Civil War and Reconstruction.", "id": "<urn:uuid:2dd849de-6fbb-44cb-8784-c2c5c31c4f00>", "dump": "CC-MAIN-2023-14", "url": "https://www.saintmonicaschoolmethuen.org/grade-5", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950383.8/warc/CC-MAIN-20230402043600-20230402073600-00335.warc.gz", "language": "en", "language_score": 0.9448314309120178, "token_count": 1162, "score": 3.75, "int_score": 4}
{"text": "Dance, music and theater programs may make frequent appearances on school budget-cut lists, but eliminating the performing arts from education could have costly effects for students. A 2012 report by the U.S. Department of Education revealed a significant drop in the availability of performing arts programs compared to a decade ago, reports the National Education Association. The performing arts not only provide opportunities for students to develop creative passions but also teach communication, language and leadership in unique ways that inspire individualism.\nMaking Students Self-Aware\nParticipating in performing-arts programs helps students develop a stronger sense of individualism, self-reflection and self-esteem. Participating in these activities helps them learn to commit to a task; prepare themselves emotionally, physically and mentally; and work toward the goals of mastering and sharing their skills. For example, musicians must commit to an individual practice schedule to aim for a successful concert, while actors must tap into the particular experiences of their characters to achieve a realistic performance onstage. As they engage with these skills, students learn to critique their abilities, recognize their strengths and weaknesses and make plans to acquire new skills.\nImproving Academic Performance\nStudents who work individually to hone their performance skills ultimately reap the benefits of better grades and test scores. Students who participate in arts programs are more likely to take advanced math courses, graduate from high school and go on to college than those who don't, summarizes a 2012 report by the National Endowment for the Arts. Similarly, the organization Americans for the Arts reports that in 2012 students who took four years of performing arts courses in high school scored 100 points better than students who took less or no courses.\nStrengthening School Community\nThe strong sense of individuality and high level of achievement associated with performing-arts education ultimately affects students' relationships to the school as a whole. Involvement with theater, music and dance creates strong relationships between students, teachers and advisers, reinforcing their identity within their educational community. Collaborating with other students in artistic settings can also provide opportunities to encounter different cultures by working with different types of music or plays of different subject matters. This can help students build higher levels of tolerance and understanding for others and become more willing to work with people who are different from them.\nPreparing for Future Careers\nWhile not all students involved with the performing arts may plan to pursue them professionally, the Arts Education Partnership states that participating in dramatic and musical programs can help them develop skills that are a growing necessity in the 21st-century workplace. Participation in the arts inspires greater creativity -- an increasingly valued skill in work environments; working with others as part of a music ensemble or cast of a play can create stronger communication and teamwork skills. In addition, the strong sense of individualism the performing arts inspires can help students grow up to be stronger career leaders.\nKori Morgan holds a Bachelor of Arts in professional writing and a Master of Fine Arts in creative writing and has been crafting online and print educational materials since 2006. She taught creative writing and composition at West Virginia University and the University of Akron and her fiction, poetry and essays have appeared in numerous literary journals.", "id": "<urn:uuid:5439a90c-4979-4684-8358-028c3356588a>", "dump": "CC-MAIN-2023-14", "url": "https://www.theclassroom.com/performing-arts-important-school-5085664.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949958.54/warc/CC-MAIN-20230401094611-20230401124611-00135.warc.gz", "language": "en", "language_score": 0.9590387344360352, "token_count": 638, "score": 3.59375, "int_score": 4}
{"text": "Is There Another Way to Engage Learners in STEAM?\nBuilding on the acronym \u2018STEM\u2019 (Science, Technology, Engineering and Mathematics), \u2018STEAM\u2019 merges the arts. The significance of incorporating the arts into STEAM has been recognised more recently and its role should not be undermined. Without the arts, which includes roles like a web or graphic designer, you begin to wonder how successful organisations would truly be.\nAlthough mathematics and science remain popular study areas, it has been found that students are less involved, and potentially less interested, in the arts, technology and engineering. The digital arena rapidly evolving opens up new careers and encourages lifelong learning. Currently, STEAM roles typically fulfil the stereotype of being primarily a white male domain. This race and gender imbalance significantly impacts the success of STEAM; ways to combat and correct this should be an ongoing focus to achieve deeper integration, overlap and collaboration.\nActively Using Digital Platforms\nStory-telling visuals in learning environments could illustrate a career journey; visuals could focus on women and the black, Asian and minority ethnic community. The story could highlight not only the individual\u2019s success, but offer insight as to how they got to that stage of their career. Importantly, the content should not shy away from communicating failures and challenges along the way. This could be more relatable, encouraging and realistic for the individual watching. Through use of technology, West Calder High School in Scotland recognises the art of storytelling: the way it engages, motivates and impacts its audience. West Calder has utilised inspirational characters from a variety of sectors tailored to each department. For instance, writers in the English department, sportspeople near the gymnasium, and renowned scientists in the Science department. When using interactive graphics, techniques must be considered which ensure they are not passive, but engaging. Facilitating motion detectors could make the experience interactive and eye-catching. However, importantly, the content should be relevant as well as diverse.\nUtilising Collaborative Spaces\nEach year Space Zero \u2013 an organisation who specialise in designing learning environments \u2013 invest time and money into projects which they believe will provoke discussion and increase innovation. Space Zero have considered the idea of break out spaces near story-telling visuals to provoke discussion. Space Zero\u2019s ideas have actively thought about ergonomics which facilitate options for relaxed discussion, observation opportunities through seating variation, and standing tables for brainstorming. West Calder High School additionally understand the significance of integration, overlap and collaboration across distinct fields to encourage discussion and generate interest. For instance, the mathematics and science department at West Calder provides a large singular learning space, with the option of folding screens to separate the disciplines. Evidence has indicated that the collaboration and overlap between the subject areas has generated more engaged learning.\nConstantly updating story-telling content, with spaces nearby to encourage discussion and collaboration, may stimulate new ways of thinking. Offering inspiring content could be the foundation for assisting the next generation to re-evaluate their career aspirations, and succeed in the ever-evolving digital arena.", "id": "<urn:uuid:c9e2bfa9-bbfe-43ad-888f-0a5bac9da59b>", "dump": "CC-MAIN-2023-14", "url": "https://www.learningplaces.scot/webinar-review-articles/is-there-another-way-to-engage-learners-in-steam-webinar-review", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943809.76/warc/CC-MAIN-20230322114226-20230322144226-00134.warc.gz", "language": "en", "language_score": 0.9412269592285156, "token_count": 624, "score": 3.59375, "int_score": 4}
{"text": "Cerebral palsy is a group of disorders affecting the ability to move, maintain balance, and posture, and sometimes includes related conditions like intellectual disability; vision, hearing, and speech problems; and seizures. It is caused by damage to the developing brain in infants or abnormal brain development in utero and is the most common motor disability in children.\nChildren with cerebral palsy need lifelong medical care to address the varying symptoms they experience. Many will need therapy for physical and behavioral needs, assistive devices to help with daily living, and medication for the pain and other medical issues that result.\nWhile treatment for cerebral palsy is unique to each child, learning about treatment options and the expenses associated with cerebral palsy can help you determine whether you and your family are eligible to file a lawsuit to obtain compensation for your medical expenses.\nCommon Types of Treatment for Cerebral Palsy\nYour child\u2019s healthcare providers can develop a treatment plan for your child\u2019s specific needs. Treatment options include a range of therapies, adaptive devices, medications, and surgeries to help your child live a better life.\nA physical therapist can determine the best course of treatment for your child based on their motor skills and mobility when they begin physical therapy. Physical therapy can help your child improve motor function with various exercises to enhance muscle strength, coordination, balance, and flexibility. They can also teach your child how to walk, sit, and use adaptive devices like wheelchairs.\nBraces, splints, and casts help support and improve your child\u2019s movement and balance. For example, children with scoliosis due to cerebral palsy often wear plastic braces to correct the curvature of their spine as they grow. These devices encourage proper physical growth and enable children to perform daily activities more easily or with less pain.\nA child with cerebral palsy may benefit from occupational therapy by improving their ability to perform daily activities, such as dressing and going to school. The occupational therapist assesses your child\u2019s fine motor skills and perception to help them develop the skills they need to become independent.\nDuring occupational therapy sessions, children practice positioning, reaching, grasping, and releasing objects.\nSpeech and Language Therapy\nSpeech therapy helps to improve muscle weakness in the face, jaw, and mouth by having your child follow swallowing and jaw exercises to strengthen the muscles. Muscle weakness, if left untreated, can create difficulties with eating, chewing, and swallowing, which can affect your child\u2019s physical development with cerebral palsy.\nA speech therapist can also use sign language or a communication device to teach new ways to speak and learn how to articulate clearly. Speech therapy during your child\u2019s school years emphasizes improving social skills and interaction through storytelling, repetition of sounds, and maintaining eye contact.\nSpecial Devices and Technologies\nAssistive technologies, such as crutches, wheelchairs, or communication devices, can make everyday life easier for children with cerebral palsy. Electronic communication boards allow children to verbally express their thoughts and feelings by choosing letters, words, and phrases on the screen. This can significantly improve the quality of life of young children who may otherwise be unable to communicate their needs.\nChildren with severe cerebral palsy and limited arm, leg, and hand mobility can use high-tech communication boards equipped with eye-tracking software. These boards can let them choose a symbol or letter by using their eyes to help them communicate with others.\nMobility aids like orthotic devices, walkers, crutches, wheelchairs, and lifts can help those with mobility limitations from cerebral palsy. Most assistive devices can be adjusted as the child grows or can be made to fit their specific needs. Mobility aids can increase a child\u2019s independence and improve their quality of life.\nThe doctor may prescribe your child various medications to treat physical and mobility conditions caused by cerebral palsy. These are available through oral administration or as injections into the affected muscles. Prescription medications can treat the following conditions:\n- Intestinal reflux\n- Urinary incontinence\n- Inflammatory respiratory conditions\nSurgical intervention may be necessary for children with severe symptoms of cerebral palsy. Surgery can relieve stiff muscles, correct a curved spine, reduce tremors, and improve balance and coordination. Successful surgeries can increase your child\u2019s chance of living independently, but it is typically the last option for many doctors who wish to attempt various therapies before opting for an invasive procedure.\nReceiving Financial Compensation for Cerebral Palsy\nThe medical costs for treating a child with cerebral palsy are high and typically only increase over time as your child grows, develops new symptoms or conditions, or new treatment options become available.\nThe cost of medical care for a nonambulatory child with cerebral palsy can be up to $43,687 per year, with lifetime costs going upward to $1.2 million.\nThe unexpected medical care that children with cerebral palsy require leaves many families unprepared. A study found 40% of families with children with special health care needs report heavy financial burdens.\nMedical negligence and errors during prenatal care or delivery often result in preventable brain injuries that can cause cerebral palsy. If you believe your child\u2019s condition was preventable, you need an experienced Indiana cerebral palsy lawyer from Wagner Reese Law to help you file a lawsuit.\nYour lawyer can investigate the circumstances that led to your child developing cerebral palsy and calculate the costs of current and future medical treatment your child will need as they grow older. Your lawyer will consider all the expenses for therapy sessions, assistive devices, prescription drugs, and surgeries your child requires to cope with their condition.\nBegin Your Cerebral Palsy Lawsuit with Wagner Reese\nWagner Reese\u2019s experienced lawyers and network of expert medical witnesses can help you calculate your cerebral palsy settlement and file a claim to get the compensation you deserve to help pay for necessary medical costs. With experience representing families burdened with medical debt, we know how to hold healthcare professionals accountable for birth injuries.\nCall us today to schedule your free, no-obligation case evaluation.", "id": "<urn:uuid:96454aee-e1b2-40ec-a84b-1a50b6b15d3d>", "dump": "CC-MAIN-2023-14", "url": "https://www.wagnerreese.com/blog/what-type-of-medical-care-do-children-with-cerebral-palsy-need/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949958.54/warc/CC-MAIN-20230401094611-20230401124611-00135.warc.gz", "language": "en", "language_score": 0.9328751564025879, "token_count": 1279, "score": 3.65625, "int_score": 4}
{"text": "How to Promote Social, Emotional, and Character Development\nThere\u2019s no need for funding or special training to bring these approaches and strategies into your classroom right away.\nAs more and more schools adopt social and emotional learning standards and realize that students\u2019 college and career success depends strongly on their social, emotional, and character development (SECD), teachers are looking for guidance as to how to bring SECD into their classrooms every day. Whether or not your class has a systematic curriculum, students benefit when SECD is part of academics and classroom conversations and procedures.\nMembers of our Rutgers SECD Lab have the good fortune of visiting many schools in New Jersey, across the nation, and internationally. Culled from our observations of what teachers are doing in many schools, each of the eight areas below includes a list of strategies that you can introduce into classroom and school routines without any funding or in-service training.\n1. Be a positive role model in your words and actions:\n- calm yourself down when you\u2019re upset,\n- use a problem-solving process to help you make decisions,\n- reflect on what you have done and try to learn from it, and\n- live a life of social commitment and concern for others.\n2. Respond to real-life situations by:\n- showing measured reactions to students\u2019 behaviors,\n- offering students choice and voice,\n- providing opportunities for students to give feedback to each other,\n- noting the consequences of their choices, and\n- providing second chances when appropriate.\n3. Read to students and use literature:\n- share biographies and autobiographies to highlight character virtues and use of positive SECD skills,\n- examine current role models and those from history,\n- work with students to examine the advantages and disadvantages of the internet, and\n- explore the work of scientists, mathematicians, artists, musicians, first responders, public officials, and those working in other fields, the problems they were trying to solve, and the decisions they made along the way.\n4. Encourage writing as a means of expression by:\n- teaching students a variety of emotion words to use in their writing,\n- encouraging students to think about choices and consequences and effects on self and others,\n- identifying students\u2019 goals and aspirations and how these connect to their everyday behaviors, and\n- having students use a personal journal with or without feedback to record interests, needs, ambitions, feelings, attitudes, and emotions.\n5. Have conversations about character by:\n- relating personal and family stories,\n- sharing and listening to students\u2019 experiences,\n- highlighting examples of kindness and of caring students in and around the school,\n- discussing real-life and fictional dilemmas and the choices and values they require,\n- reflecting on what motivates people and why they act the way they do, and\n- commenting on and improving the critical thinking skills of students, including time management, goal-setting, questioning, brainstorming, problem-solving, and ethical decision-making.\n6. Advocate for participation and service in school and in the community by:\n- providing many opportunities for contribution to the everyday classroom community,\n- encouraging students to become involved in school activities,\n- recognizing when students volunteer and help others,\n- encouraging students to engage in cultural events and share what they experienced,\n- encouraging involvement in physical activities such as sports or exercise programs or other co-curricular activities, and\n- encouraging classroom and school community service projects.\n7. Promote mindfulness in students by:\n- having mindful moments in your classroom at the start of the day and during transitions,\n- giving time for reflection at the end of the school day, or the end of a class or unit, about what was learned, how students\u2019 learning was supported, and what questions students have for the future, and\n- teaching a self-calming strategy students can use when they anticipate or find themselves upset in a situation, such as before tests and performance situations or when in a conflict with peers.\n8. Help students make better decisions about their health and relationships by:\n- having them set goals for something they can do to improve their health (nutrition, personal hygiene, sleep patterns), and\n- having them set goals for something they can do to improve their behavior (controlling strong negative emotions, stopping harassment and intimidation of others, acting more kindly and helpfully, and being more honest).\nThe more frequently you integrate these strategies into the learning and teaching as routines, the more habitual they will become for students. When this happens, you will be building students\u2019 social, emotional and character development in ways that will nourish and create positive habits in their interpersonal and intrapersonal relationships.", "id": "<urn:uuid:a05acbd8-1509-4985-a131-6919f984b907>", "dump": "CC-MAIN-2023-14", "url": "https://www.edutopia.org/article/how-promote-social-emotional-and-character-development", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945288.47/warc/CC-MAIN-20230324180032-20230324210032-00536.warc.gz", "language": "en", "language_score": 0.9518194198608398, "token_count": 980, "score": 3.828125, "int_score": 4}
{"text": "The alienation effect, also known as the \u2018distancing effect,\u2019 \u2018verfremdungseffekt,\u2019 or \u2018estrangement effect,\u2019 is mainly used in theatre. The play\u2019s characters, setting, and plot devices are intentionally distanced from those following the story. The audience won\u2019t trust or identify with the storyline. They might be consistently reminded that they\u2019re watching actors and following a story that someone wrote.\nExplore Alienation Effect\nDefinition of the Alienation Effect\nThe alienation effect is a feeling of distancing that a playwright or author creates in their work. When it\u2019s used successfully, the reader or audience member will be constantly reminded of the artificiality of the literary work. This might be through revealing the actors are people simply engaged in a job, the set as a series of materials, etc. The illusion of the performance is disrupted, ensuring the metaphorical \u201cfourth wall\u201d never exists in the first place. In some instances, the playwright might include stage directions and require the actor to engage with the audience or to act ironically.\nThe term was coined by Bertolt Brecht, who is best-known for plays like \u201cThe Three Penny Opera,\u201d \u201cThe Good Person of Szechwan,\u201d and \u201cMother Courage and Her Children.\u201d He used it in his 1936 essay, \u201cAlienation Effects in Chinese Acting.\u201d Brecht noted in this essay that the alienation effect occurred when the audience consciously rejected what they were seeing rather than identifying with the characters and plot subconsciously.\nAlienation Effect Techniques\nThere are numerous ways in which a playwright or author might use the alienation effect in their work. These include:\n- Captions explaining what\u2019s going on on stage/screen.\n- Actors summarizing events that have just played out.\n- Exposing set functions, like ropes, pulleys, and extras.\n- Screen projections or placards.\n- Actors interacting with the audience members.\n- Bringing audience members on stage.\n- Intentionally poor or ironic acting.\n- The actor steps out of their role.\n- The actor speaks the stage directions.\nExamples of the Alienation Effect\n\u201cThe Hostage\u201d by Brendan Behan\n\u201cThe Hostage\u201d is one of the playwright\u2019s best-known works. It follows an IRA kidnapping of a British soldier. It was initially received with mixed reviews but is well-regarded by most critics today. The play is non-realistic and uses the alienation effect to ensure the audience remembers this. The character burst into song and dance at seemingly random moments.\n\u201cMother Courage and Her Children\u201d by Bertolt Brecht\nThis commonly performed play is a great example of the lamination effect. The story follows Anna Fierling and her children, who struggle to survive. Over the course of the play, Fierling loses all of her children. The play conveys the powerful message that some people don\u2019t care who wins a war as long as there is a profit to be made. The play is considered to be one of the best of the 20th century and perhaps the greatest anti-war play ever written.\nThis play is notorious for the different ways in which it can be performed, especially depending on whether it\u2019s in English or German. The actors might verbalize their actions and intentions, focus single-mindedly on one scene and ignoring the broader storyline, and more.\nGestus and Spass\nThese are two other Brechtian techniques that are often found alongside the alienation effect. Gestus is a technique that refers to a character\u2019s movements. It\u2019s a movement that captures a moment rather than an emotion. This means that an actor\u2019s gestures took on added meaning and were studied intensively before a play was performed. This relates to Brecht\u2019s interesting in creating types of characters rather than individuals. His plays usually featured characters like \u201cThe Girl\u201d or \u201cThe Boss.\u201d These people evoked the feeling of a particular type of person, and their movements were an important part of the role.\nBrecht also used guests to convey meaning in contextually different situations. For example, hugging someone who just committed a terrible crime juxtaposed against refusing to hug someone whose just done a good deed.\nSpass is another literary technique Brecht is remembered for. The word translates to \u201cfun\u201d and is connected to Brecht\u2019s interest in making the audience think and laugh. Despite the reputation many of his plays have as being serious, he also used comedic moments to break the tension. This was usually in the form of a song, using slapstick comedy.\nWhy Do Writers Use the Alienation Effect?\nWriters use the alienation effect in order to force the viewer to analyze what they\u2019re seeing/reading more critically. They should be less emotionally attached to the characters and storyline because they are constantly reminded it\u2019s fake. The audience is incapable of sitting back and allowing themselves to be consumed by the story. It takes them to a different place, one that constantly reveals itself to be fictitious. When the audience is successfully alienated from the storyline, they\u2019re able to look at the characters and plot objectively. This might help a writer, like Brecht, who is known for engaging with political and social themes, convey a particular opinion. It might also help readers better note a character\u2019s (or type of character\u2019s) hypocritical features.\nIs the Alienation Effect Good to Use?\nThe alienation effect is a wonderful example of how modernist theatre evolved during the 1900s. The fact that writers like Brecht were willing to compromise the central tenants of theatre to try something new makes the effect well worth studying and using. Working to ensure the audience never believes one\u2019s story is a risky endeavor to engage with. But, it allows for a unique experience, one that prior playwrights hadn\u2019t achieved.\nBrecht used this effect by having his actors perform in a certain way. They might read the stage directions out loud, use placards, prompters, or illustrations. They might also speak ironically as if they didn\u2019t really believe what they were saying.\nThe individual is unable to subconsciously connect to the storyline. They are constantly reminded that the play is fictional. This means they are able to think more clearly about the characters and the content.\nVerfremdungseffekt, also known as v-effect, is used to separate the audience from the play. By using a wide variety of techniques, the playwright ensures the audience is incapable of believing in the reality of the play. They are constantly reminded it\u2019s fake.\nBrecht used the alienation effect because he wanted to make his audiences think. Telling a story wasn\u2019t enough for his plays. He wanted them to have an impact on the audience, especially when they dealt with political subjects.\nRelated Literary Terms\n- Act: a primary division of a dramatic work, like a play, film, opera, or other performance. The act is made up of shorter scenes.\n- Dramatic Monologue: a conversation a speaker has with themselves, or which is directed at a listen or reader who does not respond.\n- Melodrama: a work of literature or a theatrical performance that uses exaggerated events and characters.\n- Surrealism: refers to a movement of literature, art, and drama in which creators chose to incorporate dreams and the unconscious and fuse reality and pure imagination.\n- Listen: Brecht and Epic Theater\n- Watch: An introduction to Brechtian theatre\n- Watch: Mother Courage and Her Children", "id": "<urn:uuid:5e2ae22a-63e1-484f-a352-b998eca54779>", "dump": "CC-MAIN-2023-14", "url": "https://poemanalysis.com/literary-device/alienation-effect/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00536.warc.gz", "language": "en", "language_score": 0.9646433591842651, "token_count": 1623, "score": 3.625, "int_score": 4}
{"text": "BONUS ONLINE CONTENT: Recovering the past\nToday the word \u201chumanism\u201d often gets a bad rap, used to describe a world without God and often coupled to the word \u201csecular.\u201d But in the 16th century, many humanists were deeply Christian. The imprint they left on the Reformation was a profound one.\nWhy were humanists called \u201chumanists\u201d? Because they were concerned about what makes us human. In the Middle Ages, scholastic theologians like Thomas Aquinas (1225\u20131274) had argued that what made us human was that we could think: thus, Aquinas compiled a comprehensive, detailed, and precisely argued systematic theology. Humanist and biblical scholar Desiderius Erasmus (1466\u20131536) later mocked this approach in The Praise of Folly (1513): \u201cThey [the theologians] will explain to you how Christ was formed in the Virgin\u2019s womb \u2026 The most ordinary of them can do this. Those more fully initiated explain further \u2026 whether \u2018the Father hates the Son\u2019 is a possible proposition; whether God can become the substance of a woman, of an ass, of a pumpkin, or of the devil, and whether, if so, a pumpkin could preach a sermon, or work miracles, or be crucified.\u201d\nFor those like Erasmus who became known as humanists, what makes us human is not precise theological explanations; they were fond of quoting a line from fourteenth-century Italian poet Petrarch, \u201cIt is better to will the good than to know the truth.\u201d Instead, what makes us human is that we can talk\u2014and talk beautifully. More than anything else, humanism was a kind of rhetoric\u2014a way of speaking and writing that displayed eloquence, wisdom, and (in the case of Christian humanism) piety.\nHumanism arose in the Renaissance, which, broadly speaking, was a movement centered on Italy and focused on a renewed interest in classical antiquity\u2014the great thinkers of Greece and Rome. Renaissance thinkers and artists valued and pursued beauty, learned classical languages, studied ancient philosophy, promoted the dignity of human nature, and emphasized freedom from authority.\n\u201cWithout Plato,\u201d said the Florentine statesman Lorenzo de' Medici, \u201cit would be hard to be a good Christian or a good citizen.\u201d This statement has been called the manifesto of humanism. Later, Enlightenment thinkers looked back at the humanists as the forerunners of individualism and secularism. But in reality they were very concerned with exactly what Lorenzo said: how to be good Christians.\nModern conservative Christians have the slogan \u201cBack to the Bible;\u201d Erasmus had a similar slogan: Ad fontes, \u201cBack to the sources.\u201d The phrase captures his age's hunger to recover something that had been lost, a golden era before the medieval \u201cDark Age\u201d muddied the window of vision. If only we were more like ancient Athens or Rome, thought the humanists, our government and our society would not be so corrupt. If only we could learn to make art like the Greeks and Romans did, we could achieve ideal beauty. If only we could study the earliest biblical manuscripts in their original languages, we could understand what Scripture means. If only we could go back to the purer, simpler faith of the early church fathers, we could get closer to God.\nThe humanists had boundless optimism about human potential (\u201cA man can do all things if he will,\u201d pronounced author Leon Battista Alberti), though they also recognized that free will could cut two ways. In his Oration on the Dignity of Man, Pico della Mirandola wrote that humans may use their unique, God-given freedom to rise to become like angels or sink to the level of beasts.\nFor the humanists, exalting the beauty of the natural world and the inherent worth of human beings created in the image of God was a way of worshiping God himself. They believed in the ennobling effects of education and the continuity between the wisdom of antiquity and the truth of Christianity. Their delight in Latin and Greek literature extended not just to Plato, Cicero, and Caesar but also to early church fathers like Augustine and Jerome.\nPerhaps the most famous of all Christian humanists was Erasmus, often called the \u201cprince of the humanists.\u201d But many spiritual leaders and thinkers of the age were humanists: John Colet (1457\u20131519), Erasmus\u2019s teacher; English reformer Thomas More (1478-1535); Martin Bucer (1491\u20131551), who led reform in Strasbourg; Jacques Lef\u00e8vre d'\u00c9taples (c. 1455\u20131536), nicknamed the \u201cdean of humanists\u201d and a renowned biblical scholar who influenced Calvin; Calvin\u2019s friend Nicolas Cop (c. 1501\u20131540); and Calvin himself (1509\u20131564), whose Geneva Academy curriculum emphasized classical languages and the humanities\nIn their quest for the purity of the past, humanists stressed that Christianity was not a matter of endless ceremonies and rites but an inward affair of faith and individual conscience rooted in the example of Christ. In this and many other ways, they fed the fires of Protestant reform, particularly in northern Europe. Erasmus once wrote, \u201cIf you believe in what takes place at the altar but fail to enter into the spiritual meaning of it, God will despise your flabby display of religion.\u201d\nChristian History\u2019s 2015\u20132017 four-part Reformation series is available as a four-pack. This set includes issue #115 Luther Leads the Way; issue #118 The People\u2019s Reformation; issue #120 Calvin, Councils, and Confessions; and issue#122 The Catholic Reformation. Get your set today. These also make good gifts.\nBy Jennifer Trafton and Jennifer Woodruff Tait\n[Christian History originally published this article in Christian History Issue #115 in 2015]Jennifer Trafton was managing editor of Christian History and Biography from 2005-2008 and is a children\u2019s book author, creative writing teacher, and artist. Parts of this article are adapted from her article \u201cPainting the Town Holy\u201d in our issue 91 on Michelangelo. Jennifer Woodruff Tait is the current managing editor of Christian History.\nBONUS ONLINE CONTENT: Covenant children\nInfant baptism in the ReformationJennifer Woodruff Tait and John Oyer\nChristian History timeline: Downloadable Reformation timeline\nChristian History's Reformation timelinethe editors\nA day at school\nAlcuin of York instructs Charlemagne's sonEdwin Woodruff Tait\nOn the front lines of care in the early churchthe editors\nSubscribe to magazine\nSubscription to Christian History magazine is on a donation basisSubscribe\nChristian History Institute (CHI) is a non-profit Pennsylvania corporation founded in 1982. Your donations support the continuation of this ministryDonate", "id": "<urn:uuid:b1a3f8fc-ff07-4114-9382-f85f96b50dfe>", "dump": "CC-MAIN-2023-14", "url": "https://christianhistoryinstitute.org/magazine/article/recovering-the-past", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950110.72/warc/CC-MAIN-20230401160259-20230401190259-00536.warc.gz", "language": "en", "language_score": 0.9483696818351746, "token_count": 1487, "score": 3.890625, "int_score": 4}
{"text": "Literacy truly is behind the majority of activities kids (and adults) enjoy, a fact that is important to illustrate to you student when they seem to be getting burnt out with reading and writing. Of course these things are best instilled through lived experiences and it is vital to remember that literacy is flexible as reading, writing, listening, thinking and speaking are all components of literacy. See below for fun tactics that will bring literacy to life!\nArt. Math. Science. Whatever Excites Your Student! Does your student love arts and crafts? Read a book and work together on an art project that ties to the book. Or, have your student read the directions for creating a craft they are interested in and then make it.\nDoes your student love math? Work on story problems together. Use math and literacy skills to design and build an engineering project together.\nDoes your student love science? Let them perform experiments that interest them, reading directions, developing hypothesis and recording results. Essentially, take what your student is excited about and subtly work literacy in!\nFamily Game Night. An effortless way to get students reading and writing is to play a game they are excited about. Most games involve multiple forms of literacy: reading, listening, thinking, speaking and sometimes even writing! Even if the reading and writing is minimal, your student is still being exposed to literacy in a manner that is very fun and engaging to them. Bonus points for your student if they can read the directions and explain to the rest of the family!\nWhat to Read? Let your Student Choose! While there are many alternative ways to engage your student in literacy, don\u2019t forget good old fashioned reading! The trick is to be open to letting your student read what interests them, be it comic books, the newspaper, magazines or picture books! Giving your student the freedom to choose what they would like to read as well as what they would like to read about will greatly enhance their excitement for reading. Further, make reading fun through incorporating tone and expression while you read. Make it funny, make it scary, make it meek, make it mean\u2014all of it will be fun if you can get your student into it!\nStorytelling. Have a student full of imagination? Let them tell their own stories! The can write and illustrate a book. They can orally tell you a story. You can give them a list of vocabulary words that they need to include in their story and you can let those words themselves be based in student interest and silliness. You can work to create a story with them. Again, make it funny, make it scary, make it honest\u2014play with it!\nWe hope that these tactics give you some new and fun ways to bring literacy into your home. After your student has engaged in and enjoyed these activities, lightly remind them that they just had fun with literacy. And always be willing to walk away from an activity if your student is no longer enjoying it.", "id": "<urn:uuid:827baf5e-39b3-448f-bc59-cf0eae980887>", "dump": "CC-MAIN-2023-14", "url": "http://www.tetonliteracy.org/blog/remember-literacy-is-fun", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949598.87/warc/CC-MAIN-20230331082653-20230331112653-00535.warc.gz", "language": "en", "language_score": 0.9701455235481262, "token_count": 600, "score": 4.21875, "int_score": 4}
{"text": "As parents, we all want our children to be successful and happy, both now and in the future. One of the best ways to help your child reach their full potential is to provide them with opportunities for cognitive development through Cognitive Activities for Preschoolers. Preschool is a critical time for brain development, and activities that promote creative thinking can have a long-lasting impact on your child\u2019s academic success, social and emotional development, and overall well-being.\nThe Importance of Cognitive Skills Development in Preschoolers\nThe preschool years are a critical period of brain development. During this time, the brain is developing rapidly, and the connections that are formed will last a lifetime. Research has shown that the preschool years are a particularly sensitive period for the development of cognitive skills, such as problem-solving, critical thinking, and creative thinking.\nCognitive skills are important for a child\u2019s academic success. Children who develop strong cognitive skills in their early years are more likely to succeed in school, and they are better equipped to handle the challenges of higher education. Cognitive skills are also important for social and emotional development. Children who develop strong cognitive skills are better able to regulate their emotions and handle social situations, which can help them build healthy relationships with peers and adults.\nCognitive Activities for Preschoolers\nIn this post, we\u2019ll discuss the benefits of creative thinking and provide a few simple cognitive activities for preschoolers that you can do to encourage their imagination and creativity.\nHere are a few cognitive activities for preschoolers that you can do with your preschooler to promote creative thinking and cognitive development:\nCognitive Activity 1: Brainstorming\nBrainstorming is a simple but effective way to encourage creative thinking. Start by asking your child a question, such as \u201cWhat would happen if the sun suddenly turned purple?\u201d Encourage your child to come up with as many answers as they can, without worrying about whether the answers are right or wrong. This activity helps your child to develop their creativity and think outside the box.\nCognitive Activity 2: Imaginative Play\nImaginative play is an essential part of childhood, and it\u2019s an excellent way to promote cognitive development. Set up a play area with costumes, props, and other materials that encourage your child\u2019s imagination. Then, step back and let your child take the lead. You\u2019ll be amazed at the stories and scenarios that your child can come up with, and this activity helps your child to develop their creativity and problem-solving skills.\nCognitive Activity 3: Artistic Expression\nArtistic expression is another excellent way to promote cognitive development. Provide your child with age-appropriate art supplies, such as crayons, markers, and finger paints, and let them explore their creativity. Encourage your child to experiment with different colors, shapes, and textures, and don\u2019t worry about the outcome. This activity helps your child to develop their creativity and fine motor skills.\nCognitive Activity 4: Problem-Solving Games\nProblem-solving games are an excellent way to promote cognitive development and critical thinking skills. There are many age-appropriate games that you can play with your preschooler, such as puzzles, memory games, and board games. These games help your child to develop their problem-solving skills, and they also provide an opportunity for quality bonding time with your child.\nCognitive Activity 5: Storytelling\nStorytelling is an excellent way to promote creative thinking and imagination. Encourage your child to create and tell their stories, using props, costumes, or other materials that help them to bring their stories to life. This activity helps your child to develop their creativity, communication skills, and problem-solving skills.\nCognitive development is an essential part of your child\u2019s early years, and activities that promote creative thinking can have a long-lasting impact on your child\u2019s well-being. As parents, we can encourage our preschoolers to develop cognitive skills through activities such as brainstorming, imaginative play, artistic expression, problem-solving games, and storytelling.\nBy providing our children with opportunities to develop their creativity and critical thinking skills, we are setting them up for success in school and beyond. These activities also help children to develop a love of learning, curiosity, and a desire to explore the world around them. Through cognitive activities, preschoolers can gain confidence, independence, and a sense of self.\nIt is essential to remember that every child is different, and their cognitive development will occur at their own pace. Encourage your child to explore and experiment with different activities and be patient as they develop their skills.\nYumna is the lead author. She is a mom to two young children and have always been passionate about finding fun and educational activities for them. With her background in early childhood education, she strive to create engaging and age-appropriate activities that promote learning and development in toddlers.", "id": "<urn:uuid:69822d58-524d-4373-9a1e-16a309155aea>", "dump": "CC-MAIN-2023-14", "url": "https://littletoddleractivities.com/cognitive-activities-for-preschoolers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00134.warc.gz", "language": "en", "language_score": 0.9591786861419678, "token_count": 1014, "score": 3.96875, "int_score": 4}
{"text": "The beautiful changing leaves of fall can help capture students\u2019 attention and make them excited to engage in meaningful math activities. I initially created these fun fall math STEAM activities for early elementary students, but I've tweaked my printable lesson plan so it works in grades 1\u20136.\nWith these STEAM activities, elementary students will engage in topics related to life science, measurement and data skills in math, and using artistic representations examine and analyze data.\nStudents will work individually or pair up to collect data. If you are lucky enough to live in an area with a variety of trees that change color in the fall, students can go outdoors to collect leaf samples. If not, students can use the downloadable leaf sets to organize and prepare graphs for this activity.\nDownload a FREE Fall-Inspired STEAM Math Lesson for elementary students!\nSTEAM activities for elementary students connect with many areas of the curriculum. Here are some of the connections you can use for this lesson.\nWithin the life sciences, students are learning about the different parts of plants: roots, stems, leaves, flowers, and fruit. They are learning about the functions of these structures.\nWithin mathematics, students are learning to analyze and represent categorical data.\nWithin the realm of art, students are discussing color, and their choices about how they set up their bar graphs include choices about the visual organization of the page. Using artistic creations to communicate a concept or idea is an important part of the art curriculum.\nWithin literature, there are many fall-themed books that would pair well with this STEAM lesson. In the lesson plan download, you\u2019ll find a list of books appropriate for the different grade levels about leaves and fall.\nFor creative writing, this post from Vocab Gal uses Haikus to discuss fall themes. Or you can complete the poem-writing activity provided in the download.\nThis project is not resource intensive. Most of what you need is provided in the Fall-Inspired Math STEAM Lesson. These include:\nLeaf Samples\u2013 You will need to provide different samples of leaves and colors so that not every student\u2019s graph comes out the same. If you live in an area that has fall foliage, you could collect your own leaf samples. If you don't have the ability or time to collect leaf samples, you can use the four different leaf samples provided in my download.\nColor Printer\u2013 You will need a color printer to take full advantage of the downloads. After all, this is about leaves having different colors!\nColored Pencils or Crayons\u2013 Students will want to use colored pencils or crayons when creating their graphs.\nSorting Chart, Pictograph, and Bar Graph Templates\u2013 You will need a variety of sorting chart, pictograph and bar graph templates. All of these have been provided in my download. Depending on the previous experience of your students with graphs, they might not need the templates. In that case, they can be used for differentiation opportunities for students with special needs.\nOther Materials\u2013 For students who are still in a concrete stage, you might want to provide scissors and glue so that they can cut out and physically manipulate the leaves to make their pictographs.\nPrior to class, review and select the leaf templates, sorting charts, and graphs your students will use for this lesson. Select which of the templates provided in my lesson plan are most useful for your students. You will also need to decide if you want students to complete these activities in pairs or individually.\nAre you interested in having them simply sort and count the leaves, create pictographs and bar graphs, or make comparisons between graphs? Do you want students to make a graph sorted by color or by leaf type. Alternatively, if your students have some experience with graphs, let them to decide how to sort the leaves and give them a generic, unlabeled template. Finally, do you want to give students a graph template or have them create their graph on their own. This will depend on your students\u2019 level of experience with creating graphs and their skill at setting them up.\nOnce you have identified your objective and the templates your students will need, print out individual copies for each student. Each student will need their own leaf sample template, sorting chart template, pictograph template, bar graph template, and poem writing activity worksheet.\nPrior to class you will also need to gather photos of color changes in foliage, select a fall-themed book for a read aloud, and plan question prompts. For more information regarding preparation, download my lesson.\nTo keep this article word count down, I've provided all the details for the math STEAM activities in the Fall-Inspired Math STEAM Lesson. Download includes:\nThe Fall-Inspired Math STEAM Lesson is packed with fun activities that encourage elementary students to integrate science, math, art, reading, and writing. Whether you are in an area that has beautiful fall foliage or not, you\u2019ll find everything you need in my printable lesson plan to implement these fun STEAM activities for elementary students in your classroom.", "id": "<urn:uuid:bcbfead8-42e0-4ad3-8a6b-482c86a72f14>", "dump": "CC-MAIN-2023-14", "url": "https://www.sadlier.com/school/sadlier-math-blog/fun-fall-math-steam-activities-for-elementary-students", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945168.36/warc/CC-MAIN-20230323132026-20230323162026-00736.warc.gz", "language": "en", "language_score": 0.9287237524986267, "token_count": 1057, "score": 3.828125, "int_score": 4}
{"text": "Over the years, literature of ancient Greece and Rome has affected art, religion, philosophy, science and mathematics, medicine, drama, and poetry profoundly. It has served as a basic model for the development of later European literatures and, consequently, the writings of the historians, geographers, philosophers, scientists, and rhetoricians are read today as sources of historical information and enjoyment. Alfred Whitehead, the famous British philosopher-mathematician, once commented that: \u201c[A]ll philosophy is but a footnote to Plato\u201d (Comptons Encyclopedia).\nA similar point can be made regarding Greek literature as a whole. The Greek world of thought was far ranging and ideas discussed today have been previously debated by ancient writers. In fact, until recently, in Western culture, an acquaintance with classical Latin (as well as Greek) literature was basic to a liberal education. Roman literature such as epic and lyric poetry, rhetoric, history, comic drama and satire (the last genre being the only literary form that the Romans invented) serve as today\u2019s backbone for a basic understanding of expression and artistic creativity, as well as history.\nGreek comedies such as those of Naevius and Andronicus, as well as historical writings in epic poems (First Punic War), tell the story of Rome and its conquests and served as prototypes for Aroman epics. Later poets imitated early Roman writers as they used these early writings for springboards into further development of drama. For example, Plautus\u2019s lively plays were a model for much subsequent European comedy and are still performed today (encarta. msn).\nEpic Greek poetry was exclusively in verse, but evolved from the folk ballads of early people of Greece who had an oral literature composed of songs about the actions of their heroes. Mythical and heroic events that are not celebrated in the Homeric works became the subject matter of a number of subsequent epics. Many of these epics, composed from the 8th century to the 6 century B. C. by unknown poets called the cyclic poets, concerned the Trojan War and war of the Seven Against Thebes.\nHistorians have learned a great deal about Greek life through poems such as Hesiod\u2019s major work Works and Days, which draws from everyday life of a Boeotian farmer (encarta. msn 2). Tragedy in drama as we know it today is said to have been originated in the 6th century B. C. by Attic poet Thespis, who is credited with spoken passages for actors to complement the lyric utterances of the chorus. Sophocles and Euripides, Greek playwrights, used psychological insight into their characterizations.\nComedy, grouped in two divisions (Mid dle and New) from 400-336 B. C. and 336-250 B. C. replaced satire with social comedy which involved family types, plot and character development, and romantic themes. Menander was the chief writer of New Comedy and his work had a strong influence upon the Latin dramatists of the 3rd and 2nd centuries BC, notably Plautus and Terence. Extensive portions of many of these plays survive today. Plato and Aristotle were two major Greek philosophical writers. Plato developed some aspects of Socrates\u2019 philosophy and expressed, in written dialogues, the philosophy later called idealism.\nThey are also literary masterpieces, having many qualities common to poetry and drama. Aristotle, a pupil of Plato, wrote a large number of works on logic, metaphysics, ethics, rhetoric, and politics. These writings are read and analyzed by many people still today (encyclopedia. com). Greek culture was very widespread in the Mediterranean world during the Hellenistic Age, 4th century to 1st century BC. Literary schools that came into being and the greatest library of antiquity were located in Alexandria , Egypt . Alexandrian poetry concentrated on foreign customs, names of months, and local nomenclature.\nIt was at this time that Callimachus perfected the epigram, literary didactic poems and pastoral poetry. Others followed him in pastoral verse that is cherished even today (encyclopedia. com). Theological writings after the fall of the Byzantine Empire in 1453 attacked the various heresies that arose during the first millennium of the Christian era. Accounts of saints\u2019 lives were also published, i. e. , Acts of the Martyrs by Metaphrastes and Fathers of the Church by Saint Gregory of Nazianzus and by Cosmas of Jerusalem in the 86h century.\nThese were filled with beautiful poetry, dramatic forces and easy flow of vividly descriptive colloquial idioms. Ancient Greek and Roman literature has affected literally every phase of societal intelligence over the years. As noted, this is evident in areas such as medicine, history, geography, philosophy, science and mathematics, drama, poetry, and religion. Even today, mankind frequently refers to early Greek and Roman writings for knowledge and expertise in directing their creative talents in a more precise and meaningful manner.", "id": "<urn:uuid:09265b3c-9463-4f36-8030-33b00f47b843>", "dump": "CC-MAIN-2023-14", "url": "https://benjaminbarber.org/literature-of-ancient-greece-and-rome/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00336.warc.gz", "language": "en", "language_score": 0.9751556515693665, "token_count": 1035, "score": 3.921875, "int_score": 4}
{"text": "Duration : 4-5 months\nThey will learn:\nYou will learn:\nAdditional For Teachers\nHow to conduct a whole phonic lesson in class\nHow to prepare PowerPoints\nHow to write a phonic lesson plan.\nRegistration fee PKR 4700 per month\nRegistration form : https://docs.google.com/forms/d/1ECUDEpqTXpY6Co5zELQDXWlAL__VscedEIuTc2GI0eA\nMental Maths is an IQ based brain development program for kids and adults\nin which we teach students to use Japanese techniques to calculate on fingers and abacus\nThere are 5 levels in total\nLevel 1 has 8 formulas which includes formulas from +4 till -1.\nLevel 2 has 9 formulas which includes formulas from +9 till +1.\nLevel 3 has 9 formulas whicg includes formulas from -9 till -1.\nLevel 4 is multiplication.\nLevel 5 is division\ncourse outline for level 1\nduration 4-5 months\n* Introduction to Mental Math.\n* Introduction to hands theory.\n* How to count numbers from 1 to 99 using both hands.\n* Introduction to House of 5\n*What are formulas, why we need formulas and how we use them doing calculations.\n* How and when to use all the positive formulas (+4,+3,+2,+1).\n* How and when to use all the negative formulas\n* Introduction to Abacus.\nDoes your child have creative and interesting story ideas but not sure how to write like their favourite author? Well, we have got you covered.\nBe it writing blogs, journalism stories, short stories or creating characters, now help your child unleash their imagination and guide them to write constructively with our Introduction to Creative Writing Course for Kids.\nSpecially designed for kids aged between 6 to 8 and 9 to 11.\nThis course is recommended for children who aspire to become a skilled and impactful writer.\nCourse Outline for beginners ages 6 to 8 (Introduction to Creative Writing)\n1. Picture Prompts\n2. Scrambled Sentences 3\n. Helicopter or Make Belief Stories\n4. Story Sequence\nCourse Outline for beginners ages 9 to 12 (Introduction to Creative Writing)\n1. Picture Prompts.\n2. Elements of Descriptive Writing\n3. Narrative Writing\n4. Independent Story Writing", "id": "<urn:uuid:f0cc86c6-8bf3-41cf-a841-224434db31ce>", "dump": "CC-MAIN-2023-14", "url": "https://beingartisticonline.com/course/index.php?categoryid=6", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948708.2/warc/CC-MAIN-20230327220742-20230328010742-00336.warc.gz", "language": "en", "language_score": 0.8416984677314758, "token_count": 531, "score": 3.5, "int_score": 4}
{"text": "Project-Based Learning Creates Motivated Learners!\nProject-based learning is highly motivating for students of all ages. Project based learning is a cooperative process between the teacher and students. They build an ongoing series of learning engagements together. The teacher plans out the end-goal and envisions several pathways to achieve that goal. The students pick the pathways. The teacher plans in possible objectives and implements them throughout the process. This type of learning requires trust on the part of the teacher...trust in the process and trust that she will find opportunities to infuse learning objectives into the progression of the project. Teachers who are flexible, creative, and knowledgeable about the age and stage of their students thrive in teaching this kind of curriculum. Project based learning is most often used in the early years and primary. It can be integrated into the curriculum as stand alone time or even be the basis of a school`s whole curriculum.\nI'll share an example of a project I put together in Preschool with four and five year old students several years ago to illustrate how the process can go.\nSeveral years ago I taught a preschool class absolutely fascinated with birthdays. All of the children chatted constantly about their birthdays, what kind of birthdays they would have, and who they'd invite. During their free play they role played birthdays, they visited the writing center and made invitations, and they made crowns and decorations for parties. As a teacher I observed their enthusiasm and curiosity and decided to facilitate a stand alone project about planning a birthday party together. Posted below are some photos of learning engagements from the project (two thinking routines using graphic organizers and an early literacy meeting).\nI started by planning out the end-goal, have a birthday party in class with a beloved character from a story. Then I considered all of the objectives and learning engagements I could integrate along the way and how to differentiate them to fit the needs of my students. I considered student choice and made alternatives to all of my plans. I started by using read-alouds and storytelling to encourage discussion, assess background knowledge, and develop speaking and listening skills. Then I used interactive writing to write everyone's ideas for planning a birthday party to develop early literacy skills. Next, students drew pictures about how they wanted the party to look and shared these pictures with classmates (again developing communication and thinking skills). As you can see, the engagements and objectives all fit together step by step. We proceeded through the planning process of this transdisciplinary project and integrated art, language, and math objectives into the process. Students created decorations, invitations, baked a cake, and made a pinata. After a few weeks of planning and creating we celebrated Clifford's birthday!\nProject-based learning is highly motivating as students play an active role in their learning. A project can take on so many forms and integrate any, or all, subject areas. Give it a try!", "id": "<urn:uuid:f40ee504-b334-4a83-a7c2-074e55e42679>", "dump": "CC-MAIN-2023-14", "url": "https://www.edmotus.com/post/project-based-learning-creates-motivated-learners", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950422.77/warc/CC-MAIN-20230402074255-20230402104255-00536.warc.gz", "language": "en", "language_score": 0.9658460021018982, "token_count": 594, "score": 3.90625, "int_score": 4}
{"text": "The Tunes of Pow-Wow\nUntil the arrival of Europeans and Americans, followed by the advent of musical recording technologies, Inuit music was traditionally only used in spiritual ceremonies, often to ask the spirits for good luck in hunting, as well as in simple lullabies for children. Unlike most cultures, traditional Inuit music is remarkable for its stoic lack of work songs and love songs. They work well with vocal tunes and use the combination of different symphonies, that are unique to each tribe. Later, Inuit musical traditions were modified with the arrival of foreign sailors, especially those from Scotland.\nTraditional Inuit music is based around drums used in dance music and storytelling, plus a vocal style called \u2018katajjaq\u2019 in Inuktitut, Inuit throat-singing, which has become popular in Canada and abroad. The technical characteristics of Inuit music include story singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating movement.\n'Katajjaq\u2019 is a type of traditional competitive song, considered a game, usually held between two women. It is one of the world\u2019s few examples of overtone singing, a very unique method of producing sounds vocally. When competing, two women stand face-to-face and sing using a complex method of following each other, so that one voice hits a strong accent while the other hits a weak one, melding their voices into a nearly indistinguishable single sound. They repeat brief motifs at staggered intervals, often imitating natural sounds, like those of geese, caribou or other wildlife, until one runs out of breath, trips over her tongue, or begins laughing \u2014 at which point the contest is concluded. These practices came to be over a period of centuries and have existed since, they are still relevant as vocal games, which are unique to the Inuit tribe. Additionally, there are more than a thousand Inuit artists, at present who are honing Katajjaq professionally, while keeping close to their ancestral roots.\nWhile they adorn solid significance to their vocal arts, the tribe is equally as invested in instruments. The main Inuit percussion instrument is the wooden frame drum called the \u2018qilaut\u2019 that is made from bending narrow strips of wood into a circular frame with a handle protruding. Originally, caribou skin was stretched across the frame. Nowadays synthetic membranes are used. These drums can reach three feet in diameter but are usually smaller. It is struck on the edge of the rim with a \u2018qatuk,\u2019 a wooden stick, wand or beater. The sound is a combination of the percussive whack on the wood and the resulting deep vibrations from the stretched membrane.\nThe Inuit art of throat-singing, like Inuit drum dancing, has been enjoyed since time immemorial yet as other musical traditions, instruments and sounds arrived in Nunavut, they have been combined and merged with the expressive musical forms of the native people. Many Inuit enjoy the accordion and fiddle sounds introduced to them by whalers and fur traders. Acoustic and electric guitars are now played everywhere in the territory, producing folk, country, pop and rock music in Nunavut with a distinctly northern artistic flair. Sounding as if it were perhaps invented specifically for another modern musical form adored by youth, the Inuktitut language is brilliantly suited for hip hop lyrics! At specific times of the year \u2014 such as when the sun returns to end the long, dark winter night, at the beginning of springtime and when summer finally arrives \u2014 communities all across Nunavut stage celebrations and games. These events include traditional Inuit performing arts, like storytelling, throat-singing and drum dancing, while also staging traditional Inuit games, which are athletic competitions of strength, agility, dexterity and stamina based on critical skills honed for excellence in hunting and arctic survival. These festive events often feature live music, dancing, theatrical performances and circus acts, plus they include communal feasts of traditional Inuit foods that are prepared for one and all to enjoy. In its truest sense, they are the heart and soul of the tribe combined together, to form a mosaic of all that they are, The tunes of Pow-Wow.\n1. Inuit Culture/Art (2019, June 14) | Kataqjjaq Throat Singing\n2. BBC Travel (2021, April 15) | A revival of Indigenous throat singing", "id": "<urn:uuid:87a4ce6c-f551-44c5-9521-70bcd432a281>", "dump": "CC-MAIN-2023-14", "url": "https://www.controversy.co.in/post/the-tunes-of-pow-wow", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943845.78/warc/CC-MAIN-20230322145537-20230322175537-00334.warc.gz", "language": "en", "language_score": 0.961621105670929, "token_count": 1003, "score": 3.671875, "int_score": 4}
{"text": "In guide 4.4, we looked at different styles of narration. In this guide, 4.5, we\u2019ll continue to look at other aspects of narration. This time, we'll look at the concepts of narrative distance, tone, and perspective. Narrative distance is most likely the most unfamiliar concept to you out of the three, so we\u2019ll spend the most time on it.\nFirst, let\u2019s define narrative distance. Here is College Board\u2019s definition of it, which we will use as our starting point:\n\u201cNarrative distance refers to the physical distance, chronological distance, relationships, or emotional investment of the narrator to the events or characters of the narrative.\u201d (AP Lit CED 2020)\nLet\u2019s break down each part of the definition.\nNarrative distance: refers to the level of proximity or distance between the narrator of a story and the events or characters being described. This proximity can be physical, chronological, or emotional in nature.\nPhysical distance: refers to the physical distance between the narrator and the events or characters in the story. For example, if the narrator is describing events that are happening in the same room as the narrator, the physical distance is close. Conversely, if the narrator is describing events happening on the other side of the world, the physical distance is far.\nChronological distance: refers to the distance in time between the narrator and the events or characters in the story. For example, if the narrator is describing events that are happening in the present moment, the chronological distance is close. Conversely, if the narrator is describing events that happened in the past, the chronological distance is far.\nThe relationship between the narrator and the characters and events in the story also affects narrative distance. For example, if the narrator is a participant in the events of the story, the relationship is close and the narrative distance is shorter. Conversely, if the narrator is an observer of the events, the relationship is distant and the narrative distance is longer.\nEmotional investment refers to the level of emotional engagement of the narrator with the characters and events in the story. For example, if the narrator is emotionally invested in the story, the narrative distance is close. Conversely, if the narrator is emotionally detached from the story, the narrative distance is far.\nThe impact of narrative distance on a story can have a significant effect on how the story is perceived by the reader. Depending on the type of narrative distance used, a story can evoke different emotional responses, create different levels of suspense or tension, and give a different level of understanding of the characters and events.\nA close narrative distance, where the narrator is physically, chronologically, relationally and emotionally close to the events and characters, can create a sense of immediacy and intimacy with the story, allowing the reader to feel more involved and invested in the events and characters. This can also create a greater sense of suspense and tension, as the reader is privy to the same information as the narrator and can experience the same emotions.\nA distant narrative distance, where the narrator is physically, chronologically, relationally and emotionally distant from the events and characters, can create a sense of detachment and objectivity, allowing the reader to see the events and characters in a different light. This can also create a sense of mystery, as the reader is not privy to all of the same information as the narrator and must infer meaning from the narrative.\nBy using different types of narrative distance, an author can manipulate the reader's experience and perception of the story, and create a different emotional response in the reader. For example, a story that starts with a close narrative distance and then shifts to a distant narrative distance can create a sense of disorientation and confusion for the reader, while a story that maintains a consistent narrative distance throughout can create a sense of stability and familiarity for the reader.\nIn summary, narrative distance is an important tool for authors to shape their stories and the way their readers experience them. It can be used to create different emotional responses, suspense, and to control the level of understanding of the characters and events in a story.\nTone refers to the attitude or overall emotional feeling that is conveyed by the narrator, characters, or speakers in a piece of writing or speech. It is the overall emotional and/or attitude that the writer or speaker wants to convey to the reader or audience. Tone can be conveyed through word choice, sentence structure, and the narrator's or speaker's point of view.\nIt can be positive, negative or neutral, and it can change within a text. It is an important aspect of storytelling as it helps to create a specific mood and atmosphere and it can be used to add meaning and depth to the story or speech.\nFor the purposes of this study guide in particular though, to differentiate it somewhat from the references to tone in previous study guides, we\u2019ll think of it as a result of \u201cthe perspective/attitude of narrators, characters, or speakers toward an idea, character, or situation\u201d (College Board AP Lit CED\nTone is an important aspect of literature as it creates a specific mood and atmosphere in the text and helps to create empathy and suspense in the reader. It can be used to evoke specific emotional responses and to add depth and complexity to the story.\nTone can also be used to reveal the narrator's attitude towards the story and the characters. For example, a narrator who speaks in a neutral tone might reveal a lack of emotional involvement in the story, while a narrator who speaks in a fearful tone might reveal a sense of danger or uncertainty. By using tone, the author can create a sense of unease in the reader, and make them more invested in the story.\nIn literature, perspective refers to the point of view or the way in which a story is told. It can refer to the narrator's position in relation to the story, or the characters' position in relation to the events. Perspective can also refer to the way in which an author presents the characters, events, and themes of the story.\nIn simple terms, perspective is the lens through which the story is viewed.\nThe narrator\u2019s perspective effectively determines what details will be presented to the readers (and which ones won't) and how they will be presented.\nConsider adjectives and adverbs in writing. They are included typically to add detail about whatever the narrator is describing. However, an additional way of looking at them is as clues that convey the narrator\u2019s perspective towards things.\nIn these examples, the choice of adjectives and adverbs can be used to create a sense of tension or suspense in the reader, revealing the narrator\u2019s perspective of fear.\nNarrative distance is the level of proximity between the narrator and the events or characters in a story. It can be physical, chronological, relational, or emotional. This affects the reader's experience and creates different emotions, suspense, and understanding of the characters and events. Tone is the attitude or emotional feeling conveyed by the narrator, characters, or speakers in a text. It creates a specific mood and atmosphere and can be used to evoke emotions and add depth to the story. Perspective is the point of view or way in which a story is told, and it can affect how the characters, events, and themes are presented to the reader. The narrator's perspective can be revealed through word choice and can create tension or suspense.", "id": "<urn:uuid:b042a213-d2eb-4b74-80ca-d1bdfdce52cc>", "dump": "CC-MAIN-2023-14", "url": "https://library.fiveable.me/ap-lit/unit-4/narrative-distance-tone-perspective/study-guide/gp20ZDEuG6PTc9lRCi1E", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00536.warc.gz", "language": "en", "language_score": 0.9341304898262024, "token_count": 1529, "score": 4.28125, "int_score": 4}
{"text": "While encounters between livestock and wolves can occasionally occur, wolf-related livestock depredation is minuscule. According to a report published by the Humane Society of the United States, in 2015 the USDA inventoried 112.2 million cattle in the U.S. and just 0.009% of cattle (or 1 in every 10,000 cows) was killed by a wolf. Livestock are far more likely to die of disease, birthing-related problems or from the elements than wolves. However, powerful special interest groups that support the livestock industry as well as trophy hunters and the oil, gas, and mining industries seek to reduce wolf populations for both commercial and selfish interest. They often use misinformation to overstate the threat of wolves and justify killing them.\nLivestock grazing at a subsidized cost takes place across 155 million acres of public lands in 13 states \u2014 an area the size of California and Oregon combined, and while it is possible for ranchers to coexist peacefully with wild wolves, many choose not to. They use lethal methods to deter wolves despite non-lethal options being readily available. Under the guise of \u201cwildlife management,\u201d their solution is simple: kill wolves.\nScience does not support killing wolves for livestock-wolf conflict management. In fact, research shows that killing wolves may actually increase livestock depredation. The death of one wolf, particularly a leader, disrupts the behavior and social structure of the pack and often leads to the pack fragmenting to into smaller groups. The surviving wolves may not be able to successfully bring down their traditional prey, forcing them to rely on smaller animals and scavenging for survival.\nYellowstone's Lamar Canyon pack was thriving until alpha female 06 was shot and killed by a trophy hunter on Dec. 6, 2012. Stable and cohesive during 06s lifetime, the pack fragmented upon her death. One of 06's daughters, 820F, a beautiful light-coated wolf, became a lone wolf and was killed by a private citizen on Aug. 24, 2013 in what was deemed a livestock control action. Although 820F wasn't killed in the hunt, she was a causality nonetheless \u2014 her death a ripple effect of a broken pack social structure.\nResponsible livestock owners are fostering coexistence through the use non-lethal means to successfully deter wolves. There are a variety of methods available and they may be even more effected when integrated, including:\nDiscusses the issues of wolf recovery from a policy-making perspective. The author examines such issues as the role of science in public policy, the struggle between wilderness, resources, and private property, and stakeholders in environmental conflicts.\nScholarly research and history of the American wolf. The author, a wildlife biologist, provides a detailed account of every wolf killed in colonial America to the present day. 1997\nExamines our relationship with wolves through natural history, indigenous stories, and field interviews. 2019\nThrough documents and articles, McIntyre chronicles the persecution of the wolf beginning in early America to 1995. The comprehensive history traces human attitudes toward wolves and how wolf policy is influenced. 1995\nThe author, a nature writer and NPR contributor combines science and storytelling to the 300-year history of wild wolves in America. One chapter is devoted to the story of 06. The book critically acclaimed internationally, was also selected as Forbes Magazine Conservation Book of the Year. 2017\nThe author, a former wolf trapper, was one of the key figures involved in the reintroduction of wolves to Yellowstone. His transformation can be summed up by one of the quotes in his book, \"If wolves can't live in the wilderness, where can they live?\" 2010", "id": "<urn:uuid:82416028-46ec-418a-80a9-e491fbc98084>", "dump": "CC-MAIN-2023-14", "url": "https://www.the06legacy.com/coexistence", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948976.45/warc/CC-MAIN-20230329120545-20230329150545-00755.warc.gz", "language": "en", "language_score": 0.9559817910194397, "token_count": 743, "score": 3.640625, "int_score": 4}
{"text": "4 \u2013 8 years\n- historical figures\n- social-emotional learning\nmiranda paul and ebony glenn\nHappy Saturday! As you know, it\u2019s time for #sweetsandsocialjustice and this week is a picture book all about how and when to speak up! This newly released book is illustrated by one of our favorites, Ebony Glenn, and the story follows a group of diverse kids throughout their school day. When I was in school, I used to dream about the summer because I loved camping so much. So I made a marshmallow cookie (actually by accident) to tide me over until I could escape to the woods.\nSpeaking directly to the reader, the book is full of tips to help readers know when they should speak up. Something I love about the illustrations is how the reader can piece together the situation and help figure out what to say. This is so empowering, and helps develop critical thinking skills! Some situations covered are hearing rumors you know aren\u2019t true (like how a mysterious brown stain appeared on the back of someone\u2019s pants) or inviting a new student to sit at lunch. Even if you make a mistake, speak up and apologize. Being able to advocate for yourself, whether that\u2019s expressing gratitude, the mispronunciation of your name, or because a situation is unsafe, is an invaluable skill and one that will inevitably turn the tides more towards the equitable treatment of people. If kids (especially ones with privilege) are not taught to speak up when they witness a situation in which they should speak up, marginalization of others will continue. In the back of the book are some real-life examples of kids who spoke up! There are also helpful lists of situations where a person should speak up, and situations that can be let go (like when kids can solve the problem themselves). There\u2019s also some options for speaking up without saying a word, like writing letters or volunteering. I love this entire book, and the additional resources in back. This provides so much opportunity for further discussion, and introduces a bunch of really cool kids that have changed the world by speaking up! I love this picture book a lot, and I think you will too.\nThis book was kindly sent by HMH Kids and I couldn\u2019t be more thrilled to be able to review it. All opinions and decision to review is my own!\nMarshmallow Chocolate Cookies:\n- 1c softened butter\n- 3/4c sugar (I like maple)\n- 3/4c brown sugar (I like dark)\n- 2 eggs\n- 1t vanilla extract\n- 2 1/4c flour (I use King Arthur Gluten Free)\n- 1t salt\n- 1t baking soda\n- 1 bag mini marshmallows\n- 1c chocolate chips\n- flaky sea salt (for sprinkling on top)\nPreheat oven to 375. Cream butter and sugar, add eggs and vanilla. Mix in dries, do not overmix. Add in marshmallows and chocolate. The cookie dough is going to be mostly marshmallows, but I promise it\u2019s worth it! Scoop cookies onto sheet (I have a cookie scoop and I love it) and sprinkle tops with flaky salt. Bake about 12 minutes. The cookies will be very soft and slightly underdone, but the marshmallows will be golden and toasted on top. Let cool completely on the cookie sheet and the residual heat will finish the cookies without overcooking the marshmallows on top.\nMiranda Paul is a award-winning children\u2019s author of One Plastic Bag and Water is Water, both named Junior Library Guild selections. Her titles have received starred reviews from School Library Journal and Publisher\u2019s Weekly in addition to being named to several recommended and \u201cbest of\u201d reading lists. 10 Little Ninjas also was named an Amazon Best Book of the Month (August 2016). Miranda makes regular appearances at schools, libraries, and bookstores, and has been a guest presenter at the Library of Congress Young Readers Center along with environmental activist Isatou Ceesay. Miranda also serves as Mentorship chair for We Need Diverse Books\u2122 (www.diversebooks.org), volunteers for Books for Africa, and is a regional advisor for the Society of Children\u2019s Book Writers (Wisconsin Chapter). She believes in working hard, having fun, and being kind. Learn more about her current and forthcoming titles at www.mirandapaul.com.\nEbony is also the proud recipient of the 2018 Wonders of Childhood Focus Fellowship, an award given by AIR Serenbe, a nonprofit artist residency program of the Serenbe Institute in Chattahoochee Hills, Georgia. We\u2019ve even talked about Ebony before when reviewing the book Mommy\u2019s Khimar as well as featured her on one of our Sound Off Saturday posts!\nA passion for the arts, great storytelling, and advocating diversity in children\u2019s books, she aims to create illustrations that will foster a love of reading in young readers. She also loves to create joyful and heartwarming crafts to satisfy her endless need to always make new things.\nWhen Ebony is not giving in to her creative itch of art-making, you may find her lost in the pages of a good book, learning some new hula-hooping tricks, or going on an adventure with her pups, Louie and Gabby.", "id": "<urn:uuid:b2676c52-a7b1-4b5d-b974-2a304822b8df>", "dump": "CC-MAIN-2023-14", "url": "https://thetinyactivist.com/speak-up/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00137.warc.gz", "language": "en", "language_score": 0.9458788633346558, "token_count": 1157, "score": 3.59375, "int_score": 4}
{"text": "Grade 4 Curriculum Religion In grade 4 students continue to build their relationship with God through learning and living God\u2019s Ten Commandments. Students dive deep into learning how to love and honor God and one another. Students learn this through parables, scriptures, and song. Grade 4 students will continue to learn about the communion of saints and how we can answer God\u2019s call to be saints. Liturgical seasons and traditions will be highlighted. Students will also participate in weekly liturgies and have various service opportunities throughout the year. Math In fourth grade math, we use Sadlier Math 2019. We start off the year by reviewing place value, addition, and subtraction, which we were taught from third grade. We will take those skills and apply them to multiplication concepts and multi digit multiplication. After multiplication, students dive into division, including factors, multiples, and fractions. Decimals will also be used in all operations. We will learn how to work with fractions, and students will also learn how to perform all operations. We end our book with measurements, lines, and polygons. While learning these skills, we utilize technology with videos and interactive computer games. In fourth grade, we also use IXL every night to ensure that skills being taught in class are still present while out of the classroom. We do individual and group activities to enhance skills being taught. In our classroom, we learn skills that will help to prepare ourselves for fifth grade and the skills we will learn the following year. Science In fourth grade science, we use the Nancy Larson program. This program gives us access to a variety of interactive videos, activities, and tools to learn about each topic. We will uncover and discuss different cells and their characteristics and functions. We also look into nature by exploring parts of a plant, different types of animals, and ecosystems. We then move away from nature and turn to energy and electricity. Our science program will provide students with their own booklets for them to work in and complete activities. These booklets will have charts for students to fill in as well as different activities. We focus on key words and make sure we define them and highlight them in our books. Vocabulary Sadlier Vocabulary Workshop program uses a variety of tools to implement new terms into student\u2019s vocabulary. Each unit (18 total) begins with a passage that introduces the new terms and how they are used and what they sound like. Other activities include synonyms and antonyms, matching definitions, pronunciation, parts of speech and how they are used in sentences. Each unit also helps students build vocabulary beyond the unit words such as learning word parts (prefixes and suffixes and roots to decode unknown words) as well as learning different meanings of figurative language such as idioms, proverbs, similes, and metaphors. Grammar In Voyages in English, students learn a multitude of different ways of understanding grammar and writing. This includes analyzing, arguing, and applying methods of effective communication. Students learn a total of seven chapters with each chapter divided into eleven lessons. These lessons include sentences, nouns, pronouns, adjectives, verbs, adverbs and conjunctions, and punctuation and capitalization. Bonus chapters also include multiple writing techniques such as: personal narratives, How-to articles, formal letters, descriptions, creative writing-fables, persuasive writing, expository writing, and research reports. Reading The HMH Into Reading curriculum builds students\u2019 understanding of academic vocabulary and real-world topics by using critical/strategic thinking and reading skills. Each module teaches students how to recognize and use citing text evidence, genre characteristics as well as increasing knowledge in various content areas to build/make meaning of the readings. Each Module is organized into central ideas and questions with five readings in each module. Central ideas for each module in fourth grade are: What makes us who we are? Come to your senses, Rise to the Occasion, Heroic Feats, and Art Everywhere. Each story also ends with collaborative discussion questions as well as short writing exercises. Students complete summative essays at the end of each module by using the information and knowledge that they learned and apply those skills into writing assignments. Social Studies Each Chapter begins with the Big Questions where students are introduced to the topic, grounded in the instruction, and encouraged to draw upon and apply previous knowledge. A Jumpstart activity is designed to activate the topic at the opener in fun and engaging ways. Finally, the Sing/Rap about it feature introduces students to chapter vocabulary in the form of a song or rap. The Quest activity is an inquiry project that takes place over the course of the entire chapter. Students are presented with a real-world problem & students apply their knowledge and demonstrate their understanding in a final project (essay, discussion, presentation, physical/digital product. Reading checks are also provided to check for understanding of what was previously read, content vocabulary as well as increasing word skills, writing skills, Map and graph skills, critical thinking skills and literacy skills lessons in which students apply and demonstrate their learning. Specific areas learned are Geography of the United States, Americans and their history, Government in the United States, The Nation\u2019s economy, Regions in the Northeast, Southeast, Midwest, and West.", "id": "<urn:uuid:3f9f0598-9d28-4823-9625-a3ffbbeae340>", "dump": "CC-MAIN-2023-14", "url": "https://www.saintmonicaschoolmethuen.org/grade-4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950383.8/warc/CC-MAIN-20230402043600-20230402073600-00334.warc.gz", "language": "en", "language_score": 0.9519756436347961, "token_count": 1062, "score": 3.796875, "int_score": 4}
{"text": "En este plan de clase los estudiantes explorar\u00e1n algunos de los contrastes a los que Esperanza se enfrenta cuando debe abandonar su c\u00f3moda vida como hija consentida de terrateniente poderoso, siempre rodeada de familia y de sirvientes, para convertirse en una sirvienta junto con los dem\u00e1s obreros agr\u00edcolas emigrantes. Este plan de clase tambi\u00e9n estudiar\u00e1 el trasfondo de la historia, considerando su marco hist\u00f3rico, social y cultural para descubrir los grandes contrastes y contradicciones que Esperanza descubre al llegar a los Estados Unidos. Y, finalmente, este plan de clase invitar\u00e1 a los estudiantes a prestar atenci\u00f3n a algunos de los cambios a los que Esperanza se tiene que enfrentar para convertirse, tras ser una ni\u00f1a privilegiada y mimada, en una jovencita responsable y emprendedora.\nThis lesson invites students to reconfigure Meg\u2019s journey into a board game where, as in the novel itself, Meg\u2019s progress is either thwarted or advanced by aspects of her emotional responses to situations, her changing sense of self, and her physical and intellectual experiences.\nThis lesson concentrates on Anne Frank as a writer. After a look at Anne Frank the adolescent, and a consideration of how the experiences of growing up shaped her composition of the Diary, students explore some of the writing techniques Anne invented for herself and practice those techniques with material drawn from their own lives.\nIn this lesson, students will look behind the story at the historical, social, and cultural circumstances that shape the narrative throughout Esperanza Rising. The lesson also invites students to contemplate some of the changes Esperanza undergoes as she grows into a responsible young woman and the contradictions that she experiences.\nA critic of writer Jack London called his animal protagonists \u201cmen in fur,\u201d suggesting that his literary creations flaunted the facts of natural history. London responded to such criticism by maintaining that his own creations were based on sound science and in fact represented \u201c\u2026a protest against the \u2018humanizing\u2019 of animals, of which it seemed to me several \u2018animal writers\u2019 had been profoundly guilty.\u201d How well does London succeed in avoiding such \u201chumanizing\u201d in his portrayal of Buck, the hero of his novel, The Call of the Wild?\nSome of the most the most essential works of literature in the world are examples of epic poetry, such as The Odyssey and Paradise Lost. This lesson introduces students to the epic poem form and to its roots in oral tradition.\nIn this lesson, students study issues related to independence and conceptions of masculinity in Ernest Hemingway\u2019s \u201cThree Shots\u201d as they conduct in-depth literary character analysis, consider the significance of environment to growing up and investigate Hemingway\u2019s Nobel Prize-winning, unique prose style. In addition, they will have the opportunity to write and revise a short story based on their own childhood experiences and together create a short story collection.\nCentered on poems about the natural world, this lesson encourages students, first, to make the reading of poetry a creative act; and, second, to appreciate particular literary devices in their functions as semaphores or interpretive signals.", "id": "<urn:uuid:0345c7e7-42b6-4dd6-8ac0-4350360307c1>", "dump": "CC-MAIN-2023-14", "url": "https://edsitement.neh.gov/lesson-plans?f%5B0%5D=lesson_plan_grade_range_facet%3A11&f%5B1%5D=lesson_plan_subject_topic_facet%3A9371&f%5B2%5D=lesson_plan_subject_topic_facet%3A9906", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00535.warc.gz", "language": "en", "language_score": 0.7935375571250916, "token_count": 740, "score": 3.734375, "int_score": 4}
{"text": "Celebrate Halloween week with these Halloween activities for kids. Have a classroom party with crafts, science, and STEM activities, literacy and math ideas!\nAs you\u2019re planning for Halloween activities for kids in your classroom, you\u2019re sure to find a gazillion great ideas! Included in this post is a list of 30 favorite lesson plans, crafts, STEM activities, literacy activities, and more! You and your students are sure to have a terror-ific time!\n30 Creative and Easy Halloween Activities for Kids\nDon\u2019t waste any more time searching for Halloween activities for kids. Below are the best ideas for those kiddies who are looking forward to candy and costumes on October 31st. These are the classroom plans for which your excited little monsters, ghouls, goblins, and witches will actually sit still!\nHalloween Activities for Kids: Arts & Crafts\nGrab the buckets of scissors, glue, crayons, and glitter! Your hands-on learners are going to love these cute Halloween-themed arts and crafts activities.\n1. Entertain the children who love to draw with a simple-to-use Frankenstein directed drawing lesson.\n2. Students who love patters and can grasp the elements of artistic design will love designing their own pumpkin.\n3. Can you believe that with a few simple supplies \u2013 a couple of sheets of construction paper, some toilet paper rolls \u2013 your students\u2019 creativity can result in a spooky Halloween paper scene?\n4. Use glow-in-the-dark paint to create DIY window clings in the shape of jack-o-lanterns \u2013 or any other fun Halloween subject!\n5. If you need a creative way to decorate pumpkins, without the use of sharp tools that are difficult for little hands: confetti pumpkins are the way to go.\nHalloween Activities for Kids: Science & STEM\nDon\u2019t forget to include engaging Science, Technology, Engineering, and Math activities in your Halloween planning! Here are some ideas to help you.\n6. Have the spiders begun to leave webs around the school and grounds? Take the opportunity to teach your class all about spiders.\n7. Using the most popular vegetable (or fruit \u2013 did you know?) of the season, have your own scientific investigation of a pumpkin!\n8. Build a skeleton and talk about basic body vocabulary such as the skull, ribs, and femur.\n9. Learn about how baking soda and vinegar react with a fizzing eyeballs Science experiment.\n10. What happens to candy pumpkins when places in various liquids? Have your students test it out.\n11. Spooky shadow puppets are great for learning about how shadows change throughout the day.\nHalloween Activities for Kids: Literacy, Writing, & Books\nWant to pique your students\u2019 interest in reading and writing this Halloween? Use topics that excite their imaginations.\n12. Use a Halloween writing lesson to build important vocabulary and writing skills with a spooky subject \u2013 a haunted house.\n13. Encourage reading and make it festive by letting the kids mark their pages with a fun Halloween-themed printable bookmark.\n14. Here\u2019s are fun pumpkin craftivities to do alongside reading the book Pippa the Pumpkin Fairy.\n15. Bind students\u2019 writing projects into a Halloween cereal box book that they decorate themselves.\n16. Let children trace their letters and practice handwriting with these letter tracing ghosts.\nHalloween Activities for Kids: Math\n1-2-3\u2019s and counting, addition and subtraction, colors, shapes, and more fun can be found in these activities for primary students. And yes, they are all Halloween-themed!\n17. Discuss basic shapes as children piece together their own individual monster on this decorative banner. Hang them for the whole class to enjoy!\n18. Counting pumpkins is fun with painted rocks or other pumpkin counters \u2013 perhaps pumpkin candy!\n19. If your students are learning to count to six, or can even begin simple addition up to 12, try these Halloween spin and cover games.\n20. Make a counting book about spiders for the children to count, color, and create fingerprint spiders on a web.\n21. Q-tips make the perfect \u201cspooky bones\u201d and you can teach about shapes with them!\n22. Take the holiday\u2019s favorite candy \u2013 candy corn \u2013 and teach number concepts and counting with it.\n23. Add teeth to a jack-o-lantern in this easy addition game using candy corn.\nHalloween Activities for Kids: Just for Fun\nWho says everything has to be educational? Sometimes it\u2019s fun to put away the books and standards and just take some time to enjoy a holiday. (These activities do, of course, have some educational value \u2013 but, shhh\u2026. the kids don\u2019t have to know that!).\n24. Try an active game, a Franken-buddy craft, or a creative writing activity\u2013 each activity is perfect for a classroom Halloween party.\n25. Your Halloween party will be a howl with these DIY activities \u2013 pumpkin bowling, digging for witches\u2019 fingers, and a spider web toss!\n26. Let kids create and use mason jars mummies to hold their school supplies in on their desks.\n27. Go on a nature walk and find large rocks to paint like monsters, ghosts, zombies, or jack-o-lanterns.\n28. Want to give your students a *healthy* Halloween treat on party day? Fruits and veggies are perfect when paired with a \u201cFruits/Veggies don\u2019t scare me!\u201d topper!\n29. Harvest Hash makes a special snack time treat \u2013 there\u2019s a little bit of everything in there from salty to sweet!\n30. Treat the kids to a silly but boo-tiful door as they come in on Halloween!\nTake a break from your regular routine and throw in a few of these 30 Halloween activities for kids! Your children who are counting down the days until they get to go trick-or-treating will be delightfully engaged in learning.\nFREE Frankenstein Directed Drawing\nMore Halloween Activities for Kids", "id": "<urn:uuid:eee411f6-7cfb-42b6-88be-7ae5a1c8058e>", "dump": "CC-MAIN-2023-14", "url": "https://proudtobeprimary.com/halloween-activities-for-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948965.80/warc/CC-MAIN-20230329085436-20230329115436-00536.warc.gz", "language": "en", "language_score": 0.9165481328964233, "token_count": 1289, "score": 3.515625, "int_score": 4}
{"text": "Explore Nontraditional Fantasy Novels with Kids\nBy Kasey Short\nThroughout my career, the fantasy genre has been a consistent favorite for middle school students. They love fantastical creatures, magic, and the ability to escape into a world much different from their own.\nMany newer fantasy novels flip tropes upside down and reimagine what it means to be a hero. These nontraditional fantasy books can be used address difficult topics, provide real world commentary, counter stereotypes, allow students to see kids that look like them as heroes, and inspire new ways of thinking and imagining.\nThere are many possibilities for using these novels in a middle school classroom to engage readers while intentionally addressing other important topics. Here are two from my classroom:\n- Exploring how the reimagined characters challenge gender stereotypes can lead to discussions about gender roles and societal expectations.\n- Analyzing the real-world issues addressed in a fantasy setting can also lead to conversations about current events and global issues.\nAlso, nontraditional fantasy books can offer representation to students who may not see themselves in traditional fantasy stories. Students who are often underrepresented in literature can imagine themselves as heroes who have the power to shape their own future. This can be especially important for students who may feel marginalized and/or excluded.\nSuggested Activities and Discussion Topics\n1. Stereotypes: How does the novel challenge stereotypes? What lesson could you learn from this example and how could that be applied to real world situations? Before reading, make a list of stereotypes often found in fantasy novels. While reading, make a note of examples that counter stereotypes.\n2. Real-World Connections: What challenges and events in the book relate to situations in our world today or in history? Once these connections are made, compare and contrast how characters in the book reacted to/solved these issues to how similar issues are dealt with in the real world. What could we learn from the characters about tackling different issues?\n\u2022 Oppression and Power: Explore how the novel addresses these and how it relates to real world power dynamics. Who is in power, how did they achieve their power, and do they use their power to oppress others? Compare how a villain in the novel uses their power to examples of real-world authoritarian leaders.\n\u2022 Environmental Issues: Many fantasy novels address issues such as deforestation, pollution, or the impact of climate change on fictional worlds. Students could examine how the novel addresses these issues and discuss how they relate to similar issues in the real world as well as how the hero of the story \u201csolves\u201d the problem in relation to possible real-world solutions.\n\u2022 Immigration and Migration: Some fantasy novels explore the experiences of characters who must leave their homes and migrate to new places. Students could discuss how this relates to real-world experiences of immigrants and refugees and examine the reasons why people might be forced to leave their home, how they are treated on their journey, and how they are received once they arrive at their destination.\n\u2022 Discrimination and Prejudice: Students can examine how a fantasy novel addresses issues of discrimination and prejudice, and how this relates to real-world examples of racism, sexism, or other forms of discrimination.\n3. Representation in Literature: Discuss the importance of representation in literature and how nontraditional fantasy books can offer representation to underrepresented groups. How did the inclusion of these underrepresented groups impact the story?\n4. Creative writing: Students use the novel as a model for creating their own fantasy short story that features unlikely heroes, counters stereotypes, and includes connections to real world challenges.\n5. Tropes: Examine traditional fantasy tropes and compare them to the novel. Discuss the impact of flipping these tropes on the plot, characters, and themes. What about the novel would not have been possible with traditional tropes?\nNontraditional Fantasy Novel Suggestions\nHere\u2019s a small collection of titles that appeal to my students and might help you expand your class or school library collection of \u201cflipped\u201d fantasy. There are many more out there to discover!\n\u2726 Universe of Wishes edited by Danielle Clayton\nThis collection of young adult fantasy short stories features diverse characters and nontraditional fantasy plots. Each story can be read as a stand-alone and could introduce students to authors whose work they\u2019d like to explore further. These short stories would also be wonderful mentor texts to start a fantasy unit for upper middle grades.\n\u2726 Princess of the Wild Sea by Megan Blakemore\nThis book tells the story of Princess Harbor Rose anxiously awaiting her thirteenth birthday and what will come of the curse she was told was given to her as a baby. She believes a prince will be sent to save her and her community from this curse, but ultimately realizes she is the hero of her own story.\n\u2726 Lia Park and the Missing Jewel by Jenna Yoon\nLia\u2019s parents work at a magical organization, and while she impatiently waits for her own magic skills to kick in, she decides to break one of her parents\u2019 rules. This leads to an evil spirit being released and trying to capture her to acquire a jewel. Lia and her friend Joon soon find themselves on a magical adventure to Korea to find the jewel first and save the world. During their journey they both learn about who they are and their own courage.\n\u2726 Eden\u2019s Everdark by Karen Strong\nEden goes to her family home of Safina Island to help her heal after her mother died. Eden finds drawings that her mother made and then finds herself in another world, Everdark, where everything is dark and there are spirits between death and the afterlife. This world looks very similar to the drawings by her mother. Eden is then faced with the challenge of overcoming the Witch of Everdark and getting back to her own world.\n\u2726 The Total Eclipse of Nestor Lopez by Adrianna Cuevas\nNestor Lopez can talk to animals, and he moves around a lot due to his father being in the military. He just wants to fit in after moving to a new town to live with his grandmother. He soon finds himself needing to solve the mystery of animals who are disappearing and especially prove that his grandmother isn\u2019t involved in the disappearances. He realizes they are being impacted by a witch and needs to use his powers to stop her.\nMore Books to Choose From\n\u2726 The Girl from the Sea by Molly Knox Ostertag\n\u2726 City of the Plague God by Sarwat Chadda\n\u2726 The Hidden Witch by Molly Knox Ostertag\n\u2726 Pet by Akwaeke Emezi\n\u2726 Quintessence by Jess Redman\n\u2726 Amari and the Night Brothers by B.B. Alston\n\u2726 Where the Mountain Meets the Moon by Grace Lin\nNontraditional Fantasy Novels Coming Soon in 2023\n\u2726 The Ghosts of Rancho Espanto by Adrianna Cuevas\n\u2726 Nic Blake and the Remarkables: The Manifestor Prophecy by Angie Thomas\n\u2726 Mari and the Curse of El Cocodrilo by Adrianna Cuevas\n\u2726 Unstuck by Barbara Dee\n\u2726 Team Chu and the Epic Hero Quest by Julie Dao\nKasey Short (@shortisweet3) is the Middle School Director of Studies and an 8th Grade English Teacher and Advisor at Charlotte (NC) Country Day School. Kasey loves to share ideas from her classroom and writes frequently for MiddleWeb. She attended the University of North Carolina at Chapel Hill and earned a bachelor of arts in middle school education with a concentration in English and history. She went on to earn a master\u2019s in curriculum and instruction from Winthrop University.", "id": "<urn:uuid:2a0bfd59-1f9e-4382-ae8c-c35f12014fd7>", "dump": "CC-MAIN-2023-14", "url": "https://www.middleweb.com/48668/explore-nontraditional-fantasy-novels-with-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943845.78/warc/CC-MAIN-20230322145537-20230322175537-00336.warc.gz", "language": "en", "language_score": 0.9609032273292542, "token_count": 1590, "score": 4.0, "int_score": 4}
{"text": "The best way to describe the executive function of cognitive flexibility is to think of Einstein\u2019s definition of insanity. \u201cDoing the same thing over and over again and expecting different results.\u201d That would be cognitive inflexibility. Cognitive flexibility is the ability to notice when your thinking process is not working or to notice when changes have occurred and to be flexible enough to adapt the thought process and to think differently about it. It may be that the goal of the project changed, something in the environment has changed, or the next step cannot be completed due to outside forces and thus the individual becomes stuck and can\u2019t continue.\nOn the Behavioral Inventory of Executive Functions (BRIEF) there are two categories that relate to this skill; cognitive shift and behavioral shift. Together they can indicate a student\u2019s ability to try different approaches to something whether it is in their thinking or in actually changing their behavior when they notice it is not working. Solving a math problem is a good example of this. The student knows what the answer should be and solves the problem. When the answer is not right, they erase it and try again. Often they are repeating the same mistakes without realizing it.\nStuck on a math problem but not realizing they are doing the same thing and are surprised the answer isn\u2019t different.\nDifficulty adjusting to changes in plans\nProjects have various parts to them and when students get stuck on one piece they are unable to move forward.\nCreative writing is a real challenge as they cannot generate new ideas as they get stuck in one frame of thought.\nFollowing processes that aren\u2019t effective because \u201cI\u2019ve always done it this way.\u201d\nEasily \u201cthrown off course\u201d when conditions change\nDifficulty providing multiple solutions or ideas or in synthesizing something new out of given information\n- Give advance notice of changes with visual and/or verbal reminders (timers too)\n- When stuck or when you see the frustration start to build, suggest a break to do something active\n- Leave yourself a note explaining where you left off, so when you return you can pick it back up quickly\n- Encourage brainstorming and generating multiple ideas before settling on a specific approach\n- Start with the end in mind and work backwards\n- Ask for help, Google it or use a website like www.khanacademy.org\n- Use a whiteboard and don\u2019t erase the previous approach\n- Use stories of past successful approaches to remind them of other options/approaches\n- Create a mind map (using colors and different shapes for key ideas)\n- Have a backwards day where everything is done backwards\n- Write down the approaches tried and list other options or give choices\n- If they play video games, you can get them to explain the different strategies they used to advance to the next level and compare that to their school work\nHelping your child brainstorm and learn ways to become more flexible in their thinking will help them become better problem solvers, creative thinkers and successful students. The world is not predictable and we all need to learn to adapt to the changes it may throw at us so that it doesn\u2019t throw us off course.", "id": "<urn:uuid:8dc2d918-d410-436f-af7a-0bd16143ac23>", "dump": "CC-MAIN-2023-14", "url": "https://thinkinganddoingskillscenter.com/stuck-12-ways-to-encourage-cognitive-flexibility/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943746.73/warc/CC-MAIN-20230321193811-20230321223811-00136.warc.gz", "language": "en", "language_score": 0.9343034029006958, "token_count": 677, "score": 4.375, "int_score": 4}
{"text": "Unraveling the Mysteries of Riddles: How They Are Used for Fun and Learning\nThe phrase \"riddle is used for\" has been around for centuries, and is often used to describe a question or statement that is intended to be solved by thinking in a clever or creative way. Riddles have been used for a variety of purposes, from entertaining children to teaching valuable lessons.\nThe History of Riddles\nRiddles have been around for thousands of years, and are believed to have originated in the oral tradition of storytelling. Ancient Egyptians and Greeks used riddles as a form of entertainment, while medieval European cultures often used them to test the wit and wisdom of their peers. Today, riddles have become a popular way to have fun and pass time, while also helping people to think more critically and creatively.\nTypes of Riddles\nThere are many different types of riddles, each with its own unique character and purpose. Some of the most popular types of riddles include:\n- Traditional Riddles: These are riddles that are composed of questions or statements and often contain puns or wordplay.\n- Math Riddles: These are riddles that involve mathematical equations or calculations.\n- Logic Riddles: These are riddles that require logical thinking and deductive reasoning to solve.\nUses for Riddles\nRiddles are used for a variety of purposes, and can be a great way to help people learn and have fun. Some of the most common uses for riddles include:\n- Entertainment: Riddles can be fun and entertaining, and can be used to occupy children or adults during game night, family gatherings, or other social events.\n- Educational: Riddles can be used to teach problem-solving skills, critical thinking, and logical reasoning. They can also be used to help students learn new concepts, such as math, science, and language.\n- Competition: Riddles can be used to create competitive games and activities, such as scavenger hunts or trivia contests.\nTips for Solving Riddles\nSolving riddles can be a great way to exercise your brain and think in creative and logical ways. Here are some tips to help you solve riddles more easily:\n- Break the riddle down into smaller parts: Try to identify the key words and concepts in the riddle and break them down into smaller pieces. This will make it easier to understand the overall message of the riddle.\n- Think outside the box: Riddles are often designed to test your ability to think in creative and unconventional ways. Don\u2019t be afraid to think outside the box and come up with unusual solutions.\n- Look for patterns: Look for patterns in the riddle that can help you figure out the answer", "id": "<urn:uuid:00bccc57-0b8c-4e2b-a5fd-22ffb2780d0a>", "dump": "CC-MAIN-2023-14", "url": "https://demonhearts.xyz/browse/unraveling_the_mysteries_of_riddles_how_they_are/16749268421414272d024ff/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00333.warc.gz", "language": "en", "language_score": 0.9597492814064026, "token_count": 559, "score": 3.5, "int_score": 4}
{"text": "General Currie Elementary: The Land is Our Home\nWednesday November 6th, 2019\nIn this project, students learned about how we are connected to the land. Students explored the land of Richmond, Greater Vancouver, and BC to inquire into how our daily lives, and our identities are shaped by our local environment. We learned about resources that are provided by the land, and how those resources are taken, used, and cared for (or not cared for) by humans. We learned about the human impact on land, and how we can become more responsible stewards of the land. As part of our study, we explored Indigenous worldviews to understand how we can learn from Indigenous peoples to nurture more healthy and connected relationships with the the land.\nConnection to the Vancouver Biennale Exhibition:\nStudents visited Water #10 by Ren Jun. We discussed the importance of water as a basic need for sustaining life. The artist created this installation with a powerful message for all, as water is a universal experience. We then passed the Richmond Oval, and walked along River Road (Dyke Trail) to Terra Nova Community Garden, to learn about soil and water working together to grow food. Then, we continued on to the Terra Nova Adventure Park to explore how humans use natural materials and landforms for entertainment.\nEnduring Understandings/Big Ideas:\nSocial Studies (Grade 3/4):\n- The pursuit of valuable natural resources has played a key role in changing the land, people, and communities of Canada.\n- Indigenous societies throughout the world value the well-being of the self, the land, spirits, and ancestors.\n- Indigenous knowledge is passed down through oral history, traditions, and collective memory.\n- People from diverse cultures and societies share some common experiences and aspects of life.\nScience (Grade 3):\n- Living things are diverse, can be grouped, and interact in their ecosystems.\n- How are we connected to the land?\n- As stewards of the land and its resources, what are our rights and also our responsibilities?\n- What can we learn from Indigenous peoples, as we explore our relationship to the land?\n- Science: learning about local biodiversity and ecosystems\n- Math: sequencing and time (learning about the stages and duration of growth); graphing (in order to display the information about growth as associated with different types of plants); looking at patterns as they occur in nature; looking at statistics and how they can be interpreted in relation to environmental studies\n- Language Arts: using writing to reflect and explain learning and connections; using oral storytelling and traditions to learn about the past and create meaning.\n- Fine Arts: exploring processes that transform ideas and experiences into visual images and exploring image-making technology through natural means\n- ADST: using digital technology to create infographics about issues related to our study, for instance, global water use.\nThis inquiry centred on the relationship between humans and the environment. Therefore, to begin, students first learned about our local environment, exploring the question, \u201cWhat is significant about our local environment?\u201d\nStudents began by asking the question, \u201cWhat is a place that you find to be significant to you?\u201d They explored how place may impact all your senses, your emotions, and your memories. Students explained their connection using loose parts, and extended their thinking by writing a story or poem about connections to a place. Students learned about their own family histories in terms of coming to this place of Richmond, in order to uncover how connections to Richmond may be varied and complex.\nStudents learned about where the local land came from in terms of the formation of the river delta that is Richmond. They learned about local Indigenous peoples. They gained an understanding of the stories of this land; they learned about the resources of this place, and how these resources have created community since time immemorial. Students engaged in activities from the Musqueam Teaching Kit: Giving Information About Our Teachings, in order to explore Indigenous stories, worldviews, and histories.\nStudents mapped out our local environment, and created a model of our local environment to show significant locations, and names of these locations in English, and in Hunqiminum. Students learned about the significance of language, and naming, and how the naming of places comes from a human connection to place. Students explored the Indigenous names of places locally, and across Canada, making use of the Canadian Geographic Indigenous Floor Map of Canada.\nStudents asked the question, \u201cWhat are the resources of our local environment?\u201d, and compared local resources to that of a different environment. Students considered how we use our resources, and how we obtain resources that are not provided in our local environment. Students evaluated how we use our resources, and how our local land, and then more broadly, the land of Canada has been reshaped for resource exploration and development.\nStudents focused on the resource of water, exploring its use globally, and specifically in terms of the Pacific Ocean and the Fraser River. Students studied the water cycle, especially as it relates to the Fraser River and our BC Mountains. Students investigated the use and wastage of water, and how their actions at home and within the community can impact our water resources. Students learned about the importance of salmon to First Peoples, and how the waterways of salmon, and the salmon resource itself can be protected.\nStudents were asked to critically consider whether they themselves are good stewards of their environment and its resources, and then, more broadly, are we as a local community and as a global community being good stewards of our environment. Students came up with some personal actions that they can take as individuals, and as a class community, to make a difference for the environment.\nThroughout, teaching incorporated the First Peoples Principles of Learning, namely using story to teach, and to learn how Indigenous peoples value the well-being of self, and, spirits and ancestors.\nStudent Creation/Taking Action:\nIn collaboration with our artist, students engaged on a journey to connect them in an experiential way with place. They collectively worked on the creation of an indoor class garden in which indoor garden pots featured plants that can be studied, harvested, used and shared. They made choices about the plants being grown, and learned about their characteristics, under what conditions they grow best, and how they have been used by humans in the past and in the present. Students learned about medicinal plants used by Indigenous people, as well as plants with sacred uses, for instance, cedar, sweet grass and tobacco. Students considered the importance of plants to our local environment, and how plants are at the centre of our local ecosystem. Invasive species were highlighted in order for students to see the fragility of balance within a local ecosystem. Students also investigated what plants are considered to be significant to our local farmers and to our local population due to culture. Students considered what plants they consider to be personally significant and why. Students engaged the community to share their plants in a plant sale/herb sale. Along with selling their plants, they also communicated information that they have learned in their inquiry.", "id": "<urn:uuid:e39781ec-80e8-4aa2-ac65-7a2a975ff1dd>", "dump": "CC-MAIN-2023-14", "url": "https://www.vancouverbiennale.com/current-cases/general-currie-elementary-the-land-is-our-home/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00737.warc.gz", "language": "en", "language_score": 0.953692615032196, "token_count": 1462, "score": 4.25, "int_score": 4}
{"text": "American Passages: A Literary Survey\nGothic Undercurrents Herman Melville (1819-1891)\nMelville had to struggle to regain the economic and critical popularity he had enjoyed with his earlier writing. After Pierre, he primarily wrote short stories for magazines like Harper\u2019s. Financial concerns burdened the family for years, but an inheritance late in life allowed Melville to work on his final narrative, Billy Budd, Sailor, the manuscript of which was found upon his death in 1891. Only after his death did Melville rise from the ranks of second-rate adventure novelists to his present status as one of America\u2019s most important writers. Many recent readers have praised his piercing social criticism; they point, for example, to his condemnation of racism in \u201cBenito Cereno\u201d (1855) and his critique of dehumanizing labor in \u201cBartleby, the Scrivener\u201d (1853) and \u201cThe Paradise of Bachelors and the Tartarus of Maids\u201d (1855). Many have also found compelling the self-reflective and multi-layered nature of his narratives\u2013narratives that continue to speak to the complexities of creating meaning in the American literary tradition.\n- Using illustrations of Moby-Dick from the nineteenth and twentieth centuries and selected passages from the novel, ask your students to write a character sketch of Ahab.\n- Divide your students into two (or more) groups and pose some current ethical issue of debate. Have one group respond as if it were Ahab, sharing his assumptions about the universe and people; have the other group speak as Ishmael, employing his beliefs and attitudes. What are the cores of their differing perspectives? How would they each respond to one of today\u2019s ethical questions?\n- Comprehension: Note the description of the Pequod in Chapter 16, \u201cThe Ship,\u201d in the archive. How does Ishmael characterize the ship and its crew? What does he mean when he says that the Pequod is \u201ca cannibal of a craft\u201d? How is this related to the idea of the \u201cship of state\u201d?\n- Comprehension: How would you describe the relationship between Ishmael and Queequeg in Chapter 10, \u201cA Bosom Friend,\u201d in the archive? Why should the two of them be \u201ca cosy, loving pair\u201d? How does Ishmael seem to feel about Queequeg\u2019s religious beliefs?\n- Comprehension: Why might Melville have chosen to tell the story of Ahab and the white whale from Ishmael\u2019s point of view? How do Ishmael\u2019s judgments and perspectives affect your understanding of Ahab\u2019s quest? And why begin the novel with the line \u201cCall me Ishmael,\u201d as if the reader is not privy to the narrator\u2019s true name?\n- Context: Read carefully Ahab\u2019s diatribe against Moby-Dick in \u201cThe Quarter-Deck.\u201d He says that \u201call visible objects, man, are but as pasteboard masks,\u201d that the whale is like \u201cthe wall\u201d that hems in a prisoner, and that \u201cthat inscrutable thing [in the whale] is chiefly what I hate.\u201d In the midst of a whale-hunt, why bring up pasteboard masks and prison walls? What does Ahab mean by \u201cinscrutable\u201d? What is the relationship between Ahab\u2019s speech and Ishmael\u2019s later assertion that Ahab identifies Moby-Dick with \u201call [Ahab\u2019s] intellectual and spiritual exasperations. The White Whale swam before him as the monomaniac incarnation of all those malicious agencies which some deep men feel eating in them\u201d?\n- Context: In \u201cThe Whiteness of the Whale,\u201d Ishmael continues his assessment of Moby-Dick. He concludes that the whiteness presents \u201ca dumb blankness, full of meaning.\u201d According to Ishmael, what is the significance of the whiteness of the whale?\n- Context: In what sense does Moby-Dick fit Melville\u2019s discussion of literature in \u201cHawthorne and His Mosses\u201d?\n- Exploration: Melville wrote many texts that can be considered social critiques in a more clear-cut way than Moby-Dick. Read \u201cBartleby, the Scrivener,\u201d Billy Budd, Sailor, and Benito Cereno; then use the social critique in those texts to develop an interpretation of Moby-Dick as a social critique.\nSelected Archive Items\n William Huggins, South Sea Whale Fishery (1834),\ncourtesy of the New Bedford Whaling Museum.\nColored aquatint of sperm whale and boats in rough seas. This popular scene was drawn on by American artists, such as author Herman Melville and painters Albert van Beest, R. Swain Gifford, and Benjamin Russell, as they played with the symbolism of America as \u201cship of state.\u201d\n Rockwell Kent, Whale beneath the Sea (1930),\ncourtesy of the Plattsburgh State Art Museum.\nThis illustration dramatizes the smallness and vulnerability of the Pequod in relation to the whale and the vast ocean.\n Rodney Dewey, Herman Melville (1861),\ncourtesy of the Berkshire Athenauem, Pittsfield, Massachusetts.\nPicture of Melville while he was living at Arrowhead, his home in the Berkshire Mountains in Massachusetts. All of his best-known works, including Moby-Dick, were written during the thirteen years that he lived at Arrowhead.\n Anonymous, Herman Melville (c. 1885),\ncourtesy of the Gansevoort-Lansing Collection, Manuscripts and Archives Division, The New York Public Library, Astor, Lenox and Tilden Foundations.\nPicture taken around the time of Melville\u2019s retirement from his job as a customs inspector for the New York Customs House, where he worked for over twenty years.\n The International Magazine of Literature, Art and Science, Herman Melville\u2019s Whale (1851),\ncourtesy of the Making of America Project, Cornell University Library.\nThis review of Moby-Dick appeared in December 1851. Moby-Dick\u2018s unusual narrative structure and philosophical underpinnings were disliked by readers as well as critics.\n Putnam\u2019s Monthly Magazine of American Literature, Science and Art, \u201cOur Young Authors\u201d\u2013Melville (1853),\ncourtesy of Cornell University, Making of America Digital Collection.\nThis review of Melville\u2019s work is typical of the way in which it was received by his contemporaries. The author praises Melville\u2019s early adventure novel Typee, while disparaging the philosophical bent that characterizes many of his later novels.\n Walter Monteith Aikman, The Tontine Coffee House, Wall & Walter Streets, about 1797 (n.d.),\ncourtesy of the Library of Congress [LC-USZ62- 98020].\nThe Tontine Coffee House was a place where the financial men of New York City met to discuss money matters. Melville depicted the potentially dehumanizing effects of life on Wall Street in works like \u201cBartleby, the Scrivener.\u201d\n Herman Melville, Chapter 16 of Moby-Dick, \u201cThe Ship\u201d (1851),\ncourtesy of Project Gutenberg.\nIn this chapter Ishmael describes how he decided to sign aboard the Pequod, following Queequeg\u2019s superstitious insistence that Ishmael choose the ship to which they would commit themselves. Rife with foreboding, this chapter also includes the first description of Ahab.\n Herman Melville, Chapter 10 of Moby-Dick, \u201cA Bosom Friend\u201d (1851),\ncourtesy of Project Gutenberg.\nIn this chapter Ishmael cements his friendship with future shipmate Queequeg. \u201cI\u2019ll try a pagan friend,\u201d Ishmael says, \u201csince Christian kindness has proved but hollow courtesy.\u201d\nUnit 3 Utopian Promise\nInstructor Overview, Bibliography & Resources, Glossary and Learning Objectives for this Unit.", "id": "<urn:uuid:92b8a579-f429-46ee-a39d-841c5f4b79a8>", "dump": "CC-MAIN-2023-14", "url": "https://www.learner.org/series/american-passages-a-literary-survey/gothic-undercurrents/herman-melville-1819-1891/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945473.69/warc/CC-MAIN-20230326142035-20230326172035-00337.warc.gz", "language": "en", "language_score": 0.9458590745925903, "token_count": 1831, "score": 3.875, "int_score": 4}
{"text": "Introducing the 12 Principles of Animation Lesson Module\nThis year we are introducing the 12 Principles of Animation lesson module. We created this interactive lesson set to help students understand the core concepts and practices of animation as laid out in, released by Disney in 1981. The book was written by Frank Thomas and Ollie Johnston who are known for being part of the group of nine original animators that brought to life the characters of films like Snow White and the Seven Dwarfs, Pinnochio and Fantasia.\nYears ago, Walt Disney brought together the dream team of animators at a time when animation was created laboriously through hand-drawn animation cells that were then lovingly hand-painted and then photographed to become the individual frames of a movie.\nTo capture the experience of creating all the art and design that became the hallmark of Disney Studios and the industry standard for full-length animated features, the book The Illusion of Life\u2014Disney Animation was released in 1981. In this book, the wisdom of the original Disney animation team was captured to help guide the next generation of animators.\nThe book is incredible, but for beginning animators, there is a particular chapter that everyone new to the craft must read. Chapter three is called the Principles of Animation. This chapter lays out 12 basic principles every animator should be familiar with.\nIn the book there is also a chapter that speaks to what Frank and Ollie refer to as the 12 Principles of Animation. It is these principles that Walt Disney and the Disney animators learned and applied to create the life-like engaging animations that made Walt Disney Studios famous.\nWhat is fantastic is that all of these principles were developed long before there was ever any computer animation. Since these practices predate computer animation, the students are steeped in the foundation of great animation and character development. All the trappings and distractions of computer applications are stripped away, and what is left is a clear and concise set of concepts that can be applied to any 2D or 3D animation.\nThrough this module, students learn the original language of animation. This is the language that all the great animators have used since the 1930s. This is a living history that brings to life, no pun intended, the wisdom of decades into a focused set of activities that are as relevant today as they were when Snow White and the Seven Dwarfs was released in 1938.\nThroughout the course, a professional animator animates and explains each principle. Students learn how the principle is applied, why it is used and the overall effect on the animation. Students then get the chance to take these principles and apply them to their own animation projects that are part of the curriculum.\nUnderstanding and applying these key principles is also part of the process of students earning their international industry-recognized Web Animator certification from the Web Professionals Global Organization. Since the web is one of the biggest consumers of animation, everything the students create in the curriculum feeds their college- and career-ready portfolio. It also means the industry recognized certification available through this course is stackable with all of the Web Professional Global Organization\u2019s industry certifications.\nCurious how your students can learn and earn their way to a free industry certification for Web Animation? Click here\nPart of why we add a specific lesson set on these principles is that mastering these fundamental skills is a fast way to show students how to quickly improve their animations. Showing students how to apply just one or two of these principles to their animations truly adds so much value to their project work. Confidence and pride go up, and as any teacher knows, it is easier to keep students engaged, learning and expressing their creativity in more challenging ways when they are proud of their work.\nThe Web Animation with Marketing curriculum gives your students the best of being immersed in a career simulation with interactive lessons to guide them while creating real-world animated projects for clients. Students get the opportunity to continue to refine their animation skills as they animate banners for websites, business logos, music videos, and other animated projects. Students learn firsthand not only how to animate but also about character development, storyboarding, sound effects, scripting, voice-over, and music development.\nWe are excited to announce this new addition to the Web Animation Curriculum, and as always, we cannot wait to hear your feedback. Please share with us what your students learn in this new lesson module as you see them engaged and inspired.\nCurious how this curriculum runs on PC, Mac, and Chromebook? Contact us today", "id": "<urn:uuid:db8f9631-f22f-4131-aaa6-1c0211154d8b>", "dump": "CC-MAIN-2023-14", "url": "https://courses.ctelearning.com/12-principles-of-animation-lessons/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00537.warc.gz", "language": "en", "language_score": 0.9587374925613403, "token_count": 918, "score": 4.09375, "int_score": 4}
{"text": "How Puppets Can Help Kids Express Emotions\nPuppets have been a longtime instrument for expressing emotions and telling stories, especially for kids. They offer a powerful tool for helping kids to understand and share their feelings in a safe and creative environment. With puppets, children can freely express their innermost feelings without the worry of being judged or misunderstood.\nPuppets are particularly effective in helping children express emotions because, like kids, puppets have big personalities, can be brightly colored, and can easily express a wide range of emotions. They provide a medium that is safe and non-threatening, acting as a buffer between the child and the situation. As a result, children can use puppets as a vehicle for communicating about their experiences with less anxiety or fear.\nPuppets may be especially beneficial for children who have experienced traumatic events or who are dealing with strong emotions related to change. In these situations, puppets offer a way for children to understand their feelings and to feel more in control of their emotions. For instance, kids who are struggling with a move to a new home or school can use puppets to act out their feelings of sadness, anger, and confusion.\nUsing puppets in therapy work is well established thanks to their ability to bridge the gap between words and actions. Children can see and identify with their puppets, making the transition between their own emotions and those of the puppets easier. By modeling appropriate behaviors, such as encouraging talking about feelings and validating those feelings, the puppet can indirectly teach children how to offer and receive emotional support.\nIn addition to being a creative outlet, puppets can lend a sense of relaxation to kids. The repetitive motion of manipulating puppets can help to calm children and allow them to focus on a more relaxed, peaceful state. Puppets, therefore, are ideal for helping children with anxiety-related issues and may contribute positively to stress reduction.\nPuppets can be used in many settings, including schools, hospitals, and therapy settings. They can be used as part of individual or group therapy sessions, as well as incorporated into playtime activities. They can also be used to teach children social skills, such as taking turns, cooperating with others, and showing empathy.\nIn conclusion, puppets provide children with a unique opportunity to express their feelings in a non-judgmental environment. They offer a safe and constructive way for kids to deal with difficult emotions, allow them to demonstrate self-expression, and provide an excellent means for developing interpersonal skills. Whether used in a therapeutic setting, for storytelling, or just for play, puppets remain one of the most beneficial tools for teaching children to communicate and share their emotions.", "id": "<urn:uuid:069141e1-dedd-42bf-8105-98f3753a8c83>", "dump": "CC-MAIN-2023-14", "url": "https://www.theedadvocate.org/how-puppets-can-help-kids-express-emotions/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00537.warc.gz", "language": "en", "language_score": 0.9649800658226013, "token_count": 544, "score": 3.6875, "int_score": 4}
{"text": "Are you looking for writing prompts for middle school students that will keep them engaged and get them inspired?\nWriting is an important part of any student's education, and it can be difficult to encourage them to write outside of class.\nThat's why I've compiled a list of 25 writing prompts that will get your students' creative juices flowing!\nFrom narrative and descriptive prompts to persuasive and expository prompts, this list has something for everyone. Each prompt is designed to help students think critically and develop their writing skills.\nWith these writing prompts, your middle schoolers will be able to explore their own thoughts, feelings, and experiences in unique ways.\nSo let's get started!\nPersonal Writing Prompts\nWrite about a time you felt proud of yourself. What did you accomplish, and why did it make you proud?\nWrite about a person who has influenced you the most. How did this person impact your life, and what lessons have you learned from them?\nWrite about a goal you want to achieve. What steps will you take to achieve it, and what motivates you to pursue this goal?\nCreative Writing Prompts\nWrite a story that begins with the line, \"I never expected to find myself in this situation.\" What happens next?\nWrite a story about a character who discovers a hidden talent. How does this talent change their life, and what challenges do they face?\nWrite a story from the perspective of an inanimate object. What does the object observe, and what thoughts and emotions does it experience?\nExpository Writing Prompts\nWrite about the benefits of regular exercise. How does exercise impact our physical and mental health, and what are some tips for incorporating exercise into our daily routine?\nWrite about the importance of reading. Why is reading important, and how does it benefit us? What are some strategies for developing a reading habit?\nWrite about a current event that interests you. What is happening, and what are the different perspectives on this event? What is your opinion, and why?\nPersuasive Writing Prompts\nWrite an essay arguing for or against school uniforms. What are the pros and cons of school uniforms, and what is your stance on this issue? Provide evidence to support your argument.\nWrite an essay arguing for or against the use of social media. What are the benefits and drawbacks of social media, and how does it impact our lives? What is your opinion, and why?\nWrite an essay arguing for or against the death penalty. What are the ethical and legal considerations surrounding the death penalty, and what is your stance on this issue? Provide evidence to support your argument.\nDescriptive Writing Prompts\nDescribe your favorite place to go when you need to relax. What makes this place special, and how does it help you unwind?\nDescribe a memorable moment from your childhood. What happened, and why was this moment so significant to you?\nDescribe a character from a book or movie that you admire. What qualities does this character possess, and how have they influenced you?\nNarrative Writing Prompts\nWrite a story about a time you overcame a fear. What was the fear, and how did you conquer it? What did you learn from this experience?\nWrite a story about a time you experienced failure and how you bounced back. What did you learn from this failure, and how did you turn it into a positive experience?\nWrite a story about a dream you had that felt real. What happened in the dream, and how did you feel when you woke up?\nReflective Writing Prompts\nReflect on a time you learned a valuable lesson from a mistake. What was the mistake, and what did you learn from it? How have you applied this lesson to other areas of your life?\nReflect on a time you were forced to step outside of your comfort zone. What was the situation, and how did you feel? What did you learn from this experience?\nReflect on a moment when you felt truly happy. What was happening, and what emotions did you experience? What made this moment so special?\nResearch Writing Prompts\nResearch and write about a famous scientist or inventor. Who are they, and what did they contribute to their field? What impact have they had on society?\nResearch and write about a historical figure who has inspired you. Who are they, and what did they do to inspire you? What lessons can we learn from their life?\nResearch and write about a country you would like to visit", "id": "<urn:uuid:d8cc8a0a-86d1-48ca-8193-2e4c232d1588>", "dump": "CC-MAIN-2023-14", "url": "https://selfpublishedwhiz.com/25-writing-prompts-for-middle-school-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949097.61/warc/CC-MAIN-20230330035241-20230330065241-00737.warc.gz", "language": "en", "language_score": 0.9748582243919373, "token_count": 924, "score": 3.5, "int_score": 4}
{"text": "The commitment, through acculturation, to be part and parcel of religious processes is evident in the Kalinago community. In this regard, the population is one which is predominantly Christian. There is very little visible evidence of any form of traditional Kalinago religious practices.\nThe people understand a religion be an organized collection of beliefs, cultural systems, and world views that relate humanity to an order of existence. The people appreciate that many religions are realized to have narratives, symbols, and sacred histories that aim to explain the meaning of life, the origin of life, or the Universe.\nThe Kalinago have joined many other people worldwide who appreciate that they may derive morality, ethics, religious laws, or a preferred lifestyle from their beliefs about the cosmos and human nature.\nBefore the intrusion of colonialism, the Kalinago people share the religious experiences of their many brothers and sisters all around the world. It is important to note that these indigenous religions in themselves rarely have written sacred texts.\nMore importantly, the indigenous beliefs focus on dances, costumes, masks, ritual traditions, and sacred artifacts (material objects). These practices are part of a people\u2019s cultural identity and help them forge a sense of connection with their world.\nIndigenous religions transmit wisdom, cultural values, and history, not through formal education but through myths, storytelling, drama, and art.\nIndigenous people tend not to rely on silent meditation or individualized experiences but on ritual activities that bind people to the community. Many of these rituals mark important occasions, such as planting or gathering a harvest.\nNonetheless, in many indigenous religious traditions, people seek wisdom of their own through vision quests and similar private rituals.\nEarlier scholars, such as Hartley B. Alexander (1920), emphasized differences between Island Taino (Arawak) and Island Carib religions. This tradition continued in the work of scholars such as Fred Olsen (1974) and Charles A. Hoffman (1980), for example, who postulated strong Maya influence on the religious systems of the Greater Antilles. Later, scholars paid greater attention to the similarities in Arawak and Carib belief systems\u2014for example, the many parallels in Arawak and Carib shamanism\u2014than to their differences.\nBoth the Island Arawak and the Island Carib originally migrated from the South American mainland (Rouse, 1964). The Island Arawak settled in the Greater Antilles at about the beginning of the Common Era and were followed several hundred years later by the Carib, who claimed to have begun their migrations into the Lesser Antilles only a few generations before the arrival of Columbus.\nThe Island Carib asserted that they conquered the Arawak of the Lesser Antilles, killing the men and marrying the women. Douglas M. Taylor (1951) suggests that the women\u2019s language prevailed, because the language spoken by the descendants of the Island Carib belongs to the Arawakan family of languages. Of course, another possible explanation is that all the peoples of the Lesser Antilles were of Arawak origin.\nIt should not be assumed that the Island Arawak of the Greater Antilles and the Arawak of the South American mainland are members of the same ethnic group. The Island Arawak and Arawak proper did not speak the same language. Irving Rouse points out that their two languages were \u201cno more alike than, say, French and English\u201d (Rouse, 1974).\nMoreover, inhabitants of the Greater Antilles thought of themselves not as \u201cArawak\u201d but as members of local chiefdoms, each of which had its own name. Since each chiefdom was totally independent of all others, the group we know as the Island Arawak had no need for an overall tribal name.\nIn 1920, Hartley Alexander suggested that the sea must have been a tremendous barrier to cultural transmission in the Caribbean. Contemporary archaeologists, however, recognize that water did not constitute a barrier for these peoples.\nTherefore, archaeologists no longer study individual islands in isolation. This has many implications for the study of aboriginal Caribbean religions as it becomes increasingly apparent that religious developments on one island were likely to have affected religious developments elsewhere in the region. Various island groups seem to have been in constant contact with one another.\nArchaeologists have since established a firmer and more comprehensive chronology for the Caribbean region (Rouse and Allaire, 1978). They also have discovered much greater variation in religious artifacts than was previously thought to exist, which in turn hints at a greater variation within the religious traditions of the Island Arawak and the Island Carib than was previously supposed. Arawak and Carib traditions, for example, may have differed from settlement to settlement on the same island.\nBoth the Island Arawak and the Island Carib possessed a notion of a high god, though, as the chroniclers\u2019 reports make clear, their high god differed conceptually from the God of Christianity. We know, too, that aboriginal high gods were thought to exert very little direct influence on the workings of the universe.\nMany of the early chroniclers, including Fray Ram\u00f3n Pan\u00e9, Gonzalo F. de Oviedo, and Raymond Breton, refer to Arawak and Carib high gods as kinds of deus otiosus; that is, they are inactive gods far removed from human affairs and concerns.\nNeither the Island Arawak nor the Island Carib conceived of their high god as creator of the universe, and it is unclear how powerful the high god was thought to be.\nWas it that their high god was able to interfere directly in world affairs but chose not to do so, or was he thought to be totally ineffectual? Chroniclers differ somewhat on this. Pan\u00e9 suggests that the high god was a powerful deity who chooses to be inactive.\nOther chroniclers stress the inactivity of the high god and the lack of attention accorded him. The bulk of the evidence, including what we know of other American Indian religions (Hultkrantz, 1979), supports the latter interpretation.\nThe Roman Catholic Church established itself within the Kalinago community as the first western religion. This condition was facilitated by the missionary enterprise of the French monarchy through the colonial enterprise.\nThe Catholic Church, also known as the Roman Catholic Church, is the largest Christian church, with more than 1.25 billion members worldwide. This religion is one of the oldest religious institutions in the world; it has played a prominent role in the history of Western civilization.\nHeaded by the Bishop of Rome, known as the Pope, its doctrines are summarized in the Nicene Creed. The Catholic Church is notable within Western Christianity for its celebration of the seven sacraments.\nOld Salybia Church\nNew Catholic Church\nSubsequent protestant denominations followed in the latter part of the 1970\u2019s.\nSome of the people of the Kalinago community understand Protestantism as a form of Christian faith and practice which originated with the Protestant Reformation. This was a movement against what its followers considered to be errors in the Roman Catholic Church.\nThe protestant denominations include Baptiste, Pentecostal, Seven Days and Seventh Day Adventists.", "id": "<urn:uuid:2018d340-3e02-413a-a8dd-ccad3744c3fb>", "dump": "CC-MAIN-2023-14", "url": "http://www.kalinagoarchive.org/religion/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943845.78/warc/CC-MAIN-20230322145537-20230322175537-00337.warc.gz", "language": "en", "language_score": 0.9616066217422485, "token_count": 1492, "score": 3.984375, "int_score": 4}
{"text": "The Art of the Short Story with Charcoal Drawing\nIn this 3 to 4 week study the students encounter some of the greatest short stories ever written and learning from these, practice the elements of story writing such as character development, setting and atmosphere, creating a plot, foreshadowing, etc. The goal is for the student to create a short story of his/her own. Included also in this study are sequential lessons in the art of charcoal drawing. The drawings created by the student are used as an imaginative springboard for writing exercises applied to the development of the short story. This book is appropriate for grades 8 through 10.\nHere is a scene, drawn entirely in black and white, of a frozen and desolate landscape that the student may draw to support a story such as Jack London\u2019s To Build a Fire. A frozen stream is seen in the foreground. I created the drawing with white lead pencil (Prismacolor white) on black paper (inexpensive black construction paper). Notice how the brightest whites are in the foreground, and the dimmest whites are in the background. Also take note of how a lightly applied white in the mid-ground creates silhouettes of triangular shaped firs. These are simply sections of untouched black paper. Notice this same principle is applied to the boulders and rocks. There is one side in the shadows that is entirely black\u2013that is, no white has been applied, the black paper background has been incorporated into the structure of the object. A few dots with a sharpened white pencil point creates the stars in the sky.\nAn Example of Plot Development\nThe story of Leningen Versus the Ants is a prime example of the confrontation plot. In this situation, a displaced European defends his Brazilian plantation against a formidable enemy of ants. This army of insects is so vast that they cover much of the encircling horizon: \u201cOver the range of hills, as far as the eye could see, crept a darkening hem\u2026\u201d This enemy knows no adversary; all other creatures and inhabitants of the surrounding countryside flee for their lives, for nothing escapes these predators: \u201cbefore you can spit three times, they\u2019ll eat a full-grown buffalo to the bones\u201d. The burgeoning jungle foliage resembles a lifeless moonscape after the voracious army has passed through. Leningen believes that his rational and technical prowess can find a way to ward off the omnivorous hordes.\nI. OPENING SETTING\n[Atmosphere of an approaching danger]\nThis establishes the basic conflict or confrontation. There are several elements:\nA. The impending danger:\n\u201c\u2026they\u2019ll reach your plantation in two days at the latest.\u201d\nB. Character description, the unheeded warning and the folly of pride:\n\u201cThe human brain needs only to become fully aware of its powers to conquer even the elements.\u201d \u201c\u2026he had the appearance of an aging and shabby eagle.\u201d\nC. Description of the danger:\n\u201c\u2026before you can spit three times, they\u2019ll eat a full grown buffalo to the bones.\u201d\nD. Why the confrontation will happen\nII. THE CONFRONTATION\nHere is where the tension of the story is intensified by a series of conflicts. The sense of danger heightens as Leningen loses ground to the approaching ants.\nA. Minor Victory: The moat keeps the ants at bay\nB. Minor Defeat: The ants find a way to cross the moat; Leningen and his workers retreat behind the second moat\nC. Major Defeat and Imminent Death: the petrol that fuels the second moat is running out; soon the ants will overrun the plantation. All is lost (so it seems).\nIII. HIGH POINT / CLIMAX\nThe plot leads to this moment of highest tension of the conflict and then shows us the resolution to the conflict established at the beginning of the story.\nA. A \u201clast ditch effort\u201d by Leningen to save the plantation, his life, and the lives of his workers. Can he make it to the flood gate of the dam to flood the plantation before the ants eat him alive?\nB. The aftermath: final words following the climax of the story\nUsing the plot outline of Leningen Versus the Ants as a model, begin writing an opening setting. Parallel the points established in A, B, C, D of Part I of the outline. Here is how one can use the outline to set up a similar story with an impending confrontation plot. Simply write four parallel sentences for A, B, C, D as in the example below.\nHere is the situation:\nBitter cold is approaching as the sun sets on a frozen landscape. One must use one\u2019s wits to stave off the cold and survive through the night.\nA. \u201cHe knew that in two short hours the sun would be extinguished beneath the frozen hills and the lengthening glacial shadows would begin to swallow everything into a dark night of bitter and deathly cold.\u201d (This is a description of the impending danger and the images such as \u201cextinguished\u201d, \u201cswallow\u201d and \u201cbitter and deathly\u201d help to create a mood or atmosphere as well. )\nB. \u201cHe was a seasoned outdoorsman, but suddenly, and without warning, panic seized hold of his heart. His breath grew labored, his limbs trembled. He could feel the frigid air invading the marrow of his bones.\u201d (This sentence parallels Leningen\u2019s confidence and pride with an opposite emotion.)\nC. \u201cHe remembered old Ben\u2019s words from the prior evening, \u2018a man can freeze into a solid block of ice before the midnight hour.\u2019\u201d (Do you see how this sentence parallels the sentence from Leningen: \u201c\u2026before you can spit three times, they\u2019ll eat a full grown buffalo to the bones.\u201d)\nD. \u201cThough Bud had traversed this stretch of the mountains through a dozen winters, the unexpected blizzard had obscured all recognizable landmarks.\u201d (This sentence tells us why the conflict or situation has arisen.)\nIf you have completed this exercise correctly, such as in the example above, a story is already implied. Encourage the student toward careful crafting of the images in the sentences for this helps to create the story\u2019s atmosphere. Don\u2019t worry about originality: the same plots have been used over and over thousands of times throughout the history of literature. The example above where Bud must face a night in a frozen wasteland is very similar to Jack London\u2019s story To Build a Fire.\nFor a follow-up lesson, re-read a story that you have already studied, and draw up a plot outline broken into a similar three sections: 1. Opening Setting with its initial Conflict or Crisis, 2. the series of Crises, Oppositions or Confrontations that gear up the tension of the story, and 3. finally the High Point or Climax with its Resolve. Spell out the subcategories to each of these sections with examples from the story. For example, a character flaw (character description) might be revealed in the second section when a series of events cause the tension of the initial conflict to increase.\nWrite two or three paragraph plot outlines for several of the plots described in the list of plot types.\nDescribe how the plot is delayed in its fulfillment through Opposition and Tension in some of the stories.\nDescribe the essential conflict that creates the plot in some of the stories from your readings.\n- Source Books\n- Charcoal Drawings\n- Choosing Stories\n- Main Lesson Activities/ A Typical Main Lesson\n- The Elements of the Short Story\n- Descriptive Setting\n- Descriptive Settings and Atmosphere\n- Character Description\n- Developing Character Voice\n- Plot Development\n- Some Common Plots\n- An Example of Plot Development\n- Literary Technique\n- Examples of Foreshadowing and Symbols in \u201cFlight\u201d\n- Beginnings and Endings\n- Guidelines for the Second Draft\nIncluded in the this book are lessons for teaching charcoal drawing", "id": "<urn:uuid:09b794a3-5667-48f9-b7ec-dbbdff98e1b3>", "dump": "CC-MAIN-2023-14", "url": "https://www.live-education.com/the-art-of-the-short-story-with-charcoal-drawing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00337.warc.gz", "language": "en", "language_score": 0.936786949634552, "token_count": 1731, "score": 3.65625, "int_score": 4}
{"text": "Mountains have long captured our imagination. For early civilizations, mountains offered protection from enemy attacks; their inhospitable environments kept danger at bay and allowed for peaceful areas of respite in valleys for countless villagers. As looming fierce protectors, mountains became the mythical homes to gods and spirits. But much like fire, the power to safeguard was also the power to destroy. It\u2019s not difficult to imagine ancient humans grasping with the terrible natural forces they encountered \u2014 avalanches, hurricane strength winds, and brutal cold \u2014 and creating mythology and lore to explain these beautiful but deadly environments.\nTo the Ancient Greeks, the summit of Mount Olympus was the home of the twelve Olympians (the deities of the pantheon) including Zeus, the king of the gods. To the Romans, Mount Etna was where the god Vulcan kept his fiery blacksmith\u2019s forge.\nFarther to the east, mountains were viewed as holy places. In Buddhism, Mount Meru (Sumeru in Sanskrit) is the center of the physical and spiritual universe. Now known as Mount Kailash, this 21,778 ft (6,638 m) peak in the Tibet Autonomous Region is sacred to four religions (Buddhism, Jainism, Hinduism, and Bon) and is the site for pilgrimages that have been occurring for several millennia. Climbing this mountain is forbidden.\nThe Buddhist monk FaXian (~350 CE) travelled from China to northern India in search of Buddhist scriptures. He and his companions had to traverse the Hindu Kush, the Karakoram, and the Himalayas. His writings share that he believed these places contained terrible dragons capable of spewing snow, wind, and stones: \u201cOf those that encounter these dangers, not one in ten thousand escapes.\u201d\nIn the 18th and 19th centuries, mountains became a scientific curiosity, something to be mapped, measured, and explored. K2 (28,250 ft / 8610 m) the second highest mountain on Earth, got its name from the British Great Trigonometrical Survey, which began in 1802. Surveying the mountains in the Karakoram, they simply labelled them K1, K2, K3, etc. Since no one else had named it and no religions claimed it, the name K2 stuck.\nInquisitiveness, of course, led to climbing and mountains became a symbol of conquest. Mountains fueled imaginations, sparked ingenuity (crampons, ice screws, and high-altitude oxygen rigs, etc.) and provided a crucible for storytelling that continues unabashed today. In both fiction and non-fiction alike, the struggles of person vs nature, person vs supernatural, and even person vs person play out in survivalist dramas that stimulate our minds. Mountaineering triumphs and tragedies abound in prose, poem, and film.\nThe British mountaineer George Mallory, who died climbing Mount Everest in 1924 along with Sandy Irvine, was once asked by a reporter, \u201cWhy climb Everest?\u201d\nMallory\u2019s short reply was, \u201cBecause it\u2019s there.\u201d\nMany are familiar with this quote, but here\u2019s his follow-up explanation: \u201cEverest is the highest mountain in the world, and no man has reached its summit. Its existence is a challenge. The answer is instinctive, a part, I suppose, of man\u2019s desire to conquer the universe.\u201d", "id": "<urn:uuid:28a6c78d-9f83-466e-9273-7af3c114dd2c>", "dump": "CC-MAIN-2023-14", "url": "https://markjenkinsbooks.com/why-mountains-capture-our-imagination/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950373.88/warc/CC-MAIN-20230402012805-20230402042805-00136.warc.gz", "language": "en", "language_score": 0.9575105905532837, "token_count": 718, "score": 3.59375, "int_score": 4}
{"text": "In our last blog post, we explained what artificial intelligence (AI) is, now we\u2019re going to look at how we\u2019re using AI in our learning solutions.\nNatural Language Processing\nNatural language processing or \u2018NLP\u2019 is a form of AI that allows computers to understand conversation. Traditional computers are like a well-trained dog, they respond to specific commands like \u201cfetch\u201d and \u201csit\u201d, but if you say something like \u201cFido, be a dear and pick up the ball for me,\u201d you\u2019ve got no chance. Now, using NLP, computers can understand that kind of conversational command in both text and speech form.\nWhen you\u2019re a baby and people constantly point at your mum and say \u2018mummy\u2019 you eventually deduce that this word must refer to this woman, and most of our initial language is acquired like this. The pattern-spotting and learning abilities of AI mean that computers can acquire language and incrementally improve their understanding in the same way as a human.\nBy examining many examples and spotting the pattern, AI can establish the meaning of a word based on its context and position in a sentence. For example, if you\u2019re talking about fielders and bowlers, you probably mean the game \u2018cricket\u2019, rather than the noisy insect. Like a human, it can also learn from its mistakes. If it\u2019s told that it incorrectly deduced that the word \u2018cheese\u2019 meant a foodstuff rather than a type of music, it will behave differently next time.\nOur chatbot, Flo, uses NLP to understand users\u2019 requests. This makes accessing information and resources a lot simpler. Instead of sifting through layers of poorly designed menus in an LMS, users can just say \u201cwhich courses are mandatory?\u201d and instantly get the answer they need. Flo interacts with our LXP, Stream, to do this. We use another type of AI on Stream\u2019s dashboard.\nIn this day and age, we expect a personal experience from our entertainment services. Netflix and Spotify are the shining examples of this \u2013 Netflix is constantly suggesting new films and TV shows that you might like based on your previous behaviour. Netflix has 120 million users across 190 countries, and it\u2019s the access to this vast amount of data which makes their recommendations so accurate \u2013 if 10 million people watched Die Hard and then also watched Taken, then it makes sense to recommend Taken to Die Hard viewers.\nStream uses similar principles to recommend content to learners \u2013 if 500 contact centre operatives found our \u2018Introduction to Metrics\u2019 course useful, then we can recommend it to other people in the same position or industry. Of course, we\u2019ve got slightly different algorithms and different ways of delivering our recommendations because Netflix is a platform for entertainment and relaxation and Stream is about self-improvement and productivity. We\u2019re also still learning \u2013 our focus at the moment is on constantly improving the metrics that we base our recommendations on \u2013 whether that\u2019s role, industry, age, type of content, length of content, or something else we haven\u2019t thought of yet!\nCompanies are full of knowledge! If you\u2019ve got a question, the chances are that there\u2019s a document or a course about it somewhere. But that\u2019s the problem \u2013 it could be anywhere. It could be buried in an intranet, hidden in an LMS, or languishing in a chock-a-block cloud server. Flo uses NLP to give you immediate access to the content you\u2019re looking for and Stream\u2019s recommendation engine gives you the information you didn\u2019t realise you needed. It\u2019s the difference between having a textbook and having a teacher.\nAI also allows us to deliver meaningful learning which is grounded in learning theory. For example, with access to a database of content of varying lengths and mediums, we can promote spaced practice \u2013 pushing content to learners at specific intervals which combat the forgetting curve and increase recall.\nWe\u2019ll explain more about Stream\u2019s focus on learning theory in our next blog post.\nAbout the author\nLearning Designer, Matt started out his career in marketing but soon realised his talents were better suited to writing content. He\u2019s spent the best part of the year immersed in the world of chatbots and conversational UX, drawing on the dialogue writing skills he developed during his Drama and Creative Writing degree \u2013 to put things simply \u2013 he\u2019s teaching a bot to speak.", "id": "<urn:uuid:2d1c46b5-560c-49a6-8793-dc51ae0e47a7>", "dump": "CC-MAIN-2023-14", "url": "https://learningpool.com/using-artificial-intelligence-ai/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00337.warc.gz", "language": "en", "language_score": 0.9420397281646729, "token_count": 960, "score": 3.609375, "int_score": 4}
{"text": "Introduction: What is AI, how does it write stories?\nIn recent years, artificial intelligence has made significant advancements and is now changing the way we write stories. With the help of AI, writers can create more realistic and believable characters, plots, and settings. In addition, AI can help identify errors and improve the overall quality of a story. As AI continues to evolve, it will likely have even more impact on the field of writing. For example, AI could be used to create entire stories, rather than just individual components. It\u2019s possible that in the future, AI stories generate at a much faster rate than humans and could even replace human writers entirely.\nArtificial intelligence is still in its early developmental stages, but it is already changing the way we write stories. Some believe that AI will eventually replace human writers altogether. However, others believe that AI will simply make writing easier and more efficient for humans. Either way, there is no doubt that AI is changing the face of writing as we know it.\nThe history of AI and writing\nThe history of AI is fascinating, and its impact on writing is even more so. Here\u2019s a brief rundown of how AI has changed the way we write stories.\nIn the early days of AI, writers were mostly concerned with creating believable characters. This was done by analyzing human behavior and emotions, and then using that data to create algorithms that could generate similar behavior in artificial intelligence programs.\nOne of the first examples of this was Eliza, a program created in 1966 that simulated a therapist. It would analyze what a person said and then respond in a way that seemed human. While Eliza was primitive by today\u2019s standards, it showed the potential for using AI to create believable characters.\nSince then, AI has only become more sophisticated. Today, there are programs that can generate entire stories on their own.\nHow does artificial intelligence write stories?\nWhen it comes to writing stories, artificial intelligence (AI) is changing the game. With the ability to analyze data and identify patterns, AI is helping writers create better stories, faster.\nHere\u2019s how it works: First, a writer inputs a set of parameters into the AI system. This could include things like the story\u2019s genre, length, and characters. The AI then uses this information to generate a outline or treatment for the story.\nThe writer can then use this outline as a starting point for their own story. Or, in some cases, the AI system may be able to write the entire story on its own. This is especially useful for things like news articles or other pieces that need to be written quickly and accurately.\nWhile AI-written stories are not perfect yet, they are getting better all the time.\nThe challenges of AI writing stories\nThe challenge of AI writing stories is that the technology is still in its early stages of development and has a long way to go before it can accurately mimic human writing. Another challenge is that, even when AI does become good at writing stories, there is the risk that humans will become too reliant on it and lose their own creative spark.\nOne potential solution to this problem is to have AI write stories in collaboration with human writers. This way, the AI can help with the technical aspects of storytelling while the human can provide the creativity. Another solution is for humans to use AI as a tool to help them come up with ideas for stories, but not rely on it to write the entire story.\nWhatever solution is used, it\u2019s important that humans don\u2019t lose their ability to write stories on their own.\nThe benefits of AI writing stories\nAI is quickly changing the landscape of writing, and there are many benefits to using AI to write stories. Perhaps the most obvious benefit is the speed at which AI can generate a story. This can be incredibly helpful when time is short and a writer needs to produce a large volume of work.\nIn addition to speed, AI can also help improve the quality of writing by providing feedback and suggestions for improvements. This is because AI can analyze a story for elements such as plot, character development, and grammar, and then offer suggestions for how to improve these elements.\nFinally, AI can help writers become more creative by providing ideas and inspiration for stories.\nThe way we write stories is changing, and AI is playing a big role. By using AI to help with things like grammar and spelling, we can free up our time to focus on the creative aspects of writing. And by using AI to generate ideas, we can get help when we\u2019re feeling stuck.\nAI is also changing the way we publish and distribute stories. With platforms like Wattpad and Tapas, anyone can become a published author. And with AI-powered tools like Amazon\u2019s Kindle Scout, it\u2019s easier than ever to find an audience for your work.\nSo what does the future of writing hold? It\u2019s hard to say for sure. But one thing is certain: AI is going to change the way we write stories, for better or for worse.\nBe First to Comment", "id": "<urn:uuid:79b9faab-ff6c-4b05-840f-934af0e81312>", "dump": "CC-MAIN-2023-14", "url": "https://aiohmy.com/how-ai-is-changing-the-way-we-write-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00137.warc.gz", "language": "en", "language_score": 0.9642744660377502, "token_count": 1046, "score": 3.640625, "int_score": 4}
{"text": "Three Little Pigs Sequencing Worksheet \u2013 : Our kindergarten worksheets focus on building basic concepts of math, reading, and writing. In addition, topics covered include social studies, coloring activities, online games, and basic general knowledge. We expose these topics to students through fun activities such as sight words, short vowel sounds, consonant blending, and simple addition with the help of a number line. We are confident that our selection of themes, which include colorful animals, birds, plants, butterflies, coins and vehicles, will make learning not only fun but also educational.\n: With the daily materials introduced in kindergarten, preschoolers are now ready to thrive. What they need now is a solid curriculum to help them strengthen their roots. And that\u2019s what our preschool worksheets are for. Topics covered in the preschool curriculum include advanced math, reading, writing, coloring, more engaging online games, science, and general education. Our worksheets are visual aids that will help teach your child number and letter recognition, basic science principles, and tracing to develop fine motor skills. We guarantee you will appreciate our preschool worksheets and find your child fun and motivating.\nThree Little Pigs Sequencing Worksheet\nThe curriculum exposes children to professional skills in math, reading, writing, science, social studies, history, general education, art and some basic foreign languages. Yes! We understand that from here, there is no turning back and everything comes fast. That\u2019s why we present our easy worksheets to keep your kids busy while learning these many new topics. Our worksheets help understand key concepts taught in class through interactive activities and fun designs.\nStory Sequencing Activities For Preschoolers\n: Below are some of the topics our worksheets suggest to teach your kids. Feel free to browse and find more such worksheets to keep your little ones inspired.\n: More things they do at level 1, which includes higher level math, reading, writing, science, social studies, history, art, foreign languages, etc. And the only way for the curriculum to continue to grow is to practice it regularly. us 2\n: As kids reach third grade, the curriculum expands, and one way to balance the workload is to work. Our third grade worksheets help students develop study skills through daily, stress-free activities. Topics covered include general math, storyboards, science, social studies, languages, fine arts, history, and more. It is important to understand the concepts presented in third grade, as these set the stage for fourth grade. With the help of our free worksheets, created by expert teachers, learning will be like a walk in the park.\nStory Sequencing Cards Printable Activities For Preschoolers\n: If your kids are out of breath on their last day of third grade, they\u2019re going to have a blast. Introducing new multiplication principles, learning about important historical figures, doing fun puzzles, and more, the fourth-grade curriculum has so much more to it than kids were taught in previous grades. While fourth grade subjects include math, science, geography, history, arts, and languages, the subjects taught are at the next level. Therefore, learning in class alone will not be enough. This is where our fun, free printable worksheets will help your kids prepare well in all areas.\n: When things get tough, the tough ones have to go! With the increased workload and curriculum challenges, most fifth graders are bound to hit a roadblock at one point or another. However, we offer a good solution with free worksheets and prompts to solve this problem. Don\u2019t worry about advanced issues, all it takes is some extra work. What you will study includes biographical explanations, important historical characters, riddles, advanced grammar, reading, writing, science and social studies.\nEnglish Worksheets: Three Little Pigs Sequencing\nNecessary cookies are essential for the website to function properly. This category only contains cookies that ensure basic functionality and security features of the website. These cookies do not store any personal information.\nAny cookies that may not be strictly necessary for the functioning of the website and are used primarily to collect user personal information through analytics, advertising, other related activities are called non-necessary cookies. It is necessary to obtain consent from users before running these cookies on your website. If you have children or guardians of children then you will know how much these little ones want to bring The Tale of the Three Little Pigs to life. If you\u2019re looking for 3 little pig crafts or activities then this is sure to be fun! This Sequence of 3 Little Pigs Coloring Page brings art to this storytelling project. Kids can use watercolors, markers, or crayons to make their storyboards.\nThe Three Little Pigs Extension Activity For Young Learners\nPrints Black and White Sequence Cards. You can decide which pages to print based on how old your child is and how long you want the story to be.\nThen set your favorite art. This can be food coloring mixed with water and some eraser, markers or even crayons. I chose to set our brown paint.\nChildren need to know what color they want to paint each area with. Show the children a picture of a house made of bricks, straw, and sticks. You can go outside and have the kids collect their sticks so they can figure out what color to use. You can also show them story books so they can read\nSequencing 3 Little Pigs Worksheet\nWhen the cards are dry, have students cut out the story cards and tell you the story using their cards. You will be surprised how happy they are because they have also made part of the story!\nNadia is a mother of 4 children, passionate about making children\u2019s education fun through play. She encourages parents to spend quality time with their children through fun children\u2019s activities and to enjoy art, travel and doing things with their children.\nGet Smart Alphabet Collection VIP $61.50 This amazing VIP Alphabet Pack contains over 22 alphabet activity packs that will teach your child the alphabet hands-on. Activities include letter crafting, weekly letter activities, play dough, and lots of SO!\nThe Three Little Pigs\nSmart Start Alphabet Starter Pack $40.00 The Alphabet Starter Pack contains 7 alphabet activities to help your child start their alphabet journey.\nLettering Craft $9.50 Our Lettering Craft is a favourite. Each letter art has a letter of the alphabet with a corresponding picture that starts with that letter. Example: Letter B for Bee, Letter C for Cat, Letter T for Train.\n$5.00 Alphabet Worksheet This printable worksheet focuses on one letter of the alphabet per page and includes many ways to learn the alphabet. Kids will color letters, search for letters, trace letters, dot letters, and change pictures that start with letters. When your child makes the Three Pigs crown, they will sequence the events of the story as if they were making paper crowns they can wear.\nFree Printable Three Little Pigs Sequencing Crown\nStory order helps children identify the beginning, middle, and end of a story. It also helps them to retell events in the order in which they happened. The ability to sequence events in a story is an important comprehension skill for readers.\nAdd this fun story sequence activity to the Little Pigs book-based activity to help young readers focus on the details in the story.\nPrint one set of pages for each student. The crown model consists of numbers 1-6. The kids will cut the crown (in color if you printed the black and white version) and the extension cords.\nRead Build Write Mats + Three Little Pigs Vocabulary Cards\nCut out six row cards. Also, have students color this in if you printed the black and white version.\nFind a fun story to read to your child (or students). As you read the story, have students color and cut out the sequence cards.\nStudents must also trim the crown with two additional strips. This will follow the back of the child\u2019s head to create a soft crown.\nLittle Pigs Craft Sequencing Coloring Pages\nAsk students to follow your instructions and stick the letters on the crown in order (you can use a list of where the letters appear in the story or you can make a list).\nExample: Paste the pig with the grass clock at the start to first place. Stick the wolf with the haystack on second to second place. Glue the pig with the stick house\nThree little pigs story sequencing pictures, the three little pigs story sequencing, three little pigs sequencing activities, sequencing the three little pigs, three little pigs sequencing pictures, the three little pigs sequencing cards, three little pigs story sequencing, 3 little pigs sequencing worksheet, the three little pigs worksheet, three little pigs sequencing cards, three little pigs sequencing, three little pigs worksheet", "id": "<urn:uuid:8bd91f7f-eecd-4a20-8fa1-ef4d7a1f0f8a>", "dump": "CC-MAIN-2023-14", "url": "https://sample-templates123.com/1522/three-little-pigs-sequencing-worksheet/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948765.13/warc/CC-MAIN-20230328042424-20230328072424-00757.warc.gz", "language": "en", "language_score": 0.9384475946426392, "token_count": 1956, "score": 3.8125, "int_score": 4}
{"text": "Juneteenth will be celebrated on June 19th in the United States, and this holiday has only recently received the recognition it deserves as a critical date to celebrate and understand in the history of the U.S. The increased awareness of Juneteenth follows the racial justice protests last June that were sparked by the horrific death of George Floyd and many other Black Americans due to policy brutality. Issuu provides a platform for content creators to share the history, stories and their perspectives on Juneteenth and the many challenges that Black Americans face today. We hope that with the increased awareness, participation in Juneteenth celebrations will grow.\nJuneteenth is a holiday celebrating the emancipation of those enslaved in the United States. The holiday originates from Galveston, Texas on the date that the Union Army general Gordon Grainger proclaimed freedom from slavery in Texas. This was actually over two years after President Abraham Lincoln\u2019s Emancipation Proclamation had officially outlawed slavery, but until this point the state of Texas had remained largely isolated from the Union troops and the enforcement had been slow and uneven. Juneteenth has been celebrated by African-Americans since the late 1800\u2019s, and finally the rest of the country is catching up to celebrating such an important date in our country\u2019s history.\nJuneteenth: Celebrating Freedom\nIn an effort to increase awareness and education for Juneteenth, the Issuu team compiled important facts and background on the holiday alongside historical and relevant images. This is a great introduction to Juneteenth for readers interested in learning more.\nJuneteenth: A Feast of Freedom\nCelebrate freedom with a menu you won\u2019t soon forget. This interactive recipe book honors the vibrant and rich legacy of Black ancestral cooking and African American history. Enjoy delicious food while celebrating simplicity, praising tradition, honoring Black Americans and their strong roots. Don\u2019t miss the Juneteenth Spotify playlist recommended to accompany your cooking and meal time too.\nLooking to expand your knowledge and explore even more Juneteenth storytelling? The Texas Freedom Colonies Project is an educational and social justice initiative dedicated to supporting the preservation of Black settlement landscapes, heritage, and grassroots preservation practices through research. They compiled this Juneteenth reading list for a deeper look at Juneteenth history and celebrations.\nNothing Rhymes With Juneteenth by Idris Goodwin\nMad Cow Theatre, in partnership with Black Theatre Girl Magic, presents digital readings of five short plays by award-winning playwright, poet and changemaker, Idris Goodwin, to spark conversation about race in America for multi-generational audiences. Peruse the program and enjoy these previously livestreamed events on the Mad Cow Theatre Facebook page. With the support of Theatre for Young Audiences (TYA/USA), Goodwin has offered these plays to serve as a catalyst for action. Each of these short works, written to be read across the multi-generational spectrum, offer different insights about disconnects in racial conversation and the Black experience in America.\nUjima: Honoring our Ancestors and Our Freedom in a Time of Healing\nUjima Magazine tells human interest stories about the \u201ceveryday heroes\u201d with a focus on the Black community in Austin and the surrounding areas. The most recent issue shares stories of celebrating Juneteenth and the Emancipation Proclamation.\nAt Issuu, we know that storytelling has the power to create awareness, encourage dialogue and contribute to driving change in our world. The history of Juneteenth is important to tell and Issuu\u2019s mission is to connect content to people in ways that will highlight our humanity to one another. Do you have additional Juneteenth content we should be highlighting? Let us know by tagging @Issuu, plus you can start your own storytelling at Issuu.com today.", "id": "<urn:uuid:cdfcec2d-5d70-4702-9d13-ffa965ebb84a>", "dump": "CC-MAIN-2023-14", "url": "http://count-character.com/celebrate-juneteenth-on-issuu4a44.html?issuu_product=blog&issuu_subproduct=tag&issuu_context=blm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949355.52/warc/CC-MAIN-20230330163823-20230330193823-00536.warc.gz", "language": "en", "language_score": 0.9415234923362732, "token_count": 759, "score": 3.625, "int_score": 4}
{"text": "Walter Crane is considered one of the pioneers of children's book illustration, known for his vibrant and imaginative illustrations that captivated young readers. He was a significant contributor to the development of the genre, and his work continues to inspire and influence illustrators to this day.\nCrane was born in Liverpool in 1845 into a family of artists and writers, and showed an early talent for drawing. He studied at the Manchester School of Art and later the Royal Academy in London, where he was exposed to the work of the Pre-Raphaelites and other influential artists of the time. In the 1860s, he began working as an illustrator for magazines and children's books, and soon gained a reputation for his skillful and imaginative drawings.\nCrane's most notable works include the illustrations for \"The Baby's Own Aesop\" (1887) and \"The Frog Prince\" (1874), among many others. Although Crane aspired to be a respected portrait painter, he enjoyed his greatest commercial and critical success as a book illustrator, and especially with his elaborate and sophisticated illustrations of children's books. Books illustrated by Crane sold well and he was often a bigger draw for the reading public than the author of the books themselves.\nCrane's illustrations were noticeably superior in composition, intricacy and technique to the typical children's book illustrations that were the norm at the start of his career. Crane's style stood out largely due to his use of techniques leaned at the art academy as well as though his study and interest in the Pre-Raphaelite art movement as well as Japanese prints. In other words, Crane brought high art to what had previously been a largely amateurish field, and as a result he elevated the genre and contributed to starting the Golden Age of children's book illustrations during the late Victorian era.\nOne of Crane's most significant contributions to children's book illustration was his use of color. In an era when most illustrations were black and white or sepia-toned, Crane's vibrant and bold use of color was a revelation. He used a wide range of hues, often in unusual combinations, to create dynamic and engaging illustrations that brought stories to life.\nAnother notable aspect of Crane's work was his attention to detail. He was a meticulous artist, carefully researching the clothing, architecture, and landscapes of the settings he illustrated to ensure historical accuracy. This commitment to detail helped to create a sense of realism in his illustrations, making them all the more immersive for young readers.\nCrane also had a keen sense of storytelling. He used his illustrations not only to depict scenes from the story but also to convey the emotions and personalities of the characters. His characters often had expressive faces and body language that helped to convey their thoughts and feelings, making the stories more engaging and relatable for young readers.\nWalter Crane was a pioneer of children's book illustration, whose contributions helped to shape the genre as we know it today. His use of color, attention to detail, and storytelling skills were all groundbreaking, and his influence can still be seen in the work of contemporary illustrators. Through his art, Crane brought joy and wonder to countless young readers, and his legacy continues to inspire generations of artists and readers alike. Sadly, Crane's true ambition as to be recognized as a serious painter. He created several paintings which he exhibited, but these never garnered the popularity of his book illustrations.", "id": "<urn:uuid:ceac0298-f631-4fd1-805a-61f01d85732b>", "dump": "CC-MAIN-2023-14", "url": "http://www.waltercrane.com/r/Walter-Crane-A-Pioneer-of-Childrens-Book-Illustration.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949598.87/warc/CC-MAIN-20230331082653-20230331112653-00538.warc.gz", "language": "en", "language_score": 0.9878623485565186, "token_count": 690, "score": 3.703125, "int_score": 4}
{"text": "Teaching history in the classroom is important for a number of reasons. First and foremost, it helps students understand the past, which in turn helps them make sense of the present and plan for the future. History teaches students about the world around them, including the people, places, and events that have shaped it. It also teaches them about different cultures, societies, and civilizations, which can help them become more empathetic and understanding of others.\nFurthermore, history teaches critical thinking skills. Students learn to evaluate primary sources, such as documents and artifacts, and secondary sources, such as books and articles, to come to their own conclusions about historical events. This helps them develop their ability to analyze and interpret information, which is a valuable skill in today\u2019s world.\nIn addition, history helps students develop their writing and research skills. They learn how to organize and present information in a clear and logical manner, and how to properly cite sources. These are skills that are important not just in school, but in the workplace as well.\nFinally, teaching history in the classroom helps students become informed and engaged citizens. By understanding the past, students can better understand the issues and challenges facing their communities and the world at large. They can also develop a sense of civic responsibility and an appreciation for the role of government in society.\nIn conclusion, teaching history in the classroom is essential for students\u2019 personal, academic and civic development. It helps them understand the past and make sense of the present, and develops their critical thinking and research skills, preparing them for the future. Furthermore, it also helps them become informed and engaged citizens.\nTeaching social studies in the primary grades can be challenging, as young students often have short attention spans and may find it difficult to grasp abstract concepts. However, there are several strategies that can help make social studies instruction more engaging and effective for young students.\n- Use hands-on activities: Young students learn best through hands-on activities, so incorporating them into social studies instruction can be very effective. For example, students can create a timeline of important events in history or make a model of a historical site or structure.\n- Incorporate technology: Using technology in the classroom can help make social studies instruction more engaging for young students. For example, students can use interactive maps and simulations to explore historical places and events.\n- Use storytelling and role-playing: Storytelling and role-playing can be a great way to introduce young students to social studies concepts. For example, students can act out a historical event or take on the roles of historical figures.\n- Use real-world connections: Young students are more likely to be engaged in learning when they can see how it relates to their own lives. Incorporating real-world connections into social studies instruction can help students understand the relevance and importance of what they are learning.\n- Use group work: Group work can be an effective way to promote social studies learning among primary students. For example, students can work in small groups to research a historical event or create a presentation on a historical figure.\n- Incorporate diverse perspective: Social studies instruction should be inclusive and diverse. Incorporating different perspectives, cultures, and traditions to social studies instruction can help young students understand the world and its complexity.\nBy using these strategies, teachers can make social studies instruction more engaging and effective for young students. It is important to keep in mind that primary students have different learning needs than older students, so it is important to adapt instruction accordingly.\nTechnology has had a significant impact on social studies instruction in recent years. One of the main ways it has impacted social studies instruction is by providing new and innovative ways for students to learn and engage with social studies content. Here are a few ways technology has impacted social studies instruction:\n- Online resources: Technology has made a wide variety of online resources available to social studies teachers and students. These resources include primary source documents, maps, videos, and simulations. These resources can help students learn about historical events and places in a more engaging way.\n- Virtual and Augmented Reality: Virtual and augmented reality (VR/AR) technology can help make social studies instruction more interactive and immersive. For example, students can use VR headsets to virtually explore historical sites or use AR apps to see historical events and people come to life in front of them.\n- Collaboration and communication tools: Technology has made it easier for students to collaborate and communicate with each other. For example, students can use online collaboration tools such as Google Docs or Zoom to work on group projects or communicate with classmates.\n- Online assessments: Technology has made it easier for teachers to assess students\u2019 understanding of social studies content. Online assessments can be easily administered and automatically graded, which saves teachers time and allows them to quickly identify areas where students need additional support.\n- Access to diverse perspectives: Technology has made it easier for students to access information and perspectives from around the world. This can help promote a more inclusive and diverse understanding of social studies content and the world.\nHowever, it\u2019s important to keep in mind that technology is not a panacea and should be used as a tool to support learning. It is essential to use technology in a thoughtful and strategic way, in conjunction with other effective teaching strategies and methods. Additionally, access to technology can be a digital divide issue, so it\u2019s important to make sure that all students have access to the necessary technology and support.\n- Include multiple perspectives: A diverse and inclusive curriculum should include multiple perspectives and voices. This means including the perspectives of different races, ethnicities, genders, and sexual orientations, as well as people with disabilities, immigrants and other marginalized groups.\n- Use a variety of primary and secondary sources: In order to provide a more complete and accurate picture of history, it is important to use a variety of primary and secondary sources that reflect the perspectives of different groups. This includes incorporating primary sources like diaries, letters, photographs, and oral histories from marginalized groups.\n- Incorporate diverse and inclusive teaching strategies: When teaching social studies, it is important to use a variety of teaching strategies that are inclusive and respectful of different cultures, perspectives, and experiences. This can include using role-playing, storytelling, and other hands-on activities that allow students to explore different perspectives.\n- Provide opportunities for self-reflection and critical thinking: A diverse and inclusive curriculum should encourage students to think critically about the world around them, and to question the dominant narratives and perspectives. It is essential to provide opportunities for self-reflection and critical thinking, and to foster an environment where all students feel comfortable sharing their perspectives.\n- Collaborate with community organizations and experts: To create a truly diverse and inclusive curriculum, it is important to collaborate with community organizations and experts from different backgrounds. This can help to ensure that the curriculum is culturally responsive and represents the diverse perspectives of the community.\n- Review and revise curriculum regularly: Diversifying and inclusivity should not be a one-time event but rather a continuous process. It\u2019s important to periodically review and revise the curriculum to ensure that it is inclusive and reflects the needs of diverse student population.\nIn conclusion, creating a diverse and inclusive social studies curriculum is essential for promoting understanding and respect for different cultures, perspectives, and experiences. By incorporating multiple perspectives, using a variety of primary and secondary sources, and providing opportunities for self-reflection and critical thinking, teachers can create a social studies curriculum that is inclusive and responsive to the needs of all students.", "id": "<urn:uuid:c217b635-9780-445a-8832-005dc3ff3431>", "dump": "CC-MAIN-2023-14", "url": "https://soupvisit.com/strategies-for-teaching-social-studies-in-the-primary-grades/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00338.warc.gz", "language": "en", "language_score": 0.9419059753417969, "token_count": 1541, "score": 3.875, "int_score": 4}
{"text": "At this early age, some children may have a hard time knowing how to interact with others in a socially appropriate manner, and how to recognize another person\u2019s feelings and needs. By making new friends, and interacting with others, your child is learning how to play with other children, share, and respect their needs and space. While these interactions help build your child\u2019s social skills, you play the greatest role in their emotional development. You can help improve your child\u2019s social awareness by being supportive and leading by example. Here's what to know.\nDuring the pre-kindergarten years, children are learning very quickly. While children at this age may have short attention spans, they often learn best by being read to, playing pretend, and observing others, especially you. By setting a strong example, you can show your child how to be socially and emotionally intelligent.\nPreschoolers are learning how to identify what others are feeling based on their facial expressions and body language. As your child interacts with their classmates and teachers, they are gaining a better sense of other people\u2019s emotions, perspectives, and behaviors.\nDuring this phase, your child is learning that others have different points of view and that these differences may have consequences in their interactions. They are also gaining a better understanding of the social norms of behavior, like staying quiet during storytime or lining up with the other students during lunchtime. Young children need a lot of reminders on the road to becoming socially aware, so don\u2019t expect to see your child displaying much of this skill on their own.\nKeep in mind that every child develops at his own pace. Maurice Elias, director of the Social-Emotional Learning Lab at Rutgers University, recommends being watchful without overly worrying, as preschoolers are extremely different in their rate of development, and your child may even excel in one area and lag in another. The concepts highlighted in this section are based on the five sets of competencies developed by the Collaborative for Academic, Social, and Emotional Learning (CASEL). If you have concerns about your child\u2019s development, please contact your healthcare provider, his teacher, or his school counselor.\nLearn more about how to support your child with our pre-K social awareness tips page.\nParent Toolkit resources were developed by NBC News Learn with the help of subject-matter experts, including Anne Morrison, Pre-Kindergarten Teacher, Lyc\u00e9e Fran\u00e7ais de New York; Maurice Elias, Director, Rutgers Social-Emotional and Character Development Lab; and Jennifer Miller, Author, Confident Parents, Confident Kids.", "id": "<urn:uuid:af9388ca-7196-40ef-a9e3-f022d202d358>", "dump": "CC-MAIN-2023-14", "url": "https://www.today.com/parenting-guides/pre-k-social-awareness-skills-t178242", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00338.warc.gz", "language": "en", "language_score": 0.9658976197242737, "token_count": 536, "score": 4.125, "int_score": 4}
{"text": "Are you looking for ways to bring more diversity into your art room? Below you\u2019ll find six contemporary black artists whose work you can weave into your lessons throughout the year as you study painting, sculpture, and collage, as well as line, shape, color, and symbolism.\nBy shining a light on these artists\u2019 work, you\u2019ll expose students to new ways of thinking and creating and help them make connections to their lives and the broader world around them.\nBisa Butler is an American textile artist who creates quilted portraits that explore black identity. Her vibrant colors, patterns, and subject choices create an homage to African American life.\nAs you consider Butler\u2019s work with students, discuss how she begins her process with black and white photos. Ask students about her color choices and the symbolism in her fabrics. Ask them to describe the personalities of the people in Butler\u2019s work. How does she convey a story through her quilts?\nThen, have students create their own fiber art on a smaller scale or have them choose another unexpected medium to produce portraits.\nTo extend your study of Butler, team up with core teachers to have students write stories based on the people depicted in Butler\u2019s quilts. What are their lives like? How do they think and feel? What problems do they have? Have students who wrote about the same quilt compare stories. What was similar in their stories? What was different?\nJean-Michel Basquiat\u2019s artwork explores themes of racism and colonialism. Classified as a neo-expressionist, his work features unrestrained emotional linework, text, and symbolism. His trademark symbol of a three-pointed crown can be found in many of his artworks and symbolizes majesty, strength, and royalty.\nAfter examining Basquiat\u2019s work, have grade-school students practice working with symbolism and mark-making with tempera sticks and oil pastels with this free \u201cAbstract dinosaur paintings\u201d lesson plan.\nAmy Sherald is probably best known for her portrait of Michelle Obama. In fact, along with Kehinde Wiley, she is the first African American commissioned by the National Portrait Gallery to paint a presidential portrait.\nSherald\u2019s work has a graphic quality and features striking backgrounds and bold full-body portraits of sitters who often gaze directly at the viewer. She uses grisaille, or shades of gray, to portray her skin tones, in stark contrast to the rest of the painting.\nHave students or teachers \u201ccommission\u201d your students to paint a portrait imitating Sherald\u2019s style. Remind them that the color choices are theirs; however, their paintings should be graphic and bold and their skin tones created using shades of gray.\nMake sure every student feels represented\nWith the Nasco Multicultural Art Supply Pack, you\u2019ll have everything you need to help students create diverse and inclusive art.\nLina Iris Viktor\nLina Viktor creates large-scale paintings and sculptures in a limited color palette that feature gilded sections crafted from 24 karat gold. Along with gold, she also integrates materials such as volcanic rock and black marble.\nAs you examine Viktor\u2019s paintings, sculptures, and installation pieces, ask students how they feel when they view them. What moods do the pieces evoke? Discuss color and contrast, as well as how limiting your palette can affect your artwork. How do the gold details change or add to Viktor\u2019s art?\nLet students experiment with limiting their color palettes and adding their own \u201cgold\u201d or metallic details with the supplies in the Nasco Metallic Art Supply Enhancement Pack.\nYinka Shonibare is an interdisciplinary artist whose works include painting, sculpture, installations, and photography that focus on the intricacies of cultural identity. As a young art student, Shonibare developed transverse myelitis, a disease that left him paralyzed on one side of his body.\nShonibare\u2019s disability did not stop him from creating a body of work that includes large public art installations. This includes his wind sculpture series, with works such as Wind Sculpture (SG) I and Wind Sculpture VII. Just like these sculptures, many of his artworks feature batik fabric, or fabric that has been coated in wax designs and then dyed. You can walk students through the batik process and using symbolism and positive and negative space with this easy classroom kit.\nAfter viewing Shonibare\u2019s work, discuss public art installations with students. What purpose do they serve? How do they make people feel and think?\nThen, have students plan their own public art installations by researching where they could erect their art and then drawing plans for it on a small scale. If your school has the available space, plan a collaborative piece of public art, such as a tile mosaic, that your students can all contribute to.\nWangechi Mutu, painter and collage artist, works by \u201cpiecing together magazine imagery with painted surfaces and found materials.\u201d\nMutu uses a variety of mediums to create her surrealist pieces. Share some of her work with students and ask them what they notice about her art (note that not all her artworks might be considered appropriate in your school setting). Students might notice the natural materials combined with magazine photographs. They might also notice that different body parts are used to make up parts of a face or other parts of a body.\nAfter discussing Mutu\u2019s work, give students artistic license to work with a variety of media to create collages, including old books, maps, magazines, paint, paper, and found objects. Get started quickly with the free \u201cI am an artist\u201d lesson plan.\nBefore students begin, talk about what they wish to express and what media would help them express it. Discuss color, rhythm, and symbolism, and then set them free to create!\nMore black artists to discover\nYour art room offers an environment for students to feel safe and free to express themselves, and the work you are doing to diversify your lessons is so important. As you continue to integrate diversity into your lessons, check out a few more black artists who\u2019ve made their mark in the world:\n- Julie Mehretu: A large-scale abstract and multimedia artist, Mehretu\u2019s gestural works are reminiscent of cities and geographies.\n- Kerry James Marshall: Marshall\u2019s work depicts themes that were typically excluded from Western art.\n- Kehinde Wiley: Wiley is an American portrait painter who is most well-known for painting President Barack Obama\u2019s portrait.\n- Philemona Williamson: Williamson is a figurative painter who explores storytelling, narrative, and forms of surrealism with her intriguing work.", "id": "<urn:uuid:8a39ff3b-1800-4942-bd5e-828ff772e329>", "dump": "CC-MAIN-2023-14", "url": "https://nasco-education-blog.com/2023/01/26/6-contemporary-black-artists-your-students-should-know/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00338.warc.gz", "language": "en", "language_score": 0.9541614651679993, "token_count": 1439, "score": 3.5625, "int_score": 4}
{"text": "The Narrative Technique in Achebe's \"Things Fall Apart\"\nSet in Nigeria at the turn of the 19th century, Chinua Achebe's \"Things Fall Apart\" chronicles the rise and fall of Okonkwo, a powerful leader in the Igbo tribe, as he fights against the turning tide of British colonialism. As Okonkwo's tribe and even his own son fall away from tradition, Okonkwo clings more desperately to his heritage, a decision that will have tragic consequences. Achebe's narrative techniques, such as point of view and structure, are critical tools for exploring this theme of cultural change.\nThe Parable of Okonkwo\nAchebe uses the third-person point of view, pronouns like \"he\" and \"she,\" to showcase the narrative's cultural conflict through voice. The distance of this perspective choice, combined with the use of past tense narration, creates a narrative style that mirrors a folktale or parable. Because the Igbo heritage figures prominently in the story, this traditional tone helps reinforce the importance of culture to Okonkwo. The story of his rise and downfall sounds like something that could have been passed down across generations of Nigerians for the purposes of teaching a lesson.\n\"Things Fall Apart\" is largely about the disintegration of African tribal tradition at the hands of European colonists. Achebe's narration makes a subtle commentary on this theme through blending western and non-western language and allusions. The book intersperses the Igbo culture's language, proverbs, family histories and rituals throughout the story, but also references John Bunyan's Christian allegory \"Pilgrim's Progress,\" the Book of Common Prayer and Biblical teachings. By combining the two cultural heritages, Achebe demonstrates the battle between tradition and change that drives Okonkwo's story.\nAchebe's three-part structure marks clear divisions in each section of Okonkwo's journey. Part One introduces Okonkwo's desire to redeem his family name by being a strong leader and warrior, and concludes when he is exiled from his village after accidentally killing a man. In Part Two, Okonkwo meets the British colonizers and witnesses their domination of local culture. Part Three marks Okonkwo's return, where he realizes his village has given in to the colonists and commits suicide. These divisions signal to readers that periods of change are approaching in Okonkwo's life; each is a step downward from his prideful goal of greatness.\nThe Tragedy of \"Things Fall Apart\"\nIn a tragedy, characters experience disastrous reversals of fortune brought about by their own flaws and wrongful choices. The narrative of \"Things Fall Apart\" makes use of this concept on two levels. Okonkwo himself is a tragic hero; although his greatest desire is to be greater than his father, his anger, bitterness and unwavering loyalty to the Igbo tribe all lead to his suicide. The story's other great tragedy, though, is the metaphorical death of the Igbo culture. In Okonkwo's absence, the village submits to British domination, erasing their society's tradition and heritage.\nKori Morgan holds a Bachelor of Arts in professional writing and a Master of Fine Arts in creative writing and has been crafting online and print educational materials since 2006. She taught creative writing and composition at West Virginia University and the University of Akron and her fiction, poetry and essays have appeared in numerous literary journals.", "id": "<urn:uuid:f4e96e2e-1eee-4e9b-a21a-665f11422b41>", "dump": "CC-MAIN-2023-14", "url": "https://penandthepad.com/narrative-technique-achebes-things-fall-apart-21488.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945315.31/warc/CC-MAIN-20230325033306-20230325063306-00135.warc.gz", "language": "en", "language_score": 0.953920304775238, "token_count": 732, "score": 3.703125, "int_score": 4}
{"text": "To a modern-day visitor, the site of Seneca Village resembles much of the surrounding Park, with rolling hills, rock outcrops, and playgrounds. But what many do not realize is that this area\u2014near the Park\u2019s perimeter from West 82nd to West 89th Street\u2014has an exceptional history. During the first half of the 19th century, before the area became Central Park, it was home to Seneca Village, a community of predominantly African-Americans, many of whom owned property.\nIn the 1990s, a group of scholars and archaeologists interested in the story of Seneca Village formed the Institute for the Exploration of Seneca Village. The goal of the group was to conduct further research on the Village and to consider ways to commemorate it in an educational context. They employed several different research approaches, including archaeological and archival.\nThe installation of \"Discover Seneca Village\"\u2014a collaboration between the Central Park Conservancy, the Institute, Hunter Research, and dedicated community groups\u2014is the newest project focused on raising awareness about the Village\u2019s history and honoring the people who lived there. By visiting the exhibit, located at the site of Seneca Village, people can learn about the features of the Village and gain insight into the lives of its residents. There is still much more research to be done about Seneca Village\u2014but here is some of what we know to date about the community\u2019s residents and landscape, as well as the artifacts that have been discovered.\nThe settlement of Seneca Village began in 1825 when Andrew Williams, a 25-year-old African-American shoeshiner, bought three lots from John and Elizabeth Whitehead. The Whiteheads owned farmland in the west 80s and 90s but decided to divide up their land into individual lots for sale. Epiphany Davis, a store clerk, was the second person to purchase land\u201412 lots\u2014and African Methodist Episcopal Zion Church (AME Zion) purchased several lots. From there, a community was born. From 1825 to 1832, the Whiteheads sold about half of their land parcels to other African-Americans. By the early 1830s, there were approximately 10 homes in the Village.\nAccording to Census records from 1855, the Village consisted of approximately 225 residents, made up of roughly two-thirds African-Americans, one-third Irish immigrants, and a small number of individuals of German descent. One of few African-American enclaves at the time, Seneca Village allowed residents to live away from the more built-up sections of downtown Manhattan and escape the unhealthy conditions and racial discrimination they faced there.\nAbout half of the African-Americans who lived in Seneca Village owned their homes, making the Village an exceptional community for 19th-century New York. For African-Americans, buying property was a path to suffrage and citizenship. That many residents owned their homes and lived in the Village for a long time indicates that they were more prosperous and stable than other African-Americans living in New York City at that time.\nThe site of Seneca Village contains some of the area\u2019s most impressive landforms, including a massive outcrop now known as Summit Rock, the highest point in the Park. This rock, virtually impossible for Park builders to remove, is a defining feature of the area and would have been quite prominent in the landscape of Seneca Village. Nearby is a natural spring, called Tanner\u2019s Spring, believed to have been a principal water source for the Village.\nSections of Seneca Village\u2019s landscape were swampy and rocky, but its acreage also contained small gardens, woodlands, and hills. While we do not know of any photographs of Seneca Village, there are photographs from the 1850s that show dwellings in the area and depict the landscape before it was transformed into Central Park, some of which gives us a sense of what Seneca Village might have looked like.\nSeneca Village contained three churches, anchoring not only religious but also political and social life for African-Americans. African Union Church (built around 1840) and AME Zion Church (built in 1853) were both satellite locations for churches based downtown. All Angels\u2019 Church (built in 1849) was established as a mission by St. Michael\u2019s Episcopal Church, a congregation on the Upper West Side, and was attended by both European-Americans and African-Americans.\nIn the 1840s, there were many debates in the public sphere on the effects of urban growth. Between 1845 and 1855, the City\u2019s population doubled. Some advocates believed that a large open space would provide an escape from the City\u2014a place for New Yorkers to congregate, breathe fresh air, and experience nature. They also hoped that a large public park would be a unique expression of American democracy while also becoming a cultural attraction that would rival those in European cities.\nThe choice of location for this unprecedented public space was not without controversy. William Cullen Bryant, the poet and editor of The Evening Post, suggested a privately owned, largely undeveloped area along the East River known as Jones\u2019 Woods. As plans for this location began to take shape, some park advocates argued that the 150-acre space was not big enough, nor central enough; others pointed out that those promoting this location were landowners in the area that would benefit financially from the presence of a park.\nThe City began to consider a larger tract of land in the center of the island that encompassed the Croton Receiving Reservoir. This was a somewhat rugged landscape with several swamps and numerous rock outcrops, which made it difficult to develop as real estate. This area also encompassed many acres that were already owned by the City, making the endeavor less expensive. Debate continued for almost three years before the City decided on this central location.\nThrough eminent domain (the power of the government to take private property for public use), the City bought the land for Central Park. Those who owned property were compensated for its value and residents were required to leave, a long process that ended in the fall of 1857. The construction of Central Park began in 1858 with the clearing of the land, including the demolition of buildings and removal of those interred in the burial grounds. Records show that some burials were relocated to a cemetery in Queens. By the time this section of the Park was completed in the early 1860s, no clear traces of Seneca Village remained.\nAlthough we have limited knowledge of what life was like in Seneca Village, there has been ongoing work to learn more about its residents and their lives. In 2011, archaeologists from Columbia University and the City University of New York conducted an excavation at the site.\nOver the course of two months, archaeologists and students collected several thousand artifacts, including household items of Seneca Village residents and the remains of their homes. They uncovered items such as an iron tea kettle, a roasting pan, a stoneware beer bottle, fragments of Chinese export porcelain, and a small shoe with a leather sole and fabric upper.\nWe talked with two of the archaeologists, Nan Rothschild and Diana diZerega Wall, about what they have discovered about the community through these items, and how archaeology can provide a tangible link to the lives of Seneca Village residents.\n\u201cI felt that an excavation at the site would provide a broader and richer view of the history of the African-American presence in the North and in New York City in particular,\u201d said diZerega Wall, Professor Emerita at the City College and the CUNY Graduate Center. \u201cIt would also help bring the history of middle-class African-Americans into the modern narrative of the nation\u2019s history.\u201d\nWith the installation of the \"Discover Seneca Village\" signage, it\u2019s now possible to explore the history of this area like never before. This exhibit gives visitors a glimpse into pre-Park history and highlights decades of research about this extraordinary community. If you\u2019re interested in a guided exploration of this area, a Conservancy-led Seneca Village tour covers the community\u2019s history and lives of its residents, and reveals what recent archaeological discoveries show about this remarkable community and its place in 19th-century New York.\nFor further information, visit our hub of Seneca Village content, linked here.\nDr. Carolyn Finney on the Great Outdoors, Environmental Racism, and Finding Joy Through Storytelling\nAs our country continues to reckon with the historical and modern-day implications of systemic racism, Dr. Finney asks her readers to consider how public spaces are affected, too. Parks like Central Park provide a sense of community and benefit our physical and mental health, but they aren\u2019t experienced or accessed equally.\nTags: Nature Lovers\nAbout the Conservancy\nThe Park Needs Us to Stay Clean and Green: A Community Effort\nHow does the Conservancy manage so much trash and recyclables?\nTags: Conservancy Staff / Tips for Visiting / Park Experts / First-Time Visitors\nThe History of Central Park\u2019s North End\nGet to know this area\u2019s rich past, which includes appearances from General George Washington and several military fortifications\u2014one of which can still be visited today.\nConcerts of Note: Central Park\u2019s Musical Highlights\nCentral Park has a storied history as a concert venue, welcoming musicians of all genres to its iconic lawns. Large or small, under clear or cloudy skies, music-making has been an essential part of the Park from the beginning.\nTags: History / Art Lovers", "id": "<urn:uuid:efd1bc66-c968-4b00-adfd-82bd664bf985>", "dump": "CC-MAIN-2023-14", "url": "https://www.centralparknyc.org/articles/rediscovery-and-research-of-seneca-village", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00137.warc.gz", "language": "en", "language_score": 0.9687430262565613, "token_count": 2017, "score": 3.6875, "int_score": 4}
{"text": "Empowering students voice is key to meaningful and lasting learning experiences both within and outside the classroom. Pedagogical empowerment, as I like to refer to it, is a student-centered approach that seeks to highlight students agency and transform learners from passive consumers to active producers of knowledge.\nEmpowering students voice starts with accountability, allowing them to take ownership of their learning. According to John Spencer, when students own their learning they fall in love with it, they start developing a maker mindset and they become critical thinkers and problem solvers.\nThere are various ways to empower students voice. Below are some examples of educational activities where you can leverage the power of technology to amplify students voice:\nAn effective way to empower students voice is through engaging them in writing projects where they are the main authors of their own learning experiences. There are a number of educational web tools and applications to use in this regard:\nBook Creator :\nBook Creator provides students with an arsenal of powerful tools to create and self-publish their books. Students can incorporate different multimedia materials into their books such as text, video, audio, shapes, visuals, drawings and many more. The app also embeds collaborative features making it easy for students to collaborate with their teachers or peers in real-time.\nDocs is an excellent free word editor students can use to channel their voice through engaging in creative writing projects. It also comes equipped with sophisticated collaborative features that include chat and audio feedback. Documents created through Docs can be shared live on the net using a unique generated link.\nAnother practical way to empower students voice is through digital storytelling projects. For instance, students can use apps such as StoryboardThat, Boomwriter, Storybird, among others, to write, record, and share stories with others. Digital storytelling can also take place through comic strips using tools such as Toontastic, Make Beliefs Comix, and Pixton Comic. Students can work individually or in groups to design their stories and share them with the world.\nStudents feel empowered when they know their voice is heard and their opinions are welcomed. One way this can happen is through enabling students to share their feedback. Students can use whiteboarding tools or annotating tools to share feedback within documents, PDFs, or even on web pages. Popular word editors such as Word, Google Docs include commenting features allowing students to share feedback and interact in engaging ways. There is also the possibility of sharing feedback using tools such as Mote and Kaizena.\nShowcase students learning\nProviding students with avenues to showcase their learning is another empowering strategy to enhance students sense of accountability, motivation and self-directed learning. There are several ways students can showcase their learning including through creating digital portfolios using tools such as Seesaw and Google Sites, creating personal blogs using tools such as Blogger or WordPress, through visual illustrations such as the creation of posters and infographics using tools like Canva, Google Drawing, and PiktoChart.\nEmpowering students voice is a process and not an end. It is only through allowing students the space to freely engage in expressive forms of interaction and perspective sharing that we, teachers and educators, ensure the creation of inclusive learning environments where students are empowered and where their voice and agency are valued.\nLeave A Comment", "id": "<urn:uuid:afa4230b-4cbc-4da4-bbd6-39b276012b01>", "dump": "CC-MAIN-2023-14", "url": "https://sturiel.org/tools-and-strategies-to-empower-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00338.warc.gz", "language": "en", "language_score": 0.9596595764160156, "token_count": 685, "score": 4.03125, "int_score": 4}
{"text": "Looking for a fun way to teach your kids about the apple life cycle? Check out this free apple life cycle printable diagram!\nIt\u2019s a great visual aid that shows how apples grow and change from seed to fruit. Plus, it\u2019s a fun activity to do together.\nJust print it out and your kids can color in the different stages of the life cycle. They\u2019ll be learning about apples in no time!\nJust like people, apples go through a life cycle. This printable can help your little ones understand the different stages an apple goes through, from blossom to tree to fruit.\nDownload and print it out, then color in the different illustrations as you talk about how an apple grows.\nYou can also use it to teach your kids about the seasons, explaining how apples are usually harvested in the fall.\nHang it up on the fridge or in your child\u2019s bedroom as a fun and educational reference guide.\nThe Life Cycle of an Apple\nApple trees are a staple of many gardens and orchards, and they are relatively easy to grow. However, before you can enjoy a bountiful harvest of crisp apples, there is a lot of work to be done.\nHere is a quick overview of the apple life cycle, from planting to harvesting.\nWhen you first plant an apple tree, it will be a small sapling. With proper care, it will quickly grow into a medium-sized tree. Once it reaches maturity, it will begin to produce flowers.\nAfter the flowers are pollinated, they will develop into apples. The apples will ripen and fall off the tree in late summer or early autumn.\nFinally, it is time to harvest the apples and enjoy their sweet flavor!\nApple Science Activities\nThere\u2019s something magical about apple science activities. They\u2019re the perfect blend of kitchen science and fall fun. And they always seem to turn out beautifully, even when they\u2019re not planned that way.\nThe next time you\u2019re looking for a fun activity to do with your kids, try one of these apple science activities. You might be surprised at how much they enjoy it.\nOne of the simplest apple science activities is to slice an apple in half and observe the different parts. The seeds, the flesh, the skin, the stem \u2013 each part has its own unique function. And when you put them all back together again, you have a delicious snack.\nIf you want to get a little more hands-on with your apple science, try making homemade applesauce. It\u2019s a great way to use up any extra apples you might have lying around. And it\u2019s a perfect opportunity to talk about the Science of Cooking.\nHow does cooking change the structure of food? What happens to the nutrients in food when it\u2019s cooked? Your kids will be fascinated by the answers to these questions \u2013 and they\u2019ll love eating their homemade applesauce too.\nSo don\u2019t let the chilly weather keep you indoors this fall. Get out there and enjoy some apple science with your kids. They\u2019ll love learning about the life cycle of apples \u2013 and you might even learn a thing or two yourself.\nBOOKS ABOUT APPLES\nFill your book basket with a great collection of books about apples. Most of these books can be found at your local library or used bookstore.\nIf you have a hard time finding them, you can order them through my Amazon affiliate links by clicking the images below.\nApples, Apples, Apples \u2013 It\u2019s a blue sky autumn day and Minna, Pop, Mom, and Dad have decided to go on an outing to Long Hill Orchard. As the bunnies fill their baskets, Farmer Miller teaches them all about apples. This charming story is filled with fun facts, activities, and an applesauce recipe.\nPinkalicious: Apples, Apples, Apples \u2013 Pinkalicious and the Pinkertons are all excited when they return from their trip to the orchard with lots of Pink Lady apples to munch on! After realizing they have more apples than the family could possibly use, Pinkalicious finds ways to share the apples with others.\nHow Do Apples Grow? \u2013 Young children love to eat apples and go to orchards. Here\u2019s a Hello, World! board book that teaches toddlers all about how apples grow\u2014from seed to sapling to tree to applesauce.\nAPPLE RESOURCES I LOVE!\nAdd an apple girl peg doll to your imaginative play area this fall. She\u2019s great for storytelling and makes a wonderful addition to a doll house.\nWith a printable pattern, you can make an apple counting basket set for your felt board. It includes an apple tree, apples, baskets, and numbers.\nFall is the perfect time of year to study apples! This apple life cycle printable features 17 activities designed to teach the five stages of an apple\u2019s life and the vocabulary that goes with it.", "id": "<urn:uuid:a2a7d084-5c62-462a-a821-c219e5ec2c8d>", "dump": "CC-MAIN-2023-14", "url": "https://affordablehomeschooling.com/apple-life-cycle-printable/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949701.0/warc/CC-MAIN-20230401032604-20230401062604-00758.warc.gz", "language": "en", "language_score": 0.9329541325569153, "token_count": 1044, "score": 3.59375, "int_score": 4}
{"text": "All English courses include development of skills in reading, writing, speaking and listening. All courses include specific study of vocabulary, spelling, usage, punctuation and grammar, library research and assigned outside reading in addition to the literature studied in class. All courses include work in composition.\nENGLISH 9 (1 UNIT)\nThroughout ninth grade English, students will use literary elements (irony, figurative language, symbolism) to understand reading selections. They will also be able to distinguish differences among various forms of poetry (sonnet, lyric, narrative, epic) and engage in a variety of shared-reading experiences. Students will also analyze poetry in order to recognize the differences between poetic and everyday language. During the course of the year, the students will study the development of characters and central themes. There will be a variety of pre-writing and writing tasks for students to perform in order to demonstrate their abilities as writers who understand their audiences and acceptable conventions of the English language versus e-mail. Knowledge and the ability to use a variety of research tools (newspapers, magazines, and internet \u2013 on-line data resources) in order to distinguish between provable statements and assumption will be taught. The ISafe Program will be presented during all English 9 classes. Students will understand the consequences of plagiarism.\nENGLISH 10 (1 UNIT)\nThroughout tenth grade English, students will continue to work on the skills that were begun in English 9. In addition, they will be reading and evaluating short stories, novels, plays, poetry, and essays. They will be asked to read critically and write complete and insightful responses. They will need to become proficient in their grammar skills, especially punctuation, spelling, capitalization, correct pronoun use, and paragraphing.\nStudents will also work on improving their listening, thinking, and writing skills in order to challenge the Regents in grade 11.\nENGLISH 11 (1 UNIT)\nThis course emphasizes the application of writing skills through the organization of composition and themes. An introduction to American Literature is used for interpretation and critical reading.\nStudents will successfully complete writings in persuasion and various modes of exposition about a variety of topics. Students will develop research skills and gain confidence in completing a well-documented research based paper. Students will also continue to develop their command of the conventions of standard written English. These activities should ultimately produce improved critical thinking skills that will evidence themselves in written and oral communication. Finally, since writing is not only about clear and precise communication but also a tool for personal discovery, students should see this class as an opportunity to continue to develop their own individual \"voice.\"\nThis course focuses on imaginative literature \u2013 drama, poetry, and prose fiction. Students will be expected to consider how authors utilize the tools at their disposal (elements of fiction, figurative language, devices of sound and structure, etc.) in order to create their literary works. In the process students will be exposed to works from a variety of cultures and time periods. Students will be expected to improve their abilities to write critically and analytically about drama, poetry, and prose fiction. Students will also be expected to see literature as a commentary on human experience and view literary works from a variety of perspectives and interpretive approaches.\nENGLISH 12 (1 UNIT)\nThis course must prepare seniors for the variety of opportunities and responsibilities they will encounter after graduation. Ultimately, English 12 will help students apply their English language skills to the world beyond the classroom.\nEnglish 12 will offer reading, writing, and speaking components with units in the novel, research writing, drama and film, persuasive writing, children\u2019s literature, and the short story. Within these units poetry will be considered and creative writing and public speaking tasks will be assigned. In some cases these components will be mixed and merged under thematic units. For example, a thematic unit entitled \"Power, Authority, and Civic Responsibility\" will allow students to consider drama, novels, short stories, poems, as well as non-fiction articles and essays. From these sources students can then engage in a variety of writing tasks and speaking opportunities.", "id": "<urn:uuid:0052bab5-b5e5-4796-a2ca-0b1c4f23ba7d>", "dump": "CC-MAIN-2023-14", "url": "https://www.oleanschools.org/domain/90", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00538.warc.gz", "language": "en", "language_score": 0.9570112228393555, "token_count": 856, "score": 3.71875, "int_score": 4}
{"text": "Math and Reading Intervention Garners Amazing Results for India's School Children\nIndia, like other low-income countries, has had challenges in educating its poorest populations and children in rural areas. For the last three decades, India's largest education NGO, the Pratham Education Foundation, has been working to alleviate this situation. Pratham has been successfully implementing its Learning Camp teaching model in schools throughout India. Learning Camp is helping to turn challenging gaps and problems into opportunities and achievements. Learning Camp Program Coordinator Meera Tendolkar was the featured panelist for the Global Reading Network webinar on August 31, 2017, which focused on understanding how mathematics supports reading. Tendolkar noted that to understand the full nature of the recent turnaround in education outcomes for students that have come through the Learning Camp program, you must review the previous gaps and problems. Those included children entering school at younger ages than the curriculum was planned for with little to no early grade (pre-k and kindergarten) educational preparation. In addition, many rural students have little to no support from parents who may be semi-illiterate to illiterate themselves and unable to help with homework.\nThe Indian government, recognizing the problems, in 2010 passed the Right To Education (RTE) Act, which stipulates that all Indian children, ages 6 to 14, should be given a free education. But the gaps in grade-level learning persisted. In 2016, assessments found that less than half the nation's schoolchildren in grade level 5 could read even grade level 2 material. Only about one in four grade level 3 students could do subtraction problems. Only 43.3% of grade-level 8 students could work division problems. A new approach was needed. And what the Indian government and Pratham came up with was amazing!\nThe approach is called CAMaL, for Combined Activities for Maximized Learning. In Hindi, CAMaL means amazing! And once they got started learning with this new method, students and their teachers saw amazing results in a short three-year period from 2015 through May 2017. Tendolkar says Learning Camp, which she likens to really great after-school tutoring sessions, asks children to use all their senses to learn from their surroundings. They listen to what is said, say what is heard, write what they say or hear, and read what is written as they add and subtract or multiply and divide.\nA Learning Camp generally runs for a duration of 30 to 50 days, two to three hours a day, at six to ten-day intervals, with three to four breaks in between. First things first, though the students are tested, one-on-one, to assess their current level of knowledge of math and reading skills. Then they are grouped in clusters according to that level so as not to be intimidated by other, more accomplished learners. After they absorb the leveled material, students progress to the next, higher cluster level with slightly tougher material to master.\nSome Learning Camps are conducted during the course of the regular school day. Others are offered after school. Some schools have multiple camps going at the same time, depending on the student population and need. One observer noted that in a rural village outside of Calcutta students were so enthusiastic about their school's Learning Camp they volunteered to come on Sunday!\nLearning while at play, Campers engage in whole-class activities and small group or level wise activities. There are games to develop a child's basic arithmetic abilities, understanding of word problems, and numerical and alphabet recognition. Storytelling, guided questions for self-expression and comprehension development.\nSince its inception in 2015, the Camps have demonstrated that Learning can be amazing when students are having fun and aren't worried about what a classmate thinks about their abilities. The CAMaL method, Tendolkar reports, has shown significant improvement in learning outcomes in math and reading for both rural and urban school locations. In mathematics, at baseline in 2015, 47% of the Indian school children assessed could not recognize two-digit numbers. Following the intervention, now in 2017, 93% of the same children are able to do addition and 86% are able to work through subtraction problems. In reading, the outcomes are even more stunning. More than 80% of the children are able to read at least the standard level 1 material after the intervention\u2014up from only 24% at baseline in 2015. And close to 60% of the children are reading at the standard level 2 after attending a Learning Camp.\nThrough Global Reading Network's Senior Researcher, Deepa Srikantaiah, serving as Discussant for the webinar, attendees wanted to know how a Learning Camp compares with a typical school environment. Tendolkar explained that the Camp is more child-centered. When a word problem is presented in school, she says, it is not usually discussed. In Learning Camp students are encouraged to \"puzzle it out\" to find multiple potential solutions. And, she noted, many teachers report their once shy and non-participating students come back into the classroom after attending a Learning Camp have become among the first to raise their hand to answer a math question or volunteer to read.\nAnother attendee asked about costs and teaching resources. Tendolkar explained that Learning Camps are staffed by Pratham paid personnel and volunteers from the villages where schools are located. Other resources come through government partnerships providing training, materials, and teaching models. Many a camp game has involved chalking up the classroom floor. And materials are often brought from home and nearby farms by the students themselves\u2014sticks and pebbles for counting games, for instance. Tendolkar says the total financial cost of language and math materials for each camp is the equivalent of $40.00 US.\nThe Pratham Education Foundation has also started a pre-school only Learning Camp in India for students under the age of 6 and another supplemental Kids Reading program for first and second graders. \"At present,\" Tendolkar says, \"there are 1,638 Learning Camps organized in India, serving some 56,000 students with another 3,000 children expected to attend by the end of the 2017-18 school year.\"", "id": "<urn:uuid:4533be48-f294-448e-bc3b-39d59dfa1725>", "dump": "CC-MAIN-2023-14", "url": "https://www.edu-links.org/learning/math-and-reading-intervention-garners-amazing-results-indias-school-children", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949598.87/warc/CC-MAIN-20230331082653-20230331112653-00536.warc.gz", "language": "en", "language_score": 0.9710966944694519, "token_count": 1249, "score": 3.65625, "int_score": 4}
{"text": "This article explores the use of virtual and augmented reality in education, including the benefits and challenges of these technologies, as well as examples of how they are being used in classrooms and educational settings.\nTechnology has revolutionized education in recent years, transforming the way we teach and learn. One of the most exciting developments in this field is the use of virtual and augmented reality (VR and AR) in education.\nThese technologies have the potential to enhance student engagement, improve learning outcomes, and provide new opportunities for exploration and discovery. In this article, we will explore the use of VR and AR in education, including the benefits and challenges of these technologies, as well as examples of how they are being used in classrooms and educational settings.\nWhat are Virtual and Augmented Reality?\nVirtual reality (VR) is a computer-generated simulation of a 3D environment that can be explored and interacted with by a person wearing a VR headset. In contrast, augmented reality (AR) overlays digital information in the real world using a smartphone, tablet, or AR headset. Both technologies have the potential to create immersive and interactive learning experiences that can enhance student engagement and understanding.\nBenefits of VR and AR in Education:\nThere are many potential benefits of using VR and AR in education, including:\n- Increased engagement: VR and AR can create a sense of presence and immersion that can help students become more engaged with their learning.\n- Improved learning outcomes: Studies have shown that using VR and AR can lead to better learning outcomes, including increased retention of information and improved critical thinking skills.\n- Enhanced creativity: VR and AR can provide students with new tools for exploring and creating in ways that are not possible in the real world.\n- Safe and controlled environments: VR and AR can provide students with safe and controlled environments for practicing skills that would be dangerous or impractical to do in the real world.\nChallenges of VR and AR in Education:\nWhile there are many potential benefits of using VR and AR in education, there are also some challenges that need to be considered, including:\n- Cost: Virtual reality (VR) and AR hardware and software can be expensive, making it difficult for some schools and students to access these technologies.\n- Technical difficulties: Virtual And Augmented Reality require specialized hardware and software, which can be difficult to set up and maintain.\n- Safety concerns: Virtual And Augmented Reality can create a sense of disorientation or motion sickness in some users, which can be a safety concern.\n- Limited content: While there is an increasing amount of educational content available for VR and AR, there is still a limited amount of high-quality content available.\nExamples of VR and AR in Education:\nThere are many exciting examples of how Virtual And Augmented Reality are being used in education, including:\n- Virtual field trips: VR can provide students with immersive experiences of places they might not otherwise be able to visit, such as museums, historical sites, or even other countries.\n- Simulations: Virtual And Augmented Reality can provide students with safe and controlled environments for practicing skills such as surgery, piloting, or engineering.\n- Interactive storytelling: VR and AR can provide students with new ways of experiencing stories and narratives, allowing them to explore and interact with the world of the story in a more immersive way.\n- Science education: Virtual And Augmented Reality can provide students with new ways of exploring and understanding scientific concepts, such as exploring the human body or the structure of molecules.\nVirtual and augmented reality has the potential to transform education by providing students with new tools for exploration and discovery. While there are some challenges to using these technologies, the benefits are clear, and as the technology continues to improve, we can expect to see even more exciting applications in the future. As educators, it is important\nthat we stay informed about these developments and explore ways to integrate VR and AR into our classrooms and educational settings. By doing so, we can provide our students with new and exciting learning experiences that can help them become more engaged, creative, and knowledgeable individuals.\nAs we move forward, it will be important to address the challenges associated with VR and AR and find ways to make these technologies more accessible to all students.\nThis may involve working with technology companies to develop more affordable hardware and software, as well as providing training and support for teachers who want to incorporate VR and AR into their curriculums.\nUltimately, the use of VR and AR in education has the potential to revolutionize the way we teach and learn, providing students with new opportunities for exploration and discovery that were previously unimaginable.\nBy embracing these technologies and working together to address the challenges they present, we can create a more engaging, dynamic, and effective educational system that prepares students for success in the 21st century.", "id": "<urn:uuid:86b01f0c-e980-4806-adc7-0f44d8c8c77d>", "dump": "CC-MAIN-2023-14", "url": "https://theeducationdaily.com/virtual-and-augmented-reality-in-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948867.32/warc/CC-MAIN-20230328135732-20230328165732-00339.warc.gz", "language": "en", "language_score": 0.9467389583587646, "token_count": 977, "score": 3.71875, "int_score": 4}
{"text": "Go to the questions at the end of the chapter and read over them so you can look for those points as you read.\nRead the Final Summary of the Chapter first to give you an idea of what you will be learning and the main points it will cover.\nRead the large or bold headings and sub-headings carefully as they are structure of each topic you will read about.\nRead the introduction to the chapter.\nNOW start reading the chapter in your textbook looking for the things that were highlighted in steps 1-4.\nHow to Read a Novel\nRead for comprehension.\nPay attention to repetition that the author has specifically used in the text.\nRead with themes in mind. (almost every novel will have one or more themes throughout it)\nHighlight and know your literary elements in the Novel. (Plot, setting, characters, foreshadowing, imagery, etc.)\nRead for interpretation.\nHow to Read an Article\nBegin by reading the introduction, not the abstract.\nIdentify the big question.\nSummarize the background in five sentences or less.\nIdentify the specific question(s).\nIdentify the approach.\nRead the methods section.\nRead the results section.\nHow to Read a Scholarly Work\nKnow your research question or argument.\nYou don't have to read the entire article in order.\nRead the reference section. (This could lead you to other sources that have valuable information that could help you)\nHow to Improve Your Reading Efficiency\nREAD DAILY - Get into the habit of reading each day. It doesn't have to be the same subject, but reading each day exercises your brain and keeps it ready to receive information.\nSMALL CHUNCKS - Don't ever try to read an entire chapter in one night. The material is too dense and needs to be broken up into smaller chunks. Read a little throughout the day like 30 minutes when you wake up, one hour during lunch, 30 minutes before dinner, and then the rest after dinner.\nRECALL - After you finish reading, take notes on what you've read or create a short summary. This will help you recall the information.\nREWARD - The reward of \"good grades\" is too far off, reward yourself at the end of each day for reading/doing homework. Simple rewards are streaming an episode of your favorite show, eating your favorite dessert, working out, etc.\nHow to Actively Read\nRead the chapter summary first. Take notes, or better yet, make potential test questions over the chapter summary.\nSkim the subheadings throughout the chapter.\nNow, start reading BUT only subheading to subheading. When you finish reading an entire subheading section, take notes and make potential test questions.\nIf your chapter has review questions at the end of certain sections or at the end of the chapter, write those down in your notes as potential test questions.\nNow, you have finished reading your chapter AND you have notes and study tools.", "id": "<urn:uuid:7034f53a-b15a-42ae-ac87-17e655ea6e36>", "dump": "CC-MAIN-2023-14", "url": "https://www.baylor.edu/case/index.php?id=978307", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943483.86/warc/CC-MAIN-20230320114206-20230320144206-00139.warc.gz", "language": "en", "language_score": 0.9344373941421509, "token_count": 624, "score": 3.734375, "int_score": 4}
{"text": "language and Literacy\nIn language and literacy, we focus on developing strong foundational skills, including phonemic awareness, letter recognition, and comprehension. We use a variety of strategies and resources to support children\u2019s language development, including reading aloud, engaging in conversations, and providing opportunities for writing and drawing.\nIn math and science, we provide young learners with opportunities to explore mathematical concepts and scientific principles through hands-on learning experiences. We focus on developing foundational skills such as counting, sorting, and categorizing, and we encourage children to ask questions and make observations about the world around them.\nPhysical development program emphasizes the importance of movement and outdoor play for young children. We provide opportunities for gross motor activities such as running, jumping, and climbing, as well as fine motor activities such as drawing, cutting, and painting.\nSocial Emotional Development\nSocial-emotional development is a critical component of our curriculum, and we focus on helping children develop important skills such as self-regulation, empathy, and social skills. We use a variety of strategies, including storytelling, role-playing, and collaborative activities, to support children\u2019s social-emotional development.\nYoung Preschool Two\u2019s\nOur Young Preschool Two\u2019s program is designed to provide a nurturing and supportive environment where your child can learn and grow. Our experienced teachers use a play-based approach to help your child develop their social, emotional, cognitive, and physical skills. We focus on building their communication and language skills, enhancing their gross and fine motor abilities, and helping them develop their creativity through music, movement, and art activities.\n- Encourage socialization skills.\n- Develop fine and gross motor skills.\n- Introduce basic concepts such as colors, shapes, and numbers through games, songs, and activities.\nYoung Preschool Three\u2019s\nOur Young Preschool Three\u2019s program builds on the skills developed in our Young Preschool Two\u2019s program. We provide a stimulating and engaging curriculum that encourages exploration, problem-solving, and critical thinking. Our teachers foster a love of learning through hands-on experiences that promote cognitive, social, emotional, and physical development. We also focus on developing pre-literacy and pre-math skills to prepare your child for the Prekindergarten program.\n- Promote language development and communication skills.\n- Encourage creativity and self-expression.\n- Develop cognitive skills.\nOur Prekindergarten program prepares your child for their transition into kindergarten. We provide a challenging and comprehensive curriculum that focuses on developing the skills needed for academic success. Our experienced teachers provide opportunities for your child to learn through exploration, inquiry, and discovery. We emphasize the development of pre-reading, pre-writing, and pre-math skills, as well as social-emotional development, creativity, and critical thinking. We also provide a rich and diverse range of learning experiences that include science, technology, engineering, arts, and mathematics (STEAM) activities, music, movement, and art.\n- Build strong reading and writing skills.\n- Foster critical thinking and problem-solving skills.\n- Encourage social-emotional development and self-regulation.\nWhat is the age range for your programs?\nWe offer programs for children aged 2-5 years old.\nWhat is your teaching philosophy?\nOur teaching philosophy is based on the belief that every child is unique and deserves to be treated with respect and kindness. We aim to provide a safe, nurturing environment where children can explore, learn and grow at their own pace.\nWhat is your curriculum based on?\nOur curriculum is based on the Preschool Learning Foundations, which provides guidelines for early childhood development and education in California.\nWhat are your teacher-to-child ratios?\nWe maintain small class sizes and low teacher-to-child ratios to ensure that each child receives individual attention and support. Our ratios are as follows: 1:4 for 2-year-olds, 1:6 for 3-year-olds, and 1:8 for 4-5-year-olds.\nWhat are your hours of operation?\nWe are open Monday through Friday, from 8:00 am to 6:00 pm.\nDo you provide meals for the children?\nYes, we offer nutritious meals and snacks throughout the day. Our menu is designed to meet the dietary needs of young children and includes a variety of healthy options.\nWhat is your policy on potty training?\nWe work with parents to develop a potty-training plan that is tailored to each child\u2019s needs and readiness. Our goal is to create a positive, supportive environment that encourages children to develop independence and confidence in this area\nWhat is the enrollment process?\nThe first step in our enrollment process is to schedule a tour of our facility. After the tour, parents can download and complete our enrollment form and return it to us in person or via email. A deposit is required to secure a spot for your child.\nWhat is your policy on discipline?\nWe use positive discipline techniques that promote respectful communication, problem-solving and self-regulation. We aim to create a safe and supportive environment where children can learn and grow without fear of punishment or shame.\nWhat are your fees?\nOur fees vary depending on the program and schedule selected. Please contact us directly for more information on our current rates and fees\nWhat Our Families are Saying\n\u201cEverything about this school is awesome! The teachers are amazing. My kids are going there for a few years now and we are happy with the school. Along with the academic curriculum, they also offer Spanish, Hindi, Clay art, and Chess classes. Jody and Dominic are kind, responsible, and prompt in responding to any queries. I highly recommend both their preschool and after-school programs.\u201d\n\u201cMy kiddo had much fun at Yangfan Afterschool. Arts, languages lessons and activities in a big playground. The director Dominic is very passionate and enthusiastic to work with all the teachers, to ensure the kids learning and having fun. The schedule to drop off and pick up your child there is flexible. If you are looking for a place for your kids afterschool, I would recommend Yangfan.\u201d\n\u201cWonderful experience with Yang Fan team. They are academic and fun at the same time. Special call out to Dominic ! He is very responsive ,responsible and approachable. Thank you yang Fan!\u201d", "id": "<urn:uuid:9e70ab15-4a77-4ec4-b774-11c57b3da820>", "dump": "CC-MAIN-2023-14", "url": "https://www.yfacademy.org/yang-fan-preschool/programs/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945289.9/warc/CC-MAIN-20230324211121-20230325001121-00739.warc.gz", "language": "en", "language_score": 0.9487270712852478, "token_count": 1356, "score": 4.1875, "int_score": 4}
{"text": "The Importance of Preschool Activities for Kids\nAs parents, we want nothing but the best for our children. We want them to grow up healthy, happy, and well-educated. This is why many parents choose to enroll their children in preschool, which provides a strong foundation for learning and development. But why are preschool activities so important for kids? Let's explore.\nPreschool activities help children learn to socialize with other children and adults. Socialization is important because it helps children learn to communicate and develop positive relationships with others. In preschool, children learn how to share, take turns, and cooperate with others. They also learn how to express their feelings and resolve conflicts in a safe and supportive environment.\n2. Cognitive Development\nPreschool activities also help to develop a child's cognitive skills. In preschool, children learn to think critically, solve problems, and develop their creativity. Activities such as puzzles, games, and art projects can help to develop a child's critical thinking and problem-solving skills. Preschool also introduces children to basic math and literacy skills, which will help them in their future academic pursuits.\n3. Emotional Development\nPreschool activities can help to promote emotional development in children. When children engage in activities, they learn to regulate their emotions and express themselves in healthy ways. Activities such as art projects, music, and dance can help children learn to express their emotions in a safe and supportive environment. This can help children to build self-confidence, self-esteem, and a positive self-image.\n4. Motor Development\nPreschool activities can help to promote motor development in children. When children engage in physical activities, they learn to use their bodies in different ways. Activities such as running, jumping, and climbing can help to develop a child's gross motor skills. Activities such as drawing, painting, and cutting can help to develop a child's fine motor skills. Motor development is important because it helps children to develop coordination and control over their bodies.\n5. Language Development\nPreschool activities can also help to promote language development in children. In preschool, children are exposed to a rich language environment, which can help them to develop their vocabulary and language skills. Preschool activities such as storytelling, singing, and reading can help to develop a child's language skills. This is important because language skills are essential for communication and academic success.\nIn conclusion, preschool activities are essential for a child's overall development. They provide children with opportunities to learn, play, and grow in a safe and supportive environment. By enrolling your child in preschool, you are giving them the opportunity to develop important skills that will serve them well in their future academic and personal pursuits. As parents, it is our responsibility to provide our children with the best possible start in life, and preschool activities are an important part of that journey.", "id": "<urn:uuid:da8f0227-a116-4a87-85d6-f0b9eb3a47f9>", "dump": "CC-MAIN-2023-14", "url": "https://www.dandeliophone.com/blogs/blog/the-importance-of-preschool-activities-for-kids", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949025.18/warc/CC-MAIN-20230329182643-20230329212643-00136.warc.gz", "language": "en", "language_score": 0.9732272624969482, "token_count": 582, "score": 3.6875, "int_score": 4}
{"text": "A Young Artist\nEzra Jack Keats was born on March 11, 1916. He was the third child of Benjamin Katz and Augusta \u201cGussie\u201d Podgainy, Polish Jews who lived in East New York, which was then the Jewish quarter of Brooklyn. It was evident early on that the boy known as Jacob \u201cJack\u201d Ezra Katz was an artistically gifted child.\nThe family was very poor. When 8-year-old Ezra was paid 25 cents to paint a sign for a local store, Benjamin began to hope that his son might be able to earn a living as a sign painter. But Ezra was in love with the fine arts. A good student who excelled in art, he was awarded a medal for drawing on graduating from Junior High School 149. The medal, though unimpressive-looking, meant a great deal to him, and Ezra kept it all his life. While at Thomas Jefferson High School, he won a national student contest run by the Scholastic Publishing Company for one of his oil paintings, depicting hobos warming themselves around a fire. That award also gave him much-needed encouragement.\nThis was during the Great Depression of the 1930s, a time when many, including the Katz family, suffered extreme hardship. Although Ezra\u2019s mother was supportive of his talent, his father wanted him to turn his hand to more practical skills. Working as a waiter at Pete\u2019s Coffee Shop in Greenwich Village, Benjamin Katz knew how hard earning a living could be. He worried that his son could never support himself as an artist. Despite his desire to discourage Ezra, Benjamin brought home tubes of paint, pretending that he had traded them with penniless artists for food. Ezra remembered his father saying, \u201cIf you don\u2019t think artists starve, well, let me tell you. One man came in and swapped me a tube of paint for a bowl of soup.\u201d\nAt his high school graduation, in January 1935, Ezra was to be awarded the senior class medal for excellence in art. Sadly, the day before, Benjamin died in the street of a heart attack. Ezra had to identify the body, and at this moment of loss he discovered his father\u2019s true feelings. In an interview with his friend the poet Lee Bennett Hopkins, he described the experience: \u201cI found myself staring deep into his [my father\u2019s] secret feelings. There in his wallet were worn and tattered newspaper clippings of the notices of the awards I had won. My silent admirer and supplier, he had been torn between his dread of my leading a life of hardship and his real pride in my work.\u201d\nOut in the World\nUnable to attend art school despite having received three scholarships, Ezra worked to help support his family and took art classes when he could. Among the jobs he held were mural painter with the Works Progress Administration (WPA) and comic book illustrator, most notably at Fawcett Publications, illustrating backgrounds for the Captain Marvel comic strip.\nEzra went into the Army in 1943, and spent the remainder of World War II designing camouflage patterns. After the war, in 1947, he legally changed his name to Ezra Jack Keats, in reaction to the anti-Semitism of the time. It was his own experience of discrimination that deepened his sympathy and understanding for those who suffered similar hardships.\nEzra was determined to study painting in Europe, and in 1949 he spent one very productive season in Paris. Many of his French paintings were later exhibited in this country, and he continued to paint and exhibit throughout his life. After returning to New York, he focused on earning a living as a commercial artist. His illustrations began to appear in publications such as Reader\u2019s Digest, the New York Times Book Review, Collier\u2019s and Playboy, and on the jackets of popular books. The Associated American Artists Gallery, in New York City, gave him two exhibitions, in 1950 and 1954.\nOne of his cover illustrations for a novel was on display in a Fifth Avenue bookstore, where it was spotted by the editorial director of Crowell Publishing, Elizabeth Riley. She asked him to work on children\u2019s books for her company, and published his first picture book in 1954. Jubilant for Sure, written by Elizabeth Hubbard Lansing, was set in the mountains of Kentucky, a long way from the Brooklyn streets or Paris ateliers. In an unpublished autobiography, Ezra marveled: \u201cI didn\u2019t even ask to get into children\u2019s books.\u201d In the years that followed, Keats was hired to illustrate many children\u2019s books written by other authors, among them the Danny Dunn adventure series.\nMy Dog is Lost!, published in 1960, was Ezra\u2019s first attempt at writing his own children\u2019s book, co-authored with Pat Cherr. The main character is a boy named Juanito, newly arrived in New York City from Puerto Rico, who has lost his dog. Speaking only Spanish, Juanito searches the city and meets children from Chinatown, Little Italy and Harlem. From the beginning, Ezra cast minority children as his central characters.\nTwo years later, Ezra was invited to write and illustrate a book of his own. This was the first appearance of a little boy named Peter. Ezra\u2019s inspiration was a group of photographs he had clipped from Life magazine in 1940 depicting a little boy about to get an injection. \u201cThen began an experience that turned my life around,\u201d he wrote, \u201cworking on a book with a black kid as hero. None of the manuscripts I\u2019d been illustrating featured any black kids\u2014except for token blacks in the background. My book would have him there simply because he should have been there all along. Years before I had cut from a magazine a strip of photos of a little black boy. I often put them on my studio walls before I\u2019d begun to illustrate children\u2019s books. I just loved looking at him. This was the child who would be the hero of my book.\u201d\nThe book featuring Peter, The Snowy Day, was awarded the Caldecott Medal in 1963, the most distinguished honor available for illustrated children\u2019s literature at the time. (Ezra\u2019s Caldecott Acceptance Speech). Peter appears in six more books, growing from a small boy in The Snowy Day to adolescence in Pet Show!\nThe techniques that give The Snowy Day its unique look\u2014collage with cutouts of patterned paper, fabric and oilcloth; homemade snowflake stamps; spatterings of India ink with a toothbrush\u2014were methods Ezra had never used before. \u201cI was like a child playing,\u201d he wrote of the creation process. \u201cI was in a world with no rules.\u201d After years of illustrating books written by others, Peter had given Ezra a new voice of his own.\nIn subsequent books, he blended collage with gouache, an opaque watercolor mixed with a gum that produced an oil-like glaze. Marbled paper, acrylics and watercolor, pen and ink and even photographs were among his tools. The simplicity and directness of The Snowy Day gave way to more complex and painterly compositions.\nIn his evolution from fine artist to children\u2019s book illustrator, Ezra applied influences and techniques that had inspired him as a painter, from cubism to abstraction, within a cohesive, and often highly dramatic, narrative structure. His artwork also demonstrates an enormous emotional range, swinging from exuberant whimsy to deep desolation and back again.\nAfter winning the Caldecott, Ezra found himself suddenly famous. During the 1960s and \u201970s, in addition to writing and illustrating his picture books, he taught illustration and traveled extensively. He visited classrooms around the country and corresponded with many children, exhorting them to \u201cKeep on reading!\u201d\nThe honors he received ran the gamut from prestigious to populist. On one end of the spectrum, in 1965 Ezra was the first artist invited to design a set of greeting cards for UNICEF, and in 1970 he was the first children\u2019s book author to be invited to donate his papers to Harvard University. On the other end, in 1974 a roller rink in Japan was named in his honor, and in 1979 Portland, Oregon, held a parade for him; Ezra happily attended both events.\nBy the time of Ezra\u2019s death following a heart attack in 1983, he had illustrated over 85 books, and written and illustrated 22 children\u2019s classics. He had just designed the sets for a musical version of The Trip, written by Stephen Schwartz and titled Captain Louie, which is still presented around the country and licensed for production by Musical Theatre International. He had designed a poster for The New Theatre of Brooklyn, and written and illustrated The Giant Turnip, a beloved folktale. Although Ezra never married or had a family of his own, he loved children, and was loved by them in return.", "id": "<urn:uuid:bac6ab5d-f906-48a9-b266-50180b3c5361>", "dump": "CC-MAIN-2023-14", "url": "https://peter.ezra-jack-keats.org/ezras-life/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948932.75/warc/CC-MAIN-20230329023546-20230329053546-00139.warc.gz", "language": "en", "language_score": 0.9892836213111877, "token_count": 1867, "score": 3.734375, "int_score": 4}
{"text": "Our Preschool program promotes a hands-on, interactive learning approach. The program consists of Pathways for Preschool, a flexible program for three year olds and Footsteps for Fours and Focus on Fives which are interspersed with music, science, language, history, and handwriting. Songs, charts, and activities are just a few of the elements used for your preschool students' future academic success.\nBecause knowing the Bible is essential to having a biblical worldview, Bible study tools, maps, timelines, and charts are presented in Grades 1\u20136 Bible Truths to help elementary-age students develop a Bible-reading habit and learn to study the Bible on their own. The Bible lessons span from Creation to the new heaven and new earth.\nSecondary Bible Truths covers all of Scripture. Students are taught events, doctrines, and principles and are given a selection of verses to memorize. Bible study tools, including maps and timelines, are still used to help students learn to study the Bible on their own. Every lesson endeavors to apply Scripture to daily life and in turn deepens students knowledge of and love for the Word of God. The Bible Modulars, additional secondary Bible materials, can be used to supplement your Bible program.\nOur Heritage Studies textbooks use a chronological narrative approach to acquaint elementary-level students with historical people, places, and events. Activities\u2014discussion questions, timelines, maps, and online searches\u2014that build on the previous grade are also employed to aid your students' comprehension and retention of the materials.\nUpper-level Heritage Studies builds on the foundation laid in elementary and expands students\u2019 understanding of world and U.S. history, geography, government, and economics. This information is presented using a narrative approach instead of teaching by memorization to ensure students academic success.\nIn elementary English, phonics, reading, writing, and spelling are consistent and connected\u2014woven together to provide students with a solid language-arts foundation. Students cover one part of speech at a time with systematic review and ample practice, helping them develop writing skills and guiding them through the writing process as they write reports, stories, descriptions, poems, letters, and essays. Spelling uses a word-search approach as students learn about spelling patterns and rules. In Handwriting, students use the PreCursive and cursive methods to master good penmanship.\nMiddle & High Writing & Grammar builds on the foundation formed in elementary grades by applying those skills to higher-level writing. New grammar skills are added and ample writing opportunities are provided so that students can apply new skills to real-life writing\u2014letters, essays, reports, speeches, and digital content. Vocabulary, also for Grades 7\u201312, partners with Writing & Grammar to include exercises in which students must use new words in context\u2014cementing the meaning, spelling, and correct use of words.\nElementary Math ensures success by systematically reviewing previously learned concepts as well as building new skills. Manipulatives are used in Grades 1\u20136 by both teacher and student. Using manipulatives promotes interactive learning that engages all students in the learning process. Lessons are designed to help students learn how to apply their math skills to real-life needs, such as cooking, carpentry, finance, and medicine.\nThe Middle & High Math program helps students develop reasoning and problem-solving skills as they use graphing calculators, spreadsheets, programming projects, and online keyword searches to explore math. The key to success in math is comprehension of the material, and our math courses aid students in connecting each new lesson to previously learned concepts.\nBecause phonics forms the groundwork for reading, our Reading program builds on the phonics foundation from K5 Beginnings and Phonics & English 1 in Reading 1. Students study letter-sound associations and syllable patterns with an emphasis on word families. To ensure comprehension and to develop higher-order thinking skills, reading selections incorporate questions on four levels\u2014literal, interpretive, critical, and appreciative.\nLiterature goes beyond learning facts and literary terms to studying literary elements and interpretation. Included literary selections are from different cultures, genres, and time periods, the primary goal being to help students understand their fellow man. Students evaluate each selection with questions, analysis, and activities; questions engage four levels of thinking skills: literal, interpretative, critical, and appreciative.\nElementary Science encourages hands-on, interactive learning. Enriching lessons incorporate demonstrations, activities, and group discussions and introduce science-process skills through hands-on activities and projects. Each science textbook points to the wisdom of God and His designing hand.\nThe focus of Middle & High Science is science as a powerful tool for living out God\u2019s first commandment to man: have dominion over the earth. Students are taught to evaluate the findings of modern science, to interpret them through God\u2019s Word, and to think critically about modern scientific issues, such as cancer and pollution. Throughout our science curriculum, students will see the interdisciplinary relation to history, math, and literature.\nSpanish is available for elementary and middle and high school students. Pasaporte al espa\u00f1ol Kit A is designed for Grades 1\u20133 and Kit B, Grades 4\u20136. Spanish 1, 2, and 3 are for Grades 9\u201312.\nOur other language electives, French and Latin, are for Grades 9\u201312. Additional electives are available for Family Life Skills and Speech & Drama.", "id": "<urn:uuid:52dc598d-19be-4778-9583-495dd9ee1bfc>", "dump": "CC-MAIN-2023-14", "url": "https://www.bjupress.com/category/Textbooks+&+Supplies", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00338.warc.gz", "language": "en", "language_score": 0.9321628212928772, "token_count": 1126, "score": 3.515625, "int_score": 4}
{"text": "Juneteenth, a portmanteau of June and nineteenth, is a holiday which celebrates the emancipation of all those who were enslaved in the United States. Surprised that such a significant date isn\u2019t a federally recognized holiday? Us too.\nWhy Celebrating Juneteenth Matters\nWe here at ThoughtLab are proud to recognize and celebrate Juneteenth. Juneteenth, a portmanteau of June and nineteenth, is a holiday which celebrates the emancipation of all those who were enslaved in the United States. Surprised that such a significant date isn\u2019t a federally recognized holiday? Us too.\nIt was June 19th, 1865 when Union army General Goron Granger read the federal orders in the city of Galveston, Texas which proclaimed that all enslaved people in the state of Texas were now free.\nBut, wait, you're probably thinking. I vaguely remember history class. Wasn\u2019t Abraham Lincoln\u2019s Emancipation Proclamation signed two years prior? A+ for you. It was, but since Texas was the most remote of all Confederate states with a very low population of Union soldiers, enforcing the proclamation was slow and for a long time, very inconsistent.\nSo while Juneteenth represents freedom, it also represents how delayed emancipation was for so many enslaved people.\nThis day marks the true end of slavery in the United States, a brutal and bittier time in our nation\u2019s history. One that should never be ignored but one that we must continue to learn from and use to better ourselves. It is a day that we rightfully celebrate together.\nWhy Isn\u2019t Juneteenth a National Holiday?\nIn a word, racism. Even after emancipation, newly freed people were not, in any sense of the word, free. The rise of lynching and murders combined with strict segregation laws serve as two very few brief examples. In fact, when freedpeople tried to acknowledge Juneteenth a year after the proclamation, they were unable to gather in public spaces to celebrate with their community.\nBy the first world war people of various backgrounds argued that celebrating Juneteenth was un-American and unpatriotic. It has also long been overshadowed by July 4, aka America\u2019s Independence Day, which marks the day the Declaration of Independence was signed in 1776, despite the fact that this \u201cland of the free\u201d celebration omits the reality that millions of peoples were enslaved and not in fact free.\nWhile there is definitely a resurgence of Juneteenth awareness and celebrations, this wasn\u2019t always the case. It\u2019s not because people didn\u2019t want to celebrate freedom, but because there was little freedom to celebrate. This is particularly true during the era of Jim Crow laws. It took until Martin Luther King Jr\u2019s Poor People's March in 1968 was scheduled to coincide with the date. This helped spark renewed interest and importance of celebrating Juneteenth.\nIt\u2019s important to note that 156 years later, Juneteenth and its history is still not taught in most schools, nor is it a federal holiday. With activists working hard to remedy this, we\u2019re hopeful things will soon change.\nHow To Celebrate Juneteenth\nThere are numerous traditions associated with Juneteenth, plus regional adaptations and events. The most popular celebrations include hosting lively barbecues, drinking strawberry soda (or red soda water), and eating Marcus Garvey salad. Juneteenth is also focused on education so it\u2019s not unusual, especially in the southern US, for events to include guest speakers and oral storytelling. Activities, especially rodeos, have become a large part of the celebrations while other events like concerts, parades, and baseball are other ways to celebrate.\nThe significance and purpose of recognizing Juneteenth is something that all citizens should acknowledge because, if there is not a retelling or remembrance of the true history in this nation, we're doomed to repeat it.Quote:\nBut as we celebrate, it\u2019s important we keep in mind that, although the physical chains of slavery are now gone, the mental and emotional chains of racism that so many of our brothers and sisters are harnessed with, hampered by, day in and day out, continue to wound and tear us apart. As president of the NAACP, Derrick Johnson argued, \u201cthe significance and purpose of recognizing Juneteenth is something that all citizens should acknowledge because, if there is not a retelling or remembrance of the true history in this nation, we're doomed to repeat it.\"\nThoughtLab believes in equality, harmony, and dignity between all races. We celebrate Juneteenth and look to a time when the hearts and minds of our country are united in peace and the last remnant of the sickness that is racism is healed and washed away forever.", "id": "<urn:uuid:ff2777a9-7a0b-416b-b2f6-c6b903a79a06>", "dump": "CC-MAIN-2023-14", "url": "https://www.thoughtlab.com/blog/juneteenth/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943747.51/warc/CC-MAIN-20230321225117-20230322015117-00339.warc.gz", "language": "en", "language_score": 0.9649577736854553, "token_count": 989, "score": 4.09375, "int_score": 4}
{"text": "Written by a former Greek slave, in the late to mid-6th century BCE, Aesop's Fables are the world's best known collection of morality tales. The fables, numbering 725, were originally told from person-to-person as much for entertainment purposes but largely as a means for relaying or teaching a moral or lesson. These early stories are essentially allegorical myths often portraying animals or insects e.g. foxes, grasshoppers, frogs, cats, dogs, ants, crabs, stags, and monkeys representing humans engaged in human-like situations (a belief known as animism). Ultimately the fables represent one of the oldest characteristics of human life: storytelling.\nThe origins of the fables pre-date the Greeks. Sumerian proverbs, written some 1,500 years before Christ, share similar characteristics and structure as the later Greek fables. The Sumerian proverbs included an animal character and often contained some practical piece of advice for living (\u201cYou should not boast; then your words will be trusted\u201d). The writing style of both the earlier proverbs and the later fables were simple and direct. Neither contains many words. The situations re-counted in the stories begin with some type of incident and conclude with a punch line which would transform into the oft-recognized moral of the tale. It is much later that writers would begin to include the moral either at the beginning of the story (designed to tell the reader the purpose of the tale upfront) or was added to the end (to instruct the reader what the story was supposed to teach). Ultimately, the fables are designed to highlight both desired and undesirable human behaviors: what to do or what not to do.\nThe fables, written down in Greek between the 10th-16th centuries CE, may not be recorded in the exact words as when they were first told. Over time, and largely due to the numerous times the stories were re-told, words may have been changed or eliminated in order to fit the storyteller's purpose. Despite these changes, one characteristic that most of the fables share is the role of animals in the stories. The animals display human-like qualities, especially the characteristics of speech and behavior. In effect, the stories are designed to mimic human life. Most of the stories/fables are meant to highlight bad or poor human decisions and behaviors. In order to allow the animals to appear in multiple tales and roles, Aesop did not restrict the animals to behaving in a manner generally associated with that particular animal e.g. the cunning fox, the slow turtle. These looser characterizations allow for the animals to appear in other settings acting in different manners.\nOften the focus of Greek learning, especially regarding instruction for children in reading and writing, Aesop's Fables served a multitude of additional purposes. Politically, the fables emerged in a time period of Greek history when authoritarian rule often made free & open speech dangerous for the speaker. The fables served as a means by which criticisms against the government could be expressed without fear of punishment. In effect, the stories served as a code by which the weak and powerless could speak out against the strong and powerful.\nAdditionally, the stories served to remind the weak that being clever could provide a means by which they could succeed against the powerful. The subversive nature of the tales allowed the lower classes in Greek society a means of escape from a society which was often oriented around the idea that \u201cmight makes right.\u201d The fables were also considered as a valuable tool in speeches especially as a means to persuade others about a specific point. Aristotle, in his Rhetoric, argued that in the absence of any concrete evidence for proving one's point that a fable could just as well support one's argument.\nThe fables served as a form of children's' entertainment beyond being a simple teaching tool. The fables transmitted important life lessons while also describing the \u201cworld of childhood.\u201d The primary characters often acted in a child-like manner. The stories described the challenges of adulthood thus allowing young readers to engage with the characters and morals of adulthood at an early age.\nThe stories also provided an opportunity for a measure of self-reflection. At those moments when Greeks suspected their culture or civilization was not living up to expectations, the fables provided an opportunity for a degree of self-reflection. Although humans and animals share similar traits, humans are different due to their power of reason which allows humans to make different choices about life and living.\nExamples of Aesop's Fables\nThe Serpent & the Eagle\nAn Eagle swooped down upon a Serpent and seized it in his talons with the intention of carrying it off and devouring it. But the Serpent was too quick for him and had its coils round him in a moment; and then there ensued a life-and-death struggle between the two. A countryman, who was a witness of the encounter, came to the assistance of the eagle, and succeeded in freeing him from the Serpent and enabling him to escape. In revenge, the Serpent spat some of his poison into the man's drinking-horn. Heated with his exertions, the man was about to slake his thirst with a draught from the horn, when the Eagle knocked it out of his hand, and spilled its contents upon the ground.\nMoral: One good turn deserves another.\nThe Horse & Groom\nA groom used to spend whole days in currycombing and rubbing down his Horse, but at the same time stole his oats and sold them for his own profit. \"Alas!\" said the Horse, \"if you really wish me to be in good condition, you should groom me less, and feed me more.\"\nMoral: A man may smile yet be a villain\nThe Ant & the Grasshopper\nIn a field one summer's day a Grasshopper was hopping about, chirping and singing to its heart's content. An Ant passed by, bearing along with great toil an ear of corn he was taking to the nest.\n\"Why not come and chat with me,\" said the Grasshopper, \"instead of toiling and moiling in that way?\"\n\"I am helping to lay up food for the winter,\" said the Ant, \"and recommend you to do the same.\"\n\"Why bother about winter?\" said the Grasshopper; we have got plenty of food at present.\" But the Ant went on its way and continued its toil. When the winter came the Grasshopper had no food and found itself dying of hunger, while it saw the ants distributing every day corn and grain from the stores they had collected in the summer. Then the Grasshopper knew.\nMoral: It is best to prepare for the days of necessity.", "id": "<urn:uuid:47e1e0df-5821-4d1c-ac26-9e61f2de6326>", "dump": "CC-MAIN-2023-14", "url": "https://www.worldhistory.org/article/664/aesops-fables/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946535.82/warc/CC-MAIN-20230326204136-20230326234136-00758.warc.gz", "language": "en", "language_score": 0.9736819863319397, "token_count": 1411, "score": 4.09375, "int_score": 4}
{"text": "Are you planning for the NEW Grade 5 Ontario Math Curriculum? This editable Google Slide resource from My Call to Teach is what you need!\nThis resource is for the SPATIAL SENSE strand and covers ALL specific expectations for \u201cE2. Measurement\". In this resource, students will experience math through engaging real-life questions, storytelling through math, and interactive slides.\n- 6 Google Slide presentations\n- 122 UNIQUE and EDITABLE Google Slides in total\n- Slides are editable for you to increase student engagement (e.g. you can add your Bitmoji, change the name in the word problem example, add pictures, etc.)\n- Interactive student slides \u2013 value-added questions to assess student understanding. Students can hand in Google Classroom when completed.\n- Each file starts off with an Opening Engagement Question touching on real-life, practical situations told in a storytelling format.\n- Specific expectations that are covered\n- Google Form Assessment\nTitles of sections included:\n1. Measuring Length\n2. Measuring Mass and Capacity\n3. Angles (NEW expectations)\n4. Measuring Angles\n5. Area (NEW expectations)\n6. Area and Perimeter\n7. Google Form Assessment\nSpecific Expectations covered:\nE2.1 use appropriate metric units to estimate and measure length, area, mass, and capacity\nE2.2 solve problems that involve converting larger metric units into smaller ones, and describe the base ten relationships among metric units\nE2.3 compare angles and determine their relative size by matching them and by measuring them using appropriate non-standard units\nE2.4 explain how protractors work, use them to measure and construct angles up to 180\u00b0, and use benchmark angles to estimate the size of other angles\nE2.5 use the area relationships among rectangles, parallelograms, and triangles to develop the formulas for the area of a parallelogram and the area of a triangle, and solve related problems\nE2.6 show that two-dimensional shapes with the same area can have different perimeters, and solve related problems\nAre you looking for a COMPLETE SOLUTION to implement the entire curriculum? This includes Digital Slides, Worksheets, and Assessments that covers all curriculum expectations. Check out this COMPLETE SOLUTION BUNDLE.\nDo you want to see how I use all these resources in my own class? Click HERE.\nSee MY STORE for all the other units! Follow my store to get all the updates as I am carefully creating each unit to ensure quality resources.\nPlease note that I take great time in creating these resources. If you have any concerns I would greatly appreciate if you reach out to me through email as I strive to provide value-added resources for all my customers. You can email me at: email@example.com\nFinally, follow me on Instagram, as this is where I post what I'm working on and what I launch - and I always launch with a flash sale or freebie!\nRemember to leave a review! I truly value your feedback!\nFollow me to receive updates on new products.\nInstagram * Facebook * My TpT Store * Tik Tok * My website", "id": "<urn:uuid:c1f025e2-e993-4e7c-8b37-6f5243cb2959>", "dump": "CC-MAIN-2023-14", "url": "https://mycalltoteach.com/products/grade-5-new-ontario-math-curriculum-measurement-digital-slides", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949097.61/warc/CC-MAIN-20230330035241-20230330065241-00736.warc.gz", "language": "en", "language_score": 0.851299524307251, "token_count": 690, "score": 3.828125, "int_score": 4}
{"text": "Writing genres (more commonly known as literary genres) are categories that distinguish literature (including works of prose, poetry, drama, hybrid forms, etc.) based on some set of stylistic criteria. Sharing literary conventions, they typically consist of similarities in theme/topic, style, tropes, and storytelling devices; common settings and character types; and/or formulaic patterns of character interactions and events, and an overall predictable form.\nA literary genre may fall under either one of two categories: (a) a work of fiction, involving non-factual descriptions and events invented by the author; or (b) a work of nonfiction, in which descriptions and events are understood to be factual. In literature, a work of fiction can refer to a short story, novella, and novel, the latter being the longest form of literary prose. Every work of fiction falls into a literary subgenre, each with its own style, tone, and storytelling devices.\nMoreover, these genres are formed by shared literary conventions that change over time as new genres emerge while others fade. Accordingly, they are often defined by the cultural expectations and needs of a particular historical and, cultural moment or place.\nAccording to Alastair Fowler, the following elements can be used to define genres: organizational features (chapters, acts, scenes, stanzas); length; mood; style; the reader's role (e.g., in mystery works, readers are expected to interpret evidence); and the author's reason for writing (an epithalamion is a poem composed for marriage).\nGenres are formed shared literary conventions that change over time as new genres emerge while others fade. As such, genres are not wholly fixed categories of writing; rather, their content evolves according to social and cultural contexts and contemporary questions of morals and norms.\nThe most enduring genres are those literary forms that were defined and performed by the Ancient Greeks; definitions sharpened by the proscriptions of modern civilization's earliest literary critics and rhetorical scholars, such as Plato, Aristotle, Socrates, Aeschylus, Aspasia, Euripides, and others. The prevailing genres of literary composition in Ancient Greece were all written and constructed to explore cultural, moral, or ethical questions; they were ultimately defined as the genres of epic, tragedy, and comedy. Aristotle's proscriptive analysis of tragedy, for example, as expressed in his Rhetoric and Poetics, saw it as having 6 parts (music, diction, plot, character, thought, and spectacle) working together in particular ways. Thus, Aristotle established one of the earliest delineations of the elements that define genre.\nAction fiction and adventure fiction. The hero's journey is the most popular narrative structure of an adventure novel.\nComedy (including comic novel, light poetry, and comedic journalism): usually a fiction full of fun, fancy, and excitement, meant to entertain and sometimes cause intended laughter; but can be contained in all genres.\nCrime fiction (including crime comics) centers on a crime(s), how the criminal gets caught and serves time, and the repercussions of the crime\nFantasy (including comics and magazines) is a speculative fiction that use imaginary characters set in fictional universes inspired by mythology and folklore, often including magical elements, magical creatures, or the supernatural. Examples: Alice\u2019s Adventures in Wonderland (1885) and the Harry Potter books.\nHorror (including comics and magazines) involves fiction in which plot and characters are tools used to elicit a feeling of dread and terror, as well as events that often evoke fear in both the characters and the reader. Horrors generally focus on themes of death, demons, evil spirits, and the afterlife.\nScience fiction (including comics, magazines, novels, and short stories) is speculative fiction with imagined elements that are inspired by natural sciences (physics, chemistry, astronomy, etc.) or social sciences (psychology, anthropology, sociology, etc.). Common elements of this genre include time travel, space exploration, and futuristic societies. (Sci-fi was originally regarded as scientific romance.)\nRomantic fiction is those which give primary focus around a love story between two people, usually having an \"emotionally satisfying and optimistic ending.\" Also Romance (literary fiction) \u2013 works that frequently, but not exclusively, takes the form of the historical romance.\nLiterary fiction is a term used to distinguish certain fictional works that possess commonly held qualities to readers outside genre fiction. Literary fiction has been defined as any fiction that attempts to engage with one or more truths or questions, hence relevant to a broad scope of humanity as a form of expression. Genre fiction is a term used to distinguish fictional works written with the intent of fitting into a specific literary genre, in order to appeal to readers and fans already familiar with that genre. There are many sources that help readers find and define literary fiction and genre fiction.\nThese are genres belonging to the realm of nonfiction. Some genres listed may reappear throughout the list, indicating cross-genre status.", "id": "<urn:uuid:965e3043-6c39-448e-a67b-dfedd8e03a3f>", "dump": "CC-MAIN-2023-14", "url": "https://db0nus869y26v.cloudfront.net/en/List_of_writing_genres", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946535.82/warc/CC-MAIN-20230326204136-20230326234136-00760.warc.gz", "language": "en", "language_score": 0.9502003192901611, "token_count": 1068, "score": 3.953125, "int_score": 4}
{"text": "Profession Freinet school teacher\nFreinet school teachers educate students using approaches that reflect the Freinet philosophy and principles. They focus on enquiry-based, democracy-implementing and cooperative learning methods. They adhere to a specific curriculum that incorporates these learning methods through which students use trial and error practices in order to develop their own interests in a democratic, self-government context. Freinet school teachers also encourage students to practically create products and provide services in and outside of class, usually handcrafted or personally initiated, implementing the 'pedagogy of work' theory. They manage and evaluate all the students separately according to the Freinet school philosophy.\nFreinet school teacher Jobs: Open positions\nFind the job of your dreams on Talent.com, one of the largest job sites worldwide.Job postings: talent.com\n- Teamwork principles\nThe cooperation between people characterised by a unified commitment to achieving a given goal, participating equally, maintaining open communication, facilitating effective usage of ideas etc.\n- Learning difficulties\nThe learning disorders some students face in an academic context, especially Specific Learning Difficulties such as dyslexia, dyscalculia, and concentration deficit disorders.\n- Curriculum objectives\nThe goals identified in curricula and defined learning outcomes.\n- Assessment processes\nVarious evaluation techniques, theories, and tools applicable in the assessment of students, participants in a programme, and employees. Different assessment strategies such as initial, formative, summative and self- assessment are used for varying purposes.\n- Freinet teaching principles\nThe teaching and developmental methods and philosophy of C\u00e9lestin Freinet, a French pedagogue. These principles involve learning concepts by trail and error, by invoking children's learning interests and curiosity, and learning through making products and providing services such as the learning printing technique.\n- Children's physical development\nRecognise and describe the development, observing the following criteria: weight, length, and head size, nutritional requirements, renal function, hormonal influences on development, response to stress, and infection.\n- Provide lesson materials\nEnsure that the necessary materials for teaching a class, such as visual aids, are prepared, up-to-date, and present in the instruction space.\n- Teach kindergarten class content\nInstruct pre-primary students in basic learning principles, in preparation for future formal learning. Teach them the principles of certain basic subjects such as number, letter, and colour recognition, days of the week, and the categorisation of animals and vehicles.\n- Implement care programmes for children\nPerform activities with children according to their physical, emotional, intellectual and social needs by using appropriate tools and equipment that facilitate interaction and learning activities.\n- Manage children's problems\nPromote the prevention, early detection, and management of children`s problems, focusing on developmental delays and disorders, behavioural problems, functional disabilities, social stresses, mental disorders including depression, and anxiety disorders.\n- Maintain students' discipline\nMake sure students follow the rules and code of behaviour established in the school and take the appropriate measures in case of violation or misbehaviour.\n- Guarantee students' safety\nEnsure all students falling under an instructor or other person\u2019s supervision are safe and accounted for. Follow safety precautions in the learning situation.\n- Prepare lesson content\nPrepare content to be taught in class in accordance with curriculum objectives by drafting exercises, researching up-to-date examples etc.\n- Apply teaching strategies\nEmploy various approaches, learning styles, and channels to instruct students, such as communicating content in terms they can understand, organising talking points for clarity, and repeating arguments when necessary. Use a wide range of teaching devices and methodologies appropriate to the class content, the learners' level, goals, and priorities.\n- Assist students with equipment\nProvide assistance to students when working with (technical) equipment used in practice-based lessons and solve operational problems when necessary.\n- Assess the development of youth\nEvaluate the different aspects of development needs of children and young people.\n- Observe student's progress\nFollow up on students\u2019 learning progress and assess their achievements and needs.\n- Apply Freinet teaching strategies\nEmploy the Freinet teaching approaches to instruct students, such as the use of Enquiry-Based Learning, Centres of Interest, Co-operative Learning, Pedagogy of Work, and The Natural Method.\n- Encourage students to acknowledge their achievements\nStimulate students to appreciate their own achievements and actions to nurture confidence and educational growth.\n- Support children's wellbeing\nProvide an environment that supports and values children and helps them to manage their own feelings and relationships with others.\n- Manage student relationships\nManage the relations between students and between student and teacher. Act as a just authority and create an environment of trust and stability.\n- Adapt teaching to student's capabilities\nIdentify the learning struggles and successes of students. Select teaching and learning strategies that support students\u2019 individual learning needs and goals.\n- Assist in children's development of basic personal skills\nEncourage and facilitate the development of children's natural curiosity and social and language abilities through creative and social activities such as storytelling, imaginative play, songs, drawing, and games.\n- Assist students in their learning\nSupport and coach students in their work, give learners practical support and encouragement.\n- Give constructive feedback\nProvide founded feedback through both criticism and praise in a respectful, clear, and consistent manner. Highlight achievements as well as mistakes and set up methods of formative assessment to evaluate work.\n- Support the positiveness of youths\nHelp children and young people to assess their social, emotional and identity needs and to develop a positive self image, enhance their self esteem and improve their self reliance.\n- Prepare youths for adulthood\nWork with children and young people to identify the skills and abilities they will need to become effective citizens and adults and to prepare them for independence.\n- Facilitate teamwork between students\nEncourage students to cooperate with others in their learning by working in teams, for example through group activities.\n- Demonstrate when teaching\nPresent to others examples of your experience, skills, and competences that are appropriate to specific learning content to help students in their learning.\n- Assess students\nEvaluate the students' (academic) progress, achievements, course knowledge and skills through assignments, tests, and examinations. Diagnose their needs and track their progress, strengths, and weaknesses. Formulate a summative statement of the goals the student achieved.\n- Apply intercultural teaching strategies\nEnsure that the content, methods, materials and the general learning experience is inclusive for all students and takes into account the expectations and experiences of learners from diverse cultural backgrounds. Explore individual and social stereotypes and develop cross-cultural teaching strategies.\n- Perform classroom management\nMaintain discipline and engage students during instruction.\nOptional knowledge and skillsdevelopmental psychology keep records of attendance provide after school care manage resources for educational purposes perform playground surveillance attend to children's basic physical needs employ pedagogic strategies to facilitate creative engagement maintain relations with children's parents workplace sanitation promote the safeguarding of young people organise creative performance write work-related reports common children's diseases pedagogy liaise with educational support staff first aid work with virtual learning environments disability types\nSource: Sisyphus ODB", "id": "<urn:uuid:92227497-b95d-4e79-a352-1a975cbc9677>", "dump": "CC-MAIN-2023-14", "url": "https://www.123test.com/professions/profession-freinet-school-teacher/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949958.54/warc/CC-MAIN-20230401094611-20230401124611-00140.warc.gz", "language": "en", "language_score": 0.9249998331069946, "token_count": 1509, "score": 3.546875, "int_score": 4}
{"text": "Persuade Parents, Principals, and More through Data Storytelling with IntelliBoard Part 2: Present Data\nClean water is necessary for biological life to survive. We need it to live and stay healthy\u2026but what if it\u2019s evil?\n- Water can be extracted from rocket fuel.\n- Water is the main ingredient in pesticides.\n- Water is the #1 cause of drowning.\n- 100% of people exposed to water will die.\nSure, all of the above are true, but that doesn\u2019t mean you should avoid water \u2014 that would be impossible, anyway! These are instances of presenting data unethically.\nSo how can you present data ethically? First, consider your message. The facts may not be distorted, but the way the information is presented may be altered to intentionally or unintentionally exaggerate or understate the facts.\nHere are a few unethical strategies to avoid when you present data in graphs and charts.\nIn this case, the Y-axis does not start at zero, so the data is exaggerated.\nIn the charts below, the differences between the interest rates are negligible \u2014 they\u2019re 0.002% different from one another. But the chart on the left is much different than the chart on the right because the Y-axis begins at 3.140% on the left.\nTakeaway: Start your Y-axis at zero like the chart on the right.\nArea as Quantity\nWith area as quantity, the data is distorted because the area of the bars or pieces within the chart that represent the data don\u2019t match their values.\nIn the chart below, the people on welfare and the people with a full-time job are not significantly different \u2014 only 6.9 million \u2014 but the chart, whose X and Y axes are not labeled, makes it seem like a much more significant difference.\nTakeaway: Make the area of bars, circles, or whatever you use to represent the data proportional to the values of the data.\nCorrelation as Causation\nSometimes when we see a chart whose data almost matches, it can be easy to think that one thing caused the other.\nIn this example, the data might lead you to think that the increase in murders caused more people to buy ice cream, or that murders increased because more people bought ice cream. It\u2019s more likely they aren\u2019t causally related at all. One didn\u2019t cause the other; it\u2019s simply a coincidence that they seem related. We call this \u201ccorrelation.\u201d\nIn actuality, the rates of murder and ice cream purchases are dependent on the weather: the hotter it is, the more ice cream is sold and the more murders are committed. That means the two are correlated, not causal.\nTakeaway: In similar data, one thing might not have caused another; they could be simply correlated (coincidental).\nFor more funny examples, visit Spurious Correlations.\nWhen it comes to pie charts, it can be difficult for the brain to interpret results. In this example below, the pieces of the pies look strikingly similar from one pie chart to the other.\nComparison data is better presented in bar charts or line graphs, where your audience can easily see the differences in data.\nTakeaway: For comparison analyses, use bar charts or line graphs instead of pie charts.\nNow that you know how to ethically present your data, where does IntelliBoard fit in? Our next post will show you how to use IntelliBoard data to effectively tell your story and convince your audience.", "id": "<urn:uuid:4576a875-d792-4be3-8475-510c257a7190>", "dump": "CC-MAIN-2023-14", "url": "https://blog.intelliboard.net/2020/12/09/persaude-partents-principals-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00539.warc.gz", "language": "en", "language_score": 0.9243057370185852, "token_count": 751, "score": 3.515625, "int_score": 4}
{"text": "Near Portland, Oregon, archaeologists and Indians have built an authentic Chinookan plankhouse like those Lewis and Clark saw\nIt's still early sunday morning, but the air is filled with the whine of chain saws. At the Ridgefield National Wildlife Refuge, in southwestern Washington State, men wearing jeans, T-shirts and flannel work shirts are cutting cedar logs into planks, hand-carving figures into others, and using cranes to move the giant logs around. The volunteers are building a traditional Chinookan plankhouse about two miles from a village that Lewis and Clark visited on their epic journey 200 years ago. The seven-acre village, called Cathlapotle by early fur traders, is gone now, but thanks to its protected location, it is one of the most well-preserved American Indian village sites in the Northwest. But when Lewis and Clark first saw it, in November 1805, it was one of the largest of about 50 Chinookan villages that stood along a 160-mile stretch of the Columbia River, from the gorge to the river's mouth. \"I counted 14 houses,\" Clark wrote in his notoriously casually spelled diary. \"Seven canoes of Indians came out from this large village to view and trade with us, they appeared orderly and well disposed, they accompanied us a few miles and returned back.\"\nLewis and Clark estimated that as many as 900 people lived in Cathlapotle and 19,000 more in the surrounding Columbia River Valley. The two men weren't the first non-Natives to visit the area: Spanish explorers and then British and American fur traders sailed up the coast in the late 1700s, bringing epidemics of smallpox that took a toll on the Native population. But the Lewis and Clark expedition was the first to reach the village from the East, and it opened up a flood of migration that brought yet more disease (including a major malaria epidemic in the late 1820s and early 1830s).\nLewis and Clark returned to the village in March 1806, spending an afternoon there. From their visits, they recorded detailed descriptions of the people and terrain, and maps of the river valley. In 1991, archaeologists in search of the site followed the maps to this refuge, about 25 miles from Portland, Oregon. When the U.S. Fish and Wildlife Service and Portland State University researchers started digging on the river's cottonwood-covered banks, they hit an archaeological jackpot.\n\"The site was so rich that we would not have had the resources to store all the material,\" says the project's lead archaeologist, Kenneth Ames, of Portland State University. \"We would have just drowned in stuff.\" Though digging stopped in 1996, scientists and students at Portland State are still counting, sorting and trying to make sense of the hundreds of thousands of artifacts they found, including iron daggers, copper pendants and beads, stone tools, acorns and animal bones.\nMost exciting, the researchers say, is what the excavation has revealed about plankhouses, which formed the center of social, spiritual and economic life for the Chinookan Indians. Subtle bumps in a cottonwood grove near the river still outline at least six of the houses. To understand what the houses looked like, scientists dug a series of trenches that sliced through the remains of two houses; although the walls and posts had disappeared long ago, the dark stains left in the ground by their rotting showed where they once stood. Some buildings were as big as 200 feet long, 40 feet wide, and 22 feet tall; according to Lewis and Clark's notes, 100 people or more lived in a single house.\nThe presence of multiple hearths in the building was revealed by sheets of ash containing fire-hardened clay bowls. The wealth of seeds and elk and fish bones shows that food was abundant. \"We have as many smelt bones as stars in the sky,\" Ames says. Storage cellars\u2014indicated by dense caches of objects in the dirt below some of the buildings\u2014held the village's surplus.\nWhen, nearly 15 years ago, archaeologists first had the idea to construct a Chinookan cedar plankhouse based on the excavation data, they envisioned a building as historically accurate as possible, down to the construction methods. But whereas putting up a plankhouse once involved the sweat and muscle of 500-plus people using bone, antler, stone, shell and iron implements, this time around more than 100 men and women supplemented traditional tools with chain saws, cranes and pickup trucks to get the job done. Nearby national forests and landowners donated cedar logs, but to get planks that were big enough for the walls and roof, the organizers had to buy and ship cedar logs from Canada. (Project members say they hope to plant trees locally to replace what they used.)\nLike most construction projects, this one had unexpected turns. The project was stalled for a couple of months last year by claims from the neighboring Cowlitz tribe that Cathlapotle belonged to it. The work resumed after Fish and Wildlife Service officials determined through review of historical and archaeological records that the village was indeed Chinookan. And there were other departures from the traditional: ramps, emergency exit lighting and swinging doors, to comply with the Americans with Disabilities Act and building codes; and a mechanized ventilation system (in addition to the traditional movable planks in the roof), to clear the building of smoke. \"I didn't think the plankhouse would have the spiritual feel we originally hoped it would,\" says tribal council member Sam Robinson, \"but when we opened it up and blessed it, there was great pride in it.\"\nToday, the Chinook are a band of about 2,500 people that have spent decades fighting for federal recognition as a tribe, to no avail. To them, the structure is a monument to their history that connects modern Chinook with their past. They're planning to gather there for drumming, storytelling and demonstrations of traditional crafts like basket-making and carving. \"I think it's going to bring more awareness that we're still out there,\" Robinson says. It opened to the public this past March.\nSome of the volunteers drove two hours each day to get to the site. \"It's dumbfounding to me, all the people busting their chops out here,\" says tribal member Tony Johnson, 34, who teaches children the Chinook language, Chinuk-wawa, and spent many weekends carving the central house posts for the project. Adam McIsaac, a non-Native, makes his living carving Northwest Indian-style art. \"This project is the greatest thing that ever happened to me,\" says McIsaac, 32. \"It's great to give something back to the culture and to carry on the traditions that once proliferated right here where we're standing.\" In the midst of three years of national celebration of Lewis and Clark's journey, the plankhouse is yet another reminder of the rich, established culture that the explorers encountered on their way.", "id": "<urn:uuid:1ecc6df3-6380-4e41-8df9-62b91ee36e83>", "dump": "CC-MAIN-2023-14", "url": "https://www.smithsonianmag.com/history/board-rooms-73575519/?no-ist", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945287.43/warc/CC-MAIN-20230324144746-20230324174746-00340.warc.gz", "language": "en", "language_score": 0.9764938950538635, "token_count": 1425, "score": 3.625, "int_score": 4}
{"text": "This is the fourth post in a series discussing literary features of the Gospel of Mark. You might first look at the Introduction, Part 2, and Part 3.\nIn this series thus far, we have examined Mark\u2019s larger narrative structure. Now we will investigate a technique he uses in a number of smaller stories featured in the Gospel. In Mark 11, Jesus tries to find a fig on a tree that had leaves. However, he found no fruit, thus Jesus cursed the tree. Then, Jesus moves on to the temple and cleanses it of the moneychangers and vendors. After the temple cleansing, the narrative returns to the fig tree and finds it withered. Why would Mark place the temple cleansing in the middle of this story about the fig tree? These stories within stories give the reader an interpretive context. Mark is telling the reader how to interpret the stories by placing them together.\nThis kind of storytelling has a few different names. Some call it intercalation. If you want to sound pretentious, you could use the Latin inclusio. At least one scholar has called them \u201cMarkan Sandwiches.\u201d These feature two stories in three parts. Story A begins. Story B is told before Story A is finished. After Story B is finished, then Story A is finished. Mark uses the technique to signal to the reader how to interpret a story. In the above example, the fig tree story gives the temple cleansing context. The temple is like the fig tree. It shows leaves, but no actual fruit. Mark is arguing that the physical temple and the practices surrounding it no longer bear fruit.\nThis interpretation is bolstered when investigating how Matthew changes the structure of the account. In Matthew 21, the two stories are told in succession, but the intercalation is taken apart. Arguably, Matthew is a more \u201cJewish\u201d Gospel. He could be uncomfortable making such a strong statement on the fruitless nature of the temple and its associated practices.\nIn the fig tree/temple story, the framing Story A gives the interpretive framework to Story B. Sometimes the contrast between the two stories highlights a central point. In Mark 5, a synagogue leader, Jairus, comes to Jesus asking him to heal his daughter. Jesus consents and leaves to see the daughter. Then, Mark interrupts the story and shifts the focus off of Jairus and his daughter. In this \u201cinterruption\u201d a woman with a bleeding disorder simply touches the hem of Jesus\u2019s garment and is healed. After this episode, the focus shifts back to Jairus\u2019s daughter and Jesus raising her from apparent death with a touch and a word. In the Jairus story, the is a great deal of intentional effort. Jairus seeks out Jesus. Jesus goes to Jairus\u2019s house. He touches the daughter. He speaks to the daughter. One could mistakenly believe that all of that intentional effort is what saved the young girl.\nThe interrupting story of the woman with the bleeding disorder corrects that potential misunderstanding. The only person with intention in this story is the woman. She does not seek Jesus\u2019s attention. She only wants a glancing touch of his clothing, believing that will heal her. It happens as she believed it would. Jesus notices and encourages her faith. It was her faith that made her whole. It is faith that heals and not the physical effort. Faith healed the woman and faith healed Jairus\u2019s daughter. Mark\u2019s literary technique and structure (which is kept in Matthew and Luke) keeps the reader from misunderstanding.\nAnother example of contrast in an intercalation happens at the Last Supper in Mark 14. This intercalation is more about emphasis than instruction. Jesus begins the supper with the prediction of his betrayal. After this depressing discussion, Jesus institutes the Lord\u2019s Supper by breaking the bread and offering the wine. This offering represents his willingness to die on behalf of the rest of humanity. He will be faithful to his task even as it leads him to death. After the supper, Jesus tells Peter that even he will betray him (3 times!). The disciples\u2019 betrayal contrasts sharply with Jesus\u2019s faithfulness. By sandwiching this faithfulness with betrayal, Mark emphasizes the faithfulness by giving it a sharp contrast.\nThese intercalations peppered throughout Mark are another indicator of the author\u2019s literary skill. They are examples of how Mark artfully guides his readers in interpreting the Gospel. Matthew and Luke keep many of these intercalations intact. If you are reading a Gospel and notice a story is left unfinished, pay close attention to what happens next. The author is telegraphing to you how to interpret the passage.\n2 Comments Add yours\nGood catch. Thank you. In the past I have used \u201cinterpolation\u201d erroneously to describe these features, which was repeating a mistake of my first NT professor. Intercalation is a new term for me.", "id": "<urn:uuid:ad44a6ad-c1ab-41f0-9be0-365a9fdaea24>", "dump": "CC-MAIN-2023-14", "url": "https://danielhulsey.com/2017/09/29/the-genius-of-the-gospel-of-mark-the-story-within-the-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00537.warc.gz", "language": "en", "language_score": 0.9481001496315002, "token_count": 1041, "score": 3.5, "int_score": 4}
{"text": "Preschool teachers educate and care for children younger than age 5 who have not yet entered kindergarten.\nWhat they do\nPreschool teachers teach language, motor, and social skills to young children. They typically do the following:\n- Teach children basic skills such as identifying colors, shapes, numbers, and letters\n- Work with children in groups or one on one, depending on the needs of children and on the subject matter\n- Plan and carry out a curriculum that focuses on different areas of child development\n- Organize activities so children can learn about the world, explore interests, and develop skills\n- Develop schedules and routines to ensure children have enough physical activity and rest\n- Watch for signs of emotional or developmental problems in each child and bring them to the attention of the child\u2019s parents\n- Keep records of the children\u2019s progress, routines, and interests, and inform parents about their child\u2019s development\nYoung children learn from playing, problem solving, and experimenting. Preschool teachers use play and other instructional techniques to teach children. For example, they use storytelling and rhyming games to teach language and vocabulary. They may help improve children\u2019s social skills by having them work together to build a neighborhood in a sandbox or teach math by having children count when building with blocks.\nPreschool teachers work with children from different ethnic, racial, and religious backgrounds. Teachers include topics in their lessons that teach children how to respect people of different backgrounds and cultures.\nPreschool teachers in public schools generally work during school hours. Many work the traditional 10-month school year and have a 2-month break during the summer. Some preschool teachers may teach in summer programs.\nTeachers in districts with a year-round schedule typically work 9 weeks in a row and then have a break for 3 weeks before starting a new school session.\nThose working in daycare settings may work year-round with longer hours.\nHow to become a Preschool Teacher\nEducation and training requirements vary based on settings and state regulations. Preschool teachers typically need at least an associate degree.\nPreschool teachers typically need at least an associate degree.\nPreschool teachers in center-based Head Start programs are required to have at least an associate degree. However, at least 50 percent of all preschool teachers in Head Start programs nationwide must have a bachelor\u2019s degree in early childhood education or a related field. Those with a degree in a related field must have experience teaching preschool-age children.\nIn public schools, preschool teachers are generally required to have at least a bachelor\u2019s degree in early childhood education or a related field. Bachelor\u2019s degree programs include instruction on children\u2019s development, teaching young children, and observing and documenting children\u2019s progress.\nSome states require preschool teachers to obtain the Child Development Associate (CDA) credential offered by the Council for Professional Recognition. Obtaining the CDA credential requires coursework, experience in the field, a written exam, and observation of the candidate working with children. The CDA credential must be renewed every 3 years.\nIn public schools, preschool teachers must be licensed to teach early childhood education, which covers preschool through third grade. Requirements vary by state, but they generally require a bachelor\u2019s degree and passing an exam to demonstrate competency. Most states require teachers to complete continuing education credits in order to maintain their license.\nThe median annual wage for preschool teachers was $30,520 in May 2019. The median wage is the wage at which half the workers in an occupation earned more than that amount and half earned less. The lowest 10 percent earned less than $21,140, and the highest 10 percent earned more than $55,050.\nEmployment of preschool teachers is projected to grow 2 percent from 2019 to 2029, slower than the average for all occupations.\nEarly childhood education is important for a child\u2019s intellectual and social development. Preschool teachers should be needed to meet the slowly increasing demand for early childhood education.\nSimilar Job Titles\nChild Development Teacher, Early Childhood Teacher, Group Teacher, Infant Teacher, Montessori Preschool Teacher, Nursery Teacher, Pre-Kindergarten Teacher (Pre-K Teacher), Preschool Teacher, Teacher, Toddler Teacher\nSocial and Human Service Assistant, Kindergarten Teacher (except Special Education), Self-Enrichment Education Teacher, Teacher Assistant, Nannies\nThe trade associations listed below represent organizations made up of people (members) who work and promote advancement in the field. Members are very interested in telling others about their work and about careers in those areas. As well, trade associations provide opportunities for organizational networking and learning more about the field\u2019s trends and directions.\n- American Montessori Society\n- Association for Childhood Education International\n- Association Montessori Internationale\n- Kappa Delta Pi, International Honor Society in Education\n- National Association for the Education of Young Children\n- National Association of Early Childhood Teacher Educators\n- National Association of Independent Schools\n- National Education Association\n- National Head Start Association\n- North American Montessori Teachers' Association\nMagazines and Publications\n- Teaching Young Children (NAEYC publication)\n- My Big World (Scholastic)\n- Let\u2019s Find Out (Scholastic)\nPreschoolers may do a lot of singing and finger painting, but teaching them takes more than fun and games. For most children, preschool is their vital first experience of structured learning and play\u2026 preschool teachers plan the lessons and create the environment that makes it all possible. Preschool teachers educate and care for children ages 2-4. They present reading, writing, science, and other subjects in ways their young students can understand. Preschool teachers organize activities and routines to balance playtime, rest, and physical activity throughout the day. They teach the basics of language, numbers, shapes and colors, as well as social skills. They also monitor children\u2019s progress to share with parents, and flag any concerns for early intervention. Preschool teachers work in childcare centers, non-profit centers, and public and private schools. In public schools, preschool teachers generally work during school hours, and may have summers off or teach summer programs. In day care settings, hours may be longer and schedules are typically year-round. Education and training requirements range from a high school diploma and certification to a college degree. Childcare centers generally require a high school diploma and a certification. Head Start and other government programs may require a 2- or 4-year degree. Public school preschool teachers need a bachelor\u2019s degree in early childhood education or a related field, and an early childhood education license.\nContent retrieved from: US Bureau of Labor Statistics-OOH www.bls.gov/ooh,\nCareerOneStop www.careeronestop.org, O*Net Online www.onetonline.org", "id": "<urn:uuid:43196748-1360-44bb-9554-3a28890bdedf>", "dump": "CC-MAIN-2023-14", "url": "https://www.gapyearprograms.com/careers-list/preschool-teacher/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945323.37/warc/CC-MAIN-20230325095252-20230325125252-00539.warc.gz", "language": "en", "language_score": 0.945713460445404, "token_count": 1432, "score": 3.796875, "int_score": 4}
{"text": "Can You Repeat That? Designing Courses for Peak Memory Retention\nStudies show that up to 70% of the material covered in your corporate training will be long forgotten\u2014just 24 hours after the end of the course. This statistic is enough to increase the blood pressure of any instructor, whose entire task is to ensure that new information is retained by learners.\nBut it\u2019s not entirely the instructor\u2019s fault. Memory retention can be influenced heavily by course design, including the types of instructional strategies are employed. Pepperdine University offers a four-part process to improving memory and retention: GULP, which stands for Get it, Use it, Link it, Picture it. Let\u2019s see how each of these steps might look in an online course.\nThere\u2019s a lot more to \u201cgetting it\u201d than simply hearing or reading new information. Learners need to be in an optimal environment for absorbing new information, which means they need to be relaxed, motivated, and engaged. Designing the best instructional strategies are crucial here. For example, an interactive module is more likely to capture interest and hold attention than a 25-page PDF of text. Setting the stage so learners can \u201cget\u201d the information\u2014and get it the first time, if possible\u2014is the goal.\nIf a new piece of information isn\u2019t used, the brain is going to decide that it\u2019s not relevant and filter it out. And using it doesn\u2019t have to mean sending learners out in the world to practice their new skills after the first lesson (think of the potentially disastrous consequences of sending new pilots out to fly on their own after their first class!). Using a new piece of information simply means incorporating it into the learner\u2019s experience, though repeating it, writing it down, or reviewing it right away. Student pilots use flight simulators, for example, to use their new information in a different context. Assessments, reflective questions, and group discussions work well, too.\nWhile this four-part model might be new for you, you\u2019re not likely to forget it. That\u2019s because the word \u201cgulp\u201d is something you\u2019re already familiar with. Acronyms are an example of linking new material to something that already has real estate in your brain. You can also map information to songs, familiar locations, or categories to help learners bolster memory of new concepts. This is a technique used widely in elementary schools, where students are expected to learn a vast amount of new information in a relatively short period of time\u2014and retain it for the rest of their lives. (You might recall singing the names of the continents or prepositions when you were young.)\nIncorporating the senses into the learning process is a great way to foster a deep connection between the learner and the new material. Pictures, movies, animations, hands-on demonstrations and practice, and humor are all potent memory-makers. Storytelling is another good example because of its tendency to create an emotional response, which is also linked to memory retention. Online learning is a particularly rich environment for incorporating the senses\u2014videos in particular can capture learners\u2019 visual, aural, and emotional interest.\nPepperdine\u2019s model is an effective summary of the ways that content can be presented in order to increase memory retention in learning. What strategies do you use to ensure that your learners aren\u2019t walking away from training and leaving their learning in the classroom?\nFor more tips on building engaging courses, check out these blog posts:", "id": "<urn:uuid:0900257c-b1ef-497d-813f-0b1a0f536302>", "dump": "CC-MAIN-2023-14", "url": "https://clarityconsultants.com/blog/can-you-repeat-that-designing-courses-for-peak-memory-retention", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950110.72/warc/CC-MAIN-20230401160259-20230401190259-00538.warc.gz", "language": "en", "language_score": 0.9208860397338867, "token_count": 754, "score": 3.703125, "int_score": 4}
{"text": "- Start with a theme or idea: Choose a theme or idea that you want to explore in your poem. This can help to give your poem a focus and direction.\n- Experiment with different forms and structures: Try writing in different forms, such as free verse, sonnets, or haikus, to see what works best for your poem.\n- Use imagery and figurative language: Use vivid and descriptive language to paint a picture in the reader's mind. Figurative language, such as similes and metaphors, can also help to add depth and meaning to your poem.\n- Use sound devices: Experiment with different sound devices, such as rhyme, alliteration, and assonance, to add musicality to your poem.\n- Vary your line length and stanza structure: Varying the line length and stanza structure can add interest and rhythm to your poem.\n- Show, don't tell: Use descriptive language to show the reader what is happening in your poem, rather than simply telling them.\n- Edit and revise: Don't be afraid to edit and revise your poem until it feels right. Poetry often requires multiple drafts to get it just right.\n- Read your poem out loud: Reading your poem out loud can help you to hear the rhythm and flow of your words and identify any awkward phrasing.\n- Use concrete details: Use specific, concrete details to help the reader visualize and connect with your poem.\n- Experiment with different perspectives: Try writing from different perspectives, such as first person, second person, or third person, to see how it changes the tone and meaning of your poem.\n- Use sensory language: Use language that engages the senses, such as sight, sound, touch, taste, and smell, to help the reader experience your poem more fully.\n- Don't be afraid to be vulnerable: Poetry can be a powerful way to express emotions and experiences. Don't be afraid to be vulnerable and share your deepest thoughts and feelings in your poem.\n- Use strong verbs: Strong verbs can add energy and power to your poem. Avoid using weak or passive verbs whenever possible.\n- Use figurative language: Figurative language, such as similes and metaphors, can help to add depth and meaning to your poem.\n- Use white space: Use white space intentionally to create pauses and breaks in your poem, which can help to add emphasis and rhythm.\n- Experiment with different lengths: Try writing both long and short poems to see what works best for your theme and style.\n- Use repetition: Repetition can be a powerful tool in poetry to create emphasis and add musicality.\n- Use onomatopoeia: Onomatopoeia is the use of words that sound like the thing they represent. Using onomatopoeia can help to add sensory and musical elements to your poem.\n- Read other poets: Reading the work of other poets can help to inspire and inform your own poetry writing.\n- Write regularly: Practice makes perfect! The more you write, the better you will become at composing poetry.\nMastering the Art of Poetry: Tips and Techniques for Composing Poems\nPlease wait 0 seconds...\nScroll Down and click on Go to Link for destination\nCongrats! Link is Generated\nEnhance your creative writing skills with these tips on composing poetry. From choosing the right words and structure to finding inspiration, our expert guidance will help you craft beautiful and impactful poetry. Whether you're a seasoned poet or just starting out, these tips will help you take your poetry to the next level and captivate your readers with your unique voice and style.\nPost a Comment", "id": "<urn:uuid:01ebd61e-b2ea-460e-8b0d-0cb48faf1503>", "dump": "CC-MAIN-2023-14", "url": "https://www.classwithmason.com/2022/12/mastering-art-of-poetry-tips-and.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948858.7/warc/CC-MAIN-20230328104523-20230328134523-00140.warc.gz", "language": "en", "language_score": 0.9004191160202026, "token_count": 759, "score": 3.78125, "int_score": 4}
{"text": "Top Tips For Teaching Young Adults Creative Writing\nJ. K. Rowling once said: \"All a writer needs is talent and ink.\" I agree. But she might have forgotten a crucial factor that made Harry Potter forever etched in our mind ---imagination. It is always said that writing is natural, so a good writer is someone who can write without conscious effort.\nThis post was written by our TEFL certification graduate Anthony R. Please note that this blog post might not necessarily represent the beliefs or opinions of ITTT.\nA real writer, however, will tell you things are just the other way around. There can be no doubt that a good writer endlessly seeks perfection in words. Not until they mirror the thoughts in their brain does the process stop. From a pedagogical perspective, teaching creative writing has been vexing a great majority of English teachers for decades. Things can be even harder for non-native English teachers.\nIn the following, I will share my point of view as well as my hands-on experience. The summative task is two-fold, starting with a brief discussion on a pivotal factor for an impressive creative writing---imagination, followed by my hands-on experience in teaching creating writing to young adult learners.\nAlso Read: 4 Activities for Teaching Future Simple in the ESL Classroom\nThe Power of Imagination\nAdvanced writers of English are of greatest necessity to be equipped with the ability to manipulate their imagination. It can reflect one\u2019s flow of thinking as well as reasoning, analyzing, and critical thinking. What a writer says in writing shapes the package of the color and size of ideas (Winkler & McCuen, 1974). To achieve this, one doesn\u2019t need to be an artist, a poet, or a genius. The nitty-gritty here is to exercise your imagination. Your imagination will deliver the image you think about. I\u2019ve always employed the following three steps to be a warm-up activity before moving on to ask students to create their writing. In a typical ESA lesson plan, I would include only one or two parts of the activities in the Engage phase.\nImagine you and your family are lying on the grass, looking at the sky at night.\nAsk Yourself Questions\n- Where are you?\n- Who are you with?\n- Why is the night so bright?\n- What can I see in the sky?\n- What happened after that?\nAlso Read: How Traveling The World Inspired Me To Teach English\nLet Your Imagination Flow\nBring your story further and alive by asking more questions. Say, if you see no stars at night, try reminiscing the old days when you and your friends enjoyed sitting in the dark, waiting for the shooting star to appear out of nowhere, closing your eyes while wishing. Where are the stars, then?\nDecide What You Wish to Talk About\nNow, the story map is built. If you intend to air your concern over our deteriorating environment, then your first draft would very likely look like this.\n\u201cAt my family \u2018s cabin on a Minnesota lake, I knew woods so dark that my hands disappeared before my eyes. I knew night skies in which meteors left smoky trails across sugary spreads of stars. But now, when 8 out of 10 children born in the United States will never know a sky dark enough for the Milky Way, I worry we are rapidly losing night\u2019s natural darkness before realizing its worth. This winter solstice, as we cheer the days\u2019 gradual movement back toward light, let us alone remember the irreplaceable value of darkness.\"(Adapted from Paul Bogard, \u201cLet There Be Dark.\u201d)\nAlso Read: Do TEFL teachers need a second language?\nMy Teaching Experience\nAs a TOEFL/IELTS teacher, having unexpected students come to me occasionally asking for help with their statement is anything but a rare phenomenon. Many college applicants, if not all, got dinged by their dream schools for no reason, albeit with an impressive GPA record, and some of them are even varsity cheerleaders. Having harked back to these old stories countless times, I\u2019m starting to realize that their statement was the reason. Since 2015, I\u2019ve started to help my students edit their documents.\nThe very first thing I ask them to do is \u201cThink of your statement as a very short but intriguing story.\u201d It has begun, and end, and a character we care about\u201d. One of the pitfalls my students usually make is that they are always trying to wear off the admission members\u2019 patience by \u2018keeping a diary\u2019. The first sentence of your statement is the most important. Through a series of training sessions in an attempt to exercise their imagination, most of them started to pick up the know-how. For example, instead of saying \u201cAs I and my dad drove on the freeway, we saw something strange\u2026\u201d, but try making a splash with your story by saying \u201dStaring at the speedometer without blinking, I was mesmerized by how I felt that night. Things escalated too quickly, with the readings on the panel, after dropping to 0 mph, jumping back around in merely 3 seconds\u2026.\u201d.\nAlso Read: The 3 Most Important Chinese Policies to Know For Teaching Expats in China\nOr if you wish to deploy the art of storytelling to answer an essay question titled \u201cThanks to technological advances, the world is getting smaller and better every day\u201d, then you could further extend your imagination and the end product would probably look like this.\nStaring at the speedometer without blinking, I was mesmerized by how I felt that night. Things escalated too quickly, with the readings on the panel, after dropping to 0 mph, jumping back around in merely 3 seconds. To my surprise, as I enjoyed the adrenalin rush down, it soon came as bit of a shock to me that even the slightest trembler could give me a goosebump. Little did I realize I was riding shotgun in my dad\u2019s newly bought sedan car till we finally arrived at my aunt\u2019s house. Technology has never ceased to amaze us. The world where we live is now without boundaries\u2026.\nAnother example is the story of Andy Patriquin, who got into the University of Redlands in 2018. We have discussed this more than dozens of times before having his application sent. With his consent, I showed my students his statement, asking them to create their version to impress the reader.\nIt was the peak of the day\u2019s heat on July 5, 2017, in the small vacation town of Chatham, Mass. My partner Benjamin and I emerged from the vast backyards of neighboring shoreline homes with big green barrels of garbage held over backs and dumped them into the back of a garbage truck. As I hop on the back step to ride to our next stop, I thought about how despite being sweaty, sore, covered in bug bites, garbage juice, I couldn\u2019t have been happier to have this job. --- by Andy Patriquin\nDo you want to teach English abroad? Take a TEFL course!\nTeaching writing is not an easy job, a fact that can be seen in the classroom where little time is devoted to this most frequently neglected skill. There are few if any clear criteria that define good creative writing. How to succeed in eventually allowing students to create their own story in the ACTIVATE phase requires endless effort with perseverance. Teaching is a profession. Writing is an art.\nApply now & get certified to teach english abroad!\nSpeak with an ITTT advisor today to put together your personal plan for teaching English abroad.\nSend us an email or call us toll-free at 1-800-490-0531 to speak with an ITTT advisor today.\n- The Top 5 Places to Teach English in Brazil\n- Top 10 Places to Take Your TEFL Course in Winter\n- Why Taking a TEFL Course Is Highly Beneficial\n- 5 Great Destinations for Surfers to Teach English Abroad\n- How Teaching English In Brazil Inspired Me To Take My TEFL and Pursue A Teaching Career\n- What I've Learned From My TEFL Course in Business English", "id": "<urn:uuid:c2e71e67-e64d-476e-8444-1286af068acc>", "dump": "CC-MAIN-2023-14", "url": "https://www.teflcourse.net/blog/top-tips-for-teaching-young-adults-creative-writing-ittt-tefl-blog/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949097.61/warc/CC-MAIN-20230330035241-20230330065241-00740.warc.gz", "language": "en", "language_score": 0.960557758808136, "token_count": 1708, "score": 3.578125, "int_score": 4}
{"text": "Poetry, you know about it. You've probably read quite a bit of it. Here is a quick run-down of the basics of poetry.\n- Poetry can convey and express anything: the self, one\u2019s political reality, universal themes of humankind, or a combination of these (as is usual).\n- Poetry is a form of creative writing in verse. That is, poetry is composed in a certain rhythm. This is why sound is an essential part of poetry.\n- Rhyme and rhyme scheme, however, are not essential to poetry: both rhymed and unrhymed verses exist. John Milton's Paradise Lost, considered one of the greatest pieces of poetry in the Western world, is unrhymed!\n- Another aspect of poetry is meter. Meter involves proper combinations of stressed and unstressed syllables. Again, poetry can be metrical or non-metrical (popularly called \u201cfree verse\u201d). While Shakespeare's sonnets are famous examples of the former, much of the popular poetry on Instagram today embodies the power of the latter.\n- The length of the poem does not matter either: poetry can be as long as a book or could only take up a single page.\n- In recent times, poetry has been reclaimed and recast as a genre of the people. It has been made to shed its elitist connotations and has been democratized. Think of the Beat poets of the US or the popular performance/slam poetry of today.\n- Poetry has a large number of sub-divisions and types, such as odes, sonnets, limericks (a variety of short humorous poetry), haikus, ghazals, and many more. Find your strength in any of these types, or create your own!\n- So, even though poetry has a basic requirement of rhythm, there is quite a bit of space for experimentation. If you are someone who is naturally inclined to rhythm, verse, and powerful imagery, poetry might be the style of writing meant for you!\n- You can check out one of Aranya Johar\u2019s performance poetry pieces here:\nHere\u2019s a little something extra for you. If you\u2019re interested in learning more about performance poetry, you can follow her exclusive poetry-writing and performance-based course on FrontRow!\n2. One of the most famous modernist poets, T.S. Eliot, wrote in a way that changed the landscape of poetry in the 20th century. Read any poem of his (personal recommendation is \"The Love Song of J. Alfred Prufrock\u201d).\n3. Akhil Katyal is a critically acclaimed poet writing in current times. His poetry speaks to the times. Read some of his poetry on his Instagram page.\n4. Kamala Das\u2019 poetry embodies free verse and confessional poetry. Read her \u201cAn Introduction\u201d here.\n5. Amrita Pritam\u2019s poetry, written during the Partition of India, shows how poetry becomes a part of people\u2019s cultural reality by speaking the truth of its times. Read her famous poem \u201cToday I Call Unto Waris Shah\u201d.\nAs a type of writing, poetry has an endless scope. At first, it can seem like an intimidating form of writing. But as you learn more about poetry and read different types of it, you might realize that you too have poems within you, left unwritten. So pick the pen up. All the best!\nUp next is an article on short fiction!", "id": "<urn:uuid:a8b961f9-7300-44b7-8f63-d50317116b36>", "dump": "CC-MAIN-2023-14", "url": "https://frontrow.co.in/guides/types-of-creative-writing-poetry/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00138.warc.gz", "language": "en", "language_score": 0.9637130498886108, "token_count": 745, "score": 3.578125, "int_score": 4}
{"text": "Activity 5: Story - The Wise Teacher's Test\nActivity time: 5 minutes\nMaterials for Activity\n- A copy of story,\"The Wise Teacher's Test\"\n- A chime, a rain stick, or another calming sound instrument\n- Moral Compass poster\nPreparation for Activity\n- Read the story a few times.\n- Consider telling the story rather than reading it. Practice telling it aloud. You may find it helpful to close your eyes and to picture the place where the story happens, and to observe the action and characters in the story as if you were watching a movie.\n- This story does not lend itself to audience participation during the telling. However, you may make it more interactive by choosing several places to stop the telling to ask questions of the children. Examples might be, \"I wonder what those students were talking about, outside the gate?\" or, \"I wonder how each of you would feel if your school principal told you that you had to steal to keep the school going?\" If you use this \"stop and go\" method of storytelling and inquiry, you will need more time to tell the story, but you probably will not need to do Activity 6, Dramatic Exercise - What Happened Next? which follows the story.\nDescription of Activity\nIn the story, \"The Wise Teacher's Test,\" a Buddhist teacher offers his students a lesson by testing them. He pretends that their school needs money, and tries to convince them that they must steal money in order to keep the monastery going. Students at this age are concrete thinkers and will probably want to discuss the idea that a teacher would condone stealing. You may like to introduce the story by telling your students that Buddhist stories and teachers often use tricks, tests and riddles to help their students to learn something for themselves.\nTell the group they are going to hear a story from the Buddhist tradition that will help to show them what conscience is. Indicate the Moral Compass poster. Show them how the arrow says \"goodness and justice\" and that it now is pointing to \"Inner voice\".\nYou may also wish to tell the children that there are five Buddhist simple rules of conduct (the Precepts) that lead to happy and peaceful lives for all who practice them. The second Precept states \"Respect others' property; take nothing that is not freely given to you.\" You may wish to compare this precept with the eighth Commandment from Hebrew scripture, \"Thou shalt not steal.\"\nTake time to make eye contact with each person in the room before beginning the story. Take a deep, calming breath and then begin.\nWhen you have finished telling the story, sound the chime or other instrument to signify that the story is ended.", "id": "<urn:uuid:ef2da377-7124-4e31-9cbc-3326e0946739>", "dump": "CC-MAIN-2023-14", "url": "https://www.uua.org/re/tapestry/children/tales/session2/123148.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949355.52/warc/CC-MAIN-20230330163823-20230330193823-00540.warc.gz", "language": "en", "language_score": 0.9655244946479797, "token_count": 556, "score": 3.765625, "int_score": 4}
{"text": "Harry Potter is a cultural phenomenon that has captured the hearts and imaginations of millions of fans worldwide. While many see it as a mere work of fiction, Harry Potter can also be used as a valuable educational tool.\nHere are some ways that Harry Potter can be used for educational purposes:\nLiterature and Language Arts\nHarry Potter is a seven-book series that explores complex themes, intricate plotlines, and a vast universe of characters. Reading the series can help students develop critical reading, analytical thinking, and creative writing skills. They can also learn literary elements such as foreshadowing, symbolism, and character development.\nEthics and Philosophy\nThe Harry Potter series addresses moral and ethical issues such as friendship, courage, loyalty, and the value of human life. The books can be used to teach students about ethical decision-making, philosophy, and the importance of values and morals in everyday life.\nHistory and Culture\nThe Wizarding World of Harry Potter is filled with references to real-world history and culture. The books draw on British folklore, myths, and legends, as well as historical events such as World War II. Students can learn about history and culture by exploring these references and analyzing how they are used in the books.\nScience and Technology\nThe Wizarding World of Harry Potter is a world of magic, potions, and mythical creatures. The series can be used to teach students about science and technology, such as the chemistry of potions and the biology of magical creatures. It can also spark students\u2019 interest in fields such as genetics, robotics, and computer science.\nSocial and Emotional Learning\nHarry Potter is a story about growing up, facing challenges, and learning to overcome them. The books can be used to teach students about social and emotional learning (SEL) by addressing themes such as bullying, discrimination, and mental health. The characters in the books can serve as role models for students, teaching them important life skills such as empathy, resilience, and problem-solving.\nCreative Writing and Art\nThe Harry Potter series can inspire students to create their own stories and artwork. Students can write fanfiction, draw fan art, or even create their own Wizarding World. By doing so, they can develop their creativity, imagination, and storytelling skills.\nIn conclusion, Harry Potter is more than just a work of fiction. It can be used as a valuable educational tool to teach literature, language arts, ethics, philosophy, history, culture, science, technology, social and emotional learning, creative writing, and art. By using the series in the classroom, home educators can engage students in a fun and interactive way, promoting learning and creativity.\nBetter to be a warrior in a garden than a gardener in a war,", "id": "<urn:uuid:38c41c9a-e824-4535-a1ea-890ee239e0e0>", "dump": "CC-MAIN-2023-14", "url": "https://heartofdavidacademy.com/how-and-why-to-use-harry-potter-for-education-funschooling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950373.88/warc/CC-MAIN-20230402012805-20230402042805-00140.warc.gz", "language": "en", "language_score": 0.9454502463340759, "token_count": 558, "score": 3.578125, "int_score": 4}
{"text": "The term \u201cMode\u201d in documentary filmmaking referred to the method in which the story or information is told in a documentary film. Think of this as a \u201cgenre\u201d in Hollywood films. Much like the way genres overlap in narrative feature films, many documentaries often feature more than one mode.\nThere are 6 common modes of documentary that have been defined over the years. These are:\nREFLECTIVE DOCUMENTARY STYLE\n- In many reflective films the filmmaker is a part of the film itself and can often be the main character.\n- There is an obvious relationship between the filmmaker and the audience\n- It is \u2018reflective\u2019 in the sense that the documentary mirrors the art of documentary-making itself\nEXPOSITORY DOCUMENTARY STYLE\n- These types of documentary usually express a clear point of view that leaves little room for individual interpretation and the filmmaker typically presents their message as truth.\n- Many have a voice-of-God style narration that puts forward a structured argument\n- Many expository documentary films can be described as propaganda\nOBSERVATIONAL DOCUMENTARY STYLE\n- These types of documentary use a fly-on-the-wall filming approach. What is going on in the film is REALLY going on\n- Observational films try to convey regular everyday life without interviewing the subjects.\n- Presence of the filmmaker is kept to a minimum and the filming process is less intrusive on the subject. Think of watching the documentary through a security camera.\nINTERACTIVE or PARTICIPATORY DOCUMENTARY STYLE\nThe filmmaker interacts with subjects, asks them questions and shares experiences\nThese films often use archival footage rather than reenactments to portray a sense of history\nPOETIC DOCUMENTARY STYLE\n- These films do not use continuity editing, nor give a good sense of location or time.\n- These films tend to explores associations and patterns that involve temporal rhythms and spatial juxtapositions\n- They are more fragmented and abstract. Think of them as visual poetry and not a storytelling device.\nPERFORMATIVE DOCUMENTARY STYLE\n- Performative documentaries stress subjective experience and emotional response to the world.\n- This style is somewhat similar to the reflexive documentary style, but often involves a mix of many styles\n- Performative documentaries try to demonstrate how understanding such personal knowledge can help us understand more general processes of society\nAs a documentarian though, you are much more free within the documentary structure to vary from what is typically considered the \u201cnorm\u201d in narrative story telling. Where as a romantic comedy or horror film have to follow the rules of their genre, a modern documentary can be much more flexible in the format it takes to convey its message.", "id": "<urn:uuid:9e414814-ab8c-490a-98d0-beb8ff94ff69>", "dump": "CC-MAIN-2023-14", "url": "https://ismworks.com/courses/documentary-filmmaking/lessons/basics-documentary-filmmaking/topic/identifying-styles-modes-films/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948858.7/warc/CC-MAIN-20230328104523-20230328134523-00137.warc.gz", "language": "en", "language_score": 0.934170126914978, "token_count": 573, "score": 3.578125, "int_score": 4}
{"text": "Teaching Descriptive Writing\nEssentially a good writer makes his or her writing come alive by using descriptive writing. This can be done by describing a place, an object, a person, an emotion.\nDescriptive writing works when the subject is brought to life. Once way that this is done is by using concrete nouns, decorated by colourful adjectives. The nouns can also be described by sensory details - touch, sight, smell, taste and sound. Descriptive writing should also contain varied and interesting verbs.\nOn this page you will be given instructions on how to teach descriptive writing and some free graphic organizers to help you teach this writing skill.\nSo, how do you teach descriptive writing?\nIn order to teach descriptive writing, the first thing you will need to do it to place excellent models of excellent writers into their lap!\nHow? It's easy to do.\nFirst, you select an excellent piece of literature - Take note of the descriptive writing techniques the author used and put it into practice in your own writing.\nAnother way to teach descriptive writing is to work through stylistic elements of writing. I will explain this process below. If you like, you can print these instructions and free graphic organizers for your child.\nMy E-Book - Modeling the Classics : Teaching Descriptive Writing\ndoes exactly that! In it you will find excellent models of descriptive writing, followed by questions which help the reader identify the author's techniques. Then, using graphic organizers, the student creates his/her own descriptive writing based on the model.\nRead more about Modeling the Classics - Teaching Descriptive Writing! Or view the sample below:\nTeaching Descriptive Writing using Word Variety\n- Choose a Topic (person/ animal/ place/ object) If you're not sure how to choose - list all sorts of things which you know something about . Write you ideas down on this Ideas Wheel.\nHow much do you know about your subject? If you don't know a great deal.... start to research. Get out some books.\nWhen writing descriptively, you want your audience to have a mind picture of your topic. Use the Describing Wheel page. Write your topic in the center and describe your subject by using your senses. What does your subject look like? Put in as much detail as you can. Write it in such a way that a blind person can picture it in their head. What does it smell like? Is it pleasant? How does it feel to be touched? Is it smooth, rough, hard, soft? What sounds does it make or what sounds does it remind you of? Use phrases to describe your topic. You can begin with, \"...like a....\" or \" it reminds me of ....\"\nNow write your descriptions down into a paragraph.\nUnderline the nouns you have used or colour them in green. Do you the nouns you used? If not, add the nouns you'd like to change to the Choosing Better Nouns and Adjectives page. Look for different nouns. Use a Thesaurus to do this - or even try the online Visual Thesaurus. It's a lot of fun!\nOnce you've chosen your better sounding nouns - try to describe the nouns. Ask these questions to the nouns you have.\n- What kind \"noun\"?\n- Which \"noun\"?\n- How many \"noun\"?\n- Whose \"noun\"?\nThe words you now have are adjectives. They describe your nouns. Add these adjectives to the Choosing Better Nouns and Adjectives page. Make your adjectives interesting by thinking of adjectives which are colourful and full of meaning. Choose ones which create a word picture - like 'slimy' or 'verdant'.\n- You might now like to re-write your paragraph. It will contain your descriptions using your senses and your nouns will be interesting and will be described by colourful adjectives. However, be careful not to overdo it. Not every noun needs to have an adjective.\nLet's now move onto verbs and adverbs. Verbs are all the action words. Colour them in red. Do you like your verbs? If not, move on to the Better Verbs page. Use a thesaurus again or even try the online Visual Thesaurus to choose verbs which are cramped with meaning and description such as \"glided\" or \"swooped\" rather than \"flew\" or \"went\". On that page you can also add adverbs. Ask these questions to your verbs:\n- How \"verb\"?\n- When \"verb\"?\n- Where \"verb\"?\n- Why \"verb\"?\n- To what extent \"verb\"?\nThe words you now have are adverbs. Use them to add interest to your writing. Add them carefully and thoughtfully. Don't overdo it!\n- Now re-write your paragraph of descriptive writing. You should have nouns, adjectives, verbs and adverbs which are packed with meaning, colour and thought.\n- You may wish to add phrases and clauses to your descriptive writing. Use this phrases and clauses worksheet.\n- If you want to make your writing longer you would need to define your paragraphs and choose a sub-topic for each paragraph. For example, if you are describing a person, you may wish to describe their appearance in the first paragraph, their hobbies in the second paragraph and their character in the third. It would be similar for descriptive writing of any topic.\n- Show your final copy. Read it aloud to your family. Publish it. Why not add it to the Homeschool Gallery on my site?\nWe'd love to see your work.\nPrint these instructions.\nPrint these instructions and all the graphic organizers.\nDo you want to know more about - How to write Language Arts Lesson Plans based on Literature? See my 10 Day Outline.\nI have used this Ten Day model when writing my 200+ page e-book, Modeling the Classics: Language Arts Lessons from the Hobbit.\nWhere to from here?", "id": "<urn:uuid:6e03ed93-2c00-444c-80f3-214e971c7fc2>", "dump": "CC-MAIN-2023-14", "url": "https://www.design-your-homeschool.com/descriptive-writing.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943484.34/warc/CC-MAIN-20230320144934-20230320174934-00341.warc.gz", "language": "en", "language_score": 0.9408267736434937, "token_count": 1281, "score": 4.09375, "int_score": 4}
{"text": "Chinese Australian Families... racism... are estimated to have occurred before 1900. Despite repeated waves of racism and official discrimination from the 1840s to the 1970s, a sizeable number of families of Chinese background have put down roots in this country. By the 1940s, there were several... occurred before 1900. Despite repeated waves of racism and official discrimination from the 1840s to the 1970s, a sizeable number of families of Chinese background have put down roots in this country. In 1973 the Whitlam government abolished racist ...\nDreams of Jade and Gold: Chinese families in Australia's history\nFrom the 1840s onwards, Chinese people have come to Australia inspired by dreams of happiness, longevity and prosperity - of 'jade and gold' in a new and strange land. For most of that time, Chinese people in Australia have been predominantly male. Most of them were temporary sojourners who came to earn money for their families back in the village - most did not intend to settle in Australia.\nDespite the predominance of male sojourning, a small proportion of Chinese men in nineteenth-century Australia brought their wives and children to live with them, or married here. As Australian-born children of these families grew to adulthood, their parents would seek brides and grooms on their behalf amongst other Chinese families in Australia.\nThe majority of post-1905 Chinese brides of Chinese-Australian sons were never able to settle here. Some children were born in China or Hong Kong. Some were born in Australia. Families like this were split for decades, until immigration laws were relaxed.\nIn the nineteenth century, many of the Chinese men who wanted wives in Australia married or lived de facto with non-Chinese women. At least 500 European-Chinese partnerships are estimated to have occurred before 1900.\nDespite repeated waves of racism and official discrimination from the 1840s to the 1970s, a sizeable number of families of Chinese background have put down roots in this country.\nIn 1973 the Whitlam government abolished racist provisions in immigration laws. Since then, the number of ethnic Chinese migrants has increased dramatically. They have come primarily as family groups - not as sojourners, but as permanent immigrants. They come not only from China and Hong Kong, but also from Malaysia, Singapore, Vietnam, Cambodia and Indonesia, as well as from further afield. The Chinese are now a highly visible and generally accepted part of the Australian community of cultures.\nThe text above has been abstracted from an essay 'Dreams of Jade and Gold: Chinese families in Australia's history' written by Paul Macgregor for the publication The Australian Family: Images and Essays. The full text of the essay is available as part of this story.\nThis story is part of The Australian Family project, which involved 20 Victorian museums and galleries. The full series of essays and images are available in The Australian Family: Images and Essays published by Scribe Publications, Melbourne 1998, edited by Anna Epstein. The book comprises specially commissioned and carefully researched essays with accompanying artworks and illustrations from each participating institution.\nWind & Sky Productions\nMany Roads: Stories of the Chinese on the goldfields... racism ...\nIn the 1850s tens of thousands of Chinese people flocked to Victoria, joining people from nations around the world who came here chasing the lure of gold.\nFleeing violence, famine and poverty in their homeland Chinese goldseekers sought fortune for their families in the place they called \u2018New Gold Mountain\u2019. Chinese gold miners were discriminated against and often shunned by Europeans. Despite this they carved out lives in this strange new land.\nThe Chinese took many roads to the goldfields. They left markers, gardens, wells and place names, some which still remain in the landscape today. After a punitive tax was laid on ships to Victoria carrying Chinese passengers, ship captains dropped their passengers off in far away ports, leaving Chinese voyagers to walk the long way hundreds of kilometres overland to the goldfields. After 1857 the sea port of Robe in South Australia became the most popular landing point. It\u2019s estimated 17,000 Chinese, mostly men, predominantly from Southern China, walked to Victoria from Robe following over 400kms of tracks.\nAt the peak migration point of the late 1850s the Chinese made up one in five of the male population in fabled gold mining towns of Victoria such as Ballarat, Bendigo, Castlemaine, Beechworth and Ararat. It was not just miners who took the perilous journey. Doctors, gardeners, artisans and business people voyaged here and contributed to Victoria\u2019s economy, health and cultural life. As the nineteenth century wore on and successful miners and entrepreneurs returned home, the Chinese Victorian population dwindled. However some chose to settle here and Chinese culture, family life, ceremony and work ethic became a distinctive feature of many regional Victorian towns well into the twentieth century.\nBy the later twentieth century many of the Chinese relics, landscapes and legacy of the goldrush era were hidden or forgotten. Today we are beginning to unearth and celebrate the extent of the Chinese influence in the making of Victoria, which reaches farther back than many have realised.\nDigital Stories of Immigration... racism ...\nMigration is a strong theme of exploration for many who take part in the Australian Centre for the Moving Image (ACMI), Digital Storytelling workshops.\nThese stories recount extraordinary journeys of courage for many have had to flee their homeland to start a new life in Australia enduring sinking boats, pirates and transit camps.\nNew language, new culture, new landscapes and new climates are all part of the challenges of resettlement.\nProduced as part of the ACMI digital storytelling program these stories explore the waves of migration from Post war to stories from emerging communities and new arrivals. Immigration has been significant in identifying Australia\u2019s history and culture and the ACMI stories of migration celebrate the multitude of diverse communities in Victoria.\nDigital Stories of the Land... racism ...\nStories of the Land is a collection produced as part of the Australian Centre for the Moving Image (ACMI) digital storytelling program.\nThese stories explore the land as a thread that connects people to their surroundings. The personal narratives provide a way for understanding place on its own terms and often those terms can be challenging; drought bushfires and isolation for those who live on the land.\nPeople across Victoria have shared stories as part of this ACMI collection capturing the essence of the land as a setting to their lives inextricably linked to the experiences and events that have shaped them.\nAgainst the Odds: The victory over conscription in World War One... only support conscription of men after the wealth of the capitalists had been conscripted. Not all of Anstey\u2019s arguments were egalitarian - much of his work contained strong elements of racism, and in particular anti-semitism. He was strongly criticised ...\nIn October 1916 and December 1917 two contentious referendums were held in Australia, asking whether the Commonwealth government should be given the power to conscript young men into military service and send them to war overseas.\nThese campaigns were momentous and their legacy long-lasting. This is the only time in history that citizens of a country have been asked their opinion about such a question, and the decisive 'No' vote that was returned remains the greatest success of the peace movement in Australia to date. Yet the campaigns split families, workplaces and organisations, and left an imprint on Australian politics that lasted for decades.\nMany of the actors and events that were central to these campaigns were based in the northern Melbourne suburbs of Brunswick and Coburg. In many ways, these localities were a microcosm of the entire campaign. Against the Odds: The Victory Over Conscription in World War One tells the story of the anti-conscription movement in Australia during World War 1 through this lens.", "id": "<urn:uuid:c7a02d87-4173-4a22-904a-c4e6b559a090>", "dump": "CC-MAIN-2023-14", "url": "https://victoriancollections.net.au/stories?q=racism", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949701.0/warc/CC-MAIN-20230401032604-20230401062604-00761.warc.gz", "language": "en", "language_score": 0.9691799879074097, "token_count": 1611, "score": 3.515625, "int_score": 4}
{"text": "Learning Matters #16 Rehearsal and Retrieval Practice\nWhat is Retrieval Practice?\nLearning is a change in your long term memory. Every time you retrieve a memory, it becomes deeper, stronger and easier to access in future.\nRetrieval practice helps you remember and apply knowledge to new situations. Regularly recalling your knowledge helps your long term retention of knowledge. The more you recall your prior knowledge, the more likely it is to shift into your long term memory. Below are some strategies you can use to help you retrieve knowledge and crucially, remember it!\nStrategies for Retrieval\nYou blurt out all the information you know about a topic from memory on to the page. It\u2019s also known as mental mind mapping and tests your knowledge this way. Once you have done this, compare your blurt with your notes and identify what you have missed. Then repeat and repeat until you can blurt it all out accurately.\nThink about how easy it is to remember songs from primary school, or lyrics from songs on the radio. If you can create a rhyme or song about what you need to know, you can rehearse the song. This can really help make knowledge stick.\nMnemonics are memory devices to help you recall larger pieces of information, especially in the form of lists like characteristics, steps, stages, parts, etc. Each key term is represented by a letter. The letters together form another word which you can use as a hook to remember all the key terms. Mnemonics Revision Skills - YouTube\n4.Recite or chant it out\nRepeat key words, phrases or formulas over and over again. The more you say it, the fluent and familiar it becomes, and the more likely you are to recall it.\n5.Condense it down\nAt the end revising a topic, streamline your learning into only a handful of points (5 things you know about X using only a small number of words). Keep reviewing your five things and identify how much you can recall about each one with only the single word\n6.Tell the story\nLots of knowledge forms a narrative structure \u2013 a series of events, a process, cause and effect. So, the retrieval practice can be formed as \u2018telling the story\u2019 to someone else who can play the role of verifier. Any explanation can then be improved and rehearsed. You can get better at telling a story in more detail.\nLearning matters. It\u2019s why we are here. Talk to any member of staff about your learning.", "id": "<urn:uuid:559a4a4f-6020-4178-8684-6d165d3eeb93>", "dump": "CC-MAIN-2023-14", "url": "https://longleypark.ac.uk/learning-matters/retreival-practice-and-blurting", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00141.warc.gz", "language": "en", "language_score": 0.9314074516296387, "token_count": 546, "score": 4.0, "int_score": 4}
{"text": "The art of storytelling is one of the oldest and most universal cultural phenomena in the world. From ancient times to modern-day, storytelling has been used to share knowledge, entertain, educate, and inspire people across cultures and generations. The ability to tell stories is an innate human trait that has been honed over thousands of years, and it continues to be an essential part of our culture and society. In this article, we will explore the art of storytelling as a universal cultural phenomenon.\nThe Origins of Storytelling\nStorytelling has been around for as long as humans have been able to communicate with each other. The earliest evidence of storytelling can be found in cave paintings and other ancient artifacts, dating back to the earliest human civilizations. These stories were often told through pictures and symbols, and they were used to convey important information about the world around them, including their beliefs, customs, and traditions.\nAs human language evolved, so did the art of storytelling. Oral traditions emerged, and stories were passed down from generation to generation through spoken word. These stories were often used to teach moral lessons, to explain the mysteries of the world, or to entertain and inspire people.\nThe Role of Storytelling in Different Cultures\nStorytelling has played an essential role in different cultures around the world. In many indigenous cultures, storytelling is used as a way to preserve and pass down the history, traditions, and beliefs of their ancestors. For example, the oral traditions of the Native American tribes have been used to preserve their cultural identity and heritage.\nIn African cultures, storytelling is often used as a way to connect with one\u2019s community and to educate people about their history and traditions. The griots of West Africa are a well-known example of storytellers who use their art to preserve and pass down the history and culture of their people.\nIn Asian cultures, storytelling has often been used to teach moral lessons and to impart wisdom. Many of the ancient Chinese and Japanese stories are filled with moral teachings, and they have been used to teach children about the importance of virtues such as honesty, humility, and respect.\nThe art of storytelling has also played a crucial role in Western cultures. In ancient Greece, storytelling was used to teach moral lessons and to entertain people. Many of the great works of literature, such as Homer\u2019s Iliad and Odyssey, were originally told orally before they were written down.\nThe Importance of Storytelling Today\nDespite the advances in technology and the proliferation of new forms of media, the art of storytelling remains as important today as it has ever been. In fact, in a world where people are increasingly isolated and disconnected from each other, storytelling can play a crucial role in bringing people together and creating a sense of community.\nStorytelling can be used to teach important lessons, to share experiences, and to inspire people. It can also be used to create empathy and understanding, allowing people to see the world through the eyes of others. This is particularly important in a world where people are often divided by race, culture, or ideology.\nThe art of storytelling can also be used as a tool for healing. Stories can help people to process their experiences and to find meaning in their lives. This is particularly important for people who have experienced trauma or who are struggling with mental health issues.\nFinally, storytelling can be used to bring joy and entertainment into people\u2019s lives. In a world that can often be dark and challenging, stories can provide a much-needed escape and a source of hope and inspiration.\nThe art of storytelling is a universal cultural phenomenon that has been around for thousands of years. It has played a crucial role in different cultures around the world, serving as a way to preserve and pass down history, teach important lessons, and inspire people. In a world that is increasingly disconnected and isolated.\nThe Importance of Cultural Diversity in the Workplace\nCultural diversity is becoming increasingly important in the workplace. As companies expand globally, they are interacting with individuals from a range of cultural backgrounds. The benefits of cultural diversity in the workplace are numerous, including improved creativity and problem-solving abilities, enhanced employee engagement and retention, and increased market share. In this article, we will explore the importance of cultural diversity in the workplace and how it can benefit businesses.\nImproved Creativity and Problem-Solving Abilities\nCultural diversity in the workplace can lead to improved creativity and problem-solving abilities. This is because individuals from different cultural backgrounds bring unique perspectives and experiences to the table. When employees from diverse backgrounds collaborate, they are more likely to come up with creative solutions to complex problems.\nIn addition, individuals from different cultural backgrounds may approach problems differently, which can lead to a broader range of possible solutions. This can be particularly valuable in industries that require innovation and creativity, such as technology and design.\nEnhanced Employee Engagement and Retention\nCultural diversity in the workplace can also enhance employee engagement and retention. When employees feel valued and respected for their cultural backgrounds, they are more likely to be engaged and committed to their work. This can lead to increased productivity and better job performance.\nIn addition, a diverse workplace can help to create a sense of community and belonging for employees. When individuals from diverse backgrounds work together, they are more likely to feel included and accepted. This can help to foster a positive work environment and improve overall employee morale.\nIncreased Market Share\nCultural diversity in the workplace can also lead to increased market share. This is because businesses that embrace cultural diversity are better equipped to understand and connect with diverse consumer markets. When employees from different cultural backgrounds work together, they are more likely to understand the needs and preferences of diverse consumer groups.\nThis can be particularly valuable in industries that target diverse consumer markets, such as food, fashion, and entertainment. Businesses that understand and connect with diverse consumer markets are more likely to succeed and grow in a global economy.\nChallenges of Cultural Diversity in the Workplace\nWhile cultural diversity in the workplace can bring numerous benefits, it can also pose challenges. One of the main challenges is communication. Individuals from different cultural backgrounds may speak different languages or have different communication styles. This can lead to misunderstandings and miscommunication.\nIn addition, cultural diversity can lead to different attitudes and beliefs about work. Individuals from different cultural backgrounds may have different expectations about work-life balance, work hours, and productivity. This can lead to conflicts and tensions in the workplace.\nFinally, cultural diversity can also lead to different attitudes and beliefs about hierarchy and authority. In some cultures, there is a strong emphasis on hierarchy and respect for authority. In other cultures, there may be a more egalitarian approach to work. These differences can lead to conflicts and tensions in the workplace.\nHow to Embrace Cultural Diversity in the Workplace\nTo embrace cultural diversity in the workplace, businesses can take several steps. First, they can focus on recruiting and hiring individuals from diverse cultural backgrounds. This can help to ensure that the workplace is representative of the community and consumer base.\nSecond, businesses can provide cultural diversity training for employees. This can help to promote understanding and acceptance of different cultural backgrounds. Cultural diversity training can also help to reduce misunderstandings and miscommunication in the workplace.\nThird, businesses can create a culture of inclusion and respect. This means valuing and respecting individuals from different cultural backgrounds and creating an environment where everyone feels included and accepted.\nFinally, businesses can encourage cross-cultural collaboration and communication. This can help to foster creativity and problem-solving abilities, while also promoting understanding and respect for different cultural backgrounds.\nCultural diversity is becoming increasingly important in the workplace. The benefits of cultural diversity are numerous, including improved creativity and problem-solving abilities, enhanced employee engagement and retention, and increased market.\nLeave a Reply", "id": "<urn:uuid:5bc6774a-f766-44c1-8309-c3b166f7db45>", "dump": "CC-MAIN-2023-14", "url": "https://acmechart.com/the-art-of-storytelling-a-universal-cultural-phenomenon/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00340.warc.gz", "language": "en", "language_score": 0.9623599648475647, "token_count": 1592, "score": 3.6875, "int_score": 4}
{"text": "How to Help Kindergarteners Learn Short & Long Vowel Sounds\nWhen children are in kindergarten, they begin to learn how to read and associate sounds with letters, and so they need help differentiating between long and short vowel sounds. When teaching vowel sounds to young students, make sure to identify the common letter patterns for each sound type: vowel-consonant-vowel for long vowel sounds and vowel-consonant-consonant for short vowel sounds. Once students understand the phonics behind vowels, you can incorporate different kinds of activities and exercises to reinforce their understandings.\nGiving a child an object -- or the image of an object -- to associate with a particular vowel sound will hep that child internalize the nature of the sound. For example, you can supplement a lesson on the short Aa sound by giving a student an apple, and then writing the word \"apple\" on the board. You can then have the student hold up the apple and say its name while you point at the word on the board. The child will now have more than just the construction of the word itself to associate with the short Aa sound; he or she will have the image of the apple, too.\nReading alone will provide kindergarteners with opportunities to practice their reading and phonics skills. However, you can organize specific activities that require them to respond to passages they've read, which will encourage them to pay close attention. For example, you can give them short passages to read, and then have them circle all the words with long vowel sounds. Afterward, you can go over the passage with the entire group. You can also incorporate listening into these activities. Instead of having students read their passages silently, you -- or a student -- could read the passage aloud, and the other students could circle the appropriate words as they read along.\nOnline activities are effective for teaching vowel sounds because they offer an alternative to traditional lessons that can be used either in the classroom, or as supplemental lessons at home. Furthermore, online games are often fun and engaging. For example, learninggamesforkids.com offers memory matching games, word searches and puzzle games for teaching short vowel sounds. SMART Exchange offers a game for long vowels that asks students to fill in the blank spaces in sentences from a word bank that includes words with both long and short vowel sounds.\nPoems and Songs\nPoems, rhymes and songs are an effective tool for helping kindergarteners learn and retain information, and once students have learned them they can repeat them anywhere. You can either use specific songs and poems that teach vowel sounds, or you can use any song or poem as a tool for identifying sounds. For example, you could lead the class in singing \"Mary Had a Little Lamb,\" and ask students to listen for either short or long vowel sounds. Then, you could lead them through the song again, and ask them to clap along with each appropriate vowel sound.\nChristopher Cascio is a memoirist and holds a Master of Fine Arts in creative writing and literature from Southampton Arts at Stony Brook Southampton, and a Bachelor of Arts in English with an emphasis in the rhetoric of fiction from Pennsylvania State University. His literary work has appeared in \"The Southampton Review,\" \"Feathertale,\" \"Kalliope\" and \"The Rose and Thorn Journal.\"", "id": "<urn:uuid:646741dc-e4a7-45ca-9961-930bed664ab7>", "dump": "CC-MAIN-2023-14", "url": "https://education.seattlepi.com/kindergarteners-learn-short-long-vowel-sounds-3920.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945183.40/warc/CC-MAIN-20230323194025-20230323224025-00141.warc.gz", "language": "en", "language_score": 0.9477015137672424, "token_count": 697, "score": 4.4375, "int_score": 4}
{"text": "Traditional storytelling has been the educational tool for the Navajo people from the beginning.\nEvery time a story is told characters are introduced in a unique perspective. The characters in these stories can include individuals like Spider Woman, Navajo medicine men and women, and one\u2019s own family members, each aiding the main character in times of need. There are cultural lessons to be taught and learned in every Navajo traditional story through beautiful artwork and wonderfully crafted storytelling, especially when told in the Navajo Language.\nThe Stone Cutter & The Navajo Maiden\nWritten by Vee F. Browne. Illustrated by Johnson Yazzie.\nThe story, written in Navajo and English, follows the journey of Cinnibah, a young Navajo maiden who lives in the deep Din\u00e9tah. She looks after her widowed father, and every day she grinds corn into flour to make their bread. To do so, she uses a metatean ancient grinding stone that has been passed down in her family for generations. When Cinnibah accidentally shatters the metate, she sets out on a journey to find someone who can help her mend the stone. Her quest brings her to a Moccasin Maker, a Potter, and, finally, the mysterious Stone Cutter. Will he be willing to help her?\nA story about loss and recovery, with strong ties to family and community, The Stone Cutter and the Navajo Maiden is an excellent early reader for both Navajo children and school children in need of learning more about Navajo culture.\nWritten by Patricia Hruby Powell. Illustrated by Kendrick Benally. Navajo by Peter A. Thomas.\nAs fire creeps toward the village of the First People, First Man and First Woman must find a way to quench the flames. First Woman asks the Bird People, the River People, and the Water People for assistance, but everyone she speaks to has an excuse.\n\u201cNot me,\u201d said Mockingbird. \u201cThe smoke would hurt my voice and I would never sing again.\u201d\n\u201cNot me,\u201d said Snail. \u201cI carry my house with me and I am slow.\u201d\n\u201cNo,\u201d said Beaver. \u201cWe\u2019d like to help, but our river home would become a desert if we changed the flow of water.\u201d\nAt last, First Woman asks the mysterious Frog for help. Will he be able to stop the flames before they reach the village?\nAuthor Patricia Hruby Powell\u2019s retelling of this Navajo folktale is as graceful as it is compelling, and as magical as the mythical time it describes. Enter the village of the First People \u2026 and become a part of the time when the world was new.\nBilingual: Navajo and English\nFinalist in the storyteller category for the 2007 Western Writers of America Awards Competition\nZinnia: How the Corn Was Saved\nWritten By Patricia Hruby Powell. Illustrated by Kendrick Benally. Navajo by Peter A. Thomas.\nWhen the Navajos crops fail yet again, the boy Red Bird is sent to ask Spider Woman for her help. His journey leads him to a flock of sun-yellow birds, a lizard, a Gila monster, and a snake.\nTo each of the animals, Red Bird asks the same question: Could you tell me where Spider Woman lives?\nAt last, after traveling in each of the four directions, Red Bird finds Spider Woman sitting in her web. Will she help him?\nRed Bird\u2019s quest to save his people will serve as an inspiration to all readers with responsibilities that sometimes seem impossible to fulfill.\nExcerpt of a review from School Library Journal, June 2004:\n\u201cThe quiet tone and spare plot are true to the style of many Native American tales, and this version is not cluttered with modern additions. Written in both Navajo and English, the text is gorgeously illustrated. The stylized artwork features rich colors and bold shapes with soft outlines. Both the palette and the lines evoke the Southwest. Using varying and unusual point of view, Benally effectively shows the many shapes of the terrain. The author details her sources well, describing how the Navajo hold their stories sacred. A stunning work.\u201d\nBilingual: Navajo and English\nZinnia: How the Corn Was Saved was awarded the Land of Enchantment Children\u2019s Book for 2006-2007.", "id": "<urn:uuid:d7eae652-53f6-4545-a634-df41a8029eb0>", "dump": "CC-MAIN-2023-14", "url": "https://salinabookshelf.com/uncategorized/navajotraditionalstories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948976.45/warc/CC-MAIN-20230329120545-20230329150545-00762.warc.gz", "language": "en", "language_score": 0.9498977661132812, "token_count": 900, "score": 3.734375, "int_score": 4}
{"text": "Developing a Social Justice Unit in English Language Arts\nThis rigorous, standards-aligned narrative unit combines classic literature and contemporary social issues.\n\u201cI feel fortunate that I had a teacher who let us talk about racism and other social justice issues in his class. He taught us all the terms and helped develop the language to talk about and address racial inequity.\u201d Those words from Josh, one of my former students, describe a defining experience in his school life and speak to the power of a social justice education, which the book Teaching for Diversity and Social Justice describes as a pedagogical approach that teaches skills for exploring how systems of oppression operate at the individual, institutional, and structural levels.\nAs a social justice educator, I work to help students develop awareness, knowledge, and processes to identify, respond to, and redress inequity in their communities.\nDiscussing Social Justice Issues Takes Prep Work\nIn 2015 I developed a unit that was based largely on the project-based learning framework to meet my county\u2019s English Language 9 curriculum expectation that students write a fictional narrative essay. I had my students engage in counter-storytelling, a concept grounded in critical race theory, to use the power of narrative to counter and disrupt stereotypes and bias against marginalized groups.\nMany teachers shy away from a social justice approach because they worry about their students\u2019 ability to handle such topics, but I\u2019ve found that students are eager to engage in this approach. However, teachers cannot simply dive into these lessons without preparing students.\nBefore starting the Counter Story Unit, my students and I engaged in a series of community builders to establish a level of trust. I introduced them to the discussion protocol created by Glenn Singleton, which he describes in Courageous Conversations About Race. I adapted the protocol to establish ground rules for productive discussions about difficult, sensitive social justice topics. We used Singleton\u2019s Four Agreements (stay engaged, experience discomfort, speak your truth, and expect and accept non-closure) and the Courageous Conversations Compass, a mindset tool that helps students evaluate their emotional state and find their emotional center. I worked to create a classroom culture of relational trust, and provided students with the basic tools they would need to engage in lessons about inequity and injustice.\nI noted that several of the curricular anchor texts (To Kill a Mockingbird, Of Mice and Men, and The House on Mango Street) centered on the experiences of BIPOC (Black, Indigenous, and people of color), people living in poverty, and differently abled people. This literature offered students a chance to read about the experiences of marginalized people and explore systems of oppression. To prepare my students, I built background knowledge and exposed them to the concepts of diversity, prejudice, bias, discrimination, privilege, and systems of oppression.\nStudents explored the intersecting factors of their own diversity using the Social Identity Wheel activity. Students learned about the concept of privilege and explored their own relationship to privilege in journal writing and reflections using the Circle of Oppression, a tool that helps students think and talk about how our factors of diversity determine the level of oppression we might face.\nFinally, students discussed the effects of stereotypes by watching and discussing the video \u201cThe Lie,\u201d which depicts students in an elementary school class explaining the lies or stereotypes society tells about them and the truth about how they see themselves. I gave students a chance to identify the lies they had heard about themselves and proclaim the truth of who they are. Our classroom became a space where students thought about, wrestled with, and developed knowledge about inequity and social justice.\nThe Final Product\nAfter building their background knowledge, students engaged with anchor texts. To focus their reading, I instructed them to think of themselves as social justice authors. Like all great writers, they would have to become great readers and study the works of those who came before them.\nI guided them through various narrative genres, which they read through the lens of a counter-story teller, looking for ways in which the authors of the anchor text challenged stereotypical narratives about various marginalized groups. They analyzed how authors crafted their narratives, discussed the effectiveness of each text\u2019s counter-narrative power, and made decisions about how they would structure their own narratives. Students broadened their understanding of narrative techniques as they addressed social justice issues.\nThroughout the unit, students experimented with various genres and topics in preparation for their summative assessment, which was to write a narrative aligned with Common Core State Standard ELA-Literacy.W.9-10.3: \u201cWrite narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.\u201d\nExposure to standards-aligned, rigorous instruction helps ensure that every student is college-ready, and I have found that a rich social justice education provides a framework for infusing the rigor students need. However, you may experience pushback from students, parents, colleagues, and administrators, and be asked to justify your decisions. Some complain that social justice topics are not appropriate, but I would say that I grounded my social justice teaching in the course content.\nSome argue that social justice teaching is not rigorous. I would answer that a social justice education requires students to explore complex topics and abstract ideas. When I first shifted to social justice teaching, my supervisor informed me of a parent\u2019s concern about the level of rigor in my class; I was wasting time establishing trust, implementing discussion protocols, and teaching social justice vocabulary. By the end of the semester, the same parent expressed gratitude, saying that her daughter was challenged, engaged, and invested in her own learning.", "id": "<urn:uuid:681f3d9d-3fe8-43a3-805b-638cc927c05f>", "dump": "CC-MAIN-2023-14", "url": "https://www.edutopia.org/article/developing-social-justice-unit-english-language-arts", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945248.28/warc/CC-MAIN-20230324051147-20230324081147-00761.warc.gz", "language": "en", "language_score": 0.9614003896713257, "token_count": 1164, "score": 3.546875, "int_score": 4}
{"text": "About Understanding Catholicism\nIn this course, students will gain an understanding of the basic tenets of the Catholic faith. Accessible and engaging, Understanding Catholicism enables students, no matter their faith of origin, to understand the beauty and divine mystery of what it means to be Catholic. Weaving in the Trinity, God\u2019s relationship to us, the call of the Catholic Christian in the world, the Sacraments, as well as Christian Morality, every student in this course will come away with an in-depth understanding of what it is to be a Catholic and how to view the world through a faith-based lens.\nMade for the way Generation Z learns: In an increasingly connected world, Saint Mary\u2019s Press\u2019 eLearning platform is designed for the way your students learn best:\n- Discovery: The course structure and content allows students to get into topics and discover answers for themselves.\n- Conversation: Theological content is woven into student questions, comments, and discussions.\nUnderstanding Catholicism is a responsive curriculum, mediated by the wisdom and knowledge of the instructor.\n|Grade Level:||9th \u2013 10th|\n|Online Activity Teacher Tips:||\u2713|\n|Summative Assessment Projects & Grading Rubrics:||\u2713|\n|Summative Tests & Answer Keys:||\u2713|\n|Scope & Sequence:||\u2713|\nRich Content with Solid Theology\nUnderstanding Catholicism engages students by teaching as Jesus taught: with storytelling, conversation, and relevant application. Imagine students encountering core faith topics such as the Paschal Mystery and the Sacraments in a way that connects with their lived experience.\nWith varied storytelling types used in Understanding Catholicism, one powerful real-life scenario that students will explore is Father Greg Boyle\u2019s inspiring ministry journey with Homeboy Industries. Through Fr. Greg Boyle\u2019s story and others, students will learn from real situations and the beauty of the Catholic faith expressed in Scripture, Tradition, the Catechism, and Church documents.\n- Case Studies\n- Real-life Scenarios\n- Educational Video Clips\n- Encounters with Biblical Characters\nStudents get to know their classmates in activities like \u201cFamily Saying.\u201d Students discuss a family term or saying, explaining the history, and converting the phrase into scripture. This personal and humorous, pairing & sharing, lets students engage with each other safely while understanding more about themselves within the Catholic community.\nActivities consist of:\n- Online Polls & Opportunities for Individual Responses\n- Dynamic Classroom Discussions\n- Student-Centered Projects\nIn Understanding Catholicism, projects abound that allow students to apply knowledge gained from the course. Above is one project\u2013a \u201cCoat of Arms Oral Presentation Checklist,\u201d where students are asked to create coats of arms for the Father, the Son, and the Holy Spirit, then present to the class.\nApplied learning categories:\n- Summative Assessment Projects & Tests\n- Reflections on Students\u2019 Role in a Global Community\n- Observations of Role Models for Language & Action\nRequest a Free Demo \u2013 Understanding Catholicism\nInterested in a Mini-Version About Catholicism?\nOur course Catholicism 101 is a shorten overview based on Understanding Catholicism. To learn more about this course, please go to Catholicism 101 course page.\nLearning Styles & Personality Types\nA combination of individual and group sharing has been designed within the Understanding Catholicism course because our experienced instructional designer understand what helps students of all different learning styles and personality types to engage more comfortably. Our digital platform welcomes a deeper and more honest sharing, by removing the sense of social pressure and judgment. To learn more, go to the experience page.\nUnderstanding Catholicism Course Platform\nWe have designed our eLearning platform to place all the tools you will need right at your fingertips. The simplicity of the program makes room for higher-quality interactions with the curriculum and your classroom. To discover more about platform features and tools, go to the classroom page.", "id": "<urn:uuid:30d1edf1-adf3-48e9-8db1-8074289e1688>", "dump": "CC-MAIN-2023-14", "url": "https://elearning.smp.org/courses/understanding-catholicism/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00339.warc.gz", "language": "en", "language_score": 0.8958224058151245, "token_count": 878, "score": 3.53125, "int_score": 4}
{"text": "Animation covers a large area, and comprises numerous specialities and facets. Here, we\u2019ll take a look at some of the steps involved in the animation process.\nFirstly, imagine an animation studio as a machine composed of numerous moving parts. These parts are projects, people, and departments, all working together to build stories. This machine assembly line can be broken down into three groups, as described below.\nPre-production: The first stage of an animated movie involves storyboarding, script writing, visual development, and more. Many of the story\u2019s building blocks are created at the pre-production stage.\nProduction: The second stage includes such pieces of the puzzle as animation, rigging, and character modeling. Here\u2019s where a large part of the building process takes place, using the initial blocks in order to give the story some shape.\nPost-production: The last stage includes colour correction, VFX, and compositing. This is about polishing the story, details, and preparing it for the audience.\nThe studio encompasses a great deal of collaboration. So while departments and individuals are assigned specific areas, a decision in just one area has the potential to affect the others at some later point in the process.\nHere, of course, we\u2019re looking at animation, in particular.\nWhat Do Animators Do?\nAnimators are artists. Rather than using such tools as paint brushes, however, they tell a story through characters. They\u2019re tasked with the job of taking a director\u2019s vision and a script before breathing life into the characters. If they do a good job here, the audience may forget that what they\u2019re watching is essentially a digital puppet, as opposed to an actual person.\nAnimators can be actors, comedians, and acrobats, and at times, all in a single scene. They\u2019re tasked with creating interesting and dynamic performances for TV shows, movies, advertising, and games.\nAnimators typically work within one of two categories:\n2D animators use either today\u2019s digital tools or old school, hand-drawn techniques in their storytelling. They also apply core principles like spacing and timing to give their characters life.\n3D animators use 3D software to achieve largely what 2D animators achieve. Along with the basics of animation, these 3D animators are employing the benefits that modern software provides in order to take their art to new heights. These artists are responsible for animating lead characters, along with everything from dragons to spaceships.\nEssentially, these two types of animators employ the very same principles. The key difference is the tools they use.\nAs you can see, animation is a highly-skilled profession that encompasses art, imagination, and technical ability that can take years to develop. While you may be more familiar with animation when it comes to the silver screen, it\u2019s also a skill that\u2019s being applied right now in promoting businesses and their products and services. An animated explainer video company, for example, can use their in-house talent to create some great content for your site that helps to explain to your market exactly what it is you do. These videos are popular for a reason, as animation remains one of the most impinging forms of communication, both in art and in business.\nThe Editorial Team at Healthcare Business Today is made up of skilled healthcare writers and experts, led by our managing editor, Daniel Casciato, who has over 25 years of experience in healthcare writing. Since 1998, we have produced compelling and informative content for numerous publications, establishing ourselves as a trusted resource for health and wellness information. We offer readers access to fresh health, medicine, science, and technology developments and the latest in patient news, emphasizing how these developments affect our lives.", "id": "<urn:uuid:054d2554-7ec5-44ca-abb5-e4558e77c14b>", "dump": "CC-MAIN-2023-14", "url": "https://www.healthcarebusinesstoday.com/a-beginners-guide-to-animation/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948871.42/warc/CC-MAIN-20230328201715-20230328231715-00741.warc.gz", "language": "en", "language_score": 0.9529643058776855, "token_count": 787, "score": 3.640625, "int_score": 4}
{"text": "Writing Can Be Difficult for Students of All Ages and Abilities\nStudents of differing ability and needs levels often approach writing with the same amount of anxiety and trepidation. The act of putting your thoughts and experiences on paper or creating a story for others to view can be intimidating. There\u2019s an uncertainty attached to the final outcome that can affect all learners. As a friend recently explained, \u201cWriting is the act of creating a work of art. As with all art, the creator cannot control how others will react to or interpret it. That can be scary, even for accomplished writers.\u201d\nMost teachers and parents alike recognize the value of reading and being read to every day. Elementary schools often require minimum nightly reading times for this reason. The same should be true for writing. Encouraging children to write, see you write, and share work daily is incredibly valuable. Writing for pleasure while exploring the different purposes of writing, on a regular basis, can help remove some the apprehension and improve quality. Even better yet, it may help inspire a future author or lead to a life-long love of the subject.\nGetting started is often the most difficult part of the writing process. The solution, though simple, is very effective: just write.\nLead by Example\nAs with reading, modeling is a powerful tool. Write with your child and share your stories from time to time. We\u2019ve already acknowledged that writing can be very personal, criticism can quickly lead to resistance. Fortunately, children enjoy catching our mistakes. If you find your child often leaves out key details in a story, excitedly share something you\u2019ve written that has important events left out and ask for feedback. Odds are very little prompting will be needed before suggestions are made. Your child is likely to remember the experience and include more information in his or her own work in the future as well.\nMake a List\nMost of us have uttered or heard the words \u201cI don\u2019t know what to write\u201d numerous times. Instead of focusing on the uncertainty, provide your child with a starting point. Ask him or her to make a detailed list of everything they\u2019ve done since waking up or that they did the day before. You can even provide a sheet with hourly times or specify morning, noon and night, verbally or with pictures, for younger students to fill in. Lists should include basic things, like woke up, brushed my teeth, or let the dogs out, ate breakfast, and walked to school.\nOnce the list is complete, ask your child to circle 3 or 4 items on the list they think they could say more about. For example, what did they eat for breakfast? Who made it? Did they enjoy it? Who did they walk to school with? Was it a long walk? What was the weather like? What did they talk about and see or hear on the way? This can be followed up by turning the details into complete sentences, then add descriptive language. Remind them to share what things look, sound, feel or taste like to help paint a more vivid picture with their words. These steps can be completed the same day or broken up over several, depending on how long each takes.\nMake it Personal\nOne of the reasons a list works as a starting point when writing is that students are sharing about what they know. Start with personal experiences. Creative writing may seem more interesting, at first, but an engaging, believable work of fiction takes time. Students often begin with a wonderful idea, but are unsure where to go from there. The more practice a child can have at developing thorough accounts of events, the more prepared that individual will be to craft a compelling imaginary one later.\nWriting about things that have happened recently, emotional memories, or future plans also solves the I don\u2019t know what to write problem. Most of us have a number of things on our mind constantly. Describing how much a child wants pizza for dinner, why a recent trip to the movies was disappointing, or how nervous and/or excited one felt at a social event are some potential topics. But it\u2019s also alright to let your child choose the topic and limit instructions to write and the subject should be nonfiction. The best part about expository writing is that your child won\u2019t have to spend too much time wondering what comes next. It\u2019s also a life skill, needed for assessments, applications, and evaluations as they get older.\nLet It Out\nIt may sound like a clich\u00e9, but writing can heal. It\u2019s a way to get things out and express feelings we may be uncomfortable or unable to say aloud. Creating a list of things you miss or enjoyed about a lost loved one, writing a letter to that same person about life now, explaining reasons you\u2019re frustrated, or problems you\u2019re hoping to solve, can go a long way in relieving the weight that can accompany these subjects. Sometimes having an opportunity to let things out is all that\u2019s needed to diffuse a situation, see things differently, or move on.\nMake it Fun\nThere are so many interesting opportunities to write. Try having your child write a paragraph or more convincing you why the family should go see the latest Star Wars movie, visit a specific place on the next family vacation, try a new sport or even attend a concert. Ask your child to explain why he or she likes a specific athlete, writer, or entertainer. It can be an opportunity to look at things differently or help others understand and share in their enthusiasm.\nErnest Hemingway said, \u201cWe are all apprentices in a craft where no one becomes a master.\u201d\nAs I mentioned in the beginning, writing is personal. First, second, and third drafts don\u2019t need to be perfect. Teach your child to draw a simple line through a word or phrase when catching an error or making a change, then move on. The most important thing is to keep the writing process fluid. Focus on the positive, and limit the number of constructive comments for each piece. Targeted writing practice can have the same positive impact as targeted reading practice. In writing, practice doesn\u2019t make us perfect, but it can make us more comfortable with a skill that will be necessary for future success. One day your child may thank you, perhaps in a well constructed letter!", "id": "<urn:uuid:3bd19c62-a9e0-443f-a3de-2785825e55f9>", "dump": "CC-MAIN-2023-14", "url": "https://www.gemmlearning.com/blog/parent-tips/can-help-child-become-writer/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00142.warc.gz", "language": "en", "language_score": 0.9605374932289124, "token_count": 1306, "score": 3.734375, "int_score": 4}
{"text": "There has always been storytelling. However, storytelling environments today have altered. More technologically enhanced stories are available on gadgets like smartphones, laptops, and televisions. Children interact with their environment through stories. Stories offer a live human interaction and an enjoyable experience, in contrast to the numerous apps, video games, television shows, and movies. The child begins reacting emotionally and develops accustomed to the storyteller's narrative techniques. The short duration of bedtime stories makes them a fantastic approach to teaching your youngster to focus. Short stories encourage discussion and help your child visualise real-world situations.\nA long time ago, some sailors launched their ships into the water. They used to take long journeys. For a long trip, one of the sailors brought his pet monkey. When they were out at sea, a strong storm caused the ship to sink into the ocean.\nThe crew members, including the monkey and sailors, had to swim for their life. Their ship flipped over in a violent storm. The monkey was certain that he would drown when everyone else fell into the water. They were all in grave trouble. The monkey made an effort to protect himself. A dolphin witnessed the monkey battling the waters. It emerged out of the sea and grabbed him.\nMonkey And The Dolphin\nThey arrived at the island quickly. Then the monkey came down from the dolphin\u2019s back. \u201cDo you know this place?\u201d the dolphin enquired of the monkey. The monkey responded, \"I do, indeed! The island's king is my closest friend.\u201d\n\u201cDo you realise that I am a royal in reality?\" said the monkey. Knowing that no one lived on the island, the dolphin said, \"Well! Well! You are a Prince, then! You can now reign as King!\". \"How can I be the King?\" the monkey inquired. The dolphin replied, \"That is easy as you are the only species on this island so that you will be the King,\". The dolphin began to swim away. The dolphin left the monkey on the island after becoming furious at this deception.\nMonkey on The Island\nThe moral of the story is that those who brag unnecessarily may get into trouble. As seen in this story, the monkey was left alone on the island by a dolphin as he was just bragging about him being the king\u2019s friend on this island.\nBragging and lying about things that can get you in trouble were perfectly depicted in the given story \u2018Monkey and the Dolphin\u2019. Bedtime stories with a moral can uplift the child\u2019s brain. Excessive fakeness and arrogance may lead to downfall. Unnecessary bragging around may only lead one to trouble and problems. In the given story, the monkey bragged about knowing the king, but on the contrary, his allegations and false statements came to an end as the dolphin already knew that there was no one living on that island. This behaviour of the monkey led to his downfall as he was left alone on the island by the dolphin.\n1. What resulted in the sinking of the ship?\nOne of the sailors took his pet monkey on a long journey. A severe storm developed while they were at sea, causing a shipwreck. The sailors and the monkey on board had to swim for their lives. The storm was so fierce that their ship flipped over. All of the crew drowned as a result of the ship's sinking.\n2. How was the monkey able to reach the shore of the sea, and was he the king\u2019s friend as he mentioned to the dolphin?\nThe ship sank due to a strong storm. All of the crew drowned as a result of the ship's sinking. When everyone else fell into the river, the monkey was confident he would also perish. They were all in very bad shape. The monkey attempted to defend himself. A dolphin saw the monkey struggling in the water. Unexpectedly, a dolphin appeared, grabbed him, and assisted him in making it to the water's edge.\nThe monkey was only bragging when he said, in front of the dolphin, that the monkey was his friend.\n3. Why was the dolphin surprised by listening to the monkey?\nDolphin, as he saw the drowning monkey emerge from the sea, grabbed him, and helped him to reach the shore of the sea. Dolphin just wanted to enquire from the monkey that he knew that place, and instead of telling the truth, he just bragged in front of the dolphin about being the king's friend. This statement of him left the dolphin in shock as he knew that no one lived on the island and the monkey was just lying.", "id": "<urn:uuid:04a03236-529a-45d8-90d2-1cc2b5a9a359>", "dump": "CC-MAIN-2023-14", "url": "https://www.vedantu.com/stories/monkey-and-the-dolphin", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949958.54/warc/CC-MAIN-20230401094611-20230401124611-00142.warc.gz", "language": "en", "language_score": 0.9823493957519531, "token_count": 951, "score": 3.5, "int_score": 4}
{"text": "3.1 Challenges in educational settings\nNow find out more about the challenges explored in the previous activity.\nPhysical and sensory environment\nClassrooms in the western world are typically busy, colourful and information-rich, all of which may overload the senses of an autistic child. Bright colours, patterns, bright lighting, movement and the chatter of other pupils may distract or confuse them, as can examples of work displayed around the room.\nRelating this also to the psychological theories encountered in Week 4 [Tip: hold Ctrl and click a link to open it in a new tab. (Hide tip)] , a child\u2019s excessive attention to detail may mean that they are not clear what needs their focus and attention.\nCognition and the curriculum\nAn autistic child may have an especially uneven profile of academic strengths and weaknesses, coupled with a strong preference for particular areas of interest. Getting any child to engage with areas of the curriculum that they don\u2019t like can be difficult, but in the case of an autistic child, it may be necessary to adapt the curriculum. Executive function issues may affect many areas of school life: getting ready for school, organising the materials needed for a lesson, knowing how to start a task and determining when it is finished, and navigating around the school from one classroom to another. A planner detailing the order of activities during the day may be helpful.\nTheory of mind difficulties may make more abstract areas of the curriculum, such as reading or creative writing, a particular challenge to the autistic student. For instance, a child may have difficulty imagining the emotions or actions of the characters. The empathising-systemising model (Week 4) suggests that autistic children are likely to be drawn to systematic subjects like science and mathematics, although this is undoubtedly an oversimplification. Some autistic children particularly enjoy creative subjects such as drama and music, where emotional understanding and expression is called for.\nTheory of mind difficulties may also mean that the autistic pupil may not understand instructions or takes them literally, leading to accusations of being cheeky or disobedient. For instance, an instruction phrased as \u2018Would you like to turn to page 20\u2019 may not be followed, because the pupil doesn\u2019t realise this is a command rather than a question with optional answers (\u2018Yes, I would like to\u2019, or \u2018No, I would not like to\u2019).\nParts of instructions or group discussions may be missed due to slower processing of verbal information. Even more able autistic students benefit from verbal communication being supplemented by written or pictorial information.\nFinally, the 21st century curriculum also includes areas such as physical, emotional and sexual health, and understanding relationships. These may need to be presented in a more concrete and explicit way so that the implications and consequences are clear to the autistic young person.\nThe social environment\nUnstructured periods such as breaks and mealtimes may be dreaded by the autistic student, because their lack of social awareness and social motivation distances them from the games and conversations of the other pupils. They find it difficult to join in because of all the \u2018unspoken\u2019 rules and the (seemingly to them) invisible processes by which others communicate.\nIt is also common for autistic students to be teased by other children, either due to their \u2018weird\u2019 behaviour, the way they speak or because social naivety causes them to misunderstand something. This teasing can very easily escalate into overt and covert bullying, involving name-calling, physical violence or social isolation. Another way that bullying can manifest is by manipulation, when an autistic pupil is coerced by another pupil into breaking a rule or hurting someone.\nSurveys suggest that at least 40 per cent of autistic children have experienced bullying, and studies have shown that significantly more are bullied than are children with other special educational needs or neurotypical children (Humphrey and Symes, 2010). As David Hawker notes:\nThey called me the \u2018sixth form punch bag\u2019 as I was probably about the only kid who got bullied in sixth form (A-levels).\nBullying can result in low self-esteem, mental health problems and poor academic performance. Melanie said that her son Louis left mainstream school at 16 because of the bullying and could not face further education. However, some young people find the resilience to cope with bullying and emerge stronger as a result. Alex talked about his experiences of bullying in Week 2. Here he maintains that his experience of mainstream school was positive, despite what happened to him.", "id": "<urn:uuid:50b5bf77-3d8f-42be-98ec-c153c8bf4c39>", "dump": "CC-MAIN-2023-14", "url": "https://www.open.edu/openlearn/mod/oucontent/view.php?id=75119&section=3.1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943625.81/warc/CC-MAIN-20230321033306-20230321063306-00141.warc.gz", "language": "en", "language_score": 0.960654616355896, "token_count": 923, "score": 3.5625, "int_score": 4}
{"text": "Welcome to the exciting world of Paper Animatronics where we create characters and stories and bring them to life through papercraft with sound and motion! Like making posters or dioramas, paper animatronics is a project-based activity that can be used to reinforce learning in almost any subject.\nOur paper animatronics programs for elementary schools have three levels of activities targeted for early, middle and late elementary school students, allowing them to build their skills over time.\nVoice Puppetry (Early Elementary)\nThis is a first introduction to animatronics that works well even for very young children. In this activity, the child creates a simple paper character with a moving mouth, and attaches a motor. The motor is then connected to a board that moves the mouth up and down in real-time as the child speaks.\nMuch like using a puppet, this allows the child to speak in the voice of their character. For example, the character might be a famous scientist talking about her world changing invention! The also learn a bit about simple robotic mechanisms, executed in papercraft.\nThis activity typically take 1-3 hours for K-3 children.\nTwo-Character, Scripted Shows (Middle Elementary)\nIn this second activity, story and script take center stage as kids create a show with two characters talking to each other! Similar to the first activity, kids create two paper characters with moveable mouths connected to motors. They write a script for the two characters, and then use audio editing tools like Audacity to record and process (pitch shifting and other effects) their own voices. The resulting stereo audio file is then used to drive the two motors, allowing the show to be played back as often as desired.\nA scripted two character show allows kids to thoughtfully dig into a topic and create a compelling narrative. In creating the audio tracks, the kids get instant feedback on their own voice performances, rerecording as often as they like to improve their presentation. They also learn what an audio track looks like and how that corresponds to what they hear.\nThis activity, including researching/developing their characters, writing the scripts, crafting the paper mechanisms and creating the audio typically spreads over several days for 4-6th grade children.\nSynchronized Shows (Late Elementary)\nIn the third activity, we augment our paper shows using a microcontroller (e.g. Arduino), allowing a wide range of synchronized motions, lights and outputs. This provides a purposeful, gentle introduction to programming using a simple state machine.\nThe ability to synchronize events to a talking character\u2019s performance greatly expands the possibilities for what kids can create. For example, one project might involve creating a physical family tree where a narrator tell s the story of each member of the family with each paper character physically popping up on the tree as they are described. In a music project, a bushy haired conductor explains how chords work, with the keys actually pressing on a paper piano. Or maybe a project on World War II has a map where the countries light up showing how their participation in the conflict evolved.\nThis activity builds on the previous ones, introducing programming as a tool for storytelling. Kids also learn some basic electronics, controlling motors and LEDs. This activity might be appropriate for a multi-week project for 7-8th grade children.", "id": "<urn:uuid:b927ffbc-28c6-472c-96cd-39ff3fcc676b>", "dump": "CC-MAIN-2023-14", "url": "http://animatronicsworkshop.com/?page_id=490", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00338.warc.gz", "language": "en", "language_score": 0.9467620849609375, "token_count": 678, "score": 3.59375, "int_score": 4}
{"text": "How to Label the Rhyme Scheme of a Multi-Stanza Poem\nRhyme, the most used sound repetition in poetry, has a musical effect within a poem and contributes to its structure. While a lot of poetry does not adhere to a formal rhyme scheme, rhyming lines have powerful result when used in poems. You can add to your understanding of the mechanics of a multi-stanza poem, which is defined as a poem comprised of more than one unit, by labeling its rhyme scheme. A rhyme scheme is the repetition of rhyme throughout the poem that form a pattern, and it is usually shown with letters that represent these patterns.\nRead a multi-stanza poem and note which words rhyme. Identify rhyme by the way the words sound instead of by the way they are spelled. Note perfect rhyme, such as \u201cFeather\u201d and \u201cWeather\u201d; slant rhyme, such as \u201c\u201dgame\u201d and \u201cgrime\u201d; masculine rhyme, such as \u201chat\u201d and \u201ccat\u201d; and feminine rhyme, such as \u201cturtle\u201d and \u201cmyrtle.\"\nIdentify rhyming words in the poem. End rhymes occur at the ends of lines and internal rhymes occur within a line. Circle these words in the poem if it will help you remember exactly where they are.\nLabel each group of rhyming words. You can write this down on a separate piece of paper or next to each line of the poem. Use letters to show which lines rhyme with one another, going in alphabetical order. For example, words such as \u201cdog,\u201d \u201cfrog,\u201d \u201cbog\u201d would be labeled with \u201cA.\u201d The next group of rhyming words, such as \u201cdark,\u201d \u201cpark,\u201d or \u201cmark,\u201d would be labeled with \u201cB,\u201d and so on.\nContinue labeling each stanza of the poem until each line has been labeled with a letter. Leave a space between each stanza.\nAn excerpt from Robert Frost\u2019s multi-stanza poem, \u201cThe Aim Was Song\u201d would be labeled as ABAB CDCD. For example:\nBefore man came to blow it right A\nThe wind once blew itself untaught B\nAnd did its loudest day and night A\nIn any rough place where it caught B\nMan came to tell it what was wrong C\nIt hadn\u2019t found the place to blow D\nIT blew too hard- the aim was song C\nAnd listen- how it ought to go! D\n- Developing poetry skills: Reading 11-14; Geoff Barton\n- Perrine\u2019s Sound and Sense: An Introduction to Poetry; Thomas R. Arp\n- Purdue University Online Writing Lab: Rhyme\n- Winthrop University: Technical Tips for Reading Sonnets and Early American Poetry\n- An excerpt from Robert Frost\u2019s multi-stanza poem, \u201cThe Aim Was Song\u201d would be labeled as ABAB CDCD. For example:\n- Before man came to blow it right A\n- The wind once blew itself untaught B\n- And did its loudest day and night A\n- In any rough place where it caught B\n- Man came to tell it what was wrong C\n- It hadn\u2019t found the place to blow D\n- IT blew too hard- the aim was song C\n- And listen- how it ought to go! D\nJessica Lawrence holds a Bachelor of Arts in English literature. She taught English and creative writing for three years, and has also worked in editing.", "id": "<urn:uuid:681c47f6-f77f-4cff-b7ba-608debca4f26>", "dump": "CC-MAIN-2023-14", "url": "https://penandthepad.com/label-rhyme-scheme-multistanza-poem-12117333.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949642.35/warc/CC-MAIN-20230331113819-20230331143819-00742.warc.gz", "language": "en", "language_score": 0.9481337070465088, "token_count": 818, "score": 3.78125, "int_score": 4}
{"text": "Children have a very fragile attention span. Even when they want to pay attention it can still be really hard for them. They fidget, drink water, sharpen pencils, look out the window\u2026 basically, anything can be a distraction to them. Managing students with low attention spans is a deliberate and well thought out process.\nResearch shows that children should be able to focus on tasks for 2-5 minutes multiplied by their age. That means that a 5-year-old child is able to focus for 25 or 10 minutes. The difference though varies from child to child and depends on the task. Attention is an important part of the learning process and so it needs to be managed. Here are 7 tips for managing students with low attention spans.\n7 Tips for Managing Students With Low Attention Span\nBreak Down the Task\u2013 Seeing as attention spans vary, it is important to break down tasks in such a way that a 25 minutes class is not spent just listening to you. Break the class tasks into small bits and have students focus on one at a time. Let them take short breaks at the end of each task.\nSpice Up Mundane Tasks\u2013 The use of teaching aids like legos, play-dough, craft paper, stones and the likes make your lessons more interesting. You can also use practical examples, role-play or storytelling techniques that get your students involved in the lesson. The more activity and entertainment a lesson comes with, the more it is likely to hold your student\u2019s attention.\nAvoid Routine\u2013 Shake things up in your classroom every now and then because students with low attention span get bored with routine. Consider having class in new locations like the lab, on the playground, in the kitchen, sitting on mats, etc. Be as creative with your lessons as possible. Note this, the more hands-on and involving a lesson is, the more the students pay attention.\nEliminate Distractions\u2013 Knowing that students can get distracted easily by a lot of things is good insight for you as their teacher. You can remove every possible source of distractions around them like water bottles or colourful/fancy pencil cases. Also, separate friends seating together and switch the window view of an easily distracted student. These are not sureties that there will be no distractions but it reduces the chances.\nPractise Paying Attention\u2013 There are activities that can help improve your student\u2019s attention span. Such activities include focused games like \u2013 board games or spot the difference, movement breaks or concentration activities like walking or balancing exercises. These activities, practised at non-crucial times of the day and without pressure, will help a lot. Find more useful activities here.\nPraise Efforts\u2013 We are used to giving praise for the outcomes of efforts but when dealing with students with low attention span the opposite is the trick. Say, \u201cWow, well done, you wrote your name within the line\u201d. Or \u201cThank you for paying attention\u201d after they are able to correctly answer a question you ask them. You must be deliberate about praising them as that can be an encouragement to them to do better.\nGet Help!- Observing your students behaviours will help you determine if their low attention spans can be managed with these tips. Otherwise, they may need more complex and medical help to pay attention to. Some students with low attention spans may have Attention deficit hyperactivity disorder (ADHD) and may need to be treated by a doctor. Have conversations with your student\u2019s parents about their child\u2019s attention span. You can help them realize that there are medical options available to help their kids if they are not aware.", "id": "<urn:uuid:6d9917aa-e933-416b-81c0-8fda197dd740>", "dump": "CC-MAIN-2023-14", "url": "https://rasmedpublications.com/managing-students-with-low-attention-spans/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00142.warc.gz", "language": "en", "language_score": 0.9538173079490662, "token_count": 748, "score": 3.59375, "int_score": 4}
{"text": "Even if you are a beginner in writing, you already know that any text is usually divided into smaller parts called paragraphs. As many components of writing (especially creative writing), paragraphing is not dictated by rules. There are some recommendations on how to insert logical pauses into a text but there are no strict principles of segmentation in informal writing. In this post, we will give you some tips on how to make your writing more coherent and fascinating using paragraphing. After all, it is not a sophisticated figure of speech that makes text hit the target.\nWhat is paragraphing?\nAn ability to organize your ideas, paragraphing is hardly about pedantism. But we would not call it an art as well. It would be most fair if we define paragraphing as a way to arrange your thoughts so the reader can understand your message better.\nEven a beginning writer can make his or her text more comprehensible by dividing material into small and logically-connected sections. But there is always room for improvement, and you can learn how to make your writing better by breaking text into paragraphs smartly.\nWhy do we need to insert pauses into our text?\nThe most primitive but essential function of a paragraph is to make your writing readable. When looking through a huge fragment of text without ending, you do not want even to start reading. Paragraphs improve comprehension and increase the chances that someone will read your piece of writing until the end. A clear and simple structure is the key to success for every writer.\nAnother important thing about paragraphing is that it helps to make your point clear. Using a proper writing structure, you send the message straight to the reader, who has less chances to get lost in the author\u2019s thoughts. The target of any text is to influence the audience in a certain way, i.e. to inform, impress, or call to action. Once you break your writing into parts, the intention of the text becomes much clearer.\nIn fiction writing, you can use paragraphs to mark your style. There are no strict rules about how to arrange text in fiction. You can improvise with the length of passages depending on your aim. Making super short sections is a great paragraphing tool to highlight the most important things. This is your story, and no one but its author will decide how it unwinds.\nWhat are the types of paragraphing?\nDepending on the target of writing, we generally distinguish between the 4 types of paragraphs:\nThey are not defined by length but by the type of information they provide.\nNarrative paragraphs tell readers a story. Every section looks like a mini-narrative\u2014it has its own beginning, middle, and end. The sequence of actions is clear so the reader can perfectly understand what happens in the story. We use narrative paragraphs in different types of informal writing, especially in fiction.\nDescriptive paragraphing helps writers characterize the subject of a story. This is usually a part of fiction writing as well. The author can make the sections any size as he or she seems fit.\nExpository paragraphs give explanations about something familiar to the author. It can be a part of a research study or instruction. We usually apply this type of paragraphing to any writing that gives information on a certain subject.\nPersuasive paragraphing provides argumentation on why the reader should accept the writer\u2019s point of view. It is important for a persuasive section to contain a logical explanation of why the author\u2019s point is important.\nIn general, you can use all these for essay paragraphing as well as for other types of writing. The choice depends on what your subject is and in what way you need to influence your reader.\nMain paragraphing rules you should consider\nThe whole point of dividing a text into sections is to unify sentences around the main idea of a paragraph. The topic sentence expresses the key point of the whole section. When trying to structure your thoughts, place the topic sentence at the beginning of the paragraph. Then explain the main idea or support it with arguments. To expand the paragraph, you can do the following:\n- Illustrate your point with a story\n- Describe, compare, or contrast your topic\n- Give examples of what you are trying to explain\n- Define terms\n- Discuss an issue with the reader\nIf you want to move on to a new topic or describe the event that follows, it will be a good idea to start a new paragraph. Never try to squeeze all the information you can into one section\u2014it will be too hard for readers to comprehend. If you are writing a short text, it also would be wise to plan paragraphs beforehand. Decide on how many sections you need to structure your text coherently. It will help to organize your thoughts to send a clear message to the reader.\nParagraphing exercises to improve your writing skills\nAs all authors know, a solid way to become a better writer is to start writing. Do not search for a paragraphing worksheet if you feel that your text is not structured well enough. Even if your writing is ready, there is always a way to revise it and make your message clearer to your audience and to yourself. Here is what you can do:\nIf the paragraphing of your text is not good enough: take another look at your writing. What was your main idea? Try to pick several key points out of your text and turn them into topic sentences. Then, rewrite each paragraph explaining these points.\nIf you are about to start writing: go ahead without any fear! Remember that the first draft of your paper can always be improved and that you will write better with every new attempt. Note down some key concepts of your future writing. Turn them into topic sentences. Explain, describe, or provide arguments for the ideas that are important for your readers.\nParagraphing is not the only tool that will help you become a better writer, editor, or teacher. But, expressing your thoughts in a structured manner is a fundamental skill every author needs to master. We hope our tips have helped you to create clear paragraphs and hit the target of your writing.", "id": "<urn:uuid:93d0d630-e811-4fe2-85ad-2b825ae54144>", "dump": "CC-MAIN-2023-14", "url": "https://jobsforeditors.com/blog/paragraphing-how-to-compose-an-effective-paragraph.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943750.71/warc/CC-MAIN-20230322051607-20230322081607-00742.warc.gz", "language": "en", "language_score": 0.9434107542037964, "token_count": 1298, "score": 3.609375, "int_score": 4}
{"text": "Edgar allan poe the raven setting. The Raven: That Reveal Setting 2022-11-16\nEdgar allan poe the raven setting Rating:\nEdgar Allan Poe's \"The Raven\" is a narrative poem that tells the story of a man who is visited by a raven, a large, black bird. The poem is set in a gloomy, atmospheric setting that reflects the dark and melancholic mood of the narrator.\nThe poem begins with the narrator sitting alone in his study, \"On a midnight dreary, while I pondered, weak and weary\" (line 1). The setting is described as \"bleak December\" (line 2) and \"darkness there, and nothing more\" (line 3), adding to the sense of isolation and despair. The narrator is grieving the loss of his beloved Lenore, and the bleak setting mirrors his emotional state.\nAs the poem progresses, the raven enters the scene and begins speaking to the narrator. The raven's presence only serves to heighten the narrator's distress, as the bird repeats the word \"nevermore\" in response to the narrator's questions. The raven's repeated use of this word serves as a symbol of the narrator's inability to move on from his grief and find closure.\nThe setting of \"The Raven\" plays a crucial role in establishing the mood and tone of the poem. The gloomy, isolated study, combined with the bleak December weather, sets the stage for the narrator's encounter with the raven. The setting reflects the narrator's emotional state and serves as a backdrop for the events of the poem. The darkness and despair of the setting help to convey the sense of hopelessness and melancholy that pervades the poem.\nIn conclusion, the setting of \"The Raven\" plays a key role in establishing the mood and tone of the poem. The bleak, gloomy atmosphere reflects the narrator's emotional state and serves as a fitting backdrop for the events of the poem. The setting helps to convey the sense of despair and hopelessness that pervades the poem, adding to its overall sense of melancholy and gloom.\nEdgar Allan Poe Raven Halloween Table Setting\nThe client can upload extra material and include additional instructions from the lecturer. Poe was known as a harsh and combative critic at the \"Southern Literary Messenger\" and his stint there didn't last long. The presence of objects, such as Pallas the god of wisdom, indicates that the setting is in an ancient time in Roman empire where the god was found. They have access to all kinds of software to get your assignment done. The supernatural, memory, and loss are the themes that go along with these topics. Leave my loneliness unbroken! This description begins Stanza 2, continuing the gothic and eerie mood set in Stanza 1.\nRaven by Edgar Allan Poe: An Interpretation, Poems Summary and Analysis\nOverarching themes of the poem include: death, mortality, love, grief, loss and madness. Business We take pride in having some of the best business writers in the industry. Does it end the way you expected? What if the paper is plagiarized? Jillian, you sound like me! Our academic writing service got you covered! Tablecloth is available here: The heavy, painted candelabra was a find many years ago in A Classy Flea. What are some literary elements in \"The Raven\"? The chamber implies the box in which individuals mourning the loss of their loved ones lock themselves in and the powerlessness they feel in such instances. The minimum requirement to be an academic writer with our assignment help service is to have a college bachelors degree.\nAbraham Lincoln: his speeches and writings. The Raven Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore\u2014 While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. From the setting its clear that the main character is grieving over his lost love. He refers to them as \"quaint and curious volumes of forgotten lore\" so perhaps he is reading The Iliad or The Odessey I'm extrapolating here. The line, 'and the silken sad uncertain rustling of each purple curtain,' repeats the 's' sound, likely to relay to the reader that something sinister is to come.\nThe raven, of course, answers, \"Nevermore\". Given the dramatic ending of the poem where the man falls into a deep depression, this final option seems most likely. We check all papers for plagiarism before we submit them. Perhaps this is why the speaker believes that it has come with a message from Lenore. What are some examples of symbolism in \"The Raven\"? Students can benefit from hearing the different opinions and takeaways of their peers. Take thy beak from out my heart, and take thy form from off my door! From the first stanza, the reader realizes that the narrator is in a chamber that can be construed as his library based on the described presence of books and the bust of Pallas.\nPoe had a difficult relationship with his strict foster father. The presence of shadows in the room cast by the embers of the dying fireplace reflect the haunting nature of death and the loneliness or gloominess the narrator feels following Lenors demise. I had to order the raven salad plates! After a revision of the work in 2012, it was premiered at the very same island with the composer at the piano, sung by soprano Andriana Lykouresi. New York City: Checkmark Books, 2001. Consequently, this setting is an important factor in helping the audience to comprehend the society within which the characters live. Athena, born from the forehead of Zeus, represents wisdom, among other things.\nWhat happened to her? Download the paper The paper is uploaded to your personal account and sent to your email. When I spotted this whimsical raven dinnerware, I knew I needed a set! Edgar Allen Poe is a favorite theme of mine. Poe was also slandered by a lesser talented rival who somehow became his literary executor. Perfect tablescape for Halloween in my humble opinion! I should take my camera with the zoom lens down and leave in the kitchen to capture some of the beautiful birds that come to the feeders\u2026and the sneaky squirrels that love drinking from the birdbath. These are time a phenomenon takes place. In conclusion, the setting in any work of literature has a crucial role. Meanwhile, the mention of napping again raises the possibility, without giving an answer one way or another, that the narrator is actually dreaming all this.\nWhat is the setting of \"The Raven\" (month/weather)?\nIn fact, we recommend using our assignment help services for consistent results. With his meter and rhyme system, he also keeps a fairly repeated cadence throughout the piece. Poe was known to have abused alcohol and was said to have looked pale and sickly in the days leading up to his death. Subscribe for free post updates via email here: Tablescape Thursday If you are participating in Tablescape Thursday, please be sure to add your permalink below, and not your general blog address. Eagerly I wished the morrow;\u2014vainly I had sought to borrow From my books surcease of sorrow\u2014sorrow for the lost Lenore\u2014 For the rare and radiant maiden whom the angels name Lenore\u2014 Nameless here for evermore.\nPoe's final words were, \"Lord, help my poor soul. Poe was the first well-known American writer to try to earn a living through writing alone, which resulted in a financially difficult life and career. When the man tries to expel the raven, he shouts, \"Get thee back into the tempest! All our academic writers have a minimum of two years of academic writing. Love, Love, Love \u2014 wow \u2014 I have really fallen down this season. Are you scared that your paper will not make the grade? Edgar Allan Poe has had a huge influence on American literature. One such writer spent a portion of his life writing these kind of stories.\nInstead of Lenore, he hears a bird tap on the window and opens it. Here the poem also introduces the fact that the narrator is grief-stricken over his dead love Lenore, and is trying to escape that grief by reading. Engage students with the dynamic and interactive activities above that focus on creating a summary, theme, visual vocabulary, literary elements and more! When the guy raises the window shutter, he is astonished to see the raven since at first; he believed that the noise is being made by a late-night visitor trying to wake him up. A hopeless alcoholic, Poe died at age 40, drunk in a gutter in Baltimore, a victim of his debauched lifestyle. Two, a storm has come up during the time the raven has been in the man's chamber; this is unlikely considering how quiet and still the night had been earlier. No Halloween table with ravens would be complete without some Edgar Allan Poe to spice things up.\nHe then goes on to engage the raven in a prolonged speech to which the raven responds with the same statement. The lyrics of the closing track Oh, I'm Happy Now are an extract of the poem Bridal Ballad. Poe chose a raven as the central symbol in the story because he wanted a \"non-reasoning\" creature capable of speech. Frequently Asked Questions about \"The Raven\" by Edgar Allan Poe What are some important themes in \"The Raven\"? Our products include academic papers of varying complexity and other personalized services, along with research materials for assistance purposes only. Leave my loneliness unbroken! Symbolism A symbol is something that stands in for something else. What does the raven symbolize in other mythology and literature? New York: Broadway Publishing Company, 1907.", "id": "<urn:uuid:35894d87-abc8-462f-89e7-557815a40027>", "dump": "CC-MAIN-2023-14", "url": "http://complianceportal.american.edu/edgar-allan-poe-the-raven-setting.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00342.warc.gz", "language": "en", "language_score": 0.9596675634384155, "token_count": 2030, "score": 3.578125, "int_score": 4}
{"text": "As teachers, we know that when students are engaged in a lesson, they are more willing to persist in learning difficult concepts and complex processes. One way to keep students engaged is through building games into the lesson, giving them the opportunity to have fun and possibly compete (in a friendly way) as they develop their language proficiency. In my blog post 2 years ago, I interviewed my former graduate student Lin Zhou about a topic of her expertise, online role-playing games for teaching writing.\nOver the past few months, I\u2019ve been thinking about other ways that we can bring games into the writing classroom, ideally making learning to write a bit more fun for our students while still giving them ample opportunities to hone the many skills that build into a successful writing practice.\nThis game strengthens students\u2019 vocabulary knowledge, a valuable asset for writing. Give pairs or teams of students a category word (fruit, animals, sports, etc.) and set a timer. Each team should brainstorm and write down as many words as they can think of that fit in that category. The winner is the team with the longest list.\nIn a virtual context, teams could work on separate Google Docs in breakout rooms so the other teams can\u2019t see what their competitors are writing. In the classroom, this game could be played as a relay race with the lists on the board: Teams line up on the opposite side of the classroom, with individual students running up to the board to add a word. Each member of a team can only write one word and then has to run back to the team and tag the next team member.\nIn this activity, students must apply lexico-grammatical rules, such as adjective order, while choosing words that fit conceptually with the meaning of the original sentence. To play as a whole class game, write a basic sentence (subject, verb, and object) on the board or in a Google Doc. Students take turns adding a single modifier (adjective or adverb) to one of the nouns or the verb. As a class, you can decide whether the modifiers need to make sense or can be silly.\nStudents could also do this activity in small groups, either in the classroom or virtually. To make it a competition, see how many words each group can add within a set time period while maintaining a (somewhat) logical sentence. This game is adapted from the site Journal Buddies, which also offers many more creative ideas for teachers.\n3. Guess Who?\nThis activity challenges students to choose ways to write descriptions that are specific enough to capture a particular person without being too obvious. Students write a description of a well-known person (e.g., a famous person, someone at their school, someone in their class), providing key details but not giving the person\u2019s name. They pass their description to another student or read it aloud to the class and then evaluate whether anyone was able to guess the person.\n4. What\u2019s in My Pocket?\nLike the previous game, this activity also involves writing a description, but the description is focused on objects rather than people. Writers describe an object in their pocket (or bag or desk) in short sentences, starting with the most vague adjectives and moving to more specific.\nFor example, a description of a tube of lip balm might start \u201cIt is long and round\u201d (which could apply to many things people keep in their bags or pockets) and then move through gradually more specific descriptions toward a final descriptor, such as \u201cYou put it on your lips when they are dry.\u201d The writer reads their description aloud to a partner or the class, one sentence at a time, giving the audience a chance to guess after each sentence. The first person to guess (using the most vague clue) earns a point.\n5. Roll the Dice\nThis is an activity to foster students\u2019 creative writing in narrative genres. Write the numbers 1\u20136 on the board in three or four columns. At the top of each column, provide a category label relevant to your class\u2019s interests (e.g., animals, occupations, cities, sports). Have the class brainstorm six words that fit in each category. Give each student a single die and have them write the categories on a piece of paper. Students then roll the die once for each category and note the word that corresponds to the number they rolled. They should then write a story that incorporates all the words as characters, settings, or other elements of the narrative. In an online context, you could also use the Flippity Randomizer instead of rolling dice. (Here\u2019s an already-made randomizer that could work well for this purpose.)\nFor other creative writing ideas, see Hetal Ascher\u2019s TESOL Blog post, \u201c4 Low-Prep Creative Writing Ideas.\u201d\nThese are just a few ways to incorporate games into the writing classroom. Check out Jeff Kuhn\u2019s blog post on developing board games for some more ideas. What writing games have you used in your teaching? Share your thoughts in the comments section!\nArticle is very informative about kids learning. All tips are awesome. I must apply these activities for my students learning grip.\nGamification is what matters with generation z", "id": "<urn:uuid:ce711832-db0b-4a96-8729-9a34dec94289>", "dump": "CC-MAIN-2023-14", "url": "https://blog.tesol.org/5-engaging-games-for-writing-development/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950383.8/warc/CC-MAIN-20230402043600-20230402073600-00342.warc.gz", "language": "en", "language_score": 0.9521171450614929, "token_count": 1097, "score": 3.53125, "int_score": 4}
{"text": "In recent years 70% said that anxiety and depression are a major problem among their peers.(1) Post pandemic statistics now show that figure closer to 80%. This has placed the social emotional health of students in the spotlight, and forced schools to be deliberate about how they are addressing it. Quality SEL involves ensuring that the programs are equitable and inclusive of the diverse needs of all students. So how can digital storytelling contribute to a solution?\nDigital storytelling represents a path to happier, healthier students and a more equitable classroom while teaching the necessary skills to succeed in the modern workplace. That may sound boastful and hyperbolic, but current research bears it out. Consider these ways that digital storytelling can help.\n- It captures the individual stories of students in your classroom, celebrates their uniqueness, develops their individual voice and helps them learn that their story has value.\n- It gives students a choice about how to best tell the story they have inside them.\n- Digital storytelling requires us to listen to others, building empathy and understanding for a point of view.\n- Digital Storytelling means that the true lived experience of each individual can be shared with the class, making for a more equitable environment. (2)\n- It allows students to become teachers on a regular basis.\n- It gives a broader understanding of communication skills beyond the written word, allowing students to communicate in the spoken word, pictures, music and art.\n- Digital storytelling is closer to the kind of communication that is a part of modern social media and allows us to help kids to understand it, while teaching them prosocial norms and norms and prosocial behaviors for using them.\n- Digital storytelling has shown to improve the social and emotional intelligence of students. (3)\n- Digital Storytelling teaches important 21st century skills such as digital literacy, global literacy, technological literacy and Information literacy. (4)\n- Digital storytelling is fun. The kids are excited to share their stories, their classmates are excited to watch them and teachers are excited to grade them.\nThere are countless tools and strategies that can be used to further develop your storytelling capabilities but if you are interested in developing digital storytelling in your curriculum here are a few good places to start.\n- Adobe Express: this free online tool from Adobe (formerly called Adobe Spark, offers high quality, low difficulty tools to start building media for storytelling. Whether that be images, videos or web pages, Adobe Express can help students of all ages create high quality, well designed media to support the story they have to tell.\n- Draw and Tell: For younger students this simple free tool allows kids to create and narrate stories. It is forgiving of mistakes but still produces quality stories that can be downloaded and shared.\nThoughtful Digital Storytelling, can have a positive effect on social emotional health, can build a more equitable classroom, has been shown to develop emotional intelligence and develop important 21st century literacies.\nShawn McCusker will be leading the \u201cExpressing Student Learning through Digital Storytelling\u201d course as part of the EdTechTeacher \u201cSummer Learning Pass.\u201d Get access to all of our summer courses with one single membership. It\u2019s like enrolling in one course and getting all 12 of them!\n- \u201cThe Epidemic of Anxiety Among Today\u2019s Students | NEA.\u201d https://www.nea.org/advocating-for-change/new-from-nea/epidemic-anxiety-among-todays-students. Accessed 13 Jan. 2023.\n- \u201cTeach Using the Lived Experiences of Your Students \u2013 Edutopia.\u201d 30 Jun. 2015, https://www.edutopia.org/blog/teach-using-lived-experiences-your-students-rebecca-alber. Accessed 13 Jan. 2023.\n- \u201cThe effects of digital storytelling with group discussion on social and \u2026.\u201d 21 Feb. 2022, https://www.tandfonline.com/doi/full/10.1080/23311908.2021.2004872. Accessed 13 Jan. 2023.\n- \u201cDigital Storytelling: Benefits, Examples, Tools & Tips | Research.com.\u201d 5 Oct. 2022, https://research.com/education/digital-storytelling. Accessed 13 Jan. 2023.", "id": "<urn:uuid:e7744e9d-07a8-4c83-91fc-71fc4d0e5225>", "dump": "CC-MAIN-2023-14", "url": "https://edtechteacher.org/10-powerful-benefits-of-digital-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00342.warc.gz", "language": "en", "language_score": 0.9163514375686646, "token_count": 910, "score": 4.0625, "int_score": 4}
{"text": "What\u2019s Your Story?\nWritten by Rose Giannone\nIllustrated by Bern Emmerichs\nBerby Publishing, 2013, 40 pp.\nThis picture book from Australia is set against the backdrop of the first British settlement of Australia in 1788 and describes the friendship of an orphan boy from England and an Aboriginal girl. Leonard and Milba are mesmerized by the peculiarities of each other\u2019s worlds and delight in sharing these worlds with each other. Leonard is a quiet child who stutters but loves books and drawing. As he wanders around his new world, confused and lonely, he encounters Milba from the Eora tribe who has wandered off to catch a glimpse of the \u201cghost people\u201d. The two strike up a friendship, without words, by drawing stories in the sand, and introduce each other to the animals from each their worlds. Understanding how much Leonard enjoys drawing, Milba shows him cave drawings of her people, establishing another link between them. One day, Milba\u2019s tribe decides to move on and she only has time to leave a quick drawing in the sand. The book ends by noting that Leonard grew up to become a teacher, often thinking of Milba, while Milba grew up to be a wise elder in her tribe, wondering if Leonard looks at the same sunsets with his family as she does with hers.\nThe book opens and closes with an invitation for readers to tell their stories. The author carefully sets the context for history as a collection of stories\u2014not just one story but many stories by many different people. Giannone notes that many of the people who came to Australia were forced to do so because they were convicts but that some had only committed the crime of stealing food because they were hungry and others, like Leonard, were not convicts but sent for other reasons. The ships that came were full of people with many different stories. She also points out that the Aboriginal people had already been in this land for 60,000 years, long before anyone from Europe knew of Australia. With a minimum of words, the author provides a careful historical context that respectfully acknowledges multiple perspectives and stories, but does not tell or hint at the story of the racism and displacement of Aboriginal peoples by European settlers. Emmerichs\u2019 illustrations are stunning in their details of Australian animals and landforms and people. They were created on large hand-painted ceramic tiles and each color included on each tile was individually fired and then photographed and overladen with the author\u2019s text. That text often weaves and turns like a gentle wave of water around the illustrations on a page.\nRose Giannone is an Australian author who lives in Melbourne. This is her first children\u2019s book and grows out of her love of storytelling, both in traditional oral forms and in modern film. Bern Emmerichs is a highly celebrated artist in Australia with many works in galleries and collections. She is known for her work which explores historical narratives related to the first European settlements of Australia. Both the author and illustrator have a strong interest in this historical time period and engaged in extensive research. Both are from European backgrounds and so foreground Leonard\u2019s perspective throughout the book. Even though they are careful to include Milba\u2019s perspective, Leonard\u2019s perspective is given the most weight and always comes first.\nThis book should be balanced with other picture books that highlight Aboriginal voices and perspectives, such as When We Go Walkabout by Rhoda and Alfred Lalara (Allen & Unwin, 2014), in both English and Anindilyakwa, When I Was Little Like You by Mary Malbunka (Allen & Unwin, 2005), You and Me: Our Place by Leonie Norrington (Working Title, 2007). The Aboriginal tradition of telling stories through art, such as cave paintings, is another connection that could be explored through books, such as What is Aboriginal Art? By Margo Birnberg (J. B. Publishing, 2012) and Australian Aboriginal Paintings by Jennifer Isaacs (New Holland Australia, 2002).\nOther possible pairings include stories of immigration, such as The Arrival by Shaun Tan (Scholastic, 2007), which is based on stories of Malaysian immigrants to Australia and Ziba Came on a Boat by Liz Lofthouse (Kane/Miller, 2007), the story of an Afghan child and her family fleeing across the ocean on a small boat to Australia. These stories can be told alongside newspaper articles about the current treatment of refugees in Australia through detainment in prison camps in Indonesia or on islands off the coast of Australia. Home and Away by John Marsden and Matt Ottley (Lothian, 2008) is a powerful indictment of the destruction of families in these detainment centers.\nThe book ends with an invitation for children to tell their stories and so can be used to invite children to research their own family histories, both distant and close, in order to explore how those histories have shaped their identities and that of the places in which they live. Each classroom contains many stories and histories and sharing those stories can be one step to understanding the complexity and diversity of stories that make up families, communities, and nations.\nNote: Australian books not available in the U.S. can be ordered through Austral Ed.\nKathy G. Short, University of Arizona, Tucson, AZ\nWOW Review, Volume VII, Issue 1 by Worlds of Words is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Based on work at https://wowlit.org/on-line-publications/review/vii-1/", "id": "<urn:uuid:c0f8183e-de28-48e4-8c1c-4c646ed488a5>", "dump": "CC-MAIN-2023-14", "url": "https://wowlit.org/on-line-publications/review/reviewvolumevii1/14/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949331.26/warc/CC-MAIN-20230330132508-20230330162508-00341.warc.gz", "language": "en", "language_score": 0.9690947532653809, "token_count": 1165, "score": 3.546875, "int_score": 4}
{"text": "Teaching students to use functional text is one of my favorite units! Why? Because kids are engaging with texts that they actually read in their daily lives! They get to see that the reading skills we teach are immediately useful outside school, and that\u2019s always a win!\nWhat is Functional Text?\nFunctional text, or authentic text, is any text that we read on a daily basis. It\u2019s real world reading. It\u2019s called functional because it is useful; it includes information that helps us make decisions and complete tasks. Some examples that students easily recognize are recipes, directions, menus, fliers, and signs.\nThe purpose of functional text can vary. Typically, it provides information, explains directions for how to do something, or allows us to share information with the author (like filling out a library card application).\nLearning how to read and engage with real-world text is an important skill for developing readers! Read on for some tips to tackle this genre in your reading workshop!\nIntroducing Functional Text\nBefore kicking off this unit, I like to collect as many types of functional text as I can. The good news? It\u2019s super easy! Bring home an extra copy of a paper menu the next time you eat out. Go through your junk mail. Ask your students\u2019 families to bring in some examples!\nI like to have a variety of formats and topics, with some that come right from our community. Kids get such a kick out of that! I also try to find examples that will work at different reading levels (fewer words on the page, more pictures, specialized vocabulary, etc.).\nA super easy and engaging way to introduce this type of text is to just immerse your students in it! Give them 15-20 minutes to look through different samples. Then have them share their observations. If you like, you can have them record their thoughts on sticky notes or chart their thinking. Or you can provide graphic organizers!\nSome things I want my students to notice about functional formats include:\n- they are often organized into small chunks of information\n- they usually include nonfiction text features, like headings, bold print, and captions, that help draw our eye to certain information\n- their main purpose is generally to present information to the reader so that we can complete a task, make a decision, or solve a problem (some formats, like brochures and other advertisements, may be meant to persuade the reader to buy or do something)\n- we read them differently than other nonfiction or fiction texts \u2013 we might skim them or only read certain parts at a time, rather than always reading them top to bottom in one go\n- they might include specific vocabulary about their topic\nOne thing to watch out for is students who read the main content of the text but not the \u201cextras\u201d, like fact boxes and graphics. Important information can often hide right in plain sight, especially if the page is busy with lots of graphics or sections of text. Sometimes I ask students to look at all those extras first before the main text.\nAnalyzing Functional Text\nIt\u2019s good for students to practice finding \u201cright there\u201d answers when they read authentic text, since that\u2019s what they would need to do in real life. In the upper grades, though, we know that we go way beyond basic comprehension questions. As students look through examples of procedural text, here are some guiding questions for them to consider:\n- What is the purpose of the text?\n- Who wrote the text? Is this person biased?\n- Who would likely read it? Why?\n- How would this text be useful?\n- What is the main idea that I should take away as the reader?\n- What information can we get from it?\nDepending on the format, they can also use reading strategies like questioning, drawing conclusions, sequencing, and identifying cause and effect relationships.\nThe key is making sure they\u2019re using examples that have enough \u201cmeat\u201d to analyze. If you want to save some time, click here to find functional texts with questions.\nChances are that you\u2019ve had students complete some functional writing in your language arts block, such as an expert or how-to book, or letter writing. Including a functional text unit in your writing plans can be a nice break for students who struggle with creative writing or report writing. In addition to the words, they can work on incorporating lots of nonfiction text features as well.\nFunctional text is also a nice tie-in to media messages, if you teach those. Comparing and contrasting different formats and purposes can help students take a deeper look at the media we consume each day!\nClick here or on the image below to see the Functional Formats Anchor Charts & Printables resource in my store.\nKnowing how to read and understand functional text is an important life skill! I find this unit to be really engaging and authentic, and I hope you and your students enjoy it! Let me know in the comments what resources and activities you like to use when you teach functional formats!\nPin for later:\nThank you Alyssa, for refreshing the mind of a retired teacher. Your presentation is concise and easy to read. I will use your chart and ideas as I tutor a fifth grade student. Thanks for your valuable site.", "id": "<urn:uuid:a3bd5c47-5a3e-44eb-b84f-3d0f9439ccb6>", "dump": "CC-MAIN-2023-14", "url": "https://alyssateaches.com/teaching-functional-text-in-the-upper-grades/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948620.60/warc/CC-MAIN-20230327092225-20230327122225-00542.warc.gz", "language": "en", "language_score": 0.9470272660255432, "token_count": 1112, "score": 4.03125, "int_score": 4}
{"text": "Brainstorming Tools and Apps\n\"An idea, like a ghost, must be spoken to a little before it will explain itself.\" - Charles Dickens\nGet your copy of Hacking Digital Learning, The 30 Goals Challenge, or take one of my certified and accredited online courses. Ask me about training your teachers, email@example.com!\nBrainstorming is an important process that students should do frequently so it becomes a ritual they continue throughout their lives. Students need to get into the habit of spending time with their thoughts, fleshing them out, and discovering the best way way to feed their inspiration. Brainstorming helps improve writing, organizes ideas, inspires discussion, and provides a roadmap for projects. When brainstorming is combined with sketching, drawing, and thinking on graphic organizers, it helps learners to organize their thoughts for better flow and cohesion. Moreover, learners can make connections to previous knowledge and expand on what they already know. This means the brain will process the new information into long-term memory. I integrate brainstorming as a pre-task to lay the foundation for nearly every task and project. You don't have to waste tons of paper brainstorming, because we have access to many free apps and web tools that allow students to brainstorm more effectively and also keep a digital record of their brainstorming process. Below is a list of resources along with tips!\nStoryboards are useful when integrating multimedia projects such as making movies and various digital storytelling projects. These are some of my favorite storyboarding templates and resources:\n- Google Templates- Teachers post their ready made templates for you to adapt for your needs. My students copy my Google template and fill it out. I've adapted quite a few and have also used their rubrics. Saves me tons of time.\n- My storyboard template for creating a movie and a Choose Your Own Adventure movie storyboard template.\n- Bernajean Porter has great templates to download.\n- Kevin Hodgson has some storyboards I've used with 4 to 6 year-olds and are suitable for many ages.\n- Here's a free storyboarding web tool with a library of characters.\n- Try using Buncee, Comics Head, or another comic creation tool to create a storyboard. Students fill in the frames and have access to a library of free characters, scenes, backgrounds, and captions.\n- Read Write Think's Interactive Cube for writing mysteries, biographies, and other stories\n- Lucid Chart is a fantastic tool for web and mobile graphic organizers! Students can collaborate and they have many options.\n- Teachnology has many kid friendly graphic organizers. You can use free apps like Educreations to have students fill them out on their mobile devices\n- Creat.ly provides various templates and types of graphic organizers for different kinds of projects.\n- Grafio Lite- iOS app for creating flow charts and visually organizing ideas.\n- Canva- iPad app and web tool for creating visually beautiful posters and infographics.\n- Ease.ly- iPad app and web tool for creating\n- Idea Sketch IOS/Android Mindmapping App- Draw a diagram, mind map, concept map, or flow chart and convert it to a text outline and vice versa. Print with a PDF or download to Dropbox.\n- Popplet web/IOS App- The browser base app provides collaborative mindmapping. Students can support text with images from Flickr or Youtube videos. They can upload their own. Embeddable.\n- Inkflow IOS app- Sketch & write ideas then move them around and organize them.\n- PenUltimate- Draw & write on notebook paper on your iPad. The writing becomes searchable, stored, and categorized with Evernote that is compatible with all devices.\n- EduCreations iPad app- Interactive whiteboard and screen recording app. Ability to include images taken and from the web and narrate with audio. Creates a video that can be embedded. Students can record their brainstorming while creating their mindmaps.\n- ShowMe iPad app- Interactive whiteboard and screen recording app. Ability to include images and narrate with audio. Creates a video that can be embedded. Students can record their brainstorming while creating their mindmaps.\n- Screen Chomp iPad app- Interactive whiteboard and screen recording app. Ability to include images and narrate with audio. Creates a video to download. Students can record their brainstorming while creating their mindmaps.\nFind the tools listed above and many more resources in the bookmarks below.", "id": "<urn:uuid:62d3e2bb-5c3a-42a1-8628-56e5dfa824d0>", "dump": "CC-MAIN-2023-14", "url": "https://www.shellyterrell.com/brainstorm.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945315.31/warc/CC-MAIN-20230325033306-20230325063306-00142.warc.gz", "language": "en", "language_score": 0.9191033244132996, "token_count": 944, "score": 3.515625, "int_score": 4}
{"text": "Sep 3 The Heliand - Old Norse Epic Poem about the life of Christ\nToday in 1830 the first complete edition of the Heliand was published by Johann Andreas Schmeller. This was a ninth century epic poem about 6000 lines long which recounts the life of Jesus in Old Saxon. The text is based, not directly on the New Testament, but on a harmony of the Gospels, and was probably written at the request of emperor Louis the Pious around AD 830 to combat Saxon ambivalence toward Christianity. The word Heliand meant saviour in Old Saxon.\nThe preface begins by stating that the emperor Ludwig the Pious, desirous that his subjects should possess the word of God in their own tongue, commanded a certain Saxon, who was esteemed among his countrymen as an eminent poet, to translate poetically into the German language the Old and New Testaments. The poet willingly obeyed, all the more because he had previously received a divine command to undertake the task. He rendered into verse all the most important parts of the Bible with admirable skill, with the creation, it relates the history of the five ages of the world down to the coming of Christ.\nThe Saxons had become Christian after defeat by the Franks under Charlemagne. Around the time that the Heliand was written, there had been a revolt of the Saxon and it is thought that the Heliand had a significant influence over the fate of European society. Germanic cultural values such as their strong warrior ethos did not mesh well with Christian values or approaches to teaching. This made educating Saxons about the Gospel more difficult. This poem may have been written to remedy that so that they could be integrated into the growing civilization that was Christendom. The author therefore created a unique cultural synthesis between Christianity and Germanic warrior society \u2013 a synthesis that would plant the seed that would one day blossom in the full-blown culture of knighthood and become the foundation of medieval Europe (see pod of Apr 23). There is some evidence that the epic poem was known by Martin Luther as he referenced it as an example to encourage translation of Gospels into the vernacular. Luther seemed to favour some of the wording presented in the Heliand for example the angel's greeting to Mary\u2013 \"you are dear to your Lord\" \u2013 because he disliked the notion of referring to a human as \"full of grace. The epic poem also shows acquaintance with the commentaries of Alcuin of York (see pod of May 19) and with the fragments of a poem based on the Book of Genesis, it is all that remains of the poetical literature of the old Saxons. It may be connected to the Gospel of Thomas. Which was found in 1956 that has been attributed the apostle Thomas. The Heliand shares a poetic style with the Gospel of Thomas\nIt ends in the middle of the story of the journey to Emmaus as told in St. Luke's Gospel. The poem gives evidence of the trained skill and a certain genius of the author, though the poet was no doubt restricted by not deviating too widely from the sacred originals. The storytelling represents attitudes and social structure found in warrior epics. John the Baptist is characterised as Christ\u2019s \u2018warrior companion\u2019 (gesi\u00f0), while the disciples become \u2018earls\u2019 (erlos). This poem may originally have been sung or recited out loud: the text is divided into fitts, or songs. Like modern day TV episodes, these would have provided reasonably sized chunks of a longer saga. The Saviour and His Apostles are conceived as a king and his faithful warriors . To give a flavour of what would have been listened to \u2013 here is an excerpt from the account of the Eucharist Then he spoke and said there would come a wise king, magnificent and mighty, to this middle realm; he would be of the best birth; he said that he would be the Son of God, he said that he would rule this world, earth and sky, always and forevermore. he said that on the same day on which the mother gave birth to the Blessed One in this middle realm, in the East, he said, there would shine forth a brilliant light in the sky, one such as we never had before between heaven and earth nor anywhere else, never such a baby and never such a beacon\nWithin the limits imposed by the nature of his task, his treatment of his sources is remarkably free, the details unsuited for poetic handling being passed over, or, in some instances, boldly altered. In many passages his work gives the impression of being not so much an imitation of the ancient Germanic epic, as a genuine example of it, though concerned with the deeds of other heroes than those of Germanic tradition. It is preserved, with in two manuscripts (one at the British Library, one in Munich The manuscript in Munich at the Bavarian State Library is produced on calf skin of high quality, has been preserved in good condition. A fragment discovered at Prague in 1881 contains lines 958\u20131006, and another, in the Vatican Library, discovered by K. Zangemeister in 1894, contains lines 1279\u20131358. Two additional fragments exist that were discovered most recently. The first was discovered in 1979 at a Jesuit High School in Straubing by B. Bischoff contains 157 poetic lines. The final fragment was found in Leipzig in 2006 and contains 47 lines of poetry\u2019", "id": "<urn:uuid:dbcea583-5ba1-4445-8954-98e64877cd9b>", "dump": "CC-MAIN-2023-14", "url": "https://www.pogp.net/post/sep-3-the-heliand-old-norse-epic-poem-about-the-life-of-christ", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00543.warc.gz", "language": "en", "language_score": 0.9771385788917542, "token_count": 1124, "score": 3.5625, "int_score": 4}
{"text": "Intermediate Reading Course. Section 1: The Basics\nStated and Implied Main Ideas as Patterns of Information\ncottonbro studio | Pexels\nStated Main Idea\nWhen the writer writes the main idea sentence in the paragraph, it is called a stated main idea. This makes the paragraph very clear to the reader.\nImplied Main Idea\nSomething is \u201cimplied\u201d when you can gather contextual information to figure out what it is.\nSome things does not need to be stated, or said. By giving you enough information or a good clue, you can infer the meaning. The meaning is implied. If I ask you if you want to go out to eat and you answer, \u201cI had a long, difficult day at work today,\u201d you are implying that you are too tired to go out to eat.\nLook at the photo below. Just by looking at the details in the photo, what does it say about the weather?\nPixabay | Pexels\nThe photo shows a lot of water on the ground. Drops of water are falling on it. That creates small splashes on the surface of the water on the ground.\nThe \u201cmain idea\u201d in the photo is \u201cIt\u2019s raining,\u201d right? But you could figure it out just by looking at the details\u2014or by hearing a description of it.\nA paragraph can sometimes be just like this photograph. It does not have a main idea sentence in it, but all you need to do is look at the details to understand the main idea the writer is to communicating. Even though there is no main idea sentence in it, the main idea is implied.\nHow to Figure Out the Implied Main Idea\nRead the paragraph, focusing on understanding the content. See patterns of information in the details and ask yourself:\nWhat is the topic of the paragraph?\nWhat does the writer have to say about the topic?\nHow do the details come together to elaborate on the main idea?\nIf you find a sentence that answers and summarizes these questions, that\u2019s the main idea sentence. If there is no such sentence in the paragrpaph, the main idea is implied, so you must come up with it yourself.\nWatch Implied main idea and take good study notes.\nYou can study the page and watch the video in any order.\nExamples of Paragraphs with Implied Main Ideas\nWhat is the implied main idea in the following paragraph, which you saw in Anatomy of a Paragraph?\n1Professor Ecks assigns homework every week.\n2You will also take a quiz weekly in his courses.\n3You\u2019d better turn in your assignments on time because he accepts no late work.\n4However, you will learn a lot because he explains everything very well and keeps you engaged in interesting discussions every class.\n6He also takes a genuine interest in his students.\n7He always makes time for you and, if needed, he will help you individually.\nThe details elaborate on two characteristics of Professor Ecks\u2019s. He is a demanding instructor (Sentences 1\u20133) and he is a very good instructor (Sentences 4\u20137). Summarizing these, you get the implied main idea.\n\u201dProfessor Ecks is a demanding but excellent instructor.\u201d\n\u201dProfessor Ecks is a demanding instructor, but he is very good.\u201d\nWhat is the implied main idea in the following paragraph?\n1Weekly quizzes is one way students will be tested in this course.\n2Weekly quizzes will test your understanding of the material taught during the week.\n3Quizzes are completed online and are typically due on Saturday.\n4Exams is the other way students will be tested.\n5Each of three exams will test your understanding of all materials covered up to the date of the exam.\nhow students are tested in this course\nThe pattern here is one way students will be tested\u2026 and the other way students will be tested. This means there are two ways.\nThe point of the paragraph is to explain how students will be tested in the course. The details elaborate on these two ways students are tested in the course: quizzes and exams.\n\u201dStudents are tested in two ways in this course.\u201d\n\u201cIn this course, students will be tested in two ways.\u201d\n\u201cLead\u201d in the paragraph below refers to a dangerous metal. What is the implied main idea in the paragraph?\n1Depending on the level of exposure, lead can adversely affect the nervous system, kidney function, immune system, and the cardiovascular system.\n2It also affects the oxygen carrying capacity of the blood.\n3Lead causes behavioral and learning problems in young children.\n4It also delays children\u2019s development, contributing to learning deficits and lowered intelligence.\nlead or, more specifically, lead exposure\nBased on the pattern of information, you can see that the writer is listing the many health problems that exposure to lead can cause in both adults and children. The point the writer is making (that is, the implied main idea of the paragraph) is that \u201cLead exposure causes many health problems in adults and children.\u201d\n\u201dLead exposure causes many health problems in adults and children.\u201d\n\u201dExposure to lead causes many serious health problems to adults and children.\u201d\nUp Next: Main Ideas in Storytelling\nGo to the next lesson to learn about main ideas in stories.", "id": "<urn:uuid:21ed3a6a-afcc-451c-81b0-09f97832a15f>", "dump": "CC-MAIN-2023-14", "url": "https://snaplanguage.io/esl/b-level/reading/b-reading-022-stated-and-implied-main-ideas.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00540.warc.gz", "language": "en", "language_score": 0.9494451284408569, "token_count": 1199, "score": 3.78125, "int_score": 4}
{"text": "It is said that everyone has a novel in them. Sadly, most people don\u2019t ever get to write that novel. Sometimes it is down to a lack of motivation. Other times it may be due to a lack of confidence, uncertainty about what to write, or doubts about how to get started. All of these things can be dispelled when you have a clearer idea about what writing a novel involves.\nThis book takes all the important considerations in writing a novel and presents them in a way which will stimulate the reader into taking the plunge. Use it as a guide to help you work out your characters, plot and audience. Make informed decisions about style and point of view. Learn some of the tricks of the trade which other writers use, and find out how to market your completed work.\nChapter 1 WHAT IS A NOVEL?\nThe Origins of Storytelling\nPresentation of Novels Today\nWhat Constitutes a Novel?\nGenre of Novels\nAudience and the Novel\nChapter 2 STRUCTURE AND STYLE\nNarrative or Story Structure\nOther Devices Used in Story Writing\nStyle in Writing\nBasic Rules of Style\nChapter 3 DEVELOPING A POINT OF VIEW\nChapter 4 DEVELOPING THE MAIN PLOT\nWhat is a Plot-Driven Novel?\nDeveloping the Plot\nChapter 5 WRITING A SYNOPSIS\nA Matter of Words\nWriting a Synopsis\nChapter 6 DEVELOPING SUBPLOTS\nDeciding on Subplots\nChapter 7 CHARACTERS: HOW TO DEVELOP CHARACTERS\nThe Importance of Characters\nChapter 8 DIALOGUE AND CHARACTERS\nChapter 9 MAINTAINING THE READER\u2019S INTEREST \u2013 DEVELOPING PACE\nUse of Pace\nCreating the Pace\nChapter 10 REVISING YOUR NOVEL \u2013 THE IMPORTANCE OF EDITING AND REVISION\nHow to Revise and Edit\nChapter 11 DEALING WITH WRITER\u2019S BLOCK/MAINTAINING YOUR CREATIVITY\nNot Writing a Novel - Tips to Get Started AND Finish that Novel\nChapter 12 MANUSCRIPT FORMAT AND LAYOUT\nChapter 13 MARKETING YOUR NOVEL\nMarketing Your Book\nProjecting for the Future\nDistance learning and online courses\nE-books by John Mason and ACS Staff\nPrinted books by John Mason\nACS global partners", "id": "<urn:uuid:8d41b024-0ec2-4d70-a15b-1f84772bcc8c>", "dump": "CC-MAIN-2023-14", "url": "https://www.acsbookshop.com/product-how-to-write-a-novel-pdf-ebook-6017.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00543.warc.gz", "language": "en", "language_score": 0.8372936844825745, "token_count": 545, "score": 3.546875, "int_score": 4}
{"text": "Literacy is more than just learning to read and write. For young children, literacy is about developing their vocabulary, understanding that words on a page represent the words you are saying, learning that letters are connected to sound and so much more. You can encourage your child\u2019s literacy development in many ways. Below are a few ideas to get you started.\n1. Read everyday.\nThe number one way to promote literacy at an early age is simply reading to your child every day. Read street signs, the mail or labels at the grocery store. Make a routine of reading, like reading before bedtime. Creating a nightly book reading ritual not only allows your child to wind down from a busy day of play, but also strengthens their bond with you and promotes a positive association with reading.\n2. Talk, sing and rhyme.\nIt may seem silly especially when your child is a baby and can\u2019t talk back, but talking or singing to them as often as possible makes a big impact. Singing is fun for your child, increases their vocabulary and helps them learn about sounds.\n- Name and point to body parts while getting your child dressed.\n- Describe the smell, texture and taste of the food you\u2019re eating.\n- Use words that are new to your child when you talk to them.\n- Sing a special song before bedtime.\n- Teach them nursery rhymes from your childhood.\n- Make up silly songs to sing during your daily routine, like while brushing teeth.\n3. Create stories.\nCreating stories helps your child learn how stories work. Specifically, your made-up tales help them learn that stories have characters, beginnings, middles and endings.\n- Make up silly stories about Bob the brave banana \u2014 or any other silly character you make up \u2014 as you walk through the grocery store.\n- Retell a favorite story while you\u2019re traveling to and from school.\n- Act out a story with stuffed animals.\n- Older children can join in the fun by making up what comes next.\n4. Tell family stories.\nStorytelling is an important part of promoting literacy for little learners.\n- Tell them a memorable story from your childhood as you\u2019re looking through a photo album.\n- Recount the story of when they joined your family, via birth, adoption or fostering \u2014 children usually love a story about themselves best of all!\n- Invite family members to share stories about their life experiences.\n5. Give them opportunities to write.\nEncourage your little learner to \u201cwrite\u201d by providing a variety of writing and drawing supplies.\n- Babies can start with spoons, fingers and yogurt on their high chair.\n- Older children can use crayons, markers, stamps and paint brushes along with a variety of paper.\n- Let your child watch you write notes, cards and grocery lists. Then, encourage them to write their own.\n6. Change where you read.\nMake reading a fun adventure!\n- Take some books outside to read in the shade.\n- Pack an exploring or nature book with you on your next family walk.\n- Read a monster book under a blanket in the dark with a flashlight.\n7. Attend a story time.\nMany librarys and books stores host story times. At these family-friendly events, children benefit from hearing another adult read to them. They also learn a lot from watching other children get engaged in a story and from being exposed to a wide variety of authors and writing styles. Check your local library for times or check out some online story time options like the Emmy-nominated Storyline Online.\n8. Go beyond the words on the page.\nYou\u2019ll likely reread your child\u2019s favorite books until you\u2019re blue in the face, but change up how you read it to make it more enjoyable for yourself and more enriching for your child. For example:\n- Pause to let them finish the sentence or say the wrong word on purpose and see if they correct you.\n- Ask your child questions while reading the story, like who was their favorite character in the story and why?\n- You could even skip the story and just explore the pictures and describe what you see.\n- As your child reaches preschool age, you can help them understand the link between the words on the page and the words you\u2019re saying by sliding your finger under words as you read them.\n9. Try a wordless book.\nWordless books are more powerful than you might think for developing your child\u2019s literacy skills. You can start with simply describing what you see and exploring the photos. Then go beyond the pictures and have your little reader make up the story. Here are some questions you can ask to help get their creativity flowing:\n- What is that girl (or animal or silly shape, depending on the book) feeling?\n- How do you think that goat (or boy or tree, depending on the book) get out of this situation?\n- When is this story happening? How can we tell?\n- What just happened? What will happen next?\n10. Surround them with books and letters.\n- Keep books where your child can reach them \u2014 a cozy corner of their bedroom, a low shelf in their play area\nand even a few next to their car seat. Ask your older child to read books to you while you drive or fix dinner.\n- Add books to their related play areas. For example, add some cookbooks to a play kitchen or construction books next to their toy trucks.\n- Expose them to and surround them with all different kinds of books to flip through \u2014 picture books, non-fiction, magazines etc.\n- Label toy bins with the picture and name of their associated contents.\n- Provide them with letter puzzles, magnetic letters or bath tub letters.\n- Teach them the letters in their name and have them search for those letters in books.\n- Talk about how you use reading in your life. From magazines and books to social media and shopping lists, we all use words daily. Your examples shows them that literacy keeps our lives moving and meaningful.", "id": "<urn:uuid:7a55e55c-af7e-4187-a06d-bce5779bcd2b>", "dump": "CC-MAIN-2023-14", "url": "https://dayearlylearning.org/blog/10-ways-to-nuture-literacy-development-babies-beyond/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948932.75/warc/CC-MAIN-20230329023546-20230329053546-00143.warc.gz", "language": "en", "language_score": 0.948202908039093, "token_count": 1277, "score": 4.15625, "int_score": 4}
{"text": "\u201cWhen we reject the single story, when we realize there is never a single story about any place, we regain a kind of paradise.\u201dChimamanda Ngozi Adichie\nStorytelling has been an essential part of human communication for thousands of years. We have all probably experienced hearing stories that have been passed down from generation to generation. Storytelling is a powerful means for people to connect and empathize with one another and fully express themselves.\nWorld Storytelling Day is an annual event on March 20th and is an opportunity to celebrate the rich history of storytelling. While the art of storytelling has traditionally been thought of as an analog tradition, technology can be used to elevate the way we tell stories. In this blog post, I\u2019ll share some ideas for how you can integrate technology into your celebration of World Storytelling Day.\n- Community Storytelling Project \u2013 One way to celebrate World Storytelling Day is to hear the stories of those in your classroom community. You can invite guardians and other classroom community members outside the classroom to share their personal stories virtually. For example, you can set up a Flip (reviewed here) that can be shared with your classroom community members and include a prompt they can respond to. I\u2019d suggest launching this a week or two before you plan to celebrate World Storytelling Day to give community members time to contribute. If you have some community members that would not be able to access Flip or whatever tool you choose to gather their stories, consider designating some \u201coffice hours\u201d for them to come in and record their stories. Once you\u2019ve gathered these stories, let students go into Flip to listen to the stories of their peers\u2019 families and friends and reflect on what they learn.\n- Creating Metaphors \u2013 This protocol, adapted from The Courage to Teach by Parker Palmer, is a simple way to incorporate storytelling through figurative language. Initially designed for adults, it can easily be adapted to use with your students. The point of this exercise is to allow students to be as silly or creative as possible and tap into their imagination. It can be used as a community-building activity or to synthesize their learning. Students respond to this sentence stem, \u201cWhen I am at my best as a student, I am ____.\u201d You can create a Padlet (reviewed here) where students can post their metaphors and comment on each other\u2019s creations (example).\n- Life Map \u2013 A Life Map is a visual timeline. They are generally used to describe your life over a period of time. You can use this life map activity as a prewriting exercise for student autobiographies or as a standalone activity. A Jamboard (reviewed here) would be a great tool to create a simple life map using digital post-its and images that students can share.\n- Augmented Reality Storytelling \u2013 With AR tools like Metaverse (reviewed here), students can create stories that come to life uniquely and interactively. This article lists some creative examples of how students can create AR stories in their classroom, like creating an AR scavenger hunt where users must find and scan objects in the real world to reveal parts of the story!\n- Collaborative Storytelling Projects \u2013 This can be done through tools like Google Docs or Google Slides (reviewed here), where students can collaboratively write and share parts of their stories. Once the story is complete, it can be shared on World Storytelling Day. Consider hosting an official event inviting other classes to come in and listen.\nHowever you decide to celebrate World Storytelling Day, I hope you provide a space for students to share their personal stories and those they care about.\nDo you have a favorite storytelling lesson or tool? We would love to hear how you elevate storytelling in your classroom in the comments below!", "id": "<urn:uuid:2359226f-a3c4-4cd5-a61e-4b7564aee6a9>", "dump": "CC-MAIN-2023-14", "url": "https://teachersfirst.com/blog/2023/03/reimagining-tradition-ideas-for-celebrating-world-storytelling-day-with-technology/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00139.warc.gz", "language": "en", "language_score": 0.9476754069328308, "token_count": 778, "score": 3.8125, "int_score": 4}
{"text": "What is blood pressure?\nBlood pressure can be described as the pressure of the blood circulating on the walls of the blood vessels. It is measured in mmHg (millimeters of mercury). The blood pressure is normally represented in terms of systolic pressure and diastolic pressure.\nThe systolic pressure can be explained as the amount of the pressure in the arteries of a patient during the heart muscle contraction. The diastolic pressure is the pressure within the arteries at the time or resting of the heart in between the beats.\nSystolic blood pressure and diastolic blood pressure\nWhen your doctor monitors your blood pressure, it\u2019s denoted with two numbers, with one number on top (systolic) and one on the bottom (diastolic). This can be denoted like a fraction \u2013 120/80 mm Hg.\nThe top number in the reading indicates the amount of pressure in your arteries during the contraction of your heart muscle. This is called systolic blood pressure or simply systolic pressure. The bottom number refers to the blood pressure when your heart muscle is between beats. This is called diastolic pressure or diastolic blood pressure.\nMore: Blood Pressure (BP) during a heart attack and blood pressure before a heart attack\nMore: Hypotension (Low Blood Pressure): Causes, Symptoms, Diagnosis, Treatment\nWhat is the normal blood pressure reading and elevated blood pressure? What is your blood pressure supposed to be?\nThe normal or optimal range of the blood pressure consists of systolic as well as diastolic pressure. The systolic pressure of 90-120 mmHg and the diastolic pressure of 60- 80 mmHg are considered to fall into the category of the normal blood pressure range. Blood pressure values above this are considered as elevated blood pressure readings.\nThe blood pressure can be measured by a blood pressure monitor, also known as a sphygmomanometer. Blood pressure should be monitored after a constant interval. The monitoring of the blood pressure helps in keeping a check on the level of the blood pressure. Read about blood pressure measurement.\nBlood pressure chart (Blood pressure table)\nThe chart of the readings of the blood pressure will help in checking the level of the blood pressure and taking the necessary preventive steps. The following chart will help in figuring out whether the blood pressure is at an optimal level or not.\n|Category||Systolic pressure in mmHg||Diastolic pressure in mmHg|\n|Hypertension stage 1||140-160||90-199|\n|Hypertension stage 2||160-180||100-109|\n|Isolated systolic hypertension||>or = 160||<90|\n|Hypertensive urgency||>Or = 180||>or =110|\nThe above-given chart can be used to classify the blood pressure readings into different categories for men as well as women. The perfect blood pressure range for men and women is 90-120 mmHg of systolic pressure and 60-80 mmHg of diastolic pressure. The blood pressure is supposed to be 120/80 mmHg for a healthy adult. The blood pressure higher or lower than this is not considered as perfect.\nWhy a change in the blood pressure should not be neglected?\nThe ideal blood pressure should be below 120/80 mmHg. This is considered as the optimal blood pressure and the person is considered to be healthy. The blood pressure reading below 90/60 is considered to be the case of a low blood pressure (Hypotension).\nThe readings of the blood pressure ranging above than average are considered to be the case of high blood pressure (Hypertension). This elevation in the blood pressure can lead to cardiovascular diseases. The increase or decrease in the level of the blood pressure should not be neglected.\nThe constant fluctuation in the average blood pressure for a longer period of time can lead to a number of heart-related diseases like stroke, formation of the blood clot in the arteries going to the brain, and dementia.\nCommon blood pressure problems\n- Damage to your arteries\n- Damage to your heart\n- Coronary artery disease\n- Enlarged heart\n- Heart failure\n- Mild cognitive impairment\n- Kidney failure\n- Kidney artery aneurysm\n- Optic neuropathy\n- Sexual dysfunction\n- Sleep apnea\n- Preeclampsia or eclampsia\n- Chest pain\n- Heart attack\n- Pulmonary edema\nI must thank you for the efforts you have put in penning this blog. I am hoping to view the same high-grade content by you in the future as well. In fact, your creative writing abilities has motivated me to get my own, personal blog now \ud83d\ude09", "id": "<urn:uuid:f1b4a6ee-b057-471c-b3b8-c1bb54980fc4>", "dump": "CC-MAIN-2023-14", "url": "https://www.diseasefix.com/page/blood-pressure-readings-and-chart-what-is-your/4184/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948858.7/warc/CC-MAIN-20230328104523-20230328134523-00142.warc.gz", "language": "en", "language_score": 0.8925167918205261, "token_count": 1071, "score": 4.1875, "int_score": 4}
{"text": "Three Important Skills for Kids \u2013 Coding, Chess, Creativity\nYour child\u2019s education must go beyond what she or he learns in school. In order to learn, a child must be taught certain skills that are not part of their regular academic curriculum. Among many other such skills, three important ones are 3Cs \u2013 Coding, Creativity, and Chess.\nCoding For Kids\nCoding is all about communication. It is a way of communicating with a machine. It can be considered as a creative process executed by programmers wherein they tell a computer or machine how to perform a specific task. It involves writing scripts using computer programming languages.\nCoding for kids refers to the opportunities available for children to get involved in coding. Coding can be introduced to kids in a fun and gamified way to keep kids\u2019 young minds engaged.\nCoding is no longer an option; it has become an essential life skill for young people as it develops many other life skills that help them throughout their lives.\nCoding is about much more than teaching technology. It incorporates logic, problem-solving, creativity, learning from the failures, communication, and collaboration in an engaging way for children of all ages.\nChess For Kids\nAs parents, we all want the very best for our kids. We make every effort to get them involved in sports and other activities that will be enriching to their childhood while developing life skills that transcend into adulthood!\nA board game of Chess played between two players made of 64 smaller squares is the most played game across the globe. In chess, every move has a purpose and effect on the outcome of the game. Since making decisions while playing chess is so similar to the process we go through throughout our own lives, it\u2019s become reasonable to help kids learn the game of chess.\nChess is just not a game, but a means to teach a kid valuable life skills that will set them up for future success. There are several reasons why your kids should play chess. By playing chess, kids can improve and develop cognitive skills, including memory, logical thinking, critical thinking, concentration, problem-solving, and visual processing. It also helps them develop life skills such as creativity, verbal communication, reading comprehension, self-discipline, self-confidence, and sportsmanship.\nCreativity Among Kids\nCreativity is the ability to transcend traditional ways of thinking or acting and to develop new and original ideas, methods, or objects. With the advancement in technology, creativity is taking a new form called digital creativity. Digital creativity is about using digital tools and technologies to explore creative ideas and new ways of displaying your ideas, research, or work.\nIn order to move from passive consumption to active innovation, we need to cultivate creativity in kids. As parents and teachers, it is important to emphasize the joy of creativity and instill in our children the sense that there is something important they can personally share with the world\nWe can help our kids to sharpen their creative skills by learning different forms of creativity like design, drawing and animation, creative writing, etc. Getting kids to share their individual messages allows them to feel more connected with themselves and those around them. This promotes feelings of self-confidence and self-worth that are the key to emotional well-being and healthy social development.\nConclusion: Teaching our children life skills is essential so that they can have a rough idea of what they want to accomplish with their lives and, more crucially, recall the type of person they want to be. Focus your efforts on educating children in a fun and engaging way so that they may be confident in their values and talents!", "id": "<urn:uuid:1f7d9c9d-195b-4ee8-a43c-ec88c3b7c1fc>", "dump": "CC-MAIN-2023-14", "url": "https://filmdaily.co/lifestyle/skills-for-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945433.92/warc/CC-MAIN-20230326044821-20230326074821-00743.warc.gz", "language": "en", "language_score": 0.9636865258216858, "token_count": 743, "score": 3.734375, "int_score": 4}
{"text": "Henry Bibb (1815-1854) was an abolitionist, author, lecturer, and journalist.\nBorn into slavery in Kentucky, Henry Bibb eventually escaped and joined the Anti-Slavery movement, travelling across the States to lecture. In 1850 the Fugitive Slave Act was passed, which increased the danger to Henry and his wife, Mary Bibb. The Bibbs migrated to Canada and settled in Sandwich (present day Windsor, Ontario), where Henry and Mary began publishing the first Black newspaper in Canada, the Voice of the Fugitive.\nHenry Bibb was a member of the Anti-Slavery Society of Canada and was the President of the North American Convention of Colored Freemen.\nMary Elizabeth Bibb (1820\u20131877) was an American-born educator and abolitionist leader. She is considered by some to be the first woman Black journalist in Canada.\nMary Bibb was born free in Rhode Island, and attended Massachusetts State Normal School to train to be a teacher. She was active in the abolitionist movement and met Henry Bibb at an abolitionist event in 1847. Together, they moved to Sandwich and started the Voice of the Fugitive newspaper and ran the Refugee Home Society. Mary Bibb continued to be an active educator in Canada West and later operated a retail store.\nMary Bibb was not officially recorded to be at the North American Convention of Colored Freemen; however, it is highly likely she was in attendance and was involved in the Convention\u2019s planning.\nFrederick Douglass (1818-1895) was an American abolitionist, social reformer, orator, writer, and statesman.\nFrederick Douglass was born into slavery in Maryland, U.S. After escaping slavery he moved to New York and became involved in the abolition movement. Frederick Douglass became known as an orator and writer who shared his experiences with slavery. He was involved in the women\u2019s rights movement and the Underground Railroad. Following the Civil War, Frederick Douglass moved to Washington and held multiple positions in office. He was the most photographed American man of the 19th century.\nFrederick Douglass did not attend the North American Convention of Colored Freemen. He spoke at St. Lawrence Hall in April of the same year, one of the multiple lectures leading up to the Convention organized by the Anti-Slavery Society of Canada.\nMary Ann Shadd Cary\nMary Ann Shadd Cary (1823-1983) was an educator, abolitionist, author, publisher, and journalist.\nBorn free in Delaware, Mary Ann Shadd Cary continued the activism of her parents who lived in a safe house along the Underground Railroad. Mary Ann Shadd Cary was the first woman in Canada known to have published a newspaper, The Provincial Freeman. She also established a racially integrated school for Black refugees in Sandwich. During the Civil War, Mary Ann Shadd Cary was a recruitment agent for the union army. Mary Ann Shadd Cary was recognized as a Person of National Historic Significance by the Government of Canada in 1994.\nIt was at the North American Convention of Colored Freemen that Mary Ann Shadd Cary was convinced to move to Canada West.\nDr. Naila Keleta-Mae\nKeynote Speaker and Q&A\nDr. Naila Keleta-Mae is an Associate Professor Arts with expertise in race, gender and performance and an artist who works in theatre, literature and music. Her scholarship has been published in journals including Theatre Research in Canada; Atlantis: Critical Studies in Gender, Culture & Social Justice; and Girlhood Studies: An Interdisciplinary Journal and books including bestseller Until We Are Free: Reflections on Black Lives Matter in Canada (2020); and award-winning Performance Studies in Canada (2017). Her music albums are: Fire Woman (2020); Bloom (2009) and Free Dome: South Africa (2001); and her plays are What We Deserve (2020), No Knowledge College (2005); and Stuck (2001). Dr. Keleta-Mae has commentated for outlets including the BBC, CBC, BBN, CTV, The Canadian Press, The National Post and The Fader. One of her articles was one of the most read stories for a week across Vice Network\u2019s Noisey websites in 15 countries (2016) and another one broke The Globe and Mail\u2019s opinion section record for most shares (2015). Her research on blackness and freedom is funded by the Ontario Ministry of Colleges and Universities, the Social Sciences and Humanities Research Council of Canada and the University of Waterloo. She is Subject Editor of Black Theatre and Performance for the Routledge Performance Archive and Co-Editor of Theatre Research In Canada/Recherches th\u00e9\u00e2trales au Canada.\nNatasha Henry is a historian and educator. She is a PhD candidate in the Department of History at York University. The 2018 Vanier Scholar is researching the enslavement of African people in early Ontario. Natasha is the president of the Ontario Black History Society. Her publications include Emancipation Day: Celebrating Freedom in Canada (June 2010), Talking about Freedom: Celebrating Freedom in Canada (2012), a number of youth-focused titles, and several entries for the Canadian Encyclopedia on African Canadian history. Through her various professional, academic, and community roles, Natasha\u2019s work is grounded in her commitment to research, collect, preserve, and disseminate the histories Black Canadians.\nLuke Reece is an award-winning spoken word poet, theatre producer and playwright, recently appointed as Soulpepper\u2019s Associate Artistic Director. Through his work as an educator and artistic leader within the national arts community, he advocates for engaging and nuanced storytelling that challenges Canadian audiences. He is one of Toronto\u2019s most decorated slam poets, and has represented the country internationally. In 2021 Luke was included in York University\u2019s inaugural Top 30 Changemakers Under 30 list.\nJosh is a seasoned marketing professional who started his marketing/communications career as a student working on electoral campaigns for Antonio Villarigosa in 2005 followed by Barack Obama in 2008.\nAfter completing his studies, Josh served in a variety of communications roles with the Canadian federal government, where he developed national campaigns as well as digital and social media strategies for the likes of Elections Canada, Citizenship & Immigration Canada, before joining Myseum of Toronto as Director of Marketing in 2016.\nJosh is currently the Director of Content & Strategy Delivery at Richmond Hill Public Library and serves on the Board of Directors at Black Artists Networks in Dialogue.", "id": "<urn:uuid:0ce879b1-084d-4b13-9927-1461517b511e>", "dump": "CC-MAIN-2023-14", "url": "https://1851.clients.webstructure.ca/speakers-delegates/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00343.warc.gz", "language": "en", "language_score": 0.9660903215408325, "token_count": 1400, "score": 3.71875, "int_score": 4}
{"text": "E-learning technology is transforming how students learn, and these new opportunities bring plenty of benefits to the traditional classroom. Unfortunately, online learning also brings some security risks with it, and schools and teachers who embrace online learning will need to consider how they\u2019ll keep their students safe while using this technology. As an educator, you will play a direct role in helping to keep your students safe while using this technology.\nStart with education and awareness\nImplementing cybersecurity in the classroom starts with teaching cybersecurity to your students. Begin by discussing the types of cyber criminals who may try to find their way into your e-learning classroom. Highlight cyberthieves, underage predators and hackers, and discuss some of the ways that these criminals may try to gain access, whether it\u2019s by finding their way into chat rooms or social media, or by trying to hack passwords to get into students\u2019 accounts.\nThere are many different ways to teach students about cybersecurity. Start by talking about what malware and viruses are, as well as how they\u2019re transmitted. Help students to identify suspicious sites and teach them to listen to the \u201cuntrusted site\u201d alerts that their anti-virus software sends out while they\u2019re browsing.\nConsider providing a lesson in online security when it comes to social media. During this lesson, talk about how criminals use social media to gain information about and communicate with underage students, discuss profile privacy settings to help protect students, and talk about the types of information that students shouldn\u2019t share online, such as their home address, other locations, and details about their schedules.\nOne of the most important lessons you can teach to your students is to discuss creating good passwords for online accounts and then keeping those passwords safe. Start by talking about why hackers want to access passwords and how they hack those passwords. Then, help students to identify what makes a strong password, including factors like length, the use of upper- and lowercase letters, and the inclusion of numbers and symbols.\nRemembering long, complex passwords isn\u2019t easy, so discuss how students can use password managers to simplify the many different passwords that they\u2019ll accumulate. Again, stress how important it is for students to come up with unique, strong passwords as their master password for the manager. Finish the lesson by talking about security breaches and the importance of resetting a password that has been jeopardized.\nTake steps to protect student data\nData breaches can also jeopardize the safety of student data, so implement student data protection efforts within both your classroom and the school. Make sure that all of your classroom\u2019s computers are equipped with up-to-date antivirus and malware protection programs.\nSchools need to take an active role in protecting student data. An annual cybersecurity evaluation can help schools to identify common vulnerabilities like:\n- Email accounts that aren\u2019t set up to filter phishing attempts\n- Unknown devices accessing the school\u2019s network\n- Out of date technology and programs that are vulnerable to new hacking techniques and viruses\n- Unrestricted user access that means staff (who may not have training in handling sensitive materials) can access data files and sensitive materials on the school\u2019s network\n- Lack of a backup system\nOnce those vulnerabilities are identified, the school can take steps to fix those weaknesses. You as a teacher can bring this matter up at school board meetings to be sure that the school is taking the steps necessary to protect its students.\nRead more: Ensuring online safety in schools is everyone\u2019s business\nImplement a digital contract with students\nCreate a digital contract that outlines acceptable internet usage for students, and have all of your students sign the contract at the beginning of each school year. This contract helps to set clear guidelines and expectations so that students understand what they can and cannot use e-learning technology for while at school.\nFor example, a digital contract might:\n- Explain that students are not allowed to access certain sites, like social media, while on the school\u2019s computer.\n- Specify that the computer is to be used only for assignment-related work, and may outline any additional guidelines for usage that are specific to your classroom.\n- Identify the consequences that a student will face if they do not follow the contract\u2019s rules, such as not being allowed to use the school\u2019s technology for a designated period of time.\nUsing a digital contract holds students accountable and ensures that they understand their responsibility in the agreement.\nPlan to address cyberbullying\nEven with the best cybersecurity plan, issues may still arise in e-learning environments. When designing your school\u2019s cybersecurity measures, plan out how you will manage issues that occur, like cyberbullying.\nCyberbullying is fueled by social media use, and instigators often lack empathy for their victims. You can implement anti-bullying messaging in your classroom by including classroom rules that forbid bullying and by incorporating this messaging into your lessons. Use activities like classroom meetings to talk about the effects of bullying, presentations or role-playing to help students identify bullying, and even creative writing assignments where students explore how bullying can make victims feel. Focus on empathetic behavior in students by rewarding it and talking about how they can seek help if they ever experience cyberbullying.\nRead more: The benefits of an empathic mindset approach to classroom management\nYour school\u2019s counselor is another important ally in combating cyberbullying. As younger and younger students become active on social media, school counselors have had to stay abreast of the changing issues and forms of bullying students face. Including your school counselor as you plan out your e-learning use can ensure that you have a multi-step plan ready to address any bullying issues. Consider having your school counselor come into your classroom as a guest speaker to discuss cyberbullying and to prepare students with how to get help and cope with that situation.\nE-learning has many benefits, but incorporating this technology also means that your school needs to have a strong cybersecurity plan in place. With thorough planning, you can help to keep your students safe while enhancing the quality of their education through technology.", "id": "<urn:uuid:31812218-8ea5-4dc9-9467-05056e17943c>", "dump": "CC-MAIN-2023-14", "url": "https://www.cypherlearning.com/blog/k-20/cybersecurity-measures-educators-can-take-for-e-learning-environments", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00541.warc.gz", "language": "en", "language_score": 0.9538623094558716, "token_count": 1265, "score": 3.65625, "int_score": 4}
{"text": "Coal fired power has been a cheap source of power and electricity since the beginning of the industrial revolution. Cheap and plentiful, coal's problems were often overlooked because of its very low price. However, as a fuel, solar energy is free and clean. As a result, many people believe that solar power will eventually overtake coal as our main source of electricity. Solar is a newer technology, with problems that likely will be solved over time.\nCarbon Dioxide Emmissions\nCoal, as with any combustible fuel, emits carbon dioxide (CO2) when it is burned. The amount of CO2 emitted per million British Thermal Units (BTU) produced varies between 205 pounds and 227 pounds, depending on the type of coal being burned in the power plant. In contrast, solar power produces no CO2, a major contributor to global warming.\nSulfur Dioxide Emissions\nSulfur dioxide is the main component of acid rain. Sulfur dioxide rises high in the atmosphere where it combines with water. It then falls back to earth as rain with a sulfuric acid component. The U.S. Environmental Protection Agency (EPA) estimates that 65 percent of annual sulfur dioxide emissions in the United States are from coal fired power plants. Solar power, on the other hand, does not emit sulfur dioxide.\nParticulate emissions include soot, smoke and other small particles left over after coal is burned. These particles can become lodged in the lungs and can accumulate on surfaces, making them appear black and sooty. Although modern environmental laws have reduced particulate emissions from coal power plants, these plants still emit some particulate pollution. As a noncombustion power source, solar power emits no particulates as part of the power generation process.\nCost Per Generated Watt\nCoal and solar electricity are expected to be roughly the same cost per watt generated by the year 2010. According to Electronics Design Strategy News, the leading solar power provider in Spain will be able to produce power at $0.10 per kilowatt-hour, on a par with the cost of power from a coal fired power plant.\nOne problem with solar power is that solar generation systems can not generate power at night. Some ideas include utility scale power storage systems which are basically very large batteries. Although this works in theory, in practice there are no utility scale power storage facilities yet. Coal power can produce electricity 24 hours a day and its efficiency is not affected by cloud cover.\nAbout the Author\nAlthough he grew up in Latin America, Mr. Ma is a writer based in Denver. He has been writing since 1987 and has written for NPR, AP, Boeing, Ford New Holland, Microsoft, RAHCO International, Umax Data Systems and other manufacturers in Taiwan. He studied creative writing at Mankato State University in Minnesota. He speaks fluent Mandarin Chinese, English and reads Spanish.\nPhoto: Patrick Moore, stock.xchng", "id": "<urn:uuid:a08b370f-681e-4c00-bad8-dce00eda574c>", "dump": "CC-MAIN-2023-14", "url": "https://sciencing.com/solar-power-vs-coal-5457602.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00743.warc.gz", "language": "en", "language_score": 0.9434071779251099, "token_count": 612, "score": 3.859375, "int_score": 4}
{"text": "New guide gives educators a place to start figuring it out\nThe Metaverse. No, it\u2019s not the latest comic book movie plotline. Yes, it is the thing you\u2019ve probably heard Mark Zuckerberg talking about. But what is it exactly?\nAt its simplest, the Metaverse describes a not-so-distant future version of the Internet, where human beings will use immersive technology to go beyond their physical environment. Imagine swimming through a coral reef from your living room or taking students on a field trip to walk on the moonwithout them ever leaving their desks.\nHarvard Graduate School of Education researcher and Ph.D. candidate Eileen McGivney, who taught a course on digital literacy last spring, is part of a team that wants to help educators understand the challenges and possibilities of bringing the Metaverse into the classroom with their new manual, An Introduction to Learning in the Metaverse.\n\u201cIn recent months the buzz around the Metaverse has exploded, and this guide can help educators and educational technology designers understand what its promise is for learning versus what\u2019s just a gimmick,\u201d says McGivney.\nProduced by award-winning education experience company Meridian Treehouse with support from Meta Education and Immersive Learning, the independent team of researchers, including McGivney, marine biologist and National Geographic Explorer Erika Woolsey, and historian and digital storyteller Kai Frazier, created the guide to offer practical strategies for educators to integrate the different tools that fall under the term \u201cextended reality,\u201d or XR, into learning experiences. These immersive technologies include:\n- Augmented Reality (AR): Using a smartphone or tablet to superimpose digital content onto the physical world. Think Snapchat filters or games like Pok\u00e9mon Go.\n- Mixed Reality (MR): Users interact with physical and virtual objects with a head-mounted, see-through display. Students might scan a physical space and embed an undersea environment where fish can swim around them.\n- Virtual Reality (VR): The physical environment is completely replaced with audio and visual stimuli in a virtual world. A headset like Oculus can allow a student to shrink down and explore the human body from the inside.\nFor anyone who thinks this all sounds a bit overwhelming, there\u2019s reassuring news.\n\u201cThe Metaverse isn\u2019t here yet and even those who consider themselves expert don\u2019t really know what it will look like,\u201d McGivney says. \u201cThere\u2019s still time to question and think about what we want it to be.\u201d\nFor educators in particular, that means figuring out when and how XR is most appropriate for learning. For example, current technology is not suited for especially long periods of usage, so teachers wouldn\u2019t want to create a 45-minute virtual lesson. But XR learning can be a great gateway into a new topic to spur interest and motivate students to learn more.\nIn fact, a recent study found that using VR to take students on a virtual field trip to Greenland to learn about climate change produced higher interest, enjoyment, and retention than peers who simply watched a 2-D video.\n\u201cHalf the battle is getting kids to care about what you\u2019re trying to teach, so VR, because of the way it situates someone in the environment and the power it can provide for storytelling, it gives someone an emotional experience, which really connects to student excitement and investment,\u201d McGivney says.\nSo when is XR a good option for learning? A rule of thumb for teachers to follow is to use XR for experiences that otherwise would be too dangerous, impossible, counterproductive (for example, cutting down trees to learn about the effects of deforestation), or prohibitively expensive \u2014 what the guide refers to by the acronym DICE.\nHere are some other things for educators to consider when inclusively designing for XR learning.\n- What are your learning goals? Consider how XR can enhance a learning experience rather than just reproduce it. Say you\u2019re a science teacher and your class is about to learn about the tidal zone. If you\u2019re in a landlocked area, XR can be a great way to give your students the experience of being on the beach, but if you live close to the shore, a real-life field trip is still the better option.\n- What will you need? Think about what technologies your students will need and what they will realistically have access to. You might want to design your own new XR content, which is challenging, but as the guide points out, there\u2019s no need to reinvent the wheel. There are lots of resources already out there to explore. This Educational VR Applications Database from Stanford University is a good place to start.\n- What are your expectations? Teachers know how to measure learning outcomes for a traditional lesson, but you should reconsider what success looks like for a virtual curriculum. \u201cWe should think about the tech, not to teach a particular topic, but to give students an experience to see the value in what they are going to learn later,\u201d McGivney says.", "id": "<urn:uuid:132b479f-18cd-480b-87d0-984e5fc1c774>", "dump": "CC-MAIN-2023-14", "url": "https://www.metaverselearning.space/what-will-learning-in-the-metaverse-look-like/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950110.72/warc/CC-MAIN-20230401160259-20230401190259-00542.warc.gz", "language": "en", "language_score": 0.9344968795776367, "token_count": 1091, "score": 3.984375, "int_score": 4}
{"text": "As the early Bolshevik regime came to power after the Russian Civil War, the party and public underwent severe political, cultural, governmental, and economic reforms. As the rapid changes occurred the Communist Party noticed increasing resistance and rising new problems. Demand for grain, mineral, ore, and material production, political assassinations and censorship, and lack of international credibility were some of the issues that led workers and politicians to strike, withhold resources, and otherwise sabotage government efforts. These issues include incidences such as the trial of 58 mining workers in the Shakhty district for sabotage and was representative of countless other incidences like this around the country (Freeze, 355.)\nOne way the government sought to preserve its union was through a public-relations campaign (Geldern). This included idealizing and romanticizing socialism and production as worthy causes by projecting common workers as folk heroes in films. One film, Chapaev, remains an extremely famous example of a film produced by the soviets staring a communist hero.\nThe story follows a real-life hero of the Great War and the Russian Civil War, Visilii Ivanovich Chapaev. The film begins with Chapaev\u2019s Division on a series of victories before his death during an ambush at Lbishchensk on Sep 5, 1919. (Chapaev). Throughout the film Visilii Ivanovich, despite being politically untrained, faces adversity and difficulty with charisma and the wisdom of life-experience over education. He becomes unlikely friends with a commissar Bolshevik named Dmitrii Furmanov sent from Moscow who teaches Chapaev the true values of communism\u2014which he proudly fights for. The two bond after Furmanov gives Chapaev advice when he learns his men are stealing grain from the peasants housing his division (Chapaev).\nThe film was a massive success of the film industries redirection; first in airing in 1934 it was viewed by over 30 million people across the Soviet Union. Boris Shumiatskii was the new chairman of the industry and wanted to create simple and accessible to the public while maintain political fealty to the regime (Geldern). This served Stalin as an alternate solution to the purges of the 1930\u2019s because it was impossible to purge everyone. This served as a softer method to ensure control and loyalty from citizens in addition to methods of terror like the Show Trials of 1936-1938. Chapaev displays the benefits of being a loyalist as well as glorifying the Bolshevik\u2019s political revolution in 1917. The figure, already larger than life, became a model for citizens to become which not only pacified the government but also the people.\nChapaev. Film. Directed by Georgi and Sergei Vasilyev. St. Petersburg: Lenfilm, 1934.\nFreeze, Gregory L. Russia: A History. 3rd ed. Oxford: Oxford University Press, 2009.\nGeldern, James Von. \u201cPopular Film Industry.\u201d Seventeen Moments in Soviet History. August 30, 2015.\n5 thoughts on \u201cStaging Staged On-Stage Heroes\u201d\nHi Jordan, great job exploring the link between art and the government\u2019s political goals in the Soviet Union! Chapaev is such a fun and fascinating movie, and I think you\u2019ve examined some of its really important themes. And thank you for providing a hyperlink to the film!\nHey I really liked your post! Do you think when people viewed this movie, they knew it was propaganda?\nHi, Carolyn, great question and I would say \u201cno.\u201d People watch movies to enjoy a good story, and the movie has plenty of strong characters, sarcastic remarks, romance, and epic battles that covers the government\u2019s intent to glorify its revolution. Comparatively in America, look at \u201cThe Patriot\u201d with Mel Gibson. It is a fun movie and story to watch, but it also glorifies the current government\u2019s origins.\nSo, true confession \u2013 I actually really like Chapaev \u2013 the film and the character. And so did millions of people who watched it in the thirties. And not because they were brainwashed or \u201cunder Stalin\u2019s control\u201d but because it\u2019s good entertainment \u2014 there\u2019s drama (will they win?), character development (Chapaev\u2019s innate genius as a commander needs some refining so he can be more effective )\u2013 the Furmanov (commissar) guy annoys me, but that\u2019s not relevant here, romance, and then the tragedy of the hero\u2019s death but the victory that insures the cause will live on.\nYou can\u2019t make 30 million people sit through (and pay for) a movie they don\u2019t like.\nI liked how you explored the relationship between politics and the arts. Film is a fantastic way of expressing cultural values, and often shapes how people view themselves within the context of their societies. For every film like Chapaev, there are blockbuster American films attempt to capture what it means to be \u201cAmerican\u201d, and its intriguing to see how people interpret different forms of art.", "id": "<urn:uuid:e039cf53-2362-4010-85e2-6bfca27d6bca>", "dump": "CC-MAIN-2023-14", "url": "https://soviethistorysite.wordpress.com/2019/04/01/staging-staged-on-stage-heroes/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945287.43/warc/CC-MAIN-20230324144746-20230324174746-00343.warc.gz", "language": "en", "language_score": 0.9545114040374756, "token_count": 1088, "score": 3.578125, "int_score": 4}
{"text": "The economic causes of the American Civil War (1861-1865) were rooted in the differences between the Northern and Southern states. The North, with its industrial and urban centers, had a diversified economy that was driven by manufacturing, trade, and finance. The South, on the other hand, was primarily an agricultural region that relied on slave labor to produce cash crops such as cotton, tobacco, and sugar.\nOne of the main economic differences between the North and South was the system of labor. The North had a more diverse workforce, with a mix of wage laborers, small farmers, and industrial workers. The South, on the other hand, relied heavily on slave labor to work the fields and plantations. Slaves were considered property, and their value was often measured in terms of how much work they could do.\nAnother significant economic difference between the North and South was the level of investment in infrastructure. The North had a well-developed system of roads, canals, and railroads, which facilitated trade and commerce. The South, however, had a much less developed infrastructure, which made it difficult to transport goods to market.\nThe economic differences between the North and South were not just a result of different economic systems, but also reflected deeper cultural and political differences. The North was more industrialized and urbanized, and was generally more supportive of federal government intervention in the economy. The South, on the other hand, was more agrarian and rural, and was generally more skeptical of federal intervention.\nThe economic differences between the North and South were one of the key factors that led to the Civil War. The North wanted to preserve the Union and end slavery, while the South wanted to maintain its way of life and protect its economic interests. The war ultimately ended with the defeat of the Confederacy and the abolition of slavery, but the economic tensions between the North and South continue to shape American politics and society to this day.\nDeveloping a Strong, Clear Thesis Statement\nEx: Weak thesis statement: My paper will explain why imagination is more important than knowledge. By asking questions, the writer can devise a more precise and appropriate explanation for joke. Remember that a thesis is not the topic itself, but rather your interpretation of the question or subject. Topic 5: Adult children as parental caregivers Topic 6: Professional football players suffer more than broken bones and strained muscles; they are putting their lives and brains at risk of CTE. This is not a good statement. Analytical thesis Analytical theses are used to analyze a text and communicate a specific interpretation of the text.\nOnce observed, crafting an exemplary thesis statement that effectively accomplishes its objective becomes straightforward and achievable. A thesis statement is subject-specific. How well the statement thus impacts how effectively it serves its purpose. Thesis Statement for an Argumentative Essay A thesis statement for an argumentative essay should show your position \u2014 the claim you make regarding the controversial topic. But first, let us get you familiar with what a thesis statement exactly is and why is it written. The thesis statement for a before you actually begin the heavy research.\n15 Thesis Statement Examples for Research Papers to Inspire You\nHere, a thesis statement is a last but one sentence so that an introduction finishes with an emphatic direct quotation: Though there are theories of the future, where the humans benefit from the merge with robots, the prospects of humans to be the governing force in this new form of life are rather doom. In addition, the audience influences the tone and other techniques of writing, such as jargon. Entail the extent of support and negative effect on supporting evidence that point and reasons why you write one in several examples statements reduce any delay vaccination because the paragraph. Faculty graduates ought to have job expertise of a yr earlier than getting into college to enhance their communication expertise and improve international consciousness and market data. The claim is such as it is A, B, C.\nTherefore, an analytical thesis statement should outline the conclusion, aspect of a topic, or key points used to arrive at a conclusion and indicate the paper or text being analyzed as discussed in the example phrase below. The process of writing a thesis statement is similar for all formatting styles. You should try to summarize the whole paper in a few sentences. Alternatively, think of the thesis as a formula or pattern for your claim, perception, or idea. This thesis narrows the scope of the argument by specifying not just what the focus of a national anti-pollution campaign should be but also why this is the appropriate focus.\nWhen you are being given a topic ask yourself, what do you have to say about this? Example of a debatable thesis statement: At least 25 percent of the federal budget should be spent on limiting pollution. Place and Length of a Thesis Statement A thesis statement usually appears at the end of an introductionand is usually one sentence. Types of claims Claims typically fall into one of four categories. A powerful thesis statement will make the reader excited about reading it further. By Feb 10, 2022 A thesis statement is an important part of academic and professional content writer. Do not confuse a thesis statement with a roadmap! Edit the thesis statement accordingly such that it fulfills its intended purpose. It is not enough merely to discuss a general topic or simply answer a question with a yes or no.\nIf the specific topic is options for individuals without health care coverage, then your precise thesis statement must make an exact claim about it, such as that limited options exist for those who are uninsured by their employers. Topic 10: Governments have long used propaganda to shape opinions by convincing people to fear and hate enemies and to strengthen nationalism. The effects of gun violence are the criminalization of the community, fear among the masses and an ineffective justice system. Does the author make any distinction between the effects on children and adults? It does not have to capture every critical point of the essay; however, it can concisely outline one or two points relevant to the argument or idea. The invention of the printing press within the fifteenth century allowed for a lot much less restricted circulation of knowledge in Europe, paving the way in which for the Reformation. A thesis statement for the problem and solution essayhas to state what solution is best to the problem you consider: Investing in the healthcare of developing nations is the most humane and effective way to tackle overpopulation.\nAn analysis of the college admission process reveals one challenge facing counselors: accepting students with high test scores or students with strong extracurricular backgrounds. Further Examples: Through the experience of one man, the Narrative of the Life of Frederick Douglass, An American Slave, accurately depicts the historical record of slave life in its descriptions of the often brutal and quixotic relationship between master and slave and of the fragmentation of slave families. The thesis should reflect just what you will touch upon in the essay itself. Ex: Weak thesis statement: The life of Abraham Lincoln was long and challenging. At that point, you should revise your working thesis into a final thesis that accurately expresses your argument. Topic 12: Many people mistakenly believe that tattoos are a relatively recent phenomenon; however, body modification has been popular for thousands of years. It shows the purpose and problem of the content with a critical analysis approach.\nInternational education: One of the most diverse experiences you can have in college is studying abroad. Revised thesis: Recent college graduates must have discipline and persistence in order to find and maintain a stable job in which they can use and be appreciated for their talents. Working thesis: The welfare system is a joke. Personal thesis Personal essays are more prevalent in creative writing. In this example the topic of drugs has been narrowed down to illegal drugs and the detriment has been narrowed down to gang violence. . The United States spends more money on its military budget than all the industrialized nations combined.", "id": "<urn:uuid:7fdb8314-2f55-45f6-9eeb-e54cdcaf3674>", "dump": "CC-MAIN-2023-14", "url": "http://complianceportal.american.edu/strong-thesis-examples.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948858.7/warc/CC-MAIN-20230328104523-20230328134523-00143.warc.gz", "language": "en", "language_score": 0.9600104689598083, "token_count": 1579, "score": 4.03125, "int_score": 4}
{"text": "According to legend, King Arthur, the legendary ruler of Camelot, has connections to Arthur\u2019s Stone, a roughly 5,000-year-old tomb in the West Midlands of England. According to one myth, when King Arthur was on his way to fight and flung a pebble aside because he was \u201cproud [that] it had been touched by [him],\u201d the pebble grew in size. According to another legend, Arthur fought a giant whose fallen elbows left enormous traces on the ground.\nAside from myths, the Neolithic tomb has long perplexed specialists and the general public. According to James Thomas of the Hereford Times, the site\u2019s first-ever excavation is set to shed light on its cryptic origins.\nResearchers from the University of Manchester and English Heritage, the foundation that looks after the monument, believe it is improbable that the famous king\u2019s remains will be discovered. They do, however, hope to unearth remains of the Neolithic Britons who built and used the chambered tomb. Archaeologists originally thought Arthur\u2019s Stone was part of a wedge-shaped stone cairn like those seen in South Wales and the Cotswolds, but new digs show otherwise.\nArchaeologist Julian Thomas of the University of Manchester tells Jack Blackburn of the London Times, \u201cI think it has a lot of potential.\u201d The monument is completely different from what we had envisioned.\nOnly the interior chamber of the tomb, which is constructed up of nine upright stones and is capped by a huge capstone weighing more than 25 tons, is still in existence, according to a statement. A prior excavation outside the monument revealed that Arthur\u2019s Stone was built in two different phases and reached into a field to the south.\nAccording to Current Archaeology\u2019s article from August 2021, the tomb\u2019s initial design was a long, southwest-facing mound encircled by wooden poles. Neolithic settlers in the area reconstructed the site after this mound was destroyed, adding a bigger avenue of posts, two rock chambers, and an upright stone. The posts turned to the southeast this time.\n\u201cThe initial emphasis is on the internal relationships between the monuments that make up the complex but \u2026 later, the focus shifts outward,\u201d Thomas told Tom Metcalfe last August.\nThe archaeologist posited that Arthur\u2019s Stone, along with two \u201challs of the dead\u201d that once stood nearby, may have been part of a complex \u201cthat people came to for gatherings, meetings [and] feasting, \u2026 a place that retained its significance for centuries.\u201d\nAccording to the statement, excavations at similar sites in the area have turned up partial human remains, flint flakes, arrowheads, and pottery. The public will be able to observe the researchers at work at Arthur\u2019s Stone because archaeologists will be giving tours of the location all through the dig.\nIt is widely debated if the legendary Arthur ever existed. According to Hetta Elizabeth Howes of the British Library, historical documents suggest that a man named King Arthur led resistance against the Saxons and Jutes in the fifth and sixth century C.E. ; certain Welsh tales mention a similarly gifted warlord. The monarch of modern myth, on the other hand, first appeared in Geoffrey of Monmouth\u2019s History of the Kings of Britain (1138).\nThroughout the 12th and 13th centuries, Arthurian legends were widely disseminated through books for the affluent and oral storytelling for the general populace. The stories subsequently became a part of the medieval romance tradition, longingly longing for a time of morality, chivalry, and righteousness, despite earlier tellings emphasizing Arthur\u2019s bravery in combat and nation-building abilities.\nArthur\u2019s Stone was first linked to the mythical king prior to the 13th century, according to English Heritage. Its fame continued in the centuries that followed: Charles I camped in the area with his troops during the 17th-century English Civil Wars, and writer C. S. Lewis, who frequently walked by the site, based the Stone Table in The Lion, the Witch and the Wardrobe on it.\nAccording to Thomas in the statement, \u201cArthur\u2019s Stone is one of this country\u2019s outstanding prehistoric monuments, placed in a stunning location\u2014yet it remains poorly known.\u201d Our effort aims to give it back its proper place in the narrative of Neolithic Britain.", "id": "<urn:uuid:cf8d7f57-325f-4629-950d-4a281c657c81>", "dump": "CC-MAIN-2023-14", "url": "https://nowarchaeology.com/archaeologists-begin-first-ever-excavation-of-king-arthur-tomb/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00544.warc.gz", "language": "en", "language_score": 0.9614285826683044, "token_count": 925, "score": 3.625, "int_score": 4}
{"text": "7 filtered resultsClear all filters\n7 filtered results\nOur Reading Fiction Quizzes for Kids are perfect for children in Kindergarten, Grade 1. These interactive Assessment Quizzes will test their knowledge and provide feedback. Students learn the fundamentals of reading fiction through multiple choice questions, allowing them to track their progress as they progress through the quiz. Perfect for reinforcing learning or as an introduction to reading fiction, these quizzes make learning fun and engaging. With customized quizzes, assessment feedback, and personalized guidance, these Reading Fiction Quizzes for Kids provides a great way to help better understand the fundamentals of reading fiction.\nTry Kids Academy for FREE!\nReading Fiction Quizzes for Kids are an inventive and exciting way for children to master their reading comprehension and comprehension of literature. While these assessment quizzes are tailored to the specific reading abilities needed in Kindergarten and Grade 1, they can also be used as an effective supplement to any child's reading instruction.\nOne of the most beneficial aspects of Reading Fiction Quizzes for Kids is that they provide children with a comprehensive and engaging method to strengthen their understanding of literature and its themes. The assessment quizzes help to ensure that students comprehend the text they are reading and can make informed decisions regarding its application. Additionally, the quizzes often make use of images, sound effects, and animations to engage students and increase their comprehension.\nThe assessment quizzes created by Reading Fiction Quizzes for kids also allow children to interact with the material they are reading in a meaningful way. This interaction encourages student participation, as well as allows students to analyze the text effectively. Additionally, children are exposed to a variety of genres and themes, which can help them understand different types of literature.\nAnother advantage of Reading Fiction Quizzes for Kids is that they are a fun and effective way for students to test their comprehension of literature. By using these quizzes, children can gain an understanding of the material they are reading and then review what they have learned in a fun, engaging manner. Furthermore, by utilizing the quizzes, students can identify areas in which they need to improve.\nFinally, Reading Fiction Quizzes for Kids are also beneficial when it comes to improving children\u2019s writing abilities. By using the assessments, children can master the basics of sentence formation and storytelling. They can also learn to identify main points, develop arguments, and expand the range of topics they can cover in their writing.\nIn summary, Reading Fiction Quizzes for Kids are an effective way for children to strengthen their reading skills, comprehend literature, and learn the basics of writing. The assessment quizzes make use of visuals, audio, and animations, which promote active engagement. Additionally, students can interact with the material through the quizzes, which encourages participation and comprehension. Furthermore, the quizzes also help to identify areas that can be improved, expanding the range of topics they can cover in their writing. All of these aspects make Reading Fiction Quizzes for Kids a great supplement to any child\u2019s reading instruction.\nNote: You will not be billed until your free trial has ended and can cancel at any time. No strings attached.\nYou are almost done! Follow these three easy steps below\nChoose a payment method\nCreate an account\nDownload the App", "id": "<urn:uuid:776f88d1-2177-4b87-b326-e5788cd32091>", "dump": "CC-MAIN-2023-14", "url": "https://www.kidsacademy.mobi/quizzes/english-language-arts/reading-fiction/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00143.warc.gz", "language": "en", "language_score": 0.9477081894874573, "token_count": 673, "score": 3.71875, "int_score": 4}
{"text": "By Taylor Kilpatrick, Student-Attorney at the International Human Rights Clinic of the George Washington University Law School\nWhat is Restorative Justice?\nRestorative Justice has been employed on different scales and in different contexts throughout the world, as a form of conflict resolution that steps outside of the often-inflexible courtroom system. It is essentially, \u201can approach in which the victim/survivor and offender, and in some cases other persons affected by a crime, \u2018participate actively together in the resolution of matters arising from the crime, generally with the help of a facilitator.\u2019\u201d It emphasizes repairing harm and \u201crestoring harmony as much as possible between offender, victim, survivor and society.\u201d\nRestorative Justice is also sometimes referred to as \u201ccommunitarian justice,\u201d \u201cpositive justice,\u201d \u201crelational justice,\u201d \u201creparative justice,\u201d or \u201ccommunity justice.\u201d It is an umbrella term for a range of specific approaches. These include, but are not limited to, victim-offender mediation, community and family conferencing, circle sentencing, specialized juvenile programs, and indigenous forums. Regardless of the specific approach, this alternative justice system is based on the foundational principles that criminal justice should focus on healing the harm caused, and \u201cthe people most affected by the crime should be able to participate in its resolution.\u201d These two basic principles underscore and guide all Restorative Justice programs. Additionally, there are several core elements that are consistent across all Restorative Justice systems. I provide an overview and examples of each below.\nCore Elements of Restorative Justice\nThe core elements of Restorative Justice are (1) inclusion of all parties to the dispute, (2) community-centeredness, (3) engaging and facing the person(s) on the other side of the conflict, and (4), genuinely repairing the harm generated. These elements intersect throughout the process, and may be emphasized to varying degrees depending on the specific program.\n- Inclusive of All Parties\nFirst, Restorative Justice programs must be inclusive of all parties. Most directly, this means the victim, the perpetrator, and a facilitator. (A \u201cfacilitator\u201d is \u201ca person whose role is to facilitate, in a fair and impartial manner, the participation of the parties in a restorative process.\u201d) These are the essential parties, without whom, the program cannot work. The goal of inclusion, however, is to open the door to all people affected by the crime and encourage their voluntary participation in the resolution. For example, in southern India, a non-profit called the Enfold Proactive Health Trust (Enfold India) has created a Restorative Justice model that continuously and safely engages all affected parties. First, the parties have a preparatory meeting to explain the process and address initial concerns. Next, the facilitator confirms informed consent from all participants. Facilitators then work with individual parties to identify their needs, in multiple subsequent preparatory meetings. Next, the facilitator does a \u201csafety and risk assessment\u201d to ensure security in advance of the official dialogue. All parties then engage in the official guided restorative dialogue. It concludes when the parties agree on a \u2018Restorative Agreement\u2019 that repairs the harm based on their discussion. Finally, the facilitator conducts follow-ups to ensure continued support and compliance. This is a fairly standard model for non-profit Restorative Justice programs.\nThe second element, community-centeredness, is directly related to the first. By creating an inclusive space, Restorative Justice aims to bring \u201csociety\u201d in as an additional party. Rather than the \u201ctwo-way relationship\u201d between the perpetrator and the state in a court setting, Restorative Justice employs a \u201cthree-way relationship\u201d between victim, perpetrator, and society. It may incorporate family, peers, co-workers, schools, or anyone else who serves a role in the harm or its resolution. The goal is to repair the harmony of the community. An example of a Restorative program with strong community ties is the Rwandan Gacaca court. The government created the program in the wake of the Rwandan Genocide, to tackle the volume of cases and heal the country. But the model has deep roots in local tribal culture. The courts are more akin to talking circles, with participation of the parties involved, as well as community representatives. Though not a perfect system, many credit Gacaca courts with helping rebuild society after such violent division.\n- Engage and Face the Other Side\nThird, and also deeply intertwined, is engaging and facing the other side. Restorative Justice largely hinges on the idea that confronting your perpetrator or your victim serves an essential role in repairing the harm created. It opens lines of communication that do not exist in the traditional justice system. For this tenant to be effective, however, it is vital that the facilitator create a safe space. For the victim, facing the other side facilitates healing through storytelling and confrontation in a safe space. (In some models this takes the form of \u201ctruth telling\u201d or \u201cvictim impact statements.\u201d) Forgiving the perpetrator(s) is often a goal for victims, so they can feel a sense of closure. Victims also have the opportunity to ask questions of \u201cwhy\u201d directly to their perpetrators, and actually get a response. One survivor who participated in a Restorative Justice program for sexual violence cases in the United Kingdom said, \u201c[I] hadn\u2019t had the opportunity to tell [my attacker] how he\u2019d made me feel.\u201d And after she subsequently participated in a restorative meeting, she said, \u201cHe heard it from me that day, what he\u2019d done to me, not from someone else saying how I might feel\u2026 I got complete closure from that meeting.\u201d For the perpetrator, facing the other side forces them to confront and take responsibility for the harms caused by their offense, but it also gives them the chance to prove their \u201cpositive capacity and qualities\u201d and \u201ctackle guilt feelings in a positive way.\u201d This process helps them see, hear, and better understand the implications of their actions\n- Genuinely Repair Harm\nFinally, Restorative Justice centrally focuses on genuinely repairing the harm to the victim and the community. Harm can take the form of \u201cmaterial, emotional, social, relational, [or] physical\u201d damage caused by, or surrounding, the event. The options for potential resolutions are \u201cbroader and more flexible\u201d than the rigid remedies available in a court room setting. The victim has a central voice in defining what their \u201charm\u201d is and what a genuine remedy looks like for them. This allows the parties to tailor outcomes to the situation and take a more holistic approach to evaluating what will actually repair the harms. The most common outcomes include a formal apology, specialized community service, rehabilitation, financial reparations, and sometimes punishment. Restorative Justice intentionally steers away from traditional \u201cretributive justice,\u201d which focuses on punishing perpetrators and hinges on state enforcement. The key distinction is that Restorative Justice focuses on forward-looking, reparative outcomes. In addition to innovating the remedies, the victim and the community also set the terms of monitoring compliance and reintegration of the perpetrator. This process gives the victim a sense of ownership over their situation and regained autonomy in their life.\nUltimately, Restorative Justice offers an alternative path to conflict resolution in situations where the traditional judicial system falls short. There are innumerable specific approaches within the Restorative Justice space, but these core elements underscore them all.\n- Center for Justice and Reconciliation, What is Restorative Justice?, http://restorativejustice.org/restorative-justice/about-restorative-justice/tutorial-intro-to-restorative-justice/lesson-1-what-is-restorative-justice/#sthash.L68O2C7h.r18BPsmM.dpbs.\n- Enfold Proactive Health Trust, http://enfoldindia.org/.\n- Gerd Hankel, Gacaca Courts, Max Planck Encyclopedia of Public International Law, p. 1.\n- Interview with Laurie Kohn, Zoom, Nov. 5, 2020.\n- Laurie S. Kohn, #MeToo, Wrongs Against Women, and Restorative Justice, Kansas Journal of Law & Public Policy, pg. 577 (2019).\n- Clare McGlynn et. al., `I Just Wanted Him to Hear Me\u2019: Sexual Violence and the Possibilities of Restorative Justice, 39 L. & Soc. 213, 218 (2012).\n- UNICEF: Tool Kit of Diversion and Alternatives to Detention, https://www.unicef.org/tdad/index_56040.html.\n- United Nations ECOSOC Resolution 2002/12, Basic Principles on the Use of Restorative Justice Programmes in Criminal Matters, https://www.un.org/en/ecosoc/docs/2002/resolution%202002-12.pdf.\n- United Nations Office on Drugs and Crime, Handbook on Restorative Justice Programmes, 2006, https://www.unodc.org/pdf/criminal_justice/Handbook_on_Restorative_Justice_Programmes.pdf.\n- What Would a World Without Prisons Look Like?, New York Times, https://www.nytimes.com/2020/03/06/arts/design/prison-architecture.html.", "id": "<urn:uuid:50d40802-60d5-437f-862a-34ce29063ef7>", "dump": "CC-MAIN-2023-14", "url": "https://bolobhi.org/an-introduction-to-restorative-justice/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945473.69/warc/CC-MAIN-20230326142035-20230326172035-00344.warc.gz", "language": "en", "language_score": 0.9252293109893799, "token_count": 2006, "score": 3.890625, "int_score": 4}
{"text": "Six-Word Memoirs is Proven to Help Students Find Their Own Way to Write\nAt Lord Dorchester Secondary School in Ontario, Canada, Six-Word Memoirs teaching writing activities help secondary school students open up to writing, and offers an easy and engaging extension of their classroom. English teacher Jamie Bechard adorns her classroom walls with this six-word tenet: \u201cGive your voice value with writing.\u201d\nJamie discovered Six-Word Memoirs via her learning coordinator and introduced the concept to her ninth and tenth grade English classrooms in the spring semester: \u201cI always try to do something fun with them on Fridays. End the week on a positive note,\u201d says Jamie. She first introduced Six-Word Memoirs in a creative writing activity on free writing: \u201cNo topics, no marks assigned to it, no evaluations, just giving them activities for writing skills because all too often they get too consumed with, \u2018How much is this worth? Am I getting graded on it?\u2019\u2026it takes away the fun from writing.\u201d As a pre writing activity example, Jamie put chart paper around the classroom and had each student write a Six-Word Memoir. \u201cThey started responding to each other anonymously, and it became conversations in a sense,\u201d she explains.\nThey felt like home to me.\nBut home never turns me away.\nJamie finds that teachers often compete against technology and other distractions, but with this Six-Word Memoir writing activity example, her students were hooked.\n\u201cThe concept is easy and therefore students grasp it and participate,\u201d says Jamie. \u201cAs a writing activity for students, Six-Word Memoirs offers students permission and freedom to open up and write. We\u2019re really trying to focus on getting our kids to write more and when you introduce them to \u2018just write me anything about a topic in six words\u2019 it\u2019s not daunting for them.\u201d Jamie is also rewarded: \u201cIt was beautiful to watch kids give themselves permission to open up because it was a community-building exercise\u2026and they just gave it their all. They didn\u2019t hold back.\u201d\nAs a creative writing activity for high school, and since the class has been reading To Kill a Mockingbird, students were also asked to write Six-Word Memoirs from the perspective of the book\u2019s three main characters: Atticus Finch, Scout, and Jem. \u201cThey get into the minds of characters and write from their narratives. Teaching this book during Black History Month, we\u2019re trying to tie everything in together, and this activity fit perfectly,\u201d she says.\n5 minute creative writing exercises help keep her students\u2019 attention: \u201cIt\u2019s hard as a teacher because you can\u2019t always reinvent the wheel, but when you\u2019re exposed to these awesome ideas, you have to try them to be innovative in education.\u201d Encouraging students to think outside the box is key: \u201cWe want to be innovative educators for the twenty-first century. We have the permission to try new things because that\u2019s how learning happens.\u201d\nSix-Word Memoirs also added value to a staff meeting when Lord Dorchester\u2019s English Department used it during a presentation on the upcoming Ontario Secondary School Literary Tests. \u201cIt\u2019s a universal application to all subject areas,\u201d Jamie explains, adding that she believes English and literacy should be cross-curriculum. They also had staff members write Six-Word Memoirs to connect them with the student experience: \u201cWe wanted to remind the educators that writing can be scary for kids.\u201d\nWhen students learned they would be featured on sixwordmemoirs.com, they asked if they were going to be famous. Jamie\u2019s response? \u201cYou never know where the power of the words will take you.\u201d", "id": "<urn:uuid:06656cb8-923e-4575-801b-014c80824ee3>", "dump": "CC-MAIN-2023-14", "url": "https://sixwordwishes.myshopify.com/blogs/classroom-activities/six-word-memoirs-is-proven-to-help-students-find-their-own-way-to-write", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950110.72/warc/CC-MAIN-20230401160259-20230401190259-00544.warc.gz", "language": "en", "language_score": 0.9696199297904968, "token_count": 823, "score": 3.734375, "int_score": 4}
{"text": "To celebrate International Literacy Day this year, we are recognizing the incredible efforts of our partner Pangea Educational Development. They continue to amaze us with their hard work and dedication in bringing education and access to books to Uganda. Read more about what they are up to and updates on their Pangea Publishing Project.\nWhat is literacy and why is it important?\nThe simple definition of the word \u2018literacy\u2019 is described as one\u2019s ability to read and write, but the word can also be used when referring to a specialized field, like computer literacy, financial literacy, emotional literacy, etc.\nThough it might come as a surprise to some, not everyone is literate, since many do not learn how to write and read around the world. Lacking these vital literacy skills is often what holds an individual behind in various stages of their life.\nThere is only so much information the brain can retain without being constantly exercised through reading. This is why it is important for children to be taught these basic skills at an early age so that their personal growth can happen one page at a time.\nReading and learning about other cultures is indeed fascinating and important, but knowing and understanding one\u2019s own culture is just as important. It is empowering because it helps build identity and pride within one\u2019s culture and experience. It is culturally relevant literature that shapes us as humans, that teaches us about our ancestors, that reminds us where our values and beliefs come from, why we think the way we think, and it helps us in our decision making the future.\nImagine never reading a story, or seeing an illustration, of someone that lived or looked like you.\nWhy is cultural literature relevant?\nEach and every culture in the world has its own history with stories that have been handed down from generation to generation, either through word of mouth or written down into collections of books.\nBeing exposed to culturally relevant literature, as well as multicultural literature, gives people the chance to learn how to relate to others within their own culture and within other cultures, and to become more open minded to different behaviors, lifestyles, challenges, customs, and values of people. This helps in empowering both communities and celebrating diversity in cultures and experiences instead of creating an \u2018other\u2019 and isolating people\u2019s experiences.\nMost countries have gathered their own folklore stories which are often the stories that children grow up with. Everyone knows about the ancient Greek mythology and the Olympus Gods, about Cleopatra and the Gods of Egypt, Cesar and the great Roman Empire, samurais and geishas, Buddha, flying carpets, and so on. Some stories are fabulous, some are a true life lessons, and some express a dark past\u2014but they all tell the tale of each culture\u2019s life.\nNot all of us are able to access the free books and the endless information on any topic that can be found on the internet. Not everyone knows who Red Riding Hood is, or even Winnie the Pooh. There are parts of this world where books and education are a luxury. Our partner Pangea Educational Development works to improve access to educational opportunities for people in Uganda\u2014and they are now developing culturally relevant literature for their students, too.\nPangea Publishing \u2013 Spreading culturally relevant literature about Uganda\nAs with many other cultures, Ugandans have spread their stories and legends through the word of mouth over generations. In order to avoid losing these stories over generations moving forward, Pangea is taking action by developing a special project to document culturally relevant reading material and share them amongst the children of Uganda.\nThe Pangea Publishing project\u2014winner of GoAbroad\u2019s 2018 Innovation in Philanthropy award\u2014aims to preserve and create tangible, long-lasting stories through gathering Ugandan folklore stories and immortalizing them in illustrated books that will be produced in the local languages, as well as in English. Families are able to \u2018subscribe\u2019 to Pangea\u2019s mobile library which will bring them new reading materials once every two weeks.\nPangea publishing was backed by 191 supporters through their Kickstarter campaign which recently ended. They raised enough money to give 300 families in Uganda a year-long subscription to these new reading materials that will be created.\nOther ways Pangea spreads cultural literacy\nLiterature comes in different shapes and forms from fiction and graphic novels, to history books, psychology books, school books, children\u2019s books, and even maternity books. Almost anything a person wants to learn more about can be found through literature. And now Pangea Publishing is expanding this access with meaningful literacy programs such as The Mothers Literacy Program, which provides literacy training to both mothers and children in Uganda.\nAs beautiful as literature is, storytelling has its own form of magic. Pangea Education encourages storytelling and keeping the folklore alive, and so they created a recurring community-wide event, Sodas and Stories, aimed at creating intergenerational interactions between the elder and the young, with content of stories that can range from folklore fairy tales, to personal real life stories.\nOther projects have taken a different kind of approach to promote cultural literacy, and they do it through music. Because where words fail, music speaks. Pangea\u2019s community center in Fort Portal, Kabarole uses music, radio production, and even dance to promote literacy in a meaningful and fresh way.\nLiteracy is like Mystique, the Marvel character, it can take any form but it has one goal\u2014to teach! We all know the power words can have, especially when they speak directly to our hearts. Literacy and culturally relevant literature are the stepping stones in personal development based on their relatable and empowering nature.\nIf you believe that everyone should have access to reading materials and educational opportunities, check out all of the incredible work Pangea is doing to support literacy in Uganda.\nThis blog post was contributed by:\nLucy is an entrepreneur, world traveler and writer by day, and a reader by night. Born and raised in Romania, Lucy lived in 3 different countries and together with her husband traveled to over 20. She strongly believes in personal development, speaks 5 languages (6th is in progress) and is passionate about everything and anything that puts a smile on people\u2019s faces. Through her unique traveling stories, she aims to inspire others to get out of their comfort zone and explore the world.", "id": "<urn:uuid:ea83186c-1a69-4f00-8035-0fe08c38c410>", "dump": "CC-MAIN-2023-14", "url": "https://www.goabroad.org/international-literacy-pangea", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949689.58/warc/CC-MAIN-20230331210803-20230401000803-00344.warc.gz", "language": "en", "language_score": 0.955966055393219, "token_count": 1318, "score": 3.6875, "int_score": 4}
{"text": "How to Write Effective World Language Lesson Plans- 4\nHow do you teach world languages effectively? In the previous posts, we discussed the important elements of effective World Language lesson plans: identifying the learning goal, building good tension into the lesson, and hooking the students into the lesson. The next vital component is direct instruction \u2013 How am I going to explain, model, demonstrate? This is the, \u201cI do; they watch\u201d part. The exhausting song-and-dance part.\nHow to Choose Resources and Strategies\nAfter identifying what I want students to be able to do at the end of the lesson or unit, I must choose the strategies and resources I\u2019m going to use to get them there and organize the material for optimal acquisition of the language.\nSo, how do I choose the resources and strategies? Simple: the ones that will best lead my students to mastery of the learning objective while allowing me to conduct the class in the target language.\nFor example, if the learning objective is, \u201cStudents will be able to talk about their families and friends,\u201d I ask myself, \u201cWhat resources and strategies would work best to accomplish this goal?\u201d In order to prepare students to hold conversations about their family and friends, without the use of English, or L1, students need to see visuals of the vocabulary, and hear and see it in context, with the use of authentic language when possible.\nIf I don\u2019t adequately prepare in advance, I won\u2019t have the necessary visuals and will be forced to use L1.\nIn my opinion, my main job as a teacher is to provide comprehensible input.\nIn order to do that I must prepare ahead of time to have an adequate supply of visuals and props. Yes, this is extremely time-consuming but necessary. However, there are many ready-made PowerPoints on TPT that eliminate the need to create the resources yourself. I\u2019ve used quite a few myself. Check out these resources for Spanish One on my website.\nVisuals and Teacher-Talk\nPowerPoints are the perfect tool to display visuals and teacher talk (talking about my own family) is an effective strategy for providing the necessary language in context. Before students can talk about their families, they need to hear ME talking about MY family so they hear the family vocabulary in context, repeated many times. So, I model the language, grammar, and pronunciation I want them to use, slowing my speech, repeating often, and using cognates when I can. The students have the handout with the English translation but while I am talking, they are looking at my visuals. I show them photos of my family in a PowerPoint and talk about them, providing as many details as they can understand. For example;\nAqu\u00ed est\u00e1n mis hermanas. Se llaman Henrietta, Gail y Anne. Henrietta tiene 64 a\u00f1os. Ella tiene cuatro hijos. Gail tiene 61 a\u00f1os y Anne tiene 50 a\u00f1os, etc\u00e9tera.\nAqu\u00ed est\u00e1 mi esposo. Quiero mucho a mi esposo. Se llama Terry.\nAqu\u00ed est\u00e1n mis padres.\nSometimes I model the input before I pre-teach the vocabulary and other times I do the reverse. Often, I talk about my family, teach the vocabulary, and talk about my family again to provide the necessary repetition.\nI also intersperse stories before, during, and after lessons on GRAMMAR so students can assimilate the concept. The mind may \u201clearn\u201d the grammar rule but be unable to acquire and produce it without much repetition in context and meaningful messages.\nHere is a sample of my Spanish Family PowerPoint.\nThis clip of my PowerPoint on Ser is an example of how I interjected a story into a grammar lesson. (Only the beginning of the story is shown here. To see the complete story, click on the link above.)\nPowerPoints are my Go-to resource for most of my direct instruction because they display visuals so well. Videos are another of my faves because they provide authentic language in context with subtitles in Spanish \u2013 even better than teacher-talk because you can actually read what the speakers are saying as they speak. And instead of exhausting myself during presentation I can observe the students. Here is a FREE VIDEO with comprehensible input for the progressive tense and the subjunctive.\nHere is an example of a video I use for input on La ropa:\nOther World Language Instructional Strategies\nFor other learning goals I can choose from a repertoire of many strategies: Total Physical Response (gestures and dramatization), use of realia (objects from daily life), lecture, dialogues with puppets, sock puppets, storytelling with repetition, questions, and circling. (\u00bfSaca la foto Juan, s\u00ed o no? \u00bfSaca una foto o saca una F? \u00bfQui\u00e9n saca la foto? \u00bfDe qui\u00e9n saca la foto? \u00bfD\u00f3nde saca la foto? \u00bfCu\u00e1ndo saca la foto? \u00bfPor qu\u00e9 saca la foto?) For a great blog on circling, see Martina Bex\u2019s blog.\nIt is also essential to ORGANIZE the presentation for maximum understanding and retention. In order to to so, I must present it in small chunks, and immediately, check for understanding, then have students DO something with it. Research is mixed, but you will be safe to introduce 8-12 words at a time. Fred Jones calls this, \u201cInput/Output.\u201d No practice \u2013 No remember\nThis PowerPoint on Spanish Clothing and Colors vocabulary demonstrates how to present a short chunk and then have students immediately interact with the information:\nThis Saber Conocer PowerPoint is another example of a small chunk of input with immediate practice.\nStudents will acquire the words better if they are associated with other words, so chunking the words into phrases or complete sentences will improve acquisition. Vocabulary cannot be learned in isolation. That\u2019s why teaching with lists alone is ineffective. Students use the list as a reference only.\nStart at the Bottom\nIt\u2019s also essential to organize the material into understandable parts starting at the bottom layer. Many years ago when teaching a grammar concept and talking about adjectives I realized students didn\u2019t know what an adjective was. So, I taught them to recognize adjectives and we practiced. Then I went on to talk about syllables, and\u2026 guess what? I had to teach them what a syllable was. I try not to make assumptions about what students already know, starting at the lowest common denominator and working my way up the ladder.\nSecond-language learning is unique in that you cannot teach yourself a language alone. You must hear someone speak it in meaningful messages (not the best subject for flipped classroom learning for this reason.) Therefore, the teaching component is extremely important in the world language classroom. This is not the learner-centered part of the lesson. In fact, in order for students to move from recognition to production, there must be a HUGE AMOUNT of input first, especially in level one. (Be ready to explain that to your observing administrator.)\nTO RECAP\u2013 For effective world language lesson plans: Choose resources and strategies that best lead your students to mastery of the objective; make sure you have all your visuals, realia, props, before you teach the lesson to minimize the use of L1; and organize your material so it sticks. \ud83d\ude42\nWriting effective World Language lesson plans is less anxiety-producing if you have a check list to follow. At the end of this series of blog posts, I will give you a check list to ensure you don\u2019t leave out any essentials. Here is the link to the next post in the series: How to Check for Understanding\nOf course, if you decide you\u2019d rather be at the gym or home with your family instead of creating lesson plans, use these instead:\nSpanish One Lesson Plans and Curriculum\nSpanish Two Lesson Plans and Curriculum\nSpanish Three Lesson Plans and Curriculum\nAP Spanish Lesson Plans and Curriculum\nDid you know many schools are buying lesson plans for their teachers? Ask your department or principal to purchase these for you!\nIn the next post, we will be talking about how and when to check for understanding. Stay tuned!\nIf you would like to see these blog posts in your email, make sure to subscribe to our mailing list!", "id": "<urn:uuid:ee24135a-9351-46cc-9985-e5b7013a3655>", "dump": "CC-MAIN-2023-14", "url": "https://bestpowerpointsforspanishclass.com/write-effective-world-language-lesson-plans-simplified-part-four/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949025.18/warc/CC-MAIN-20230329182643-20230329212643-00143.warc.gz", "language": "en", "language_score": 0.8995308876037598, "token_count": 1789, "score": 4.125, "int_score": 4}
{"text": "The era of static online courses that treat their learners as passive information absorbers is long gone! No more are people bound by the traditional digital methodologies that rely on text, images, audio, videos, and other similar multimedia formats. With the emergence of artificial intelligence, augmented reality, and a multitude of highly advanced technologies, learners\u2019 expectations have grown beyond measure. Students are now looking for professional, customized tools that can help them streamline their competencies, sharpen their cognitive skills, and polish their problem-solving abilities.\nThe best way to facilitate critical thinking, strengthen decision-making, and enable participative learning is an interactive lesson.\nWhat Are Interactive Lessons?\nIn simple words, interactive lessons are educational lessons based on learners\u2019 active involvement, collaboration, and participation. These lessons utilize the power of diverse interactive elements like animations, live images, digital stories, simulations, gamification, and real-life scenarios, by carefully embedding them within the structure of the course content. Such elements are used to deliver an immersive and engaging experience that caters to different levels of learning complexity. At present, interactive lessons are used by educational institutions across the world to connect with learners in a meaningful way.\nHow to Develop Interactive Lessons for Students?\nEmbed Interactive Elements\nInteractive lessons are primarily defined by the use of synergetic elements that work towards eliciting a response from the learner. They ensure that a student does not merely sit through a lesson with no participation whatsoever. Instead, students are encouraged to take actions such as answering a quiz, participating in polls, watching learning videos, etc.\nInclude 360 Degree Media\nImagine that you are trying to explain the geographical location of a particular place to your students. Wouldn\u2019t it be easier if you could virtually transport them to the said place? This is precisely the kind of immersive experience that 360-degree media provides. With its interactive, virtual videos, it helps students take complete control of their learning environment.\nDevise Real-Life Scenarios\nThe best way to keep learners hooked onto a specific module is by giving them the choice to change its course. As bizarre as it sounds, doing so can help you retain the absolute attention of your learners! Real-life scenarios that branch out into choices can lend your students the ability to strengthen their analytical skills while learning what they need.\nCreate Simulated Environments\nOne of the greatest benefits of providing interactive lessons is that these lessons allow the creation of simulated environments. Simulation enables learners to make as many mistakes as they want until they grasp their new skills. It also permits them to be observed in a controlled manner by educators, who can intervene when required.\nAdd Digital Stories\nUsing digital stories as a medium to connect with learners will work wonders in evoking the right kind of emotions in them. Digital storytelling, due to the power of its sheer creativity, harbors the innate potential to engage learners meaningfully.\nHow to Deliver Interactive Lessons to Students?\nWarm Up to the Lesson\nQuite like you would do with a regular course, start by warming up to both the class and the lesson. Ask your students some basic questions related to the topic and check whether they know enough about the course they are going to study. Gauge their level of understanding and awareness.\nIntroduce New Topics\nOnce this is done, start introducing new topics in a simple way. Embed images or videos into your lesson and engage your learners with what they see. You can also experiment with a guided simulation at this stage. However, make sure that your learners are constantly engaged.\nGather Learner Response\nNext up, start gathering the first responses to your lesson so that you can make the course even more interactive than it currently is. Use your slides to ask a variety of questions and record the answers you obtain in a response sheet. Utilize these sheets to make instant course corrections.\nTrack, Assess & Review\nWith interactive lessons, the best way to track, assess, and review is to prepare a live dashboard. Standardize each facet you want to measure and begin monitoring the progress of every student separately. Doing so will help you ascertain that you\u2019ve covered all possible learning grounds.\nTo Sum Up\nWith changing times, the need, importance, and relevance of interactive lessons \u2013 especially in higher education \u2013 have increased manifold. Access to technology has made it rather easy for colleges and universities to develop, disseminate, and deliver online lessons that are immersive, valuable, and wholesome in their own right. So much so that the eLearning market is projected to grow to almost $325 billion by 2025!\nIn such a transformative scenario, the only way for educational institutions to survive is by creating a set of technically proficient and creatively sound interactive lessons that harbor the ability to enrich content, enhance retention, save costs and thus make the learning process much more fun.\nSo, what are you waiting for? Follow the aforementioned tips, tactics, and techniques to successfully develop and deliver interactive e-lessons now!\nNeed to know more about our Products & Services ? Drop us a Note.", "id": "<urn:uuid:26c16e1d-a1b6-40ef-8301-d2ed05d79cba>", "dump": "CC-MAIN-2023-14", "url": "https://www.hurix.com/how-to-develop-and-deliver-interactive-lessons-for-higher-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00144.warc.gz", "language": "en", "language_score": 0.9345201849937439, "token_count": 1042, "score": 3.5, "int_score": 4}
{"text": "Playful Learning Ideas for Toddlers\nResearchers are uncovering more and more evidence that play plays a vital role in your child\u2019s development. An estimated 80% of development occurs before your child is three, with 90% of brain development occurring before the age of five.\nPlaytime with your toddler is ripe with opportunities to help them learn. Educational toys for toddlers can be a powerful aid to your child\u2019s development. If you\u2019re looking for ideas to help your toddler grow, we\u2019re here to help. The following are seven fun educational activities for kids to help you make the most of this important time in your child\u2019s development.\n1.Sink or Float\nThis fun little experiment allows your toddler to begin learning about science, even if they aren\u2019t ready to grasp more advanced scientific concepts. Fill a small container (or the bathtub) with water. Set aside several items and have your toddler guess whether the item will sink or float.\nSome household items that work well for this activity include things like plastic toy bricks, a sponge, silverware or dishes from the kitchen, a cotton ball, a piece of cardboard, a crayon, or any other small items found around your home.\nWhether you have a garden or not, planting seeds is a great way for your child to begin learning about how plants grow. Even if you\u2019re just planting a couple of seeds in a pot for your kitchen counter, your child can benefit from this activity.\nChildren can learn a lot about how nature works by getting their hands dirty. Our Garden Tools Toys 4pcs set allows your toddler to have their own set of tools for working in the garden. Whether you\u2019re planting seeds or pulling weeds, your child can learn about nature while developing fine motor skills they\u2019ll need in school.\n3.Make Up a Story about a Picture\nCreative storytelling is one of the most effective creative ideas for play-based learning. Pull out a wooden puzzle or other activity that has a picture. For example, you might pull out our Noah\u2019s Ark Wooden Jigsaw Puzzle. As you and your child build the puzzle together, ask your child to tell a story about what\u2019s happening in the picture.\nIf your puzzle has multiple people or animals (like our Chunky Puzzle 3-set), you can ask your child what their names are and what they\u2019re doing. This encourages your child to think creatively about the activity they\u2019re doing. Creative play is also a powerful tool to help your child\u2019s language skills.\nThis is another great learning activity you can do at any time during play. If your child is playing with blocks, work together to count the blocks. If they are putting together a wooden knob puzzle, count the pieces as you put them into place.\nThis activity works with almost any toy or activity. Practice counting up to ten on a regular basis. Once your child can count to ten on their own, start counting to twenty. You can also use our Wooden Knob Puzzles with Numbers, Letters and Shapes to teach your child how to count from zero to nine. Educational puzzles for kids are a great way to teach those foundational skills.\n5.Learn the Colors\nUse playtime to help your child learn their colors. You can do this as the play with any toys. For example, you can point to a toy and ask your toddler what color it is. When they answer correctly, give them verbal praise and point to another object. Repeating this activity, especially when your child is still learning their colors, is a great learning opportunity.\nOnce your child knows their colors, you can have them bring you objects that all have the same color. For example, have your children bring all the red toys in the room. If you\u2019re still working on teaching your child to count, count those red items together.\nDraw several different shapes on a piece of paper and walk around the house looking for things that fit those shapes. For example, you might draw a rectangle, circle, triangle, and square. Walk around the house with your child and have them point out places where they see those shapes.\nThis learning activity will help your child identify shapes in real life (instead of only learning how to identify them on the page). If your child is still learning their shapes, it\u2019s a great way to reinforce that learning.\n7.Invest in Educational Toys\nWhile there are plenty of educational activities to do without buying new toys, educational toys are a fun and simple way to invest in your toddler\u2019s learning. Our toys for preschools are high-quality wooden toys that help your child learn about the world around them. We believe in better toys for better growth.\nYou can choose from our selection of wooden games, toddler puzzles, and more. You can use our toys for a number of fun educational activities. Click here to check out our full selection of products.", "id": "<urn:uuid:65b022f7-c229-4bef-9e06-ff658481f0e4>", "dump": "CC-MAIN-2023-14", "url": "https://olydausa.com/blogs/news/playful-learning-ideas-for-toddlers", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945030.59/warc/CC-MAIN-20230323065609-20230323095609-00345.warc.gz", "language": "en", "language_score": 0.9401457905769348, "token_count": 1040, "score": 3.578125, "int_score": 4}
{"text": "AI can be used in many different ways to solve problems. There are many different kinds of AI, each with its own strengths and weaknesses. Generative Artificial Intelligence is a type of artificial intelligence that works by creating things instead of analyzing data. It uses algorithms to create new things like images, text, or audio. These programs often have input parameters that let the user control how much variation to expect from the final results. Typically, generative AI uses some sort of reward system to help it learn which outputs are desirable and which are not. This type of AI is different from other types because it focuses on creating something rather than solving a specific problem. Let\u2019s take a look at some examples of generative AI used in real-world applications.\nWhat is Generative AI Used for?\nOne of the most common applications of generative AI is in the creation of art. Artists have experimented with different ways to use machine learning and AI to generate new art for decades. This type of AI is increasingly used in collaborative art projects between artists and AI programs. A creative experiment using a generative AI program might look like this: The artist and the AI both create an input. The artist creates a painting, and the AI creates a piece of music. The AI analyzes the paintings and the music to create new variations of the inputs. The artist and AI then select the output that they like best from each set of variations and use those to create a new painting and new music. This type of collaborative art project can be easily explored with a program like AIVA or OpenAI\u2019s Music Creation tool.\nGames and Virtual Reality Applications of Generative AI\nWith advances in GPU development, AI developers are beginning to see real potential in generative AI for creating new virtual worlds and game environments. One of the most promising applications is machine learning applied to the creation of art in virtual reality (VR). This type of art is called real-time generative art, or R-GArt\u2122. By using generative AI to create new and unique virtual worlds, VR developers can create an endless library of unique and immersive game environments. This can also be applied to create virtual human characters that are entirely unique and different each time. This could be helpful in both VR games and in VR training simulations.\nText and Language Application of Generative AI\nText and language applications of generative AI are likely to be more useful in business and industry than in creative applications. However, creative writing applications that use AI may be on the horizon. In fact, many major companies like Google, Microsoft, IBM, and Amazon have been investing in language and text applications of AI for years. There are many applications of generative AI in the field of natural language processing (NLP). One example is the training of a program to be able to read and understand financial markets and financial news. Finite-state machines and Markov chains are two types of AI used in financial news AI systems.\nWhen we look at the current state of the generative AI industry, we see that it is still a long way from reaching its potential. While there are many exciting applications of this technology, each type of software tends to have its own unique limitations and weaknesses. It is likely that it will take a number of years for developers to create AI programs that are as diverse, creative, and artistic as human designers.", "id": "<urn:uuid:db59ca79-38d8-4681-b5b8-2a60ebddd7ed>", "dump": "CC-MAIN-2023-14", "url": "https://www.foxinfotech.org/generative-ai", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00544.warc.gz", "language": "en", "language_score": 0.9436522722244263, "token_count": 686, "score": 3.71875, "int_score": 4}
{"text": "When I started my current job at a 1: 1 school two years ago, I accepted that jobs would change the way my students learn and how they learn themselves. It turned out that it was not the heart. At the beginning of the year, we intervened and asked them to use their computers to create websites and market ideas for an outside crowd. We will take the material in English that we discuss in class and apply it in a correct and stimulating way for my students!\nMy students looked at their blank screens and did not know immediately what to do.\nI suspected the supposed technological era: you probably knew everything about computers. I expected Facebook, Instagram, Snapchat, and iPhone to prepare them for a professional world oriented towards innovation. Unfortunately, this could not be more than a rule. Much of his time at school is simply devoted to word processing, sending messages, or transporting backpacks. We have to prepare students to step by step for technically superior jobs. We need to allow students to use different computers and devices to develop their skills. Here are two different ways that schoolwork can have a strong impact on student learning, as long as they are used effectively.\nUse School Computers to Make Movies\nNo, students not only have to watch movies, but they can also do it! The presence of workplaces in the study allows students to bring course materials with them. In an English lesson, for example, students can visually represent a novel they have read and placed their role in the story. Or why not take photos of your science class tests to show the magic of learning to everyone? Ask students to produce popular scenes of the story they are looking for. Regardless of whether you use iMovie, Windows Movie Maker, or free online programming, students can demonstrate their education using a movie. It will also guide them in Assignment Help.\nMake Presentations Come Alive\nOnce students approach computers in the classroom, they can take their presentations to the next level. Right now, my students are approaching iMovie, iBooks Author, Adobe Suite, Sketch-Up, GarageBand, and much more. It is a lot of programming dollars that are used slowly. It would be a waste not to let them use it! I recently asked my students to be part of the parody determined by the narrative we are studying. A musically qualified student who has to create a parody of melody. She composed the verses and asked them to take them to the next level: sing and produce a melody. With GarageBand, you set everything up incredibly and even uploaded your music to YouTube. Another student has to create a sonnet. When he finished writing, he recorded the last part of his poems and used the extra tape on Apple\u2019s pages to create an electronic book. These students created clean and professional-looking objects. In addition, they have adopted the essence and skills of the 21st century.\nCaitlin Fisher is a renowned and one of the unique writer. She has been writing from a relatively young age. The focal point of his articles in technology and education. She got his Ph.D. Degree in Creative writing from the University of North Carolina. Shee is also a regular contributor to Finance Dissertation Writing UK.", "id": "<urn:uuid:0bce68f3-16e5-47d3-9186-eeb8e3fc160d>", "dump": "CC-MAIN-2023-14", "url": "https://www.wittyneeds.com/technology/5-ideas-for-using-school-laptops-more-effectively/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00544.warc.gz", "language": "en", "language_score": 0.9713077545166016, "token_count": 655, "score": 3.765625, "int_score": 4}
{"text": "Recitatif themes. Themes In Recitatif 2022-10-03\nRecitatif is a short story by Toni Morrison that explores themes of race, identity, and racism through the use of the unique narrative structure of the story. The story is told from the perspective of two young girls, Roberta and Twyla, who are recounting their experiences at a racially-segregated shelter for homeless young people. Throughout the story, Morrison uses the ambiguity of the girls' racial identities to challenge readers' assumptions about race and racism.\nOne of the central themes of Recitatif is the fluidity of racial identity. The girls' racial identities are not explicitly stated in the story, and Morrison intentionally leaves it up to the reader to determine their race. This ambiguity allows Morrison to explore the ways in which society constructs and understands race, as well as the ways in which individuals internalize and navigate these societal constructions.\nAnother important theme in Recitatif is the impact of racism on individuals and communities. Throughout the story, both Roberta and Twyla experience racism in various forms, including discrimination, prejudice, and microaggressions. These experiences have a profound impact on the girls, shaping their understanding of themselves and their place in the world. In addition, the segregation of the shelter serves as a metaphor for the ways in which racism divides and oppresses people, and the harm it causes to both the victims of racism and society as a whole.\nA third theme in Recitatif is the power of storytelling and memory. The story is told through the girls' recollections of their experiences at the shelter, which are shaped by their own perceptions and biases. This highlights the role that individual perspectives and experiences play in shaping our understanding of the world and our place in it. Morrison also uses the girls' changing memories of their racial identities to explore the ways in which our understanding of the past is shaped by the present.\nIn conclusion, Recitatif is a powerful and thought-provoking story that explores themes of race, identity, and racism through its unique narrative structure and the experiences of its two young narrators. Through its exploration of these themes, the story challenges readers to think critically about their own assumptions and biases, and encourages them to consider the ways in which racism affects individuals and communities.\nTheme Of Recitatif\nTwyla accidentally drives past the protest and sees Roberta holding the placards. However, she is also embarrassed at the same time because of the weird and crazy behavior of her mother. Unusually, however, the races of the three main characters are deliberately kept mysterious. Twyla was deeply offended that her former best friend would treat her so badly. Without their mothers around, Twyla and Roberta are forced to behave like adults, but despite the ambivalent feelings that Twyla in particular holds toward her mother, when preparing to see her again she slips into the role of a young daughter.\nToni Morrison's Recitatif Themes\nPons y Cia, 2010. Twyla gets embarrassed when her mother does not bring food. Furthermore, Twyla and Roberta are of different races, but the cultural differences never become the decisive factor in their communication. However, her illness is not mentioned. The decade of the 1970s appears to have more improved race relationships. Twyla is working as a waitress at a restaurant when she sees Roberta with two strange men.\n\"Recitatif\" by Toni Morrison Analysis\nTwyla and Roberta were defined by their thought, actions, and views instead of the external roles expected from them. She threw in a couple stereotypes about races to give the reader an idea, but that enforces the issue. Suddenly Twyla hears Roberta call out her name. Based on these it is truly hard to determine what race each girl is. While the story never reveals the race of the characters, we do know for sure that part of the story did involve racial discrimination. There are lots of parallels between the two girls, which creates a sense that they are twins.\nToni Morrison Recitatif Themes\nIt is that that Morrison never intended to tell the reader the races of the girl. Board of Education also saw an increase in the usage of busing as a means to force the racial integration of schools. Their mothers could not provide for their children, and the girls were sent to the federal institution Morrison 5. Although, Maggie was only in bits and pieces of the story, we can still see that Morrison was trying to prove a point of some kind. During the picnic Robertas mother had brought chicken legs and ham sandwiches and oranges and a whole box of chocolate-covered grahams. Recitatif challenges the reader to not be judgmental toward of the either girls and accept their color. On the other hand, the town is also changing; wealthy executives are moving in, and people are buying run-down houses and renovating them.\nConsidering the sentence out of context, it can be taken as a gesture of racial reconciliation. The conversation between Roberta and Twyla corresponds to the ambiguity of the race of Maggie as well. Bonny before Twyla; however, she returns back to it twice, and for the second time, she runs away. However, these girls would threaten Twyla and Roberta. Roberta and Twyla are afraid of them and think of them as touchy and mean. Twyla has no recollection of Maggie being pushed, but Roberta insists that this is what happened and that she and Twyla had been frightened.\nRecitatif Summary & Analysis\nThroughout the story, Twyla uses this simple phrase to explain why Mary is unable to take care of her. I just remember her as old, so old. It demonstrates race and segregation. Accordingly, they acted like human beings with their own fears, hopes, and aspirations. Of course, she could have been a heavy white woman with a large butt. All of these time periods saw shifts in culture and racial tensions in the United States.\nThemes In Toni Morrison's 'Recitatif'\nIt deals with the five sections of the story that are different from the ordinary lives of the two main characters Twyla and Roberta. Through this, the readers illuminate their own prejudices and assumptions about race. The older girls often hang out and listen to the radio and dance in the orchard. The main and significant point about the short story is Toni Morison never mentions which gild belongs to which race. I agree with you that stereotyping effects so many peoples lives in so many different ways. It is clearly observed that one cannot precisely be certain about the racial identity of Maggie by considering the conversation between Twyla and Roberta. She describes the girls briefly and mixes up some stereotypes between them.\nToni Morrison\u2019s \u201cRecitatif\u201d and Racial Stereotyping\nFinally, it is also conceivable that she is simply apathetic. However, Twyla notices that they are scared runaways who have fought off their uncles. A friendly goodbye and the women go their own separate ways again. The story mainly deals with the theme of social exclusion. All of the girls just laughed at her. The name of Mary is ironic.\nTheme Of The Recitatif\n. Roberta lives in a place where executives and doctors are her neighbors while Twyla lives in a poor neighborhood in Newburgh. The story continues until both girls are much older women with kids of their own. There was no reliable character in this work. It is important to recognize them and to work towards moving past them. They also recall their time at St.", "id": "<urn:uuid:bf591bf6-89cf-4277-8613-c2656bfe6a6d>", "dump": "CC-MAIN-2023-14", "url": "http://childhealthpolicy.vumc.org/bakon7037.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00544.warc.gz", "language": "en", "language_score": 0.9690942764282227, "token_count": 1634, "score": 3.859375, "int_score": 4}
{"text": "Last Updated on February 15, 2023 by ClassMonitor\n6 Exciting Number Activities for Preschoolers & Kindergarteners\nIntroducing numbers to preschoolers and kindergarteners doesn\u2019t have to be a boring task. In fact, there are plenty of exciting and engaging activities that can help your little ones learn identifying & counting numbers. These 7 number recognition activities for preschool will help your kindergartener get a head start in their numeracy skills.\n1. Counting Songs and Rhymes\nCounting songs and rhymes are a great way to introduce numbers to young children. Even before they can count, preschoolers can recognize and enjoy familiar counting songs. Counting songs help to make the concepts of numbers more concrete and memorable for children.\nStart with simple counting songs like \u201cOne, Two, Buckle My Shoe\u201d and \u201cTen in the Bed.\u201d As your child becomes more comfortable with counting, you can move on to more complex songs that involve addition or multiplication. You could also make up your own songs or rhymes to emphasize a specific concept like odd numbers or even numbers.\n2. Number Recognition Games\nWhen it comes to teaching young kids about numbers, fun games can go a long way. Playing number recognition games is an engaging way for preschoolers and kindergartners to learn and practice recognizing numbers. Here are a few ideas:\ni. Number Puzzles\nPuzzles with numbers can provide a fun challenge for preschoolers and kindergarteners. Choose puzzles with big pieces, so they\u2019re easy to handle.\nii. Number Memory\nMake a memory game using pairs of cards with different numbers written on them. This game encourages your child to recognize the written numerals and remember where each card is located.\nThese number recognition games provide lots of fun for kids while helping them learn to identify numerals and associate them with different quantities.\n3. One-to-one Correspondence Activities\nOne-to-one correspondence activities help young children develop number sense and counting skills. They involve connecting a number with an object or group of objects that represent the same quantity. This type of number activity is important because it helps children understand the concept of numerals and the fact that each number represents an amount.\nHere are some great one-to-one correspondence activities for preschoolers and kindergarteners:\nA. Number Matching Game\nCut out numbers from cardboard or paper and have your child match the numeral to the corresponding number of objects. For example, provide 5 cars for them to match the numeral \u201c5\u201d.\nB. Matching Sock Pairs\nCount how many pairs of socks are in a pile. Then have your child find the corresponding number of socks in the pile and match them into pairs.\n4. Connecting Numbers to Quantities\nThis is a crucial concept that preschoolers and kindergarteners need to understand in order to build their math skills. One way to help children understand this concept is to provide activities that help them explore the relationship between numbers and objects.\nPlay a memory game. Place sets of objects (at least five) on a table, and have your child count them aloud. Then cover the objects with an opaque container or a cloth, and ask your child to remember how many there were and write down the corresponding numeral.\n5. Numeral Formation Games\nIntroducing preschoolers and kindergartners to the written representation of numbers is an important math concept for them to learn. Numeral formation games can be a fun and engaging way to help children become more familiar with written numerals.\nOne popular numeral formation game is called \u201cWhat Number Am I?\u201d Draw numerals 0-9 on flashcards, one numeral per card. Show the cards in random order and ask your child, \u201cWhat number am I?\u201d If they get stuck, give them clues such as counting up from the last number, or saying the sound of the numeral (e.g., \u201cbuh\u201d for 2).\n6. Storytelling with Numbers\nStorytelling with numbers is a great way to help preschoolers and kindergarteners learn to identify and understand numbers. This activity can be done in many different ways. Here are a few ideas:\n- Ask the child to choose their favorite number, then create a story together around that number. For example, if they choose the number 5, you could tell them the story of a family of five who lives in a magical kingdom.\n- Give the child a set of number cards and ask them to arrange them in order from smallest to largest. Then, create a story where each number plays an important role. For instance, in the story, five cats jump over a fence one by one, and ten sheep escape from the farm into the wild.\n- Create stories based on counting. Ask the child to count up from 1 to 10 (or higher), then tell a story about what happens at each number. For example, when the child counts to three, a magical door opens and when they count to five, five flying horses appear.\nNumber recognition activities for preschool and kindergarten can be great tools for helping young children learn essential mathematical concepts. By providing these opportunities for students to practice and explore numbers, educators can help foster a strong foundation for later math success. So why not try out some of these exciting number-based activities with your students today?", "id": "<urn:uuid:14d6326a-7251-415c-a959-a81273368dd5>", "dump": "CC-MAIN-2023-14", "url": "https://classmonitor.com/blog/6-exciting-number-activities-for-preschoolers-and-kindergartners/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943746.73/warc/CC-MAIN-20230321193811-20230321223811-00146.warc.gz", "language": "en", "language_score": 0.932662308216095, "token_count": 1110, "score": 4.09375, "int_score": 4}
{"text": "What is Speech Language Therapy?\nSpeech-language therapy is a profession that specializes in the evaluation and treatment of disorders and delays that limit a child\u2019s ability to communicate with others and/or participate in safe and age appropriate feeding. Speech-language therapy might be needed when a child\u2019s communication or feeding skills limit his/her ability to function in daily activities. The team of speech-language therapists at Pediatrics Plus specialize in remediating and developing a child\u2019s ability to understand what he/she hears, to let people know what he/she wants, to interact with others, to produce sounds correctly, to speak fluently, and to safely consume age appropriate foods and liquids. We begin this process with a comprehensive evaluation.\nA child's ability to successfully communicate in a variety of environments may be negatively impacted due to deficits in any or a combination of the following areas.\nLanguage- A child with a language disorder may have difficulty attaching meaning to auditory information and understanding what is said to him or her (receptive language) or may be late in using words to communicate or have difficulty putting words together to communicate (expressive language).\nPragmatics- A child who has not mastered the rules for social language, known as pragmatics, may have difficulty using language for different purposes, changing language according to the needs of a listener or situation, or following rules for conversations and storytelling.\nAuditory Processing- A child with an auditory processing disorder will have trouble processing and interpreting auditory information in the absence of a hearing loss. These children may have trouble hearing the differences between similar-sounding speech sounds or understanding speech in noisy environments.\nSpeech- A child with a speech disorder will have difficulty with the actual production of sound. The most common types of speech disorders include the following:\n- Articulation disorders- Articulation disorders occur when a child has trouble producing specific sounds. Sounds may be substituted, left off, added, or changed making it hard for the child to be understood.\n- Phonological Delays- Phonological delays occur when a child uses inappropriate patterns in his or her speech to make speech easier to produce.\n- Apraxia- Apraxia is a brain-based condition that disrupts the ability to make speech sounds. A child with apraxia will have trouble planning and coordinating the motor movements necessary for speech.\n- Dysarthria- A child with dysarthria will exhibit slow, inaccurate, and/or slurred speech due to paralysis, weakness, or generally poor coordination of the muscles of the mouth.\n- Fluency- A child with a fluency disorder will have an abnormal amount of involuntary repetitions, hesitations, prolongations, blocks, or disruptions in the natural flow or rhythm of speech. They may also exhibit secondary characteristics which accompany the disfluencies.\n- Voice- A child with a voice disorder may have difficulty with phonation or resonance. A child with a phonation disorder may have a harsh, hoarse, or raspy vocal quality or have a voice that is too high or too low for the child\u2019s age or sex. A child with resonance disorder may have speech that sounds \u201cnasal\u201d.\n- Oral Motor/Feeding/Swallowing- A child with an oral motor, feeding, and/or swallowing disorder may drool excessively, refuse foods, have trouble eating age appropriate foods, or cough and choke often while eating or drinking.\nChildren who do not have the prerequisites for speech and language may require training to use an augmentative communication device. At Pediatrics Plus, our Speech Language Pathologist are trained to assist your child in using a variety of Augmentative and Alternative Communication Systems including but not limited to the following:\n- High tech electronic devices\n- Low tech systems such as signing\n- Picture Exchange Communication Systems (PECS)\nSome children require the use of an Augmentative and Alternative Communication System for a short period of time as speech and language skills are developing. Other children may require the use of an Augmentative and Alternative Communication system for a lifetime.\n- Brooke S.\nWhat's the Plus with Speech Therapy?\nOur speech-language therapists provide a comprehensive evaluation focused on key components of communication including receptive language, expressive language, articulation, pragmatics, voice, fluency, oral-motor, feeding, swallowing, and hearing. Results of standardized assessments provide valuable information regarding communication skills. At Pediatrics Plus, we recognize that standardized tests are only one component of a comprehensive assessment process; therefore, we combine information obtained from standardized assessments with thorough observation, information obtained through play based interaction, and parent\u2019s concerns and goals for their child to develop a personalized speech-language therapy intervention plan to address the child\u2019s individual needs. Our knowledgeable and skilled therapists utilize both play based and clinician directed activities in order to help each child reach his/her greatest potential. In addition, our highly trained therapists will implement each plan with selected interventions that may include, but are not limited to, the following treatment techniques:\n- Receptive and expressive language development\n- Social language development\n- Traditional articulation therapy\n- Cycles/Patterns Phonological Intervention\n- Kaufman Speech Praxis Treatment\n- Oral motor strengthening programs\n- Beckman Oral Motor Protocol\n- Fluency shaping techniques\n- Stuttering modification\n- Vocal hygiene training\n- SOS Approach to Feeding\n- iLs \u2013 Integrated Listening Systems\n- Picture Exchange Communication System (PECS)\nAt Pediatrics Plus, we strive to educate and train our speech-language therapists in innovative, evidenced-based treatment strategies that will propel your child to achieve his/her greatest potential. Our team of therapists has individuals certified in the above mentioned areas to ensure that your child receives excellence in their therapeutic services.", "id": "<urn:uuid:e2213e47-2ffc-432c-81c2-c92be41035a2>", "dump": "CC-MAIN-2023-14", "url": "https://www.pediatricsplus.com/therapy-services/speech-language-therapy", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00345.warc.gz", "language": "en", "language_score": 0.9228613376617432, "token_count": 1218, "score": 4.0625, "int_score": 4}
{"text": "Grade Levels: 9/10, 11/12\nSubject Area: Native Studies, Social Studies, History, Geography, Civics, Social Justice\nIn this culminating Indigenous Studies history project, the student is required to choose one topic that they have studied in their course, gather sources (primary and secondary) and do a critical, in-depth review and analysis. The student\u2019s findings are presented in any way s/he desires, from a creating a blanket to doing a PowerPoint presentation. An emphasis on personal meaning-making of the Treaty relationship is encouraged, thereby bringing history into the present, realizing that Treaties are \u201cliving documents\u201d and as such, require us to act.\nApproximately 3 double-periods (1:40 min. X 3) or 5 hours.\nHistorical Thinking Concept(s)\nThis lesson plan uses the following historical thinking concepts: establish historical significance, use primary source evidence, identify continuity and change, analyze cause and consequence, take historical perspectives, and understand the ethical dimension of historical interpretations.\n- Demonstrate the importance of the quote, \u201cWe Are All Treaty People\u201d from both a personal and collective perspective\n- Participate in a public creation\n- Describe what they\u2019ve learned in the process of doing their project\n- Collaborate with community members (outside school) and share what they\u2019ve learned\n- Formulate solutions for controversial issues arising from their research\n- Develop questioning, research and communication skills using primary and secondary resources\n- Illustrate the disconnect between the Indigenous perspective of Canadian history and the non-Indigenous Canadians perspective of Canadian history\n- Apply what they have learned about the Treaty Relationship historically, to their personal actions and their governments\u2019 contemporary actions today\nThroughout the semester, students take part in a simulation covering Treaty relationships in Canada. They\u2019re given roles as either the Indigenous peoples or the Government of Canada. They begin the simulation with pre-contact and the Fur Trade, and navigate their way through Treaty Negotiations, the Reserve System, the Metis Rebellion, Enfranchisement, the Indian Act, Indian Residential Schools, Intergenerational Trauma, the Sixties Scoop, Bill C-31, the Truth and Reconciliation Commission\u2019s work, Land Entitlement, Resource Development, and many other topics. Themes relating to Worldview, Social Contracts, Identity, Stereotypes, Government, Values, Economics, Sovereignty, Decision making and Interdependence are also touched upon.\nThe semester ends by celebrating the resiliency and successes of Canada\u2019s Indigenous peoples and highlights the paths that can be taken for healing. Together, students and the community acknowledge that they are all Treaty people and have a responsibility in understanding the truth of our history so that they can honour the past, be aware of the present and make positive changes for the future.\nDuring the journey, students are challenged to dig deeper into history and uncover the myths that have been taught about the history of Canada. They are given opportunities to use both primary and secondary resources to compare and contrast stories and teachings about the past. Students have opportunities to hear first hand accounts of events and circumstances regarding Treaty Relationships and the history that is their legacy. They are confronted with their own scenarios and perceptions of what they believed happened throughout history and investigated opposing views in order to find ground in which the story could be revealed. Students are challenged to look at their own place in Canadian history and their responsibilities in terms of what it means to be a Treaty Person.\nNote: This learning will be unsettling for some and for others, a rejuvenating experience as they uncover stories that haven\u2019t been told, or have been hidden from history. Some students will find personal healing and others will be inspired to create social awareness and change. Some will start asking questions about their personal pasts and role in this history.\nThe Lesson Activity\nBegin each class by acknowledging and thanking the Indigenous peoples on whose territory your school is located. Students will prepare for this final project by choosing a topic or an issue and then do further research in a way that speaks to its relevance today. Possible topics of study may include:\n- Intergenerational trauma\n- Treaty Negotiations\n- Reserve system\n- Metis Rebellion\n- Effects of Enfranchisement\n- Impacts of the Indian Act\n- Residential Schools\n- Sixties Scoop and loss of Identity\n- Bill C-31 and recovery of Identity\n- Truth and Reconciliation and Healing\n- Land Entitlement\n- Resource Development\n- Breaking Through Stereotypes\n- Traditional Ways of Knowing (Indigenous worldview)\nNote: Students will be cognisant of the \u201cpresentness\u201d of that topic/issue, so that Treaty responsibilities (especially on behalf of non-Aboriginal students) can be exercised today for the benefit of both Indigenous and non-Indigenous Canadians in the future.\nStudents will decide if they want to do this project individually or in a group. Students are also free to invite a guest to the classroom if they feel any of the information needs to be given by an Indigenous Elder. Students must be clear in demonstrating to the teacher how the material they\u2019ve covered correlates with historical thinking concepts.\nStudents will demonstrate their understanding in a variety of ways: building a construction, PowerPoint presentation, Glogster, music video, painting or drawing, poem, story, storytelling, social justice project, medicine wheel, create a blanket, Memory Box, trailer for a movie, or any other that they choose.\nProject Check List\n- Choose a topic to study\n- Gather resources (primary & secondary) to support the topic and answer key questions\n- Choose a way to present the findings\n- Complete a write-up to support the project", "id": "<urn:uuid:bb5adb55-bc13-43d8-ad16-e105ea3cd35e>", "dump": "CC-MAIN-2023-14", "url": "https://www.canadashistory.ca/education/lesson-plans/we-are-all-treaty-people", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945473.69/warc/CC-MAIN-20230326142035-20230326172035-00339.warc.gz", "language": "en", "language_score": 0.9228492975234985, "token_count": 1231, "score": 4.25, "int_score": 4}
{"text": "Inside: Use these Kindergarten Emergent Readers all about kindness in this Growing Bundle to help you teach sel curriculum to your students\nOur beginning readers turn to emergent readers to help students become more confident. But instead of reading random emergent readers, we can teach them to read and connect it to learning about character education.\nThis Kindergarten Emergent Reader Growing Bundle Set all about kindness uses simple vocabulary and sight words is the perfect addition to sel learning.\nWhy Teaching students about kindness is crucial:\nStudents who do not feel safe in our classrooms and in our school will never be able to learn.\nIf they are being teased or bullied or isolated on the playground, they won\u2019t feel confident to raise their hand, participate in class, and take a chance at being wrong.\nStudents don\u2019t know how to deal with tricky social situations on the playground. They don\u2019t know how to stand up for themselves or stand up to bullies. They don\u2019t know how to deal with \u201cmean girls\u201d or how to include someone on the playground.\nWe have to teach them how to be kind in our classroom.\nWe hang Kindness posters up in our classrooms and hallways and maybe even have Kindness Week. But it\u2019s not enough. We have to intentionally teach students how to be kind. How to not be a bully. How to stand up to bullies. How to be a good friend.\nSure, we could argue that these skills should be taught at home. But for so many students, these skills aren\u2019t being taught at home. So if we don\u2019t teach them, our students are missing a key component to learning: how to be a good person.\nSo as teachers, we can change this. We have the power to not only teach our students the state standards. We can also teach them how to speak and act with kindness more often. It\u2019ll make our classrooms kinder places to be.\nAnd it\u2019ll make sure all of our students feel welcomed, included and safe so they come to school ready to learn those state standards.\nSo we can read kindness books and bullying prevention books and includer books.\nWe can use these kindness bookmarks and get our students to make these kindness pencils.\nWe can teach them kindness vocabulary with this Kindness Dictionary, we can play Trash or Kindness to help them decide what is kind and what isn\u2019t, and we can get them to be kind every day with this 100 Days of Kindness.\nAnd we can hang up kindness posters in our classroom and these A-Z Kindness Posters .\nEach book in this Emergent Reader Growing Bundle Set comes with:\nstudent copy of the early reader in color and black and white\ndiscussion starters to continue the conversation\n2 creative writing prompts to connect to the topic for kindness writing\nThe Topics Included in the Kindergarten Emergent Readers Growing Bundle for SEL Curriculum include:\nI am Kind at School\nI am Kind at School (Covid Edition)\nI can Volunteer\nI Speak With Kindness\nI am a Helper\nI am Kind Online\nI am Kind on the Playground\nI can Deal With Bullies\n- We are All Different\n- I can Thank Essential Workers\nI am Kind at Home(coming soon)\nI am a Kind Sibling (coming soon)\nI am a Good Friend (coming soon)\nI am Kind in the Cafeteria (coming soon)\nI am a Kind Kid (coming soon)\nI make Kind Choices (coming soon)\nI can Stand Up to Peers (coming soon)\nI am Mindful of Others (coming soon)\nI am Compassionate (coming soon)\nNeed more advanced language for older students? Get our Early Reader Kindness Growing Bundle Set here.\nUsing the Kindergarten Emergent Readers Set on Kindness:\nPurchase and choose which emergent reader you want to start with. Then print out the emergent readers. You\u2019ll need to print out half the number you need because there are two copies on each sheet.\nYou can choose between the color or black and white version.\nCut the pages apart and collate the pages.\nStaple the books together in the binding.\nIf you\u2019ve used the black and white version, encourage the kids to color the pages. We love using these skin-colored crayons .\nThen with your students, read the emergent reader together. Review any vocabulary they don\u2019t know yet and review the sight words in the book.\nAfter the group read, students can partner read, read them independently, and read them to a class pet or a class stuffed animal.\nContinue Using the Emergent Reader Sets and Character Education\nTo continue the conversation about character education and social-emotional concepts like volunteering and helping, use the discussion starters that come with each emergent reader.\nYou can also use these 60 Kindness Discussion Starters.\nStudents can also use one of the two writing prompts with each of the emergent reader topics to show what they know and write about what they\u2019re learned.\nTo differentiate for your students who need extra support, you can dictate their answers or kid spell their sentences if they\u2019re beginning writers.\nReady to use these Kindergarten Emergent Reader sets?\nGet the Growing Kindergarten Emergent Reader Sets on kindness in my online store\nGet the Growing Kindergarten Emergent Reader Sets on kindness on Teachers Pay Teachers.\nLeave a Reply", "id": "<urn:uuid:67edbd55-7772-4345-805c-d04a6bdd4454>", "dump": "CC-MAIN-2023-14", "url": "https://coffeeandcarpool.com/kindergarten-emergent-readers-growing-bundle-on-kindness/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949533.16/warc/CC-MAIN-20230331020535-20230331050535-00146.warc.gz", "language": "en", "language_score": 0.9055343270301819, "token_count": 1196, "score": 3.65625, "int_score": 4}
{"text": "If you are a middle or high school teacher, and you\u2019re not incorporating picture books in your curriculum, why not!? Creating mini lessons with short texts is one of the best ways we can introduce reading literature skills and concepts so that they will stick. Without a mentor text, it\u2019s hard to create a mini lesson. Enter picture book read alouds for teaching literary elements!\nIf you want students to analyze how the\u2026\n- setting impacts the plot\n- characters shape the theme\n- word choice impacts meaning\n- allusions to other texts impact the tone\n- structure contributes to meaning and style\n- point of view creates humor\n\u2026these picture books will be helpful. You can read them with students before or during a mini lesson and then refer back to them during guided and independent practice.\nLet\u2019s take a look at the books. At the end of the post, I\u2019ll give a little bit more insight as to how to use these as interactive read alouds with secondary students.\nSetting Impacts Plot\nThe Farmer and the Monkey by Marla Frazee is a wordless picture book about a lost monkey who unexpectedly follows a farmer home. The farmer lives \u2013 seemingly \u2013 in the middle of nowhere. But, the happy little monkey pokes around the house, peeks in windows, and knocks on the door until the farmer lets him in. In true monkey fashion, the little circus animal destroys the house in no time, and the farmer banishes him outside.\nSoon, it begins to snow. Monkey is sad, homeless, and cold. The pitiful sight of the monkey neck deep, nearly frozen in snow causes the farmer to have a change of heart. Crying, the farmer picks him up, thaws him out, and proceeds to treat him like a beloved child until the night when the monkey finally finds his train again.\nIn this book, the setting (cold, snowy winter) impacts the plot. Had the monkey not frozen, the farmer\u2019s heart probably would not have softened toward him. And, their beautiful friendship would not have blossomed.\nCharacters Shape the Theme\nIn Gurple and Preen by Linda Sue Park, the two characters (a purple and green robot) crash their spaceship. As the story progresses, Gurple and Preen act as dynamic foils, highlighting one another\u2019s opposite reactions to the tragic opening event. While Gurple runs around frantically, yelling, breaking crayons, and having a generally pessimistic outlook, Preen is busy being productive. Silently, Preen uses all of the \u201crubbish\u201d that Gurple discards to repair the ship.\nAs the two climb into their repaired rocket and take off at the end of the story, Gurple asks, \u201cWhere to next?\u201d and Commander replies, \u201cEverywhere. The whole galaxy. Star by star by star.\u201d The differences between these two characters help to shape the theme: With a universe of creativity, anything is possible.\nWord Choice Impacts Meaning\nIf Dominican Were a Color by Sili Recio is rich with vibrant vocabulary and figurative language.\nIf Dominican were a color\u2026it would be the sunset in the sky, blazing red and burning bright. The shade of cinnamon in your cocoa, the drums beating so fast, they drive you loco.\nThe description in this book brings Hispaniola to life. Why does the author choose the word blazing to describe the redness? Why is Dominican the sunset in the sky? What do these colors symbolize? What images do they evoke?\nWe can have rich conversations with students about purposeful word choice and intentional imagery as an author. How would these lines read differently if the author had used the adjective bright red instead of burning red? The connotation and denotation change, which alters the meaning and mood of the passage.\nAllusions Impact Tone\nIf you\u2019re looking for a humorous book, Duck for President by Doreen Cronin and Betsy Lewin is highly entertaining. In this story, Duck is a humble farm animal who works his way to the top of the political food chain only to realize he\u2019d rather just be a duck on a farm.\nIn addition to personification, the book includes political-style allusions. For example, Duck appears on a late night television show. And, readers will encounter references to famous speeches and slogans (for instance, \u201cA Duck for Change\u201d and \u201cDuck, Making Us Proud Again\u201d can be connected to recent presidential slogans). Also, in his autobiography, Duck writes the following\u2026\nFour score and seven years ago (Lincoln\u2019s Gettysburg address) The only thing we have to fear (Franklin Roosevelt) Ask not what your country (John F. Kennedy)\nRunning a farm is very hard work.\nClearly, these allusions impact the piece by working in tandem with Duck\u2019s unique personality and the personification to create a comedic, light-hearted tone.\nStructure Contributes to Meaning\nI adore the book When I Draw a Panda by Amy June Bates. The front pages of the book include step-by-step directions for how to draw a variety of animals and images \u201cperfectly.\u201d These same images frame the end of the book, but the perfect step-by-step instructions are scribbled all over, symbolizing that there is no one right way to draw. The entire book is threaded with the message that creativity and an independent spirit are to be celebrated.\nThe way the author structures the lines in this book, including the title, is perfectly askew. Lines are not arranged linearly. For example, one of the first pages reads, \u201cSometimes when they say / to draw a perfect circle, / mine turns out \u2026 a little wonky.\u201d The words \u201ca little wonky\u201d are situated diagonally on the page\u2026just enough to be unique and independent.\nSome of the words are larger than others, and each page pops with abstract art, perfectly imperfect illustrations, and a panda that comes to life.\nPoint of View Creates Humor\nUnicorns are the Worst by Alex Willan may sound like a book older students wouldn\u2019t enjoy, but it\u2019s really for all ages. The goblin who narrates the story has such a begrudging, biased perspective of unicorns. His stereotyping and close-mindedness manifests in bitter comments, misconceptions, and missed opportunities to make new friends.\nAs the story progresses, readers can infer that the little goblin has probably formed some of these misled opinions after feeling slighted. For example, he complains, \u201cI have studied forgotten magic, know spells that can transform socks into slugs, can turn broccoli into ice cream, and have mastered the three-strand braid. But despite all of this, does anyone ever ask to have a Goblin-themed birthday party?\u201d and \u201cIt\u2019s not like they ever ask me to one of their tea parties.\u201d\nThe protagonist is the narrator of the story, and his humorous quips and misguided opinions create a point of view that leaves readers giggling, especially when we realize he is friends with the unicorns at the end of the book, only to begin the cycle of bitterness and jealousy with a new animal \u2013 the dragon!\nTips for Interactive Read Alouds in Secondary\nTo share these stories with your classes, it can be powerful to read them aloud together. Whether you are in person or teaching remotely, all students enjoy interactive read alouds.\nIf your middle and high school students are not used to read alouds, you may wish to frame their value. We read books aloud because they open up thinking and discussion. Read alouds create opportunities for empathy and a broader understanding of the world. Plus, there are entry points for discussing pretty much any literary standard under the sun in an organic, authentic way. Read alouds also help to create a relaxing, warm classroom community.\nAs you read a picture book with older students, pause on key pages (plan these stops in advance and mark them with sticky notes, if necessary), and pose natural questions.\nWhat are you\u2026thinking? noticing? feeling? wondering?\nEntertain all ideas, and praise students for sharing their thinking. These questions create a dynamic, interactive element to the read-aloud experience. (Grab a free download by clicking on the image below!)\nBy including picture book read alouds in our secondary curriculums, we will create a bank of rich mentor texts we can refer back to throughout the year as we teach a variety of skills and standards with more complex texts.\nScaffold literary element analysis with these digital and print graphic organizers for any text.", "id": "<urn:uuid:fefbc81e-ba1e-4f61-965b-1164df4ae4e3>", "dump": "CC-MAIN-2023-14", "url": "https://www.readingandwritinghaven.com/effective-read-alouds-for-teaching-literary-elements", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00544.warc.gz", "language": "en", "language_score": 0.9367582201957703, "token_count": 1818, "score": 4.09375, "int_score": 4}
{"text": "Let\u2019s take a good look at how the continuous tenses work.\n- This lesson is about the past simple and past continuous.\n- Click here for the perfect simple and continuous.\n- Click here for the present simple and present continuous.\nOne way of looking at the continuous and the simple in the past is like this:\nThe Simple Toy Soldier likes action. He goes somewhere and gets things done.\nWe\u2019ll see him in action in a minute, but first, let\u2019s look at time:\nThe red line represents time, moving from the past (on the left) towards now (on the right).\nAs I\u2019ve written about before, when we talk about the past, we\u2019re always telling a story.\nWhen we tell a story, the most important parts are the \u201cmain\u201d actions.\nLet\u2019s look at an example:\nLast week we ate dinner with the Kumars. Ranjit told a great story about a traffic cone.\nHere\u2019s the Simple Toy Soldier dealing with the main actions in the past:\nThese are the main parts of our story, so we use the Simple Toy Soldier. He loves this stuff.\nBut a good story needs more atmosphere. We need to see what\u2019s going on in the background.\nThis is when the Big Continuous Lamp steps in:\nLast week we ate dinner with the Kumars. Ranjit told a great story about a traffic cone. It was raining.\nThe Big Continuous Lamp creates the background feeling to the main actions in the story.\nThe Simple Toy Soldier and the Big Continuous Lamp work as a storytelling team.\nLet\u2019s practise this. Can you tell a story by answering this question?\nWhy was Bernard wearing two different-coloured socks yesterday?\nLooking forward to reading your answer! See you next week when we deal with the continuous and simple in the perfect tenses.\nIt was early morning yesterday. Bernard was overslept. He was in a hurry. He looked on his socks only at his office. It was the terrible situation! But he was wearing two different coloured socks!\nHaha! That story\u2019s fantastic. You\u2019re using the past continuous perfectly as well \u2014 good work!\nQuick notes: \u201cBernard overslept\u201d / \u201cHe only looked at his sock at the office\u201d\nThank you very much! You make me write story in English ! A very interesting and useful experience!\n\u2026 and it was a great story!\nAnd how many socks does Andre usually wear? Anita always a pair. Totalling two.\nThere was a young broker from Stocks\nWho was seen wearing mismatched socks\nSpeculation aside \u2014\nHe was not colour-blind\n\u2018Twas a girl\u2019s prank called April, his first.\nBother! forgot the auxiliary for Anita, shame on me, that\u2019s one of Russian blind spot.\n\u201cspeculationS\u201d of course, darn!\u2026", "id": "<urn:uuid:dd3727bf-520c-4621-b99a-ba5e311b1239>", "dump": "CC-MAIN-2023-14", "url": "https://www.clarkandmiller.com/past-simple-and-past-continuous/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00545.warc.gz", "language": "en", "language_score": 0.9631902575492859, "token_count": 632, "score": 3.890625, "int_score": 4}
{"text": "10 Mar 2023\nLearning to Save the Rainforest with KS1\nAre you seeking an exciting and meaningful topic to teach your KS1 class? Learning about rainforests with year 1 or year 2 children offers so much scope for cross-curricular learning. There is a wealth of resources available to support this topic and children will simply love the curious creatures they\u2019ll discover. Of course, important information about climate change and sustainability can also be presented through this topic to support your pupils in considering their roles as global citizens.\nWhy teach about rainforests in KS1?\nRainforests is an engaging, fun, colourful topic. The luscious, green leaves, the brightest of flowers, the rainbow-coloured parrots, the cute creatures and the dangerous wild beasts will inspire curiosity and wonder in all pupils.\nRainforests and deforestation are important topics relating to climate change and sustainable living. Most young children will know a little about recycling, but they can be taught about the 5 R\u2019s (refuse, reduce, reuse, repurpose and recycle) in more detail. Give them real-life examples such as taking a reusable bag with them when they go shopping, or reusing a shoebox as a container for storing pens or toys.\nThe rainforests topic allows teachers to meet many curriculum objectives in geography, science, citizenship and art. There is scope to weave a rainforest topic through dance, drama, music and class assemblies, too. And when it comes to reading and writing activities, there is no end to the possibilities.\nHow do you explain rainforests to young children?\nAs a basic description for younger children, a rainforest is a large area full of trees in certain places around the world. These forests are home to many animals as well as plants. We can teach children that these rainforests are also hugely important for humans as they clean the planet\u2019s air. They are often called \u2018the lungs of the planet\u2019.\nVisual and practical learning will help KS1 pupils engage with the topic of rainforests and learn why they are so important.\nUse maps and globes for reference. Young children find it difficult to think of a world beyond their immediate first-hand experience so it helps them to see where they exist as part of a much greater picture.\nShow children photos and illustrations of rainforests and the animals that live there. Compare and contrast rainforests with UK forests and even look at the similarities and differences between rainforests in different parts of the world.\nFind appropriate videos to share with pupils that will help them gain more of an understanding of what rainforests are really like. You might also be able to find age-appropriate videos that explain why humankind is destroying the rainforests but be mindful of upsetting young children.\nBring learning to life through creative projects such as drama and artwork. The best learning takes place when it\u2019s fun and interactive.\nStock up on wonderful reference and fiction books to fully engage young children with this topic. KS1 children will love going on a rainforest adventure with Finn and his dog, Skip, in the DK book Forest by Brendan Kearney. A beautifully illustrates Animal Atlas will also support children\u2019s understanding of where different animals live around the world.\nWhat are some rainforest activities to do with KS1?\nArt \u2013 Famous artists such as John Dyer and Henri Rousseau created works of art depicting rainforest scenes. Children could compare the two artists\u2019 work and take inspiration to create their own paintings or pastel artwork.\nSenaka Senanayake\u2019s paintings portray the beautiful flora and fauna of the rainforest and pupils may be surprised to learn that he became famous for his artwork while still a child. Children could create personal or group artwork inspired by his work, perhaps using collage techniques.\nSelf-Portrait with Thorn Necklace and Hummingbird, 1940, by Frida Kahlo, is another famous painting that could inspire children\u2019s own works of art, in which they draw or paint themselves with a rainforest background and include one or two rainforest animals.\nDrama \u2013 Children will love creating displays, props and masks then acting out skits or scenes as rainforest animals. They could also learn and perform some songs about rainforests.\nStories, poems and non-fiction \u2013 Fiction set in - and poems about - the rainforest can spark ideas for creative writing while building factual knowledge. Non-fiction texts interest many children and could be used to create fact sheets, information leaflets or even letters of persuasion to the government.\nResearch \u2013 Whether through books or online, children can research the animals that reside in the rainforests. They could research what life is like for people who live in and near rainforests and learn about how these people rely on the plants and animals there. Research the resources rainforests provide us with, such as bananas and coffee.\nTeaching children how to save the rainforest\nAn important part of citizenship education is teaching children about the state of our planet and how we can protect it in the future. Your pupils are the next generation who will take on the responsibility of putting policies and systems into action, in order to try to address the damage that previous generations have caused.\nEven KS1 children can learn about shared responsibility and positive action they can take that makes a difference to the planet and the lives of others.\n- Make sure you have a recycling bin in the classroom and remind children what should be put in there.\n- Reuse paper in class when possible. Highlight this to your class and explain why you have made that decision.\n- Remind children often about not printing unless necessary and foster a culture of sharing resources in pairs to save on printing and paper.\n- Communicate with families and send messages and information about the 5 R\u2019s home.\n- Talk to children about charities that work to save the rainforests and how they do this.\n- Educate children about responsibly sourced materials and food. Help them to look out for the green frog Rainforest Alliance symbol on products, and the FAIRTRADE Mark.\n- Help children and their families learn more about climate change and the threat this has on the rainforest. Simple lifestyle changes we can all make to reduce our carbon footprint include driving less and using less energy.\nYour class will love learning about rainforests and how to save them. So get \u2018Africa\u2019 by Toto playing, sit down to plan your topic, let your imagination run wild and have some fun!\nCheck out our Fantastic Forests KS1 lesson plan which uses the Rainforest Photo Pack and Save My Home Activity Sheet.", "id": "<urn:uuid:6723fafc-d8f3-4caa-b4b8-e59eb8098028>", "dump": "CC-MAIN-2023-14", "url": "https://learning.dk.com/uk/resources/articles/learning-to-save-the-rainforest-with-ks1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00345.warc.gz", "language": "en", "language_score": 0.9537346959114075, "token_count": 1385, "score": 4.03125, "int_score": 4}
{"text": "Paper 1 Question 3 asks students to comment on the structure of the text featured in the exam. In order to prepare for this, they must learn quite a lot of vocabulary centred around structure. This can be used when planning their own creative writing response later on in the exam. Sometimes joining the dots between the two questions can take a little time.\nAs such, why not take a look at the video below which has just been uploaded to YouTube. It\u2019s the first time we have partnered with \u201cTeaching and Learning Resources for Me\u201d to create the content that we need on the VLE.\nThe video covers a response from one student to an exam-style question. It breaks down each paragraph by the structural features that the student has planned in order to fully organise their writing and to help maximise the marks that they will receive for the piece.\nTeachers have a Hobson\u2019s choice really \u2013 teach creative writing or teach creative writing for a GCSE English exam. It must be noted that most short story writers would be hard pressed to produce anything nearing their usual quality in 45 minutes \u2013 which is the time allowed for our students to flex their creative muscles.\nAs such this video is an attempt to give students a certain method with which to approach their GCSE English creative writing \u2013 so that when they go in to the exam they know how to begin, develop and end a short story (or a piece of descriptive writing) in terms of structure. In that way they can focus on the language that they use \u2013 after they have planned the structure of the piece.\nI\u2019m going to include the video below, too. It shows what I think are the top ten tips for Paper 1 Question 5 \u2013 and a number of them are rooted in structure. One of the issues I get as a teacher all the time is that students will insist on producing plot-heavy stories \u2013 so much so that their pieces become a list of what happens and then what happens next\u2026 and so on! The tips included here will help to ensure that students narrow their focus and don\u2019t try to world-build in 45 minutes \u2013 and that means they will be able to focus on descriptive language rather than plot.\nI have a prop that I use in class. I have a little glass snail and I place it on a table. Then I move it diagonally to the opposite side of the table. That, I tell them, is all the plot that you need to create an interesting and engaging story. Another thing I do is leave the class and tell them to watch me as I re-enter. I move (in a very sombre manner) to sit at my desk and place my head in my hands. I then pull myself together and take a deep breath, stand, and announce to the class what they will be studying in that lesson. That, I tell them, is all the plot that you need to create an interesting and engaging story - #2.\nPerhaps I\u2019m running away with myself here. I hope you enjoy the videos!\nPost a Comment", "id": "<urn:uuid:760af952-2a75-4204-9931-f5280cadb292>", "dump": "CC-MAIN-2023-14", "url": "https://www.passgcsenglish.com/2021/12/the-structure-question-and-how-it-can.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945315.31/warc/CC-MAIN-20230325033306-20230325063306-00142.warc.gz", "language": "en", "language_score": 0.9723378419876099, "token_count": 636, "score": 3.65625, "int_score": 4}
{"text": "Summer SAVY 2022/Session 2 \u2013 Truth vs. Perception for Rising 5th/6th Grade\nThursday: Hello all! As we approach the end of the week, we are beginning to make bigger connections to each of the themes of previous days and also think about the ways that truth and perception can be used and/or distorted in both positive and negative ways. We began to follow the possibilities that mediums of communication have in our world \u201call the way down\u201d in order to think about what the potential consequences can be. We continued from yesterday by creating our own interpretation of yesterdays reading (\u2018The Necklace) in a creative writing activity that we then presented to the class. We continued learning how to do close readings of texts and make inferences. We then applied these skills as we read \u201cThe Lottery,\u201d a famous text with some very ethical challenges and implications that made us think about traditions, social knowledge, how truth becomes distorted, and where things can go wrong. We also applied our lesson from the past two days about techniques that are used to communicate in society, art, media, writing, etc. \u2013 such as color and symbol communication \u2013 to our reading.\nIn the next portion of the morning, we watched another very short clip from Mune and discussed myth and tradition, asking ourselves why we do the things we do and how shared knowledge is built in societies. We also thought about how messages and meanings are communicated through representations and added these ideas to our team concept maps from yesterday.\nAfter lunch, we learned about marketing and propaganda. We looked at some famous posters and evaluated the techniques, structure, and methods of communication within them in a rhetorical analysis wheel handout. We learned about how messaging appeals to our ethos, logos, and pathos \u2013 new, deep vocabulary that is very important in the context of truth and perception! Tomorrow we will bring our week together, learn about animation and create our own messages, art, animation, and propaganda. We will have a guest speaker and then work on an exciting final project!\nWednesday: Hello everyone! Today we continued to expand our understanding of perception and how it is formed, how our perceptions motivate us and affect our behavior, and by what methods and mediums we communicate our perceptions of the world to each other. To start off the day, we had a mini-debate about optical vs. physical illusions. Throughout the rest of the day, we also worked on critical reading skills. We evaluated the motivation of Mercury in a Greek myth and did a close reading and critical analysis of the famous short story \u201cThe Necklace,\u201d in which the main character struggles with the truth and consequence of her social perception and her desire to be perceived a certain way because of the alternate reality she imagines and desires. We also watched a short clip from the movie Mune while working in pairs on concept maps to analyze the way that color and imagination can be used as a method to communicate and appeal to our emotions and connect us. You may want to ask your budding philosopher/theorist/scientist/debater about what motivates our social perceptions and how different ways of communicating (color, music, scene, myth) impact us and the world around us!\nTuesday: The theme of today was about bending, changing, and interpreting perception. We started today with a mini-project to review yesterday\u2019s lesson. Students had a choice of two projects: a comic strip style drawing or a creative short story. With each they had to create their own interpretive allegory with touchpoints that related to Plato\u2019s Cave. Students then volunteered to present their stories to the class and explain how it related to the Cave and how or why it was different. We had hedgehogs stuck on the moon, a fish who gets liberated from his fishbowl and learns about the real nature of objects he previously misunderstood, and an astronaut who had been trapped in a space station his whole life returning to earth.\nLater in the morning, we learned about how perception can be manipulated to show different types of realities. We studied optical illusions (is it a donkey or a seal? Perhaps your experiences in life influence which you see first!) and learned about the artistic work of M.C. Escher. Perhaps you could ask your student if the Escherian Stairwell is possible and if it is real or simply a trick of mediums and staging?\nIn the second half of the day, we had a guest speaker who is a Neuroscientist and a professional artist from New York named Kayla. She also happens to be my sister! She zoomed in with us to explain the science of sensory input and perception. She taught us the science behind how and why we see color and how color works. We learned about other properties of light and used prisms to change our point of view. Then Kayla demonstrated ways in which color can communicate emotion and carry messages and we thought about and looked at examples of how color can be used to express feelings in famous art works.\nAfter lunch, we practiced it ourselves! Kayla showed us different watercolor painting techniques that create the illusion of texture or movement and we tried it out by making our own works of art!\nTomorrow we will discuss how perception can be manipulated and whether or not this is a good thing or if it can be harmful. We will also work on fun activities and create our own marketing campaigns!\nMonday: The theme of today was\u2019 Investigating Reality.\u2019 We started out by getting to know each other\u2019s names and favorite mediums as we thought about how we communicate our impressions and ideas about the world and what we use to communicate them. We discussed what a medium is and, as a method of communication and expression, what different mediums provide. We learned that this class has a range of students who connect to the following modes of expression: art, music, sports, magic tricks, poetry, creative writing, media, drawing, scientific discovery, research, and even test taking (yes, this can be a medium too!).\nAfter we got to know each other a bit, we thought through some of the complications of truth, reality, and perception through a few classic philosophy thought experiments. We wondered and laughed about the idea of being brains in a vat, asked how we interpret the world around us scientifically, theoretically, and with others. We talked about how our perceptions are influenced by many things!\nLater, we read about the philosopher Plato\u2019s allegory (a term we learned and discussed today) of the cave. We dissected a difficult text and thought about symbols and how stories are also mediums for communicating about and investigating the world. Additionally, we practiced visual note taking, drawing, writing, and story analyzation.\nToday was an introduction to some of the skills we will build over the week. We asked and answered a lot of questions that may seem simple but are actually very complex.\nTomorrow we will begin to investigate how perspective can be changed or used to convey emotion and messages. We will \u2018treasure hunt\u2019 through a few different optical illusions and famous works of art to discover what methods and techniques people use to communicate perspective.", "id": "<urn:uuid:92a9f6eb-95ac-45d4-a5de-782d751328f7>", "dump": "CC-MAIN-2023-14", "url": "https://pty.vanderbilt.edu/2022/06/summer-savy-2022-session-2-truth-vs-perception-for-rising-5th-6th-grade/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945333.53/warc/CC-MAIN-20230325130029-20230325160029-00766.warc.gz", "language": "en", "language_score": 0.9591175317764282, "token_count": 1478, "score": 3.71875, "int_score": 4}
{"text": "Tropes are a fundamental component of storytelling, whether it is in literature, movies, or any other form of narrative art. A trope can be defined as a common or recurring theme or motif in a story or work of fiction. Tropes can range from character archetypes, such as the hero or the villain, to narrative devices like the \u201cchosen one\u201d or the \u201ctwist ending\u201d. However, the psychology of tropes goes beyond their surface-level appearance in stories. Tropes have the power to shape our expectations, perceptions, and even our beliefs about the world around us. In this essay, I will explore the psychology of tropes, examining how they influence the way we think and feel about ourselves and the world around us.\nAt their core, tropes serve as shortcuts for our brains. They help us to quickly recognise familiar patterns and archetypes in a story, allowing us to engage with the narrative. Our brains are wired to seek out patterns, and when we encounter a trope, we can quickly make connections to other stories we have experienced before. This can create a sense of comfort and familiarity, making it easier for us to become emotionally invested in the story.\nTropes also serve as a means of communication between the storyteller and the audience. By using a familiar trope, a writer or filmmaker can convey a complex idea or theme in a way that is easily understandable to the audience. For example, the \u201ccoming-of-age\u201d trope is a common theme in literature and film. By using this trope, a writer can convey the idea of personal growth and development in a way that is easily relatable to the audience.\nHowever, the psychology of tropes goes beyond their role as shortcuts or means of communication. Tropes can also have a powerful impact on our beliefs and perceptions about the world around us. One way that tropes can shape our beliefs is through the process of cognitive framing. Cognitive framing is the process by which our brains interpret information based on the way it is presented. When we encounter a story that utilizes a particular trope, our brains may frame the information in a way that reinforces our existing beliefs or biases. This can be especially true for tropes related to social identities, such as the \u201cdamsel in distress\u201d trope. This trope reinforces gender stereotypes by portraying women as helpless and in need of rescue by men. When we encounter this trope, our brains may unconsciously reinforce these gender stereotypes, further entrenching our beliefs about gender roles and identity.\nAnother way that tropes can shape our beliefs is through the process of social learning. Social learning is the process by which we learn from the behaviours and attitudes of those around us. When we encounter a story that reinforces a particular trope, we may internalize the attitudes and behaviours portrayed in the story. For example, the \u201cromantic hero\u201d trope portrays a man who is strong, brave, and willing to risk everything for the love of his life. This trope can reinforce the idea that men should be willing to sacrifice themselves for the sake of love, potentially influencing the attitudes and behaviours of those who internalise this trope.\nTropes can also have a powerful impact on our emotional experiences. When we encounter a story that utilises a familiar trope, we may experience a range of emotions based on our previous experiences with that trope. For example, the \u201cbetrayal\u201d trope can evoke a range of emotions, including anger, sadness, and betrayal. When we encounter this trope in a story, our emotional response may be shaped by our previous experiences with this trope, potentially leading to a more intense emotional response.\nThe psychology of tropes also highlights the power of storytelling in shaping our perceptions of the world around us. Tropes can be used to reinforce existing social norms and values, or they can be used to challenge and subvert those norms. For example, the \u201cchosen one\u201d trope is often used to reinforce the idea of individual exceptionalism, the idea that one person has a unique destiny or special qualities that make them superior to others. However, this trope can also be used to subvert those ideas, such as in the Harry Potter series, where the \u201cchosen one\u201d is ultimately successful because of the support and contributions of others, rather than his own exceptional qualities alone.\nThe power of storytelling to shape our perceptions of the world around us can also be seen in the way that tropes can be used to create empathy and understanding for people who are different from ourselves. Tropes can be used to create relatable characters and situations, allowing us to understand and empathize with the experiences of others. For example, the \u201coutsider\u201d trope is a common theme in literature and film and can be used to create empathy for people who feel like they don\u2019t fit in or belong. By portraying the experiences of these characters in a relatable and empathetic way, tropes can help us to understand and connect with people who are different from ourselves.\nThe psychology of tropes also highlights the importance of representation in storytelling. When certain groups of people are consistently portrayed in a particular way, it can reinforce harmful stereotypes and biases. For example, the \u201cmagical negro\u201d trope is a common theme in literature and film, in which a black character has magical powers and exists solely to help the white protagonist. This trope reinforces the idea that black people exist only to serve and support white people, perpetuating harmful racial stereotypes and biases.\nThe psychology of tropes goes beyond their role as shortcuts or means of communication in storytelling. Tropes have the power to shape our expectations, perceptions, beliefs, and emotions about ourselves and the world around us. Tropes can reinforce existing social norms and values, or they can challenge and subvert those norms. They can be used to create empathy and understanding for people who are different from us, or they can perpetuate harmful stereotypes and biases. As consumers of media, it is important for us to be aware of the tropes that we encounter in the stories we experience, and to critically examine the ways in which they may be shaping our beliefs and perceptions. As creators of media, it is important to use tropes in a thoughtful and intentional way, with an awareness of the potential impact they may have on the audience. By understanding the psychology of tropes, we can become more thoughtful and critical consumers and creators of media, and ultimately, use the power of storytelling to shape a more just and equitable world.\nDennis Relojo-Howell is the managing director of Psychreg.\nThe articles we publish on Psychreg are here to educate and inform. They\u2019re not meant to take the place of expert advice. So if you\u2019re looking for professional help, don\u2019t delay or ignore it because of what you\u2019ve read here. Check our full disclaimer.", "id": "<urn:uuid:1afbf33d-3a4c-41a7-b8cf-70644977c2a7>", "dump": "CC-MAIN-2023-14", "url": "https://www.psychreg.org/psychology-tropes/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943845.78/warc/CC-MAIN-20230322145537-20230322175537-00343.warc.gz", "language": "en", "language_score": 0.9364937543869019, "token_count": 1397, "score": 3.75, "int_score": 4}
{"text": "Is your child struggling to form letters correctly? These letter formation tips and strategies may help!\nChildren should not be expected to \u201ccatch\u201d writing skills just from being given opportunities to play with pencil and paper activities \u2013 rather, they need to learn to master handwriting with very specific lessons! (Graham, 1999, in Christensen, 2004)\nLearning to form letters correctly forms a big part of efficient handwriting.\nKids who have not learned to form letters consistently correctly may be putting so much effort into remembering and writing the letters that they don't have the mental energy left for creative writing or correctly answering questions.\nThis is why I feel it is important to teach correct letter formations from the very beginning. Once your child can write letters correctly, automatically, without thinking about them, he/she will be able to focus more on the actual learning process and on writing creatively!\nIf your child has not yet mastered drawing shapes and patterns, then work on these first before attempting numbers and letters.\nTracing and drawing shapes and patterns will help your child master the diagonals and curves necessary for letter formations.\nThe order of mastery is to first trace the letters, then to copy them, then to write them with a starting point cue, then to write them completely independently without cues.\nIf your child can not yet copy a letter with the correct formation, then write the letter yourself and have your child trace it. You may even find it helpful to guide your child\u2019s hand as they trace the letter as in the picture alongside).\nStart teaching correct formations with the letters of your child\u2019s name. So often, preschoolers learn to write their name by copying it any old how \u2013 and poor letter formation habits become deeply entrenched.\nHelp your preschooler master the letters of their own name correctly, and you will have laid a good foundation for learning the other letters.\nSimilarly formed letters can be taught together for maximum impact \u2013 for example c, d, o. When letters are taught in families of similar formations, it is much easier for children to remember and master the correct formations.\nMake use of a good handwriting program such as Handwriting Heroes, which teaches letters in families.\nView these resources to help you teach letter formations in groups.\nSome kids are very good at getting their letter to LOOK correct, but their strokes were perhaps bottom to top, or right to left, which can lead to handwriting issues later.\nSo, pay careful attention to HOW your child forms the letter, not just what it looks like at the end! If you catch formation errors early, they are much easier to correct!\nAs well as the fun ideas on my letter formation activities page, to help your child master letter formations in different ways.\nLook for stories, rhymes and songs about letter formation, which will help your child remember where to start and stop each letter. Handwriting Heroes provides everything you need for a multisensory approach!\nI used a similar program to help my own kids remember the correct formations when they were young.\nTry making letter formations part of a gross motor activity. For example, have your child crawl, hop or jump to each letter and trace it, whether on a floor, a table or a wall.\nThis makes it fun and also challenges your child to recall the correct formation even when not sitting at a desk (applying learning in different situations).\nLearning to form letters and numbers involves a number of different foundation skills.\nSchickedanz (1999, in Dinehart, 2014) believes that children not only have to see the letter correctly reproduced in front of them, but they also need to recognize the line segments that form the letter and then have the ability to reproduce the sequence and direction of the segments that make up the letter.\nHere are some of the foundation skills your child needs in order to master letter formations:\nSo if your child struggles with any or all of these foundational areas, then he/she may struggle to form letters correctly.\nIf your child is struggling to form recognizable numbers and letters, I really recommend you take a break from working on these, and work on some of the underlying foundational skills that I describe above.\nThis is particularly true if your child is still in preschool!\nThere are lots of free activities on my site to help promote your child\u2019s normal development. Click on the images below to visit different pages on my site and get great activities to help your child!\nThen try some of these great letter formation printables to help you teach your child how to form letters the right way from the beginning!\nIf you liked the tips on this page, you can download them for yourself or to hand out to parents!\nYou will get all the tips on this page in a printable, accessible format.\nFill in this form to access your freebie right away! You also have the option of signing up for my newsletter through this form!\nI hope you found this page helpful!\nWhy not sign up for my occasional newsletter to stay in touch with new activities and tips on my site?\nIf this page was helpful, please share it with your friends!\nDinehart, L.D. Handwriting in early childhood education: Current research and future implications. Journal of Early Childhood Literacy. March 2014. http://dx.doi.org/10.1177/1468798414522825\nChristensen, C.A. Relationship between orthographic-motor integration and computer use of the production of creative and well-structured written text. British Journal of Educational Psychology 74(Pt 4):551-64. December 2004. http://dx.doi.org/10.1348/0007099042376373\nDidn't find what you were looking for? Try a search of my site!", "id": "<urn:uuid:967d457e-8a4c-45cf-bddb-73f6c67e8e85>", "dump": "CC-MAIN-2023-14", "url": "https://www.ot-mom-learning-activities.com/letter-formation-tips.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00545.warc.gz", "language": "en", "language_score": 0.9306331276893616, "token_count": 1190, "score": 4.0, "int_score": 4}
{"text": "As parents, we should raise our kids to respect all cultures. Here are 5 simple and fun activities to Teach Kids about Diversity and Cultural Awareness.\nChildren often begin to notice differences at a young age, which can sometimes land parents in some very awkward situations. Questions like \u201cMommy why does she look like that?\u201d are relatively common and often a parent\u2019s natural reaction is to silence their child and change the subject as soon as possible. As adults, we have learnt that asking these types of questions in public can potentially cause offence, yet children have not yet been socially conditioned to understand this.\nWhen your child does ask these questions, you should seize the opportunity to help your child understand and respect cultural and ethnic differences. For instance, if your child asks why someone has white skin, simply provide your child with the objective facts that will help them understand why these differences exist.\nSo in this case, you would explain that because their parents had white skin, they do too. If they ask why a person sounds funny or is speaking another language, explain that they may have a shared heritage and family from another country.\nThrough the process of teaching your child to understand other people\u2019s cultures, they will, in turn learn about their own. In the long term this will help them learn about a wide range of other important subjects including history, ethnicity, religion and geography.\n5 Activities to Teach Kids about Diversity\n1. Celebrate Holidays from Different Cultures\nOne of the easiest and most fun ways to engage with people from others in a multicultural society is to share each other\u2019s holiday celebrations. For Hindus, these are Diwali, Dussehra and Sankranti, for Christians, this obviously includes the likes of Easter and Christmas, while for Muslims this includes Eid Celebrations that occur shortly after the month of Ramadan.\nDuring these periods your child may have friends that celebrate these traditions, so it\u2019s the perfect time to teach your child about them. Where did the holiday originate? Why do people celebrate it? These are the type of questions that will really help your child gain a deeper understanding of other traditions and cultures.\n2. Learning a Second Language\nTeaching your child a second language is a great way to open your child up to other cultures and traditions. Kids who can speak another language are able to understand and relate to other communities at a more personal level.\nAs Mom Bible describes, \u201cBeing able to interact with others in their native language also means that children can actually interact with other communities at an individual level.\u201d This certainly beats second hand accounts seen and shown on TV and other forms of mass media.\nEven better is the fact that learning a second language has more than cultural benefits, there are a range of other emotional and cognitive benefits too. Besides in a global world, having a second language under their belt is bound to be an advantage in their potential academic or professional endeavors.\n3. Celebrate Diversity through Reading\nReading books to kids at bedtime is an activity often enjoyed by parents and children alike. Storytelling is also a great way to introduce important concepts about identity, different cultures and traditions.\nThere are many fun and thoroughly enjoyable multicultural books available today that cover such topics. Some great examples include The Skin You Live In, which provides a great underlying message about accepting others, as well as Don\u2019t Call Me Special that has a disability theme and delivers a very powerful message.\n4. Learn about Cultural Etiquette\nLearning about the etiquette of different cultures can really help kids gain a deeper understanding and awareness of differences. This will also help them realize that what is normal to them, may not necessarily be perceived as normal to others and vice versa.\nFor example, in India the left hand is considered unclean and so food is passed to others using the right hand. On the other hand, finger pointing is considered rude in Thailand, so is a big no-no.\nFamiliarizing children with these cultural differences can be a very enlightening experience. Key questions to ask is why they exist in the first place? And how do people respond if they are ignored?\n5. Be a Positive Role Model\nIn order to raise a culturally sensitive and understanding child, being a positive role model is perhaps the most important factor of all. Children look up to their parents for guidance and advice, so by taking a stand against all forms of bigotry and by being culturally aware and sensitive you can really have an impact on your child\u2019s worldview and attitude.\nRemember to focus on the strengths when talking about those that are different to your child. This view concentrates on the positive traits and attributes and what they are able to achieve, as opposed to what they cannot, helping to make our world a better place.\nLeave a Reply", "id": "<urn:uuid:1535efbb-b2a4-4659-826d-6ff0e94738ac>", "dump": "CC-MAIN-2023-14", "url": "https://www.mylittlemoppet.com/activities-to-teach-kids-about-diversity/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943750.71/warc/CC-MAIN-20230322051607-20230322081607-00746.warc.gz", "language": "en", "language_score": 0.9631887674331665, "token_count": 984, "score": 3.78125, "int_score": 4}
{"text": "Teaching rhetorical devices in high school. Grade 9 2022-10-27\nTeaching rhetorical devices in high school Rating:\nTeaching rhetorical devices in high school is an important aspect of preparing students for success in college and in their careers. Rhetorical devices are tools that writers and speakers use to persuade and influence their audience. By understanding and being able to effectively utilize rhetorical devices, students can become more effective communicators and critical thinkers.\nThere are many different rhetorical devices that can be taught in high school, including ethos, pathos, and logos. Ethos refers to the credibility or trustworthiness of the speaker or writer. Pathos refers to the use of emotion to persuade the audience. Logos refers to the use of logic and reasoning to persuade the audience.\nOne way to teach rhetorical devices in high school is through the use of examples from literature, film, and other media. By analyzing the use of rhetorical devices in these sources, students can see how they are used in practice and can begin to understand how to use them effectively in their own writing and speaking.\nAnother way to teach rhetorical devices is through the use of class discussions and debates. By giving students the opportunity to present their own arguments and to respond to the arguments of others, they can develop their skills in using rhetorical devices to persuade and influence their audience.\nIn addition to teaching students how to use rhetorical devices, it is also important to teach them how to identify when these devices are being used by others. This will help them to become more critical consumers of information and to think more critically about the messages they are presented with on a daily basis.\nOverall, teaching rhetorical devices in high school is an essential part of preparing students for success in college and in their careers. By understanding and being able to effectively utilize these tools, students can become more effective communicators and critical thinkers, skills that will serve them well in any field they choose to pursue.\nYour group will be responsible for 5 rhetorical terms from the group lists on the next page. Hyperbaton Group G: Other Terms 1. Yet exposure to these terms gives pupils the opportunity to experiment with language and increase their writing repertoire. Assessing the Assignment The evaluation criteria that you develop for your rhetorical analysis assignment should be clear, available to the students during their drafting phase although drafts themselves should not be graded , and should retain a focus on formative feedback as much as summative assessment. President Roosevelt \u2014 Paradox: a statement that appears to be self-contradictory or opposed to common sense but upon closer inspection contains some degree of truth or validity. Epithet Asyndeton Polysyndeton Synecdoche Metonymy Group F: Other Terms 1.\nEach issue examines the relationship of theory and research to classroom practice, and reviews current materials of interest to English teachers, including books and electronic media. King \u2014 Anaphora: Repeating the word or words at the beginning of a line, clause or sentence. By citing many examples from historical rhetoric legends such as Aristotle and Cicero it shows us how studying people from the past is necessary. Students should record the names and definitions on their worksheets. During this speech Obama, a Democratic President, addresses the Republican Party, which represents the other side of the political spectrum. The Rhetorical Triangle Indiana University By now your students know that the act of storytelling consists of 3 components: the story, the storyteller and the audience. Here are some of them: Children have a clear idea about the number of objects that they are going to add up.\nMath skills are the most important part of learning and developing. Below are some considerations to keep in mind as you design the assignment. That is the main focus that Trump attempts to rely on. Leaders use it, commercial vendors use it, and normal everyday people use it. Having spent years creating academic content and providing professional development to teachers, she now curates themed playlists meant to provide educators with valuable, time-saving resources.\n\u00c2 What will guide your choice or should guide their choice? In addition, peer pressure will help these students to improve remarkably in their academic, especially through group discussions. A quiz to check whether your audience understood the concept. Students will then improve their own writing strategy, style, and organization by correctly and skillfully using the devices they have learned. You will work with your group to create a presentation or video with examples for each rhetorical device assigned to your group. Shared experiences give students the outlet to learn science through multiple sensory techniques. By teaching students about rhetoric and logical arguments, it supports less volatile discussions and puts more emphasis on making decisions based on concrete evidence and not logical fallacies. By driving their motivation to its maximum potential, a student may have a good achievement in study when they put more effort compared to the others.\nUse something interactive like Quizziz, Kahoot, Pear Deck etc. High school students should be taught rhetoric in the classroom because of the immense advantage given to them with in-class and standardized test essays. Determine the list of topics and assign students a stance to take. Quick read: Quick listen: Want to know more? Make sure to engage all students. There is a significant relationship between participation in arts in high\u2026 Aristotle's Rhetorical Situation Both emphasize the importance of the audience; therefore, both place value on the rhetorical situation.\nRHETORICAL DEVICES IN A SPEECH LESSON AND RESOURCES\nAnd most importantly, he or she will be taught the proper way of doing the mathematical problem. Hypophora Group B: Strategy 1. There are many opportunities for students to widen their horizons and get out of their comfort zones. With an organized worksheet, kids will be able to describe and explain the correct answer to any mathematical problem. When one talks in rhetoric, it resonates with the common people. The main reason behind this is that learning math can be done with the worksheets.\n5 ways to teach rhetorical devices and boost writing\nTherefore, his Presidential Inaugural Address was going to help America succeed to the higher opportunities of that time period. An attribute that would have made this speech better would be to explain how he planned to change society while in office. Kids are usually introduced to this topic matter during their math education. The main purpose of using a worksheet for kids is to provide a systematic way of teaching them how to count and multiply. This handout provides an overview of logos, pathos and ethos and their defining qualities and shows students how to recognize and incorporate these appeals. President Lincoln \u2014 Allusion: a direct or indirect reference to something which is presumably commonly known, such as an event, book, myth, place or work of art.\nTeaching Rhetoric in the High School: Some Proposals on JSTOR\nBy being active in and out of school, students can prepare themselves for life after college. In elementary school, children are exposed to a number of different ways of teaching them how to do a number of different subjects. Tim Roach is a Year 3 teacher at Greenacres Primary Academy in Oldham. This video reframes logos, ethos, pathos in an interesting way, driving home how each operates, while also introducing ideas about human nature. Provide rewards for top scorer or top scorers, or for correct answers on the student activity Quizzi, Kahoot, etc. Rhetoric has been treated as a valued art, but the value is typically not seen today because rhetoric is no longer a requirement to be taught taught in schools.\nAcademic Effects of Art Education Art education has a wide range of benefits for students that directly affects their academic progress and all aspects of their social lives. Technology can take an abstract idea and make it more concrete giving, which would give students the skills that they need to succeed in the classroom D. Rhetoric is an essential skill of leadership because a component of leadership requires \u2026show more content\u2026 Although some people may think that rhetoric is useless and outdated, the fact that rhetoric is everywhere and still has relevant applications today are what renders these accusations illogical. The English Journal is a journal of ideas for English language arts teachers in junior and senior high schools and middle schools. If there is pre-writing, will you look at it, or will they share it with classmates? The way Kennedy behave on his speech was powerful because his voice sounded determent on uniting the people to work together with other country and with their own country. Their speech must argue one side of their chosen issue and include at least one rhetorical device discussed in class.", "id": "<urn:uuid:f51f6d8b-ef82-4125-b744-d4d77ed2b0f4>", "dump": "CC-MAIN-2023-14", "url": "http://complianceportal.american.edu/teaching-rhetorical-devices-in-high-school.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948868.90/warc/CC-MAIN-20230328170730-20230328200730-00546.warc.gz", "language": "en", "language_score": 0.9575295448303223, "token_count": 1760, "score": 4.03125, "int_score": 4}
{"text": "When I was in third grade, I wrote a journal entry in a school notebook each school day, and almost every single entry began with \u201cI hate math.\u201d I think journaling time must have come after our math lesson. At any rate, my discomfort with math hasn\u2019t changed since I began homeschooling. Nevertheless teaching homeschool mathematics doesn\u2019t have to be painful. The resources for teaching math at home are plentiful, and some are even free.\nAgain, for this post, I\u2019ve focused on secular curricula, and for mathematics, I\u2019m focusing on curricula for 1-12 grades, although some provide K curricula as well. Kids who are ready can start many of the first-grade level mathematics in Kindergarten.\nHomeschool curricula typically approach teaching mathematics in one of two ways. First, in mastery mathematics programs, a child focuses on a specific concept until he or she understands, thus mastering that concept. In the spiral math programs, children are introduced to a concept and then reminded of the concept at regular intervals while learning new concepts.\nThere are also many ways to teach mathematics in homeschool. For the sake of this post, I\u2019m going to focus on teaching math through media-based mathematics programs (such as would have a tutorial or teacher teaching concepts) as well as the pencil and paper mathematics, in which parents or a tutor read the teachers\u2019 manual to understand how to teach specific concepts to children. The children then typically finish assessments on paper.\nMathematics homeschool curricula also differ in the amount of hands-on learning that occurs as opposed to lectures. Manipulatives (such a blocks, shapes, plastic clocks, or money) are something to consider especially for the lower grades.\nParents are not always confident in teaching difficult mathematical concepts. These programs use media to teach these concepts, thus providing a \u201cteacher\u201d to help, and automatic grading, providing explanations of mistakes so students can learn.\n- CTCMath (K-12). This program is a topical mastery learning with video training, interactive questions, worksheets and solutions, and reports for parents. See my full review.\n- Khan Academy (K-college). This free online program provides Common Core-aligned math programs for children to use as a full curriculum or as a supplement to school assignments. Many videos and\n- Teaching Textbooks (3-12). This program is available on CD-ROM (program 2.0) and completely online (program 3.0). Narration teaches the concepts while animation shows how the problems are worked through. This spiral math program has lots of review built-in to the lesson quizzes. I have a full review coming in August, so watch for it!\n- Math-U-See (K-12). This popular skill mastery program includes DVD video lectures and student workbooks, along with manipulatives to help solidify concepts.\n- MathHelp online program (6-12).\nOther popular and useful homeschool math curricula provide more traditional learning, with textbooks, student workbooks, tests, and quizes. These may also require the parent or tutor to sit with the child to help them understand concepts.\n- Math Mammoth (K-8). This is a mastery-based program that is done on paper but is supplemented with videos on the website about the concepts. Videos are available as well on the author\u2019s YouTube channel.\n- Singapore Mathematics: Primary Mathematics (1-6). This program teaches using a spiral approach. Parental assistance is important for each lesson to help children understand concepts. The program requires two colorful textbooks per year and two black-and-white workbooks, and homeschool teaching guides are available as well (one per level).\n- Saxon Math (K-12). This is a step-by-step, spiral approach to math, providing a student textbook, answer book, a workbook, or a testing book.\n- RightStart Math (K-8). This multi-sensory approach to learning mathematics provides lots of critical thinking about math concepts rather than extensive worksheets and book work.\n- Mathematical Reasoning (Toddler-6th grade). Mastery learning method, bright colors, and critical thinking along with mathematics.\nI feel I can\u2019t end this post without adding some of my favorite CREATIVE mathematics curriculum. I use Miquon with my preschooler and Beast Academy\u2019s comic books as a supplemental \u201cfun\u201d part of math for my second grader. Some people use these are a full curriculum as well.\n- Miquon Math (K-3). This hands-on curriculum requires the use of Cuisenaire-rods (c-rods) to help understand the concepts of early mathematics.\n- Beast Academy (2-5). Complex math concepts are taught with friendly comic-book stories featuring monsters. The correlating workbooks provide challenging math problems that help show different ways to determine mathematical answers.\n- Life of Fred (1-12). Storytelling provides an entertaining framework for mathematical concepts. Each chapter then has review questions.\n- Times Tales (2-3). Silly stories help students remember the multiplication tables (x3s to x9s, not including x5s).\nOverall, this has been a lot of math curricula to consider! I hope this helps narrow down what types of program might work for you and your children.\nMore in This Series\nHomeschooling can feel overwhelming, but take things one step at a time. I\u2019m giving you a lot of information here. But YOU get to decide what you want to make a priority. Work on establishing the basics, and ease into the rest of what you want to cover when you feel more comfortable with it.\n- Get Started Homeschooling: Keep it Legal\n- Get Started Homeschooling: Plan Your Homeschool Year\n- Get Started Homeschooling: Schedule Your Day\n- Get Started Homeschooling: All-in-One Curriculum Options\n- Get Started Homeschooling: Teach Language Arts\n- Get Started Homeschooling: Teach Math\n- Get Started Homeschooling: Science in Your Homeschool\n- Get Started Homeschooling: Teach Social Studies in Your Homeschool\n- Get Started Homeschooling: Add in Arts and Music\n- Get Started Homeschooling: Teach Physical Development and Health\n- Get Started Homeschooling: Including Foreign Languages and Life Skills in Your Homeschool\nHave another \u201chow to homeschool\u201d question? Contact me and I\u2019ll write about it too. Send me an email if you have specific questions, or ask me directly on my Facebook page.", "id": "<urn:uuid:a23a8030-b074-47c4-b315-25da8d29fdf5>", "dump": "CC-MAIN-2023-14", "url": "https://homeschool.rebeccareid.com/teach-math/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00545.warc.gz", "language": "en", "language_score": 0.9299120306968689, "token_count": 1392, "score": 3.65625, "int_score": 4}
{"text": "When the first school\nguidance counselors (update: thanks to those in the profession who took the time to educate me on their title) emerged in the late 1800\u2019s, they were almost exclusively vocational counselors, their purpose to assist students in transitioning from an educational environment to a productive piece of society. Quickly, this morphed to helping students determine the career path best-suited for their innate abilities, interests, and skills. It didn\u2019t take long for those in the trenches to connect student success after school to the path followed during school\u2013which included much more than grades. Counselors took on myriad tasks, such as:\n- helping failing students find a remedy\n- encouraging teachers to make connections between what they taught and occupational problems\n- consulting student standardized tests to determine what should/could be expected of students\n- urging students to stay in school\n- interviewing students leaving school to validate their decision\n- promoting character development\n- teaching socially appropriate behavior\n- assisting vocational planning\n- promoting best practices in academic development (readiness to learn and achievement strategies)\n- encouraging career development and planning (academic advising, school to post secondary or career transitions, and workforce effectiveness)\n- ensuring appropriate social skills and self-management as well as facing challenges to school success including bullying, suicide, addictions, and abuse\n- providing connectedness to school, community, state and nation\n- helping students understand societal events such as Sandy Hill and Hurricane Katrina\nBy the 1990s, the functions of school counselors seemed to be settled science (according to Norman Gysbers). Their job was full-time rather than part-time paper-pushing. They were responsible for the whole child, not just their future vocation. The focus had moved to individual competencies rather than deficiencies. These responsibilities were accomplished via a team approach with all other stakeholders, the counselor expected to vertically integrate their job with those above and below them in the educational hierarchy.\nIn short, these professionals were tasked with the mental and psychological well-being of teenagers wending their way through the greatest change period of their lives-from child to adult.\nWhen NCLB\u2019s five primary goals (three predictably addressing curriculum and achievement) included two that referred to school climate, affective development, and the opportunity to graduate from high school, nothing seemed settled anymore. Really, is anyone surprised, given today\u2019s educational environ, that counselor duties are expanding to encompass not just the child, but the families and community, in topics that well-exceed the traditional such as:\n- the student\u2019s online footprint\n- online college and career applications\n- high-tech applications for college and jobs, including videos, interactive CVs\n- online resources for parents to use outside of school as well as during\n- the openness of student sexual preferences\n- the changing education environ\u2013less authoritative and more teamwork\n- problem-solving\u2013any problem\u2013that transcends the academic and encompasses food, money, friends, and more\n- the need at times to simply be a friend\u2013does it surprise anyone that some students just need that person who has the student\u2019s best interests in mind and not some visceral personal agenda that has no thought to what serves the student\n- an open door\u2013always be available. Don\u2019t be backed up with data entry, writing reports, filling out forms, attending meetings. Put the student first.\nBesides the complexity of the topics above and despite (or because of) what The Hechinger Report cites as an average caseload of 471 students per counselor, other problems face these non-teaching professionals:\n- support from the schools\n- enough time in their day\n- tech training\u2013school guidance counseling, like every other corner of education, is a lot techier than it used to be. The professionals doing these jobs need PD to keep up.\n- training to stay on top of legislative guidelines and changes that affect schools, students, parents\nSome skills never change. The best school counselors tomorrow will have the same qualities that made their predecessors great, namely: a depth of knowledge in her/his field, the ability to deal with frantic adolescent questions, the writing skills to compose recommendation letters that sound authentic and honest, the moral code to never sugar coat what must be said and never\u2013NEVER\u2013lie, the natural enthusiasm for students that means s/he is always genuinely happy to see them and always willing to answer questions, and the organization to know each student\u2019s name as well as what they\u2019re passionate about (classes, college applications, hobbies, etc.). Truth, those type of critical skills apply to teachers, too.\nDuring National School Counseling Week\u2013Feb. 3rd-7th\u2013take ten minutes to drop by your school counselor\u2019s office and say \u2018thank you\u2019 for the part they play in each child\u2019s future.\n\u2013First published on TeachHUB\nJacqui Murray has been teaching K-18 technology for 30 years. She is the editor/author of over a hundred tech ed resources including a K-12 technology curriculum, K-8 keyboard curriculum, K-8 Digital Citizenship curriculum. She is an adjunct professor in tech ed, Master Teacher, webmaster for four blogs, an Amazon Vine Voice, CSTA presentation reviewer, freelance journalist on tech ed topics, contributor to NEA Today, and author of the tech thrillers, To Hunt a Sub and Twenty-four Days. You can find her resources at Structured Learning.\n4 thoughts on \u201cModernizing the School Counselor\u201d\nProfessional school counselors are no longer referred to as \u201cguidance\u201d counselors. That title does not reflect the 48-60 credit hour master\u2019s degree requirement, mental health training, or the evolution of the profession. Many states have taken legislative approaches to have the term removed from all board of education documents. While your intent is appreciated, it would be wonderful if you could edit your post and take out the term \u201cguidance\u201d to accurately portray our title and our current role.\nI apologize. The juxtaposition of \u2018modernize\u2019 and \u2018school guidance counselor\u2019 clearly didn\u2019t work, to show the old title that needs updating. Should the phrasing be \u2018Modernizing the School Counselor\u2019? Or ???\nThank you so much for the wonderful article, having advocates like yourself in our corner as so wonderful! Just to echo Mary\u2019s statement, we are recognized by the Department of Education and even the First Lady (Woohoo!) as Professional School Counselors. Essentially we have eliminated the phrase \u201cguidance\u201d from our title because it limits our message of shifting the paradigm of what counselors do and how beneficial their programs can be. It may seem like using the two titles above interchangeably has little influence on ones professional abilities. The problem is that the perceptions of what many people have of what a Guidance Counselor is\u2026and it certainly is not a School Counselor. Guidance is only one part of our job. We prefer \u201cSchool Counselors\u201d because we are educational professionals who do much more and provide services and actions that align with our district\u2019s mission and goals. We believe that a title change can help us better promote our shift in profession to a more proactive approach with students, teachers, admins, parents and community members. Thank you again for writing a great article and I thank you also for making the changing to just school counselor.\nI appreciate the time you took to explain this-all to me, Chris. I\u2019ve adjusted the title as well as interior references. I have utmost respect for the job you-all do for students. I was fascinated to read your evolution as I did the research.\nComments are closed.", "id": "<urn:uuid:1eb2cf46-a66e-4b0f-a246-cc1e15623f6a>", "dump": "CC-MAIN-2023-14", "url": "https://askatechteacher.com/modernizing-the-school-guidance-counselor/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945472.93/warc/CC-MAIN-20230326111045-20230326141045-00146.warc.gz", "language": "en", "language_score": 0.9594729542732239, "token_count": 1629, "score": 3.703125, "int_score": 4}
{"text": "The genre of Realism Literature was introduced during the early stages of the Victorian Era. This form of literature is probably the most popular genre, compared to other genres before and after the Victorian Era.\nThe realism genre, like its name, tends to portray situations without much exaggeration. It uses journalistic techniques and narrative for these writings are factual in nature without commenting on the situation or the characters. The authors tended leave the judgement to the readers.\nThemes of Realism Genre\nThe themes of the realism genre were the struggles of the common man and a comparative analysis lower class and the upper class with respect to their lifestyles and the lower class trying to climb the social ladder.\nWhy did Realism genre become popular?\nDuring the Victorian Era, poetry was the most popular. With the entrance of this genre, it took the back seat. Realism gives great attention to detail and tries to replicate the true reality. One of the greatest novels of the realism genre during the Victorian Era was Charles Dickens\u2019 Great Expectations.\nIt follows the protagonist, Pip\u2019s journey, and his want to become a gentleman after inheriting a lot of money. The novel attempts to give an unbiased truth of every character and scene including the good and the ugly side of the characters.\nOne of the main reasons the Realism genre became popular was because of the growing middle call population as well as the literacy rate among them. They began to identify with the stories narrated in the novels and these also became accessible. Dickens, one if the pioneers of the genre began to publish his stories as periodicals in newspapers.\nCharacteristics of Realism genre\nThe realism novel spoke about the present situations without any frills or hyperbole. It used a simple and direct language. The authors were not afraid to show unhappy or dire situations. For example, Oliver Twist and David Copperfield show the hardships of boys who are born into poverty face. This struck chord with the middle-class population of Victorian England who felt that their problems were recognised.\nThe portrayal of Contemporary Life\nThey portray contemporary life. For example, Dickens\u2019 fiction showed the hard truth of life. Oliver Twist and David Copperfield had a contemporary setting with no frivolity or hiding the hard truth of life which many young boys of the age faced. The novels portrayed the orphanages, the work which boys had to undertake and sometimes the cruel demeanour of the adults.\nOther novels which were of the realism genre were Hard Times by Charles Dickens. North and South by Elizabeth Gaskell, Charles Kingsley\u2019s Alton Locke and Benjamin Disraeli\u2019s Sybil. Sybil gave a social commentary on the growing gap between the rich and the poor.\nOther novels which gave a social commentary on the society and situation during the Victorian Era were Nicholas Nickleby, which spoke about school in Yorkshire where unwanted children went and were subjected to cruelty and neglect. Elizabeth Gaskell\u2019s Mary Barton which spoke about factory workers and Kingsley\u2019s Yeast portrayed the poverty in the rural regions of the country.\nLiterary Elements along with Realism\nMany authors combined Realism with Gothic elements. For example, Wuthering Heights has numerous ghostly elements. The Woman in White opens with a possible apparition of a woman in a white dress asking for directions. This could be possible but the setting and the mood of the narrator gives a supernatural element to the story. Charlotte Bront\u00eb\u2019s novel, Villette has the protagonist Lucy believe that she saw a nun who is most probably a ghost haunting the school where she is a teacher.\nNarration in realism genre\nThere is not a particular type of narration used in the realism genre. Charlotte Bront\u00eb\u2019s Villette was a first-person narrative. However, other novels had an omniscient narrator. Some novelists who were known for this type f narration were Anthony Trollope and George Eliot. Eliot was perhaps the most successful with her experiments with the omniscient narration.\nShe fashioned her characters such that the readers would be able to completely understand what the characters are going through and the situation they are in. Another author during the Realism movement was Thackeray\u2019s Vanity Fair. The author spoke of the characters\u2019 misadventures, their moral dilemmas in a very straightforward way.\nThe narration in these novels was very descriptive but without any exaggeration. The narrator, which could be the protagonist, a character in the novel or an omniscient narrator explained the situation, the setting and painted a picture for the reader. However, the sentences were short and the descriptions were to the point.\nCriticisms of Realism\nWhile the Realism genre became very popular, it also faced multiple criticisms. One of the main disapprovals of this was the too real portrayal of the society along with talk about taboo topics. Another criticism which Realism genre received was that it became too negative and the authors were only focussed on the unpleasant.\nFamous authors of Realism genre\nCharles Dickens was very famous for his realistic novels. He was not afraid to show ugliness and depravity in his writing. Oliver Twist, David Copperfield and Great Expectations were a few of his novels which showed dire situations and poverty while there was a contrast with people who were extremely wealthy. Through this, Dickens wanted to show how wide the gap between the upper class and the other classes were.\nOther authors who were known for their work in this genre were Charlotte Bronte for Jane Eyre, George Elliot for Middlemarch and Thomas Hardy for Jude The Obscure.", "id": "<urn:uuid:12226f48-77c8-48e7-83ab-4327c2dc1608>", "dump": "CC-MAIN-2023-14", "url": "https://victorian-era.org/realism-genre.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945282.33/warc/CC-MAIN-20230324113500-20230324143500-00145.warc.gz", "language": "en", "language_score": 0.9786400198936462, "token_count": 1143, "score": 3.609375, "int_score": 4}
{"text": "An Age of Exploration & Human Greatness\nDevelopmental Picture of the Student\nSeventh graders navigate two worlds. They enjoy an introspective inner life as well as an active, outer perspective. Students yearn for independence and solitude, but they also want to make social connections. Adolescence is marked by many physical and emotional changes\u2013indeed, seventh graders may go through periods of emotional volatility, self-absorption, or youthful exuberance. The curriculum challenges students\u2019 cognitive and creative skills, promotes interest in the outer world, and nurtures their inner lives.\nHow the Curriculum Meets the 7th Grader\nThe seventh grade curriculum focuses on the Renaissance, the Age of Discovery, the Protestant Reformation, and the Scientific Revolution. Exploring these eras of human discovery and creativity sparks the student\u2019s own developing engagement with\u2014and questioning of\u2014the world. The students read biographies of innovative thinkers whose thirst for knowledge came with a fearless need to question and defy authority. Independent work and group projects invite the students to consider a broader perspective. As a preview to high school, guest faculty may periodically teach a special topics block from their chosen fields of expertise.\nThe students hear historical accounts of individuals whose ideas challenged and changed the world. The core theme of renewal embodied in the Renaissance mirrors the adolescent\u2019s rebirth into a new stage where thinking and feeling capacities expand. In geography, students learn about the environments, climates, and social structures of indigenous cultures in Africa or South America.\nIn the arts, they paint in the style of the Renaissance masters, learn perspective drawing, and explore light and shadow in design. For language arts, students practice careful note taking, write comprehensive essays, and construct research papers and expository reviews. Poetry writing gives the students an opportunity to express their observations on life and to explore their own inner feelings.\nIn mathematics, students study geometry, including triangle constructions, angle theorems, proofs, the golden ratio, and the Pythagorean Theorem. Seventh graders also advance their conceptual thinking with an introduction to algebra. They move from simple logic structures to more complex problem solving and abstract reasoning.\nIn physics and chemistry, the students use their senses to make objective observations of scientific phenomena. They study mechanical force and simple machines. The science blocks explore the lime cycle, salts, acids, and bases, which are all related to the digestive system. The human physiology block focuses on health issues that relate to the growing adolescent, including digestion, respiration, circulation, and reproduction. In learning about themselves as growing individuals, the students gain an understanding of the responsibilities and choices they will face as they mature.\n- The Age of Exploration and Discovery, Renaissance, Reformation\n- Creative Writing and Poetic Structure\n- Physics, Chemistry\n- Geography, Astronomy\n- Algebra, Euclidean Geometry\n- Physiology, Health and Nutrition\n- Spanish, German\n- Fine and Practical Arts, including Perspective Drawing, Woodworking\n- Class Play, Recorder, Violin, Orchestra\n- Physical Education\nLife Skills and Homework EXPERIENCED IN 7th GRADE\n- Writing: take notes out of a lecture review, write rough drafts, proofread material, edit and transcribe final revisions, write research papers, write poetry, practice grammar skills\n- Reading: read complex material, participate in class discussions\n- Science: practice observational skills; explain and write experiment details, draw conclusions\n- Math: solve computation problems and conceptual word problems, do mental math to strengthen processing dexterity and flexibility\n- Organizational Tasks: effectively use an assignment notebook, turn assignments in on time and complete, have materials ready for class, manage time to handle several assignments at one time, individual responsibility for homework", "id": "<urn:uuid:aae8bff9-9108-4831-bf0b-7538c79db6d7>", "dump": "CC-MAIN-2023-14", "url": "https://greatoakschool.org/curriculum/grades/7th-grade/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00546.warc.gz", "language": "en", "language_score": 0.9112334847450256, "token_count": 785, "score": 3.703125, "int_score": 4}
{"text": "\u201cIf there is no struggle there is no progress.\u201d\u2013 Frederick Douglass\nJuneteenth marks a momentous day in American history, yet one that has only recently come to prominence.\nWhat is Juneteenth?\nOn June 19, 1865, several months after the end of the Civil War and two and a half years following Lincoln\u2019s Emancipation Proclamation, the Union proclaimed the freedom of slaves in Texas. While slaves had been liberated throughout the war, Texas was one of the last states to surrender. With the enforcement of General Order No. 3 in Galveston, Texas, these Black Americans too were finally free.\nFor those in Galveston, the day was cause for jubilation. And though Juneteenth celebrations originated in the State of Texas, dating back to 1866, the holiday spread across the country over the next several decades. Today, the holiday is formally celebrated in 47 states\u2014the three exceptions being Hawaii and both Dakotas. It is also, as of June 17, 2021, a federal holiday.\nDespite its long history, Juneteenth only became widely recognized in 2020, following George Floyd\u2019s murder and the subsequent Black Lives Matter protests. The lack of visibility only underscores the challenges Blacks and other U.S. minorities continue to face. Still, there\u2019s strength in awareness\u2014and momentum is building.\nHow to build awareness about the holiday\nAs Juneteenth is a relatively new holiday in the public eye, you may be celebrating it for the first time. So, it\u2019s understandable if you\u2019re not sure how to spend the day.\nThat you\u2019re reading this blog is a great first step. But Juneteenth represents more than just a moment in history. It\u2019s an opportunity to shine a light on the systemic issues that hinder and impede minorities today.\nThis past week, we at PI heard from a prominent voice in the Detroit community: Darryl Woods, minister, activist, and founder of the youth empowerment program \u201cFightin\u2019 the Good Fight.\u201d At the age of 18, Woods went to prison to serve a life sentence on a murder charge. Despite a witness recanting their initial testimony, Woods spent 29 years behind bars, until his sentence was commuted in 2019 by Michigan Governor Rick Snyder.\nWoods, together with his son, Darryl Woods, Jr., walked us through the circumstances that led to his conviction. A former NAACP Prison Branch President at his corrections facility, he has seen firsthand the injustices within the U.S. prison system\u2014namely, the tendency to overcharge felons without \u201cthe opportunity for redemption.\u201d\nToday, Woods is helping educate communities and organizations across the country. In partnership with non-profit SAY Detroit, he launched the Better Together initiative, with the goal of building empathy between police officers, former inmates, activists, and underserved youth.\nAccording to Woods, \u201cSome of the biggest obstacles to rid our city of systemic racism is the will to come together. This is not the time to turn on each other but the time to [support] each other. We can\u2019t get anywhere without first having a conversation and identifying what the problems are.\u201d\nJuneteenth is a time to do just that: Have a conversation. If you\u2019re in Detroit, attend a Better Together barbeque. For those elsewhere, reach out to your community. Attend a local function. Invite your friends and family. Learn about the biggest issues people in your district, city, or state face today\u2014and find out how you can get involved.\nJuneteenth resources and ways to take action\nNo matter where you live, here are some other ways you can commemorate Juneteenth\u2014while acknowledging the work to be done:\n- Juneteenth.com has a great page that shares how you can celebrate the day at home, in your organization, or with your community.\n- If you live in a major city, Lonely Planet put together a list of notable events taking place in your area.\n- For cities left off the above list\u2014namely New York City, Los Angeles, Chicago, Phoenix, Boston, and Seattle\u2014here are some good resources.\n- Familiarize yourself with Black history and culture via the National Archives, History.com, Columbia, NPR, and other learning institutions.\n- Combat racism by exploring resources curated by Stanford, Berkeley, Harvard, Glaad, and many more.\n- Help families impacted by mass incarceration through organizations like Angel Tree, Inside-Out, and the Center on Wrongful Convictions.\n- Support legislation for policies such as the Clean Slate Initiative and 8Can\u2019tWait.\nThere\u2019s strength in numbers. Ask your co-workers how they plan to spend the day. At PI, some employees are visiting the Museum of Fine Arts in Boston for an afternoon of art and music. Others are bringing their families to a storytelling session led by a local theater group.\nWhether you pick up a book, attend a parade, donate to a worthy cause, or do something wildly different, what\u2019s important is to come from a place of sincerity and compassion. And then, to reference the work and words of Frederick Douglass, keep that fire going\u2014long after the day ends.\n\u201cFor it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, and the earthquake.\u201d\u2013 Frederick Douglass", "id": "<urn:uuid:07b2319e-1561-4b71-994c-11512922acb4>", "dump": "CC-MAIN-2023-14", "url": "https://fr.predictiveindex.com/blog/juneteenth-progress-made-change-to-come/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00147.warc.gz", "language": "en", "language_score": 0.9528186321258545, "token_count": 1139, "score": 3.5, "int_score": 4}
{"text": "by Maria Denholm December 06, 2021 5 min read\nChildren spend most of their time engaging in some form of play.\nAs children get older, their play gets more complicated and expressive. Usually, they begin to create imaginative role-playing games from the age of four. This is commonly known as dramatic play.\nDramatic play occurs when children play parts in pretend scenarios or act out a familiar story. For example, they may mimic their home life by playing family in the kitchen area. One child may act as the parent while other children play roles like \"the baby\" or \"the kitty.\"\nChildren may also develop some pretend scenarios based on books, tv shows, video games, or movies that they have seen, such as The 3 Little Pigs.\nWhen children engage in dramatic play, they develop cognitive skills like storytelling and sequencing logical events. Children also develop fine and gross motor skills by putting on costumes and manipulating props.\nHowever, social skills are widely considered the most essential skills children explore during pretend play.\nBy engaging in role-play, children gain the ability to form connections and collaborate effectively with their peers. In addition, when a group of children engages in creative, pretend play, they build emotional intelligence and communication skills.\nEmotional intelligence is the ability to be aware of one's emotions and navigate interpersonal relationships with thoughtfulness and empathy.\nThe child acting as the parent is reading the baby's behavior and attempts to respond appropriately.\nRoleplaying gives children an abundance of opportunities to strengthen oral and written communication skills.\nThe child acting as a waiter is using pictures and letters to convey meaning.\nChildren do not engage in dramatic play exclusively with their peers. They also enjoy role-playing with their parents and other familiar adults. There are several ways that grown-ups can encourage children to engage in creative play.\nTake notice of the toys or interests that hold their attention. For example, a child who never interacts with dress-up clothes might not be willing to participate in games that involve costumes.\nChildren often mimic stories they see in books, tv shows, or movies. Read several books with them and allow them to watch an appropriate amount of video content. A little screen time is just fine.\nYou'll soon see your child engaging in play that mirrors familiar stories. For example, they may search the house looking for small, big, and \"just right\" things to play \"Goldilocks.\"\nChildren also mimic the behavior of their family members and other close associates. While making dinner, talk your child through the steps. \"I'm putting the chicken on your plate. We're eating chicken for dinner.\"\nYou may soon see your child \"cooking chicken\" in their toy kitchen.\nSometimes children want to engage in dramatic play but are reluctant to initiate role-play scenarios by themselves. When this happens, you can make suggestions to help give them ideas.\nFor example, if a child is making car noises, you can sit next to them and say, \"It sounds like you're driving somewhere. Let's go together.\" The child might then create a scenario where they drive to the store.\nIt's important to note that this strategy is most effective when adults follow the child's lead. Play along when they expand on your suggestion, but don't force it. Pushing an idea the child is disinterested in will cause them to disengage.\nCreative role-playing allows children to explore and develop cognitive, social, and language skills. As a result, dramatic play is a precious tool in the home and classroom.\nIf you want to help your child grow, add a little bit of drama to their day.", "id": "<urn:uuid:4e537990-9d5a-4313-ac23-92ad650cca2f>", "dump": "CC-MAIN-2023-14", "url": "https://www.yourteacherspetcreature.com/blogs/social-skills/how-dramatic-play-builds-social-skills-and-what-adults-can-do-to-help", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945333.53/warc/CC-MAIN-20230325130029-20230325160029-00766.warc.gz", "language": "en", "language_score": 0.9622726440429688, "token_count": 747, "score": 3.953125, "int_score": 4}
{"text": "Reading aloud can be an anxiety-inducing ordeal for many young people but this does not mean you should stop reading aloud in class. There are numerous reading aloud benefits that give your pupils the opportunity to listen to others read, become confident public readers and build their stamina for reading and enjoying texts. You should definitely encourage reading aloud in your classroom!\nPeople who struggle with reading aloud often feel anxious because they are too busy thinking about what they want to say next, how they might sound and what people are thinking of them. This mental chatter stops them from getting curious, focusing on reading the text and enjoying the story! Your words could come out rushed, jumbled or stammered which makes it difficult for others to follow along with you. Just breathe, pause, relax, take your time when you\u2019re reading. Just breathe, relax and take your time when you\u2019re reading.\nHere are some reading aloud benefits for students:\n1. Classroom Chill Time\nNo matter how grown up our pupils think they are, most of them are still partial to a good storytime session. On those occasions when you finish your lesson early or have a lively class at the end of the day reading aloud is as relaxing as it gets! Your pupils are kept engaged and learning with minimal distractions and less stress on you.\n2. Hearing fluent readers helps with independent reading skills and improving vocabulary.\nHearing fluent readers can help pupils visualise and understand passages better. Sometimes our mental chatter is so loud we can\u2019t drown it out when we are reading in our heads. Taking the time to read aloud can help us to understand exactly what is going on. Reading aloud creates a classroom community because it serves as a building block for critical thinking skills that are related to reading and wider life. Listening to the changes in tone of voice and inflection helps students to pick up on important cues that they might have missed while reading independently. It allows them to move past simple comprehension into a deeper analysis.\n3. Reading aloud helps students develop good listening habits.\nActive listening allows pupils to ponder and reflect on what they are hearing. Telling stories from different points of view helps pupils grasp the bigger picture and anticipate or predict what will happen next based on the characters\u2019 personalities. Reading aloud will allow your pupils to become engrossed in the story\u2019s narrative flow. Listeners are able to forget their surroundings and fully engage their senses into the story. This state fosters active, deeper learning.\n4. Easy formative assessment\nAnother reason why reading aloud is such a big classroom win is because it provides quick and easy assessment of your pupils comprehension. The questions we ask after reading a line, passage or chapter reveal far more about what your pupil understands.It\u2019s a great way to invite your pupils to consider different perspectives and to ensure pupils are listening and not zoning out! If you want to discuss theme, tone, character development or anything else, verbal questioning when reading aloud is an effective method of formative assessment.I\n5. Encourages diversity and inclusion in your classroom\nCharacters in books can serve as a great way for pupils to learn about the world we live in and the diverse people that inhabit it. Reading a variety of inclusive texts will spark deep conversation and will teach your pupils to be more empathetic and considerate. Books can cover areas where the curriculum might fall short.\nDon\u2019t forget to read even more of our blogs here! You can also subscribe to Beyond for access to thousands of secondary teaching resources. You can sign up for a free account here and take a look around at our free resources before you subscribe too.", "id": "<urn:uuid:01b48973-0a1a-45f5-944a-b2b0861fb518>", "dump": "CC-MAIN-2023-14", "url": "https://twinklsecondary.blog/reading-aloud-benefits-for-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00344.warc.gz", "language": "en", "language_score": 0.9511711001396179, "token_count": 746, "score": 3.859375, "int_score": 4}
{"text": "How to write dialogue? That\u2019s something that should come naturally. After all, most of us spend at least a portion of each day in conversation with other people. But creating dialogue is more than simply transcribing actual speech. It\u2019s even more complicated in children\u2019s books, because the age of the reader must also be taken into consideration.\nWritten dialogue is a compressed form of real speech; it\u2019s the meat of the conversation with all the fillers removed. Picture books and easy readers\u2013books written for children ages eight and under\u2013are told primarily through action, and the dialogue reflects this action. The characters\u2019 speech in these books must give a sense of their personalities, but also clue the reader into what\u2019s happening in the story. Just as plot has a forward direction, so must the dialogue.\nIn Arthur\u2019s Loose Tooth, an easy reader by Lillian Hoban, Arthur\u2019s dilemma is presented to the reader through a portion of a conversation with his sister:\n\u201cGuess what we are having for dessert,\u201d said Violet. \u201cIt is your favorite treat! It is\ntaffy apples!\u201d \u201cTaffy apples!\u201d said Arthur. \u201cI can\u2019t eat taffy apples with a loose tooth!\nIt might get stuck in the taffy!\u201d \u201cWell, if it gets stuck, you can pull it out,\u201d said Violet.\n\u201cI don\u2019t want to pull it out,\u201d said Arthur.\nUsing simple, complete sentences necessary in an easy reader, the author has revealed the story\u2019s action through natural-sounding dialogue. But how to write dialogue as stories get longer and more complicated? In these cases, the back-and-forth chatter between characters can be less linear. In real life, each person bring his or her own viewpoint into the conversation and gets something different out of the exchange. Allowing the dialogue to bounce around naturally can add humor to the scene and go a long way toward character development. However, the author still needs to be mindful of giving the reader new information that supports the plot.\nIn this excerpt from Marvin Redpost: Alone in His Teacher\u2019s House, a chapter book for ages 6-9 by Louis Sachar, Marvin is dog sitting for his third grade teacher:\n\u201cLet me see the key,\u201d said Stuart. \u201cDid you look in her closet?\u201d asked Nick. \u201cNo,\u201d said\nMarvin. Why would he look in her closet? \u201cHow about her refrigerator?\u201d asked Nick.\n\u201cDid you at least look in her refrigerator?\u201d \u201cLet me see the key,\u201d Stuart said again.\n\u201cHow about her bathroom?\u201d asked Nick. \u201cI don\u2019t remember,\u201d said Marvin. \u201cYou don\u2019t\nremember if you saw her bathroom?\u201d asked Nick. \u201cLet me see the key,\u201d said Stuart.\nDialogue is a chance for the character to speak in his own voice. But real dialogue is not exclusively something that\u2019s said out loud. The speaker is also carrying on an internal conversation at the same time. In book genres such as middle grade and young adult novels, this inner dialogue of the main (viewpoint) character can also be shown to the reader. It\u2019s the author\u2019s perfect chance to allow the character to divulge deeper elements of her personality without stopping the forward movement of the plot.\nRachel Vail\u2019s The Friendship Ring series offers terrific examples of seventh grade dialogue. In this excerpt from Zoe, the first book in the series, Zoe and a classmate are talking about best friends:\n\u201cWell,\u201d CJ said slowly. \u201cI was best friends with Gideon Weld when we were little, but\nthen, you know, we figured out he was a boy and I was a girl, so that ended that.\u201d\n\u201cRight,\u201d I said, like obviously you couldn\u2019t be best friends with a boy. I\u2019m just friends\nwith anybody. Nothing of my own. Why didn\u2019t that ever bother me before? \u201cAnd since\nfourth grade, it\u2019s been Morgan, although, sometimes, lately, I feel like she doesn\u2019t\nunderstand me,\u201d CJ whispered. \u201cBut yeah, I guess it\u2019s Morgan. Who\u2019s yours?\u201d \u201cI don\u2019t\nknow.\u201d I faced away from her, toward the door, and folded my pillow over. \u201cI don\u2019t\nFor those struggling with the question of how to write dialogue, remember that dialogue that\u2019s convincing and interesting is so much more than the words that come out of characters\u2019 mouths. How a character speaks\u2013complete with pauses and sentence fragments\u2013can show his emotional state. How a character moves while talking adds layers of meaning to the dialogue. The setting within which the conversation takes place can affect the discourse. Dialogue is intricately connected to every other element of writing, and only when it\u2019s seamlessly woven into the fabric of the story does the book become whole.\nTags: craft, dialogue, easy readers\nThis is a necessary workshop as when I eavesdrop on kids and their conversations they speak with accents and leave out grammar that is correct, but if I spell it like they say it the self correct corrects it and it will not pass an agent of editor\u2019s inspection. So it will be nice to hear what Teresa says to do in that instance or when a child says, \u201c\u2018Spose ya don\u2019t do what yer Mom says?\u201d\nThanks for this workshop\nWhat a great comment and helpful for us all!\nWhat a good topic. Trying to find the way children talk now, is a problem so hearing about better realistic dialogue will be a boon. Thanks\nThis advice about dialogue w/ examples from mentor texts is one if your best posts. I hope you and Teresa will discuss how to write boy\u2019s dialogue when you are a female. I struggle with boy voices in my MG writing. I cannot include talk of \u201d boggers\u201d and bathroom talk easily and the teasing is painful too. Thanks for this extra advice on dialogue, such an important part of our writing!\nAs an artist I always find it amusing to listen to kids talk. Some sound so adult while others sound so innocent and naive. I am fascinated by the cartoony nature of some kids expressions. For instance, I once overheard two kids having a conversation in a park. One kid wanted to go to his house while the the other kid did not. He said, \u201d your house is like a million, million gazillion miles away.\u201d I then thought to myself, \u201cwhat a great line for a children\u2019s book.\nVery good subject.", "id": "<urn:uuid:7cc97eff-b191-4fca-a6a2-f82355c183d2>", "dump": "CC-MAIN-2023-14", "url": "https://writeforkids.org/blog/writing-dialogue-flows/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00147.warc.gz", "language": "en", "language_score": 0.9587519764900208, "token_count": 1471, "score": 3.65625, "int_score": 4}
{"text": "Give your young writer a boost with these fourth grade writing worksheets. Worksheets grammar grade 4 sentences.\nConnectives Worksheets Activities Greatschools Writing Worksheets Fourth Grade Writing 4th Grade Writing\nWorksheets grammar grade 4.\nWriting worksheets for 4th grade. These worksheets also include prompts to get those creative juices flowing. For other students it can be challenging to comprehend. 4th grade writing requires a certain level of proficiency in english to be mastered.\nOur grade 4 sentences worksheets provide more practice in the writing of proper complete sentences topics include sentence fragments run on sentences combining sentences with conjunctions subjects and predicates direct objects and subject verb agreement. Our fourth grade poetry worksheets will help students read write and interpret different forms of poetry. Sentences worksheets for fourth grade.\nChildren will complete mystery narratives learn about monsters from around the world and edit passages and more. Use these fourth grade writing worksheets for students who need or want to practice writing. English grammar definitions define the words that we use in studying sentence structure.\nFor some fourth grade students poetry can be a natural form of self expression. Fourth grade writing worksheets. Free writing lessons and worksheets for fourth grade students.\nParts of a sentence. These worksheets will also guide students to analyze the rhythm and rhyme of poetry. Jumpstart s writing worksheets for 4th grade cover all the areas included in the writing curriculum this year and are thus great devices for 4th graders to perfect the requisite skills with.\nFourth grade essay writing worksheets and printables that help children practice key skills. Bring out your fourth grade students inner wordsmith with our fun exciting writing worksheets that will inspire and motivate even the most reluctant writers. The exercises help kids hone their narrative writing skills and turn their ideas into well written stories essays and persuasive texts.\nThey re a great tool for students who need or want more practice with writing. Grade 4 grammar worksheets. 4th grade writing worksheets.\nParts of a sentence. Once your student is handy with the mechanics of writing words and sentences of their own it is good to begin to teach english grammar and how it structures our sentences. In this language arts worksheet your child gets practice creating and spelling words by adding s ing and ful.\n30 4th grade writing worksheets. 4th grade writing worksheets should begin to teach grammatical structure. Our grade 4 grammar worksheets focus on more advanced topics related to the various parts of speech verb tenses and the writing of proper sentences the correction of common problems sentence fragments run on sentences double negatives etc is emphasized.\nIn the fourth grade students become fluent writers with a heightened ability to write about texts they read.\nWorksheets Word Lists And Activities Greatschools 4th Grade Reading Worksheets Reading Worksheets Writing Comprehension\nOur 3 Favorite Writing Worksheets For Each Grade Writing Worksheets Reading Worksheets 2nd Grade Reading Worksheets\n4th Grade Essay Writing Worksheets Grade 4 English Resources Printable Worksheets Topic Random In 2020 Writing Worksheets Essay Writing Printable English Worksheets\nWorksheets Word Lists And Activities Greatschools Writing Worksheets 3rd Grade Writing Daily Oral Language 4th Grade\n3rd Grade 4th Grade Writing Worksheets Building Words Greatkids Fourth Grade Writing 4th Grade Writing Language Arts Worksheets\nWorksheets Word Lists And Activities Greatschools Writing Worksheets 4th Grade Writing Language Arts Worksheets\n2nd Grade 3rd Grade 4th Grade Writing Worksheets Using A Dictionary Word Origins Greatkids Word Origins Root Words Activities Dictionary Skills\nWorksheets Word Lists And Activities Greatschools Fourth Grade Writing 4th Grade Writing Language Arts Worksheets\n4th Grade Reading Street Amazing Words Writing Activity Units 1 6 Writing Activities 6th Grade Reading Reading Street\nWorksheets Word Lists And Activities Greatschools 4th Grade Writing Fourth Grade Writing Prepositional Phrases\nCompound Sentences Greatkids Writing Worksheets Compound Sentences Classroom Writing\nWorksheets Word Lists And Activities Greatschools 4th Grade Reading Worksheets Reading Worksheets 4th Grade Reading\nUnderstanding Paragraphs Paragraph Writing Paragraph Writing Activities Paragraph Writing Worksheets\n4th Grade Reading Cc Worksheets From Greatschools Org Lots To Read Through And F Reading Worksheets 4th Grade Reading Worksheets Teaching Figurative Language\n3rd Grade 4th Grade 5th Grade Writing Worksheets Prefixes Aplenty Greatkids Prefixes Writing Worksheets Third Grade Writing\nBook Report Worksheet Grades 3 And 4 Third Grade Writing 6th Grade Writing Writing Practice Worksheets\nMy Favorite Subject 3rd And 4th Grade Writing Prompt Worksheet 4th Grade Writing Prompts Writing Prompts For Kids Third Grade Writing\nReading Comprehension Voice Of Nature 4th Grade Reading Writing Worksheet Greatschools Reading Worksheets Reading Comprehension 4th Grade Reading\nGrade 4 English Resources Printable Worksheets Topic Random Topics Essays Descr Writing Worksheets Creative Writing Worksheets Printable English Worksheets", "id": "<urn:uuid:6b0653ef-8ffd-4ee5-ba60-6b305d9ea6ae>", "dump": "CC-MAIN-2023-14", "url": "https://kidsworksheetfun.com/writing-worksheets-for-4th-grade/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943562.70/warc/CC-MAIN-20230320211022-20230321001022-00746.warc.gz", "language": "en", "language_score": 0.8884553909301758, "token_count": 1070, "score": 3.609375, "int_score": 4}
{"text": "Poverty and Schools in Ontario: How Seven Elementary Schools Are Working to Improve Education\nPoverty and Schools in Ontario will be a valuable resource to help us better understand students\u2019 lives. The researchers \u2013 Darlene Ciuffetelli Parker from Brock University, and Joe Flessa from the Ontario Institute for Studies in Education at the University of Toronto \u2013 studied 11 schools in poor neighbourhoods. Their case studies focus on seven of these schools and what they do every day to ensure that all students are provided with the best opportunity for success. Their research adds an Ontario perspective to the largely American body of knowledge on the impact of poverty on education. In his foreword Ben Levin, former deputy minister of education in Ontario and Manitoba, writes, \u201cThe examples, stories, and ideas in this book provide much food for thought for everyone wanting a school system that truly treats all children as deserving good education, no matter their background.\u201d ETFO commissioned this research as part of a larger project, funded by the ministry of education, that looked at what teachers could do to improve the academic chances of students living in poverty. Details of the project were highlighted in \u201cPoverty and Learning,\u201d a special issue of Voice published in June 2008. It is available on the Voice website, etfovoice.ca >back issues. The authors describe how schools work to understand different kinds of school success. Many focus on character development. Some actively engage parents and families in their children's education. In some, teachers work together to help all the students in the school. Each chapter focuses on one school and concludes with a set of questions to encourage readers to reflect on the issues in the context of their own experiences and setting. Here are some examples.\n- How would you describe the relationship between your school's goals and the goals of the school district? In what ways do they work in conjunction and in what ways do they work at cross purposes?\n- How might teachers, staff, and administrators welcome parents and families into the school building, considering such issues as physical layout, cultural context, or language barriers?\n- What is the historical/traditional context of your school? Can connections be made between the history/tradition of the school and present day programs and community partnerships?\nThis inquiry approach acknowledges that there is no one solution or strategy that will work for all schools, for all teachers, for all students: each situation brings its own set of unique challenges and requires its own strategies. However, there are lessons to learn across schools. The authors have identified five major cross-case findings.\n- Teacher inquiry:\" ... inquiry-based approaches, which take context into account, matter.\" (p. 95)\n- School leadership: \"[Activities like coordinating professional learning, organizing the school play or finding volunteers] represented some of the multitude of ways that a team of educators and sometimes parents had shared the leadership responsibilities for initiating and sustaining attempts for positive school change.\" (p. 96)\n- Making community connections: \"All schools in our study described the importance of making connections between school and home, and between school and community agencies. Most of the schools viewed these efforts as some of their greatest challenges; for no school was it easy.\" (p. 96)\n- School climate and culture: \"In addition to efforts to bridge the distance between home and school, our case study schools were concerned with building community within school walls.\" (p. 99)\n- Multiple supports needed for multiple issues: \"Intergenerational poverty and long histories of distrust and negative experiences with schooling in one community are not the same as episodic poverty experienced in communities experiencing a sudden economic downturn ... Our case study schools represent this diversity of experience, and what this variability indicates is that there are multiple places for policy to intervene in supportive ways!'(p. 101)\nWhat would it really involve for all of us to take the issue seriously? The final recommendation is to everyone: \"Acknowledge that incremental improvements can be important steps; improvements are not all or nothing. None of the schools we visited thought they were 'there' yet but all could point to important successes that grew from an intentional focus on improving learning opportunities for students affected by poverty.\" (p. 106)", "id": "<urn:uuid:15493ba1-58e5-433a-99c1-2c550c6fae34>", "dump": "CC-MAIN-2023-14", "url": "https://etfovoice.ca/feature/poverty-and-schools-ontario-how-seven-elementary-schools-are-working-improve-education", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948867.32/warc/CC-MAIN-20230328135732-20230328165732-00347.warc.gz", "language": "en", "language_score": 0.9699720740318298, "token_count": 860, "score": 3.578125, "int_score": 4}
{"text": "While preparing any kind of imagery for storytelling, digital picture books etc., sometimes we will need to edit images. Although there are many programs for image editing, beginners might find them too difficult to navigate \u2013 that is, until we learn some basic steps in simpler programs.\nIt is quite important to remember that no matter what type of images we use, we should always use visually clear images \u2013 crisp images without any watermarks. There is a plethora of free image databases where we can find images to use, such as:\nPIXABAY (you can choose \u201cphotos\u201d or even \u201cillustrations\u201d)\nTWINKLE \u2013 this is a platform dedicated to teachers where you can find many illustrations from well-known fairy tales (in the search area, write the name of the story and then \u201csequencing\u201d, in order to find images following the plot of the story).\nBefore editing any images, it might be beneficial to mention that there are many image formats. The most common image format is .jpg. While an JPG image may be appropriate when using it as a background image in our digital stories, characters we wish to animate should be illustrations/images in PNG format. In the image below, you can see the difference between a JPG and PNG image. What can you notice?\n*If you wish to check what type of image you have, just click with the RIGHT mouse button on the image file on your computer and then on \u201cProperties\u201d. A window will show up where you can see the name of the file and the appropriate format.\nUnlike JPG images that consist of a shown element (Red Riding Hood) and a (white) background, a PNG image allows us to see only the character, without its background, which may be very useful when making a visually attractive digital picture book. Look at the example below\u2026\nSo, how can we find or make a PNG file?\nThe simplest way is \u2013 search for it on the internet!\nUsing Google images or any other search engine, write the term you are looking for and simply add .png.\nFor example, in a search engine, we could write \u201cwolf.png\u201d or \u201cwolf ISOLATED\u201d (which means we are looking for an image that shows a wolf isolated from the background).\nOn our computer screen, that image will probably look like the image shown below, with a checkered background. However, if the image is PNG, once downloaded, the background won\u2019t be visible anymore.\nSometimes, we will want to isolate a part of an image from its background ourselves, and for that, we will need a little bit of effort and \u2013 a MAGIC WAND!\nChoose an image which you wish to work on. You can remove the background using a free platform \u2013 PHOTOSCISSORS. In images with a simpler background, the program will automatically recognize the background and remove it.\nExplore the program and when you are done with image editing, simply click on the disk icon in the right upper corner and save the image as a PNG file.\nIn its free version, this platform offers removing the background in images with lower resolution, but the quality is usually good enough for beginners in image editing.\nDownload and install the free program Paint.net.\nWatch the video tutorial and learn how to use this simple program to remove the image background and make a JPG image into a PNG image that can be used in making digital picture books.\n2 misli o \u201cREMOVING A SIMPLE IMAGE BACKGROUND\u201d", "id": "<urn:uuid:76ce7998-cb9d-4e3f-8274-713ab69bc4e7>", "dump": "CC-MAIN-2023-14", "url": "https://sedammora.com/2020/10/24/removing-a-simple-image-background/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00345.warc.gz", "language": "en", "language_score": 0.8992860913276672, "token_count": 751, "score": 3.515625, "int_score": 4}
{"text": "ARCS Model of Curiosity\nOne way to increase your students\u2019 motivation to learn and love of learning is to use the ARCS curiosity model developed by John Keller(2010). The ARCS model defines curiosity as a product of attention, relevance, confidence, and satisfaction. The ARCS curiosity model can be implemented into any curriculum. Hattie and Zierer (2018) argue that it is the role of the teacher \u201cto set the tone in the class and to motivate students, not vice versa\u201d and that this can be accomplished using strategies from the ARCS model (p. 50).\nA lesson that stimulates ATTENTION harnesses students\u2019 curiosity and interest. A RELEVANT lesson is driven by relating to students\u2019 diverse needs and experiences. A lesson that builds CONFIDENCE involves scaffolding meaningful tasks and a lesson that prompts SATISFACTION builds students\u2019 sense of achievement. Each factor is a prerequisite for the others. Without sustained attention, students won\u2019t be able to understand the relevance of a subject to their lives. Relevance builds confidence which in turn leads to greater satisfaction.\nWe can increase attention by introducing the subject and presenting the material in an engaging way. We can increase relevance by giving students choice, helping them understand how this knowledge is applicable in their lives, or by \u201cintroducing a curiosity-arousing situation which has at least some familiarity to the learner (that is, the learner already has some knowledge about it)\u201d (Arnone & Small, 1995, p. 9). We can increase students\u2019 confidence by selecting appropriate challenges and building positive expectations. Lastly, we can increase students\u2019 satisfaction by helping them recognize the feelings of accomplishment and pleasure that come from learning new things. A list of additional ways to practice the ARCS model in your classroom is included below. Guided questions taken from Keller (2010,2016). Learning strategies adapted from Keller (2010) and LearningTheories(2022).\n|Guiding Questions for Educators||Learning Strategies|\nActivities that involve novelty, inquiry and variety such as: humor, puzzles, games, roleplay, problem-solving, brainstorming, mind-mapping, audiovisual content, varying presentation, discussion, storytelling.\n||Activities that align with students\u2019 goals, needs and experiences such as: modeling, building on prior skills, providing examples that students will recognize, having students give examples from personal experiences, have students ask themselves \u201cHow will the subject matter help me today?...tomorrow?\u201d, student choice, guest speakers.|\n||Activities that involve goal-oriented scaffolding such as: allowing students to choose goals, providing small and manageable steps for goal achievement, consistent feedback and praise, student choice in assessment of learning.|\n||Activities that foster intrinsic and extrinsic motivation such as: providing some external rewards but avoid over-rewarding, providing frequent constructive feedback, giving students certificates for skill mastery, and having prior students share their learning experiences. Praise and feedback should be equitable. Praise should be effort focused, rather than ability focused.|\nDoes it work?\nFeng and Tuan (2005) assessed the effectiveness of integrating the ARCS model into chemistry lessons on high school students\u2019 motivation and engagement in the lessons. Fifty-one 11th grade students participated, half assigned to the lessons using the ARCS model and the other half to a control group with traditional lecture-style lessons. Students in the ARCS model classroom reported higher levels of learning motivation following the intervention. Students had a greater sense of self-efficacy and confidence, more frequent use of active learning strategies, and a deeper understanding of the value of science learning. Also, students reported an improved ability to pay attention and be engaged for the duration of the class period (Feng & Tuan, 2005). A meta-analysis of 38 controlled experiment studies of ARCs model use in classroom instruction, with a total effect size of over 8000 students from grades K-12 and higher education, also found that the ARCS model has a positive effect on both student motivation and academic achievement (Gosku & Islam Bolat, 2021).\nArnone, M. P. & Small, R. V. (1995). Arousing and sustaining curiosity: Lessons from the ARCS model. Proceedings of the 1995 Annual National Convention of the Association for Educational Communication and Technology. https://edtechbooks.org/-GXqm\nFeng, S.L., Tuan, H.L.(2005). Using ARCS model to promote 11th graders' motivation and achievement in learning about acids and bases. International Journal of Science and Mathematics Education, 3, 463\u2013484. https://edtechbooks.org/-EvCK\nGoksu, I., & Islam Bolat, Y. (2021). Does the ARCS motivational model affect students\u2019 achievement and motivation? A meta\u2010analysis. Review of Education, 9(1), 27-52. https://edtechbooks.org/-ghDT\nHattie, J. & Zierer, K. (2018). 10 mindframes for visible learning: Teaching for success. New York: Routledge.\nKeller, J. (2010). Motivational design for learning and performance: The ARCS model approach. London: Springer. https://edtechbooks.org/-LeJA\nKeller, J. M. (2016). Motivation, learning, and technology: Applying the ARCS-V motivation model. Participatory Educational Research, 3(2), 1-15.\nLearningTheories (2022). ARCS model of motivational design theories (Keller). https://edtechbooks.org/-aToD\nCC BY-NC: This work is released under a CC BY-NC license, which means that you are free to do with it as you please as long as you (1) properly attribute it and (2) do not use it for commercial gain.\nEnd-of-Chapter Survey: How would you rate the overall quality of this chapter?\n- Very Low Quality\n- Low Quality\n- Moderate Quality\n- High Quality\n- Very High Quality", "id": "<urn:uuid:d324994c-8e5c-4ef6-9412-388a683461aa>", "dump": "CC-MAIN-2023-14", "url": "https://edtechbooks.org/addressing_wellbeing/arcs_model_of_curios?book_nav=true", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949331.26/warc/CC-MAIN-20230330132508-20230330162508-00347.warc.gz", "language": "en", "language_score": 0.9053711891174316, "token_count": 1320, "score": 4.25, "int_score": 4}
{"text": "The Gardening Workbook PLUS Plant Science & Nutrition For Kids, Families and Classrooms is perfect if you want to plan, create, and maintain a small container garden. Plus you can learn about the circle of life through plant science, do fun and creative projects with many materials found around the house or from a fun hunt outside, use fun creative writing prompts to write neat stories, and jumble your brain with fun challenging questions that make you super smart!\nThe Gardening Workbook PLUS Plant Science & Nutrition: For Kids, Families and Classrooms\nFrom the author:\nCan you imagine a world without plants and trees?\nIt would be impossible for us to live without plants and trees as they provide us with the necessary oxygen that all humans and animals need to breathe. And since the beginning of time, the fruits, leaves, seeds, roots, and other parts of plants and trees have been used by humans and other animals for food, shelter and medicine. They provide us with nourishment, joy, and connect us to other people and our environment.\nThe Gardening Workbook PLUS Plant Science & Nutrition For Kids, Families and Classrooms provides 32 fun and cohesive lessons about gardening, plant science, and nutrition for children in grades 2 through 6. Each lesson guides children in creating, maintaining and measuring individual container gardens and includes coordinated projects, creative writing prompts, and fun challenging questions that help their minds to grow stronger.\nAnd unlike typical handouts at school that get disposed of, stashed away, or lost from week to week, this workbook was created in hopes that each child would be able to receive their own copy. This means each child can have the opportunity to reflect on lessons over and over again and be inspired and empowered to maintain their container gardens as well as create fun, low to no cost crafts from basic materials during the months when school is out.\n1 \u2013 Planning For a Year-Round Garden\n2 \u2013 Planting Seeds \u2013 Germination\n3 \u2013 Container Gardening\n4 \u2013 Regeneration: Regrown Gardening\n5 \u2013 Garden Maintenance\n6 \u2013 Gardening Benefits\n7 \u2013 Garden Safety\n8 \u2013 Garden Tools\n9 \u2013 Healthy Soil & Mulch\n10 \u2013 Compost\n11 \u2013 Ecosystems\n12 \u2013 Biodiversity\n13 \u2013 Threats to Biodiversity\n14 \u2013 Photosynthesis\n15 \u2013 Consumption\n16 \u2013 Decomposition\n17 \u2013 All About Seeds\n18 \u2013 Flowering Plant Life Cycle\n19 \u2013 Plant Parts & Function\n20 \u2013 Pollination\n21 \u2013 Birds\n22 \u2013 Bees\n23 \u2013 Butterflies\n24 \u2013 Snails\n25 \u2013 Worms\n26 \u2013 Garden Pests\n27 \u2013 Spores & Fungi\n28 \u2013 Harvest Time & Preserving Food\n29 \u2013 Types of Plants\n30 \u2013 Fruit & Vegetable Nutrition\n31 \u2013 Food Geography\n32 \u2013 GMO: Genetically Modified Organisms", "id": "<urn:uuid:dee65b29-5498-4265-90d9-f24b7a289697>", "dump": "CC-MAIN-2023-14", "url": "http://www.missfrit.com/behind-the-scenes-at-miss-frit-studios/yes-a-kids-gardening-workbook/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949387.98/warc/CC-MAIN-20230330194843-20230330224843-00768.warc.gz", "language": "en", "language_score": 0.9068491458892822, "token_count": 595, "score": 3.546875, "int_score": 4}
{"text": "Looking to create a new language arts curriculum, add to an existing one, or give it a complete overhaul? In this post, you\u2019ll find first quarter ELA curriculum ideas that will help you to meet standards and focus on student learning.\nThese ideas are intended for junior high and high school teachers, and they are merely a guide. It took me many years to develop a solid curriculum I enjoyed teaching (and it\u2019s still evolving). If these ideas can help another teacher, I\u2019m happy to share.\nAs a cautionary note, because this post is intended to help teachers across multiple grade levels, specific learning standards are not included. It\u2019s important to develop your units based upon specific learning objectives that are tied to standards before altering curriculum.\nSo, let\u2019s get started. This is what I do during the first nine weeks. Some of the teaching resources I use are linked.\nAt the beginning of the year, I like to lay the groundwork for expectations. I also try to establish a culture of learning, choice, and accountability for students. Three lessons are important to this foundation:\n- Plagiarism 101: Students need to know that whenever they cite research, they have three ways to cite it. If they aren\u2019t including internal citations and a Works Cited page for paraphrased, summarized, and directly quoted material, they are plagiarizing. It can be difficult to change expectations mid-year, so I begin with this fun introductory or review unit.\n- Email Etiquette: I intersect annoying emails from the get go. No one wants to receive emails from students full of demands or rude requests. Yet, students don\u2019t know any better until we educate them on proper digital etiquette. Sometimes I condense this unit to three days, and other times, I stretch it out to a full week.\n- Why Read?: When I introduce book club, I begin with a lesson where students can reflect on who they are as readers, set goals for growth, and learn about why reading for pleasure is important. Obtaining student and parent buy-in for choice reading units is half the battle.\nREADING LESSONS FOR FIRST QUARTER\nA large part of what I do in my classroom is to get students reading novels they enjoy. I run a year-long, full-choice book club program, which was inspired by The Book Whisperer. Students read for the first ten minutes of every class period, and we make it a social experiment. This post details if you\u2019d like to get started with how to run a book club in your classroom. The same ideas can be incorporated with any independent reading arrangement.\nDuring first nine weeks, in addition to the ten minutes of choice reading time, I cover reading strategies with my seventh through ninth graders. At this age, students are just becoming aware of metacognition. Teaching them how to think about thinking is important. What does reading look like? What do purposeful readers do in order to comprehend better?\nWhile I cover a wide range of strategies, I really zero in on summarizing, analyzing, evaluating, inferring, and synthesizing. To reach these learning objectives, I incorporate paired texts. I pair nonfiction articles and news clips with short films, music, and other high-interest selections.\nThe other piece of my first nine weeks curriculum is a short story unit. The stories I teach from year-to-year vary, but some of my favorite staples for ninth grade include: \u201cThe Interlopers,\u201d \u201cThe Most Dangerous Game,\u201d \u201cSound of Thunder,\u201d \u201cThe Veldt,\u201d \u201cThe Necklace,\u201d \u201cLamb to the Slaughter,\u201d \u201cThe Scarlet Ibis,\u201d and \u201cThe Cask of Amontillado.\u201d\nDuring this unit, we study literary elements, like setting, characterization, plot, and conflict. In doing so, the goal is for students to be able to determine how each of these elements shapes the theme of the story. These are some of the literary analysis teaching resources I use.\nWRITING LESSONS FOR FIRST NINE WEEKS\nI ease my students into writing. My courses are heavier on formal writing than narrative or creative, although I do sprinkle them in occasionally, especially later in the year. This is the writing sequence I typically follow with younger secondary authors or even with those who tend to struggle. I think logically, and I\u2019m a better teacher when I have a sequence that builds and provides scaffolding. It fits my style.\nFirst nine weeks, we start with the writing process (this and/or this), and then we move into paragraph writing. Students write a paragraph on a regular basis in which they analyze a theme, draw comparisons between paired texts, summarize an article, or evaluate an author\u2019s style. Toward the end of the nine weeks, students write a literary analysis essay in which they analyze a short film. In doing so, they explain what aspects of the film impact the development of the overall theme. I enrich this skill for older students or for those who need a challenge by asking them to write an essay on paired texts to draw comparisons between themes.\nVOCABULARY ACTIVITIES FOR FIRST QUARTER\nVocabulary is something I teach throughout the year. I like to be consistent with it. My most successful vocabulary experiences have occurred when I introduce one word per day, and each day, I allow a little bit of time for review. I love teaching students to appreciate words.\nIf you\u2019d like more guidance, you can read this article, which is all about how I make vocabulary fun and how I add differentiation and brain-based learning opportunities. Whether you\u2019re using a word list from literature, from the web, or from another source, these unique vocabulary activities can be used to complement any word list.\nGRAMMAR LESSONS FOR FIRST NINE WEEKS\nWondering how to sequence grammar instruction? Just like anything else, approaches vary. I do think it\u2019s important to teach grammar throughout the year rather than in isolated pockets. Students need to see the continuum. Taking too many breaks disrupts their understanding of how each piece builds onto the next.\nDuring first nine weeks, my goal is always to make sure students can define, identify, and use:\n- parts of speech\n- subjects and predicates\n- complete sentences, avoiding common sentence errors\n- parts of sentences\n- verbals / phrases\nMost students have learned about these concepts in earlier years (even though many like to say they haven\u2019t!). Instead of asking them, Have you learned about the parts of speech before?, I\u2019ve learned to ask, What is a noun, and what is its function in a sentence? When students reply that they don\u2019t know, can\u2019t remember, or haven\u2019t been taught, I tell them to pull out their book or iPad and look it up! That\u2019s what adults do, so we should train students to do the same. While they have heard of these concepts before, I always find a quick review to be beneficial.\nMy grammar units follow a gradual release format. I try to begin with a hook to engage students and get them thinking critically. Framing the unit with writing experiences helps also. If you feel like you\u2019re always struggling to create a grammar lesson you enjoy, you could read this post about how to structure a grammar lesson. This post details how to sequence grammar for the whole first semester.\nHopefully this outline will help you to give your own first quarter ELA curriculum the adjustments you desire. Creating an effective curriculum can be challenging, but I\u2019ve learned it\u2019s always best to be true to you. Choose an approach you feel comfortable navigating, keep the rigor, add differentiation, engagement, and choice, and make sure student learning objectives are identified from the beginning.\nIf you don\u2019t make it all the way through your best-laid plans, it\u2019s okay! Responsive teaching and getting to know our students as people\u2026as learners\u2026that matters, too.\nIf you\u2019d like another angle for first quarter ELA curriculum, read about Language Arts Classroom\u2019s approach.", "id": "<urn:uuid:8f0c80ef-df4a-4ffc-9b35-1246bc373cb4>", "dump": "CC-MAIN-2023-14", "url": "https://www.readingandwritinghaven.com/secondary-language-arts-curriculum-guide-1st-nine-weeks", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00545.warc.gz", "language": "en", "language_score": 0.9428735971450806, "token_count": 1740, "score": 3.546875, "int_score": 4}
{"text": "How Libraries Help Build a Safer Internet\n07 February 2017\nLibraries have always been about giving people access to the knowledge they need to take on the world. Through promoting literacy, innovation and creativity, they empower users to discover new perspectives for themselves, find better jobs, and generate new ideas. These are the foundations of a strong society.\nThe Internet offers the opportunity to access more information, faster, than ever before. The opportunities are immense, and with more and more people online (although far from al!), they can be shared.\nHowever, alongside the opportunities there are also perceived threats: cybercrime (as well as more traditional crime), hate speech, and fears about privacy amongst others.\nConcern about these may turn many off the internet, or at least ensure they stay only on certain sites or platforms. In many countries, governments use these as an excuse to take decisions on behalf of their citizens through censorship or Internet shut-downs.\nWhile both responses may make the problems go away in the short term, they are not a sustainable solution. In line with the IFLA Internet Manifesto, libraries around the world are working to give people the knowledge, skills and confidence to be empowered, responsible Internet users. This makes a vital contribution to a richer, more effective, more participatory web.\nTo mark Safer Internet Day 2017, here are just some examples of what libraries are doing:\nUK: The Society of Chief Librarians has proposed five steps which libraries can take to help children stay safe online, including awareness raising, group activities, and ensuring that children are able to report things that make them feel uncomfortable.\nWales: Coleg Sir G\u00e2r has set up bilingual displays, developed a \u2018stay safe online\u2019 helpsheet as well as a resources handout promoting relevant materials, and will be offering users the chance to test the strength of their passwords using an iPad.\nWales: Torfaen Libraries run weekly 'IT Drop-in Sessions' where users can do everything from learn how to work their tablets to discovering the possibilities of the Internet. They help new users understand the Internet, how it works, and how to protect themselves, working from stronger passwords to spotting suspicious e-mails and safe online banking.\nAustralia: Queensland University of Technology library has created an interactive social media skills online tool \u2013 \u2018Create a Better Online You\u2019 \u2013 and resources under a Creative Commons Licence. This is aimed at young adults (although works for all adults), whereas many other tools focus on children. In Tasmania, the Office of the Children's eSafety Commission has been training librarians in how to help young boost their skills and confidence, ahead of a nationwide roll-out.\nGermany: Stuttgart Public Libraries have organised a week of action, with a series of events, from cryptoparties to coding sessions and interactive workshops on staying safe online.\nLatvia: there is a map of all the institutions \u2013 schools and libraries \u2013 participating in Safer Internet Day. Activities range from storytelling hours and discussions to board and virtual games and creative labs.\nUnited States: New York Public Library has a set of Intenet Safety Tips for children and teenagers.\nThe Netherlands: libraries are using an e-learning package on online privacy to understand how best to advice users on keeping their data safe online.\nBrazil: The Professora Etelvina Lima Library, located in the Federal University Minas Gerais, offers courses and training to help users conduct internet searches autonomously and securely.\nUkraine: On 7 February, the Busk Ivan Kotlyarevsky Central Rayon Library (Lviv oblast) raised awareness among its users about safe internet use, including guidelines for educators and students. The Zhytomyr Regional Library for Children (Ukraine) also joined the Safer Internet Day. Children of junior classes had interactive information sessions \"Best Sites for Children \u201cand \"History and Etiquette of E-mail\"; A virtual lesson \"Netiquette \u2013 Etiquette of Computer Networks\" was conducted for senior students (http://childlibr.org.ua/7-lyutogo-v-sviti-vidznachavsya\u2026/). Lviv Central Children's Library offered a lesson on internet safety for children and parents, usinga selection of commercials on the topic of internet security. They also talked about how to identify dangerous sites, and how to becoming a victim of deception, as well as developing a methodology for network security with a list of recommended safe web sites.\nIn addition, Ivano-Frankivsk, Kharkiv oblast libraries, the National Library for Children of Ukraine, Mariupol City Library (Donetsk oblast) and others have Code Clubs where children and teenagers have weekly coding sessions and interactive lessons on staying safe online. The Center for Continuing Information and Library Education in Kyiv, the State Library for Youth and other libraries also provide training on safe Internet use for librarians, and Ukrainian libraries work with NGOs and other partners to achieve the goals of Safer Internet Day.\nOther organisations, such as EDRi also have useful resources.\nIf you have further examples to share, please contact us!", "id": "<urn:uuid:5115a039-8056-49ee-9b19-19a0f3cda280>", "dump": "CC-MAIN-2023-14", "url": "https://www.ifla.org/news/how-libraries-help-build-a-safer-internet/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948867.32/warc/CC-MAIN-20230328135732-20230328165732-00348.warc.gz", "language": "en", "language_score": 0.9295367002487183, "token_count": 1061, "score": 3.53125, "int_score": 4}
{"text": "metaphor for fast\nFact and Opinion Worksheets and Activities Figurative Language Practice 2 With Long Responses Life is the night with its dream-visions teeming, / Death is the waking at day. CCSS.ELA-Literacy.RL.5.4 \u2013 Determine the meaning of words and phrases as they are used in a text, including figurative language such as metaphors and similes.\nDifferentiated Reading Instruction Worksheets and Activities Contractions Worksheets and Activities Author's Purpose Practice 1 Phyllis, ah, Phyllis, my life is a gray day. Katie\u2019s plan to get into college was a house of cards on a crooked table. Laugh a drink from the deep blue cup of sky. But into her face there came a flame; / I wonder could she have been thinking the same? Fact and Opinion Practice 2 can you please explain to me what is the meaning of this methapors sample? Sentence Structure Activities verbal irony, puns) in context. Answers? The rain came in and the animals slipped, occasionally falling. Capitalization Worksheets and Activities But the rare herb, Forgetfulness, it hides away from me.\nAnd therefore I went forth, with hope and fear / Into the wintry forest of our life; My soul was a lampless sea and she was the tempest.\nFigurative Language Practice | O. Henry With Long Responses\nPoint of View Worksheets The first list contains metaphors that are easier to comprehend and identify. Life: a lighted window and a closed door. Why aren't the two together good enough? I need to know if \u201cIts Antarctica here \u201c is a metaphor. Genre Worksheets\nEach blade of grass was a tiny bayonet pointed firmly at our bare feet. Figurative Language Examples CCSS.ELA-Literacy.L.9-10.5a \u2013 Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text. When the teacher leaves her litte realm, she breaks her wand of power apart. A sweetness seems to last amid the dregs of past sorrows. Think now: history has many cunning passages and contrived corridors.\nMain Idea Practice 1 We will call these \u201chard metaphors.\u201d Another way to consider this would be as a list of metaphors for kids and adults. My dreams are flowers to which you are a bee. Thanky. Mostly about animals if that\u2019s ok. I\u2019m using this for my home work and it\u2019s really helped me. She was fairly certain that life was a fashion show. Pronoun Worksheets and Activities\nPhyllis, ah, Phyllis, my life is a gray day.\nFigurative Language Worksheets Hummingbirds | Nonfiction Reading Test (Gr. Characterization Worksheets and Activities We have the \"Mc-\" prefix, indicating something done the way the McDonalds fast food company would do it. Story Structure Activities Giving the check mark too early may discourage others from answering, and I'm sure there are other reasonable answers to this question. Main Idea Worksheets and Activities Here\u2019s another example: Illogical, right? I have separated the metaphors on this page into two lists.\nLow voltage GPU decoupling capacitor longevity. He cast a net of words in garish colours wrought to catch the idle buzzers of the day.\nAuthor's Purpose Worksheets and Activities The path of resentment is easier to travel than the road to forgiveness.\nChange ), You are commenting using your Facebook account. Author's Purpose Practice 4 Figurative Language Worksheets The child was our lone prayer to an empty sky. Units and Lesson Plans Aligned With Common Core State Standards, About Me It generally implies something that is done quickly and cheaply, but also repetitively. CCSS.ELA-Literacy.L.4.5a \u2013 Explain the meaning of simple similes and metaphors (e.g., as pretty as a picture) in context. The Coliseum | Nonfiction Reading Test (Gr. This page contains 100 metaphor examples. Making Predictions Worksheets Do you have any metaphors about something crazy that didn\u2019t need to happen? I have separated the metaphors on this page into two lists. 5-9) A metaphor (from the Latin \u201cmetaphora\u201d) takes an object or action and compares it to something blindingly familiar, but completed unrelated.\nFigurative Language Practice | Edgar Allan Poe With Long Responses\nGenre and Subgenre Practice 2 what is a single word metaphor for fast and cheap [closed], Creating new Help Center documents for Review queues: Project overview. Each flame of the fire is a precious stone belonging to all who gaze upon it. Mongooses | Nonfiction Reading Test (Gr. She let such beautiful pearls of wisdom slip from her mouth without even knowing. Semicolon Worksheets Quite frequently, the two overlap. Write a metaphor about someone who is a fast runner. What light through yonder window breaks? 5-9) His cotton candy words did not appeal to her taste. In capitalism, money is the life blood of society but charity is the soul.\nMaginot Line | Nonfiction Reading Test Ereading Worksheet (Gr. Blind fools of fate and slaves of circumstance, / Life is a fiddler, and we all must dance. Figurative Language Practice 3 With Long Responses\nPlain Barrel Shotgun Rear Sights, Word For Unintentionally Hurting Someone, Flower Description Creative Writing, Chad Lewis Net Worth, W3af Vs Zap, Robux Code Generator 2020, Super Hypo Motley Boa, Rajiv Kanakala Sister Death, John Edward Thomas Moynahan Instagram, Famous Buildings With Columns In America, Who Did Keith Robinson Marry, Non Denominational Invocations For Meetings, Theoden Quotes How Did It Come To This, Csgo Grenade Trajectory For Everyone, When Does Bolin First Lava Bend, Towa Hololive Twitter, White Bump On Lash Line, Bugzy Malone House, Bob Uecker Masked Singer, Is Apache Trail Open 2020, Jamie Otis Net Worth, Leslie Lopez Actress, Rare Coco Quinn Lyrics Karaoke, Where Is Oscar Pistorius Today 2020, Francisco Garcia Net Worth, Tammy Townsend Parents, The Sum Of Durable Goods, Nondurable Goods, And Services Equals, Publix Passport Login, Sensation Transference Examples, Leading Causes Of Death In The World 2020, Mcmillan And Wife Yellow Car, The Goldfish Boy Chapter 1 Summary, Yankee Dog Names, David Shor Wikipedia, Call For Book Chapters 2021, I Wish You Could Understand How Much I Love You, Stay In My Arms Macybeth Tobler, Sms Pour Convaincre Son Amour, Wandering Reviver Weakness, Steve Bean Bohemian Rhapsody Tab, Adrian Lee Counterparts, Cpap Mask Blowing Air,", "id": "<urn:uuid:008aaee4-77cf-458c-b4a2-016c7687a1f9>", "dump": "CC-MAIN-2023-14", "url": "http://parentproject.org.pl/forum/page.php?c4d45d=metaphor-for-fast", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949701.0/warc/CC-MAIN-20230401032604-20230401062604-00767.warc.gz", "language": "en", "language_score": 0.8882574439048767, "token_count": 1455, "score": 3.515625, "int_score": 4}
{"text": "Another Way of Studying World War I\n* This guest post was written by David Finkelstein.\nThe interactive animated story Apocalypse 10 Lives allows viewers to follow the stories of 10 different characters as they make their way through the landmines\u2014both figurative and actual\u2014of World War I. The experience begins as viewers choose to follow one of four characters; from there, encounters with additional characters make it possible to redirect the story and trace new pathways along different story arcs. With obvious connections to Canadian and 20th-Century History curriculums, Apocalypse 10 Lives would also be valuable in high school English or Civics classrooms. The supplementary resources are adaptable to intermediate students as well. I wholeheartedly endorse this production and have already reflected on how to integrate it into my own classroom.\nAn invaluable resource\nI am also thrilled to say that the Learning Resource included with Apocalypse 10 Lives is invaluable. The variety of supplementary materials for both teachers and students (including maps, charts and lessons grouped into categories such as \u201cProgress in Medicine and Surgery\u201d and \u201cThe Emancipation of Women\u201d) gives educators the opportunity to provide students with a grab bag of extension information and activities to further their inquiry.\nInteractive storytelling is revolutionizing how students connect with historical and literary concepts. As \u201cdigital natives,\u201d most of our students feel more at home on a tablet than a classroom table, and Apocalypse 10 Lives makes the most of a unique format to present both (fictional) primary and (historical) secondary sources to viewers. Similarly, it has \u201cgamification\u201d elements whereby the discovery of highlighted items in each scene connects the viewer to maps, newspapers, pictures and radio addresses to flesh out the fictional characters\u2019 stories. Apocalypse 10 Lives also adds a feature of inquiry learning to the process, as each viewer can choose which and how much additional information they want to explore, and at which junctures. A \u201cscore\u201d at the end of each character\u2019s story shows you how many different secrets remain to be uncovered.\nOne of the challenges I find in teaching History is that large numbers can be difficult to conceptualize. For example, over 400,000 Canadians served overseas during World War I\u2014a number larger than the populations of all but about 10 cities in Canada\u2014and around 60,000 Canadians were killed. I find Apocalypse 10 Lives to be so successful precisely because, by focusing on individual stories, it shows viewers events through a much smaller lens, making it easier to get one\u2019s bearings. As Canadians, we may feel some pride that one of the main characters of the story is Louise Masson, a French-Canadian nurse sent to France to support the troops. Through her experiences, viewers encounter soldiers affected by poison gas, Spanish Influenza and the aftermath of Versailles.\nOverall, the most significant success of Apocalypse 10 Lives is the opportunity it creates for students to explore at their own pace and in their own way. Inquiry-based learning, in which students take control of their own curriculum, can be one of the most effective ways of imparting information. Because the students have choice, they have agency, and through that agency they come to the \u201ccold hard facts\u201d of their own volition. Students are much more likely to share their findings when they are engaged with the material.\nMy name is David Finkelstein. I love the surprises found in each new batch of CAMPUS films. The range of viewpoints and voices offered by the NFB\u2019s productions is almost unparalleled. In the classroom, I want my students to focus on critical thinking and empathy, two essential life skills. I am an OCT-certified teacher and have developed curriculum for a number of CAMPUS films, including the Blackfish study guide and an Audio Literacy unit developed to accompany the L.A. Theatre Works collection.\nApocalypse 10 Lives is a online interactive project (or animated story) that comes with learning resources. Both are online and free! By visiting this link \u2013> https://www.nfb.ca/tenlives you will find links to both these elements and all the info you need to get started. Thanks for your interest and take care! Carolyne\nThis sounds of interest to the history classes at Wellington SEcondary, Nanaimo, BC. Is this a film with digital resources, an online interactive resource or ??? What is its cost? and how do I connect with this to get it to the teachers here? It is not obvious from this web page. Thanks.", "id": "<urn:uuid:0180983d-ff96-443e-b2f2-aebe354da5e8>", "dump": "CC-MAIN-2023-14", "url": "https://blog.nfb.ca/blog/2015/11/03/another-way-of-studying-world-war-i/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943845.78/warc/CC-MAIN-20230322145537-20230322175537-00346.warc.gz", "language": "en", "language_score": 0.9486291408538818, "token_count": 955, "score": 3.53125, "int_score": 4}
{"text": "Course Meeting Times\nLectures: 1 session / week, 3 hours / session\nWhat this Course is About\nScience is the most highly specialized form of knowledge we possess. But science also sells, and sells well - in newspapers, magazines, popular books, radio programs, TV documentaries, films, plays, exhibitions and new media. In these and other ways, science is constantly communicated far beyond the confines of the academy and the laboratory.\nThis course considers the importance of popular science communication - for working scientists, for science policy makers and funding agencies, and for citizens whose lives are affected by scientific research and its practical applications. We shall look at the wide range of people who are involved in communicating science, asking questions like: what motivates these people to popularize science, and what challenges, opportunities and pitfalls do they face in the process? We shall also explore why non-scientists care about what is going on in science. What prior interest, knowledge, attitudes and expectations do so-called lay people bring to their encounters with science? And what do they hope to take away from the experience?\nStarting with questions like these, we shall construct a picture of the complex and frequently difficult relationship between science and the public. Then we shall look at some different forms of popular science communication - journalism, creative writing, radio programs, films and museum displays. Each form of science communication presents particular challenges, and these will be explored with the help of guest practitioners who have professional expertise in particular media. Finally, we shall apply what we've learnt to a series of case studies: a famous public debate about recombinant DNA technology in the 1970s; an equally famous public debate about genetically modified food in the 1990s; and the current debates about stem cell research and 'Intelligent Design'.\nThroughout, the course will combine 'theory' and 'practice'. Students will learn about how science communication is supposed to work ('theory'), and at the same time they will have the opportunity to discover for themselves just what is involved in presenting science to non-specialist audiences ('practice'). The MIT Museum will be used as an experimental laboratory for the practical work, providing students with opportunities to join in the processes of program and exhibit development. Students will also have the chance to contribute to an iCampus project designed to create a new multi-user educational game based around exploration of science and society issues with the help of hand-held electronic devices.\nWhat this Course Aims to Do\n- To provide an introduction to popular science communication in the broader contexts of (a) the role of communication in science, and (b) public perceptions of science and technology;\n- To provide intellectual resources for constructive critical analysis of popular science communication in a variety of real-world contexts;\n- To cultivate practical skills in popular science communication, through hands-on projects at the MIT Museum (including collaboration in POSIT, an iCampus initiative to develop an innovative interactive educational electronic game around a topical issue in science, technology and society);\n- To explore the distinctive nature of science communication through journalism, creative writing, radio, TV and museums;\n- To explore popular science communication through a series of case studies of science, technology and society issues in the public domain.\nWhat this Course Requires\nThe course will meet for one 3 hour lecture/seminar per week. In addition, there are two required Saturday classes focused on practical learning, both to be held at the MIT museum. These Saturday classes will substitute for two of our usual weekday classes.\nThe course has four main components: 'Principles', 'Practice' and 'Case Studies' are three sequential elements; and a 'Practical Project' element runs throughout the semester. Key texts required for individual sessions should be read prior to the class.\nThere are two required texts for the course:\nGregory, J., and S. Miller. Science in Public: Communication Culture and Credibility. New York, NY: Plenum Press, 1998. ISBN: 9780306458606.\nChittenden, D., G. Farmelo, and B. V. Lewenstein, eds. Creating Connections: Museums and the Public Understanding of Current Research. Walnut Creek, CA: Altamira Press, 2004. ISBN: 9780759104761.\nAdditional readings are either available on-line or will be handed out in class in a timely fashion.\nAll students taking this course will be asked to develop a significant practical project of their own in science communication; individual guidance will be provided. The final project counts for 40% of the final grade. The remaining 60% will be assessed on the basis of class participation, a take-home midterm exam, and mini-research projects and presentations. See course calendar for details.\n|Take-home Midterm Exam||25%|\n|Mini-research Projects and Presentations||15%|", "id": "<urn:uuid:337c699c-33b1-4c6d-9e6c-9bdc02c0a329>", "dump": "CC-MAIN-2023-14", "url": "http://ocw.abu.edu.ng/courses/science-technology-and-society/sts-014-principles-and-practice-of-science-communication-spring-2006/syllabus/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00346.warc.gz", "language": "en", "language_score": 0.9090151190757751, "token_count": 1029, "score": 3.5, "int_score": 4}
{"text": "Tiffany J Chen\nGet Slimed!!-Science with Toddlers\nUpdated: May 14, 2019\nThis week, I want to share one of my favorite activities working with kids\n(Drum roll please~~~~~~~)\n-The \"WOW\" factor: Kids any age will love it!\n-Introduce science vocabulary\n-Build on their storytelling skills: have them tell grandma how they made it!\n-Understanding cause-and-effect relationship: we added powder to make it explode!\n-Bonding with your child with a low-cost hands-on activity\nHere I have a short video showing you how I make slime. I've had so much fun creating this experiment with preschool kids and elementary school kids; they just can't stop exclaiming how cool it feels and how the effect happened within seconds!\nHow did I use the Slime experiment for two different age-ranges?\n-Vocabulary: Ingredients (e.g., borax, food coloring), textures (e.g., slimey, gooey, wet, squishy, stretchy), action (e.g., mix, stir, knead, scoop)\n-Location: in the bowl, stir around and around\n-Amount: one teaspoon, one cup of water, more food coloring, less food coloring, some water, a little water\nSchool-Age Kids/Advanced Preschoolers:\n-Cause-and-effect relationship: ask them how the water and glue formed into slime; ask them what key ingredient created this chemical reaction\n-Sequencing/ Story-telling: When your child goes home with their new toy, aka slime, have them tell their parents how they made it. First..Next...Then...Last.\n-Writing a narrative: After the kids can tell you how they made the slime, you can have them practice writing. Talking about it helps organize the steps of experiment and build the structure of a written paragraph\nSlime is just one example of how science experiments can be a fun way to introduce language! My advice: look for science experiments for kids online, and you'll find even more fun activities for you and your child at home!\nLanguage is Power- XOXO Tiffany\n#scienceexperiment #pediatrics #parenting #activities #kids #slime #languageenrichement\n#vocabulary #narratives #inferences #materials", "id": "<urn:uuid:b171edc9-bb37-4ff0-a314-ddccf96d2a27>", "dump": "CC-MAIN-2023-14", "url": "https://www.speechwithinreachslp.com/post/get-slimed-science-with-toddlers", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948620.60/warc/CC-MAIN-20230327092225-20230327122225-00548.warc.gz", "language": "en", "language_score": 0.9227516651153564, "token_count": 517, "score": 3.578125, "int_score": 4}
{"text": "Literacy pedagogy is no longer limited to \u201cteaching and learning to read and write in page-bound, official, standard forms for the national language.\u201d Today, many terms such as \u201cmultimedia\u201d and \u201cdigital storytelling\u201d are commonly used to describe practices that transcend language. Many educators are looking for visual learning tools to augment traditional literacy practices to enhance learning and foster creativity.\nResearch and classroom experience tells us that young children don\u2019t devote much time to planning. This is due to many reasons but some don\u2019t see the value in the pre-writing process while others simply get overly excited when an idea comes to mind. Cameron and Moshenko (1996) found that 6th graders took merely 15sec \u2013 387sec to plan for their writing.\nTo encourage students to think more about the beginnings, middles and ends, digital storyboarding could be useful to visually communicate ideas and concepts before writing a story. Online storyboard websites (such as www.storyboardthat.com) allow students to plan their story and save their work easily with its user-friendly interface and image gallery.\n[For the free version, the storyboard is limited to three panels, but what you could do is to take a screen shot of the different panels and combine them on a word document].\nHere is a storyboard of a Pourquoi Tale that I modelled for students before I wrote my own story:\nSince the storyboard can be done online with the help of clipart and inserted text, students can easily revise their ideas. They can then either retrieve this on the iPad or print this out for quick reference while writing their draft.\nUSING STORYBOARD IN READING\nEvery year when I teach Charlotte\u2019s Web, I usually teach summarising skills by having students re-tell a chapter in \u201cbeginning, middle and end\u201d. This is quite challenging for 3rd graders because they must identify and condense the important information from their reading without including every detail. This is where a visual learning tool comes in. Storyboard would be a great tool to use for visual learners who want an alternate way to do the beginning, middle, end. Here is an example of the entire story of Charlotte\u2019s Web in 3 panels. The students just took a screenshot rather than the hassle of saving the file and unzipping it.\nIn addition to summarising, you can also have students make predictions of a story using storyboard, or to plan a more elaborate role play / dialogue using storyboarding.\nI believe this is a great tool because of its versatility, and user-friendly nature. Students really enjoyed searching through the large selection of pictures, backgrounds and enhancing their storyboards with thought bubbles and dialogues.\n2 thoughts on \u201cHow to encourage students to plan & analyse stories using digital storyboarding tools\u201d\nThank you for your sharing. This tool is very useful and entertaining. I guess Chinese learners in primary schools will love it.\nThank you for your recommendation. The tool is very interesting. It can enhance students\u2019 learning interest.", "id": "<urn:uuid:c70a1ea3-0fc4-4fa7-bbaf-d67f7e7230b8>", "dump": "CC-MAIN-2023-14", "url": "https://claude331.wordpress.com/2014/02/19/storyboard/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945381.91/warc/CC-MAIN-20230326013652-20230326043652-00548.warc.gz", "language": "en", "language_score": 0.9455246329307556, "token_count": 643, "score": 4.21875, "int_score": 4}
{"text": "A 19th-century scientist and suffragette was the first person to discover carbon dioxide could warm the Earth but her work was lost to history.\nEunice Foote devised a series of ingenious experiments that involved isolating the component gases that make up the atmosphere into glass cylinders and leaving them in sunlight. She discovered the cylinder filled with carbon dioxide trapped the most heat and \u201cwas many times as long in cooling\u201d.\n\u201cAn atmosphere of that gas would give to our Earth a high temperature,\u201d she wrote in her 1856 paper Circumstances Affecting the Heat of the Sun\u2019s Rays.\nFoote\u2019s paper was presented at the 1856 annual meeting of the American Association for the Advancement of Science (AAAS) by Professor Joseph Henry, who was founding director of The Smithsonian Institution. It is not clear why Foote did not present it herself \u2013 she did present a paper on a different topic at the event the following year.\nHad it not been lost to history, her work would have formed the basis of modern climate science.\nThree years later, the Irish scientist John Tyndall published his famous paper identifying the gases responsible for the greenhouse effect. He did not cite Foote\u2019s earlier paper and, for more than 160 years, he has been credited with discovering the link between carbon dioxide and global warming.\n\u201cOn the face of it, the significance of the paper passed everyone by who could have had a particular interest in it,\u201d said scientist and historian Roland Jackson.\nSome historians think Tyndall was simply unaware of Foote\u2019s paper. Others say he must have been since it was published in the November 1856 issue of The American Journal of Science and Arts (page 382) and he had an article about colour blindness in the same issue (page 143) \u2013 although he would not be the first scholar to thumb straight to his own work.\nTyndall \u2013 with his rigorous training and state-of-the-art laboratory \u2013 conducted a more sophisticated experiment but Foote\u2019s hypothesis that \u201clong-term changes in atmospheric carbon dioxide levels could affect the temperature of the Earth was remarkably prescient,\u201d said Katharine Hayhoe, a climate scientist at Texas Tech University. She \"was the first person to say in print that if carbon dioxide levels were higher, the planet would be warmer\".\nStorytelling for MarketersThe Wonderful Wizard of Oz\nStorytelling for LeadersMoby Dick\nStorytelling For LawyersAlice\u2019s Adventures in Wonderland", "id": "<urn:uuid:c8ad7196-cad4-416e-8eba-175ed9878160>", "dump": "CC-MAIN-2023-14", "url": "https://storycode.co/story/the-mother-of-climate-science/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00348.warc.gz", "language": "en", "language_score": 0.9742715358734131, "token_count": 524, "score": 3.546875, "int_score": 4}
{"text": "Arithmetic or math skill is the ability to recognize and apply mathematical concepts in all areas of life. Arithmetic skills involve understanding numbers, counting, solving number problems, measuring, estimating, classifying, detecting patterns, adding and subtracting numbers, and more.\nChildren and adults alike need math skills to perform daily tasks such as:\n- Problem Solving \u2013 for example, do I have time to walk to school?\n- Analyze and make sense of information \u2013 for example, how many wins does my team need to reach the top of the competition?\n- Understand diagrams/patterns \u2013 for example, what number would be the next house on that street?\n- Make decisions \u2013 for example, which bike has the best value for money?\nMath skills are a part of your child\u2019s daily routine, all you have to do is help your child understand and grasp the basic numeracy skills at an early for a solid foundation in future. And here below are a few ways to help your child develop early math skills.\nHow To Develop Early Math Skills In Your Child\nChildren begin to learn numbers from birth. In fact, without really realising the existence of math all around, children start using numeracy skills from a very early age. This learning occurs by observing and experiencing arithmetic in action, especially in everyday activities, games and activities. This is good news because these skills are important in being ready for school and laying a solid foundation for future growth.\nHowever, this does not mean you simply force the kid to understand develop numeracy skills. The educators and parents need to understand that building any skill in the child cannot be done forcefully. Instead, you should look for fun ways to teach the children. And this applies to developing early math skills as well. By forcing them to take interest may result otherwise. They would not only lose interest but also might build the fear of math.\nAccording to the experts, before enrolling on schools, children should have a basic knowledge of counting, knowing shapes, recognising colours, addition and subtraction, etc. Fortunately, there are many ways that parents and educators at early school learning centres can help build their children\u2019s confidence and math skills.\n1. Start with the basics:\nIf you are just starting to develop your child\u2019s math skills, start with the basics. These include age-appropriate counting, simple addition and subtraction problems, etc.\n2. Active learning:\nChildren actively use their knowledge to build self-confidence, overcome challenges and learn to take risks. It also triggers character development \u2013 they may begin to see failures as learning opportunities, not obstacles. Introduce some fun games into their daily routines that will help them h=get more familiar with numbers and m=numeracy skills.\n3. Use a variety of methods that strengthen math skills:\nTo help your child develop a solid foundation in math skills, he or she will need to be exposed to many learning and practice opportunities. To show creativity! Incorporating games can help develop addition and subtraction skills. Play math rhyming poems to get them accustomed to tables. Or practice counting from 1-10 and reverse counting from 10-1 in a different and creative way. The point is to let the kids fall in love with math skills.\n4. Believe and Think Critically:\nWhen children learn new concepts and actively use what they have learned, they begin to absorb this knowledge into their long-term memory. During this phase, they begin to use their existing knowledge to think independently and make new connections between concepts and ideas and create strategies to do things their own way.\n5. Don\u2019t worry about mistakes:\nMaking mistakes is a normal part of learning something new. Do not be angry or scold the child if they make mistake while on the path to learning. As long as you offer support and guidance, give your child the freedom to practice independently, then relearn the concept as needed.\n6. Show the use of math in everyday life:\nTake this opportunity to show that we use math on a daily basis! Show the children how numbers are an essential part of our daily life. When you go shopping, have your child help you count the items in the basket or calculate the total cost. Let children develop math skills by helping you to set the table by counting the number of family members and plates required. You can also ask for their help in measuring the ingredients when cooking.\n7. Understanding the uniqueness of your child:\nComparing your child to their peers can be very damaging. Each child has their own needs and learning styles. Don\u2019t panic, instead, try to focus on finding the right way to help your child. It is not your fault or your child\u2019s fault that you need more advice in certain areas. Don\u2019t judge because your child can be extremely good at other subjects. Encourage your child not only to aim for good grades but also to be happy, friendly and creative.\nRegardless of your child\u2019s age or level of difficulty, follow these tips to improve their basic knowledge and math skills and give them a head start in school and beyond. At Kumon, we understand that each child is unique and has unique potential. Therefore, the Kumon Method of Learning offers personalised programs for each child. Join our free orientation and assessment program to know more about Kumon.", "id": "<urn:uuid:872aa2f5-dd25-4cd8-b521-85a05f15f057>", "dump": "CC-MAIN-2023-14", "url": "https://newzbuff.com/help-your-child-develop-early-math-skills/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946535.82/warc/CC-MAIN-20230326204136-20230326234136-00768.warc.gz", "language": "en", "language_score": 0.9492215514183044, "token_count": 1102, "score": 4.15625, "int_score": 4}
{"text": "Does your child hate writing? Try poetry!\nAs parents and teachers, we are all too familiar with the \u201c...but\u2026 it\u2019s boring!\u201d Writing assignments can be daunting for learners of all ages, especially for those with learning disabilities that may be left feeling flustered or discouraged. At Jill Abrams Tutoring, Inc., we recognize that one of the most constructive ways to deconstruct writing and language arts mindsets is poetry- especially for young learners. Introducing a child to the diversity and sometimes whimsically artful style of poetry writing can allow them to intertwine their creativity into their work while improving skills such as reading, vocabulary, pronunciation, spelling, and many more.\nImage: Poems for Kids by Lorrie L. Birchall\nHere are a few ways Jill Abrams Tutoring Inc. describes how poetry can improve your child\u2019s reading and writing skills while also motivating them to keep up the good work!\nIncrease understanding of word, vowel, and consonant sounds. Poems provide fantastic opportunities for young children to practice sound patterns by matching and identifying rhyming words. Poetry helps children work on pitch, voice, and inflection in turn helping them develop a deeper understanding of language and writing.\nImprove your child\u2019s vocabulary and grammar. In poetry, common rules include rhyming, imagery, personification, and more. To maintain rhyming patterns, synonyms can be used to replace certain words due to their ability to rhyme. Poem writing, as well as reading, can challenge students to think more creatively and reach for the thesaurus to broaden their scope.\nHelp with spelling. Repetition of words with similar endings will help fortify students\u2019 spelling by solidifying the articulation of phonemes and practicing phonics.\nBoost creativity. Since poetry plays with language in an artistic way, poets can be deliberate with poem construction and message delivery causing the readers to engage in a different way. There are so many ways to construct a poem: long, short, acrostic, rhyming, haiku, etc. Poetry truly is a form of art and expression unlimited in possibilities in topics, construction, and execution. It can be intertwined with illustration, emotion, humor, or even abstract ideas. Poetry can help students to break away from traditional writing styles and embrace this artistic style of literature.\nMotivation to keep reading. If students are lacking in motivation to pick up a book, poetry can be a fun alternative to keep them practicing important language arts skills. Poems can be diverse! Whether they\u2019re incorporated into a holiday themed activity, a puzzle exercise, a creative writing piece, or a group activity, they are a fantastic way to engage students in writing opportunities!\nImage: 7 Fun Ideas for Writing and Publishing Student Poetry by We Are Teachers\nThere are many different ways to get students more involved with writing. As described above, poetry offers a creative and constructive way for learners to practice important skills in a fun and effective way. There are countless resources available that provide examples of how to write poems, different kinds of poetry, and additional ways to introduce a bit of poetry to your students' curricula. At Jill Abrams Tutoring, Inc., we emphasize the importance of trying new and different teaching techniques to connect with our kids. Be sure to encourage your students to try new styles and use their creativity! The possibilities for growth are endless!\nBy Sabrina Fox", "id": "<urn:uuid:4e63f12c-2a5a-478e-88e5-1d1cf58d668c>", "dump": "CC-MAIN-2023-14", "url": "https://www.thereadingtutor.com/single-post/does-your-child-hate-writing-try-poetry", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948932.75/warc/CC-MAIN-20230329023546-20230329053546-00146.warc.gz", "language": "en", "language_score": 0.9422932267189026, "token_count": 703, "score": 3.6875, "int_score": 4}
{"text": "Person vs person is one of the seven main literary conflicts. It\u2019s a conflict between two characters in a story.\nIn this article, we will use several movie and book examples to explore what this conflict is and how it\u2019s used in storytelling.\nWhat Is Person vs Person?\nThe person vs person conflict is a type of external conflict in literature.\nIt\u2019s traditionally called man vs man conflict, but person vs person is a more inclusive term. You might also see it called character vs character because literary characters aren\u2019t necessarily humans. We use these terms interchangeably.\nThere are seven types of literary conflicts:\n- Person vs person\n- Person vs society\n- Person vs technology\n- Person vs nature\n- Person vs supernatural\n- Person vs fate\n- Person vs self\nThe first five conflicts are external conflicts. The last two are internal conflicts. Most stories have more than one type, and the different types of conflict work together to examine a theme or message.\nPerson vs person conflict occurs between two characters in a story.\nThese characters are typically the protagonist and antagonist, although the protagonist can experience conflict with secondary protagonists or other minor characters.\nIt\u2019s a type of external conflict because it occurs between one character and an outside source. Often, it\u2019s only one type of conflict present because it\u2019s more minor in scope.\nThere\u2019s often not enough external conflict to drive the plot, nor does it address character growth through an internal conflict.\nIt is common to pair character vs character conflicts with larger scale external conflicts, such as character vs society or character vs nature. These pairings drive the plot and explore big, heavy themes with a zoomed-in lens.\nIn other stories, the two characters in the man vs man conflict represent larger ideas or themes that are pitted against each other. This is especially true in good vs evil stories.\nThere\u2019s also usually a person vs self conflict in character vs character stories. The main character must have some sort of character arc in order to overcome their conflict with the other character.\nPerson vs Person Example\nWe often think of character vs character conflicts as good guy vs bad guy but that\u2019s not always the case.\nFor example, love stories between two characters are a type of person vs person conflict. Stories about enemies becoming friends are another example.\nBut hero vs villain stories are the easiest way to understand this external conflict. Think of the fairy tale Cinderella. The primary conflict is between Cinderella and her wicked stepmother.\nAnother example of a character vs character story is the fairy tale Beauty and the Beast.\nThe Beast isn\u2019t truly the villain. Belle and the Beast are in direct conflict, but the resolution isn\u2019t defeat. Instead, the Beast changes and the couple fall in love.\nPerson vs Person in Books\nThe best method for teaching person vs person conflict is through examples. Here are two examples from well-known pieces of literature.\nPerson vs Person Book Examples\nF. Scott Fitzgerald\u2019s The Great Gatsby is a great example of how protagonist vs antagonist conflicts work with other types of conflict. Jay Gatsby is madly in love with Daisy, but she is married to Tom Buchanan.\nGatsby shows off his newfound wealth to win Daisy back but Tom is possessive and abusive. He doesn\u2019t truly care about Daisy, as he has a mistress, but he stakes a claim on his wife.\nGatsby and Tom are in direct conflict. But this is just a tool for social commentary.\nThe largest conflict is actually person vs society. Gatsby and Tom both represent the harmful aspects of wealth, self-centeredness, and the American Dream.\nAnother example of person vs person is in The Lion, the Witch, and the Wardrobe by C.S. Lewis. This children\u2019s novel is a classic good vs evil story.\nAslan, the lion who created Narnia, is in conflict with the White Witch, the root of all evil in the land.\nWhile there are other conflicts, such as character vs nature with the never ending magical winter, the character vs character conflict is the primary one. Like many magical stories, the plot represents good triumphing over evil.\nPerson vs Person in Movies\nMovies lend themselves to person vs person conflicts because it\u2019s an easy type of conflict to resolve quickly. Let\u2019s look at a few famous movie examples of this conflict.\nPerson vs Person Movie Examples\nStar Wars is another example of a good vs evil conflict that uses person vs person conflicts.\nThe primary person vs person conflict is between Luke Skywalker and Darth Vader. Luke represents the Light Side of the Force, while Darth Vader represents the Dark Side.\nThis conflict is one of many in the movie. Luke has a major internal conflict with himself (man vs self) and also with fate. There\u2019s also a person vs society conflict with commentary about totalitarianism through the form of the Empire.\nThe Sound of Music has different types of character vs character conflicts.\nMaria is a carefree nun assigned to care for the seven challenging von Trapp children. Colonel von Trapp is a staunch military man who treats his family like cadets.\nMaria and von Trapp are in heavy conflict throughout the movie until they eventually fall in love, despite their differences. Maria has character vs character conflicts with most of the children. Liesl, the eldest child, also has a conflict with her father.\nThese interpersonal conflicts are set against a wider man vs society conflict with the rise of the Nazis in Austria.\nVon Trapp also undergoes a major character vs self shift, as he learns to enjoy life and take a stand against the Nazi party.\nPerson vs Person: Final Thoughts\nIn all of these book and movie examples, we can see how person vs person conflicts are just one type of conflict within a story. They serve a purpose for a broader conflict or to explore heavy themes like good vs evil.", "id": "<urn:uuid:95e43b9c-4e7f-4557-82c0-a1cd2d7a144e>", "dump": "CC-MAIN-2023-14", "url": "https://prowritingaid.com/person-vs-person", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949642.35/warc/CC-MAIN-20230331113819-20230331143819-00748.warc.gz", "language": "en", "language_score": 0.9449349641799927, "token_count": 1245, "score": 3.59375, "int_score": 4}
{"text": "In 1983, Howard Earl Gardner revolutionized how we think about intelligence with his groundbreaking book Frames of Mind: The Theory of Multiple Intelligences. By challenging the idea of a single dominant type of intelligence and instead recognizing multiple intelligences that create an individual\u2019s unique blend, this revolutionary theory opened new doors for learning and education. Despite skepticism at its conception, it is now widely accepted by educators and learners alike \u2013 offering a fresh perspective on how people learn.\nGardner\u2019s theory advocates for the idea of learners being empowered and having access to multiple methods of teaching, not just one. His seven leading intelligence include: linguistic, logical-mathematical, spatial, musical, bodily-kinesthetic, interpersonal, and intrapersonal. With this approach comes a broad range of learning opportunities that can be tailored to each.\nRather than conforming learners to a single model, Gardner\u2019s seven bits of intelligence approach encourages educators to individualize instruction according to students\u2019 needs. This article will focus on the foundational framework of these original seven bits of intelligence, exploring how it affects Online Learning and illustrating practical applications for course development. Additionally, three additional intelligence types have recently been added \u2014 naturalistic, existential, and pedagogical \u2013 yet their discussion is beyond the scope of this piece.\nLinguistic/ Verbal Intelligence.\nThe capacity to analyze and communicate information via spoken or written language is second nature for linguistic learners. Consequently, these individuals find that learning through narratives such as storytelling and scenarios or interactive activities like online discussions are great tactics to understand the Online Learning content and reach their desired objectives. To ensure success with this learning style, providing links to pertinent resources like relevant Online Learning blogs and articles can go a long way in aiding comprehension.\nLogical learners relish problem-solving, so Online Learning activities that include reason-based challenges like Venn diagrams and tables or critical thinking scenarios where they have to apply a series of clues to find the answer can help them analyze information logically, thus making it easier for them to remember. This ability \u2013 analyzing patterns and structures and scientifically discerning abstract problems \u2013 is essential for learner success.\nVisual Intelligence is the capacity to distinguish and evaluate visual information. This implies that an individual can acknowledge and use images and comprehend objects in space. Artists, architects, sculptors, engineers, pilots, and sailors are a few professions typically connected with this craftsmanship. Visual learners react positively to color-coding, illustrations, visuals & graphics \u2013 likewise, games & multimedia, which visually appeal to them. Suppose you want your Online Learning course to be more engaging for these students. In that case, utilizing all or some of these elements will surely help!\nThe capacity to acknowledge, compose, and execute different tunes and rhythms of sound and music is known as Musical Intelligence. It has been connected with professionals such as musicians, composers, conductors, opera singers, and music professors. How does this impact Online learning? Learners with a strong musical aptitude think in terms of melody, which implies they react exceptionally well to Online Learning material that includes audio-like multimedia introductions with sound effects. Why not create an engaging experience for these learners by utilizing melodic pieces that reinforce the subject matter?\nThis is the capacity to employ one\u2019s physicality to solve issues; here, cerebral capabilities work harmoniously with bodily movements. Vocations typically related to this intelligence include athletes, physicians (particularly surgeons), dancers, and physiotherapists.\nIntegrating Online Learning with Kinesthetic Learners: Kinesthetic learners learn best through real-world experiences. To engage this type of learner, integrate several interactive methods and techniques that allow them to feel, touch, move around or manipulate objects in a virtual environment. For example, use drag & drop interactions, simulations, and educational games to make learning more engaging for kinesthetic learners.\nThis is emotional intelligence \u2013 the capacity to recognize, comprehend and respond to the feelings, intentions, wishes, and motivations of others. It\u2019s a critical skill that helps you collaborate effectively with your peers for successful outcomes.\nCareers commonly associated with this type of intelligence include educators, politicians, counselors, religious leaders, psychologists, vendors, and trainers.\nRegarding Online Learning specifically: social learning is one of the most powerful methods for engaging interpersonal learners who enjoy collaborating and interacting with their peers as they learn. Encourage students to exchange ideas in online discussions through both inside or outside social media channels; furthermore, ask them to consider others before making decisions using scenario-based activities.\nDeveloping an understanding of one\u2019s own emotions, intentions wants, and motivations is a key element in emotional intelligence. Pursuing careers such as university professors or philosophers can boost this critical skill set; however, those who choose high-status professions may also benefit from the power that comes with self-awareness.\nEmpowering Intrapersonal Learners Through Online Learning: Intrapersonal learners are most engaged when they can contemplate how their knowledge can be applied to their own lives. Providing them with meaningful scenarios and real-world benefits increases enthusiasm, introspection, and self-reflection. Additionally, it is beneficial to provide resources for further independent study so that intrapersonal learners can identify personal or professional goals and mistakes to achieve success.\nCan Someone take my online class?\nSo, if you\u2019re wondering, \u2018Can someone take my online class?\u2019 \u2013 the answer is yes! With a better understanding of multiple intelligences, you will know exactly how to get the most out of your online learning experience. And remember \u2013 no matter what kind of learner you are, there\u2019s always something new and exciting to discover! My online class services provide the perfect solution to get you started on your journey of understanding multiple intelligences.\nWhether a single course or a whole semester, my online class services can provide the resources and guidance needed to make sure you make the most out of your learning experience. With do my online class services like this at your disposal, there\u2019s no need to worry about not having enough time or knowledge to do well \u2013 take advantage of multiple intelligence theories and get the best result possible!\nSo, that\u2019s all, folks! We hope this article has provided you with some insight into the concept of multiple intelligences and do my online class services. Whether you\u2019re a student, teacher, or just interested in learning more about different forms of intelligence, do my online class services can help! With do my online class services like these, learning how to use multiple intelligence theories is easier than ever \u2013 so get out there and start exploring! Who knows what new insights and ideas you\u2019ll discover!\nGood luck on your journey to understanding multiple intelligences \u2013 we wish you success!", "id": "<urn:uuid:e3bac9d9-d3b6-4f03-b30f-359bd679732e>", "dump": "CC-MAIN-2023-14", "url": "https://businessheight.com/multiple-intelligences-in-online-learning-the-theory-its-impact/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948756.99/warc/CC-MAIN-20230328011555-20230328041555-00548.warc.gz", "language": "en", "language_score": 0.9183987975120544, "token_count": 1437, "score": 3.671875, "int_score": 4}
{"text": "Artistic and cultural expressions\nFilm and moving images are a natural part of children\u2019s and young people\u2019s everyday lives, whether at the cinema or on TV, online or through social media. Film can be a door opener for different ways of experiencing and telling stories, and mirror children and young people\u2019s own lives and the society in which we live.\nThrough film in DKS, students can meet filmmakers and film genres such as the documentary, short film, feature film and animated film. They get the opportunity to see and experience film art, participate in a film workshop and get an introduction to film history, film production and film criticism.\nAll people have a cultural heritage, with their personal combination of culture, experiences and history. We are thus all involved in defining what will be the cultural heritage of the future. It is about the big questions in life, the dilemmas and the opportunities \u2013 which enable us to reflect on the people of the past.\nCultural heritage in DKS covers many subject areas and subjects. It includes, for example, storytelling, traditional crafts and cultural monuments, industrial heritage and the heritage of minorities. Intangible and tangible cultural heritage are equated in the DKS context.\nThe themes embrace both what we are proud of, which we want to safeguard \u2013 in addition to the history we are ashamed of, but which equally deserves a place for debate and criticism. Cultural heritage in The Cultural Schoolbag is thus a space for the great conversation about history writing and selection.\nWhat was the first book someone read to you? What book has changed you and the way you think? What is the best book you have read?\nThe encounter with literature in The Cultural Schoolbag should offer pupils something more than the literature they receive through teaching; whether it\u2019s by meeting an author or other ways of disseminating quality literature. In this meeting lies the opportunity to create both enthusiasm and a curiosity which will hopefully make the pupil want to continue into the book. In the book you can find identity and belonging, you can seek comfort and you can escape. It should broaden horizons and give children and young people something they might not have known they needed. Therein lies the power of good literature and good literature dissemination.\nMusic occupies a large place in the culture and life of children and young people, and The Cultural Schoolbag wants to convey the great expressive and cultural range that exists. Music in DKS aims to inspire new experiences that can leave a mark, open ears and doors to sounds and melodies you didn\u2019t know existed.\nMusic in DKS will offer everything from folk music and classical music, to hip-hop and rock. The student can meet orchestras, bands or solo performers.\nPerforming arts in The Cultural Schoolbag includes a variety of scenic expressions and genres within theatre, dance, opera and modern circus.\nHere we find both large-format performing arts productions, which are shown in cultural venues for several hundred students at a time, and smaller-format performances, interactive productions and workshops that can easily take place in the classroom.\nVisual arts in The Cultural Schoolbag also includes the disciplines architecture, design and handicrafts. The productions take all imaginable forms: Artist meetings, museum visits, screenings, studio visits, performative works, lectures and workshops.\nIt almost has to be this way, because the art in DKS must be as diverse, boundless and unruly as all other art. Therefore, visual art will also often form part of various constellations with other artistic and cultural expressions, such as film, literature or performing arts.", "id": "<urn:uuid:168b5337-7ec0-4caf-833e-ac8303bfa4e7>", "dump": "CC-MAIN-2023-14", "url": "http://www.denkulturelleskolesekken.no/english-information/artistic-and-cultural-expressions/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00148.warc.gz", "language": "en", "language_score": 0.9439249634742737, "token_count": 754, "score": 3.5, "int_score": 4}
{"text": "A Literary Analysis by Megan in grade eight\nBouchard, David. The Colours of British Columbia. Vancouver: Raincoast Books, 1994.\nI know this author is reliable because he has written five other books including the best selling If You\u2019re Not from the Prairie\u2026 and the award-winning The Elders are Watching. I also know he is a reliable because he is now a school principal in West Vancouver and a popular storytelling performer in schools throughout Canada.\nThe category of this perfect picture book is repetitive pattern, informational pattern and rhythm-rhyme pattern. It is a repetitive pattern because the author uses \u201cI remember\u201d more than once at the beginning of sentences. It is also an information pattern because it tells readers about beautiful British Columbia and the wonderful colours in the towns in which we live. This amazing illustrated picture also contains a rhythm-rhyme pattern because the author uses \u201ceen\u201d words in the same sentences. The author also uses \u201came\u201d sounds and \u201co\u201d sounds.\nThis wonderful picture book describes, in words and pictures, famous sites in beautiful British Columbia. This book has amazing paintings which I am sure readers would love. It is recommended for readers of all ages.\nPoint of View:\nThis picture book is in the 2nd person point of view. Here are some examples:\n- pg.12 \u201cYou\u2019ll probably remember clowns at the circus or toys that were lost as you\u2019ve grown\u201d\n- pg. 22 \u201cTo learn of our brown, you will have to go into the heart of our wonderful land.\u201d\n- pg. 24 \u201cTo seek out our purple you\u2019ll have to go down to the beach anytime of the year.\u201d\nThe tense of this picture book is present tense. Here are some examples:\n- pg.12 \u201cIt\u2019s always the colour we see in the evening, a sunset so often aflame.\u201d\n- pg.8 \u201cLet me now tell you, while fresh in my memory, i found my first colour in trees.\u201d\n- pg.18 \u201cOf the moaning and calling of distant fog horns, like a crying with no one around.\u201d\n- pg.18 \u201c\u2026it\u2019s a spirit that speaks\u2026\u201d\n- pg.12 \u201cIt\u2019s like a picture, painted on velvet\u2026\u201d\n- pg. 12 \u201c\u2026 a sunset so often aflame.\u201d\n- pg.10 \u201c\u2026 tall trees\u2026\u201d\n- pg.14 \u201c\u2026 this truly\u2026\u201d\n- pg.8 \u201cmore and mere\u201d\n- pg.14 \u201c were and here\u201d\n- pg.14 \u201c earth and birth\u201d\n- pg.29 \u201cwondrous and gardens\n- pg. 28 \u201c winter and summer\u201d\n- pg.12 \u201cIt\u2019s just like a picture, painted velvet\u2026\u201d\n- pg.12 \u201cWell it doesn\u2019t look like velvet, it does looks like dreams\u2026\u201d\n- pg. 18 \u201cSomewhat like blue but softer and wet\u2026\u201d\n- pg.18 \u201cThat feels much like rain, hung low in a cloud with tones of soft gentle clay\u201d\n- pg.18 \u201c\u2026like a crying with no one around.\u201d\n- pg.10 \u201c I remember\u2026\u201d \u201cI remember\u2026\u201d \u201cI remember\u2026\u201d\n- pg. 29 \u201c It\u2019s not just our wondrous gardens\u201d \u201cIt\u2019s not just our mountain trails.\u201d\n- pg. 29 \u201c It\u2019s more than our B.C. fruit.\u201d \u201cIt\u2019s more than our salmon or whales.\u201d\n- pg. 10 \u201c\u2026unless you have stood deep in the rain.\u201d \u201cStood deep in our forest\u2026\u201d\n- pg. 16 \u201c\u2026blue\u2026blue\u2026\u201d\nI can connect to this picture book because when I was little I traveled around B.C with my family. I hardly remembered what anything looked like, but reading this book reminded me of all the beautiful sights I saw so long ago. Reading this picture book also reminded me of all the colour we have here in B.C. I guess I still travel B.C, just not as much. But I still go in summertime, for a couple of weeks, to Kelowna and places like Peachland, West Bank, and Summerland. (One summer I even went to Rattlesnake Island, in the middle of Okanagan Lake, to a place where customers can park their boats right in front of a restaurant!) Every summer, I also go up to 100 Mile House and stay with my grandfather for a couple of weeks. We travel up to Williams Lake and Prince George and go fishing, quading and horseback riding. I love travelling to far-away places. I like seeing the beauties of nature and visiting all the little towns. This picture book by Bouchard brought back all those wonderful memories.\nA Planning Sheet to help you write your own Literary Analysis", "id": "<urn:uuid:e0d15b4e-5440-4e2a-bf2c-7e329171e060>", "dump": "CC-MAIN-2023-14", "url": "https://msrosenreads.edublogs.org/2015/11/15/a-literary-analysis/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945473.69/warc/CC-MAIN-20230326142035-20230326172035-00347.warc.gz", "language": "en", "language_score": 0.9518306255340576, "token_count": 1150, "score": 3.546875, "int_score": 4}
{"text": "Mental health issues vary among communities, especially in the extent to which they are discussed and prioritized. Growing up in a Hispanic household and living in a predominantly Hispanic community, I observe firsthand how mental health struggles are commonly viewed as inappropriate, embarrassing, or even shameful. This mindset contributes to the stigma surrounding mental illnesses, causing people to suffer in silence for lengthy periods of time. This silence exacerbates a variety of circumstances that might contribute to mental health problems, such as immigration, acculturation, trauma, and generational conflicts. It should be noted that the Latinx/Hispanic population faces unique structural and institutional barriers that may make it harder for them to get mental health care, which makes them less likely to ask for help.\nBarriers in Hispanic communities:\nAs a Hispanic first-generation individual, I notice how Hispanic families and communities are highly private and do not like to share their mental struggles in public. This perspective perpetuates the cycle of stigma around mental health in the community, as discussing it might be considered taboo. Many Latinx individuals are familiar with the saying \"la ropa sucia se lava en casa\" (roughly translated as \"don't air your dirty laundry in public\"). Some people avoid seeking mental health therapy for fear of being labeled \"locos\" (crazy) or attracting humiliation and unwelcome attention from their families. Stigma within the Hispanic/Latinx community can also prevent individuals from recognizing the symptoms of mental health conditions and seeking assistance. As a result, individuals may avoid seeking treatment.\nHispanic communities are vulnerable in the face of mental health struggles, but they are also subjected to disparities in both access and quality of treatment. According to the National Alliance on Mental Illness, more than half of young adults ages 18\u201325 with serious mental illness do not receive treatment. This inequality makes the Hispanic community more vulnerable to coping with the stressors hindering their lives because, without accessible help and treatment, mental health struggles are difficult to overcome.\nMany Hispanics come to the United States illegally in hopes of a better life, and this choice is often accompanied by the terror of deportation. As a result, many Hispanics don't get the aid they need when they really need it. For example, my mother emigrated to the United States when I was two years old, and this experience would be a constant hindrance to her. My mother once told me that she suffered from \"mental instability, sadness, and fear\" but that she was unable to get professional assistance due to a lack of insurance and documentation. In spite of the fact that millions of children of illegal immigrants are eligible for health insurance under the Affordable Care Act, many families may be unaware of their eligibility or reluctant to register for coverage out of fear of separation or deportation.\nWhen seeking counseling for personal or highly intimate situations, a person's inability to communicate effectively with professionals due to a language barrier can be heartbreaking. These are not easy discussions for anybody to have, but they can be much more challenging for people who may not share a common language with a potential provider. But things are changing for the better, and minority groups in the U.S. are slowly becoming more open to getting mental health care when they need it.\nMental Health Resources for the Hispanic Community:\nLack of information surrounding mental health issues can prevent people in Hispanic/Latinx communities from getting the help and support they need.\nCompartiendo Esperanza is a three-part video series that explores the journey of mental wellness in Hispanic/Latinx communities through dialogue, storytelling and a guided discussion on the following topics:\nYouth and Mental Wellness: \u201cSanando Juntos\u201d/\u201cHealing Together\u201d\nCommunity Leaders and Mental Wellness: \u201cLas Ra\u00edces de Nuestra Sanaci\u00f3n\u201d/\u201cThe Roots of Our Healing\u201d\nLatinx Families and Mental Wellness: \u201cLa Mesa\u201d/\u201cThe Table\u201d\nAmerican Society of Hispanic Psychiatry\nPromotes the research, education, advocacy and support for those in the Hispanic community. Offers a \u201cFind a Physician\u201d feature on their website.\nA database of therapists who either identify as Latinx or has worked closely with and understands the unique needs of the Latinx community. The website is also offered in Spanish.\nA database for Latinx individuals seeking a diversity of mental health and wellness resources, courses and workshops. The website also offers a national directory to help find a therapist and navigate the patient/client-mental health provider journey.\nMental Health America\u2019s Resources for Latinx/Hispanic Communities\nGeneral mental health Spanish-speaking resources, including a list of Spanish-language materials and Spanish-language screening tools.\nA directory of Hispanic/Latinx therapists.", "id": "<urn:uuid:11135e86-3fcd-4e32-901a-6ff5ef3d8f49>", "dump": "CC-MAIN-2023-14", "url": "https://www.intouchblog.com/post/the-fear-of-being-labeled-loco-in-the-hispanic-community-disparities-in-mental-health", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943750.71/warc/CC-MAIN-20230322051607-20230322081607-00749.warc.gz", "language": "en", "language_score": 0.9409418106079102, "token_count": 996, "score": 3.609375, "int_score": 4}
{"text": "Assessment: Becoming Authors \u2013 A Case StudyGalileo Educational Network November 24, 2016 Focus On Inquiry Research Series and Dimensions of Inquiry\nCreative writing is a classic school assignment. But getting students to write without understanding how actual authors do the job is only scratching the surface. Here, students from Exshaw School in southern Alberta are apprenticed into the world of being a writer, editor and publisher. They end up engaged in the process and excited for the outcome.\nWe\u2019ll outline the details, but you can also check out the full video below.\nStudents watched the beginning of an animated short and were asked what could happen next \u2013 how does the story end? In this task, they were challenged to think and behave like real authors. Rubrics, detailed conversations and other assessment tools were used to apprentice students into brainstorming, writing, editing and presenting the rest of the story. This task illustrates how assessment that mirrors work in the discipline can be meaningfully woven into task design.\nThe Teacher\u2019s Objective:\n\u201c(Going into the task) I wanted to build on a lot of the work that we had done previously, which was to dissect stories, and to look at all the parts of a story so that when they go to write, they know that they\u2019re capturing all those pieces that a real author would put in their book.\u201d\n- After the animated short was paused right before the climax, the class was abuzz with what was going to happen. Students immediately started to problem solve and make predictions. They brainstormed in pairs.\nAccording to the teacher, this was important to further develop comprehension, oral language and communication skills: \u201cTalking through the story is very valuable, even before you put pen to paper.\u201d\n- Working in groups, students identified story components and made storyboards to visually map out the climax, the attempts to solve the problem presented in the story, and what the resolution would be.\n\u201cThey got to feel like they were writers,\u201d said the teacher \u201cbut they were not alone in that process.\u201d\n- Using their completed storyboards, students continued to work in their group to prepare an initial draft. The process was ongoing, with feedback from other groups and from the teacher, who used small-group conferencing strategies:\n\u201cConferencing for me, was like immediate feedback,\u201d the teacher said.\n\u201cWe could talk about where they\u2019re at and what they\u2019re writing. And ask them questions to probe their processing. There was opportunity for me to do some assessment for learning in that moment so that they can continue to work on their piece.\u201d\n- There were more edits and drafts. As they fine-tuned their story, students used a rubric they helped develop. This determined next steps, whether their work was \u2018on track\u2019 and whether it was up to the standards of a professional author, editor and publisher.\n\u201cWe talked about what would we be looking for and we tried to use real, professional writer terminologies,\u201d said the teacher.\n\u201cSo we talked about when you\u2019re a writer, you have to bring your work to an editor who\u2019s going to look at it and make sure that all these important things are included in your writing: The story has to make sense, it has to be exciting and interesting and of course, it has so be done correctly in terms of grammar, sentence structure, things like that.\u201d\nAs they finished their stories, students were still curious to find how the animated short ended. Seeing how someone else concluded the story helped the kids realize they\u2019re authors too.\n\u201cWriting isn\u2019t just what happens on the paper,\u201d said the teacher.\n\u201cIt\u2019s a creative process where the conversation and the ideas and dialogue between partners when writing the piece is just as important. So the student who maybe isn\u2019t as strong in actually recording, they were very much involved with myself, and their partner and/or another adult in the room, to contribute to the story\u2026.the kids were all involved in that process of being an author, creating the story, and including all those elements.\u201d", "id": "<urn:uuid:6c23bf67-2c87-4903-b85b-3999dac40c22>", "dump": "CC-MAIN-2023-14", "url": "https://galileo.org/blog/becoming-authors-a-case-study/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943562.70/warc/CC-MAIN-20230320211022-20230321001022-00748.warc.gz", "language": "en", "language_score": 0.9836081862449646, "token_count": 893, "score": 3.8125, "int_score": 4}
{"text": "What Are Personal Boundaries?\nPersonal boundaries are a collection of physical and psychological limitations that individuals require to maintain a sense of privacy and autonomy in their day-to-day lives. While what defines acceptable limits for personal boundaries varies from individual to individual and also from culture to culture, common themes exist. Increasing levels of portable and easily accessible communications technology have also served to add stress to the ability to maintain acceptable levels of distance and privacy within society.\nIncluded in the concept of personal boundaries is the concept of acceptable behavior in social groups. Both religious and political beliefs as well as levels of economic and social status in a group will create a unique set of personal boundaries for each individual. What may be entirely tolerable for one person as a subject of conversation may be intolerable for another. Such violations of personal boundaries often remain hidden unless the offended individual is willing to face rejection and admit that the behavior is unacceptable to him or her.\nSpatial empathy, or the study of proxemics, is one aspect of personal boundaries that is immediately apparent when individuals intermix in unfamiliar social settings or cultures. Human beings retain a personal space, or bubble of territory, around themselves as they move about, with a psychological claim to it as their own. When this is intruded upon, it can be a violation of personal boundaries. Proxemics is the study of how this space is defined by individual cultures, and includes not only individual space, but also the space allotted to distinguish homes and towns from one another as well.\nCitizens of the US and Northern Europe tend to define a larger personal space than people of other cultures, which is the distance close enough to shake hands, or about 2.5 feet (0.8 meters), whereas Latin American or Middle Eastern concepts of personal space can be less than 1 foot (0.3 meters). This has the net result of social encounters where those with larger defined spaces back away from those with more narrowly defined spaces, who are compelled to continually move in closer, creating discomfort for both groups. By contrast, some Asian cultures like that of Japan demonstrate an even larger personal space, where the practice of bowing requires at least three feet (0.91 meters) of distance from the other individual.\nThe merging of acceptable personal boundaries involves nonverbal communication, such as hand gestures and body movements, which are known to be a large part of how human beings convey emotions. Nonverbal communication is used to communicate personal boundaries in one of two ways. Either it is composed of symbolic gestures meant to establish levels of assertiveness such as a thumbs up gesture, or a raised fist, which can be a bullying gesture used to limit someone else's personal boundaries. Such communication can also be composed of conversational gestures coordinated with speech to convey an increased sense of meaning and group solidarity.\nEnvironmental psychology suggests that when an individual has mixed into a culture or social group that is different from his or her own, it is his or her obligation to adapt his or her personal boundaries to more closely align with those of the group, at least on a temporary basis. At the same time, most social psychology recommendations are for individuals to be more vocal in expressing their comfort level and values with regard to boundaries since the natural inclination is to suppress them. When such boundaries are rebuilt however, it can often lead to failed relationships, as strong differences prevent close interaction.\nMy problem has always been setting personal boundaries in relationships. There are times when I don't want someone hugging me or putting their arm around when I'm not prepared for that kind of intimacy. It has nothing to do with my feelings for that person, but more to do with the way I grew up. My family usually kept their distance around each other, and we rarely gave out hugs or pats on the back. I've dated women who grew up in families that practically wrestled each other every time they met.\nIt's never easy to have the conversation about personal space boundaries. Someone who enjoys snuggling or hugging might not understand why someone else doesn't like to be touched.\nI have found that my personal space boundaries change depending on the circumstances. My wife and children can practically climb on top of me, but I feel uncomfortable if a co-worker stands within three feet of me. There have been times when I've tried to work on a creative writing project and have had to order people out of my imaginary personal space. I just can't concentrate when someone gets too close for comfort.\nPost your comments", "id": "<urn:uuid:1107a068-792d-4c9f-8324-ce2903fce507>", "dump": "CC-MAIN-2023-14", "url": "https://www.wise-geek.com/what-are-personal-boundaries.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948867.32/warc/CC-MAIN-20230328135732-20230328165732-00348.warc.gz", "language": "en", "language_score": 0.9631754755973816, "token_count": 911, "score": 3.703125, "int_score": 4}
{"text": "How can your child create an effective word bank?\nYou can tell your child till you're blue in the face, \"You have to build a word bank. Just start picking out words and writing a list in your notebook, or at the back of your exercise book\". It's simple!\nBut, is it that simple?\nOnce they have done this, there are a few questions that they need to ask when deciding which words should be part of their word bank:\nAre they collecting words that phonetically sound the same?\nDo they want to collect words that they have previously spelled incorrectly?\nDo they want to collect words that are similar (synonyms) or totally opposite (antonyms), or both?\nDo they want words that are categorised by grammar, topic, or are from other literacy groups?\nIf you are unsure, don't worry. I have a few methods that can help answer most of these questions...\nHow to organise your word bank for writing\nChildren feel more at ease when there is a structure or order. Especially when it comes to collecting new vocabulary to use for their writing.\nCategorise your word bank into Grammar Groups\nQuick Tip 1:\nNouns: Always list nouns first. Be sure your child lists specific, concrete nouns and help them generate synonyms for frequently used words related to the topic.\nAdjectives: Split the column into six sections to differentiate characteristics and the five sensory adjectives (sight adjectives, sound adjectives, smell, touch, and taste).\nAdverbs: Show your child how to turn adjectives into adverbs by simply adding the ly.\nVerbs: Ensure your child includes power verbs to help a reader vividly picture the action.\nQuick Tip 2:\nWhen your child has organised their words into the basic grammar terms, why not get your child to place the words into other more advanced writing groups, that can help develop their creative or analytical writing.\nWhy Does Your Child Need A Word Bank?\nAs an adult, it might be quite self-explanatory to why your child needs an effective word bank, but young people would beg to differ.\nMany of my students only see the benefits of a word bank when they are actively using it and they clearly know how to.\nBut the benefits of using a word bank consistently includes:\nIt helps your child to remember keywords or terms to either a specific topic or language.\nIt helps your child to be more organised and independent in their own learning.\nIt helps your child to prioritise ideas and words more effectively in their writing.\nAnd finally, it helps your child to be more consistent and create a routine when collecting vocabulary.\nInteractive Ways To Create A Word Bank At Home\nCreate a Word Wall\nWord walls can be really useful for every child, especially visual learners.\nIt gives them the opportunity to have their words displayed on their bedroom wall where they can see them at all times. Also, they can design their word wall and this can create a sense of ownership over their list.\nWhy not have your child's list displayed on their wall in a bold and colourful text?\nYou can also have pictures that associate with the words, which will help your child with word association.\nHave a dedicated notebook\nThis is the most common way to collect a word bank, and it would be best for your child to have a dedicated book that is only used for their word bank.\nIn my experience, when most students keep a word bank behind their exercise books, this tends to get lost in the archives.\nSo if your child has a notebook for only their word bank, this would help your child to be more organised when recording their desired words.\nThis might also be a great opportunity for your child to design and decorate their notebooks and a great excuse to be creative!\nStore words on the computer\nAs we all know, with every notebook we own, it can easily go walkies or get lost.\nSo it is always useful for your child to have their list stored on a word document as a backup.\nYou can have their word bank on the computer as the master copy and their notebook as a rough copy, that might be good practice for your child. This will encourage them to take more responsibility in their word bank.\nCreate a Wordle\nWordles are a great way to get your child interested in words and their association. It is a great visual tool that many of us educators use for lessons, but they are very easy to create at home too.\nThis type of format is great to use if your child has certain subject terminology that they need to learn for a specific topic.\nPlease go to the following link so they can start creating their wordle: https://wordart.com/\nGet some useful word banks online\nThere are many sites you can access online that can give you a great word bank. But I think the best ones I have seen is from:\nThis site has not only amazing word banks that are categorised depending on the subject, age level, and topic.\nBut it also contains other great resources that are so easy to access and print for your child at home.\nThis is definitely my go-to when it comes to great literacy resources.\nThis site has some awesome word banks and other useful visual resources for your child. A lovely platform to discover new ideas from other educators and parents alike.\nSo to conclude, when creating a word bank for your child make sure:\nCategorise your word bank into a specific group:\n- Grammar: Adjectives, Adverbs, Verbs, and Nouns\n- Advanced writing techniques E.g Poetic Verbs, Onomatopeia, Sensory Language, Emotive Language, etc\n- Pick a way to store or collect your word bank. E.g Word wall, notebook, word document on the computer, wordles, using word banks online.", "id": "<urn:uuid:0582ef86-8a63-464c-b0d8-6234e4f08091>", "dump": "CC-MAIN-2023-14", "url": "https://www.chamatuition.com/post/how-can-your-child-create-an-effective-word-bank", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949701.0/warc/CC-MAIN-20230401032604-20230401062604-00767.warc.gz", "language": "en", "language_score": 0.9475260376930237, "token_count": 1276, "score": 4.1875, "int_score": 4}
{"text": "poetry as a strong option in the Language classroom\nof the time literature is mainly related to reading and writing, but it may\nplay the same meaningful role in teaching speaking and listening if we design\ncreative activities. Teachers can use literature in the classroom for different\npurposes such as reading aloud and dramatizing a poem, teaching pronunciation,\nand many other activities.There are many advantages of using\nliterature in the Language classroom. To talk about the general advantages of\nliterature can be a broad approach thus; we will not focus on them. Instead, we\nwill have a look at the benefits from three different perspectives: literature\nas genuine and authentic material, as a good language source and as a bridge to\nget the learner interested and also, we will mention poetry as a strong option\nto develop students\u2019 skills.\nis authentic material which keeps our students motivated and promotes favorable\nattitude toward learning.Poems, novels, and stories can bring powerful emotional\nresponses to the classroom. Furthermore, students can relate their own real\nlives to the stories they read.Literary texts help students to improve language\nlearning. However, literature by itself is not enough; teachers need to use\nimaginative techniques for integrating literature work with language teaching.\nIt is also necessary to bring motivating methodology and to choose the right\nmaterial to keep students interested.\nthey use literature they learn about language structure without even noticing,\nthis helps to develop their communicative competence, what as we know, is the\nultimate aim of English learning.\ncan be seen as the bridge between the learner and the culture of the people\nwhose language they are studying; in order to get the learners interested in\nthe culture, we have to carefully select the literary texts according to their\ninterests and level of comprehension.\nWHY DO WE USE POETRY WITH THE LANGUAGE LEARNER?\nis a short piece of imaginative writing, of a personal nature and laid out in\nlines. In this sense, poetry is a product of the language and a tool to teach\nit, a tool to teach grammatical clues and a product when students make a\ncomposition of any topic.\nof the poems include metaphors. Students can use cognitive skills by making\ncomparisons between two different things and finding their similarities. The\nfigures of speech used in poetry such as metaphors, similes and personifications\nhelp students to have a better understanding of the use of language in an\nis a way for teaching and learning basic skills. It can be used as an enjoyable\nand a rewarding tool with the properties of rhyming and rhythm. It helps\nstudents to easily learn with the supra-segmental aspect of the target\nlanguage, such as stress, pitch, intonation.\nUsing poetry while teaching English can have many benefits:\nIt encourages creative writing.\nIt helps students appreciate sounds words and patterns.\nIt develops phonic skills.\nIt makes students express feelings and opinions.\nIt provides a great opportunity to play with language.\nIt reinforces the ability to think and to experiment with\nstudents\u2019 understanding of the world.\nIt helps to acquire vocabulary, creativity and imagination.\nit reveals, restates, reinforces and affirms those things which\nwe think are true.\nIt gives the chance to discover and explore the use of the\nIt generates collaborative activities (pair and group work).", "id": "<urn:uuid:7c00ee75-d08c-436e-9bca-913bb1150656>", "dump": "CC-MAIN-2023-14", "url": "https://csmefgi.blogspot.com/2014/07/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949678.39/warc/CC-MAIN-20230331175950-20230331205950-00148.warc.gz", "language": "en", "language_score": 0.9397757649421692, "token_count": 782, "score": 3.59375, "int_score": 4}
{"text": "Add Character to Your Course\nBy Justin Lawrence |\nWhen creating a course, you want to make sure that the learner can easily grasp the concept. Crafting perfect learning outcomes that align with the course content often takes precedence over content such as graphics, film, or animation. However, you need to be sure to look at all the aspects and how they work together. Animation is a great way to help with the learning process and is a more interesting way to communicate complex information.\nContent Is King\nIt is important to make sure that the content is well written and simple to learn, and it needs to be written with a broader perspective. Engage with the various teams involved and make sure that it works across each process of creating a course. Content is very important as everything stems from here and if it is well written, translating it into different forms of learning becomes less of a challenge. Also, ensure that the way the learner will grasp the content is part of the thought process. A great video is only as good as the written content, and adding visuals enhances what is already there.\nThe word \u201cANIMATE\u201d comes from the Latin verb \u201cANIMARE,\u201d meaning to make alive or to fill with breath.\nWhy Character Animation\nIf you think about your favorite stories, what do you remember? What is it about the interaction between the characters that strikes you? It\u2019s natural to feel empathy when seeing a hero overcome his/her challenge or go through a difficult time. There\u2019s something about seeing this that allows us to relate and understand what the character is going through. This is what the learner sees and experiences when going through an online course.\nCharacter animation allows the learner to be more engaged and understand more complex concepts that are difficult to explain. Learning by seeing how someone does something is more effective, and it allows for a lighter and more fun approach to what is often quite boring content. You can also avoid being limited by reality or the realistic way things work, allowing for creative approaches and new ways to explain the content.\nAnimation is all about storytelling and usually has a lesson or moral to the story. You can use these two concepts when thinking about how to enhance online learning. On this journey of education, there are various checkpoints along the way to the end goal. Instead of thinking of learning as a straight line, it\u2019s more of a winding road, and you should approach crafting the learner\u2019s journey this way.\nIt is simply more interesting to read a story filled with ups and downs than to read a synopsis of what happened. You might already know how the story ends, but still enjoy discovering how to get to the ending. Finding ways to tell a story that the learner can follow will allow the course to be captivating, helping with the learning process.\nHow Long Does It Take?\nTime is the deciding factor in most cases. Character animation indeed takes more time, but the advantages outweigh the time spent. You can communicate without being limited by language barriers and don\u2019t have to worry about misinterpretation. That being said, there is a particular skill set that is required to achieve this.\nThere are various processes involved in creating a story through animation, like character design, rigging, and character performance. Be mindful of these processes when deciding to use this learning approach and avoid overloading videos with too much content.\nTo sum up, character animation is a great way to transform your content into a story that the learner can stay engaged with throughout the course. However, it is important to be mindful of the time and budget required to achieve this. There are endless possibilities and ways you can create interesting videos; the only limitation is your imagination.\nAnimator at Construct", "id": "<urn:uuid:09cc49ec-8524-4b3c-b7a8-02b9f8363097>", "dump": "CC-MAIN-2023-14", "url": "https://www.proversity.org/post/add-character-to-your-course", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950528.96/warc/CC-MAIN-20230402105054-20230402135054-00769.warc.gz", "language": "en", "language_score": 0.9603920578956604, "token_count": 779, "score": 3.53125, "int_score": 4}
{"text": "If you are studying Physics, here are five tips on how to score well in your exams and tests:\n#1 Read the units for measurements correctly\nRead the units carefully and convert them to the correct base units whenever necessary. For example, whenever a physical quantity is substituted into a formula, it should be converted into its base unit (eg: 5 km = 5000 m). This ensures the teachers know that you understand the question fully. Students sometimes miss out this step and lose marks.\nRemember to write the correct units of an answer. It\u2019s often observed that students leave the final portion of a calculation without mentioning the correct units. Just a number without a unit makes no sense in Physics. It shows that the student is either not mindful of the importance of using the correct units, or that they do not fully understand the concept of the question, even if the numbers in the answer are correct. It can make the difference between scoring an \u2018A\u2019 grade or a \u2018B\u2019 grade.\n#2 Utilize the entire graph sheet\nUtilize the entire graph sheet when drawing a graph. A part of Physics is the ability to plot down values and compare them based on other values that increase linearly (units such as time, temperature, and gravitational strength). Students are marked on their ability to draw graphs which accurately illustrate points of comparison between the different values.\nIt is important to choose a proper and relevant scale on the X and Y axes so that the points plotted in the graph are spread across the entire sheet. This ensures that a more accurate best fit curve can then be drawn. Students will often overlook this point and end up losing marks for drawing a relatively small graph, even if their calculations from the graph are correct.\n#3 Memorise definitions\nThere are many questions in Physics which require students to understand and write down the proper definitions using relevant scientific terms. In certain cases where there may be alternative ways of expressing a concept, it is imperative to use the correct terminology when writing down your definition.\nUse of alternative words and rewriting a definition without the specific terms of the set definition will lead to lost marks. Teachers are not looking for creative writing, but rather a student\u2019s ability to remember specific quotes or definitions.\nYou can minimize the chances of being marked down by simply remembering the key words and phrases and then practising them in and out of class. This will help you to get maximum marks for any definition based question.\n#4 Write down the formulas\nWrite down the formulas you are likely to need when writing an answer. A subject like Physics requires students to understand and use many formulas when answering a question or providing a solution to a set scenario. Students will often forget to write the formulas used to analyze or logically evaluate a scenario.\nWriting the correct formulas will not only help you to get more marks but it also saves time when explaining something. This is because examiners want to assess how well you understand a concept. By writing down the correct formulas even if the final answer may not be correct, you will still receive marks for partial competence with regards to the set scenario.\n#5 Show the workings of calculations\nStudents must show all the required working, including the use of appropriate formulas, conditions and conclusions in order to obtain the full allocation of marks for a given question. Some students do not get rewarded with the full marks for a question even though their final answer is correct because certain steps required to derive the answer are missing.\nDouble check your calculations in an exam, so that any mistakes that you may have made when tackling a scenario can be identified and then corrected. Students should also ensure that they do not spend too much time on one question, so that they will have adequate time to check through their answers to ensure that careless mistakes are spotted and corrected.", "id": "<urn:uuid:b18a6ac7-0d49-4d30-adda-29ee43e70cb2>", "dump": "CC-MAIN-2023-14", "url": "https://www.insworld.edu.sg/physics-tips-simple-tricks-to-score-higher-grades/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945333.53/warc/CC-MAIN-20230325130029-20230325160029-00769.warc.gz", "language": "en", "language_score": 0.9373690485954285, "token_count": 775, "score": 4.375, "int_score": 4}
{"text": "#youcanbeawriter #bookcampaign #booksontourpr\nA writing session unto itself, to teach budding writers how to structure stories, incorporate all the necessary elements, and inject sparks of imagination, You Can Be A Writer opens up a plethora of literacy and language opportunities for primary school-aged children. From setting up for writing, to planting and sowing the idea seeds, to fleshing out characters and storylines and being an editing story inspector, each task can be broken down into simple and fun steps as a part of the writing process. Here, we\u2019ll explore a few activities to help with the start, and the end, of the creative writing adventure.\n*You Can Be A Writer is written by Teena Raffa-Mulligan, published by Sea Song Publications.\nKey Curriculum Links: ENGLISH\nAges 6 -12 years\n*The full set of You Can Be A Writer teaching and learning activities, (with BLM worksheets) can be downloaded at Teena\u2019s website here.\nDecorate the front of a notebook that can be used to jot ideas, sketches and stories. Include a title (____\u2019s Writing Journal), and a title page with \u2018About Me\u2019 information.\nBecoming a Story Gardener \u2013 Idea Plant\n(ACELA1443) (ACELA1447) (ACELA1453) (ACELA1454) (ACELA1460) (ACELA1463) (ACELA1470) (ACELT1581) (ACELT1582) (ACELT1584) (ACELT1589) (ACELT1591)\nIdeas are everywhere! Discuss where we can find ideas, and how we can grow them. On leaf shapes, write down places where ideas can be found. For example, in your imagination, feelings about an event, from memories, dreams, TV / movies, books, songs, other people, and so on. Paste all the leaves onto a large paper stem.\nAt the top of the stem, paste a flower shape with six petals. This is the fertiliser to grow your ideas. In each petal write the questions; Who? What? Where? When? Why? How? and in the middle; What if?\nDisplay and use as a reference when writing stories, or include a small version in each student\u2019s writing notebook.\n\u201cIt\u2019s time to be a story inspector.\u201d\nUse or make a magnifying glass to find the different punctuation marks in the book, You Can Be A Writer. What do they represent? Point out some full stops, commas, question marks, exclamation marks, ellipses, colons. Are there any others that you know?\nMake punctuation stick puppets to use with your own sentences. Begin with a question mark, exclamation mark, comma and full stop. Where in the sentence can they go? Read your sentences aloud with intonation and expression!\n#youcanbeawriter #creativewriting #primaryeducation #literacy #language #imagination\nPlease follow Teena Raffa-Mulligan at these links:\nYou Can Be A Writer is available for purchase at Teena Raffa Mulligan | Booktopia\nYou Can Be A WINNER! It\u2019s the You Can Be A Writer #BookGiveaway!\nClick here to enter to WIN a copy of the fabulous writing tool, You Can Be A Writer!\nJoin us on a storytelling adventure across the blogosphere as we take Teena Raffa-Mulligan and her interactive picture book, You Can Be A Writer on tour, appearing at the following media sources.\nOrganised by Books On Tour PR & Marketing. Email: email@example.com", "id": "<urn:uuid:7d54c3a3-b3dd-4433-acdd-2862d189d290>", "dump": "CC-MAIN-2023-14", "url": "https://www.justkidslit.com/you-can-be-a-writer-educational-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944996.49/warc/CC-MAIN-20230323034459-20230323064459-00148.warc.gz", "language": "en", "language_score": 0.8619228005409241, "token_count": 820, "score": 3.65625, "int_score": 4}
{"text": "Tips for reading and writing instruction with Flocabulary\nFrom nouns to verbs to research skills and argumentative essays, Flocabulary\u2019s language arts units teach key concepts for all grades. Our standards-aligned hip-hop videos and supporting activities are uniquely engaging and student-centered. Flocabulary\u2019s reading and writing instruction covers grammar, research and study skills, and literature too!\nTeaching and writing poetry\nFlocabulary is the perfect platform to support teaching and writing poetry in reading and writing instruction. Hip-hop is a form of art and each rap\u2019s lyrics are like poetry. Teachers can bring poetry into every ELA lesson with Lyric Lab.\nLyric Lab is Flocabulary\u2019s academic rhyme writing activity. After watching a video about a topic students can complete supporting activities to deepen their academic vocabulary exposure. The most comprehensive way for students to show what they know from a lessons vocabulary is with Lyric Lab where students use the vocabulary terms in any Flocabulary video and use them to write academic rhymes. Lyric Lab\u2019s built in rhyme-generator makes this process easier. When finished with a 4 line (or longer) academic rhyme, students can set it to a beat and perform it as rap or just use it as academic poetry.\nTeachers can use the Rhyme (grades K-2) and Rhyme & Rhythm (grades 3-12) and Hip-hop Fundamentals lessons to support poetry writing in the classroom.\nAssign grammar videos as independent work\nYou may find that students are consistently making the same grammatical errors in their writing. Perhaps some have difficulties with prepositions, and others need to better understand commas. Assign Flocabulary grammar videos after writing to help meet students where they\u2019re at and master grammar usage.\nMake writing engaging\nWe know writing can be hard to teach in any grade level or subject area. There are lots of reasons students avoid writing. It could be they feel overwhelmed by writing since it\u2019s an abstract task, they struggle organizing their thoughts, the writing process takes too long, they struggle with poor reading and spelling skills which makes writing even more difficult.\nThroughout these struggles, it can be difficult to keep students engaged. We know that student choice and topics students can relate to keep academics engaging. Before students can sit down to write anything they need to understand the vocabulary of a topic.\nWith Flocabulary, students can master academic vocabulary in any K-12 core subject area through a variety of activities with varying levels of complexity. Flocabulary\u2019s focus on connecting school to student culture gives students topics they can relate to. Flocabulary\u2019s lessons are culturally relevant and applicable to real life. This can jumpstart writing engagement in the classroom.\nFor any writing topic, start with Flocabulary to spark interest and creativity, give student choice and agency over the activities and ways they master vocabulary related to a topic. Use Flocabulary writing lessons to support writing strategies or have students use Lyric Lab for creative writing opportunities.\nHere are a few videos we love to support writing instruction:\n- The Five Paragraph Essay\n- The Writing Process\n- Writing a Thesis\n- Five Elements of a Story\n- The Research Process\n- Works Cited\nFocus on non-fiction and informational texts\nWe know teachers are always looking for more ways to bring informational texts into the classroom. Every Flocabulary K-12 standards-aligned lesson includes a Read & Respond activity to practice reading comprehension. This activity gives students an informational text passage and asks them to respond to questions about that passage to show what they know about the vocabulary and concepts in each lesson. Teachers can also use the Fiction vs. Nonfiction video to teach informational and nonfiction texts and how they\u2019re different from fiction.\nCheck out a language arts lesson to dive deeper into reading and writing instruction with Flocabulary today!", "id": "<urn:uuid:3b2b3865-2b0b-4352-b7b5-54edc48610d3>", "dump": "CC-MAIN-2023-14", "url": "https://blog.flocabulary.com/tips-for-reading-and-writing-instruction-with-flocabulary/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950528.96/warc/CC-MAIN-20230402105054-20230402135054-00770.warc.gz", "language": "en", "language_score": 0.9351629614830017, "token_count": 815, "score": 3.765625, "int_score": 4}
{"text": "Language development in preschoolers\nUpdated: Mar 14, 2020\nWe give a lot of attention to linguistic (reading, writing) and mathematical development in our children. Early childhood is a crucial time creating a foundation of linguistic and mathematical development. A curriculum that fosters language development must approach it as a process, as reading is a complex process involving different parts of the brain. A carefully planned environment is essential for this. Meaningful experiences need to be created, these are mostly rooted in PLAY for young children. This environment involves certain features which are presented below.\nConnect with Culture: To find meaning, activities for children should connect them with their culture and community.\nObserve the children: Children create their own meaning through invented spelling and symbols. Instead of pressurising them of memorising spelling they should have freedom of expressing their phonetic sounds.\nEmotions: A safe environment which allows children to express their emotions is essential. Drilling them with words or having inappropriate expectations from them can have a negative impact.\nDEVELOPMENTAL PROCESS: Reading & Writing are developmental, it begins with awareness and exploration in preschoolers (Age: 2-4),where it\u2019s a nice idea to explore them to print environment, letters, sounds and genres. In Phase two (kindergarten): experimental reading and writing should be promoted.\nBegin with Stories: Reading and Writing begins with stories and this can\u2019t be stressed enough. Storytelling communicates history, cultural importance and exposes them to the beautiful world of imagination and listening. This brings us to an important question. What kind of stories should you read to your child? Anything from Fairy Tales, Myths and Legends can offer a rich language, sense of history, a sense of place in the world , develop imagination in the child. Nature Stories, stories about children themselves and poems offer appropriate storytelling experiences.\nInspire a reading environment: One can develop reading corners in each class with age-appropriate books. A cozy and accessible environment should be given so children can feel good about a book in the hand. There are numerous sources available who are doing a great job to promote reading in early years. Some of the instagram accounts handle that can recommend age-appropriate books are @growingbookbybook @tokabox @thenestery.in\nIn a preschool environment, teachers form an important role as they create the supporting environment for the children in a childcare facility. The parents need to be also involved so they can support this learning at home.\nTEACHER'S ROLE IN CREATING THE ENVIRONMENT\nA teacher is responsible for knowing her children. She has a better idea of what is relevant and necessary for them. How can this be done?\nPick up their interests: Activities should be planned as per their interests and their developmental needs. A Teacher needs to pick up clues from the environment.\nShared language experiences with children: Children are used to being talked at (Do this, Don\u2019t go there, This is right, That is wrong). They are rare opportunities for them to be talked with. Create opportunities so you can talk with children. Story Telling often presents good opportunities to talk with children.\nA combined effort of teachers and parents at home can help make a conducive environment for children to read, learn and be effective communicators when it is the most crucial that is in the early years.", "id": "<urn:uuid:afeb7801-ef5c-401d-a9f4-8831027577d3>", "dump": "CC-MAIN-2023-14", "url": "https://www.gulmoharschools.com/post/raising-readers-in-a-preschool", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00150.warc.gz", "language": "en", "language_score": 0.9507117867469788, "token_count": 735, "score": 3.875, "int_score": 4}
{"text": "\u201cThe camera is an instrument that teaches people how to see without a camera.\u201d\nPhotographs are one of my favorite tools to use as a museum educator. One technique I like to use, known as a Visual Thinking Strategy (VTS), is a very simple and effective way for people to start to see more in an image than they otherwise would have noticed. There are three main steps to follow:\n- Show an image to your audience\u2014either project it on a screen in front of a classroom, or pass it around so everyone can get a good look at the details.\n- Ask students to sit silently and look closely at the image for a minute or two.\n- Guide the students through a series of questions that help them think critically about the image and start asking questions of their own.\nWe might start with an image like this one:\nTintype portrait of unidentified group of African American women. SHSND 10737-310.\nAfter taking in all the details for a couple of minutes, I would first ask my audience to tell me what is going on in the photograph. It is important that we don\u2019t tell them what we want them to know. We have to be patient and let them make observations; compare and contrast their own answers; and start asking questions. We can keep the conversation going by asking follow up questions\u2014\u201cWhat makes you say that?\u201d and \u201cWhat more can we find?\u201d This will help students continue their observations and will help them associate details in the image with their own personal experiences or prior knowledge.\nThis is a great activity for teachers of any discipline. English teachers can use this activity to initiate a creative writing activity. Science teachers can use this to connect observations of an image to classroom lessons such as identifying physical properties of an object. Math teachers can use images this way to help make connections for students between the real world and abstract concepts\u2014for example, you could ask younger students to find basic shapes or to add or subtract the number of items in an image.\nThis exercise is great for someone teaching North Dakota Studies or other history classes. We can talk about the clothing and interior d\u00e9cor styles of past decades. We can talk about how a historian or archivist could do some detective work to try to find out more about who these unidentified women are. We could even talk about the preservation of historic images, and the process used to create a tintype.\nUsing a strategy like VTS gets people to start noticing details and interpreting what is going on in an image. Students begin to understand how other people might have a completely different understanding of what is going on in an image than they did. I always try to pair appropriate images to any lesson I\u2019m teaching so that students start to exercise their history detective muscles. It can spark an interest in students of all ages.", "id": "<urn:uuid:7c8e28b8-04c2-4f1a-8100-b76b7e243743>", "dump": "CC-MAIN-2023-14", "url": "https://blog.statemuseum.nd.gov/blog/teaching-people-to-see", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949331.26/warc/CC-MAIN-20230330132508-20230330162508-00346.warc.gz", "language": "en", "language_score": 0.959679126739502, "token_count": 592, "score": 3.75, "int_score": 4}
{"text": "As an elementary Spanish teacher, I am constantly on the lookout for new and novel ways to for teaching languages to kids while giving them practice and reinforcing vocabulary. However, there are those activities that stand the test of time. Ones I return to again and again for their versatility, effectiveness, and general fun! Here are three I find to be great workhorses in the classroom; tried and true classics that provide opportunity for practice at any age level.\nActivities for Teaching Languages to Kids\nWith endless possibilities for vocabulary practice, Bingo is that all-time fantastic activity to reinforce listening comprehension! Kids are usually familiar with how to play it. Therefore, it is easy to incorporate bingo into a foreign language classroom without translating the instructions. One thing I like to do is play along with my students, thus allowing me to model additional game vocabulary. For example, \u2018Yay!\u2019, \u2018One more!\u2019, \u2018Rats!\u2019, \u2018I have ___\u2019, etc.\nAs with Bingo, Charades is a game that can be played with a wide range of vocabulary sets. I like the opportunity for my students to be able to get up and out of their seats in order to play. It provides both comprehension and speaking practice. Students must name the vocabulary item in order to guess what is being acted out. A support I like to provide to my students is a set of visuals that represent the vocabulary we are working on.\nFor example, if the Charades game we are playing is comprised of vocabulary related to the forest, I have all the words illustrated using cards so there is a reference point for those guessing. This also helps those kiddos who may have challenges with recall, as I also make sure all visuals are labeled.\nFormulating questions can be a challenge for language learners, but 20 Questions allows practice of this skill within a fun format. For novice learners, be sure to keep the mystery items very concrete and provide scaffolding in terms of posted questions they can use as supports to be sure the game doesn\u2019t stall.\nAs with Charades, I also like to have a visual word bank handy so that students have some idea what might be the mystery item. There are many ways you can set this game up. For example, by including having a mystery item in a bag, taped to a student\u2019s back, or on slips of paper.\nWhat activities are YOUR classroom favorites for teaching languages to kids? We would love to hear!\nThe Power of Storytelling for Children in Second Language Acquisition\n\u201cShow Your True Colors\u201d Language Learning Fun With Idioms\n6 Tips to Motivate and Support Your School-Age Bilingual Childby\nLatest posts by Julie Hoffman (see all)\n- Making Simple Arpilleras with Kids - September 19, 2022\n- Teaching Languages to Kids: 3 Tried and True Activities - February 1, 2021\n- Tips to Advocate for a Foreign Language Program in Your Child\u2019s Elementary School - August 28, 2017", "id": "<urn:uuid:16033afc-e742-4bfa-a1c0-6e8fab3e8204>", "dump": "CC-MAIN-2023-14", "url": "https://multiculturalkidblogs.com/2021/02/01/teaching-languages-to-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949025.18/warc/CC-MAIN-20230329182643-20230329212643-00149.warc.gz", "language": "en", "language_score": 0.9499431848526001, "token_count": 641, "score": 3.609375, "int_score": 4}
{"text": "Does your teen express their thoughts and feelings when they disagree with friends or family? Do they ask for help when they need it? Do they know how to resist peer pressure? You may find communicating with your teen challenging at times. They may struggle with expressing themselves while respecting you and being able to empathize with others. In good news, there are things we can do to help our teens learn to be more assertive. Assertiveness is the ability to express your wants, needs, and thoughts in a self-assured, direct manner while respecting what others want, need, and think (Noonan & Gaumer Erickson, 2018, p. 105). This 3-minute video introduces the concept of assertiveness, its definition, and some examples of how to support the development of assertiveness at school and at home.\nWhen teens are either too passive or communicate too aggressively, they likely lack the ability to communicate respectfully through assertiveness. Learning specific assertiveness skills can help your child express their thoughts and feelings more effectively, build better friendships and relationships over time, and feel more connected to the people in their lives. Being assertive means that they can speak up for themselves and others, even when it is difficult. Whether it is helping your teen learn to ask for help when they are having difficulty in school, resisting peer pressure to do something they are uncomfortable with, or requesting time off from their afterschool job, the ability to assert themselves enables adolescents to respectfully express their wants, needs, and thoughts.\nListen as McKenzie, a high school senior, explains what assertiveness is and shares how she was assertive with her supervisor at work.\nTo understand assertiveness, it\u2019s important to also understand how passive, aggressive, and assertive communication styles differ. Many teens are unaware of the differences between these styles and confuse assertiveness for aggressiveness. As parents, we want our children to be able to identify these communication styles in others but, most importantly, in themselves.\nListen as Dr. Pattie Noonan introduces assertiveness and discusses the three types of communication. As you listen, think about how you might help your teen identify these types of communication in daily life.\nPreviously, McKenzie shared that assertiveness is both expressing your wants, needs, and thoughts while respecting others\u2019 wants, needs, and thoughts. Part of being able to express ourselves effectively is being able to identify what we are feeling and why, and then respectfully communicate those feelings. We can help teens explore and better understand their emotions.\nDr. Noonan shares one way to help our teens describe the emotions they are experiencing. By understanding our feelings, we are better able to control how we act on and communicate those feelings. Think about how you could support your teen to identify feelings for a specific situation by encouraging them to determine the more complex emotions on the outer two rings of the Feeling Words Wheel.\nListen to Declan, a high school student, as he describes the Feeling Words Wheel and empathy. As you listen, consider situations when it might be helpful to use the Feeling Words Wheel to help your teen express themselves while empathizing with others.\nCommunicating in an assertive manner might seem difficult at first. In this 5-minute video, Dr. Noonan suggests teaching your teens to use a three-part statement. Using this recipe, students can communicate their wants, needs, and thoughts while respecting what others want, need, and think.\nNo one is assertive in every interaction, but giving teens practice in using a three-part assertive statement can help ensure that when they need to be assertive, they know how to do so. Dr. Noonan also discusses setting personal boundaries. These protective assertions promote healthier relationships and limit your teen\u2019s chances of doing things they may regret.\nNow that you\u2019ve learned about assertiveness and how it can help your teen communicate more effectively, consider the following steps to support your teen in developing assertiveness:\n- After watching a movie or show, or after interactions with others, talk with your teen about the types of communication they saw and how passive, aggressive, and assertive communications are received and interpreted.\n- Download Assertiveness Resources for Home Learning to facilitate practice and learning at home. Included in this resource are links to both the Feeling Words Wheel and the 3-Part Assertive Statement resources.\n- Consider a discussion with your teen about the need for protective assertions, or personal boundary statements. Support them in identifying what boundaries are important to them, and have them practice creating corresponding 3-part assertive statements.\n- Consider roleplaying scenarios like asking for time off at work, expressing a concern to a friend, or requesting an extension on an assignment from a teacher so that your teen can practice being assertive in many areas of life.\n- Share examples from your own life where you were either too passive or too aggressive and how assertiveness might have resulted in a better outcome.\nOther resources for home learning are available when you download the Assertiveness Resources for Home Learning from the https://www.cccframework.org/ website.", "id": "<urn:uuid:1a0ea8d9-30f9-4378-8969-b98b3b520419>", "dump": "CC-MAIN-2023-14", "url": "https://www.cccframework.org/teaching-your-teen-to-communicate-respectfully-using-assertiveness/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943750.71/warc/CC-MAIN-20230322051607-20230322081607-00750.warc.gz", "language": "en", "language_score": 0.9542588591575623, "token_count": 1044, "score": 3.8125, "int_score": 4}
{"text": "The Diocesan Reparations Committee\nCollecting and documenting evidence of the benefits derived by the diocese from the institution of slavery\nOur definition of Reparations:\nReparations is the process to remember, repair, restore, reconcile and make amends for wrongs that can never be singularly reducible to monetary terms. The process of reparations is \u201can historical reckoning involving acknowledgement that an offense against humanity was committed and that the victims have not received justice.*\u201d\n*Passage in quotes offered by Bernice Powell Jackson, Executive Minister for Justice Ministry, The United Church of Christ.\nThe New York Diocesan Reparations Committee was created by the 330th Diocesan Convention in response to three 2006 General Convention resolutions calling on dioceses to respond to the Transatlantic Slave Trade and its aftermath of segregation and discrimination. The role of the Reparations Committee is to collect and document information on the complicity of the Diocese of New York in the institution of slavery and its subsequent history of segregation and discrimination. The committee will consider the benefits the Episcopal Church derived from the institution of slavery and collect, through documentation and storytelling, information on historical and present-day privilege and under-privilege in order to discern a process toward restorative justice. The Committee\u2019s findings will help to determine whether the diocese is called to conduct a truth and reconciliation process with regard to the legacies of racial discrimination and oppression. In order to facilitate the storytelling and documentation of congregations, the Reparations Committee has produced a DVD for churches called, The Diocese of New York Examines Slavery: Talking About Reparations, Repair and Reconciliation. It is a 30-minute exploration of the Church\u2019s involvement in the Transatlantic Slave Trade. Congregations are asked to view the DVD and use it as a guide in helping them examine the history of their church and its connection to the Transatlantic Slave Trade and its aftermath of segregation and discrimination \u2013 including economic benefits, the establishment of separate chapels for Africans, the seating of Africans in balconies of churches, the construction of churches by enslaved people, the ownership of slaves by early rectors or the work of church abolitionists. Members of the New York Reparations Committee are requesting that congregations examine their histories and send their findings to Committee members in compliance with General Convention Resolution A123.\nMission Office Contacts\nThe Rt. Rev. Mary D. Glasspool\nThe Rev. Yamily Bass-Choate\nLiaison for Global Mission\nMs. Michelle Chang\nExecutive Assistant to the Bishop Suffragan and the Assistant Bishop\nVisit the Reparations Committee\u2019s Website\nClick here or on the screenshot above to visit the Reparation Committee\u2019s website.\nFollow the Reparations Committee on Facebook\n2019 Resolution: Reconsideration and Adoption of the John JayTabled Resolutions of September 28, 1860Download 184.84 KB\n2019 Resolution requiring Anti-Racism Training for Anyone Running for Diocesan OfficeDownload 309.81 KB\n2019 Resolution re: Task Force Concerning the Participation of theEpiscopal Diocese of New York in the Slave TradeDownload 697.12 KB", "id": "<urn:uuid:077e1c64-7e41-4de8-aa0f-84cc169ca867>", "dump": "CC-MAIN-2023-14", "url": "https://dioceseny.org/mission-and-outreach/social-concerns/reparations-for-slavery/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943695.23/warc/CC-MAIN-20230321095704-20230321125704-00549.warc.gz", "language": "en", "language_score": 0.9212976694107056, "token_count": 746, "score": 3.5625, "int_score": 4}
{"text": "Flowers Native to Ecuador\nEcuador covers less than 0.2 percent of the Earth\u2019s surface but is home to nearly 10 percent of the plant species known in the world. Over 25,000 species of plants grow in Ecuador. Ecuadorian tropical rain forests can be home to over 300 species of trees in a single hectare. The mountains of Ecuador are home to the cloud forests, where thick humidity and rainfall combine with mild temperatures to create unique climactic environments.\nPassionflowers are native to Ecuador but grow at around 7,200 feet in the hot, tropical Ecuadorian climate. High altitudes offer cooler temperatures with full, tropical sun, and generally offer high humidity and higher levels of rainfall. Passionflowers result in a fruit known as granadilla, a seedy fruit that resembles a melon. Passionflowers are pink flowers with yellow and green pistils and stamen. They require deep, fertile soil that drains well but can grow on soils that range from volcanic to sand to decomposing granite. In less than ideal soils, however, passionflower vines may not be as productive.\n- Ecuador covers less than 0.2 percent of the Earth\u2019s surface but is home to nearly 10 percent of the plant species known in the world.\n- Passionflowers are native to Ecuador but grow at around 7,200 feet in the hot, tropical Ecuadorian climate.\nA number of magnolias are native to Ecuador, including some that are significantly different from North American magnolias. The mamey is a flowering tropical fruit tree that can grow to 70 feet tall. The fragrant flowers of this tree are 1 to 1 1/2 inches across and have four to six white petals with orange stamens and pistils. This flowering tree thrives from sea level to around 3,300 feet in elevation in Ecuador. Although it grows best in deep, fertile, well-drained soils, it is very tolerant of soils and can also grow in shallow soils.\nBromeliads are a family of flowers that cover a wide range of shapes, sizes, foliage colors and type, and flower shapes, sizes and colors. Pineapples are a form of bromeliad. Bromeliads can grow outdoors in areas that do not get frost. In places that get hard freezes, bromeliads grow very well in a pot, which makes it easy to bring them inside for the winter. Bromeliads tend to do fine in low light, but will grow better in full sun. Because of the variances in these plants, however, you may find some varieties that do not do well in full sun. Bromeliads do best with daytime temperatures of 70 degrees F to 75 degrees F and nighttime temperatures of 60 degrees F to 65 degrees F.\n- A number of magnolias are native to Ecuador, including some that are significantly different from North American magnolias.\n- Bromeliads tend to do fine in low light, but will grow better in full sun.\nAlthough he grew up in Latin America, Mr. Ma is a writer based in Denver. He has been writing since 1987 and has written for NPR, AP, Boeing, Ford New Holland, Microsoft, RAHCO International, Umax Data Systems and other manufacturers in Taiwan. He studied creative writing at Mankato State University in Minnesota. He speaks fluent Mandarin Chinese, English and reads Spanish.", "id": "<urn:uuid:0b86e4bc-1baa-41d3-91c5-5516e4e6de0b>", "dump": "CC-MAIN-2023-14", "url": "https://www.gardenguides.com/116992-flowers-native-ecuador.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948684.19/warc/CC-MAIN-20230327185741-20230327215741-00149.warc.gz", "language": "en", "language_score": 0.9437261819839478, "token_count": 715, "score": 3.75, "int_score": 4}
{"text": "Emotion expression is hard! It is hard even for adults, not to mention for kids. However, understanding others\u2019 and ourselves\u2019 emotions and expressing the feelings to others are important skills in building self-confidence and relationship with others. Today we share learning tools for kids on feeling and emotional expressions. To be able to express the feelings, one has to be able to recognize the feelings and emotions first. You will find most of the learning tools here are focused on two aspects: recognize the feelings and emotions, both oneself and others; express the feelings and emotions calmly with words. We also include free printable flashcards, games, and books for kids about feelings and emotions.\nThis is part of our Best Learning Tools for Kids on iPad series. For the whole list of the series, please visit Free Essential Learning Tools for Kids on iPad and Other Tablets\nFeeling and Emotion Expression Learning Tools for Kids on iPad\nAvokiddo Emotions: great for younger kids who can\u2019t read yet. There is no speaking in the app. Kids interact with 3 expressive animals and watch the animal\u2019s reactions and facial expressions. To help kids develop language expression skills, parents can play along and use words to describe the animals\u2019 feelings.\niLearnWith Poko: Emotions: designed for preschool kids, this app not only teaches kids the different emotions, but also how to interact with others to bring in positive emotions. Kids learn and practice with real social scenarios that are familiar to them, like playing on the playground.\nDaniel Tiger\u2019s Grr-ific Feelings: from PBS Kids, this app offers various activities to help kids connect words with their feelings and strategies to handle them.\nABA Flashcard Emotions: a set of flashcards with different emotional facial expressions and corresponding words describing the felling and emotions. It is a great tool for kids who just start getting verbal.\nFeelElectric: a great app by PBS Kids. The cast is from the popular show The Electric Company. Through different games, kids learn to recognize their emotions and verbalize the emotions with English words.\nPositive Penguin: designed for school age kids to go through a self-guided process for the kids to work as a group to learn about the feelings and techniques to change negative feelings into positive ones.\nBetween the Lines: focus on the skills in reading others feelings and emotions, with well designed leveled lessons. Kids learn to read other people through facial, body, and voice expressions.\nFeeling and Emotion Expression Learning Tools for Kids Off iPad\nFor those who don\u2019t have iPads or other tablet devices, here are some wonderful tools for you:\nEmotional Flashcard with emotional Robots: a set of Free printables with various emotions\nToday I Feel Silly: a wonderful picture book showing kids different feelings and it is ok to have them.\nEmotion Memory Game:This educational and entertaining memory game allows children to learn to distinguish between different emotions by matching identical pairs of cards depicting emotions.\nThis is part of our Best Learning Tools for Kids on iPad series. For complete list of best learning tools for Kids on iPad and links to all posts, please visit: Free Essential Learning Tools for Kids on iPad and Other Tablets. In the series, we have best learning tools for the following subjects:\nMath Concepts in General ; Counting ; Telling Time\nPhonics ; Spelling ; Vocabulary ; Grammar ; Storytelling\nComputer Coding ; Critical Thinking & Problem Solving\nLike our Best Learning Tools for Kids series? You will also like Best Educational Apps for Kids, Grouped by Age and Learning Objectives.\nPinned to my promote classroom kindness board! Tweeted! Thanks, Carolyn\nGreat list of tools for young children to express their feelings!", "id": "<urn:uuid:33074752-551e-455e-814e-536c25e794a6>", "dump": "CC-MAIN-2023-14", "url": "https://igamemom.com/best-learning-tools-for-kids-feeling-and-emotion-expression/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943625.81/warc/CC-MAIN-20230321033306-20230321063306-00150.warc.gz", "language": "en", "language_score": 0.9230105876922607, "token_count": 783, "score": 3.59375, "int_score": 4}
{"text": "BY PATRICIA NEWMAN\nWhat makes a story?\nA River\u2019s Gifts shares the story of the Elwha River\u2019s Restoration Project. Scientists and community members of The Lower Elwha Klallam Tribe (or The Strong People) came together with scientists from the Olympic National Park and government officials in Washington state and Washington, D.C. to restore the health of the river by removing two dams blocking the passage of salmon.\nSalmon are part of The Strong People\u2019s culture and spirituality. Their stories, food, rituals, and songs revolve around salmon.\nIn the back matter of A River\u2019s Gifts, the Lower Elwha Klallam Tribe gave permission to reproduce Roger Fernandes\u2019s painting of the Lady of the Mountain breaking the dam. According to Roger, \u201cStorytelling is the most powerful way of sharing, teaching, and communicating\u2026Our ancestors carried hundreds of stories in their hearts.\u201d\n- Listen to Roger Fernandes talk about the importance of stories in the video below. Then listen to several of the stories he tells:\n- Huckleberry Medicine Story\n- Coming of Camas Story\n- Gossiping Clams Story\n- Grandmother Cedar Story\n- Raven and the Headman Story: Water Gives Life\n- Teachings of the Basket Story\n- Choose one of the stories and discuss with the class using the following questions as a guide.\n- Ask the students what the story meant to them? Why are stories important?\n- What are some of the strategies Roger uses to make his stories interesting? Some possible replies might include repetition, words that make pictures in our minds, and changes in his tone of voice.\n- Student notebooks\n- Copy of A River\u2019s Gifts\nCreating salmon stories\n- After reading A River\u2019s Gifts, make a list of what salmon mean to The Strong People. You might also use ideas from the box below to generate questions and prompts for the students.\n- Examine the \u201cSafe Place for Salmon\u201d graphic on the third spread of A River\u2019s Gifts. Then discuss with students each stage of the salmon life cycle and the importance of habitat to the success of each stage.\n- Now, ask students to write a short story about salmon in the Elwha River.\n- Help students polish this story so it\u2019s as perfect as possible, stressing peer critique groups, reading aloud for rhythm of words, and clarity.\n- Once the students\u2019 stories are in final form, ask them to \u201cmemorize\u201d their story \u2014 not necessarily word for word, but they need to know their story well enough to share it aloud without reading it.\n- Ask students to sit in a circle and share their stories orally using one of the same strategies Roger Fernandes uses to tell a good story.\n- Finally, discuss what the stories mean to the audience.\nWhat salmon mean to Native Americans\n|What Salmon Mean to Native Americans|\n|Salmon are part of our spiritual and cultural identity|\nOver a dozen longhouses and churches on the reservations and ceded areas rely on salmon for their religious services.\nThe annual salmon return and its celebration by our people assure the renewal and continuation of human and all other life.\nHistorically, we were wealthy people because of a flourishing trade economy based on salmon.\nSalmon and the rivers they use are part of our sense of place. The Creator put us here where the salmon return.\nWe are obliged to remain and protect this place.\nSalmon are indicator species: as water becomes degraded and fish populations decline, so too will the elk, deer, roots, berries, and medicines that will sustain us.\nAs our primary food source for thousands of years, salmon continue to be an essential aspect of our nutritional health.\nThe annual return of the salmon allows the transfer of traditional values from generation to generation.\nWithout salmon returning to our rivers and streams, we would cease to be Indian people.\n|from the Salmon Homecoming Activity Book on the Since Time Immemorial: Tribal Sovereignty in Washington State page of the Washington Office of Superintendent of Public Instruction website.|\nFeatured image llustrated by Natasha Donovan from A River\u2019s Gifts (Millbrook Press/Lerner, 2022).\nCritically acclaimed author of nonfiction books for children, recipient of a prestigious Sibert Honor for best informational book written in English, Patricia Newman empowers her readers to seek connections to the real world and to use their imaginations to act on behalf of their communities. Using social and environmental injustice as inspiration for books, Patricia frequently speaks to adults and children share how we can affect change. Find her online at patriciamnewman.com.\nPatricia\u2019s nonfiction books for children have been welcomed in classrooms and libraries around the country. Considered one of the best nonfiction authors writing for students in today\u2019s market, her new release A River\u2019s Gifts received starred reviews from Booklist and Kirkus. Other titles include:\n- Planet Ocean \u2013 Orbis Pictus Recommended, Children\u2019s Book Committee at Bank Street College Best Children\u2019s Book of the Year, Outstanding Merit\n- Sea Otter Heroes \u2013 Robert F. Sibert Honor, ALA Notable Book, Green Earth Book Award\n- Eavesdropping on Elephants \u2013 Outstanding Science Trade Book; Children\u2019s Book Committee at Bank Street College Best Children\u2019s Books of the Year; Eureka! Gold Award from the California Reading Association\n- Zoo Scientists to the Rescue \u2013 Eureka! Gold Award from the California Reading Association, Bank Street Center for Children\u2019s Literature Best Children\u2019s Books of the Year\n- Plastic, Ahoy! \u2013 Green Earth Book Award, AAAS/Subaru Science Books and Film Prize, finalist\n- Neema\u2019s Reason to Smile \u2013 Parents\u2019 Choice Recommended\nLeave a Reply\nYour email is safe with me.", "id": "<urn:uuid:855c428b-2bab-4271-87ef-076f47ffc531>", "dump": "CC-MAIN-2023-14", "url": "https://www.patriciamnewman.com/litlinks-what-do-salmon-mean-to-the-strong-people-lets-find-out/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00550.warc.gz", "language": "en", "language_score": 0.9119114875793457, "token_count": 1253, "score": 3.84375, "int_score": 4}
{"text": "Number the Stars novel study unit includes 124 pages of ready-to-go activities, handouts, comprehension questions, literary analysis activities, language and grammar practice, writing skills activities, quizzes, tests, and more! Students will be able to self-direct their study in many cases, making it perfect for in-person or distance learning. Please note, however, that this product is a printable PDF and will need modification for use in Google Classroom. Classroom-tested by over 1,000 teachers with a 4.9/5 Rating!\nHere's what Casey Z. said:\nThis novel guide was wonderful! I was worried since I hadn't spent that much money on a resource, but it is 100% worth it. There are quality background activities, the chapter questions are good, and the extension activities are fantastic! It was perfect to be able to practice language and writing skills while still connecting them to our story. Highly recommend!\nAnne I. said:\nAbsolutely love Simply Novel! I have purchased a few of their novel studies and love the set up of comprehension questions, vocabulary and assessments!!\nMarcelene K said:\nThis unit covered so much more than simple comprehension questions and vocabulary practice. Many questions were designed to get students to use quotations, or to cite textual evidence. Other questions asked students to make inferences, one of our essential standards. In addition, two writing projects were included. The first was an opinion essay and the second was a research paper.\nIn this comprehensive Number the Stars Complete Novel Study you'll get:\nTexts and Pre-Reading Activities to engage students and to support and introduce themes and genre before reading\n*Pre-Reading Ideas and Activities List\n*Pre-Reading Activity - Sorting Literature By Genre\n*Author Biography with questions on Lois Lowry\n*Informational Text - Historical Context -- Hitler's Plan\n*Informational Text - The Star of David\n*Vocabulary Lists, with and without definitions\n*Allusions and Terminology List\n*Note-Taking and Summarizing Organizers\nNovel-based Literary Analysis Activities that support student practice in text analysis and close reading and dig deeper into the text, specifically, activities on:\n- Fact vs. Fiction\n- Character Compare and Contrast\n- Figurative Language\n- Using Textual Evidence\n- Point of View\n- Sorting Fact from Fiction\nNovel-based Language and Grammar Worksheets, specifically on:\n- The Function of Conjunctions\n- Perfect Tense\n- Misused Verbs -- Lay and Lie\n- Vocabulary Acquisition and Use\nNovel-based Writing Skills Practice, specifically on:\n- Stating Your Opinion and Gathering Details\n- The Introduction and Organization\n- Conclusions and Revisions\n- Researching New Questions\n- Drawing Conclusions from Research\n- Putting Your Research Together\n*Comprehension Questions PLUS all Questions in Task Card Format!\n*Vocabulary Review Crossword Puzzles\n*35-Question Final Test that includes multiple-choice and short response questions\n*35-Question Multiple Choice Final Test\n*Post-Reading Ideas and Alternative Assessment Activities List\n*Essay Prompts and Creative Writing Ideas\n*Sample Teacher Agenda\n*Project & Writing Rubrics\n*Complete Answer Key\n*Common Core Alignment Documentation\nHere's what teachers are saying about this Number the Stars Teaching Guide:\n- This was an amazing resource to use in my student's reading journals. They were highly engaged and this resource met so many standards. This resource really encouraged deeper thinking. -Shades and Grades Teacher\n- I just started teaching sixth grade and I was nervous that I wouldn't teach reading well enough. This guide is wonderful and couldn't be more thorough. Very helpful. - Catherine L.\n- I love the literature units from Simply Novel. They are so well-written and take a lot of the guesswork out of planning. I love that they include well-written questions that are more thought-provoking than simple comprehension questions. I also love that the unit comes with grammar, writing, and literature all built into one product. It has been awesome! - Mandi B.\n- This is a very good novel study! Students are working very hard finding evidence ad close reading! Makes them dig deep! - Carrie N.\n- Excellent unit! Made teaching Number the Stars so much easier with all of the great resources! - Katherine M.\nHello i love this book i was wondering if you could make more like this my school reads this book it is very interesting and I really like it Thank you from your friend Chelsey\nI have been teaching this novel for years and have collected a lot of resources for it. This resource is definitely in the top two! I highly recommend it. I was able to jigsaw some pre-reading activities and have students work in groups and then present. Questions cover a large range of depth and complexity. I was easily able to use make this digital for my students who were remote. This resource is now the resource I use most for my unit.", "id": "<urn:uuid:d312ce4d-112d-4ebb-8bd1-608918bd9a3a>", "dump": "CC-MAIN-2023-14", "url": "https://simplynovel.com/products/number-the-stars-common-core-aligned-novel-study-teaching-guide", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943637.3/warc/CC-MAIN-20230321064400-20230321094400-00349.warc.gz", "language": "en", "language_score": 0.9454936385154724, "token_count": 1138, "score": 3.796875, "int_score": 4}
{"text": "The Primary program at The Children\u2019s House is a three-year, curricular cycle for children approximately three to six years old. Each multi-age Primary classroom includes a trained Montessori teacher (or \u201cguide\u201d) and assistants. The emphasis in this classroom setting centers around independent work, movement, grace and courtesy, healthy living, and the introduction to basic reading, writing, cultural studies, and mathematics. Children entering this program must display impulse control, take verbal direction, and be out of diapers.\nKindergarten is the culminating year of the Primary program. During this year the child has additional privileges and responsibilities, as they are the oldest members of their classroom community.\nMontessori believed that young children had a distinct receptivity for new information during the ages of infant to six years, a period of childhood development she called \u201cthe absorbent mind.\u201d Classroom guides in this program are trained to offer children \u201ckeys to the world\u201d through presentations on concrete classroom materials. The materials are then available to the children for self-directed, purposeful activity as they repeat and practice skills. Lessons are presented in the following areas:\nThe carefully prepared work of practical life includes meaningful activities that help children care for themselves and their environment. Lessons such as carrying, polishing, hand-washing, fastening clothes, plant care, and pouring aid children on their paths to independence. These activities also offer them experiences with concentration and repetition while working on meaningful tasks as they refine their large and fine-motor skills.\nChildren in the primary environment absorb information through their senses. All of the hands-on materials in the sensorial area of the classroom are designed to isolate sound, taste, texture and/or shape, which gives students experiences to refine their senses. Practice with sensorial materials also entices the children to learn descriptive vocabulary and to prepare for the exercise of writing.\nActivities in language begin on a child\u2019s first day in the classroom. At first, the focus is on spoken language, listening to stories, singing songs, and learning descriptive words for objects in the environment. Experience with a variety of small group activities such as storytelling, poetry, sound identification, and lessons of grace and courtesy are ongoing for every child. Practice with letter sounds and eventually reading and writing, gradually follow. The language-rich primary classroom offers constant opportunity for conversation where children learn how to communicate based on the premise of mutual respect.\nThe Montessori math curriculum finds its foundation on the universal human tendency of exploration. Much like language that relates information about ideas, surroundings and feelings, mathematics is used to communicate information from one human to another. Montessori math lessons begin with hands-on concrete materials where children learn the concept of one-to-one correspondence. The materials become more abstract as children acquire skills of mathematical operations and numeration incorporating both the mind and body in the process of learning.\nCultural lessons are ongoing in the primary environment. Geography, foreign language, art, music, and science are integrated into daily, classroom life. Guided by their natural curiosity of the world, children are exposed to a variety of stories, language, and activities.\nWithin the classroom, the independence of making choices for purposeful activity allows children constant opportunity for refining large and fine motor skills. Rhythmic games, songs, stories, and yoga also happen in the classroom on an ongoing basis. Our full-size gym and 8.5-acre campus allow children room to move on a larger scale.\nPrimary-aged children are naturally curious about the people around them. The children spend three years within their social group, each becoming a valued and meaningful part of their classroom community. Each child\u2019s contribution to the community is seen as valuable and essential. Because of the classroom freedom allowed, authentic interactions between multi-aged children allow them to learn from each other about social graces and nuances in a safe and respectful setting.", "id": "<urn:uuid:f5ac482c-4415-4694-852b-ae5d7ea8dd9a>", "dump": "CC-MAIN-2023-14", "url": "https://www.traversechildrenshouse.org/primary.asp", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950030.57/warc/CC-MAIN-20230401125552-20230401155552-00350.warc.gz", "language": "en", "language_score": 0.9530384540557861, "token_count": 828, "score": 3.609375, "int_score": 4}
{"text": "STEM is becoming essential to the K12 curriculum because it teaches kids how to think and apply those skills to real-life problems\u2013which is always a great skill no matter your job field. As technology continues to expand, so do STEM occupations. The U.S. Bureau of Labor Statistics projects STEM occupations to grow by almost 10.8% by 2031. That growth is more than two times the total for all professions. Not only does STEM provide job opportunities, but also it leads our future.\nSTEM teaches innovation of technologies that improves tomorrow\u2019s world. During the pandemic, innovative thinkers had to create solutions that allowed us to socialize, learn, and work without risking our health. Thus, we had Zoom. To this day, Zoom and many other online meeting platforms have become commonplace. Technology can also save our planet. Coral reefs support about 25% of all marine species. However, scientists estimate 70-90% of coral reefs will disappear. Scientists are using 3D printing to recreate coral reefs to improve a reef\u2019s resistance to corrosion and save marine ecosystems. Scientists intend to prevent the extinction of coral reefs with 3D printing machines. How cool is that?!\nSTEM programs for kids and teens are excellent ways to immerse your students in STEM. By enrolling your student in STEM programs, they can build a passion for technology and science, plus gain critical thinking skills needed for all walks of life. In this article, we\u2019ll share some programs for any elementary, middle school, or high school student.\nDiscover some of the best STEM programs for kids and teens\nIf you\u2019re seeking to put your child on the path to innovation, enroll them in a STEM program. We listed some programs that have the best STEM classes for kids.\n1. Create & Learn\nOur STEM program offers more than 35 tech courses for K12 students! Create & Learn offers Scratch coding, Minecraft coding, Roblox coding, Python, and more classes and summer and winter camps. Highly experienced instructors lead all of our courses designed by tech experts from Google, Apple, Stanford, Harvard, and MIT. These courses have a class size of 5 students max per teacher, so your child gets the feedback and attention they need for successful learning. Create & Learn courses are fun because your kid will have many hands-on projects to demonstrate their skills and growth.\nBest for ages: 5 & up\nGet started: Have your child begin with Scratch coding. Here they will learn core coding concepts with the help of Scratch, a visual programming language. Or check out our other free coding classes.\n2. Quantum Physics\nQuantum physics is a science increasingly growing in value as this field contributes to the foundation of modern technologies like solar energy, computers, wifi, etc. In this quantum physics program, middle and high school students can join a course that prepares them to enter the Breakthrough Junior Science Challenge to compete for a $250,000 scholarship! Professor Baraket is a highly experienced instructor who will help your child develop a research topic in twelve weeks. In the past five years, he\u2019s had one student win. Your student could be the next grand prize winner!\nFor younger students interested in quantum physics, try Atom Secrets & The Periodic Table of Elements. In this four-session course, students will learn about atoms, particles, elements, electron orbitals, molecular bonds, and more!\nBest for ages: 11 & up\nGet started: Check out previous Breakthrough Junior Challenge winners and their ideas for some inspiration this year!\n3. Bricks for Kidz\nIf in-peron STEM learning is ideal for your student, this could be a nice option for your family. With ten years of STEM education experience, Bricks for Kidz introduces kids to the idea that they can be scientists, mathematicians, engineers, and more. This company uses LEGO to teach real-world concepts while having fun! Brick for Kidz offers various programs, from art to coding to video game design, to help fuel your child\u2019s interest in technology and innovate solutions for tomorrow.\nBest for ages: 3 & up\nGet started: Find a location near you and see what courses they\u2019re offering this season.\nThe National Aeronautic Space Agency (NASA) is an intriguing agency to learn about because they\u2019re responsible for various programs and research about space! Space exploration can pique curiosity about our world and the frontier outside our atmosphere. If your child wants to learn more about the world beyond Earth, have them attend a free event with NASA explorer Sandra Cauffman. Your child could have a few of their space questions answered too!\nSome other NASA programs to check out are the NASA STEM Club, Star Trek & the NASA Connection, and the Path to Space Careers. Bruce Callow, a space educator who worked under NASA and the Costa Rica Institute of Technology, teaches the Star Trek and Space Career courses. You can also explore the NASA website for even more events for kids!\nBest for ages: 6 & up\nGet started: Sign up for the next upcoming free event with Sandra Cauffman.\n5. American Museum of Natural History\nAre your students interested in science and wonder how things work? Check out some of their spectacular programs: Lang Science Program, Science Alliance Program, Early Adventures Program, and Science and Nature Program. All of AMNH\u2019s programs teach students how to stay inquisitive about the world around them and find answers. The Lang Science Program is an incredible six-year program where students can take classes in the museum to learn about different exhibits, collections, labs, and how to conduct research. Admittance into this program is a magnificent opportunity for students who are passionate about nature and want to make discoveries. In Science Alliance, middle school students can explore topics like anthropology, astrophysics, conservation & earth science, and evolutionary biology.\nBest for ages: 5 & up\nGet started: For Pre-K students, check out the Early Adventures Program. For elementary students, check out the Science and Nature Program. For 6-8th grade students, check out the Science Alliance. Middle and high school students can take part in the Lang Science Program.\n6. Smithsonian for Kids\nThe Smithsonian Institute is the largest museum in the world, with 21 museums in total! The Smithsonian aims to discover new knowledge and share resources with the world. One way they do this is by hosting activities for kids and teens. This institute offers engaging STEM programs that connect students to animals, nature, and science. The Smithsonian website lists fun activities where your child can learn about coral reefs, explore the Learning Lab, 3D printing, and more!\nBest for ages: 5 & up\nGet started: Check out a free live event to learn more about the Elephant Herd or see other events the Smithsonian offers. You can also take a virtual tour of the many collections available online.\nSynthesis is an enrichment program designed to cultivate super collaborators that can solve challenging problems in our current world. Students will enjoy this program because they\u2019ll have the opportunity to think through difficult challenges together, experiment with different solutions, and take ownership of their decisions. Synthesis provides time for students to practice problem solving skills earlier in life. Here your student can turn mistakes into opportunities.\nBest for ages: 8 to 14\nGet atarted: Check out how you can join Synthesis.\nJoin top STEM programs for kids and teens\nSTEM is a gateway to expanding one\u2019s possibility to succeed in our highly technological society. No matter what STEM field your child hopes to pursue, there will always be something for them to solve and use to change the world. Try signing your student up for these top STEM programs and watch their creativity, problem-solving, and critical thinking skills grow. Up next, explore STEM activities for kids.\nWritten by Hunter Wilkinson, a fervent reader and learner. She got into education to share her passion for storytelling and STEAM instruction. In her free time, Hunter loves to write songs/poems, run, play video games, and hang out with her two fluffy cats.", "id": "<urn:uuid:02ddf703-49e8-484a-8561-8e7930c6cee7>", "dump": "CC-MAIN-2023-14", "url": "https://www.create-learn.us/blog/stem-programs-for-kids-and-teens/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948708.2/warc/CC-MAIN-20230327220742-20230328010742-00350.warc.gz", "language": "en", "language_score": 0.9260528087615967, "token_count": 1680, "score": 3.71875, "int_score": 4}
{"text": "How Sabdamala is Organized\nEach lesson contains instructions on two letters of the alphabet. The lessons begin with a review of the previous letters. Each new letter is introduced with an explanation of pronunciation using a corresponding sound found in the English language. The instruction focuses on:\n- Writing each letter\n- A visual explanation of the writing techniques\n- Review and repetition\n- Several example words that begin with the letter being taught are provided for language context and recognition.\nThe lessons also contain reasons to learn reading and writing (to keep the student motivated). The lessons contain interesting facts about Nepal (to build the student\u2019s knowledge base).\nTips for Parental Involvement\n- Set aside 15 minutes per day on weekdays to help teach your child to read and write Nepali.\n- Go through each lesson carefully and slowly.\n- Set a goal that is attainable for your child\u2019s age and personality.\n- Encourage your child to tackle the homework on their own.\n- Review your child\u2019s homework diligently and assign it a grade.\n- Pay particular attention to the tracing sheets, correcting any patterns that need improvement.\n- Now review the homework with your child.\n- Encourage your child to practice, practice, practice\u2026especially between lessons!\n- Talk about the importance of reading and writing Nepali together!\n- Review the facts about Nepal together. Enhance their learning by adding your own knowledge and experience.\n- Celebrate milestones! Every time your child has successfully completed 3 lessons take them out to do something special together. Encourage their success by spending time together.\n- Once they have learned some letters, encourage them to show their Nepali friends what they have learned.\n- Have them send sample letters to their grandparents and relatives in Nepal.\n- Review the importance of Parental Involvement in your child\u2019s learning.\n- Below are some suggested times. This can become a family tradition that is integrated into your life with deep meaning. For example:\n- The first thing your child does when they come home from school is sit down, have a snack with you and learn 15 minutes of Nepali reading and writing.\n- Right after dinner and before the tv gets put on and every family member goes off on their own, sit down and spend 15 meaningful minutes teaching your child how to read and write Nepal.\n- Just before bedtime, take 15 minutes to learn Nepali together. End each evening spending meaningful and qualify time with your child as they uncover the treasures of their native tongue.", "id": "<urn:uuid:3832835b-5336-4901-9d5f-136d7d708aa8>", "dump": "CC-MAIN-2023-14", "url": "https://www.sabdamala.com/course/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948871.42/warc/CC-MAIN-20230328201715-20230328231715-00747.warc.gz", "language": "en", "language_score": 0.9404444098472595, "token_count": 524, "score": 3.890625, "int_score": 4}
{"text": "It is overwhelming and devastating for any parent to see fear in their child as a result of abuse in school because it affects the development and learning which robs the child of self-esteem and trust in facing others and developing as a learner. The idea of bullying has gradually developed over some time and is now not only limited to the schoolyard or working workplace. Marshall, (2012) on her paper cited and outlined that Research has found that bullying results in various negative consequences for pupils involved (i.\ne. bullies, victims, bully-victims, and bystanders), including short to long term behavioral (i.e., Nansel et al., 2001), physical (i.e., Srabstein & Piazza, 2008), social-emotional (i.e., Craig et al., 2009) and mental health issues (i.e., Gladstone, Parker, & Malhi, 2006).\nAlthough there is no observation on the concept of bullying, the literature focuses on several key attributes of bullying, including \u2018the intentional expectation of hurting other people; the repetition of the behavior of bullying for some time; as well as the inequality of authority to a point which the victim becomes traumatized \u2018 (Cowie and Jennifer, 2008:1).\nBullying is not a new novel from this century but a reality that has been going on since history was published (Bolton, 2015:12). The purpose behind this study is to build up knowledge on mistreatment to the depth of olden understanding and to broaden the perceptions of school-based bullying and the effectiveness of prevention initiatives.\nInitially, the report will emphasize how the definition of the term \u2018bullying\u2019 has changed over the years and will focus on three different forms of bullying; cyberbullying, direct bullying, and indirect bullying and.\nThe study would, however, examine the social impacts of bullying, especially in the setting up of schools and the implementation of safe and effective initiatives.\nBullying as a learning barrier is an unacceptable but real problem that may arise in any education institute, whether verbal, physical, or electronic, offensive, intimidating, or deliberately harmful towards others (Lee, 2016:43). (Lancaster, 2013:23) proposes that bullying is the most important problem in school, putting it higher than the shortage of bathroom facilities, hot tap water, and late-coming staff. Not only is bullying a new up headline as the most problematic matter affecting our school and learner performance, but significantly more individuals are recognizing it as a concern (Wakefield, 2013:56).\nToday, bullying is seen in a rather special manner, as compared to it in the old days, the word is characterized by the big problems it poses (Olweus, 2007:14). Although with the number of strategies and methods available to handle and track bullying, the problem continues in classrooms. Significant work has already been done on the implementation of effective measures to handle violence in South African schools, and no study has been performed in this manner.\nHow is bullying a learning barrier in schools?\nThe control of the bullying of learners poses the following questions:\nStudying the handling of bullying of learners in classrooms.\nThe objectives of this research are to determine follows;\nThe theoretical framework to be used in this study is the social-learning theory. Social learning theory relates improvements like personality and individual behavior to external factors and cognitive behaviors such as the preference of action, exposure to examples, external reinforcement and discipline, basic expectations of moral conduct, societal beliefs, self-regulation skill, basic and group interests, and importance associated with a given task.. (Bandura, 2011:56).\nLiterature study involves a search and study of current writings on the problem understudying (Bless & Higson-Smith, 2013:49). It is aimed at providing a condensed review of the following: the definition of bullying, forms of bullying, and causes. Literature sources related to the problem under investigation will be reviewed, as well as possible remedies and solutions to the problem. The researcher will use government documents, journals, books, and previous researches regarding the problem of studying.\nBullying is defined as the deliberate use of power, aggression, intimidation, abusive behavior to manipulate and influence others (Allison et al, 2014) Behavior needs to be repetitive and routine, which is driven by various qualities which patterns that are necessary to control improvement in the processes. There are many types of bullying, including but not restricted to emotional bullying, intimidation, threats, physical manipulation, and aggressive behavior.\nThere are many types of abuse, varying from one-on-one intimidation to attacking many people. It is these qualities that make it important to evaluate the effect of bullying and to identify the contributing factors leading to bullying in the community; particularly for young children in primary schools, here are some of the ways that bullying could occur.\nThis is the primary mode of abuse that is followed by violence and threats when one is intimidated at school (Smith et al, 2016). Physical abuse has a direct emotional effect on the child, causing schools and the learning environment unsafe, thus affecting the growth of the child.\nThis is a kind of harassment that includes: intimidation, name-calling, racial comments, and threats. This type of harassment is dangerous even if it is encouraged by those inside the school system (Burger et al, 2015). Verbal abuse is more morally compelling to the perpetrator because it is not conducted by one, but by others including their accomplices and witnesses.\nIt is a modern form of abuse in which the victims use the Web to distribute rumors and intimidate people in school. The rise of the number of learners who own gadgets indicates that the level of abuse remains very successful in doing a great deal of damage to the individual due to the existence of the rumors circulated (Kowalski et al, 2014).\nSeveral possible concerns have been identified which add to the problems of bullying.\nAccording to Bronfenbrenner\u2019s idea, the family is a micro-system that influences the immediate behavioral patterns followed by a child. Children learn from watching and imitating those within the community, as a direct result of which the family molds the psychological and behavioral patterns of a person.\nThe social context and supervision at school have been shown to play a significant role in the intensity and frequency of the problem of bullying. Although school personnel does not influence individual and family factors, bullying problems can be considerably reduced in seriousness by close supervision, involvement.\nOne of the key consequences of bullying is that it decreases the degree of self-esteem and confidence among children. Self-esteem and confidence are central to inspiring people to achieve and creating the right therapeutic strategies for involving others in the community (Golmaryami et al, 2014). The victims are often morally fragmented and find it impossible to develop long-term interactions with those in society. This is a big concern because victims are cheated on their natural bravery and desire to connect with those in the community. It contributes to shyness and lack of good character development for a person whose unique characteristics have been drastically diminished by bullying.\nChildren are more prone to become introverts because they feel alone and excluded within society. We lack the vital standards of endurance and professional behavior that are essential to the creation of the appropriate relational frameworks and approaches required to implement progress appropriately.\nVictims are also skeptical and cautious of those in community and experience confidence problems when they get older which delays their growth (Fahie and Devine, 2014). Bullying thus negatively affects the emotional and social aspects of victims within the community, which may be problematic in years ahead.\n5.6 Strategies on how to manage bullying behavior\nSchools can work actively to mitigate bullying by creating a healthy and inclusive environment, and a well-established system involving parents, students, and community involvement can dramatically reduce bullying (Olweus, 2011:84). He also suggests the introduction of such group learning exercises in the school, the teaching of social skills, and the establishment of a board of staff members to take the lead in the adoption of the program.\nA qualitative design will be used as a case study approach would be included in this research. A qualitative study intends to observe factors that have an impact on the lived reality of people or groups in a specific sociocultural context, studies strongly rooted in a methodological school of thought are delicately textured and straightforward, producing a much higher quality result (Milles & Birks, 2014:45). Miles and Birks (2014:45) describe a case study method as an exploratory type of research, offering an in-depth view of a study unit that may be an individual, a community, an institution, or a social context.\nThe purpose of this study is to increase the knowledge of bullying as a learning barrier in terms of past experiences, and It seeks to expand the understanding of school-based bullying and the success of preventive programs. The research will lead to the approaches that schools should follow to tackle the problem of learners bullied in schools. Because learning is to take place in a healthy and organized setting, the measure that will be implemented in this proposed research must lead to the development of such an environment.", "id": "<urn:uuid:0c56b5b6-721b-42f7-b873-e8e4ac90b9de>", "dump": "CC-MAIN-2023-14", "url": "https://paperap.com/bullying-is-an-unacceptable-but-real-problem/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00350.warc.gz", "language": "en", "language_score": 0.9576813578605652, "token_count": 1880, "score": 3.96875, "int_score": 4}
{"text": "A book is a portable object with a unique shape and size that is used to store and transmit information. It can be made from a variety of materials, from deer bones to tortoise shells. The book is a resilient transmitter of knowledge, entertainment, and culture, and it can be easily stored, shared, and preserved.\nThe history of books offers new insights on the book as an object and form. The changing nature of the book has prompted a fundamental reevaluation of what a book is. New forms of books such as eBooks and audiobooks are challenging the concept of a book, and this calls for a rethinking of what it means to be a book.\nMany commercial publishers assign ISBNs to their books. ISBNs are part of a worldwide system of identifiers that buyers can use to identify books. However, many government publishers do not participate in the ISBN system. Catalogues are an essential part of large or public collections of books. In libraries, call numbers are used to relate books to the catalog. These numbers are based on the Library\u2019s classification system and are usually found inside or on the spine of the book.\nA book is a long work of fiction or nonfiction that is usually made of sheets of paper bound together. It is a common medium for writing and recording business transactions. A book may be part of a larger literary work, or part of a larger division, a set of rules, or a libretto.\nThe size of a book can vary widely, and many different printing methods are available. Some books are printed on sheet-fed offset presses and some are printed on web presses. These machines require less material than offset presses and can produce more copies in less time. A book\u2019s size also depends on its binding and folding techniques.\nA novel is a newer form of book and differs from the previous forms. Novels have different structures and use compelling storytelling features, including plot, character development, and setting. These elements are meant to invoke an emotional reaction in a reader. Most books do not have such an emotional element and are used primarily for expository purposes, with the exception of poetry collections.\nA book launch party is a great opportunity to meet and connect with your readers and get them to purchase your book. Authors can host a book launch party or an author reading at local bookstores and libraries. Authors should also think outside of the box in terms of how to market their book. For instance, an author who wrote a cookbook may pair the cookbook with local beverages. This approach requires understanding your target audience and giving them compelling reasons to join your tribe.\nE-books are another good way to attract potential customers. An e-book can build brand awareness and explain to potential customers how your brand can address their particular concern. As with any type of marketing, it is important to understand your customer\u2019s wants and needs before determining the content of your e-book.", "id": "<urn:uuid:6d4fda7d-6c76-4eea-b0e5-c8b145944cf9>", "dump": "CC-MAIN-2023-14", "url": "https://www.ccgedicions.com/what-is-a-book-17/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945333.53/warc/CC-MAIN-20230325130029-20230325160029-00771.warc.gz", "language": "en", "language_score": 0.9563062191009521, "token_count": 598, "score": 3.71875, "int_score": 4}
{"text": "Activities support interaction among intergenerational partners.\nPractice 7 \u2022 Interaction\nIntergenerational programs are most effective when activities support interaction among intergenerational partners.\nThe partners in intergenerational programs are the adults and the children. Individually, children may not have developed particular skills in their thinking or motor functioning. Adults possess skills that children have not developed, but they may also have diminishing abilities in sight, hearing, memory, or hand functioning. Partners may need skills that the other has to engage fully in an activity.\nPrior to and during the activity, the skilled facilitator should note which skills are emerging in children or diminishing in adults. Activities can be created that encourage partners to work together to be successful.\nConsider these phrases:\n\u201cJeremy, can you reach the scissors for Miss Lucy?\u201d\n\u201cMiss Lucy can hold the paper while you trace your hand.\u201d\n\u201cMr. Ralph, can you show DeShawn which one is the zebra in the picture?\u201d\n\u201cTeacher hands two paint brushes to Joey to share.\u201d\nApplication of the Practice\n- Facilitators can encourage interactions with cues or verbal instructions that are important in engaging partners with one another.\n- Instead of pairs, consider small groups of four for some activities (such as nature walks or dancing).\n- Gardening, cooking, woodworking, and making models are all concrete learning tasks that use adult skills and teach pre-math and science skills to children.\n- Plan activities and materials so partners or groups need each other to successfully complete them (e.g., children collect materials from adults who are holding them for a storytelling activity).\n- While children\u2019s skills are growing, adult skills may diminish but can be exercised.\n|Building children\u2019s skills||Exercising adult skills||Examples for programming|\nHand-eye coordination developing. Limited depth perception.\n|Reaction time slows; motor skills may diminish with arthritis or Parkinson\u2019s disease.||Folding, holding, cutting, rolling, measuring.|\nConcrete learner (must see it), sometimes hard to imagine. Difficulty thinking of ideas.\n|Abstract learner (can picture it in their minds). Can conjure up ideas.||Telling stories, using props with stories, costuming, drawing, easel painting, putting things in order.|\nNatural curiosity but limited attention span.\n|Most pay close attention; dementia may reduce attention span.||Cloud watching, outdoor listening, texture exploration, music.|\nDifficulty sitting still for long.\n|Some may find it hard to stand for long periods.||Movement, exercise, walking, focus.|\nAbility to read, order story, tell story, recognize words.\n|Patience with reading; can listen, can point to words.||Reading together, sight words, nursery rhymes, letter recognition, printing words together.|\nInterest in technology, willing to push buttons.\n|Apprehension with new technology.||Pair together to learn a simple and fun task. Self-photos are often a fun way to learn together, then move into the use of simple applications for adult topics like gardening or music.|\nProviding specific materials to share and uniquely pairing adults and children can cause great things to happen!\nBest Practices for Intergenerational Programming\n- Staff members of the adult and child programs collaborate to plan activities.\n- Participants are involved in decision-making about the activity and during activities.\n- Participation is voluntary.\n- Participants are prepared ahead of time and reflect on the activity afterward.\n- Activities reflect interests, backgrounds, and social histories of program participants.\n- Activities are age- and role-appropriate.\n- Activities support interaction among intergenerational participants.\n- Facilitators skillfully stage the environment to promote interaction.\n- Facilitators consider the social environment and the role of staff members.\n- Adaptive equipment is used as appropriate.\n- Facilitators document and communicate experiences to build on in future activities.\nFor more ideas, see: http://intergenerational.cas.psu.edu/Docs/Sourcebook.pdf.\nJarrott, S. E. 2011. \u201cWhere Have We Been and Where Are We Going? Content Analysis of Evaluation Research of Intergenerational Programs.\u201d Journal of Intergenerational Relationships 9:37-52. doi:10.1080/15350770.2011.544594.\nTransforming Relationships Through Intergenerational Programming\nA Children\u2019s, Youth, and Families at Risk project of Virginia Tech with the Jeerson Area Board for Aging and the YMCAs of Charlottesville and Louisa County, Va.\nShannon Jarrott, Associate Professor, Human Development, Virginia Tech\nKaren DeBord, Extension Specialist, Family and Human Development, Virginia Tech\nReviewed by Crystal Tyler-Mackey, Extension Specialist, Community viability, Virginia Tech\nContact: Shannon Jarrott, firstname.lastname@example.org\nThis is one of 11 fact sheets on the emerging best practices associated with intergenerational programs.\nIntergenerational programs are those that connect younger and older generations to foster positive experiences. Research continues to grow, noting that when successfully delivered, intergenerational programs result in positive health eects, child learning, and appropriate socialization for both young and old (Jarrott 2011).\nThe seventh practice relates to interaction among intergenerational partners.\nVirginia Cooperative Extension materials are available for public use, reprint, or citation without further permission, provided the use includes credit to the author and to Virginia Cooperative Extension, Virginia Tech, and Virginia State University.\nVirginia Cooperative Extension is a partnership of Virginia Tech, Virginia State University, the U.S. Department of Agriculture, and local governments. Its programs and employment are open to all, regardless of age, color, disability, gender, gender identity, gender expression, national origin, political affiliation, race, religion, sexual orientation, genetic information, military status, or any other basis protected by law.\nMay 3, 2019", "id": "<urn:uuid:ae2a8064-6ea0-4435-9846-e8d05587c7d9>", "dump": "CC-MAIN-2023-14", "url": "https://www.pubs.ext.vt.edu/FCS/FCS-40/FCS-40.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945168.36/warc/CC-MAIN-20230323132026-20230323162026-00750.warc.gz", "language": "en", "language_score": 0.874515175819397, "token_count": 1330, "score": 4.03125, "int_score": 4}
{"text": "In the realm of teaching, it is easy to say that you will be remembered more for the impressions you made on the students than the actual knowledge taught to them. If a teacher doesn\u2019t make an impression on their students, the students are probably not learning. Below are five ways for teachers to positively impact their students and foster a more learning-conducive environment.\nDiscovery often begins in curiosity and feeds inquiry and learning. It is a flexible and open state of mind which allows information to become substantive and accessible. Foster creativity within all students. Plan appropriate instruction: collaborates with colleagues to monitor student performance and make instruction reflective and responsive to cultural differences and individual learning needs.\nStorytelling doesn\u2019t have to just be a tool for elementary teachers to use. The time-honored tradition of oral recitation is one of the foundations upon which human society was formed. Teachers who use this and a variety of methods to assess learning are more successful in their classrooms. These methods include various tasks which encompass formative and summative assessments to monitor and evaluate student progress and inform instruction. Use data to inform instruction and improve students\u2019 learning. Varying methods of instruction and assessment are utilized to provide evidence that student gains 21st century knowledge, skills, and dispositions to easily become a member of society upon graduation.\nReach out and form relationships\nRelationships are essential to every classroom, teacher, and student. Children who have good relationships with their teachers learn better because they feel more comfortable in their environment. Teachers who make a positive impact establish clear expectations, hold students to high (but attainable) standards, and provide the opportunities for success. Recognizing and acknowledging emotions is also important in the development of strong relationships.\nProvide a safe learning environment\nA good teacher works to develop a classroom atmosphere in which respect is a guiding principle, in which each student feels safe to share thoughts and feelings, and where mistakes are learning opportunities instead of failures. Potential ideas for what this looks like in the classroom includes: regular community-building activities which allow students to express thoughts and ideas, build relationships, and practice collaboration; display student work which allows students to feel ownership of their classroom; have rules and procedures and be consistent in enforcement; model trust and respect in all school relationships; and smile often.\nModel appropriate behavior\nAdults often take for granted how much is learned tacitly. Using each opportunity to model the appropriate reactions to varying situations will encourage students to follow this model. Address grudges and problems early on. A teacher\u2019s ability to facilitate conflict resolution allows students to learn the process of mediation and proper communication without anger or emotional reactions. Additionally, the ability for a teacher to admit vulnerability or that they do not know all the answers is appreciated. Students appreciate when teachers show their humanity. Additionally, modeling kindness, respect, and maintaining proximity to the students during their activities allows them to feel safe.\nTeachers play a vital role in the development of students as people and can be proactive in cultivating their motivation and engagement in school activities. Increased student engagement and motivation is elemental to academic and behavioral success. Teachers can continue to improve themselves by pursuing a master\u2019s degree in education which may provide more tools to positively impact students. By modeling appropriate behavior, facilitating a safe learning environment, forming relationships, having a varied repertoire of teaching techniques, and fostering curiosity, teachers can make a positive impact on the life of a student and forever change the way that student views their education.", "id": "<urn:uuid:b7cc4840-f2e1-4dc3-96e1-915a522be5db>", "dump": "CC-MAIN-2023-14", "url": "https://www.foroes.net/5-things-that-will-positively-impact-your-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948867.32/warc/CC-MAIN-20230328135732-20230328165732-00349.warc.gz", "language": "en", "language_score": 0.9566579461097717, "token_count": 717, "score": 4.28125, "int_score": 4}
{"text": "Note: Make sure to note the day that you wish to come under the note section when making the payment\nInstead of uninstructed play or watching TV passively on school out days or after-school hours, STEMA can help kids have fun while gaining meaningful knowledge.\nOur interdisciplinary programs (robotics, coding & digital arts) are designed to spark and develop students\u2019 capability to\n- Think critically and analytically\n- Be creative, be self-aware\n- Explore and take thoughtful risks\n- Work effectively in a team, or independently\n- Present their ideas confidently\n- Lead and be a good leader\nDuring our daily camp, students will have hands-on experience working with one or many different STEAM/STEM activities:\n- Build robots, machinery, and structures using different materials.\n- Learn about the various science and engineering concepts behind each build.\n- Explore coding concepts, and code robots to perform certain tasks\n- Computer programing:\n- Younger students: learn block-based coding to make interactive stories, animation, and mini-games. Children as young as five can start learning coding to develop logical thinking and problem-solving skills. We have block coding with no/little text for pre-readers, to begin with. Block code builds a very strong foundation for kids as they move on to text-based coding/ real code (Python, JavaScrip) at higher levels.\n- Older students/ students with prior knowledge in block code: Work with text-based coding like Python, and markup languages (HTML/CSS) to create websites.\n- Digital Arts: Work with 3D design and 3D modelling, storytelling, and movie production. Students create their designs in a 3D platform and can choose their designs printed out.\n- Science & Engineering: Construct robots, structures, and machinery from cardboard and different craft materials. Learn the science and engineering concepts behind each build.\n|9:00 am \u2013 10:15 am||1:00 pm \u2013 2:15 pm||STEAM Project 1|\n|10:15 am \u2013 10:45 am||2:15 pm \u2013 2:45 pm||Snack, Group activity break, or Outdoor Activity (for full day only)*|\n|10:45 am \u2013 12:00 pm||2:45 pm \u2013 4:00 pm||STEAM Project 2|\n*Depending on the weather condition, we might take kids out to nearby parks or playgrounds for physical activities.\nPlease send snacks with your child for half-day camp and lunch for full-day camp.\nThere are no reviews yet.", "id": "<urn:uuid:d1e2609d-5149-4ab5-9631-8d08fe461041>", "dump": "CC-MAIN-2023-14", "url": "https://stemalearning.com/index.php/product/daily-camp-robotics-coding-digital-arts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949181.44/warc/CC-MAIN-20230330101355-20230330131355-00150.warc.gz", "language": "en", "language_score": 0.8971680402755737, "token_count": 557, "score": 3.671875, "int_score": 4}
{"text": "Getting Kids Excited about Reading and Writing\nThis brochure from the National Association for the Education of Young Children comes home with every about-to-be-a-Kindergartner at our school. This is their guide to parents for raising a reader and writer. I just condensed it and added a few ideas of my own.\n1. Talk, Sing, and Play with Your Child.\n- Expand on what your child says.\n- Talk as you do simple everyday things together.\n- Recite nursery rhymes and do finger games like the \u201cThis Little Pig Went to the Market.\u201d\n- Describe the child\u2019s activities.\n2. Make Time to Read Together Each Day\n- Don\u2019t forget reading time with dad or granddad\u2013 it\u2019s not just a \u201cgirl\u201d thing.\n- Bring a few books when you head out for errands. Waiting at pick-ups for older siblings is a great time to read a book together!\n3. Choose Books With Care\n- Involve your child in the book selection.\n- Look for books that relate to what\u2019s happening in your child\u2019s life at home. Going on vacation? Starting school?\n4. Surround Your Child with Reading Material\n- Consider subscribing to a children\u2019s magazine. Children love getting mail! National Geographic has some great ones!\n- Help your preschooler create a book of their own with drawings, photos or other things that have meaning for him or her. My son likes to staple together coloring sheets and then dictate a story to me or create a story using a sheet of stickers.\n- A librarian suggested keeping (and rotating) a basket of books in the bathroom just to look at.\n5. Slow Down and Have Fun\n- Read at a leisurely pace\n- Occasionally pose a question or make a remark that will prompt the child to think a little, express himself, or relate the story to his own experience (even if your child\u2019s response to you is, \u201cMommy, just read the story!\u201d)\n6. Read It Again \u2026 And Again!\n- Repetition is great for kids!\n- If the books are really of good quality, you won\u2019t mind as much!\n7. Foster Your Child\u2019s Awareness of Print and How We Use It\n- Point out everyday print like street and store signs\n- Provide magnetic or plastic letters to play with.\n- Write notes for kids to read\u2026lunch boxes are great places for this!\n8. Provide a Variety of Writing Tools and Materials\n- Stock a writing area with scrap paper, used greeting cards, bank forms, mail-order tear off cards, envelopes and notebooks.\n- Provide different kinds of markers, pens, crayons, pencils and other writing tools such as alphabet stampers and letter stencils.\n- Allow children to use the computer to write.\n9. Don\u2019t Push or Pressure Children About What or When to Read\n- Don\u2019t nag your child to read.\n- Comic books count!\n10. Show Children that You Value Their Efforts\n- Display their work prominently.\n- Ask your child to read to you, even if it\u2019s just one word a page. Rhyming books are great for a child to read the last word of each page.\n- If a child makes a mistake when reading aloud, don\u2019t interrupt. If the mistake doesn\u2019t change the meaning, let it go.\n- Respond positively to the message in your children\u2019s writing rather than focus on the handwriting or spelling.\nGet Kids Writing with a Progressive Story\nWriting for Reluctant Readers by Ty Drago\nWriting Hi Lo Fiction and Books for Boys\nWriting Tips for Children from NS Blackman\nGetting Kids Involved with Creative Writing\nWriting Revision Tips for Kids: Why Writing is All About Revising\nConnecting Reading with Writing in Kindergarten\nA Teacher Turned Author Inspires Writing Seeds\nWrite Now Read Later: Summer Writing Prompts for Kids\nWrite First Read Later: Alien Writing Prompts for Kids\nReading and Imagining Writing Exercise For Kids\nMiddle School Writing: How to Use the COMMA\nTo examine any book more closely at Amazon, please click on the image of the book.\nAs an Amazon Associate, I earn from qualifying purchases.\nBEST #OWNVOICES CHILDREN\u2019S BOOKS: My Favorite Diversity Books for Kids Ages 1-12 is a book that I created to highlight books written by authors who share the same marginalized identity as the characters in their books.", "id": "<urn:uuid:dcb969e3-58c7-4bce-bbf1-aece7691d2ae>", "dump": "CC-MAIN-2023-14", "url": "https://www.pragmaticmom.com/2010/03/10-ways-to-raise-a-reader-and-a-writer/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00350.warc.gz", "language": "en", "language_score": 0.8959973454475403, "token_count": 976, "score": 3.5, "int_score": 4}
{"text": "You must be logged-in in order to download this resource. If you do not have an AOE account, create one now. If you already have an account, please login.Login Create Account\nGreat! you're all signed in. Click to download your resource.Download\nCan art teachers confidently incorporate creative writing into lessons? Is there space for writing in the art room? Can handwriting turn into artwork? The answer to all these questions is\u2014yes! Incorporating writing into the artmaking process will benefit your students\u2019 learning regardless of age or grade level. Students can discover a love for creative writing and gain confidence in their literacy skills. You can help them improve their writing skills, make bigger connections, and formulate new ideas. Get your students writing in the art room with these five engaging art activities.\nThese art and writing activities are appropriate for 4th, 5th, and 6th grade, but you can adjust them for younger and older artists. The ideas allow students to use their imaginations and get creative with their writing and art.\nStudents can incorporate their handwriting into a final art piece. This idea comes from the work of the artist Cy Twombly. Twombly was an Abstract Expressionist who used writing and language in his artwork. His abstract paintings often showcase poetry, scribbles, and distinctive lines inspired by handwriting.\nSelect a specific theme, such as school, community, art, positivity, connection, or friendship, and help students generate a list of related words. Students select one word and handwrite it several times to create a pattern. Paint over the text with translucent watercolors or thinned tempera paints. To finish, trace the text with oil pastels, pen and ink, or markers.\nFor this lesson, students design and illustrate an original Pok\u00e9mon character. Their card will include a visual image as well as a written description of abilities and animal information. Students go wild over this assignment! You can even make more interdisciplinary connections if you bring in science with types of energy and animal habitats.\nAre you unable to spare valuable class time for lots of writing? No need to worry! You don\u2019t have to design an entire lesson plan centered on writing. Check out Literacy through Storytelling, a FLEX Collection full of strategies for writing integration. The Mini Artist Statement is a fabulous student-facing resource in this Collection that scaffolds the reflective writing process. You can also do a deeper dive into writing with these prompts. For even more tips, check out the article, 3 Stress-Free Ways to Bring Writing Into Your Art Room.\nThis interactive printmaking activity is a sure bet to get your students excited about the power of text. Show video clips and/or provide written excerpts of famous speeches throughout history. Facilitate a class discussion about specific words or phrases that capture the essence of the selected speech. Students carve a word or short phrase into their printing plate and create a series of prints using different colors. Discuss how color can impact the word or phrase.\nThis lesson is another opportunity to make interdisciplinary ties. You can highlight historical connections by researching influential leaders and speakers from the past and present to show to your students. Check out the FLEX Lesson, Printmaking to Convey a Message, for more ideas and resources!\nStudents love to write and illustrate a story. This activity will help your students express storytelling ideas visually. And the best part is that the sky\u2019s the limit! You can choose a fairytale, a folk tale, or any creative writing piece. Take this opportunity to collaborate with their classroom teacher to find out what students are reading in their ELA curriculum, and challenge them to illustrate part of the story or even create a sequel.\nAssign each student a section of the story. Discuss and show examples of how to illustrate words, scenes, action, and mood. Students draw images to illustrate their sections of the story and assemble the pages to form a storybook. Read the story as a class, holding up the students\u2019 illustrations for all to see!\nImplementing writing into the artmaking process is fun and engaging. We can use art to improve students\u2019 writing skills by incorporating literacy into art lessons. Students can expand their vocabulary, improve communication, and practice writing. Additionally, they will make connections between art, history, and literacy. Use these lesson ideas to challenge your students to harness the power of words in their art!\nHow will you adapt your art projects to incorporate writing?\nWhat literacy skills do you want to focus on improving this year?\nWhat questions do you still have about bringing writing into the art room?\nMagazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.", "id": "<urn:uuid:40f30f32-e5ed-4c66-9166-399f9cd47c4b>", "dump": "CC-MAIN-2023-14", "url": "https://theartofeducation.edu/2022/10/10/aug-5-innovative-art-activities-to-incorporate-writing-in-the-art-room/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945168.36/warc/CC-MAIN-20230323132026-20230323162026-00749.warc.gz", "language": "en", "language_score": 0.9391509294509888, "token_count": 1004, "score": 3.78125, "int_score": 4}
{"text": "In this article we will consider the main styles and directions of African music. The music of\nAfrica contrasts strongly not only with the music of other continents, but also has great\ndifferences within the region itself. This is due to the fact that the territories of central,\nnorthern and western Africa were mastered and developed in different historical periods.\nTo date, the following main African musical styles can be distinguished: hausa, fuji, griot, jali,\nThe fuji style originates from the ancient apala through the transformation of once-religious\nrhythms into dance ones. The main instrument in this direction are drums, but in addition to\nthem, much attention is paid to the ukulele, which determines the dance component. The\nstyle got its name due to the fact that its founder drew parallels between his music and\nThe Hausa style got its name from the Hausa people who live in Nigeria and are the founder\nof this musical direction. This style surprisingly combines Islamic vocals and ethnic sound in\nmusic. The leading instruments of this direction are lutes and drums. It should be noted that\nin rural areas, ethnic melodies prevail in this direction, while in the urban environment, more\nemphasis is placed on the Islamic tradition.\nThe next traditional African style is jali, which originated in the Mande region, where the\nmusicians who played in this style even belonged to a separate caste! It should be noted\nthat this skill was transmitted exclusively by kinship. Jalis in all ages were under the\npatronage and protection of the higher castes and always lived at the court, often playing the\nrole of advisers.\nThis style was formed from the ancient musical direction of the Apala, the music of the\nYoruba people. These are musical rhythms that used to have a religious meaning and later\nturned into dance ones.\nMuslim traditional chants are superimposed on ancient African rhythms, but without the\nreligious orientation of both.\nIn addition to drums, the main role in this music is played by the ukulele with mamba\nrhythms, which largely determines its dance direction.\nThe style was founded by Sikiru Ayinde, a Nigerian artist who compared his music to Mount\nFuji in the late 70s, which is how the style got its name. Ayinla Kollington and Wasiu\nBarrister continued to work in this direction.\nMusic styles in Africa \u2013 Hausa\nThe Hausa people also live on the territory of modern Nigeria in the area of the spread of\nIslam. Hausa music consists of a fusion of the ethnic traditions of the area and Islamic\nvocals. Praises to Allah are sung to the accompaniment of lutes and talking drums, where\nmelody plays a paramount role.\nMoreover, in the countryside, the Hausa style is represented by more diverse ethnic aspects,\nwhile in the cities the Islamic tradition is of primary importance. The main musical line is\nplayed on small drums supported by a lute and violin.\nThis style of African music was born in the Mande region. The ancient Mande society had a\nstrictly hierarchical order, where the musicians who performed a given music belonged to a\nspecial caste, consisting of musicians and artisans. Jali \u2013 the so-called hereditary musicians\nwho played this music.\nAll representatives of this profession had certain surnames, and the type of activity was\ntransferred strictly by kinship. Until now, people born in a jali family are considered exactly\nas jali, even if they have never picked up any instrument. They were patronized by\nrepresentatives of the highest caste from the ruling class.\nOne legend tells of a musician who tempted the Prophet Muhammad three times with\ndisbelief and froze three times, after which he believed and sang prayers and praises to\nAllah. Since then, the praise of the Almighty has been the main theme of jali.\n\"A noble person will not speak freely with any representative of his own class, because he\ncan become an adversary, at the same time, musicians can be trusted, because they do not\npose any threat \u2026 They are journalists who talk about both the present and and about\nevents from the past. The art of the jali lies in their ability to offer prayers that gave our kings\nthe courage to win battles, \"- this is how the outstanding contemporary performer Jali Nyama\nSuso says about his art.\nJalis have always lived at the courts of their princes and acted as advisers, mediators and\njust friends and confidants. Thanks to the art of singing and speaking, they were ideal\nmediators and played important social roles. They settled conflicts, served as matchmakers\nand ambassadors. Traditionally, jali lived off the generosity of their patrons. They never\nreceived payment, but accepted gifts of various kinds, sometimes of great value, such as\nallotments of land, animals, or slaves.\nEach jali is in a state of honest and sincere friendship with his patrons. Therefore, in the\nsongs there are constant reminders of the need to be tolerant and loyal in relationships\nbetween people. The peacekeeping mission and prayer chants are the main meaning of the\nwork of jali. In today's society, they also interact with today's presidents and politicians in\nConsidering the various styles of music, one cannot fail to note the next modern style of\nMakossa, which reached its popularity in the 70-80s of the last century. Born in Cameroon, it\nquickly gained popularity thanks to the talented performers of our time. These are folk songs\nand dances performed on guitars and accordions. In the 80s, makossa became very popular\nin Paris, where its rhythms formed the basis of electronic dance music for clubs. Famous\nmakoss performers: Bebe Manga, Eboa Lotin, Misse Ngoh, Lapiro Mbanga, San Fan\nNational song genre in Cape Verde. Morna is something between music and poetry. The\nwhole soul of the people of Cape Verde is reflected here. Morna was formed from the fusion\nof the Portuguese fado, the rhythms of ancient Angola and the Portuguese-Brazilian\nmodinha. The classic themes of long melancholic poems characteristic of this style are death\nand love, meeting and parting, travel and return to relatives and loved ones. Sometimes the\nmorna is cheerful satirical improvisation, but more often soulful and melancholic music.\nBefore the advent of electric instruments, mornas were played mainly on strings, often with\naccordion and piano. The classical sound of the morna is high string sounds, sometimes a\nguitar was used. The cavaquinho and viola, guitar-like instruments with 4 and 12 strings\nrespectively, are most commonly heard in early morna recordings.\nThey give recognizable characteristic high sounds. The main rhythm is distinguished, as a\nrule, by maracas. Modern performances often involve many European instruments, up to\nand including a drum set. The most famous performer of this genre is Cesaria Evora. She is\nwell known in Russia, she has repeatedly come with concerts. The violinist Josinho and the\nsinger Bana are also quite famous, continuing their performances to this day. There are\nmany more well-known performers. If you want to know about more extreme entertainment \u2013\nvisit the m22Bet platform.\nMusical style, in fact, has nothing to do with music. It's mostly a storytelling tradition. In\nAfrica, there is not much difference between a singer and a storyteller, and both are done\nmainly to rhythmic accompaniments. Since ancient times, there have been wandering\nstorytellers who are the keepers of ancient cultural traditions. Here and there they gathered\npeople around them and led their story about what they saw and heard in different places.\nThey told the stories of their ancestors, legends and tales have survived to this day precisely\nthanks to such people.\nLike the jali, the griot is always out of politics and human passions. They accompanied their\nstories by playing the bark or drum. Traditional modern rap has its roots from them.\nLeave a Comment", "id": "<urn:uuid:32f9d1b1-240b-453a-bcba-d72548c983f5>", "dump": "CC-MAIN-2023-14", "url": "https://www1.naijahits.com/news/african-music-styles/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945248.28/warc/CC-MAIN-20230324051147-20230324081147-00771.warc.gz", "language": "en", "language_score": 0.9698575735092163, "token_count": 1768, "score": 3.546875, "int_score": 4}
{"text": "How to Make a Storyboard\nPart 1: What is Storyboard?\nIn the storytelling process, a storyboard is used to visually plan the entire narrative from beginning to end. Through images and words placed in cells, a storyteller can use a storyboard to show what happens in a story sequentially. While its roots can be traced back to the early Walt Disney days in film, they are now used in fields such as advertising agencies for commercials, and artists for comic books. Essentially, they have become a staple in the visual arts process.\nStoryboarding a project or process is a simple way to visualise a sequence of events. The artist can use it as a visual guide to lead stakeholders through his creative process. Additionally, they can be used in business to improve collaboration and speed up the brainstorming and content creation process.\nPart 2: How to Make a Storyboard Effortlessly?\nHow to make a storyboard easily? Using EdrawMax to create your own storyboard.\nStep 1: Open EdrawMax desktop software or EdrawMax web-based application.\nStep 2: Navigate to [New]>[Graphic Organizer]>[Storyboard]\nStep 3: Select one storyboard template to edit on it or click the [+] sign to start from scratch. Also, you can use massive storyboard symbols and elements from libraries in left menu to customize your diagram.\nStep 4: Once finished your creation, you can export the file in multiple formats, including Graphics, PDF, editable MS Office file, SVG and Visio vsdx file.\nStep 5: Besides, you can share your diagram with others via social media and web page. Or publish your diagram in EdrawMax template gallery to show your work with others.\nPart 3: Storyboard Examples\nExample1: Storyboard with Blank Slides\nA storyboard template allows one artist to create the entire storyboard as per their requirements. The blank slides can be transformed into all sorts of storyboard ideas. Post working on the blank slides, one can also use EdrawMax\u2019s other tools to add or import different graphics into them.\nExample2: Video Storyboard\nA storyboard template can be customized as per the requirements. If someone is creating a film or a video, then they can use a free storyboard video template to add intrinsic details about the project.\nPart 4: Conclusion\nAccording to this article, there are mainly three parts to illustrate what is storyboard, to tell you how to create storyboards and to show you some storyboard examples. Generally speaking, the storyboard is a graphic organizer that consists of images or illustrations displayed in sequence for the purpose of pre-visualising a motion picture.\nEdrawMax is an easiest all-in-one diagramming tool, you can create storyboard and any other type diagram with ease! With substantial storyboard symbols and cliparts, making storyboard could be as simple as possible. Also, it supports to export your work in multiple formats and share your work with others. Get started to create your storyboards now!", "id": "<urn:uuid:8c3ead8b-cb76-4c42-b4ee-15b0c6070b8d>", "dump": "CC-MAIN-2023-14", "url": "https://www.edrawsoft.com/how-to-make-storyboard.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943562.70/warc/CC-MAIN-20230320211022-20230321001022-00750.warc.gz", "language": "en", "language_score": 0.9027748107910156, "token_count": 633, "score": 3.703125, "int_score": 4}
{"text": "What is a modern short story?\nIt is a fiction work that presents a world in the moment of an unexpected change. The traditional short story obeys some rules, such as the unexpected change and major events with detail. The modern short story is a revolution which is based on the traditional short story.\nWhy short story is important?\nStories help to develop a child\u2019s imagination by introducing new ideas into their world \u2013 ideas about fantastical worlds, other planets, different points in time and invented characters. It\u2019ll encourage the children to realise that they can, and should, imagine anything they want.\nWhy are short stories powerful?\nWhy short, powerful stories can be more effective than novels in learning. Stories sit at the heart of communication; building rapport and empathy, creating and sharing schemas of shared understanding, imparting knowledge in a structured and predictable way.\nWho is the greatest master of modern short story?\nCanadian author Alice Munro has won the Nobel Prize in literature.\nWhat is a short story and its features?\nShort stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time. As with longer stories, plots of short stories also have a climax, crisis, or turning-point.\nWhat makes a story modernism?\nModernist fiction spoke of the inner self and consciousness. Instead of progress, the Modernist writer saw a decline of civilization. Whereas earlier, most literature had a clear beginning, middle, and end (or introduction, conflict, and resolution), the Modernist story was often more of a stream of consciousness.\nWhat is the importance of short story in modern times?\nNowadays, short stories have one certain benefit: they are short. And \u201cshort\u201d doesn\u2019t only mean the number of words or characters. It also means the fast pace, the single-minded plot, and the concise form. Someone may say a short story is a substitute for a novel.\nWhen did the modern short story start?\nThe modern short story developed in the early 19th century.\nWhat are main features of characters in short story?\nThe main features of short stories are:\n- Setting \u2013 the place and time where the events take place.\n- characters \u2013 the number of characters is limited.\n- events \u2013 the facts that drive forward the action and form the storyline.\nWhat are the 7 elements of a short story?\nMost storytelling experts agree that there are 7 key elements of a story that must exist\u2026.What are the Elements of a Story?\n- 1 \u2014 A Theme.\n- 2 \u2014 Characters.\n- 3 \u2014 Setting.\n- 4 \u2014 Point of View.\n- 5 \u2014 Plot.\n- 6 \u2014 Conflict.\n- 7 \u2014 Resolution.\nWhat are the features of modernism?\nThe Main Characteristics of Modernist Literature\n- Individualism. In Modernist literature, the individual is more interesting than society.\n- Experimentation. Modernist writers broke free of old forms and techniques.\n- Absurdity. The carnage of two World Wars profoundly affected writers of the period.\nWhat is modernism and its features?\nModernism was a revolt against the conservative values of realism. Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.\nWhat are the benefits of reading short stories?\n6 benefits of reading short stories\n- A certainty you\u2019ll read the entire piece.\n- A pleasure of finishing a story.\n- An incentive to reach for the next read.\n- A convenient way to try new genres and authors.\n- A great read between the novels.\n- A way to bring back the habit of daily reading.\nHow do you write a modern short story?\nThe Top 10 Tips For Writing Great Short Stories\n- Understand that a short story is not the same as a novel.\n- Start as close to the end as possible.\n- Keep up the pace.\n- Keep the number of characters small.\n- Give the reader someone to root for.\n- Create conflict!\n- Suggest a backstory but don\u2019t elaborate.\n- Appeal to the five senses.", "id": "<urn:uuid:dfb19a16-66b0-438f-92eb-e96366711e54>", "dump": "CC-MAIN-2023-14", "url": "https://thisisbeep.com/what-is-a-modern-short-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945473.69/warc/CC-MAIN-20230326142035-20230326172035-00349.warc.gz", "language": "en", "language_score": 0.9148797988891602, "token_count": 915, "score": 3.546875, "int_score": 4}
{"text": "What Is the Connection between Pragmatics and Discourse?\nIn language, pragmatics and discourse are closely connected. Discourse is the method, either written or verbal, by which an idea is communicated in an orderly, understandable fashion. Used as a verb, discourse refers to the exchange of ideas or information through conversation. Comparatively, pragmatics involve the use of language to meet specific needs or for a predetermined purpose. As such, pragmatics and discourse are related in that pragmatics are the means by which the purpose of discourse is achieved.\nBoth pragmatics and discourse involve concepts far deeper than mere word definitions and sentence structure. Unlike grammar, which involves the rules governing proper language structure, pragmatics and discourse focus on the meaningfulness of spoken or written language. Whether storytelling, explaining, instructing, or requesting, a speaker or writer has an intended purpose for communicating. How a speaker or writer constructs sentences to meet his intended purpose involves both pragmatics and discourse.\nFor example, there are several ways to warn a person about the risk of burns associated with a hot surface. The process of explaining the concept must follow a logical order to be understood by listeners. A speaker might change the wording of such explanations, depending on the age and developmental ability of listeners. Determining the order of the explanation is discourse, whereas determining how to word the explanation for different audiences is pragmatics.\nPragmatics and discourse go hand-in-hand with context. Changing the language used for an audience is an integral part of pragmatics, but can easily affect context clues and thus, affect discourse. Sentences changed too much or taken out of context lose the ability to further a conversation. Without the necessary information preceding or following a particular sentence, its meaning can easily be lost. Such omissions affect the cohesiveness of a conversation or text, thus making it difficult to maintain common understandings.\nLikewise, failure to follow the social rules of pragmatics can drastically affect discourse. Although not necessarily rules in the same sense as grammar, the rules of pragmatics include such concepts as allowing both speaker and listener time to express ideas, expanding on or rephrasing ideas to increase understanding, or choosing words to best fit the speaker's purpose. If a speaker is requesting something, for example, a poor choice of words can make the request sound more like a demand. Alternatively, complex sentence structure or an overly long explanation can undermine the purpose of discourse by making it impossible for listeners or readers to follow along.\nDiscuss this Article\nPost your comments", "id": "<urn:uuid:eb4366d6-8669-429c-9b4f-aec7a7e78687>", "dump": "CC-MAIN-2023-14", "url": "https://www.languagehumanities.org/what-is-the-connection-between-pragmatics-and-discourse.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945218.30/warc/CC-MAIN-20230323225049-20230324015049-00349.warc.gz", "language": "en", "language_score": 0.9151331782341003, "token_count": 527, "score": 3.609375, "int_score": 4}
{"text": "Kids N Technology puts the \u201cT\u201d in STEM! It\u2019s the main ingredient of Kids N Technology\u2019s secret sauce! Kids N Technology has developed an integrated, interdisciplinary curriculum that includes science, technology, engineering, and mathematics, which is largely lifestyle driven. Students engage in real-world experiences through critical thinking, creativity, effective collaboration, research skills, and communication.\nWhat Makes Kids N Technology\u2019s Curriculum\n\u2022 KNT\u2019s enrichment education challenges and guides through the use of exploration, discovery, and play.\n\u2022 Our unique and customized approach focuses on learning, not teaching.\n\u2022 KNT blends divergent thinking, creativity, communication, and collaboration to give students the opportunity to engage in activities that develop their learning journey.\n\u2022 We use technology to address STEM challenges. We incorporate 1:1 technological tools to make learning easier for each individual student.\n\u2022 Each session includes an authentic assessment of skills, creativity, attitudes,and student participation.\nBuild a Boat!\nIntroduction to 2D Animation\nChoose the STEM/STEAM Program activity that you would like to have implemented at your site.\nBiome-in-a- Baggie: Grades K-5. Students explore the world\u2019s land biomes through short video clips and a hands-on investigation. Kids will create their own biome and take it home! Students will nurture and grow their plant creations at home.\nBubble Bath Science: Grades K-5. Build research, creativity and critical thinking skills and make your own bubble bath. Students explore basic science concepts like atoms and molecules,\nBuild a Boat: Grades K-5. Students will create a boat, then test it to see if it floats. Project Based Learning and Creativity. Learn about matter, investigate atoms, elements, molecules, and compounds.\nBuild-a-Bridge: Grades 5 -8. Excellence in engineering! Students are given materials to design and build a bridge that can hold up under stress. This activity teaches problem solving, divergence, and critical thinking skills.\nCode for the Cure: Grades K-3. Make a bracelet and build cancer awareness. Students create a Binary Bracelet using the binary number system. Students are introduced to code and how it is stored in a computer. A socially conscious project that builds technology and math skills.\nColor Science: Grades K-5. Explore Soap Science and make soap crayons! Build research and creativity skills and discover the science of color.\nComputer Science \u2013 Explore Coding: Grades K-8. Students design and create digital stories, animations, and digital art designs! Builds literacy, creativity, problem solving, technology, critical thinking, and communication skills.\nComputer Science \u2013 Game Design: Grades 5-8. Students design and create a game that can be played and shared with friends. Students setup their own account to continue learning computer science at home.\nCyber Bullying: Grades K-5. Cyber Bullying explores the social nature of digital media and technology. Including the role of digital media, how to use it, and how to protect your privacy online.\nLip Balm Science: Grades K-5. Explore chemistry and math. Lip balm prevents our lips from becoming too dry or chapped. Choose your color, fragrance, and moisturizer! Students will learn the important components of lip balm and how it is made.\nLotion Science: Grades 3-8. Learn how lotion works to keep your skin hydrated and moisturized. Discover the three layers of the skin, then make your own lotion.\nMicro Robotics: Grades 5-8. Students design and build their own Robot! Students will build a Brush bot, a very simple type of \u201crobot\u201d. Micro robotics is the field of miniature robotics, which builds technology and engineering skills.\nMini-Magazine \u201cZine\u201d: Grades K-5. Cool and creative writing and literacy activity. Create, design and make a mini magazine! Builds vocabulary development, reading comprehension, literature, writing strategies, writing applications, English language conventions, listening, and speaking.\nRocketry: Grades K-8. Design and build an air-powered rocket and countdown to blast off! Lessons in aerodynamics, gravity, and point of balance. This fun activity builds problem solving skills that improve students\u2019 performance and attitude toward math.", "id": "<urn:uuid:fcb427a7-aaf3-4681-9fc6-79609f8d78ba>", "dump": "CC-MAIN-2023-14", "url": "https://kidsntechstemacademy.com/what-we-do/curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948965.80/warc/CC-MAIN-20230329085436-20230329115436-00550.warc.gz", "language": "en", "language_score": 0.8844737410545349, "token_count": 932, "score": 3.5625, "int_score": 4}
{"text": "Mindfulness involves focusing your awareness on the present moment. It means paying attention to your sensations, feelings, thoughts, and environment in the here-and-now with an attitude of acceptance. Some of the potential benefits of mindfulness include lowering stress, decreasing depression, improving memory, and strengthening your relationships, among other things.\nIn a large-scale review of more than 400 previous studies, mindfulness was identified as an effective mental health practice for helping almost all people improve their physical and psychological well-being.\nThis article discusses the many benefits of mindfulness as well as some things you should consider before you decide if mindfulness-based practices are right for you.\nReduced depression is one of the important benefits of mindfulness. It can help relieve symptoms of depression and may help prevent these symptoms from returning in the future.\nMindfulness-based cognitive therapy (MBCT) is a type of therapy that incorporates cognitive-behavioral therapy (CBT) with mindfulness-based stress reduction (MBSR). It is a relatively brief therapy, taking place over eight weeks utilizing group sessions that incorporate mindfulness practices.\nIn addition to mindfulness practices, MBCT also incorporates other activities such as meditation, body scan exercise, and yoga to help people focus on becoming more aware and accepting of their thoughts.\nResearch suggests that MBCT can not only be effective in reducing depressive symptoms but may also help prevent a relapse of depressive symptoms as effectively as antidepressant medications.\nIncreased Emotional Regulation\nAnother potential benefit of mindfulness is that the practice may help you identify and manage your feelings. Emotional regulation refers to your ability to exert control over your own emotions. This means being able to both enhance or reign in emotions depending on the situation and need.\nThis ability can play an important role in mental well-being and difficulties managing emotions are linked to a number of conditions including depression and borderline personality disorder (BPD).\nResearch has found that mindfulness-based practices can be helpful for enhancing emotional regulation skills. Neuroimaging studies suggest that mindfulness training alters areas of the brain that are activated and deactivated in response to emotion-inducing stimuli.\nDialectical behavior therapy (DBT) combines elements of mindfulness with CBT and emotional regulation training to help treat symptoms of conditions such as borderline personality disorder.\nResearch suggests that DBT can be effective in helping people manage their emotions. It has also been effective in treating anxiety, depression, and PTSD.\nThe emotional regulation benefits of mindfulness can make it easier to cope with your feelings, ultimately improving many areas of your life, including your relationships and well-being.\nReduced Anxiety and Stress\nChronic stress is a significant problem for many adults that can contribute to a variety of health problems, including an increased risk of depression and anxiety. According to the American Psychological Association, mindfulness can be helpful for soothing feelings of anxiety and stress.\nMindfulness practices have also been adapted specifically for treating symptoms of stress. One approach, known as mindfulness-based stress reduction (MBSR), is an eight-week program that combines elements of mindfulness and yoga to help people address thoughts, feelings, and behaviors that contribute to feelings of stress.\nResearch suggests that MBSR can be a helpful way to reduce stress levels. One review of the research found that mindfulness-based therapy was also effective in the treatment of anxiety.1\nA 2016 study concluded that mindfulness was both a simple and cost-effective way to reduce negative emotions, stress, and anxiety.\nHowever, mindfulness may not always be the best tactic for reducing stress, particularly in moments of a crisis. One study found that using mindfulness tactics when coping with a stressful event had no impact on how people responded to the event. In times of crisis, proven strategies such as deep breathing are often more effective, while mindfulness might be best used as you reflect back on the event once it is over.\nMindfulness may also have potential as a way to boost your memory. If you\u2019ve ever forgotten an important meeting or misplaced your car keys, then you know that even simple, everyday memory problems can be a major hassle. Many of these moments of forgetfulness are caused by something known as proactive interference, where older memories interfere with your ability to access newer ones.\nIn one 2019 study, participants either received four weeks of mindfulness training or took a creative writing course. Memory tests indicated that those who had been trained in mindfulness practices showed the greatest reductions in proactive interference, which resulted in improvements in their short-term memory.\nParticipants didn\u2019t just show improvements in memory performance, however. They also demonstrated changes in their brains. Brain imaging also revealed that participants in the mindfulness training condition experienced volume changes in their hippocampus, an area of the brain associated with memory.\nMindfulness doesn\u2019t just help you focus on your thoughts or remember things more readily\u2014evidence suggests it can actually play a role in your ability to think flexibly and clearly. It makes sense that the practice of mindfulness can change your thinking. After all, the practice itself is all about learning to be more aware of your thoughts without imposing judgments on them.\nThere are several important cognitive abilities involved in mindfulness, including:\n- Being able to focus your attention for a period of time (sustained attention)\n- Being able to shift your thoughts and attention in spite of the distractions around you (cognitive flexibility)\n- Suppressing other thoughts that interfere with your focus (cognitive inhibition)10\nThese cognitive abilities are important for a wide variety of everyday tasks. They allow you to think quickly and adapt to changing information. Such skills also help you switch from one task to another easily and make it easier to concentrate on tasks and solve problems more efficiently.\nThere is also emerging evidence that practicing mindfulness may have a positive impact on your interpersonal relationships. A 2018 study found that people who were more mindful also tended to be more accepting of their partner\u2019s flaws and imperfections.\nPeople who are more accepting of their partners are also more satisfied with their relationships. Instead of focusing on their partner\u2019s flaws and trying to change them, mindfulness makes it easier to accept that their partner is not always perfect.\nAn approach to treatment known as mindfulness-based relationship enhancement (MBRE) has been shown to help improve partner acceptance, relationship satisfaction, empathy, and well-being. It incorporates mindfulness practices such as mindful touching to improve intimacy, becoming mindful of everyday activities, and practicing partner-focused loving-kindness meditation.\nBetter Physical Health\nResearch also suggests that mindfulness can help relieve symptoms of a range of different health conditions. Mindfulness practices have been linked to improvements in lower back pain, rheumatoid arthritis, psoriasis, Type 2 diabetes, and fibromyalgia.\nBecause mindfulness can help improve mood and combat stress, it may also be helpful for people who are dealing with chronic illness.\nWhen to Use Caution\nAny type of self-reflective inner work has the potential to bring difficult feelings or thoughts to light. This can be particularly true if you have a history of trauma or if you have been diagnosed with a condition such as post-traumatic stress disorder (PTSD) or complex PTSD.\nThere are few guidelines regarding the potential side effects or situations where caution should be used. Researchers have reported instances where participants have experienced distressing adverse effects when practicing mindfulness and meditation that were serious enough to require additional treatment.\nOne study found that around 6% of participants who practiced mindfulness experienced side effects that included increased anxiety, dissociation, social withdrawal, and emotional numbness. However, the authors note that these effects were also accompanied by significant improvements in symptoms of depression.\nThis doesn\u2019t mean that you shouldn\u2019t try mindfulness. Instead, it simply means that you should use some caution and be aware that it is not a panacea for immediate well-being. Mindfulness and other inner work practices may make you feel worse before you begin to feel better.\nFocusing deeply on your inner self can trigger uncomfortable or even distressing feelings, so you should be aware of this potential and have emotional tools you can utilize to help cope with such experiences.\nIf you are concerned that practicing mindfulness might be difficult or distressing for you, consider working with a trauma-informed therapist. A mental health professional with experience in this area can help guide you through the process, integrate your experience, and develop skills that will help you cope.\nA Word From Verywell\nThere are many possible benefits of mindfulness including lowering stress, improving emotional regulation, boosting cognitive abilities, and strengthening relationships. Research has also shown that mindfulness can lead to changes in the structure and function of the brain. Adverse side effects can occur in some cases, so people should consider talking to their doctor or therapist before deciding if mindfulness is right for their needs.\nMindfulness is not a one size fits all approach to well-being. It can be a powerful wellness tool with a wide range of benefits, but that doesn\u2019t mean that it is right for everyone. There are many mindfulness guides, apps, and other tools that can help you get started if you are interested in trying it, but you can also talk to a therapist about mindfulness-based treatment options.", "id": "<urn:uuid:6dc30fcb-7d30-4a50-aa05-83b5cdc5ffb2>", "dump": "CC-MAIN-2023-14", "url": "https://sensalus.com/en/benefits-of-mindfulness-3/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950422.77/warc/CC-MAIN-20230402074255-20230402104255-00550.warc.gz", "language": "en", "language_score": 0.9574790596961975, "token_count": 1890, "score": 3.75, "int_score": 4}
{"text": "Gamification is a strategy used to influence and motivate the behavior of people. It encourages participation and long-term engagement, which can be displayed by the employees of a company. It is applied in numerous scenarios.\nGamification as the pedagogy.\nThe procedure consists of adding game mechanics or elements to non-game environments like websites, online communities, learning management systems or business\u2019 intranets; hence it is not an actual game. This will aim to increase user engagement, happiness, and loyalty. Learners can complete more course elements and to a higher standard. The goal is to engage better with consumers, employees, and partners in order to inspire collaboration, sharing and interactions.\nGamification and Dopamine :\nGamification training or gamification learning has gameplay elements as part of the learning experience. Psychology and gamification training go hand in hand and can be used to help inspire students to challenge themselves. Dopamine is a hormone that controls pleasure and affects one\u2019s mood, memory and thinking process. The human is like a lab rat in a maze that is getting food rewards for correctly navigating through it and finding the way out. In an analogous, way the human that is participating in gamification will respond to rewards that include levels, points, quizzes, badges, progress tools, timers and sounds that make up the user interface for gamification. Therefore, the brain will release dopamine. This will allow one to learn and be more likely to hold what one has learned in the long term, as well as to have a pleasurable experience at the same time thus making gamification a powerful and fun eLearning tool.\nGamification and E-learning\nGamification can be great for corporate training as well and in E-Learning, since it rewards learners and challenges them to keep going. As individuals are motivated to improve and/or beat the competition, it gives them autonomy, since they can learn at their own pace and level. Games give instant feedback as players demonstrate their mastery and if one does well then, they will move onto the next level, if not then they have a chance to try again. From another perspective, the learning process has a social theme, since it creates friendly competition and collaboration that will allow learners to forge new connections. Emotional and social connections are formed through storytelling in gamification. Moreover, gamification can also be used by people of all ages 5 to 50 years old. Learning can be done in digestible pieces. This kind of games is usually segregated into making learning interesting and fun. This process of Gamification will allow an immediate application and interaction with the material. This means understanding can be increased and so the\nengagement, retention, grades, and overall happiness.\nGamification and Training:\nGamification has in fact been around for a long time. Astronauts have used it to train for years before leaving for areas with no gravity. The military uses \u2018war games\u2019 to simulate battlefield conditions and so do pilots to simulate flight. Gamification can keep soldiers, pilots, and astronauts alive. It surprisingly functions well which means that it can also be\nused for corporate and other training.\nTo conclude, the gamification experience must translate to what motivates the audience and what game features matter most and the game must translate to the workplace and not distract the learner from productivity. Gamification should also be simple and not complex.", "id": "<urn:uuid:2cdba454-5765-4c15-81b7-f7d7c8420241>", "dump": "CC-MAIN-2023-14", "url": "https://www.alfihri.org/post/gamification-as-the-pedagogy-of-the-future-today", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949689.58/warc/CC-MAIN-20230331210803-20230401000803-00349.warc.gz", "language": "en", "language_score": 0.9547402858734131, "token_count": 689, "score": 3.546875, "int_score": 4}
{"text": "The One Pager is a great way for students to respond creatively and imaginatively to a text, be it a novel, short story, article, poem etc.\nBut one-pagers can be used in a multitude of ways and across multiple content areas.\nStudents can create one-pagers for:\n- Research Topics\n- Chapter Summaries\n- Character Analysis\n- Act Summaries\n- Scene Summaries\n- Ice Breaker (About Me)\nTeaching concepts is pretty universal for teachers no matter the subject area we are in.\nSo, utilizing the one-pager activity can be a great way for students to demonstrate their knowledge of a key concept they have learned.\nThe quality of the one-pagers may also alert you to any students who may not fully understand the concept the one pager is about.\nStudents can use a one pager to showcase what they learned about a research topic!\nWhether the research project is a person, event, movement, thing, location, the one-pager activity still works and provides students with a unique way to show what they learned about their research topic!\nBelow are some examples from my students!\nAs part of our reading of the March Trilogy that chronicles the life of Representative John Lewis, students had to choose a civil rights leader or group mentioned in the book and conduct research on them.\nI then tasked them with creating a one-pager that contains the information they found about their research topic!\nMany students struggle with theme, so using a one pager activity can help them understand theme more in a creative and engaging way.\nThis can be a great end of the unit activity for students to show their understanding of a book or play, or even a wrap up activity for any text, film, music activity or even work of art that has a message/lesson!\nBelow are some examples my students did with identifying theme in Homer\u2019s the Odyssey!\nChapter, Act or Scene Summary\nOne-pagers are a great way for students to showcase their understanding of a major chapter in a book or a major act or scene in a play!\nThe beauty of a one-pager is how much freedom you have with what you require students to include in it.\nSo you can have students only focus on main events, or you could get more specific with what students focus on.\nFor example, you could have students include how major events in the scene impact characters, or maybe the climax of the story happens, and you want students to include an analysis of it in the one-pager.\nYou have total freedom of what you want your students to focus on!\nBelow are some examples my students did with summarizing Act 3 of Romeo & Juliet!\nHave students show their understanding and knowledge of a character in a creative and engaging way.\nYou can choose to have students focus on indirect/direct characterization or character development.\nThis also works great any time of the year when you want to work on class culture!\nYou can participate as well!\nSay goodbye to boring summaries! Having students create a one-pager offers a significantly more engaging way to show their understanding of an article they read.\nThe same thing students would use to summarize the article (major events, purpose, quotes etc.) can now be put in a more creative format with students having more freedom on how they structure their \u201csummary.\u201d\nThe One-Pager activity is a powerful tool to help students respond to the material they learn in class in an engaging and creative way!\nI hope you found these 9 one pager assignment ideas useful!\nIf you did, you can grab my bundle deal here.\nIt includes activities for:\n- Research Topics\n- Character Analysis\n- Character Development\n- Chapter, Act and Scene Summaries\n- About Me\nDon\u2019t need all 9? You can check out my individual prices here.\n5 thoughts on \u201c9 Creative One Pager Ideas\u201d\nPingback: Use One Pager Ideas \u2013 Education is Lit Blog\nPingback: Benefits of Reading the Best Blogs for Teachers \u2013 Education is Lit Blog\nPingback: The Best Criteria to Use When Looking For a Classroom Management Plan \u2013 Site Title\nPingback: Important Classroom Management Tips to Always Consider \u2013 Site Title\nPingback: Reasons Why Getting Education is Important \u2013 Education is Lit Blog", "id": "<urn:uuid:65ec6c4c-03de-45a6-944e-5edfd3b480b4>", "dump": "CC-MAIN-2023-14", "url": "https://educationislit.com/9-creative-one-pager-ideas/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948868.90/warc/CC-MAIN-20230328170730-20230328200730-00551.warc.gz", "language": "en", "language_score": 0.9362674951553345, "token_count": 944, "score": 4.34375, "int_score": 4}
{"text": "Creative play is important for children because it allows them to explore their imaginations and creativity. There are many different ways you can encourage creative play in your children but it\u2019s a matter of finding what interests them. Here are some ideas of different activities that will help get your kids thinking creatively:\n1. Provide your child with a variety of arts and crafts supplies\nYou can find many different art supplies online or at your local department store. Some great types of art supplies include crayons, colored pencils, markers, and paints. This allows your child to choose what art medium they would like to work with and what colors and drawings they would like to create\n2. Allow your children access to the outdoors\nThe outdoors is a great place for kids because it\u2019s filled with many different materials that allow kids to be creative, such as rocks, leaves, pine cones, and wood. This encourages your children to think outside of the box because they can use these materials in unique ways.\n3. Set up a playroom for your child\nThis playroom should be stocked with toys and games that encourage creativity, such as dolls, action figures, engineering blocks, and puzzles. These toys will allow your children to create their own imaginative play, which can be very educational and engaging. Just make sure that these toys are age-appropriate.\n4. Encourage your child to tell stories\nStorytelling allows children to use their imaginations and creativity, which is important for them as they are developing their communication skills. This can be done through picture books or board games that encourage storytelling, such as The Cat in the Hat, The Little Prince, Candyland, or The Game of Life. You can also help your child by allowing them to tell you stories on a regular basis.\n5. Allow your child the time to play with friends\nCreative play is often done in groups where kids can share ideas and support each other\u2019s creativity. This allows children to learn from one another and broaden their creativity because they are able to see different perspectives. This can be done through play dates, which should also have other toys available to allow the kids to switch things up.\n6. Give them opportunities to express themselves through music, dance, or writing\nAll of these activities will help your child develop their creativity because it allows them to use their bodies and voices to express themselves. This can be done through dance classes, singing lessons, or writing poetry. These are great ways for children to release stress, learn discipline, and self-express \u2013 all important tools kids need as they grow up.\n7. Let them experiment with different types of food\nCooking can be a great way to encourage creativity! Let them experiment with ingredients and recipes to create delicious meals. You can simply let them interact with your food preparation tasks to encourage their interest in food.\n8. Take your kids to a museum or an art gallery\nThis can be a great way to expose children to many different types of art, which allows them to try out different kinds of creative activities. There are also some great apps that can help encourage creativity in children such as ArtByte, which allows children to draw pictures that are then turned into art. You can also let your child take an art class at their school or local community center to equip them with skills for their interest in art.\n9. Let your child watch educational television or movies\nThis will allow them to learn new things beyond what they are learning at school. Kids can also develop teamwork and problem-solving skills through watching these shows/movies with their parents. There are many great children\u2019s movies that are educational, such as Pete\u2019s Dragon, Annie, and Peter Pan.\n10. Encourage your child to try new things.\nLastly, if they say they don\u2019t like something you suggest, ask them why instead of just saying that they do or don\u2019t like it. This will help nurture their curiosity and let them think about their own preferences. Maybe they\u2019re just not into the arts and would prefer to do other things like play sports or learn about history. This is where you have to acknowledge their interests and be open to trying new things with them.\nMany parents find that their child\u2019s interests change as they grow older, so what may have interested them when they were young may not interest them now. As children get older they are able to handle more imaginative and creative play and this should be encouraged and supported by parents everywhere. Remember that creativity is not something that can be killed because it should be nurtured. By encouraging creative play, children are developing their language skills, developing discipline, and growing every day into better individuals.", "id": "<urn:uuid:c0ac678e-0f55-4a1b-8545-66e5cb6fecff>", "dump": "CC-MAIN-2023-14", "url": "https://www.royalbambino.com/encouraging-creative-play/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00550.warc.gz", "language": "en", "language_score": 0.9716439843177795, "token_count": 963, "score": 3.734375, "int_score": 4}
{"text": "What Are Learning Videos\nLearning videos are a powerful tool for delivering educational content online. They offer an engaging and interactive way to learn, allowing students to gain knowledge in a more efficient and effective manner. Learning videos can be used for a variety of purposes, such as providing instruction on how to use a product or service, training employees, teaching students in an online classroom setting, and more.\nBy leveraging the power of video, learning videos can help people better understand complex concepts and retain information more effectively than traditional methods. Furthermore, learning videos allow learners to access educational content from anywhere at any time. As such, they are becoming increasingly popular in learning and online education.\nStep-by-Step Guide to Creating Engaging Learning Videos\nCreating engaging learning videos can be a daunting task for many, but with the right step-by-step guide, it can be done easily.\nLearning videos are an effective way to transfer knowledge and engage students in the classroom. With the help of this guide, you will learn how to create educational content that is both engaging and informative.\nThis guide will provide you with an overview of academic video production, from creating a storyboard to choosing the right equipment and software for your project. You will also learn about different techniques for creating educational content that is both engaging and effective. By following these steps, you will be able to create learning video tutorials that are sure to captivate your audience.\n1. Choose a Topic\nWhen choosing the topic for your project, determine what facet of the topic will be focused on. Whether you want to make a long-form documentary or a short-form vlog, setting out a specific goal will help you create content that is both interesting and informative for your audience.\nMake sure that you have enough background knowledge about the topic and have brainstormed different ideas. For example, if your project is about video games, it would be beneficial to watch YouTube videos on how video games are made to brainstorm different production ideas.\n2. Develop a Production Plan and Schedule\nOnce you have narrowed down your topic, develop a production plan and start scheduling the duration of each component of your project. For example, if you are creating an informational video about how video games are made in general, set out plans for filming what you want to show and determine how long those scenes will take to film. Create schedules for voiceovers (if applicable) as well as for editing and production.\n3. Save time by asking The Hound Studio for help\nThe team of creative minds at Hound Studio is fond of creating amazing videos, carefully crafted for each new client. Moreover, they don\u2019t have any limits. It\u2019s incredibly important for them to do their best and make projects that are worthy of attention.\n4. Utilize Technology for Productivity Makers, like Google Docs/Slides\nIt is helpful to have access to technology when creating a project; however, this does not need to be a hurdle. If you are unfamiliar with technology, it is more helpful to use Microsoft Word or Google Docs, which can easily create a presentation of your project.\n5. Stay Flexible when Creating Your Project\nThere are many different ways that you can deliver your project; however, the most important thing is that you produce something of quality. It is important not to get too caught up in what others might think of the final outcome and to make sure that it reflects your intentions in the best way possible.\nWhy choosing the right video production tools is important?\nChoosing the right video production tools and equipment can be a challenging task. It requires the right equipment to ensure that your content is engaging and informative. There are many different types of tools for creating educational content, ranging from smartphone apps to desktop software to professional editing systems.\n5 Tips for Optimizing Your Learning Videos for Maximum Impact\nLearning videos have become an essential part of the modern learning experience. They are a great way to engage your audience and make sure that they are getting the most out of the content.\nHowever, it\u2019s not enough to simply create a video and post it online. You need to optimize your learning videos for maximum impact if you want them to be effective.\nHere are five tips for optimizing your learning videos for maximum impact:\n1. Keep it short \u2013 A learning video should never be more than 10 minutes long because if it\u2019s too long, people start to lose interest and the impact will not be as great.\n2. Start with a hook \u2013 Make your opening sentence interesting and catchy so that you have enough time to set up the following content before the audience loses interest or becomes distracted by something else in the video.\n3. Create an engaging story arc \u2013 Your audience is only going to stay engaged if they are rooting for your hero at every step of their journey! Create a story arc that includes key turning points in the hero\u2019s journey that keep your audience on the edge of their seats.\n4. Use storytelling techniques and a linear story arc \u2013 If you are interested in taking a more holistic approach, use storytelling techniques like suspenseful music, captivating visuals, and surprising twists to keep your audience engaged until the very end.\n5. Explain key concepts at the beginning \u2013 The first thing your video should do is explain what it is about so that people know what they\u2019re getting into before watching it. This will help people start out with an understanding of who gets what from which person or group so that you can gain their trust. The best way to do this is through an intro.\nTraining content is essential for any organization to ensure that its employees are familiar with the company\u2019s policies and procedures. However, training content can be dull and uninteresting if it isn\u2019t presented in an engaging way. Learning videos provide a great way to bring your training content to life! They can help you engage your audience, increase knowledge retention, and provide an enjoyable learning experience.\nWith the use of learning videos, you can make sure that your employees understand the material better and retain it longer. Contact The Hound Studio, and don\u2019t hesitate to start creating engaging learning videos for your organization today!", "id": "<urn:uuid:22abc97e-7de0-4cf0-add5-c542f93a8b9f>", "dump": "CC-MAIN-2023-14", "url": "https://hound-studio.com/blog/how-to-create-learning-videos/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946535.82/warc/CC-MAIN-20230326204136-20230326234136-00772.warc.gz", "language": "en", "language_score": 0.9358519911766052, "token_count": 1263, "score": 3.703125, "int_score": 4}
{"text": "You probably already know that reading aloud to a child can help improve his or her language development and affect future success in school. Well, these benefits of reading are now starting to get some serious research chops behind them, and the results are fascinating. We\u2019ve compiled some of the most up-to-date research on the benefits of picture books and reading to small children. We hope you\u2019ll be inspired to start reading more with your own little bears!\n- Stories literally light up a child\u2019s brain.\nUntil now, we haven\u2019t had a good understanding of what\u2019s happening in a child\u2019s brain when he or she hears a story. A recent study in the journal Pediatrics looked at just that. They monitored the brain activity in 3-to 5-year-old children as they were being read to. And for the children whose parents reported more reading at home and more books in the home, their brains showed significantly greater activation of areas in the left hemisphere, where multisensory integration, integrating sound, and visual stimulation occur. And even though the children in the study were just listening to the story and did not see any pictures, they also showed more brain activity in the areas that process visual association\u2014which suggests that they were seeing the images in their imaginations. Who doesn\u2019t want their little bear to have a more active brain and a healthy imagination?\n- Picture books may use a bigger vocabulary than you do.\nFrom our work editing picture books, we know that picture book creators spend countless hours choosing just the right words and images to complement and enhance their storytelling. But in case there are any doubters out there, it\u2019s great to know that research has proven just how special picture books really are. A study from the journal Psychological Science looked at the language content of picture books. Choosing from a selection of teacher recommendations, Amazon bestsellers, and popular bedtime books, the researchers compared the language in the books to the language used by the parents when speaking to their children. It turns out that the picture books contained more \u201cunique word types.\u201d That means reading picture books to your little bears could expose them to a wider vocabulary.\n- Picture books are not just for little bears.\nMany educators are now using picture books to teach higher-level skills to older students. These teachers have noticed less resistance to new vocabulary when it\u2019s presented in picture books (which ties in with our point #2 above). And of course, kids of all ages like to hear a good story. Picture books can also serve as a great introduction or a supplement to the larger topics that older kids are learning about (for example, reading a picture book biography about a black civil rights activist to tie in with Black History month). So just because your child progresses in reading skills doesn\u2019t mean he or she should stop reading picture books altogether. That\u2019s also why we at Book Bears advocate for reading time to be a family event. It\u2019s our belief that family members of all ages can benefit from reading picture books together.\nLooking to add more books to your home bookshelf but don\u2019t have time to do the research? Consider a subscription to Book Bears. Book Bears read! Visit us at www.bookbears.com.\nWant to hear more about the studies mentioned above? Check out this New York Times article. To learn more about how teachers are using picture books with older kids, check out this article from School Library Journal. We also love this list from the Nerdy Book Club.", "id": "<urn:uuid:bc5694e2-ce97-4ee3-a25c-d3aef66a884a>", "dump": "CC-MAIN-2023-14", "url": "https://bookbears.com/2016/03/05/3-more-reasons-to-read-more-picture-books/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00351.warc.gz", "language": "en", "language_score": 0.9577530026435852, "token_count": 736, "score": 3.703125, "int_score": 4}
{"text": "Seasonal Science: Spring Activities\nSpring is perfect for spending time outdoors and learning more about how plants and animals grow. Whether you live somewhere with lots of green or somewhere where the cars outnumber the trees, getting outside as the weather gets warmer provides great opportunities for little learners.\nSpring Science Activities for Preschoolers:\nBooks About Spring for Preschoolers:\nPlanting Seeds by Erika L. Shores\nRain Showers by Kathryn Clay\nAnimals in Spring by Kathryn Clay\nUp in the Garden Down in the Dirt by Kate Messner\nGoodbye Winter, Hello Spring by Kenard Pak\nSome Bugs by Angela DiTerlizzi\nWe Dig Worms by Kevin McClosky\nCompost Stew by Mary McKenna Siddals\nA Seed is Sleepy by Dianna Hutts Aston\nAn Egg is Quiet by Dianna Hutts Aston\nA Butterfly is Patient by Dianna Hutts Aston\nA Nest is Quiet by Dianna Hutts Aston\nFruit is a Suitcase for Seeds by Jean Richards\nThe Reason for a Flower by Ruth Heller\nPlanting a Rainbow by Lois Ehlert\nWaiting for Wings by Lois Ehlert\nThe Honeybee by Kirsten Hall\nSpring is Here by Will Hillenbrand\nCrinkle, Crackle, CRACK It\u2019s Spring by Marion Dane Bauer\nFantastic Flowers by Susan Stockdale\nHank\u2019s Big Day: The Story of Bug by Evan Kuhlman\nCricket in the Thicket by Carol Murray\nErrol\u2019s Garden by Gillian Hibbs\nLola Plants a Garden by Anna McQuinn\nSidewalk Flowers by JonArno Lawson\nPlant the Tiny Seed by Christie Matheson\nTap the Magic Tree by Christie Matheson\nAnd Then It\u2019s Spring by Julie Fogliano\nPitter and Patter by Martha Sullivan\nIt\u2019s Raining, It\u2019s Pouring by Kin Eagle\nNational Geographic: Oh Baby! Which Animal Families Lay Eggs and Live Birth?\nSciShow Kids: The Science of Spring\nBackyard Composting: stopwaste.org/\nSpring Science Webinar Recording:\nSpring Science Presentation\nDownload the Spring Science webinar presentation here.\nStandards & Alignments\nThe activities and resources outlined here align with many early learning standards.\n- Children have a natural desire to explore, to build, and to question. Through open-ended exploration, children interact with materials in nature and scientific materials/tools to explore and learn about their world.\nPA Early Learning Standards\n- Children have an innate desire to experiment and investigate while gathering data to make conclusions.\n- Children\u2019s immediate environment and daily surroundings provide the best context for science learning. Some ways they do this include observing, measuring, investigating, sorting, and comparing.\n- Adults scaffold children\u2019s thinking by asking open-ended questions that encourage problem-solving and critical thinking.\n- Children first construct scientific knowledge by using their five senses to interact with the environment. That is how they make sense of their world.\n- Young children\u2019s inclination to be curious, explore, experiment, ask questions, and develop their own theories about the world makes science an important domain for enhancing learning.\n- Problem-solving skills, children\u2019s reasoning, and their representation of their learning becomes more complex as they gain new abilities to ask questions, gather information, and think critically.\n- Adults facilitate activities to promote students\u2019 higher-order thinking skills, such as problem-solving, predicting, comparing, and classifying.\n- Adults facilitate children\u2019s development of those skills that support discovery and inquiry while promoting their natural curiosity.\nShare Your Spring Activity Photos with us!\nWe'd love to see how these actvities worked out for you and your students. Tag us on Facebook or Instagram!\nHollie is certified K-8 teacher who has been educating in the informal education field since 2005. She has developed and implemented countless exciting STEAM programs for families, classrooms, and teachers focused on the natural world, the scientific process, and ancient life. Her professional passions are inquiry, whole family learning, experiential learning starting in early childhood, and the intersection of literacy and science instruction.\nShe has recently developed a community-based program that encourages families to use dramatic play to learn science, increase literacy skills, and have fun together for which she received the Drexel University Presidential Award for Civic Engagement. She is most proud of her work on a popular science storytelling program for preschool families and classrooms that combines a book club format with engaging programs, innovative curriculum, and a hysterical puppet storyteller.", "id": "<urn:uuid:c42b028e-f799-46bc-800d-4a647488a9df>", "dump": "CC-MAIN-2023-14", "url": "https://www.shopbecker.com/resource-cafe/beckers-blog/stem-steam/seasonal-science-spring-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943555.25/warc/CC-MAIN-20230320175948-20230320205948-00552.warc.gz", "language": "en", "language_score": 0.9183673858642578, "token_count": 1002, "score": 3.6875, "int_score": 4}
{"text": "A first-person narrative is a way of storytelling through the narrator\u2019s point of view. It uses first-person pronouns such as \u2018I,\u2019 \u2018me,\u2019 and \u2018we.\u2019\nAlong with the first-person narrative, there is second person, where the writer uses second-person pronouns such as \u2018you.\u2019\nThere is also a third person, where the story is told by an outsider watching things unfold. This uses third-person pronouns such as \u2018he,\u2019 \u2018she,\u2019 and \u2018they.\u2019\nExamples of First Person\nThe best way to help pupils recognize the first-person narrative is to get them to identify if first-person pronouns have been used. These include:\n- I/We (subject, singular/plural) For example:\n\u2018I like going shopping.\u2019 (first-person singular)\n\u2018We like going shopping.\u2019 (first-person plural)\n- Me/Us (object, singular/plural) For example:\n\u2018Harry smiled at me.\u2019\n\u2018Harry smiled at us.\u2019\n- Mine/Ours (possessive, singular/plural) For example:\n\u2018That food is mine.\u2019\n\u2018That food is ours.\u2019\n- My/Our (possessive, modifying a noun, singular/plural) For example:\n\u2018I love my dog.\u2019\n\u2018I love our dog.\u2019\nHow is First Person used?\nSentences and stories can be written in the first person and told through the lens of a character in the story. This character is typically the main character: the protagonist.\nThe aim of using the first-person narrative is to make the reader feel close to the character effectively.\nThis is because, through their journey, the characters often reveal truths about themselves using first-person pronouns. As a result, the character\u2019s thoughts and emotions are at the forefront of the narrative, ready for the reader to see them.\nWriting in the first person allows the reader to understand the character\u2019s thoughts and opinions on other characters and events happening in the story.\nWhy is First Person effective?\nHaving a first-person narrative can be a very effective technique \u2013 it allows the reader to get inside the character\u2019s head and watch the story unfold through their eyes.\nIt also gives a sense of \u2018being there,\u2019 which makes the story more engaging for the reader. This contrasts with a third-person narrative, where the character is seen through a separate narrator\u2019s point of view. First-person closes the gap between the reader and the character, allowing them to experience the story more closely.\nFirst-person, second-person, and third-person can all be effective ways to write a story differently \u2013 it just depends on the particular level you\u2019re trying to tell.\nHow do you write in First Person?\nWriting in the first person can be completely different from writing in the third person, whether you\u2019re writing a story or a diary entry.\nNot only are you using different pronouns, but the writing style can also change. For example, rather than writing from an objective, third-person point of view, you\u2019re in the character\u2019s mind, expressing their direct thoughts to the reader.\nBefore children write their story or diary entry in the first person, you might want to share some tips with them. Here are some that they might find helpful:\n- Establish the character\u2019s voice.\nWhen writing in the first person, the main character does all the talking! That\u2019s why it\u2019s important to know what they sound like, how they talk and how they feel before writing. For example, does the character talk formally or informally? Are they shy or confident?\n- Decide if the narrator is reliable.\nThe character\u2019s thoughts and feelings influence how we write in the first person. Therefore, before writing, it\u2019s essential to decide whether the reader can trust what the narrator is saying \u2013 are they telling the truth, or do they tend to exaggerate or underplay things? This is especially important for diary entries, where the text should recount specific events.\n- Use the active voice.\nThe active voice is important for creating engaging, first-person writing. Since it\u2019s in the first person, the narrator should carry out actions themselves rather than simply having things happen to them.\n- Past or present tense?\nJust like the second or third person, we can write in the past or present in the first person. But it\u2019s a good idea to decide which one before writing. Writing in the present tense helps bring the reader closer to the action and the character\u2019s reactions, but an essay in the past tense allows the narrator to express their thoughts and feelings retrospectively.\n- Remember \u2018I,\u2019 \u2018me,\u2019 and \u2018my.\u2019\nWhen learning to write from different points of view, many children might slip between first and third person without realizing it. Children should remember to check their writing to ensure they\u2019ve used first-person pronouns to refer to the narrator/main character throughout their work.", "id": "<urn:uuid:292ac256-3d65-444f-b5b4-8c8dd0759290>", "dump": "CC-MAIN-2023-14", "url": "https://pedagogue.app/what-is-the-first-person/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943746.73/warc/CC-MAIN-20230321193811-20230321223811-00152.warc.gz", "language": "en", "language_score": 0.9396879076957703, "token_count": 1114, "score": 4.53125, "int_score": 5}
{"text": "The term executive functioning refers to an important set of skills that allow people to successfully navigate life. These skills include the ability to plan, self-evaluate, self-control, retain information, manage time, and organize thoughts and information. According to a useful infographic published by Harvard, these abilities are not innate to anyone, but may be learned by nearly everyone. Children between the ages of 3 and 5 years old tend to develop these skills rather rapidly, and this development is significantly bolstered by early childhood education and care (ECEC).\nAn exploratory report was published in May of this year, examining the effect of ECEC on children\u2019s executive functioning skills at the start of the COVID-19 pandemic. In addition to these important skills, the study also examined the effect of this care on language, and the difference socioeconomic status may make on the development of vocabulary and executive functioning. The study looked at children between 8 months and 36 months old from monolingual families, and approximately half the group was male and half female.\nThere were limitations to the study, such as the information gathered being self-reported by parents/caregivers of the children studied rather than objective observations being made by the researchers or by those providing the education. Despite these limitations, however, the data is still useful in showing that formal ECEC has a positive impact on the development of executive functioning skills and vocabulary. Socioeconomic status did not make a difference when it came to the former; children from all backgrounds saw similar improvement in executive functioning. It did, however, play a role in the effect of ECEC on vocabulary, as children from lower socioeconomic backgrounds were found to have a greater improvement in this area.\nExecutive functioning skills are not only useful in allowing children to become adults capable of making future plans, recalling important information, and remaining focused on a task, but have also been found to have other benefits as well. For instance, Harvard reports that \u201cNeuroscientists are also beginning to relate specific aspects of executive functioning, notably attentional skills, to specific steps involved in learning to read and to work with numbers.\u201d By bolstering the growth of these skills early in childhood, there may be an increase in school readiness and an improvement in classroom performance.\nMuch of what we do as children\u2019s librarians contributes to the development of executive functioning skills in children. Lap games, playing peekaboo with objects or body parts, imitation games that have the child repeat a hand motion or song, storytelling, and much more all contribute to the growth of these skills. In addition to their infographic, Harvard has also published a guide on helping children from infancy through adolescence grow these skills. Though many of us already make use of these activities in our programs, this guide may be useful in explaining the why behind what we do.\nToday\u2019s blog post was written by Kat Baumgartner, Acting Branch Head at the Great Neck Library in Great Neck, NY, on behalf of the ALSC Early and Family Literacy Committee. She can be reached at firstname.lastname@example.org.\nThis blog relates to ALSC Core Competencies of III. Programming Skills and V. Advocacy and Outreach.", "id": "<urn:uuid:da0e3c54-c04f-4bff-b86a-9c7cb59254ba>", "dump": "CC-MAIN-2023-14", "url": "https://www.alsc.ala.org/blog/2021/12/fostering-the-growth-of-executive-functioning-skills-in-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945248.28/warc/CC-MAIN-20230324051147-20230324081147-00771.warc.gz", "language": "en", "language_score": 0.9712391495704651, "token_count": 660, "score": 4.21875, "int_score": 4}
{"text": "In the early chapters of Jane Eyre, Charlotte Bronte presents Jane as a young girl who is struggling with her identity and place in the world. Jane is an orphan who is sent to live with her aunt and cousins, where she is treated poorly and feels like an outsider. However, Jane is a determined and independent spirit, and she eventually manages to find her way in the world.\nBronte does an excellent job of depicting Jane\u2019s childhood experiences in a relatable and realistic way. Jane is a complex character who goes through a lot of growth and development throughout the novel, and readers can\u2019t help but root for her as she struggles to find her place in the world. Bronte\u2019s depiction of Jane\u2019s childhood is one of the many reasons why Jane Eyre is such a timeless and classic novel.\nIn terms of themes and issues, Charlotte Bronte\u2019s Jane Eyre was a groundbreaking work, particularly in terms of passion and a woman desiring liberty. Bronte placed an unusual heronie in a typical Victorian home. Jane is a low-income, female, young girl; thus she instantly becomes an antagonist for Victorian readers. This is due to the fact that she belongs to one of three despised groups in Victorian society. In this essay, I\u2019ll examine how Charlotte Bronte utilized plot devices such as setting, characterization, and environment to elicit empathy for Jane.\nOne of the main techniques used by Charlotte Bronte is pathetic fallacy. Jane\u2019s poor living conditions are resemblant to her inner state. For example, when Jane is locked in the red room, the description of the room reflects Jane\u2019s feelings of being trapped and alone. The \u201cgreat book case\u2026with its dark shelves and gothic ornaments\u201d (Bronte, 1847, p.52) creates a feeling of gloom which mirrors Jane\u2019s emotions.\nAnother example is when Rochester is injured in the fire. The fact that he is \u201cblinded and maimed\u201d (Bronte, 1847, p.461) represents his inner state of being broken and desolate. This technique allows readers to feel empathy for Jane as they understand her feelings and experiences.\nAnother technique Charlotte Bronte uses is the use of light and dark. This is used to contrast Jane\u2019s good qualities with the bad qualities of other characters. For example, when Jane first arrives at Gateshead, she is described as having a \u201cpale face\u201d with a \u201cfaint flush\u201d on her cheek (Bronte, 1847, p.13).\nThis immediately makes her seem like a victim. In contrast, Georgiana is described as being very beautiful with a \u201cglowing complexion\u201d (Bronte, 1847, p.14). However, it is later revealed that Georgiana is actually quite selfish and cruel. This contrasts Jane\u2019s good nature with Georgiana\u2019s bad nature, making Jane seem more sympathetic.\nLastly, Charlotte Bronte uses the technique of foreshadowing to create sympathy for Jane. For example, when Jane is locked in the red room, she has a vision of her uncle\u2019s ghost. This foreshadows Jane\u2019s later experiences with ghosts and gives readers a hint that Jane is not crazy, as she is often accused of being.\nAnother example of foreshadowing is when Mrs. Reed tells Jane that she will go to Lowood because \u201cit is a charity school\u201d (Bronte, 1847, p.20). This foreshadows Jane\u2019s later experiences at Lowood and creates sympathy for her as readers know that she will be going to a difficult place.\nThe weather in Jane Eyre reflects how Jane feels throughout the story. From the very beginning, Bronte establishes the pathetic fallacy. Jane is talking about the outside world in a way that reflects her feelings, and her circumstances. Clouds hanging so gloomy and rain pummeling intently are examples of this. The idea of perpetual rain gives the impression that these disasters are never-ending, and since it is mentioned from the start that Jane cannot recall a joyful period in her life, it implies she can\u2019t either.\nShe has no hope that anything will ever get better, and this is shown by the fact that it is always raining. The novel Jane Eyre is set during the Victorian era, which was known for its high levels of poverty and inequality. This is reflected in Jane\u2019s situation, as she is a poor orphan who is constantly mistreated. Charlotte Bronte uses the weather to show how Jane\u2019s childhood experiences have shaped her into the person she is today.\nThe first time we see Jane really suffering is when Mr. Reed locks her in the \u2018Red Room\u2019 This room is significant because it represents Jane\u2019s mind, and how she feels locked away from the world. The room is also red, which is traditionally seen as a symbol of anger and danger. Jane is locked in the room as punishment, and she is so scared that she faints. This shows how Jane feels trapped and helpless, like she can never escape her misery. The fact that she faints also suggests that Jane has given up hope, and doesn\u2019t believe that things will ever get better.\nWhen Jane finally escapes the \u2018Red Room\u2019, she runs outside into the garden. The garden is usually seen as a place of peace and calm, but for Jane it is just another place where she feels trapped. She compares herself to a caged bird, which is unable to fly free. This symbolizes how Jane feels restricted by her situation, and how she longs for freedom. Charlotte Bronte uses the garden to show how Jane\u2019s childhood experiences have made her into a person who feels trapped and oppressed.\nWhen Jane leaves Lowood, the weather depicts how she is feeling. When Jane goes to Lowood, it\u2019s winter, so the weather has grown worse and is now described as harsh chilly. The situation of many of the students at Lowood is also mirrored by the environment, which is in brown decline owing to their sickness and deaths from fever.\nThe school is a dreary, dark place. Jane, however, manages to find some happiness here, in her friendship with Helen Burns. Jane\u2019s character is further developed through her interactions with Mr. Brocklehurst, the administrator of Lowood. Jane is able to see through his false piety and recognizes the hypocrisy in his actions. She speaks up for herself and the other students when she has the opportunity, despite Mr. Brocklehurst\u2019s attempts to silence her.\nJane\u2019s time at Lowood is not all negative, as she does form a close friendship with Helen Burns. Jane looks up to Helen, who possesses all the Christian virtues that Jane admires. Jane is devastated when Helen dies, but she finds comfort in knowing that Helen is now in a better place. Jane\u2019s experiences at Lowood have made her a stronger person, and she is ready to face the next phase of her life.\nHowever, Jane\u2019s stay at Lowood cannot and does not always take place during the winter. Many people believe that the return of spring and the departure of the ailment are merely a natural progression for the two, with one leading to the other.\nI believe that Bronte was attempting to highlight new life in the spring when she wrote this passage, and that another new stage in Jane\u2019s life is approaching. The change in weather at Lowood allows readers to connect with Jane by empathizing with her, as well as providing something similar to what they have experienced themselves to assist them relate to Jane.\nWhen Jane first arrives at Lowood, it is during the winter. She is cold, both physically and emotionally. She has just been rejected by her aunt and cousins, and she is feeling very alone in the world. The cold weather at Lowood mirrors Jane\u2019s inner state, and helps the reader to understand how Jane is feeling.\nWhen spring comes to Lowood, Jane\u2019s life begins to change. She makes friends, she begins to feel more comfortable in her surroundings, and she starts to feel more hopeful about her future. The change in weather symbolizes the change in Jane\u2019s life, and helps the reader to see how far Jane has come since she first arrived at Lowood.\nBronte uses the weather to symbolize the different stages of Jane\u2019s life, and to help the reader understand how Jane is feeling. The cold weather at Lowood represents Jane\u2019s loneliness and isolation, but the arrival of spring symbolizes new hope and a new beginning for Jane.", "id": "<urn:uuid:91fcadef-8e4a-40fa-8ba6-6d363ac8cfe9>", "dump": "CC-MAIN-2023-14", "url": "https://answerpoint.org/jane-eyre-and-her-childhood/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.97/warc/CC-MAIN-20230322211955-20230323001955-00771.warc.gz", "language": "en", "language_score": 0.970892071723938, "token_count": 1804, "score": 3.9375, "int_score": 4}
{"text": "Writing Activity for Children\nCreative writing can be a favorite activity, but sometimes when a child is told to write a story she feels overwhelmed because there are so many choices. We might feel the same way when we head to the grocery store and there are several shelves of options for the item we need to buy.\nProviding clear expectations to creative writing can help. Are you looking for an engaging activity for your child? Why not use story prompts? I\u2019ll share photographic prompts here, but your family could have fun creating your own!\nStory Prompts from Photographs:\nOther Writing Prompt Ideas\n\u00b7 Find a painting at a resale shop to start a story. Here are some possible questions to answer in the story: What are the subjects doing? Why are they there?\n\u00b7 Choose an object at the house, the quirkier the better, and have your child write a story that somehow incorporates it. Optional questions to answer: Why is this object significant to the story? How does this object save the day?\n\u00b7 Use an old magazine or catalogue and choose a photograph to base the story off of. Perhaps ask: Who is this character? How does this item advertised fit into the story? How is the world rescued using this object?\nA great story will have a problem. Have your child think of the books and movies they enjoy. Discuss the big problem that the main character had to face. Here\u2019s an example: In Disney\u2019s Ralph Breaks the Internet, Vanellope is tired of racing on the same track over and over. She wants a challenge. Ralph wants his best friend to spend time with him and things to be the way they had been.\nThe Basic Story Structure:\nThere is a beginning, middle, and an ending to a story. There is a problem to be solved. Each story has a big idea, sometimes called the \u201cheart of the story,\u201d which is the reason the story is told. If you have young elementary children, a song you might like to look into and possibly share with them is Parts of the Story from the Jack Hartmann Kids Music Channel.\nOlder students study the narrative plotline in more detail. In order to be sure students include all the parts of a story, teachers might have their students plan the parts of the story out before writing.\nHere are some basic questions a student needs to be able to answer for the story: What is the problem? What is the solution? What is the purpose of the story?\nThis is the general plotline of a story:\n* The Exposition: establish the characters, setting, and problem (this is also called the conflict)\n* The Rising Action: create tension and build excitement, the problem is clear\n* The Climax: the biggest moment of the story\n* The Falling Action: story begins to resolve\n* The Resolution: the main problem is solved\nGrade Level Goals:\nStandards and benchmarks (expectations students must meet) will vary for your child based on their grade. I\u2019ll go through a variety of grade level goals and then share some educational standards that relate.\nIf you have a pre-kindergarten or a pre-writing student but would like to have him try creative storytelling, simply ask him to make up a story based on the picture you provide. You can be his scribe and write it down. Invite your child to draw a picture to help tell the story. Thoughtfully ask questions that will help guide your child\u2019s story if they feel stuck.\nThe goal of a child\u2019s first draft is simply to get ideas on the page, there is no need to worry about spelling yet. Some teachers have students circle a word that they know they need to go back and spell correctly later.\nA fourth grader should be able to establish a situation and introduce the narrator and/or characters. The narrative (story) should unfold naturally. He or she should be able to use dialogue. The conclusion should follow naturally from the events in the story.\nIn sixth grade a student should be able to use a variety of narrative techniques, make relevant descriptions, plan and revise.\nCCSS.ELA-LITERACY.W.K.3 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened.\nCCSS.ELA-LITERACY.W.K.5 With guidance and support from adults, respond to questions and suggestions from peers and add details to strengthen writing as needed.\nCCSS.ELA-LITERACY.W.4.3.A Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally.\nCCSS.ELA-LITERACY.W.4.3.B Use dialogue and description to develop experiences and events or show the responses of characters to situations.\nCCSS.ELA-LITERACY.W.4.3.E Provide a conclusion that follows from the narrated experiences or events.\nCCSS.ELA-LITERACY.W.6.3.A Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.\nCCSS.ELA-LITERACY.W.6.3.B Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.\nCCSS.ELA-LITERACY.W.6.3.D Use precise words and phrases, relevant descriptive details, and sensory language to convey experiences and events.\nCCSS.ELA-LITERACY.W.6.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. (Editing for conventions should demonstrate command of Language standards 1-3 up to and including grade 6 here.)\nInvolving the Whole Family:\nThe adults and children at home can all be involved. Even if you don\u2019t have time to write up a story, you could tell a creative story using the same prompt as your child.\nAfter your child writes his or her story, why not have a presentation for the family? After she shares her story, offer her specific praise. General praise (\u201cI like your story\u201d) is fine, but specific praise helps a child see what they did well. Here are some examples:\n- Your characters were very realistic.\n- The words you chose to describe the setting helped me picture it in my mind.\n- You used believable dialogue.\nDo you have a family member or friend of the family who you would love to visit but can\u2019t right now because of social distancing? Your child\u2019s story could be a fun way to connect over the phone or video chat! Perhaps they could get involved by having the same story prompt as your family! Stories can be very different based on the same prompt, this could be a fun way to see the creativity of others.\nWhat prompts can you think of to engage your family in creative writing?\nHow does storytelling help connect your family?\nWhat are the problems in your favorite stories and how were they resolved?\nOther Storytelling Tools:\nKhan Academy has many courses to offer. Here\u2019s a great one from Pixar in a Box called The Art of Storytelling. Story Structure is described here as the story spine and comprised of \u201cstory beats.\u201d\nLooking for Great Educational Websites?\nHere\u2019s a post I shared about websites teachers love, parents want, and children need.\nEnglish Language Arts Standards for Writing: http://www.corestandards.org/ELA-Literacy/W/introduction/\nThe Author Learning Center: https://www.authorlearningcenter.com/writing/fiction/w/plot-planning/6366/how-to-structure-a-story-the-fundamentals-of-narrative---article", "id": "<urn:uuid:0329935e-5772-47f1-81b8-8e1fca7650c3>", "dump": "CC-MAIN-2023-14", "url": "https://www.lifeandlearning365.com/post/writing-activity-for-children", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945317.85/warc/CC-MAIN-20230325064253-20230325094253-00349.warc.gz", "language": "en", "language_score": 0.9449204802513123, "token_count": 1734, "score": 3.71875, "int_score": 4}
{"text": "This post is co-authored by Sylvia Singh and Amara Atif.\nDesigning assessments that capture the best understanding of students is a complex process. Assessments should be part of the overall learning process and not a standalone activity. Academics often need to design assessments that are meaningful, engaging, and can effectively gauge student learning. One way of doing this is using authentic assessments.\nWhat is authentic assessment?\nA form of assessment in which students are asked to perform real-world tasks that demonstrate meaningful application of essential knowledge and skills.Jon Mueller Professor of Psychology, North Central College. Naperville, IL\nStudent feedback has suggested that some traditional assessments can be boring and repetitive. It is important to ask when designing an assessment, \u2018What are we trying to assess or measure through our assessments\u2019?. As suggested in Authentic Assessments: The Ultimate Guide, \u2018Authentic assessments measure the student\u2019s actual ability of what he or she learns. Exhibiting knowledge of a subject is one thing. But learning how to apply it is another. We want students to use the knowledge they learn in the classroom well beyond graduation.\u2019\nThis Jamboard, posted by a LinkedIn user depicts a variety of attributes of what incorporates authentic assessments.\nA blog post from Dimity Wehr (IML) and Leslie McInnes on Authentic, practical alternatives to face-to-face presentations describes the experiences of five academics who have implemented practical alternatives to face-to-face oral assessments. \u2018What does good assessment look like online\u2019, gives further insights on creating authentic assessments for remote learning and teaching.\nAn example with digital storytelling\nAmara Atif from the FEIT faculty uses a variety of authentic assessments for her subjects to enhance the learning and assessment journey of the students. Here she describes and shares an example of how she has used authentic assessment of digital storytelling as an artefact in the Experience Mapping and Prototyping phase of Design Thinking project in her studio subject 41192: IS Value Creation Studio.\nPrototypes and storytelling are intertwined. Digital storytelling is an important tool for feedback on the iterative process of prototyping that lead to solutions. Once students have developed an innovative solution, they have to go through that whole process of communicating that solution to their audience (people for whom the product/service is created for). Digital storytelling is a medium that shows how an idea or solution can bring positive change by connecting the message at an emotional, human-level as well as influence and inspires other to act. However, there are lot of times when solutions are very difficult to explain or show because it might be really complex or might be even too abstract. Digital storytelling helps the students to give voice to the persona\u2019s story which is developed in the Analysis and Synthesis phase of their Design Thinking project.\nEducat \u2013 the app developed by the students\nThis digital storytelling is part of the group work done by our BIS \u2013 UG students Tate Fairhurst, Bri-anne Lake, and Aisha Waqar in the Design Thinking project from 41192 in Autumn 2021. The group chose to develop an app called \u201cEduCat\u201d that can be used for educational purposes allowing the students to remotely access all study content without feeling \u2018left behind\u2019 along with the features to socially engage with their peers. According to the students:\nEduCat \u2013 We feel cats give the comfort one needs when times get tough, so this is represented in our app name and logo.\nThe images below show the story of their persona \u2018Todd\u2019, how they have addressed his pains in their problem statement and they have introduced EduCat into Todd\u2019s personal journey. The hypothetical persona of Todd is described in the following:\nTodd Dickinson is a male, 17 year old high school student who lives in Sydney and is an explorer and creator by nature. He is an independent learner and works casually on the weekend. The disruptions and abnormalities in his HSC studies because of COVID-19 have significantly affected his educational and social life. The detrimental learning environment is making it hard for him to learn. The ambiguity of the university admissions process as well as the lack of confidence in his knowledge leading up to the HSC is making him anxious. He is looking for applications that can assist in time-management, easier scheduling, help with easier explanation of course content, more relevant supply of resources and help with retention of course content.\nYou can view a screenshot of Todd\u2019s persona profile here.\nFor more resources on authentic assessments:\n- Authentic assessment: an oral pitch on LX Resources.\nFeature image by Anna Zhu.", "id": "<urn:uuid:21f0c43f-d8e0-4155-b75d-3424c56cde2f>", "dump": "CC-MAIN-2023-14", "url": "https://lx.uts.edu.au/blog/2021/10/07/what-does-authentic-assessment-mean-to-you/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00150.warc.gz", "language": "en", "language_score": 0.9572587013244629, "token_count": 960, "score": 3.65625, "int_score": 4}
{"text": "Free Printable Worksheets For Kindergarten Events\n2020vw.com \u2013 By teaching sequencing worksheets for kindergarteners, you are helping them develop important life skills such as organizing their daily schedule, prioritizing tasks and events in their lives, following a routine, and maintaining a positive attitude. As children grow, they may find these skills particularly useful. They may even be able to use the knowledge of sequencing worksheets to help themselves with schoolwork or other activities.\nFor example, some children who have trouble following a routine may find using a worksheet set up to identify the different events of the day helpful. As children progress through the various stages of development, they will also need to become more organized.\nTo teach sequencing worksheets for kindergarten learners, start by listing down the things that they should do each day. Work from left to right and top to bottom, beginning with the easiest task on your list. It may be something as simple as counting backward from five to twenty, or it could be something as complex as following a recipe or writing a poem.\nWhen you are teaching kids how to do simple things, just about anything is acceptable. For example, if you want to teach them how to tie their socks, the right sequence would be to put one sock on the left leg, the left sock on the right leg, and then the right sock over the left leg.\nOnce you have listed down the events worksheets, the next step is to create a worksheet for each of the events. Each morning, show your child where he or she needs to be at what time. Then, provide them with a list of things that he or she needs to do each day. By using free-sequencing worksheets for kindergarten learners, you can help them develop an understanding of how the events in their day are related to one another. By creating a detailed calendar for them to follow, you will give them the tools they need to successfully complete daily tasks in school.\nPreschool Teacher Resources \u2013 Free Printable Story Sequencing Worksheets For Kindergarten\nWhen teachers incorporate story event writing and presentation into the curriculum, they often make use of story sequencing worksheets. This method of teaching aids children in developing and expanding their capacity to think creatively, tell a story and recall information from a series of events. Many parents and kindergarten teachers rely on story event writing to inspire their young children to be imaginative and to create their own stories.\nIt is a great way to help prepare kids for kindergarten. In addition to being creative, story event writing is also a wonderful method to help kids remember things that have already happened in the story, or that they need to repeat back to themselves during the rest of the lessons. Sequencing worksheets for kindergarteners are a great way to help these kids develop an early sense of sequence, focus, and organization.\nAs a preschooler progresses through the grades, the teacher will begin to work on increasing both her teaching methods and the variety of approaches that she utilizes to teach her students. The most effective teachers often integrate various teaching methods to create cohesive, interesting lessons that build on the basic reading comprehension skills that all children must master.\nWhile most teachers choose to include only memorization or repetition in the teaching of fundamentals, many other teachers make use of storytelling techniques to create a fun, hands-on learning experience. Many kids do very well in the beginning stages of grade school because they are introduced to concepts such as direction and time management. Story event writing and sequencing worksheets provide a simple and fun method of introducing younger children to these concepts.\nBy using story event writing and sequencing exercises, teachers can create a fun environment in which kids can learn to develop their own ideas and creations, as well as hone their critical thinking skills and develop their ability to organize and sequence their thoughts.\nBenefits of Using Free Sequencing Worksheets For Preschoolers\nThe benefits of using sequencing worksheets for preschoolers is that they can easily be used as a visual reference guide and therefore provide much-needed structure to the education of children. Sequencing sheets can be used to introduce the alphabet to preschoolers, and also as an effective way of introducing numbers and counting from one to twenty.\nThis basic level of education in mathematics is essential if your child is to learn how to read, write and spell. While it is important to teach this early, you should also supplement this teaching with educational games that teach more complex topics, such as colors, shapes, and animals.\nThese games are available in a range of topics and themes from nature, through cooking, to dinosaurs, to farm animals. A great example of this would be farm animal food \u2013 there are a variety of farm-themed games on the internet that can be played with preschoolers.\nAnother benefit of using free sequencing worksheets for preschoolers is that they are so easy to use. All you need to do is print them out at home, fold the separate pages according to the lesson outline and paste them into your computer. The benefits of using this method are that there are no long hours spent tidying up or rearranging materials, and the kids simply do what they are told to do! You may also choose to use these worksheets to organize your kids\u2019 belongings so that they know where they place their books, toys, and other items that are school-related.\nThere are a number of different websites that offer sequencing printables for kids. These include a huge variety of topics, from animals, counting, and alphabet to more advanced topics such as plant biology, digital art, and music. No matter how much preschool time you have available, there are many fun and engaging options for teaching your kid\u2019s sequencing skills, which can help build up their knowledge and confidence as they get older.\nWorksheets For Kindergarten \u2013 Number Sequencing Worksheets Can Help Foresight Your Education\nA number of kids in education find math and language fun, but number sequencing worksheets for kindergarten can provide you with the tools to make this an integral part of your teaching plan. We all have lists of numbers that we need to remember and write down. Many of us also have lists of vocabulary words that we have to learn.\nWriting down these numbers, vocabulary words and spelling them can be a tedious task, but it is essential for our education. A number of kids are now turning to technology as a way to supplement their teaching in this area. Number sequences and worksheets for kindergarten can be designed and printed by your computer program, using Microsoft Office, or any other word processing program.\nThese types of programs are readily available online. You can find resources that will teach you how to use these worksheets with your kids, or that will show you how to design your own customized number sequencing worksheets for kindergarten that will suit the age of your kids.\nOnce you have your worksheets you will want to create a calendar for each day of the year, and then you can print them off when they are done for use in your classroom. If you find that these worksheets are not challenging enough for your kids, consider creating worksheets that include both math and art activities.\nThis will help to add some variety to your teaching sessions in mathematics and language. As you get creative with your education software, it is possible to incorporate many different learning experiences into the classroom, and kids are sure to enjoy them.\nPreschool Worksheets For Sequencing Events\nKids are the most impressionable students in a preschool, and they benefit greatly from a program like sequencing events worksheets for kindergarten students. Through this educational program, kids learn how to write and understand what they are reading. In preschool, kids should start developing cognitive skills such as organization, sequencing, reading, writing, and listening.\nKids in these young years of learning need to have exposure to education so that they will develop a desire to pursue education later in life. Sequencing events for kindergarten is a wonderful opportunity to expose kids to educational opportunities and foster a love of education in them.\nThe sequencing activity worksheets for kindergarten students provide a fun way for kids to learn about each lesson. They also help kids develop their memory skills for school by reviewing previously learned material. Kids also enjoy the process of creating and reviewing work with their parents. This activity promotes a positive attitude toward learning while providing kids with a valuable education.\nA sequencing events Free Printable Worksheets For Kindergarten Events class promotes creativity and imagination through the use of different colors, shapes, and sizes. Colorful shapes and pictures encourage kids to utilize their imaginations and further develop their senses. As children grow older, they may find the process of sequencing very helpful and enjoyable. While it may seem like a fairly simple concept, kids enjoy the beauty and simplicity of this educational product and enjoy drawing and writing with it.\nTable of Contents", "id": "<urn:uuid:50fd739d-d5f9-4874-8525-3082f07b001b>", "dump": "CC-MAIN-2023-14", "url": "https://www.2020vw.com/2260/printable-worksheets-for-kindergarten-events/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945183.40/warc/CC-MAIN-20230323194025-20230323224025-00152.warc.gz", "language": "en", "language_score": 0.9597474932670593, "token_count": 1819, "score": 3.71875, "int_score": 4}
{"text": "Let\u2019s face it. At some point in your life, you will be required to write an essay \u2014 whether for a school homework, college standardized tests or even for work-related purposes.\nThere are several basic types of essays to choose from, the most common are expository, narrative, persuasive and analytical. Which one you choose really depends on your objectives. We'll explore each type in depth, and offer recommendations on the typical word counts for each essay type.\nAn expository essay gives a brief explanation of an issue, idea or theme. Purdue OWL expands on this, offering some common requirements in step form: investigation of an idea, evaluation of evidence, a systematic and detailed explanation of the idea, and a clear and concise statement of an argument about the idea.\nBecause brevity is required for this type of essay, the recommended length is around 500-800 words.\nIn order to be effective, an expository essay should possess:\n- A clear-cut thesis statement, research question, or statement of intent\n- A no-frills approach to answering the question or addressing your thesis - factual evidence to support your claim or position\nThe first paragraph of an expository essay should be the shortest since it only seeks to briefly yet clearly state your thesis, research question, or intent. A maximum of 200 words should suffice.\nNow, the succeeding paragraphs will be VERY crucial because they should contain all the necessary details to support your thesis statement. That means they would require a bigger chunk of your word count. But remember to still keep them succinct \u2014 no- frills, factual, and straightforward.\nFinally, the last paragraph will serve as your conclusion to tie it all together. Emphasize your point but don\u2019t dwell on it too much.\nA narrative essay is all about the storytelling of real-life experiences. This essay type usually relays a personal or experiential account and uses a first-person point-of-view. Any story requires a beginning, middle and end \u2014 a narrative essay should be structured in the same way.\nAccording to Essay Info a narrative essay possesses the following qualities:\n- It is usually written with a first-person point-of-view\n- It contains vivid imagery and sensory details\n- It has all the essential elements of a story (i.e. plot, theme, character, setting, style, tone, etc.)\nBecause descriptive and evocative language is needed for this type of essay, around 1,000 words may be required at the least in order to tell a full-bodied story. Think of a narrative essay as a short version of a novel \u2014 each paragraph represents a \u201cchapter\u201d in the story.\nMake your essay riveting by adding anecdotes or dialogues into the narrative. Most importantly, end your essay with a conclusion or a personal statement \u2014 a takeaway will make your story more memorable to the reader.\nA persuasive essay (also referred to as an argumentative essay) makes use of logical reasoning to influence the reader to adopt the writer\u2019s point of view. This essay type works harder compared to other essay types because the writer needs to convince the reader to espouse his position. In order to be eloquent and convincing, a definitive rationale or argument is imperative.\nThe qualities of a persuasive essay include:\n- Factual evidence\n- Valid reasoning\n- Sustaining the reader\u2019s interest\n- A natural progression from one idea to the next - a forceful and convincing conclusion\nTo create a compelling argument, Scribbr advises an essay length of about 2,500 words. Anything under 2,000 words may be construed as \u201cunder-explaining\u201d your point. However, your essay should go beyond just meeting the required length. Your writing should still be concise, on-point and progressive. Avoid fluff or fillers because they will only digress from the topic and may discredit your argument altogether.\nScribbr also provides some useful tips on how to structure paragraphs. It is important for paragraphs \u201cto support a single claim or idea that helps establish the overall argument or purpose of the paper.\u201d\nTo be able to achieve this, having a topic sentence for every paragraph will be helpful. However, the core of a persuasive essay is its ability to provide substantial evidence to support one\u2019s argument. Additionally, the use of transitional devices will make your sentences more coherent and cohesive.\nAn analytical essay requires the presentation of an argument or claim by breaking down and examining the core components of an issue, idea, or works of art such as films, books, paintings, etc.\nSome of its characteristics include:\n- An introduction and presentation of argument to highlight the text in the literary work which you will be deliberating about\n- An analysis of said text which should be relevant to your argument as well as your own take on whether the author\u2019s goals were met or not supported by examples\n- Sustaining the reader\u2019s interest\n- A personal response to demonstrate your in-depth comprehension of the text in formulating your opinion \u2014 whether positive or negative\nA literary analysis essay can be from 500-700 words. For as long as it covers all the principal points, it need not be lengthy. However, the bulk of your essay should concentrate on the analysis of the text.\nBucks Community College elaborates on these three principles to help you write an essay that has \u201ctight organization and control.\u201d\n- Your writing \u201cmust stick with great determination to the specific point of development\u201d\n- Your essay should have a central idea or thesis that will dictate its development\n- Your writing should be systematic and organized such that every paragraph aids the reader to have a deeper understanding of your central idea\nHere are some other helpful tips to guide you through writing an analytical essay:\n- Always write in the present tense\n- Avoid using contractions and informal language or colloquialisms\n- Avoid writing in the first person\n- Analyze, don\u2019t retell the story\n- Be critical \u2014 your personal response need not be positive\nNow that you have a clearer idea of the different types of essays and how to go about each of them, it\u2019s time to start writing one. Make sure to use our word counter to keep it succinct.", "id": "<urn:uuid:fbf8ddae-2cbc-4656-87ad-2b816b6fddde>", "dump": "CC-MAIN-2023-14", "url": "https://wordcounter.io/blog/the-4-different-types-of-essays", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950383.8/warc/CC-MAIN-20230402043600-20230402073600-00351.warc.gz", "language": "en", "language_score": 0.9192922115325928, "token_count": 1326, "score": 3.546875, "int_score": 4}
{"text": "Storytelling: Deeper Than Learning\nA version of this article was originally published in the CACE Blog on November 29, 2018.\nThe universe is made of stories, not atoms. Muriel Rukeyser\nSonya was a very mature kindergartner whose mother was concerned that she would be bored in my class because she already knew how to do everything in the curriculum. Mom was especially peeved that I would be spending two days on the letter M, when her daughter already knew how to read. I told a story about a magic mountain. The children painted the mountains, drew the mountains, and then discovered the M in the mountains they painted. The little girl scoffed with obvious contempt, \u201cMr. Levy, I already knew how to make an M,\u201d then continued with delight and satisfaction at having made a great discovery, \u201cbut now I know what an M is!\u201d (1996, Levy)1\nThat\u2019s the difference a story makes. Story gives meaning to facts. It\u2019s how we organize our experiences. It digs deeper than skill, down to the hidden treasure of \u201caha!\u201d If I had to summarize in one word what we should look for in every lesson we teach, that\u2019s it\u2013aha! Aha opens the door to wonder, and wonder to worship. The best way to get there is through a story. Jesus knew it.\nWhat is it About a Story?\nThink of the elements of a story. It has a setting we can imagine, characters we identify with, a plot we lose ourselves in, a conflict that intrigues us, and a resolution that satisfies or leaves us wondering. A good story commands the complete attention of our minds and provokes the full spectrum of our emotions. It leaves room for the Holy Spirit to whisper meaning and relevance. At any grade level, when a teacher begins to illustrate an abstract concept with a story, students immediately pay attention. In the upper-grades, teachers use case studies, stories of particular people, places, or events to illuminate the big ideas of the discipline. Primary teachers use stories to promote conceptual understanding, content mastery, and character development. At the kindergarten level, the story contextualizes the content with concrete examples that invite students to explore academic concepts and wrestle with complex issues of right and wrong, good and evil, spirit and flesh. The right story inspires empathy, awakens a love for the goodness and justice of God, a hatred for the evil and oppression of sin. It educates the emotions as well as the mind. It\u2019s as much about transformation as information. Rather than put a period at the end of a learning experience, the story lingers on, encouraging further exploration and deeper connection. Most of all, it invites the listener to create her own meaning as she weaves the weft of the story with the warp of her own experience on the loom of God\u2019s living word.\nHeads on a Stick\nJames K. A. Smith suggests in his book You Are What You Love that our educational system operates as if the students were \u201cbrains on a stick.\u201d What will really shape their spiritual yearning, build intellectual curiosity, and inspire a life longing for God is what appeals to the imagination\u2013more to the gut than to the head. In the end, we do what we love, not what we rationally decide. And what we love is formed at a level deeper than cognition. Great stories speak to that deeper imagination. They provide metaphors, not propositions. They are not just understood but also \u201cfelt.\u201d They appeal to both head and heart. A story invites a different kind of knowing.\nThe Wonder of Story\nRuth Wilson defines knowing that combines feeling and thinking as wonder, when \u201cthe world is known through the heart as well as the mind.\u201d Wonder leaves something to the imagination, for students themselves to discover. When I visit primary classrooms, I can usually predict too much teacher talk. Too much explaining to \u201cbrains on a stick.\u201d Whenever a teacher sees the word \u201cexplain,\u201d she should translate \u201ctell a story.\u201d In a beautiful 1st-grade lesson about the fascinating life of birds, the teacher is asked to explain what an ornithologist is. Young children love to master technical vocabulary. It\u2019s good for them to know the term ornithologist. But instead of explaining, what if she told a story:\nWhen I was a little girl, we went over to my grandfather\u2019s house every Sunday for dinner. I\u2019ll never forget the beautiful settings on the table. Grandmother put out her best plates that had little red and blue roses all around the edges. There were even two forks! All my aunts and uncles and cousins gathered at the table. One Sunday, in the middle of dinner, Grandfather put down his fork and cupped his hands behind his ears. \u201cListen,\u201d he whispered. We heard a beautiful song coming from the front yard. Grandfather led us to the window, and we looked out and saw the most amazing bird! It had a red dress like it was going to a party. Grandfather gave us some binoculars, and we could see the smooth feathers and sharp claws clasping the branch. My grandfather loved birds so much he had a special name. He was called an \u201cornithologist.\u201d He had a beautiful book where he drew pictures and wrote notes because he never wanted to forget anything he learned. If you love birds as much as my grandfather, you might become an ornithologist when you grow up. And I have a book for you, just like my grandfather\u2019s, where you can draw pictures and write down all you learn about birds.\nNo, she might not really have such a grandfather. If that bothered her moral conscience, she could say, \u201cI had a friend who. \u2026\u201d That might not be true, either. But not to worry, there is always \u201cOnce upon a time. \u2026\u201d\nLevy, Steven. Starting from Scratch. Heinemann, 1996.", "id": "<urn:uuid:3ca5b0c1-03a5-4512-a4d7-51feb77e3825>", "dump": "CC-MAIN-2023-14", "url": "https://www.christiandeeperlearning.org/post/storytelling-deeper-than-learning", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949093.14/warc/CC-MAIN-20230330004340-20230330034340-00552.warc.gz", "language": "en", "language_score": 0.9701969027519226, "token_count": 1280, "score": 3.515625, "int_score": 4}
{"text": "To prepare for my racial reconciliation independent study, I read Dr. Rodney Cooper\u2019s book entitled, We Stand Together: Reconciling Men of Different Color. I appreciate the insight provided by the men of different ethnicities. Each chapter closes with a summary of what the featured race or ethnicity can do, and what those approaching people from that particular ethnic group can do to enhance opportunities for racial reconciliation. Several conclusions shared here are drawn from that resource.\nIn Chapter Five, Jeff King shares from the perspective of the American Indian. Jeff is an enrolled member of the Muscogee (Creek Nation) of Oklahoma on his mother\u2019s side. His father is white.\nIn the book, Jeff King briefly shares about the Muscogee Creek Nation. In my effort to hear from other voices in the Muscogee Creek nation, I found a Creek history and storytelling interview with Principal Chief George Tiger who echoes King\u2019s sentiments.\nWho are the American Indians?\nAmerican Indians are either referred to as such, or as Native Americans or indigenous peoples. Indians use the term Indian amongst themselves. Jeff recommends using American Indian when addressing this particular people group, at least until a personal relationship is developed.\nAmerican Indian demographics from Dr. Cooper\u2019s resource are provided in the previous post. A brief history of the American Indians reveals a common thread of oppression and mistreatment at the hands of whites. When European settlers arrived, land was taken from the American Indians. In an attempt at maintaining some level of fairness, treaties were established with the United States government. However, King writes that over 400 of those treaties were broken. In attempts to educate, civilize the Indian people, and convert them to Christianity, Europeans stole the Indians property; often ignored the Indian ways of life; undermined the role of the Indian parents; and removed Navajo children from their homes and families, while forcing them to learn and speak the English language. Until the 1920s, \u201cthe federal government strongly enforced this \u2018process of assimilation\u2019 (84).\u201d\nWhy do we need to get the Thanksgiving story right:\nWhen I spoke with Kimberly Owen, she revealed prior to the Europeans arrival, her tribe had a regular culture of offering thanksgiving and celebration. Thanksgiving was not a one time event or simply an annual thing. Our celebration of Thanksgiving is at least in part adopted from the history and traditions of the Indian people. We need to honor this truth when celebrating the Thanksgiving holiday with our children. Thanksgiving is not just about celebrating the Pilgrims, their \u201cChristian\u201d heritage, and all the \u201cgoodness\u201d they brought to this country. In many ways, Thanksgiving can be a time for us to confess sins against the Indian people, while honoring their history and sacrifices as we continue to benefit as a result of them. We can correct the stories of the history books and the false images shared through our school systems.\nKing sets the record straight in his writing: \u201cThe Wampanoag tribe [helped] save the Pilgrims that first Thanksgiving\u2026the Wampanoags did not live in tepees. Plains tribes lived in tepees; most Northeastern tribes lived in longhouse or similar structures (85).\u201d We have much to learn about the stereotypes of American Indians that we have so nonchalantly accepted as truth.\nWhat can the American Indian do for racial reconciliation to take place?\n1. Be willing to forgive.\n2. Be willing to embrace the love and forgiveness of Christ.\n3. Be willing to work through feelings of bitterness.\n4. \u201cProbably the most difficult task for us as Indian men is to address the issues of discrimination, prejudice, inequity, ignorance, and oppression without becoming like those we oppose (93).\u201d Be willing to take this risk of confrontation.\n5. Be willing to \u201ccultivate an attitude that trusts a faithful Creator who will right all wrongs and execute righteous judgment throughout the earth (1 Pet. 2:23; 4:17-19) (93).\u201d\nWhat can non-Indians can do for racial reconciliation to take place?\n1. Be willing to recognize the sins against the Indians and be willing to ask for forgiveness, even though you did not directly complete them.\n2. Be actively involved in the reconciliation process.\n3. Be willing to understand: To \u201clive in harmony with the Indian also means that one lives in harmony with the group. Cooperation rather than competition is emphasized [among the Native American culture]\u2026In Indian culture what is emphasized is interdependency, being part of the group, and allowing others\u2019 input into your decision making (94).\u201d\n4. Be willing to recognize that generally, \u201ctime is not of the essence to the Indian man\u2026time is not a big issue for Native people (94-95).\u201d\nTo find more accurate stories concerning the American Indian people group, Jeff King recommends the following TV documentaries:\n\u201cHow the West Was Lost,\u201d a historical presentation of U.S. truces\n\u201cIn the White Man\u2019s Way\u201d, a look at Indian boarding schools and education. Actual video is linked.\nNatasha: PBS.org also has a channel of Native American documentaries viewable online.\nHere are a couple of present day Christian American Indian voices to pay attention to:\nRichard Twiss, President of Wiconi International. I look forward to hearing him speak at The Justice Conference in February 2013.\nTom Claus, Founder and President of Chief Ministries.\nAll summaries, paraphrases, a research from Rodney Cooper\u2019s, We Stand Together: Reconciling Men of Different Color, Chicago, IL: Moody Press, 1995.\nOne thought on \u201c#RacialRec: Voice # 2 ~ American Indian\u201d\nAmerican Indians from the Shinnecock Nation gives their side of the story about Thanksgiving:", "id": "<urn:uuid:8c4f98d6-7e6d-4831-98be-ad7f2ae03706>", "dump": "CC-MAIN-2023-14", "url": "https://asistasjourney.com/2012/11/12/racialrec-voice-2-american-indian/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948684.19/warc/CC-MAIN-20230327185741-20230327215741-00151.warc.gz", "language": "en", "language_score": 0.9428858757019043, "token_count": 1261, "score": 3.609375, "int_score": 4}
{"text": "What is an example of third person limited point of view?\n\u201cBring me the prisoner,\u201d she told her chief of police. Third person limited is where the narrator can only reveal the thoughts, feelings, and understanding of a single character at any given time \u2014 hence, the reader is \u201climited\u201d to that perspective. For instance: \u201cShe couldn\u2019t tell if the witness was lying.\u201d\nWhat is an example of an omniscient point of view?\nExample #1: The Scarlet Letter (By Nathaniel Hawthorne) The narrator in Nathaniel Hawthorne\u2019s novel, The Scarlet Letter, is an omniscient one, who scrutinizes the characters, and narrates the story in a way that shows the readers that he has more knowledge about the characters than they have about themselves.\nWhat is an example third person limited?\nIn third person limited, the reader can\u2019t know more than the protagonist knows. For example, in a third person limited POV, we can know that our protagonist John loves waffles and has a crush on his colleague Brenda, but we cannot know that Brenda prefers pancakes and has barely noticed her colleague John.\nIs Harry Potter third person limited or omniscient?\nHarry Potter isn\u2019t only written in third-person limited; it slips into moments that feel more like third-person omniscient. With omniscient, the audience is watching the events unfold from an aerial view. \u201cOmniscient\u201d comes from a word that means \u201call-knowing\u201d in Latin.\nWhat is a story told in third person limited?\nThird person limited point of view, on the other hand, is a method of storytelling in which the narrator knows only the thoughts and feelings of a single character, while other characters are presented only externally.\nWhat is the difference between third person omniscient and limited?\nThird-person omniscient shows us what many characters in the story are thinking and feeling; third-person limited point of view sticks closely to one character in the story. Using third-person limited point of view doesn\u2019t mean you tell the story entirely from the one character\u2019s perspective using I.\nWhat is third person limited objective?\nIn Objective Point of View the reader has access to nobody\u2019s thoughts. In Third Person Limited Point of View the reader has access to one person\u2019s thoughts at a time. In Third Person Omniscient Point of View the reader has access to everybody\u2019s thoughts at the same time.\nWhat is third person limited?\nThird person limited point of view, on the other hand, is a method of storytelling in which the narrator knows only the thoughts and feelings of a single character, while other characters are presented only externally. Third person limited grants a writer more freedom than first person, but less knowledge than third person omniscient.\nWhat does 3rd person limited mean?\nThird person limited refers to the method of narration of a novel or short story, even an epic poem or film. The narrator does not refer to him/herself personally as \u201cI\u201d, but although the text uses the third person (\u201che or she\u201d), we see the thoughts from the perspective (point of view of only one character).\nWhat is the definition of third person limited?\nThird Person Limited. Third person limited, also known as third person close, tells us the story using pronouns such as he and she but only gives us access to what the protagonist thinks and feels, and we cannot know more than the protagonist knows.", "id": "<urn:uuid:59285c52-e950-4049-8a9f-ecb6e5ee6add>", "dump": "CC-MAIN-2023-14", "url": "https://www.cravencountryjamboree.com/lifehacks/what-is-an-example-of-third-person-limited-point-of-view/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945323.37/warc/CC-MAIN-20230325095252-20230325125252-00549.warc.gz", "language": "en", "language_score": 0.9551470279693604, "token_count": 743, "score": 3.609375, "int_score": 4}
{"text": "Social Skills Lesson Plans For Special Needs Students \u2013 Social skills are an important component in helping children achieve social, emotional, personal and even academic success. These are behavioral skills that help children participate in conversations, cooperate with peers, build strong friendships, stand up for themselves when help is needed, and more. It would be ideal if all students entered the classroom equipped with strong social skills ready to succeed. However, the truth is that children are children; They are still developing, learning, growing and trying to understand the social world around them. As adults, the biggest impact we can have on helping children develop social skills is to teach them.\nI am often asked: \u201cDoesn\u2019t everyone need social skills? Why are you targeting children in particular?\u201d To me, the answer is obvious. If we teach children and youth these social skills from an early age, they will have the foundation they need as adults. So, when kids need social skills, let\u2019s teach them!\nSocial Skills Lesson Plans For Special Needs Students\nTo highlight the importance of these social skills, I created a whole set of social skills visuals. You can use them as a bulletin board, post them as reminders, or use the pages to highlight a few skills each week. And if you\u2019re looking for more ways to teach social skills, feel free to check out my social skills activities for elementary and social skills for older kids.\nStories To Teach Social Skills\nFollowing are the instructions. It is the ability to listen, understand expectations and complete tasks on time. Students must learn to follow instructions to help them complete a task, whether it\u2019s a class assignment or an instruction from a future boss.\nUse of pickles. Our manners are polite behavior to show that we are kind and respectful. All children need to understand etiquette so they can be socially acceptable in various settings such as a restaurant, library or even answering the phone.\nPositive attitude. A positive attitude is the first step to a growth mindset. With a positive attitude, children can learn to be more optimistic and see the bright side of things.\nWork with others. All students need the skills to work positively with others by listening, cooperating, helping and doing their part.\nWhat Is Inclusive Education, And How Can You Implement It?\nGood hygiene. Being well groomed and tidy to take care of yourself properly. This is an important skill because it\u2019s not just about cleanliness, it helps everyone make a positive first impression.\nUse polite words. Using kind and gentle words is another way to increase kindness towards others. Sometimes I call it \u201cuse only kind words.\u201d\nIn turn Learning to take turns involves two or more people taking turns. Showing courtesy and respect during conversation and other activities is an important skill.\nCongratulations Accepting others and making them feel valued is an important social skill. Teaching children and youth how to properly greet others can help create a positive community for all. It is an important lifelong social skill in the workplace and beyond.\nSpecial Needs Teaching Assistant Cover Letter Examples\nWaiting and patience. Patience is an important skill to develop when we have to wait. Children and teenagers may have to wait in line for a pencil sharpener or wait their turn to perform in a group, just to name a few. By being patient, they show that they are polite and respectful to everyone.\nBe a good sport. Learning sports will help children and youth develop a respect for games and activities. This can help them deal with loss in a positive way by focusing on having fun rather than winning.\nListening to others. Listening skills are important for building positive relationships with others. Children and young people need to learn to focus their attention on others, avoid distractions and really think about what someone is saying.\nUnderstanding personal space. A good understanding of personal space helps everyone feel more comfortable in social situations. It also provides ways to teach that consent is required to be in someone else\u2019s personal space.\nWays To Integrate Social Emotional Learning\nIf you have other suggestions or ideas for teaching these skills, feel free to share them! I would like to add to the list. Also check out all my social skills resources to start teaching these important skills right away! Looking for incredibly fun social skills activities for children with special needs? These printable lesson plans with social skills worksheets for autism in PDF format are perfect with a primary focus on social situations and social cues!\nJust add them to your everyday printables and have them ready for kids to use all year round Diagnosing an ASD can be quite challenging, but adapting the materials we use with our students can be so easy!\nThese printable activities for toddlers will help them learn about facial expressions, body language, personal space, and more! I want to incorporate social storytelling into my social skills curriculum. They are great visual aids and useful tools for my special needs students.\nSocial stories are a great bridge between the need to explain simple situations to children in a format they can understand.\nSocial Skills For Autistic Children\nCheck out this common social story about separation anxiety. I just love to use it, especially at the beginning of the year!\nThese worksheets and printables have some great ideas for instilling excellent communication skills in your students. It is an effective way to develop communication skills and effective social skills groups.\nI\u2019ve talked a lot before about how to calm kids down after they go into the red zone! It can be quite difficult. Check out some printable worksheets about it here!\nI created this fun workbook primarily to help my students learn all about social connections and develop their social skills. My students usually respond well to this type of activity. It\u2019s personal, where they can indicate their own emotional well-being (coloring how they feel that day).\nExpert Special Education Resume Examples For 2023\nThey also learn new skills with a variety of social skills worksheets. This is a great way to use free resources to help you develop these social norms for children.\nI usually add them to my activity area with markers after laminating them, then the kids start pointing out what behaviors are acceptable.\nThis is one of the best ways to use social skills worksheets. Ask children to practice good behavior by answering questions about whether the picture shows kindness, compassion, or something else.\nThis social development printable is designed for young children. There is little social support for them. Available materials are too complicated for them.\nSpecial Education Sample Schedules\nSo, if I explain the target behavior first, say \u201cgetting organized,\u201d I want them to tell me what that means.\nGive some examples of student organizations, perhaps from the children\u2019s perspective. This is a great way to develop problem solving skills.\nIf you would like to see the complete workbook covering over 27 social skills and values, check it out below!\nThese printouts are in color and black and white. Choose your favorite set for class and student!\nFantastic & Free Social Skills Worksheets For Kids!\nSometimes I add them to the plastic cover and the students work on them with dry erase markers. This page may contain affiliate links, which means we receive a small commission for everything you buy. As an Amazon partner, we earn on qualifying purchases. Do your own research before shopping online.\nA child with many friends? A child who is comfortable in different settings or a child who plays well with others?\nWhile this is normal for some children, it is not for others. The good news is that you can use social skills to help your child improve in these areas.\nIn this article, we\u2019ll identify 15 social skills activities that will help your child\u2019s emotional development. Don\u2019t worry. These actions are not difficult and do not take much time. In fact, most social skills activities are common everyday activities, emphasizing the development of social awareness, empathy, and cooperation. So let\u2019s get to it.\nFree Social Science Lesson Education Presentation Template In Google Docs\nSocial skills are intentional activities your child can participate in that will help them interact better with others.\nSo why are social skills so important? According to psychotherapist Amy Morin LCSW, \u201cGood social skills allow children to enjoy better peer relationships. But the benefits of hard social skills go beyond social recognition. Children with better social skills are more likely to benefit immediately.\u201d\nSome of these benefits include less stress and better friendships. A study published in the American Journal of Public Health even cites strong social skills in kindergarten as a key factor in career success throughout life.\nWith the increasing pressures of unemployment, cultural differences and forced lifestyle changes, it is imperative that children do their part to ensure the social and coping skills necessary to survive in our \u2018new normal\u2019.\nSocial Skills File Folder Game Grade Pk 2\nTeam sports are considered one of the best ways to help nurture children\nLife skills for special needs lesson plans, lesson plans for special needs, free lesson plans for special needs students, life skills lesson plans for special needs students, social skills lesson plans, social skills lesson plans for elementary students, lesson plans special needs students, social skills activities for special needs students, social skills for special needs students, social skills activities for secondary students with special needs, lesson plans for special needs students, art lesson plans for special needs students", "id": "<urn:uuid:09fdfb3e-ecfc-4148-941c-ed982445e5af>", "dump": "CC-MAIN-2023-14", "url": "https://www.idesignandwrite.com/social-skills-lesson-plans-for-special-needs-students", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943483.86/warc/CC-MAIN-20230320114206-20230320144206-00153.warc.gz", "language": "en", "language_score": 0.9401372671127319, "token_count": 1947, "score": 4.1875, "int_score": 4}
{"text": "Hyperbole, or intentional exaggeration, can make writing more interesting\u2014and sometimes give it a little more personality.\nBeing able to use hyperbole doesn\u2019t come easily to every student, but there are ways to improve this skill with practice and encouragement.\nWe\u2019ve put together a list of writing prompts to help students work on this skill, whether they\u2019re expert exaggerators or reluctant retellers.\nThe first few prompts encourage students to explore the meaning of hyperbole and how it can be used, and the rest encourage them to explore their storytelling skills.\nUsing These Prompts\nThese writing prompts can be used as writing exercises in class, or separately as homework assignments.\nAs long as students practice this skill, they\u2019re already on the right track to succeed.\nHere are a few ways you can use this writing guide with your class:\n- Challenge students to use one writing prompt in their journal every day for a week.\n- Have students choose a number between 1 and 41 and use it to choose their prompt.\n- Use these activities for students who finish their work early and need something to do while they wait for others to finish.\n- Have students add their birth date and month, and use the resulting number to choose their writing prompt.\nThe Writing Prompts\n- Define hyperbole.\n- Compare and contrast hyperbole, similes, and metaphors.\n- Choose a song that uses hyperbole and explain the true meaning behind the lyrics.\n- Think back on the past week. Is there a common hyperbole you\u2019ve recently used?\n- What are some places you use or see hyperbole used in everyday life?\n- Set a timer for ten minutes and write a story using as many examples of hyperbole as you can.\n- Share a time that you exaggerated to make a point. What effect did it have? Did it help or hurt you in getting your point across?\n- Give three examples of companies using hyperbole in advertising or slogans. What are the companies trying to say with their language? Does hyperbole make sense in this situation?\n- Describe a time when it felt like time was passing very slowly.\n- Write about a time when you were extremely tired.\n- Write a poem about your school day using hyperbole.\n- Write a story about an extremely cold day.\n- Finish the story: She was so angry that\u2026\n- Write a story about a time when you were confused.\n- Write about the best pizza you\u2019ve ever tasted.\n- Tell a story about someone who is carrying something very heavy.\n- Write about an adorable animal.\n- Write about a time when you were extremely excited about something.\n- What is your favorite example of hyperbole in a movie or show you\u2019ve seen recently?\n- Write a story about being stuck in traffic while you\u2019re on your way to something exciting.\n- Write a story about being stuck outside on an extremely hot day.\n- Tell a story about someone who has to walk a long way.\n- Finish the story: The house was so expensive\u2026\n- Write a story about a crowded sporting event.\n- Write about a tricky piece of homework.\n- Tell a story about someone who is learning a new skill.\n- Write about being excited about the holidays.\n- Tell a story about an inpatient child who is waiting for dinner.\n- Tell a story about being afraid to try something new.\n- Write a story about the night sky.\n- Tell a story about someone who goes on a difficult hike.\n- Finish the story: I was so embarrassed that\u2026\n- Tell a story about a time when you felt extremely tired.\n- Write about something you find very funny.\n- Talk about a time when you enjoyed a meal.\n- Finish the story: When the spider crawled across the desk, she let out a shriek so loud that\u2026\n- Write a story about finally seeing someone who you haven\u2019t seen in a long time.\n- Tell a story about a very messy bedroom.\n- Write a story about someone desperately looking for something.\n- Tell a story about a student who finds a large amount of something in their locker.\n- Finish the story: It was raining so hard outside that\u2026\nLooking For More?\nWe offer an abundance of free writing resources for parents, guardians, and teachers to help give young writers the tools they need to succeed.\nDon\u2019t hesitate to reach out if you are looking for something specific and can\u2019t find it on our site. We love hearing all of your ideas!", "id": "<urn:uuid:63c5c621-9b81-4713-bfaa-d3353ebf3cb0>", "dump": "CC-MAIN-2023-14", "url": "https://www.teachersnotepad.com/hyperbole-writing-prompts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943845.78/warc/CC-MAIN-20230322145537-20230322175537-00351.warc.gz", "language": "en", "language_score": 0.938234806060791, "token_count": 963, "score": 4.5, "int_score": 4}
{"text": "GUEST BLOGGER JENNA GRODZICKI\nI See Sea Food: Sea Creatures That Look Like Food introduces the reader to sea animals that actually look like foods we eat. The playful text combined with the brightly colored photographs are sure to wow students. That makes this book an ideal choice to help students understand the idea of physical adaptations and possibly inspire some creative writing.\nIntroduce the term \u201cadaptations\u201d and explain the two types. Have the definitions already written on the chart paper.\n- Physical Adaptations \u2013 special body parts that help plants and animals survive in their environment.\n- Behavioral Adaptations \u2013 actions or behaviors that help plants and animals survive in their environment.\nTell the students that today you\u2019re going to focus on physical adaptations using the book, I See Sea Food: Sea Creatures that Look Like Food.\nFor this adaptations lesson, you will need:\n- Chart paper and markers\n- copy of I See Sea Food: Sea Creatures That Look Like Food\n- Paper and pencils\n- Enlarged photographs of a pufferfish (both normal and inflated), leafy sea dragon, and great white shark with sharp teeth on display\nAsk students to share the different types of physical adaptions the animals have and why they have them. Make a table on the chart paper to organize their thinking. It might look something like this.\n|armored scales |\n|protection from |\n|Chocolate chip sea star||pointy horns||protection from |\n|Banana wrasse||females have yellow |\n|easier to find mates|\n|Lettuce sea slug||ruffled leaves |\n|Louisiana pancake |\n|shape and coloring||provides camouflage|\n|Sea apple||shape||escape from danger|\n|Cauliflower jellyfish||large, curly arms||provides food|\n|Pizza crust sea slug|| round bumps |\nOrganize the students into small groups. Pass out paper, pencils, and the photographs ( pufferfish (both normal and inflated), leafy sea dragon, and great white shark with sharp teeth on display). Tell the students to discuss what each of these animals look like, what they think the adaptations are, and possible reasons for each adaptation. Have them record their thinking on the paper.\nOnce each group has finished, come back together as a whole class. Call on volunteers to share what their group thought about each animal\u2019s physical adaptation and possible reasons for it.\nChallenge: Invent Your Own Sea Creature\nFor students looking for a challenge, ask them to invent their own sea creature that looks like food. Have them draw a picture of this new animal and write about why it looks the way it does. What adaptation does it have? What does this adaptation do?\n- What Makes a Monster?: Discovering the World\u2019s Scariest Creatures by Jess Keating, illustrated by David DeGrand\n- Pipsqueaks, Slowpokes, and Stinkers: Celebrating Animal Underdogs by Melissa Stewart, illustrated by Stephanie Laberis\n- Creature Features: 25 Animals Explain Why They Look the Way They Do by Steve Jenkins and Robin Page\n- Glow: Animals with Their Own Night-Lights by W.H. Beck\nJenna Grodzicki loves researching and writing about weird and wonderful animals. During her fifteen years as an educator, she saw firsthand how young readers connected to these types of nonfiction books. Jenna has a Bachelor\u2019s Degree in Elementary Education from Boston College and a Master\u2019s in Education from the University of New England. In addition to I SEE SEA FOOD: SEA CREATURES THAT LOOK LIKE FOOD (Millbrook Press), she is the author of FINN FINDS A FRIEND (Clear Fork Publishing), PIXIE\u2019S ADVENTURE (eTreasures Publishing), and the forthcoming HARMONY HUMBOLT: PERFECT PETS QUEEN (Clear Fork Publishing). Visit her online at www.jennagrodzicki.com or on social media @jennawritesPB on Twitter and Instagram.\nLeave a Reply\nYour email is safe with me.", "id": "<urn:uuid:b42cd6d7-d0da-4ff8-9c75-b3c24c5a0387>", "dump": "CC-MAIN-2023-14", "url": "https://www.patriciamnewman.com/litlinks-exploring-animal-adaptations-leads-to-creative-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00552.warc.gz", "language": "en", "language_score": 0.8910541534423828, "token_count": 945, "score": 3.625, "int_score": 4}
{"text": "Plot segmentation is a technique used in storytelling to divide a story into distinct parts or segments. This can be done for a variety of reasons, including to increase suspense, to reveal character development, or to provide a sense of structure to the story.\nOne common method of plot segmentation is to divide a story into three acts. The first act introduces the main characters and sets the stage for the conflict that will drive the rest of the story. The second act is typically where the conflict reaches its climax, and the third act is where the resolution is achieved.\nAnother way to segment a plot is to use a series of flashbacks or flash-forwards to reveal information about the characters or events that have occurred in the past or will occur in the future. This can be a useful tool for adding depth and complexity to a story, as it allows the reader to see how events in the present are connected to events in the past or future.\nPlot segmentation can also be used to create tension and suspense in a story. By breaking the story into smaller segments, the writer can build up the tension gradually, leaving the reader wondering what will happen next. This can be especially effective in mysteries or thrillers, where the reader is trying to piece together the puzzle of what happened or who is responsible for a particular event.\nOverall, plot segmentation is a powerful tool for writers to create a sense of structure and build tension in a story. By dividing the story into distinct parts, writers can reveal information at the right moments, creating a sense of momentum and keeping the reader engaged.\nWhen using the 'Generate on Due Date' setting, this can cause problems when users select the Resubmit icon resulting in duplicate submissions. If this did not answer your question or if you need further assistance, click Due to privacy and security concerns, we cannot give out passwords. However, they should not use in-line comments unless they are confident their student's have already accepted the Turnitin EULA. However, are recent change altered the way file names are generated. On a small number of papers, the similarity layer can occasionally disappear when loading a different layer. This can help you to absolutely beat the plagiarism detectors. We apologize for any inconvenience this may have caused.\nTurnitin Feedback Studio slow or unresponsive; submission inbox not updating after marking\nIf your problem appears on the list, we're aware of the problem and currently looking into it. We are looking at different ways of improving how we gather these statistics to improve their reliability. Workaround: Create a standard paper assignment before using Moodle quizzes and have all students who will use that assignment type submit to it. Unfortunately, it was reported that these were not being received. The setting can still be clicked to reveal the multiple options however it is not very intuitive that these options exist without the arrows.\nA similarity report is then generated to help you identify if your document is plagiarism free. Update 2022-08-17: Blackboard have informed us that this issue has been resolved as of August 11th 2022. We noted each of the times and got the conclusion below with regards to the time taken to detect plagiarism and give a report. While this issue is present when using Firefox, other browsers appear to be unaffected. Turnitin is used by many people including students, professionals, and different instructors. Fool Turnitin by Paraphrasing to avoid similarity This is one of the tricks that have existed for long. School is in place for a reason, and basic facts are published for a reason.\nWhat do I do if Turnitin is slow/unresponsive or my comments aren't saved?\nBasically, there are several ways that one can use to cheat Turnitin. To curb plagiarism in educational institutions, Turnitin works by keeping a database of all scanned papers to detect any previously submitted content, and the university it was submitted to. It also scans against content found on different websites including large academic proprietary databases. Do you have a questionable essay that you want to upload and you want to know how to cheat Turnitin? If this did not answer your question or if you need further assistance, click Our system does not allow students to submit more than one paper per assignment. Also, If the user is unlinked and then goes on to change their email address, a new Turnitin user account will be created making two separate users. However, if the email account you use to log contains uppercase letters, an error message will be shown.\nIf a course containing Turnitin assignments is copied and a student attempts to submit to the copied course before it is in any way edited by the instructor, the name of the copied course will automatically change to ' LTI Class' in Turnitin. Typically, this happens in the case of an image or a scanned file. This can be done by replacing a letter from the word with a letter that looks exactly the same in the Cyrillic alphabet. If you are trying to submit a PDF file, it needs to be created from a text document. History, and Googled the topic real quick to get a basic idea of what to write about. We're here to help. Therefore, if you have several components to your submission, please submit them together as one document.\nHow to Cheat Turnitin: Plagiarize and don't get Caught 2021\nWe are actively investigating solutions to this issue. In the meantime, students should use the navigation links provided in the Revision Assistant headers, rather than the back button on their browser, to move to and away from their homepage. Think about it: the site charges a fee for the instructor so that students are able to turn in their work, but the essays are placed into an archive instead of being restricted for the eyes of teachers. It focuses on the reference and citation information to detect plagiarism. However, to effectively fool Turnitin using any of the tricks, you must cite and reference the sources well. When a large number of submissions are selected to download in an anonymous marking assignment, the bulk download may timeout before the file can be downloaded. It also compares them with a precomputed index of fingerprints for all documents of that suspected type.\nThis supposed educational site also plays upon a student's honesty. Users of the Firefox browser may find that the arrows depicting a dropdown menu will not appear in the assignment settings. And when someone does use the service, it then makes money off of someone's work, which is a legal problem. What do the Colors mean on the Turnitin Report Turnitin percentage represents the matching content of the file uploaded compared to the content in the Turnitin database. Professors and teachers have to accept the reality of the Internet and the reality of common knowledge. Yet, Turnitin would still count that because it is most likely already written by another individual, or archived by TurnitIn itself. We apologize for any disruption this may have caused.\nHow long does it take to generate the similarity report in Turnitin?\nTurnitIn could be responsible for the expulsion of bright, brilliant students from many institutions within and outside of America. We would ask that students use a different browser to submit to Turnitin while this issue is investigated. Draft Coach needs to edit your draft directly to apply highlighting. This means that a paper that has a very low percentage of content detected could still be problematic. It is baffling how such highly educated people could believe the percentage of plagiarism stated by some pathetic website, but yet tell their students to not use Wikipedia. We have received reports that particularly large bulk submission downloads will produce an empty zip file as opposed to providing one containing the submissions from the assignment. Provide full reports on the similarity of the content 3.", "id": "<urn:uuid:cfa6f341-0219-4bf3-a26b-57c32a5ef54c>", "dump": "CC-MAIN-2023-14", "url": "http://opportunities.alumdev.columbia.edu/turnitin-slow.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00752.warc.gz", "language": "en", "language_score": 0.9522476196289062, "token_count": 1586, "score": 4.15625, "int_score": 4}
{"text": "\u201cFiction\u201d and \u201cNonfiction\u201d are associated with how books, blogs or articles are written. Authors use either writing styles to convey their stories or to relay meaningful information to the reader.\n- Fiction is a literary genre that involves the creation of imaginary characters, events, or worlds; nonfiction encompasses works based on real events, people, or facts.\n- Fiction includes novels, short stories, and other works that explore imagined experiences or situations; nonfiction covers a wide range of topics, such as history, biography, and science, presenting factual information or analysis.\n- Both fiction and nonfiction are forms of literature. Still, fiction focuses on storytelling\u2019s imaginative and creative aspects, while nonfiction aims to inform, educate, or persuade readers with accurate information and insights.\nFiction vs Nonfiction\nThe difference between fiction and nonfiction writing is that the former is based on non-existent and invalid facts, while the latter is based on actual and real-life events.\nWant to save this article for later? Click the heart in the bottom right corner to save to your own articles box!\nFiction is a form of writing in which the author bases their story or article on something imaginative or made up. There is no real-life truth behind it.\nNonfiction is a form of writing where the information conveyed is accurate or based on real-life events. The stories being told here have happened or are based on factual events that have occurred in the past or might occur in the future.\n|Parameters of Comparison||Fiction||Nonfiction|\n|Type of Writing||It is a personal form of writing, meaning it is based on the personal opinions and emotions of the writer.||It is an objective form of writing, which means it is based on evidence and facts.|\n|Definition||When something is written in fiction, it is based on the writer\u2019s imagination and creative license.||When something is written using nonfiction, it is all based on real-life and authentic events that have transpired.|\n|Purpose||Written work based on fiction is generally for entertainment and pleasure or to convey information in an ironic sense.||Works based on nonfiction convey meaningful information or events that have impacted the world.|\n|Information used||The writer has no creative limits, so their work can be inspired by real-life events moulded by their imagination.||The writer must ensure that all the information mentioned is genuine and that nothing is made up.|\n|Responsibility to reader||The writer holds no responsibility here and wishes to push the reader\u2019s creative boundaries ad limits.||The writer must ensure the information is factual, as they hold all responsibility and liability.|\n|Examples||Written works such as poems, short stories, novels, and plays.||Journal articles, Blog accounts, newspapers legal documents are all nonfiction works.|\nWhat is Fiction?\nFiction is a term used to describe written works based on the writer\u2019s imagination and artistic sense. All the facts and details have been made up and are non-existent.\nThe first time a work of fiction was ever written and published was during the late 1100s. Specifically, during the 1170s, a Frenchman by the name of Chr\u00e9tien de Troyes had published a book about King Arthur and the Knights of the Round Table.\nEverything the writer puts into words is their ideology and opinions, which manifests into a creative storyline made for the reader\u2019s delight. A writer can also use parts of real-life events in his work, or his writing can be inspired by something that has taken place in the real world.\nThe writer then uses that information to form a story with the help of his imagination. They can create characters that do not exist or incorporate real-life people into their accounts.\nFiction is usually written for the reader\u2019s pleasure and entertainment and to help them push the limits of the imagination. A writer here has no responsibility to provide facts and uses his creative licence to help the reader have a good time.\nMany written works come under the fiction category, such as poems, short stories, fiction novels, sonnets, plays, etc.\nWhat is Nonfiction?\nNonfiction is used for written works based on valid and actual events. Here anything that the writer incorporates has to be accurate and factual.\nThe origin of nonfiction work can never be dated, as every form of information circulated worldwide is considered nonfiction. The author is responsible when providing information through their written work to the reader and has to ensure that everything they publish is factually accurate.\nIf even a few details are fabricated, it will incorrectly affect the writer\u2019s credibility. There are interesting points to be noted that pose some form of contradictions regarding whether the works are nonfiction or fiction.\nFor example, a newspaper is a nonfiction work, but sometimes some stories have been fabricated and faked to gain popularity. Other works that come under nonfiction are \u2013 journal articles, online news articles, legal papers and documents handled by law firms.\nMain Differences Between Fiction and Nonfiction\n- Fiction is a subjective form of writing. Nonfiction is a purely objective-based form of writing.\n- Fiction is the art of using one\u2019s imagination and creativity while writing. Nonfiction is using actual events and facts to convey information in a written format.\n- Works of fiction are written for the pleasure and entertainment of the reader, while nonfiction work is written to help the reader gain knowledge or information about worldly events.\n- A writer who uses fiction is not responsible for being credible in his work, while a nonfiction writer does.\n- Works of fiction include sonnets, plays, short stories, and poems. Nonfiction write-ups include newspapers, journalistic blogs, articles, and legal documents.\nI\u2019ve put so much effort writing this blog post to provide value to you. It\u2019ll be very helpful for me, if you consider sharing it on social media or with your friends/family. SHARING IS \u2665\ufe0f\nEmma Smith holds an MA degree in English from Irvine Valley College. She has been a Journalist since 2002, writing articles on the English language, Sports, and Law. Read more about me on her bio page.", "id": "<urn:uuid:6b936548-6de6-4b0b-b5da-2f7493d58b4a>", "dump": "CC-MAIN-2023-14", "url": "https://askanydifference.com/difference-between-fiction-and-nonfiction/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948951.4/warc/CC-MAIN-20230329054547-20230329084547-00352.warc.gz", "language": "en", "language_score": 0.9620755910873413, "token_count": 1366, "score": 3.828125, "int_score": 4}
{"text": "What is a thematic message. What is a Thematic Statement: Definition, Format 2022-10-23\nWhat is a thematic message\nA thematic message, also known as a theme, is a central idea or message that is conveyed through a piece of literature. It is the overarching message or lesson that the author is trying to impart to the reader, and it often reflects the values, beliefs, and experiences of the author.\nThe thematic message of a work can be conveyed through various elements of the text, including the characters, plot, setting, and symbols. It can also be revealed through the conflicts and resolutions that occur within the story. The thematic message is not always explicitly stated, but rather is often implied or hinted at through the events and experiences of the characters.\nOne example of a thematic message is the theme of love in William Shakespeare's play Romeo and Juliet. Throughout the play, the characters experience various forms of love, including romantic love, familial love, and self-love. The thematic message of the play is that love can conquer all obstacles and bring people together, even in the face of societal and cultural differences.\nAnother example of a thematic message is the theme of redemption in the novel Great Expectations by Charles Dickens. The main character, Pip, goes through a journey of self-discovery and redemption as he learns the value of compassion and humility. The thematic message of the novel is that everyone has the potential for growth and change, and that it is never too late to seek redemption for past mistakes.\nIn conclusion, a thematic message is a central idea or lesson conveyed through a piece of literature. It can be revealed through the characters, plot, setting, and symbols of the text, and often reflects the values and experiences of the author. Understanding the thematic message of a work can help readers gain a deeper understanding and appreciation of the literature.\nHow to Write a Thematic Essay\nDaisy also was count by many young and wealthy pursuers. Rather, it should be the original expressions of opinion instead of using famous punchlines. The thematic essay outline structure can help students develop their ideas and encourage them to think about their writing in a more organized way. For example, you could examine how different literary works all have similar themes running through them. So, these are the mistakes you have to take care of while drafting the statement in the document. Then, instead of sitting in the most convenient seat, she chooses one in the back, a quiet spot that contrasts against her former busy, noisy life of working, gym, and parties.\nWhat is a thematic statement for coming of age?\nTheology is defined as a collection of assembled religious beliefs, or is the study of God and religion. Which is the best definition of a thematic message? With the tips in this article, you now understand what a thematic is and how to write one. Thematic Statement Versus Theme The difference between a Thematic Statement and a theme is that while a Thematic Statement is specific and contains a value judgement or opinion, themes tend to be more general, and may be explored from various angles. First of all, a thematic statement helps you understand what you are writing in a clear and simple way. Hence, thematic statements should never sound personal. This will lead you to the core ideas and values emphasized upon.\nTips to Write a Perfect Thematic Statement\nShe is one of the most influential women in America today, and has been on television for more than thirty years. That is, I have already established the contents of the Story, the characteristics of the Narrative Conflict, the typology of the characters and even how the events could take place in the Final Equilibrium! Death The book thief by Marcus Zusak is narrated by death itself, exploring his role in taking lives in setting Germany in World War 2. So, in this story, Generosity also has a negative impact on things. It does so by examining the way in which the author develops and displays these themes. Thematic Statement Examples What are the literary elements of a thematic statement? A good thematic essay should cover all three aspects listed above with equal weight given to each. Make sure you get this done before writing anything else! This could include the behaviour of your main characters and sub characters, how the settings are conveyed, and the events that take place.\nWhat is a Thematic Statement: Definition, Format\nTheme analysis essays have distinct advantages over traditional papers in that they encourage students to think more creatively and develop their own thesis rather than just proving one provided by the instructor. Storybook authors, in particular, should be well-aware of thematic statements and their undeniable importance. Thematic statements do not target a specific audience. Hence, we see that theme and topic are not the same. Oprah was born into poverty but rose above it all because of her determination and desire to succeed.\nWhat is a Thematic Statement and How to Write One?\nThis will be the focal point of the essay. Introduction The thematic essay introduction presents the main subject of discussion in a captivating way. My favorite part of the book is when Oprah shares her story about how she overcame sexual abuse and poverty to become one of the most admired women in America today. It might have more than one theme, but there's always something behind those themes without it being said outright. Composing it is all about chipping away all the external scaffolding of plot, characters and specifics to reveal the hidden inner message that forms the substratum of the entire work. Although examples of this Thematic essays are often used as benchmark tests for evaluating reading, writing and analytical skills. Therefore, there must be solutions to help decrease crime rates in our communities.\nWhat is a Thematic Statement (and How to Write One)\nIt should be engaging, but not confusing to your audience. When you reach a point, where no further reduction is possible, you may stop. However, more often than never, you are not so sure whether what you want to say applies to all situations. However, since the beginning of time, crime rates have never declined. In other words, when someone is greedy, it makes things worse. Knowing how to write a thematic statement is crucial for the students of literature and creative writing.\nWriting Theme: The Simple Way to Weave a Thematic Message into Your Story\nI highly recommend this book, but be ready for tears because it will make you cry! In your essay, you are supposed to address this detailed task and the issues, concepts or questions it prompts you to explain or interpret. In this way, your thematic argument will move out of the realm of intellectual consideration and become a viewpoint arrived by feel. The works remained stainless and memorable \u2014 despite the lapse of time \u2014 are those that have left in the Reader an unexpected emotional imprint, a new way to interprete and understand a certain topic, a reason to reflect on something never considered before. Avoiding Absolute Terms Writers often add absolute terms in composing a statement, which shows the poor reasoning. Thematic essay example 1: Below is an illustrated essay of a thematic essay example on the theme of crime. Stanza 1, Line 5, tells the reader that they see 4 black Jube Jubes, and in the next line, states that they are squished.\nYour Thematic Message\nYou may want to begin with an outline, which can help aid you in identifying the main points of your argument as well as give you structure for writing your paper. A thematic assertion is essentially an explanation, lesson, or central message the story conveys. It comes from the word theos which is Greek for? While reading the story written by you, get the main subject on which it is based. . For example, it is wrong to steal in general. He chooses West Egg because it is close to where Daisy lives, East Egg.\nHow to Create a Powerful Thematic Message\nBrainstorm Ideas Pay careful attention to developing a consistent and coherent argument in every paragraph. Together, they play both sides of the moral dilemma Greed vs. In these lines, it is seen that the persona described themselves with positive terms. The book covers several valuable life lessons from growing up in poverty and overcoming sexual abuse to becoming a famous celebrity on television. First of all, restate your thesis statement in a new way. Nothing makes reading more irritating than grammatical mistakes, clean that stuff up as much as possible. Employment for massage therapists is expected to increase 21% from 2019 to 2029.", "id": "<urn:uuid:9df8b7c0-a9e8-42ef-b49b-f5f48d049128>", "dump": "CC-MAIN-2023-14", "url": "http://links.lfg.com/what-is-a-thematic-message.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945242.64/warc/CC-MAIN-20230324020038-20230324050038-00552.warc.gz", "language": "en", "language_score": 0.9509605765342712, "token_count": 1777, "score": 3.65625, "int_score": 4}
{"text": "The East India Company\u2019s confrontation with Mysorean rockets came in 1780 at the Battle of Guntur. The closely massed, normally unflinching East India Company troops broke and ran when the Mysorean Army laid down a rocket barrage in their midst. Image courtesy of Wikimedia Commons.\nCenturies before the United States military was launching GPS-guided missiles from battleships, warplanes, and helicopter gunships, armies waged war with surprisingly capable technologies of their own. The first documented use of rockets in a military capacity was in 1232 during the battle of Kai-Keng between China and the Mongols. The Chinese repelled Mongolian invaders with a barrage of \u201carrows of flying fire.\u201d The fire arrows were tubes of gunpowder capped at one end and mounted on long sticks that helped keep the rockets\u2019 flight paths steady.\nTipu Sultan, the king of the state of Mysore in India, is famous for the next big development in rocket technology: Mysorean rockets. It was actually Tipu Sultan\u2019s father, Hyder Ali, who first developed and deployed the rockets in the late 1700s. They were cased in iron, and Tipu Sultan used them against the British army.\n\u201cThe rockets and musketry from 20,000 of the enemy were incessant,\u201d a British officer wrote at the time. \u201cNo hail could be thicker. Every illumination of blue lights was accompanied by a shower of rockets, some of which entered the head of the column, passing through to the rear, causing death, wounds, and dreadful lacerations from the long bamboos of twenty or thirty feet, which are invariably attached to them.\u201d\nThe British stole the technology and dubbed it the Congreve Rocket. Congreve rockets became famous when British ships used them in an attack on Fort Henry in the War of 1812, which served as the inspiration for Francis Scott Key\u2019s line regarding \u201cthe rockets\u2019 red glare\u201d in his poem that became \u201cThe Star-Spangled Banner.\u201d\nIn World War II, Nazi scientists raced to develop the V-2 rocket, a precursor to postwar-era intercontinental ballistic missiles (ICBMs). These 46-foot, liquid-fueled, long-range rockets could deliver 2,200-pound warheads 200 miles on trajectories that reached altitudes of 55 miles. These V-2 rockets also had mobile launchpads, which allowed operators to set up stations without being detected and strike targets unexpectedly. Although the rockets were only in use toward the end of the war, the Nazis still managed to launch 3,000 of the V-2s, killing an estimated 7,250 Allied personnel and civilians.\nThe Nazis were defeated, and their empire lay in ruins, yet their missile program advanced with the help of the top-secret intelligence program called Operation Paperclip. The program, operating under the US government\u2019s umbrella, recruited former Nazi scientists to work for NASA and give the US superiority in the space and arms races against the Soviet Union during the Cold War.\nIn the late 1950s, the US government put roughly $8 billion and 33,000 workers toward perfecting a brand-new ICBM program, Project Atlas. \u201cThe Air Force\u2019s Ballistic Missile Program represents a concerted effort of unprecedented magnitude jointly pursued by the most competent and widespread government, science, and industry teams ever assembled on a single project,\u201d recalled Gen. Bernard A. Schriever, a veteran of World War II B-17 combat missions. Russia\u2019s success in sending Sputnik \u2014 the world\u2019s first satellite \u2014 to space in 1957 was enough to drive the US military to invest heavily in the project.\nIn Vietnam, rocketry took off with the emergence of varied aerial platforms, including aircraft, helicopters, and gunships. The Hughes AIM-4 Falcon was the first air-to-air missile the US Air Force adopted. It was conceived as a self-defense weapon for B-52 bombers. However, legendary ace fighter pilot Col. Robin Olds, an outspoken critic of the missiles, wrote about his displeasure in his book Fighter Pilot: The Memoirs of Legendary Ace Robin Olds.\n\u201cIn the thick of an engagement with my head twisting and turning, trying to keep track of friend and foe, I\u2019d forget which of the four I had (already) selected and couldn\u2019t tell which of the remaining was perking and which head was already expiring on its launch rail,\u201d Olds wrote. \u201cTwice upon returning to base I had the tech rep go over the switchology and firing sequences. We never discovered I was doing anything wrong.\u201d\nWhile fast movers didn\u2019t appreciate the unreliable missiles, AH-1 Cobra \u201cSnake\u201d and Hughes OH-6A \u201cLoach\u201d helicopters made names for themselves using 2.75-inch air-to-ground rockets divided between two rocket launchers mounted on each side of the craft.\nLt. Col. Ace Cozzalio, a colorful character who wore an 1860s American Civil War cavalry uniform, flew Snakes and Loaches in Vietnam. These helicopter gunships flew together on search-and-destroy missions. The Loaches used their agility to scout and recon targets, and if caught in a dicey scenario, they had miniguns that\u2019d decimate a platoon-sized element of Viet Cong with ease. It was the Cobras that engaged enemy combatants hidden in fortified bunkers with rockets. Following his actions on Jan. 25, 1969, the US Army Air Cavalry officer was only referred to as that \u201ccrazy helicopter pilot.\u201d\nA seven-man long-range reconnaissance patrol (LRRP) from the 9th Infantry Division was ambushed by the North Vietnamese Army in an area north of Phu My and called for immediate close-air support. Cozzalio and another Cobra gunship from D Troop, 3-5 Air Cavalry, took flight. Upon entry into the battle space, he located the LRRP team, snaked his aircraft to hover 30 feet above them, and raked the tree line with rockets, miniguns, and 40 mm grenades. It was because of Cozzalio that the LRRP team made it out that day. In his three tours of duty, he was awarded 49 medals, and remarkably, because of his fast-and-low flying style, he was shot down six times and suffered injuries in three additional hard landings.\nWith the Vietnam War coming to an end, the AH-64 Apache made its first flight in 1975. The Apache helicopter is considered the US Army\u2019s Swiss Army knife, and among its most capable weapons systems is the Hellfire missile. These air-to-ground missiles were developed to destroy tanks and other heavily armored vehicles. The first combat use of the Longbow Hellfire Modular Missile System was Dec. 20, 1989, during Operation Just Cause in Panama. AH-64 Apaches fired seven Hellfire missiles, and all were direct hits. The Apaches and their Hellfire missiles and Hydra-70 rockets destroyed two Iraqi early-warning ground control radar sites as the first shots fired in Operation Desert Storm on Jan. 17, 1991.\nDuring this period, the Tomahawk cruise missile also made its debut in warfare. The Tomahawk cruise missile program, which had been canceled in the 1940s, was revived in the 1970s. In 1983, defense contractor McDonnell Douglas introduced the new missile. The Tomahawk premiered when it was fired from the USS Paul F. Foster in the Persian Gulf War. The US Navy launched nearly 300 additional missiles from ships and submarines in the subsequent days of the war. And it\u2019s been here to stay ever since. As wars end and new conflicts begin, the technology of the past is forever relevant in the battles of the future.\nThis article first appeared in the Summer 2021 edition of Coffee or Die\u2019s print magazine.\nRead Next: The 10 Most Ridiculously Awesome Artillery Weapons Ever Used\nMatt Fratus is a history staff writer for Coffee or Die. He prides himself on uncovering the most fascinating tales of history by sharing them through any means of engaging storytelling. He writes for his micro-blog @LateNightHistory on Instagram, where he shares the story behind the image. He is also the host of the Late Night History podcast. When not writing about history, Matt enjoys volunteering for One More Wave and rooting for Boston sports teams.\nThe original plan was to send Ukraine 31 of the newer M1A2 Abrams, which could have taken a year or ...\nThe Biden administration announced Monday that it has determined all sides in the brutal conflict in Ethiopia\u2019s northern Tigray region committed war crimes and crimes against humanity.\nIn its yearlong study of almost 900,000 service members who flew on or worked on military aircraft b...\nAmerican veterans are taking the lessons they learned in the military and changing the craft distilling industry.\nIn a memo released Thursday, Austin called for the establishment of a suicide prevention working gro...\nThe Sea Dragon 23 exercises that started on Wednesday will culminate in more than 270 hours of in-fl...\nIn his latest poetry collection, Ranger-turned-writer Leo Jenkins turns away from war to explore cosmic themes of faith, fatherhood, and art.\nThe Pentagon on Thursday released video of what it said was a Russian fighter jet dumping fuel on a ...", "id": "<urn:uuid:8389be01-9cfa-487a-a286-73fc7fef5893>", "dump": "CC-MAIN-2023-14", "url": "https://coffeeordie.com/history-military-rockets-missiles/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296944452.74/warc/CC-MAIN-20230322180852-20230322210852-00552.warc.gz", "language": "en", "language_score": 0.9673411250114441, "token_count": 1966, "score": 3.953125, "int_score": 4}
{"text": "The Abidji language is a member of the Kwa subfamily of the Niger-Congo language family, spoken by approximately 100,000 people in the southeastern region of C\u00f4te d\u2019Ivoire. Linguists have noted that the Abidji language is part of a cluster of languages in the region, including Baoul\u00e9 and Agni, which share many linguistic features.\nThe Abidji language has been subject to extensive study by linguists and anthropologists in the past few decades. One area of research has been on the phonology and tonality of the language. The Abidji language has two phonemic tones, high and low, which can be used to differentiate between words. The tones can be used to indicate different grammatical features, such as tense or mood. The language also has a system of vowel harmony, which affects the pronunciation of certain words.\nAnother area of research has been on the syntax and morphology of the Abidji language. The language is primarily a subject-verb-object (SVO) language, with a few exceptions. The morphology of the language is agglutinative, with many affixes used to indicate tense, aspect, and other grammatical features. One interesting feature of the language is that it has a system of noun classes, which is used to classify nouns based on their gender or animacy. These classes are marked by specific prefixes, which are used in conjunction with other affixes to indicate other grammatical features.\nLinguistic anthropologists have also studied the sociolinguistic aspects of the Abidji language. One area of research has been on the language\u2019s role in local identity and culture. The Abidji language is an important marker of identity for many people in the region, and it is often used in traditional rituals and ceremonies. Linguists have noted that the language has a rich cultural history, and that it is an important part of local folklore and storytelling.\nAnother area of research has been on language contact and language change in the region. The Abidji language has been in contact with several other languages, including French and other local languages, and this has resulted in a number of linguistic changes over time. For example, there has been borrowing of vocabulary and grammatical structures from other languages, which has led to the creation of new words and expressions in Abidji.\nLinguistic anthropologists have also studied the relationship between language and power in the region. The Abidji language has historically been marginalized in relation to French, which is the official language of C\u00f4te d\u2019Ivoire. This has led to a situation where French is often seen as the language of education, government, and power, while Abidji is seen as a more informal or even stigmatized language. Linguists have noted that this situation has led to a language shift among some younger Abidji speakers, who are increasingly choosing to speak French in order to gain access to education and employment opportunities.\nThe Abidji language is a rich and complex language that has been the subject of extensive study by linguists and anthropologists. Research on the language has covered a wide range of topics, including phonology, syntax, morphology, sociolinguistics, language contact, and language change. Linguists have noted that the language is an important marker of local identity and culture, and that it has a rich cultural history. However, they have also noted that the language is in a complex sociolinguistic situation, where it is often marginalized in relation to French. As such, the study of the Abidji language is an important area of research for anyone interested in the linguistics and anthropology of West Africa.", "id": "<urn:uuid:bb70f8a7-5c97-41a2-810b-eef51d79aeaa>", "dump": "CC-MAIN-2023-14", "url": "https://glocal.soas.ac.uk/abidji/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949035.66/warc/CC-MAIN-20230329213541-20230330003541-00353.warc.gz", "language": "en", "language_score": 0.9735907316207886, "token_count": 762, "score": 3.71875, "int_score": 4}
{"text": "Stories hold the key for unlocking the door towards powerful learning experiences. As a teacher, you\u2019ll find that stories play a huge part in your students\u2019 lives. They might be obsessing over their favorite books or TV shows, or their favorite Youtube personality. They\u2019re looking for role models, a sense of community, and plainly enjoy stories in a variety of media.\nThis is a big opportunity to show them how they could become creators as well. Anyone who studied at least a little bit of Psychology knows that students retain information better when they make a connection between a concept and their personal stories.\nDigital storytelling is no different. It can enable students to share their stories and teachers to make learning more personalized. Storytelling allows students to understand the meaning behind each assignment and nurtures their innate curiosity.\n5 digital storytelling misconceptions - debunked\nMore and more schools integrate digital storytelling in their curriculum, which is great. However, there are still some digital storytelling misconceptions that could hinder an educator from using it to its full potential. So today, it\u2019s all about debunking them!\nDigital storytelling is only for classroom engagement\nStudent engagement during classroom activities is definitely improved when digital storytelling is used. However, this is not the only benefit. As this study involving 15,000 students shows, there are many direct and indirect benefits of digital storytelling.\nStudents are more curious about a subject, their knowledge and retention of material are also improved. Their communication skills are enhanced, as they collaborate better with teachers and students. Students develop their digital literacy skills and are more interested in new technology.\nRead more: Digital literacy vs. Computer literacy: Students need to develop both\nPerhaps not surprising to some teachers, students gain the ability to organize content better, a very useful skill for the future. Speaking of the future, they also show more responsibility, discover new talents, learn how to express themselves, and feel included. All of these indirect benefits will surely come in handy later on.\nDigital storytelling has to be up to a high standard\nTeachers need to set a standard for their students, and have high expectations for them to succeed. However, when assigning digital storytelling projects, setting too high a standard for using technology can be counterproductive. It\u2019s not about the actual tools that they\u2019re using, it\u2019s about the meaning of the story.\nCreating a space where students feel free to explore their creativity is the ultimate role of the teacher. On a similar note, it\u2019s OK for students to use something the teacher doesn\u2019t personally know how to use such as video editing software.\nA general rule is that digital storytelling becomes less effective when students feel that they should play it safe and stick to one medium just to please the teacher.\nDigital storytelling is time consuming\nCrafting a compelling digital story doesn\u2019t have to take a lot of time. When they immerse themselves in storytelling they are participating in an educational activity with a purpose so it\u2019s time well spent.\nTo actually save time, students have more tools at their disposal than ever before, be it social media, blogs, apps etc. Digital storytelling is not just for older students that are more experienced in using technology. Even elementary school students can benefit from digital project-based learning, especially when it comes to developing their reading and writing skills.\nThey can also unleash their creativity for free or on a very low budget. For example, students can use green screen to tell their story, which takes less time and money than most people think.\nDigital storytelling is not for STEM\nStorytelling not for STEM? Say that to Columbia Assistant Professor Christopher Emdin, who uses storytelling through rap to teach science, or to Neil deGrasse Tyson. In fact, science teachers know that students learn better when storytelling is involved \u2014 yet not all of them know how to harness its power.\nTeachers who successfully do this almost always use storytelling to illustrate how concepts were discovered, how things are made, and how to use science in everyday life.\nPlus, storytelling can make assignments more interesting. Students can do their research to see how different professionals use Math, for example, in their work. They can use data to tell stories and create charts to support their point of view.\nStudents can do just as well with analog stories\nI tend to agree with this partially. Personally, I prefer to read and write more than anything, which also means that I always did well academically. However, when creating their own stories, some students are better at writing essays, others are better at taking photos, and others can express themselves through stop motion animation. Educators shouldn\u2019t be dismissive of different forms of expression.\nIt\u2019s all about augmenting and finding other forms to express themselves beyond what is traditionally seen as \u201cacademic\u201d. I, for one, love the work of Emily Bailin, a hip hop educator, who helps students tell their stories using photographs, video, music, and more.\nLet\u2019s tell a story!\nAccording to research as well as the hands-on experience of teachers, the common myths about digital storytelling don\u2019t hold water. There are many ways in which educators can use digital storytelling, whether it\u2019s for assignments, classroom teaching, or as a method to create a more inclusive learning environment.\nThe benefits of digital storytelling extend to all types of subjects, including STEM. Yet, the greatest benefit is enabling students to find their own voice, their own strengths and talents, and giving them a space to use them to their full capacity.", "id": "<urn:uuid:95d9380c-2b98-439e-903d-90c69d6b7583>", "dump": "CC-MAIN-2023-14", "url": "https://www.cypherlearning.com/blog/k-20/debunking-5-digital-storytelling-misconceptions", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943749.68/warc/CC-MAIN-20230322020215-20230322050215-00550.warc.gz", "language": "en", "language_score": 0.9650307297706604, "token_count": 1157, "score": 3.625, "int_score": 4}
{"text": "How do bilingual books work?\nBilingual books are a wonderful aid to learning a second language and are particularly effective for toddlers and young children. They are sometimes referred to as \u2018Dual Language Books\u2019 or \u2018Side-by-Side Books\u2019 and have 2 different languages on the same page with the second language being a translation of the first, allowing the reader to compare vocabulary, language style, grammar and alphabetical characters with ease.\nBilingual books have been around since the 1980\u2019s and are widely recognised as a valuable resource for parents and educators to use with children, as they provide a child-friendly bridge to reading and speaking in another language.\nSome reading methods for you to try\nThere are many different ways to read a bilingual book and you will find the right method for you and your child. There is no right or wrong and bilingual books are there to bring the joy of storytelling to a language learning environment in a fun and interactive way.\n1. Read the book first in the main language, then in the second/weaker language\nOne of the most popular methods is to read the story aloud in the child\u2019s main language first, so that they can get to know it. Treat it like any other story book and look at the pictures, talk about the story and interact with the characters. Understanding the story in the stronger language can help in the process of learning the weaker language.\nGo back and read the story again, this time in the second or weaker language and then again in the first language. Don\u2019t worry if your pronunciation isn\u2019t quite correct in the weaker language, just have fun trying it out. The idea is to stimulate curiosity and interest in the second language. When you think you and your child are ready, you can try reading the story in the second language only. Ask them to read it with you if they are keen to try.\n2. Let your child have a go!\nAbove all encourage your child to have a go. Unlike adults, young children are usually not that self-conscious and this is excellent for building up confidence in a foreign language. Remember, having fun is the most important part of learning a language. Bilingual books provide a good base for this on many levels. Comparing the words, the different sounds and showing the new letters in a language\u2019s alphabet are just a few ways to make languages fun and exciting.\nA bilingual book will work in any language combination and here at Unuhi we feature 20 languages which makes for a total of almost 200 different language combinations! We are bringing bilingual books to as many kids as we can across the globe.\n3. Remove the weaker language and ask your child to translate\nFor more advanced learners, try removing the weaker language and ask your child to have a go at translating into it. Then reveal Unuhi\u2019s translation and see how they compare.\n4. Go wordless\nRemove both languages and go wordless! Wordless picture books are a fun way to promote creativity and imagination. You can enjoy Unuhi\u2019s illustrations, talk about what you see and even create your own story.\n5. Play games\nPlay games to identify the nouns, adjectives, pronouns and verbs in the stories. Find things that are interesting in the illustrations. (For example, have you spotted the duck-shaped cloud in \u2018Rikki\u2019s Week of Weather\u2019?)\n6. Try different languages\nRandomly select a language and have fun letting another person guess which one it is.\n7. Have fun with our flashcards\nWhen you\u2019re reading our flashcards, try to guess which other languages use the same word for the object you\u2019re looking at. You might be surprised at the similarities!\nTell us your methods!\nIf you have a unique way of reading your bilingual books, or a game you play with the app, we would love to hear from you so please do get in touch with us\nWhy not download and try your first book for free? The Unuhi App is available on iOS and Android. Start reading bilingual books to your children today!", "id": "<urn:uuid:fa6c2134-2850-49a7-9385-3b411d83a301>", "dump": "CC-MAIN-2023-14", "url": "https://unuhi.com/what-is-a-bilingual-book-and-how-do-you-read-one-with-your-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943746.73/warc/CC-MAIN-20230321193811-20230321223811-00151.warc.gz", "language": "en", "language_score": 0.9454612135887146, "token_count": 856, "score": 4.03125, "int_score": 4}
{"text": "Different people have different names for creative writing. It was traditionally referred to as literature. It is an art of imagination and making things up. In the world of writing, creative works are done in a way far from academic or technical use. It is majorly aimed at attracting an audience. In the simplest terms, creative writing is writing original works, with self-expressive ideas. We cannot, for instance, call a newspaper creative writing because it carries facts, to mainly inform, rather than entertainment. Creative writing seeks to create awareness through entertainment and sharing of human experience. It expresses anything and everything that defines humanity, i.e., love, hate, loss, politic, and much more. Creative writers attempt human stories and truth through poetics and storytelling.\nWe can define the word \u201ccreative\u201d in several ways. First, it is the ability to create textual content from something or nothing. It can also be defined as imaginative work or productive and imaginative. Creative writing can be termed as \u201ccharacterized by expressiveness and originally. It is mostly linked to the writing of fiction. The creator comes up with an even world where events, scenes, and characters flow with their imagination. This means creative writing can include all expressions, apart from instinctive utterances.\nTo study creative writing, we can define it as an artistic work that expresses events and emotions through imagination. The primary intent of such work in this context is to arouse emotions. This brings us to types of creative writing, which is fiction, using imaginary events, and non-fiction, which is based on facts and true events. Fiction and non-fiction writings have a fragile line between them. It is all about the level of creativity the writer uses to bring out their feelings.\nTo some extent, all writing is creative. As long as there is re-creation, selection of some component, and removal of others, then one can argue that whatever piece of writing they have is creative, even when it may not seem so. Human beings naturally love telling stories. They can create anything in their mind and tell in such a way that creates a picture to the listener. Consider a statement spoken in excitement, such as the following:\n\u201cNanna, see the dog mummy gave me\u2026 he has such a big nose, just like mine.. Yesterday he ate a whole burger\u2026 he will be a big big dog Nanna, my bestest puppy.\u201d\nIn this announcement, you can feel the excitement in the boy\u2019s voice. Even the language he uses expresses the idea at his level of understanding, conveying both information and as an idea. You can tell the boy expects a particular kind of response that will reciprocate the excitement. If the statement was any less exciting, the answer would come with the same magnitude.\nCommunication generally has a creative aspect. All communication ends up being about reality. In other words, every piece of idea communicated tries to re-create the idea they represent. Every idea is different from another, even in their representation.\nIt is crucial to understand how creative writing differs from other kinds of writing. As stated above, all writing goes through a creative process and is delivered on the writer\u2019s terms. Creative writing, therefore, conveys information, just like informative writing (detailed statements/explanations). All forms of communication aim to deliver information, and creative writing is no exception. However, the overall goal of creative writing is to evoke certain emotions, more than inform. And in so doing, it elicits a reaction based on the feeling stirred.\nIn a narrative, for instance, the storytellers express their feelings about a specific area of life and engage the reader in their opinions. A poet, on the other hand, uses images, people, and events, delivering more concrete emotions. For dramatists and screenwriters, it is all about providing action in dialogue. And when someone writes a feature on a magazine, their comments to real people and real lives evoking, empathy, delight, horror, or concern because it touches their lives directly.\nWe can write any category of written works to engage the reader in an emotional as well as intellectual manner. However, the point of emphasis may make certain work, more or less creative. Sometimes we may not even see the differences between creative and informative writing. There are many pieces of work we know very well are primarily educational, but the way they are delivered involves a lot of creativity. There are other creative works as well, which carry so much information one may think they are informative. In many other instances, creative writing and informative works carry almost the same weight.\nIn this case, we can say creative writing should use the same writing skills that do excellent informational writing. It should have a good basis for arguments or great exposition. A good writer with exceptional skills can use such skills to convert any works into a creative piece. Even in fiction, there are very many elements of real life. It takes part in reality; it creates fiction. Even science fiction and fantasy fiction draw in use ideas about the world and what it could be like in certain instances.\nGenres and forms of writing\nGenre is a term used to refer to categories of types in written works. Creative writing has several genres, the main ones being:\n- Short stories\n- Stage play scripts\n- Music lyrics\nCreative writing also features in:\n- Magazines articles\n- Features stories\n- Card greetings and\nThese genres follow specific forms of writing. Regardless of the genre, most popular writing forms include:\n- Exposition or Reporting\nCreative writing is a way of expressing ideas and emotions through written work. Whichever type it takes, the work should have information as well as entertain. For those trying to get into the world of creative writing should take both informative and innovative approach. As discussed above, every idea comes from real-life experience and should be related as such.\nMar 27, 2020", "id": "<urn:uuid:4184d1bb-e871-402b-9803-7deff17973f3>", "dump": "CC-MAIN-2023-14", "url": "https://essayrx.com/article/creative-writing-the-art-of-writing", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945315.31/warc/CC-MAIN-20230325033306-20230325063306-00153.warc.gz", "language": "en", "language_score": 0.9603287577629089, "token_count": 1270, "score": 3.5625, "int_score": 4}
{"text": "From: Eric Miller, World Storytelling Institute\nDate: Sat 17 Oct 2020\n________Notes on Using\n____Storytelling for Healing\nWhat is a Healing Story? What are some ways that Healing Stories work? In what ways could stories and storytelling assist, stimulate, and support healing (growing, and transforming) processes?\nHealing may be called for after traumatic events in life -- losses, or having been injured.\nHealing in the physical sense refers to recovery after flesh is cut, crushed, or otherwise damaged. The wound needs to be cleaned. The external toxic situation needs to be resolved so there is no further damage. Nutrition and other conditions conducive to healthy life need to be there. Then what is usually called for are: rest, time, and love (support).\nHow could this be applied to the emotional and psychological levels?\nPart of a psychological healing process might involve remembering (in one's memory and imagination) a situation in which one experienced a trauma. One might role-play -- speaking to and as characters in the situation. One may benefit from expressing towards the characters (including oneself) emotions such as disappointment, anger, forgiveness, acceptance, understanding, and love. This is sometimes known as taking care of \"unfinished business\" -- this term is a metaphor for an interaction that one feels was not fair or satisfying. This kind of role-playing may lead to experience and release of emotion, often called catharsis and abreaction. Then perhaps one could let go of \"old baggage\".\nOne cannot heal someone else. Only the client could heal the client. Things a facilitator could do is stimulate, nourish, guide, and seek to raise awareness in the client.\nThe very process of using one's imagination (alone and/or with others); of exploring thoughts, feelings, images, and characters; and of developing an inner dialogue with various feelings and thoughts within oneself (which could be personified as \"voices\"), could increase healing and wellness in oneself.\nThe theme of healing includes growing, maturing, finding unexpected resources within oneself, developing one's imagination and creativity, resiliency, healthy coping mechanisms, \"finding one's voice\", \"finding one's self\", maturity, emotional intelligence, and social (inter-personal) intelligence.\nThis theme may involve recovering from traumas and building up one's ability to be resilient, as well as non-traumatic situations such as\n1) Growing, like a seed may grow to become a tree, and\n2) Creativity (including finding and creating solutions to challenges).\nA story can be a model of the past and a model for the future. But a Healing Story can be more than just a model to follow. The right story could \"do its work\" on one.\nPoetically-speaking: a story may tap one on the shoulder, wanting to be told.\nA Healing Story could engage with a client's conscious and unconscious, and comfort, encourage, nourish, support, and stimulate the client. Such a story could help the client to transform and grow. Symbols of transformation can trigger actual transformative processes in a person. The right story could help one to integrate various aspects of one's self and one's experience. It could help one to \"get oneself together\", \"straighten oneself out\", \"put the pieces together\", and \"connect the dots\".\nFeelings of wellness increase --\nWhen one feels connected to one's unconscious, and to the collective unconscious.\nWhen on feels one knows who one is, where one is coming from, and where one is going (on various levels).\nWhen one knows \"what one is about\".\nWhen one knows one's abilities and aptitudes (potentials).\nA person may suffer a \"broken heart\", feeling crushed, lost, and devastated. At such a point, a client may lose hope, and become de-motivated. There may be \"a dream that never will come true\".\nHowever, what the client was dreaming of may still be able to come true in a different way. This is where one could practice \"Life-story Repair\" -- re-chart one's course, taking the new circumstances into account. One could still \"live happily ever after\" -- or do a reasonable facsimile of such (which is all anyone could do in the real world anyway).\nSometimes \"one can't see the forest for the trees\", because one's vision is being blocked by a large tree right in front of one. One may lose perspective. Get overwhelmed. At such times, one needs to see things with a broader perspective. One needs to reframe one's perception of the situation.\nFraming and reframing concerns how one looks at one's situation. A glass can be perceived as being half-empty (insufficient, falling short) or half-full (some has been done, and more could be done). Reframing one's circumstances, how one sees one's circumstances, can get one \"back on track\". One can regain hope and motivation. Helplessness, seeing no way out of an unpleasant situation, leads to depression.\nCarl Jung's term for integration is individuation. This is a process by which one becomes a mature individual --\n1) the various aspects of oneself are connected, and\n2) one is connected with the cosmos.\n1) Become aware of, bring into play, and acknowledge the existence of, the various aspects of oneself. One could personify -- and converse with -- various personality traits within oneself. People we have known become aspects of our imagination, and finally aspects of ourselves. We internalise that which we remember and hold near and dear.\n2) Come to a clear understanding of one's place in society, culture, history, and the cosmos. Is one a member of a social movement? Is one a member of a religion which has a concept of how life began on earth and how it might end?\nFairytales may concern maturing, learning a lesson, and/or overcoming -- or coming to be at peace with -- a challenging situation. In fairytales, characters may undergo difficult experiences. The perseverance, resourcefulness, determination, resiliency of these characters could relate to healing. Coming to a realisation about oneself or others could be healing.\nIt might be useful to keep this saying in mind:\n\"I hope to change that which I can change, to accept that which I cannot change, and to have the wisdom to know the difference\".\nNotes on a Method of\nStorytelling Therapy (8 Steps)\nUsing Storytelling for Psychological Counselling, Psychotherapy, Facilitating Healing, Life Coaching, and Facilitating Personality Development (of self and others).\nThe 8 Steps\n1) Tell your Life Story.\n2) Listeners share similar experiences.\n3) Identify turning points, outstanding motifs, and themes of the Life Story.\n4) Gather Associative Stories.\n5) Modify / Add to / Subtract from any of the above-mentioned stories.\n6) Speak to and as characters in the stories.\n7) Seek to bring to mind metaphors for aspects of the stories.\n8) Compose a Healing Story (Inspiring / Encouraging / Guiding / Integrating / Transforming).\nTo read about using metaphors for healing, please see the \"Metaphor Therapy\" wiki page, and Susan Perrow's essay, \"The Mystery and Magic of Metaphor\".\nAn example of a Healing Story is the \"Moon Rabbit Story\".\nAlso, this article may be of interest:\n\"There's a New Therapist in Town: Storytelling Therapy\", Indian Express, City Express section, page 5, 11th Sept 2019.\nOn World Mental Health Day 2020 (10th Oct), I spoke for 10 minutes about \"Using Storytelling to Improve Mental Health\". The link to the recording is here.\nTo WSI homepage", "id": "<urn:uuid:c88bfc4b-da2a-4b40-9255-1def041de816>", "dump": "CC-MAIN-2023-14", "url": "https://storytellinginstitute.org/Storytelling_and_Healing.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949025.18/warc/CC-MAIN-20230329182643-20230329212643-00154.warc.gz", "language": "en", "language_score": 0.9456254839897156, "token_count": 1646, "score": 3.5, "int_score": 4}
{"text": "A teaching model for fostering literacy through the arts in early elementary in which children learn to create characters, settings and stories through multi-media puppetry arts. Puppetry is rooted in the storytelling of cultures around the globe and easily engages diverse groups of students.\nThe goals of Bridges are:\n\u2022 To clearly demonstrate the connection between the artistic process and the process of building literacy skills\n\u2022 To build capacity in arts and literacy educators to implement Puppetry Arts for Literacy in their classrooms\n\u2022 To advocate for this approach and to publish comprehensive online curricula that will be accessible to a national audience\nHow We Bridge the Arts and Literacy:\nBridge 1: Multi-Sensory Immersion in Story Concepts and Skills\nStudents learn literacy concepts such as settings, characters, dialogue and plot through physicalizing, visualizing and vocalizing stories. Immersing in stories through sensory information is developmentally appropriate for early childhood learners. It makes literacy concepts accessible and meaningful for a wide variety of learners, including students who are English learners, students with disabilities and talented and gifted. Take a look at how sensory immersion helps students understand an unfamiliar story setting:\nBridge 2: The Descriptive Language Process\nThis step by step process integrates descriptive language into the art-making process. Teachers describe students\u2019 artwork in detail as they make it, modelling for students how to use language to talk about what we observe. They give students many opportunities to describe\u2014this description helps students develop their artwork further and builds a habit of speaking in detail about their own perceptions and drawing inferences. Check out this example of teachers describing students\u2019 physical expression of character emotions:\nBridge 3: Thinking and Working Like an Artist Using a Rigorous Artistic Process\nThe process of developing an idea through puppetry mirrors the process used in literacy, but it provides many more entry points for early childhood learners. We teach students a rigorous series of steps for coming up with and expressing story ideas through the arts and language. The steps of the artistic process we teach includes: brainstorming, explore and play, develop an idea, reflection or feedback and revision. Check out this first grade group\u2019s artistic process as they develop an original story:\nBridges was developed through the work of ArtsConnection staff, teaching artists and classroom teachers at schools in Brooklyn and Queens over the past ten years. The program is supported by grants from the U.S. Department of Education:\nProfessional Development Arts Education Program (PDAE) Grant (2014-2018)\nA recently awarded Assistance for Arts in Education Model Development and Dissemination Grants Program (AAEDD) (2018-2022)\nNo comments yet.", "id": "<urn:uuid:42a17f8e-3627-4970-97f3-3483a7a931db>", "dump": "CC-MAIN-2023-14", "url": "https://artsconnection.org/puppetry-early-childhood-literacy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950528.96/warc/CC-MAIN-20230402105054-20230402135054-00774.warc.gz", "language": "en", "language_score": 0.9323604106903076, "token_count": 547, "score": 4.03125, "int_score": 4}
{"text": "If you are a teacher, there might be children in your class who have recently arrived in the country and have limited English proficiency. Although language barriers can be a problem for grade-level learning, young children are naturally able to learn another language quickly alongside their academics. Sometimes, the biggest obstacles are those that educators cannot control such as having to adapt to life in a different country or home environment.\nIt takes a little patience, love and support, and young English language learners (ELLs) will demonstrate excellent academic performance. In this article, we will take an in-depth look at the techniques used for teaching english as a second language. We will also discuss the best tips for parents.\nStrategies for General Education Teachers\nIt can be difficult to find the right way to support ELL students, regardless of what programs are available at your school. These ideas will help you offer them better support.\nApps have advanced significantly in recent years, particularly the ones aimed at students who require extra help and attention. Such software can be accessed by both parents and teachers through their school district, or individually. These apps range from grammar games to translator tools. You might want to try:\n- Free english learning worksheets from Kids Academy\n- Google Translate\n- Grammar Up\nUse the Buddy System\nPeer learning is a most powerful tool. Look for the students in your class who are natural leaders and at the same time great learners. Choose peers for your English language learners. A buddy system will allow them to feel at ease and get support during assignments and group activities. Language learners who are paired with a friend can learn greetings and colloquialisms, as well as improve their grammar through interactions.\nFor students learning English, vocabulary alone is not very helpful. Your lessons should connect vocabulary to the topic you are currently teaching. For instance, when reviewing spelling words or sight words make sure to connect them with a topic or context students are learning about.\nPre-teach and Reteach\nPre-teaching difficult words is very useful for both native speakers and language learners. Target words should be taught in advance so that students can understand their meaning and place them in context.\nMake sure that you have a plan for reteaching and retesting. Stick to RTI processes of your school, as well as those of your district to ensure you follow the necessary regulations while reteaching targeted skills.\nUse ESL Techniques During Whole Group Reading\nIt\u2019s important for a teacher to use definite strategies when previewing words and reading aloud with the class. These ideas will help words and their meanings stick:\n- Point to pictures and words, use gestures and facial expressions to explain the meaning\n- Display real objects\n- Use the whiteboard to draw explanations\n- Use simple language to make sure that students understand what you mean\nIt\u2019s a good idea to break down assignments and projects into smaller pieces and then offer the students the specific support and accommodation they need. Contact your campus ESL coordinator and ask for bilingual dictionaries and assistive devices. Make sure to review information before you present and reteach it.\nESL Instruction in Schools\nTeaching ESL to children can be very different depending on your state, district or school. While the federal government has a list of recommended practices, the states have specific regulations and mandates regarding programs for ELLs. What is more, some districts may follow these procedures in their own way. Resource teachers and materials vary by campus. In addition, some private schools don\u2019t include any ESL staff or services altogether.\nHowever, you might find these models no matter where you are teaching:\nPull-Out and Push-In Services\nESL classes can be held in a separate classroom when a teacher who is certified to teach ELLs pulls a student out of a regular ELA class. This is called \u201cpull-out\u201d, where the student joins others who need similar support for a small group lesson that replaces a general education class.\nPush-in services, on the other hand, use a nominated staff member who co-teaches a class with a general education teacher. This cooperative approach allows the regular instructor to work out lesson plans that are geared toward the whole class while the ESL instructor offers accommodations for students who need them.\nMany students arrive in the country without knowing any English and of course they require a lot of support. They must not only learn the basics of a foreign language, but also face the danger of falling behind their peers in such important subjects as math and reading. Many schools have a resource class that completely replaces the traditional classroom. This class will allow students with similar language skills to collaborate with the ESL instructor for as many hours as they need.\nDual Language Programs\nThere is nothing better than teaching ESL to children alongside native speakers who want to learn ELLs\u2019 mother tongue. For example, such dual language programs may be an excellent option for speakers of Spanish.\nThese programs promote bilingualism and are usually held in regular campuses in your community, but they can also be offered in charter or private schools. Half the day students are taught in Spanish, and half the day in English. Both Spanish and English speakers benefit from total immersion which facilitates the acquisition of a second language.\nTeachers and Parents Working Together\nIt is important for educators to maintain open communication between schools and parents of ELLs, but when language barriers become a hindrance to collaboration, you might reach out to your colleagues who will help you with translation.\nParents, too. need to communicate openly with teachers and help their children in learning a second language, as well as their academics. Different countries often have different policies and curricula, and this may seem daunting at first; however, these tips will help both parents and teachers to contribute to students\u2019 academic success.\nContinue the development of the first language\nAt first sight, it might seem counterproductive to improve skills in an ELLs\u2019 native language. However, it is essential that language learners go on improving their reading and writing skills in their native tongue. Teachers and parents should not expect English to substitute a student\u2019s mother tongue and cultural background. Their goal should be bilingualism, when students\u2019 culture is appreciated and celebrated.\nEducational Television Shows and Apps\nParents can watch educational videos with their children or use apps and learn together. These are some of the most popular resources:\n- Sesame Street\n- Free English learning videos by Kids Academy\n- Leap Frog\nEncourage parents to read with their children\nParents might only speak their native language or might not be able to read. In this case, they might like the idea of using wordless picture books as a way to practice both their mother tongue and English, as well as have storytelling sessions with their families. In addition, parents are also recommended to read books in their own language with their children.\nIt can be overwhelming to teach ESL, in particular when you are a general education teacher and must adjust your teaching to suit many different personalities, abilities and challenges. Luckily, there are many tricks and techniques you can adopt to help your ELL students succeed.", "id": "<urn:uuid:f5e1282c-c926-4134-8c1e-85d044f6b7d9>", "dump": "CC-MAIN-2023-14", "url": "https://thetecheducation.com/how-to-teach-english-as-a-second-language-to-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948609.41/warc/CC-MAIN-20230327060940-20230327090940-00354.warc.gz", "language": "en", "language_score": 0.960286557674408, "token_count": 1494, "score": 3.671875, "int_score": 4}
{"text": "'Multimedia' is the word used to describe the combination of different digital media like text, graphics, photographs, animation clips, video, voice, and music and sound effects. The benefits of multimedia methods of information delivery are encrypted. People have both visual (sight) and auditory (sound) capabilities for processing information, and multimedia products take advantage of both to convey information and knowledge in an effective manner. Materials produced using a combination of these media are generally more attractive and easy to follow than single medium products. They enable complex ideas and procedures to be presented in a simplified way, and allow the projection of more complete and rounded concepts and models. The potential benefits of 'good practices' can be shown visually and illustrated with step-by step instructions that can be followed even by those with poor literacy skills. Multimedia products are more effective in delivering messages and lead to better learning and retention. As they are electronic, they can be reproduced and used to deliver information and knowledge consistently and economically to different locations and audiences, with a flexible schedule, regardless of the availability of qualified teaching or extension staff.\nAn important complementary approach that can be used to link with and enrich multimedia products is the use of 'alternative media'. Alternative media in the sense used here refer to traditional ways of communicating from person to person and community to community like songs, dance, storytelling, poetry, street theater, drama, and puppet plays. These methods have been used over centuries to convey information and knowledge from one community to another and one generation to the next. They entertain and are familiar, and can be especially successful in reaching a broad range of people and and more communities. The 'products' can be developed locally to suit local needs, but they usually only reach a small audience. However, by capturing the plays, songs and other products electronically \u2013 on film, on tape, in photos \u2013 and including them in a multimedia product, they can be shared far more broadly and used to enrich the multimedia product itself.\nThe multimedia approach itself is 'hi-tech', but can be made very user friendly with the right equipment and software. Even inexperienced local NGOs can develop useful multimedia products for themselves with only a small amount of training. These local products \u2013 on anything from agriculture and livestock, through health problems and sanitation, to eco-tourism, gender and equity \u2013 can be collected centrally to provide a pool of resources for use in telecentres, schools, colleges and other community learning / information centers. This is the approach that IMCO is starting to develop. Read more on this Shared Knowledge of Issue 14 \u2013 Click here .", "id": "<urn:uuid:1361fda3-70c4-41f9-a566-c66431edff55>", "dump": "CC-MAIN-2023-14", "url": "http://yesshare.com/archives/211/multimedia-approach-for-sustainable-knowledge-delivery", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943747.51/warc/CC-MAIN-20230321225117-20230322015117-00354.warc.gz", "language": "en", "language_score": 0.9426314830780029, "token_count": 523, "score": 3.703125, "int_score": 4}
{"text": "Elementary Program ( Ages 6 -12 Years )\nOur elementary program continues to foster a love of learning. The \u2018cosmic curriculum\u2019 demonstrates to students how they are part of a global family and is intended to spark their curiosity and inspire them to explore and discover.\nClassrooms offer a non-competitive environment with endless opportunities to pursue knowledge through independent and self-directed work. Social interaction among children of different ages facilitates the development of co-operation, self-confidence and respect for others. Students learn responsibility and problem-solving as they develop essential life skills.\nChildren may remain in our elementary program until the age of 12 and can enter a grade 7 program at a school of their choice. Our curriculum is comprehensive and places emphasis upon time management, self-discipline, initiative, independence.\nThey are guided and encouraged to reach their full potential in all subject areas: mathematics, geometry, language, geography, history, botany, zoology, French, music, art, and physical education.\nMath and Geometry\nThese areas focus on developing a comprehensive understanding of mathematical rules and concepts. Children develop logical, analytical and problem-solving skills. They experience concepts concretely with the materials as they progress towards the abstract. Children develop a solid understanding of the decimal system and numeration from 1-1,000,000. Memorization of maths facts and an understanding of the maths operations is a main focus of our lower elementary program. As children move into the upper elementary program they begin to work more abstractly and apply previously learned concepts. Some topics studied are operations, fractions, geometric classification, names of shapes, angles, measurement of angles, decimals, negative numbers, etc.\nAt this level the students use their preliminary reading skills, established in the casa program, to develop a love of reading. The use of concrete materials is still vital as students explore the rules of grammar and study the history and function of words. Verbal and written expression as well as listening comprehension are valued components of the program. Analytical skills are used in examining written literature and children are encouraged to experience various forms of writing. Creative writing is also an important part of our language program and basic writing rules and skills are developed.\nGeography, History, Botany, Zoology\nThe \u2018cosmic curriculum\u2019 is the basis for the curriculum in the cultural area. Students explore the history of time, the universe, animals, plants and humankind. It is the primary aim of the cultural curriculum to instill a respect and appreciation for all that has occurred throughout history. The students discover where their place is within the universe and ultimately what their role is within society. Topics taught at this level are presented in historical order so that the students develop a deep understanding of how all events are interconnected and have helped shape today\u2019s world. Time lines, classification charts, experiments and other concrete materials are used to demonstrate key concepts. Children are encouraged to explore or research topics that are of interest to them individually so that their own inquisitiveness is satisfied.\nAt the elementary level the goal of the French program is to develop a solid comprehension of the spoken language while also developing verbal communication skills. As they progress through the program they are introduced to written rules and skills and acquire the ability to combine all areas of communication in the French language.\nThe music program continues to foster a love of music. The program includes music appreciation, music history, basic music theory, introduction to various instruments and singing. Music play is the music curriculum taught to the elementary children in levels 1 to 6. Orff and Kodaly form the basis for the program. The children sing, play games, read and write notation in a workbook, play percussion and Orff instruments, learn solfege hand signs, listen to works by famous composers and learn to play the recorder. Music also continues to be integrated within the classroom so that students are exposed to various styles of music.\nThe Physical Education program stresses the importance of exercise and a healthy lifestyle. Nutrition and physical fitness is part of our curriculum and children are introduced to various sports and skills. We also offer exposure to other activities such as drama, yoga and dance.", "id": "<urn:uuid:c45e2e4a-217f-455e-a8eb-e310079fe825>", "dump": "CC-MAIN-2023-14", "url": "https://kwmontessorischool.com/elementary-program/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945323.37/warc/CC-MAIN-20230325095252-20230325125252-00553.warc.gz", "language": "en", "language_score": 0.9539074897766113, "token_count": 865, "score": 3.515625, "int_score": 4}
{"text": "Strategies to Incorporate Mindfulness in Your Classroom Curriculum\nStrategies to Incorporate Mindfulness \u2013 Since ancient times humans have realized the power of staying alert, living in the moment and how these practices enhance our performance and success in our lives. Mindfulness is the practice of staying alert, being aware and ever present in the moment. It involves relaxing one\u2019s body, spirit and mind to improve their focus and mood.\nWe live in a turbulent world. Due to the rigors of modern lives, we all experience some form of stress or anxiety on a daily basis. The life of a student is equally stressful if not more than adults. The burden of studies coupled with high expectations from parents, teachers and friends can be stressful for the students. Nowadays, schools are doing just about everything to make teaching, learning and management more efficient.\nFrom smart classes to LMS, ERP and likewise, there are a myriad of tools available to make teaching more efficient and effective. However, it is equally important to ensure that our students are in the right frame of mind which is conducive to learning. This is where incorporating mindfulness in your classroom can help you reap dividends. Mindfulness not only enhances the attention span and learning skills of the students, but it also improves their Emotional Quotient and social skills. Here are a few strategies to incorporate mindfulness in your classroom which will ensure that your students make full use of their brainpower to realize their potential\u2026.\nMindfulness strategies suitable for Elementary Classes-\nA great way of introducing elementary school students to mindfulness is practicing a technique known as breath control. As any good book on meditation and mindfulness will tell you, the first and foremost step towards getting good at meditation is getting a hang of breath control.\nLearning proper breath control can make learning advanced mindfulness techniques simpler and straightforward. Educators can ask the students to count to three while inhaling and again while exhaling. Alternatively, teachers can ask the students to inflate their stomachs like a balloon or picture their lungs expanding and contracting with each breath, quite similar to a Hoberman sphere.\nGroup projects and mindfulness routines managed by students themselves are yet another option for the educators. Even listening to soothing and relaxing melodies, going on a trip outside the classroom, storytelling and likewise can be mindfulness inducing experiences for young students.\nMindfulness strategies suitable for Middle Classes-\nTeaching the students to transition calmly, or observing themselves while sitting in the classroom in order to calm themselves and learning how to connect physically with their surroundings are great strategies to teach mindfulness to middle school students.\nProviding students with the opportunity to reflect on various things by assigning each student some points they can ponder over is yet another effective method of introducing mindfulness to middle school students. Educators can also employ the help of various apps and digital tools for teaching mindfulness to students in this age group. In this way, students are free to practice mindfulness at their own time after the school hours. Moreover, this also helps students to customize their learning experiences and choose the ones which reflect their requirements and interests.\nMindfulness strategies suitable for upper classes and college students-\nMeditation is a very useful practice which can be used for teaching mindfulness to students of this age group. Apart from traditional meditation techniques, there are many variations which can be integrated easily even into a very busy schedule such as body-scan or walking meditation. If you are a student who is often stressed out and is especially prone to exam-related anxiety, target mindfulness techniques can be particularly helpful for you. A simple example is curling and uncurling one finger with each breath. Many mindfulness techniques can be practiced anywhere and at any time. For instance, during a class you can practice mindfulness techniques by keeping quiet, observing your breath and being in the moment and watching your thoughts without judgement.\nIn the words of the legend Bruce Lee, \u201cThe successful warrior is the average man, with laser-like focus.\u201d Well, the life of a student is similar to a warrior in many ways and mindfulness in the classroom helps the student achieve that laser-like focus and reduce anxiety and stress. Therefore, educators must encourage their students to practice mindfulness in the classroom in order to help them succeed academically as well as socially.", "id": "<urn:uuid:f0fddeef-87e0-40e1-b32a-023295c02765>", "dump": "CC-MAIN-2023-14", "url": "https://www.red-redial.net/strategies-to-incorporate-mindfulness/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948620.60/warc/CC-MAIN-20230327092225-20230327122225-00554.warc.gz", "language": "en", "language_score": 0.9515894055366516, "token_count": 868, "score": 3.609375, "int_score": 4}
{"text": "How Music Strengthens Social Bond\nMusic has through the ages bonded different human civilizations and cultures. Even newborns and those suffering from dementia respond to music. We listened to music when we were born with lullabies and at graduation at weddings and funerals. There is something about music that brings people together and connects us as a community. It seems that humans are naturally wired for music. But how does music strengthen social bonds?\nMusic Brings Us Together\nBefore we invented the ability to record music for individual listening and enjoyment, music was performed publicly. To be able to listen to music, people had to perform in front of a live audience and this coming together helped provide a social bond and interaction that have helped our early ancestors survive.\nPerforming music together required cooperation and for us to synch our efforts to produce a pleasing sound. Research has shown that this act of playing music in a group helps us develop positive social feelings towards those whom we are synchronizing with, even if they may not be in the same room. Coordinating musical movement with another person releases the pleasure chemical endorphins in the brain. Playing in a band or singing together in a choir definitely requires cooperation and working together develops trust between people.\nMusic Increases Empathy\nMusic has been found to activate many areas of the brain. It includes helping us understand what others are thinking and feeling and to predict what they might do. This skill is termed \u201ctheory of mind\u201d by social scientists and is related to empathy.\nIn a study, scientists hooked participants up to a piece of music they were told was either composed by a human or by a computer. When participants believed that the music was composed by a human, their \u201ctheory of mind\u201d cortical network lit up, but it did not when they thought the music was made by a computer. This suggests that the brain does not only process music but listens to music to understand the intention of the musician.\nIn another study, a group of primary school-aged children was involved in musical games with other children for an hour a week in an academic year. Another two control groups of same-aged children received either no games or games with the same purpose but instead of music, they were involved in drama or storytelling.\nAt the end of the study, the children were measured for empathy scores. The group exposed to music had a significantly higher score, suggesting that music has a strong influence in empathy development.\nMusic Increases Social Bond\nThink of the time when you were in school singing the national anthem with your schoolmates and teachers in the morning. Or when the anthem is played at the Olympics. The music increases our sense of belonging and reminds us of our cultural roots and safety toward the group we belong to.\nIn our own social world, we tend to talk more and think better of someone who shares the same musical preference as we do. Studies have shown that people associate musical taste holding certain values. It also influences how we think others will get along. Research has shown that social cohesion is higher among families and peer groups who listen to music together. Even in societies where interdependence is less valued, social cohesion between groups is stronger with the sharing of music. This strongly shows music as a social glue that binds people together.\nMusic has also been used for aggressive and negative aims. Music has been used to bond groups such as neo-Nazis and encourages violent actions as well. This tells us that music is like a language where listeners can be influenced by the composer\u2019s intentions and thoughts. It can be passed on from generation to generation creating loyalty and a sense of continuity to a tribe.\nKnowing the potentials of music as a strong social communication tool, we can learn to use it responsibly. Ritmo Music Studio offers music lessons in Singapore. Come check out the lessons we offer and learn to jam with your friends or family for a tighter bond.", "id": "<urn:uuid:9d4f76be-e9ac-4adf-9967-503b1385321e>", "dump": "CC-MAIN-2023-14", "url": "https://www.ritmostudio.sg/post/how-music-strengthens-social-bond", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945248.28/warc/CC-MAIN-20230324051147-20230324081147-00774.warc.gz", "language": "en", "language_score": 0.9735981822013855, "token_count": 793, "score": 3.671875, "int_score": 4}
{"text": "Senator John C. Calhoun\u2019s words,\u201d the South! The poor South!\u201d was allusive to the rising segregation and the Great Depression that would prove to be the downfall of the South. In the 1930\u2019s, schools were racially segregated and there was little emphasis on expanding the learning progress. Equal opportunity for African-Americans in the classroom was not offered and many of them could not read or write even in their adult years. The little emphasis in the classroom was because of the turn of the economy called the Great Depression. The shortage of money and taxes in the United States, caused teachers and students to cut school short and some children had to drop out of school early to help work on farms. Alabama in the 1930\u2019s, was a difficult time for many children to continue their education. New laws have enforced the attendance of children to schools\nDuring slavery, most black slaves were denied proper education and many laws were passed in the South prohibiting slave literacy. Even free blacks in the century before and after the Civil War were limited in their access to quality education and career training.\nEducation of African American people was not supported in Southern States, this was because white people believed that if they permit their slaves to learn to write, speak and talk in English, they would eventually become rebellious to their masters and become disobedient. This fear led them to think that fundamentally African American people were unable to absorb education.\nEducation before the Civil War in the South was not as important as in the North. In the South, states did not stress over education and thought it was a private matter. They believed the education should be given in a house where the values of society would be taught.\nPublic schools before the 1830s weren\u2019t technically public because education was not open to the general public. At the time, the \u201cpublic\u201d schools were made up of a majority of white children, because their parents were wealthy enough to pay for their education. While some schools in both the North and the South allowed African Americans to attend, a lot of the African American families still could not afford to send their children. On top of not being able to afford school, in the South most schools did not believe in educating slaves. The monetary problem holding kids back from getting an equal opportunity to access education was what sparked the movement to reform the public schools.\nIn the South, it was very well known for slaves to be working in plantation fields. The often would work cultivating cotton, tobacco, and sugar. Tobacco was a very popular cash crop, but died out due to the harsh conditions it would give the soil. Moreover, southern states were referred to as Cotton Kingdom. The reason being is because in the southern states, cotton was the major cash crop they grew. In addition, more than 50% of the cotton was grown in the south. Additionally, the culture in the South was quite different compared to the slaves that were in the North. The southern slave states culture was determined by plantation owners and families. The slaves were not authorized to be educated, and only the plantation owners had the right to be educated. They were not allowed to attend school and their culture revolved around the plantations. To add in, their economy revolved around the agricultural plantations. The southern grew cotton, tobacco, rice, sugar cane, and indigo. Many of\nThe southern states were a slave society, and were known to being the way of life. It was the root to everything in the south, and southerners were very protective about it. In the south southerners \u201cfeared that without slavery\u2019s expansion, the abolitionist faction would come to dominate national politics and an increasingly dense population of slaves would lead to bloody insurrection and race war\u201d (The American Yawp, Chap.13), and southerners did not want to jeopardize their way of life. The south would press on the notion that racial mixing and racial wars would break out, and that blacks were a threat to white supremacy. Besides the racial fears the south would speak out on, they also stressed that slaves were property, which entitles them to their owner. People in the south also used the bible to justify slavery because it was present in the bible. The southern states believed in the \u2018mudsill\u2019 theory. James Henry Hammond speech on the \u2018mudsill\u2019 theory explained the theory. Hammond and other pro slavery southerners defined slavery as a good thing. Paternalism was another justification, to influence their belief that slavery was a caring establishment. That south argued that they took care of their slaves, and that the north did not treat their workers with such\nThe education of Blacks in Mississippi was a very volatile issue for Whites. It was generally believed by Mississippi\u2019s whites that the education of blacks was a waste of time and money because blacks would never be given jobs where they could use their minds. Those who supported education for blacks usually favored what they called \u201cthe right kind of education\u201d which taught blacks how to become better laborers. Blacks who could read or showed any traces of an education were viewed with contempt by many White Mississippians who believed education made blacks resentful of the Jim Crow system under which they lived. As a result, black schools were extremely under funded by the\nPrior to the civil war, Education in the south was limited to private tutors and church classes. Only white\nThe growth of factories and mills in the North, drew more people to move to the cities for work. During this time, many immigrants arrived from European countries, mainly from Ireland and Germany. These immigrants became a workforce in factories in the cities. As Northern cities grew, cities became centers for trade. It was a time when reformers worked on providing education for all citizens, as well as fighting for women\u2019s rights.Many in the North were opposed to slavery, but still discriminated against the African Americans. In the South, slavery was part of the Southern culture. Most people lived in rural areas and on plantations. The textbook states that,\u201d a small group of plantation owners in the South-about 12% of the population-held more than half the slaves.\u201d Education in the South was very limited. Only the wealthy sent their children to private schools and others living in rural areas did not have access to education. It was also against the law for African Americans to get an education. While the culture of the South was plantation life, the African American slaves had their own culture from Africa that they tried to keep alive with storytelling, music , and religion. Both region had very different types of beliefs about education and slavery, and had very different groups of people that provided the\nWhen ex-slaves demanded a formal public schooling, they were really asking the South to develop and embrace a relatively new philosophy of education. Effectively, they were having white southerners pay for the education of people they once \u201cowned\u201d as property, and had the right to receive what most whites in the region hadn\u2019t had available previously.\nSlaves went through a lot of struggles they worked, they didn't get to go to school so that meant they didn't get their education.\nThere were social developments in the South during this time period as well. Since slavery was an extreme moral issue, there were many people arguing either for or against it. The southern whites came up with many different reasons to defend slavery. One way they defended it was by saying that the Bible did not condemn it. They argued that the Bible said it allowed the enslavement of Heathens, which the south believed African Americans to be. They also said that many other societies depended on slavery, like they did. They believed that some of the greatest empires, like classical Greece and Rome, depended on slavery and would not have existed without it. Slavery defenders reasoned that African Americans didn\u2019t have the ability to care for themselves and that they were an inferior race, in which needed someone to care for them. They argued that slaves in the South lived better than the factory workers of the North. Masters cared for the slaves; while northern workers had no claim to their employer. They thought that the manner in which the slaves were treated was much more humane than how the workers in the factories were treated.\nThere were several classes of whites in the Antebellum South. The first class is what you call your elite or high class which were the wealthy, high society, grower gentry who were land rich. The first class possessed at least 20 or more slaves and accomplished their wealth from the development and sale of the cash crops, cotton and rice. The children of the upper class were often educated by personal tutors or at private schools in South Carolina and abroad. Next, there was the middle class of white people. The middle class consisted of tradesman, merchants, sharecroppers and etc. When the economy stayed steady, it allowed the middle class people to make a living. Their children were taught to read and write, basically learn the\nThe struggle for education for the african americans was like a crime. Not only weren't african americans allowed to go to school with the whites but they didn't have many school utilities like the whites did. The whites had many textbooks that were up to date and they had clean rooms and enough seats while schools for the african american were like prisons. They didn't have enough seats or books and sometimes they only had enough teachers to teach since white folk didn't want anything to do with african americans. Before the end of the civil war the education was a real struggle for the african americans. Even though there was effort to make schools for the african americans only a few could go to school since there was no money and they simply", "id": "<urn:uuid:596b43e7-9fff-4742-b62f-205d92c3a697>", "dump": "CC-MAIN-2023-14", "url": "https://www.bartleby.com/essay/Private-School-System-In-The-1800s-FCZSZS8LSKM", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945168.36/warc/CC-MAIN-20230323132026-20230323162026-00754.warc.gz", "language": "en", "language_score": 0.992573618888855, "token_count": 1997, "score": 3.921875, "int_score": 4}
{"text": "Adding Transition Words | Worksheet | Education.com Have fun with functional and informative transitions with this cooking-themed activity. Students will solidify their knowledge of important transition words to improve their sequencing and informational writing skills. Easy Words to Use as Sentence Starters to Write Better Essays ... These \"easy words\" that help you start sentences are also called \"transition words,\" and their job is to link ideas together. You can use them in starting an essay or in any sentence in a paper; however, they are most effective when used inside the text, and particularly so as the first word in a paragraph. Persuasive Writing Flashcards | Quizlet\n5th Grade Informative Writing Rubric 1 - Beginning 2 - Developing 3 - Secure 4 - Above and Beyond Connections (Key Question: Are my ideas connected in a way that makes sense?) * I do not use transition words, phrases and clauses to connect my ideas. * I do not connect related ideas together. * I use basic transition words, phrases\nExpository Writing Worksheets. Expository writing worksheets and printables learning to write, expository writing lesson plans and rubrics. Forms of writing, writing genres, writing prompts. Expository writing is writing to explain, inform, give information or to describe something. Non fiction is often a good example of expository writing. Transition Words - Worksheets Transition words help a reader transition smoothly between sentences or ideas. Examples of transition words include: similarly, therefore, however, although, first, finally, meanwhile. Here you'll find a collection of PDF worksheets for teaching students to write sentences with transition words. PDF Powerful Verbs for Essays - salt.arizona.edu Each word has specific usage patterns that are unique to its meaning. Literary Essay Report or Persuasive Essay that refers to an expert's opinion or research studies Report or Persuasive Essay that describes beginnings, causes, effects, etc. Persuasive Essay that refers to the possibilities of what ideas can do, create, or assist with Report or 10+ Informative Speech Outline Examples that will Help\nEXPOSITORY ESSAY BRAINSTORMING Now, you will create circle maps for two of the prompts to brainstorm which prompt will be the best option for you. For the fashion prompt: Make a circle map to\nAwesome Writing Anchor Charts to Use in Your Classroom Draw the stoplight first and then invite students to help come up with different words. Then encourage students to put the transition words into practice. 5. Writing Pie . Source: Unknown . This is a quick and easy anchor chart to help students see different types of writing. It'll also help them do a quick check to make sure their writing ... Informative essay transition words - bellaperumassage.com Sample admissions essay for graduate school interesting things to write a paper on research proposal on effects of domestic violence texting while driving research papers how to write an inspired creative brief essay creative writing scholarship contest assignment of policy proceeds and loss payee controversial topics for an argument essay essays on the masque of the red death buy cheap term ... Transition Word & Phrases to Write Exceptional Essays ... Transition words also add necessary organization and structure to any writing and are critical for creative, expository, or academic writing. Successful writers use transition words and phrases in both fiction and non-fiction works - research papers, essays, stories, narratives, and other prose types directly benefit from these important ... 21 Words to Use in Your Essays to Impress Your English ...\nTransitional Words | Time4Writing\nTransition Words and Phrases. Size Transitions: The largest Larger than The smallest The small-sized The tallest The next largest Equal to The next smallest The medium-sized The shortest The smallest Smaller than The largest The large-sized. Time Transitions: 19 Best Transition Words - Informational Writing images in ... Mar 18, 2014- Explore kathireece's board \"Transition Words - Informational Writing\", followed by 351 people on Pinterest. See more ideas about Teaching cursive, Teaching writing and Reading.\nInformative Writing Vocabulary | Teach Starter\nTwo sentences become a sentence, using transitions words or phrases that link sentences and paragraphs together smoothly so that there are no abrupt jumps or breaks between ideas. Here is a list of some common transition word that can be helpful for writer to use the word to link two sentences ... Informative Thesis Statement Examples | Study.com If you are writing an informative essay, you might be struggling with how to best formulate your thesis statement. This lesson will help with some examples of how the thesis might look and why it ... 40 Useful Words and Phrases for Top-Notch Essays\nIt is much better to select an easy theme. You are free choosing interesting, provocative informative essay subject that gathers attention of different people. The number of sentences, words, concepts, and definitions used in the paper has less importance than the properly selected topic. Informative essay is a chance to explain important facts. Teaching Paragraph Writing: Conclusions - The Teacher Next Door", "id": "<urn:uuid:97bb0718-d108-4149-908f-23134d4d3b18>", "dump": "CC-MAIN-2022-21", "url": "https://ghostwriteistznlz.netlify.app/pluid76027zir/transition-words-for-informative-essays-819.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00350.warc.gz", "language": "en", "language_score": 0.9039092063903809, "token_count": 1049, "score": 3.953125, "int_score": 4}
{"text": "As an artist, I have always been fascinated by achieving realism in my artwork. Proportion is a principle that has enabled me to do just that. In this article, I will explore one of the types of proportion, a concept called standard proportions in art, and how artists can use them to create aesthetically pleasing works of art.\nBut before that, let\u2019s understand some basics.\nTable of Contents\nWhat is a Standard Proportion in Art?\nYou may have heard the term \u201cstandard proportion in art\u201d used to create balanced works of art. But what exactly does this mean?\n\u201cStandard proportion in art\u201d refers to the relative size and scale of elements used within a composition that is generally universal, standard or natural. This principle has been influenced heavily by the human body, which artists idealized during the Renaissance period.\nUsing standard proportions in a painting, an artist can create balanced artwork with better visual appeal. Standard Proportion is one type of Proportion and is also a Principle of Art.\nWhat are the Rules of Standard Proportion in Art?\nThe \u201cRules of Standard Proportion in Art\u201d refer to artists\u2019 established guidelines to create balanced and harmonious compositions. These rules are based on the principles of symmetry and balance and are designed to create aesthetically pleasing artworks that are pleasing to the eye.\nSome of the most common rules of standard proportion in art include:\nThe Rule of Thirds: This rule suggests that the composition should be divided into thirds, both vertically and horizontally, with the essential elements of the composition placed at the points where the lines intersect.\nGolden Ratio: This proportion is derived from a mathematical formula and is aesthetically pleasing. The ratio is approximately 1:1.618 and is often used in architecture and design.\nHuman Proportions: These proportions refer to the ideal measurements of the human body, which artists have studied and refined over centuries. They are often used as a reference point for creating realistic and lifelike figures.\nUnity and Harmony: These principles suggest that the various elements of a composition should work together to create a feeling of balance and harmony. This can be achieved through color, shape, and texture.\nOverall, the rules of standard proportion in art are guidelines that can help artists create balanced and visually appealing compositions. However, these rules can also be broken or adapted to suit the individual artist\u2019s vision and style.\nWhat are the Qualities of Standard Proportion in a Painting?\nBelow are some of the qualities of standard proportion:\n- Balance: Standard proportion creates a sense of balance and symmetry within an artwork, which can make it more aesthetically pleasing to the viewer.\n- Realism: Standard proportion is based on observations of the human form and the natural world, which means that artworks created using standard proportion can have a greater sense of realism.\n- Accessibility: Because standard proportion is based on established ratios, it can be learned and applied by artists of all skill levels, making it an accessible technique for creating art.\n- Universality: Standard proportion has been used in art across different cultures and periods, making it a universal concept that can be understood and appreciated by a wide range of people.\n- Versatility: While the standard proportion is based on established ratios, it can be applied in various ways to create different effects within an artwork. This versatility allows artists to use standard proportions in various styles and techniques.\n- Timelessness: Standard proportion has been used in art for thousands of years, and its continued use today speaks to its timelessness and enduring appeal.\nThese qualities make standard proportion an essential concept for artists to understand and apply.\nStandard Proportion and Why is it Important in Art?\nTo become a professional artist, you must understand and appreciate the importance of using standard proportions. Here are seven reasons why standard proportion is important in art:\n- Brings balance and harmony: Standard proportion refers to the size relationship between elements in an artwork. By following established proportions, an artist can create a sense of balance and harmony to make the artwork more visually appealing.\n- Provides structure and organization: Standard proportion provides a framework for an artist to organize the elements within their artwork. This framework can provide structure and make it easier for the viewer to understand the artist\u2019s intended message.\n- Creates a sense of realism: In representational art, a standard proportion is essential to creating a sense of realism. By following established proportions, an artist can create figures and objects that look like they belong in the real world.\n- Aids in storytelling: Standard proportion can help an artist tell a story within their artwork. For example, by making a figure smaller than the other elements in an artwork, the artist can convey a sense of vulnerability or insignificance.\n- Used throughout history: Standard proportion has been used throughout art history, from ancient Greek sculpture to Renaissance paintings. By learning these established proportions, artists can connect to a long history of art making.\n- Allows for creativity within the structure: While standard proportion provides a structure for an artist to follow, it also allows for creativity within that structure. An artist can create unique and innovative artworks by manipulating proportions or breaking the rules.\nThis type of proportion is a fundamental element of visual art that allows for balance, structure, realism, storytelling, and creativity.\nHow does an Artist use Standard Proportion in an Artwork?\nAn artist\u2019s use of standard proportion in an artwork can vary depending on their style, technique, and subject matter. However, here are some general ways in which an artist may use standard proportions in their work:\nHuman form: One of the most common ways artists use standard proportion is their representation of the human form. An artist can create a sense of realism and anatomical accuracy in their figure drawings or paintings by using established ratios for body parts such as the head, torso, arms, and legs.\nObjects and scenery: Artists may also use standard proportions when creating depictions of objects and scenery. By ensuring that the size of these elements is consistent with real-world proportions, an artist can create a sense of realism and spatial coherence within the artwork.\nStyle: While the standard proportion is based on established ratios, artists may use these ratios uniquely to create their style or achieve a particular effect within their artwork. For example, an artist may exaggerate proportions to create a sense of distortion or stylization.\nWhat is meant by Standard Proportion in Human Body?\nThe Standard proportion in the human figure refers to using specific ratios and measurements to create a realistic representation of the human form. Artists use proportion within the human figure to ensure that each body part is correctly sized and positioned concerning the others. This creates a sense of balance and harmony in the piece\u2019s overall composition. An example of this is The Vitruvian Man by Leonardo Da Vinci.\nBy using proportion, artists can create a sense of realism and accuracy in their depictions of the human figure, which is essential in creating a believable and engaging work of art. The use of standard proportion is a fundamental aspect of the human figure in art, and artists use it across all mediums and styles.\nA Standard proportion is a fundamental principle of art used throughout history to create aesthetically pleasing, balanced, and realistic works of art. By understanding and applying the principles of standard proportion, artists can bring balance and harmony to their work, provide structure and organization, create a sense of realism, and tell stories within their art.\nUnderstanding and utilizing standard proportions is crucial for artists who wish to create successful art pieces. While it provides a framework for an artist to follow, standard proportion also allows for creativity within that structure. The key principles of standard proportion include the golden ratio, the rule of thirds, the proportional relationships within the human form, and other elements in the composition.\nFrequently Asked Questions\nWhat is the ideal proportion in art?\nIdeal proportion in art refers to using balanced and harmonious ratios between different parts of a composition, often based on the human form. It can be achieved through mathematical systems such as the Golden Ratio or observation and intuition. Ideal proportion helps create a sense of beauty, balance, and unity in art.\nHow do you measure proportion in art?\nProportion in the art can be measured by comparing the relative size and placement of elements within a composition to each other and the overall size of the artwork. This can be done using various methods, such as the golden ratio or the rule of thirds, which provide guidelines for creating balanced and harmonious compositions. Other factors such as line, shape, and color can also affect the perception of proportion in art.\nHow to explain proportion to a child in art?\nProportion in art refers to the size relationship between different elements in a composition. You can explain it to a child using familiar objects and comparing their sizes. For example, a person\u2019s head is typically one-seventh the size of their body. It may be challenging to understand and comprehend, but please explain them patiently.\nCan I deviate from Standard Proportion and still create good art?\nThe deviation from standard proportion can create unique and compelling art, but it requires a strong understanding of proportion and intentionality in breaking the rules. Experimenting with proportion can lead to new artistic expressions and visual interest, but it should be done thoughtfully and purposefully.\nAre there any contemporary artists who use Standard Proportions in their work?\nMany contemporary artists used Standard Proportion as a foundation for creating realistic or representational art. However, some artists intentionally distort proportions to create a specific effect or to challenge traditional artistic conventions. Examples of contemporary artists using Standard Proportion include Jenny Saville, Kehinde Wiley, and Chuck Close.\nLeave a Reply", "id": "<urn:uuid:bbb1ac54-4dbe-4231-8c32-73693c081d52>", "dump": "CC-MAIN-2023-14", "url": "https://madhansart.com/art/art-basics/principles-of-art/standard-proportion-in-art/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949598.87/warc/CC-MAIN-20230331082653-20230331112653-00552.warc.gz", "language": "en", "language_score": 0.9363491535186768, "token_count": 2010, "score": 3.8125, "int_score": 4}
{"text": "Drama is a genre of narrative fiction (although initially a genre of poetry) and specifically the mode of fiction most commonly represented by performances, whether a theater play or on radio, television or movie. The earliest work of dramatic theory was Aristotle\u2019s Poetics.\nA definition of literary drama states \u2018a composition in prose or verse presenting in dialogue or pantomime a story involving conflict or contrast of character, especially one intended to be acted on the stage; a play. 2. the branch of literature having such compositions as its subject; dramatic art or representation\u2019.\nThis genre can be qualified by the many sub-genres: legal drama, domestic drama, comedy-drama, political drama or historical period drama etc. Each of these represents a specific setting or subject matter.\n- Crime drama and legal drama: character development based on themes involving criminals, law enforcement and the legal system.\n- Historical drama (epic) (including war drama): films that focus on dramatic events in history.\n- Horror drama: a film that focuses on imperiled characters dealing with realistic emotional struggles, often involving dysfunctional family relations, in a horror setting. The film\u2019s horror elements often serve as a backdrop to an unraveling dramatic plot.\n- Docudrama: the difference between a docudrama and a documentary is that in a documentary it uses real people to describe history or current events; in a docudrama it uses professionally trained actors to play the roles in the current event, that is \u201cdramatized\u201d a bit. Not to be confused with docufiction.\n- Psychodrama: an action method, often used as a psychotherapy.\n- Comedy-drama: film in which there is an equal, or nearly equal, balance of humour and serious content.\n- Melodrama:a sub-type of drama films that uses plots that appeal to the heightened emotions of the audience. Melodramatic plots often deal with \u201ccrises of human emotion, failed romance or friendship, strained familial situations, tragedy, illness, neuroses, or emotional and physical hardship\u201d. Film critics sometimes use the term \u201cpejoratively to connote an unrealistic, pathos-filled, camp tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences\u201d. Also called \u201cwomen\u2019s movies\u201d, \u201cweepies\u201d, tearjerkers, or \u201cchick flicks\u201d. If they are targeted to a male audience, then they are called \u201cguy cry\u201d films.\n- Romantic drama: a sub-type of dramatic film which dwells on the elements of romantic love.\nWhat \u2018drama\u2019 genre do your novels fit into?\nWhich of your novels would you most want to become a movie?\nFor me I think The Twesome Loop \u2013 I would concentrate on the four main characters for the movie though.", "id": "<urn:uuid:d00fbfca-6627-4006-b6f9-4c2015101b4d>", "dump": "CC-MAIN-2023-14", "url": "https://mandyevebarnett.com/tag/legal-drama/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946637.95/warc/CC-MAIN-20230327025922-20230327055922-00152.warc.gz", "language": "en", "language_score": 0.9311941862106323, "token_count": 623, "score": 3.59375, "int_score": 4}
{"text": "Stories serve a purpose beyond entertainment. Today, parents have be on their toes to engage their children and improve their learning ability- Stories are a great solution!\n\u201cOnce upon a time there was a King and a Queen\u201d \u2026 \u201cDeep in the forest, there lived a Lion\u201d \u2026 Words such as these ruled our lives long before the advent of the mobiles and gadgets. Anyone who remembers listening to stories by parents or grandparents remembers the joy and comfort that stories bring with them. They will remember the various emotions such as fear, surprise and wit of the stories.\nStories are Everywhere!\nWhen a grandparent narrates an event about his or her life to a grandchild, they pass on a piece of history to the new generation. Children get a glimpse of the lives of people during that time, their ways of living, the language, the clothes, etc. It transports them to a whole new world.\nStorytelling is an ancient art form. It is through stories that our folklore, art, customs and epics pass on from one generation to the next. Besides this, the practice of listening to stories is helpful for children because-\n- It makes them better listeners, a very important quality\n- It improves memory and recollection, which helps in academics\n- It builds their knowledge and adds information\n- It improves empathy, i.e. makes them sensitive towards other\u2019s feelings\n- It helps them solve problems better\n- It encourages humour and creativity.\n- It builds their vocabulary\n- It makes them more curious\nStories are beneficial for the parent too\u2026\nStorytelling or Story narration is also extremely beneficial for a parent. Today parents have to think of new ways to keep their children engaged and they have to think one step ahead. Storytelling is important because of the below reasons-\n- It helps spend quality time with the child\n- Sharing information helps strengthen it\n- It passes important events about one\u2019s life and improves family bond\n- It makes parents creative.\nTeaching difficult concepts? Use Storytelling\nThe teachers at Little Aryans, the best preschool for kids, thought of an innovative and fun- filled workshop by the name \u201cStories come Alive\u201d. The workshop involved both parents and children to kindle their love for stories.\nIn an interactive session which was attended by more than 100 parents, the teachers at Little Aryans demonstrated different mediums of storytelling such as\u2013\n- Audio Visual,\n- Creative boards,\n- Flash Cards and\n- Pretend Play.\nA concept can be taught through different mediums of storytelling. Children, especially when they are in pre-primary, understand and remember such concepts much better. The parents found the program useful as there were some practical tips on how to use stories to enhance learning.\n\u201cHow Milk turns into Curd?\u201d \u201cHow do Rainbows appear?\u201d, can all be taught innovatively. Mediums such as Flash Cards and Audio Visuals can help to teach alphabets. A Pretend play corner for the kids can help them engage in free play.\nLearn with your Child!\nLearning needs to be fun for children and parents need to be more involved in the child\u2019s learning. New innovative activities such as these hep achieve this aim. Most parents are aware about the need to generate new ideas to help their child cope with new concepts, but they don\u2019t know how to execute it.\nWhen a parent takes time out to engage in free play, to sing and dance and pretend play with the child, they get new insights on the child\u2019s thinking, likes and dislikes. This helps one grow as a parent too.\nWhile tuition classes make the child repeat, engage in rote learning and aim to complete syllabus, methods such as these make the child intellectually sharp, generates a love for learning and teaches life skills.", "id": "<urn:uuid:a2b866b0-c161-45f7-9c3d-a0de15135459>", "dump": "CC-MAIN-2023-14", "url": "https://blog.littlearyans.in/stories-come-alive-at-little-aryans/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950247.65/warc/CC-MAIN-20230401191131-20230401221131-00753.warc.gz", "language": "en", "language_score": 0.9570066332817078, "token_count": 815, "score": 3.625, "int_score": 4}
{"text": "How to Write a Number in a Letter\nWhen writing a business or formal letter, the way you write numbers can influence how the recipient sees the readability and professionalism of your writing. Drawing on common writing style principles and accepted standards for particular topics, you can appropriately write out numerals and other quantities in a way that will solidify the quality of your writing. The main trick is to be consistent throughout.\nWrite addresses the same as you would for an envelope, with the street address on one line and the city, state and ZIP code on the next line. Example: 123 Elm Street on one line and Eagletown, LA 71234 on the next.\nWrite contact phone numbers as either (999) 123-4567 or 999-123-4567.\nWrite out the month in dates, such as January 1, 2012.\nStick to words for zero through one hundred and numerals for 101 and above. You could say your organization has eighty-five members or 185 members.\nUse numerals for consistency, if your letter includes numbers above and below 100. This avoids awkward phrasing, such as \"between ninety-five and 105.\"\nSpell out large, round numbers with only a numeral at the beginning, as in 8 million. Use numerals for figures that would require many words, opting for 775,000 rather than seven hundred seventy-five thousand.\nUse numerals for all percentages, as in 87 percent or 87.75 percent. You can use either the word percent or the sign % as long as you remain uniform. Do not include trailing zeroes (such as 55.0 percent) unless directing your letter to a math or science audience warranting significant digits. Even tens numbers can be in words, as in twenty percent, though keeping consistent with other percentages would trump this.\nUse numerals for decimal figures such as 3.14, and include a zero at the beginning of a number less than one, such as 0.375. Again, omit trailing zeroes unless they are central to the accuracy of the data that you're discussing.\nWrite out fractions in words, such as two-fifths, only if the number is less than one. Use numerals for greater mixed numbers, such as 3 3/4.\nUse the dollar sign and numerals for money amounts below 1 million, omitting the decimal and zeroes for whole dollars, such as $15 or $20,000.\nWrite round figures of 1 million or more with only the beginning numerals, as in $10 million. You can use a maximum of two decimals for a number like $12.75 million, but otherwise use only numerals, such as $12,755,500.\nWhen in doubt, find a guide such as \"The Chicago Manual of Style\" and stick to that writing guide's rules. \"The Associated Press Stylebook\" is the norm for journalism, and it's an alternative option for letters regarding public relations or being directed to the media.\nWhen writing a letter for a specific audience, perhaps a grant request or a letter to a colleague about research findings, follow the number format common to academic or professional papers from that field.\nThings You'll Need\n- Pen and paper\n- When in doubt, find a guide such as \"The Chicago Manual of Style\" and stick to that writing guide's rules. \"The Associated Press Stylebook\" is the norm for journalism, and it's an alternative option for letters regarding public relations or being directed to the media.\n- When writing a letter for a specific audience, perhaps a grant request or a letter to a colleague about research findings, follow the number format common to academic or professional papers from that field.\nJohn Bland has been a freelance writer since 2009, with his essays, fiction and poetry appearing in \"Shine Magazine,\" \"North Texas Review\" and many online journals. He received a Bachelor of Arts in creative writing from the University of North Texas in 2008.", "id": "<urn:uuid:0a5157f9-a1f3-46dd-b342-866279016a0f>", "dump": "CC-MAIN-2023-14", "url": "https://penandthepad.com/write-number-letter-8076410.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945315.31/warc/CC-MAIN-20230325033306-20230325063306-00154.warc.gz", "language": "en", "language_score": 0.9420324563980103, "token_count": 863, "score": 3.640625, "int_score": 4}
{"text": "- What is process writing?\n- Why should teachers be interested in a process approach to writing?\n- The changing roles of teacher and students\n- What stages are there in a process approach to writing?\n- Classroom activities\n- The importance of feedback\n- Writing as communication\n- Potential problems\n- Further reading\nWhat is process writing?\nThe process approach treats all writing as a creative act which requires time and positive feedback to be done well. In process writing, the teacher moves away from being someone who sets students a writing topic and receives the finished product for correction without any intervention in the writing process itself.\nWhy should teachers be interested in a process approach to writing?\nWhite and Arntd say that focusing on language errors 'improves neither grammatical accuracy nor writing fluency' and they suggest instead that paying attention to what the students say will show an improvement in writing.\nResearch also shows that feedback is more useful between drafts, not when it is done at the end of the task after the students hand in their composition to be marked. Corrections written on compositions returned to the student after the process has finished seem to do little to improve student writing.\nThe changing roles of teacher and students\nThe teacher needs to move away from being a marker to a reader, responding to the content of student writing more than the form. Students should be encouraged to think about audience: Who is the writing for? What does this reader need to know? Students also need to realise that what they put down on paper can be changed: Things can be deleted, added, restructured, reorganised, etc.\nWhat stages are there in a process approach to writing?\nAlthough there are many ways of approaching process writing, it can be broken down into three stages:\nThe teacher needs to stimulate students' creativity, to get them thinking how to approach a writing topic. In this stage, the most important thing is the flow of ideas, and it is not always necessary that students actually produce much (if any) written work. If they do, then the teacher can contribute with advice on how to improve their initial ideas.\nDuring this stage, students write without much attention to the accuracy of their work or the organisation. The most important feature is meaning. Here, the teacher (or other students) should concentrate on the content\nof the writing. Is it coherent? Is there anything missing? Anything extra?\nEvaluating, structuring and editing\nNow the writing is adapted to a readership. Students should focus more on form and on producing a finished piece of work. The teacher can help with error correction and give organisational advice.\nHere are some ideas for classroom activities related to the stages above:\nGetting started can be difficult, so students divided into groups quickly produce words and ideas about the writing.\nStudents make a plan of the writing before they start. These plans can be compared and discussed in groups before writing takes place.\n- Generating ideas\nDiscovery tasks such as cubing (students write quickly about the subject in six different ways - they:\n- 1. describe it\n- 2. compare it\n- 3. associate it\n- 4. analyze it\n- 5. apply it\n- 6. argue for or against it.\nIn groups, the idea is to generate lots of questions about the topic. This helps students focus upon audience as they consider what the reader needs to know. The answers to these questions will form the basis to the composition.\n- Discussion and debate\nThe teacher helps students with topics, helping them develop ideas in a positive and encouraging way.\n- Fast writing\nThe students write quickly on a topic for five to ten minutes without worrying about correct language or punctuation. Writing as quickly as possible, if they cannot think of a word they leave a space or write it in their own language. The important thing is to keep writing. Later this text is revised.\n- Group compositions\nWorking together in groups, sharing ideas. This collaborative writing is especially valuable as it involves other skills (speaking in particular.)\n- Changing viewpoints\nA good writing activity to follow a role-play or storytelling activity. Different students choose different points of view and think about /discuss what this character would write in a diary, witness statement, etc.\n- Varying form\nSimilar to the activity above, but instead of different viewpoints, different text types are selected. How would the text be different if it were written as a letter, or a newspaper article, etc.\nEvaluating, Structuring and Editing\nStudents take the notes written in one of the pre-writing activities above and organise them. What would come first? Why? Here it is good to tell them to start with information known to the reader before moving onto what the reader does not know.\nA good writer must learn how to evaluate their own language - to improve through checking their own text, looking for errors, structure. This way students will become better writers.\n- Peer editing and proof-reading\nHere, the texts are interchanged and the evaluation is done by other students. In the real world, it is common for writers to ask friends and colleagues to check texts for spelling, etc. You could also ask the students to reduce the texts, to edit them, concentrating on the most important information.\nThe importance of feedback\nIt takes a lot of time and effort to write, and so it is only fair that student writing is responded to suitably. Positive comments can help build student confidence and create good feeling for the next writing class. It also helps if the reader is more than just the teacher. Class magazines, swapping letters with other classes, etc. can provide an easy solution to providing a real audience.\nWriting as communication\nProcess writing is a move away from students writing to test their language towards the communication of ideas, feelings and experiences. It requires that more classroom time is spent on writing, but as the previously outlined activities show, there is more than just writing happening during a session dedicated to process writing.\nWriting is a complex process and can lead to learner frustration. As with speaking, it is necessary to provide a supportive environment for the students and be patient. This approach needs that more time be spent on writing in class, but as you have seen, not all classroom time is spent actually writing.\nStudents may also react negatively to reworking the same material, but as long as the activities are varied and the objectives clear, then they will usually accept doing so. In the long term, you and your students will start to recognise the value of a process writing approach as their written work improves.\nHedge T 1988 Writing Oxford University Press\nKrashen SD Writing : Research, theory and applications Pergamon Press\nKroll B 1990 Second Language Writing : Research insights for the classroom Cambridge University Press\nRaimes A 1983 Techniques in teaching writing Oxford University Press\nWhite R & V Arndt 1991 Process Writing Longman\nWritten by Graham Stanley, British Council, Barcelona\nDear Graham, I have learned a lot from your article and I'm looking forward to apply it with my children and in my class too, in fact I am going to apply the process writing to my own writing as well.\nDear graham thanks it is very helpful and Ill use these techniques in the class\nThank you for these excellent ideas!\nthank u so much Mr Graham, I m working on cognitive and meta-cognitive strategy application in developing the writing proficiency with students between the age of 16-19, and i need help concerning this issue ( some useful ideas), if you don't mind of course, I have also used your articles like writing next, and teaching writing strategies.\nHello Jo jo\nI'm really interested in knowing more on Writing strategies...can you suggest me any article...where can i find the one u mentioned in your comment!\nThank you, the article was very helpful. I am now much more aware of students needs related to writing. Will use these strategies in my lessons from now on.\nHi, Graham your piece of work is really great. I happen to write at times. And you are dead right writing is a whole process. Thanks for your work.\nyour article really helped me a lot...", "id": "<urn:uuid:77e2bddd-8ac1-4e0b-a96c-00db0b3ee729>", "dump": "CC-MAIN-2022-21", "url": "https://www.teachingenglish.org.uk/article/approaches-process-writing?field_site_structure_tid%5B18803%5D=18803&order=title&sort=desc&page=2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604495.84/warc/CC-MAIN-20220526065603-20220526095603-00550.warc.gz", "language": "en", "language_score": 0.9547388553619385, "token_count": 1743, "score": 4.03125, "int_score": 4}
{"text": "Table of Contents\n- Why Spanish (and not bilingual) Storytime?\n- Applying the 5 practices & 6 skills\n- Myths VS Facts of Bilingual Language Development\n- Spanish Storytime Reminders/ Tips\nWhether we are trying to attract the Spanish speaking community to our library or create an inclusive space for the children that come from Spanish speaking households, we recognize that there is not enough content out there. There is still a huge gap between the Spanish speaking/Latinx community and the educational and library services that needs to be bridged. Educators and caregivers that work with Spanish speaking children have very limited resources and an evident lack of support which means there is a lack of equality or inclusiveness.\nThis is why we will provide a guide to develop Spanish language storytimes for teachers and librarians. The guide is being elaborated in a consistent and cohesive way so that it is easy for all to use regardless of your level of experience with storytime. Information is also provided in Spanish for native speaking librarians and educators.\nWhy Spanish (and not bilingual) Storytime?\nResearch has shown that children who are immersed in their native language, through conversations, stories, and songs, will have an easier time learning to read in their second language.\nSpanish Storytime centers families that are native Spanish speakers and/or immigrants and fosters inclusiveness in the school or library.\nWhen caregivers talk or read to children in the language they are most comfortable with or that is spoken at home, they are encouraging a stronger development of their child\u2019s pre-literacy skills than children who were only exposed to books in their caregiver\u2019s second language (Association for Childhood Education International, 2003).\nIt takes up to 7 minutes to switch our brains from one language to another. Even children learning Spanish as a second language benefit from an immersive language environment.\nSpanish Storytime promotes literacy in the language of our heart (for those of us that are native Spanish speakers/ Latinx)\nCaregivers want an immersive experience in their own language for their kids.\nApplying the 5 practices & 6 skills\nWhen applying the 5 practices and 6 skills from ECRR to the Spanish language, some differences stand out, like the additional letters in the Spanish alphabet or other unique concepts like the importance of learning vowel sounds and playing with syllables. Below are brief descriptions on some ways you can highlight these aspects in Spanish storytime.\n- Play with sounds (ie. rr, ll, \u00f1, ch).\nBooks like \u2018Llama, Llama Rojo Pijama\u2019 by Anna Dewdney work to introduce the \u2018ll\u2019 sound. Tongue twisters or trabalenguas help with pronunciation and some are specific to rolling \u2018rr\u2019 practice.\nPlay with vowels and syllables. Practicing vowel sounds or vocales is key to Spanish language learning as is the rhythmic breakdown of the words or the syllables.\n- Feminine and masculine nouns.\nWords in Spanish can represent a female and a male, just by changing the article and the ending (ie. la doctora and el doctor). And many words are specifically feminine while others are specifically masculine. Note: There are exceptions to this rule. Point out these differences during a read aloud or during a rhyme.\n- Tell stories.\nOral storytelling is a powerful way to share culture and history related to the Spanish language.\n- Use books that represent the Latinx community and culture.\nSeek out books written by Latinx authors and books originally written in Spanish.\n- Talk about words.\nWhen reading books, singing songs or chanting rhymes, you may find the words you read or use are different from words used by your audience. This is a great opportunity to connect with families and talk about the richness of the Spanish language. For example, many different words in Spanish have the same meaning. Marrano, cochino, puerco and cerdo are all correct ways to say pig. Highlight the regional differences in which words are used. This validates the Spanish spoken by parents and caregivers at home.\nMyths VS Facts of Bilingual Language Development\n- Speaking two or more languages to children \u201cconfuses\u201d them, so it is best to only speak to them in one language.\n- It is best for families to speak only the language that children are taught at school, even if it is a language they cannot speak fluently.\n- Bilingual children lag behind in learning languages compared to peers who only speak one language.\n- Bilingual children should not mix word-parts from different languages when speaking.\n- Children become bilingual just by hearing other people around them speak a different language than their own.\n- All children have the ability to learn multiple languages. Even children with delayed development or with different abilities.\n- Families should communicate in the language in which they feel most comfortable so that children gain strong language models and can better verbally interact with other members of their community.\n- Being bilingual does NOT cause any delay in language learning and on the contrary, it has been shown to improve and increase the learning of new words, help to identify new sounds and increase the ability to solve problems.\n- \u201cTranslanguage\u201d is what happens when people grammatically mix certain words (a form of \u201ccompound words\u201d). This forms cultural adaptations and linguistic awareness.\n- Language learning is an active process that requires many opportunities for children to practice communication in different contexts with other individuals. Listening and responding is crucial for language development skills.\nSpanish Storytime Reminders/ Tips\nDownload a PDF copy\nFind more tips for parents in Spanish at Color\u00edn Colorado\nSelecting Spanish Picture Books\nLook for books that have cultural representation and support a positive cultural identity.\nWhat is the book\u2019s country of origin? Check the text for regional vocabulary that may be unfamiliar. Some vocabulary from Spain may be unfamiliar to families from Mexico or South America.\nSeek out books written by Latinx authors and authors whose native language is Spanish.\nLook for books originally written in Spanish, often published in a Spanish speaking country.\nIf the book is a translation, check that it maintains an appealing rhyme and rhythm. Check the text for regional vocabulary that may be unfamiliar, or mistakes in the translation.\nWhere to Find Books in Spanish\nDenver Public Library Best and Brightest: Each year Denver Public Library selects to top children\u2019s books published that year, including books published in Spanish.\nLorito Books: Book vendor specializing in authentic and translated children\u2019s books in Spanish.\nChulainn Publishing Corp: Local distributor of Spanish language books, original and translated.\nThe Best Children\u2019s Picture Books of the Year in Spanish [ 2022 edition] Since 2018, Bank Street College of Education has selected the best picture books published in Spanish that year.\nSelecting Songs and Music\nAuthentic songs and music helps preserve the culture and traditions and gives children a better sense of inclusiveness and belonging.\nAuthentic songs usually have a larger vocabulary that translated songs.\nThere is nothing wrong with using translated songs, as long as they do not dominate the songs you share. A healthy mix of translated and authentic music is encouraged.\nIncorporate flannel boards, finger plays, and games.\nMake sure you have the lyrics available for your audience to read and follow along.\nThere are many Spanish speaking countries, each with their own versions of traditional songs and regional songs. Learn from the families in your storytime what songs they sing at home.\nChildren\u2019s Music in Spanish\n- Grupo Infantil El Mundo De Los Ni\u00f1os in Spotify\n- Cantoalegre in Spotify\n- Duo Tiempo de Sol on YouTube\n- Pica-Pica in Spotify\n- Mariana Mallol on YouTube\n- 123 Andr\u00e9s\n- Jose Luis Orozco\n- Valor Vereda", "id": "<urn:uuid:d4213671-2b5a-4168-8cc9-38cd22e44142>", "dump": "CC-MAIN-2022-21", "url": "https://www.clel.org/early-literacy/spanish-storytime/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00150.warc.gz", "language": "en", "language_score": 0.9382835030555725, "token_count": 1667, "score": 3.5625, "int_score": 4}
{"text": "Heads Up, Teachers: Red Flags for Possible LD\nTeachers are the first line of defense in recognizing and helping preschool students manage learning disabilities. Here\u2019s what you should be looking for in six critical areas of development.\nMost children who have ADHD are not diagnosed until the elementary school grades. With younger children, it is harder to distinguish normal rambunctious, inattentive, and uninhibited behavior from behavior that is abnormal and symptomatic of ADHD.\nEarly identification of ADHD or any related developmental problems, and early intervention, can make a huge, positive difference in the life of a child and his family. They can significantly minimize the social, behavioral, or learning difficulties the child experiences as a result of the disorder, and prevent a lot of struggle down the road.\nPreschool and kindergarten teachers are in the best position to catch early signs and symptoms of a developmental delay or disability, and to identify children who are at risk for struggles in learning and school. Teachers need to be aware of symptoms \u2014 and share their observations and concerns with parents and other school specialists (such as the school\u2019s multi-disciplinary team).\nA child with ADHD may have other developmental weaknesses or delays in some areas \u2014 speech-language, motor skills, or academic readiness, shown by difficulty in learning and remembering ABCs, numbers, shapes, and letter-sound associations. It is important to be aware that children with ADHD often have co-existing learning disabilities, such as dyslexia. Some warnings of LD in preschool and kindergarten include the following:\n- Slow development in speaking words or sentences (\u201clate talkers\u201d)\n- Pronunciation problems\n- Difficulty learning new words; slow vocabulary growth\n- Difficulty finding the right word to use when speaking\n- Difficulty understanding and following simple (one-step) directions\n- Difficulty understanding questions\n- Difficulty recognizing or learning rhyming words\n- Lack of interest in storytelling\n- Immature grammar (syntax)\n[Self-Test: Could My Child Have a Learning Disability?]\nEmergent Literacy Skills\n- Slow speed in naming objects and colors\n- Limited phonological awareness (rhyming and syllable blending)\n- Difficulty understanding that written language is composed of phonemes (individual sounds) and letters that make up syllables and words\n- Minimal interest in print and limited print awareness\n- Difficulty recognizing and learning the letters of the alphabet\n- Difficulty learning the connection between letters and sounds\n- Trouble memorizing the alphabet or days of the week\n- Poor memory for what should be routine (everyday procedures)\n- Difficulty with cause and effect, sequencing, and counting\n- Difficulty with basic concepts, such as size, shape, and color\n- Poor balance\n- Difficulty with fine motor skills and manipulating small objects (stringing beads, tying shoes, buttoning)\n- Awkwardness with running, jumping, or climbing (delayed gross motor skills)\n- Difficulty with or avoidance of drawing, coloring, tracing, or copying\n- Trouble interacting with others, plays alone\n- Easily frustrated\n- Hard to manage, temper tantrums\n- Has difficulty following directions\n[Half of All Kids with ADHD Have a Learning Disability or Related Condition]\nAttention and Behavior\n- Distractibility and inattention\n- Difficulty changing activities or handling disruptions to routines.\nExcerpted and adapted from: RIEF, SANDRA (2016) How to Reach and Teach Children and Teens with ADD/ADHD, Third Edition. San Francisco: Jossey-Bass (Wiley).", "id": "<urn:uuid:1900b8b0-97f7-409d-a8fa-258981ce9537>", "dump": "CC-MAIN-2023-14", "url": "https://www.additudemag.com/early-signs-of-learning-disabilities-in-preschool-and-kindergarten/?utm_source=eletter&utm_medium=email&utm_campaign=may", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00553.warc.gz", "language": "en", "language_score": 0.932715117931366, "token_count": 763, "score": 3.578125, "int_score": 4}
{"text": "Unprecedented wildfires have broken out across Italy, Turkey and Greece due to rising temperatures caused by climate change.\nWildfires are common in southern Europe during the summer months, but extreme weather has made 2021 an especially bad year.\nFrance and Spain experienced around 200 weekly wildfires during July, compared with an respective average of 38 and 81 in the preceding 12 years.\nWildfires have intensified this year driven by the high temperatures and drought that have plagued Europe since the start of the summer.\nIn the most recently affected countries, Turkey, Italy and Greece, there have been between two and five times as many wildfires during July as there were in the period between 2008 and 2020.\nThe devastation in Turkey over the recent weeks shows the scale of the environmental impact \u2013 over 150,000 hectares of land has been burnt at the start of August, which was more than nine times the average over the preceding 12 years.\nThese wildfires can have devastating consequences for human and ecological health, says Professor Dann Mitchell, a professor of climate science at the University of Bristol.\nHe said: \u201cAll the burnt material creates high levels of particles in the air, which cause significant respiratory problems, and visibility problems. On top of that, the loss of ecosystems can undo hundreds of years of nature\u2019s work.\u201d\nWhat has caused a surge in wildfires?\nEurope is experiencing the worst heatwave in a decade because of a heat dome \u2013 a high-pressure bubble trapping heat within an area.\nThis has caused temperatures to rise above 40C (104 F) in many parts of southern Europe and created the perfect conditions for wildfires to run rampant.\nProfessor Mitchell said: \u201cWildfires result from a combination of weather types, but the key ingredients are hot temperatures, dry conditions, and strong winds.\n\u201cIn Greece and Turkey, the combined extreme heat wave and drought conditions have created the perfect storm.\u201d\nThis year has also seen historically low levels of rainfall for much of southern Europe. In Hellinikon in Greece, for example, it has been below the five-year average for the entirety of 2021.\u201d\nIn the coming years, more extreme weather patterns could mean that wildfires become a problem for other parts of Europe as well, says Professor Mitchell.\n\u201cIn the winter, there is expected to be more rain, causing vegetation to boom. In the summer, there is expected to be less rain in many parts of Europe. So in the future we may have more vegetation which is drier, therefore leading to more fuel for the wildfires.\n\u201cAs the climate warms, we expect to see these major wildfire events occurring more and more frequently in the mid- and north of Europe.\u201d\nThe Data and Forensics team is a multi-skilled unit dedicated to providing transparent journalism from Sky News. We gather, analyse and visualise data to tell data-driven stories. We combine traditional reporting skills with advanced analysis of satellite images, social media and other open source information. Through multimedia storytelling we aim to better explain the world while also showing how our journalism is done.\nWhy data journalism matters to Sky News", "id": "<urn:uuid:f523c243-6dbc-4989-b71b-c5559207ab6f>", "dump": "CC-MAIN-2022-21", "url": "https://globe-today.com/world/2021/08/how-heat-dome-has-sparked-worst-wildfires-in-a-decade-across-parts-of-southern-europe/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539131.21/warc/CC-MAIN-20220521143241-20220521173241-00351.warc.gz", "language": "en", "language_score": 0.953919529914856, "token_count": 643, "score": 4.0625, "int_score": 4}
{"text": "Lauren Fallat, LPC LPAT ATR-BC\nThere is a growing body of evidence that suggests that promoting emotional learning and social skills in children with autism spectrum disorder (ASD) can be beneficial. These skills can be nurtured and encouraged in a fun, creative way through the use of art therapy interventions. One way to achieve this is through the use of puppets and puppet making in a group setting or individually with an art therapist. Puppets offer a versatile and fun way for children with autism to learn about their emotions and the emotions of others. They can also be used to practice social skills, such as negotiation and problem solving. In addition, puppet making can be used as an art therapy tool to help children with autism express their emotions.\nAccording to Bani Malhotra, a researcher interested in using art as a way to promote emotional empathy, the use of puppets in a therapy session is \u201c...a nonconfrontational tool for socioemotional and behavioral development leading toward EE [emotional empathy].\u201d Malhotra published a journal article in which she explored the use of art therapy to promote emotional empathy while working with an adolescent with autism. Malhotra found that in working with the puppets, the individual adolescent client in session was able to brainstorm solutions to problems and challenging scenarios faced by the puppet and develop emotional understanding through the characters.\nIt is believed that many individuals on the autism spectrum may have difficulty reading facial expressions and understanding body language, and they may find it hard to initiate or respond to social interactions. That\u2019s where puppets come in. Puppets can help children struggling in these skill areas to learn to read and interpret facial expressions, as observed in subtle cues, such as changes of an individual\u2019s eyebrow slant, mouth bend or nose wrinkle. Incorporating puppets as a therapeutic intervention can also help kids learn important social skills.\nChildren have the ability to practice in real time ways of communicating and interacting with others, like how to take turns, how to make friends, how to initiate conversations, learn social cues and how to handle conflicts.\nIn a therapy session, puppets can be used in a variety of ways, including role playing, creating social stories, and identifying and expressing feelings through character play. When using the puppets for role play, one might have a child or group of children use puppets to act out different scenarios that they might encounter on a day-to-day basis. This might include a morning routine after waking up, making breakfast, setting the table, getting onto the bus, going to school, talking to friends, telling a caregiver about their day, etc. Roleplaying can also help them learn how to react in different social situations.\nSocial stories are another way that children can begin to understand emotional cues from others and appropriate reactions to those emotional cues in a given situation. Social stories will often include a title or clearly defined topic, an introduction stating what is happening, a body or set of details describing what is occurring (answer: who, what, where, when, why, and how) and a conclusion.\nWhen used in play, it may be helpful to have a theme for a social story prepared and then to play out the story using the puppets as the main characters. Examples of topics for social stories might include maintaining personal space, hitting, making friends, taking turns, going to the store, and using the bathroom.\nDepending on the child\u2019s age, it may be engaging to encourage them to create and design their own puppets using socks or paper bags, allowing them more autonomy to develop the puppet\u2019s appearance and personality. Children can also be involved in helping to write a script in which the puppets then act out the script through play interaction. Through this process, children learn how to regulate their emotions and communicate better with others.\nTo Schedule an appointment, click on the Book an Appointment button.\nTo learn more about Holistic Health Counseling Center, please visit out website at www.hhccnj.com To read our latest blog, see this page: https://holistichealthcounselingcenter.com/blog/\nBani Malhotra (2019) Art Therapy With Puppet Making to Promote Emotional Empathy for an Adolescent With Autism, Art Therapy, 36:4, 183-191, DOI: 10.1080/07421656.2019.1645500", "id": "<urn:uuid:9ac68421-c6d6-4d7a-979c-2cbf6ad1958c>", "dump": "CC-MAIN-2023-14", "url": "https://www.arttherapynj.com/post/promoting-emotional-learning-and-social-skills-for-children-with-autism-using-puppets", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296946445.46/warc/CC-MAIN-20230326173112-20230326203112-00550.warc.gz", "language": "en", "language_score": 0.9333921074867249, "token_count": 911, "score": 3.96875, "int_score": 4}
{"text": "Stimulating Creativity in a Montessori School\nAs many parents and teachers are coming to realize, creativity is a key part of a child\u2019s development. Creativity promotes problem-solving and social skills and often leads to a more successful and fulfilling career. It\u2019s no surprise, then, that many parents want to send their children to schools that cultivate creativity.\nUnfortunately, traditional education systems tend to promote rigidity rather than creativity. Children get into a routine\u2013wake up, go to school, do homework, go to bed, and repeat. Worse, the traditional schooling system tends to promote stress and anxiety, which can dampen creativity and lead to lower levels of well-being later in life.\nThe Montessori method of education seeks to change this dynamic. Instead of having children follow a strict curriculum, Montessori schools seek to develop the whole child. They promote self-directed and hands-on activities that promote self-confidence, social cohesion, a love of learning, and, of course, creativity.\nIf you\u2019re interested in sending your child to a Montessori school in the Washington D.C. metroplex, consider looking into Brooksfield School. Situated on five quaint acres of woodland in McLean, Virginia, Brooksfield provides world-class Montessori education to young children. Schedule a tour to learn more today.\nHow Montessori Schools Encourage Creativity from a Young Age\nThough many parents would like to see their young children immediately begin painting and drawing, true creative skills stem from a child\u2019s cognitive growth. Developing sensory and motor skills is a prerequisite to creative expression. In a safe and well-prepared environment, a young child will absorb and learn from his or her surroundings.\nTo promote cognitive growth and introduce children to creative activities, a Montessori school will provide a range of art supplies. Children who show an interest in a particular form of art will slowly be introduced to the art form. For instance, they may be taught how to put on an apron, how to use a brush, and finally how to use an easel.\nThe Montessori method emphasizes self-directed learning. To promote creativity, teachers will often allow children to explore an art form themselves without structured instruction. The freedom and autonomy this allows will help develop their creative skills. Of course, teachers will continually monitor a child\u2019s progress and facilitate their success. Other students, often older children, provide children with a model when learning a new art form.\nA Well-Prepared Montessori Environment\nThe success of any Montessori program begins with the learning environment. Classrooms and other learning spaces are generally open, allowing for movement and collaboration; they are thoughtfully organized to promote different activities, including arts and crafts, music, and play.\nBecause Montessori programs promote self-directed activities, access to a range of materials is key. Teachers are careful to lay out various materials that support creative endeavors, including glue, paper, felt-tip pens, play dough, pencils, crayons, sponges, woodblocks, easels, and more. Children then work on the activities independently or in groups, supervised by the Montessori-certified instructor.\nA key part of the environment is outdoor space. Most Montessori schools include a large outdoor area where children are free to play and learn. There is often a playground, where children are encouraged to play imaginative games that allow them to develop their creative and social skills. Other outdoor activities may include gardening, woodworking, sculpture-building, mosaic art, and fort building.\nCreativity and Social Skills\nOne of the key pillars of a Montessori education is to promote social development through collaboration, clear communication, and natural consequences. Children develop strong social bonds with their peers, including those who may be a few years older or younger. When there is disagreement, teachers encourage the children to work together to solve their differences rather than coming up with a solution for them.\nAccording to the Montessori method of education, social skills and creativity are closely linked. Creative problem solving is often a group activity\u2013whether it involves interpersonal conflict or solving a puzzle. As children develop cognitively and exercise creative skills, teachers encourage the children to work creatively in groups. This may involve storytelling, music, games, or even dances.\nIf you\u2019d like to prioritize your child\u2019s social and creative development, a Montessori school may be the right choice for your child. Consider scheduling a tour at Brooksfield School, one of the top Montessori schools in the Washington D.C. area, to learn more about how our Montessori system of education promotes creativity, social skills, and well-being in children.", "id": "<urn:uuid:d130bd1b-0f6d-4451-a6a3-f24e80cf3533>", "dump": "CC-MAIN-2022-21", "url": "https://www.brooksfieldschool.org/blog/entry/3-educational-theory/406-stimulating-creativity-in-a-montessori-school", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663048462.97/warc/CC-MAIN-20220529072915-20220529102915-00150.warc.gz", "language": "en", "language_score": 0.951961100101471, "token_count": 980, "score": 3.515625, "int_score": 4}
{"text": "Using Drama to Teach English as a Foreign LanguageExpand\nThis brief article will highlight what is meant by the term \u2018drama\u2019 before moving onto look at why drama is a \u2018\u2026very effective weapon \u2018(Boal, 1979:ix) in the classroom. It will then add to this information a number of influential factors that will demonstrate why drama should be considered as key strategy in teaching English as a Foreign Language.\nDrama holds an array of interpretation and definition. For the purpose of this article I refer to drama as a process of learning and adhere to Booths description that \u2018In its broadest term drama covers a wide range of techniques which incorporate interaction, movement, vocal action and mental concentration\u2019 (Booth). In this sense \u2018Drama\u2019 is not about creating a spectacle or being an actor/performer but is rather a \u2018\u2026property which stimulates the process of learning by experience\u2019 (Boal, 1994; 94). Drama in Education therefore employs the use of Drama Games, role play, improvisation, script writing, devising and reflecting.\nHaving outlined the articles use of the term drama, I will now demonstrate why it plays an important role in the classroom.\nThere is a Chinese proverb that reads; \u2018I hear and I forget, I listen and I remember, I do and I understand\u2019 (Chinese Proverb).This is in essence why drama is a powerful classroom tool. It works through our \u2018experiential\u2019 senses. It sees, hears, says and does. The student is not a passive recipient but an active meaning maker. The student engages on a much deeper and personal level then simply being given information. In drama the student demonstrates his understanding by acting out or being what Boal refers to as the \u2018spect-actor\u2019. This \u2018acting out\u2019 is not prescribed but comes through personal internalisation, context and group dynamic.\nLets take for example, a history lesson looking at War; a group can be given details and statistics but to connect with and understand these teachings fully, it would be better to demonstrate and involve. I.e. A teacher arrives dressed as a commanding officer and tells his class that they must decide on the strategy needed to occupy the enemies\u2019 terrain. Or a discussion about evacuation leads into a drama about saying goodbye to your best friend. These examples involve mental and emotional interpretation and decision and thus the learning effects remain longer. The education becomes written on us, rather than just spoken or given to us.\nAs well as benefits to learning, the use of drama in the classroom can have very positive personal benefits. The student develops communication skills, leadership, team work, compromise, listening skills, presentation skills, self esteem, confidence,\nself-acceptance, acceptance of others, empowerment , pride in work, responsibility, problem solving, management, to name but a few.\nDrama in the classroom makes the classroom \u2018\u2026.a place where teachers and students meet as fellow players, involved with one another, ready to connect, to communicate, to experience, to respond, to experiment and discover\u2019 (Robinson).\nHaving established the need for drama in the classroom, I will now specifically apply it to the teaching of English as a Foreign Language. In teaching English as a Foreign Language the balance of receptive and productive skills is an important area to address. Drama effectively deals with this requirements. Through drama a class will attend to, practice and integrate reading, writing, speaking and listening.\nAt its most basic level drama can be used via drama games. Drama games introduce basic language skills and are a great way of introducing vocabulary. Games require speaking and listening skills and many words and sentences are repeated. They are a way of focusing on the externalisation of language rather than the internal study of it. In an informal and non confrontational way, the student begins to interact with the English language and in dong so can increase their confidence and reduce their inhibitions to \u2018have a go\u2019.\nThe use of role play and real life situations similarly encourage students to organise and activate the English language in a developmental way. It is important to consider vocabulary, word order, tense, correct grammar and pronunciation yet because the communication approximates reality, the language is brought to life..\nDrama efficiently units all the language skills. For example, let\u2019s say we set the class the task of creating a missing scene. They are given a short story (reading, comprehension) about a lady who starts work as a fashion designer and falls in love with the boss. The missing scene they choose to write is the scene where the girl is interviewed for the job (imagination, group discussion, Decision making, literary contextualisation).\nThrough a series of role play and improvisations (speaking, listening) the students come up with ideas of what may have taken place during that initial meeting. In the course of these improvisations students have had to respond to grammatical cues of tense and syntax, draw on previous vocabulary and practice being understood. They will have also created a range of characters which encourages an adaptive language approach and \u2018\u2026can offer students a dynamic encounter with language that comes closest to real communication\u2019 (Berlinger)\nAdditional research which will inform their missing scene can be given to the students. They may write/read job advertisements (reading, writing), speak to others about their experiences of job interviews (speaking, listening), write profiles about the characters (writing), script their dialogues (writing), rehearse their scenes (speaking, reinforces correct language use) and finally present them to the class (Speaking, listening, confidence building).\nOne of the benefits of a drama task such as this is that the teacher is able to address all of the student\u2019s levels of needs at one time. In an improvisation for example, the less able students could work as a group on easier roles/situations, whereas more advanced students could create more complex characters with reference to various periods of time. Whilst more able students may be required to fill in a job application form, the lower level students may be expected to write a simple CV/Resume. The teacher is able to plan ahead for each student and evaluate their progress.\nDrama can also be used to demonstrate how we communicate with no language at all. Our silent expression is a vital part of our communication. Miming verbs and adjectives helps students to match their body language to their words.\nDrama is a part of everyday life. We are surrounded by the visual image, it grabs our interest. Stories are told, heard and repeated everday, both real and imaginary. Newspaper articles, favourite films or characters from soap operas, they can all be used to prompt discussion or creative writing in an interesting and relevant way.\nThis article is a sprint through why drama is so useful to TEFL. As Conrad Toft observes \u2018Advocates of using drama to teach foreign languages say the technique brings the language to life\u2019 (Toft). Not only are students more relaxed, interested and less afraid to speak, but they are also motivated \u2018\u2026to generate imaginative and detailed ideas, greatly expand their vocabulary, actively practice language skills and attain far greater fluency, it also provides a setting in which they can explore the social values of a different culture\u2019 (Berlinger).\nIn conclusion then, we have seen that drama, in the broadest sense of the term, is not only useful in the classroom but gives a tangible benefit to the students learning and personal growth. More specifically in teaching English as a foreign language these two benefits combine. By strengthening a student\u2019s confidence in English you support their successful acquisition of the language. I therefore argue that the use of drama as a specific strategy to teach English as a Foreign Language is a highly effective experiential learning approach.\nBoal, Augusto. Theatre if the oppresse Londn: Pluto, 1979\nBoal Agusto Games for actors and non actors London Routlegde, 1992\nBoal Augusto Rainbow o Desire London Routledge 9995\nIzen, Catherin Stages in Revolution London Methuen, 1980", "id": "<urn:uuid:419e121d-96c2-49e1-afd2-9761771e560d>", "dump": "CC-MAIN-2022-21", "url": "https://www.tesolcourse.com/tesol-articles/using-drama-to-teach-english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00351.warc.gz", "language": "en", "language_score": 0.9491478204727173, "token_count": 1693, "score": 3.671875, "int_score": 4}
{"text": "Also Read: Could meteorites have brought water to Earth?\nThe Milky Way houses 8,292 recently discovered stellar streams \u2014 all named Theia. But Theia 456 is special.\nA stellar stream is a rare linear pattern \u2014 rather than a cluster \u2014 of stars. After combining multiple datasets captured by the Gaia space telescope, a team of astrophysicists found that all of Theia 456\u2019s 468 stars were born at the same time and are traveling in the same direction across the sky.\n\u201cMost stellar clusters are formed together,\u201d said Jeff Andrews, a Northwestern University astrophysicist and member of the team. \u201cWhat\u2019s exciting about Theia 456 is that it\u2019s not a small clump of stars together. It\u2019s long and stretched out. There are relatively few streams that are nearby, young and so widely dispersed.\u201d\nAndrews presented this research during a virtual press briefing at the 237th meeting of the American Astronomical Society. \u201cTheia 456: A New Stellar Association in the Galactic Disk\u201d took place on January 15 as a part of a session on \u201cThe Modern Milky Way.\u201d\nAlso Read: NASA image of majestic Himalayas goes viral; see pic here\nWhile researchers have long known that stars form in groups, most known clusters are spherical in shape. Only recently have astrophysicists started to find new patterns in the sky. They believe long strings of stars were once tight clusters, gradually ripped apart and stretched by tidal forces.\n\u201cAs we\u2019ve started to become more advanced in our instrumentation, our technology and our ability to mine data, we\u2019ve found that stars exist in more structures than clumps,\u201d Andrews said. \u201cThey often form these streams across the sky. Although we\u2019ve known about these for decades, we\u2019re starting to find hidden ones.\u201d\nStretching more than 500 light-years, Theia 456 is one of those hidden streams. Because it dwells within the Milky Way\u2019s galactic plane, it\u2019s easily lost within the galaxy\u2019s backdrop of 400 billion stars. Most stellar streams are found elsewhere in the universe \u2014 by telescopes pointed away from the Milky Way.\n\u201cWe tend to focus our telescopes in other directions because it\u2019s easier to find things,\u201d Andrews said. \u201cNow we\u2019re starting to find these streams in the galaxy itself. It\u2019s like finding a needle in a haystack. Or, in this case, finding a ripple in an ocean.\u201d\nIdentifying and examining these structures is a data science challenge. Artificial intelligence algorithms combed huge datasets of stellar data in order to find these structures. Then Andrews developed algorithms to cross-reference those data with pre-existing catalogs of documented stars\u2019 iron abundances.\nAndrews and his team found that the 468 stars within Theia 456 had similar iron abundances, which means that \u2014 100 million years ago \u2014 the stars likely formed together. Adding further evidence to this finding, the researchers examined a light curves dataset, which captures how stars\u2019 brightness changes over time.\nAlso Read: Did you see the image of a Neutron star shared by NASA?\n\u201cThis can be used to measure how fast the stars are spinning,\u201d Ag\u00fceros said. \u201cStars with the same age should show a distinct pattern in their spin rates.\u201d\nWith the help of data from NASA\u2019s Transiting Exoplanet Survey Satellite and from the Zwicky Transient Facility \u2014 both of which produced light curves for stars in Theia 456 \u2014 Andrews and his colleagues were able to determine that the stars in the stream do share a common age.\nThe team also found that the stars are moving together in the same direction.\n\u201cIf you know how the stars are moving, then you can backtrack to find where the stars came from,\u201d Andrews said. \u201cAs we rolled the clock backwards, the stars became closer and closer together. So, we think all these stars were born together and have a common origin.\u201d\nAndrews said combining datasets and data mining is essential to understanding the universe around us.\n\u201cYou can only get so far with one dataset,\u201d he said. \u201cWhen you combine datasets, you get a much richer sense of what\u2019s out there in the sky.\u201d\nAlso Read: Earth is spinning faster than usual! Here\u2019s what that means\n- Climate doomism is bad storytelling \u2013 hope is much more effective at triggering action\n- Trump not alone in US presidential pantheon of controversies, scandals\n- Assam: Submission date under Mission Basundhara 2.0 extended\n- Meghalaya: CRPF celebrates \u2018Raising Day\u2019 in Tura\n- Itanagar police seized heroin worth Rs 90 lakh, arrest 21 peddlers in March\n- Palm Sunday 2023: Wishes and greetings for your loved ones", "id": "<urn:uuid:f72fc351-5ca0-47a3-b489-fcd1a76468cf>", "dump": "CC-MAIN-2023-14", "url": "https://www.eastmojo.com/news/2021/01/19/star-sisters-string-of-stars-in-milky-way-born-at-the-same-time-move-together/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296950373.88/warc/CC-MAIN-20230402012805-20230402042805-00154.warc.gz", "language": "en", "language_score": 0.9428085684776306, "token_count": 1059, "score": 3.5, "int_score": 4}
{"text": "- Max Kuehn\nNeed to know what is folk music? It is any style that represents a community and can be sung or played by people who may or may not be trained musicians, using the instruments available to them. In this article, Fidlar will dive deeper into folk music definition, history as well as characteristics of this music genre.\nDefinition Of Folk Music\nAmerican folk music can be described as a musical genre that incorporates traditional music from various cultures and peoples.\nMany folk songs in the eastern United States have international roots. Appalachia\u2018s music was shaped by immigrants from England, Scotland, Ireland, and sometimes from the British Isles. Enslaved Africans brought their distinctive rhythms and chants to the South to sing to pass the time.\nThis genre was incorporated into mainstream culture, creating a mixture of folk and pop music\nThis music genre can be divided into several categories, including bluegrass, and railroad songs, protest songs, cowboy songs, sea shanties, jug songs, and other genres. Songs have been a part of American culture, often even being the popular music of their era.\nWhere Did Folk Music Come From?\nBecause it is difficult to pinpoint the origins of folk music, it is sometimes used to describe music from different regions. Traditional folk music also was defined as music with unknown composers\nIn the 19th century, there was a movement to collect and document folk music. This folk culture evolved into a distinct musical form in the 20th century. It is often associated with particular regions, as well as specific folk musicians.\nSheet music and tablature are freely available online. It has a flexible and democratic character that ordinary people own. It can also be shared and created through individual experiences. This political dimension continues to exist today.\nThis political aspect has influenced a variety of folk music revival, from the right-wing nationalistic composers in the late 19th century to left-wing cultural revolutionaries in the 1960s and 1970s. A new style of folk music developed.\nA Short History Of Folk Music\nAmerica\u2019s folk music traditions are a result of continuous evolution over its history.\nSongs of work by enslaved people. Enslaved West Africans wrote songs to help them through their labor in the Southern fields. They used a call and response tradition and African rhythms.\nAfter emancipation, gospel spirituals were based on melodies taken from the fields. These same traditions were later used to inspire blues musicians in the 20th century.\nWhite folk traditions have roots in Great Britain, Ireland, and the United States. It are rooted in these traditions often include ballads, which tell stories. Traditional Appalachian music was shaped by Irish, Scottish, and English traditions.\nFrench settlers created a unique sound: French settlers helped create Louisiana\u2019s traditional Cajun music, and zydeco.\nWork songs were popular: Folk music was also influenced by work songs. These songs came from railroads, mines, and the sea shanties that came with working boats.\nCowboy songs emerged in the West from the stories of range workers. Many of these men were Anglo-American, while others were Mexican and Spanish.\nThe genre was changing by the 1930s. Contemporary folk Woody Guthrie, a musician, is often credited with being the first to contribute to this genre.\nIt was mainstreamed: The Carter Family\u2019s recordings of \u201cCan the Circle Be Unbroken\u201d in the 1930s helped popularize folk music. This helped to sow the seeds of mainstream country music and launched a multidecade period for The Carter Family.\nThe popularization of the new genre began in the 1960s. Many folk groups have brought decades of traditional music into the Pop culture to the masses through mass media. The folk music revival was closely linked to the Civil Rights Movement.\nThis was due to their ties with Civil Rights Movement. Woody Guthrie, John Denver, Bob Dylan, Joan Baez, Arlo Guthrie, Simon & Garfunkel, Joni Mitchell, and Peter, Paul, and Mary, all popular folk singers at the time. Many of these artists were able to build on the foundation laid by the Carter Family.\nThis genre has evolved in many ways, but the most important is the one that was created. Commercially successful Punk Folk is the most popular genre. The earliest form of this was created by the Pogues.\nContemporary folk music is still famous. A vibrant folk scene continues to thrive well into the 21st century.\nActs hail from all corners of the country, including Los Angeles and Chicago. Gillian Welch and David Rawlings, Old Crow Medicine Show, and Nickel Creek are just a few of the folk musicians who have kept this tradition alive.\nThree Characteristics Of Folk Music\nAcoustic instruments dominate folk music. They include acoustic guitars and banjo, mandolin, fiddle, and double bass.\nDylan began to use Electric instruments in 1965. This was a significant transition to the use of an electro-acoustic instrument, which, although not fully accepted at the time is still used today.\nEnglish Language Lyrics\nMost American folk singers sang English, except traditional Cajun music. Some lyrics, such as those by Bob Dylan, were about social justice. Some lyrics, such as those of Joni Mitchell, a progressive folk singer, were deeply personal. Some folk artists, such as the Kingston Trio, covered older songs.\nEmphasis On Regional Authenticity\nIt is very different from one region to another, and many regional folk bands stick to their traditions. This is why bluegrass from southwest Virginia is so distinct from New Bedford, Massachusetts, and the South Carolina Black American spirituals.\nWhat Is The Purpose?\nIt can be commemorative (the death of Nelson) or rural (cropping of hay). After the industrial revolution, it became more urbanized in subject matter with a political edge. Popular music includes sea shanties, lyric songs, and ballads.\nThese all lend themselves to folk culture\u2019s narrative storytelling element. Song structure often revolves around a repetitive chorus with changing verses.\nThis allows multiple people to join in and helps them get through repetitive, mechanical parts of their job in the case of workers.\nWhat Instruments Are Used In A Folk Band?\nThe typical instrumentation used in folk music traditions of Britain is voice, guitar, fiddle, whistle, pipes, and accordion.\nThere are also many other percussion instruments, such as the spoons, bones, and bodhran, and more uncommon ones like the bazouki, hammer dulcimer, and hurdy-gurdy.\nOther exotic, but equally common instruments include the dulcimer (a simple instrument with a string), the zither (another instrument with a string), and other percussive instruments.\nSubjects Of Folk Music\nThis genre includes instrumental music. This is especially true for dance music traditions. However, a lot of folk music is vocal music. This genre is often sung with lyrics and is usually about something.\nIt from many cultures includes the narrative verse. This includes traditional epic poetry and other forms, which were initially intended for oral performance. Many epic poems from different cultures were assembled from short pieces of traditional narrative poetry.\nThis explains their episodic structure, and sometimes their in media related to plot developments. The traditional narrative verse also depicts the outcome of battles, other tragedies, or natural disasters.\nThese songs can also celebrate victory, such as the triumphant Song of Deborah in the Biblical Book of Judges.\nTraditional folk often include laments about lost battles and wars as well as the loss of lives. These laments help to keep alive the cause that the battle was fought. Folk heroes like Robin Hood and John Henry are often remembered in songs about folk genre narratives.\nMany hymns and other forms of religious music are of unknown and traditional origin. The original purpose of western musical notation was to preserve the lines and traditions of Gregorian chant. This was previously taught in monastic communities.\nFolk songs like Green grow the rushes O present religious knowledge in a mnemonic format. Christmas carols and other traditional songs in the West preserve religious lore through song form.\nThere are other types of folk songs that are less well-known. Songs for work are often composed. They frequently have call and response structures. These are intended to allow the laborers who sing them to coordinate their efforts according to the songs\u2019 rhythms.\nThe American armed forces have a rich tradition of \u201cDuckworth Chants\u201d (jody calls) that are sung by soldiers while they are marching. A large number of sea shanties were used by professional sailors.\nTraditional folk music often includes love poetry. It is often sad or regretful. Folk song often includes nursery rhymes and nonsense verse.\nWhat Is Folk Music Example?\nExamples of Folk Songs:\n- Scarborough Fair.\n- One Morning Early\n- Swing Low Sweet Chariot.\n- Auld Lang Syne\n- Oh Danny Boy.\n- Waltzing Matilda.\nWhat\u2019s The Focus Of Folk Songs?\nFolk songs emphasize humanity. These songs are often influenced by the environment or atmosphere. It helps preserve our culture. Folk songs are passed down from generation to generation to preserve and enhance the culture.\nWe hope you find this helpful article. If you have any comments or suggestions, or questions, please feel free to leave a comment below.", "id": "<urn:uuid:61ab90a2-85f8-48a5-9ecf-baf5d41d2c18>", "dump": "CC-MAIN-2023-14", "url": "https://fidlarmusic.com/what-is-folk-music/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296943562.70/warc/CC-MAIN-20230320211022-20230321001022-00754.warc.gz", "language": "en", "language_score": 0.9678933024406433, "token_count": 1967, "score": 3.84375, "int_score": 4}
{"text": "You probably already know that reading aloud to a child can help improve his or her language development and affect future success in school. Well, these benefits of reading are now starting to get some serious research chops behind them, and the results are fascinating. We\u2019ve compiled some of the most up-to-date research on the benefits of picture books and reading to small children. We hope you\u2019ll be inspired to start reading more with your own little bears!\n- Stories literally light up a child\u2019s brain.\nUntil now, we haven\u2019t had a good understanding of what\u2019s happening in a child\u2019s brain when he or she hears a story. A recent study in the journal Pediatrics looked at just that. They monitored the brain activity in 3-to 5-year-old children as they were being read to. And for the children whose parents reported more reading at home and more books in the home, their brains showed significantly greater activation of areas in the left hemisphere, where multisensory integration, integrating sound, and visual stimulation occur. And even though the children in the study were just listening to the story and did not see any pictures, they also showed more brain activity in the areas that process visual association\u2014which suggests that they were seeing the images in their imaginations. Who doesn\u2019t want their little bear to have a more active brain and a healthy imagination?\n- Picture books may use a bigger vocabulary than you do.\nFrom our work editing picture books, we know that picture book creators spend countless hours choosing just the right words and images to complement and enhance their storytelling. But in case there are any doubters out there, it\u2019s great to know that research has proven just how special picture books really are. A study from the journal Psychological Science looked at the language content of picture books. Choosing from a selection of teacher recommendations, Amazon bestsellers, and popular bedtime books, the researchers compared the language in the books to the language used by the parents when speaking to their children. It turns out that the picture books contained more \u201cunique word types.\u201d That means reading picture books to your little bears could expose them to a wider vocabulary.\n- Picture books are not just for little bears.\nMany educators are now using picture books to teach higher-level skills to older students. These teachers have noticed less resistance to new vocabulary when it\u2019s presented in picture books (which ties in with our point #2 above). And of course, kids of all ages like to hear a good story. Picture books can also serve as a great introduction or a supplement to the larger topics that older kids are learning about (for example, reading a picture book biography about a black civil rights activist to tie in with Black History month). So just because your child progresses in reading skills doesn\u2019t mean he or she should stop reading picture books altogether. That\u2019s also why we at Book Bears advocate for reading time to be a family event. It\u2019s our belief that family members of all ages can benefit from reading picture books together.\nLooking to add more books to your home bookshelf but don\u2019t have time to do the research? Consider a subscription to Book Bears. Book Bears read! Visit us at www.bookbears.com.\nWant to hear more about the studies mentioned above? Check out this New York Times article. To learn more about how teachers are using picture books with older kids, check out this article from School Library Journal. We also love this list from the Nerdy Book Club.", "id": "<urn:uuid:132dbd1a-c126-4471-b002-3adc533507bd>", "dump": "CC-MAIN-2022-21", "url": "https://bookbears.com/2016/03/05/3-more-reasons-to-read-more-picture-books/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00351.warc.gz", "language": "en", "language_score": 0.9577530026435852, "token_count": 736, "score": 3.703125, "int_score": 4}
{"text": "Biggest Climate Changes Hitting the Pacific Northwest and What You Can Do About It\nWhere else in the U.S. but the Pacific Northwest can you visit one of most charming cities in the world, explore beautiful snowcapped mountains and spend an afternoon relaxing on the beach\u2014all in the same day?\nKnown for its extraordinary natural beauty and fiercely independent characters, the region is now making headlines for a different reason altogether. Namely, the many ways a warming climate is transforming the environment.\nWith our next Climate Reality Leadership Corps activist training taking place in Washington State this June, we\u2019re highlighting some of the biggest changes hitting the Pacific Northwest because of the climate crisis and what regular citizens can do to make a difference, wherever they call home.\nThreatened Water Sources\nIf there\u2019s one thing the Northwest is known for\u2014even more than coffee and Twin Peaks\u2014it\u2019s water. Specifically, rain and in higher elevations, snow. But with the climate changing and temperatures rising, the snow on those white-capped mountains is melting quicker and sooner than ever before, with the potential to alter the water cycle throughout the region.\nWith warmer days, snowpack in the Cascade Mountains, which range from southern British Columbia through Washington and Oregon to Northern California, has decreased by about 20 percent since around 1950. In some areas, snow-melts are now beginning up to 30 days earlier than normal, which affects the timing of when and how streams flow\u2014and can increase competition for water downstream.\nThe effects spill throughout the region. With less water running down mountain streams in summers, scientists expect less water will become available to power the region\u2019s hydroelectric dams. And because the Northwest generates 40 percent of the nation\u2019s hydropower, there could be real economic consequences in the region and beyond.\nThe image above shows the projected changes in water runoff and streamflow for 2040, as compared to 1915\u20132006.\nIncreased Sea Level Rise\nOne of the most severe threats to the Pacific Northwest is the danger of seas rising up the Oregon and Washington coasts. Scientists predict global sea levels may rise between 1.6 and 3 feet by the end of the century, putting Seattle, and many other cities, at risk of developing new and unwanted beachfront properties.\nIt\u2019s not just the places right on the beach at risk either. About 140,000 acres of the coastal region are within 3.3 feet of high tide. Low-lying areas, including Puget Sound, are at especially great risk to rising sea levels and storm surge. Flooding and erosion from sea-level rise are likely to damage homes, highways, public transportation systems and threaten marine life and coastal ecosystems.\nThe image above shows areas in Seattle that are projected to fall below sea level during high tide by 2100. The map shows three different levels based on medium and high projections, as well as a higher projection that includes storm surge.\nForests, which make up nearly 50 percent of the Northwest landscape, have experienced a surge in wildfires in recent years partly due to the climate crisis. Oregon and Washington had their most severe wildfire season in 2015 when more than 3,800 fires burned more than 1,600,000 acres.\nWhy the jump in wildfires that year? The first six months of 2015 were the warmest Oregon and Washington witnessed since record keeping began. There was also less precipitation, which led to poor snowpack and reduced streamflow throughout the winter and spring seasons. These dry changes made it more likely for forests to catch fire when lightning struck\u2014which it did, 51,019 times between June 1 and September 15, 2015.\nWhat You Can Do\nIf the Pacific Northwest is going to meet the challenge of the climate crisis, citizens, business leaders, communities and local and federal governments will need to work together to cut emissions and accelerate the shift to clean energy.\nAre you ready to do your part? This June, we\u2019ll be holding our next Climate Reality Leadership Corps activist training in Bellevue, Washington and there\u2019s a place for you.\nWhether you live in the Pacific Northwest or anywhere else, apply and you could work with former U.S. Vice President Al Gore and renowned climate scientists and communicators to learn about what\u2019s happening to our planet and how you can use digital tools, powerful storytelling and personal outreach to build real momentum for solutions and inspire communities to act.\nWe don\u2019t have time to waste. With the crisis transforming our planet more and more every day, we\u2019ve got to fight like our world depends on it. Apply now to join us in Washington and make a difference when it matters.", "id": "<urn:uuid:c3c26d49-19f4-4ce5-b227-bc842ec468a1>", "dump": "CC-MAIN-2022-21", "url": "https://www.ecowatch.com/climate-change-pacific-northwest-2389078581.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662625600.87/warc/CC-MAIN-20220526193923-20220526223923-00351.warc.gz", "language": "en", "language_score": 0.9436092972755432, "token_count": 963, "score": 3.734375, "int_score": 4}
{"text": "The Prewriting Skill Expectations for Children\nIn a society where we compare and contrast our child with all other children without much understanding of the common developmental stages children go through, it is important to continue to talk about Prewriting Skills, than writing exercises.\nWe have spent the last 2 weeks explaining how to prepare the child\u2019s hand for writing. I want to spend some time helping us understand the realistic expectations we should have for our children when it comes to writing. Knocking them on the head or their fingers with a ruler is not the way forward. Let us as teachers and parents understand the early years of a child\u2019s life and what they can cope with. It is not right to impose our high standards based on fantasy and not on realistic facts on the children. So here are the age appropriate expectations you should see and work on with your child. Please do not force them to achieve what children 2 years older than they are cannot do. It damages their potential and makes them hate school and academics!\n1 to 2-year-olds: They scribble, sometimes randomly in a vertical, horizontal or circular direction. They even combine all three directions as well. You can get them to imitate directions. This is why working with sand, garri in a plate, or hands in the air are useful tools to help the child practice these hand movements at this stage in life.\n2 to 3-year-olds: By the time they are this age you can expect the child to start tracing horizontal and vertical lines as well as circles. Practice makes perfect. Use your creative juices to come up with practical ways to make this possible for the child to achieve. Repetition is key, they love repetition especially when they are doing the same thing but in new, different and exciting ways.\n3 to 4-years-olds: Now the child can start copying the horizontal, vertical and circle lines. This means that they have started working free-hand, without the tracing guide. Lots of practice is needed. The child also starts working on tracing a cross, a right to left diagonal and a square.\nIn the Montessori setting we would also be introducing the letters to the child in relation to the sounds, not the letter names at this point. We would not start off with pencil and paper writing, but with finger tracing the alphabet cut out and pasted on cardboard or wood. We call this the sandpaper letters. The reason for this is simple, we are providing a multi-sensory learning process for the child. We say the sound, and trace the letter symbol following the correct writing direction, and the child can feel the roughness of the sandpaper on his fingers, imprinting a tactile memory of the letter sound in his brain. How cool is that? There is also the visual aspect included, don\u2019t forget, so it is multi-sensory. Repetition is very important, I cannot stop emphasizing this fact. If you work with a child this way, they will remember their letter sounds and will be able to transfer the knowledge later on onto paper. One step at a time please, let\u2019s not rush the children. They should get a lot of practice colouring.\nWhen colouring an apple for example, the child should be encouraged to colour inside the lines, using line strokes from one end to the other, instead of just scribbling in any direction. They learn control this way. Practice, practice, practice\u2026 this is what helps prepare your child for success in the writing arena.\n4 to 5-year-olds: This is an exciting time for the patient parent who follows through with these guidelines because this is the time when your child actually shows great interest in wanting to write. They are able to grasp their pencils correctly with the right grip. Children at this state can copy the diagonal right to left, the cross and the square, they can now start tracing x\u2019s and triangles.\nThey have also started reading simple words and may want to write what they have learned to read. This is why it is so exciting. Once children get to this stage encourage them to make little booklets of what they are interested in. It does not need to be elaborate projects, pictures of a dog, cat, hat, pig. Can be stock on a cut out piece of paper and the child can write the right word underneath the picture, put them together and staple. A booklet has been created, made by your child. He would be so proud of himself and so should you.\n5 to 6-year-olds: At this point the child can copy the X\u2019s and triangles and can distinguish between big and small lines and curves. This is when everything comes together. Please follow through, the child is at a point when creative writing starts kicking in. A child wants to communicate his thoughts and ideas and has found a new way to do so. Writing! Even if what he wants to talk about is Super Mario, Power Rangers or Minions please let him do so. Handwriting practice would be in session with no fuss. What else could you ask for as the creative juices will take over and ensure that your child stretches himself. This is how it works.\nI promised a resource page and I am glad to announce that your Prewriting resource worksheets are now available on the Resource Page. New items will be added regularly. Enjoy", "id": "<urn:uuid:9d679d1f-5309-43ea-94b9-f8bfd4b8c3bd>", "dump": "CC-MAIN-2022-21", "url": "https://ayopejufalekulo.com/2016/10/26/age-apropriate-pre-writing-skills-for-your-child/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662675072.99/warc/CC-MAIN-20220527174336-20220527204336-00750.warc.gz", "language": "en", "language_score": 0.9638281464576721, "token_count": 1107, "score": 3.71875, "int_score": 4}
{"text": "Individuals and communities have the knowledge and tools they need to become climate ready and communities have the knowledge and tools they need to become climate read\nObjectives to achieve goal:\nIf we want individuals and communities to be empowered to take adaptation action, it\u2019s important they understand local climate risks.\nClimate information that is both local and long-term will enable communities to address their key priorities and make incremental change. Climate education of children and youth will also allow future generations to be better prepared.\nCurrently, many communities are excluded from climate conversations. Our region\u2019s successful settlement and migration programs mean that we are more diverse than ever, yet information about climate change remains top-down and assumes a high level of English and written literacy.\nThese waves of migration have also brought with them knowledge of sustainable practices from around the globe \u2013 an asset for our region as we look for innovative solutions to meet the challenges that we face.\nIt is not enough to say that we are inclusive: the severity of the impacts makes collaborative engagement a priority. We need to work directly with all communities in our region to ensure that our objectives, actions, and tools resonate for all.\nFunding for community-led initiatives and enterprises\nOrganise a regional climate action festival\nFirst Nations\u2019 people have been living sustainably in our region for millennia. Their worldview and connection to Country are a rich source of knowledge and innovation.\nThere is a real thirst in communities, especially from young people and new migrant communities, to learn how can we implement traditional knowledge into our everyday practices to adapt to the rapidly evolving climate.\nAboriginal knowledge has already been critical in supporting climate adaptation actions. Traditional land management practices such as cultural burns may help us respond to the increased threat of bushfires due to climate change.\nOpportunities also exist to support collaboration between regenerative farming practitioners and First Nations\u2019 farming practices and indigenous plant use.\nConsider traditional knowledge at all levels of decision making\nConsider and appropriately incorporate all climate polices developed by Traditional Owners into the Climate Ready Plan as they are developed and become available\nSupport learning opportunities for young people and new migrant communities with First Nations\u2019 peoples\nLocal people are experiencing the very real effects of climate impacts in their communities and are often able to respond with innovative place-based solutions.\nPositive storytelling helps individuals and communities see that even small actions make a difference.\nPeer-to-peer learning is important because we are all figuring out what we need to do to adapt. Sharing with others what has worked, and what hasn\u2019t, will enable faster adaptation responses and help prevent maladaptation.\nStory-telling also allow us to address some of the barriers to engagement; communities can lead conversations on their terms, in their languages, and with those who they trust.\nCreate Climate Living Lab Educational Hubs partnering with local education providers, First Nations\u2019 groups, locals and the farming community\nDeliver education forums or climate clinics between communities\nHarness social media and other platforms to share local stories\nThe increase in emergency events posts a disproportionate risk to the most vulnerable in our communities.\nA lack of clarity around what to do and who should do it continues to be a barrier to planning and acting in response to emergency events.\nLanguage barriers, social isolation and digital inequities can be inhibitors to receiving and understanding emergency warnings.\nPeople in communities who are living with a disability or long-term health issues can be particularly vulnerable during bushfires due to a lack of accessible information, emergency housing and access to health services.\nYoung people in the region want to be involved and should be empowered and resourced to make meaningful contributions to emergency preparedness, response and recovery efforts.", "id": "<urn:uuid:8a7ffaad-7844-43e6-8fc1-dba22ea4538d>", "dump": "CC-MAIN-2022-21", "url": "https://climatereadyplan.adaptloddonmallee.com.au/knowledgeable-communities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00350.warc.gz", "language": "en", "language_score": 0.9504256844520569, "token_count": 769, "score": 3.859375, "int_score": 4}
{"text": "Memorise this story as well as you can: Long, long ago in a village in China there lived a fool called Li. One day Li won 300 yuan in the gambling house. He was very happy so he went to find a place to store the money. He found a great place \u2013 the ground! He buried the money in the ground but he was afraid that someone would steal his money. So he thought up a plan. He found a piece of paper, wrote on it and fixed it to the ground. It said \u2018300 yuan is not buried here\u2019. Li had a neighbour called Gao. Gao knew that Li had this money and he wanted to steal it. He found the note and dug up the money. When he had finished he found a piece of paper, wrote on it and fixed it to the ground. It said \u2018Gao didn\u2019t steal 300 yuan\u2019.\n- Say \u2018I\u2019m going to tell you a very short tale about a foolish neighbour called Li who got 300 yuan. Before I tell it, you have one minute to find out as much as you can about the story. Ask me, I am Li. One minute starting\u2026 now!\u2019 As Li (you might alter your posture and voice) give spontaneous brief answers to students\u2019 questions, without giving away the whole story.\n- After the one minute, ask students to tell the story they imagine based on your answers before they listen to the story.\n- Say \u2018Now listen to me tell the story and see how similar or different it is to what you imagined\u2019. This focuses students and they listen very closely. Tell the story in your own words as narrator (not as Li).\n- Say \u2018Now talk about the similarities and differences\u2019.\n- Say \u2018Stand up facing a partner. In each pair one of you is Gao and the other is another neighbour. Find out as much as you can from Gao about what happened and how he got the 300 yuan starting\u2026 now!\u2019\n- Allow one pair to show the class their roleplay if they wish.\nAsk students if the story reminds them of another short story they know. The students who have a story to tell get into small groups with students who don\u2019t. Before they tell the story, ask them to say \u2018I\u2019m going to tell you a very short tale about a\u2026 who\u2026\u2019 and follow the same procedure you have modelled above. If necessary preparation can be done for homework. This student storytelling procedure can become a regular classroom activity with different students telling a story each week.\nSee article Storytelling to celebrate cultural diversity.\nDavid Heathfield is a storyteller and English teacher. Find more ideas in his teacher resource book Spontaneous Speaking: Drama Activities for Confidence and Fluency (DELTA Publishing). http://www.davidheathfield.co.uk/\nI like it\nI really like the way of proceeding with story telling.\nQuite different and interesting.It will make the students talk.\nThank you David for being so generous and sharing your ideas with us.\nI love using stories in my lesson and I started to create some myself. I have made several episodes which I call Komeen story. They are short animated stories which are accompanied by worksheets with some grammar points.\nYou can find them at\nI hope you like it too.\nI think this activity would be very useful\nInteresting and very useful activity.", "id": "<urn:uuid:07dc9917-2322-4bb5-be4b-c16d5129ce68>", "dump": "CC-MAIN-2022-21", "url": "https://www.teachingenglish.org.uk/article/ask-and-imagine-story", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521152.22/warc/CC-MAIN-20220518052503-20220518082503-00350.warc.gz", "language": "en", "language_score": 0.9740593433380127, "token_count": 760, "score": 3.96875, "int_score": 4}
{"text": "Through accessible language and candid discussions, Storytelling for Social Justice explores the stories we tell ourselves and each other about race and racism in our society. Making sense of the racial constructions expressed through the language and images we encounter every day, this book provides strategies for developing a more critical understanding of how racism operates culturally and institutionally in our society. Using the arts in general, and storytelling in particular, the book examines ways to teach and learn about race by creating counter-storytelling communities that can promote more critical and thoughtful dialogue about racism and the remedies necessary to dismantle it in our institutions and interactions. Illustrated throughout with examples drawn from contemporary movements for change, high school and college classrooms, community building and professional development programs, the book provides tools for examining racism as well as other issues of social justice. For every facilitator and educator who has struggled with how to get the conversation on race going or who has suffered through silences and antagonism, the innovative model presented in this book offers a practical and critical framework for thinking about and acting on stories about racism and other forms of injustice.\nThis new edition includes:\n- Social science examples, in addition to the arts, for elucidating the storytelling model;\n- Short essays by users that illustrate some of the ways the storytelling model has been used in teaching, training, community building and activism;\n- Updated examples, references and resources.\nTable of Contents\nCritical Teaching/Learning About Racism Through Story and the Arts: Introducing the Storytelling Project Model\n- Stock Stories: Reproducing Racism and White Advantage\n- Concealed Stories: Reclaiming Subjugated Memory and Knowledge\n- Resistance Stories: Drawing on Antiracism Legacies and Contemporary Examples to Map the Future\n- Emerging/Transforming Stories: Challenging Racism in Everyday Life\n- Cultivating a Counter-Storytelling Community: The Storytelling Model in Action\nEssay #1: Lauren Anderson \"Resisting Stock Stories and Learning to Teach Courageously\"\nEssay #2: Kayhan Irani \"Unpacking History Through Place Based Learning: Concealed Stories of Asian American Resistance\"\nEssay #3: Yolanda Sealey-Ruiz \"Toward Love, Liberation and Abolishing the Single Story\"\nEssay#4: Susan M. Glisson \"Community Storytelling for Racial Reconciliation: Telling the Hard Stories That Can Lead to Community Change\"\nEssay #5: Vanessa D\u2019Egidio \"Reading the World in and Beyond the Classroom\"\nEssay# 6: Maria S. Rivera Maulucci \"Critical Literacy: Imagining Other Ways of Being\"\nEssay #7: John Madura \"The Classroom is N: A Structured Approach for Cultivating a Counter-Storytelling Community\"\nEssay #8: \"Storytelling Gives the School Soul: Creating Counter-Storytelling Community\"\nLee Anne Bell is Professor Emerita and The Barbara Silver Horowitz Director of Education at Barnard College, Columbia University.\nPraise for the First Edition:\n\"Due to its accessibility and adaptability, Storytelling for Social Justice has the potential to alter educational practice and research. In their efforts to create equitable classrooms and curricula, pre- and in-service teachers may reflect upon Bell\u2019s discussions of counter-stories to understand how stories uphold or challenge power relations in their lives and the lives of their students. Newcomers to CRT and social justice would applaud Bell\u2019s ability to make the theories more accessible.\"\n--Teachers College Record\n\"Storytelling for Social Justice is a gift to educators, activists, writers and those of us caught in the muck of a profoundly racist society that preaches color-blindness. A wise and experienced storyteller, Lee Anne Bell invites us to speak, write and act with courage, offering stories of hope and a pedagogy for justice.\"\n--Michelle Fine, Distinguished Professor of Social Psychology, Women\u2019s Studies, and Urban Education, The Graduate Center, CUNY\n\"This important book provides a theoretical framework and a practical guide for unmasking contentious and uncomfortable discussions of race and class privilege. Using brilliant analysis of storytelling, Lee Anne Bell helps us understand the complex interactions of students\u2019 ethnicity and culture and teachers\u2019 beliefs and attitudes. This is a must read for teachers, teacher educators, and policy makers interested in equity and school reform.\"\n--Jacqueline Jordan Irvine, Candler Professor Emerita, Emory University", "id": "<urn:uuid:98061517-97b2-408d-84de-ffc9c00fdf28>", "dump": "CC-MAIN-2022-21", "url": "https://www.routledge.com/Storytelling-for-Social-Justice-Connecting-Narrative-and-the-Arts-in-Antiracist/Bell/p/book/9781315101040", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662658761.95/warc/CC-MAIN-20220527142854-20220527172854-00550.warc.gz", "language": "en", "language_score": 0.8967851996421814, "token_count": 945, "score": 3.65625, "int_score": 4}
{"text": "As the earth is usually covered in a blanket of snow by this time of year, the winter months are and have always been garnered as the season ripe for storytelling.\nBegging older relatives for stories during the summer was usually met with \u201cthere is enough to do,\u201d as stories told during the winter were savoured because they offered familial bonding and a certain warmth that nothing else could.\nBut not only were stories teaching tools but many stories were also the basis for superstitions that reinforced belief systems. Thus storytelling offered more than just connection, as tales were inspired by the world and real dangers that surrounded the ancestors that told them.\nA great example of this would be the superstition to never to sing outside at night, and this belief is often linked to the story of the Seven Dancers:\nAs it was first written by Tehanetorens, or Ray Fadden, the story of the Seven Dancers explains how this asterism came to be.\nLooking to the sky for the direction of ceremony shows an ancestral reverence for the stars, as the big dipper is one of the oldest constellations in the sky.\n\u201cThe year isn\u2019t new until we\u2019ve stirred the ashes,\u201d is an adage that follows closely with traditional beliefs on Six Nations as well. And the most sacred of ceremonies that belong to the Haudenosaunee begin at certain points during the rotation of the Ursa Major asterism, or the big dipper constellation. It is from one of those ceremonies that the adage comes from.\nWahon:nise kenha, \u201ca long time ago,\u201d there was a Haudenosaunee camp set alongside Lake Ontario.\nDuring the winter months a group of seven boys living at the camp formed a secret organization amongst themselves. At night they would congregate around a small fire that they deemed a council fire in the forest near the lake.\nEach night they would dance and sing under the guidance of their appointed leader and one evening, he suggested that their group should hold a feast during their next council fire. He then gave each boy a chosen food item to bring to the feast from corn soup and green corn to deer meat.\nThe following day, each boy approached his mother and asked for the desired food item, but each of the seven were refused. Their mothers were suspicious and told each of them that they had enough food to eat at home and that there was no need for them to carry good food away into the woods.\nThe seven boys returned to their mock council fire empty handed and despondent after being excited to host a feast for themselves. Their leader decided to cheer them up and teach their mothers a lesson.\n\u201cNever mind my warriors, we will show our parents that it is not well to refuse us food. We will dance without our feast,\u201d he said.\nHe then instructed his dancers to dance hard, to look up at the sky while they danced and not to look back even if their parents might call for them to return.\nAfter giving his instructions, he took his water drum and began to sing a powerful but forbidden song \u2014 in those days the hymn he sang would be regarded as a witch song. The boys danced to the drum and as the drum beats began to hasten, they seemed to forget their worries and even their parents.\nAs their bodies became light, they began to rise into the sky while they danced. Their parents called for them as they reached the treetops but the dancers continued on until they reached the sky.\nIt is said that once they reached the sky they then became the flickering stars of the big dipper constellation, called the Seven Dancing Stars to the Haudenosaunee.\nThis story is often told to children as a means of explaining the constellation and as a learning tool.\nWhen the brightest of the seven stars, Alioth, shines many older Haudenosaunee people will look at the constellation and remark \u201cthey\u2019re dancing hard tonight aren\u2019t they?\u201d\nThis story is also where that remark comes from.", "id": "<urn:uuid:e2d95e1d-7d56-47e0-b627-1a6b2d8782ec>", "dump": "CC-MAIN-2022-21", "url": "https://tworowtimes.com/arts-and-culture/a-winter-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00150.warc.gz", "language": "en", "language_score": 0.9851757287979126, "token_count": 844, "score": 3.5625, "int_score": 4}
{"text": "Pre School education in India plays a very crucial role in a toddler's life. It offers an enriched environment, academic simulation, and many socialization opportunities for children of the same age group. It plays an important role in preparing children emotionally, mentally, socially, and physically for further education opportunities, and a proper understanding of different subjects.\nPre-primary education in India follows an easy and interesting curriculum, and teachers make the entire learning process enjoyable for the children. Pre School and Kindergarten methods lay a solid foundation for children and help them to grasp knowledge easily in the later stages of education.\n- Ages : 3-6 years\n- Duration: 3 years\n- Primary Languages: Hindi, English, other local languages\n- Terms : 2 semesters\n- Admission Term: throughout the year\n- School types: Day Care Centres, Anganwadis, Nursery Schools, Preschools, Preparatory Schools, Kindergartens, Montessori schools, Pre-Primary sections, and more.\nChildren are taught through play in the form of various games and indulge in activities that make them cheerful and happy. These include Rhymes, storytelling, and movement activities which help them to learn basic skills. Pre-primary education guides children to learn simple skills including reading, writing, and numbers and helps to foster creative thinking, among other things.\nThe early years are the most significant years for the growth, development, and learning of all children. Pre-primary education in India caters to children aged 3 to 6 years.\nWhy Pre-primary Education?\n- It Provides strong foundations for all-round development and lifelong learning\n- Prepares the child for school\n- enables children to become effective communicators and foster both receptive and expressive language.\n- helps children become involved learners, think critically, be creative, collaborate, communicate and connect with their immediate environment.\n- enables a smooth transition of children from preschool to primary schools.\nPreprimary education is the time when children learn through the exploration of their environments and are involved in observation, questioning, discussion, prediction, analysis, exploration, investigation, and experimentation. Here they learn how to construct, modify, and develop a broad range of concepts and ideas.\nClasses may be divided into several activity areas such as the art area, block building area, doll and dramatic play area, maths area, manipulative area, science or discovery area, music and movement area, sand and water play area, book reading area, and more, which make the learning process more enjoyable for children. Several approaches to learning may be used including:\n- Play-Based Approach\n- Activity-based Approach\n- Projects or Inquiry-based Approach\nChildren at this level can learn through playing, conducting various activities, and inquiry.", "id": "<urn:uuid:379a3ce1-f704-4a77-9fb3-241b340a3dc4>", "dump": "CC-MAIN-2022-21", "url": "http://www.rocapply.com/study-in-india/about-india/india-pre-school-structure.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00151.warc.gz", "language": "en", "language_score": 0.9461637735366821, "token_count": 568, "score": 3.71875, "int_score": 4}
{"text": "Essay 1: Formalist Criticism\nWrite a 4-5-page paper that demonstrates a formalist criticism on either the literary technique of catharsis, or irony. A formalist analysis looks at how different literary elements combine to form a whole and render an effect on the reader. Choose from the two plays, Antigone or Oedipus the King, and answer either:\n- How do the literary elements building up to catharsis inform your interpretation of the play?\n- To what extent does one or two ironic elements of the play inform your interpretation?\nAristotle\u2019s \u201cOn the Elements and General Principles of Tragedy,\u201d our online guide to literary terms, as well as additional research on literary techniques should greatly help you at reaching your own interpretation. Here are some elements to consider.\nTragic plot elements: beginning, middle, end (whole), magnitude, mimesis (action), inciting incident, climax, recognition, peripety (ironic twist), catharsis.\nTragic hero characteristics: inherently good, tragic flaw, downfall.\nThere is no \u201ccorrect\u201d answer. Support your ideas with quotes and examples from the plays. Use the objective voice (i.e. don\u2019t say, \u201cI think X is more important than Y,\u201d but rather, \u201cX is more important than Y.\u201d)\nIn the introduction to your essay, give an overview of what you plan to say. (You don\u2018t need quotes in this part of the paper.) Include the titles and authors of each piece. Define any terms you will be using in an unusual manner.\nIn the body of your paper, use quotations and paraphrases for each example you use. Use the three-part method of organizing quotations:\n- Set up the quote, putting it in a context, and using a signal phrase.\n- Cite the quote, choosing the most important sentence or phrase and making use of ellipses, if needed. Use MLA style.\n- Comment on the quote analytically, explaining it and its connection to your idea(s).\nIn the conclusion of your paper, summarize what you have said, and go further with your idea(s). You may add extra information, make a prediction about society in the future, cite a personal anecdote (if you do this, you may use the subjective voice: \u201cI think\u201d), etc.. What you should not do is reiterate exactly what you have already said. Keep it interesting for the reader. Include a Works Cited page, in correct MLA style.", "id": "<urn:uuid:d19a9c88-766e-442e-84c2-25605be9a6e1>", "dump": "CC-MAIN-2022-21", "url": "https://supportessays.com/english-102-essay-assignment-reliable-assignment-help/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00351.warc.gz", "language": "en", "language_score": 0.8960204720497131, "token_count": 547, "score": 3.703125, "int_score": 4}
{"text": "Noor Academy is here to tell you how to improve your kids\u2019 Arabic handwriting online in the most fun way.\nWhat Is Handwriting in Arabic?\nThe creative practice of Handwriting and Calligraphy based on the Arabic script is known as Arabic handwriting. It is known as khatt in Arabic, which is derived from the words \u2018line,\u2019 \u2018pattern,\u2019 or \u2018construction.\u2019\nArabic handwriting is merely the Arabic alphabet handwritten. What distinguishes the Arabic language handwriting is the variety of writing styles that have evolved throughout time. Naskh, Nasta\u2018liq, Diwani, Thuluth, and Reqa are the five main styles. The Nashkh and Ruq\u2019ah are two highly common kinds.\nIt is frequently employed in writing administrative documents and transcribing literature, including al Quran.\nThe Naskh writing style can be seen as early as the first century of the Islamic calendar. Because of their employment by writers, round scripts were the most common in the eleventh, twelfth, and thirteenth centuries.\nRuq\u2019ah or Riqah is a more modern Arabic script variant that is mostly employed in official documents and ordinary writing.\nThe most prevalent kind of handwriting in the Arabic alphabet is Ruq\u2019ah. It is well-known for its clipped letters made of short, straight lines and basic curves,\nas well as its text lines that are straight and even. It was most likely influenced by the Thuluth and Naskh styles.\nHow Can I Write Good Handwriting in Arabic?\nIn order to write good handwriting in Arabic, or teach it to your children, you need practice. Here are some ways that can help you and your kids improve your handwriting in Arabic.\n1- Read a lot\nReading Arabic material is required for effective Arabic writing. To be able to create an output (write), you must be exposed to a sufficient volume and quality of Arabic reading (input) on a regular basis.\nSome claim that you may learn to write Arabic letters without even knowing how to read Arabic. However, this is a misconception. It is actually recommended to learn how to write and read Arabic while also improving your reading and writing skills.\n2- Add an Arabic keyboard to your devices\nIn addition to traditional notepad practice, it is critical to install an Arabic keyboard on your phone or your children\u2019s electronic devices. It helps you learn Arabic letters forms and how to write them combined.\nWhile handwriting provides a kinetic experience in learning how to put the letters together, the Arabic keyboard provides a handy approach for students to practice Arabic composition.\n3- Imitate your favorite style\nThere is a severe lack of tried-and-true techniques for teaching Arabic writing systems. In the Arab world, dictation or spelling was nearly the sole writing activity taught in primary schools. Except for the conventional introduction, body, and conclusion, the composition was never trained as methodically as it is in French or English.\nThis implies you\u2019ll have to go out of your way to learn how to write in Arabic. You will need to choose your favorite styles of writing and strive to mimic them while honing your abilities. You get to pick your favorite style by reading a lot.\nIf your kids can\u2019t pick a style to stick to, they can always practice the basic Naskh handwriting. It\u2019s easier and requires no effort to master. Get them Arabic handwriting worksheets for kids and let them practice via them.\n4- Put everything you learn into practice\nMake a concerted effort to put what you learn into practice as you acquire new grammatical rules and absorb new vocabulary by reading and listening to Arabic material. Incorporate a new term or idiom into your writing, and remember the grammar and spelling standards you\u2019ve been studying.\n5- Write regularly\nInstead of intensive irregular periods, the optimal frequency of writing practice is to accomplish a little bit every day over a lengthy period of time. Three or four brief writing sessions per week are more efficient than one three-hour session each week.\nThis is especially right for kids. Kids tend to have a shorter attention span than adults. That\u2019s why you need to keep your sessions short and sweet.\n6- Use an online calligraphy converter\nA writing converter is a program that instantly converts your writing from one language to another. The ease of use and speed of these automatic translation programs make them an excellent choice for students.\nThree useful online converters to utilize when learning Arabic are as follows:: Google Translate, Yamli, and Deepl. Although writing converter technology is improving, this does not imply that converters are always 100 percent correct.\nIf you need to type anything or quickly check yourself when studying Arabic calligraphy, use a converter rather than relying on it most of the time to learn to write Arabic online.\n7- Sign up in an online class\nA huge part of the program is to teach Arabic calligraphy alphabet letters and make sure the kids write properly.\nHow Can I Make Arabic Handwriting Practice Fun for Kids?\nHandwriting is a skill that takes a lot of practice to master. It may also be a little, well, dull. You can make Arabic handwriting practice more enjoyable for your preschooler or kindergarten by incorporating some play!\nHere are some fun activities you can do with your kids that will get them excited to learn more about Arabic handwriting:\n- Write on the sidewalk using sidewalk chalk.\n- Try dirt, salt, and sand tray writing. (trace writing techniques)\n- Scribble shaving cream on the table with an unsharpened pencil.\n- Make cave paintings out of butcher paper.\n- Draw letters on someone\u2019s back using your finger.\n- Take out your window markers and write a large rainbow on a mirror.\n- Write letters using paint on a cotton swab.\n- Write a letter to their favorite television or movie character.\n- In a salt or rice tray, write letters with your finger. (letters tracing)\n- Water paint chalk lettering outside using a paintbrush.\n- Make them sign their favorite alphabet song while they\u2019re writing.\n- On wax paper, use glue to make Arabic alphabet letters or numerals.\n- Begin a doodle notebook with your preschooler to help them improve pre-writing skills.\n- Write on a hair gel-filled bag and watch the letters emerge.\n- Write on a chalkboard for practice; the vertical surface and pressure of the chalk are beneficial.\nHow Can I Practice Arabic Handwriting at Home?\nYou can practice Arabic handwriting at home using Arabic handwriting worksheets. There are frequently different practice sheets for handwritten Arabic letters and for linking or combining letters, although both exercises aid in alphabet recognition.\nIt is recommended that you study Arabic for two hours every day to effectively master it. You should spend 10-20 minutes of that time working on a worksheet.\nArabic Handwriting \u2013 Learn Arabic Series is a great book for this purpose. The primary goal of this book is to familiarize children and novices with basic Arabic handwriting by teaching them to write letters and words.\nStudents can use this book to learn how to write and study verses from al Quran as well as hadith from the Prophet Muhammad (PBUH).", "id": "<urn:uuid:a525fe16-e411-4250-a596-9ce6d5f90574>", "dump": "CC-MAIN-2022-21", "url": "https://nooracademy.com/arabic-handwriting/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00351.warc.gz", "language": "en", "language_score": 0.9380027651786804, "token_count": 1522, "score": 3.6875, "int_score": 4}
{"text": "- Reading, storytelling, talking and singing with your baby helps her learn about sounds, words and language.\n- When you read to your baby, try reading slowly. Point out words and pictures on each page and change the tone of your voice as you read.\n- Babies enjoy listening to books with good rhyme, rhythm and repetition.\nWhy reading with your baby is important\nSharing stories, talking and singing helps your baby\u2019s development in lots of ways.\nDoing these activities every day helps your baby get familiar with sounds, words, language and, eventually, the value and joy of books. This all builds your baby\u2019s early literacy skills and helps him go on to read successfully later in life.\nReading stories also stimulates your baby\u2019s imagination and helps her learn about the world around her. It\u2019s a great time for you to bond with your baby and share time together too.\nYou can start reading aloud to your baby as early as you like \u2013 the earlier the better.\nSharing books with your baby\nEven young babies can learn from the experience of reading books with you. For example, you can:\n- read slowly and spend time on each page after you read the words \u2013 this lets your baby focus on the shape of words and pictures\n- turn the pages when you read with your baby \u2013 this shows him how to use a book\n- point out and name familiar and new things your baby sees on the page, instead of reading the words \u2013 the more words children hear, the more words they learn\n- change the tone of your voice as you read \u2013 this makes it easier for your baby to pick up on different speech sounds, which is an important step towards learning to make sounds himself.\nHere are some general tips to help you make the most of reading time with your little one:\n- Set up a special reading space at home \u2013 for example, a chair, lounge or beanbag that\u2019s big and comfortable enough for you and baby, with a box of books or bookshelf nearby.\n- Make a routine, and try to share at least one book every day. For example, sharing a book can be a relaxing way to end the day.\n- Turn off the TV or radio, and find a quiet space so your baby can hear your voice.\n- Try out funny noises and sounds \u2013 play and have fun!\n- Hold the book fairly close to your baby so she can see. You can hold your baby close, on your knee or sit in front of her while you read, so she can see your face too.\nWhat to read with your baby\nThere are so many books to choose from that it can be hard to know where to start.\nIn general, babies enjoy books that have good rhymes, rhythm and repetition. This repetition and rhyming helps children learn.\nFrom when your baby is born, you might like to look for:\n- books with bright colours or simple, large and high-contrast pictures like black and white pictures \u2013 these are interesting and easy for babies to focus on\n- books with different textures so your baby can hear, see and feel the book\n- books with pictures of babies and faces\n- soft, waterproof plastic and cloth books that can go in your baby\u2019s mouth and into the bath.\nHere are some books your baby might enjoy:\n- Baby touch colours by Ladybird Books\n- Baby touch words by Ladybird Books and Justine Smith\n- Brown bear brown bear, What do you see? by Bill Martin Junior\n- Polar bear polar bear, What do you hear? by Bill Martin Junior\n- Aussie babies can by Magabala Books\n- Aussie toddlers can by Magabala Books\n- I went walking by Sue Machin\n- Walking through the jungle by Julie Lacome\n- How many kisses do you want tonight? by Varsha Bajaj\n- Crocodile beat by Gail Jorgensen and Patricia Mullins\n- Everywhere babies by Susan Meyers.\nCredit Article from raisingchildren.net.au", "id": "<urn:uuid:15847cb5-8e35-4183-a229-589047a1a1c4>", "dump": "CC-MAIN-2022-21", "url": "https://www.thegreenelephant.com.au/reading-with-babies-from-birth/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662573189.78/warc/CC-MAIN-20220524173011-20220524203011-00150.warc.gz", "language": "en", "language_score": 0.9507126808166504, "token_count": 844, "score": 3.640625, "int_score": 4}
{"text": "This is the fifth of seven parts on disciplines/elements of Humanities that can be found in the Art of Storytelling. This is also a countdown to virtual \u201cThe Big Why Panel: Historical Storytelling meets Humanities\u201d on Saturday, June 20, 2020 from 9:00am-10:30am MDT.\nStorytelling meets Humanities, Elements Within:\n- Part 1 \u2013 Archaeology \u2013 REVEALED\n- Part 2 \u2013 Communication/Interpretation \u2013 REVEALED\n- Part 3 \u2013 Cultural Studies \u2013 REVEALED\n- Part 4 \u2013 Folklore/Folklife \u2013 REVEALED\n- Part 5 \u2013 History \u2013 TODAY\n- Part 6 \u2013 Languages/Linguistics\n- Part 7 \u2013 Philosophy/Ethics\nHistory is the study of past events, which can involve people or things, though always involves people when linked with Humanities.\nPeople argue whether or not to remember the past. Some say that if history is not acknowledged, we are doomed to repeat the mistakes and miss the successes. Others feel that history needs to be erased and remade into something more inspiring.\nWe have people asking to defund or abolish the police. While many agree that \u201creform\u201d is the more positive approach, we can also look to what has happened in history when the same cries were made.\nThe rise of Nazis was caused by getting rid of the police and relying on self-regulation. While extreme when compared to current events, any history is possible to be repeated.\nMeanwhile, there are mindsets and actions of racism within policing that causes harm, abuse, and sometimes death of innocents.\nHow does one weigh one historical account or event with another on how to choose what to do for the present that ultimately affects the future? History and what to do about that history has always been complex.\nWe do have the repeating battle in society on the supremacy of science. No matter what you believe in regards to climate change, this exchange of words\u2013and sometimes blows\u2013has been about many science-related research.\nReceive a hint of this cycle through the article \u201cOn the Historical Relationship Between the Sciences and the Humanities: A Look at Popular Debates That Have Exemplified Cross-Disciplinary Tension\u201d by Benjamin R. Cohen. He highlighted four moments in history: Huxley-Arnold debate of 1880s of \u201cexcommunicating\u201d science from the humanities due to science\u2019s coldness to emotions, science education reformation in the 1920s (Britain-based yet also America-influenced) on progressive education, the two-culture debate of the 1960s of scientists versus literary scholars, and science wars of \u201crecent years,\u201d which was close to the turn of the century.\nPeople on both sides had valid points as well as the people we never heard that had a mixture of ideas as compared to a set view.\nStorytellers who specialize in historical storytelling have what Brian \u201cFox\u201d Ellis said, is a \u201cwarts and all\u201d approach. He continued that there are many parts of history that are \u201cwhite-washed.\u201d Rarely is something all good or all bad. Sheila Arnold and Darci Tucker take care in giving voice to either silent ones\u2013such as a maidservant\u2013to a \u201cvillain\u201d\u2013such as a loyalist spy\u201d to twist how we think of things. We are happy to have all three of these storytellers on our panel on June 20.\nWith such focus on big historical events, people could feel that their own lives\u2013their personal history\u2013is not worthy of attention.\nFrom \u201cMeaning Over Memory: Recasting the Teaching of Culture and History,\u201d the author Peter N. Stearns said it was important to \u201clook beneath the surface in historical analysis.\u201d He continued, \u201cEmphasis on ordinary people thus follows in part from a desire to provide key groups with an understanding of their own history and a valid sense of their own past identity and importance. It follows, also, however from a firm belief that ordinary people count in shaping society as a whole.\u201d\nStorytellers often choose the \u201ceveryday\u201d people to share \u201cthen one day\u2026\u201d when the normal changed and there was no going back to what it used to be\u2013for good or for ill. Many storytellers recognize the need to tell personal and family stories from the stage to show that one unique experience can be universal despite the differences in details.\nSo discover more than one side to any historical event or issue from individual and society standpoints. Choose to look beyond your instinctive view and be willing to listen to the silent or opposing voices.\nWe will be doing this 7-part Blog Series on Storytelling and connections with the Humanities as a countdown to our next adventure--join us on Saturday, June 20, 2020 from 9:00am-10:30am MDT from your computer- The Big Why Panel: Historical Storytelling meets Humanities. Our panelists, as pictured above, are: Dr. Caroliese Frink Reed, Sheila Arnold, Darci Tucker, and Brian \u201cFox\u201d Ellis. We are grateful to funding from Utah Humanities.", "id": "<urn:uuid:10038f97-9608-4705-977a-7619e2e7df44>", "dump": "CC-MAIN-2022-21", "url": "https://storycrossroads.org/2020/06/17/storytelling-meets-humanities-elements-within-part-5-of-7/?amp=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522270.37/warc/CC-MAIN-20220518115411-20220518145411-00751.warc.gz", "language": "en", "language_score": 0.9545597434043884, "token_count": 1096, "score": 3.609375, "int_score": 4}
{"text": "For Young Kids, The Power of Play-Based Learning\nNew research shows play-based learning can be more effective than direct instruction at improving outcomes for early learners\u2014particularly in the development of mathematical and spatial skills.\nThe mere presence of the word play in the teaching method known as play-based learning can alarm some parents of early childhood learners. Students, even our youngest students, should be \u201cplaying\u201d at home. They come to school to learn, they might say.\nThat distinction\u2014between \u201clearning\u201d and \u201cplay\u201d\u2014is a false one, according to early childhood educator and author Erika Christakis. Although kindergarten and elementary classrooms often devalue it in favor of direct instruction or seat time, play is the \u201cdefining feature\u201d of all mammalian development, and its \u201csignature\u201d is apparent in the bodies and lives of little kids who experience it: \u201cTheir life expectancies are longer and their social-emotional capabilities are more robust when they have a chance to learn through play and deep relationships, and when their developing brains are given the chance to grow in a nurturing, language-rich, and relatively unhurried environment,\u201d Christakis told Edutopia in a 2019 interview.\nChildren aren\u2019t miniature adults. Nonetheless, a bias toward adult perspectives of childhood, with its attendant schedules and routines, has gradually exerted a stranglehold on our educational system, Christakis continues, trapping young kids in educational spaces that too often feel dreary, joyless, and alienating. \u201cThe notion that there is something of value in being a little kid\u2014with little kid desires and, above all, needs\u2014seems to have fallen out of favor.\u201d\nBreaking the Cycle\nDespite the clear benefits of play, setting aside the time for even the youngest students can seem out of step with the academic demands of the school day. Early childhood teachers are pressured to meet strict seat-time guidelines in their classrooms, and they often feel that direct instruction is the best method to achieve the many curricular objectives that parents, principals, and other leaders expect.\nAccording to a new study, there\u2019s a middle path. A group of researchers from the University of Cambridge analyzed decades of research on \u201cguided play\u201d\u2014more commonly called play-based learning\u2014and concluded that it can have a \u201cgreater positive effect\u201d on the acquisition of skills like math, shape knowledge, and task switching than more traditional approaches that prioritize seat time and explicit instruction.\n\u201cIn redefining play as a spectrum with varying degrees of child autonomy and adult guidance, guided play has been situated as a \u2018middle-ground\u2019 between free play and direct instruction,\u201d the researchers concluded. The learning is inherently rich and meaningful because \u201cplay naturally cultivates their enjoyment, motivation, and agency; while the inclusion of guidance by a supportive adult extends the scope for learning beyond what the child might achieve on their own.\u201d\nIncorporating key elements of play\u2014like wonder, exploration, and student agency\u2014into loosely structured lessons that are gently supported by teachers provides an \u201coptimal\u201d approach for students, according to the researchers. For Christakis, this means that play-based learning experiences should provide students with a \u201csteady diet of free, unstructured time and access to open-ended materials\u201d that allow them to engage in \u201crambling\u201d storytelling and provide plenty of time to just \u201cmess around and make their own rules.\u201d\nPlay, With an Objective in Mind\nIn a successful play-based learning class, teachers often have a clear \u201clearning goal\u201d behind the play they let students engage in ahead of time, according to the Cambridge study. A teacher should keep this goal in mind during the play and subtly guide the child toward the goal.\nDon\u2019t pull the strings too tight: According to primary teacher Maggie Sabin, teachers shouldn\u2019t necessarily expect students to produce specific outputs. For example, to teach students how colors can be mixed to form new colors, you might avoid giving students instructions to mix specific colors and instead model one example and then allow them to make their own combinations. \u201cBe well prepared and intentional in planning, but allow for flexibility and inspiration,\u201d writes Sabin.\nOne way to make sure that students are playing with purpose is to structure your classroom with deliberate spaces or centers containing materials, games, or objects intentionally chosen for students to engage with and make sense of.\nAn area in Sabin\u2019s classroom, for example, contains a \u201ctinker tray\u201d of items that might seem random but are related to lessons or units she is using direct instruction to guide students through. During a unit on nature and natural materials, for example, the tray is stocked with items like pebbles, leaves, or sticks that students can both practice naming and manipulating. The materials can also be used to practice early math skills through the course of play by simply asking students how many pebbles they have or how many pebbles they have left after giving some to a friend.\nProviding Choice and Agency\nEffective play-based learning should be child-led when possible and give students \u201cfreedom and choice over their actions and play behavior,\u201d the researchers assert. However, their findings suggest that the level of autonomy being given to students in play-based learning scenarios is often less than the amount needed to \u201ccultivate children\u2019s agency, motivation, and curiosity.\u201d\nTo foster that agency, New Hampshire kindergarten teacher Jessica Arrow often starts the day by allowing students 30 to 45 minutes of \u201cchoice time\u201d to explore various spaces in the classroom\u2014a block center, math center, science center, art center, book nook, or dramatic play corner.\nThe items they encounter are related to previous lessons and the interests her students have expressed. For example, after reading the children\u2019s book Miss Maple\u2019s Seeds, Arrow said, her students became fascinated by the author\u2019s process of creating the book from her imagination. As a result, Arrow\u2019s art center included materials for students to create stories of their own and to practice speaking, listening, and writing standards in the process.\nArrow writes that their bookmaking interests eventually carried over into other areas of learning. For example, one student created a number book. After Arrow shared it with the class, number books became popular, and her students were referencing number grids and creating their own number books that helped them count and identify large numbers in the process.\n\u201cOnce my students had experienced play-based learning, they were more focused, motivated, and purposeful,\u201d writes Arrow. \u201cMost important, they were happier. Bringing play-based learning to my classroom created balance, deepened our learning, and defined our classroom community as a place where we could learn and grow together.\u201d\nWhen to Step In\nAs children play, teachers should be observing closely to gather insights about the way students are learning and use open-ended questions, hints, and prompts to gently nudge students and encourage deeper thinking. You might step in \u201cwhen a child appears to find an activity too difficult or too easy\u201d so that you \u201ccan help them learn beyond what might be possible in independent play,\u201d the researchers say.\nFor example, when children are playing with blocks, open-ended questions can be posed to encourage problem-solving, prediction, and hypothesizing, according to veteran teacher and curriculum manager for Edmentum Winnie O\u2019Leary. A teacher can bring awareness to math standards by asking students low-stakes questions such as \u201cI wonder how tall this tower can get?\u201d or \u201cI wonder how many blocks you need to make that tower as tall as your friend\u2019s?\u201d\nSimple questions can also encourage practice recalling information and identifying shapes, objects, or colors, according to O\u2019Leary. During a game of Go Fish, for example, you can ask, \u201cHey, who had the number 4 in the last round?\u201d Or during a game of Uno you might ask, \u201cHmm, what color card do you need to add to the center deck?\u201d Games involving strategy\u2014like checkers or tic-tac-toe\u2014are great to get students thinking critically about their objectives and how to adjust them based on what is happening during the game. Try questions like \u201cI wonder what move you could have made to win?\u201d\nUse these strategies wisely, though, the researchers caution. In the end, hints and questions should not feel like directives.\nChristakis agrees, telling Edutopia that she often coaches teachers to stay away from \u201cchecking questions\u201d such as \u201cWhat color is the apple?\u201d or \u201cWhat are you drawing?\u201d Instead, she says, teachers should ask questions like \u201cTell me about your drawing.\u201d\n\u201cThe open-ended response really opens up a huge space for spontaneous and deep learning,\u201d Christakis says.", "id": "<urn:uuid:1ec5cc09-4bdf-4550-b202-0914b817a85c>", "dump": "CC-MAIN-2023-14", "url": "https://www.edutopia.org/article/young-kids-power-play-based-learning", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296948871.42/warc/CC-MAIN-20230328201715-20230328231715-00754.warc.gz", "language": "en", "language_score": 0.9629566073417664, "token_count": 1892, "score": 3.875, "int_score": 4}
{"text": "Chamber Theatre with Dorothy Heathcote\nHe stood for a moment rigid before the door of the dead room. He inserted a key ... It was the first time he had been alone in a room with death. ... What lay wrapped in that sheet?\nDorothy Heathcote developed the use of Chamber Theatre, a method of using different texts as the basis for a performance. It links storytelling with showing. The words of a chosen text are spoken and, at the same time, demonstrated in action for onlookers.\nDorothy said: \u201cThe process fulfils the laws of theatre, using sound, silence, movement, stillness, light and dark.\u201d\nThis video shows Dorothy working on Chamber Theatre with a group of teachers at a Mantle Network event in 2010. It features three different Chamber Theatre pieces, and also looks at different aspects of the system including the role of the narrator, and the use of individual and choral narration. Here are some notes by Dorothy on Chamber Theatre.\nChamber Theatre. Sometimes called Story Theatre.\nChamber Theatre format allow students to make literally texts \u201cstand up\u201d in dramatic action and \u201cnow immediate\u201d time, as does theatre. However in Chamber Theatre students do not act as actors do in theatre plays. They demonstrate what the literary text states. This means that sometimes more than one person can demonstrate one moment in time, or more that one moment shown from different viewpoints.\nThe literary text and the dramatic demonstration lean into each other and support each form.\nA very important aspect of Chamber Theatre is \u201cWho is telling this story or account?\u201d Deciding this causes students to study the literature very closely - to the advantage of helping them explore the text deeply. Dorothy Heathcote\nA Chamber Theatre Text\nThis is a Chamber Theatre text written by Dorothy herself. It\u2019s set in Egypt and Dorothy imagined the scene as set near an oasis, with the ruins of a colossal statue nearby. In her text (see images) she has underlined \u201caction\u201d phrases.\nShe introduced the text at a teacher training event for the Mantle Network in 2008. She took delegates through planning a Mantle on Ancient Egypt; she envisaged the \u201cscroll in the jar\u201d referred to in the text would be found to contain the myth of Isis and Osiris, leading children to explore that story. She also intended the text to be used in conjunction with Shelley\u2019s poem \u201cOzymandias.\u201d You can see a video of the event; and below are some extracts from the text.\nThe Scroll in the Jar under the Statue Plinth\nIn the time of the birthing of the camels, the herders gathered beside the great legs of stone and collected fuel from the dried and withered stubble plants to build their fire. ... The time was close when the births would begin, so the men were careful to check each female to see how close to that time they were. One female gave cause for anxiety so the old herdsman was called to give advice. ...\nThe herdsmen came around to see and listen to his opinion. \u201cShe will labor hard over this one - we must stand her up.\u201d\nThe men knew that within the jar there would be a written scroll so did not waste time in breaking the seal but ventured to the edge of the deep chamber.\nThe camel is raised. The men share tales of other hard births. A boy is listening, as he leans against the stone head.\nAs he sank down he saw that the great stone was indeed a face, so traced the carving deeply cut by the maker: great staring eyes, the cruel lips and sneer, the arrogant nose and the details of the curling beard and carved ear jewels. At this moment the camel groans and in agitation moved to lean against the stone. As he leapt backwards to avoid being crushed the head fell so that the visage was lost in a shower of sand. He moved to look to the camel, and as the men hurried from their fire to assist, the boy saw a great sealed jar had lain beneath the head within a stone chamber.\nOne descended down the steep steps and found within, painted upon the walls of rock, flowers, birds and creatures with writings which of course they were unable to read. They told the boy to lift the great jar and carry it to safety, and at a later time when all the camels had given birth and the young were strong to walk, they departed their place leaving a great pile of stones, to warn those who would come. ...\nOn arriving among their people, the great jar was surrendered to the elders who broke the seal and unrolled the scroll. Meanwhile the camel owners were summoned to collect their beasts and their young, little realizing that the great jar would cause much change.\n- Dorothy Heathcote, to use with Shelley's \u201cOzmandias\u201d [sic] sonnet. June 14th 2008", "id": "<urn:uuid:8c5d4098-325c-4a32-8888-0319ed02b479>", "dump": "CC-MAIN-2022-21", "url": "https://www.mantlenetwork.com/chamber-theatre", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539131.21/warc/CC-MAIN-20220521143241-20220521173241-00352.warc.gz", "language": "en", "language_score": 0.973719596862793, "token_count": 1027, "score": 3.78125, "int_score": 4}
{"text": "Self-management is the ability to control your actions and emotions, and being able to recognize emotions is a key building block of self-management. It is a social-emotional skill that is associated with academic success. Self-management also covers skills like impulse control, goal-setting, and perseverance. As your child develops more self-management, she will be better able to handle upsetting situations like being left out, losing a game, or being teased, which can all affect her classroom performance. Self-management will also help her handle high-pressure situations like taking a test or competing in sports. The ability to self-regulate and manage emotions and behaviors is constantly evolving, especially for children this age. You may notice that one day your child is able to calm herself easily, while on another day she may burst into tears over a similar upsetting event. Every child develops at her own pace and that pace can change daily. It is important for you to continue to support your child through her development and give her the tools to be successful even on days when she feels a bit off.\nThe late elementary years are a time of great personal and social growth. As children grow older, they become better at making decisions, solving problems, and working in groups. Early adolescence begins around the age of 11, and this brings along its own challenges. As children\u2019s bodies begin to change their emotions can seem to change at a moment\u2019s notice. Developing your child\u2019s social and emotional skills can help him manage his emotions and behavior and make responsible choices. The concepts highlighted in this section are based on the five sets of competencies developed by the Collaborative for Academic, Social, and Emotional Learning (CASEL).\nYour child should be able to recognize socially appropriate responses to emotions. For example, your child should know that throwing a temper tantrum at the grocery store over which type of cereal your child wants for breakfast is not an appropriate response to feeling disappointed. By fifth grade, your child should be able to reflect on possible consequences before expressing their emotions.\nYour child should be able to recognize ways your child can deal with upsetting emotions. For example, your child should have some ways to calm herself, whether it\u2019s removing themselves from an upsetting situation, taking deep breaths, or counting to 10 before moving forward.\nYour child should be able to identify how obstacles are overcome to achieve goals. This can be from personal experience, like when your child learned to ride a bike without training wheels, or from examples in books or television shows. Your child should also be able to remember when they were successful and recall the ways your child could apply what worked in that situation to future goals. For example, if your child improved their reading ability, your child should realize that improvement happened because your child spent more time practicing outside school.\nKeep in mind every child develops at his own pace, both physically and emotionally. If you have concerns about your adolescent\u2019s development, please contact your health care provider or your child\u2019s teacher or school counselor.\nLearn more about how to support your child with our fifth-grade self-management tips page.\nParent Toolkit resources were developed by NBC News Learn with the help of subject-matter experts, including Maurice Elias, Director, Rutgers Social-Emotional and Character Development Lab; Jennifer Miller, Author, Confident Parents, Confident Kids; and Anne Morrison, Pre-Kindergarten Teacher, Lyc\u00e9e Fran\u00e7ais de New York.", "id": "<urn:uuid:6458c151-7bba-40a9-a05a-1ddb49845386>", "dump": "CC-MAIN-2022-21", "url": "https://www.today.com/parenting-guides/5th-grade-self-management-skills-t178653", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662593428.63/warc/CC-MAIN-20220525182604-20220525212604-00751.warc.gz", "language": "en", "language_score": 0.9656100273132324, "token_count": 714, "score": 4.25, "int_score": 4}
{"text": "I\u2019m Mary Tillotson.\nAnd I\u2019m Steve Ember with the VOA Special English program, PEOPLE IN AMERICA. Today, we tell about writer Langston Hughes, who has been called the poet voice of African-Americans.\nLangston Hughes is usually thought of as a poet. But he also wrote novels, plays, short stories, essays, autobiographies, newspaper columns, children\u2019s books, and the words to operas. He also translated into English the works of foreign poets.\nHughes was one of the first black writers who could support himself by his writings. He is praised for his ability to say what was important to millions of black people.\nHughes produced a huge amount of work during his lifetime. He also has influenced the work of many other writers. He wrote for almost fifty years.\nLangston Hughes was famous for his descriptions of black American life. He used his work to praise his people and voice his concerns about race and social injustice. His work is known all around the world and has been translated into many languages.\nHughes\u2019s poetry had serious messages. He often wrote about racial issues, describing his people in a realistic way. Although his story was not often pleasant, he told it with understanding and with hope.\nLangston Hughes was born in Joplin, Missouri, in nineteen-oh-two. His parents were separated. He spent most of his childhood with his grandmother in Lawrence, Kansas. She told him stories about their family and their fight to end slavery. Her storytelling filled him with pride in himself and his race. He first began to write poetry when he was living with her.\nWhen he was fourteen, he moved to Cleveland, Ohio, to stay with his mother and her new husband.\nHe attended Central High School in Cleveland, Ohio. Langston was named Class Poet one year. He published his first short stories while he was still in high school.\nLangston Hughes struggled with a feeling of loneliness caused by his parent\u2019s divorce. He developed a love of reading books as a way to deal with the lack of time his parents spent with him. His love for reading grew into a desire to write. He wanted to reproduce the powerful effect other writers had made upon him. Among the early influences on his writing were poets Walt Whitman, Carl Sandburg and Paul Lawrence Dunbar.\nAfter graduating from high school in nineteen twenty, Langston moved to Mexico City to live with his father for one year. His father had moved there to escape racism in America. His father did not offer much warmth to his son. Yet, Langston turned the pain caused by his family problems into one of his most famous poems, \u201cThe Negro Speaks of Rivers.\u201d In this poem, he speaks of the strength and pride of black people in ancient African civilizations and in America.\n(SOUND: \u201cThe Negro Speaks of Rivers\u201d)\nLangston Hughes learned a lot about race, and about social and economic conditions while he was in Mexico. His ability to speak Spanish and his brown skin often made it easy for him to appear to be a native. Many of his works, including a play for children, deal with his days in Mexico.\nDuring the time he stayed with his father in Mexico, Langston wrote many poems because he was always unhappy. He once said that he usually created his best work when he was really not happy.\nLangston had a troubled relationship with his father from which he never recovered fully. His father did not think he could earn a living as a writer. His mother, however, recognized his need to be a poet.\nLangston\u2019s father agreed to pay for his college education at Columbia University in New York City, if he studied engineering. Langston arrived in New York when he was nineteen years old. At the end of that first year at Columbia, he left school, broke with his father, and began traveling. Traveling was a lifelong love that would take him throughout the world before he died.\nIn nineteen twenty-two, Hughes took a job on a ship and sailed to Africa. He would later sail to France, Russia, Spain and Italy. He wrote poems and short stories during his travels. His experiences while traveling greatly influenced his work. He sent a few of his writings back home. They were published, which helped establish him as a professional writer.\nFinancial problems ended Hughes\u2019s travels. He tried to find work on a ship so he could return to the United States. But in Italy, he had problems finding work on a ship because he was black. In the poem, \u201cI, Too\u201d, he noted that the American color line even reached all the way over there.\n(SOUND: \u201cI, Too\u201d)\nIn nineteen twenty-four, Langston Hughes returned to the United States to live with his mother in Washington, D.C. The poet Vachel Lindsay ate in a hotel where Hughes was working. Hughes put some poems he had written next to Lindsay\u2019s dinner plate. Lindsay gave a poetry reading later that night. He read some of Hughes\u2019s poetry, too. Newspapers across the country wrote about Lindsay\u2019s poetry reading. Hughes became known as a new black poet.\nA year later, Hughes returned to New York. Through the years he lived in many places, but always came back to New York\u2019s Harlem area. Harlem was the center of black life in New York City. Hughes\u2019s creativity was influenced by his life in Harlem.\nLangston Hughes returned to New York during a period called the Harlem Renaissance. It took place during the nineteen twenties and thirties. The Harlem Renaissance was a period of great artistic creativity among black people. For the first time, black artistic expression was being widely recognized. Hughes became friends with other great black writers of the time, such as Claude McKay, Countee Cullen and Zora Neal Hurston. They hoped that great art could change the racist ideas in America about African Americans.\nHughes was considered one of the leading voices of the Harlem Renaissance. He was the first poet to use the rhythms of black music. He often wrote about the everyday experiences of black working people. And he helped bring the movement of jazz and the sound of black speech into poetry.\nLangston Hughes experimented with his writing. Other Harlem Renaissance writers wrote traditional poems like those of English classic poets, such as William Shakespeare. Hughes broke free with his writing and helped change literature forever.\nHughes became firmly established as a successful writer in nineteen twenty-six with the publication of a collection of jazz poems called \u201cThe Weary Blues.\u201d Hughes wrote the poems in a place in Harlem where blues music was played. He loved to write while sitting in clubs listening to blues and jazz. The title poem, \u201cThe Weary Blues,\u201d was written to be played with musical instruments. The poem perfectly expressed the desire of Langston Hughes to combine black music and speech in his poetry.\n\u201cI got the Weary Blues and I can\u2019t be satisfied. Got the Weary Blues and can\u2019t be satisfied. I ain\u2019t happy no mo\u2019 and I wish that I had died.\u201d\n\u201cAnd far into the night he crooned that tune. The stars went out and so did the moon. The singer stopped playing and went to bed \u2013 while the Weary Blues echoed through his head. He slept like a rock or a man that\u2019s dead.\u201d\nPoems in \u201cThe Weary Blues\u201d are warm and full of color. They have a sense of freedom, like that of jazz music. Langston Hughes was excited about the new form of poetry he had discovered for himself.\nThis Special English program was written by Cynthia Kirk. It was produced by Caty Weaver. The poetry was read by Langston Hughes and Shep O\u2019Neal. I\u2019m Mary Tillotson.\nAnd I\u2019m Steve Ember. Join us again next week for another PEOPLE IN AMERICA program on VOA when we finish the story of the life of Langston Hughes.", "id": "<urn:uuid:a00a48ec-ca82-4af1-8044-1388c3dcc614>", "dump": "CC-MAIN-2022-21", "url": "https://learningenglish.voanews.com/a/a-23-2008-04-05-voa1-83136437/128444.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662578939.73/warc/CC-MAIN-20220525023952-20220525053952-00751.warc.gz", "language": "en", "language_score": 0.9916280508041382, "token_count": 1787, "score": 4.125, "int_score": 4}
{"text": "Filmmakers can use a number of techniques to establish and develop characters. Their choice of camera techniques, acting, mise en scene, editing, lighting and sound all contribute to the representation of a character. When you\u2019re writing about the representation of a character in film, it is useful to watch the scene a number of times, noting how the use of these techniques have been used to develop the character.\nThink carefully about the director\u2019s use of camera techniques. What does this help to tell us about the character? The use of a close up might help to accentuate an actor\u2019s facial expression. Likewise a high angle show might make them appear weak and powerless.\nWhen writing about the use of camera techniques, think about how the following techniques have been used:\nCamera movement. Crane, dolly, dolly in, dolly out, handheld, pan, pedestal, point-of-view shot, snorricam, static, steadicam, tilt, tracking, whip pan, zoom.\nShot size. Extreme long shot, long shot, full shot, mid shot, close up, extreme close up.\nCamera angle. Overshot, high angle, eye level, low angle, undershot, canting.\nFocus. Deep focus, depth of field, pull focus, shallow depth of field.\nEverything an actor does is part of a scripted performance which has been directed. Writing about acting can sometimes be difficult because it requires focusing on the small details of a performance. A simple glance or gesture actors can convey a great deal about the inner lives of their characters. How does an actor move? What sort of facial expressions do they use? What tone of voice do they employ? How do these small details contribute to the development of a character? Always remember that actors have been directed, their performances is as deliberate and purposeful as the lighting or camera movement in a scene.\nMise en scene\nMise en scene refers to everything that\u2019s put in the scene. It includes colour, costume, make up and the placement of props. What does the selection of costume tell us about a character? Does the composition of the shot convey information to the audience about character? How does the use of colour in the frame contribute to the representation of character?\nFilms are edited. Filmmakers think carefully about how the sequence of shots, pace of editing and use of editing techniques contribute to the narrative, development of characters and audience engagement. Every scene has been painstakingly constructed. There is nothing normal or natural about the way a scene unfolds. Filmmakers agonize over every cut. Watch the scene that you\u2019re studying carefully and think about how editing contributes to character development. Consider the pace of editing and whether it changes. Do the filmmakers choose to linger on a particular shot instead of cutting away. If so, why? Are there any particular editing techniques that stand out? What do they tell the audience about character?\nDoes the scene you\u2019re analysing use any of the following editing techniques? Audio match cut, continuity editing, cut away, cut in, dissolve, fade in, fade out, fast motion, jump cut, match on action, montage, parallel editing, shot reverse shot, slow motion, speed ramping, superimposition, time-lapse, visual match cut, wipe, wipe by cut.\nIt\u2019s important to remember that in most feature films, although the lighting might look normal and natural, the filmmakers have gone to great lengths to achieve a particular lighting effect. Lighting always makes a significant and meaningful contribution to the narrative. Filmmakers think carefully about how the quality and placement of lights contributes to the narrative, character development and audience engagement. When you\u2019re watching a scene, think carefully about the use of lighting and what it tells the audience about a character. What type of light is used? Natural, fluorescent, incandescent? Is it diffuse or hard light? Where is the key light placed in the scene? What sort of shadows are cast by the key light? What do these choices tell you about the representation of a character?\nJust as filmmakers think carefully about the visual editing of the film, what you hear has also been carefully constructed. In consultation with the director, sound editors and foley artists work tirelessly to construct the soundtrack. Every decision they make about the quality and placement of sound effects and music contributes to narrative, character development and audience engagement. When you\u2019re watching a scene, think about how sound contributes to character development. What do the characters say? What type of music has been used throughout the scene and how does it contribute to the representation of characters? Are there any prolonged silences? What sort of sound effects and ambient sounds have been used? Are some sounds more prominent than others? Are they faded in and out?\nWriting about the representation of characters\nWhen you\u2019re describing the representation of characters in a film, it is important to make specific and detailed reference to how production elements \u2013 including camera techniques, acting, mise en scene, editing, lighting and sound \u2013 contribute to character development.\nWhether you\u2019re writing about how teenagers are represented in films like The Breakfast Club or how The Joker is established as a villain in The Dark Knight, your description of this representation will follow the same sort of structure.\nIt\u2019s a good idea to start off with a topic sentence which identifies how the character is represented and explains which aspects of the representation you will be discussing.\nHere\u2019s an example of a paragraph describing the representation of the title character in Ruby Sparks (2012):\nIn the film Ruby Sparks, the title character is literally dreamed up by a frustrated writer. In the film, she is constructed as a quirky and ethereal character using a combination of acting, lighting, editing and sound. As Calvin (Paul Dano) falls asleep, the audience hears a voice saying, \u201cShe\u2019s so cute.\u201d Director Jonathan Dayton cuts to the first shot of Ruby Sparks (Zoe Kazan). At this moment a combination of lighting and sound are used to establish this character. The key light in this shot comes from the sun which is positioned behind Ruby, casting her in warm yellow light that makes her appear angelic. In the background, a romantic choral motif by composer Nick Urata helps to create the impression that this character is angelic and, indeed, a dream girl. As the conversation continues, dialogue helps to establish Ruby as a quirky and carefree character as she suggests his dog peed \u201clike a girl\u201d. She reveals that she\u2019s an artist who\u2019s \u201csuper good\u201d and produces a \u201cbeautiful\u201d sketch of Calvin\u2019s dog. In a session with his psychologist, Calvin admits that he goes to sleep at night just to get back to his typewriter \u201cso he can be with her\u201d. Like many Manic Pixie Dream Girls, this character is represented as a muse who inspires the male protagonist. Later in this scene, Dayton uses a montage accompanied by voice over from Calvin\u2019s character to further establish this character: \u201cRuby\u2019s first crushes were Humphrey Bogart and John Lennon. She cried the day she found out they were already dead.\u201d The opening of this montage is accompanied by shots of Ruby rollerskating in a park. Throughout this scene, director Jonathan Dayton uses a combination of acting, lighting, editing and sound to establish the character of Ruby Sparks.\nHere is an example of how you might write about the establishment of The Joker as a villain in The Dark Knight:\nIn the opening sequence of The Dark Knight, director Christopher Nolan uses a number of techniques to establish The Joker as particularly villainous. In the early part of this sequence, dialogue is used to establish The Joker before he appears onscreen. \u201cI heard he wears make-up,\u201d says one of the goons, hacking his way into a switchboard. \u201cTo scare people. You know\u2026war paint.\u201d One of the men reveals that they\u2019re robbing a mafia bank: \u201cI guess the Joker\u2019s as crazy as they say.\u201d After shooting the bank manager, The Joker kneels down and removes his latex clown mask. Christopher Nolan uses a tight close-up of Heath Ledger\u2019s face, accentuating the scars and grotesque make-up. The key light in this scene comes from a large window over his right shoulder. While one side of his face is clearly illuminated, the rest is in shadow. Ledger\u2019s voice is low and sinister as he delivers his response: \u201cI believe whatever doesn\u2019t kill you simply makes you\u2026stranger.\u201d Ledger shoves a grenade into the mouth of the terrified bank manager and leers at the camera, revealing a set of yellow teeth. This shot is also filmed from the perspective of the bank manager, making The Joker seem all the more sinister to the audience. James Newton Howard and Hans Zimmer collaborated on the scores for both Batman Begins and The Dark Knight. Their leitmotif for The Joker \u2013 a single note played on the violin which increases in intensity and pans rapidly from left to right, gradually joined by other discordant and distorted electronic instruments \u2013 is also used to establish the character as particularly villainous. Throughout this sequence a combination of camera techniques, acting, mise en scene, lighting and sound are all used to establish The Joker as a villain.\nPhotograph: Vancouver Film School. Image slightly cropped.", "id": "<urn:uuid:b1390a67-24e8-4706-baf5-d0d9064dbc9d>", "dump": "CC-MAIN-2022-21", "url": "https://lessonbucket.com/vce-media/unit-1/representation/representations-in-film/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00751.warc.gz", "language": "en", "language_score": 0.9461798071861267, "token_count": 1985, "score": 3.59375, "int_score": 4}
{"text": "Authors: Benedikt Diemer, Martin Sparre, Louis E. Abramson, and Paul Torrey\nFirst Author\u2019s Institution: Institute for Theory and Computation, Harvard-Smithsonian Center for Astrophysics\nStatus: Published in the Astrophysical Journal, [Open access]\nEvery galaxy has a story to tell. And every story has a few common plot devices: violent supernovae from dying young stars, bursts of activity from central supermassive black holes, mergers with other galaxies, and other dramatic astrophysical events that can change the course of a galaxies evolution. One galaxy property in particular can be severely impacted by these events, and that\u2019s how many stars it is forming at a given time. The Star Formation Rate (SFR) throughout the lifetime of a galaxy is known as its Star Formation History (SFH), and is of interest to physicists trying to understand the lives of all galaxies.\nUnfortunately, we can only see the stars that are in the galaxy at any given time; to infer the past history of star formation we must look for evidence of previous star forming events. For nearby galaxies, we can see them in enough detail to see separate populations of stars, and determine their individual ages. But for galaxies further away we can only observe the combined light of all the stars mixed together, and then have to disentangle each component in order to get the underlying history of star formation.\nHowever, in simulations of galaxies we can explicitly see the SFH in high resolution (see these \u2018bites for previous examples). The authors of today\u2019s paper looked at galaxies in the state-of-the-art Illustris simulation. They found that, whilst SFHs tend to be noisy, on average they show similar shapes over time. This shape is known as the log-normal distribution, and it typically exhibits a sharp rise to a peak, then a gradual fall.\nFigure 2 shows another two galaxies that are also very different. Both are still forming stars today, and galaxy (d) actually has an increasing SFR. Despite having very different forms for there SFH, the log-normal still provides a good fit.\nThe authors find a correlation between the time of the peak, and the width of the distribution: earlier peaks tend to be narrower, whilst later peaks tend to be much wider. In other words, galaxies that form early assemble quickly, whereas galaxies that form later take their time, leisurely building up mass over a longer period. You can see this in the examples in figures 1 and 2; the galaxies that form most of their stars early have narrow distributions, whereas those that are still forming stars have much wider distributions.\nLog-normals are not without their limitations. Interactions between galaxies, such as mergers, can lead to bursts then sudden shut downs of star formation that log-normals struggle to fit. But for most massive galaxies, log-normals describe their story arc in terms of star formation very, very well, helping physicists to understand every galaxies story, from start to finish.", "id": "<urn:uuid:603ee62c-9ecd-4d66-8660-6443ed7d4fb1>", "dump": "CC-MAIN-2022-21", "url": "https://astrobites.org/2017/09/18/biography-of-a-galaxy-uncovering-star-formation-histories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531762.30/warc/CC-MAIN-20220520061824-20220520091824-00352.warc.gz", "language": "en", "language_score": 0.9426015019416809, "token_count": 627, "score": 3.640625, "int_score": 4}
{"text": "Mathematics is a subject that requires diligent practice. And it\u2019s a subject that students tend to regress in quickly when lockdowns and holidays keep students out of the classroom. And often, our focus is on the fundamental steps of problem-solving. But the skillset of a mathematician requires logical reasoning, perseverance, academic rigor, and intellectual flexibility.\nThese are the skills that transfer easily into successful careers inside and outside of mathematics. While students may not be able to see direct value in practicing mathematics while school is out, the benefits are hidden in the character development that occurs while simultaneously promoting academic achievement.\nPractice Mental Arithmetic\nHave you ever wondered why some people are really good at figuring out how much to tip or how much change they\u2019ll get back when paying in cash? The mental ability to solve simple math problems like multiplication tables without a pencil and paper is a trick that can be practiced and developed.\nBut many students struggle with the \u2018why.\u2019 Why should we take the time to practice mental math tricks when we all have a smartphone in our pockets? While you\u2019re unlikely to encounter a real-life scenario where you need to multiply two double-digit numbers on the spot, this practice builds mental agility that is worth having.\nYou\u2019ll become better at juggling and sorting multiple pieces of information, which will make you better able to process information and make lightning-fast decisions in your chosen career path. For an EMT or a business leader, this is a valuable skill that can\u2019t be taught.\nGet Good at Dice Games\nThe thing about dice and card games is that they\u2019re all about probabilities. If you get good at understanding your probabilities, you will also master these games. At the very least, it will make for an interesting parlor trick at parties. Even a board game like Monopoly is largely based on probabilities.\nFor example, consider this over-simplified scenario. If you have two dice, are your chances equal between rolling a pair of 2\u2019s compared to a 1 and a 3? Many mathematics students will argue until they are blue in the face that their chances are equal. In reality, they are twice as likely to roll and 1 and a 3 than a pair of 2\u2019s.\nBecome a Fanatic About Following Instructions\nThis suggestion is oddly not mathematical at all\u2014or is it? Precise communication is a foundational mathematics skill. Think about applied mathematics and the intricate details of every story problem. Students who can read and digest precise instructions with efficiency will have a leg up on their peers. This exercise works well with IB Maths past papers, but can also be done with baking recipes or lego sets if you prefer.\nYou should not only focus on understanding the instructions, but also begin to question efficiency. Are the instructions clear? Do they produce the desired result? Or could they be condensed to a shorter format? Practice rewriting instructions with a focus on clear and precise communication.\nThe Bottom Line on Keeping Math Skills Sharp\nLearner regression is something that we all face. It\u2019s why every school year is frontloaded with reviews. And it has been especially tough to overcome as schools go back and forth between remote learning and in-person attendance. Don\u2019t let your Math skills take a nosedive during your next break from school. Keep these tips in mind.", "id": "<urn:uuid:9c490e42-2c6d-4985-8af1-bbdfd08146d6>", "dump": "CC-MAIN-2022-21", "url": "https://www.thereviewsnow.com/how-to-keep-math-skills-sharp-after-school-out/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00150.warc.gz", "language": "en", "language_score": 0.949032187461853, "token_count": 699, "score": 3.859375, "int_score": 4}
{"text": "Teachers in Southampton have been looking at the research behind some of their practice and have been exploring it in their classrooms. For example, research tells us that giving learners a sense of progression will support language learning motivation. We also know that encouraging teachers to experiment in their classrooms with teaching and learning activities fosters a sense of teacher pedagogic confidence.\nSUPL teachers have been exploring both through engaging with FL literacy:\n- We\u2019ve explored how teachers can work with familiar stories and exploit these known sentence patterns to understand the text in a different language and to engage in structured writing opportunities.\n- We shared the book \u201cL\u2019ours brun\u201d (Brown Bear) and used children\u2019s knowledge of the English version to elicit the meaning of \u201cdis-moi ce que tu vois\u201d (what do you see) and \u201cje vois\u2026.qui regarde par ici\u201d (I see\u2026looking at me).\nSUPL teachers have also exploited simple sentence patterns in texts to support independent, creative writing:\n- We also contrast between the English and French literal translations!\nPractical work from SUPL teachers in the classroom\nHere Sarah (Blackfield Primary) presents her scaffolding patterns which involved identifying sentence patterns, working with existing knowledge of structures (voici + noun; il est + adjective; il aime + verb, brainstorming and research for novel vocabulary and WAGOLL. Each learner designed and produced their own \u2018predators\u2019 text.s\nHere the children are brainstorming other adjectives they know (or would like to know) to describe predators. They are using their KS2 knowledge; the example sentences remind them about the language patterns.\nAnd finally children used their completed brainstorming sheets plus a WAGOLL example to write their own descriptions using these sentence patterns. An example is shown below. These could then be turned into a class book or scanned and uploaded to a storybook website such as www.storyjumper.com.\nAlongside creative language use, we\u2019ve also been looking at learning to recognise words and have explored how phonics might support this. We know from research that learning FL sound/spelling links is a slow process, that children will need plenty of practice and opportunities to try reading aloud in order to apply their new knowledge!\nBecca (Liphook Junior School) created a memorable learning device to develop conscious knowledge about sound/spelling. She talked about \u2018Franceformers\u2019 and how the same letters transform to make different sounds depending on whether they\u2019re being used in English or French!\nBecca finds that the children really enjoy this activity and they use the idea of \u2018Franceformers\u2019 as a tool to remind themselves of the differences between languages when decoding words.\nMichael (Highfield Primary) talked about his work with French story books which he uses to develop knowledge about language and reading strategies.\nHere he explains how you can work with familiar stories to introduce children to reading strategies, e.g. looking for cognates and knowledge of genre. In this kind of activity, English literacy is playing an important role for children to access the foreign language.\nMichael carefully introduces the children to far more complex, authentic text. He finds the children really enjoy these scaffolded attempts to read for meaning in a foreign language. Even though they\u2019re beginner learners!\nWhat do you do?\nHow do you experiment with literacy in your classroom?\nDo you teach phonics and does it help with reading aloud unfamiliar words?\nHave you used texts to support reading for meaning? Do you find that learners automatically use first language reading strategies or do they need support?\nCan writing be linked to other skills development such as oracy? How have you combined skills in a particular lesson or activity?\nWe\u2019d love to hear from you!", "id": "<urn:uuid:b7d008bf-1bf0-4fa7-94f6-35cc31c66eb1>", "dump": "CC-MAIN-2022-21", "url": "https://ripl.uk/2020/03/12/experimenting-with-french-literacy-in-ks2-practical-ideas/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662595559.80/warc/CC-MAIN-20220526004200-20220526034200-00151.warc.gz", "language": "en", "language_score": 0.9447519779205322, "token_count": 799, "score": 3.890625, "int_score": 4}
{"text": "I will identify a number of learning theories, together with a list of considerations and cautions with some insights that I have gained from trying to make listening in my classroom more comprehensible.\n- The nature of listening\n- Why we need to develop listening skills\n- Theories I consider when I develop listening skills\n- Some considerations for classroom listening\n- What I do to be more comprehensible\nThe nature of listening\n'Listening is an active not a passive operation.' Garvie. With this in mind I would like to emphasise three things:\n- The importance of understanding this concept of listening being an active engagement. That is, as a listener, the mind is actively searching for meaning.\n- The importance of what Krashen calls 'comprehensible input' (CI) or that 'we acquire when we understand what people tell us or what we read, when we are absorbed in the message.' Individual progress is dependent on the input containing aspects of the target language that 'the acquirer has not yet acquired, but is developmentally ready to acquire.'\n- This seems to imply the importance of ensuring that the language level is matched to the learners, which means teachers must understand their learners' abilities.\n- Krashen advises that acquisition proceeds best when 'the acquirer's level of anxiety is low and self-confidence is high.'\n- This seems to enforce the importance of making the learning environment in our classrooms non-threatening.\nWhy we need to develop listening skills\n'If someone is giving you a message or opinion, then of course you have to be able to understand it in order to respond.' (Brewster, Ellis, Girard).\n- Listening skills need to have a 'real-life' meaning, Donaldson says that children need 'purposes and intentions' which they can recognise and respond to in others 'these human intentions are the matrix in which the child's thinking is embedded.'\n- This implies that we need to carefully select materials and purposes for practising listening skills and that they need to have an authentic meaning to young learners.\nTheories I consider when I develop listening skills\nKeeping in mind that listening is an active process, Brewster, Ellis and Girard caution that asking children to 'listen and remember' can make them 'anxious, places a great strain on their memory and tends not to develop listening skills.'\nThe teacher would support children's understanding more effectively, if they direct their pupils' attention to specific points that have to be listened for 'using activities that actively support learners' understanding and guide their attention to specific parts of the spoken text.'\nWells says a lot of children's learning 'is dependent on making connections between that they know and what they are able to understand in the speech they hear' but they don't learn only listening, motivation for learning language is to be able to communicate 'using all the resources they have already acquired to interact with other people about their needs and interests.' This seems to be in line with social constructivist theories.\n- Piaget believed that a young learner 'constructs' or builds understanding over time.\n- Vygotsky believed that learning was ahead of development and for development to occur, interaction with adults or peers who are more knowledgeable is needed. This has been termed the 'zone of proximal development'.\n- Bruner extended Vygotsky's ZPD theory by defining the role of the more knowledgeable 'other' as someone who is actively involved in the learning processes by closing the gap between what has been partially and fully understood. This has been termed 'scaffolding'.\nSome considerations for classroom listening\nThese are some of the things I consider when I try to develop my students' listening. (Brewster, Ellis & Girard)\n- Give the children confidence. We should not expect them to always understand every word and they should know this.\n- Explain why the children have to listen. Make sure the learners are clear about why they are listening, what the main point or purpose of the activity is.\n- Help children develop specific strategies for listening. An important strategy that the teacher should teach is 'intelligent guesswork'. Pupils are used to drawing on their background knowledge to work out something they are not sure of.\n- Set specific listening tasks. I try to think of listening in three stages, pre-listening, while-listening, post listening and have activities for each stage.\n- Listening does not have to rely on the availability of a cassette or pre-recorded material. Most listening is teacher talk.\nWhat I do to be more comprehensible\nThere are a number of ways that I try to make myself easier to understand.\n- Keep sentences short and grammatically simple\n- Use exaggerated intonation to hold the child's attention\n- Emphasise key words\n- Limiting the topics talked about to what is familiar to the child\n- Frequently repeating and paraphrasing\nListening is an active process, as the mind actively engages in making meaning. It is therefore our duty as teachers to ensure that the materials we use are comprehensible to our young learners, as well as within the range of what they are developmentally ready for. Listening is also hard work! And can be stressful! So in order to maximise the potential for acquisition of language, we need to ensure that our young learners are not stressed about this process.\nBrewster, J, Ellis, G & Girard D (2002) The Primary English Teacher's Guide. New Edition. England: Pearson Education Limited\nDonaldson, M (1978) Children's Minds. London:Fontana Press\nEllis, G & Brewster, J (2002) Tell it again! The New Storytelling Handbook for Primary Teachers. England:Pearson Education Limited\nGarvie, E (1990) Story as Vehicle. England:Multilingual Matters Ltd\nKrashen, S.D. (1997) Foreign Language Education. The Easy Way. California:Language Education Associates\nMaybin, J, Mercer, N and Stierer B (1992) Scaffolding Learning in the Classroom. In K. Norman (ed) Thinking Voices. The Work of the National Oracy Project. London:Hodder & Stoughton\nVygotsky, L.S. (1978) Mind in Society:The Development of Higher Psychological Processes. Great Britain:Harvard University Press\nWells, G (1987) The Meaning Makers. Children Learning Language and Using Language to Learn. London:Hodder & Stoughton Educational\nThanks for useful article. I want to share with my experience. It was when I used listening to simple songs for the first time. I gave worksheets for every student with 3 tasks: complete the gaps, match the words and definition, and write true of false. It was all for the song \"You're beautiful\" by James Blunt. I explained them everything in detail, discussed unknown words in game. And I still felt a little fear in their eyes. So just before listening I explained that I don't expect them to always understand every single word and that it's OK if they make mistake. As a conclusion I'd like to say, whether your students are 5 or 15 years old, give the children confidence. They shouldn't be afraid of getting bad mark.\nI do agree with you point of view. The students should never felt fear of bad marks. We always should keep them enthusiastic and active by letting them know that it has nothing to do with your marks, and you will develop your skills little by little.\nMy friends have kids, He speak English and she speak Swedish to kid. Is it OK? or they both should talk to kid in same language?\nThis article on bilingual kids talks about the huge benefits of learning more than one language: http://www.teachingenglish.org.uk/top-stories/university-study-shows-advantages-bilingualism\ni am so happy to read these articles, i am a new English student, and i am learning more and more each day with you.\nfrom ECUADOR (South America) a big hug for U ...\u2665\nI am so happy and glad because I have found what I want really to find. Listening is not an easy skill especially when we teach it to kids and beginers, so you give us useful ways and techniques 4 this sake. Thanks a lot.", "id": "<urn:uuid:1f0e75c9-95fc-4900-b9d9-9403d6ce9b43>", "dump": "CC-MAIN-2022-21", "url": "https://www.teachingenglish.org.uk/article/listening-young-learners", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00351.warc.gz", "language": "en", "language_score": 0.9451138973236084, "token_count": 1754, "score": 3.609375, "int_score": 4}
{"text": "Wimbledon, the most prestigious of events in the tennis calendar, is almost upon us. This annual championship has been held in June ever since 1877. The origins of the game of tennis itself is much older.\nAlthough some historians claim that tennis dates back to the ancient Egyptian civilisation, there is little evidence that links the sport to the ancient world. It isn\u2019t until the eleventh and twelfth centuries that clear evidence of the game emerges.\nIt was within the confines of the French cloister that the first signs of the game emerged. A crude handball called jeu de paume (depicted above), which means game of the hand, was played by French monks against a wall or over a rope strung across a courtyard. The game grew in popularity amongst the religious orders, and soon spread to the richer nobles. At this stage, bare hands were still used to hit the ball rather than a racquet or bat, so leather gloves were developed to protect the player\u2019s palms. In time, these gloves had webbing woven between the fingers to provider a wider base for the wool, cloth or cork ball to hit against. These gloves were later replaced with solid paddles with a short handle.\nWhen it came to the tennis court itself, the Tennis and Racquet Association said that, \u201cThe shape of the court, as we know it today, evolved slowly over the Middle Ages, but by the end of the 15th Century, approximate dimensions had been agreed, an overall length of 90 ft and a breadth of the 30 ft.\u201d\nBy the thirteenth century, France\u2019s manor houses and monasteries held over 1,800 courts in France. Such was tennis\u2019s popularity diversion that the pope and King Louis IV tried to ban it, as it was diverting people from religion. However, their ban was unsuccessful. In England, both King Henry VII and Henry VIII are known to have loved tennis. Their keenness for the game led to the sport becoming known as the Game of Kings. In order to keep the general population from playing tennis, repressive measures were taken in both England and France to restrict the game to the noble class only.\nThe traditionally shaped wooden frame racquet strung with sheep gut was in common use by 1500, as was a cork-cored ball. It was in 1625, when a new court was built at Hampton Court in London, that \u201creal tennis,\u201d was born; and a net was placed across a narrow indoor court. The popularity of tennis within royal circles was illustrated again and again. English royalty often played in courts at Windsor, Whitehall, Westminster, Wycombe and Woodstock, and in Shakespeare\u2019s Henry V, the hero, having been insulted by the Dauphin with a gift of tennis-balls, threatens to, \u201cStrike his father\u2019s crown into the hazard\u201d and warns him that, \u201cHe hath made a match with such a wrangler that all the courts of France will be disturbed with chases.\u201d\nBoth King Charles I and Charles II loved the game, and surviving documents from their respective reigns claim that they used to get up at five or six in the morning to play. After a visit to the tennis court at Whitehall, Samuel Pepys wrote of Charles II, \u201c\u2026but to see how the king\u2019s play was extolled, without any cause was a loathsome sight, though sometimes he did play very well and deserved to be commended, but such open flattery is beastly\u201d.\nTennis\u2019 popularity fell away during the 1700s, but in 1850, with the invention of vulcanised rubber, bouncier balls took the game outdoors onto grass courts. However, it wasn\u2019t until 1874 that Major Walter C. Wingfield patented the equipment and rules for modern tennis.\nThe Wimbledon championships were first held in 1877 on a croquet lawn belonging to the All England Croquet and Lawn Tennis Club. At first only men were allowed to play, but then, in 1884, women were allowed to join in as well. From its early beginnings in a French monastery through the years when it was reserved for kings, to today, the game is as popular as ever and played all over the world.\nDr Kathryn Bates is a graduate of archaeology and history. She has excavated across the world as an archaeologist, and tutored medieval history at Leicester University. She joined the administrative team at Oxford Open Learning twelve years ago. Alongside her distance learning work, Dr Bates is a bestselling novelist, and an itinerant creative writing tutor for primary school children.", "id": "<urn:uuid:ce2d9c2d-f17c-4301-b0bf-88762eae8721>", "dump": "CC-MAIN-2022-21", "url": "https://www.ool.co.uk/blog/a-history-of-tennis/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00752.warc.gz", "language": "en", "language_score": 0.9829720258712769, "token_count": 966, "score": 3.5625, "int_score": 4}
{"text": "An important part of early life for children is the discovery of books they love. The power to read a story and be transported into a new world, to explore characters, motives, emotions, and situations other than their own is a critical element in a child\u2019s development. As adults, we fondly remember the Roald Dahl stories we read as children ourselves. The way any story could go from hilarious to terrifying in a page turn. The complex fantastical characters that still somehow reminded you of a person in real life, a next-door neighbour, or even a teacher.\nTeaching children with Roald Dahl books encourages them to think of the world in different ways, consider the lives of others, and try out new ways to have fun and explore their environments. Here are six resources to help teachers teaching Roald Dahl in primary school.\nWhat better place to find Roald Dahl teaching resources than the Roald Dahl website itself. The lesson plans on this website are split up by book so it\u2019s easy to navigate to the plan you need based on what you\u2019re reading in class. The lesson plans combine curriculum-based activities such as PSHE tasks and literacy tasks with lessons on ideas and feelings associated with the stories children are reading like friendship, dreams, and aspirations.\nTopics covered in all activities draw parallels with ideas children can relate to such as celebrating the differences of others. Each lesson plan refers to a specific chapter or part of the book to use as a basis for learning. Ensure your classroom is fully stocked with exercise books, pens and pencils, colouring pencils, and anything else required to make the most of these activities.\nThe Puffin website offers some engaging \u2018The Witches\u2019 Roald Dahl teaching resources to be used as you read the book as a class, or as individual lessons within your own lesson planning. Geared at KS2, this pack contains six lesson plans. Each lesson leads with an objective and draws on concepts the children are learning in one or two other subjects, such as maths, IT, or PSHE.\nThese lesson plans encourage the children to think about events in the story and apply them to real-life situations. Help children learn about the dangers of strangers, the good qualities in people, creative writing, and observation.\nGetting the children to act out scenarios can help them to put themselves in the position of a certain character and think about what they would and wouldn\u2019t do. Make role-playing extra fun by offering the children costumes to really get into character.\nThe activities listed on the 5 Minute Fun website offer a great way to get children engaged in physical activities and apply what they\u2019ve learned from a Dahl book to real life. Multisensory learning is one of the best ways to help children understand a concept and get used to a new way of working or learning. These activities use touch, smell, taste, hearing and sight to help children put ideas from their book into use.\nActivities include making up a new language, finding items for a medicine, following recipes, and craft characters from the stories.\nMake sure your classroom is fully protected from Roald Dahl experiments! Stock up on aprons and table coverings to make clean up afterwards a breeze.\nIn primary school children are beginning to understand scientific concepts to ready them for more complex biology, chemistry, and physics topics in secondary school. Learning about changing states of matter, patterns and sequences, and simple cause and effect are some of the first scientific concepts that children will learn about in KS1 and KS2. The science activities on Science Sparks offer some simple experiments using everyday items (and sweet ones the children will no doubt be excited about!).\nSome activities on this page include making sweets bigger with water; creating colour patterns with Skittles and water; making potions; building a wormery; creating BFG-inspired dream jars with water, oil and paint; and testing the strength of eggshells.\nHands-on science experiments can be more exciting conducted outside where children can explore the environment around them and use materials from nature in their experiments. Consider setting up a mud kitchen in the school playground that can be used as a workstation for science lessons, and also a fun playtime space.\nTeachers in search of Matilda teaching resources will find this lesson pack helpful. Free to download the pack contains six lessons that touch on multiple subjects the children are learning in their current curriculum including maths, science, literacy, design, PSHE, and geography. The overarching theme of the lesson pack is bravery, resilience, and inquisitiveness that are prevalent in Matilda\u2019s character.\nEach lesson has two learning objectives with instructions and resources required to carry out activities. Objectives should be clearly communicated to children and they should be given the space and support to express themselves and the way they feel about what they are learning. Make sure your students get lots of positive feedback when they approach and overcome the challenges in these lessons. Rewarding them with stickers on their work is a great way to help them feel proud about what they\u2019ve done.\nIf you\u2019re looking for recommendations for \u2018The Landlady\u2019 teaching sources, this page on the Varsity Tutors website offers a nice collection of activities for children to complete. Here, teachers can find activities like crosswords, letter writing, and even a detective game to be played in groups. There are also prompts to help children in expanding their vocabulary and writing evidence-based answers.\nA BBC BritLit Kit offers contextual reading to get students familiar with the time period of the book and helps children to understand what normal life was like in the time the book is set.", "id": "<urn:uuid:4c5a41ef-7fad-4e90-bd01-890f77d99599>", "dump": "CC-MAIN-2022-21", "url": "https://www.springboardsupplies.co.uk/blogs/blog/roald-dahl-teaching-resources", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517245.1/warc/CC-MAIN-20220517095022-20220517125022-00151.warc.gz", "language": "en", "language_score": 0.9539644718170166, "token_count": 1163, "score": 3.921875, "int_score": 4}
{"text": "1. Defoe has his hero practice two different types of writing in the novel. One type is the journal that Crusoe keeps for a few chapters until his ink runs out. The other is the fuller type of storytelling that makes up the bulk of the novel. Both are in the first-person voice, but they produce different effects. Why does Defoe include both types? What does a comparison between them tell us about the overall purpose of the novel?\nWith his interest in practical details, Crusoe naturally gravitates toward the journal as a form of writing. His idea of journal keeping follows the example of a captain\u2019s logbook rather than a personal diary: it is objective and factual, sometimes tediously so, rather than emotional or self-reflective. But Defoe could not sustain the whole novel as a journal, since much of the moral meaning of the story emerges only retrospectively. Having survived his ordeal, Crusoe can now write his story from the perspective of one remembering past mistakes and judging past behavior. The day-by-day format of the journal is focused on the present rather than the past, and it makes this kind of retrospection difficult. The moral dimension of the novel can best be emphasized through a full autobiographical narrative, with Crusoe looking back upon earlier stages of life and evaluating them.\nCrusoe expresses very little appreciation of beauty in the novel. He describes the valley where he builds his bower as pleasant, recognizes that some of his early attempts at pottery making are unattractive, and acknowledges that Friday is good-looking. But overall, he shows little interest in aesthetics. Is this lack of interest in beauty an important aspect of the character of Crusoe, or of the novel?\nA marked indifference to beauty is indeed an important feature both of Crusoe and of the novel. Not only does Crusoe devote little attention to the visual attractions of his Caribbean landscape, but he also has hardly any interest in more abstract forms of beauty, such as beauty of character or of experience. Beautiful ideas like heroism or moral excellence, for example, rarely enter his head. Moreover, since Crusoe is in many ways a stand-in for the author, we can say that Defoe too seems resistant to aesthetics. This lack of attention to aesthetics is in large part his revolutionary contribution to English literature. Rejecting earlier views that the purpose of art is to embellish and make charming what is ordinary, Crusoe and Defoe show that novels can be profound by focusing on the humdrum, unattractive facts of everyday life that nevertheless are deeply meaningful to us.\nCrusoe spends much time on the island devising ways to escape it. But when he finally does escape, his return to Europe is anticlimactic. Nothing he finds there, not even friends or family, is described with the same interest evoked earlier by his fortress or farm. Indeed, at the end of the novel Crusoe returns to the island. Why does Defoe portray the island originally as a place of captivity and then later as a desired destination?\nCrusoe\u2019s ordeal is not merely the adventure tale it seems at first, but a moral and religious illustration of the virtues of solitude and self-reliance. At the beginning, Crusoe can only perceive his isolation as a punishment. But after his religious illumination, and after he has turned an uninhabited island into a satisfying piece of real estate, he learns to relish his solitude. His panic at the sight of a footprint shows how he has come to view other humans as threatening invaders of his private realm. His fellow humans in Europe undoubtedly also represent not the advantages of society, but the loss of empowered solitude, and so he dreams of returning to the island where he was king alone.", "id": "<urn:uuid:7c42b58e-c0aa-4838-8efd-cc2a251abd27>", "dump": "CC-MAIN-2022-21", "url": "https://www.sparknotes.com/lit/crusoe/mini-essays/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663021405.92/warc/CC-MAIN-20220528220030-20220529010030-00550.warc.gz", "language": "en", "language_score": 0.9774600267410278, "token_count": 767, "score": 3.828125, "int_score": 4}
{"text": "The A to Z of Theatre\nthe means of enacting a story by adopting a character.\nor offstage. The areas of a theatre that are not part of the house or stage are considered backstage.\nBuilding a Set:\nset construction is the process of building full-scale scenery, as specified by the scenic designer and/or director of a production.\nthe process for selecting a particular actor for a role in a script.\nthe sequence of steps and movements in dance.\nthe complimentary theatrical elements with various functions, which deals with the personification of characters on stage. Costumes are worn by actors on stage in order to aid dramatic actions and interpretations.\nthe art of leading all creative aspects of a theatrical vision and production.\nthe exploration of the world of the play.\nthe full-scale rehearsal, typically within the last week before a show opens, where actors wear their costumes during the run of a show as if it were being performed in front of a full audience.\nan essential component of a well-rounded education, theatre teaches life skills through stage skills - collaboration, communication, creativity, and critical thinking.\nEquity, Diversity, and Inclusion in Theatre:\nAn art form founded on the human story cannot ignore human injustice. As a cultural organization, we believe that acknowledging, embracing, and celebrating the richness of our differences is essential nutrition for our art-form and world.\na theatrical rigging system of rope lines, pulleys, counterweights, and related devices backstage of a production. This system allows a stage crew to hoist curtains, scenery, and even sometimes people, quickly and quietly.\na single bulb left lit whenever a theatre is dark.\na term used in some theaters to describe a backstage waiting area or dressing room.\nconcerns the selling of tickets, the ushering of patrons in front of house areas, and the maintenance and management of the theatre building.\na stock character role - generally a girl or young woman who is endearingly innocent. The ing\u00e9nue may also refer to a new young actress typecast in such roles.\na brief recess between acts of a performance.\ncommonly associated with exuberant types of performance.\nthe use of light to shape the mood on stage.\n...The Scottish Play:\nA euphemism for Shakespeare's Macbeth. According to superstition, speaking the name Macbeth inside a theatre, other than as called for in the script while rehearsing or performing, is cause for disaster.\na production combining acting, singing, and dancing to tell a story.\nas our understandings of the human experience evolve, so do our stories. New works are a fundamental part of empathetic and artistic expression.\nusually the first of public performances, sometimes celebrated with special invitees, outfits, and a party.\na small booklet of information about the play.\nan object used on stage by actors during a performance.\na \"window\" that frames the play taking place on stage.\na costume change that takes place in a short amount of time backstage.\nopportunities for theatre artists to collaborate and develop new plays, musicals, performance pieces, and hybrid works.\na rehearsal where singers sing with the orchestra, focusing attention on integrating the two groups.\nanything that is heard by an audience during a production.\na raised floor or platform on which actors perform.\ntypically provide practical and organizational support to the director, actors, designers, stage crew, and technicians throughout the production process.\nthe week prior to the opening night of a play, musical, or similar production. The purpose of tech week is to rehearse the show with all technical elements in place.\na genre of arts criticism - the act of writing or speaking about a theatrical performance.\nrecognizes excellence in live Broadway theatre.\na person who learns another role in order to be able to act as a replacement in short notice.\nTheatre for the Very Young:\nan inventive, participatory, multi-sensory professional theatre performance for children ages 0-5 years old and their caregivers.\nWhat to Wear:\nthe dress code for attending a play does not exist. Therefore, anything is game.\na covering for the head made of real or artificial hair. An important aspect of transforming the appearance of an actor.\nWriting in Theatre:\ntypically called playwriting. Responsible for conceiving and transforming an idea into a written piece of work, ultimately to be performed.\nX means cross in Stage Directions:\nan instruction in the text of a play, especially one indicating the movement, position, or tone of an actor, or the sound effects and lighting.\na pillar of improvisational theatre - the acceptance principle. When someone in a scene states something, accept it as truth, then build on the reality that has been set.\nYouth Education Classes:\ndesigned to help students become entranced in storytelling, build self-confidence, and grow as critical and creative thinkers. Drama classes also help youth improve academic performance, teamwork and communication skills, and social-emotional learning.\nGive it some ZAZZ:\nfrom the Alliance's production of The Prom that went on to be produced on Broadway. \"When a challenge lies ahead, and you are filled with dread and worry, give it some zazz.\"\nZip, Zap, Zop:\none of the most famous theater warm-up games designed to teach focus and discipline, connect the group, and get positive energy flowing.", "id": "<urn:uuid:660e4dc7-e664-4c53-921b-a23265e60bf1>", "dump": "CC-MAIN-2023-14", "url": "https://www.alliancetheatre.org/content/the-a-z-of-theatre", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949642.35/warc/CC-MAIN-20230331113819-20230331143819-00754.warc.gz", "language": "en", "language_score": 0.9231998324394226, "token_count": 1423, "score": 3.640625, "int_score": 4}
{"text": "character. \u2022 Words and phrases describe the character's appearance, actions, speech, and personality. \u2022 The writing has an : acceptable tone and usually reflects engagement with . the character. \u2022 Words and phrases sometimes describe the character's appearance, actions, speech, and personality. \u2022 The tone is sometimes : inappropriate, and the writing Total Points Comments - ReadWriteThink Student infers character traits. Student supports inferences with evidence from the text. Student can explain how a character changed in a text. Student explains why a character may have changed in a text. Total Points Comments: Character Analysis Rubric - Rock Academy\nRubrics for Assessing | Cell Phones Change the World\nargumentative thesis statement examples\u2026 In the visual arts, an essay is a preliminary drawing or sketch that forms a basis for a final painting or sculpture, made as a test of the work's composition (this meaning of the term, like several of those following, comes from the word\u2026 Character Analysis Essay Rubric | Study.com A character analysis essay is a great way for students to really get to know the characters in a piece of literature. Why Use A Rubric? A rubric is a way to formalize grading criteria for an ...\nAn Analysis of the Characters in Hamlet Essay - Bartleby.com\nCreate Your Rubric - Customize Your Rubric Next, supply the content in each of the text area boxes for that particular rubric row. You can edit the rubric by making changes (add text, change text, delete text) in the text area boxes in any row. Note that if you change one box, you will probably want to make similar changes in the other boxes in that same row. PDF 7th Grade Point of View/Character Perspective Personal Letter ... the character. Writing effectively shows their personality while adding interest and charm. Voice sounds like a real person. Writing is engaging but personality may fade in and out. Any character could have written the letter. Observations are accurate but do not capture the specific personality. Voice is inappropriate or not a good fit for the PDF Performance/Acting Rubric - Chapman University for character development Exemplary evidence of appropriate acting technique* for character development Vocal Quality Inarticulate and no clear vocal choices Articulation is a problem and some vocal choices are apparent Demonstrates consistent vocal choices that reflects character Clear and nuanced vocal interpretation that reflects character Example 1 - Research Paper Rubric - Cornell College\nQuick Rubric \u2013 FREE, fast and simple rubric creator\nDesigning Scoring Rubrics for Your Classroom converting rubric scores to grades or categories is more a process of logic than it is a mathematical one. Trice (2000) suggests that in a rubric scoring system, there are typically more scores at the average and above average categories (i.e., equating to grades of \"C\" or better) than there are below average categories.\nBelow is a list of the VALUE Rubrics, organized by learning outcome. Click on an outcome to preview, download, and learn more about a particular rubric. For information on acceptable use of the VALUE rubrics, as well as how to reference and cite the rubrics, visit: How to Cite the VALUE Rubrics.\nCharacter analysis rubric college - greenbloomaccounting.com\nFree Essay: How Does Macbeth\u2019s Character Change over the Play? At the beginning of the play, Macbeth\u2019s character starts off as a loyal and brave Rubrics for Assessing | Cell Phones Change the World Rubrics for Assessing Student Writing, Listening, and Speaking. GED Essay Scoring Rubric GED Essay Scoring Rubric. This tool is designed to help readers score an essay. Two readers read the GED essay, each giving a score between 1 and 4. The average of the two is the final score for the essay portion of the test.", "id": "<urn:uuid:ea8f2cbe-e4f3-4b04-97fd-09e14343fd0e>", "dump": "CC-MAIN-2022-21", "url": "https://coursesrktavv.netlify.app/condra16865humu/character-change-essay-rubric-niqy.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521041.0/warc/CC-MAIN-20220518021247-20220518051247-00151.warc.gz", "language": "en", "language_score": 0.9061428904533386, "token_count": 804, "score": 3.796875, "int_score": 4}
{"text": "What is the Difference Between Metaphor and Simile?\nThe terms metaphor and simile are slung around as if they meant exactly the same thing.\nA simile is a metaphor, but not all metaphors are similes.\nMetaphor is the broader term. In a literary sense metaphor is a rhetorical device that transfers the sense or aspects of one word to another. For example:\nThe moon was a ghostly galleon tossed upon cloudy seas. \u2014 \u201cThe Highwayman,\u201d Alfred Noyes\nHere the moon is being compared to a sailing ship. The clouds are being compared to ocean waves. This is an apt comparison because sometimes banks of clouds shuttling past the moon cause the moon to appear to be moving and roiling clouds resemble churning water.\nA simile is a type of metaphor in which the comparison is made with the use of the word like or its equivalent:\nMy love is like a red, red rose. \u2014 Robert Burns\nThis simile conveys some of the attributes of a rose to a woman: ruddy complexion, velvety skin, and fragrant scent.\nShe sat like Patience on a Monument, smiling at Grief. \u2014 Twelfth Night William Shakespeare\nHere a woman is being compared to the allegorical statue on a tomb. The comparison evokes unhappiness, immobility, and gracefulness of posture and dress.\nSome metaphors are apt. Some are not. The conscientious writer strives to come up with fresh metaphors.\nA common fault of writing is to mix metaphors.\nBefore Uncle Jesse (Dukes of Hazzard) did it, some WWII general is reputed to have mixed the metaphor Don\u2019t burn your bridges, meaning \u201cDon\u2019t alienate people who have been useful to you,\u201d with Don\u2019t cross that bridge before you come to it, meaning \u201cDon\u2019t worry about what might happen until it happens\u201d to create the mixed metaphor: Don\u2019t burn your bridges before you come to them.\nMany metaphors are used so often that they have become clich\u00e9. We use them in speech, but the careful writer avoids them: hungry as a horse, as big as a house, hard as nails, as good as gold.\nSome metaphors have been used so frequently as to lose their metaphorical qualities altogether. These are \u201cdead metaphors.\u201d\nIn our own time we have seen the word war slip into the state of a dead metaphor: the war on drugs, the war on poverty, the war on AIDS. In these uses the word means little more than \u201cefforts to get rid of\u201d and not, as the OED has it:\nHostile contention by means of armed forces, carried on between nations, states, or rulers, or between parties in the same nation or state; the employment of armed forces against a foreign power, or against an opposing party in the state.\nIn a sense, all language is metaphor because words are simply labels for things that exist in the world. We call something \u201ca table\u201d because we have to call it something, but the word is not the thing it names.\nA simile is only one of dozens of specific types of metaphor. For a long and entertaining list of them, see the Wikipedia article on \u201cFigure of Speech.\u201d\nAre All Cliches Metaphors?\nNo. Many metaphors (some of which are similes) have become clich\u00e9s through overuse \u2013 think of things like \u201cdead as a doornail\u201d, \u201cblue sky thinking\u201d, \u201cplenty more fish in the sea\u201d, and \u201che has his tail between his legs\u201d.\nSo many clich\u00e9s are metaphors. But there are also some clich\u00e9d phrases that aren\u2019t metaphors at all, such as:\n- To be honest\u2026\n- Let\u2019s face it\u2026\n- It goes without saying\u2026\n- Been there, done that.\n(For a long list of clich\u00e9s, many of them metaphors, check out 681 Clich\u00e9s to Avoid in Your Creative Writing).\nShould You Use Similes and Metaphors in Your Writing?\nAll types of metaphor, including similes, can be appropriate in writing.\nEven clich\u00e9s can be used in some circumstances \u2013 for instance, you might use them in dialog when writing fiction, either to help give the impression of realistic speech, or to assist in characterisation (perhaps one of your characters has a tendency to speak in clich\u00e9s).\nWhen you\u2019re using similes and metaphors, you should:\n- Pay careful attention to any worn or tired phrasings you use. Phrases like \u201cfishing for compliments\u201d or \u201cbubbly personality\u201d are metaphors that you might barely notice. They\u2019re fine if you\u2019re chatting to a friend, but not necessarily appropriate in formal writing.\n- Be careful with extended metaphors. While these can be used to great literary effect, they may come across as overdone or forced in modern writing. (An extended metaphor is one that runs with the comparison over several sentences, e.g. Shakespeare\u2019s \u201cAll the world\u2019s a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages.\u201d From As You Like It, Act II, Scene VII.\n- Check you haven\u2019t mixed two different metaphors. Again, this is easy to do with metaphors that have become part of everyday language. However, you\u2019ll want to avoid writing sentences like \u201cWe need to think outside the box and sow the seeds to drive us forward\u201d or \u201cIt might feel like we\u2019re out of the frying pan and into the fire, but once we\u2019ve crossed the next bridge, we\u2019ll be able to get a bird\u2019s eye view of the situation.\u201d\n- \u201cMetaphor\u201d and \u201csimile\u201d don\u2019t mean quite the same thing. A \u201cmetaphor\u201d is a rhetorical device that transfers the sense or aspects of one word to another. A \u201csimile\u201d is a type of metaphor that uses \u201clike\u201d or an equivalent word.\n- You should avoid mixing metaphors (unless you\u2019re intentionally striving for a humorous effect).\n- You should also avoid using clich\u00e9s, except in dialog. In some cases, dead metaphors (such as \u201cwar on\u2026\u201d) will be appropriate shorthand \u2013 particularly in journalism or in informal writing.\nMetaphors and Similes Quiz\nEach of these sentences contains either a metaphor or a simile (which is a type of metaphor). Select the correct one for each.\nWant to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily!\nKeep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:\n- Apply to, Apply for, and Apply with\n- 3 Cases of Complicated Hyphenation\n- 50+ Words That Describe Animals (Including Humans)\nStop making those embarrassing mistakes! Subscribe to Daily Writing Tips today!\n- You will improve your English in only 5 minutes per day, guaranteed!\n- Subscribers get access to our archives with 800+ interactive exercises!\n- You'll also get three bonus ebooks completely free!", "id": "<urn:uuid:1da419ac-c69c-4c6c-9691-604a6e900032>", "dump": "CC-MAIN-2022-21", "url": "http://www.dailywritingtips.com/what-is-the-difference-between-metaphor-and-simile/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00551.warc.gz", "language": "en", "language_score": 0.9304821491241455, "token_count": 1576, "score": 3.9375, "int_score": 4}
{"text": "Saturday, December 26, 2015\nThe next two 365 Stories highlight Kwanzaa, a more recent holiday in America that is a celebration of African American heritage. The stories were contributed by student intern Michael Niemiec.\nWhen people think of holidays, they typically consider celebrations like Christmas, Hanukkah, Easter, and St. Patrick\u2019s Day, which been around for centuries. However, there are some relatively new holidays that are less understood, but still celebrated every year. Kwanzaa has been celebrated for only 49 years and was created in America.\nThe 1960s was a period of social unrest in our country, dominated by many protests against racial inequality and the beginning of Civil Rights Movement. During that decade, race riots occurred across the country. In 1966, after the Watts riots in Los Angeles, Dr. Maulana Karenga, a professor at California State University Long Beach and the chairman of a Black Studies course, tried to find a way to unite African-Americans as a community. He created Kwanzaa, a holiday that would bring African Americans closer to their African roots. The name Kwanza comes from the old Swahili phrase \u201cmatunda ya kwanza\u201d which means \u201cfirst fruits\u201d and the celebration is based on the year-end harvest festivals of the Ashanti and Zulu tribes in Africa. Karenga used the Swahili phrase because Swahili is a common language in several African tribes.\nKwanzaa is celebrated differently from family to family. While some believe that Kwanzaa is a religious holiday like Christmas or Hanukkah, it was envisioned as a cultural holiday. Traditionally the Kwanzaa celebration includes candle lighting, songs and dance, African Drums, storytelling, poetry reading, and a very large traditional meal. Both Kwanzaa and Hanukkah share the ritual of lighting candles each night during the celebration. Kwanzaa has seven candles that are lit for 7 nights, while Hanukkah has eight candles that last for 8 nights. During the seven nights of Kwanzaa, a child lights a candle on the Kinara or candleholder. The Kinara candles are red, green, and black and symbolize the seven principles or Nguzo Saba that are honored on Kwanzaa. These principles are values of African Culture that help to build and reinforce community among African-Americans. Each day represents a specific principle: Umoja, Kujichagulia, Ujima, Ujamaa, Nia, Kuumba, and Imani.\nUmoja means unity: to strive and maintain unity in the family, community, nation and race. Kujichagulia means self-determination: to define ourselves, name ourselves, create for ourselves, and speak for ourselves. Ujima means collective work and responsibility: to build and maintain our community together, to make our brother\u2019s and sister\u2019s problems our problems, and to solve them together. Ujamaa means cooperative economics: to build and maintain our own stores, shops, and other businesses and to profit from them together. Nia means purpose: to make our collective vocation the building and development of our community in order to restore our people to their traditional greatness. Kuumba means creativity: to do always as much as we can, in the way we can, to leave our community more beautiful and beneficial than we inherited it. Imani means faith: To believe with all our heart in our people, our parents, our teachers, and our leaders and the righteousness and victory of our struggle.\nPhoto: African Kinara\nTo commemorate the City of Troy\u2019s 60th Anniversary in 2015, we will publish a different story each day that highlights a person, discovery, or event that occurred locally, regionally, nationally, or even globally between 1955 and 2015 and that helped shape our lives and our community. We will try to post stories on important anniversary dates, but we also realize that dates are less critical than content and context. We will include the facts related to controversial stories, allowing our readers to form their own opinions. We invite you to read and comment on the stories. Your suggestions for topics are also welcome and can be posted on our Facebook page, www.facebook.com/TroyHistoricVillage. You can also email stories or ideas to the 365 Story Editor at firstname.lastname@example.org", "id": "<urn:uuid:f059e193-8932-4cfb-b68c-394c66c314ff>", "dump": "CC-MAIN-2022-21", "url": "https://www.troyhistoricvillage.org/december-26-kwanzaa-part-1/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662555558.23/warc/CC-MAIN-20220523041156-20220523071156-00752.warc.gz", "language": "en", "language_score": 0.9569514393806458, "token_count": 923, "score": 3.9375, "int_score": 4}
{"text": "Dan Haber Mini Course: Social Emotional Learning in Real Academic Context\nWelcome to the start of your adventure through Social Emotional Learning in real academic contexts! Our focus in this course will be how to make SEL more engaging and meaningful for our elementary aged students. Throughout this mini-course, you will gain insight into how to adapt your classroom into an environment filled with open discussions about emotions and real life applications to help our students learn.\nOverview and Purpose\nThis section provides the learner with an inviting and engaging introduction to the topic of your mini-course, specifies the target learner, and gives an overview of how this course works. The importance of the topic may be demonstrated through problem scenarios, storytelling, case analysis, statistics, etc.\nFeel free to name and organize this section (and other sections) in a way that is most effective for your mini-course. For example, designers from the past sometimes set this section into two parts: Introduction, Course Overview (How This Course Works).\nInstructional Problem: Typically, in an elementary school classroom, Social Emotional Learning is taught by itself. In past years other educators and I have dedicated about ten minutes of our days to read a story with a social emotional theme to our students, have a quick discussion, and move on. We always aim to make our lessons reach students\u2019 prior knowledge and have real meaning in their life. Is the extent to our students\u2019 social emotional learning a ten-minute read aloud? This is a good way to incorporate SEL into ELA, but what about our other subjects? I believe we should be developing these skills and having these conversations throughout the school day and in all of our lessons.\nWhat is to be learned: Educators who take this mini course will learn the importance of extending the time of social emotional development past a discussion and into all aspects of our students\u2019 educational day.\nThe Learners: The learners for my mini course are educators looking to further their knowledge and look at social emotional learning from a different point of view. Leaners should have basic technology skills and prior knowledge of teaching elementary aged children social emotional learning.\nBy the end of this mini lesson, learners will be able to identify and utilize at least one strategy to teach social emotional learning in each academic subject (math, social studies, science, and literacy).\nThis mini-course includes the following units. Click the title of a unit to go to its page.\nIn this unit we will discuss into the importance of social emotional learning in our students' lives through literature. You will be asked to watch videos, read an article, and participate in a check for understanding assessment.\nIn this unit we will learn the importance of taking our students' SEL into account when writing word problems and teaching to a class of struggling students.\nIn this unit we will learn how to address and incorporate SEL into the Social Studies classroom. You will be asked to self reflect upon your own teaching practices.\nIn this unit we will learn how to be advocates for our students and address their social emotional needs in the science classroom.", "id": "<urn:uuid:752cf531-b03f-4be5-ba44-47e86ff4dc69>", "dump": "CC-MAIN-2022-21", "url": "https://knilt.arcc.albany.edu/Dan_Haber_Mini_Course:_Social_Emotional_Learning_in_Real_Academic_Context", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00352.warc.gz", "language": "en", "language_score": 0.9242821931838989, "token_count": 643, "score": 3.9375, "int_score": 4}
{"text": "- 1 What is an example of a trope?\n- 2 What is a trope in medieval Theatre?\n- 3 What is a trope?\n- 4 What is a film trope?\n- 5 What is the difference between a theme and a trope?\n- 6 What is another word for trope?\n- 7 What is the purpose of a trope?\n- 8 What is the name of the oldest known trope?\n- 9 What is a liturgical trope?\n- 10 How do you use the word trope?\n- 11 How do you identify a trope?\n- 12 What is a relationship trope?\n- 13 What is a cultural trope?\n- 14 What is your character trope?\n- 15 Are enemies to lovers a trope?\nWhat is an example of a trope?\nDefinition of Tropes The phrase, \u2018stop and smell the roses,\u2019 and the meaning we take from it, is an example of a trope. Derived from the Greek word tropos, which means, \u2018turn, direction, way,\u2019 tropes are figures of speech that move the meaning of the text from literal to figurative.\nWhat is a trope in medieval Theatre?\nTropes are the product of a medieval practice of poetic and musical expansion; and in a music-historical context, the term \u201ctrope\u201d refers to any textual or melodic figure that is added to an existing chant without altering the textual or melodic structure of the said chant.\nWhat is a trope?\nFull Definition of trope (Entry 1 of 2) 1a: a word or expression used in a figurative sense: figure of speech. b: a common or overused theme or device: clich\u00e9 the usual horror movie tropes. 2: a phrase or verse added as an embellishment or interpolation to the sung parts of the Mass in the Middle Ages. -trope.\nWhat is a film trope?\nMovie tropes are devices for telling a story that communicate something figurative. Tropes can be very simple, like a common object that has a symbolic meaning. Tropes are just the thematic storytelling devices that allude to something beyond the literal meaning that an object, a person, or an action has.\nWhat is the difference between a theme and a trope?\nis that trope is (literature) something recurring across a genre or type of literature, such as the \u2018mad scientist\u2019 of horror movies or \u2018once upon a time\u2019 as an introduction to fairy tales similar to archetype and but not necessarily pejorative while theme is a subject of a talk or an artistic piece; a topic.\nWhat is another word for trope?\nSynonyms & Antonyms of trope\n- (also cliche),\nWhat is the purpose of a trope?\nFunction of Trope Since trope is a figurative expression, its major function is to give additional meaning to the texts, and allow readers to think profoundly, to understand the idea or a character. Also, it creates images that produce artistic effects on the audience\u2019s senses.\nWhat is the name of the oldest known trope?\nThe Ur-Example is the oldest known example of any given trope. \u201cUr-\u201d is a German prefix meaning \u201cproto-, primitive, or original\u201d.\nWhat is a liturgical trope?\nTrope, in medieval church music, melody, explicatory text, or both added to a plainchant melody. Two important medieval musical-literary forms developed from the trope: the liturgical drama and the sequence (qq. v.). A troped chant is sometimes called a farced (i.e., interpolated) chant.\nHow do you use the word trope?\nTrope in a Sentence\n- Love at first sight is an overused romance trope.\n- A common horror movie trope is that the promiscuous girl always dies first.\n- The jaded girl thought typical romance tropes were unrealistic because not every romance had a happy ending.\nHow do you identify a trope?\nWhen you see a kid running around with a cape and know they\u2019re pretending to be a superhero, you\u2019ve recognized the trope that superheroes wear capes. That\u2019s all a trope is: a commonplace, recognizable plot element, theme, or visual cue that conveys something in the arts.\nWhat is a relationship trope?\nTrope: (in a romantic novel) a plot, theme, device or character used so often that it has become a convention within the genre. In other words: a romantic trope is the thing readers buy the romance for! Tropes aren\u2019t cliches, really, and they aren\u2019t formulas.\nWhat is a cultural trope?\nA trope is something that floats around in the culture and is so common that no one person can take credit for it.\nWhat is your character trope?\nIn the context of fiction, character tropes refer to common attributes or even entire stock characters. The word trope comes from the Greek word tropos meaning \u201cto turn.\u201d Originally it referred to rhetorical devices that a writer uses to develop an argument.\nAre enemies to lovers a trope?\nEnemies to Lovers is a common trope in erotic and romantic literature which regularly appears in fan fiction. Works using this trope differ from Enemyslash and Hatesex fics, in that these characters don\u2019t actively hate each other or want to harm one another. These relationships are rarely violent or non-con.", "id": "<urn:uuid:83808a16-7893-401d-8a91-fd848e2f2be1>", "dump": "CC-MAIN-2022-21", "url": "https://www.nsopera.org/theatre/often-asked-what-is-a-trope-in-theatre.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662546071.13/warc/CC-MAIN-20220522190453-20220522220453-00151.warc.gz", "language": "en", "language_score": 0.917792022228241, "token_count": 1177, "score": 3.90625, "int_score": 4}
{"text": "C.1.G develop and practice memorization skills.\nby Jenny Goodfellow\nThis unit on Puppetry is designed for middle school and up, to introduce students to the material and get them comfortable with performing in a safe and low exposure environment.\nThis is a unit that builds to a culminating experience for your students. Each lesson is designed to explore techniques, provide opportunities for creative collaboration among your students, and give them opportunities to perform. Some of the lessons require materials to build or create puppets. Puppetry can be as easy as drawing a face on your finger for finger puppets, to actually purchasing your own finger puppets for students to use.\nWhile the focus of this unit is puppetry, your students will explore other skills as well. There\u2019s the obvious ones of creative thinking, teamwork, and problem solving. They are also going to explore storytelling, performing skills, and playwriting.\nby Angel Borths\nHelp\u2026It\u2019s all Greek to me! Join Angel Borths in this unit that uses a modern adaptation of the Ancient Greek play Antigone to introduce Middle School students to Ancient Greek Theatre.\nHave your students read Percy Jackson and want to find out more about Ancient Greece? Then, this unit is for you. This unit is designed for middle and high school students and will take you through the basics of classical Greek theatre and pairs it with a modern adaptation of the story of Antigone called Agatha Rex by Lindsay Price. Students will learn vocabulary, design, and basic theory surrounding classical Greek theatre. Students will also enjoy the mask building component of this unit, as they learn to disappear into the character of a mask, like the first actors did on a Greek stage thousands of years ago.\nThe unit culminates in a scene performance with masks.\nby Allison Williams\nAllison Williams leads the course: 21st Century Skills Through Devising. This course covers what devising is, why to do it, how to do it, and how your students can master the 21st Century Skills of collaborations and cooperation, critical thinking, creative thinking through devising.\nHigh school is a great place to try devising with your students. But it\u2019s not something you want to throw at your students without any preparation. Framework is important and this course takes you through a number of exercises you can take into the classroom tomorrow to help build a place of physical safety, a place where students work at making a lot of choices instead of waiting for the perfect choice, and a place where students feel comfortable making creative choices. The material also reviews the process of putting together a show from the idea/research stage to editing, to giving feedback.\nYour students have what it takes to create their own material, collaborate with each other, and have a unique theatrical experience!\nby Julie Hartley\nThe focus of the teacher-director should be not only on the quality of the show, but on the value of the experience offered to student actors. This course takes you on this journey through practical rehearsal strategies that apply an ensemble approach.\nThis course starts with those all important first rehearsals, explores warm ups, and looks at character development. We examine specific types of plays, like classical texts and comedy, and conclude with strategies to solve common rehearsal problems.\nGo beyond the basics!", "id": "<urn:uuid:ab154b92-4a07-4146-998d-7d414703cfca>", "dump": "CC-MAIN-2022-21", "url": "https://www.theatrefolk.com/dta_standards/881", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00550.warc.gz", "language": "en", "language_score": 0.951174795627594, "token_count": 677, "score": 4.03125, "int_score": 4}
{"text": "The internet, often referred to as mans greatest invention, describes a computer network that connects people from different places across the globe and facilitates the transfer of information from one point to another via set protocols. The internet has primarily enabled communication and information dissemination resulting into significant Knowledge and developments not only at individual levels but also internationally.\nThe internet is a source of knowledge and learning. The connectivity enabled by the internet has greatly facilitated the transfer and sharing of knowledge from various sources such as learning institutions and research center to the learners across the globe in need of the information, thereby making essential information and knowledge accessible to everyone accessing the internet. Similarly, the internet has been a medium of communication. Relying on the connectivity offered by the global network of computers people from different places across the globe can communicate to social groups, friends, and family from great distances without any significant effort of getting to their locations. Additionally, through the internet communication has bee fasten substantially unlike the ancient or older time whereby communication was based on written texts and took a lot of time to get from the sender to the receiver on the other side f the work. With the concept of communication, the global network of computers has enabled socialization between people across a broad race of differences such as tribes, races, and backgrounds following the fact that by a simple click of a mouse button people have the ability access share and connect to important information. The internet is the backbone of modern communication, and through it, many daily operations stand significantly. Modern business operations, development projects and information exchange greatly rely on the internet based on the inevitable fact that the global network is fast and reliable about time. Through the internet, occasional activities such as shopping, banking operation, and billing activities have been made easier thereby making daily business operations faster and reliable. The Internet has the purchase of goods and services from one side of the globe possible in the other side without the effort of getting to the actual location of purchase. The internet has also facilitated the concept of commerce by incorporating an electronic medium to make the entire process faster, secure and reliable. E-Commerce, therefore, relies on the internet in the activities of buying and selling of services and goods across the globe. Cooperation in many cases has been the bonding factor between two or more people who have made up to work together towards a common goal. However, without the internet goals and results of cooperation might not have been realised on a global scale since different people and associations based on different places on the globe need to agree and work together to archive great results. The internet has therefore aided cooperation and unity of not only individual people but also nations and continents on activities of trade and information sharing.\nGenerally, the internet has changed the course of the world in terms of development, entertainment and communication. Information dissemination has also been made possible by the aid of computer networks across the globe.\nCite this page\nWhat Is the Advantage of the Internet Essay Sample. (2018, Mar 21). Retrieved from https://speedypaper.com/essays/103-what-is-the-advantage-of-internet-essay-sample\nIf you are the original author of this essay and no longer wish to have it published on the SpeedyPaper website, please click below to request its removal:\n- Female Sexuality in the Early Modern Era\n- Creative Writing Essay on Slavery in United States\n- Essay Sample on Rape Victimization\n- Essay Sample for Free: Political Reasoning Behind the Public Policy\n- Free Essay for You on Gender Roles in Sherlock Holmes Stories\n- Aviation Security Essay Sample from Our Database\n- Essay Sample on the Theme of Oppression in Marriage in The Story Of An Hour", "id": "<urn:uuid:67e05882-9b67-4329-894b-74c653a3fe9b>", "dump": "CC-MAIN-2022-21", "url": "https://speedypaper.com/essays/103-what-is-the-advantage-of-internet-essay-sample", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662588661.65/warc/CC-MAIN-20220525151311-20220525181311-00552.warc.gz", "language": "en", "language_score": 0.9472045302391052, "token_count": 755, "score": 3.625, "int_score": 4}
{"text": "At St Osburg\u2019s Primary school we recognise that the teaching of the writing process is inextricably linked to the teaching of Reading and Speaking and Listening. Consequently, teachers use a variety of teaching methods and emphasis in the teaching of writing which reflects this. Furthermore, we recognise children as individualised learners, and as such, plan lessons to include visual, auditory and kinaesthetic approaches where appropriate which best suit the needs of the children.\nAt St Osburg\u2019s, English is at the heart of our curriculum. Our principal aim is to develop children\u2019s knowledge, skills, and understanding and in order to do this we have adapted the way we teach English.\nEvery child within the school takes part in daily English lessons which develops the key skills of reading and the technical aspects of writing.\nOur curriculum is based on a text based curriculum which develops children\u2019s comprehension, vocabulary, writing, grammar, critical thinking and discussion skills\u2013 in a fun and meaningful way. The children write for different purposes: to imagine and explore feelings and ideas, to inform and explain, to persuade and to review and comment. They also see how writing is concerned with process as well as product, being an aid to thinking, organisation and learning. They are taught to plan, draft, revise, proof read and present their writing on paper and on screen, and to discuss and evaluate their own writing and that of others.There is an emphasis on using real models for writing newspaper reports, advertisements and websites.\nThe links between reading and writing in fiction and non-fiction continue to be made explicit. Pupils use their knowledge of texts they have studied to construct their own writing and have greater control over organisation, language features, vocabulary and spelling.\nChildren are given opportunities to develop knowledge of different authors and styles of writing in order to foster a love of reading.\nReading in School\nIn the Foundation Stage and through Key Stage One, children are taught to read through the Read Write Inc Phonic Programme to get their reading off to a flying start. We believe that being able to read will unlock the door to every child's learning giving them the thirst for knowledge. Using Read Write Inc, the children learn to read effortlessly in a fun and stimulating way. This takes place 3x per week each session lasting 45minutes.\nThe children learn the 44 sounds and the corrosponding letter/letter groups using picture prompts. The children learn to spell using Fred Fingers, counting out and saying the sounds. They read exciting books and answer questions showing their comprehension skills. Below is a link to parent advice and Top Tips to support your child with RWI.\nThe \u2018Fresh Start\u2019 programme and \u2018ReadWrite Inc Comprehension\u2019 are also used as an intervention for specific groups of children in Key Stage 2.\nIn Key Stage Two, children take part in weekly \u2018guided reading\u2019 sessions which comprise of a one hour 'Big Read' lesson and two further 25 minute follow up sessions. All lessons are planned using the Big Read criteria ensuring that all skills are taught and are progressive.\nIn addition to this, all classes have a class reader which they read purely for enjoyment.\nOther opportunities for Reading enrichment include taking part in events such as \u2018World Book Day\u2019, \u2018National Poetry Day\u2019, \u2018National Storytelling Week\u2019 or the \u2018Summer Reading Challenge\u2019. Children visit the central library and have also taken part in the St Osburg's 'Extreme Reading' Challenge.\nReading at Home\nChildren are encouraged to read a range of fiction and non-fiction books to support reading at home and these are organised using the Book Bands System. Home Reading books are chosen from a range of different schemes including Oxford Reading Tree, Jelly and Bean and Rigby Rocket.\nSpeaking and Listening\nWe give children a range of purposes for speaking and listening. Speaking and listening will sometimes be taught discretely, but more often it will be taught within other areas of the curriculum. Examples of where speaking and listening might occur within the classroom: Hot seating, freeze frames, reading aloud, presentations, role play and explaining ideas.\nSpiritual, Moral, Social and Cultural Development\nThe teaching of English develops skills through which our children can give critical responses to the moral questions they meet in their environment and also in the wider world. Their understanding and appreciation of a range of texts brings them into contact with their own literary heritage and texts from other cultures.", "id": "<urn:uuid:f2b9c288-7227-4a2c-965a-1a16635fb6e3>", "dump": "CC-MAIN-2022-21", "url": "https://www.st-osburgs.coventry.sch.uk/english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662519037.11/warc/CC-MAIN-20220517162558-20220517192558-00552.warc.gz", "language": "en", "language_score": 0.9555149078369141, "token_count": 935, "score": 3.609375, "int_score": 4}
{"text": "LGBT and Black History Month\nIt is February \u2013 LGBT and Black History Month. Lucie Wirz invites us to think about the neglected and untold stories of LGBTQI+ and Black people.\nBlack History Month was celebrated for the first time in 1969 by the Black United Students at Kent University in the United States. However, its origins go back to 1926 and the Negro History Week, which Carter G. Woodsen introduced, one of the first historians to study African American History. The month of February was chosen to commemorate the birthdays of two important figures of Black History: Abraham Lincoln and Frederick Douglass.\nIn June, the Pride Month celebrated to honor the 1969 Stonewall Uprising in Manhattan is often more well known as the month during which the LGBTQI+ community is being celebrated. However, less known by the public, LGBT History Month happens in February.\nThose two celebrations aim to give more visibility and insights into those communities\u2019 struggles and achievements throughout history. This year, it seems that they happen at a time when the topics of race, gender, and discrimination have never been so much at the center of attention.\nThe recent events in the United States shed light on the everyday obstacles, violence, and structural racism that many black people face and made this reality hard to ignore. It also led to a world-wild conversation on race. In Germany, the conversation came with an underlying assumption that racism and police violence were not such an issue in the US. However, very soon, more and more people started speaking up about the everyday racism they were facing in Germany. The commemoration of the racist attack which took place a year ago in Hanau is a reminder of it.\nThe Black Queer community played an essential role in the Black Lives Matter movement, bringing more insights and awareness on the specific types of discrimination that Black LGBTQI+ people face and the need to unite and include different people in the fights for social justice.\nLGBT and Black History Month should be an opportunity to think about the people who have been part of those different fights and are often not mentioned in our history books and classes. How many of us learned about figures such as Audre Lord or Georges Washington Carver? LGBTQI+ and Black people\u2019s existence and contributions are still often ignored or deliberately erased from our narratives.\nThe events taking place in the United States have forced us to look at how our societies are shaped, how and by whom the rules are established, which norms and representations are normalized and valued, and which ones are marginalized. We believe that it should also be a time to think about how and by whom our histories are written and which stories are told.\nOther people have too often told the stories of Black and LGBTQI+ people. As important as talking about those societal issues can be creating spaces where people can tell their stories on their own, where people can be true to themselves, where they can feel whole and valuable to shape the world around them. Because rethinking the way we want to shape our world means breaking free from the idea that there is a separation between the self and societal issues. As Emilia Roig expressed it when publishing her book Why We Matter, \u201cwe are societal issues, we live through them\u201d.*\nStorytelling can be a way to regain power over one\u2019s narratives when this narrative has too often been taken away from you and sometimes even used against you. It is time to bring in new stories and new topics to the table, and we believe that the people concerned by the issues should be the ones doing it. This is why we would like to present to you stories from our community, told by people themselves. Would you like to publish your article on our Magazine? Get in touch with us at email@example.com!", "id": "<urn:uuid:dbebe6fd-2180-4de1-aba0-88788c741bf1>", "dump": "CC-MAIN-2023-14", "url": "https://gsbtb.org/2021/02/19/lgbt-and-black-history-month/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296945248.28/warc/CC-MAIN-20230324051147-20230324081147-00773.warc.gz", "language": "en", "language_score": 0.9796615839004517, "token_count": 775, "score": 3.984375, "int_score": 4}
{"text": "written by Faria Education Group\nYou have the basics down: Skills are the verbs. Content is the noun. Now you are ready punch up these unit sections so that you and your students get the most out of your curriculum mapping process.\nHere are five great ways to take your Content and Skills to the next level:\n1. Get Friendly with Formatting\nIn addition to amping up the aesthetic appeal of your Content and Skills, formatting tools will help you better organize your thoughts while writing these sections. Take advantage of rich text editors to bold, underline, italicize, add color, and change the size of your font. We suggest using these tools to sub-divide your Content and Skills into smaller sections like \u201cKey Ideas,\u201d \u201cConcepts,\u201d and \u201cVocabulary.\u201d Nesting curricular content under sub-headers and color-coding similar topics will transform your Content and Skills sections into easy-to-read resources for you to use as you complete your unit planner.\nIf you\u2019re an Atlas user, these rich text editing tools are available in each free text box in your unit planner. Additionally, the Atlas team can add a hover-over icon to any unit planner section with prompts and helpful hints for teachers as they write their curricula. If your school is taking a streamlined approach to writing Content and Skills, the Atlas team can add hard-coded text into the Content and Skills sections so that teachers have a format ready to use when they begin to edit. Finally, consider adding links to helpful resources for your teachers to use while editing. The Atlas Style Guide and Bloom\u2019s Taxonomy are some of our favorites.\nHere is an example of a subdivided Content Section that includes a mouse-over information bubble to help teachers brainstorm:\n2. Look for Hints in Standards and Assessments\nStandards have great language for you to borrow when you write your Content and Skills. Look through those standards to pick out nouns (for content) and verbs (for skills). Doing so will make your curriculum drafting process run smoothly and ensure that your Content and Skills reinforce the standards you target.\nConversely, assessments are a great way to give your Content and Skills section a check. Are you testing students on the content you want them to know? Do your assessments challenge students to use the skills you want them to learn? Just like you borrowed words from standards to write your Content and Skills, you can borrow words from your Content and Skills to write your assessments. Similarly, if you are working from a common assessment, you can borrow nouns and verbs from that assessment to shape your Content and Skills. In either case, you might notice that the way you assess your students is disconnected from the skills you want them to learn. In this instance, take time to reevaluate your unit priorities and adjust one or more sections.\nConsider the following example from an 8th grade English unit:This teacher used language from his Content and Skills (highlighted in yellow and purple, respectively) to inform his assessment on character development and theme. However, he made an interesting decision when he picked an oral presentation as his assessment method. This assessment tests public speaking skills, presentation skills, organizational skills, and graphic ability. These skills, highlighted in red, are skills in addition to those listed in his Skills section (analytical ability, reading comprehension, literary interpretation, proper use of literary terms, etc.).\nRemember, assessments should reinforce the Content and Skills we teach. After cross-referencing his assessment with his Content and Skills section, this teacher might decide to change his assessment method to one that better demonstrates his students\u2019 analytical abilities. Perhaps he moves the oral presentation to another unit. If not, he might like to revise his Skills category to reflect his goal of teaching students to become proficient oral presenters.\n3. Eliminate Non-Essentials\nRemember, content is what we want our students to know, and skills are what we want our students to be able to do. With laundry lists of each, students often leave a unit with, at best, a shallow understanding of the topics covered. There are a few ways to avoid this trap.\nFirst, take a look at your unit title. If you find yourself with too much content, chances are you might have a unit title that lacks focus. Instead of teaching a unit on \u201cPhilosophy of Race,\u201d teach it on \u201cPhilosophy of Race: The Case Against Biological Realism.\u201d By qualifying the scope of your unit, you give yourself parameters in which to stay when writing your Content and Skills.\nSecond, solidify your unit goals. Make sure that each skill and piece of content is directly linked to an Enduring Understanding or Essential Question. This might mean moving away from specifics (what you\u2019ll focus on in your day-to-day lesson planning) and focusing on general concepts that you want your students to remember for years to come.\nFinally, recall that your unit is part of a larger, connected course. Before you delete material from a unit, think about fitting it into a Content or Skills section in a more applicable unit. Remember, the end goal is to plan curricula that works well for your students.\n4. Dig Deeper\nIf you are confident in your Content and Skills material, think about how you can make these sections more robust. Is your Content directly or implicitly covered in the unit? Are your Skills new abilities that your students will learn in this unit, or do you plan to reinforce skills that your students should already know?\nWorking at this level of Content and Skills creation presents an opportunity to look at some of the standards other teachers are targeting to see how you might be able to shore up the skills your students are learning elsewhere. Collaborate with other teachers to see what interdisciplinary connections you can make. The more your students can practice skills and explore content through various lenses, the more masterful they will become.\nBelow is a comparative unit report that highlights the Skills sections of two high school units\u2013a \u201cLayout and Design Structure\u201d art unit, and a \u201cRight Triangles\u201d geometry unit. Take a moment to look at the Skills taught in each course. Is there any overlap? Opportunity for collaboration? Need for reinforcement?It looks like Susie\u2019s design unit relies on her students\u2019 ability to use skills taught in Chris\u2019 unit on right triangles. In her Skills section, Susie might like to note which mathematical skills she plans to reinforce. She could also take a look at when Chris is teaching his unit, and shift her unit so that it occurs simultaneously or shortly after. Susie might decide to leave a note on Chris\u2019 unit, suggesting that the two of them get together to plan a collaborative assignment.\nHere is an example of a unit from a teacher that has incorporated interdisciplinary connections in content and skills. (Check out how she uses those text editing tools to organize the material and make the connections pop even more!)\nBy taking a closer look at your Content and Skills section, you can create opportunities for collaboration across grades and disciplines in order to strengthen student learning.\n5. Question for Quality Assurance\nAt the end of your unit planning process, ask yourself these questions to give your Content and Skills one final test:\n- Do my Content and Skills act as a link between my targeted standards and assessments?\n- Are the nouns and verbs I used grade-level appropriate?\n- Are my Content and Skills clear and concise?\n- If another teacher read these Content and Skills, would they have a clear idea of what I plan to cover in this unit?\n- Do my Content and Skills cover the key ideas and experiences necessary for my students to engage with the Essential Questions and Essential Understandings?\n- Does the material in my Content and Skills fall within the scope of my unit?", "id": "<urn:uuid:bd7ec9c7-de1b-4aba-a5cf-972641fdfec4>", "dump": "CC-MAIN-2022-21", "url": "https://www.onatlas.com/blog/5-ways-to-punch-up-your-units-content-and-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545326.51/warc/CC-MAIN-20220522094818-20220522124818-00552.warc.gz", "language": "en", "language_score": 0.9465348124504089, "token_count": 1623, "score": 3.53125, "int_score": 4}
{"text": "Decolonizing Math: Creating Culturally-Relevant Resources\nAlthough learners can have trouble with any subject, math is the one learners complain about most. Often this is because learners don\u2019t see the connection or relevance of math to their daily lives. Too often, math problems don\u2019t reflect realistic situations or connect to learners\u2019 realities. That makes it hard for learners to engage with the content. It is especially true for Indigenous learners. Many elements of western math instruction don\u2019t necessarily align with the principles of Indigenous learning. This post will explore ideas for decolonizing math in ways that feel natural and authentic.\nIntegrating Indigenous Examples\nA simple first step in integrating Indigenous perspectives into math content is consistently integrating terminology and examples into math problems. While this is a small change, relevant examples can better help learners understand a topic. For example, introduce probability by showcasing a common Indigenous hand game played in the community. That may help hold the learners\u2019 interest and help them better relate to the topic. A relevant and familiar example enables learners to focus on the new terminology related to the topic rather than struggling to understand other example elements.\nProbability in Lahal: An Example of Decolonizing Math\nThe examples used in instruction must be pertinent, meaningful, and consistent. Ideally, examples come naturally to the explanation. They should also add value to the instruction, not just token names or integrated places to provide loose connections.\nConnecting Math & Indigenous Knowledge\nAnother way to decolonize math content is to focus on the six areas of human activity that are common across all cultures:\nYou will make problems more approachable if you center math problems around these activities and work in relevant cultural terminology and examples. A great example is using cooking to teach fractions. Food is an important part of family culture in Indigenous communities. Suppose you base a math problem around scaling a recipe to make a common dish, such as Fry Bread or Bannock for a large group. In that case, you use a real-world example that may resonate well with learners and translate to the knowledge they will need.\nWhen learning cooking from family members and elders, it is typical to hear terms like \u201ca handful\u201d or \u201ca pinch.\u201d An activity could start by measuring and quantifying local values and aligning them with universal measures, like a \u00bd cup or \u00bc teaspoon. Learners can then learn how to scale the recipe by using proportional reasoning. They can also look at downscaling recipes to feed smaller groups and preserve resources, therefore applying division of fractions.\nDecolonizing Math Through Indigenous Themes\nTo take this concept further, you can also look for ways to connect broader Indigenous themes to math instruction. Say you are teaching the topic of number percentages as part of your grade 8 math program. Instead of jumping into a question, start talking about a theme that resonates with learners, like family and ancestry. Ask your learners to map out their family tree and calculate percentages of different scenarios. For example, learners can calculate the number of females vs. males, the average ages, or other variables. They will see real-world, contextual learning. You can also teach number percentages by looking at resource management, predicted yields, or community profiles. It makes percentages more relevant and enhances numeracy as it includes some data analysis.\nUsing Stories in Math Instruction\nWord problems are a big part of teaching logic and reasoning. However, they do not often align with Indigenous oral traditions. Word problems frame the question and provide more details, but they are not truly story-based learning. The use of storytelling can help frame a topic and provide history and context to learning.\nConsider how multiple topics can align to a theme. Weave together a lesson or a series of lessons, and build out learning through stories. We recently worked with a school where learners had trouble with even and odd numbers and skip counting. We decided to build a story-driven set of videos that showcased the tale of three friends playing a game of Willow Sticks. It allowed us to weave in many math concepts to a game that most of the learners in the community play. That made it more relevant and provided a new perspective on how educators could teach the content. Instead of addressing the content by topic, we wove themes into a story related to a familiar situation.\nApproaching Math from a Holistic Perspective\nWeaving storytelling and providing relevant examples often leads to more holistic math learning. Relating to broader topics and themes provides learning opportunities that bridge home, school, and community. It\u2019s easy to work with math concepts like trajectories, angles, and distance calculations while talking about outdoor activities like ice fishing and trapping. You can also work on math skills when looking at science topics. While teaching learners about trees, it\u2019s easy to work in lessons. Learners can count rings, determine a trunk\u2019s radius or diameter, or predict the volume of sap a tree can generate per year, estimating its syrup yield. There is a natural progression toward math integration into other projects and subjects and a more holistic approach for inclusion.\nDecolonizing Math: Steps for Success\nDecolonizing math resources does require some planning and structure and support and participation by others. Educators may also need some preparation and education to feel supported and comfortable, including Indigenous examples. An educator may need to do essential research to support a math concept with a relevant example. Let\u2019s say an educator wants to use an Indigenous game to explain a math concept. First, they will need to learn its rules, history, and cultural significance. It may also require the collaboration of other educators to build projects that span subjects or topics to integrate math into overall learning better.\nIf you would like to explore how Learning Bird can assist you in building decolonized math content, we\u2019d be happy to chat. We can also share some other examples of content with you. Contact us at 1-888-844-9022 or email firstname.lastname@example.org.", "id": "<urn:uuid:817d6581-e62d-431e-836f-a1ad50115662>", "dump": "CC-MAIN-2022-21", "url": "https://learningbird.com/decolonizing-math-creating-culturally-relevant-resources/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00752.warc.gz", "language": "en", "language_score": 0.9328754544258118, "token_count": 1249, "score": 3.546875, "int_score": 4}
{"text": "Musical Theater Scripts\nFeaturing Historical Role Models from\nWhat better way to reinforce positive character development while strengthening a child\u2019s understanding of\nhistorical events all at the same time than through music and drama! We\u2019ve combined numerous skill-building\nactivities into productions that should take about 20 hours to practice and 20-30 minutes to perform.\nThese scripts are royalty-free and can be copied for all students in one performance.\nAll we ask is to not share the scripts with other performing groups. Tell them how to contact us:\nwww.homelinkyakima.org 509-248-6388 firstname.lastname@example.org\nThe play about Pocahontas features her first as a child welcoming the European settlers and encouraging a\ntrade partnership between two people-groups. As time passes and disappointments mount, Pocahontas never\nloses her hope that her two beloved cultures can finally see eye-to-eye. When Pocahontas\u2019s aspirations are\nfulfilled, she emerges to be the glue that cements the relationship between the Europeans and the Native\nBenjamin Franklin\u2019s life\u2019s story displays a huge variety of skills possessed by this one man who led our\nnation out of the colonial period into a unified country. He is first a printer, then statesman abroad, an inventor,\nan author and finally a Founding Father of our great nation. The script is full of witty and wise sayings that Ben\nFranklin included in his first book, Poor Richard\u2019s Almanac. How did Franklin become so wise? Through all the\ntwists and turns of his life, he made the most of every moment.\nFor a woman who has so little going for her initially, Harriet Tubman draws upon her courage to make the\nimpossible happen. Not only is she able to find freedom for herself but also for more than 300 others, never losing\na passenger on the Underground Railroad. Once that freedom is found, she encourages people to develop a good\nwork ethic and strong community in their new life. The Spirituals throughout the play support the story and add\ndepth to the performance.\nAt a time in American history when inventors were busy and abundant, two brothers from Dayton, Ohio\nwere endowed with a perfect combination of skills: creative genius, mechanical abilities, and teamwork. The saga\nbegins with the brothers working in their bike shop in Dayton around the year 1900, when their first interest in\nflight began. Eventually, they develop a glider and then move onto the famous Flyer. Episodes of the effective\npartnership are displayed as the story unfolds underscoring the message that \u201ctogether we can accomplish so", "id": "<urn:uuid:7dc8bad4-0986-4c08-95bf-483e92e7fee7>", "dump": "CC-MAIN-2022-21", "url": "https://homelinkyakima.org/product/american-history-musical-theater-scripts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016373.86/warc/CC-MAIN-20220528093113-20220528123113-00752.warc.gz", "language": "en", "language_score": 0.9420092105865479, "token_count": 606, "score": 3.53125, "int_score": 4}
{"text": "This article focuses on the appropriation of Black American linguistics as a result of participation in hip hop culture. Cutler specifically focuses on the adoption of African American Vernacular English by white middle class urban youth who have come to participate and developed a sense of belonging to Black American culture. She follows the development of Mike, a white middle-class boy that she knew from when he was young, from his inclusion of and growth into the subculture through his actions and words. Through the changes from his adolescent years to late teenage years, it becomes apparent that he has developed a sense of belonging towards hip hop culture and has adopted it as part of his sense of identity. She pays particular attention to the changes in his speech through his appropriation of African American Vernacular English, such as changes in pronunciation and grammar, before delving into the sources of accesses that white youth in general would have to adopt this dialect of English.\nIn the 1970\u2019s hip hop dance was quickly being molded into a legitimate dance culture. Dancers showed off their skills whenever, wherever. In the 1980\u2019s, as breaking, popping, and locking were being institutionalized all over the United States, hip hop was evolving from random performances to formal competitions. What would have been youth violence in gangs were now dance crews. Dancers in the same neighborhood or block would form a crew and create their own identity.\nAs acknowledged by Candice Jenkins, a researcher on Hip-Hop and the Literary from Duke University , \u201cindeed, it calls for a rigorous attention to rap's language and to the genre itself as a particular kind of verbal artifact, one driven as much by aestheticized oral communication as by musical expression\u201d (Jenkins, 2013). Hip-hop and Literary studies focuses on the message that hip-hop music portrays, and the meaning of the diction. Society's ability to function stimulates from being able to communicate and be expressive through different formats. American culture norms are seen to include patience and peacefulness (InterExchange, 2018). Hip-hop was centered around a self-expression for artist, and a form of relatability for audiences;\nOnce a political stance to project the difficulties and opinions of the those in the impoverished or ghetto areas, Hip Hop presented style and creativity of storytelling. Hip Hop was a release and it was a way in which people could reclaim their energy against racism and discrimination. Unfortunately through the rise of Hip Hop, animosity rose as well. Western culture has pre-established ideas about what roles men and women play in society. Starting from the Frontier, men were suggested to have this dominating persona.\nThe term \u201chip-hop\u201d is used today to describe a specific form of dance and music, but actually encases a much broader art. \u201cIt [Hip-Hop] is the cultural embodiment of violence, degradation, and materialism . . . a multibillion-dollar industry based on debauchery, disrespect, and self-destruction\u201d (3). Although hip-hop does heavily involve music and dance, Joseph G. Schloss has found that there are many more aspects that make up the hip-hop culture. Foundation is a collection by Schloss of his findings from his research of hip-hop.\nHip Hop and Roots -The Study on the New York Born Dance Culture- Summary This paper traces back the roots of Hip Hop culture particularly focusing on dance/Bboying/Bgirling/ Breakin? known as breakdanceing in general by conducting the interview on pioneers and practitioners meanwhile analyzing some previous researches.\nIt is easy to argue that \"music does bring people together. It allows us to experience the same emotions. People everywhere are the same in heart and spirit. No matter what language we speak, what color we are, the form of our politics or the expression of our love and our faith, music proves: We are the same\" (Denver). However, not only does music bring us together as humans but also delivers an accurate depiction of society and it helps spread relevant ideas/.\nAbstract In the 2000s, hip-hop has become not only a music genre, but also a subculture movement in the U.S society. However, hip-hop is just a \u201ctip of the iceberg\u201d which is called Afro-American or African-American music culture. Since the 17th Century, when the first group of African slaves arrived to the America, a new form of culture has been developed, although there were several prohibitions and non-acceptances from the white American. Since then, new genres of music originated from the African-American society have occurred, grown and become well-known, such as, blues, jazz, soul, rock-and-roll, rap, R&B...\nHip Hop: The Good Message Americans today tend to believe that hip hop has a bad message in their songs. What you did not know is that lyrics have a deeper meaning. Many people assume that hip-hop is bad for everyone. People around the world argue if hip-hop is bad or good. In my opinion, hip-hop is good because it tells how everyone has a story.\nThe gay topic in hip hop is not trying to destroy hip hop. Cashun is a gay rapper, who challenged the homophobia with enough dignity. \u201cDisidentification resists an unproductive turn toward good dog/bad dog criticism and instead leads to an identification that is both meditated and immediate, a disidentification that enables politics.\u201d Black gay folks who are in the middle of different dominances find the practice of disidentificacion more seductive and enabling than major subjects. Black queer subjects in black, presumed heterosexual or gay (mostly whites) contexts find that an identification with larger groups is more a liberatory exit for survival than those people who identify themselves with dominant ideologies.", "id": "<urn:uuid:48247be6-b813-4423-9187-7a304d1775ba>", "dump": "CC-MAIN-2022-21", "url": "https://www.ipl.org/essay/Hip-Hop-Planet-Summary-FJLZFUP58SM", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512249.16/warc/CC-MAIN-20220516204516-20220516234516-00351.warc.gz", "language": "en", "language_score": 0.9681305289268494, "token_count": 1192, "score": 3.5625, "int_score": 4}
{"text": "Hidden Figures, a best-selling read by Margot Lee Shetterly and an Oscar-nominated film, is changing how we understand the history of science, technology, engineering, and mathematics (STEM). Often, the stories of scientific discoveries and engineering feats omit the contributions of women or people of color and obscure the knowledge and experiences, both lay and professional, required to achieve STEM accomplishments. The usual discourse of STEM deemphasizes the social-historical context that creates the conditions for innovation of personnel (the who), process (the how), and product (the what).\nShetterly provides an alternative narrative as she shines a light on the people, places, and purpose of STEM. She features African-American women in her historical storytelling of the US Space Race and the Civil Rights Movement. Her personal and professional stories of women, like Kathryn Johnson, Dorothy Vaughn, and Mary Jackson exemplify African-American women at work in NASA as mathematicians, computer scientists, and engineers. These women fully participate in the practices of STEM as they perform computational analysis, program mainframe computers, and conduct engineering tests. She explains how war, racial segregation, and sexism at home and in the workplace limited how African-American women participated in STEM and conversely, created a window of opportunity that amplified their contributions to STEM, in particular the rise of US Space Program.\nMary Jackson: Engineer and Inspiration\nWhile Shetterly\u2019s biographies of these women position them as pioneers of the space frontier, it is the story of Mary Jackson on the homefront that captured my attention and inspires my work. Mary Jackson was one of the first women to leave \u201cWest Computing\u201d to join an engineering team as a specialized computer. Later, she completed advanced math and physics courses and achieved a promotion to engineer. Shetterly reports that Mary Jackson filled her days with professional and community service that increased awareness of and preparation for engineering among young girls and women and African-Americans.\nIn the chapter, Model Behavior (starting on page 193), Shetterly details how Mary Jackson spent time collaborating with her son, Levi, to design and build a car for the 1960 soap box derby race. Together, they read the manual to learn the specifications and constraints of this design challenge, ideated and sketched various designs of this vehicle, and built and tested several prototypes until Levi was ready to race. He won! Of course, Mary Jackson was filled with pride when her son became the first African-American to win the local soap box derby and advance to nationals in Ohio. But she had to be over the moon with her son\u2019s answer to the local news reporter\u2019s question, \u201cWhat do you want to be when you grow up?\u201d Levi responds, \u201cI want to be an engineer like my mother.\u201d\nMary Jackson\u2019s life history resonates with me. As an engineering student and professional, I spent many hours working to diversify the STEM pipeline. Whether I was organizing professor-student mixers for science and engineering majors on campus, motivating elementary students\u2019 curiosity with Lego models of the Mars Rover, or strategizing with corporate and academic partners, I was fully committed to diversifying who participates in STEM and the broadening notions what it means to participate in STEM. Now, as a STEM education researcher and practitioner, I am constantly seeking opportunities to infuse preK-12 learning with rich STEM activities and help parents, teachers, and community partners recognize STEM\u2019s potential to transform our lives at local and global levels.\nWGG Family STEM program captures the spirit of Mary Jackson\nLast summer, bluknowledge embarked on a new venture that captures the essence of Mary Jackson\u2019s spirit. We fortified our partnerships with the Hofstra University WISE Guys and Gals (WGG) research program and Savannah\u2019s Parent University and Early Learning College to pilot a family program that connects parents and children through engineering learning experiences at home.\nAbout every other month, we embed a WGG Family STEM session in an Early Learning College or Parent University event that happens on Saturday mornings at rotating local elementary or high schools. For two hours, participants who are parents or grandparents collaborate in pairs to design and test a solution to a given engineering design challenge. Guided by an in-person facilitator and the mobile WISEngineering platform, participants progress through the engineering design cycle. They (a) learn the specifications and constraints of their design challenge and engage in knowledge and skill-building activities. Then, they (b) ideate and build a prototype to meet their design challenge. Finally, they (c) test and plan for refinements to their designs. At the end of the session, we provide participants with a tablet and materials so they can engineer at home with their kids.\nParticipants use tablets to access the WISEngineering mobile platform and learn the knowledge and skills to perform the design challenge.\nThe Design Challenge Your challenge is to make a stable and comfortable model of a prosthetic leg that you will be able to walk at least 20 steps, and be able bear your weight without breaking. You will have limited time and materials for constructing your prosthetic leg.\nParticipants construct a prototype of a prosthetic leg using bubble wrap, sponges, ace bandages, and duct tape.\nWhat\u2019s next for our Mary Jacksons?\nTo date, we have recruited 8 African-American mothers and grandmothers of at least one middle-schooler for our pilot WGG Family STEM program. These Mary Jacksons have immersed themselves in the world of STEM as they learn about civil, biomedical and mechanical engineering careers. They have collaborated with fellow Mary Jacksons and their children and grandchildren to design and test prototypes for safe paths for transport, prosthetic limbs, and alternative vehicles (yes, hovercrafts!). Most importantly, they have been broadening what it means to participate in STEM as African-American women, parents, grandparents, and families.\nWhile we are still early in our inquiry of the WGG Family STEM program, we seek to understand the social, material, and intellectual conditions that empower families to participate in STEM in their everyday lives \u2014 past, present, and future. We wonder how these engineering experiences\ngive rise to adult and youth curiosities of our natural, built, and technological worlds\nshape the relationships and dialogue among family members at home\nencourage lifelong and collaborative learning as adults and kids (re)learn STEM knowledge and practices with each other.\nLike Shetterly and her \u201cHidden Figures\u201d of NASA, we too, are inspired by these women of the WGG Family STEM program.", "id": "<urn:uuid:07b95255-c84a-4e9d-8949-48b0e2ad283d>", "dump": "CC-MAIN-2022-21", "url": "https://www.bluknowledge.com/hidden-figures-inspires-the-wgg-family-stem-program-in-savannah-georgia/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531762.30/warc/CC-MAIN-20220520061824-20220520091824-00353.warc.gz", "language": "en", "language_score": 0.9462892413139343, "token_count": 1374, "score": 3.5, "int_score": 4}
{"text": "At St James\u2019 Lanehead, children are explicitly taught the skills of reading (outlined in the National Curriculum and the KS1 and KS2 test domains) using VIPERS, which were created by Rob Smith (The Literacy Shed).\nVIPERS is an acronym to aid the recall of the 6 reading domains as part of the UK\u2019s reading curriculum. They are the key areas which we feel children need to know and understand in order to improve their comprehension of texts.\nVocabulary Inference Prediction Explanation Retrieval Sequence or Summarise\nOur aims for English is to ensure that by the end of Key Stage 2, all pupils:\n- Read easily, fluently and with good understanding\n- Develop the habit of reading widely and often, for both pleasure and information\n- Acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language\n- Appreciate our rich and varied literary heritage\n- Write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences\n- Use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas\n- Are competent in the arts of speaking and listening, making formal presentation, demonstrating to others and participating in debate\nThe English curriculum is underpinned by two core values \u2013 that all children should be competent readers and that all children should be able to articulate their ideas. We believe that in order for our children to become successful writers, they must first be able to speak well and read with fluency and confidence.\nReading is an essential part of our whole curriculum. Children read extensively in all other curricular areas \u2013 from following instructions in DT, to reading religious texts during Religious Education. We believe that children should read frequently and widely.\nChildren actively and enthusiastically engage with books, labels and information on displays throughout school.\nBooks and iPads are used daily for research within other subjects. Children are encouraged to read for pleasure with each class having dedicated library time and there being an embedded system for borrowing and returning books. We ensure that all our pupils are benchmarked so that our staff are\nfully aware of the children\u2019s levels. Home reading books are phonetically decodable to facilitate independent reading especially for those children who are not read with at home. Within the school, we value reading, children are read to daily to promote a love of storytelling and all staff share their experiences of reading with the children.\nWe are happy to introduce our brand new reading apps: Oxford Reading Owl and The Bug Club.\nThese are a great addition to our abundance of books and will provide a replacement for our reading books within school until we are able to send them home again. They are both fantastic apps that act as an online library for your child, allowing them to access a range of books that are specific to the level at which they are at.\nBelow is the information you will need to log in for EYFS, KS1 and KS2. You should have received these letters home as paper copies with your child\u2019s reading level on too. If you wish to check your child\u2019s reading level, please contact the school office.\nTo access Oxford Reading Owl:\nPlease log on and select which book you would like your child to read from the level that has been provided by school.\nTo access The Bug Club:\nPlease log on using the details you have been provided with and you will find a range of books ready to read, these are books that your child\u2019s class teacher has selected for them.\nAfter your child has finished reading you will be able to complete the reading record which is available on Purple Mash.\nThis will allow staff to monitor the home reading and provide feedback if needed.\nThe staff will be checking this on a weekly basis.\nTo find the reading journal on Purple Mash, please follow the steps below:\n\u00b7 Log in \u2013 Search \u2018Reading Journal\u2019 (Select the one appropriate for your child\u2019s age)\n\u00b7 Record reading\nAgain we appreciate that not all children have access to devices which allow them to access apps online. If this is the case, please continue to read with them at home. Reading can take place in any form, reading books, when you are out and about or in the house e.g. reading street signs or following a recipe!\n100 Books to Read\nWe strongly believe that all children should experience high quality books that enhance literacy skills and inspire them to read. We aim for children to develop a love of reading and this will help motivate them to write.\nTo help with this we are sharing a fabulous and highly recommended list of \u2018100 Books to Read\u2026\u2019\n100 Books to Read - KS1\n100 Books to Read - Years 3 and 4\n100 Books to Read - Years 5 and 6\nReading Spine takes place daily in every classroom where the children are read to. Each of the books help to develop the imagination of our children and equips them with language. We want our school to be a place where children are read to, enjoy, discuss and work with high quality books. We use the Pie Corbett Reading Spine so that children have access to high quality texts and develop a love for reading!\nKey Stage Reading Prompt Booklets\nKS1 Prompt Booklet\nKS2 Prompt Booklet\nSupporting Reading at Home\nReading with Your Child\nEffect on Reader Prompts\nTell Me Cards\nKS1 Home Reading Questions\nKS2 Home Reading Questions\n7 Top Tips to Support Reading at Home\nVirtual Visit from Dan Worsley\nThis week we had a virtual visit from the author Dan Worsley. All the classes met Dan, listened to one of his amazing stories and then had the opportunity to ask him some questions.\nHere are some responses from our families and children:\nWe really enjoyed listening to Dan today. He used lots of expressions and kept us entertained.\u201d\n\u201cDan is a very engaging storyteller!\u201d\nHe gave us excellent words of advice\u2026\u201dKeep reading and believe that anything is possible!\u201d\n\u201cThank you for making our week. The children absolutely love reading his books!\u201d\n\u201cThank you for what was such an enjoyable afternoon. Dan was marvellous to listen to and the children were so engaged all the way through!\u201d\n\u201cWe had such a good time, and this had been something that we had been looking forward to all week! Thank you to the school and to Dan for inspiring us to believe that we can do anything if we put our minds to it!\u201d\n\u201cI thought Dan was really funny and he gave me lots of good ideas for my writing.\u201d\n\u2018I have never seen Dan before, I have just read a few pages of his book and I am hooked, I can\u2019t wait to read the rest.\nWorld Book Day 2020\nOn World Book Day 2020, children were faced with crime scenes in each classroom! Somebody had been in and destroyed the classrooms, leaving evidence around. Our job was to find the pieces of evidence and work out who this could have been. More evidence arrived throughout the day, with reports from the neighbours, school office and a visit from the police! We gave all of our information to the police officers. For our Family Friday event, our families were inviting into school to look at the evidence and help us to work out who had caused the mess!\nWe also came dressed up as a word because as a school we have been focusing on vocabulary.\nHere are some of our pictures from the day\u2026", "id": "<urn:uuid:6aa54fd9-915a-40fc-8875-7a05e13abf30>", "dump": "CC-MAIN-2022-21", "url": "https://www.st-jameslanehead.lancs.sch.uk/page/reading/102695", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662560022.71/warc/CC-MAIN-20220523163515-20220523193515-00551.warc.gz", "language": "en", "language_score": 0.964629054069519, "token_count": 1619, "score": 4.15625, "int_score": 4}
{"text": "Primary teaching resources\nOur free, easy-to-use teaching resources help children aged 5 to 11 to look at the world from a humanitarian point of view.\nThese curriculum-linked activities, sessions and teaching packages are ideal for PSHE, Citizenship, English, Art, Geography and informal learning time. They help primary learners develop empathy with others, learn to help others, develop their resilience and gain many other life skills.\nDon't miss out\nSign up to our mailing list and receive new teaching resources, newsworthy resource packages, and information about educational offline and online products straight to your inbox.\nType: Quick activity\nA free kindness learning pack including activities around kindness, coping, recognising feelings and learning new skills.\nSubjects: PSHE, Citizenship, Tutor time\nCurriculum linked resources with activities for primary and secondary learners about loneliness and feeling lonely\nType: Quick activity\nSubjects: PSHE, Cross-curricular, SMSC\nChildren are encouraged to learn about and practise kindness this December with the The Snowman\u2122 and The Snowdog in our new kindness calendar.\nSubjects: PSHE, Tutor time\nActivities to record your journey back to better, to resilience and recovery\nEducational activities for young people and children ages 7 to 8 exploring what personal resources they have to manage and understand stress and anxiety.\nWellbeing activities for children and teenagers aged 7 to 18 feeling anxious, stressed, and lonely. Learn coping skills and build resilience to support wellbeing.\nSubjects: Citizenship, PSHE\nResources for children and young people for home learning, using the experiences of other young people aimed at building empathy, understanding and resilience through storytelling.\nKeep children and young people entertained during the summer holidays with the summer of kindness calendar.\nType: Guidance and activities\nA free primary and secondary teaching resource about how to support and talk to children and young people about race, racism and anti-racism.\nSubjects: PSHE, SMSC, Citizenship\nPrimary and secondary resource helping students understand migration, build empathy, increase understanding and learn about the stories of refugees and their journey.\nPage 1 of 4", "id": "<urn:uuid:b9f59cb1-97d2-4aff-8061-bbea4960eb91>", "dump": "CC-MAIN-2022-21", "url": "https://www.redcross.org.uk/get-involved/teaching-resources/primary-teaching-resources", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662509990.19/warc/CC-MAIN-20220516041337-20220516071337-00352.warc.gz", "language": "en", "language_score": 0.9026540517807007, "token_count": 549, "score": 3.5625, "int_score": 4}
{"text": "Philosophy of Curriculum: Prekindergarten\nThe core curriculum is based on the Illinois Early Learning Standards supported by the Illinois Learning Standards and focuses on developmentally appropriate activities tailored to the needs of each child. Greek language instruction, technology and religion are also taught in the preschool program.\nReading and Writing\nThe reading readiness skills students develop at this age include recognizing and writing their own name, using illustrations to understand the story, being aware of the multiple purposes of print, left-to-right reading, recitation and recognition of the alphabet, knowledge of front and back of books, an introduction to authors and illustrators, reproduction of letters via copying, awareness of beginning sound-letter associations, knowledge that a \u201cstring\u201d of letters creates a word, and the use of pictographs and sentence/picture journals.\nWe use Jolly Phonics! Jolly Phonics is an innovative program that approaches \u201clearning letters\u201d from a child centered perspective. The multi-sensory method focuses on synthetic phonics, where the sound each letter makes is emphasized, instead of just the name of the letter. Utilizing Jolly Phonics allows for 5 core skills to be developed including: letter sounds, letter formation, blending, identifying sounds in words and identification of tricky words and letter combinations. The combined use of physical motions to help the children remember each sound provides multiple sensory engagement.\nA key focus in our early learning mathematics curriculum is to develop the children\u2019s number sense. This is achieved through daily hands-on math encounters. To develop an awareness of numeration, students use manipulatives to make one-to-one correspondence. The three-year-olds are expected to recognize and count from 1 to 10, and the four-year-olds from 1 to 20. They can also estimate more and less, and use number books. Geometry work includes free play with tanagrams and wooden blocks, being able to name basic shapes (circle, square, triangle, rectangle, star, octagon, and geometric solids), recognize these shapes in everyday objects, and use the shapes in art activities such as collages. Four year old students write calendars to understand days, weeks and months. Children learn about measuring during hands-on activities such as water and sand play with volume (pails, cylinders, boxes, etc.), free play with measuring tools, and weighing activities using a beginner\u2019s scale as well as bi-monthly cooking projects.\nThe objective of the science curriculum is to make the world familiar to children via hands-on explorations of everyday objects. The course outline includes units that arise from the children\u2019s interests, as well as weather, germs, colors and color-mixing, magnets, plants and flowers, bugs and insects, bubbles, babies and human growth, and animals.\nThe Orthodox faith is a core component to our school mission. Students start the day with prayer and end the day by venerating the class icon as they exit the room. Our faith serves as the foundation for all aspects of the school day. Preschool students attend Liturgy whenever possible. As part of their curriculum, religious instruction emphasizes identification of different items in icons, elements of the liturgical calendar, and a basic understanding of all major feast days.\nThe primary goal of the social studies component is to understand the world we live in, from the 7 continents down to our home town. Our staff works with topics including differences and similarities among people, friends, and families, while keeping the focus on the fact that we are all God\u2019s children.\nBasic topics covered include greetings, numbers from 1 to 10, colors, animals, body parts, family, food and feelings. Students attend weekly lessons in small groups that complement the weekly preschool theme for the week. During these lessons they use a variety of skills, such as cutting, coloring, matching, writing and singing.\nYoung children are primarily process-oriented artists. Multiple opportunities to explore the media are necessary before they can be expected to create a purposeful art piece. Because of this, the preschool art program does not focus on the end product, but rather on the process that the child experiences. By designing process-oriented art encounters, the children\u2019s skills in drawing, painting, pasting, cutting, tearing, and sculpting can be extended to their fullest potential. Furthermore, all artistic endeavors, great or small, are appreciated. With that being said we do make special craft projects through out the year. Students use the following media throughout the school year: pencils, markers, crayons, tempera paints, watercolor, clay, pastels, chalk, collage and play dough.\nThe physical education program encourages gross-motor and fine-motor development. The children participate in fun, interactive cardiovascular activities, both in the classroom and in the gymnasium, while also working on their social skills (taking turns, following rules and directions) and academic knowledge (counting, alphabet, colors).\nHandwriting Without Tears is used with our 3 and 4 year old students. Research supports the active teaching of handwriting. Recent findings demonstrate that writing by hand improves creative writing skills and fine motor skills. With the adoption of the Illinois Learning Standards, the emphasis and expectations placed on classroom note-taking and expository writing in grades K-5 is greater than ever. Our students love interacting with the characters, learning the songs and participating in the writing activities.\nPhysical Development and Health\nPrekindergarten students receive instruction each week in physical education to promote healthy physical development and align to the Illinois Early Learning Development Standards (IELDS). The domain of physical development and health includes preschool benchmarks in: movement skills, rules and safety during physical activity, team building skills and principles of health promotion and prevention and human body systems. Additionally, all preschool students receive instruction through age-appropriate sexual abuse and assault awareness and prevention through Erin's Law presentations.", "id": "<urn:uuid:cb83aa75-9570-48b9-be93-a109de2541fc>", "dump": "CC-MAIN-2022-21", "url": "http://www.koraes.org/prekindergarten.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00352.warc.gz", "language": "en", "language_score": 0.9372443556785583, "token_count": 1238, "score": 3.6875, "int_score": 4}
{"text": "\u201cYou can make anything by writing.\u201d \u2013 C.S. Lewis, Writer and Author\nAs adults, we write for a reason: to write a letter, to make a list, to leave a note, to communicate with a friend in a letter or e-mail or to create a story. Children learn to write most easily when they write with purpose too, rather than being told what they should write about.\nLike all other things, learning to write is a process. When children realize that writing communicates meaning, they begin to experiment with it and usually start by using scribbles on a page. From there they start to use symbols that look like letters and then use real letters, although they may go back and forth using real letters and their own symbols. These are exciting first steps because it shows that children are aware of a difference between drawing and writing and you can support them by asking what the writing says.\nOver time, as children are exposed to examples of writing in their environment and in the books you read with them, they gradually incorporate the use of punctuation and conventional spelling as they pick up \u201cmistakes\u201d in their own writing and rewrite words or letters. While they start out writing mainly to record and communicate messages, as you keep reading with them you will notice that they begin to write their own simple stories.\nAs we continued to explore how a child develops these skills, we had an opportunity to ask Allison Willson, Senior Director of Curriculum and Innovation at Stratford School, questions about how children are learning to write in school and below we\u2019d like to share her expertise.\nHow do children learn to write, focusing on the act of writing itself and not physical handwriting? To learn the skills to write stories, early learners must not only learn to handle a writing tool, but also learn how to generate ideas (brainstorm), elaborate upon their ideas and learn to sequence and connect them together. Young writers learn to develop these skills over time through play, storytelling, writing practice and in modeled conversations with adults or older peers.\nWhen should children start learning to write? Writing is a complex skill that develops over time. Though your toddler won\u2019t yet have the ability to write stories, they can certainly engage in experiences that support future reading and writing. Fine motor control and drawing are young children\u2019s first steps toward writing. They will then progress to scribbles meant to mimic handwriting before reaching conventional writing and spelling. You can encourage your budding author to draw pictures that depict stories, their feelings and/or observations of their world.\nWhat does current research say about teaching kids to write and what teaching practices are currently used in schools? Current research suggests that to write stories, young children must learn not only to handle a pencil or other writing device, but also to generate ideas, elaborate upon them and sequence and connect them coherently. Children develop these skills through scaffolded play, storytelling, writing practice and in conversations \u2013 particularly with adults and older children. Knowing what we know about how children acquire these skills, early childhood classrooms should provide frequent opportunities for writing practice throughout the day through play and practice. (e.g., \u201cLet\u2019s create a list for our grocery store today.\u201d).\nExplain the link between reading and writing. Reading and writing support each other. The more your child does both, the stronger their overall literacy skills will be. At an early age, children thrive on modeled behaviors. The act of listening to stories, poems and other texts provides opportunities for our little ones to experience the writing process. By orally retelling stories, drawing or acting out read-alouds, young children understand narrative or story structure (beginning, middle and end) which they then can apply to their own stories. We often encourage children to retell the stories in their own words or extend this learning by encouraging our young authors to reimagine the ending.\nHow can parents help children learn to write at home? Model. Writing is practical and an incredibly important part of our daily lives. Model for your child ways in which you use writing (e.g., \u201cLet\u2019s create a list for your birthday party! What will we need and who should we invite?\u201d).\nProvide Time and Space for Drawing and Discussion. Drawing allows little ones to develop their fine motor skills while also expressing their thoughts and feelings. Ask your child questions about their drawings, for example: \u201cWhat is the boy/girl doing?\u201d, \u201cDoes the house look like ours?\u201d, \u201cCan you tell a story about this picture?\u201d, or \u201cWhat might be a different ending if you had a chance to rewrite the story?\u201d. You can also write their responses directly on their artwork.\nRead Together. Reading and writing go hand in hand. As one muscle is built, the other is strengthened. As you read together, you can also talk about what the author did that was so effective, such as: \u201cHow did the writing make your child feel?\u201d or \u201cWhat words or phrases made you feel that way?\u201d\nInvolve Everyone. Invite family members to be a part of your child\u2019s writing journey. Send and receive cards from loved ones near or far. You can also send your child a letter or card once in a while too, so that he/she is reminded of how special they are! Create a family message board in the heart of your home to give and receive notes to the members of your family.\nEncourage Inventive Spelling. As your child develops phonological awareness, encourage him/her to do their best to write words on their own based on the sound spelling.\nPraise the Process. Give specific praise as your child grows in their literacy development.\nLike any skill, the more time and energy put into it, the better the result. So, make writing skill development part of your family\u2019s mission by encouraging them to talk about everything they\u2019re interested in \u2014 and then have them write it down. Make the process fun for them and they will foster a love for writing from an early age on into adulthood.If you are interested in learning more about Stratford School, or scheduling a personalized tour, visit us online at www.stratfordschools.com.", "id": "<urn:uuid:a38bb231-247c-4a08-b9ff-e722cb12b2ea>", "dump": "CC-MAIN-2022-21", "url": "https://www.laparent.com/keyword/writing-skills/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521152.22/warc/CC-MAIN-20220518052503-20220518082503-00352.warc.gz", "language": "en", "language_score": 0.9656362533569336, "token_count": 1303, "score": 3.984375, "int_score": 4}
{"text": "Is Storytelling a good learning tool?\nI\u2019m sure you\u2019ve heard by now that storytelling can make learning more effective. Stories help us process and remember information. Perhaps they even touch a part of our consciousness associated with the magic and creativity of childhood.\n1. Stories are the emotional glue that connects the audience to the message\nMuch of what people remember from a learning experience are the feelings of the underlying message rather than a multitude of small facts (which are better reserved for job aids). Stories are an important way to tap into the heart of the audience, providing a channel for conveying a deeper message based on emotion.\n2. Information presentation should be constructed around a story\nAny kind of presentation\u2014whether it be online training or a live presentation\u2014will benefit from a story construction. Organising information into a format with a beginning (setting the stage), middle (the challenge) and ending (new reality) can work for many topics.\n3. People want to know about origins\nWhen we watch or read about a superhero, we always remember the person\u2019s origins. We know where they came from and the circumstances that created their super powers. People are defined by their origins and people are curious about where people (or fictional characters) come from, how they change and how they evolve. Include this type of information in your next story.\n4. Stories reshape knowledge into something meaningful\nFor centuries, people have used stories to pass on knowledge. When information is embedded in the context of a story, it is transferred to a listener or reader in a unique way. According to the presenter of this session, new research shows that 70% of what we learn is consumed through storytelling.\n5. Stories make people care\nWhen you know your audience\u2014their pains, frustrations and joys\u2014your stories can reflect their emotions and experiences. As learners begin to see themselves in the story and begin to identify with it, they start to care. Nancy Duarte, author of Resonate, states that a story serves as a moment of emotional appeal.\n6. Stories transcend one\u2019s current environment\nGood storytelling can transport learners out of their stuffy meeting rooms and offices into an adventurous world away from the workplace. In this altered reality, the mind becomes more open to perceiving and thinking in new ways. This is an ideal position from which to learn.\n7. Stories are motivating\nStories can motivate an audience toward a learning goal. They are ideal for attitudinal training because when an audience is motivated, they no longer need to be persuaded. An encouraging story will inspire someone to take action.\n8. People take time for stories\nHave you ever noticed that even the busiest of people will stop to listen to someone\u2019s story or to tell one of their own? Stories are why people are drawn to novels and movies and gossip magazines. If you want to maintain an audience\u2019s attention, you\u2019re more likely to do it through storytelling.\n9. Stories are more likely to be shared\nBecause we are so attuned to stories, people love to share them. They are like hooks that draw people in as they are passed from one person to the next. If you have any doubts, check out the thousands of Facebook Stories. This is where people share how they use Facebook and the meaning it has in their life. Do you need to spread the word about something? Put it in a story and see if it gets shared.\n10. Stories give meaning to data\nMany people perceive data as meaningless numbers. This happens when the data is disconnected to anything important in their experience. But when the data is placed in the context of a story, it comes alive.\nFor the Love of Lore.", "id": "<urn:uuid:eb460924-b278-4d1a-b6c3-0ab48ec95411>", "dump": "CC-MAIN-2022-21", "url": "https://www.spinayarnindia.com/post/is-storytelling-a-good-learning-tool", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00351.warc.gz", "language": "en", "language_score": 0.955515444278717, "token_count": 764, "score": 3.5, "int_score": 4}
{"text": "Reading and Phonics\nThis page contains all the information about how we teach, promote and celebrate reading at our school.\nTo have a love of reading is one of the six fundamental priorities we identified as part of our curriculum vision. We understand the importace that reading plays in the lives of happy, succesful and valued adults and we want our children to get the best start in this, one of the most vital parts of a child\u2019s development.\nTo see the way that teaching and learning in Reading supports our school\u2019s wider curriculum vision, click the image to the left.\nPhonics and early reading development\nPhonics is a way of teaching children to read quickly and skilfully. They are taught how to: recognise the sounds that each individual letter makes; identify the sounds that different combinations of letters make \u2013 such as \u2018sh\u2019 or \u2018oo\u2019; and blend these sounds together from left to right to make a word. Children can then use this knowledge to \u2018de-code\u2019 new words that they hear or see. This is the first important step in learning to read.\nOur Phonics Scheme\nFrom September 2022, we will be using a phonics scheme called Little Wandle Letters & Sounds. This is a revised version of the original \u2018Letters and Sounds\u2019 scheme which is well established in our school. The Little Wandle scheme has been validated by the Department for Education as meeting the most recent criteria for an effective systematic synthetic phonics programme.\nLittle Wandle has a useful resource page for parents including videos and downloadable guides. You can visit their website here.\nChildren start learning the sounds we all use to decipher and read when they enter our Nursery and develop these further as they move into the Reception class. For more information about learning to read in our Early Years classes, please visit their pages here.\nDeveloping Reading and Readers\nThere are two distinct but related processes involved in teaching children to read: learning to read words and developing language and reading comprehension. As children develop their phonological awareness and skills, they are encouraged to begin to think about and respond to their reading.\nIn every year group, class teachers use high quality texts as a stimulus for learning and carefully plan a series of lessons which develop children\u2019s understanding of the test.\nPlanning of Reading\nIn every year group, class teachers use high quality texts as a stimulus for learning and carefully plan a series of lessons which develop children\u2019s understanding of the text.\nTo view our Reading Overview Plan which shows the progression in reading across school, click below:\nTo view the reading planning for each year group, click the appropriate button below:\nTeachers plan regular opportunities for children to engage in whole class and independent reading. In all classes, teachers provide pupils with daily read-aloud sessions where pupils will be encouraged to respond to the text in a variety of ways. Year groups have sets of books to read with which allows all pupils to have a shared experience of a text. Throughout English lessons, the teacher acts as the expert who guides the children through the text, providing signposts to the most important and most helpful features of the textual landscape, gradually encouraging children to do this independently.\nTeachers planning ensures that children are given the opportunity to develop their critical thinking skills: teachers ask high order questions to challenge and stretch children\u2019s understanding. Children acquire a range of skills which allows them to draw on their personal experiences and prior knowledge.\nEncouraging a love of reading\nOverfields Primary has worked with The National Literacy Trust to ensure that we provide a reading rich environment. We have dedicated reading areas in each classroom with bookshelves laden with a variety of genres. In addition, the central school library is well-stocked with a variety of fiction, non-fiction, newspapers, audio stories and poetry. We regularly hear from our visitors that we are a \u2018book rich\u2019 school.\nWe encourage our children to read at home, every day if possible, and we recognise and reward their commitment to reading. As part of our home learning expectations, we encourage parents to listen to their child read and to comment on if they are enjoying the text, any parts they struggle with and any questions they may have.\nWe celebrate pupils reading accomplishments in class on our reading rocket boards. When they have read 100 times they receive a certificate and a book of their choice which they can take home to enjoy.\nChildren from Reception to Year 2 take home a fully decodable phonics reading book, matched to the phase they have just learnt in school. They also take home another book of their choice to share with an adult. As they get older, the children choose their reading book independently using the book band colour system and eventually progressing to being a \u2018free reader\u2019.\nThroughout the year, school takes part in various exciting events which promote the enjoyment of reading.\n- World Book Day\n- Visits from authors and illustrators\n- Reading Caf\u00e9\n- National Storytelling Week\n- Peer reading (older children sharing stories younger pupils)\n- Assemblies & displays\nThe Department for Education has published ten top tips for parents to support children to read. You can view this resource by clicking the image below:\nAll staff ensure all children are read to by an adult at least once a day and are advocates for book talk. Children enjoy discussing characters, setting and plot and are confident in justifying their opinions. Staff use their knowledge of wealth of children\u2019s literature and spend time showing children how to select an appropriate text in order to increase the chances of fulfilment.\nEach year group has a carefully selected reading spine as well as a class author and this is a focus of teaching and learning throughout the year.", "id": "<urn:uuid:faa14c19-7a76-4427-bddc-980779b7e3f3>", "dump": "CC-MAIN-2022-21", "url": "https://overfields.ironstoneacademy.org.uk/reading-and-phonics-draft/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00753.warc.gz", "language": "en", "language_score": 0.9560186266899109, "token_count": 1186, "score": 4.09375, "int_score": 4}
{"text": "Sometimes abbreviated as char, a character is a single visual object used to represent text, numbers, or symbols. For example, the letter \"A\" is a single character. With a computer, one character is equal to one byte, which is 8 bits.\nCharacter is defined as a trait, quality or high moral code. An example of character is someone who is known for being funny. An example of character is a person who is trustworthy. A complex of mental and ethical traits marking a person or a group.\nExplanation: The typeface are the characters which are used in typing the text of same design. The variations in typeface is known as font.\n\"Characters\" included letters, numbers, punctuation and symbols. Letters are characters in an alphabet used to form words. Words are part of a language made up of characters that represent distinctive sounds in their respective languages.\nIn regular expressions, a normal character is an atom that denotes the singleton set of strings containing only itself.\nOne way to classify characters is by examining how they change (or don't change) over the course of a story. Grouped in this way by character development, character types include the dynamic character, the round character, the static character, the stock character, and the symbolic character.\nIn general, a \"character\" is any mark or symbol that can appear in writing. A \"letter\" is a character that is part of an alphabet. Basically, a character that represents a sound in the language and that can be combined with other characters to form words.\nThe different types of characters include protagonists, antagonists, dynamic, static, round, flat, and stock.\nAlternatively referred to as the character set, charset, and character encoding, a character code describes a specific encoding for characters as defined in the code page. ASCII is the basis of most code pages, for example, the value for a character \"C\" is represented by 67 in ASCII.\nIf we categorize character types by the role they play in a narrative, we can hone in on seven distinct varieties: the protagonist, the antagonist, the love interest, the confidant, deuteragonists, tertiary characters, and the foil.\nTypes of Characters in a StoryProtagonist. Your main character or hero is, naturally, the essential player. Antagonist. This is the villain, the character who opposes and undermines your protagonist. Sidekick. Orbital Character. Love Interest. Confidante. Extras. Foil.\nTo insert an ASCII character, press and hold down ALT while typing the character code. For example, to insert the degree (\u00ba) symbol, press and hold down ALT while typing 0176 on the numeric keypad. You must use the numeric keypad to type the numbers, and not the keyboard.\nIn the C programming language, the character set refers to a set of all the valid characters that we can use in the source program for forming words, expressions, and numbers. The source character set contains all the characters that we want to use for the source program text.\n9 Types of Characters in Fiction WritingConfidante Character. A confidante is someone or something the main character confides in. Dynamic or Developing Character. Flat or Static Character. Foil Character. Round Character. Stock Character. Protagonist or Main Character. Antagonist.\nSelect Input Torrens Coordinates at the top of the stairs, to the right, and enter the coordinates you have for the Torrens (35, 75).\nThe Indian Chapati/Roti is made using Whole wheat flour and the dough is prepared by mixing this flour with normal water/oil(at times) at room temperature. However, the Mexican Tortilla flour is made using refined flour (Maida) or even maize/corn flour at times.\nOikawa was born in Japan on 22 February 1911. She celebrated her 110th birthday in February 2021. Oikawa currently lives in Shintotsukawa, Hokkaid\u014d, Japan, at the age of 110 years, 324 days.", "id": "<urn:uuid:155615fa-a563-4914-8186-052ab9b78ec1>", "dump": "CC-MAIN-2022-21", "url": "https://theelite.shop/cfacfd16f6c05ed4aa1f5c30a4a5f7c9.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662570051.62/warc/CC-MAIN-20220524075341-20220524105341-00553.warc.gz", "language": "en", "language_score": 0.9304721355438232, "token_count": 830, "score": 4.21875, "int_score": 4}
{"text": "California Grade1: Mathematics Content Standard 2.5) Show the meaning of addition (putting together, increasing).\nStudents will deepen their understanding of the concept of addition through oral storytelling with the use of manipulatives.\nThey will connect addition stories to math equations, and write the equations.\nChart paper with addition poem (Apples), flannel boards with manipulative pieces, white boards and markers, index cards with equations and answers for matching game that have been cut in half.\nBegin by reading the addition poem, Apples.\nTell students that they will be making addition stories using the flannel boards and practicing using three important words (first, then, together). Explain that they will also be writing the equation that goes with the addition story. Using a flannel board, model how to tell an addition story using the three key vocabulary words. Write the corresponding equation on a white board. Check for understanding during the modeling by including students in the story telling. Ask students to tell a story and help with writing the equation.\nArrange students in heterogeneous groups of four and give each group one white board and marker. Tell an addition story using the flannel board and ask student groups to work together to write the corresponding equation. Only one student may write, while the other three provide guidance. Have students then pass the white board and marker to a teammate and repeat the process. Continue until all group members have had a turn writing an equation. During this time, circulate and assess student understanding and correct misconceptions among the teams.\nTo help students apply their math knowledge, conduct an inside/outside circle activity. The students on the inside of the circle hold the white board and the marker. The students of the outside circle hold the flannel board. Ask the students with the flannel board to tell an addition story to their inside partner, using the words first, then, and together. As they finish their story, have the partner write the equation to match the addition story. Once complete, instruct the partners to exchange materials and begin again. Repeat this process so that the students have numerous opportunities to practice integrating the content and the language objectives by telling an addition story.\nDistribute half an index card to each student for a mix and match activity. Half of the students will receive the half of the index card with an equation, while the other half of the students will receive the half of the index card that has the equation's answer. Ask two students to model the trading process by asking, \"What do you have?\" and replying, \"I have six plus two\" (or whatever the card says). Next, ask students to reverse the questions, and then have them say,\"Let's trade.\" Conduct the activity and have students begin mixing. Provide enough time so students have a chance to read many of the different equations and answers. Say, \"Freeze!\" to stop the mixing and then tell the students to find their match. Those who have matched sit on the edge of the rug, while those that are still seeking their match remain in the center of the rug. When all students have found their matches, ask each team to report out their equation and their answer. If desired, repeat the entire process for additional practice.", "id": "<urn:uuid:636582cf-4fd4-424c-a7b3-135267ad5d37>", "dump": "CC-MAIN-2022-21", "url": "https://teachers.net/lessons/posts/4629.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662509990.19/warc/CC-MAIN-20220516041337-20220516071337-00353.warc.gz", "language": "en", "language_score": 0.9522503614425659, "token_count": 691, "score": 3.875, "int_score": 4}
{"text": "When it comes to teaching creatively we use both the heart and the mind in equal measure. ..\nWriting can be a chore, even the imaginative exercise of creative writing. To open the floodgates of their imaginations, learners can always use creative writing prompts to generate ideas.\nRegular writing helps improve your learners' creative and analytical skills. With daily practice, the process becomes more enjoyable as they get better and better at it.\nBelow we've got some examples of writing prompts from all over the Web. They're fun and challenging exercises students will love.\n4 to 1 Exercise\nThese creative writing prompts come from Kelly Roell at ThoughtCo. Learners come up with four different things:\n- A specific source of light\n- A specific object\n- A sound using onomatopoeia\n- A specific place\nWhen the list is created, students write a one-paragraph story including each of the four items and a single protagonist they create or borrow from another source.\nStudents of all kinds often struggle to understand and manage emotions, and exercises like this can help. These creative writing prompts come from an article about expressive writing featured on Study.com:\n- Write about your happiest childhood memory. Why is this memory so happy? What did it mean to you to feel this way?\n- Describe someone that makes you angry. What does the person do to make you feel angry? What does that feel like to you?\n- Write about something that happened to you that made you feel sad, writing it as though it were a story.\n- Talk about a time that you felt jealous of someone. What were you jealous about and why?\n- Was there ever a point in your life when you were truly frustrated with yourself? Describe how the emotion of frustration affected you both physically and psychologically.\nWith this exercise from AuthorityPub, you can write as much or as little as you wish. However, the trick is to not think too much about the answers\u2014try expanding on the first thoughts that pop into your mind.\n- Who just snuck out the back window?\n- What were they carrying?\n- Where were they going?\n- Who is Ethan?\n- Why is he crying?\n- What is he going to do about it?\n- Whose house is Julia leaving?\n- Why was she there?\n- Where is she going now?\nPrompts for Journaling\nJournaling is one of the best writing and self-expression exercises out there. It's an ages-old practice that has stood the test of time, and your learners can benefit greatly from it themselves. Here are some creative writing prompts for journaling from Daily Teaching Tools.\n- Write about going back to school after summer vacation.\n- Write out the best or the worst day of your life.\n- Finish this thought: If I could change one thing about myself ...\n- Design some gadget, machine, building, or other creation that might enrich the future.\n- You are to tell a person from a distant planet or from another era what pollution is. Make that person understand what causes it and why it is bad.\n- Begin a list of questions that you'd like to have answered. They may be about the future or the past.\n- Did you ever break an important promise?\n- Imagine that you are an animal in the zoo. What type of animal are you? How do you feel about being caged? How do you feel about people that visit and watch you?\n- Would you rather have a brother or sister? Why?\n- Describe a fight you had with your mother. Now tell it from her point of view.\n- If you had three wishes, what would they be?\n- What is something special and/or different about you? Why do you think it is special or different?\n- Name and describe a teacher who made a difference in your life. What did that teacher do that was so special?\nOther Ideas for Creative Writing Prompts\n- Visit a lyric site like lyrics.com and choose random lyrics from a few different songs. Next, use them to create a conversation between two or more characters in a story.\n- Use the creative writing prompts on tools like The Brainstormer to help you begin your short stories.\n- Rewrite a famous tale from Shakespeare or some other historical writer. Your rewrite can be translated into more modern language, and given a different theme or outcome from the original. For example, look at this comedic retelling of the rivalry between Macbeth and Macduff.\n- Explore these 365 creative writing prompts from ThinkWritten.\n- Write a letter to yourself in either the future or the past. What are the most important things you'd want to say to that version of yourself? How would you express them?\n- Create an \"alternate history\" tale in which the timeline of history is altered by an unlikely event. There are some great examples here at SciFi Ideas.\nEditor's note: This post was originally published in 2018 and has been updated for comprehensiveness.\nOriginally published Jun 14, 2018, updated October 18, 2021", "id": "<urn:uuid:5f126235-7c7c-47d4-8b18-be52b4263d40>", "dump": "CC-MAIN-2022-21", "url": "http://blog.futurefocusedlearning.net/creative-writing-prompts", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662519037.11/warc/CC-MAIN-20220517162558-20220517192558-00553.warc.gz", "language": "en", "language_score": 0.9674254655838013, "token_count": 1076, "score": 3.71875, "int_score": 4}
{"text": "Tools to Help Children Develop Visual Perception\nIn this audio-cast, Jenny discusses tools that can be used by teachers, therapists, and parents to help children develop visual perception.\nJenny offers presentations, webinars, and workshops for teachers, occupational therapists, speech therapists, and physical therapists. If you are planning a conference and you are looking for a speaker on SPD, please contact Jenny today.\nVisual perceptual skills are the foundation skills necessary for reading, writing, and math. There are seven visual perceptual skills that impact learning. A student can have deficits in one or more of these subskills. I would like to share with you a description of these visual perceptual skills, how they might impact children in school, and activities to help improve each area of visual perception to enrich learning ability.\nVisual Discrimination: The ability to discern slight differences between letter shapes, sizes and fonts. This can affect reading comprehension.\nActivities: Matching game such as Old Maid, Go Fish, scrabble.\nVisual Memory: Important skill for copying from the chalkboard or spelling.\nActivities: Memory card game, practice spelling words using a scented marker, then smell the marker just before the test. The olfactory system is linked to memory.\nVisual Spatial Relationship: Enables discerning between b-d-p-q. It is important in preventing letter reversals and manipulating columns of numbers.\nActivities: Puzzles, parquetry, tanograms.\nVisual Form Constancy: It is important in discriminating similar font styles when reading. Can lead to poor reading comprehension and recall.\nActivities: Find and circle all of the letter \u201ca\u2019s\u201d on a magazine or newspaper page. Then find all of the letter \u201cb\u2019s\u201d etc.\nVisual Sequential Memory: Affects reading comprehension and spelling. It is important in written organizational skills for creative writing. VSM difficulties may mean that class performance exceeds exam responses.\nActivities: Use a hand-held electronic speller. Spell words using magnetic letters. Spell words in modeling clay.\nVisual Figure-Ground: Difficult to focus on tasks without being distracted by extraneous input. May lose things easily in desk and would therefore benefit from organizational aids. May lose place on page when reading.\nActivities: Use a window guide when reading. Here is one example (Reading Helper 954-752-3692). Hidden picture activity pages such as Highlights magazine, Where\u2019s Waldo or I-Spy books.\nVisual Closure: Difficulties may affect word identification, seeing words \u201cspl-it\u201d, or omitting letters when reading.\nActivities: Finish the picture activity books, dot-to-dot (ask child what the picture is before completing it).", "id": "<urn:uuid:a5df0482-0538-4169-a0a4-d5db673cf8f8>", "dump": "CC-MAIN-2022-21", "url": "https://www.jennylclark.com/tools-to-help-children-develop-visual-perception/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00751.warc.gz", "language": "en", "language_score": 0.8989604115486145, "token_count": 577, "score": 3.984375, "int_score": 4}
{"text": "Supporting early language and communication in the younger years is extremely important to develop your child\u2019s mind to their fullest potential. By encouraging early language and communication development, it supports a child\u2019s ability to communicate effectively, a skill that forms the basis of building relationships that they will develop through to adulthood.\nPracticing early language and communication also supports a child\u2019s ability to not only express their feelings but to also understand them, as well as to listen to others and their feelings, ensuring that their peers feel understood.\nThis article will go into further detail about several experiences you can try with your child to support their language development from an early age, and how you can develop this as they get older to make the most out of their learning.\nFrom birth to early years\nThere are many day-to-day communications with your little one that you can take on to support their language and communication development. Exposing them to this will subconsciously develop their skills and encourage a response through learning.\nBy describing what you are doing in day-to-day processes, such as getting dressed or feeding time, it begins to build basic understanding of language, sentence formation, and highlights key words that will be recognised by your child. Pointing out colours and shapes, talking about sounds and using gestures can also be an effective way to develop your child\u2019s learning due to the associations made.\nWhen having a conversation with your child, be sure to encourage them to repeat words back to you, as repetition will make the topic of conversation more memorable. You can develop this further through responding through body language and facial communication, as this helps develop understanding of feelings and expression.\nFrom toddler to pre-school\nAfter the basis of language and communication has been learnt, you as a parent/carer can assist in developing this further. One way you can do so is by encouraging your child to complete full sentences, enabling them to practice structuring a sentence around the key words they feel confident with. For example, if a child says, \u2018want drink\u2019, you can extend their sentence and repeat back to them \u2018Would you like a drink?\u2019 to demonstrate this.\nBy asking your child questions that include them in making choices, will encourage a sense of independence, allowing them to practice making their own decisions and understanding which they would prefer. There is nothing wrong with using baby talk for a basis of understanding, but by using the \u2018adult wording\u2019 afterwards it will assist in developing the understanding of the words proper form as their speech begins to mature. Importantly remember to give your child time to understand what you are saying before speaking further.\nBy talking specifically about what you can see/hear/smell, you will develop your child\u2019s understanding of our five senses as a basis of conversation. This will effectively improve their descriptive skills and build upon their ability to communicate. Singing simple songs and nursery rhymes is also an effective method for developing language in the early years, as it will teach your child the rhythm of speech, as well as gaining the basic understanding of syllables and rhyme.\nExperiences to take part in\nRole play is a great way to expand your little one\u2019s language and develop skills through elements of creative play. Not only does role play support the development of speech, but it also plays massively on a child\u2019s imagination and communication, by allowing them to communicate ideas thought up by themselves with no limits or boundaries on reality. By including open-ended possibilities, it fosters thinking as the child has full control of the situation and what it may turn into.\nHere at Kids Play we love nature-based learning and mud kitchens are one way to effectively implement role play situations, as they give children full control over their play, using imagination to interact with other children and develop their language skills through extended vocabulary.\nAction stories are stories consistent of action and energy throughout and allow a child to elaborate their imagination through fiction storytelling. Children use gestures to act out their stories and to develop simple language, by pairing a movement with a word to describe the action.\nAction stories can be about any topic, from simple day-to-day experiences to as creative as visiting space. Children progress their early learning and communication through excitement of telling the story, by forming new ideas, images, and concepts which they bring to life through speech.\n\u2018What is in the box?\u2019\nAn easy game to play around the house or surrounding outdoors area is a game called \u2018What is in the box?\u2019. This game focuses on description to develop language and vocabulary, whilst forming proper sentences about everyday items you may interact with. To play, you simply collect some everyday objects from around the house and garden and put them in a box, before taking it in turns to pull an item out of the box and talk about it.\nHow far you develop this game is up to you and your child\u2019s ability. You can develop this game to include descriptions of our five senses, discussing how it feels, looks, or smells, or simply what it is used for. You can also use actions to accompany or explain the item. For example, a toothbrush and the motion of brushing your teeth. This will help the child to develop their descriptions quicker due to modelling them and incorporating them during play.\nBy including these methods of developing language and communication into your everyday lives and daily routine, you will be accompanying faster and more in-depth development from an early age, allowing your child to continue progression and build upon their communication as they get older.\nBy repeating these methods, children will learn from a young age about the importance of emotion, communication, and expression, enabling them to use these skills day to day.\nBack to Articles", "id": "<urn:uuid:328ddc09-b3f6-4d19-ae2a-70aebdc8e13b>", "dump": "CC-MAIN-2022-21", "url": "https://www.kidsplaychildcare.co.uk/nurseries/2022/04/21/early-language-and-communication/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515501.4/warc/CC-MAIN-20220517031843-20220517061843-00753.warc.gz", "language": "en", "language_score": 0.966145932674408, "token_count": 1188, "score": 3.6875, "int_score": 4}
{"text": "As your child begins to show signs of learning, through interactions they experience on a daily basis, you might be mindful as a parent to give them the best learning environment possible. But just what should you do to stimulate your child\u2019s mind? Here\u2019s four simple methods you can try to help develop your child\u2019s learning for a better IQ.\n#1 Read to them\nPart of increasing someone\u2019s IQ is through expanding their imagination, and what better way to do this than by the power of books? Reading to your kid helps them create a world of possibilities in their mind, and this strengthens their brain muscle for better development of concepts.\nBesides the simple effectiveness of verbal storytelling, enhance their learning experience with picture books. Through pictorial guidance along the way, younger ones will be better able to match words to images in their mind, which improves their IQ from an early age. Simple stories with math elements weaved into them also help to expand their abilities for both language and calculus.\nLearning centres such as S.A.M (Seriously Addictive Mathematics) also provide various programmes for different aged groups with a focus on enriching knowledge through mathematics.\n#2 Include mathematical topics in your interactions\nThrough your everyday conversations with your little one, they\u2019re already picking up on learning elements. Take advantage of this fact and develop their brain further with mathematical information thrown in casually.\nSaying sentences like \u201cI will let you watch two cartoons at 6PM\u201d, or \u201cDo you want one apple or two?\u201d firms up their understanding of different concepts. Soon enough, they will react faster to your questions, and even grow to requesting for what they want in specific quantities.\n#3 Expand their horizons\nCreativity plays an integral part in improving your child\u2019s IQ, which you can still practice through your own imagination. Turn everyday objects into fun scenarios for your kid, such as making a spoon pretend to be an aeroplane while feeding them, stationery transformed into cartoon characters, or paper planes as fighter jets in the sky. Having various ways to tell stories will certainly make children more receptive to their surroundings and learn better!\n#4 Let them practice what they watch\nWhether it\u2019s on traditional television or on YouTube, letting kids watch educational shows that encompass different educational topics in moderation is an easy way for them to learn. After all, didn\u2019t most of us grow up on Sesame Street and Barney and Friends? The ages of 3 to 6 years old are vital for kids\u2019 learning, as that\u2019s when their brain development is at the most.\nBut learning from the TV isn\u2019t sufficient either. Learners should put what they watch into practice, and a small class where they get to hone their new abilities such as counting and telling time will do them a world of favours in improving their IQ.", "id": "<urn:uuid:1f3ea435-b0de-4d53-9b43-cca26da603c2>", "dump": "CC-MAIN-2022-21", "url": "https://sam-wa.com.au/articles/easy-ways-to-improve-your-kids-iq/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00354.warc.gz", "language": "en", "language_score": 0.9559954404830933, "token_count": 595, "score": 3.640625, "int_score": 4}
{"text": "Newcomers and SIFE mastering grade level ELA standards? What if they had limited formal education? They can. Our SIFE (Students with Limited or Interrupted Formal Education) are every bit as intelligent as the rest of the class. Their foundational literacy skills (decoding, sight words, etc) will come more quickly if they have the same opportunities for reading as their peers. This post focuses on reading in mainstream ELA classes. A follow-up post will focus on writing.\nTo illustrate accommodations for SIFE & non-English readers, I have received permission to reprint the following blog post from Evan Robb. Evan is an author, a principal , and a public speaker. My background is in ELA so I follow his blog, the Robb Review, closely and recommend it to all ELA teachers.\nEvan\u2019s background is such that his reading suggestions already include differentiation but for the purposes of this article, I have made annotations with #booksnaps so that the accommodations for SIFE are highlighted:\nby Evan Robb @ERobbPrincipal\nPopcorn reading, bump, and round robin reading do not make for great middle school classrooms! Often I am asked what types of reading should occur in a middle school English classroom? Three types or reading should be part of every middle school Language Arts classroom.\nReading can and should be taught. An interactive read aloud allows the teacher to model in a think aloud how they apply a reading strategy. This modeling during a read aloud builds and/or enlarges students\u2019 mental model of how a strategy works. For this aspect of instruction, I suggest that the teacher models with a short text that matches the genre and/or theme that ties a reading unit together. Short texts can include a picture book, an excerpt from a longer text, a folk or fairy tale, myth or legend, a short, short story, or an article from a magazine or newsletter.\n- Making inferences\n- Identifying big ideas and themes\n- Identifying central ideas and themes\n- Locating important details\n- Skimming to find details\n- Author\u2019s purposes\n- Purposes of informational texts (nonfiction) and literature (fiction)\n- Literary Elements and how each supports comprehension: setting, protagonist, antagonists, plot, conflicts, other characters, climax, denouement\n- Informational text structures and how these support comprehension: description, compare/contrast, cause/effect, problem/solutions, sequence, question/answer\n- Word choice as a guide to pinpointing mood or tone\n- Vocabulary building with an emphasis on general academic vocabulary, figurative language, and comprehension, using roots, prefixes, suffices, discussing concepts, diverse word meanings, and different forms of a word.\nInstructional reading should happen during class. Students need to read materials at their instructional reading level\u2014about 95% reading accuracy and about 85 % comprehension. Organizing instructional reading around a genre and theme\u2014for example biography with a theme of obstacles\u2014permits students to read different texts and discuss their reading around the genre and theme.\nAs an example, the class opens with an interactive read aloud lesson that lasts about ten minutes and occurs daily. Next, a transition to instructional reading. Find books for students in your school library, your community public library, and in your class library and school\u2019s book room (if you have one). Instructional reading books stay in the classroom, as students from different sections may be using the same materials each day.\nA teacher can have students chunk instructional texts by putting a sticky note at the end of every two to three chapters. When students reach a sticky note, they stop to discuss their books with a partner and then a group of four. During this stop-to-think time, students can write about their books, connect the theme to the book, and apply strategies and skills the teacher has modeled during interactive read-aloud lessons.\nPartners should be no more than one year apart in reading levels so they have something to contribute to each other. Students reading far below grade level learn with the teacher.\nStudents should always have a book they are reading independently. By encouraging them to read accessible books on topics they love and want to know more about, you develop their motivation to read!\nHave students keep a Book Log of the titles they\u2019ve read and reread. Do not ask students to do a project for each completed book, for that will turn them away from reading. A book talk a month and a written book review twice a year on independent reading is enough. Reflecting on independent reading is important; getting hung up on how you will hold students accountable is not very valuable. Remember, enthusiastic readers of any age do not summarize every chapter they read in a journal.\nStudents should complete thirty minutes of independent reading a night, and that should be their main homework assignment. Try to set aside two days a week for students to complete independent reading at school. Reading in a classroom is valuable!\nIncluding the three layers of reading into a middle school curriculum brings balance, engagement, and motivation to the curriculum and holds the potential of improving reading for all students. When the teacher models how she/he applies a skill or strategy to a specific text, the teacher provides opportunities for all students to observe how a skill or strategy works. Instructional reading asks students to apply specific skills and strategies to texts that can improve students\u2019 comprehension, vocabulary, and skill because these texts stretch students\u2019 thinking with the teacher, the expert, as a supportive guide. Equally important is independent reading: easy, enjoyable texts that students self-select on topics, genres, or by authors that interest them\u2014texts about two years below students\u2019 instructional level.\nGive this framework a try. The goal is to increase reading and help students learn how to become strategic readers.\nSpecial thanks to Evan Robb for writing such a great article on inclusive reading best practices. Evan and I communicated briefly to be sure we were on the same page about accommodations for newcomers. I feel that this is a great example of how the mainstream and ESL teacher can collaborate virtually in support of our students who are SIFE.", "id": "<urn:uuid:6a3c2d2b-c02c-4189-a29f-0703f4ecbe1f>", "dump": "CC-MAIN-2022-21", "url": "https://salvac.edublogs.org/2017/08/07/sife-inclusion-in-mainstream-ela-classrooms/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016949.77/warc/CC-MAIN-20220528154416-20220528184416-00153.warc.gz", "language": "en", "language_score": 0.9476495385169983, "token_count": 1270, "score": 3.875, "int_score": 4}
{"text": "The Korean War was a war fought between North Korea and South Korea from 1950 to 1953. The war began on 25,June 1950 when North Korea invaded South Korea following clashes along the border and rebellions in South Korea. It ended with an armistice on 27 July 1953.\nIn the midst of a devastating war, the artists put their messages about the war on the canvas with their own colors and perspectives.\n\u2018War painting\u2019 with the theme of war were often produced for the purpose of boosting the morale of the military and glorifying heroes. The Korean War was a desperate issue of survival for most artists, and some painters became active as 'military painters' as a means of preserving survival in the whirlwind of war.\nAmong the war painters who were active in this period, South Korean painter, Sueok Lee(1918-1990) expressed the horrors of war by realistically depicting a ruined city.\nFor the artists at the time, the Korean War was a tragic event for both South and North Korea. In the end, everything is destroyed and everyone suffers together.\nWith an objective view, he expressed the ruins of a town and the common people who survived and made a living in it with a brush. After the war, war orphans worked as shoe polishes to earn a living. At an age where they were in their prime and would be supported and loved by their parents, the war prevented them from enjoying such a stable life. At a young age, they had to go out into the streets with shoe shine bags.\nBelow is a picture of Korean children drawn by the same artist in the 80s. Korea has rapidly restored the ruins of war and achieved remarkable growth. This picture seems to show the situation of the Koreans, who are defending their lives by playing a dangerous tug-of-war despite the threat of North Korea with a desperate desire for peace more than anyone else.\nIn this way, war eventually destroys everything and leaves pain and despair for those who survived. That is why there are no winners or losers in war. Witnessing these results with their own eyes, the painters feel skeptical about the cause and justification of the war. They sometimes speak their voice to the world and the government as a political voice, but in the end they have supported and appealed for peace regardless of their political colours.\nIn the legend, the general of the defeated army kneels on the ground and the winner looks down from the horse, but in his paintings, Justin the loser and Spinola the victor stand on equal footing. Diego Vel\u00e1zquez, a Spanish painter called the painter recognized by the painters and the painter of the painters, also showed the true face of a war with no winners or losers through the painting Surrender of Breda Castle.\nThe painting illustrates the exchange of keys that occurred three days after the capitulation between Spain and the Netherlands was signed on June 5, 1625. Hence, the focus of the painting is not on the battle itself, but rather the reconciliation.\nWouldn't it be great if war could be ended and peace could be pursued with a warm hug and a rational agreement like Vel\u00e1zquez's painting?\nAnd how grateful we will be if a society that loves, understands, and accepts each other like the paintings of Marc Chagall, who dreamed of beautiful love in an era of war and ruins.\nMclver, Gillian (21 April 2016). Art History for Filmmakers: The Art of Visual Storytelling. London: Bloomsbury Publishing. ISBN 978-1472580658.\nMyungja Anna Koh\nRisk Weather by Girin Instruments", "id": "<urn:uuid:51b25599-2641-4b0b-a955-edda990124c0>", "dump": "CC-MAIN-2022-21", "url": "https://www.annakoh.com/blog/war-painting", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00151.warc.gz", "language": "en", "language_score": 0.9760916829109192, "token_count": 770, "score": 4.0, "int_score": 4}
{"text": "How do pupils with dyslexia, or specific learning difficulties, learn best? Rebecca Jenkin offers active strategies to support dyslexic pupils and make a difference to their experience and outcomes at school\n|There have been times in my teaching career where I\u2019ve struggled to support dyslexic pupils. When I did my teacher training, I don\u2019t think dyslexia, or specific learning difficulties, was even mentioned. In recent years, working as an English co-ordinator in a middle school (where more and more pupils are identified as having dyslexia), I have had to find information and discover what works best in the classroom. This certainly does not make me an expert \u2013 far from it \u2013 but I now try to support dyslexic pupils using effective strategies that seem to make a difference to their educational achievement, attainment and happiness at school.|\nWhat is dyslexia?\nThe word \u2018dyslexia\u2019 comes from the Greek dys-, meaning difficult, and -lexia, meaning words or language. Dyslexia affects information processing skills (receiving, holding, retrieving and structuring information) and the speed at which information can be processed. It has an impact on the skills that many pupils take for granted \u2013 reading, writing, using symbols and calculating.\nDyslexia is not linked to low intelligence. The term indicates a kind of mind that learns in a different way from most other people. The condition appears in all age, race and social groups. I have noticed over the years that dyslexic pupils are often more likely than their peers to have other positive talents, such as creativity, lateral thinking and good visual and spatial skills. I have found dyslexic pupils to be efficient problem-solvers, and they often have good social and verbal skills. I have been able to make a difference in my classroom by harnessing these positive talents. I have found that children can secure knowledge in their long-term memory when the learning is made personal and meaningful. I have used patterns for text types and tried to give pupils the big picture by using a more holistic approach. Often, I link reading and writing to what the pupils are actually interested in, which I find generates enthusiasm and a positive attitude to learning.\nDyslexic children can find it difficult to acquire literacy skills, and they often encounter a lot of anguish and trauma because they find learning difficult. As teachers, we can take steps to alleviate this by making sure that we fully integrate a dyslexic child into the classroom learning environment; that we try to make the child feel secure and comfortable in order to develop their confidence and raise their self esteem. If we create a positive climate, the child can feel successful and valued.\nIn the classroom\nIn the classroom, start by preparing an outline of what is going to be taught in the lesson. Use a laminated timeline and write the lesson outline using simple key words. It is important to be explicit \u2013 dyslexic learners are often very literal.\nAlways finish a lesson with a resume of what\u2019s been taught to help pupils make the shift from short-term memory to long-term memory. It is important to break tasks down into small, easily remembered pieces of information. Too much writing can be confusing, so if the pupils are copying from the whiteboard try to use a different colour pen for each line. If possible, have the text copied for the dyslexic pupil onto a small board in the colour that the pupil finds easiest to read.\nAn additional way to help dyslexic learners with their writing is to offer models for written work.\nWriting frames and scaffolds can be used to help with planning, structure and organisation. If possible, encourage dyslexic pupils to use an audio tape or mini-disc recorder. This can be useful to help them organise their writing by recording their initial thoughts and ideas. Audio tapes can be used as a record of the child\u2019s verbal, rather than written, account. Try to find ways that help pupils compose without too many constraints \u2013 for example, using a computer. Consider using a scribe.\nIf you are teaching an older year group, I recommend talking to the dyslexic pupil about how they prefer to learn. Learners do not always know how they learn best, so I sometimes have to suggest an approach and encourage the learner to evaluate whether or not it works. As teachers, we need to be very flexible in approach when working with a dyslexic child so that they can find the method of working that suits them best.\nWhen working with extracts from texts or a class novel, it is helpful to give the pupils the extracts to be studied before the lesson so that they can familiarise themselves with the text. Invite the pupils to highlight key points and underline unfamiliar vocabulary. This certainly makes the pupils I teach more confident in class; many of them volunteer to read aloud to the whole class. Dyslexic learners find that using a coloured acetate or overlay on the page can help them to read more fluently and improve comprehension.\nSome dyslexic pupils find it difficult to check and proof-read their work. Aim to offer direction and give the pupils plenty of opportunities to practise. From the experiences I\u2019ve had, I recognise that the dyslexic child needs to be able to separate the two processes of writing and reading. Allow time after a writing task before asking the pupil to proofread the work. Often, the process of proofreading will need to be carried out more than once. The first time, encourage the pupil to look at content and organisation; the second time, ask the pupil to focus on grammar, expression and sentence structure. The final check should focus on spelling. Dyslexics find it difficult to correct their spellings spontaneously as they write, but they can be helped to look for errors that are particular to them. Avoid rewriting pieces of work as this can dishearten a child who has put a lot of effort into the original piece.\nPromoting good organisational skills\nHomework should always be written on a board so that pupils can copy it down correctly (use a pen in the colour preferred by the dyslexic child). To help organisation, never leave setting homework until the end of the lesson so that the instructions are hurried. Dyslexic pupils often have poor organisation. Give them time to put away their books and worksheets so that the right materials are taken home. Depending on the school\u2019s homework policy, try to only set homework where it will be of real benefit to the child. Set a limit on the time to be spent completing homework, for dyslexic pupils a task will generally take them longer than a child with good literacy skills.\nI have a buddy system in my classroom which pairs more able children with less able children. The buddies\u2019 numbers are written in the front of pupils\u2019 homework diaries so that if they are not clear about any aspect of the homework, they can ring their buddy and check what they have to do, rather than worry all evening or complete the work incorrectly. Encouraging a daily routine can help develop the child\u2019s independence, responsibility and self-reliance. Stick a laminated sheet in the homework diary where a daily checklist for the pupil can be recorded to refer to during the evening.\nProviding the pupils with coloured, labelled folders and dividers can help them to organise their work for different subjects. The more creative dyslexic pupils like to personalise their folders with drawings that mean something to them. This gives them ownership and makes them generally more enthusiastic about using the folders.\nOne of the most positive ways to raise self esteem is through how you mark work. Try to give credit for effort as well as achievement so that a dyslexic child who tries hard gains self-assurance. When marking creative writing, give credit for the context. Positive comments in pencil or green ink are much less off-putting than work covered in red ink.\nHaving fun and enjoying learning\nBrain Gym activities, a series of simple movements developed to enhance whole-brain learning, are enjoyed by all pupils. Brain Gym is said to make all types of learning easier by processing all parts of the brain, through movement. I often incorporate these activities, which are widely available online, into my starters, so that pupils feel warmed up and ready to learn. Since I\u2019ve been incorporating more Brain Gym in my classroom, the performance of dyslexic pupils has improved.\nEveryone can benefit\nTeaching dyslexic pupils highlights the need for more varied learning within a classroom. Often the strategies used, including structured and systematic techniques, can be of value to all learners in the class. Use a range of multi-sensory approaches with auditory, visual and kinaesthetic elements that serve to reinforce each other. Try to see the whole child, and understand their strengths and weaknesses. Understanding a pupil\u2019s particular difficulties can enable a teacher to adopt teaching methods and develop strategies to help the dyslexic child to be fully integrated into the classroom.\nTeaching dyslexic pupils highlights the need for more varied learning within a classroom. Often the strategies can benefit, and be of value to, all pupils", "id": "<urn:uuid:58c192a9-907e-47f2-a922-d396ef8c0a59>", "dump": "CC-MAIN-2022-21", "url": "https://www.teachingexpertise.com/articles/supporting-young-children-with-dyslexia/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662625600.87/warc/CC-MAIN-20220526193923-20220526223923-00353.warc.gz", "language": "en", "language_score": 0.9600452780723572, "token_count": 1892, "score": 3.65625, "int_score": 4}
{"text": "The word \u2018Hyperbole\u2019 is a Greek word which stands for \u2018excess\u2019. The word \u2018Hyperbole\u2019 works in a way that it uses extreme exaggeration to focus on a certain sentence or a point. In simple words, the meaning of \u2018Hyperbole\u2019 can be understood as the opposite of \u2018understatement\u2019. We can find the examples of these words in daily speech and literature works too!\nI am so angry, I will turn everyone\u2019s world upside down.\nIn this statement, we can see that the person who is angry, cannot literally turn anyone\u2019s world upside down, in fact, nobody can. But, the statement is used to show that the person is extremely angry.\nHow can you pronounce Hyperbole?\nIt looks easy but its is a bit of a difficult task to pronounce the word \u2018Hyperbole\u2019 correctly. But in the simplest way, the word can be broken down into four parts which makes it easier to pronounce. The pronunciation of Hyperbole goes like HYE-PER-BUH-LEE. The last section of the word i.e (bole) may sound like \u2018bowl\u2019 but if looked at it carefully, it is divided into two syllables: buh-lee.\nWhat are the Uses of Hyperbole\nWe use hyperboles in literature, rhetoric, and regular speech and in a majority of times, we do not use these kinds of words in nonfiction works like research papers, review papers, and even reports, however, they can be used in the department of creative writing and communication where we can add some dramatic effect to a story. Remember that the \u2018understatement\u2019 is the opposite of the word and synonym for the word is \u2018overstatement\u2019.\nDifference between Hyperbole, Metaphor, and Simile\nWhen compared with simile and metaphors, the main meaning of the Hyperbole words are serious exaggerations and overstatements that should not be taken literally. Very often, Hyperboles are used to show contrast and even catch the readers\u2019 attention.\nHyperboles can be used to add a dramatic or serious effect. To add an emphasis, it all depends on the statement \u2013 how to use it and which context to use it in! To receive the best out of Hyperbole, we will need to see what is getting described in the same (feeling, quantity, etc.) or does it sound natural, or does it makes sense!\n- Without hyperbole: She is taking a long time to come to the party.\n- With hyperbole: She is taking forever to come to the party.\n- Without hyperbole: She has a lot of work to do today.\n- With hyperbole: She has tons of work to do today.\nIf you have noticed in the above statements, there are certain words that have been used to make it look dramatic. A person cannot take forever to come to a party and similarly, nobody gets tons of projects to complete in a day.\nPlease note these kinds of statements are not be taken literally, the main purpose of them is to add poetic effect and drama. Contrast between situations can be shown and humor can be depicted with such types of statements.", "id": "<urn:uuid:b0853fca-2f8e-4136-b161-32f7f14382dd>", "dump": "CC-MAIN-2022-21", "url": "https://talknowapp.net/grammar/pronounce-hyperbole/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539131.21/warc/CC-MAIN-20220521143241-20220521173241-00354.warc.gz", "language": "en", "language_score": 0.9383007884025574, "token_count": 687, "score": 3.875, "int_score": 4}
{"text": "Waldorf education teaches the whole child \u2013 head, heart, hands. Special subjects include French, Music, Handwork, Woodwork, and more, all working with the appropriate curriculum to provide a balanced education for the mind and body.\nStudents in classes 1-8 have handwork lessons each week in which they develop the patience needed to learn new, complex skills and experience the joy of bringing each new item to completion.\n- Natural fibres are used to create beautiful, useful items\n- Perseverance is learned as months of work are needed to complete each cherished project\n- Fine motor skills are developed as students learn to knit, crochet and sew\n- Finger dexterity leads to healthy brain development as cross-stitch and embroidery are learned\n- Creativity is fostered as soft dolls and animals are designed and carefully sewn\n- Independence is fostered as students learn to read patterns and create their own clothing using the sewing machine\nStudents in Class 5-8 have woodwork once a week. We have a well equipped shop to create and finish simple wooden projects. Many students use saws and shaping tools to begin their project. Rasps and sandpaper are used to smooth the wood. Oil finishes and paint are used sometimes to enhance the wood. The students learn:\n- Wood Selection: many domestic woods are used to create projects\n- Creativity: students learn how to design and draw form shapes on paper and transfer to wood pieces\n- Tool Usage: students learn how to safely and efficiently use hand tools\n- Projects: these range from wheeled toys to swords/shields, spoons and bowls, and small furniture pieces\nAlthough music is part of the daily experience of a Waldorf student in their classroom, students in Grades 3 \u2013 8 have music class twice a week. The Grade 6, 7, and 8 students will additionally participate in choir together once a week.\n- Collaboration: Children practice working with others to achieve a common goal.\n- Language: Speaking the language of music with notation, intervals and modalities deepens their understanding.\n- Feeling: Experiencing harmonies opens a child to their feeling life.\n- Discipline: Achieving skills of learning musical instruments will bring a healthy development of structure to the individual.\n- Creativity: Students will have opportunities to explore music composition, along with developing their own harmonies.\nEach week, students in class 5 to 8 physical health education classes, students develop physical capacities, skills, teamwork strategies and individual movement and stretching techniques.\n- Versatility and perseverance are nourished in students so they can develop skills in different spheres of activities.\n- The Silverking gym is well-equipped, with a quality floor for activities, games and sports.\n- The equipment room is filled with sports and games material to explore movement, strategies and skills.\n- The Forest offers students a space to move and play In nature. Trail running, snowshoeing, and forest games are some of the students\u2019 favourites.\n- Sense of adventure and community connection are at the heart of the Ski program is an occasion for students to explore winter adventures and connect with the broader community.\n- Health and well-being are fostered in the curriculum with the support of both the PHE teacher and the class teachers.\nLearning French provides a rich experience exploring culture, language, and how they are connected, as well as provides a base for learning other languages.\n- Class 1-3: French is introduced through songs, games and storytelling, developing a child\u2019s imagination and listening skills\n- Class 4-5: the curriculum becomes more practical. Students learn casual and formal conversational French\n- Class 6-7: Speaking, writing, and reading are practiced in a more formal manner, and students write and perform their own skits\n- Class 8: Real-life applications of speaking a new language is explored. Students explore where French is spoken, and how and why language enriches our lives.\nSpecial Subjects Teachers", "id": "<urn:uuid:b647fca7-f328-4f2f-957a-8ea8ccb41137>", "dump": "CC-MAIN-2022-21", "url": "https://www.nelsonwaldorf.org/special-subjects/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663011588.83/warc/CC-MAIN-20220528000300-20220528030300-00152.warc.gz", "language": "en", "language_score": 0.9429621696472168, "token_count": 862, "score": 4.1875, "int_score": 4}
{"text": "Mountain Math Worksheet\nWhat is a worksheet that requires students to write their own wordstory problem?\nStudents are required to write their own wordstory problem and then use equation circle drawing comparison bar and math mountain to show their understanding in this activity. It's great for 1st and 2nd graders. There are top 8 worksheets found for this concept. First grade.\nWhat is Mountain Math's name?\nShe started Mountain Math, LLC in 1991. Word spread and now Mountain Math can be found all across the country and the world as teachers and students enjoy the benefits of daily review. Mountain Math is known for its daily review in math, but also in language and science.\nWhat is the name of each worksheet?\nThere are a variety of practice problems connected to 3rd, 4th, and 5th grade math standards. The concepts include: Place Value, Rounding, Subtraction, Multiplication, Division, Fractions, Decimals, Customary, and Metric Systems.\nWhat is the study of mountains called?\nOrography is the study of mountains. The study of mountains on other planets is called exogeology. A mountain is a landform that is elevated above the surrounding land. There is no universally accepted definition of a. Most people know one when they see one.\nWhat is the topic of teaching about?\nThe topic of mountains can be used in math, science, social studies and creative writing. There are additional teaching resources dedicated to the topic of teaching about.\nHow many books & videos are available for kids?\nOver 40,000 books and videos for kids can be accessed instantly.\nWhat is the name of the teacher who said Mountain Math helped me master basic skills needed for second?\nWhat teachers say about Mountain Math and Mountain Language. It helped my students master the basics. It takes minutes a day and provides a strong routine for the kids. When my membership ends, I will renew my membership. Tracy Rivers is a person.\nWhat is the name of the quiz/worksheet combo?\nAbout this quiz. You can use this combo to test your knowledge of a mountain range.\nWhat is a peak of a mountain range?\nA mountain range usually has a peak, which is a pointed top. Mountains have different climates than land.\nWhat is the name of the teacher who is teaching students with moderate and severe disabilities?\nWhat teachers are saying about Mountain Math and Mountain Language? I teach students with moderate and severe disabilities and it has been a great learning tool. Karen Harlow. Quick order form download.\nWhat is the name of the school subject?\nLanguage: English School subject. Add to my classroom, add to Microsoft Teams, and add to the list.\nWhat is long?\nEnglish live worksheets. What is it? What is it? What is it? What is it? The person is identified as 1854959. The language is English. School subject is math. The grade is 2. The age is between 6 and.\nWhat is a polygon?\nWhat is a Polygon? The high school LEAD students have significant gaps in their learning.\nWhat is the Color Pink?\nEnglish live worksheets. What is the color pink? The boxes next to the pink objects will be clicked on by students. The person is identified as: ID: 1641675. The language is English. School subject is math. The grade is Elementary. The age is 10. The main content is colors.\nHave something to tell us about the gallery?", "id": "<urn:uuid:1af3b164-61fa-428b-8e5d-5a0eec85ea89>", "dump": "CC-MAIN-2022-21", "url": "https://www.worksheeto.com/post_mountain-math-worksheet_388252/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662631064.64/warc/CC-MAIN-20220527015812-20220527045812-00754.warc.gz", "language": "en", "language_score": 0.9580889344215393, "token_count": 735, "score": 3.6875, "int_score": 4}
{"text": "The Maker Movement is inspiring thousands of young people across the nation to tinker with and tackle problems involving design, engineering, and programming. There is a strong sense that young makers are accomplishing much more than producing objects\u2014they also seem to be acquiring a host of valuable knowledge and skills. Because making is a relatively recent phenomenon, there are not yet frameworks in place for identifying and documenting these benefits to youth. What are makers learning? How is making changing the way young people engage in science, technology, engineering, and math (STEM)?\nThe New York Hall of Science (NYSCI) has been at the forefront of embracing authentic approaches to STEM learning that engage young people\u2019s desire to explore, create, build, and make. NYSCI embraces a triad of universal, freely chosen methodologies called Design-Make-Play (DMP), which young people use to investigate how \u201creal stuff\u201d works in order to solve problems, build devices that improve, and repurpose the creations of others. The focus on \u201chow stuff works\u201d overlaps extensively with the processes that lead to creative thought and innovation in STEM learning.\nAs the host site for World Maker Faire, NYSCI has been convening national leaders to converse about learning and engagement as they relate to young people\u2019s passions about making. NYSCI hosted a series of annual conferences; the first two yielded learning frameworks related to DMP methodologies. The third built on the previous meetings and took a critical look at how to describe and document the learning that takes place when young people make. The symposium brought together nearly 150 makers, funders, educational researchers, educators from K\u201312 and informal settings, museum and community-based leaders, and policymakers. The aim of this national symposium was to craft a strategy for documenting the variety of learning and engagement that making methodologies foster.\nA distinguishing feature of the symposium was the creation and sharing of a collection of young maker profiles, produced during Maker Faire by six experts known for their creative approaches to learning and assessment in STEM fields. Guided by the DMP learning framework generated during the previous symposium, each expert assembled a profile of an individual or a group of makers in which they examined the makers\u2019 work and thinking. The profiles included images, videos, written descriptions, interpretations, and reflections on DMP.\nDuring the symposium, the participants were asked to apply their expertise and experience to reflect collaboratively on the young maker profiles. What resulted was the emergence of four focal points that highlight the affordances of the DMP framework.\n(1) Motivation and Persistence. The young maker profiles suggest that makers develop the confidence to view failure as a necessary step in the iterative process of design, in which acquiring the ability to evaluate one\u2019s own progress is a natural outcome. The ability and desire to persist in the face of challenges also emerged from all the profiles and took various forms, including investments of many hours and a search for solutions that required multiple attempts. Another distinguishing feature of making is the role that personal choice and initiative take in driving learning\u2014the makers who were the focus of the profiles were there of their own accord, rather than as a result of externally imposed pressures. Because maker projects are fueled by personal interest, they have the potential to engender interest.\n(2) Context and Support. The profiles and meeting deliberations revealed the importance of context for enabling young people to engage in making, as well as for attending to equity considerations. All the makers benefited from supports, whether from their family, schools, or afterschool clubs. Supports include the provision of materials, intellectual constructs, emotional encouragement, and/or opportunities to explore through making.\n(3) Process, Problem Solving, and Learning. The essence of making is doing what it takes to first articulate and then solve a problem, including seeking support and new information. Within the diversity of maker projects and the variety of challenges encountered, makers acquire and draw upon a wide range of general and content-specific skills and knowledge to solve problems. Moreover, in contrast to so much formal instruction in which topics are learned and then left behind, the ability to apply strategies learned in an earlier project to the project at hand is a cumulative skill that grows with the maker\u2019s experience. Whether novices or experts, the makers all took pleasure in hands-on learning in which they physically engaged with the processes and products of making.\n(4) Storytelling and Sharing. The makers also had in common a desire to share their experiences with a broader community. They were eager to share their process as well as their challenges, and eager to offer advice and to seek it. Identifying and communicating the challenges of each project required makers to hone flexible and effective communication skills. There was even evidence that some young people, who would otherwise be less inclined to engage socially, had found a context in making that promoted their participation in a broader social community.\nThis research has led us to envision a tool that will honor the sense of efficacy and agency that young makers bring to their work, while at the same time supporting opportunities to document the benefits that accrue through DMP engagement.\nThe NYSCI Maker Space has developed an approach to creating maker activities informed by the DMP framework. The approach\u2014a work in progress\u2014focuses on investigating the materiality of objects and exploring the potential of tools.\nFor More Information", "id": "<urn:uuid:3a8dd002-6fd1-4d2b-bdc7-7cfb29d71cb8>", "dump": "CC-MAIN-2022-21", "url": "https://successfulstemeducation.org/resources/making-learning", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662631064.64/warc/CC-MAIN-20220527015812-20220527045812-00754.warc.gz", "language": "en", "language_score": 0.9635941386222839, "token_count": 1142, "score": 3.828125, "int_score": 4}
{"text": "A study of the geographic areas of South America, with an emphasis on Brazil. Students explore history and its influence, government, economics, and society and culture.\nSouth America unit contains 13 learning experiences.\nLearning Experiences (Lessons) in South America Each learning experience takes about 45 minutes to teach in the device-enabled classroom.\nNorthern and Central South America: Geographic Passport\nStudents are introduced to the physical geography of Northern and Central South America. They identify the countries in this region and explore a map with political, physical, population, and climate layers, and compare and contrast the countries. Then they select two countries and compare and contrast their natural resources as well as the impact of those resources on the economy. Finally, they do independent research on environmental issues in the region.\nNorthern and Central South America: History and Its Influence\nStudents learn about early agricultural engineering in Bolivia. Then they explore the Spanish conquest of South America. Next, they learn about Sim\u00f3n Bol\u00edvar and the role he played in driving the Spanish out of South America. Finally, students research and create a history timeline for one of the countries in the region.\nNorthern and Central South America: Government and Economy\nStudents explore the connection between the natural resources and economies of several of the countries in this region. Then they do additional research on these natural resources to understand the kinds of jobs that are associated with them. Finally, students learn about Juan Manuel Santos, the Colombian president who won the Nobel Peace Prize in 2016.\nNorthern and Central South America: Society and Culture\nIn this experience, students are introduced to the storytelling tradition of Latin America, particularly Colombia. They listen to a Colombian children's folktale and compare it to one they know. Then they learn about Gabriel Garc\u00eda M\u00e1rquez and magical realism and read the first paragraph of one of M\u00e1rquez's stories. Finally, they do their own research to identify other elements of Colombian culture.\nSouthern Coastal South America: Geographic Passport\nStudents are introduced to the physical geography of Chile, Argentina, and Peru. They create a geographic passport of the three countries. Then they focus on the Andes Mountains, the Pampas, and Patagonia and the physical features, the climate, and the human population in each region. Students then pick a location in the region that they would like to visit and they explain why.\nSouthern Coastal South America: History and Its Influence\nStudents are introduced to the Inca Empire by first exploring Machu Picchu. Then they learn about various elements of life in the Inca Empire. Next, they focus on the Spanish conquest of the empire by Francisco Pizarro and explain how he was able do it with so few soldiers. Finally, students explain what they would most like to see and understand about Machu Picchu.\nSouthern Coastal South America: Government and Economy\nStudents explore the government and economy of Chile, Argentina, and Peru, noting historical influences. In small groups, they do additional research on one of the countries to create a report. Finally, they consider the role of tourism in the Patagonia region and create a tourism brochure for people their age.\nSouthern Coastal South America: Society and Culture\nStudents learn about the long tradition of gauchos and cattle herding in Argentina. Then they research and explain the traditional way that this cattle and other food is prepared and served in Argentina. Finally, they consider the positives and negatives of the isolated way of life of the gaucho.\nBrazil: Geographic Passport\nIn this experience, students are introduced to the physical geography of Brazil. They learn about four landscape types in the country. Then they focus on what the Amazon rainforest is, why it's important, how it is threatened, and what possible solutions are. Finally, students research and explain the threats to the coastlines and beaches of Brazil.\nBrazil: History and Its Influence\nStudents begin by learning the early history of Brazil, including that of its native population. Then they explore and explain the impact of the Portuguese colonization and independence, researching a specific era in Brazil's history. Finally, they consider the impact of the slave trade on Brazil.\nBrazil: Government and Economy\nStudents are introduced to the importance of coffee to the Brazilian economy. Then they read and note important features of the Brazilian government and economy, comparing them to features of the United States. Next, they learn about the development of sugarcane-based ethanol in Brazil, which has made the country independent of foreign oil. Finally, students brainstorm ideas for using natural resources to solve problems in their own communities.\nBrazil: Society and Culture\nStudents learn about the culture of the river dwellers along the Amazon River. Then they explore the Afro-Brazilian influence in Salvador. They research cultural features and challenges in Salvador and present their findings. Finally, they are introduced to some of the etiquette and customs of Brazil and describe them in a letter.", "id": "<urn:uuid:ff590804-3bd9-438c-94b6-7ec04cd1b90e>", "dump": "CC-MAIN-2022-21", "url": "https://www.exploros.com/social-studies/world-cultures-ms/south-america", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663021405.92/warc/CC-MAIN-20220528220030-20220529010030-00553.warc.gz", "language": "en", "language_score": 0.9395504593849182, "token_count": 1001, "score": 3.578125, "int_score": 4}
{"text": "We all know that during the holiday season it is harder to engage our students. Using holiday and seasonal activities helps to get over that hurdle. These Christmas writing activities will have your students focused and engaged while working on important writing skills.\nWriting Activities that Engage\nEngaging students in writing can be tough, holidays or no holidays. There\u2019s something about a blank piece of paper and a really broad topic that overwhelms students. By just taking these away and changing up the methodology we can grab their attention and get them focused on writing. Shorter writing activities are also a great way to really focus on one specific writing skill. Once students have practiced the concept, it is then easier for them to incorporate their new writing skill into larger writing assignments.\nThese Christmas themed flip books are a great way to engage your students with the holiday writing and help them work on a variety of writing and language arts skills. The small, mini flip book format makes them something fun and exciting for students too. Inside this resource you will have 6 mini-books to engage your students in different types of writing. These no prep writing activities include directions so your students know just what to do. A great resource to whole class writing or adding to the writing center. Here\u2019s what your students will work on using these Christmas writing activities.\n1. Descriptive Writing Fun\nMany of the writing activities in the Christmas Flip Books will help students work on improving their descriptive writing skills. Starting with brainstorming adjectives that relate to the topic, students can practice adding these words into their sentences. By connecting the descriptive writing to something that students have experienced with multiple senses, they process of thinking of describing words is easier.\nThis flip book on My Christmas Tree is a great example. On two of tabs in this mini-book, students will focus descriptive writing. They will start with listing adjectives to describe their tree. Then they move on to using adjectives in sentences as they describe the ornaments.\nThree of the 6 mini-books have descriptive writing activities. This allows students to have multiple opportunities to practice this important writing skill. You can find the descriptive writing activities in the My Christmas Tree, A Christmas Bakery and the Wrap It Up mini-books.\n2. Writing and Supporting Opinions\nAnother important life skill we can teach our students is that of thinking through why they have opinions. It is one thing to have an opinion, we all have them, but it is another to be able to explain why we have an opinion. As our students get older, they transition from just believing what they are told to developing their own opinions. But being able to think through and explain why we have those opinions is an important part of that. Helping our students learn that \u201cjust because\u201d or \u201cI don\u2019t know\u201d are not good reasons.\nUsing the Christmas flip books, students will work on stating their opinions and explaining why they have that opinion. It might be their favorite Christmas ornament in My Christmas Tree, explaining what gift they would give to someone in Great Gift Giving, or writing about their favorite Christmas Carol. All opportunities to practice writing and supporting their opinions.\n3. The Power of Persuasion\nLearning how to write persuasively is another great skill we can teach our students. Whether they have a future in advertising, the courtroom or public service, being able to lay out a well crafted, persuasive plan is great life skill. Using the Christmas mini-books, students will practice their persuasive powers.\nPracticing persuasion takes a couple of different forms in these mini-books. In A Christmas Bakery, students will create an advertisement for the bakery. This is a great way to learn how images and words can go together to persuade. Additionally, in My Christmas Tree students will write to try to persuade someone to come and see their decorated tree.\n4. How to Writing\nAnother writing skill your students will work on is how to writing. Being able to clearly and concisely write steps or instructions is an important skill for our students to develop.\nUsing the Christmas mini-books your students will have the opportunity to practice how to writing about activities they have already done in real life. The Wrap it Up mini-book will have your students writing about how to wrap a present. Here students will include a list of needed supplies in addition to writing the steps.\nWhat\u2019s great about this activity is that it is really simple to set-up a hands-on gift wrapping station so that kids can experience it before they write about it.\nUsing recycled newspaper, construction paper or wrapping paper, students can practice before writing. You can also use the hands-on gift wrapping station to have students \u201ctest\u201d their steps. Working with a partner, students can read one step at a time while the other person completes the action. Make sure to have students do exactly what was said \u2013 no reading between the lines allowed. This activity is a wonderful way to help students see how they can be more specific with their words. Here\u2019s an example of this type of activity done with how to writing for making a peanut butter and jelly sandwich.\nAs you can see, this type of activity really helps students to think about their words. It\u2019s great for a whole class lesson as an engagement activity, but it\u2019s also great to put the final writing to the test. I don\u2019t know about you but a gift wrapping station is a lot less mess than PB&J!\nMore Christmas Writing Fun Too!\nWhile these activities cover many important writing skills, there\u2019s more too. Students will have opportunities to do some creative writing in A Christmas Bakery, and practice word variety in Christmas Carols as they work on synonyms. There\u2019s also a fun flip book with word puzzles and a chance to write out their Christmas list.\nYour students will love writing this holiday season with these Christmas Flip Books. And you, well you will love just how easy it is to engage your students in working on a variety of writing skills during the holiday season. You can grab these Christmas Flip Books in my store on Teachers Pay Teachers.\nLooking for More Christmas Learning?\nBetween my love of Christmas and my desire to engage students, I have a variety of fun learning activities that are perfect for this time of year. Here\u2019s just a few that I know you and your students will love.\n- Christmas Writing Prompts with a Gingerbread PBL Twist\n- 5 Fun Christmas Math Worksheets for Upper Elementary Classrooms\n- Christmas Activities for Kids\n- Christmas Tree Challenge: A Christmas STEM Activity\n- December Reading Activities for Upper Elementary\nPin it to Save it!\nYou might need these resources now, or you might have found your way here in July. Either way, just pin this to your favorite classroom Pinterest board so you can come back any time for fun and engaging Christmas writing activities.", "id": "<urn:uuid:845a7d72-fe84-43a2-b16b-15193019824e>", "dump": "CC-MAIN-2022-21", "url": "https://appletasticlearning.com/christmas-writing-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00154.warc.gz", "language": "en", "language_score": 0.9541767835617065, "token_count": 1420, "score": 3.765625, "int_score": 4}
{"text": "Evaporation happens when liquids turn into vapors. You can often see water evaporate on a hot day. In addition, there are fun and simple evaporation experiments you can do at home to learn more about the process. Read on and try the following evaporation science experiments.\nExperiment With Covered and Uncovered Jars\nFill two identical mason jars with water. Leaving one of the jars uncovered, cover the other one with an improvised aluminum foil lid. Make the lid as secure as possible. Then, take the jars outside and place them both in an equally sunny spot. Draw a picture of the jars, noting the current water levels. Return to the experiment every day for the next week to observe and draw the current state of the water jars. You will observe that the water in the uncovered jar \u201cdisappears\u201d more every day, while the water in the covered jar evaporates at a much slower rate because the evaporation process gets blocked by the aluminum foil.\nExperiment With Sun and Shade\nAfter filling up two identical bowls with water, take them outside and locate a spot where direct sunlight and shadow stand side by side. Place one water bowl in the direct sunlight, and the other beside it in the shade. Observe both bowls and use pencil and paper to illustrate current water levels in each bowl. Return to the experiment every hour for the rest of the day, continuing to make observations and illustrations of the water levels. You will see that the water in the bowl placed in direct sunlight evaporates much more quickly than the shaded water due to the higher levels of heat, which increase molecular activity in the water, thus expediting evaporation.\nExperiment With Wet Cloth\nWet two identical pieces of cloth and wring the excess water out. Place one of the pieces of cloth in an airtight plastic bag. Place the other piece of cloth in an open tray. Position both items near a window with plenty of sunlight. Make predictions regarding which item will dry up first: the cloth in the sealed bag, or the one exposed to the air. Leave the items by the window overnight. When you return to the experiment the next day, you\u2019ll see that the exposed cloth dried up, while the one sealed inside the bag remains moist. This is because the water molecules in the sealed cloth can\u2019t escape into the air like the ones in the exposed cloth.\nExperiment With Salt Water\nAdd a decent amount of salt to a large glass of water. Then, pour the salty water onto a sheet of black construction paper placed inside a baking tray. If necessary, weigh down the paper with rocks or waterproof paper weights. Place the tray outside in a beam of direct sunlight. Predict what will happen to the water and salt. In a few hours, return to the tray to discover the outcome of the experiment. You will see that the water is gone, and that the salt remains on the black paper. The water disappeared due to the process of evaporation, but the salt stayed because it would require a lot more energy than provided by the sunlight to fully evaporate.\nAbout the Author\nBill Reynolds holds a Bachelor's degree in Communications from Rowan University. He has written hundreds of articles for print and online media, drawing inspiration from a wide range of professional experiences. As part of the UCLA Extension Writer's Program, he has been nominated for the James Kirkwood Prize for Creative Writing.", "id": "<urn:uuid:efbc73d5-2f18-4a99-9624-670ac062f5e0>", "dump": "CC-MAIN-2022-21", "url": "https://sciencing.com/simple-evaporation-experiments-15764.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663021405.92/warc/CC-MAIN-20220528220030-20220529010030-00554.warc.gz", "language": "en", "language_score": 0.9354893565177917, "token_count": 706, "score": 3.796875, "int_score": 4}
{"text": "What are expository essays\nThe concept of an exploratory essay is that you start without an end in mind. You don t necessarily know how you feel about a subject or what you want to say about the subject, you allow the research and your own direction to determine the outcome. This is writing to learn rather than writing to prove what you know. Purpose: The exploratory essay.\nThe Modes of Discourse\u2014Exposition, Description, Narration, Argumentation (EDNA)\u2014are common paper assignments you may encounter in your writing classes. Although these genres have been criticized by some composition scholars, the Purdue OWL recognizes the wide spread use of these approaches and students\u2019 need to understand and produce them.\nRhetorical modes (also known as modes of discourse) describe the variety, conventions, and purposes of the major kinds of language-based communication, particularly writing and speaking. Four of the most common rhetorical modes and their purpose are narration, description, exposition, and argumentation. The purpose of narration is to tell a story.\nDefinition: A pedagogical term for any form of writing that conveys information and explains ideas: exposition. As one of the four traditional modes of discourse, expository writing may include elements of narration, description, and argumentation, but unlike creative writing or persuasive writing, its primary goal is to deliver information about.\nHow to Write an Expository Essay Four Parts:Planning Your Essay Introducing Your Essay Expressing Your Main Points Concluding Your Essay Expository essays are often assigned in academic settings. In an expository essay you need to consider an idea, investigate the idea, explain the idea, and then make an argument. While it may seem overwhelming.\nThe purpose of the expository essay is to explain a topic in a logical and straightforward manner. Without bells and whistles, expository essays present a fair and balanced analysis of a subject based on facts\u2014with no references to the writer\u2019s opinions or emotions. A typical expository writing prompt will use the words \u201cexplain\u201d or \u201cdefine,\u201d such.\nIf you search the Internet for a definition of an expository essay, you might become confused. Some books and websites define them as how to essays, while others give a long and confusing definition that seems to include every possible essay type out there. Expository essays are simply essays that explain something with facts, as opposed to.\nExpository essays are simply essays that explain something with facts, as opposed to opinion. This writing assignment could tell a story or provide instruction. essayinfo.com/essays/expository_essay.php The concept of an exploratory essay is that you start without an end in mind. You don t necessarily know how you feel about a subject or what you.\nExpository writing or essay is defined as , \u201cA statement or rhetorical discourse intended to give information about or an explanation of difficult material \u201d. or \u201cA form of writing which intends to define, inform, explain, elaborate and expound the author\u2019s subject to the reader \u201d. The intention of an is to present, reasonably and absolutely, other.", "id": "<urn:uuid:ffd384ff-6b0e-4775-ab03-3a045e67927b>", "dump": "CC-MAIN-2022-21", "url": "https://essayrate.com/what-are-expository-essays/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577757.82/warc/CC-MAIN-20220524233716-20220525023716-00553.warc.gz", "language": "en", "language_score": 0.9215595722198486, "token_count": 658, "score": 4.03125, "int_score": 4}
{"text": "The use of figure of speech in creative writing gives ideas or sentiments a unique perspective. It involves a deviation from the more commonly used form of word order or sentence construction. Writers usually employ such figures of speech embellish their composition.\nThis article is attempted to throw light on various figures of speech that will help you realize how you can craft your writing to meet your expectations.\nIt is a specific comparison made by means words such as \u201clike\u201d or \u201cas\u201d between two kinds of objects. \u201cReason is to faith as the eye to the telescope\u201d, an example of simile.\nIt uses a word or phrase denoting one kind of idea in place of other word or phrase in order to suggest a likeness between the two.\nIt involves a series of ideas that suddenly diminish in importance at the end of a sentence or passage. It is used to bring satirical effect.\nIt is a juxtaposition of two words, phrases, clauses, or sentences contrasted in meaning to offer emphasis to contrasting ideas. \u201cTo err is human, to forgive divine\u201d, is a fine example of antithesis.\nIt is an arrangement of words, clauses, or sentences in the order of their significance. The least powerful comes first and the others. \u201cIt is an outrage to bind a Roman citizen; it is a crime to scourge him; it is almost parricide to kill him; but to crucify him-what shall I say of this?\u201d This particular example rightly tells what climax means.\nIt is an elaborate and often extravagant metaphor. It makes an analogy between totally dissimilar things. The term originally means concept or idea. Conceits were widely used in the 17th-century metaphysical poetry. In \u201cA Valediction: Forbidding Mourning\u201d, John Donne uses it where the image of the joined arms of a pair of compasses is used to demonstrate the attachment of a pair of lovers; even when one makes s move, the two are attached closely being one.\nIt involves substitution of an inoffensive term or phrase for one that has coarse or sordid unpleasant associations, for instance in the use of words like \u201ctoilet\u201d for \u201clavatory\u201d, and \u201cpass away\u201d for \u201cdie\u201d.\nIt is a form of inordinate exaggeration. It means a person or thing is portrayed as being better or worse than the actual one. For example, \u201cDr. Jonathan drank his tea in oceans\u201d.\nIt is humorous or lightly sarcastic mode of speech. Words are used here to convey a meaning contrary to their literal meaning.\nIt involves representation of inanimate or abstract ideas as living beings. The sentence, \u201cNecessity is the mother of invention\u201d can help you make out this idea better.\nThe close study of these figures of speech will help you understand the sense of crafting your ideas and imagination in creating fine piece of literature, poetry or other mode of writing.", "id": "<urn:uuid:1b3ddd52-f631-4663-b60c-3fae0f6a0ac5>", "dump": "CC-MAIN-2022-21", "url": "https://proessaydoer.com/10-basic-figures-of-speech-an-easy-guide/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663048462.97/warc/CC-MAIN-20220529072915-20220529102915-00154.warc.gz", "language": "en", "language_score": 0.9456031918525696, "token_count": 679, "score": 3.796875, "int_score": 4}
{"text": "Using Screencasting Software to Improve Student Learning\nA screencast is a digital video and audio recording of what occurs on a presenter's computer screen, and it can be used to create sophisticated, information-rich multimedia presentations. The word \"screencast\" was first coined by columnist Jon Udell in 2005. Udell first used the word in an article published in InfoWorld, describing the benefits of using this technique to show his readers how computer applications worked. In a screencast, the presenter records all the screen activity and images continuously to complete a designated task. Audio can be recorded simultaneously or afterwards in postproduction along with sound effects and music tracks.\nScreencasting can be integrated across the curriculum and into many learning activities. Screencasts are an effective instructional format that can be used for tutorials, demonstrations, digital storytelling, and narrated PowerPoint presentations. During the video editing process a variety of media can be imported into a screencast project, such as video clips, photos, music, and animations. Screencasting is a multimedia alternative to video recording, is easy to use, and helps fill a need for dynamic, engaging content.\nAs computer technology continues to evolve and advance, many teachers from K\u201312 and higher education use screencasting as an online or stand-alone teaching tool with traditional teaching approaches to enhance and engage the learning experience of their students. Sugar, Brown, and Luterbach noted that screencasting as an instructional strategy may be viewed as a modern descendent of instructional film and video.\nA screencast can include many multimedia elements \u2014 music, sound effects, audio, and graphics \u2014 along with text, making any content topic engaging while also appealing to different learning modalities. Mayer's theory of multimedia learning suggests that animated presentations that have a corresponding audio component, essentially moving picture and sound, provide a more effective learning experience than a more traditional alternative (e.g., a sequence of still images accompanied by descriptive text).\nScreencasting has emerged as a prominent teaching tool on the Internet. There are several advantages for both the instructor and the student. For the teacher a screencast is an efficient and effective means of describing a step-by-step process, explaining a particular concept, or presenting a PowerPoint presentation with narration. Teachers have the ability to craft succinct and concise presentations because each screencast can be edited. The inclusion of video-based instruction in online environments, such as screencasting, can have positive effects on student learning and can be pedagogically equivalent to their face-to-face instruction counterparts.\nFor the student, screencasting allows them to learn by example, seeing for instance a step-by-step sequence in great detail or viewing a screencast video directly related to lesson content. In addition, students can watch a screencast video anytime, anywhere and have complete control of the lesson, which means they review any part of the presentation as needed. Screencasts can be delivered via streaming or downloaded in their entirety for later viewing.\nThe ability to pause or review content also gives students the option to move at their own pace, which is not always feasible in the classroom. Screencasts are excellent for those learners who just need an aural as well as a visual explanation of the content presented. Screencasting is a perfect medium to explain difficult technical concepts to anyone with a non-technical background. Teachers can also use screencasting for a variety of other classroom activates such as reviewing lesson content and presenting online lectures and professional development.\nSource: Michael Ruffini, EDUCAUSE Review", "id": "<urn:uuid:63a69f5e-aa5e-4e38-b9a0-52996d379ffc>", "dump": "CC-MAIN-2022-21", "url": "https://slideator.com/users/blog/Using_Screencasting_Software_to_Improve_Student_Learning.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00355.warc.gz", "language": "en", "language_score": 0.9402532577514648, "token_count": 710, "score": 3.8125, "int_score": 4}
{"text": "How to Use Chronology\nWhen writing, establishing a chronology can be relatively easy, especially in fiction, when the timeline of events is completely up to you! Overall, the best way to establish your work\u2019s chro-nology is by creating a timeline of events. Start at the beginning and work your way to the end, being sure not to forget any important dates, events, or occurrences that are relative to your story. After that, you can decide how the timeline fits in with the way you want your audience to un-derstand the story. Ask yourself several questions:\n- Is a sense of time crucial to your work?\n- If so, to what extent\u2014Historical period? Century? Decade? Specific date and time of day?\n- Is the order in which things occurred essential to the plot?\n- Are you trying to share a sequence of linked events?\n- Are you trying to show a chain of cause and effect?\n- Which events in your timeline are relative to the big picture?\n- Are any events not important enough to cover thoroughly, but at least need to be mentioned?\nIn general, you need to think about context when developing a chronology\u2014what about your timeline is crucial for the audience and your work? What can be left out, and what can\u2019t? Ulti-mately, it is up to you and your creativity to decide how your audience will understand the time-line of your work.\nWhen to Use Chronology\nBasically, you always need to at least consider chronology when writing, in one way or another. When you are sharing any type of event or sequence of events, the timeline is important in just about every case, across all genres of both fiction and nonfiction.\nOf course, it is particularly important to establish a timeline of events when storytelling\u2014that\u2019s how we ultimately develop a plot! Your readers need some perception of time to follow what is happening, and the easiest way to assure that is by putting things in chronological order. Even if you decide to share events out of order, you as the author need to know when and how they hap-pened so that you can share them with your readers and avoid making mistakes with your story-line or characters. Let\u2019s think back to the baseball player example\u2014if the focus of your story is about how a rookie becomes a star, you could still begin by showing him hitting a home run on the field, and later show the steps it took to get him there. But imagine if in the beginning, your rookie character is also shown as being popular because he\u2019s been partying all summer. Only, during all his practicing, he actually missed all the parties. It would be confusing to your readers and show a conflicting character, instead of a hardworking rookie. But this would be avoided if the timeline is well-developed before the story is composed.\nSince the theme is about the player\u2019s road to fame, it\u2019s also crucial to show how one thing causes another\u2014the cause is that the boy is dedicated to practicing and sacrifices all other activities over a period of time, and the effect is that he becomes a great player and finally makes the baseball team. So even when \u201cbeginning with the end.\u201d you still need to have an idea about the story\u2019s chronology. What\u2019s more it\u2019s just a great starting point when you\u2019re developing a piece of fiction!", "id": "<urn:uuid:834fc561-99fb-4fed-8600-d029176f1daa>", "dump": "CC-MAIN-2022-21", "url": "https://literaryterms.net/when-and-how-to-use-chronology/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00152.warc.gz", "language": "en", "language_score": 0.9659186601638794, "token_count": 721, "score": 3.546875, "int_score": 4}
{"text": "A colon is a versatile punctuation mark consisting of two ubiquitous dots. Colon usage, despite being common, is often misunderstood. Read on to know more about how to use a colon.\nUsage Of Colon\nA colon is a punctuation mark which has two equally sized dots placed vertically above each other. This punctuation marks discontinuity in a grammatical construction and the pause it introduces is of intermediate length - something in between a semicolon and a full stop. It aids in notifying the reader that the forthcoming information is vital and elaborates what has been said before the colon. This punctuation mark was introduced in English orthography around the 1600s. John mason, an author of the 1700s prescribed in his essay \"An Essay On Elocution\", \"A comma stops the voice while we may privately tell one, a semi colon two; a colon three: and a period four.\" Math, science and technical documentation use colons extensively. In creative writing, the use of colons is more in scripts. The following section clearly defines the methods and techniques of using this punctuation mark. Go through the points and brush up on these fine details.\nHow To Use A Colon\nAs with all other punctuation marks, a colon can be used effectively in many different ways. The colon informs the reader that what follows in the sentence proves, explains or lists out the idea behind what was stated before the mark. A significant Italian scholar Luca Serianni defined and developed the colon. He identified four modes for it, viz. syntactical-deductive, syntactical-descriptive, appositive and segmental. Although this categorization was meant for the Italian language, it can also be well integrated into English. Besides these four main uses, the colon has many other small but important applications in our daily life.\nIn this rule, the colon introduces a logical sequence or the effect of the fact stated before the colon. When the second independent clause explains or summarizes a preceding independent clause, a colon is used to separate them. For e.g.,\n- There is a vital issue every chef has to consider: Will the souffle rise properly or dramatically collapse in front of the guests?\n- So far so good: The souffle looks as if it is going to rise impressively. The guests are not going to get disappointed.\nA Syntactical Descriptive introduces a description based on the idea of the clause or sentence before the colon. It helps in strengthening connections. The text after the colon emphasizes the point mentioned in the text before the colon, and juxtaposing a colon in between the two clauses or sentences helps in saving on words in a very elegant and concise manner. Instead of a sentence or a clause before the colon, a fragment or phrase can also be used. For e.g.,\n- A poor homeless 8-year-old child was sentenced to 6 months in prison. His crime: stealing a few apples and some bread to feed his starving brothers and sisters.\n- I have three sisters: Catherine, Sarah, and Mary.\nThe colon introduces an appositive independent clause. The sentence after the colon is in apposition to the sentence or clause before the colon. For e.g.,\n- The colon was not necessary: I deleted it.\n- Always apply the Golden Rule: Do unto others as you would have others do unto you.\nA segmental colon, like a dash or a quotation mark, introduces speech. It is a method of indicating an unmarked quotation on the same line. This form is used in written dialogue like plays. The colon, in this role, indicates that the text following the person's name was spoken by the particular individual. For e.g.,\n- Benjamin Franklin proclaimed the virtue of frugality: A penny saved is a penny earned.\nIntroducing A List\nUsage of a colon after a complete sentence, to introduce a list of items, is the most common phenomenon. In this case, the preceding statement generalises the list elements that follows it. If the list is being written in a vertical form a colon should be placed after the introductory sentence. For e.g.,\n- Your dishes will be judged on the basis of four criteria: taste, culinary level, cooking skill and presentation.\n- The contestants prepared the following kinds of ethnic dishes:\nOther Uses Of The Colon\n- A colon is used to separate numbers in a ratio when they are written in the number form (not word format). For e.g., Chef Roberto defeated Chef Castellans 4 :1 (four to one) at the regional cook-offs.\n- Hours, minutes and seconds are separated by using a colon. For example, The marathon winner passed the finishing line at 2:23:05.\n- The colon can be used to separate the main title from the subtitle in books. For e.g., Casseroles for the Soul: A Comprehensive Guide to Family Cooking. Also, The Evolution of Cajun Cuisine : A Socio-Historical Perspective.\n- Separating the chapters and verses in Bible and Quran is done using the colon. For e.g., Look it up in Psalms 14: 4-8 and compare to Genesis 23, 23-24.\n- Colons are also used in memos. For example.,\nDate: December 30, 2007\nTo: Elizabeth Masters-Johnson\nFrom: Herbert Excelsior-Smites\nRe: Culinary Institute - Student Programs\n- The colon can be used after the salutation of a business letter. For e.g., Dear Dr. Marcos:, To whom it may concern:, Dear Madam: etc.\nConventions Of Using The Colon\n- Leave one space after the colon\n- When the colon appears after quoted text, it should be placed after the closing quotation mark.\n- When a colon appears after an italicized text, italicize it as well.\n- The text after the colon should start with an uppercase or lower case letter. Again, whatever you choose, you must follow it consistently. But the text should be capitalized if the colon introduces a new sentence, a dialogue or a quote.\nA colon, as simple it is, can serve a lot more purposes than just indicating a following list of items. As with other punctuation marks, when used judiciously, a colon can add meaning and beauty to written text. Use it wisely: colons are important.", "id": "<urn:uuid:c20bf923-9acb-4743-b303-7ae512b4c6aa>", "dump": "CC-MAIN-2022-21", "url": "https://fos.iloveindia.com/colon-usage.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522270.37/warc/CC-MAIN-20220518115411-20220518145411-00754.warc.gz", "language": "en", "language_score": 0.9042182564735413, "token_count": 1375, "score": 3.84375, "int_score": 4}
{"text": "Anaana's Tent is an educational preschool television series that aims to prepare young children for their first years at school by promoting early literacy, math skills, and social skills.\nOn this page, you will find strategies that you can use as a parent, guardian, or educator to help support young children as they begin to learn how to read, write, and do simple math. You will also find fun, simple activities, exciting ebooks with characters from the series, and links to other educational websites and apps.\nDeveloping early literacy skills at home\nCreating a home environment that promotes the acquisition of early literacy skills does not have to take a lot of effort. Consider the following:\nEstablish a literate environment.\n- Show your child that books have value by setting aside a special place such as a bookshelf or area in the house where books are kept.\n- Make reading a part of your daily routine. Reading with your child at the same time each day shows that reading is important.\n- Find a quiet and comfortable place to read to your child. Limit distractions by turning off the television, radio, or other electronic devices, and turn off notifications on e-readers.\n- Let your child see you read and write. Children are always interested in what adults are doing. If your child sees you reading and writing for pleasure, they may become curious about reading and writing, too!\n- Talk with your child as you do chores around the house, as you take a walk in the community, or during mealtimes. Regular conversations about different and familiar topics introduces and reinforces the use of varied vocabulary.\n- Tell your own stories to your child and encourage your child to tell their own stories.\n- Provide opportunities for your child to colour, draw, and paint. The more experiences your child has with these activities, the more prepared they will be to learn how to write when they start school.Show your child that books have value by setting aside a special place such as a bookshelf or area in the house where books are kept.\nMake reading fun!\n- Read to your child with expression in your voice and use different voices for different characters or parts of the story.\n- As you read through a book, talk to your child about the pictures or interesting words. Ask simple questions about what your child predicts will happen next (i.e., \"do you think the bear will come back again?\") and about what they see and hear in the story.\n- Encourage your child to engage with the story by asking them to point out words and objects they find interesting.\n- Show your child how to make personal connections to a book. For example, if a book is about a particular animal, talk about your own experiences with the animal.\n- Re-read favourite books many times to your child. This will help build vocabulary and familiarity with reading.\n- Once your child is familiar with a book, encourage them to \"read\" the book to you, using the pictures.\n- Let your child share the responsibility of choosing books to read and encourage them to develop opinions about the types of books they like to have read to them.\n- Make puppets to act out and retell the stories in familiar books.\nDevelop print awareness.\n- Point out different types of print around the home to your child. This may include the print seen on food containers such as cereal boxes or milk cartons.\n- Create labels for common objects around your house, such as the garbage can, a door, or a chair. Point out the labels to your child and read the labels to them.\n- As you move around the community, point out and read different types of print to your child such as road signs, license plates, or building signs.\n- Occasionally, point to some of the words in the book as you read. This will introduce your child to the idea that spoken and written words are connected.\nUse the community.\n- If there is a public library in your community, visit the library regularly with your child and let he or she choose books they are interested in reading.\n- Attend community events with your child that encourage literacy such as storytelling events or cultural events such as singing, drumming, or Inuit games.\n- Encourage extended family members and friends to share stories with your child.\nDeveloping early mathematical concepts at home\nMath is more than just numbers. It also includes measurement, geometry, spatial sense, and patterning. Different developmentally appropriate mathematical concepts can be introduced and explored at home with preschoolers through every day routines and play. Consider the following:\n- Count food items (such as crackers) or toys (such as blocks) as your child is eating or playing.\n- Demonstrate simple addition and subtraction as concepts by counting forwards and backwards as you add to or take away from a group of toys.\n- Point out numbers in print around the house such as in books, on calendars, on phones, etc.\n- Let your child help you measure ingredients when you are cooking.\n- Talk about common shapes and connect the shape names to familiar objects in the home.\n- Demonstrate the concept of patterning with toys. For example, use building blocks to build a colour or shape pattern.\n- Use mathematical language such as big/small, close/far, fat/thin, and long/short to compare common items.\n- Encourage your child to do sorting activities such as asking your child to sort the laundry (socks, shirts, pants, etc.) or sort their toys when tidying up.\n- Encourage your child to think about how to solve simple problems. For example, if your child does not have a spoon to eat their stew, ask them what they can do. They might decide that they can go and get one themselves or ask you to get one for them.\nOne way preschool-aged children begin to build their literacy skills is with stories\u2014either by listening to, watching, or telling stories. Ebooks are one great way to expose children to books and stories.\nBelow, you will find a list of ebooks that tie in characters and themes from Anaana\u2019s Tent. You can download these ebooks from this website and add them to your iPad, tablet, or any other device that supports ebooks.\nThe Nunavut Bilingual Education Society (NBES) is a community-based, non-profit society concerned with the preservation, protection, and promotion of Inuit oral history, cultural knowledge, and language. There are several Inuktitut language children\u2019s books available for free download:\n- Out on the Ice\n- Ukaliq and Kalla Go Fishing\n- Action Words\n- Arctic Little Folk\n- A Walk on the Tundra\n- The Orphan and the Polar Bear\n- Fishing with Anaanatsiaq\n- Ukiuqtaqtumi Tingmiat\n- Lesson for the Wolf\nThis IS Literacy is an initiative of the Literacy Implementation Team of the Child and Youth Network.\nNational Reading Campaign has a vision to create, sustain and grow a society in which everyone has an equal opportunity to become and remain a lifelong reader.\nIllitaqsiniq promotes and supports literacy initiatives in the official languages of Nunavut with respect for the principles of community capacity building and development.\nIt Starts at Home is a family engagement resource for Nunavut schools.\nInhabit Media is an Inuit-owned, independent publishing company in the Canadian Arctic, aiming to promote and preserve the stories, knowledge, and talent of the Canadian Arctic.\n- Uqausiit Pinnguarutiit is an Inuit language app that provides young children with fun activities that support shape and sound recognition, as well as vocabulary development. Download the app on iTunes and in the Google Play Store!\n- Titirariuqsauti is an Inuit language learning app that provides young children with fun activities that introduce symbol sounds and printing paths. Download the app on iTunes and in the Google Play Store!", "id": "<urn:uuid:ab205796-57c6-4697-a2dd-eee24bdeb351>", "dump": "CC-MAIN-2022-21", "url": "http://www.anaanastent.com/en/pages/1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663011588.83/warc/CC-MAIN-20220528000300-20220528030300-00154.warc.gz", "language": "en", "language_score": 0.9464793801307678, "token_count": 1680, "score": 4.15625, "int_score": 4}
{"text": "- Max Kuehn\nNeed to know what is folk music? It is any style that represents a community and can be sung or played by people who may or may not be trained musicians, using the instruments available to them. In this article, Fidlar will dive deeper into folk music definition, history as well as characteristics of this music genre.\nDefinition Of Folk Music\nAmerican folk music can be described as a musical genre that incorporates traditional music from various cultures and peoples.\nMany folk songs in the eastern United States have international roots. Appalachia\u2018s music was shaped by immigrants from England, Scotland, Ireland, and sometimes from the British Isles. Enslaved Africans brought their distinctive rhythms and chants to the South to sing to pass the time.\nThis genre was incorporated into mainstream culture, creating a mixture of folk and pop music\nThis music genre can be divided into several categories, including bluegrass, and railroad songs, protest songs, cowboy songs, sea shanties, jug songs, and other genres. Songs have been a part of American culture, often even being the popular music of their era.\nWhere Did Folk Music Come From?\nBecause it is difficult to pinpoint the origins of folk music, it is sometimes used to describe music from different regions. Traditional folk music also was defined as music with unknown composers\nIn the 19th century, there was a movement to collect and document folk music. This folk culture evolved into a distinct musical form in the 20th century. It is often associated with particular regions, as well as specific folk musicians.\nSheet music and tablature are freely available online. It has a flexible and democratic character that ordinary people own. It can also be shared and created through individual experiences. This political dimension continues to exist today.\nThis political aspect has influenced a variety of folk music revival, from the right-wing nationalistic composers in the late 19th century to left-wing cultural revolutionaries in the 1960s and 1970s. A new style of folk music developed.\nA Short History Of Folk Music\nAmerica\u2019s folk music traditions are a result of continuous evolution over its history.\nSongs of work by enslaved people. Enslaved West Africans wrote songs to help them through their labor in the Southern fields. They used a call and response tradition and African rhythms.\nAfter emancipation, gospel spirituals were based on melodies taken from the fields. These same traditions were later used to inspire blues musicians in the 20th century.\nWhite folk traditions have roots in Great Britain, Ireland, and the United States. It are rooted in these traditions often include ballads, which tell stories. Traditional Appalachian music was shaped by Irish, Scottish, and English traditions.\nFrench settlers created a unique sound: French settlers helped create Louisiana\u2019s traditional Cajun music, and zydeco.\nWork songs were popular: Folk music was also influenced by work songs. These songs came from railroads, mines, and the sea shanties that came with working boats.\nCowboy songs emerged in the West from the stories of range workers. Many of these men were Anglo-American, while others were Mexican and Spanish.\nThe genre was changing by the 1930s. Contemporary folk Woody Guthrie, a musician, is often credited with being the first to contribute to this genre.\nIt was mainstreamed: The Carter Family\u2019s recordings of \u201cCan the Circle Be Unbroken\u201d in the 1930s helped popularize folk music. This helped to sow the seeds of mainstream country music and launched a multidecade period for The Carter Family.\nThe popularization of the new genre began in the 1960s. Many folk groups have brought decades of traditional music into the Pop culture to the masses through mass media. The folk music revival was closely linked to the Civil Rights Movement.\nThis was due to their ties with Civil Rights Movement. Woody Guthrie, John Denver, Bob Dylan, Joan Baez, Arlo Guthrie, Simon & Garfunkel, Joni Mitchell, and Peter, Paul, and Mary, all popular folk singers at the time. Many of these artists were able to build on the foundation laid by the Carter Family.\nThis genre has evolved in many ways, but the most important is the one that was created. Commercially successful Punk Folk is the most popular genre. The earliest form of this was created by the Pogues.\nContemporary folk music is still famous. A vibrant folk scene continues to thrive well into the 21st century.\nActs hail from all corners of the country, including Los Angeles and Chicago. Gillian Welch and David Rawlings, Old Crow Medicine Show, and Nickel Creek are just a few of the folk musicians who have kept this tradition alive.\nThree Characteristics Of Folk Music\nAcoustic instruments dominate folk music. They include acoustic guitars and banjo, mandolin, fiddle, and double bass.\nDylan began to use Electric instruments in 1965. This was a significant transition to the use of an electro-acoustic instrument, which, although not fully accepted at the time is still used today.\nEnglish Language Lyrics\nMost American folk singers sang English, except traditional Cajun music. Some lyrics, such as those by Bob Dylan, were about social justice. Some lyrics, such as those of Joni Mitchell, a progressive folk singer, were deeply personal. Some folk artists, such as the Kingston Trio, covered older songs.\nEmphasis On Regional Authenticity\nIt is very different from one region to another, and many regional folk bands stick to their traditions. This is why bluegrass from southwest Virginia is so distinct from New Bedford, Massachusetts, and the South Carolina Black American spirituals.\nWhat Is The Purpose?\nIt can be commemorative (the death of Nelson) or rural (cropping of hay). After the industrial revolution, it became more urbanized in subject matter with a political edge. Popular music includes sea shanties, lyric songs, and ballads.\nThese all lend themselves to folk culture\u2019s narrative storytelling element. Song structure often revolves around a repetitive chorus with changing verses.\nThis allows multiple people to join in and helps them get through repetitive, mechanical parts of their job in the case of workers.\nWhat Instruments Are Used In A Folk Band?\nThe typical instrumentation used in folk music traditions of Britain is voice, guitar, fiddle, whistle, pipes, and accordion.\nThere are also many other percussion instruments, such as the spoons, bones, and bodhran, and more uncommon ones like the bazouki, hammer dulcimer, and hurdy-gurdy.\nOther exotic, but equally common instruments include the dulcimer (a simple instrument with a string), the zither (another instrument with a string), and other percussive instruments.\nSubjects Of Folk Music\nThis genre includes instrumental music. This is especially true for dance music traditions. However, a lot of folk music is vocal music. This genre is often sung with lyrics and is usually about something.\nIt from many cultures includes the narrative verse. This includes traditional epic poetry and other forms, which were initially intended for oral performance. Many epic poems from different cultures were assembled from short pieces of traditional narrative poetry.\nThis explains their episodic structure, and sometimes their in media related to plot developments. The traditional narrative verse also depicts the outcome of battles, other tragedies, or natural disasters.\nThese songs can also celebrate victory, such as the triumphant Song of Deborah in the Biblical Book of Judges.\nTraditional folk often include laments about lost battles and wars as well as the loss of lives. These laments help to keep alive the cause that the battle was fought. Folk heroes like Robin Hood and John Henry are often remembered in songs about folk genre narratives.\nMany hymns and other forms of religious music are of unknown and traditional origin. The original purpose of western musical notation was to preserve the lines and traditions of Gregorian chant. This was previously taught in monastic communities.\nFolk songs like Green grow the rushes O present religious knowledge in a mnemonic format. Christmas carols and other traditional songs in the West preserve religious lore through song form.\nThere are other types of folk songs that are less well-known. Songs for work are often composed. They frequently have call and response structures. These are intended to allow the laborers who sing them to coordinate their efforts according to the songs\u2019 rhythms.\nThe American armed forces have a rich tradition of \u201cDuckworth Chants\u201d (jody calls) that are sung by soldiers while they are marching. A large number of sea shanties were used by professional sailors.\nTraditional folk music often includes love poetry. It is often sad or regretful. Folk song often includes nursery rhymes and nonsense verse.\nWhat Is Folk Music Example?\nExamples of Folk Songs:\n- Scarborough Fair.\n- One Morning Early\n- Swing Low Sweet Chariot.\n- Auld Lang Syne\n- Oh Danny Boy.\n- Waltzing Matilda.\nWhat\u2019s The Focus Of Folk Songs?\nFolk songs emphasize humanity. These songs are often influenced by the environment or atmosphere. It helps preserve our culture. Folk songs are passed down from generation to generation to preserve and enhance the culture.\nWe hope you find this helpful article. If you have any comments or suggestions, or questions, please feel free to leave a comment below.", "id": "<urn:uuid:1d03cda8-385d-48ed-bbda-fabbadec178b>", "dump": "CC-MAIN-2022-21", "url": "https://fidlarmusic.com/what-is-folk-music/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662541747.38/warc/CC-MAIN-20220521205757-20220521235757-00754.warc.gz", "language": "en", "language_score": 0.9678933024406433, "token_count": 1967, "score": 3.84375, "int_score": 4}
{"text": "Compare and Contrast Paper\nThis paper compares and contrasts the Warren, Burger and Rehnquist Supreme Courts and looks at one major decision each court made and the decision\u2019s impact on the legislative and executive powers as well as how it affects states governments\u2019 accountability to its citizens or states\u2019 rights.\nFrom the Paper\nIn the early 1950s, America was becoming a place concerned with social change and freedom. During the same period, the Warren Supreme Court (1953-1969) reflected these changes. The next court, the Burger Court (1969-1986) upheld and built on the change that had already begun. Both courts subscribed to a new idea, that the United States Constitution was a living, breathing document, meant to change with the times. In 1986, a new court emerged the Rehnquist Court. This court went back to the idea that the way the founding fathers drafted the Constitution was not only relevant in the early years of the United States, but relative and valid in the 20th and 21st centuries.\nThis paper compares and contrasts these courts and looks at one major decision each court made and the decision\u2019s impact on the legislative and executive powers as well as how it affects states governments\u2019 accountability to its citizens or states\u2019 rights.\nThe Warren Court\nThe Warren Court 1953-1969 was the court most concerned with social change. Authors such as Harvard Professor Morton J. Horowitz in his book, The Warren Court and the Pursuit of Justice states that it is \u201cincreasingly recognized as a unique and revolutionary chapter in American Constitutional history (5).\u201d He says this because the Court \u201cregularly handed down opinions that have transformed American constitutional doctrine and, in turn, profoundly affected American society.\u201d The transformation began with Brown v. Board of Education (1954), which declared racial segregation as unconstitutional. Other important cases were Engel v Vitale (1962) and Abington School District v. Schempp (1963). These cases called on the First Amendment\u2019s Establishment clause\u2014\u201cCongress shall make no law respecting an establishment of religion\u201d to extend not only to Congress but to any governmental authority, creating a wall of separation between church and state.\nIn writing for the Law Journal (2001). E. Joshua Rosenkranz writes in an op-ed piece that Justice Brennan states that the 1962 landmark case Baker v. Carr, was one of the most powerful case that said that a voter could bring constitutional challenge under the equal protection clause, to a state\u2019s legislative districting with different populations in order to \u201cincrease the voting power of some communities at the expense of others.\u201d\nThank you for visiting Essaydemon.com and viewing our articles and sample papers. Kindly be informed that all these articles and sample papers are for marketing purposes only. The sole purpose of these articles and sample papers is just to provide our customers with an idea about our services before they place an order.\nKindly visit our order/inquiry page for further assistance.\nKindly order custom made Essays, Term Papers, Research Papers, Thesis, Dissertation, Assignment, Book Reports, Reviews, Presentations, Projects, Case Studies, Coursework, Homework, Creative Writing, Critical Thinking, on the topic by clicking on the order page.", "id": "<urn:uuid:bd721650-e0ad-4bc1-9196-1bc0307d2803>", "dump": "CC-MAIN-2022-21", "url": "https://essaydemon.com/essay-samples/warren-burger-rehnquist-supreme-courts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00353.warc.gz", "language": "en", "language_score": 0.9486817717552185, "token_count": 685, "score": 3.5625, "int_score": 4}
{"text": "Power Play The Coffin of Horankh, 700 B.C, symbolizes Egyptian power. The coffin is made of wood, Gesso, paint, Obsidian, calcite and Bronze. The decorated coffin shows that this was a person of power.\nIn the Odyssey the goal of getting home is more important to the development of Odysseus's character. He learns something important while on his journey that makes him a more fully developed character. He learns about the value of family. After the Trojan war, Odysseus understands that he can now go back home to his family.\nIn Greek culture, it is a custom to bury the dead to please the gods. The Greeks also believed that when you don\u2019t bury someone they will wonder the earth. Antigone wanted to give Polynecies a proper burial because it is right in the god\u2019s eyes. She also wanted him to have an afterlife. She never lied to Creon when she was caught burying the body.\nThe Dale Patrick Burns stated \u201c I parked in the front of the parking lot, exited out from the driver side, noticed that I forgot to bring my backpack, and I went back to get it. After grabbing my backpack, a guy came up with his hands, and pushed me back. The guy behind me threaten me with something that felt like a gun pointed at my back and grabbed my backpack. After that, they were running toward the red truck into woods. Also, I saw the guy behind me have a red swastika tattoo and has a mohawk hairstyle from the reflection of my truck.\u201d\nIn Ancient Greece, peoples fear of reanimation forced them to perform burial rituals for the dead, fearful that if they did not, the dead would come back to harm the living. In 19th century U.S. and Europe, reanimation was feared to the point where people had to place cages over their graves, so that the living would not harm the dead\u2019s bodies through electric reanimation. In 19th century Haiti, Haitians feared reanimation because they were afraid of the idea of being drugged, or \u201ckilled\u201d, and being reanimated to be used as slaves. While it is true that all three societies shared the anxiety of reanimation, it would be unfair to suggest that these fears have similar origins. By viewing the historical context of each society, it is evident that\nDrew Dryden Mrs. Newton ELA Period 2-3 October 11 2016 In the short story, Ransom of Red Chief, by O Henry and the film, Home Alone, by Chris Columbus and John Hughes. Don\u2019t judge a book by its cover, has been a well common theme for a story. Every movie, book, or play has a main message known as the theme. Never underestimate someone who is smaller than you .\nHaving a sibling or multiple can be painstaking at points but it can also a relationship that nobody can tear apart. I have a sibling and we have the greatest bond of all time. We share many of the same characteristics as Lyman and Henry. \u201cThe Red Convertible\u201d is a great example of two brothers who love eachother but the war has torn them apart. After researching Louise Erdrich 's life and reading \u201cThe Red Convertible\u201d, the best literary elements of the short-story are the car in general, the raging waters, and the boots filling up with water to drown Henry.\nLong ago, before America was the great country she is now, she was one of the many children of the great Queen Britain. Although she was the most talented of all her siblings, America cared much more about compassion and justice than she did entertainment and fame. In fact, she despised fame with great fervour. But, unlike her daughter, Queen Britain did absolutely anything for attention. She loved fame, and wanted to the whole world to know her name.\n\u201cMasque of the Red Death\u201d by Edgar Allan Poe is full of literary elements such as antagonist, climax, imagery, personification, and symbolism. Throughout the plenary story these elements are present. The antagonist, or \u2018villain\u2019, of \u201cMasque of the Red Death\u201d is the Red Death. It is the antagonist because it causes all of the tribulation in the story.\nI\u2019ve seen many of my people fall victim to the brutality of the \u201cRed Death\u201d. The disease continues to inflict blood on even the youngest of children and the oldest of the elders. Along my streets, I see my people lying helpless, suffering from the clutches of the \u201cRed Death\u201d while others have already been taken by it. Nothing that has ever happened in this world, amounts to the devastation that this disease has brought to my kingdom. Nevertheless, I do not fear the disease, and my happiness and joy remain and will remain throughout this epidemic.\nMichael Gorges Mrs. Welch GCLC March 21, 2017 Thanatos In Ancient Greek mythology, there lived a demonic representation of death known as Thanatos. The representation of Thanatos appeared in many famous dictations in the past, first and foremost by Homer in various poems. He did not appear as a divinity but was instead seen as the brother of Sleep.", "id": "<urn:uuid:bc9892e9-5048-4ae1-9e87-509e1fcda504>", "dump": "CC-MAIN-2022-21", "url": "https://www.ipl.org/essay/Red-Queen-Essay-PJUZ5PXQ8AB", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662627464.60/warc/CC-MAIN-20220526224902-20220527014902-00554.warc.gz", "language": "en", "language_score": 0.976159930229187, "token_count": 1094, "score": 3.5625, "int_score": 4}
{"text": "Puppets have a special place in the classroom of littles. Using a puppet in teaching may feel like another item to worry about or check off your ever-growing to-do list, however, when used correctly, they can be powerful to students. It\u2019s as if you have a second teacher in the classroom, a separate being with separate ideas is what they see it as. Puppets to students are magical, even when they are old enough to know better of what they are and how they work, their little brains work in the way that they look at that inanimate object as an animate object with its own thoughts and feelings, even if they are all indirectly coming from you as the puppeteer.\nTips for using a puppet in the classroom:\n- Use him as an example of good behaviors you want students to model.\n- Use him as an example of common problems in the classroom such as trouble with a math problem. Later, when students run into the same problem, a great reminder for them would be how the puppet solved the problem.\n- Use him as a new storyteller in the classroom.\n- Let the puppet introduce new topics such as persuasive writing or reading non-fiction.\n- Let the students use the puppet as a writing audience.\n- Turn it into an art project and allow the students to create their own puppets.\nPuppets have a big place in the classroom, whether he or she becomes a part of the classroom, or they are simply used in dramatic play for storytelling. The best part of puppets is that they can be as complicated and expensive as your limits allow, but also as simple as a sock with buttons glued on. They don\u2019t care about the complexity of it, they just care about the magic behind it.\nDo you use puppets in the classroom? What benefits do you see?\nI am all for promoting a good read-aloud in every classroom from daycares to high school students. I know the power and lessons picture books can hold when you choose the right one. However, I am also aware that simply reading a picture book to students can become mundane and routine when done often, so here are a few tips on how to switch up how you share books with students.\n- Felt board stories- For those that aren\u2019t crafty (like me), check Etsy for links to buy sets of felt storyboard characters. Or grab a crafty friend or two to help you create fun sets yourself.\n- YouTube videos of books- The majority of popular picture books have at least one YouTube video of someone reading the story. There are whole YouTube channels dedicated to read-aloud books, sometimes with music or discussions at the end.\n- Vooks- This is a subscription for an animated book collection of popular picture books, however, last I checked it was offered free for teachers for one year. It seems worth checking out.\n- Guest readers- For those parents, friends, and community members that are wanting to help in your classroom. How exciting would it be to have a REAL firefighter read a story about what firefighters do?\n- Students draw as you read- Let their imaginations do a little work, ask them to illustrate the story as you read.\n- The student reads- If you have students that are strong readers that wouldn\u2019t mind a little time in the limelight, give them a chance to read their peers a quick story.\n- Coloring pages that go along with the story- I distinctly remember in 2nd grade my teacher read aloud Charlotte\u2019s Web while we colored pictures of pigs, mice, cows, goats, and spiders each day and we hung a few favorites around the room. It brought the story alive in a new way, especially as it became part of our classroom.\n- Puppets- They don\u2019t have to be extravagant. Put a sock with some button eyes over your hand to speak as the pigeon in Pigeon Drives The Bus and suddenly your student engagement skyrockets because it\u2019s a little different and a little new.\n- Act it out- Once the story is over, let a few students act out their interpretation of the story.\n- Change Your Location- Changing up how the book is read seems to be the first idea of increasing engagement. However, changing something like location can amp up the excitement of the book as well. A dear friend of mine once brought her students outside bundled up and ready for a cool fall day while they sat under a big tree watching the falling leaves, and read aloud to them Fletcher And The Falling Leaves. What a magical way to have a story truly come alive for kids.\nWhat fun ways do you switch up reading for your students? How else do you increase engagement in your students while reading?", "id": "<urn:uuid:4439f8b8-ad95-4650-8842-2d020951c518>", "dump": "CC-MAIN-2022-21", "url": "https://www.honorsgradu.com/tag/puppets/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00554.warc.gz", "language": "en", "language_score": 0.9660773277282715, "token_count": 989, "score": 3.8125, "int_score": 4}
{"text": "for a private consultation\nBy Eden Gallery,\nPosted Jun 10, 2021 ,\nIn Art Blog, Modern Art\nThe modern art movement produced some of the world\u2019s most recognizable and beloved artworks. In just over a hundred years, modern artists completely transformed what critics and the public knew art to be.\nModern art is artists\u2019 response to the radically new lives, technologies, and ideas that came out of the 20th century.\nThe modern art period coincided with significant cultural, societal, and political change and upheaval, resulting in radical changes in artistic styles.\nModern art is defined as artworks produced between the 1860s to the 1970s in modern styles. Modern art denotes one or more of the styles and philosophies prevalent in the art produced during that era.\nSome artwork produced during this period followed more traditional or classical styles. But the term \u201cmodern art\u201d is associated with art that challenged the traditions and techniques that came before it.\nVan Gogh\u2019s Sunflowers, Picasso\u2019s Les Demoiselles d\u2019Avignon, and Warhol\u2019s Campbell\u2019s Soup Cans are all examples of well-known modern artworks. Modern art is specific to a period and should not be confused with contemporary art which is being produced today.\nModern art is now well established as \u201creal art\u201d and was responsible for redefining what art was. Artists who preceded the modern art era focused on realistic art, created as a means for storytelling.\nTraditionally, art had been used to document, tell a narrative, or capture a moment in time and space. By contrast, modern art is not always true to reality. Modern artists distorted reality to different extents through the use of radical new painting techniques and styles.\nMany art historians consider Paul C\u00e9zanne to be the inventor, or \u201cthe Father\u201d of Modern art. Paul C\u00e9zanne was a French oil painter working in the late 19th century. His work broke away from the impressionist style and became a catalyst for the modern art styles that followed it.\nModern art began roughly during the late nineteenth century and spanned from the 1860s to the 1970s.\nArtists of the period sought to rebel against the traditional constraints of realistic art that were technically correct. Artists sought to capture on canvas, or through sculpture, the modernism they saw around them in society and technology.\nFollowing the Industrial Revolution, the world saw rapid changes in politics, transportation, society, manufacturing, and technology. It was a period that would become a crucial turning point in world history.\nTrain travel and industrialization allowed more people a freedom of movement that expanded their horizons. Populations shifted en masse from the countryside to rapidly growing urban metropolises.\nThe invention of photography art created an accurate means to depict the world, a role previously held by paintings.\nPainters then turned away from realism and accurate depictions of scenes. They began to look to their dreams, feelings, personal iconography, and symbolism as inspiration instead of reality.\nBefore the 19th century, artists had traditionally worked on commission, often for the church or wealthy patrons. This meant that much of the artwork created in the earlier centuries had a religious theme.\nBut in the late 1800s, artists began to make more artwork using their own choice of subject matters. This allowed artists to depict a wider view of the world and society, to take a political or social stance, and make their own commentary through artwork.\nArtists took inspiration from their personal experiences and the modern advancements and inventions of the time.\nThe urbanization of the period also allowed artists to assemble more easily and interact, allowing artists to create schools with like-minded contemporaries.\nImpressionism was the catalyst for the modern art movement. It was the first modern painting style that introduced an emphasis on light and abandoned technical painting techniques to introduce blurred brushstrokes.\nModern art plays an essential role as a stimulus that can provoke independent thoughts and even emotions. Modern art gives the audience an opportunity to embrace new ideas and reflect on changes in the world and our lives differently.\nModern art is often mistaken for contemporary art. Both \u201cmodern\u201d and \u201ccontemporary\u201d are terms to describe something current, but modern art came from a period where modernism in itself was a new concept, and new ideas flourished and changed the world at a rapid pace.\nAlthough there are many different styles and movements within the modern art period, there are underlying principles that unite and define modernist art.\nThese include the rejection of conservative values and tradition, innovation, a tendency to abstraction, an emphasis on ideas and feelings, experimentation with materials, techniques, processes, and a shift towards social and political agendas.\nModern art aims to reject traditional aesthetic values through the reimagining or reinterpretation of scenes and ideas. Modern artists were determined to move with the times and stay current.\nEach modern art movement developed a visual language that was determined to be both original and representative of the times.\nTherefore modern art styles can be grouped as movements or schools. Similar working styles were seen amongst groups of artists for short periods before they moved on and reinvented themselves.\nThere was a tremendous amount of change in the styles and techniques used by artists over the century that modern art flourished.\nThere are countless styles of modern art, which include:\nThere are far too many famous artists from the modern art movements to name them all. Here are just a few of the many well-known modern artists whose artwork fits into the definition of modern art.\nModern artists were challenging the notion that art must depict the world realistically.\nThe avant-garde artists of the last century changed the art world forever, and their works are still cherished, studied, and appreciated today. Modern art styles produced by contemporary artists remain popular choices for collectors and to display in private homes.\n92x122 cm | 36x48 in\nShare with friends\n90x109 cm | 35x42 in\n25x52x16 cm | 9x20x6 in\n90x60 cm | 35x23 in\n68x79 cm | 26x31 in\n100x80 cm | 39x31 in\n120x180 cm | 47x70 in\nStreet art has made its way into the heart of what luxury fashion embodies in the 21st century. Click here to learn more about the individuals responsible for the movement of street tagging to high fashion collaborations.\nWorld traveler SN is one of Eden Gallery's most dynamic artists, incorporating different cultures and far-reaching parts of the world into his art. Click here to explore more about his recent Tanzania exploration.\nEduardo Kobra creates magnificent murals of historical figures over time that have changed the way we function as a society, across all countries. Click here to see more from Kobra.\nJonty Hurwitz's rare and personal combination of science and the arts in his one-of-a-kind anamorphic sculptures can be viewed in-person at Eden Gallery a well as on the Eden website. Explore his collection today to find a visually stimulating and fascinating addition to your space.\nLearn about the rise of luxury arts and the already rich history behind the United Arab Emirates. Click here\nEden Gallery opens Mykonos Nammos Village gallery for the summer season! Click here to learn more about the vibrant, luxurious island of Mykonos with an abundance of night life, fine art, and rich history.\nAs climate change becomes an increasingly dire problem with each passing year, humans around the globe are trying to do what they can, in ways big and small, to help save the planet. Learn more about World Creativity Day here.\nAs Eden Gallery's closest example of Abstract Expressionism, Calman Shemi is an artist who is not afraid to experiment with vibrant colors, which unite cohesively in his artworks as abstract forms that express the unconscious. Read more about Calman Shemi here.\nEmbellishments in art are thoughtful, specific details that are added by the artist on top of the existing work. Learn more about embellishments here.\nSubscribe for Exclusive Updates\nBe the first to receive information about new collections, new artists, and event invitations.", "id": "<urn:uuid:b5637705-453c-4c54-9cb6-2b27455a749e>", "dump": "CC-MAIN-2022-21", "url": "https://www.eden-gallery.com/news/what-is-modern-art", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00355.warc.gz", "language": "en", "language_score": 0.9562727808952332, "token_count": 1711, "score": 3.578125, "int_score": 4}
{"text": "Creative writing \u2013 the two words in the HSC English syllabus that make students wince in despair! Few guidelines and barely any structure is given, yet you are expected to craft a story out of thin air using a tiny amount of stimulus. However, creative writing is not always as it seems \u2013 it is one of the few moments in the entire HSC that allows you to be the author, not simply analysing and critiquing other texts, but creating one of your own. Although this kind of freedom can be intimidating to many, it is also a chance to show how well you understand the Area of Study with your own personal flair. Having said this, following a few simple rules allows you to write creative pieces worthy of a Band 6, both while practicing and in the final exam.\nFirstly, guidelines to prepare for the exam:\n- Practice writing in an exam environment, with a set amount of time for your story.\n- Use stimuli from past and practice papers, finding at least a few connections to belonging for each \u2013 that way, when you\u2019re faced with something new, it will be easier to make a connection so you don\u2019t waste time trying to find one.\n- Editing your stories and even other people\u2019s work can give you a fair idea of what your strengths and weaknesses are. This allows you to improve your work significantly.\n- Being prepared is key \u2013 practice, practice, practice!! Feedback from people never hurts, if anything it will be a guideline to improve your work.\nNow, for the story itself:\n- Establish a concept \u2013 how will you connect the stimulus you\u2019re given to belonging? Will it be to people or a place? What mood will your story have and what turns will it take? Basic concepts of writing a story will come into play here \u2013 have the beginning, middle and end in mind before you start, keeping in mind this CAN change quickly.\n- Will you use 1st, 2nd or 3rd person? And will it be past, present or future tense? Remember to decide that in the beginning and stick to it throughout \u2013 this is why proofreading is so important!\n- It is always important to use imagery that appeals to all the senses \u2013 being in-depth will allow the marker to visualise the situations and characters in the story, and the mood you are trying to create.\n- Think of a pace and how the sentence structure affects it \u2013 short sentences create a fast, frenzied pace, whereas longer ones are more relaxed and slow.\n- Be original \u2013 many English teachers these days will find anything a clich\u00e9, so you need to set your story apart from the thousands of others. You can do this by experimenting beforehand with different settings, personal experience and interwoven timespans; freedom in writing doesn\u2019t have to be all pressure, it\u2019s always what you make of it", "id": "<urn:uuid:060679a7-6b26-4661-ad7a-6dcbe65e0767>", "dump": "CC-MAIN-2022-21", "url": "https://savemyhsc.com.au/handy-creative-writing-tips/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662552994.41/warc/CC-MAIN-20220523011006-20220523041006-00554.warc.gz", "language": "en", "language_score": 0.9413403272628784, "token_count": 596, "score": 3.671875, "int_score": 4}
{"text": "How to Write a Number in a Letter\nWhen writing a business or formal letter, the way you write numbers can influence how the recipient sees the readability and professionalism of your writing. Drawing on common writing style principles and accepted standards for particular topics, you can appropriately write out numerals and other quantities in a way that will solidify the quality of your writing. The main trick is to be consistent throughout.\nWrite addresses the same as you would for an envelope, with the street address on one line and the city, state and ZIP code on the next line. Example: 123 Elm Street on one line and Eagletown, LA 71234 on the next.\nWrite contact phone numbers as either (999) 123-4567 or 999-123-4567.\nWrite out the month in dates, such as January 1, 2012.\nStick to words for zero through one hundred and numerals for 101 and above. You could say your organization has eighty-five members or 185 members.\nUse numerals for consistency, if your letter includes numbers above and below 100. This avoids awkward phrasing, such as \"between ninety-five and 105.\"\nSpell out large, round numbers with only a numeral at the beginning, as in 8 million. Use numerals for figures that would require many words, opting for 775,000 rather than seven hundred seventy-five thousand.\nUse numerals for all percentages, as in 87 percent or 87.75 percent. You can use either the word percent or the sign % as long as you remain uniform. Do not include trailing zeroes (such as 55.0 percent) unless directing your letter to a math or science audience warranting significant digits. Even tens numbers can be in words, as in twenty percent, though keeping consistent with other percentages would trump this.\nUse numerals for decimal figures such as 3.14, and include a zero at the beginning of a number less than one, such as 0.375. Again, omit trailing zeroes unless they are central to the accuracy of the data that you're discussing.\nWrite out fractions in words, such as two-fifths, only if the number is less than one. Use numerals for greater mixed numbers, such as 3 3/4.\nUse the dollar sign and numerals for money amounts below 1 million, omitting the decimal and zeroes for whole dollars, such as $15 or $20,000.\nWrite round figures of 1 million or more with only the beginning numerals, as in $10 million. You can use a maximum of two decimals for a number like $12.75 million, but otherwise use only numerals, such as $12,755,500.\nWhen in doubt, find a guide such as \"The Chicago Manual of Style\" and stick to that writing guide's rules. \"The Associated Press Stylebook\" is the norm for journalism, and it's an alternative option for letters regarding public relations or being directed to the media.\nWhen writing a letter for a specific audience, perhaps a grant request or a letter to a colleague about research findings, follow the number format common to academic or professional papers from that field.\nThings You'll Need\n- Pen and paper\n- When in doubt, find a guide such as \"The Chicago Manual of Style\" and stick to that writing guide's rules. \"The Associated Press Stylebook\" is the norm for journalism, and it's an alternative option for letters regarding public relations or being directed to the media.\n- When writing a letter for a specific audience, perhaps a grant request or a letter to a colleague about research findings, follow the number format common to academic or professional papers from that field.\nJohn Bland has been a freelance writer since 2009, with his essays, fiction and poetry appearing in \"Shine Magazine,\" \"North Texas Review\" and many online journals. He received a Bachelor of Arts in creative writing from the University of North Texas in 2008.", "id": "<urn:uuid:14214682-0c7b-4582-bc6c-4262979e0e5a>", "dump": "CC-MAIN-2022-21", "url": "https://penandthepad.com/write-number-letter-8076410.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00154.warc.gz", "language": "en", "language_score": 0.9420324563980103, "token_count": 863, "score": 3.640625, "int_score": 4}
{"text": "Following are ideas for incorporating technology tools for implementing ISTE Standards for Students.\nCreativity and Innovation\n- Collaboration: Students brainstorm for Ideation using a virtual sticky note board such as Padlet or 3M\u2019s Post It Plus.\n- Publishing: Students use 3D Creation tools such as Sketch Up or Tinkercad to develop prototype models. Students use digital storytelling tools or such as Animoto, WeVideo , GoAnimate for Schools , Lego Movie Maker , Zooburst, Storybird, or comic creation portals such as Pixton and Make Beliefs Comix to create original interpretations of disciplinary understandings or expressive narratives.\nCommunication and Collaboration\n- Communication: Students participate in expert interviews via video conferencing tools such as Skype or Google Hangouts or virtual field trips via the Digital Human Library or Google\u2019s Expeditions Pioneer Program.\n- Collaboration: Students use Edmodo or Wikispaces to collaborate on projects with students from other places and cultures\n- Publishing: Students use blogging platforms such as kidblog, edublogs or blogger to share their thoughts, ideas and reflections.\nResearch and Information Fluency:\n- Communication: Students use Flipgrid (video) or Vocaroo (audio) to record reflections throughout the research process\n- Collaboration: Students collaboratively annotate documents and /or create a collaborative resource list using diigo, Ref Me, or Noodle Tools. Students use a collaborative mind mapping tool such as Lucid Chart to organize questions or found information.\n- Publishing: Students publish evaluated and annotated resources to a public curation site such as: Scoop It, Pearltrees or Pinterest.\nCritical Thinking, Problem Solving and Decision Making:\n- Communication: Students present arguments for possible favored solutions to a challenge or problem via Voicethread or Flipgrid.\n- Collaboration: Students use a collaborative mind mapping tool such as Lucidchart or shared action list using Trello to manage and organize processes.\n- Publishing: Students publish research results using infographic creation tools such as: Easely, Pictochart or Canva.\n- Communication: After sharing a questioned digital citizenship incident or situation, students participate in a discussion via Todays Meet regarding thoughts, reactions and possible solutions.\n- Collaboration: Students use a digital storytelling tool such as Go Animate for Schools to collaboratively demonstrate a possible solution to a shared digital citizenship issue.\n- Publishing: Students locate, upload and cite free use media resources in blog posts or video creations.\nTechnology Operations and Concepts:\n- Communication: Students review possible technological tools and share thoughts on ease of use, possibilities for use and recommendations.\n- Collaboration: Students work together to figure out how to use a new tool.\n- Publishing: Students create and publish screencast or video tutorials, using Explain Everything or Screencastify, or Powtoons showing others how to use a particular tool or to explain concepts such as \u201ccloud computing\u201d or \u201cURL protocol\u201d.\nInternational Society for Technology Education, 2007. ISTE Standards for Students. Retrieved from http://www.iste.org/standards/ISTE-standards/standards-for-students\nSchiano, D. Always Interested Library and Info Center Retrieved from www.alwasyinterested.nett/free-use-media.html", "id": "<urn:uuid:567bdc4b-5f7f-41da-8c60-b4c4547b1b24>", "dump": "CC-MAIN-2022-21", "url": "https://alwaysinterested.org/2015/11/29/implementing-iste-standards-for-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00355.warc.gz", "language": "en", "language_score": 0.8051944375038147, "token_count": 699, "score": 3.921875, "int_score": 4}
{"text": "- 1 How is language important to storytelling?\n- 2 How does story telling develop language?\n- 3 How does storytelling help with language development?\n- 4 Is storytelling a form of language?\n- 5 Why is storytelling so powerful?\n- 6 What is the purpose of storytelling?\n- 7 What is storytelling strategy?\n- 8 What are some storytelling techniques?\n- 9 What is the importance of oral storytelling?\n- 10 How do children learn through storytelling?\n- 11 How do you engage children in storytelling?\n- 12 How can storytelling develop oral skills?\n- 13 What are the 4 P\u2019s of storytelling?\n- 14 What is the difference between storytelling and acting?\nHow is language important to storytelling?\nStorytelling brings language learning alive and creates a participatory and immersive experience that allows Young Learners to enjoy hearing the language in a dynamic, sometimes stylistic and entertaining way. Participation using key vocabulary and phrases can create an awareness of rhythm and structure.\nHow does story telling develop language?\nTelling and listening to stories provides a bridge between the oral language skills of early childhood and the more formal language of print. To encourage this ability in your child, ask her to retell a story you have just read.\nHow does storytelling help with language development?\nListening to stories draws attention to the sounds of language and helps children develop a sensitivity to the way language works. Active participation in literacy experiences can enhance the development of comprehension, oral language, and the sense of story structure (Morrow 1985).\nIs storytelling a form of language?\nStorytelling uses words. Storytelling uses language, whether it be a spoken language or a manual language such as American Sign Language. The use of language distinguishes storytelling from most forms of dance and mime.\nWhy is storytelling so powerful?\nTelling stories is one of the most powerful means that leaders have to influence, teach, and inspire. What makes storytelling so effective for learning? For starters, storytelling forges connections among people, and between people and ideas. Stories convey the culture, history, and values that unite people.\nWhat is the purpose of storytelling?\nTelling stories gives us a sense of culture, history, and personal identity. Storytelling passes on personal, hi-stoical, or cultural events or experiences so they transcend to shared experiences. Storytelling alters individuals,changing them into families, groups, communities, and even nations.\nWhat is storytelling strategy?\nYour storytelling strategy is all about the big picture: laying the foundation of your organization\u2019s narrative, identifying the audiences your stories will speak to and, most importantly, setting goals and objectives for your work.\nWhat are some storytelling techniques?\nHere are seven storytelling techniques:\n- Have an Enemy and a Hero. Stories need a good guy and a bad guy \u2013 also called a hero and an enemy.\n- Use Conflict.\n- Omit any Irrelevant Detail.\n- Tell the Story Like You Talk.\n- Make It Visual.\n- Make It Personal & Easy to Relate To.\n- Add Surprise.\n- Your Blog.\nWhat is the importance of oral storytelling?\nStudies reinforce the importance of oral storytelling in the development of an individual\u2019s social and emotional abilities, cognitive growth, as well as their language skills. Socially and emotionally, oral storytelling is much more personal than telling a story using a book.\nHow do children learn through storytelling?\nThrough storytelling, children learn how to pay attention and listen actively to the person talking. They learn to be more patient as they listen to others speak. It also opens their eyes to other people\u2019s thoughts and understanding how each and every person\u2019s opinion vary.\nHow do you engage children in storytelling?\n10 Tips to Make Story Time Memorable\n- Ask your child for book suggestions.\n- Consider your child\u2019s attention span or your family\u2019s schedule.\n- Consider different times of the day to read to your child.\n- Keep your child engaged in reading.\n- Read aloud together with your child.\n- Be creative during story time.\nHow can storytelling develop oral skills?\nStorytelling improved their comprehension, fluency, vocabulary, grammar, and pronunciation. Thus, it can be said that storytelling could improve students\u2019 speaking skill. As social human, people always interact and communicate one another. The first way to do the interaction and communication is by speaking.\nWhat are the 4 P\u2019s of storytelling?\nAs Patrick said, before his team takes on a project, they make sure they have a firm understanding of what they call the Four P\u2019s: People, Place, Plot, and Purpose.\nWhat is the difference between storytelling and acting?\n\u201cOne of the differences I feel is when you are acting, you\u2019re emoting a lot of feelings \u2013 your character is feeling this and that \u2013 and in storytelling, you are telling what the character is feeling; you\u2019re not feeling it.\u201d", "id": "<urn:uuid:8d020e62-c214-4902-bbaa-f49630733fe5>", "dump": "CC-MAIN-2022-21", "url": "https://barbaraelenahollenbach.com/linguistics/often-asked-how-does-linguistics-apply-to-storytelling.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00155.warc.gz", "language": "en", "language_score": 0.923069417476654, "token_count": 1037, "score": 3.65625, "int_score": 4}
{"text": "\u201cYour silence will not protect you.\u201d Audre Lorde \u2013 Self-Expression\nHow do we know when to be silent?\nStudents make moral choices everyday. These choices usually revolve around specific actions they take, like helping a friend, deciding not to cheat on a test, or obeying curfew. Students also make the moral choice to be silent after witnessing the immoral behavior of others. In these situations, fear and the impulse for self-protection override the duty to help others. Learning when to speak up in the midst of injustice is a very important part of moral development.\nJoin Steve and Dan Fouts for an unforgettable conversation about self-expression that you can recreate in your classroom using the Teach Different 3-Step Method.\nImage source: Wikimedia | Elsa Dorfman\nSteve Fouts: 00:02\nHey everybody, Steve and Dan Fouts here, and we are teaching different with American civil rights activist, Audre Lorde with a quote about self-expression. Here\u2019s the quote, \u201cYour silence will not protect you.\u201d A really thought-provoking quote about how silence is somehow linked to protection and whether you say something or not will affect your safety. What claim would you say that it\u2019s making?\nDan Fouts: 00:37 \u2013 Claim\nYeah, very thought provoking and she\u2019s saying, hello people silence is not going to protect you. In other words, speak up. Your voice in the world is never going to be heard if you don\u2019t have the courage to speak up.\nSteve Fouts: 00:54\nAnd that sounds like something a Civil Rights Activist would believe.\nDan Fouts: 00:56\nYes, and she spoke out against racism and sexism in the context of civil rights and so it totally fits her background.\nSteve Fouts: 01:09\nNow, when it comes to the students and getting the conversation going, I think asking them to talk about a time when they were silent, because they felt like they needed to protect themselves would be a really good storytelling prompt. You\u2019re going to get some interesting stories from that. They\u2019re going to talk about their friends that they may have had to protect them. That\u2019s going to be a good way to get this conversation going. Now, about the counterclaim. What is the push back to this one?\nDan Fouts: 01:43 \u2013 Counterclaim\nWell, sometimes being quiet is the right thing to do. Sometimes not speaking out is the appropriate response, because you really do need to protect yourself or a friend. At least you think it\u2019s the right thing to do.\nSteve Fouts: 02:00\nRight. Again going to the storytelling. Bullying might be an interesting theme to bring up, because when bullying happens there are witnesses at times and sometimes they remain silent and don\u2019t speak up.\nDan Fouts: 02:16\nThis is interesting because there are a lot of examples where students won\u2019t say anything, and they would probably argue that they don\u2019t want to ruffle feathers.\nSteve Fouts: 02:29\nThey\u2019re minding their own business.\nDan Fouts: 02:30\nI don\u2019t want to make a situation worse by speaking up. I have myself to protect and I\u2019m not going to go around\u2026\nSteve Fouts: 02:38\nIt\u2019s not worth it.\nDan Fouts: 02:39\n\u2026regulating other people\u2019s behavior. Which, of course, Audrey Lorde would bristle at because as a civil rights activist she would want the opposite behavior.\nSteve Fouts: 02:52\nIt is situational. Getting the students to talk about how they reacted to those environments \u2013 did they speak up, did they remain silent, did they regret it later, are they happy they did it \u2013 is going to be interesting.\nDan Fouts: 03:08\nDefinitely. After they share their stories, follow them up with how did it work out in the end. If it worked out well, then you can go a little farther and say, because it worked out okay, to not say anything in that situation, does that make it the right thing to do?\nSteve Fouts: 03:32 \u2013 Essential Question\nExactly, and then when they get to hear from other students about how it did work out or didn\u2019t, that\u2019s when it\u2019s going to get interesting. That\u2019s going to inform their position when you ask the essential question, which could wrap this up very nicely. How do we know when to be silent? That\u2019s going to get some great responses. You\u2019ll enjoy reading where the students are coming from, because it\u2019s not clear when the best time is to be silent or speak up. It really depends on the situation and the person.\nDan Fouts: 04:14\nRight, and what a great little writing assignment you could have them do after this conversation with that essential question leading the way.\nSteve Fouts: 04:20\nDan Fouts: 04:21\nI think that this would get them to become more self-aware, and most importantly, aware of the ethical decisions that they\u2019re making every day.\nSteve Fouts: 04:34\nExactly. Most people, I would say, don\u2019t think being silent is an ethical decision.\nDan Fouts: 04:42\nSteve Fouts: 04:45\nBut it is, and it\u2019s okay to know that. This will be great. This conversation is going to light up the classroom.\nWe hope you enjoyed Audrey Lorde. Make sure to go to our Conversation Library where we have all kinds of resources you can use to get these great conversations going in your classroom. We\u2019ll talk to you soon.\nDan Fouts: 05:13\nOkay, take care.", "id": "<urn:uuid:86fa9d71-484a-43d1-960b-bddd0fb9b31f>", "dump": "CC-MAIN-2022-21", "url": "https://teachdifferent.com/podcast/your-silence-will-not-protect-you-teach-different-with-audre-lorde-self-expression/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604495.84/warc/CC-MAIN-20220526065603-20220526095603-00554.warc.gz", "language": "en", "language_score": 0.9620530009269714, "token_count": 1261, "score": 3.515625, "int_score": 4}
{"text": "What you need to know about FASD\nFASD is a form of brain damage that can make it difficult for students to keep up with others in school or perform activities in daily life.\nIndividuals with FASD often demonstrate:\n- Poor judgment, social skills and organizational skills\n- Difficulty recognizing and setting boundaries\n- Good verbal skills but poor follow-through.\nStudents with FASD often recognize that they are different and that they feel like they are \u201cjust not getting it\u201d.\nOne of the biggest differences between FASD and other exceptionalities- and one of the most frustrating aspects of this disorder \u2013 is that many students with FASD have a great deal of difficulty learning from experience. As a result, consequences that may work well with most students may not benefit some of the students affected by FASD.\nSecondary Concerns related to FASD include:\n- Being at increased risk of developing emotional problems, such as depression.\n- PLEASE USE THE \u201cStrategies not solutions brochure to explain the lying, stealing and defiance\u201d\n- They can often be easily led and manipulated,\n- May develop serious social problems including alcohol abuse, physical abuse and sexual abuse. (I AM NOT COMFORTABLE WITH THIS\u2026 )please find another resource to describe\u2026 we can talk about this\u2026.\nAn FASD Assessment and Diagnosis can be a protective factor for these students; if they receive a medical diagnosis of FASD (and the understanding and support that goes along with this diagnosis), they are less likely to develop secondary disabilities such as conduct disorders or drug dependency.\nCould a student have FASD and we not aware of it?\nPossibly. In many ways, FASD is an invisible condition. Because the most obvious symptoms of FASD are often behavioral ones (caused by the brain dysfunction), people don\u2019t always look for a medical cause.\nAlthough there are several distinct physical characteristics that doctors use to help diagnose FASD, people with this disability are affected in different ways and may look quite typical. Therefore, physical symptoms are not an indicator of the severity of brain damage).\nEven when FASD is suspected, it is challenging to diagnose this syndrome because:\n- There is no one symptom that can identify FASD\n- There are no specific tests to diagnose FASD\n- Many FASD symptoms are hard to see in babies\n- These children may not be living with their birth parents, making it difficult to confirm the mother\u2019s alcohol use during pregnancy\n- The symptoms of FASD can also be symptoms of other problems\nOver the last few years, there has been more research and training for multidisciplinary assessment teams so they can recognize and diagnose this condition more accurately.\nWhat can I do if I suspect a student has FASD?\nThe school can do an educational and psychological assessment of the individual student and look for immediate ways to support this student. If warranted, school staff can use information from these assessments to encourage the families to seek further medical and psychological assessment, often beginning with the family physician.\nFASD is a medical condition that must be diagnosed by a qualified team of health professionals. It is therefore important for educators to direct their concerns appropriately as an attempt to investigate, diagnose or label the student\u2019s learning and behavioral difficulties as FASD may be premature.\nA diagnosis of FASD can serve as a protective factor for students and their families. So it is important that student receive a diagnosis- understanding the characteristics and needs of students with FASD helps parents and school staff adjusts expectations, build a supportive environment and better meet the developmental needs of these children.\nWhat can I tell other students and parents about students with FASD?\nLike any medical or family background information, a student\u2019s diagnosis of FASD is confidential information and cannot be the subject of discussion with other students or parents. Schools need to focus on creating inclusive and supportive learning environments in which individual differences are respected and accommodated. Students need opportunities to work together, and they need to be encouraged and to learn how to show empathy and support for one another.\nWhat can schools do to support these students?\nSchool staff need to be aware of the individual needs and strengths of these students, and provide a safe, structured and supportive environment with appropriate levels of supervision, clear guidance and reasonable behavioral expectations.\nIn the classroom, these students need appropriate levels of support. They also need strategies to accommodate any memory, language or academic difficulties they may have. And like all students, they need opportunities to be successful, to belong and to contribute to the school community.\nWhat kind of support do teachers of these students need?\nTeachers need opportunities to build their understanding of FASD and how it impacts students and their families. Teachers also need the support and expertise of a collaborative team, including the school administrator. Often students with FASD have challenging behaviors and special learning needs that require a team approach. Teachers may also need access to additional professional development and consultants.\nWhat can schools do to prevent FASD?\nThe only way to prevent alcohol-related birth defects is supporting women to not drink alcohol during their pregnancies. Schools can provide information to students on FASD and the adverse effects of alcohol on the unborn baby. This information can be included in the Health and Life Skills program. Providing students with opportunities to develop strategies for managing emotions and feelings, making personal decisions, building a circle of support and making positive life choices can serve as a protective factor against future alcohol abuse.\nWhat can schools do to enlist the support of families of students with FASD?\nParents lay a critical role in their children\u2019s daily lives and can help school staff understand their children\u2019s behaviors and needs.\nSchool staff may be able to offer support and assistance to parents in the following areas:\n- Setting realistic goals and expectations for their children.\n- Keeping a positive focus on their children\u2019s strengths and accomplishments\n- Facilitating referrals to other agencies, such as health and social services\n- Finding parent support groups and / or counselling with knowledgeable individuals\n- Encouraging parents to participate in specialized parenting courses, such as those dealing with the parenting of children with behavioral challenges.\n- Link parents to online resources.\nSome parents may be reluctant to work with school staff for a number of reasons including economic or health difficulties, or a history of negative school experiences. It is essential that school staff encourage these families to actively participate in their children\u2019s education by:\n- Trying a range of ways to contact them (text, email etc)\n- Continuing to invite parents to come to school\n- Asking for the help of a parent advocate, family service agency worker or group already involved with the family, such as a health agency or child and family services\n- Maintaining a positive, understanding and nonjudgmental approach, even when the situation is challenging\n- Recognizing that parents have valuable information and insight about their own children.\n- Involve parents in case conferencing with other service providers\nA significant percentage of children identified with FASD are not living with their birth parents: they may be living with other family members or in foster care. Some of these families may still be struggling with alcohol abuse and some birth mothers may have FASD themselves. Many students rely on school being a safe and structured place where they can learn and feel like they belong.\nChanging the way we approach students affected by FASD\n|From seeing the students as \u2026|\nTrying to get attention\nRefusing to sit still\nTrying to annoy me\n|To understanding the student as \u2026Can\u2019t,|\ntired of failing\nStorytelling to compensate for memory\nNeeding contact support\nDisplaying behaviors of young child\nExhausted or cannot get started\nDoesn\u2019t \u201cget it\u201d, lacks understanding\nNeeding contact, acceptance\n|From personal feelings of\u2026.|\n|To feelings of\u2026Hope|\nWorking with Networking,collaboration\n|Professional shifts from..Stopping behaviors,Behavior modification|\nTeaching one way\n|To\u2026.Preventing problems by identifying what student needs,|\nusing visual cues\nTeaching many ways many times\nThis is a wonderful resources for educators (About 5minutes)\nVideo is Produced and Published By NeuroDevNet\nThese files are part of Teaching Students with Fetal Alcohol Spectrum Disorder: Building Strengths, Creating Hope (2004)\nOrganizing for instruction(754 kb)\nResponding to students\u2019 needs (1148 kb)", "id": "<urn:uuid:d0d123d2-8780-4d93-bc7b-de53b7283321>", "dump": "CC-MAIN-2022-21", "url": "https://neafan.ca/strategies-for-educators/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00355.warc.gz", "language": "en", "language_score": 0.953784704208374, "token_count": 1905, "score": 3.6875, "int_score": 4}
{"text": "Travelling to outer space, discovering cures for deadly diseases, accessing the world\u2019s knowledge at our fingertips \u2013 some of the feats humans have pulled off are mind-boggling. Now, what if we told you, \u2018making elephant tusks disappear\u2019 is also part of the long list of human exploits. Surprised?\nAfter years of illegal poaching activities, more and more elephants in the wild are found born without any tusks. This World Elephant Day, let\u2019s look at how humans, unwittingly, have changed the course of elephant evolution.\nAn elephant\u2019s tusks are its modified teeth. They are essentially the incisors (teeth meant for cutting or biting) of an elephant\u2019s upper jaw. The grey giants use their tusks for various activities including digging, carrying objects and defending themselves.\nInterestingly, similar to how humans are left or right-handed, elephants are also left or right tusked preferring the use of one tooth over the other!\nIvory is a white substance derived from the teeth and tusks of animals. As early as the Harappan civilization, artefacts made from ivory have been considered valuable. While ivory objects can be made from many different animal teeth, elephant tusks are the most popular choice. Most objects made from ivory were used for decorative or ornamental purposes.\nThe handles of spoons, gift boxes, pins and combs are just some examples of objects that were made from ivory. However, as valuable as these objects were, they came at a very high cost- the only way to obtain ivory is to kill an elephant and extract its tusk. In modern times ivory trading and poaching of African and Asian elephant tusks have been made illegal.\nUnfortunately, despite the ban on poaching elephants and trading ivory, many people still conduct these activities illegally. This prolonged illegal elephant poaching by humans has led elephants to evolve and become tusk-less. Here\u2019s how!\nWhile most elephants are born with tusks, there is a small portion of female elephants who are born without tusks. Since these elephants are not poached (as they don\u2019t have tusks to make ivory objects), they end up surviving, reproducing and giving birth to more daughter elephants who, like their mothers, are tusk-less. Scientists first noticed this when a surprisingly large number of elephants were born without tusks in Gorongosa National Park in Mozambique, Africa.\nSome informal accounts from scientists say the tusk-less variant of elephants is able to function without their modified teeth just fine. Many Asian elephants, for instance, depending on their habitats, are often tusk-less. But how their African cousins will adapt with fewer tusks is yet to be studied. Meanwhile, we still don\u2019t know if more elephants will be born with or without tusks as governments across the world crackdown further on illegal poaching activities.\nThis is also a reminder for us that human activities have far-reaching effects on the biodiversity of the planet. When we interact with the flora and fauna around us, we have the potential to change the course of species in lasting ways. Given this, caring for the environment (and the many beings it houses) responsibly becomes all the more important. Ever wondered what will humans look like in 1 million years.\nLiked this? Read more here\nDeepthi is an ambivert who is on a steady diet of good food, filter coffee, and self-improvement. Being an ardent reader, storytelling has been her first love and she enjoys exploring how to convey stories compellingly. Having studied psychology and experienced the learning and development field, Deepthi is driven to understand human behavior and to know what makes each of us unique. You are most likely to find her tucked into a cozy corner at a local cafe with a Kindle or a book in hand. If you find her there, stop by and say hello, she'd be eager to learn your story too. Until then, you can ping her at [email protected] for anything you may like to share.\nArya C is a 4th grader who talks about her transition from the US to India and how BYJU`S has helped her at that. She also loves how BYJU`S has made learning a lot more fun.\nMeet Sourabh who has a ton to say about his BYJU`S learning experience. His love for quizzes, games and other fun activities are paying off!\nV Shriya is a class eight student who has been using BYJU\u2019S for a year now. She shares her experiences with using the app and how it has helped her in improving her academic performance.", "id": "<urn:uuid:ddda0b90-ccc9-45a4-83fd-bb67b532ae25>", "dump": "CC-MAIN-2022-21", "url": "https://blog.byjus.com/knowledge-vine/elephants-lose-tusks/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662593428.63/warc/CC-MAIN-20220525182604-20220525212604-00755.warc.gz", "language": "en", "language_score": 0.9700344800949097, "token_count": 987, "score": 3.515625, "int_score": 4}
{"text": "WITHOUT WORDS: Looking at WORDLESS PICTURE BOOKS\nUpdated: Jun 4, 2018\nHave you ever read or shared a wordless picture book with your child or students?\nWe read books all the time that have words and no illustrations so why not books with only pictures and no words?\nText only books allow us to create pictures in our minds. So, in the same way, picture only books can assist to build words and thus create stories.\nWordless picture books encourage storytelling and are the perfect tool for enhancing visual literacy skills. Their breathtaking images provide a pure feast for the eyes with endless possibilities to learn from them as visual texts.\nWhat are Wordless Picture Books?\nWordless picture books have no words. The narrative is told entirely through the illustrations on the pages. Sometimes there are just a few words, though often, these are limited to the sounds being made (onomatopoeia) in the story. Peritextual elements, such as the title of the book and author or publisher blurbs inside the dust jacket, are also evident and may give clues to the visual narrative. Importantly, the story\u2019s characters, settings, plot and meaning are built through what is visually communicated within the images. Indeed, any \"written text is subservient to the visually rendered narrative\" (Serafini, 2014, p. 25). The images tell the story.\nWho can read Wordless Picture Books?\nWordless picture books can be enjoyed by both younger and older readers. Struggling readers, reluctant readers and readers whose language is not native to the country, can all benefit immensely from wordless narratives. Yet, this does not make wordless picture books and narratives simple or an easy alternative to written text. Generally, wordless picture books contain amazing and complex imagery where visual literacy skills need to be employed to derive understanding and meaning of the whole narrative. As with other books, wordless picture books are developed for certain age groups dependant on the theme and complexity of the story and visual design.\nWordless Picture Books are fantastic for\u2026 (infographic)\nWhy read Wordless Picture Books?\nWordless picture books open endless possibilities by:\nallowing readers to be able to read at their own pace. Readers can get lost in the detail and this quiet reflective time can allow them a quiet space for their own thoughts.\ndeveloping a sense of rhythm and melody within stories dependant on the size and number of images to a page. A double page image will allow a pause or break to look for detail, whereas a series of small images will increase the tempo.\nempowering the reader to use their voice by being the narrator of the story.\ndeveloping inquiry and critical thinking skills by questioning what they see in the image. Using visual thinking strategies (VTS), readers can discuss, analyse and interpret what they see and predict what may happen next.\nreflecting on how pictures makes them feel. Using visual images can be a powerful vehicle for creating empathy, developing understanding about other people and situations and making personal connections to themselves.\npromoting and extending the reader\u2019s vocabulary through discussing and describing what they see and what is happening in the image/s.\ndeveloping visual literacy skills by questioning the use of design elements such as colour, shape, line, movement and pattern to create meaning in the story.\nengaging the reader in an active participatory role when reading/viewing the text to be able to make sense of the narrative as a whole (Arizpe, 2013).\nenhancing relationships between readers through conversation and discussion of what they are viewing. By taking turns to listen to others, readers can develop their ability to negotiate and be considerate of others opinions and co-construct ideas.\nHow to read a Wordless Picture Book and other activities\nWordless picture books can be read various ways. Here are some ideas and responding activities\u2026\nRead quietly, especially in the first viewing, absorbing the pages in sequence and taking the necessary time needed on each page. Allow them time to re-read so as to make connections and make sense of the visual narrative as a whole.\nRead through again, this time discussing what you see; what is happening in the picture; why you think that; and what will happen next.\nAllow the younger reader to be the narrator of the story. Let them develop the storyline and give personality to the characters. Encourage them to use fanciful words to extend their vocabulary.\nAs a guide, model being the narrator of the story and develop words to accompany the text. Give characters their voice and consider the context of the story... if the images are bright and quirky then allow yourself to role-play the characters with humour and wit.\nDiscuss how your story is similar or different to each other\u2019s story.\nDiscuss how the images made you feel and why. There may be a particular page that the reader is drawn to or moves them emotionally.\nTalk about how the illustrator/author has used colour, texture and other design elements and concepts to make meaning or create emphasis. Perhaps all the background colours are soft greens and there is one element that is red (its contrasting colour). There may be an element (image, colour, shape) that is repeated throughout the book...what is its significance to the story OR does it represent something else (symbolism)?\nDiscuss if there is a moral to the story. Was the author/illustrator trying to convince us or make us aware of something?\nCover up the title of the wordless picture book, read through and then ask the reader/s to give the book a title. Give reasons for their title.\nWrite a story with words to accompany the images. Use descriptive language and develop the character\u2019s voice and language.\nRespond to a page, sequence of pages or the whole story with a visual or sensory response such as a colour and texture collage that describes the feeling or mood of the image/s in the book.\nCreate character profiles for each of the story\u2019s characters. What is the name of each character? Be creative with the name titles. Describe the character\u2019s personality. What is the character\u2019s shining characteristics and what are their flaws?\nCreate a digital book trailer combining images, music, sound effects and written text with visual design elements to portray the message and meaning of the wordless picture book.\nTake the time to get to know a few of these treasures and get lost in the wonderful world of Wordless Picture Books!!\nHere are some wonderful wordless picture books to explore\u2026\n(All cover images shown above have been listed with links below)\nLeaf by Stephen Michael King 2010\nBird by Beatriz Martin Vidal 2015\nMirror by Jeannie Baker 2010\nWindow by Jeannie Baker 2002\nLines by Suzy Lee 2017\nPool by Jihyeon Lee 2015\nFlora and the Flamingo by Molly Idle 2013\nZoom by Istvan Banyai 1998\nMr. Wuffles! By David Wiesner 2013\nFlotsam by David Wiesner 2006\nChalk by Bill Thomson 2010\nJourney by Aaron Becker 2014\nBluebird by Bob Staake 2014\nSidewalk Circus by Paul Fleischman & Kevin Hawkes 2007\nThe Lion and the Mouse by Jerry Pinkney 2009\nProfessional Crocodile by Giovanna Zoboli 2017\nFootpath Flowers by Jon Arno Lawson & Sydney Smith 2016\nFlood by Alvaro F. Villa 2014\nThe Boy and the Airplane by Mark Pett 2013\nFlashlight by Lizi Boyd 2014\nA Ball for Daisy by Chris Raschka 2011\nBee & Me by Alison Jay 2017\nWaltz of the Snowflakes by Elly MacKay 2017\nHere are some more wonderful wordless picture books suitable for an older audience as they explore more complex imagery and themes\u2026\n(All cover images shown above have been listed with links below)\nThe Arrival by Shaun Tan 2006\nThe Red Tree by Shaun Tan 2010\nSmall Things by Mel Tregonning 2016\nRobot Dreams by Sara Varon 2007\nUnspoken by Henry Cole 2012\nThe Whale by Ethan & Vita Murrow 2017\nLeaf by Daishu Ma 2015\nThe Last Goodbye by Yuan Pan 2015\nThe Middle Passage by Tom Feelings 2018\nHere are some more links to other Wordless Picture Book reviews and articles:\nGoodread's \"Popular Wordless Picture Books Shelf\"\nPicture Books Blogger \"Wordless Wonders\"\nChronicle Books Blog \"How to Read a Picture Book with No Words\"\nReading Rockets \"Sharing Wordless Picture Books\"\nAll About Learning Press \"Wonderful Wordless Picture Books\"\nThe Book Chook \"Book Chook Favourites - Wordless Picture Books\"\nMy Little Bookcase \"Book List: Wordless (and almost-wordless) Picture Books\"\nChildren's Books and Reading \"Wordless Picture Books\"\nNerdy Book Club \"Top Ten Wordless Picture Books by Kristen Remenar\"\nRead, Write, Reflect \"Wordless Picture Books for Mini-lessons\"", "id": "<urn:uuid:a882831e-2852-4a46-8583-c11a76ada6d7>", "dump": "CC-MAIN-2022-21", "url": "https://www.theillustratedword.org/post/without-words-looking-at-wordless-picture-books", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662570051.62/warc/CC-MAIN-20220524075341-20220524105341-00555.warc.gz", "language": "en", "language_score": 0.91765296459198, "token_count": 1890, "score": 3.65625, "int_score": 4}
{"text": "When we talk about a student in an intervention meeting, we often start with what is amazing about that student. Teachers and caregivers who know the students deeply rattle off talents, skills, and strengths. These are personal and often show up outside of school. There are so many ways to be smart, creative, and self-directed. We start with the positives, with the assets, then move on to what a student might need that they are not getting. This is called an assets or strengths-based approach, where we are seeing students through an appreciative lens. It is a beautiful and affirming way to start a meeting about a student\u2019s needs.\nImagine you are giving feedback on a friend or student\u2019s writing piece. Would you start with everything that is wrong with it? Or would you start with what was strong about the piece?\nMost of us respond better to critical feedback once we\u2019ve heard some warm feedback on our work.\nNow, imagine how we start project-based or service-learning projects.\nDo we start with establishing who knows what about a community, concept or issue, or do we go straight to the \u201cproblem\u201d?\nOne problem I have with problem based learning is how it focuses on, well, deficits or problems.\nPerhaps we might begin by learning what is good, right, and positive.\nAssets based pedagogies are certainly not new. They have their roots in several curricular and scholarly movements.\n- Critical race methodology \u201cprovides a tool to \u201ccounter\u201d deficit storytelling\u201d (Sol\u00f3rzano and Yosso 2002, 131). These researchers focus on telling stories that challenge the dominant narratives and seek to fight racism, sexism, and classism. Kim Morrision, in her article, Informed Asset-Based Pedagogy: Coming Correct, Counter-stories from an Information Literacy Classroom, shares that the foundation of assets-based pedagogy are rooted in the work of W. E. B. DuBois, Carter G. Woodson, Zora Neale Hurston, Geneva Gay, and Gloria Ladson-Billings. These authors and researchers used critical race theory to explore people\u2019s lived experiences, especially those that had been pushed to the margins and silenced.\n- Hip hop pedagogy, summarized in this Edutopia post by Joquetta Johnson, is another approach that has foregrounded and validated the experiences of youth in historically marginalized and underserved communities. This approach is rooted in what Gloria Ladson-Billings introduced as Culturally Responsive Pedagogy, which helps students accept, validate and affirm their cultural identities.\nAn assets-based approach is not new, but it can be easy to forget in the work of designing service and project-based learning experiences.\nAs educators, we want to engage students in genuine problems and help them solve them.\nIn our excitement, we may fail to consider background knowledge, the local context, and an exploration of what is going RIGHT.\nStudents can confirm negative stereotypes, develop biases, and \u201cother\u201d those they are seeking to help.\nI\u2019m reminded of the quote by Hazel Edwards: \u201cnothing about us without us is for us.\u201d These concerns drove me to take another look at our project-based learning and service learning templates. I wondered, what might be missing? And while in my earlier writings about service learning, I encouraged teachers to look for local knowledge, and to connect with the deep well of community when planning service learning, there was no equivalent of that in the project-based learning templates and work.\nUpdated project-based learning template\nSo the template needed a spot for students and teachers to explore the assets and knowledge of the issues, community, and context before seeking solutions or improvements before diving into looking to improve conditions or solve problems. You can now see that here in the PBL 3.0 (Strength-based PBL) template.\nIn addition, there is an asset mapping activity linked here, in the service-learning toolkit.\nPlanning for justice-oriented action\nBut asset-mapping and approaches aren\u2019t enough.\nWe need to fully work toward equitable learning environments. Environments where our students\u2019 voices are valued, amplified, and listened to. Environments that include them in decision-making, and project-based learning plans. And these should include a step where students work to find a way to disrupt inequities, challenge dominant narratives, and amplify often unheard voices.\nSharing work with authentic audiences is important, and can increase purpose, motivation, and engagement in students. But if we stop there, are we really working to create more inclusive, equitable policies, procedures, and practices in our schools, communities, country, and world?\nHelping students move from authentic sharing to justice-oriented action can help them see their own civic power and agency.\nIt can support the disruption of inequitable systems, practices and policies. Teaching Tolerance standards include identity, diversity, justice and action and urge meeting these standards across grade levels, including saying, \u201cStudents will plan and carry out collective action against bias and injustice in the world and will evaluate what strategies are most effective.\u201d\nYou\u2019ll see a step in the updated project-based learning template for this here. This provides another opportunity for students to deeply reflect on their actions and plans as well.\nIt\u2019s easy to rush through projects, lessons, and curriculum, without interrogating potential blind spots and falling into harmful equity traps.\nI am thankful to scholars of color who have shown me the importance of grounding any meaningful project work in an assets-based approach, and to work toward creating more equitable communities through our work with students. While this often happens in practice, being intentional in the design phase of powerful pedagogies ensures that students will have a more meaningful opportunities to make significant changes for good in their schools, communities and world.\nWhat does this look like in practice?\nThankfully, Vermont teachers and students are showing us how to make this work.\nHow to make sure their projects take direct action, for instance. How to make projects work toward justice, equity, and/or shared goals. Like the United Nations Global Goals.\nJeremy DeMink\u2019s middle school students at Edmunds Middle School in Burlington have participated in a Hands-Joined Learning project about social inequities and worked to take direct action to change them. These projects were in partnership with Jessica DeMink-Carthew, an assistant professor at the University of Vermont. Students demonstrated humanities learning targets through their social action projects, written about here by WCAX here. You can read more about the Hands-Joined Learning process in this recently published academic article, or in AMLE magazine for more information.\nCheck out what teacher Christie Nold and her sixth grade students did to work to disrupt bias and stereotypes and build opportunities for students and teachers to explore their identities. These students designed experiences to make their voices heard. Heard by both teachers at a professional conference *and* by their local school board. This demonstrates not only growth in transferable skills and english language arts standards, but in amplifying student voice in decision-making and educational conferences.\nLastly, the Global Goals inspired service and project-based learning at Burke Town School.\nThe school launched this project with an asset-based, integrated project called Humans of Burke. In this project, students thought of a local community member they admired. They read up on the person\u2019s work. Then they interviewed them, and created an art block print portraits. A local coffee shop hosted a gallery of the portraits for the community. Affirming, positive, community-based. Quite a place to launch service and project-based learning from!\nWhat do you think?\nHow can we move our service and project-based learning into a more intentional strength-based and justice oriented experiences?", "id": "<urn:uuid:b3ae8893-aa30-4525-9ecd-392bb70ca046>", "dump": "CC-MAIN-2022-21", "url": "https://tiie.w3.uvm.edu/blog/critical-lens-on-project-based-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662647086.91/warc/CC-MAIN-20220527112418-20220527142418-00355.warc.gz", "language": "en", "language_score": 0.9523733854293823, "token_count": 1631, "score": 3.71875, "int_score": 4}
{"text": "War and Peace book report - detailed analysis, book summary, literary elements, character analysis, Leo Tolstoy biography, and everything necessary for active class participation. Introduction War and Peace is an epic novel about Russian society between 1805 and 1815, just before and after the Napoleonic invasion. \u2026 [Read more...] about War and Peace\nLeo Tolstoy was a Russian novelist born in 1828. A profound social and moral thinker, Tolstoy was one of the greatest writers of realistic fiction during his time. The son of a nobleman landowner, Tolstoy was orphaned at the age of 9 and taught mainly by tutors from countries like Germany and France.\nAt the young age of 16, he enrolled in Kazan University but quickly became dissatisfied with his studies and dropped out soon after. After a brief, futile attempt to improve the conditions of the serfs on his estate, he plunged into the dissipations of Moscow's high society.\nIn 1851, Tolstoy joined his brother's regiment at the Caucasus, where he first met with cossacks. He later portrayed the natural cossacks life with sympathy and poetic realism in his novel 'The Cossacks', published in 1863. Tolstoy completed two autobiographical novels during his time in the regiment and the works received instant acclaim.\nBack in Saint Petersburg (now Leningrad) Tolstoy became interested in the education of peasants and started a local elementary school that fostered progressive education.\nIn 1862 he married 18 year old Sofya Andreyevna Bers, a member of a cultured Moscow family. In the next 15 years he raised a large family, ultimately having 19 children. During this time he also managed his estate and wrote his two most famous novels, War and Peace (1869) and Anna Karenina (1877).\nIn the uniquely candid powerful novel Confession, Tolstoy described his spiritual unrest and started his long journey toward moral and social certainty. He found them in two principals of the Christian gospels: love for all human beings and resistance to the forces of evil. From within autocratic Russia, Tolstoy fearlessly attacked social inequality and coercive forms of government and church authority. His didactic essays, translated into many different languages, won hearts in many countries and from all walks of life, many of whom visited him in Russia seeking advice.\nAt the age of 82, increasingly tormented by the disparity between his teachings, his personal wealth and by endless fights with his wife, Tolstoy walked away from his home late one night.\nHe became ill three days later and died on November 20, 1910 at a remote railway station. At his death he was praised the world over for being a wonderfully moral man. That force and his timeless and universal art continue to provide inspiration today.\n\"The Death of Ivan Ilych\" is a novella written by Leo Tolstoy and published in 1886. The novella is considered one of his masterpieces and was written shortly after his religious conversion in the 1870's. The story in the novella is that of a man named Ivan Ilych, who lives an unremarkable, average life, slowly \u2026 [Read more...] about The Death of Ivan Ilych\n\"Hadji Murat\" is a novel which differs itself by its lengths from all the other novels from Leo Tolstoy. Tolstoy wrote it during the 19th century, and this novel was published postmortem, and it became a sensation in the literary world. Its length and thematic are also different from Tolstoy's other works, and it \u2026 [Read more...] about Hadji Murat\n\"Resurrection\" is a novel by the Russian writer Tolstoy. It was published in 1899 and it was the last significant work by Tolstoy. He idealizes the character of a Russian peasant and he has a critical opinion of the privileged aristocracy. Tolstoy wrote the most famous worldwide works such as \"Anna Karenina\", \"War and \u2026 [Read more...] about Resurrection\n\"Anna Karenina\" is a novel with a contemporary thematic in which the main theme is Anna's adultery because of which she get rejected from society and experiences a tragic end. Parallel to her story we follow up on the destructive love between Anna and Vronsky and the love story between Levin and Kitty based on an \u2026 [Read more...] about Anna Karenina", "id": "<urn:uuid:ed8644e5-22ac-4e1d-b401-f3cedfb64cf3>", "dump": "CC-MAIN-2022-21", "url": "https://www.bookreports.info/biography/leo-tolstoy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521883.7/warc/CC-MAIN-20220518083841-20220518113841-00552.warc.gz", "language": "en", "language_score": 0.9841222167015076, "token_count": 905, "score": 3.671875, "int_score": 4}
{"text": "**Across our curriculum, students will explore their artistry and creativity and develop problem-solving skills. They will learn about the history of dance, music, theatre and visual art as well as how these art forms relate to the world beyond the studio and stage. They will learn about human anatomy and best practices for dancing safely. Language arts and mathematical reasoning and understanding of the human experience grow through our multidisciplinary approach. Students will be challenged and nurtured in the learning process while being valued as individual artists, appreciated for their differences and thus build life-long habits as collaborators, critical thinkers, leaders, explorers and learners**\nBased on the acclaimed \"Brain-Compatible\" and Concept-Based dance curriculum originated by Anne Green Gilbert.\nWarm-ups include rhyming dance exercises, ballet-oriented stretches and listening activities using varied movements. Dancers will explore weekly concepts individually through a creative problem-solving approach, sometimes with props to aid the exploration. Children learn to copy each other\u2019s shapes and mirror moving shapes. They will work on skills such as leap, gallop, hop, skip, run, slide, twist, bend, stretch, swing, turn and more as well as try skills already mastered in new ways (exploring levels, directions, speed, etc). Students will begin to learn short movement combinations and incorporate this learning into simple folk dances. A variety of music is used to enhance creative expression and improvisation. Storytelling, music studies, visual art and language arts are incorporated as well.\nClassical ballet emphasizes strength, flexibility, alignment and musicality. Barre work begins at this level; dancers should enjoy the focus and attention that this portion of class time work requires. After having the previous experience of the brain-compatible curriculum in Creative Dance, students can more easily integrate the language of ballet with their own movement vocabulary. Folk dances encourage sequencing and learning choreography as well as improvisational whole body movement followed by stretches and strengthening for foot and ankle articulation and stronger abdominal and back muscles. The ballet vocabulary is introduced gradually to allow students to master the technical aspects of the fundamentals of the material. We will continue to explore concepts, incorporate music theory, ballet history and art exploration as well.\nOur ballet classes are primarily based on the Vaganova method, which is a ballet technique and training system devised by the Russian dancer and pedagogue Agrippina Vaganova (1879-1951). Fusing elements of traditional French technique from the romantic era, with the athleticism and virtuosity of the Italian school, the method is designed to work the body as a whole, with total involvement of the body in every movement, and equal attention paid to the upper body as well as the legs and feet. Due to its strictly codified training system, the Vaganova method is widely considered to be injury-free, if taught correctly. For comparative purposes, we will study various aspects of other systems in ballet such as Bournonville, Cecchetti and Balanchine techniques. Our dancers will be carefully assessed throughout their training to place them into the class level that will give them the best balance between new technical challenges and reinforcement of fundamental skills. Dancers will be assessed individually for readiness for pointe work as well. Music history and theory, ballet history, visual arts integration, etiquette and choreographic styles will be studied.\nRepertory, Variations and Enrichment:\nThis specialized class is designed to challenge our dancers to learn excerpts from classical and contemporary ballets. As we learn these solo and group works, our dancers will have the opportunity to improve their performance quality, learn new movement vocabulary and dig deeply into the rich history of ballet. Enrichment work will include studies of alignment, pantomime and more\u2026\nBeginning Ballet (Teen/Adult):\nThis class is intended for teens and adults inspired to learn the art of ballet, and for students who may have studied ballet previously, but are interested in rebuilding their technique after time away from study. New vocabulary and steps will be broken down for understanding, we will build combinations gradually and students will be given corrections and guidance to build proper technique.\nModern Dance Curriculum:\nOur modern program is based on codified movement techniques from 20th Century dance artists such as Martha Graham, Jos\u00e9 Lim\u00f3n, Lester Horton and Merce Cunningham. Class work consists of an extensive warm up including floor work and short movement combinations, creative work such as improvisation and concept-based explorations, center work, movement phrases and choreography.\nFor our young Modern dancers we begin with an introduction to the vocabulary along with an exploration of movement concepts through structured improvisational activities. Visual and moving image arts as well as music history and dance history/appreciation will be incorporated. Students have the opportunity to create their own movement and collaborate with fellow dancers in class as they also build their technique.\nAs dancers progress in our Modern program, they develop increased understanding of the codified techniques mentioned above. Dancers will learn more complex movement combinations, and explore further into the history and aesthetics of the techniques. We will continue to incorporate improvisational activities, moving toward shared-weight and contact improvisation as the dancers build their strength and confidence. Through all of our Modern classes, the dancers are also exposed to a wide variety of musical styles and meters, which inspires and challenges them as they work through their study of modern dance.\nThis class is for young dance artists interested in learning about the choreographic process through use of structured improvisational work and through explorations of movement concepts and systems of composition. Dancers will collaborate with each other and explore solo work as well to build fluency in using improvisation to set their own choreography. We will practice and develop problem-solving skills. We will study various choreographic styles and dance genres as well as spend time viewing and discussing the work of well-known dance artists through time. Opportunities to present work are available at various times during the school year.\nOur tap program is geared toward teaching the fundamentals of tap dance to dancers from age 5 to adult. In our tap classes dancers will gain skills in musicality, speed, balance, strength, and coordination of their upper and lower body. They will also learn about the development of tap dance and its history along with its amazing artists through time.\nOur Jazz curriculum is an exploration of movement inspired by musical theatre, a study of the work of Jazz pioneers like Jack Cole, Matt Mattox, Bob Fosse, Gus Giordano and others, and also lessons about how this movement vocabulary relates to other dance forms. In Jazz dance, we find dynamic rhythms, syncopation, expression of the human condition and an emphasis on individuality within the technique. Jazz is a dance style that has evolved over time and has been influenced and fed by African Dance, ballet, modern dance, show dance, theatre dance and social dance...it is a wonderful blend of mind and body founded on a firm technical base.", "id": "<urn:uuid:68277965-2fae-4ba4-859a-0f8aef41afa5>", "dump": "CC-MAIN-2022-21", "url": "https://www.lizborromeodance.com/curriculum-details", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662509990.19/warc/CC-MAIN-20220516041337-20220516071337-00356.warc.gz", "language": "en", "language_score": 0.9475411772727966, "token_count": 1456, "score": 3.609375, "int_score": 4}
{"text": "Helping toddlers move from one activity to another can be challenging. Very often, a toddler gets into what he's doing, and the last thing he wants to do is move onto another activity. With that said, you can make transitions for toddlers in the classroom or at home easy with a few tips and tricks.\nTime to Clean Up\nHow do you persuade a child to clean up when he's totally engaged in what he's doing? Convince him to go along with your plan with some creativity. Classroom transition activities like these can also be used at home or in daycare settings.\nLet the Puppet Do the Talking\nIf you already have the puppets out, why not make one of them help you with a little clean up time? Assign a name and a distinct voice for the 'clean up' puppet and pull it out one minute before an existing activity comes to an end. Use lines like, \"Pinkie the piglet says it's time to clean up.\" While kids are cleaning up, 'Pinkie' can encourage them and give directions. If you use the same puppet every time children are to put the toys away, they will get into the routine of associating that particular puppet with clean up time, and will automatically know what to do.\nOne-Two-Three, Pick Up Toys\nPlace a timer within the room to catch the toddler's attention. Making it clear how long the activity takes place brings your child to thinking that you both have a goal of completing the task on time. Count one to three before starting the clean-up, so the child has ample time to prepare himself for the task at hand. Continuously refer to the timer when giving updates by saying things like, \"Look, we still have three minutes left.\"\nIf you are outdoors and no timer is available, use relevant references such as, \"Five more turns on the slide and then we need to take a bath.\"\nToddler transition songs help make transitions more fun and less stressful because they are still a form of play. Find a recording of a transition song such as the \"Clean Up Song\" from the TV show Barney. This three-minute song talks about everyone doing their part to help clean up after playing in a catchy way. When the song comes on, kids start cleaning up and try to finish before the song ends. Simple preschool transition activities like turning on a song associated witht the transition helps kids feel more secure because they know what to expect and they don't have to stop having fun.\nColor Coded Choices\nGiving toddlers the autonomy to choose provides them a feeling of control over their lives. It's also the best way to trick them into cooperating with your transition tactic. When picking up toys after play, give him the opportunity to pick which toy to pick up first. If he decides to pick up blocks, you're automatically picking up anything that's not blocks. Then it can be a competition to see who picks up the most or who picks up all of their toys first. Of course, you should let him win. He'll feel five feet tall after winning this battle against you. Praise him, and he'll transition to the next activity easily.\nChanging Gears at Mealtimes\nToddlers can be picky when it comes to food. But knowing the right approaches before a tot transforms into his fight-or-flight mode can make feeding and snacking easier. When you've got a group of toddlers, classroom transition activities for preschoolers at mealtimes are a necessity.\nBeating the Red Light\nNot only do the traffic lights work on roads, but also as a way to transition your toddler. Buy a budget-friendly traffic light toy that functions like the real one. Explain to him that before the traffic light gets to red, he has to be done with his meal and ready to wash his hands. The visual cue is a concept that's easily understandable even by toddlers.\nBy giving a visual cue, this helps your dawdling eater see how much more time he has and also gives him a visual cue (and warning) that he is about to transition into the next activity.\nFancy Footwork and Hand Signals\nGet his attention in an instant and separate him from a current activity by doing a simple combination of movements with an insertion of the next activity at the end. For example, stomp or clap your feet rhythmically and say, 'mealtime.'\nThe auditory signal, when used consistently, helps a toddler's brain automatically associate the sound with the idea that there is another activity, or a change in direction coming. The more you do it, the more he automatically begins to change gears.\nToo Cute to Eat\nShow off your artistic side with a variety of bento box lunch ideas. Who wouldn't draw his eyes to a cute and fun twist to a homemade meal? An artfully arranged, cow-looking, wheat-free meal while mimicking the animal sound helps incorporate play into his meal time. Your toddler will smoothly transition to eating a healthy lunch because of this attention-seeking, artsy trick.\nDozing Off Tricks\nBecause kids aged one to three years love to be active, plotting naptime and its previous transition can help your kids go into dream land.\nIf It's Visual, It's Crystal Clear\nA predictable structure every night creates a routine that young ones memorize. Being consistent is key to implementing this technique and eventually succeeding in the transition. You can try a visual schedule or activity sheet showing each step the child has to undertake before going to bed. The schedule is composed of images of taking a bath in a tub, wearing pajamas, brushing teeth, children's books, and bed. This way, it's automatic for your toddler to follow the sequence and the transition to slumber is easy and painless. The trick here though is to be consistent and to make sure you address all your child's needs.\nStories Before Sleeping\nWhile bedtime stories might seem basic, getting ready for nap time with a unique storytelling addition might help settle your active toddler. Reenact an indoor camping scenario by setting up a tent, taking a blanket and pillow, and draping the makeshift shelter. Use a flashlight to create shadow puppets while reading a story. This boosts the child's imagination while a quiet environment lures him to get drowsy. Soon enough you'll see heavy drooping eyes and improved sleeping habits.\nSleepy Time Karaoke\nSinging songs before bedtime or naptime can help kids wind down in an engaging way. Let toddlers choose two to four songs you'll sing before they go to sleep each day. You can also find picture books of songs such as This Little Light of Mine by Raffi or Just the Two of Us by Will Smith to help you learn the lyrics and tunes of popular children's songs. Transition strategies for preschoolers at sleep times that involve action or fun make the transition feel less forceful and negative.\nStuffed Animals for Hire\nBefore being transitioned, kids love to take something with them from the previous activity to keep them energetic until the subsequent one. During down time, have your toddler bring a stuffed toy to bed, cover it with a duvet and pat its back until it also falls asleep. Through this, you help the child realize the connection of stopping an activity leading to the beginning of another one. It's a comforting and a calming activity.\nConsistency Is Key\nThe real key to getting any transition to work is to make sure that you are consistent with your methodology. For every normal part of your daily routine, have a consistent way to transition out of the activity and into the next one. Transition activities are important for toddlers because they help your toddler begin to learn how to expect the transition which can minimize temper tantrums and toddler frustration.", "id": "<urn:uuid:c0f71c66-4caf-4a78-8201-b5ede6094b6b>", "dump": "CC-MAIN-2022-21", "url": "https://baby.lovetoknow.com/toddlers/transition-activities-toddlers", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662619221.81/warc/CC-MAIN-20220526162749-20220526192749-00155.warc.gz", "language": "en", "language_score": 0.9596333503723145, "token_count": 1602, "score": 3.5625, "int_score": 4}
{"text": "Scientists have developed a new device that makes it easier to measure our brain activity when we communicate, finding evidence of how our brains 'align' when we share information.\nBy spotting when and how different people's brain activity syncs up during communication, the researchers hope to better understand how information can be conveyed more effectively, and why some messages get lost in translation.\nThe analysis is made possible by a special wearable brain-imaging device, developed by researchers at Drexel University and Princeton University, which uses a system called functional near-infrared spectroscopy (fNIRS for short).\nfNIRS uses light to measure brain activity through oxygen in blood cells, and because the device can be worn easily, subjects are monitored as they interact face-to-face \u2013 something that's not possible when people have to recline inside bulky fMRI scanners.\n\"Now that we know fNIRS is a feasible tool, we are moving into an exciting era when we can know so much more about how the brain works as people engage in everyday tasks,\" says one of the team, Banu Onaral from Drexel University.\nIn other words, this scanner could tell when you really are tuned in, and when you've zoned out.\nTo check the potential of the fNIRS headband, the researchers had a native English speaker and two native Turkish speakers each wear one of the devices, and tell an unrehearsed, real-life story in their native language.\nThose stories, plus another recorded at a live storytelling event, were played to 15 English-speaking listeners, who were also wearing fNIRS headbands.\nAs expected, the brain activity of the listeners only matched up with that of the storytellers when the English stories were used \u2013 the stories the listeners could actually understand.\nThrough the fNRIS scans conducted from the headband, the team noted matching patterns in oxygenated and deoxygenated haemoglobin concentrations in the brains of both the speakers and the listeners.\nWhile we don't fully understand how these areas of the brain work, the fact that matching patterns were shown in the listeners after a short delay strongly suggests that some kind of message decoding is taking place.\nWhat's more, the study results matched up with previous work on speaker-listener relationships done with fMRI scans \u2013 where similar correlations were spotted \u2013 establishing a new and reliable way of measuring brain coupling during social interaction.\nIt's only a preliminary study, with more detailed analyses to come, but at least now we know that this method for monitoring synced brain activity actually works.\nIn the future, the researchers say similar systems could be used to measure how well doctors communicate with their patients, the impact of different teaching methods, or how people react to television news.\n\"Being able to look at how multiple brains interact is an emerging context in social neuroscience,\" says one of the researchers, Hasan Ayaz from Drexel University.\n\"Now [we] have a tool that can give us richer information about the brain during everyday tasks \u2013 such as natural communication \u2013 that we could not receive in artificial lab settings or from single brain studies.\"\nThe findings have been published in Scientific Reports.", "id": "<urn:uuid:50a094de-7ea0-4280-bd46-ceabc2bbe9a6>", "dump": "CC-MAIN-2022-21", "url": "https://www.sciencealert.com/new-research-shows-how-our-brains-align-when-we-communicate", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531779.10/warc/CC-MAIN-20220520093441-20220520123441-00556.warc.gz", "language": "en", "language_score": 0.9630560874938965, "token_count": 661, "score": 3.515625, "int_score": 4}
{"text": "Write a 750-1000 word essay which demonstrates how your novel follows the steps of narrative structure (exposition, rising action, climax, falling action, resolution/denouement).\n- Include an outline and Works Cited page where you will list the novel you are discussing.\n- You must use MLA format, but you are not to use outside sources for this paper; this is your own analysis.\n- Cite examples from your text in support of your argument, either as direction quotations or paraphrases.\n- This is not simply a summary of the story. Instead, you should identify how each part of the narrative structure develops in the story.\nDo not confuse this essay with your research paper. This essay is totally your own thinking from studying the steps of narrative structure and reading the novel. Your research paper reflects the conclusions you draw from information gleaned in your research and is on a selected topic other than narrative structure.\nThe Freytag Pyramid\nUnderstanding the plot on a deeper level can help you interpret a work as well. Many stories (including movies, television shows, drama, and narratives) follow the below organization, otherwise known as The Freytag Pyramid. Although understanding these terms can help you break down a work, you generally should not discuss the pyramid in an essay, for this focus is on the plot. Always remember: your reader knows the plot. Your goal is always to discover a deeper meaning of a work of literature.\nThis functions as an introduction. It brings readers into the world of the story and introduces them to the main character. The exposition will often give background information and any necessary information about the setting as well.\nThe rising action is where the story gains a direction, changing from providing information to getting into the meat of the story by introducing a problem or conflict that must be resolved. The rising action brings readers into the main body of the story and gets the action going.\nThe climax is where the increasing tension caused by the problem/conflict comes to a head and must be directly confronted. Often, in this part of the narrative, the main character or protagonist will face an important choice, and often the response to this choice dictates how the rest of the story will go. Note that during this part of the narrative, the confrontation between protagonist and antagonist (the character or object most directly in opposition to the protagonist\u2019s goals and desires) begins but is not resolved.\nThe falling action continues the confrontation between the protagonist and antagonist. At this point, we will find elements such as the ritual death, which is the part of a story in which everything seems to be going wrong for the protagonist, and the antagonist seems to be about to win. During the falling action, readers will often find themselves wondering how things could possibly work out for the protagonist.\nFinally, after increasing tension and conflict, the narrative will hit a tipping point, and either the protagonist or antagonist will triumph, and the plot will move from its main body into its conclusion. Resolution here refers to the resolution of dramatic tension as the story takes us one way or another, and events are wrapped up, though not necessarily in a satisfying manner. Don\u2019t ignore the concluding sentences of short fiction; there are often important ideas included there that can strongly shape how you read the rest of the story.\nBook \u2013 Heart of Darkness by Joseph Conrad\nHeart of Darkness Download Free at Planet eBook\nWhat Students Are Saying About Us\nCustomer ID: 12*** | Rating: \u2b50\u2b50\u2b50\u2b50\u2b50\n\u201cHonestly, I was afraid to send my paper to you, but you proved you are a trustworthy service. My essay was done in less than a day, and I received a brilliant piece. I didn\u2019t even believe it was my essay at first \ud83d\ude42 Great job, thank you!\u201d\nCustomer ID: 11***| Rating: \u2b50\u2b50\u2b50\u2b50\u2b50\n\u201cThis company is the best there is. They saved me so many times, I cannot even keep count. Now I recommend it to all my friends, and none of them have complained about it. The writers here are excellent.\u201d\n\u201cOrder a custom Paper on Similar Assignment at homeworksmith.com! No Plagiarism! Enjoy 20% Discount!\u201d", "id": "<urn:uuid:ff4d7b43-2f44-48cb-b24d-465ab3b13665>", "dump": "CC-MAIN-2022-21", "url": "https://academicacers.com/novel-essay-heart-of-darkness/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662601401.72/warc/CC-MAIN-20220526035036-20220526065036-00355.warc.gz", "language": "en", "language_score": 0.9471467137336731, "token_count": 917, "score": 3.59375, "int_score": 4}
{"text": "On Juneteenth, African Americans celebrate emancipation from slavery. On this day we at the Greater Good Science Center would like to share some of the tools we\u2019ve published through the years that attend to the well-being of African Americans, and tools that others can use to work toward dismantling racism. These are tools of confrontation, compassion, listening, understanding, and hope that might move us all toward more fully claiming our humanity.\nRight now, many of us are weary of using these tools on our own. Those who are suffering from racialized violence, who are seeking justice, need for all of us to share the load. On Juneteenth, we\u2019re taking this opportunity to ask our more privileged readers to listen deeply to voices of difference and thoughts that make you uncomfortable. We\u2019d like to ask you to reckon with your own mistakes and hurts, and please help with the work of building a society where everyone\u2019s humanity is recognized and upheld.\n- From Othering to Belonging: In a Science of Happiness podcast, we explore racial justice, well-being, and widening our circles of connection and concern.\n- Thoughts on Awkward Relationships and Bridging Divides: In a Science of Happiness podcast, comedian W. Kamau Bell discusses the challenges of finding common ground, even with people in your own family.\n- Why Telling Our Own Story Is So Powerful for Black Americans: Andrea Collier reflects on the role of storytelling in black American history\u2014and in her own life.\n- How the \u201cStrong Black Woman\u201d Identity Both Helps and Hurts: Being a \u201csuperwoman\u201d could help African American women cope with racial discrimination\u2014but it may have some drawbacks.\n- How Adults Can Support the Mental Health of Black Children: Psychologist Riana Elyse Anderson explains how families can communicate about race and cope with racial stress and trauma.\n- How Can I Stay Positive for My Kids When I\u2019m So Overwhelmed?: Even for a psychologist who studies how kids understand racism and violence, talking to her own children about it is difficult.\n- How to Talk with Your Kids about Donald Trump: Trump is creating fear and confusion in children, especially kids of color. Here are three suggestions for talking with kids about race and racism in the media.\n- Why Marginalized Students Need Hope to Succeed: Researcher Dante Dixson is developing programs to help disadvantaged students envision a brighter future for themselves.\n- How to Change the Story about Students of Color: Dena Simmons explores how educators can inadvertently harm students of color\u2014and what we can do to bring out their best.\n- Why Storytelling Skills Matter for African-American Kids: For black students, storytelling skills directly predict their early reading skills.\nDiscover more anti-racist resources from the Greater Good Science Center.", "id": "<urn:uuid:851b41cb-7678-4ec2-8965-416bac1625ae>", "dump": "CC-MAIN-2022-21", "url": "https://greatergood.berkeley.edu/article/item/juneteenth_tools_for_Support_Understanding_Solidarity", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522741.25/warc/CC-MAIN-20220519010618-20220519040618-00556.warc.gz", "language": "en", "language_score": 0.9200549721717834, "token_count": 582, "score": 3.6875, "int_score": 4}
{"text": "New demands for literacy instruction require an emphasis on both literature and informational text. But student work with informational text doesn\u2019t have to be a dry regurgitation of facts. In fact, putting a creative spin on student performance tasks can turn informational text projects from ordinary into extraordinary.\nYou don\u2019t have to undertake a massive instructional shift to keep students from rote work and a simple copy and paste. Here are some ideas for unique and creative projects and products that get students thinking about the content they are reading.\nTrading cards are a form of informational text that even young students are familiar with, even if they aren\u2019t baseball or Pok\u00e9mon fans. Creating a classroom set of trading cards for historical figures, rainforest animals, or even elements on the periodic table, provides a fun way to learn, and review, information about a topic you are studying.\nThe first time a child gets a pack of trading cards, they may read each one top to bottom and right to left; but once they start a collection, they learn to use the features of nonfiction texts to quickly find information. Asking them to create their own trading cards, builds their fluency in utilizing headings, labels, and images as they use informational texts in the future.\nBecause trading cards are small, students must also carefully choose which information they need to include for their user. As they work to summarize, students must evaluate information and determine its importance, improving their comprehension of the topic.\nThe process of creating a trading card, printing it out, and sharing it with classmates, also helps students connect the work they are doing in the classroom with their lives outside of it.\nLike trading cards, students are seeing more and more people outside the classroom reading electronic books and may even be using a digital textbook at school. Students are motivated to create and publish their own eBooks, and see their efforts as valuable; especially when the intention is to publish them for an audience outside of the classroom.\nEmerging readers and writers may need to scaffold their research and writing with worksheets that outline what they should include, but older and more experienced learners may need to be pushed so that they don\u2019t simply copy and paste information directly from their research into their eBooks. You can avoid this problem by asking them to create books in ABC, Associative Letter, or even Fact or Fiction style.\nThe content in an ABC book is organized around the letters of the Alphabet. For example, an ABC Book on the Desert of the American Southwest might include pages like: A is for Armadillo, B is for Bighorn Sheep, and C is for Coyote. The example below highlights the ocean environment.\nYou might also try an associative letter project. In this format, all information is organized around a single letter. For example, an associative letter report on the Revolutionary War might contain pages like: Militia, Massacre, and Midnight Ride.\nFact or Fiction?\nIn this format, students craft individual statements about their topic followed by the words \u201cfact or fiction?\u201d on a page. Then, they write the answer (fact or fiction) and provide evidence to support their conclusion.\nCreating a comic strip is also a great way to get students thinking about the informational texts they are reading. Like trading cards, the limited amount of space in a comic\u2019s panels requires students to choose the most significant points in a text or story. This summarizing, combined with the extensive use of nonlinguistic representations in comics, improves student comprehension.\nGreat writing combines all three forms of written communication expressed in the Common Core State Standards; narrative, informational, and argument writing. Creating comics based on informational texts helps students more easily connect this information as they develop narratives to share information or arguments to raise awareness and change behavior. Sequencing and logic are crucial to good storytelling, and students quickly learn that they can\u2019t simply jump forward in time or around in space.\nCreating a Wanted poster for a person, place, or thing is a highly engaging performance task that requires students to think but doesn\u2019t require a lot of technical expertise to create.\nStudents can begin Wanted posters with simple identifying physical features and then move further to include information about qualities that make an object or person unique and connect to its time and place in the world. For example, asking students to identify a \u201clast seen\u201d or \u201coften found in\u201d location provide an opportunity for them to demonstrate what features and characteristics look like in action.\nWhile infographics are popular in the media right now, they are more than just a passing fad. These visual representations of knowledge and information make complex ideas and large amounts of data easy to understand and have quickly become a powerful form of digital-age communication.\nCrafting an infographic to help convey the important information and ideas is a great way to get students thinking more deeply about the information they are reading. To craft an effective infographic, students must identify:\nYes, infographics can be highly complex if they are based on large amounts of complex data. But infographics can also be clear statements of priority and action, like a Top Ten list.\nScience and social studies are filled with big ideas and concepts, not to mention remote time periods and locations. To help students make sense of some of these concepts, ask them to craft an interview with a connected object. For example, students could interview:\nCrafting a fictitious interview can help bring abstract scientific concepts to life and make history more personal. It also helps students learn how to ask questions. Their formulation of the questions also helps you better evaluate their comprehension of big ideas behind the facts they find.\nBecause they are written in first-person perspective, students must empathize with their subject and can\u2019t simply copy and paste information or regurgitate facts. Interviewing helps students identify the perspective of a historian or scientist as they personify the object with gender and other human characteristics.\nNews broadcasts are much more sophisticated and time consuming but make for a great culminating task in the content classroom. Before an end of the year review, or even exam, ask teams of students to choose a topic you studied and share their knowledge in this engaging format.\nLike comics, writing a News Broadcast requires students to use narrative writing techniques to deliver information. Crafting a News Broadcast helps students think about techniques the media uses to attract viewers and keep them watching, building essential media literacies.\nMany important issues today, like climate change and health, can help you connect your students to the content they are learning in science and social studies. Asking students to craft a public service announcement (PSA) to raise awareness or change behavior, lets them know their work and efforts are valuable and can have a real impact on the world around them.\nScience, with its connection to issues that many students are passionate about, is a great place to ask students to develop public service announcements. Creating a PSA is also a powerful performance tasks for social studies and requires students to practice skills in all four dimensions of the C3 Framework for Social Studies State Standards.\nDeveloping PSAs provides a great connection to skills learned in English Language Arts classes as well. Students must research deeply, identify fact versus opinion, develop claims and the evidence to back them to write an effective argument.\nChoose the product or performance task that you think will work best in your classroom with your students and which most effectively provides them with an opportunity to practice reading and writing in real-world situations, with a real-world audience. Creative performance tasks like these products not only lets students know their work has value and meaning it provides an opportunity for students to ask their own questions as they make sense of content and find meaning in the curriculum, not just provide a \u201ccorrect\u201d answer.\nCreate custom rubrics for your classroom.\nWrite, record, and illustrate a sentence.\nA curated, copyright-friendly image library that is safe and free for education.", "id": "<urn:uuid:80baffdf-fb3f-48d7-b20a-8d42c4df7897>", "dump": "CC-MAIN-2022-21", "url": "https://creativeeducator.tech4learning.com/2018/articles/informational-text-projects-that-build-thinking-and-creativity", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531762.30/warc/CC-MAIN-20220520061824-20220520091824-00355.warc.gz", "language": "en", "language_score": 0.9433829188346863, "token_count": 1647, "score": 4.0625, "int_score": 4}
{"text": "Editor\u2019s note: Not long after Amanda Gorman recited one of her poems at the inauguration of President Joe Biden on Jan. 20, three of her forthcoming books skyrocketed to three of the top four spots on Amazon. She was also selected to recite an original poem for Super Bowl LV. Here, three scholars of poetry explain why the writings of the 22-year-old Gorman \u2013 who became the country\u2019s national youth poet laureate at age 17 \u2013 and her rise to fame represent a prime opportunity for educators to use spoken word poetry as a lively way to engage students.\nWendy R. Williams, assistant professor of English at Arizona State University\nDuring my research studying a diverse group of spoken word poets in Arizona, I learned that adolescents improved their writing skills, academic performance, confidence and social skills through writing and performing spoken word poetry. The poets used this medium to heal, advocate for change and imagine new futures.\nI noticed that these brave young writers often delivered stunning lines, such as, \u201cIf I sit long enough in a dark room will I develop like film?\u201d They used poetry to talk back to those who wronged them. And they used this medium to speak out about injustice. As one adolescent poet in the study wrote, \u201cWe live in a first-world country, yet inner-city kids still go hungry.\u201d\nAlthough spoken word poetry can benefit adolescents in many ways, K-12 education has been relatively slow to embrace this medium. This is unfortunate, because spoken word poetry and other creative forms of writing such as songs, short films, animated works and comics can help young people gain important skills necessary to do college-level writing.\nSpoken word poetry has enormous potential in K-12 education. Teachers can use this medium to honor students\u2019 languages and cultures, encourage authentic writing and build community. Spoken word poetry also aligns to many of the writing, speaking and listening goals that are outlined in the Common Core State Standards, a set of learning goals for K-12 students. For example, writing and performing spoken word poetry aligns to the goal to \u201cwrite\u2026for a range of tasks, purposes and audiences.\u201d\nBringing spoken word poetry into the classroom does not need to be difficult or time-consuming. Teachers could start by showing short videos of works by Amanda Gorman, Jamaica Osorio, Prince Ea and other ethnically diverse spoken word poets. After listening to and discussing some of these poems, students could write about their own concerns and hopes for the future. They might also have the option to perform in a small poetry slam.\nAt a slam, poets perform with attention to volume, rhythm and gestures while audience members respond with supportive snaps and comments. Many adolescents enjoy performing their poetry, as competitions such as Louder Than a Bomb and Brave New Voices demonstrate.\nYoung people have important ideas to express. They need to be taken seriously as writers and given the support, tools and platforms necessary to make their voices heard.\nKathleen M. Alley, associate professor of literacy at Mississippi State University\nWhen I heard Amanda Gorman recite her poem, \u201cThe Hill We Climb,\u201d at President Biden\u2019s inauguration, I instantly decided to throw my plans for the week out the window. I hope teachers throughout the nation will similarly be willing to put their regular lesson plans aside in order to seize the opportunity to use the poetry of Gorman to engage with students who are not much younger in age.\nI am a teacher-educator, which means I help prepare the teachers of the future. My students are on track to become elementary and middle school teachers in about a year.\nThe first thing I did with my students was to simply savor Gorman\u2019s words. I wanted my students to think about what those words meant to each of us personally, and to use them as a vehicle for conversation about writing instruction.\nHer poem is an incredible example of spoken word poetry \u2013 a form of poetry that is rooted in oral traditions and performance. Spoken word encompasses elements of rap, hip-hop, storytelling, theater and more. It is characterized by rhyme, repetition, word play and improvisation. It often touches on issues of social justice, politics, race and community. It holds the promise of helping young people to connect with ideas as well as providing a means to deepen comprehension and develop understanding and empathy, which can then be applied to real-world situations. One of the most powerful things poetry can do is to refocus, if not transform, people\u2019s point of view.\nIn my class, after sharing a video of Gorman reciting her poem at the inauguration, I asked my students to consider how they\u2019d discuss the poem with elementary and middle-grade students. How would they \u201cteach\u201d this poem?\nWe discussed how we could help students make connections between this moment in history, the poet\u2019s message and their own lives. We talked about how elementary and middle school students might use Gorman\u2019s poem as inspiration to write their own poems of place and time.\nMukoma Wa Ngugi, associate professor of literatures in English at Cornell University\nJonathan Kozol in \u201cSavage Inequalities: Children in America\u2019s Schools,\u201d narrates how, as a newly minted teacher working in a poor, inner-city, mostly Black school in the 1960s, he taught Langston Hughes\u2019 poem \u201cHarlem\u201d and how one of the children \u201cbegan to cry\u201d when she first heard the line, \u201cWhat happens to a dream deferred?\u201d\nDoes it dry up\nlike a raisin in the sun?\nHe writes, \u201cThe next day, I was fired because Hughes was regarded as \u2018inflammatory.\u2019\u201d I often go back to that moment when I think of poetry in a classroom and the power of words. What is it that the young girl heard in the poem that moved her to tears?\nAs educators, sometimes we kill poetry as we tease out metaphors, symbols and line breaks. But at best, poetry in a classroom gives us a way to reflect and be in the world at the same time. It gives emotional backbone to the intellectual.\nIf a country were a classroom, even when a poem might not heal it, it can suture it. It can be balm, waiting to heal, if only we can listen. A good poem understands that is not going to happen today, it says \u2013 listen! And it regrets its necessity, that its hunger is both promise and regret. How does a poem hope, dream and speak to a country built on an original sin of slavery?", "id": "<urn:uuid:fe17baae-4e25-4949-a85b-7a7231b8870c>", "dump": "CC-MAIN-2022-21", "url": "https://theconversation.com/amanda-gormans-poetry-shows-why-spoken-word-belongs-in-school-153838", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522309.14/warc/CC-MAIN-20220518183254-20220518213254-00155.warc.gz", "language": "en", "language_score": 0.9678773283958435, "token_count": 1386, "score": 3.546875, "int_score": 4}
{"text": "Inseparable from ceremony, ritual, rhythm, and music, traditional African dance styles are as much a cornerstone of Sub-Saharan and West African cultures as they are a powerful and unique facet of the dance world. Not only is African dance a powerful experience for the spectator, but it is also a symbol of solidarity and an important means of communication for the performers and their community. While its influence in the West can be seen mostly through contemporary and hip-hop dance forms, it is fortunate for researchers and dancers alike that African dance still exists internationally in its purest forms.\nShared QualitiesThough there are innumerable variations within the West African dance traditions which would be impossible to discuss exhaustively, there are some elements which many African dances share. First, the body of the dancer is polycentric, or segmented. This means that movements tend to be concentrated in a portion of the body, be it the hips, legs, arms, etc. The separate regions of the body are recognized and utilized either individually or simultaneously, rather than moving as one limited unit. There are other elements as well which unite most ritualistic African dances, such as the importance of bare feet, shuffling steps, improvisation, the core nature of the hips, and pounding rhythm. Most African dances rely upon the beat of drum music and sometimes, the accompaniment of singing.\nOne deeply important quality of African dance is the ability of the individuals taking part to express emotion and personal style. With each dancer relying upon the movement style of his or her own body, the improvisational portions of the dances become unique and inimitable. Similarly, the emotional power each dancer brings to the dance will be different. As such, the movements in the dances are as much dictated by 'internal movement' as external. In other words, ritualistic dances are often driven by movements which originate inside the body and work their way out, rather than adopting the Western style of moving the body as a whole through space.\nCeremony and RitualThe most important thing to recognise about traditional African dances is their inextricable link to the social practices of the community from which they originate. More than a form of entertainment, dance, in African cultures, proclaims any moment of great importance within a group or society. Never standing alone, the dances are part of a much larger ceremonial practice. More than performance, it is ritual. With a shared movement vocabulary, the individuals within African communities celebrate and communicate using song, dance, costume, and narrative.\nSuch ceremonies might take place to mark weddings, deaths, births, the naming of a child, the healing of the sick, the changing of seasons, a major change within the landscape or the society, occasions for storytelling, the coming-of-age of an adolescent, a spiritual plea, or a declaration of war or peace. Additionally, the dancers themselves will vary depending upon the occasion. Some dances are performed only by certain members of the community who possess a certain status or occupation. These individuals, such as healers or warriors, might have more dance training than those who hold other positions in the village. Other dances and rituals, however, include everyone and can be done by forming a ring in which solo dancers can enter, a serpentine formation, or two teams.", "id": "<urn:uuid:f8105bc2-6c81-4d7a-a3ca-1f96f33641e1>", "dump": "CC-MAIN-2022-21", "url": "https://www.dancetutors.co.uk/african-dance.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522309.14/warc/CC-MAIN-20220518183254-20220518213254-00155.warc.gz", "language": "en", "language_score": 0.9509922862052917, "token_count": 666, "score": 3.515625, "int_score": 4}
{"text": "( http://en.wikipedia.org/wiki/African_dance ) Traditional African Dance mostly used the African voice instead of the more current drums and other instruments. Although nomadic groups such as the Maasai do not traditionally use drums; in villages throughout the continent, the sound and the rhythm of the drum express the mood of the people. The drum is the sign of life; its beat is the heartbeat of the community. Such is the power of the drum to evoke emotions, to touch the souls of those who hear its rhythms. In an African community, coming together in response to the beating of the drum is an opportunity to give one another a sense of belonging and of love.\nAt the time slaves were still legal in the south; therefore the act of of helping them escape to freedom was illegal. The appeal for freedom was very strong and there were many blacks speaking out on the issue. On unique piece of reading was the \u201cAppeal to the Colored Citizens of the World\u201d, by David Walker. Walker was born free in North Carolina but still saw a better end for his brothers in the south. His writing was an appeal to the injustice of slavery in the Southern states, using political and religious means to convey his ideas.\nResiding in Africa, before the belief of Islam was revealed to exempt individuals from taxes, were the believers in ancestral veneration. These people followed numerous rituals in order to please not only their ancestors, but also the greatest creator of all, which varied from one society to the next. The people\u2019s worship towards their deceased ancestors was quite the opposite of\nIrony is embodied largely in the justification of slavery through religion, as well as in the obliviousness of the slaveholders to the same, if not harsher, oppression they motivated after having fought against it in the American Revolution only decades before. Douglass\u2019 diction is important to the readers understanding of the events in the story and the severity surrounding them. It also makes the whole engagement more enticing not only because it elucidates and canonizes emotions in the novel, but also because it helps to create imagery in the readers mind. He is also able to use diction and imagery to construct eloquent passages that are at the same time punctual and yet have deep emotional tolls on the reader. One such example is embodied on page in the text, \u201cMr.\nDundas was removed for mismanagement of funds, which benefited Wilberforce; he was able to continue with his speeches and acts without interruption. Also, revolutionary acts were made in the West Indies by African slaves. By 1820, Caribbean islands were African slave dominated; whites were living in a constant fear,\nEven though both arguments are very strong in their own right, I feel that from what I already know about the slave trade and Carney\u2019s evidence I am going to have to side with her in the argument on the African roots of American rice. We all already know that slaves were sold and purchased in different regions of the Americas for their different skills. On the sugar plantations in the West Indies, the plantation owners wanted strong fit young men who could work long hours and do heavy manual labor. It did not matter where they were from, as long as they could work long and hard. When it came to places such as Charlestown, South Carolina it did not matter how big or how strong a slave looked, all that mattered is where he or she came from.\nAlexis Lopez Lopez1 Nina Stojkovic Contemporary Music 11/26/12 Bob Marley\u2019s Social Message Bob Marley was a moral and religious figure that touched many people\u2019s lives through his music. The message he shared impacted societies in ways that had never been seen before from artists. Marley\u2019s music was inspired from social and political issues of his homeland. A lot of times his music was connected to social injustice and politics. Bob\u2019s music was sometimes his attempt to portray a message of peace.\nAfrican American Music History FROM SLAVE FIELDS TO RAP SKILLS: A Journey Through Black American Music The Africans brought with them sounds of their ancestors as they came ashore to this country. Polyrhythms and work songs were parts of their heritage. As slaves labored in the fields, the music became a way of adapting to a new language, a new religion and a new, but difficult way of life. Often times the songs were a means for them to communicate with each other and express their troubles and hopes for a better life. It has also been said that some songs were used to signal the flight to freedom.\nWay of Communicating There is a rich, fertile legacy of folklore from Africa. On this vast continent, folk tales and myths serve as a means of handing down traditions and customs from one generation to the next. The storytelling tradition has thrived for generations because of the absence of printed material. Folk tales prepare young people for life, as there are many lessons to be learned from the tales. Because of the history of this large continent, which includes the forceful transplanting of the people into slavery on other continents, many of the same folk tales exist in North America, South America, and the West Indies.\nAs the African- American people who were enslaved gained literacy and began to write about their experiences, they incorporated figures from oral tradition into their written creations. These stories spread and became folklore in America; however, these also existed in Africa as well. These tales were also important in Africa as well because when most were not able to perfectly remember their culture, these stories helped represent African cultures and traditions. , \"The Jackal and the Leopard,\" featured in Black folktales by Julius Lester underscores the importance of honesty, fairness, wisdom, and courage as qualities that are essential for creating stable communities and governments everywhere in the world. The animals featured in this story were once found throughout most of Africa.", "id": "<urn:uuid:41be052e-6851-431e-8918-400da18e3258>", "dump": "CC-MAIN-2022-21", "url": "https://www.antiessays.com/free-essays/Slave-Song-227559.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662627464.60/warc/CC-MAIN-20220526224902-20220527014902-00554.warc.gz", "language": "en", "language_score": 0.9838345646858215, "token_count": 1205, "score": 3.71875, "int_score": 4}
{"text": "1-5 Developing and sustaining foundational language skills\n1 Listening, speaking, discussion, and thinking--oral language. The student develops oral language through listening, speaking, and discussion.\nA listen actively, ask relevant questions to clarify information, and make pertinent comments;\nB follow, restate, and give oral instructions that involve a series of related sequences of action;\nC speak coherently about the topic under discussion, employing eye contact, speaking rate, volume, enunciation, and the conventions of language to communicate ideas effectively;\nD work collaboratively with others by following agreed-upon rules, norms, and protocols; and\nE develop social communication such as conversing politely in all situations.\n2 Listening, speaking, reading, writing, and thinking--beginning reading and writing. The student develops word structure knowledge through phonological awareness, print concepts, phonics, and morphology to communicate, decode, and spell.\nA demonstrate and apply phonetic knowledge by:\ni decoding multisyllabic words with multiple sound-spelling patterns such as eigh, ough, and en;\nii decoding multisyllabic words with closed syllables; open syllables; VCe syllables; vowel teams, including digraphs and diphthongs; r-controlled syllables; and final stable syllables;\n4 Listening, speaking, reading, writing, and thinking--fluency. The student reads grade-level text with fluency and comprehension. The student is expected to use appropriate fluency (rate, accuracy, and prosody) when reading grade-level text.\n5 Listening, speaking, reading, writing, and thinking--self-sustained reading. The student reads grade-appropriate texts independently. The student is expected to self-select text and read independently for a sustained period of time.\n8 Listening, speaking, reading, writing, and thinking using multiple texts--literary elements. The student recognizes and analyzes literary elements within and across increasingly complex traditional, contemporary, classical, and diverse literary texts.\nA infer the theme of a work, distinguishing theme from topic;\nD explain the influence of the setting on the plot.\n9 Listening, speaking, reading, writing, and thinking using multiple texts--genres. The student recognizes and analyzes genre-specific characteristics, structures, and purposes within and across increasingly complex traditional, contemporary, classical, and diverse texts.\nA demonstrate knowledge of distinguishing characteristics of well-known children's literature such as folktales, fables, fairy tales, legends, and myths;\nB explain rhyme scheme, sound devices, and structural elements such as stanzas in a variety of poems;\niii identifying the intended audience or reader; and\nF recognize characteristics of multimodal and digital texts.\n10 Author's purpose and craft\n10 Listening, speaking, reading, writing, and thinking using multiple texts. The student uses critical inquiry to analyze the authors' choices and how they influence and communicate meaning within a variety of texts. The student analyzes and applies author's craft purposefully in order to develop his or her own products and performances.\nA explain the author's purpose and message within a text;\n11 Listening, speaking, reading, writing, and thinking using multiple texts--writing process. The student uses the writing process recursively to compose multiple texts that are legible and uses appropriate conventions.\nA plan a first draft by selecting a genre for a particular topic, purpose, and audience using a range of strategies such as brainstorming, freewriting, and mapping;", "id": "<urn:uuid:d9da095a-0969-41bb-90e2-001c5735f287>", "dump": "CC-MAIN-2022-21", "url": "https://www.ixl.com/standards/texas/ela/grade-3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662520817.27/warc/CC-MAIN-20220517194243-20220517224243-00755.warc.gz", "language": "en", "language_score": 0.8980957269668579, "token_count": 739, "score": 4.375, "int_score": 4}
{"text": "Fun Facts About the California Gold Rush\nWhat started as a discovery of Gold nuggets initially in the Sacramento Valley in 1848 became one of the most significant events to shape American history during the first half of the 19th century. The California Gold Rush was a significant event because it helped usher in an era that greatly expanded the West and built an economy. Thousands of prospectors came by sea and land to get their hands on the riches that were so abundant in the northern California region.\nOnce rumors spread about the discovery of the nuggets, it took little else to gather the masses. There are many tales about the California Gold Rush. While some may be true, others are exaggerated for the sake of show and storytelling.\nFUN FACTS ABOUT THE GOLD RUSH\n- It all started with a man named James Marshall. When working as a carpenter, Marshall discovered Gold flakes at the base of the Sierra Nevada Mountains. The mill he was working in at the time was owned by John Sutter. Despite trying to keep the news of Gold on the property a secret, word leaked out and the masses came running.\n- The Gold Rush caused the largest migration of people to one location ever documented. Prospectors and business owners came from as far as China to explore the rumors of Gold. After the Gold Rush died down, it was estimated that 100,000 non-Californians settled there. Because of the migration, San Francisco became a forefront of a bustling economy and a shining light on the new frontier.\n- California was admitted into the Union in 1850, becoming the 31st state, in response to the Gold Rush. The United States had obtained California as a free state after being ceded by Mexico after the Mexican-American War in 1848. Little did anyone know the Gold Rush would put California on the fast-track to officially becoming a state.\n- The California Gold Rush was a short-term event in relation to years. From 1848 to 1857, Gold was mined and excavated in force. Millions of dollars in Gold were either pulled from the ground or deposited due to blast mining and surface excavations. The largest haul in one year was $81 million in 1852.\n- There were no banks in California in the early parts of the Gold Rush. California passed a constitution in 1849 that prohibited creating state or commercial banks. Banking was conducted by private individuals who could set their interest rates and loan amounts. Free of government regulation, these bankers could also change Gold into currency.\n- Merchants made more than some miners. Because it was vital to provide a support hub to miners, merchants and business owners opened shops to feed and clothe the miners and supply the necessary materials for excavation. Many merchants made a fortune offering support to the miners and after the Gold Rush many stayed in the area to conduct business.\n- Ships played an important role in building San Francisco. Even though there were settlers and miners who came in on wagons and foot, some came through the ports of San Francisco. Many ships were abandoned while others suffered greatly on their way into harbor. The ships were either repurposed as hotels or shops while others were torn apart for lumber. The ships incidentally provided San Francisco much needed and important supplies.\nThe California Gold Rush offers many important historical narratives. Most importantly, it shows the importance of Precious Metals and the role they play in an economy. Gold would soon become an important part of cultural and financial lore.", "id": "<urn:uuid:2479bb54-242c-41b9-bbf3-7df32d35f9cf>", "dump": "CC-MAIN-2022-21", "url": "https://www.apmex.com/education/history/fun-facts-about-the-california-gold-rush", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515501.4/warc/CC-MAIN-20220517031843-20220517061843-00756.warc.gz", "language": "en", "language_score": 0.980619490146637, "token_count": 700, "score": 3.78125, "int_score": 4}
{"text": "This course examines how architecture and urbanism is represented in film and investigates how film influences and constructs the architecture of the city. Emerging as a twentieth-century phenomenon, the modern metropolis is the site of the most radical experiments of architects and planners, and an active subject in the imagination and actions of its diverse inhabitants. Film has a close relationship with the city and its architecture. How does architecture use its structure, form, enclosure, floor plans, materials and lighting to produce effects, evoke emotions and influence everyday lives? Likewise, how does film use space, architecture and landscape to situate its characters, create dramatic action and emotions?\nFocusing on popular film genres of postwar modern industrialized Hong Kong and other Asia cities\u2014the melodrama, noir thriller, monster movie, sci-fi dystopian fantasy, comedy and crime drama\u2014the course offers a cross-cultural perspective on how films have envisioned urban transformation due to the flows of capital, people, ideologies and imageries. It attends to how movies produce and reproduce the image of the city, their effect on the built environment and how they impact everyday experiences and perceptions of the city they live in. Through in-class analyses and discussions of film clips and stills, city maps, building floor plans and texts, the course aims to deepen students\u2019 understanding of how architecture and film influence each other, how they reveal social relations and construct narratives of modernity in the twentieth century. Class readings are drawn from film studies, urban history, globalization studies, and architectural history.\nThe main objective of the course is to cultivate students\u2019 ability to observe, read, document and analyze the contemporary built environment through the double perspectives of architecture and film, informed by a historical awareness of their respective and overlapping traditions and influences. Students will acquire new analytical skills to understand urban transformation in the dynamic development contexts of the world. They shall develop their visual, writing and critical-thinking skills through thematic lectures, discussion of texts, methods workshops and guided fieldwork.\n1. What are the relationships between architecture and film?\n2. What are their similarities and differences in the presentation of the city \u2013 its forms, spaces, processes and people?\n3. How do films produce and reproduce the image of the city?\n4. How do these films impact everyday experiences and perceptions of the city we live in?\n5. How do cross-cultural perspectives influence how films have envisioned urban transformation due to the flows of capital, people, ideologies and imageries?\n6. How has the global city been represented and imagined?\nAssessments include classroom participation in lectures and workshops with activity worksheets, critical writing responses to historical and theoretical texts, field trips with fieldwork exercises and an audio-visual essay and commentary.\nThe course content is organized around sets of case studies, with each focusing on a specific theme that indicates particular continuities and congruencies between cities of different locations and time periods. The discussion throughout the course engages with questions related to contemporary urbanization and consider how historical knowledge may impart a better understanding of challenges we are facing in the global present.\nAssignments of the course include a series of exercises that combine historical research and creative writing. The formats of these exercises vary from year to year. The goal is to enable students to connect the tangible and intangible aspects of cities and the built environment and to strengthen their textual and visual skills. The course also includes a final project that involves an in-depth research of one city.\nCourse Website: https://learning.hku.hk/cchu9048/\nThis seminar provides an introduction to the intertwined concepts of environment, community, and design and explore the contexts that shape their relationships in diverse localities. In contrast to conventional taught courses, significant emphasis of the seminar is placed on student-led activities designed to facilitate active learning through rigorous participation. Weekly seminar topics are structured to provide a systematic introduction to key debates over the ethics and social roles of design practice and explore the nature of emergent \u201cdesign activism\u201d in recent years. It also introduces students to different methods of studying the built environment and communities.\nThroughout the semester, focus is placed on connecting theoretical concepts with actual practices via close examination of international and local case studies. The ultimate purpose is to help students develop a critical lens for deciphering the complex forces that shape the built environment and the ethical challenges facing today\u2019s design practitioners.\nWalter Benjamin\u2019s spent much of the later part of his life as a German immigr\u00e9 in Paris. The city not only served as a place of refuge, but was also the material for some of his most important writing on subjects including art, politics, consumer society and the city. The unclassifiable nature of his work is attested to by his influence across academic disciplines, making him one of the most important figures of early modernism. Benjamin\u2019s time in Paris culminated in an unfinished collection of notes and essays that has come to be known as The Arcades Project. Comprised of fragmentary texts from his research at the French National Library, The Arcades Project examines the material evidence of the forces (political, artistic, philosophical, urban, consumer\u2026.) that created \u201cthe capital of the 19th century\u201d. In its unfinished, fragmentary state, The Arcades Project proposed a new way of reading the city whose form has been as influential as the arguments that ensue.\nThe course takes The Arcades Project as a model for reading urban experience. Students will look closely at the text (including sources such as Baudelaire, Bergson, Proust, Corbusier and Giedion) and the themes that structure Benjamin\u2019s work (flanerie, boredom, iron construction, the interior, advertising, photography, Baudelaire, etc.) with weekly discussion that examines his work against close readings of the texts that influenced him. Through this intertextual analysis, the course will look at how the modern city comes into being as a social, consumer and physical space.\nIn parallel to this analytical work, and with the understanding it provides of the strategies employed by Benjamin to read Paris, students will undertake iconographic and textual research on contemporary Hong Kong guided by a precise thematic. This research (of sources gleaned from literature, politics, city planning, advertising, etc.) will lead to the compilation of a folio of fragments and original writing that proposes a reading of contemporary Hong Kong. Together the students\u2019 contributions will make it possible to ask questions about the continuing relevance of Benjamin\u2019s work \u2014 and of the 19th century European city \u2014 for urban experience in Hong Kong today.\n-Gaston Bachelard, Air and Dreams: An Essay on the Imagination of Movement (Paris, 1943; republished, Dallas: Dallas Institute Publications, 1988)\nThis course explores the role of air in the history of modern architecture. Often overlooked as an influential factor within the design of architecture, air has long figured prominently in theorizations of architectural and urban form. As air has impacted architecture, so has architecture given shape to air. Air\u2019s shifting meanings over time, and in relation to a range of different cultural, political, as well as social contexts, make it an important if overlooked force in how we understand architecture\u2019s relationship to space, human activity, as well as the environment.\nOver the course of the semester, we will trace these shifts in the definition and understanding of air \u2013 as vapor, as matter, as atmosphere \u2013 and the impact of those shifts upon architectural design, discourse, as well as practice. Through our study of air, students will be introduced to a range of influential projects, writers, buildings, sites, and texts in the history of modern architecture. These examples effectively constitute a conceptual history of air that students will use as the basis for their own research projects.", "id": "<urn:uuid:05814acc-b8b9-4cf1-9852-fba0954d292c>", "dump": "CC-MAIN-2022-21", "url": "https://www.arch.hku.hk/researchcentre/architecture-urbanism-and-the-humanities-initiative/courses/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016949.77/warc/CC-MAIN-20220528154416-20220528184416-00154.warc.gz", "language": "en", "language_score": 0.9438924789428711, "token_count": 1613, "score": 3.734375, "int_score": 4}
{"text": "Once Upon a Time: Storytelling at the Heart of Early Literacy Development\nAs early childhood educators, one of our many great privileges is to witness, guide, and celebrate children\u2019s early literacy development. From sharing in the blossoming of spoken language in infancy to documenting their first experiences making marks on paper as young toddlers, to the beloved picture books read aloud in our preschool classrooms each day, we play an integral role in supporting children\u2019s journey toward becoming readers and writers. Beyond discussions of kindergarten readiness, this process is \u2013 in the grandest sense possible \u2013 an essential part of our humanity.\nBased on decades of high-quality research, we know that our approach to early literacy instruction must strike a balance between offering opportunities to develop foundational knowledge and skills while striving to nurture children\u2019s innate and deep love of learning. I believe that the younger children are, the more we need to emphasize the latter; in order to preserve and grow children\u2019s curiosity about making meaning through written and spoken language, they need to experience the process as enjoyable, empowering, and connected to their lives.\nSo our question as educators becomes: how will we support children\u2019s natural interest in early literacy learning?\nAt Wild Lilac Child Development Community, story circle is a core component of our early literacy curriculum. The aesthetic and rituals of our story circles are influenced by the Waldorf tradition of puppet show-style oral storytelling. It is a daily, community-building practice led by a teacher that helps create a culture of storytelling in our classrooms that is social and relationship-based. In the circle, story elements like plot, setting, character, narrative structure, and more are introduced. Children encounter and integrate these elements in their own stories long before they learn to write their names or decode their first words.\nWhile it\u2019s perhaps best and easiest to learn about story circle by sitting in one yourself, here are some considerations to guide you.\nHow is the space arranged?\n\u2022 Typically, a simple circle arranged around the storyteller.\nWhat materials do we use?\n\u2022 Fabric, felt, and silk scarves\n\u2022 Animals and people\n\u2022 Natural materials like pine cones, rocks, flowers, and sticks\nWhere do the stories come from?\n\u2022 Original stories, as well as faithful and alternative retellings of folk tales, fairy tales, and stories inspired by children\u2019s literature.\nHow do children participate?\n\u2022 Before the story, children may help gather and set up materials and share ideas with the teacher.\n\u2022 During the story, children become an audience; the emphasis is on looking and listening closely.\n\u2022 Discussion about the story often takes place afterward, during breakfast or at morning meeting: \u201cWhat do think the fox was feeling when she was excluded? How would you have solved the problem?\u201d\nCreating a dedicated space to organize and display storytelling materials in your classroom, like a block shelf, offers children the ability to access them independently in order to tell their own stories. Frequently we see children retell the morning story throughout their days, but it doesn\u2019t take long for children to share original tales as well.\nThere are a great variety of ways children can help develop this part of your curriculum. Embarking on nature walks to collect materials they would like to add to the storytelling shelf, offering art materials like fabric, wood, or creative reuse items to build characters or props, and going on neighborhood walks to take photographs of places like local parks or businesses children may want to use as story settings are just a few of the interdisciplinary possibilities.\nThe practice can also be used in very direct ways to support social-emotional learning in your classroom. At Wild Lilac, teachers often practice social storytelling where we offer a story about everyday conflicts like excluding in the context of a story that allows children to step back and engage in reflection, critical thinking, and collaborative problem solving both as they watch the story unfold and in the discussion that follows.\nThrough this inclusive, accessible approach to oral storytelling, children develop self-confidence and quickly see themselves as authors at an early age. Story circle is a wonderful practice to help build a community of young storytellers; please reach out to us at Wild Lilac if you would like to learn more.", "id": "<urn:uuid:16c9d361-00ed-43d7-af57-7a073677fea8>", "dump": "CC-MAIN-2022-21", "url": "https://www.oraeyc.org/single-post/2019/05/28/once-upon-a-time-storytelling-at-the-heart-of-early-literacy-development", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00357.warc.gz", "language": "en", "language_score": 0.952902615070343, "token_count": 880, "score": 3.53125, "int_score": 4}
{"text": "Types of Supporting Details Lesson Plan on How to Use Evidence in... What are supporting details? Evidence used in writing to support a thesis statement or topic sentence, or any other supposition. Different Types of Writing: The Many Forms Writing Can Take Writing can come in many different forms, and each one has different guidelines and a different purpose. Check out the different forms, and try some prompts. Genres of Writing : Writing Guide - A Research Guide for Students There are as many types of genres in writing as there are books, movies, and other publications.\nTypes of Writing\nWriting Samples: Job Application Tips | Monster.com A lab report would work for a scientific research gig. An assignment from a business writing class would be appropriate for a management-trainee job. Are certain types of writing samples inappropriate? It's a bad idea to turn in a paper from school if you have been out of school several years. What Is Expository Writing? Expository writing is used to convey factual information (as opposed to creative writing, such as fiction). It is the language of learning and understanding the world around us. If you've ever read an encyclopedia entry, a how-to article on a website, or a chapter in a textbook, then you've encountered examples of expository writing. Incorporating Writing into the Content Area Classroom\nA few types of professionals evaluate kids who have trouble writing. Occupational therapists and physical therapists can test motor skills. So can specialists who work with kids who have developmental coordination disorder (DCD). Trouble with writing can be caused by other learning challenges, too.\nThis type of writing that explains how and why something is done is called expository writing. Essays of this type include topics like \u201cAn important scientific discovery,\u201d \u201cWhy computer and video games are popular,\u201d \u201cHow to Writing support for MHC students from writing specialist Taryn Fritz. Writing support is a free support service offered to all MHC students and for all programs and disciplines. Writing techniques and guidance are often effective for\nThese types of argumentative essays should start out by clearly stating the author's point of view and should use the evidence to support that point of view throughout. As different sides of the argument are discussed, the writer should refute these views in order to persuade the reader that his point of view is the right one.\nSTAAR Writing and English I, II, III Resources | Texas ...\nThere are four main types of writing: expository, persuasive, narrative, and descriptive. Expository - Writing in which author's purpose is to inform or explain the subject to the reader. Persuasive - Writing that states the opinion of the writer and attempts to influence the reader. Narrative - Writing in which the author tells a story.\nServices | Academic Support Programs and Services Tutors provide support for all types of writing in any and all disciplines. Students may make an appointment in GradesFirst via the mylasalle portal. Types of Dissertation Help We Provide at Our Writing Service Our writing service provides help with all types of dissertation writing. Feel free to connect with us when you need help: top writers, 24/7 support, modest prices Writing Archives - Types of Service Writing has been a job for intellectuals for the reason that very daybreak of civilisations of man. Man has all the time tried to write down down his emotions or his ideas and embellish it with decorative phrases or sounds.\u2026 CxC Writing Support\nThe Types of Portfolios As more and more educators use portfolios, they increasingly recognize that the process has the power to transform instruction. Some teachers, however, are confused by the many types of portfolios, their different uses, and the practical issues surrounding storage, ownership, and the like. Five Basic Types of Curriculum | The Education Cafe", "id": "<urn:uuid:b60173a0-fa36-4fc0-b1a6-ce574e56e462>", "dump": "CC-MAIN-2022-21", "url": "https://emyblog2021mpvqc.netlify.app/bettinger54584jada/types-of-support-in-writing-nec.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00355.warc.gz", "language": "en", "language_score": 0.9485688805580139, "token_count": 778, "score": 3.6875, "int_score": 4}
{"text": "The brain is the most complex organ in our body. Its intricate systems consist of millions of different neurons with just as many channels of communicating. How these neurons communicate controls everything about us, from our movements to our mental health.\nAs a result, scientists have developed several tests that map and analyze our brains, each with their own purpose. Some tests measure how well the neurons in our brain are working, others measure the blood flow in our brain, and some measure multiple functions of the brain.\nScientists need these tools and much more to understand neurodegenerative diseases, neurological disorders, behavior disorders, cognition, and many other factors that affect the way our brain and body function.\nComputed Axial Tomography (CAT) or Computed Tomography (CT)\nComputed Axial Tomography (CAT), now often referred to as computed tomography (CT), is an advanced type of X-ray that takes detailed images of the body. Although it is most often used to analyze the skeletal structure for injury or abnormalities, it can be used to detect tumors, infections, some injuries, and diseases in the brain.\nA CT scan is noninvasive, takes about 15 to 20 minutes, and transmits a 2D image onto a computer screen. It also provides more detailed information than a standard X-ray and is commonly used to analyze the brain from different angles which may aid physicians in understanding and treating abnormalities in the brain.\nA CT scan is often used in conjunction with other tests, such as a standard X-ray or MRI for a multitude of reasons whether it\u2019s to better understand an abnormality or to track the progress of a brain tumor. Doctors may use a CT alongside other tools to guide them during extensive surgeries too.\nMagnetic Resonance Imaging (MRI)\nMagnetic resonance imaging (MRI) is one of the most common forms of evaluating soft tissue and organs. It utilizes a strong magnetic field and radio frequency to capture intricate images of the brain that are transferred to a computer screen.\nMore specifically, The National Institute of Biomedical Imaging and Bioengineering explains,\nMRIs utilize power magnets that produce a strong magnetic field, forcing protons in the body to align with that field. When a radiofrequency current is pulsed through the patient, the protons are stimulated, and spin out of equilibrium, straining against the pull of the magnetic field. When the radiofrequency field is turned off, the MRI sensors can detect the energy released as the protons realign with the magnetic field.\nAn MRI is used for multiple reasons which include, detecting tumors, cysts, bleeding, infection, inflammation, injury, and swelling; determining the cause of headaches or migraines, dizziness, impaired vision, and seizures; and to choose effective treatments for abnormalities and injuries of the brain.\nFunctional Magnetic Resonance Imaging (fMRI)\nFunctional magnetic resonance imaging (fMRI), is another test people are familiar with in regards to brain mapping and monitoring brain anatomy. Like MRI, fMRI uses a magnetic field and radiofrequency pulses to record blood flow in the brain. The results are then translated onto a computer screen. Unlike an MRI, functional magnetic resonance imaging analyzes how blood flow in the brain changes with different activities.\nThe Center for Functional MRI explains the science behind an fMRI, \u201cthe nucleus of a hydrogen atom behaves like a small magnet. Using the phenomenon of nuclear magnetic resonance (NMR), the hydrogen nuclei can be manipulated to generate a signal that can be mapped and turned into an image.\u201d\nIn simple terms, scientists know when your brain responds to stimulation whether it be reading, watching TV, speaking, or doing nothing at all, neural activity increases in the areas of the brain that control these functions. As a result, your brain increases blood flow and oxygen to these areas, and fMRI shows which parts of the brain are being used the most during a given stimulation. This, in turn, allows the evaluator to differentiate between gray matter, white matter, and cerebral spinal fluid.\nDoctors and scientists use functional magnetic resonance imaging to evaluate the sections of the brain that are controlling essential functions and to analyze the extent of stroke, neurodegenerative diseases, injury, tumors, and disabilities. Doctors also use fMRI to determine the best therapy for a patient with brain issues or to plan risky surgeries involving the brain.\nAn EEG measures neural activity generated by the numerous cortical layers of the brain. The test is either done by placing electrodes to the scalp or to an elastic cap depending on what portions of the brain need to be tested and how quickly those results need to be transferred to a graph or computer monitor.\nAccording to Johns Hopkins Medicine, an EEG is used to detect problems with the brain, such as:\nSeizure disorders like epilepsy, stroke, tumors or lesions (depending on the location and size of the lesion), Alzheimer\u2019s disease, some psychoses, and narcolepsy. An EEG is also used to evaluate trauma, drug intoxication, the extent of brain damage, and used to monitor blood flow during brain surgeries.\nIn addition, an EEG may be used to measure a patient\u2019s response to certain conditions or stimulations and confirm brain death.\nThe duration and process for an EEG depends on which type of EEG the patient needs. The most common EEGs are:\n- A Routine or Standard EEG: This EEG last between 45 minutes and up to 3 hours depending on why the patient needs testing.\n- An Ambulatory EEG: The patient wears a portable EEG recorder for 1 to 3 days, then documents their activities for the duration of the test. The evaluator compares the EEG\u2019s recordings to each activity.\n- EEG-Video monitoring: An EEG-Video is conducted at specialty medical clinics, takes several days, and is often used to diagnose critical neurological disorders.\nMagnetoencephalography (MEG) is similar to fMRI in that records the magnetic field generated by neural activity, but it is a much more sensitive form of neuroimaging. MEG has a fast and high temporal and spatial resolution, giving evaluators images of direct neural activity within milliseconds.\nFurthermore, MEG is one of the most technologically advanced and recent forms of brain mapping that poses little risk to the patient. Its precision allows scientists to gain detailed information about sensory, motor, language, and memory cortex functions. According to MEGCommunity.Org, \u201cMEG utilizes a superconducting quantum interference device (SQUID) technology, a sensitive detector of magnetic flux. \u201d\nMEG is used to evaluate neurons that are functioning adequately and those that are malfunctioning which leads doctors and scientists to diagnose neurological issues like epilepsy. It is also used to analyze how the brain responds to different forms of stimulation.\nWhat\u2019s even more impressive is that MEG, MRI, and EEG can be used together to better understand the brain\u2019s anatomy and function, leading doctors to more accurate diagnoses and treatment.\nAn electrocorticography (ECoG) is a procedure that monitors cognition, sensory and motor responses in the cerebral cortex through electrodes that are directly implanted on the brain\u2019s surface. Even though ECoG is an invasive procedure it has its purpose in the medical field.\nECoG is commonly used to protect the brain as surgeons remove tumors or biopsy the brain. It also provides scientists with higher spatial and temporal resolution than some of the previously mentioned tests and scans.\nAccording to the Journal of Neuroanaesthesiology & Critical Care, \u201c is commonly used for localization of epileptogenic focus during surgical treatment of epilepsy.\u201d However, the Journal of Neuroanaesthesiology & Critical Care further explains that epilepsy surgery is only successful when the entire epileptogenic zone is removed.\nECoG can give doctors and scientists a more accurate image of the brain and how it\u2019s functioning, but the risks of anaesthesiology and surgery make it a less than optimal procedure for evaluation and diagnosis.\nPositron Emission Tomography (PET)\nPositron Emission Tomography (PET) evaluates the brain\u2019s blood flow, neurotransmitters, and chemical activity. It is often paired with CT or MRI scans to gain a full view of brain function. During a PET, the patient is given a mildly radioactive tracer (a dye when the brain is being monitored) which highlights activity in the brain.\nPET enables scientists and physicians to monitor changes in the brain for a period of time, informing them about the progress of a disease or how a patient is responding to a stimulant. They may also use PET to determine if a growth in the brain is benign or malignant. Through positron emission tomography, scientists are able to understand some of the most debilitating brain issues such as stroke, dementia, Alzheimer\u2019s, and Parkinson\u2019s\nScience has come a long way since we first began monitoring the brain and even though we still have much to learn, these tools allow scientists to understand brain function and anatomy. More importantly, these tools allow doctors to more accurately diagnose and treat brain abnormalities, diseases, and disorders.\nMA English Creative Writing | Southern New Hampshire University\nBS Health Administration | University of Phoenix\nMore Related Articles:", "id": "<urn:uuid:f47cb850-f943-4708-951a-3cc0ab41bd63>", "dump": "CC-MAIN-2023-14", "url": "https://www.online-psychology-degrees.org/study/tools-monitor-brain-function/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2023-14/segments/1679296949097.61/warc/CC-MAIN-20230330035241-20230330065241-00754.warc.gz", "language": "en", "language_score": 0.9161994457244873, "token_count": 1943, "score": 3.734375, "int_score": 4}
{"text": "\u2018\u2019Through education we build the foundations of society, the problem is that the foundations of the Dutch education system as well as the European education system are, at large, incomplete\u2019\u2019. This is how Karim Amghar opened his online workshop on interactive and creative teaching methods on Monday 29th of November 2021. In a two-hour session, Karim shared his vision and insights as a teacher, writer and documentary maker on the importance of equal opportunities for students within the educational system. He also talked about methods to address diversity, inclusivity and migration in the classroom. Apart from the TIES team members, high school teachers from across Europe were present.\nFor Karim Amghar, addressing educational (in)equalities, diversity, inclusion in the classroom is the crucial starting point to teach larger societal phenomena such as migration, discrimination, racism and other axes of exclusion. Diversity is often thought of as being mainly about gender and ethnicity, while it also concerns more intangible aspects such as personal opinions, political standpoints, language skills, and socio-economic background. On a similar note, feeling included is often an emotional and intangible matter: inclusion is about whether one is able to be who one is \u2013 in the classroom but also in society at large. In this context, stereotypes and unconscious biases play a major role. By opening up the conversation about diversity in the classroom, discussions can then take place about larger societal issues and students\u2019 opinions on sensitive topics.\nKarim made clear that most of the judgements and opinions we carry stem from unconscious and conscious stereotypes we hold about others: We all carry biases with us as individuals, including teachers! During the workshop we collectively brainstormed for example on common stereotypes about women in society. Karim stressed the importance of doing such exercises and summing up stereotypes in order to become aware of them and ultimately let them loose their grip on our daily interactions. Stereotypes about others are embedded in our unconscious biases from which a lot of our daily actions emerge, while we might assume that we are aware of our value and judgement systems. Social media and influencers also play a major role in building students\u2019 unconscious bias, especially as the \u2018social\u2019 part of our brain is most active until the age of 23.\nMaking students aware of their stereotypes and unconscious judgements allows to open up the conversation and cultivate more diverse and nuanced outlooks on different groups of people in society. Such conversations are likely to create some discomfort but, according to Karim, this is not problematic as such as discomfort actually triggers behavioral change, as long as it takes place within spaces which feel safe to all participants. A key point here is to start addressing diversity as something powerful and positive rather than regarding it as a problematic or difficult subject.\n\u2018Making students aware of their stereotypes and unconscious judgements allows to open up the conversation and cultivate more diverse and nuanced outlooks on different groups of people in society. Such conversations are likely to create some discomfort but, according to Karim, this is not problematic as such discomfort actually triggers\nbehavioral change, as long as it takes place within spaces which feel safe to all participants. A key point here is to start addressing diversity as something powerful and positive rather than regarding it as a problematic or difficult subject. One way to do so is through a dialogue-centered teaching method called the \u2018Talking Stick Method\u2019. You can find the video and accompanying instructions shared by Karim on how to use and facilitate this teaching method in your classroom HERE.\nBuilding on these insights, here are 10 strategies for teachers on how to allow for constructive discussions on diversity and topics related to migration and discrimination in the classroom:\n- Build safety by opening up a dialogue (letting students speak from their perspectives) rather than by value judgments (presenting facts and then indicate the right/wrong side of the debate).\n- Invest in fruitful dialogue during \u2018peaceful times\u2019, when the atmosphere in class is positive and calm, rather than starting a dialogue when something went wrong \u2013 practice in good times, use in bad times.\n- When engaging in a dialogue with students, acknowledge at the beginning that feelings are important. Start by asking students about their feelings concerning a topic at hand. In general, people are more comfortable starting a conversation from their own perspectives than from facts.\n- Sharing how you as a teacher feel at the beginning of a session can help students to relax. Share something about your morning/day, open up and be vulnerable in sharing personal stories.\n- When addressing stereotypes, ask students to give practical examples in order to confront them later. Know that it is alright to feel uncomfortable in the classroom. Remind yourself that discomfort is one of the main triggers for behavioral change.\n- Remember that the virtual space is part of your students\u2019 daily lives. Ask your students how they are \u2013 offline and online: How was your day today? How was your day on social media? This will offer new opportunities to open up conversations about students\u2019 opinions and experiences.\n- Address diversity as something beautiful and positive rather than something difficult or problematic.\n- Provide stories of positive, empowering and diverse role models who can influence students\u2019 outlook on themselves, each other and society as a whole.\n- Arts-based methods such as storytelling, theatre, arts, and music are great ways to address inequalities in the classroom as access to cultural activities is more difficult for children from lower socio-economic backgrounds. These methods are also often particularly effective in addressing social exclusion and other sensitive topics.\n- Be aware of your own unconscious bias as a teacher. Reflect on the following questions: Do you unconsciously address certain students differently than others? Do you have low or high expectations of specific students? What does this do to your assessments/grading/feedback?", "id": "<urn:uuid:3f374466-e14e-4766-8cc3-f505db5727ac>", "dump": "CC-MAIN-2022-21", "url": "https://teachingmigration.eu/stereotypes-unconscious-biases-and-teaching-migration-in-the-classroom-10-take-aways-from-the-ties-workshop-with-karim-amghar/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00155.warc.gz", "language": "en", "language_score": 0.9602540731430054, "token_count": 1185, "score": 3.84375, "int_score": 4}
{"text": "The comma, according to Lynn Truss, clarifies the grammatical structure of a sentence and points to literary qualities such as rhythm, pitch, direction, tone and pace.\nTruss says that careful use of the comma announces \u2018an ear for sense and rhythm, confidence in your style and proper respect for your reader\u2019 (p.70). The title refers to a well-known joke, which plays on the ambiguity of \u2018shoots\u2019 and \u2018leaves\u2019 as homonyms. To the ear and eye these words appear the same, but in different contexts their meaning changes. So, in the joke, \u2018A panda walks into a bar\u2026\u2019, contexts collide, meanings are superimposed, but the punctuation rescues the reader.\nThis shows us exactly why reading for meaning is a multi-layered affair. To read the phrase \u2018eats, shoots and leaves\u2019 with understanding involves observing the comma as a formal separation of the first two verbs in a series of three, as well as inhibiting a miscommunication of meaning. From a rhythm-based perspective, the comma prevents \u2018eats shoots\u2019 from being read as a verb-noun pair. Verb-noun pairs are rapidly processed, high-frequency phrases that provide immediate understanding, such as \u2018drives cars\u2019, \u2018writes books\u2019, \u2018plays games\u2019 and \u2018buys drinks\u2019.\nRemarking on the similarity between punctuation and musical notation, Truss observed that \u2018punctuation herds words together, keeps others apart\u2019 (p.20). Although there are different patterns of emphasis (prominence or stress) in different languages, dialects and indeed regional variations of any given language, what is important is that rhythmical cycles operate at several levels in both language and music. Remarkably, we generate these highly organised, intricate and geometric relationships of time and meaning automatically at a subconscious level of awareness.\nAt a conscious level, we are more likely to realise how involved or engaged we feel with the meaning of the story or song. Once our attention has been captured, we as an audience can become phase-locked into an experience of heightened awareness, which is effortlessly stored by the memory. In fact, laws, myths, legends and cultural histories have been preserved across generations in this way. This form of group learning via listening feels somewhat mysterious and therefore has often been vaguely described in phrases such as, \u2018you could have heard a pin drop,\u2019 \u2018having the audience in the palm of your hand\u2019 or \u2018sitting on the edge of your seat\u2019. The phase-locked experience is not unique to humans as most living things synchronise with cycles of light intensity. There are also patterns of synchronised sound among insects and synchronised movement in flocks of birds, shoals of fish and herds of cattle.\nThrough language and music our collective response to sounds (in the air or on the page) naturally predisposes us to become attuned to the recurring cycles of phrases, patterns within phrases and the overarching structures within which phrases are meaningfully grouped. I am not suggesting that we humans are mindless creatures, intrinsically satisfied by the hypnotic pull of recurring rhythmical patterns. No, we are very complex and capable of a vast range of behaviour from incredible subtlety in our rhythmic awareness to tremendous violations of natural rhythmical cycles. In general, our desire for novelty and our urge to create, to surprise, to shock, to satirise and push against outdated institutions, is expressed through rhythm. We have archived our experiences through storytelling and music with the resonance of an authentic human voice. The elasticity of congruent rhythmic structures accommodates newly-combined patterns, reminding us that far from being hypnotised by our own sounds, we are dynamic communicators with the ability to express, create, share and reflect upon our experiences.\nTruss, L (2003) \u2018Eats, shoots & leaves: The zero tolerance approach to punctuation\u2019 Harper Collins", "id": "<urn:uuid:5c3ed734-68da-4a4c-9b87-7bf3dbc555d9>", "dump": "CC-MAIN-2022-21", "url": "https://rhythmforreading.com/a/blog/archive/2018/02", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00755.warc.gz", "language": "en", "language_score": 0.9497329592704773, "token_count": 836, "score": 3.5625, "int_score": 4}
{"text": "Electricity CPD videos\nCPD for 11-14 14-16 16-19\nElectrical circuits are essential in everyday life, but students often find them challenging. In these videos, we look at ways to make links between the microscopic level of charged particles and macroscopic observations. We use several models of electric circuits, highlighting where care is needed and these models break down.\nLearning about electrical circuits is a highly practical activity. We provide tips to trouble-shoot tricky circuits and ideas for purposeful practical work. There are also suggestions for more successful setups when investigating complex circuits.\nThrough models and practical work, we discuss how to introduce the relationship between voltage, current and resistance in a quantitative way. Finally, we delve more deeply into some of the other mathematical concepts needed from 14 years onward including internal resistance and potential dividers.\nThe short CPD videos below can be used alone or as preparation for a session in our online IOP DOMAINS CPD Programme.\nMeet the presenters\n(Left to right, IOP Coaches) Alan Denton, Carole Kenrick, Dan Cottle, Eleanor Wylie, Jessica Rowson, John Parsons, Mark Whalley, Niloufar Wijetunge, Terri Ghoneim.\n- Charge and static (11-14)\n- Using models to explain simple circuits (11-14)\n- Exploring circuits practically (11-14)\n- Storytelling: the people behind the physics (11-19)\n- Factors that affect resistance (14-16)\n- Circuit equipment and I-V graphs (14-16)\n- Electricity Equations (14-16)\n- Potential dividers (16-19)\n- Internal resistance and EMF (16-19)\n- Links to teaching resources\nCarole explains why it\u2019s helpful to teach about charge and static before we teach simple circuits, and she demonstrates the use of visual representations for developing students\u2019 understanding.\nIn this video Dan, Niloufar and Carole demonstrate a range of teaching models that can be used to help students understand simple circuits, and consider the benefits and limitations of each.\nEleanor and Jessica discuss the importance of practical work in circuit pedagogy and suggest some tips for purposeful practicals.\nCarole shares fascinating stories about the people behind the physics we teach, demonstrating some historical experiments, and she highlights the importance of considering representation when we chose which physicists we teach students about.\nJessica looks at the factors that affect the resistance of a wire and discusses some practical setups for investigations in the classroom.\nTerri and John take you through the key issues in investigating I-V characteristics for resistors, filament lamps and diodes.\nIn this series of three combined mini-videos, Mark looks at some of the electricity equations and how they're related (0:00-16:49), a framework for challenging questions (16:50-24:18) and goes through some worked solutions (24:19-39:16).\nAlan shows a way of teaching potential dividers using mini-whiteboards that can help students to answer challenging qualitative questions.\nAlan looks at how we can calculate experimental values for EMF and Internal Resistances, and how students can understand the equation.", "id": "<urn:uuid:e35e7cc6-ff65-43c3-a4ab-dc24f389386e>", "dump": "CC-MAIN-2022-21", "url": "https://spark.iop.org/electricity-cpd-videos", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522309.14/warc/CC-MAIN-20220518183254-20220518213254-00154.warc.gz", "language": "en", "language_score": 0.8987057209014893, "token_count": 693, "score": 3.84375, "int_score": 4}
{"text": "An excellent opportunity to learn about Transmedia Navigation, Digital Literacy, New Media Literacy and Technology Integration that students actually love!\nThank you to Tuesday\u2019s Guest Expert Amelia Wildman!\nThank you Amelia Wildman!!\nIt\u2019s imperative that classroom design is driven by the desire to create personal and authentic learning. ~ Tom Murray, co-author of Learning Transformed: 8 Keys to Designing Tomorrow\u2019s Schools, Today\nGuest post with Amelia Wildman, MEd and current doctoral student at the College of William and Mary.\nThe responses to our recent presentation at the CCE Symposium in Finland was so kind. Many in attendance requested additional information on specific implementation of How-focused questioning. Also requested were effective question stems for How-Focused Questions.\nAmelia writes, \u201cAt its core, creativity involves thinking about something in a meaningful, original way. Strategies that develop students\u2019 abilities to think creatively can also serve the purpose of helping them build skills in analyzing and evaluating what they read.\u201d\nHow-Focused Strategy: A specific how-focused strategy for strengthening students\u2019 creativity is metaphorical thinking. Metaphorical thinking is about connecting different ideas in order to develop a new perspective or understanding: the qualities and contexts of one idea are paired with those of another in order to make connections. Incorporating metaphorical thinking activities can promote students\u2019 fluent thinking \u2013 generating many ideas; flexible thinking \u2013 considering different perspectives; and original thinking \u2013 developing insights that are unique and complex. Specific strategies for incorporating metaphorical thinking activities into the classroom will be discussed, with a specific focus on metaphorical thinking and developing skills in writing.\u201d\nResearch-based instructional component (IC): How-focused questions components are integral to students\u2019 content acquisition. How-focused questions are part of questioning for:\n2. Probing Assumptions\n3. Probing Rationales\n4. Questioning Viewpoints\n5. Probing Consequences\n6. Questions on the Question\nHow-focused questions are a component of an effective Socratic questioning approach. Here are a few Question stems featuring a Socratic assertion. From these seven stems a complete questioning curriculum in any content area is possible.\nWatch this video that addresses deterrents to poor questioning.\nBerger, W. (2013). What Kills Questioning? (Book trailer for A MORE BEAUTIFUL QUESTION by Warren Berger). Youtube. Available online at this link: https://youtu.be/dey1Rm5gUxw\nB\u00e9langer, Annie and Rao, Preethi, \u201cThe Art of Questioning: Using Powerful Questions and Appreciative Inquiry Conversations to Understand Values and Needs\u201d (2019). Presentations. 79.\nPLEASE NOTE: This post original published February 28, 2019. Updated May 30, 2019 with additional citation information.\nToday at 11:30am, our Creative Classroom Presentation Features a \u201cHow-Focused\u201d approach to Digital Storytelling and its implementation in your classroom. The location is the Library at the Tampere University of Technology (TUT).\nThe main idea of our presentation:\nThis presentation has instructional and pedagogical application for K-12th grade. It is scalable for global audiences, which is good because our venue, #CCEFinland features participants from 21 countries.\nPBS Learning Media has thousands of lesson plans that embed creativity and digital technology. Go to https://www.pbslearningmedia.org/ to explore the full library of lesson plans and resources.\nConfined on the XR train traveling to Tampere? Stuck in the States without a travel budget? Follow our presentation via QR Code or shortened link:\nA question and answer session will follow. Questions from the onsite audience and via the #HarnassingImagination hashtag will round out our session.", "id": "<urn:uuid:980bfbaf-fe3f-434d-902f-eadcaf281395>", "dump": "CC-MAIN-2022-21", "url": "https://4oops.edublogs.org/tag/amelia-wildman/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00757.warc.gz", "language": "en", "language_score": 0.8992018699645996, "token_count": 847, "score": 3.71875, "int_score": 4}
{"text": "Creating educational posters for your classroom is a great way to engage kids and remind them of the lessons you\u2019re teaching. As a teacher, you\u2019ve already got a lot on your plate \u2013 planning lessons, marking work, and the day-to-day teaching of young minds. That\u2019s why we\u2019ve created 10 downloadable classroom wall posters for kids in the UK, so you\u2019ve got one less thing to think about!\n1. Times Table Poster\nThis first printable poster for teaching shows basic times tables up to 12. This tends to be the highest times table number children learn, as we still count many things in dozens, so this still has lots of real-life applications. It\u2019s also what UK pupils are tested on in their SATs, so memorising them with this handy poster will help solidify their learning!\n2. Adjectives Poster\nWhen it comes to creative writing, adjectives are essential for creating an exciting story. Give children some inspiration with this adjectives list classroom poster, perfect for key stage one and early key stage two kids alike.\n3. Learn the Alphabet Poster\nLearning the alphabet is one of the very first stages of literacy. One of the best ways to teach it is using words children already know and love \u2013 like the names of their favourite animals! This educational poster uses cartoon animals and shows the letters of the alphabet in both upper and lowercase to embed the shapes of these letters in young minds.\n4. Colour Wheel Poster\nArt lessons are a fantastic way to encourage children to express themselves and get creative, as well as learn different colours, how to mix them and the effects they have. This bright colour wheel poster for kids differentiates between primary, secondary and tertiary colours. It also explains how to choose complementary colours and identifies which colours are warm and cool.\n5. Decimals, Percentages & Fractions Poster\nDecimals, percentages and fractions all tie in together, so teaching them all at once is a great way to create a link in children\u2019s minds between them. This useful poster for teaching demonstrates how each topic links together, showing the same value as a decimal, percentage and fraction. It uses basic values that many children will already be familiar with by the time they reach key stage two, such as halves and quarters.\n6. Number Grid 1-100 Poster\nNumber grids have multiple uses: they can help children count, use multiplication, work out differences and add and subtract. This number grid educational poster features numbers 1-100 and is best suited to key stage one maths learning walls.\n7. Place Value Poster\nThis place value chart shows the value of a unit depending on where it\u2019s placed in a number. To simplify this, the decimal place separates the ones from the tenths and a comma separates the hundreds from the thousands. Quick tip \u2013 print of a few of these learning posters and have them laminated so that your pupils can write straight onto them with markers pens.\n8. Primary and Secondary Colours Poster\nThis educational classroom poster is a simplified version of our colour wheel chart, and it\u2019s better suited to younger children who are still getting to grips with creating colours. The fun paint splodges are an attractive and simple way to show what happens when you mix different coloured paints together, encouraging pupils to get creative with their own painting skills.\n9. Punctuation Poster\nThis bright multi-coloured classroom poster brings punctuation to life! Different features of punctuation are explained here, with the wording making this a perfect learning resource for older pupils in the later key stage two years who are preparing for their SATs.\n10. Shapes Poster\nLearning basic shapes is an essential maths lesson. Make it easier for kids to visualise each shape by hanging this educational poster on your classroom wall. The poster shows common 2D and 3D shapes, making it a great option for a range of age groups.\nHow to Use Our Free Educational Classroom Wall Poster Designs\nOnce you\u2019ve chosen which UK classroom poster you\u2019d like to print from this page, click the download now link. Then head over to our poster printing page and pick which size you'd like to print. Once you're happy with your selection, add it to your basket.\nFollow our printing journey and we\u2019ll guide you through the rest of the journey, including uploading your chosen design.\nWe recommend getting these educational posters for teaching printed on A2 size 170gsm silk. This is an affordable option with a slight sheen that makes colours pop.\nIf you\u2019d like some more help with your primary school learning wall posters, or if you want to suggest some more poster ideas to our team, feel free to get in touch.", "id": "<urn:uuid:bd32624b-4d98-4d23-abe1-8cab882f9288>", "dump": "CC-MAIN-2022-21", "url": "https://www.instantprint.co.uk/printspiration/be-inspired/educational-classroom-posters", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522309.14/warc/CC-MAIN-20220518183254-20220518213254-00156.warc.gz", "language": "en", "language_score": 0.9320377707481384, "token_count": 982, "score": 3.5625, "int_score": 4}
{"text": "Check in each week at Science Buddies this summer for our Awesome Summer Science Experiments series! Each week, we\u2019ll highlight a few activities for awesome science and engineering kids can do at home. We\u2019ve got a whole summer of fun STEM themes lined up for kids of all ages \u2014 for free. This week: awesome summer science experiments in the kitchen!\nAwesome Kitchen Science Concoctions\nHead to the kitchen this week for science you can eat! Many of the activities featured this week involve the science of freezing and the role salt plays in making favorite summer treats like ice cream. There is a good bit of shaking going on to turn simple ingredients into yummy foods, too. For kids planning a lemonade stand, exploring the relationship between taste and color and whether or not things can be too sweet or sour can be a lot of fun.\nEXPERIMENT: Kitchen Science Activities\nIf they both use the same lemonade, is turquoise or purple \u201cmermaid\u201d lemonade tastier than yellow lemonade? If given a choice, would you pick the red slushy, the orange one, or the brown one? Does the color of food make a difference in how you think it tastes? Maybe! Try the Color Taste Test\u2014Do You Taste with Your Eyes? activity to see how color fits into your response to foods and drinks. For added taste-test fun, try the How Sour or How Sweet is Your Lemonade? experiment to see what ratio of vinegar to sugar might taste best in your next batch of lemonade (and how using a scale rather than a measuring spoon can be really important for making sure your batches of lemonade all taste the same)!\nOnce your kids realize how easy it is to make homemade ice cream, this kitchen science experiment might become a summer favorite! Use the Make Ice Cream in a Bag activity to make ice cream in a plastic bag and explore the role of salt in the process. This activity is great for making individual or small servings. Homemade ice cream doesn\u2019t have to be basic though! See how these kids tried to recreate some of their favorite gourmet flavors. (Reality check! This activity only takes about 20 minutes. Science is that cool!)\nShaking up homemade butter in a jar is a classic kitchen chemistry activity. Kids will love the challenge of shake, shake, shaking until the butter forms, and the ingredients are super simple\u2014whipping cream and a small jar (and maybe a pinch of salt). This is perfect \u201cexperiment to table\u201d science. After shaking up some butter, kids can experiment with using their homemade butter to make flavored butters, like adding honey or cinnamon. (Pssst: You\u2019ll see whipped cream form before butter, but keep shaking!)\nIn the Homemade Slushies activity, kids can shake up their own flavored slushies using a special ice mixture they make first with salt and water. Try this activity with different colors of juice or beverages, or add a bit of food coloring, to make awesome variations. Rainbow slushies, unicorn slushies, mermaid slushies, superhero slushies. What color combinations will your kids try? (Tip! You\u2019ll want to plan to do this in two stages. Kids can mix up the colored salt-water ice and then put it in to freeze. A few hours later, they\u2019ll be able to do the shaking part to make their slushies!)\nIce cream is an awesome summer treat, even when it\u2019s baked inside a cake! Use the Bake Your Ice Cream activity to make this unusual dessert and see how meringue is used as an insulator. (Reality check: Yes! The ice cream stays frozen inside the cake!)\nUse these questions to prompt conversation and reflection about the science behind this week\u2019s Awesome Summer Science Experiments activities:\n- Why might vinegar be used in a food or drink that is sweet?\n- How does salt help speed up the process of freezing water?\n- Several of these activities involve shaking ingredients. What does shaking do to them?\n- Is making butter faster if you use room-temperature whipping cream?\nEXPLORE: STEM Careers\nAfter trying this week\u2019s summer science experiments, kids can learn more about related science and engineering careers, like:\nPair food-themed story and chapter books like these with this week\u2019s Awesome Summer Science Experiments explorations.\nPicture and Early Reader Books\nFor more suggestions for science-themed summer reading, see our Summer Reading List. Also, don\u2019t miss this roundup of creative STEM activities for storytelling and imaginative play.\nBookmark Awesome Summer Science Experiments Week 2: Kitchen Concoctions\n10 Weeks of Awesome Summer Science Experiments\nFollow the full summer series on the Awesome Summer Science Experiments page!\nYou Might Also Enjoy These Related Posts:", "id": "<urn:uuid:953db2ce-8577-4a39-bc58-ecf93a80bcfe>", "dump": "CC-MAIN-2022-21", "url": "https://propernewsdaily.com/kitchen-concoctions-awesome-summer-science-experiments/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662530066.45/warc/CC-MAIN-20220519204127-20220519234127-00756.warc.gz", "language": "en", "language_score": 0.8974071145057678, "token_count": 1040, "score": 3.640625, "int_score": 4}
{"text": "Stone Age Housing - Info for Keystage 2\nUpdated: Mar 2, 2021\nThe term \u201ccaveman\u201d is thrown around a lot when it comes to studying the Stone Age and it can be quite misleading. By calling early Stone Age humans \u201ccave-people\u201d we are suggesting that they lived in caves. Which is true, Stone Age people did live in caves \u2013 but only sometimes.\nConfusingly, \u201ccavemen\u201d didn\u2019t always live in caves. Weird, huh?\nI suppose \u201chalf-cave-man-and-half-basic-shelter-made-out-of-sticks-and-animal-hides-man\u201d was a bit too complicated a name.\nSo where did Stone Age people actually live then? The answer to this question depends on what period of the Stone Age we are talking about.\nThe Early & Middle Stone Age\nIn the early and middle Stone Age (Palaeolithic and Mesolithic), humans travelled a lot to find food. This meant moving house a lot too. As these hunter-gatherer humans followed animal herds across the land or searched for greener pastures for foraging, they set up temporary shelter for themselves.\nCaves were a quick and easy place to shelter. Humans would ensconce themselves in the mouth of the cave; where it was cool during the summer but warm and dry in the winter. They created grass bedding for themselves and decorated the cave walls with Cave Paintings.\nIf there were no caves nearby (or worse, it was inhabited by a cave bear or a pack wolves!), then Stone Age humans would create temporary structures by making a frame out of branches, animal bones or tusks and then covering it with animal hides. Some of these temporary shelters were also easily portable, meaning people could pack them up and carry them on their travels, a bit like modern day campers do with tents.\nThe New Stone Age\nIt wasn\u2019t until the new Stone Age (Neolithic) that humans began to settle in one place. By this time, they had taken a serious interest in farming which meant they didn\u2019t have to chase herds of animals around the country. Instead, they could raise their own livestock or grow their own crops, all from the comfort of their own home. They would often base themselves near rivers, that way if the crops didn't grow or the livestock died, then they could still fish for food.\nAt this time, humans created stronger, permanent shelters, often made from timber, stones or wattle and daub (a frame of sticks coated with mud or clay). The roof would have been made from straw layered across the top of the structure. Stone Age houses in settlements such as Skara Brae even had furniture!\nAre you a teacher? Yes? Then you'll definitely want Imagining History to bring their 'A Handy Guide to Survive the Stone Age' Interactive workshop to your school.\nOur Award-Winning sessions combine role-play, storytelling, demonstrations and drama and performance to bring history to life for your students.", "id": "<urn:uuid:579bb33a-7b9b-4541-a05f-1c1f97820abb>", "dump": "CC-MAIN-2022-21", "url": "https://www.imagininghistory.co.uk/post/stone-age-housing", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662555558.23/warc/CC-MAIN-20220523041156-20220523071156-00757.warc.gz", "language": "en", "language_score": 0.9751390814781189, "token_count": 642, "score": 3.546875, "int_score": 4}
{"text": "Thomas Jefferson was an American statesman, diplomat, lawyer, architect, philosopher, and Founding Father who served as the third President of the United States and a slaveholder who signed the Declaration of Independence, declaring that all men are created equal, possess 600 slaves.\nOne of the famous stories about Jefferson concerns a controversial relationship with one of his slaves, Sally Hemings, who was also his sister-in-law. Hemings\u2019 mother was of mixed race and Sally\u2019s father was John Wayles, the father of Jefferson\u2019s late wife, Martha. Sally was a half-sister to Martha and considered three-quarters white.\nThe historical debate over whether or not there was a sexual relationship between them continues; however, most 21st century historians agree that Jefferson fathered one or more of Sally\u2019s children. One of these children is the central theme of the play by playwright Charles Smith, The reconquest of Madison Hemings.\nWe had the pleasure of traveling to Indianapolis to see this play again at the Indiana Repertory Theatre. The world premiere of The Reclamation of Madison Hemings is the story of one of Sally Hemings\u2019 children named Madison, who refused to accept her father\u2019s surname, Thomas Jefferson, \u2013 choosing instead to be called Hemings.\nAlthough slavery was abolished in America, many slaves never felt the true meaning of freedom. Madison returns to neglected Monticello after the Civil War ends in 1866. He struggles with anger and resentment at being seen as a Jefferson. I only ever knew one white man named Hemings, he recalls. His friend and former slave footman, Israel Jefferson, also known as Israel Gillette (slave parents Jane and Edward Gillett), returned to Monticello (\u201cLittle Mountain\u201d) in search of his brother, Moses. Israel bought his freedom from Thomas Walker Gilmer and took Jefferson\u2019s surname at the suggestion of the clerk when registering his freedom.\nSeeing the Monticello, Madison\u2019s bitterness grows as he recounts the days of his youth, imagining how he, along with his brothers, Beverly, Eston and sister Harriet, were never allowed to live in the mansion . Yet at the same time, his old friend Isreal, whose fond memories reflect more honor and family, neutralizes his horrific time in servitude. At the start of the play, Isreal inquires whether her brother Moses was buried in the field among the hundreds of slaves who lived and died at Monticello, but when night fell they sought refuge.\nMadison decided he wanted to sleep in the vacant Monticello mansion, but Israel was against it. Israel felt honored to have Jefferson\u2019s surname, did not want to dishonor the estate by trespassing, fearing serious inconvenience. Madison, who was still harboring, resented as an unwanted bastard child of Jefferson, was determined for revenge, entered the house, stealing whatever inheritance he could. As they both battled feelings from the past, their lives became the backdrop for a story few knew existed. And those in power, who wrote the stories of our history, chose to ignore them.\nPart of the IRT\u2019s INclusion series: Celebrating the diversity of narratives, The Reclamation of Madison Hemings is the story of two formerly enslaved Black Americans and explores the brutal history of slavery in the United States. This two-person play features David Alan Anderson and Brian Anthony Wilson. Anderson, a native of Indianapolis, where his association with the Indiana Repertory Theater began in 1990, has performed at Chicago\u2019s Writers Theater (Stick Fly) and The First Deep (Victory Gardens Theatre). He was superb as upper-class aristocratic Israel Jefferson, a black man who never felt his owners respected his pedigree or his Jefferson name. Instead, he was a black man who understood the facade given to him as a man in charge of other black people, but never his freedom. Another fantastic performance was given by Brian Anthony Wilson, who played Madison Hemings, the son of Sally Hemings, who was furious with feelings of hatred towards Jefferson after hearing his mother being attacked by him when she was a teenager. Jefferson was in his forties. Anderson and Wilson\u2019s chemistry on stage was amazing, making this premiere a must at the Indiana Repertory Theater.\nIn Chicago, Ron OJ Parson is synonymous with directing exceptional plays. Parson is a master in his field and brings out the realism in his characters, which keeps the audience captivated by every performance, making it the best in theater.\nPlaywright Charles Smith, originally from the Southside of Chicago, started at the Victory Gardens Theater in 1985, as an intern. Many of Smith\u2019s plays discuss various historical contexts to explore contemporary issues of race, identity, and politics in America. The rehabilitation of Madison Hemings is another great example of his superb storytelling skills.\nMadison\u2019s reclamation is a fascinating historical story that America needs to hear. Our history is filled with adverse incidents where enslaved children were fathered by white slaves who were not recognized as legitimate offspring worthy of family honors and privileges. Playwright Charles Smith does a masterful job of sharing this untold American story of a black child who never felt wanted by his famous white father \u2013 a hidden story of our society, which must be passed down to cure the ills of the \u2018humanity.\nIn 1873, Madison Hemings, at age out of 68, dictated his memoir about his mother Sally Hemings to an Ohio newspaper called the Pike County Republican, which published a series titled \u201cLife among the humble. The Pike County Republican also included Isreal Jefferson\u2019s memoir published the same year as a Madison Hemings memoir, claiming Madison\u2019s account that Thomas Jefferson fathered Sally Hemings\u2019 children.\nThe Indiana Repertory Theater is an incredible building, and this play is just the fabulous premiere of its 2021-2022 season. Costume designer Dana Rebecca Woods did a great job creating the period attire for \u201cThe Reclamation of Madison Hemings,\u201d which helped pull together the visual setting of 1866.\nThank you for the warm welcome given to us by Kerry Barmann and Danielle Dove from the IRT.\nLet\u2019s Play recommends The Claim by Madison Hemings at the Indiana Repertory Theatre.\nIndiana Repertory Theater\nThe reconquest of Madison Hemings\nWritten by Charles Smith\nDirected by Ron OJ Parson\nFrom March 23 to April 16, 2022", "id": "<urn:uuid:076f40e2-19f0-4e54-a0f4-bcbc557a9a53>", "dump": "CC-MAIN-2022-21", "url": "https://theatredowntown.net/the-reclamation-of-madison-at-the-indiana-repertory-theater-is-good-theater-that-the-hoosier-state-will-enjoy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545548.56/warc/CC-MAIN-20220522125835-20220522155835-00757.warc.gz", "language": "en", "language_score": 0.974763035774231, "token_count": 1336, "score": 3.65625, "int_score": 4}
{"text": "Conversational solfege is a curriculum for teaching music literacy developed by Dr. John Feierabend. It is a literature based curriculum that is grounded in Music Learning Theory and the Kodaly philosophy for music education. It is not a method that one uses to the exclusion of all others, but rather an effective way of teaching tuneful singers to read, write, and create music.\nGiven that Conversational Solfege (CS) was developed during a time when music educators were using the original NAfME (MENC) content standards and before the introduction of the National Core Arts Standards (NCAS), it is natural to ask if CS is conformed to the NCAS. Here, I will discuss the performing and creating artistic processes included in the NCAS, and how well CS articulates the NCAS for each of those processes.\nMusic teachers should begin Conversational Solfege only when students are able to sing in tune by themselves. For most children, this occurs at at or close to 7 years of age, second grade in school; so we must begin by limiting our discussion to the NCAS for second grade and above. For performance, according to the NCAS, second graders when analyzing music will \u201cdemonstrate knowledge of music concepts (such as tonality and meter) in music from a variety of cultures selected for performance.\u201d They will also \u201cread and perform rhythmic and melodic patterns using iconic or standard notation\u201d when \u201canalyzing selected music.\u201d The term \u201cdemonstrate\u201d is to \u201cshow musical understanding through observable behavior such as moving, chanting, singing, or playing instruments.\u201d When interpreting, second graders will \u201cdemonstrate understanding of expressive qualities (such as dynamics and tempo) and how creators use them to convey expressive intent.\u201d Expressive intent is \u201cthe emotions, thoughts, and ideas that a performer or composer seeks to convey by manipulating the elements of music>\u201d Finally, after repeating repertoire during the coarse of instruction and rehearsal, the second student grade student will \u201cperform music for a specific purpose with expression and technical accuracy.\u201d\nIt is interesting that the only mention of reading music notation in the NCAS is for the purpose of analyzing. Nowhere in the standards is reading music included in connection with actually performing or rehearsing music. This would seem to be a major omission in the standards, and would position Conversational Solfege to go beyond the standards in developing literacy as part of musicianship. At the same time, because CS is essentially an application of the Kodaly philosophy for music education, singing remains the primary means by which students learn to read and compose music. Being able to sing tunefully, beatfully, and artfully, which is the goal of Dr. Fierabend\u2019s First Steps in Music, the preparatory curriculum for CS, is necessary in order to be able to demonstrate understanding as it is defined in the NCAS. So in that sense, we could say that CS makes assessment of performing under the NCAS possible.\nThe other piece to music literacy in addition to reading is writing. For this, we must consider the NCAS for creating. Here we find many parts of CS, and of First Steps in Music. To begin, we find in the NCAS that second grade students shall \u201cImprovise rhythmic and melodic patterns and musical ideas for a specific purpose.\u201d In CS, \u201cstudents begin developing improvisation skills which will enable them to later compose. Creating aurally \u201cdevelops the ability to think and bring musical meaning to original musical thoughts. Students create original rhythm or tonal patterns or melodies using rhythm or tonal syllables.\u201d Take particular note of this next statement. \u201cReading notation should not be introduced until students have achieved success at this.\u201d This is often expressed in the phrase \u201csound before sight\u201d yet it is so often violated in the common ways in which music is taught.\nLater in the NCAS for creating, we find that a second grade student will \u201cconvey expressive intent for a specific purpose by presenting a final version of personal musical ideas to peers or informal audience.\u201d Here we come to the area of interpreting music; what Feierabend refers to as \u201cartful\u201d singing. Dr. Feierabend wrote that \u201cone of the mysteries of notation is that the subtleties of expression cannot adequately be represented in notation. It is the inherent expressiveness, however, that is the art part of music. What appears in notation is merely the skeleton of the music. The interpreter of the notation must breath life into the skeleton. This expressive sensitivity development must be assimilated from good musical models and from quality literature that embodies expressiveness.\u201d So just as reading and writing must be preceded with aural experiences with musical ideas, so to the ability to interpret music expressively must be preceded with models of good musical expression found in performances by great musicians. In responding to such performances, students learn what musical expression is, and what can be expressed with music. They then assimilate those experiences with hearing the models into musical expressiveness of their own. Once again, CS provides the means for teaching students how to accomplish what is called for in the NCAS.\nThis impacts responding as well. The NCAS includes a standard concerning interpretation. Second grade students will \u201cdemonstrate knowledge of music concepts and how they support creators\u2019/performers\u2019 expressive intent.\u201d We have seen that demonstrating understanding is done through moving, chanting, singing, or playing a musical instrument. This is in fact how we would present models of artful musical performance. By responding to expressive music with movement, or by imitating artfully performed musical phrases or ideas, students acquire the knowledge of music concepts, and how those concepts are manipulated by performers and composers, to create an interpretation that is expressive. Just as music can be read and heard through inner hearing, music can also be interpreted through inner hearing using notated music. Dr. Thomas Duffy, Director of Bands at Yale University, stated that, and I paraphrase, when sight reading, everything must be included, not just pitches and rhythms. All expressive markings must be included. The musically literate person can silently read a musical score with all the expressiveness that is notated and with the additional expressive nuances that are suggested by the musical context but which are not explicitly notated or able to be notated by the composer.\nFor the artistic process of connecting, we find in the NCAS that second grade students will \u201cdemonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.\u201d The literate students, trained in Conversational Solfege, is able to experience and understand music in written form as the conveyance in that form of ideas preserved in music for their benefit, in the same way that a poem, novel, play, short story, or piece of non-fiction is a written record of ideas preserved in language. Music literacy and therefore Conversational Solfege makes possible connecting music with language arts. Music literacy also builds connections to visual art, as concepts common to both are interpreted from examples of both. And of course, the very interpretation of music brings into play dance, storytelling, and drama; interpretations that often are only possible from written music, and that require musically literate interpreters. Taking all of this into account, it becomes clear that Conversational Solfege is both the development and at the very core of the National Core Arts Standards.", "id": "<urn:uuid:adb5af50-93f1-4743-bab6-a1503d3aa5ef>", "dump": "CC-MAIN-2022-21", "url": "https://mramusicplace.net/2017/06/30/conversational-solfege-and-the-national-core-arts-standards/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662578939.73/warc/CC-MAIN-20220525023952-20220525053952-00756.warc.gz", "language": "en", "language_score": 0.9626091122627258, "token_count": 1570, "score": 3.5625, "int_score": 4}
{"text": "An In-Depth Guide for Any Novel, Years 6-Up\nRead through any current curriculum documents and you will find that the work expected of students is expressed using such academic terminology as describe, determine, develop, support and cite. Requirements such as these cannot be met via the comprehension-question worksheets and culminating quizzes that have long been the staples of literature guides designed for classroom use. The primary objective of those traditional activities was to make sure that students were keeping track of what was happening in the section of the novel that they had just read. Very little rigour and synthesis was asked of students \u2013 and usually none until the entire novel was read.\nFrom a teacher\u2019s standpoint, this style of classroom analysis misses multiple opportunities to delve deeply into the details that make a specific piece of literature a classic; from a student\u2019s standpoint, this way to reflect on literature is monotonous and inflexible, and it fails to nurture the momentum experienced when one is invested in a compelling work of art. That is why the in-depth guides in the Rigorous Reading series aim to do much more: they aim to transform the reading of a great novel into a journey of discovery for students.\nInstead of merely asking students what happened in any given section, this resource asks questions that require closer reading and deeper analysis \u2013 questions such as \u201cWhy did the author choose to include this information?\u201d and \u201cHow does this information further the plot or offer more insight into the themes, characters, settings, etc.?\u201d And instead of waiting until the end of the novel to put the pieces of the puzzle in place, students will learn to add to and alter their understanding of the novel as they are reading it. The various activities in this resource prompt students to consider and appreciate the many ingredients the author has combined to form the novel as a whole.\nTransform the reading of a great novel into a journey of discovery. This customisable resource offers incredible flexibility as you share and explore great literature with your students. The guide is organised by literary elements and includes Teacher Instructions that provide activity overviews. Student activities feature text-dependent questions that encourage close analysis and call for evidence to support claims. This resource also includes suggestions for creating and maintaining Interactive Novel Logs to provide students with a place to connect with the literature in ways of their choosing. Pre- and Post-Reading activities are included as well as suggestions for pairing texts to expand the understanding of themes and topics.\n|Publish date||2017-09-05 00:00:00|\n|Partner Name||Teacher Created Resources|\n|Key Learning Area||English|", "id": "<urn:uuid:f03a966e-4842-4d19-9c75-67ad8627bd9b>", "dump": "CC-MAIN-2022-21", "url": "https://www.hbe.com.au/tcr4834.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662675072.99/warc/CC-MAIN-20220527174336-20220527204336-00757.warc.gz", "language": "en", "language_score": 0.9626268148422241, "token_count": 583, "score": 4.25, "int_score": 4}
{"text": "The TAT test was developed in the 1930s by psychologists Henry A. Murray, Christiana D. Morgan and other colleagues at the Harvard Psychological Clinic. The TAT Test or Thematic Apperception Test is a projective psychological test used to explore the unconscious of an individual in order to reveal the underlying parts of personality, internal conflicts, motives and interests. It has been one of the most widely used, taught and researched of tests of its kind (Combs, 1946).\nThe test evolved over approximately a decade in the 1930\u2019s and 1940\u2019 after a rocky start and three distinct revisions. An earlier manuscript titled \u201cA Method for the Investigation of Unconscious Phantasies\u201d, that was submitted in 1934, was rejected for publication by the editor of the International Journal of Psycho-Analysis by Ernest Jones.\nTwo important influences in the creation of this test were thought to be an undergraduate student, Cecilia Roberts and the American author Thomas Wolfe.\nCecilia was one of Murray\u2019s students and was having difficulty in a study she was conducting comparing fantasies of blind people and sighted people. She tried to get her son to tell him her fantasies but he thought it was silly until she asked him to make up a story about a picture. When Cecilia talked to Murray about the vivid imagery in the story her son told her about the picture, Murray started working on the TAT (Morgan, 2002).\nThomas Wolfe\u2019s book \u2018Look Homeward, Angel: A Story of the Buried Life\u2019, was read by Murray as he was seen carrying the book to several lectures by a student, Nevitt Sanford. Sanford studied and worked at the Harvard Psychological Clinic and contributed to the TAT. When he read the book himself, he believed that there was an episode in the book that suggested the TAT method to Murray (Morgan, 2002).\nWhile there has not been as much standardization and objective analysis on the TAT as other\nReferences: \u00c1vila-Espada, A. (1996). Objective administration and scoring for the TAT. Salamanca, Spain: Departamento de Personalidad, Evaluaci\u00f3n y Tratamiento Psicol\u00f3gicos. Combs, A. W. (1946). A method of analysis for the thematic apperception test and autobiography Cramer, P. (1996). Storytelling, narrative, and the thematic apperception test. New York: Guilford Press. E.M. Squyres, &. R. (1982). A Measure of Time Perspective with the TAT and Some Issues of Reliability Lundy, A. (1988). Instructional Set and Thematic Apperception Test Validity. Journal of Personality Assessment , 52(2), 309. Morett, E. R. (1997). Thematic apperception test (TAT) interpretation: Practice recommendations from a survey of clinical psychology doctoral programs Morgan, W. G. (2002). Origin and history of the earliest thematic apperception test pictures", "id": "<urn:uuid:a22582bb-d1f7-4c63-a225-2da4b0e02b80>", "dump": "CC-MAIN-2022-21", "url": "https://www.studymode.com/essays/The-Tat-The-Thematic-Apperception-Test-856234.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662546071.13/warc/CC-MAIN-20220522190453-20220522220453-00153.warc.gz", "language": "en", "language_score": 0.9353939294815063, "token_count": 644, "score": 3.515625, "int_score": 4}
{"text": "Discuss the idea(s) developed by the text creator in your chosen text about how acts of courage develop and nurture personal integrity.\nNurture Through Courage\nCourage brings forth with it the ability for an individual to demonstrate their message. In the novel, To Kill a Mockingbird, written by Harper Lee, Scout\u2019s actions and the words that are spoken to her help in developing her personal integrity. Scout\u2019s confidence also describes how confidence is tied to the growth of self-honesty. Harper Lee portrays how being courageous creates personal integrity as through defying others, a person grows to realize that should they desire to get their message across, they must have confidence within themselves. Having this confidence ensures that they follow through with their message.\nBeing courageous and stating your thoughts brings about a time of self-reflection, aiding the notion that courage nurtures personal integrity. During class one day, Scout is told by her teacher, \u201cYou tell him I\u2019ll take over from here and try to undo the damage-\u201d Scout then attempts to correct her only for her teacher to respond with, \u201cYour father does not know how to teach. You can have a seat now.\u201d That situation concluded with Scout doing the following, \u201cI mumbled that I was sorry and retired meditating upon my crime.\u201d (Page 18, Ch 2) In this event, Scout was attempting to stand up for what she believed in: that her father had done nothing wrong. Although Scout knew that Miss Caroline has authority over her, Scout remains confident with her views. After that, Scout finds herself reflecting upon what just happened. Her period of reflection helped develop personal integrity as this was one instance of Scout having courage. With this, it can be shown that having the confidence to follow through with your beliefs nurtures self-honesty.\nContinuing to keep your stance on something, regardless if the conversation is positioned in your favour, guides a person towards character development within themselves. After Mrs. Dubose\u2019s death, Atticus spoke to Scout as well as her brother, \u201cI wanted you to see what real courage is, instead of getting the idea that courage is a man with a gun in his hand. It\u2019s when you know you\u2019re licked before you begin but you begin anyway and you see it through no matter what.\u201d (Page 115, Ch 11) Scout here is told that courage is standing for what you hold true, even if the opposition already has you cornered. This reinforces the concept that confidence within yourself is critical to demonstrating courage. Through demonstrating courage, self-integrity is improved as standing for your message requires trust with your thoughts. Scout being reminded of this gave way to the idea that courage originates from a person and not from an object, such as a gun. To have the ability to follow through with your beliefs regardless of the outcome of the situation fosters bravery. This leads to an improved sense of personal integrity.\nTo get a message across, confidence must be present, urging towards the nurturing of an individual\u2019s integrity. After Scout and her brother defend their father, Atticus, from a mob, he spoke, \u201cSo it took an eight-year-old child to bring \u2018em to their senses, didn\u2019t it?\u201d said Atticus. \u201cThat proves something\u2014that a gang of wild animals can be stopped, simply because they\u2019re still human\u2026 you children last night made Walter Cunningham stand in my shoes\u2026\u201d (Page 159, Ch 16) Here, Scout demonstrated courage and what her father said helped to point out that belief in yourself is a great force to be reckoned with as it stopped a group of men. Seeing this, it can be seen that being courageous speaks volumes as Scout defending her father was enough to make the others realize the power she has. With her showing courage, she had to have conviction with her views. Confidence held within an individual\u2019s views ensures that their message will be heard by those it is being addressed to. That is shown as Scout and her friends brought a group of men to their senses. The development of personal integrity relies on the confidence a person holds, as well as the conviction they hold towards the beliefs they are trying to push forth.\nHarper Lee\u2019s novel, To Kill a Mockingbird, portrays the connection between courage and the nurturing of personal integrity using the actions of Scout. Reading about Scout\u2019s actions, the idea that regardless of the circumstance, demonstrating courage and confidence builds the foundations of personal integrity. Personal integrity, along with confidence illustrates how personal honesty is nurtured and developed. A person\u2019s actions and confidence ultimately set the path for the amount of development they can take out of a given situation.\nReferences: Featured Image", "id": "<urn:uuid:7f182d9b-7a34-48e8-aad3-d9e3400fd573>", "dump": "CC-MAIN-2022-21", "url": "https://aphunniblog.edublogs.org/2020/06/19/nurture-through-courage-to-kill-a-mockingbird-essay/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662564830.55/warc/CC-MAIN-20220524045003-20220524075003-00358.warc.gz", "language": "en", "language_score": 0.9694156646728516, "token_count": 993, "score": 3.953125, "int_score": 4}
{"text": "About this course\nThe English Language A2 programme follows on from AS English Language and should be taken in conjunction with two or three other subjects and the Welsh Baccalaureate. At A2, students will be expected to show deeper understanding and knowledge of phonology, orthography, etymology, lexis, semantics, morphology, grammar and discourse.\nWhat you will study\nThere are three units for A2 English Language. Two of the units are written examinations and one unit is an independent investigation. All units must be undertaken.\nCandidates will gain an appreciation of language over time, whilst gaining knowledge of child language acquisition and phonemic symbols.\nUnit 3: Language over Time (written examination) 1hr 30m (20%)\nThis unit is based on the study of unseen written texts from different periods, linked by genre. There will be three texts, none earlier that 1500, and students will be expected to answer two questions:\nQuestion 1: Candidates will answer several short questions based on archaic language features from the texts.\nQuestion 2: Candidates will write an extended response (essay) in which they explore, analyse and evaluate the contextual factors through close reading of the texts by describing the key features of language change, using associated terminology accurately and making connections across the texts in light of a given focus. Responses will need to demonstrate the candidate\u2019s own use of coherent written expression and their use of apt quotation to fully support the interpretive points they make.\nUnit 4: Analysing spoken language (written examination) 2hrs (20%)\nThere are two sections of equal weight, with one question in each section. Both sections are compulsory.\nSection A: Analysing spoken language\nCandidates will use their knowledge of the spoken language mode in a variety of contexts, which cover a range of situations in order to closely read spoken language transcripts to produce an extended analytical response in which they explore the speakers\u2019 use of language and its effects, given the context and genre. Candidates will need to use apt quotation, apply appropriate linguistic and theoretical knowledge and will need to demonstrate coherent written expression.\nSection B: Creative re-casting\nThis question will allow candidates the opportunity to demonstrate their creativity in presenting material in a different form and for a different audience and purpose. Candidates will produce an original piece of writing, which is linked to one or both of the transcripts in Section A.\nUnit 5: Language and Identity (non-examination assessment 2500-3500 words: 20%)\nThis unit gives learners the opportunity to undertake a language investigation independently through research, data collection and interpretation. Learners have a choice of four areas from which they can select a topic:\n- Language and self-representation\n- Language and gender\n- Language and culture\n- Language and diversity\nNB: Learners should select material that is culturally, personally and academically of interest to them.\nCourse fee per year\nPart-time enrolment fee: \u00a30.00\nSuccessful completion of AS programme including satisfactory attendance and tutor recommendation.\nTeaching and assessment\nOne written exam and coursework\n- The College welcomes contact with parents/guardians of students who are under 18.\n- Additional support is available for students with learning difficulties and disabilities.\n- Cardiff and Vale College is committed to inclusion and values diversity. We are determined to promote equality of opportunity and to treat everyone fairly and with respect.\n- Cardiff and Vale College reserves the right to make changes to this course without prior notice.\n- Course fees are subject to change. Your fee will be confirmed prior to enrolment.\n- All courses are accurate at the time of upload or print.\n- Courses can only run if there are sufficient numbers.\n- Please note, if you choose three or more course choices, then you may be referred for a careers appointment first. This does not apply to A Level or GCSE choices.\nTime of day\nI came to the College as I wanted to travel and become more independent \u2013 it\u2019s so modern and looks amazing. When I saw the library I was sold. Honestly the library was my main pull, there are so many books I loved it.\nSomeone came in to speak to us about the Sutton Trust, which gives students a taste of life at American universities. I applied - it was really competitive but I got in. We went to a different state every day, and we went to different colleges including Princeton and Harvard. I also had a week at Warwick Uni and a week at Nottingham Uni. It was so good \u2013 I just loved it.\nYou have a lot of support at the College, especially from the Careers and Ideas team. I think there are a lot more opportunities here as it is such a big college with so many resources.\nCareer prospects & further study\nOn completion of the A Level programme, the majority of our students progress onto universities across the country and beyond. Based on this course, there are many options but below are just a few examples of degree programmes you could go on to study at University:\n- Creative Writing\n- English Language\n- English Literature\n- Government and Politics\nNeed to know", "id": "<urn:uuid:234bf5e5-3da4-45cb-82dd-b843f0e0d436>", "dump": "CC-MAIN-2022-21", "url": "https://cavc.ac.uk/en/courses/alevels/english-language-a2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662552994.41/warc/CC-MAIN-20220523011006-20220523041006-00557.warc.gz", "language": "en", "language_score": 0.9434666037559509, "token_count": 1098, "score": 3.671875, "int_score": 4}
{"text": "When autocomplete results are available use up and down arrows to review and enter to select. Touch device users, explore by touch or with swipe gestures.\nSimilar ideas popular now\n4th Grade Writing\n\u201cWithout\u201d statement at the end!!!\n5 argument games for creating arguments, counter-arguments, evaluating evidence and reasoning. #teachingargument #argument #teachingdebate #debate skills #secondaryargument #argumentlessons #argumentgames\nTeach BeTween the Lines\nPersuasive argument diagram\nThis writing resource from The Reading and Writing Haven is perfect for middle and high school students who are being introduced to argumentative research writing. It is also effective with struggling writers. By scaffolding instruction, you can increase students' success as authors.\n5th Grade Writing\nThis would be a good visual for any type of essay where evidence or examples are needed.\nAn Infographic To Teach You The Hacks To Write Argumentative Essays\nPersuasive Essay Topics\nEssay Writing Tips\nLets make argumentative writing authentic so that students want to learn it. Check out this blogpost to learn how to make it relevant.\nLiteracy & Math Ideas: Argument Writing/Opinion Writing\nElaborate in opinion writing. Support your reasons by adding...\nPersuasive Writing Examples\nPersuasive Essay Outline\nWriting A Persuasive Essay\npersuasive writing graphic organizer - Google Search\nMiddle School Libraries\nMiddle School Ela\nMiddle School English\nFREE materials from Stanford Univ. to teach media literacy to teens. #free #highschool #middleschool\nThis is cool, but I think a touch too much for 4th graders. Middle school writing, I think.\nPhoto Writing Prompts\nCreative Writing Prompts\nWriting Prompt: Persuasion --Cutest Pet Contest--\nMs. Amy's Lessons\nPublic Speaking Activities\nPublic Speaking Tips\nSpeech And Debate\nActivities For Teens\nA great blog of secondary English teachers helping you find great ideas to enhance your classroom!\nWriting Prompt: Perspective\nMs. Amy's Lessons\nEnglish Literature A Level\nWrite a Literary Analysis Paragraph\nThe Princess Bride\nShort, sweet, and engaging video with tips for it analysis introductions. Maybe this will help my kids, you know, STOP writing terrible introductions. Sigh! ---The power of a great introduction - Carolyn Mohr\nBeginning Of School\nFirst Day Of School\nWould You Rather Questions\nWould You Rather Wednesdays- writing prompts\nNote Taking Strategies\nWriting Mini Lessons\nThis is an outstanding version of an How to teach Argument writing. It uses the writer's workshop approach to Argument. I GUARANTEE that you will be very very impressed by this 99 slide powerpoint teaching argument writing unit.\nReader's and Writer's Workshop Resources\nThis is something that I would pass out to my class before writing our first paper of the year. I would also tape it to the wall.\nEssay Writing Tip: \"If you can't imagine dropping the mic after the final sentence in your essay, your conclusion needs to be stronger.\" \u2013 life hacks #1742 via 1000 Life Hacks\nPersuasive Writing Prompts\npersuasive writing prompts\nAp Language And Composition\nLooking for rich, complex texts to engage your students? Hello, modern American politics. Perfect for teaching argument, close reading, rhetorical analysis, and logical fallacies at all levels. Freshmen? No problem. AP Lang? Bring it on.\nPersuasive Writing - love this written, as it applies to modern and traditional!\nArgument writing anchor chart based on Toulmin Model -- good for persuasive speeches", "id": "<urn:uuid:751b43cb-caa1-4709-b5fa-41a75c4f204d>", "dump": "CC-MAIN-2022-21", "url": "https://www.pinterest.ru/perryd21/argumentative-essay/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00758.warc.gz", "language": "en", "language_score": 0.7860397696495056, "token_count": 1199, "score": 3.625, "int_score": 4}
{"text": "US researchers have developed a way to control and measure atoms that are so close together they are impossible to distinguish by optical means.\nWhen they get cosy \u2013 that is, within a few billionths of a metre of each other \u2013 they exhibit interesting quantum mechanical behaviour. At this scale, their spins begin to exert an influence on each other, and two or more can become entangled: a strange quantum phenomenon where the atoms will thereafter mirror each other\u2019s properties instantly, even if they are kilometres or light-years apart.\nEntanglement is key for future technologies like quantum computing \u2013 but first, scientists must observe and understand these tightly-packed atoms. Conventional microscopes are unable to distinguish between atoms that are just nanometers apart, just as our eyes are often unable to spatially resolves two distant stars that are close together in the night sky.\nResearchers from Princeton University have now demonstrated a technique to resolve such atoms. In a paper published in the journal Science, they describe using a finely tuned laser to excite closely spaced erbium atoms in a crystal.\nEach atom responds slightly differently to different wavelengths, re-emitting the light at unique frequencies that subtly change according to an atom\u2019s spin state.\n\u201cBy tuning the laser carefully to the frequency of one or the frequency of the other, we can address them, even though we have no ability to spatially resolve them,\u201d explains lead author Jeff Thompson, an electrical engineer at Princeton. \u201cEach atom sees all of the light, but they only listen to the frequency they\u2019re tuned to.\u201d\nThompson and team exploited this fact to observe and control the erbium atoms, laying the groundwork to study the intriguing spin interactions with unprecedented clarity.\n\u201cWe always wonder, at the most fundamental level \u2013 inside solids, inside crystals \u2013 what do atoms actually do? How do they interact?\u201d says physicist Andrei Faraon from the California Institute of Technology, who was not involved in the research. \u201cThis [paper] opens the window to study atoms that are in very, very close proximity.\u201d\nOther techniques have been developed to solve this observation problem, but this new method is unique in its ability to observe hundreds of atoms at a time. This means researchers can gather large volumes of data and begin to unravel the mysteries of the quantum world.\nThe next step will be to figure out how to arrange the erbium atoms to form quantum logic gates, which can then be used to encode and process information in a quantum circuit.\nRelated reading: Atoms in close-up\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:ebf3740b-d4fd-44cd-ba96-7130601d6fd4>", "dump": "CC-MAIN-2022-21", "url": "https://cosmosmagazine.com/science/a-new-spin-on-atoms/?amp=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662527626.15/warc/CC-MAIN-20220519105247-20220519135247-00155.warc.gz", "language": "en", "language_score": 0.9369334578514099, "token_count": 677, "score": 4.125, "int_score": 4}
{"text": "You learn to write better by reading. You learn to read better by writing. Reading and Writing work together to improve your ability to think.\nLearning to write is one of the most important things that your child will do at primary school. Almost all other areas of the curriculum are assessed through writing, so strong writing is one of the keys to academic success. Good writing also gives your child a voice to share their ideas with the world.\nWriting at Handale Primary School\nThrough our teaching and learning, pupils develop the skills to become creative, fluent writers with the ability to write clearly and coherently for a range of purposes and audiences.\nWe aim for all children to\u2026\n- Develop a love of writing and have pride in their written accomplishments\n- Know how to plan, revise and evaluate their writing effectively\n- Understand that in order for them to develop as fluent writers, it is essential that they develop competency in phonics, word/spelling structure and handwriting enabling effective transcription.\n- Embed basic skills in order to widen their knowledge of vocabulary and grammar. This will allow them to develop their writing so they are able to articulate, communicate and organise their ideas for the audience and purpose. (Becoming authors!).\n- Talk about their successes and areas for development\n- Write for pleasure rather than because they have too\n- Be confident writers and show off what they can do\n- Be exposed to a range of genres\n- Know what genres they are writing, what the purpose is and who the audience is\nAll pupils write daily in some form across the curriculum using the skills and knowledge acquired in English lessons. Class teachers follow the long term curriculum plan and school planning documents to ensure that children are exposed to all genres and writing forms. Modelled and Shared writing takes place frequently in the writing lesson. Shared writing is a whole class activity where the teacher models the writing of the text. In shared writing, the pupils will contribute to the text by suggesting words or sentences to be used. The teacher demonstrates how to write and explains decisions. Teachers model thinking, rehearsing sentences, writing and re-reading constantly generating words and ideas. Across the key stages, teachers focus on the purpose, audience, level of formality, structure and organisation of the text. A particular aspect of word or sentence level work provides an additional focus depending on the objectives and targets being worked on at that time.\nTalk for writing forms part of our writing curriculum and allows developing writers at Handale Primary to explore the creative and thinking processes in writing through talk. The talk allows the children to begin to think and talk like a writer. The talk for writing (story telling approach) can include:\n\u00b7 Learning and repeating oral stories\n\u00b7 Extending the oral stories into writing\n\u00b7 Creating new stories orally\nThe story telling approach could include imitation (repeating the stories), innovation (changing and developing the stories and finally invention (creating a new story). Talk for writing will expose all pupils to oral storytelling. The benefits of the talk for writing approach are that the pupils will build a bank of good vocabulary and narrative patterning. It will also help build confidence so that children can build their own creative stories. The talk for writing approach gives opportunities for class teachers to build in role play/drama (story whoosh\u2019s, hot seating, and conscience alley) and to build in different word games (tell me about, building a picture).\nChildren across the school learn different genres half termly with a fiction or non-fiction focus. Children are also expected to apply their knowledge of genres and key ingredients when writing across the curriculum. Poetry is taught half termly throughout the school.\nTo view our Writing Long Term Plan, please click here\nTo view our termly \u2018Going for Gold\u2019 targets, please click here.\nTo view our end of year writing expectations, please click here.\n\u00b7 To produce clear, concise, legible handwriting\n\u00b7 To provide equal opportunities for all pupils to achieve success in handwriting\n\u00b7 To present work to a variety of audiences neatly\n\u00b7 To develop accuracy and fluency\n\u00b7 To help children recognise that handwriting is a form of communication and as such should be considered important in order for it to be effective\n\u00b7 To display neatly presented work around the school and in classrooms as a model of excellence for others to aspire to\n\u00b7 To encourage pupils to take pride in their work\nAt Handale Primary, we have a consistent handwriting style leading from print to cursive. Handwriting is taught a minimum of two times a week in KS1 and KS2. Children work in pencil until their writing is neat, consistent and joined. At this point they are awarded a \u2018Pen Licence\u2019 which they keep with them and use in all exercise books. Pen licence winners are listed in the Handale newsletter every half term.\nThroughout EYFS and Year 1, spelling is taught through a systematic, synthetic phonics approach following our Phonic and Reading programme, where common exception words are weekly introduced. Regular formative and summative assessment takes place for the reading and writing of the common exception words and weekly spelling rules.\nIn Year 2 \u2013 Year 6, children are taught their year group\u2019s spelling patterns. We have created our own Spelling Programme which is well embedded across the school and follows National Curriculum spelling objectives. Regular formative and summative assessment takes place for the reading and writing of common exception words and weekly spelling rules.\nSpelling Shed is used across the school for children to access their weekly spellings. Spelling is taught discretely every day for 15 minutes and the spelling lists are sent home for children to practice for a weekly test on a Friday. During the year, spelling is assessed six times formally but on an ongoing basis through writing and weekly spelling tests. The application of spelling across the curriculum is closely monitored.\nGrammar is taught on a daily basis linked to the class writing genres \u2013 this gives children the opportunity to apply their skills in their independent writing. It is assessed as part of SPAG at the start of every half term. At times, grammar is taught discretely if needed. Word Family Lists are displayed in every classroom and are used daily to embed basic skills and for revision.\nEditing and Improving\nAt Handale, from the early years our pupils are encouraged to read their work aloud to an adult and with support will improve their writing e.g. the use of capital letters or adding a missed word.\nIn KS1, the children develop their understanding of what \u2018editing\u2019 is and why we as writers need to develop this skill to improve our ideas. In Year 2, the children begin to develop peer editing skills and are introduced to the idea of making additions and revisions to their writing.\nIn KS2, the children develop their editing and improving and are given targeted checklists to improve their written work linked to their writing targets. We encourage the children to be reflective when looking at their work and identify how they can improve their initial work.\nPurple Polishing Pens are used across KS1 and KS2 and children independently edit, improve and polish their own work before it is marked. Editing flaps are also used to show improvements made to a piece of written work.\nWhy is Writing a success at Handale Primary School?\n- All children at Handale love to write and understand the importance of writing.\n- We have a consistent approach to the teaching of writing which is well embedded across school.\n- In 2019, 92% of pupils achieved the expected standard or above at the end of Key Stage 2.\n- At the end of Key Stage 1, children are working in line or above the National Averages in Writing. This is also true for children working at Greater Depth in Writing.\n- Assessment of Writing is well embedded and books show the evidence to support judgements made by teachers.\n- Spelling, Punctuation and Grammar is a strength across the school. In 2019, 100% of pupils achieved the expected standard at the end of Key Stage 2.\n- Teachers are passionate about the teaching of Writing and in lessons and around school, children also share this passion.", "id": "<urn:uuid:abc368ac-b5ca-41f4-a002-d6e618dccd5c>", "dump": "CC-MAIN-2022-21", "url": "https://www.handaleprimaryschool.co.uk/writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00358.warc.gz", "language": "en", "language_score": 0.957906186580658, "token_count": 1697, "score": 3.9375, "int_score": 4}
{"text": "Our Curriculum : History\nHistory plays an important role at East Hunsbury Primary School and is fundamental to our mission of creating aspirational and knowledge\u2013rich pupils.\n\"History, the study of the past, is all around us; we are continually making history through our thoughts, words and actions. History is personal and global; it is everyday life and momentous occasions. History is about people.\nThrough our study of the past, we can understand how our own world works. We can also understand how and why things happen to us. For example, had you ever wondered why the polar ice caps are melting? The answer partially lies in history. The Industrial Revolution caused the birth of industrial towns and factories, belching out smoke and pollution. It also caused the mechanisation of society, adding to the pollution. Could this partially explain the pollution problems that we face today? History is not just about the past!\"\nIt is our intention that our history curriculum is aspirational, enabling and inclusive and supports children in understanding Britain\u2019s past and that of the wider world. We intend that our history curriculum will enable children to:\n- Understand history as a subject discipline and how what we learn from history can affect our own lives and the lives of others.\n- Become curious about the past and be equipped to ask informed, perspective-led questions.\n- Develop children\u2019s mental timeline (schema) by cumulatively building pupils\u2019 knowledge of periods and events.\n- Think critically, compare, weigh evidence, sift arguments and develop perspective and judgement.\n- Understand the complexity of people\u2019s lives and the process of change over time.\n- Develop an understanding of the diverse societies and relationships between different groups, as well as their own identity and challenges of their time.\n- Move to secondary school and beyond with a chronologically secure knowledge of British, local and world history.\n- Note connections, contrasts and trends over time and will develop the appropriate use of historical terms.\n- Learn through History and use this learning to influence their decisions about personal choices, attitudes and values.\nFor further information, please refer to the NPAT History Narrative Document.\nThe Early Years\nOur ambitious history curriculum begins in the Early Years where it is practical, playful and inclusive. It is taught with support and challenge from adults in class sessions, small groups and from working with individuals. There is a combination of adult-led and teacher-taught sessions as well as a wealth of stimulating continuous provision opportunities when adults scaffold learning through skilful interactions and questioning; including independent exploration/play.\nThrough, Understanding of the World, children\u2019s foundations of historical knowledge will be laid as they will learn to:\n- Begin to make sense of their own life-story and family history\n- Comment on images of familiar situations from the past\n- Compare and contrast characters from stories, including figures from the past\n- Talk about the lives and roles of people around them\n- Know similarities and differences between things in the past and now. Drawing on their experiences and what they have read in class.\n- Understand the past through settings, characters and events read in class and storytelling.\nBuilding on the Early Years\nOur curriculum has been carefully sequenced to ensure children obtain a solid understanding of key historical concepts and knowledge. This is a knowledge-rich history curriculum which entwines both substantive and disciplinary knowledge. Knowledge is given a high status and the aim is to empower our children and carefully build their understanding of the subject. Tier 2 and 3 vocabulary is taught within the unit and reinforced throughout the year.\nThe following high-dividend concepts have been identified as part of the NPAT history curriculum:\n- Trade and\n- Power (including monarchy).\nThese will form the \u2018Big Ideas\u2019 through which all history will be taught.\nTeachers will make explicit reference to where children have met these concepts before in the curriculum. Local history has been planned as whole term units in alternate year groups; however, local history links have also been planned within units e.g. in Year Four children learn about an aspect or theme that extends pupils\u2019 chronological knowledge beyond 1066. In the NPAT curriculum this is the Industrial Revolution (Victorians) and the local history link to the Boot and Shoe industry and canals.\nThe knowledge content is specified in detail and is taught to be remembered, not just encountered. Knowledge is sequenced and mapped deliberately and coherently so that beyond the knowledge specified for each unit there are vertical and horizontal links. These will promote the construction of a secure historical schema. There are also opportunities to make diagonal links to other disciplines which have been explicitly planned for.\nHorizontal links will be explicitly made e.g. Year Three children learn about the impact of the Romans on Britain in Spring One, including the invasion, culture, the rebellion of the Celts and the legacy. When they learn about the Anglo-Saxons teachers will explicitly link the chronology, how the culture of the Anglo-Saxons was different to that of the Romans etc. Where there is legacy within a time period then this will be explored explicitly. If there is no real legacy, then this will also be explored.\nVertical links will be made where knowledge and understanding are built upon from previous history units. E.g. In Year 2, the Great Fire of London unit will build upon knowledge and understanding from the Year 2 unit, the Great Fire of Northampton; likewise, in Year 6, the Impact on British Culture unit will make direct references to the Ancient Egypt unit covered in Year 4 and the Ancient Greece unit covered in Year 5.\nDiagonal links will be made, particularly where this is cross-curricular. e.g. links between History and Geography - such as The Romans (History) with Natural Disasters - Pompeii (Geography) and Ancient Egypt (History) with From Nene to Nile (Geography).\nWhere applicable, children will have encounter or participate in high quality visits or visitors to further appreciate the impact of History.\nHistory is taught every half term on a weekly basis.\nIt is our ambition for all of our pupils to access the full history curriculum and quality first teaching enables this. Support for pupils with SEND or disadvantaged pupils is given by careful individual and/or group support to secure the knowledge they need to continue to access content in History.\nBy the end of Key Stage 2, all pupils will have a coherent knowledge and understanding of Britain\u2019s past and that of the wider world and will have acquired the disciplinary skills of Historians being able to ask perceptive questions, think critically, weigh evidence, sift arguments and develop perspective and judgement.\nThis will be assessed through a multi\u2013faceted approach including:\n- Skilful questioning lesson by lesson,\n- High quality conversations by teachers during lessons addressing misconceptions,\n- Weekly retrieval practices,\n- Lesson quizzes,\n- Appropriate writing outcomes and\n- End of unit summative tasks such as double-page non-chronological reports including essays.\nEvidence of learning will be recorded within the pupil\u2019s books and teachers assess against the history learning outcomes (end of unit criteria checklist)\nLeaders will monitor the quality and impact of the History Curriculum through book looks, pupil voice and assess which pupils know more and remember more.", "id": "<urn:uuid:32d8269d-6ab9-401f-9109-a0e195a73f9c>", "dump": "CC-MAIN-2022-21", "url": "https://easthunsburyprimary.org.uk/index.php/for-parents/our-curriculum/cvshist", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662631064.64/warc/CC-MAIN-20220527015812-20220527045812-00758.warc.gz", "language": "en", "language_score": 0.9353796243667603, "token_count": 1535, "score": 3.734375, "int_score": 4}
{"text": "Written by a former Greek slave, in the late to mid-6th century BCE, Aesop's Fables are the world's best known collection of morality tales. The fables, numbering 725, were originally told from person-to-person as much for entertainment purposes but largely as a means for relaying or teaching a moral or lesson. These early stories are essentially allegorical myths often portraying animals or insects e.g. foxes, grasshoppers, frogs, cats, dogs, ants, crabs, stags, and monkeys representing humans engaged in human-like situations (a belief known as animism). Ultimately the fables represent one of the oldest characteristics of human life: storytelling.\nThe origins of the fables pre-date the Greeks. Sumerian proverbs, written some 1,500 years before Christ, share similar characteristics and structure as the later Greek fables. The Sumerian proverbs included an animal character and often contained some practical piece of advice for living (\u201cYou should not boast; then your words will be trusted\u201d). The writing style of both the earlier proverbs and the later fables were simple and direct. Neither contains many words. The situations re-counted in the stories begin with some type of incident and conclude with a punch line which would transform into the oft-recognized moral of the tale. It is much later that writers would begin to include the moral either at the beginning of the story (designed to tell the reader the purpose of the tale upfront) or was added to the end (to instruct the reader what the story was supposed to teach). Ultimately, the fables are designed to highlight both desired and undesirable human behaviors: what to do or what not to do.\nThe fables, written down in Greek between the 10th-16th centuries CE, may not be recorded in the exact words as when they were first told. Over time, and largely due to the numerous times the stories were re-told, words may have been changed or eliminated in order to fit the storyteller's purpose. Despite these changes, one characteristic that most of the fables share is the role of animals in the stories. The animals display human-like qualities, especially the characteristics of speech and behavior. In effect, the stories are designed to mimic human life. Most of the stories/fables are meant to highlight bad or poor human decisions and behaviors. In order to allow the animals to appear in multiple tales and roles, Aesop did not restrict the animals to behaving in a manner generally associated with that particular animal e.g. the cunning fox, the slow turtle. These looser characterizations allow for the animals to appear in other settings acting in different manners.\nOften the focus of Greek learning, especially regarding instruction for children in reading and writing, Aesop's Fables served a multitude of additional purposes. Politically, the fables emerged in a time period of Greek history when authoritarian rule often made free & open speech dangerous for the speaker. The fables served as a means by which criticisms against the government could be expressed without fear of punishment. In effect, the stories served as a code by which the weak and powerless could speak out against the strong and powerful.\nAdditionally, the stories served to remind the weak that being clever could provide a means by which they could succeed against the powerful. The subversive nature of the tales allowed the lower classes in Greek society a means of escape from a society which was often oriented around the idea that \u201cmight makes right.\u201d The fables were also considered as a valuable tool in speeches especially as a means to persuade others about a specific point. Aristotle, in his Rhetoric, argued that in the absence of any concrete evidence for proving one's point that a fable could just as well support one's argument.\nThe fables served as a form of children's' entertainment beyond being a simple teaching tool. The fables transmitted important life lessons while also describing the \u201cworld of childhood.\u201d The primary characters often acted in a child-like manner. The stories described the challenges of adulthood thus allowing young readers to engage with the characters and morals of adulthood at an early age.\nThe stories also provided an opportunity for a measure of self-reflection. At those moments when Greeks suspected their culture or civilization was not living up to expectations, the fables provided an opportunity for a degree of self-reflection. Although humans and animals share similar traits, humans are different due to their power of reason which allows humans to make different choices about life and living.\nExamples of Aesop's Fables\nThe Serpent & the Eagle\nAn Eagle swooped down upon a Serpent and seized it in his talons with the intention of carrying it off and devouring it. But the Serpent was too quick for him and had its coils round him in a moment; and then there ensued a life-and-death struggle between the two. A countryman, who was a witness of the encounter, came to the assistance of the eagle, and succeeded in freeing him from the Serpent and enabling him to escape. In revenge, the Serpent spat some of his poison into the man's drinking-horn. Heated with his exertions, the man was about to slake his thirst with a draught from the horn, when the Eagle knocked it out of his hand, and spilled its contents upon the ground.\nMoral: One good turn deserves another.\nThe Horse & Groom\nA groom used to spend whole days in currycombing and rubbing down his Horse, but at the same time stole his oats and sold them for his own profit. \"Alas!\" said the Horse, \"if you really wish me to be in good condition, you should groom me less, and feed me more.\"\nMoral: A man may smile yet be a villain\nThe Ant & the Grasshopper\nIn a field one summer's day a Grasshopper was hopping about, chirping and singing to its heart's content. An Ant passed by, bearing along with great toil an ear of corn he was taking to the nest.\n\"Why not come and chat with me,\" said the Grasshopper, \"instead of toiling and moiling in that way?\"\n\"I am helping to lay up food for the winter,\" said the Ant, \"and recommend you to do the same.\"\n\"Why bother about winter?\" said the Grasshopper; we have got plenty of food at present.\" But the Ant went on its way and continued its toil. When the winter came the Grasshopper had no food and found itself dying of hunger, while it saw the ants distributing every day corn and grain from the stores they had collected in the summer. Then the Grasshopper knew.\nMoral: It is best to prepare for the days of necessity.", "id": "<urn:uuid:2c3113eb-0152-444f-bb11-55feb4e6b163>", "dump": "CC-MAIN-2022-21", "url": "https://www.worldhistory.org/article/664/aesops-fables/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662675072.99/warc/CC-MAIN-20220527174336-20220527204336-00758.warc.gz", "language": "en", "language_score": 0.9736819863319397, "token_count": 1411, "score": 4.09375, "int_score": 4}
{"text": "People who are referred to as \u201chistoric figures\u201d are often political or military leaders, although they are not always the ones who make history.\nFor historians, there is a risk that, by looking only at the actions of kings or presidents, they will overlook the influence of people who, although they did not have any formal political power, managed to launch processes of truly historic importance. One such individual is Harriet Beecher Stowe, the author of the famous 1852 novel Uncle Tom\u2019s Cabin. By drawing the nation\u2019s attention to the conditions under which slaves were living, Stowe inspired the free states to oppose slavery more fiercely and provoked much indignation in the southern states. An abolitionist and a woman of strong humanistic beliefs, Stowe made a large contribution to the abolition movement and to the culture of the nation that eventually condemned slavery.\nFor her outstanding achievement in raising awareness and convincing Americans of the inhumanity of slavery, Stowe deserves to be depicted on one of the currency bills of the United States.\nHarriet Beecher Stowe represents the entire abolition movement as she has become one of the symbols of the struggle against slavery.\nThe abolition movement brought different people together on the basis of their humanistic beliefs, and it should be noted that it was not only a political movement (i.e., a movement to accomplish a certain amendment to the American Constitution) but also a movement led by ethical principles.\nIn her work, Stowe drew attention to unspoken issues.\nFrom a historical perspective, it is important to understand that not all the people in the United States in the Antebellum Era realized how cruelly many slaveowners treated their slaves.\nApart from being an author, Stowe acted as a political activist, spreading the knowledge that she had gained from examining the lives of slaves in the South.\nStowe spent much time seeking out evidence of cruel treatment toward slaves in the South, and she eventually chose to translate those materials into fiction because she thought that storytelling, as opposed to newspaper stories or public speeches, would be a more powerful tool for reaching and convincing audiences.\nFor future generations, Stowe created impressive and appealing works that can be used in any era to teach young people about humanistic values.\nRe-formulating the thesis statement: Harriet Beecher Stowe is an individual who should appear on one of the bills of U.S. currency because she has become a symbol of the struggle for freedom in the United States.\nHer example is particularly appealing because she was not an elected official or a representative of a strong political interest group. She was a writer, and her main interest was to rid the American nation of the inhumane practice of treating human beings as property. Stowe managed to create moving works that were fictitious but had a more significant effect than political speeches or manifestations because they appealed to the emotions of people. She was a woman who made the abolition movement stronger and shaped the nationwide consensus that slavery was unacceptable.", "id": "<urn:uuid:2b6f356c-44d2-407c-9cdc-650996201fa8>", "dump": "CC-MAIN-2022-21", "url": "https://www.standoutessay.com/essay-samples/historical-figures-harriet-beecher-stowe/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662587158.57/warc/CC-MAIN-20220525120449-20220525150449-00359.warc.gz", "language": "en", "language_score": 0.9741802215576172, "token_count": 616, "score": 4.8125, "int_score": 5}
{"text": "Folk tales from all cultures have universal themes and at the same time tell us about specific features that can illuminate and alter our perception of those other cultures, often through metaphor.\nInsights into other cultures\nI know of no other medium which can give language learners such insight into another culture as the sharing of stories. Storytelling acts as a celebration of cultural diversity, provides students with support in their language learning and builds self-esteem.\nIn this article some examples of my own experience of storytelling in the language-learning context will illustrate these assertions.\nIn my own language-teaching context I often teach groups of students who have recently arrived in the UK. In one group I teach, the majority of students are young adults from Chinese families while the minority are more mature Arabic speakers. Sometimes the students I teach are for the first time mingling socially with peers from cultures they know little about. For them to operate effectively as a group, one of my main roles as a teacher is to give them the chance to learn about each other\u2019s culture on an equal footing, so mutual understanding needs to be nurtured. By giving the students the opportunity to tell short folk tales from their own cultures in English the cultural divide is often bridged through a blend of curiosity, close listening and the realization that they have a great deal in common. Wisdom tales feature prominently in both Chinese and Arabic traditional stories and sometimes the same stories are told in both parts of the world with only slight variations.\nA typical activity involves students listening to me tell a short two- or three-minute tale and then preparing to tell tales themselves. Follow-up tasks work best when they focus on personal response and cultural awareness rather than check comprehension (see activity Storytelling response tasks).\nOnce students have done an activity like this, I invite them to prepare to tell a short story they know well from their own culture in a subsequent lesson. Their challenge is to be able to tell the story in their own words without reading from a text. Rehearsal time is encouraged outside the classroom and pronunciation practice tasks can be done during and outside class time. Students move around the classroom telling their first story to a few different partners, ideally including some from another culture. Each time they can give their partner follow-up response tasks. This active, responsive listening builds the storyteller\u2019s self-esteem as they tell and retell their tales.\nAfter that I ask students to prepare another story to tell. A short, regular story slot is allocated, so that every couple of classes a student tells a tale to the group.\nBeing able to tell a tale in English gives students confidence and is excellent preparation for extended speaking and giving presentations.\nSometimes we might be teaching a mono-cultural class with one student from a different heritage. I often work in state primary schools where this applies. It is vital to include and raise awareness of this student\u2019s heritage and one way of doing this is through storytelling. If the student is reticent or unconfident about telling others a story, the teacher can tell a story from that student\u2019s culture. The student might be able or willing to tell the teacher the story outside the classroom setting or direct the teacher to a popular story by translating the title into English and together searching for it on the Internet. Alternatively it is easy to find other suitable and simple stories written in English from any culture on the Internet (see links below). One Nigerian student called Ifeoma remarked at the end of the course how much she had been made to feel at home and welcomed into the community of students when I told an Igbo tale early on in the course. However it would seem advisable to tell a story only after making sure in advance that the student would feel comfortable with this.\nPassing on stories\nStories I have been told by students in this way often become stories I tell to other students afterwards. This is in keeping with the oral tradition, where a story is passed on from one teller to the next from generation to generation, with each storyteller making it their own and modifying it slightly. When I tell students a story I have learnt from a former student, they often ask about that student and appreciate the possibility that their story might be passed on in this way. Rather than doing a task which is done to be assessed, this kind of teaching is humanistic and intrinsically motivating in that there is a responsive and appreciative audience and possible future audiences.\nA mono-cultural group needs more than any other to learn about other cultures. Introducing another culture through its traditional stories is as important as teaching students about its geography, history, art, written literature or contemporary society because storytelling takes us deep into the imaginative landscape of that culture.\nLast year Susana from the Urals of Russia told students the Snow Girl, a beautiful miracle tale from her homeland. This tale has been told to so many students and other people since then, Susana\u2019s story lives on. I imagine her sitting in front of her fellow students every time I tell it www.youtube.com/watch?v=TjfmOAQHzSQ The Snow Girl\nThere are huge resources of folk and fairy tales from all over the world published in English on the internet \u2013 here are just a few of the ones that I recommend:\n- http://www.pitt.edu/~dash/folktexts.html (huge resource)\n- http://www.sacred-texts.com/ (huge resource)\nEspecially for children:\nBy David Heathfield\nDavid Heathfield is a storyteller and English teacher. Find more ideas in his teacher resource book Spontaneous Speaking: Drama Activities for Confidence and Fluency (DELTA Publishing).\nA pleasure to read this article on 'storytelling to celebrate cultural diversity'! Thank you also for the many good weblinks.\nNice. I liked a lot. I find it very useful for me to have those tips for using in my storytelling times. And thanks a lot for the sites you listed. I checked and there are wonderful stories to work with my class.\nWe need to go back to story tell and help the youth to read more, rather then watch TV\nGreat! I'm from Ukraine and I use traditional British tales at my lessons to introduce British culture to my young learners.\nExcellent. I believe I will be developing my English level more with such useful articles.", "id": "<urn:uuid:5e46a88c-e08b-4d60-a1b9-91d6def02e2c>", "dump": "CC-MAIN-2022-21", "url": "https://www.teachingenglish.org.uk/article/storytelling-celebrate-cultural-diversity", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662570051.62/warc/CC-MAIN-20220524075341-20220524105341-00559.warc.gz", "language": "en", "language_score": 0.9619056582450867, "token_count": 1348, "score": 3.765625, "int_score": 4}
{"text": "However, some parents deviate from the ideal immunisation programme, a fact that is of growing concern to medical experts.\nThe reason for concern over vaccinate drop-outs is simple. The entire community can be protected against diseases such as measles if 95% of children are immunised. But some children cannot be vaccinated because they have immune disorders or because they are too young.\nThis means that even though vaccinate rates can appear to be high, vaccinating nine out of 10 children might still be sub-optimal \u2013 meaning that not enough kids have been vaccinated to protect the weakest children in our neighbourhoods.\nHow can doctors help?\nThis week is European Immunization Week, an annual event run by the World Health Organisation. The aim is to improve vaccination rates by raising awareness of the vaccine-preventable diseases like measles and polio.\nThis year the spotlight is on how health professionals can help parents to work through any hesitation they may have when making important decisions about their children\u2019s health.\nYou might ask why this is this even necessary. All doctors are champions of immunisation, right?\nAlas, there have been questions raised about the role of doctors in providing guidance to parents on crucial issues like the safety of the measles vaccine.\nOn top of that, a study last year suggested younger doctors have grown complacent about the urgency of improving vaccine uptake.\nThis, according to the researchers behind the report, is largely due to the fact that the new generation of health professionals has probably never seen vaccine-preventable diseases such as pertussis or polio \u2013 because immunisation programmes have made these diseases a rarity in Europe.\nHelp is at hand\nUnderstandably, not all busy doctors \u2013 many of whom deal with dozens of patients every day \u2013 have answers to questions about rubella, diphtheria or chickenpox, not to mention vaccine ingredients and the risk of not vaccinating.\nThat\u2019s why WHO Europe has launched a new guide for how health professionals can discuss vaccination with parents.\nThis short paper helps doctors and nurses to understand how parents feel when faced with the prospect of vaccinating their child and equips them with strategies for answering questions they may be asked.\nIt features sample answers for discussing specific issues like the timing of vaccination, the number of vaccines recommended for children, vaccine ingredients, side effects, and even the (thoroughly debunked) study connecting vaccines with autism.\nAccording to the guide, some parents are looking for hard scientific facts about vaccine safety while others appreciate anecdotes and the benefits of their doctor\u2019s experience with vaccinating other children. Knowing how to balance science with storytelling is the key.\nCrucially, doctors are advised to keep the conversation open even if parents refuse vaccination and to provide further reading material if required. Closing the door to questions opens the way for the return of vaccine-preventable diseases.", "id": "<urn:uuid:f98fd2d8-e611-4669-b4aa-902ae45c70b7>", "dump": "CC-MAIN-2022-21", "url": "https://www.vaccinestoday.eu/stories/can-doctors-address-parents-vaccine-questions/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662532032.9/warc/CC-MAIN-20220520124557-20220520154557-00758.warc.gz", "language": "en", "language_score": 0.9520907402038574, "token_count": 587, "score": 3.515625, "int_score": 4}
{"text": "5 Easy Ways to Teach Students Who Work Below Grade Level in Your Classroom\nNot what I had expected, my first teaching job turned out to be quite the opposite. In a small, rural school with a student population of approximately 50, the incident took place. The intermediate teacher and I were the only members of our two-person teaching staff. She taught students ranging in age from fourth to seventh grade, whereas I was tasked with instructing 26 students ranging in age from kindergarten through third grade. Fortunately, we had a small number of support staff and parent volunteers who assisted with office duties as well as library and recess supervision. Our principal and learning assistance teachers were based at another school, which happened to be 75 miles away from where we were enrolled. They would come once a week if the weather permitted them to do so. Weather conditions were rarely favorable.\nAfter several months of trial and error, I eventually discovered a method of teaching students with a diverse range of abilities in the same setting. Every lesson began and ended with the same premise. I would present a concept to the entire class, but alter the learning activities and outcomes based on the ability levels of the students in attendance. When teaching a science lesson on the lifecycle of plants, large group activities such as storytelling, demonstrations, and/or presentations would be used to engage students. Students would complete follow-up activities that were appropriate for the grade level at which they were working. Students in third and second grade who were performing well might draw and label a representation of the plant\u2019s lifecycle, whereas students in kindergarten to first grade would be drawing, tracing, and/or labeling a picture of a plant, depending on their grade level. One of the objectives was for the students to be exposed to varying degrees of the same lesson while also providing them with the same opportunities to socialize, learn, and grow with one another in a single classroom.\nExperts and researchers recommend that educators create classrooms that include students of all ability levels, respond to individual learning needs, and provide equal educational opportunities for all students. In our naturally diverse communities, research shows that these inclusive classrooms prepare our students to thrive socially and emotionally in their new environments. The intellectual benefits that inclusion brings with them, on the other hand, have a slew of positive consequences that have been researched for decades.\nBecause of the Individuals with Disabilities Education Act, classrooms in the United States are gradually becoming more inclusive of students with disabilities. Teachers are becoming more adept at working with students who have learning disabilities, developmental disabilities, as well as speech and/or language difficulties, as the years go on. The unfortunate reality is that there are still some students who are rarely included in the class and who spend the majority of their day separated and educated from their classmates. The majority of these students have intellectual disabilities and perform at a significantly lower level than their peers. Students with intellectual disabilities are only 16 percent of the general education population, according to data from 2015. It appears that general education teachers find it difficult to include and teach students who are not working at the same grade level as their peers, based on these findings. As a result, separate special education classrooms are established to carry out the responsibility of educating the students. This continued reliance on separate education contributes to the perpetuation of inequalities in educational opportunities and experiences.\nTeachers can adapt class lessons to meet the needs of individual students to facilitate inclusion and improve educational equality for students who perform below grade level. The extent to which a lesson is modified is determined by the objectives of the student\u2019s Individualized Education Plan (IEP). The strategies employed by the teacher have an impact on how the lesson is modified. It is possible to make these modifications directly on the class activity or through an alternative format (i.e. assistive technology). Teachers can use the following five simple strategies to successfully modify class activities for students who perform below grade-level expectations.\n1. Break the assignment down into manageable chunks \u2013 even the most complex topics can be broken down into understandable concepts. Allow the student to concentrate on a major concept related to the lesson. Reading passages can be shortened, math problems can be scaled down in difficulty, and visual representations can take the place of written work in some situations.\nTeachers can provide word banks of answers, cloze passages, yes/no, or true/false responses, or pre-written vocabulary to guide students\u2019 practice with new material. 2. Break down the answers \u2013\n3. Get the lesson off the page \u2013 Using this strategy, teachers can have students create a corresponding illustration, a model, or give a presentation instead of a traditional lecture. For example, if the class is studying the Pioneers, a student can trace a picture of a wagon to demonstrate their learning (and write about it, label it or talk about it).\nProviding graphic organizers, outlines, and/or a series of steps to solving problems can help teachers guide student engagement and response to a given situation.\n5. Have the student complete an alternate task on the same page if the class assignment cannot be made simpler for the student. In the case of a student learning to identify numbers, the teacher can have the student search for specific numbers on a class assignment that would otherwise have students solving algebraic equations as part of the learning process.\nNicole Eredics is an elementary school teacher with more than 15 years of experience working in inclusive environments. She is also a parent, an advocate, and a writer in the field of education. Her blog, The Inclusive Class, is where she regularly writes about inclusive education for teachers and parents, which she started in 2011. She can also be found on social media sites such as Twitter (@Inclusive Class), Facebook (The Inclusive Class), and Pinterest (The Inclusive Class).", "id": "<urn:uuid:d0b16f39-9b1f-4562-91b5-c42785bd98be>", "dump": "CC-MAIN-2022-21", "url": "https://learnopedia.co/differentiation-for-below-grade-level-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662588661.65/warc/CC-MAIN-20220525151311-20220525181311-00559.warc.gz", "language": "en", "language_score": 0.9702452421188354, "token_count": 1177, "score": 4.0625, "int_score": 4}
{"text": "Our elementary program provides a rich and extensive academic curriculum which includes unlimited opportunities for students to develop socially and emotionally. It is organized into two 3-year mixed-age classes: the \u2018lower elementary\u2019 (for students aged 6 \u2013 9) and \u2018upper elementary\u2019 (for the 9 \u2013 12\u2019s).\nElementary children want to explore the universe through the use of reason and imagination. They stretch to imagine the nearly unimaginably big, the extremely ancient. Their curiosity is directed not just at the basic facts, but at the \u201cwhy\u201d and \u201chow.\u201d A Montessori guide inspires children to use the rich environment, which has been specially prepared to encourage self-directed learning. To accommodate the nature of the child at this age, the curriculum is both open-ended and highly integrated, allowing deeper exploration than in a \u2018unit\u2019 approach. Children experience that skills, knowledge and learning disciplines do not exist in a vacuum, but that they draw upon each other.\nThink of it as customized education. The individualized nature of the program allows each child the flexibility to pursue individual interests and to progress at his or her own rate. Children work with concepts they have learned by developing projects. In this way, children grow in their ability to set goals and evaluate their own work. They begin to understand their own strengths and challenges in learning and become confident in their abilities so that they freely express curiosity, ask questions, and problem-solve. Since the teacher knows each child very well and keeps detailed records of their work, testing is unnecessary. Test-taking is taught in the upper elementary as a life-skill.\nThe elementary years are critically important, not only for the acquisition of knowledge and skills that will stay with these children for a lifetime, but also for the development of their attitudes toward learning, toward themselves and toward others.\nMaria Montessori described the \u201cmathematical mind\u201d as a universal human attribute. During the elementary years, a sequence of lessons brings the child naturally and gradually to the point of understanding abstract mathematical operations. The structure of the decimal system, the operations of addition, subtraction, multiplication and division, and other key concepts follow this same pattern.\nOnce they have a firm understanding of the concepts, children move toward memorization, keeping track of their own progress and work both in teams and individually to practice them. By using the Montessori math materials, most children experience many concepts including fractions, squared and cubed numbers, multiples and factors, taught much later in traditional school settings.\nThe history of life, both before and after the arrival of humankind, is inextricably linked to other subjects such as geology, geography and biology. The study of history reveals many fascinating connections and interdependencies, not only among various peoples, but between people and the changing physical environment.\nLessons begin with theories on the origin of the Universe, in which principles of physical science are revealed, and then proceed to examine the forces that have acted over the ages to shape the world we inhabit. Children explore volcanism, the work of water, wind and air, and the basic physical properties of matter. Demonstrations, field activities and experiments are employed to help the children learn to perform on their own. The relationships of earth, sun, seasons, zones of climate, etc. are also studied along with economic and political geography.\nThere is emphasis on understanding plant and animal behavior and physiology. The basic needs of plants and animals (e.g. water, food, defense, reproduction) provide the framework for investigating the unique varieties from the point of view of adaptation, both to contemporary environments and throughout time. Children\u2019s observation and discussion of differences build up the stores of experience with which they further their understanding of biological classification.\nThe elementary child, exercising their powers of reasoning and curiosity, learns the fascinating history of language from the distant past to the present. The teachers share how language continually changes, that it reflects history and the interlocking subjects of the classroom. The children are conscious of language wherever they go. Reading, writing and spelling skills blossom through work with materials and activities in all subjects. Writing develops in connection with explorations, research and experiments, as children want to share what they have discovered. Creative writing allows all children to acquire a valuable tool for self-expression very early in life. Reading becomes the most important means to satisfy their interests.\nDiscoveries in grammar, word study, and etymology quite naturally give rise to topical spelling lists; thus the children\u2019s spelling drill and dictation is assisted by their knowledge of the words\u2019 origins, meanings and functions.\nTechniques and media for artistic expression are taught. Children use colored pencils, clay, paints, collage and other media to illustrate the work they do in all subjects. Since art is not limited to art class periods and projects, children\u2019s creativity has a chance to truly grow and bloom as a part of everyday activity.\nDrama is a very noticeable part of a Montessori classroom. It is a special love of many children this age, and serves a number of purposes. Making an original play or skit about something they have recently learned is one way in which children truly make knowledge their own, as well as a means of self-expression and experience in performing for others.\nChildren are physically active continuously throughout the day. Nonetheless, there is a need for the aerobic activity and skill development that physical education provides. Staff teach activities such as yoga, soccer skills and basketball skills at different times during the year. Always our emphasis is on skill-building, to develop consciousness and control of movement, to enhance personal confidence, and to teach the techniques and values of teamwork and cooperation.", "id": "<urn:uuid:9b89edff-46d2-48ce-be2a-0a0a7b7997a4>", "dump": "CC-MAIN-2022-21", "url": "https://www.chiangmaimontessori.org/elementary/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522741.25/warc/CC-MAIN-20220519010618-20220519040618-00555.warc.gz", "language": "en", "language_score": 0.964549720287323, "token_count": 1178, "score": 3.59375, "int_score": 4}
{"text": "The World Health Organization (WHO) estimates that more than 1 billion people around the world live with some kind of disability. According to the WHO, the number of people living with a disability is rising, due in part to an aging population and an increase in chronic health conditions.\nMedia organizations have sought to increase their representation of people with disabilities in recent years. A 2021 Nielsen report shows that over the last decade, the volume of content inclusive of disability has increased by over 175%.\nThe same survey found that 8% of people living with disabilities find media portrayals inaccurate. Seven percent said they lacked representation in content.\nBy increasing both media representation and accessibility to disabled people, news organizations can expand their audiences and provide a more accurate representation of the world\u2019s diverse population.\nBelow are some tips to help reporters improve their coverage on this community of people:\nRemember that people with disabilities are not a monolith\nAccording to a 2011 WHO report, 253 million people worldwide are affected by some form of blindness and visual impairment, 466 million people have disabling deafness and hearing loss, and 200 million people live with an intellectual disability. Further, 75 million people need a wheelchair on a daily basis. While these figures represent the more common disabilities, there are many more that affect people globally.\n\u201cAsk us individually for the accommodation we need,\u201d activist Chella Man stated in an Instagram post on National Disability Independence Day. It's important to speak to members of this community about their needs when trying to make media more accessible and inclusive. Diversifying the scope of media subjects to include people across the spectrum of disabilities can help eliminate existing stereotypes.\nConsider multimedia storytelling to increase accessibility\nThanks to the introduction of the internet and expansions in technology, journalism has evolved tremendously in the 21st century. Reporting in the digital age offers more spaces for multimedia storytelling than are accessible through print media alone.\nIn order to increase accessibility for audiences with disabilities, media workers should remember that this is a diverse group of people and consider a multi-pronged strategy to reach as many people as possible.\nOne example is adding an audio version to a text-based article, which enables people with blindness or visual impairments to engage with your content.\nFor visual journalists, adding subtitles makes the production more available to people who are deaf or have hearing impairments. Journalists that aim for diverse and accessible content should consult with their audiences and take creative approaches to storytelling that best fit their readers\u2019 needs.\nUnlearn harmful stereotypes and avoid tokenization\nThe Ford Foundation\u2019s Road Map for Inclusion highlights some of the dominant media stereotypes of people with disabilities that lead to further social stigmatization.\nAccording to a Respectability.org report, too, 23% of characters with disabilities in popular family films fit the \u201cSuper Crip\u201d stereotype. These characters \u201ctriumph\u201d over their disability. Nine percent of characters with disabilities are portrayed using the \u201cBitter Crip\u201d stereotype \u2014 when a character becomes a villain due to being overcome by their \u201csuffering.\u201d\nOther negative media portrayals include the victim. \u201cDisabled characters are often portrayed as one-dimensional victims of their disability,\u201d the Ford Foundation report explains. \u201cTheir disability becomes their defining feature and their lives revolve around it, rendering them failures and objects of pity.\u201d\nMedia workers should study historical media stereotypes of disabled people to help assess whether their reporting contributes to misrepresentation and tokenism.\nBy creating a more accessible and inclusive media for disabled people, media workers have the potential to shift stereotypes for future generations. By educating ourselves, applying creativity and asking disabled people for the accommodations and portrayals they need most, the content we produce will better reflect the audience we cater to.", "id": "<urn:uuid:cc9c3b7a-69b3-48b0-a64e-e863f885ac85>", "dump": "CC-MAIN-2022-21", "url": "https://ijnet.org/ru/node/11183", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00158.warc.gz", "language": "en", "language_score": 0.9520189762115479, "token_count": 773, "score": 3.625, "int_score": 4}
{"text": "We sometimes use affiliate links in our content. This won\u2019t cost you anything, but it helps us to keep the site running. Thanks for your support.\nMr. Gumpy\u2019s Outing is such a fun story! Are you looking for ideas, lessons, and printables to go along with it? Grab our free Mr. Gumpy\u2019s Outing activities and printables and delight your students with a fun adventure.\nThanks to Helen Royston for writing the lessons for this Mr. Gumpy\u2019s Outing unit study.\nMr. Gumpy\u2019s Outing Book Summary\nOne fine morning Mr. Gumpy decides it\u2019s a perfect day for an outing in his little boat. Apparently, plenty of others think so, too. First some children ask to join him, then a rabbit, a cat, a dog, a pig, a sheep. Soon, Mr. Gumpy\u2019s boat is precariously full, and there\u2019s nowhere for anyone else to go\u2013but overboard! This mild mariner takes everything in stride, though, and his guests are soon bellying up to a nice tea.\nMr. Gumpy\u2019s Outing Activities & Lessons\nThis unit study includes lessons and printables based on the book Mr. Gumpy\u2019s Outing by John Burningham.\nHere are some sample lessons from the Mr. Gumpy\u2019s Outing Unit Study. Remember, you can pick and choose the lessons that apply to your student. You do not need to use all of them.\nArt Activities & Lessons\nJohn Burningham uses different media in his illustrations. Have your child create a picture using a combination of paint, pens, pencils and crayons.\nDrawing water can be difficult. Have your child look carefully at the picture where the animals fall into the river. Can your student draw a splash?\nScience Activities & Lessons\nFloating and Sinking\nMake a paper punt. Put some small toy animals in it. Get your child to predict how many can it hold before it sinks. Where they right?\nScientists split animals into different groups or classes. One group is called mammals. Almost all the animals in this story are mammals. What is a mammal?\nMammals are warm blooded. No matter what the temperature is outside (warm, hot, or freezing), mammals\u2019 bodies are built to maintain the same temperature.\nAll mammals have some fur or hair. Sometimes the hair covers the animals entire body (think of some examples). Other times the animal only has a little hair or hair that is very thin and very hard to see (like the hair on a whale).\nMammals live inside their mothers before they are born and drink their mothers\u2019 milk after they are born.\nMammals breathe air. Some animals, like fish, don\u2019t need air to live, but mammals do. There are mammals that live under the water, but they must come up for air.\nAfter you\u2019ve discussed mammals with your student, think of other mammals that are not in the story.\nGeography Activities & Lessons\nLearn More About England\nFind England on a map or globe. Point out London, the capital city.\nWhat does your student know about England? Does he know any of the famous places he\u2019d find there? Spend some time researching various places in England including any of these: Big Ben, Tower Bridge, Stonehenge, Shambles (in York), Buckingham Palace, Statue of Peter Pan in Kensington Gardens, Blackpool Tower, Brighton Pier, Norfolk Broads, the Great Oak in Sherwood Forest, etc.\nExplore the River Thames\nMr. Gumpy is in a boat called a punt. People go punting on the Thames. Find the Thames on a map.\nThe Thames is the longest river wholly in England being 215 miles (346 km) in length. (The River Severn is longer at 220miles (354km) but it passes through Wales as well.) The Thames passes through Oxford which is famous for punting. It also passes through London, the capital city.\nLearning About Rivers\nDiscuss rivers with your student. Discuss various river terms such as tributaries, source, meander and mouth.\nTributary- a stream flowing into a larger stream or a lake\nSource- the beginning of a stream of water\nMeander- a turn or winding steam of water\nMouth- the place where a stream enters a larger body of water (like an ocean)\nTalk about the different stages of a river: a young river, mature river and an old river. Use clay or Play-doh to make a hill with a blue river containing the various features you\u2019ve discussed.\nLook at your local river. Would Mr. Gumpy be able to punt on it? What features does a river need to have so a person can punt there? It needs to be shallow with a gentle current.\nLanguage Arts Activities & Lessons\nThere is lots of humor in the story in the responses Mr. Gumpy gives each of the animals, e.g. \u201cDon\u2019t flap\u201d meaning don\u2019t fuss to the chickens\n\u201cDon\u2019t muck about\u201d to the pigs refers to the idiom \u201chappy as a pig in muck\u201d. Discuss these with your student. Can he think of additional humorous ways to tell animals to behave?\nLooking at Question Marks\nThe animals all ask to join Mr. Gumpy with a different question. Have your child point out the question marks on some of the pages. Write some questions out for them to punctuate with question marks.\nMr. Gumpy\u2019s Outing Storytelling Activity\nThe printables include a set of animals. You can use the animals for story sequencing and story retelling. If desired, use them to make popsicle puppets.\nNouns and Verbs\nDiscuss nouns and verbs with your student.\nA noun is a person, animal, place, thing, or idea. All the characters in the story are nouns. Ask your student to recall all the characters.\nA verb is a word that shows action or state of being. Nouns and verbs go together in order to make sentences. Each noun in the story has a particular action that it does. Can your student remember any of the actions?\nUse the cards provided for a matching exercise, matching the nouns and verbs together (i.e. children squabbled, boat tipped, etc.). You can also use these cards for a drama game or a game of charades.\nYou can grab a copy of the entire Mr. Gumpy\u2019s Outing unit study lessons, activities, and lapbook printables in an easy-to-print file at the end of this post.\nMr. Gumpy\u2019s Outing Lapbook Printables\nIn addition to the unit study lessons, the file also includes a Mr. Gumpy\u2019s Outing Lapbook with these mini-books:\n- Sites to See in England Mini-book\n- Map of England Shutterfold\n- River Thames Matchbook\n- Kinds of Boats Hotdog Book (see assembly directions here)\n- River Terms Flap Book\n- A Pocketful of Questions Cards & Pocket\n- Matching Nouns and Verbs\n- What Is a Dozen? Simple Fold\n- How Many Legs? Flap Book\n- Mammals Fan Book\n- Mammals Flap Book\n- Animals for Popsicle Stick Puppets (retell the story, sequence the story, etc.)\nHow to Get Started with Your Mr. Gumpy\u2019s Outing Activities & Lapbook\nFollow these simple instructions to get started with the Mr. Gumpy\u2019s Outing unit study:\n- Buy a copy of the book, Mr. Gumpy\u2019s Outing, or borrow one from your local library. Your student may also enjoy Mr. Gumpy\u2019s Motorcar.\n- Print the Mr. Gumpy\u2019s Outing unit study.\n- Choose the lessons you want to use with your student (a highlighter works great for this).\n- Choose and prepare the lapbook printables you want to use with your student.\n- Enjoy a week of learning along with Mr. Gumpy!\nMr. Gumpy\u2019s Outing Lapbook Example\nThis lapbook example was made with one file folder and a piece of cardstock taped to the center section to form an extension flap. If you are new to lapbooking, start here.\nGet Your Free Mr. Gumpy\u2019s Outing Unit Study & Lapbook\nSimply click on the image below to access your free Mr. Gumpy\u2019s Outing lessons, activities, and printables.", "id": "<urn:uuid:4d2e4185-a447-4a1c-b7fd-2e3806f53452>", "dump": "CC-MAIN-2022-21", "url": "https://www.homeschoolshare.com/mr-gumpys-outing-unit-study-lapbook", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662558015.52/warc/CC-MAIN-20220523101705-20220523131705-00159.warc.gz", "language": "en", "language_score": 0.9125826358795166, "token_count": 1854, "score": 3.859375, "int_score": 4}
{"text": "Wow. What a curriculum! Primary Arts of Language: Reading by Jill Pike of Excellence in Writing has put together a fantastic set of materials for teaching reading to your little one.\nUsing the \u201cblended sound-sight\u201d method of phonics skills and sight words-based education with a playful, game-like approach, children are intended to have fun and progress rapidly at the same time.\nThere are four stages to the program:\n- Foundations \u2013 Phonics rules and sight words are introduced through games and manipulatives. This stage is very parent-led with mom or dad teaching how to play the games, use the manipulatives and use time wisely. Later in the program, your child will become a more independent learner through the intensive training you offer during this stage.\n- Activity Time \u2013 This stage continues in adding new phonics rules and sight words to your child\u2019s \u201carsenal\u201d, but also expects independent and partner time to practice the games and manipulatives previously learned.\n- Discovery \u2013 This stage comes after your child has a good grasp of phonetic decoding skills. Your child is given small stacks of word cards daily and asked to independently work on decoding (reading) the words. Once decoded, he comes to you to read them aloud.\n- The Library \u2013 In this final stage, you simply provide appropriate books from a list of easy, medium and hard books for your child to read. He is expected to read the book aloud with you and again on his own at first, until progressing to simply reading on his own or aloud to siblings.\nAs all of the stages are progressing, there is a general theme of daily activities followed: poetry, journal, phonics and printing/composition. A poem becomes the \u201ccenterpiece\u201d of each lesson with the same poem being used for several days. During this time your child will develop rich language, comprehension strategies, memorization skills and begin to internalize writing techniques. Phonics skills are taught and practiced in a variety of ways:\n- The Phonetic Farm is a full-color folder picturing a farm in which your child adds sticker characters to help remember and organize all the phonics rules he\u2019ll learn throughout the program. (It\u2019s super-cute and lots of fun adding the stickers to the folder!)\n- Phonics Games of all sorts are provided for lessons and independent practice of phonics rules. You\u2019ll find the games printed in the back of the teacher\u2019s manual for your to cut, color and paste. So that putting together all the games isn\u2019t overwhelming, you\u2019re encouraged to create the games with your child as each is introduced.\n- The Sight Word Card Game is created by you on index cards and used in various ways suggested through the lessons to increase your child\u2019s sight word recognition.\nThe author has also written The Primary Arts of Language: Writing (which I have also reviewed for you) that should be used concurrently with this curriculum if your child is old enough to learn to print \u2013 around five. She suggests that you use the two programs concurrently even if your child is a little younger, limiting the handwriting expected if necessary. The journal and printing/composition portions of daily lessons come from the writing curriculum.\nYou are provided with a Teacher\u2019s Manual that includes very clear and concise daily lessons plans for 80 lessons. It also includes appendixes of a scope and sequence chart, phonogram chart, poems used in the lessons, alphabetical list of words used in readers, homophones list, chart of words in each discovery card pack, and a list of readers to check out or purchase. The discovery cards are also printed on green card stock in the back of the book for you to cut apart.\nA book of Phonetic Games provides you with \u201cgame boards\u201d printed on regular paper that you cut, color and paste into folders. Game pieces for each game are printed on card stock. Again, you must cut and color the pieces, then decide how you will affix the pieces to the game board for use over and over again. (A baggie or envelope attached to the back of the folders works well.) You make the games as they are introduced in the lessons, so the construction isn\u2019t overwhelming, and in the end you have an arsenal of phonetic games that your child will be expected to practice throughout the program.\nThe curriculum set also comes with a DVD-ROM including the author walking you through the program step-by-step as well as many extras like MP3 seminars. But, the best part is two full PDF books of 200+ student worksheets to supplement the daily lessons, as well as four printable early readers.\nI tell ya, even with the extra bit of effort it takes to put together the games and print off the student pages from the DVD-ROM, this curriculum is worth it! My little guy is in K4 (will be five in a few months) and is responding well so far. We\u2019re taking it slower than her suggested schedule but he\u2019s doing great and loving the games!\n-Cindy West is an eclectically Charlotte Mason mom of three children in high school, middle school and K4. You can find her blogging and writing NaturExplorers and other curriculum at Our Journey Westward.\n(Cindy was given a free copy of this curriculum for review upon her request. There are affiliate links included. As always, she shares only her honest opinion.)", "id": "<urn:uuid:4937904a-30e7-42c2-a54d-0738dcbb9729>", "dump": "CC-MAIN-2022-21", "url": "https://www.thecurriculumchoice.com/primary-arts-of-language-reading/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522309.14/warc/CC-MAIN-20220518183254-20220518213254-00158.warc.gz", "language": "en", "language_score": 0.9589828848838806, "token_count": 1146, "score": 3.71875, "int_score": 4}
{"text": "Here is my fifth post for #MyFriendAlexa. In the previous post I talked about 7 Main Domains of Early Childhood Education, to add on to that today I will be sharing with you another domain which might not be included in there but is considered as the most crucial and most vital development when it comes to children\u2019s holistic growth.\nCreative Development which also include Aesthetic development. Creative development refers to the development of child\u2019s abilities in terms of creative skills and aptitudes using development appropriate practices; it involves children setting off their own learning, making choices and decisions by themselves. Aesthetic development in children is the artistic processes that a child experiences or goes through as he/she grows. Artistic processes that a child goes through are drawing or painting, creating structures, pretend play and using props during games. Aesthetic development is considered as an important factor in human development.\n8 WAYS TO DEVELOP CHILD\u2019S CREATIVITY\nA child\u2019s creativity starts with their method of thinking and problem solving. Daily challenges to expand their reasoning and understanding of the world, along with an encouraging environment allows for a child to become more confident of their views and opinions. There are several ways to develop child\u2019s creativity, most of which can be incorporated into daily life.\n- Allow your child to make simple choices, such as what to eat for dinner or where to go on a weekend. This encourages them to think independently, exercising an important aspect of creativity.\n- Encourage independence from caregivers and media. A child that is constantly entertained by others or the television will struggle to find things to do on their own without access to media.\n- Provide items in your child\u2019s environment to stimulate their imagination. Drawing supplies, blocks, books, and random craft supplies can all contribute to elaborate dramatic play schemes.\n- Brainstorm different uses for items with your child. For example, a cardboard tube can be a telescope, tower, or person. Validate all your child\u2019s ideas, praising him or her for such an impressive imagination.\n- Ask your child open ended questions to stretch their understanding and help them to postulate ideas. Ask your child \u201cwhat if\u201d questions. \u201cWhat if people could fly?\u201d \u201cWhat if people lived in space?\u201d \u201cWhat if dolphins walked in land?\u201d Involve your child in figuring out ways to make an improvement upon something. \u201cHow can we clean up the living room faster?\u201d \u201cHow could we water the flowers without spilling any?\u201d \u201cWhat could we do to make the ball bounce higher?\u201d Reading a book is an excellent activity for your child to exercise their creativity. Ask your child what could happen next, or how a character feels and why?\n- Play with your child. Work together to establish dramatic play scenarios, using substitute items for props when needed. Pretend play allows children to imagine life from a different perspective, an important building block of creativity.\n- Be prepared for \u201cmessy play\u201d. While it may seem that your child is playing in the mud simply to make more work for you, in fact there is a great deal that is learned by playing with such things. When they are finished playing, make it a rule that they must help clean up. If faced with the choice of getting messy then cleaning it up and not getting messy at all, almost all children will choose the former option.\n- Engage in storytelling. Start a story and take turns building upon it. Follow your child\u2019s lead in what the mood of the story should be. Expect most stories to be more on the silly, impossible side. Since this is just a story, no idea is too farfetched.\nOne of the most important types of creative activity for young children is creative play. Creative play is expressed when children use familiar materials in a new or unusual way, and when children engage in role-playing and imaginative play. Nothing reinforces the creative spirit and nourishes a child\u2019s soul more than providing large blocks of time to engage in spontaneous, self-directed play throughout the day. Play is the serious business of young children and the opportunity to play freely is vital for their healthy development.\nEven as early as infancy, play fosters physical development by promoting the development of sensory exploration and motor skills. Through play and the repetition of basic physical skills, children perfect their abilities and become competent at increasingly difficult physical tasks. Play fosters mental development and new ways of thinking and problem solving. Through block play, children are confronted with many mental challenges having to do with measurement, equality, balance, shape, spatial relationships and physical properties.\nOne of the strongest benefits of play is the way it enhances social development. Playful social interactions begin from the moment of birth. Dramatic play helps children experiment with and understand social roles. It can also give them countless opportunities for acquiring social skills as they play with others. Through dramatic play, children gradually learn to take each other\u2019s need into account, and appreciate different values and perspective.\nThrough play, children can express and cope with their feelings. Play also helps relieve stress and pressure for children. They can just be themselves. There is no need to line up to adult standards during play. Play offers children an opportunity to achieve mastery of their environment. They control the experience through their imaginations, and they exercise their powers of choice and decision making as the play progresses.\nPlay helps develop each child\u2019s unique perspective and individual style of creative expression. Play expresses the child\u2019s personal, unique responses to the environment. It is a self-expressive activity that draws on the child\u2019s powers of imagination. Play is open-ended, free-form and children have the freedom to try out new ideas as well as build on and experiment with the old.\nPlay provides an excellent opportunity for integrating and including children with disabilities in your program. The opportunities play provides for control and independence are important issues for any child but are especially important for these youngsters.\nTherefore, as a caregiver, we must be careful to avoid dominating the play ourselves. Play should be the result of the children\u2019s ideas and not directed by the adult.\nPay attention to play, plan for it, encourage it!\nYou can read my previous posts here\nI am taking my blog to another level with Blogchatter\u2019s #MyFriendAlexa.\nPics courtesy : Pexel / Canva", "id": "<urn:uuid:697ac7c1-568f-4dc0-92fd-3a48bc5d0c25>", "dump": "CC-MAIN-2022-21", "url": "https://imagemakeover.net/2021/09/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00359.warc.gz", "language": "en", "language_score": 0.9543749094009399, "token_count": 1348, "score": 4.09375, "int_score": 4}
{"text": "Themes of Perseverance and Identity in The Secret Life of Bees\n\u201cThe nation saw itself in the midst of a new war in Vietnam, and culture wars were being fought at home, with the civil rights movement escalating and new youth subcultures emerging that rejected the values of the past\u2026Over the course of the decade, public attitudes shifted away from war and global conflict and instead turned to social issues at home, such as feminism and race relations\u201d (Gallow, Lauren. \u2018The Sixties, 1960\u20131969.\u2019). The Secret Life of Bees by Sue Monk Kidd, the novel takes place in South Carolina 1964, during the 1960s era. The main character, Lily Owens, a fourteen-year old white girl, whose life has been shaped around the blurred memory of the afternoon her mother was killed. When Lily\u2019s fierce hearted \u201cstand in mother\u201d Rosaleen, insults three racists in town, they escape to Tiburon, South Carolina. A town that hold the secret to her mother\u2019s past. Taken in by an eccentric trio of black beekeeping sisters, Lily finds refuge in their mesmerizing world of bees, honey, and the Black Madonna. In The Secret Life of Bees the prevalent themes of perseverance and identity can be connected historically to the lessons learned throughout life.\nThe society, culture, and politics of the 1960s paved the way for injustice and inequality in America. Important events during this time period affected the United States. The Civil Rights Act of 1964, signed by Lyndon B. Johnson, which ended racial discrimination across the country. The Voting Rights Act of 1965 was signed into law by President Johnson, ended literacy tests and poll taxes that were required for citizens to vote, due to how unconstitutional it was. The March on Washington in 1963, which was a march for freedom and jobs, was led by Martin Luther King Jr where he gave the famous \u201cI Have A Dream\u201d speech. Some famous people during the 1960s were: Neil Armstrong, first astronaut on the moon, Martin Luther King Jr., leader of the Civil Rights Movement, The Beatles, an English rock band, John F. Kennedy, 35th President of the United States, The Rolling Stones, a rock and roll band, Elvis Presley, the \u201cKing of Rock and Roll\u201d, and the Beach Boys, an American rock band. For the living conditions, black sharecroppers, tenant farmers, and agricultural laborers lived in urban ghettos. Areas were segregated before the Civil Rights Act of 1964 was put into law. The living conditions for other races, such as, Latinos, Asians, and African Americans had to live in designated, inner-city districts, while the whites lived in suburban areas or the cities. Other races faced discrimination. Whites were granted better things than the other races and treated them like they were below them, which was called white superiority. Other races couldn\u2019t go to \u201conly white\u201d locations. Everyone was living a segregated lifestyle. Some political and social aspects during this time were: Martin Luther King Jr.\u2019s assassination, John F. Kennedy\u2019s assassination, Robert F. Kennedy\u2019s assassination, Nixon becoming president, Apollo 8 orbiting the moon, anti-war protesting, and The Tet Offensive. The changing of America affected the citizens\u2019 view towards the \u201cSixties\u201d.\nSue Monk Kidd\u2019s life plays a key role in the development of the themes in The Secret Life of Bees. She was born on August 12, 1948 in Sylvester, Georgia. In 1970, she received a nursing degree when she graduated from Texas Christian University. After that, she took creative writing courses at Emory University and Anderson College. She also studied at Sewanee, Bread Loaf, and other writer conferences. She wrote her first book called, When the Heart Waits, which was published in 1990. She has a husband named Sandford Taylor, a son named Bob Kidd, and a daughter named Ann Kidd Taylor. When she was in her forties, she was focused on writing fiction, winning the South Carolina Fellowship in Literature and the 1996 Poets & Writers Exchange Program in Fiction. She also received a Katherine Anne Porter award and citations in Best American Short Stories\u2019 100 Distinguished Stories. The Secret Life of Bees spent more than two and a half years on the New York Times bestseller list. The novel was named the Book Sense Paperback Book of the Year in 2004 and won the Orange Prize in England in 2002, along with numerous awards. The Mermaid Chair reached #1 on the New York Times bestseller list for 9 months. The novel won the Quill Award for General Fiction in 2005. It also won an International IMPAC Dublin Literacy Award. Sue and her daughter, Ann, wrote a memoir called Traveling with Pomegranates: A Mother-Daughter Story, which appeared on various bestseller lists, including the New York Times list. The Invention of Wings debuted at #1 on the New York Times bestseller list for 9 months. It also won many other literacy awards, such as, the Florida Book of Year Award and the SIBA Book Award. The novel was nominated for the International Dublin Literacy Award and it was also chosen for Oprah\u2019s Book Club 2.0. Kidd\u2019s successful career led to enjoyment in her life by doing what she loves to do.\nThe themes of perseverance and identity from The Secret Life of Bees can be seen in the 1960s. For instance, perseverance can be seen when President Johnson makes a speech on the \u201cState of the Union Message. \u201cAmerica will persevere. Our patience and our perseverance will match our power. Aggression will never prevail\u201d (Johnson, B. Lyndon: State of the Union Message 1968). Also, an example from the novel is when Rosaleen goes to register to vote again, even when she was imprisoned the first time when she insulted the racists men. \u201c\u2018I\u2019m gonna finish what I started,\u2019 Rosaleen said, lifting her chin. \u2018I\u2019m gonna register to vote\u2019\u201d (Kidd 281). Additionally, identity can be seen when black nationalism started to spread throughout the 1960s. \u201cBlack nationalism is the movement for self-identity among African Americans started by Marcus Garvey in the 1920s. Black nationalism surged in the 1960s through the philosophy of Malcolm X\u201d (\u201cBlack Nationalism\u201d). Furthermore, another example in the novel is when Lily struggled with her self-identity because of how she\u2019s not like any of the girls at her school. \u201cI worried so much about how I looked and whether I was doing things right, I felt half the time I was impersonating a girl instead of really being one\u201d (Kidd 9).\nIn conclusion to the themes, perseverance and identity, they relate to the fact that the United States was undergoing changes because of how people were fighting for justice and the increase of self-pride for one\u2019s identity. Perseverance and identity in The Secret Life of Bees are related to the learned lessons historically.\n\u201cThe best and most beautiful things in the world cannot be seen or even touched \u2013 they must be felt with the heart\u201d Helen Keller. Helen Keller did not let [\u2026]\nRecurring Ideas in Of Mice and Men, Travels With Charley, and The Pearl The Desire to Escape One recurring theme that is displayed in Of Mice and Men, Travels With [\u2026]\nBooker T. Washington\u2019s speech is similar to W.E.B. DuBois\u2019s essay. However, at the same time it is vastly different. Washington and DuBois both talk about the progression of Negro men, [\u2026]\nJames Hurst establishes \u201cThe Scarlet Ibis\u201d by using multiple literary devices such as symbolism. Symbolism is the use of symbols to represent ideas or qualities. The main symbol utilized in [\u2026]\nIn The Scarlet Ibis, symbolism is used as a main story telling element. It expresses the character, Brother\u2019s, feelings toward all that happens, and shows his connections to events taking [\u2026]\nWilliam Armstrong was a young boy filled with light, energy, and passion. He was burdened with a terrible condition making him sensitive towards the outside world. He had a loving [\u2026]\nThe Invisible Man by Ralph Ellison is a novel scripted in 1940 when America was experiencing political and social turbulence. This novel gives the readers a definitive and in-depth exposure [\u2026]\nWomen play a vital role in the shaping the development of Ralph Ellison\u2019s narrator in Invisible Man. Just like the narrator, society depersonalizes women and treats them as if less [\u2026]\nIntroduction In the literary world, various authors have used the written word has played a vital role in describing key issues, informing, ridiculing society and educating. For the paper, the [\u2026]\n\u201cThe nation saw itself in the midst of a new war in Vietnam, and culture wars were being fought at home, with the civil rights movement escalating and new youth [\u2026]", "id": "<urn:uuid:c0817bfe-5dca-4691-88c0-fd2c5b97dff1>", "dump": "CC-MAIN-2022-21", "url": "https://literatureessaysamples.com/themes-of-perseverance-and-identity-in-the-secret-life-of-bees/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662552994.41/warc/CC-MAIN-20220523011006-20220523041006-00559.warc.gz", "language": "en", "language_score": 0.9642075300216675, "token_count": 1932, "score": 3.734375, "int_score": 4}
{"text": "05 September, 2017\nFor VOA Learning English, this is the Education Report.\nIf you are standing in front of an iceberg, it might look like the largest thing you've ever seen. But, you're still only seeing the small part above the water. About 90 percent of the iceberg is below the water. The same idea relates to culture, explains Amy Melendez.\nMelendez teaches English and trains English educators in the Washington, DC area. She works at a number of schools, including Northern Virginia Community College and Georgetown University.\nShe says many students \u2013 and teachers \u2013 mistakenly think culture is just the things that are easy to see, like food, music, clothing and holidays. But, she says most culture is represented in what cannot be seen: people's expectations, beliefs and values.\nSo, she brings lessons about this into the classroom. She teaches learners how to understand and value cultural differences and communicate more effectively with people from other cultures.\nLike Melendez, Michelle Stabler-Havener is an English educator who has taught intercultural communication. Currently, she is a doctoral candidate at Teachers College at Columbia University in New York City.\nBoth Melendez and Stabler-Havener explain that the subject of cultural understanding is a natural fit in language teaching. They note that language and culture are inseparable: words and expressions have cultural origins.\nThey also say cultural tolerance helps learners feel safe in the classroom. Stabler-Havener explains:\n\"In other words, they don't have to worry that people are going to criticize who they are or the things that they value most and believe in...this gives students the freedom to focus their energy on learning the language without having to be so concerned that these things that are so important to them are going to be questioned.\"\nOut of the comfort zone\nIronically, providing this sense of safety often involves exploring subjects that pull learners out of their comfort zones. One tool both Melendez and Stabler-Havener find especially useful in the classroom is critical incidents.\nA critical incident is a short description of a situation in which a misunderstanding or conflict took place between people. The problem may be caused by cultural differences or some kind of communication failure. It is the students' job to discover what happened and why. And, they are asked to come up with as many reasons as possible \u2013 other than reasons based on stereotypes.\nMelendez gives an example of a critical incident she has used from a book called Tips for Teaching Culture*.\n\"You have two students who are working on a project. And, the student is supposed to be sharing the book with the other student. And, it's time for one of the students to leave for class. And, the older student who had checked out the book grabs the book, gets up and leaves because it's time for him to go to his next class. The other student \u2013 he's left a little bewildered (thinking) 'Why is leaving? Why is he taking the book?' You know, 'We were sharing this book.' In another part of the incident, too, with that one, the younger student had come late.\"\nAnother favorite tool of Melendez is digital storytelling. Digital stories are short movies that combine photos, video, animation, sound, music and words. Melendez says digital stories encourage healthy conversations around cultural myths.\nFor example, last summer, she trained a group of Panamanian teachers. Through one teacher's digital story, she learned that the person believed Americans were cold, emotionless people. This led to a productive class discussion about cultural differences in how people greet one another and their ideas about personal space.\n\"I think a lot of intolerance comes from the unknown. So, trying to make the unknown known, I think, is really important, even in a language classroom.\"\nAs many teachers know, classrooms can be unpredictable. At any given time, a student may say something to accidentally hurt or embarrass another student from a different culture.\nTo lessen this problem, Melendez has her students vote on rules for shared respect. And, they are asked to follow these rules throughout the course.\nStabler-Havener says students can also practice respect by the way they use the language. For example, they can express possibility by saying, \"Maybe this is what is happening\" instead of saying, \"This is true for every person in this culture.\" And, they can show respect for others' opinions with language like, \"I see your point but...\" rather than \"As we well know...\"\nTo teach or not to teach\nBefore exploring sensitive cultural subjects with a class, Melendez and Stabler-Havener say teachers can spend time examining their own cultural biases.\nMelendez says uneasy situations or subjects will probably arise in class whether or not English language teachers decide to explore the iceberg of culture. And, if a teacher chooses avoidance, they may be left unprepared.\nShe says a website called Tolerance.org offers some useful resources for teachers, including web-based trainings.\nStabler-Havener says, in addition, teachers can go hear experts speak about intercultural communication.\nShe adds that it is a good idea for teachers to decide before teaching a class whether they will share their own opinions with students about sensitive topics.\n\"Are the students who disagree with you going to feel somehow maybe disempowered or concerned that, because they don't share your opinion on a topic that might affect them in the class?\"\nAnd that's the Education Report.\nI'm Alice Bryant.\nAlice Bryant wrote this story for Learning English. Caty Weaver was the editor.\n*Tips for Teaching Culture by Wintergerst and McVeigh\nWords in This Story\niceberg \u2013 n. a very large piece of ice floating in the ocean\nlesson \u2013 n. an activity that you do in order to learn something\nintercultural communication \u2013 n. communication between individuals or groups of different linguistic or cultural origins\ntolerance \u2013 n. the act of being willing to allow or accept something\ncomfort zone \u2013 n. a place, situation, or level where someone feels secure and comfortable\nstereotype \u2013 n. an often unfair and untrue belief that many people have about all people or things with a particular characteristic\ngrab \u2013 v. to quickly take and hold someone or something with your hand or arms\nbewildered \u2013 adj. very confused\nmyth \u2013 n. an idea or story that is believed by many people but that is not true\ngreet \u2013 v. to meet someone who has just arrived with usually friendly and polite words and actions\nbias \u2013 n. a tendency to believe that some people, ideas, etc., are better than others that usually results in treating some people unfairly", "id": "<urn:uuid:2ce1fdc2-a415-4e28-ac16-35ec94b2024a>", "dump": "CC-MAIN-2022-21", "url": "https://www.51voa.com/VOA_Special_English/should-teachers-explore-cultural-topics-in-class-76540.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016373.86/warc/CC-MAIN-20220528093113-20220528123113-00759.warc.gz", "language": "en", "language_score": 0.9621284604072571, "token_count": 1388, "score": 3.59375, "int_score": 4}
{"text": "Native American Heritage Day November 24, 2021 Celebrated on the day after Thanksgiving, Native American Heritage Day gives us the opportunity to pause, appreciate, and honor the rich culture and legacy of Native Americans in the United States. In North Carolina, honoring Native American heritage is a month-long celebration that takes place throughout November. The original North Carolinians, American Indians have resided in present day N.C. for over 12,000 years. According to the 2020 U.S. Census, there are more than 130,000 American Indians living in N.C. Our state is home to the second largest American Indian population east of the Mississippi River, and the seventh largest in the nation. There are currently eight recognized tribes in North Carolina. When the English arrived on modern day Roanoke Island, N.C., they were greeted by the Algonquin communities that lived in the region. A majority of what we know about Algonquin culture today comes from the observations and reports from English explorers, Philip Amadas, Arthur Barlowe, Thomas Harriot, and John White, due to the Algonquins rich oral tradition. Algonquin Indian Traditions & Culture Storytelling Storytelling has always been a pillar of Native American culture. Instead of using a written language, Native Americans share their history, cultural values, and beliefs through storytelling. These culturally significant stories were passed down from generation to generation. The Algonquin communities were a matrilineal society where the line of descent followed the women\u2019s side of the family. It was most common for an uncle on the mother\u2019s side of the family to tell these important stories to his sister\u2019s children. Ceremonies & Rituals While surveying Roanoke Island the surrounding area, the English explorers referenced Algonquin Indian rituals that involved dancing and music. The dance circle at Roanoke Island Festival Park is based off the drawings of explorer and watercolor artist, John White. Dancing was an important part of religious rituals, celebrations, and victories. Dancing took place in towns near Algonquin homes around carved posts. Oftentimes these posts were placed in fields between towns where people would gather from surrounding areas. Governor Ralph Lane reported to Sir Francis Walsingham in a letter that he witnessed over 700 American Indians celebrating and dancing between present day Pasquotank and Chowan County. One of the religious ceremonies that included dancing was the Green Corn Ceremony. This ceremony took place in late summer, when their corn was ready to harvest. It was a time to give thanks for life and to set goals for the coming year. Ways to Celebrate Take some time during this season of thanks to honor American Indian culture through learning. To learn more about the rich history of the American Indians on Roanoke Island, visit American Indian Town at Roanoke Island Festival Park. The town layout is based off the watercolor images of artist, artographer, and explorer, John White, and features a garden area, a leader\u2019s house, longhouse, dance circle, work stations, and a dugout canoe. These interactive exhibits highlight the day to day life and customs of the Algonquins on Roanoke Island in the 16th century. To learn more about American Indian heritage across the state, visit the 26th annual American Indian Heritage Celebration\u2019s online resources.", "id": "<urn:uuid:6c5fe47c-19b2-4881-aef2-e07d29d2a141>", "dump": "CC-MAIN-2022-21", "url": "https://www.roanokeisland.com/blog/2021/11/24/native-american-heritage-day", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016373.86/warc/CC-MAIN-20220528093113-20220528123113-00759.warc.gz", "language": "en", "language_score": 0.9607852101325989, "token_count": 685, "score": 3.84375, "int_score": 4}
{"text": "Kimmerer begins by affirming the importance of stories: \u201cstories are among our most potent tools for restoring the land as well as our relationship to land.\u201d Because we are both storytellers and \u201cstorymakers,\u201d paying attention to old stories and myths can help us write the narrative of a better future. She then relates the Mayan creation story.\nIn this chapter Kimmerer again looks toward a better future, but a large part of that is learning from the past, in this case mythology from the Mayan people of Central America. As stated before, an important aspect of culture is its creation myths.\nIn the story, the first divine beings, or gods, create plants and animals to fill the emptiness. Afterward they want to create a creature who can speak, and so they try to make humans. They make the first humans out of mud, but they are ugly and shapeless and soon melt away in the rain. Next they make humans out of wood. These people are beautiful, strong, and clever, and they soon populate the earth with their children. These people have no gratitude or love within them, however, and they disrespect the rest of creation. The gods send disasters to strike them, and they also give the rest of creation their own voices to speak out against their mistreatment. They all join together to destroy the wood people. Next the gods make people out of pure sunlight, who are beautiful and powerful, but they too lack gratitude and think themselves equal to the gods, so the gods destroy them as well.\nThis story comes from the Popol Vuh, a sacred Mayan text of mythology and history that was first written down in the 1500s but based in much older oral traditions. This creation myth echoes many myths throughout ancient cultures, as the gods try and fail to make the kind of people that they want. Also, as is the case in many creation myths, the people are formed out of already existing elements\u2014and can be destroyed when the gods are displeased with them (similar to the Biblical story of Noah and the great flood).\nFinally, the gods make people out of ground corn meal. These people are compassionate and loving, and they can dance in gratitude for the rest of creation. They are \u201cwise enough to be grateful.\u201d Out of all the gods\u2019 experiments, only the corn people respect the world that sustains them\u2014\u201cand so they were the people who were sustained upon the earth.\u201d\nNote what the gods valued most in the people of corn: their ability to be grateful and to live in community with each other and the earth itself. These qualities also benefited them, as they were the only people to survive and endure.\nKimmerer muses on this story, wondering why the people of corn were the ones who ultimately inherited the earth. Corn, she says, is the product of \u201clight transformed by relationship\u201d via photosynthesis, and also of a relationship with people, creating the people themselves and then sustaining them as their first staple crop. This story is usually read as a history, but Kimmerer reminds the reader that in many Indigenous cultures time is not linear but rather circular. This makes the story both history, ongoing process, and prophecy of the future. She relates the idea that the Popol Vuh, the sacred Mayan text that contains this creation story, was used as a seeing instrument, or ilbal, through which its culture viewed their relationship to the world.\nIn \u201cWitness to the Rain,\u201d Kimmerer noted that everything exists only in relationship to something else, and here she describes corn as a living relationship between light, water, the land, and people. This passage also introduces the idea of ilbal, or a seeing instrument that is not a physical lens or device but a mythology. Kimmerer has described language as a sort of ilbal in the past, particularly in the differing ways that Potawatomi versus English languages portray the nature of what has animacy and value.\nImmigrant culture should appreciate this wisdom, but not appropriate it, Kimmerer says. Instead, settler society should write its own story of relationship to the world, creating its own ilbal using science and art. She then comments how the scientific process of photosynthesis could also be described like a poem, with plants combining light, air, and water to make sugar and oxygen, our food and breath. Our breath then gives back carbon dioxide, which the plants use as their own breath. We are symbiotic organisms, and this living symbiosis is its own story of reciprocity and gratitude.\nEvery culture has its ilbal, both through its language and through its worldview and what it finds most important. Kimmerer warns settler society about appropriating from Indigenous peoples, but she also affirms again that society does need a new kind of ilbal that is healthier than what currently exists. This passage introduces another poetic metaphor of reciprocity as breath, here cycling through the process of plant photosynthesis and human respiration.\n\u201cThe very facts of the world are a poem,\u201d Kimmerer declares. These fact/stories used to be carried by elders and now they are usually the domain of scientists. But the technical language of science excludes most people, which also keeps them cut off from any ideas of the \u201cdemocracy of all species.\u201d \u201cScience can give us knowing, but caring comes from somewhere else,\u201d Kimmerer writes.\nKimmerer criticizes those who gatekeep science from the majority of people through the use of technical language, itself a further form of exclusion through the scientific assumption that humans are disconnected from and above other living things.\nScience probably is the ilbal of the Western world, Kimmerer admits, but the current scientific worldview seems more like that of the wood people: clarifying material facts but blurring spiritual wisdom and relationships. She contrasts scientific practice, which brings the questioner into close contact with the natural world and invites a sense of wonder and curiosity, with the scientific worldview, which uses technology to advance exploitative materialistic economies. The scientific worldview also privileges human intelligence and value over all others, lacking humility\u2014just like the people of wood.\nKimmerer has often pointed out the importance of direct experience with the land and other living things. The actual practice of science often means doing this, but the more general scientific worldview of Western society ignores everything that happens in these experiences, aside from the data being collected. Kimmerer again affirms the importance of the entire experience, which builds a relationship and a sense of humility.\nIn the Indigenous worldview, however, humans are seen as the \u201cyounger brothers of Creation\u201d who must learn from those who were here before us: the plants and animals, who have their own kinds of intelligence and knowledge. Kimmerer imagines a kind of science in which people saw plants as teachers rather than as objects to be experimented on.\nThis idea has been mentioned several times before, but here Kimmerer directly challenges her fellow scientists to consider it as something other than a story: to actually allow it to inform their worldviews and work, and to rethink how limited human-only science really is.\nKimmerer closes by describing the Indigenous idea that each part of creation has its own unique gift, like a bird with its song. She wonders what our gift might be, and thinks back on the people of mud, wood, and light. They all lacked gratitude, which is indeed our unique gift as human beings, but increasingly Kimmerer says that she has come to think of language as our gift and responsibility as well. She imagines writing and storytelling as \u201can act of reciprocity with the living land,\u201d as we attempt to become like the people of corn and create new stories about our relationship to the world.\nKimmerer often muses on how we can live in reciprocity with the land, and gratitude, as our uniquely human gift, is always an important part of this. Yet we also have another human gift, language, another of our ilbals that helps us to see the world\u2014but that can also be a gift we offer back to the earth. This becomes personal to Robin\u2019s own writing practice, as she not only considers the value of the tree producing the paper on which she writes, but also how the words themselves can be an offering of love to the earth.", "id": "<urn:uuid:ef6872e1-d4eb-4bc0-b699-bc2a95f5a6e9>", "dump": "CC-MAIN-2022-21", "url": "https://www.litcharts.com/lit/braiding-sweetgrass/chapter-28", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00359.warc.gz", "language": "en", "language_score": 0.969840407371521, "token_count": 1736, "score": 3.6875, "int_score": 4}
{"text": "CAAP Enriched English Kindergarten-Grade 7\n- Gain student\u2019s interest in speaking and learning English\n- Develop speaking and listening skills to help children to adapt to the classroom\n- Master recognizing and writing the alphabet\n- Learn to speak key basic words in English\n- Able to put sentences together to communicate what they need to say\nEach class goes for 2 hours and is held once a week. Students will primarily be learning through activities such as games, songs, drawing and role plays to gain their interest in English and because these methods are suitable for their age group. In addition to this students will learn how to say and write the 26 letters of the alphabet. The students will also learn a number of words and do activities which encourage students to use English to communication what they want to do. By the end of the course students should be able to recognize and say a number of common words in English and be able to use basic English to communicate to the teacher and with each other. There will be two different levels for the class where the pace of learning will vary based on the student\u2019s ability.\nGrade 1 Class\n- Develop students\u2019 English academic writing skills\n- Helps students to have deeper conversation\n- Learn how to read and make dialogues in English\n- Master students pronunciation of all the sounds of the English language\n- Learn elementary writing skills\n- Master spelling 300 hundred of the most common words in English\nBy Grade 1 students should already have some experience in a classroom. This course is aimed at developing better English academic skills in a classroom setting including phonics, reading, speaking, listening, writing and spelling. This course will use the Oxford workbook Let\u2019s Go 1 and Let\u2019s Go 2. Published by R.Nakata, K.Frazier and B.Hoskins. The textbook is widely used for G1 students with English as a second language. There will also be additional supplementary phonics words to assist with reading and spelling. The class will be combined with some fun activities and games to keep the students\u2019 interest. There will be two different levels for the class where the pace of learning will vary based on the student\u2019s ability.\nGrade 2 Class\n- Develop students\u2019 elementary reading skills.\n- Develop basic reading comprehension skills\n- Master students\u2019 spelling skills\n- Students should learn and spells at least 300 common words in the English language\nEach class goes for 2 hours and is held once a week. Students will read books together with the teacher each week which will be broken into three to five parts. Students will learn key words from the text after each class which they will be tested on in the follow lesson. The main text used will be the Magic Tree House series. Students will read the text together with the teacher during the class to enhance oral reading. The content learned in the stories will be revised through games and role plays. There will be two different levels for the class where the pace of learning will vary based on the student\u2019s ability.\nGrade 3 Class\n- Further develop students\u2019 oral reading skills.\n- Master student\u2019s spelling skills of common English words\n- Start to encourage individual silent reading\n- Develop writing skills\nEach class goes two hour and is held once a week. Similar to grade 2 students will read one book together with the teacher each week however the reading pace will much faster, where students will be required to finish a book within two weeks. Students will learn key words from the text after each class which they will be tested on in the follow lesson. The course material will begin with the Magic Tree House series. Students will read the text together with the teacher during the class to enhance oral reading. Later in the course students will be given larger novels such as \u201cFantastic Mr. Fox\u201d and \u201cOn my Honor\u201d and will be encouraged to reading silently. Students will be required to answer revision questions and write summaries. The content learned in the stories will be revised through games and role plays. There will be two different levels for the class where the pace of learning will vary based on the student\u2019s ability.\nGrade 4 Class\n- Improve students\u2019 endurance to read long novels up to 120 pages in a week.\n- Introduce more advanced reading comprehension skills\n- Teach students important vocabulary which commonly appears throughout literature.\n- Develop writing skills (write up to 200 words)\n- Learn oral presentation skills\n- Spark students\u2019 curiosity so that they can develop a love for reading and writing.\nEach class goes for two hours and is held one time a week. Students will be required the finish the novel within a week and will be tested on different parts each lesson. The first part of the class will introduce the theme of the book and go over answers to review questions which test students\u2019 reading comprehension skills. The second part of class will either introduce a writing task related to the book or a public speaking activity. Classes will alternate between writing and public speaking. Public speaking activity related to the text such as role plays, class debates or speeches. Public speaking skills will prepare students for their Grade 5 exhibition in the following year. In addition students will be given ten words after each lesson as vocabulary to learn which is related to the text they have read where they must learn the meaning and be able to use the words in a sentence. The text used for the class will begin with short novels such as: The Diary of Wimpy Kid (Jeff Kinney) or Charlie and the Chocolate Factory (Roald Dahl). There will be two different levels for the class where the pace of learning will vary based on the student\u2019s ability.\nGrade 5 Class\n- Develop critical thinking\n- Improve student vocabulary\n- Diversify student\u2019s writing skills\n- Develop good presentation skills\n- Learn how to do effective academic research and reports\n- Read 150-200 page novels a week\nEach class goes for two hours and is held once a week. Students should read one novel per week which will be analyzed in depth during class over three one hour lessons. The first part of the lesson focuses more on reading comprehensive skills, the second class focuses on writing skills or public speaking skills. Classes will alternate between writing and public speaking. The texts used in the class will include popular novels such as The Lion, the witch and the wardrobe (C.S. Lewis) and Matilda (Roald Dahl), as well as classical novels such as Gulliver\u2019s travels (Jules Verne) and the Wizard of Oz (L. Frank Baum). Each week, students will have a small writing task based on the book which prepares them for future examinations and high school essays. There will also be a strong emphasis on how to make good presentations to prepare students for their exhibitions at the end of the year. Homework will be checked weekly and feedback will be provided from the teacher. The teacher will also give the students some guidelines and elements to look when reading the book for next week. There will be two different levels for the class where the pace of learning will vary based on the student\u2019s ability.\nGrade 6 Class\n- Expand students\u2019 vocabulary and variety of expressions in written communication\n- Can read novels up to 200 pages in a week.\n- Able to recognize 3000 English words.\n- Able to write essays up to 500 words in a number of styles as well as use correct metalanguage\n- Can participate in discussion of relevant themes in the novels\nThe first part class will focus on analyzing the text and developing good critical analysis skills. The second class will focus on writing skills including perfecting the four major writing styles: expository, persuasive, descriptive and narrative. The third class will focus on public speaking skills which will include debating relevant topics, individual speeches and group presentations. Each week, students will be given texts to read and analyze include popular novels such as Hatchet (Gary Paulson), Percy Jack (Rick Riordan) and To kill a Mockingbird (Harper Lee), as well as newspaper and academic articles.\nGrade 7 Class\n- Students develop the ability to engage in close, detailed analyses of literary works, building understanding of the techniques involved in literary criticism\n- Emphasize the study of literary works in context, and through the study of literature in translation\uff0cchallenge the student to reflect on the role of cultural assumptions in interpretation\n- Assess students through a combination of formal examinations, written coursework and oral activities\n- Students learn to appreciate the artistry of literature, and develop the ability to reflect critically on their reading, presenting literary analysis powerfully through both oral and written communication.\nThe course consists of one two hour lesson each week. The first part of the class will focus on literary analysis and literary criticism. The second class will focus on developing good written communication skills, writing techniques and structures which will act a foundation for IB diploma written tasks such IA and EE papers. In addition this course will class debates, individual and group presentations, and other presentations. Students will be required to read a novel each week between 150-200 in week or up to 400 pages within two weeks famous novels: I-Robot (Isaac Asimov), Hitchhikers Guide to the Galaxy (Douglas Adams), and Native Son (Richard Wright).", "id": "<urn:uuid:d6334c18-7c74-4d82-968b-3152f240d1fd>", "dump": "CC-MAIN-2022-21", "url": "https://www.cisbeijing.com/enrichedenglish/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662564830.55/warc/CC-MAIN-20220524045003-20220524075003-00359.warc.gz", "language": "en", "language_score": 0.9463919997215271, "token_count": 1969, "score": 3.9375, "int_score": 4}
{"text": "Multiplication facts fluency is very important as it is the base for many concepts like multi-digit multiplication, equivalent fractions, division, and, much more. Multiplication facts practice deserves time and effort. Rushing into drills that promote meaningless memorization with endless repetition will not help in the long run. Allow students to take their time and practice solving interesting problems until they start memorizing without even realizing it. A great way to do that is by learning mental strategies, building arrays with manipulatives, \u201cplaying\u201d with the multiplication table to find patterns and relations, and having meaningful math talks.\nI am always trying to create fun and engaging activities to encourage students to practice multiplication and gain fluency with the multiplication and division facts especially with the new reality of distance learning. I love visual activities that are part of a story, puzzles and, escape rooms.\nToday I would like to share with you my latest multiplication resource. A multiplication adventure in the form of google slides with the beloved Binions that my students are crazy about. The students will be taking on a mission to save the little Binions from the Evil professor. This resource is in the form of a story with multiple tasks that the students need to complete in order to succeed in their mission. It is a great resource for virtual and face to face learning. The slides help initiate meaningful discussions about strategies and different ways of solving multiplication problems.\nThe resource contains 164 slides organized based on the level of difficulty, starting from multiplication as repeated addition and moving on to multiplication properties, multiples and factors. The questions provide visual help and manipulatives for conceptual understanding and deep learning. Low floor and high ceiling activities for all students.\nYou can arrange the activities based on your students\u2019 needs. Provide support for your low floor students and challenge your high ceiling ones.\nActivities and skills covered\n- Building arrays for given multiplication expressions. (understand multiplication as repeated addition)\n- Solving multiplication problems using arrays. (visualize and understand)\n- Learning how to use the multiplication table.\n- Solving multiplication problems using the multiplication table. Find patterns, relations, and stepping stones to help with fluency.\n- Learning about square numbers.\n- Building square numbers with arrays.\n- Finding square numbers on the multiplication table. (Square numbers are often the first ones memorized and can be used as stepping stones for other facts)\n- Learning the multiplication properties.\n- Selecting the correct expression for given arrays.\n- Building arrays for numbers/representing numbers with arrays. (introducing factors and multiples)\n- Puzzles on the multiplication table\n- Finding the second factor in an equation (division)\n- Finding the factors of numbers.\n- Finding the multiples of numbers 3-12 (mazes)\nBelow is a sample video of the resource.\nAs always here is a free version of the resource for you.\nThe premium version includes 164 slides/activities. Get the premium version here.\nMy students got very excited with the Binions\u2019 adventures and made up their own stories which gave an unexpected opportunity for creative writing.\nLike and subscribe for updates and giveaways!", "id": "<urn:uuid:81c8b2d0-5a62-473a-bb76-670f360eafdf>", "dump": "CC-MAIN-2022-21", "url": "https://mathcurious.com/2021/01/26/multiplication-mission-arrays-properties-multiples-factors-division/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00159.warc.gz", "language": "en", "language_score": 0.924921989440918, "token_count": 650, "score": 4.0625, "int_score": 4}
{"text": "It is necessary to make it and teaching coding part of childhood education.\nThis is because coding continues to become one of the most important 21st-century skills.\nFortunately, coding schools exist to ensure kids learn to code in preparation for their future careers.\nIf you are a first-time educator teaching kids how to code, it can be a challenging task.\nYou may need to debunk common myths about coding and ensure that kids learn to code while maintaining an enjoyable learning experience.\nHere are ideas to help you teach kids how to code in the classroom successfully.\nDo Your Research Before Teach Coding\nThe first step to teaching kids is ensuring you are well-prepared for the task.\nResearch the resources you need and establish whether you have all the essentials for your classes.\nBesides reliable internet and computers, you also need to bear in mind your students\u2019 ages to tailor your lessons accordingly.\nWith the right resources to facilitate your teaching, your students can learn to code successfully and gain valuable skills.\nKids Have Varying Learning Abilities\nEvery child has a unique learning ability.\nSome kids can grasp concepts fast, while others take more time and may need extra help.\nWhen teaching kids in a classroom, take into account their learning differences.\nDoing so allows you to tailor your teaching to cater to all students according to their needs.\nConsider differentiating your learners according to their abilities and issuing varying instructions and assessments to the different groups.\nThis way, you get a clear picture of students who need more help to learn to code.\nTap Into Learner\u2019s Passion When Teaching Coding\nWhen teaching coding in class, try to align it with the learners\u2019 interests by relating coding to what they are passionate about.\nFor example, if a student is passionate about video games, you can teach them to code using programs that focus on game design.\nFrom storytelling and animations to reading books, you can always find an app that teaches your students how to code in their areas of interest.\nLearners realize that they can use coding to create apps and solve problems in their fields of interest.\nChildhood education thrives on teamwork, peer-to-peer learning, and social activities.\nTurn teaching coding lessons into a social affair by issuing coding group projects and letting learners work together.\nYou can also sign up your students in online programs that allow them to work with kids from other schools.\nIf you lack adequate resources for every learner to use, you can take advantage of the situation to make it a group learning process.\nThis encourages teamwork and allows for peer-to-peer education, which may be more effective in helping struggling learners.\nMake It Fun When Teaching Coding\nA common misconception about teaching coding is that it is repetitive and boring.\nTo boost the learning experience, make coding fun by encouraging creativity and experimentation.\nFind age-appropriate tools for learners to explore so they don\u2019t have to only rely on reading.\nSome of the apps and websites to consider are Scratch for animations and games and Hopscotch for kids between ages six and12 years.\nYou can also encourage creativity by allowing learners to actualize their ideas, be it games, drawings, or animations.\nBy making coding classes a fun activity, learners get more engaged, sustain their interest, and learn to code more confidently.\nYou don\u2019t have to read out instructions or rely only on slides when teaching coding in the classroom.\nConsider live coding as part of your teaching routine where you create programs in front of your students.\nYour students will learn better from watching you code, and you get an opportunity to follow their interests.\nThey also grasp how to diagnose and correct coding errors more clearly than they would with books.\nSince mistakes are inevitable when coding, students learn that it is okay to make mistakes when they see you do it instead of getting discouraged.\nEnsure that you don\u2019t set yourself up as an expert as it tends to intimidate your learners and limit their exploration.\nInstead, position yourself as a guide to help them learn to code more freely.\nFocus on One Language at a Time\nMastery of a subject is necessary for the successful transfer of skills.\nWhen teaching kids to code, stick to one programming language at a time.\nDoing so allows your students to learn to code more efficiently as they focus on one subject.\nOnce they have progressed enough to transfer their knowledge between languages, you can introduce a second language.\nJuggling different programming languages at once confuses learners, lowers their confidence, and ultimately impairs their learning.\nCoding as part of childhood education is an excellent way to prepare kids for the tech-oriented workplace.\nWith the above tips, you can help your students learn to code in the classroom and boost their programming confidence.", "id": "<urn:uuid:f7a17234-db81-418b-9bc6-1c788f0d85d0>", "dump": "CC-MAIN-2022-21", "url": "https://www.softwarebattle.com/teach-coding/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00759.warc.gz", "language": "en", "language_score": 0.9457886219024658, "token_count": 1002, "score": 3.828125, "int_score": 4}
{"text": "|Inquiry Design Model (IDM) Blueprint\u2122|\n|NDNAEU 2 \u201cLearning & Storytelling\u201d, NDNAEU 3 \u201cSharing & Generosity\u201d, NDNAEU 6 \u201cNative Contributions\u201d, NDNAEU 7 \u201cNative Identity\u201d|\n|Compelling Question||How do people around the world celebrate their culture and identity?|\n|Standards and Practices||Foreign Language: Comparisons Standard 4.2 Students demonstrate understanding of the concept of culture through comparisons of the cultures studied and their own.|\nForeign Language Cultures Standard 2.1 (Practices of Culture): Students demonstrate an understanding of the relationship between the practices and the perspectives of the cultures studied.\nForeign Language Cultures Standard2.2.4 Interpret and produce expressive products of the culture (i.e., art, dance, music, and literature).\nForeign Language Connections Standard 3.2.1 Read, listen to, and discuss age-appropriate material in the target language, such as songs, folk tales, short stories, poems, and novels written for native speakers of the target language. (e.g., simulate a book discussion club using authentic stories or novels; plan a review of the music of a specific music group popular in the target culture)\nDance Anchor Standard 2: Organize and develop artistic ideas and work\nDance Anchor Standard 7: Perceive and analyze artistic work\n|Staging the Question||Why are Powwows so important to Native American People?|\n|Supporting Question 1||Supporting Question 2||Supporting Question 3|\n|What is a Powwow? What are the different dance styles for men and women?||What are the types of dances at a Powwow? What kinds of songs are performed for powwow dancers and spectators?||What do other people do to celebrate their culture?|\n|Formative Performance Task||Formative Performance Task||Formative Performance Task|\n|Students will work in pairs and complete a multimedia project on elements that the classroom comes up with for content in describing the supporting question.||Students will work in pairs and complete a multimedia project on elements that the classroom comes up with for content in describing the supporting question.||Students will work in pairs and complete a multimedia project on elements that the classroom comes up with for content in describing the supporting question.|\n|Featured Sources||Featured Sources||Featured Sources|\n|Top 5 Celebrations Around the World|\n|SUMMATIVE PERFORMANCE TASK: Supported Claim (written/spoken) or Demonstration of Process (project-based)||Watch an entire day of recorded powwow on youtube.|\nManito Ahbee https://www.youtube.com/watch?v=AOTci8fjptE&t=126s\n|SUMMATIVE PERFORMANCE TASK: Extension||Class will attend a local powwow.|\n|Taking Informed Action / Real World Application|\nPlan a powwow for the school district. Create a powwow committee and seek collaboration with local native organizations or Indian Education Programs.\nDisclaimer: Educators are encouraged to use these lessons as a guide, especially when it comes to capturing standards and required content for their instructional disciplines. Adapt, synthesize, abbreviate, and incorporate are just some of the encouraging words to educators to USE any of the NDNAEU lessons to make them their own.", "id": "<urn:uuid:ff0cbd31-2201-4da1-959c-1f3509710a40>", "dump": "CC-MAIN-2022-21", "url": "https://teachingsofourelders.org/powwows-101/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662658761.95/warc/CC-MAIN-20220527142854-20220527172854-00559.warc.gz", "language": "en", "language_score": 0.8480685353279114, "token_count": 826, "score": 4.03125, "int_score": 4}
{"text": "It\u2019s hard to deny that computers have taken a prominent role in modern society. From the smartphones in our pockets to the smart devices controlling our appliances at home and everything in between, computer technology is everywhere. It should come as no surprise that the use of computers in education has been steadily increasing and in many ways has revolutionized traditional education. Computers in the classroom have multiple benefits for both students and their teachers.\nPurpose of Computers in Education\nComputers are one of the most valuable resources in a classroom\nbecause they serve so many useful functions. With computers and the internet,\nstudents today have a wealth of information at their fingertips that can help\nthem develop their research and communication skills while preparing them for a\nfuture career in a workforce that is increasingly reliant on computer\nBenefits of Computers in the Classroom\nbenefits of using computers in the classroom goes beyond more efficient\nassessment and opportunities for online learning\n\u00d8 Using computers in the classroom gives teachers an\nopportunity to teach digital citizenship skills\nthat demonstrate ways to use technology correctly and responsibly.\n\u00d8 Computers also help maximize student engagement.\nModern students are regularly exposed to technology outside of the classroom.\nMost use and enjoy smartphones and other mobile devices, which is why they are\nmore likely to engage in the learning process if it involves something to which\nthey are already accustomed and enjoy.\n\u00d8 Teachers use computers to record grades, calculate averages,\nmanage attendance and access data on student performance in online programs and\n\u00d8 Computers have also made it easier for teachers to\nvary their instructional delivery. Instead of lecturing at the front of the\nroom for an entire class period\n\u00d8 Teachers can incorporate technology into their lessons to\nkeep students engaged while appealing to a variety of learning styles. From\nusing computers to create presentations on a topic to showing video clips that\ncomplement the lesson at hand, technology helps teachers make the content\neasier for students to understand.\ntechnology in the classroom allows to experiment more in pedagogy and get\ninstant feedback. Technology allows for more active learning; you can increase\nengagement through online polling or asking quiz questions during lectures\n(with instantaneous results).\nin the classroom helps ensure full participation.Online polling\nand other digital tools help to engage all students, including shy students who\nwouldn\u2019t normally raise their hand in class. Online engagement systems allow\nyou to regularly check in with students for feedback on course materials and\nassignments; data analytics could be used to help spot areas where students\nmight be struggling,\nare countless resources for enhancing education and making learning more fun and effective.\nDigital storytelling through gamification can make learning more exciting and\nsometimes relatable for students. Gamification allows for interactive lessons\nand can reduce passivity in the classroom.\ntechnology in the classroom, your students have instant access to fresh\nthat can supplement their learning experience.There is value in having\ntextbooks and course materials that are always up to date, which can even include\nadditions suggested by students. This also fosters a more collaborative\nlearning environment; students, networked together online, can share\ninformation, work together on group projects, and interact with the instructor.\nlive in a digital world, and technology is a life skill. Being\ndigitally literate is more than obtaining \u201cisolated technological skills,\u201d\naccording to the . Rather, it\u2019s about\n\u201cgenerating a deeper understanding of the digital environment, enabling\nintuitive adaptation to new contexts and co-creation of content with others.\u201d\nComputer and its related technology have completely revolutionized our lives. Now, information technology is important in every walk in life. Undoubtedly, computer and information technology great impact in our education system. Various technologies have been used to improve the teaching and learning process. Information technology makes our education system interested and effective. Students can learn better without getting bored and frustrated. This paper presents the current scenario of information technology based education system.\nBy: Aminath Riza (PGDE)\n5th Sep 2019", "id": "<urn:uuid:24479b5c-9829-4deb-862f-5195450f5be0>", "dump": "CC-MAIN-2022-21", "url": "http://www.elitemv.com/2019/09/does-use-of-technology-in-class-benefit.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662619221.81/warc/CC-MAIN-20220526162749-20220526192749-00159.warc.gz", "language": "en", "language_score": 0.9266436696052551, "token_count": 887, "score": 3.828125, "int_score": 4}
{"text": "TAHSMT.PR.1 Act and direct by communicating and sustaining roles within a variety of situations and environments.\na. Examine and implement the skills and tasks associated with acting, singing, and dancing, incorporating vocal and movement technique, observation, and imagination to create characters for formal and informal performances.\nb. Identify and examine the responsibilities and tasks of an actor in relation to directors, designers, choreographers, technical crew, and production staff.\nc. Use the skills and tools of a director to develop a presentation of formal and informal musical theatre performances.\nd. Conduct rehearsals to present a musical theatre performance for a live audience.\nby Annie Dragoo\nUnderstanding basic improvisation skills will help musical theatre performers understand that musical theatre is more than just singing and dancing. It\u2019s about using all the tools (voice, body, and mind) an actor has at their disposal to create a character.\nThis unit focuses more on the improv aspect rather than the musical theatre aspects - in fact students need no prior musical theatre knowledge. Annie Dragoo, creator of the unit, uses this material as her first unit in her musical theatre class. It\u2019s a great introduction and will get your students in the right frame of mind to approach musical theatre.\nThe lessons explore a variety of improv skills such as vocal responses, movement, character study, sensory awareness and culminate in an improv scene and unit essay.\nby Laramie Dean\nInstructor Laramie Dean uses this unit as the final project for his Drama 2 students. Drawing upon any of the skills students have developed throughout they create a product that could be used within a new piece of musical theatre.\nStudents start by analyzing three musicals, study guides included, and practice creating musical elements. They are then giving class time to prepare in groups as many elements as their can for a new musical using devised theatre techniques.\nThere are 24 lessons in this unit which culminates in a final assessed performance.\nby Annie Dragoo\nWant a fun project that has your students collaborating and creating? In this unit by Annie Dragoo, students in groups will write and perform an original musical by adding modern songs to a traditional fairy tale story.\nThe six lessons take students from writing their script, to choreography and planned movement, to rehearsing, performing and evaluation.\nThe Rubric will focus on student performance. That means vocal delivery, emotional delivery, blocking/choreography, energy, focus, and characters.\nby Annie Dragoo\nMusical theatre performers use their bodies to sing, to dance, and to act. We must think of our bodies as instruments and learn to use our instruments properly in order to be better musical theatre performers.\nThe overall objective with this unit, by Annie Dragoo, is for students to demonstrate an understanding of the use of good movement as it connects to musical theatre. Some of the activities include using action verbs, moving as animals and inanimate characters, nonverbal communication and situational movement. Students will then perform a scene that will allow them to put to practice all the movement techniques they have learned.\nby Anna Porter\nMusical Theatre has two components that separate it from straight plays: song and dance. This unit gives students the opportunity to try out both. In musical theatre, music signifies heightened emotion. We can\u2019t express ourselves with just words, we need music (and through extension, song and dance) to take it further.\nThis unit includes three lesson plans:\n1. Acting the Song - \u201cMusical Tactics\u201d\n2. Acting the Song - \u201cTextual Analysis\u201d\n3. Introduction to Dance\nA solo performance assignment is also included, and the unit includes assessment tools - rubrics, reflections, and self-evaluations.\nby Gai Jones\nAll students have something to say and a story to tell. They can relate to their personal stories better than anyone else. All students have a lot of material which can be used as part of an original monologue.\nIn this unit, students will write an autobiographical monologue based on their personal expertise, memories, distinct point of view, sense of truth, and life experiences.\nThrough the process, students will be encouraged to explore past stories, objects, and images and other personal material.\nby Steven Stack\nDirecting youth theatre can be one of the most thrilling, rewarding, and exhausting jobs there is \u2013 because it\u2019s not just about staging a play. It\u2019s about creating an environment that fosters hard work, dedication, trust, and the willingness to take chances, to \u201cplay without fear.\u201d\nAs a writer/teacher/director of youth theatre for over 15 years, I have developed tools and strategies that enable my students and me to focus on the process of creating theatre while fostering an environment that leads to creative freedom and a cohesive groups that doesn't act as individual \u201cstars,\u201d but as a community of one.\nIn this course, I will share with you these tips and strategies, along with the ways to implement them in your theatre environment.\nby Craig Mason\nThis mini-course will give you a toolkit to bring your shows to the next level by having an engaged, active, ensemble.\nThe ensemble is a critical part of a large cast show. But you can't leave them to fend for themselves. They need structure. They need exercises and activities.\nIn Strong Ensemble = Strong Play, you'll be given ensemble-building exercises. You'll also discover specific activities that will help your ensemble become three-dimensional characters who have something to do and something to play in every moment they are on stage.\nWe'll look at case studies that take the exercises learned in the course and apply them to specific shows.\nby Todd Espeland\nWorking in educational theatre I know how easy it is to get bogged down in actor coaching and away from the bigger picture storytelling when directing a show. I saw a need for a method of text analysis and physical staging tools that help the director stay focused on the bigger picture of telling the story of the play.\nThis class is in two parts: The first consists of the text analysis tools P.A.S.T.O and Major Dramatic Question. From these tools you will brainstorm keywords to define your vision of the story.\nIn the second part of the class you will focus on taking the information generated in the text analysis and crafting the ideas into vibrant physical pictures through an exercise called Starburst.\nby Gai Jones\nIn \"Working With Monologues For Rehearsal And Development\" you will develop ten sessions of study on monologues. The study contains the definition and history of the monologue; monologue vocabulary; analysis of a practice monologue, staging a short monologue; working with musical theatre lyrics as a monologue; writing short autobiographical monologues.\nAt the end of this course, you will have a curriculum which can be used as introduction to monologue work.\nby Holly Beardsley\nDo you know the difference between a bustle and a buckram frame? Or what works best as an emergency hem? Some directors are blessed with a big budget and a full support staff\u2014a choreographer, a set designer, and a costumer. But the drama teacher often becomes director, choreographer, set designer, and costumer all in one.\nAnd a budget? What\u2019s a budget? The Do-It-All Director\u2019s Introduction to Costuming will give you, the director, who must do it all, the confidence and skills to costume and direct, no matter your experience or budget. This course will teach you costuming basics, budget tricks, organization, and most importantly, the art of costuming as a director.\nby Elisabeth Oppelt\nIn this course, you will learn what breath control and projection are, how to breathe from your diaphragm and speak loudly without yelling, and how to teach these skills to your students. Led by teacher and singer Elisabeth Oppelt, this course will be helpful both in your teaching practices and in creating material to teach your students. This course also includes both formal and informal assessments for you to use in your classroom.\nby Colin Oliver\nColin Oliver leads this introduction to teaching Musical Theatre in the Drama Classroom.\nIn this course, you will learn how to build musical theatre into your dramatic courses of study. \u201cWhy might you want to do that? Singing is scary! You want me to teach my students how to do it? I don\u2019t even know how to do it.\u201d This course approaches musical theatre preparation performance much as we would approach preparing a monologue in drama. If you use script analysis in monologue preparation in your class, you can teach musical theatre.\nBy the end of this course, you\u2019ll have a great, full-body physical warm-up, a student-driven research assignment, character development exercises, a little bit of musical theory, and a performance assignment complete with assessment.\nSo, join us for teaching Musical Theatre in the Drama Classroom. It\u2019s as easy as Do-Re-Mi!\nby Anna Porter\nHave you been wanting to find some new ways to enhance your classroom with technology? Have you been told you need to integrate technology in your classroom but don\u2019t know where to start or what would even make sense to use in the drama classroom?\nWhether you want to find some new ways to diversify your instruction and assessment, provide new resources and opportunities for your students, or simply needs some help with organization and communication, Google Tools has a treasure trove of resources ready for you to use today.\nInstructor Anna Porter covers the tools of Google Forms, Photos, Calendar, Earth, Custom Search and Sites. Each lesson has video examples of how to use the tools as well as tips and resources for each module.", "id": "<urn:uuid:a159b3ce-8998-4c24-9947-0f33365d868b>", "dump": "CC-MAIN-2022-21", "url": "https://www.theatrefolk.com/dta_standards/1517", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00757.warc.gz", "language": "en", "language_score": 0.945235550403595, "token_count": 2042, "score": 3.703125, "int_score": 4}
{"text": "Book reviews in a continuitng series by students of John Myers at OISE.\nUnderground to Canada\nReview by Vincent Spano\nUnderground to Canada (1977) is a novel authored by Barbara Smucker that sheds light on the flight of slaves from the American South to Canada. The book details the life of a young girl, Julilly, whose life has been marred by slavery, and a tragic slave trade which separated her from her mother, Mammy Sally. Upon her arrival to a new, harsher plantation, Julilly and a handful of friends plan their escape from slavery, and embark on an incredible journey to seek freedom in Canada. The book\u2019s main focus in on the tragedy of slavery and its impact on the individual. The separation of a child from their mother, physical and emotional abuse, as well as the inability to find oneself are ways in which the author attempts to frame the tragedy that is slavery. A second key idea found in the book is inequality. There is a clear division between what constitutes a slave, and what constitutes a citizen. Moreover, the novel embeds subordination within this concept of inequality through the words and actions the author associates with slave plantation owners and their white workers.\nThis book is suitable for grade levels 5 and up, and would fit perfectly into any literacy program, especially as a component of Black History Month. However, a debriefing conversation with the class is necessary in order to address, neutralize and better understand some of the language used in the book. In terms of its historical value, incorporating this text within the grade 8 curriculum would allow for overall expectations related to communities in Canada to be sufficiently covered. This includes the impacts of large scale social events that impact Canada\u2019s people. This book would also account for the types of actions that groups in Canada took in order to improve their lives.\nThis book will have its greatest impact on its ability to critically examine perspectives. Actions taken by individuals, individuals identifying themselves within different communities, and larger societal narratives can be considered along side each other. Especially if seen alongside primary source documents, students can begin to evaluate and complicate what it means to live in a diverse society. It will impact how teachers interact with their students, and how students interact with one another whether in social or academic situations. It allows for a critical eye to be applied across the curriculum, and help students recognize the importance of considering many perspectives rather than submitting to stereotypes.\nAll the Light We Cannot See\nReview by Melissa De Caires\n\u201cAll the Light We Cannot See,\u201d written in 2014 by Anthony Doerr, tells the story of the lives of two different characters during World War II. Marie-Laure LeBlanc is a young girl who lives with her father, a locksmith and keeper of the thousands of keys at the Museum National d\u2019Histoire Naturelle in Paris. At the age of six Marie-Laure lost her sense of sight, so her father built an intricate miniature model of their neighbourhood to help her memorize and navigate herself around the area. When the Nazis occupy Paris, Marie-Laure and her father flee to live with her uncle in the citadel Saint-Malo, carrying one of the museum\u2019s most valuable and possibly dangerous stones. Meanwhile, Werner Pfennig lives with her younger sister and other children at an orphanage in a mining town in Germany. After his discovery of a broken radio, he fixes it and becomes an expert at building and fixing this new instrument. Soon after, his talent receives the attention of an elite Nazi school that emphasizes on extreme military training. Through the war, this new German soldier then finds himself in Saint-Malo, where the two characters\u2019 stories come together as they try to survive the devastations of the war.\nThis text is told in third-person narration while involving multiple perspectives. Each chapter alternates between the points of views of the main characters as well others living in the area during this period. In addition, the book is organized into separate sections that go back and forth between time periods: the beginning of the World War II and throughout .\nDoerr\u2019s book can be integrated into the academic and applied grade 10 History curriculum within section. Either of the grade 12 history courses might find this resource a useful entry point into historical perspective taking.\nOne of the best aspects of this story is the amazing descriptive language the author used. Not only did the author make the story more personal by focusing on these two very different characters and showing the multiple parties involved and affected by the war, Doerr was able to describe the setting and environment in such detail that made it extremely realistic for the reader. This story can serve as an introduction activity by having students reading the book as a whole or focusing on certain excerpts of the story that demonstrate the living conditions of the people living through the war. Since the book focuses on the lives of characters living in France and Germany and each chapter alternates between their perspectives, it can be used as an activity in which students create additional chapters for their own character living in Canada during this period and integrating their story into Marie-Laure\u2019s and Werner\u2019s. The text also allows for cross-curricular connections, such as language or science (as it speaks to the scientific understanding of sound and light waves).\nGenghis Khan and the Making of the Modern World\nReview by Eric Chan\nJack Weatherford\u2019s Genghis Khan and the Making of the Modern World explores how Genghis Khan and the Mongols that he led helped shape the modern world as we know it. While based on history, Weatherford\u2019s book reads almost like a story. Beginning with Genghis Khan\u2019s childhood, and continuing past his death, Weatherford gives the readers a grand picture of just how influential Genghis Khan and the Mongols were. The chapters and sections in the book are ordered chronologically, and they take the reader on a journey from the twelfth century all the way to the mid-1900s; we learn how Genghis Khan came to power, how he expanded his empire, and how it subsequently fell apart. As mentioned earlier, the book masterfully weaves the history of the Mongols with intricate storytelling that leaves the reader wanting more.\nThis book can be used to bring in a less Eurocentric perspective in the history classroom, specifically in the Grade 11 course\u2014World History to the End of the Fifteenth Century, CHW3M\u2014where one explores the many civilizations and empires up until the fifteenth century. Of course, one can apply it to the Grade 12 World History courses as well, since the influence of the Mongols continue even to this day. As the book is organized in a chronological manner, each section can be explored as its own mini-unit, where the class can explore how the empire was formed, and how their interactions with the other civilizations that they fought or traded with helped to shape the world that they know. It is particularly important, because the Mongols made use of anyone that they believed could benefit them, regardless of religion or origin. Moreover, they were a medium of sorts that helped to transmit knowledge and technology from the East to the West. So it would be very beneficial for students studying World History to learn how certain technologies or ideologies made their way across the continent of Asia and Europe.", "id": "<urn:uuid:17bddca2-1adb-43b4-ab7e-e58cf93f5c02>", "dump": "CC-MAIN-2022-21", "url": "https://ohassta-aesho.education/2018/01/08/three-book-reviews-underground-railroad-wwii-genghis-khan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662625600.87/warc/CC-MAIN-20220526193923-20220526223923-00360.warc.gz", "language": "en", "language_score": 0.9602325558662415, "token_count": 1504, "score": 3.6875, "int_score": 4}
{"text": "It is a rather difficult task explaining the progress of poetry. Although changes are evident between the authors of Ancient Greece, such as Homer, and those of medieval England (Chaucer); the romantics to the breakaway routes of free-verse in the Victorianera, its essence remains the same.\nPoetry in one form or another has its roots firmly planted 6000 years ago.\nCreators of \u2018poetry\u2019 at the time did not see it as a romantic art form as many see it today. Around 3000BC poetry was merely a tool \u2013 a means of communication, of storytellingand explanation.\nThe earliest written work found is the \u2018Epic of Gilgamesh\u2019, a Sumerian legend datingback to the 4th Millennium BC.\nEnkidu had defiled his body so pure,his legs stood still, though his herd was in motion. Enkidu was weakened, could not run as before,but now he had reason, and wide understanding. (Epic of Gilgamesh, translated by Andrew George).\nThe later introduction of rhythm and rhyme enabled a more memorable form oforal record-keeping. It is believed the \u2018lyric\u2019 dates back to this era, where rhythmic storytelling was first added to music \u2013 to be accompanied by a \u2018lyre\u2019.\nShort musical lyrics began to change into long narratives with the likes of Homer in Ancient Greece. The introduction of the written language aided greatly this transition asstories no longer needed to be easily memorised.\nLook now how mortals are blaming the gods, for they say that evil comes from us, but infact they themselves have woes beyond their share because of their own follies. (The Odyssey, Homer).\nSubject matter of the time tended to relate to the gods and of heroic storytelling.\nAlthough written several thousand years later, poet Denny Bradbury incorporates amodern-day twist to the exaggerated heroic storytelling of the Greeks. Her poem \u2018Nunon the Tow Path\u2019 from \u2018Denagerie of Poems\u2019 takes a quiet approach to heroism \u2013 everyday people affecting the lives of others without question.\nUnlike Denny, however, the \u2018poets\u2019 of Ancient Greece believed themselves more as translators to the gods (accepting the gift from Muses) than authors in their own right.\nRoman poetry was for the most part a continuation of the Greek style. Yet here we start to see an introduction of philosophy and an attempt to blend gods and scientific understanding. And since \u2019tis thou aloneGuidest the Cosmos, and without thee naught is risen to reach the shining shores of light, Nor aught of joyful or of lovely born, Thee do I crave co-partner in that verse which I presume on nature to compose(On the Nature of Things, Lucretius, translated by William Ellery Leonard)\nPoetry in a form continues to change and blossom with every new external influence. We leave it here questioning the power of the gods. They weren\u2019t put there to be remote but to the wise were portals to represent the power of gods and light to earthbound mortals\n(Still Standing, Denagerie of Poems, Denny Bradbury, 2009.)", "id": "<urn:uuid:ac5fcee4-3e6e-478c-aaa9-8c44e27658f4>", "dump": "CC-MAIN-2022-21", "url": "https://dennybradburybooks.com/2011/04/01/a-history-of-poetry-part-1-from-humble-beginnings-to-words-of-the-gods/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604794.68/warc/CC-MAIN-20220526100301-20220526130301-00758.warc.gz", "language": "en", "language_score": 0.9627267718315125, "token_count": 673, "score": 3.65625, "int_score": 4}
{"text": "Have you heard the news about \u201ccoding in the classroom\u201d as a part of British Columbia\u2019s new curriculum? If you are a parent or a teacher of a student in K-12, this news should have caught your attention. As a Computer Science teacher, I want to reassure everyone that coding, at any grade-level, is possible (even without years and years of teacher training!).\nCoding is different than programming. Programming is intensive, time-consuming and tedious. It is infinitely more complex than coding. Coding is about having an understanding of how certain programming languages function, and then using those languages to create something, be it a game, function or otherwise. The great news is that there are TONS of awesome resources available for a variety of age groups to help them learn to code. ALL of these resources require technology, which unfortunately is not readily available to every student, in every classroom.\n(Unless, of course, we are all going to be the subjects of some technology windfall!)\nThis is what you need to know about teaching coding: coding is all about \u201ccause and effect,\u201d and about \u201cvariables.\u201d For example, if A happens, then B happens. If I press this button, the light goes on. Variables work the same way, but with more options. Choices are A and B, and depending on what option is selected, either C or D will occur. You don\u2019t need to have a computer or iPad to teach these ideas to students. Coding is also about critical and creative thinking. Students who know how to code should also know how to be innovative and how to problem solve.\nCoding is also cross-curricular. It can be used to demonstrate mathematic concepts, to teach storytelling, even for physical education purposes (my students and their robots get a lot of exercise!). In British Columbia\u2019s new curriculum model, there is a place for coding. It is by far one of the most powerful 21st century learning/teaching tools we have available\u2013as intimidating as it might seem\u2013and it is time to learn how to use it for the sake of our students.\nWant to hear the good news? It won\u2019t be nearly as complicated as programming the VCR.\nIn the next few weeks, I will take the time to post resources and options for teachers interested in learning more about coding in their classrooms, with a variety of platforms, to demonstrate that coding can be accessible to all classrooms, despite whatever technologies are available to utilize.", "id": "<urn:uuid:844252d3-aefd-40de-8e7d-d7aedcbf35e7>", "dump": "CC-MAIN-2022-21", "url": "https://thesequeltoeducation.com/2016/01/19/coding-curriculum-and-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662578939.73/warc/CC-MAIN-20220525023952-20220525053952-00757.warc.gz", "language": "en", "language_score": 0.9537619352340698, "token_count": 525, "score": 3.796875, "int_score": 4}
{"text": "noun. the capacity to have an effect on the character, development, or behaviour of someone or something, or the effect itself.\nverb. have an influence on.\nAs a verb, influence typically means \u201cto affect or change someone or something in an indirect but usually important way.\u201d Something or someone that influences a person or thing, then, has an influence on that person or thing.\nSocial influence refers to the way in which individuals change their behavior to meet the\ndemands of a social environment. It takes many forms and can be seen in conformity, socialisation, peer pressure, obedience, leadership, persuasion, sales, and marketing.\nSome questions to consider regarding influence:\nHow are we influenced to think and behave? How are we shaped as human beings?\nThere are so many things that influence us in our lives:\nSociety\u2026 Culture\u2026 Language\u2026 Word of mouth\u2026 Family and Friends\u2026 Community\u2026 Social status\u2026 Cultural Capital\u2026 Persuasion\u2026 Knowledge\u2026 Education\u2026 Experience\u2026 Profession\u2026 Storytelling\u2026 Media\u2026 Advertising\u2026 Propaganda\u2026 Arts and Music\u2026\nEach sector of our lives, each social sphere, each segment of our identity influences us.\nBut influence is not a one-way process. As we are influenced, we also influence others. So other question to consider are:\nHow do we influence others? How do we increase our influence as an individual?\nAs individuals we influence our friends and family.\nAs parents and carers we influence our children.\nAs teachers we influence the children we teach.\nAs leaders we influence the teams we serve.\nAs tweeters we influence who follows us.\nAs writers and bloggers we influence who reads us.\nWe all have a sphere of influence. Whether we like it or not. The more established we are, the more senior we become, the wider the reach we have, the larger the following we have, the bigger our sphere of influence becomes. With influence comes responsibility and accountability.\nBut our ability to influence and be influenced, is also framed through biases. These biases come from the values instilled in us, the experiences that have conditioned us, the circles we move in. A bias is a frame, a lens, through which we see, hear, filter and interpret information.\nBiases distort and disrupt objective contemplation of an issue by introducing influences into the decision-making process that are separate from the decision itself.\nEmotional biases typically occur spontaneously based on the personal feelings of an individual at the time a decision is made. They may also be deeply rooted in personal experiences that also influence our decision-making.\nWe often see what we want to see, and hear what we want to hear.\nThe confirmation bias is a cognitive bias that causes people to search for, favor, interpret, and recall information in a way that confirms their preexisting beliefs. The confirmation bias affects people\u2019s thinking in every area of life.\nSo when we are thinking about influence we also need to think about power and privilege. When we are reflecting on who influences us we need to think about the subliminal and sub-conscious messages we absorb through the choices we make \u2013 what we read, what we watch, what we listen to, who we follow and who we engaged with. Each choice influences our thinking. We need to filter the dominant narratives and the loudest voices, we need to select our thought leaders carefully.\nTo influence others is to be the best version of yourself you can be.\n\u201cWe never know which lives we influence, or when, or why\u201d.\nTo influence others is to be a visible role model with conviction in each action.\n\u201cThe most influential people in my life are probably not even aware of they\u2019ve taught me\u201d.\nTo influence others is to model the behaviours we want to see.\n\u201cIf you want to help others and become a person of influence, keep smiling, sharing, giving and turning the other cheek\u201d.\nTo influence others is to lead by example, with integrity and authenticity.\n\u201cThe key to successful leadership today is influence, not authority\u201d.\nTo influence others is to share a vision, a mission and values and to create a legacy.\n\u201cLeadership is about making others better as a result of your presence and making sure that impact lasts in your absence\u201d.\nTo influence is to empower.\n\u201cHaving influence is not about elevating self, but about lifting others\u201d.\nTo influence is to serve others.\nAs leaders, we need to harness our influence and use it for good. We need to influence positive change. We need to influence values-led decision-making and ethical behaviours. We influence society as educators. As leaders we need to influence the system and the structures that inhibit progress and transformation.", "id": "<urn:uuid:6f87017e-02dc-4b95-8830-8f02ee9348f0>", "dump": "CC-MAIN-2022-21", "url": "https://ethical-leader.blog/2020/07/24/dailywritingchallenge-day-95-influence/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662558015.52/warc/CC-MAIN-20220523101705-20220523131705-00156.warc.gz", "language": "en", "language_score": 0.9302340745925903, "token_count": 1019, "score": 3.84375, "int_score": 4}
{"text": "Welcome to PYP How, Where, Who, Share!\nPYP How, Where, Who, Share! is an activity-based workbook created just for PYP students. Suitable for use in class or at home, this child-friendly workbook helps students to understand how the transdisciplinary themes can be used to explore the world around them.\nChildren (and also parents) are guided through this book by friendly bug characters offering advice and asking open-ended questions to encourage further reflection. With questions and activities tailored to the PYP themes and key concepts, this workbook encourages children to use the given information as a starting point on their own exploration of the topics. The author of PYP How, Where, Who, Share! has created this free Teacher Guide to give educators ideas for how to use the books \u2013 whether this be in class or for use at home.\nThis book is for children in PYP Year 3 /Grade 2. If you do not have the book yet, you can order a free e-inspection or buy the book here.\nIncluded in this free Teacher Guide\nEach chapter in this free Teacher Guide maps to a chapter in PYP How, Where, Who, Share! and gives page-by-page support to help you use the tasks with children. Please feel free to comment with any other suggestions for using the books or any recommendations you have for changes for the rest of the IB Primary Years Programme community.\nIn each section of this Teacher Guide you will find the following.\n- The central idea on which the workbook chapter was based.\n- The relevant key concepts related to each chapter.\n- The approaches to learning skills students will get the chance to demonstrate.\n- Examples of how you can introduce the chapter to children.\n- Key questions you can ask children as they work through the book.\n- Alternative or additional activity ideas.\nBelow is an overview table for the chapters in the book. It gives you a holistic view of the year, highlighting which approaches to learning and key concepts are covered in each chapter. As you can see, research skills underpin all the units, with children having the opportunity to carry out focused and independent research multiple times throughout the year.\nFind page-by-page for the workbook by navigating through the sections below!\nWelcome to this free teacher guide for the workbook: PYP How, Where, Who, Share! This guide includes page-by-page support for the activities in the book. Before starting, children get the opportunity to design their own PYP Agents badge at home or as the class settles. This can be a picture of whatever they want and helps them to feel their workbook has been personalized for them.\nHelp children to inquire into How the World Works by understanding that water is shared by all living things and is a finite resource.\nCAUSATION: importance of the water cycle to life on Earth; why the different states of matter are important to the water cycle.\nFUNCTION: how the water cycle works.\nRESPONSIBILITY: responsibility to protect and conserve water.\nPERSPECTIVE: people\u2019s access to water.\nHelp children inquire into How We Express Ourselves by understanding that storytelling is used all over the world to share events and ideas.\nCAUSATION: why stories changed over time.\nCONNECTION: how older civilizations used stories to explain the world around them.\nPERSPECTIVE: myths can be different depending on the culture.\nHelp children to inquire into How the World Works by understanding that The Earth\u2019s structure is always changing.\nFORM: how our Earth is structured.\nCAUSATION: why we have volcanoes and earthquakes.\nRESPONSIBILITY: how we monitor earthquake and volcanic activity.\nPERSPECTIVE: focus on people who live in volcanic active zones.\nCONNECTION: how the earth\u2019s structure relates to volcanos and earthquakes.\nHelp children to inquire into How We Organize Ourselves by understanding that we are all part of different groups and communities.\nPERSPECTIVE: How communities change depending on when and where we live.\nCHANGE: How communities change over time.\nRESPONSIBILIY: How our role in a community impacts others.\nHelp children inquire into Where We Are in Place and Time by understanding how ancient civilizations still have an impact on our lives today.\nFUNCTION: how mummification works, how to read hieroglyphics.\nCONNECTION: Ancient Egyptian technology still used today.\nPERSPECTIVE: why certain people were mummified.\nHelp children to inquire into Who We Are by understanding that everyone has emotions with different ways to manage them.\nCONNECTION: understand that emotions can impact our lives.\nPERSPECTIVE: know that everyone has emotions.\nRESPONSIBILITY: learn strategies to control emotions.", "id": "<urn:uuid:e4387023-3284-4a3c-8847-109ea642a852>", "dump": "CC-MAIN-2022-21", "url": "https://extendeducation.co.uk/pyp-how-teacher-guide/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00360.warc.gz", "language": "en", "language_score": 0.9282609224319458, "token_count": 1021, "score": 4.0625, "int_score": 4}
{"text": "Second grade and first grade join together in groups twice a week for reading comprehension instruction. Students learn the fundamentals of plot analysis as they identify character, setting and sequence of events. Each reading group studies a particular author focusing on the author\u2019s life and motivation for writing. Students compare and contrast the author\u2019s books and draw connections to their personal lives. Each year, students read nonfiction books for their individualized science research projects. They learn how to navigate these texts using table of contents, indexes, glossaries while they practice the skills of note-taking and paraphrasing.\nThe second grade writing curriculum is based on the 6+1 Traits of Writing program which teaches students to focus on the traits of: ideas, organization, voice, word choice, sentence fluency, conventions, and presentation all to improve their narrative and creative writing. Students do pre-writing activities to brainstorm and then use graphic organizers to organize their thoughts on paper. Students write rough drafts and \u201cpublish\u201d a final copy of their writing to present to their classmates. Grammar and vocabulary are taught using the Houghton Mifflin\u2019s Spelling and Vocabulary program. Students learn how to organize words into principles, patterns and parts. In the spring, students learn to read and write various forms of poetry, while learning about parts of speech and grammar.\nMath is taught using the ThinkMath! Program. ThinkMath! builds computational fluency through practice in basic skills as students investigate new ideas and solve meaningful problems. Students begin the year by practicing a variety of counting strategies, looking for patterns, and using number lines. Students practice finding sums to 10, compare sums to 10, write greater and less than sentences, and add and subtract with place value. Students also complete a unit on probability and data, in which they use pictographs, bar graphs, and line graphs to locate data. Second grade students then learn how to measure time on analog clocks and complete story problems with elapsed time. Additionally, students in second grade explore fractions of wholes and sets including halves, thirds, and fourths. Students complete a geometry unit where they sort polygons by attributes, look at reflections, use lines of symmetry, measure area, and examine three-dimensional figures. Towards the end of the year, second graders are introduced to multiplication as repeated addition and division concepts as well as capacity, weight/mass and temperature.\nThe first science unit in second grade is seeds and plants. Throughout this unit, students compare and contrast seeds, observe seed germination, examine plant parts and conduct experiments. The study of plants is enhanced by the school\u2019s state of the art Tower Garden, a hydroponic gardening system that enables students to grow fresh leafy greens and produce right in the classroom. The next unit focuses on the physics of simple machines. Topics include: force, gravity, friction and motion. Students explore how using simple machines such as levers, pulleys, wheels and axles, inclined planes, and wedges reduce the amount of force required to do work. In the spring, the first and second graders join together for a final science unit. The unit alternates every other year between \u201cBiomes\u201d and \u201cInsects.\u201d Using a variety of plants and vegetation, we build models of each biome that we study. When studying insects, we observe live critters such as crickets, ants and worms. Students conduct individualized research projects by reading nonfiction texts to study their own animal or insect of interest. Students creatively express their knowledge of insects and animals through artistic dioramas, they write from the perspective of their animal or insect and they use technology to showcase their learning. Finally, each unit culminates with a musical play and exhibition of student learning for family and friends.\nThroughout the year, students program LEGOs using WeDo Software and use apps such as Scratch Jr. and Toontastic on iPads to create their own stories relating to curricular content.\nSecond grade\u2019s first social studies unit is geography in which students learn to use map features such as: map scale, compass rose, titles and legends and how to read various types of maps. Students are able to identify Massachusetts on a map of the United States, and they learn the names of all fifty states. Next, the second graders learn about the continents and oceans and compare maps of the world with globes. The next unit is about the Civil Rights Movement. In conjunction with Martin Luther King Day in January and Black History Month in February, students are given an age-appropriate introduction to the Jim Crow Laws and the Civil Rights Movement in the 1950s and 1960s in the USA. Students learn to analyze texts and photographs from the era, debate issues of prejudice, and identify influential individuals who fought for equality during the Civil Rights Movement. For the final unit of the year, second graders independently research an influential American, learning and reporting on facts about their childhood, education, motivation, and contributions to our society.\nIn second grade Hebrew, students acquire new tools for becoming more independent learners in both reading and writing. Reading fluency is achieved along with the ability to write in script as well as print. Using both the Tal-Am curriculum and Ivrit LaKol series, students learn new vocabulary and grammar and are encourage to speak conversationally as a part of each lesson. Second graders are introduced to short stories while they continue working on reading comprehension and written expression.\nStudents begin learning Torah in Biblical Hebrew. They study the days of creation in the first chapter of the book of Genesis and are encouraged to connect their knowledge of the natural world with the biblical narratives to explore G-d\u2019s relationship to the world in the Torah. They learn skills that enable them to become comfortable navigating, reading and understanding the Torah in Biblical Hebrew.\nSecond grade students learn the daily morning blessings called Birkot Hashachar (blessings of the dawn). Throughout the year, students focus on reading prayers with fluency and accuracy as well as intentionality.\nIn second grade Jewish Studies, students learn about holidays (symbols, history and traditions) and experience them in school through different mitzvot. Students learn the Hebrew names of the different ritual objects, the specific blessing said over each object, and what they symbolize.\nStudents develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland.\nThe goal of our music program is for students to become skillful and enthusiastic music makers by encouraging music literacy, participation and performance. Through joyful discovery of classical and contemporary music, students cultivate musicality and knowledge. In second grade students continue learning to read music and play several instruments including the recorder. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics.\nStudents work with a variety of drawing tools, paints, and papers. Students learn techniques for drawing, painting, weaving, printmaking, and collage. Second graders expand their knowledge of the elements of art such as line, shape, color, and texture. Emphasis is put on the creative process rather than the finished product. Art history is an important component of the curriculum, as well. Because visual content helps children understand subjects more clearly, throughout the year, art is integrated with units of study in the classroom.\nIn second grade students expand upon what they\u2019ve learned in the past year by breaking stories down and working in groups to perform the beginning, middle, and end of stories. Students learn about the parts of the stage and stage directions, while continuing to create mini-scenes in groups and individually. Students demonstrate their understanding of emotions, by using their bodies to show how they feel and by using emotions to talk about characters. During the second half of the year, students work towards a musical performance, expanding upon the skills they\u2019ve learned. Students gain experience working in an ensemble, while taking responsibility for their own individual parts.\nIn third grade physical education class, students are encouraged to participate in low and high energy activities with a focus on physical coordination, sportsmanship, and problem solving. Students learn the fundamentals and rules of major sports, as well as physical fitness, stretching, and agility. Units over the school year include soccer, flag football, basketball, handball, strategy games, and floor hockey. Using demonstration of skills, review of age appropriate rules and scrimmages, students learn new sports, the importance of physical fitness, respectful play with others, and how to engage in healthy competition.", "id": "<urn:uuid:f0b40cb2-db32-4a90-b77b-72ea0417c36b>", "dump": "CC-MAIN-2022-21", "url": "https://epsteinhillel.org/experience-ehs/curriculum/grade-2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00359.warc.gz", "language": "en", "language_score": 0.948824405670166, "token_count": 1833, "score": 3.5, "int_score": 4}
{"text": "Shakespeare 's works of Macbeth was established to be written approximately upon the year of 1605, but the play is stationed in the mid-eleventh century. This time period reflects the tone to become a more inconsistent atmosphere through the play, thus allows more propositions from Willam Shakespeare to include more concepts of conflict. The nature of conflict is shown by the characters obeying the actions of evil, taking advantage of power and losing sanity, and seeking satisfaction for a higher leverage. Hence, conflict is indispensable to drama being a significant role in Macbeth. Firstly, the characters have the largest impact on the role of conflict in the play.\nWhen people think of the play, \u201cThe Crucible\u201d, they usually picture the witch trials and women being hanged, but Arthur Miller depicts the witch trials in a completely new light. He shows through a story that the witch trials were much more than just people calling others witches. There was deceit, pain, greed, and more. Through the play, we follow the character, Abigail, observe her actions and their consequences. We witness the lives of people she impacts, what happens to them, and how many times she lies to get her way.\nTaken place in the late 17th century, the Salem witch trials turned family members and longtime friends against each other. The citizens of Salem, Massachusetts feared that there were witches among them, and even the slightest hint of strange behavior caused an uproar and a court trial. The Crucible, written by Arthur Miller, tells the story of the many accusations and their consequences. This play should be part of the English curriculum. It has a different style of writing, the language goes along with the times, it is based on real events, and the difficulty level is just right for high school students.\nAfter the victory of Banquo and Macbeth against the king 's traitor Macdonwald the witches presence contract the vibe of manipulation seeking Macbeth as its next victim. As they encounter with Macbeth and Banquo, they start-off questioning the trio of leery ladies. \"look not like the inhabitants of the earth, / And yet are on it\"; they seem to understand him, and yet he cannot be sure; they \"should be women,\" and yet they are bearded. One by one the witches told Macbeth his upcoming abundance of power leaving him immensely petrified. As a result the prophecies were the contemporary force plaguing Macbeth into slaughtering King Duncan for his aspiration.\nFor Shakespeare\u2019s plays to contain enduring ideas, it must illustrate concepts that still remain relevant today, in modern society. Shakespeare utilises his tragic play Othello, to make an important social commentary on the common gender stereotypes. During early modern England, Shakespeare had to comply to the strict social expectations where women were viewed as tools, platonic and mellow, and where men were displayed as masculine, powerful, tempered, violent and manipulative. As distinct as this context is to the 21st century, the play exposes how women were victimised by the men who hold primary power in the community in which they compelled women to conform to the ideal world of a perfect wife or confront an appalling destiny for challenging the system. Moreover, Shakespeare utilises the main antagonist, Iago, to portray how men are desperate to achieve what they want and to indirectly fulfil the stereotype of masculinity and power through manipulation.\nThey tell Macbeth his future, which causes him to carry on so he could be the king. This creates tragedy and distress throughout the play. The three sisters discover entertainment in deceiving individuals into evil. \u201cBy the pricking of thumbs, something wicked this way comes\u201d(4.1.44-45).The Weird Sister worship devastating the lives of numerous individuals. They worship all the evil they bring through telling what's to come.\nWitches philosophy on life affects the play greatly. \u201cFair is foul, and foul is fair.\u201d is spoken in unison by the witches and describes the way the play can be interpreted. Macbeth\u2019s downfall can be thought of as foul but also fair because justice had been served. Sanity can be a two-sided argument with Macbeth. The focused role of Macbeth expresses thoughts to himself throughout and can be portrayed as a loss of sanity.\nCorruption is the abuse of power for personal gain. In Justin Kurzel\u2019s adaptation of Macbeth, Macbeth\u2019s corruption is caused by the intervention of the weird sisters. Macbeth\u2019s mind was corrupted by the witches. The witches drive Macbeth\u2019s ambition by foretelling his fate, by helping Fleance escape and creation of the apparitions.\nIn this essay, I will be analyzing literary elements, linguistic features and structural features that are present in Act 2 Scene 1 from lines 39 to 72, Macbeth soliloquy. The main plot that happens in this soliloquy is that Macbeth is working on his plan to murder King Duncan so he could become King according to the witches\u2019 prophecy in Act 1 Scene 1. Within this soliloquy, Shakespeare added numerous amounts of literary devices with the purpose of give a visual imagery to the\nIn the beginning of the play, the witches set forth the tragic actions to follow by using equivocation on Macbeth. These wicked beings manage to accomplish tempting Macbeth, drawing out his desire for kingship, engineering the death of Duncan. Firstly, the author shows this through Banquo\u2019s caution to Macbeth for considering the plausibility of the Witches\u2019 equivocal prophecies using tropology and rhetoric. Sensing Macbeth\u2019s growing obsession with the prophecies , he compares the witches to \u201cinstruments of darkness [who] tell us truths/ Win us with\nIn the thrilling Macbeth by William Shakespeare, he discusses the act of manipulation that one human does to another human being. Manipulation means that someone controls over influences another person in a unique way to gain an advantage of some sort. Shakespeare uses manipulation to give a characterization of dominance. Lady Macbeth starts with the dominance character but eventually the roles switch and Macbeth becomes dominant. Lady Macbeth uses the craft of manipulation and dominance over her husband.\nShakespeare\u2019s Macbeth revolves around the idea of power as it is the main theme. Power is constantly used and abused by characters who have much confidence and want to uphold certain titles and reputations. Shakespeare\u2019s Macbeth shows that characters are willing to use their power for worse to gain respect and control of others.\nBecause Macbeth\u2019s and Lady Macbeth\u2019s decision to murder Duncan, Both face the guilt of the power they abused portrays on the shadows that reflect on them as well as the natural consequences they will face. During the first half of the play, Lady Macbeth expresses her unnatural feelings and this is demonstrated through the corruption of power when she want\u2019s to hire people to kill Duncan because she thinks that Macbeth is too scared. At first, when Lady Macbeth hinted \u201cTheir drench\u00e8d natures lies as in a death\u201d(1.7.78). This demonstrates that Lady Macbeth is characterizing corruption of power due to the fact that she want's to kill Duncan, therefore she can be queen of cawdor while Macbeth is king.\nOne reason why I believe Lady Macbeth should be blamed for Macbeth\u2019s downfall is that she is a manipulative person. While some people may solely accuse Macbeth of committing regicide, it was Lady Macbeth who manipulated Macbeth into doing these acts. Most people should remember that Macbeth tried backing out of Lady Macbeth\u2019s plan, but she still insisted on getting him to proceed with the murder. Lady Macbeth tells Macbeth \u201cWhen you durst do it, then you were a man;\u201d (1.7.56) when Macbeth told Lady Macbeth that he was backing out. Lady Macbeth tries to emasculate Macbeth just because he doesn\u2019t agree to go through with the murder.\nWomen, Power and the Devil; although many may incline to believe this to be the feminist holy trinity, it is, in fact, men's worst fear. Going back from second-century Christian theologian Tertullian who claimed women to be the gate of Hell (2) to a notorious American businessman who recently accused this presidential candidate of being the Devil himself (Volk and Sullivan,\"Trump calls Hillary Clinton \u2018the devil\u2019\"), men have always been prone to demonize women in order to prove their unfitness to govern. Shakespeare is no stranger to this thought pattern which he explores in his 1606 play, Macbeth. Indeed, Shakespeare's vile portrayal of Lady Macbeth and the Witches in the play stems from the medieval demonization of women. Through his choice", "id": "<urn:uuid:60724179-f3cd-44d1-bf37-b174ea3b2a85>", "dump": "CC-MAIN-2022-21", "url": "https://www.ipl.org/essay/Gender-Manipulation-In-Macbeth-FKNMQX7ESJPR", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663013003.96/warc/CC-MAIN-20220528062047-20220528092047-00560.warc.gz", "language": "en", "language_score": 0.9588968753814697, "token_count": 1868, "score": 3.515625, "int_score": 4}
{"text": "This article is an excerpt from the Shortform book guide to \"How to Read Literature Like a Professor\" by Thomas C. Foster. Shortform has the world's best summaries and analyses of books you should be reading.\nLike this article? Sign up for a free trial here.\nWhy is geography important in literature? What do different geographies symbolize?\nWhen an author writes a book, one of the first decisions she needs to make is where it will take place. Geography is a conscious choice and is often used as a plot device. Sometimes, however, the geographical location of a story can tell a reader more about the author than the story.\nContinue reading to learn more about geography symbols in literature.\nGeography and Symbolism in Literature\nEvery time an author sits down to write a story, one of the first questions he asks himself is where will this story take place? An intelligent reader will recognize the geography symbols of a novel as a conscious choice on the author\u2019s part to deepen the story\u2019s meaning.\nIn literature, geography is not only about the earth\u2019s physical features, like hills, rivers, and seas. Literary geography is about the ways in which a specific place forges the people who live there.\nGeography informs a novel\u2019s:\n- Example: In Edgar Allen Poe\u2019s \u201cThe Fall of the House of Usher,\u201d the narrator describes the geography of the landscape in detail before ever getting to the house or the characters. By illustrating the dreary geography, he sets the mood of the story before it even begins.\n- Character development\n- Example: In Barbara Kingsolver\u2019s The Bean Trees, the main character moves from her small hometown to the vast West coast. Her nature is reflected by this move\u2014she opens her mind to new people and experiences and embraces personal growth.\n- Example: In E.M. Forster\u2019s A Room with a View, the protagonist, Lucy, travels to Florence, where she falls in love and sheds off the societal stiffness she is used to. Forster\u2019s use of geographic change is the prompt for the novel\u2019s plot.\nSymbolism of Traveling South\nCharacters go traveling in a lot of literary works, and often they travel south. There are a couple of different thematic elements you should look for in a novel when a character goes south:\n- Moving geographically south can be a symbol for going deep into the psyche. In \u201cthe south\u201d (meaning any place south of where the character started), characters encounter new political ideas or philosophical viewpoints. Often the author is suggesting that those ideas were there all along, in the character\u2019s subconscious.\n- Writers send characters south so that they can get into trouble. Whether the consequences are tragic or comic, the warmer climate and wider horizons associated with \u201cthe south\u201d allow characters more room to run amok.\nHills and Valleys\nHills and valleys are another form of geography that have somewhat specific thematic implications.\n- Valleys and low land are associated with crowds, shadows, unpleasantness, swamps, and heat.\n- Hills and high places are used to signify snow, ice, clean air, good views, and isolation.\nAs a reader, you should also consider an author\u2019s personal geography when reading their work. For example, poet Theodore Roethke was largely influenced by his background in the Midwest. To truly understand and appreciate his poetry, the reader should understand how that midwesterness influenced his thematic concerns and artistic voice.\n\u2014\u2014\u2014End of Preview\u2014\u2014\u2014\nLike what you just read? Read the rest of the world's best book summary and analysis of Thomas C. Foster's \"How to Read Literature Like a Professor\" at Shortform.\nHere's what you'll find in our full How to Read Literature Like a Professor summary:\n- How to get more out of the novels that you read\n- Why you should focus on memory, symbols, and patterns to understand literature better\n- Why sex scenes aren't always about sex", "id": "<urn:uuid:d174c373-57eb-4f3f-be16-ad3b324da5b6>", "dump": "CC-MAIN-2022-21", "url": "https://www.shortform.com/blog/geography-symbols/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545326.51/warc/CC-MAIN-20220522094818-20220522124818-00559.warc.gz", "language": "en", "language_score": 0.9415925145149231, "token_count": 856, "score": 3.734375, "int_score": 4}
{"text": "More than 70 percent of Earth\u2019s surface is covered in water, yet lack of access to clean water is one of the most pressing challenges of our time. As of 2015, 29 percent of people globally suffer from lack of access to safely managed drinking water. More than double that number are at risk for water contamination from improper wastewater management. Poor water quality affects various aspects of society, from the spread of disease to crop growth to infant mortality. In some regions of the world, lack of sanitation infrastructure, water treatment facilities, or sanitary latrines lead to dire clean water crises.\nIn several countries around the world, a major contributor to water contamination is open defecation\u2014the practice of using fields, forests, lakes, rivers, or other natural, open areas to deposit feces. Almost one billion people worldwide still practice open defecation rather than using a toilet. It is particularly common in South Asian countries like India and Nepal, where it is practiced by about 32 percent of people in the region. A landlocked country in the Himalayas, Nepal has access to clean water from mountain rivers, but over 20 percent of the population lives below the poverty line. In a disturbing study, 75 percent of drinking water samples from schools in Nepal were contaminated with fecal bacteria. While open defecation is most common in rural communities, it still occurs in areas with sanitation access, indicating a need for awareness campaigns to teach the dangers of the practice. Moreover, pollution from open defecation is further complicated by contamination from natural disasters such as recurring floods.\nIn sub-Saharan Africa, the proportion of the population practicing open defecation is slightly smaller\u2014around 23 percent\u2014but 40 percent of the population lacks safe drinking water. Moreover, the gender inequality in this region is more prominent than in South Asia. In sub-Saharan Africa, more than 25 percent of the population must walk 30 minutes or more to collect water, a burden that falls on women and girls the vast majority of the time. This trend of women tasked with the responsibility of water collection spans many developing nations and takes critical quality time away from income generation, child care, and household chores. Moreover, Africa has a high risk for desertification, which will reduce the availability of fresh water even further, and increase the threat of water inequality in the future.\nWhile South Asia and sub-Saharan Africa represent the largest percentage of people that lack access to safe drinking water, the water crisis is not limited to these areas, nor is it limited to developing countries. For example, the Arctic nations are deemed developed, but several suffer from water and sanitation challenges. Alaska in the United States, Russia, and Greenland all contain rural areas that lack safe in-house water and sanitation facilities. Some people living in these areas must not only carry their own water into their homes, they must also remove human waste themselves, collecting it and hauling it out of the home. The process is time consuming and risks contamination of household surfaces and drinking water. Furthermore, hauling water into homes is physically demanding, and storage capacity is limited, so households often function on inadequate water supplies. Several studies have connected these water-quality constraints with high disease rates in Arctic communities.\nEven in the United States and many nations in Europe, where advanced wastewater treatment facilities and expansive pipelines supply quality water to both cities and rural areas, poor system maintenance, infrastructure failures, and natural disasters reveal the very serious effects of poor water quality (even short-term) on developed nations. In a recent example, drinking water in Flint, Michigan, was inadequately treated beginning in 2014, and residents bathed in, cooked with, and drank water with toxic lead levels. Additionally, some communities in the contiguous United States chronically lack clean water and sanitation. According to the U.S. Environmental Protection Agency (EPA), in the Navajo Nation, the largest Native American reservation in the United States, almost 8,000 homes lack access to safe drinking water, and 7,500 have insufficient sewer facilities.\nLuckily, global organizations are committed to addressing the water-quality crisis. The 2030 Agenda for Sustainable Development from the United Nations tackles water inequality within one of its seventeen priority goals, to \u201censure availability and sustainable management of water and sanitation for all.\u201d This initiative is a continuation of the United Nations\u2019 Millennium Development Goals from the 2000s, which also included goals to reduce the portion of the population that lacked access to infrastructure for quality water and sanitation. These goals have resulted in access to improved sources of drinking water for more than 90 percent of the world\u2014and the 2030 Agenda seeks to continue to improve these numbers alongside greater strides in the area of sanitation.\nNational Geographic Explorers are also committed to global water equality and are combatting these issues with diverse methods. Explorer Sasha Kramer is helping to implement sustainable sanitation practices in Haiti by recycling human waste into soil. Explorer Ashley Murray develops economically advantageous approaches to improving water quality in Ghana, exploring next-generation technologies and new business models to make waste management profitable. Explorer Alexandra Cousteau, granddaughter of the late and legendary Jacques Cousteau, uses storytelling and digital assets to educate people around the globe about the importance of water quality. Moreover, complementing these examples and the many other Explorer-driven efforts dedicated to improving water quality, Explorer Feliciano dos Santos uses music to educate remote villages in Mozambique about the importance of sanitation and hygiene.", "id": "<urn:uuid:8fd0fbaf-89b7-4dc1-8f57-7c769b384b46>", "dump": "CC-MAIN-2022-21", "url": "https://www.nationalgeographic.org/article/water-inequality/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00760.warc.gz", "language": "en", "language_score": 0.9413465261459351, "token_count": 1096, "score": 4.0625, "int_score": 4}
{"text": "The Miracle of Language\u2014How We Acquire It\nHAVE you ever been at a loss for words? Such moments are rare, for we usually delight in communicating our thoughts and feelings. Language allows us to do that. One authority asserts: \u201cThought is impossible without language.\u201d\nTrue, in the animal world, creatures manage to exchange information without words: birds sing, lions roar, dolphins whistle, bees dance. Other creatures use postures and movements, touch and sound\u2014even smell\u2014as communication methods. \u2018Keep your distance!\u2019 \u2018Look out!\u2019 \u2018Come and join me!\u2019 These are animal messages that come across clearly!\nAnimal communication, though, is quite limited. Language, on the other hand, allows humans to talk about anything they observe or imagine. Education professor Dennis Child thus claimed: \u201cLanguage is a human being\u2019s finest asset.\u201d But how do we acquire this wonderful asset? And how can parents help their children to develop it?\nLanguage and the Brain\nHow we learn to talk has intrigued scholars for centuries. Remarkably, young children who are barely able to walk and feed themselves learn to speak without even knowing the rules of grammar and without any special tutoring! Writes linguist Ronald A. Langacker: \u201c[The child] masters . . . a linguistic system. He does this on the basis of indirect and fragmentary evidence, and at an age when he is not yet capable of logical, analytical thought.\u201d\nMost scientists thus believe that the ability to learn a language\u2014not the specific language\u2014is inborn, an ability that unfolds during a child\u2019s early years.\nAt first, though, a child\u2019s brain is too immature to master speech development. This, of course, does not stop a baby from trying. Indeed, some researchers believe that a tiny baby\u2019s babbling is a part of speech development, a rehearsal of sorts for his later enunciating of words. As the baby struggles with vocalization, his brain is also rapidly preparing itself for speech. Though a child\u2019s body develops relatively slowly in his preteen years, his brain reaches 90 percent of its adult weight by age five. (It reaches its full adult weight by about age 12.) That means that the first five years of life are a critical learning period, particularly the first two.\nDuring that time, billions of nerve cells in the brain\u2019s cortex grow and branch, forming a densely interconnected web. Between 15 and 24 months of age, a dramatic spurt in brain-cell growth occurs. Now the brain is ready to handle the learning of language. Thus, it is critical that a child be exposed to language during these early years.\nInterestingly, the Bible speaks of a young man Timothy who was taught the Bible \u201cfrom infancy.\u201d\u20142 Timothy 3:15.\nHelping Children Develop Their Language Skills\nMothers play an important role in a child\u2019s speech development. A sensitive mother recognizes her baby\u2019s signals and will talk with her baby often, long before it understands what she says. Nevertheless, the groundwork for speech is being laid. Soon the child responds to the mother\u2019s words with words of its own. Researcher M. I. Lisina says: \u201cIt is clear that children\u2019s speech emerges mainly as a means of interaction with surrounding people.\u201d So fathers, siblings, grandparents, and friends can also share in the child\u2019s speech development by means of conversation, storytelling, and reading.\nSwedish psychologist C. I. Sandstr\u00f6m further observed that children who did best linguistically \u201chad on average much better contact with adults. The families usually had breakfast together, and the children were allowed to take part in the conversation.\u201d Conversely, youngsters with poor language ability \u201cusually had breakfast alone\u201d and \u201cdid not take part very much in the conversation at supper.\u201d Family togetherness at mealtimes thus encourages language development.\nTaking your child with you on outings also provides you fine opportunities to develop his speech by explaining things to him in simple terms. Together, look into the mouth of a flower, watch a caterpillar eat a leaf, or a spider spin its web. Use your child\u2019s natural inquisitiveness to expand his language. Talk about the animals you see at the zoo, the shells and pebbles along the pathways you walk, and the varieties of food you enjoy. True, all of this takes time and patience, but the results are so worth while!\nParents have found another very valuable aid in teaching children at a young age to speak. This is by letting them listen regularly to the cassette recording of My Book of Bible Stories.*\nNew words, new phrases and expressions, new depths of understanding will not only color your child\u2019s speech but increase his intellectual capacity. And when you show how natural wonders relate to their Maker or discuss God\u2019s purposes, a child\u2019s love and appreciation for the Creator also deepen.\u2014Deuteronomy 6:6-9.\nFortunately, the potential to enlarge the quantity and improve the quality of language is not limited to our youthful years. Each day, we can further perfect our ability to communicate by learning new words and practicing good grammar. In this way, we take part in the continuing miracle of language, and rarely are we at a loss for words.\nAvailable from the publishers of this magazine.", "id": "<urn:uuid:70299dd5-0c50-4f5d-9ac5-de0e31aeec7f>", "dump": "CC-MAIN-2022-21", "url": "https://wol.jw.org/en/wol/d/r1/lp-e/101987850", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662573189.78/warc/CC-MAIN-20220524173011-20220524203011-00160.warc.gz", "language": "en", "language_score": 0.956112265586853, "token_count": 1140, "score": 3.75, "int_score": 4}
{"text": "Grade 3 \u2013 Basics of Storytelling. Review of Literary Elements Activity for Any Text Use this activity to review plot setting.\nPin By Lori Albertson On Perfettowritingroom Products Creative Writing Classes High School Literacy Teaching Language Arts\nTheme conflict characters and symbolism in connection with any story novel or play.\nLiterary elements review worksheet. Work on Elements Of Literature Review Worksheet Hard and Big Assignments. Ad Download over 20000 K-8 worksheets covering math reading social studies and more. A Elements Of Literature Review Worksheet clue as to whether you should trust us Elements Of Literature Review Worksheet or not.\nCHARACTER This is a person animal or an object in fiction or drama. 100 Money Back Guarantee. Provide an example title of each of the following.\n\u2013 All pieces of literature even official documents have some sort of tone. ENG102 Literary Elements Review Worksheet Student Name. Literary elements review worksheet answers Aesop was a Greek writer who wrote stories called fables.\nSome of the worksheets for this concept are Reading strategies and literary elements Literary elements review work use your notes Literary terms work Short answer please write the appropriate word on the Reading strategies and literary elements A glossary of literary terms Literary elements handout the following are. FREE Unlimited Revisions According to our Policy. Students can prepare for this through repeated exposure to figurative language.\nLearn vocabulary terms and more with flashcards games and other study tools. Then save the document and upload it to the correct Dropbox folder. Students read the story and complete an activity sheet covering story structure and other reading skills.\nPlot Setting Conflict and Narration. Plot outline so far assignment The Three Little Pigs example. However there may be some terms or concepts that are not included in the lessons but appear on the test.\nThese workbooks are perfect for both youngsters and grown ups to use. Identify characters setting plot and. The exercises are directly modeled after the end of grade test.\n6 Introduction to Reading Strategies and Literary Elements Grade 9 Additional Concepts and Terms to Review The focus lessons cover all the literary terms listed in the state curriculum. Literary Elements Handout The following are literary elements and other terms that you will be held accountable for throughout our short story unit and each novelplay unit we complete this year. StaticvsDynamicastaticcharacterisonewhodoes notchangeadynamiconedoes Framestoryreferstoaliterary.\nThis one features a story about a student who learns to resist peer pressure. Can a story have more than one type of conflict. Identify the page numbers where key elements of the plot take place.\nLearning More About Characters. Literature short story elements worksheet. This presentation outlines many commonly-tested literary elements and gives examples for each one.\nYou should review the following terms with your. STUDENT LITERARY TERMS WORKSHEET. Suggested reading level for this text.\nIdentify characters setting and plot including the characters problem and its solution. CCSSELA-LiteracyRL44 Determine the meaning of words and phrases as they are used in a text including those that allude to significant characters found in mythology eg Herculean. The air was humid and salty.\nStarting at the top of the castle students write the first action in the story. The highest point of interest or suspense in a story is known as the what of the. Know them backwards and forwards.\nHeres another worksheet to help students review plot story structure and elements of literature. Literary elements worksheet middle school. Free Printable Literary Elements Worksheets can be utilized by anyone in the home for instructing and.\nWhen an audience reserves judgement concerning implausibility of a situation we call it the willing. Print Literary Terms Worksheets Click the buttons to print each worksheet and associated answer key. Many literary terms for poetry and prose overlap.\nA Review Worksheet May 15 2020 Impact. CCSSELA-LiteracyRL34 Determine the meaning of words and phrases as they are used in a text distinguishing literal from nonliteral language. FREE Title Elements Of Literature Review Worksheet page Bibliography Formatting.\n275 words page. We can either improve your writing before your teacher sees the work or. The tone of a piece of literature is what the speaker or narrator feels towards the subject rather than what the reader feels.\nDiscounts for Regular. Double and Single Spacing. Who are the main characters.\nThis fun activity makes for a great end of a unit or year project or summer reading assignment. Creating a Character Worksheet. Others only appear when an author puts them there.\nPlot Diagram assignment and The Three Little Pigs examples. Identifying Story Elements \u2013 Based on the passage what do you think is the theme of this book. Authors create the tone of their piece of writing through the use of various other literary elements.\nEach exercise contains two or three passages and a. They can be used as a classroom activity helpful study guide or review of the terms. Start studying Literary Elements Review Worksheet.\nDownload this worksheet and then put your answers next to the question. Also included is a student worksheet for recording the definitions. Free Printable Literary Elements Worksheets Free Printable Literary Elements Worksheets can help a instructor or college student to find out and comprehend the lesson program inside a quicker way.\nLiterary Elements Review Worksheet. Story Elements Worksheets To Print. Please highlight your answers.\nEssay Re-writing If your essay is already written and needs to be corrected for proper syntax grammar and spelling this option is for you. Discover learning games guided lessons and other interactive activities for children. Choose your grade topic.\nStudents read through a fable and put the events in order. A fable is a story that gives a lesson at the end. Identify the characters setting and main plot of short texts.\nA comparison without using like or as. Grade 2 \u2013 Character Setting and Plot Worksheets. You as a character worksheet.\nDisplaying top 8 worksheets found for \u2013 Literary Elements Review. Settings \u2013 I woke to the sound of water crashing over and over. Terms in this set 28 Yes.\nOne of the two printable worksheets focuses on definitions and the other emphasizes recognizing examples of literary terms. Grade 1 \u2013 Story Elements Worksheets. 12 point Times New RomanArial.\nSome literary elements appear in every literary work. When sounds are loud and discordant Cacophony 2.\nStory Elements Posters Graphic Organizers Character Setting Problem More Literary Elements Reading Classroom School Reading\nReview Literature In A Snap With This One Page Worksheet Intended To Help Students Reflect U Middle School Lesson Plans School Worksheets Middle School Reading\nLiterary Elements Summer Review Digital Printable Distance Learning Literary Elements Distance Learning Printable Activities\nPoetic Devices Worksheet 1 Preview Poetic Devices Poetry Worksheets Poetry Analysis Worksheet", "id": "<urn:uuid:23d8e8c6-c096-4b9f-8fbd-41e989a4bcde>", "dump": "CC-MAIN-2022-21", "url": "https://hawthornecommunitycouncil.org/creative-literary-elements-review-worksheet/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662519037.11/warc/CC-MAIN-20220517162558-20220517192558-00560.warc.gz", "language": "en", "language_score": 0.886018693447113, "token_count": 1420, "score": 3.90625, "int_score": 4}
{"text": "Keeping students excited and focused can be a difficult task for teachers. These resources will help kick off a course in weather and are geared to keep kids interested, especially kindergarten to fifth grade classes:\nWeather Lesson Plans\nDon\u2019t know where to begin? These lesson plans are geared to help you implement your style of teaching or allow your present lessons to flow more efficiently by giving precise descriptions of the goals.\nBasic Aspects of Winter\u2013 First graders gain knowledge of the change of seasons.\nCurriculum Guide-Weather lesson plans and curriculum for fourth and fifth graders(.pdf).\nPuddles\u2013 Third and fourth grade lessons on the evaporation of puddles.\nWeather Maps\u2013 Lesson plans from the National Severe Storms Library.\nWeather Vocabulary\u2013 Weather lesson plan focusing on weather terminology.\nThe Seasons\u2013 A course plan allowing students to discover why the weather changes and how.\nDynamic Earth\u2013 Lesson plan for grades three through five with video support for educators.\nWeather Lessons\u2013 From weather vocabulary to the types of instruments and clouds, teachers are provided fun educational lesson plans.\nThe Climate System\u2013 Educational module plan investigating the structure of climate.\nWebQuests are suited for working in teams and built to allow students to use their imaginations.\nWeather and Climate\u2013 Students are instructed to use the Internet to complete this weather WebQuest.\nKindergarten Science \u2013 This WebQuest uses the student\u2019s imagination to accomplish the task set before them.\nTornadoes \u2013 Third grade WebQuest that creatively teaches students about tornado safety.\nThe Ocean and Weather\u2013 Students are instructed to find the connection between weather conditions and ocean currents.\nWeather Extremes\u2013 For upper level grades, this WebQuest Lesson instructs students to use power point to correlate extreme weather with their life history.\nWeather C.A.M.P\u2013 A WebQuest allowing students to become meteorologists. This quest is geared toward sixth graders but there are suggestions for gearing it towards a younger class.\nWeather\u2013 This task is geared towards younger students and the fear of certain weather conditions.\nCloud Quest\u2013 Elementary school quest to understanding the various types of clouds\nSounds of Weather \u2013 A fifth grade team based WebQuest covering various aspects of weather.\nInterdisciplinary Weather Lessons\nThese lessons provide tips and guidance on teaching weather with other subjects.\nCloudy With a Chance of Meatballs\u2013 A five-day course for third graders combining lessons in weather, immigration and the food groups.\nCloud Art\u2013 Teaching cloud types and formation through art.\nWhere Art thou Weather?\u2013 Third graders use science, art, and language arts to learn about weather.\nTeaching Science Through Arts\u2013 Several examples of teaching weather through art for various grade levels.\nSky Math\u2013 16 classroom lessons combing math with weather.\nSevere Weather \u2013 Research lesson plan utilizing language arts to bring severe weather awareness.\nClouds\u2013 A fun artistic lesson that teaches children how clouds are formed.\nPainting Weather\u2013 Using paint to depict weather and it affects on culture, life, and the state of mind.\nWeather Measurement\u2013 Lesson plan that makes the connection of math with determining weather temperature.\nLearning should be fun and exciting and using activities to educate will enhance the learning process for your students. These resources allow students to get a hands on understanding of weather.\nRide the Snow\u2013 A collaborative activity reading the book Snow Riders and using dough to create snow characters from the book.\nHurricanes \u2013 The Miami Museum of Science provides several weather activities on hurricanes.\nAtmosphere\u2013 Several atmosphere activities for data collection, predictions, temperature maps, and creative writing exploration.\nThe Cycle of Water\u2013 Students will create their own cloud in a bottle.\nScience Vortexes \u2013 Two vortex activities, The Water Race & Tornado In A Bottle(.pdf).\nWild Weather \u2013 Stormy activities for students to create extreme conditions.\nMake it Rain \u2013 A condensation experiment.\nAcid Rain \u2013 Students make acid rain followed by five lessons on acid rain and it effects on earth.\nThe Cycle of Water\u2013 A game to teach the cycle of water.\nWeather Tracking\u2013 Weather tracking projects made by students for students.\nTwo popular ideas for making a weather lesson more exciting are inviting a local meteorologist to speak to your class, or arranging a field trip to see a meteorologist at work. The kids will not only learn about weather but see how a TV station works and maybe even get on camera! The following resources are flooded with ideas for classroom guests and field trips. Each resource explains the process for planning class outings or classroom visits. While an idea or guest might not be located directly in your area, these resources could provide an idea for a similar trip or guest in your location.\nWeather Research Center\u2013 The museum provides weather camps and guided tours.\nMuseum of Science\u2013 School Programs for in school demonstration of weather.\nWeather Discovery Center \u2013 The outreach program of the observatory consists of teacher training and demonstrations for students.\nAmerican Museum of Natural History \u2013 The museum provides programs for field trips and classes on the science of weather.\nThe Northeast Science Center Collaborative \u2013 A six-week climate program for fourth, fifth, and sixth graders.\nThe John C. Freeman Weather Museum\u2013 The only weather museum in America. Free tours are provided. Located in Houston, Texas.", "id": "<urn:uuid:2a59fec9-bba6-4a7c-adad-469ce522c0b5>", "dump": "CC-MAIN-2022-21", "url": "https://blog.filtersfast.com/blog/teaching-weather-resources/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662631064.64/warc/CC-MAIN-20220527015812-20220527045812-00759.warc.gz", "language": "en", "language_score": 0.9005383849143982, "token_count": 1116, "score": 4.0625, "int_score": 4}
{"text": "The Examination Papers\nWe set our own entrance papers which are designed to identify potential and innate ability rather than test what has been taught. Past papers are not released, but the commercially available 11+ papers and our online Maths Wizard Challenge and Bookworms webpage can provide you useful practice and preparation. You may also find the following information helpful:\nOur Maths paper is intended to assess mathematical ability and potential rather than test mathematical knowledge. Questions focus on problem solving and often involve two or three different stages. Candidates should have a good understanding of mathematical techniques (addition, subtraction, multiplication and division) and, equally importantly, know how and when to apply them to solve mathematical problems. Questions include some simple calculations, number patterns and relations, spatial relations and elementary logical reasoning. For example:\n- Give the next term in each of the following series:\n- The distance round a square is 12 metres. What is its area?\n- If a*b means add a and b and divide the result by two (e.g. 3*5 = 4), find the numbers meant by 8*4, 21*3, 6*7.\nCalculators are not allowed in the tests.\nOur Creative Writing paper tests writing skills. Candidates are asked to complete either a piece of creative or a descriptive piece based on an image. Liveliness and sensitivity in style and vocabulary will be rewarded, as well as an ability to invent convincing dialogue. The composition should comprise of controlled sentences of varied length and pattern, and should be coherent as a whole. In setting this paper, it is assumed that boys have read a wide range of the best children\u2019s novels, by authors such as Gillian Cross, Terry Pratchett, Rosemary Sutcliff, Robert Westall or Philip Pullman.\nCandidates are expected to write legibly (in ink, ball-point or pencil), to spell and punctuate reasonably well, and to express themselves in grammatical English.\nIt is important that the candidates\u2019 writing is directly linked to the stimulus image.\nWords & Reasoning\nThe Words & Reasoning paper tests candidates\u2019 ability to extract information from a factual passage and from material such as maps or timetables. It assumes that boys will have read a good deal of non-fiction appropriate to their age: science and history, for instance, and informative books on their hobbies. The paper also includes questions about the meaning and use of words and some simple verbal and visual puzzles.\nThe questions on the passage are in multiple-choice format, a few questions may take the slightly more awkward negative form: \u201cAll the following are true EXCEPT one. Choose the one that is not true.\u201d", "id": "<urn:uuid:8370d165-2a93-4632-8f04-2b5218ed540d>", "dump": "CC-MAIN-2022-21", "url": "https://hamptonschool.org.uk/admissions/entrance-exam-papers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00360.warc.gz", "language": "en", "language_score": 0.9351006746292114, "token_count": 596, "score": 3.59375, "int_score": 4}
{"text": "Often students are unaware that education is a journey from the external to the internal: From information to knowledge and from knowledge to realization. As educators, we naturally study educational theories. Theories of learning such as behaviorism, cognitive psychology, constructivism, social learning, and more have been discussed and developed responses to the phenomenon of learning, yet in classroom practice (cyberspace or physical), we are still perplexed by the mystery of learning and continue to search, know, and apply improved instructional methods for improved learning. In this regard, Vedic learning from ancient India comes to mind. In ancient India, among the many paths of learning for self-realization, students of the Vedas also learn to apply three basic sequential techniques for mastering a subject matter: \u015arava\u1e47a (listening), Manana (reflection/contemplation/clearing of doubts), and Nididhyasana (meditation on the truth/integration/experience). Though the three techniques were expounded to gain the knowledge of the Self, these methodologies remain relevant and applicable even in today\u2019s world of education. In light of the learning difficulties faced by students in online classes, adapting Vedic techniques to course design and lesson plans, especially in the first weeks of school, might help set a foundation for a successful inward journey from dependence on the teacher to independence and self-reliance regarding the subject.\n\u015arava\u1e47a: Hearing and listening to the guru\nThe first step, \u015arava\u1e47a, refers to hearing or listening to the Guru. In an online learning module, the lesson imparted by the teacher, in the form of audio-video lectures, readings, or demonstrations, is the beginning of the learning. The teacher guides the student through the information, and the most important requirement is the student\u2019s focus and attention. In this stage, the teacher reminds students to keep the mind clear of preconceptions and misconceptions of the topic, as well as prejudices about the subject of study. In How Adults Learn: A Reflective Essay (2017), Dr. Sridevi Yerrabati says, \u201cOne of the things that surprised me was that the students were relying on culturally-and socially-imposed experiences or preconceived notions, rather than what they had experienced directly.\u201d Hence, the teacher might build from the premise that less clutter in the mind will make space for better focus, which is likely to make their journey through the next two stages smoother.\nIn light of \u015arava\u1e47a, an online module could be designed with a title that indicates the attitude needed by the learner. The title could be suggestive of how to approach the module. Here is an example:\n- Stage 1 of Learning: Listening/Reading/Understanding (How focused are you?)\nTo such a module, besides readings and lectures, a teacher could add formative assessments and/or games that allow students to practice attentiveness and focus (without affecting the grade). Canvas Studio, Hot Potatoes, EdPuzzle, and Quizlet are a few tools to achieve this. \u015arava\u1e47a is also similar to Thornburg\u2019s \u201ccampfire\u201d concept expressed in Campfires in Cyberspace (2004). He says, \u201cThere is a sacred quality to teaching as storytelling, and this activity took place in sacred places, typically around the fire. The focal point of the flame, the sounds of the night, all provide backdrop to the storyteller who shares wisdom with students who, in their turn, become storytellers to the next generation.\u201d In this sense, \u201ccampfire\u201d is the sacred space for \u015arava\u1e47a, the Guru\u2019s impartation of wisdom, and appears similar to cognitivism, yet the student is not a passive recipient of knowledge but a determinant of the true meaning in it. This is the beginning of the learning. In today\u2019s online environment, the Guru\u2019s role may have changed to that of a guide, but the framework remains the same as that of the triad: Teacher, medium of teaching, and student.\nManana: Reflecting, contemplating, and clearing of doubts\nFrom \u015arava\u1e47a, students move on to Manana\u2014reflecting, contemplating, and clearing of doubts. Here, they reason and analyze until they clearly understand the subject at hand. They work through doubts, misunderstandings, and confusion in the process of analysis. Their goal is to fully understand the teachings of the Guru. This is the space and time for questioning the teacher and discoursing with classmates. Making notes and repeated reading are necessary here, and such studying takes time and requires discipline. In an online-learning module, the title of the module could be, for example:\n- Stage 2 of Learning: Reflecting on the readings and converting the understanding to knowledge.\u201d\nThe Manana module can hold discussions and other activities such as blogging and community conversations. Today\u2019s Learning Management Systems hold excellent discussion tools and are integrated with educational applications such as Padlet. In terms of Thornburg\u2019s Campfires in Cyberspace, Manana could connect to the \u201cwatering hole,\u201d though in Vedic methodology Manana is related to a Q&A with the teacher, but the idea could just as easily apply to an online module. The emphasis is on reflection with the goal of attaining wisdom. Manana, one can guess, comes close to constructivism and social learning theories. It\u2019s important to reiterate that Manana is the act of digging deeply into the information derived during the \u015arava\u1e47a stage.\nNididhyasana: Deepening knowledge and realizations\nFrom Manana, students move to Nididhyasana, where knowledge deepens and realizations arise. This is the meditative stage where one is solo. The knowledge derived or built from the first two stages is internalized here so that it becomes a living reality. The learning is applied and practiced. With doubts cleared, students move to experience and conviction. The journey doesn\u2019t end here because Nididhyasana continues beyond the course. In reference to Thornburg, Nididhyasana could relate to the \u201ccave\u201d where one retreats for deeper contemplation. In a learning module, this stage could be titled as follows:\n- Stage 3 of Learning: Integrating (It\u2019s not enough to know. Can you implement this knowledge? Experience it? Let it flow easily into action?)\nThornburg says, \u201cThere is one other primordial learning environment of great importance: the cave\u2014where we came in contact with ourselves.\u201d Operating in the full power of the Self is the Nididhyasana stage. In such a module, assignments such as essays or exams can be included. Even if a group project were assigned, individual contributions would still require solo retreating to the \u201ccave\u201d as well as a demonstration of the ability to implement the knowledge or skill. This shows that Nididhyasana is indispensable for learning to come to fruition in the form of realization or wisdom.\nIn the Vedic age, much emphasis was given to the student\u2019s mental environment as a healthy, attentive, focused mind would complete the journey from information to realization with ease. These Vedic techniques appear to be more relevant and needed today in view of struggling, overworked, underprivileged, and distracted students. If a learning technique can empower a student\u2019s mind and is a 5,000-year old tested methodology, then adding it to the teacher\u2019s toolkit might just be logical and rewarding to the student and the teacher.\nNita Gopal is a professor of English at Modesto Junior College, California, and has been teaching online since 2006.\nThornburg, David D. (2004). \u201cCampfires in Cyberspace: Primordial Metaphors for Learning in the 21st Century.\u201d International Journal of Instructional Technology and Distance Learning. Vol.1, No.10.\nYerrabati, Sridevi. (2017). \u201cHow Adults Learn: A Reflective Essay.\u201d Compass: Journal of Learning and Teaching. VOL. 10, No. 1.", "id": "<urn:uuid:13595ac5-4978-4d69-865e-88b8d63ffbde>", "dump": "CC-MAIN-2022-21", "url": "https://www.facultyfocus.com/articles/philosophy-of-teaching/applying-vedic-techniques-to-online-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00159.warc.gz", "language": "en", "language_score": 0.948180079460144, "token_count": 1729, "score": 3.59375, "int_score": 4}
{"text": "Mission to Titan announces ambitious science goals\nSaturn\u2019s largest moon Titan is an extraordinary world. We know it has sand dunes, lakes, seas, streambed, a substantial atmosphere, weather systems like Earth and methane rain \u2013 but we barely know any details about it.\nIn the mid-2030s NASA plans to explore this promising moon in depth, sending a flying, drone-like rover called Dragonfly that will be capable of jetting across the surface using rotorblades.\nBut what will it study? Last week, the Dragonfly team announced their ambitious science goals in The Planetary Science Journal.\n\u201cTitan represents an explorer\u2019s utopia,\u201d says co-author Alex Hayes from the University of Idaho. \u201cThe science questions we have\u2026are very broad because we don\u2019t know much about what is actually going on at the surface yet.\n\u201cMy primary science interests are in understanding Titan as a complex Earth-like world and trying to understand the processes that are driving its evolution.\u201d\nSome of the most exciting aims are to search for chemical biosignatures, to study the moon\u2019s methane cycle, and to explore the prebiotic chemistry to see if life could exist there.\n\u201cFor every question we answered during the Cassini mission\u2019s exploration of Titan from Saturn orbit, we gained 10 new ones,\u201d Hayes says.\nScientists from the Queensland Museum have discovered five new species of golden trapdoor spiders in south-east Queensland, from inner-city Brisbane to the Gold Coast hinterlands.\n\u201cWe have been working on this project for a few years, as a number of these species look very similar and live near each other, which meant we had to compare a large amount of evidence to describe these five new species,\u201d says Michael Rix, co-author of the paper published in Invertebrate Systematics.\n\u201cWhen we describe a new species we need to consider their morphology, or what they look like, but also compare their DNA to see how similar genetically they are, and then of course where they are found.\u201d\nLead author Jeremy Wilson says that although the spiders are generally not actually golden, they are a \u201cremarkable group of spiders and are very interesting in that they are so varied, from being very spiny to being quite large \u2013 some of them have bodies that are around four centimetres in length\u201d.\nRix concludes: \u201cThis work is especially important and timely as we try to protect those species still living in remnant habitats in urban environments around Brisbane.\u201d\nChain mail for the modern day\nScientists led by the California Institute of Technology in the US have created a \u2018smart fabric\u2019 inspired by medieval times. Like chain mail, it can turn from pliable to rigid and then back again.\nIt is made up of interlinked 3D polymer elements, and under normal conditions it can be flexibly draped over objects. But when under pressure or compressed, the interlinked particles jam together and become 25 times stiffer, able to hold loads over 30 times the material\u2019s own weight.\n\u201cOur work provides routes towards lightweight, tunable and adaptive fabrics, with potential applications in wearable exoskeletons, haptic architectures and reconfigurable medical supports,\u201d the authors write in their paper, published in the journal Nature.\nSharks coasted through the dinosaurs\u2019 demise\nWhile dinosaurs rose and fell in a dramatic extinction, sharks were just hanging out wondering what all the fuss was about, according to a team led by Mohamad Bazzi of Uppsala University, Sweden.\nThe researchers looked at 1,239 fossilised shark teeth spanning 27 million years to get an idea of shark diversity through the ages.\nThis period of time overlapped with the mass extinction event 66 million years ago that wiped out a vast number of species, including all non-avian dinosaurs. But shark diversity didn\u2019t suffer overall \u2013 they just kept on swimming, according to the study published in PLOS Biology.\nSome apex predators (characterised by with triangular, blade-like teeth) were impacted during this time, but other groups (like the Odontaspididae family, with narrow, cusped teeth adapted for feeding on fish) increased in diversity, which may have been a result of the diversification of prey species.\nCountry, culture, community\nTeaching and retaining Indigenous languages are intrinsically linked to people\u2019s connection to their country, culture and community, say Australian researchers.\nA recent paper in The Journal of the Acoustical Society of America has investigated the phonetics of three Central Australian languages \u2013 Arrernte, Pitjantjatjara and Warlpiri.\n\u201cOur study of consonant articulation among 21 speakers of these three neighbouring Central Australian languages highlights the unique use of language and subtle differences between the users,\u201d says lead author Marija Tabain, from La Trobe University.\nCo-author Andrew Butcher from Flinders University adds: \u201cThis ongoing research is increasingly confirming the uniqueness of Aboriginal languages, particularly as regards their sound systems and range of articulations.\u201d\nAs some of the oldest surviving languages in the world, Indigenous Australian languages could \u201ctell us more about human languages in general,\u201d Butcher says.\nThe work also highlights that preserving language means more than just words \u2013 it\u2019s key to holding onto a vast diversity of traditions and knowledge systems.\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:1a910a59-3216-426c-931c-30452fcabb4b>", "dump": "CC-MAIN-2022-21", "url": "https://cosmosmagazine.com/space/from-flying-rovers-to-shark-evolution/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00160.warc.gz", "language": "en", "language_score": 0.9443261623382568, "token_count": 1291, "score": 3.546875, "int_score": 4}
{"text": "Name of Book: The Bracelet\nAuthor: Yoshiko Uchida\nAudience: Ages 4-9\nSummary: During World War II, Second grader Emi is one of thousands told they must give up everything and move to an internment camp. Why? Because their relatives came from Japan. In many cases, as in Emi\u2019s, those relatives came one or two generations before this and they are now citizens of the United States, but that does not matter. They are considered possible traitors or spies. While they are packing, Emi\u2019s best friend Laurie comes to say goodbye and gives her a gold bracelet. Emi promises to always wear it to remember her friend. When Emi arrives in Montana, she realizes she has lost the bracelet. At first she is upset as the bracelet was the only link she had with her friend. As time passes, though, she begins to realize that she does not need the bracelet to remember her friend.\nLiterary elements at work in the story: Uchida uses a simple, descriptive style, that allows a child\u2019s feelings to show through without becoming sentimental. Yardley\u2019s watercolor illustrations match the characters and are historically accurate.\nHow does the perspective on gender/race/culture/economics/ability make a difference to the story: This story is about the history of the Japanese Americans in the United States during World War II. The history is portrayed with grace without diluting the fact that it was wrong. The conversations with Emi and Laurie are particularity good at showing how confusing this part of our history was. An afterword gives historical context to the story.\nScripture: Jonah 2: 1-9. When Jonah first arrived in the belly of the whale, he must have felt a bit like Emi when she lost her bracelet. He must have felt that he had lost all connection with the outside world. However, he, like Emi, begin to remember and understand and eventually hope comes. With hope he, like Emi, can see clearly. For Emi it means that she will not forget her past. For Jonah hope means that even in the belly of the whale, God will save him. When you are in the \u201cbelly of the whale,\u201d when you are in distress, pray as Jonah did, as if you are already saved, for you are!\n- How did Emi feel about leaving her home?\n- What did the bracelet mean/represent to her?\n- How did she overcome her unhappiness about loosing the bracelet?\n- Have you ever been sad like Emi was when she had to leave her home and when she lost her bracelet?\n- What did you do?\n- How did Jonah feel about being in the belly of the whale?\n- Who did he come to understand would save him?\n- Can you think of something that makes you unhappy?\n- Can we go around the table and ask God to help us find hope in our unhappiness?\nReview prepared by guest blogger Janet Lloyd\nThe Bracelet by Storypath is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.", "id": "<urn:uuid:ae98257b-bfbd-4798-a5b7-e8a20c51bfaf>", "dump": "CC-MAIN-2022-21", "url": "http://storypath.upsem.edu/the-bracelet/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00159.warc.gz", "language": "en", "language_score": 0.9715568423271179, "token_count": 680, "score": 3.515625, "int_score": 4}
{"text": "Kindle Edition Hi all ye budding writers, hiding in your closets!\nIt can be used for all levels from beginner to advanced. Show students an image and have them generate questions or speculate about the picture. Example for Lower-Level Students For lower level students, this can be purely descriptive: What do you see? I see a house, a car, and some people.\nWhat colour is the car? What is happening in this picture? How does that person feel? Why do you think so? Example for Advanced Students For more advanced students, use an unusual image. Encourage them to create a narrative to explain the story. This activity can also be done with writing.\nYou could have students create a story about the picture in a few minutes. Or, you could have them write an explanation for what happened. Teaching Tips for Picture Prompt: You can find collections of unusual images online which are perfect for advanced students to create their narratives.\nIf you want to use this as a writing activity with beginner or low intermediate students, give them a worksheet of questions to answer. If you have more advanced students in a writing class, more options are available to you for what you can do.\nIn advance, prepare an image, either PowerPoint or a picture large enough for the class to easily see. Divide students into pairs or small groups optional. Depending on the level of the students: Elicit descriptive sentences about the image.\nEncourage them to make their own questions to ask a partner. Have them create a narrative about the image. Unusual images work well for this. Optionally, have students write their responses.Pictures and photographs implicitly convey a narrative\u2014and that makes them ideal writing prompts for generating new short story ideas.\nYou can use a picture as a writing prompt in a solo exercise or with a class or writing group. They must write a story based on the picture. If you have recording equipment available students could record their completed stories.\nThis could then be played to all students while they look at a copy of all the original pictures. Invite your students to choose one of these creative writing prompts for teens.\nOptions include describing a personal experience as if it were a movie, developing fun poems or stories, writing about their first name, creating a story using only one-syllable words, or exploring point of view. Writing packet with lots of pictures to help prompt students into writing a story, writing prompts and other ideas.\nParagraphs (upper elem/middle) Writing Prompts Use this 'Writing Prompts: Paragraphs (upper elem/middle)' printable worksheet in the classroom or at home.\nWeek 2 Day 1: Generate Ideas/Seed Story Show students a picture of a watermelon slice and tell students that the watermelon is the big picture and the watermelon seeds are . Promote imagination and adventure with these journal prompts and creative writing story starters.\nStudents will love the chance to write something unique! Promote imagination and adventure with these new journal prompts and creative writing story starters.", "id": "<urn:uuid:64851426-1ab4-4af3-8ba6-cbf28df48b82>", "dump": "CC-MAIN-2022-21", "url": "https://kibysopohavyfy.caninariojana.com/write-a-story-from-a-picture-prompts-for-students-17886ip.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00558.warc.gz", "language": "en", "language_score": 0.9309436082839966, "token_count": 624, "score": 3.609375, "int_score": 4}
{"text": "How do cells regulate their size?\nUK researchers have answered this long-standing question in biology. Turns out, they use their DNA content as an internal scale to check how big they are.\nCells are the building blocks of life, and like life itself they come in all shapes and sizes. Most eukaryotic cells range between one and 100 micrometres, while neurons, for example, are thin cells that reach up to several centimetres long. Eggs are actually single cells \u2013 ostrich eggs are the biggest of all, spanning up to 13 centimetres in diameter.\nEach type of cell has a characteristic size that it reaches before it divides into two daughter cells to reproduce. Biologists have long wondered how cells know when they have reached this threshold.\nIn a new study published in Science, researchers from the John Innes Centre in the UK set out to answer the question of \u201chow do cells regulate their size?\u201d by looking at the growing tips of plants, where new meristem cells are created to make leaves, flowers and stems.\nFollowing the growth and division of these cells over time, the team found that although cells might start life with different sizes, they all reached a consistent size by the time they were ready to replicate their DNA and split into two.\nDelving deeper, the researchers found that regardless of initial size, each cell is born with the same amount of the KRP4 protein. This protein\u2019s role is to delay the start of DNA replication. This means that if a cell is born too small, the protein will delay the DNA replication for longer and give the cell time to catch up and grow to the right size \u2013 and vice versa for cells born too big.\nTo make sure every cell starts off with the same amount of KRP4, this protein hitches a ride on the DNA when a cell splits into two, and any excess KRP4 not bound to the DNA is destroyed by another protein called FBL17. This means the identical newborn cells inherit equal amounts of KRP4.\n\u201cIt has been suggested for a long time that DNA could be used as a scale for cell size, but it was unclear how cells could read the scale and use the information,\u201d explains co-author of the study, Robert Sablowski.\nHow, he asks, can a cell know how much it has grown when most of its components increase at the same rate, so can\u2019t be as a fixed comparison?\n\u201cOne exception is DNA, which exists in the cell in a discrete amount \u2013 its amount precisely doubles before cell division, but it does not vary with cell growth,\u201d Sablowski explains.\nHow do cells regulate their size? \u201cThe key is to use the DNA as a template to accumulate the right amount of a protein, which then needs to be diluted before the cell divides. It\u2019s exciting to come across such a simple solution to a long-standing problem.\u201d\n- Rotifers survive being frozen for 24,000 years\n- Genome of resurrected plant is sequenced for the first time ever\n- Rules that govern how cells work\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:7b96e993-4ba8-4af9-af0c-0b986e265e6f>", "dump": "CC-MAIN-2022-21", "url": "https://cosmosmagazine.com/science/how-do-cells-regulate-their-size/?amp=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662675072.99/warc/CC-MAIN-20220527174336-20220527204336-00758.warc.gz", "language": "en", "language_score": 0.9588003158569336, "token_count": 800, "score": 4.40625, "int_score": 4}
{"text": "Democratic Politics -II Chapter 2 NCERT Book Solutions For Class 10 Civics CBSE Term I Free PDF Download Federalism\nChapter 2 of NCERT Solutions for Class 10 Civics illustrates how power might be divided to account for language and regional differences. Students will find questions based on the chapter after reading it. As a result, we have provided NCERT Solutions for Class 10 Civics Chapter 2 \u2013 Federalism to assist them. The answers to all of the practise questions developed by subject specialists are included in these solutions. The Solutions will also assist students in gaining a better understanding of the most effective answer writing techniques.\nNCERT Solutions for Class 10 Civics Chapter 2 Federalism are available to download.\nFrequently Asked Questions (FAQs) about NCERT Solutions for Political Science Chapter 2 in Class 10\nMake a list of the key concepts taught in Chapter 2 of the NCERT Solutions for Class 10 Political Science book.\nThe following are some of the key themes taught in Chapter 2 of NCERT Solutions for Class 10 Political Science:\n- What is the definition of federalism?\n- What distinguishes India as a federal republic?\n- How does federalism work in practise?\n- Language regulations\n- Relationship between the centre and the states\n- India\u2019s decentralisation\nStudents can use the NCERT Solutions at Infinity learn\u2019S to get a better understanding of these concepts. Every idea is explained in an engaging manner to ensure that students may ace the exam without fear.\nWhy is it vital to study the NCERT Solutions for Class 10 Political Science Chapter 2 for the CBSE Term I exam?\nThe NCERT Solutions for Class 10 Political Science Chapter 2 are designed to help students grasp the proper writing pattern for the various questions that will appear in the test. Students will be able to study for the CBSE Term I test and score well by referring to these solutions. The solutions include extensive and elaborate explanations to assist students in achieving a higher academic score. Students can access Infinity learn\u2019S solutions from any location and at any time, with no time limits.\nWhat are the benefits of using Infinity learn\u2019S NCERT Solutions for Political Science Chapter 2 in Class 10?\nThe following are some of the benefits of using Infinity learn\u2019S NCERT Solutions for Class 10 Political Science Chapter 2:\n- The solutions are written in plain English to assist students in their exam preparation.\n- The information is organised in such a way that pupils may easily relate to the concepts.\n- Students can save time by using the NCERT Solutions during revision.\n- Correct answers based on the most recent CBSE norms and syllabus.\n- Solutions are accessible in PDF format for free.", "id": "<urn:uuid:71488473-ebe5-4f61-b60a-3e6769f02e38>", "dump": "CC-MAIN-2022-21", "url": "https://infinitylearn.com/surge/study-materials/ncert-solutions/class-10/social-science-polity-democratic-politics/chapter-2-federalism/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662593428.63/warc/CC-MAIN-20220525182604-20220525212604-00760.warc.gz", "language": "en", "language_score": 0.9128599166870117, "token_count": 555, "score": 3.921875, "int_score": 4}
{"text": "1-4 Developing and sustaining foundational language skills\n1 Listening, speaking, discussion, and thinking--oral language. The student develops oral language through listening, speaking, and discussion.\nA listen actively to interpret a message by summarizing, asking questions, and making comments;\nB follow and give complex oral instructions to perform specific tasks, answer questions, or solve problems;\nC advocate a position using anecdotes, analogies, and/or illustrations employing eye contact, speaking rate, volume, enunciation, a variety of natural gestures, and conventions of language to communicate ideas effectively; and\nD participate collaboratively in discussions, plan agendas with clear goals and deadlines, set time limits for speakers, take notes, and vote on key issues.\n2 Listening, speaking, reading, writing, and thinking--vocabulary. The student uses newly acquired vocabulary expressively.\nA use print or digital resources to determine the meaning, syllabication, pronunciation, word origin, and part of speech;\n3 Listening, speaking, reading, writing, and thinking--fluency. The student reads grade-level text with fluency and comprehension. The student is expected to adjust fluency when reading grade-level text based on the reading purpose.\n4 Listening, speaking, reading, writing, and thinking--self-sustained reading. The student reads grade-appropriate texts independently. The student is expected to self-select text and read independently for a sustained period of time.\n5 Comprehension skills\n5 Listening, speaking, reading, writing, and thinking using multiple texts. The student uses metacognitive skills to both develop and deepen comprehension of increasingly complex texts.\nA establish purpose for reading assigned and self-selected texts;\n7 Listening, speaking, reading, writing, and thinking using multiple texts--literary elements. The student recognizes and analyzes literary elements within and across increasingly complex traditional, contemporary, classical, and diverse literary texts.\nA analyze how themes are developed through the interaction of characters and events;\nB analyze how characters' motivations and behaviors influence events and resolution of the conflict;\nC analyze non-linear plot development such as flashbacks, foreshadowing, subplots, and parallel plot structures and compare it to linear plot development; and\nD explain how the setting influences the values and beliefs of characters.\n8 Listening, speaking, reading, writing, and thinking using multiple texts--genres. The student recognizes and analyzes genre-specific characteristics, structures, and purposes within and across increasingly complex traditional, contemporary, classical, and diverse texts.\nA demonstrate knowledge of literary genres such as realistic fiction, adventure stories, historical fiction, mysteries, humor, fantasy, science fiction, and short stories;\nB analyze the effect of graphical elements such as punctuation and line length in poems across a variety of poetic forms such as epic, lyric, and humorous poetry;\nC analyze how playwrights develop dramatic action through the use of acts and scenes;\nD analyze characteristics and structural elements of informational text, including:\ni the controlling idea or thesis with supporting evidence;\nF analyze characteristics of multimodal and digital texts.\n9 Author's purpose and craft\n9 Listening, speaking, reading, writing, and thinking using multiple texts. The student uses critical inquiry to analyze the authors' choices and how they influence and communicate meaning within a variety of texts. The student analyzes and applies author's craft purposefully in order to develop his or her own products and performances.\nA explain the author's purpose and message within a text;\n10 Listening, speaking, reading, writing, and thinking using multiple texts--writing process. The student uses the writing process recursively to compose multiple texts that are legible and uses appropriate conventions.\nA plan a first draft by selecting a genre appropriate for a particular topic, purpose, and audience using a range of strategies such as discussion, background reading, and personal interests;", "id": "<urn:uuid:88ccf123-4e02-48fa-a624-4cfbb9f8f64f>", "dump": "CC-MAIN-2022-21", "url": "https://www.ixl.com/standards/texas/ela/grade-8", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515501.4/warc/CC-MAIN-20220517031843-20220517061843-00760.warc.gz", "language": "en", "language_score": 0.8976102471351624, "token_count": 809, "score": 4.375, "int_score": 4}
{"text": "The month of November is National Native American Heritage month, but it hasn\u2019t been that way until recently. In 1990 President George H.W. Bush proclaimed that November 1990 as \u201cNational American Indian Heritage Month.\u201d Then starting in 1994 and every year since similar proclamations have been made, but under different names that make November Native American Heritage month.\nIn 1915, the first \u201cAmerican Indian Day\u201d was proposed by the American Indian Association. The president of the American Indian Association, Rev. Sherman Coolidge, an Arapahoe Indian, proposed the second Saturday of each May as an American Indian Day. It was also the first time a formal appeal was made to have Indians recognized as citizens. However, a year before this, Red Fox James, a Blackfoot Indian, rode horseback to each state in the country seeking help to make a day to honor Indians. At the end of 1915 he presented the endorsements of 24 states to the White House, but there are no records stating if his efforts were successful or not. His efforts most likely helped Indians gain ground in getting a day to honor them. In 1916, the very first \u201cAmerican Indian Day\u201d was declared on the second Saturday in May by the Governor of New York. Others states would follow suit after New York by declaring the fourth Friday in September a day to honor Indians. Our own state of Illinois would eventually enact a day to honor Indians in 1919.\nLewis and Clark Community College hosted its own Native American Heritage month event on Nov. 14 in the Ann Whitney Olin Theatre. Two Native American speakers came to campus to share stories and speak about Native American culture. The first speaker was Dolores Santha, but she went by her storytelling name \u201cGrandma Coyote\u201d for this event. Grandma Coyote shared different Native American stories that she had heard from her parents and other family members growing up. The stories she shared had underlining lessons to be learned from them, like many stories older generations would tell their children. One story was about an opossum that would flaunt his beautiful tail around in an attempt to make everyone else feel jealous. However, one day his tail was taken from him a replaced with an ugly one. The lesson to be learned was that you should always appreciate what you have because one day you could have nothing. \u201cGrandma Coyote was sweet as pie\u201d, said L&C Student Val Blandina. \u201cShe told me all about the beautiful turquoise jewelry she made. It was interesting to have the opportunity to talk somebody about Native American culture during Native American Heritage month.\u201d\nThe other speaker was Sherry Echo-Hawk Taluc of the Pawnee Nation. She explained how Native American beading is done and showed the crowd different examples of beading that she has made over the years. Beads were an important part of Native American culture because they heavily used them in the creation of necklaces, jewelry, and other accessories. She also discussed the importance of agriculture in the Pawnee heritage. The Pawnee people used to have over 25 different varieties of corn, but today they are only down to a handful. However, thanks to people like Sherry efforts have been made to start regrowing the remaining variations of corn the Pawnee people have. They are trying to regrow the corn in the same lands the Pawnee people occupied years ago to keep the crop the same as it\u2019s always been. \u201cIt was a treat to learn about other people\u2019s culture,\u201d said, L&C student Shelby Clayton. \u201cIt was also nice to know that efforts are being made to bring back native agriculture as well.\u201d\nALEX ST. PETERS", "id": "<urn:uuid:a6663c10-7735-41a1-8575-98872fd245ad>", "dump": "CC-MAIN-2022-21", "url": "https://thelcbridge.com/lc-celebrates-native-american-heritage-month/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539101.40/warc/CC-MAIN-20220521112022-20220521142022-00160.warc.gz", "language": "en", "language_score": 0.9840732216835022, "token_count": 781, "score": 3.578125, "int_score": 4}
{"text": "The songs of fin whales can be used to survey the ocean crust, international researchers have just discovered.\nWith a population of about 100,000, fin whales (Balaenoptera physalus) inhabit the oceans from pole to pole. Their calls are one of the strongest animal vocalisations known, reaching up to 189 decibels \u2013 similar to the noise produced by large ships \u2013 and carrying across hundreds of kilometres.\nNow, a new study in Science explains that these powerful calls can be used for seismic imaging.\n- Fin whale calls can penetrate the ocean floor as a seismic wave and reflect back off its various layers\n- The return signal gives scientists insight into the structure of the ocean crust\n- This natural seismic imaging technique is fairly low resolution, but could complement traditional surveying\n- The calls of other animals, like sperm whales, could provide a higher resolution picture\nThe discovery was made coincidentally by seismologist V\u00e1clav Kuna, from the Czech Academy of Sciences, who was studying earthquakes in the Pacific Ocean off the coast of Oregon, US.\n\u201cAccidentally, I found fin whale call recordings in our data,\u201d Kuna says \u2013 not just waterborne signals but also some that had been reflected and refracted from the oceanic crust.\nWhen the call hits the ocean floor, part of its energy is transmitted into the ground as a seismic wave, which travels into the crust and bounces off the various layers. By picking up the return signal, Kuna explains, they can \u201cestimate the thickness and seismic velocities of these layers\u201d.\nThis discovery made him wonder if fin whale songs could complement seismic surveys.\nCurrently, seismic ocean surveys use high-energy airgun signals to send shockwaves down to the seabed from a ship. These penetrate the Earth\u2019s crust and reflect back in ways that allow scientists to determine the structure and composition of the layers beneath the surface \u2013 including potential deposits of oil and gas.\nThe airguns generate explosive, high-decibel pulses that are among the loudest human-made sounds in the ocean, but \u2013 as scientists have warned for decades \u2013 as the marine landscape gets louder, wildlife is being negatively affected.\nKuna\u2019s research raises the possibility that natural sounds could also be used. However, the novel method tested does provide a lower-resolution picture of the ocean crust than airgun surveys, because fin whale calls only cover low frequencies within a narrow band.\nBut in their paper, the team note that \u201chigher-pitch whale vocalisations with a broader frequency band, such as those of sperm whales, could be used for high-resolution studies of the ocean floor sediments\u201d.\nStill, fin whale calls could be useful. This method could be used to improve current methods to locate earthquakes, as well as to improve our understanding of the shallow ocean crust and ocean sediments, providing important knowledge for disciplines such as geology and climatology.\nThis study also reveals that animal vocalisations carry more information than previously thought. Kuna notes that they \u201care useful not only for studying the animals themselves but also for investigating the environment that they inhabit\u201d.\nHopefully, this research will encourage other scientists to look seriously at the applications of marine animal vocalisations.\n\u201cIt is better to utilise sounds already available in the ocean than add more human-made noises that may harm ocean wildlife,\u201d Kuna concludes.\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:65690a7f-1e7e-496b-9569-0361fd092532>", "dump": "CC-MAIN-2022-21", "url": "https://cosmosmagazine.com/nature/seismic-singing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00760.warc.gz", "language": "en", "language_score": 0.937833845615387, "token_count": 855, "score": 4.09375, "int_score": 4}
{"text": "CHOICE Project: D&D Workshops and\nHow can we encourage young people to pursue careers in science, technology, engineering, and mathematics (STEM)? How can STEM subjects be taught in new ways? The CHOICE project takes a multidisciplinary and collaborative approach to STEM education by involving students, teachers, and company representatives in the creation of STEM-based Open Educational Resources (OER).\nTeachers from Italy, Cyprus, Greece, and Spain together with students jointly developed innovative OERs through a series of Design & Development workshops that took place at participating schools in 2021 as part of the CHOICE project. These resources are based on the STE(A)M approach, which integrates the disciplines of Science, Technology, Engineering and Mathematics with the arts (A for Arts) and other academic disciplines (A for All). This approach, combined with a co-creation methodology involving teachers and students, enables the development of innovative resources aimed at nurturing the interest of future generations in STEM subjects.\nThe CHOICE resources focus on the following macro-areas:\nArts and STEM disciplines\nLanguage teaching in the study of the STEM disciplines\nUsing technology in social sciences\nTurning sport and physical activity into a STEM learning experience\nThe Liceo Benedetto Croce in Palermo started co-creation workshops in March 2021. The first co-creation team created a resource that combines Art and Math and is inspired by and named after Vincent van Gogh's famous painting \"The Starry Night.\" This resource employs origami to bring Mathematics to life and to connect it with art and creativity, all while engaging students in active learning by doing. The students used origami forms to recreate some of the elements and shapes of the famous Van Gogh painting, while also deepening their understanding of some complex mathematical and geometrical theorems and principles. The second co-creation team participated in an experiential project centred on physics, chemistry, and their applications in ecology.\nThe students conducted a series of laboratory experiments in the context of an \"Ecological House,\" allowing them to investigate and comprehend the production of energy from alternative sources (solar and wind energy), energy collection, storage, and savings. The third team worked on the resource \"The winning strategies,\" which focuses on economics, mathematics, and sociology and uses technology in the social sciences. In a team game, the students used game theory and rational choice theory to solve the \"prisoner's dilemma,\" analyse an opponent's tactics, and reason about their own tactics. They used digital tools such as spreadsheets to analyse and evaluate data during the process. Students' active participation in the creation of educational resources was fundamental in ensuring that the resources will be of interest to their peers and aligned with their own background knowledge. The final two resources developed at the Liceo Benedetto Croce in Palermo concentrate on robotics and coding, as well as the role of STEM in sports and leading a healthy lifestyle.\nIn Spain, co-creation teams were formed with 8-12 members, involving professionals from the engineering and computing field, as well as teachers from other disciplines and students of various ages and interests. The workshops took place during a challenging time due to pandemic, therefore, the co-creation teams joined massive online brainstorming events, during which they decided the topics on which their OERs would focus. Subsequently, the design and development workshops took place over a period of six weeks in a face-to-face format, during which teachers and students co-created informative and entertaining educational material. A total of 30 students and 15 teachers were involved. One of the most significant achievements of the Spanish partners, was that the teachers\u2019 training on the use of the developed OERs was recognized and certified by the Catalan Educational Administration (Departament d'Educaci\u00f3 de la Generalitat de Catalunya). As a result, the Catalan Educational Administration distributed the training to Secondary School teachers and provided training participants with a certification.\nIn Greece the final workshop for the design and development of educational resources took place on Tuesday, June 1, 2021, and was attended by academics and labour market representatives, effectively supporting teachers and students. During this final workshop, members of the co-creation teams, involving both students and teachers, presented skills and knowledge gained through the workshops implemented as part of the CHOICE project, during which they developed OERs on the use of radioisotopes in medicine, reuse of waste material in sports, the identification of the Golden Ratio in works of art and the natural world, the creation of an educational game related to the pandemic, and the creation of a mobile video game through which students become aware of the crucial issue of achieving the 17 UN Sustainable Development Goals.\nIn Cyprus, co-creation teams were formed involving 3 teachers and 12-15 students aged 13 to 15 years old. The developed OERs focus on understanding biological structures through the creation of 3D models, understanding how a disease may become a pandemic through the combination of research on pandemics and robotics, learning about a biological phenomenon, such as bioluminescence through writing and presenting a report on a foreign language, becoming aware of issues related to internet safety through a creative form of digital storytelling and finally learning how to design cycling routes through the use of digital tools.\nAll of these 20 OERs developed were then combined to create the CHOICE MOOC (Massive Online Open Course), which is freely accessible by teachers and students who are interested in delivering and following the OERs, respectively, through the CHOICE MOOC platform: https://mooc.euchoice.eu/home", "id": "<urn:uuid:afdad60d-f58c-4913-9020-ce1334fe4f48>", "dump": "CC-MAIN-2022-21", "url": "https://www.euchoice.eu/copy-of-how-to-promote-young-people-s-1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531762.30/warc/CC-MAIN-20220520061824-20220520091824-00361.warc.gz", "language": "en", "language_score": 0.9622926712036133, "token_count": 1174, "score": 3.65625, "int_score": 4}
{"text": "The illustration is one of the greatest and most recent forms of graphical representation. To be more specific this is an art of storytelling through graphical elements. We in this world have seen a number of kinds of illustrations contemporarily. Amongst many of the types of illustrations, one of them is children\u2019s book illustration. Children usually understand things through seeing rather than any of the other sense and this is the reason that this kind of illustration has got such tremendous popularity and we now see cheap illustrator for children\u2019s books in the world offering quality services to get the same done. Here in this blog, we would discuss the process of making children\u2019s book illustration.\n- Know What You Are Working On\nThe first thing that every professional in the world has to contemplate upon is to understand their respective fields and tasks. Without the same, the efficiency of the work might be lost and this is the reason that knowing the things they are working on. Illustrators who are working on the children\u2019s book must get the idea about their project or the brand they are working for.\n- Keep It Simple Yet Creative\nThe main purpose of children\u2019s book illustration is to deliver the message with something that is attractive and this why this is one of the things that is included in the process of the children\u2019s book illustration. Here you need to plan the illustrations that are simple and understandable. While planning the same you must also think how creatively you can make things to be.\n- Express It With Colors and Cartoons\nColors and cartoons are two things that are liked by any child. This is one of the reason that while going for the children\u2019s book illustration you should focus on making these things to be included in the children\u2019s book. These things might make your book to have the proficiency in your work. Colors and cartoons might be differently catered according to the project that you are working on. This is why this has been listed as a secondary step in the process of children\u2019s book illustration.\n- Test and Assess It With Heart Not Mind\nAssuring the quality is one of the things thatare essential in any of the processes or systems and this is what this step is all about. However, unlike the other tasks when it comes to children\u2019s book illustrations should be tested and assessed with heart but not with the mind. Through this, you can make sure whether you are delivering the best depiction of your ideas or not? This is a great way to with children\u2019s book illustrations, unlike any other field where you are required to think with the heart and not mind while testing it.\nThese are the four basic steps that are included in the children\u2019s book illustration that will get you to some amazing illustrations. These are although subjective to the project that you are working on.", "id": "<urn:uuid:2040ddef-03ff-4744-93e5-c1f214d2bba7>", "dump": "CC-MAIN-2022-21", "url": "https://webonlinestudio.com/blog/the-process-behind-childrens-book-illustration/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510097.3/warc/CC-MAIN-20220516073101-20220516103101-00559.warc.gz", "language": "en", "language_score": 0.9687824845314026, "token_count": 579, "score": 3.546875, "int_score": 4}
{"text": "Updated in April 2022\nSeeking for approaches to build personalized storyboard templates to use with your college students in class? This lesson from Utilized Digital Capabilities (by Google for Training) has you covered.\nThere are several approaches college students can can use storyboards: for occasion, they can produce storyboards to summarize the narrative composition of a novel, a ebook, a movie, a brief tale, and many others. They can also use it to visually show the sequences associated in a developmental method (e.g., a scientific experiment) or to document a historic event.\nThe system of developing a storyboard template is very simple and simple. All pupils need is entry to Google Slides and Applied Digital Competencies internet site and stick to the step-by-move recommendations furnished in the video.\nBy the stop of the lesson, students ought to be able to \u2018identity and analyze the plot of a narrative, make digital displays to visualize the composition of a narrative\u2019, understand the distinctive factors of a storyline and how they are organized, and far more.\nAs learners function on developing digital storyboards they get to discover and apply a number of crucial electronic techniques which include: how to use Google Slides to create shows, how to increase illustrations or photos and text to slides, how to format text in slides, how to alter the concept of a presentation, and extra.\nPrior to engaging students in the digital course of action of producing a storyboard, you require to make positive students are acquainted with some of the terms and concepts similar to narratives and storyboarding. These incorporate concepts this sort of as plot, climax, climbing and falling motion, exposition, among other people. Refresh your learners memory about the narrative terminology then start off the lesson.\nThe lesson arrives with various educating supplies. Use these resources to assistance you in the course of the tutorial course of action. You will find a lesson strategy with all the things you need about the lesson together with the lesson define, pedagogic ambitions, electronic skills, overall length, components needed, and additional.\nThere is a also a prepared-built rubric termed Project Evaluation rubric to enable you in the evaluation of college students operate. Make confident you share the rubric with your students beforehand so they know the anticipations, aims, and functions at the rear of the lesson.\nEvery single part of the lesson is illustrated with a short movie. There are clips on how to set up a presentation, how to insert slides to outline narrative structure, how to insert narrative summary to just about every slide, how to include photos and structure slides, how to incorporate transitions to shows, and extra.\nFor advice, check out the Instance Venture presented in the lesson to see an case in point of a storyboard created employing Google Slides. Go through each and every slide and review it with the guidelines in the lesson system. Make edits and customise the lesson to your personal educating wants. At the stop of the lesson, use the reflection activity to test college students comprehension. College students respond to the quiz and you go over their responses with the whole course.\nThere is no software program down load or paid equipment involved in this lesson. All you will need is Internet-enabled desktops, entry to Utilized Digital Abilities website and Google Slides. If you do not currently have an account with Applied Digital Skills you need to generate one in advance of you start the lesson. When created, increase your course and share the class code with your college students.", "id": "<urn:uuid:d52d72b9-e46f-4e30-86dd-664257c19958>", "dump": "CC-MAIN-2022-21", "url": "https://scienceofedu.com/here-is-how-to-create-storyboard-templates-using-google-slides.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00361.warc.gz", "language": "en", "language_score": 0.9256333112716675, "token_count": 716, "score": 3.609375, "int_score": 4}
{"text": "B.Ed Notes English Medium\nIt is important to remember that every individual learns differently and thus has a unique learning style.\nEvery person has one primary learning mode. Once you identify that mode, you can learn to maximize it and enhance your child\u2019s education.\nTypes of Learning Styles\na) Visual learners\nb) Auditory learners\nc) Kinaesthetic learners\n(a) Visual learners\n1) Learn through seeing\n2) Think in pictures and need to create vivid mental images to retain information\n3) Enjoy looking at maps, charts, pictures, videos, and movies\n4) Have visual skills which are demonstrated in puzzle building, reading, writing, understanding charts and graphs, a good sense of direction, sketching, painting, creating visual metaphors and analogies (perhaps through the visual arts), manipulating images, constructing, fixing, designing practical objects, and interpreting visual images\n(b) Auditory learners\n1. Learn through listening\n2. Have highly developed auditory skills and are generally good at speaking and presenting\n3. Think in words rather than pictures\n4. Learn best through verbal lectures, discussions, talking things through and listening to what others have to say\n5. Have auditory skills demonstrated in listening, speaking, writing, storytelling, explaining, teaching, using humor, understanding the syntax and meaning of words, remembering information, arguing their point of view, and analyzing language usage\n(c) Kinesthetic learners\n1. Learn through moving, doing and touching\n2. Express themselves through movement\n3. Have good sense of balance and eye-hand coordination\n4. Remember and process information through interacting with the space around them\n5. Find it hard to sit still for long periods and may become distracted by their need for activity and exploration\n6. Have skills demonstrated in physical coordination, athletic ability, hands on experimentation, using body language, crafts, acting, miming, using their hands to create or build, dancing, and expressing emotions through the body.\nOnce students understand their learning styles, they can better adapt to their learning environment.\nWhen your child identifies his or her unique learning style, you can begin to build upon it.\nUnderstanding learning styles is only a first step in maximizing potential and overcoming learning differences\nHints for Recognizing and Implementing the Three Visual, Auditory and Kinesthetic Styles\nAuditory learners often talk to themselves.\nThey also may move their lips and read out loud.\nThey may have difficulty with reading and writing tasks.\nThey often do better talking to a colleague or a tape recorder and hearing what was said.\nHelpful Tips for\n(i) Turn notes into pictures, charts, or maps\n(ii) Avoid distractions (windows, doorways, etc.)\n(iii) Learn the big picture first and then focus on the details\n(iv) Make mind and concept maps instead of outlines\n(v) Color code parts of new concepts in your notes\n(vi) Use flash cards when trying to study vocabulary\n(i) Record lectures and then listen to them\n(ii) Repeat material out loud and in your own words\n(iii) Discuss materials in your study groups\n(iv) Read textbooks aloud\n(v) Listen to wordless background music while studying\n(i) Take study breaks often\n(ii) Learn new material while doing something active (e.g., read a textbook while on a treadmill)\n(iii) Work while standing\n(iv) Try to take classes with instructors who encourage demonstrations and fieldwork.", "id": "<urn:uuid:cfa08ed3-613a-4c10-b933-fb518f66904d>", "dump": "CC-MAIN-2022-21", "url": "https://www.yogiraj.co.in/learning-styles", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662675072.99/warc/CC-MAIN-20220527174336-20220527204336-00759.warc.gz", "language": "en", "language_score": 0.8996323943138123, "token_count": 755, "score": 4.375, "int_score": 4}
{"text": "Kwanzaa or Kwanza\nA festival, observed by many African-Americans from December 26 to January 1, that celebrates the rich heritage of black culture.\nWords nearby Kwanzaa or Kwanza\nMORE ABOUT KWANZAA\nWhat is Kwanzaa?\nKwanzaa is a holiday in celebration of African heritage and Black culture and values that\u2019s observed from December 26 to January 1.\nIt is primarily observed by African Americans in the U.S. but is also celebrated in some other countries by members of the African diaspora\u2014those whose ancestors came from Africa. Kwanzaa is an Afrocentric holiday but is not typically observed in Africa itself.\nAs part of its celebration of the values of family and community, Kwanzaa has seven principles, each of which is named with a word in the African language of Swahili:\n- umoja (unity)\n- kujichagulia (self-determination)\n- ujima (collective work and responsibility)\n- ujamaa (cooperative economics)\n- nia (purpose)\n- kuumba (creativity)\n- imani (faith)\nObservation of Kwanzaa often includes the discussion of these principles along with daily lighting of a candle representing one of them. The seven candles (three green, one black, and three red, representing the traditional colors of Africa) are held in a candleholder called a kinara. The kinara and the candles it holds are two of the seven symbols of Kwanzaa, which also include a sampling of crops (fruits and vegetables), ears of corn, gifts, a ceremonial cup (kikombe cha umoja), and a mat on which all of these items are usually displayed during the holiday.\nCelebrations of Kwanzaa vary, but they often include family gatherings, music, and storytelling. A feast (karamu) is held on December 31.\nIn the U.S., Kwanzaa is considered part of what\u2019s known as the holiday season\u2014the period that starts on Thanksgiving and continues until New Year\u2019s Day and also includes the holidays of Hanukkah, Christmas, and New Year\u2019s Eve.\nAlthough it occurs around other religious wintertime holidays, Kwanzaa is not a religious holiday, though some may observe it as a spiritual one. Many African Americans who celebrate Kwanzaa also celebrate other holidays that fall around the same time, including Christmas.\nKwanzaa is sometimes seen spelled with only one a at the end, as Kwanza, but Kwanzaa is generally considered the proper spelling.\nExample: Every Kwanzaa, my grandmother tells the story of our ancestors and our homeland in Nigeria.\nWhere does Kwanzaa come from?\nKwanzaa was created in the 1960s by Dr. Maulana Karenga, an African American scholar and activist. He coined the name Kwanzaa from the Swahili word kwanza, meaning \u201cfirst,\u201d from the phrase matunda ya kwanza, meaning \u201cfirst fruits (of the harvest).\u201d The extra a at the end of the word is said to have been added so that the word would have seven letters, one for each of the children who were present at one of the early Kwanzaa gatherings. The seven letters of the word also echo the significance of the number seven in Kwanzaa (seven days, seven principles, seven candles, and seven symbols).\nKwanzaa combines elements from several traditional African harvest celebrations, and the basis of its name reflects these roots. These elements and the values that Kwanzaa celebrates were intended to strengthen the community bonds of African Americans, especially in relation to the struggle for self-determination, equality, and justice. The holiday was conceived as a way to focus on Black culture in contrast to holidays celebrated by the dominant white culture in the U.S. Most people who observe it don\u2019t consider it a replacement for Christmas (which occurs on December 25, the day before Kwanzaa begins).\nDid you know ... ?\nHow is Kwanzaa used in real life?\nKwanzaa is primarily observed by African Americans, many of whom also celebrate the nearby holiday of Christmas. It is considered part of the holiday season in the U.S.\n\u2764\ufe0f\ud83d\udda4\ud83d\udc9a Is your family familiar with the history + celebration of #Kwanzaa?\n\u2014 Smithsonian's Anacostia Community Museum (@SmithsonianACM) December 5, 2020\n25 years ago, I helped organize Harvard's very first #Kwanzaa celebration.\nIt's principles remain just as relevant today.\nOn this 5th day of Kwaanza, we focus on \"Nia\"- Purpose, making our collective vocation the building and developing of our community.https://t.co/1qI2hB3A9o\n\u2014 Kristen Clarke (@KristenClarkeJD) December 30, 2019\nI hope more Black people celebrate Kwanzaa this year like Juneteenth. It\u2019s a powerful holiday.\n\u2014 Guapo Jame$ (@GiftedGuapo) June 22, 2020\nTry using Kwanzaa!\nTrue or False?\nKwanzaa incorporates elements of several African harvest festivals.\nHow to use Kwanzaa or Kwanza in a sentence\nAs this list shows, punishments typically run to a short-ish jail sentence and/or a moderately hefty fine.\nWinners are solely responsible for any and all federal, state, and local taxes and/or fees that may be incurred.\nWinners will be solely responsible for any and all local, state, and federal taxes, and/or fees that may be incurred.\nWhy aren't you as handsome and/or Canadian as Justin Bieber?Justin Bieber Isn\u2019t Even 21, Yet Makes More Money Than Meryl Streep|Amy Zimmerman|November 25, 2014|DAILY BEAST\nThis band is different from the rock groups that go in for charismatic lighting and sing of love and/or sex.The Stacks: Pauline Kael's Talking Heads Obsession|Pauline Kael|November 22, 2014|DAILY BEAST\nHis name was Lefty something-or-other, and he was about the sneakiest stool the department had.\nBrass\u2014or-molu\u2014gilt platinum to give it weight; this is from Birmingham, not from Australia, nor nature.It Is Never Too Late to Mend|Charles Reade\nHe wuz very peart and sassy, and it was take-it-or-leave-it-and-be-plaguey- quick-about-it all the time.Si Klegg, Book 2 (of 6)|John McElroy\nMeanwhile the whale had made what appeared to be a grand and final neck-or-nothing rush in the direction of the shore.The Norsemen in the West|R.M. Ballantyne\nAmatory, am\u2032at-or-i, adj. relating to or causing love: affectionate.", "id": "<urn:uuid:91a2d179-1a7c-4143-afae-395d7e698b37>", "dump": "CC-MAIN-2022-21", "url": "https://www.dictionary.com/browse/kwanzaa-or-kwanza", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662555558.23/warc/CC-MAIN-20220523041156-20220523071156-00760.warc.gz", "language": "en", "language_score": 0.9417747855186462, "token_count": 1507, "score": 3.84375, "int_score": 4}
{"text": "What distinguishes a good journalist?\nThe public's champion\nHow do ethics and critical thinking apply to everyday reporting?\nGet it in writing\nThe public's champion\nHow do you tell a basic news story?\nThe story changes with the medium\nBackground for your stories\nA journalist's skeptical research\nPlagiarism and Fair Use\nWorking with sources\nWho gets the spotlight?\nHow do you conduct an interview?\nHow do you report what sources say?\nWorking a beat\nStorytelling in other forms\nLeading with something different\nWhat about other kinds of news stories?\nHow storytelling connects to larger forces\nAbbreviated table of contents\nHello fellow educators,\nThe materials on this website are in addition to those available through Oxford UP's system. The site is updated as of February 2022. We hope you and your students find the website useful.\nWix has discontinued one of the functions that we used to design and organize many of our pages back when we built the website. It'll take us a bit to get through and reload all of the affected pages, but the links in adjacent text still work.\nWe'll continue to update the site, but we also know that having a consistent resource center is important for creating syllabi and lesson plans across terms. We want this to be a go-to website for you and your students, so we'll balance currency with consistency. If you have comments or suggestions, please contact us at email@example.com.\n\u2014Jennie Dear and Faron Scott\nThe book is organized into six units. The first five units begin with a section called Habits of Mind. They foreground some ways of thinking that underlie the practice of journalism and of being a journalist, and they relate to one or more of the lessons in the unit\u2019s chapters. The chapters in each unit are closely connected, and the book is designed so that you can reorder the units if you wish. We recommend that you begin with the first unit because we introduce concepts and terms that are used throughout the book. The sixth unit is the book\u2019s conclusion.\nUnit 1 introduces students to the practice of journalism, making explicit some assumptions about what journalists do and what their project is\u2014to serve their audience by providing useful, relevant, interesting information in an ethical way. The Habits of Mind section describes some characteristics a good professional possesses: initiative, persistence and curiosity. The unit provides some historical context to explain why good journalists take their public duty seriously. It introduces an ethical framework to structure a student\u2019s critical thinking about reporting and rendering stories. It provides a case study that asks students to apply the ideas presented so far.\nUnit 2 introduces students to the ways that news is different from other kinds of narratives. The Habits of Mind section discusses how journalists frame reality for their audiences and also some ways for students to decide whether a story is newsworthy and why. The unit covers the basics of news language and story structure. It introduces students to some ways that the different media employ different storytelling strategies, even as the goal remains the same\u2014useful, relevant, ethically presented information.\nUnit 3 teaches students how to conduct background research for their stories, including assessing website credibility. The Habits of Mind section gives students some historical context regarding the Internet. The unit includes instruction about plagiarism and copyright infringement because these issues can so easily arise when students use websites and social media to gather information.\nUnit 4 covers working with sources. The Habits of Mind section delves into how people can hold really different views of the world and that students' way of seeing isn\u2019t necessarily going to match that of the people they interview\u2014or of the audience. It also talks about objectivity in some depth, so that students know that the goal behind this idea is laudable, but that attempts to be objective often result in less accurate news. This section encourages students to keep an open mind and also to be alert for others\u2019 biases seeping into their news stories. The unit covers source selection, interviewing, quoting, paraphrasing and working a beat. It also includes some instruction on privacy and defamation because these issues can easily arise as students gather information from human sources and make decisions about how to use that information.\nUnit 5 addresses writing beyond the basics the text has discussed so far, including different kinds of leads and story structures. The section on blogging introduces students to reporting with an opinion. The Habits section introduces students to logical fallacies so that they can recognize when someone\u2019s argument contains fallacious reasoning\u2014and avoid perpetuating it by repeating it in their own stories\u2014and so that they can avoid illogical thinking themselves. The unit introduces the concept of pods as a structuring mechanism for longer stories and also how to create transitions. It looks in some depth at the purpose of opinion writing for the journalist, when it\u2019s helpful and when it\u2019s not.\nUnit 6 is a capstone unit that places the ideas and skills presented in the book into the context of some of the other forces students will contend with as they move into the profession. The unit introduces some basic theory about audiences and presents a case study to illustrate the concepts. It introduces students to ideas about how cultural, political and economic systems can influence their reporting. It sets them on the path of educating themselves about these systems, how they overlap and interlock so that, as professionals, they can engage in more expansive, less literal reporting. The unit closes with some inspiring words from professional journalists.", "id": "<urn:uuid:a8361e04-98f0-440b-976a-e0e7be9d90d3>", "dump": "CC-MAIN-2022-21", "url": "https://www.theresponsiblejournalist.com/instructors", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00761.warc.gz", "language": "en", "language_score": 0.9405517578125, "token_count": 1146, "score": 3.65625, "int_score": 4}
{"text": "How to Write a Detailed Character Description\nHow your characters develop is essential to bringing your readers into your story and keeping them engaged in the plot. Readers will be more invested in your story if they can visualize what your characters look like and understand where they are coming from. Key elements of a detailed description include the character's appearance, personality, perspective and motivating goals.\nIntroductions and Appearance\nWhen you meet someone for the first time, you observe his appearance and learn basic information, such as name and profession. Similarly, when you are developing your characters, physical appearance, name, where they're from and what they do are some of the first details to select.\nAs you think about naming your character, think about meanings, origins and derivations of different names.\nAlso consider any nicknames or pet names that could strengthen the relationship between your character and other characters.\nWhile your character's profession will be a basic element in your plot, think about how your character's appearance will affect the action.\nFor example, is your heroine a short, thin, fragile-looking young woman who works in an office by day but is the unexpected assassin at night? When planning appearance, imagine your character's ethnicity, cultural background and any medical information that may affect your plot.\nPersonality and Attributes\nBeyond a name, a character's personality begins to develop as he reacts to events and circumstances. These reactions may not only be to significant plot twists, but also to everyday life: for example, how your character reacts if another driver cuts her off, any addictions she struggles with, or family dynamics such as overbearing or distant relationships -- all add to your character's personality. Plan free-writing or other exercises to fully explore how your character will respond to situations.\nCommunicate your characters' beliefs or religion through dialogue in everyday circumstances as well as through routine actions. Showcase their strengths and weaknesses through inner dialogue as well as character traits, such as forgiveness or compassion, through relationships with other characters.\nPerspective and Background\nThe adage that you can't know where you're going until you know where you've been also applies to character development. As you design your character, map out the background story and events that formed his outlook on the world.\nDecide where he's from and how he got to the present moment in the story. Consider the type of childhood and adolescence your character had, and any changes that occurred.\nFor example, was there an emotionally traumatic event or formative encounter that shaped the type of person he becomes?\nAlso plan the family history and any influential relationships that shaped your character's past. If your character had a family, what were they like? Decide the dynamics with key figures, such as mother, father, siblings or grandparents, and how these dynamics affected your character's maturity.\nMotivation and Goals\nAs you develop your character, decide what goals your character has, and why. A plot is driven by characters' quests and the pursuit of a goal.\nThe protagonist has one goal while the antagonist has another, and as you develop these characters, define these goals as well as the reason your characters are pursuing them. Script the dialogue to reveal how your characters think and feel about each event.\nConsider background and personality when deciding what motivates your character. A character may be motivated by multiple things.\nFor example, a villain may be motivated by greed as well as a desire to find approval from a distant father figure. Motivation is just as important as the name when developing your characters.\nHannah Richardson has a Master's degree in Special Education from Vanderbilt University and a Bacheor of Arts in English. She has been a writer since 2004 and wrote regularly for the sports and features sections of \"The Technician\" newspaper, as well as \"Coastwach\" magazine. Richardson also served as the co-editor-in-chief of \"Windhover,\" an award-winning literary and arts magazine. She is currently teaching at a middle school.", "id": "<urn:uuid:39578b63-0391-4917-9a3d-5b3f94e06761>", "dump": "CC-MAIN-2022-21", "url": "https://penandthepad.com/write-detailed-character-description-4515828.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662538646.33/warc/CC-MAIN-20220521045616-20220521075616-00760.warc.gz", "language": "en", "language_score": 0.9700009226799011, "token_count": 820, "score": 3.65625, "int_score": 4}
{"text": "World Tiger Day\nWorld Tiger Day is observed in the third week of July every year since 2010, is an initiative of the World Wide Fund for Nature (WWF) and a global tiger conservation event marked by the Tiger Project teams across their offices globally. World Tiger Day was created to build awareness about tiger conservation among people around the world. In 2015 World Tiger Day will fall on July 31. That year World Wide Fund for Nature has developed \u2018Tiger Tales\u2019, a storytelling platform that aims at moving people emotionally towards saving wild tigers. The World Bank designated 2011\u20132015 as The Decade of Tiger Conservation during which it pledged up to $240 million over ten years.\nTheme Of the World Tiger Day 2021\nThe Theme of world Tiger Day for this year is \u201cTheir survival is in our hands\u201d. The importance of celebration of this day is necessary because the population of tigers is on the decline. According to World Wide Fund for Nature, there are only approximately 3900 wild tigers around the world.\nThe population of the Tiger\nThe population of the Tiger around the world Tiger Day coincides with World Tiger Day and World Rhino Day. World Wildlife Fund estimates that 3,890 tigers were living worldwide in the wild at the end of 2010. These numbers represent a drop from the 3,000 to 4,200 range reported in 2005 and 2006. Of the nine tiger subspecies, two have already become extinct.\nIn China, tigers are classed as rare animals and are protected under law. There is considered to be an estimate of 70\u201380 Siberian tigers remaining there according to WWF\u2019s Red List 2011. Discovery confirmed that they also live in Russia\u2019s Far East Sakhalin Island grouping which has about 250-340 individuals. South Korean World Conservation Union for Nature (IUCN) has confirmed that there are at least 59 Amur Tiger living in South Korea. They have been noted to be thriving within the area.\nThere are around 1,400 Indochinese tigers remaining of which about 800-1,000 live in Cambodia and Laos. World Wildlife Fund has described their existence as \u2018critically endangered due to habitat loss and hunting for use in traditional medicine. The World Conservation Union (IUCN) estimates the total population of Sumatran Tiger to stand at 434\u2013496 individuals; however, a 2006 study showed only 790 of them left in the wild. Singapore World Wide Fund for Nature places the number between 120-130 animals indicating an increase from previous years where it was in the region of 10-20 tigers.\nCountries with a greater population of tigers are India, Russia, and Indonesia. World Wildlife Fund has reported that the number of tigers in India could be as low as 2000-3000 while in Russia, World Bank estimates about 450 Siberian tiger animals live. There is no official data on the Indonesian population of tiger\u2019s but World Wide Fund for Nature (WWF) believes there are at least 500 tigers living there. On the Other side, the World Conservation Union (IUCN) estimates there are at least 250 Sumatran tigers remaining in Indonesia. World Wide Fund for Nature informs that although the Bengal tiger population is stable in India the area they live in has been reduced to 12% of its original size due to deforestation by humans so this also makes them an endangered species. Maharashtra State World Wildlife Fund has estimated there are about 1500 tigers surviving within the country; twice the number they had predicted 15 years ago according to World Bank. In Bangladesh World Wide Fund for Nature believes there is a stable population of 70 Bengal Tiger left. There are also believed to be between 16 and 21 Siberian tiger animals living in Bhutan.\nBangladesh World Conservation Union World Bank has estimated that the population of Bengal tiger is about 3,500 animals in India. World Bank indicates that tigers are at greater risk than most other species and should be the highest priority for conservation efforts. Today, an estimated 539 Siberian tigers remain within Russia, up from 480 last year World Wide Fund for Nature says but they still face problems due to poaching, logging, and climate change. World Wildlife Fund also states that there are less than 40 Amur Leopard left in South Korea The World Conservation Union (IUCN) estimates there is a total of 2000-3000 Bengal Tiger\u2019s remaining across their range. World Wide Fund for Nature confirms with evidence that 450 Tigers live throughout Thailand.\nIt has been observed that the extinction of tigers from different parts of the world is the lack of disturbance in their habitat due to climate change, hunting of their different species, and deforestation. There is a need to address the issues for the safe habitat for big cats and we should create survival opportunities for such rare species. This article is about the information gathered from different sources and the purpose of writing this article is to create awareness about our environment because we care about the environment.\nGlobal Earth Day\nWorld water Day\nInternational day of forests\nGlobal Recycle Day\nInternational day of Action for Rivers\nFacts about Air Pollution\nFacts about Deforestation\nWhat is Climate Change", "id": "<urn:uuid:cc163107-e7e7-4649-80d0-ef12dcea9cd2>", "dump": "CC-MAIN-2022-21", "url": "https://www.shopycone.com/world-tiger-day/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00761.warc.gz", "language": "en", "language_score": 0.9403486251831055, "token_count": 1046, "score": 3.640625, "int_score": 4}
{"text": "Many owners concerned about over-vaccinating their cats can now test their felines' titer levels to determine whether to vaccinate. However, some experts warn these tests may not be an effective way to measure the level of protection against diseases.\nTiter testing, also known as serology and antibody testing, is a simple blood test to determine whether a cat has responded to its vaccination with a specific \u201ccore\u201d virus vaccine, including the rabies vaccine. Titers tell veterinarians if a previously vaccinated cat still has protective immunity and how long that immunity will last. Owners who want to avoid revaccinating their cats unnecessarily, or to confirm that a kitten is effectively vaccinated, may have their felines titered.\nRabies is a very dangerous viral disease affecting the brain and spinal cord of all mammals, including cats, dogs and humans. In cats, rabies is most often transmitted through a bite from an infected animal, but it can also be passed on when the saliva of an infected animal enters the cat's body through mucous membranes or an open, fresh wound. Vaccination is the only sure way to keep your cat from contracting rabies and, in many states, it is the law.\nMainly, cat owners choose to have felines titered to limit unnecessary revaccinations. Titers measure whether a cat's antibody levels against rabies are high enough for the immune system to attack the virus should the kitty be exposed to it and if so, many owners feel revaccinating is unnecessary -- if not damaging. While vaccines are very effective against the disease, for cats in particular those injections can cause vaccine-related illnesses, such as deadly vaccine associated sarcomas.\nNot all veterinarians provide titer testing, and even if they do it is expensive. Your vet may have to send a blood sample to a major lab or university to get results. Titer test results for cats are currently not accepted as a replacement of rabies vaccination in the US, and for cats titer testing is only done for panleukopenia and rabies. Many vets recommend a three-year rabies vaccination protocol for cats .\nAlways check with your veterinarian before changing your pet\u2019s diet, medication, or physical activity routines. This information is not a substitute for a vet\u2019s opinion.\nDebra Levy has been writing for more than 30 years. She has had fiction and nonfiction published in various literary journals. Levy holds an M.A. in English from Indiana University and an M.F.A. in creative writing/fiction from the Bennington Writing Seminars.", "id": "<urn:uuid:3e650fa6-dfd6-4d19-8041-af177d8063ad>", "dump": "CC-MAIN-2022-21", "url": "https://pets.thenest.com/vets-detect-rabies-titer-levels-cats-11699.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00759.warc.gz", "language": "en", "language_score": 0.9477061629295349, "token_count": 552, "score": 3.59375, "int_score": 4}
{"text": "In reading, third graders focus on expanding skills that \u201cgood readers\u201d develop to better understand and think about what they are reading. They are taught to make text-self, text-text, and text-world connections while they read. In the following unit, students learn about character development through the theme of friendship, focusing on the strategy of visualizing to create mental images while reading. Third graders also focus on asking questions while reading texts with the theme of prejudice. Students work on summarizing skills while reading The Courage of Sarah Noble by Alice Dalgliesh. Students learn what makes a book historical fiction. In the last units of the year, students take all of the reading skills they\u2019ve learned throughout the year and use them to run literature groups. In these groups, students independently discuss what they read, modeled after an adult book club.\nThe third grade writing curriculum is based on the 6 + 1 Traits of Writing program. This approach teaches students to focus on the traits of: ideas, organization, voice, word choice, sentence fluency, conventions, and presentation to improve their narrative and creative writing. Third grade students also learn how to write paragraphs to answer questions using reasons and details to support their answers. Students learn how to organize their ideas in a graphic organizer before starting their writing to help them have a more organized, thought out piece of writing. Grammar is taught using the Framing Your Thoughts program in which students learn to identify parts of speech and the structure of a sentence. Spelling units are individually assigned from the Sitton Spelling and Word Skills Program.\nThird grade math is taught using the ThinkMath! program. Initially, third graders focus on the basic operations: addition, subtraction, multiplication, and an introduction to division. They then learn different strategies to understand and solve problems using these operations. Time is spent focusing on place value and regrouping to better understand how to write numbers and perform calculations. During the year, as students become more fluent with their computation facts, they learn to define patterns through multiple units as well as increase skills related to graphing and fractions. Students complete a geometry unit, in which they examine two and three-dimensional figures. In addition, students identify different attributes to describe a 2-dimensional shape, such as numbers of sides, number of pairs of parallel sides, the size of a figure\u2019s angles and the symmetry of a figure. Students also identify different attributes to describe 3-dimensional figures, such as faces, edges, and vertices. Finally, third graders practice measuring length, area, and volume and using appropriate corresponding units of measure.\nIn third grade, students learn how to track their predictions, observations, data, conclusions, and learning in a science notebook. The first science unit focuses on the science of sound. Students explore how sounds are made, how the characteristics of an object can affect the sound made, and how they can then change the sound of an object. Students then learn how the ear works, which connects to learning about deafness. The next science unit in third grade focuses on light during winter, the darkest time of the year. They explore characteristics of light, learning about how light, as energy, interacts with objects. Subsequently, they learn about the different parts of the eye which leads to learning about blindness. This unit is taught in conjunction with Chanukah, the Jewish festival of lights. Students interpret different Jewish texts that mention light. Next, students explore the properties of water and study the water cycle. Students consider ways in which people can conserve water while learning about how water is cleaned. In our ocean unit, students explore oceans as ever moving and changing bodies of diverse life that are made of different biomes and structures. Students look at what defines different zones in the ocean. During this unit, students also learn how to create their own educational videos to teach others about the ocean. In the last science unit, students learn about whales. Students look at what makes these marine mammals unique inhabitants of the ocean and which adaptations they have developed to help them survive.\nThird graders study our state, Massachusetts. Students learn about our state\u2019s geography, natural resources, and history. Third graders learn the differences between a primary and secondary source and how historians use them. Students discuss how to use an artifact to learn about history. As we explore our state\u2019s early history, students learn about Native Americans who lived (and live) here, the Wampanoag, the first English settlers in Massachusetts, who are often referred to as the Pilgrims, and the historically accurate version of their first interactions and the \u201cFirst Thanksgiving.\u201d\nThird grade students are immersed in a completely Hebrew speaking environment. They learn directions and basic needs for everyday life which enables them to express themselves more comfortably in Hebrew. The Tal Am program is the foundation for Hebrew instruction. The first unit covers the classroom and school environment. Students learn verbs and vocabulary associated with their school day. Next, students learn about their home environment including clothing for all seasons, household items and appropriate verbs. Students also focus on food and nutrition; they learn how to categorize different items of food and how to create a balanced meal using Hebrew vocabulary. Additionally, Israeli childhood songs are introduced as a vehicle for teaching new vocabulary and Israeli culture.\nTorah is taught using the MaTok curriculum which examines Torah in Hebrew verses. Students learn to find meaning in the text with the goal of becoming comfortable with biblical Hebrew. Students learn how to identify characters in the text, roots of words, repetition of words, nicknames, places, and conversations. Using these skills, students are able to make connections to modern Hebrew and get the main idea from the text. Some deeper conversations are conducted in English, but students are able to discuss the text in Hebrew, as well. Through the parashot Lech Lecha, Vayera, and Toldot, students explore and discuss the following themes: brit (covenant) and peoplehood, welcoming guests, family relationships, and the struggle between good and evil.\nStudents experience community tefila twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students\u2019 spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings.\nAs the school year progresses, students learn about the Jewish holidays in Hebrew through discussion and reading Hebrew stories.. They examine different customs and traditions associated with each holiday and continue practicing the corresponding blessings. Students compare and contrast how holidays are celebrated in America and in Israel.\nStudents develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland.\nThe goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through joyful discovery of classical and contemporary music, students cultivate musicality and knowledge. Third graders continue working on singing in-tune with expression and confidence while gaining confidence on stage. Third graders continue to learn to read music and play recorders. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics.\nStudents work with a variety of drawing tools, paints, and papers. Students learn techniques for drawing, painting, weaving, printmaking, and collage. Third graders continue learning their elements of art such as line, shape, color, and texture. Emphasis is put on the creative process rather than the finished product. Art history is an important component of the curriculum. Throughout the year, art is integrated with units of study in the classroom which helps children visually understand subjects/content more clearly.\nThird graders begin the year discussing emotions and how they apply to different characters. Students break down stories and then act them out, working in teams. Students continue learning about stage mechanics and demonstrate their ability to work with a director by rehearsing and performing a short play. In third grade students create a play from scratch, working in groups to brainstorm, outline, write, and perform their own work.\nIn third grade physical education, students participate in low and high energy activities. By developing physical coordination, sportsmanship and problem solving, students learn through teaching fundamentals and rules of major sports, as well as physical fitness, stretching, and agility. Units over the school year include soccer, flag football, basketball, handball, strategy games, and floor hockey. Through the incorporation of skills, age appropriate rules, and scrimmages, students learn new sports by developing their physical fitness, playing respectfully with peers and engaging in healthy competition.", "id": "<urn:uuid:9882aebe-f297-47f9-8efe-c60d86c1157b>", "dump": "CC-MAIN-2022-21", "url": "https://epsteinhillel.org/experience-ehs/curriculum/grade-3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00360.warc.gz", "language": "en", "language_score": 0.9544898271560669, "token_count": 1895, "score": 4.125, "int_score": 4}
{"text": "\"Histories are the stories we tell about the past.\"\n\u2014Peter Seixas and Tom Morton, 1\nWhy the Big Six Historical Thinking Concepts?\nPeter Seixas and Tom Morton, both historians and educators, recently published The Big Six Historical Thinking Concepts. It is a framework for teaching historical thinking\u2014or developing competencies that enable individuals to think like historians.\nThe big six are historical thinking concepts designed to be integrated into all aspects of teaching, from writing objectives, to selecting resources, to deciding on strategies, and to assessment. More than skills or outcomes, the big six historical thinking concepts are habits of mind.\nSeixas and Morton explain that because history is comprised of stories, there are inherent problems in its production. The most fundamental problem is the relationship between a historian and the past she or he is researching. This is because historians bring their own interpretive lenses to historical inquiries. Historians also make choices in order to draw coherence and make meaning from the past. This is another problem because different historians may make different choices, depending on their unique interpretive lenses. The distance between a historian's present time and the specific past she or he is researching is also problematic, because of the quality and type of evidence she or he is able to find.\nHistory arises from historians grappling with these problems\u2014it \u201cemerges from the tension between the historian\u2019s creativity and the fragmentary traces of the past that anchor it\u201d (Seixas and Morton 2). These traces of the past are the pieces of evidence that historians find\u2014perhaps archival, architectural or archaeological materials\u2014and then select as foundations to their historical arguments and storytelling.\nHistorical thinking is the creative process undertaken by historians when they interpret evidence from the past and produce stories of history. It is a specific way of thinking and working, and it can be taught.\nTeaching historical thinking implies paying attention to the ways historians do their craft, rather than only to their final product, which is the story they tell. The six historical thinking concepts framework helps students and teachers think about how historians create history from the past, and to then begin creating history themselves.\nThe first of the big six historical thinking concepts is Historical Significance. Historians decide what is significant, or important to learn about, from the past, and they always do this in context. For example, Antigua\u2019s Spring Gardens Moravian Mission is significant to the story of Mary Prince because she was a member of that congregation, but the Mission may not be significant to the story of other historical actors.\nThe second concept is Primary Source Evidence. Making a historical claim that others can justifiably believe requires finding, selecting, contextualizing, interpreting, and corroborating sources that will be the foundation for an historical argument. This website includes many primary sources for exploration that corroborate Mary Prince\u2019s story. These are, for example, pages from Slave Registers of former British Colonial Dependencies for both Antigua and the Bahamas, and pages from A Complete Catalogue of all the Brethren and Sisters, who served in the Mission of the United Brethren at Antigua, and also of their Children, born in this Island.\nThe third concept is Continuity and Change. Some things change over time, but others stay the same, or are modified. Take enslavement, for instance. Enslavement officially ended in the British Empire 1 August 1834, but, as of today, enslavement has not ended worldwide. Perhaps the clothing we wear, or the food we eat, was completely, or partially, fabricated or grown by modern day slaves.\nThe fourth concept is Cause and Consequence. How has the interaction of human agency, coupled with the conditions of a specific time, shaped the course of events? For example, in the case of Mary Prince and her story, what was the consequence of the work of the collaborative storytelling, compiling, and editing team that brought The History of Mary Prince to print in 1831? Were there short-term consequences? Were there long-term consequences?\nThe fifth concept is Historical Perspectives. Using evidence-based inferences, is it possible to \u201csee through the eyes\u201d of an historical actor without engaging in presentism? Presentism is when we impose today\u2019s (the present time\u2019s) thoughts, beliefs, and values onto historical actors. Can we, for example, use evidence to explain what it might have been like growing up as a wealthy Bermudian slave-owner\u2019s son, with enslaved people of his own age also growing up in the same household?\nThe sixth concept is The Ethical Dimension. This is tricky because in the face of past injustices\u2014such as the transatlantic slave trade and colonial enslavement\u2014an ethical stance is unavoidable. However, as with Historical Perspectives, where we must avoid engaging in presentism, we can tread carefully. We can ask these questions: \u201cHow should we judge historical actors? What are the implications for us, today, of the horrors and heroisms of the past? How can we use the study of the past to inform judgments and actions on controversial issues in the present?\u201d (Seixas and Morton 6). For example, in the context of Mary Prince and her story, are we in any way informed about modern day enslavement? Do Mary Prince and her story invite actions regarding modern day enslavement?\nMy goal in including the big six historical thinking concepts with this website is twofold. First, it is to introduce students and educators to the very important work of Seixas and Morton. Secondly, it is to provide a set of first stepping-stones for students to start thinking historically\u2014like historians. For some, it might be the beginning of seeing our world in a new way.", "id": "<urn:uuid:be6a4ec5-87f2-427c-ac64-97e03adc5d3c>", "dump": "CC-MAIN-2022-21", "url": "https://www.maryprince.org/historical-concepts", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662584398.89/warc/CC-MAIN-20220525085552-20220525115552-00160.warc.gz", "language": "en", "language_score": 0.9512286186218262, "token_count": 1190, "score": 3.8125, "int_score": 4}
{"text": "How We Learn (The Great Courses Series)\nDiscover how the minds of your students acquire, process, store, and retrieve information. This course includes a fascinating, 24-video lecture series from The Great Courses that covers topics on learning theories, learning strategies, learning language, learning styles, the role of emotion in learning, cultivating desire to learn, and the domains of learning. This course will not only provide valuable, research-based learning theory, but will allow you the opportunity to make practical application to your teaching.\nLearning is a Lifelong Adventure\nIt starts in your mother's womb, accelerates to high speed in infancy and childhood, and continues through every age, whether you're actively engaged in mastering a new skill, intuitively discovering an unfamiliar place, or just sleeping, which is fundamental to helping you consolidate and hold on to what you've learned. You are truly born to learn around the clock.\nBut few of us know how we learn, which is the key to learning and studying more effectively. For example, you may be surprised by the following:\n- People tend to misjudge what they have learned well, what they don't yet know, and what they do and do not need to practice.\n- Moments of confusion, frustration, uncertainty, and lack of confidence are part of the process of acquiring new skills and new knowledge.\n- Humans and animals explore their worlds for the sake of learning, regardless of rewards and punishment connected with success.\n- You canteach an old dog new tricks. In fact, older learners have the benefit of prior knowledge and critical skills\u2014two advantages in learning.\nShedding light on what's going on when we learn and dispelling common myths about the subject, How We Learn introduces you to this practical and accessible science in 24 half-hour lectures presented by Professor Monisha Pasupathi of the University of Utah, an award-winning psychology teacher and expert on how people of all ages learn.\nWe are all devoted to lifelong learning and may be surprised at how complicated the process of learning is. We have a single word for it\u2014learn\u2014but it occurs in a fascinating variety of ways, which Professor Pasupathi recounts in detail. She describes a wide range of experiments that may strike a familiar chord as you recognize something about yourself or others:\n- Scripts:We have trouble recalling specific events until we have first learned scripts for those events. Young children are prodigious learners of scripts, but so are first-time parents, college freshmen, foreign travelers, and new employees.\n- Variable ratio reinforcement:Children whining for candy are usually refused, but the few occasions when parents give in encourage maximal display of the behavior. The same principle is behind the success of slot machines and other unpredictable rewards.\n- Storytelling:Telling stories is fundamentally an act of learning about ourselves. The way we recount experiences, usually shortly after the event, has lasting effects on the way we remember those experiences and what we learn from them.\n- Sleeper effect:Have you ever heard something from an unreliable source and later found yourself believing it? Over time, we tend to remember information but forget the source. Paradoxically, this effect is stronger when the source is less credible.\nDr. Pasupathi's many examples cover the modern history of research on learning\u2014from behaviorist theory in the early 20th century to the most recent debates about whether IQ can be separated from achievement, or whether a spectrum of different learning styles and multiple intelligences really exist.\nWhat You Will Learn\nYou start by examining 10 myths about learning. These can get in the way of making the fullest use of the extraordinary capacity for learning and include widespread beliefs, such as that college-educated people already know how to maximize learning or that a person must be interested in a subject in order to learn it.\nProfessor Pasupathi then covers mistaken theories of learning, such as that lab animals and humans learn in the same way or that the brain is a tabula rasa, a blank slate that can absorb information without preparation. Babies might seem to be a counterexample, showing that you can learn from scratch. However, you examine what newborns must know at birth in order for them to learn so much, so quickly.\nNext you explore in depth how humans master different tasks, from learning a native language or a second language, to becoming adept at a sport or a musical instrument, to learning a new city or a problem-solving strategy, to grasping the distinctive style of thinking required in mathematics and science. Then you look inside the learning process itself, where many factors come into play, including what is being learned and the context, along with the emotions, motivations, and goals of the learner. You close by considering individual differences. Some people seem to learn without effort. How do they do it?\nTips on Learning\nAlong the way, Professor Pasupathi offers frequent advice on how to excel in many different learning situations:\n- Mastering material:Testing yourself is a very effective strategy for mastering difficult material. Try taking a blank sheet of paper and writing down everything you can recall about the subject. Then go back and review the material. Next, try another blank sheet of paper.\n- Second-language learning:Becoming fluent in a second language in adulthood is difficult because your brain is tuned to your native language and misses important clues in the new language. To overcome this obstacle, immerse yourself among native speakers of the new language.\n- Motivating a child:When trying to motivate a schoolchild to learn, avoid controlling language, create opportunities to give the child a sense of choice, and be careful about excessive praise and other forms of rewards, which can actually undermine learning.\n- Maintaining a learning edge:Middle-aged and older adults can preserve their learning aptitude by exercising to maintain cardiovascular health, staying mentally active, and periodically trying a new challenge, such as learning to draw or studying new dance steps.\nAdventures in Learning\nWinner of prestigious teaching awards from her university's chapter of Psi Chi, the National Honor Society in Psychology, Dr. Pasupathi brings today's exciting field of learning research alive. Her descriptions of ongoing work in her field, in which she is a prominent participant, are vivid and insightful, allowing you to put yourself into a given experiment and ask, \"How would I react under these circumstances? What does this tell me about my own approach to learning?\"\nBy the end pf this course, you will appreciate the incredible breadth of what we learn in our lifetimes, understand the commonality and diversity of human learning experiences, and come away with strategies for enhancing your own adventures in learning.\n\"Learning is a human birthright,\" says Professor Pasupathi. \"Everything about us is built for lifelong learning\u2014from our unusually long childhood and our large prefrontal cortex to our interest in novelty and challenge.\" And she finds reason for optimism about the future of humanity due to our almost miraculous capacity to learn.", "id": "<urn:uuid:f1735425-a89c-4230-bddb-dfba93b6ce2e>", "dump": "CC-MAIN-2022-21", "url": "https://ce.fresno.edu/educator-courses/edu-953/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531352.50/warc/CC-MAIN-20220520030533-20220520060533-00160.warc.gz", "language": "en", "language_score": 0.942880392074585, "token_count": 1431, "score": 3.734375, "int_score": 4}
{"text": "Any questions about this class? Use the Chat Button (lower left) to talk with us.\nLed by Michelle Schusterman, author of over a dozen critically acclaimed novels for middle grade and young adult readers. Her books have received starred reviews from Kirkus, Booklist, and Publisher's Weekly and have received honors including multiple Junior Library Guild selections, the CBCC Best of 2019 List, ALA's Rainbow List and Quick Picks for Reluctant Readers List, and the NC State College of Education Comic Relief Reading List.\nDiscover the art of fiction writing and learn how stories are made: from imagination, to writing, to revision. Explore the writing craft with daily creation and writing activities that will help develop your unique voice and activate an understanding of fiction writing techniques.\nThis 8-module workshop is for anyone interested in writing fiction in any genre. Each module focuses on a lecture combined with a writing activity designed to develop a particular area of storytelling, such as character development, plot and structure, and narrative voice. Students are encouraged to set a project goal for the course, such as \u201cfinish a short story\u201d or \u201cwrite the first three chapters of my novel.\u201d\nStory Starters. How do you turn an idea into a story? Michelle kicks things off by sharing the three ingredients writers need to take that seed of an idea and create a plot around it, using her own novel Spell & Spindle as an example. The lesson will end with a writing activity designed to help writers find a plot for their story idea and get started.\nPerspective and Tense. Michelle will discuss the different perspectives and tenses writers use and how to choose the right combination of each for a story, using several examples from published novels to illustrate why authors choose past or present, and first, second, or third person, and what effect those choices have on the tone of the story. This lesson includes a perspective/tense-swap activity designed to help students think more critically about these important elements and settle on a perspective and tense for their story-in-progress.\nCharacter Motivation. Michelle will lead a discussion on maybe her favorite topic of all time: finding protagonists\u2019 internal and external wants and needs. This lecture includes an analysis of several well-known stories and protagonists, along with a writing activity focused on characterization that will help writers get to know their protagonists even better.\nPostulates and Character Arcs. Michelle will introduce the concept of character postulates or beliefs and discuss how a character\u2019s behavior drives their choices and pushes the action forward. Students will create a \u201cGolden Triangle\u201d to help find the shape of their character arc.\nNarrative Voice. Michelle will get into the nitty gritty details on the elusive topic of \u201cvoice\u201d in fiction; what is it? How can we find our unique voice as writers? This lesson includes a \u201ccomplex emotions\u201d activity to help students show the reader how a character feels, rather than tell.\nWorld-building. Michelle will lead a discussion on the importance of world-building in any genre of fiction\u2014it\u2019s not just for sci-fi and fantasy! Writers will analyze excerpts from multiple novels in different genres to identify how the author incorporated details through narration and dialogue that helps the reader visualize the setting. This lesson includes a story annotation activity.\nSummary vs narration. Michelle will lead a discussion on the difference between summary/exposition and narration, and provide examples of her own writing to illustrate the process of turning exposition into narrative fiction. This lesson includes a writing activity that will help students strengthen their own narration, as well as identify unnecessary exposition.\nRevising and Editing. Michelle will lead a discussion on figuring out the end of a story. What makes a satisfying ending? Can you have a few loose ends? What about cliffhangers? This lesson includes a Book Map template to aid students in coming up with a game plan for tackling revisions of their stories.\n- Michelle is one of the best writing teachers I have ever had and I am very grateful for everything she has done to help me. Thanks to this course and her guidance, I have been able to start my book. I am indebted to her.\n- Michelle's course was AMAZING!!!!\n- Ms. Schusterman provided us with lots of advice and kindness. She was one of the best writing instructors I have ever had!\n- She's a real published author with her own wiki page and I can't believe I got to study with her!\nONLINE COURSE STRUCTURE:\nThis is an online video class with 8 modules spaced out over the course of 8 weeks. The weekly modules are entirely asynchronous, which means you complete the weekly assignments on your own schedule. Upon enrollment, you'll receive an invitation to activate your account in Thinkfic, our online platform for video courses.\nYou can pay for the course in full or use Affirm or Shop Pay to pay over time with equal Monthly Payments. These options are available at checkout.\nInstructor: Michelle Schusterman\nClass video course starts upon enrollment\nCourse is fully ONLINE; students can work according to their own schedule within weekly deadlines.\nOnce you have enrolled, you'll receive an invitation to activate your account in Thinkfic, our online platform for video courses.\nContact us HERE if you have any questions about this class.\nMichelle Schusterman is the critically acclaimed author of over a dozen novels, including Spell & Spindle and The Pros of Cons, as well as the Kudo Kids mystery series co-authored with Olympic medalists Maia and Alex Shibutani. Michelle\u2019s books have received starred reviews from Kirkus, Booklist, and Publisher\u2019s Weekly and have received honors including multiple Junior Library Guild selections, the CBCC Best of 2019 List, ALA\u2019s Rainbow List and Quick Picks for Reluctant Readers List, and the NC State College of Education Comic Relief Reading List. In the last seven years, Michelle has led hundreds of creative writing workshops with organizations including Writing Workshops Dallas, Writopia Lab, and Lawson Writers Academy.", "id": "<urn:uuid:aa2df44b-e660-4efb-9d3e-c170da2395e2>", "dump": "CC-MAIN-2022-21", "url": "https://writingworkshops.com/products/1584107", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00361.warc.gz", "language": "en", "language_score": 0.9475067853927612, "token_count": 1312, "score": 3.59375, "int_score": 4}
{"text": "Story goals need to be a catalyst for change. The goal is the thing that everyone in the overall story is, to varying degrees, for or against.\nHow do story goals come about\u2014through conflict! (See the next two weeks about external and internal character conflict). This is a short article to help set the stage for the character development, conflicts, needs, motivation, lies, and even the villain/antagonist of your fictional characters.\nHere is a formula to help you write the structure:\nWill _____________ help/destroy/side with the __________thus ___________.\nIn other words: character + goal + internal conflict = plot. Your character must have a goal, and then you, as the author, write events that run the character into conflicts (internal and external interwoven make for the more powerful plots).\nClarification of Internal Conflicts\nGollum against his split personality\nKatniss must kill Peeta. She can\u2019t!\nAragon fighting the blood that runs through his veins\nStory Goal Example:\nWhat is the catalyst for conflict in the Hunger Games? The Games! They are designed to pit children again children to fight to the death to keep order in society. Yet, the moral conflicts that arise in Katniss show the reader that this is not as cut and dry as President Snow would have you think.\nKatniss volunteered to save her sister. She has some skills, but she is not entering thinking she can actually win. She knows that she must keep her sister. As she says goodbye to everyone, the reality of the games weighs heavy on her, and she snaps, she must survive. She must win. But her word, survive, means she will not engage in killing unless she absolutely has to. She has a moral conflict (internal) with the goal in front of her (external conflict), but she has to do it because her life is on the line.\nTo be clear, the external conflict is when the character struggles to achieve their goal due to opposition from another character. Character + goal + external opposition = plot.\nHere are some other external examples:\nFrodo is against Saron\u2019s Army\nHarry is against Voldemort\nKatniss is against President Snow/the Games\nBack to Katniss, the Game Makers\u2019 external conflicts under President Snow\u2019s direction build the tension and anger for the reader. The arena is the place that contains much of the external conflict. It is suddenly breached when Katniss buries Rue. District 12 snaps and can\u2019t take it anymore more. Even though Katniss does not know what happened outside of the arena, the readers do. This helps to build the story to have the trilogy because the arena no longer contains the external conflict. It is now spreading. Thus this is how a rebellion starts.\nBack to the point of a Story Goal: the goal is the thing that everyone in the overall story is, to varying degrees, for or against. Authors, with that knowledge of your goal, it will help you set the stage for your plot, your characters, and the complexity that will happen as internal and external conflicts arise. Watch for internal and external conflict for the characters in the next few weeks; Happy writing!", "id": "<urn:uuid:cd437fc3-22c0-4006-a6eb-09ade49a9750>", "dump": "CC-MAIN-2022-21", "url": "https://www.apriltribegiauque.com/post/story-goals-catalyst-for-creating-connected-characters", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662584398.89/warc/CC-MAIN-20220525085552-20220525115552-00158.warc.gz", "language": "en", "language_score": 0.9645739197731018, "token_count": 677, "score": 3.796875, "int_score": 4}
{"text": "Fourth grade reading begins with the book Wonder by R.J. Palacio. Students work on the skill of understanding a character\u2019s perspective and discuss the theme of choices. The second novel is The King of Mulberry Street by Donna Jo Napoli. This work of historical fiction connects to the social studies unit on immigration. Students then read biographies of famous individuals and perform monologues as the individual, outlining main events from the person\u2019s life. Students also read Hana\u2019s Suitcase by Karen Levine and Because of Winn-Dixie by Kate DiCamillo. As students read each book, they engage in conversations, complete comprehension questions, and answer writing prompts. After finishing each novel, the students complete a culminating creative project. Students also study poetry during which they are introduced to several forms of poetry, including rhyme, free verse, haiku, and concrete. Students analyze the structures, tone, imagery, and meanings of each poem, as well as look for examples of figurative language (similes and metaphors).\nThe writing curriculum is based on the 6 + 1 Traits of Writing program. This approach teaches students to focus on the traits of: ideas, organization, voice, word choice, sentence fluency, conventions, and presentation to improve their narrative and creative writing. Grammar is taught using the Framing Your Thoughts program. Students are taught the structure of a sentence and learn to identify parts of speech. Students are assigned spelling units from the Houghton Mifflin Spelling and Vocabulary: Words for Readers and Writers program. The word lists are organized by principles, patterns, and word parts.\nMath is taught using the ThinkMath! program. One focus is on the main operations: addition, subtraction, multiplication, and division. Students become fluent with their computation facts and solve word problems that utilize their conceptual understanding of the relationship amongst these operations. Students complete a geometry unit, in which they label triangles, classify quadrilaterals, determine area and perimeter, and find the volume of 3D shapes. Students explore fractions and mixed numbers through comparing fractions, finding equivalent fractions, and modeling addition of fractions. Students locate decimals on the number line, connect decimals and fractions, represent decimals using pictures and money, and add and subtract decimals. Students compute with time and money, measure temperature, and measure length, capacity, and weight using units of measure in both the customary and metric systems.\nThe first unit of study is the solar system. Topics include: the sun as our energy source, the phases of the moon, constellations, seasons, and the characteristics of the eight planets in our solar system. To conclude, students write a research paper about a particular planet and create a 3D model. The next unit focuses on the human body. Students learn about six of the body\u2019s systems: skeletal, digestive, circulatory, nervous, respiratory, and muscular. Students also 3D print models of the body\u2019s organs, muscles, and bones. The final unit is electricity. Students learn how batteries and wires conduct electricity to a light a bulb and what types of materials are conductors and insulators. Ultimately, students build a cardboard house and wire it to independently produce electricity in four separate rooms.\nThe first unit of the year is mapping. Students learn how to read and interpret different types of maps including main features such as: compass rose, map scale, and legend. Students also learn to locate cities on a map using lines of longitude and latitude. The next unit is immigration which on immigration to the United States from Europe between 1840 and 1920. The students study reasons for immigration, the journey to America, and the experiences that immigrants had once they arrived in America. In conjunction with our reading of Hana\u2019s Suitcase in language arts, students are given an age-appropriate introduction to the Holocaust. During this unit, students explore how individual actions affect others in the past, present, and future. As part of this unit, students participate in The Bandage Project, a California-based tolerance study where students collect bandages as a way to memorialize the children who perished in the Holocaust. For the final unit of the year, students independently research a country, analyzing its government, economy, geography, and people.\nStudents continue to develop conversational skills, as they are expected to speak in Hebrew throughout class. The Yesh VaYesh program provides videos and activities for students to learn more about Israeli culture and Hebrew grammar. Students study the four seasons and learn vocabulary associated with weather terms, clothing, and activities. Students learn vocabulary used to describe people physically, their likes and dislikes, and hobbies. Students also learn the vocabulary of daily schedules at home and in school as well as food and nutrition. Throughout each unit, the students are taught Hebrew grammar. Discussions of modern life in Israel are infused into each unit.\nTorah is taught using the MaTok curriculum which examines Torah in Hebrew verses. Students learn to find meaning in the text with the goal of becoming more independent biblical Hebrew learners. Some deeper conversations are conducted in English, but students are able to discuss the text in Hebrew as well. Connections are drawn between modern Hebrew and biblical Hebrew, and students review specific strategies to \u201cunlock\u201d the text (characters, roots, verbs, repeated words). The parashot of Vayetze, Vayishlach, Miketz, Vayigas, and Vayhi are studied in depth. The themes of these these parshot are explored in connection to the text.\nStudents experience community tefillah twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students\u2019 spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings.\nAs the school year progresses, students learn about the Jewish holidays in Hebrew. They examine different customs and traditions associated with each holiday. They also review any blessings that are connected to each holiday. Students focus on the history of different holidays and the connection to Israel. Students also read stories in Hebrew about many of the holidays.\nStudents develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland.\nThe goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through classical and contemporary music, students learn to sing in-tune with expression and confidence while gaining confidence on stage. They read music and play several instruments including ukuleles and drums. Students also explore music composition using technology such as Garage Band. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics. The curriculum fosters an atmosphere of fun, while teaching songs that enrich the children\u2019s Hebrew literacy, knowledge of Judaics and love of the land of Israel.\nStudents work with a variety of drawing tools, paints, and papers in sophisticated ways. Students learn techniques for drawing, painting, printmaking, and collage. Within each grade level, elements of art such as line, shape, form, color, texture, value, and space are taught. Emphasis is put on the creative process rather than the finished product. Art history is an important component of our curriculum; students study different artists and art movements from the past to the present. Some movements that may be included are: Impressionism, Abstract, Folk and Pop Art. Throughout the year, art is integrated with units of study in the classroom and teachers work collaboratively on skills and concepts to deepen learning.\nFourth graders build upon previous years\u2019 work by discussing how emotions can change over time and conveying this idea in improvised mini-scenes. During the year students learn different techniques for developing characters, focusing on how different energies can affect a person physically (for example, using different walks to show the difference in emotions and characters). Fourth grade is also a team-building year, working together towards the common goals of performance and prop/costume creation. Students also demonstrate the ability to self-improve by giving and accepting feedback from their peers as they work towards a performance.\nStudents in fourth grade physical education participate in sports education, teamwork, physical fitness activities, and athletic strategy. In addition to gross and fine motor coordination, stretching and agility, middle school students are taught age appropriate sports skills and team communication through drills as well as game-like scenarios. Units include soccer, flag football, team strategy games, floor hockey, ultimate frisbee, individual problem solving games and basketball. Social team building and sportsmanship skills are woven into game-like scenarios to teach students, not only the skills to play multiple sports, but the interpersonal skills to function in a fast paced team environment.", "id": "<urn:uuid:f4df3bf2-c52a-4d68-a2c1-15fdb8bda0f9>", "dump": "CC-MAIN-2022-21", "url": "https://epsteinhillel.org/experience-ehs/curriculum/grade-4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00361.warc.gz", "language": "en", "language_score": 0.9455629587173462, "token_count": 1940, "score": 3.828125, "int_score": 4}
{"text": "This is the fourth installment in a series at #TeachLivingPoets. The Poet Laureate Project features a different U.S. Poet Laureate each month during the 2019-2020 school year. Guest author Ann Cox highlights one or two of their poems, suggests activities to use these pieces in the classroom, and touches upon their contributions to the promotion of poetry in America. Ann Cox has over 20 years of experience teaching high school English, including AP Lit, Creative Writing, and Speech. She also spent several years as a teacher consultant for the Illinois State Writing Project.\nThis month\u2019s featured Poet Laureate is Louise Gl\u00fcck, who served as Poet Laureate from 2003-2004. Some of her many honors include a National Book Award, a Pulitzer Prize, and a Gold Medal for Poetry from the American Academy of Arts and Letters.\nGl\u00fcck is well-known for her reworking of Roman and Greek myths, so I\u2019ve chosen to spotlight her poem \u201cA Myth of Devotion.\u201d The poem is part of her collection entitled Averno, a series of eighteen poems about the myth of Persephone.\nWays to Introduce the Poem\nBefore reading this poem, students need to be familiar with the myth of Persephone and Hades. You can find various versions of the story online, such as this one.\nYou might begin the lesson by showing the painting below, which depicts the abduction of Persephone by Hades. Ask students to consider the following questions:\n- Examine any connotative meanings of the words in the painting\u2019s title.\n- Analyze the following elements of indirect characterization for each figure in the painting: appearance, action/movement, and effect on others.\n- Is the painting dominated by cool or warm colors? What symbolic meanings can be derived from the colors that the artist uses?\nReflect upon your responses to questions 1-3 and describe the artist\u2019s attitude towards the subject of this painting. Explain how two details from the work establish this tone.\nWorking with the Poem\nI always like to read poems aloud\u2013and read them multiple times\u2013whenever possible. I\u2019d suggest having various students read aloud a stanza the first time through; then you can read the poem aloud the second time as students focus further on the meaning of the poem.\nOnce you\u2019ve read through the poem, students are ready to annotate. Ask them to consider the following as they take notes:\n- Examine any connotative meanings of the words in the poem\u2019s title.\n- Characterize Hades by analyzing the following elements: his thoughts, actions, and effect on others.\n- Mark examples of imagery. What mood do these images create?\n- Reflect upon your responses to questions 1-3 and describe the speaker\u2019s attitude towards Hades. Explain how two details from the poem establish this tone.\nYou might also use Jen Flisinger\u2019s lesson Considering Diction in Poetry Using Concentric Circles as an alternative way to work through this poem. Either of these methods would produce some great class discussions.\nNote: Discussion of this poem may bring up the issue of sexual consent. For more information on how to address this sensitive issue in your classroom, check out this article from School Library Journal.\nThere are several interesting pairings you could do with this poem:\n- Obviously, you could study \u201cA Myth of Devotion\u201d within a Greek mythology unit.\n- Pair with another of Gl\u00fcck\u2019s poems \u201cA Myth of Innocence,\u201d which focuses on the same myth, this time from the point of view of Persephone. This could be extended into a writing opportunity: Choose another myth (or any story, really) and ask students to write from the point of two of the characters.\n- You could also pair \u201cA Myth of Devotion\u201d with other modern mythology poems that focus on point of view. Consider Margaret Atwood\u2019s \u201cSiren Song,\u201d \u201cMedusa\u201d by Frieda Hughes, or even Suzanne Vega\u2019s song \u201cCalypso.\u201d\n- Here\u2019s an idea I\u2019m excited about experimenting with: Put together a mini unit on point of view. In addition to Gl\u00fcck\u2019s poem, include pieces that have intriguing viewpoints for characters students are already familiar with. Two great examples spring to mind: Neil Gaiman\u2019s \u201cSmoke and Mirrors\u201d (which presents a whole new way of looking at Santa Claus) and Five for Fighting\u2019s song \u201cSuperman (It\u2019s Not Easy).\u201d Students could then use those works as mentor texts for their own point of view pieces.\nI hope you found some inspiring ideas for introducing Louise Gl\u00fcck\u2019s poetry to your students. Join us again next month, when the featured Poet Laureate will be Juan Felipe Herrera.\nThank you for reading! Do you have a story, lesson, activity, or something else to share with TeachLivingPoets.com? Be a guest author! Email me at email@example.com.\nIf you want to order a #TeachLivingPoets shirt, check out my awesome sister-in-law\u2019s Facebook store Megan\u2019s Makes. Shirt options are: white/black/gray/blue unisex crew-neck S-XXXL, black/white women\u2019s v-neck S-XL. All shirts are $20, PayPal accepted.\nYou can follow me on Twitter at @MelAlterSmith and please tweet all the awesome things you are doing in your class with the #TeachLivingPoets hashtag!", "id": "<urn:uuid:05ae2248-86e2-433d-9316-62091e128d27>", "dump": "CC-MAIN-2022-21", "url": "https://teachlivingpoets.com/2019/12/12/louise-gluck-making-the-ancient-new-again/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662593428.63/warc/CC-MAIN-20220525182604-20220525212604-00762.warc.gz", "language": "en", "language_score": 0.9383506774902344, "token_count": 1204, "score": 3.578125, "int_score": 4}
{"text": "When a child is able to focus its attention, it is able to learn. When attention is fragmented or fades too quickly, little learning takes place. In this post I will explain why rhythm has a strong role to play in strengthening working memory, self-regulation and cognitive switching. These three aspects of cognitive control influence the way that attention supports learning. A weak working memory is frequently described as an invisible \u2018barrier\u2019 to learning and is prevalent in specific learning difficulties such as dyslexia. Working memory is the blackboard of the mind - the mental space upon which mental calculations, tasks, plans or lists can be reordered, manipulated and stored for a short period of time. Children with a weak working memory are able to manipulate and recall a span of only three information units, whereas those with a stronger than average working memory have a span of nine or more information units. However, the ability to manipulate and store information need not be limited by working memory span.\nInfants acquire their mother tongue by detecting the rhythmical patterns in the overall stream of speech utterances (Saffran et al., 1996). Sensitivity to rhythm expands working memory by \u2018chunking\u2019 the information into rhythmical groups, which is why it is often easier to recite a phone number by clustering the digits together in threes or fours. This chunking strategy probably extends way back through thousands of generations. Preliterate societies have transmitted and conserved cultural practices through singing and storytelling, but also via rhythmical chanting and reciting of verses.\nNow that we are a predominantly literate society, we are a little out of touch with the ancient tradition of rhythmically chanting of large amounts of information. However, memory experts show that it is possible to extend the natural span of working memory substantially and to recall information reliably by using chunking strategies (Mathy et al., 2016). For example, Rajan Mahadevan memorised at least 30,000 digits of pi by chunking the digits into groups of ten, he practised recalling the digits and extending the list further day after day (Ericsson & Moxley, 2014).\nIn classrooms, some children struggle to concentrate. Their attention is scattered rather than focused, or may fade before they can engage with learning. Failed attempts to focus are frustrating for them and often spark a negative spiral, which leads to low self-esteem. Mindfulness training has shown that focussing on the rhythm of the breath is an effective way to overcome distracting, negative thoughts (Siegel, 2007). However, teachers of children who have completed the Rhythm for Reading programme comment on visible improvements in concentration, which indicates that a ten-minute burst of rhythmic activity per week reinforces focussed attention and strengthens cognitive control.\nChildren lacking cognitive control are usually impulsive and struggle with interpersonal skills. They are low in self-regulation, a form of cognitive control that involves willpower and the perseverance to resist distractions and inhibit impulses, particularly while working towards a particular goal or target (Zimmerman, 2000) and usually emerges in very young children prior to starting school (Rothbart et al., 1992). The rhythm-based activities of the Rhythm for Reading programme, which were first designed for a group of children with little or no inhibition or self-regulation, are immensely effective in cultivating self-awareness and self-regulation in line with increased sensitivity to rhythm. There is also a deeper engagement with reading towards the middle of the programme. Being better able to detect the rhythmic ebb and flow in the text, the focus of attention narrows during the process of reading, effectively blocking out distractions. Self-regulation becomes a form of metacognition as the children monitor their awareness of their reading experience. Their information processing becomes sharper, enabling a natural ease to emerge in both self-awareness and cognitive control of the reading process (Long, 2014).\nWhile self-regulation filters out distractions during reading, cognitive switching builds flexibility into reading behaviour. An obvious example would be that if the reader detected an error, they would need to be sufficiently flexible to stop the flow of information, backtrack in the text and then restart without losing the overall thread of the passage. A less obvious example might involve the reader in alternating their awareness between different points of view in a dialogue. A degree of cognitive switching would be involved until these points of view had been securely assimilated and integrated into the overall comprehension of the text. Sensitivity to rhythm assists flexibility during reading by supporting the overall security, stability and assimilation of the text, however demanding it may be.\nCognitive control supports focussed attention and improved sensitivity to rhythm contributes to cognitive control in several ways: (i) organisation of information in working memory, (ii) inhibition of distracting thoughts and (iii) security during cognitive switching. Taken together, these functions support focussed attention, the development of skilled reading and independence as a learner, all of which are required to mitigate the effects of disadvantage (Heckman, 2006).\nA newly published paper on a randomised controlled trial shows the statistically significant effect of rhythmic training on disadvantaged children\u2019s reading comprehension. Read more here.\nEricsson, K. A., & Moxley, J. H. (2014). Experts\u2019 superior memory: From accumulation of chunks to building memory skills that mediate improved performance and learning. In T. J. Perfect & D. S. Lindsay (Eds.), SAGE handbook of applied memory (pp. 404-420). London, UK: Sage Publishing\nHeckman, J.J. (2006) Skill formation and economics of investing in disadvantaged children, Science, 312, 1900-1902.\nLong, M (2014) \u201c\u2018I can read further and there\u2019s more meaning while I read\u2019: An exploratory study investigating the impact of a rhythm-based music intervention on children\u2019s reading.\u201d Research Studies in Music Education 36.1: 107-124.\nMathy, Fabien, et al. (2016)Developmental abilities to form chunks in immediate memory and its non-relationship to span development.\u201d Frontiers in psychology 7: 201.\nRothbart, Mary K., Hasan Ziaie, and Cherie G. O\u2019Boyle. (1992) Self\u2010regulation and emotion in infancy.New directions for child and adolescent development 55: 7-23.\nSaffran, Jenny R., Richard N. Aslin, and Elissa L. Newport. (1996) Statistical learning by 8-month-old infants.\u201d Science 274.5294: 1926-1928.\nSiegel, D. (2007) The Mindful Brain New York: Norton\nZimmerman, B.J. (2000). Attaining self-regulation: A social cognitive perspective. In M. Boekaerts, P.R. Pintrich, & M. Zeidner (Eds) Handbook of self regulation (pp. 13-39). San Diego: Academic Press", "id": "<urn:uuid:5058efd2-9372-44b9-b230-be7d045bcd24>", "dump": "CC-MAIN-2022-21", "url": "https://rhythmforreading.com/a/blog/archive/2018/06", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00759.warc.gz", "language": "en", "language_score": 0.9297976493835449, "token_count": 1439, "score": 3.515625, "int_score": 4}
{"text": "- For his 10th birthday, Greg was given a handheld videogame system. His parents allowed him to pick any two games. They knew the games might contain violence, because there was a violence rating sign posted on the games, but rationalized that they were only games and other kids play them. Greg would quickly finish dinner and run up to his room to play his games.His parents were pleased to observe that Greg enjoyed their present so much. After a week, his parents noticed that he wasn\u2019t turning off the videogames at bedtime, and had begun turning homework in late. He was up so late playing that he would not get up for school without argument. His parents decided that enough was enough and took the video games away. Greg threw temper tantrums and persuaded his parents to buy him a computer after convincing them that it was necessary to keep up at school. Greg soon returned to the same pattern of behavior where he spent long hours and late nights at the computer. This time, his parents felt a false sense of security that he was doing his homework. One day, his curious parents decided to scan the computer history to see what Web sites Greg was browsing. To their horror, they discovered that Greg was spending many hours online playing interactive, sometimes violently graphic, games on the Internet. He was also chatting with other \u201cgamers\u201d. Before confronting Greg about his behavior, his mother and father agreed to investigate what types of intervention strategies might be available within their community. They have come to you, a behavioral consultant, for advice.Click to Read the Kaiser Family Foundation Study: Generation M2. Media in the Lives of 8- to 18- Year Olds.Describe the issue of exposure to videogame violence in today\u2019s society as related to Greg\u2019s situation. Explore issues such as:\n- Prevalence (e.g., age, gender, racial diversity, etc.)\n- Given Greg\u2019s developmental level, what are possible dangers of exposure to media violence? Be sure to address this in the context of his cognitive and socioemotional development.\n- Risk and protective factors, including predisposition to violence (e.g., are all children who play violent videogames likely to become more aggressive? What protective factors might mitigate the possible outcomes for Greg?\n- Discuss the possible outcomes if Greg\u2019s behavior continues unchecked.\n- Discuss types of intervention strategies you would expect his parents to find at a community level, such as in community centers, schools, and social service agencies, to assist children like Greg who are at risk due to ongoing exposure to media violence.\n- What would be a good plan to recommend to Greg\u2019s parents?\n- Compare the dangers of exposure to videogame violence with other forms of violence. What are similarities and differences between videogame violence exposure and the other type of violence you chose to compare?\n- What are the costs of videogame violence to the family and the community and society at large and the other form of violence you chose for comparison?\nBy the due date assigned, format your paper in APA (6th edition) style, using information you learned in your textbook and from the Kaiser Family Foundation Study to support your response. Your paper should be between 4 and 5 pages in length. Include a cover page, abstract, and reference list, which should cite any information used from your assigned textbook, Kaiser Family Foundation reference, and other sources such as online course content.\nWritingexpert.net helps students cope with online college assignments and write papers on a wide range of topics. We deal with online discussion classes, academic writing, creative writing, and non-word assignments.\nPhone: +1 (940) 905 5542", "id": "<urn:uuid:a51b00c9-0a8c-43f4-aec7-b2d578f1e082>", "dump": "CC-MAIN-2022-21", "url": "https://writingexpert.net/children-pyschology-relating-to-videogame-system/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510097.3/warc/CC-MAIN-20220516073101-20220516103101-00561.warc.gz", "language": "en", "language_score": 0.9777592420578003, "token_count": 780, "score": 3.625, "int_score": 4}
{"text": "Creative writing prompts for kids\nWhat happens when you ask your child to write a story? It\u2019s a common homework task for primary school kids, and a key part of the English National Curriculum, but while some children are overflowing with inspiration, others find it hard to come up with ideas. That\u2019s where creative writing prompts \u2013 any tool that is used to kickstart the writing process, such as a picture, an opening sentence or a piece of music \u2013 can come in useful.\nDownload a FREE Creative Writing toolkit!\n- KS1 & KS2 workbooks\n- Bursting with fill-in prompt sheets and inspiring ideas\n- Story structure tips, style guides and editing suggestions\n\u2018Creative writing prompts can be anything that gets children thinking outside the box,\u2019 explains Julia Skinner, founder of the 100 Word Challenge writing programme and The Head\u2019s Office blog. \u2018Some children find it hard to get going with creative writing, and really benefit from having a more thought-provoking starting point.\u2019\nCreative writing prompts: the benefits\nOften, children are given a creative writing task based on a set title, such as: \u2018Write a story about a dragon\u2019. \u2018This might not be a problem for a child who has lots of imagination, but it can be a challenge for those who find it difficult to come up with ideas and don\u2019t consider themselves to be very creative,\u2019 says Julia.\nA creative writing prompt such as a picture or opening sentence can help to fire this creative process. \u2018It gives children both the freedom and encouragement to develop their ideas by thinking beyond the obvious and immediate,\u2019 Julia explains. \u2018Giving them something specific and concrete can help them to develop their ideas in ways that they would usually struggle with.\u2019\nPrompts can help children to come up with a far more diverse set of ideas than they might usually. \u2018If you give a whole class a set title, you tend to get a very generic response,\u2019 says Julia. \u2018But if they have a prompt, they can use it to take their story in any direction they choose.\u2019\nUsing prompts also encourages children to use all their senses to inspire their writing. Giving them a title alone is likely to inspire a one-dimensional response, whereas showing them a picture can help them to imagine themselves in the scene and use all five senses to explore what their characters might see, hear, smell, taste and touch.\nHow to use a creative writing prompt\nThe key to using a creative writing prompt, says Julia, is to not just put it in front of your child but to spend some time exploring it together before they put pen to paper. \u2018Creative writing shouldn\u2019t be something where you leave your child to their own devices,\u2019 Julia explains. \u2018It really needs some input to draw out your child\u2019s ideas. Set aside 20 minutes to discuss the story, starting with the prompt and asking questions to build on what your child suggests.\u2019\nIt\u2019s important to make sure your child knows that there are no boundaries where creative writing is concerned. \u2018The testing culture in schools has led children to think that there is always one answer to aim for, but in creative writing, there is no right or wrong,\u2019 says Julia. \u2018We need to build children\u2019s confidence to write about whatever they\u2019re seeing or thinking, and prompts are a great way to encourage this.\u2019\nIt\u2019s also essential to let your child write freely when they\u2019re using a writing prompt, without getting too caught up in spelling, punctuation and grammar. \u2018Children need to be able to write creatively and without restriction,\u2019 Julia agrees. \u2018They need to feel free to express themselves, knowing that they can come back and put in the capital letters and full stops later.\u2019\nSix of the best creative writing prompts\nPictures are probably the most obvious creative writing prompt. You can use any sort of picture \u2013 a cartoon, a photo, a piece of classic artwork \u2013 to inspire children\u2019s imagination. \u2018One of my favourite picture prompts is a photo of a smashed chocolate egg, surrounded by tiny model workmen,\u2019 Julia says. You can either leave the picture blank, or add a caption to encourage children along the right lines: for example, a speech bubble on a person saying, \u2018Where am I going?\u2019\nWe love Coram Beanstalk's Make Your Own Story Dice (illustrated by Nick Sharratt) \u2013 you can download the templates for free, then colour in, stick together and use for endless storytelling!\nAnother good prompt is to give children a sentence \u2013 typically the opening sentence of a story \u2013 to build their writing on. Giving them a starter such as, \u2018How was the dragon going to tell his father what he had done?\u2019 can prompt a huge and varied range of storylines, from adventure to comedy to tragedy.\nA page from a book\nA picture is said to be worth a thousand words, so taking a page from a children\u2019s picture book and removing the text is a great way to kickstart a piece of creative writing.\nUsing music as a prompt can help your child to think about how they use their senses in their writing. Typically, instrumental pieces work best, otherwise the lyrics put words in your child\u2019s mouth, but you can use any genre, from classical to rap. Encourage them to think about how the music makes them feel; what they think is happening; what sort of character would play that music, and so on .\nA feely bag\nPut a selection of small, tactile objects into a bag (for instance, a golf ball, a fork, a comb\u2026) and ask your child to pick one out at random. Use this as the starting point for their piece of writing, building a plot around it.\nFor children who are motivated by rewards, taking part in a writing challenge can help to prompt them to write. The 100 Word Challenge, run in association with Night Zookeeper, gives children a weekly writing prompt; they then put together a piece in 100 words and can upload it to the website where other children can read and comment on their, giving them extra motivation to write.\nStory-telling advice from top authors\nAn online storytelling tool, Storycraft offers video tips and inspiration from over 50 top children's authors including Julia Donaldson, Chris Riddell, Cressida Cowell and Jeremy Strong. Lots of different story genres and techniques are covered and it's all free!", "id": "<urn:uuid:84d107ba-8ab5-470f-9ba2-f27c6e521779>", "dump": "CC-MAIN-2022-21", "url": "https://www.theschoolrun.com/creative-writing-prompts-kids", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662509990.19/warc/CC-MAIN-20220516041337-20220516071337-00363.warc.gz", "language": "en", "language_score": 0.9495642185211182, "token_count": 1388, "score": 3.640625, "int_score": 4}
{"text": "The Nametag project begins the school year with students creating a piece that visually represents who they are and presents the challenge for them to speak to the entire class.\nThis assignment creates an opportunity for students to introduce themselves to each other, while also offering opportunities for creative expression and personal connections. It is a good way to informally introduce the concept of symbols, and explicitly teach strong oral communication skills.\nEnglish Course Pack: Unit One \u2013 Literacy Skills\nThis assignment is part of the The Full English Course Park. This piece is part of Unit One: Literacy Skills, which focuses on creating a strong foundational understanding of literacy skills, PEE paragraph writing, and embedding quotations as textual support.\nIf you would like to say thanks, consider buying me a coffee. But that is neither required, nor expected.\n1.01 \u2013 The Name Tag Assignment\nStep One: The Fifteen Points\nBegin this assignment by providing students a copy of the assignment package. Ask them to fill out the fifteen points \u2013 five adjectives that describe them, five things they enjoy doing, and five locations that are important to them.\nReminding them that a location can be as broad as the universe, or as specific as the chair in the corner of their room.\nI suggest providing five minutes for students to complete this task, and then reassessing based on the needs of your students. They should all be able to complete this within ten minutes. If that seems unlikely, encourage them to ensure that they have at least one item in each of the three columns.\nOnce complete, encourage students to share some of their points with the class, or elbow partners.\nStep Two: Selecting their Points\nNext, students should choose which of the points from each column best relates to them. These are the things that they will visually represent on their name tag. Because of this, students must write how they will represent this. They could choose to draw a bird to represent the fact that they like birds, or they could draw a bird to symbolically represent the fact that they like singing.\nThis is a great moment to introduce the idea of symbols, and symbolic representation without formally introducing the topic.\nStudents may choose to draw a thumbnail sketch of their visual representation or simply write the word under the visual representation column.\nOnce complete, they will need to select a fourth item (from any of the three columns) and select a visual to represent it.\nFinally, students should be encouraged to share one of their four final selections with the class.\nStep Three: Explaining their Representations\nThis is a very early introduction to paragraph writing, and it will allow you to assess your students\u2019 abilities at the beginning of your course. This is an excellent opportunity for some diagnostic feedback, or to gauge the class-wide needs of your students.\nI would suggest not using this as an opportunity to teach paragraph writing, but rather just as a way to check sustained writing over fifteen or twenty minutes. If you like, you can draw attention to the paragraph exemplar on the final page of the package.\nStep Four: Planning and Creating the Name Tag\nThis stage introduces the visual planning. Once planned (or if this piece is skipped in the interest of time, or engagement) students can fold a piece of paper three times (using hamburger folds, not hot-dog folds.) They should fold the paper when held in portrait, not landscape for those who aren\u2019t familiar with elementary paper-folding terminology.\nHow to Fold\nOnce folded, they should draw their four images, integrating them with their largely written name where possible. The letter L could become a hockey stick, or an M could become a mountain range.\nThese nametags should be fully coloured in, including the background (even if it\u2019s just shaded one uniform colour).\nNext up are the rubrics. These are not well designed, fully crafted, rubrics. And, there\u2019s a reason for that. These rubrics exist as checklists, slowly introducing the concept of rubrics while transitioning from what students like likely more familiar with from Grade 8.\nI explain that these pieces will all be graded through the use of levels, and that five checkmarks may still only result in a level 3+ rather than a 4+ based on quality. However, you are free to allow five check marks for the Media piece to equate to a perfect grade, as a way to encourage students to maintain their high levels of success.\nThese checklists also allow you to demonstrate the skills you are looking for.\nBe sure that enough time is taken to go over, demonstrate, and explain each of the ten oral communication skills that you will be evaluating them on.\nStep Five: The Oral Presentation\nPrior to presenting, ensure that you stand in front of the classroom, and highlight all ten of the skills required for strong oral communication skills. Demonstrate tone by removing it from your voice, or volume by shifting from being quiet to loud.\nUltimately what students should take away is that the audience is engaged when things are changing. The audience is tricked into refocusing if tone or volume shifts effectively, they are tricked to focus when the speaker moves slowly or gestures with their hands.\nFeel free to be a little hyperbolic and over-excited as you demonstrate these pieces. And then, if you wish, quickly invite each student to demonstrate their skills by reading a three sentence piece from a book of their choosing (from a pre-arranged selection). I like to include:\n- A cook book\n- An old science fiction book\n- A Young Adult Thriller\n- A how-to guide from many decades past\nYou want students to read something that is a little \u201csilly\u201d so that they won\u2019t feel self conscious, but will have already got up in front of the entire class.\nOnce students have completed their name tags, learned and practiced oral communication skills, and had a chance to perform their presentations with small groups, they will present to the class.\nI allow students to pre-record their presentations, or present in front of the class. Neither choice is \u201ceasier\u201d than the other, but it allows students to select what works best for them. You can then encourage students to choose other options if you like, as they progress.\nNow, on the second day of class all of your students will have created something wonderful, felt comfortable enough to speak to the entire class about a familiar subject, and created name tags that you can use for name-to-face recognition. Taking in these name tags at the end of each class and handing them out at the beginning of the next one helps cement student names.\nOnce you feel the name tags are no longer required, they can be placed on the wall to honour student work, and create a sense of ownership for them in the classroom.\nI have also used these posted name tags as sticker charts, awarding one sticker for each piece of work that is handed in on time. Since, I do not believe that late marks should not be deducted the fear of missing out on a sticker goes a long way to encourage students to adhere to deadlines.\nNot only that, but the visual representation of stickers on name tags also serves as quick feedback for you, as the teacher, to understand what students might need more one-on-one focus and intervention.\nEnglish \u2013 Unit One: Literacy Skills\nThe Questioning slide deck follows the same framework that all the literacy skills slide decks do. It starts by asking students what the skill entails, \u2026 Continue reading 1.08 \u2013 Questioning: Slide Deck (English Lesson)\nTerry Bisson\u2019s story, They\u2019re Made Out of Meat, is a perfect way to put inferring into practice. After reading the story aloud, students are asked \u2026 Continue reading 1.07 \u2013 Made out of Meat \u2013 Short Story Visualizing and Inferring (English Lesson)\nThis slide deck introduces students to the literacy skill, Inferring. It is designed to be moved through slowly, scaffolding an understanding of Inferring for students \u2026 Continue reading 1.06 \u2013 Inferring: Slide Deck (English Lesson)\nThe Drawbridge Character Monologue assignment builds upon the now-familiar text that was explored in 1.04 \u2013 The Drawbridge: PEE Paragraphs, asking students to consider the \u2026 Continue reading 1.05 \u2013 The Drawbridge: Character Monologues (English Lesson)\nThe Drawbridge PEE Paragraph activity brings together all of the learning that has taken place so far. The beginning of the lesson should be run \u2026 Continue reading 1.04: The Drawbridge: PEE Paragraphs (English Lesson)\nEmbedding Quotations is a necessary skill that students will use throughout their years in secondary and post-secondary education. This slide deck introduces the idea of \u2026 Continue reading 1.03: Embedding Quotations: Slide Deck (English Lesson)\nAlligator River is a short story that will have your class yelling at each other, screaming at each other, becoming enraged at each other. And \u2026 Continue reading 1.02: Alligator River (English Lesson)\nEnglish Course Packs: Full Units\nUnit One: Literacy Skills\nUnit Two: Poetry\nUnit Three: Literature Circles\nUnit Four: Creative Writing & Choose Our Way Tales\nUnit Five: Essay Writing\nUnit Six: Culminating Tasks\nMichael Barltrop has been teaching since 2006, integrating comics, video games, and TTRPGs into his classroom. He has been the head of English, Literacy, and Universal Design. Feel free to reach out through Twitter @MrBarltrop!\nFeel free to support the website hosting by buying him a coffee or sharing this post on facebook, twitter, or whatever social media is trending these days.", "id": "<urn:uuid:eae07dfd-67da-4efc-8cb1-1b6362b46d92>", "dump": "CC-MAIN-2022-21", "url": "https://whatbinder.com/2022/04/29/1-01-the-nametag-project-grade-9-english-lesson/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00162.warc.gz", "language": "en", "language_score": 0.9427079558372498, "token_count": 2048, "score": 4.03125, "int_score": 4}
{"text": "03rd August 2021\nFor your GCSE English Literature exam, you\u2019ll have to go further than just learning Romeo and Juliet\u2019s character traits.\nUnderstanding all the major and minor characters can not only prepare you for a potential question, but will aid your overall understanding of the play.\nWe\u2019ve listed out a complete overview of the Montagues and Capulets character traits below. For more GCSE revision support, have a look at these resources:\nShakespeare presents Lord Capulet as a domineering character who progressively becomes more controlling throughout the course of the play. In the early scenes, he gives up some of his power and says he will give Juliet a \u201cscope of choice\u201d when deciding on her suitor.\nContrary to what he promises, he orders Juliet to marry Paris, and when she defies his order, he declares that she is a \u201cdisobedient wretch\u201d.\nThis dehumanising language, which is aimed at his own daughter, suggests that he cannot handle being disobeyed, which further emphasises his controlling nature.\nBut does Lord Capulet just want the best for his daughter (who could be perceived as being too young to decide on matters of marriage) or is he just a close-minded, possessive father? It is up to you to decide, but make sure you backup your points with evidence!\nHer character traits are very much based on a stereotypical Elizabethan woman, who tends not to stray from the rule book.\nSince she married young, which was normalised at the time, she expects Juliet to follow in her footsteps.\nLady Capulet\u2019s authoritative character trait also causes her to appear cold and unempathetic. She does not engage in conversations about feelings with Juliet and instead asks the nurse to \u201ccome back again\u201d to avoid dealing with it. This shows she does not have the maternal instincts that we would typically see from a mother.\nRomeo\u2019s father, Lord Montague, is conveyed as a hot-headed and angry man. This is demonstrated through his desire to fight the Capulets when he sees them. Lord Montague\u2019s violent nature shows that he wants to establish authority and preserve his pride, which again is very stereotypical of a man of that status in the Elizabethan era.\nHis aggression could also have influenced his son, Romeo, who we also see become violent throughout the play.\nWe are also exposed to his loving side after the deaths of Romeo and Juliet: he makes amends with the Capulets and states he will \u201craise her a statue in pure gold\u201d.\nThis exaggerated language depicts his character development from being aggressive and violent to becoming an emotional, caring man.\nLady Montague contrasts her violent husband. She is very gentle, peaceful and delicate, which are character traits that help her to stop Lord Montague from getting into a fight. She states \u201cthou shalt not stir one foot to seek a foe\u201d, which reveals that she does not agree with aggression. This quote also foreshadows to the audience that the conflict might go too far.\nHer sensitive nature is amplified after she learns of Romeo\u2019s banishment from Verona, and dies of grief. This highlights a large contrast with Lady Capulet, who appears to be less emotional and cold.\nBoth Lord and Lady Montague worry about Romeo\u2019s wellbeing, which causes them to appear a lot more kind and concerned than the Capulet parents.\nIn fact, both the Capulet and Montague families emulate upper-class parenting in the 16th Century. The Capulets depict how daughters were expected to abide by their parents, whereas the Montagues reveal how boys were given more freedom.\nThis is also shown in the form and structure of the play. The Montague family does not have as much stage presence as the Capulets, which reveals that Romeo has more freedom. Download our worksheet to help you revise the Montagues and Capulets character traits\nDid this article help you understand the character traits of the Montagues and Capulets? We can help you with even more Romeo and Juliet GCSE revision.\nOur Romeo and Juliet course includes 10 lessons with supporting videos, worksheets, quizzes and more that delve into:\nRomeo and Juliet Plot Summary\nCharacter of Romeo\nCharacter of Juliet\nThe Characters Mercutio, Tybalt and Benvolio\nThe Capulets and Montagues\nTheme of Religion and Fate\nTheme of Family and Marriage\nTheme of Conflict\nTheme of Love\nAccess all of the above and more with a free trial of Your Favourite Teacher today!\nPrefer to listen on the go? No problem! At Your Favourite Teacher, we've got an array of helpful GCSE English Literature podcasts to teach you everything you need to know to ace your exams. You can tune in below to learn more about Romeo and Juliet or browse our other English literature podcasts for more content.", "id": "<urn:uuid:8a25f0da-1d74-4132-aff3-98df1da47000>", "dump": "CC-MAIN-2022-21", "url": "https://blog.yourfavouriteteacher.com/montagues-capulet-character-traits", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662601401.72/warc/CC-MAIN-20220526035036-20220526065036-00362.warc.gz", "language": "en", "language_score": 0.9700756072998047, "token_count": 1034, "score": 4.15625, "int_score": 4}
{"text": "Today\u2019s storytelling exercise is an excerpt from my book, Story Drills, which is packed with fiction-writing exercises designed to impart the basic techniques of storytelling. Today\u2019s exercise is from chapter thirty-five. It\u2019s called \u201cMotif.\u201d Enjoy!\nA motif is a recurring idea, element, or symbol in a story. A story can have multiple motifs, and they can be just about anything, including an oft-repeated word, phrase, or gesture.\nMotifs serve a variety of purposes. Repeating elements of a story\u2019s setting can reinforce the tone, mood, or atmosphere. Repeating a character\u2019s behavior establishes their personality. Repetition of broad concepts can support\u2014or even form\u2014a story\u2019s theme.\nThe film Titanic is packed with motifs. Wealth is represented throughout the film with recurring images of expensive artwork, jewelry, and other finery. Oppression is another motif, which is represented with Rose being dominated by Cal, the third-class passengers trapped below deck as the ship sinks, and Jack barred from leaving the third-class accommodations to visit Rose in first class. This contrast in motifs (wealth and oppression) contributes to the film\u2019s thematic statement, which deals with the choice between freedom and security.\nMotif can often be summed up in a single word: liberty, blood, love, water, power, money, and fear are just a few examples of motifs that could appear in a story.\nConcrete images are often used to form an abstract motif. Let\u2019s say you want a motif of liberation in your story. You might include a bird flying free from a cage, a prisoner being released, and a hostage escaping captivity. While no single image is repeated, the concept or idea of liberation is echoed in each of these images.\nMotifs don\u2019t have to be deep, serious, or even meaningful. Any repetition can form a motif, even the recurring appearance of a caterpillar in a children\u2019s story.\nChoose a favorite book, movie, or television show. Make a list of all the motifs you can identify. Explain the meaning of each motif, and list the instances when it appeared in the story.\nMake a list of three motifs that could work together in a story. Choose one that is material (a rose), one that is intangible (dreams), and one that represents a big idea (freedom). Write a short summary of the story, explaining what it\u2019s about and how these motifs would be presented throughout the story.\nDo all stories contain motifs? Can you think of any that don\u2019t? Do you think motifs are important? Why or why not?", "id": "<urn:uuid:635fad60-97e0-4d2e-ad9f-7270413ab84c>", "dump": "CC-MAIN-2022-21", "url": "https://www.writingforward.com/writing_exercises/fiction-writing-exercises/storytelling-exercise-motif", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662558030.43/warc/CC-MAIN-20220523132100-20220523162100-00362.warc.gz", "language": "en", "language_score": 0.9494326114654541, "token_count": 585, "score": 4.0625, "int_score": 4}
{"text": "Language Arts in fifth grade begins with the book Because of Mr. Terupt by Rob Buyea. Students work on the skill of making inferences to understand a character\u2019s perspective. The second novel is The Egypt Game by Zilpha Keatley Snyder; students analyze the author\u2019s use of foreshadowing as a literary technique. Students also read Tuck Everlasting by Natalie Babbitt. Finally, the students read Sophia\u2019s War by Avi. As students read, they are exposed to vivid descriptive language and complex vocabulary. This historical work of fiction connects to the social studies unit on the American Revolution. As students read each book, they engage in conversations, complete comprehension questions, and answer writing prompts. After finishing each novel, students complete a final creative project.\nThe writing curriculum is based on the 6 + 1 Traits of Writing program; this approach teaches students to focus on the traits of: ideas, organization, voice, word choice, sentence fluency, conventions, and presentation to improve their narrative and creative writing. Grammar is taught using the Framing Your Thoughts program. Students develop mastery of identifying the parts of speech of words in a sentence. Students are assigned spelling units from the Houghton Mifflin Spelling and Vocabulary: Words for Readers and Writers program. The word lists are organized by spelling principles, patterns, and word parts.\nThe fifth grade math curriculum includes the following topics: multiplication, factoring, fractions, graphs, decimals, division, and geometry. For multiplication, students work on determining partial products to multiply multi-digit numbers. Students distinguish between composite and prime numbers and utilize divisibility rules to write the prime factorization of numbers. For fractions and decimals, students compare rational numbers and start to add, subtract, and multiply them. Students learn how to interpret data from graphs and create their own scatter plots from given information. When developing the division algorithm, students use their understanding of multiplication and area models to determine partial quotients. In our geometry unit, students explore the attributes of two-dimensional shapes and three-dimensional solids, and determine how to find area, perimeter, surface area, and volume.\nIn the fall, fifth grade science students practice their lab skills to calculate the length, mass, volume, temperature, and weight of objects in metric units. They also look at the differences between qualitative and quantitative observations and carry out conversions between metric units for mass, volume, and length. Students apply their knowledge of physical and chemical changes to real-world situations and identify the type of change present in their lab observations. Near the end of the trimester, students build simple machines and explain their importance in everyday life.\nIn the spring, fifth graders examine the steps of the Scientific Method and apply their knowledge to complete various experiments as well as conduct a scientific inquiry project for a science fair. At the end of the year, students delve into earth science, examining the three main layers of the earth and the theory of continental drift. They also unearth properties of rocks and minerals and look at the natural processes that shape Earth\u2019s surface.\nIn fifth grade social studies, students learn about ancient cultures as well as the foundations of American History. A variety of assessments such as creative writing assignments, analysis of primary sources, and project-based learning are used to determine student comprehension and progress. Students also read novels that are connected to the social studies units to deepen their appreciation for the historical time period. During the first semester, students analyze the most important ancient civilizations such as Sumer, Babylon and Egypt. Students determine why these places were so successful and the inventions that helped them thrive. The remainder of the year is spent studying the founding of the American colonies and the events that led to the American Revolution. Students explore the town of Marblehead as an example of colonial America\u2019s role in the revolution.\nUsing the Tal-Am curriculum, students in fifth grade Hebrew read stories to work on reading comprehension, vocabulary development, and grammar. Student also write about the text they read and act out short stories/skits using the new vocabulary to strengthen conversational skills with new words and phrases. Students learn to write and speak in both the present and past tense and have multiple creative writing assignments. Students use the Hebrew online program, \u201cIvrit Beclick\u201d to complement their vocabulary and conversational skills in their creative writing assignments.\nDuring Torah studies, fifth grade students explore the book of Shemot (Exodus), which covers the main events in the life of Moshe and following the exodus of the Israelites from Egypt. Students are assigned a special project about ancient Egypt to help them better understand Egyptian culture, which complements much of the simultaneous teachings in fifth grade social studies.\nStudents experience community tefillah twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students\u2019 spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings.\nIn Jewish Studies, students deepen their understanding of Jewish holidays and their historical, natural/agricultural, and faith-based foundation. They learn how our customs and traditions enrich and strengthen them as individuals within our Jewish community. Prayers and blessings related to the holidays are recited and Hebrew stories connected to the Jewish holidays are studied.\nStudents develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland.\nThe goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through classical and contemporary music, students learn to sing in-tune with expression and confidence while gaining confidence on stage. They read music and play several instruments including ukuleles and drums. Students also explore music composition using technology such as Garage Band. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics.\nStudents work with a variety of drawing tools and multiple types of paints and papers in sophisticated ways. Students learn techniques for drawing, painting, printmaking, and collage. Within each grade level, elements of art such as line, shape, form, color, texture, value, and space are taught. Emphasis is put on the creative process rather than the finished product. Art history is an important component of our curriculum; students study different artists and art movements from past to present. Some movements that may be included are: Impressionism, Abstract, Folk and Pop Art. Throughout the year, art is integrated with units of study in the classroom and teachers work collaboratively on skills and concepts to deepen learning.\nIn fifth grade students learn and practice debate skills, along with speaking skills such as diction and projection. Students then apply these skills to presentations throughout the year. Fifth graders also continue creating characters and bringing them to life physically and through the creation of improvised and written scenes. Throughout the cultural and performing arts curriculum, fifth graders continue to work together as a team to create scenes, mini-plays, and improvised scenes; students begin to create scenes based around props. Students are introduced to Shakespeare; his monologues are used to bring together presentation skills with character work, feedback, and direction from the teacher and peers.\nStudents in physical education participate in sports education, teamwork, physical fitness activities and in game strategy in class. In addition to gross and fine motor coordination, stretching and agility, middle school students are taught age appropriate sports skills and team communication through drills as well as sports strategy. Units include soccer, flag football, team strategy games, floor hockey, ultimate frisbee, individual problem solving games and basketball. Social team building and sportsmanship skills are woven into game like scenarios to teach students not only the skills to play multiple sports, but the interpersonal skills to function in a fast paced team environment.", "id": "<urn:uuid:ab85591c-abda-4a4d-983e-6869a71d323b>", "dump": "CC-MAIN-2022-21", "url": "https://epsteinhillel.org/experience-ehs/curriculum/grade-5", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00362.warc.gz", "language": "en", "language_score": 0.9471425414085388, "token_count": 1736, "score": 3.9375, "int_score": 4}
{"text": "The instructions for this week\u2019s sketch involve the following:\nCreate a system for generating stories.\n- The system should be based on some kind of formalism or abstraction about narrative\u2014maybe one that you read about in the reading, or maybe one that you\u2019ve devised yourself.\n- Be weird and opinionated.\n- Your system should provide a set of instructions to follow (or an interface to interact with), and at the end produce some kind of story.\n- The system should be expressive, i.e., following the instructions multiple times should produce noticeably different stories.\nPhytomorphologic narrative system\n- First, I don\u2019t consider the system as something that defines one standard narrative structure. I\u2019d rather think of it as a way to create different narratives using metaphors already present in our world. In this case, our metaphors will be inspired by plant morphology.\n- Specifically, we use the shape of a plant to define how to tell the story of a person\u2019s life. The health of the leaves, the number of nodes, and the degrees of separation between them define the structure to follow while telling it.\n- The system is based on the idea of several events that compose a longer narrative structure. Each of these compact and definable events is seen from the perspective of an entity (or character) in the story. As I will explain in a moment, each of these events may also fragment into the perspectives of different entities, while still pertaining to the internal time of the story.\n- Look for a plant with leaves. Hopefully, it will have several stems, with smaller stems and leaves protruding from it. Something like the image below is what I chose in this case.\n- Make a 2D representation of it. I chose to draw it.\n3. Identify the start and end of the plant/ plant section you chose. Count the number of nodes, leaves, and tips. Each of these will correspond to different elements in the narrative structure. You can see an example below:\n4. Consider the main stem of your plant as the total internal time of the story. Each node in the main stem is an event or micro-narrative that begins at that precise moment in the timeline of the story. I have identified them with red dots in the image above.\n5. The number of leaf or stem tips on the plant determines the number of entities(characters) in the story. One event, or stem, might have several bifurcations that correspond to these individual entities.\n6. An event derived from a node in the main stem means it is being told by someone/something in the first degree of relationship (Immediate Family, partner, offspring, etc. A sub-node inside the event indicates the second degree of relationship with the main character or the first degree of relationship with the character in the secondary stem.\n7. The health of each of the appendages also determines the sentiment in which the narrative discourse is formed. An unhealthy stem and leaf set a different emotional setting than a healthy one in terms of how the story is being told.", "id": "<urn:uuid:13cfb855-abdf-4920-8ae7-86df65f86c15>", "dump": "CC-MAIN-2022-21", "url": "https://alvarolacouture.com/nyu-itp/computational-narrative/sketch-01-story-generation-system/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00362.warc.gz", "language": "en", "language_score": 0.9448844790458679, "token_count": 645, "score": 3.5625, "int_score": 4}
{"text": "This teacher\u2019s day, we celebrate the revolutionary women who fought for women\u2019s education in India. For centuries women were constrained in the four walls of the house, and education was reserved for the upper caste men. The work of these educators and activists form the backbone for a more equitable world for women. A wider prevalence of women\u2019s education didn\u2019t just mean more women being educated, but it meant women entered the public sphere. It paved the way for women to be leaders, women in science, and a life of independence and dignity for them.\nSavitri Phule was the first female teacher in the first school for girls in India. Along with her husband, Jyotirao Phule she worked throughout her life for the dignity of life for oppressed-caste people and women. After being married at 13, she was educated by her husband and other activists. Her role as a headmistress marked a monumental entry of women into the public sphere of modern India. Along with Fathima Sheikh, they started the first school for girls in 1948. By 1951 they had three similar schools running in Pune. In 1853, Savitribai and Jyotirao established an education society that opened more schools for girls and women from all classes, in surrounding villages. This was unprecedented as education was reserved for upper-caste men at this time. She also started Mahila Seva Mandal to educate women about their rights, dignity and social issues in 1952.\nSavitribai\u2019s struggle was fraught with many difficulties and despite that, she continued her work peacefully. Men would purposely wait in the streets and pass lewd remarks. They sometimes pelted stones and threw cow dung or mud. Along with her husband, she was ostracised for helping widows, providing shelter to rape victims and others that were marginalised by society. She is the mother of Indian Feminism, and her contributions towards women\u2019s educations amongst her other fights for the oppressed castes and women leave an indelible mark in History.\nFathima Sheikh worked closely with Savitribai Phule for educating girls. She is widely regarded as the first female Muslim teacher in India. Fatima and her brother, Usman Sheikh, offered refuge to Savitribai and Jyotirao Phule when they were forced to leave their home in Pune for challenging the norm and educating Dalits and women. Here she also helped Savitribai set up their first girls\u2019 school called \u201cIndigenous Library\u201d, in her own house in 1948. She challenged both upper-caste Hindu men and orthodox Muslims by going against the stringent patriarchy that existed at that time.\nShe enrolled in a teaching course with Savitribai Phule and taught Dalit, Shudra, Adivasi and female students until 1856. Her solidarity to the struggle of Jyotirao Phule and Savitribai Phule is noteworthy, as it came at a time when their own families and community had alienated them. Unfortunately, very little literature is available on the life and works of Fatima Sheikh.\nRamabai Ranade was one of the first women social workers and educators, born in 1863. She was married at the age of 11. Her husband, MG Ranade was a social and educational reformer, and one of the founders of the Prarthana Samaj. He encouraged her to get educated and tutored her in Marathi, English and the social sciences.\nRanade quickly gained recognition for her oratory and leadership skills and started a Hindu Ladies Social Club that trained women in public speaking and handwork like knitting. She became actively involved in the Prarthana Samaj and also in the Seva Sadan. Here she emphasised on the need for women\u2019s education and oversaw various programmes. She also organised vocational and professional training for poor women, widows and abandoned wives. Unlike other institutions of the time which focused on higher class women, her efforts were directed towards the working-class women. She balanced traditional aspects of Maharashtrian society with these reforms. While she was targeted by conservative men and women for her ventures, she successfully created a network for women to avail vocational training, healthcare information and established the first high school for women in India.\nChandraprabha Saikiani was the pioneer of the women\u2019s movement in Assam. She fought hard for her sister and herself to be educated. She travelled long distances every day to study at the Boys\u2019 school, as there was no school for girls. Being educated herself, she started her first school at the age of 13, under a thatched hut, to ensure other girls too could be empowered. Receiving a scholarship to study at the Nagaon Mission School, she continued to strive for women\u2019s education.\nShe also fought to get hostel accommodation for all girls, even those that didn\u2019t convert to Christianity. In 1921, she started the Asam Pradeshik Mahila Samity, which is still operational in Guwahati. The organisation aimed at spreading women\u2019s education and then further employment. The forum provided a place for women to discuss and deliberate their own place in the social movement and also stressed on economic independence for women, by promoting handloom goods. The Tezpur University established a women\u2019s centre in her name, Chandraprabha Saikiani Center for Women\u2019s Studies (CSCWS) in 2009 for promoting women\u2019s education in Northeast India.\nAnutai Wagh was one of the pioneers of preschool education in India. Her pedagogy focused on curriculum that was indigenous, used low-cost teaching aids and was aimed at the holistic development of the students.\nShe stood first in the Vernacular Final exam in 1925. She then completed the Primary Teacher\u2019s Certificate course at the Women\u2019s Training College in Pune in 1929. She taught in a school in Chandwad Taluka in Nashik District where she faced a lot of backlash from conservatives groups for educating young girls. After coming up across a pamphlet on child education by Tarabai Modak she enrolled in a night school and completed her matriculation and graduation at the age of 51.\nAnutai began her work in the Bordi \u2013 Kosbad area (in Dahanu taluka, Palghar). With Tarabai Modak, she set up a Balwadi (playschool) in a thickly forested tribal area in Bordi. There was no road, electricity or any kind of communication. There was hostility amongst the tribal people towards educated very small children, so she took up the responsibility of bringing them to school, washing them, feeding them and dropping them back home. Her work at the \u2018Gram Bal Shiksha Kendra\u2019 formed the basis for the development of preschool education \u2013 one that used storytelling, songs and was deeply intertwined with local and indigenous cultures.\nThis article was published by shethepeople \u2013 THE WOMEN\u2019S CHANNEL. Refer this for more such articles: https://www.shethepeople.tv/", "id": "<urn:uuid:b42ea250-38f8-4e2f-ab9a-984fd139071d>", "dump": "CC-MAIN-2022-21", "url": "https://bitsmith.tech/blog/the-fierce-women-who-paved-the-way-for-womens-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662520817.27/warc/CC-MAIN-20220517194243-20220517224243-00759.warc.gz", "language": "en", "language_score": 0.9799198508262634, "token_count": 1512, "score": 4.125, "int_score": 4}
{"text": "Time was when preschool literacy was understood as young children\u2019s ability to read and write in simple ways \u2013 like knowing and reading the alphabet and perhaps writing a few However according to recent early education pedagogy, literacy is understood in much broader terms that include children learning to express themselves and communicate through a range of forms and symbols. In keeping with this, the EYLF has defined literacy as the \u201ccapacity, confidence and disposition to use language in all its forms. Here are some significant takeaways from the definition.\nLiteracy Begins With Communication\nLiteracy is not just a set of skills that pre-schoolers need to develop in order to be ready to join full-fledged school. Instead the EYLF\u2019s definition of literacy recognises that it develops from birth as humans learn to use gestures, sounds and language to express feelings, exchange thoughts and connect with others. Thus even before infants acquire language, they use sound, gesture and body language to communicate their needs and feelings. When adults talk to, sing songs or rhymes with babies, the latter are able to respond by showing what they\u2019re interested in. In this way, even before being able to speak words, babies can \u2018lead\u2019 the conversation by pointing or holding out something for responsive adults to see.\nOral Language Sets The Scene For Literacy\nIn the first two years, before children are talking a great deal, they are listening and learning about what language is and what language does. This early learning is the beginning of a child\u2019s awareness of sounds in the home language, combinations and sequences of such sounds and its patterns usually conveyed most enjoyably through rhymes, jingles and songs. As children learn more words, they take turns in a conversation and begin telling stories, thus acquiring oral language.\nVarious Modes Of Communication\nApart from talking, reading and writing, the EYLF understanding of literacy makes it clear that it incorporates a range of modes of communication including music, movement, dance, storytelling, visual arts, media and drama. All such modes allow pre-schoolers access to forms and materials to express and communicate complex ideas and feelings for which they may not have adequate vocabulary.\nTexts Include More Than Books\nTraditionally \u2018texts\u2019 has referred to books, magazines and advertising material and to film and TV. However the EYLF defines \u2018texts\u2019 as \u2018... things that we read, view and listen to and that we create in order to share meaning\u2019. The most significant implication of this understanding is the inclusion of digital texts which have made our literacy world \u2018multi-modal\u2019. In an increasingly technological world, the ability to critically analyse contemporary texts like electronic and print-based media is a key component of literacy. Using information and communication technologies helps children to explore their world, interact with others and make their own meanings.\nReading aloud is one of the best-kept secrets. It has a tremendous impact on the child\u2019s mind and helps them gain a good start on their education and learning. It also supports children to become emergent readers through the use of repetitive listening and using familiar words while reading.\nImportance Of Reading To Children\nLiteracy skills cover the ability to read and write words, sentences and language. Since such skills are not just the basis of effective communication but also determine future academic progress, it is important to support literacy skills from early childhood.\nDeveloping and Enhancing Literacy Skills\n- Implementation Guidelines For Indicators Of Preschool Numeracy and Literacy in Government Preschools, Department Of Education South Australia\n- Becoming Literate, Department Of Education South Australia", "id": "<urn:uuid:dadcf2f0-8737-41fa-a08b-45f98243ea1b>", "dump": "CC-MAIN-2022-21", "url": "https://aussiechildcarenetwork.com.au/articles/teaching-children/children-s-learning-through-literacy", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00163.warc.gz", "language": "en", "language_score": 0.9549564123153687, "token_count": 757, "score": 3.953125, "int_score": 4}
{"text": "\u201cAnimation offers a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.\u201d \u2013 Walt Disney\nResearch indicates that one of the most effective ways students learn is by teaching others. In my new book, Hacking Digital Learning Strategies: 10 Ways to Launch EdTech Missions in Your Classroom, students are sent on a mission to instruct others by creating their own video tutorials. Other ways students can teach others is by creating explainer videos (sometimes called One Take Videos), Do It Yourself (DIY) videos, or How-To Videos. These videos help students visualize and explain in their own words their understanding of the topic. Additionally, these videos save you time if you are flipping instruction and need a library of instructional videos. No need for you to create the videos. Your students will have a much valuable learning experience if they create their own. Future students can learn with these videos and create others to demonstrate the same concepts. Below are some tips, web tools, and resources to get your students started.\nGet your copy of Hacking Digital Learning, The 30 Goals Challenge, or Learning to Go. Ask me about training your teachers, [email protected]!\nProcess and Resources\nFirst show students examples of the type of video they will produce. Find several examples in the list below:\nStudents choose a topic for their explainer, DIY, or instructional videos. These videos should be no longer than 3 minutes and some can be as short as six seconds.\nGive students time to write the scripts for their videos and storyboard them.\nStudents will need time to gather their props or create illustrations for their videos if this is the option you choose.\nCheck out this video showing a group of students behind the scenes creating their Common Craft videos.\nA better option is to choose a web tool or app with a template to create their videos quickly. This will cut down the amount of time students spend completing the task.\nSuggested free web tools with templates- My Simple Show, Biteable, Powtoon, Wideo, RenderForest, Moovly, Raw Shorts, and WeVideo.\nSuggested free web apps- create how-to videos with the Darby iOS app, Get-Puppet iOS app, Explain Everything iOS/Android app, Lensoo iOS/Android app, Show Me iOS/Android app, and Educreations iOS app.\nStudents produce their videos and get their peers to view them, complete the tasks, and provide feedback.\nChallenge: Get your students started creating their own instructional videos using any of these resources or ideas!\nSubscribe for FREE to receive regular updates!\nInteresting essay samples and examples on:", "id": "<urn:uuid:306b7db0-386d-4557-b029-3042936f7321>", "dump": "CC-MAIN-2022-21", "url": "https://ellerstudentcouncil.com/14-tools-and-resources-to-get-students-to-create-instructional-videos/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604495.84/warc/CC-MAIN-20220526065603-20220526095603-00562.warc.gz", "language": "en", "language_score": 0.9076008200645447, "token_count": 554, "score": 3.65625, "int_score": 4}
{"text": "What Is Effective Comprehension Instruction?\nEffective comprehension instruction is instruction that helps students to become independent, strategic, and metacognitive readers who are able to develop, control, and use a variety of comprehension strategies to ensure that they understand what they read. To achieve this goal, comprehension instruction must begin as soon as students begin to read and it must: be explicit, intensive, and persistent; help students to become aware of text organization; and motivate students to read widely.\nExplicit, intensive, persistent instruction\nTo become good readers, most students require explicit, intensive, and persistent instruction. In explicit comprehension strategy instruction, the teacher chooses strategies that are closely aligned with the text students are reading. The teacher models and \"thinks aloud\" about what a given strategy is and why it is important, helps students learn how, when, and where to use the strategy, and gives students opportunities to apply the strategy on their own.\nModeling is followed by practice, guided by the teacher, who works with students to help them figure out how and when to use the strategy themselves. As students read, the teacher provides feedback and engages them in discussion. In subsequent lessons, the teacher asks students to apply the strategy on their own to other texts.2\nStudents are encouraged to plan before reading so that reading has a clear goal or purpose, to continually monitor their understanding during reading, and to apply repair strategies when breakdowns in understanding occur. To improve self-monitoring, the teacher may model for students how to do one or all of the following:\n- think about what they already know before they start reading and during reading;\n- be aware of whether they understand what they are reading;\n- employ strategies to identify difficult words, concepts, and ideas;\n- ask themselves: \"Does this make sense?\"; and\n- be aware of how a particular text is organized.\nOne of the most important features of explicit instruction is the teacher's gradual release to students of responsibility for strategy use, with the goal that students apply strategies independently. However, teachers do not ask students to work on their own until the students have demonstrated that they understand a strategy and how and when to use it.3\nAwareness of Text Organization\nText organization refers to the physical patterns and literary conventions of a particular text structure, or genre. The ability to identify and take advantage of text organization can contribute to students' comprehension.4 The two major text structures, narrative and expository, place different demands on readers' comprehension.\nNarrative Text. Broadly defined, narrative text tells a story. It is found in the form of short stories, folktales, tall tales, myths, fables, legends, fantasies, science fiction \u2014 even in the reporting of news stories or in biographies and autobiographies. The narrative structure most often features a beginning, middle, and an ending. It most often also features clear story elements, or story grammar, including:\n- a central problem, or conflict\n- a sequence of events that form a story line, or plot\n- a resolution to the conflict\nHelping students learn to identify recurring story grammar elements provides them with a story schema. When they encounter a new narrative text, students can then call on this story schema to make predictions about what might happen in the story, to visualize settings or characters, or summarize plot events. Instructional practices that facilitate students' understanding of narrative text include:\n- focusing discussions on story elements and encouraging students to relate story events and characters to their own experiences;\n- encouraging students to compare the structure of one story to that of other stories they have read; and\n- preparing visual guides, such as story maps of the structure of a story, to help them recall specific story elements.\nExpository Text. Broadly defined, expository text is factual. Its primary purpose is to inform, explain, or persuade. Examples of expository texts are textbooks, biographies and autobiographies, newspapers, diaries, journals, magazines, brochures, and catalogues.\nMost of the reading students do throughout their schooling \u2014 indeed, throughout their lives \u2014 will involve expository text. Without an understanding of the organization of such text, students often have difficulty understanding what they read. Unlike a narrative, an expository text has no familiar story line to guide students' reading. To read expository texts successfully, students must learn that authors may use a variety of structures to organize their ideas, including cause-and-effect or compare and contrast relationships, time-and-order sequences, and problem-solution patterns. Indeed, students need to know that authors may use some or all of these structures in any given chapter or section of a text.\nStudents also need to learn that expository text can differ from narrative text in the way it is presented on a page. For example, expository text may be organized by means of text headings and subheadings, and may contain extensive graphics, such as tables, charts, diagrams, and illustrations. Instructional practices that facilitate students' understanding of expository text include helping them learn how to:\n- chunk information in a text by grouping related ideas and concepts;\n- summarize important information in a text by grouping related ideas and concepts;\n- integrate information in a text with existing knowledge;\n- apply information in a text to real-world situations;\n- interpret and construct graphics such as charts, tables, and figures;\n- synthesize information from different texts; and\n- develop presentations about the text.\nMotivation to Read Widely\nMotivating students to read widely is integral to comprehension instruction. Motivation plays an important part both in helping students learn to read and in promoting higher levels of literacy. Wide reading experiences enhance students' abilities to comprehend an increasingly wider array of text types and texts of increasing difficulty.\nIt is no surprise that students who are good readers read a great deal-both in school and on their own. They read a variety of texts for a variety of purposes-to learn, to keep informed, to satisfy curiosity, and to entertain themselves.\nThe reading experiences, attitudes, and perspectives of students determine the ways in which they perceive the purpose of reading and value its benefits. Instructional practices to promote students' motivation to read widely include:\n- providing daily opportunities for students to read both self-selected and teacher-and peer-recommended texts; and\n- providing frequent opportunities for both student- and teacher-led discussions of what students are reading.\n- organizing cooperative learning groups in which students can discuss what they read, help each other choose the strategies that are most appropriate for a specific text;\n- encouraging students to read so as to learn about a concept or topic that is meaningful to them;\n- involving students actively in reading-related activities;\n- encouragement for students to read independently; and\n- opportunities for students to choose from texts that reflect different genres and reading levels.\nClick the \"References\" link above to hide these references.\n1. E.g., Pearson, P. E., & Gallagher, M. C. (1983). The instruction of reading comprehension. Contemporary Educational Psychology, 8, 317-344; Rosenshine, B., & Stevens, R. (1984). Classroom instruction in reading. In P. D. Pearson, R. Barr, M. L. Kamil, & P. Mosenthal (Eds.), Handbook of reading research (pp. 745-799). New York: Longman.\n2. Honig, W., Diamond, L, & Gutlohn, L. (Eds.). (2000). Teaching reading sourcebook for kindergarten through eighth grade. Novato, CA: Arena Press; National Reading Panel, 2000.\n3. Dole, J. A., Duffy, G. G., Roehler, L. R., & Pearson, P. D. (1991). Moving from the old to the new: Research onreading comprehension instruction. Review of Educational Research, 61, 239-264.\n4. Dickson, S. V., Simmons, D. C., & Kameenui, E. J. (1998). Text organization: Research bases. In D. C. Simmons & E. J. Kameenui (eds.), What reading research tells us about children with diverse learning needs: Bases and basics. Mahwah, NJ: Lawrence Erlbaum Associates.\n5. See, e.g., Turner, J. C., & Paris, S. G. (1995). How literacy tasks influence children's motivation for literacy. The Reading Teacher, 48, 662-675.\nComprehension Instruction, 12-15. Retrieved from http://www.netxv.net/pm_attach/67/TRI-Comprehension_Instr.pdf.", "id": "<urn:uuid:f3b41aca-c50f-4e37-9bcb-d3f8540045f1>", "dump": "CC-MAIN-2022-21", "url": "https://www.readingrockets.org/article/what-effective-comprehension-instruction", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00558.warc.gz", "language": "en", "language_score": 0.9155570864677429, "token_count": 1823, "score": 4.3125, "int_score": 4}
{"text": "About the Holiday\nMartin Luther King Jr. Day celebrates the life and legacy of the man who dedicated his life and work to teaching\u2014as Coretta Scott King once stated\u2014\u201cthe values of courage, truth, justice, compassion, dignity, humility and service\u201d and led a non-violent Civil Rights movement to enact racial equality and justice throughout state and federal law. President Ronald Reagan signed the holiday into law in 1983, setting it on the third Monday of January to coincide with Martin Luther King Jr.\u2019s birthday on January 15. The holiday was officially observed in all 50 states in 2000. Today, learn more about the life and work of Martin Luther King Jr. We still have a long way to go before there is justice and equality for all, but this year \u2013 even this week \u2013 gives us a new start. Look for ways you can offer help and hope.\nMartin Luther King Jr. (Little People BIG DREAMS)\nWritten by Maria Isabel S\u00e1nchez Vegara | Illustrated by Mai Ly Degnan\n\u201cMartin Luther was a spiritual boy from Atlanta who came from a long line of preachers.\u201d It was thought that he might grow up to be one too. One day, a White friend invited him to his house to play, but when his mother wouldn\u2019t let him in, Martin \u201crealized something terrible was going on.\u201d He discovered that Blacks weren\u2019t welcome in the same places as Whites. Businesses, transportation, and other public places were segregated, which meant there were separate areas for Black and White people. Martin and his friend even had to go to different schools.\nMartin believed people should speak up when something is wrong. He decided that he would \u201cfight injustice with the most power weapon of all: words.\u201d As he grew up and went to college, he learned about ways people could peacefully protest things they felt were wrong. After he graduated, Martin did become a preacher in Alabama. On Sundays, he encouraged his congregation to make their voices heard.\nWhen Rosa Parks was arrested for refusing to give up her seat to a white man on a city bus, Martin asked people to avoid taking the bus until the law was changed, and they responded. For nearly a year people walked and the buses were empty. Finally, segregation of buses ended. This was only the beginning of peaceful protests aimed at overturning the country\u2019s segregation laws. Despite being attacked and arrested, Martin and his followers remained peaceful. Martin \u201cknew that hate can\u2019t drive out hate; only love can.\u201d\nIn a huge protest march on Washington DC, thousands of people assembled to hear Martin speak. His speech began with \u201cfour simple yet powerful words: \u2018I have a dream.\u2019\u201d The next year, Martin was awarded the Nobel Peace Prize. Little Martin\u2019s words and dream still ring in your heart, and if you listen you can help make that dream \u201cof a world where we are judged by our character, not by the color of our skin.\u201d\nA timeline of Martin Luther King Jr.\u2019s life, accompanied with photographs, follows the text.\nMaria Isabel S\u00e1nchez Vegara\u2019s series of biographies for youngest readers are little gems that create a personal connection between the reader and the subject while presenting a clear overview of the person\u2019s life and work. A highlight of the series is Vegara\u2019s early focus on events in the subject\u2019s childhood that changed their perspective and informed their later profession or influence and which will resonate with kids. Here, these include his family\u2019s legacy, a forbidden friendship, and his discovery of the philosophy of Mahatma Gandhi.\nVegara\u2019s storytelling is simple and straightforward, presenting the facts of formative events in language that young children will understand but which never talks down to them. She highlights times when community members were instrumental in changing the laws of segregation, showing children that they too can affect change through their actions, words, and the way they treat others. She then leaves children with words of hope and encouragement on how they can carry on Martin Luther King Jr.\u2019s dream.\nMai Ly Degnan\u2019s stylized and sophisticated illustrations invite children to learn about Martin Luther King Jr.\u2019s life through images they will connect with intellectually and emotionally. Kids will enjoy seeing Martin dressed up in his father\u2019s robe that pools around his feet as he preaches to his friends and will not need words to understand the angry face and outstretched pointing arm of his friend\u2019s mother.\nOther events, such as Rosa Park\u2019s arrest and the bus boycott are depicted from the community\u2019s viewpoint, allowing children to be part of the audience or crowd. Other images, such as Martin\u2019s arrest, a peaceful protest, and the awarding of the Nobel Peace Prize, give children and adults opportunities to discuss and expand on the text. Degnan\u2019s final spread echoes back to the day when Martin was sent away from his friend\u2019s house \u2013 but this time with acceptance \u2013 as a Black boy stands with his arm slung over the shoulder of his White friend as they stand in a diverse crowd of people.\nEmpowering and informative, Martin Luther King Jr.: Little People BIG DREAMS is highly recommended for home bookshelves and is a must for school and public library collections.\nThe book can also be found as part of a boxed set Little People BIG DREAMS Black Voices, which includes biographies of Maya Angelou, Martin Luther King Jr., and Rosa Parks.\nAges 4 \u2013 7\nFrances Lincoln Children\u2019s Books, 2020 | ISBN 978-0711245679 | Little People BIG DREAMS Black Voices, 2020 | ISBN 978-0711262539\nYou can connect with Maria Isabel S\u00e1nchez Vegara on Twitter.\nTo learn more about Mai Ly Degnan, her books, and her art, visit her website.\nMartin Luther King Jr. Day Activity\nMartin Luther King Jr. Portrait\nTo inspire your dreams of a better future for all, c olor this printable coloring page and hang it in your room!\nYou can find Martin Luther King Jr. (Little People BIG DREAMS) at these booksellers\nTo support your local independent bookstore, order from\nPicture Book Review Picture Book Review", "id": "<urn:uuid:bcc6926c-48cd-4b2e-8fed-831d069ad350>", "dump": "CC-MAIN-2022-21", "url": "https://celebratepicturebooks.com/2021/01/18/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604495.84/warc/CC-MAIN-20220526065603-20220526095603-00563.warc.gz", "language": "en", "language_score": 0.9650789499282837, "token_count": 1331, "score": 3.953125, "int_score": 4}
{"text": "In 6th Grade Language Arts, students analyze a variety of literary themes and genres. The class will read classic novels like The House on Mango Street, The Giver and So Far From The Bamboo Grove and frame them in their social and historical contexts. At the end of the year, students will read A Soldier\u2019s Secret by Marissa Moss. This story is about a young girl fighting in The Civil War and is chosen to further enhance the Civil War unit in students\u2019 Social Studies class. Students also get a taste of Shakespeare when they read Twelfth Night and read a variety of poetry from both contemporary and classic poets. Vocabulary is taught from the texts being studied and grammar instruction in embedded in writing lessons. Students develop their critical writing skills and cultivate their author voice through closely examining word choice, mechanics and sentence structure.\nThe topics included in the sixth grade math curriculum are decimals, data analysis and displays, fractions, ratios, percents, geometry, and probability. Students work on performing all four operations on fractions and decimals and converting between fractions, decimals, and percents. They also apply percents to real-world situations including taxes and discounts. For data analysis, students find averages and learn multiple ways to display data. Sixth graders write and compare ratios and use proportions to analyze maps and create scale drawings. Our geometry unit includes exploring attributes of angles, as well as two-dimensional shapes and three-dimensional solids. In probability, students apply the counting principle and determine the number of possible combinations or permutations for given situations.\nIn the fall, sixth grade science students participate in a Metric Olympics to review measurement skills and they apply their knowledge of the metric system to converting between metric units. Students use water to examine the four states of matter and their phase changes. Students also conduct lab experiments to observe physical and chemical changes while determining the properties of matter. Later in the trimester, students dive into the field of ecology, including learning about the three types of symbiotic relationships, food chains, and biomes.\nIn the spring, students learn how to properly use a compound light microscope. After observing various specimen under a microscope, students identify the structure and function of cell organelles. Students later create a 3D-printed model of a plant or animal cell. This project leads students to an introduction of coding and programming Lego Mindstorms EV3 robots. Students work together to plan and program their robots to carry out various tasks and challenges, such as moving objects to given targets and navigating through an obstacle course.\nIn sixth grade social studies, students study the events following The American Revolution through The Civil War. A variety of assessments such as creative writing assignments, analysis of primary sources, and project based learning are used to determine student comprehension and progress. Students also read novels that are connected to the social studies units to deepen their appreciation for the historical time period. Sixth grade students begin by analyzing the failures of the Articles of Confederation and follow the progression to the framework of the United States Constitution. Students then learn about the events that led to Westward Expansion and the development of the United States as a country. The major causes of The Civil War and the events that led to the Union\u2019s victory are studied in the spring.\nStudents in sixth grade Hebrew focus on being able to speak, write, and read using the present and past tense. Reading fluency is developed through varied texts such as short stories, poetry, and print media. Students read a full-length novel in class to expand vocabulary and experience Israeli literature. Students also analyze and describe major events, themes, and concepts in Hebrew.\nStudents study biblical events from an historical context and follow the progress from biblical to ancient Israel. They explore many different themes such as family, leadership and interpersonal relationships. Students learn how to navigate through the Tanach and find specific verses in English and Hebrew.\nStudents experience community tefillah twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students\u2019 spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings.\nIn sixth grade Jewish studies, students deepen their understanding of Jewish holidays and their historical, natural/agricultural, and faith-based foundation. They learn how our customs and traditions enrich and strengthen them as individuals within our Jewish community. Prayers and blessings related to the holidays are recited and Hebrew stories connected to the Jewish holidays are studied.\nStudents develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland.\nThe goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through classical and contemporary music, students learn to sing in-tune with expression and confidence while gaining confidence on stage. They read music and play several instruments including ukuleles and drums. Students also explore music composition using technology such as Garage Band. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics.\nStudents work with a variety of drawing tools, paints, and papers in sophisticated ways. Students learn techniques for drawing, painting, printmaking, and collage. Within each grade level, elements of art such as line, shape, form, color, texture, value, and space are taught. Emphasis is put on the creative process rather than the finished product. Art history is an important component of our curriculum; students study different artists and art movements from the past to the present. Some movements that may be included are: Impressionism, Abstract, Folk and Pop Art. Throughout the year, art is integrated with units of study in the classroom and teachers work collaboratively on skills and concepts to deepen learning.\nSixth grade students continue to build on character work and presentation skills from the previous year by holding mock debates. Students deepen their ensemble capacity as they work together to perform the spring musical performance. Students also strengthen their character work by analyzing text in order to discover character motivation and learn how to bring that out in their performances. Students demonstrate the beginning mastery of all their skills during rehearsals and performances of the spring musical.\nStudents in physical education classes are encouraged to participate in sports education, teamwork, physical fitness activities and sports strategy. In addition to gross and fine motor coordination, stretching and agility, middle school students are taught age appropriate sports skills and team communication through drills as well as game-like scenarios. Units include soccer, flag football, team strategy games, floor hockey, ultimate frisbee, individual problem solving games and basketball. Social team building and sportsmanship skills are woven into game like scenarios to teach students not only the skills to play multiple sports but the interpersonal skills to function in a fast paced team environment.", "id": "<urn:uuid:33dd5895-d05d-49c6-8ca0-fcebcb7ad0a7>", "dump": "CC-MAIN-2022-21", "url": "https://epsteinhillel.org/experience-ehs/curriculum/grade-6", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00363.warc.gz", "language": "en", "language_score": 0.9513722658157349, "token_count": 1523, "score": 3.78125, "int_score": 4}
{"text": "Social stories are a powerful and fun tool that can be used to help young students to understand and cope with different situations.\nThese skills teach students what is expected in social behaviors and different settings such as school, with friends, appointments, or shopping.\nGoals of Social Stories\nThe goal of social stories is to focus on specific behaviors that students with developmental delays, autism, or those who struggle with social challenges to develop coping skills for these situations, reduce anxiety, and prepare them for the consequences of different behaviors.\nAs a Speech Therapist and parent of two Special needs sons, who required intensive Speech, Occupational and Physical therapy in all areas, I hope to bring a unique perspective to my posts.\nSituations where Social Stories can be Used\nSocial stories can specifically help with:\n- New experiences \u2013 first day at school, going on an airplane, going to a doctor or dentist\n- Transitions \u2013 moving from one activity or environment to the next\n- Social skills \u2013 sharing, taking turns, resolving conflicts\n- Learning routines \u2013 bedtime routine, morning\n- Setting expectations for behavior \u2013 visiting the library, road trips\n- Specific behavioral issues \u2013 spitting, hitting, name-calling\nWhat is Sequencing?\nSequencing, which is presenting a series of ideas in chronological order to assist the student to comprehend and anticipate each step of a situation and to evaluate what he has learned.\nSocial Story \u2013 A Visit to The Dentist or Doctor\nA typical story about a visit to the dentist or doctor:\nPrepare the student by telling them the name of the dentist/doctor, his special interest in working with students ,the route to the office dentist, and the layout of the reception area.\nThe options to avoid sitting with many people in the waiting room could be discussed.\nWhen you are at the office, sit on the floor with the student if age-appropriate and reinforce the social stories with repetition and play with a toy stethoscope, plastic toy syringes, masks, and gloves.\nIt is recommended that a parent starts preparing the young students for the visit to the dentist/doctor two weeks before going to the appointment.\nParents as First Educators\nParents must be aware that they are the first educators and that their early input is essential to their student\u2019s early development.\nOnce the student is at school, teachers and therapists must adopt a team approach and augment the parent\u2019s input, and parents must still be involved with the therapy process.\nBehavioral Issues and Social Stories\nSpeech Therapy, Occupational Therapy, Physical Therapy, and Psychotherapy are all used to address the behavioral issues that the student presents with.\nAdaption of Social Stories for Different Students\nThe student\u2019s behavior will vary the difficulties with which they present.\nStudents with Autism, delayed development, and/or Cerebral Palsy are prone to specific behaviors, such as anger outbursts, blaming others for their difficulties, anxiety regarding new situations, tearfulness, and fear of failure.\nThese students need different kinds of social stories for their unique challenges. Age, comprehension, and cognitive ability are important determinants for the adaption of social stories appropriate to them.\nTo reinforce the content of the social stories, charts with positive quotes can be valuable.\nA User Manual for New Experiences\nIn conclusion, when adults want to learn something new or start a new experience, we often start with some sort of manual \u2013 a set of instructions with steps to follow, things to remember, and processes to learn.\nSocial stories can be miniature manuals for young students. At the Therapy Place we present these instructions through the art of storytelling so we can teach students about behavioral norms, routines, and expectations in an engaging and relatable way with the goal of enabling the students to self-regulate their behaviors in different situations so that they become socially appropriate.\nThe Therapy Place is here to help you in any way they can, please feel free to reach out to our friendly office at (848)285-5121.\nTrue friends share- share this blog with a friend who you think will benefit from our content.\nReferences: (APA 7th Edition)\nHome \u2013 the therapy place. (2020, November 22). Therapyplacenj.Com. https://www.therapyplacenj.com/\nKylie Rymanowicz , Michigan State University Extension. (n.d.). Once upon a social story: Advantages, writing and presenting social stories \u2013 MSU Extension. Msu.Edu. Retrieved November 23, 2021, from https://www.canr.msu.edu/news/once_upon_a_social_story_advantages_writing_and_presenting_social_stories\nLogsdon, A. (n.d.). The important role of parents in special education. Verywellfamily.Com. Retrieved November 23, 2021, from https://www.verywellfamily.com/parental-importance-special-education-2162701\nPierce, R. (2020, December 17). How to write A social story (A step-by-step guide). Lifeskillsadvocate.Com. https://lifeskillsadvocate.com/blog/how-to-write-a-social-story/\nSocial Stories. (n.d.). Sensoryprocessingdisorderparentsupport.Com. Retrieved November 23, 2021, from https://sensoryprocessingdisorderparentsupport.com/social-stories.php\nSocial stories in special education \u2013 Watson institute. (n.d.). Thewatsoninstitute.Org. Retrieved November 23, 2021, from https://www.thewatsoninstitute.org/resources/behavior-stories/\nSocial story for going to the dentist \u2026. (n.d.). Pinterest.Com. Retrieved November 23, 2021, from https://za.pinterest.com/pin/561824122247725294/\nWhimsy Workshop Teaching. (2019, November 17). Teaching social skills with social stories \u2013 whimsy workshop teaching. Whimsyworkshopteaching.Com. https://whimsyworkshopteaching.com/ideas/teaching-social-skills-social-stories/", "id": "<urn:uuid:65b3209d-c2d8-4891-ba4b-8924c7ac6e08>", "dump": "CC-MAIN-2022-21", "url": "https://www.therapyplacenj.com/social-stories-for-kids-a-user-manual-for-new-situations/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00763.warc.gz", "language": "en", "language_score": 0.9104812145233154, "token_count": 1300, "score": 4.3125, "int_score": 4}
{"text": "When Did Writing Begin In Britain? How did writing come to the United Kingdom? The answer to this question will depend on your perspective. For many people, writing was a natural outgrowth of their growing letters-mail list and printing business. Whatever your views on the nature of literature, it\u2019s clear that writing has been a part of our social life for at least 10,000 years. In the early years of the Common Era, people who produced literature and art held high offices in society. People who wrote and wrote about these things gave a lot of thought to their own history, and their reflections on it shaped who they were and what they wrote about. The early Romans, for example, wrote about their own past and future, and Britain has a rich and long history of writing about its own past and future. So, in what ways did writing in Britain come to be? Here\u2019s a look at some of the connection points.\nBefore we get into the nitty-gritty of when and why writing came to be a part of British culture, it\u2019s worthwhile to look at where it started. To get an idea of where this might be going, consider the evolution of other arts and the evolution of writing in other cultures. The transition from an oral to a written language was rapid in many parts of the world both before and after the advent of printing. Modern writing can be traced to Cantino Bandung, the 12th-century writing in the Indonesian archipelago of the Achaemenid Empire, which was the first recorded instance of a written language being used. As we continue on in history, we see the spread of printing, and with it the development of a technological imperative that demanded that all forms of written communication be easily portable. Some of the most significant developments in printing include the development of movable type, the development of black and white printing, and the transition to a digital format.\nEarly Writing in Britain\nA number of early examples of British writing can be traced back to a single period: c. AD 1000-1000. The oldest surviving book in Britain is The Canterbury Tales, written between 1025 and 1031. Canterbury is also known for its prolific author: Geoffrey Chaucer. The first surviving book printed in Britain was a wooden handbook from 1056 known as the \u201cHare and Fox\u201d handbook. This was followed by a similar handbook printed in 1057 called The Adventurer\u2019s Almanack, and a few years later, the first printed book in English, the Bible in the first English Hutt. The popularity of the Bible in the Hutt and the Hutt Valleys of Cornwall grew in tandem with the rapid spread of printing. The first printed Bible in Britain, probably from France, appears to be the 1572 Forerunner of the Vulgate, which contained many English words and phrases as well as many previously unknown ones. There are many other clues as to the origins of the first printed book in Britain, such as the fact that its first printing was done in France, and that it contained some words and phrases that are familiar to English speakers but which are not found in other languages.\nThe Rise of the Novel\nAlthough virtually all texts before the 15th century were written on paper, there was a retrenchment of sorts during the 15th century. By this time, most people had become well used to reading with their hands, and the writing had largely disappeared from common conversation. Instead, people were more likely to think about language and writing in terms of their potential for entertainment rather than for a serious purpose. In addition, printing technologies were becoming more popular, and booksellers were increasingly seeking new products and services to attract customers. As bookselling became more common, book publishers saw an opportunity to make a name for themselves. One such company was the London book dealer George Steevens, who in 1595 released his first book, a novel called The Alchemist, which was followed by several subsequent books, including his translation of the Iliad and Odyssey into English, as well as a large number of introductions and biographies.\nThe Development of the Theatre\nDuring the 15th century, England experienced a boom in the production of plays, particularly tragedies and comedies. These Broadway shows were wildly popular, drawing crowds of both villagers and cities, and changing the face of British culture. The most significant event during this period was the birth of Sir Walterrapstead, the first professional playwright in Britain. The playwright had been active as a playwright in France for some time, but he was the first person to bring his work to a fully modern form. The popularity of the plays inspired by Sir Walterrapstead grew, and by the 16th century, there were regular official theatrical events in London. These included the Drama Festival, the Royal Dramatic Theatre, the Academy of Dramatic Art, and the British Theatre.\nThe Reception of the Scroll and Key\nAlthough the Ready Player One film series has focused attention on the power of technology, the actual origins of the Ready Player One marketing campaign can be traced back to a different source: the opportunity to read and write a blog post on the Ready Player One website. In early May 2016, the blog post was published, and within hours it had become one of the most popular articles on the site. The reason for this is not only the content itself, but also the chance to read and respond to comments from readers. Although the blog post was originally published in 2014, the popularity of the website didn\u2019t happen until 2016, making it likely that the reference to the Ready Player One website was a later addition.\nConclusion: What does Writing in Britain have to tell us?\nIt\u2019s hard to say whether or not writing will ever become fashionable again in Great Britain, but it\u2019s important to remember that the first steps were taken many, many years ago. Whether you choose to be a writer or not, it\u2019s important to remember that the things that make us who we are were created by us, and that means everything. So, if you want to open yourself up to new ideas and become more versatile, try to keep these things in mind: Pay attention to your needs, not your wished-for skills. Don\u2019t try to impress other people, but instead, take the time for yourself to develop your skills. Keep an open mind, and don\u2019t take anything for granted. What does Writing in Britain have to tell us? The British writing tradition is rich in examples of literature being read and shared, as well as inspiration for new work. It\u2019s also important to remember that the quality of writing does not determine who you become as a person, but rather what you do with this knowledge. To end this article, let\u2019s look at one last example of how writing has shaped our culture, in this case, the art of storytelling. Thanks for reading!", "id": "<urn:uuid:d7bea57d-8567-4ad5-98b9-485d6d9b50c8>", "dump": "CC-MAIN-2022-21", "url": "https://englishbos.com/when-did-writing-begin-in-britain/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662509990.19/warc/CC-MAIN-20220516041337-20220516071337-00364.warc.gz", "language": "en", "language_score": 0.9824669361114502, "token_count": 1427, "score": 3.515625, "int_score": 4}
{"text": "An autobiography is a book about a person written by that person. The word comes from the Greek, autos self, bios life, and graphein, to write. Autobiography is written with a timeline, often beginning with the author\u2019s birth, or the birth of the writer\u2019s parents. Facts, research, and interviews, along with letters, certificates of birth, school records or employment, may be used by the author. The writer situates the story with history, place and setting. Autobiography is a more formal style of writing, although the author may use their own voice and other writing devices in order to make the book interesting. Memoir, on other hand, is written usually from memory and does not require extensive research. Memoir writers are free to use an informal style, and they have the freedom to recreate scenes or people or events in a creative manner.\n\u201cThe urge to write one\u2019s autobiography , so I have been told, overtakes everyone sooner or later.\u201d Agatha Christie\nThe word autobiography has been attributed to British essayist William Taylor. He first wrote about the word in 1797 in an essay on the emergence of writing by people who wanted to record their lives for posterity. Traditionally, autobiography was written by religious leaders, royalty, philosophers, or writers and artists. Advances in printing and the publishing field fueled the popularity of the genre during the 18th century when restrictions of printing were lifted. The proliferation of public libraries gave increased access to books, therefore giving incentive for persons to write their autobiographies. As education became more available to the public, a greater number of readers emerged, and therefore, more writers. Virginia Woolf, author of A Room of One\u2019s Own, told how the rise in literacy began when middle-class women began to write and publish their autobiographies.\nCurrent debate centers on the numerous autobiographies available to readers, the worth of topics, and the qualifications of the people who write about themselves. Edward Gibbon, author of The History and the Decline and Fall of the Roman Empire, penned in his 1796 six-volume autobiography, Memoirs of My Life and Writings, that readers identify not with someone\u2019s great works, but with minor traits attributed to all. One advantage to reading autobiographies, both for the general reader and students of history, is gaining an awareness of the world. Mark Twain wrote that his own autobiography was a mirror in which he looked at himself.\nAnother debate concerns censorship. Closed societies may view certain autobiographies of people as a threat, and may forbid their citizens to be exposed to historical or current events. On the other hand, global citizens may discover old or forgotten biographies on the internet, and in bookstores or libraries. The invention of electronic books, which can be accessed on tablets, computers, and cell phones, provides readers of autobiographies exposure to different lives. Anthropologists, who research writing systems, consider hieroglyphics and other symbol-based writing systems to be autobiographies because they tell the story of certain people or groups.\nAutobiography gives the author the opportunity to examine their life and to enter into a journey in order to find answers to common human questions such as who they are and where they come from. To write an autobiography, the person must go back in time and search for information about their personal history. Once the ancestor\u2019s history has been located, the author is able to situate their own story by place, time, setting and other literary devices. The quest often allows the author permission to enter into a discussion with their self and the story, much like a journalist would interview the subject of a piece for an article or other written work. The inspiration to write an autobiography may be to uncover secrets, personal or family scandals, to locate themselves within historical events, or as a method of leaving their story for posterity.\nPsychologists consider autobiography valuable for personal identity and psychological well-being. J. Lenore Wright, in her book The Philosopher\u2019s \u201cI\u201d: Autobiography and the Search for the Self, writes that autobiography is a method of reinforcing our unique existence among humanity, to communicate ourselves to others, to add continuity to ourselves, and make ourselves and our identity transparent to people. Autobiographical memory, events and experiences that we remember about our life, can be divided into episodic and semantic events. Wright states that our episodic memories are recollections of people, memories of what happened to us and where those events occurred, whereby we are able to remember emotions experienced during the event and the context in which the event occurred. Human-Memory.net explains in an article titled Episodic and Semantic Memory, how semantic memory gives us the ability to remember facts and general information and knowledge of the external world.\nNeuroscientists John S. Simons and Hugo J. Spiers view autobiographical memory as anatomical. Encoding, storage and retrieval of autobiographical memories are all associated with the medial temporal lobe. In Autobiographical Memory, memory is composed of three categories, General Events, a focused memory; Lifetime Periods, a memory of certain periods of life; and Event-Specific Knowledge (ESK), highly detailed memories of events or people. ESK has a psychological basis that can be a template for writing an autobiography as it has similarities to composition. Originating events, Turning Points, Anchoring Events, Analogous Events, Personal Information, Reconstructive vs Copies of Memories, and Generic vs Specific are outlines for an autobiography.\nIn the past, autobiography had three categories. Apologia is a defense of a person\u2019s beliefs and actions. Orations were autobiographies that were personal and not to be recited in front of an audience, but to oneself. A Confessional autobiography was written as a method to reveal the author\u2019s transgressions and mistakes in life.\nThe study of autobiography has many applications to the scientific field. Research has uncovered benefits for the treatment of mental illness, elder care and for people with disabilities. In the educational field, some universities offer majors in Autobiographical Studies. In the community, writers conduct classes and seminars in the study of autobiography. Life story researchers, centers for biographical research, and guided autobiography groups are a few types of organizations involving autobiography.\nKay Castaneda, MA\n\u201cAutobiographical Memory.\u201d Explorable.com. Explorable Psychology Experiments, 25 Sept. Web. 24 July 2014.\nBauer, P. J. \u201cThe Life I Once Remembered: The Waxing and Waning of Early Memories. Zero to Three.\u201d Understanding Autobiographical Memory: Theories and Approaches. Ed. Dorthe Berntsen, and David C. Rubin. Cambridge: Cambridge University Press. 2009. Print.\nBell, Robert H. The Rise of Autobiography in the Eighteenth Century: Ten Experiments in Literary Genre \u2013 Augustine, Bunyan, Rousseau, Locke, Hume, Franklin, Gibbon, Fielding, Sterne, Boswell. New York: Edward Mellon, 2012. Print.\nCantelli, Veruska. Ethical Pact: Storytelling in Contemporary Autobiography. Diss. New York: City University of New York Press, 2012. Print.\nCleary, Anne M. \u201cPeople with Extraordinary Autobiographical Memory: The Unique Brains of Those with Highly Superior Autobiographical Memory (HSAM).\u201d Psychology Today 9 Jan. 2013: n. pag. Web. 27 July 2014.\nDeBoer-Langworthy, Carol. Life writing: Annual Biographical and Autobiographical Studies. Vol. 1. Brooklyn: AMS, 2012. Print.\n\u201cEPISODIC & SEMANTIC MEMORY.\u201d The Human Memory. Human-memority.net, n.d. Web. 27 July 2014. Poletti, Anna, and Julie Rak, eds. Identity Technologies: Constructing the Self Online. 1st ed. Madison: U. of Wisconsin, 2014. Print. Wisconsin Studies in Autobiography.\nTwain, Mark. Autobiography of Mark Twain. Ed. Harriet Elinor. Smith and Benjamin Griffin. Berkeley: U of California, 2010. Print.", "id": "<urn:uuid:ff25fe45-4a30-470d-a047-6cd6340e1774>", "dump": "CC-MAIN-2022-21", "url": "https://bookplaces.blog/2018/06/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662546071.13/warc/CC-MAIN-20220522190453-20220522220453-00163.warc.gz", "language": "en", "language_score": 0.9303866624832153, "token_count": 1724, "score": 3.5, "int_score": 4}
{"text": "Classroom Activities for Teaching Shakespeare\nWilliam Shakespeare, the world\u2019s most famous and influential writer, has long served as the poster boy of ELA curriculum. Some students get a kick out of all the droll melodrama, sharp-tongued insults, and sword fights. Others find the Bard tedious, a reaction most teachers hope to reverse.\nWhat if you could teach these plays in a way that helps your students tap into a love and appreciation for literature, history, and even humankind? With these fun and engaging classroom activities for teaching Shakespeare, you\u2019ll accomplish that mission.\nBuild a Character\nWhat makes a character uniquely Shakespearean? For centuries, these personas have sustained as cautionary tales and pertinent reflections of modern events. And that\u2019s because the Bard used a strategic formula for creating his characters, a template that storytellers continue to borrow today.\nIn this Shakespeare classroom activity, students will create their own character. Adaptable for a wide range of age groups, this endeavor could take the form of a trading card with stats and short bios or a short play your students pen and perform. As long as students grasp the concept of literary attributes, this lesson will prove successful.\nThe recipe is subject to change, of course, but suffice it to say, the Bard built his characters based on:\n- Strong desires and principles that drive the action forward.\n- A fatal flaw or hamartia that either impedes a goal or causes a downfall.\n- Complex motivations that often make them sacrifice their morality, question their loyalties, or go through uncomfortable changes.\n- A tragic waste that gives way to a moral lesson or catharsis.\nPop Culture Connections\nYou\u2019ve seen the Lion King, right? In case you need a refresher, the movie\u2019s about a prince who loses his father, flees his home, gets visits from said father\u2019s ghost, and returns to honor a legacy. In other words, Simba is Prince Hamlet.\nNo doubt Shakespeare\u2019s influence on pop culture and modern storytelling endures. In fact, the Guinness Book of World Records reports 410 cinematic renditions of the Bard\u2019s plays. Some are direct adaptations while others are more subtle or otherwise modernized to reflect what the world looks like today. West Side Story, My Own Private Idaho, Ran, and 10 Things I Hate About You represent a small sample of modern reimaginings.\nIf your kids don\u2019t jive with lofty Elizabethan language, perhaps they\u2019d connect with a teenage romance or a superhero. For this classroom activity, we recommend your students write profiles of existing fictional characters and draw thematic lines between shared traits.\nHere are some pop culture icons and movies that you can use to illustrate parallels between modern society and drama from the Sixteenth Century:\n- Batman is a crusader version of Hamlet, a character whose mission involves honoring a dead parent.\n- Walter White is an ambitious and cutthroat individual who continues lowering the moral bar to gain power, a modern foil for Macbeth.\n- Kat Stratford (10 Things I Hate About You) is a sardonic and hyper-critical individual who becomes the gatekeeper of her sister\u2019s social life. The movie is a loose but honorific adaptation of \u201cThe Taming of the Shrew.\u201d\nYes, we know, teachers are supposed to discourage name-calling. But the scathing attacks Mr. Shakespeare penned bring such sheer delight that it\u2019s hard not to partake in a little verbal warfare.\nIn the spirit of fun, you can facilitate the development of Shakespeare insults. For starters, let\u2019s take a look at some of the Bard\u2019s most acidic roasts:\n- \u201cCome, come, you froward and unable worms!\u201d\n- \u201cI am sick when I do look on thee.\u201d\n- \u201cI\u2019ll beat thee, but I would infect my hands.\u201d\n- \u201cMore of your conversation would infect my brain.\u201d\n- \u201cThine face is not worth sunburning.\u201d\n- \u201cYour brain is as dry as the remainder biscuit after voyage.\u201d\nIn terms of classroom activities, you can divide your students into groups, have them write over-the-top (ahem, clean) insults, and then take a vote on different categories, e.g., funniest, most original, etc.\nSidebar: for a little inspiration, the internet has a handy Shakespearean Insult Generator.\nKinesthetic Reading, or \u201cExit, Pursued by a Bear\u201d\nThis author did not intend his plays for silent reading, and yet that\u2019s how many students become acquainted with his work. Shakespeare\u2019s tragedies and comedies were meant to be performed and experienced, and there\u2019s no place like the classroom to reverse the trend of silent reading and dry recitation.\nIf you\u2019re a major Shakespeare aficionado, you\u2019re probably familiar with literature\u2019s most famous stage direction: Exit, pursued by a bear. Imagine the fun you can have in your classroom, simply by following the plays\u2019 directorial notes.\nNo one expects teachers to erect elaborate stages, but it\u2019s more than possible to have kids participate in kinesthetic reading. Yes, we mean the students get up, move around, and perform the stage directions. Here are a few simple ideas for using everyday classroom items as impromptu stage prompts.\n- Use a desk as cauldron substitute for the prophecy scene in \u201cMacbeth.\u201d\n- Use an apple or random trinket as a makeshift skull for the gravedigger scene in \u201cHamlet.\u201d\n- Use a water bottle to represent poison in the death scene in \u201cRomeo and Juliet.\u201d\nLiving in the information age means our society craves a bite-sized synopsis of all newsworthy happenings. Can you reduce Shakespeare\u2019s complex work to a shareworthy soundbite? The assignment might prove challenging, but nevertheless fun. Here are a few of examples that your students can use as inspiration:\n- \u201cAfter Seeing Father\u2019s Ghost, Prince Avenges Wrongful Death\u201d (\u201cHamlet\u201d)\n- \u201cRetiring King Makes Grave Error in Power Disbursement\u201d (\u201cKing Lear\u201d)\n- \u201cWealthy Dynasties Make Truce After Family Tragedy\u201d (\u201cRomeo and Juliet\u201d)\n- \u201cMischievous Fairy Creates Dangerous Love Triangle\u201d (\u201cA Midsummer Night\u2019s Dream)\n- \u201cRoman General Gets Culinary Revenge on War Prisoners\u201d (\u201cTitus Andronicus)\nWe hope that your students unlock a lifelong love of literature, from Shakespeare and beyond. Help your students get excited about reading and writing with these ELA professional development courses from Advancement Courses:\n- Shakespearean Literature: Never be intimidated by Shakespeare again! Immerse yourself in the European Renaissance and Elizabethan England, and see how Shakespeare\u2019s sonnets, comedies, histories, and tragedies changed the way we view dramatic literature and humanity itself.\n- Active Reading vs. Passive Reading: Teaching Students to Become Better Readers: Getting students to block out all distractions and focus on a single task\u2014especially reading\u2014can be quite challenging. Explore techniques to strengthen your students\u2019 reading skills and inspire deeper learning and a greater love of reading.\n- American Literature: Discover how literature has both shaped and reflected the evolution of American culture. You\u2019ll read colonial and slave narratives, writings from the Revolutionary War and women\u2019s suffrage eras, and works from Edgar Allan Poe, W. E. B. Du Bois, Emily Dickinson, Mark Twain, and more.\n- British Literature: What can British literature teach us about present-day social change, public crises, and scientific advancements? Explore writings from the Anglo-Saxons through the mid-1700s to see how analyzing British literature can enrich your understanding of past and present.\n- Multicultural U.S. Literature: Develop a rich, more diverse cultural perspective by exploring great works of poetry, fiction, and nonfiction written by and about members of diverse cultural groups in the United States.\nIn addition to these, Advancement Courses offers K\u201312 educators more than 280 online, self-paced professional development courses covering both foundational topics and emerging trends. All courses are offered for both graduate and continuing education credit for your salary advancement or recertification needs.", "id": "<urn:uuid:f892576d-78b2-4693-a08b-9f6b23fc4e2d>", "dump": "CC-MAIN-2022-21", "url": "https://blog.advancementcourses.com/classroom-activities/shakespeare-in-action/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521152.22/warc/CC-MAIN-20220518052503-20220518082503-00364.warc.gz", "language": "en", "language_score": 0.9202941656112671, "token_count": 1815, "score": 4.09375, "int_score": 4}
{"text": "English Language: A-level\nExam Board: AQA\nEntry Requirements: Grade 5 or above in GCSE English Language and English Literature.\nwatch our video about English Language A-level\nA fascinating exploration of language in our society\nIn this course we will study English both as a medium of communication and as a topic in its own right. Using a multitude of texts, we will consider the roots of English, explore theories about its influence on our attitudes, and evaluate different views of its power and usage - both positive and negative!\nStudents will also work independently to research aspects of language in use and on their own creative use of language. Overall, this is a rich linguistic course which will be fascinating for students with an interest in history, psychology, politics, philosophy, sociology, and, not least, English!\nWe study the way groups such as young people, those with ethnic backgrounds and those with a disability are represented in the media. To do so, we will use key theories of language to better understand how and why language can influence society\u2019s attitudes towards these groups.\nWe will also explore how children learn to speak, read and write language and debate how education and society affects children\u2019s development and social status.\nSkills developed include writing for a non-specialist audience, discursive essay writing, detailed analysis and evaluation of data, and applying a variety of theories and concepts to answers confidently.\nThe non-examined component (worth 20%) is an independent language investigation and a piece of original writing. Past examples include:\n- Does gender affect the language used in social network posts.\n- The semantic change of the word \u2018like\u2019.\n- The language of a specific social group.\n- The dialect of my South Yorkshire family.\n- How is language used by a political group?\n- How a child with autism communicates with close family members.\nBeyond the classroom\nPast activities have included:\n- A debating club.\n- Public speaking competitions.\n- Trips to the theatre and cinema.\n- Support for entering students into national creative writing competitions.\nAn English A-level is a valuable asset when applying to university or to potential employers. It shows that you have good communication skills, and that you are able to persuade, inform or connect with someone. It can lead to a higher or further education course in English or communications, as well as careers in journalism, teaching, the media, public relations, marketing, broadcasting, linguistics and law. It is a useful qualification for all courses, developing analytical skills and providing evidence of the ability to use language successfully.", "id": "<urn:uuid:954fec74-5113-435e-a205-484614a0a74f>", "dump": "CC-MAIN-2022-21", "url": "https://www.silverdale-chorustrust.org/englishlanguagealevel", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00161.warc.gz", "language": "en", "language_score": 0.9342945218086243, "token_count": 551, "score": 4.0625, "int_score": 4}
{"text": "Definition of Denouement\nThe denouement of a story occurs just after the climax and is the final moment in which there is resolution for any remaining conflicts in the plot. All the loose ends of the plot are tied up in this last scene, secrets are revealed, and there may be a sense of catharsis for the reader or audience member at this point. It is also a return to normalcy for the characters, though there may be a \u201cnew normal\u201d after the intricacies of the plot have occurred and been revealed. Generally, in a comedy the characters end up happier than they were at the beginning of the plot (a \u201chappier ever after\u201d scenario), while in tragedies the characters end up worse off than in the beginning, often with one or more deaths.\nThe word denouement comes from the French word desnouer, which means \u201cto untie\u201d (originally from the Latin word for knot, nodus). In a sense, the definition of denouement is the untying of all the knots created throughout a piece of drama or fiction.\nCommon Examples of Denouement\nCertain world events can be seen as having a similar structure to dramatic plots, broken into rising action, a climax (or set of climaxes), falling action, and denouement. Here are some examples of denouement as seen in the real world:\n- World War II: The denouement of World War II could be seen as the official surrender of Japan in 1945. This comes after the surrender of the Germans in May of 1945 and the horrific \u201cclimax\u201d of the atomic bombs being dropped, the moment in which nothing could be the same afterwards.\n- American Revolution: Though the United States celebrates 1776 as the year of independence from Great Britain, the final denouement came in 1783 when the final British troops left New York City and Washington resigned as Commander.\n- Good Friday Agreement: This agreement was signed in Belfast on Good Friday, April 10th, 1998 as part of the Northern Ireland peace process. The signing of the agreement itself is a sort of denouement, as it comes after many years of strife and violence, and then later at the end of several years of talks, referendums, elections, pledges, and so on. There were many events leading up to this important agreement, and the final signing of it represented a certain end of the story, though of course it did not completely solve all discord immediately.\nSignificance of Denouement in Literature\nMost works of fiction and drama include a denouement as a way of wrapping up the story and providing a conclusion, whether or not it is ambiguous. Only in some post-modern stories is there no real denouement. The German novelist and playwright Gustav Freytag developed the pyramid theory of narrative structure in the 1800s to describe classical dramas such as Ancient Greek and Shakespearean plays. However, his theories are easily applied to many modern plots as well. Freytag broke the elements of a story into five parts: exposition, rising action, climax, falling action, and denouement. While many stories are more complex than this five-part scheme, Freytag\u2019s pyramid is useful for understanding the development and resolution of conflict, which is so necessary in all stories.\nExamples of Denouement in Literature\nPRINCE: A glooming peace this morning with it brings;\nThe sun, for sorrow, will not show his head:\nGo hence, to have more talk of these sad things:\nSome shall be pardon\u2019d, and some punished:\nFor never was a story of more woe\nThan this of Juliet and her Romeo.\n(Romeo and Juliet by William Shakespeare)\nThis is an example of denouement from a tragedy. The climax of the play is the scene in which the two young lovers, Romeo and Juliet, commit suicide. Afterward, the other characters in the play rush in to see what has happened and find them dead. The Prince ends the play by giving a short eulogy for the couple, which leads to the new normal of the Montagues and Capulets putting an end to their animosity.\nPUCK: If we shadows have offended,\nThink but this, and all is mended:\nThat you have but slumber\u2019d here\nWhile these visions did appear.\nAnd this weak and idle theme,\nNo more yielding but a dream,\nGentles do not reprehend.\nIf you pardon, we will mend.\n(A Midsummer Night\u2019s Dream by William Shakespeare)\nUnlike the first example, this finale to a William Shakespeare play comes at the end of a comedy. The character of Puck addresses the audience in this final epilogue, after the happy couples have all married each other. Puck makes light not only of the episodes that have occurred in the play, but also of the concept of going to a play. It\u2019s appropriate for a comedy that the audience should leave feeling uplifted, and Puck makes sure of that here.\nThe creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.\n(Animal Farm by George Orwell)\nThis is an interesting denouement example from George Orwell\u2019s Animal Farm. The entire plot has been about the animals of a farm rebelling against their human oppressors, but after some time the pigs begin to see themselves as better than the other animals. In this final line, the other animals cannot distinguish between the pigs and their original oppressors, showing that they have become one and the same.\nBefore reaching the final line, however, he had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth.\n(One Hundred Years of Solitude by Gabriel Garc\u00eda M\u00e1rquez)\nGabriel Garc\u00eda M\u00e1rquez\u2019s novel One Hundred Years of Solitude ends with the above excerpt. A wizardly character has left parchments to be deciphered by the central family in the novel, and the moment in which the character Aureliano Babilonia finally decodes them is concurrent with the end of his family line. It is almost as if the final revelation of secrets in this denouement example is actually one of the causes of the family\u2019s destruction.\nVery few castaways can claim to have survived so long at sea as Mr. Patel, and none in the company of an adult Bengal tiger.\n(Life of Pi by Yann Martel)\nThroughout the contemporary novel Life of Pi, there is some ambiguity about whether the tiger Richard Parker is an actual creature or a metaphor for something (or someone else). While many have taken the story at face-value that the main character Pi Patel survived a shipwreck on lifeboat with a Bengal tiger, this final line of the novel casts some doubt on whether this unlikely survival story could really have happened. Thus, this denouement example is an ambiguous one, open to reader interpretation.\nThere was some open space between what he knew and what he tried to believe, but nothing could be done about it, and if you can\u2019t fix it you\u2019ve got to stand it.\n(\u201cBrokeback Mountain\u201d by E. Annie Proulx)\nE. Annie Proulx\u2019s short story \u201cBrokeback Mountain\u201d is about the difficulties that two men face when they fall in love in a culture that is rabidly homophobic. This final line shows the utter tragedy of their story\u2014the characters of Jack Twist and Ennis Del Mar fantasize about escaping from disapproving society, yet they cannot fix it. Ennis comes to the painful realization that all he can do is \u201cstand it.\u201d\nTest Your Knowledge of Denouement\n1. Which of the following statements is the best denouement definition?\nA. The beginning of a work of literature.\nB. The most important action that happens in a plot, after which nothing can be the same.\nC. The very end of a story after the climax has occurred and final secrets are revealed.\n|Answer to Question #1||Show|\n2. The following quote is the very last line from a William Shakespeare play:\nMyself will straight aboard, and to the state\nThis heavy act with heavy heart relate.\nBased on this denouement, would you guess that this is the final line of a tragedy or comedy?\n|Answer to Question #2||Show|\n3. Which of the following statements is true?\nA. In a comedy, the characters often end up worse off at the end of a plot than they are at the beginning.\nB. In a tragedy, the characters\u2019 fortunes generally get better after the opening, but then fall at the end.\nC. After the denouement, there is a final conclusion.\n|Answer to Question #3||Show|", "id": "<urn:uuid:fbaaca7a-eb69-4df5-8772-60d7b6d99c8a>", "dump": "CC-MAIN-2022-21", "url": "https://literarydevices.com/denouement/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512249.16/warc/CC-MAIN-20220516204516-20220516234516-00364.warc.gz", "language": "en", "language_score": 0.9578309655189514, "token_count": 1995, "score": 3.59375, "int_score": 4}
{"text": "Anglo-Saxon Riddles Image Credit: http://www.utm.edu/staff/ngraves/shakespeare/OERiddles.htm The Riddles Were recorded in the Exeter Book \u2013 the largest known \u201canthology\u201d of Old English poetry and verse. Literary Terms (page 17) The following terms are found in much of the Anglo Saxon poetry that we will study. As we study the riddles and poems of this time (including Beowulf) always be on the look out for these devices at work. The use of these devices made it easier for poets to \u201csing\u201d the songs to their audiences. They aided memorization. Kennings Two-word poetic renamings of people, places, or things. Poetic synonyms EXAMPLE: Whale road = sea EXAMPLE: Trumpet blarer = Mrs. Wood EXAMPLE: Knowledge vessels = you students Alliteration Repetition of the same initial consonant sounds in poetry. EXAMPLE: Peter Piper picked a peck of pickled peppers. EXAMPLE: Every day she danced and dared to be her best. Caesura A natural pause in a the middle of a line of poetry. Give time for poet to take a breath. LOOK FOR: Punctuation in the middle of a line EXAMPLE: Grendel, who haunted the moors, the wild Marshes, and made his home in a hell Not hell but earth. He was spawned in that slime, Conceived by a pair of those monsters born of Cain, murderous creatures banished\u2026 Assonance The repetition of vowel sounds in unrhymed, stressed syllables. EXAMPLE: Batter the ramparts Riddles What is a riddle? What do riddles sound like? Do you know any riddles? What is the point of the riddle? If you are going to write one, what are you trying to do? What makes a good riddle? Directions Find your group. Read through all the riddles in the packet Fill in your chart for each riddle. Focus on solving the riddles and observing the poetic devices being used. When you are finished with the chart, we will go over the answers. 15 minutes \u2013 We will come back together as a class. Write your own riddle. Minimum of 12 lines Do not put your name on it. Type/write big font and neatly \u2013 so can be read easily. Answer on back in pencil. Put in alliteration, caesura, and one example of kennings. One example of each minimum. These WILL be shared/read tomorrow. You WILL be asked to show where you included the literary elements.", "id": "<urn:uuid:54bb2986-53ea-4aad-b510-efb1036a4f23>", "dump": "CC-MAIN-2022-21", "url": "https://studylib.net/doc/9859441/anglo-saxon-riddles", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522309.14/warc/CC-MAIN-20220518183254-20220518213254-00163.warc.gz", "language": "en", "language_score": 0.9459701776504517, "token_count": 552, "score": 4.46875, "int_score": 4}
{"text": "What is Mariachi Music?\nStated in the simplest way, Mariachi is traditional Mexican music, but it embodies and represents so much more than those words describe. The roots of Mariachi date back hundreds of years. It is the music of Mexico\u2019s country people, music that celebrates Mexican\u2019s joys, struggles, and victories. It goes far beyond music. It is an artistic sum of cultural revolution expressed through a group of musicians dressed in traditional charro suits \u2013 it is the essence of Mexico and its people.\nIn today\u2019s world, most people associate Mariachi with the musicians now commonly seen in restaurants or strolling the streets, dressed in silver studded charro outfits with wide-brimmed sombreros playing a variety of musical instruments. That image has become an iconic association with the country of Mexico itself.\nMariachi was born as a version of the Spanish theatrical orchestra containing violins, guitars, and a harp. Groups were small and generally were not known outside their local region. The musical form and ensemble of the Mariachi developed over time differently from region to region. The form that is familiar today began to take shape in the 19th century in the state of Jalisco. By the end of this time period the vihuela, two violins, and the guitarron had become the instruments of the Mariachi. Over time the Mariachi form has further evolved and has adapted to be able to perform an assortment of musical styles by incorporating additional instruments and musicians.\nMariachi music is truly a team effort, there is no lead singer, and everyone in the ensemble performs some vocalization even if only during the chorus. Different musicians sing the lead in different songs. Commonly the voice selected for the song is matched with the type of song in order to deliver the piece\u2019s emotion in the most authentic way. Historically men have been the musicians in Mariachi groups, but today\u2019s wonderfully evolving world has increased acceptance and participation by women. The female voice brings a beautiful dynamic to the group allowing for increased diversity in their repertoire. The songs themselves speak about machoism, love, betrayal, death, politics, revolutionary heroes, and even animals.\nA Party\u2019s Not a Party Without a Mariachi!\nThe Mariachi has and continues to be a huge part of celebrations for the Mexican people. Mariachis are a common form of entertainment at weddings, baptisms, quinceaneras, funerals, and holidays. This music is so anchored in Mexican history that it has its place at nearly all gatherings and celebrations.\nMariachis are also known for delivering musical messages of love with serenatas (serenade). Traditionally young people of the opposite sex were kept separated from each other and the serenata was a means of communication from a young man to a young woman that he is courting. The Mariachi delivers this beautiful message on the young man\u2019s behalf usually beneath the window to the young lady\u2019s bedroom.\nIn Mexico, it is also common to be woken up by the sounds of Las Mananitas in the early morning. This is a traditional song used to celebrate saint\u2019s days and birthdays.\nMariachi music is no longer unique to Mexico, the lively and uplifting music has become globally recognized and appreciated.\nWhat Can you Expect During a Mariachi Performance?\nUndoubtedly you will enjoy a lively, colorful musical performance that exudes pure passion, history, and culture. The group will feature multiple musicians, using an assortment of musical instruments that are dressed in traditional charro attire. These aspects combine in a perfectly Mexican way to deliver a beautiful rendering of music and storytelling. Each song has its own rhythm, message, and style giving a Mariachi performance wonderful diversity that will leave you wanting more. The crowd around you will most definitely be singing along and having a great time so make sure to bring a good spirit and be ready to have some fun like you never have before!\nAt its root Mariachi music is something cultural, spiritual, and traditional that is unique to Mexico. A live Mariachi performance is a lifetime experience not to be missed!\nWritten By: Jessica Gomez", "id": "<urn:uuid:2a20b7bb-b343-4c72-b0e9-d1a58f1faf73>", "dump": "CC-MAIN-2022-21", "url": "https://artemex.ca/mariachi-the-essence-of-mexico-its-people/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00562.warc.gz", "language": "en", "language_score": 0.9601910710334778, "token_count": 868, "score": 3.546875, "int_score": 4}
{"text": "It evolved over millions of years through adaptations to changing environmental conditions. Brains have grown in complexity and size over time. Old structures were preserved, and new ones emerged. As humans evolved into social creatures, our brains became more sensitive to the social world. Old structures were conserved, and new ones emerged. This has led to a great brain that can do everything, from monitoring respiration to creating cultures. The added complexity comes at a price. These systems must be developed and interconnected and must be correctly balanced and integrated to achieve optimal performance.Teachers face a challenge from this evolutionary history. Social neuroscience findings can be helpful for teachers, but they don\u2019t replace the need for flexibility in the classroom to accommodate all students. Teachers and students are not one-size-fits-all, and they are a collection of diverse living human beings with complicated evolutionary histories, cultural backgrounds and life stories.\nWe must admit that one-size-fits-all education will not work if we want to progress. These are nine scientific insights educators might be interested in.\n1. The brain is a social organ.\nTo survive and thrive, our brains need stimulation and connection. Without inspiration and challenge, a brain will eventually shrink and die. The modern brain\u2019s immediate environment is made up of our social relationships. Close, supportive relationships are a great way to stimulate positive emotions, learning, and neuroplasticity.\nTeachers should create positive experiences for students in their classrooms. The neurobiological perspective of the teacher and the parent is very similar in terms of building the child\u2019s brain. Positive attitudes towards students and the teacher have been proven to impact their performance positively. Social-emotional learning programs enhance learning, reduce student conflict, and foster positive social climates.\n2. Two brains are possible.\nThe cerebral hemispheres can differentiate themselves and have developed unique skills and functions. The left hemisphere is the most skilled in language processing, linear thinking and pro-social functioning, while the right hemisphere is more adept at visual-spatial processing and strong emotions. However, many tasks require both hemispheres to contribute, and it is crucial to learn how to engage both hemispheres in the classroom.\nGood teachers intuitively grasp this in their students. They will seek to balance the expression of emotion and cognition, encouraging overly rational students to be aware of and explore their feelings while helping anxious students develop the cognitive capabilities of their left hemispheres to regulate their emotions. Storytelling can help here, as stories can serve as powerful organising tools for neural network integration. Well-told stories with conflict resolutions and feelings will connect people and shape their brains.\n3. It is essential to start learning early.\nOur earliest years of life are when our primitive neural networks control much of our emotional and interpersonal learning. Three of the most critical areas of education are attachment, emotional regulation and self-esteem. These three areas of learning are crucial to our ability to communicate with others, manage stress and feel valued.\nTeachers have the chance to explore their inner world when children act in ways they don\u2019t understand. Children can reintegrate their neural networks of cognition, affect, and bodily awareness when they can name and consciously think about painful experiences.\nPlease encourage students to keep journals and diaries of their experiences. This allows them to be the masters and reduces stress and anxiety. Studies have shown that writing about your experience can improve well-being, emotional regulation and reduce stress.\n4. Conscious awareness and unconscious processes co-occur at different speeds.\nEvery millisecond, the vast amount of neural processing is not limited to conscious awareness and explicit memories.\nYou can do so many things without even thinking about them. Walking, breathing, balance, and even building sentences are all automatic. The brain can process information and analyse it using a lifetime\u2019s experience to present it to us in seconds. The brain creates an illusion that the current situation is actual and can interpret it based on a lifetime of experience, and it then gives the information to us in a fraction of a second.\nThis is especially true for prejudice. Fear conditioning doesn\u2019t require conscious awareness. Therefore, our brain\u2019s instinctive reaction to people of other races is not related to our conscious attitudes. Open discussion and more interracial exposure can help to prevent prejudice from being made into negative beliefs and behaviours.\n5. The mind, brain and body are interconnected.\nThe brain\u2019s ability to function at its best is stimulated by physical activity. Exercise has been shown in studies to stimulate the growth of neurons in the hippocampus. It pumps more oxygen into the brain, stimulating frontal-lobe plasticity and capillary growth.\nLearning requires proper nutrition and sleep. The brain weighs only about a third of our bodies, using approximately 20% of our energy. This makes healthy food an essential component of learning. While sleep enhances cognitive performance and education, sleep deprivation can reduce our ability to maintain vigilance or attention. It has been proven that sleep deprivation can also affect flexibility and decision-making.\nThese biological realities can be used to change school start times, lunch programs, recess, and recess hours. Teachers can help students understand the importance of sleep and offer suggestions on promoting relaxation and creating a positive sleep environment. It is possible to incorporate healthy eating habits and regular exercise in schools. Students will benefit from scientific knowledge about how the brain and body interconnect and how learning works. This could help them improve their academic performance and physical health.\nLearning can also be enhanced or hampered by certain environmental conditions. Poor school facilities, inadequate classroom lighting, outside noise, and inadequacies contribute to poor academic performance. Insufficient support in chairs can reduce blood flow to the brain, leading to cognitive problems. Temperatures above 74-77 degrees Fahrenheit are associated with lower maths scores and comprehension. Learning can be improved by creating a more welcoming environment that meets the body\u2019s physical needs.\n6. For deeper learning to occur, the brain needs repetition and multichannel processing.\nSurvival is influenced by curiosity, the desire to discover and seek out new things. Dopamine and opioids, which stimulate the brain\u2019s feel-good chemicals, reward curiosity. Our brains are wired to be alert to changes in the environment and learn best when we have short breaks. Teachers should reestablish student attention every 5-10 minutes and shift their focus to new topics.\nLearning involves strengthening the connections between neurons. Neuroscientists say that repetition is a way to support education. However, exposure and lack of repetition can lead to its decline. To deepen learning, teachers would be wise to ensure that they reiterate important points during lessons.\nMultichannel learning engages each of the networks\u2019 memory systems. This is because visual, semantic and sensory neural networks all have their memory systems. Our visual memory is fantastic and written or spoken information combined with visual information leads to better recall. Learning will be more generalised if organised across all sensory, emotional, and cognitive networks.\n7. Learning is affected by stress and fear.\nOur brains have been shaped by evolution to be cautious and to feel fear when it is even remotely useful. Fear can make us less intelligent as amygdala activation interferes with prefrontal functioning, part of the fear response. Anxiety can also stop us from exploring, make our thinking more rigid and drive \u201cneophobia,\u201d which is the fear of new things. Chronic stress can cause problems with our ability to learn and even affect our physical health.\nStudents\u2019 ability and willingness to reduce stress are critical factors in their success at school. Incorporating stress-management techniques into the education curriculum is a straightforward application of neuroscience to education. This can improve learning, emotional well being, and physical health. Teachers can increase neuroplasticity and learning by using their positive outlook, empathy, and warmth.\n8. We analyse others, but not ourselves: projection is the supreme power\nOur brains are wired to notice the emotions and behaviours of others. This processing is complex and fast, and it shapes our perception of other people milliseconds before they even become conscious of them. Our minds automatically create a theory about the thoughts of others, forming our ideas about their motivations, intentions, and next steps. We are quick to believe we know other people but slow to recognize our motives and flaws.\nIt is possible to learn more about yourself and improve your empathy by taking our thoughts about other people and trying them out for size. Students can use simple exercises to help them see what and how they feel about other people, which will open up a door to self-awareness and empathy. To help students gain an objective view of their motivations, strengths and weaknesses, teachers can ask them to study the lives of historical characters and movie characters.", "id": "<urn:uuid:b720f677-675d-47c5-8d52-da2033020ac0>", "dump": "CC-MAIN-2022-21", "url": "https://dailiest.com/eight-things-educators-need-to-know-about-the-brain/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00164.warc.gz", "language": "en", "language_score": 0.9448296427726746, "token_count": 1788, "score": 4.0, "int_score": 4}
{"text": "What is Catholic modernism?\nModernism, in Roman Catholic Church history, a movement in the last decade of the 19th century and first decade of the 20th that sought to reinterpret traditional Catholic teaching in the light of 19th-century philosophical, historical, and psychological theories and called for freedom of conscience.\nHow did modernism change religion?\nPerhaps the most significant effect of modernity on religion is that of secularisation. For Bryan Wilson this refers to \u2018that process where religious institutions, actions and consciousness lose their social significance.\nHow did the Catholic Church respond to the reformation?\nThe Catholic Counter-Reformation\nAs Protestantism swept across many parts of Europe, the Catholic Church reacted by making limited reforms, curbing earlier abuses, and combating the further spread of Protestantism. This movement is known as the Catholic Counter-Reformation.\nWas the Catholic Church\u2019s response to the reformation effective?\nThe counter reformation was more successful. Starting in the Council of Trent from 145 \u2013 1563 The Catholic Church reformed itself. The sale of indulgences was halted. The priests were required to be better education and held to a higher standard of spiritual discipline.\nHow did modernism develop?\nKey Points. Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed by the horror of World War I. Modernism was essentially based on a utopian vision of human life and society and a belief in progress, or moving forward.\nWhat is modernism movement?\nModernism refers to a global movement in society and culture that from the early decades of the twentieth century sought a new alignment with the experience and values of modern industrial life.\nWhat was going on during modernism?\nWhat is Modernism? In literature, visual art, architecture, dance, and music, Modernism was a break with the past and the concurrent search for new forms of expression. Modernism fostered a period of experimentation in the arts from the late 19th to the mid-20th century, particularly in the years following World War I.\nWhen did modernism start and end?\nModernism is a period in literary history which started around the early 1900s and continued until the early 1940s. Modernist writers in general rebelled against clear-cut storytelling and formulaic verse from the 19th century.\nWhen did religious fundamentalism start?\nFundamentalism as a movement arose in the United States, starting among conservative Presbyterian theologians at Princeton Theological Seminary in the late 19th century. It soon spread to conservatives among the Baptists and other denominations around 1910 to 1920.\nHow did the Catholic respond to the ninety five theses?\nHow did the Catholic Church respond to the Ninety-Five Theses? It condemned the list and asked the writer to recant it.\nHow did the Catholic Church respond to the Protestant Reformation quizlet?\nHow did the Catholic Church respond to the Protestant Reformation? Through the Catholic Reformation. The pope called for the council of Trent and reassured that salvation comes through faith and good works, the Christian bible is not the only source of trut.\nHow did the Catholic Church respond to the challenges posed by Protestant reformers quizlet?\nHow did the Catholic Church respond to the challenges posed by Protestant reformers? The church held the Council of Trent, at which church leaders both reaffirmed Catholic beliefs and addressed corruption in the institituion.\nHow did the church respond to heresy?\nIn the 12th and 13th centuries, however, the Inquisition was established by the church to combat heresy; heretics who refused to recant after being tried by the church were handed over to the civil authorities for punishment, usually execution.\nWhy did the Catholic Church feel the need for reforms and what did church leaders do?\nA meeting of Roman Catholic leaders. Why did the Catholic Church feel the need for reforms and what did church leaders do? They found corruption in the Church. The change of the Catholic Church due to the Protestant Church.", "id": "<urn:uuid:92b3a8fc-bf15-42ab-b0d9-0216eaf79943>", "dump": "CC-MAIN-2022-21", "url": "https://christopherwesley.org/bible/how-did-the-catholic-church-respond-to-modernism.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662519037.11/warc/CC-MAIN-20220517162558-20220517192558-00564.warc.gz", "language": "en", "language_score": 0.9642540216445923, "token_count": 829, "score": 3.828125, "int_score": 4}
{"text": "Remember the time when you were in primary grades, and the entire schools used to have only a handful of computers in the centralized lab? Well, that time has changed. Children, nowadays, have grown up in the world of ground-breaking technological environment. This advancement of technology has propelled some of the best IGCSE schools in Bangalore and other parts of the country to adapt to the interactive learning methods. According to a survey conducted by The National Council of Educational Research and Training in 2017, \u201cschool children who interact more ardently in classroom discussions and read stuff beyond textbooks are more likely to learn better than others.\u201d\nInteractive learning refers to a more hands-on and relevant process of relaying knowledge in classrooms. This method encourages students to interact with each other and with the subject matter rather than sitting on the desks as passive learners ready to take notes from the blackboard. Making interactive education a better experience for both teachers and students, technology plays a vital role in shaping the face of education.\nLet\u2019s look at some of the practical, interactive teaching styles to help your child learn effectively-\n- Visualization- Make dull textbook content visually appealing by incorporating technology like photos, videos, and audio clips.\n- Cooperative Learning- Promoting small class activities like conducting scientific experiments or acting out short drama skits.\n- Incident Process- Teaching children to solve real problems with real people by providing them details from actual incidents.\n- Buzz Sessions- Bringing children together in small groups to present ideas and thoughts on a given topic.\n- Writing Tasks- Assist kids with a writing assignment and encourage them to share their drafts with peers for a review.\nThe methods mentioned above helps your child to become active members of the class while expanding their knowledge and communication skills. Keep reading to know more about the advantages of interactive learning techniques-\n- Enhances perceptive thinking and problem-solving skills-\n- In addition to engaging kids, interactive learning sharpens critical-thinking skills in the child and makes them ready to face real-world problems with ease.\n- Develops communication and interpersonal skills-\n- Plunging kids in interactive games and activities, interactive learning helps in developing strong communication, leadership, and teamwork skills in the child.\n- Increases concentration-\n- The most effective and engaging form of learning, interactive methods, increases the concentration power in a child to complete the given tasks with utmost dedication.\n- Promotes creativity-\n- Interactive learning methods usually involve creative activities, like writing, painting, storytelling, etc. This helps in encouraging the creative abilities and innovative thinking of the child.\n- Makes education fun-\n- With so many activities and games involved, interactive learning takes education away from the four walls of the classroom and makes it more fun and enjoyable for the child.\nIn conclusion, rather than keeping your child bounded with the traditional ways of education, practice interactive learning techniques to help your child prosper in their career ahead by developing relevant life-ready skills. You can also choose some of the best CBSE schools in Bangalore or elsewhere for your child that provide a practical learning experience with interactive forms of education.", "id": "<urn:uuid:c19bcbd7-940e-4ba9-af96-c4d8e054ab7a>", "dump": "CC-MAIN-2022-21", "url": "https://www.apws.edu.in/blog/tag/top-cbse-schools-in-bangalore/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00562.warc.gz", "language": "en", "language_score": 0.9376029968261719, "token_count": 639, "score": 3.703125, "int_score": 4}
{"text": "Do you teach diverse groups of students? Are you looking for an effective way to address students from different cultures? You must adopt multicultural education and effective teaching strategies in your classroom\nMulticultural education enables students to understand the need to accept diversity and eliminate racism and issues based on ethnicity or diverse groups for a better future. Read to know how you can adapt education programs that incorporate the interests and backgrounds of all your students.\nHere are some additional points that talk about Multicultural Education. To view them click on the Download button.\nWhat is Multicultural Education? How to adopt them in the classroom?\nMulticultural education is a modern teaching model that aims to foster principles of equity amongst all students despite their varied cultures, ethnicities, races, beliefs, and backgrounds. It is an effective form of education that integrates the values, histories, and viewpoints of all student groups in a class.\nFrom language barriers to social skills, behavior to discipline, and classroom involvement to academic performance, multicultural education aims to provide equitable educational opportunities to all students. Furthermore, it is a set of teaching strategies formed to help guide a teacher to remove barriers faced in a multicultural class. It also helps teachers respond to the issues faced by diverse students and eliminate them.\nRegardless of social class, caste, gender, or creed, a multicultural classroom serves all students and nurtures young minds to learn together. It also seeks transparency and acceptance of all cultural identities in a class without any bias or partiality. A multicultural teacher hence accepts the differences, identifies the negativity, and is always conscious to procure the cultural identity of all the students.\nWhy Do We Need a Multicultural Curriculum?\nMulticultural education is highly focused on bringing together students from all backgrounds and promoting collaborative learning. However, there are many more reasons to implement a multicultural curriculum in our classroom.\nA multicultural curriculum exposes students to various cultural values through activities, lectures, discussions, etc.\nIt allows students to identify cultural as well as physical differences.\nIt also develops a sense of respect amongst classmates.\nImplementing a multicultural curriculum at a young age nurtures students to reflect on their cultural diversity with pride.\nIt implants patience, liberalism, and individualism in students.\nIt fosters friendships, encourages interaction, and improves communication skills.\nA multicultural classroom boosts student engagement and improves the attention span.\nStudents who are taught through a multicultural curriculum tend to have better confidence.\nA multicultural classroom is hence, more inclusive and positive.\nIt also promotes critical thinking and problem-solving skills.\nIt enables students to understand the need to accept diversity and eliminate racism and issues based on ethnicity or diverse groups for a better future.\nEventually, a multicultural curriculum produces better thinkers and improves academic performance.\nNot just students, teachers who provide multicultural education reap many benefits as well:\nInteracting with students from different cultures accelerates the professional growth of a teacher.\nIt provides the teacher with an opportunity to learn something new with each class.\nCatering to the needs of multicultural students makes a teacher more conscious, patient, and positive.\nIt also keeps the teacher up to date and ready to face challenges.\nIt nurtures a teacher\u2019s experience and enhances the social as well as communication skills.\nContinuously inspiring the students to be open-minded and accepting improves the outlook of a teacher.\nIt gives the teacher a great chance to elucidate issues of diversity, racism, ethnicity, etc., and connect it with education.\nWays to Implement Multicultural Education in the Classroom\nIn a rapidly changing world, it is becoming more and more important to promote education programs that cater to the needs of diversified students. If you want to adopt multicultural education in your class, here are some of the most effective ways to do so.\n1. Understand Your Students\nFirst and foremost, it is very important to understand the cultural backgrounds of all your students. It helps in knowing all the cultures to address and lessons to plan.\nYou can know your students by interviewing them on the first day of the class.\nYou can also go through their personal records.\nTo understand the students better, you can also ask the previous teacher about them.\n2. Identify their Strengths and Weaknesses\nAs an effective multicultural teacher, it is your responsibility to identify the strengths and weaknesses of your students to know how to eliminate them. You can do so by:\nChecking previous academic records\nIndividually interviewing each student, and\nFrequently assessing the student\u2019s performance in the class.\n3. Encourage Them to Share Real-Life Experiences\nOrganizing casual sessions where students share their past stories and experiences help them open up, relate with each other, and build strong communication skills.\n4. Organize Open Discussions\nSelecting a current cultural or social issue and holding an open discussion on them allows the students to share their thoughts, be better listeners, and know about the issues faced by other communities.\n5. Plan Group Activities\nPlanning group activities that focus on teamwork and collaboration help overcome cultural barriers, increase student involvement, and embrace cultural differences in a class.\n6. Cultural Food Swap\nOccasionally, you should ask the students to bring their cultural food for lunch and swap it with one another to help them embrace and know about various dishes.\n7. Encourage Cultural Storytelling\nEvery household has some folktales that are told to its children. Ask the students to share their cultural stories and draw moral lessons from each one of them.\n8. Hold Multicultural Seminars & Events\nBringing in guest speakers from different cultural backgrounds by organizing seminars and events helps boost multicultural education at its best.\n9. Schedule a Monthly Culture Day\nYou can encourage students to wear their cultural dresses once a month to help them learn about other students\u2019 backgrounds.\n10. Celebrate Native Festivals\nCelebrating cultural festivals also helps each student feel valued and eventually make the classroom culturally responsive.\nClassroom Resources for Multicultural Education\nIf you want to nurture inclusivity in the classroom and promote collaborative learning, you can plan interesting games and activities. Organizing group activities encourages students to learn quickly, involve & perform better, and share their heritage.\nHence, the best classroom resources for providing multicultural education and encouraging student interactions is to plan lessons and group activities beforehand. Here are some of the most effective classroom resources that you can adopt to involve students in your classroom in different teaching styles.\nNo matter how contemporary our teaching methods are, textbooks can never be missed upon. Reading stories from different cultures and in various languages is the best way to promote multiculturalism in a classroom.\nYou can choose stories that focus on characters from different cultures to help the students relate even more. Board games allow the students to interact with each other. You can find various board games related to different subjects and academic concepts such as maps, business, vocabulary, etc.\nYou can organize quizzes based on different themes to motivate students to respond timely and improve their cognitive skills.\nArts and Crafts\nForm student groups and allot multicultural art projects to each one of them to help them engage and share what they know.\nFrequent debates on thought-provoking topics improve the oratory skills of the students and help them embrace other cultures.\nThe Bottom Line\nThere are endless benefits of providing multicultural education in a classroom. It not just helps each student feel welcomed and represented but also empowers ethnic minorities.\nMoreover, students who study in a multicultural classroom easily adapt to their new surroundings when they opt for higher studies or work in a new place. Eventually, it also promotes secularism and socialism needed to establish a peaceful society.\nThis blog tells us about multicultural education and effective teaching strategies that can be used in the classroom. It highly focuses on bringing together students from all backgrounds and promoting collaborative learning.\nAlso, helps teachers interact with students from different cultures that accelerate the professional growth of a teacher. So, in a rapidly changing world, it is important to promote multicultural education programs that caters to the needs of diversified students.\nCuemath, a student-friendly mathematics and coding platform, conducts regular Online Live Classes for academics and skill-development, and their Mental Math App, on both iOS and Android, is a one-stop solution for kids to develop multiple skills.Understand the Cuemath Fee structure and sign up for a free trial.\nFrequently Asked Questions (FAQs)\nWhat is the main goal of multicultural education?\nMulticultural education focuses on nurturing admiration and appreciation about diverse ethnocultural heritage, in young minds. Children are imbibed with greater knowledge and understanding about how to behave in a more culturally responsible manner. They acquire skills to navigate various cultures.\nWhat are the four approaches to multicultural education?\nJames Banks, one of the most famous researchers in the field of multicultural education, identified four approaches: (1) the contributions approach; (2) the additive approach; (3) the transformation approach; and (4) the social action approach (Banks and McGee Banks, 2004). The contributions approach.\nWhat is an example of multicultural education?\nInstructionally, multicultural education may entail the use of texts, materials, references, and historical examples that are understandable to students from different cultural backgrounds or that reflect their particular cultural experience\u2014such as teaching students about historical figures who were female and disabled", "id": "<urn:uuid:eba83293-b54c-477b-87fe-48dfdf37f717>", "dump": "CC-MAIN-2022-21", "url": "https://www.cuemath.com/learn/multicultural-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00364.warc.gz", "language": "en", "language_score": 0.9321046471595764, "token_count": 1947, "score": 3.953125, "int_score": 4}
{"text": "The Carden Method\nCreated by Mae Carden and maintained by the Carden Foundation\nThe Carden Method\u00ae is a proven teaching technique that combines rigorous academics and character development, essential components of a whole-child education. We strive to educate our students in an atmosphere that is warm and nurturing, to provide an education that is thorough and challenging and to develop each child\u2019s capacity for leadership. Carden Conejo offers the tools necessary for students to become superior in reading, mathematics, language arts, science, public-speaking, literature, listening and analysis while allowing for personal expression within a well-rounded experience in the arts. Carden allows for an awakening of both the left and right sides of the brain. Growth begins with three-year-old children and continues through elementary school, each level reinforcing and building upon the strengths gained by the student during the previous year.\nThe Carden Method\u00ae is a curriculum developed to mirror the way children think and learn. It offers the tools necessary to establish a full depth of understanding in the areas of spelling, reading, language arts, writing and reading comprehension. Using both sides of the brain to analyze written material, form a mental image, rhythmically group words in sentences and apply rules that govern our English language, students are able to not only spell with superior skill but learn comprehension techniques that will serve them throughout their educational careers. The Carden Method not only meets Common Core Standards for Language Arts, it surpasses it.\nThe Carden Language Method\u00ae presents the English language so pupils gain an understanding of their native tongue and attain the ability to use it correctly when reading, speaking or expressing thoughts in written form. The goal of the Carden Language Method is to teach pupils to think using analysis of the sounds of the English letters and the rhythmic grouping of words within sentences.\nThe Carden Method\u00ae introduces pupils to reading through a reading-readiness program, Learning to Listen. As the children answer a lively series of questions, they develop a thinking process: look \u2013 observe \u2013 relate. The teacher helps children:\n- Improve their powers of observation\n- Develop their visual imagination\n- Develop their ability to communicate ideas correctly\n- Enunciate their words properly\n- Improve their ability to concentrate\nThe Carden Reading Method\u00ae uses five components to teach reading:\n- Analysis of words using the sounds of English letters in their many combinations\n- Rhythmic grouping of words within sentences\n- Identification of the keyword of each sentence\n- Summarization by using the keyword to create a title\n- Recalling events in sequence\nReading instruction also includes applying functional grammar and developing vocabulary. These tools aid comprehension and offer each child:\n- Security in learning\n- Development of self-reliance\n- Development of good study habits\nThe phonetic foundation for reading begins by training the child in listening to words spoken rhythmically. This technique awakens in the child a realization of the rhythm of the spoken word. The child is taught to listen to a word, recognize it and say the word. The teacher helps establish correct enunciation and pronunciation, verifying that each child understands the word by clarifying the child\u2019s mental image of the word and giving the child an opportunity to communicate their thoughts.\nOnce the children are able to recognize reading\u2019s phonetic foundation, consonants are introduced. Each consonant is associated with a familiar object, person or act, to help children avoid confusion in the identification of letters. When recognized, the name and sound of each consonant is introduced.\nAs the children learn the names and sounds of the consonants, they are taught the construction of the eight letters formed using the shape of the letter c (c, a, d, g, q, o, e, s). The children do not copy the letters; they construct them. After learning the letters formed on letter c, the children are taught the paired letters (lh, nm, ij, kf and rt) and the letters with bent legs (v, w, y, z, u and x). The letters b and p are presented following mastery of the other letters.\nChildren are then introduced to the vowels, and are taught to identify vowels in given words. With these letter identification tools at their command, children are taught the two-vowel rule, applied in words where the first vowel gives its \u201cname sound\u201d due to the presence of a second vowel, which is silent. Children are given a reader and a workbook, which uses only words following this rule, providing children the opportunity to apply this rule with security and success. As children gain confidence in their reading, they are taught spelling of words which are constructed with e as the second silent vowel.\nChildren learn techniques for developing rhythmic reading and correct word groupings when sentences are introduced. Teacher questioning helps children recognize the presence of a keyword or keywords within a sentence. Further questions aid vocabulary development, enabling children to organize the content of a single sentence. The Carden Method aims to enable children to read sentences, not words. As soon as children master the concepts of phonics, rhythmic reading and keyword control of sentences, they are introduced to the skill of grouping related sentences into a unit of thought. This process of developing reading competence using consonants, vowels and applying the two-vowel rule is repeated for the single vowel, the vowel combinations with r and with w, and other combinations of the vowels and consonants.\nMany spelling difficulties are avoided by training children to recognize the pitch of the long vowels, which are controlled by the placement of the second vowel within a syllable. Words varying from the general rule are grouped together and their variation from the regular pattern is explained. French and Greek phonetic rules that apply to English words are explained and mastered through the use of special readers and workbooks.\nIn order to address individual differences, children are divided into groups, with each group proceeding at its own pace. Self-teaching enrichment material is provided for children after successfully completing the Carden material and the basic readers (of any series). Our curriculum teaches two or three classics at each grade level as a part of the enrichment reading program.\nOnce correct oral reading habits are established, children engage in silent reading, followed by oral and written questions. Reading speed increases steadily by combining the techniques of rhythmic reading and sentence analysis.\nThe skills mastered for reading become the tools by which the child learns to construct sentences, paragraphs and compositions. The writing of original stories is encouraged.\nPre-primary to sixth-grade materials consist of teaching manuals, charts, subject manuals for each grade, readers, workbooks, spelling workbooks, language books and monthly tests. Carden academic materials are available through the Carden Foundation and require annual teacher training to ensure the integrated Carden Method is taught correctly.", "id": "<urn:uuid:fd29014c-b8d7-4945-bf82-90d6e3ff553f>", "dump": "CC-MAIN-2022-21", "url": "https://www.cardenconejo.com/about/the-carden-method/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545090.44/warc/CC-MAIN-20220522063657-20220522093657-00364.warc.gz", "language": "en", "language_score": 0.9376317262649536, "token_count": 1399, "score": 3.859375, "int_score": 4}
{"text": "Book Resource Guide of Literary Elements and Terms\nLiterary elements are techniques and devices that writers use to help make their writing more interesting. While some literary elements are specifically inserted by the writer, such as dialogue and conflict, other elements like themes exist in a more subtle way. These latter types of elements may not be consciously created by the writer, but rather it is up to the reader to find them. Knowing about literary elements not only helps you as a writer, but it also helps readers to understand the text better. Have a look at the following glossary of literary elements to get started.\nAllegory \u2013 A story (or certain elements) that is used as a veiled reference to other ideas. These are often political, religious, or moral ideas.\nAlliteration \u2013 An auditory effect caused by using several words close together that all contain letters that sound the same.\nAllusion \u2013 This is a reference to something that usually exists outside of the story.\nAntagonist \u2013 The antagonist is usually a character who opposes the protagonist. In most scenarios, the antagonist is the \u201cbad guy\u201d.\nAside \u2013 When a character speaks directly to the audience or reader without the other characters\u2019 knowledge.\nBallad \u2013 A type of narrative poem with brief stanzas and repetitive refrains.\nCharacterization \u2013 Characterization is a method of describing (or assigning traits) to places, objects, animals, or people.\nConflict \u2013 In literature, conflict is the main problem or issue that needs to be solved in order to end the story.\nConnotation \u2013 Ideas, meanings, or feelings that are implied with a word.\nDenotation \u2013 The very literal and exact meaning of a word.\nDenouement \u2013 The transition between the height of the conflict and the conclusion.\nDialogue \u2013 Conversation and speech among the characters.\nDidactic \u2013 Writing that is purposely instructive and informative.\nElegy \u2013 A poem of mourning and grief about death or for a person who has died.\nEpigram \u2013 A concise, witty or satirical saying that expresses an idea, sometimes contradicting itself.\nFigurative Language \u2013 Using figures of speech to convey a meaning without stating it literally.\nFlashback \u2013 A scene that jumps back to an earlier point, often to give readers insight into previous events.\nGenre \u2013 A category for literature (and other works of art). E.g.: Comedy, drama, tragedy.\nForeshadowing \u2013 This is a technique that gives the readers hints as to what will happen later in the story.\nHyperbole \u2013 Emphasis of a particular point through extreme exaggeration.\nIrony \u2013 A figure of speech that conveys an idea by stating the opposite.\nLyric \u2013 An expression of the writer\u2019s emotion or thoughts in a brief verse.\nMetonymy \u2013 Substituting the name of something with one of its attributes or descriptive words. E.g.: \u201cA room full of suits\u201d instead of \u201cA room full of businessmen\u201d.\nMetaphor \u2013 A comparative technique that eliminates comparative terms. For example: \u201cthe inky black sky\u201d instead of \u201ca sky as black as ink\u201d.\nMotif \u2013 A prominent or distinctive idea carried through a work of literature.\nMyth \u2013 Usually an old traditional story, passed down from generations. Myths usually contain exaggerations and supernatural characters or events.\nNarrative \u2013 An account of events related by the narrator.\nNarrator \u2013 A person in the story who relates the story to readers.\nParable \u2013 A story that is specifically intended to convey a moral or principle.\nPersona \u2013 The combination of a character\u2019s role and traits that affect how people perceive him or her.\nPersonification \u2013 Bestowing human-like qualities upon an animal or inanimate object.\nPoint of View \u2013 Point of view is the position or vantage point from which the story is being told.\nProtagonist \u2013 The main character in a story is the protagonist. Most of the plot tends to revolve around them.\nRhyme/Rhyme Scheme \u2013 Words or phrases that have a similar sound or pattern.\nSetting \u2013 The setting is the place and time of a story. It usually has much influence on the development of the characters and events.\nShort Story \u2013 Usually a concise work of fiction, around the length of a chapter.\nSimile \u2013 A comparison of two things using words like \u201clike\u201d or \u201cas\u201d to transfer characteristics of the latter to the former. For example, \u201cThese cookies are like cardboard,\u201d or \u201care as dry as cardboard\u201d infers that the cookies are dry and tasteless.\nSonnet \u2013 A poem containing fourteen lines, written according to a formal rhyming scheme.\nSymbolism \u2013 Symbolism is when the significance of an idea is tied to and represented by something else.\nSynecdoche \u2013 A figure of speech that uses a partial term to refer to a whole. E.g.: \u201cNew York won the game\u201d to refer to the New York Yankees.\nTheme \u2013 The theme in a piece of literature is the main subject or an idea that the story revolves around.\n- How to Understand Literature \u2013 This article helps readers with tips on how to get more out of literature.\n- Literary Theory \u2013 A free online guide offers plenty of resources on reading and critiquing literature.\n- Approaches to Literature \u2013 Read the nine main ways of approaching a work of literature.\n- Reading Literature (DOC) \u2013 This useful guide outlines ways to read literature and understand it completely.\n- Reading Hints (PDF) \u2013 Use this list of hints and questions to understand your reading material better.\n|Popular Book Notes|", "id": "<urn:uuid:0a6ed1ca-0f8e-4692-90b9-e389dc65c195>", "dump": "CC-MAIN-2022-21", "url": "http://www.freebooknotes.com/literary-elements-and-terms-guide/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577757.82/warc/CC-MAIN-20220524233716-20220525023716-00564.warc.gz", "language": "en", "language_score": 0.9231312274932861, "token_count": 1192, "score": 4.53125, "int_score": 5}
{"text": "If you want to be taken seriously as a data professional, there are some things that you just need to know. The difference between a Bar Chart and a Histogram is one of those things.\nThis post is a little cartoon illustrated explanation of the differences.\nIn short: the difference between a Bar Graph and a Histogram. Histograms are a bunch of bars connected to each other, visualizing a distribution of a some continuous quantitative variable. Bar graphs (or bar charts) use proportionally sized rectangles to visualize some type of categorical data.\nThe purpose of a histogram (where you often see histograms).\nSo I started my career as a researcher, spending a lot of time looking at survey data. One of the first you do after data collection (or really during data collection), is create a report with all the response frequency tables. For the categorical data you would visualize the frequencies with a bar chart. With any quantitative data, you would visualize the frequencies with a histogram.\nHistograms let you see the data distribution, and this is one of the first things most researchers will look at when analyzing quantitative data.\nCalling a histogram a bar chart (or connecting your bars) is the data person equivalent of using the wrong \u201cthere.\u201d Does it really matter that much? I don\u2019t know\u2026but it will draw attention in certain crowds.\nSome of the main differences between bar charts and histograms.\n- As already discussed, the whole continuous variable vs categorical variable thing.\n- The bars touch in histograms.\n- You can\u2019t change the sort order with a histogram (or I guess you could, but you shouldn\u2019t).\n- Histograms require you to bin your numerical data.\nPutting your data into Bins.\nBins are the groupings you put your data into.\nIt\u2019s kind of like grades in school. Is there a huge cognitive difference between kids born in June and October of the same year? Is it any different from kids born in February and June? I would think not, but at some point people needed to decide the cutoff point for a certain group of kids they wished to educate together. So they split them into bins (in this case they called them grades).\nThere is no set rule saying \u201cyou must bin like THIS!!!!\u201d So a lot of bins are based on the judgement of the data analyst.\nTake age for example, it\u2019s a continuous variable. Let\u2019s say you have a community survey and your responses ranged from a 17 year old to a 93 year old. How would you bin it? You could use 5 year bins starting (for example 16-20, 21-25, 26-30\u2026) or 10 year bins (11-20, 21-30, 31-40\u2026).\nHistogram and Bar Chart Resources\n- Want to create a Histogram in Excel? Here is a short guide from Excel Easy.\n- More interested in creating bar charts? I have a post on How to Create Bar Charts in Excel.\n- I also have a sister post on How to Create Bar Charts in Adobe XD.\n- Don\u2019t like my explanation and want someone else to explain the difference between bar charts and histograms? Storytelling with Data also has a Histogram vs Bar Chart post.\n- Want a more comprehensive guide to setting bin sizes? Here is one from Statistics How To.", "id": "<urn:uuid:96ce6f6c-e88c-43e1-a7e9-9f5f8835da70>", "dump": "CC-MAIN-2022-21", "url": "https://freshspectrum.com/histogram-and-a-bar-graph/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663013003.96/warc/CC-MAIN-20220528062047-20220528092047-00563.warc.gz", "language": "en", "language_score": 0.9306297302246094, "token_count": 713, "score": 3.515625, "int_score": 4}
{"text": "Creating the Module\nEmpathy and Elaboration: Using 21st Century Tools to Enhance Creative Writing has been through several implementations and revisions \u2013 each time, we look at what works, what does not, and how we can better enhance active engagement and learning with the tools available. This is a collaborative process, heavily involving teacher input and feedback.\nKey to this and every module we create are the opening and closing activity reflections. These reflections help the teacher gauge where the students are, as well as help the students clarify and demonstrate their understanding of abstract and difficult concepts. The opening reflections are to be informal and non-threatening, and the closing reflections only slightly more formal \u2013 their answers can be written down here for documentation of improvement. However, even the closing reflections should be approachable. These are not exams in the formal sense, but they do allow the teacher to grade a student\u2019s performance. If the student can articulate the answers to these questions such as why x was a good context for learning y, they have a deep understanding of the concept.\nActivity 1: Microblogging (Tweeting) in character:\nStudents use Twitter to post real-time updates as characters in a source text\nActivity 2: Drafting a Collaborative Poem Using the Class Twitter Feed: Students appropriate content from the class Twitter feed produced in the previous activity and from the primary text (Tim O\u2019Brien\u2019s The Things They Carried) to build a collaborative poem on the theme of war\nActivity 3: Drafting Fan Fiction: Students develop speculative fiction that draws on and transforms elements of a primary text\nActivity 4: Networked Peer Review: Students collaborate on reviewing and providing feedback to each other on their fan fiction artifacts\nActivity 5: Formal essay: Students submit a formal essay that offers an analysis of how their own or a classmate\u2019s fan fiction work interacts with the source text\nEnd-of-Activity tasks:Students will reflect on their learning by considering how they understand and practiced Common Core Standards\nIn studying achievement, it became clear quickly that in order to tackle something as abstract as character empathy, the students would need to have some way to practice empathizing with a character in an engaging way, preferably using some medium that intrigued and sparked interest. Twitter has become wildly popular, and we found it particularly interesting because in order to tweet effectively, a person must clearly and concisely convey meaning in a small number of characters.\nThe implications for education became clear, and Twitter took its place in the module. Students take on the personality of a character in a novel \u2013 in the early implementations, teachers used The Things They Carried\u2013 and begin to converse in short tweets with other characters in the story. This encourages students to dig into their character and speak for them, thereby allowing the students to gain a better understanding of and to empathize with that character. As Atticus states, \u201cyou never really know a man until you stand in his shoes and walk around in them\u201d (Lee, chapter 31). This activity allows students to walk in the character\u2019s shoes, and speak from the character\u2019s perspective. Additionally, students are encouraged to discuss the tweets themselves, and the representations of each character. They are asked to reflect upon their own work and the activity itself.\nWhen the students embark on the activity of extending a character or storyline, they must first understand the characters and storylines intimately to write effectively. Tweeting has helped the students empathize with the characters, and therefore has assisted in preparing them to write an extension of the story.\nIn this activity, students now elaborate on the types of messages they were sending in tweets, but now they must articulate in fluid sentences the full meaning of their character\u2019s feelings or the emotion of the story. By extending the story rather than analyzing the characters, students are encouraged to continue exploring empathy, and the role the reader plays in interpreting a text. As the Fan Fiction is written, students demonstrate their ability to empathize with a character and understand their point of view, which in turn helps them learn to analyze a character deeply.\nStudents are asked throughout the module to reflect on the contexts, the concepts, and the practices. The reflections begin at the surface and gradually ask students to think deeper not only about the context in which they are studying the concepts, but about the concepts themselves, and how they might use these concepts in other aspects of their lives.", "id": "<urn:uuid:65b773a7-5e95-49c8-9e83-0d756da5c2fa>", "dump": "CC-MAIN-2022-21", "url": "https://thecurrent.educatorinnovator.org/resource_section/creating-the-module", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662587158.57/warc/CC-MAIN-20220525120449-20220525150449-00365.warc.gz", "language": "en", "language_score": 0.9550718069076538, "token_count": 912, "score": 3.65625, "int_score": 4}
{"text": "Summary: Computer coding is the world\u2019s universal language. People that know how to code will be able to communicate across countries and cultures, be more innovative, and solve issues more quickly than those who do not. Learning to program at an early age will assist your children in solving common difficulties and preparing them for a lifetime of chances.\nThe Advantages and Results of Learning Programming at a Young Age\nMost people still regard computer coding or programming as a highly technical or even nerdy pastime that only a small percentage of the population finds appealing. Coding is, in fact, a relatively new sort of literacy. It\u2019s a skill that comes in handy in everyday life, especially in today\u2019s digital age. Most people will find it easier to use a smartphone, connect gadgets, and manage files across many platforms if they have at least a rudimentary understanding of programming. Consider all of the advantages of encouraging your children to learn programming at an early age; you can even learn alongside them by assisting them.\n1. Educational Advantages\nComputers are used in primary schools for testing and other activities, but computer programming is not part of the curriculum. Many schools around the world began incorporating a computer programming skills portion into the school day during the Year of Code. This sort of schooling enables children to understand the fundamentals of computer operation. Kids can feel proud of themselves if they can get a computer to accomplish what they want. This foundation can prepare children for a lifetime of successful technology use and management in their daily lives.\n2. Computational Intelligence\nThe ability to articulate your thoughts in a systematic and logical manner is known as computational thinking. This type of mental process is similar to how a computer follows step-by-step instructions. It\u2019s also the methodical process of generating and solving problems that could be repeated by a machine. This way of thinking is used by software engineers, computer programmers, and logistics specialists to solve challenges. Advanced mathematics, algorithm development, and reasoning are all part of computational thinking. Consider a problem and break it down into single-action stages in order to develop computational thinking. Each of these processes is carried out as quickly as possible. Computational thinking also includes an element of abstraction, which enables your child to move from a specific answer to a specific problem and generalise it to other circumstances. As a result, there has been a paradigm change in how people think about the world.\n3. Flexibility of thought and creativity\nChildren\u2019s minds are creative and elastic, allowing them to think \u201cbeyond the box.\u201d The practically limitless possibilities for coding and problem solving might motivate children to develop. You can demonstrate to your child that coding is similar to storytelling. The story and the program have a logical beginning, progression, and conclusion. These abilities can help students succeed in school by preparing them for written and oral communication, and happily, the introduction of IT basics in primary schools is becoming more prevalent.\n4. Employment Opportunities\nIn order to compete in the future employment market, the current generation of children will need to be technologically literate. It will be akin to not knowing how to read if you don\u2019t know how to code. The majority of employment necessitate basic IT skills, and even retail and fast food jobs necessitate the use of technology and computers. On the current market, coding professionals are well-paid and in high demand, and chances for these competent workers will grow in the future.\nThe Benefits Learning Process, Possibilities, and Results\nLearning to code is easier when you\u2019re young, just like learning to ride a bike. Even four-year-olds can understand the fundamentals of computing. Learning to code is becoming easier and more enjoyable as new types of software and updated educational methods emerge to keep children interested and enthusiastic about computer programming. There are also online programmes, such as the popular Codecademy, that may assist kids learn to code for free. Kids will not have to devote hours to learning the intricacies of coding. They can instead utilise games and applications to teach them the fundamentals of computer coding.\nThese advantages of learning programming at an early age assist children in thinking, processing, and communicating more effectively. These abilities will eventually assist children in becoming more innovative, which can be used to practically any job. Knowing how to design and develop computer programmes and software can help anyone succeed, from doctors to musicians.", "id": "<urn:uuid:743fad83-1320-41f1-97d1-2d050eb79916>", "dump": "CC-MAIN-2022-21", "url": "https://www.dubaicodingclub.com/benefits-of-programming/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662573189.78/warc/CC-MAIN-20220524173011-20220524203011-00165.warc.gz", "language": "en", "language_score": 0.9504768252372742, "token_count": 899, "score": 3.875, "int_score": 4}
{"text": "Scribbles. A vertical line. Some dots. These are the early marks you can expect to see on drawings from a toddler, such as the children in the Silver Room. Each child makes their marks in similar and yet individual ways. Some will sweep from the shoulder making long vertical or horizontal lines. Some will push with force on their crayon or chalk so the colors are vivid and lush. Some will make light dots.\nEach of these marks tells the teachers a little story about how a child makes their mark in the arts, how they are expressing themselves in that moment. It tells us if they have the muscle strength to create vivid lines, if they move more from the shoulder or from the wrist, or if they are more interested in color or form.\nThese are the beginning stages of a new language for them, a way to express how they feel in a way they can see and touch. They can reflect on what they see, remember it later by looking at it hanging in their classroom or at home.\nOne day at the easel a child says \u201cDraw you\u201d to a teacher and makes 3 vertical lines. The child turns to look at the teacher, who replies \u201cLook at me! You made me green and I\u2019m standing tall!\u201d. The child is realizing that drawing can represent a real three dimensional object in her everyday life. She had an idea, shared it, and then executed it.\nChildren in the Silver Room have been exploring bingo (or dot) markers. This is completely different from \u201cregular\u201d markers and much more challenging. The markers have to be held at the right angle and a certain amount of force is required to make a mark. But it also holds space for loud, rhythmic percussion with each dot. We created our own song that changed with the pattern of each child\u2019s dot making. We could feel and see the music as we created a physical piece of mark making!\nThere is more to learn in any language than just vocabulary. And in the language of the arts, before we can express ourselves utilizing them, we have to know how they work.\nChildren will squeeze the tint from markers, scrape their fingernails along oil pastels, taste paint. They will draw on paper, on walls, on floors, on themselves. Right now there is very little context for \u201chow art supplies are used\u201d, so experimentation is natural.\nPuzzles are a language too! Puzzles have an outline (the frame) holding images that might suggest a story: animals from the American Midwest, buildings and animals found on a farm, a train going through a tunnel.\nThe imagery is often the most compelling part of puzzles when children first encounter them and they often are drawn to imagery that interests them. Exploring these images is the first step in puzzle solving, noticing the details or the commonalities, the curves or straight lines.\nIn the Silver Room, puzzle image exploration is the stage we\u2019re at. Once we\u2019ve become familiar we\u2019ll move to the next stage: making connections between the shapes on the frame and the puzzle pieces.\n\u201cMath\u201d is more than just recognizing numerals and counting things. It\u2019s about shapes, same and different, greater than and less than, spatial relationships and so much more. Puzzles bridge the interests of storytelling and mathematics.\nOne child likes the feel of the puzzle pieces on his feet. He takes them out and walks across them, then walks across the frame. So curious! I wonder if he can feel the shapes in his feet.\nAnother child re-visits the same puzzle many times. He seems to want to experience it deeply and know it well.\nWhen we know the materials deeply, know what they can and cannot do, how they feel when we use them, our use of them can become more nuanced and creative. We won\u2019t be stuck in \u201chow do I do this\u201d and can move on to \u201cwhat will I create?\u201d\nWe will continue to watch these new languages emerge in our toddlers, with great interest and excitement. As part of our Reggio Emilia inspired approach, we believe that children communicate in many, many languages, all we need to do is listen!\nReflection by Susan Missett-King and Zoe Wolfe, Silver Room Co-Teachers", "id": "<urn:uuid:27350bd7-c6b7-43bc-99b3-caf8e8553718>", "dump": "CC-MAIN-2022-21", "url": "https://preschoolofthearts.com/2021/11/03/the-many-languages-of-toddlers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663013003.96/warc/CC-MAIN-20220528062047-20220528092047-00562.warc.gz", "language": "en", "language_score": 0.9595410227775574, "token_count": 902, "score": 3.796875, "int_score": 4}
{"text": "The eighth grade language arts curriculum blends reading, writing, discussion, and creative projects. Each student learns the importance of close reading, analysis, and interpretation. In writing, students focus on drafting and revising as they refine their writing of thesis statements, body paragraphs with evidence, and conclusions. Students advance their analytical skills by identifying how word choice and structure affect the audience of a text while also tracking themes and motifs in literature during classroom discussions. The class will read classic novels such as To Kill a Mockingbird and Whirligig, as well as Shakespeare\u2019s Othello. Students will also read two novels to pair with each of their social studies units. They will read Warriors Don\u2019t Cry by Melba Patillo Beals during their unit on the Civil Rights Movement and Night by Elie Wiesel during their unit in World War II and the Holocaust.\nThe eighth grade math curriculum focuses largely on solving, graphing, and analyzing different types of equations and inequalities. Starting with linear equations, students explore slope and y-intercept and use them to graph lines in the coordinate plane. Students apply their understanding of graphing equations to graph linear inequalities, systems of linear equations, and systems of linear inequalities. They use their knowledge of solving equations and inequalities to solve compound inequalities and absolute value equations. Students explore rules for exponents and use them to simplify exponential expressions. When working with polynomial equations, students learn how to multiply polynomials, factor polynomial expressions using multiple strategies, and solve certain polynomial equations. This includes learning and applying the quadratic formula to solve quadratic equations and graph parabolas.\nIn eighth grade science, the major topics of study are chemistry and genetics. Students start the year by learning about scientific notation and density. Students then study atoms and examine atomic models devised by famous scientists. Students explore the organization of the Periodic Table and use their knowledge to determine the properties of elements. They later study the different types of bonds in molecules and compounds, as well as their structural formulas and balance equations. During the unit on acids and bases, students complete a series of labs, including an antacid titration and measuring the pH strength of various substances using pH indicators. Students utilize TinkerCad and BlocksCAD to design a 3D printed model of a compound or molecule that they research. Near the end of the year, students are introduced to the field of genetics. They use Punnett squares to predict genotypes and phenotypes.\nEighth grade social studies uses the Facing History and Ourselves curriculum to discuss the Civil Rights movement in the South during the 1950\u2019s as well as the Holocaust. A variety of assessments such as creative writing assignments, analysis of primary sources and project based learning are used to determine student comprehension and progress. Students also read novels that are connected to the social studies units to deepen their appreciation for the historical time period. The first half of the year focuses on racial inequality in the South, primarily on school integration in Little Rock, Arkansas. Students read first hand accounts from people who were involved in these events as well as the novel Warriors Don\u2019t Cry, by Melba Patillo Beals. The second half of the year is centered around World War II and The Holocaust. Students analyze the factors that led to Hitler\u2019s rise to power and the tactics used to gain support in Europe.\nStudents in eighth grade Hebrew continue to improve fluency in speaking, writing, and reading. The focus is on using present, past and future tenses seamlessly while also learning advanced grammatical structures and idioms. Major emphasis is on spoken fluency. Students read a full-length novel in class to expand vocabulary and experience Israeli literature. Students analyze and describe major events, themes, and concepts in Hebrew.\nStudents are introduced to modern biblical commentators and their interpretations and style. Students also study and learn about the Torah service along with discussing the weekly Torah portion.\nStudents experience community tefillah twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students\u2019 spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings.\nIn eighth grade Jewish studies, students deepen their understanding of Jewish holidays and their historical, natural/agricultural, and faith-based foundation. They learn how our customs and traditions enrich and strengthen them as individuals within our Jewish community. Prayers and blessings related to the holidays are recited and Hebrew stories connected to the Jewish holidays are studied.\nStudents in eighth grade focus on the rise of modern Israel since the establishment of the country in 1948. They explore major events, culture, peoplehood, military history, and day-to-day life as well as current events.\nThe goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through classical and contemporary music, students learn to sing in-tune with expression and confidence while gaining confidence on stage. They read music and play several instruments including ukuleles and drums. Students also explore music composition using technology such as Garage Band. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics. The curriculum fosters an atmosphere of fun, while teaching songs that enrich the children\u2019s Hebrew literacy, knowledge of Judaics and love of the land of Israel.\nStudents work with a variety of drawing tools and multiple types of paints and papers in sophisticated ways. Students learn techniques for drawing, painting, printmaking, and collage. Within each grade level, elements of art such as line, shape, form, color, texture, value, and space are taught. Emphasis is put on the process of creating art rather than the finished product. Art history is an important component of our curriculum; students study different artists and art movements from the past to the present. Some movements that may be included are: Impressionism, Abstract, Folk and Pop Art. Throughout the year, art is integrated with units of study in the classroom and teachers work collaboratively on skills and concepts to deepen learning.\nEighth grade is the culmination of all the theater, debate, and speaking skills that students have been learning throughout their time at EHS. Students will be able to demonstrate their speaking skills during a debate showcase, including projection, diction, and body language. Students will also have the opportunity to perform a variety of individual and group scenes, written and improvised, using props and costumes that they have built and/or designed. Students will continue their character work studies, using Shakespeare and scenes that they\u2019ve created. At the end of the year, eighth graders will be able to collaborate on the spring musical and act as leaders for their peers during the rehearsal process. The final performance will showcase all of the 8th graders\u2019 acting and public speaking skills that they have been practicing during the year.\nStudents in physical education classes are encouraged to participate in sports education, teamwork, physical fitness activities and in game strategy in class. In addition to gross and fine motor coordination, stretching and agility middle school students are taught age appropriate sports skills and team communication through drills as well as game-like scenarios. Units include soccer, flag football, team strategy games, floor hockey, ultimate frisbee, individual problem solving games and basketball. Social team building and sportsmanship skills are woven into game like scenarios to teach students not only the skills to play multiple sports but the interpersonal skills to function in a fast paced team environment.", "id": "<urn:uuid:e2ebeaf6-c5aa-40ba-a78b-c268bfd6b972>", "dump": "CC-MAIN-2022-21", "url": "https://epsteinhillel.org/experience-ehs/curriculum/grade-8", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00365.warc.gz", "language": "en", "language_score": 0.957028329372406, "token_count": 1611, "score": 3.984375, "int_score": 4}
{"text": "It goes without saying that technology has given us tremendous freedom to communicate, interact and develop as professionals. We can\u2019t escape it as it dominates every aspect of our teaching life; our classes have state-of-the-art equipment such as laptops and interactive whiteboards, there are amazing web tools available, not to mention the countless sites offering online exercises and games. However, I sometimes wonder \u201cHow would I teach if I only had access to the very basics? Would I be as creative as I am now?\u201d In other words, I often think if there is a way to \u201creinvent\u201d the simple, everyday objects each one of us has on their desk/handbags and spark our students\u2019 creativity without resorting to technology.\nSo, I\u2019ve decided to start a series of ideas on how to see class objects from a different angle. My goal is to inspire other professionals as well so that we can all come up with alternative classroom activities.\nThe object I\u2019ll start with is the PENCIL. As you will notice, in the activities I\u2019m suggesting below the pencil is seen as a means of teaching grammar, speaking, creative writing etc.! I\u2019d really love to read your comments and any further suggestions you might have!\n- The life cycle of the pencil: That\u2019s a great way to introduce the present simple passive. Tape a pencil on your board (preferrably, in the middle). Draw arrows all around it leaving some space in between for the different stages of the cycle. Ask your students to tell you what pencils are made from. Go to the first arrow before the pencil and draw some pieces of wood. Then, ask them where wood comes from. Wood comes from trees but trees are cut in order to make pencils. Go to the second arrow before the pencil and draw a tree. Keep asking and drawing until you have a picture of what would look like the life cycle of the pencil.\n- Miming game/ Cooking instructions: Use a pencil in order to mime actions like writing, cooking, playing the drums etc. (Present Continuous practice). If you want to practise Present Simple, ask your students to imagine your pencil is a large spoon which they will use to \u201ccook\u201d. Give your class a recipe and ask each student to come up and act out a part of it using their pencil aka spoon.\n- Break it! For me, it\u2019s one of the simplest yet best ways to show your class how Present Perfect Simple is used for actions that have just happened or actions that happened in the past but their result is still visible in the present.\n- Make it the star of a story! Tape it on the board and draw a speech bubble next to it. Ask your students to imagine your pencil can actually speak. What could it say and who would it talk to?\n- Where am I? \u2013 Past tenses: Draw a question mark on the top of the board. Tape a pencil pointing downwards in the middle of your board and draw 3 small circles. One on its left and right and a wider one below its tip. Now you have a pencil looking surprised:) Point at your lesson\u2019s date (eg. 09/01/14) and tell your class that this pencil lost its way and found itself in your class today. Ask them to imagine where it was and what it was doing/had done when/before it got lost.\n- Pencil puppets \u2013 Pencils can be used as puppets in different role plays. You could give them names according to their colour (eg. Mr Red) or ask your students to glue pieces of paper on them and decorate them any way they want to. Apart from role playing though, pencil puppets are also a nice way to introduce descriptions.", "id": "<urn:uuid:238774cb-57b1-47cc-b322-684a85df69c1>", "dump": "CC-MAIN-2022-21", "url": "https://mariatheologidou.com/2014/01/06/class-objects-revisited-pt1-what-can-you-teach-with-a-pencil-only/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662561747.42/warc/CC-MAIN-20220523194013-20220523224013-00764.warc.gz", "language": "en", "language_score": 0.9644259810447693, "token_count": 791, "score": 3.546875, "int_score": 4}
{"text": "truth (aesthetics) The factual, historical, social, cultural, aesthetic and individual criteria by which a story is judged to have validity: truth is a criteria for accepting or rejecting a story.\nA statement or representation that claims factual truth can be measured, tested and argued in relation to actual event/s, often as these event/s have been recorded and represented in a range of narratives and as a part of social and/or individual history and knowledge. Then a story has truth because the event/s it narrates did happen or are believed to have happened. Factual truth is often discussed as the key criteria for truth, but this is just one test.\nIt can be agreed, believed that a particular event/s occurred, the event/s are true, they happened, but even when there is an agreement that an event or events occurred, and this is uncontested, the narrative that presents this can be rejected or denied as it relies on selection, viewpoint and construction. A story is a form of rhetoric and it presents a reality that is congruent or divergent from the audience\u2019s beliefs. The audience will accept some narrative versions of events and reject others. Here viewpoint in storytelling becomes crucial as this articulates value in relation to events: One version of a story shows that the actions were good, another version of the story shows that the same actions were evil.\nNarratives confirm or contest histories, moral values, customs and accepted norms and so both fact or fiction can be accepted as offering truth. A fictional account be more truthful in this context than a historical account: what is a true depiction of slavery, of marriage? In different societies at difference times the accepted narratives related to slavery and marriage would be completely divergent. Here, one can see that truth is socially and historically specific, and narratives that are praised for their truth in one era are false and contrived in another.\nWe accept, consume, deny and reject narratives based on our own truth. Truth, here relates to the concept of Grand Narratives: these are the histories, identities, conceptions of the self, of nature, of reality of lived experience that are embedded as truth within an individual, a group, a society, a culture, a Civilisation. Arguments over objective viewpoint and subjective viewpoint are carried on as if they might be resolved by empirical measurement, by rational thought, by psychological explanation, but belief systems validate truth in relation to a narrative being accepted or rejected.\nThe individual events in a narrative, their relationship to actuality are tested for truth, and the construction of a narrative, its plot and viewpoint is tested for truth, and the judgement of truth in a text also shifts to a judgement of taste in relation to aesthetics: what stories should or should not be told, and in what form is it acceptable for a story to be narrated? Taste acts as permission or restriction on what can be told and accepted; taste acts as a form of censorship: no matter if a story is true to the fact, this does not make it valid unless it is narrated within certain parameters of form: Should God be shown singing in a musical? What topics can be mocked and ridiculed, what topics need to be treated with sincerity and reverence? Truth is a test of acceptability and taste is part of this: they are combined in terms of audience reaction.\nThe question of truth has a sense of superficiality. It\u2019s not a coherent judgement, the truth that is claimed for a story is not shared by all, but truth and taste do act as significant constraints and permissions on storytelling. Truth has a bias, in that what is judged to be true is not the congruence of narrative to actuality as the primary and decisive test, but what is acceptable: choosing the right story to tell in the right way.\nA filmmaker can make a claim to their story offering truth, but this judgement passes to the audience who will make their own judgement to accept or reject the narrative. A filmmaker may understand that a story needs to have truth for it to have validity for themselves and for an audience, but acceptance or rejection will rest on the filmmaker\u2019s congruence to that audience. A story that challenges, tests or demeans an audience is not going to acclaimed as true, so the impetus of storytelling is to confirm to social reality. Oppositional, divergent stories can be told but they will never have the immediate currency of accepted truth.\nThe narrative of a film can be very specific to a place and time, and so rely on this authenticity to be accepted as true, but this one story can be viewed as exceptional and specific: not generally true. Myth, fantasy, legend, stories which are often understood to have little or no factual authenticity are often valued more highly than factual truth within a culture and society: these mythic, founding stories are shared, circulated, learned, passed on and this gives them validity as truth as they are known and understood by many. There\u2019s a frequent claim that mythic narrative offer universals, there will always be a hero myth in every society, those who fight for society, and there will always be villains, those who want to destroy and replace a society: these stories have truth as rhetoric: they carry the concept of heroes and villains that a society can use to enact power and authority, but they are not factually true, but rhetorical concepts: they are actions, events shaped into a version of events, a narrative where there are heroes and villains. Not all societies need such figures and founding myths differ across history, tribes, nations, civilisations.\nStory is understood to offer shared meaning and values for societies. This is correct and truth and taste are the mechanisms that regulate and confirm those meanings and values. When stating that a story is true, one can mean factually true, or aesthetically truthful in the narrative\u2019s representation its form and taste, but implicit in this is a call for agreement: to indicate that a narrative should be validated and offered a specific and special status.\nCopyright: Eugene Doyen 2019", "id": "<urn:uuid:8c116abf-22bd-4948-a087-6c32e6c7bfdc>", "dump": "CC-MAIN-2022-21", "url": "http://www.filmnarrative.com/truth.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662527626.15/warc/CC-MAIN-20220519105247-20220519135247-00164.warc.gz", "language": "en", "language_score": 0.965338408946991, "token_count": 1240, "score": 3.84375, "int_score": 4}
{"text": "Telenovela | Definition of Telenovela by Merriam-WebsterTelenovelas \u2014 literally television novels \u2014 have some things in common with their American cousins, the daytime soap operas. Telenovelas have their roots in Latin America, starting as graphic novel representations of classic literature and stories, later evolving into radio programs. When soap companies started radio dramas to sell cleaning products to housewives in the s, they established programs in Cuba as well. But when American companies could no longer sponsor programs in Cuba, there was a diaspora of talented Cuban actors, writers and producers that scattered through Latin America and began melding the American product with Latin American storytelling. But unlike U. This makes them highly marketable and exportable, says Diana Rios, associate professor of communication sciences at University of Connecticut.\nLearn Spanish: The word \"se\" in Spanish grammar\nA telenovela [a] is a type of a limited-run television serial drama or soap opera produced primarily in Latin America. Commonly described using the American colloquialism Spanish soap opera , many telenovelas share some stylistic and thematic similarities to the soap opera familiar to the English-speaking world. The significant difference is their series run length; telenovelas tell one self-contained story, typically within the span of a year or less whereas soap operas tend to have intertwined storylines told during indefinite, continuing runs.\nWhat does novela mean in spanish?\nThe Spanish language is a very rich language with lots of vocabulary. Mastering the Spanish vocabulary can help you a lot if you want to be able to understand everything you hear or read, even if you don't understand the whole meaning perfectly. The best way of learning new Spanish vocabulary is by reading a lot or practicing with flashcards or a similar technique. Literary Spanish vocabulary can be tricky, especially when it's very technical. However, you'll notice many words sound and look almost the same, and this will make learning them easier. When you learn Spanish in Spain you'll be able to show off your extensive literary knowledge with this list of literary terms. Creationism is based on the idea of a poem as a truly new thing, created by the author for the sake of itself.\nEducalingo cookies are used to personalize ads and get web traffic statistics. We also share information about the use of the site with our social media, advertising and analytics partners. Meaning of \"telenovela\" in the Spanish dictionary. Soap opera. The definition of telenovela in the dictionary is a novel filmed and recorded to be broadcast by chapters on television.\nToggle nav. A telenovela or ; , , is a type of limited-run serial drama originally produced in Latin America that has become popular in European, Asian, and other global television networks. Telenovelas differ from soap operas in that they rarely continue for more than a year. This makes them shorter than soap operas, but still much longer than serials. Episodes of telenovelas usually last between 30 and 45 minutes, and rarely do ordinary telenovela episodes last for more than an hour each, as this is the length standard of telenovela final episodes.\nChat or rant, adult content, spam, insulting other members, show more. Harm to minors, violence or threats, harassment or privacy invasion, impersonation or misrepresentation, fraud or phishing, show more. What does novela mean in spanish?\nListen to an audio pronunciation. A feminine noun is almost always used with feminine articles and adjectives e. In his latest novel, the author explores the complexity of the human mind. My parents watch the soap opera every afternoon. A noun is a word referring to a person, animal, place, thing, feeling or idea e.\nThese example sentences are selected automatically from various online news sources to reflect current usage of the word 'telenovela. Send us feedback. See more words from the same year. Spanish Central: Translation of telenovela. What made you want to look up telenovela? Please tell us where you read or heard it including the quote, if possible. Test Your Knowledge - and learn some interesting things along the way.", "id": "<urn:uuid:fc279178-7f93-4a44-94a5-b716425b3e0b>", "dump": "CC-MAIN-2022-21", "url": "https://rumahhijabaqila.com/best-books/3803-what-does-novela-mean-in-spanish-33-514.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662532032.9/warc/CC-MAIN-20220520124557-20220520154557-00765.warc.gz", "language": "en", "language_score": 0.9464618563652039, "token_count": 878, "score": 3.546875, "int_score": 4}
{"text": "We sometimes use affiliate links in our content. This won\u2019t cost you anything, but it helps us to keep the site running. Thanks for your support.\nFlying planes, whistling trains, zooming cars\u2013preschools love things on the go!\nGrab our Transportation Lapbook and prepare for a week of learning fun with your preschool student.\nTransportation Lapbook Activities\nThis preschool transportation lapbook includes a variety of activities: colors, shapes, alphabet, and more!\nEmergency Vehicles Wheel\nAssemble the wheel according to template instructions. Discuss emergency vehicles with your child. What are the different jobs of the people driving the vehicles. Vehicles used: police car, tow truck, firetruck, and ambulance.\nIntroduce or review the colors of the cars. After you cut out the pages, ask your child to find something in your house or classroom that matches the color on the page. \u201cThis car is red. Can you find something red?\u201d Colors included: gray, orange, red, green, yellow, brown, purple, pink, black, and blue.\nReinforce Learning: As you travel various places, ask your child to identify the colors of the cars on the road.\nIntroduce or review shapes with the shape bus. Shapes included on the bus: circle, oval, triangle, hexagon, octagon, square, rectangle, and diamond.\nYou can also use this activity to review colors (pink, orange, blue, green, red, yellow, and purple).\nWhich Way? Left or Right\nUse this shutterfold book to introduce or review the concepts of left and right. Which vehicles are moving to the left? Which ones are moving to the right?\nWheels on the Bus\nConstruct the bus with moving wheels. Sing \u201cThe Wheels on the Bus\u201d together!\nYou can use these transportation cars in several ways.\nUse the small labels provided, and ask your student to sort these cards by land, by air, and by sea (or any other way you can think of!). Alternatively, you could give your student three pieces of paper and have him create three scenes: air, land, and sea. Use the pages as sorting mats.\nYou could also print two copies and make it into a memory/matching game.\nIf your student is ready, you could use these as storytelling cards. Draw a card. \u201cOnce upon a time, there was __________.\u201d Add a few sentences. Let your student draw a card and add to the story. The story is over when someone decides (\u201cThe End\u201d).\nVehicles included on the transportation cards: car, moped, bus, carriage, submarine, truck, schooner, van, monster truck, rocket, sailboat, bicycle, airplane, zeppelin, hot air balloon, and helicopter.\nPaint, cut, and paste to make the boat craft.\nPhonics: Letter B\nWhat does \u2018B\u2019 say? Introduce or review \u2018B\u2019 with this mini-book. Bus, bicycle, and boat all begin with \u2018B\u2019; what else begins with this letter? (balloon, barge, etc.)\nSing the alphabet song together as you point at each letter, helping your student begin to learn to recognize the letters.\nHow to Get Started with the Transportation Lapbook\nFollow these simple instructions to get started with the Transportation lapbook.\n- Check out a stack of transportation themed books from your local library.\n- Choose and prepare the transportation lapbook printables you want to use with your student.\n- Enjoy a week of zooming, beeping, and learning with your preschool student.\nDownload Your Transportation Lapbook\nUse the form below to subscribe to the newsletter. Once you confirm, you\u2019ll receive an email with the link to the lapbook. If you are already confirmed, simply enter your name and email address below, and you will receive an email with the link.\nMore Transportation Themed Resources\nIf your preschool student enjoys our transportation lapbook, check out these other transportation themed resources:", "id": "<urn:uuid:74b13d8e-32af-4d39-87b3-78ba6ad69ab9>", "dump": "CC-MAIN-2022-21", "url": "https://www.homeschoolshare.com/transportation-lapbook/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577757.82/warc/CC-MAIN-20220524233716-20220525023716-00565.warc.gz", "language": "en", "language_score": 0.926618754863739, "token_count": 878, "score": 3.609375, "int_score": 4}
{"text": "In video and filmmaking terminology, a \u201ctransition\u201d could be defined as the way in which any two video shots are joined together.\nThe first point to understand about transitions is that misuse or overuse of transitions is a sign of an amateur, in the same way that overuse of slide transitions in a PowerPoint presentation is considered unprofessional. Especially if too many different types of transitions are utilized.\nIn short, any way that transitions call attention to themselves and distract from the video continuity would be poor utilization.\nConversely, when used professionally (\u201cnot\u201d to the point of overuse), effective transitions bridge different video shots together to produce a better message or story flow.\nThere are significantly more transitions than depicted in this article, but the following are among the most widely used.\nVIDEO TRANSITION: THE \u201cCUT\u201d\nThe most common transition is the \u201ccut.\u201d This is simply one video clip changing instantly to the next shot.\nCuts are the best way to keep the action or momentum moving along at a good pace.\nStraight cuts are not only simple, but they create smaller overall file sizes, which are an advantage for web videos. (In other words, adding transitions create larger video files, and on the Internet, smaller files are desirable).\nVIDEO TRANSITION: THE \u201cFADE\u201d\nTwo key transitions are fade-up from black and fade to black. Fading in from a single color, such as black, conveys a sense of \u201cbeginning.\u201d And nothing says \u201cthe end\u201d like a fade to black. (Fades can be used with any other colors, too).\nVIDEO TRANSITION: THE \u201cCROSSFADE\u201d OR \u201cDISSOLVE\u201d\nAnother common transition is the crossfade, or dissolve. This is when one video shot gradually changes to the next.\nAlthough the length of most transitions can be shortened or extended to best support the video, crossfades, in particular, can provide a more relaxed feel than a cut and slow the pace of the video.\nDissolves can better convey a sense of passing time than a cut.\nVIDEO TRANSITION: THE \u201cWIPE\u201d\nA wipe is a more complex transition and includes many variations. These could be categorized as fancier types of transitions, which means they would not be used very often in the realm of traditional storytelling. (They tend to have more applications in short social media videos and/or some commercials, to increase viewer interest, but much less so in long-form storytelling).\nOne way to think of a simple wipe would be imagining a single sweep of a windshield wiper as a transition from one shot to the next while it moves across the screen.\nVariations include an iris wipe, a heart wipe, a clock wipe, and a star wipe, in which the name approximates the geometric manner in which the wiping motion occurs.\nExamples: an \u201ciris wipe\u201d is like an expanding or contracting oval. A \u201cheart wipe\u201d or \u201cstar wipe\u201d is like an expanding or contracting heart or star. And a \u201cclock wipe\u201d moves around in a circle.\nWipes can represent every shape or custom line imaginable. As another example, a jagged line, such as a lightning bolt, could move across the screen to unveil the next shot. And to make things more interesting, wipes can begin on the left of the frame and move right across the screen. Wipes can also begin on the right of the screen and move left. They can also begin at the top and move down. Or, as you might anticipate, they can begin at the bottom and move up to reveal the next shot. Furthermore, they can begin at any corner and move diagonally across the screen.\nNOTE ON FANCY TRANSITIONS\nMost video editing programs have a large library of built-in transitions. You can also buy additional video transitions. And on top of that you can create your own unique transitions.\nNevertheless, for the purpose of filmmaking and storytelling, be aware that you can create an entire feature film or documentary using only cuts.\nSo, why do fancy transitions even exist?\nFancier transitions are more often used in shorter videos to lend \u201cstyle\u201d or to increase viewer interest. Whether that be in social media videos, commercials or other videos. This does not suggest that fancy transitions are required or necessary in short content. However, as with all creative ventures, any rules can be broken.\nLike fashion in general, styles change and what\u2019s acceptable now may not be next year. Unlike fashion, what\u2019s acceptable with transitions tends to change slowly. In the 60s and 70s there were TV shows that used wipes. Now, that would be uncommon. Yet, shorter-form videos and especially the \u201canything goes\u201d culture of YouTube have demonstrated a greater facility with fancier transitions than ever. But this use bears the risk of such videos looking \u201cdated\u201d in the years to come, whereas a more traditional or classical use of transitions will better stand the test of time.\nAt the hands of professional video editors, appropriate use of transitions is an important aspect of the editing process.\nKEEP IT SIMPLE\nEffective integration of transitions should always be inspired by some aspect of the story that is being conveyed in your video. For example, a transition may signify a change in location, or a change in the pace of the action, or simply the passage of time. If there\u2019s no specific reason to use a transition, more often than not, just keep it simple and use a cut.\nAnother application of transitions is to smooth out minor video (or even audio) errors, which could appear more prominent with a cut, but which may be less apparent by a well-placed dissolve.\nHaving said that, perhaps the most common way to hide video production errors is to briefly cut away to a completely different shot altogether.\nAs a concluding note: in traditional filmmaking, transitions should not call attention to themselves. Their job is to subtly support the story or message.\nAvid hiker, bicyclist, motorcyclist and long-time advertising pro. Founder of Skyworks Marketing, Nonprofit Fire and Our Ventura TV (cable TV). One career highlight was working on a small team that built a business from nothing to over $100 Million in 3 years. Skyworks Marketing provides lead generation and video advertising services. We create custom marketing funnels that provide the highest-quality leads and sales.", "id": "<urn:uuid:6036f9db-82cf-40d2-a11b-3a03a4e15574>", "dump": "CC-MAIN-2022-21", "url": "https://skyworksmarketing.com/using-transitions-in-video-editing", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00765.warc.gz", "language": "en", "language_score": 0.9369046688079834, "token_count": 1361, "score": 3.640625, "int_score": 4}
{"text": "A growing body of research attests to the effectiveness of films as an educational strategy to promote empathy (MacDonnell & MacDonald, 2011). Films can help learners gain an appreciation of the lived experience of illness and the dichotomy between healthcare professionals who are empathic versus those that are indifferent, callous and even cruel (Darbyshire, 2006). The human stories portrayed in films engage learners and convey important concepts (Blasco & Moreto, 2012).\nFilms, whether fictional or documentary-style, are a form of storytelling. They promote vicarious learning experiences in ways that inspire, educate, transform and energise (Bordwell and Thompson, 2003). Films are useful in teaching because this medium is familiar, and students identify easily with film characters and situations. The educational benefit can be expanded by the phenomenon of students\u2019 \u2018carrying forward\u2019 into their daily lives the insights and emotions initially generated in response to the film clips (Blasco & Moreto, 2012).\nThe main goal of the use of film is to foster reflection and to provide a forum for discussion about the interaction of health and illness within the breadth of human experience. Reflection is the necessary bridge to move from emotions to behaviour change, and from technical responses to deep introspection and empathic responses. The power of film to achieve transformation also requires guidance from skilled educators so that new insights are gained, and perspectives enabled (McAllister et al., 2015). When educators direct students\u2019 attention to issues of importance, the knowledge and attitudes developed through discerning engagement are not merely theoretical but also grounded in human experience.\nBlasco, P. & Moreto, G. (2012). Teaching Empathy through Movies: Reaching Learners\u2019 Affective Domain in Medical Education. Journal of Education and Learning. 1(1), 22-34.\nBordwell, D. & Thompson, K. (2003). Film Art: An Introduction. (7th ed.) McGraw Hill, New York.\nDarbyshire, P. (2006). Understanding caring through arts and humanities: a medical/nursing humanities approach to promoting alternative experiences of thinking and learning. Journal of Advanced Nursing. 19, 856-863.\nMcAllister, M., Levett-Jones, T. Lasater, K., & Petrini, M. (2016). The viewing room: A lens for exploring ethical comportment. Nurse Education in Practice. (16), 119-124.\nMacDonnell, J. & MacDonald, G. (2011). Arts-based critical inquiry in nursing and interdisciplinary professional education: guided imagery, images, narratives, and poetry. Journal of Transformative Education. 9(4), 203-221.", "id": "<urn:uuid:4dddf359-5c7a-4903-b89b-e3a2d431e468>", "dump": "CC-MAIN-2022-21", "url": "https://www.virtualempathymuseum.com.au/film-room/film-room-information/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663021405.92/warc/CC-MAIN-20220528220030-20220529010030-00561.warc.gz", "language": "en", "language_score": 0.9000522494316101, "token_count": 559, "score": 3.515625, "int_score": 4}
{"text": "- 1 What literary devices are used in I Know Why the Caged Bird Sings?\n- 2 What is the extended metaphor in the poem caged bird?\n- 3 What literary devices are used in caged bird?\n- 4 What is the free bird metaphor for here?\n- 5 What is the theme of I Know Why the Caged Bird Sings?\n- 6 What is the caged bird a metaphor for?\n- 7 What does the caged bird symbolize?\n- 8 What does the caged bird singing reveal about him?\n- 9 What kind of imagery is used in caged bird?\n- 10 What is ironic about the caged bird?\n- 11 Which poetic device is used in the poem?\n- 12 What is the rhythm of caged bird?\n- 13 What is the difference between caged bird and free bird?\n- 14 How do encaged birds behave?\n- 15 What does the bird metaphorically refer to?\nWhat literary devices are used in I Know Why the Caged Bird Sings?\nRhetorical devices abound in I Know Why the Caged Bird Sings, that makes the reading more memorable. Angelou successfully employs hyperbole, simile, alliteration, allusion and aphorism to draw attention to key phrases, characters or settings.\nWhat is the extended metaphor in the poem caged bird?\nGiven that the caged bird in the poem is an extended metaphor for the historic struggle of the African American community under historical and ongoing racist oppression, the idea that freedom is a biological impulse argues against the inhumane cruelty of oppression.\nWhat literary devices are used in caged bird?\nCaged Bird Literary Elements Speaker or Narrator, and Point of View. The unidentified speaker relates the experiences of the caged bird and the free bird. Form and Meter. The six-stanza poem is written in free verse. Metaphors and Similes. Alliteration and Assonance. Irony. Genre. Setting. Tone.\nWhat is the free bird metaphor for here?\nAnswer. The free bird metaphor means means that you have freedom and you are free, you can do what you want. They say bird because birds can fly wherever they want and have freedom.\nWhat is the theme of I Know Why the Caged Bird Sings?\nAfter the 1968 assassination of Martin Luther King, Jr., Angelou was inspired by a meeting with writer James Baldwin and cartoonist Jules Feiffer to write I Know Why the Caged Bird Sings as a way of dealing with the death of her friend and to draw attention to her own personal struggles with racism.\nWhat is the caged bird a metaphor for?\nThe Caged Bird Metaphor is a common Animal Metaphor whereby a character\u2014often a woman or girl in an oppressive environment\u2014is associated with a caged bird, symbolizing their sense of confinement and longing for freedom.\nWhat does the caged bird symbolize?\nAngelou uses the metaphor of a bird struggling to escape its cage, described in Paul Laurence Dunbar\u2019s poem, as a prominent symbol throughout her series of autobiographies. Like elements within a prison narrative, the caged bird represents Angelou\u2019s confinement resulting from racism and oppression.\nWhat does the caged bird singing reveal about him?\nWhat does the caged bird\u2019s singing reveal about him? Answer: It reveals that he is unhappy and wants to be free.\nWhat kind of imagery is used in caged bird?\nImagery: Angelou has used vivid imageries. \u2018Orange sun rays\u2019, \u2018distant hills\u2019, fat worms\u2019 etc are examples of visual imageries while \u2018sighing trees\u2019, \u2018nightmare scream\u2019 and \u2018fearful trill\u2019 are auditory imageries.\nWhat is ironic about the caged bird?\nMaya Angelou uses plenty of irony in her book I Know Why the Caged Bird Sings. Situational irony is when things do not turn out as expected. Vivian brings Maya into her bed to make her feel safe when she has nightmares, but as a result, Maya is raped by Mr. Freeman.\nWhich poetic device is used in the poem?\nThe definitions and examples of literary devices which are used in poetry are as follows: 1) Alliteration: The repetition of a consonant sound at the start of 2 or more consecutive words is known as anaphora.\n|Top Entrance Exams|\n|SSC-CGL||CDS 2021 (1) Exam|\nWhat is the rhythm of caged bird?\nStructure: The poem \u201d Caged Bird \u201d feels almost like an unstructured verse. It does not keep rhythm and does not rhyme in a specific pattern. Stanza 3 is repeated at the end.\nWhat is the difference between caged bird and free bird?\nSometimes, the caged bird opens his throat to sing. He sings of freedom and hope. A caged bird is not free to have his own life. He is not free and the only thing he can do is he can sing for his freedom and hope.\nHow do encaged birds behave?\nHe is enclosed in a narrow cage where his wings are clipped and feets are tied. The only thing he can do is he can open he is throat to sing. He is in anger to get out of the cage but due to fear he does not tend to do so\nWhat does the bird metaphorically refer to?\nAnswer: The first metaphor is of the free bird that is for the white Americans or free people, while the caged bird is the metaphor of African Americans and their captivity in the social norms. Personification: Maya Angelou has used personification such as \u201csighing trees\u201d as if trees are feeling sorrow.", "id": "<urn:uuid:792cb894-572b-4aea-9985-679c3fcc8341>", "dump": "CC-MAIN-2022-21", "url": "https://www.riedelfamilyltl.com/faq/question-metaphors-in-i-know-why-the-caged-bird-sings.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00165.warc.gz", "language": "en", "language_score": 0.9439079165458679, "token_count": 1229, "score": 3.53125, "int_score": 4}
{"text": "Seventh grade language arts builds on the progress made in writing and literary analysis in sixth grade. Students continue to explore a variety of literature selections and themes. The class will start the year by reading a series of short stories that each utilize a different writing style and method of storytelling. In this unit, students write their own short stories as they continue to refine their ideas, organization, and voice. The class will read classic works of literature like Roll of Thunder, Hear My Cry and A Midsummer Night\u2019s Dream. Students will also read Greek Myths as they learn about ancient Greece in social studies. A primary writing focus is learning to write well-structured and detailed essays. Students learn to incorporate evidence to support their own point of view as well highlight an author\u2019s message and style.\nThe topics included in the seventh grade math curriculum are expressions and equations, integers, exponents, percents, trigonometry, geometry, and probability. Students learn how to evaluate variable expressions and solve multi-step equations. They identify where positive and negative integers are on a number line and learn to perform all four operations on integers. Students explore exponent rules and apply them to simplify exponential expressions. For percents, they utilize their understanding of how to find a percent of a number to determine percent change as well as simple and compound interest. In the trigonometry unit, students use the Pythagorean Theorem and trigonometric ratios to determine missing side lengths in right triangles. In geometry, students explore the attributes of two-dimensional shapes and three-dimensional solids, and also apply transformations on shapes in the coordinate plane. In probability, students distinguish between independent and dependent events and between overlapping and disjoint events to determine the probability for given situations.\nIn seventh grade science, students begin the year with measurement and the metric system applying their knowledge throughout various hands-on labs. Students later use the Engineering Design Process to create a solution to a real-world problem. During this experiential learning project, students advance their graphing, researching, and analytical skills. Focusing on physics through experimentation and design initially, later supports the teaching of Newton\u2019s Laws of Motion, gravity, and friction. Students investigate how potential energy gets converted into kinetic energy by building a rollercoaster and share their findings with iMovie. The year culminates with students constructing balloon-powered cars that challenge them to apply their physics knowledge in a competitive race.\nWorld History is the focus of the seventh grade social studies curriculum. A variety of assessments such as creative writing assignments, analysis of primary sources, and project-based learning are used to determine student comprehension and progress. Students also read novels that are connected to the social studies units to deepen their appreciation for the culture, history and challenges of the land. Students begin with Ancient Greece and study the city-states, government, and important figures from the time. Next, they learn about Ancient Rome and analyze the rise and fall of the empire. Students learn about Ancient Rome\u2019s changing government, impressive inventions, and military conquests. During the final unit on Ancient China, students study the most influential dynasties, their religious beliefs, and the importance of the Silk Road.\nStudents in seventh grade Hebrew focus on being able to speak, write, and read using the present, past, and future tenses along with new prepositions and phrases. Students continue to improve their ability to express thoughts effectively in speech and in writing. Students also read a full-length novel in class to expand vocabulary and experience Israeli literature. Students analyze and describe major events, themes, and concepts in Hebrew.\nStudents focus on historical events leading from the destruction of the Second Temple to the birth of the State of Israel. Major topics include: Jewish expulsion, major events in Europe, Asia and Africa in the early 20th century. They are introduced to famous biblical commentators and their interpretations and style.\nStudents experience community tefillah twice a week with the school rabbi and rosh ruach (song leader). Music is used to enhance students\u2019 spiritual experience connecting their hearts and minds. Students learn the keva (structure) of the Shacharit (morning prayer service) and explore pathways to deepen kavana (intentionality). Students also participate in a Torah service and discuss the weekly reading as well as other sacred texts. Students explore neighboring synagogues to experience prayers in different settings.\nIn seventh grade Jewish studies, students deepen their understanding of Jewish holidays and their historical, natural/agricultural, and faith-based foundation. They learn how our customs and traditions enrich and strengthen them as individuals within our Jewish community. Prayers and blessings related to the holidays are recited and Hebrew stories connected to the Jewish holidays are studied.\nStudents develop a meaningful relationship with Israel through personal connections with language, people, places, and events. As an ancient land and modern state, we teach our students that Israel is a home for diverse and vibrant expressions of Judaism. Through our cutting-edge Hebrew language curriculum, experiential programs, and Israeli young emissaries (Shinshinim), our students engage with Israel at all grade levels and feel a deep connection to their homeland.\nThe goal of our music program is for students to become skillful and enthusiastic music makers, encouraging music literacy, participation and performance. Through classical and contemporary music, students learn to sing in-tune with expression and confidence while gaining confidence on stage. They read music and play several instruments including ukuleles and drums. Students also explore music composition using technology such as Garage Band. Music is integrated across the curriculum as students sing and perform to enhance understanding of subjects from social studies to Judaics. The curriculum fosters an atmosphere of fun, while teaching songs that enrich the children\u2019s Hebrew literacy, knowledge of Judaics and love of the land of Israel.\nStudents work with a variety of drawing tools and multiple types of paints and papers in sophisticated ways. Students learn techniques for drawing, painting, printmaking, and collage. Within each grade level, elements of art such as line, shape, form, color, texture, value, and space are taught. Emphasis is put on the process of creating art rather than the finished product. Art history is an important component of our curriculum; students study different artists and art movements from the past to the present. Some movements that may be included are: Impressionism, Abstract, Folk and Pop Art. Throughout the year, art is integrated with units of study in the classroom and teachers work collaboratively on skills and concepts to deepen learning.\nIn seventh grade students take what they have learned further by continuing to analyze texts to inform their performances. Students continue to explore their characters\u2019 motivations while identifying the natural rhythms of the text to aid them in making decisions about how best to portray a character. Students will also work together to decode Shakespeare and perform scenes from the Bard and other playwrights, which leads up to rehearsing for and performing, the spring musical. Additionally, students will have ample opportunities to demonstrate their speaking and debate skills throughout the year.\nStudents in physical education classes are encouraged to participate in sports education, teamwork, physical fitness activities and in game strategy in class. In addition to gross and fine motor coordination, stretching and agility middle school students are taught age appropriate sports skills and team communication through drills as well as game-like scenarios. Units include soccer, flag football, team strategy games, floor hockey, ultimate frisbee, individual problem solving games and basketball. Social team building and sportsmanship skills are woven into game like scenarios to teach students, not only the skills to play multiple sports, but the interpersonal skills to function in a fast paced team environment.", "id": "<urn:uuid:eb0de250-a3e7-4da7-ad71-ad85d7eb83ff>", "dump": "CC-MAIN-2022-21", "url": "https://epsteinhillel.org/experience-ehs/curriculum/grade-7", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00364.warc.gz", "language": "en", "language_score": 0.9514089822769165, "token_count": 1589, "score": 3.765625, "int_score": 4}
{"text": "Do you ever wonder why many of the best teachers tell stories?\nThink back to your school days where a math question was presented in the form of a short scenario. Do you remember how Sally had 10 watermelons and gave 5 to Jerry, leaving her with only 5 watermelons for herself, wondering why she might have done that or what was going on with Sally and Jerry? Or learning about the life cycle of a frog by following a tadpole named Fred on his growth into an adult frog and even to this day, hoping that Fred or his progeny are living a long and happy life. Think back to all the times you\u2019ve had to learn anything new. How was the information presented to you?\nStorytelling and Memory\nYou\u2019ll find that frequently, professional instructors, especially the good ones, will present information through storytelling and memorable personal experiences. The data that they want you to learn is hidden in those stories and anecdotes, making it easier for you to absorb and retain. This isn\u2019t a coincidence! There have been studies to understand how we retain information. In the 1990\u2019s, an Italian Neurophysiologist (a psychologist who tries to understand the relationship between our physical brains and our behaviour (Neuropsychologist, n.d.) did an experiment involving Macaque monkeys and their brains (Winerman, 2005, p. 48). They wanted to see which parts of the monkey\u2019s brains were reacting when the monkey did certain activities. During the experiment, one of the scientists reached for their lunch. The monitor with the monkey\u2019s brain waves lit up. Without looking at the monkey, it seemed like the monkey was reaching for the food. But the monkey was only observing someone else reach for the food (Winerman, 2005, p.48).\nWhat that experiment showed was mirror neurons (Winerman, 2005, p.48). In other words, when we observe somebody doing something, our brains react like we\u2019re the ones doing the action even if we\u2019re just watching. How does this translate to learning through stories? Well through further research, done by Princeton University, it\u2019s been found that when someone is listening to a story, the same parts of the brain being activated in the speaker were also activated in the listener. This means the listener is actively reacting to what is being told to them as if they\u2019re the ones who are experiencing the events in the story (Patel, 2011).\nWhat does this mean? Well, by having the information presented in the form of a story, it allows you to emotionally connect with the data being presented, helping you relate it to something that\u2019s relevant to your life (Yehuda, 2018). It\u2019s easier for you to relate to the context being given to you, than for you to try to create context around a bunch of dry facts (Kopett & Richter, 2000). Within the stories being told, recognizable roles can be found, making it easier for you to relate to similar situations that you\u2019ve seen and absorb it into your short-term memory (Kopett & Richter, 2000). With repetition and practice, you store that data into your long-term memory and create a habit for retrieval when you need the information. No matter how old you are or what you\u2019re trying to remember, keep in mind that telling it in the context of a story might help you better remember the key concepts!\nPrepare for the CAPM and PMP Exam\nIf you want an interactive and memorable way to get through your PMP studies, check out Brain Sensei\u2019s PMP or CAPM Exam Prep courses! Besides having all that you need to pass the PMP exam (like 900+\npractice questions), their interactive storyline will help you better retain the key concepts, not to mention, it\u2019s way more fun. Learn more at brainsensei.com\nWritten by: Carmen Chung\nKoppett, K., & Richter, M. (2000, October 9). How to increase retention through storytelling. [Web Blog Post]. Retrieved From https://www.techrepublic.com/article/how-to-increase-retention-through-storytelling/\nNeuropsychologist. (n.d.). Retrieved from https://www.healthline.com/health/neuropsychologist\nPatel, U. (2011, Dec 5). Hasson brings real life into the lab to examine cognitive processing. Retrieved from https://www.princeton.edu/news/2011/12/05/hasson-brings-real-life-lab-examine-cognitive-processing?section=science\nWinerman, L. (2005, October). The mind\u2019s mirror. Monitor on Psychology, 36, 48. Retrieved from https://www.apa.org/monitor/oct05/mirror\nYehuda, R. B. (2018, April 15). From Neurons to Narratives: How Stories increase attention, retention, and engagement. [Web Blog Post]. Retrieved from https://medium.com/lifelabs-learning/from-neurons-to-narratives-how-stories-increase-attention-retention-and-engagement-c351a7ab9127", "id": "<urn:uuid:0b49e496-6ca8-4d86-abd2-0eb07b66e556>", "dump": "CC-MAIN-2022-21", "url": "https://brainsensei.com/effective-learning-with-brain-sensei-tell-me-a-story/?utm_source=zendesk&utm_medium=organic&utm_campaign=guide", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662588661.65/warc/CC-MAIN-20220525151311-20220525181311-00565.warc.gz", "language": "en", "language_score": 0.9350491166114807, "token_count": 1114, "score": 4.0, "int_score": 4}
{"text": "\u2018Reading a book is like re-writing it for yourself\u2019 - Angela Carter\nIt is our aim to instil an appreciation of literature in students of all ages. In their English lessons and during their co-curricular pursuits, students are given opportunities to read, analyse and discuss a diverse range of authors\u2019 works, exploring literary texts from different generic traditions and historical periods. The students\u2019 learning journey in English encompasses the study of works by writers such as William Shakespeare, John Milton, Charles Dickens, F. Scott Fitzgerald, J. B. Priestley, William Golding, Angela Carter, Benjamin Zephaniah, Carol Ann Duffy, Chimamanda Ngozi Adichie and a range of others.\nThe study of literature encourages students to become critical thinkers who are able to analyse and discuss literary texts and sociohistorical contexts in thoughtful, mature and sophisticated ways. The analytical, evaluative and essay writing skills that students develop through the study of English Literature provide an excellent foundation for their academic studies in other subjects, and for their future employment.\nExplorations in English Language encourage students to analyse the possible intentions of fiction and non-fiction writers and the effects that these writers create through the language choices that they make. Students\u2019 own creative talents are nurtured and celebrated in lessons which invite them to consider the power of their words and the ways in which language can be manipulated to create an impact for the reader. As such, creative writing lessons encourage students to use a range of written techniques to express themselves clearly, effectively and with flair.\nKey Stage 3 (Years 7-9)\nStudents in Years 7-9 read and analyse language in texts such as Dickens\u2019 A Christmas Carol, Golding\u2019s Lord of the Flies, and Russell\u2019s Blood Brothers, developing their abilities to construct clear arguments supported by appropriate quotations from the text. Crucial skills in the close analysis of language are introduced and practised at Key Stage 3, to be extended and embedded at Key Stage 4. These skills are fostered further via our scheme of work entitled Diverse Voices, inspired as it is by a range of empowering and inspirational stories from a range of different cultures.\nKey Stage 4 (Years 10-11)\nAQA GCSE English Language (8700)\nEnglish Language (AQA):\nAQA GCSE English Literature (8702)\nEnglish Literature (AQA):\nKey Stage 5\nOCR A Level English Literature (H472)\nAnalysing Shakespeare: Pre 1900 Drama and Poetry\nStudents are welcome to attend the Journalism Club, which provides opportunities to experiment with writing persuasive and argumentative pieces. The Senior Book Group, Quercus, encourages students in Years 12-13 to read and discuss a diverse range of texts, incorporating poetry, drama and prose. The students set the reading agenda. Over the years, students have read and discussed literary fiction from nineteenth century French literature through to the works of Toni Morrison and more modern, Booker Prize winning texts, such as Bernadine Evaristo\u2019s feminist tour de force, Girl, Woman, Other.\nStudents also benefit from visits from published writers, enjoying opportunities to ask questions about the creative process and to take part in writing workshops in which they develop their own creative voice. Each year, we enter writing competitions such as the Foyle Young Poets of the Year competition and the Catholic Independent Schools\u2019 Conference (CISC) poetry competition.\nHead of English: Mr D. Madge [email protected]", "id": "<urn:uuid:b0ff8f15-c9a5-403e-90f0-838c0cb8960a>", "dump": "CC-MAIN-2022-21", "url": "https://www.newhallschool.co.uk/senior/curriculum/english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545326.51/warc/CC-MAIN-20220522094818-20220522124818-00563.warc.gz", "language": "en", "language_score": 0.9247239828109741, "token_count": 745, "score": 3.984375, "int_score": 4}
{"text": "Data visualization tools provide useful ways to explore, discover, and connect information. This guide serves as an introduction to the use of mapping and time-lining tools. They can be used for a variety of assignments, exercises, and discovery processes during projects.\nYou will find suggestions for resources, tutorials, assessments, and learning goals in the guide.\nDue to the large number of mapping and timeline tools available, this guide contains a curated list of tools. If you find a tool that is not on this list, please reach out to one of the Educational Technology staff members below. We can help provide guidance and feedback.\nJon Breitenbucher, Director: firstname.lastname@example.org\nEmily Armour, Educational Technologist: email@example.com\nMegan Smeznik, Educational Technologist: firstname.lastname@example.org\nMaira Senoo, Educational Technology Associate: email@example.com\nPurpose and Scope of Assignment/Project\nThe purpose of the assignment/project is to help expose students to the uses of digital mapping and timelines. The project/assignment can fulfill the following goals:\n- Acts as a substitute for a research paper or other class exercise. It will take about the same amount of work as one of those other assignments.\n- Allows students to approach information spatially and also learn about digital tools in the process.\n- Finished projects help students connect with a wider audience which emphasize research that reaches public audiences.\nBelow you will find some learning goals for both faculty and students that can assist you in thinking about the purpose and scope of the project or the assignment.\nStudent Learning Goals\nProject Goals (Dependent upon the assignment or project)\n- Demonstrate skills in research and collaboration\n- Gain basic knowledge about the purposes of mapping and time-lining in context\n- Expose students to the use of mapping/time-lining for research, storytelling, and data visualization\n- Help students to use mapping/time-lining tools to support argumentation\n- Develop the abilities to show and discuss change over historic time\n- Learn how to use map and timeline tools in order to understand their benefits, challenges, and opportunities in research and visualizing content\n- Attend and participate in any workshops to prepare to use the tools\n- Grow skills in data management and analysis\n- Clearly outline the project and its goals by working with Educational Technology staff\n- Attend and participate in workshops with students to build knowledge about what students can expect to experience during the assignment or project\n- Help students to visualize research and data in tangible/meaningful ways\n- Specify which types of technologies and tools that students should expect to use\n- Define and present to students a clear outline of the project goals and assessment\n- Consider the accessibility of the assignment and alternative options\nEducational Technology, Morgan Hall 4th Floor, firstname.lastname@example.org\nDigital Studio and Production Planning Studio, Andrews Library\nDigital Media Bar, Andrews Library\nPedagogical and Course Implementation\nArcGIS public account online: You can sign up for a free public account to access the free features of ArcGIS. See The College of Wooster ArcGIS below for information about access to Esri ArcGIS through The College of Wooster.\nClio: Developed by Marshall University, Clio is an educational website and mobile app that serves as a guide to historical and cultural sites around the United States. Clio was built by scholars with the intent to be utilized in public applications.\nEsri Story Maps: Create maps with narrative text, images, and multimedia content. You need to have an ArcGIS public account.\nGoogle Earth: Explore the Earth by virtually flying anywhere in seconds. You can explore hundreds of 3D cities. Use Voyager for some guided tours around the Earth.\nGoogle Maps: Find your way around with satellite imagery, aerial photography, street maps, 360\u00b0 panoramic views of streets.\nGoogle My Maps: Using Google Maps you can make and edit your own custom maps.\nKnightLab\u2019s StoryMapJS: Free tool that helps individuals tell stories on the web through highlighting locations through a series of events.\nThe College of Wooster\u2019s ArcGIS Subscription: The College of Wooster has a subscription for ArcGIS. If you need access to the subscription for a project or classwork, please contact Dr. Jon Breitenbucher for more information.\nVisualEyes: VisualEyes is an HTML5 based tool that allows users to visualize data and more via mapping and timelines. The project interface is connected to a Google Spreadsheet which allows for collaborative editing.\nKnightLab\u2019s Timeline JS: An open-source tool that enables anyone to build interactive timelines.\nTimeGraphics: A freemium timeline tool that allows for creating visualizations. There are various formats to export the timeline.\nTiki-Toki: A freemium online timeline maker software. You can create a free account but you can only create one timeline for free.\nHow to Use Clio:\nESRI Training Center (note some are paid for tutorials)\nListed below are some types of assessments that could be utilized for mapping or timeline assignments/projects. This section will be periodically updated with new examples. This section will be periodically updated with new types of assessments and examples. Before implementing an assessment for a project, consider reaching out to the Educational Technology staff who can help to provide provide constructive feedback on the assessment for the assignment", "id": "<urn:uuid:e9233a24-8bb0-466c-9e0b-6db8d958e773>", "dump": "CC-MAIN-2022-21", "url": "http://educationaltechnology.wooster.edu/project-in-a-box/dviz-mapping_timelines/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00566.warc.gz", "language": "en", "language_score": 0.88239586353302, "token_count": 1190, "score": 3.671875, "int_score": 4}
{"text": "The workshops below link to the National Curriculum, but students also learn the skills they will need to extract information and to think creatively in whatever subject they choose to follow.\nPart of every workshop takes place in The Old Medicine House which dates to the 16th century, giving additional relevance to those on Tudor history and local history.\nAll the workshops can be adapted to suit the requirements of individual schools. Contact us to discuss your requirements.\nKey Stages 2 & 3 (Years 3, 4, 5 and 6)\nMATHS \u2013 Mathematical Enquiry \u2013 Historical Measurement\nThis workshop focuses on ways of estimating and checking measurements of height, width, distance and time. It uses the fabric of The Old Medicine House to provide a history of measurement in practical terms. By using early body-centred methods students discover why standard units became necessary.\nMATHS \u2013 Maths, Mazes and Mysteries\nChildren are encouraged to observe their surroundings and to start thinking like mathematicians.\nThey are introduced to concept of problem solving and the ways to break a problem down in order to solve it. They are given three problems to solve during the day: how to design a labyrinth; how to create codes which are difficult to break; and where to find the mysterious signs that were made to protect The Old Medicine House.\nHISTORY \u2013 Footsteps Through Time\nA day of creative enquiry. Using objects, buildings and the landscape itself, children consider the lives of those who shaped the site over the past 10,000 years. They examine photographs; identify artefacts from the site; date pottery sherds; and create time lines to uncover the history of the area. The workshop encourages children to reflect on memory, history and their own perceptions of time.\nENGLISH \u2013 Labyrinth \u2013 A Journey of Discovery\nChildren are introduced to the concept of the labyrinth as a journey of discovery. Initially the activities demand close observation of features of The Old Medicine House and its garden. As the day progresses, children are encouraged to become more reflective. This leads them into a working on a piece of creative writing, which completes their own unique journey of discovery.\nENGLISH \u2013 A Writer\u2019s World\nThis workshop guides children through the places and objects that influence a writer\u2019s work. Drawing on the work of Alan Garner, who has spent much of his life at Blackden, it uses detailed observation and creative writing to show how apparently mundane things can be transformed by the perception and craft of a writer.\nHISTORY \u2013 Prehistory at Blackden\nChildren will spend the day on land that has been occupied since the Mesolithic, 10,000 years ago. Through stories of the people who lived on the site, they will learn about the three stages of prehistory. They will see and handle some of the archaeological objects found on the site and have hands on experience of some prehistoric activities.", "id": "<urn:uuid:d240e1cd-3862-4b84-a971-b470fdde4891>", "dump": "CC-MAIN-2022-21", "url": "https://www.theblackdentrust.org.uk/learn-with-us/education/primary-school-workshops/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662552994.41/warc/CC-MAIN-20220523011006-20220523041006-00566.warc.gz", "language": "en", "language_score": 0.9495419263839722, "token_count": 589, "score": 3.796875, "int_score": 4}
{"text": "Being able to recognize Greek and Latin roots, is an essential skill for building reading comprehension and word recognition skills. However, that does not mean students should spend hours studying word lists. While memorizing word lists should be a part of the lesson plan, adding in a variety of games can aid in student understanding and enjoyment of the task.\nEvaluate Root Words\nIncrease student comprehension by evaluating root words in their context. List compound words with a prefix or suffix and ask students to identify the root word. This activity provides just enough context to allow them to take a guess, especially if they already know the definition of the compound word. Provide a list of compound words and have the students race to find as many root words as possible. Be prepared to provide hints for the first few rounds, until they get used to how a root word should look.\nProvide students with a special version of the classic matching game. One set of cards should have root words, while the other should contain the definition. Play with the same rules as the childhood game Memory. Each students turns over two cards, hoping to find a match between a root word and a definition. If they do not get a match, they turn the cards back over and the next student takes a turn. If they do make a match, they get to go again. This exercise will help them connect the two together and will assist them in memorizing those connections.\nCreate crossword puzzles and word searches that provide the root words, their origins and their definitions. There are several programs available online that can create them based on teacher-provided word lists, or you can take the time and make your own. In order to complete crossword puzzles or word searches, students have to recognize roots and origins and know the root definition in order to correctly interpret the clues. Also, once the students become familiar with root words within family groups, they can create new puzzles for themselves or exchange them with their classmates.\nEmploy the student's love for technology and video games to teach them the relationships between base words, root word origins, definitions and root word families. There are several educational software programs available online that are entertaining and also allow the students to track their own progress. For example, in Jelly Fish, students are given a root word and they must choose the correct prefix, base and suffix to fill the page with jellyfish. Rooting Out Words and Digger and The Gang: In The Maze, are two other similar games for created for early readers.\nMake Up Words\nBuild nonsense words once the students have compiled a fairly large list of known roots. Have them combine various roots and assign their words definitions based on the base words they chose. For example, \u2018biocredography\u201dis defined as a believable book about someone\u2019s life. This reverse engineering will solidify their understanding of how roots, prefixes and suffixes work together to build meaning. In a slight twist, have students exchange their words, sans the definition, and guess the meanings of others' words based on the meaning of the root.\nMichael Green graduated from one of the top journalism schools in the country, the University of Missouri, where he also received his master's degree in education. Green has taught creative writing, journalism and health and has been published in \"Body Balance,\" \"Alive\" and \"PUSH Monthly.\"", "id": "<urn:uuid:ab486f75-196c-42ff-bd69-2e534d9d0346>", "dump": "CC-MAIN-2022-21", "url": "https://www.theclassroom.com/fun-games-teach-greek-latin-roots-12149112.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00165.warc.gz", "language": "en", "language_score": 0.9563496708869934, "token_count": 700, "score": 4.375, "int_score": 4}
{"text": "Ask them to make an A-Z list of appealing words from the story, one word for each letter of the alphabet. Write about what they do and say. This activity requires five sheets of paper to make the book. Write a poem that is an ode to a fruit.\nMake a list of these on the board for the children to refer to later. Such limited constraints will sometimes yield fresh and surprising concepts or descriptions. Write about someone you miss. Write about a time when you got stuck in between two parties fighting with each other.\nAutumn Acrostic Poem - Write a poem about this season using the letters in the word autumn. Write about someone you admire and you thought to have had a beautiful mind. This exercise may be used in pairs or small groups and is designed to test how well each writer knows his or her characters.\nAsk them to make an A-Z list of appealing words from the story, one word for each letter of the alphabet. Do you want to go there. Can the children think of a story which describes how the elephant got its trunk.\nWho can your child thank today. Since most people scan Web pages, include your best thoughts in your first paragraph. Did you write a poem, short story, or journal entry every day for a whole year. Imagine ordinary objects have come to life.\nA single poem can provide a rich source of creative writing ideas for fiction writers who can use specifics in the poem as a starting point for a narrative. Write about your favorite place in your neighborhood to visit and hang out at.\nLost in the Crowd: This can be true or the children can make up events e. Some guided questions to write on the board are: Write something inspired a favorite food or recipe. Write a poem or short story about someone who has lost or is about to lose their home. Sunflower Acrostic Poem - Write a cheerful, acrostic poem about sunflowers.\nAn individual in the group names a character from a book or short story and explains in detail what made this character memorable.\nStationery and Writing Paper Friendly Spider Paper - This file includes three styles of writing paper adorned with cute spiders. Facebook, Pinterest, Google, Twitter, etc.\nI want to share my mission for my blog with you. Write a tacky love poem that is so cheesy, it belongs on top of a pizza. Whether you write short stories, poems, or like to keep a journal \u2014 these will stretch your imagination and give you some ideas for topics to write about!.\nPete's PowerPoint Station is your destination for free PowerPoint presentations for kids and teachers about Creative Writing, and so much more. Doing activities with your children allows you to promote their reading and writing skills while having fun at the same time. These activities for pre-readers, beginning readers, and older readers includes what you need and what to do for each one.\nA tailored, online Short Story Writing Course to develop your general writing skills and explore the short story genre. For new and experienced writers. Find details about every creative writing competition\u2014including poetry contests, short story competitions, essay contests, awards for novels, grants for translators, and more\u2014that we\u2019ve published in the Grants & Awards section of Poets & Writers Magazine during the past year.\nWe carefully review the practices and policies of each contest before including it in the Writing Contests.\nI've been working hard to give kids and teachers activities to use to help with creative writing. If you've been to one of my workshops, you know creativity is fantastic. A number of ideas which can be used as a stimulus for creative writing lessons.Creative writing short story activities", "id": "<urn:uuid:7bbe0536-1678-4ed6-a949-567632b6baa5>", "dump": "CC-MAIN-2022-21", "url": "https://nasytarabyti.janettravellmd.com/creative-writing-short-story-activities-20546kj.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00165.warc.gz", "language": "en", "language_score": 0.9555763006210327, "token_count": 752, "score": 3.546875, "int_score": 4}
{"text": "Imagine introducing a language point in class, or getting learners to read a dialogue in pairs or even a part of a lesson where you are working on word stress with your class\u2026 these are all familiar scenarios that can happen face to face or live online. And, in each one, you and/or learners are, in a sense, performers, using storytelling, role-play and voice exercises, with the classroom acting as your rehearsal space.\nA sponsored advertorial by Helbling Languages.\nImagine the following situations in an English language class:\n- The teacher is introducing a new language point. She stands in front of the class and tells a funny story with examples of the language, which she supports with visuals. The learners are all sitting and listening attentively. They are even laughing at times.\n- Two learners are reading a dialogue together in pairs. They do this a couple of times, then the teacher calls on them to present the conversation to the class, possibly without referring to the printed version. The pair role-play the scene, and people in the class are impressed. Some even applaud.\n- The teacher is working on word stress with the learners. He is calling out words, and learners are repeating them in unison. The teacher calls on individual learners to repeat the words as well. When they get them right, the teacher praises them.\nNone of these situations is particularly uncommon. They are all quite standard examples of what happens in the face-to-face classroom, and even online in the virtual live classroom. In each case, the teacher and/or learners are, in a sense, performers, using storytelling, role-play and voice exercises.\nIn many ways, a classroom is a rehearsal studio, a creative space where learners prepare for producing language outside the classroom in the \u2018real world\u2019. The process is similar to how actors and musicians rehearse to improve their craft and performance.\nWe often talk about how much teaching involves acting. The teacher also has to take on the role of director; preparing classes, organizing the students, deciding what happens when and how. We also ask our learners to be actors as they practice the language they need.\nThe classroom is like a rehearsal studio in other ways too. The main focus is on what is happening between the people in the room. In most cases, the teacher stands at the front of the class on what may literally be a stage or raised space. Some classes have chairs arranged in a circle or u-shape, allowing students more opportunities to interact \u2013 a theatre-in-the-round.\nBoth of us believe a studio is a creative place where both study and play are used to help participants develop their skills. This was the starting point for our latest English Language Teaching (ELT) project, a six-level English course for young adult learners called Studio.\nSo, how do we encourage both study and play in Studio? We\u2019ve always been great fans of pairwork, so we\u2019ve incorporated pairwork activities into every unit of the course. Some of the activities can be completed using an app that allows students to use their phones or other digital devices to communicate with each other in a fun and innovative way.\nWe also wanted the course to use audio and video in a fresh way to appeal to today\u2019s learners and support their learning. Apart from using a wide range of audio genres, each unit includes a \u2018Life Story\u2019 in which people talk about events from their lives. These are presented alternately using video or audio. Watching and listening to these stories helps bring them to life, making them more meaningful and easier to understand.\nWe use video in a unique way in our functional language lessons too. Apart from being able to watch everyday scenes and see how useful phrases are said in context, students can literally put themselves in the picture by creating their own scenes, using the same \u2018videoscape\u2019 backgrounds as the actors in the videos.\nThere is so much variety in today\u2019s digital world and we\u2019ve reflected that in the course by linking each lesson to a different theme or channel. There are 12 Studio channels. They include Arts & Entertainment, Business, History, People, Sports and Travel. Linking the material to a different channel in each lesson heightens students\u2019 interest and motivation.\nFinally, we\u2019ve given vocabulary practice a new twist. Students can download and listen to words from the vocabulary wordlists in the Workbook. These \u2018Vocabulary Beats\u2019 take individual words and build them into phrases. They are set to music, allowing students to listen and repeat in time to the music as they walk, jog, travel to work or relax.\nApart from our work as coursebook authors, over the years we have also been involved in many other related areas \u2013 writing and producing ELT video material, creating educational websites and apps for teachers and students, writing and editing magazines, as well as years of classroom teaching and training. In Studio, we wanted to find a way to bring all those different strands together to create a new course that both teachers and students will find rewarding, never losing sight of our initial concept of the classroom as a rehearsal space.\nThe content for this page was paid for and provided by Helbling Languages.", "id": "<urn:uuid:bb7d7ba3-3c51-4a73-aab5-c74aa34db9fd>", "dump": "CC-MAIN-2022-21", "url": "https://www.modernenglishteacher.com/the-classroom-as-rehearsal-space", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662588661.65/warc/CC-MAIN-20220525151311-20220525181311-00565.warc.gz", "language": "en", "language_score": 0.9583971500396729, "token_count": 1078, "score": 3.515625, "int_score": 4}
{"text": "ACTIVITY 5: BEYOND STORYBOARDS WITH OUR INVENTION\nDigital Storytelling with Scratch\nLet\u2019s create a digital story with your invention statement, drawings, and model. Do you use Scratch in school? Perhaps you already have a Scratch account. Scratch is a very popular, free online environment for coding. It doesn\u2019t require you to download any software from the Internet. You can learn a lot about coding with the easy-to-use coding activities. Here are some tips on how to get started just in case you aren\u2019t familiar with Scratch:\nGetting Started with Scratch (tips):\n- Go to the Scratch website: https://scratch.mit.edu/\n- For learners who are new to Scratch, we recommend that you click on the \u201cExplore\u201d tab on the top. You can explore projects completed by other coders.\n- Click on the \u201cIdeas\u201d tab and learn to use Scratch through the tutorials.\n- We also recommend that learners create their own Scratch accounts so that their work (both unfinished and completed) can be saved and published.\n- Click on the \u201cCreate\u201d tab when you are comfortable to create on your own. Don\u2019t worry. You can always go back to the \u201cIdeas\u201d tab and watch more tutorials.\n- There are keywords that may help you understand the Scratch coding environment and its tutorials. Remember, this is like learning a language. Here is the brief cheat-sheet:\n- Blocks Palette: Just like an artist\u2019s palette of colors to paint with, the blocks palette has choices to create code with. The blocks are color-coded for the different output types of the \u201csprite\u201d or actor (see below).\n- Scripts Area or Workplace: This is where users drag and drop the blocks to create a sequence of actions.\n- Stage: This is a 480- by 360-pixel area where the coded actions take place. You can change the stage background by adding and selecting backdrop images.\n- Sprite: This is an \u201cactor\u201d on the stage. Sprites, like actors, can have action scripts, make sounds, and wear costumes. The default sprite is the cat.\n- Costumes: These are different images that are used to animate the sprite. Costumes can be changed, but every sprite must have at least one costume.\nThis is what you will see when you click on the \u201cCreate\u201d tab. Don\u2019t be overwhelmed or intimidated. This stage environment will feel friendlier and more useful the more you go through the tutorials and practice.\nCreate Your Story in Scratch\nUse the Scratch Story Cards to help you tell the story of your invention in Scratch. This will be fun, but it may also be frustrating if you have never coded before. Take your time and practice. Also, don\u2019t worry. You will have to problem-solve when your code is not working correctly. You will learn by making mistakes, though. Coding is a useful tool\u2014as is storytelling\u2014for all inventors.\nThis activity will probably take you a day or maybe two. Like everything we do, coding gets easier with practice. Have your parent share the story of your invention on the Full STEAM Ahead forum.\nFinally, think about some things that were difficult for you while inventing and coding this week.\nName one example when you were stuck and how you solved the problem.\nWhat strategies did you develop for solving your problems when coding?\nCongratulations, Problem Solver!\nYou are a problem solver. All inventors are problem solvers. We hope you had fun inventing this week. Did you know that you can protect your useful and unique ideas by applying for and receiving a patent from the U.S. Patent and Trademark Office? This federal office has issued more than 10 million patents! Not all good ideas have to be patented. Many are, though, especially if the inventor intends to make a financial profit from their useful and unique idea. Trademarks can also be protected. Trademarks are recognizable by the small symbols \u2122 and \u00ae. Names of products are often trademarked to protect them from being used by other people. Check out the Trademark Activity Book and the Inventor\u2019s Notebook published by the U.S. Patent and Trademark Office. To learn more go to: https://www.uspto.gov/kids/\nExtend Your Learning\nDid you enjoy El Deafo? Check out the teaching and learning guide made available by Abrams Books.", "id": "<urn:uuid:c9d4615a-bbb2-4e57-a017-5d9ca37f5b84>", "dump": "CC-MAIN-2022-21", "url": "https://fullsteam.mit.edu/week-2-3-5-day-5-activity/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515501.4/warc/CC-MAIN-20220517031843-20220517061843-00765.warc.gz", "language": "en", "language_score": 0.9261940121650696, "token_count": 970, "score": 3.8125, "int_score": 4}
{"text": "How to Write Contrast\n- Show, don\u2019t tell. Instead of saying: \u201cTim was a kind man, while Martha was mean,\u201d show the contrast! Otherwise, the contrast is too obvious for your reader. Describe a scene that demonstrates Tim\u2019s kindness and Martha\u2019s meanness. Use subtle details to bring your contrast to life.\n- Don\u2019t be overly simplistic. This is especially important in essays. While a contrast can be useful in an essay, you don\u2019t want to reduce everything to some simplistic image: for example, in a history essay it\u2019s never a good idea to draw a contrast between \u201cgood guys\u201d and \u201cbad guys,\u201d because the real world just isn\u2019t that simple.\n- Consider making a table. In this article, several of the examples have tables that clearly lay out the contrasts between characters. You can consider doing this as part of your writing process as well. Say you want to describe a contrast between two settings, a farmhouse in Norway and a bustling city in Mexico. Draw up a table and put down all the details of each setting. This will help you see the contrasts more clearly for yourself, and then you can carefully pick and choose details to insert into your story.\nWhen to Use Contrast\nContrast appears everywhere in writing. But it serves different purposes in creative writing vs. in formal essays. In creative writing, your characters should have some contrast with each other so that they stand out. For example, the more your hero contrasts with the villain, the more the heroic and evil traits of each character will jump off the page. Similarly, you can create contrast in settings (e.g. crowded city vs. open country), moods, etc.\nIn a formal essay, \u201ccompare and contrast\u201d is often a good starting place. You can begin to understand the American Civil War, for example, by contrasting the Confederacy with the Union. Similarly, you can understand chemistry by thinking about the contrasts between different elements \u2013 between hydrogen and gold, say.\nHowever, in formal essays the risk of oversimplifying is much greater. You have to be very careful not to draw hasty or inaccurate contrasts. For example, what\u2019s the first thing you think of in the contrast between Union and Confederacy? It\u2019s probably that the Confederacy was made up of slaves states while the Union had no slavery. But that\u2019s only partly true \u2013 a few slave states actually fought for the Union, so this contrast is overly simplistic. Always be careful when drawing historical contrasts!", "id": "<urn:uuid:83f8a6bf-41a0-4c7e-8659-20aaa241c8a8>", "dump": "CC-MAIN-2022-21", "url": "https://literaryterms.net/when-and-how-to-write-contrast/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00166.warc.gz", "language": "en", "language_score": 0.9488911032676697, "token_count": 538, "score": 3.890625, "int_score": 4}
{"text": "\u201cStorytelling and Story-listening, and Children's Intellectual, Emotional, and Social Development\u201d\nThis brief essay explores ways in which storytelling and story-listening can contribute to children's intellectual, emotional, and social development.\nFirst of all, it is good to keep in mind that telling stories to children can be just the first step in an interactive process. After any story is told,\n1) The storyteller can lead a discussion about the story.\n2) The listeners can draw/paint the story.\n3) The listeners can make costumes, masks, puppets, and props, relating to the story.\n4) The listeners can act-out the story as a skit.\n5) The listeners can be invited to add to, and in any other way, change the story.\n6) The listeners can be invited to tell additional stories that might come to mind -- including real-life experiences, traditional stories, and made-up stories.\nRegardless of whether a story's characters are humans, animals, divinities, aliens, etc -- all stories are about situations. Story listeners can project themselves into these characters, and imagine themselves in these situations. The listeners can consider if they might do things the same or differently from how the characters do things. This gives the listeners practice for living.\nMaking Sense Out of Experience\nStorying is the process of constructing and considering stories. Through storying, children can develop a sense of story. A story can be defined as a series of events. One way we humans make sense out of experience is to organise pieces of experience into stories. Adults may take it for granted that in stories -- as well as in everyday life -- one thing may lead to another, and occurrences may be connected. But children have to learn this -- and one way they can learn it is through storytelling and story-listening. Storying enables children to think in term of sequences, of progressions, of events. This helps them to recognise patterns of behaviours and actions, in story and in life. It gets them in the habit of organising data into sequences that progress from a beginning, to a middle, to an end -- and hold together cohesively as a unit. This helps children to put things together -- to make sense out of experience.\nConsidering Behaviour, and Morality and Ethics\nUsually a story's series of events, taken as a whole, can be thought of as having a point -- a message, moral, or meaning. It may be of limited value to children to announce the point of a story to them. It is usually more valuable to them to lead a discussion in which the children are asked such questions as, \"What did you get out of the story? What did you learn from the story? What did you like about the story?\" Answering and discussing such questions can help children in a number of ways. Doing so can help them to think about characters' motives. This can help children to develop understandings of characters' personalities and actions -- and can enable children to think about values, ethics, and principles of morality. The children are then in a position to be able to apply this kind of thinking to their decision-making about how they might behave in their own real lives. In these ways, children can become more aware of their own -- and others\u2019 -- thoughts and feelings, and they can become more articulate in talking about all of this.\nVocabulary and Grammar\nStorytelling and story-listening -- along with discussing and re-telling stories -- can help children to develop their understanding of grammar, and to increase their vocabulary.\nCreativity and Reasoning\nStorytelling and story-listening gives children practice in creating mental imagery (visualising images), and brings out the vivid imagination and the creativity of children. Also, children's reasoning abilities are activated when they describe and discuss these images (and any other aspect of a story).\nInvolvement and Engagement\nBy discussing, creating, and telling stories, children can explore and express their feelings. This personal emotional involvement and engagement with story -- and with their story-play partners and guides -- tends to make children optimistic, excited, and enthusiastic about their use of language.\nStorytelling and story-listening utilize the social element of language. By telling stories, and by participating in group conversations about stories and storytelling, children can develop their public-speaking abilities, and they can also learn how to take turns speaking, and how to listen to others.\nStorytelling and story-listening -- along with discussion -- enhances children's comprehension skills, at the literal, inferential, and critical levels. Inferential refers to becoming aware of patterns, recognising causal links, understanding that there are consequences to actions, and being able to predict what might come next. Critical refers to considering characters' behaviors, and other aspects of a story, from all angles.\nReading and Writing\nOral competency in language is a prerequisite for literacy. All of the above-mentioned skills that are developed in children through storytelling and story-listening -- including language vocabulary and grammar, content comprehension and retention, gaining a sense of story, pattern recognition, and critical listening and thinking skills -- also extend into helping them learn to read and write.\nAny feedback regarding this essay would be most appreciated! Please send such feedback to <eric at storytellinginstitute.org>.\nPlease credit the author if quoting from this essay.\nOn the way: versions of this essay relating to children with various learning challenges.", "id": "<urn:uuid:cedc6f89-667c-43d5-8b27-5651780c51b5>", "dump": "CC-MAIN-2022-21", "url": "https://storytellinginstitute.org/3.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577757.82/warc/CC-MAIN-20220524233716-20220525023716-00566.warc.gz", "language": "en", "language_score": 0.9423670768737793, "token_count": 1147, "score": 4.25, "int_score": 4}
{"text": "About 42,000 years ago, a reversal of the Earth\u2019s magnetic poles triggered massive climate shifts and caused environmental changes to sweep across the globe, according to new Australian-led research.\nScientists have long known that the planet\u2019s magnetic field periodically flips, with the north and south poles switching places. The last known reversal \u2013 which was temporary and technically known as the \u201cLaschamps excursion\u201d \u2013 occurred 41,000\u201342,000 years ago. If such an event happened today, it would wreak havoc on satellites and electrical grids, but its environmental impact is less well understood.\nThis new study, published in Science, suggests that the Laschamps excursion coincides with significant environmental and ecological changes, including growing ice sheets, mass extinctions, and even the rise of cave art.\nTo learn this, the researchers built a precisely dated atmospheric radiocarbon record using the tree rings of massive subfossil New Zealand kauri trees (Agathis australis) that were alive during this period. Not only did the trees record changes in radiocarbon levels during the pole reversal, but the growth rings also acted as a natural timestamp.\n\u201cFor the first time ever, we have been able to precisely date the timing and environmental impacts of the last magnetic pole switch,\u201d says Chris Turney, co-lead author of the study from the University of New South Wales (UNSW).\n\u201cUsing the ancient trees we could measure, and date, the spike in atmospheric radiocarbon levels caused by the collapse of Earth\u2019s magnetic field.\u201d\nThis allowed the researchers to build a detailed timeline of how Earth\u2019s atmosphere changed, showing there was a significant increase of radiocarbon during the Laschamps excursion. They compared this with other records of environmental changes from caves, ice cores and peat bogs, and then incorporated it into global climate models to look at the environmental impacts.\nMost previous research had focused on what happened during the reversal, when the magnetic field was reduced to 28% of its current strength. But this study reveals the most dramatic impacts occurred into the lead-up to the reversal, when the field dropped to 0\u20136% of its current strength.\n\u201cWe essentially had no magnetic field at all \u2013 our cosmic radiation shield was totally gone,\u201d Turney explains.\nThis left the planet vulnerable to solar flares and cosmic rays.\n\u201cUnfiltered radiation from space ripped apart air particles in Earth\u2019s atmosphere, separating electrons and emitting light \u2013 a process called ionisation,\u201d Turney explains. \u201cThe ionised air \u2018fried\u2019 the ozone layer, triggering a ripple of climate change across the globe.\u201d\nThe team posit that the magnetic reversal \u2013 and subsequent radiation exposure \u2013 may be linked to the growth of ice sheets and glaciers across North America at the time, as well as shifts in major wind belts and tropical storms.\nSeveral other major events also occurred around 42,000 years ago, including the disappearance of Australian megafauna and the extinction of the Neanderthals. Both could be linked to these widespread environmental changes, perhaps partially due to an inability to adapt.\nThe timing also coincides with the appearance of figurative cave art. The researchers suggest that increased UV radiation from a weak magnetic field may have driven humans to seek more shelter \u2013 and may even explain the use of red ochre as early sunscreen.\nThe lead-up to the Laschamps excursion, the authors write in their paper, \u201cappears to represent a major climatic, environmental, and archaeological boundary that has previously gone largely unrecognized\u201d.\nAccording to Agathe Lis\u00e9-Pronovost, a paleomagnetic geologist at the University of Melbourne who was not involved the study, this new research is fascinating because a hypothetical link between the magnetic field and climate is a long-standing question.\n\u201cMuch of the discussion in the literature has been speculating what processes may possibly link events that happened at about the same time,\u201d she explains. \u201cIt remains largely unclear if and how the magnetic field of our planet, which is generated in the outer core, may impact what is happening at the surface.\u201d\nThis study, she says, is the first of its kind to bring together \u201cnew quality data and an original modelling approach\u201d.\nIt may help provide a framework to study the potential environmental and evolutionary shifts during the last full magnetic reversal, 780,000 years ago \u2013 and could help us understand the implications of a future reversal.\nOver the past 170 years, the Earth\u2019s magnetic field has weakened by around 9%, leading scientists to speculate that a reversal might be imminent. Increased exposure to solar storms and other cosmic radiation could be devastating to our satellites and electrical infrastructure \u2013 and Turney warns it could be devastating to the climate, too.\n\u201cOur atmosphere is already filled with carbon at levels never seen by humanity before,\u201d he says. \u201cA magnetic pole reversal or extreme change in Sun activity would be unprecedented climate change accelerants.\u201d\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:c49e4568-e563-4b59-aaaf-9499d764dc84>", "dump": "CC-MAIN-2022-21", "url": "https://cosmosmagazine.com/earth/earth-sciences/magnetic-reversal-caused-massive-climate-shifts/?amp=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00564.warc.gz", "language": "en", "language_score": 0.9467669129371643, "token_count": 1203, "score": 4.125, "int_score": 4}
{"text": "About This Website, the Research, and the Team\nThis site is for those who are curious about the roots of written language as well as for those who are data driven.\nWriting is a product of man, and man is an animal. Animals have instincts and biases. Biases form patterns. Those patterns can be decoded.\nIf one perceives written language through the vantage point of evolutionary biology, similarities can be found in the characters of all scripts. The orienting factor is human survival.\nUsing Ancient Languages to Understand Our Own\nThe writings on this site compare Chinese Hanzi characters, Ancient Egyptian hieroglyphs, and Sumerian cuneiform\u2014the oldest scripts\u2014in order to find patterns that help us understand the alphabet's origins. Humans are nearly identical genetically, so we behave similarly. Those similarities play out in language. When we compare all ancient written languages together\u2014including the alphabet\u2014patterns emerge.\nAncient written languages reflect what was important to humans at the time the written scripts were created: sex and procreation. There are currently 7.6 billion of us on this earth. Evidently sex\u2014and denial that sex is important\u2014are key motivators to the human animal.\nWe know that writing started just after the domestication of animals (domestication of animals is roughly 20,000 year old, tokens which were used to account for those animals are roughly 10,000 years old, and actual writing is dated at 5,000 years old, though the Jiahu characters are dated at 8,600 years old and are recognizable by any Chinese reader today). Humans are 100,000-200,000 years old, so writing is a very new invention.\nDid tracking animals and following footprints lead to writing? Possibly. Writing is an abstraction\u2014we use it to represent reality. The first abstraction was recognizing that the footprints of the animal represented the animal. The second abstraction is the symbol created by a human that stands for that animal, that counts that animal, that accounts for that animal. Read more about animal signs here >\nIt would seem that in the domestication of animals, humans finally understood the necessity of the male in reproduction. Forty thousand (40,000) years ago megafauna disappeared around the world, and one prevalent theory is that humans killed them off because the humans didn\u2019t understand that they needed to keep some animals around in order to get more.\nWhen one considers that the Bible\u2019s Noah\u2019s Ark story is the world\u2019s first sex education\n\u2014two by two, male and female\u2014one discovers that re-examining and re-framing existing data with modern insight yields dramatically new perspectives. Noah\u2019s Ark is a retelling of a portion of the The Epic of Gilgamesh, which is at least 2,100 years older than the Bible.\nWe know that circa 4,500 years ago the Sumerians understood procreation, based upon this character for \u201cseed.\"\nDomesticating animals caused the male to suddenly understand his role as father: \u201cthat child came from me!\u201d That knowledge sparked the concept of ownership: My son. My woman. My field. My possessions.\nWriting is a form of claiming ownership: accounting is a way of taking stock of one\u2019s possessions.\nOne important possession was female and male humans, but the females are more valuable because they can make babies. Powerful men, like Genghis Khan, who has 16 million descendants living today, did not achieve that status as \u201csuper father\" by consorting with men. A harem and a farm share one characteristic: females. A dynasty is a \u201cgynasty.\u201d\nComparing the relationship of the shape of written characters to the definitions given in lexicons and dictionaries highlights a focus on females\u2014a commonality across many ancient written languages\u2014and suggests that female mammals are the root of written language. This focus is because female mammals have the trinity: milk, offspring, and fun for males. This triumvirate drove both writing and civilization.\nChao Xu (in Chinese, Xu Chao, \u8d85\u5f90), Soochow University Physics BS, is the designer and programmer of Jennifer and Chao's HanziFinder.com tool, which is a substructure search engine of Chinese characters, essentially the first of its kind: www.HanziFinder.com\nTogether Chao and Jennifer have given scientific talks in the US at Genentech, and in China at Wuxi App Tec, Pharmaron, and Roche China about character analysis and substructure searching, as well as the congruities between Chinese and English characters,\nMaggie Li (\u674e\u742a) is Jennifer's translator and simultaneous interpreter. Together they have published two novels in Chinese in China, one of which Jennifer taught as a textbook at Soochow University in Suzhou, China because it had perfectly matched pages\u2014English to Chinese\u2014thanks to Maggie, who has also won an amazing amount of English language contests and is a fantastic dancer. Together Maggie and Jennifer have given many bilingual book readings and speeches.\nMaggie Li wins a dictionary contest with one million original contestants.\nJennifer has researched ancient written languages for 11 years, is in her tenth year of Mandarin, has a bibliography here, and has compared cuneiform, hieroglyphs, Maya glyphs, and Chinese Hanzi characters\u2014all ancient written scripts\u2014in order to showcase the similarities that exist between them and the alphabet.\nJennifer Ball has an MFA in Creative Writing from San Diego State University and a BFA in Theater from University of California at Los Angeles. Jennifer is also the author of Catalyst (Faber, 1997), Higher Math, the Book Moose Minnon Never Wrote (Faber, 1991), and co-author of The Verbum Book of Digital Typography (1991). And more recently, \u6447\u6eda\u5973\u5b69\u7684\u9ad8\u6570\u4eba\u751f (Shanghai Literature and Art Publishing House, 2019) and \u50ac\u5316\u5242 (Soochow University Press, 2017).\nJennifer taught two terms of English 101 at SDSU in 1992, and four terms of college English (453 students) at Soochow University in Suzhou, China from 2013-18. Jennifer has her students play Musical Chairs as a lesson on mortality, then gives away bike helmets to whomever promises to wear them. Jennifer has given away 600 free bike helmets in China. Jennifer's students also make Mobi\u00fcs Strips, test their drinking water, go to dinner with Jennifer, throw pots, play charades, and so much more. Jennifer throws condoms and tampons at her students because English can be so boring and that really enlivens a class: Key info in a country with little sex education. Jennifer has taken some of her previous Chinese students to the US and to Spain. A former student, Xu Chao, is now Jennifer's business partner at HanziFinder LLC (HanziFinder.com). A former auditing student, Maggie Li, is now Jennifer's translator and interpreter. Together we have had my two novels published in China.\nJennifer also taught five years of computer graphics at Platt Technical College in San Diego.\nJennifer was the music editor for the SD Reader for almost eight years; she has played in rock bands for 35 years with her husband, Dr. Michael Varney, head of Research and Early Development at Genentech/Roche. They have played in the band Fingerpuppets for the last ten years.\nJennifer Ball's Chinese name is \u5305\u5f2b Bao Zhen (bao1 zhen3). In Chinese, last names come first. Bao/Ball. Zhen/Jennifer. The little known \u5f2b means \"impactful, powerful.\"\nTalks and Writing\nJennifer Ball has given talks to scientific companies, universities, libraries, and bookstores in China and in the U.S. (https://www.youtube.com/channel/UCbDMq-DmEGn0M_MDV7Qn1tg)\nShe has two published novels, Higher Math, the Book Moose Minnion Never Wrote, Faber, 1991; and Catalyst, Faber, 1997. Catalyst was taught at Stanford by the man who invented the birth control pill, Dr. Carl Djerassi, in a class called \"Science in Fiction, not Science-Fiction.\"\nHigher Math was republished in China as \u6447\u6eda\u5973\u5b69\u7684\u9ad8\u6570\u4eba\u751f (Shanghai Literature and Art Publishing House, 2019).\nCatalyst was republished in China in both Chinese and English as \u50ac\u5316\u5242 (Soochow University Press, 2017), and Jennifer taught her novel to 98 Soochow University students in Suzhou, China, Fall of 2017.\nJennifer also co-wrote a book on digital typography, The Verbum Book of Digital Typography, M & T Press, 1991.\nClick on any book to order online.", "id": "<urn:uuid:14d26bea-b7f0-4c17-87a1-4fda97c566ac>", "dump": "CC-MAIN-2022-21", "url": "https://originofalphabet.com/about/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00766.warc.gz", "language": "en", "language_score": 0.9489303231239319, "token_count": 1877, "score": 3.53125, "int_score": 4}
{"text": "Many descriptive adjectives begin with the letter V that you may use to bring your world to life. The letter V is fortunate because it appears at the beginning of several V adjectives.\nAs a result, we\u2019ve decided to only list adjectives that start with the letter V that are genuinely used. Other, more extensive lists exist, but they require wading through dozens of words that no one ever uses. As a result, we sincerely hope you find this list of descriptive words that begin with V to be the most useful.\nWe\u2019ve included the following:\nThe importance of Adjectives in Language Implementation:\nWhen we use adjectives in our writing, it becomes more visual and vibrant. Our readers will better understand what we want them to imagine after reading our works. Because it appeals to their senses, our readers can hear, see, touch, taste, and even smell what you\u2019re saying. Using adjectives also improves the enjoyment of reading and writing. It sets the tone for the remainder of our writing. It would help if you used them in descriptive papers and in everyday life. In addition, adjectives portray oneself, objects, and characters in a good or wrong perspective. It will pique our readers\u2019 or listeners\u2019 interest, resulting in an excellent, compelling read.\nAdjectives and other componentsof descriptive language are essential for kids to learn if they want to be able to communicate with other people. Adjectives are taught in class to help students improve their storytelling skills and language. When you are trying to describe or group something, adjectives are critical. When children do well in school, they are more likely to do well in the workforce when they are adults if they have a strong vocabulary, which is a good predictor of their future success.\nIt takes a long time for children to learn how to use adjectives effectively until they are at least four years old, which is longer than other open word types. Many researchers haven\u2019t paid attention to adjectives, despite their obvious importance and recent appearance. A child who has or is at risk of having language delays may have trouble with adjectives. Speech and language therapy hasn\u2019t usually paid attention to this part of the language in the past.\nTo learn more about how a child\u2019s upbringing affects their cognitive development, we need to look at how they process psycholinguistic information in their social world. This will allow us to combine research that was done in different fields. Teaching kids how to use adjectives can only be fully understood if an integrated approach is used. State-of-the-art eye-tracking methods are to be used to look at the descriptive language that children hear, develop a new way to measure how children process language when they hear a naturalistic speech from caregivers, and see how a randomized controlled family-based language intervention works.\nDescriptive adjectives are only occasionally indicative of poor writing. Tall trees and dense fog are descriptive terms, but depending on where you are, they can also be interpreted differently. For example, a tall tree in New England differs from a tall tree in British Columbia, New Zealand, or California. The most effective approach would be to use a metaphor or to describe your experience with the tree (did looking up at it give you a crick in your neck?). You could use objective facts (for example, 200 feet tall), but they\u2019re not nearly as evocative.", "id": "<urn:uuid:94335be3-e3a9-4df0-a20f-d32ba46fe566>", "dump": "CC-MAIN-2022-21", "url": "https://magazines2day.com/list-of-descriptive-words-that-start-with-v/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604794.68/warc/CC-MAIN-20220526100301-20220526130301-00766.warc.gz", "language": "en", "language_score": 0.9354347586631775, "token_count": 880, "score": 3.578125, "int_score": 4}
{"text": "New evidence, published in the Journal of the British Archaeological Association, has confirmed that the Bayeux Tapestry was designed specifically to fit a specific area of Bayeux\u2019s cathedral.\nNew research suggests the Tapestry was designed to be hung along the north, south and west sides of the nave of Bayeux Cathedral, between the west wall and choir screen. It has long been known that the Tapestry was hung in the cathedral in the fifteenth century, but new analysis of the linen strips on which it is embroidered suggests that it was intended to hang there from the moment it was made in the eleventh century.\nThis discovery proves that the designer must have visited Bayeux and known the nave\u2019s exact dimensions, adjusting the design accordingly.\nThe findings shed light on how the artwork, depicting one of British history\u2019s most famous stories, should be displayed ahead of its loan to the UK.\nFor centuries, there has been debate around where the Bayeux Tapestry was manufactured, who commissioned the embroidery and whether it was originally displayed in England or France. Questions have also persisted over its exact dimensions, and the specific venue it was made for.\n\u201cIt has always been the case that the simplest explanation is that it was designed for Bayeux Cathedral,\u201d says author Christopher Norton from the University of York. \u201cThis general proposition can now be corroborated by the specific evidence that the physical and narrative structure of the tapestry are perfectly adapted to fit the (liturgical) nave of the 11th-century cathedral.\u201d\nProfessor Norton\u2019s research is based on mathematical calculations, analysis of documentary evidence including of the Tapestry\u2019s linen fabric, and of surviving architectural details. Published data on the Tapestry\u2019s measurements was assessed and compared along with information on medieval cloth sizes, allowing for factors such as shrinkage and missing sections.\nBy studying the cathedral\u2019s surviving architectural features, Professor Norton also established how the nave would have looked in the 11th century. This enabled him to establish the nave\u2019s original proportions by pinpointing the choir screen\u2019s location \u2013 the Tapestry would have fitted five bays of the nave, with the artwork\u2019s \u2018narrative\u2019 deliberately structured in relation to doorways and architectural supports.\nHe recommends that the Tapestry, currently kept in a long U-shaped tunnel, should be displayed along three sides of a rectangular space (31.15 m long x 9.25 m wide). This would evoke the original architectural setting, he adds, and enable viewers to appreciate the artwork as intended.\nThe findings arrive with the news that the embroidery is set to be lent to Britain (possibly in 2022) for the first time in recorded history, following a promise made by President Macron last year. The upcoming exhibition of the Tapestry, documenting the 1066 Norman conquest of England, has huge significance in UK-European relations \u2014 especially as it will go on public exhibition post-Brexit.", "id": "<urn:uuid:9def3c53-7e62-4ad9-a934-aab8e1cd6e2e>", "dump": "CC-MAIN-2022-21", "url": "https://www.archaeology.wiki/blog/2019/10/24/the-original-location-of-the-bayeux-tapestry-finally-solved/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539131.21/warc/CC-MAIN-20220521143241-20220521173241-00367.warc.gz", "language": "en", "language_score": 0.970245897769928, "token_count": 639, "score": 3.578125, "int_score": 4}
{"text": "Do you love to read? Do you sit in school anxiously waiting for the opportunity to dive into a good book as soon as the bell rings? If this does not describe you, then you might benefit from gaining some great reading strategies. Readers who read well often like to read too. And since reading is so important for school, college testing, and many careers, it\u2019s a good idea to develop those skills now. What does a good reader do?\n- Location: A good reader picks quiet, well-lit, and semi-comfortable places to read. A struggling reader should reduce distractions as well as the opportunity to fall asleep. A desk or table is a good spot especially for academic reading tasks.\n- Predict: Figure out the text features such as headers, maps, charts, paragraph length, etc\u2026 to discover what you are about to read. Then for a fiction book predict the plot or character development. For a nonfiction book, such as a history text, guess what the author\u2019s main points and purpose for writing will be. Continue to predict what will come next as you read.\n- Read Actively: As you read, mark the text, take notes, or make charts or grids to make better sense of what you are reading. Putting the ideas in a new form or calling attention to key points will help you better remember what you read. Just use a method consistently to make it easier to follow.\n- Summarize: Stop frequently as you read and review what you just covered. This helps to solidify your understanding of the text. You can choose to take notes as you summarize if you often lose track of what the text is about. If you have discussion questions along with the reading, preview them before you read and answer them as you go along.\n- Ask questions: Great readers ask questions about the text as they read. Ask questions to clarify what you are reading and look for deeper meaning. You can ask, \u201cWhat is the author trying to say about people, culture, life, peace, conflict, etc\u2026?\u201d\n- Discuss the reading: You will probably understand the reading better after you talk about it with your class, teacher, a parent, or a friend. If the person you talk with has not read it, you can summarize what it\u2019s about. Asking open ended questions like \u201cDoes this apply to life today?\u201d can stimulate good critical thinking.\n- Read: Of course one of the best ways to get better at the skill of reading is to spend time reading. In your free time, pick up a book you\u2019ll really enjoy from a romance, a mystery, to a graphic novel. Find something that you love.\nWhen you consistently practice your reading skills, you get better at each of the above skills. Watch and listen to good readers. Ask for help in improving your reading skills so that it becomes an asset to you. For college admission advice and help, ask Empowerly.", "id": "<urn:uuid:ad4eee0a-8d18-4743-97f6-bbcd74b80247>", "dump": "CC-MAIN-2022-21", "url": "https://empowerly.com/blog/how-to-strengthen-your-reading-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662619221.81/warc/CC-MAIN-20220526162749-20220526192749-00164.warc.gz", "language": "en", "language_score": 0.960625410079956, "token_count": 614, "score": 3.734375, "int_score": 4}
{"text": "As the name implies, creative writing is a form of writing that involves tapping into your creative and imaginative mind. It is the expression of your thoughts, imaginations, and creativity through text. Creative writing is a broad field as it incorporates different forms. While some creative writers do it as a hobby, others intend to be published, authors.\nWhatever your drive or motivation is, one's skills in creative writing must be honed to ensure success in the art. Creative writing is like a journey involving several steps, but it's important to get acquainted with the concept of creative writing before you know the things involved.\nThe Concept of Creative Writing\nCreative writing embraces various styles and genres behind the scope of academic writing and technical writing. Character development, plot, structure are key elements in creative writing combined with the writer's imagination. The various forms of creative writing include:\n1: Fiction Writing\nFiction writing encompasses numerous genres and subgenres. Fiction writing involves the creation of a story built on non-existent characters. Flash fiction, short stories, and novels are all forms of fiction writing. It covers a vast range of themes, details, and styles. It relies on the writer's imagination to create a world that feels real.\n2: Nonfiction Writing\nContrary to popular belief, fiction writing isn't the only aspect of creative writing. There are others as well, one of which includes creative nonfiction writing. In this form of creative writing, the writer adopts specific techniques and writing styles to communicate a non-fictional narrative. Examples of creative nonfiction writing include personal essays and memoirs. In addition, in this form of writing, creativity enhances the appeal of a real story or true-life event.\nPlaywriting is the art of writing plays. These plays contain a story or content that live characters on stage will perform. Plays have varying structures; a play can contain a single act or multiple acts.\nScreenwriting is the placement of a narrative or story within a dialogue text and blocks of action. It involves scene-setting and adherence to a particular writing structure. Initially, screenwriting was explicitly for movies or television series. However, thanks to streaming technology, screenwriting is now adaptable to various formats.\n5: Poetry Writing\nPoetry is the infusion of text with rhythm bordering on musicality. A poem can be performed on stage or written. It can also be short or long, including several verses. In addition, there are rhyme poems and free verse poems.\nSteps to Creative Writing\nIf you want to become a successful creative writer and keep your imaginative juice flowing, follow these steps:\n1: Read Extensively\nTo be a good writer, you have first to become a good reader. Reading builds your wealth of knowledge, which is a fundamental writing tool. It's impossible to write well if you don't read well because there will be no reference or inspiration to draw from. When you develop an appetite for reading books, novels, articles, and feature stories, you develop your vocabulary and learn effective writing structures that you can adopt when writing your works.\nAs you develop an appetite for reading, ensure you read best-selling books and works from the best writers in the industry. Also, read books or novels in different genres because this is key to discovering your niche or interest.\n2: Write Consistently\nThis is one of the best creative writing hacks. The more you write, the better you become at writing. There are times your mind will race with ideas and imaginations. When this happens, please don't ignore it. Instead, get a pen or your device and start writing. It doesn't matter if such ideas or imaginations make sense or not; just write. Good or great ideas can be born out of seemingly bad ones. They can also inspire a story you've been planning to write. You can also get the advantage of therapeutic writing exercises.\nThere are various writing tools, such as Google Docs, Pure Writer, Draftable, etc., that you can use to create your works.\n3: Write from the point of view\nA story or essay without a point of view is content without depth or drive. It will also bore your audience because they can't relate to the point or message of your writing. Having a point of view makes your content more relatable to your audience and adds your unique tone to the story. There's the first person point of view, second-person point of view, and third-person point of view. The third-person point of view also has a subcategory known as the omniscient point of view.\n4: Employ Literary Devices\nLiterary devices are one of the key elements that distinguish creative writing from other forms of writing. It adds depth and aesthetics to your writing. Examples of literary devices include metaphors, imagery, alliteration, assonance, allegory, personification, simile, etc.\n5: Write for an Audience\nKnow who makes up your audience or readership before you begin writing. There are different audiences for different forms of creative writing. Having a niche helps you tailor your content, its scope, and its tone to your target audience. If you want to grow in creative writing and even become an authority quickly, find a niche and become a master at it.\n6: Don't Stop at the First Draft\nA good writer understands that the first draft is a raw copy of his emotions, imagination, and tone. No matter how good you may be as a writer, you'll rarely get everything right in your first draft. So revisit, review, rework, and rewrite your first draft if necessary. There are no limits on the number of times you can work on your initial draft. What should matter is that the result or final draft is the best version of that content.\n7: Participate in a Writing Workshop\nBudding writers should join a writers' community because it's one of the fastest and most effective ways to develop one's creative writing skills. Here, your writing is exposed to constructive criticism, and this will help you improve on crucial elements such as character development, choice of words, and storyline. You also get to be mentored by writing gurus.\nIf you intend to monetize creative writing, focus on building a portfolio that can be included in your resume and apply for creative writing jobs. Having a portfolio can help you pass the screening process carried out by an online resume parser.\nLori Wade is a journalist and content writer from Louisville. Lori creates news and informative articles about copywriting, freelance, and creative writing. You can find her on LinkedIn.", "id": "<urn:uuid:6f30fc84-0443-4966-b542-c2192a3579b1>", "dump": "CC-MAIN-2022-21", "url": "https://www.createwritenow.com/journal-writing-blog/7-steps-to-creative-writing-in-detail", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016373.86/warc/CC-MAIN-20220528093113-20220528123113-00764.warc.gz", "language": "en", "language_score": 0.9539017081260681, "token_count": 1371, "score": 3.546875, "int_score": 4}
{"text": "- garden space and tools\n- time for creativity and exploration\nIt is never too early to get kids hooked on gardening. Garden expert Cheryl Dorschner shares some of her favorite tips for engaging young gardeners along with her observations about how kids approach the garden differently as they age. Here are some of her top tips for supporting fun kids\u2019 gardening experiences:\n- Recognize that kids' gardening priorities are different, well, practically opposite those of adults.\n- Let kids choose what to plant. Offer guidance and make sure there are some sure-success plants among their picks. But if they want beets, roses, and petunias, why not? Relax your standards.\n- Crooked rows or weeds as pets are fine.Transplanting is fun, even if your child plays with plants the way they move action figures or Barbies about. But remind them that plants' roots need some time to grow in one place.\n- Leave room for good old-fashioned digging. Holes are a highly popular landscape feature. Look for worms. Add water, and frogs appear.\n- Model the message that some insects are beneficial, and even destructive bugs are highly interesting.\n- Do behind-the-scenes maintenance of kids' gardens, keeping them edged and weeded. Don't expect kids to do all the watering and pest patrol.\nGardening through the Years\nPreschoolers, Ages 3-4\nAs long as I don't expect us to accomplish something in the adult sense of the phrase, gardening is great fun. We move mulch. We catch toads. We pull a few weeds. We blow the fuzz off dandelions. If a child wants to plant last night's dessert \u2014 watermelon seeds, we do just that. This age of unbridled exploration must be accompanied exploration. Preschoolers are never safe unattended. And while you're together, you have a chance to explain the life cycle of a seed or the history of evolution in an ancient fern. Let kids take the lead while you supply the background information. It's in the storytelling that kids learn about gardening and the world. Don't know all the answers? No one does. Library trips are part of the journey.\nKindergartners, Age 5\n\"All the world's a stage\" for youngsters who have an emerging sense of how to play with others. Gardens are great places to act out dramas. Create forts, tree houses, secret hide-a-ways, and kids' own gardens where children can interact and learn. Continue to let kids take the lead. If your child sees a hollow stump as a potential troll house, drop your pruning shears and join him in inspecting it. Help him gather the supplies he needs to make the project happen. Assist only where needed \u2014 say in lashing sticks together to make a ladder, or by offering leftover nasturtium seeds or marigold seedlings to embellish his ideas. At last, kids this age have the attention span and dexterity to be left within sight to create their own worlds. And don't fuss about how those little Edens turn out. The world was a messy place during its creation.\nEarly Elementary School, Ages 6-7\nYour youngster's improving reading and math skills add new depth to gardening fun. Now kids can make plant markers, read seed packets, pore over catalogs, and pay for nursery plants. And yet they're still wide-eyed and open to nature's mysteries. Soil, holes, and water hold endless fascination, as do bugs. But for children this age, the \"doing\" is still more important than the end result. For them, a garden is a willy-nilly collection of plants of all shapes, sizes and colors. A bouquet is whatever fits in the diameter of a palm and curled fingers and whose stems reach into a jar full of water.\nMiddle Elementary School Ages 8-9\nThe emphasis shifts from doing to doing well. Your children can design a garden on graph paper, thinking about flower heights and colors or how much space a tomato plant will need. They can translate that drawing to a real garden. Their ability to use tools increases; they can build arbors and fences. It's never too early, but now is an especially wonderful time to enter your vegetables and bouquets in contests at the local fair or town events or to join a group such as a community garden, CSA or 4-H. These activities combine gardening with friendships \u2014 both so important now.\nLate Elementary School/Tweens, Ages 10-11\nNow gardening celebrates its ability to cross several disciplines with ease to speak to your children's many interests. Garden is science, math, art, and still fun. Your youngsters can organize a class project to create a small garden at the local nursing home \u2014 and gain the support of businesses and parent volunteers. They can build garden structures and community. They can start seeds and businesses. We know a couple of boys whose award-winning sunflowers at the fair launched their own sunflower seed business. And the opportunities for fun in the garden are endless. With a little imagination, this year's scarecrows can look like the Spice Girls, or Arthur, or the scariest dementor Harry Potter ever met.\nEarly Teen Years, Ages 12-13\nAt this age, if youngsters don't take a hiatus from gardening in favor of friends and anything currently \"way cool,\" they can put their green thumbs to work in the family landscape and in community projects. While focusing on sports, fashion, or school plays fills their days to overflowing, how can gardening compete? In a word, it has to be \"awesome.\" And it is. Many students now do independent studies, such as \"eighth-grade challenges,\" to demonstrate their mastery of a subject. These are the years when some gardening project guided by a biology teacher, group leader, neighbor, or parent just may set some youngsters on career paths. It's enough to hope your child will grow up to garden, but who knows, you may have a budding botanist or future horticulturist in the family.", "id": "<urn:uuid:63245eb8-1816-46e2-af9d-7ec1a8248fe9>", "dump": "CC-MAIN-2022-21", "url": "https://kidsgardening.org/resources/garden-activities-garden-age/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662647086.91/warc/CC-MAIN-20220527112418-20220527142418-00365.warc.gz", "language": "en", "language_score": 0.9495857954025269, "token_count": 1271, "score": 3.515625, "int_score": 4}
{"text": "Preschoolers (3 and 4 year olds)\nPreschoolers love to learn and are constantly absorbing information from their environment. Our preschool program focus on developmentally appropriate theme based learning in a nurturing atmosphere. There are many opportunities for hands on exploration that help introduce children to concepts such as math, science and reading. Children will be introduced to a more structured environment while also having the opportunity to explore at their own pace. They will continue to strengthen social, cognitive, language, self-help, fine motor and gross motor skills. Three and Four year old children will work on refining previously acquired skills and developing new skills needed for Kindergarten.\nOur Preschool program follows a High Scope Curriculum Philosophy. The components of our day are outlined below:\nOur Day at Island Kids:\nGreeting Time: Teachers and children talk about the day and any changes to the daily routine. During this time teachers may tell children about new materials or any special visitors or events. Classroom discussions on a variety of topics occur during greeting time.\nSmall Group Time: Teachers work with a small group of children on an activity they have chosen and planned. Activities are planned to introduce concepts and skills as well expand on concepts and skills previously learned.\nLarge Group Time: Adults and children in the classroom participate in an activity together. It is a time to build a sense of community in the classroom. Activities may include music & movement, storytelling, games or other shared physical activities.\nPlanning Time (3\u2019s & 4\u2019s): Children meet daily with their planning groups prior to work time. Depending on age and ability to communicate they express their plan in actions, gestures or words. Planning is different then simply making a choice because it involves purpose and intentionality. Teachers will use a variety of methods to help children make their plan.\nChoice Time (2\u2019s): Children are free to make choices about what where they play, what materials they use and who they play with. As they approach age 3, teachers will introduce a more formal planning time.\nWork/Center Time: Children carry out their plans and put their ideas into actions in the classroom interest areas (Blocks, House, Quiet, Sensory, Art, Toys). It provides many opportunities for social interaction and problem solving. Children are free to change their plans or make new plans as often as they like during work time. Teachers closely observe children and are there to support their learning during work time. Teachers use information gathered during observations to help them assess children\u2019s development as well as to plan future classroom activities.\nRecall Time (3\u2019s & 4\u2019s): Groups meet again after work time to briefly recall what they did during work time. This encourages children to reflect on their actions and what they learned that day.\nOutside Time: Each day (weather permitting) children will spend time outdoors exploring their environment as they interact with their peers and develop their gross motor skills.", "id": "<urn:uuid:0d2c30e0-b67e-43e7-8bd7-535ba3159aeb>", "dump": "CC-MAIN-2022-21", "url": "https://www.islandkids.com/child-care-programs/preschoolers", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662519037.11/warc/CC-MAIN-20220517162558-20220517192558-00567.warc.gz", "language": "en", "language_score": 0.9684297442436218, "token_count": 602, "score": 3.546875, "int_score": 4}
{"text": "Reading is a skill that\u2019s critical in setting a strong foundation for success; it improves vocabulary, enhances communication skills, elevates intellectual level and develops a longer attention span. Reading skills for kids increase their ability to understand all subjects better and perform well at school.\nHowever, reading skills cannot be acquired overnight; they must be encouraged in children at a young age to help shape their personalities early on.\nAs a parent, there are a number of things you can do to improve reading skills in your child, such as:\n1. Establish a Reading Routine \u2013\nHere\u2019s why reading every day is recommended:\n- It will help your child\u2019s brain establish a connection between the written and spoken words sooner.\n- When they read every day, children come across repeated words and grammatical structures, which helps their brain register the new information and remember it for a long time.\n- The daily practice develops a reading habit as well as a love for books in your child.\n- If your child can\u2019t read yet, you can read to them, and gradually, ask them to read to you as they learn.\nEncourage Reading on the Go \u2013\nHave your child read roadside signs, food menu, movie listings, and other practical information necessary in everyday life. Reading new information that helps them or anybody else will give your child a sense of accomplishment. Soon enough, they will start reading everything around them without even being asked to. This is a great way to ensure that reading for kids is not a task but something they enjoy doing.\nBuy or Borrow Books of Their Choosing \u2013\nMany times, kids find it difficult to acquire reading skills simply because they are not interested in the kind of books they read. To fix this, expose your child to different genres or storybooks so that they can pick and choose. Also, kids tend to read a book with curiosity if they choose it themselves. Find out what topics intrigue your child and then guide them in selecting books they would love.\nEnter Them into Reading Contests \u2013\nNothing works better than the idea of winning if you want to get your child to do something that they are not particularly fond of. Many community centres, libraries and summer camps frequently hold reading competitions for kids. See if it is feasible and enrol your child. Winning prizes will serve as a great incentive for your child to read and improve their reading skills.\nRectify Reading Problems \u2013\nWith a whole class to teach, teachers at school find it difficult to give each kid the attention they should get. And this may cause some of your child\u2019s reading problems to go unnoticed. Many children also end up being demotivated for the same reason. So give your child your complete attention and encourage them to read aloud to help rectify any mistakes they are making while reading. Also, praise them every time they show improvement. It will keep your child highly motivated to read more often and improve their reading.\nReading can be overwhelming for kids, especially in the initial stages. So make sure to surround them with books every chance you get. Also, try to read alongside them to set a good example. These little efforts and consistency will improve their reading skills dramatically.\nBy Samidha Raj\nSamidha works as part of the content marketing team at Planet Spark, a platform that provides online classes to K8 learners on \u201cNew Age Skills\u201d like, English Communication, Public Speaking, Grammar, Creative Writing, Debating, etc. She is passionate about empowering youth by educating parents about the importance of 21st-century skills. In her free time, you can find her watching documentaries or animated movies and organizing game nights (board games are her thing)!", "id": "<urn:uuid:5ca7cc2e-4830-4e91-a627-2f05fc885fdb>", "dump": "CC-MAIN-2022-21", "url": "https://moretimemoms.com/lifestyle/simple-effective-ideas-to-improve-your-childs-reading-skills/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662593428.63/warc/CC-MAIN-20220525182604-20220525212604-00767.warc.gz", "language": "en", "language_score": 0.9548384547233582, "token_count": 768, "score": 3.921875, "int_score": 4}
{"text": "By Barbara Gruener\nPart of our Counselor\u2019s Corner series. Click to read other posts in the Counselor\u2019s Corner.\nThe third core value in our special character development series is the virtue of responsibility. Responsible students do what they\u2019re supposed to do and accept the consequences\u2014both positive and negative\u2014of their choices. One way to help guide students toward strong decision making is talking about stakeholders\u2014anyone who might have a stake in the outcome of students\u2019 decisions. So I ask students this simple question: Who will care? Try asking your students these questions and see where the discussion goes.\n- Who will care if you don\u2019t let your dog in at night?\n- Who will care if you accept a ride from a driver who has been drinking alcohol?\n- Who will care if you choose never to recycle anything?\n- Who will care if you don\u2019t do your homework?\n- Who will care if you don\u2019t pick up after yourself at home? In the classroom?\n- Who will care if you promise to give a friend a ride to Skate Night and you forget?\nAn engaging activity to try is \u201cWhat\u2019s At Stake?\u201d Give your students a simple scenario and ask them to stand after they think of someone who might be a stakeholder in the decision. For example: Who are the stakeholders if you show up late to pitch a baseball game? Expect students\u2019 answers to include the catcher, backup pitcher, teammates, umpire, coaches, parents, fans, other team, concession manager, and so forth.\nOnce students see this visual representation of how many people have a stake in their decisions, they start to understand the importance of thinking things through and not making decisions haphazardly. One of my all-time favorite memories is the day a second-grader approached me with urgency saying, \u201cMrs. Gruener, you have got to hear this story and you will not believe how many stakeholders it involves.\u201d Touchdown!\nTo help our students make informed and responsible choices, we use a four-step decision-making model: Stop to give yourself time to think. Look at all your options. Think about the consequences of each option. Decide what\u2019s best for the most people involved.\nChores are also an important part of being responsible. The best way for children to get better at taking responsibility for their actions is by giving them responsibilities and then getting out of their way. At home, chores are daily tasks that need to be done like folding laundry, setting the table, or making a bed. At school, chores can be helping with classroom management or simply completing homework and projects. Consider these reflection questions with your students:\n- Which chores/jobs are your students willing to do?\n- How will your students keep track of chores/jobs?\n- How often should chores/jobs be done?\n- What are some rewards for doing the chores/jobs?\n- What are some consequences for not completing the chores/jobs?\nI\u2019ve heard it said that we are only as strong as our weakest link. Make a \u201cChore Chain\u201d to test that adage. Have students write down one or more of their chores on a skinny strip of paper and staple those strips together, end to end, to create the links for the chain. Ask students to imagine how strong this class chain is when everybody shows responsibility by giving their best effort and doing what they\u2019re supposed to do. Pair up students to talk about how this ideal makes their classroom work better. Then tear out one of the middle links from the chain and read it aloud: Uh oh, looks like Jimmy forgot to feed his hamster. As the two halves of the chain fall to the ground, encourage students to reflect on how the strength of the chain was compromised when one of the chores was forgotten.\nBreak the chain a few more times to represent other forgotten chores, then have students brainstorm ways to help each other remember to take their responsibilities seriously and get their chores done. Finally, institute class jobs so students can practice taking responsibility. Here are some suggestions for jobs that students generally love to do: serve as a cafeteria monitor, be a peer tutor, be a line leader, be the caboose, be a watt watcher and turn off the lights in an empty room, help with recycling, be the paparazzi and take pictures, be the technology engineer, shadow the custodian, read to a younger student, be in charge of recess equipment, feed the class pet, water classroom plants, be the messenger, choose the story, read to another class.\nPursuing excellence is another facet of responsibility. Legendary football coach Vince Lombardi once said, \u201cPerfection is not attainable, but if we chase perfection we can catch excellence.\u201d Ask students what they think Lombardi meant by this. What would it look like, sound like, feel like to pursue perfection? Catching excellence would be the upside. What could be a downside? Then, talk about keeping a growth mindset, adapting well, staying open to mistakes, and giving our personal best without needing to be the best. Share Penelope Perfect by Shannon Anderson or The Most Magnificent Thing by Ashley Spires to reinforce the idea that there is no such thing as perfection and process trumps product every time.\nThe ultimate goal of the virtue of responsibility is to raise young people who show self-control, self-discipline, self-management, and self-regulation. Paul Solarz, a fifth-grade teacher and the author of Learn Like a Pirate, hosts what I consider to be the ultimate test of responsibility at the end of every year: Quiet Day. This is a day set aside for students to take total ownership of their learning because their teacher has to be quiet. All day long. This ownership also includes feelings management, a must for Quiet Day to be a success, so make sure to carve out time to talk, write, and draw about emotions daily to develop and increase students\u2019 emotional literacy. I had the pleasure of meeting Mr. Solarz\u2019s class last year via Skype, and those young leaders were rocking responsibility. What a gift it is for Mr. Solarz to experience the fruits of his labor as he watches his students\u2019 responsibility take wing and fly.\nCurrently in her 33rd year as an educator, Barbara Gruener, a school counselor and character coach at Bales Intermediate School in Friendswood, Texas, has had the pleasure of working with kids from every grade level. Author of the blog The Corner on Character and the book What\u2019s Under Your Cape? SUPERHEROES of the Character Kind, Barbara enjoys positively influencing change through her inspirational keynotes and interactive workshops. When she\u2019s not working, you can bet Barbara is knitting, baking, writing, reading, walking, gardening, napping, or spending time with her husband and their three children.\nWe welcome your comments and suggestions. Share your comments, stories, and ideas below, or contact us. All comments will be approved before posting, and are subject to our comment and privacy policies.", "id": "<urn:uuid:addc597c-a219-49aa-8364-4a24033b92f7>", "dump": "CC-MAIN-2022-21", "url": "https://freespiritpublishingblog.com/2016/10/11/teaching-kids-the-importance-of-responsibility/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522741.25/warc/CC-MAIN-20220519010618-20220519040618-00567.warc.gz", "language": "en", "language_score": 0.958855152130127, "token_count": 1480, "score": 3.9375, "int_score": 4}
{"text": "Digital Skills Hub\nPrimary Digital Skills\nCCEA is creating a framework to integrate digital skills across the different stages of the Northern Ireland education system, building thinking skills into the process of learning about digital devices and creating qualifications that are unique to Northern Ireland.\nThe CCEA framework addresses all the statutory requirements for Using ICT in Foundation Stage, Key Stage 1 and Key Stage 2 through a new optional Digital Skills curriculum for primary schools.\nThis curriculum is delivered through three strands and will be supported by the publication of teaching and learning resources for different types of ICT and a progression of skills appropriate for each key stage in primary.\nThe strands are called:\nThe names of these strands come from recommendations in the House of Lords Select Committee report \u201cMake or break: The UK\u2019s Digital Future\u201d (2015) and the UK Digital Skills taskforce\u2019s definition of different level of digital skills.\nYou will find that the current Using ICT activities that you carry out in your school all fit into one or more of these three strands. You may also find that there are new types of activities that you can start to develop that up to now have not traditionally been part of Using ICT.\nAs CCEA provides more resources and guidance about this digital framework, you may want to consider how your current Using ICT activities can address the different strands and also think about covering activities that up to now have not traditionally been part of Using ICT, for example understanding how digital devices are designed and built and how the internet works.\nBecoming a Digital Citizen\nThis means developing skills that will be useful to anyone who wants to take part safely and effectively in the digital aspects of society. In this context pupils should learn about how to use the internet productively but with an understanding of how to stay safe, and what are the social norms and legal implications of their actions online.\nBecoming a Digital Worker\nThis means developing skills that will be useful to anyone who will work or for use in their future learning. In primary this can means developing an understanding of office based products like word processing programmes, presenting and data handling software as well as understanding how to access, managing and save work in a digital environment. Using digital collaboration tools to safely collaborate with others to create and improve their work is also an important skill to develop.\nBecoming a Digital Maker\nThese are the skills relating to designing and building technology.\nThere are two aspects in primary that continue into post-primary and for CCEA qualifications\nLogical & structured options\nThis includes pupils exploring coding and programming through interaction with different types of languages and devices.\nCreative technology options\nThis includes Using ICT \u2018Express\u2019 types of ICT such as digital storytelling through film, animation, working with images, e-books, publishing and presentation software, digital audio (music and sound activities).\nCCEA are producing a range of Primary resources to support teachers to develop children\u2019s skills in these three areas. In an attempt to consider the three areas holistically and how they can relate to all areas of learning, these resources will focus on teaching and learning activities which will highlight a connected approach to using digital technologies in the classroom and which will provide progression ideas across Foundation Stage, Key Stage 1 and Key Stage 2.\nThe resources will cover the following areas:\n- Digital Storytelling (Presenting/Film/Animation)\n- Digital Publishing (Print/Online)\n- Digital Audio (Music/Sound)\n- Digital Art & Design (Images/Interactive Design)\n- Digital Problem-Solving (Programming/Computational Thinking)\n- Digital Data (Using/Managing/Handling Information)\nIn order to ensure that children also develop their wider understanding of the digital world and the application of digital technology in life and learning, Thinking Skills & Personal Capabilities will be explicitly promoted throughout these resources.", "id": "<urn:uuid:afa6f058-85eb-4d82-82d2-0028d53f440b>", "dump": "CC-MAIN-2022-21", "url": "https://ccea.org.uk/learning-resources/digital-skills-hub/primary-digital-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531352.50/warc/CC-MAIN-20220520030533-20220520060533-00166.warc.gz", "language": "en", "language_score": 0.9350902438163757, "token_count": 794, "score": 3.671875, "int_score": 4}
{"text": "What are the parts of a writing prompt?\nSix Parts of an Effective Prompt\n- Articulation of purpose. This section explains the significance of the assignment itself by explaining what skills students will display in their writing and why they are important.\n- Summary of assignment.\n- Key components of the paper or important sections.\n- Framing questions.\n- Evaluation criteria.\nWhat is writing prompt?\nWriting prompts or essay prompts are learning assignments that direct students to write about a particular topic in a particular way. They are designed to integrate a students imagination and creativity into guided writing practice.\nWhat is a creative writing prompt?\nA writing prompt is a topic around which you start writing ideas. You\u2019re free to stick to the subject or let your mind wander\u2026.Benefits of writing prompts\n- Put pen to paper.\n- Practice makes perfect.\n- Increase your creativity.\nHow do you write an opening line for a story?\n6 Tips for Writing a Great Opening Line\n- State your theme.\n- Begin with a strange detail.\n- Establish your character\u2019s voice.\n- Introduce your narrative style.\n- Convey the stakes.\n- Set the scene.\nWhat is a catchy opening sentence?\nA hook in the essay is a catchy sentence or paragraph in the introduction which serves as an attention-grabbing element. The effectiveness of the hook is defined by its ability to motivate people to read the entire text.\nWhats a good opening sentence?\nStart with the chase. A good hook might also be a question or a claim\u2014anything that will elicit an emotional response from a reader. Think about it this way: a good opening sentence is the thing you don\u2019t think you can say, but you still want to say. Like, \u201cThis book will change your life.\u201d\nHow do you start a catchy introduction?\nHow to Write a Captivating Introduction to Hook Your Audience\u2019s Attention\n- Begin With A Startling Statistic.\n- Tell An Interesting Or Unusual Story.\n- Ask If They Want To Achieve Their Desires.\n- Take A Stance Against Something Relevant.\n- Show Them What Success Would Look Like.\nWhat are the four parts of an introductory paragraph?\nAnswer to Task 1: The four parts of an introduction\n|1.||Introduces the topic|\n|2.||States why the topic is important|\n|3.||States that there is a difference of opinion about this topic|\n|4.||Describes how the assignment will be structured and clearly states the writer\u2019s main premise|\nHow do you write an attention grabber?\nTry these creative hook ideas for essays:\n- Start with a question. Asking your readers to think about the topic is a great way to get them ready to hear more.\n- Use descriptive words. Creating a picture in the reader\u2019s mind can make him or her feel connected to your writing.\n- Leave it a mystery.\nWhat are attention grabbers examples?\nTypes of Attention Getters\n- Personal Reference. Personal Reference.\n- Rhetorical Questions, Q&A, Questions. Questions.\n- Humor. Humor, handled well, can be a wonderful attention getter.\n- Quotations/Using Explaining Famous Words on the Topic.\n- Startling Statistic/Series of Facts.\n- Guided Imagery.\nWhat is Attention Getter example?\nSome common attention getters are quotations, statistics, questions, and stories. Using a strong attention getter is important in an academic essay because it gives the reader context and gets him/her interested in the essay.\nWhat are some good hook sentences?\nList of Hook Sentence Examples for Ideas\n- Some of the best role models for teens are\u2026\n- Getting inspired to do good come from\u2026\n- The best way to get homework papers done is to\u2026\n- Why is it so hard to\u2026?\n- The photo of\u2026\n- One of the most shocking facts to date is about\u2026\n- A top business secret to know is\u2026\nHow do you grab the reader\u2019s attention in the first sentence?\n- Craft Vivid and Evocative Sentences. If you want to grab your readers\u2019 attention, then you need to make your first lines stand out \u2014 in a good way.\n- Surprise Your Readers. What better way to draw readers into your story world than to present them with a first line that jars them out of their reality.\n- Create a Unique Voice.\nHow do you start off a paper?\nAs a start, here are 13 introductory strategies accompanied by examples from a wide range of professional writers.\n- State Your Thesis Briefly and Directly.\n- Pose a Question Related to Your Subject.\n- State an Interesting Fact About Your Subject.\n- Present Your Thesis as a Recent Discovery or Revelation.\nWhat words can you not start a sentence with?\nNever begin a sentence\u2014or a clause\u2014with also. Teach the elimination of but, so, and, because, at the beginning of a sentence. A sentence should not commence with the conjunctions and, for, or however\u2026.\nHow do you start a short paper?\nComponents of a Short Essay\n- 1) Thesis. There are two things to consider when writing a short essay: placement and complexity.\n- 2) Topic Sentences.\n- 3) Supporting Evidence.\n- 4) Introspection.\n- 5) Conclusion.\n- Get out the highlighter.\n- The Necessity Test.\nHow do you write a short description?\nEffective short descriptions provide enough context for a reader to understand what the topic conveys. A short description ought to contain keywords that help the reader identify whether the topic contains useful information. It should also be a concise description of the topic.\nWhat is the format of paragraph?\nThe basic paragraph consists of three parts: a topic sentence, supporting details, and a concluding sentence. This basic paragraph format will help you to write and organize one paragraph and transition to the next.\nWhat are the 5 parts of a paragraph?\nAn outline is often used to demonstrate the content of most five-paragraph essays:\n- Body. First Point. Second Point. Third Point.\nWhat are the 5 paragraphs in an essay?\nThe five-paragraph essay is a form of essay having five paragraphs: one introductory paragraph, three body paragraphs with support and development, and. one concluding paragraph.", "id": "<urn:uuid:bb3e2329-52fa-492d-8c71-b47fc984c7b0>", "dump": "CC-MAIN-2022-21", "url": "https://ctschoolcounselor.org/what-are-the-parts-of-a-writing-prompt/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00365.warc.gz", "language": "en", "language_score": 0.864252507686615, "token_count": 1387, "score": 3.6875, "int_score": 4}
{"text": "Topic 1 \u2013 Management\nFactors influencing the planning \u2013 Infrastructure, Time, Location, Staff, and cost.\nStudents will know about the key factors to considered in starting a kindergarten.\nCanvassing and Marketing\nDifferent types of canvassing and marketing tools. Social media advertisements and digital marketing. Traditional methods.\nStudents will know the kind of tools they can use to increase enrolment/strength of their business.\nSchool finance, budgeting, costing, payroll, running expenses, construction purpose, housekeeping and other related expenses.\nStudents will understand how to do the financial activities.\nOffice management, administration, school registers, admissions, records, automation.\nStudents will have an understanding about the things involved in managing a school office.\nClass room layout\nRoofing, flooring, side walls, furniture, board arrangement, seat and sitting arrangements, uniforms.\nStudents will be able to make a layout plan of their classroom.\nEducation and human values\nMeaning of values, Classification of values, Concept of value-based education, programs for developing values of various kinds\nStudents will know about the concept of values and how to bring up a value-based education among children.\nSupervising & Reporting\nTeachers and pupils can be supervised in 3 ways, principles of supervision, Reporting\nStudents will learn how to do effective supervising and reporting.\nTopic 2 \u2013Teaching Methodology\nRole of a Teacher\nQualities of a teacher, Teacher as an observer, Conduct, Obedience, Roles and responsibilities, As a bridge between the soul of a child and external reality.\nStudent will understand the different roles of a teacher.\nCommunication Cycle, Steps in communication process, classroom communication, Types of classroom communication, Types of communication, Types of management.\nStudents will understand the concept of effective communication in classroom and in an organization.\nWhat is Psychology, Nature and Scope of Psychology, Relation between Teachers and Psychology, Child & his behavior.\nStudents will understand the importance of Psychology and the role it plays life in general.\nYou explore the benefits of Montessori teaching method as well as other preschool teacher training methods.\nStudents will understand montessori training as well as British EYFS training methods.\nChild Development and Growth -1\nGrowth and Development, Difference between Growth and Development, Principles of Development, Factors affecting Growth &Development, Biological Mechanisms of Development.\nStudents will study the growth and development of a child.\nChild Development and Growth -2\nPhysical and Motor Development, Social Development, Emotional Development, Mental or Intellectual Development, Language Development.\nStudents will learn different types of developments happening in child\u2019s growth.\nThis is to make sure that all children are included in a class irrespective of the disability or learning disorder.\nStudents will be able to learn about inclusion and the importance of it.\nShaping the future generation\nIn other words, society of cohesion, Factors regarding cohesion, Result of cohesion \u2013 (Adherence)\nStudents will understand how to develop a society of children with cohesion.\nHealth & Physical fitness, Hygiene Activities & Resources, Food habits, Balanced Diet, Essential ingredients for a child\u2019s mental health.\nStudents will learn about the importance of health and fitness in child development.\nCommon Childhood Diseases, Immune system activities and resources, First Aid, Child welfare.\nStudents will be aware of, how to protect children from harmful influences in their environment and take care of their education.\nTopic \u2013 3 Practical-Work Shop\nActive learning methods. Cooperative learning, Storytelling and English language development.\nStudents will be able to exercise different methods of teaching by being more interactive, involving and resourceful.\nPromoting and rewarding positive behaviors. Class control\nStudent will know how to have effective communication to attain a productive class environment.\nDiscovering one\u2019s potential by exploring the possibilities in life and taking up new challenges that will catapult then forward.\nIt will enable the students to practice self-awareness, confidence and self-improvement.\nTeaching various subjects by maximizing rich and meaningful topics thereby enhancing the knowledge of the children.\nStudents will know how to have a theme flowing through all the lessons.\nCourse type 2: International certificate for EYFS (Early Years Foundation Stage) United Kingdom\n- Food Hygiene level 2*\n- Safeguarding and Child Protection level 2**\nEarly Years Foundation Stage (EYFS):\n- Let\u2019s Look at Progress Checks\n- Supporting 0-2 Year Olds\n- Supporting 2 Year Olds\n- Supporting 3-5 Year Olds\nBusiness and management:\n- Let\u2019s Look at Evaluative Practice and Impact Measurement\n- Managing Performance through Effective Appraisal\n- Managing Time Effectively\n- Safer Recruitment, Selection and Induction\nCommunication and language:\n- Reading and Storytelling\n- Shape, Space and Measure\n- Making Maths Matter\n- Maths in Early Years\n- Mini Maths Explorers \u2013 Outdoor Challenge\n- Baby Room Leader \u2013 NEW!\n- Nurturing Well-being and Resilience for all Staff \u2013 NEW!\n- Exemplary Practice with: Babies, Toddlers, Two-Year-Olds, and Three-to-Five-Year-Olds\n- Outstanding Practice\n- Quality Teaching in Early Years\n- Promoting Positive Behaviour\n- Supporting Children with SEND\n- Let\u2019s Look at Schemas\n- Little Scientists Leading the Way\n- Cohort Tracking\n- Characteristics of Effective Learning\n- Home Learning Environment.", "id": "<urn:uuid:e748754d-cd17-4e98-97db-f8a5df1a3d0e>", "dump": "CC-MAIN-2022-21", "url": "https://affraschools.com/montessori-training-kerala-ttc-in-kerala/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534773.36/warc/CC-MAIN-20220521014358-20220521044358-00566.warc.gz", "language": "en", "language_score": 0.8959989547729492, "token_count": 1219, "score": 3.59375, "int_score": 4}
{"text": "US scientists have discovered that overflowing lakes on Mars caused floods that carved out a quarter of the planet\u2019s river valleys, creating deep chasms and shifting vast amounts of sediment.\nToday, the Red Planet is a cold and dry desert, but in its early days it had an active water cycle. Before about 3.5 billion years ago, the planet\u2019s denser atmosphere and higher surface temperatures supported water that flowed across the surface, with lakes bigger than some small seas on Earth.\nEvidence for this is written in the rocks: the planet is covered in telltale geological clues, including flood-scoured outflow channels extending for hundreds of kilometres, networks of river valleys, deltas, lake beds, and rocks and minerals that could only have been formed by liquid water.\nNow, a new study published in Nature has provided insights into how Mars\u2019 enormous network of river valleys formed.\nThe team, led by geoscientist Timothy Goudge from the University of Texas, looked at the importance of flooding from overflowing lakes, specifically lakes that filled craters. When the water became too much to hold, it would spill over the edge of the crater and trigger catastrophic floods.\nGoudge and colleagues used global maps of Martian valley systems to study the shape and form of the landscape around 262 these lakes. They compared this with river valleys elsewhere.\nThe river valleys near crater lakes were found to punch far above their weight \u2013 with a median depth of 170 metres they are more than twice as deep as river valleys formed elsewhere, which have a median depth of 77m.\nIn total, the team found that nearly a quarter of river valleys on the whole planet were carved out by lakes overflowing.\n\u201cIf we think about how sediment was being moved across the landscape on ancient Mars, lake breach floods were a really important process globally,\u201d says Goudge. \u201cAnd this is a bit of a surprising result because they\u2019ve been thought of as one-off anomalies for so long.\u201d\nRead more: Martian climate had ups and downs\nSome of these floods, he says, may have only lasted weeks \u2013 yet left impressions still visible billions of years later. This is very different to Earth, where ongoing dynamic processes have wiped away most evidence of ancient geological features.\n\u201cWhen you fill [the craters] with water, it\u2019s a lot of stored energy there to be released,\u201d Goudge says. \u201cIt makes sense that Mars might tip, in this case, toward being shaped by catastrophism more than the Earth.\u201d\nPrevious research has only focused on the scale of individual ancient lake systems, but this new study looks at the far-reaching impact of flooding lakes across the whole planet.\nThe researchers suggest that these floods also had an important role in shaping the rest of the surface, influencing the formation of nearby river valleys.\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:fe2f8c1c-8c60-4de3-aebe-189cb92dc78b>", "dump": "CC-MAIN-2022-21", "url": "https://cosmosmagazine.com/space/astrophysics/fast-and-furious-floods-shaped-martian-surface/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00766.warc.gz", "language": "en", "language_score": 0.9609351754188538, "token_count": 741, "score": 4.21875, "int_score": 4}
{"text": "Most parents don\u2019t read bedtime stories to their children, or if they do, it\u2019s very seldom. Today there is so much that takes up parents\u2019 time that they\u2019re under a lot of pressure. With the complexities of everyday life, less free time, and technological devices, storytelling has been lost along the way.\nStorytelling can form such a critical part in the development of a child\u2019s personality. It may seem like a simple thing, but there are so many benefits that it\u2019s important to take a little time and read to the children. It\u2019s just a matter of reading out of a book. The advantages are numerous especially for children from two years and older.\nInstills Virtues in Them\nEvery child, around the globe, loves to listen to bedtime stories. They yearn to hear more and more about all of their favored characters and will often imitate them. When a child hears a story that has a message that\u2019s meaningful, they\u2019re taught qualities like courage, wisdom, honesty, and love at an early age.\nEnhances Their Language\nWhen stories are read out loud to children, it aids in helping them get to know language. It also helps them learn new phrases, words, and pronunciation on a nightly basis.\nImproves Their Listening\nThe attention span of children is usually very short, and they have a hard time focusing on something for very long. Then they wind up talking more and listening less. When reading stories to them, they become more attentive and then want to hear more and understand.\nInspires Creativity and Imagination\nChildren imagine the place and characters when they\u2019re listening to a bedtime story. The story also enhances their creativity which makes them open to thinking more, ideas, and allows them to use their imagination.\nSharpens a Child\u2019s Memory\nStorytelling can be used to assist in increasing kids\u2019 memories. After reading a story, wait a few days and ask them to tell the same story or as much as they can remember. This can be a fun way to increase their memory and encourage their concentration.\nStretches Their Horizons\nIt\u2019s not often that children are exposed to different countries and cultures. Through bedtime storytelling, parents can introduce them to various places around the globe. By including stories on these subjects, children will begin to broaden their horizon.\nSimplifies Academic Learning\nListening to bedtime stories, children receive their first step towards academic learning. Children tend to learn by repetition with really understanding the topic. If done regularly, storytelling can aid children to understand better and enjoy it more.\nSometimes children are reluctant to ask questions even though their minds are brimming with curiosity. By telling them stories, they can learn how to ask these questions. It also helps them learn to have a conversation making them have more confidence in themselves.\nEasily Face Difficult Situations\nFor children, a difficult situation can leave them confused. By reading them stories involving characters who face some situations that are difficult, it helps them understand. They should be told a few stories where sadness and bad times happen in life along with fun times and happiness.\nFor parents who tell a bedtime story to a child, know that it has overwhelmingly positive results. The stories they hear, during their young lives, will remain in their minds and hearts all the way to their adulthood. The stories will also influence how they think of themselves and intermingle with others in their lives.", "id": "<urn:uuid:52c9a848-f166-49d2-ba3d-d3ef0b89aa78>", "dump": "CC-MAIN-2022-21", "url": "https://community.today.com/parentingteam/post/how-bedtime-stories-can-enhance-your-childs-memory-and-learning?utm_campaign=mlt", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539131.21/warc/CC-MAIN-20220521143241-20220521173241-00363.warc.gz", "language": "en", "language_score": 0.9671869277954102, "token_count": 733, "score": 3.546875, "int_score": 4}
{"text": "Writing is arguably one of the most beneficial skills taught in the academic realm. Since strong writing abilities are valuable in every content area and career down the road, mastery of this skill is essential. As with most undertakings, practice is key to developing a student\u2019s writing\u2014the more a child writes, the better that child will progress as he advances through his education. Once in high school, students are expected to have mastered writing concepts such as organization, mechanics, and varied sentence structure.\nAt the high school level, the expectations for writing tasks are elevated. It is assumed that students have a proficient grasp on the basics and are now prepared to tackle concepts such as writing for a specific audience and maintaining tone and fluidity. These concepts are touched upon in the middle grades; however, they really become the focus of higher level academic writing when assignments are required to serve a specific purpose.\nNo matter the content area, secondary level writing assignments involve persuasive, argumentative, and expository writing techniques. From the chemistry lab to the AP government classroom, students will be required to juggle and synthesize many small parts to compose a fluid paper. Some of these writing skills include:\n- Stating a claim\n- Supporting that claim with clear evidence and/or research\n- Providing analysis of the evidence (i.e. how does the research support your claim?)\n- Embedding quotations\n- Paraphrasing or making inferences from direct quotations\n- Drawing the argument to a final conclusion\nConsidering the number of key components involved, as well as the high level thinking skills required to accomplish these components, it is no wonder that writing at the high school level can be stressful and strenuous. Here are a few helpful tips from the teacher to avoid future headaches with high school writing.\nUtilize the organizer. While graphic organizers are sometimes viewed as elementary tools, high schoolers and college students can greatly benefit from an outline. Of course, these outlines and organizers will not always be provided by the teacher\u2014students will have to do the prewriting legwork. The extra step may deter your high schooler at first, especially those students who prefer to cut corners. However, an outline is a proven strategy to ensure that a large writing assignment is organized, cohesive, and complete. The outline also allows for students to see that they have gathered all of the essential pieces before beginning the writing process. Thus, an outline will save your high schooler time and hassle in the end.\nRead examples and samples of similar writing pieces. This is especially helpful when a section of the assignment or essay is more complex, like parenthetical documentation. Viewing samples of how other writers have constructed these components provides students with additional help, almost like a step-by-step guide.\nBe sure to proofread. Again, high schoolers who are reluctant writers to begin with will likely shy away from the editing process. However, rereading written work aloud is the only way to ensure that the writing flows, maintains clarity, and adheres to the claim throughout. This fluidity piece is essential for secondary writing assignments.\nUse the rubric to assess the writing before submitting. This additional step is yet another strategy that many students choose to disregard. However, \u201cgrading\u201d themselves before submitting a paper allows students to look at the writing from another angle. Since the rubric is created by the teacher, and will be used to assess the writing piece, it only makes sense for high schoolers to perform a self-check of the assignment according to the criteria.\nWhile high schoolers may be loathe to add any more steps to their writing assignment, these strategies will help to focus their efforts and ease them into the writing process. And, best of all, these strategies can help them to enhance their written work!", "id": "<urn:uuid:5cb41933-ba35-4eb2-8471-37e6a218035b>", "dump": "CC-MAIN-2022-21", "url": "https://learningessentialsedu.com/writing-a-paragraph-high-school/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00165.warc.gz", "language": "en", "language_score": 0.9604892134666443, "token_count": 775, "score": 3.984375, "int_score": 4}
{"text": "Scaffolding Part Two: Once Upon a Time: Demonstrating Social Responsibility Through Storytelling Unit Plan\nUnit Plan: Once Upon a Time: Demonstrating Social Responsibility Through Storytelling\nLesson Subject: English, ESL and other Language Arts\nGrade Level: Middle School (Gr. 6-9)\nAs a follow up to my post about Aida Walqui\u2019s article Scaffolding Instruction for English Language Learners: A Conceptual Framework I have provided a sample unit plan where I have focused on including scaffolded instruction and considered both Lev Vygotsky\u2019s Sociocultural Theory and Zone of Proximal Development. In this unit plan I am asking students to create their own stories and work at a high English level, however I have provided structure to support them reach this level. I have considered learners and placed the expectations of the final culminating assignment within a zone of proximal development where the task requires students to reach beyond their current level towards what they are capable of achieving. The lesson has been created with a lot of structure and a lot of space for flexibility. In class working time has been planned for, to provide the teacher and peer tutors (if available) time to actively support the learning process. The unit has been designed with explicit and scaffold instruction. Students\u2019 learning will take place through the active use of the English language in a creative and natural way.\nIn ESL/ELL instruction Readers Theatre is a strategy that comes up often. Whenever I have looked at Readers Theatre I have often found the lessons or units to be overly detailed and wanted to find a way to simplify the concept. As well, I wanted to ensure my students were gaining practice with the four language skills; reading, writing, listening and speaking. So, I did some research online and came across several Readers Theatre ideas, and a few things I might like to try. The lesson below is a loose planning of a Readers Theatre lesson and not specific to any script. I hope it can support you in your lesson planning and maybe simplify the concept of Readers Theatre for you.\nIncluded in the lesson plan are several suggested modifications and accommodations for the range of learners in any given class.\nObjective: To engage students in thinking and discussion using art.\nIn November last year I wrote about art appreciation and Chicago's Concordia University art lessons. At the time I was using the art lessons with a weekly group of grade sevens I taught during the school's weekly \"English Corner\". Since the art appreciation lessons were so well received with the grade sevens I decided to introduce the lessons to my grade eight class in the second term of the school year. I selected several pieces from the Concordia lessons and had them printed on card stock to use as handouts, which would then be put on the wall as a collection of pieces we had looked at. Each lesson started with a brief introduction of the piece where I would give the title, artist's name and the date it was created. Then, showing the piece on a projector and providing one printed on card stock, students were asked to fill in the attached handout and start to analyze the piece. I encouraged students to get up and walk around the room, viewing the piece from different angles. The handout provided prompts to guide student's thinking. At the bottom of the handout I asked students to consider their feelings when they look at the piece and why they think it was created. After about 25mins I would provide students with biographical and historical information about the artist and the piece. To conclude the lesson we would have a class discussion about the piece, discussing points from the handout and exploring thoughts and opinions of the peice.\nThis term one of the units in my student\u2019s textbook is themed \u201cEndangered Animals.\u201d Using the theme I made an assignment where students had to create fact sheets for different endangered marine animals. Students were first in groups of 2-3 and then in larger groups of 4-6. Attached is the lesson plan I used for this activity, along with the factsheet template and grading scale I used.\nTo narrow the focus in class I chose to have students write about marine animals, however there are many options for this lesson. In the PDF I have provided some good websites for endangered animal resources.\nObjective: To introduce students to common idiom expressions and have them actively build expressions into sentences for deeper understanding.\nTo first understand the reason why teaching English Language Learners (ELLs) idioms is important we first have to understand what they are. Idioms are cultural phrases, which cannot be understood by knowing the individual word meanings alone. For example, \u201craining cats and dogs.\u201d It is understood that the sky cannot literally rain cats and dogs, but what then do cats and dogs have to do with the rain? In the meaning of this idiom they represent large and heavy raindrops. To say, \u201cit is raining cats and dogs\u201d is to mean, \u201cit is raining very heavily.\u201d Idioms pose a challenge for ELLs because often they have not been raised in the culture the idiom is being used in. Not being able to understand the meaning of phrases can lead students to misunderstanding and confusing situations.\nWhen I have taught idioms with my classes I have first developed a definition I feel is appropriate for their level of understanding and then provided them with an Idioms List Handout (see attached). Students can record the definition on the handout and read pages of idiom examples with their meanings. The Idiom List Handout was compiled using idioms from Idiom Site. There are several other good websites for idioms; including Idioms The Free Dictionary and Using English-Idioms.\nOnce students have had a chance to explore the idioms on their own I introduce the Idiom Activity Handout (see attached) and provide and exemplar, using the idiom \u201cback to the beginning\u201d (see attached). Each student should choose, or be assigned a different idiom to complete the activity. The activity sheets can be displayed in the classroom or put into a book.\nThis is a basic activity that can be built into expanded lessons or used as filler between units or lessons. Students can also be put into pairs to complete the activity. There are many options\u2026enjoy!!\nMs. Kolshuk's Blog\nWelcome to my blog where I post about my teaching practice, ideas, findings and discuss topics of an educational nature. Please feel free to comment and/or email with any topic suggestions.", "id": "<urn:uuid:c0923c95-1420-445e-836c-89e9d347bc55>", "dump": "CC-MAIN-2022-21", "url": "http://www.mskolshuk.com/blog/category/lesson-handouts", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662647086.91/warc/CC-MAIN-20220527112418-20220527142418-00366.warc.gz", "language": "en", "language_score": 0.9599398970603943, "token_count": 1375, "score": 3.640625, "int_score": 4}
{"text": "Lights and shadows are naturally intriguing subjects, and many of our classrooms explore these concepts with all ages of children. These vast concepts allow our students to explore light from many perspectives. Take a look below at the many ways PSA has been looking at light lately.\nLight Tables and Loose Materials\nIn the art studio, a large light table is set up with a variety of translucent loose materials. One student looks closely through all of the materials and gathers every red item that she can find. She locates a frame, and begins to place all of her pieces within the oval. Another student is nearby observing and commenting on her work. He asks, \u201cIs it inside? Inside da circle?\u201d\nShadow Puppets \u2013 Many Ways!\nIn the music studio, many of the classrooms came down to view a video of a puppet theatre from Sofia, Bulgaria. They created each animal from the Carnival of the Animals with their hands and set it to the music. The children thought this was fascinating and many tried it out for themselves as each animal was being created on screen.\nIn the small studio, we created a dark room where the children could explore light and shadow a little further. There were several small stations set up with flashlights, Magnatiles for shining light through, animals, and more. There was also a large white sheet set up with two big flashlights and the shadow puppets we had used in music class. The children could even try their hand at making their own shadow puppets using paper and craft sticks!\nAfter viewing the shadow puppet performance, in the art studio, the children created shadow art from black shapes and colored transparent acetate. The children attached the shapes by using black tape, which was a new concept for many of the children. They had to experiment with the tape to figure out how to get it to join two pieces together. This was challenging and at times frustrating, but they stuck with it until they got it to work. This supports hand-eye coordination and tenacity.\nJust before nap, with the lights dimmed, one classroom uses flashlights to explore and relax for a calm transition into nap.\nWorking with Projectors\nOne classroom used a projector to explore light. The children were inspired by the light and shadow provocation as a means of adding depth to their storytelling by using props and by telling a story collaboratively. They made shadow puppets and tried to keep their puppets on the track as we projected an animated rack track onto the wall.\nCollages with Light\nTo begin, the children drew with Sharpies on clear sheets of acetate. They used geometric stencils to create interesting designs. Then on a piece of clear contact paper, the children made a collage with transparent and opaque materials. The two pieces of artwork were sandwiched together to make the final piece for the overhead projector.", "id": "<urn:uuid:e48cdb08-ed91-451b-8e0f-188f20b79636>", "dump": "CC-MAIN-2022-21", "url": "https://preschoolofthearts.com/2017/02/20/exploring-light-and-shadow/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663019783.90/warc/CC-MAIN-20220528185151-20220528215151-00367.warc.gz", "language": "en", "language_score": 0.9727714657783508, "token_count": 588, "score": 3.75, "int_score": 4}
{"text": "What do you write in a storyboard?\nWhat to Include in the Storyboard for Your Digital FilmProject name: Include the name of your film or project. Production company: Include the name of your production company or your name as the filmmaker. Scene: Include the scene number to allow you to sort the scene and match it to the scene script when filming.\nHow do you effectively do a storyboard?\nHow to Make a StoryboardStep 1: Create a Template. Draw a series of rectangles on a piece of paper, as if you were creating a comic strip. Step 2: Add the Script. Under each rectangle, write the line of script or dialogue that corresponds to that scene.Step 3: Sketch Out the Story. Step 4: Add Notes.\nWhat is the most challenging part of writing the story for your storyboard?\nBrainstorming and Prewriting Often the process of getting started on a writing project is the most challenging part. Brainstorming can be daunting for those confronted only with a blank page. Instead of writing down ideas, consider using pictures to conjure up a story or sort out an argument.\nHow do you write a storyboard for elementary students?\n3:36Suggested clip 96 secondsStoryboard Tutorial For Kids \u2013 YouTubeYouTubeStart of suggested clipEnd of suggested clip\nWhat is Storyboard example?\nThe 28 best storyboard examples. A storyboard is a series of images that explain how your story will look, shot by shot. The best storyboards use stick figures or comic book-style sketches to show close-ups, wide shots, pov (point of view), special effects, and everything else that makes up your shot list.\nWhat is a storyboard template?\nA storyboard is a graphic organizer that plans a narrative. Storyboards are a powerful way to visually present information; the linear direction of the cells is perfect for storytelling, explaining a process, and showing the passage of time. At their core, storyboards are a set of sequential drawings to tell a story.\nWhat a storyboard looks like?\nA finished storyboard looks like a comic strip. They\u2019re usually hand-drawn, although some people prefer to use storyboarding software to create their images. A storyboard is similar to a script, but the two aren\u2019t quite the same \u2013 storyboards are visual, while scripts are text-based.\nHow do you label storyboards?\nSo if the first shot has three storyboards, you would label them \u201c1A,\u201d \u201c1B,\u201d and \u201c1C.\u201d Ultimately, the most crucial information for every label is the type of shot, the camera movement, and a general description of what\u2019s happening in the scene. Everything else is just there if required.\nWho would use a storyboard?\nFilm making industries use storyboards in their planning and production processes. They employ skilled storyboard artists who interpret the screenplay from a script. At a more basic level, storyboards are a good way to illustrate and document the visual and technical requirements of a production.\nWho invented storyboards?\nWhy do we use storyboards?\nThe storyboard is a very important part of the pre-production process because it clearly conveys how the story will flow, as you can see how your shots work together. It also allows you to see potential problems that would not go unnoticed, ultimately saving you time and money.\nDo all films use storyboards?\nLeave room for inspiration. As I mentioned above, not all Director use storyboards and some Directors only use storyboards for action sequences or major set pieces.\nAre storyboards necessary?\nA storyboard is basically the same thing, using a sequence of still images to help visualize a story. For starters, storyboards are not necessary for every type of project, especially if the project has a limited budget, doesn\u2019t involve narrative elements or if continuity isn\u2019t important.\nHow do you storyboard if you can\u2019t draw?\n6:31Suggested clip 79 secondsStoryboarding For People Who Can\u2019t Draw (Like Me!) : FRIDAY 101 \u2026YouTubeStart of suggested clipEnd of suggested clip\nHow many frames does a storyboard have?\nWhich comes first script or storyboard?\nBut to actually tell a story you should go with the script first though. definitely a script first, even if it\u2019s only a draft, before going to some kind of storyboard. And, the storyboards can be very rough, stick figures and such; especially if you have a short production timeline.\nWhat software do storyboard artists use?\nThe Best Storyboarding Software of 2020 for Any BudgetStoryboarder. Storyboarder is open source and free, making it one of your best options if you\u2019re working with a smaller budget. Plot. Frameforge Storyboard Studio. Studiobinder. Moviestorm. Storyboard Fountain (for Mac) PowerProduction Software. Canva.\nHow much should I charge for a storyboard?\nStoryboard Artists charge day rates. They usually range from $300 to $700 a day.\nHow long is a storyboard?\nAre storyboard artists in demand?\nAccording to the Bureau of Labor Statistics, the demand for Multimedia Artists and Animators, which includes Storyboard Artists, is growing by 6 percent. This is expected to result in nearly 1,600 annual openings through 2024.", "id": "<urn:uuid:f1f0f570-f191-4482-890a-c4c6232842e8>", "dump": "CC-MAIN-2022-21", "url": "https://brainwritings.com/what-do-you-write-in-a-storyboard/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662520817.27/warc/CC-MAIN-20220517194243-20220517224243-00766.warc.gz", "language": "en", "language_score": 0.9083889722824097, "token_count": 1139, "score": 3.546875, "int_score": 4}
{"text": "LITERARY TECHNIQUE - svensk \u00f6vers\u00e4ttning - bab.la\nSimile, therefore, is a literary technique instead of a literary element. Examples of literary devices Anagrams are an extremely popular form of literary device wherein the writer jumbles up parts of the word to create a new word. From the syllables of a phrase to the individual letters of a word, any fraction can be jumbled to create a new form. Literary devices or literary techniques are specific structures that writers often use to add meaning or create more compelling stories for the reader. Some common examples are metaphor, alliteration, hyperbole, and imagery. These techniques can give the reader a greater understanding and meaning of the writers intent. Se hela listan p\u00e5 matrix.edu.au Se hela listan p\u00e5 lostpedia.fandom.com Furthermore, this technique adds variety to the narration and contextual significance.\nDefinition: The atmosphere that pervades a literary work with the intention of evoking a certain emotion or feeling from the audience. Se hela listan p\u00e5 study.com A literary device is a technique you can use to create a special effect on your writing. Think about it this way. When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.\nFormal and Informal Language - timesmagazinus - Pinterest\nThe difference between literary elements and techniques is that these techniques are only found in written works. Also, stories can exist without them. Furthermore, think of literary techniques as clues to a deeper meaning. Se hela listan p\u00e5 matrix.edu.au 2020-07-26 \u00b7 Literary techniques Techniques are used by writers as an attempt to make the reader think in a certain way.\nThe literary museum Moderna Museet i Stockholm\nLiterary Terms - . alliteration. the repetition of the same or very similar Literary Techniques: Poetry Analysis 2 - .\nThis can be done by placing the characters in time-sensitive situations, diverting the reader's attention or appealing directly to the reader's emotion to elicit sympathy for the main character.\nLana till huskop\nThe silence seemed strained and expectant, like a young boy waiting for a firecracker Se hela listan p\u00e5 selfpublishing.com Se hela listan p\u00e5 self-publishingschool.com An aleatory literary technique in which a text is cut up and rearranged to create a new text.\nClimax The crisis or high point of tension that becomes the story\u2019s\nList of literary devices Allegory. An allegory is a type of narrative that uses characters and plot to depict abstract ideas and themes.\nvarlden rikaste land\nhans kelsen legal positivism\nAtt l\u00e4sa \u00e4r inte n\u00e5gon oskyldig aktivitet. Om synen p\u00e5 litter\u00e4ra\nA literary technique is a device employed in literature to add depth to a writer\u2019s work.\nPin on Awesome Phrases - Pinterest\nSe hela listan p\u00e5 tckpublishing.com View Full List of Literary Devices. Ad Hominem; Adage; Allegory; Alliteration; Allusion; Ambiguity; Anachronism; Anagram; Analogy; Anapest; Anaphora; Anecdote; Antagonist; Antecedent; Antimetabole; Antithesis; Aphorism; Aposiopesis; Apostrophe; Archaism; Archetype; Argument; Assonance; Biography; Cacophony; Cadence; Caricature; Catharsis; Characterization; Clich\u00e9; Climax; Colloquialism; Comparison; Conflict Literary techniques, however, are not universal or necessary in the sense that not all works contain instances of them. Simile and irony are examples of literary techniques. While many poems contain similes, not all do. Simile, therefore, is a literary technique instead of a literary element.\nPDF) Figurative Devices and Their I'm the King of the Castle by Susan Hill Worksheet 6 \u2013 Literary Style One of the things to notice whilst you are reading a novel are the different literary techniques Literary devices are techniques that writers use to create a special and pointed effect in their writing, to convey information, or to help readers understand their writing on a deeper level. Often, literary devices are used in writing for emphasis or clarity. List of Literary Techniques Technique Description Allusion A reference to a recognized literary work, person, historic event, artistic achievement, etc. that enhances the meaning of a detail in a literary work. Climax The crisis or high point of tension that becomes the story\u2019s turning point\u2014the point at which the outcome of the Literary devices are specific techniques that allow a writer to convey a deeper meaning that goes beyond what\u2019s on the page. Literary devices work alongside plot and characters to elevate a story and prompt reflection on life, society, and what it means to be human.", "id": "<urn:uuid:8d0f3a9d-54ba-4c12-b1cc-915c677308d4>", "dump": "CC-MAIN-2022-21", "url": "https://jobbszuun.netlify.app/99897/3218.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00367.warc.gz", "language": "en", "language_score": 0.8439990282058716, "token_count": 1097, "score": 3.53125, "int_score": 4}
{"text": "As I reflect on the many things I learned throughout this course remediation comes to mind over and over. Oral literacy played a prominent role in society for generations, even though it had its downfalls. The development of the written word took many more generations to create and spread throughout the people of the world (some are still struggling to teach it, today). The development of the printing press was a huge step in speeding up the printing process and educating the world (see Bolter, 2001). Now, we are moving away from the codex book to hypermedia and the e-book. This shift continues to have its challenges as it is in the early stages. Postman (1992) warns users to be careful when using technology and to watch out for \u201ctechnopolies\u201d which may control our lives if we allow them. Constant remediation is happening as technological innovation and development take place. The web and hypertext have allowed readers to be visitors to a text, not just readers alone (Kress, 2004). Multiliteracies (New London Group, 1996) are creating horizontal relationships of teamwork instead of the Fordian top-down management style. History teaches that the remediation of print is constantly at work, ebbing and flowing with new inventions and the collaboration of ideas. History also teaches us that there is always some resistance and scepticism when change is occurring. Now, we teach 21st century literacy skills to our students, using many different technologies and ideologies. I hope we can keep our technological past in mind as we strive to move forward into the future.\nWeb 2.0 tools\nAs mentioned by Sherry Turkle in a TED talk that was shared by the group, and in her book Alone Together (2011), we learn that we are in a new era, with change happening at an alarming rate. As teachers, we are the professionals that judge what tools are best for our students and then have the responsibility to teach them the skills to use the tools and model adaptations to change as it occurs. To help us there has been some research done on how to go about judging educational technology. Bates and Poole (2003) adapted a framework to help us think about and judge our use of technology, especially in today\u2019s classrooms. Through careful consideration and a pinch of scepticism within us, we can use the best tools to move forward. We now live in a Web 2.0 world where students use social media every day outside of school, but are often not allowed to in school. As research draws out the benefits and downfalls of \u201cscreen time\u201d and technology use we sit in limbo, waiting to be told what to do. Ken, in commentary #3, points out that Web 2.0 technologies make storytelling unpredictable, making the story more interesting and engaging for readers. As we add these tools to our teaching practices we can reengage students in their learning, helping them be creators, not just vessels waiting to be filled with information.\nI appreciate the history lesson learned throughout this course. I am reminded of the many tools we use to communicate. I have gained a new appreciation for oral literacy, especially as I have been raised mostly on pen and paper, with a mix of hypertext in my schooling. The new Web 2.0 tools seem to be returning to our roots where everyone gets a chance to share and be heard. Some people continue to struggle with the technological change that we are experiencing. To quote Doug in commentary #1 on indigenous people, \u201cLosing their language is more than losing the ability to converse in their native tongue; it also threatens the existence of their culture.\u201d I believe we can use the tools we have now to save language and culture through collecting and sharing artifacts, visuals and by creating circles of influence through social media. As a people we will never return to where we were in the past but we can choose what pieces of the past we take with us to the future.\nFrom the invention of the telegraph to the e-book, we are intrigued by new technology and ways of communicating. Technological determinism is adopted by some people as others hold on tightly to the past. As teachers of future generations I see it as our challenge to seek out the best learning tools and share our findings with those we have a responsibility to teach. This course has reconfirmed to me that everyone is different and multimodal, there is not just one way to teach a concept, and the future is full of change. May we have the wisdom and courage to embrace the things that need embracing and let go of those things that don\u2019t.\nBates, A.W. & Poole, G. (2003). Effective teaching with technology in higher education: Foundations for Success. New York. Wiley, John and Sons Incorporated. P. 75-105.\nBolter, J.D. (2001). Writing space: Computers, hypertext, and the remediation of print [2nd edition]. Mahwah, NJ: Lawrence Erlbaum.\nKress, G. (2005). Gains and losses: New forms of texts, knowledge, and learning.\u201d Computers and Composition. p. 5\u201322.\nPostman, N. (1992). Technopoly: The Surrender of Culture to Technology. New York. Vintage. p. 3-20.\nThe New London Group. (1996). A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review. 66(1). p. 60-92.\nTurkle, S. (2011). Alone together: Why we expect more from technology and less from each other. New York: Basic Books.", "id": "<urn:uuid:32fa77ce-741f-458c-b4cc-0dfee33d730b>", "dump": "CC-MAIN-2022-21", "url": "http://blogs.ubc.ca/etec540sept11/2011/12/03/connecting-past-and-present/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662631064.64/warc/CC-MAIN-20220527015812-20220527045812-00767.warc.gz", "language": "en", "language_score": 0.9534301161766052, "token_count": 1172, "score": 3.53125, "int_score": 4}
{"text": "Long before European immigrants first set foot in this country, the ancestors of the Nimiipuu (Nez Perce) created densly grouped clusters of petroghlyphs and a few pictographs on either side of an eddy formed by a series of sharp bends in the Snake River. These images provide links to the past, reminding us of the timeless connection humans have to this land.\nKnown as Buffalo Eddy, the site takes its name from images on the Idaho side of the river, depicting bison chased by Indians on horse back. The unique petroglyphs of this area are evidence of the longevity of the Nimiipuu in the region and contain hundreds of distinct images that possibly date from as early as 4,500 years ago and continue to just a few hundred years ago. The fact that this site was used for so long suggests that it was very important to the people who lived here.\nWhat is a Petroglyph?\nPetroglyphs are made by removing the outer weathered surface of rock to reveal the unweathered rock underneath. This is done by pecking, rubbing, scratching, or incising the surface with a harder rock, such as quartzite.\nThere are several styles of petroglyphs at Buffalo Eddy. Some are naturalistic with human figures and animals such as bighorn sheep, elk, and deer. Some figures at the site appear to hold an item that looks like a dumbell. This may represent a double headed rattle or paddle. Groups of naturalistic animals and humans in a single panel may tell a story related to hunting, or may have had spiritual significance to the artist who carved them. Still others consist of abstract designs and patterns that include dots, circles and triangles.\nWhat is a Pictograph?\nWhereas petroglyphs are literally scratched into rock, pictographs are made by painting or drawing on the rock surface with pigments. These pigments were made from minerals that could be found in the area. The pigment was turned into something akin to paint by mixing the pigment with water, urine, blood, saliva, raw egg, or animal fat. These binders help the minerals adhere to the rock. The pigment was applied with fingers or a brush-type implement. Over time this pigment actually becomes a part of the rock.\nDating Rock Art\nThe subject matter of rock art can often help determine a possible age. For example, the Nimiipuu obtained the horse around 1630, therefore pictograph panels containing horses were probably made after that date.\nRock art showing an ancient hunting tool called an atlatl, which was used prior to the introduction of the bow and arrow, would suggest an age of at least 2,000 years. In some cases datable artifacts like an arrowhead found at the base of a partially buried rock art panel, can suggest a minimum date for the art. The petroglyphs that consist of abstract designs and patterns that include dots, circles and triangles, are considered to be the oldest at Buffalo Eddy.\nThere have been many advances in research to date rock art through scientific analyses. Some petroglyphs can be dated based on an analysis of the weathered varnishes or patination that forms over rocks as they age. This method compares the varnish layers from the unpecked surface with the varnish of a pecked surface. Pictographs can be dated by testing very small samples of the pigment removed from the surface of the rock. Unfortunately, using either dating method damages the resource, so in most cases anthropologists prefer to approximate relative ages by comparing styles of petroglyphs across wide areas.\nWhat Do These Images Mean?\nThe petroglyphs and pictographs at Buffalo Eddy reflect a rich culture. Anthropologists who study rock art can often find patterns in the symbols that are found in the Columbia River Basin, and can make educated guesses on why symbols were painted or pecked into rock faces. Perhaps the figures and symbols are a form of storytelling or an expression of spirituality. They could even be a form of artistic expression.\nWhile scientists can make assumptions, ultimately no one but their creators know the exact significance of the images. We cannot hope to reconstruct the day of their creation. Was it done through a shaman's chants and intricate dance steps during an elaborate ceremony, or during a moment of introspection experienced by solitary visitors? All we have is the silent testimony of ancient images to pique our imaginaiton, and every person who sees them today takes away their own meanings.\nRespecting Sacred Ground\nThese ancient petroglyphs are sacred to the Nimiipuu and protected by federal law. Although the art remains fairly well preserved, it takes only one senseless act of vandalism to destroy this fragile resource. The digging, collection, or damaging of these resources is a felony office punishable by fines up to $100,000 or imprisonment or both. Please help us protect and respect Buffalo Eddy by taking only photographs and leaving only footprints so that generations of visitors to come will be able to experience them.\nLast updated: July 21, 2020", "id": "<urn:uuid:23835fce-59a9-4412-9fe6-577ca638be58>", "dump": "CC-MAIN-2022-21", "url": "https://home.nps.gov/nepe/learn/historyculture/buffalo-eddy.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662584398.89/warc/CC-MAIN-20220525085552-20220525115552-00167.warc.gz", "language": "en", "language_score": 0.9615583419799805, "token_count": 1062, "score": 3.578125, "int_score": 4}
{"text": "Anchor Standard 3: Refine and complete artistic work.\nTH:Cr3.1.5.a. Revise and improve an improvised or scripted drama/theatre work through repetition and self-review.\nTH:Cr3.1.5.b. Use physical and vocal exploration for character development in an improvised or scripted drama/theatre work.\nAnchor Standard 4: Select, analyze, and interpret artistic work for presentation.\nTH: Pr4.1.5.a. Describe the underlying thoughts and emotions that create dialogue and action in a drama/theatre work.\nTH: Pr4.1.5.b. Use physical choices to create meaning in a drama/theatre work.\nAnchor Standard 6: Convey meaning through the presentation of artistic work.\nTH: Pr6.1.5.a. Present drama/theatre work informally to an audience.\nAnchor Standard 7: Perceive and analyze artistic work.\nTH:Re7.1.5.a. Explain personal reactions to artistic choices made in a drama/theatre work through participation and observation.\nUtah State Core: Theater \u2013 5th Grade\nStandard 1: Playmaking\nThe student will plan and improvise plays based on personal experience and heritage, imagination, literature, and history for informal and formal theatre.\nObjective 3: Describe and explain plot structure in terms of conflict.\nUtah State Core: English Language Arts Grade 5\nRL 2: Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text.\nRL 5: Explain how a series of chapters, scenes, or stanzas fits together to provide the overall structure of a particular story, drama, or poem.\nRF 4: Read with sufficient accuracy and fluency to support comprehension.\nRead grade-level prose and poetry orally with accuracy, appropriate rate, and expression.\nWhy are strong acting choices essential to interpreting a drama or theatre piece?\nWhat happens when theatre artists share a creative experience?\nWhat are the components of an effective story?\nTheatre artists make strong acting choices to effectively convey meaning.\nTheatre artists share and present stories, ideas, and envisioned worlds to explore the human experience.\nIt is helpful if students have already explored and selected their stories for the storytelling unit. If they bring copies of their stories to class, students will have an easier time creating their story maps and rehearsing.\nLesson 1: Story Maps\nLesson 2: Character Voices\nComplete lesson plans are included in the attachment.\nThese lessons are intended as an introduction to a storytelling unit to prepare students for an event such as Utah\u2019s Timpanogos Storytelling Festival or the Jordan Schools District Story Weaver\u2019s Festival. Teachers should have copies of published folk tales, fairy tales, myths, legends, fables, and tall tales available for students to select their stories. After learning how to map the beginning, middle, and end of a story in these lessons, students should be prepared to map their own selected stories and begin rehearsing for the festival.\nGuidelines for the story festival might include\nStories must be told from memory and not read aloud.\nStories should be 3-5 minutes long.\nThe story must be a published folk tale, fairy tale, myth, legend, fable, or tall tale.\nThe story should have a recognizable beginning, middle, and end with supporting details.", "id": "<urn:uuid:7c421c87-ccb5-4427-bd8e-36e0e54e676f>", "dump": "CC-MAIN-2022-21", "url": "https://tedb.byu.edu/?p=4502", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545326.51/warc/CC-MAIN-20220522094818-20220522124818-00567.warc.gz", "language": "en", "language_score": 0.8887426853179932, "token_count": 792, "score": 4.09375, "int_score": 4}
{"text": "One of the fun parts of teaching writing is reading my students\u2019 papers. In Level 1, we write stories in a very specific format, known as the \u201c3-Paragraph Story.\u201d This assignment is designed to practice the elements of literature, so that when we begin literary analysis, the students can recognize the literary elements of the story.\nOne of the 3-Paragraph Story assignments includes the option of making up a story or of using a conflict and plot from an existing story, changing the characters and setting. This is what 7th grader Aiden Rolle did in his story. He rewrote the old \u201cFox and Crow\u201d story with changed characters in a VERY modern setting. Here is the original story:\nOne morning a plain, black crow sat on a branch holding in her beak a piece of cheese.\nAlong came a fox, who had smelled the cheese. The fox came and stood under the tree, saying politely to the crow, \u201cGood morning, my friend. My, how well you are looking today!\u201d The crow was very pleased at this, but of course could not reply because of the cheese she held in her mouth.\n\u201cYour eyes are the most beautiful I have seen,\u201d the fox went on, \u201cand your feathers\u2014how black and glossy they are.\u201d The crow was even more pleased but still said nothing. She just sat on her branch and swelled with pride.\n\u201cI have been told,\u201d he continued, \u201chow beautifully you sing, and I should like so much to hear you! Your voice could not possibly be so lovely as your feathers, but if it were, why, you would be the most wonderful bird in the world! Do sing just a few notes for me, won\u2019t you?\u201d This was too much for the crow. She opened her beak wide, cawed loudly and dropped the cheese right into the mouth of the waiting fox.\n\u201cThank you so much,\u201d said the fox, eating the cheese. \u201cYour song was very ugly, but your cheese was delicious. Perhaps next time you won\u2019t be so ready to believe everything you hear.\u201d With that, the fox laughed and trotted off into the woods.\nHere is Aiden\u2019s story. Note the following:\n- The 3rd \u201cparagraph\u201d appears in a series of short paragraphs due to Aiden\u2019s correct indication of dialogue.\n- The bold underlined words are different types of \u201cdress-ups,\u201d an IEW style technique used in each paragraph.\n- The numbered sentences indicate the six sentence types, another IEW style technique.\n- The underlined italicized words indicate descriptive words of the five senses, a style technique that I have added to the IEW techniques.\nI hope you enjoy it as much as I did. \ud83d\ude42\nThanks for Making Me a YouTube Star\nBy Aidan Rolle\nWith a tummy still full of juicy turkey, buttery mashed potatoes and creamy pumpkin pie, Joey set off on his bike to the best shoe store in his hometown of Bulletonville, Illinois, Rack Room Shoes. His heart pounded with anticipation and although he had feasted just hours before, surprisingly, there was room for swift butterflies in Joey\u2019s belly and they were fluttering as if there was an Olympic competition happening. Joe was anxious. Joe was confident. Joe was determined. Only the brave survived \u201cBlack Friday\u201d shopping. Biking hard to arrive at the store on time, Joey was ready to pay too much money for footwear.  Because having the latest shoe was the only way to stay in the cool crowd, everyone was on a mad dash for the sparkling new \u201cAir Jordan Kobe XX5 Kid Siko Mo Edition\u201d sneakers, which all the \u201cexemplary kids\u201d wore. Additionally, The \u201cAir Jordan XX5 kid siko mo edition\u201d sneakers boasted the gel cushioned memory air technology capable of trimming three seconds off of a runner\u2019s time, which was exactly what he needed to compete on the school track team.\nJoey was the coolest kid imaginable in his mind, so he needed those shoes no matter what. The problem was he knew he was not the only one who just had to have those shoes. Arriving as soon as the store opened at midnight, Joey dashed right to the sneaker aisle because he just had to get there first. Unfortunately, taller, bulkier adults were already busy clamoring. Orange boxes with a bold white swish scribbled on the side seemed to fly through the air.  He jumped. He reached. He bobbed his sweat glistened head up and down to prevent getting hit.  As the crowd cleared, all of the precious sneakers were gone.  Up at the top of an eight-foot shelf sat a set of Nike boxes and Joey felt his heart beating fast as hope filled him. Depressingly the only boxes left were the old \u201cNike XX2 child edition\u201d sneakers, which were released in boring, drab, stinking 2020. His hope died, but he was still determined to find a way. Before him stood a smug arrogant man, who was smirking gleefully. He wore denim overalls and a olive green plaid shirt. Noticing the man\u2019s muddy cowboy boots, Joe felt as if this guy did not even deserve those awesome sneakers, since he failed to keep his own boots clean.\n\u201cHa! You lookin\u2019 for the new \u2018Air Jordan Kobe XX5 kid siko mo Edition\u2019 sneakers? I got the last one!\u201d the guy boasted.  Joey tried to keep cool.  He plotted. He planned. Joey knew what he had to do.  Expertly, Joey lied because he knew this was his last chance.\n\u201cNo sir, I have no interest in that sneaker, I\u2019m more of a gamer myself, but I was thinking about grabbing those \u2018Nike XX2 child edition\u2019 sneakers! They\u2019re just so high on that shelf. Could you grab one for me?\u201d\nMockingly, the young man scoffed .\u201cWhy would I do that?!\u201d Just get them yourself and besides my hands are full.\u201d\n\u201cCome on, man, don\u2019t you remember what it was like to be younger and smaller? I can\u2019t reach them and you are so tall! If you do me this favor, I could record it and tell all of my friends and followers about you being my hero! You may have heard of me; I have a YouTube channel with a million followers.\u201d Of course Joey really only had a dozen followers on his gaming channel, but if everything went as planned, this stunt could make him internet famous\n\u201cWell, that is enticing\u201d, the man contemplated out loud \u201cAre you sure I\u2019d be a famous hero?\u201d\n\u201cAll around the world!\u201d the boy reassured him.\n\u201cOk! Well I guess I can help you out,\u201d the man nonchalantly remarked in an effort to hide his excitement at the prospect of going viral. Because the man wanted to show off for the camera, he dropped his box of the precious sneakers down too hard and the top of the box sprang open. Joey scooped up the box and ran toward his bike.\nAs Joey tossed his payment at the cashier, he called back to the shocked man, \u201cHa! Maybe next Black Friday you won\u2019t believe everything you hear! Thanks for the shoes and for making me a YouTube star!\u201d\n\u00a92021 Aiden Rolle. Used with permission.", "id": "<urn:uuid:54e72470-831e-4b17-8918-de539a5c50a1>", "dump": "CC-MAIN-2022-21", "url": "https://writingwithjennifer.com/2021/08/27/not-good-at-writing-stories-try-it-the-iew-way/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00767.warc.gz", "language": "en", "language_score": 0.9793843030929565, "token_count": 1665, "score": 3.625, "int_score": 4}
{"text": "Science & Nature\nPreschool Explorers Discover Antarctica Using Your 5 Senses!(1 Day/Ages 3-6 Yrs)\nJoin us on a 1 day excursion where we will journey on a learning expedition to Antarctica to explore with our 5 senses all that it has to offer!\n447 total reviews for this teacher\n18 reviews for this class\nCompleted by 97 learners\nThere are no upcoming classes.\nlearners per class\nHow does a \u201cOne-Time\u201d class work?\nMeets once at a scheduled time\nLive video chat, recorded and monitored for safety and quality\nGreat for exploring new interests and different styles of teachers\nHow Outschool Works\nThere are no open spots for this class.\nYou can request another time or scroll down to find more classes like this.\nWe are going to discover Antarctica using our five senses ! (Don't forget to bring your ingredients for the snack that we will make together too!) * \"Good Morning/Introduction\" song * Introduce the 5 senses with song: \"We Use Five Senses!\" Song * Penguin's Snack: (SIGHT, SOUND, TASTE, SMELL, TOUCH) Make a yummy penguin snack with goldfish crackers and 2 other snacks of your choice. (See supply list below) What colors of fish do you have? What other snacks did you choose to put in your...\nLearners will demonstrate the following skills: (Aligned with the Colorado Academic Standards/Colorado Early Learning and Development Guidelines) SOCIAL DEVELOPMENT: *Social Relationships: Healthy interaction with adult and peers * Self Concept and Self Efficacy: The perception that one is capable of successfully making decisions, accomplishing tasks, and meeting goals. ENGLISH LANGUAGE DEVELOPMENT: * Engagement in English Literacy Activities: Understanding and responding to books, storytelling and songs presented in English. * Expressive Language: The ability to use language. PHYSICAL DEVELOPMENT: * Gross Motor Skills: The control of large muscles for movement, navigation and balance. * Fine Motor Skills: The control of small muscles (utensils, self-care, building and exploring) LITERACY KNOWLEDGE AND SKILLS * Book Appreciation and Knowledge: The interest in books and their characteristics, and the ability to understand and get meaning from stories and information from books and other texts. * Phonological Awareness: An awareness that language can be broken into words, syllable and smaller pieces of sound. * Print Concept and Conventions: The concepts about print and early decoding. * Symbolic Representation: The use of symbols of objects to represent something else. * Reasoning and Problem Solving: The ability to recognize, understand, and analyze a problem and draw on knowledge or experience to seek solutions to a problem. MATHEMATICS KNOWLEDGE AND SKILLS * Number Concepts and Quantities: The understanding that numbers represent quantities and have ordinal properties (number words represent a rank order, particular size, or position in a list). * Number Relationships and Operations: The use of numbers to describe relationships and solve problems. SCIENCE KNOWLEDGE AND SKILLS * Scientific Skills and Method: The skills to observe and collect information and use it to ask questions, predict, explain and draw conclusions. * Conceptual Knowledge of the Natural and Physical World: The acquisition of concepts and facts related to the natural and physical world and the understanding of naturally-occurring relationships. SOCIAL STUDIES KNOWLEDGE AND SKILLS: * Self, Family, and Community: The understanding of one's relationship to the family and community, roles in the family and community and respect for diversity. * People and the Environment: The understanding of the relationship between people and the environment in which they live. CREATIVE ARTS * Music: The use of voice and instruments to create sounds. * Creative Movement and Dance: The use of the body to move to music and express oneself. * Art: The use of a range of media and materials to create drawings, pictures, or other objects. APPROACHES TO LEARNING * Initiative and Curiosity: And interest in varied topics and activities, a desire to learn, creativity and independence in learning. * Cooperation: An interest and engagement in group experiences.\n*Bring an object to class that represents the Antarctic for \"Show and Tell\"! *Bring ingredients for snack: Any flavor of goldfish crackers will work + up to 2 other snacks learner likes. Alternatively, learners can also bring snacks that are black and/or white (maybe an Oreo) - like a penguin or an orca! *Wear something that is \"Antarctica\" related to class! (Warm clothing or clothing with an animal from Antarctica on it!) *All items are optional but are intentionally planned to support learning by using all of our 5 senses in the classroom!\n*Bring an object to class that represents the arctic for \"Show and Tell\"! *Bring ingredients for snack: Any flavor of goldfish crackers will work + up to 2 other snacks learner likes. Alternatively, learners can also bring a snacks that are black and/or white (maybe an Oreo) - like a penguin or orca! *Wear something that is \"Antarctica\" related to class! (Warm clothing or clothing with an animal from Antarctica on it!) *All items are optional but are intentionally planned to support learning by using all of our 5 senses in the classroom!\nLearners will not need to use any apps or websites beyond the standard Outschool tools.\n45 minutes per week in class, and an estimated 0 - 1 hours per week outside of class.\nParents may want to be in the vicinity of their learner in case of technical difficulties.\nNicole CloutierLicensed Elementary Teacher, M.A.\n447 total reviews\n671 completed classes\nKids have been a part of my life since I was one! From babysitting, camp counseling and working in Early Childhood Educational facilities to teaching all subjects to elementary school children in public/private schools and hospitals, to co-owning...", "id": "<urn:uuid:94439e05-e02a-4595-9ab5-8ff946207c02>", "dump": "CC-MAIN-2022-21", "url": "https://outschool.com/classes/preschool-explorers-discover-antarctica-using-your-5-senses-GDbJD71c", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577757.82/warc/CC-MAIN-20220524233716-20220525023716-00566.warc.gz", "language": "en", "language_score": 0.902917742729187, "token_count": 1308, "score": 3.9375, "int_score": 4}
{"text": "Play is a defining feature of human development. The impulse to play is hardwired into who we are, and we spend our lives learning and growing through different stages of play. If we want to use play with intent, it is crucial we recognize that play impulse is one thing and understanding the mechanics behind the act of playing is another. The fundamentals of play are not always so natural and they often require careful planning in the classroom. When we intentionally use play to teach and learn, we will make breakthroughs in our educational experiences.\nPlay-based learning helps engage students of all ages in their education and has cognitive, physical, social, and emotional benefits. In addition, it supports skills like collaboration, communication, and creativity. For teachers, offering play-based learning in the classroom can feel challenging when mandated programs and standardized tests are requirements of many school districts. The key here is finding a balance between academic expectations and the developmental needs of young students.\nDefining a Play-Based Approach to Learning\nA play-based learning approach involves both child-initiated and teacher-supported learning. The teacher encourages children\u2019s learning through interactions that aim to bring their thinking to higher levels. For example, while children are playing with blocks, a teacher can ask questions that encourage problem solving, prediction, and hypothesizing. The teacher can also intentionally bring the child\u2019s awareness towards mathematics, science, and literacy concepts. For example: How tall can this get? How many blocks do you need? Can you blow the blocks down? Who else does that? These simple questions elevate the simple stacking of blocks to application of learning. Through play like this, children can develop social and cognitive skills, mature emotionally, and gain the self-confidence required to engage in new experiences and environments. The benefits of play-based learning do not end in the classroom \u2013 they stay with us throughout our lives and are a piece of the foundation of who we are and who we become.\nUnderstanding the Value of Play\nWhen children engage in both real\u2010life and imaginary activities, play can challenge their thinking. During play, children use all of their senses, convey their thoughts and emotions, explore their environment, and connect what they already know with new knowledge and skills.\nDuring play, children test out new knowledge and theories and reenact experiences to solidify understanding. And it is here where children first learn and express symbolic thought, a necessary precursor to literacy. Play is the earliest form of storytelling, and it is how children learn how to negotiate with peers, problem-solve, and improvise.\nAlso, it is in play that basic social skills, like sharing and taking turns, are learned and practiced. Children also bring their own language, customs, and culture into play. They learn about their peers and themselves in the process.\nTemple University Professor Kathy Hirsh-Pasek, an expert in developmental psychology, said, \u201cLearning how to play teaches collaboration and community building, which aids language development through listening and talking. Language, in turn, is necessary for reading, writing, math, and every subject after. Critical thinking skills are also developed by creativity and innovation learned through play. And play teaches skills such as the confidence to learn from failures.\u201d\nHow Teachers Can Encourage and Promote Play-Based Learning\nTeachers can enhance play-based learning in their classrooms by creating environments in which thought-out play experiences can happen. Teachers have the amazing ability to understand the nuances of education and how learning works, and they know how to apply different learning methods to each student, one at a time. Teaching children how to learn is a strong need in every grade level, and one approach is not going to work for everyone. Play-based learning is an extremely broad learning method and has the capacity to fluctuate so that every student, regardless of age, gender, ethnicity or educational level, can thrive and flourish.\nEvery student learns through play in a variety of different ways. Some use play to explore the world, others to gain language...the list goes on forever. We have also recognized that play is a natural impulse\u2014like getting hungry, or crying when upset, children play. Educators should learn into this natural impulse and find ways to increase the time spent on play in the classroom. Whether you create centers for dramatic play, bring in costume boxes, explore problem solving with board games, or design your own multiplication board game or even better, have your students design that game, lean into it. If you use what is part of a child\u2019s fabric to enhance instruction and learning, there are no limits.", "id": "<urn:uuid:e4cfaa92-7f84-4127-852e-ab8fa687ab02>", "dump": "CC-MAIN-2022-21", "url": "https://www.corbettinc.com/post/play-based-learning-what-it-is-and-why-it-should-be-a-part-of-every-classroom", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663011588.83/warc/CC-MAIN-20220528000300-20220528030300-00161.warc.gz", "language": "en", "language_score": 0.9637038111686707, "token_count": 940, "score": 4.4375, "int_score": 4}
{"text": "What Are the Benefits of Teaching Folktales?\nFolktales tell a short story based on oral traditions. Add a bit of magic and a moral to the story in which good defeats evil, and the folktale becomes a fairy tale -- a genre of folktale. Teaching children folk stories and fairy tales offers a number of practical benefits, including sharing cultural traditions between generations and exploring important life lessons. Children develop a sense of imagination when reading and studying folktales, and retelling the tales to others helps practice important communication skills.\n1 Life Parables and Cultural Bridges\nMany folktales use morals as an important message or theme. Tales with morals create a foundation to talk with children about important life lessons. Historical folktales written by Mason Locke Weems claim that a young George Washington admitted chopping down a cherry tree to his father, and a youthful Abraham Lincoln walked miles to return borrowed reading books. Both fictional tales present an important life lesson for moral development for young readers in stressing the importance of telling the truth and keeping a promise, even when the action causes distress. Artist Grant Wood recreated the fictional story in a famous painting of Washington with an ax to remind both children and adults of this life lesson. Many cultures share folktales using various story titles and featuring characters with different names. Teaching folktales also shows children that diverse cultures share important traditions.\n2 Communication Skills\nChildren learn communication skills by talking with others and by developing an interesting message to attract the attention of listeners. Retold folktales allow young people a way to practice memory skills by learning stories to share with others. Children sometimes add a unique interpretation of the story and give personality to the characters to spin the tale with a personal touch. Reading folktales and listening to tales also helps reinforce the child's basic listening, grammar and vocabulary skills.\n3 Literature Foundation\nFolktales typically have a plot and a core of general and supporting characters. Children listen to story details and learn the story line to share with peers or family members, and this helps develop the child's ability to recall details and to describe personalities and actions. Folktales also help children understand that stories typically have basic elements, including a beginning, middle and an end that leaves the listener with closure. Teachers can build on this story foundation to teach more sophisticated literature.\n4 Imagination and Morals\nExtremely young children accept fictional characters with special or magical skills and talents, and teaching literature through folktales helps children develop a sense of imagination. Folktales give children easy-to-follow examples of storytelling for use in their own fictional writing. Talking about folktales and teaching fairy tales in a formal classroom setting gives the teacher opportunities to explore imagination and reality with children and to discuss the difference between the two different concepts.\n- 1 University of Virginia Papers of George Washington: Learning About George Washington\n- 2 University of Chicago Divinity School: What Is a Folk or Fairy Tale?\n- 3 iEARN: Share -- Folk Tales\n- 4 Weber State University: Introduction\n- 5 University of Tartu; Fairy Tales in Teaching English Language Skills and Values in School Stage II; Maria Lepin\n- 6 Journal of the Imagination in Language Learning and Teaching; The Magic of Folktales for Teaching English and Culture; Planaria Price", "id": "<urn:uuid:0bb3e897-01d7-4be9-8ef4-36f5875d677b>", "dump": "CC-MAIN-2022-21", "url": "https://classroom.synonym.com/benefits-teaching-folktales-12280918.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662561747.42/warc/CC-MAIN-20220523194013-20220523224013-00767.warc.gz", "language": "en", "language_score": 0.9062812328338623, "token_count": 671, "score": 3.546875, "int_score": 4}
{"text": "No writer has ever fallen short of words and ideas for long write-ups. Many of them would attest that short writing pieces require more effort, research, and thinking. This is why editing a written piece is more difficult than writing itself.\nThe students won\u2019t understand this at this stage, but you can actually instill smart thinking and writing skills with short assignments. For a fact, students, with all their naiveness, find long assignments difficult. Such tasks also become a nuisance for teachers as grading them is more arduous.\nShort writing assignments are indeed a win-win for both. When you switch to shorter assignments, your students will feel more excited about completing them. So, here\u2019s how you can make the best use of this opportunity.\nExperimenting with Brief Assignments\nWhile there is no limitation to the kind of assignments you can ask your students to do, you have plenty to explore with brief writing assignments. This is different from long-form ones. Students often turn to an essayservice because working on multiple projects from different subjects at once gets tiring for many of them.\nThese short assignments can do wonders for your class engagement and effective skill development. And more importantly, you can have them complete these tasks in the class while monitoring everyone\u2019s performance in real-time. This does not only saves you time for other errands of your profession but also gives students space for other activities at home.\nIn this article, we will learn about ways to incorporate short writing assignments into your course.\nTypes of Short Writing Assignments\nThe best thing about these kinds of assignments is that you can include them in your class schedule or get them done right after a lesson.\nComposing an elaborative argument is less demanding than summarizing a chapter in 50-100 words. This activity will push your students to focus more on the theme of the lesson. Initially, you will have to guide students about how they can create better summaries. Once they are equipped with the necessary skills, it will enhance their comprehension and grasping ability in the class.\nYou can show them how they should read effectively while taking notes of important information simultaneously. Then, they should compile the main theme and author\u2019s message in a short paragraph in the most meaningful way. You can increase the intensity of the activity by using longer reading assignments.\nYour students can excel at writing summaries by reading and giving appropriate attention in the class while you are teaching the subject.\nCreative Writing Prompt\nIf you want to make assignments more fun and engaging, you can try creative writing prompts for your students. This exercise calls for your imagination and creativity. You can also search the Internet for ideas.\nAssign an out-of-the-ordinary topic that is related to the concept you are teaching. Ask the students to write a short response to the topic using their imagination. This activity is more advantageous in subjects like history, English literature, political sciences, etc.\nThe kind of topics you may choose are the following.\n- If your brain were a tangible, physical place, what would it be like?\n- Finish this statement: \u201cMy ideal day begins like this:\u201d\n- Borrow a character from some other form of media (or create your own). Write from that character\u2019s perspective.\nYou can take some fictional characters to create scenarios and ask students to write a response.\nAnother interesting exercise can be asking your students to prepare one question related to the chapter you are teaching. You can ask them to be as imaginative as they can get and come up with out-of-the-box questions. They have to write the prompt question and its answer in their notebook.\nStudents must know that they are themselves going to answer each other\u2019s questions. Once the lesson is over, have them ask questions one by one while giving time to the class to answer each. You can also create pairs who will respond to each other\u2019s prompts.\nYou will monitor the activity, review random questions and answers, and tailor questions to simplify or make them more intriguing. This short in-class assignment will improve your students\u2019 perspective and critical thinking.\nYou cannot keep the tech-kids away from the Internet, and there\u2019s no reason for you to do that. You can instead turn this into your favor by encouraging your students to create blogs. Have them journal their learning in the blog or assign topics to them.\nThese blog assignments are different from essay writing in many ways. One, they are not structure-bound. Two, the length of the blogs can be as short as 300-500 words. Besides, your students will be more excited to blog instead of completing some boring tasks.\nWith these kinds of assignments, you will help them explore the infinite horizon of the Internet and learn from other resources in addition to what they study in the class. You will also be able to assess the assignments quickly and provide feedback in comments.\nDo Not Forget the Basics\nWhile inducing short assignments in your classes, you should supervise that your students adhere to and learn the basics of writing. With brief writing projects, you can equally pay attention to each student and help them rectify their faults.\nGrammar, punctuations, tone, style, flow, and structure are important aspects of writing skills. Do not forget to incorporate these factors into your assignments.\nReplacing long-form writing assignments such as essays and research papers with short ones is a revolutionary decision that you will take in your favor. Giving your students an essay project should not be skipped completely, but loading them such homework every week can get overwhelming for them. With careful selection of tasks and effective execution, you can achieve similar goals with brief writing prompts.", "id": "<urn:uuid:6384280b-b13a-42ce-9ddb-9cf5041d30e3>", "dump": "CC-MAIN-2022-21", "url": "https://cupertinotimes.com/the-power-of-short-writing-assignments/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662519037.11/warc/CC-MAIN-20220517162558-20220517192558-00566.warc.gz", "language": "en", "language_score": 0.956298291683197, "token_count": 1191, "score": 3.78125, "int_score": 4}
{"text": "To fully perceive what someone else is experiencing, you need to be able to empathize with them. You have to put yourself in their shoes and visualize how they\u2019re feeling. By doing this, you let them know they\u2019re not alone and you are their witness: you understand what they\u2019re going through.\nEmpathy is one of the most important skills you can teach a child. Not only will this make them better people and help create an inclusive space for children of all abilities, but it\u2019ll also help them become emotionally aware and let them build meaningful relationships. They\u2019ll also expand their perspective because they\u2019ll be able to examine a situation through someone else\u2019s eyes.\nTeaching your child how to be empathetic doesn\u2019t need to be an elaborate exercise. Simple tricks and tweaks can really help. Here\u2019s how you can inculcate empathy in your children:\nSet a good example\nIt\u2019s not effective enough if you simply tell your child to do something. A better strategy? Show your child what you want them to do. Leading by example is one of the best ways to help your child learn something new.\nIf you want your child to be more empathetic, you should teach them what empathy looks like through your words and actions. For example, if you\u2019re at the park and one of the kids gets hurt, you can say something like, \u201cThat must be really difficult to bear. I\u2019m sorry you\u2019re hurt. I also always found these cuts and bruises painful when I was your age. What can I do to ease your pain?\u201d\nIf your child sees you empathizing with other people, they\u2019re more likely to remember it and emulate your behaviour instead of mocking someone or laughing at them. Remember: empathy can be taught and your child can learn to consciously embrace it in their lives.\nTalk to them\nCultivate a welcoming environment at home where it\u2019s possible for everyone to talk to each other about their feelings. Your child needs to be tuned into their emotions before they can recognize someone else\u2019s feelings and acknowledge them.\nEncourage your kid to express themselves and use the right words to identify their feelings. For instance, if they\u2019re being unusually quiet after a long day at school, ask them about it. This may require some prompting from your side. Ask questions like \u201cAre you sad?\u201d or say something like \u201cI had a really bad day last week. You know what helped me? Going for a long walk and getting some fresh air.\u201d\nEncourage your kid to express themselves.\nTalking is a simple but powerful tool because it\u2019ll let your child know that it\u2019s OK to say what they really want to say. They won\u2019t need to bottle up their feelings when they\u2019re dealing with negative emotions such as sadness or anger. This will also help them tackle their emotions in a healthy manner without resorting to hurtful methods such as lashing out or throwing tantrums.\nYou can use toys and videos to make this process easier. For example, while watching a cartoon together, if the protagonist seems upset, press pause. Ask your child about the lead character\u2019s situation by using simple questions like \u201cHow are they feeling right now?\u201d or \u201cWhy are they feeling this way?\u201d\nIt\u2019s essential to give your child room to appreciate and recognize certain thoughts and feelings. This will help them identify with what others are going through and allow them to relate to their situation.\nEmbrace age-appropriate techniques and be patient\nConsider your child\u2019s age while teaching them about empathy. If your child is younger, it\u2019ll be helpful to use a prop such as their favourite toy to explain the concept of kindness. You could teach them to be gentle and not lash out at their toy when they\u2019re angry or frustrated.\nFor an older kid, you can try a role-playing game that can make it easier for them to understand other people\u2019s perspectives.\nWith teens, you can even prepare a short questionnaire after watching a movie and examine the lead character\u2019s predicament together. You can make notes on how you felt about the protagonist\u2019s situation and compare it with their answers.\nAlways be sensitive to your child\u2019s feelings and avoid showing signs of impatience around them. If they\u2019re feeling extremely low about something, give them a hug and reassure them. Let your child know their emotions are valued and you care about how they feel. Allow them to acknowledge their feelings instead of rushing the process.\nMake empathy a habit\nThis shouldn\u2019t be an occasional exercise that is implemented when a difficult situation crops up. You should practice empathy regularly at home and make it a daily occurrence in your kid\u2019s life.\nPositive actions and words can act as reinforcement and motivate your child to do better. If you see your child help someone else, compliment their act of kindness and encourage them to do it again.\nHave regular discussions with your kid on the topic. For instance, if someone in your social network is going through a tough time, talk about that and say, \u201cThis isn\u2019t an easy time for them. They\u2019re very sad right now. How can we help them feel better?\u201d\nYou can use books to introduce them to empathy as well. A good option is \u201cCome With Me\u201d by Holly M. McGhee that revolves around a little girl trying to contribute to the world in her own way after feeling inspired by her parents\u2019 acts of kindness.\nBe mindful about introducing your child to a diverse, multicultural environment whenever possible. Being surrounded by people from varied backgrounds can really help your kid practice empathy and appreciate how different lives are led. You can even make sure they\u2019re exposed to popular culture from other parts of the world instead of books and music from their home country.\nPositive actions and words can act as reinforcement.\nEmpathy doesn\u2019t have to be limited to people. It applies to animals as well. Talk about how pain is universal and animals feel pain just like we do. In a children\u2019s book, \u201cHow to be a Lion\u201d by Ed Vere, Leonard, a lion and his closest friend, Marianne, a duck, choose kindness and friendship over everything else when they\u2019re forced to tackle mean bullies from the jungle. Read such stories to your child and encourage them to ask questions about the plot, the characters and their experiences. Urge them to think about what they\u2019ve learned from the storytelling session.\nPromoting empathy and raising a considerate child isn\u2019t impossible. It requires a bit of mindfulness, a loving environment, regular practice and great role-models. Do not underestimate the power of words and encourage your child to choose their words wisely whenever they talk about someone. This will help children be kinder and more empathetic whenever they have to confront a new situation.", "id": "<urn:uuid:0e0967da-77f7-438b-9936-99e8296e360f>", "dump": "CC-MAIN-2022-21", "url": "https://resetfest.com/five-ways-you-can-teach-your-child-empathy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662520817.27/warc/CC-MAIN-20220517194243-20220517224243-00768.warc.gz", "language": "en", "language_score": 0.9551798105239868, "token_count": 1480, "score": 4.0625, "int_score": 4}
{"text": "This post was written by educator Emily Vizzo.\nMany teachers found themselves teaching online for the first time when COVID-19 shut down schools last spring. Making that transition from classroom to online learning may feel overwhelming, but evidence-based practices, teaching strategies, and professional intuition still translate to a virtual environment! Having high-quality, age-appropriate, and interesting resources at your fingertips can help keep students engaged, even when you aren\u2019t physically together in your classroom.\nI\u2019ve spent the past four years developing my distance education pedagogy. Here are some of the resources I\u2019ve found most helpful to keep students engaged from behind their screens:\nKeeping Up with Current Events\nThis past spring, coronavirus was top of mind for nearly all of my students, and misinformation abounded. We used National Geographic resources like the C.M. Tomlin article, \u201cFacts About Coronavirus,\u201d to help make sense of current events. Examining high quality, developmentally-appropriate expository text helped students access essential information about the pandemic during synchronous 45 \u2013 60 minute live sessions.\nAs students volunteered in the chat box, I would invite them to read. I\u2019d also read sections aloud so that students could experience my flow and cadence while following along and developing their listening skills\u2014 just like in a traditional classroom.\nClose Reads, Text Features\nWe also used National Geographic resources for close reads and to analyze text features. For example, in \u201cFacts About Coronavirus,\u201d we talked about the etymology and root word for complex vocabulary such as \u201czoonotic.\u201d We examined the page\u2019s text structure, organized in Q&A format, and discussed why this was an effective choice. We talked about POV, and why Tomlin might have opted to address readers directly with the second-person \u201cYou.\u201d\nWe talked about Tomlin\u2019s reference to the World Health Organization and how threading high-quality resources into writing boosts credibility. We looked at Tomlin\u2019s asides (parenthetical and via hyphen/em-dash) and use of humor \u2014 with sentence fragments like \u201cNope.\u201d\u2014 to create a friendly, assuring tone that made dense scientific content more accessible.\nThematic Units of Study\nWe incorporated National Geographic resources into monthly themes, too. In April, most of our humanities-based live lessons focused on climate change in honor of Earth Day. We read an interview with Jane Goodall and watched NatGeo videos like this one and this one. (To tie in high-quality external resources and current events, we took a look at this New York Times article about Jane Goodall sheltering in place during the coronavirus).\nWe read this Rose Davidson article about the history of Earth Day, reading the introduction together and then finishing the article silently. (I kept time in the chat box to keep us focused.) Students then shared into the chat box or turned on their mic to identify which earth-saving tip they planned to implement. In another example, students silently read this article about Greta Thunberg and then we came back together to share a surprising fact.\nOnline sessions can be harder to manage than in a brick-and-mortar classroom because if you\u2019re working in a platform where students\u2019 cameras are off, students don\u2019t have cameras, or students have chosen to keep their cameras off, observing shifts in student engagement is tough.\nThough I often released students for substantive independent work, I also included mini brain breaks throughout the lesson \u2014 1-2 minute entertaining activities that helped keep the flow of our time together varied. We took this Personality Quiz to see what kind of \u201cplanet protector\u201d we might be. NatGeo\u2019s \u201cWeird But True\u201d videos also made great brain breaks (we always shared out afterward!) as did games.\nBecause National Geographic has a platform designed for adults as well as the platform for students, we sometimes examined similar content from both websites and talked about the ways that vocabulary, voice, information, or story structure differed.\nWe examined Joel Sartore\u2019s Photo Ark on the National Geographic Kids site \u2014 clicked through the slideshow, watched the embedded video, and watched Kwame Alexander read from Animal Ark. Then we examined the portrayal of Photo Ark on the traditional National Geographic site, noting the more complex page layout and higher level vocabulary present, the social media connections, conservation courses, and donate button!\nCitizen Science, Service Learning\nAs part of our enrichment programming we offered a citizen science certificate for students completing requirements for our school\u2019s participation in the Thanksgiving Monarch Count to help document monarch overwintering populations along the California coastline. Students read the article \u201cWhy We Need to Protect Monarch Butterflies\u201d by Jos\u00e9 Andr\u00e9s and \u201cMonarch Migration Mystery\u201d from the National Geographic resource library.\nWe also watched the NatGeo short video, \u201cHow to Create Your Own Monarch Butterfly Rest Stop.\u201d Students completed writing assignments, created a piece of art, and crafted a public service announcement to increase awareness.\nFinally, students participated in the Thanksgiving Monarch Count, submitting their data and photos to working scientists. Students uploaded photos through iNaturalist or the Western Monarch Count, and some opted to use the Monarch SOS app.\nIn studying the work of National Geographic Explorers, students learned about career opportunities. We watched videos from the Best Jobs Ever catalogue, discussing what leadership traits or academic skills might be needed for different paths.\nStudents loved our experience with National Geographic photojournalist Hannah Reyes Morales. We learned about Morales via video and studied her powerful images in The Atlantic documenting child boxers in Cambodia as well as other photos. We talked and wrote about digital storytelling, composition, and what makes an effective photo. Eventually students created and shared their own photos. When we received our special message from Morales, students were thrilled that she invited them to contact her on Instagram to ask career-related questions.\nLooking for more resources for your students? Visit National Geographic Education\u2019s Resource Library for free lesson plans that are relevant to all content areas for PK-12 learners.\nFeature image by Rebecca Hale", "id": "<urn:uuid:6a5728fc-eec2-4405-bae5-9dba3f0a60db>", "dump": "CC-MAIN-2022-21", "url": "https://blog.education.nationalgeographic.org/2020/08/11/15-national-geographic-education-resources-for-engaging-online-lessons/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522309.14/warc/CC-MAIN-20220518183254-20220518213254-00167.warc.gz", "language": "en", "language_score": 0.9376377463340759, "token_count": 1299, "score": 3.515625, "int_score": 4}
{"text": "Who invented intersectional feminism?\nprofessor Kimberl\u00e9 Crenshaw\nHow does the Philippines fare on gender equality?\nWhile it appears that the Philippines is faring better than most other countries in gender equality (not only from the WEF indices, but also among other international assessments), there remain stubborn glass ceilings in representation in high-level decision-making positions and high levels of vulnerabilities to \u2026\nWhat is the outsider within?\n\u201coutsider within,\u201d defined as a person who has a \u201cparticular knowledge/power relationship, one of. gaining knowledge about or if a dominant group without gaining full power accorded to members of that group\u201d (Harrison 2008: p. 18).\nWhat is intersectionality and how is it relevant to the Philippine feminist movement?\nIntersectionality is a term used to describe how different factors of discrimination can meet at an intersection and can affect someone\u2019s life. Adding intersectionality to feminism is important to the movement because it allows the fight for gender equality to become inclusive.\nWhat are the five principles of critical race theory?\nThe Five Tenets of CRT There are five major components or tenets of CRT: (1) the notion that racism is ordinary and not aberrational; (2) the idea of an interest convergence; (3) the social construction of race; (4) the idea of storytelling and counter-storytelling; and (5) the notion that whites have actually been \u2026\nWhat is quid pro quo harassment?\nQuid pro quo sexual harassment occurs when an employee\u2019s supervisor, manager, or other authority figure offers or suggests that an employee will be given something, such as a raise or promotion, in exchange for some sort of sexual favor. \u2026\nIs intersectionality a social theory?\nWhile intersectionality helps shed light on contemporary social issues, Collins notes that it has yet to reach its full potential as a critical social theory. She contends that for intersectionality to fully realize its power, its practitioners must critically reflect on its assumptions, epistemologies, and methods.\nWhat does intersectional harassment mean?\nIntersectional harassment is defined as harassment that\u2019s committed on the basis of multiple identities. African-American women, for instance, are subject to a greater rate of sexual harassment than Caucasian American women, presumably due to their marginalized racial and gender identity.\nWho fought for feminism?\nMary Wollstonecraft, Susan B. Anthony, Alice Stone Blackwell, Elizabeth Cady Stanton, Emmeline Pankhurst, Sojourner Truth. An outspoken political activist, writer and social theorist, in 1949 de Beauvoir wrote The Second Sex, an ahead-of-its-time book credited with paving the way for modern feminism.\nWhy is there a feminist movement?\nThe movement arose partially as a response to the perceived failures of and backlash against initiatives and movements created by second-wave feminism during the 1960s, \u201970s, and \u201980s, and the perception that women are of \u201cmany colors, ethnicities, nationalities, religions, and cultural backgrounds\u201d.\nWhat are the 4 interconnected domains of power identified in Patricia Hill Collins discussion of intersectionality?\nInjustices occur because intersectional identities exist in and through four domains of power: structural, hegemonic or cultural, disciplinary, and interpersonal. These four domains of power, known as the matrix of domination, show how \u201cintersecting oppressions are actually organized\u201d (Collins 2000, 18).\nWhat does intersectionality mean in simple terms?\nIntersectionality is a framework for conceptualizing a person, group of people, or social problem as affected by a number of discriminations and disadvantages. It takes into account people\u2019s overlapping identities and experiences in order to understand the complexity of prejudices they face.\nWhat are the four domains of power?\nSecond, intersecting systems of oppression are specifically organized through four interrelated domains of power: structural, disciplinary, hegemonic, and interpersonal. The structural domain consists of social structures such as law, polity, religion, and the economy.\nWhat characterizes the matrix of domination?\nThe matrix of domination or matrix of oppression is a sociological paradigm that explains issues of oppression that deal with race, class, and gender, which, though recognized as different social classifications, are all interconnected.\nWho fought for women\u2019s rights in Philippines?\nA visit to Manila in 1912 by two suffragettes, Dr. Aletta Jacobs from Holland and Mrs. Carrie Chapman Catt from the United States, turned the focus of women\u2019s organization to suffrage.\nDoes Philippines have gender equality?\nThe report shows that the Philippines has closed 78% of its overall gender gap, garnering a score of 0.781 (down by 1.8 percentage points from . 799 in 2019). With this, it ranked 16th out of 153 countries with the narrowest gap between men and women, dropping by 8 notches from its place last year.\nHow do you use the word intersectional?\nAdd the suffix \u201cal,\u201d and you have the adjective \u201cintersectional,\u201d existing between sections or relating to an intersection. Make \u201cintersectional\u201d into a noun, and you have a sports tournament.", "id": "<urn:uuid:3d053b20-4d2d-4c7e-8c56-c80847c0af23>", "dump": "CC-MAIN-2022-21", "url": "https://gzipwtf.com/who-invented-intersectional-feminism/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662625600.87/warc/CC-MAIN-20220526193923-20220526223923-00366.warc.gz", "language": "en", "language_score": 0.9431254863739014, "token_count": 1092, "score": 3.578125, "int_score": 4}
{"text": "If your student enjoys watching movies, we just made it easy for you to incorporate them into your curriculum. We have dozens of guides\u2014 each of them falling within a specific time in history. All of the guides contain ten educational activities that build upon the movie. The guides are movie specific. We tell you exactly which movie we used, and almost all are available thru Netflix. Most you can probably get through your local library. So you don\u2019t even need to buy the movie to use our guides!\nEach guide starts out with a topic overview. This overview provides the student with more information regarding the specific time period in which the movie is based. Next is a movie synopsis. The synopsis will assist the student in understanding what is going on in the movie and how relationships, situations, and events all relate together.\nThe first activity is always review questions. We recommend the student answer these as they watch the movie. We want to be sure they are paying attention and being an active learner versus a passive viewer.\nThe next several activities all build around the historical time of the movie. The questions in these activities may be more about the people or events that happened in the movie. These questions cannot be answered from watching the movie. (We all know you don\u2019t get accurate facts from a Hollywood movie.) The student will learn research skills because he will need to use either the library or the internet to properly answer these questions. Some of the activities involve writing an essay. For example, in the Scarlet Pimpernel the student is asked to write a one page essay condemning or condoning the actions of the Scarlet Pimpernel. So the student is learning research and writing skills during the process.\nEach guide also contains at least one hands-on activity, a worldview activity, and The Filmmaker\u2019s Art activity. The hands-on activities for the active learner vary depending on the guide and include activities such as creating a treasure hunt, completing an art project, or planning and making a meal for the family.\nThe worldview activity helps the child to understand the movie\u2019s worldview. This activity is not to impress on the student our personal worldview, but to get the student to think critically through what he believes and what is being presented in the movie. Family discussion questions also develop this critical thinking from the worldview promoted within your family.\nThe Filmmaker\u2019s Art activity helps the student recognize the tools being used to influence the viewer. The various guides discuss how filming techniques, music, lighting, humor, character development, irony, foreshadowing, and even character names are used by the director and producer to influence the viewer to get their agenda across. We want the student to be able to discern not only the agenda of the movie, but also how they are being influenced by it. The goal is that when the student goes to the theater and watches Harry Potter or Avatar or Happy Feet, he walks out not thinking it was an entertaining movie, but understanding the bigger message behind each film.\nWe recommend the student completes two activities per day, taking a week to complete. Z-Guides are meant to supplement your current history curriculum. They are not intended to replace your core curriculum for history.\nAnd yes, answers are provided for all of the questions. We tried to make it as easy as possible on you.\nWe understand that each family has a different standard as to what they feel is appropriate to view in regards to language, violence and sexual content. Before purchasing a Z-Guide or movie we strongly recommend that you read a review on the movie. A good site is Plugged In. They offer a full review of hundreds of movies. The reviews include: positive elements, spiritual content, sexual content, violent content, crude and profane language and other negative elements.", "id": "<urn:uuid:fda29bf2-0b89-4a1d-b241-d0dbbfad1391>", "dump": "CC-MAIN-2022-21", "url": "http://www.zeezok.com/What-is-a-Z-Guide_ep_49-1.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512249.16/warc/CC-MAIN-20220516204516-20220516234516-00368.warc.gz", "language": "en", "language_score": 0.9529818892478943, "token_count": 776, "score": 3.609375, "int_score": 4}
{"text": "Paul Laurence Dunbar\nPAUL LAURENCE DUNBAR\nRenowned African-American poet, Paul Laurence Dunbar rose from a poor childhood in Dayton, Ohio to international acclaim as a writer and as an effective voice for equality and justice for African-Americans (Howard, Revell). He met and associated with other historical men such as Fredrick Douglass, Booker T. Washington, and his Dayton neighbors Orville and Wilbur Wright (Harvard, Columbus). Dunbar\u2019s personal story, as well as his writings, are still an inspiration to all Americans (Poupard).\nDunbar was born June 27,1872 in Dayton, Ohio to Matilda and Joshua Dunbar, former slaves from Kentucky (Van Doren 296, Columbus). Their family was extremely poor because Joshua was not able to get a job. Racism was still strong in Ohio even though slavery was against the law at the time. To help their parents, Paul and his two half-brothers did chores like gathering firewood, raking leaves, and cutting grass (Howard). Matilda always provided inspiration to her children by reading to, supporting, and encouraging them to be creative. She loved storytelling, songs, and poetry. This affected Paul throughout his life, and it was she who instilled in him the desire to achieve (Columbus). Dunbar\u2019s parents separated in 1874, after having two children. In spite of this, Paul was still able to achieve. He wrote his first poem at age six and recited publicly at age\nnine (Howard). His first public reading was on his birthday in 1892. After Joshua left, Matilda was forced to work in Dayton as a washerwoman to support her family (Columbus). Joshua died when Paul was just twelve years old (Poupard). The death of Joshua only strengthened the bond between Paul and his mother (Revell).\nDunbar was very popular among his classmates at Central High School. He was the only Negro in his class and was a member of the Literary Society, editor of the student publication, and composer of the class song at his graduation (Van Doren 296, Columbus). Dunbar\u2019s first published poem was called Our Martyred Soldiers. It appeared in the Dayton Herald on June 8, 1888. In 1891 Paul graduated from Central High School (Revell 11-12). After graduation, Paul had to work as an elevator boy in Dayton\u2019s Callahan Building and later as a page at a Dayton court house(Revell 11 ). He was forced to work at places such as these because some businesses were reluctant to hire him because of his race (Columbus). Dunbar\u2019s first poetry collection, Oak and Ivy was published in 1892 (Howard). Oak and Ivy consisted of fifty-six poems, thirty-six of which were later discarded by Dunbar (Revell p.29) To help pay for the publishing fee and printing supplies he sold the book of poem to customers who rode the elevator for $1.00 (Columbus). meanwhile he continued writing for various national newspapers and magazines for a little extra income. Paul\nquickly achieved a reputation in his hometown as a poet and frequently was invited to recite his works for various clubs and organizations. Many times people would recommend his books to friends, spreading word of his talents (Howard).\nIn general, Dunbar\u2019s poetry was accepted and well-liked (Poupard). This landed him an invitation to recite his poetry at the first World\u2019s Fair at Chicago in 1893. Here, he worked as clerk at a Haitian pavilion where he met Fredrick Douglass and other black speakers and writers (Revell 102). Douglass called Paul Laurence Dunbar The most promising young colored man in America. (Howard).\n1895 brought Dunbar\u2019s move to Toledo, Ohio and the publishing of his second collection of poetry, Majors and Minors (Columbus). Eleven poems from Oak and Ivy were printed in Majors and Minors. (Revell, p.224). It\u2019s publishing was financed by his friends Dr. Henry A. Tobey and Charles H. Thatcher, an attorney. Majors and Minors caught the attention of a famous literary critic William Dean Howells. Howells\u2019 favorable review of Dunbar in the Harper\u2019s Weekly made him nationally known overnight (Columbus). Howells pointed out that in history Negros have been gifted and successful in music, oratory, and many of the other arts, but Majors and Minors was the first\ninstance of and African-American who had evinced innate distinction in literature (Poupard). Following Howells\u2019 review, New York publishing firm Dodd-Mead and Company combined Dunbar\u2019s", "id": "<urn:uuid:9f121808-161e-4795-ad1a-e51774e641f6>", "dump": "CC-MAIN-2022-21", "url": "https://freeessay.com/essays/paul-laurence-dunbar", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662530066.45/warc/CC-MAIN-20220519204127-20220519234127-00767.warc.gz", "language": "en", "language_score": 0.9857021570205688, "token_count": 991, "score": 4.0625, "int_score": 4}
{"text": "Teaching students how to summarize a text is important\u2026\nSo important that it is part of the CCSS reading standards for literature and informational texts beginning in grade 4 and continuing (with greater rigor) through grade 12.\nAs educators, we know why summarizing will help students:\n- improve reading comprehension\n- filter main ideas from details\n- follow arguments\n- identify key points\n- understand theme\n- differentiate fact from opinion\n- analyze texts\nBut what are ways to actually teach summarizing?\nYou\u2019ll find 7 strategies in the video below \u2014 but don\u2019t forget to keep reading for 5 more ways to teach summarizing! (lots of options, but no math required!)\nWatch these 7 summarizing strategies\nReady for more?\nRead on for five ways to teach summarizing skills.\n1. Use the right texts\nStudents can\u2019t summarize what they can\u2019t comprehend.\nBe sure to provide scaffolding for students who need it \u2014 graphic organizers, comprehension questions, multiple readings, breaking down difficult passages into small sections \u2014 whatever it takes. Don\u2019t ask your students to summarize something they don\u2019t understand.\nUse texts you know your students can read. Even using a picture book can break down the concept of summarizing for students who are struggling.\n2. Use a mentor text for the year\nHave you read the original Wonderful Wizard of Oz by L. Frank Baum or The Call of the Wild by Jack London? Using just the first chapter of one (or both) of these books can help students really dig into summarizing (and so much more, but that\u2019s for another post!).\nBecause both of these texts are in the public domain, you can print an excerpt or provide students with a digital link. Bringing students back to the same text throughout the year gives them more than just an opportunity to summarize. It also:\n- provides you with a way to help students analyze the writer\u2019s craft\n- deconstruct how the writer organizes ideas\n- analyze paragraph and sentence structure\n- look at character development\nWhen you use a mentor text to help students summarize, you can refer back to it again and again as the year progresses \u2014 students have a reference point.\nDon\u2019t forget that your mentor text can also be used in your book clubs or literature circles. This allow you to build a foundation as a class with the text.\n3. Have some fun with it\nWhat would happen if you challenged your middle school students to summarize a Captain Underpants or Diary of a Wimpy Kid book, or a favorite comic book?\nAre middle school students ever too mature for Captain Underpants?! Ummm\u2026no. Not only will you be tapping into a bit of nostalgia for them, you can introduce the question \u201cwhat is the big idea\u201d in the story?\nStudents will need to filter out the silly details to get to the main ideas of the text.\nAdditionally, short chapter and easy-to-read books like these make a great opportunity for students to look at the elements of the plot. Because there aren\u2019t big sub plots, the main points will be clear to your students.\n4. Use short film, TV, or commercials\nWho can resist this iconic I Love Lucy episode?\nI love this episode of I Love Lucy. Not only is it a classic, it is perfect for helping students practice summarizing.\nWhat\u2019s going on here? What\u2019s the problem? What are the big ideas of the scene? Again, students will have to filter out the details and get to the heart of the events.\nAnother reason to love short video clips:\n- you can view them with your students multiple times. As I mention in teaching characterization post, students can view first for understanding and then again to analyze.\n- students LOVE watching old TV shows and commercials!\n- so much is left unsaid that students must inference what\u2019s happening. Just watch Lucy\u2019s face as the conveyor belt speeds up!\n- students can practice the same skills with different videos \u2014 as they gain confidence, they can transition to texts.\n5. Create a graphic novel page\nI love using graphic novel styled pages to help students practice summarizing. Most graphic novels and comic books that the story through the pictures and dialogue \u2014 and the big ideas of the story are featured.\nThat\u2019s where using comic book or graphic novel pages can help your students practice summarizing:\n- start by analyzing a few pages of a graphic novel. Students will notice that the story is told in a much different way than a traditional novel or short story.\n- students will notice that if the story were written out, it would be much longer and require more details. For example, the writer would want to include what the character was doing or feeling. The writer might want to describe the setting or the action. In a graphic novel, the author illustrates this.\n- now flip the concept. Provide students with a short text and graphic organizer. If they were going to make a graphic novel from the text, what would the panels be? Before having students actually create the graphic novel page, be sure they understand the big ideas that they\u2019ll be illustrating.\n- allow students to use their ideas to create a graphic novel page. Since students will only have a limited number of boxes on their graphic novel page, they are limited to just the big ideas. They must convey the story succinctly \u2014 they must provide enough detail to tell the story, but not get bogged down. The heart of summarizing!\nNeed more help?\nYou can use my Summarizing Activities: Create a Graphic Novel to support this lesson. Students can use the texts, graphic organizers, and graphic novel blank pages to practice their own summarizing skills.\nReasons this works\n- students love analyzing short, silly texts and videos!\n- multiple opportunities to practice summarizing skills in a relaxed way.\n- easy to practice multiple times with a variety of texts \u2014 really strengthening student skills.\n- additional benefits include inference practice, character and plot analysis, discussion, and problem solving.\nWhat do you think? Would your students love creating a visual summary? Would they respond to videos or how would they feel about summarizing a primary-school favorite like Captain Underpants?\nI\u2019ve got you covered with these ready-to-use resources:", "id": "<urn:uuid:a00f1bf6-b07c-49ff-b0d0-dd9967beb643>", "dump": "CC-MAIN-2022-21", "url": "https://justaddstudents.com/5-ways-to-teach-summarizing-skills/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662595559.80/warc/CC-MAIN-20220526004200-20220526034200-00166.warc.gz", "language": "en", "language_score": 0.9307159185409546, "token_count": 1334, "score": 4.09375, "int_score": 4}
{"text": "2nd Grade Curriculum Overview\nText: Treasures. The McGraw-Hill Companies, Inc. 2011; Leveled Readers; Novels\nPrimary Units: Fluency; Comprehension; Genres; Phonics; Vocabulary\nSkills taught: Reading strategies \u2013 decoding/phonics; word bits; parts; self-correcting\nComprehension strategies \u2013 predicting; context clues; visualization; sequencing; synthesizing inference;rereading; story mapping; non-fiction reading/writing\nSkills \u2013 Cause effect; details homophones; synonyms; antonyms; following directions; time lines abc order; fantasy; poetry; prefixes; suffixes.\nTeaching methods and resources used: Promethean Interactive Boards, iPads/Chromebooks, Leveled Readers (F-P); shared reading; shared writing; shared literature; read alouds; teacher read alouds; word wall activities; guided Reading groups; Book Clubs; literacy centers; choral reading; phonics series; oral language presentations; DEAR time; books on tape/CD; reading response notebooks ; STAR Reading Assessment; novels; poetry; newspapaer/magazine articles; music; storytelling\nText: Treasures. The McGraw-Hill Companies, Inc. 2011\nPrimary Units: ABC order; action verbs; adding ed; adjectives; antonyms; book reports; centers; commas; comparing adjectives; compound words; editing marks; following directions; friendly letter; helping verbs; homophones; how-to sentences; interactive writing; listening; main idea; months of the year; naming parts of a sentence; nouns; parts of a story; poetry; punctuation; quotation marks; retelling; sentences; subject and predicate; synonyms/antonyms; thank you notes; troublesome words; verbs; writing a complete sentence; writing paragraphs; word wall\nText: Treasures. The McGraw-Hill Companies, Inc. 2011 and Phonetic Connections Benchmark Education Company 2011\nPrimary Units: Short vowels; long vowels; consonant digraphs; consonant clusters; words with silent consonants; words with /j/, ist, /kl/ and /kw/; plurals with es; contractions; words that end in \u2013s, -es and -ies\nSkills taught: Looking for patterns; word bits or parts; base or root words; alphabetical order\nTeaching methods and resources used: Alphabet letters; word wall; computers; dictionaries; pocket chart; and computers\nText: Saxon Mathematics\nNew concepts are developed through hands-on activities that engage students in the learning process. Concepts are introduced, reviewed and practiced over time. Students move from the concrete to the pictorial to the abstract.\nSaxon capitalizes on daily mixed practice, frequent assessments, daily homework assignments and opportunities for students to make concrete connections to everyday life.\nText: People We Know Houghton Mifflin Harcourt Publishing Company. 2009\nPrimary Units: Living in a Community; Our Government; Looking at the Earth; Learn about People; Past and Present; People at Work\nSkills Taught: map keys; directions; continents; oceans; goods; services; needs; wants; voyage of Columbus; cities; suburbs and country; landforms; celebrations of other cultures; American symbols; black history, Martin Luther King, Jr., Rosa Parks; women\u2019s history; biographical information; chart and graph skills; citizenship skills; map and globe skills\nTeaching methods and resources used: Promethean Interactive Boards, iPads/Chromebooks, Make gloves; use clay to form landforms; field trips to places in the community; maps; globe; peer tutoring; public library and school library books; video tapes; guest speakers; songs; non-fiction books and magazines\nText: MacMillan McGraw Hill Science 2005\nPrimary Units: Life Science: Plants and Animals; Life Science: Homes for Plants and Animals; Earth Science: Changes on Earth; Earth Science: The Sun and Its Family; Physical Science: Matter and Energy; Physical Science: Watch It Move\nSkills taught: Parts of a plant; how seeds are scattered; magnet poles; attract and repel; food chain; evaporation; food pyramid; habitats; conservation; rocks and minerals; fossils; sun, moon and earth; day and night; seasons; earth and moon movement; force and motion; sound; volume; pitch; light and heat; senses; caring for your teeth; how your body uses food; why you need water; a healthful diet.\nTeaching methods and resources used: experiments; manipulatives; videos; science book; worksheets that reinforce topics and skills.\nText: Be My Disciples RCL Benziger: 2014.", "id": "<urn:uuid:5c86f74d-12c6-4971-8f58-eef659b69714>", "dump": "CC-MAIN-2022-21", "url": "https://www.sjfayschool.com/copy-of-kindergarten-1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00368.warc.gz", "language": "en", "language_score": 0.8110141754150391, "token_count": 1014, "score": 3.71875, "int_score": 4}
{"text": "By Asiya Jawed\nWhen we imagine humanitarian relief in emergency contexts, we automatically think about the people's basic needs, which include food, water, shelter, and clothing. However, people live in a state of emergency post-political unrest and turmoil for several months and years - sometimes even decades. This is when essential health and education interventions are carried out in emergency contexts. Due to the Western-rooted public imagination and skewed media, we tend to alienate individuals and communities living in emergency settings by thinking of them as \u2018distant others\u2019 who are going through certain human rights violations.\nTherefore, the solutions for people living in emergency settings are also very restrictive. Political leaders often refer to human rights violations to justify their specific policy measures. These can be used in debates around migration, poverty, and armed conflict. However, such policies are designed and implemented without any dialogue with the people whose rights are taken into consideration.\nHuman rights are a powerful ethical idea and a moral notion - they demand that governments meet certain obligations and adhere to specific standards when dealing with people. Creative and arts-based strategies can prove to be a great tool when connecting with people to discern their problems. These strategies, in turn, can also result in healthy coping mechanisms and promote communal conversations and social cohesion. Sociologist Nick Stevenson (2014) argues that careful thought and consideration need to be given to encouraging a culture of human rights through more educated forms of dialogue and concern. These dialogues, through creative interventions, can question those with political and economic power, which can ultimately help ensure that human rights are adhered to.\nUnderstanding Cultural Realities and Contexts\nArticle 27 of the Universal Declaration of Human Rights states that everyone has the right to freely participate in the community's cultural life and be able to enjoy the arts. Cultural rights cannot be separated from human rights, which means that individuals and communities have the right to express and exchange their thoughts, emotions, and feelings through arts-based practices. Using art strategies is a form of culture-making as they help reveal and enhance the underlying identity\u2014the unique meaning, value, and character of the social state of the community. When we begin to understand communities through a cultural lens, we can truly understand their specific social phenomenon and work towards social justice through creative/arts-based strategies.\nArts play an essential role in creating a \u2018culture of human rights.\u2019 These strategies can enable individuals living in emergency settings to engage with ideas about what constitutes their rights. International interventions that aim to achieve peace in conflict-ridden regions have a negative track record because of their detached praxis. One of the main problems with the international actors is reaching out and connecting with local communities and leaders who are vital in transforming societies and enabling lasting peace. Every community has its own form of expression, and no art form is particular to one community. Giving autonomy to communities while using arts-based participatory research helps de-colonise this methodology. It challenges hierarchies, fosters pluralism, and increases multi-vocality rather than promoting a one-dimensional white savior perspective.\nDe-Colonising our Alleviation of Trauma\nUsing the arts to alleviate trauma is a re-discovery of an old cultural phenomenon. The ritual of art in grieving and healing is already a pertinent practice in North American and Canadian indigenous communities. They have acknowledged the healing power of visual art, drama, music, and storytelling, while the western world\u2019s recognition of the therapeutic benefits of the arts is more recent. Therefore, there is a lot to learn from indigenous communities\u2019 healing practices. The Aboriginal Healing Foundation recently completed a study of the use and benefits of creative arts in First Nation, Inuit, and M\u00e9tis healing programs throughout Canada. This study presents compelling evidence that creative arts, culture, and healing are all linked \u2014 to each other, indeed, and also linked to the idea that, when given the freedom to choose, community-based healing programs overwhelmingly include creative arts. Cultural activities and interventions included storytelling and traditional knowledge shared by elders, language programs, learning traditional art forms, drumming, singing, and dancing.\nArts-based strategies have been scientifically proven to improve the mind-body health of individuals living in emergency settings. Art therapists have observed that it is difficult for individuals to talk about their traumatic experiences due to the overall stress and emotional pain of recalling the events. However, art forms that do not require verbal recollection, like drawing or painting, can help \u201cmake the invisible visible,\u201d which proves to be essential to the recovery process.\nMusic and movement are other practical arts-based tools for managing traumatic stress because of their soothing repetition, enabling affected individuals to own their stories and tell them in ways that replace the trauma narrative. Interventions can incorporate culturally resonant arts to the people affected by understanding how the community makes sense of their emergency context and what activities they perform as a community to self-soothe. For example, during the Six-Day War, Palestinian women had to stay indoors to protect themselves, so they started using Palestinian embroidery to reduce stress levels during the emergency. Understanding a community\u2019s spiritual and cultural beliefs, where they find meaning, can help organizations develop arts-based programming that speaks more to them \u2014 and in turn, help them regain their voice.\nFor instance, in the months and years following a 7.8 magnitude earthquake that hit Nepal in 2015, numerous forms of community art rose from the rubble, such as urban murals, spoken word poetry, public dance performances, and sacred art. Community art proved to be a relief and coping mechanism through the creation or observation of art. It was used as a means of communication, both as a tool for promoting connections and conversations in the community and cultivating messages of hope. And they were lastly, serving as a tool to create physical and emotionally safe spaces.\nThe Need to Create and Hold this Space\nInitiatives that engage artists and affected communities in arts-based activities can improve overall health outcomes. Therefore, development programming should be promoted in emergency contexts by funding support and developing partnerships with grassroots artists and creative organizations. The International City and County Management Authority (ICMA), in its 20 years of experience across four continents, has found that using art-based strategies is key to increasing public involvement in planning and implementation in community recovery efforts. They believe that one of the most overlooked yet vital roles in emergency management is the role of the artists as they can (i) implement creative strategies to share community insights with policymakers, (ii) facilitate opportunities for community members where they can outline their own needs and (iii) overcome language and cultural barriers to strengthen communication and create solidarity.\nOn this year\u2019s World Social Justice Day, VOICE promotes arts-based work in emergency contexts where affected communities are encouraged to interact through artistic expressions rooted in their cultures. This will help them curate a safe space to reflect on their situation, express their fears and grievances, and develop coping strategies in an emergency situation to realise their human rights and imagine futures they want to live in.\nAsiya Jawed is an interdisciplinary researcher and writer based in Karachi, Pakistan. She explores space, power, gender and civic activism through qualitative methods. At VOICE, she is developing a strategy to inculcate creative practices in the organization\u2019s internal and external work.", "id": "<urn:uuid:792ebc20-aef9-40da-b22a-0ffc9681fd4b>", "dump": "CC-MAIN-2022-21", "url": "https://voiceamplified.org/why-do-we-need-to-use-arts-based-strategies-in-emergency-settings/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662527626.15/warc/CC-MAIN-20220519105247-20220519135247-00168.warc.gz", "language": "en", "language_score": 0.9521802067756653, "token_count": 1501, "score": 3.671875, "int_score": 4}
{"text": "When it comes to storytelling, the primary concept is the overarching, unifying aspect that binds together all of the other parts of fiction that the author use to convey the tale. This can be best defined as the prevailing impression or the universal, general truth that can be discovered in the tale, depending on your perspective.\nWhat is the best way to write the core concept of a story?\n- Try to encapsulate the primary notion in your own words in the third step. In most cases, it should not take more than one or two words to communicate the essential concept of a tale. Anything more than that indicates that you\u2019ve either missed the primary idea or that you\u2019re emphasizing things that aren\u2019t essential.\nWhat are key ideas?\na key or central notion in a paragraph or larger portion of writing that informs the reader about the subject matter of the paragraph or section Identify the key theme in each.\nHow do you identify key ideas?\nIdentifying the essential notion\n- Paragraphs, at the start of each paragraph The opening sentence of a paragraph frequently provides background information on the subject matter being addressed in the paragraph\n- the ending phrases of a paragraph frequently summarize the topic being discussed in the paragraph. The primary concept can be stated as a summary of the information included within the paragraph, as well as a link to the information contained inside the following paragraph.\nWhat are key ideas in a book?\nThe central concept is what the book is mostly about. The message, lesson, or moral of a book is referred to as the theme. The core concept and topic of every book may be determined by asking important questions before, during, and after reading it!\nAre key ideas the same as main idea?\nThe \u201ckey thought\u201d that is being communicated is the central idea. Every paragraph has a central notion or central idea. The main idea of a paragraph is the most crucial piece of information that the author wants you to know about the notion that paragraph is attempting to communicate. While writing, authors have a specific concept in mind that they are attempting to convey to the reader.\nWhy are key ideas important?\nWhat is the significance of identifying the primary idea? Finding the primary concept of a piece of writing is essential to understanding what you have read. The core concept is the thread that runs through all of the sentences of a paragraph or article. All of the other information in the reading should fall into place after you\u2019ve identified the key topic.\nHow do you teach main ideas and key details?\nThere are nine strategies you should be employing to teach the main idea.\n- Begin by creating an Anchor Chart. Use pictures. Emphasize titles. Observe the first and last sentences on anchor charts. These are some of my favorite things to do in the classroom. Compare and contrast the supporting details to the main idea by employing key words. Make use of examples and non-examples. Organize information according to importance.\nWhat are key details?\na word or phrase that conveys critical information about an event, such as who, what, when, where, and why it occurred. a term or phrase that provides us with a hint as to the meaning of an unfamiliar or unfamiliar word\nWhat are examples of central ideas?\nThe Overarching Concept\n- In writing, the primary concept is the \u201cmain point,\u201d or the most essential notion that the writer is delivering to the reader. Often, just by glancing at the title, the reader can figure out what the major point is. If a paragraph is named \u201cWhy Students Should Have Less Homework,\u201d for example, it will provide arguments in support of that position.", "id": "<urn:uuid:6b724ff5-71ad-4fb7-a877-02f836dba438>", "dump": "CC-MAIN-2022-21", "url": "https://tipsted.com/ideas/what-are-key-ideas-in-a-story-best-solution.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663048462.97/warc/CC-MAIN-20220529072915-20220529102915-00166.warc.gz", "language": "en", "language_score": 0.9362819790840149, "token_count": 762, "score": 3.921875, "int_score": 4}
{"text": "Metes and Bounds\nUpdated: Oct 15, 2019\nBefore The Public Land Survey System was established in the newly formed United States, the eastern colonies were mapped using a variety of methods deployed by the English. The primary one was \u2018metes and bounds\u2019, a system that uses physical features of the local geography to define and describe the boundaries of a parcel of land. With the Public Plan Survey you had lines drawn arbitrarily upon the landscape, absent of topography or human or natural features. With metes and bounds you describe the land in a running prose style, working around the parcel in sequence, from a point of beginning, returning to the same point. The perimeter then is dependent upon natural features, man-made monuments, trees or neighboring property lines. As you can imagine then, surveying was a subjective process open to interpretation by the person or persons producing the document as well as open discussion to the persons abiding by the document.\nMetes. Refers to a boundary defined by the measurement of each straight run, specified by a distance between the terminal points, and an orientation or direction.\nBounds. Refers to a more general boundary description, such as along a certain watercourse, a stone wall, an adjoining public roadway, or an existing building.\n\"beginning with a corner at the intersection of two stone walls near an apple tree on the left side of Muddy Creek road one mile above the junction of Muddy and Indian Creeks, right for 150 rods to the end of the stone wall bordering the road, then 90 degrees along a line to a large standing rock on the corner of the property now or formerly belonging to John Smith\u2026\nIn modern day deeds the direction is described not by a clockwise degree measure out of 360 degrees, but instead by a direction north or south followed by a degree measure out of 90 degrees and another direction west or east. It looks something like this:\n\u201cCOM AT E 1/4 POST OF SEC, TH S 1 DEG 05\u2032 E 112.42 FT IN E LINE OF SEC, TH S 66 DEG 08\u2032 W 702.70 FT IN CENT OF HWY FOR PL OF BEG, TH S 14 DEG 06\u2032 E 850.03 FT, TH S 66 DEG 09\u2032 W 244.27 FT, TH N 22\u2026\nMetes and Bounds proved to be difficult to adhere to over time. The landscape itself evolved and changed over time. Trees died, creeks dried up, buildings were removed. The land was dependent upon tradition and long-term use. The landscape then was more integrated to what was present, real, and tangible. In many cases they were tied closely to community, history, even legend. Imagine a map based on storytelling. A landscape composed of descriptions.\nOf Note: The eastern, or original states, continue to use the metes and bounds surveys of their founders. This system was imported to the original colonies that formed the United States. It is also used in some states that were previously part of one of the Thirteen Colonies, or where land was allocated before 1785. These include West Virginia, Kentucky, Maine, Tennessee and Vermont. Because Texas was an independent republic prior to statehood, its land system is primarily metes and bounds.", "id": "<urn:uuid:12d96ba9-5024-4d26-91eb-cc3757938414>", "dump": "CC-MAIN-2022-21", "url": "https://www.jmatthewthomas.com/post/design-a-stunning-blog", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662561747.42/warc/CC-MAIN-20220523194013-20220523224013-00768.warc.gz", "language": "en", "language_score": 0.953719973564148, "token_count": 670, "score": 3.75, "int_score": 4}
{"text": "SPECIAL SECTION- DIFFERENTIATION\n\"The common theme that seems to have emerged from a number of literacy leaders such as Burkes & Yaris, Fountas and Pinnell and Calkins is that a child is not a level.\"\nA PICTURE Really is Worth a Thousand Words\nJulie Bryant and Tamara Samek\nlliteracy and comprehension in our students. When adults question children about their interpretations of illustrations in picturebooks and discuss their responses, it can help children interpret visual messages (Mantei & Kervin., 2014; Marciano, 2002; Serafini, 2014). Guiding students in activscaffolded conversations that involve teachers asking divergent (higher level) questions, leads students to deeper understanding of the illustrations (Marzano, Pickering, & Pollock, 2001; Gillenwater, 2014; Yu, 2009). Children strengthen their visual literacy as they listen to their peers\u2019 responses and hear other perspectives and thinking modeled.\nWhen considering pictures vs. alpha characters, other benefits become prevalent. WPB offer students time to think more deeply about what is taking place on each page. The reader can feel free to \u201ccamp out\u201d awhile to fully study and enjoy the message. Children often \u2018hone in\u2019 on details adults may overlook or deem irrelevant. Teachers should allow children time to \u2018drink\u2019 in the scene and really listen when they begin to relay what they \u2018see\u2019 happening within the illustration on each page. As they connect one illustration to the previous and next illustrations to form their story parallel to the original story, you may be surprised at the child\u2019s level of meaning making. Additionally, WPB help young readers think about some other vital things: including how the illustrations support and often drive a story; how to retell a story in their own words, which encourages creativity, imagination, language play, and vocabulary development; and how to be the authors and illustrators of their very own stories.\nHow to Share a WPB\nBefore we begin sharing strategies, it is important that teachers have an understanding\nof how to best experience a WPB with a child. First of all, teachers should recognize there is not a \"right\" or \"wrong\" way to read a wordless book. We suggest first drawing attention to the illustration of the cover. Open the book to display the front and back cover to reveal a single expanded illustration, asking, \u2018What do you notice?\u201d Then, read the title asking, \u201cHow does the illustration connect with the title?\u201d\nNext, take a \"picture walk\" through the pages of the book, enjoy the rich details of the illustrations. Look carefully at the expressions on characters' faces, the setting and the use of color, size of the characters, and where the characters are on the page in relation to each other. Talk to each other about what you see. Enjoy the pictures and point out a few things, but don't worry too much about telling a story yet. Just enjoy the pictures and get a sense of what the book is about. Then, encourage the child to \"read\" the pictures. After the child states what he thinks is happening or what he notices, ask \u201cWhat do you see that makes you think that?\u201d You can encourage more details by asking Who? What? Where? When? and Why?\nWe recommend going back through the book a second time to allow for some great storytelling! Encourage the child to have characters use different voices, add sound effects and use interesting words as they share their version of the book. Finish your wordless book sharing by asking a few simple questions: What pictures helped you tell the story? What was your favorite part of your story? Have you had an experience like the one in your story? How close do you think the main characters are to you in age? Do the characters look like you and your family?\nNow that you know the benefits and how to share a WPB, let\u2019s take a walk through some strategies using our P.I.C.T.U.R.E acronym.", "id": "<urn:uuid:7f7cbd51-8022-46aa-9ece-97ac8b72341f>", "dump": "CC-MAIN-2022-21", "url": "https://viewer.joomag.com/the-missouri-reader-vol-42-issue-1/0078643001518410150?page=11", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00569.warc.gz", "language": "en", "language_score": 0.9442498087882996, "token_count": 870, "score": 3.890625, "int_score": 4}
{"text": "What Are the Most Important Skills in 12th Grade English?\nStudents entering the 12th grade are expected to demonstrate competency in myriad techniques and applications relating to the English language. Besides reaching efficiency in grammar, speaking and listening skills, students must continue to develop their composition and analytic abilities pertaining to a broad variety of writing forms and styles. While specific English skill-set requirements vary according to state standards, there are many 12th-grade English skills that are important to any graduating high school senior.\nReading Comprehension/Literary Analysis\nStudents in the 12th grade must demonstrate the ability to analyze the structure, tone and techniques of various works of classic literature, according to the California State Standards. More specifically, students may learn to analyze the way writers and poets utilize figures of speech, irony and mood to solicit an emotional reaction in the reader. Excellent reading-comprehension skills are also an important skill associated with 12th-grade English; students should be able to competently analyze ways in which meaning is affected by or dependant on myriad writing elements such as structure, repetition and syntax. Usually, students are expected to infer the meaning of unknown words by drawing on knowledge of Greek, Latin and Anglo-Saxon roots.\nWriting Strategies and Applications\nAccording to Common Core State Standards Initiative, 12th-grade students must be able to use a variety of writing skills and techniques -- such as formatting, sentence structure, transitions and visual aids -- to write informative and explanatory texts. Students must develop and demonstrate a proficiency in many writing techniques, including simile, metaphor and analogy. Oftentimes, students can demonstrate these skills by writing fictional, autobiographical or reflective passages (where students will compare specific instances in a work to illustrate the original writer\u2019s personal beliefs).\nAt the 12th-grade level, students must demonstrate solid grammar, spelling, capitalization and punctuation skills in their written coursework. Written assignments must be coherent and clear, in an appropriate style for the task and audience. To satisfy California state standards, students must also be able to reflect relevant manuscript and essay requirements, while demonstrating a clear understanding of proper English usage.\nSpeaking Strategies and Applications\nThoughtful speaking and listening skills are important in 12th-grade English classes. Common Core indicates that students should be able to effectively take part in teacher-led, one-on-one and group discussions on a wide range of topics and issues. Students should be able to build on others\u2019 ideas while expressing their own clearly, appropriately and persuasively. When working on group projects and presentations, students should demonstrate an ability to work with peers to establish self-appointed deadlines and individual roles.\nBill Reynolds holds a Bachelor's degree in Communications from Rowan University. He has written hundreds of articles for print and online media, drawing inspiration from a wide range of professional experiences. As part of the UCLA Extension Writer's Program, he has been nominated for the James Kirkwood Prize for Creative Writing.", "id": "<urn:uuid:cb3b5dcc-f3c3-4b45-83bc-825730e48211>", "dump": "CC-MAIN-2022-21", "url": "https://education.seattlepi.com/important-skills-12th-grade-english-2655.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00569.warc.gz", "language": "en", "language_score": 0.9345241189002991, "token_count": 613, "score": 4.0625, "int_score": 4}
{"text": "The first mining experiments in space have revealed that microbes can efficiently extract elements from rocks in zero gravity.\nThe tests, performed by astronauts on the International Space Station (ISS), open up possibilities for the human exploration and settlement of the Solar System.\n\u201cOn Earth, microorganisms play prominent roles in natural processes such as the weathering of rocks into soils and the cycling of elements in the biosphere,\u201d the researchers explain in a paper in the journal Nature Communications.\n\u201cMicroorganisms are also used in diverse industrial and manufacturing processes, for example in the process called biomining.\u201d\nBiomining bacteria can catalyse the extraction of valuable elements like copper and gold from rocks. Here on Earth, they are routinely used to mine rare earth elements (REEs) such as lanthanides, scandium and yttrium.\nThe useful physical properties of REEs, like ferromagnetism and luminescence, make them critical components of phones and computer screens, as well as useful in catalysis, metal alloy and magnet production.\nBut not only are REEs expensive to mine, they are also rapidly running out. If humans want to explore further into the solar system and build settlements on other moons and planets, we need to figure out a way to mine these elements in situ.\nThis new study aimed to investigate whether microbes could extract REEs under differing gravitational conditions.\nThe researchers, led by Charles Cockell at the University of Edinburgh, UK, spent a decade developing miniaturised biomining reactors that could be sent up to the ISS. These matchbox-sized mining devices were loaded with small pieces of basalt \u2013 a common rock on the Moon and Mars \u2013 and submerged in different bacterial solutions before being launched in 2019.\nOver three weeks, astronauts assessed the biomining potential of three different species of bacteria under varying gravitational conditions, from microgravity to simulated Mars gravity.\nThe results show that the bacterium Sphingomonas desiccabilis leached REEs from basalt under all three levels of gravity, while the other two species of bacteria tested either showed reduced efficiency at low gravity or an inability to extract REEs at all.\nThe success of S. desiccabilis could help us source materials essential for surviving in space.\n\u201cOur experiments lend support to the scientific and technical feasibility of biologically enhanced elemental mining across the Solar System,\u201d says lead author Charles Cockell, from the University of Edinburgh.\n\u201cWhile it is not economically viable to mine these elements in space and bring them to Earth, space biomining could potentially support a self-sustaining human presence in space.\n\u201cFor example, our results suggest that the construction of robotic and human-tended mines in the Oceanus Procellarum region of the Moon, which has rocks with enriched concentrations of rare earth elements, could be one fruitful direction of human scientific and economic development beyond Earth.\u201d\nThe researchers further note that bacteria could also one day be used to break down rock into soil for growing food, or extract minerals to use in life support systems that produce air and water.\nThis study may also be useful down here on Earth, helping scientists understand how gravity influences the growth and metabolic processes of microbial communities on the surface.\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:9e273427-f9be-4601-83a5-2b9484757011>", "dump": "CC-MAIN-2022-21", "url": "https://cosmosmagazine.com/space/mining-with-microbes-in-space/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00369.warc.gz", "language": "en", "language_score": 0.9175386428833008, "token_count": 814, "score": 4.5, "int_score": 4}
{"text": "By Zenisha Shah, CEI Writer and Counselor at Innisfree House School\nLiving in a world changing at unimaginable speed and filled with uncertainty can be exhausting and challenging. We are facing uncertain challenges of a global pandemic, climate change, and violence, that touches people of all ages, genders, races, and nationalities. Words are not enough to describe this shared experience of intense emotions. A language as universal as music and compassion is needed to express and help us overcome these challenges. Music is part of every culture, a way of emotional expression, entertainment, celebration, and storytelling. Researchers have been exploring how and why music can help us cope and act as a ray of hope.\nMusic Helps us Cope\nDealing with constant uncertainty can be overwhelming and stressful for everyone, especially youth. We are all looking for tools to help us cope, express strong emotions, and destress. Research across decades indicates that music can help us destress as well as increase emotional wellbeing (Hallam, 2010). Music can have a calming effect and reduce fear, sadness, and anxious thoughts in children (Zenin, 2016; Belapurkar, 2017). Lyrics can also function as positive affirmations and help lift our spirit (Zenin, 2016). Today, when physical distancing is the new norm, tools that facilitate emotional intimacy, like music, can act as a social glue, helping us cope better.\nMusic, a Universal Language\nResearch suggests that music has the potential to connect us, reminding us that we are not alone in this journey (Zenin, 2016; Grahn, Bauer, & Zamm, 2020). Over the past few months, global news has reminded us of the power of music to bring us together, be it Italian residents singing from their window during their pandemic lockdown; New Yorkers playing and humming to The Beatles from their windows; Spanish police singing on patrol; or Indians using steel plates, conch shells, and applause to thank the frontline workers from their balconies . At a time of extreme distress, this music making gives us a sense of purpose and helps us feel connected. Listening to music lights up our brain\u2019s neural systems and is a natural reflex for us to join in (Grahn, Bauer, & Zamm, 2020).\nPsychology of Music (2012) supports this view and highlights that interacting through music not only helps us connect with each other, but also makes us more empathetic. Interacting through music helps us stay emotionally attuned to each other (Rabinowitch et al., 2012). Music can be used in classrooms, to help our students feel more connected and empathetic towards each other (Laird, 2015). Rhythmic exercises, music games, and making music together can help children recognize others\u2019 emotions better, gives a sense of shared purpose, and creates a space for mutual honesty that is not limited by linguistic skills (University of Cambridge, 2012). You can read more about the applications of music in the classroom in our blog \u201cIn a World of Noise, Music is the Answer.\u201d\nThis universal and binding language of music can act as a crutch to help our children and educators walk towards a more compassionate future. During these challenging and changing times, music can help educators and students connect and share, working together to create a vessel to hold our emotions. Music, which has always been a tool of expression, can now be used as a tool for enhanced creativity, collaboration, and compassion. Together we can, one song at a time!\nAshley, M. (2020). Children and school singing during the COVID-19-pandemic. Music Mark.\nBelapurkar, A. (2017). Music for emotional and social development of child. Scholarly Research Journal, 4(30), 32-37\nBrewer, J. ( 2020) Helping your kids face their uncertainty. Elemental.\nChildren\u2019s medical group. (2018). Children and music benefits of music in child development.\nCherry, K. (2019). 10 surprising psychological benefits of music. Verywell mind blog.\nGrahn, J., Bauer, A.R., & Zamm, A. (2020). Music-making brings us together during the coronavirus pandemic. The Conversation.\nHallam, S., (2010). The power of music: Its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education, 28.\nKennelly, S,.(2012) Does Playing Music Boost Kids\u2019 Empathy? Greater Good Magazine.\nLaird, L. (2015). Empathy in the classroom. Music Educators Journal 101(4),56-61\nRose, D. (2017). How music benefits children. The Conversation.\nRabinowitch,T. R., Cross, I., & Burnard, P. (2012). Long-term musical group interaction has a positive influence on empathy in children. Psychology of Music, 41(4),484-498.\nSuttie, J. (2018). Music and empathy brain. Greater Good Magazine.\nUniversity of Cambridge. (2012). Music of kindness: playing together strengthens empathy in children.\nVandinther, J. (2020). How music therapy is helping some manage pandemic stress. CTV News.\nZenin, G. (2016). The power of music: Enhancing young children\u2019s wellbeing. Care for Kids.", "id": "<urn:uuid:5c386340-cee9-487a-9e01-078d6998f300>", "dump": "CC-MAIN-2022-21", "url": "https://www.edimprovement.org/post/music-helping-us-cope-and-giving-us-hope", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663021405.92/warc/CC-MAIN-20220528220030-20220529010030-00569.warc.gz", "language": "en", "language_score": 0.9056668877601624, "token_count": 1128, "score": 3.8125, "int_score": 4}
{"text": "Sublime (literary) \u2013 Wikipedia\n- The sublime in literature refers to use of language and description that excites thoughts and emotions beyond ordinary experience. Though often associated with grandeur, the sublime may also refer to the grotesque or other extraordinary experiences that \u201ctake [s] us beyond ourselves.\u201d\nThe sublime in literature refers to use of language and description that excites thoughts and emotions beyond ordinary experience. Though often associated with grandeur, the sublime may also refer to the grotesque or other extraordinary experiences that \u201ctake [s] us beyond ourselves.\u201d\nWhat is the concept of sublime?\nIn aesthetics, the sublime (from the Latin subl\u012bmis) is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation.\nWhat is the sublime in Gothic literature?\nRomantic literature elicits personal pleasure from natural beauty, and Gothic fiction takes this aesthetic reaction and subverts it by creating delight and confusion from terror. This use of terror is called the sublime, which is an important tool in these narratives.\nWhat is the sublime in romanticism?\nFor Romantics, the sublime is a meeting of the subjective-internal (emotional) and the objective-external (natural world): we allow our emotions to overwhelm our rationality as we experience the wonder of creation. Because the sublime is emotional, it is traditionally considered something one must experience alone.\nWhat are the characteristics of the sublime?\nThe sublime is further defined as having the quality of such greatness, magnitude or intensity, whether physical, metaphysical, moral, aesthetic or spiritual, that our ability to perceive or comprehend it is temporarily overwhelmed.\nCan a person be sublime?\nMore figuratively, a somewhat old-fashioned verb meaning of sublime refers to the act of elevating something to a more venerable, refined, or wholesome state. This use suggests that a person or object that was once either average or inferior in some way has been transformed into something of higher worth.\nWhat are the five sources of sublime?\nLonginus finds five principal sources of the sublime, the first two of which are largely the gifts of nature the remaining three the gifts of art (1) grandeur of thought, (2) capacity for strong emotion, (3) appropriate use of Figures, (4) Nobility of diction, and (5) dignity of composition or a happy synthesis of all\nWhat is the point of Gothic literature?\nGothic novels allowed writers and readers to explore these ideas through the medium of storytelling. Ghosts, death and decay, madness, curses, and so-called \u2018things that go bump in the night\u2019 provided ways to explore fear of the unknown and what control we have as humans over the unknown.\nWhat are the 8 elements of gothic literature?\n- Gothic elements include the following:\n- Setting in a castle.\n- An atmosphere of mystery and suspense.\n- An ancient prophecy is connected with the castle or its inhabitants (either former or present).\n- Omens, portents, visions.\n- Supernatural or otherwise inexplicable events.\n- High, even overwrought emotion.\n- Women in distress.\nWhy do authors use Gothic elements?\nOften, Gothic writers use melodrama or \u201chigh emotion\u201d to convey a thought. This exaggerated, impassioned language helps convey the panic and terror inherent in many characters. Themes of madness and emotional distress were seen in many of the 20th century Gothic novels that depicted the condition of psychosis.\nIs sublime an emotion?\nAccording to Kant (1764/2008), sublime is an emotion that presupposes the soul\u2019s excitability. He includes a sense of dread and respect as yet another property of the sublime. Bodei (2008/2011) defines the sublime as an experience of simultaneous fear and pleasure.\nHow do you use the word sublime?\nSublime sentence example\n- Demetrius calls his statues sublime, and at the same time precise.\n- The children were amazed as they saw the dry ice sublime into a gas instead of melt.\n- The whole of Bhutan presents a succession of lofty and rugged mountains abounding in picturesque and sublime scenery.\nWhat is the difference between sublime and beautiful?\nAccording to Burke, the Beautiful is that which is well-formed and aesthetically pleasing, whereas the Sublime is that which has the power to compel and destroy us. The preference for the Sublime over the Beautiful was to mark the transition from the Neoclassical to the Romantic era.\nWhat is the test of great or sublime literature?\n\u2018Not instruction or delight or persuasion is the test of great literature, but transport caused by an irresistible magic of speech\u2019. If the hearer is spell-bound by what the writer says, he can neither think nor feel except what the writer thinks or feels. Then the work has the quality of the sublime.\nWhat does Longinus say about Sublime?\nBy its nature the sublime, \u201cproduced by greatness of soul, imitation, or imagery,\u201d cannot be contained in words, and Longinus often refers to its heights as reached by journey, or flight: \u201cFor, as if instinctively, our soul is uplifted by the true sublime; it takes a proud flight, and is filled with joy and vaunting,", "id": "<urn:uuid:0e5e8624-e325-4f4d-94f8-28d83922cfa9>", "dump": "CC-MAIN-2022-21", "url": "https://www.inkbottlepress.com/interesting/definition-of-sublime-in-literature.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662546071.13/warc/CC-MAIN-20220522190453-20220522220453-00169.warc.gz", "language": "en", "language_score": 0.9330678582191467, "token_count": 1117, "score": 3.65625, "int_score": 4}
{"text": "How Can I Help My Child Learn Early Numeracy Skills\nNumeracy is about understanding numbers and solving problems. Numeracy skills are crucial in the children\u2019s early development and preparation for formal schooling.\nGood thing is kids naturally pick up numeracy skills even without our active participation. Children actively learn through experiencing and watching numeracy in action (e.g. telling the story of \u2018Goldilocks and the three bears\u2019, everyday activities such as counting fingers and toys and recognising numbers on signs and books). During storytelling time and normal conversations, opportunities for numeracy are always there (e.g. while driving we can say we\u2019re already halfway, it\u2019s 7pm and this means bedtime and 6pm it\u2019s dinnertime).\nHelping your toddler build numeracy skills\nGreat thing here is that even without our conscious effort we can always help our children better understand numbers. For more opportunities though, we can make counting a part of everyday life (e.g. whenever you\u2019re out you can encourage your child to count the number of trees around). You can also read books and sing songs that have numbers in them (good thing is that many children\u2019s books and songs have repeating rhythms and patterns that are easy to remember).\nWe can take it a step higher by introducing the concepts of size (big, small), height (high, low), weight (heavy, light), speed (fast, slow), distance (close, far) and order (first, second, third, last). For example, you can point at two different trees and tell which one is high or low. You can also make use of a growth chart to introduce the concept of height and also warm up your child to how tall can he/she grow. While cooking or preparing food, you can talk about order (which comes first or which comes next) and also about the relative amounts of ingredients to add (more of that, less of this).\nEvery moment can actually be a golden opportunity to help your child better understand numbers. Good thing here is the whole thing can be made more fun and part of everyday routine. This is important for productive learning because fun can encourage and even accelerate learning and development.\nIt\u2019s also our approach here at Star Academy Kids Early Learning Centre. We make learning fun and productive because of our approach (helping children have a strong sense of Belonging, Being and Becoming). With a play-based curriculum, kids build a strong foundation on numeracy and literacy while also having fun and developing their social and emotional aspects.", "id": "<urn:uuid:610c5463-c3f8-42bb-b5dd-8c22c9ff141d>", "dump": "CC-MAIN-2022-21", "url": "https://www.staracademykids.com.au/can-help-child-learn-early-numeracy-skills/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00567.warc.gz", "language": "en", "language_score": 0.936635434627533, "token_count": 537, "score": 4.15625, "int_score": 4}
{"text": "Podcasts are a great tool for learning and to showcase learning. With cloud based podcast platforms like Anchor and Spreaker, creating a podcast is simple and accessible to all. I have curated twenty five different podcast assignment and project ideas for students whether working remotely or in the classroom. Each one can be adapted per grade level and content area taught.\n1. Myths Around the World \u2013 Mythology is part of the curriculum in elementary school, middle school, and high school when students study ancient cultures. First students can read and listen to creation myths and hero myths from around the world to understand the elements of mythology. Taking examples from Greek, Native American, Indian, and Chinese mythology, students then write their own creation or hero myths. Students create their own mythical characters and write descriptions about their origins. Students can work collaboratively to write and then record their original myths for a class podcast series.\n2. What On Earth Science Debates \u2013 Earth Science teacher in New York, Deb Davis has her 8th grade students research and prepare opening debate speeches around controversial topics in earth science: fracking, genetically modified foods, Keystone Pipeline, space travel. Students prepare an evidence file collecting valid and reliable research to utilize for their debate. On the day of the debate, students record the entire debate and create a podcast channel for the science debates. Parents and other students can listen to the debates and evaluate them for solid evidence and effective arguments.\n3. Let Me Tell You My Story \u2013 Based on content area of the class, this podcast requires students to conduct interviews of people about their experiences living during a specific time period (history connection), or career exploration, or stories about community development.\n4. Book Versus The Movie \u2013 Which was better, the book or the movie? Students can debate and discuss the qualities of a book turned movie and which they would recommend.\n5. RadioLab Style Informative Inquiry \u2013 I love the Radiolab Podcast and have written about having students create their own Radiolab style podcast on this blog and in a chapter of Teaching Literacy in the Digital Age. The podcast is organized like an informative essay with three body paragraphs, evidence to support the claims, and enhanced with sound effects and interview clips. Students can have lots of fun discussing key topics in science or be more light hearted by debating who is the better super hero: Batman or Superman.\n6. \u201cTribe of Mentors\u201d \u2013 So I am a podcast junkie, and Tim Ferriss\u2019 is one of my all time favorite podcasters. His podcast series includes interviews with celebrities, athletes, scientists, and more. Have students interview the people who they consider influencers and forward thinkers to share expertise and insight how to live your best self.\n7. Create a suspenseful podcast like Lethal Lit to tell a mystery, horror or gothic tale in a series of episodes that lead the listeners through the mystery with red herrings and lots of suspects.\n8. Need To Know \u2013 What are the things that you need to know before you graduate from high school (or elementary school or middle school). This podcast can be a series of short podcasts about what people should know once they leave school. For example, maybe balancing finances and how to fold your laundry. Have students brainstorm a list of things that they think are imperative to know to help them navigate their lives beyond school.\n9. Personal Narratives and Memoirs are great for podcasting and storytelling. Check out The Moth Radio Hour for examples for storytelling that makes you laugh and cry.\n10. Poetry Podcast \u2013 Have students write their original poetry and then podcast their work to share with others. Students might also consider podcasting their favorite poems and discuss the elements of the poem that make it memorable.\n11. On This Day \u2013 Create a short podcast to introduce important events that happened on the specific day recording the podcast. The podcast can be based on history, scientific findings, or famous feats.\n12. Wonderopolis: The Podcast \u2013 Wonderopolis is a fantastic website with daily wonders about our world curated on its website. Students can create their own wonders and then create a podcast to share their wonder findings.\n13. Newscast \u2013 Students can take their school newspaper to another level with a podcast. Allow students to share movie reviews, news about school, and highlight school related stories on the podcast.\n14. Let Me Help You \u2013 Students can create a podcast to teach others about technology. Allow students to podcast short and easy to follow \u201cHow To . . . Tech\u201d lessons for older adults. This can be adapted to any content or subject matter. For example, I can really use a math podcast to explain aspects of geometry and algebra.\n15. Choose Your Own Adventure \u2013 Remember the choose your own adventure books from the 1980s? What if students worked together to create their own stories that listeners were able to select where they want to story to go next. This could be an entire class or grade level project with each student writing and podcasting their \u201cchapter.\u201d\n16. In The Know \u2013 Students can research all about animals, diseases, or sports and create an encyclopedia podcast that catalogues all about these topics.\n17. The Best Recipes \u2013 Students can share family recipes on a podcast to create a collection of delicious dishes to share with others.\n18. The Best Book I Ever Read Podcast \u2013 Here is a way to collect book recommendations and showcase students favorite reads. Students can access the podcast to find out what to read next. Think of it like a podcast for GoodReads in Classroom 2A.\n19. Reader\u2019s Theater \u2013 Have students create an \u201cold time\u201d Prairie Home Companion show with sound effects and original music.\n20. The Story Seeds Podcast is a collaborative podcast among kids and authors. Each episode \u201ccaptures the magic that happens when kids ages 6-12 meet and collaborate with beloved storytellers who grow original short stories inspired by their story ideas.\u201d Have students create their own story seeds or borrow one from the show and create their own story magic to podcast.\n21. Investigative Journalism \u2013 The Serial Podcast brought attention to an unsolved murder mystery and also the excellence of a podcast. Have students be their own investigative journalists and go hunting for the truth about local legends or unsolved crimes.\n22. Reel vs. Real \u2013 Whether you are a Mythbusters fan or not, watching movies and shows online you might question the science of car races, explosions, or the reality of people\u2019s lives in the moves. Have students analyze the films to discern fact from fiction.\n23. Making the Invisible Visible \u2013 Many times history and characters are one sided and we rarely see or hear about those who are silenced. eclipsed, and ignored. Let\u2019s bring them to the forefront by having students research and create podcasts that are history or literary based and give voice to those who were kept voiceless.\n24. You\u2019re Wrong About \u2013 This is actually a podcast series now and the idea is genius if you have students create their own podcasts to research and discuss things that adults are wrong about.\n25. What this song means to me \u2013 For music fans, have students choose their favorite songs and podcast their close reading and analysis of what the song means to them. They might also address the craft moves of the artists and the key elements of the song.\nWant More? Check out Building Book Love blog post which highlights many awesome podcasts that you can listen to, share with your students, and inspires more podcast creation ideas.", "id": "<urn:uuid:ab1ed53c-b890-4317-b7f9-7c48164e99b1>", "dump": "CC-MAIN-2022-21", "url": "https://theteachingfactor.wordpress.com/tag/podcasting/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662619221.81/warc/CC-MAIN-20220526162749-20220526192749-00168.warc.gz", "language": "en", "language_score": 0.9383984804153442, "token_count": 1545, "score": 3.625, "int_score": 4}
{"text": "An epithet is a descriptive term or qualifier that identifies an attribute. From the Greek term that means \u201cadded,\u201d it is a useful literary or rhetorical device when describing a character for the reader. While a modern use of epithets can be derogatory, classic literary epithets are an important element of literature.\nEpithet Examples in Literature\nTypes of Epithets\nThere are three types of epithets that are effective in different ways, depending on historical and literary contexts. Here are some definitions and examples.\nIn longer pieces, the author may repeat an epithet that describes the character over several different scenes. A more common use of a fixed epithet is known as a nickname or sobriquet.\nExample: In The Odyssey, Homer refers to Odysseus many times as \u201cson of Laertes,\u201d Penelope as \u201cwife of Odysseus,\u201d Eurymachus as \u201cson of Polybus,\u201d and Zeus as \u201cking of kings.\u201d\nAnother type of epithet is a kenning, which is a compound or two-word metaphorical expression that replaces a noun. Kennings are primarily found in Old English and Old Norse works.\nExample: The Anglo-Saxon epic poem Beowulf includes many kennings, including \u201cwound-sea\u201d (blood), \u201csail road\u201d (the sea), \u201cspear-din\u201d (battle), and \u201csleep of the sword\u201d (death).\nNegative or disparaging epithets take many forms, from teasing nicknames to ethnic, racial or homophobic slurs. Unlike euphemisms, these derogatory terms are meant to insult an opponent or group of people without directly stating the targeted characteristic.\nExample: \u201cPiggy\u201d in William Golding\u2019s Lord of the Flies is named by his bullies for his short, stocky figure.\nArchetypal Literary Epithets\nSome epithets are such apt qualifiers that they become archetypes of their own. Regardless of their source material, these well-known descriptions can be found in many different works of literature \u2013 and even in political movements.\nRomeo and Juliet were the prototypical \u201cstar-crossed lovers\u201d from William Shakespeare\u2019s Romeo and Juliet. But, they were far from the last. The epithet indicates a couple whose future is ill-fated or meant to fail.\nExample: John Green\u2019s The Fault in Our Stars (named after Julius Caesar, another Shakespearean tragedy) features lovers Hazel and Augustus. They are two cancer patients who must make the most of the time they have left.\nCommonly used as a derogatory term for a black person who follows the authority of a white person, the epithet \u201cUncle Tom\u201d originated in Uncle Tom\u2019s Cabin by Harriet Beecher Stowe. Its use in this context predates the Civil Rights Movement of the 1960s.\nExample: The character of Mammy in Margaret Mead\u2019s Gone With the Wind is considered by many to be an \u201cUncle Tom\u201d figure. She is depicted as a black character who is content to be a slave.\nHe Who Must Not Be Named\nSometimes an epithet can be silent. Consider the nameless gold-spinner in Rumplestiltskin or the wildly undead ghost from Beetlejuice. In both cases, the pressure to refrain from naming an antagonist causes characters to rely on some unconventional epithets.\nExample: Characters in J.K. Rowling\u2019s Harry Potter series often refer to Voldemort, the wizarding world\u2019s dreaded villain, as \u201cHe Who Must Not Be Named.\u201d\nMore Examples of Epithets\nEpithets are present in history books and modern culture, as well.\nMembers of royalty often have an epithet after their name. Also known as cognomens that signify how a person is well known, these epithets represent the figure\u2019s historical legacy.\n- Catherine the Great (Catherine II, Empress of Russia)\n- Richard the Lionheart (Richard I, King of England)\n- Leopold the Able (Leopold III, the Duke of Austria)\n- Bloody Mary (Mary I, Queen of England)\nHaving an easily recognizable epithet in popular culture is often a sign of success for musicians and actors. Here are just a few of the most famous cultural epithets.\n- The Bard (William Shakespeare)\n- The Piano Man (Billy Joel)\n- The Duke (John Wayne)\n- The King (Elvis Presley)\n- The Prince of Pop (Michael Jackson)\n- The Boss (Bruce Springsteen)\n- The Gipper (Ronald Reagan)\n- The People\u2019s Princess (Diana of Wales)\nUsing Literary Devices in Your Writing\nThough using an epithet can help to establish a character\u2019s traits, it\u2019s still important to use descriptive writing in your piece. Check out some famous examples of descriptive text from literature and learn how to effectively combine literary devices for the ultimate storytelling experience.", "id": "<urn:uuid:55912705-b053-4918-9464-355be04d3fd1>", "dump": "CC-MAIN-2022-21", "url": "https://examples.yourdictionary.com/examples-of-epithets.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662658761.95/warc/CC-MAIN-20220527142854-20220527172854-00567.warc.gz", "language": "en", "language_score": 0.9238744974136353, "token_count": 1114, "score": 4.1875, "int_score": 4}
{"text": "At Stannington First School, we believe that high-quality art lessons will inspire our pupils to think innovatively and develop creative, procedural understanding; qualities that will support their future employment opportunities and prepare them for the job roles of the future. Our art and design curriculum provides children with opportunities to develop their skills using a range of media and materials.\nPupils learn the skills of drawing, painting, printing, collage, sculpture and digital art and are given the opportunity to explore and evaluate different creative ideas. They will be introduced to a range of works and develop knowledge of the styles and vocabulary used by famous artists. The skills they acquire are applied to their cross-curricular learning, allowing children to use their art skills to reflect on and explore topics in greater depth; for example, by sketching historical artefacts in detail, researching geographical locations to support their work on landscape painting or using art as a medium to express emotion and thought to enhance their personal, social and emotional development.\nMany areas of art link with mathematical ideas of shape and space; for example when printing repeating patterns and designs and thinking about 3D shapes to support structures. It is paramount that art work be purposeful; be this as a means of expression or to explore the styles of other artists that inspire our own work. Pupils are clear what the intended outcomes are and have a means to measure their own work against this.\nIn Art, pupils are expected to be reflective and evaluate their work, thinking about how they can make changes and keep improving. This should be meaningful and continuous throughout the process, with evidence of age-related verbal and written reflection. Children are encouraged to take risks and experiment and then reflect on why some ideas and techniques are successful or not for a particular project.\nMorpeth partnership curriculum statement\nArt, Craft and Design has the power to expand our cultural awareness, increase our ability to problem solve, cultivate our fine motor skills and aid us in producing a range of opinions and views on our world. We use these skills each and every day as tools to navigate our way around our visually complex world. Creativity builds self- esteem and confidence, independent learners, and prepares our future artists to appreciate the design world, develop a passion for the subject within the classroom and externally (through interaction with our local area, region, artists and galleries). Art supports the school\u2019s core values including inclusivity and diversity, and helps to raise self-esteem. It provides an exceptional opportunity to broaden experience and support social, moral, spiritual and cultural learning.\n\u2018Creativity takes courage\u2019 Matisse\nThe Art lead from Stannington First School has worked with colleagues across the Morpeth Partnership as well as all of our staff at Stannington to create a long term art plan that shows clear progression of knowledge and skills from EYFS through to Year 13. There are medium term plans which outline a sequence of lessons for each subject, carefully planning for progression and depth.\nEach session/lesson follows a well planned format that includes a recap of learning, assessment opportunities, discussion opportunities and discussions about key artistic vocabulary (buzz words).\nIn Stannington First School we also hold a yearly \u2018Take one Picture\u2019 project across the whole school. We value pupil voice and involve all children to steer their learning. With this in mind we allow all children an opportunity to vote on an artist/theme. This is inspired by similar projects organised by the National Gallery;\n(National gallery/Take One Picture) This Take One Picture project encourages each class to create a different response to the same picture. It involves artist research, creative writing and other creative arts such as dance, music or drama. The work created is shared with the community at our local village show and displayed in our hall.\nAs all artwork should be admired, we take every opportunity to display and celebrate the pupils\u2019 art work in their class, around the school, on our website and via social media platforms.\nTeacher assessment is measured against the key knowledge and skills and other forms of assessment are used, such as:\nThe use of flashback 4 questions which review prior learning, supporting learners\u2019 ability to retain earning and increase space in the working memory\nChallenge questions create opportunities for pupils to apply their learning and educational visits and visiting experts are planned to enhance the learning experience\nClass discussions and critiques of pupil\u2019s and artist\u2019s artwork/crafts.\nThrough use of knowledge organisers.\nArt and Design is loved by pupils and teachers across our school. Teachers have high expectations and quality evidence is presented in a variety of ways. All pupils use technical vocabulary (buzz words) accurately, speaking confidently about their art and design work and their skills when creating and when evaluating.\nOur pupils are expected to know, apply and understand the skills and processes specified. They are also increasingly confident in analysing their art work and giving their opinion on their own and other works of art. Linked to our school values, our pupils show competencies in improving their resilience and perseverance by reflecting on and considering how they can improve their work.\nWe measure the impact of our curriculum through the following methods:\nA reflection on standards achieved against the planned outcomes set by \u2018My progress goals\u2019\nChild-led assessments such as KWL grids are completed as a class\nPupil discussions about their learning which includes discussion of their thoughts, ideas, processing and evaluations of work\nFeedback and evaluation from a wider audience at community events such as the Stannington Make, Bake, Grow and Show\nChildren develop a real passion for art and deploy skills taught across the curriculum and during extra curricular activities", "id": "<urn:uuid:0306a844-7687-4ab3-a360-f775464ddb73>", "dump": "CC-MAIN-2022-21", "url": "http://www.stannington.northumberland.sch.uk/web/art_and_design/567377", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521883.7/warc/CC-MAIN-20220518083841-20220518113841-00568.warc.gz", "language": "en", "language_score": 0.9548330307006836, "token_count": 1179, "score": 3.640625, "int_score": 4}
{"text": "Learning Journey & Sequencing Rationale\nThe Key Stage three curriculum introduces learners to a range of fiction and non-fiction forms, aspects of narrative and rhetorical devices. Learners are introduced to fundamental concepts in English including context, form, language and structure and explore these through a range of texts and authors. Learners are also introduced to different narrative forms including plays, poems, novels and short stories and explore the aspects of narrative specific to each form. Learners explore texts from a range of literary periods, which are informed by diverse historical and social contexts and are taught to consider the idea of the literary canon, alongside authorial intention and responsibility. They revisit these substantive and disciplinary concepts across Key Stage three, encountering them through more complex texts and learning to master understanding and application of key concepts in English.\nIn Year 7, learners are taught the history of the English language ensuring that learners understand the origins of English as a language and literature as a concept. Learners are introduced to the context, plot and themes of the epic poem \u2018Beowulf\u2019, discuss its significance in English literary history and read a Heaney translation of an extract. Learners are also introduced to \u2018The Canterbury Tales\u2019 as a seminal literary text in Middle English before moving on to the study of Shakespeare. Learners are introduced to Shakespeare\u2019s life and work and begin to explore his use of language. This unit teaches learners about key periods in the development of the English language and introduces them to the notion of the literary canon. Through this unit, learners read, retrieve and infer information from both non-fiction texts and literary extracts and apply this knowledge to their own extended writing, producing their own information articles. In the second part of this unit, learners build on their understanding of Shakespeare\u2019s language and the context in which he wrote through the study of two of his sonnets, where they are also introduced to key concepts in English including figurative language and poetic meter.\nIn spring term, learners learn how society and literature developed between Shakespeare\u2019s era and the Victorian era. Learners study the genre of detective fiction and explore its origins in the context of the rapid social changes taking place in Britain at this time. Learners explore the short stories of Sherlock Holmes and are introduced to the concept of genre, the short story form and key aspects of narrative such as characterisation, setting, plot and narrative perspective. Learners are taught to identify genre specific conventions, analyse these and emulate them in their own creative writing.\nIn summer term, learners build on their understanding of genre through the study of a full-length children\u2019s fantasy novel and revisit a key aspect of narrative (characterisation). Learners also revisit their knowledge of figurative language and are taught a wider range of terminology in order to analyse the presentation of character. Learners are explicitly taught the conventions for analytical writing, producing their first analytical essay at key stage three.\nIn Year 8, learners are reminded of the importance of social and historical context when reading and interpreting texts. Learners study the novel \u2018War Horse\u2019 alongside a range of non-fiction literary texts and poetry from world war one to develop an understanding of the war and its influence on literature. Learners are introduced to the concept of authorial intention and are taught to embed contextual detail to develop interpretations of a whole novel. Learners also revisit key aspects of narrative such as characterisation, setting and narrative perspective. Learners are also taught about how to produce their own literary non-fiction texts to express attitudes towards war.\nIn spring term, learners study the origins of gothic literature and draw on prior knowledge of the Shakespearean era and Victorian eras to understand the way in which the origins of the gothic were a reaction to the changes in society at the time. Learners revisit the concept of genre and develop their understanding of how figurative language contributes to generic conventions. Learners continue to develop their repertoire of terminology and practise refining their analytical writing to explore character and setting. As in Year 7, learners use their knowledge of generic and stylistic conventions to create a piece of writing in the style of the gothic genre.\nAt the end of year 8, learners revisit the short story form with a focus on narrative perspective through their study of a range of contemporary short stories. Learners draw on their understanding of the ways in which contemporaneous contexts influence writer\u2019s choices about narrative voice and perspective, linking this to authorial intention and the responsibility of the writer.\nIn autumn term, learners study an example of 20th century American fiction (Of Mice and Men) alongside poetry and non-fiction texts from this era. Learners once again revisit the concepts of context - exploring social, historical, political and literary contexts of the time and compare the ways in which writers in 1930s America communicate their attitudes and beliefs. Learners are introduced to the notion of the writer as a social critic and explore the limitations surrounding Steinbeck\u2019s ability to comment on the experiences of marginalised people as a white, middle class man. Learners re-visit the concept of characterisation as a tool to communicate authorial intention, linking text-level analysis to whole text purpose.\nLearners spend fourteen weeks studying a full-length Shakespeare play (Macbeth). Learners revisit the context of Shakespeare and the form of a play and look at the conventions of tragedy in preparation for their study of Romeo and Juliet at key stage four. Learners revisit the concepts of characterisation and theme, and are also introduced to methods unique to the dramatic form (stage directions, asides, soliloquies). Learners revisit and practise key analytical skills needed for key stage four (annotation, inference, interpretation) and practise honing their ability to write critically about both character and theme.\nIn the final 8 weeks of year 9, learners study the art of rhetoric, exploring its history and being taught the key concepts of rhetoric. Learners identify and analyse the use of these concepts in a range of 20th and 21st century speeches from Michelle Obama to Greta Thunberg. Learners make inferences about writer\u2019s viewpoints and perspectives in preparation for their study of non-fiction texts at key stage four. Informed by this knowledge of rhetoric, learners plan, write and deliver their own speeches about a contemporary issue of their choice, as part of their spoken language component of their English language GCSE.\nA knowledge organiser is an important document that lists the important facts that learners should know by the end of a unit of work. It is important that learners can recall these facts easily, so that when they are answering challenging questions in their assessments and GCSE and A-Level exams, they are not wasting precious time in exams focusing on remembering simple facts, but making complex arguments, and calculations.\nWe encourage all pupils to use them by doing the following:\n- Quiz themselves at home, using the read, write, cover, check method.\n- Practise spelling key vocabulary\n- Further researching people, events and processes most relevant to the unit.", "id": "<urn:uuid:d703505b-1eaa-4b63-bff5-0fcc181cb86e>", "dump": "CC-MAIN-2022-21", "url": "https://www.harrowhigh.com/year-7/english", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522741.25/warc/CC-MAIN-20220519010618-20220519040618-00570.warc.gz", "language": "en", "language_score": 0.9442219138145447, "token_count": 1461, "score": 3.8125, "int_score": 4}
{"text": "By Tommie, Moses Lake Public Library\nWomen have always been on the front lines of the literary world. From poets like Emily Dickenson and authors like Mary Shelley, to women writers like Octavia Butler and Agatha Christie. So many powerful women who created genres, new poetic meters, and incited revolutions that are still ongoing.\nAs we wrap up our celebration of Women\u2019s History Month, we are highlighting just a few whose contributions are still recognized today. (Click on their names to discover books written by them!)\nOne of the most well known female poets of the ancient world, Sappho of Lesbos was considered a \u201cmuse\u201d in her time, with recognition from famous philosophers like Solon and Plato. She perfected an ancient meter of poetry that was later coined as the \u201cSapphic Meter\u201d in her honor. It is because of her poetry that we have terms like \u201cSapphic\u201d and \u201cLesbian\u201d today.\nMost known for her written essay, \u201cA Vindication of the Rights of Women\u201d, Mary Wollstonecraft is largely credited for the early strides of the feminism movement. Her work outlines how in the 18th century, society was training women to be frivolous and incapable. She rallied the women of her time around the betterment of education, positing it toward a new societal change. Her early work led the way for modern women to be able to fight for their rights and even get to the place where we are today.\nAs the first African-American woman to win the National Book Award and the Pulitzer Prize, her acclaimed novel \u201cThe Color Purple\u201d was just the start of what remains a fantastic and prolific career. Not only is Walker a groundbreaking author, but she also has made leaps and bounds for women in civil rights and womanism, the term Walker coined for the intersectionality of feminism and being a woman of color.\nOne of the most widely known Spanish-language author writers of all time, Isabel Allende broke political and literary ground with her novel \u201cThe House of the Spirits\u201d. Challenging the Chilean government, the book was also a letter to her dying grandfather. She has won several awards for her novels and for her activism efforts in the preservation of women\u2019s rights.\nA member of the Muscogee Nation, Joy Harjo is the first Native American Poet Laureate of the United States. Her works of poetry have won awards for decades and she is a well celebrated poet across the entire nation. With emphasis on First Nation storytelling traditions, Harjo also touches on concepts of feminism, social justice, and the beauty of the natural world.\nAngie Thomas\u2019 best-selling novel, \u201cThe Hate U Give\u201d was published in a time of great turmoil for the US. Inspired by the Black Lives Matter movement, her novel sparked conversations across the nation, leading to a film produced by Fox 2000. Her novel helped to inspire more authors of color to be able to publish their own works, giving voice to experiences that were once silenced.\nFor these authors and more, check out our blog as we continue to celebrate Women\u2019s History Month this March!", "id": "<urn:uuid:14d91a27-738d-4ca5-a2e1-7c0763ac2718>", "dump": "CC-MAIN-2022-21", "url": "https://www.ncwlibraries.org/groundbreaking-female-authors/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662631064.64/warc/CC-MAIN-20220527015812-20220527045812-00768.warc.gz", "language": "en", "language_score": 0.9768072366714478, "token_count": 661, "score": 3.953125, "int_score": 4}
{"text": "Having strong literacy skills sets your child up with a strong foundation for success. Having the ability to read complex articles as well as write and communicate eloquently allows your child to understand complex concepts and communicate effectively. Although many children do not receive the appropriate tools at typical schools to allow them to unlock their complete potential. In school, English is a mandatory course, whereas creative writing is not mandatory and may not even be offered for your child. However, there are many benefits to taking creative writing as opposed to just English. English tutoring can be repetitive and rigid in structure, whereas creative writing allows for just that- more creativity. If you are looking to improve your child\u2019s literacy skills, creative writing tutoring may be the best option compared to typical English tutoring. Here at Success Tutorial School we have compiled a list of reasons outlining why creative writing could be a better option for your child!\nCreative writing allows your child to go beyond their usual writing routines and use their imagination. Writers block is a very real difficulty that many students face when writing. Developing imagination allows students to be more readily able to write, without the dreaded writers block. Having a strong imagination, permits students to have in-depth and developed thoughts, which can be communicated through their writing, thinking process, storytelling and oral communication.\nWith Imagination Comes Vocabulary\nStudents who utilise their creativity and imagination in their writing are often looking to expand their vocabulary in order to properly convey their thoughts and meaning in their writing. With imagination, vocabulary must be expanded in order to convey meaning to the best of their ability. Due to all of the creative ideas and expression that they are presenting in their writing, students inherently must expand their vocabulary, which in turn creates stronger writers and communicators.\nIncreased Ability to Think\nCreative writing allows students to access imagination and vocabulary that they may not have been able to develop as deeply without creative writing. With this, students are able think more deeply and more critically as their language skills have improved. Think of it this way \u2013 without proper imagination or vocabulary, students are not as readily able to think of concepts on their own or to reflect on these concepts with depth. If they do not possess the imagination or vocabulary, they are not as readily able to form in-depth and critical thoughts. Thus, imagination and vocabulary are key components to create in-depth and critical thinkers.\nImproved Problem-Solving Skills\nWith an overall increase of their literacy skills in writing, imagination, vocabulary and critical thinking, students are truly developing their problem-solving skills. Being able to access these critical thinking skills are key components to creating strong problem solvers. Therefore, creative writing can create better problem-solving skills.\nOverall, creative writing is very fun! It allows students to step away from the rigid thinking that is so often found in school settings, including in English class. It allows students to be free in their thinking and their writing, without the common restraints found in English class and tutoring. This permits students to develop their imagination and have fun with their writing! Students who are engaged in their writing, in turn will write more and become better writers. Allowing students to express themselves through writing is a very strong skill to allow them to develop. Letting students have fun with their writing will increase engagement and overall writing skills.\nCreative Writing Opens Doors to Job Opportunities\nWriting is often a sought-after skill for many companies. In fact, there are many job opportunities for creative writers. Job opportunities include novelist, communications or public relations specialist, grant writer, copywriter and children\u2019s book writer. Provide your child with more opportunities for employment by improving their creative writing skills.\nCreative writing is an exciting and engaging opportunity to develop your child\u2019s overall literacy skills. This can make a big impact in your child\u2019s learning, abilities and success. Allow your child to go beyond the rigid expectations of English tutoring and develop their literacy skills by enrolling them into a creative writing program. Here at Success Tutorial School we provide creative writing lessons for all types of writers \u2013 beginners, moderate and advanced. We have devoted ourselves to creating an engaging and supportive environment for our learners. We create lessons and activities tailored to your students\u2019 needs and interests. Provide your students with the opportunity to enhance their literacy skills by enrolling them into our Creative Writing program here at Success Tutorial School! With 30 years of experience we will provide your child the tools they need to succeed. You can call us at our following locations: SCARBOROUGH: (416) 412-3170 \u2013 RICHMOND HILL: (905) 709-9819 \u2013 MARKHAM: (905) 471-3131 for more information.", "id": "<urn:uuid:2487dc06-fee6-498b-aaca-322dbad25a2f>", "dump": "CC-MAIN-2022-21", "url": "https://www.successtutorialschool.ca/cw-improve-childs-english/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522741.25/warc/CC-MAIN-20220519010618-20220519040618-00568.warc.gz", "language": "en", "language_score": 0.9653748869895935, "token_count": 975, "score": 3.734375, "int_score": 4}
{"text": "R.E.A.C.H Values at Dual Language Middle School\nThe Dual Language Middle School perceives character development as an integral part of the middle school experience and works to nurture and promote the development of sound character. The elements of sound character that the school has identified as essential for community are:\nRespect and Responsibility\nRespect involves treating oneself and others with dignity: accepting and celebrating our differences. Respect should be extended not only to members of the DLMS community, but also to the community at large.\nResponsibility includes fulfilling our obligations to each other and to the school, taking action when we encounter a problem that needs to be solved, and taking responsibility for our actions especially when it requires leadership and courage.\nEnthusiasm requires you to keep an open mind and do things with a positive attitude. No whining, complaining, or pouting even when an activity is new, hard, or not interesting to me. We participate appropriately and with positive energy and do not talk or distract others. Enthusiasm includes following directions the first time and giving your best effort every time. Following the dress code and keeping a neat and clean appearance, participating actively in class activities, and asking and answering questions thoughtfully are all ways to demonstrate enthusiasm.\nAchievement means doing your absolute best \u2013 TOP QUALITY \u2013 work on all assignments. You complete all homework and independent reading every night and keep your binders, notebooks, and book bag neat, clean, and organized. The achievement value requires setting high goals for yourself and always demonstrating progress towards meeting high standards. Missed work is always made up.\nCitizenship has four elements: integrity, generosity, honesty, and fairness.\nIntegrity: Integrity means maintaining our commitments to our individual moral values. As we build integrity, we develop the ability to stand up for what is right. Integrity requires taking responsibility for your actions and accepting the consequences without making excuses, blaming others, or worrying about what consequences others may receive.\nGenerosity: Generosity involves helping others, both at the Dual Language Middle School and elsewhere. It is a natural outgrowth of compassion and refers to a willingness to take action\u2014to give\u2014when needed. Working well with teammates to complete assignments and helping others without being asked or expecting anything in return are ways to demonstrate generosity.\nHonesty: Honesty requires that we be truthful both in our academic work and in other areas of our lives. Honesty means always telling the truth. You must do your own work and only get help from others when it is appropriate.\nFairness: Fairness means to treat all people in a just and appropriate manner.\nHard work means coming to school every day and arriving on time. Hard working students come to class ready to start the day with all necessary books and materials. Hard work requires that you commit two eyes, two ears, and one big brain to listening and learning. Never giving up when you are given an assignment or asked a question. Trying your best and asking for help from a teacher or classmate even if it means giving up free time to get extra help demonstrates hard work.", "id": "<urn:uuid:725fcf70-283c-4a9c-a552-2f64da85cc2a>", "dump": "CC-MAIN-2022-21", "url": "https://www.duallanguagemiddleschool.org/reach-values", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00369.warc.gz", "language": "en", "language_score": 0.9488452672958374, "token_count": 656, "score": 3.75, "int_score": 4}
{"text": "Each year we celebrate Martin Luther King Day on the third Monday of January. The day celebrates the life and achievements of Martin Luther King Jr., an influential American civil rights leader.\nIn the Primary classrooms, children read picture books about the life and legacy of Dr. Martin Luther King Jr. and they listened to a small excerpt from his \u201cI Have a Dream\u201d speech. Kindergarteners were invited to write creative writing pieces applying the idea of \u201cI have a Dream\u201d to something that is important to them and to share their vision for a peaceful and more equitable future.\nSome students drew self-portraits, thinking about each person\u2019s uniqueness and commonalities, appreciating our differences, and recognizing our similarities.\nLower Elementary students learned about why we celebrate Martin Luther King Day and they created amazing artwork in honor of Dr. King. They traced their hands and completed the sentence \u201cI have a dream\u2026\u201d before putting them all together on a poster.\nUpper Elementary showcased and shared a selection of picture books that celebrated his life and legacy.\nBallad of Martin Luther King, Jr., 1963\nTen thousands join ten thousands\nWithout goading police.\nThe singers sing, their anthems ring,\nThe speakers speak their peace.\nAround the world astonishment\u2014\nThe ceremonies heard\nOr seen on every continent,\nAnd still to come: the Word.\nSpectators waving handkerchiefs,\nSmall children, hearts to seize,\nWill tell it taller years from now,\nGrandchildren at their knees.\nBlue sunshine worships morning,\nNo cloud would dare to rain\nFor in his jacket mercy\nAnd in his pocket pain.\nEquality his brother\nAnd sisterhood his pride\nMeet common sense, nonviolence,\nThe means he\u2019s deified.\nThe afternoon is dying down,\nThe Reverend takes the stage.\nGeorge Washington spreads out the book,\nAbe Lincoln turns the page.\nHe reads his notes religiously,\nAn old familiar theme.\n\u201cBut please, Martin,\u201d Mahalia shouts,\n\u201cTell \u2018em about the dream!\u201d\nAnd first he puts away his speech\nThen sweeps away the crowd:\nThe memory of his remarks\nPeals like a thundercloud.\n\u201cThe content of our character\nPersonifies a sage.\u201d\nOne day in 1963.\nBelongs to every age", "id": "<urn:uuid:f23df7aa-ac07-44d6-9d39-667b8c8466ad>", "dump": "CC-MAIN-2022-21", "url": "https://princetonmontessori.org/uncategorized/i-have-a-dream-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00769.warc.gz", "language": "en", "language_score": 0.9339540600776672, "token_count": 517, "score": 3.90625, "int_score": 4}
{"text": "Get lucky with these 10 St. Patrick\u2019s Day texts that can be used to explain the meaning of the green-themed holiday, as well as introduce young students to Irish culture and traditions. This list offers mentor texts of history, fantasy, folklore, and more, to bring the spirit of the holiday into the classroom. Check out the 10 Lucky St. Patrick\u2019s Day Texts with Teacher Tips![/vc_column_text]\nThis lively book teaches you all you need to know about how to catch a leprechaun! By using pots of gold, shamrocks, rainbows, and various STEAM concepts, you can catch your own leprechaun if you\u2019re lucky!\nTeacher Tip: Ask students to reflect on the changes in Chrysanthemum\u2019s character in the beginning, middle, and end. (Skipping to school, reacting to peers, Mrs. Delphinium making her announcement)\nInfused with Irish culture and language, O\u2019Sullivan Stew displays the magical art of storytelling. The Witch of Crookhaven\u2019s horse has been stolen, and the village will see no peace until it\u2019s been returned! The bold Kate O\u2019Sullivan takes charge of the situation but winds up getting herself and her family into hot water with the king. The only way for Kate to save the day is by using her wit and imagination to tell a story to save her family and village from peril.\nTeacher tip: For a St. Patty\u2019s Day activity, create your own O\u2019Sullivan stew! Print out a large picture of a pot of soup, cut out ingredients that Kate uses, and allow your students to make their own stew for an interactive experience that can be done during the read-aloud or after!\nGail Gibbons has created this bright picture book to help introduce young audiences to the history behind St. Patrick\u2019s Day. Readers will learn about Patrick\u2019s life, as well as other legends about the saint, traditional customs of the holiday, and more. A wonderful mix of Irish culture, legends, and history, this book is a must have for teaching young ones about what this green day is truly about.\nTeacher tip: Create a mini-history lesson to pair with this book for a deeper understanding of this world-renowned holiday.\nThis classic Irish tale follows two harpists on their journey to find the finest player in Ireland. The duo is an odd pair, because while Old Pat is very merry, Young Tom has a sour demeanor! Once Young Tom realizes that Old Pat is the better harpist of the two, he begins scheming to eliminate his competition. What Young Tom doesn\u2019t anticipate is the interference of a mischievous leprechaun out to make trouble.\nTeacher Tip: Compare and Contrast the two characters. Talk about character development.\nWith a lilting Irish tone, this story follows the struggles and successes of Tim O\u2019Toole and his wife, Kathleen. The poor family has not a penny to their name, until Tim stumbles across a band of \u201cwee folk\u201d clad in green clothes who give him various gifts with which to make his fortune. Thanks to the wee folk, things are beginning to look up for Tim\u2014if he can steer clear of the evil McGoon family that is\u2026\nTeacher tip: Go to YouTube and find an Irish-narrated read-aloud for this book to show students about the interesting dialect and sounds of the Irish language.\nJamie O\u2019Rourke is known as the laziest man in Ireland, too lazy to even help his wife on their farm! However, after an encounter with a leprechaun, O\u2019Rourke manages to grow the biggest potato in the world! How will Jamie and the villagers handle this out-of-control spud as it keeps growing and growing?\nTeacher tip: Compare this book with other classic tales, such as Jack and the Bean Stalk, to look for similarities between the genre of folklore!\nYoung Jamie must find a way to prove to others that he isn\u2019t too young to march alongside the others in the St. Patrick\u2019s Day parade. Jamie\u2019s inspiring efforts are supplemented with Irish history, culture, and tradition.\nDid you know that leprechauns are only lucky on St. Patrick\u2019s Day? For the other 364 days of the year, these leprechauns cause trouble in the town of Dingle. But luckily the main character, Finn O\u2019Finnegan, has a plan up his sleeve to fix the leprechauns\u2019 mess!\nTeacher tip: Take the idea of Elf on the Shelf and revamp it for St. Patrick\u2019s Day! For the days leading up to the holiday, use a stuffed leprechaun figure and have it getting into mischief at different places in the room each day. On St. Patrick\u2019s Day, the leprechaun can do something good to bring luck into the classroom by having it \u201cbring in\u201d green treats for the students.\nCelebrate St. Patrick\u2019s Day with this leprechaun family as they dance, march, and feast on their favorite day of the year!\nTeacher tip: This story is written as a delightful rhyme and would be perfectly paired with an accompanying lesson in rhyme and rhythm! This is a great time to teach students how to write Limericks! See resources below!\nThis Irish folktale follows Fiona, a witty girl who must find a way to get Ireland\u2019s luck back from the selfish Leprechaun King.\nTeacher tip: This book is a great introduction to Irish culture and would work well accompanied by a lesson that goes more into depth on the symbols, foods, and traditions of Ireland.\nIt\u2019s not easy being green, but there\u2019s luck to be found in each of these 10 texts. Dive deeper into Irish culture with these fun, informative, and holiday-themed texts for this upcoming St. Patrick\u2019s Day! FOR A FULL LIST OF ST. PATRICK\u2019S DAY BOOKS, CLICK HERE!\nDiscover related blogs and resources below.", "id": "<urn:uuid:2ea79de1-1b7a-4397-a134-f64781915bd9>", "dump": "CC-MAIN-2022-21", "url": "https://rockinresources.com/2022/02/10-lucky-st-patricks-day-mentor-text-with-teacher-tips.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016949.77/warc/CC-MAIN-20220528154416-20220528184416-00170.warc.gz", "language": "en", "language_score": 0.9388799071311951, "token_count": 1312, "score": 3.5625, "int_score": 4}
{"text": "Grade 7 Homeschooling Curriculum\nGrade 7 Lesson Plans\nThe detailed Lesson Plans walk you through day-by-day instructions and activities with your student. Answer Keys, Tests, and Quarter Report Forms are included.\nIn this art appreciation course, students will study New Testament scenes by renowned Victorian artist, James Tissot.\nInspired by the visions of Bl. Anne Catherine Emmerich, each picture in Art 7 for Young Catholics is accompanied by commentary and meditations written by the Catholic artist.\nStudents study outlining in depth and learn principles that will enable them to outline compositions of any length as they read and write.\nUsing the English 7 for Young Catholics text-workbook, students build on their previous knowledge of punctuation, the eight parts of speech, phrases, clauses, and sentences. Students are introduced to relative pronouns, adverbial objectives, complex sentences, and learn to diagram sentences containing adjectival and adverbial subordinate clauses.\nOur Catholic Legacy, Volume II helps students appreciate the richness of our Catholic heritage. Students learn about Michelangelo, St. Catherine of Sienna, Queen Isabella of Spain, St. Joan of Arc, Rembrandt, Cardinal Mindszenty, St. Maximilian Kolbe, and others.\nAlso included in the course is Map Skills: Grade 7. Topics covered include using an elevation map, reading a population map, and using a map and a graph together.\nTeaching Textbooks Math 7 is an interactive online math course designed specifically for independent learners. The course contains a digital textbook, teacher lectures, and audiovisual step-by-step explanations of math concepts.\nThough Seton recommends using the interactive online version, students can also successfully complete the course using the printed textbook alone, which can be purchased instead of, or in addition to, the online license.\nIn Teaching Textbooks Math 7, students study the following concepts: Adding & Subtracting Whole Numbers, Multiplying & Dividing Whole Numbers, Whole Numbers in the Real World, Fractions, Reducing Fractions, Adding & Subtracting Fractions, Multiplying and Dividing Fractions, Fractions in the Real World, Decimals, Decimals in the Real World, Percents, Percents in the Real World, Geometry Basics, Geometric Measurement, Statistics & Probability, Graphing Concepts, Equations & Inequalities, and more.\nFor more information about Teaching Textbooks courses, please click here.\nAlternate: Saxon Math 76\n(Textbook temporarily unavailable: Only enroll in this course if you already have the required textbook.)\nUsing Saxon Math 76, students improve their skills in working with fractions, decimals, and percents. They show proficiency in working with time, money, and area; exhibit skill in basic geometry and graphing; and improve their accuracy and understanding in problem-solving.\nStudents simplify expressions containing parentheses, perform operations with signed numbers, solve word problems with powers and roots, and learn about statistics and probability.\nIn We Sing of Our Land, children learn musical notation.\nThey will learn a collection of over 100 songs, including songs for every liturgical season, and parts of the Mass in Latin.\nSeventh grade reading builds students\u2019 abstract thinking and analysis skills. The Reading 7 for Young Catholics: Thinking Skills and Reading 7 for Young Catholics: Comprehension workbooks are central in introducing new literary elements: conflict, motifs, and theme. Students learn to identify these and other literary elements in classic short stories and in episodes from the life of St. Margaret Mary, preparing them to analyze full-length novels for these elements later, in high school.\nEach of the four book reports uses the five-paragraph format done in previous years. This year the student incorporates a thesis statement into the essay to tie it together.\nBook Report Options\n1ST & 2ND QUARTER\n- Johnny Tremain\n- Men of Iron\n- Singing Tree\n- Augustine Came to Kent\n- The Crystal Snowstorm (New for 2021!)\n- Anne of Green Gables (New for 2021!)\n3RD & 4TH QUARTER\n- The Little Flower\n- St. Hyacinth of Poland\n- The Cure of Ars\n- St. Louis de Montfort\n- St. Isaac and the Indians\n- St. Anthony and the Christ Child\n- Edmund Campion: Hero of God's Underground\n- Saint Joan: The Girl Soldier\n- Bernadette: Our Lady's Little Servant\nAs they continue to work through The St. Joseph Baltimore Catechism No. 2 as well as Religion 7 for Young Catholic, students build their understanding of the Creed, the Commandments, the Sacraments, the creation of the angels and of man, grace, and the Holy Spirit. Special emphasis is placed on the study of the Sacrament of Confirmation with the book Confirmation Preparation for Young Catholics.\nIn Bible History: The New Testament, students grow in their knowledge of major events, people, and teachings in the life of Jesus Christ from the Gospels and the Acts of the Apostles.\nScience 7 for Young Catholics introduces students to chemistry, physics, aeronautical engineering, geology, and rocketry. Students do hands-on activities that require only household items.\nStudents learn to spell by completing 36 lessons with exercises on the makeup and definition of the words, and then read the words in sentences and paragraphs. Stories focus on the saints and other influential Catholics throughout history.\nIn Spelling 7 for Young Catholics, students cover such concepts as double letters, multi-syllables, consonant digraphs, diphthongs, prefixes and suffixes, science-specific words, and words from Greek, French, Spanish, and Latin.\nIn Vocabulary 7 for Young Catholics, students begin each lesson with a fun and entertaining story. Each story introduces 15 new vocabulary words which are the basis for the week\u2019s lesson. There are 24 delightfully engaging story/lessons in all. Each captivating story uses a clever twist to further engage the student.\nThe endearing art of Ben Hatke increases the impact of the stories and helps capture the student\u2019s attention. Crossword puzzles, a popular and rewarding way to recall the words students have learned, are part of each week\u2019s lesson.\nThe Value of Your Enrollment\nYour enrollment provides you with much more than just a box of books. It provides an accredited education, a strong support system, and a community of staff and homeschoolers who are in your corner. It provides access to academic and support counseling, grading and record keeping, and a solid Catholic curriculum that promotes strong Catholic values in each and every subject.", "id": "<urn:uuid:a089d4fc-7244-4f7c-8ee3-21a7f0566aed>", "dump": "CC-MAIN-2022-21", "url": "https://www.setonhome.org/elementary/grade-7/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662601401.72/warc/CC-MAIN-20220526035036-20220526065036-00369.warc.gz", "language": "en", "language_score": 0.8988100290298462, "token_count": 1434, "score": 3.796875, "int_score": 4}
{"text": "4th Grade Curriculum Overview\nText: Treasures. The McGraw-Hill Companies, Inc. 2011\nPrimary Units: characters; plot; setting; theme; genres; novels; short stories; poetry; plays; biographies; non-fiction\nSkills taught: comprehension skills; inferencing; analyzing; summarizing; cause and effect; sequencing; predicting; listening skills (read aloud); vocabulary development\nTeaching methods and resources used: Promethean Interactive Board, iPads/Chromebooks, novels; class discussion; computer resources; art projects; charts; maps; peer tutoring; writing projects; Accelerated Reader Program; paraphrasing; topic sentences; research; compare/contrast; using resource materials; genres of literature; simile; metaphor; synonym; antonym; homophone; compound and complex sentences; prefixes; suffixes; connotation; figurative language; voice and speech techniques; speaking before a class; indenting.\nText: Treasures. Houghton Mifflin Harcourt Publishing Company\nPrimary Units: capitalization; punctuation; kinds of sentences; parts of speech; working with sentence structure; noun and pronoun usage; adjective and adverb usage; verb usage (action and linking); conjunction usage; vocabulary; the writing process; literary elements; proofreading/editing; study skills; creative thinking; taking notes; paragraphs; literature journals; personal narrative; writing to inform; descriptive writing; narrative; personal letter; e-mail message; business letter; essays\nSkills taught: paraphrasing; topic sentences; research; compare/contrast; using resource materials; genres of literature; simile; metaphor; synonym; antonym; homophone; compound and complex sentences; prefixes; suffixes; figurative language; voice and speech techniques; speaking before a class; indenting.\nTeaching methods and resources used: Promethean Interactive Board, iPads/Chromebooks, Peer conferences; class discussion; computer resources; Daily Language Review; novels; teacher-generated materials; short stories; lecture.\nText: Treasures. Houghton Mifflin Harcourt Publishing Company and Phonetic Connections Benchmark Education Company 2011\nPrimary Units: Vowel Diagraphs; Syllable patterns; Vowel patterns; Endings; Suffices; Prefixes; Greek origins; Long/Short Vowels; Blends/Digraphs\nSkills taught: word sorts; word meaning; word structure\nTeaching methods and resources used: Promethean Interactive Board, iPads/Chromebooks, Stories; Promethean Board; sort cards; spelling journals; anchor charts.\nText: Saxon Mathematics\nNew concepts are developed through hands-on activities that engage students in the learning process. Concepts are introduced, reviewed and practiced over time. Students move from the concrete to the pictorial to the abstract.\nSaxon capitalizes on daily mixed practice, frequent assessments, daily homework assignments and opportunities for students to make concrete connections to everyday life.\nText: States & Regions. Harcourt Social Studies Student Edition, 2007\nPrimary units: Map skills; Geographic terms; United States geography; Arkansas geography and state facts; African-American History; Civics; Government; Regions of the United States.\nSkills taught: current events; map making; reading charts and graphs; examining cause and effect; classification; decision making; predicting outcome; time lines; use of resource materials; logic; elections; citizenship; leadership; outlining; research projects.\nTeaching methods and resources used: Promethean Interactive Board, iPads/Chromebooks, class discussion; lecture; group projects; peer tutoring; guest speakers; field trips; art projects bulletin boards; study projects; maps; atlases; time lines; computer resources; games; teacher generated materials; library research; supplementary texts; oral presentations; geography bee; supplementary videos; teacher-made video notes; tests and quizzes.\nText: MacMillan McGraw Hill Science 2005\nPrimary Units: Life Science: The World of Living Things; Life Science: Animals as Living Things; Earth Science: Earth and Beyond; Earth Science: Weather; Physical Science: Matter; Physical Science: Energy; Earth and Space; Life Science\nSkills taught: scientific process; interpreting data; observing; recognizing relationships; predicting outcomes; cooperative learning; classifying information; use of resource materials; identifying cause and effects.\nTeaching methods and resources used: lecture; experiments; class discussion; projects; peer tutoring; science activities; field trips; guest speakers; videos; games; research; teacher generated tests; quizzes; chart/graphs; computer resources; supplementary text worksheets.\nText: Be My Disciples RCL Benziger: 2014.", "id": "<urn:uuid:2711cc41-faf3-4d55-9f2d-bffc47c0e7b4>", "dump": "CC-MAIN-2022-21", "url": "https://www.sjfayschool.com/copy-of-kindergarten-3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00370.warc.gz", "language": "en", "language_score": 0.8081483840942383, "token_count": 1009, "score": 3.5625, "int_score": 4}
{"text": "We learned about Aesop\u2019s fables today, exploring some of the history of this storyteller in Ancient Greece. Aesop was said to have been a slave who earned his freedom sharing his skills telling morality tales staring animals.\nStudents listened to and discussed the messages of some famous fables, including \u201cThe Tortoise and the Hare\u201d, \u201cThe Fox and the Grapes\u201d and \u201cThe Boy Who Cried Wolf\u201d. Then they took turns practicing their storytelling skills by retelling them in their own words.\nWe also reviewed our division skills today, and then students had the option to join our math enrichment lesson on BEDMAS (order of operations).\nAfter lunch, we dove deeper into our learning about the fur trade. I brought in my \u201cteaching toolbox\u201d of related props and shared some more of the history from the first contact between the Indigenous peoples and the French and English explorers which drove demand for beaver pelts. We watched several videos, including the following:\nWe then focused on how trade developed in the region that would eventually become British Columbia, learning about how fish and the sea otter were focal points of trade between Europeans and First Nations.\nWe were lucky that some grade 4/5 students from another class had already completed a unit on the fur trade last term, and so we took a stroll down the hall to see the great information display they created\u2026\nAlso, we discussed how history may be understood and retold differently, with different details emphasized/included/omitted, depending on perspective. How would a settler from France describe the events of the first trade era as compared to an English settler, or as compared to a member of one First Nations community or another from a neighbouring region? (And, if animals could talk\u2014as they do in Aesop\u2019s fables\u2014how would a beaver or sea otter retell the history of the fur trade?)\nWrapping up the day, I sang for students a little song I wrote for them to teach students about the history of the fur trade and the ecological impact of extirpating heroic keystone species, like beaver and sea otters. It was a fun time!\nHOMEWORK: Keep practicing division as needed. Also, I invited students to go home and retell to a family \u201cThe Tortoise and the Hare\u201d or another of Aesop\u2019s fables. A student may also want to retell the fur trade history he/she has learned so far.", "id": "<urn:uuid:12d9f56c-d5ba-4fd7-973c-ba2e09246683>", "dump": "CC-MAIN-2022-21", "url": "https://inquiryninja.com/2022/02/04/aesops-fables-the-fur-trade-etc/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662578939.73/warc/CC-MAIN-20220525023952-20220525053952-00768.warc.gz", "language": "en", "language_score": 0.9727295637130737, "token_count": 535, "score": 3.953125, "int_score": 4}
{"text": "What is Non-fiction?\nNon-fiction is writing that is expository and/or descriptive, having to do with ideas, issues, actual events, and/or real people.\nHowever, creative non-fiction borrows elements from fiction, poetry, and drama: plot structure of a true story, dialogue (re-created), \u201ccharacter development\u201d of real people, scenes, summary, and description.\nTypes of Non-fiction: Narrative Non-fiction and Rhetorical Non-fiction. However, the dividing line between these two types of non-fiction is often fuzzy.*Narrative Non-fiction:Diary: a more intimate, personal, and private chronology of events that is presented sequentially\u2013mostly chronicles personal feelings.\nJournal: tends to be a more public forum, the writer being more concerned with ideas and the world at large.\nLiterary Journal: direct responses to other texts, based on feelings, emotions, imitation, and/or analyses. Often used by writers for getting ideas of their own.\nLetter: informal or formal message written directly to a family member, a friend, an acquaintance, or a stranger. Letters of famous people are often published in collections.\nEpistle: a more formal version of the letter, often intended for public dissemination (publication and/or public speech). As such, the epistle usually addresses public issues, such as religion and politics.\nBiography: a chronology of a famous or distinguished person\u2019s life, written by a biographer other than the person whose life is being chronicled. Typically, a biography attempts to cover the person\u2019s entire life.\nLiterary Biography: a specialized type of biography in which a writer\u2019s life story is told from the perspective of his or her body of literary works.\nAutobiography: a writer\u2019s (usually a famous or noted person), version of his or her own life. Typically, the writer attempts to cover his or her entire life thus far.\nMemoir: a writer\u2019s (not necessarily a famous or noted person) attempt to emphasize events and/or people he or she has experienced and/or known from his/her own perspective. A memoir does not usually cover an entire life, but, rather, emphasizes key events and people. Memoirs tend to resemble fiction, and, in fact, some memoir writers have been accused of stretching the truth (see James Frey, A Million Little Pieces).Rhetorical Non-fiction presents facts and ideas in such a way to persuade a reader of a viewpoint.Parts of the Formal Essay (Traditional Five or Six Paragraph Format):Journalistic prose: reportage that goes beyond the simple reporting of events; thus, the writer takes and supports a position and then write a piece for publication.\nDescriptive prose: writing that is concerned with the physical world: sight, sound, taste, touch, and smell. Also known as \u201csensory\u201d writing.\nExpository prose: writing that explains, offers information, and/or defends a viewpoint. Research is often involved. Often the line dividing the following can be fuzzy:Argumentative/Issue/Persuasive: writing that defends/supports a viewpoint on a controversial issue.Essay: a term for a piece of nonfiction prose that has an introduction, a body, and a conclusion\u2013a complete work.\nInformative: writing that is intended to offer information on a subject\u2013usually noncontroversial\u2013without making major judgments on an issue.\nProcess: writing that explains how something works (informative process) or how to do something (directive process)Informal essay: writing that is more personal, tentative, or subjective\u2013not the \u201clast word\u201d on a topic. Language/tone/register tends to be informal/casual. Creative non-fiction falls into this category.\nFormal essay: writing that is serious in tone/register, objective, and formally structured. Extensive research of issues is usually involved.Introduction: the beginning of the essay that introduces the topic and attracts the reader\u2019s attention by offering an anecdote, story, or scenario.\nThesis: the major claim (position of the writer) or what the essayist plans to cover.Explicit Thesis: the major claim or topic of essay that is stated directly in a clear and concise sentence.Body: the \u201cmeat\u201d of the essay, the evidence to support the thesis, which is offered to the reader, such as research, statistics, interviews, and solid reasoning/inferences.\nImplicit Thesis: the major claim or topic of essay that is implied throughout the essay\u2013not directly stated.\nCounterarguments: in an issue essay, recognition, refutation, and/or\naccommodation of opposing viewpoints. Usually not needed for the informative essay, but a very powerful rhetorical device for controversial topics.\nConclusion: the ending that wraps up the essay by restating the thesis in different words and sometimes offering an extra \u201cnugget\u201d for the reader for further thinking.", "id": "<urn:uuid:e178936e-1bc5-47da-bc58-89f01064e373>", "dump": "CC-MAIN-2022-21", "url": "https://www.academicdesk.org/2010/01/creative-and-academic-writing-elements.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512249.16/warc/CC-MAIN-20220516204516-20220516234516-00369.warc.gz", "language": "en", "language_score": 0.9375298619270325, "token_count": 1061, "score": 3.703125, "int_score": 4}
{"text": "March 10, 2021 Taught by Carol Brennan King\nCreative Writing: today we focused on using white space, lines, and punctuation as tools to help us communicate our stories. We also talked about how using breath units, or the words we want to be read in one breath, help us reach our reader to interpret the message on a given line.\nPosted on 12/28/2020 at 11:18 AM by Sadye Scott-Hainchek: \u201cEven if you\u2019re not writing with the audiobook in mind, and even if your reader never speaks your words aloud, your book will be \u201cheard\u201d by its consumers \u2014 in their heads.\u201d\nC.S Larkin says, \u201cThis is yet another reason to consider the rhythm of your sentence and paragraph structures.\u201d\nLakin also says that writing is all about breath units, usually short sharing brief bites of information. Think about what much poetry looks like: short lines designed to be read in a breath. Her idea is that short sentences are read slower, closer. Longer ones are read faster as the reader wants to get through it for what they decide is important.\nSo, as writers, you can take liberty, even in prose, to use short lines of content or dialogue to show the reader these words are important. Pay attention to them.\nWe also talked about breath units as beats in a sentence. Lakin says, \u201cYou can drive home the character\u2019s reaction by controlling the breath units of your phrasing.\u201d\nShe illustrates the idea of using breath units by comparing a sentence Vanessa Redgrave could have read as it was written.\nWe all come to the theater with baggage. The baggage of our daily lives, the baggage of our problems, the baggage of our tragedies, the baggage of being tired. It doesn\u2019t matter what age you are, but if our hearts get opened and released\u2014well, that\u2019s what theater can do.\nThen she rewrote it this way, so think about how it reads now with a different emphasis produced by writing it on the page in breath units.\nWe all come to the theater with baggage.\nThe baggage of our daily lives,\nThe baggage of our problems,\nThe baggage of our tragedies,\nThe baggage of being tired.\nIt doesn\u2019t matter what age you are, but if our hearts get opened and released\nLakin says, \u201cPunctuation might be made of very small marks, but those marks create and break up breath units. Breaking up a long sentence into two or putting in an em dash or comma will add that second of pause.\u201d For more on this in her words, google Utilize the Power of Breath Units to Write Masterfully by C.S. Lakin\nWriting prompts for next week: Choose one and see where it goes. Or do something else.\n- Write a piece around a missing item, a thing, or even a person.\n- A character you have come to know, or thought you did, begins to act out of character. Have the bad guy do or say something nice, or the good guy move to the other side in his behavior. Then what happens?\n- One of your characters admits their true feelings about someone else or something else. Maybe it is feelings of love, or a lack thereof. Perhaps he or she no longer wants to be part of this important thing. What is said, and what happens next?\nFor more on this material:\nIn today\u2019s class we talked about how to bring the people in your memoir to life.\nWe talked about three approaches to character development.\n- You might focus on the essence of each significant character in the story and the turning point or significant event that made the person who he or she is.\n- If you don\u2019t know that, you might determine the character\u2019s major impact in the story as that reflects the person\u2019s strengths and weaknesses.\n- Think through the character\u2019s essence, that center that impacts everything else around him or her.\nThe memoirist must return to life the characters in the memoir. The reader should be able to see and hear and understand those people and why they do what they do.\nTo ensure you create for your readers a person in full, develop each of the five dimensions of character:\n- Identity: the person\u2019s name and relationship to the other people in the book\n- Description: Think how someone would describe this person as he or she comes into the room\n- Demographic factors: think race, gender, age, marital status, education, job, income. You might do some research about the period this person lived to see clusters of attitudes and behaviors. Think of the ripple effects of living in that period of history\n- Psychographic attributes: examine clustsers of attitudes, values, interests, activities and lifestyle.\n- Personality: the personality of a person provides the basis for his motivations and actions.\n- For more on this look up:\nhttps://www.wow-womenonwriting.com/44-FE5-PeopleInYourMemoir.html By Matilda Butler and Kendra Bonnett\n- You may write for any of the Chicken Soup books \u2013 google Chicken Soup submissions.\n- You may write for any of the Personal essay markets in the March/April Writer\u2019s Digest.\n- You may continue on a current project keeping in mind that we want to see an application of today\u2019s material.\n- Or write on anything else we talked about in class.\n- Or sample the prompts from the Creative Writing Class above.", "id": "<urn:uuid:026d7cac-e502-4163-b6ff-c35f88650457>", "dump": "CC-MAIN-2022-21", "url": "https://carolbrennanking.com/2021/03/13/__trashed-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016373.86/warc/CC-MAIN-20220528093113-20220528123113-00770.warc.gz", "language": "en", "language_score": 0.9441246390342712, "token_count": 1189, "score": 3.5, "int_score": 4}
{"text": "The Early Years Learning Framework (EYLF) was created by the Australian government to allow early childhood programs across the country to deliver consistent, high-quality education. It represents a mandatory standard that all education providers need to meet, so that regardless of where you send your child, you know the educators are working to meet the same key outcomes and using the same guiding principles and learning practices as every other childcare centre across Australia. The framework has been carefully created to nurture children\u2019s development from birth to five years, with a focus on belonging, being and becoming.\nThe foundation of EYLF is the five core learning outcomes:\nChildren construct their identity through their relationships with people, places and things, as well as the actions and responses of others. Within the childcare context children should be supported to develop their sense of belonging through building connections with educators and peers and encouraged to explore different aspects of their identity through physical, social, emotional, spiritual, and cognitive exploration.\nThis outcome is all about children learning to be active members of their community, and understanding how their actions can positively impact others. Educators should endeavour to create environments where children can act out mutually respectful relationships with other people and the environment, contributing to a child\u2019s desire to work collaboratively and participate in communal events and experiences.\nWell-being incorporates both physical and psychological elements including good physical health, positive emotions, satisfaction with life and strong social bonds. Educators can support children\u2019s developing sense of wellbeing by offering warm, emotionally attuned care, creating safe and predictable environments and encouraging respect for everyone within the childcare community. Other ways childcare centres encourage well-being is through teaching children to take responsibility for their own basic care (e.g. learning to wash their own hands), learning health behaviours such as good nutrition, personal hygiene, physical fitness, emotional regulation and fostering positive social relationships.\nChildren who are secure in their childcare setting have the confidence to experiment, explore and learn. Children are also more likely to be confident learners when their educators recognise and incorporate their unique family and community experiences in order to assist them to make new connections and processing new experiences. A childcare setting should encourage children to use exploration, collaboration and problem solving to engage their natural sense of curiosity and creativity when engaging in learning.\nChildren are encouraged to share their ideas, questions and feelings with others as well as to understand and engage with content in various forms. Educators should help children to learn literacy through a range of forms including dance, music, storytelling, art, talking, reading and writing. They should also be encouraged to communicate and engage with the world through numeracy skills which are developed by exploring spatial awareness, structure, patterns, numbers, measurements and other mathematical ideas. Early childhood education should also be inclusive of children from diverse cultural and linguistic backgrounds and educators should encourage children to value and integrate their home language and culture as well as develop competency in standard Australian English.\nWhile the five outcomes represent what educators are aiming to achieve, the five principles should guide educators\u2019 approaches. These principles are based on the most up-to-date theories on children\u2019s development and are supported by current research.\nAs well as embodying the five principles of the EYLF, educators should also follow these ten learning strategies and practices to work towards the five key outcomes.\nSo how does the EYLF impact children? Well, if it\u2019s well-executed by a quality childcare provider the EYLF should positively impact children by creating curious, confident learners who feel secure and supported in their childcare environment. Children should create strong bonds with their educators, their peers and the wider community, helping to foster a strong sense of belonging and a secure identity. In short, the EYLF offers a fantastic educational framework for early childhood education which should foster inclusive, holistic and effective education that will leave your child well-prepared for the next step in their education. Talk to us today about finding the best childcare centre that is local to your neighbourhood.", "id": "<urn:uuid:2160960a-86d2-47bb-803b-0525e469f121>", "dump": "CC-MAIN-2022-21", "url": "https://www.littlezaks.com.au/blog/what-is-the-eylf-and-how-does-it-impact-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00370.warc.gz", "language": "en", "language_score": 0.9606568217277527, "token_count": 814, "score": 3.609375, "int_score": 4}
{"text": "Types Of Conflict Worksheet 4 Answers Pdf\nTypes of Conflict Worksheet 2 Directions. Decisional units directly or indirectly.\nView types-of-conflict-worksheet-4pdf from ENGLISH 11 412000 at Cabot High School.\nTypes of conflict worksheet 4 answers pdf. In this conflict worksheets students. This worksheet has ten more problems to reinforce students knowledge of conflict types in. Read the brief description of each plot.\n6th and 7th Reading and Writing. Types of conflict worksheet 4 answer key Psychotherapy is at its heart a process of guiding clients from conflict to resolution. Types of Conflict Conflict-a struggle between forces or characters Without a conflictproblem the story would be boring.\nOct 30 2018 \u2013 Students need practice to master literary skills. These are applicable to the full range of conflict types from interpersonal to international levels 4. As a therapist counselor.\nTell students that characters in a story face the same types of conflicts and it is important to identify them in order to understand the story completely. CONFLICT IN LITERATURE A CONFLICT is a struggle between two opposing forces. As the bus pulled up to the stop Renee steadied herself and slowly walked toward the edge of the sidewalk.\nConflict Corner is an online chat in which middle school students share conflicts that theyre having and the chat hosts help them solve their problems. Looking for worksheets about the 6 types of conflicts in storytelling. 4th Grade Science 2013-2014 Bonneau.\nType of Conflict Types of Conflict Worksheet Directions. One can plan how to handle conflicts. Types Of Conflict Worksheet Pdf and Types Conflict Worksheet Pdf New Fun Rhythm Worksheets Worksheets.\nStudents practice identifying the protagonist antagonist and types of conflict in 9 short sample passages in this 2 page worksheet. First there is a poster for each of the four major types of character conflict. Read the brief description.\nType of con\ufb02ict. In literature there are 4 main types of conflict that are either. This resource includes 4 conflict posters and a 10-item worksheet.\nUse it to guide your actions in a way that. _ Types of Conflict 4 Directions. This worksheet is designed to help you resolve conflict through use of effective communication.\nDetermine the protagonist central character and. Types of Conflict Worksheet 3 ANSWER KEYdocx. Identify the protagonist and antagonist and determine the type of conflict.\nRead the description of the story. Types of Conflict Worksheet 1.", "id": "<urn:uuid:ca23cb9f-7c32-418e-b106-300a79ada927>", "dump": "CC-MAIN-2022-21", "url": "http://gustavogargiulo.com/types-of-conflict-worksheet-4-answers-pdf/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521041.0/warc/CC-MAIN-20220518021247-20220518051247-00170.warc.gz", "language": "en", "language_score": 0.9130714535713196, "token_count": 518, "score": 3.515625, "int_score": 4}
{"text": "Types Of Conflict Worksheet 4 Answer Key\nThree things are most important and essential in any communication process they are. 6th and 7th Reading and Writing.\nTwo or more characters in conflict.\nTypes of conflict worksheet 4 answer key. Read the brief description of each plot. Types of conflict worksheet 4 answer key. Types of conflict worksheet 4 answer key Psychotherapy is at its heart a process of guiding clients from conflict to resolution.\nFeb 5 2019 \u2013 This is the fourth conflict worksheet in a series of four. Determine the protagonist central character and antagonist opposing force. _____ Types of Conflict 4 Directions.\nStudents practice identifying the protagonist antagonist and types of conflict in 9 short sample passages in this 2 page worksheet. Identify the protagonist and antagonist and determine the type of conflict. Discover learning games guided lessons and other interactive activities for children.\nOne can plan how to handle conflicts. Some of the worksheets displayed are Types of conflict 4 Person what Types of conflict. 4th Grade Science 2013-2014 Bonneau.\nThis product includes 6 pages. Identify the protagonist and antagonist and determine the type of. Ad Download over 20000 K-8 worksheets covering math reading social studies and more.\nPDF 12201 KB This worksheet includes seven scenarios that students will read and determine. Types of Conflict Worksheet 1. Types of conflict worksheet 1 directions.\nTypes Of Conflict Worksheet Pdf and Types Conflict Worksheet Pdf New Fun Rhythm Worksheets Worksheets. Types of Conflict Worksheet 2 Directions. In this conflict worksheets students.\nDiscover learning games guided lessons and other interactive activities for children. Environmental conflict such as a. Icivics conflict and cooperation answers.\nTypes of Conflict Worksheet 3 ANSWER KEYdocx. Strand 4 Standard 3 Materials Vocabulary worksheet Conflict Resolution PowerPoint Teacher Notes on Passive Aggressive and Assertive Behavior Worksheet. Looking for worksheets about the 6 types of conflicts in storytelling.\nThese conflict worksheets will help students achieve mastery of this basic reading. A character in conflict with society. Read the brief description of each plot.\nThe Outsiders Worksheets Answers. If you are looking for a short worksheet on the four major types of conflicts in literature then this is the place for you. As a therapist counselor.\nShowing top 8 worksheets in the category \u2013 4 Types Of Conflict. Ad Download over 20000 K-8 worksheets covering math reading social studies and more.", "id": "<urn:uuid:ad1ee436-fbbe-4ce0-98f9-519389e3206a>", "dump": "CC-MAIN-2022-21", "url": "http://gustavogargiulo.com/types-of-conflict-worksheet-4-answer-key/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521041.0/warc/CC-MAIN-20220518021247-20220518051247-00170.warc.gz", "language": "en", "language_score": 0.8635576367378235, "token_count": 514, "score": 3.5, "int_score": 4}
{"text": "Poor Network. Digitally Rich. No Problem.\nIf infrastructure sabotages your plans, leaves you stressed, and renders your devices useless, stop what you\u2019re doing. Don\u2019t waste one more instructional minute trying to stream video, just to lose connection, spin for too long, or time-out. Submit the problem to IT, and move on.\nDust off the devices. Let\u2019s focus on what can be done to change the way our students demonstrate their understanding of newly learned content and apply their knowledge without the network.\nKnow these apps? Read through the uses to pick up a new twist on an old favorite.\nNot Just For Storytelling\nAsk students to explain their learning in a new way. 30 Hands allows students to import images from the camera roll, annotate those images, create new illustrations within the app, or combine all slide types to demonstrate their understanding of a new concept or apply learning with new connections. Once the images are imported, students will narrate each slide to create a presentation. Narrated presentations save easily to the camera roll.\n- An exit slip explaining what they learned\n- Steps in a procedure, experiment, demonstration, or problem\n- Math worksheet: students narrate certain problems and rotate around listening and checking their work\n- Examining or commenting on photos\n- Sequencing a story\n- Family history\n- Historical recount\n- Using vocabulary or spelling words in a sentence\n- Book report\n- Digital storytelling\n- All About Me Student Bio\n- Create an alphabet book\nScreencasting For Teachers AND Students\nTurn students\u2019 devices into blank slates for illustrating concepts and explaining their understanding for a quick snapshot of learning.\n- Explanation of learning\n- Describe steps in a procedure, process, cycle\n- Record and deliver a lesson\n- Annotate images with audio explanation\n- Illustrate a concept or upload from the camera roll\nMore Than A Web\nAlthough popplet is an excellent platform for brainstorming, think beyond a web. Anything in your content area that can be broken down into steps, can then be described, illustrated, applied, and extended using Popplet.\n- Illustrate the steps of a sequence, process, math problem\n- Lab report with procedures and illustrations or images\n- Visual discussions\n- Multiple solutions to a problem\n- Graphic organizer, brainstorming\n- Story board\n- How to\n- Math factors\n- Vocabulary words, definitions, sentences, and illustrations\n- Character maps\n- Timeline with images\nPut It All Together\nCollages are an excellent way to combine apps for stronger connections and internalization of learning. Create picture collages with images, text, and stickers. Easily customize colors, fonts, layouts, and backgrounds.\nSave it to the camera roll for use in other apps like 30 Hands, Educreations, and Popplet.\n- Visual writing prompt\n- Capture a lab and add captions\n- About Me collage\n- Visual summary of an activity, concept, or book\n- Vocabulary or spelling word collage\n- Add a few words and save to camera roll. Narrate in 30 Hands.\nScan For More! No Connection Needed?\nQR stands for Quick Response and is typically used to link to a website. However, QR codes can also link to text! Think of all the extensions, hints, and answers you can add to your classroom walls, worksheets, and centers without worrying about the network!\n- Directions for center activities\n- Bell work instructions\n- Answer keys on worksheets\n- Differentiate assignments\n- Add to homework to explain directions or provide additional help\n- Link to spelling/vocabulary lists\nNo network. No stress. No excuses. Use these five apps in powerful ways to assess student learning, demonstrate new knowledge, and present their applied learning to peers.\n**Some of these apps offer additional features with a connection, but it\u2019s not required. If your students create something you love, then make arrangements to get connected. Just remember, not everything has to come off the device. What\u2019s the purpose of the activity? If it\u2019s to demonstrate understanding\u2026. that\u2019s done.", "id": "<urn:uuid:b37c9783-c0e4-42c4-b45c-89758e1db46b>", "dump": "CC-MAIN-2022-21", "url": "http://blog.etechcampus.com/2014/09/02/digitally-rich/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00371.warc.gz", "language": "en", "language_score": 0.8781262040138245, "token_count": 871, "score": 3.65625, "int_score": 4}
{"text": "No one knows when story telling began. All we know is that it is an ancient well respected art and played an important part is society. We can only guess what promoted the first story. Perhaps a hunter came back from the hunt and told of his heroic deeds or was it to explain why he came back from the hunt empty handed? Did a mother try to calm a child\u2019s fears or doubts? Did a Shaman or tribal leader tell of an important event? The storyteller held an important position in these early societies. They were typically the priest, judge or ruler. People found their stories interesting and listened to them. Storytelling days were considered important.\nBefore man learned to write, he had to rely on his memory to learn anything. For this he had to be a good listener. With the importance of the story established, the listeners paid close attention. These stories were not only told amongst themselves but, when people traveled they shared their stories with others in faraway lands when they traveled. And when they returned home, they brought back exciting new stories of exotic places and people.\nThe oldest surviving story is believed to be the epic tale of Gilgamesh. This story tells of the deeds of the famous Sumerian king. The earliest known record of storytelling was found in the Egypt. Cheops\u2019 scribes recorded the stories told by Cheops\u2019 sons who told their father stories to entertain him.\nThere are all kinds of stories myths, legends, fairy tales, trickster stories, fables, ghost tales, hero stories, and epic adventures, and that over time these stories were told, and retold. Passed down from one generation to the next, these stories reflect the wisdom and knowledge of early people. Stories were often used to explain the supernatural or unexplainable, confusing events and disasters. It was common for people to believe in the stories of gods that bound them to a common heritage and belief.\nMost historians and psychologists believe that storytelling is one of the many things that define and bind our humanity. Humans are perhaps the only animals that create and tell stories.\nTell me your favorite story in a comment and your email address here and win a free copy of Knight of Runes (epub or pdf format), a new story by Ruth A. Casie. One person will be randomly selected on November 20.\nThe characters are strong, vibrant, true to their nature, and albeit very heroic. The author, Ruth A. Casie, weaves an exciting and beautifully told legendary tale that is both rich and engaging. It is full of, \u2018on the edge of your seat\u2019 suspense, mind-boggling drama and a forever-after romance. Ms. Casie's sparkling new novel, KNIGHT OF RUNES is a winner! ~ Romance Junkies \u2013 5 Blue Ribbons\nI totally enjoyed this time travel romance. I actually felt like I was Rebeka immersed in her adventure. I found this book well written, warmhearted and believable. I loved the use of runes, magic and ancient Druids as part of her plot. The romance was heartfelt and not overly mushy. ~ Bookloons \u2013 3 Books\nKnight of Runes\nIt\u2019s the 21st century and time travel is still a Wellsian fantasy but not for Rebeka Tyler. While on an impromptu tour of Avebury, she takes a misstep at the standing stones, and finds herself in the right place but tossed back into the 17th century. When Lord Arik, a druid knight, finds Rebeka wandering his lands without protection, he swears to keep her safe. But Rebeka can take care of herself. When Arik sees her clash with a group of attackers using a strange fighting style he is intrigued.\nRebeka is desparate to return to her time. She poses as a scholar sent by the king to help find out what\u2019s killing Arik\u2019s land to get access to the library. But as she decodes the ancient runes that are the key to solving his mystery and sending her home, she finds herself drawn to the charismatic and powerful Arik.\nAs Arik and Rebeka fall in love, someone in Arik\u2019s household schemes to keep them apart and a dark druid with a grudge prepares his revenge. To defeat him, Arik and Rebeka must combine their skills. Soon Rebeka will have to decide whether to return to the future or trust Arik with the secret of her time travel and her heart.", "id": "<urn:uuid:d743067f-036d-4f70-8459-5692faef5823>", "dump": "CC-MAIN-2022-21", "url": "https://herebemagic.blogspot.com/2011/11/magic-of-stories.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517245.1/warc/CC-MAIN-20220517095022-20220517125022-00170.warc.gz", "language": "en", "language_score": 0.9700411558151245, "token_count": 922, "score": 3.546875, "int_score": 4}
{"text": "Fourth Grade Ela Grammar WorksheetsBack\nBelow is list of all worksheets available under this concept. Worksheets are organized based on the concept with in the subject.\nClick on concept to see list of all available worksheets.\n- Grammar Categorization\nHelp your child sort out his parts of speech with this fun activity! He'll choose which word in each group does not match the others.\n- Pronoun Agreement 2\nThis activity will give your students more practice matching possessive pronouns correctly.\n- Synonyms for Home\nHow many words can you think of that mean \"home\"? Your fourth grader will learn 24 words that will add accuracy and intrigue to his writing.\n- Sentence Makeover 2\nGive a paragraph a beauty makeover! Take a paragraph this is choppy and create a more rhythmic and flowing paragraph.\n- Christmas Nouns and Adjectives #4\nHow many nouns and adjectives can your young reader find in these Christmas sentences? Help your child develop grammar skills with this Christmas worksheet.\n- Christmas Nouns and Adjectives #10\nGet in the spirit with this Christmas nouns and adjectives worksheet. Your child will underline the nouns and adjectives in these festive holiday sentences.\n- Christmas Nouns and Adjectives #2\nGet a great holiday review of some basic parts of speech as you prepare for Christmas! Your student can practice identifying nouns and adjectives.\n- Interjections! Word Search\nWoo hoo! Get excited about interjections with a loud and enthusiastic word search! Interjections are the most exciting part of speech. How many can you find?\n- Exploding the Moment\nGood writers also know how to slow down the action at just the right times to build suspense and pull the reader into the moment.\n- Synonyms for Pretty\nVocabulary building is important at any age. With this worksheet, your child will learn 24 synonyms for pretty, and get to practice them.\n- Thanksgiving Parts of Speech\nGive grammar practice a fun Thanksgiving spin with this worksheet, where your student will identify the different parts of speech that make up the sentences.\n- Interesting Adjectives\nAdjectives turn ordinary sentences into exciting adventures. Dress up the sentences in this worksheet and transform your writing from plain to fancy!\n- Synonyms for Girl\nImproving vocabulary is an important step to improve writing and reading comprehension. Help your child learn to use synonyms with this practice sheet.\n- Crafting Imagery\nShow students how vivid a well-written description can be and then let them create imagery of their own.\n- Christmas Nouns and Adjectives #3\nStay spirited this holiday season as you help your beginning writer review some basic parts of speech!\n- Christmas Nouns and Adjectives #7\nIs your little gingerbread boy or girl in need of some grammar practice? Try this Christmas-themed nouns and adjectives worksheet for some holiday fun.\n- Adjectives Beginning with \"B\"\nHelp your brainy child build a better vocabulary with these fun exercises. She'll learn a few new words, and get some practice using adjectives.\n- Christmas Nouns and Adjectives #5\nStay in the spirit of Christmas while reviewing parts of speech! Each festive sentence is full of nouns and adjectives; can your kid identify which is which?\n- Easter Creative Writing #9\nLittle Easter Bunnies, get out your creative thinking caps and delve into this Easter writing prompt. Can you think up the best Easter egg hunt?\n- Adjectives Starting with \"A\"\nAll of these awesome words begin with \"A\" and describe astounding nouns! Help your fourth grader recognize adjectives that start with the letter \"A\".\n- Synonyms for Boy\nWhen is it appropriate to say \"dude\" or \"gentleman\" instead of \"boy?\" Explore the subtleties of synonyms with this vocabulary worksheet.\n- Christmas Nouns and Adjectives #8\nFind the nouns and adjectives in these Christmas sentences. Your beginning writer can hone his grammar skills with this festive worksheet.\n- Synonyms for Store\nCan you think of a better word to use instead of \"store\"? Your student will expand his vocabulary by exploring different word choices, or synonyms.\n- Christmas Nouns and Adjectives #9\nStay in the spirit of Christmas while reviewing parts of speech! These sentences are full of nouns and adjectives; can your child identify which is which?", "id": "<urn:uuid:d0fe7b33-dfda-441b-8cfa-d2d5bbd9ae52>", "dump": "CC-MAIN-2022-21", "url": "https://k12workbook.com/grades/fourth-grade/ela/grammar/4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662627464.60/warc/CC-MAIN-20220526224902-20220527014902-00569.warc.gz", "language": "en", "language_score": 0.9028001427650452, "token_count": 959, "score": 4.21875, "int_score": 4}
{"text": "Allegory vs metaphor: What\u2019s the difference?\nFigurative language tools can make writing more engaging and impactful. They can help the reader picture more vividly what the writer is saying.\nAllegories and metaphors are literary devices or figures of speech that will improve your writing.\nAllegories and metaphors may seem similar, but they\u2019re not the same.\nMany writers use the metaphor and allegory regularly but often without knowledge of what the devices are and how they work. Skilled writers know the differences and how to wield each one well.\nBoth the allegory and metaphor compare two unrelated ideas or objects to create more impactful writing.\nSo what\u2019s the difference?\nIn general, metaphor is a short phrase or paragraph that compares two seemingly unrelated things to make a point, while an allegory is a long narrative that uses a seemingly unrelated story to teach a lesson or prove a point.\nHere is a closer look at what each one is, with examples demonstrating how to use them to write persuasively.\nWhat Is a Metaphor?\nMetaphors are literary devices that compare two unrelated objects. A metaphor describes one thing by comparing it to another without using \u201clike\u201d or \u201cas.\u201d\nA metaphor describes a single idea or symbol. It is short, often finished in one phrase or paragraph, and is never carried through the entire piece of writing.\nThe Main Difference Between a Metaphor and an Analogy\nA metaphor is a figure of speech that compares two unrelated things, like \u201cTime is a thief.\u201d\nAn analogy uses the same idea to build a type of argument, while explaining more in the description. For example, \u201cTime is a thief, because it steals moments of our lives just like a thief steals belongings.\u201d\nExamples of Metaphors from Shakespeare\nTo demonstrate metaphors more clearly, let\u2019s look at a few examples. William Shakespeare wrote some of the most famous metaphors in literature. These phrases compare unrelated items for rhetorical effect.\n\u201cLife\u2019s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more.\u201d\nObviously, life, an intangible thing, is not actually a shadow. This metaphor describes two unrelated things to give meaning and vibrancy to a topic otherwise difficult to understand.\nIn Jaques\u2019 monologue from Act 2 of As You Like It, Shakespeare delivers one of his most famous metaphors:\n\u201cAll the world\u2019s a stage,\nAnd all the men and women merely players;\nClearly, the world is not a stage. People are not actors. This illustrations allows the reader to see the similarities and start contemplating the meaning of people in the big picture of life.\nOther Examples of Metaphors\nToday most of us don\u2019t read Shakespeare outside of literature studies, so how would metaphors work into our day-to-day writing and speech? Here are some examples:\n- The baby\u2019s smile was the cherry on top of the ice cream sundae.\n- The snow was a white blanket covering the ground.\n- Her hair was a flowing river of gold falling across her shoulder.\nMetaphors do not use \u201clike\u201d or \u201cas\u201d to make their comparison. When those words are in the phrase, the expression becomes a simile. This is a similar literary device that is more direct in its presentation.\nUsing Metaphors Effectively\nMetaphors can be powerful tools, but they can also be clich\u00e9d. Relying on overused terms is a common writing mistake even seasoned writers make. Some metaphors, like \u201cthe calm before the storm,\u201d have been widely overused. Knowing when to use metaphors and leaving clich\u00e9s behind is important.\nUse metaphors sparingly and only when they add meaning to your writing or draw a visual picture. It\u2019s also important not to mix metaphors by including two in the same sentence.\nFor instance, here\u2019s a good example:\n\u201cThe sports car flew through the traffic with a full head of steam.\u201d\nIn this example, \u201cflew\u201d brings to mind an airplane, while \u201ca full head of steam\u201d suggests a train. This mixes two metaphors and confuses the reader.\nYou could state the same thing more powerfully like this:\n\u201cThe sports car barreled through the traffic with a full head of steam.\u201d\nThis maintains the image of a train throughout the statement.\nIn general, use metaphors when they provide more meaning to the story, but use them with caution. Be careful to avoid mixing metaphors, and do not use a metaphor you have heard over and over.\nDefinition of an Allegory\nAllegories are stories including a symbolic representation or the expression of truth using symbolic, fictional characters.that lets the reader draw a conclusion.\nIn literature, an allegory is often called a \u201cstory within a story\u201d or a surface story that hides a deeper truth.\nFor instance, a story about two neighbors getting into a squabble over a property boundary line may actually be a hidden story about a current war. Allegories can be powerful and direct or subtle, depending on the writer\u2019s goal.\nHow Is an Allegory Different from Symbolism or Metaphor?\nAllegories are not the same as symbolism, because allegories are complete narratives. Symbolism uses one object (symbol) to stand for another within a narrative, but does not extend through the entire narrative. While allegories sometimes use symbolism, they are not the same thing.\nIn some ways, allegories are extended metaphors. They compare two unrelated things in a story, however, the objects are not really what they appear to be.\nWhat Is an Example of an Allegory?\nStorytelling is a great way to get a point across, and many stories in literature are allegorical in nature. Perhaps the most recognizable of these is Aesop\u2019s Fables. Though Aesop draws his conclusion at the end of each fable, the story itself is a cover story for the deeper truth.\nHere are some additional examples of allegories:\n- The Chronicles of Narnia \u2013 This series by C.S. Lewis takes themes from the Christian Bible and expresses them in a fantasy story about a mythical land called Narnia.\n- Animal Farm \u2013 George Orwell\u2019s classic Animal Farm tells the society the animals on a farm create to criticize communism. This book highlights the problems created through the Russian Revolution.\n- The Faerie Queene \u2013This epic poem, published in the late 1500s, follows Arthurian knights through their adventures. A deeper look shows that author Edmund Spenser provided commentary on Queen Elizabeth I and her reign through the poem.\nThe Scarlet Letter \u2013 This novel written in the 1800s is an allegory on sin and the way society punishes evil behavior. It also explores hypocrisy, particularly in highly religious societies like the Puritans.\nThe power of the allegory is clear. Many of these works show up in literature classes around the country.\nAcademics and critics debate and discuss allegorical works to explore what the author\u2019s meaning or intention might have been. Because authors rarely state the purpose of their allegories, years of debate can flourish in the academic world.\nRead our guide to Hero\u2019s Journey writers.\nUsing Allegories In Writing\nThe allegory is more challenging to use in writing than a metaphor because you must weave it through your entire piece. For full effect, you must find a story idea that connects to your larger idea then devise the allegory to let your fictional characters explore your real-world topic.\nWhen writing an allegory, remember that the audience must figure out what your characters and story represent. Finally, give readers enough clues to let them see your overall purpose without stating your meaning and message. Be subtle, but ensure readers see the meaning of your allegory.\nThe Final Word on Allegory Vs Metaphor\nWhether you choose to add a few powerful metaphors to your writing or decide to let an allegory define your ideas for you, understanding how these two tools are used will make your writing more powerful.\nComparison helps the reader understand ideas that are difficult to grasp. Both the allegory and metaphor allow this in your writing. Want more? Check out our list of allegory examples.\nJoin over 15,000 writers today\nGet a FREE book of writing prompts and learn how to make more money from your writing.", "id": "<urn:uuid:dc156ca6-5947-46b4-bf9b-0bf71b111f56>", "dump": "CC-MAIN-2022-21", "url": "https://becomeawritertoday.com/allegory-vs-metaphor/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662541747.38/warc/CC-MAIN-20220521205757-20220521235757-00769.warc.gz", "language": "en", "language_score": 0.9200873374938965, "token_count": 1791, "score": 3.5625, "int_score": 4}
{"text": "The pricelessness of lapis lazuli and the association of blue historically as a royal colour (certainly in the Byzantine tradition) meant that throughout the 14th and 15th centuries the ultramarine blue pigment that this rare mineral produced would be reserved for the most special and revered usage by western illustrators. It was used as the colour of the heavens and even more specifically, to clothe the Queen of Heaven herself, the Virgin Mary, who even gave her name to the colour, \u2018Marian blue\u2019. However, it must be noted that the blue pigment in a medieval manuscript is not always necessarily lapis lazuli, as azurite was a cheaper and more plentiful alternative.\nIn early iconography Mary was literally an Empress, commonly seated on a throne holding the Christ child as in this ivory above. In western art this image later softened and we begin to see an emphasis on the Virgin\u2019s humanity, showing her more frequently as a tender young mother (1). The formality of her throne was gone but the \u2018royal\u2019 blue remained.\nThe four images below are all of the annunciation from Rylands manuscripts ranging from the 13th to the 16th centuries. Clearly there are significant stylistic differences, but in each a consistent symbolism is also apparent. Naturally, each of the figures of Mary is clothed either fully or partially in her characteristic blue.\nGabriel appears to Mary and the scene is an interior one: Mary is enclosed, reminding us that she is \u2018intact\u2019, i.e. a virgin. The archangel Gabriel is placed to the left and the Virgin is to the right; it is unusual to see these figures reversed. In each the divine word of God, the power of the Holy Spirit in the form of a Dove, signalling the moment of Immaculate Conception, is visible travelling towards Mary. In three of the examples Mary is kneeling, showing her submission to the will of God and she is also depicted reading, demonstrating her wisdom (2).\nThere are of course further clues in the images. The gold-strewn border from Latin MS 21 (above left) contains wild roses, a flower often associated with Mary (the rose without thorns) and also a peacock, an ancient symbol of Christ\u2019s resurrection. The blue gown of Mary in Latin MS 24 (above right) is decorated with a pattern of three white dots which refers to the Holy Trinity of God the Father, Son and Holy Spirit.\nIn Latin MS 38 (above left) we actually see the heavenly father, a small figure in a burst of gold and of course blue, the exact blue in fact of the Virgin\u2019s cloak, explicitly making a connection between the two figures. Similarly Latin MS 39 (above right) also signals the blue heavens between the arched frame of the room and the gold-strewn border in the same shade as Mary\u2019s gown.\nThe use of gold in and around all the images (illumination) is liberal. This is another signifier. The light that shines back at us from the gold represents the light of Christ and also the eternal nature of God: unlike silver, it does not tarnish and the gold in these masterpieces remains gleaming centuries on.\nNext \u2013 Medieval storytelling: From Golden Pages to the Golden Legend\n- Wendy A. Stein. How to Read Medieval Art, Metropolitan Museum of Art, New York (2016), p.109.", "id": "<urn:uuid:f0c409dd-b03e-4880-a89c-772974a37359>", "dump": "CC-MAIN-2022-21", "url": "https://rylandscollections.com/2020/09/22/medieval-storytelling-ave-marina/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00371.warc.gz", "language": "en", "language_score": 0.9408422112464905, "token_count": 757, "score": 3.609375, "int_score": 4}
{"text": "ClSt/Coml 200: Notes and Supplements\nWhat is a Myth?\nThe Oxford English Dictionary\ndefines myth as a\nsynonym for \"untruth\", \"falsehood\", or \"lie\". But the\nword has a long history and an equally long range of meanings. The\nEnglish word comes from the Greek mythos, which Liddell and Scott's\nGreek-English lexicon defines much more variously than\nOED defines myth, with\nmost of the meanings of the Greek\nword corresponding to the English story. Only towards\nthe end of the\nentry is the issue of truth or falsehood explicitly raised; and it is\nraised in such a way as to cast doubt on the possibility of making any\nsimple, straightforward distinction between the two.\nWhat is Truth?\nThe ancient Greeks were capable of treating \"truth\" and \"falsehood\" as\nmere opposites; but they were also capable of seeing an intimate\nconnection between the two categories.\nThe Greeks told many stories about characters who inquired after the\ntruth, and about others who were inveterate tricksters. Achilles, the\nhero of the Iliad, declares that he hates like death the man\nwho keeps one thing hidden in his heart, but speaks another (Iliad\n9.310). But Achilles speaks these words to Odysseus -- hero of the\nsecond great epic poem of archaic Greece, the Odyssey, a\npoem in which the hero tells many extravagant lies, all of which\nstand in complex relation to the truth.\nMany people from all over the ancient world consulted oracles, and one of\nthe most famous was the oracle of Apollo at Delphi in central Greece.\nThis oracle was regarded by many as the most authoritative in the world;\nbut its prophecies were typically so worded as to be completely\nmisleading. A famous story concerns the Lydian king Croesus, who asked\nthe oracle whether he ought to make war on the Persians. When the oracle\nanswered that, if he did so, he would destroy a great empire, he went to\nwar -- and in the process destroyed his own empire (Herodotus\nHesiod, one of the earliest\nGreek poets and the first surviving Greek mythographer, commented rather\nenigmatically on the complex relationship between truth and falsehood in\nhis own craft (Theogony 25). In\ndoing so, he gave early expression to what remained\nin later times as well a very uncertain relationship between \"truth\" the\nrepresentation of truths in stories.\nThese few examples illustrate the complexity of the relationship between\ntruth and falsehood in Greek thought generally, and locate this\nrelationship especially in the telling and interpretation of stories.\nWho Owns a Myth?\nOne of the reasons that the truth-value of myth is so urgently questioned\nis that myths and bodies of myth often have to do with identity: people who\nthe same stories tend to feel that they have something in common with one\nanother, and that they differ from people who tell different stories.\nearly Greek historian Herodotus of Halicarnassus said that it was the\neven earlier Greek poets, Hesiod and Homer, who gave the Greeks their gods:\ni.e. by virtue of their mythic storytelling, they contributed to\ndetermining the national identity of their people (Herodotus\nhave to an extent modelled their own storytelling on that of the Greeks\n-- presumably on the assumption that the stories themselves carry with\nthem something of value, and that by adopting the stories one takes on\nqualities that one associates with and admires in the ancient Greeks.\nThis is most obviously true of the Romans at the height of their power;\nand it is strange enough that the greatest empire of antiquity should\nhave refashioned its own mythology to make it conform with that of a\nconquered people, even if the two systems shared certain features to\nbegin with. But even after the pagan culture of classical antiquity began\nto give way before the Christian culture of the middle ages, the\nclassical myths maintained a certain importance down into early modern\ntimes. And even in this century, in which various sciences and\ntechnologies are often said to have replaced myth and religion in\nsetting the parameters of our attempts to make sense of the world,\nmythology is continually invoked, even by the inventors of these sciences\nand technologies themselves. The most outstanding example is perhaps that\nof Sigmund Freud and the \"Oedipus Complex\", a supposedly universal human\nimpulse that both explains and is explained by the power of the Oedipus\nThe myths we will study in this course are primarily those of the ancient\nGreeks; but as this brief summary suggests, we will be concerned with\nthese myths both in their ancient applications, and in later adaptations.\nThese myths, like all myths, are often thought of as containing \"universal\"\nmessages: though they may be regarded as literally false, they may\nnevertheless felt to be true on a more fundamental level; and at the same\ntime, while the particular form that a myth may take in a given culture\nmay be thought of as somehow defining that culture, myths are just as\nfrequently held to offer access to insights that transcend any one culture.\nIn this course we will consider the cultural significance of the Greek\nmyths in their historical dimension, as they have been continually\nadapted to various purposes\nHow Do Myths Work? The correct question\nmight really be,\nHow Are Myths Used?\nBecause myth is credited with providing access to some of the fundamental\ntruths about the human condition, it is often, prerhaps normally\nregarded, as something to be taken very seriously. This impression is\nreinforced by the fact that mythology provides the subject matter for\nsome of our most famous and revered works of art -- not just literary\nart, but sculpture, painting, and other forms as well. But historically,\nall myths -- including, but not limited to, the Greek myths --\nhave been a significant part of popular culture as well. The ancient\nGreek satyr plays parodied what we think of as the more typical,\nhigh-minded treatment of the same stories in tragic drama. In Christian\nEurope the Greek myths afforded an opportunity to indulge a taste in\nfrivolous and risqu\u00e9 stories under the guise of an interest in the\nClassics. In contemporary culture, it is primarily Norse mythology that\ninforms the popular genre of \"adult fantasy literature\" (Conan the\nBarbarian and his ilk), but Greek mythology is represented as\nwell. A single\nproduction company currently produces a pair of television series --\nThe Legendary Journeys and Xena, Warrior Princess --\nthat loosely borrow their basic concepts and some of their material from\nGreek mythology. Another\ntypical but more ambitious example of how the idea of mythology can be\nfound in a certain episode of Start Trek: The Next\nGeneration that first aired in October 1991. In this episode,\nwhich is entitled\nthe hero involuntarily finds himself in a dangerous situation and in the\ncompany of an alien being whose language he cannot understand. Gradually,\nhe discovers that the the alien speaks in phrases that recall events in\nthe mythology of his (the alien's) culture, and that the situation in\nwhich the two find themselves parallels a particular myth from the alien\nculture. The hero is able to turn this insight into an understanding of\nhow much his own culture actually shares with that of his counterpart,\nand encourages him to learn more about the \"root metaphors\" of Earth's\nculture -- which prove to be, the stories found in Greek mythology!\nA basic knowledge of Greek mythology and an informed critical approach to\nhow they have been used in various times and places thus has an obvious\nvalue. What is important to remember, however, is that when we try to\nfocus our attention on these myths, we are aiming at a moving target. The\nmyths did not mean any one thing to the Greeks themselves, but took on\ndifferent meanings depending on who was telling the story to whom, when\nand where the telling took place, in what form and for what purpose. This\nis all the more true of later adaptations. Our task will be not so much\nto unlock the meaning of these myths, as to come to grips with there", "id": "<urn:uuid:bf3d86d3-c865-49bb-8fd2-392fffec6d34>", "dump": "CC-MAIN-2022-21", "url": "http://ccat.sas.upenn.edu/~jfarrell/courses/myth/topics/what_is_myth.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662619221.81/warc/CC-MAIN-20220526162749-20220526192749-00171.warc.gz", "language": "en", "language_score": 0.9603235721588135, "token_count": 1804, "score": 3.703125, "int_score": 4}
{"text": "Yellow Leaves on a Photinia Fraseri\nPhotinia fraseri plants, commonly referred to as fraser photinias, add a sleek visual impact to the home garden with their shiny foliage that grows in a clean, symmetrical habit with an oval form. This shrub, or small tree, displays burgundy-hued new leaves that become dark green as they age, as well as showy, white summer flowers. While fraser photinias add interest, they may also call for extra attention when their otherwise evergreen foliage begins to turn yellow. Monitor trees regularly and jump into action when foliage shows signs of discoloring.\nHealthy, well-maintained trees are more likely than neglected trees to avoid and overcome health problems. Optimal care begins with growing fraser photinias in areas of the home landscape that offer full sunlight. Though these plants can handle shaded conditions, the lack of sunlight encourages disease. Fraser photinias thrive in well-drained soil, as wet conditions lead to rot disease and plant death. These evergreens perform best when planted in U.S. Department of Agriculture hardiness zones 7 to 9.\nYellowing foliage on fraser photinia plants may be the result of a nitrogen deficiency. Nitrogen is an essential part of healthy soil, which provides strength to plants for successful growth and uniform color. Foliage may appear stunted or suffer from diminished health. While managing this problem typically calls for applications of nitrogen through fertilizer or other nitrogen-containing materials, such as elemental nitrogen, blindly applying a substance may have serious consequences. A home gardener's best option is to first bring a soil sample to a lab for a soil test. Though the soil may need more nitrogen, it may also have other overages, deficiencies or problems. Gardeners should make any suggested amendments to improve soil. Amendments will likely include fertilizing the soil surrounding the tree followed by irrigation. Following a professional diagnosis is the safest approach.\nWhile most insect pests cause little damage to fraser photinias, gardeners should still examine plants regularly for potential problems. Sucking pests, such as aphids or scales, are the most likely insect culprits for yellowed foliage. These pests suck plant tissue fluid and may lead to distorted, yellowed foliage, stunted twig growth, dieback and diminished plant health. Aphids are tiny, soft insects with teardrop-shaped bodies in a diverse set of hues, such as yellow, brown or red. These pests often gather on the undersides of leaves, where they feed together. Scales are pests commonly mistaken for bumps or growths on tree surfaces. These pests display soft or armor-covered bodies and are generally immobile, feeding in a single resting spot in maturity. Aphids and soft scales excrete a sweet, sticky substance as they feed. This substance, honeydew, drips onto plant parts below and sometimes to the ground. A black fungal growth called sooty mold is encouraged by honeydew, often covering plant foliage and interrupting photosynthesis. Armored scales, however, do not secrete honeydew.\nTo control sucking pests, gardeners may first release natural enemies, such as parasitic wasps or predatory beetles. For more aggressive management, the application of low-toxicity insecticides, such as insecticidal soap, neem oil or narrow-range oil, offers effective treatment. Gardeners must thoroughly cover affected plant tissue, as these insecticides kill on contact. Sooty mold fungal growth will wear away once the sucking pest infestation is under control.\nFraser photinias are no strangers to destructive diseases. Those that result in yellow leaves are fungal in nature. Phytophthora root rot disease, caused by fungal pathogens of the Phytophthora species, results in wilting leaves that discolor to a lackluster yellow, green or red hue as roots decay. A sticky, gummy substance may run from the trunk area as a result of rotting roots. This disease commonly ends in plant death. Powdery mildew disease also causes yellowing of foliage. This fungal infection typically spread on wind and thrives in a temperature range of 60 to 80 degrees Fahrenheit, according to the Ohio State University Extension. Though humidity encourages development, standing water is not necessary for growth. Powdery mildew also results in the growth of a powder-like, white coating on plant parts, as well as malformed leaves and leaf drop.\nWhile there is no chemical cure for phytophthora root rot, gardeners must maintain well-drained soil, as wet soils encourage rot. Incorporating organic matter, such as compost, into the top several inches of soil improves drainage. Gardeners should remove and destroy affected plant parts immediately. In addition, preventive sprays of a fungicide with the active ingredient fosetyl-al provides protection. To control powdery mildew, gardeners should first remove and destroy affected plant parts to decrease the severity of disease. Tools, such as pruning shears, must be sterilized between each cut and between uses on one plant to the next, to avoid spreading the fungus. Thorough coverage with a fungicide containing an active ingredient such as thiophanate-methyl or triadimefon provides control, particularly when sprayed during the disease's preferred weather.\n- University of Florida IFAS Extension: Photinia x Fraseri -- Fraser Photinia\n- Washington State University Clark County Extension: Fraser Photinia\n- Oregon State University Department of Horticulture: Photinia x Fraseri\n- University of California Agriculture and Natural Resources: Fertilizing Landscape Trees\n- University of California Integrated Pest Management Program: Aphids\n- University of California Integrated Pest Management Program: Scales\n- University of California Integrated Pest Management Program: Phytophthora Root and Crown Rot in the Garden\n- Ohio State University Extension: Powdery Mildews on Ornamental Plants\n- University of California Integrated Pest Management Program: Photinia -- Photinia Spp. Family Rosaceae\nTarah Damask's writing career began in 2003 and includes experience as a fashion writer/editor for Neiman Marcus, short fiction publications in \"North Texas Review,\" a self-published novel, band biographies, charter school curriculum and articles for various websites. Damask holds a Master of Arts in English and creative writing from the University of North Texas.", "id": "<urn:uuid:caad71f8-92f3-4336-8ae8-c09fde2f786f>", "dump": "CC-MAIN-2022-21", "url": "https://homeguides.sfgate.com/yellow-leaves-photinia-fraseri-43991.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00571.warc.gz", "language": "en", "language_score": 0.9256036877632141, "token_count": 1355, "score": 3.53125, "int_score": 4}
{"text": "9th Grade English Language Arts Curriculum\nWhen a student enters high school, they are beginning advanced courses for college preparation. In their freshmen year, students should have opportunities to develop listening and speaking skills included in their 9th grade English language arts curriculum. As they continue the process of learning grammar, vocabulary, composition, reading comprehension through the exploration of diverse texts, they should see their oral language skills strengthened.\nThe information below will guide you through the 9th grade English language arts activities your students should be completing and how Time4Learning can help you achieve academic excellence.\nHere is what you\u2019ll find on this page:\nWhat English Language Arts Concepts Should a 9th Grader Learn?\nA typical course of study for 9th grade English language arts will include a variety of literary works from different cultures around the world. 9th graders usually cover book reports, which build both reading comprehension and composition skills, as well as expand on writing skills they built in previous years.\nSome of the 9th grade language arts activities your student should perform include:\n- Learn to identify the features and purpose of myths, as well as contrasting myths from different cultures.\n- Learn how to interpret similes, analyze figurative language and use prior knowledge to make predictions.\n- Researching and writing about mythical characters.\n- Explore the different thematic links in the texts they read such as love, beauty, family, freedom, friendship and overall human nature.\n- Read and understand increasingly challenging texts that build knowledge in history, science and other subjects.\n- Compose texts that present multiple points of view.\n- Conduct research and select information from multiple sources to support their arguments.\n- Continue learning best practices for grammar and also expanding their vocabulary, both written and orally.\n- Constantly read and analyze classical books, short stories, poetry and more.\nLearn more about Time4Learning\u2019s ninth grade English language arts curriculum by checking out the 9th grade English language arts scope and sequence and the 9th grade English language arts lesson plans.\nReading Goals & Objectives for 9th Grade\nIn terms of reading goals for 9th graders, your high school curriculum for language arts should aim at increasing the student\u2019s ability to understand unknown words, as well as turning a more critical eye toward literature.\nReading goals and objectives for 9th graders should include:\n- Decipher elements of the plot arch, setting, narrative, character development, Point-of-View, and more.\n- Accurately identify the author\u2019s point of view in a story.\n- Adequately identify and explain the use of allegory and satire in novels.\n- Achieve clear understanding of figurative language, form and perspective.\n- Develop skills to evaluate materials for accuracy and discussion techniques.\n- Read between the lines and notice subtext, worldview, and implications.\n- Learn to track a plotline from the inciting moment to the climax and denouement.\n- Explore the meaning of the author\u2019s voice, choice of narrative and POV, and use of character development.\nGet more detailed information on our homeschool reading curriculum.\nWriting Goals & Objectives for 9th Grade\nThe ideal English language arts curriculum for ninth grade will encourage students to strengthen their writing skills by producing creative and coherent writing.\nWriting goals for a ninth grader should include:\n- Use different traits for writing, including organization, content, voice and word choice.\n- Use figurative language to compose their own poetry.\n- Develop and support ideas with specific examples, and citing information from reliable sources.\n- Formulate appropriate questions and paraphrase problems.\n- Identify areas of improvement in their own writing.\n- Understand proper composition skills.\n- Avoid plagiarism and accurately give credit to whom credit is due.\nGrammar Goals & Objectives for 9th Grade\nEven for a natural writer, grammar can be a struggle. Grammar extends beyond understanding how sentences flow together and instead, focuses on the rules of punctuation and types of phrases. 9th graders are expected to master high level grammar skills as proper writing skills are necessary for most career fields.\nConsider these objectives for your 9th grade ELA curriculum:\n- Understand and apply the proper grammar rules in their writing (pronoun-antecedent, apostrophes, etc.)\n- Recognize run-on sentences, and sentence fragments and avoid them.\n- Successfully diagram sentences.\n- Subordinate clauses\n- Participle phrases\n- Relative clauses\nLearn more on our homeschool curriculum grammar page.\nWhy Choose Time4Learning Ninth Grade English Language Arts Homeschool Curriculum?\nTime4Learning\u2019s 9th grade English language arts curriculum tackles each of the concepts mentioned above and more through engaging, interactive lessons with multimedia features and easy-to-follow instructions. Time4Learning follows a step-by-step method to bridge any possibilities of learning gaps and track the student\u2019s progress. Consequently, students can move forward through the program as quickly or slowly as they need.\nTime4Learning is dedicated to helping your students reach their academic goals while also enjoying their experience. Below are some reasons why parents and students prefer Time4Learning to help them meet their academic goals:\n|As a Full Curriculum\n||As a Supplement\nAdditional 9th Grade Homeschool Resources\nClick here to return to the 9th Grade Curriculum Overview.\nOr explore the our other ninth grade resources:", "id": "<urn:uuid:689ab196-dfcd-4609-af84-22aec3bbe4c0>", "dump": "CC-MAIN-2022-21", "url": "https://www.time4learning.com/homeschool-curriculum/high-school/ninth-grade/language-arts.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662658761.95/warc/CC-MAIN-20220527142854-20220527172854-00570.warc.gz", "language": "en", "language_score": 0.9317766427993774, "token_count": 1137, "score": 4.0625, "int_score": 4}
{"text": "This month, we\u2019re exploring how to teach young children theory of mind.\nEddie (3 years old) had been upset when his mum left him in the morning. His childminder rang his mother so that Eddie could speak to her and put the phone to Eddie\u2019s ear. Eddie said, \u2018Look what I made, Mummy!\u2019 and held up his picture for his mother to see.\nThis is a cute scene and one that has been replicated over the land! Eddie does not realise that his mother can\u2019t see his picture over the phone. He thinks that just because he can see it, she can too. This is about theory of mind, which is the ability to understand that just as you have your own thoughts, feelings and beliefs, other people have their own thoughts, feelings and beliefs. When we are truly empathetic towards another person and put ourselves in their shoes, this is theory of mind in action.\nTheory of mind is all about social interaction and begins developing at a young age when babies of around 6 months old can distinguish between animate and inanimate objects. As they grow and develop, young children will be able to engage in joint attention with other people (around 12 months) and learn how to sense the direction of another\u2019s gaze (around 18 months). The ability to engage in pretend play and imagine that an object is something else (around 2 years) also contributes to their understanding of theory of mind.\nHowever, it really starts to develop more fully at around 4 years old when children begin to understand that other people have their own thoughts, feelings and beliefs. They can also begin to understand that sometimes someone has a false belief. Imagine you open your favourite box of chocolates to find that it has conkers inside. Your colleague comes in and looks at the box \u2013 what do they think will be inside? Chocolates? This is an example of a false belief, where someone believes something to be true that is not true because they do not have the same knowledge as you.\nIn a short video clip Cameron (4 years old) is shown a playdough container that doesn\u2019t contain playdough and he is asked what is inside. He guesses playdough and finds that it is full of candy. He is asked what his cousin would think is in the box and he answers candy. This demonstrates that he is, as of yet, unable to realise that other people do not know what he knows. A year later this scenario is repeated in a similar way with a chocolate bag that actually contains cars, and in another clip Cameron, now 5 years old, demonstrates his theory of mind as he realises that his Grandma would guess that the chocolate bag would actually have chocolate in it.\nWhen these false belief activities are completed with 3-year-old children, they are not able to guess correctly, whereas most 5-year-olds realise that another person does not have their knowledge. This involves predicting what one person thinks, feels and believes about what another person is thinking, feeling and believing. Theory of mind also involves complex language such as idioms, metaphors and sarcasm which can usually be understood at around 6 or 7 years old. This is why, when an adult uses a phrase such as \u2018It\u2019s raining cats and dogs\u2019, we find our young children run to the window to look!\nSome experts believe that theory of mind develops over a lifetime and certain groups of people find it particularly difficult. No or limited theory of mind makes it difficult to realise why people do and say the things they do and to understand different perspectives. It can also make a person vulnerable in the sense that they may not understand the true intentions of another person which could become a safeguarding issue. Limited theory of mind can also make it harder for groups to role play, engage in storytelling or pretend play and ultimately more difficult to make friends and socialise.\nGroups who find theory of mind particularly difficult include:\n- Children under 5 (or older for faux pas/ metaphor etc.)\n- Adults and children with specific needs, for example, autistic spectrum disorder (ASD), Asperger\u2019s syndrome (AS), major depressive disorder (MDD), mesial temporal lobe epilepsy (mTLE), schizophrenia\n- Adults or children who are deaf or those with hearing loss\n- People with lower competence in language or social communication difficulties\n- Adults or children with damage to specific areas of the brain.\nAs children get older, they also become more socially competent picking up on subtle social etiquette such as faux pas:\nLisa (5 years old) was given a present for her birthday from her Uncle John. She unwrapped it in front of him \u2013 it was a pink, sparkly tiara and wand set. \u2018Urggh \u2013 I hate pink\u2019 she said and threw it onto the floor!\nThis is a classic example of faux pas, when you \u2018put your foot in it\u2019. As a grown-up we inwardly cringe at this social mistake, however, at 5 years old, Lisa does not yet understand about other people\u2019s feelings and social etiquette. Children are learning from experience and from imitating others and thus they may learn the social rules prior to understanding why those rules are in place. For example, they may know that they are not supposed to point at the large lady sitting on the bus sitting in front of them, long before they understand why they are not supposed to do this.\nGenerally speaking, understanding of faux pas does not develop until around nine to eleven years old. This is much older than we probably think and older than the age when an adult will brush away comments believing them to be cute rather than rude. However, although children may not have fully developed theory of mind, we can still support them in learning the rules about social interaction.\nThere are many reasons why we should teach children about theory of mind. It will help them to develop self-regulation and teaches them a social language. It can assist them to manage their own feelings and, in turn, move the child from being egocentric to being more sensitive about how other people feel. It can also support children to develop feelings of empathy.\nStrategies to support children\u2019s development of theory of mind\n- Teach children to be emotionally literate\n- Help children to be aware that other people have their own thoughts and feelings\n- Consider different perspectives in games and stories\n- Teach how to read non-verbal cues and gestures\n- Role-play and rehearse different social situations\n- Use visual aids to support teaching about abstract concepts\n- Teach sign language to aid communication.\nHere are some ideas of activities to try which will support children with their theory of mind:\n- Help children to recognise different facial expressions and follow eye gaze by playing \u2018hotter and colder\u2019 with facial expression and eye gaze to help the child find a hidden toy\n- Overemphasise your body language and ask the children to guess how you feel\n- Play a \u2018guess the gesture\u2019 game\n- Play the \u2018what if?\u2019 game e.g. What if I was singing loudly and mummy was trying to get my baby sister to sleep. What should I do?\n- Engage in pretend play\n- Read stories and talk about what a character might do next, how they feel and what could happen\u2026\n- Plan activities that encourage children to think about feelings and emotions and what they mean\n- Tell jokes, use figurative language and idioms, explaining what you mean\n- Explain other people\u2019s behaviour in past, present and future scenarios\n- Use Social Stories to support understanding\n- Use the language associated with thinking, feeling and believing; feel, forgot, think, know, guess, thought, believe, understand, excited, angry, sad, happy etc.\nWhen we have an understanding of the ages and stages of development relating to theory of mind, we can respond more appropriately to young children, understanding that sometimes the things they say are not unkind or rude, instead they are demonstrating that they have not yet fully developed theory of mind, just like Eddie and Lisa above.\nAbout the author\nTamsin Grimmer is an experienced early years consultant and trainer and parent who is passionate about young children\u2019s learning and development. She believes that all children deserve practitioners who are inspiring, dynamic, reflective and committed to improving on their current best. Tamsin particularly enjoys planning and delivering training and supporting early years practitioners and teachers to improve outcomes for young children.\nTamsin has written two books \u2013 Observing and Developing Schematic Behaviour in Young Children and School Readiness and the Characteristics of Effective Learning.", "id": "<urn:uuid:84db4d17-25fb-407e-8c85-4bea68e0fd2e>", "dump": "CC-MAIN-2022-21", "url": "https://www.parenta.com/2018/04/01/its-all-in-the-mind/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517245.1/warc/CC-MAIN-20220517095022-20220517125022-00171.warc.gz", "language": "en", "language_score": 0.9695778489112854, "token_count": 1800, "score": 3.6875, "int_score": 4}
{"text": "PURPOSE AND INSTRUCTIONS\nThis assignment challenges you to make up a story. About people. Make it credible with no requirement for suspension of disbelief. Some change must occur in one or more of the characters, either in thinking or feeling.\nPresent the entire story in two hundred and fifty words. Include in your story these elements: 1) the protagonist\u2019s core desire or want (may be implied or stated) and the characteristic that will relate to the plot. 2) What the major conflict or barier-to-achievement is. 3) The resolution of the conflict.\nAgree that stories can be character-based or plot-based. Since you\u2019re writing literary fiction, make your story character-based, that is, make the character\u2019s traits drive the action and the resolution of the plot. Instill human choice. (Genre fiction is plot centric. more fatalistic with characters more like puppets on strings doing the will of the storytelling puppeteer.)\nEXAMPLES OF KNOWN STORIES.\nNaive Little Red Riding Hood disobeys her mother\u2019s advice (desire\u2013go to grandma\u2019s; flaws\u2013disobedience, naivete) to talk to no one on her journey to Grandma\u2019s house but she talks to a wolf (conflict) in the woods and the wolf (hungry) devours her grandmother and attacks Red (resolution). DOING WRONG DRIVES THE PLOT.\nSisters-and-stepmother-despised Cinderella (wants a husband) meets a prince (wants a girl) at a ball who, recognizing Cinderella\u2019s kind nature, falls in love with her. But Cinderella disappears (conflict) back into her impoverished, in-servitude origins. A shoe is left behind and the prince finds Cinderella (choice, she probably left the shoe) by determining which girl fits the shoe (resolution). LOVE DRIVES THE PLOT.\nNote that there are different interpretations that make every writer unique. The key is finding what your characters want and do to fulfill that want and the cause and effect that results.\nEXAMPLES OF IMAGINATION GENERATED STORIES.\nSeeing or hearing of a character or situation that you think might make an interesting story (or scene) and working through a character-based structured outline for the story. This gives the story action, purpose, drama, and consistency that will serve you well as you write the story.\nChallenge. A homeless beggar begging on a median in the middle of a busy highway who\u2019s tattered clothes were once stylish and expensive.\nImagined story outline. John is a single parent father. (want\u2013raise child) His only daughter is killed by a drunk driver while riding her bike. The driver is never charged (conflict\u2013no justice). John sets out to avenge (new desire) the death of his daughter. After repeated attempts he traps the driver and is about to maim him when he realizes the evil of his plan, and lets the man go. (resolution)\nChallenge. Pretty girl about twenty sitting on a bus.\nImagined story outline. Cathy loves Bobby who does not love her. (Desire\u2013Bobby to love her.) Bobby is to take a cruise with his fianc\u00e9e. (Want\u2013to marry fianc\u00e9e.). Cathy secretly signs up for cruise determined to discredit fianc\u00e9e (falsely) and convince Bobby to love her, Cathy. (Conflict.) She is successful but suffers guilt for having unfairly hurt and demeaned the innocent fianc\u00e9e. (resolution)\nWHAT TO DO.\n-> Make up three stories as directed above. Each one no more than 100 words.\n-> Submit stories for comment and ideas.", "id": "<urn:uuid:c309b41a-ced3-4360-8b7f-ed08e4b606f6>", "dump": "CC-MAIN-2022-21", "url": "https://literaryfictionworkshop.com/2012/making-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662593428.63/warc/CC-MAIN-20220525182604-20220525212604-00771.warc.gz", "language": "en", "language_score": 0.9283443689346313, "token_count": 795, "score": 3.625, "int_score": 4}
{"text": "This January, Greenpeace and a team of independent scientists from Stony Brook University sailed the Greenpeace ship Arctic Sunrise to the Weddell Sea in the Antarctic Peninsula to research the impacts of climate change on remote Antarctic penguin colonies.\nWe visited places that have rarely or never been documented before. Many of our findings confirm our worst fears; that once-pristine Antarctic ecosystems are changing drastically. But fortunately some of our findings in the Weddell Sea also offer hope.\nOur team conducted research in the remote Weddell Sea. This is the site of a vast proposed Marine Protected Area (MPA), which was originally proposed nearly a decade ago by the Antarctic Ocean Commision (CCAMLR) but has still not been delivered.\nTo understand how the Antarctic Ocean is faring, Stony Brook scientists monitored the breeding of two of its integral residents: Ad\u00e9lie and gentoo penguins. Penguins are sentinel species, which means that the state of their colonies can tell us a lot about the changing health of an ecosystem. This was the reason why our team turned to them for clues on how climate change, industrial fishing and other pressures may be impacting the Antarctic.\nWhile Ad\u00e9lie penguins need cooler ecosystems and rely heavily on the Antarctic cold water creature, krill, for their diets, gentoos can fare well in relatively warmer climates. Compared to Ad\u00e9lie penguins, they enjoy areas with less sea ice. They dive deep for their food and don\u2019t rely as heavily on krill.\nBased on trends shown in previous research, scientists predicted that gentoo penguins might be migrating further south in response to climate change, while Ad\u00e9lie colonies may collapse in already cooler, more southerly regions. Some researchers referred to these changes as a type of \u2018gentoo-ification\u2019.\nWhat we saw confirms our worst predictions. We documented a new gentoo penguin colony never before recorded at Andersson Island, on the east side of the Antarctic Peninsula, as well as the first ever recorded findings of gentoo penguins in an unexplored archipelago just off the Antarctic Peninsula\u2019s northern tip.\nBut there is hope: Ad\u00e9lie penguin populations have not yet collapsed across the Antarctic. We documented vast colonies of stable Ad\u00e9lie penguins in the Weddell Sea. Their stability is vital new evidence that the Weddell Sea could be an important climate refuge for wildlife, sheltering the wider ecosystem from the worst impacts of the climate crisis. We need to make sure it stays so.\nThe stories of the Ad\u00e9lie and gentoo penguins present a crossroads: our crew documented the climate crisis already changing the edges of the Weddell Sea with gentoos moving south, but we also saw the Ad\u00e9lies resilience in more sheltered areas. The penguin colonies\u2019 entangled stories should be a call for action for world leaders to address the climate crisis and to protect Antarctic ecosystems and other vital marine areas globally.\nThis March, world leaders met at the United Nations but failed to agree on a Global Ocean Treaty that could enable the creation of a global network of ocean sanctuaries covering at least 30% of oceans by 2030. This is what scientists suggest we need in order to avoid the worst impacts to our oceans from multiple pressures, to allow ocean wildlife to recover, and to protect natural \u2018blue carbon\u2019 stores by safeguarding the systems that underpin them (a little known fact; \u2018blue carbon\u2019 in the deep ocean constitutes the largest carbon stores on Earth, containing 50 times the amount of carbon held in the atmosphere and over 10 times the amount of carbon in terrestrial vegetation, soils and microbes combined).\nWhen properly protected, ocean ecosystems and communities are resilient, and can form an important lifeline in our defence against the climate crisis. Policy makers around the world have already committed to protecting the oceans, but these remain just words on paper. For example, the CCAMLR is moving at glacial pace to protect Antarctic waters; after committing to create a network of ocean sanctuaries over a decade ago, only two have been delivered (South Orkney and Ross Sea).\nThis isn\u2019t good enough. In Antarctica, penguins on the move is just one of the ways the climate crisis is already changing life in the region. We do not need more evidence, we need action.\nExplore the current issue\nBeautiful photography. Captivating storytelling.\nTake a look inside the latest issue of Oceanographic Magazine.\nSubscribe to the digital edition for just \u00a320 a year, or enjoy it for free courtesy of Oceanographic\u2019s partnership with Marine Conservation Society. No cost, no catch.\nBeautiful ocean stories straight to your inbox.\nJoin our community.", "id": "<urn:uuid:42dc87d0-1627-4839-ad30-b91595a1c79a>", "dump": "CC-MAIN-2022-21", "url": "https://www.oceanographicmagazine.com/features/antarctic-penguin-colonies-in-the-weddell-sea/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662595559.80/warc/CC-MAIN-20220526004200-20220526034200-00170.warc.gz", "language": "en", "language_score": 0.9099366068840027, "token_count": 989, "score": 3.703125, "int_score": 4}
{"text": "Each piece of literacy is unique as it is shaped by the place and time in which it is written and the experiences of he who wrote it. In turn those to encounter the text will be effected, making each text a human experience. Shakespeare\u2019s Othello reinforces the idea that literature is shaped by human experience and its counter act. During Shakespeare\u2019s time there were events major disturbance, social and cultural crisis that shaped the language, imagery and character in his plays. Shakespeare\u2019s mastery of plot development, character development and language, makes his works important in the study of literature throughout time.It is commonly believed that the eyes are windows to a person\u2019s soul. However, Shakespeare allows the audience and reader of the play to see the true character through his words, giving words and the language of the characters great power. A technique that Shakespeare employs to great effect, is the use of the most poetic and lyrical language on that of the villain, Iago.\nThis technique sets Iago apart from the other characters and makes it easier for the audience to understand how Othello is drawn into Iago\u2019s deceit.Opposite to Iago\u2019s complex lyrical language are Othello\u2019s lines, written in prose. The difference in their dialect represents their differences including race, status and good vs. evil. It also stands as a representation of the audience Shakespeare wrote for, which varied immensely in education, status (race) and wealth. Language used by Othello transforms throughout the play. At the beginning of the play Othello has such confidence in his skill with language; Shakespeare uses blank verse lines to portray him as a noble man with a calm nature.As he begins to believe Iago\u2019s lies, his language changes as well, becoming offensive and giving numerous references to hell.\nUnder pressure from Iago in act three his language deteriates becoming fragmented and hesitant. \u201cHa! \u201d (3, 3, \u201co misery! \u201d (3, 3) there is also notable repetition, \u201cnot a jot, not a jot\u201d (3, 3), \u201cO blood, blood, blood! \u201d (3, 3) and \u201cdamn her, lewd minx! O, damn her, damn her! \u201d (3, 3). This shift from seemingly effortless verse to near inarticulateness, demonstrates how this larger then life, confident character is crippled by a mere jealousy.He looses grip further to a point where he can only helplessly and automatically echo Iago\u2019s questions.\nHe is sent into frenzy, struggling to find the differences between \u201clying on\u201d and \u201clying with\u201d. His confidence with words and self control decreases so much so that he erupts in nonsense words, \u201cpish! Noses, ears, and lips! \u201d (4, 1) this inability to communicate is symbolic of his inability to cope with the thought of an unfaithful Desdemona, and he is overcome physically and collapses. This transformation of Othello\u2019s language is wholey due to the actions of Iago.Imagery is used in Othello as a means for its characters, namely Iago, to communicate their thoughts and personality, aiding in creating a dramatic atmosphere and helps define the various meanings and themes in the play. Animalistic descriptions are used constantly throughout the play.\nBefore Othello steps onto the stage he is described as an \u201cold black ram\u201d and a \u201cBarbary horse\u201d by Othello, depersonalising and degrading him to the level of an animal. This shows the level of respect he has for Othello.The major female characters are referred to as hobbyhorse, minx and minion, a representation of women\u2019s standings during the Elizabethan era, suggesting they are nothing better then a common horse. Of significance is the animal imagery used to describe Iago. His malicious nature is likened to that of a snake through the imagery of poison and the name of \u201cthe viper\u201d as described by Lodovico, indicating the character is similar to a snake, the ultimate sign of evil. Religious imagery is used often within the play, in comparing good and evil and in describing hatred of each other.Emilia to Othello \u201cO, the more angel she, and the blacker devil you\u201d (5, 2) shows contrast between Desdemona and Othello in addition to suggesting skin colour and evilness go hand in hand.\nReligious imagery describes the preoccupation people of the Elizabethan era had with religious order and the place of it in the chain of being\u2026 Imagery as a whole is a reflection of the thoughts of the characters in the play who in turn reflect the views of Elizabethan society and Shakespeare himself.It helps illustrate the characters and their relationships who reflect the culture and time in which it is written, furthermore it represents the authors human experiences and ideas. The relationship between Othello and Iago is of extreme importance to the degeneration of Othello\u2019s relation ship with Desdemona and Cassio and therefore, the development of the plot.\nThe malicious nature of Iago, the true antagonist of the play is conflicting to the protagonists, Othello. Iago abuses Othello\u2019s trusting nature and naive traits to cunningly convince him of Desdemona\u2019s supposed unfaithfulness.Henry Warnken describes Othello and Iago\u2019s relationship, stating that while \u201cIago\u2019s evil corrupts Othello, the potential for evil already lurked within the moor, Iago merely frees his capacity for evil\u201d. Suggesting that Othello isn\u2019t as pure and \u2018good\u2019 as the imagery already led the audience to believe.\nThis would prove Iago\u2019s intelligence in plotting to use Othello for his own gain, \u201cI follow him to serve my turn upon him\u201d (1, 1). Desdemona and Emilia are principle female characters. Just as Othello and Iago are opposites, so too are Desdemona and Emilia.\nThe two women are loyal characters, wanting to please their husbands, for different reasons as they see marriage in different ways. Emilia knows of the value of marriage and wishes to be loyal to Iago as part of her duty as a wife, however Desdemona wants to please her husband out of love. This difference demonstrates the views of the Elizabethan era. Emilia\u2019s marriage is acceptable unlike Desdemona\u2019s, however it is Emilia\u2019s whose fails. She is loyal to her husband up to a point where she decides to speak out against Iago, being the cause of all the chaos.\nUnlike Desdemona who remains loyal throughout the play even after Othello murders her she still tries to protect him when Emilia asks who murdered her she revives momentarily to state \u201cnobody; I myself. \u201d And they both remain in love. The idea that the socially unacceptable couple, married out of love remained loyal to each other until the end in contrast to the acceptable couple whom ended up fighting against each other, is one that would surprise much of the audience during the Elizabethan era.Human experiences are at the core of all literature, and the reaction we get from it. It is what shapes the plot, the language, characters and imagery used in the play.\nIt creates themes such as love and loyalty which are vital for the story to transpire. In relation to Othello, Shakespeare\u2019s opinion of Elizabethan values and focus on human nature creates themes of love and loyalty which still resinates with today\u2019s audience. If human experience had no place in literature, every text would be virtually the same.", "id": "<urn:uuid:993d4261-5103-45cb-be53-b8239a432b68>", "dump": "CC-MAIN-2022-21", "url": "https://tbf-sa.co.za/othello-6/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521883.7/warc/CC-MAIN-20220518083841-20220518113841-00570.warc.gz", "language": "en", "language_score": 0.9621334671974182, "token_count": 1636, "score": 3.9375, "int_score": 4}
{"text": "Deejaying, emceeing, graffiti writing, and breakdancing. Together, these artistic expressions combined to form the foundation of one of the most significant cultural phenomena of the late 20th century \u2014 Hip-Hop. Rooted in African American culture and experience, the music, fashion, art, and attitude that is Hip-Hop crossed both racial boundaries and international borders.\nThe Foundations of Hip-Hop Encyclopedia is a general reference work for anyone interested in Hip-Hop\u2019s formative years. In thirty-six entries, it covers the key developments, practices, personalities, and products that mark the history of Hip-Hop from the 1970s through the early \u201890s.\nAll entries are written by students at Virginia Tech who enthusiastically enrolled in a course on Hip-Hop taught by Dr. Anthony Kwame Harrison, author of Hip Hop Underground, and co-taught by Craig E. Arthur. Because they are students writing about issues and events that took place well before most of them were born, their entries capture the distinct character of young people reflecting back on how a music and culture that has profoundly shaped their lives came to be. Future editions are planned as more students take the class, making this a living, evolving work.\nAfrocentric Political Rap\nIn its most basic understanding, Afrocentric political rap is a subgenre of Hip-Hop music known as socially conscious rap (awareness of social and political issues surrounding black communities). The purpose of socially conscious rap is to challenge the dominant narratives relating to society, culture, politics, and economics. Through these means, it allows a platform for the voices, stories, and experiences of the black community to be heard. Specifically, black youth used political rap in order to raise consciousness about the historic oppression and injustices experienced by their community. While Afrocentric political rap is most certainly an important subgenre of Hip-Hop, knowing its development is equally as important.\nThe early development of Afrocentric political rap begins with the emergence of the golden age of Hip-Hop, which many would agree dates back to the 1980s and early 1990s. It is important to note that before the eighties and nineties, the Black Power movement, led by the Black Panther Party, played a pivotal role in inspiring the emergence of Afrocentric political rap. All throughout the eighties and early nineties, artists like Public Enemy, Sister Souljah, the Jungle Brothers, and X-Clan all possessed aspects of socially and politically conscious Afrocentricity. These artists, through their politically and socially aware music, helped to solidify the popularity of Afrocentric political rap as both a memorable and influential subgenre of Hip-Hop. Additionally, connecting the social and political context to Hip-Hop music helped to unify the voices and experiences of black youth within their communities through personal narratives and storytelling. The specific topics socially conscious rap addresses include but are not limited to institutional racism, incarceration, poverty, violence, police brutality, the criminalization of black people, and drugs.\nWhile socially conscious rap brought about social awareness of the realities of black communities, it also allowed rappers and their crews to advocate for black liberation and solidarity. In relation to social and political contexts, it helped not only to bring awareness but also to assimilate these experiences into a society that slowly, but surely, began to shift its culture towards a more multicultural perspective. The main accomplishment of Afrocentric political rap was to raise social and political consciousness about black experiences, which contributed towards a general understanding of the social, political, and economic context of black communities altogether. Because of the profound influence of Afrocentric political rap in the dominant mainstream, the sociocultural landscape of the communities it hailed from shaped the development of Hip-Hop.\nAs Afrocentric political rap quickly grew into a highly popular and influential subgenre of Hip-Hop, it became implicated in the shift from socially conscious rap to gangsta rap (a subgenre of Hip-Hop characterized by aggressive tones of violence experienced by black people). Some notable artists within gangsta rap include N.W.A, Ice-T, Tupac, 50 Cent, and Ice Cube. In terms of stylistic elements, gangsta rap is arguably the counterpart to socially conscious rap. Gangsta rap, as compared to Afrocentric political rap, favors more of an aggressive tone and style that exposes the violence, substance abuse, and harsh realities of black communities. The shift from Afrocentric political rap to gangsta rap reflects the complexities of the effects the sociocultural landscape had on the development of Hip-Hop at the time. This narrative and cultural shift from socially conscious rap to gangsta rap represents the constant dynamic of the ever-changing subgenres of Hip-Hop throughout its history.\nUnderstanding the historical development of Afrocentric political rap is necessary to comprehend its current significance. Noteworthy and talented artists like Azealia Banks, Brockhampton, Childish Gambino, Kendrick Lamar, Noname, and Vince Staples are all credited with being socially conscious. For instance, Childish Gambino\u2019s \u201cThis Is America\u201d is filled with numerous symbols representing the racism and violence experienced by black people. With his racially and politically charged lyrics, Childish Gambino made it clear that racism, oppression, and violence against black communities are far from over. As long as Afrocentric political rap continues to effectively influence Hip-Hop, socially conscious rap will continue to remain prevalent in the politics and culture of our society.", "id": "<urn:uuid:8c5e8d8e-c795-435c-b110-abc693fa85da>", "dump": "CC-MAIN-2022-21", "url": "https://www.obooko.com/free-arts-media-entertainment-books/the-foundations-of-hip-hop-encyclopedia", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662520817.27/warc/CC-MAIN-20220517194243-20220517224243-00770.warc.gz", "language": "en", "language_score": 0.952917754650116, "token_count": 1131, "score": 3.59375, "int_score": 4}
{"text": "It is possible to increase reading comprehension skills by participating in reading comprehension activities. Improving reading comprehension can assist a student in comprehending concepts in class as well as recalling material when it is needed later on. It is straightforward but effective. In many of the children\u2019s books available for purchase, there are two different stories: one based on a real-life event and another based on fictional events.\nAny form of narrative can assign to students, which will help them enhance their reading skills while also increasing their motivation to improve their reading comprehension levels. Here are some suggestions for beneficial reading comprehension activities that students might participate in during class.\nTeach children who are just learning how to read a new style of poetry called phonics-based poetry, in which each word begins with a different letter, to children who are just learning how to read. It is a valuable guide for parents and instructors who want to educate their pupils on something new that they may apply in the future and remember.\n2. Picture Puzzles\nReading exercises and picture puzzles will find, and students will have a great time doing them. They are pretty adaptable and maybe put together in a variety of ways. Print them in color and laminate them or print the black and white version as worksheets during reading.\n3. Asking Questions\nThe students read the passage several times and colored in the pattern after each reading required by the teacher. They will develop fluency through repeated reading, answering, and completing a variety of questions to aid in developing comprehension abilities and fluency.\nThe pocketbook is an excellent resource for teachers and students, a collection of reading comprehension tasks drawn from all of the texts in our read-aloud programs. It contains exercises, sections for writing practice, and other resources. The most effective use of some of these would be with pupils already familiar with the figures before they begin reading the book. The tasks range from simple comprehension questions to more complex ones that are more focused on topic and analysis, among other things.\n5. Word Games\nWord games assist students in researching many tactics for close reading and have established a process that will improve the effectiveness of your instruction while also helping your students develop skills to read for deeper meaning in their reading.\nFor reading comprehension activities, the ability to retell a story is essential. Students will understand what storytelling is, how it might benefit them as readers, and how they can improve their retention skills. They\u2019ll also touch on some of the obstacles when quickly practicing a craft.\n7. Auditory and Memory\nReading-related activities that include auditory and memory stimulation will assist your child in developing their brain as they learn to read. By picking up a book, you can witness your child\u2019s dissatisfaction and boredom transform into excitement and engagement. The more involved book activities you engage in with your child, the more interested they will be in reading.\n8. Cootie Catcher\nWhen it comes to reading comprehension, using a cootie catcher is a terrific method to make reading more enjoyable. Our cootie catchers use flashcards throughout the summer months, which is a particularly effective exercise for teaching prepositions, adjectives, and stem verbs, among other things.\n9. Story Elements\nFor reading comprehension in primary school, there are numerous tale aspects to consider. Let\u2019s start with something simple: a person\u2019s perspective. When students read stories that feature multiple points of view, they frequently have difficulty grasping the air of the characters. The narrator is the individual who tells the story. They could be a character in the story, someone who knows everything that happened, or just a fly on the wall with no awareness of what was going on. The narrator\u2019s point of view influences how readers comprehend events on the page and link them to their own lives in a novel or short story.\n10. Thinking Mark Charts\nAny school-aged child can benefit from thinking mark charts for reading comprehension activities. Additionally, they are not required to utilize grammar or vocabulary exercises. For tasks such as reading comprehension and sentence construction, they employ effectively. They also make it easy for students to locate the beginning, finish, or the following phrase by utilizing arrows, which is particularly useful when reading aloud in the classroom.\n11. Visualize Text\nOther advantages of employing text visuals for reading comprehension with your students are numerous, not the least of which is the introduction of inferencing abilities to your students through text visuals for reading comprehension. As long as you adhere to a few fundamental criteria while creating your graphic, it will utilize to teach various abilities across the curriculum and the grade-level spectrum.\n12. Vocabulary Activities\nThere are various other ways to expand your vocabulary for reading comprehension activities. One method to do this is to incorporate vocabulary activities into your reading. One process of accomplishing this is to create vocabulary strategy cards and offer them to students as homework. Afterward, students can put the concept into practice on their own or with a partner in a literacy center or while participating in small group instruction time.", "id": "<urn:uuid:79d7f917-3cfe-4a69-a929-335df38e6b68>", "dump": "CC-MAIN-2022-21", "url": "https://www.aneverydaystory.com/reading-comprehension-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662627464.60/warc/CC-MAIN-20220526224902-20220527014902-00572.warc.gz", "language": "en", "language_score": 0.9578177332878113, "token_count": 1048, "score": 4.4375, "int_score": 4}
{"text": "No other books for children have so compellingly told the often exciting story of history than the Landmark book series published by Random House (roughly 4th through 7th grades). There will be no \u201ctwaddle\u201d found here. The appropriate Landmark books are here keyed to their matching chapters in The Story of the Middle Ages.\nThe Life of Saint Patrick by Quentin Reynolds (W17)\nMiddle Ages chapter XXVI., The Bishop of Ireland.\nWritten in a wonderful and adventurous narrative story style, this excellent biography of Saint Patrick begins with the definite details we know of Patrick\u2019s history, and fills in the probable background with the perilous life in England, Ireland, and Europe during the 5th century as well as many details of 5th century Christendom. A fascinating, recommended glimpse into the close of the Roman era and the beginnings of the Dark and Middle Ages.\nKing Arthur and His Knights by Mabel Louise Robinson (W05)\nMuch of what we know of King Arthur has devolved to legend. This book has the tricky task of presenting the history, as true to history as we can know it, and yet also giving us a glimpse of the heroic and legendary, and does a good job in an enjoyable, page-turning style. For those wanting strictly the legends of King Arthur for literature\u2019s sake, The Story of King Arthur and His Knights by Howard Pyle, or The Boy\u2019s King Arthur by Sidney Lanier are excellent.\nThe Vikings by Elizabeth Janeway (012)\nMiddle Ages chapter XLIV., The Coming of the Northmen, through chapter XLVII., A King\u2019s Narrow Escape, and chapter LIII., The Normans Besiege Paris.\nThis excellent Landmark history focuses on Eric the Red and Leif Ericson, and their voyage and discovery of North America as related by the Norse sagas. They are not mentioned in The Story of the Middle Ages but rather in The Story of the Thirteen Colonies. However, a child will receive a good background in the Vikings as a people and their way of life.\nWilliam the Conqueror by Thomas B. Costain (W41)\nMiddle Ages chapter LXVII., The Battle of Hastings, through chapter LXIX., Death of William.\nThe 1066 takeover of England, relieving it from native English (Anglo-Saxon) kings and installing the line of Norman French kings and nobility, is a pivotal event in the history of England, and a hinge of history for European and Western civilization. Beginning with William\u2019s childhood, Costain delivers a rousing tale of knights, battles, and arms and armor \u2013 and yet all of it true history!\nThe Crusades by Anthony West (W11)\nMiddle Ages chapter LXXI., The First Crusade; chapter LXXIII., Arms and Armor; chapter LXXVIII., The Second Crusade; chapter LXXXVI., The Fall of Jerusalem through chapter LXXXVIII., The Faithful Minstrel; chapter XC., More Crusades; chapter XCV., The Seventh Crusade through chapter XCVII., Effect of the Crusades.\nThe Crusades cover a very complicated period of Medieval history and spanned several centuries. This narrative history, first, delivers the historical details, and second, retains the storytelling style the Landmark books are so famous for. The author masterfully simplifies the complexities, helpful for a first introduction to the Crusades to gain the big picture. He also wrote before the era of political correctness, and so you are exposed to those true details of history that are out of vogue in the modern history books.\nThe Magna Charta by James Daugherty (W26)\nI personally love every history book James Daugherty has ever written for children, and this one for the Landmark series is one of my favorites of the favorites. Daugherty divides the book into four parts: The Twelfth Century, The Angevins (the ruling house of England \u2013 Richard the Lion-Hearted of Crusade fame and King John of Robin Hood fame), King John and the Magna Charta, and Children of the Magna Charta. The narrative history is exciting, the language beautifully poetic, often humorous, and best of all, the importance of this hinge of history is left indelibly etched on the heart and mind. If you only read one Landmark in conjunction with The Story of the Middle Ages, make it this one.\nJoan of Arc by Nancy Wilson Ross (W04)\nMiddle Ages chapter CXXXVI., The Maid of Orleans, through chapter CXXXIX., Martyrdom of the Maid.\nThere is so much legend interspersed with the history of Joan of Arc, that it is often difficult to divest fact from fable. This book does a good job presenting what has come down to us about Joan of Arc, and provides the wonderful and detailed backdrop of high medieval life in France, the influence of the Church in State affairs, and the terrible century-long Hundred Years\u2019 War between England and France. As well, since the book ends with Joan\u2019s trial and burning at the stake as a heretic, it makes a great bridge from the worldview of the Middle Ages to that of the Renaissance and Reformation, the next era of history.", "id": "<urn:uuid:f349416a-d83d-4b02-bcb0-3f5c2467195f>", "dump": "CC-MAIN-2022-21", "url": "https://biblicalhomeschooling.org/landmark-books-guide-for-the-story-of-the-middle-ages/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00772.warc.gz", "language": "en", "language_score": 0.9083130359649658, "token_count": 1096, "score": 3.734375, "int_score": 4}
{"text": "It takes more than a sound understanding of English grammar to become a skilled technical editor or writer.\nYou also need to understand how to format your work so that it can be easily and quickly understood.\nThis rule applies whether you\u2019re trying to:\n- compose a sentence in an email\n- write a short article\n- structure an engineering report\nWhen determining how to format any text containing more than one sentence, you first need to ask whether or not it will require a list. A list can help convey your content with greater clarity and precision, allowing the reader to skim the text to understand the essential items.\nHowever, it may not always make sense to use lists in the text; you may want to break long paragraphs into shorter ones instead of defaulting to list items.\nIn this guide, we\u2019ll discuss the proper way to format a list and help you figure out which list format makes the most sense in a given situation.\nThe General Guidelines of Writing Lists\nWhen determining which type of list to use, you need to understand why it is essential to consider your audience. Knowing your audience will help answer fundamental questions like, \u201cHow do you punctuate a list in a list?\u201d\nThe punctuation will depend on the type of list, and the list type will depend on the audience. A legal document might contain a different sentence structure than a blog post, for example.\nTwo broad types of lists exist\u2013vertical lists and horizontal lists. Horizontal list items utilize commas to separate each list item in a sentence (i.e., \u201ca horse, a cat, and a dog\u201d).\nA vertical list does not use a comma to space out each list item, but, instead, uses bullets or numbers.\nTechnical writers categorize this latter type as a vertical list because the formatting causes the list items to stack on each other in a top-down structure. Continue reading to learn about different examples of list items.\nWhen to Use Lead-Ins\nBefore each list, you typically include a lead-in to introduce the list items, followed by a colon. The lead can be an incomplete or complete sentence. For example:\nHow to read a manual:\n- Open the manual\nWhen to Use Numbered Lists\nA numbered list typically includes a lead-in followed by a series of list items. It looks something like this:\nThe Top X Reasons to Use Numbered Lists\n- Each list item proceeds sequentially (i.e., step one, then step two)\n- The reader needs to know the total number of list items\n- The numbers increase in importance\n- It is necessary to identify a list item by a specific number (i.e., \u201cTip #1\u201d)\nAre you wondering, \u201cHow do you write a top 10 list?\u201d\nNumbered lists work well for list items that contain rankings or a specific number of items. However, the most critical distinction between a numbered list and a bulleted list is the order.\nMake sure to write a list using numbers if the order matters or if you\u2019re writing a step-by-step guide, in which item #1 must precede item #2.\nWhen to Use Bulleted Lists\nYou should create bulleted lists starting with a lead-in then using between 4-10 list items. For most list items, you will use bullet points. A bulleted list delineates items in which the order doesn\u2019t matter, such as items on a grocery list or types of software.\nSometimes, a piece of writing will contain a sublist within a list, known as a nested list. Nested items work well when you discuss a topic that needs breaking down into additional bullets. Be sure to indent nested lists to a new indent point to the right of the bulleted list to indicate that it is subordinate.\nWhen to Use a Colon\nYou may be curious to know, \u201cWhen is a colon used in lists?\u201d \u201cThe colon: when to use?\u201d can be a tricky question.\nFrom the lead-in example, you saw to use a colon before adding items to the list. But beyond the lead-in, colons also sometimes occur within the text of a sentence.\nYou include colons before introducing horizontal lists, but only if a complete sentence precedes the list. For example: \u201cI need to tell you three names: Janet, Isaiah, and Thomas.\u201d\nWhen to Use a Semicolon\nHow to use a semicolon? Semicolons separate two related independent clauses (a.k.a. complete sentences). You could also replace semicolons with periods and use proper capitalization for the sentence after the period.\nAlternatively, you could replace a semicolon with a comma plus coordinating conjunction (such as \u201cand\u201d).\nBut you might still be wondering, \u2018When is a semicolon used in lists?\u201d In horizontal lists, semicolons can help group items together, making lists with lengthy phrases\u2013especially if those phrases also include commas\u2013less confusing to interpret.\nAn example might look like this: \u201cBruce has lived in San Francisco, California; Louisville, Kentucky; and Omaha, Nebraska.\u201d\nWriters use semicolons less frequently in vertical lists. However, you will see semicolons in vertical lists in legal writing. In legal writing, a semicolon comes at the end of a bullet point in a list, which may not necessarily contain complete sentences. The word \u201cand\u201d precedes the final bullet.\nHere is a hypothetical example of vertical lists in legal text:\nThe client entrusts the following assets to his son:\n- Personal heirlooms;\n- Real estate; and\nBeyond the legal field, in business and web writing, do not put punctuation after each list item unless it is a complete sentence, and always be consistent.\nYou may also run into list problems, such as issues with incorrect parallelism in a sentence. Creating lists using a parallel grammatical structure for each item means that the writer similarly structures all items for easy understanding.\nThis can include using the same form for all verbs, starting each item with a participle, or making each item a noun phrase.\nEffective Communications Skills\nAt Vista Projects, we provide high-quality engineering services, including resources for individuals working to become proficient technical writers.\nUnderstanding different writing techniques can help you outline each sentence to make the most sense to the reader or recipient. Check out more technical writing tips in our resources section.", "id": "<urn:uuid:e970c65a-87fe-4000-8e54-329190f422dd>", "dump": "CC-MAIN-2022-21", "url": "https://www.vistaprojects.com/blog/how-to-write-a-list/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662625600.87/warc/CC-MAIN-20220526193923-20220526223923-00371.warc.gz", "language": "en", "language_score": 0.8821900486946106, "token_count": 1373, "score": 3.546875, "int_score": 4}
{"text": "\u201cOne language sets you in a corridor for life. Two languages open every door along the way.\u201d\n\u2013 Psycholinguist Frank Smith\nYoung children naturally absorb new information like sponges and delight in the process of learning. Language instruction is a beneficial experience for toddlers as young as three years old. Not only does it give you something fun to do with them, but there are many developmental, social, and economic benefits. At Shine, we make second language learning interactive, engaging, and fun.\nKey Facts on Learning A Second Language at an Early Age\nChildren who learn a second language have better:\n- Tolerance and intercultural awareness\n- Academic performance on SAT and ACT tests\n- Risk assessment and analytical decision-making\n- Creativity, mathematical scores, and basal ganglia function\n- Maintenance of focus and attention, despite external stimuli.\n- Vocabularies, working memory, and problem-solving abilities\n- Ability to gain language fluency due to gray matter increases\n- Chance at becoming an executive, as two-thirds speak multiple languages, earning 5-20% more\n- Protection from Alzheimer\u2019s, with onset delayed by as much as five years.\nChoosing A Second Language For Your Child\nYou may consider choosing:\n- A heritage language that carries cultural and personal significance, like German or Italian.\n- A profitable language like Mandarin Chinese, which analysts say is ideal for career development.\n- A popularly spoken language, such as Spanish, Chinese, Arabic, or French.\n- Kid-friendly languages like Spanish, found in TV (Dora the Explorer) and books (Skippyjon Jones).\n- An etymological language like Latin, which helps kids understand the root of English words.\n- Easier languages to learn that are written and pronounced the same, such as Spanish or Italian.\nWhat Does It Take For Children To Learn?\nLinguists say the most effective teachers are parents, caregivers, immersion schools, and living abroad. Daily preschool classes can be helpful \u2013 but only if backed up by foreign language books and time spent with au pairs or babysitters who speak the language. Toddler programs and once-a-week classes train the ear to help kids get a head-start on learning the language later.\n\u201cTo really learn a foreign language, children must spend 30 percent of their waking time exposed to it,\u201d Christina Bosemark, founder of the Multilingual Children\u2019s Association, told the NY Times. Children with less exposure will have the capacity to understand the language, but will be hindered in speaking it correctly.\nSusan Behrens, associate professor of communication sciences and disorders at Marymount Manhattan College, adds: \u201cIf you introduce a language in the spirit of play and being embedded in their daily lives, you\u2019re going to be much more successful than if you say, \u2018Okay, you\u2019re going to class now.\u2019\u201d\nParents Love Shine\u2019s Listillos Language Immersion Program\nOne of our most popular programs is Listillos, a Spanish immersion class that uses storytelling, music, visual arts, games, and dance to give children a better understanding of the language and culture. Children as young as pre-school will spend time learning vocabulary and culture based around a particular theme, while older kids will delve into the culture of Spanish-speaking countries with art activities featuring Dia de los Muertos flowers, luchador masks, Colombian, molas, and Aztec codex. Going one step further, the Listillos Uno-a-Uno program adds in private, one-on-one instruction that includes cooking, field trips and advanced art projects. A native Spanish speaker teaches this bilingual class designed for ages 2-10.\nBy Jenn Fusion for Shine", "id": "<urn:uuid:c2939fa5-b7b6-4a59-83e3-489bf2b0999d>", "dump": "CC-MAIN-2022-21", "url": "https://shinenyc.net/learn/why-your-kids-should-learn-a-second-language/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00372.warc.gz", "language": "en", "language_score": 0.9245190024375916, "token_count": 793, "score": 3.59375, "int_score": 4}
{"text": "Black History Month 2020\nWhat is Black History Month?\nBlack History Month is a yearly observance and celebration, which commemorates and gives recognition to the history, achievements and contributions of people of African, Caribbean and Jamaican backgrounds.\nBlack History Month, which originated from the US in the early 20th Century, takes place in the UK every October. Carter Godwin Woodson, a historian and co-founder of the \u201cAssociation for the Study of Negro Life and History\u201d is credited with giving rise to this important month.\nWoodson believed that education about black history was vital in the study of race within society, stating:\n\"If a race has no history, it has no worthwhile tradition, it becomes a negligible factor in the thought of the world,\nand it stands in danger of being exterminated.\"\nBlack History Month is crucial to the education of children, by providing an educated understanding of the history of, not only slavery, civil rights and the injustices of today, but the rich history and culture that is not consistently represented. More importantly, this celebration of Black History and Culture should be integrated full time into the National Curriculum, and every year this dedicated month creates awareness and helps work towards this.\nWhat we did/doing for\nBlack History Month 2020?\nBecause the inclusion of Black History and Culture is, and should be, of such importance in todays society,\nwe ran many diversified lessons and discussions. These sessions - free online and safe in-person workshops - helped to create a vaster knowledge of the history, heritage and culture of Black Communities, t alongside Black History Month classes at school, by highlighting and giving recognition to topics and histories that may not be equally represented in main educational settings.\nWe aimed for these sessions to assist students in learning; to be able to create a deeper and richer knowledge of the history and culture of Black communities.\nWe hoped that by providing more personable and specific sessions, on a range of topics, will alongside the national curriculum that schools provide, help to give students a broader education and perception of Black communities, their history and culture. In-turn we hope that these sessions can contribute to strengthening awareness and inclusivity of our community; to help start a much needed conversation on the importance of change to create a more diverse, equal and united community, society and human race.\nOur Black History Month Sessions will consist of lectures and talks on various aspects of culture and history. They will provide an important understanding, and a richer, more specific knowledge of culture, that is often overlooked and under-represented.\nSessions are on our events page, ready to sign up to! Sessions are added in advance, for as broad of ages as possible. Once registered for the Black History Month event on our events webpage, you can then sign up for sessions and receive updates and info on new sessions that are added!\nWe will have sessions such as:\nBlack Photographers of Today\nUnrepresented Figures in Early History\nBlack Figures in the Fashion Industry\nHistory of Music Origins and Contributions\nUnrepresented Figures in Recent History\nHistory of Notting Hill Carnival\nHistory of Slavery and Civil Rights\nAfrican Slave Rebellion During British Colonialism\nContemporary Black Photographers\nCriminal Justice System\nYouth Charter Black HISTORYwise Packs\nSport, Racial Injustice and Activism\nWe also had an exciting competition, in partnership with Young Ealing Foundation! Following the enthusiasm and creativity of students for the Poster Competition during the 'Free Online Summer School Project', we decided to do another competition. We felt that the students' creative outlet needed more freedom to flourish; and what better time than Black History Month. We have tried to give the students a vast range of options for their piece of creative work, so their expression and artistic skills can thrive, whilst having fun and enjoying creating a piece of work of their choice! Below are the suggestions/options for students to choose from.\n- Short Story\n- Creative Writing\n- Personal Essay\n- Short Script/Play\n- A Song\n- Spoken Word\n- A Dance\n- Or any other creative piece of work, outlet or activity that you would like to do as a tribute in celebration of BHM.\nThe submissions that we had for the creative competition have been incredible. The talented student's and children who submitted work have really shown their understanding, creativity, work and solidarity, so we had a wide range of incredible, powerful creative work to decide from! Together with Young Ealing Foundation, we awarded the winning student's below prizes!\nDaniel Lai Age 17\n\"My creative piece of work is a collage of sneakers designed by famous black men. Taken by myself in a streetwear setting of the diverse city London capturing it's both aspects of style and appreciation of black culture\".\n& Masy -\nArabic School Newham\nMarta Shlosberg Sibley\nNatalie Kolyan Age 10\nSimonas Stankus Age 9\nArabic School, Newham\nMicah Francis Age 5\nAge 15 &\nNikita Congdon Age 8\nImran Sharipov Age 8\nSofia Sidorova Age 6\nAmina Rudakova Age 6\nWe wanted to say an enormous thank you to the students that have participated and submitted their beautiful work into the Creative Competition! Thank you for your incredible talent and your initiative to learn and celebrate Black History and Culture!\nWe know how important it is for children to have a social, in-person, outlet for their creativity, and with Covid-19 there have not been many chances for this outside of school time. Now Covid-19 restrictions have softened, we are able to (with socially distanced restrictions and safety precautions) provide 2 workshop's this month for the children of the Ealing and Newham Communities.\nBoth of these FREE, Black History Month, in-person workshop's will be run by us at Znaniye Foundation. Both workshops will be split into 2 age groups; 5 -7 years and 8-12 years; lasting 2 hours for each age group. These workshops will be bringing creative, fun and educational activities related to Notting Hill Carnival. We will also have Black History Month Wise Education Workshop Resource packs, covering topics such as civil rights, slavery and activism brought by Youth Charter who have partnered with us for this project! We also welcome children to create/begin creating their piece of work for the Creative Competition.\nThe first workshop was held on the 24th of October 2020 in Newham, and we were delighted to be joined by over 100 children aged from 4 upwards! The children were incredibly excited to hear Geoff Thompson MBE, 5-time world karate champion and founder of the Youth Charter, speak with them to begin the session. Geoff spoke to the students about their heroes, their life ambitions and goals, and how many of these wouldn't be possible without the inventions and barriers broken by black males and females in the past.\nThe students learnt about Geoff's journey to success, how sporting can push us both physically and mentally in life - and importantly about how they as young people need to work towards becoming informed and active members of society, to create a better future for all.\nFollowing this, the students were introduced to the Black HistoryWISE packs from the Youth Charter, that were created to be embedded in students curriculums, with the ultimate goal of reaching every student in the UK and further afield.\nWe are pleased to be able to offer these packs as well, for anyone to use. Please download here\nStudents were then provided materials to create their own posters based on what they had learnt, individually or as teams, along with materials to make Notting Hill Carnival Costumes and Headbands.\nWe are so proud that through our funding from YEF, with our partnership with Youth Charter, and with the commitment from our communities we are able to bring this vital education to more students.\nWe are always looking for more volunteers and people to get involved and help out for their community! If you would like to partner, teach sessions, do outreach work or help with any events, please feel free to contact us.\nContacts to inquire about getting involved:\nZnaniye Foundation Info Email: firstname.lastname@example.org\nLogistics Coordinator: email@example.com", "id": "<urn:uuid:207713ef-5569-4ba6-b75c-41577970bc8b>", "dump": "CC-MAIN-2022-21", "url": "https://www.znaniyefoundation.co.uk/black-history-month", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512249.16/warc/CC-MAIN-20220516204516-20220516234516-00372.warc.gz", "language": "en", "language_score": 0.9458638429641724, "token_count": 1861, "score": 3.90625, "int_score": 4}
{"text": "Collab Lab 26 focused on storytelling and how we can use those practices to empower student voices and drive engagement.\nWe started the discussion with the question \u201cWhat hopes do you have when students are given a chance to tell stories that matter to them?\u201d:\n- Students will be able to share stories with an authentic audience\n- Students will develop a sense of identity and worth\n- Students will have the chance to understand a commonality of experience\n- Students are able to advocate for their ideas\n- Students capture history making connections\n- The process models collaboration, community, and critical thinking\n- Students understand the power of their voice, and empathy for others\n- Students share and support authentic representation, identity, and learning\n- Empathy \u2013 students see the ethical and therapeutic potential of seeing others as human\n- Students gain a sense of freedom, choice, ownership, authenticity, bravery, and dignity from the stories they share\nAuthentic storytelling comes with risks, so we also asked about the fears participants had when students tell stories that are meaningful to them:\n- We are not prepared to hear a story in a supportive way\n- A lack of efficacy or ability to change lives\n- If we don\u2019t teach the art and science of storytelling, students will stop telling them\u2013 they need an audience\n- No acceptance of failure (shame, exposure, sharing)\n- Sensation of negative, leads to negative \u2013 e.g. if one student tells a story of harmful behavior does that lead others to emulate that behavior?\n- It is difficult to combat the toxicity of Celebrity as Hero.\n- Vulnerability of students (low initial stakes with incremental risk)\n- Exposure of trauma without an ability to care for it\nFrom there we moved on to ask \u201cWhat questions can help students identify stories worth telling?\u201d Here, the need to as these questions in an iterative, repetitive way was called out as a necessary step in getting students to think deeply about their responses. The goal for participants here is to help students find a story they can tell from the heart.\n- Who are you?\n- Where are you from?\n- For what and for whom?\n- How can this story touch one person?\n- How do you tell different stories to different people?\n- What\u2019s your reason \u2013 your personal mission statement?\n- What is/are your:\n- zip code\nOur final question asked participants what they need to help students tell these stories:\n- To create a culture and community that supports students\u2019 voices, and provides safety and comfort as they tell their stories\n- To give students options about how to tell their stories\n- To provide students a space that makes them feel awesome\n- Time, flexibility, community, connections\n- Access to storytelling expertise\n- Time for students to play\n- A culture of storytelling that recognizes the need for authentic listening, and receiving\n- The opportunity to use non-linguistic media\nGive the focus on storytelling, one of our discussion groups captured what this might look like as a story:\nAt MLK Elementary, a 6th grader who was sometimes seen as a troublemaker got up in a front of a room and told the story of how she realized she was a naturally gifted pool player. This resulted in lots of positive attention for her! The workshops and prep time she used paid off!\nYouth Education (for young people): https://mkefilm.org/for-\nEducator Services: https://mkefilm.\nMilwaukee Visionaries Project (MVP) UWM-sponsored after-school animation program serving middle and high school students from throughout the city of Milwaukee. Our programming for middle and high school students aligns with the MPS school year and we enroll students on a rolling basis throughout the year. MVP does not currently offer a summer session, but UWM\u2019s greater Art Ed networking organization (ArtsECO) runs Pre-College Art and Design classes for high school students during our off-season.\nInformation for Pre-College programming available at UWM can be found here: https://uwm.edu/arts/\nUsing place and identity as framework for storytelling as an https://geoconvos.org/\nHave something to add that we didn\u2019t catch here? Let us know.\nThanks again to The Commons for providing the space for this month\u2019s Collab Lab. Thanks also to our featured participants:\nKaren Ambrosh \u2014 Teacher, Audubon Technology and Communication High School\nEmily Berens \u2014 Program Coordinator, UWM\u2019s ArtsECO\nWendy Harrop \u2014 STEM/Library Integrator, Summit Elementary School\nDominic Inouye \u2014 Founder and Director, ZIP MKE & Jane\u2019s Walk\nMegan McGee \u2014 Co-founder and Executive Director, Ex Fabula\nCara Ogburn \u2014 Programming & Education Director, Milwaukee Film", "id": "<urn:uuid:86252182-70da-48e1-a015-d63878f63218>", "dump": "CC-MAIN-2022-21", "url": "https://learndeep.org/2019/03/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662658761.95/warc/CC-MAIN-20220527142854-20220527172854-00572.warc.gz", "language": "en", "language_score": 0.9436039328575134, "token_count": 1067, "score": 3.765625, "int_score": 4}
{"text": "List of Some Writing Strategies for Diverse Learners in Elementary School\nStudents learn in different ways, each influenced by differing elements in a teacher\u2019s style. This includes visual learners, who learn by seeing demonstrations, auditory learners, who learn by hearing instruction, and kinesthetic learners, who learn by doing projects themselves. While it may seem daunting to learn each student\u2019s specific learning needs, you can incorporate elements of each of these in your lessons to create a diverse writing strategy.\n1 Interactive Teaching\nInteractive teaching is a combined process of demonstration and explanation. Demonstrate the writing process by writing sentences on the dry erase board for visual learners, while verbally citing the reasons you made each writing decision for the auditory learners. For instance, write the sentence, \u201cI had a sandwich, chips and soda for lunch,\u201d while saying, \u201cI\u2019m writing a list, so I know that I need a comma between each list item.\u201d This technique incorporates both visual and verbal teaching methods, in conjunction with the kinesthetic process of writing assignments.\n2 Visual Referencing\nVisual references include pictures drawn by students prior to beginning the writing process. Instruct your students to draw pictures, including some of the elements from the story they intend to write, providing a visual reference supporting the needs of the visual learners in your class. Interact with your students, walking around class, asking questions about each of their pictures. Encourage them to add additional elements to their pictures, but use this verbal engagement to stimulate your auditory learners. Use this technique to teach your visual learners to envision a scene as they write, and your auditory learners to get in the habit of asking their own questions as they write.\n3 Group Brainstorming\nGroup brainstorming provides a visual and auditory experience for students, allowing them to watch the prewriting process occur. Start the brainstorming process by writing a central idea in the center of your dry erase board and then expanding from it with adjoining ideas and lines connecting each to the original idea. Invite your students to add their own suggestions, turning the brainstorming process into a social event. Use this technique to teach students how to perform a visual and kinesthetic learning technique on their own, for writing projects outside of the narrative style, such as research papers or opinion papers.\n4 Topic Flexibility\nExpanded topic flexibility allows students to focus their writing techniques around the topics and story formats with which they are most familiar. More flexible topics encourage students to think about their individual backgrounds, cultural influences and writing experience, to construct a topic to which they can closely relate. For instance, give your students a general topic idea, such as favorite family memory or ask students to discuss how their culture influences their ideals. Leave the specifics of each topic up to individual student interpretation, highlighting their diversity as part of the assignment.", "id": "<urn:uuid:1a190965-0174-488a-95cc-4f2b16852320>", "dump": "CC-MAIN-2022-21", "url": "https://classroom.synonym.com/list-writing-strategies-diverse-learners-elementary-school-12043896.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662558030.43/warc/CC-MAIN-20220523132100-20220523162100-00372.warc.gz", "language": "en", "language_score": 0.9444533586502075, "token_count": 578, "score": 3.765625, "int_score": 4}
{"text": "Language learning games can help your students to improve their skills as long as you know how to choose those language learning games that perfectly serve the purposes of your language lessons. In this post you are going to learn how to choose the types of games that better serve your language teaching practice and how to pick them according to the lesson, the goals and your students\u2019 needs. Let\u2019s get serious about games!\nHere are the questions I\u2019m going to answer:\n- What are language learning games?\n- What types of games are the best fit for the language classroom?\n- How can you choose the best language learning games for your students?\nLet\u2019s get started.\nWhat are language learning games?\nLanguage learning games are playful activities and dynamic exercises you can propose within an educational setting. The main goal of language learning games is to facilitate the language acquisition process. In fact, the acquisition of the target language remains at the centre of all language learning games.\nWhat types of games are the best fit for the language classroom?\nThere are a number of classifications of games and, more specifically, of language learning games. One of the classifications I personally found more helpful is the distinction between linguistic games and communicative games by the author Jill Hadfield (see her bibliography here).\nLinguistic games focus on accuracy, for instance: find the correct antonym, or turn singular nouns into plural nouns.\nCommunicative games focus on successful interaction and exchange of information and ideas, for instance: discussing the differences between two similar pictures.\nWhat type of games shall we use in our lessons, then? It depends on the phase of the lesson. Remember the Acquisition and Didactic Unit pattern? In another blog post I explored that topic and you learned about how to structure a language lesson that really facilitates acquisition.\nLinguistic games perfectly serve the phases Analysis and Assessment, whilst communication games better suit the phases Motivation (some specific drama games only), Globality, Synthesis, Discussion and Assessment (depending on what skills we need to assess).\nThe taxonomy is not that strict, therefore you we can find elements of interaction in linguistic games as well as elements of accuracy in communication games. As you can figure it out by yourself, teachers can decide whether to put the accent on accuracy rather than on communication in each type of game. For example: in a labelling game, where students match labels and pictures, we might want them to reflect on the grammar (e.g. the game will focus on plural and singular forms), or we might want them to practice speaking, negotiating, explaining ideas, and so on (e.g. the game will focus on explaining concepts that can be seen from different point of views, for instance: happiness, success, richness).\nSo, in choosing the language learning games for your lesson plan, the first element you need to keep into consideration is which phase of the lesson you want to gamify. Starting from that, you know you will need games focusing on either linguistic accuracy or communication. That is the first step.\nGeneral-wise, linguistic games are easier to deliver than communication games. This is because linguistic games cover specific chunks of information and they focus on specific competences. For instance: learning about synonyms and antonyms. On the contrary, communication games require well engaged students, possibly students who are familiar with language learning games already.\nHow can you choose the best language learning games for your students?\nThe second step for you is to decide on the type of language learning games. There are 9 types of games you can choose from. Here they are.\n9 types of games:\n- Sorting, ordering, or arranging games. For example: classifying verbs describing actions, or putting a dialogue in order.\n- Information gap games. In such games, one or more people have information that other people need to complete a task. For example: Pictionary or any quiz where one of the participants has got the answer key and he/she has to give clues.\n- Guessing games. These are a variation on information gap games. For example: Twenty Questions, in which one person thinks of a famous person, place, or thing. The other participants can ask 20 Yes/No questions to find clues in order to guess who or what the person is thinking of.\n- Search games. These games are another variant on two-way information gap games, with everyone giving and seeking information. For example: Find Someone Who. An example of how this game can be played is that students are each given a grid. The task is to fill in all the cells in the grid with the name of a classmate who fits that cell, e.g., someone who is a vegetarian. Students circulate, asking and answering questions to complete their own grid and help classmates complete theirs.\n- Matching games. Students need to find a match for a word, picture, or card. For example: matching nouns with their antonyms.\n- Labelling games. These are a form of matching, in that participants match labels and pictures.\n- Exchanging games. In these games, students barter cards, other objects, or ideas. Similar are exchanging and collecting games.\n- Board games. Scrabble is one of the most popular board games that specifically highlight language. Also, Chutes and Ladders adapted for language learning is another popular example.\n- Drama games and storytelling. Role-play exercises, basic and advanced storytelling, creative writing exercises, improvisation: any type of drama game, obviously adapted for the purpose of the language lesson. In another blog post you can find a few examples explained.\nPick the best one for you\nThe criteria I suggest to keep in mind when you choose the language learning games for your lesson plans is to pick whichever game you feel more confident in delivering. Also, think about the input you want the students to acquire and choose the type of game according to what you think would be the best fit for that chunk. For instance: for analysing and consolidating the meanings of a list of verbs, I would recommend to go for a labelling game or matching game or a sorting game.\nThe fun thing about language learning games is that you can actually propose exactly the same content through different types of games and your students will still love it because the activity is fun, anyway. They won\u2019t feel tired or bored because they\u2019ll be working on the same content, I promise!\nIn this post you have learned you choose between linguistic and communicative language learning games and that your choice should relate to the Acquisition or Didactic Unit phase you want to gamify.\nOnce you got clear on that, pick the type of game that better suit the type of content you want your students to work on. Choose among the 9 types of games. Remember to keep this choice as simple as you can, to rely on your intuition and to pick something you feel confident with \u2013 because you\u2019ll need to deliver it in your class!\nEmbodying language learning games in your classes is simpler than you think. Tons of free resources are waiting for you on the internet, to feed your imagination. If you don\u2019t feel quite sure about where to start, join my Facebook group for getting support or get in touch directly with me.\nWant more support?\nJoin the Facebook group Independent Language Teachers Collective to get daily advice, tons of free training and to branch out with other independent language teachers like you!\nAvailable only for the Collective members: free list 103 question for sparking engagement in your language lessons.\nThis is what members say about the freebie:\nJoin in the Collective and grab your welcome gift:", "id": "<urn:uuid:a70e89a3-d2be-4956-a345-33cf9e9adda3>", "dump": "CC-MAIN-2022-21", "url": "https://fastlearningschool.com/blog/how-to-choose-the-best-language-learning-games-for-your-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662593428.63/warc/CC-MAIN-20220525182604-20220525212604-00772.warc.gz", "language": "en", "language_score": 0.9414358139038086, "token_count": 1602, "score": 3.515625, "int_score": 4}
{"text": "You are watching: Difference between narrative and expository text\nElements of a Narrative\nA narrative text engages the leader in a storytelling format that closely examines the significant characters and also provides a sequence of occasions or a structured plotline. The plot often follows a chronological succession of events, but not always. Part narratives involve flashbacks or shifts between time periods. Rigid essays have a specific setup -- sometimes much more than one setup -- and also discuss vital themes, such as friendship, equality, death, love or aging. There\"s constantly a problem or an concern that must be handle or solved for the main character, or characters, come experience an individual growth or change. For example, in The Adventures that Huckleberry Finn by note Twain, Huck must resolve misguided societal expectations and also establish his very own views around prejudice, fairness and equality. Examples of rigid texts encompass novels, short stories and also poems.\nExpository text Features\nExpository messages strive to education readers based upon facts. Also though they might include actual characters, such as those associated in a news story, the writer presents info in a method that notifies readers, quite than informing a story. Expository messages often incorporate lists -- occasionally enumerated through bullet point out -- of comparisons and also contrasts and also causes and also effects. Castle contain **a clearly defined thesis, evidential support, such as facts, statistics and also anecdotes**, and also transitions that clearly identify the major points, insurance claims or arguments, follow to the Purdue college Online creating Lab. Writers count on trustworthy sources, such as experts in the field, first-hand witnesses or academic materials, to assistance their information. Instances of expository texts encompass research papers, news articles, accuse manuals, textbooks, recipes, language guides and also self-help books.\nOne that the primary aims of a narrative text is to pull readers right into the emotional aspects of the story. Writers regularly use the first-person allude of view -- sometimes opting for the third-person allude of view if they desire to talk around events indigenous a variety of ideologies -- to assist readers relate come the key character\"s feelings and also sentiments. Narrative texts additionally include sensory details, a plainly defined mood and a solid underlying tone to aid readers attach to emotional aspects in the story. For example, Harper Lee, author of To kill a Mockingbird, provides the first-person allude of view, vivid explanation of the Southern, racially separated town, a somber mood combined with irradiate humor and also an significantly dark and foreboding ton to reveal truths about the dysfunctional community. Expository texts space fact-based and educational, and don\"t frequently engage the reader\"s emotions.\nThe function behind a narrative text differs from that of an expository text. Rigid essays room \"anecdotal, experiential and also personal,\" follow to the Purdue university Online writing Lab. Authors usage their creativity and also experiences to develop moving i that discuss important themes or morals and address life lessons. Expository texts strive to recommend or educate readers of factual information. Readers depend on expository texts as soon as they need concrete, well-founded info to do decisions or conduct real-world assessments. Expository messages don\"t indicate the imagination and have a less personal, much more purposeful appeal.\nSee more: On How Old Are The Williams Brothers (Gospel Group), Did Frank Williams Have Children\nAs curriculum developer and also educator, Kristine Tucker has delighted in the plethora the English assignments she's read (and graded!) over the years. Her experiences as vice-president that an power consulting certain have provided her the chance to explore company writing and HR. Tucker has a BA and also holds Ohio teaching credentials.", "id": "<urn:uuid:8ee47ee6-2658-43d4-af2e-203eb8817e27>", "dump": "CC-MAIN-2022-21", "url": "https://tennis2007.org/difference-between-narrative-and-expository-text/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00572.warc.gz", "language": "en", "language_score": 0.930632472038269, "token_count": 772, "score": 3.828125, "int_score": 4}
{"text": "At The Galfrid School, writing is a crucial part of our curriculum with very strong links to our reading curriculum. It is our expectation that every child will leave our school with the skills of a proficient writer who is able to express their thoughts and ideas confidently and creatively thorough the use of the written word. Our aim is to create writers who:\nHave the ability to write with fluency and stamina;\ncan write for a particular purpose taking into account the audience for which the writing is intended;\ncan imitate the language, structure and punctuation devices used in effective writing models;\ncan use an extensive bank of vocabulary and an excellent knowledge of writing techniques with which to communicate the written word with an appropriate authorial voice and tone;\ncan display excellent transcription skills that ensure their writing is well presented, punctuated, and spelt correctly;\ncan review, edit and proof-read their writing so that every piece of writing they produce is to the best of their ability and better than the last.\nOur writing curriculum is also planned in a way which promotes the cultural capital of all our children. We enhance our curriculum, especially for the most disadvantaged, by providing opportunities to write for a diverse range of opportunities including those which allow pupils to write about:\nEach year we plan to provide opportunities for pupils to take part in external writing opportunities and competitions.\nAt The Galfrid School we ensure that our reading curriculum links intrinsically with our writing curriculum so as to give pupils the maximum opportunities for developing a strong awareness of the reason for writing, audience, features and tone required to write effectively across a range of genres.\nWe use the United Learning English plans for each year group as a source for our ideas and follow the sequence in the long-term plan.\nTwo weeks prior to starting the unit, staff begin immersing pupils in the text type during their reading sessions. This is to give children ideas and expose them to the features of the text type and grammar features while building a bank of vocabulary. We ensure that whatever we want the pupils to demonstrate in their own writing, is present in the texts and other reading examples used in the immersion phase.\nThrough our very carefully planned and sequenced English curriculum, pupils will make good progress from their own personal starting points. By the end of Year Six they will be able to write clearly and accurately and adapt their language and style in, and for, a range of contexts, purposes and audiences. Our pupils will acquire a wide vocabulary and have a strong command of the written word. Most importantly, they will develop a love of writing and be well equipped for the rest of their education in Key Stage 3 and beyond.", "id": "<urn:uuid:e0ea3bb0-bff3-486f-bf34-25c8854bb309>", "dump": "CC-MAIN-2022-21", "url": "https://www.thegalfridschool.org.uk/curriculum/writing", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662584398.89/warc/CC-MAIN-20220525085552-20220525115552-00172.warc.gz", "language": "en", "language_score": 0.9518887400627136, "token_count": 567, "score": 3.671875, "int_score": 4}
{"text": "With the emphasis on teaching for exams and preparing for inspections increasingly evident, the age-old artform of storytelling is showing signs of decline in British classrooms. Whilst helping children to achieve top results is important, it\u2019s also crucial that we don\u2019t sacrifice the innovation and freedom that comes with this powerful learning tool.\nDespite its name, storytelling isn\u2019t as simple as reading a story out loud. Instead, it incorporates rich language, physical movement, imagination, emotion and conceptualisation in order to reveal key details and turn words into visual imagery, also integrating collaboration as a means of encouraging input from students. This format of teaching is so valuable that there are even Storytelling Schools that focus on using it as a springboard for learning, assisting students to master both language and subject content.\nWhat\u2019s more, storytelling doesn\u2019t just apply to reading and writing. By using it to engage students and welcome participation, it can be put into practice across the entire curriculum, even in subjects that traditionally lack narratives, such as maths and science. Whilst it can be tricky to perfect this method, it\u2019s very easy to begin delivering it in your classes \u2013 all you need to do is explore ways to make topics more exciting and demonstrate how facts, figures and information can be linked to one another.\nHere are some tips for creating impactful stories that children will enjoy and remember:\n- Build a strong series of core elements that are at their most effective when in a specific order, leaving room for queries and creativity.\n- To get students invested in a story, you must show your own excitement and passion from the start and throughout.\n- Modulate your voice, make regular eye contact and use gestures to bring the subject matter to life.\n- Metaphors and creative license add value to a story, providing they don\u2019t disrupt the flow or obscure the facts.\n- Rather than a nonstop string of statements, include the occasional question and invite the class to finish some sentences that revolve around previously learned themes.\n- As with any story, there should always be an ending that sums everything up and provides food for thought.\n- If possible, set a task for children to write their own mini story at the end of a lesson or module, as this will allow them to show their understanding and express individual perspectives.\n- Most importantly, make it fun and memorable, as this will support your students in retaining the fundamental details that they need for exams and life alike.\nIf you still need convincing that storytelling is at the foundation of all information, simply pick up a newspaper, go to a favourite blog, log onto your social media channels, watch TV or simply ask a friend how their day was. You\u2019ll soon see that people don\u2019t simply list the particulars without adding visual triggers and expressive vocabulary. And if we as adults use storytelling on a daily basis, it seems only logical and fair that teachers champion its implementation in the classroom too.\nGet in touch\nWe specialise in marketing and design for the education sector. To find out more about how we can help, get in touch at firstname.lastname@example.org or call us on 0161 507 3365.", "id": "<urn:uuid:8e2d1b90-ec26-4fbe-8845-9942087014fa>", "dump": "CC-MAIN-2022-21", "url": "https://bigpinkfish.com/how-to-use-storytelling-in-lessons/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662546071.13/warc/CC-MAIN-20220522190453-20220522220453-00168.warc.gz", "language": "en", "language_score": 0.9291673302650452, "token_count": 660, "score": 3.90625, "int_score": 4}
{"text": "Who Needs a Prescription for Play?\nI read an article that began by stating \u201cA new paper in the journal Pediatrics summarizes the evidence for letting kids let loose.\u201d I thought, \u201cInteresting.\u201d The authors of this article went on to encourage pediatricians to write a \u201cprescription for play\u201d for their youngest patients. Why would they write a \u201cprescription for play\u201d? Because play, intrinsically motivated and unstructured fun, is disappearing from the lives of our children\u2026and with it the benefits of play are disappearing from their lives. What are the benefits of play? Here are five benefits discussed in the article.\n- Play promotes brain development. Specifically, play promotes the production of brain-derived neurotrophic factor (BDNF), which is important for learning and growing healthy connections between neurons in the brain. In other words, play primes the brain for learning.\n- Play reduces obesity and diseases associated with obesity. Running, jumping, and climbing helps children build confidence in their physical ability. It helps them learn the limits of their body as well. Knowing the limits helps them remain safe (Let Them Take a Risk). The physical activity of play helps them develop into physically active and healthy adults. In fact, children who got the most outdoor time were 42% less likely to be overweight.\n- Play contributes to improved behavior and reduced stress. Children resolve traumatic events through play, working through the troubling aspects of the trauma so they can learn to \u201cput it behind them\u201d rather than let it intrude into their present lives. Obviously, this will reduce stress in the child\u2019s life. Moreover, a study in which teachers engaged children in one-on-one play led to improved behavior in the children who engaged in play compared to a control group. (Investing Time & Attention in Your Children)\n- Play helps families to bond. Play brings people together. It helps us learn to listen and it teaches us to compromise. Play helps us attune to our children emotionally, mentally, and physically. This attunement allows us to help our children learn to manage their emotions in an effective manner. (Make Your Child a Head Taller Than Himself)\n- Play contributes to academic success. Play encourages language development, the exploration of ideas, the ability to delay gratification, and spatial relationships. Each of these skills contribute to academic success. Blocks encourage increased knowledge in putting words, ideas, or architectural materials together. Playing store promotes social skills, math, and negotiation skills. Imaginative play promotes storytelling and self-regulation. Physics, social skills, language development, storytelling, arithmetic, geometry, emotional regulation\u2026it can all be found in play. And children learn it faster and better while playing. (Learn more in Have Fun AND Reduce Childhood Aggression.)\nWe could expand on this list of the benefits of play, but you get the idea. Let the children play. I\u2019m not a pediatrician, but I am a \u201cdoctor\u201d of psychology. So, if you need a prescription, here it is: \u201cYour child is to engage in imaginative, unstructured play for at least one hour per day.\u201d\nFollow that prescription and your children will flourish\u2026and you could find yourself rejoicing in their growth and maturity!", "id": "<urn:uuid:d2266612-32d6-4639-88e3-e7a9fdda5881>", "dump": "CC-MAIN-2022-21", "url": "https://www.honorgracecelebrate.com/2019/01/26/who-needs-a-prescription-for-play/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00171.warc.gz", "language": "en", "language_score": 0.9522237181663513, "token_count": 679, "score": 3.671875, "int_score": 4}
{"text": "\u201cLiteracy is a fundamental human right and the foundation for lifelong learning. It is fully essential to social and human development in its ability to transform lives. For individuals, families, and societies alike, it is an instrument of empowerment to improve one\u2019s health, one\u2019s income, and one\u2019s relationship with the world.\u201d - UNESCO\nAt The Henry Beaufort School, we are keen to promote the importance of excellent literacy skills and increasing our students\u2019 confidence in developing these vital skills. Being literate is the ability to read, write, speak and listen in a way that allows us to communicate effectively and make sense of the world. Lacking vital literacy skills holds a person back at every stage of their life, therefore it is crucial that out students learn and value the importance of possessing good literacy skills.\nAs a result, literacy is not only a key focus of our English lessons, but it is woven into all aspects in our school curriculum. We ensure that our students leave The Henry Beaufort School having developed their literacy skills through real-world material. All teachers are teachers of literacy and every staff member at The Henry Beaufort School takes pride in advocating strong literacy, in order to model the skills of reading, writing, speaking and listening to all students.\nWe pride ourselves in promoting literacy across the school. We do this by:\n- A cross-curricular approach \u2013 Teachers in all subjects work together to promote literacy skills using a common language. In all subjects, students\u2019 work is SPAG marked (Spelling, Punctuation and Grammar) and there are opportunities across the curriculum for reading, writing and speaking and listening activities, all with the aim of boosting students\u2019 confidence in these fields.\n- Designated tutor time activities \u2013 Once a fortnight during tutor time on a Thursday (Week B), students have the opportunity to learn about and practice key literary skills. These topics range from: Common Literary Mistakes, where we explore common misspellings and punctuation mistakes; Professional Communication, such as email communication and CVs to aid with future careers; and public speaking, in particular debating, to allow students to build their confidence in speaking and listening.\n- Competitions \u2013 At The Henry Beaufort School we encourage pupils in all year groups to participate in numerous competitions. Already in 2020 we have seen pupils take part in The Nutshell\u2019s poetry competition in honour of National Poetry Day, as well as taking part in the Young Writer\u2019s SOS Sagas: Trapped creative writing competition.\nHow can you support your child with their literacy beyond the classroom?\n- Encourage your child to read. All reading is worthwhile, be it newspapers, football magazines, leaflets, websites or novels. Encourage them to be curious and find texts that interest them and ask questions about what they are reading.\n- Demonstrate that you value effective writing and show you child that everyone writes to communicate \u2013 emails, letters, articles etc. You could share examples of writing you have done for communication purposes to emphasise the importance of strong literacy skills in everyday life.\n- Encourage your child to practice their spelling, punctuation and grammar. Check your child\u2019s home-learning for every subject and encourage them to proof-read their work and edit for any mistakes.\nUseful resources to support with developing your child\u2019s literacy skills:\n- https://www.bbc.co.uk/bitesize/topics/z7vdy9q (KS3 Spelling, Punctuation and Grammar)\n- https://www.bbc.co.uk/bitesize/topics/zpyg6fr (GCSE Spelling, Punctuation and Grammar)\n- https://henrybeaufort-hantssls.wheelers.co (E-Book and Audiobook Access)\nIf you have any further questions about literacy in school or further supporting your child, please do not hesitate to contact our Literacy Lead \u2013 Miss Knight.", "id": "<urn:uuid:09d43d3e-1856-4929-8d52-73246942495a>", "dump": "CC-MAIN-2022-21", "url": "https://www.henrybeaufortschool.org.uk/page/?title=Literacy&pid=130", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662625600.87/warc/CC-MAIN-20220526193923-20220526223923-00373.warc.gz", "language": "en", "language_score": 0.9309790730476379, "token_count": 845, "score": 3.71875, "int_score": 4}
{"text": "Graphic Novels for Kids: Classroom Ideas, Booklists, and More\nGraphic novels for elementary and middle grade children have become enormously popular and widely accepted by parents, teachers, and librarians. In this resource section, learn more about this highly visual form of storytelling and how it can be used in the classroom, meet some writers and illustrators of graphic novels, and browse the \"best of\" booklists.\nSimilar to comic books, graphic novels weave rich, lively visuals with a limited amount of text to drive the narrative. Graphic novels can be especially appealing to readers who are reluctant to pick up a more traditional book.\nThe graphic novel format can be found in a wide range of genres: fantasy, science fiction, historical fiction, fairy tales and myths \u2014 as well as nonfiction, including biography, history, and science.\nFor example, Nathan Hale\u2019s Hazardous Tales is a popular graphic novel series that showcases major events and individuals in history \u2014 \"a wonderfully fun rumpus,\" says Meryl Jaffee in her blog about using graphic novels in education. Another example: there are graphic novel versions of the popular Rick Riordan series, Percy Jackson and the Olympians \u2014 stories inspired by Greek myths.\nStruggling and reluctant readers\nGraphic novels are a great way to help struggling readers strengthen vocabulary, build reading confidence and stamina, and develop a deeper appreciation of storytelling. They also allow struggling readers to have reading successes, as described by author/illustrator Cece Bell (El Deafo):\n\"But there was like this sense of satisfaction for readers who maybe have a little bit of difficulty reading. Here are these pictures that help propel me through. It doesn\u2019t take very long to get through a page. Suddenly you read a 220-page book, and you\u2019ve never read a 220-page book in your life. It\u2019s like this gateway to reading maybe things that are more difficult down the road ...\"\n\u2014 Cece Bell (El Deafo)\nGraphic novels offer struggling readers different cues to a story. If a child comes across unknown vocabulary or a complicated narrative twist, the illustrations can provide contextual clues that can help the reader figure out the meaning of that passage.\nGraphic novels can introduce struggling readers to the world of classic literature. Classical Comics and Graphic Classics, for example, publish graphic novel versions of Dickens, Shakespeare, Twain, Alcott, and other great writers.\nGraphic novels in the classroom\nBrowse these articles and resources on using comics and graphic novels in the classrom:\nRecommended graphic novels for kids\nYou can also search School Library Journal for up-to-date reviews of graphic novels.\nGene Luen Yang: Reading Without Walls\nGene Luen Yang began drawing comic books in the fifth grade. In 2006, his graphic novel, American Born Chinese \u2014 a memoir about growing up as an Asian American \u2014 became the first graphic novel to win the American Library Association\u2019s Printz Award. He is the author of the Secret Coders series and has written for the hit comics Avatar: The Last Airbender and Superman. In 2016, the Library of Congress named Gene as the 5thNational Ambassador for Young People\u2019s Literature. Later that same year, Gene received the MacArthur Fellow \"Genius Grant.\"\nAs part of his Ambassador outreach, Gene publishes a video blog, Reading Without Walls, on Reading Rockets. A few sample posts:\nGene Luen Yang: The Making of a Graphic Novel\nWatch as Yang demonstrates the steps in his writing and drawing process. (Credit: The Kennedy Center Education Department, Performing Arts Series).\nInterviews with graphic novel writers and illustrators\nListen in as these award-winning writers and illustrators talk about graphic novel storytelling, how this format can support struggling or reluctant readers, using graphic novels in the classroom, and more. You can view selected clips in the playlist here, or view the complete interviews (see the links below).", "id": "<urn:uuid:2bfac96c-7817-4be5-a076-c743bfa0247f>", "dump": "CC-MAIN-2022-21", "url": "http://mapping-the-text.org/graphic-novels-kids-classroom-ideas-booklists-and-more.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662509990.19/warc/CC-MAIN-20220516041337-20220516071337-00371.warc.gz", "language": "en", "language_score": 0.9464003443717957, "token_count": 817, "score": 4.09375, "int_score": 4}
{"text": "Having a newborn baby at home is really a special feeling. Parents are always in awe of those cute giggles and adorable gestures that babies make before they learn to speak. Generally, verbal skills develop at the age of 6-9 months in newborn babies. Babies start speaking words like \u2018mommy\u2019, \u2018daddy\u2019, \u2018hey\u2019, at this age. Children who are verbally gifted might not show symptoms initially but gifted communication skills can be identified within 2-3 years of birth.\nAt an infant stage, babies do not speak clearly, and therefore, it becomes quite tough for parents to figure out if they have verbally gifted kids. Early years childhood care teachers and Special education teachers have the capabilities to identify these challenges. Online learning disabilities course provides supreme guidance to special ed teachers so that they can figure out such verbal gifts and use teaching strategies to help them to communicate freely.\nSIGNS OF VERBALLY CHALLENGED KIDS:\nClass teachers in inclusive classrooms should have the capability to find out the verbal challenges of a special kid in case parents of gifted children are not aware of the fact. It becomes quite transparent if children are having issues with their language skills. When kids reach a certain age when they can easily express their social and emotional points of view but are unable to express them verbally or express much better than other kids of the same age. By 1 year, kids can speak short sentences and if they are verbally gifted children they can be pointed out at how they are speaking.\nReading, speaking, creative writing, foreign language, and general verbal reasoning are 5 areas where it can be identified if a child is having verbal gifts or not. A learning environment should be created for these special kids to provide them with exact language learning sessions. In order to teach students having verbal gifts, SEN teachers must be well aware of their potential and mental growth level.\nSome verbally gifted children tend to get rid of language learning stages, observing them as they stay silent is definitely not an option. For example, a verbally gifted child may not imitate words as most children do at age 1. They also may not begin speaking simple sentences like \"Me bag\" at age 2. Then suddenly at 2 and half years age, they will ask a question like \"Where's my bag?\"\nReading is a skill that kids acquire when they are being properly instructed by teachers or parents. However, that instruction will be in vain unless children are having a grasp of the basics of a language. A written word is simply a visual representation of spoken language, and if a child does not have the ability to read properly, it will be next to impossible to make the connection between the spoken word and the written symbols on a page.\nHence, verbally challenged kids may speak better than children of their age or may not speak at all. Parents often confuse seeing their kids speaking quite advanced than other children and might consider that as a real talent. Online learning disabilities courses help class teachers and parents to identify of kids are verbally gifted or not.\nAsian College Of Teachers Ltd (UK)\nDisclaimer: All SEN Courses are designed, developed and created by Asian College of Teachers Ltd, United Kingdom. These courses are approved by CPD, UK, and endorsed by NCC Education, UK, and Short Courses from CACHE, UK through Laser Learning UK\n\u00a9 2022 Asian College of Teachers. All Rights Reserved. Asian College Of Teachers is a trading brand of TTA Training Pvt. Ltd (India) - CIN U80902WB2016PTC215839, Asia Teachers Training Co., Ltd (Thailand) - Registration No. 0105558193360, Asian College Of Teachers Ltd (UK) - Company Number 9939942 & Asian College Of Teachers LLC, (USA) - Federal Tax Identification Number 30-1261596", "id": "<urn:uuid:eefe1374-bdd3-4cd4-9120-52806b6c4f7c>", "dump": "CC-MAIN-2022-21", "url": "https://www.senteacherstraining.com/blog/1042-Special-Abilities-Of-Verbally-Gifted-Children-blog.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577259.70/warc/CC-MAIN-20220524203438-20220524233438-00372.warc.gz", "language": "en", "language_score": 0.9517691731452942, "token_count": 784, "score": 3.546875, "int_score": 4}
{"text": "For several generations, stories from Africa have traditionally been passed down by word of mouth. Often, after a hard day\u2019s work, the adults would gather the children together by moonlight, around a village fire and tell stories. This was traditionally called 'Tales by Moonlight'. Usually, the stories are meant to prepare young people for life, and so each story taught a lesson or moral.\nIn the African folktales, the stories reflect the culture where diverse types of animals abound. The animals and birds are often accorded human attributes, so it is not uncommon to find animals talking, singing, or demonstrating other human characteristics such as greed, jealousy, honesty, etc. The setting in many of the stories exposes the reader to the land form and climate within that region of Africa. References are often made to different seasons such as the 'dry' or 'rainy' season and their various effects on the surrounding vegetation and animal life.\nEducate and Have Fun with Short Stories\n- Hundreds of short stories for children teaching values\n- Modern stories with fairytale characters\n- Educational resources for Parents and Teachers\n- An entry into the world of educational stories\nThe value of storytelling as part of education and family life\nThe greatest benefit of education, no doubt, is the ability that has a story to convey values . Perhaps we have not consciously made good on it, but if you think, most values more firmly rooted in our own personality came to us from the hand of a story: in \"The three little pigs\", for instance, we instilled the importance of working well; \"The tortoise and the hare\" were showing us that constancy and modesty had borne fruit, and \"The cicada and the ant\" made us see that it was more profitable to be working than being a laggard.\nThis is not accidental. Every story, including tales, has a logical argument that unites the different parts, making them much easier to remember. In this way, our memory stores precisely because this plot is the glue of all these elements, and therefore the easiest way to access the remaining details of the story. And the moral is the best summary of a story, and so what better retains it. For example, one can forget what all details about the cicada and the ant, but do not forget that one was spending time while the other worked hard to store food.\nSecond, and closely related to the above, is the usefulness of stories to teach new things . Precisely because it is easier to recall the main story, and its importance as a link, the story allows easy access to other details. In fact, the stories have always been used to transmit ideas and knowledge, starting from Bible and Jesus of Nazareth, whose parables were a way to educate in a very practical style. I can still remember the case of a classmate at school who always got bad marks, which surprised everyone with an excellent note on a review of the history of the First World War precisely because he had been seeing a couple of films on the subject ...\nBut in addition to being powerful tools of education and teaching, stories customized just before Sleeping allow to establish a strong link with the kids . To be creative and original every day, we must must devote all our ability and attention, if only during that time, and that is something that children, accustomed to be the focus of their parents' events, but no of their mind attention (too many parents have so many \"brain noise\" to park their concerns entirely, if only for a while) perceive with great gratitude and enthusiasm. And to customize a story (I always let them choose the main characters of the story), parents are forced to listen and take care for their children, so children feel really special. That emotional link is so strong that it is another important factor that facilitates memorization and assimilation as taught in these stories. I myself have discovered many times how my children were surprisingly recalling many low level details of stories I had told them long time ago, and never ever talking again about them.\nFinally, telling stories without books nor pictures, with the room in darkness and children lying on their beds, as I like to do, is a very effective way to help counteract the lack of attention that many children are suffering nowadays , caused by the fact of living in a world with so many visual stimuli. Using an out of the room light, and with the reassuring presence of their parents, children are prepared to open their ears to the world carried by the story, and without even realizing it, they are learning to focus their attention; but not only that, they do also use heard as a primary sense, quite the opposite of what will happen during daylight. I usually take advantage of this situation to further stimulate their visual sense, but in a creative way, as too many stimuli so perfectly constructed may do not help develop properly. So I flood stories and characters of bright colors, forcing them to imagine each part of the story.\nIf you are looking for an application with the best moral stories in English, then you have come just right! Refresh your life by imbibing the lessons you learn from these short stories with good morals.\nWhile people are searching various moral stories on the internet, we\u2019ve created this app for you where you can read, learn and enjoy the amazing stories with moral lessons! These english stories are adventurous and provide interesting ways to learn from the stories.\nAmazing features of \u201cShort Bedtime English Stories\u201d app are:\n\u2728 150+ short moral stories in English!\n\u2728 Tempting design and graphics!\n\u2728 Adjust font size as per your requirement, to make sure that texts are easily readable.\n\u2728 \u2018Quick Read\u2019 option to read any story randomly.\n\u2728 \u2018Mark as Read\u2019 option will help you to identify which stories are left to read yet!\n\u2728 Tales that will inspire you by teaching important lessons of your life!\n\u2728 Add your favorite moral story in a \u2018Bookmark\u2019 list.\n\u2728 Share these short moral stories in English with your Loved ones and inspire them!\n\u2728 Absolutely FREE of cost!\nStart bringing a good change in your life by imbibing the lessons learned from these short stories with good morals. No need to hither and thither for a good morality to read out! Directly pick any one from this and make the best use of it. Also, this short moral story in English app is helpful for those who want to improve their reading skills.\nWe have elite english stories which will teach you the actual facts of living and help you to improve some important things in your life such as, positive manner, anger management, the priority of social unity, mutual respect, etc!\nThis Moral based stories in English app contains different kinds of great short stories with good morals like the motivational stories, witty, inspirational stories, etc", "id": "<urn:uuid:5173ef7a-3726-4798-a372-71a0b83fba95>", "dump": "CC-MAIN-2022-21", "url": "https://learnandstudyfree.blogspot.com/2022/01/bedtime-stories-to-educate-kind-and.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00371.warc.gz", "language": "en", "language_score": 0.9654789566993713, "token_count": 1414, "score": 3.609375, "int_score": 4}
{"text": "Stories from Text Messages and Cell Phone Photographs\nLit./ELA \u2013 Writing Exercise\nThe lesson, including reading of student work, will require one 45 \u2013 55 minute class period.\nCommon Core State (Curriculum) Standards:\nWriting: Anchor Standards #s 1, 2, 4, 5, 9 & 10 for Writing and related standards. See CCSS pg. 41.\nThe following lesson offers two opportunities for students to make use of their cell phone texting or picture-taking to exercise writing skills usually taught in more traditional assignments. Teachers may want to precede this lesson with TWM\u2019s Teaching Students to Write a Narrative.\nStudents will exercise and improve narrative-writing skills, including description and dialogue.\nIn these lesson plans, cell phone texting and picture function as a motivational device to interest students.\nLESSON PLAN #1 \u2014 Stories from Cell Phone Text Messages\n1. Prior to the planned activity, teachers should print TWM\u2019s Cell Phone Texting Lesson Plan Handout or create their own. The handout is designed for students who do not have cell phones or do not have text messages to use for the assignments. Some students may be reluctant to reveal any information on their cell phones; the handout will be of use to them as well.\n2. Tell the students that they must bring their cell phones to class on the day of the assignment. This may be contrary to the rules.\nStep by Step\n1. Define narrative-writing, if your class has not yet addressed the skill set associated with this genre. A narration is storytelling which relies on description to show, rather than, tell about the people and events that form the plot. Be sure they are clear that the use of dialogue is an important narrative tool.\nInstructions to the students:\n1. Copy onto a sheet of paper 10 of the last cell phone text messages you have received.\n2. Using these messages as the dialogue that occurs in an interchange between characters, write a story that makes use of all 10 texts. No added dialogue is allowed.\n3. In the narration that precedes and follows the text message, use descriptive language so that your reader can get to know the speakers, where the conversation is being held, and what is going on.\n4. Use tone words to create mood and show feeling that may not be apparent in the text message but that helps shape your story.\n5. Be clear about your ending. The narrative must conclude, rather than simply stop.\n1. Ask students to share stories with one other member of the class.\n2. Ask students if any one of them read an interesting or entertaining story and select among the responding students a few who will read the chosen stories aloud.\n3. Pursue comments from students in the class about what made the stories they have heard interesting. Consider the following:\n- Were the story\u2019s characters presented so they could be visualized?\n- Was there a well-defined place where the event in the story occurred?\n- Did the action or event in the story make sense, create a bit of drama, or did it puzzle the listeners?\n- Did conflict and resolution emerge from the dialogue?\n- Was the story nonsense, yet still fun to hear?\n4. Allow the students to \u201cgrade\u201d the stories themselves, on a scale from one to three, according to the following:\n- Score 3: Interesting story with lively characters sharing meaningful dialogue. Place and event clearly definable.\n- Score 2: Story could be followed; characters differed from one another and dialogue made sense. Place and event were vague but did not detract from the conversation.\n- Score 1: Story could barely be followed and characters seemed to talk nonsense in a place that could not be determined. Unknown event.\nLESSON PLAN #2 \u2014 Stories from Cell Phone Photos\nTell the students that they must bring their cell phones to class on the day of the assignment. This may be contrary to the rules.\nStep by Step\n1. Define narrative-writing as above and inform students that captions, which are brief explanations printed beneath a photograph, identify a place or event, the people in the picture, and any significant information that explains the purpose in the photograph. Thus, stories are illustrated.\n2. Direct students to select six of the photographs that they have saved on their cell phones and to place them in a suitable chronological order so that they can be used to tell a sequential story. The photographs may be unrelated; this allows for creativity, and though a bit more complex, may be entertaining.\nInstructions to the students:\n1. Look closely at the six photographs you have chosen and find a connection between the pictures. On a sheet of paper, identify the photograph through a quick drawing and a brief description of what a viewer sees. Place all six of your efforts on one page.\n2. Write a story, using description, action, and dialogue that weave the images together into one coherent narrative. Children\u2019s books often use photos or drawings for this purpose. The photographs are separated from one another by your writing and illustrate visually what the viewers are seeing.\n3. Write brief captions associated with each photograph that clarify elements in your narrative.\n4. Your stories may appear as a travelogue. They may be offered as evidence in a courtroom. The unfolding narrative is entirely up to you.\n1. Ask students to share their drawings and the narrative with one other student. They can feel free to show the actual pictures themselves from the cell phone.\n2. Ask students if they saw any interesting photographs and heard an interesting story that was created from the sequence of photos.\n3. Have students whose assignments were defined as interesting from classmates to read the stories and describe the photographs to the class as a whole.\n4. Students can then critique the stories and photos using the questions to consider and the three-point scale from above as their standard.", "id": "<urn:uuid:5b083009-a829-4318-adcf-af9a5ffcc2f0>", "dump": "CC-MAIN-2022-21", "url": "https://teachwithmovies.org/two-cell-phone-lesson-plans/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662658761.95/warc/CC-MAIN-20220527142854-20220527172854-00572.warc.gz", "language": "en", "language_score": 0.9450774192810059, "token_count": 1270, "score": 3.859375, "int_score": 4}
{"text": "I. What is Poetry?\nPoetry is a type of literature based on the interplay of words and rhythm. It often employs rhyme and meter (a set of rules governing the number and arrangement of syllables in each line). In poetry, words are strung together to form sounds, images, and ideas that might be too complex or abstract to describe directly.\nPoetry was once written according to fairly strict rules of meter and rhyme, and each culture had its own rules. For example, Anglo-Saxon poets had their own rhyme schemes and meters, while Greek poets and Arabic poets had others. Although these classical forms are still widely used today, modern poets frequently do away with rules altogether \u2013 their poems generally do not rhyme, and do not fit any particular meter. These poems, however, still have a rhythmic quality and seek to create beauty through their words.\nThe opposite of poetry is \u201cprose\u201d \u2013 that is, normal text that runs without line breaks or rhythm. This article, for example, is written in prose.\nII. Examples and Explanation\nOf all creatures that breathe and move upon the earth,\nnothing is bred that is weaker than man.\n(Homer, The Odyssey)\nThe Greek poet Homer wrote some of the ancient world\u2019s most famous literature. He wrote in a style called epic poetry, which deals with gods, heroes, monsters, and other large-scale \u201cepic\u201d themes. Homer\u2019s long poems tell stories of Greek heroes like Achilles and Odysseus, and have inspired countless generations of poets, novelists, and philosophers alike.\nPoetry gives powerful insight into the cultures that create it. Because of this, fantasy and science fiction authors often create poetry for their invented cultures. J.R.R. Tolkien famously wrote different kinds of poetry for elves, dwarves, hobbits, and humans, and the rhythms and subject matter of their poetry was supposed to show how these races differed from one another. In a more humorous vein, many Star Trek fans have taken to writing love poetry in the invented Klingon language.\nIII. The Importance of Poetry\nPoetry is probably the oldest form of literature, and probably predates the origin of writing itself. The oldest written manuscripts we have are poems, mostly epic poems telling the stories of ancient mythology. Examples include the Epic of Gilgamesh and the Vedas (sacred texts of Hinduism). This style of writing may have developed to help people memorize long chains of information in the days before writing. Rhythm and rhyme can make the text more memorable, and thus easier to preserve for cultures that do not have a written language.\nPoetry can be written with all the same purposes as any other kind of literature \u2013 beauty, humor, storytelling, political messages, etc.\nIV. Examples in of Poetry Literature\nI think that I shall never see --> A\na poem lovely as a tree\u2026--> A\npoems are made by fools like me,--> B\nbut only God can make a tree.--> B\n(Joyce Kilmer, Trees)\nThis is an excerpt from Joyce Kilmer\u2019s famous short poem. The poem employs a fairly standard rhyme scheme (AABB, lines 1 and 2 rhymes together and lines 3 and 4 rhymes together), and a meter called \u201ciambic tetrameter,\u201d which is commonly employed in children\u2019s rhymes.\nI saw the best minds of my generation destroyed by madness,\nstarving hysterical naked,\ndragging themselves through the negro streets at dawn looking\nfor an angry fix,\nangelheaded hipsters burning for the ancient heavenly\nconnection to the starry dynamo in the machinery of night,\nwho poverty and tatters and hollow-eyed and high sat up smoking\u2026\n(Alan Ginsberg, Howl)\nThese are the first few lines of Howl, one of the most famous examples of modern \u201cfree verse\u201d poetry. It has no rhyme, and no particular meter. But its words still have a distinct, rhythmic quality, and the line breaks encapsulate the meaning of the poem. Notice how the last word of each line contributes to the imagery of a corrupt, ravaged city (\u201cmadness, naked, smoking\u201d), with one exception: \u201cheavenly.\u201d This powerful juxtaposition goes to the heart of Ginsburg\u2019s intent in writing the poem \u2013 though what that intent is, you\u2019ll have to decide for yourself.\nIn the twilight rain,\nthese brilliant-hued hibiscus \u2013\nA lovely sunset\nThis poem by the Japanese poet Basho is a haiku. This highly influential Japanese style has no rhymes, but it does have a very specific meter \u2013 five syllables in the first line, seven in the second line, and five in the third line.\nV. Examples of Poetry in Popular Culture\nRapping originated as a kind of performance poetry. In the 1960s and 70s, spoken word artists like Gil Scott-Heron began performing their poems over live or synthesized drumbeats, a practice that sparked all of modern hip hop. Even earlier, the beat poets of the 1950s sometimes employed drums in their readings.\nSome of the most famous historical poems have been turned into movies or inspired episodes of television shows. Beowulf, for example, is an Anglo-Saxon epic poem that has spawned at least 8 film adaptations, most recently a 2007 animated film starring Angelina Jolie and Anthony Hopkins. Edgar Allen Poe\u2019s The Raven has also inspired many pop culture spinoffs with its famous line, \u201cNevermore.\u201d\nVI. Related Terms (with examples)\nNearly all poems are written in verse \u2013 that is, they have line breaks and meter (rhythm). But verse is also used in other areas of literature. For example, Shakespeare\u2019s characters often speak in verse. Their dialogue is separated into rhythmic lines just like a song, but they are supposed to be speaking normally.", "id": "<urn:uuid:330d5926-ab32-44cf-b1d6-146a4684eac0>", "dump": "CC-MAIN-2022-21", "url": "http://literaryterms.net/poetry/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00172.warc.gz", "language": "en", "language_score": 0.9546468257904053, "token_count": 1281, "score": 3.59375, "int_score": 4}
{"text": "15 Ways to Teach Students to Use Punctuation\nAre you looking for ways to teach students to use punctuation? If so, keep reading.\n1. Get the learner to practice using one form of punctuation at a time before going on to another (e.g., period, question mark, etc.).\n2. Spotlight punctuation in passages from the learner\u2019s reading task. Get the learner to explain why each form of punctuation is used.\n3. Do not require the learner to learn more information than they are capable of learning at any time.\n4. Utilize a newspaper to locate various types of punctuation. Get the learner to circle periods in red, commas in blue, etc.\n5. Make the learner proofread all written work for correct punctuation. Praise the learner for each correction they make in punctuation.\n6. Use appropriate punctuation through charts and overheads for learner reference during all creative writing learning activities .\n7. Give practice with punctuation using a computer program or hand-held educational device that gives the learner instant feedback.\n8. Give the learner the appropriate learning materials to finish the task (e.g., pencil with eraser, paper, dictionary, handwriting sample, etc.). Make sure that the learner has only the appropriate learning materials on the desk.\n9. Create a notebook for punctuation rules to be used to help with proofreading work.\n10. Acknowledge quality work (e.g., display learner\u2019s work, congratulate the learner, etc.).\n11. Minimize the emphasis on competition. Competitive learning activities may cause the learner to hurry and make errors in punctuation.\n12. Give the learner a list of examples of the forms of punctuation they are expected to use (e.g., periods, commas, question marks, exclamation points, etc.). The learner keeps the examples at their desk and refers to them when writing.\n13. Teach the learner punctuation at each level before introducing a new skill level.\n14. Praise the learner for using correct punctuation when writing: (a) give the learner a concrete reward (e.g., classroom privileges, line leading, 10 minutes of free time, etc.) or (b) give the learner an informal reward (e.g., praise, handshake, smile, etc.).\n21. Consider using one of the apps on one of our best writing apps lists:", "id": "<urn:uuid:fec11c2a-7bed-44c3-bdc7-c1a597901441>", "dump": "CC-MAIN-2022-21", "url": "https://www.theedadvocate.org/15-ways-to-teach-students-to-use-punctuation/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00573.warc.gz", "language": "en", "language_score": 0.8860289454460144, "token_count": 522, "score": 4.34375, "int_score": 4}
{"text": "Inspiration from the ABC Stories of 4 Deaf Creators\nby: Brooke LaTurno, EIPA 3.8 - Interpreter Coordinator\nAt a fundamental level, storytelling is ingrained in the human experience. Stories help us to make sense of our lives, create meaning, pass on lessons, remember notable experiences, and dream up new ways of understanding the world around us. Of course, this is not an exhaustive list \u2013 the many functions of storytelling probably equal the number of stories that have cumulatively been told since the dawn of time!\nWhen interpreting, we take on greater responsibility in respect to the stories of others. It is our job is to do justice to our client\u2019s story, and transmit the tone, intent, meaning, register, etc. of the messages that each client (or protagonist, if you will) expresses. This is true regardless of whether our work takes us inside a medical office, classroom, theater, courtroom, or stadium. Being entrusted with the responsibility to faithfully communicate the story our client chooses to tell, is one of the great honors in an interpreter\u2019s job. The process is by no means easy and requires intense focus and complex mental processing. To help us accomplish this task, part of our professional development should include the study of storytelling.\nIn addition to the important role storytelling plays in the lives of human beings in general, and the specific relevance it has to our job as interpreters specifically, storytelling is also an integral part of Deaf culture and Deaf traditions. As described in A Journey into the Deaf-World: \u201cIn order to become a storyteller, it seems one must be able to control language and nonverbal communication\u2026being a successful storyteller also requires one to be observant and feel the pulse of the Deaf-World, and what one learns is then reflected in the way one selects and relates the stories.\u201d [emphasis added] (Lane, Hoffmeister, & Bahan, p. 153)\nOur work requires competency in both English and ASL storytelling, so our studies should include exposure to and analysis of stories in both English and ASL. One of the great storytelling traditions in Deaf culture is the ABC Story. When attending a Deaf event, the chances are good that you will have the pleasure of watching an ABC story. Unfortunately, our opportunities to come together face-to-face have been limited during the pandemic due to safety concerns. However, thanks to the proliferation and advancement of technology, the internet, and social media, we can now enjoy the artful storytelling of Deaf creators from the comfort of our homes, via virtual means.\n\"Titanic\" by Patrick Fischer\n\"Checkmate!\" by Rob Nielson\n\"Black Cowgirl\" by Arlene Ngalle-Paryani\n\"Haunted House\" by Joseph Wheeler*\n*This YouTube video does not indicate the performer\u2019s name; however, the attribution is an educated guess based on the fact that Joseph Wheeler seems to create the majority of ASL THAT channel content. Please reach out to us if you have an edit to suggest regarding the name of the performer. Thank you very much!\nAs you watch each storyteller bring their tale to life, what do you notice about their creative use of language? Are there elements from these stories that inspire your own creativity?\nDo you have a favorite Deaf storyteller or performer who was not included in this post? Or an ABC Story that really struck a chord with you or changed the way you thought about storytelling? Please let us know in the comments below!\nLane, H., Hoffmeister, R., & Bahan, B. (1996). A Journey into the Deaf-World. DawnSignPress.\nFischer, Patrick. (2017, July 20). Titanic \u2013 ABC Story [Video]. YouTube.\nASL with Rob. (2008, December 10). Checkmate! \u2013 An ASL \u2018ABC\u2019 Story [Videol].YouTube.\nNgalle-Paryani, Arlene. (2021, May 24). ASL ABC Story: \u201cBlack Cowgirl\u201d [Video].YouTube.\nASL THAT. (2013, October 23). ASL ABC Story \u2013 Haunted House [Video].YouTube.", "id": "<urn:uuid:66c1f019-9843-4c8c-ab00-24d350c44075>", "dump": "CC-MAIN-2022-21", "url": "https://interpreterresource.com/interpreter-education/inspiration-from-the-abc-stories-of-4-deaf-creators/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00173.warc.gz", "language": "en", "language_score": 0.9314419031143188, "token_count": 888, "score": 3.5625, "int_score": 4}
{"text": "As a therapist trained in play therapy, I know a lot about the power of play in a child\u2019s development and well-being. It is proven, it is documented, it is research backed. Despite this fact, the idea that play holds the key to a child\u2019s learning, development, and mental health is a concept most parents are skeptical of when they come into my office with their child.\nI want to make you a believer.\nHere are just some of the amazing skills research tells us, that children learn and acquire through play.\n8. Good mental health. The more time children are engaged in play and interacting with the world around them, the more likely they are navigating their inner emotional life and learning life skills (and the less likely they are to be in front of a screen).\n9. Language development. Parent-child play models the basic concepts of communication and conversation.\n10. Reading. Wordplay and storytelling build the foundation for learning to read.\n11. Self-control. Board games serve as an opportunity to practice turn taking and staying on task with rules.\n12. Memory. When play involves movement it promotes learning and memory, as the body is a tool of learning. The more movement a child receives, the greater their attention span.\n13. Motor development. Drawing, painting, dancing, singing, climbing\u2026 all establish both fine and large motor skills.\n14. Cognitive development. Constructive and dramatic play give opportunities to work on many different cognitive skills such as perspective taking, abstract thought, and higher-level cognition.\n15. Physical health. When kids play, they learn reflexes, motor control, develop fine and gross motor skills and increase flexibility and balance.\n16. Growth mindset. When play is undertaken without consideration of the outcome a child is allowed to focus on the process and the concept that they can always build on current skills.\n17. Self-understanding. When children have the freedom to direct their own play, they are able to put their own thoughts, feelings, and imaginations out into the world, gaining a greater perspective on their own inner lives.\n18. Spatial skills. Building and construction play encourages a child to test spatial relationships and mentally rotate objects in the mind\u2019s eye.\n19. Attention. When your child plays, the limits of the world that constrain possibilities are removed. Play simply allows your child\u2019s innate creativity to flourish as they explore limitless possibilities.\n20. Curiosity. Curious children have been found to have better memories and better academic performance and play. Engaging in the exploration of natural surroundings including toys and games, makes space for curiosity to flourish.\nAllowing the power of play to unfold.\nAs I sat biting my tongue in the front seat, I listened as my daughter spoke to her unicorn.\n\u201cIt will be ok Sparkles. I know you are going to miss me at camp but I am going to have so much fun!\u201d\nIt didn\u2019t stop there.\n\u201cIf you are feeling sad you can ask for a hug or have my mom write a note for you. I know you can be brave. Mom, sparkles is feeling nervous about camp.\u201d\nCue the parental affirmations (finally!).\nOnce again, lesson learned. Sometimes parents need to sit back and let the power of play take over to heal and grow our child.\nOnce you master the sitting back part, you will be amazed at what you will see.\nWhen have you noticed play having a positive effect on your child?\nAbout the Author\u2026\nClinical Psychology Associates Very Own, Angela Pruess, MA, LMFT:\nI\u2019m Angela and I have been supporting children and parents as a licensed family therapist for 12 years now. I have a background in Child Psychology and Family Studies. My more impressive credentials however, are that of parent of three and special needs parent to two of those. I\u2019m wading through the waters of parenthood right along with you, some days trying desperately to hang on to a life preserver.\nParenting can get complicated. I want to de-mystify why kids do the crazy crap they do, and help you to react to it in a way that leaves you and your child better off as a result. I want to support you through the hardest times, because I know you are trying your darndest to raise a great person to send out into this world. I want to give you information on child development and behavioral science, so you can be informed enough to know that despite what it seems- your child truly isn\u2019t on a lifelong mission to torture and confuse you.\nI am honored you are here and hope both you and your unique child will be loved and supported through our community.\nFor more about Angela, please visit her on the web at: https://parentswithconfidence.com", "id": "<urn:uuid:d909b42d-6c6b-4c30-aa64-93e88ce634af>", "dump": "CC-MAIN-2022-21", "url": "https://www.clinical-psychology-associates.com/20-epic-life-skills-your-child-learns-through-play/?noamp=mobile", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545548.56/warc/CC-MAIN-20220522125835-20220522155835-00772.warc.gz", "language": "en", "language_score": 0.9543375968933105, "token_count": 1020, "score": 3.546875, "int_score": 4}
{"text": "How to Write a Biography As a Short Story\nPenning a biography that reads like a short story is a form of narrative writing, a style that tells a story. This method has a plot, defined characters and a theme that reaches beyond the story. Using a short story to convey a biography limits space and how much of the person's life can be included, but it is suitable for the memoir of a specific experience or time period of the main character's life.\nChoose what aspect, event or time period of a person's life to write about. Determine the beginning, middle and end of the experience; its conflict or problem; and how it was resolved. Focus on the experience you're retelling and include pertinent information about the character, but avoid wandering too far into other areas of his life. Doing this will leave you with a disjointed story going nowhere or with one that needs to be expanded into a novel.\nDetermine what the message or point of the story is. If writing about someone who overcame a challenge, the theme might be perseverance against the odds. Relating someone's adventure could inspire with a message of pursuing dreams. Sharing your grandparents' struggle to save their farm during the Depression could inform of the era's hardships. Weave the theme throughout the story by way of the characters' actions, conversations, thoughts, observations and conditions.\nDecide if you will write in a first person or third person voice. First person (I and me) should be used if the narrator is also the protagonist, or main character, telling his own story. She can also be a secondary character relating a story that centers around the protagonist. The third person voice (he, she, they) is applied when the writer is expressing the words, thoughts and actions for the characters. Doing this for only one character is called third person limited while doing so for multiple characters is third person omniscient.\nEngage the reader by introducing dimensional characters who are valid to the story instead of cluttering the manuscript with tidbits about every single person the characters know. Every character should have her part in telling the story. Include dialogue to move the story along, add interest and reveal aspects of the characters' personality or emotions. Transition from one character or scene to another rather than making abrupt shifts, resulting in a choppy, confusing read. Describe sights, sounds and smells as well as the thoughts, feelings and sensations a scene or setting inspires in the character.\nWhile most narratives unfold chronologically, the method is not a rule. Good stories often hook the reader by opening with a critical scene then backtracking to reveal the history that led to the event.\nAs with any non-fiction work, verify biographical information for accuracy.\n- While most narratives unfold chronologically, the method is not a rule. Good stories often hook the reader by opening with a critical scene then backtracking to reveal the history that led to the event.\n- As with any non-fiction work, verify biographical information for accuracy.\nDonna G. Morton lives in Atlanta and has been writing for more than 27 years. She earned a Bachelor of Science in journalism from East Tennessee State University and spent 15 years in radio and corporate advertising, winning 10 Excellence in Advertising Awards for creative writing.", "id": "<urn:uuid:75ffb905-defd-4403-be2c-f3bc460b7328>", "dump": "CC-MAIN-2022-21", "url": "https://penandthepad.com/write-biography-short-story-8487730.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545326.51/warc/CC-MAIN-20220522094818-20220522124818-00573.warc.gz", "language": "en", "language_score": 0.947168231010437, "token_count": 679, "score": 3.5, "int_score": 4}
{"text": "A large part of building self-esteem for children is encouraging them to do daily self-esteem activities. These may consist of taking a quiet walk or going to the library and reading books. Such activities that reinforce children\u2019s strengths and reminding them of their capabilities are critical to developing their self-esteem.\nHow Children Can Build Confidence And Enhance Their Abilities?\nWith the help of yoga poses, visualization exercises, and positive affirmation exercises, children are starting to realize that having confidence in their abilities and accomplishments are integral parts of living healthy and happy lives. By having daily self-esteem activities that foster growth and enhance their focus skills, children can learn and master new skills, gain new confidence, establish and uphold healthy relationships, and develop new skill sets. In this article, we\u2019ll introduce some of these activities and how parents can use them to encourage their children in many different ways.\nWhat Is Affirmation Board?\nAn affirmation board is a small board that you can place inside a child\u2019s home where they can write down a wish or positive affirmation. They can then hang it on the wall or use it as a daily reminder to remember to be positive. Using an affirmation board is one of the self-esteem activities that kids enjoy doing. Parents can include a daily self-esteem activity in the home routine or turn it into a family project to build on this activity.\nBuilding self-confidence also involves feeling empowered. When kids start feeling confident, they gain self-confidence. In addition to having an affirmation board to remind them of their strengths, kids need to take an honest self-assessment and talk to themselves about their weaknesses. They need to learn to be confident in their strengths and not their weaknesses. To feel empowered, kids need to do something to show that they can handle their weaknesses and improve on them. It could be a family project, or they might do volunteer work or join a special team to work on a particular challenge.\nWhy Is Problem-Solving Helpful?\nA problem-solving activity that encourages problem-solving is very beneficial to children. Problem-solving helps develop and hone problem-solving skills, which are critical to children\u2019s psychological and social development. Parents can take this activity and vary it in several different ways. For instance, they can begin with a simple problem and then lead to more complex situations as the child practice problem-solving skills while working on the problem.\nBuild Confidence With Self-Esteem Activities\nSelf-confidence can be built up through several different self-esteem activities. Kids learn self-confidence through visual stimulation and storytelling. Children who listen to stories and tell them to others learn to have confidence. There are several other ways that self-esteem is developed through different self-confidence-building activities.\nAs mentioned before, self-esteem and self-confidence are closely intertwined. Self-confidence is one of the most important aspects of self-esteem, and building activities that encourage it in kids are great ways to help your kids develop good self-confidence. The more they focus on the things they like about themselves, the more they will see their self-esteem grow. The more they focus on making good impressions, the better chance they are at developing high self-esteem.", "id": "<urn:uuid:3b78ab57-379a-4879-8709-d4e1ad72ec9e>", "dump": "CC-MAIN-2022-21", "url": "https://giveaspeech.net/building-confidence-and-self-esteem-in-kids-with-different-self-esteem-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00573.warc.gz", "language": "en", "language_score": 0.9665868878364563, "token_count": 670, "score": 3.59375, "int_score": 4}
{"text": "The Growth of Feminism in The United States\nPecha Kucha (peh-chuk-chuh) comes from the Japanese word for \u201cchit chat.\u201d The history behind the Pecha Kucha is to go beyond the typical PowerPoint presentation and to move to a more engaging storytelling method of presentation.\nThe format for a Pecha Kucha is 20X20\u201420 slides with 20 seconds of narration each. This mathematically computes to 6 minutes, 40 seconds of speaking time. Pecha Kucha presentations have no text on the slides. It is up to you to fluidly tell the story of the images you choose. Please practice your timing.\nYour Pecha Kucha should be based on the story you want to tell about America. Please cover whatever you think is most critical to your American story and include images that represent as many of the time periods we\u2019ve covered as possible (1600\u2013present). Periods should receive equal representation. (Pecha Kuchas that only reference the 20th and 21st centuries, for example, will not receive a passing grade.)\nSave your time - order a paper!\nGet your paper written from scratch within the tight deadline. Our service is a reliable solution to all your troubles. Place an order on any task and we will take care of it. You won\u2019t have to worry about the quality and deadlinesOrder Paper Now\nThe point of a Pecha Kucha is to create a cohesive narrative that the student is able to speak freely about because he or she is well acquainted with the subject matter. Please create your Pecha Kucha in Kaltura Media Gallery and submit a Word document with your name and the link to your Pecha Kucha in Kaltura.\n*Instructions on how to set a Power Point presentation so that the slides advance every 20 seconds.\nOpen PowerPoint. In slide view, right-click on the first slide on the left and select Layout and Blank. This creates a blank canvas.\nRight-click again on the slide and select Duplicate. This creates another slide just like it.\nBecause the Duplicate command is already in PowerPoint\u2019s memory, use the shortcut Ctrl-Y to repeat the duplicate (or just right-click duplicate again) 18 more times, for a total of 20 blank slides.\nUse Ctrl-A to Select all slides in the left, and then go to Animation, advance slide, and set it to 20 seconds.\nYou can also select transition styles and speed here. Just don\u2019t choose Dissolve\u2014the simplest is the best. Maybe nothing more than a simple fade.\nFor more information, check out https://www.wabisabilearning.com/blog/how-to-make-great-presentations-with-pecha-kucha.", "id": "<urn:uuid:3f01cbb4-0b0c-492f-baf3-de72736b08c3>", "dump": "CC-MAIN-2022-21", "url": "https://www.assignment24x7.com/the-growth-of-feminism-in-the-united-states/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00573.warc.gz", "language": "en", "language_score": 0.8939104080200195, "token_count": 581, "score": 3.53125, "int_score": 4}
{"text": "Sandman, The \u2014 Paul Berry, 1991\nA little boy is sent upstairs to bed with just a candle to see away the shadows. Negotiating the dark, creaky staircase, his trepidation grows, and when he finally reaches his room he races to the relative sanctuary of his bed. Sleep does not come easily and he hears scary sounds all round him. Finally dozing off, the boy does not see the arrival of the Sandman...\nThis Oscar-nominated film (for Best Animated Short in 1992) may deal with a children's legend - but this is not one for the little kids!\nYou will find a complete BGE Fourth Level Literacy unit for 'The Sandman' here.\nClassroom ActivitiesPrint All\n- Clip Details\n- Play the film up to the point the Sandman appears in the boy\u2019s room. Pause the film and ask for predictions of what might happen next.\n- Show the sequence of the boy going up to bed (from 01:58 to 03:05). Freeze frame on each significant shot and ask pupils to note/draw on a storyboard what they see. Discuss the different camera angles used and how they make the viewer feel. How are we made to feel the boy\u2019s vulnerability and fear? Note any use of colour, lighting or sound that adds to the effect.\n- Show the film up to 03:40 (when the camera pans from the boy\u2019s bed across to the moon through the window). Why is this camera move used at this point? Are we meant to experience anyone\u2019s point of view?\n- Screen the film, asking pupils to focus on sound. Ask them to list all the diegetic and non-diegetic sounds they can hear. You may want to focus this discussion on specific sections of the film (such as the point when the Sandman appears in the boy\u2019s room \u2013 is the sound of the Sandman moving diegetic or non-diegetic?).\n- 'The Sandman' is a horror film. Discuss the role of colour and lighting as a tool to generate suspense.\n- Show the sequence of the boy going up to bed (from 01:58 to 03:05). On the class board, invite suggestions of words or phrases that might describe how the boy is feeling going up the stairs and walking along the corridors (look for descriptive nouns, adverbs and adjectives).\n- Breakdown the story into its narrative structure: beginning, middle and end. Discuss this common structure with reference to other stories \u2013 how it creates momentum through the narrative towards a climax.\n- Discuss feelings of fear and nervous anticipation. Share experiences of times when pupils have felt nervous, afraid or anxious. What did it feel like and how did you make yourself feel better?\n- Create a list of other films or stories that this reminds pupils of.\n- Try to re-tell the story in prose form, attempting to capture \u2013 in words \u2013 the sense of tension and suspense in the film.\n- Using stills from the film, create a comic-strip version of the film with thought bubbles and speech (where appropriate) for the characters.\n- Research the tale of the Sandman (e.g folklore, E.T.A. Hoffmann\u2019s \u2018Der Sandmann\u2019, popular song). Create a moving image essay or PowerPoint presentation on the different interpretations of this myth.\n- Download 'The Sandman' from the Screening Shorts website and edit together a one-minute trailer for the film.\n- Research other fairy tales, myths and legends and then storyboard and film new version of one.\n- Explore moving like the Sandman.\n|Resource Rights Holder||Batty Berry MacKinnon|\n|Year of Production||1991|\n|Curriculum Areas||Expressive Arts, Health and Wellbeing, Modern Languages, Literacy and English, Religious and Moral Education, Social Studies|\n|Country of Origin||UK|\n|Medium / Content||3D Animation, Fiction, Colour, Sound|\n|Themes||Feelings, Danger / Fear, Culture / Society|\n|Age Group||S1-S3, S4-S6|", "id": "<urn:uuid:5340b6ee-93d7-41f1-afda-ddac9f2c7621>", "dump": "CC-MAIN-2022-21", "url": "https://screeningshorts.org.uk/browse-films/sandman-the", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00373.warc.gz", "language": "en", "language_score": 0.88222336769104, "token_count": 971, "score": 3.78125, "int_score": 4}
{"text": "Copperheads live near creeks and rivers, under shrubs and vegetation, in wood piles, in gardens, sheds and under porches and decks. As copperheads are pit vipers, they will have a heat-sensing \u201cpit\u201d located between the nostril and the eye on both sides of the head. Their \\\"dorsal pattern is a series of dark, chestnut-brown or reddish-brown crossbands, each shaped like an hourglass, dum\u2026 Empower Her. Copperheads have elliptical eyes, facial pits and a single row of subcaudal scales, but observing these traits requires you to have close interaction with a potentially dangerous animal. Baby copperheads are not more dangerous or venomous than adults, but their small size makes them hard to see and can attract children and pets, states The Missouri Department of Conservation. This color is similar to the color of a penny and is distinct to the copperhead. PART OF WILD SKY MEDIA | FAMILY & PARENTING, How to Identify Black-and-Red-Banded Snakes. The Difference Between Gopher Snakes & Rattlesnakes, The Difference Between a Cottonmouth & a Water Moccasin, How to Determine the Age of a Rattlesnake, Different Kinds of Venomous Snakes in Mississippi.\nJoshua Wade has been a freelance writer since 2006. As copperheads are pit vipers, they will have a heat-sensing \u201cpit\u201d located between the nostril and the eye on both sides of the head. Inspect the tail of the snake. Adults will have a light tan or pinkish color with dark markings. \u00a9 2020 WILD SKY MEDIA.\nA member of the genus Agkistrodon, copperheads are often confused with water moccasins, another species of snake that belongs to the same genus. Further, any venomous snake bite should requires immediate medical attention.\nA copperhead at 24 inches may be as thick as the circle formed when touching your pointer finger and thumb together. Once the prey is near enough, the baby attacks it.\nWhile both are found throughout the southern and eastern United States and share similar colorings, copperheads have a few defining characteristics, including the triangular shape and copper color of their heads. A bite could lead to permanent tissue and nerve damage or even worse. What Is a Non Venomous Snake That Looks Like a Cottonmouth? Instead, use the color pattern, tail tip and body shape of a snake to identify baby copperheads from a safe distance. While the copperhead will vary in color depending on the region, its markings are similar to hourglass-shaped bands that span the entire length of the snake, typically darker in color on the outside and brighter in color on the inside.\nInspect the head of the snake for a triangular shape, copper-red in color. However, after a steady food source is found, they quickly grow to and have a thick body. Inspect the tail of the snake. Copperheads are venomous: This means that a copperhead bite (whether from an adult or baby) is likely to be harmful. Learning to identify a baby copperhead is essential for outdoor enthusiasts, as their bites have been known cause long-lasting injuries to adults and are often lethal in small children.\nThe baby wiggles its yellow tail to make small creatures think it is a worm. Be Her Village. These markings will have a Hershey kiss shape \u2026 Copperheads get their name, unsurprisingly, from their bronze-hued heads. Copperheads are medium-size snakes, averaging between 2 and 3 feet (0.6 to 0.9 meters) in length. Baby copperheads are typically 7 \u2013 10 inches long and adults reach 24 \u2013 36 inches. Copperheads.\n7. Inspect the sides of the snake\u2019s head.\nNorth Carolina Snakes That Live Near Water. Baby copperheads do have one feature that makes them stand out from adult copperheads. Inspect the body of the snake. Shape The World. Treat them with the same amount of respect you would an adult snake. Baby copperheads are just smaller versions of the adult snake and yes, a copperhead bite does have the potential to be dangerous. A baby copperhead has a distinctive bright-yellow tip at the end of its tail, up to 1 inch long. Babies are thin for the first three months. He has also written for various online publications. Wade's poetry and short fiction have appeared in \"The Frequent and Vigorous Quarterly\" and \"The Litter Box Magazine.\"\nA baby copperhead has a distinctive bright-yellow tip at the end of its tail, up to 1 inch long. Baby copperheads have yellow tails. According to the Smithsonian National Zoological Park, female copperheads are longer than males; however, males possess proportionally longer tails.According to Beane, copperheads' bodies are distinctly patterned. ALL RIGHTS RESERVED. They have a bright yellow tail that they can use to help trick prey into coming near. Wade attended West Virginia University where he studied English and creative writing.\nCopperhead bites have the potential to be very painful, but thankfully, they aren't usually deadly.", "id": "<urn:uuid:f0ce0e63-646f-4e25-9dd4-9cc700eab208>", "dump": "CC-MAIN-2022-21", "url": "https://xn--mnqx4dj0bu4b8y0kkkdlyp.com/forum/bc9c4d-baby-copperheads", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517245.1/warc/CC-MAIN-20220517095022-20220517125022-00171.warc.gz", "language": "en", "language_score": 0.9586352109909058, "token_count": 1074, "score": 3.515625, "int_score": 4}
{"text": "By William Reed\nDid you know that the official African-American holidays are: Kwanzaa, Martin Luther King Jr. Day and Juneteenth? What do you, and your family, do to celebrate Juneteenth? Also known as Freedom Day or Emancipation Day, the Juneteenth holiday is an abbreviated form of \u201cJune Nineteenth.\u201d It marks the day Blacks in Texas belatedly received word that President Abraham Lincoln\u2019s Emancipation Proclamation had freed the nation\u2019s slaves.\nBlack Americans should commemorate Juneteenth as the date in 1865 when Union Gen. Gordon Granger arrived with his troops at Galveston Island and read President Lincoln\u2019s proclamation freeing the state\u2019s 200,000 slaves. The proclamation had originally taken effect on Jan. 1, 1863, but word didn\u2019t reach Texas until two months after Confederate Gen. Robert E. Lee surrendered to Gen. Ulysses S. Grant, and more than two years after the proclamation was issued. Explanations for the holdup vary. Depending on who\u2019s doing the explaining, the delay could have been attributed to anything from bureaucratic delays to a slow mule. Once freed, several self-sustaining Black farming communities grew up in Texas, and across the land, as freed men tilled their own soil.\nDescendants of slaves should institute some modern-day ritual as we continue the country\u2019s oldest celebration commemorating the end of slavery. An African-American tradition since the late 19th century, Juneteenth is recognized as a state holiday or day of observance in 42 states. On June 19th, 2013, the Dr. Ronald V. Myers, Sr., chairman of the National Juneteenth Observance Foundation, will join with Speaker of the House John Boehner (R-Ohio) to host a ceremony to unveil a statue of Frederick Douglass at the U.S. Capitol with Myers reading Douglass\u2019 historic speech: \u201cThe Meaning of July Fourth for the Negro.\u201d The speech is a classic: July 5, 1852, Douglass gave a speech at an event commemorating the signing of the Declaration of Independence, held at Rochester\u2019s Corinthian Hall and told his audience, \u201cThis Fourth of July is yours, not mine. You may rejoice, I must mourn.\u2019\u201d\nBut some are asking: \u201cIs Juneteenth still relevant?\u201d These days, some consider Juneteenth as being \u201ccontroversial.\u201d In the early 20th century, economic and cultural forces caused a decline in Juneteenth celebrations. The Great Depression forced many Blacks off farms and into cities to find work. In those urban environments, employers did not grant leave for Juneteenth celebrations. July 4 was the established Independence Day holiday and a rise in patriotism among Black Americans steered more toward what they considered \u201cIndependence Day\u201d celebrations. At the height of the 1960s Civil Rights Movement, Juneteenth lost more gravitas, particularly among militant Blacks who perceived it as obsolete in terms of their goals. Some argued that Juneteenth wasn\u2019t a cause for celebration inasmuch as it symbolized that Texas Blacks had remained enslaved after the rest of the South had been freed.\nWashington\u2019s Smithsonian Institution\u2019s Anacostia Museum has emerged from the controversy to an annual Juneteenth celebration whose focus remains on the recounting of Afro-American culture and includes such traditional activities as a community barbecue, music, poetry readings, games and fireworks. It also features storytelling and re-enactments of battles fought by the all-Black 54th Regiment Union forces of the Civil War. Malcolm Beech, head of the Cultural Heritage Museum and a group of African-American Civil War Re-enactors says, \u201cJuneteenth is a very important day for us to keep alive in our history as we continue to tell stories of Blacks that were soldiers, slaves and freed men.\u201d\nAs it moves forward, Juneteenth has become an occasion for reflection and time to recognize our achievements in life and economic development. Some have even equated the holiday with having the same importance among Afro-Americans as does Cinco de Mayo among Latinos.\nMaking it a point to trade, or buy something, from another Black, would be a worthwhile practice for African Americans to engage in during Juneteenth. This should also be a time for Blacks to focus on education and self-improvement, and to retrace our outstanding ancestry.\nWilliam Reed is head of the Business Exchange Network and available for speaking/seminar projects through the Bailey Group.org.", "id": "<urn:uuid:d0d93e3d-ebeb-4c4d-804b-d00f5c057e39>", "dump": "CC-MAIN-2022-21", "url": "https://www.washingtoninformer.com/business-exchange-juneteenth-is-worth-celebrating/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662560022.71/warc/CC-MAIN-20220523163515-20220523193515-00572.warc.gz", "language": "en", "language_score": 0.9646400213241577, "token_count": 954, "score": 3.625, "int_score": 4}
{"text": "Learning English K2 promotes meaningful learning of the English language through vocabulary building, acquisition of basic grammar knowledge, reading and writing.\nWhy is this book useful to preschool children?\nBuilding Vocabulary Through Pictures, Sentences and Word Games\nVivid and interesting pictures accompanying the text allow children to learn and recognise words effectively. Simple sentences are introduced with ample practice exercises to enforce correct usage in complete sentences. Word games are also included to challenge a child in the creative application of the language.\nEnhancing Writing Skills Through Sentence and Paragraph Writing Activities\nThe guided sentence formation exercises help to develop creative writing skills.\nAcquiring Basic Grammar Concepts Through Drills\nDrills on essential English grammar reinforce correct language structure and use systematically and effectively.\nThe key objectives and focus of the activities are provided at the bottom of the pages as a guide for parents and teachers.\nPaperback / For Ages: 5-6 / 94 pages", "id": "<urn:uuid:a5029837-76f5-4a5e-b4da-6f2ef0c1b78b>", "dump": "CC-MAIN-2022-21", "url": "https://domabookstore.com/products/learning-english-k2-for-k3-students-in-hk", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604794.68/warc/CC-MAIN-20220526100301-20220526130301-00773.warc.gz", "language": "en", "language_score": 0.7655121088027954, "token_count": 553, "score": 4.03125, "int_score": 4}
{"text": "What sets Montessori apart in the Elementary years\u2014ages 6 \u2013 12\u2014is the individually paced curriculum that challenges children academically and safeguards their well-being and sense of self. Engaging as contributing members of a respectful community, they learn to question, think critically, and take responsibility for their own learning\u2014skills that will support them in later education and in life.\n\u201cTo kindle the reasoning mind of elementary children, providing ample opportunities to these voracious intellectual gatherers, helping them arrive at defining their societal role while understanding interdependence in the world.\u201d\nIn a Montessori Elementary classroom, students work individually or in small groups, at tables or on mats on the floor.Natural lighting, soft colors, and uncluttered spaces set the stage for activity that is focused and calm. Learning materials are arranged on accessible shelves according to curricular area, fostering independence as students go about their work. Everything is where it is supposed to be, conveying a sense of harmony and order that both comforts and inspires.\nElementary age students are naturally curious and have a strong internal drive to discover how our world works. They may ask, \u201cHow does a fish breathe under water?\u201d \u201cWhat number comes after a trillion?\u201d \u201cWhat causes a volcano to erupt?\u201d Instead of simply giving them the correct answers, Montessori elementary teachers ask the right questions; they tell stories to inspire the children\u2019s imagination and tantalize them to explore on their own to find out more: about volcanoes and dinosaurs and Monet and gladiators and poppies and skateboards and butter churning and cheetahs and \u2013 there is no limit!Driven by their passions, the children are open to the input from the teacher that refines their reading, writing, reasoning, and research skills. Designing our elementary program around the children\u2019s natural cognitive abilities means that our focus is less on the facts and concepts we teach and more on what the children learn and how they learn it.\nMulti-age groupings of children aged 6 \u2013 9 and 9 \u201312 provide a heterogeneous mix in which children can collaborate and socialize. These inter-age relationships strengthen the entire community.Older children are seen as role models within the community. They support the growth and development of younger children through socialization, assisting with new work, or teaching skills they have mastered themselves. They can also work with younger students in areas of the curriculum in which they themselves may need more practice, without stigma.Younger children follow the example set by the older students, and have peers to work with in areas of the curriculum in which they may be more advanced. This multi-age community provides opportunities for all individuals to learn from each other, at times leading, sharing, or serving as role models. It also develops an appreciation of differences.\nSet in the Montessori way of scope and sequence, we provide abundant literature and cultural learning opportunities that inspire love for each of these languages and the context to appreciate the need of learning it more for higher order thinking and creative expression rather than mere functionality.\nThe ideas of number concepts, place value, numerals, and related quantities are reinforced and expanded upon within the Elementary program. Newfound purposes for familiar math materials provide children with the means to consider number concepts, mathematical operations, and more complex functions, helping to expand advanced mathematical knowledge and understanding.\nReading and writing are integral to all subjects in Montessori Elementary, as children express their interests and satisfy their curiosity. Students master conventions with thorough studies of grammar, spelling, and mechanics. They produce final copies with careful penmanship. They read, analyse, think critically, and compare and contrast literature to support personal opinion and perspective. Using these reading and writing skills, they present ideas through formal and informal presentations.\nCultural studies are interdisciplinary and integrate zoology, botany, anthropology, geography, geology, physical and life sciences, and anthropology. Through these lessons, children explore the interconnectedness of all living things. Additionally, in-depth studies of history, physical and political world geography, civics, economics, peace and justice, the arts, world language, and physical education are introduced.\nScience and Social Studies\nInterdisciplinary and integrated studies of geology, geography, physical and life sciences, anthropology, and history are built around \u201cGreat Lessons,\u201d a series of dramatic stories that explore the origins of the universe, our planet, and the continuous development of human advancement. The laws of physics and chemistry reveal the interdependency of all living things. Beginning with a study of civilization, students explore the contributions of history and what it means to be a responsible citizen and to seek ways to make the world a better, more peaceful place. Besides Academics, children have regular classes as and when arranged, based on age appropriateness in Team Sports, Carpentry, Natural dye Printing, Weaving, Art and Craft, Culinary and baking, Pottery, Tailoring and Embroidery, Storytelling and theatre.All subjects will be intertwined in art, music, theatre and drama, going outs and scientifically traced to its development in history. Children regularly go out on educational trips, and have exposure sessions on life skills, wildlife, farm living, music, dance and drama.To further accentuate the home learning, interesting follow up work and home projects where family groups can be involved are given to the children. Farm visits and work on the farm is possible due to our parent organisation - Relief Foundation\u2019s rural Montessori Resource centre in Narasingapuram and Jamunamarathur.", "id": "<urn:uuid:76e82e6a-1a41-4d47-9274-e01b9bcfac8a>", "dump": "CC-MAIN-2022-21", "url": "https://cascadefls.org/elementary-program/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00572.warc.gz", "language": "en", "language_score": 0.9424790143966675, "token_count": 1167, "score": 3.828125, "int_score": 4}
{"text": "24/7 writing help on your phone\nSave to my list\nRemove from my list\nIn Ian McEwan\u2019s novel Atonement, McEwan almost writes, with his developed characters, through third person point of view and since the characters do not tell their stories, McEwan writes a considerable and compound descriptions to embellish their personalities. McEwan describes the atmosphere that goes from light to dark, signaling that some of the events that will occur in the novel will become unsatisfying in which that description can set the tone for these events, while employing the element of contrast to develop his characters.\nWith point of view, foreshadowing and contrast in the novel, the author employs the tone of reminiscent.\nThe novel Atonement focuses on the point of view of three main characters: Briony Tallis, Cecilia Tallis, and Robbie Turner in which their lives turned upside down from a life-changing event that occured. McEwan use point of view with the characters to allow the reader to better understand the viewpoints of these people in which McEwan shifts from one viewpoint to another along the same paragraph.\nFor example, \u201cNow there was nothing left\u2026beyond what survived in the memory, in three separate and overlapping memories\u201d (39) in which Briony describes how everybody has their own version of real or fake in their own world in which reminds the characters that they become living in reality in which Briony has her own views of what kind of reality she lives in. Society reminds characters that they live in a real world where everything can change everybody for better or worse. McEwan\u2019s character development that he inputs in the novel does not only add more to the plot of the story, it gives readers an image to understand in which it helps the audience to underline the characters as they go through struggles in their daily lives.\nMcEwan\u2019s descriptions supply more depth and reliability to the characters and as a result, they play a huge role in putting up events through complicated physical description. For example, \u201cIn the early evening, high-altitude clouds in the western sky formed a thin yellow wash, which became richer over the hour\u2026sky and ground took on a reddish bloom and the swollen trucks of elderly oaks became so black they began to look blue\u2026now the air was still and heavy (73) in which it represents the idea of an old photography in which it holds memories of how their past became to become which illustrates the tone of reminiscent because it, perhaps, makes the characters feel nostalgic of what had happened before.\nMcEwan continues to have character development by including the element of contrast in which it adds depth to the characters in a way by focusing on the difficulties that every character has gone through. The element of contrast relates to the tone of reminiscent by stating \u201cwhat she saw must have been shaped in part by what she already knew, or believed she knew\u201d which illustrates how the author shows audiences of how Briony becomes intervened between both worlds of real or fake. She, one way or another, must face the consequences from her actions, however it appears that Briony has her own beliefs in which she believes on her own assumptions rather than common senseness. The tone of reminiscent play with the idea of believing in a fake world can apply to society becoming the only matter that brings characters back into their world of chaos in which McEwan uses the element of contrast to come in terms between reality and with what McEwan\u2019s characters wanted to believe in which they can believe what they want, but they always come back to the real world.\nWith point of view, foreshadowing and the element of contrast, Atonement tone can become reminiscent in which the characters have their own matters that reminds them of the wonderful days that occured but become stuck with the world that became filled with chaotic and destruction. In the novel, the atmosphere that the setting creates transitions to light from dark in which the tone of reminiscent can reveal what the characters reveal to the audience in which they become vulnerable to the events occuring to them.\n\u201cAn Untidy Finish\u201d\nSamara Ann Cahill, the author of the essay, states that the novel Atonement talks about a person\u2019s social relationship with history and fiction which builds up meaning. The author\u2019s argument concerning about the novel becoming \u201caccurately apprehended,,,by a gothic\u201d can come from his points of Briony\u2019s \u201cguilty consciousness\u201d and becoming \u201chaunted by the ghosts of the pasts\u201d can become agreeable as it reveals the novel as a gothic novel because how in a gothic world, innocence weakens and guilty awakens which can reveal how the idea of a gothic novel can represent the darkness that a character consumes when that can reveal how that character becomes throughout the novel.\nIn the novel, some of the elements of gothic become noticeable that audiences can identify such as storm, tempest, death, monstrous crimes, and even ghosts. The character of Briony becomes rather a complex person that deals with much matter. Cahill mentions that the novel \u201c..is more centrally concerned with the ethical representation of reality through fiction\u201d which relates to Briony becoming the affected one of them all which Briony frames Robbie by writing a story that she created which Robbie raped another person. Atonement, in definition, means reparation for a wrong or injury in which this can make Briony\u2019s atonement of framing Robbie in which she \u201c..always liked to make a tidy finish\u201d and in that case the writing of the story of Cecilia and Robbie\u2019s love. The title of the chapter titled \u201cLondon, 1999\u201d became narrated by Briony in which she discusses about Cecilia\u2019s and Robbie\u2019s love affair and her attempt to damage the love that they both have can reveal that both of these characters filtered through Briony\u2019s guilt consciousness which can represent how Briony becomes the most weakest one and vulnerable one when destroying lives in which a war already takes Briony place of doing\n\ud83d\udc4b Hi! I\u2019m your smart assistant Amy!\nDon\u2019t know where to start? Type your requirements and I\u2019ll connect you to an academic expert within 3 minutes.get help with your assignment", "id": "<urn:uuid:c27d0c27-7b5c-4ae9-9b16-a60356bb5619>", "dump": "CC-MAIN-2022-21", "url": "https://studymoose.com/development-of-characters-in-atonement-essay", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00174.warc.gz", "language": "en", "language_score": 0.9743444919586182, "token_count": 1329, "score": 3.625, "int_score": 4}
{"text": "Directly target empathy\nSee our Top Games That Teach Empathy list for more empathy-focused tools.\nEach Peekapak topic (including empathy) consists of an introductory storybook, eight activities to do in the classroom, and eight activities to send home for kids to do with their parents. Lessons for grades K\u20135 help kids explore SEL concepts from a variety of angles.\nThis incredibly relatable story about navigating adult love and life has some mature themes, but the controls in the game are mapped so well to emotions that kids learn how to traverse the nuances of fresh relationships in a compassionate way.\nBuild empathy in all subjects\nFor ELA classrooms\nHave students use this storytelling app to upload pictures, videos, and their voices to illustrate an emotional experience in their lives or to describe likes and dislikes. Through sharing, students will begin to see what it\u2019s like for their peers.\nFacing History and Ourselves\nUse Facing History\u2019s resources to discuss and reflect on students\u2019 experiences and beliefs about tough topics such as racism and prejudice. Students can also create and share bio-poems as part of a community unit.\nFor math classrooms\nAsk students about personal situations and have them use the app to construct a depiction of their feelings. Students can annotate the design, and after that a discussion can help students learn from each other while they study geometric shapes.\nIllustrate the crippling financial quandaries of poverty. Have students discuss their play, using correct finance terms such as \u201cminimum wage\u201d and \u201cinflation,\u201d and host an honest talk about how Spent oversimplifies the issue of choice.\nFor science classrooms\nUse this 3D-design tool to address people\u2019s needs. Students can research societal problems (such as water quality or climate change). Once they build understanding and empathy, they can go through design processes to create a prototype solution.\nWWF Free Rivers\nThis augmented-reality app immerses students in a river ecosystem. Students will gain perspective as they learn how rivers affect people and wildlife. Have students discuss the pros and cons of building dams for historical societies and for their own community.\nFor social studies classrooms\nVideos and photo essays depict life experiences around the world. Use the Mix It Up activities to have students identify social boundaries at school, and then have them use primary-source documents to find similar boundaries in history.\nGlobal Oneness Project\nThis site showcases global life stories. Let students view the videos on climate change or sustainability, and then have them go out and create their own videos capturing a cultural experience in school or their own community.\nFor all classrooms\nShadow Puppet EDU\nStart a project where students search for images directly in the app (from art museums or NASA) to tell a story of the personal connection they have to the book they read, the organism they observed, or an event in history. Share as a class.\nSkype is great for communicating with students from around the world. Hook up with another class and have students share their stories, solve an engineering solution together, or practice another language to gain perspective about other cultures.\n- Explore our Movies That Inspire Empathy and TV That Inspires Empathy lists to share with parents.\n- Parent questions? Point them to our Character Strengths and Life Skills page for answers.\n[Editor\u2019s note: This post originally appeared on Common Sense Education.]\n- How to build relationships with instructional coaches - May 20, 2022\n- 3 keys to supporting students during a mental health crisis - May 20, 2022\n- 5 tips to retain your educators during school staff shortages - May 18, 2022", "id": "<urn:uuid:383bc80b-d201-4962-b77d-36b0b87302c2>", "dump": "CC-MAIN-2022-21", "url": "https://www.eschoolnews.com/2018/11/15/we-all-teach-sel-empathy-activities-tools-for-students/2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662532032.9/warc/CC-MAIN-20220520124557-20220520154557-00774.warc.gz", "language": "en", "language_score": 0.9292103052139282, "token_count": 793, "score": 4.1875, "int_score": 4}
{"text": "Biblical storytelling with children\nBy Carole Danby\nClaiming the Space\nMake the gathering space welcoming and bright with a visual emphasis on the Bible \u2013 Bible open and on a stand, story stole, cross, coloured cloth and Treasure chest or box wrapped in gold paper if you have one.\nWe stand on holy ground when we share our faith stories with others \u2013 children.\nDrama Techniques for exploring Scripture\nDivide the bible story into small phrases or single words, then put an action to each one and invite the assembled group to copy what you say and do what you do until you say \u2018The End\u2019! Example \u2013\nOne day Hold up one finger\nJesus went to Jericho Point away from you\nTo see some friends Shade eyes, looking\nZacchaeus Draw a \u2018Z\u2019 in the air\nWanted to see Jesus Shade eyes, looking\nBut he could not Shake head\nBecause he was too short\nIndicate a short person at your side with hand\nDivide the Bible Story into 6 or so segments that can be easily said by young children. Assign one segment to each of 6 or so children and invite them to say the line 3 times and do an action to match what is being said. Then when they are finished, they freeze and the next person says their segment 3 times and freezes. A leader introduces the story and ends it. Here is an example from John\u2019s Gospel \u2013\nLeader: The story of the first Easter.\nThe Stone is gone!\nJesus is gone!\nPeter, Jesus is gone!\nI don\u2019t believe it!\nIt\u2019s true! Jesus is gone!\nJesus is alive! Alleluia!\nLeader: Jesus told Mary to tell everyone the Good News and she did!\nHold up fingers while telling. Example:\n1 day Jesus was going\n2wards Jericho with\n5 of his disciples.\nAs all 6 of them were leaving,\n1 man, Bartimaeus, son of Timaeus, a blind beggar, was sitting next\n2 the roadside. When he heard that it was the\n1derful Jesus going by,\nhe called out 2 him\nin a gr8 big voice, \u2018Jesus, Son of David,\nave pity 4 me!\u2019\nSound Effects \u2013\nYEAH, WOW, UHOH, APPLAUSE, OOOHH, AAAHH, HISS \u2013\nMake signs with one word on each and invite 7 children to hold one sign each. Tell or read a story and encourage the holders of the signs to step forward whenever they think the rest of the group should call out the word on their sign.\nTwo-way stretch sacks made from stretch Lycra material. Children place these over their heads and step into the footholds sewn into the bottom of the bag. A Bible story is read or told and those in the bags respond to what they hear by moving inside the bag. Rules \u2013 do not move your feet and no talking while inside the bag.\nChildren can make puppets from paper bags, or adults in your church can make handle-bag puppets from fabric scraps, a handle, and a head. Heads can be made of many different found materials! And when the puppets are made, the children can act the story with the puppets. If an adult has a smartphone they can make a video of the story. Here is a video demonstration about handle-bag puppets and drama bags.\nGive each participant a sheet of paper and instruct them to fold in half, then in half again, then in half again. This will divide the page into 8 sections. Tell a story and then invite children to draw the story as far as they can recall. Then tell it again and ask them to fill in any blanks. Then children can turn to someone next to them and use their story map to tell the story to someone else. OR, you can draw a storyboard in sand or dirt the same way.\nPrayer with actions for younger children\nCreator God, I give you today,\nall that I think, and do, and say.\nI give you the good times, as well as the bad,\nthe time when I'm happy,\nthe times when I am sad.\nFill me with grace and make me strong.\nWith you by my side, I can never go wrong. Amen", "id": "<urn:uuid:5d12cf0e-362a-4743-9c46-6af4b79d67e2>", "dump": "CC-MAIN-2022-21", "url": "https://www.bethgalbreath.com/copy-of-galbreathj", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531779.10/warc/CC-MAIN-20220520093441-20220520123441-00574.warc.gz", "language": "en", "language_score": 0.937981367111206, "token_count": 957, "score": 3.515625, "int_score": 4}
{"text": "Updated: Oct 15, 2021\nBooks, Stories And Colourful Semantics\nMany of my students have difficulties telling stories. When looking at a book together, even books they love and have seen many times, they often struggle to understand what they are reading and cannot therefore retell the story in any sequence. A great method I often use with those students is called Colourful Semantics.\nWhat is Colourful Semantics?\nColourful Semantics is an approach aimed at helping children develop grammar and meaning of phrases and sentences. We help children identify WHO is the subject in a story, what is he/she/it DOING to WHAT and WHERE. There are lots of colour coded stages but we tend to start with the basic 4:\nWHO = ORANGE\nDOING = YELLOW\nWHAT = GREEN\nWHERE = BLUE\nOnce a student is accomplished at this level, we move on to different colour codes for describing words (adjectives), connecting words (with/together/and/therefore) feeling words (PINK), timing words (BROWN) eg. when, tomorrow, last week etc.\nColourful Semantics is a really useful method and helps children to organise their sentences. It also helps me knowing how to guide a student in thinking about the story.\nThe approach can be used with children with a range of Speech and Language Needs, such as:\nDevelopmental Delay / Disorder\nAutistic Spectrum Condition\nAny other syndromes and related speech and language delays\nGeneral Literacy difficulties\nThere are a wide range of benefits to using this approach and I use it in my therapeutic work with children of around 3 years plus. Below is a little video which shows how I use it with this student who has general language difficulties associated with Autism. One of the main benefits with this student is that seeing the Cue Cards helps her to use a much wider range of vocabulary than she would ordinarily generate. Her sentences are getting longer and she is more able to answer questions. In general, I find it useful to help with storytelling and to guide us through the story in a sequence.\nThere are many on-line games these days that have incorporated the Colourful Semantics Approach. Once a child is familiar with the basic colour scheme then gradually the visual prompts can be reduced to using verbal prompts.\nFind a speech and language therapist for your child in London. Are you concerned about your child\u2019s speech, feeding or communication skills and don\u2019t know where to turn? Please contact us for a free, no-obligation chat about how we can help you or visit our services.", "id": "<urn:uuid:3cc7fff2-29cc-4d2c-902f-9bb5e0f3d096>", "dump": "CC-MAIN-2022-21", "url": "https://www.londonspeechandfeeding.co.uk/post/language-development", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662552994.41/warc/CC-MAIN-20220523011006-20220523041006-00574.warc.gz", "language": "en", "language_score": 0.9481335282325745, "token_count": 545, "score": 4.03125, "int_score": 4}
{"text": "Story Reading Through Analysis, Synthesis and Interpretation\nIn her excellent review of qualitative inquiry and analysis, Renata Tesch (1990) reviewed 26 different approaches to qualitative research she identified in the literature. She organized these approaches around four research interests: exploration of characteristics of language, the discovery of regularities, the comprehension of the meaning of text or action, and reflection. She noted that although there is overlap among these approaches in terms of how the inquirer interprets or makes sense of information gathered, there is not a consensus on how to analyze, synthesize, and interpret information. In fact, as new assumptions about what knowledge is and how we learn are employed, as different kinds of questions are asked, as different purposes for doing inquiry evolve, and as different people participate as inquirers, more and more kinds of interpretation are developing. This fact can be discouraging if you were hoping to find the one right way to make sense of information you are gathering. But it is also very liberating to know that inquirers can come up with their own interpretive procedures to fit their particular study needs.\nAnother way to think about these issues is in terms of stories. Storytelling and story hearing or story reading are some of the most ancient of human activities. When someone is telling a story, they are interpreting or making meaning of some event, activity, or experience. The telling of a story involves \u201cmaking sense\u201d of experience and making sense could involve analysis, synthesis, and/or interpretation. These story-telling interpretive activities can take infinite forms. For example, a child sitting on the back row of a classroom with filthy clothing, who is disruptive or seems depressed and is not involved in the class activities is telling her teacher a story about her background, needs, and challenges. Students tell stories about their interpretations of life, school, subject matter, etc. through their test performance, homework completion, social behavior, artistic expression, writing, the books they read, responses to questions, and on and on.\nIn Chapter One, Steve (the student who was expelled from the high school program) was telling his teachers and student teachers a story through his smoking behavior on the ski trip as well as through his comments to them in their office after the trip. Jimmy was telling Kyleen a story through all of his activities, which she documented in the study reported in Appendix C. The first graders who were held back were trying to tell their stories to the administrators and teachers described by Judy in her report in Appendix E. Marn\u00e9 was trying to read stories of several students and herself as a journal-writing teacher in Appendix B. Gary was doing the same thing as a school superintendent by reading stories being lived out by teachers and administrators from his district in his report in Appendix F.\nThinking even more broadly, we find that living and all experience generally can be usefully thought of as interpretation. If I respond to people brusquely or kindly, I am expressing an interpretation of them and my relationships with them. If I stay in bed all day or get up and work hard when I have a cold, I am interpreting that malady differently. Almost anything one does or says or is can be considered an expression of meaning or point of view by the actor. We are telling our stories by our presence, our aura, our clothing, our physical stance, how we locate ourselves in a group, by our faces, by all that we are. If this is so, everyone is constantly telling stories or expressing interpretations of all their experiences. And anyone who is interested in hearing those stories has more than enough to listen for. Educators face many storytellers daily.\nIn a slightly more restricted sense, there are many different ways we actively or deliberately interpret experience \u201creflectively\u201d or \u201cthoughtfully\u201d (as opposed to simply living out our interpretations of life\u2019s events). Some of these interpretations are done in relative solitude while others are interactive. Interactive interpretations can be with people we are close to or with relative strangers. Thinking about these deliberate interpretations as \u201creadings\u201d of the stories people are telling us through their lives or readings of our lived experience may open up some new ways of making sense of qualitative inquiry activities. Some examples of deliberate forms of interpretation, which allow the interpreter to get a new \u201creading\u201d are:\n- Letting an experience or idea \u201csink in\u201d to our sub-conscious and seeing where it leads.\n- Literally reading others\u2019 writings and letting their interpretations spark new connections in the reader.\n- Writing (journals, memos, letters, poetry, field notes, and others) helps the writer to clarify her or his thinking and perspective.\n- Making summary statements about an experience, receiving critical feedback from others regarding those summaries, and defending the summaries with an open mind.\n- Responding to a request to summarize the key learning or insights obtained during a study.\n- Therapeutic talking with a counselor, a friend, or a support group about experiences.\n- Meditating in various forms (while running, dreaming, engaging in martial arts, practicing Zen, praying, and so on) allows the participant to step back from the experience and get a different reading.\n- Using any of the common art forms (such as painting, drawing, dance, music, and story telling itself) can help the artist to \u201cread\u201d an experience in a different way, to interpret it.\nEducators who think of themselves primarily as learners are constantly seeking for better and better ways to read the stories others are telling through their lives. This is deliberate interpretation. Teachers face entire rooms full of students who are telling stories that may be very foreign to the teachers\u2019 experiences. They face the challenge of helping the students integrate parts of those stories into a coherent classroom story that everyone can share, but which does not threaten or destroy the story elements unique to each member of the class. And of course, teachers have their own stories to merge with the students\u2019 and class\u2019s stories. Administrators face the same challenge at building and institution levels. Part of the challenge of qualitative inquiry and of education generally is to learn to read the stories others are telling, to understand them, to have compassion for them.\nIn a sense then, this whole book on qualitative inquiry is about helping educators invite the people they work with and themselves to tell their stories more powerfully. It is also about helping educators find better ways to hear or \u201cread\u201d those stories and to share what they learn through those readings with people they want to help. Chapter Nine focuses on the sharing of story-readings. This chapter provides an opportunity to look in more depth at a few of the many ways of reading or interpreting people\u2019s stories to give you a sense of what is possible. You are invited to take this closer look by:\n- exploring how you are already interpreting or telling stories of your experience through the way you are living,\n- exploring how you are already reading or interpreting others\u2019 interpretations or stories, and\n- considering some additional ways you might read others\u2019 stories through qualitative inquiry and various associated approaches to analysis, synthesis, and interpretation.\nEnd-of-Chapter Survey: How would you rate the overall quality of this chapter?\n- Very Low Quality\n- Low Quality\n- Moderate Quality\n- High Quality\n- Very High Quality", "id": "<urn:uuid:2933381c-1a20-4a1f-b5aa-f2d0bbad4b0b>", "dump": "CC-MAIN-2022-21", "url": "https://openscholarspress.org/qualitativeinquiry/story_reading", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662573189.78/warc/CC-MAIN-20220524173011-20220524203011-00172.warc.gz", "language": "en", "language_score": 0.9674380421638489, "token_count": 1513, "score": 3.546875, "int_score": 4}
{"text": "Explore to protect\nMore than 80% of the ocean has not been explored despite water covering over 70% of the planet\u2019s surface. To protect more of this important habitat, technological advances are needed.\nTo protect something that hasn\u2019t yet been explored is almost impossible. That\u2019s why only 6.35% of the ocean is currently covered by Marine Protected Areas. While the figure was much smaller in 2000 when only 0.7% of the ocean were MPAs, further research and ocean exploration is crucial to protect more of the blue planet.\nThe main reason behind the lack of exploration is the sheer volume of the ocean. The deepest parts are dominated by zero visibility, cold temperatures and large amounts of pressure which make it, in parts, more difficult for people to reach it than space. As an example: If you would decide to dive to the bottom of Mariana Trench, your body would be subjected to 1,000 times more pressure than at the surface.\nTo explore more of the ocean, human-occupied, remotely-operated as well as autonomous submersibles, satellite technologies as well as state-of-the-art floats and drifter devices are used to collect vital data that can help shed a light on the many remaining questions surrounding the seascapes and help humans deal with the effects of climate change.\nAlseamar, a French marine tech company and producer of glider unmanned underwater vehicles (UUV) which are underwater drones that operate below the surface without the need for human help, is currently working hard to make oceanographic data accessible to a wider audience. The company has recently been able to produce highly accurate data plots of current profiles from large swathes of the water column.\nA combination of tailor-made algorithms, underwater gliders and a high-performing acoustic doppler current profiler (ADCP) from Nortek has helped break new ground for the oceanographic community. ACDPs are hydroacoustic current metres that resemble sonars to measure how fast water is moving across an entire water column.\nADCPs have revolutionised the ability to record ocean current movements. But they can only measure what they can \u2018see\u2019, and that is largely determined by what they are attached to, which may be a surface buoy or a frame on the seabed. While this is perfect for many uses, it isn\u2019t great to find out about the movements of currents across a large swathe of ocean, as moving ADCPs on frames from location to location is a time-consuming business and doesn\u2019t provide a complete picture of the currents in the whole area. Mounting ADCPs on a moving surface vessel is a good option for many, but some users are put off by the work and cost involved with hiring and crewing a vessel.\nRapid advances in underwater glider technology, however, have provided a new and efficient alternative to profile large volumes of water. Slimline battery-powered gliders are capable of cruising through the oceans for months at a time, carrying a multitude of instruments measuring many facets of the underwater world close up.\nTypically, gliders move in a sawtooth, or wave-like movement between the top of the water column and depths of around 1,000m. So, if you can get accurate measurements from ADCPs fixed to gliders, you have an efficient and cost-effective way to profile a huge volume of water in a relatively short period of time. That possibility prompted researchers at Alseamar to investigate how ADCPs could be made to work with their SeaExplorer glider, an autonomous sensing platform designed to collect water column data profiles ranging thousands of kilometres.\nDriven by buoyancy changes, the vehicle silently glides up and down the water column while collecting physical, chemical, biological and acoustic data depending on the fitted sensors. As no surface supervision of the glider is needed, it is a cost-effective solution for data collection. After the device collected data, it can easily be retrieved by small boats near shore.\nThe results of Alseamar\u2019s innovative development are of benefit for the greater ocean science community. The detailed analysis of current movements, combined with data from the glider\u2019s other instruments, gives users access to highly accurate data on how our oceans work. Orens de Fommervault, oceanographer at Alseamar, says: \u201cGlider missions contribute to the international efforts of the Global Ocean Observing System (GOOS).\u201d\nThe UNESCO-led GOOS programme coordinates observations in the ocean globally, focusing on three critical themes: climate, operational services and marine ecosystem health. It helps develop tools and observes the ocean to better understand how society and all life on earth is affected by climate change. The organisation gathers information to foster change, forecasts the weather to deliver early warnings of tsunamis or storms, and guides policymakers and nations towards a more sustainable future.\nGOOS\u2019 vision for 2030 is to implement a global ocean observing system to provide important information on sustainable development, wellbeing, prosperity and safety.\u201cThe Nortek ADCP design is really ideal for a profiling platform like ours. You could almost say it was dedicated to our application,\u201d says de Fommervault. Some select academic institutions are also able to estimate water currents from a glider, but the real step forward is that this is now available as a service from a private company. Alseamar is currently the only known private company able to estimate water currents from a glider and to provide this service to other companies, organisations and researchers.\n\u201cGlider-mounted ADCPs offer the ability to collect high-resolution, dense-data water velocity measurements at an unprecedented spatio-temporal scale resolution without the constant use and expense of support vessels,\u201d de Fommervault points out.\nThe ADCP-equipped glider has proved its accuracy in a number of different environments. Current profiles obtained by the ADCP on the SeaExplorer glider across 60 km in the Mediterranean Sea off southern France correlate with temperature, salinity and chlorophyll measurements taken by the glider at the same time. The ADCP was also able to measure tidal currents in considerable detail through the depth profile in the Atlantic off northwest France.\nBut configuring the ADCP-equipped underwater glider to gather vast amounts of usable oceanographic data is not the end of the story. \u201cOne big remaining challenge is to get access to as much of that data as possible in real time,\u201d Orens de Fommervault says.\nPhotographs by Ocean Image Bank \u2013 Lewis Burnett, Ocean Image Bank \u2013 Shaun Wolfe, NOAA Okeanos Explorer Program/Galapagos Rift Expedition 2011, NOAA Okeanos Explorer Program/Mid-Cayman Rise Expedition 2011, Ocean Image Bank \u2013 Thomas Horig, Alseamar.\nExplore the current issue\nBeautiful photography. Captivating storytelling.\nTake a look inside the latest issue of Oceanographic Magazine.\nSubscribe to the digital edition for just \u00a320 a year, or enjoy it for free courtesy of Oceanographic\u2019s partnership with Marine Conservation Society. No cost, no catch.\nBeautiful ocean stories straight to your inbox.\nJoin our community.", "id": "<urn:uuid:9d513d66-ee6f-45c4-b3bd-24f85984fa21>", "dump": "CC-MAIN-2022-21", "url": "https://www.oceanographicmagazine.com/features/explore-to-protect/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00574.warc.gz", "language": "en", "language_score": 0.9333723187446594, "token_count": 1511, "score": 3.546875, "int_score": 4}
{"text": "Epstein, S. A., & Phillips, J. (2009). Storytelling skills of children with specific language impairment. Child Language Teaching and Therapy, 25(3), 285-300. https://doi.org/10.1177/0265659009339819\nWhat was the aim?\nResearch suggests children with DLD have difficulties producing verbal narratives. Visual and verbal prompts can be used to support children\u2019s narratives. However, there has been little agreement regarding which method is most effective. The study assessed 8 children with DLD\u2019s verbal narratives, with visual and verbal prompts. The assessment looked at microstructural and macrostructural features. Visual prompts were wordless pictures. An example of a verbal prompt is \u201cthen what happened?\u201d\nMicrostructure refers to the details of the specific language use in the narrative, such as the use of his/her and words like \u201cand\u201d and \u201cor.\u201d\nMacrostructure refers to overall content and organisation of a narrative.\nCore story components include elements such as the setting and the character\u2019s actions and thoughts.\nWhat was found?\nChildren produced an overall better organised narrative (better macrostructure) with picture prompts rather than verbal prompts.\nThere was no difference between picture and verbal prompts in the inclusion of different core story components.\nThe children produced significantly more his/her words (pronouns) in the verbal prompt condition compared to the picture prompt condition.\nThe number of \u201cand\u201d/\u201cor\u201d words (connective words) did not significantly differ between the verbal and picture conditions.\nWhat does it mean?\nThe results show the visual condition produced greater narratives when looking at the macrostructure. Alternatively, for microstructure the verbal condition was more effective. However overall, the verbal condition produced better narratives, as they were more complex. For example, the verbal condition led to the children using a wider variety of pronouns. Although the verbal condition was harder, as the children had to produce the story components, rather than being shown aspects to discuss, the quality of the narratives were higher. These results show how the verbal prompts enabled the children to present a higher level of oral ability. Consequently, speech and language therapy and parents should use verbal prompts to aid in oral narratives of children with DLD.\nWhere can I read this paper?\nThis paper is not open access. If you wish to read the full paper, please email firstname.lastname@example.org and request a copy of the paper.", "id": "<urn:uuid:75d3d6fe-1de9-4377-bbd8-d0b28bb3c85c>", "dump": "CC-MAIN-2022-21", "url": "https://www.engage-dld.com/post/verbal-narratives-in-children-with-dld", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00174.warc.gz", "language": "en", "language_score": 0.947118878364563, "token_count": 530, "score": 3.8125, "int_score": 4}
{"text": "4th -6th Grade 8:30 a.m. to 3:00 p.m.\nBefore children reach elementary school, their development has focused primarily on socialization, physical coordination and foundational cognition. Children in the elementary levels move from absorbing information to manipulating it in order to solve problems and make connections.\nThe Mountain West Montessori Upper Elementary program understands that elementary children are at the age where they are ready to experience the challenges of participating in a cooperative community and are continuing to find their place in society. To support their social and individual growth, most of the elementary activities are group-based so children can learn to share and to work in collaboration.\nA unique part of the Upper Elementary program is the Self Government aspect of the community. Students elect leaders wo\nOur Elementary classroom is divided into two groups. The Lower Elementary consists of the 1st through 3rd grades, and the Upper Elementary is 4th and 5th grade.\nThe Upper Elementary level groups begin class at 8:30 and end at 3 p.m.\nExtended care for those who wish to either drop-off early at 7:30 a.m. and stay until 5:30 p.m. is available at an additional cost.\nAreas of Study\nLiteracy is the biases of all other areas of study, so reading, writing and verbal communication hold an important place in all of our curriculums. Montessori students work with Montessori\u2019s sensorial materials for grammar and phonics at early ages; thus, they are not only ready to begin learning to read and write and young ages, but are deeply interested in language. The Lower Elementary certified Guide (teacher) promotes creative writing, guides self-directed research, and fosters productive pre-reading and reading habits.\nMontessori students are introduced to math via concrete materials that facilitate students\u2019 comprehension of computational concepts: addition, subtraction, division and multiplication. Because Montessori methods focus on the appropriate activities for children\u2019s stages of development, students are curious about math, grasp foundational concepts quickly, and are eager to explore abstract concepts like based systems and square roots.\nHistory entails more than the narrative of Homo sapiens. At Mountain West Montessori children learn about the creation of the universe: planets, stars, sun, and our Earth. Our curriculum takes students back to the beginning of life, introduces them to Earth\u2019s different geological periods and explores the subsequent and vast variety of human history. Studying history gives children framework for their own lives as they figure out where they fit into family, local, and global contexts.\nVital to the development of all stages of maturation, Mountain West Montessori\u2019s art programs are personal and imaginative. Children create images and sounds as forms of self-expression and a specialist in Music presents and teaches children a variety of instruments such as the harmonica and the flute. Children between ages 9-12 have opportunities to learn a string instrument like the cello or violin.\nThe Upper Elementary level children have an outdoor physical education session twice a week that includes team sports like soccer and basketball.\nMontessori qualitative evaluations of children\u2019s progress differs from traditional grading procedures. Guides (teachers) provide personal, holistic and specific evaluations that take into consider the child\u2019s social, mental, physical, cognitive and psychological development. Children do take the IOWA test as an evaluation of their test-taking abilities. Students will take the IOWA test once a year from third to 8th grade.\nMountain West Montessori holds a two-night away trip where the children work together to prepare their own food. As a class, children play games, do crafts, and enjoy bonding with their peers. In the past, students have traveled to Alpine, Albuquerque and Tucson.\nThroughout the year, students will take chaperoned field trips to museums and libraries, attend special presentations, and travel to local destinations the children choose.\nCelebration and Performances\nPeace Day is a long standing Mountain West Montessori tradition. To celebrate the world\u2019s cultural differences and similarities, each student researches unique facts about a country of their choice and presents the information to the entire school. Presentations include wearing a special costume and sharing a sample of food native to their country of study.\nAs part of our Winter Program and Spring Show, the children prepare and present a dance performance or a play for the whole student body and our parents.", "id": "<urn:uuid:b48289f6-cee6-4e3c-a5bf-98e85d77d853>", "dump": "CC-MAIN-2022-21", "url": "https://mwmontessori.com/programs/upper-elementary", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00574.warc.gz", "language": "en", "language_score": 0.9390270709991455, "token_count": 965, "score": 3.5, "int_score": 4}
{"text": "There is one major difference between a story and the plot. A basic story tells events that happen, from beginning to end\u2014a chronological sequence of events. The plot is more of a causal and logical structure\u2014it is the main thing that happens and why it happens. It can be easy to confuse the story and plot or think they mean the same thing. Now, let us dig deeper to understand what is the difference between story and plot.\nPlot vs story\nLet us use an example to get started. Let\u2019s go with a short story, the same story we are sure you have heard or read before.\nThe queen died during childbirth, leaving the king alone in a castle without anyone to share his wealth or power with. He loved the queen very much, and the loss of her and their child was too much for him. He was no longer interested in ruling, his subjects, or even in the most basic necessities for survival, like eating and drinking. As the weeks stretched out, the king became more withdrawn and desolate, until finally, the king died.\nThis is an old story, told in different formats throughout the ages. It is that classic love story where one partner dies, so the other loses the will to live and eventually dies. In this case, the queen died first, and the king died shortly afterward. How the characters die changes (Romeo and Juliette drank poison), but the story is essentially the same.\nIn the example, what is the story? And what is the plot? That is what we have to figure out.\nThe queen died, then the king died. Then they had to find someone else to rule the kingdom.\nThat is the entire story in a nutshell. It does not really answer the \u201cwhy?\u201d The story simply tells the events in chronological sequence and leaves it to the reader to figure out if a compelling plot exists in that story.\nReal-life usually plays out more in story form. Things just happen in a chronological sequence, and we have to make sense of them the best we can. Since it is the writer\u2019s job to create a story that seems at least somewhat realistic, they choose a plot, and they work it into the story, giving the main characters the chore of figuring out what it all means.\nWe enjoy reading stories, hearing stories, and watching stories played out in film to figure out, along with the main characters, what the point of it all is.\nGreat Story Connects Events\nAn author can be happy writing narrative stories, but without a plot in mind before the story takes place, the narrative wanders and usually gets lost or, at the very least, gets clunky. It is rare for any writer to simply discover the plot as they write the narrative. A story without a plot is simply a way to connect one event to another. It is the storytelling of a person\u2019s day or life. Without a plot or meaning attached to the story, the readers will not care about the characters.\nPlot is quite the most important element of a fiction story. It is the answer to the \u201cwhy?\u201d or \u201cwhat would happen if?\u201d question that a writer asks before they begin writing. In the example we used above, that classic tragic love story, the story was explained as, \u201cThe queen died. Then the king died. Then they had to find someone else to rule the kingdom.\u201c\nThose are simply the things that happened. The plot gives you the answer to why it happened. The plot in the example (although almost similar to the story) contains a significant difference. The plot is: The queen died during childbirth. The king died of grief. He had no will to live without her. It is the whole point of the story. Without a plot, you only have events to tell without connecting to other events and your audience. This is not only weak writing\u2014it is a boring read too.\nThe Parts of Plot\nIn narrative fiction, a plot is necessary. Also, a certain sequence of events needs to be followed, like where each part of the plot should happen in the story. The different parts of the plot are known as conflict or inciting incident, rising action, climax, and resolution or falling action. This sequence connects each part of the plot, creating a domino effect to the story\u2019s events, making the whole story logical and easy to understand.\n1. Conflict/Inciting Incident\nThis is the first thing that happens to the protagonist that sets things in motion. Usually, this is something significant enough to get the main character\u2019s attention but not yet big enough to elicit the main character to take action.\nLet us abandon the sad and tragically dead royal family that we used as an example earlier and go with something a little easier to visualize. Imagine a fight that takes place. It may start with a person (our main character) noticing that someone is getting loud or aggressive somewhere. This is the first conflict or inciting incident. The person thinks, \u201cThis person is getting out of hand. Someone will surely get hurt if they don\u2019t knock it off.\u201d It is a conflict the main character has noticed, but it is not enough to motivate him to get involved. We need more to give this main character something more.\n2. Rising Action\nThe event in our example is interesting and a little worrisome, but they do not need our guy to step into the situation. Yet. The author writing this story needs to push the main character. So the author has to dig deeper and work harder using other elements of the story, like setting and background.\nLet us think that the setting is inside the bar. Our \u201chero\u201d is a man who is sitting alone, wallowing in his own grief. His wife is leaving him. He is already emotionally charged, and now there is this other guy, the protagonist, who is being loud and causing a scene. Our sad guy notices but has not done anything. How do we use the plot of rising action to push him to act?\nNow the loud guy is walking towards our guy. He stops a few feet away and says something like, \u201cHey! I know you! You\u2019re that schmuck, Dan. Yeah, I work with your wife. I heard she left you the other night. Sucks for you. Think I got a shot with her?\u201c\nNow our guy is triggered to take action. Using words and speech that are derogatory, disparaging, and rude, we can push the character to stop observing and get involved. The sequence of events now directly involve him. Readers want to know what happens in a novel like this. They want the husband to stand up and say something or do something. This is the rising action. We have created a confrontation, and we have turned up the heat.\nThis is where the world of the character really gets messy. What happens next could affect his whole life. Novels that drop the ball on the climax part of their plots are the ones that have lackluster endings. The ones that readers finish and say to themselves, \u201cIt was a good story, but I didn\u2019t like the ending.\u201c\nAll of the plot elements have to work together to create the right amount of tension for the big event to occur. So now our guy stands up and tells the other guy to get lost, yet he keeps saying disparaging things to the main character. The climax is the fight that happens due to that rising action. A brawl has started, and our guy loses in this story.\nThe climax does not have to be huge. It does not have to involve death or the rise and fall of nations. It only needs to fit logically with the other elements and create tension.\n4. Resolution/Falling Action\nThe two men fight, and our guy loses. He just does not have the heart for it, and his head is not in the right place. He is grief-stricken and depressed, and maybe a part of him wants to get hurt and lose the fight. The falling action or resolution in this simple story is that he gets a busted lip, and the bouncer kicks him out. He catches a cab home and goes to bed, thinking about how much he misses his wife.\nThe resolution has to tie up loose ends after the climax occurs. It is the winddown of the story. The reader wants to know how the characters deal with things after the climax.\nThe story and plot differ in a variety of ways. The story ultimately expresses the events and situations that have occurred and is key in connecting elements. Where as the plot is structured and consists of the four main elements: conflict, rising action, climax and resolution or falling action. These elements express and explain the \u2018why\u2019 behind the story. Both story and plot are both important when it comes to writing a gripping novel.", "id": "<urn:uuid:10741a3e-2f08-4507-9e6e-220ccebb0e52>", "dump": "CC-MAIN-2022-21", "url": "https://selfpublishingresources.com/what-is-the-difference-between-story-and-plot/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662541747.38/warc/CC-MAIN-20220521205757-20220521235757-00775.warc.gz", "language": "en", "language_score": 0.9735393524169922, "token_count": 1846, "score": 3.84375, "int_score": 4}
{"text": "Extracurricular involvement can help your child acquire skills necessary for development. Co-curricular activities promote growth outside of the classroom and can be a fun, enriching way for your child to become involved in school and within the community at large. Encourage your child to try new things, even if it might seem daunting at first or even if they aren\u2019t sure they will like it. Involvement can help your child acclimate to school and social settings, while helping them develop passions, hobbies and skills that will carry them throughout life. Listed below are activity ideas for your child and skills they can help develop.\nSkills: Team working, collaboration, dedication, perseverance and athletic ability\nActivity ideas: Basketball, soccer, hockey, ice skating, competitive dance, tennis, volleyball, skiing, sailing, swimming, martial arts, spin classes, gymnastics, horse-back riding\nLow-cost option: Be sure to check out the activities offered by your community recreation centre. Often they will have a list of free/low-cost drop-in classes offered weekly.\nSkills: Whether your child is interested in dance, theatre or the visual arts, art classes teach an abundance of skills. Beyond technical ability, art fosters creativity, curiosity, healthy expression and an open mind.\nActivity ideas: Dance, theatre, visual arts, pottery, sculpting, singing, playing an instrument, joining a music band, creative writing, cooking, photography\nLow-cost option: Check out the offerings at your local museum \u2013 they might offer free art classes for children. Symphonic orchestras sometimes run free music workshops for kids, where they can try new instruments or even receive musical feedback from professionals. Consider buying an instrument second hand or perhaps borrowing/renting one from your child\u2019s school, if they have a music program.\nSkills: Selflessness, connection to the community, generosity, open mind\nActivity ideas: Volunteering at a local food shelter, animal shelter, nursing home, local organization\nSkills: Knowledge of science/math, ability to work in a team towards common goal, perseverance\nActivity ideas: Robotics club, partaking in science fair, STEM clubs, Mathletes, computer classes\nSkills: Knowledge of a new language and culture, curiosity\nActivity ideas: Any language club (French club, Spanish club, Italian club, etc.), language classes\nLow-cost option: Consider hiring a student who is fluent in or studying the particular language your child is interested in. Often students will offer private lessons at lower rates. Some schools might even offer free tutoring programs led by student volunteers. You could also see if a friend, neighbour or community member might be willing to tutor your child for free/at a low cost. Additionally, finding a couple of friends to join your child might also lower the cost of lessons.\nSkills: Independence, problem solving, leadership, appreciation of nature, responsibility, discovery\nActivity ideas: Scouts, Girl Guides, summer camps, nature expeditions, gardening, environment club\nLow-cost option: Membership fees for civil groups like Girl Guides and the Scouts can be waived for families under a certain income, making it an affordable option.\nClubs that focus on a particular skill\nActivity ideas: Chess club, Lego club, sewing club, trivia club, reading/writing club\nLow-cost option: Check out the activities offered at your local library \u2013 During the summer, a lot of libraries will organize book clubs, writing clubs as well as free events.\n- https://www.childmags.com.au/24-extracurricular-activities-for-kids-that-can-aid-them-with-skills-for-life/ (Ideas of extracurricular activities, parent testimonies)\n- https://www.care.com/c/stories/3184/choosing-an-after-school-activity-for-your-child/ (More activity ideas, advice on how to pick the right activities for your child)\n- https://www.verywellfamily.com/budget-friendly-extracurricular-activities-for-tweens-4107838 (Budget friendly activities)", "id": "<urn:uuid:20cb2afb-e1f4-4e0b-9dae-97efb1a2b82a>", "dump": "CC-MAIN-2022-21", "url": "https://transitionalcarejgh.com/tag/education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00174.warc.gz", "language": "en", "language_score": 0.9199820756912231, "token_count": 895, "score": 3.5, "int_score": 4}
{"text": "Over the past couple of years we have conducted numerous pilot lessons using picture books but this is the first time where we will be giving a questionnaire to the children. We are giving the questionnaire to find out the following:\n- How many children were able to understand the story?\n- How were the children able to understand the story?\n- What did the children enjoy about the story?\n- What kind of activities during the lesson did the children enjoy?\n- What English words did the children feel they were able to learn?\n- Did they learn anything new about the USA or Japan from listening to the story?\n\uff11\uff09 Did you understand the story? (Students write a circle next to the answer they agree with)\na. I understood it well ( )\nb. I understood it a little ( )\nc. I did not understand it well ( )\nd. I did not understand it at all ( )\n- What I want to find out: This is pretty straight forward, I want to find out how many children understood the story (or at least thought they understood it)\na. I tried very hard \uff08 \uff09\nb. I tried a little \uff08 \uff09\nc. I did not try so hard \uff08 \uff09\nd. I did not try at all \uff08 \uff09\n- What I want to find out: If children did not understand the story, I want to know if they made the effort to understand or if they just decided not to pay attention\na. The teacher\u2019s facial expression when he/she was reading \uff08 \uff09\nb. The teacher\u2019s voice would change from loud to soft \uff08 \uff09\nc. I heard words that I recognized \uff08 \uff09\nd. I would think about what would happen next while I was listening to the story\uff08 \uff09\ne. The picture \uff08 \uff09\nf. Asking the teachers questions \uff08 \uff09\ng. The teacher using Japanese \uff08 \uff09\nh. I did not understand the English but I could follow the story \uff08 \uff09\ni. The teacher\u2019s talk before reading the book \uff08 \uff09\nj. Other\uff1a \uff3f\uff3f\uff3f\uff3f\uff3f\uff3f\uff3f\uff3f\uff3f\uff3f\n- What I want to find out: I want to know HOW the students were able to understand the story (What listening strategies they used).\na. It was very interesting \uff08 \uff09\nb. It was a little interesting \uff08 \uff09\nc. It was not very interesting \uff08 \uff09\nd. It was not interesting at all \uff08 \uff09\nWhy do you think so? Please write a reason below.\n- What I want to find out: This is pretty self-explanatory too. I want to know if the children found the story interesting. Four different types of books will be read and it will be interesting to find out which type of book captured the students' interest.\n- What I want to find out:The particular part of the story that the children liked.\n- What I want to find out: Did children like the pre or post-storytelling activities more than listening to the story or was it vice versa?\n- What I want to find out: Were there any particular words that stuck in the children's heads?\n- What I want to find out: Three of the four books are from a previous project, Cross-cultural Understanding Using Picture Books. In this project the English picture books were used to teach about aspects of the US culture, so I am interested in knowing if children thought they were able to learn anything about the USA.\n- What I want to find out: Part of cross-cultural learning is making discoveries about your own culture. People say that it is impossible to understand other cultures without understanding your own. So, I want to know if children were realized anything new about their own culture in this lesson.", "id": "<urn:uuid:35c84fbc-c38b-4954-b3ca-ebab57fd856a>", "dump": "CC-MAIN-2022-21", "url": "http://discussenglish.blogspot.com/2009/06/what-do-kids-get-out-of-listening-to.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016373.86/warc/CC-MAIN-20220528093113-20220528123113-00775.warc.gz", "language": "en", "language_score": 0.9787914156913757, "token_count": 870, "score": 3.75, "int_score": 4}
{"text": "Learn About the American Flag\nWithout an understanding of the country\u2019s foundation, children are sometimes swept along in the emotion of patriotism without really understanding what a true love for country involves. The following activities help your students grasp the history, symbolism and significance of \u201cOld Glory,\u201d as they plan a community program to commemorate Flag Day on June 14.\nStudents will recognize the symbolism of the United States flag, including the stripes, the stars and the colors.\nStudents will explain the origin of the U.S. flag and identify the changes to the flag over time.\nStudents will explain the history of the Flag Day observance.\nStudents will practice research, writing, and speaking skills.\nDivide students into three groups. Assign each group one of the following research topics upon which they are to become the class experts:\nOrigin of the U.S. flag and its symbolism\nHistory of Flag Day observances\nFlag etiquette for display, folding, disposing and other uses\nAs groups research the assigned topic, they will create fact sheets to share with the other students in the class. In addition, the groups should write three to five multiple-choice questions that you will use on a class quiz.\nRegroup the students so that one member from each of the original groups is in each of the new ones.\nUsing their fact sheets, topic \u201cexperts\u201d teach the remaining group members the important information about their individual topics.\nGroup members should check one another\u2019s understanding of the concepts, using the questions written by the original groups. They should be sure that everyone not only knows the correct answer, but also why it is correct, since the order of the answers may not be the same at test time.\nPlan a Celebration!\nReform the original \u201cexpert\u201d groups. These groups will prepare the components of the community program, as well as the decorations for the ceremony.\nAssign the groups the following tasks:\nWrite a three to five minute speech in which the group explains how a flag should be used and cared for.\nFind or write a poem about respecting the flag.\nMake a mural that shows proper flag care and etiquette. The mural should be at least 3 feet by 6 feet.\nFlag History and Symbolism\nWrite a three to five minute skit that explains the origin of the U.S. flag and the symbols used on it.\nFind or write a poem about the flag as a symbol of the United States.\nMake an illustrated timeline to show the changes in the U.S. flag from its beginning to today. The timeline should be at least 3 feet by 6 feet.\nFlag Day History\nWrite a three- to five-minute speech that explains how this day started, how it has been celebrated during its history, and why we continue to celebrate today.\nFind or write a song about the flag that matches the reasons for celebrating this special day.\nMake a mural about Flag Day celebrations and their history. The mural should be at least 3 feet by 6 feet.\nSpreading the Word\nReview the style of a journalism lede (5Ws and 1H) and the inverted pyramid used for news writing.\nAsk students to write press releases for newspapers, as well as radio and television stations, to explain the significance of Flag Day and to announce the ceremony sponsored by the class. Encourage them to write in a manner that a journalist could use the release for publication.\nNext, review the elements of a friendly letter. Ask students to draft compelling letters of invitation to send to special guests, such as community dignitaries or veterans\u2019 groups.\nHaving Fun with Flag Day\nProvide students with shrinkable plastic and markers or paint, along with key rings. Allow them to make their own flag key chains by drawing and coloring flags on the plastic. Punch a small hole in one corner and place the flags in a toaster oven to bake according to the manufacturer\u2019s directions. Thread the cooled flags on key rings.\nExpand the craft project by letting students make key chains, safety pin and bead flag pins or unity pins for the invited guests.\nReinforce the lessons you\u2019ve taught on literary elements by having students write alliterative poems about flags and Flag Day. After the poems are illustrated, compile a class book and provide each student with a copy.\nWith these Flag Day activities, you and your students will gain new understanding of the significance of the national symbol and have fun in the process. Students can take pride in knowing that they have helped to educate the community, as well.\nFor more information on Flag Day or the U.S. flag, check these sites:\nFlag Folding, https://www.usflag.org/fold.flag.html\nFlag Facts for Flag Day, https://edsitement.neh.gov/lesson-plan/stars-and-stripes-forever-flag-facts-flag-day\nNational/Historic American Flags, https://www.law.ou.edu/hist/flags/fedflag.shtml\nThe following sites provide a collection of poems and short stories appropriate to Flag Day studies:\nPrintable Flag Day Short Stories for Children, https://www.apples4theteacher.com/holidays/flag-day/short-stories/\nFlag Day Poems and Rhymes Patriotic Poetry, https://www.apples4theteacher.com/holidays/flag-day/poems-rhymes/\nThe ideas for these lessons come from the author\u2019s 20 years' experience in education.", "id": "<urn:uuid:82343479-19ca-435c-9466-d53a01fa9f93>", "dump": "CC-MAIN-2022-21", "url": "https://www.brighthubeducation.com/middle-school-social-studies-lessons/117125-flag-day-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00175.warc.gz", "language": "en", "language_score": 0.9198620319366455, "token_count": 1187, "score": 3.796875, "int_score": 4}
{"text": "Basic Tenets & Classroom Practices: What Are They?\nThe Great Expectations\u00ae (GE) teaching/training model is guided by six basic tenets and seventeen classroom practices. The tenets and practices provide guidelines for program training and implementation and serve as standards for evaluating GE schools/districts.\n- High Expectations\n- Teacher Attitude and Responsibility\n- Building Self-Esteem\n- All Children Can Learn\n- Climate of Mutual Respect\n- Teacher Knowledge and Skill\nThe tenets are further defined by seventeen classroom practices that occur in GE classrooms. The daily use of these practices within the classroom setting assists students in becoming self-directed learners, productive citizens, effective communicators, critical thinkers, and cooperative contributors to the classroom as well as society.\n- The teacher models desired behaviors and attitudes such as those set forth in the Life Principles and the Eight Expectations for Living.\n- Students and teachers speak in complete sentences and address one another by name, demonstrating mutual respect and common courtesy.\n- Students are taught as a whole group, thoroughly and to mastery, with intensive and specific modifications ensuring success for all.\n- Lessons are integrated, related to the real world, reviewed consistently, and connected to subsequent curricula.\n- Critical thinking skills are taught.\n- A non-threatening environment, conducive to risk-taking, is evident. Mistakes are okay. Students are taught to learn from their mistakes and to correct them.\n- Memory work, recitations, and/or writing occur daily. These enhance character development and effective communication skills while extending curricula. Recitations are exuberant and full of expression.\n- Enriched vocabulary is evident and is drawn directly from challenging writings and/or wisdom literature. Sources should include classic literature, myths, fables, poetry, proverbs, quotes, and other genres.\n- The Magic Triad, a positive and caring environment, and discipline with dignity and logic are evident.\n- Every student\u2019s work is displayed in some form. Teachers provide positive commentary through oral and/or written feedback.\n- Word identification skills are used as a foundation for expanding the use of the English language.\n- Students assume responsibility for their own behavior. Their choices determine consequences.\n- A school, class, or personal creed is recited or reflected upon daily to reaffirm commitment to excellence.\n- All students experience success. The teacher guarantees it by comparing\nstudents to their own past performance, not the performance of others. Students are showcased, and past failures are disregarded.\n- The teacher teaches on his/her feet, engages students personally, holds high expectations of students, and does not limit them to grade level or perceived ability.\n- Each classroom has a student who greets visitors and makes them feel welcome and comfortable.\n- Teachers and students celebrate the successes of others.\nThe implementation of GE classroom practices is a process. The practices are interwoven and difficult to fragment after one attains full implementation, but it may be helpful to \u201cscaffold\u201d or build a framework of implementation by becoming skilled at a few classroom practices and adding a few more until all practices are implemented.\nIn an effort to provide an incremental plan for implementing the classroom practices, the following step-by-step approach is recommended.\nIt is very important that all seventeen classroom practices be fully implemented, on a daily basis, no later than the beginning of the second semester of the school year.\nIn addition to fully implementing all seventeen classroom practices during the second semester of the school year, specific focus should be given to a particular classroom practice each week.\n(1st & 2nd Weeks of Sch. Yr.)\n(3rd & 4th Weeks of Sch. Yr.)\n(2nd Month of Sch. Yr.)\n(3rd Month of Sch. Yr.)\n1, 6, 9, 13, 14, 15\n2, 3, 10, 11, 16, 17\n5, 7, 12\nSouthwest Educational Development Laboratory in Austin, Texas, investigated the extent that GE practices were implemented in classrooms. The following section describes the four groups of teachers that were identified.\nThe classification of \u201cModel\u201d Implementers describes those teachers who integrate unique elements of GE throughout all aspects of their teaching. Model Implementers are able to both integrate GE classroom practices at a high level and to incorporate active engaging instructional practices. The unique GE practices, such as conducting lexicon lessons, having students speak in complete sentences, using discipline with dignity techniques, and incorporating the life principles are seamlessly interwoven into classroom events. In addition to direct teaching practices, Model Implementers\u2019 classrooms are often arranged in ways that facilitate group work and provide an area that is \u201chome-like\u201d \u2013 usually having a couch and/or a rug area for students to sit and\nTeachers who are classified as \u201cProgressive\u201d GE Implementers are able to integrate GE practices at a fairly high level. These teachers incorporate active, engaging instructional practices. The notable difference between Model and Progressive Implementers is that Progressive Implementers are somewhat fragmentary in their approach to GE practices. Progressive Implementers\u2019 practices are not as seamlessly interwoven compared to the flow of Model Implementers\u2019 classroom events. Progressive Implementers are not as skilled as their Model colleagues in bringing together the broad array of GE practices. Progressive Implementers incorporate many GE elements, but not all GE elements.\nTeachers who are classified as \u201cTransitional\u201d GE Implementers integrate only a few GE practices. They are called \u201ctransitional\u201d because many of these teachers are either new to GE or are slower to incorporate GE practices. These teachers tend to look primarily like \u201ctraditional\u201d teachers, although they do use a few GE practices. Teachers at this level of implementation usually do not incorporate learning games or use thematic, interrelated subjects and activities. Transitional Implementers generally conduct almost all their instruction through whole-class activities. The typical lesson is teacher-directed, most often through the use of teacher questioning and student answering. Group work is seldom observed in these classrooms. The primary difference between Progressive Implementers and Transitional Implementers is the depth, breadth, and consistency of use of the GE practices.\nTeachers who are classified as \u201cResistant\u201d GE Implementers tend to incorporate only minor, superficial aspects of GE. They do not appear to be particularly supportive of GE implementation. Most of their implementation involves simple compliance with school-level implementation requirements. Although their classrooms may display quotes, life principles, or classroom expectations, Resistant GE Implementers do not refer to them. These teachers tend to look primarily like \u201ctraditional\u201d teachers devoid of GE elements. When they attempt to use door greeters, celebrations, or complete sentences, it is apparent that the students are not accustomed to doing these activities. Teachers at this level of implementation do not incorporate learning games or use thematic, interrelated subjects and activities. The typical lesson is teacher-directed, and most often uses a teacher-questioning and student-answering format. Group work is usually not observed. Resistant Implementers seem reluctant to exert effort toward implementing GE practices.", "id": "<urn:uuid:db5fde05-df2f-4c03-a632-a63db709668d>", "dump": "CC-MAIN-2022-21", "url": "http://www.greatexpectations.org/schools/implementation/implementation-rubric/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531762.30/warc/CC-MAIN-20220520061824-20220520091824-00375.warc.gz", "language": "en", "language_score": 0.9357171654701233, "token_count": 1564, "score": 4.4375, "int_score": 4}
{"text": "The APA citation style is widely used to write term papers, essays, research reports, and dissertations etc which are related to social sciences. Introduced back in the year 1929, it was an entire seven-page guideline that appeared in the Psychological Bulletin back then. Since then it has evolved into a complete format, even though writers generally do not find it too easy.\nThe APA format benefits both writers and readers. How so? Simply because of the fact that it enables writers to organize their papers in a specialized manner. This is done with the help of in-text citations as well as a separate bibliography page which presents complete information about all the sources used. On the other hand, readers can easily use this information to look up the original sources in case they want to conduct extra research.\nComponents of Academic Papers Written in APA Format\nAll papers that are written using the APA citation style have the following components:\n- Title Page\n- Abstract (this is optional and depends on your mentor\u2019s choice)\n- Body of the paper\n- Bibliography or Reference List\nBasically, the abstract presents a summary of your academic paper. It is meant to provide your readers with a general idea of what your paper is all about. It is the abstract which can compel the reader to continue reading your entire essay. It generally does not exceed 120 words, so you need to make it so interesting in these 120 words that the reader cannot stop just there.\nThen comes the introduction of your paper, which aims to introduce the topic to the reader and exactly what your paper will deal with. This has to be written with the notion that the subject is new to the reader.\nThe first page of all academic papers written using the APA citation style must consist of the paper\u2019s title, the name of the author as well as the institution. These need to be centered on the upper half of the page. The title page must also have a header and a running head. Make sure that the header is no longer than two or three words as it is a mere short form of your title. Also, remember that you running head must be less than 50 characters.\nIf you have used someone else\u2019s ideas or quotes in your term paper, then you need to provide an in-text citation to give credit to the original source. Basically, your parenthetical documentation or in-text citation must consist the last name of the original author and the year of publication. If the name of the author has been mentioned as part of your essay, then you only need to put in the publication year in parenthesis.\nYou further need to provide a separate bibliography which cites complete information about the sources that you have used in alphabetical order. The references should be listed in double space format with no space between them.\nThank you for visiting Essaydemon.com and viewing our articles and sample papers. Kindly be informed that all these articles and sample papers are for marketing purposes only. The sole purpose of these articles and sample papers is just to provide our customers with an idea about our services before they place an order.\nKindly visit our order/inquiry page for further assistance.\nKindly order custom made Essays, Term Papers, Research Papers, Thesis, Dissertation, Assignment, Book Reports, Reviews, Presentations, Projects, Case Studies, Coursework, Homework, Creative Writing, Critical Thinking, on the topic by clicking on the order page.", "id": "<urn:uuid:6b230ca9-8995-4652-8743-794ef11aa04f>", "dump": "CC-MAIN-2022-21", "url": "https://essaydemon.com/essay-samples/write-term-papers-apa-format/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00374.warc.gz", "language": "en", "language_score": 0.934127926826477, "token_count": 710, "score": 3.5, "int_score": 4}
{"text": "What we are Learning Autumn 2 Nov-Dec\nIn computing, the children will make their own 'blockbuster'. They will learn all about filming techniques and storytelling skills.\nOur music is focused around exploring and developing playing skills through the glockenspiel, building on work we completed last year. This will include the opportunity to use and begin to read notated music.\nAutumn 1 Sept-Oct\nWhat we are learning in Autumn 1: September-October\nIn this chapter, the children will learn to count in multiples of 25, 100 and 1000 in order to count larger numbers. They will learn about the relative size of numbers and complete number sequences within 10 000. We will be learning about place value to 4 digits and will link numbers in numerals and in words. We will be able to compare numbers using language such as 'greater', 'smaller', 'less' and 'more', using the mathematical symbols <, > and =. Towards the end of the half term, we will use the learnt knowledge of number and place value to help complete number patterns. Additionally, we will learn about rounding numbers to the nearest 1000, 100 and 10.\nWithin our first RE unit of the year, we will be learning about the Story of David. We will be understanding the story and the strengths and qualities shown. We will be given the opportunity to read the Psalms and use them to discover more about the nature of God. This unit will enable us to learn how to discuss important values and read the stories of David, considering the qualities of kingship and friendship. Additionally, we will be exploring the nature of God and creating images to illustrate the Psalms.\nWhat values do you consider to be important?\nWho inspires you?\nWhat are the qualities of a good King?\nWhat is God like?\nSamuel, David, Jonathan, Saul, Goliath, inspiration and Psalm\nWe will be learning how to identify common appliances that run on electricity. Using the correct equipment, we will be able to construct a simple series electrical circuit, identifying and naming its basic parts, including cells, wires, bulbs, switches and buzzers. Identify whether or not a lamp will light in a simple series circuit, based on whether or not the lamp is part of a complete loop with a battery. We will learn how to recognise some common conductors and insulators and understand that metals are good conductors. Towards the end of the unit, our focus will be on switches and the impact they have on a circuit. By the end of the unit we will know that a switch opens and closes a circuit. We will associate this with whether or not a lamp lights in a simple series circuit.\nWithin our DT lessons we will be learning about electrical products. We will be learning how to design, make and evaluate a working torch, using the correct components.\ninsulators, wood, rubber, plastic, glass, conductors, metal, water, switch, open, closed, appliances, electricity, electrical circuit, cell, wire, bulb, buzzer, danger, electrical safety\nExtreme Earth A: What makes the earth angry?\nTo begin our Geography unit this half term we will be learning about the layers of the Earth. We will know how to describe and understand key aspects of physical geography under the Earth's surface. We will then be using this knowledge to help us to explain how volcanoes are formed.\nTo summarise our learning we will be learning how to explain how volcanoes affect people's lives.\nmantle, magma, active, dormant, pumice, lava, eruption, extinct, crust, core, ash\nThis half term we will be learning about our online life in computing with Mrs Warrington.\nWe will explore and assess the risks associated with being online and develop skills to help us use online services safely.", "id": "<urn:uuid:b0a02a5e-7b8e-4a98-8a9f-f26e8fa8517d>", "dump": "CC-MAIN-2022-21", "url": "https://www.bishopmartin.lancs.sch.uk/class-pages-2021-2022/y4-koalas/what-we-are-learning", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662601401.72/warc/CC-MAIN-20220526035036-20220526065036-00375.warc.gz", "language": "en", "language_score": 0.8967324495315552, "token_count": 817, "score": 3.9375, "int_score": 4}
{"text": "Powerful Verbs Worksheets For Grade 5\nA large proportion of people use worksheets to teach or impart certain lessons to their children.\nPowerful verbs worksheets for grade 5. Some of the worksheets displayed are powerful verbs, powerful verbs for essays, ate or, put muscle into your writing by using strong verbs, top 100 power verbs, lesson skill developing an essay using specific nouns, grammar work using strong verbs, using strong verbs suggested answers and teaching tips. Prime numbers printable worksheets june 12, 2020 grade 1 english grammar worksheets june 8, 2020 grade 1 grammar: Verbs ending in ed and ing grade 2.\nFor example, there is nothing wrong with the first sentence below, but the second one creates a more vivid impression by using the verb hurtled. Verbs that form the past participle by the addition of n, en or ne. Exercises in both worksheets give students the opportunity of writing complete sentences by using strong verbs rather than weak ones.\nIncludes a verb worksheet and an active 'verb' game! Some of the worksheets for this concept are action verbs, grade 3 grammar work, put muscle into your writing by using strong verbs, adverb or adjective, top 100 power verbs, grammar and punctuation work, grade 4 national vocabulary list, verb tenses tutorial exercise 1 simple present present. Instead, linking verbs link the subject to information about the subject (the car is red).\nSome of the worksheets for this concept are healthy muscles matter, skeletal system work, class grade cherry hill nj unit, teachers guide bones muscles and joints grades 3 to 5, skeletal system, nervous system work, the skeletal system, grades 3 to 5 skin. These printable worksheets help students learn to recognize and use verbs. List of exciting and interesting action verbs for creative writing and storytelling.\nThese worksheets focus on learning that adverbs that describe verbs. The words we use in descriptive writing can have a powerful effect on our readers. Students have to locate the adverb in each sentence and then find the verb that it describes.\nWith so many verbs to choose from, it can be hard to narrow down your focus. Some of the worksheets displayed are work 4 powerful verbs, action verbs, powerful verbs, powerful verbs, name past present and future tense verbs, put muscle into your writing by using strong verbs, ate or, grade 4 national vocabulary list. These powerful verb worksheets feature paragraphs from popular children's stories.\n- Math Worksheets Grade 3 Place Value\n- Math Worksheet For Grade 3 Cbse Syllabus\n- Maths Worksheet For Grade 1 Igcse\n- Math Worksheets Grade 1 Free\n- Maths Worksheet For Grade 1 Pdf\n- Maths Worksheet For Class 5 Cbse\n- Maths Worksheet For Class 1st\n- Math Worksheets Grade 11\n- Math Worksheets Grade 2 Subtraction Regrouping\n- Maths Worksheet For Class 10 Chapter 1\n- Math Worksheets Grade 4 Whole Numbers\n- Maths Worksheet For Class 4th\n- Maths Worksheet For Class 3 Multiplication\n- Math Worksheet For Grade 2 Time\n- Math Worksheets For Kindergarten Counting 1 20\n- Math Worksheets For Grade 4 Multiplication And Division\n- Math Worksheets Grade 4 Addition\n- Math Worksheets Grade 4 Word Problems\n- Maths Worksheet For Class 5 Pdf\n- Math Worksheets For Grade 3 Addition And Subtraction", "id": "<urn:uuid:d3e4c02f-da4d-431f-9d54-b57914948e73>", "dump": "CC-MAIN-2022-21", "url": "https://stupefied-davinci-2941e0.netlify.app/powerful-verbs-worksheets-for-grade-5.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662584398.89/warc/CC-MAIN-20220525085552-20220525115552-00171.warc.gz", "language": "en", "language_score": 0.8694046139717102, "token_count": 747, "score": 3.515625, "int_score": 4}
{"text": "How to help your Pre-Schooler to Read\nAs parents, we want to give our children the best start in life. One of the things we can do to help them succeed in school is to equip them with superior literacy skills when they are at the most critical learning stage of their lives \u2013 between 3 to 5 years of age.\nAt 3 years of age, your child is starting to recognise letters and numbers. They can point to alphabets on the street, in-store signs or in printed materials like books, menus, and brochures. This is the age that children learn to draw intentionally, to recite the alphabets and to count.\nAt pre-school age, your child is eager to learn and can absorb a great deal of new knowledge. This is the best time to teach your child how to read.\nLearning abilities of pre-schoolers\nPre-schoolers can recognise the names of their favourite books. They may not be able to read the titles but if you ask them to pick out a book they like, they will be able to do so. At this age, your child can also hold a book properly, turn the pages correctly and can recognise familiar words and sounds. They can recall familiar phrases and will mimic your reading when you read to them. This is also the age when your child will start experimenting with drawing and writing.\nSome pre-schoolers can also write alphabets and numbers. They may be able to recognise the letters that start certain words (for example, the letter \u2018A\u2019 for apple\u2019) and can make up rhymes and silly phrases.\nMore advanced pre-schoolers may also be able to predict what happened next in a story and some can even make up their own stories.\nHow to teach your pre-schooler to read\nThis is a critical learning stage for your child. Here are some strategies you can adopt to help your pre-schooler read.\nIntroduction to text\nImmersing your pre-schooler in a text-rich environment is the best way to start teaching literacy. Having books around the house is a great start. Aim to go beyond just an awareness of books to a genuine love of reading. You can do this by regularly reading to them and by creating opportunities for them to accept that text is a big component of their daily lives.\nOrdinary activities can be turned into learning experiences if you know how to create the right learning opportunities. For example, point out the alphabets in their cereal box to them when you are preparing breakfast in the morning. Get them to look for letters they recognise in a menu when you take them out for a meal. Or play \u2018I spy with my naked eye\u2019 alphabet and letter games with them when you take them out. The more learning opportunities you create for your pre-schooler, the faster he or she will be able to recognise letters and words.\nDevelopmental milestones for 3-5-year old\u2019s\nAs your child starts to grow, their skills will improve. We have listed the developmental milestones for pre-schoolers below to help you gauge your child\u2019s growth progress. Every child learns differently. So, avoid making comparisons with other children. Also, some children can easily forget a skill they learned earlier when they acquire a new set of skills. If your child has forgotten something, they learned earlier, reinforce the learning again and give them time to readjust.\nIf you have any concerns about your child\u2019s progress, you must speak to your doctor as early intervention is usually the best way to address developmental problems in young children.\nGross motor skills (Large muscles like the trunk, legs, arms, and neck)\n\u25cf Pedal a tricycle\n\u25cf Climb stairs\n\u25cf Kick a ball\n\u25cf Catch a ball\n\u25cf Balance on one foot\n\u25cf Balance and walk on a beam\nBasic life skills\n\u25cf Hold a spoon and fork to feed self\n\u25cf Put on and remove shoes (without ties)\n\u25cf Dress and undress without help\n\u25cf Manipulate buttons and straps\n\u25cf Pour liquid into a container\n\u25cf Climb in and out of a car, bathtub, or onto the bed without help\n\u25cf Unscrew bottle cap\nFine motor skills (Small muscles like hands and fingers)\n\u25cf Copy and trace shapes\n\u25cf Draw a face\n\u25cf Use a pair of scissors to cut along a line\n\u25cf Hold and draw with a piece of chalk\n\u25cf Stack cubes\n\u25cf Start writing\nCognitive and speech skills\n\u25cf Complete 3-10-piece interlocking puzzle\n\u25cf Count 1 to 10\n\u25cf Sort shapes and colours\n\u25cf Match pictures\n\u25cf Basic safety awareness \u2013 sharp objects, stairs and so forth\n\u25cf Understand the concept of two\n\u25cf Understand pronouns and prepositions\n\u25cf Recognise sounds\n\u25cf Recite the alphabets\nSuggested reading activities for 3 to 5-year old\nHere are seven playful activities to teach your 3 to 5-year old to read:\n- Play letter games\nPre-schoolers love copying out words. Write your child\u2019s name on a piece of paper and have him or her copy it with alphabet stamps, stickers, magnets, or an alphabet stencil. Your child may write it backwards, spell randomly or hold the marker pen awkwardly but that\u2019s okay. The idea is to get them familiar with the alphabet. A blackboard is a great way to encourage your pre-schooler to practise the alphabets without having to use too many pieces of paper. Use colourful chalks and draw pretty pictures on the board to illustrate letters and words.\n- Play an alphabet guessing game\nA letter-sound connection is one of the earliest steps to reading. Play a guessing game with your child\u2019s favourite words. Ask your child to name something beginning with \u2018A\u2019. Playing the alphabet guessing game improves your child\u2019s vocabulary, trains memory and phonetics.\n- Turn reading into storytelling and play-acting\nTake your reading activities up a notch by combining storytelling with reading. Read a favourite storybook to your pre-schooler and encourage him or her to complete the story. Dialogic reading is a great way to develop imagination and creativity, public speaking, and performance skills.\n- Get busy on writing craft\nTake advantage of your child\u2019s curiosity in books by writing a book together. Staple a few pieces of paper together. Start a story that your child can relate to. For example, a mealtime adventure, a day at playschool or a day in the park. Use crayons, colourful markers, and stickers to illustrate the story. You can adjust this activity and make greeting cards and little cute messages for their grandparents, favourite teacher, or a friend they like playing with.\n- Spot the letter\nTake reading activities outdoor by playing spot the letter games with your pre-schooler. Point out signs to your child and get him or her to spot alphabets or numbers they recognise.\n- Teach poems and rhymes\nPoems and rhymes are a great way to teach your pre-schooler to read. Read a poem or rhyme to your kid. Get your child to act out favourite phrases or turn the reading session into a song and dance activity.\n- Cultivate a love for books\nFind opportunities to take your pre-schooler to a public library or a bookshop. Encourage them to choose books they want to read in the library. Join a kids\u2019 reading club. The more you expose them to books, the more they will love it.\nTop Kids Reading and Writing Classes for Toddlers and Pre-schoolers are now open for enrolment. Our fun and immersive classes are designed to help young children become strong, confident readers. Classes are available for children aged 2 years to 5 years old.", "id": "<urn:uuid:4a9edf13-8297-4a84-a33a-91ecee987724>", "dump": "CC-MAIN-2022-21", "url": "https://topkidz.com.au/how-to-help-your-pre-schooler-to-read/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663021405.92/warc/CC-MAIN-20220528220030-20220529010030-00575.warc.gz", "language": "en", "language_score": 0.9470681548118591, "token_count": 1622, "score": 3.65625, "int_score": 4}
{"text": "Part of the process of building credibility and interest in your publication is considering how your program may use talents and skills to build connections between the members of your community.\nIn this lesson, we will look at three different types of media (from professional and scholastic domains) that have undertaken storytelling projects in order to humanize faces in a crowd and issues in the world.\nAs you learn about three professional and scholastic programs who have undertaken a public \u201cgallery\u201d of stories, consider the following:\nWhat unites our school?\nWhat unites us as humans?\nWhat questions are meaningful for people to consider telling a story about?\nHow will these stories be best published?\nIn this lesson, we will consider how to broaden our journalism for multiple purposes:\n- Students will build interviewing skills\n- Students will build reporting skills\n- Students will build portrait photography skills\n- Students will build credibility as a program\n- Students will build connections in and among our community\nCommon Core State Standards\n|CCSS.ELA-Literacy.SL.11-12.1.b||Work with peers to promote civil, democratic discussions and decision-making, set clear goals and deadlines, and establish individual roles as needed.|\n|CCSS.ELA-Literacy.SL.11-12.5||Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.|\n|CCSS.ELA-Literacy.RI.11-12.7||Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.|\n25 minutes plus time for discussion\nProject planning and execution will vary depending on size, scope, and publication goals. This project may be an excellent way to begin or end the year for an entire staff, or it might be a project for a smaller group to work on for an extended time.\nSlideshow: We built this community\nAll materials and directives for the students to learn and execute their plan are given in the slideshow, with specific directives for action on slide 16.\nRubric: We built this community\nTeacher and students can work through the lesson and examples and then develop their own parallel action plan.\nStudents can be broken into project management roles or jobs based on the 10 steps on slide 16, depending on their strengths.", "id": "<urn:uuid:0a97774b-ab9a-46ad-a023-c80503b49054>", "dump": "CC-MAIN-2022-21", "url": "https://curriculum.jea.org/wp/we-built-this-community/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604794.68/warc/CC-MAIN-20220526100301-20220526130301-00775.warc.gz", "language": "en", "language_score": 0.9156462550163269, "token_count": 546, "score": 3.65625, "int_score": 4}
{"text": "Spice Up Your Speech\n- To target emotions when telling a speech.\n- To gain experience telling stories.\n- To use language, vocal changes, and body language to elicit emotion.\nNancy Duarte suggests that emotions are the condiments of speech. Students will tell a true story and try to elicit one of the emotions from the list to \u201cspice up\u201d their speech. They can elicit emotion by their story choice, language choice, vocal changes, and body language.\n- Write or project the emotions on the board: passion, vulnerability, awe, regret, excitement, fear, and power.\n- Give students five minutes to prepare a story that uses that emotion.\n- Have students sit in small groups and tell their stories. Have the audience guess the emotion.\n- Have the audience coach the storyteller on how they could do it better.\n- At another session, have the student stand up and tell the story to the whole class.\nNote: I have some practice speeches where students stand in front of the class and speak and others where they sit at their desks in a circle and share. When I\u2019m working on the skill\u2013I have them present in small groups first and then the next class, I have them stand up for the full presentation experience. If you have time for only one activity, I suggest letting them sit down in a circle with a small group or use break-out groups online.\nWill Smith on Skydiving\nAdventureusla. (2017). Will Smith on skydiving. https://www.youtube.com/watch?v=gG-F_rRVdLc Standard YouTube License.\nWhy Storytelling is More Trustworthy Than Presenting Data\nEber, K. (2020). Why storytelling is more trustworthy than presenting data. https://youtu.be/Ez5yS4Q5ASA Standard Youtube License.\nWaiting for Water\nFepulea\u2019i-Tapua\u2019i, A. (2019). Waiting for Water. https://www.youtube.com/watch?v=5SJVPFV5iWc\nWhy Storytelling Matters\nReynolds, G. (2014). Why storytelling matters. https://www.youtube.com/watch?v=YbV3b-l1sZs Standard YouTube License.\nAchieving Your Childhood Dreams\nPausch, R. (2007). Really achieving your childhood dreams. https://www.ted.com/talks/randy_pausch_really_achieving_your_childhood_dreams. Standard YouTube License.\nStorytelling in Teaching\nKienzle, R. (2020). Storytelling in teaching. https://www.youtube.com/watch?v=U9SFLsg3bnM Standard YouTube License.\nThis is Your Brain on Communication\nHasson, U. (2016). This is your brain on communication. https://www.ted.com/talks/uri_hasson_this_is_your_brain_on_communication?language=en Standard YouTube License.", "id": "<urn:uuid:2165ef79-06c3-4e76-8cc1-57487724da25>", "dump": "CC-MAIN-2022-21", "url": "https://uark.pressbooks.pub/speaking/chapter/story-activities-and-resources/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662631064.64/warc/CC-MAIN-20220527015812-20220527045812-00775.warc.gz", "language": "en", "language_score": 0.8264644145965576, "token_count": 669, "score": 3.53125, "int_score": 4}
{"text": "Standards Based Grading\nStandards Based Grading\nFrequently Asked Questions\nWhat is standards-based grading?\nIn a standards-based system, teachers report what students know and are able to do relative to academic standards. The system includes:\n- The improvement of student achievement in all content areas,\n- The mastery of defined learning targets instead of the accumulation of points,\n- The reporting of student achievement toward meeting learning targets at a given time by reflecting on mounting evidence based on various forms of assessments,\n- A record keeping system that provides teachers with information that allows them to adjust learning practices to meet the needs of students, and\n- A system that encourages student reflection and responsibility.\nWhat are the purposes of standards-based grading?\nOne purpose of standards-based grading is to align grading with the state academic standards as measured by consistent and accurate student achievement data and common criteria for grading. Another purpose is to accurately communicate achievement of learning targets to students, parents and educators. The influence of positive and consistent work habits on student learning is reported separately from the academics.\nHow does standards-based grading work?\nTraditional grading averages work that a student has done over a semester with other student characteristics, such as work habits. Standards-based grading removes extraneous factors and focuses solely on a student\u2019s academic achievement and continued mounting evidence that indicates a true assessment of the child\u2019s present attainment of the learning targets.\nHow is standards-based grading different?\nThe student\u2019s grade more accurately represents the progress toward mastery of standards than traditional grading does. Subject areas are sub-divided into big ideas related to standards and their respective learning targets that students need to learn or master. Each target is assessed. Scores from activities that are provided solely for practice will not be included in the final assessment of the learning target. The influence of positive and consistent work habits on student learning is reported separately from the academics.\nWhat are the advantages of standards-based grading?\nThe learning targets are clearly articulated to the students throughout instruction. Parents can see which learning targets students have mastered and which ones need reteaching and relearning.\nWhat are the disadvantages of standards-based grading?\n- It?s a change, and change takes time to build understanding for everyone involved.\n- Traditional grading practices are ingrained in the community and they, too, will have to go through the change process.\nWhat is the role of homework in SBG?\nThe purposes for assigning homework include the following:\n- To help students master learning targets.\n- To prepare students to learn new material.\n- To provide extension and application of skills taught in the class to new situations\n- To integrate and apply many different skills to a larger task. Examples of this type can be projects, creative writing, and I-Search papers.\nHomework scores are not usually included in the assessment of standards, unless the assignment is designed to show mastery. The student\u2019s grade will indicate how well he/she has mastered the content, not whether he/she completes assignments. Work ethic related to homework will be reflected separately from the academic grade. How does a standards-based report card improve teaching and learning? Knowing where the students are in their progress toward meeting standards-based learning targets is crucial for planning and carrying out classroom instruction. Teachers teach to the needs of their students. The new grading system is designed to give teachers more information about the student\u2019s progress in meeting the level of proficiency required by each standard. In addition, teachers share the standards with students and parents, helping them to better understand the learning that needs to take place.\nWhy does SBG use most recent assessments vs. averaging?\nEvery student starts a grading period with a certain amount of background knowledge, some accurate and some not, related to a topic/learning target. Through assessments during the grading period, teachers are able to determine students? levels of achievement of the learning targets. Since the goal is to document each student\u2019s level of achievement based on learning targets, averaging all scores throughout the marking period dilutes the information, underestimates the students? ending performance, and corrupts the determination of whether or not the student has achieved the targets.\nHow do teachers give one standards-based grade when there are multiple standards per quarter?\nA student\u2019s performance will be reported for each learning target or big idea taught. Summative grades will be determined from evaluating a body of evidence based on the learning targets taught that quarter. At all levels, a need for additional support or intervention can be noted through comments on the report card or through direct contact with the parent.\nHow does SBG prepare students for college?\nThe components of standards-based grading have the capacity to enhance achievement of learning targets and increase students? understanding of the specific skills, strategies, knowledge and processes to succeed through the use of well-articulated targets and formative assessment. Students are better able to learn self-advocacy and do the necessary work to achieve the learning target prior to summative assessments. Students are able to take increased ownership of their learning.\nDoesn?t SBG lead to grade inflation?\nIf a grade truly represents the level of mastery of standards, the grades students have earned represent the level of their understanding of the course material. It should provide an accurate picture of the student\u2019s performance, neither inflated nor deflated.\nHave schools that use standards-based grading experienced significant increases in achievement?\nResearch on standards-based grading shows overwhelmingly that students learn their subjects better and perform better in later education levels such as college when standards-based grading is implemented with fidelity both for instruction and assessment.\nIf students are allowed to retest, why will they try the first time?\n- Prior to an additional chance for assessment, evidence of ?correctives? should be indicated. Significant remediation should occur between the first attempt and the re-assessment.\n- The additional opportunities to show evidence of achievement of learning targets should be presented in an alternative form.\n- The goal is to teach students how to best prepare for summative assessments.\nMost students learn quickly that it takes less work to do it right the first time.\nHow will ?incompletes? be handled in the high school?\nIf we use standards-based grading to report a student\u2019s progress toward the achievement of a standard, it is an on-going process. For management reasons, we need to establish deadlines by which that progress needs to be reported. However, if a student is still progressing toward the standard at such a time when a report is needed, such as report card time, an incomplete may be given. If, two weeks after that deadline has passed, the student hasn\u2019t demonstrated his full potential on the standard (through reteaching and correctives), the grade should be recorded based on the preponderance of the evidence that the teacher has, or continue as an incomplete if the student\u2019s performance is still progressing. The principal should be consulted and parents informed in extreme cases.\nHow will parents be educated to prepare for this change?\nParents are encouraged to ask individual teachers or building principals questions regarding grading practices at specific levels.\nIs SBG more work for teachers?\nIn the first year of implementation, perhaps, but it is a system designed to be fair to students and increase achievement, so it\u2019s worth the time. However, it will save time in the future. Rather than having to assign and grade a predetermined number of assignments, teachers will need to gather only the evidence required to demonstrate a student\u2019s level of proficiency. Teachers and students use information specific to learning targets to plan instruction designed for individual student needs. Students clearly understand the target, their needs, and the course of action to achieve the target. Once students are familiar with the system, they work with the teacher to reach for the proficient and/or advanced scores. This partnership makes teaching and assessing more efficient.", "id": "<urn:uuid:140da4cb-fec9-4784-83d1-6fb1ad7686a6>", "dump": "CC-MAIN-2022-21", "url": "https://whitmanms.seattleschools.org/academics/standards-based-grading/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545090.44/warc/CC-MAIN-20220522063657-20220522093657-00375.warc.gz", "language": "en", "language_score": 0.9518820643424988, "token_count": 1635, "score": 3.84375, "int_score": 4}
{"text": "Last Updated on March 19, 2022 by QCity Editorial Stuff\nDrama and fiction are both forms of literature. At their core, they have the same dramatic arc \u2013 a conflict that is introduced at the beginning, which escalates throughout the plot until it reaches an emotional climax. However, there are some key differences between drama and fiction: Drama requires more dialogue than other genres while fiction can be written entirely in prose; drama relies on action to advance its plot while fiction focuses on character development. As such, these two genres often differ in tone as well. While dramas may employ comedy or tragedy based on what suits the needs of their story, novels typically use humor or pathos-based stories to add depth to their characters\u2019 motivations and emotions.\nDrama is a type of art that tells the story of an event or series of events. Fiction, on the other hand, is a form of writing where the author invents characters and events to tell their story. Drama can be either fiction or non-fiction while fiction always has to be fictional. Drama\u2019s goal is to create an emotional response in viewers through actions taken by actors which are meant to represent real-life events. This emotional response will often lead people who watch drama into discussing what they learned from watching it with others afterward.\nFiction novels are often classified as being literary because they explore ideas and emotions through language rather than action like drama does, but some genres such as mystery use both methods together equally well too.\nComparison between Drama and Fiction\n|Parameters of Comparison||Drama||Fiction|\n|Event||True event||Not true event|\n|Protagonist||drama doesn\u2019t||Fiction often has a protagonist|\nWhat Is Drama?\nDrama is a form of entertainment that typically features fictional stories and characters. It may be written, as in theater or television, or it may be presented in film or video. Drama can also refer to the actions that are used to create these dramatic situations. This post will explore what drama means in each of these contexts and provide some examples for you to consider. We\u2019ll start by looking at how people describe their own lives as being dramatic when they\u2019re trying to get out of doing something they don\u2019t want to do but feel obligated to \u2013 like going on a date with someone they don\u2019t want to see again. And then we\u2019ll look at how people might use the word \u201cdramatic\u201d when describing certain events in their life \u2013 like the time they went on a date with someone they didn\u2019t want to go out in the first place.\nDrama is an emotional rollercoaster ride. It can be fun at times, but it\u2019s more often than not a horror show. When you\u2019re in the middle of it, you feel like your life is falling apart and there\u2019s nothing you can do about it. But what if I told you that drama doesn\u2019t have to rule your life? Many people don\u2019t know how to get out of the cycle of chaos and destruction that comes with drama on their own, so they need help from someone else who has been through it before. This blog post will teach you how to stop being caught up in drama once and for all! Join me as we take this journey together.\nWhat Is Fiction?\nFiction is a genre of literature that deals, in part or whole, with events that are not factual. However, the distinction between fiction and nonfiction can be blurry because it is difficult to determine where fact ends and fiction begins. This has important implications for writers who want to communicate effectively with their audience on the topic of fiction. For example, if you are writing about \u2018The Catcher in the Rye\u2019, what do you need to know? What questions should you ask yourself as you write your blog post intro paragraph? How does this affect how people read your work.\nWriting an engaging blog post intro paragraph requires understanding both why people read fiction and how it differs from other genres like biography or autobiographies. Once these concepts have been understood, the writer can then develop a style that engages readers and leads them to take action on what they read.\nFiction is a genre that captures the imagination and transports readers into worlds they can\u2019t experience in real life. Sometimes, these stories are about ordinary people leading extraordinary lives; other times they\u2019re about things that could never happen in reality. What makes them so compelling.\nThe answer lies somewhere between our need for wonder and our quest for meaning. Stories help us to better understand ourselves and one another: we see what we want to be or what we fear becoming, and in this way, fiction helps us grow.\n10 Differences Between Drama And Fiction\nFact: Drama is based on true events, while fiction is not.\nProtagonist: Fiction often has a protagonist who undergoes an inner struggle and change, while drama doesn\u2019t.\nShorter: Dramas are usually shorter than novels because they don\u2019t have to go into as much detail about the setting or secondary characters.\nWritten: A novel can be written in the third person or first-person point of view, but dramas are always written in the third person point of view.\nDescriptive: Fictional books are typically more descriptive than dramatic plays because there\u2019s more time for details.\nStory: Books can tell you what someone\u2019s thoughts were at any given moment during the story, but this isn\u2019t possible with a play.\nPlot: Drama usually has a more linear plot, whereas fiction is open to interpretation.\nPerson: Fiction is often written in the first person, while drama can be either first or third person.\nRealistic: The dialogue in drama may not sound realistic because it needs to move the story forward quickly and efficiently.\nCharacter: In fiction, characters are generally well-rounded with many different traits that they have control over.\nInteresting Statistics Or Facts Of Drama\n1. Drama can be a positive thing in our lives.\n2. There are many different types of drama, which include family, work, and school.\n3. The average person spends about 14% of their time on drama.\n4. A study found that 96% of people have been the victim or perpetrators of at least one type of drama in their lifetime.\n5. Drama is often caused by fear and insecurity.\n6. In the workplace, women are more likely to engage in interpersonal dramas than men.\nInteresting Statistics Or Facts Of Fiction\n1. The word \u201cfiction\u201d is derived from the Latin word fiction which means \u201cto form, invent, or imagine.\n2. JRR Tolkien coined the term \u2018Middle-earth\u2019 to mean the world of his stories.\n3. George Orwell\u2019s 1984 was originally titled 1948.\n4. Alice in Wonderland is one of the most translated books ever written \u2013 it has been translated into more than 150 languages and dialects.\n5. Huckleberry Finn was not always called that; its original title was The Adventures of Tom Sawyer\u2019s Friend Huckleberry Finn.\n6. There are about 8 million words in a standard edition of Shakespeare\u2019s works excluding some poems.\nConclusion About The Differences Between Drama And Fiction\nPeople often confuse drama with fiction, but they are two different things. Drama is a category of prose or poetry that imitates the actions and language of life to portray people\u2019s emotions or experiences. It can be written in any genre, including comedy, tragedy, romance, crime novels etcetera \u2013 whereas Fiction is an imaginative story created by the author rather than based on reality. When you\u2019re writing your novel about vampires who live forever because their skin never ages no matter how many years pass by outside- it\u2019s not real! That means you should probably call it \u2018fiction\u2019 instead. If you want to write something more realistic like The Great Gatsby for example then use Dramatic Writing as opposed to fictional writing formats such as Fantasy or Science.\nWe hope that we have been able to provide some insights into the history and development of drama as a literary form, and how it has come to be distinguished from other genres such as fiction. Drama is often considered an entertaining art form because its focus on human emotion makes for compelling viewing. It can also function as a vehicle for social commentary or even political critique in certain cases; however, this is not always the case. The distinction between drama and fiction might seem arbitrary at first glance, but there are clear differences across all aspects of production which set them apart. If you would like more information about these distinctions -including their effects on marketing- please contact us today.", "id": "<urn:uuid:aaddd31c-e9aa-4f28-b84c-e187ed0c09f0>", "dump": "CC-MAIN-2022-21", "url": "https://questionscity.com/drama-vs-fiction-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662546071.13/warc/CC-MAIN-20220522190453-20220522220453-00172.warc.gz", "language": "en", "language_score": 0.9663624167442322, "token_count": 1835, "score": 3.546875, "int_score": 4}
{"text": "by Dr. Maurice Elias\nWatch the webinar presented by Dr. Elias on 10.30.2019.\nThe Power of Purpose\nWhen students enter the schoolhouse door without a sense of positive purpose, it is difficult for them to connect their varied learning experiences and other opportunities into a coherent whole that shapes their lives. They lack a strong reason to learn, take on challenges, or behave well. An enduring sense of purpose typically emerges in adulthood, but having a primary goal, a moral compass, a focus on something other than, and larger than, oneself, and actions that align with these beliefs, start to become particularly important in middle school.\nStanford University psychologist William Damon views purpose as a \u201cstable and generalized intention to accomplish something that is at once meaningful to the self and of positive consequence to the world beyond the self.\u201d\nNot surprisingly, positive purpose is connected to social-emotional learning skills. For example, here are links with social awareness:\n- Finding your special task \u2013 what it is that allows you to excel?\n- Recognizing your feelings and using them as a guide to your actions\n- Recognizing and encouraging the achievements of yourself and also of others, for large and small accomplishments, as they contribute to purpose.\nGetting Started with a Positive Purpose Essay\nWriting an essay about positive purpose is an important way to build social awareness, as well as provide direction and energy for learning. But students usually can\u2019t just start writing. Here are some steps to get them ready:\n- Look at the positive purpose of well-known individuals, via non-fiction books, biographies, documentaries, social studies, current events.\n- Learn about, reflect on, and write about the positive purpose of a personally-known individual \u2013 interview a local hero, community leader, member of the clergy, first responder, family member, educator or other staff member in the school.\n- Write about one\u2019s own positive purpose.\nUse a Prompt to Guide Writing\nYou can use a standard essay writing prompt for your students\u2019 grade level, adapted to positive purpose as the subject of the essay. Here is an example from middle school in Jersey City, NJ:\nIn your classes and in your life you may have learned about and encountered people with a strong sense of purpose. Similarly, you might feel your own sense of purpose. In a five-paragraph essay that includes an introduction, three body paragraphs, and conclusion, please respond to the following:\n- What is your definition of purpose?\n- What might be your purpose? Why?\n- How would someone know that is your purpose in life?\nFrom an essay written by an 8th grader from a high-poverty, low-achieving school based on the prompt above, here is the introduction and definition of purpose:\nThe purpose of human life is to serve, and to show compassion and the will to help others,\u201d said Albert Schweitzer. I believe I was made to entertain, inspire creativity and guide others.\nI think the definition of purpose means reason to do something, like when you say what\u2019s your purpose for choosing a certain career, and you state your reasons. This is why I strongly am convinced that I was made to guide and entertain others because, having a strong passion for art and Broadway plays\u2026 A purpose of doing something can lead you into realizing what you want to grow up to be, as you recognize what you like to do.\nHere is how she responded to the last prompt:\nOthers would realize what my purpose in life is by knowing what my career and life goals are or, who I admire to be one day. I admire to be like Steve Jobs because I believe without mistakes you can never grow to be an exemplary person and, even though Steve Jobs failed many times he became one of the most successful men in our generation.\nTry It With Your Students\nHer essay\u2014and those of her peers in Grades 6-8\u2014opened her teachers\u2019 eyes about the depth of her thinking, aspirations, and abilities. By articulating their sense of purpose, students became more aware of their own potential, and their own assets.\nTry it with your students. Have them share drafts of their essays with classmates, get several rounds of feedback, and then practice reading them with clarity and pride in class, at assemblies, or at parent or community meetings. Students can also communicate their positive purposes by creating artistic or musical renderings, along with brief write-ups. I am sure your students can find creative ways of communicating their sense of purpose, and in doing so, they will become more resilient.\nJoin me in the October 30th webinar to learn more about purpose, as well as Laws of Life, and Students Taking Action Together\u2014activities you can use with students to engage them in ways that skills-focused training typically does not.\nMaurice J. Elias, Ph.D., is a professor and former director of clinical training in the Department of Psychology, Rutgers University. He is also director of the Rutgers Social-Emotional and Character Development Lab (www.secdlab.org), academic director of the Collaborative Center for Community-Based Research and Service (engage.rutgers.edu) and founding member of the Leadership Team for the Collaborative for Academic, Social, and Emotional Learning (CASEL). Dr. Elias lectures nationally and internationally and devotes his research and writing to the area of social-emotional and character development in children, schools, and families. He is a licensed psychologist and writes a blog on social-emotional and character development for the George Lucas Educational Foundation at www.edutopia.org. He lives in New Jersey with his wife, Ellen, near their children and grandchildren. Maurice J. Elias, Ph.D Professor of Psychology at Rutgers., and Steven E. Tobias, Psy.D Director for Center of Child and Family development are the authors of several books including: Boost Emotional Intelligence in Students and Emotionally Intelligent Parenting.", "id": "<urn:uuid:eb4126c8-e8a7-4158-848e-7965b896abec>", "dump": "CC-MAIN-2022-21", "url": "https://www.rethinked.com/blog/2019/10/29/writing-for-resilience-the-impact-of-the-positive-purpose-essay-on-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522270.37/warc/CC-MAIN-20220518115411-20220518145411-00775.warc.gz", "language": "en", "language_score": 0.9627821445465088, "token_count": 1238, "score": 3.671875, "int_score": 4}
{"text": "Digital storytelling enters the classroom.\nWhen conveying any topic, it is always better understood when it is communicated through the use of multiple senses. Many students have expressed their discontent with education as \u201cboring\u201d because they sit and listen to a person lecture for six hours everyday; this is a legitimate concern that educators have been attempting to address through the implementation of multi-genre and multi-sensory activities and the inclusion of technology in their lessons. One of the most popular methods of incorporating these elements in to a lesson is through the use of digital storytelling in the classroom.\nWhat is digital storytelling?\nDigital storytelling is a computer-based model for presenting lessons that focuses on the use of text, graphics, videos, music, recorded narration, and such to present information. Just as a story provides mental pictures when it is being told, digital stories project those images outside of the mind and help learners grasp materials more effectively. When given a choice, students nine out of ten students preferred the digital storytelling lesson to a traditional lecture.\nEasy steps for teachers to take.\nFor an educator, this is a scary concept to be introduced to, especially if you are not a product of the technology-savvy generation. Do not worry, there is help available and chances are, you already have the programs installed on your computer that will make for effective digital stories.\nThe first step you need to consider when using digital storytelling in the classroom, is whether it will be ideal for implementing a digital story in place of a tradition lecture? Consider the elements and themes that you want to communicate. If there are any interesting connections that you can make between an element of a lesson and a song or a movie clip, then it is probably a good one. For example, if you are trying to help students understand what good leadership in the midst of adversity looks like because one of the characters in the novel you are reading demonstrates it, then take a clip from a movie such as Remember the Titans. In this movie, you would be able to not only show leadership from one character but from several.\nIf movie clips are too much for you, photographs will have a similar equally powerful effect. If you are teaching about the history of the Iron Curtain, then do a quick Internet search for pictures from the Iron Curtain. You will get hundreds of results. Insert these pictures into a powerpoint presentation and record a narration over the pictures. This will also allow you to monitor student response and give them visuals to go with the information that they are receiving. You will be surprised by the difference that it makes.\nPopular programs to create digital storytelling in the classroom.\nMost classroom computers come equipped with basic Microsoft Programs such as PowerPoint. It is amazing the quality of digital storytelling you do with this program, but there are other options available to those who look to make technology based lessons a part of their every day curriculum. Do your own research, but here are the ones most popular among teachers because of their ease of use.\nWindows Movie Maker- Movie Maker is an easy to you movie maker that has templates that anyone can learn how to use. It is known its simple drag-and-drop function that allows you to draw movies, pictures, music from your files into the video file with just a few clicks of the mouse. This is a great program to teach students how to use digital storytelling in the classroom.\nIf you have Mac, you already have everything that you need to create a great digital story. The iMovie program is second to known in its ease of use and quality. You computer comes equipped with tutorial videos that will give step by step instructions. Anyone can use this program.", "id": "<urn:uuid:214f7f65-f55d-4ded-b534-97f9d70795ce>", "dump": "CC-MAIN-2022-21", "url": "https://kidslearntoblog.com/lessons-come-alive-with-digital-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539131.21/warc/CC-MAIN-20220521143241-20220521173241-00374.warc.gz", "language": "en", "language_score": 0.9547030925750732, "token_count": 745, "score": 4.0625, "int_score": 4}
{"text": "Learning and retaining vocabulary\nChildren\u2019s storybooks contain diverse sources of linguistic information, potentially beneficial to literacy and the development of language in that age group. Vocabulary learning is a lengthy process that, according to the literature, benefits from repeated practice, recovery and reactivation while sleeping. The research on vocabulary learning has verified that children, after sleeping, tend to demonstrate improvements in their capacities to recognise recently learned words and even words without meanings (pseudowords).\nAccording to diverse studies, the exposure of children to the reading of stories, whether through listening or reading accompanied by an adult, fosters the development of vocabulary, especially in school age children. According to Henderson and fellow authors of the aforementioned article, published in the Journal of Experimental Child Psychology in 2021, these results are consistent with the view that learning vocabulary in potentially stimulating contexts is extremely beneficial to children. In a study published back in 2013, a team led by the same researcher concluded that, following a week of explicit vocabulary teaching, the children would recall more words when the learning took place based on semantic information (through definitions or images) than based on phonologic or orthographic information.\nAre the words learned retained in the memory over the long term?\nResearchers have sought to respond to this question that has hitherto remained open. However, in the 2021 article we referred to above, the findings include two important points referenced in the literature: the prior knowledge of the children and the time lapsing between sleeping and the learning of new terms.\nThe prior knowledge of children about the meaning of words probably represents one of the key variables in the connection between vocabulary learning and long term memory retention. In 2013, Wilkinson and Houston-Price analysed the influence of prior knowledge of vocabulary on the understanding of the words learned from listening to stories. In practice, these authors report how prior knowledge wields a significant influence over the understanding of new words both twenty-four hours and a fortnight after listening to the stories. In 2017, James and other researchers also confirmed that prior lexical knowledge predicts the capacity to retain new words, which reinforces the idea that this plays an important role in the long term memory retention process and support the processes involved in the initial acquisition of vocabulary.\nThe time lapsing between the learning and falling asleep is also a core variable within the scope of vocabulary retention processes. According to the most recent research, there may be greater benefits for children learning new words close to the time of sleeping. In a study from 2020, Walker and others reported that children who learn vocabulary in the afternoon (between 2pm and 4pm) memorise more words than those learning vocabulary in the morning (between 8am and 10am). Knowledge on this facet still needs clarifying with further research necessary to this end.\nThe study by Henderson and collaborators: objectives and participants\nThe work of Henderson and the respective researchers, which provides the basis for this article, held the fundamental objective of grasping whether children learn and retain new words when having their parents read them a story and if this practice is particularly advantageous close to the time of sleeping. The research included 237 children aged between five and seven. Their first language was English and no participant registered visual, auditive, linguistic, psychiatric or sleep disorders. In accordance with the results following various experiments, the authors tested the following hypotheses:\n- Children recognise and recall more words after sleeping than immediately after the reading of the story by parents.\n- Children demonstrate higher levels of new word retention when learning them immediately before sleeping than they do when learning them four hours prior to sleeping.\n- Children with less extensive lexicons benefit more from learning new words close to the time of sleep than those who already have extensive vocabularies.\nThe children were divided into two groups: the \u201cdelayed condition\u201d and the \u201cimmediate condition\u201d. The parents of children in the first group were requested to read a story to their children three to five hours before putting them to bed. Immediately after this reading, the researchers evaluated the children through a remote test with the objective of ascertaining the capacities to recall, recognise and understand the words they were exposed to during the storytelling. The parents of children in the second group were asked to read a story to their children just before putting them to bed. After the storytelling, these children took the same test as the first group. On the following day, approximately one hour after waking-up, all children took a remote test with the objective of evaluating the capacities to recall and recognise the words learned during the previous day and analyse their knowledge of the meaning of terms that did not appear in the story.\nWhat were the results?\nThe findings confirmed the first hypothesis. The children reported more significant rises in their capacities to recognise and recall words on the following day (thus, after sleeping) than immediately after having heard their parents read them a story. According to the authors, these results are consistent with the compliance systems of learning model put forward by McClelland and fellow authors in 1995, and applied to word acquisition by Davis and Gaskell in 2009: the representation of a word in the memory strengthens over the course of time and particularly when sleeping. Furthermore, the results demonstrated that prior knowledge of the vocabulary favoured the performance of children in recognition and recall tasks. As referred to by the authors, these data support the idea that lexical knowledge associates both with the initial learning of vocabulary and with its long term retention.\nContrary to expectations, the results here identified the children who heard their parents read a story three to five hours before sleeping memorised more words than those having stories read to them immediately before going to sleep. Furthermore, the findings note that children with lower lexical levels do not display greater gains on listening to stories immediately prior to sleeping. Therefore, hypotheses 2 and 3 were rejected. According to the authors, these results are nevertheless consistent with the conclusions reported by other studies. Reading stories to children always contributes to their learning and the consolidation of vocabulary and doing so after school or at the end of the day may return better literacy results in young children.\nDavis, M. H., & Gaskell, M. G. (2009). A complementary systems account of word learning: Neural and behavioural evidence. Philosophical Transactions of the Royal Society of London B: Biological Sciences, 364, 3773\u20133800. https://doi.org/10.1098/rstb.2009.0111\nHenderson, L. M., van Rijn, E., James, E., Walker, S., Knowland, V. C., & Gaskell, M. G. (2021). Timing storytime to maximize children\u2019s ability to retain new vocabulary. Journal of Experimental Child Psychology, 210, 1-23. https://doi.org/10.1016/j.jecp.2021.105207\nHenderson, L., Weighall, A., & Gaskell, G. (2013). Learning new vocabulary during childhood: Effects of semantic training on lexical consolidation and integration. Journal of Experimental Child Psychology, 116(3), 572\u201359. https://doi.org/10.1016/j.jecp.2013.07.004\nJames, E., Gaskell, M. G., Weighall, A. R., & Henderson, L. M. (2017). Consolidation of vocabulary during sleep: The rich get richer? Neuroscience & Biobehavioral Reviews, 77, 1\u201313. https://doi.org/10.1016/j.neubiorev.2017.01.054\nMcClelland, J. L., McNaughton, B. L., & O\u2019Reilly, R. C. (1995). Why there are complementary learning systems in the hippocampus and neocortex: Insights from the successes and failures of connectionist models of learning and memory. Psychological Review, 102(3), 419\u2013457. https://doi.org/10.1037/0033-295X.102.3.419\nWalker, S., Gaskell, M. G., Knowland, V. C. P., Fletcher, F. E., Cairney, S. A., & Henderson, L. M. (2020). Growing up with interfering neighbours: the influence of time of learning and vocabulary knowledge on written word learning in children. Royal Society Open Science, 7: 191597. http://dx.doi.org/10.1098/rsos.191597\nWilkinson, K., & Houston-Price, C. (2013). Once upon a time, there was a pulchritudinous princess: The role of word definitions and multiple story contexts in children\u2019s learning of difficult vocabulary. Applied Psycholinguistics, 34(3), 591\u2013613. https://doi.org/10.1017/S0142716411000889", "id": "<urn:uuid:9ef2a346-16ed-4b85-84cd-3c6c8711b37b>", "dump": "CC-MAIN-2022-21", "url": "https://www.iniciativaeducacao.org/en/ed-on/ed-on-articles/reading-bedtime-stories-are-parents-helping-with-vocabulary-building", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604495.84/warc/CC-MAIN-20220526065603-20220526095603-00575.warc.gz", "language": "en", "language_score": 0.9360182881355286, "token_count": 1819, "score": 4.21875, "int_score": 4}
{"text": "Dive deeper into punctuation protocols, antecedents and appositives, diagraming and dependent clauses with the exercises in Grammar and Composition II. Your child will combine his understanding of grammar and usage with researching and writing techniques to deliver quality compositions. A thorough review of parts of speech and sentence writing plus a consolidated handbook of grammar rules will give your child the tools to confidently complete these grammar exercises and promote his overall communication skills.\nBridge the gap between basic arithmetic and a more advance study of mathematics with Pre-Algebra. This work-text includes a cumulative study of previously learned concepts plus introductions to multiplying and dividing polynomials, complementary and supplementary angles, buying stocks and bonds, algebraic word problems, and more. With daily exercises, examples, review exercises, Problem Solving Strategies, charts and tables, and a glossary of terms, your child will be equipped with the tools to succeed in Pre-Algebra!\nThere will be no \u201cI don\u2019t like history\u201d comments when your teen reads this text! He will love the narrative style of the text and the many illustrations, maps, and photographs that invite him to explore the past and learn about the personalities and events that shaped the American character. He will be inspired as he studies the faith, patriotism, and moral conviction of many great Americans. The highlighted key facts and review sections help make the learning stick. Gr.8.\nFrom earthquakes and volcanoes to clouds and galaxies, show your child the features of God\u2019s Creation here on earth as well as outerspace with Science: Earth and Space! This textbook guides your child through a study of geology, oceanography, meteorology, astronomy, and environmental science. A thorough study of rocks, soil, and fossils will give your child ample proofs that this earth was created by God and not evolutionary processes. With Section and Chapter Reviews plus articles to defend Creation and 650 picture and diagrams, your child will complete 8th grade science with a detailed understanding of earth and space science.\nMaster new vocabulary words and practice presenting poetry from Vocabulary, Spelling, Poetry II. This text includes 24 Word Lists and 4 Review Lists that each contain 20 spelling words and 10 vocabulary words with definitions that correspond with selections from the 8th grade literature text\u2014Of Places. These lists include exercises that help your child understand and apply spelling rules, use words in the correct context, and recognize homonyms, synonyms, and antonyms. Nine well-known poems are also included for recitation and memorization to enhance the appreciation of poetry.\nTaken from: https://www.abeka.com/Search.aspx#stq=&roles=MAGENTOATSCHOOL&grades=G8&prodtypes=TEXTBOOKS", "id": "<urn:uuid:e4f91916-52ac-4d42-843c-d98a4e0fe5e0>", "dump": "CC-MAIN-2022-21", "url": "https://bethelchristianschool.com/8th-grade-curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662588661.65/warc/CC-MAIN-20220525151311-20220525181311-00576.warc.gz", "language": "en", "language_score": 0.9169918894767761, "token_count": 572, "score": 3.640625, "int_score": 4}
{"text": "If a story is not about the hearer he [or she] will not listen . . . A great lasting story is about everyone or it will not last. The strange and foreign is not interesting-only the deeply personal and familiar.\"\n\"\u2022 John Steinbeck,\nStorytelling has likely been around since the beginning of time. The first cave paintings from 27,000 thousand years ago are seen as an early form of storytelling. People have been fascinated by stories. While sitting around a fire, stories were the first and only way to share information, dreams, to entertain, inspire and connect with others long before humans had any other forms of communication. Effective communication has always been about storytelling and today, the best communicators are also good at it.\nNot only is it commonly accepted that good storytelling beats other forms of communication hands down, there is scientific evidence that backs this up. When we receive information from a power point presentation, the language part of our brain that decodes words into meaning becomes activated.\nHowever, when we listen to a story, a lot more happens. Not only does the language processing part of our brain become activated, but other parts of our brain begin to process the experience of the story for ourselves. For example, descriptions for foods would activate our sensory cortex. In other words, hearing a story puts much more of our brain to work than simply listening to a presentation. Not only can we stimulate various areas of the brain, but if the listener relates to a story, their brains can become synchronized with the storyteller's. Emotions that the storyteller is experiencing can be shared with the listener.\nKnowing the influence that telling a good story can hold, we can use storytelling to not only share information, but connect with the people around us. Here are some things to keep in mind.\nKeep it simple\nLess is more; this is a basic rule of good storytelling. Avoid the complex, detailed, as well as the use of adjectives and complicated nouns. Using simple language is the best way to activate regions of the brain that help us relate to the events in a story. Remember that you are not trying to impress, but to share an experience.\nAlways keep the audience in mind\nTo be effective, the audience must be able to relate to the story. Talking about an experience on a yacht would not be a good way for the CE0 of an organization to connect with front line workers. This would likely have the opposite effect and distance his audience from him or her. Telling a heart-felt story about going fishing with a family member or a grandchild would be much more effective as this would be something many in the audience could identify with.\nUse it as an opportunity to share something of yourself\nTalking too much about ourselves directly can be viewed by others as being self-serving and turn them off. Skillful storytellers can weave information about themselves, they want the audience to know, without appearing to be pretentious. Past stories of struggles, failures and overcoming barriers the storyteller has experienced are excellent sources that help the teller connect with the audience as everyone has experienced these in life. This will compel the story teller to appear more human, more like one of the audience.\nDon't take yourself too seriously\nAudiences love speakers who are able to laugh at themselves. Let yourself be vulnerable. Everyone has done something downright embarrassing and silly. Sharing these moments will resonate strongly with the audience.\nShare sincerely felt emotions\nI have attended numerous seminars from an individual that I have grown to admire and respect. At some point in the workshop he always shares the story about how his brother and he almost lost their company. At a certain point he tears up as he shares this experience. You can feel the connection with the audience. Even though I have heard the story a number of times, I know he is sincere when he is sharing this and my respect for him increases. If you have strong emotions that come up when telling a story, don't try to suppress them. Of course you would need to manage your feelings as an uncontrolled display of crying or laughing would not create the desired result. However, showing some emotion increases trust and forms a bond between the speaker and the audience.\nSome Amazing Comments\nClick The Book Cover Below Pre-order Steven Aitchison\u2019s new book The Belief Principle: 7 Beliefs That Will Transform your Life", "id": "<urn:uuid:6018edc8-653f-406c-ac4e-77e7150d8531>", "dump": "CC-MAIN-2022-21", "url": "https://www.stevenaitchison.co.uk/keep-audience-transfixed-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510097.3/warc/CC-MAIN-20220516073101-20220516103101-00576.warc.gz", "language": "en", "language_score": 0.9680022597312927, "token_count": 896, "score": 3.703125, "int_score": 4}
{"text": "TH:Re8.1.HSIII.b Use new understandings of cultures and contexts to shape personal responses to drama/theatre work.\nby Karen Loftus\nThis unit will enable students to identify, compare, and contrast three different styles of Japanese Theatre: Noh, Bunraku, and Kabuki. There are three proposed projects in this unit: a research assignment where groups delve into further detail about one of the three styles; a performance project where students utilize what they\u2019ve learned by enacting a scene from a Kyogen (comedic) play; and a Bunraku puppet play.\nThe unit comes with a Google Slide Deck to help students visualize the information. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.\nby Lea Marshall\nThe purpose of this unit is to give students an introduction to independent learning as well as an overview of Ancient Greek theatre. Students will apply their knowledge throughout, and the unit culminates in a group activity.\nThis unit is delivered in hyperdoc format. What does that mean? A hyperdoc is an interactive tool that encourages digital learning. In this case, students are given a document on a subject, and there they can read articles, watch videos, do some independent research, and apply what they\u2019ve learned. Because they\u2019re working on their own, students are in charge of their own pacing.\nBefore you start the unit, ensure you read the Teacher Guide first. It will give you clear instructions on how to distribute the hyperdoc format and make it easy for you and your students.\nby Allison Green\nThis Indigenous Storytelling unit is brought to you in a different format than a traditional lesson plan. It uses a learning circle format. It was developed by Allison Green, a member of the Algonquin Band of Mattawa Ontario, who is also the author and instructor of the DTA course Approaching Drama Class with an Indigenous Perspective.\nStudents will discuss origin stories, research the background and land connection of a variety of Indigenous creation stories, create a plot graph of their story, share with the class what they have learned, and then retell the story in their own words. Once students have practiced this process, they will repeat the steps with an Abenaki creation story: Research | Recreate | Understand.\nby Allison Green\nStudents will develop characters based on the character traits of the Seven Grandfather Teachings. The unit begins with a focus on the traits (Love, Wisdom, Respect, Bravery, Honesty, Humility, and Truth) and the story of elders passing on teachings to the youth. Students will use tableau, viewpoints, and movement and explore how to develop a character with a clear backstory and identity. The unit uses open, neutral scenes as a partnered task that students can use to apply their learning followed by reflection and class discussion.\nby Allison Green\nThe objective of this unit is for students to be able to engage with Indigenous symbolism in art, and then interpret it in a theatrical context. It begins with an introduction of symbolism through a retelling of an Indigenous story with wolves representing human traits. Students develop a scene that focuses on how to \u201cshow and tell\u201d an Indigenous story, clearly showing the symbolic meaning from the oral story. Students will then explore symbols by looking at the characteristics of Canadian Indigenous Art, delving into the symbols and story. Students then share their interpretation of the art by creating and presenting a piece of theatre, followed by reflection and class discussion.\nby Holly Beardsley\nDo you know the difference between a bustle and a buckram frame? Or what works best as an emergency hem? Some directors are blessed with a big budget and a full support staff\u2014a choreographer, a set designer, and a costumer. But the drama teacher often becomes director, choreographer, set designer, and costumer all in one.\nAnd a budget? What\u2019s a budget? The Do-It-All Director\u2019s Introduction to Costuming will give you, the director, who must do it all, the confidence and skills to costume and direct, no matter your experience or budget. This course will teach you costuming basics, budget tricks, organization, and most importantly, the art of costuming as a director.\nby Allison Green\nThis course is led by Allison Green, a member of the Algonquin Band of Mattawa, and a drama and social sciences teacher in Northern Ontario, Canada. She believes that drama teachers should look at their teaching through an Indigenous lens for a few reasons:\n- It is time in North America to take a conscientious look at Indigenous people\u2019s approach to learning and teaching.\n- For our Indigenous students, it\u2019s important to see themselves in materials, activities, and classroom routines.\n- It is also valuable for our non-Indigenous students to see and better understand the diverse nature of the creative process and ways of seeing our world through this lens.\nThis course aims to help teachers see their drama class through an Indigenous lens - by exploring the learning circle, culturally responsive approaches, and Indigenous pedagogy.", "id": "<urn:uuid:40a76b5d-e63e-438f-be2b-952d9275f9c0>", "dump": "CC-MAIN-2022-21", "url": "https://www.theatrefolk.com/dta_standards/1137", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662584398.89/warc/CC-MAIN-20220525085552-20220525115552-00175.warc.gz", "language": "en", "language_score": 0.9372428059577942, "token_count": 1056, "score": 4.0625, "int_score": 4}
{"text": "The art of storytelling is quite ancient and powerful. They are considered to be extremely beneficial for enhancing listening skills and sharpening kids\u2019 imaginations. A research conducted in the UK showed that the brains of people who listened to character-driven stories released a chemical called oxytocin which is connected to feelings of love and empathy. Children tend to have an innate love and admiration for stories. We all have fond memories of our grandparents or parents narrating stories to us which were instrumental in teaching us about our culture. If you seem unable to find the time for storytelling, you can even choose to opt for online classes that will expose children to fantastical world of stories.\nRead on to learn more about the importance of storytelling to kids.\nEngaging with purposeful talking\nStories bring about a sense of wonder and engage listening skills. Storytelling for Kids is critical in the overall development, even if it is just narrating an incident that occurred in your daily routine. Even these small instances can play a fundamental role in inspiring children and developing their worldview. More importantly, it prompts them to actively listen and pay attention while generating curiosity and encouraging children to ask questions.\nAttuning them to the world around us\nChildren tend to live in a little bubble of their own worlds. Narrating a story from your own culture or even from another culture will open up their worldview, causing them to empathise with people. This will eventually inculcate a visualization capacity and they can explore a diverse range of cultures, people and experiences. Children will be able to understand the minute differences that separate people but also bring together communities. It will offer an insight into the many universal life experiences.\nKids have a limited range of words and storytelling can greatly improve their vocabulary. When done in a manner that is expressive, with the use of voice modulation, expressions, changes in pitch, this will help children pay more attention and remember the vivid details and words used while narrating a story to them. There may be words or concepts or even characters that children are not familiar with and storytelling in an informal manner will introduce them to these things. It will broaden their vocabulary and they will easily pick up new words as they hear them. They will be able to understand the actions and reactions of characters, the motivations behind them and why certain decisions may have been made. Furthermore, storytelling will enhance their communication skills and understanding too.\nApart from just fostering kids\u2019 imaginations, stories have a beautiful way of instilling virtues that they can carry with them forever. Stories , when told well and often, are memorable, especially those that have morals. Children can learn to emulate certain values from characters and understand meaningful messages that stories impart. Valuable and essential lessons in honesty, kindness, truthfulness and compassion are imparted through the act of storytelling.\nA sensory experience\nWhen stories are told using sensory details, they engage more parts of the brain than mere facts do. Imperceptible details help children to see and experience a narrative from the character\u2019s point of view and this can engage their sensory, visual, auditory, motor and olfactory sections of the cortex in the brain. It's almost akin to relieving an experience that you were never a part of to begin with, which makes the act so magical. It stimulates parts of the brain that regular conversations cannot as stories are filled to the brim with information.\nLastly, the way that the story is told is also key to how much attention children pay. You can always tell the perfect story by acting it out. It was found that parents who tell stories have more of an emotional bond with their children. This pushes children to be creative and think outside the box. We hope that this brought to light the multifaceted nature of storytelling and its many benefits.\nSo put on your most entertaining voice and help kids express themselves to the fullest with storytelling!", "id": "<urn:uuid:d85acfd5-88a3-45da-8e65-e45510b81340>", "dump": "CC-MAIN-2022-21", "url": "https://fsmbuddy.com/blog/what-is-the-importance-of-storytelling-for-kids", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662593428.63/warc/CC-MAIN-20220525182604-20220525212604-00776.warc.gz", "language": "en", "language_score": 0.9605303406715393, "token_count": 794, "score": 3.84375, "int_score": 4}
{"text": "Ready to find out if Fusion programs are the right fit for your child?\nFill out this form and a Director of Admissions and Outreach will be in contact with you.\nStudents develop foundational skills in speaking, listening, and academic research while developing and honing reading comprehension and language usage skills.\nEnglish 10 students continue to develop literacy-related skills including: speaking and listening, academic research, higher-order reading comprehension, language usage, and written and rhetorical literary analysis. Students exercise critical thinking through the reading and analysis of various works of literature and multiple short- and extended-length writing assignments.\nStudents hone their emerging comprehension, analysis, and writing skills through a study of literature while incorporating a variety of writing styles including creative writing and personal essays.\nEnglish 12 students achieve mastery of the skills related to listening and speaking, academic research, higher-order reading comprehension, language usage and writing, literary analysis, and critical thinking. Students study classical literature and modern works. Students engage in the cycle of writing, workshopping, and revising required of writers in order to produce polished final works.\nEnglish 6 students develop skills in reading, literary analysis, vocabulary, spelling, grammar, and writing. While the focus of English 6 will be on expository texts, students will also read short stories, novels, mythology, drama, and poetry.\nEnglish 7 students focus on grammar, literature, and spelling. Vocabulary will be taught using an integrated approach. Literature includes short stories, nonfiction, the novel, mythology, folk tales, drama, and poetry. Grammar units will include parts of speech, parts of a sentence, kinds of sentences, fragments, run-ons, subject-verb agreement, verb usage, comparison of adjectives and adverbs, and essay writing in the four writing modes.\n8th grade English primarily emphasizes the careful reading and analysis of literature from various literary genres. Students also gain further experience in narrative, descriptive, and essay writing. Students continue to develop their vocabulary and refine their understanding and use of formal English grammar and mechanics.\nThis course coincides with English 6. Students are introduced to a variety of writing styles and practice composing their own informative, narrative, and argumentative texts to demonstrate a strong understanding of English conventions and language devices. Poetry will also be a focus as students will engage in creative expression through a variety of poetic styles. Students\u2019 writing will be further supported by grammar studies.\nThis course is a continuation of MS Language Arts 6 and coincides with English 7. The purpose of this course is to provide instruction and practice in grammar, spelling, and writing related to language arts, reading, and writing. In Language Arts, students continue to develop an appreciation of spoken and written language, expand their use of descriptive words and complex sentences, as well as their choices of modes of writing. Students use oral language, written language, and media and technology for expressive, informational, argumentative, critical, and literary purposes. Students use the stages of the writing process to write clear, coherent compositions that apply and further develop their knowledge of the grammatical rules and standards of the English language.\nThis course is a continuation of MS Language Arts 7 and coincides with English 8. Students will continue to explore various types of writing styles, including informative, narrative, and argumentative, in addition to creative writing through poetry. A focus will be on vocabulary development and the use of formal conventions of communicating. Grammar studies will support the development of students\u2019 command of the English language.", "id": "<urn:uuid:ee974fe3-2c67-4c5c-ba53-082d1444ab08>", "dump": "CC-MAIN-2022-21", "url": "https://www.fusionacademy.com/curriculum/english-classes/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521883.7/warc/CC-MAIN-20220518083841-20220518113841-00575.warc.gz", "language": "en", "language_score": 0.9365699887275696, "token_count": 711, "score": 3.796875, "int_score": 4}
{"text": "In POET AGAINST PREJUDICE BYkids filmmaker Faiza Almontaser asks us all to examine our own notions, attitudes, biases about other religions, ethnicities and nationalities in our nation of immigrants. When thinking about these issues, consider Articles 2, 18, and 26 in the United Nations Universal Declaration of Human Rights:\n(18/1) Everyone has the right to freedom of thought, conscience, and religion; this right includes freedom to change his religion or belief, and freedom, either alone or in community with others and in public and private, to manifest his religion or belief in teaching, practice, worship and observance.\n(26/2) Education shall be directed to the full development of the human personality and to the strengthening of respect for human rights and fundamental freedoms. It shall promote understanding, tolerance and friendship among all nations, racial or religious groups, and shall further the activities of the United Nations for the maintenance of peace.\nFor Teachers: Research\nThe impact of and questions raised by immigration are some of the biggest issues we currently face as a nation. Ask your students to research the current statistics surrounding immigration in the United States. How many families immigrate to the U.S. each year seeking better education and more opportunities? What percentage of current citizens are immigrants? What percentage of your community\u2019s residents are immigrants? How have these percentages changed over the past 100 years? What effect does this immigration have on the countries these families are leaving? What might make it difficult or easy for them to come to the U.S.? What steps must the families go through if they want to come here legally? What kind of discrimination did families historically face after immigrating? After doing this research and seeing POET AGAINST PREJUDICE, how would you characterize what has or hasn\u2019t changed about immigrants\u2019 circumstances in America over the past several decades?\nFor Students: Reflect\nFaiza uses poetry to channel and express her feelings of disenfranchisement, just as many historical victims of discrimination have done before her. Using your own form of artistic expression (poetry, spoken word, song, drawing, etc.), reflect on why discrimination against immigrant populations has persisted in the U.S. for so many generations and how you would feel if you picked up and moved to another country today. How would you cope with your new environment? Just as Faiza struggles with her shifting identity \u2014 as a Muslim and as an American \u2014 how would you balance your desire to hold on to your heritage with wanting to assimilate to your new environment? Call upon any discrimination or bullying you might have experienced in your own life as you explore the use of artistic expression as a mode of reflection.\nFor All Of Us: Respond\n- Host a community or private screening of POET AGAINST PREJUDICE to raise awareness of the challenges facing immigrants in the U.S. and how storytelling through film can deepen our understanding of global issues. Email email@example.com for more information.\n- Do you see intolerance happening in your community? Get your school designated as a \u201cNo Place for Hate\u201d school and help promote a culture of respect and dignity for your classmates, just like Faiza does in the film. See: www.adl.org/npfh/\n- Give to the ACLU\u2019s Immigrants\u2019 Rights Project, which is dedicated to expanding and enforcing the civil liberties and civil rights of immigrants and to combating public and private discrimination against them. See: www.aclu.org/immigrants-rights\n- Sign a petition or start one of your own to raise awareness about:\nRacial and Religious Discrimination:\nCreated and written by Big Picture Instructional Design for BYkids.", "id": "<urn:uuid:2612b932-2217-4513-944a-b6ce9344539e>", "dump": "CC-MAIN-2022-21", "url": "https://bykids.org/poet/take-action/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522309.14/warc/CC-MAIN-20220518183254-20220518213254-00175.warc.gz", "language": "en", "language_score": 0.9457133412361145, "token_count": 814, "score": 4.0, "int_score": 4}
{"text": "The Language of Imagination #\nPeople who use language to express feelings, and evoke emotions will use a subjective approach.\nText types or Genres that:\nNarrate, Dramatise or Poeticise\nWriters who feel the need to air and express their emotions will attempt to engage their audiences to share their experiences. They either write novels, plays or poems.\nCharacteristics of Imaginative language:\nEmotive words: charged with associations, colouring, evaluation, bias\nEmotion and purpose\nThe trouble with computers, apparently, is that they just don\u2019t understand emotion and purpose - and that can hinder things when it comes to assessing writing. The Chartered Institute of Educational Assessment has been putting an American computer marking program to the test by feeding it some well-known classics. These include Winston Churchill\u2019s \u2018fight them on the beaches\u2019 speech (too repetitive), an extract from William Golding\u2019s Lord of the Flies (inaccurate and erratic sentence structure) and Ernest Hemingway\u2019s The End of Something (lack of care and detail). Other programs have condemned Lincoln\u2019s Gettysburg address for its style.\nGraham Herbert, deputy head of the CIEA, explained: \u2018The computer was limited in its scope. It couldn\u2019t cope with metaphor and didn\u2019t understand the purpose of the speech.'\nHe said that the program is already in use in America, where some students have now \u2018cracked the code\u2019 and learned to write in a style that the computer recognises: this is known as \u2018schmoozing the computer\u2019, he said. \u2018At the moment we do not have a reliable and valid way of assessing English language using a software package, although this is something for which there is demand.\u2019\nAmbiguity: A definite no-no in informative writing - where clarity and precision are mandatory - in creative writing ambiguity adds a richness and dimension of infinite possibility to meaning. Ambiguity can be constructed by the contradictory meanings in oxymorons, paradoxes, complex sentences, contrary phrases. Creative construction of Grammar and words with multiple meanings help to create multi-faceted messages.\nFigurative language: language which is not literal rather full of comparisons or contrast. ie.; \u201cShe had an acid tongue\u201d, is figurative. Similes. Metaphors, Personifications, Allusions, analogies, repetitions, juxtapositions, oxymorons, paradoxes, jargon, idioms.\nPersonal Subjectivity: The writing is permeated with the personality of the author. The writing can be re-creative, intimate and inclusive with the reader identifying with the characters and feeling empathy and acceptance.\nAction verbs. Participants revealed by thoughts, interactions and description.\nWhen writing action prose it is important to pare your language to subjects, verbs and objects \u2013 little else.\nGraham Greene writes;\n\u201cExcitement is simple: excitement is a situation, a single event. It mustn\u2019t be wrapped up in thoughts, similes, metaphors. A simile is a form of reflection, but excitement is of the moment when there is no time to reflect\u2026\u2026Even an adjective slows the pace or tranquillises the nerve.\u201d\nEmphasis on subtlety (implicit) of expression rather than explicitness. Varied sentences structures. Subject - verb - object, order of sentence construction can be inverted.\nSound patterns are used extensively: Rhythm, rhyme, alliteration, onomatopoeia, assonance, word harmony or dissonance.\nAppeals to the Five senses; Visual, tactile, olfactory, gustatory, auditory\nLink words relate to time, cause and effect; because, due to, us a result or Time link words; when, initially next, then, following\u2026.\nRepetition used for emphasis or reinforcement.\nStructures of Narratives: (Scaffolding)\nOrientation - exposition, foreshadowing\nComplication, tension, conflict, rising action to a climax\nEvaluation \u2014 themes, concerns\nResolution\u2014 denouement, - perhaps a coda or an epilogue", "id": "<urn:uuid:2985d8a6-cfe5-4717-90a4-2eae8a283101>", "dump": "CC-MAIN-2022-21", "url": "https://nebo-lit.com/language/Exam-Essays/Creative-Writing.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577259.70/warc/CC-MAIN-20220524203438-20220524233438-00375.warc.gz", "language": "en", "language_score": 0.9013700485229492, "token_count": 876, "score": 3.53125, "int_score": 4}
{"text": "To inspire intrinsic motivation in students, schools should focus on nurturing their sense of autonomy, competence, relatedness, and relevance.\nProviding students with freedom of choice is one strategy for promoting learner autonomy. Educators commonly view this idea of choice through the lens of organizational and procedural choice. Organizational choice, for example, might mean students having a voice in seating assignments or members of their small learning groups. Procedural choice could include a choice from a list of homework assignments and what form a final project might take\u2014a book, poster, or skit.\nSome researchers, however, believe that a third option, cognitive choice, is a more effective way to promote longer-lasting student autonomy. This kind of cognitive autonomy support, which is also related to the idea of ensuring relevance, could include:\n- Problem-based learning, where small groups need to determine their own solutions to teacher-suggested and/or student-solicited issues\u2014ways to organize school lunchtime more effectively, what it would take to have a human colony on Mars, strategies to get more healthy food choices available in the neighborhood, etc.\n- Students developing their own ideas for homework assignments related to what is being studied in class\n- Students publicly sharing their different thinking processes behind solving the same problem or a similar one\n- Teachers using thinking routines like one developed by Project Zero at Harvard and consisting of a simple formula: the teacher regularly asking, \u201cWhat is going on here?\u201d and, after a student response, continuing with, \u201cWhat do you see that makes you say so?\u201d\nFeedback, done well, is ranked by education researcher John Hattie as number 10 out of 150 influences on student achievement.\nAs Carol Dweck has found, praising intelligence makes people less willing to risk \u201ctheir newly minted genius status,\u201d while praising effort encourages the idea that we primarily learn through our hard work: \u201cBen, it\u2019s impressive that you wrote two drafts of that essay instead of one, and had your friend review it, too. How do you feel it turned out, and what made you want to put the extra work into it?\u201d\nBut how do you handle providing critical feedback to students when it\u2019s necessary? Since extensive research shows that a ratio of positive-to-negative feedback of between 3-1 and 5-1 is necessary for healthy learning to occur, teachers might consider a strategy called \u201cplussing\u201d that is used by Pixar animation studios with great success. The New York Times interviewed author Peter Sims about the concept: \u201cThe point, he said, is to \u2018build and improve on ideas without using judgmental language.\u2019... An animator working on Toy Story 3 shares her rough sketches and ideas with the director. Instead of criticizing the sketch or saying no, the director will build on the starting point by saying something like, \u2018I like Woody\u2019s eyes, and what if his eyes rolled left?\u2019 Using words like \u2018and\u2019 or \u2018what if\u2019 rather than \u2018but\u2019 is a way to offer suggestions and allow creative juices to flow without fear, Mr. Sims said.\u201d\n\u201cAnd\u201d and \u201cwhat if\u201d could easily become often-used words in an educator\u2019s vocabulary!\nA high-quality relationship with a teacher whom they respect is a key element of helping students develop intrinsic motivation. What are some actions that teachers can take to strengthen these relationships?\nHere are four simple suggestions adapted from the ideas of Robert Marzano:\n1. Take a genuine interest in your students: Learn their interests, hopes, and dreams. Ask them about what is happening in their lives. In other words, lead with your ears and not your mouth. Don\u2019t make it a one-way street\u2014share some of your own stories too.\n2. Act friendly in other ways: Smile, joke, and sometimes make a light, supportive touch on a student\u2019s shoulder.\n3. Be flexible and keep your eyes on the learning goal prize: One of my students had never written an essay in his school career. He was intent on maintaining that record during an assignment to write a persuasive essay about what students thought was the worst natural disaster. Because I knew two of his passions were football and video games, I told him that as long as he used the writing techniques we\u2019d studied, he could write an essay on why his favorite football team was better than its rival or on why he particularly liked one video game. He ended up writing an essay on both topics.\n4. Don\u2019t give up on students: Be positive (as much as humanly possible) and encourage a growth mindset.\nHave students write about how they see what they are learning as relevant to their lives. Researchers had students write one paragraph after a lesson sharing how they thought what they had learned would be useful to their lives. Writing one to eight of these during a semester led to positive learning gains, especially for those students who had previously been \u201clow performers.\u201d\nIt is not uncommon for teachers to explicitly make those kinds of real-life connections. However, research has also found that this kind of teacher-centered approach can actually be demotivating to some students with low skills. A student who is having a very difficult time understanding math or does just not find it interesting, for example, can feel threatened by hearing regularly from a teacher how important math is to his or her future. Instead of becoming more engaged in class, he or she may experience more negative feelings.\nThese researchers write that a \u201cmore effective approach would be to encourage students to generate their own connections and discover for themselves the relevance of course material to their lives. This method gives students the opportunity to make connections to topics and areas of greatest interest to their lives.\u201d", "id": "<urn:uuid:2a7d20b8-2d77-4ea4-b6d8-ab3828a10aee>", "dump": "CC-MAIN-2022-21", "url": "https://educationjobs.com/resources/news/strategies-for-helping-students-motivate-themselve/204/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604794.68/warc/CC-MAIN-20220526100301-20220526130301-00776.warc.gz", "language": "en", "language_score": 0.9732217788696289, "token_count": 1230, "score": 3.546875, "int_score": 4}
{"text": "The Main Differences Between Narrative And Expository Essay In Conclusion. While narrative paper allows the author to be creative and tell a story in a way he or she likes, expository essays follow some strict rules that one must abide. Narrative texts are versatile in structure and style, but they also require some thorough research of the subject. Difference Between Narrative and Expository Writing Start studying Difference Between Narrative and Expository Writing. Learn vocabulary, terms, and more with flashcards, games, and other study tools.\nEnglish 104: Expository vs. Argumentative 1. English 104 Expository vs. Argumentative 2. Purpose \u2022 Expository \u2013 Used to inform, describe, explain, compare, or summarize in a neutral and objective way \u2022 Argumentative \u2013 Used to persuade the reader that your opinion is correct \u2013 Opinion is clearly stated, rather than appearing neutral \u2022 Expository = Facts Argumentative = Opinion\nFour Different Types of Writing Styles: Expository, Descriptive, Persuasive, and Narrative Updated on April 17, 2015 Definitions and explanations of the four types of writing: expository, persuasive, descriptive, and narrative. | Source Four Types of Writing A writer's style is a reflection of his or her personality, unique voice, and way of approaching the audience and readers. PDF Expository Writing Types - Intel writing. Now, learn how to distinguish different expository types. Learning the different expository types helps you become a better writer, reader, and learner! Look Ahead Task: Read and interpret expository writing on a subject that interests you. Goal: Show that you know how to recognize and read different types of expository writing. Narrative or Expository? - PowerPoint PPT Presentation\nThe Comprehensive Expository and Opinion Writing Guide\nAlthough expository and informative writing may easily be mistaken for the same genre, as they both function to impart information to the reader, there are several differences between the two styles. These differences include structure, delivery and the application of opinions. Knowing how to differentiate between the ... Narrative vs. Expository - Texas Teaching Fanatic Texas requires all 4th graders to write a narrative AND an expository piece for their state assessment. Now, if your school is anything like mine, students very rarely (if ever) write any sort of expository piece before stepping into a 4th grade classroom. Four Different Types of Writing Styles: Expository ... Narrative writing's main purpose is to tell a story. The author will create different characters and tell you what happens to them (sometimes the author writes from the point of view of one of the characters\u2014this is known as first person narration). What is Expository Writing? - mathgenie.com How Is Expository Writing Different Than Descriptive and Narrative Writing? Expository writing is different from descriptive and narrative writing in multiple ways. There is no story to be told, and you will not use any descriptive language unless it is necessary to make a step or reason more clear. An expository piece does not set a scene or convey a story or a lesson.\nNarrative and Expository Text Instruction - SlideShare\nAs adjectives the difference between expository and narrative is that expository is serving to explain, explicate, or elucidate; expositive; of or relating to exposition while narrative is telling a story. As a noun narrative is the systematic recitation of an event or series of events. The 2 Voices in Writing and How to Teach Them In expository or informative writing, there exists a relationship between the author and the reader. Therefore, the reader is exposed to and responds to, literally, the \u201cauthor\u2019s voice\u201d. Contrary to what many people have been taught, expository or informational writing need not be dry, dull, or boring. Four Different Types of Writing Styles: Expository ... Narrative writing often has situations like disputes, conflicts, actions, motivational events, problems and their solutions. POLL TIME! Which type of writing style do you prefer to use? Expository Writing Descriptive Writing Persuasive Writing Narrative Writing See results without voting Conclusion: These are the four different types of writing ... Expository Essay vs. Persuasive Essay\nDifference between creative writing and expository writing\nTypes of essays include narrative, descriptive, expository, compare-&-contrast, and persuasive. While to tell a story is better to pick a narrative type, to cover a debatable topic, a student should work on a persuasive paper. To understand different types of essays and get the point, view this expert mini guide. Narrative And Expository Texts PPT | Xpowerpoint\nWhat is Expository Writing? - Definition & Examples - Video ... Expository writing differs from other forms of writing, such as fiction and poetry. In fact, this lesson itself is an example of expository writing. The expository essay is a tool that is often ... Identifying Narrative and Expository Text Structures National Center on Intensive Intervention Identifying Narrative and Expository Text Structures\u20141 0447_02/17 . College- and Career-Ready Standards Addressed: RL.6.5, 8.5 . Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot. How Do Argumentative And Expository Essays Differ? Facts: more facts are needed for the expository piece than the argumentative ones, which means the research rather than the writing should be your main area of focus. Style of writing: for the two pieces the style of writing differs, which means that you can select the project type which matches your preferences.", "id": "<urn:uuid:bf351cd9-1bac-40ab-b323-2a870988e054>", "dump": "CC-MAIN-2022-21", "url": "https://coursesepuq.netlify.app/kimbal59562pak/how-do-narrative-and-expository-writing-differ-14.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662584398.89/warc/CC-MAIN-20220525085552-20220525115552-00175.warc.gz", "language": "en", "language_score": 0.9039400815963745, "token_count": 1192, "score": 3.765625, "int_score": 4}
{"text": "What are the Five Commandments of Storytelling?\nEvery effective story has five structural components that work together to communicate a CONTROLLING IDEA in a way that bypasses readers\u2019 critical minds to touch their hearts and change their worldviews. These components are the Five Commandments of Storytelling.\nWhen most writers and editors talk about Story structure, they rely on a grab bag of different approaches that capture part of but not the whole of Story\u2019s fundamental structure. In the same way, two wings, two jet engines, and a fuselage don\u2019t make a functioning airplane.\nIn the Story Grid Universe, we understand that Story structure is about embedding GENRE-specific VALUE SHIFTS within every UNIT OF STORY \u2014 from the line-by-line BEATS to TROPES to SCENES to SEQUENCES to QUADRANTS to the full STORY \u2014 to communicate the ARTIST\u2019s CONTROLLING IDEA.\nThe Five Commandments of Storytelling are:\n1. Inciting Incident\nThe inciting incident destabilizes the protagonist by upsetting the balance of their life for good or for ill. Every inciting incident is either causal (the result of an active choice by an AVATAR) or coincidental (something unexpected or random or accidental). In response, the protagonist forms a goal, which they begin to pursue. Read more about Inciting Incidents.\n2. Turning Point Progressive Complication\nThe protagonist goes through a series of actions to restore balance to the world after the inciting incident. As these actions fail, it progressively complicates the story until the protagonist faces a final turning point where everything they have tried fails. This can be brought on by AVATAR action (someone does something that renders the protagonists initial strategies useless) or by revelation (when new information is given to the protagonist that forces them to change). Read more about Turning Point Progressive Complications.\nWhen the protagonist\u2019s initial strategy to deal with the inciting incident has failed, they face a dilemma. This is the crisis. The crisis poses a real choice between incompatible options with meaningful stakes. It is always a binary \u201cthis or that\u201d choice. Every crisis is either a Best Bad Choice (choosing between two horrible things) or an Irreconcilable Goods choice (choosing between two wonderful things). Read more about Crises.\nThe climax is the active answer to the question raised by the crisis. The climax always reveals the truth about who the AVATAR really is when they enact their choice under pressure. Read more about Climaxes.\nThe resolution is what happens as a result of the protagonist\u2019s choice during the climax. Because the crisis had meaningful stakes, when the AVATAR makes a decision, something meaningful will always happen as a result. Read more about Resolutions.\nExamples of the Five Commandments of Storytelling\n- Pride and Prejudice by Jane Austen, Scene 19\n- Inciting Incident: Causal. Mr. Collins proposes marriage to Elizabeth Bennet.\n- Turning Point Progressive Complication: Active. Mr. Collins refuses to accept Elizabeth\u2019s refusal because it doesn\u2019t make sense to him.\n- Crisis: Irreconcilable Goods. If Elizabeth accepts Mr. Collins, she\u2019ll save her sisters after her father\u2019s death, but she\u2019ll sentence herself to a lifetime of misery.\n- Climax: Elizabeth refuses again.\n- Resolution: Mr. Collins calls her charming and Elizabeth realizes the only way Mr. Collins will go away is if her father agrees with her.\n- The Wonderful Wizard of Oz by L. Frank Baum, full story\n- Inciting Incident: Coincidental. The emergence of an extraordinary external environmental change agent, a Kansas Cyclone.\n- Turning Point Progressive Complication: Revelatory. Dorothy discovers Oz is not a wizard and he is incapable of granting the group\u2019s wishes.\n- Crisis: Best Bad Choice. Should Dorothy quit her quest to return home, remain in the Emerald City, and make the best of things, or should she continue to seek a way home, which looks to be impossible?\n- Climax: Dorothy chooses to continue seeking her own way home.\n- Resolution: Dorothy finds her way back home.\n- The Murder of Roger Ackroyd by Agatha Christie, Chapter 24\n- Inciting Incident: Causal. Poirot calls Sheppard out for hiding a secret.\n- Turning Point Progressive Complication: Revelatory. Sheppard confesses that he convinced Ralph, after the murder, to hide out.\n- Crisis: Best bad choice. Will the killer confess to save Ralph, or will Poirot have to out him or her?\n- Climax: No one speaks up. The smoking gun clue arrives.\n- Resolution: Poirot dismisses the people in the room except Sheppard.\n- Hamilton by Lin-Manuel Miranda, Scene 2 \u2013 \u201cAaron Burr, sir\u201d\n- Inciting Incident: Causal. Hamilton introduces himself to Burr and asks how he graduated from college early.\n- Turning Point Progressive Complication: Active. Burr advises Hamilton to keep his opinions to himself if he wants to get ahead.\n- Crisis: Best bad choice. Following Burr\u2019s advice means Hamilton denies his own instincts and potentially fails in life, but disagreeing with Burr could risk his friendship with someone who could help him.\n- Climax: In the last line of the song, Hamilton openly rejects Burr\u2019s advice by saying, \u201cIf you stand for nothing, what will you fall for?\u201d\n- Resolution: The resolution comes at the beginning of the next song, \u201cMy Shot,\u201d when Laurens, Lafayette, and Mulligan ask Hamilton who he is and what his plans are. This gives Hamilton a chance to prove his intelligence to them.\nCommon Mistakes with the Five Commandments\nWriters can avoid errors in applying the Five Commandments by focusing on how the commandments function together. Here are several common mistakes drawn from Danielle Kiowski\u2019s The Five Commandments of Storytelling.\n- The inciting incident does not tie to the climax. The inciting incident must promise the climactic action. In turn, the climax must mirror the inciting incident to show how the protagonist has changed.\n- The inciting incident is unresolved at the end of the story. Stories are about processing unexpected change, so if the inciting incident is unresolved, the protagonist has failed to metabolize the invisible phere gorilla.\n- The turning point does not complicate from the inciting incident. The turning point illustrates the failure of the protagonist\u2019s initial strategy, so it should arise naturally from a series of complications caused by the gradual breakdown of the procedures the protagonist relies on. A drop-in of an unexpected event undermines this dynamic, even if it prevents the protagonist from following the initial strategy.\n- The link between the turning point and the ensuing crisis decision is weak. The crisis must come directly from the turning point. Ensure the turning point is strong enough to force the protagonist to decide, and the options available in the crisis come from the turning point.\n- The turning point, crisis, and climax do not follow a consistent protagonist. Switching protagonists breaks the arc and interrupts the construction of the controlling idea. Ensure the same character facing the turning point and grappling with the crisis is the one enacting the climax.\n- The resolution does not tie back to the stakes established in the crisis. The crisis makes it clear that the protagonist must suffer some consequence. If they enact the climax and everything goes well, with no cost, this breaks the connection between the resolution and the crisis, undermining the controlling idea by invalidating the stakes.\n- The Five Commandments of Storytelling by Danielle Kiowski\n- In-depth Course: The Five Commandments of Storytelling\n- The Five Commandments and Bruce Springsteen\n- Dig into all Five Commandments of Storytelling:\nListen to Shawn Coyne explain the Five Commandments of Storytelling\nShare this Article:", "id": "<urn:uuid:9ecd88ff-affb-4a48-8e56-c1c09bfde87b>", "dump": "CC-MAIN-2022-21", "url": "https://storygrid.com/five-commandments-of-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545090.44/warc/CC-MAIN-20220522063657-20220522093657-00374.warc.gz", "language": "en", "language_score": 0.9089068174362183, "token_count": 1684, "score": 3.515625, "int_score": 4}
{"text": "An investigation into the odd orbits of the galaxy\u2019s oldest stars may prompt astronomers to rethink how the Milky Way evolved.\nAustralian telescopes teamed up with the European Space Agency\u2019s Gaia satellite to discover that some of the galaxy\u2019s most metal-poor stellar giants travel in surprising patterns.\n\u201cMetal-poor stars \u2013 containing less than one-thousandth the amount of iron found in the Sun \u2013 are some of the rarest objects in the galaxy,\u201d says astronomer Gary Da Costa from the Australian National University.\n\u201cWe\u2019ve studied 475 of them and found that about 11% orbit in the almost flat plane that is the Milky Way\u2019s disc.\n\u201cThey follow an almost circular path \u2013 very much like the Sun. That was unexpected, so astronomers are going to have to rethink some of our basic ideas.\u201d\nDa Costa was part of an international collaboration of researchers from Australia, Europe and the US. An advanced version of their study is published in the journal Monthly Notices of the Royal Astronomical Society.\nThe stars\u2019 orbits fell into several different patterns, most of which matched what had already been studied or predicted. Previous research, for example, had observed these rare stars almost exclusively in the Milky Way\u2019s halo and bulge, and this study confirmed that most of the stars had large spherical orbits around the halo.\nSome, however, were orbiting retrograde \u2013 the \u201cwrong way\u201d \u2013 around the galaxy. Around 5% were in the process of escaping the galaxy altogether; and 50 stars were orbiting the disc of the galaxy itself.\nAccording to lead author Giacomo Cordoni, from Italy\u2019s University of Padova, finding metal-poor stars orbiting the disc is particularly intriguing.\n\u201cFuture scenarios for the formation of our galaxy will have to account for this finding \u2013 which will change our ideas quite dramatically,\u201d he says.\n\u201cThis discovery is not consistent with the previous galaxy formation scenario and adds a new piece to the puzzle that is the Milky Way.\n\u201cTheir orbits are very much like that of the Sun, even though they contain just a tiny fraction of its iron. Understanding why they move in the way that they do will likely prompt a significant reassessment of how the Milky Way developed over many billions of years.\u201d\nLauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University.\nRead science facts, not fiction...\nThere\u2019s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.", "id": "<urn:uuid:29cad5db-b569-435e-bb5b-e3a6286138ad>", "dump": "CC-MAIN-2022-21", "url": "https://cosmosmagazine.com/space/rethinking-the-milky-ways-evolution/?amp=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662647086.91/warc/CC-MAIN-20220527112418-20220527142418-00376.warc.gz", "language": "en", "language_score": 0.9463816285133362, "token_count": 630, "score": 3.9375, "int_score": 4}
{"text": "Stories are the universal way to communicate ideas and messages. Even the most obstinate of non-readers enjoy hearing good stories. In India specifically, children are brought up on stories and folklore. Our grandparents and parents narrate endless stories to us, which we in turn relate to our children, especially during the festive season. The current situation may have made it difficult for us to spend time with our family members who live away from us, but innovative digital concepts such as the MaPa story app help us stay connected.\nThe MaPa Story App is unlike any other book-related app for children. At just INR 365 for a year (or INR 100 for a month), it goes a step further by allowing them to record their own stories and share these stories with their family members and close ones via Whatsapp, ensuring they receive the recognition they deserve for their imaginative skills as well as the drive to continue being creative.\nTHE IMPORTANCE OF STORYTELLING:\nStorytelling is an essential life skill that usually begins in the laps of our \u2018ma and pa\u2019 at home. By listening to stories, our children develop the skills required to make their own stories. There are many ways in which storytelling skills enhance the overall growth of children:\n- Stories encourage our children to develop critical thinking skills\n- Stories allow our children to explore concepts and topics that are inaccessible to them in real life\n- Stories allow our children to travel without leaving the comfort of our homes\n- Stories encourage the values of tolerance and acceptance\n- Stories impart important life lessons in an easy to understand manner, ensuring they are firmly ingrained\n- Storytelling skills aid our children later in life, as every career option has an aspect of storytelling involved in it\n- Stories offer a comfort zone from the harsh realities of life\n- Stories forge a strong bond between the storyteller and the listener\nThe MaPa story app addresses each of these aspects of storytelling, with particular emphasis on the last point. This Diwali season, many of us are lamenting the forced distance between us and our family members in other cities because of the pandemic, but it is our children who are missing out the most, as they forgo the time spent with grandparents, uncles, aunts and cousins of all ages. By encouraging our little ones to create their own stories and sharing these with family members, we are boosting their creativity and imagination, and also keeping the larger family aware of our child\u2019s progress.\nHOW MAPA ENCOURAGES STORYTELLING:\nThe MaPa story app can be used in a variety of ways, the simplest of which is an online library of age-appropriate stories.\n- Each story is categorized clearly so parents and children can decide what appeals to them\n- There is a fun element as well as a learning element, to cater to various needs and times of the day\n- The stories are available in English and Hindi to reach a wider audience\n- The stories can be read out loud, heard through a video recording, or recorded in the child\u2019s voice to help boost their expression and creativity\n- The recorded stories can be saved to the in-app library and re-visited at any time\n- The stories can be shared with others through Whatsapp\n- Your family members can read and share stories from their devices which your children will enjoy listening to\nMy son and I enjoy exploring the various stories on Mapa Story app. Though he is just starting his reading journey, I encourage him to record his own stories looking at the pictures provided. It allows him to express his own creativity and he enjoys the freedom of making his own stories. However, the person that is enjoying it the most is perhaps my mother, who misses time spent with her grandson and enjoys his imaginative and often riotously funny stories, inspired by the images on the app.\nThe MaPa story app connects each one of us in a special way and will help bridge the distance this Diwali. After all the shortest distance between two people is a smile, and we all know that a wonderful story gives rise to a wonderful smile.\nI recommend you download the app and watch your children explore their creativity, while sharing these precious moments of childhood with your family members.\nHOW TO DOWNLOAD THE MAPA STORY APP:\nThe MaPa story can be downloaded on android devices here (Coming to iOS soon): https://mapa.onelink.me/VtTL/b0d96d60\nThough the app can be explored for free, in order to enjoy all its benefits, one must subscribe to it at the nominal rate of INR 365 per year or INR 100 per month\n*This is a sponsored post but thoughts and reviews are honest and completely my own. I\u2019m taking my blog to the next level with Blogchatter\u2019s My Friend Alexa\n**Copyright in pictures and content belongs to nooranandchawla.com and cannot be republished or repurposed without express permission of the author. As I am a copyright lawyer by profession, infringement of any kind will invite strict legal action.", "id": "<urn:uuid:3d727158-db9e-4a52-906e-8bcdf9975e73>", "dump": "CC-MAIN-2022-21", "url": "https://nooranandchawla.com/this-diwali-let-your-kids-forge-special-connections-through-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00377.warc.gz", "language": "en", "language_score": 0.9600017070770264, "token_count": 1051, "score": 3.578125, "int_score": 4}
{"text": "A curriculum is a policy on the basis of which all teaching work is implemented. What, when, and how to teach is decided by the curriculum itself.\nCurriculum which means \u201crace field\u201d. The race ground means that the students participate in this race, meaning the students do all the work in the school according to their curriculum.\nWhether it is teaching-learning work or co-curriculum activities, on the basis of the curriculum, a teacher also completes his teaching work. When what work is to be done in the school, it is decided according to the syllabus.\nThe curriculum is the basis of education, following which the objectives of education are fulfilled.\nStudents do their learning work according to the syllabus. The subjects are done in a systematic manner by the curriculum itself.\nKeeping in view the need of society, it is necessary to prepare for any course. We see all the programs organized in the school in the form of a Curriculum.\nAt first, the meaning of curriculum was seen and understood only on the basis of subjects, but now its scope has become much wider than this, now Curriculum is seen and understood as the whole functioning of the school. It would not be wrong to say that all the work of the school is a kind of curriculum.\nRead these also:\nDefinition of Curriculum\n1. According to Mr. Cunningham \u2013 \u201cIt is a means in the hands of the artist (teacher) to mold the material (learner) according to his ideal purpose in his studio (school).\u201d\n2. According to Horn Sir \u2013 \u201cIt is what is taught to children, it is more than peaceful reading or learning. It includes industry, business, learning, practice, and activities.\n3. According to the Secondary Education Commission \u2013 \u201cIt does not mean the intellectual subjects taught in a conservative manner, but includes all those activities which children get outside or inside the class.\u201d\n4. According to Mr. Paul Heist \u2013 \u201cThe form of all those activities by which educational goals and objectives are achieved are those courses.\u201d\nCharacteristics of Curriculum\n- Courses are variable. Keeping in view the needs of society, continuous changes are made in the curriculum.\n- It is made on the basis of the aims of education.\n- The personality of the students is developed through the curriculum itself.\n- It is implemented by the school and the teachers.\n- The desired changes are brought in the behavior of the students by the curriculum.\n- Through the curriculum, the problem-solving tendency of the students is increased.\n- The cognitive, emotional, and functional skills are developed in the students through the curriculum.\nProcess for Curriculum Development\n- It is designed on the basis of the development of the cognitive, affective, and application sides of the students.\n- It is designed keeping in mind the conditions of society.\n- Before the formulation of the curriculum, its outline is prepared.\n- It involves the continuous development of a teaching method according to the curriculum.\n- After the formulation of the curriculum, its evaluation is also done.\n- Courses are made by subject experts and intellectuals.\n- While designing the curriculum, keeping in mind the psychological, social, and philosophical bases, the curriculum is designed.\n- To choose the right course objectives and objectives which are beneficial for the intellectual development of the students.\nObjectives of Curriculum\n- The objective of the course is to develop the cognitive, emotional, and functional sides of the students.\n- It focuses on the moral and character development of the students.\n- The aim of the course is to develop the personality of the students by developing social responsibility and social feelings in the students.\n- To make the students earn a living through the curriculum.\n- To make the understanding level of the students easy.\n- To bring excellence in the behavior of the students.\nQuestion 1- What is the Hindi meaning of the Word Curriculum?\nAnswer \u2013 The word course means \u201crace ground\u201d (Race Course).\nQuestion 2- By definition of Cunningham what are the meanings of artist and instrument?\nAnswer \u2013 According to the definition of Cunningham, artist means \u201cteacher\u201d and means means \u201ccourse\u201d.\nQuestion 3 \u2013 What is the nature of the course?\nAnswer \u2013 The nature of the syllabus is variable.\nQuestion 4 \u2013 What are the main objectives of the course?\nAnswer \u2013 The main objective of the course is to make all-round development of the students.\nQuestion 5 \u2013 On what basis the work of curriculum development is done?\nAnswer \u2013 The work of curriculum building is done on philosophical, social, and psychological grounds.\nWe call all the work done in the school as curriculum. The success or failure of any course rests on the school, teachers, and curriculum makers.\nIt should be child-centered and be designed keeping in mind the needs of society. The syllabus should always be flexible so that it can be amended easily.\nNew in Education category:\nIn this article, you knew about Curriculum, Its Meaning, Definition, and Characteristics. If you like this information, please share it with your friends too and also keep visiting our website ncert.infrexa.com.", "id": "<urn:uuid:64c16348-8e44-4893-a51d-5f6556b9544a>", "dump": "CC-MAIN-2022-21", "url": "https://ncert.infrexa.com/curriculum-meaning-definition-and-characteristics/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539101.40/warc/CC-MAIN-20220521112022-20220521142022-00176.warc.gz", "language": "en", "language_score": 0.9603866338729858, "token_count": 1111, "score": 3.515625, "int_score": 4}
{"text": "4th Grade ELA-Writing Curriculum . Course Description: The fourth-grade curriculum familiarizes students with the genres they will regularly encounter throughout school\u2014essays and research reports. Students learn that the lenses they bring to reading Steps to Writing an Expository Essay for the Fourth Grade ... Although the expository essay can be written in a number of formats, the five-paragraph format is one frequently utilized for fourth-grade students. Brainstorming and Prewriting This is an important first step in writing any essay, especially the expository type. Writing Worksheets | Essay Writing Worksheets Here is a graphic preview for all the 4th grade, 5th grade, 6th grade, 7th grade 8th grade, 9th grade, 10th grade, 11th grade and 12th grade Essay Writing Worksheets. Click on the image to display our Essay Writing Worksheets. Sample informative essay for 4th grade - dentalworkny.com\nWriting about Reading Unit: Literary Essay 4th grade Page 3 of 8 Last Updated: 6/2012 appropriate to task, purpose, and audience. (CCSS: W.4.4) b. With guidance and support from peers and adults, develop and strengthen writing as\nOutlining Essays (Grades 3-6) | Scholastic.com Be sure to describe your examples clearly so that your reader will understand your position, or point of view. Conclusion: The conclusion of your essay should summarize your main idea. Restate your feelings and beliefs to make sure your main idea is understood. 2. Distribute copies of Outlining Essays (Grades 3-6) Student Reproducible (PDF ... SAT Essay: high-scoring student example #1 (article) | Khan ... SAT Essay score 4/4/4: Learn why this student received a perfect score! If you're seeing this message, it means we're having trouble loading external resources on our website. If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked. Your 4th grader's writing under Common Core Standards ...\nPersuasive Writing Fourth Grade Writing Lessons and Prompts Persuasive Writing Prompts with Fiction Pine Cones for the Birds (Grades 1-3) The Gingerbread Man (Grades ...\nInquiry \u2022 Heart \u2022 Discovery. Submitting this form will email your Webmaster with a request to unlock this account.\n5th Grade Essay Writing Worksheets & Free Printables ... Fifth grade students are expected to master and utilize many skills when developing and writing essays. Our fifth grade essay writing worksheets will give them the encouragement they need to remain composed while composing. From understanding various text types and their purposes in the organization ... Essay Outline How-to for Students & Teachers - TeacherVision Why Write an Essay Outline? An essay outline will help you organize your main ideas and determine the order in which you are going to write about them. Writing an outline is a very effective way to think through how you will organize and present the information in your essay. Sample Outline - Persuasive Essay\nWhat are the basics of critical thinking . Creative writing forum ubc 6th grade research paper template problem solving strategies worksheets essay on pollution in punjabi language pdf critical thinking skills questionnaires write an opinion essay 4th grade mastering astronomy answers for homework kids.\n4th Grade Writing Prompts Why not get your 4th graders thinking more about the world around us and challenge them to write essays using these 4th grade writing prompts on the Environment\u2026. See Prompts. 6. Expository Writing Prompts on Family. Your students have plenty of personal experiences to write about when it comes to family. Essay Outline How-to for Students & Teachers - TeacherVision These clear, simple, and useful outlines provide easy-to-follow instructions on how to organize and outline your ideas before writing an essay. Each sample outline includes explanations of paragraph and sentence elements like thesis statements, topic and detail sentences, and a conclusion. Essay Examples", "id": "<urn:uuid:cb085f3e-3d30-488b-baee-bae222706340>", "dump": "CC-MAIN-2022-21", "url": "https://emyblog2021wmbz.netlify.app/pecoraro74091sas/example-4th-grade-essay-880.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517245.1/warc/CC-MAIN-20220517095022-20220517125022-00176.warc.gz", "language": "en", "language_score": 0.9018924236297607, "token_count": 1052, "score": 3.703125, "int_score": 4}
{"text": "Two years ago, G1 took a cognitive skills test at myBrainLab where some of his cognitive weaknesses were identified. He went through the BrainRx program and his trainer helped him to work on his weaknesses. The results of the training were far better than I could ever have hoped for.\nAt that time, G2 was too young for the program so he had to wait\u2026\nLately, we have had concerns that G2 might have trouble with attention and focus. It is sometimes difficult to identify these issues when the only other comparison we have is a sibling. If that sibling happens to be on the extreme end of normal \u2013 how do you decide where normal ends and a problem exists?\nIdentifying and Understanding Weaknesses\nThe GIBSON Cognitive Skills Test measures the following cognitive skills:\n- Processing Speed \u2013 weaknesses in this area often result in difficulty with basic reading skills, written expression, math calculations, and handling complex problems. These children often have slower performance and frequently require instructions to be repeated.\n- Working Memory \u2013 weaknesses in this area often result in difficulty remembering names and completing problem-solving operations. These children often require instructions to be repeated.\n- Long-Term Memory \u2013 weaknesses in this result in difficulty recalling information for tests, such as math facts, word definitions, names and facts. These children often require more practice and repetition than others.\n- Visual Processing \u2013 weaknesses in this area result in difficulty with rapid sound/symbol processing and copying tasks. These children struggle to recognise whole words, they read slowly, they are less creative, and they have problems understanding information from graphics.\n- Auditory Processing \u2013 weaknesses in this area often result in difficulty with phonetic reading activities and beginning spelling skills development. These children have poor listening and reading comprehension/language and vocabulary acquisition.\n- Logic & Reasoning \u2013 weaknesses in this area may result in difficulty with math (including algebra, statistics, and geometry), and transfer and generalisation of learning. These children have trouble following rule-bound reading systems, they are slower on their feet when required to cope with a new situation, and they have poor creative writing.\n- Visual/Auditory Memory Balance \u2013 identifies the child as a \u201cvisual\u201d or \u201cauditory\u201d or \u201cbalanced\u201d learner. Children with an imbalance tend to rely on their strength, which further compounds the problem of the weaker side.\n- Work Attack \u2013 weaknesses in this area often result in not knowing the sound-letter relationships required to read and spell, resulting in less fluid (choppy) reading and poorer comprehension.\nG2\u2019s Cognitive Profile\nTo understand G2\u2019s cognitive profile, we sent him for the Gibson test of brain skills. The results revealed that he had weaknesses in Long-Term Memory, Logic and Reasoning, and Auditory Memory. The latter was the most significant problem he had and it brought our attention to his real problem. When given visual instructions, G2 would be able to complete the task quite quickly. If the instructions were verbal, he would take a while to process the instructions before he could complete the activity. Because most of the instructions he is given (by us and by his teacher at school) are often verbal, we assume that his inability to immediately comply is because he lacked focus. Once we understood that he had a weak auditory memory, it made so much more sense.\nBrainRx at myBrainLab\nThe BrainRx program is tailored to each individual based on their cognitive profile. For G2, that meant more focus on developing his weaknesses \u2013 Long-Term Memory, Logic and Reasoning, and Auditory Memory. When I recalled how painful it was getting through G1\u2019s training program, I confess I did not look forward to it. Nevertheless, I had to be fair to both boys. Surprisingly, G2 took to his training with a great deal more enthusiasm. He truly is my \u201cglass half full\u201d boy. Even when the training became challenging, G2 was far more compliant in persevering and continuing with the program.\nAt the end of his 75 hours of training, we saw improvements across most of his cognitive skills, including all three areas of weaknesses identified at the beginning:\n- Long-term memory increased from the 63rd percentile to 71st percentile\n- Logic & Reasoning increased from the 74th percentile to 97th percentile\n- Visual/Auditory Memory became more balanced (in the pre-test, he favoured his visual memory)\nUnfortunately, his results were not quite as impressive as G1\u2019s, but therein lies the difference between my two boys. G1 is the calm, collected mind that considers the options before acting. G2 is as impulsive and excitable as he is spirited and rambunctious. His clarity of mind is often affected by his emotions. His errors are not always because of inability but sometimes the result of carelessness.\nG2 will likely require more brain training in future. For now, we are content with the results he has achieved with the BrainRx program at myBrainLab. Moving forward, I believe he will benefit from mindfulness training and activities that help develop self-regulation so that he might curb some of that impulsiveness.\nDisclosure: we were invited by myBrainLab to take the test and try their brain course but rest assured that this has not influenced our review in any way.", "id": "<urn:uuid:11de1921-237a-4527-be8a-542f311155d5>", "dump": "CC-MAIN-2022-21", "url": "https://figur8.net/2016/08/23/brainrx-mybrainlab/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662627464.60/warc/CC-MAIN-20220526224902-20220527014902-00577.warc.gz", "language": "en", "language_score": 0.9792981147766113, "token_count": 1110, "score": 3.5625, "int_score": 4}
{"text": "Student voice and choice is a term that emphasizes the value of personalized learning. According to Herold (2019), when it comes to personalized learning, \u201cthe idea is to customize the learning experience for each student according to his or her unique skills, abilities, preferences, background, and experiences.\u201d Anstee\u2019s 2011 book Differentiation Pocketbook focuses on choice enhancing the trust and respect between student and teacher while creating student ownership and engagement, which leads to increased motivation and success when clear parameters are established.\nChoice boards are one of the simplest ways to implement voice and choice in the classroom by exposing students to a range of topics that extend their learning or provide various performance task options for the same concept or standard. In my sixth-grade science classroom, I provide all students with the common knowledge of a unit; then students have three options of how they\u2019d like to apply and extend their learning. Over the year, some options connect to nonfiction reading, informative writing, creative writing, application to science-themed fiction books, data analysis, connection to a historical event, engineering, and art (see Figure 1; see also Intro to Newton\u2019s Science Laws and The Ecology Choice Board in Supplemental Materials). For example, to start the year, we learned about the metric system. Students then apply their knowledge by either learning about echolocation or about the metric system in various Olympic sports, or collecting data on the distance that paper airplanes fly. Students have two weeks to complete the assignment and are required to complete at least one option. Many students choose more than one to complete.\nSome of the options also do pre-teaching for upcoming units, such as the topic of echolocation, which comes up in our plate tectonics unit when they learn about Marie Tharp and Bruce Heezen\u2019s mapping of the Atlantic Ocean\u2019s seafloor. This approach of connecting current units to future units has the added benefit of providing students with opportunities to be leaders. For example, one of the choice board options in the geology unit was to learn about glaciers. Later on, in a plate tectonics unit, those students provided the class with an overview of glaciers, which helped when we discussed how glacial striations across continents serve as evidence for the theory of continental drift.\nAt the start of any given unit, I show the choice board as a long-term assignment (which we call the unit\u2019s \u201cChallenge by Choice\u201d), and I share the link to each assignment option in Google Classroom. I then explain which choices students could begin now and which ones they need to wait for as they acquire more background knowledge. Having the extension work during the unit, rather than at the end, has enhanced students\u2019 engagement, our discussions, and student understanding of the unit. Students also enjoy sharing their learning experiences with others who choose the same topic. For example, for those who chose to learn about Mt. Vesuvius and Pompeii in the plate tectonics unit by watching a documentary and exploring an interactive website, I heard chatter at the start of class between students about one of the dramatic parts of the documentary. There\u2019s always a buzz about the choices, which is enhanced by beginning class with a quick check-in about progress on their work. This also becomes a time for students to offer suggestions for others who chose the same topic.\nIn the 2020\u20132021 school year, when I taught much of the year as a mix of in-person and virtual learning, choice boards were particularly effective. Choice boards allowed students much-needed flexibility, individuality, and an opportunity to extend their learning in various directions. Choice boards could be an in-class activity, homework assignment, or long-term assignment throughout a unit. I used one choice board, the environmental issue action project, as a combination of all three. Students researched an environmental problem of choice, then chose to show what they learned through an informative art project that would be displayed, to write about the problem and their action ideas to stakeholders, or to do direct action about the issue. Choice was already built into which environmental topic they chose, but the choice board reflected various approaches to the final product of the unit. See the universal rubric for the choice board, which emphasizes the depth of knowledge and connecting concepts to our unit of study, in Supplemental Materials.\nAnstee (2011) emphasized avoiding extensions that are more of the same, or MOTS as he calls them, and instead focuses on HOTS, or higher order thinking skills. To improve engagement and ownership, it\u2019s vital that students feel these assignments are a valuable use of their time. Research by Thibodeaux, Harapnuik, and Cummings (2019) found that perceived ownership from choice, especially when seen as authentic learning, is an indicator of students\u2019 engagement with their learning environment. In a survey of my 92 sixth-grade students about the use of choice boards in science class, 96% reported positive experiences with choice boards. Overall, the options create excitement about learning, and students voiced that they felt empowered by having a choice. These quotes from my student survey reflect the majority of students\u2019 answers:\nAlthough students were only required to do one of the options, many students did more than one assignment. Out of the three choices for our Earth\u2019s history unit, 55% of the students completed one option, 32% completed two options, and 13% completed all three options. Although most students liked the independent pacing of two weeks to complete the choice-board assignment, a few students struggled with time management. For students who struggled, I chunked the assignment into smaller due dates. I also helped struggling students reflect on their interests and strengths before choosing a topic.\nWhen designing the choice board for each unit, I worked with the other sixth-grade science teacher to develop ideas, which led to a variety of approaches to assignments. Because we collaborated on the choice boards, all students in the grade were working on the same assignments, which added to the conversations students were having gradewide about what they were learning in science. Using the same choice boards also created continuity across our classrooms in terms of learning experiences and unit organization.\nOut of all the benefits, the most significant is that voice and choice sets a positive tone in the classroom that embraces the endless application of learning and students feeling valued as individuals. For example, one of the Earth\u2019s history unit options was making a visual timeline of Earth\u2019s past. Figure 2 shows how an art-loving student visualized the sequence of events. Figure 3 depicts Earth\u2019s history as a road trip that begins at Santa Monica Pier in California (when Earth formed) and ends at our middle school in Maine (current day). Each student conceptualized the events but did it in their own way after reflecting on their strengths. There is no presentation for most choice boards, but when students create something like a model, story, or song, I like to give them the option to show the class. When the student presented her map, she talked about how much math this took to complete and pointed out how crowded her road trip became around New York. When presenting, students become the teachers, and you can see their pride in how their work reflects their strengths, individuality, and knowledge of the topic. \u2022\nKatie Coppens (email@example.com) is a science teacher at Falmouth Middle School in Falmouth, Maine. She is the author of NSTA\u2019s Creative Writing in Science: Activities that Inspire and various science-themed books for children including The Acadia Files chapter book series, Geology Is a Piece of Cake, and Earth Will Survive, but We May Not.\nAnstee, P. 2011. Differentiation pocketbook. Hampshire, England: Teachers\u2019 Pocketbooks.\nHerold, B. 2019, November 5. What is personalized learning? (Special Report). Education Week. www.edweek.org/technology/what-is-personalized-learning/2019/11\nThibodeaux, T., D. Harapnuik, and C. Cummings. 2019. Student perceptions of the influence of choice, ownership, and voice in learning and the learning environment. International Journal of Teaching and Learning in Higher Education 31 (1): 50\u201362.\nWeb SeminarWeb Seminar: Fall 2022: Developing a Competitive Application for Shell Teaching Awards, November 7, 2022\nJoin us on Monday, November 7, 2022, from 7:00 \u2013 8:00 PM ET, to learn about the Shell Science Teaching Awards....\nWeb SeminarScience Update: Is Cancer Inevitable? July 14, 2022\nJoin us on Thursday, July 14, from 7:00 PM to 8:00 PM ET for another edition of NSTA's Science Update web seminars....", "id": "<urn:uuid:0ce431ee-0846-4a54-9422-b8e2563e0890>", "dump": "CC-MAIN-2022-21", "url": "https://www.nsta.org/science-scope/science-scope-septemberoctober-2021/engaging-and-empowering-students-through-choice", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662588661.65/warc/CC-MAIN-20220525151311-20220525181311-00577.warc.gz", "language": "en", "language_score": 0.9559256434440613, "token_count": 1826, "score": 3.8125, "int_score": 4}
{"text": "Play these engaging active listening activities for kids with your small groups!\nActive listening activities promote mindful thinking. They encourage thoughtful, attentive communication and connect students to the speaker through both verbal and non-verbal cues. But it\u2019s a skill that needs to be practiced and honed, especially for younger students. Use these fun speaking and listening activities as a center during your next small group period to introduce or revisit this crucial skill.\nListening Activities for Elementary Students\n1. Draw this\nFor younger students, or for students first being introduced to active listening, start with something hands-on and familiar, like drawing. For this active listening activity, either you or a student lead will list step-by-step instructions for an image.\nFor example, if you wanted your students to draw a house, the instructions could sound like this:\n\u201cDraw a large square in the center of your page\u201d\n\u201cThen draw a small rectangle vertically on the bottom of the square.\u201d\n\u201cDraw two small squares on either side of the rectangle.\u201d\n\u201cNow draw a large triangle on top of the largest square.\u201d\nThese instructions should guide students toward a completed image that isn\u2019t recognizable until the final instructions. To help student leads, you can provide pre-written instructions for several images and allow them to choose from your selection. Students will then reveal their artwork to see if their drawings followed the given instructions.\nHave students play this listening game first to practice.\n2. Don't speak twice\nThis activity is an exercise in restraint for some students because until everyone has spoken once, no one is allowed to speak a second time.\nFor this speaking and listening activity, you or a student will select a broad topic of choice, such as movies or animals. Then, students will take turns commenting on or asking a question about the topic. If a question is asked, no one is allowed to speak unless responding to the question until an answer has been given. This is repeated until every student has spoken at least twice for one to two minutes.\n3. Simon says\nThis classic childhood game is perfect for practicing listening skills in small groups. To make this game into a center, you or a student lead will say a command then wait to see if the players responded correctly. To make this game slightly more challenging for older grades, have students take turns giving commands.\nTypically, students who perform a command that didn\u2019t begin with the phrase \u201cSimon says\u201d lose the game and must sit out; however, to keep all students engaged during the entire center, an alternative rule can be having that student miss their next turn to say a command.\nAnother classic listening activity for kids is telephone. In this center, students will form a circle, then take turns creating a message that will be whispered to each student until it reaches the student who created the message. If the message at the end matches the message from the beginning, the group wins! The next student in the circle creates the next message and the game repeats.\nThis game works best with at least five students in the small group so there are enough students to pass the message to before it reaches the end. With smaller groups, it\u2019s also best to require longer messages that are about eight to 10 words.\n5. Popcorn storytelling\nThis game can be played one of two ways. The first way begins with a student reading a passage from a book or printed story. At the end of any sentence, the student may call on another student to pick up where they left off. Students will do this until the story is finished or until it\u2019s time to move to the next center. This version works best for upper elementary students who are capable of reading long passages. Here\u2019s a story you can use for this listening activity.\nThe second method offers students a bit more room for creativity because here they will construct their own story. One student begins the story in any setting with any character and provides as much or as little detail as desired. They will then select another student at random to continue the story. Students will continue to add to the story until it\u2019s time to move to the next center. To give your students inspiration, have them read this story beforehand.\nIn both games, each student is required to speak at least twice.\n6. My favorite toss\nNot only does this game help students practice active listening \u2013 it also exercises their memory. In this center, everyone stands in a circle and one student is given a ball. The student holding the ball begins by choosing a topic, such as books or food, then shares their favorite item from that topic. That student then passes the ball to any other student who must first tell the favorite of everyone before them then add their own favorite.\nFor example, if the beginning student said their favorite sport was swimming, the next student would say, \u201cAndrew\u2019s favorite sport is swimming, and my favorite sport is basketball.\u201d The following student would say, \u201cAndrew\u2019s favorite sport is swimming, Maria\u2019s favorite sport is basketball, and my favorite sport is hockey.\u201d\nThe game continues until every student tells a favorite and correctly lists the favorites before their own. If a student lists the previous favorites incorrectly, the other students must help them repeat the list correctly. Once the game is finished, the next student creates a new topic.\n7. Audio stories\nIf story time is a favorite activity in your class, your students will love this last center idea. Here, all you need to do is pick a read aloud story to play for your small group. Be careful not to let your students see the words. Once the story is finished playing aloud, have your students summarize what they heard in as much detail as possible. If time allows, replay the story so students can see if they were correct.\neSpark has several read aloud stories that are perfect for this active listening activity. Here are a few to start:\nMy Pet Llamacorn Grade level: PK-K\nCan We Make Smores Now Grade level: PK-1\nAnisha Is Bored Grade level: PK-1\nSquidges Day at the Doctor Grade level: 1\nAzure Leads The Way Grade level: 2\nSummer Drumming Grade level: 3\nGame Night Grade level: 3\nSwallowed Grade level: 5", "id": "<urn:uuid:cbc4acf1-2614-4534-bdef-af5d2e429dfd>", "dump": "CC-MAIN-2022-21", "url": "https://www.esparklearning.com/blog/7-engaging-listening-activities-for-small-groups", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00577.warc.gz", "language": "en", "language_score": 0.9512677788734436, "token_count": 1321, "score": 4.1875, "int_score": 4}
{"text": "A Tasty Lesson\nStudents enjoy eating, especially when the food is something yummy. Almost everyone likes chocolate; therefore, it is an excellent topic choice for an English as a second language lesson plan. Combining activities such as research, creative writing and taste testing, creates a lesson that provides students with ample opportunities to practice their language skills, especially when it ends in a Chocolate Festival.\nThis lesson should take two to three weeks to complete. The recommended level of competency is for intermediate to advanced English language learners.\nNote: Official celebrations occur as Chocolate Day on July 7 and National Chocolate Day on October 28. There is also World Chocolate Day on September 4.\nThe objectives of this ESL lesson include students:\n- researching the origin and history of chocolate.\n- assimilating knowledge for later discussion.\n- creating poetry using information on chocolate.\n- discovering the various types of chocolate.\n- discussing their like or dislike for chocolate.\nTo begin an ESL adventure into chocolate, have students do a WebQuest on the subject.\nDivide students into small groups, assigning each person a task, such as historian, reporter, chef and botanist. Each person researches chocolate from his or her perspective:\n- The historian creates a timeline of important dates and facts.\n- The reporter writes an article on an aspect of chocolate. (Have them present their topic before proceeding to research.)\n- The chef creates a meal incorporating chocolate in every course. The recipes might be from his or her own culture.\n- The botanist develops a flyer explaining the cocoa plant: how to produce chocolate, where to find cocoa plants and how to care for them.\nTell the students that at the end of the lessons, they will present their findings at the Chocolate Festival. Encourage them to use technology such as PowerPoint or videos. Remind them that they will need to show references for the information they use. (This would be a good time to discuss citations and writing styles, especially if students are college bound.)\nHave students practice their vocabulary by creating an acrostic of chocolate. An acrostic is a form of poetry that uses the individual letters of a word to begin each line. To start, write the word chocolate down the side of the page. For each letter, the students write a word or phrase related to the topic.\nHelp students by providing a vocabulary list from which they can take words for their poem.\nEveryone likes movies. ESL students enjoy them, too, especially if given information and vocabulary before the viewing.\nWilly Wonka and the Chocolate Factory is an excellent film to show during lessons on the delicious confection. Explain the plot to the students without giving away the ending. Provide them with a word list of vocabulary heard in the movie. Discuss the list before showing the movie. Run the movie from beginning to end. Do not stop and start. This makes it difficult for the students to keep up with the plot.\nMake the movie day enjoyable. Provide popcorn or allow students to eat snacks they bring from home.\nAt the end of the movie, ask if the students have questions about the movie. After discussing all the questions, ask students what the themes of this movie are. Explain that themes are the main points of the story. For instance, family relations are a theme, as is competition.\nNote: If the movie is not available, obtain copies of the book, Charlie and the Chocolate Factory, to read in class as well as at home. Discuss each chapter. Have students keep reading journals to track themes, vocabulary and questions they may have.\nAfter students have completed their WebQuests, hold a Chocolate Festival. Invite other classes, parents, family and friends to attend the final day\u2019s Chocolate Festival. Students may create invitations to send out to everyone.\nOn the day of the festival, begin with each group of students presenting their research. Provide time for guests to ask questions.\nAfter the presentations, have different types of chocolate on hand for people to take a Taste Test. For the Taste Test, provide bite-size piece of dark chocolate, semi-sweet chocolate, milk chocolate and white chocolate. Ask each person that participates to vote on his or her favorite. Have students track the results on the board. Add up totals and announce the top favorite to everyone at the end of the festival.\nAssess students with a rubric that covers all the language skills \u2014 reading, writing, listening and speaking. The rubric gauges student proficiency in pronunciation, grammar, reading comprehension and the ability to answer questions competently.\nInformally assess student participation in the WebQuest and Chocolate Festival.\nThe main goal of this free ESL lesson plan on chocolate is to engage students in authentic academic activities in order for them to practice their skills in an enjoyable atmosphere, thereby gaining confidence in their language skills.\nESL Holiday Lessons: English Lesson Plan on World Chocolate Day, S. Banville, 2009, http://www.eslholidaylessons.com/07/world_chocolate_day.html\nRocket Mom\u2019s: Chocolate Day, http://www.squidoo.com/chocolateday\nContent from author\u2019s experience.", "id": "<urn:uuid:cb66dc7d-205f-40f8-a215-5f043cdb7839>", "dump": "CC-MAIN-2022-21", "url": "https://www.brighthubeducation.com/esl-lesson-plans/119521-chocolate-culture-activities-and-lesson/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662560022.71/warc/CC-MAIN-20220523163515-20220523193515-00576.warc.gz", "language": "en", "language_score": 0.9284037947654724, "token_count": 1098, "score": 3.75, "int_score": 4}
{"text": "Open and Closed Form Writing | Sarah Cash Open Form Writing. 1. Story narrative vs. an and then chronology-Storytelling depicts events through time.-Storytelling should be connected. \"Novelist E.M. Forester offered the simplest definition of a story when he rejected \"The king dies and then the queen died,\" but accepted \"The king died and then the queen died\u2026of grief.\" School Bullying: Free Expository Essay Sample The Problem of School Bullying One of the most important periods in an individual's life is, without doubt, their school years. School is a place where children and teenagers socialize, obtain different social skills, and prepare themselves for their future life and career. Exploratory Research Paper - s3.amazonaws.com After that you have to convey it into an your essay should be free of plagiarisms, grammar and formatting mistakes. If you are ready to face all these challenges, we can wish a good luck in getting the highest grade for your paper! problems while writing their essays can always find some help from outside! Our Essay Writing Company\nHow to Write an Expository Essay: Examples and 25 Topic Ideas\nExplanatory definition is - serving to explain. How to use explanatory in a sentence. What is an exploratory essay - aviotgroup.com Business plan for thrift shop . Soccer academy business plan sample assigning function keys free write essay definition example of literature review paper about bullying guide to writing a business plan pdf ancient egypt essay examples business plan review report guide to writing a business plan pdf homework video games how to type 10000 word essay in 1 day technical journal paper writing ... Expository essay topics 2017 - Edusson.com Define what writing style features are innate to the author of your favorite book. Compare the motives of protagonist and antagonist from the novel. Define the historical background of the main idea of the novel. Explain how modernism movement had been developing. Define the key signs of detective genre in the story.\nExploratory essay definition. It is a form of writing that allows a writer the privilege of exploring a problem when writing without necessarily giving a thesis statement followed by supportive arguments.\nSuch tags as \u2018an exploratory essay, knowledgeable support, for sale\u2019 will obligatorily direct you to our produce my exploratory essay agency. Buy Exploratory Essay from an expert Paper Composing Service\u2026 A single in the obligatory and many complex ones would be to compose completely different variations of educational assignments. Remember our added benefits once and for all. Intellect which you can buy exploratory essay including some\u2026\nBuy Exploratory Essay from an authority Paper Crafting Service\u2026\nHere you will find also different types of samples such as persuasive / argumentative, critical, descriptive, narrative, cause and effect, exploratory, expository, compare and contrast, 5-paragraph, classification, definition and even scholarship / admission essay papers for your application. Exploratory Writing : Successful Writing - English for Students Many College writing projects are exploratory, particularly in the liberal arts; so are many magazine articles and personal essays. For instance, your writing would be exploratory if you wrote a profile of a political activist on your campus or a reflective essay on the inequities of college entrance exams. Exploratory Essay Assignment (using Snake and Oxbow).doc Page 1 of 2. Philosophy of the Wild Name _____ Final Draft Due Date: _____ _ Writing Assignment #1 Exploratory Essay \"Snake\" by D.H. Lawrence\nExploratory Essays usually are dialectical in their nature since they contribute to synthesis of contraries and are not focused on the end result (conclusion) but rather on the learning process. EssayPlant.com professional writers can assist you in preparation of your Exploratory Essays.\nExploratory Essay Writing Exploratory essay is one of the types of academic writing. As a rule, an exploratory essay is written in colleges. Many students know that college essays are challenging for them because they require much time, effort and thought. Become an exploratory essay professional | EssaysLeader Do you want to get a high grade for your exploratory essay? Stick to the useful guidelines given below without hesitation. You will write a top-notch work.\nBuy Exploratory Essay from an expert Paper Composing Service\u2026 A single in the obligatory and many complex ones would be to compose completely different variations of educational assignments. Remember our added benefits once and for all. Intellect which you can buy exploratory essay including some\u2026 100 Exploratory Essay Topics With Research and Sample Papers\u2026 Need help on your exploratory essay? I give topic ideas, clear instructions, research links and sample essays to help you! Exploratory Essay Example | Bartleby Free Essays from Bartleby | Exploratory Paper: Should Same Sex Marriage Be Legal? The proposed legalization of same-sex marriage is one of the most... Buy Exploratory Essay from a specialist Paper Creating Service\u2026", "id": "<urn:uuid:111561bf-218d-40c5-b7e6-6bbe39e4cea5>", "dump": "CC-MAIN-2022-21", "url": "https://writezkybdev.netlify.app/callez27026xa/exploratory-essay-definition-763.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545090.44/warc/CC-MAIN-20220522063657-20220522093657-00376.warc.gz", "language": "en", "language_score": 0.9071201086044312, "token_count": 1033, "score": 3.6875, "int_score": 4}
{"text": "Note: this page links to assignments and assessment tools. For information about how to use specific software applications, check Technology Integration .\n5 Ways To Enhance Instruction with Digital Narratives\nTips for success as teachers integrate digital storytelling in the classroom.\n10 Tips for Dramatically Improving Your Videojournalism Stories\nMany of these tips also apply to digital storytelling.\nStudents are required to read a novel of their choice. Students will then demonstrate an understanding of that novel by creating a book talk. In the book talk, students will be required to give an overview of the book, read two passages, and give an overall critique of the book. Students will create a Photostory for the presentation.\nAn outstanding example of digital storytelling.\nThe Clues to a Great Story\nOne-page handout with 5 essential elements for good storytelling. Uses \"The Ugly Duckling\" and more contemporary stories for examples.\nEverything you need to help students craft a digital story is here: models, procedures, rubrics.\nThis collection of links includes classroom applications and an FAQ list.\nThis site offers practical tips with wit and insight.\nDigital Storytelling Finds its Place in the Classroom\nA teacher talks about digital storytelling in his classroom and offers step-by-step advice for those who'd like to try it in theirs.\nDigital Storytelling with the iPad\nFollow the links on the left for a list of resources.\nEducational Uses of Digital Storytelling\nIt's all here: introduction, getting started, examples, resources, and more.\nGet Started with Digital Storytelling\nAn overview of the process.\nHow to Find Free Music for Videos\nThis page explains types of licenses for music use, include Creative Commons, and links to sites that offer music for use, explaining the type of license for each.\nThis 5-page handout includes tips for a good interview and includes a model. It is designed for grades 6-12 and requires Adobe Reader for access.\nPersonal Narrative and Digital Storytelling\nA teacher details her planning for a classroom multimedia unit on personal narrative. Adobe Reader required for access.\nUse the art on the site to illustrate or inspire student storytelling. Good for elementary students or those writing for them.\nThat's the Story of My Life: Creating Storyboards for Graphic Novels About Adolescence\nStudents consider stories about adolescence and adolescents, and then fictionalize a scene from their lives in storyboards for graphic novels.\nYouTube Audio Library\nA variety of royalty-free music tracks for background music. Requires Google account for access.", "id": "<urn:uuid:1ad2620b-6f4a-4521-a09a-1d087f93635b>", "dump": "CC-MAIN-2022-21", "url": "https://www.varsitytutors.com/englishteacher/ds.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00177.warc.gz", "language": "en", "language_score": 0.8895942568778992, "token_count": 556, "score": 3.875, "int_score": 4}
{"text": "Educators today hear a lot about gaps in education \u2013 achievement gaps, funding gaps, school-readiness gaps. Still, there's another gap that often goes unexamined: the cultural gap between students and teachers.\nA bunch of teachers here, they think they know what's wrong with us. But they don't know. If people want to help us, they have to see what we've been through, not from what their own experiences tell them.\u2014 Billie, a Lakota teen speaking of the teachers at her high school\nMost of us in the education profession are white, middle-class, monolingual-English speakers. Increasingly, the same profile does not hold true for our students. Often, when we stand before our classrooms, the faces looking back at us do not look like our own. Many of us try to bridge this difference with an embrace of color-blindness or the Golden Rule, treating others the way we would want to be treated.\nBut the truth is: culture matters.\nCulture isn't just a list of holidays or shared recipes, religious traditions, or language; it is a lived experience unique to each individual. As educators, it's our job to stimulate the intellectual development of children, and, in this era, it's simply not enough to operate on the axis of color-blindness.\nTo truly engage students, we must reach out to them in ways that are culturally and linguistically responsive and appropriate, and we must examine the cultural assumptions and stereotypes we bring into the classroom that may hinder interconnectedness.\nTo engage students effectively in the learning process, teachers must know their students and their academic abilities individually, rather than relying on racial or ethnic stereotypes or prior experience with other students of similar backgrounds.\nMany teachers, for example, admire the perceived academic prowess and motivation of Asian American students and fail to recognize how even a \"positive\" stereotype isn't positive if it presses students into molds not built for them individually.\nHear elementary school teacher, Diane Holtam, speak about how she works with other teachers to disabuse stereotypic notions of Asian American students' abilities.\n- What are some of the myths about Asian American students in the classroom that Diane speaks about?\n- How does Diane suggest teachers reach out to Asian students?\nYou're Asian, How Could You Fail at Math?\nIn this essay from Rethinking Schools, Benji Chang and Wayne Au unmask the myth of the \"model minority.\"\n- How are Asian students and their non-Asian counterparts affected by inappropriate teacher expectations and stereotypes?\n- Which of the strategies that the authors offer to overcome this \"model minority\" myth can you use in your classroom? Can you think of other ways to build cohesion and understanding in your classroom?\nCulturally Relevant Curriculum\nCurriculum, in its most simple, essential, commonly understood form, is the \"what\" of education. It is crucial to academic performance and essential to culturally responsive pedagogy. Even the most \"standard\" curriculum decides whose history is worthy of study, whose books are worthy of reading, which curriculum and text selections that include myriad voices and multiple ways of knowing, experiencing, and understanding life can help students to find and value their own voices, histories, and cultures.\nHear high school creative writing teacher, Foster Dickson, talk about text selection and the importance of a diverse selection of authors.\n- What does Foster say about including authors of different backgrounds and the message it sends to his students?\n- How does he think reading authors from different backgrounds will impact his students?\nFor a high school on South Dakota's Rosebud Reservation, culturally responsive curriculum is proving a hefty antidote to the violence, poverty and growing cultural disconnect hindering student success.\n- How do the teachers at Todd County High School use culturally relevant teaching methods to connect with their Lakota students? How do the students interviewed say this makes them feel about themselves and their studies?\n- Does the disconnect between student cultural background and teacher cultural background that exists in the story, exist in your school? How can you bridge this disconnect?\nHonoring Home Languages\nTeachers are often a young immigrant's first regular, ongoing contact with someone outside their home community and culture. It's a relationship that can provide the emotional scaffolding necessary to cross the linguistic and cultural divide between country of origin and country of residency.\nWith a hearty mix of creativity, cultural acumen, and professional expertise, teachers can help English language learners acquire language skills more rapidly \u2014 and foster inclusion in the school community.\nListen to elementary teacher, Diane Holtam, talk about bridging the gap between her newly arrived immigrant students' home language and English.\n- What techniques did Diane use to help her ELL students learn English more quickly?\n- How might you replicate some of her strategies in your classroom? Even if you are a monolingual English speaker, what outreach or other work might you do?\nCrossing Borders/Borders Crossing\nThe depth and clarity of a teacher's multicultural lens can make \u2014 or break \u2014 immigrant students' ability to learn.\n- What does the author mean by \"multicultural lens\" and what is its importance in working with students from backgrounds different from your own?\n- What role does teacher attitude play in the development of linguistically inclusive classrooms? How is that attitude conveyed through teacher behavior in the article? In your school?\n- Breaking the Prejudice Habit by Patricia G. Devine\n- Preparing for Culturally Relevant Teaching by Geneva Gay\n- Multicultural Education: Strategies for Linguistically Diverse Schools and Classrooms by Deborah Menkart\n- Effective Literacy and English Language Instruction for English Learners in the Early Grades\n- Nene and the Horrible Math Monster ($16.95), by Marie Villanueva and Ria Unson, is about Nene, a Filipino girl who confronts the minority myth that all Asians excel at mathematics. Nene faces her fears about doing math and overcomes them. Polychrome Publishing Corporation. ISBN-13 9781879965027\n- Culturally responsive teaching: Theory, research and practice. ($24.95) by Geneva Gay. New York: Teachers College Press, 2000. ISBN-10: 0807739545 ISBN-13: 978-0807739549\n- Teaching to change the world, 3rd Edition. ($66.25) by Jeannie Oakes and Martin Lipton. Boston: McGraw-Hill, 2006. ISBN-10: 0072982004 ISBN-13: 978-0072982008\n- Unraveling the Model Minority Stereotype: Listening to Asian-American Youth. ($19.95) by Stacey J. Lee. New York: Teachers College Press, 1996. ISBN-10: 0807735094 ISBN-13: 978-0807735091\n- We can't teach what we don't know: White teachers, multiracial schools, 2nd Edition. ($13.95) by Gary Howard. New York: Teachers College Press, 2006. ISBN-10: 0807746657 ISBN-13: 978-0807746653\n- The Crosscultural Language and Academic Development Handbook: A Complete K-12 Reference Guide. ($69.60) by Lynne T. Diaz-Rico and Kathryn Z. Weed. Boston: Pearson, 2006. ISBN-10: 0205443257, ISBN-13: 978-0205443253\nWillis Hawley, Jacqueline Jordan Irvine and Melissa Landa designed the instruments and framework for this activity.", "id": "<urn:uuid:49a96b23-6e1f-4f7d-9ffd-323209d15314>", "dump": "CC-MAIN-2022-21", "url": "https://www.learningforjustice.org/professional-development/culture-in-the-classroom", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662541747.38/warc/CC-MAIN-20220521205757-20220521235757-00778.warc.gz", "language": "en", "language_score": 0.9255781769752502, "token_count": 1634, "score": 3.734375, "int_score": 4}
{"text": "Our collection of picture books featuring Black and Indigenous people and People of Color (BIPOC) is available to the public. *Inclusion of a title in the collection DOES NOT EQUAL a recommendation.* Click here for more on book evaluation.\nCOVID-19 Info: Currently, our collection is only available via Interlibrary Loan (ILL). However, we appreciate your patience as these services are still limited and you may find inactive links to the Bates Library Catalog and MARC record on certain book pages.\nFind titles using a keyword search below (e.g. adoption, birthday, holidays, etc.), or by selecting one or a combination of filters on the lefthand sidebar below.\nFirst time here? Start here!\n5 matching booksShow Filters\n\"How an unruly and angry young prince transformed into a beacon of benevolence and peace. As the son of an emperor, Ashoka was destined for a life of greatness. But as a boy, Ashoka felt like he was living in the shadow of his brother, growing to become arrogant, impatient, and above all, angry. Wanting nothing more than to be king, Ashoka learned to be cunning, and when he finally managed to ascend to the throne, he was eager for war. After a brutal battle for the kingdom of Kalinga, Ashoka went to survey his new lands. On his ride through the battlefield, Ashoka was haunted by the great destruction that he had caused. This moment marked a change of heart for Ashoka. Upon returning home, his closest friend and wife, Asandamitra, encouraged him to study the wisdom of the Buddha, the dharma, and to learn meditation as a way forward from his destructive past. When Ashoka finally met the wise Buddhist monk Upagupta, it transformed the way he saw the role of a king. He became compassionate toward animals, people, and the environment that encompassed his kingdom as the first emperor of India. Ashoka's life is a real, foundational story in Indian history, and the pillars erected during his reign over two thousand years ago have become the emblem of the national flag. Ashoka's journey is a story of profound transformation, demonstrating the power of reflection, compassion, and wisdom. This is a modern telling of how Ashoka the Fierce became known as Ashoka the Great.\"-- publisher\n\"\u201cIn the full bloom of spring, in a beautiful garden, in a place called Lumbini, a prince was born.\u201d So begins the extraordinary story of the life of Siddhartha Gautama, the prince who would become the enlightened Buddha, the Awakened One. This classic tale follows Prince Siddhartha\u2019s journey of truth-seeking and discovery, including his life-altering encounters with human suffering and his realization of the Four Noble Truths. Today, millions of people all over the world follow the Buddha\u2019s teachings on meditation, selflessness, and compassion. Rendered here in exquisite original watercolor illustrations, this inspiring story is brought to life for young readers curious about one of history\u2019s most monumental and influential figures.\" -- publisher\n\"A colorfully illustrated, pocket-size picture book biography of the Buddha Gautama Buddha lived and taught in ancient India between the sixth and fourth centuries B.C.E. It is said that he was a prince before he renounced his former life in order to search for the cycle of rebirth and an end to suffering. He founded the religion of Buddhism, which has hundreds of millions of followers to this day and is the world's fourth-largest religion. Pocket Bios are full of personality, introducing readers to fascinating figures from history with simple storytelling and cheerful illustrations. Titles include men and women from history, exploration, the sciences, the arts, the ancient world, and more.\" -- publisher\n\"A nonfiction picture book with full-color illustrations about the life of the Buddha, from award-winning author and illustrator Demi Many centuries ago, in a kingdom in the foothills of the Himalayan mountains, a miraculous child was born to the king and queen. The young prince, Siddhartha, was raised in the greatest luxury, sheltered from all pain and ugliness. But one day Siddhartha left the palace and saw, for the first time, human suffering and death. He knew then that he must relinquish everything\u2014his family, his wealth, his position\u2014to discover the Truth of life and death. After a journey of enlightenment, he became the Buddha, and today millions of people around the world live by his teachings. Demi's exquisite illustrations, inspired by the paintings and sculptures of several Asian cultures, are layered with meaning; each brush stroke has a special significance. Demi, herself a Buddhist, brings her devotion to the teachings of the Buddha and her vast knowledge of his life to this comprehensive picture-book biography of an extraordinary spiritual leader.\" -- publisher\n\"Who was the Buddha? Once upon a time in ancient India, a prince was born. His name was Siddhartha, and one day he would inherit a powerful kingdom. His father tried to protect him from the suffering and hardship beyond the palace walls, but just like children everywhere, the prince longed to see the world. Under the Bodhi Tree is the story of a boy and his journey for understanding that eventually led him to the path of peace. Told in lyrical language, this excellent introduction to the story of the Buddha is beautifully illustrated and perfect for children who are curious about the real people who made history.\" -- publisher", "id": "<urn:uuid:f817612b-6718-469f-8928-f30917b1b9c1>", "dump": "CC-MAIN-2022-21", "url": "https://diversebookfinder.org/books/?dbf-search=1&fq%5B%5D=setting%3A%22India+%28Ancient%29%22", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00577.warc.gz", "language": "en", "language_score": 0.9605942964553833, "token_count": 1148, "score": 3.609375, "int_score": 4}
{"text": "Table of Contents\n- What is creative learning?\n- What makes an intriguing story?\n- Now, what exactly is an emotion?\n- Creative learning is fueled by emotions.\n- Why is creative learning important?\n- Simple creative learning solutions you can embrace\n- Key takeaways\nUsing creative ways, students may gain knowledge and build abilities. Creative learning uses creative approaches to lead learners through the educational process, rather than defining how knowledge is acquired.\nRather than dictating how knowledge is received, creative learning uses innovative approaches to lead students through the learning process. Therefore, encouraging creative thinking is an important part of positive education. The purpose of this blog is to introduce and discuss the factors involved in creative learning.\nBut first, let\u2019s define our central concept.\nWhat is creative learning?\nCreative learning calls into question what is clear, usual, and accepted. It\u2019s about breaking free in certain ways. We aren\u2019t, however, pushing boundaries for the sake of breaking them.\nNo! We are breaking new ground for good reasons, like efficiently constructing a comprehension framework.\nThe following is a list of some of the most well-known creative learning techniques-\n- Hypothetical situations\n- Experimentation (exercises or games)\n- Analogies and metaphors\n- Discussions and brainstorming sessions\n- Story narrations\nLet\u2019s look at an example of story narration, one of the most used creative learning methods.\nStorytelling is a form of creative learning that makes it more appealing and engaging. This way, the stress from the learning process is relieved thereby enhancing the learners\u2019 attentiveness.\nIt is the art and science of strategically mapping out the information and emotional touchpoints in your learning experience. It helps you to maximize retention, creates unwavering attention, and quite literally creates learning experiences that mimic the flow of human development.\nBefore we get into how, it is important to understand why.\nWhat makes an intriguing story?\nConsider something, an object or souvenir, that holds sentimental significance for you.\nDo you recall the exact moment you purchased it and how you felt, with all of the sensory details?\nDo you have any idea why?\nBecause long-term memory is aided by emotions linked with knowledge. Learners\u2019 attention is enhanced when they have long-term memory!\nEmotions drive us to pay attention, and attentiveness compels us to learn.\nNow, what exactly is an emotion?\nEmotions vs Feelings\nThese two nouns are not the same. Emotions are physical responses to stimuli that awaken our senses. Feelings, on the other hand, are both physical and mental. Because of our feelings, we pay attention to and interact with the environment around us.\nEmotions can be used to our advantage. We all know that particular emotions elicit specific responses. And we all know that emotions give rise to feelings, which make us pay attention.\nSo, you may ask what is the relation between emotions and what do you need to keep your audience/learners interested?\nCreative learning is fueled by emotions.\nAll you have to do is elicit emotions to get your learners\u2019 attention. You can do it with stories as well! Emotions govern us, and stories elicit emotions.\nAppeal to the six primary emotions\u2014anger, disgust, fear, pleasure, sadness, and surprise\u2014to make a learning experience engaging and keep learners focused.\nKeep them in that attitude by encouraging feelings like curiosity, joy, or amusement once you\u2019ve gotten their attention and they\u2019re receptive to learning.\nTherefore, narrating a compelling story is a way of incorporating emotions into a creative learning experience.\nLet\u2019s look at why creative learning is important now that you have a general knowledge of it.\nWhy is creative learning important?\nCreative learning experiences elicit strong responses from students. Learners retain knowledge and develop their comprehension for longer when they participate actively in the process. That, however, is only the start. Learning in a creative method accomplishes a lot more, such as-\nProblem-solving is stimulated\nAs a result of creative learning opportunities, learners\u2019 perceptions of problems evolve. They become more inventive and imaginative.\nThe very first step is visualizing alternatives or possibilities from many viewpoints. They can foresee and overcome challenges because of this adjustment in viewpoint.\nEncourages critical thinking\nLearners provide novel answers and ideas. Then they assess how far they\u2019ve progressed in putting them into practice and make changes to enhance the process.\nMotivates to take risks\nStudents experience failures when they participate in creative learning. They can make decisions, and some of them will fail to provide results.\nCreative learning, on the other hand, provides a secure setting in which students may take risks and experiment with a variety of outcomes. Accepting \u201cfailure\u201d helps kids take greater risks while reducing their anxiety.\nEncourages an inquisitive mindset\nCreative learning solutions are unconventional. The unconventional learning approaches piqued learners\u2019 interest in the process and material, which also encourages quick learning. Curiosity and discussion are stimulated by new ways of learning, which leads to fascinating discoveries.\nBoost your confidence through creative learning strategies. Learners are more inclined to put what they\u2019ve learned into practice without hesitation.\nSimple creative learning solutions you can embrace\n- Think how you might be able to intensify your current problem: Just imagining the worst-case scenario might help you come up with new resolutions\n- Consider how to make your situation more manageable: This is the inverse of pondering how you may intensify your ongoing predicament, yet it operates in the same manner. You eliminate limits from your problem-solving approach and evaluate options thoughtfully. Finally, you make a decision and carry it out.\n- Continue to ask more questions: Brainstorming is the process of developing new ideas. Creating questions, on the other hand, is more effective. You will be able to dig deeper into your problem and challenge your assumptions as a result of doing so. This might help you come up with a lot of different options.\n- Creative learning has changed the perceptions of educational institutes about education and learning.\n- It holds true in every situation where people are learning.\n- It also encourages learners to learn for the rest of their lives by encouraging them to think creatively.\n- Those who indulge in creative learning are more likely to-\n- Accept the perspectives of others with an open mind.\n- Inquire thoughtfully.\n- To overcome difficulties and innovate, use creativity and perseverance.\n- Adapt to adversity.\n- Accept uncertainty with courage\nLiked this blog? Read: Time-saving tips for everyone who feels time flies by quickly\nWhat is the definition of creative learning in the classroom?\nIt is when students can use their imaginations and critical thinking skills to generate new and significant forms of ideas; they can take chances, be self-reliant, and be flexible.\nWhat are the benefits of innovative learning for students?\nCreativity belongs in many areas of life, not just in children\u2019s games and extracurricular activities. It engages all of your senses and generates previously undiscovered information. Students of all ages should learn by creating since it aids in integrating information and adds joy and significance to their educational experience.\nWhat are some ways to inspire students to be more creative?\nSome ways to be more creative are-\n- Practice mindfulness\n- Brainstorming sessions\n- Encourage risk-taking\n- Spend time outside the classroom\n- Encourage students to lead\n- Make use of visual aids as necessary", "id": "<urn:uuid:88e4a21a-464a-48dc-96fb-cc1b422b71f6>", "dump": "CC-MAIN-2022-21", "url": "https://ischoolconnect.com/blog/creative-learning-why-is-it-the-future-of-education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00178.warc.gz", "language": "en", "language_score": 0.9345534443855286, "token_count": 1609, "score": 4.09375, "int_score": 4}
{"text": "There is often a fine line between a child's history lesson and his or her creative writing class, says Louise Fahey\n'Empathy' is now a key part of national curriculum history teaching. The idea is that, by asking children to project themselves into a situation or the mind of somebody from the past, we can help pupils to relate to a history that would otherwise be alien to them.\nBut in struggling to make history more 'accessible' to our pupils, are we helping to develop their historical imagination? Or are we depriving them of the knowledge this imagination requires?\nThe motivation for empathy in history teaching seems to be a fear that pupils find the subject boring or old-fashioned. Subjects such as the English Civil War, the French Revolution and the British Empire can now be skipped over because they are considered too difficult or Eurocentric for the children of today. Pupils are more likely to be asked to investigate the life of a slave on a nineteenth-century plantation or the role of women in the Civil War. This is seen as making history more accessible and interesting, and teaching children to be tolerant of different belief systems. But if children's knowledge depends on those aspects of the past that are easy to teach and learn, they will end up with a patchy view of the history.\nHistorical imagination requires a good knowledge of the subject. Without this children can only make up stories from the past. A colleague recently described an essay by a GCSE candidate who was studying the Chinese communist revolution of 1949. Pupils were asked to imagine they were participating in Chairman Mao's long march and to write an account of their experiences. This candidate wrote an exchange between a mother and daughter about the mother's discomfort, because her foot bindings were too tight and there were still several thousand miles to go.\nThe use of empathy in the classroom tends to concentrate on the hidden voices from the past: the peasant or the mill- worker. This can lead to banal, unchallenging lessons. Pupils may have a limited knowledge of the feudal system, but know that peasants had no rights and were tied to the land; they may also have been shown a picture of a peasant's cottage. The resulting written work is very often a narrative description of a dull and miserable life, which changes little from period to period. Pupils may have little sense of time or historical context, but will get a mark as long as their answers are plausible if not historically accurate in any specific sense.\nRoleplay and empathy work are not necessarily bad classroom techniques, but they can become a substitute for teaching historical content. History teachers should be asking whether what we teach should be based on what children want to learn, and questioning the consequences of this. If history were completely designed to relate to children's lives today, we might deny them access to knowledge and subjects which could arouse their curiosity in a world bigger than the small one they inhabit.\nReproduced from LM issue 117, February 1999", "id": "<urn:uuid:529feb49-834f-49e2-893a-a658feb9740e>", "dump": "CC-MAIN-2022-21", "url": "http://www.informinc.co.uk/LM/LM117/LM117_EmpathicHistory/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539131.21/warc/CC-MAIN-20220521143241-20220521173241-00378.warc.gz", "language": "en", "language_score": 0.9749061465263367, "token_count": 612, "score": 3.578125, "int_score": 4}
{"text": "Edomoji is a generic term for lettering styles often used during the Edo period (1603-1868). It included those used in sumo wrestling, kabuki, on lanterns, and senjafuda (paper slips posted on shrine pillars by pilgrims); all of which embody the Edo spirit. Originally, each style was used for a different purpose and had a different name. For example, \u201csumoji\u201d was for sumo wrestling, \u201ckanteiryu\u201d for kabuki, \u201cyosemoji\u201d for entertainment halls, and \u201ckagomoji\u201d for senjafuda. These attractive calligraphic styles that emerged during that period are still used today.\nThe bold, thick calligraphic style used on paper lanterns and senjafuda, or paper slips posted on shrine pillars by pilgrims, are called \"kagomoji\" which literally means \u201cbasket letters.\u201d\nCharacterized by soft forms inspired by kabuki dance, the kanteiryu calligraphic style was used in kabuki for scripts, dressing room posters, and other items for internal use (as opposed to promotional items), as well as signboards and programs in kabuki theaters. The size and legibility of the characters were adapted to how and where they were used.\nUsed in entertainment halls for storytelling, comedy, magic, and music, yosemoji conveys the thrilling and fun atmosphere unique to such halls. In yosemoji lettering, the characters written in black ink represent members of the audience, and the white space around the characters represent the tatami mats they sit on. Yosemoji characters are written so close to each other to symbolize the hope for \u201cso many people sitting shoulder to shoulder that there are no spaces in between them.\u201d Moreover, yosemoji also connotes good fortune, written in an upward sloping way that embodies the hope for an upsurge in spectators.\nSumo wrestling has a long history that dates to the Heian period (794-1185). However, it was during the Edo period (1603-1867) that sumo wrestling began to be practiced in earnest, and professions related to it were established. Exhibition matches were held throughout Japan, and sumo wrestling flourished.\nSumoji is characterized by straight lines and a few gaps in between characters. Unlike other edomoji, its rough brushstrokes are not disliked, rather, they are valued for their distinct character.\nThe design of this jacket features the kanji character for \"wabi\" in the front and the kanji character for \"sabi\" in the back. Both are in edomoji, a Japanese lettering style with a long history.\nHaori Jacket Edomoji | Noragi | Indigo available at MASTER CRAFTSMANSHIP - Made in Japan", "id": "<urn:uuid:1f2978d3-5a13-445f-8b67-c0201fa095f3>", "dump": "CC-MAIN-2022-21", "url": "https://mcraftsmanship.com/blogs/samue/edomoji-the-edo-spirit", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663019783.90/warc/CC-MAIN-20220528185151-20220528215151-00378.warc.gz", "language": "en", "language_score": 0.9570447206497192, "token_count": 623, "score": 3.546875, "int_score": 4}
{"text": "Useful websites for learning\nThese websites have been found to be very useful.\nInformation for parents to explain some of the changes that will come in with the new National Curriculum in September 2014.\nonline maths homework\nCurrently being trialled.\nFree computer-coding lessons\nArt appreciation for children\nIntroduce your children to Degas, Warhol, Turner and other artists through fun games and activities. They can also draw, upload their own art to a gallery and watch films about art concepts. The games are suitable for three age groups ranging from 5 year olds to the over-10s. Plus there are lots of ideas on how to \u201cbe crafty offline\u201d in the \u201cTate Create\u201d sub-section.\nAnswers for inquisitive children\nWhat\u2019s inside a computer? What happens if the Earth stops spinning? This site from the Discovery network has all the answers that inquisitive children (and parents) want to know, plus blogs, quizzes and games. Another similar resource, wonderopolis.org, has a \u201cwonder of the day\u201d to encourage learning throughout the week.\nCompetitive maths learning\nThere\u2019s nothing like a bit of competition to inspire learning. Mathletics is the leading maths website, a paid-for resource for schools and students aged 5-19 to play maths games while competing against other pupils and schools from around the world. Exercises can be selected according to subject and progress is tracked. A lot of schools subscribe, but home use is available from \u00a339 a year.\nOnline maths tutor for 5 to 13-year-olds\nIf you\u2019re looking for a maths tutor, consider Maths Whizz. It uses interactive animations, games and tutoring, covering primary to early KS3 level. Students can log in from anywhere with a web connection. It costs either \u00a3149 per year or \u00a319.99 per month.\nA website offering a bit of everything that the creative parent and child might need to learn while having fun. As well as craft projects, science experiments and cookery (all with easy guides) there are games to play, magic tricks to watch \u2014 and even quite funny jokes to enjoy.\nLearn to code through games\nNominated by Sarah Ebner, The Times School Gate Blog.\n\u201cScratch (free to all users) is a brilliant way for children to learn to code, without having to worry about learning a new programming language. The site, from the experts at the Massachusetts Institute of Technology, allows children to program by dragging and dropping, rather than writing out, code.\u201d\nFree fun exercises\nThis site has been on the web since 1997 \u2014 and it still looks much like it did then. But behind the basic design are hundreds of maths games, exercises, quizzes and a glossary to explain maths terms. An excellent way to practise without feeling like you\u2019re doing extra school work.\nVideo game maths\nEven complex mathematical tasks can be taught using games. This site, developed by mathematicians including Marcus du Sautoy, is used across the UK to teach high-level concepts using fun video games. As Education Secretary Michael Gove says: \u201cWhen children need to solve equations to get ammo to shoot aliens, it is amazing how quickly they can learn.\u201d\nCreative writing for youngsters\nBudding writers should head to this site, where children under 16 are set a weekly creative writing challenge \u2014 always of just 100 words in length. Entries are posted on the site, and volunteers all over the world leave critical and encouraging feedback.\nOne-stop shop for lyricists\nNominated by Francis Gilbert, teacher and writer, who says: \u201cLots of great poems, presented in an interesting way for all ages, as well as links to competitions and websites promoting poetry. It really is the one-stop shop for budding poets.\u201d\nOnline video tutorials\nStarted by a Salman Khan, an American who wanted to help his nephew to learn maths, these online video tutorials have become an online education sensation, teaching the YouTube generation everything from arithmetic to physics.\nMini online encyclopaedia\nCreated by a Kent primary school, but has such a wealth of resources that it is now used by lots of parents and schools. There are games and tests at primary level, divided into topics and key stages. Includes excellent maths and literacy games.\nInteractive map of the Blitz\nFind out exactly where bombs fell in the UK during The Blitz . This clever interactive map uses data from bomb census maps to show exactly where each bomb hit. Some bombsites are linked to interviews and photos creating a powerful visualisation for anyone interested in history.\nHomepage for children\nNeed a child-friendly site that offers more than games? Yahoo! Kids is an appealing homepage for youngsters with sections for jokes, e-cards and films. It also contains a search engine, with filtered results aimed at children.\nGames for simple computer skills Fancy a game of Math Baseball or online Sudoku? This site has maths and reading games suitable for children up to Key Stage 3. It also has a \u201cPlayground\u201d zone that helps younger children to learn basic computer skills through games.\nOfficial online home of The Cat in the Hat and friends\nPlay and learn while bringing classic Dr Seuss books to life, including The Cat in the Hat, Green Eggs and Ham and Oh, the Places You\u2019ll Go! Explore the books and characters through activities and games.\nLearn anything, quickly\nHow\u2019s your Mandarin? This innovative website uses user-generated \u201cmems\u201d \u2014 ideas that help you to remember things \u2014 to teach you anything you fancy, from Spanish to maths and music. You sign up, choose your course, and follow their short interactive lessons for a few minutes as often as you can \u2014 all totally free. It remembers what you\u2019ve learnt \u2014 and need to work on.\nFancy reading Grimm\u2019s Fairy Tales or Plato\u2019s The Republic? Lots of literature past its copyright date is at your fingertips thanks to Project Gutenberg. You can download 40,000 free e-books for Kindle or to read via apps or online.\nCan you name all the characters from Harry Potter? Or every capital city in the world? How about all of the states in America? Sporcle creates endless addictive quizzes and allows you to create your own trivia tests and share them with friends.\nExpand your word knowledge\nTergiversate? Pusillanimous? Lucubrate? Vocabulary.com teaches you new words by using multiple choice quizzes, remembering what you get wrong and returning to those words until you get them right. It has a blindingly fast dictionary, a word blog and lists of interesting words under various topics for you to learn.\nPre-school interactive learning\n\u201cPoisson Rouge is one of the most creative, beautiful and interactive sites available for pre-school kids. If you are thinking of succumbing to a tablet for your five-year-old, load up these apps to make you feel a bit happier about all that screen time.\u201d\nA fun way to learn to read\n\u201cReading Eggs uses games, animations, songs and rewards to encourage children to read. It\u2019s not free but many Mumsnet users report that the site has encouraged their children to get excited about the idea of reading. No higher recommendation than that.\u201d\nSaviour site for students\n\u201cI can\u2019t believe I passed an exam without this. Truly this generation don\u2019t know how lucky they are. Never mind if their revision notes are incomplete, illegible, ink-blotted scrawls when it comes to exam time. From the American West to the alimentary canal, it\u2019s all there in clear, easily searchable nuggets \u2014 the perfect revision resource.\u201d\nAdvice for parents of SEN children\n\u201cSpecial Needs Jungle is a really excellent site for parents of children with special needs or disabilities, by parents with expert knowledge. It helps them to navigate what really can be a \u2018jungle\u2019 of confusing information, so they\u2019re able to identify and access the support and services they need.\u201d", "id": "<urn:uuid:5f54bfbf-0cc2-4326-a2b2-a725b5e86e49>", "dump": "CC-MAIN-2022-21", "url": "https://www.stedmundsschool.co.uk/page/?title=Useful+websites+for+learning&pid=86", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662527626.15/warc/CC-MAIN-20220519105247-20220519135247-00177.warc.gz", "language": "en", "language_score": 0.9393436312675476, "token_count": 1947, "score": 3.5625, "int_score": 4}
{"text": "As I try to choose books that will help my students meet the expectations of the Common Core State Standards, I find myself needing to look across grade level expectations to make sense of what children will be expected to do and understand.\nThere is a thread through the standards that deals with sequencing events in both history and science. In grade two (RI 2.3), the Common Core states that students should \u201cDescribe the connection between a series of historical events, scientific ideas or concepts, or steps in technical procedures in a text.\u201d\nLater, in grade four (RI 4.5) it is expected that students be able to \u201cDescribe the overall structure (e.g., chronology, comparison, cause/effect, problem/solution) of events, ideas, concepts, or information in a text or part of a text.\u201d Although structure is the key to meeting this standard, one of the categories is the structure of chronology.\nIt appears that no matter which grade level I work with, chronology as it relates to making sense of science and history concepts is important. Stories help people understand science and history.\nThere are several recent books that have been written about unlikely animal pairs and animals who have made a difference to someone. These stories are often told in longer picture book form, and are immediately engaging to students. Although they don\u2019t always connect directly to content standards, this type of book would be a great introduction to chronology and working with students to describe a sequence of events.\nWinter's Tail: How One Little Dolphin Learned to Swim Again by Craig Hatkoff, Juliana Hatkoff, and Isabella Hatkoff is the story of Winter, a dolphin who was rescued from a trap with an injured tail. Experts worked to create a prosthetic tale for Winter and to teach her to swim again. This is a terrific story that appeals to readers of all ages. Because it is told in a narrative, chronology of events is key to the story. Another by this same author team is Owen & Mzee: The True Story of a Remarkable Friendship by Isabella Hatkoff, Craig Hatkoff and Paula Kahumbu. This story tells of an unlikely friendship that developed between two animals. Both of these books are longer picture books that probably require more than one sitting to read.\nNubs: The True Story of a Mutt, a Marine & a Miracle by Brian Dennis, Mary Nethery, and Kirby Larson is about a dog, a marine, and the bond they share. Nubs was a dog in Iraq who became the marine\u2019s pet \u2014 even though pets were not allowed. The dog followed his friend through lots of hard times and places. This is a wonderful true dog story.\nThere are a few animal books that tie nicely into science curriculum. These animal stories focus on an animal\u2019s journey or life cycle. One Tiny Turtle by Nicola Davies and The Emperor's Egg by Martin Jenkins both chronicle events in an animal\u2019s life and the ways in which these events work to protect the species.\nHow-To/How Things Are Made\nChronology is crucial for understanding how things are made. By using how-to type books along with narrative nonfiction, children see that chronology is important in various ways. I often begin with how-to books that children are familiar with, such as craft books or cookbooks. These help students see the way that chronology is set up in a non-narrative text. Finding books that tie into content is a bit of a challenge.\nHow Did That Get In My Lunchbox?: The Story of Food by Chris Butterworth and Lucia Gaggiotti is the story of food and the many steps that it takes for different types of food to get to someone\u2019s lunchbox. The process for each food item is explored from the very beginning \u2014 the steps needed to make the food and the origin of the ingredients.This book ties into social studies as the global and interdependent aspects of food is made clear in this picture book.\nThere are many plant books that focus on chronology, and science seems to be a good place to bring in books in which chronology is key to understanding. Seed, Soil, Sun by Cris Peterson is a picture book that highlights the steps a plant goes through as it grows. The Milk Makers by Gail Gibbons details the steps involved when making milk.\nMore and more books are being written that help readers see the ways in which ordinary things are made. Two books that have many pages of information about how things are made are See How It's Made by Penny Smith and Transformed: How Everyday Things Are Made by Bill Slavin. Each of these books use stand-alone pages to share the processes for various items. The chronology for each is shown on a single page, which makes these helpful for minilesson work around the concepts.\nPicture Book Biographies\nWhen I think about these standards as they relate so social studies, picture book biographies seem to be a great place to start. There are so many good picture book biographies and these often bring times and people in history to life. Picture book biographies also help students see that history is the story of people and that individual people make a difference. The narrative structure of biography makes these kinds of books perfect for working toward connecting important events in history. Balloons over Broadway by Melissa Sweet is the story of the man who invented the balloons that fly over the Macy\u2019s Day Parade each Thanksgiving. The Day Roy Riegels Ran the Wrong Way by Dan Gutman is a great sports story about the 1929 Rose Bowl and a mistake one player made. Here Come the Girl Scouts!: The Amazing All-True Story of Juliette 'Daisy' Gordon Low and Her Great Adventure by Shana Corey chronicles the life of Juliet Gordon-Low and her creation of the Girl Scouts.\nChronology is important in so many nonfiction narratives that we read. The connection of events in history and science helps our students make sense of big concepts. Looking at chronology in a variety of ways and in various content areas will be key to helping students build understanding.", "id": "<urn:uuid:9b5ae30f-1fcf-47af-afec-5043ad88d84d>", "dump": "CC-MAIN-2022-21", "url": "https://choiceliteracy.com/article/chronology-in-nonfiction-common-core-booklist/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521152.22/warc/CC-MAIN-20220518052503-20220518082503-00378.warc.gz", "language": "en", "language_score": 0.9566000699996948, "token_count": 1270, "score": 3.5, "int_score": 4}
{"text": "Teaching gratitude to kids is one of the more challenging parts of parenthood. Not only is bring grateful a really abstract concept for young children but by nature, little ones are pretty self-centered (in a blissfully unaware way, of course). But this is one of the most important things you can teach your kids\u2014practicing gratitude sets kids up to be more sensitive and empathetic to the plights of others, as well as less demanding and entitled overall. Many experts also say that being grateful leads to increased overall happiness (and that goes for us too, fellow adults).\nSometimes we shy away from attempting to teach such a hugely abstract thing at a very young age, but the truth is, our kids are there waiting for us to do so. Babies as young as 18 months can begin to understand that they are taken care of by others and that others do things to make them happy\u2014a foundational concept for learning appreciation. By 2 years old, toddlers can start to articulate things they are thankful for, like Mommy and Daddy or their favorite toys or pets. And, by age 4, little brains can start to understand that gratitude can encompass not only things and people but also acts of kindness and love.\nBabies as young as 18 months can begin to understand that they are taken care of by others and that others do things to make them happy\u2013a foundational concept for learning appreciation.\nThough understanding how to be grateful is essentially a lifelong learning process, there are many ways to begin to instill those qualities in your children in a gentle and relatable way. These simple activities will help you begin the conversation with your kids, and the consistency of those conversations will plant the seeds to grow a truly grateful and happy child.\n1. Model gratitude out loud\nThis seems to be an obvious one, but it\u2019s one we all slack on. So much of what we think or feel stays within us, mostly for the better (hello, frustration), but not always. Our children learn the most by what we do and say and they learn just as much from what we don\u2019t do or say. If you\u2019re not actively practicing outward appreciation and gratitude in a way that is accessible and descriptive, there\u2019s a good chance that it will be a much harder concept for your children to learn.\nPracticing this is not at all complicated. Simply take time to pause in small moments and say out loud what comes to your heart and head. It can be something small like, \u201cWow, these trees with changing leaves are just beautiful. Nature is just so stunning, and I love sharing these moments with you.\u201d Or take a brief moment when you\u2019re in line at the checkout counter: \u201cLook at this full grocery cart with all of this delicious and healthy food. We are so fortunate to be able to bring this home to our family.\u201d\nIt doesn\u2019t take much\u2014saying these things out loud will make it easier for your children to understand gratitude and learn just what things are the ones to be thankful for.\n2. Make a gratitude tree or jar\nYoung kids love visuals, and gratitude trees or gratitude jars are an easy way to keep gratitude at the forefront of your family\u2019s mind on a day-to-day basis. These can be decorated as simply or complex as you want, but the bottom line remains the same. Each day, each person writes one thing they are grateful for on a leaf for the tree or on a note for the jar. Little ones might need a nudge at first, but soon they\u2019ll catch on with examples from the rest of the family. The best thing about this is being able to hear what\u2019s important and meaningful in the hearts of your kids.\nAnd as the leaves and notes begin to add up, you get a powerful visual of all the wonderful things there are to be grateful for.\n3. Read books\nI don\u2019t think I\u2019ve ever written any sort of parenting article that doesn\u2019t include this advice because it\u2019s a big one. Reading with your kids is so important on so many levels, but one of the greatest advantages your kids will have from being exposed to a variety of wonderful children\u2019s literature is the window they\u2019ll gain into the outside world.\nKids\u2019 worlds are small and consist of the things within their mental and emotional grasp\u2014their family, their friends, their schools, their things. Books allow a perspective outside of that, to people and places they don\u2019t normally see or hear of. Books also teach through visual images and storytelling, which is easier for kids to understand and relate to their own lives and experiences.\n4. Make a gratitude collage\nSimilar to a gratitude tree or jar, a collage can be a great visual for your child in helping to see the goodness in their life. Simply gather some printed photos, magazines, and catalogs, and have your child cut (or cut for them as they point) out things that they appreciate in their life and are grateful for.\nI learned quite a bit while doing this with my older son\u2014as we talked and he chose items like healthy food and books and puzzles, I could see what was important to him and what he learned from me even when I thought he wasn\u2019t watching. We hung the collage in his room\u2014right where he can see it every day and night.\n5. Donate with your children\nMaking a point to donate grown-out clothes and gently used toys is a simple way to make a big difference. Help your kids go through their things and put aside something that might make another little child happy or that another child could use.\nNot only will this help clear the clutter, but it also begins to instill a sense of generosity and a separation of happiness and things. It allows them the experience of letting go and giving at the same time.\nIf your children are older, talk them through the process of choosing a place to give to. You can discuss the joy other kids will get in using the new-to-them items, as a way to encourage connectivity and empathy.\n6. Talk about it\nBe open about gratitude and help them talk through their experiences. The Raising Grateful Children project at UNC-Chapel Hill notes that gratitude has four parts, but parents rarely teach them all. They offer the NOTICE-THINK-FEEL-DO model:\n- What do we NOTICE in our lives for which we can be grateful?\n- How do we THINK about why we have been given those things?\n- How do we FEEL about the things we have been given?\n- What do we DO to express appreciation in turn?\nBy prompting questions surrounding these notions in conversations with your children as they go through life, experience things, and receive various gifts, you can help to increase their emotional and mental capacity for appreciation and gratitude.\n7. Make gratitude part of your day, every day\nMany families choose to take turns expressing their thanks at the dinner table, others make the time before bed. Whatever it is, keep it regular. Doing this daily will help your child get into the routine to practice thinking about gratitude throughout their day as they get closer to the time when it\u2019s their turn to say their piece.\nThis article was originally published in November 2018. It has been updated for timeliness.", "id": "<urn:uuid:48f0415e-4eb7-4df1-b225-b6a40f428916>", "dump": "CC-MAIN-2022-21", "url": "https://theeverymom.com/7-ways-to-teach-your-kids-to-be-grateful/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662647086.91/warc/CC-MAIN-20220527112418-20220527142418-00377.warc.gz", "language": "en", "language_score": 0.9655544757843018, "token_count": 1529, "score": 3.5625, "int_score": 4}
{"text": "Benmayor, R. (2008) Digital storytelling as a signature pedagogy for the new humanities. Arts and Humanities in Higher Education. Vol. 7. No. 2 (pp. 108 \u2013 204)\nRina Benmayor explores and researches the significant contribution of digital storytelling in the humanities and how it is an extremely beneficial pedagogical strategy for students. This study specifically explores how digital storytelling can greatly enhance college students\u2019 abilities to think creatively and apply critical thinking skills in autobiographical digital storytelling. According to Benmayor, \u201cAs an assets-based social pedagogy, digital storytelling constructs a safe and empowering space for cross-cultural collaboration and learning.\u201d (p. 188). Benmayor observed that digital storytelling created a voice for students who would not typically share deep and meaningful autobiographical discourse in a traditional classroom setting. However, digital storytelling is an engaging tool that allows students to dig deep and resulted in transformative writings and understandings of other students\u2019 history, cultures and plights. Digital storytelling encouraged students to analyze other stories, which facilitated the knowledge of cross-cutting themes across various students\u2019 lives. This resulted in higher level cognition, self-reflection and connections among the instructor and students. Benmayor summarizes the digital storytelling steps as follows, \u201cMaking a digital story involves the skills of conceptualizing, writing, performing, selecting, imaging, integrating, and signifying.\u201d (p. 195.) She also encouraged students to incorporate music and make the digital stories aesthetically pleasing to increase motivation and engagement. Benmayor highlights digital storytelling as a best practice in pedagogy that can definitely have a great impact on humanities\u2019 instruction.\nBenmayor\u2019s students have created over 200 digital stories, which were used as data for this research. Therefore, Benmayor was able to determine the instructional validity of digital storytelling across various types of students in different settings. She discovered consistency in the creative and analytical processes that were incorporated into digital storytelling, as well as the meaningful discourse that it created. Benmayor realized the potential for digital storytelling approximately twelve years before she conducted this research. Therefore, her enthusiasm for elaborating on this pedagogy led her to have an excellent instructional tool that promotes transformative and enlightening experiences for her students. This can lead to success in other domains of learning as well.\nDigital storytelling is an excellent instructional strategy in the humanities. I also reflected on how it can be used to promote success of elementary students in the area of math problem solving. Math problem solving requires high level thinking and possibly abstract thinking for students to complete the process. Digital storytelling can be incorporated to increase student engagement, technology incorporation and cognition of mathematical concepts.", "id": "<urn:uuid:a6ee41a1-636d-4c70-8af9-f62717c06a19>", "dump": "CC-MAIN-2022-21", "url": "http://edtechcybercenter.com/digital-storytelling-success-in-college-humanities-course/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016949.77/warc/CC-MAIN-20220528154416-20220528184416-00178.warc.gz", "language": "en", "language_score": 0.9407550692558289, "token_count": 554, "score": 3.75, "int_score": 4}
{"text": "B.1.F explore and evaluate the structure and form of dramatic literature.\nby Anna Porter\nMusical Theatre has two components that separate it from straight plays: song and dance. This unit gives students the opportunity to try out both. In musical theatre, music signifies heightened emotion. We can\u2019t express ourselves with just words, we need music (and through extension, song and dance) to take it further.\nThis unit includes three lesson plans:\n1. Acting the Song - \u201cMusical Tactics\u201d\n2. Acting the Song - \u201cTextual Analysis\u201d\n3. Introduction to Dance\nA solo performance assignment is also included, and the unit includes assessment tools - rubrics, reflections, and self-evaluations.\nby Angel Borths\nHelp\u2026It\u2019s all Greek to me! Join Angel Borths in this unit that uses a modern adaptation of the Ancient Greek play Antigone to introduce Middle School students to Ancient Greek Theatre.\nHave your students read Percy Jackson and want to find out more about Ancient Greece? Then, this unit is for you. This unit is designed for middle and high school students and will take you through the basics of classical Greek theatre and pairs it with a modern adaptation of the story of Antigone called Agatha Rex by Lindsay Price. Students will learn vocabulary, design, and basic theory surrounding classical Greek theatre. Students will also enjoy the mask building component of this unit, as they learn to disappear into the character of a mask, like the first actors did on a Greek stage thousands of years ago.\nThe unit culminates in a scene performance with masks.\nby Matt Webster\nThe Drama Two Curriculum has been developed to expand and deepen the students\u2019 skills as actors. In this unit, students will use open scenes to generate characters and scenarios. They will then explore the ideas of \u201cobjective,\u201d \u201ctactics,\u201d and \u201cstatus.\u201d The unit culminates with students applying learned character analysis techniques to classroom generated open scenes.\nby Matt Webster\nIn the Monologue Unit, students will learn the building blocks of monologues while writing a simple monologue. This unit is divided into two parts.\nIn part one, the Monologue Writing Made Easy unit by Matt Banaszynski is reviewed or executed in full, depending on class needs.\nIn part two, students will dissect monologues as a vehicle for character and performance and will write more refined monologues based on existing fictional characters from fairytales or myths. Students will then rehearse and perform their monologues, as a final project for the unit.\nby Matt Webster\nIn this unit, students are introduced to a series of lesson plans that explore non-traditional approaches to performing the works of William Shakespeare. By the end of the unit students will be exposed to a unique set of tools they can utilize as the foundations for analyzing, staging and performing a scene from Shakespeare\u2019s canon. Students will then rehearse and perform a two-person Shakespearean scene.\nby Lea Marshall\nAristotle was a huge fan of the theatre. He philosophically believed in it and argued with other great thinkers at the time about the necessity and good results of theatrical pursuits. This makes him a great topic for a drama classroom unit.\nAristotle identified six elements that needed to be in a play for it to be worthy: plot, thought, character, diction, spectacle, and sound. This unit by Lea Marshall focuses on and offers exercises for each of Aristotle\u2019s elements - from using fairy tales to examine plot, to re-imagining movie trailers to explore music.\nby Lindsay Price\nThis is a read, discuss, and apply literature unit. Students will study the play Our Town by Thornton Wilder.\nOur Town is often referred to as \u201cnostalgic.\u201d It\u2019s seen as an antiquated look at a moment in time. But this play is called Our Town, not My Town. What\u2019s happening in Grover\u2019s Corners happened in the past, the distant past, in our present, and even in the future. The themes of the play\u2014the ordinary versus universality, the concept of time, the cycle of life, the ignorance of humanity to the eternal\u2014these are just as relevant in the twenty-first century as they were when the play was written.\nThe purpose of the unit is not to have students recall knowledge about the play. Students will be able to identify, articulate, and dramatize text themes and concepts and compare/contrast these concepts to their own experiences.\nby Allison Williams\nAllison Williams leads the course: 21st Century Skills Through Devising. This course covers what devising is, why to do it, how to do it, and how your students can master the 21st Century Skills of collaborations and cooperation, critical thinking, creative thinking through devising.\nHigh school is a great place to try devising with your students. But it\u2019s not something you want to throw at your students without any preparation. Framework is important and this course takes you through a number of exercises you can take into the classroom tomorrow to help build a place of physical safety, a place where students work at making a lot of choices instead of waiting for the perfect choice, and a place where students feel comfortable making creative choices. The material also reviews the process of putting together a show from the idea/research stage to editing, to giving feedback.\nYour students have what it takes to create their own material, collaborate with each other, and have a unique theatrical experience!\nby Todd Espeland\nTodd Espeland has the experience to know that having more tools in your toolbox makes you a better actor. This is especially important when teaching students how to approach Shakespeare. They need help breaking through the language barrier and into the character\u2019s needs and into the character\u2019s thoughts.\nThe tools that you\u2019ll receive in this course will do just that. The course looks at scansion as a tool for breaking down Shakespeare\u2019s verse, the importance of end of lines, and caesura. Caesura is an inner-line pause which is a lot of fun to play with and really, helps us provide insight to the character\u2019s thoughts and into their needs.\nThe course provides numerous examples and handouts, and culminates in a performance assignment to use with your students.\nby James Van Leishout\nThis course covers the four stages of creating and implementing a marketing plan. It starts with the question, what are you selling?, and goes all the way through to evaluation. The course covers both traditional and new media, with examples and opportunities to apply the learning to each teacher's own situation.\nby James Van Leishout\nIn this course, James Van Leishout explores why students should direct, and covers the first two tools in the director\u2019s toolbox: self and the script. What background should every director have? Why should they learn to love research? What should happen in the first four reads of a script?\nWith every step along the way, there will be exercises and activities your student directors can take on before they step into the rehearsal process.\nby Lindsay Price\nAdaptation is a fabulous classroom project: it requires students to analyze, adapt, modify, plan synthesize, devise. All the higher order thinking skills.\nBut you can\u2019t just throw a narrator into a script and call it a day. You have to have a preparation process leading up to the writing process.\nIn this course you will learn practical exercises and a path to prepare your students to take on their own adaptation project. We\u2019ll look at the guidelines to adaptation, things to think about when choosing a text, how to analyze the source material and writing that first draft.\nSo join me, Lindsay Price, in the Play Adaptation Project.\nby Wendy-Marie Martin\nWho says theatre history has to be boring? Hands-On Theatre History: Creating a Modern Day Morality play is an interactive course by Wendy-Marie Martin, combining hands-on activities with research and analysis techniques leading to a full performance of the popular medieval morality play, Everyman.\nThis course gives students an overview of the medieval period and the various medieval play forms and teaches students the key points of storytelling and adaptation.\nIt includes dynamic individual and group exercises leading students from the first steps of the adaptation process through a final, full-class performance of Everyman\u2014and proves, once and for all, that theatre history can be fun and exciting to learn.", "id": "<urn:uuid:d696655f-9b9d-445d-91e5-9584e69e7f5f>", "dump": "CC-MAIN-2022-21", "url": "https://www.theatrefolk.com/dta_standards/1021", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00777.warc.gz", "language": "en", "language_score": 0.9409761428833008, "token_count": 1781, "score": 4.15625, "int_score": 4}
{"text": "Last Updated on August 7, 2019, by eNotes Editorial. Word Count: 1261\nThe Romantic Period: \u201cRip Van Winkle\u201d was published in 1819, just as the Romantic movement was gaining traction in the United States, having already spread from Germany to England. Romanticism in literature emphasizes the powers of the imagination. Many Romantic works also explore the natural world and the past. Each...\n(The entire section contains 1261 words.)\nSee This Study Guide Now\nStart your subscription to unlock this study guide. You'll also get access to more than 30,000 additional guides and more than 350,000 Homework Help questions answered by our experts.\nThe Romantic Period: \u201cRip Van Winkle\u201d was published in 1819, just as the Romantic movement was gaining traction in the United States, having already spread from Germany to England. Romanticism in literature emphasizes the powers of the imagination. Many Romantic works also explore the natural world and the past. Each of these features can be found in \u201cRip Van Winkle.\u201d The story\u2019s layered narration and Rip\u2019s strange slumber bear the imprint of the imaginary. The wild, unexplored landscape of the Hudson Valley and its Dutch colonial heritage also figure prominently.\n- For discussion: How is the setting described throughout the story? What emotions do these descriptions evoke?\n- For discussion: What seems to be Rip\u2019s relationship with nature? How does it affect him? Have you ever been affected by nature in a similar way?\n- For discussion: How are the strange men in the Catskills described? Who are they? What role do they play in the story?\n- For discussion: How are the events of the narrative filtered through one or more layers of imagination? What role might imagination play in shaping the telling of those events?\nThe Frame Story and the Folktale: \u201cRip Van Winkle\u201d is a frame story, meaning that it contains another story within its narrative. In this case, the frame consists of Geoffrey Crayon\u2019s notes about the fictional historian Diedrich Knickerbocker. Knickerbocker\u2019s account of Rip Van Winkle forms the story within the frame. \u201cRip Van Winkle\u201d is also contextualized as a folktale, and elements such as Knickerbocker\u2019s research methods and Peter Vanderdonk\u2019s stories of Hudson nod to the development of folktales through the oral tradition.\n- For discussion: What does the epigraph at the beginning of the story mean? What is its effect on the rest of the story?\n- For discussion: Who is Diedrich Knickerbocker, and why is he important? How does Geoffrey Crayon describe him? How does Crayon\u2019s description of Knickerbocker affect your reading of \u201cRip Van Winkle\u201d?\n- For discussion: What do Diedrich Knickerbocker\u2019s notes at the end of \u201cRip Van Winkle\u201d say? What do they add to the story?\n- For discussion: What points do you think Rip might have varied on as he first began to tell his story? Why? How might another character, such as Dame Van Winkle, have told his story instead?\n- For discussion: Who would you call the narrator of Rip\u2019s story: Crayon, Knickerbocker, or Rip himself? In what ways does that narrator work to make the story sound true? In what ways does the story sound fictitious?\nTradition Versus Modernity: The main source of tension in Rip\u2019s life can be attributed to his aversion to profitable labor. When he awakens twenty years later, he finds that his small town has grown and become more politically engaged. Rip doesn\u2019t bother himself with the town\u2019s energetic pace and interest in politics. Instead, Rip continues his life of idleness and storytelling. In this, Rip symbolizes the secluded and simple nature of his town as it was in the past. Now, his village has changed, but Rip\u2019s support by its younger citizens shows how tradition and modernity are connected.\n- For discussion: How was Rip Van Winkle treated by his village in the beginning of the story? How is he treated by the village when he initially returns from his twenty-year sleep? How is he treated after he has reestablished himself in the community?\n- For discussion: What particular changes does Rip notice about his village after he wakes up? What does he eventually discover to be unchanged?\n- For discussion: How do Rip\u2019s personality and mannerisms contrast with those of the new villagers? Given this contrast, what do you think Rip represents within the story?\n- For discussion: Some of the changes Rip encounters upon his return are more surface-level than others, such as the paint that has changed the portrait of George III to one of General Washington. How much has Rip\u2019s village changed on a deeper level? Are the personalities and interests of its people truly different from when he left? How so? What themes might be revealed through these different levels of change?\nAdditional Discussion Questions:\n- Is Rip Van Winkle an unreliable narrator? Is Diedrich Knickerbocker an unreliable narrator? Is Geoffrey Crayon an unreliable narrator? What is the effect of having three narrators of questionable reliability?\n- Why do you think Crayon uses Knickerbocker\u2019s notes to tell the story of Rip Van Winkle? Would the story have seemed more or less credible without the inclusion of Knickerbocker?\nTricky Issues to Address\nThe Story Engages Deeply with Historical Material: In \u201cRip Van Winkle,\u201d Washington Irving explores the impact of the American Revolution. When Rip falls asleep, the American colonies are under the sovereignty of King George III. When he wakes, twenty years have passed, bringing the Revolutionary War and the birth of the United States. Readers of Irving\u2019s story are well served by understanding these historical undercurrents.\n- What to do: Discuss the historical backdrop of \u201cRip Van Winkle\u201d with your students before assigning the story. Briefly review the United States\u2019s transition from British colonies to independent nation.\nStudents Will Know the Story: The plot of \u201cRip Van Winkle\u201d has become a fundamental piece of the American folkloric tradition, and many students will likely have encountered it before. A feeling of familiarity may lead students to disregard the story\u2019s subtlety and literary value.\n- What to do: Discuss the specifics of the story. Students may know that Rip falls asleep for a long time, but they may not know what happens in the world while he sleeps or the range of themes his story engages with.\nThe Story Perpetuates Sexist Stereotypes: Dame Van Winkle embodies the stereotype of the \u201ctermagant,\u201d or overbearing and nagging woman. Conversely, Rip embodies the stereotype of the lazy, ineffectual husband. These stereotypes have their roots in traditions of stock comedy, and can be found in numerous literary works, including Irving\u2019s other fictions.\n- What to do: Draw students\u2019 attention to the outmoded stereotypes so that they can engage with them critically, rather than reading their presence as a given. Such critical engagement ensures a keener reading of the story and curtails further perpetuation of the stereotypes. To bolster such a critical reading, consider drawing on the second alternate teaching approach in this guide.\n- What to do: If students show interest in the topic, discuss with them the function of stereotype in such genres as stock comedy and folklore.\nAlternative Approaches to Teaching \"Rip Van Winkle\"\nWhile the main ideas, characters, themes, and discussion questions above are typically the focal points of units involving teaching \u201cRip Van Winkle,\u201d the following suggestions represent alternative readings that may enrich your students\u2019 experience and understanding of the story.\nFocus on the supernatural aspects of the story. \u201cRip Van Winkle\u201d includes several supernatural and mysterious aspects. It also shares plot elements with fairy tales. Ask students to analyze how the fantastical parts of the story contribute to the story\u2019s fabular quality.\nFocus on Rip and his wife\u2019s marriage. Point out to the students that Irving uses exaggerated tropes of an overbearing wife and a lazy husband. Ask students to find stereotypes about both Rip and Dame Van Winkle within the text. Ask students what points of satire can be found through the characters and their interactions with one another. In particular, encourage students to consider Rip and his wife\u2019s marriage as a satirical analogy for the American colonies\u2019 relationship to the British Empire in the years before the American Revolution.", "id": "<urn:uuid:fa0c7f68-a7b2-4a62-9b35-fe3de74dccab>", "dump": "CC-MAIN-2022-21", "url": "https://www.enotes.com/topics/rip-van-winkle/teaching-guide/teaching-approaches", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662601401.72/warc/CC-MAIN-20220526035036-20220526065036-00378.warc.gz", "language": "en", "language_score": 0.9516738653182983, "token_count": 1834, "score": 3.546875, "int_score": 4}
{"text": "Please note! This essay has been submitted by a student.\nThe likeness of myths from disparate cultures was used to recognize their shared themes and characteristics. This was referred to as Comparative Mythology. Myths have been used to show the relationships between different myths to record the development of religions and cultures, and to suggest common births for myths from different cultures, and to support various psychological theories. Comparative Mythologists originated from assorted fields, such as; linguistics, Psychological and religious studies, and they have used a variety of methods to compare myths. Myths came in the form of general storytelling and used in some religions. In Ancient mythology, using myths was a way of connecting human attributes and evil to divine counterparts. In Ancient civilizations and Greek mythology, myths played a central function in setting morally right parameters in scenarios of difficult decision-making. Ancient mythology used cultural symbols to signify a specifically unique way of acting, thinking, and living as a people from its respective territory.\nSymbolism represents the use of one thing for another using an object, a person or an idea. Symbols help us to associate and connect things with ideas or concepts. It is commonly used in a way to communicate a deeper meaning without expressing it in literal terms. It can also be used as actions of a character, word, action, or event that have a deeper meaning in the context of the whole story. Symbolism plays an important role in language and when using it in literature, it can be utilized as other figures of speech, for example, Metaphors.\nMetaphors are a figure of speech that makes an indirect or hidden comparison between two things that are not related but share common characteristics. Metaphors are how we understand the world; our conception. In both books\u2019 metaphors are used in different ways but at the same time they are similar; In Metaphors, we live by, Lakoff and Johnson develop a relationship on the grounds of close association and understanding of our experiences. Metaphors shape our perceptions and actions without even being aware of it. In other words, Metonymy is used to develop literary symbolism. In The hero with a thousand faces, Campbell uses Monomyth, using a universal story structure, where he takes a story and proceeds through stages. Metaphors are a form of language, understanding, and reasoning. They assist us in understanding our experiences. They also shape our perception and actions effortlessly.\nImagery has also been adopted to be able to use descriptive language in describing these myths. As a literary instrument, imagery consists of descriptive language that can justify a way for the reader to imagine the world differently and add symbolism to the work. Imagery outlines the five senses, such as; taste, touch, sight, smell, and sound.\nIn reading both books. The element that connects them is \u201cLife.\u201d The life experiences and how our life is introduced and conquered; Personal human development. Life is a journey and the word journey is a common metaphor, it reminds us that your personal destination is not the only goal but just a stage in our lives that we must fulfill.", "id": "<urn:uuid:9ac2608d-e304-4ded-b9d9-a3aac9cf3ba6>", "dump": "CC-MAIN-2022-21", "url": "https://eduzaurus.com/free-essay-samples/comparative-mythology-and-symbols-in-literature/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663048462.97/warc/CC-MAIN-20220529072915-20220529102915-00178.warc.gz", "language": "en", "language_score": 0.9483914375305176, "token_count": 660, "score": 3.515625, "int_score": 4}
{"text": "Point of View (POV) is one of the elements of every story and often it is the least discussed. Because the POV filters everything the reader learns in the story, it has a prominent position in storytelling. Through the POV used, the reader experiences the feelings, thoughts, and motivations of one or many characters depending on which POV the writer uses. The POV shows what the character knows, which is different than what the author knows. The POV used determines how the reader understands and experiences the story. Let\u2019s take a look at the types of POVs that are acceptable in storytelling.\nFirst Person POV\nThe first person POV is only seen in writing. No similar style of storytelling appears in theater or movies. This POV tells the story in the eyes of one character. It can be either the main character (First person) or a peripheral character (Peripheral first person POV) that tells the story only through their POV. Because the story only contains one person\u2019s POV, it can be biased and incomplete. It tells how one person experiences the story, not the \u201cwhole\u201d story. Hint: The pronouns used in this POV are \u201cI,\u201d \u201cme,\u201d and \u201cmy.\u201d\nSecond Person POV\nThe second person POV is seen the majority of the time in nonfiction or instructional manuals. However, it can be used in fiction when the author wishes to make the audience part of the story, such as in a story where the reader decides on the ending. The author is directly addressing the audience. Hint: The pronouns used in this POV are \u201dYou,\u201d \u201cYou\u2019re,\u201d and \u201cYour.\u201d\nThird Person POV\nThe third person POV is the most frequently used POV in fiction. With the third person POV the narrator is outside of the story and relates the story to the readers. This narrator is not involved in the story but tells of the actions and thoughts of the characters in the story. The author is talking about someone or something within the story. Hint: the pronouns used are \u201che\u201d \u201cshe,\u201d \u201cit,\u201d and \u201cthey.\u201d There are three versions of the third person POV.\nThird person limited is when the POV is limited to one person\u2019s thoughts and feelings. The main character can be the conduit through which the story flows, or the story can come through another character further from the Main Character which then becomes the narrator.\nThe third person multiple is similar to Third person limited, but instead of one person\u2019s thought and feelings, the narrator follows several characters. There is danger in this as the author must make sure not to confuse the reader. The switching of POVs must be carefully engineered to avoid \u2018head hopping.\u2019\nThird person omniscient is when the narrator knows everything and has full access to the thoughts and feelings of all the characters. The author is like a god who knows all.\nWhichever POV you use you must be consistent. A good rule of thumb is to establish the POV you are using within the first one or two paragraphs. The POV you choose reflects how intimate the reader will become to the characters. Most important? Pick the POV that serves your story the best.\nWhat POV do you use the most? Comments are always welcome!", "id": "<urn:uuid:664223cf-ae26-4062-b61e-7c376562b0e5>", "dump": "CC-MAIN-2022-21", "url": "https://mstaightwriter.com/2019/03/11/lets-discuss-point-of-view/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522741.25/warc/CC-MAIN-20220519010618-20220519040618-00579.warc.gz", "language": "en", "language_score": 0.9553178548812866, "token_count": 694, "score": 4.34375, "int_score": 4}
{"text": "SLAV Connects is a blog by the School Libraries Association of Victoria (SLAV), formerly named Bright Ideas when a collaboration between SLAV and the State Library of Victoria (SLV). Its aim is to share news from the Association and to encourage teacher librarians, librarians, school library staff, educators and all interested persons to actively engage with the school libraries, to share tools and experiences; to network on a global scale; and to embrace dynamic teaching and learning opportunities.\nThe Periodic Table of Storytelling is one of those special treats that comes through your feed and gets your mind buzzing with ideas of how it could be used with students.\nAs well as being pretty funny, the table covers most of the major story types and character arcs, making it a great tool for engaging students in creative writing.\nEach story element has an identifier, name and is grouped under one of the following categories \u2013 structure, setting, modifiers, plot devices, heroes, villains, archetypes, character modifiers, meta tropes, production and audience reaction.\nIdeas for use with students\nGive each student in the class one story element, making sure that all categories are represented. (You could make coloured cards for each element).\nAsk them to form small groups (3-4) and collaborate on a story that incorporates all their individual story elements. This could easily be a homework assignment or even a competition with time limits\nYou could mix up the activity by asking them to write in different genres or mediums \u2013 film, play, poem, short story, tv show etc.\nTo make this an individual task, give each student three cards and ask them to include all three elements\nYou could also use these story elements to describe the books you\u2019re reading. This would be a great way to build a shared vocabulary for understanding story and transferring knowledge of one story to other narratives\nThe story elements could be a prompt for a library creative writing challenge \u2013 how many story elements can you get in your story? or even a weekly writing challenge with one element as the focus each week\nPut story element cards into a box and students choose one (or more) to prompt a free writing task\nThese kinds of forced association activities are a great way to get kids (and adults!) thinking creatively. If you have any other ideas or find something that works well for your students, let us know.\nMcLuhan (see the video) predicted we\u2019d have to leave the bookworld behind to be \u201cwith it\u201d in the electronic world but with social media we can do it all. Learn about an evolving virtual book club model, online or inworld, that culminates with the screening of collaboratively produced bookcasts, multimedia aesthetic responses to books.\nTo preview bookcasting, check out this ncbookcast festival You can post questions and comments to the wiki discussion.\nMeet our Presenter: Cris Crissman, PhD, Distance Learning Consultant, USDLC, Adjunct Assistant Professor, NC State Writer and Producer.\nBio: Cris teaches the \u201cLearning Through Literature with Young Adults\u201d graduate class at North Carolina State University. After ten years of exploring online book clubs, she took the class and the book clubs inworld to Second Life. The students self-select genre book clubs and work collaboratively to produce bookcasts to share with the whole class and the world. Inservice teachers have applied the model in their classrooms. Every year the class leads a virtual author study for teen readers in the state and this year the featured virtual author is Australian Melina Marchetta whose award-winning Finnikin of the Rock is drawing rave reviews from American teens. Link to join this session\nSounds like a fabulous opportunity to learn much more about a topic close to our hearts. And as Cris is presenting at 5am her time, a large audience would be welcome!\nThe recording of this session is available for anyone to listen to. Thanks to Anne Mirtschin for forwarding this link.\nJoyce Sendeckyj from Emmanuel College has kindly sent in the following information about the development of a library blog.\nJust to share the Emmanuel College W.I.R.E.D. Blog that we are launching for our students to coincide with Book Week and the introduction of our inaugural Book Club.\nThe idea for a Book Club and a blog combined nicely the aims of the promotion and enjoyment of reading and literature, the featuring of book awards and the integration of web interaction and publishing (ie Web 2.0 tools).\nEmmanuel College has two secondary campuses, and our goals also include the communication and connection between students and interested staff of both campuses.\nThe marketing of Book Club and the blog has included, regular articles in the newsletter, links on the school intranet, flyers, promotion and viewing of the blog on Open Day and reminders at meetings and briefings. Book Club is every Tuesday (our first day was 11th of August) and our next step is to assist the students to \u2018register\u2019 to the blog.\nI have not completed the SLAV 2.0 course (which I hear good things about) , however I did major in information technology and web publishing at CSU as part of my librarianship degree. A great deal of my major included Computer Supported Communication and Collaborative Group studies which incorporated Web interactive technologies. I have come to realise how benficial this study was and am loving the ongoing professional development by SLAV and \u2018Bright Ideas\u2019.\nHappy Book Week.\nThanks to Joyce and her staff for alerting Bright Ideas to the new blog.\nBookGlutton is a website for the book glutton in all of us. It provides a number of online book clubs where readers can select which type of group/s they\u2019d like to join whether it be by book or by friendship group.\nFull text books can be read online without the need for a specialised e-book reader. BookGlutton also offers notes for books that you are interested in reading. Readers have the ability to read, annotate and discuss books online. Some more information is available here:\nMore help in the form of FAQs can be accessed as well.\nBookGlutton is a very clever idea melding, two of the burgeoning areas of reading; e-books and book groups.", "id": "<urn:uuid:55d737f6-a772-44f2-a7d2-b54603ee1bee>", "dump": "CC-MAIN-2022-21", "url": "http://slav.global2.vic.edu.au/tag/book-clubs/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662530066.45/warc/CC-MAIN-20220519204127-20220519234127-00778.warc.gz", "language": "en", "language_score": 0.9427067637443542, "token_count": 1305, "score": 3.640625, "int_score": 4}
{"text": "International Women\u2019s Day in China is commonly known as the \u20183.8 Festival\u2019 (\u4e09\u516b\u5987\u5973\u8282). Originally meant as a festival aimed at recognizing the social, economic, cultural, and political achievements of women, this special day has a unique theme each year, with \u2018Breaking the Bias\u2019 being the theme of 2022, reflecting the discrimination and gender stereotypes that women receive in daily life that are yet to be addressed.\nSince its establishment, International Women\u2019s Day has gone hand in hand with formidable advances in terms of gender equality in many aspects of Chinese society like education, financial well-being, and social status. At the same time, this profound cultural celebration in recent years has fused with the typical features of an online shopping festival, with Chinese e-commerce retailers leveraging this opportunity to launch sales promotions. As a result, many consumers have started to treat this as another shopping occasion (such as Double 11 and Qixi). How did a holiday celebrating the achievements of women come to look like a shopping festival in China?\nThe origin of International Women\u2019s Day and how it got so large in China\nThe origins of International Women\u2019s Day go all the way back to 1908 when 15,000 women marched through New York City demanding better pay, short working hours, and voting rights. In China, it\u2019s believed that International Women\u2019s Day was officially recognized and observed by the members of the Chinese Communist Party as early as 1921, and became an official national holiday with the establishment of the People\u2019s Republic of China in 1949. In 1950, a very influential piece of legislation \u2013 the New Marriage Law \u2013 was promulgated, freeing Chinese women from oppressing social conventions such as prostitution, arranged marriages, concubinage, and child marriages.\nCelebrating Women\u2019s Day symbolized an advancement in women\u2019s rights in China, which was of great significance for all Chinese women who by then were considered inferior to men and had little say in the decisions that shaped their lives.\nHow Chinese people celebrate the International Women\u2019s Day today\nIn modern China, International Women\u2019s Day is an official national holiday during which women are either granted half the day off or simply provided a shorter working day. As a method to show genuine gratitude for their female employees, some companies also choose to provide female employees with small presents, such as handwritten wish cards or fresh fruit. An unusual and interesting case worth mentioning is that one company gifted their female employees underwear washing machines.\nMeanwhile, Chinese men are supposed to prepare surprises to their mothers or girlfriends. Some common practices are buying expensive roses, baking cakes, hosting house parties, or offering a big meal. In addition, on \u2018Girl\u2019s Day\u2019, one day before March 8, Chinese universities hold many festival activities for their female students, such as make-up competitions, dancing contests, or the warmest quail-roost evaluation.\nHow online shopping became central to International Women\u2019s Day in China\nTo attract female consumers, retailers in China are re-branding International Women\u2019s Day as a day for celebrating consumerism. Alibaba\u2019s Tmall (one of China\u2019s biggest e-commerce platforms), for example, is using the slogan \u201dQueen Day, Live your beauty\u201d for its campaign for International Women\u2019s Day along with a photo of a woman staring at a pair of red-heeled shoes. Jumei, a website specialized in cosmetics, also jumped on the bandwagon and pledged to \u201dmake you good\u201d on \u201dGoddess Day\u201d. On this special day, retailers often launch campaigns to praise women\u2019s importance in society and offer promotional discounts and coupons for women\u2019s products, such as cosmetics, lingerie, sportswear, and healthcare goods.\nAs a result of such an e-tailing strategy, many women started to believe that consumerism is a powerful expression of women\u2019s rising social status. According to Tmall\u2019s data report on International Women\u2019s Day 2020, the number of online retailers participating in this shopping day has doubled compared to 2019, with the total price of commodities for sale going up by over 60% and e-commerce live-streaming channels increasing their sale by 264%. Alibaba said that it has the ambition to re-shape International Women\u2019s Day in China into another big shopping festival, together with the 618 and Double 11 Festival.\nHowever, International Women\u2019s Day in China seems to be deviating from its original focus\nAs online shopping on International Women\u2019s Day in China is on the rise, many people find that this festival has shifted its focus from fighting for women\u2019s equality to celebrating women\u2019s purchasing power, with fewer people understanding or even caring about the profound cultural meaning behind this event. Netizens have divided opinions on this phenomenon, with some arguing that having more money at their disposal shows the advancement of women\u2019s rights, while others think that they are forgetting the true essence of this festival and are using it as an excuse for going on a massive shopping spree.\nNetizens\u2019 opinions aside, what are the driving forces that cause this shift in focus?\nWomen\u2019s changing face: Female autonomy\nChinese women nowadays are receiving higher education, getting more equal employment opportunities, and gaining increasing wealth. Their income distribution to families has increased dramatically over the past few decades, from around 20% in the 1950s to around 40% in the 1990s, and to over 50% today. Beyond their growing wealth, Chinese women are now searching for social independence and do not feel the need to be in a relationship or get married. According to a recent poll, about 44% of female respondents living in Chinese cities and aged between 18 to 26 do not intend to get married.\nRising spending power combined with an independent lifestyle shaped the new mindset of women and made them more ambitious in consumption.\nThe rise of a female-oriented market: the \u2018Sheconomy\u2019 (\u5979\u7ecf\u6d4e)\nFirst appearing as a new word in China in 2007 and referring to the rising economy catering specifically to female consumers (and not just limited to the \u20183.8 Festival\u2019), \u2018Sheconomy\u2019 is the second factor driving this change.\nThe aforementioned women\u2019s spending habits and capabilities have experienced a seismic change in modern Chinese society. Guotai Junan estimated that the overall annual spending of Chinese women has increased by 81% from 2013 to 2019, reaching about RMB 4.36 billion, thus, providing fertile ground for the rise of the Sheconomy.\nThe \u2018Sheconomy\u2019 requires brands to analyze women\u2019s spending patterns very precisely that those who \u2018win over women\u2019s heart wins it all\u2019, are now an oft-repeated business slogan across the Asian giants. To tap into the exploding demand of this market, brands are constantly launching campaigns and releasing products targeting Chinese female consumers, especially self-care products. Hence, it is not surprising that people\u2019s attention gets inevitably diverted from the cultural meaning behind International Women\u2019s Day towards more commercial features.\nCase study: Successful campaigns for International Women\u2019s Day in China 2021\nBy highlighting female-related discourses from gender bias to female entrepreneurship on International Women\u2019s Day, and pointing out issues neglected by mainstream culture, shoppers (female shoppers in particular) are more willing to appreciate the brand culture and are happy to consider these brands during their purchase journey.\nPerfect Diary (\u5b8c\u7f8e\u65e5\u8bb0)\nBeing the top cosmetic and make-up brand in China, Perfect Diary collaborated with the new media production house Xinshishang (\u65b0\u65f6\u5c1a) and China Daily to launch an eight-minute video titled \u2018Outstanding Chinese girl\u2019. Female celebrities like Yamy Guo, Olympic volleyball champion Hui Ruoqi, comedian Papi Jiang, and stand-up comedian Yang Li were all invited to discuss about their personal journeys through major life events. The video documented how each of them broke through various social restraints and made life decisions by themselves. In addition, Perfect Diary announced that it would become the official partner of the Chinese gymnastics team, as well as launch the \u2018L09 Red\u2019 lipstick, representing the firmness, softness, and confidence of Chinese females.\nProya is also a leading cosmetics brand in China beauty market. The brand launched its campaign \u2018Gender does not set boundaries; prejudice does\u2019 in collaboration with the China Women\u2019s News, which published a full copy of the campaign on the bottom page of its March 3rd edition focusing on gender equity. Its accompanying campaign video, starring female rapper Yu Zhen, showcased various gender biases and stereotypes in today\u2019s society. The storytelling challenged the stereotypical definitions of femininity and masculinity, as well as urged audiences to be themselves rather than conform to gender norms. The video has sparked extensive conversations on social channels, garnering over 2.7 million views on Weibo in just one day.\nKey takeaways on China\u2019s International Women\u2019s Day\n- International Women\u2019s Day is an important national festival in China established in 1921 to commemorate women\u2019s social, economic and political contributions to society.\n- However, this event has shifted the focus from its original meaning to take on the features of a shopping festival, as a result of the emergence of the \u2018Sheconomy\u2019.\n- In order to build authentic connections with Chinese consumers and boost sales, brands should target their female consumers through launching campaigns aimed at recognizing women\u2019s importance in modern society and convey a message of gender equality.", "id": "<urn:uuid:f75479a3-cab3-4554-b953-3a77fe7e238e>", "dump": "CC-MAIN-2022-21", "url": "https://daxueconsulting.com/history-behind-international-women-day-in-china/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00178.warc.gz", "language": "en", "language_score": 0.9586552977561951, "token_count": 2046, "score": 3.515625, "int_score": 4}
{"text": "How you move the camera is a sort of language, a way to communicate to the audience apart from dialogue. There are one million ways to move the camera to complement the narrative. And camera panning is just one way to speak \u2014 a simple movement that speaks volumes. So, what is a camera pan and how can it be used to speak directly to the audience? Let\u2019s define it and look at some examples.\nWatch: Art of the Whip Pan\nSubscribe for more filmmaking videos like this.\nDefining pan camera movement\nIf you\u2019ve seen even one movie, you've seen a camera pan. And of all camera movement options, it is perhaps the least dynamic or interesting \u2014 but that's what makes it so useful.\nA camera pan is so ubiquitous that it doesn't tend to draw the audience's attention. They remain engaged in the film, which is something most filmmakers are looking for \u2014 giving them an immersive experience.\nCAMERA PAN DEFINITION\nWhat is a camera pan?\nA camera pan is horizontal movement in which the camera moves right to left from a central axis. Taken from the word \"panorama,\" the physical position of the camera itself does not move. Instead, the panning refers to the swiveling left to right mounted on a fixed location. This differs from dolly shots in which the mounting system itself moves. Of course, a pan can also be combined with different camera movements such as dolly shots or tracking shots.\nWHEN TO USE CAMERA PANNING:\n- Establishes location of scene\n- Tracks movement\n- Elevates tension in a scene\nA panning camera can be achieved with just about any camera rig. Whether it is handheld, using a dolly or crane, or even a drone. Here's a video breakdown of the various types of camera rigs, how they work, and how they add to the \"feel\" and look of a shot.\nThe camera pan is just one of many types of camera movements in film. Here's a complete breakdown of each type along with their storytelling values and how they have contributed to some iconic moments in cinema history.\nAn Important Distinction\nPan vs. tilt\nTilting (or a tilt shot) is another basic camera move that is often confused with panning. Why? Well, while panning describes the left and right (horizontal) movement, tilting is the up and down (vertical) movement over a fixed axis.\nWe can only pan right or pan left. We cannot pan up or pan down. But again, we can always combine these two movements in the same shot, resulting in a \"pilt\" or a \"tan.\" Just kidding, those aren't actual film terms.\nWatch the video below to get a quick understanding of these two essential camera movements.\nA pan isn't the only form of camera movement, obviously. There are a number of ways (and reasons) to move the camera. This video is just one chapter in our Filmmaking Techniques Masterclass, and it covers camera movement and all its variations in greater detail.\nCamera panning is a simple enough way to move the camera but that doesn't mean it has to be boring or unmotivated. Let's take a look at how filmmakers have used this seemingly elementary maneuver to guide the audience's eyes, reveal location or information, and create tension.\nPANNING FOR LOCATION\nEstablish the location\nA pan allows the audience to see more of the scene. Camera panning establishes the location, and also tracks the movement of the characters or objects within that location.\nHere's a classic example from Antonioni's The Passenger when Nicholson's character gets his jeep stuck in the sand. We know where we are (the desert) but a slow panning shot along the horizon makes the severity of his situation perfectly clear.\nPANNING FOR Suspense\nElevate the tension\nAlso panning from one character to another can create more tension than a quick cut would. This type of camera movement allows the audience to experience the moment in real-time.\nA slow camera pan can also delay an action and build anticipation. A fantastic example of this is in Paranormal Activity 3 when the babysitter sits alone in the kitchen.\nThe family has been experiencing paranormal phenomena recently so the father rigs up a camera to an oscillating fan. So, the deliberate and slow panning back and forth across the room is a really effective way to build suspense. We KNOW we're going to see something but we don't know what it will be...and we have wait for it to be revealed.\nPANNING FOR Character\nReveal the character\nA lot can be communicated about a character with a single camera pan. In this example from Boogie Nights, we get a 360-degree pan around Dirk's bedroom. The camera isn't interested in Dirk, per se, but it does want to show us his world.\nThe slow camera panning across his walls tells us everything we need to know about this character. In this one shot, we learn that he likes fast cars, beautiful women, rock 'n' roll, and Bruce Lee.\nThis is a great example of economically communicating backstory and characterization into a single shot.\nExplore different camera movements\nWe've covered the camera pan shot but there are many other camera movements to discuss. As you amass your camera movement repertoire, you will be able to amplify your visual storytelling exponentially. You're already on your way but the only question is which camera movement will you dive into next?", "id": "<urn:uuid:65aa610f-2562-41f2-b5cc-aa15f91d2f05>", "dump": "CC-MAIN-2022-21", "url": "https://www.studiobinder.com/blog/what-is-a-camera-pan-definition/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662560022.71/warc/CC-MAIN-20220523163515-20220523193515-00578.warc.gz", "language": "en", "language_score": 0.9393946528434753, "token_count": 1154, "score": 3.625, "int_score": 4}
{"text": "How to Start Incorporating it in Your Classroom\nWhen children begin Pre-K, they are showing up with unique lived experiences that contribute to creating a one-of-a-kind environment. They come from a variety of backgrounds, cultures, languages, differences in economic situations, among many other variables. According to 26 states that report on children\u2019s home languages, 25.5% of preschool children speak a language other than English at home. (Dual Language Learners and State-Funded Preschool 2019)\nAs we encounter more children whose home language isn\u2019t English, how do we recognize that their lived experiences bring an enormous amount of cultural wealth and that they have significant linguistic capital? In increasingly diverse communities, how do we prepare our classrooms and our curricula to address and promote the learning of all children?\nA dual language learning approach in Pre-K can encompass countless teaching and learning strategies. One strategy is to present content, like read-alouds or songs, in two languages. This will not only support the needs of children whose home language isn\u2019t English but will also greatly benefit the entire classroom.\nLet\u2019s dive into 2 major benefits of a dual language learning approach in prekindergarten\nDual Language Learners and Executive Functioning\nLearning a second language at a young age sets children up for improved cognitive development. In Challenging Common Myths About Young Dual Language Learners: An Update to the Seminal 2008 Report, Dr. Linda M. Espinosa disputes stigmas surrounding dual language learners and education. She calls attention to the false idea that children who learn more than one language show academic and social delays. Studies show that dual language learners \u201cconsistently outperform monolingual children on tasks that require focused attention, inhibitory control, planning and working memory abilities, and mental flexibility\u201d (Espinosa, 2016, p. 13).\nDual Language Learners and SEL Skills\nResearch has shown that children who speak two languages are \u201cable to make new friends and create strong relationships in their second language\u2014an important personal skill in our increasingly diverse society.\u201d (The benefits of being bilingual 2019)\nEffective perspective-taking is a huge benefit of learning more than one language. \u201cBilingual children have been shown to be better than monolingual children at taking the perspective of a listener into account and picking up on feedback and prompts from their communicative partner, and have a greater level of pragmatic awareness\u201d (Yow & Markman, 2011).\nIn our Best Practice Guides, Quaver Pre-K shares a few tips on how to bring children\u2019s languages and cultures into the classroom. Below are 2 ideas for how to begin to transform your classroom into a dual language learning environment.\nWe all know children love to celebrate. Research what holidays the children in your class might celebrate and find authentic ways to incorporate those in your class. Invite family members to lead these celebrations with experiences like art, food, and storytelling in the home language. Outside of holidays, find ways to connect with the children in your class and their culture. Amplify their culture or language to help build confidence in them and so that the other children can learn about customs they might not learn elsewhere.\nProvide books and music reflective of the minority home cultures of the classroom. Bring in materials, examples, and stories from diverse topics, illustrators, and authors. There are so many great books and lessons about different cultures. Incorporating those into your classroom will convey the message that all cultures are valued. Instead of asking children to assimilate, you are showing them that their culture matters and is welcome.\nJamie Young is the Quaver Pre-K Brand Manager. She has previously worked as a content marketer in the music and family media industries.\nThe benefits of being bilingual. (2019, March 15). Retrieved April 14, 2021, from https://eclkc.ohs.acf.hhs.gov/publication/benefits-being-bilingual\nDiversity, equity, and inclusion. (2021, March 03). Retrieved April 14, 2021, from https://www.quavered.com/diversity-equity-and-inclusion/\nEspinosa, L. M., Ph.D. (2016, October 31). PreK-3rd: Challenging common myths about dual language Learners, an update to the SEMINAL 2008 report. Retrieved April 14, 2021, from https://www.fcd-us.org/prek-3rd-challenging-common-myths-about-dual-language-learners-an-update-to-the-seminal-2008-report/\nOffice of English Language Acquisition, Dual Language Learners and State-Funded Preschool (2019). https://ncela.ed.gov/files/fast_facts/19-0181-DualLanguage-StatePreschool-20191024-508.pdf.\nYow, W. Q., & Markman, E. M. (2011). Young Bilingual Children\u2019s Heightened Sensitivity to Referential Cues. Journal of Cognition and Development, 12(1), 12-31. doi:10.1080/15248372.2011.539524", "id": "<urn:uuid:5642151c-1c25-45de-9ccb-820d0f9e1291>", "dump": "CC-MAIN-2022-21", "url": "https://www.quavered.com/benefits-of-a-dual-language-learning-approach-in-pre-k/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529538.2/warc/CC-MAIN-20220519141152-20220519171152-00379.warc.gz", "language": "en", "language_score": 0.9195736646652222, "token_count": 1118, "score": 3.875, "int_score": 4}
{"text": "Spoken Language Overview\nAt Crowan School, we firmly believe that good reading and writing skills derive from children's ability to articulate their thoughts effectively.\nOur Aims and Objectives:\n- To provide planned opportunities to develop Spoken Language skills.\n- For pupils to develop the ability to speak confidently and appropriately in a range of situations, both formal and informal, in and out of the classroom.\n- For pupils to contribute to and participate in a range of drama activities.\n- For pupils to be aware of the conventions of spoken Standard English.\nHow do we teach Spoken Language at Crowan Primary School?\nThe National Curriculum (2014) states that pupils should be taught to develop their confidence in spoken language and listening to enhance the effectiveness with which they are able to communicate across a range of contexts and to a range of audiences. They should therefore have opportunities to work in groups of different sizes \u2013 in pairs, small groups, large groups and as a whole class. Pupils should understand how to take turns and when and how to participate constructively in conversations and debates.\nOpportunities at Crowan School \u2013 in class\n- A variety of Drama strategies are used as a starting point, supporting role, and conclusion for discussions and written work.\n- Children are often asked to work with a \u2018talking partner\u2019 before feeding back ideas to the class.\n- Children work in groups with specific roles to structure and aid discussion.\n- In the younger years children have time for \u2018Show and Tell\u2019 with the class.\n- In the older years children will often be asked to prepare a presentation for the class on an area of the curriculum.\n- Circle time is a structured opportunity for children to discuss PSHE issues.\n- Teaching Assistants and support teachers work with focus groups with SEND or EAL to develop and structure communication.\n- A range of props are available to promote discussion.\n- Where required, diversity in communication is encouraged with dual language signs\n- Children use the Storytelling approach to recite stories\nOpportunities at Crowan School\u2013 out of class\n- All classes prepare and perform an assembly to parents and the rest of the school at least twice during the year.\n- Foundation Stage and Key Stage One prepare and perform a Christmas play to the school and parents.\n- Key Stage Two prepare and perform an end of year show to the school and parents.\n- Children participate in other performances during the year including Harvest and Christmas concerts\n- Elected school councillors attend meeting to share ideas from peers and then feedback to the class\n- Key Stage Two children take part in the annual Youth Speaks competition.", "id": "<urn:uuid:2ee4be53-736c-421d-8c09-0abd48b178b4>", "dump": "CC-MAIN-2022-21", "url": "http://www.crowanprimary.co.uk/website/spoken_language/432273", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662601401.72/warc/CC-MAIN-20220526035036-20220526065036-00376.warc.gz", "language": "en", "language_score": 0.9452500343322754, "token_count": 548, "score": 3.546875, "int_score": 4}
{"text": "Computers turn every number into binary. The numbers that we use are expressed in base 10. Every 10 1s equals 1 ten, every 10 tens equals 1 hundred, and so on. In binary, you go up a unit every 2 numbers. So 2 ones equals 1 two, 2 twos equal 1 4, and so on. For example, the number 9 would be 1001 in binary: 1 one, 0 twos, 0 fours, and 1 eight. 1 + 8 =9. Computers do this because it is easier to design circuits that only have values of 1 or 0 than circuits with 10 separate values each.\nComputers have basic mathematical operations like addition and subtraction programmed into them. Adding in binary is extremely simple. If you have 2 numbers with a 1 value, you store a 0 and move carry 1. Otherwise, you record the bigger of the two numbers in that slot. For example, if you are adding 5 + 4, you get: 0101 + 0100. In the first slot, you have a 1 + 0, so you store the bigger number, 1. In the second slot, you have two 0s, so you store 0 (since both numbers are the same. In the third slot you have two 1s, so you store a 0 and carry a 1. You end up with the number 1001, or 9.\nComputers use long multiplication, but they do it in binary. If the computer multiplies a number by 1, it returns a 1. This is a much simpler system than base 10, even though it does require more steps. For example, in base 10 the problem 8 * 9 is an easy, 1-step problem with no long multiplication. However, in binary each number is 4 digits long, and the solution is 7 digits long!\nSubtraction is done in two steps. Rather than subtracting a number, a binary computer adds its compliment, a number with ones where the original has zeros, and zeros where the original has ones. For example, whereas 4 is 0100 in binary, negative 4 is 1011. So, for 7 - 4, we get 0111 + 1011 = 10010. The number at the leftmost side is then moved to the right, giving us 0011 = 3.\nAbout the Author\nIsaiah David is a freelance writer and musician living in Portland, Ore. He has over five years experience as a professional writer and has been published on various online outlets. He holds a degree in creative writing from the University of Michigan.", "id": "<urn:uuid:24b376c5-518b-415a-926b-2f44e3bdc171>", "dump": "CC-MAIN-2022-21", "url": "https://sciencing.com/computer-calculate-numbers-4705975.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662625600.87/warc/CC-MAIN-20220526193923-20220526223923-00379.warc.gz", "language": "en", "language_score": 0.922514796257019, "token_count": 552, "score": 4.34375, "int_score": 4}
{"text": "\u2018Paws, Claws, Fins and Fingers\u2019\nOur topic is Animals. We will be focusing on lots of texts linked to animals and learning all about the different animals around the world.\nAs always, if you have any questions, queries, concerns or comments, please feel free to speak to me when I collect or bring out the children.\nEnglish: Reading will be taught as three sessions. Each session will focus on a different reading skill. To assist with your child\u2019s reading development, it is essential to read with them at home. We will be using the \u2018Talk 4 Writing\u2019 approach to develop our storytelling and writing skills. This term, we will be using non-fiction and fiction texts, including \u2018The Lion Inside\u2019, \u2018Otto the Book Bear\u2019 and animal fact files. As well as this, we will be reading poems, rhymes and traditional tales to develop our storytelling and writing skills. As we move through the final term, we will be focusing on our handwriting and developing our cursive letter formation. The key composition focus will be to ensure the correct grammar and punctuation are used independently throughout written work and that the children are beginning to extend their own writing.\nMaths: We will be developing our understanding of place value, focusing on numbers 1-100. We will be developing our ability to count in multiples of 2, 5 and 10 and the children\u2019s ability to recognise the patterns emerging. We will be moving on to multiplication and division through grouping and sharing and will also begin to look at simple fractions of \u00bd and \u00bc. This will link with our progression on to time at the end of the summer term, where we will be learning how to tell the time to the hour and also half past, quarter past and quarter too and also focusing on position and direction. In the first half of the Summer term, we will be developing our understanding of weight and volume and also length and height. It would be a great help if you could continue to encourage your child to count in multiples of 2,5 and 10 and also ensure they are recognising and writing numbers to 100 correctly.\nScience: During the Summer term our key focus will be on plants. We will be learning to identify and label the basic structures of plants and trees and also begin to identify specific species of each. As part of the focus we will dissect a plant to look closely at the inside of the structure and also grow our own seeds, predicting where and how they will grow best and observing the changes throughout the process.\nHistory/ Geography: This term we will be looking at the main features of a hot and cold places in addition to describing locality using pictures and words. We will also be able to explain what we might wear in different climates and start to use basic geographical vocabulary to refer to key physical features. In History we will be learning about Nelson Mandela and talk about an important historical event that has happened in the past.\nArt/ DT: This term the children will be focusing on the skills drawing and painting. They will explore the topic animals by creating paintings and sketches of animals we have researched alongside sketching their own faces and exploring animal art from around the world. We will be creating split-pin lions to support our learning of the story \u2018The Lion Inside\u2019 and explore foods that are healthy and unhealthy for our bodies.\nComputing: The children will be developing their understanding of programming through the use of algorithms and debugging a simple sequence.\nMusic: We will be continuing to use the \u2018Charanga\u2019 music scheme to develop our voice and instrument skills. As part of our topic, we will also be listening to music from across the decades within the UK and also from countries across the world.\nRE: Over the Summer term we will be looking at churches as a place of worship for the Christian religion. We will also focus on the symbols associated with Christianity.\nPE: Our P.E. days are Wednesday and Friday. Please ensure your child brings their full PE kit to change into. They will be working initially on net and wall games.\nHomework: English, Phonics, Maths and Spelling homework will be given out each Friday. It is also expected that children complete 5 minutes worth of spelling practice every day, as well as daily reading.\nReading at home should consist of parents listening and questioning their child, for a bare minimum of 3 times a week. I cannot stress how important this is and what a huge impact reading has on all areas of the learning.", "id": "<urn:uuid:80b02c5e-c478-4b67-b9ce-5506b6138c58>", "dump": "CC-MAIN-2022-21", "url": "http://marlfieldsprimary.co.uk/theschool/classes/class-1/class-1-summer-term-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662562410.53/warc/CC-MAIN-20220524014636-20220524044636-00178.warc.gz", "language": "en", "language_score": 0.9560439586639404, "token_count": 933, "score": 3.546875, "int_score": 4}
{"text": "The evolution of the distant ancestors of humans and other primates may have been driven by dramatic volcanic eruptions and the parting of continents, according to a controversial new theory.\nScientists remain skeptical about the idea, however.\nAccording to prevailing theories, primates originated in a small area. From this center of origin, they dispersed to other regions and continents.\nThe problem with this idea is that it has \"resulted in all sorts of contradictory centers of origin,\" from Africa to Asia to the Americas, said researcher Michael Heads at the Buffalo Museum of Science in New York. It has also led to perhaps improbable suggestions that primates rafted across the Mozambique Channel to reach Madagascar or even across the Atlantic to reach South America, \"imaginary migrations\" that are \"incompatible with ecological evidence,\" Heads noted.\nInstead, Heads suggests the ancestors of primates and their nearest relatives were actually widespread across different parts of the supercontinent Pangaea some 185 million years ago, back when the lands that make up our continents nowadays were fused together. These ancestors could have evolved into the primates in central-South America, Africa, India and southeast Asia, the flying lemurs and tree shrews in southeast Asia, and extinct creatures known as plesiadapiformes in North America and Eurasia.\nThe big split\nDramatic geological events on Pangaea \u2014 major volcanic eruptions and the splitting up of the continent \u2014 might have then helped split the primates into different lineages.\nFor instance, Heads suggested that at roughly the same time as intense volcanic activity in Africa about 180 million years ago, the group that includes humans, other simians, and tarsiers \u2014 altogether known as the haplorhines, or dry-nosed primates \u2014 split from the strepsirrhines or curly-nosed primates, which include the lemurs and lorises.\nThere are more examples he poses as well. He speculated the lemurs of Madagascar diverged from their African relatives at roughly the same time as the opening of the Mozambique Channel some 160 million years ago, while New and Old World monkeys diverged with the opening of the Atlantic about 130 million years ago.\nHeads detailed his concept in the journal Zoologica Scripta.\nBehind the theory\nHeads reached these conclusions by incorporating spatial patterns of primate diversity and distribution as historical evidence for how they might have evolved. Prior research looked solely at the fossil record and genetic data, he said.\nStill, doubts remain. Evolutionary biologist Anne Yoder at Duke University in Durham, N.C., bluntly stated, \"I believe that Heads' theory is absurd.\"\nWhile Heads conjectures that primates were widespread across Pangaea some 185 million years ago, the ages of the oldest primate fossils known to date suggest they emerged some 56 million years ago, while genetic data suggested they originated some 80 to 116 million years ago. Primatologist John Fleagle at Stony Brook University in New York added that Heads' findings \"are inconsistent with all other evidence we have about the timing of major events in primate evolution.\"\nHeads notes that fossils often serve as an incomplete record for what and when animals actually existed. He added that genetic data might also potentially lead scientists to underestimate ages by tens of millions of years.\nAlthough Fleagle noted it was reasonable to assume that the fossil record is imprecise when it comes to what species emerged when, \"the question is how far off is the fossil is record likely to be.\" For instance, \"Why don't we find even a hint of a primate in the very rich fossil record of South America between 180 million years ago and 26 million years ago, if they there were actually there?\"\nIndeed, new research suggests primates could have rafted from Africa to Madagascar. Computer simulations detailed online Jan. 20 in the journal Nature suggest powerful ocean surface currents flowed eastward for a few million years from northeast Mozambique and Tanzania to the island about 50 million years ago.\nThese could have rapidly carried the ancestors of Madagascar's mammals outward, following storms that washed them out on natural rafts of trees or large vegetation mats.\n\"I was very excited to see this paper,\" Yoder said. This kind of dispersal had been an idea without actual data backing it up. \"This takes it out of the realm of storytelling and makes it science,\" she added.\n- Top 10 Things That Make Humans Special\n- Top 10 Mysteries of the First Humans\n- Human Origins: Our Crazy Family Tree", "id": "<urn:uuid:37c40a9c-2439-48f3-9238-aae2c5cb2beb>", "dump": "CC-MAIN-2022-21", "url": "https://www.livescience.com/8051-theory-primate-origins-sparks-controversy.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662647086.91/warc/CC-MAIN-20220527112418-20220527142418-00379.warc.gz", "language": "en", "language_score": 0.9608532786369324, "token_count": 925, "score": 4.28125, "int_score": 4}
{"text": "Saving California\u2019s underwater forests\nRock formations spread like fingers away from Anacapa Island. Each one \u2013 standing five or six feet tall \u2013 is forested with kelp, which grows all the way to the surface to create a golden canopy overhead.\nHarbour seals dart in and out of the channels as large schools of perch, garibaldi, senoritas and sea bass hide among the fronds. Sea stars and sea hares mingle on the rocks, a few purple urchins scattered among them. It is a beautiful, well-balanced ecosystem. Less than a decade earlier, Southern Californian shorelines were almost kelp-free. The rocky reefs were covered with purple urchins; no living fauna drifted back and forth with the surge. The ocean was injured, while those who abused her looked on unaware. Environmental chaos reigned.\nSouthern California is renowned for its sunshine and beaches. A melting pot for cultural diversity, the Los Angeles area has grown steadily since the early 1900s, with people immigrating to make their homes in the mild climate. A population explosion after World War II created a need for roads and pavements, carparks and shopping centres. Unbeknown to this new generation of residents, their New World growth would devastate an ecosystem that had flourished for thousands of years.\nThe waters along the Southern California coastline host unique and beautiful kelp forests. These forests are vital to the survival of more than 800 marine species. In addition, kelp is a photosynthesising-algae, an organism that produces 50-85% of the life-sustaining oxygen we breathe. Kelp is an important product for human consumption as well, used in products from pharmaceuticals and toothpaste to puddings, cakes, and shampoo. Between 100,000 and 170,000 tons of kelp is harvested from Californian waters each year. How then, did kelp forest decline go unnoticed by beachgoers for almost 30 years?\nVarious factors contributed to California\u2019s kelp forest decline, but the catalyst was urban development. As populations boomed and cities expanded, drainage ditches routed increasingly large amounts of runoff water to the ocean instead of allowing it to soak into native soil. Ocean water became turbid, smothering natural algae. Unable to photosynthesise sunlight, much of the algae eventually died. Sea urchin populations soared, devouring entire reefs of new kelp, preventing its repopulation. From the 1970s to 2002, as much as 80% of the kelp growing along the Orange County coast was lost. The disaster went largely unnoticed amongst the coastal community \u2013 out of sight, out of mind.\nIn 2002, Nancy L Caruso, a young marine biologist took on the challenge of returning healthy kelp forests to Newport and Laguna beaches. This would ultimately involve more than 5,000 volunteers, hundreds of school children and the support of increasingly engaged beach communities.\nWith a Bachelor\u2019s degree in Marine Biology, Nancy began her career in aquaculture, hydroponics and aquaponics at the Epcot Center in Disney World. After moving to California to work in the water quality lab at the Aquarium of the Pacific, she realized her future lay in ocean conservation. She left her position to build a programme that would restore the kelp forest to the Southern California coast.\nKnowing that education is the path to change, Nancy contacted elementary schools in the area and shared her plan to restore the community\u2019s kelp forests. It would be an impossible task for one person \u2013 or even a small group \u2013 to replant miles of kelp forest. By involving schools, Nancy could educate children through a practical science programme. Tanks were set up in classrooms and the children cared for tiny kelp plants in their \u2018kelp nurseries\u2019. Scientists collected sporophylls from healthy kelp and planted it on small bathroom tiles. The tiles were then nurtured in the classroom by grade school children until they grew to approximately 6mm.\nWhile schoolchildren watched over their kelp nurseries, volunteers from the diving community began the arduous task of relocating thousands of sea urchins. The urchins were removed from the reefs to help the tiny kelp plants flourish. As the nursery-grown kelp matured, they would develop a root system called a \u201choldfast\u201d that would encompass the tile and surrounding reef. Due to the efforts of these scientists, divers, and school children, over an eight-year period the kelp slowly returned to the Laguna Beach coastline.\nThe project was succeeding, but beach-goers complained about the piles of stinky kelp washing up on beaches \u2013 a typical occurrence in coastal areas with healthy kelp forests. To move the project forward Nancy realised the community needed educating. She started displaying pictures of what local beaches looked like 100 years previously \u2013 awash with kelp. Most people remained disinterested, keener for a kelp-free beach than a healthy marine ecosystem.\nThe problem, Nancy decided, was connection. \u201cMost people are not scuba divers, so it\u2019s difficult to convey the beauty of kelp to those who have not been underwater,\u201d she said. To connect the community with the kelp beds Nancy conceived Kelpfest, an annual fair designed to quickly and concisely convey the importance of local kelp forests.\nKelpfest is a non-profit annual event in the city of Laguna Beach. Vendors include scout troupes who display kelp projects, schools who display work, jewellers and artists who show their designs and ocean art, and many volunteers who run booths or tables devoted to anything from crafts for children to food and entertainment. It has proved a huge success.\nTo continue her conservation work, Nancy started a non-profit organization called Get Inspired. She believes that the future of scientific discoveries is limited only by our creativity. Her projects include school programs in which students grow white sea bass and green abalone in classrooms. Students learn about the ecology of the kelp forest, the biology and history of abalone in California, water chemistry, and the state of world aquaculture.\n\u201cIf I could give a message to the world, it would be that restoration and conservation is no longer the job of people \u2018out there\u2019 \u2013 that is, environmental organisations and scientists,\u201d said Nancy. \u201cIt is now the job of every citizen. There is no reason why every person can\u2019t be involved in their own conservation/restoration efforts. Because we each take something from the ocean, we all should be giving something back.\u201d\nExplore the current issue\nBeautiful photography. Captivating storytelling.\nTake a look inside the latest issue of Oceanographic Magazine.\nSubscribe to the digital edition for just \u00a320 a year, or enjoy it for free courtesy of Oceanographic\u2019s partnership with Marine Conservation Society. No cost, no catch.\nBeautiful ocean stories straight to your inbox.\nJoin our community.", "id": "<urn:uuid:e69c12e8-dd72-4539-a007-84713976708f>", "dump": "CC-MAIN-2022-21", "url": "https://www.oceanographicmagazine.com/features/saving-forests/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539101.40/warc/CC-MAIN-20220521112022-20220521142022-00178.warc.gz", "language": "en", "language_score": 0.9564546346664429, "token_count": 1467, "score": 3.59375, "int_score": 4}
{"text": "Videogames have changed the way the younger generations interact with entertainment, could they change the way they interact with learning? Could gamification be the future of education?\nWhat Is Gamification?\nGamification is a new approach to education that applies video game design in learning contexts in order to motivate and engage students. There are many aspects of games that can be integrated in gamification, such narrative, point based reward systems, collaborative problem solving, trial and error, or opportunities for leveling up. An activity does not necessarily need to have all these features in order to be considered gamification.\nHow does it help students?\nGames are about problem solving, this alone makes them a great tool for teaching, learning and assessing. It has been shown that gamification helps student focus, retain information, and improve their overall performance. This is mostly thanks to the fact that younger generations are so used to video game dynamics that seeing them recreated at school is guaranteed to increase their engagement. Instant feedback, trial-and-error deductive learning, and a fun more active way of studying are among the aspects that make gamification so appealing. Students feel more in control of their choices, just like they feel when playing as the main character in a game.\nSuccessful examples of gamification\nGamification is already part of education, and it has been proven extremely successful. Platforms like Duolingo, that lets students learn a language by translating increasingly complex sentences, or The World Peace Game, a political roleplaying game that lets students explore the relationships between nations. Some teachers have tried to introduce more technology into the classroom with unbelievably positive results, like the Minnesota 3rd grade teacher Mr. Pai. He integrated new devices into his curriculum, including the Nintendo DS, trying to engage his students. In just a few months his class\u2019 performance increased significantly, bringing them to a mid 4th grade level.\nBut gamification is not just for elementary school and universities are also opening up to it. Coursera, for example, is a company that has already partnered with several universities to provide free online classes. The courses include video lectures and weekly assignments, feedback is immediate and students \u201clevel up\u201d or receive badges as a reward system.\nHow can we bring it into the classroom?\nIntegrating more technology into the curriculum is incredibly helpful and often cheaper than we think, but gamification can be introduced even without a budget.\nGrades are the easiest thing to gamify, introducing points, bonuses, achievements and even badges to reward students and assess their level of understanding of the subject.\nQuests, treasure hunts, and other interactive activities could help gamify homework, motivating students to maintain their engagement after school hours. Encouraging team work, or even stirring up competition organizing tournaments can have the same results, while also teaching students valuable skills they will need in the workplace. Using the students\u2019 own resources, like their phones and home computers, they can turn their homework into youtube videos, websites or blogs. Encouraging children to share their work on the internet will make them feel more motivated and invested than they would be if they were writing an assignment for just the teacher to read.\nGamification can completely change the way young students look at school, and really help them to feel passionate about what they are studying. This is more than just a trend, it is going to be the future of our school system.", "id": "<urn:uuid:2bc149e5-89b0-4595-9014-c59c7798bb50>", "dump": "CC-MAIN-2022-21", "url": "https://acerforeducation.acer.com/education-trends/gamification/gamification-in-education-the-future-of-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662546071.13/warc/CC-MAIN-20220522190453-20220522220453-00177.warc.gz", "language": "en", "language_score": 0.9742299318313599, "token_count": 697, "score": 3.78125, "int_score": 4}
{"text": "Use reading aloud to start conversations that can help your child deal with the now of wherever we are in the world. It could lead to something you may not have expected. For example, when it comes to anxiety and worry, a caregiver could use a picture book that specifically deals with that topic and turn that into an opportunity for a child to share what worries they are carrying.\nReading aloud is one of the few spaces that checks all the boxes in terms of social, emotional and mental health. For Siriboe, the simple act of sharing your love of reading with your child is bigger than just literacy. It\u2019s another expression of love and a tool for helping kids navigate the world.\nTalk, read, play and sing\nSiriboe likes to break down the global possibilities of reading into four key components:\nTalk. She says take a moment to talk about the subject matter of the book, comic or recipe with your kids. If the book you\u2019re going to read is about wellness or meditation, you may want to share some of your favorite breathing exercises or ask your kiddo what coping skills they may have learned at school.\nThe next component is to read. Start looking at the words, finding the characters, settings and storyline of the book. Explore how the characters in the story engage with each other and their environment.\nThen play. Perhaps you and your child want to role-play some scenarios of what the character is experiencing in the real world or explore what it would be like to live inside the character\u2019s world.\nThe last thing is to sing. Come up with your own song or use some online resources to find some silly songs that can help you bring a story to life. Siriboe emphasizes that this whole experience should be filled with joy and laughter.\nThe goal is to go past the idea of phonetics alone and really think about bonding with your child. That may mean the child gets to lead instead of the adult. At the end of the day, both the caregiver and child should hopefully be having fun.\nThe benefits of reading aloud for neurodiverse learners\nIt\u2019s important to remember that every child learns differently. Siriboe says parents may need to think outside the pages of a book to connect and help a neurodiverse child thrive. Allowing kids who learn differently opportunities to experience success within literacy can help build confidence and spark that fire for reading and storytelling.\nEvery child needs to discover what they like and who they are in the world of a story. If you have a child who loves to paint, you can take them to the museum and have them write down the artists that mean the most to them. Siriboe says the next step is to go to a local library and find books about the art that inspires them and give them a chance to create their version of that art.\nHelping kids who may not take to reading\nNot everyone takes to reading right away, and many kids struggle. Siriboe says parents need to know that it is probably safe to assume that a kid who doesn\u2019t love reading has probably had a negative experience.\nThe first thing parents can do is help their kiddo shift their perspective. She says helping kids move from a fixed mindset about what they think their reading ability is into a growth mindset is a good starting place.\nHelp reassure your kid that they may not be the great reader they aspire to be yet, but they absolutely can do this. One way to do this is to incorporate aural storytelling into the fold. Invite your child to create a story that you, the adult, are willing to write down or help them use a computer or smartphone app that can do it for them while they speak. Siriboe says this helps kids to form a bridge from the inconceivable to the I can do this!\nTake the step to start\nIt\u2019s not about how well you read or even what you read. What Siriboe wants families everywhere to know is the act of starting to read aloud and making it part of your routine for 15 minutes a day is what matters most.\nListen to the audio version of this story at the top of this page for more tips from Keisha Siriboe and get insights into what she has learned in her research.\nThe audio portion of this episode was produced by Andee Tagle, with engineering support from Patrick Murray.\nWe\u2019d love to hear from you. If you have a good life hack, leave us a voicemail at 202-216-9823, or email us at email@example.com. Your tip could appear in an upcoming episode.", "id": "<urn:uuid:5b621b6a-f784-4a1e-b160-24ef4d3f96ed>", "dump": "CC-MAIN-2022-21", "url": "https://indianeducationupdates.in/2021/10/05/how-reading-aloud-can-help-you-bond-with-your-kids-and-make-them-better-readers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662595559.80/warc/CC-MAIN-20220526004200-20220526034200-00179.warc.gz", "language": "en", "language_score": 0.9658035635948181, "token_count": 954, "score": 3.703125, "int_score": 4}
{"text": "Often the griot of the emperor would serve as counselor and spokesman for the emperor. The griots often served as mediators between villages when they had issues and disagreements. Some historians believe that the ngoni instrument eventually became the banjo after traveling to America along with West African slaves.\nWhat did griots do in Africa?\nThe griot profession is hereditary and has long been a part of West African culture. The griots\u2019 role has traditionally been to preserve the genealogies, historical narratives, and oral traditions of their people; praise songs are also part of the griot\u2019s repertoire.\nWhat were three important functions griots served to African tribes?\nA griot is a West African storyteller, singer, musician, and oral historian. They train to excel as orators, lyricists and musicians. The griot keeps records of all the births, deaths, marriages through the generations of the village or family.\nCan anyone become an African griot?\nTraditionally, griots were of a social caste, the art and important position of storytelling passed down from generations of griot families and as such, not just anyone could become a griot. \u2026 The training for younger members born into a griot family is usually thorough spending years of listening and memorising.\nAre there still griots in Africa today?\nGriots today live in many parts of West Africa and are present among the Mande peoples (Mandinka or Malink\u00e9, Bambara, etc.), Ful\u0253e (Fula), Hausa, Songhai, Tukul\u00f3or, Wolof, Serer, Mossi, Dagomba, Mauritanian Arabs, and many other smaller groups.\nHow do griots pass on history?\nGriots were also the historians of Ancient Africa. They would keep track and memorize the history of the village including births, deaths, marriages, droughts, wars, and other important events. The stories and historical events would then be passed down from generation to generation.\nHow did griots pass on history and values?\n*Griots passed on the history and values through their stories and music.\nWhat would happen if all the griots died off?\nWhat would happen if all the griots died off? West Africans would have to rely on their written history to remember their past. Which is the definition of a patrilineal kinship system?\nWhat do griots do?\nThey are told by people known as griots (pronounced gree-oh), also known in some cultures as jeliw, who are the narrators of oral traditions. Born into their highly respected position, griots play an important role. As well as being storytellers, they are poets, historians, genealogists, and musicians.\nWhat are griots quizlet?\nGriots. Griots are historians who are trained to remember all the important facts about their people. They are storytellers, poets and musicians.\nWhat can we learn about Sundiata from the Epic of Sundiata?\nAll the while, Sundiata learns of new peoples and customs, while impressing most people he meets. He spends a particularly long time with Moussa Tounkara at Mema, who helps raise Sundiata and teaches him the ways of war so as to potentially groom the boy as his heir.\nWho was considered Mali\u2019s greatest ruler?\nAfter Sundiata, the most famous ruler of the Mali empire is Mansa Kankan Musa I, who came to power several decades after the death of his legendary predecessor. Musa was not the first emperor of Mali to embrace Islam; unlike the Soninke and the Soso, Mande royalty adopted the religion relatively early.\nWhat does the word griots mean?\nDefinition of griot\n: any of a class of musician-entertainers of western Africa whose performances include tribal histories and genealogies broadly : storyteller.\nIs Timbuktu in the Sahara Desert?\nTimbuktu, French Tombouctou, city in the western African country of Mali, historically important as a trading post on the trans-Saharan caravan route and as a centre of Islamic culture (c. 1400\u20131600). It is located on the southern edge of the Sahara, about 8 miles (13 km) north of the Niger River.\nWhat are 3 types of stories that griots would tell?\nAlthough they are known as praise singers, griots may use their vocal expertise for gossip, satire and political commentary. Griots today live in many parts of West Africa and are present among many different groups.", "id": "<urn:uuid:5fc1ea52-b718-4f12-8b6d-77b91f7d8e0e>", "dump": "CC-MAIN-2022-21", "url": "https://destination-malawi.com/traveling-in-africa/how-did-african-rulers-use-griots.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662587158.57/warc/CC-MAIN-20220525120449-20220525150449-00379.warc.gz", "language": "en", "language_score": 0.9742640852928162, "token_count": 961, "score": 3.53125, "int_score": 4}
{"text": "Thomas PaineS Common Sense In Thomas Paine\u2019s Common Sense, there are some similarities and differences in the tone as compared to Thomas Jefferson in the Declaration of Independence. Paine\u2019s approach to his work contrasts that of Jefferson\u2019s. However, they still use the same basic techniques to making their feelings known, which include examining the problem, giving reasons for why it is a problem, and offering their opinion on the solution. Jefferson\u2019s and Paine\u2019s difference in their tone is evident when examining who they are addressing the documents to, the overall layout of their documents, and the relative importance of the documents. Thomas Paine constructs Common Sense as an editorial on the subject of the relationship between the Colonies and Great Britain. Through the paper, he hopes to educate his fellow Americans about this subject. In his introduction, he says he feels that there is \u201ca long habit of not thinking a thing wrong\u201d which \u201cgives it a superficial appearance of being right\u201d (693).\nHe is alluding to the relationship, also calling it a \u201cviolent abuse of power\u201d (693). This choice of words is similar to those of Jefferson, who asserts that the king had established an \u201cabsolute tyranny\u201d over the states. Both men set an immediate understanding about their feelings towards the rule of Great Britain over the States. However, where Common Sense seems to be an opinionated essay, Thomas Jefferson writes somewhat of a call to battle. Paine generally seems to be alerting his readers to the fact that there is more going on than they are aware of. Jefferson, on the other hand, begins his declaration by stating, \u201cWhen, in the course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another\u201d (715). Unlike Paine, this seems to presuppose that readers are aware of the plight of the nation, and Jefferson is announcing that the time has come to take a stand. The main part of Common Sense contrasts in concept with the majority of the Declaration of Independence.\nJefferson takes a rather rough approach to his writing style, deciding to introduce his ideas in the beginning few paragraphs, then proceeding to list his grievances in the bulk of the piece. Paine however, presents his ideas in more of a persuasive essay style. By providing his readers with more of a storytelling format, he is able to bring them up to date with what is happening, as he does with such paragraph introductions such as \u201cIt hath lately been asserted in Parliament\u201d (695) and \u201cBut Britain is the parent country, say some\u201d (695). These phrases communicate to the reader what has been going on, and allows Paine to give his audience a background that will allow them understanding of his propositions. Jefferson simply lists one by one, all of his charges against the king.\nIt assumes your knowledge of events leading up to his document; if not, then you have only his facts to rely on. One of the obvious reasons for the difference in tone between these two writers however, can simply be the situation in which both pieces of writing were constructed. This is evident even from the heading of Paine\u2019s third chapter, \u201cThoughts on the Present State of American Affairs.\u201d The word \u2018thoughts\u2019 can infer that what follows is simply one man\u2019s conception on how things are and how they should be; that they may not necessarily reflect the true views of one nation. In fact, Paine says this in his introductory paragraph, by disclaiming that \u201cperhaps the sentiments contained in the following pages are not yet sufficiently fashionable to procure them general favor\u201d (693). By this, he obviously means that his word may not speak for all.\nIn contrast, the Declaration of Independence is a bold and assertive document. Jefferson states that \u201cWe hold these truths to be self-evident\u201d (715) and goes on to list the rights he feels the States are denied by being in allegiance with Britain. By using \u201cwe,\u201d he implies reference to all the people of the States. In reality, he probably only meant wealthy white men, but the insinuation is that he is the voice of the people. Additionally, to conclude the document, Jefferson does not suggest but announces the separation of the states from Great Britain. This confident tone differs greatly from Paine, who seems to be merely proposing his ideas to people who, by his own admission, may not even be paying much attention. Differences in their tone can also be seen in the whole general makeup of the documents.\nWhereas Jefferson is clearly proclaiming that the time is now, Paine often suggests that the changes he advises be meant for later on. When speaking of the government of Great Britain, he says it is an authority which \u201csooner or later must have an end\u201d (697). Furthermore, Paine offers great detail on his suggestions, often forming excellent examples of why an independent nation would be far more beneficial than one which is dependent on Great Britain. He gives economic, industrial, and foreign relations reasons for the need to abandon British rule. Jefferson alludes to \u201cinalienable rights,\u201d or those rights which forever exist, then simply outlines what Britain has done to provoke this rebellion.\nThis goes back to the earlier label that Paine constructed more of a persuasive essay, clearly backing up his thoughts with specific examples as to why they were relevant. Paine realizes he is convincing whoever will listen what is in the States\u2019 best interests. Jefferson knows that his responsibility is to draft a document that proclaims the States breakaway from Great Britain. Both men had to know of the significance of their documents, so this was another factor on their tone. In conclusion, Jefferson and Paine show some similar views and intentions in their respective documents. Both writers argue that the new States would be better off without the ties to Great Britain, and both offer very valid points as to why this should occur. However, the differences can be seen in the writing styles and overall tone of the work.\nPaine becomes more of a salesman, trying to sell his readers to his thoughts on the government of Great Britain, though not completely becoming a force on the matter. Jefferson maintains a very up-front approach, simply overwhelming his readers with numerous examples and energetic voice, concluding with the \u2018final word\u2019 on the matter. However much the style differs, though, the two documents were equally compelling and served to motivate a nation into fighting for their independence. Human Sexuality.", "id": "<urn:uuid:2ca11bd6-09d3-4b8a-bcaf-fda2d51fd702>", "dump": "CC-MAIN-2022-21", "url": "https://northandsouthdigital.com/thomas-paines-common-sense/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534669.47/warc/CC-MAIN-20220520191810-20220520221810-00180.warc.gz", "language": "en", "language_score": 0.9785212874412537, "token_count": 1354, "score": 3.78125, "int_score": 4}
{"text": "Author: Rob Darrow, EdD\nGrade Levels: Elementary School: 5th Grade; Middle School: 8th Grade\nThis lesson plan can be adapted for use in 5th or 8th grade.\nThis lesson plan explores two-spirit traditions in some Native American cultures. Students will learn different perspectives on gender roles and gender expectations. They will contrast the beliefs and values within these traditions with those of early European immigrants.\nTime: 50 minutes\nLesson Plan Resources:\n- Explain and discuss the Native American two-spirit tradition.\n- Understand why the two-spirit tradition almost ended.\n- Complete the handout about two-spirit tradition.\n- What is the two-spirit tradition and why is it important in the study of American history?\n- What caused the Two-Spirit tradition to end and then start again?\n- How have gender roles and expectations shifted across time and cultures?\n- What are the differences in gender understandings between certain Native American traditions and traditions brought from Europe?\n- Have these different gender understandings caused inequity to occur? If so, how?\nHSS 5.3: Students describe the cooperation and conflict that existed among the American Indians and between the Indian nations and the new settlers\nHSS 8.8: Students analyze the divergent paths of the American people in the West from 1800 to the mid-1800s and the challenges they faced.\nHISTORY FRAMEWORK: CH 8 P 98: Students may explore the social and cultural diversity of American Indians by addressing this question: How were family and community structures of North American Indians similar to and different from one another? Students learn how American Indians expressed their culture in art, music, dance, religion, and storytelling. They also gain a fuller understanding of how gender roles and family life varied between different tribes by examining the multiple roles and influence of women in American Indian communities. Students are introduced to the rich legends and literature of American Indian cultures and spiritual traditions about people\u2019s relationship to the earth. Finally, students should appreciate the diversity of Native American communities and connect this national story of diverse natives to their fourth-grade studies of California Indians.\nHISTORY FRAMEWORK: CH 12 P 274: he American Indian wars, the creation of the reservation system, the development of federal Indian boarding schools, and the re-allotment of Native lands profoundly altered Native American social systems related to governance, family diversity, and gender diversity\u2026. Re-allotment entailed breaking up Native lands into privately held units (largely based on the Anglo-American model of the male-headed nuclear family), displacing elements of female and two-spirit authority traditionally respected in many tribal societies. Boarding schools in the late 19th and early 20th centuries took Native children from their parents for years at a time, imposing Christianity, U.S. gender binaries and social roles, and English-only education in an attempt to make them into what school administrators viewed as proper U.S. citizens.\nGender Binary: A system of belief in and categorization of only two complementary genders: male/female or man/woman. The gender binary conflates sex with gender, and assumes that sex/gender and heterosexuality are always aligned (ie: women are inherently and always feminine and are only sexually attracted to men and vise versa). The gender binary perpetuates heteronormativity, enforces stereotypical gender roles, and denies the experiences of non-binary identities, such as intersex or transgender. Gender binarism is dominant in most western cultures with the exception of some indigenous North American cultures.\nTwo-Spirit: Many indigenous communities recognize at least four genders (feminine female, masculine female, feminine male, masculine male) as well as transgender, and most indigenous communities and tribes have specific terms for gender fluid members. Two-Spirit is generally recognized as a positive umbrella term to describe these identities. As this word is specific to indigenous culture it would be considered an inappropriate appropriation for non-native folks to self-identify as Two-Spirit.\nOn the land we know as North America, there were approximately 400 distinct indigenous Nations. Of that number, 155 have documented multiple gender traditions. Two-Spirit is a contemporary term that refers to those traditions where some individuals\u2019 spirits are a blending of male and female spirit. Two-Spirit is a culturally distinct gender that describes Indigenous North Americans who fulfill one of many mixed gender roles found traditionally among many Native Americans and Canadian First Nations indigenous groups. The positive umbrella term was first adopted in 1990 during the third annual Intertribal Native/First Nations gay and lesbian conference to describe gay, lesbian, bisexual, and non-binary genders within the indigenous communities. The Two-Spirit person is recognized as a spiritual role, in which the individual\u2019s spirit or soul is both masculine and feminine. The mixed gender roles encompassed by the term historically included wearing the clothing and performing the work associated with both men and women. The term can also be used more abstractly, to indicate presence of two contrasting human spirits (such as Warrior and Clan Mother) or two contrasting animal spirits (which, depending on the culture, might be Eagle and Coyote). The term Two-Spirit was created by LGBT indigenous people to replace the term berdache (pronounced: burr-dash) which had historically been used to describe indigenous people who fulfilled multiple gender roles. Many indigenous communities recognize at least four genders (feminine female, masculine female, feminine male, masculine male), and most indigenous communities and tribes have specific terms for sexual and gender fluid members. The Two-Spirit tradition is primarily a question of gender, not sexual orientation.\n- One of the following:\n- Native American Perspectives of Gender Worksheet\nBackground (8 minutes)\nShare the background information on Two-Spirit individuals with the class and allow students to discuss.\nSlideshow or Video (22 minutes)\nDiscussion Questions (10 minutes)\n- What is the Two-Spirit tradition?\n- What does it say about gender?\n- What caused the Two-Spirit tradition to end? And then start again?\n- What other Native American or other traditions ended because of the settling of America or the movement west and the resettlement of Native Americans?\n- What does this tell us about current American history?\nAssessment (10 minutes)\nComplete the handout and participate in class discussion. Teachers may want to include questions on a unit test or an essay question related to this topic.\nTwo-Spirit Presentation / PowerPoint: Pruden, Harlan. www.ncai.org/policy-research-center/initiatives/Pruden-Edmo_TwoSpiritPeople.pdf\n\u201cTwo-Spirit: Past, Present & Future.\u201d Prudent, Harlan. (Written in document, \u201cThe Gender Spectrum: What Educators Need to Know.\u201d) www.nlta.nl.ca/wp-content/uploads/public/documents/resources/gender_spectrum.pdf\n\u201cWho are the Native American Two Spirits?\u201d Roscoe, Will. 2010. http://www.willsworld.org/twospiritq-a.html\n\u201cThe \u2018Two-Spirit\u2019 People of Indigenous North Americans.\u201d Williams, Walter. The Guardian. October 2010. https://www.theguardian.com/music/2010/oct/11/two-spirit-people-north-america\n5 Genders, The Story of the Native American Two-Spirits (2016). https://the-numinous.com/native-american-two-spirits/\nPBS Two Spirit Movie and Resources (2011). http://www.pbs.org/independentlens/films/two-spirits/\nTwo-Spirit People Voices. Frameline Films. (22 Minutes). https://www.youtube.com/watch?v=8JcmAoderl4\nAs They Are: Two-Spirit People in the Modern World \u2013 USC Department of Anthropology. (18 minutes). https://www.youtube.com/watch?v=AYGxZL870ZE\nJacobs, Sue-Ellen, Sabine Lang, and Wesley Thomas, Eds. Two-Spirit People. Illinois: University of Illinois Press, 1997.\nLang, Sabine. Men as Women, Women as Men . Texas: University of Texas Press,\nDr. Rob Darrow is a lifelong Californian who works as an educational consultant in LGBT history, safe and inclusive schools, curriculum development, college and career planning, and digital learning. In addition, he works as Director of Research and Professional Learning with the Safe Schools Project Santa Cruz County and teaches a course titled \u201cLGBT History in Schools\u201d at CSU Monterey Bay. He has worked as an online school principal, adjunct professor, school librarian, and teacher in K-12 schools. His research interests include safe and inclusive environments for LGBT youth, LGBT history, blended and online learning, professional learning, creating a social presence in online courses, and school libraries.", "id": "<urn:uuid:daddd8bd-0359-4e40-bcd1-c5df20db1ca5>", "dump": "CC-MAIN-2022-21", "url": "https://www.lgbtqhistory.org/lesson/native-americans-gender-roles-and-two-spirit-people/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662564830.55/warc/CC-MAIN-20220524045003-20220524075003-00380.warc.gz", "language": "en", "language_score": 0.9238647222518921, "token_count": 1928, "score": 3.875, "int_score": 4}
{"text": "What is a story? A story can be true or pretend, where we tell or re-tell about an event or a journey or an experience or what we know or what we are thinking. Did you know that we are surrounded by stories every day. Where do you see stories? Books, TV, school, songs, pictures, movies. When you tell me/a friend about something that happened to you, you are telling a story. Can you think of the last story you heard? Think hard: it may be something you just heard a few minutes ago! This week, we are going to have fun thinking about and doing lots of different kinds of stories. Today we're going to start with books.\nChoose 2-3 20-30 minute activities from the selection below:\nKid/s choose a book each.\nScavenger Hunt: Kids find 5 items around home that are in their book.\nMemory game: Player 1 places all 5 items in front of them. Player 2 needs to close their eyes while Player 1 takes away an item. Player 2 opens their eyes and has to guess which item is missing. Keep playing and taking turns between players. Then start to take away 2+ items for guessing.\nTreasure Hunt: Younger kids: hide the items around the house and play \u2018hot and cold\u2019 as you find them.\nOlder kids: Draw a treasure map of your home/specific room. Kids hide the items around home, plotting their location on their map. Swap maps and find the treasures (either between the kids, or as a team with the parent)\nTape a long piece of paper on the floor and draw a path of sorts. Take out loads of stickers, markers etc and then the kids draw around it from their imaginations. As they go along the path, you can add speech bubbles and little bits here and there and \u2018build\u2019 a story along the path. You can talk about beginnings, middles & ends and how plots 'work'. (Thanks to Dannii B- Mazor!)\nAlso try Book Cover Art: choose a book and recreate the front cover, eg www.pinterest.com/pin/159174168050860054/\nGrab a bunch of old magazines, newspapers, junk mail flyers, etc, and cut out pictures to prompt storytelling. Ideally let them select a range of items on their own. Use the completed collages as the basis for a simple story, asking kids to tell their own story from their finished masterpiece. If they are unsure how to begin or continue, use simple prompts such as:\"Once upon a time there was\u2026\"\"One day\u2026\"\"And because of that\u2026\"\"Until\u2026\"\"And, finally\u2026\"Your child\u2019s stories might start out very short and simple, but the more you share storytelling experiences, the more confident they will become.\nMake Your Own Story\nOnline with sesame street characters https://pbskids.org/sesame/games/story-book-builder/\n(Print or take a picture of the stories they create, to use for 'Show Day')\nHow to Draw A...\nBooks also have pictures. Go to \u2018Art Hub\u2019 and go wild with searching for whatever you would like to learn to draw. Takes you through the process very well and you can pause as you go.\nGo for a walk/scooter, bike ride - guess shapes of the clouds.\nZoom with family or friend and read a story together (same book)", "id": "<urn:uuid:1ead607a-3ebc-4d02-8156-2e99c4684133>", "dump": "CC-MAIN-2022-21", "url": "https://www.little-compass.com/book-day", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663011588.83/warc/CC-MAIN-20220528000300-20220528030300-00178.warc.gz", "language": "en", "language_score": 0.9504672884941101, "token_count": 741, "score": 3.59375, "int_score": 4}
{"text": "About The Memorial\nThe Kimball World War I Memorial was the first memorial in the United States dedicated to African-American WWI veterans. It is now the only such memorial that exists. The location was chosen in part because it was in the heart of a West Virginia African American neighborhood. During World War I, almost 400,000 African-Americans volunteered to fight. McDowell County supplied 1,500 of these fighting units.\nFor decades, the Kimball War Memorial served as a cultural and social center, serving as a focal point of community life. The memorial was destroyed by deterioration, abandonment, and a fire in 1991. The restoration of the structure was made possible thanks to a mix of state and federal money. The memorial has been repaired and is now available for tours and special occasions.\nAlthough the small hamlet of Kimball in McDowell County, West Virginia may appear an unexpected location for the nation\u2019s only war memorial honoring World War I African American soldiers, there is a narrative to be told. During the summer of 2010, Associate Professor Joel Beeson of West Virginia University\u2019s Reed College of Media and three students began working to document the story and build a public exhibit at the Kimball War Memorial Building. \u201cForgotten Legacy: Soldiers of the Coalfields\u201d looks at the tale of African Americans who came to McDowell County from the rural South in the early 1900s to work in the coal mines and later served in the US military during WWII.\nAbout The Project\nSmall town Kimball, West Virginia, may not seem like an obvious spot for the nation\u2019s lone battle memorial honoring WWI African American soldiers, but there is a story worth telling. A public exhibit at the Kimball War Memorial Building was created by associate professor Joel Beeson and three students over the summer of 2010. On display at the McDowell County, Historical Society is a story of African Americans who came to McDowell County in the early 1900s to work in coal mines and served in the US military. In the same way that archaeologists cobble together shards of material culture, pottery, and tools to build a non-linear narrative, we see narrating history as a process.\nBeeson, director of the West Virginia Veterans Oral History Project since 2003, has obtained and edited over 500 photographs, including historic World War I shots and a famous Farm Security Administration photographer Russell Lee\u2019s socioeconomic survey of McDowell County coal workers. In 2004, while working on his documentary \u201cFighting on Two Fronts: The Untold Stories of African American WWII Veterans,\u201d he met the McDowell County memorial and its board\nBeeson proposed a photo show for the memorial to his visual storytelling class in the fall of 2009. What originated as a class project became the \u201cKimball War Memorial Project.\u201d", "id": "<urn:uuid:9b38097c-8b49-45c0-bbe2-659b8ef3a76d>", "dump": "CC-MAIN-2022-21", "url": "https://easygrants.info/forgotten-legacy-wwi/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00379.warc.gz", "language": "en", "language_score": 0.9594833254814148, "token_count": 579, "score": 3.640625, "int_score": 4}
{"text": "Show and Tell? How is this important?\nBelieve it or not, show and tell actually is an educational tool! Having your children simply share what they know about a subject or book is a powerful way to cement the concepts into their long term memories.\nThink about a time when you crammed for a test and then forgot 95% of it by the weekend. Then think about a presentation you did, or a concept you taught someone, and how much richer it was for you, as you wrapped your head around it enough to share!\nBy putting concepts into your own words, you have to truly digest them, allowing them to marinate in your mind. By subtly figuring out how this new idea fits in the context of that which you already know, the new idea that comes out is fresh, unique and coated with a different wisdom from experience. This beautiful process encourages so much more depth in the learning process.\nVerbally presenting ideas not only helps kids to build confidence in developing and organizing their own ideas, but in their public speaking skills. The most brilliant ideas are rendered useless if they can\u2019t be properly communicated and shared with others! Being able to persuade your audience about the importance of something builds a key foundation in leadership. What better audience than one\u2019s own family to develop confidence in public speaking!\nHow to do Narration\nCharlotte Mason, a philosopher-educator in the early 1900\u2019s, fully understood the value of show and tell. She called this practice \u201cnarration\u201d. In its most basic form, a parent might read a page or two of a living book and then ask the child to respond back with what they can remember. Parents should discourage kids from simply repeating exactly what they just heard and instead encourage them to use their own words, and to also include their opinions or feelings about the passage as well.\nOther ways to encourage narration is to ask them to answer questions about the story or exercise they have just completed. When children know they will be narrating the story back, then tend to take a much more active role in their learning. They pay greater attention to the content, think more deeply about it, and invest in relating to the passage.\nWhere to Start\nAs you begin using narration with your child, understand that it will not come easily at first and that like anything else, it is an acquired skill. It might help to begin working with your child by having them narrate everyday aspects of their lives. Perhaps they can give you an overview of their day to start.\nAs they progress, narration activities can become more complex. Ask your child to pick out one good thing and one bad thing that happened to them today, to come up with three things they accomplished, or to identify something that they learned. As your child builds and improves upon their skills, these activities can be transferred to their studies. Literature and nature are two of the easiest subjects to begin with because of the richness of storytelling in literature, and the awe and inspiration that comes with nature study.\nOver time and as your child becomes comfortable with the concept of narration, begin to mix it up! Have your child experiment with narration in new and unique ways to supplement verbal skills, using art, drama, and even music to capture and share their ideas in fun and exciting ways.\nAt Enriched at Home, our monthly enrichment kit includes unique parental prompts and ideas for furthering the narration skills of your children each month. Most of our exercises include show-and-tell or narration activities in order to ensure children are fully engaged in their learnings and as a way to encourage and foster deeper and more complex communications between parent and child.\nJoin us at Enriched at Home and help your children engage in a deeper way with inspiring books, nutrition, and nature exercises. Our monthly enrichment kits provide a wonderful backdrop for children to consider what they have just learned, drill down to the most important parts, and practice verbalizing the key concepts!", "id": "<urn:uuid:f94c54ca-579f-4fd3-a909-1c12cc6d4486>", "dump": "CC-MAIN-2022-21", "url": "https://enrichedkids.us/show-and-tell-the-missing-ingredient-in-home-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662532032.9/warc/CC-MAIN-20220520124557-20220520154557-00780.warc.gz", "language": "en", "language_score": 0.9653608202934265, "token_count": 808, "score": 3.640625, "int_score": 4}
{"text": "At least once a year, one of my freshmen would ask me why everything we read in 9th grade English was so depressing. A quick look at our curriculum revealed they did have a point. \u201cRomeo and Juliet,\u201d Of Mice and Men, short stories like \u201cLamb to the Slaughter\u201d and \u201cThe Most Dangerous Game\u201d all told tales of death and despair. While all are excellent, I began to wonder if I could find some different texts to add to the mix. It turns out, while scary short stories and dramatic short stories are easy to find, humorous ones are a bit trickier to track down.\nWith that in mind, here\u2019s a list of funny short stories to use in your classroom when you want to bring a bit of humor to your lesson.\n1. Charles by Shirley Jackson\nWritten by the same woman who wrote the eerie short story, \u201cThe Lottery,\u201d this story is guaranteed to make students of all ages chuckle. The tale of the worst kindergarten student ever, as told by a student in the same class to his mother at the end of every school day, your students will love hearing all about Charles\u2019s antics. The twist at the end of the tale makes students gasp and giggle.\nIn class: Perfect for lessons on irony, your students can debate whether Jackson\u2019s funny short story demonstrates verbal, situational, or dramatic irony. I\u2019ve also used this story to show students how an author can utilize dialogue as a method for developing characterization.\n2. Thank you, M\u2019am by Langston Hughes\nLike \u201cCharles,\u201d this is another classic, well-known story. An older woman takes a young man under her wing after he attempts to steal her purse. As they spend time together, she teaches him a valuable lesson about life. It\u2019s perfect for upper-elementary and middle school students.\nIn class: This funny short story lends itself to lessons about dialogue, diction, theme, and characterization. It\u2019s also would be a great text to use for practice discussions or Socratic seminars. Students could easily develop questions about the actions of the characters. They could consider how they would have responded in the same situation. And they could even reimagine the story if it was rewritten today.\n3. Lord Oakhurst\u2019s Curse by O. Henry\nWhile many students will have read \u201cThe Gift of the Magi,\u201d this short story by the same author is much less well-known. Lord Oakhurst is dying, his wife is grieving (or is she?), and a doctor arrives to try to help. Your students will be shocked and amused by this quick read.\nIn class: Indirect characterization leaps to the foreground in this funny short story as students can debate whether Lord Oakhurst\u2019s wife is truly as sad as she says she is throughout the story. The story also makes use of flashbacks, making it great for introducing or reviewing that concept.\n4. Maddened by Mystery or The Defective Detective by Stephen Leacock\nThis short story caper takes on the classic detective trope and mocks it mercilessly. Over-the-top costumes, mistaken identities, and a ridiculous reveal make this a truly funny short story to share with your students.\nIn class: I wish I still taught the mystery unit I taught for many years so that I could add this funny short story to the mix. This would be a perfect piece to introduce satire. It mocks many of the most common elements of typical detective stories in a truly hilarious fashion.\n5. Machiavelli in Kindergarten by Peter Schooff\nDefinitely one for older students; this short story had me literally laughing out loud. It is written as a series of concerned letters/emails from a kindergarten teacher to the parents of young Niccol\u00f2 Machiavelli. The reports of his plans to overthrow his teacher and replace her with the school janitor are hysterical.\nIn class: I don\u2019t know if The Prince is still used in many English or political science classes, but if so, what a phenomenal accompanying text this would be. It would also work as a paired text with nonfiction readings about Machiavelli. As the word \u201cMachiavellian\u201d appears frequently in the news stories, it could also be used as a vocabulary unit. Finally, it could be used to show students that stories can be written in a variety of formats. Ask your students to imagine what an email or text exchange between one of their favorite characters and a teacher/doctor/neighbor might look like. The results could be hilarious.\n6. Joy by Anton Chekhov\nThe main character in this funny short story is famous. He rushes home to tell his family. Your students will love the reactions of his stunned family. They\u2019ll also have plenty to say about the protagonist\u2019s glorious new stardom.\nIn class: Perfect for units covering tragic heroes or characters who fall from grace, Chekhov\u2019s work is a pretty searing commentary on the ideas surrounding what it means to be famous. Your students will have a great time making comparisons between the protagonist and various YouTube or TikTok stars of today.\n7. A Dish Best Served Cold by Tristan Jimerson\nTime to throw a curveball into the game. Have you heard of The Moth? It\u2019s an organization with the mission to \u201cpromote the art and craft of storytelling and to honor and celebrate the diversity and commonality of human experience.\u201d They have open-mic storytelling nights in different cities around the country where people just stand up and tell stories based on a pre-set theme. You can find lots of them on the Moth\u2019s website and on YouTube. This one is about a man who has his identity stolen by a Domino\u2019s Pizza employee. His mission to get revenge will have you and your students laughing out loud.\nIn class: Many of the stories do include a swear word or deal with adult themes, so make sure to preview the story first. I love the idea of sharing verbal storytelling with students of all ages, especially in the context of a funny short story unit. It\u2019s great for reluctant readers and could make an awesome alternative assessment option.\n8. The Catbird Seat by James Thurber\nWritten by the same author who wrote \u201cThe Secret Life of Walter Mitty,\u201d this story is also about an unhappy man who dreams of improving his life. The way he accomplishes this, however, is where the humor (and some shock!) comes in.\nIn class: Introducing students to more challenging text can always be a bit of a tough sell, so it\u2019s nice to have a few short stories to warm students up to the idea. Students can practice transacting with text, asking questions about sections that confuse them, and working together to build comprehension.\n9. \u201cI\u2019m a Short Afternoon Walk and You\u2019re Putting too Much Pressure on Me\u201d by Emily Delaney\nAnother curveball! I love introducing my students to examples of real-life writing that is actually going on today. While many stories on this list are from the early 1900s, this piece was written in 2020 and appeared in McSweeney\u2019s Internet Tendency. The site features humorous pieces on a variety of timely topics. While many aren\u2019t appropriate for school, others, like this one, are perfect examples of how people are still writing and creating today. In this piece, the personified \u201cafternoon walk\u201d explains to the person taking it that it can\u2019t be everything the walker needs it to be.\nIn class: Best suited for older middle school and high school students, I would love to use this as a mentor text. Imagine the creative writing pieces students could create if asked to personify something in their lives.\n10. My Financial Career by Stephen Leacock\nConfession time\u2014I hate ordering food by phone. It doesn\u2019t matter if it\u2019s healthy or not, if I\u2019m ordering for one person or twenty. I hate it. I get flustered and almost always end up messing something up. Hence why this story, about a man who gets nervous in banks, spoke to me. Leacock\u2019s description of the main character fumbling his way through opening a bank account had me laughing out loud.\nIn class: Finding characters from the past that students can relate to is tricky. I like the idea of asking students to free write or discuss what situations make them feel anxious or uncomfortable. They could write down feelings, descriptions, images. After reading this story, they could create their own humorous (or serious) stories about their own scenario.\nWhat funny short stories do you like sharing with your students? Tell us in the comments.\nLooking for even more short stories to share with your class? 51 Great Short Stories to Teach in Middle School\nWant more articles like this? Make sure to subscribe to our newsletters!", "id": "<urn:uuid:ce72422c-169f-4b25-a793-8d25e8a8d1e4>", "dump": "CC-MAIN-2022-21", "url": "https://www.weareteachers.com/funny-short-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663019783.90/warc/CC-MAIN-20220528185151-20220528215151-00380.warc.gz", "language": "en", "language_score": 0.9602468013763428, "token_count": 1889, "score": 3.78125, "int_score": 4}
{"text": "The study of literary texts can be divided into many fields. For example, the analysis of novels can be compared to that of non-fiction books and it can also be compared to the studies of movies, television, music, or other forms of entertainment. A writer, who is an expert in writing literary works, is called a literary critic.\nA literary critic usually has a particular opinion on what he or she considers as a good literary text. As a result, literary works can only have positive points in their literary analysis. It is important for a literary critic to be familiar with different types of literary works. This helps him evaluate the different genres and compare them in terms of quality and originality. In addition to this, a literary critic also analyzes the texts critically.\nA literary critic analyzes the literary texts from a literary perspective. Literary analysis is important because it helps him to understand the different points of view of different authors who are the creators of literary works. Moreover, he also understands the structure and language used in different genres of literary works.\nIn the case of literary works, there are two main types of literary analysis: formal and critical analysis. The formal analysis deals with literary works in the form of their structure and language. The critical analysis analyzes the literary texts in terms of their structure and style.\nThe analysis of literary texts in terms of their structure can be divided into four different aspects: the first aspect refers to the structural aspects of a work such as the structure of a novel, the structure of a poem, the structure of a drama, or the structure of a play. The second aspect of the structure of a literary work includes the structure of the author, the structure of the reader, and the structure of the work\u2019s reception.\nThe third aspect of the structure of a literary work includes the structure of the author, the structure of the work\u2019s reception, and the structure of its style. Finally, the fourth aspect of the structure of a literary work refers to the structure of the literary work itself. The structure of a literary work is composed of the elements such as plot, theme, main characters, secondary characters, actions, plot devices, plot development, dialogue, character relationships, setting, events, conflict, plot, character, climax, resolution, plot devices, and other literary elements.\nLiterary analysis is also referred to as interpretation and research. As such literary works are examined, analyzed, and analyzed in order to determine the main meaning of the work.\nAs part of the analysis process, a literary text may undergo three different processes. These processes include textual analysis, criticism, and comment. These processes vary depending on the complexity of the literary work.\nTextual analysis refers to an analysis of literary works based on the context and meaning of the literary text. This type of analysis may refer to the text\u2019s genre, the specific literary genre, and even the particular type of text. This type of analysis involves analyzing the literary text to determine its structure and style. It also analyzes the structure of the text to find out what makes it unique from other literary texts.\nCritical analysis refers to an analysis of a literary text based on the literary text\u2019s genre, meaning, style, structure, and theme. It also analyzes the specific genre to identify the main meaning of the work. The type of critical analysis depends on the complexity of the literary work. In some cases, it involves the analysis of texts of the same genre.\nCommentaries, whether oral or written, are also part of the analysis process of literary works. They may include both theoretical and critical analyses. There are various types of commentaries that can be considered when analyzing a literary work. These commentaries may either be critical commentaries or explanatory commentaries.", "id": "<urn:uuid:1161f315-f0bd-42a9-b172-cd6a78b421ec>", "dump": "CC-MAIN-2022-21", "url": "https://domygreexam.com/literary-analysis/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662644142.66/warc/CC-MAIN-20220529103854-20220529133854-00180.warc.gz", "language": "en", "language_score": 0.953448474407196, "token_count": 769, "score": 3.6875, "int_score": 4}
{"text": "<img class=\"size-medium wp-image-1311 lazyload\" alt=\"Brad Windhauser is an author, teacher, and blogger.\" src=\"https://ericswyatt.files.wordpress.com/2013/01/brad.jpg?w=265\" width=\"265\" height=\"300\" /> Brad Windhauser is an author, teacher, and blogger.\nWe will start our week with Raymond Carver\u2019s story, Cathedral, with an essay about the choices Carver made, as written by my friend, Brad Windhauser.\n* * *\nAuthors make several decisions when it comes to choices they make in any given story. One of these choices can involve the degree to which the author\u2019s opinion of the character in their story surfaces. This apparent judgment can effectively direct the reader\u2019s opinion of said character if the goal of the story is show how awful a particular character\u2019s attitude is. In Raymond Carver\u2019s Cathedral, the author uses his judgment of the bigoted, self-centered narrator to manipulate the reader into seeing him as a jerk in the beginning of the story in order to set up his personality shift by story\u2019s end. The clear judgment presented by the author allows for the message about the necessity in this personality shift to resonate more.\nIn the opening paragraph, we learn that a friend of the narrator\u2019s wife\u2014a friend whose wife has just died\u2014is coming to visit. This friend is blind, a fact that makes the narrator uncomfortable. The story addresses this bigotry head on. The story builds until the narrator learns to appreciate the blind man as a human being (and not just someone with a disability).\nThe story immediately establishes the narrator as a self-centered bigot. The author\u2019s language choice makes clear that this is negative. The narrator\u2019s indifference to the blind man comes through in the thought \u201cHe was no one I knew,\u201d and that \u201c[him] being blind bothered me.\u201d Clearly, the narrator only cares about things involving himself. This perception builds as the narrator relays sitting with his wife while listening to a tape she made for the blind man. He agrees to listen to it because he\u2019s mentioned on it. And when his part passes and they are interrupted, he is fine to not return because he heard all that he wanted to hear.\nHis insensitivity that results from this attitude surfaces in his invitation to take the blind man bowling. The wife\u2019s reaction to this insensitivity conveys the author\u2019s attitude towards this point of view: \u201cWhat\u2019s wrong with you?\u201d she says. We also learn that the wife does not like what she sees in her husband\u2019s face when the blind man enters their home\u2014she\u2019s disgusted with his look, and her reaction conveys the judgment about the narrator\u2019s poor attitude.\nBut once the narrator notices that the blind man defies some stereotypes\u2014he, for example, does not wear dark glasses\u2014the narrator eases his harsh pre-conceived notions and allows a change in his outlook. This leads to the story\u2019s climax when he attempts to describe the cathedrals that are profiled on the TV program and then have the blind man follow the narrator tracing a cathedral to get a better feel for how they appear. The narrator has changed at this point, for he appreciates the blind man: he finally offers to do something for the benefit of someone else.\nThe narrator is a selfish, self-centered bigot and the author uses these details to create a character the reader is supposed to judge in the beginning. If you look down on his negative characteristics, this sets up a deeper appreciation for the narrator\u2019s change that occurs in the end. If you did not judge him and this outlook on certain things, the shift in this character\u2019s attitudes would not be as significant. This would dull the story\u2019s message about being open-minded and learning to appreciate what you can\u2019t see in a person (like the cathedrals, \u201cthe interior stuff\u201d) and not what is easily seen but able-sighted people, the exterior.\n* * *\nBrad has a Master\u2019s in English from Rutgers University (Camden campus) and an MFA in creative writing from Queens University of Charlotte. He is an Assistant Professor in the English Department at Temple University. His short stories have appeared in The Baltimore Review and a few online journals. His first novel, Regret (a gay-themed thriller set in Philadelphia) was published in 2007. He is currently looking for an agent for his recently completed second novel, This Too Shall Pass. He is one of five regular contributors to 5Writers.com", "id": "<urn:uuid:9cb88284-6226-46f5-92f8-b63ddbecd8c7>", "dump": "CC-MAIN-2022-21", "url": "https://www.wordsmatteresw.com/post/the-effective-use-of-authorial-judgment-in-carver-s-cathedral", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663048462.97/warc/CC-MAIN-20220529072915-20220529102915-00180.warc.gz", "language": "en", "language_score": 0.966246485710144, "token_count": 992, "score": 3.671875, "int_score": 4}
{"text": "In India, oral transmission of knowledge still continues to be the most important method by which we communicate messages, educate our children on early lessons, learn our scriptures and texts, transmit our stories and nurture knowledge about life and art.\nAll cultures have found ingenious ways to pass on their knowledge systems, through developing formal and informal ways of communication and preservation. Most pre-written cultures had developed systems of transmission of their knowledge such as Homer\u2019s poetry, or the Christian gospel spreading by word of mouth through the apostles of Christ down to the early Christian era. The oral tradition of West Africa was to propagate their stories, and epics by establishing a class of people who took on the task of memorizing and handing down that knowledge to succeeding generations. The markers of this memory consisted of symbols, codes and images that represented different facets of knowledge. Many societies across the world developed elaborate mnemonic devices and formal rituals which became part of remembering and recollecting knowledge in domains such as tales, parables, proverbs, songs and legends, skills pertaining to arts, healing and medicine.\nWhen we examine some signi\ufb01cant ways in which India preserved and transmitted its knowledge, we see that lndia\u2019s oral tradition has followed both \ufb01xed and \ufb02oating patterns of transmission, in codi\ufb01ed and un-codi\ufb01ed forms. While the knowledge contained in the Vedas and its ancillary branches came to be transmitted through an established, meticulous code of memorization, a parallel dimension of non\u2014structured, free transmission also existed side by side. Often these two traditions are seen to interact, respond and support each other, because they emerge from the large stock of the shared wealth of a collective imagination.\nWhile the codi\ufb01ed system of handing down Vedic corpus became dependent on an organized system of learning through the guru-shishya parampara, the narrative-performative tradition of recitation carried on the dissemination of much of our indigenous knowledge. Much of India\u2019s myths and epics such as the Mahabharata and the Ramayana, tales and fables such as Kathasaritsagara and Jataka stories, ballads, legends, songs, and a multitude of knowledge and skill in every \ufb01eld were carried on through a largely \ufb02exible mode of communication, which extends the narrative through interpolations, conscious extensions and embedding sub-narratives. Even if there was an early written tradition, it was believed that \u201cpustakeshu cha yaa vidya/parahastagatam dhanam/samaye tu paripraapte/na saa vidyaa na taddhanam\u201d (the knowledge from books and money gone to another person are not useful, because they cannot come to one\u2019s aid when needed).\nThe mode of oral narration of stories goes back a long way in India. We find that many later texts, which later came to be fixed through the written form, existed as floating stories and versions in specific local milieus. These stories have considerable freedom of interpretation depending on the skill and creative imagination of the narrator, and are open-ended and collaborative, rather than fixed and inflexible. Even when the basic story remain the same, the interpretation changes according to who says it, where it is said and how it is said.\nIn India, there were professional storytellers attached to the temples who narrated stories from the Ramayana and the Mahabharata. A class of itinerant story-tellers told and retold the epics, Puranas legends not merely in the temples but in public spaces across the coutry. Diffrent texts and traditions emerged with local variations and stories and sub-stories began to be integrated into the main plot. With the interpretative skills of the story-tellers, even complex ideas in the Ramayana and the Mahabharata became accessible to a wider audience. Apart from embellishing the same story through sub-narratives, another device of story telling that became popular in India was the stringing of several stories into the same narrative structure; tales and fables such as kathasaritsagara, Panchatantra and Brhadkatha provided a single frame in which multiple stories were embedded.\nA powerful instance of narration of the oral tradition of story-telling is Prabandha Koothu from Kerala, which in dovetailed into Kutiyattam, the Sanskrit theatre. The comic character Vidushaka, the protagonist verbally elaborates diffrent episodes and stories from the epics in Malayalam, a language that was accessible to all levels of people. While narrating the story, the actor spins new stories and anecdotes into the main plot, with copious references to contemporary situations, and the actor directs his attention through ridicule to members of the audience also. Couched in the guise of relating to the texts, the actor through the medium of humour makes references to topical incidents, and the immediacy of the situation become highly entertaining to the audience. The introduction of the \u2018Prabandhas\u2019 written by eminent poets like Melpattur Narayana Bhattathiri also enlarged his repertoire. However, irrespective of the nucleus of the text, oral content become the real text in Prabandha Koothu.\nPerformative elements such as singing and dancing are also popular devices to reach out to audiences. Folks and regional performances like Ramlila, Pandvani and a host of other performances across India also popularized these stories and excited. Ramlila, the story of divine play of Lord Rama, has diverse representations across India and is generally based on the text of Tulsidas\u2019s Ramacharitmanas.", "id": "<urn:uuid:7e583a87-6fe3-424a-b1e1-10beb2d0400e>", "dump": "CC-MAIN-2022-21", "url": "https://globalpress.hinduismnow.org/heritage/transmitting-knowledge-oral-memory-practice-and-methods-of-communication-of-india/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662529658.48/warc/CC-MAIN-20220519172853-20220519202853-00579.warc.gz", "language": "en", "language_score": 0.9540101885795593, "token_count": 1197, "score": 3.546875, "int_score": 4}
{"text": "In January, the Youth Services Interest Group (YSIG) hosted librarian Rhonda Cunha to present on the topic \u201cUnderstanding Literacy Acquisition for Targeted Reader\u2019s Advisory\u201d at the Woburn Public Library. Rhonda is the Early Literacy Children\u2019s Librarian at the Stevens Memorial Library in Andover, MA, and her presentation was detailed and thorough. I\u2019m going to try to condense six pages of notes into a coherent overview here, starting with an important definition:\nReading is making meaning from text.\nIn the public library, Rhonda often overheard misconceptions about how children learn to read; her presentation corrects some of those misunderstandings. As children\u2019s librarians, we are ideally placed to promote literacy, help children love reading, and help parents.\nEarly literacy skills include print motivation, phonological awareness, vocabulary, narrative skills (storytelling), print awareness (how books work), and letter knowledge. Two major ways that public libraries help children develop early literacy skills are through storytime programs and readers\u2019 advisory services: talking with readers and helping them find books they\u2019ll love (ideally, talking directly with the kids; talking with the parents is second best).\nReaders\u2019 advisory is more complex for children than for adults, because they are still developing these literacy skills: the book\u2019s content needs to be interesting to them, and the book needs to be the right level. However, we don\u2019t \u201clevel\u201d books in the public library, for several reasons. Part of helping kids see themselves as readers and develop a love of reading is supporting them, not labeling them. (Benchmarking is a teaching tool for teachers to evaluate what the kids know, determine the point of need, and enable them to teach to the child\u2019s need. \u201cLevels\u201d \u2013 Lexile and Fountas & Pinnell are two common ones \u2013 should not be shared with the kids themselves, let alone their parents.) A young reader\u2019s background knowledge might enable them to read a book more advanced than their designated \u201clevel,\u201d or they might want to pick up a book that\u2019s easier \u2013 and that\u2019s fine.\nHow to Help Kids Choose Just-Right Books for Them:\n- Helping children develop independent reading identities requires respect, trust, and lots of patience.\n- Encourage kids to vary their reading diet, in terms of genres and interests. Give them what they want, and slip in a few extras.\n- Provide lots of choices.\n- Encourage them to abandon books that don\u2019t \u201csing\u201d to them: \u201cGood readers abandon books!\u201d If you don\u2019t like it, don\u2019t read it. (But give it a chance \u2013 start with 10-20 pages, and if you don\u2019t like it, stop. This goes for adult readers, as well.)\n- Use the 5-finger rule. Open a book to a page and start reading; put a finger up for each word they don\u2019t know. (1=easy, 2=still easy, 3=okay, 4=challenging, 5=too hard)\n- Knowing what they don\u2019t like is as important as knowing what they do like.\n- Use the acronym BOOKMATCH: Book length, Ordinary language, Organization, Knowledge prior to book, Manageable text, Appeal to genre, Topic appropriateness, Connection, High interest\nSelf-efficacy is key! Children need to see themselves as capable readers and to believe they can succeed. There are four steps to self-efficacy:\n- Mastery experiences (reading to themselves without difficulty)\n- Social models (seeing adults reading and writing)\n- Social persuasion (encouragement and cheerleading, \u201cI know you can do it!\u201d)\n\u201cWhile children are learning the skills of reading, they must also develop a positive reading identity or they will not become lifelong readers.\u201d \u2013Donalyn Miller\nAdvice for Parents:\n- Reading aloud to children builds receptive vocabulary, which becomes expressive vocabulary. Additionally, kids\u2019 listening comprehension level is usually higher than their reading (print) comprehension. Reading aloud is the most important thing parents can do!\n- Social modeling: Kids should see their parents reading and writing (writing grocery lists, to-do lists, thank you notes, etc.).\n- Read familiar books to keep success high. (\u201cIf they want to read Wimpy Kid sixteen times, let them!\u201d) Read predictable, repeating texts and short books. Read the books they bring home from school to bolster confidence.\n- Make reading a special daily ritual \u2013 try for at least 20 minutes a day/night.\n- Keep it fun and positive. Balance corrections with story flow (focus on one thing each time). If the kid is reading aloud and gets stuck on a word, count to 5 (silently) and supply the word so they can move on.\n- Name the strategies they are using.* Reread the same sentence/book if decoding is slow. Use the language that the school uses when recognizing strategies.\n- Readers who self-correct are checking for comprehension (this is good!).\n- Be aware of cognitive overload** \u2013 it\u2019s okay to take over. Make them happy about reading/being read to.\n- End on a positive note.\n*Recently, I was reading Jenny and the Cat Club by Esther Averill to my four-year-old, and we came across the word \u201cweary.\u201d I asked her if she knew what it meant, and she said no. I read the whole sentence again, and asked her to guess what it meant. \u201cTired?\u201d She got it! I was so excited. I explained that what she\u2019d just done was figure out the meaning of a word from context \u2013 the words around that word. She was really pleased and proud.\n**Cognitive capacity: you have X amount. How much are you using for decoding, how much for comprehension? Accuracy and fluency are important, so readers aren\u2019t using all their cognitive capacity for decoding. Phonics will only get you so far; 40% of the words in English cannot be decoded.\nReading is making meaning from text, so how do we learn to do that? Here are some decoding strategies used in school:\n- Ask: Does that look right? Does it sound right? Does it make sense?\n- Get your mouth ready to say that word. Skip the word and read around it (to get context \u2013 see above).\n- Ask: What would fit there?\n- Break the word up into smaller known words or sounds (families, blends, compounds).\n- Look at the picture for clues (Cunha said, \u201cThere are pictures in books for a reason! There is no cheating in reading\u201d).\n- Before you start reading:\n- Activate prior knowledge (e.g., \u201cWhat do we already know about dolphins?\u201d Look at the book\u2019s cover \u2013 what do you see, what do you notice?)\n- Preview difficult or unknown vocabulary and/or take a picture walk.\n- Be present to notice behaviors, give support, and watch for burnout.\nMore advice and strategies for reading and reading together:\n- As books become more advanced, cognitive demands on the readers increase. The more a kid has in their head already, the less dependent on the text they are (top-down vs. bottom-up processing).\n- The way children acquire language is through a direct connection with people they\u2019re conversing with (\u201cserve and return\u201d communication).\n- When a kid reads aloud, you hear their mistakes, which are informative; in order to teach, you have to hear the errors.\n- Monitor for meaning: Ask big-picture questions, not detail questions (e.g. \u201cHow do you think he felt?\u201d vs. \u201cWhat color was his shirt?\u201d)\nWant to learn more? See below for more resources.\nThe Reading Zone: how to help kids become skilled, passionate, habitual, critical readers by Nancie Atwell\nReadicide by Kelly Gallagher\nThe Enchanted Hour by Meghan Cox Gurdon\nReading Picture Books With Children by Megan Dowd Lambert\nThe Read-Aloud Handbook by Jim Trelease\nBOOKMATCH: How to Scaffold Student Book Selection for Independent Reading by Linda Wedwick and Jessica Ann Wutz\nReading teacher newsletter from International Literacy Association: https://www.literacyworldwide.org/\n\u201cLearning, Interrupted: Cell Phone Calls Sidetrack Toddlers\u2019 Word Learning,\u201d American Psychological Association, November 21, 2017\n\u201cThinking Outside the Bin: Why Labeling Books By Reading Level Disempowers Young Readers,\u201d Kiera Parrott, School Library Journal, August 28, 2017", "id": "<urn:uuid:4b56851b-4894-4a4b-9f39-39a30219d9ef>", "dump": "CC-MAIN-2022-21", "url": "https://jenny-arch.com/2020/03/09/bookmatching-readers-advisory-for-developing-readers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662541747.38/warc/CC-MAIN-20220521205757-20220521235757-00781.warc.gz", "language": "en", "language_score": 0.9387932419776917, "token_count": 1895, "score": 3.75, "int_score": 4}
{"text": "There are many benefits of reading to young children. Being read to helps children develop language and emotional skills. Reading also supports bonding between babies and their caregivers. The best part? It is never too early\u2014or too late\u2014to start reading to the children in your life! Sometimes, it can be intimidating to read to infants and toddlers. You may wonder,\n\u201cWhat\u2019s the point\u2014do they even understand?\u201d or think, \u201cThey never sit still long enough to hear anything anyway!\u201d However, many researchers argue that reading to children\u2014and from a very young age\u2014is the single most important activity you can do to prepare them to learn to read. Reading to infants and toddlers sets the stage for a later love of reading and the development of pre-reading skills.\n- Don\u2019t worry about finishing every book, or even reading all of the words. Focus on the bonding experience.\n- Try to read together every day.\n- Ask questions while you are reading, even if your child can\u2019t yet respond.\n- Read new books, and also read the same books over and over. Babies learn from repetition.\n- When books aren\u2019t available, talk. Describe the things around you. Narrate what you are doing. Make up a story.\nMy baby thinks the book is a snack. This is not only common, it is also appropriate! Babies learn about their environment by putting objects in their mouths to explore the taste and texture. It is also common for babies to explore by ripping. If you can, provide sturdy books that will hold up to biting and tearing. You can also provide books with flaps, mirrors, and new textures to explore.\nMy baby won\u2019t sit still. This is also developmentally appropriate. Continue to read out loud, even as they move away and explore other parts of the room. Show excitement when they show interest in the book.\nWe don\u2019t have access to books. Start talking! Oral storytelling is a great way to expose young children to new words and ideas. It is also a great way to share family traditions and to help children learn about their cultural identity.\nMy child doesn\u2019t enjoy reading together. Be flexible. Try new ways of exploring books, such as looking at the pictures together or flipping through to the pages your child likes. Don\u2019t force your child to sit and focus only on the book; allow them to crawl around or engage with other toys. The goal is to keep the reading experience positive.\n- Children may qualify for free books from Dolly Parton\u2019s Imagination Library.\n- Read Aloud provides book suggestions for children birth to five.\n- Visit Reading Rockets to learn baby-friendly literacy tips.\n- Reach Out & Read provides e-books and tips for learning at home.\nAMY NAPOLI, EXTENSION SPECIALIST | UNIVERSITY OF NEBRASKA\nPeer Reviewed by Jackie Steffen and Lynn DeVries, Early Childhood Extension Educators\nMake sure to follow The Learning Child on social media for more research-based early childhood education resources!", "id": "<urn:uuid:4da14714-4912-4c2a-9259-4b7195fe0c1c>", "dump": "CC-MAIN-2022-21", "url": "https://learningchildblog.wordpress.com/2021/12/08/reading-to-infants-and-toddlers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662550298.31/warc/CC-MAIN-20220522220714-20220523010714-00381.warc.gz", "language": "en", "language_score": 0.9463682174682617, "token_count": 657, "score": 3.90625, "int_score": 4}
{"text": "When parents have conversations with their children, it is important for them to reflect on what may be going on in the minds of those involved. Conversations that include attention to mental processes respect each person\u2019s subjective reality. If mental processes are left out of the conversation and only behaviors are addressed, children miss an opportunity to learn about themselves. They lose a chance to learn about the mental processes that motivate their behaviors.\nFor example, if your child is acting in a disagreeable manner after school, you might think about what may be going on mentally and emotionally and find a way to connect the mental and emotional possibilities with the behaviors. What went on at school today? Was there a test that may have caused distress or perhaps an audition for a musical group? Instead of simply reprimanding your child for his or her unpleasant behavior, wonder and talk about how he or she is feeling and what might be the cause of the irritable mood. You might ask \u201cDid you have a rough day at school today?\u201d or \u201cWould you like to talk about your day?\u201d or \u201cIt looks like maybe something frustrating or disappointing happened at school today?\u201d\nAnother way to help your child develop an understanding of self is through storytelling. You can be the narrator of your child\u2019s day so that he or she can remember and integrate all the events of his or her life. When the day\u2019s experiences are revisited with a person who is warm, caring, and nonjudgmental, it is easier to include all the moments of the day, both the difficult and enjoyable. Invite your child to participate in the story with his or her own memories and ideas as well as questions. You can start with something like \u201cYou had a full day today. After breakfast, we felt a little rushed getting to school.\u201d Then you can fill in the events of the day and the emotional aspects and thoughts that may connect. For example, \u201cAfter school, your friend came over. I heard you both laughing and having such a good time. I wonder if you think you\u2019d like to do that again?\u201d\nEven when you read a story to your child, you can discuss what the characters might be thinking and feeling. By investigating the thinking and feeling behind the behaviors and actions, a new level of meaning develops along with a new dimension for how your child will come to understand his or her own experiences.\nConsider mental processes when you have conversations with your children. Doing so will have an important and positive influence on the long-term development of your child\u2019s character.", "id": "<urn:uuid:c4622e2f-d93d-4d28-8020-7e552c0b8bbe>", "dump": "CC-MAIN-2022-21", "url": "https://kidsareforkeeps.com/important-conversations/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662530066.45/warc/CC-MAIN-20220519204127-20220519234127-00778.warc.gz", "language": "en", "language_score": 0.9761039614677429, "token_count": 535, "score": 4.09375, "int_score": 4}
{"text": "Annually on March 3, World Wildlife Day is an occasion to honor the diverse and magnificent kinds of natural animals. In addition, it\u2019s often celebrated to address the importance of preserving ecosystems.\nAnimals (Fauna )and plants (Flora )play a major role in our ecosystem. They likewise lead to more sustainable development\u2019s overall social, economic, technological, educational, and human well-being.\nHistory and Significance\nThe UN General Assembly declared March 3, the day of the adoption of the Universal Declaration on International Trade in Endangered Species of Wild Flora and Fauna, officially World Wildlife Day on December 20, 2013, during it\u2019s 68th session. How far it has grown into the most important annual wildlife event on the planet.\nSomewhere around 8000 species of plants and animals are endangered, with another 30,000 on the verge of extinction or becoming vulnerable. Around a million species are also thought to have gone extinct.\nFor the United Nations, this day is significant because safeguarding these species corresponds with United Nations Sustainable Development Goals, including 1, 2, 12, 13, 14, plus 15, as well as its goals to alleviate poverty, ensure sustainable natural resource usage, and conserve land life.\nTheme of 2022\n\u2018Recovering key species for ecosystem restoration is the topic for World Wildlife Day 2022. One such theme was selected to highlight the conservation situation of several of the world\u2019s most severely endangered indigenous fauna & flora. This will help focus the conversation on conceptualizing and executing wildlife conservation solutions.\nThis year\u2019s day will focus on the crucial importance of preserving the destiny of critically endangered animal and bird species. This will be done in order to restore their habitats and ecosystems, as well as encourage humanity\u2019s long-term use.\nMovies as Medium\nThere are many mediums or channels to show how animals can bring a change in the human world, but the channel of movies has become an adaptive system of naturally creating a link among various methods. As a result, we\u2019ve seen a slew of animal-centric films. In addition, several Indian and Hollywood movies have provided us with wonderful scenarios in which an animal plays either a primary or supporting role.\nDunston Checks In\nThis was a hilarious Canadian-American children\u2019s comedy film made by Ken Kwapis about an orangutan entitled Dunston who lives in a five-star hotel. The film is based on Dunston\u2019s antics as he tries to elude the overbearing animal control officer. Sammy, a highly trained orangutan, was the star of the show.\nStuart, a mouse who\u2019s being adopted by one human couple out of an orphanage, was the subject of this cute American film, which I truly enjoyed. Stuart (the protagonist character, who is digitally created) is a joy to see. The people that adopted him gave him the surname Little. Stuart won over the hearts of the audience.\nThis one was Disney\u2019s first live-action rendition of one of their animation classics, starring Jeff Daniels and Hugh Laurie with Glenn Close. The film was entertaining and thrilling to see, with 101 lovely dogs and puppies. By far, it outperforms 90s classics.\nHaathi Mere Saathi\nThis superhit Hindi film, starring Rajesh Khanna and Tanuja, had an elephant here as the central character. The elephant was laying down his life, and saving his owner and wife made for such a fascinating viewing experience.\nIt\u2019s a true-blue animal movie that delves deep into the human-animal bond. The film stars Rana Duggubati playing Veerabharathi \u201cKaadan,\u201d an elephant conservationist who fought to save the elephants\u2019 environment. It was shot in Tamil Telugu (Aranya) & Hindi (Haathi Mere Saathi) at the same time.\nHachiko (orig. Hachik\u014dMonogatari)\nRemember those internet stories about one dog who visits a specific location where its owner is every day, only to discover one day that the master would never return, despite the fact that the dog continues to go there? Hachiko, after all, was really the dog who started all this. Such an event has enormous potential for compelling storytelling, and while films have attempted to work with the concept now and then, few others have executed it as well as this one.", "id": "<urn:uuid:0cd6d87a-c689-491a-9ffd-270fed56505e>", "dump": "CC-MAIN-2022-21", "url": "https://theinfosolutions.com/travel/world-wildlife-day-theme-and-top-must-watch-movies/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662595559.80/warc/CC-MAIN-20220526004200-20220526034200-00181.warc.gz", "language": "en", "language_score": 0.9563026428222656, "token_count": 945, "score": 3.578125, "int_score": 4}
{"text": "Last Updated on August 7, 2019, by eNotes Editorial. Word Count: 1424\nUnderstanding Oneself in a Complex World as Theme: Like other tragic heroes, King Lear is on a journey to discover himself amid layers of complicated relationships. He strives to understanding who he is as king and what it means to lose political power. He strives to understand who he is...\n(The entire section contains 1424 words.)\nSee This Study Guide Now\nStart your subscription to unlock this study guide. You'll also get access to more than 30,000 additional guides and more than 350,000 Homework Help questions answered by our experts.\nUnderstanding Oneself in a Complex World as Theme: Like other tragic heroes, King Lear is on a journey to discover himself amid layers of complicated relationships. He strives to understanding who he is as king and what it means to lose political power. He strives to understand who he is as a father and who his daughters are as adults. He strives to understand his aging self, the limits of his mental and physical strength and what it means to approach the end of his life.\n- For discussion: Describe the way in which Lear relinquishes political power, as well as his reasons for doing so. Is he a successful leader? Why or why not?\n- For discussion: How does Lear define his relationships with his daughters? How does he measure their affections in act 1? How do their affections change over the course of the play?\n- For discussion: What control does Lear have over his own future? How does Lear\u2019s agency develop over the course of the play?\nCompassion in a Cruel World as Theme: King Lear is a play marked by undeniable cruelty and tragedy, yet the familial and political ties that move some characters to treachery move others to compassion.\n- For discussion: Consider the instances of cruelty and compassion in the play. Which characters display cruelty and which characters display compassion? Why? Which characters, if any, display both?\n- For discussion: Many argue that the play expresses a pessimistic, or nihilistic, worldview. Do you agree or disagree? Why or why not?\nConflict Between Fathers and Children as Theme: Though King Lear has a considerable political layer, it is also a family drama. The parallel narrative of Gloucester and his sons accentuates the intimate familial conflicts in Lear\u2019s story arc.\n- For discussion: What motivates Lear to ask his daughters to compete for his affection? Why does Cordelia refuse to respond?\n- For discussion: What obligation do Goneril and Regan have to their father? Is Lear justified in his demands? Are Goneril and Regan justified in casting him out?\n- For discussion: Why does Edmund pursue power? Is his pursuit justified?\n- For discussion: Compare and contrast Gloucester and Lear as fathers. Do they deserve the treatment they receive from their children?\nThe Pain of Losing Power as Theme: When Lear abdicates the throne, he sets off a sequence of events that ends in his rambling, crazed and naked, through the wilderness. King Lear enacts both the timeless story of a king\u2019s fall from power as well as the decay inherent in the aging process.\n- For discussion: What authority does Lear have at the start of the play? How does he exert his authority? How does Lear lose his power and how it is redistributed over the course of the play?\n- For discussion: Over the course of the play, Goneril, Regan, Edmund, and Edgar all attain varying degrees of political power. How do they achieve it? How does it affect each of them?\n- For discussion: Compare and contrast Lear as a paternal and political character. How does his relationship with his courtiers compare to his relationships with his daughters? Is he able to maintain power over one group more or less effectively than the other?\nMotifs Underscoring Themes in the Play: A variety of motifs appear over the course of the play that emphasize major themes in the text. Motifs are generally images that repeat throughout a work, carrying symbolic or thematic meanings.\n- Castles and wilderness: These contrasting locales offer the two primary settings throughout the play. The castle comes to symbolize social order and both political power and family ties. Alternately, the wilderness comes to represent a chaos and madness; it is a place far from the human world where characters can pursue their authentic selves.\n- Costumes: Lear wears various regalia over the course of the play before ultimately disrobing, and Kent and Edgar both don disguises. Costumes come to symbolize the difficulty characters having in recognizing themselves and one another.\n- Sight and blindness: Sight, figuratively and literally symbolizes characters\u2019 capacity to see the truth about themselves and others.\n- The Fool: The Fool stands opposite the elite cast in social standing, yet he is the only character Lear allows to criticize him. A purveyor of irony, the Fool warns Lear as early as act 1, scene 4 that it was a mistake to give up his land to his daughters. Mysteriously, the Fool disappears after act 3, scene 6.\nTricky Issues to Address While Teaching\nShakespeare\u2019s Diction and Syntax Are Unfamiliar: Shakespeare is known as a great wordsmith, and his inventive language has puzzled and intimidated students and audiences for centuries. For many, reading Shakespeare is akin to reading a foreign language, both for its archaic diction and its riddlesome qualities.\n- What to do: Introduce students to common Shakespearean dramatic devices before starting the play and critical vocabulary before studying specific scenes.\n- What to do: Describe the character, setting, and plot before tackling the text itself. When possible, show scenes from productions of King Lear or allow students the opportunity to perform passages themselves. Context will support student understanding of figurative language.\n- What to do: Give students ample time for collaborative and guided reading in class. Similarly, consider giving students the permission to skim sections that are less relevant to the class discussion.\nThe Plot Is Complex and Confusing: King Lear can be a confusing play to keep track of. There are two separate plots, which follow the narratives of Lear and Gloucester; there are two characters with similar names (Edmund and Edgar); and there are two characters who use multiple disguises (Kent and Edgar).\n- What to do: Draw on a variety of study guides and organizational techniques to support students as they read the play. Employ creative reading strategies to aid student comprehension. For example, consider having students act out scenes that develop the plot of a specific character, as opposed to scenes that follow sequentially in the text.\n- What to do: Share the following mnemonic: Edgar the Good; Edmund the Mean.\n- What to do: Watch a sampling of film adaptations concurrent with the class\u2019s reading of the text. Have students dramatize key scenes, using a variety of simple costumes to enact disguises.\nMisogyny Is Rampant: The society within King Lear reflects a patriarchal and often misogynistic worldview that held primogeniture as the foundation of political power and property ownership. The opening conflict of the play\u2014the division of Lear\u2019s kingdom\u2014 would have been instantly resolved had he had a son. As Lear\u2019s conflict with Goneril and Regan escalates, his view of women in general as threatening, problematic, disloyal, promiscuous, and even monstrous becomes increasingly apparent.\n- What to do: Invite students into a close reading of the text, analyzing passages in which Lear addresses the topic of gender. Lead them in a discussion about his attitude toward women. Does it change over the course of the play? Is it inherent in his nature, a result of his changing circumstances, or a product of his madness?\n- What to do: Ask students to translate Lear\u2019s language about women into modern parlance. Ask them to reflect on the extent to which such attitudes about women pervade American culture today.\nAlternative Approaches to Teaching King Lear\nWhile the main ideas, character development, and discussion questions above are typically the focal points of units involving this text, the following suggestions represent alternative readings that may enrich your students\u2019 experience and understanding of the play.\nFocus on Goneril and Regan as antiheroes. Invite students to read the text from the perspective of Goneril and Regan. Discuss with them the ways in which women had less access to familial, social, and political power than men did. Evaluate the extent to which Goneril and Regan were justified in the actions they took.\nFocus on social and class conflict. Edgar and Kent both experience changes in social class over the course of the play. Discuss how these changes give them access to different freedoms and privileges as they move between the worlds of nobility and wilderness.\nFocus on the Fool as a rhetorical device. The Fool is often considered the primary vehicle for social critique in the play, voicing social truths that reverberated in pre- Christian Britain and Shakespearean England alike. Discuss the wisdom of the Fool and the unique position he occupies in the world of the court.", "id": "<urn:uuid:8b417973-5195-4c2f-a6c6-63739f3b4114>", "dump": "CC-MAIN-2022-21", "url": "https://www.enotes.com/topics/king-lear/teaching-guide/teaching-approaches", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534773.36/warc/CC-MAIN-20220521014358-20220521044358-00580.warc.gz", "language": "en", "language_score": 0.960228443145752, "token_count": 1898, "score": 3.8125, "int_score": 4}
{"text": "Second grade stories should include four distinct elements and have a noticeable beginning, middle and end. Several tools are available to help students set up a story. These include story frame graphic organizers, in which students record the four elements before beginning to write, and use of the writing process, including pre-writing, and revision. Addressing the following four areas while staying on topic and using correct grammar and punctuation will help your second grader achieve a grade-level appropriate story.\nCharacters in a second grade story should be introduced early, within the first sentence or two. It is helpful to give the reader some important details about the character when introducing him. For example, \"Clarence Smith loved to fish,\" would be a good introductory sentence for a story that goes on to include events about one of Clarence's fishing trips.\nThe setting of a second grade story should also be introduced early on in the course of the writing. Setting should include time and place. If we continue our former example, the story might look something like this: \"Clarence Smith loved to fish. He spent a lot of time near the river with his fishing pole and his dog, Rex. In fact, he was sitting on the bank by the river on a lazy Sunday afternoon when the most unexpected thing happened.\"\nConflict and Events\nThis section makes up the middle of the piece. While there is no exact number of paragraphs that make a story complete, it is important to note that the action of the story should be contained within the middle paragraphs. The main problem of the story should be introduced at this point, perhaps a large fish poking his head out of the water and jerking the pole out of Clarence's hands, followed by the actions the character takes to solve the problem. In this example, Clarence may jump in the water after the fish to retrieve his pole. Students at this level may only have a few actions before the resolution of the story is revealed. That is fine, but students should be encouraged to use descriptive language to paint a picture for the reader. Often, students stray from the main topic, including details that have nothing to do with the actual plot of the story. Discourage this practice by asking your child to explain why he included that detail.\nThe fourth and final piece to the puzzle is the resolution. The resolution should be about one paragraph in length and should include how the main character's problem is solved. It may also include something the character learned through the process of the story. Second grade writers should be encouraged to write how the character feels upon resolving the over-arching problem.\nAlicia Anthony is a seasoned educator with more than 10 years classroom experience in the K-12 setting. She holds a Master of Education in literacy curriculum and instruction and a Bachelor of Arts in communications. She is completing a Master of Fine Arts degree in creative writing: fiction, and working on a novel.", "id": "<urn:uuid:fc278592-a73a-454b-91e9-bbf0b6f16a8f>", "dump": "CC-MAIN-2022-21", "url": "https://www.theclassroom.com/write-story-2nd-grade-14136.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512249.16/warc/CC-MAIN-20220516204516-20220516234516-00380.warc.gz", "language": "en", "language_score": 0.9657664895057678, "token_count": 602, "score": 4.375, "int_score": 4}
{"text": "4 Ways to Encourage Students to Learn Over the Summer\nby Brianna Richard, on May 28, 2021 10:51:10 AM\nBetween school closures, distance learning, tech troubles, and a global pandemic, students have experienced learning loss across all grades and every area of the country. With summer just around the corner, educators and parents are concerned that students will lose even more. There is good news amidst all the bad! Studies show that summer learning loss can simply be prevented by studying for just 3 hours a week. So how can schools encourage students to work for 3 hours a week over the summer? Regular communication between schools and parents is a great start. Here is a list of four ways schools can communicate with families over the summer while making a lasting impact on students. (Fuller , 2019)\nLocal Learning activities:\nThere are plenty of local learning activities that children can take advantage of over the summer. Most public libraries offer activities like free reading programs. The local library near me gives each student 2 free books for participating and prizes for top readers! Many libraries and local museums are also offering free summer events and virtual field trips. Schools can update families about local events and activities and keep kids learning all summer.\nInteractive Book Reports:\nMotivating students to read over the summer can be tough. Reading logs are a good way to hold students accountable but not the most effective way to spark student interest. Interactive book reports are a great solution to inspire kids to read and prompt them to reflect on the reading material. There are tons of free interactive book reports online. Students can also design their own book-themed movie poster, t-shirt, or pizza box. Students can incorporate character traits and the storyline of their book into their creations. Book reports are great for all ages and can be posted and shared amongst friends throughout the summer.\nBook Report Ideas: https://www.weareteachers.com/creative-book-report-ideas/\nWriting is an important skill that students can work on over the summer. Schools can post writing calendars. Each day of the week can have a different journal prompt or creative writing idea. These kinds of calendars are great for kids of all ages and prompt students to be imaginative and express their feelings. Students can share their writing with others by posting on Bloomz!\nSTEAM stands for science, technology, engineering, art, and mathematics. STEAM activities can be done with everyday materials you probably already have in your home. They encourage students to think critically, problem-solve, and provide lifelong lessons. One of the great things about STEAM activities is they can be done with a variety of ages. Schools can easily post assorted STEAM activities out over the summer on Bloomz. They can provide activities that the whole family can partake in.\nTeachers and administrators can send a variety of things to parents over the summer. It can be difficult to inspire students to get work done. Hopefully, these ways help!\nHave another idea? Leave a comment below.\n- Photo by Skylar Jean on Unsplash\n- Fuller , J. (2019, June 4). Reduce Learning Loss by Communicating with Parents over Summer Break. Peach Jar.", "id": "<urn:uuid:19cdfe4c-ca82-43a0-9c30-bae7f4381207>", "dump": "CC-MAIN-2022-21", "url": "https://www.bloomz.com/blog/communicating-with-parents-over-the-summer", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662519037.11/warc/CC-MAIN-20220517162558-20220517192558-00581.warc.gz", "language": "en", "language_score": 0.9399506449699402, "token_count": 665, "score": 3.640625, "int_score": 4}
{"text": "Ulysses by James Joyce\nThis free online course provides a detailed analysis of the stylistic features of the narratives in 'Ulysses'.Publisher: NPTEL\nShare This Course And\nCertificazioneView course modules\nThis fascinating course kicks off with selected literary criticism of modernist and postmodernist fiction from the twentieth century. The focus is the novel 'Ulysses' written by the Irish author, James Joyce, and first published in book form in 1922. It is an interesting retelling of Homer's epic poem, 'The Odyssey' about the sailor, Odysseus. \u2018Ulysses\u2019 uses symbols, characters and places to connect the mythical narrative in \u2018The Odyssey\u2019 with the modern story. The plot centres on Leopold Bloom, Stephen Dedalus and Molly Bloom and describes a specific day (16 June 1904) of their lives in and around Dublin. Dedalus is also a character in Joyce's earlier semi-autobiographical work, 'Portrait of the Artist as a Young Man'. Leopold is a Jewish Irishman, who works in the advertising industry. Molly is his wife. The lives of these three central characters are linked loosely to the characters in Homer's epic: Telemachus, Odysseus and Penelope. This course will discuss the stylistic features used in the novel in detail and help you gain a better understanding of Joyce as an author. You will learn about Joyce's writing technique and his use of metaphors with the help of selected passages.\nThe material will take you through the themes of modernism - one of the recurring themes of twentieth-century fiction - that can be identified in this groundbreaking novel. Understand what the stream-of-consciousness technique is and how it has been used effectively by Joyce. See how the \u2018mindscape\u2019 or interior worlds of the characters and the landscape correspond with each other to produce the highly distinctive narrative style. \u2018Polyphony\u2019 and \u2018heteroglossia\u2019 are two very important features of \u2018Ulysses\u2019. Heteroglossia means the presence of two or more expressed viewpoints in a text or other artistic work. Polyphony, in literature, is a feature of narrative writing that includes a diversity of simultaneous points of view and voices. As you go through the selected passages, you will notice many voices speaking together at the same time, which creates a sense of a chaotic, unstable sequence in Dublin. You will also learn about the use of metaphors and political influence: for example, a conversation with the milkwoman is explained as being quasi-mythical and political in quality.\nNarration and kinship are very interestingly entangled and as you learn about these aspects, you will also understand that in this novel, it is difficult to map out the good from the bad, making it \u2018grey\u2019 in nature. References to different kinds of mortality, mysticism and profundity are talked about in a mechanical, almost flippant manner and this gives a dark, comic-like quality to the book. Study how Joyce foregrounds the body, physical sensations and the different kinds of bodily functions, and makes them a part of its realism. Another remarkable aspect of \u2018Ulysses\u2019 that this course highlights is Molly Bloom\u2019s soliloquy, which was radical for its time as Joyce gives voice to a woman who is a central character. Studying literature hones your analytical, creative and critical reasoning skills, and sharpens your ability to use language persuasively. Whether you are studying English literature or doing this course to broaden your mind, a thorough understanding of how narratives, characters and stylistic devices are constructed is helpful in careers connected to the arts, media, advertising, teaching, film and, naturally, creative writing.Inizio Corso Ora\nModernist Fiction and Stream of Consciousness\nLearning Outcomes: Modernist Fiction and Stream of Consciousness\nFeatures of Modernist Fiction\nParody of Significance\nThe Disease of Anti-Semitism\nThe Kitchen Space\nPreservers of Memory\nLesson Summary: Modernist Fiction and Stream of Consciousness\nMachines, Identity and Time\nLearning Outcomes: Machines Identity and Time\nMachinery of the Printing Press\nDrowned with Time\nDivergent Views of Bloom and Dedalus\nMrs. Bloom's Soliloquy\nLesson Summary: Machines, Identity and Time\nBy the end of this course you will be able to:\n- Critique the writing style of the novel 'Ulysses' by James Joyce\n- Discuss the features of modernist fiction\n- Analyse Stephen's recursive guilt\n- Analyse the conversation between Mr Deasy and Stephen\n- Discuss the symbolism of machinery of the printing press in 'Ulysses'\n- Explain how memory and consciousness are a large part of the identity in 'Ulysses'\n- Describe the sense of ambivalence in 'Ulysses'\u2013 how it is a 'grey' novel\n- Identify the inscription of identity in 'Ulysses'\n- Analyse the divergent views of Bloom and Dedalus\n- Describe the constructed quality of time and the celebration of scales in 'Ulysses'\n- Explain the stylistic features used in writing Mrs Bloom's soliloquy\nAll Alison courses are free to study. To successfully complete a course you must score 80% or higher in each course assessments. Upon successful completion of a course, you can choose to make your achievement formal by purchasing an official Alison Diploma, Certificate or PDF.\nHaving an official Alison document is a great way to celebrate and share your success. It is:\n- Ideal to include with CVs, job applications and portfolios\n- A way to show your ability to learn and achieve high results", "id": "<urn:uuid:64766238-2448-4f1e-a25c-bdf59e804b25>", "dump": "CC-MAIN-2022-21", "url": "https://alison.com/it/corso/ulysses-by-james-joyce", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00781.warc.gz", "language": "en", "language_score": 0.9251710176467896, "token_count": 1250, "score": 3.71875, "int_score": 4}
{"text": "This day is dedicated to peace, or specifically to the absence of war. It is observed by many nations, political groups, and military groups. The first year this holiday was celebrated was\nFirst recognized inthis holiday asks that world leaders from every country ask their military and their people to cease fire for one day. It is a day dedicated to the absence of war.\nThe celebrations continue to grow as this holiday enters its third decade.\nMany major cities ring a peace bell. Citizens and students wear a white dove to symbolize peace. And other communities sponsor peace parades and vigils. Celebrating World Peace Day in Your Classroom International Peace Day presents educators with an opportunity to teach their students about history, the importance of peace and the costs of war.\nIt's a day that can be celebrated in many different ways. For example, you might ask each student to write about what peace means to them. You might invite a veteran into your classroom to speak about war and peace.\nYou can also use many of the teaching resources found at Teacher Planet. They offer teaching peace lesson plans. You can also find crafts and activities dedicated to teaching about International Peace Day.\nActivities, clip-art and additional teaching resources help round out the abundance of teaching information. Share the message of peace with your young students and let Teacher Planet help.Peace Day Lesson Plans: Peace Day is celebrated around the world on September This day is a perfect opportunity to have your students write a poem that contains a theme about world peace.\nThis is a P.E.A.C.E. Day acrostic poem creative writing assignment that is set inside a globe template. Celebrate and teach about peace in your classroom with these activities for Remembrance Day and Veteran's Day.\nIncludes a FREE writing templates and poppy art. A post called Peace Activities for Remembrance Day and Veteran's Day, includes a writing lesson and FREE peace writing . List and description of peace circle activities.\nDove (elem) Writing Paper. Poster: UN Day - Peacekeeping. Instructions to design a poster about UN peacekeeping activities.\nSadako and the Thousand Paper Cranes Word Search. Use this 'Writing Prompt: Peace (upper elem)' printable worksheet in the classroom or at home. The International Day of Peace (\"Peace Day\") is observed around the world each year on 21 September.\nEstablished in by unanimous United Nations resolution, Peace Day provides a globally shared date for all humanity to commit to Peace above all differences and to contribute to building a Culture of Peace.\nThe International Day of Peace (\"Peace Day\") is observed around the world each year on 21 September. Established in by unanimous United Nations resolution, Peace Day provides a globally shared date for all humanity to commit to Peace above all differences and to contribute to building a Culture of Peace.\nPeace Day Activity Guide Peace One Day Education aims to advance active learning in the areas of conflict resolution, global citizenship and human rights, using Peace Day 21 September as a focus. From holding a sporting event to writing a peace song, activities can be big, small, loud or quiet \u2013.", "id": "<urn:uuid:4c799ddb-4781-4d81-b946-638541353ea6>", "dump": "CC-MAIN-2022-21", "url": "https://vunajyp.ashio-midori.com/peace-day-writing-activities-10797ja.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662538646.33/warc/CC-MAIN-20220521045616-20220521075616-00781.warc.gz", "language": "en", "language_score": 0.9233672618865967, "token_count": 637, "score": 3.703125, "int_score": 4}
{"text": "Maps are one of the most common types of information graphics, and with the rise of data visualization and improved mapping technologies, they have become quite pervasive. Maps forecast the weather, locate the scene of a news event, or plot statistical information geographically. They are used by the government, private, and public companies and community organizations.\nRoad maps provide direction. Land-use maps outline a city\u2019s zoning parameters. Topographic maps show the physical features of land. Statistical maps correlate data with location. And with the rise of GPS, Google Earth, and multidimensional digital maps, cartography has been more relevant and robust. Map-making is also interdisciplinary, combining geography, statistics, computer science, meteorology and more. Likewise, newspapers, magazines, online publication and broadcast media frequently use maps for storytelling. As a result, research and data analysis are integral for creating effective maps.\nThis chapter explores how technology, cartography, and storytelling converge to tell rich visual stories. It also expands on our understanding of data visualization, particularly as it applies to mapping location-based data. We\u2019ll cover the functions of different types of maps, graphic design considerations \u2013 such as type, color, and structure \u2013 and common techniques for creating interactive digital maps. We will also look at lots of examples of how maps are used to better understand our world.\nCartography vs. journalism: There is an important distinction to be made between pure cartography \u2013 the science and practice of making maps that model reality \u2013 and journalistic map-making. Of course, accuracy is of the highest concern for both types. However, cartographers are generally concerned with modeling reality as closely and with as much detail as possible. Whereas journalists often highlight only the parts of a map that help tell a specific story, downplaying or even omitting elements that could cause confusion or clutter.\nKinds of maps: These days, most people use maps through a GPS device or mobile phone while trying to get somewhere. Just enter the address or name of your destination, and pretty accurate directions appear, complete with a nice lady who will even talk to you while you drive so you don\u2019t miss your turns. However, as visual storytellers, we know that maps serve so many other important purposes, and there are many different types of maps, each of which has a different function. Let\u2019s consider a few of the more common types. Maps covered include: locator maps, geological maps and statistical maps.\nMap construction: Don\u2019t worry. No one is expecting you to illustrate a neighborhood, city, state, or country by memory. In fact, even the best illustrators would struggle to do so accurately. Like any other graphic, good maps require reliable visual reference material. Your map reference should be current, and roads and boundaries should be accurate. State and world atlases, phone books that include simple area maps, county maps, and road maps are all great sources for reference. You can also purchase relatively inexpensive Adobe Illustrator files with ready-made map outlines to save time.\nGIS and mapping the news: Geographic information systems (GIS) software is designed to capture, store, manipulate, analyze, manage, and present geographical data. In news settings, GIS software has been used to plot the paths of hurricanes, map election results, pinpoint locations of environmental hazards, chronicle demographic changes, and report census data. In fact, GIS has quickly become an integral part of journalistic storytelling.", "id": "<urn:uuid:87b0c2cd-93f0-45cf-a180-1aa5d0b7ef68>", "dump": "CC-MAIN-2022-21", "url": "http://www.thegraphicsreporter.com/06-mapping-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545090.44/warc/CC-MAIN-20220522063657-20220522093657-00379.warc.gz", "language": "en", "language_score": 0.9359049201011658, "token_count": 718, "score": 3.765625, "int_score": 4}
{"text": "Discover how to make characters come to life, create vivid settings, and develop plot twists that will have your readers on the edge of their seats.\nThe Certificate of Fiction Writing is a creative writing course that will help you to masterfully structure a fictional story and develop a plan for publication.\nIn this online creative writing course, you will learn about the components that make up a fictional story, and how to write different types of fiction, from fantasy to science fiction, romance, comedy and more.\nYou will also learn about theme development, research, writing and editing techniques, as well as how to submit your work to publishers.\nOn completion of this course, you will have developed the knowledge and skills to research, write and edit a fictional story, from short stories to novels, for publication.\nUnit - Writing Fiction\nUnit 1 \u2013 Scope and Nature of Fiction\nTypes of Fiction (Category/genre and Mainstream)\nCharacteristics of Category Fiction (strong plot, hero/heroine, motivation. Action, background/setting)\nCharacteristics of Mainstream Fiction (Strong plot, Action or intrigue, hero, heroine, romance, happy ending)\nGetting an Idea (using a fragment, philosophical approach, develop from a title or opening sentence)\nTypes of writing\nWrite an Analogy\nWriting a Balanced Theme\nAre You Suited to Writing Fiction ; Imagination, Being Informed, Human Behaviour\nImportance of Focus\nUnit 2 \u2013 Components of a Story\nDeveloping your own Style\nAspects of Style\nUnit 3 \u2013 Technique\nConception (Characters, Settings, Events)\nWrite a Synopsis\nDeveloping a Story\nExamples of Plot Structure\nMethod Writing (Developing characters, changing characters, Appropriateness of characters, Revealing characters through crisis, names, stereotypes, creating dynamic characters)\nWriting a Draft\nEditing and Rewriting\nUnit 4 \u2013 Conception and Research\nConceiving a Story\nParts of Conception\nMaking conception original\nTypes of research (Primary and secondary data)\nPlanning a formal survey\nUnit 5 \u2013 Drama\nWriting a Dramatic Story\nTransition between events\nPoint of View\nRepresenting Characters Speech\nUnit 6 \u2013 Fantasy\nMethods to develop Sci Fi\nUnit 7 \u2013 The Short Story\nCharacteristics of Short Stories\nLength in terms of: the time frame; the number of characters; the number of events; the number of settings\nCommon Problems with Short story Writers\nUnit 8 \u2013 The Novel\nPlanning a Novel\nMaking a story Endure (Archetypes, etc)\nSubmitting a Manuscript\nEstimated duration 50 hours\nCourse Delivery and Start\nStart anytime, self-paced and 100% online\nAssessment will be comprised of written exercises, including short-answer questions, reflective tasks, short reports and/or projects. There are no examinations or due dates for assessment. As a result, you can complete training in your own time and at your own pace with the assistance of unlimited tutor support.\nWhy Choose Australian Online Courses?\nProfessional development that is widely recognised and respected;\nImprove your employment opportunities;\nStudy online, anywhere via our elearning system;\nHigh-quality professional development programs written by industry experts;\nAll course materials provided online \u2013 no textbooks to buy;\nUnlimited tutor support via email;\nWe offer twelve (12) months\u2019 access, with extensions available upon application (fees apply);\nCourse may be tax deductible; see your tax advisor.\nAre there any entry requirements or pre-requisites?\nThere are no entry requirements or pre-requisites for entry into this program.\nHow long will it take to complete this course?\nThe approximate study hours for this course is 50 hours. We offer twelve (12) months\u2019 access, with extensions available upon application (fees apply).\nCan I purchase optional printed materials?\nWhile printed materials are not available for purchase, PDF copies are available for download and self-printing for this program.\nWhen can I start this course?\nYou can start within 60 minutes during business hours when you enrol and pay in full with a credit card!\nCredit card: Within 60 mins during business hours.\nBPAY: Within 1-2 working days.\nInternet Banking: Within 1-2 working days.\nCheque/Money Order: Upon receipt of mailed cheque.\nWill I receive a certificate upon completion of this course?\nYes! You will receive a Certificate of Attainment upon successful completion of your assessment.\nDo I need to attend classes or undertake any work placements?\nNo. All courses are delivered online via our e-learning system and there are no work placement requirements in this course.\nWhat support can I expect from Australian Online Courses?\nUnlimited tutor support is available throughout your studies via email during business hours Monday to Friday. Our Administrative team are available Monday to Friday via email, live chat and telephone.\nI am an international student. Can I enrol into this course?\nYes! We accept enrolments from individuals both within Australia and internationally; location is no barrier to entry into our programs.", "id": "<urn:uuid:77e8113a-6367-4c07-8bb2-da5842b7cb14>", "dump": "CC-MAIN-2022-21", "url": "https://www.australianonlinecourses.com.au/courses/certificate-of-fiction-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662588661.65/warc/CC-MAIN-20220525151311-20220525181311-00581.warc.gz", "language": "en", "language_score": 0.8824452757835388, "token_count": 1128, "score": 3.625, "int_score": 4}
{"text": "\"Computing isn't about computers,\u201d remarks Paul Curzon, one of CS4FN\u2019s authors. Computer science, or CS, \u201cis about people, solving puzzles, creativity, changing the future and, most of all, having fun.\u201d As educators, that\u2019s what we\u2019re aiming for, isn\u2019t it? Learning and fun.\nLet\u2019s talk about the learning part. CS is an important 21st-century skill- one that our students will need in order to effectively participate in the socio-economic landscapes of adulthood. Engaging in computer science strengthens aptitudes like logic and analytic processing, which have enormous cross-content carryover.\n\u201cComputer science is the study of problem-solving. A computer scientist views a computer the way an astronomer views a telescope. It\u2019s a way to get at what you\u2019re really interested in studying\u201d, explains CS professor Mehran Sahami. At the core of computer science is something called \u2018algorithmic thinking\u2019- the process of analyzing and problem-solving in a step-by-step fashion. Through CS, students learn to apply creativity, critical thinking, and systematic patterns in order to solve a wide variety of real-world challenges.\nBut computer science doesn\u2019t always have to be, well, so scientific. It can also be used to create magic tricks, play games, and crack secret codes...all while teaching students to think like a computer.\nIf you\u2019re wondering where to start or looking for new ways to embed CS in the learning day, there\u2019s good news- computer science is virtually everywhere. Here are some fun ways to incorporate CS into any classroom.\nActive Play & Physical Education\n\u201cOne way to make coding for kids engaging is to mix it with active games.\u201d This is the message behind Unruly Splats, a K-8 STEM platform that combines epic coding for kids with interactive play. \u201cStudents are naturally great at creating their own games on the playground and understanding the rules for games is the first step in computational thinking. After all, the rules for the games are the rules for the code!\u201d\nWith Unruly Splats, students use their creativity to build interactive recess-style challenges using code. Or, remote learners can make virtual games with lights, sounds, and colors with virtual Splats or Splats at home. The rules for the game are the rules for the code. By adjusting the code, students can modify games and make their own rules (like adding a timer into the play). These tweaks to the code help students learn problem-solving skills and foster both creativity and student ownership. Traditional play structures, like Four Corners or Whack-a-Mole, take on a whole new level of learning fun!\nFor as long as humans have existed, we\u2019ve communicated through stories. \u201cHow we tell and experience stories has evolved over the years,\u201d notes The Resilience Educator. \u201cToday, technology has made storytelling more interactive. We can now become a part of the story.\u201d Digital stories build on oral tradition by using computer-based tools to integrate dynamic media elements. The process can take any number of shapes. For example, students might create their own blogs, websites, photo diaries, social media pages, movies, slideshows, or virtual journals in HTML. And, they may enhance their stories with images, music, recordings, animation, or special effects. Students may also use digital storytelling software or editing tools as a part of the process.\nThere are many benefits to creating and watching digital stories, including \u201cthe potential to increase the information literacy of a wide range of students\u201d. (Educause Learning Initiative, 2020). In fact, engaging in digital storytelling develops proficiency with multimedia applications, encourages critical thinking and supports affirmative self-concept.\nArt & Music\nDr. Lucy Kosturko believes that music and CS naturally mirror one another. \u201cMusicians read sheet music. Sheet music contains a series of instructions written in a well-defined language establishing things like instrumentation, duration, and pitch,\u201d she writes. \u201cComputer code, again a series of instructions (in this case read by a computer instead of a cellist), can be one of many well-defined computer languages that adhere to rules of notation and syntax, not unlike a Bach chorale.\u201d\nMusic and coding are not only structurally similar- they are also mutually supportive. Kids4Coding Co-Founder AnnMarie shares that, \u201cBy composing and remixing music, students learn complex programming languages in a creative context, allowing for experimentation with music and code without prior knowledge of either one.\u201d\nHow can music and CS be integrated into the classroom setting? Students can use digital tools to create their own music videos or run MIDI conversions. Cathy Truesdale, a PreK to 4th Grade Music and Performing Arts teacher at Canterbury School in Florida, recommends working with students to code favorite tunes or holiday songs- and then encouraging students to create special effects with Unruly Splats.\nThere\u2019s never been a more important time for young people to learn to how exercise their voice in responsible ways. A recent call to action from the AACU reads: \u201cTo prepare students for responsible leadership in an increasingly interconnected and technological world, [schools] are seeking strategies for connecting science and technology education with civic and social understanding. [This approach] can help students see science and technology in the larger contexts of public policy and quality of life while also promoting collaborative capabilities, critical thinking and communication abilities, and professional skills.\u201d\nThe U.S. Department of Education\u2019s National Day of Civic Hacking offers a great start point. The initiative \u201cpromotes citizens and developers working together using publicly available data, code, and technology to reach solutions that better communities and associated governments.\u201d The National Center for Learning and Civic Engagement recommends using CS to re-envision traditional simulations, (for example, \u201cstimulating a professional work environment by trading emails, planning meetings, and conducting research\u201d or employing programs such as iCivics that provide real-time feedback). Teachers can also invite simulation using tools like Unruly Splats, which can be programmed to teach kids about voting through coding.\nWith computer science, there\u2019s room for discovery and adventure. \u201cWe should celebrate computer science because it is a beautiful, challenging subject that can leave students with a love of learning and an appreciation for problem solving\u2014and then inspire them to use that telescope to explore the wonders of the universe.\u201d\nReady for more? Check out these additional resources!\nThe Colorado Department of Education offers an entire bank of computer science resources for educators.\nComputer Science For Fun offers a wide range of CS activities designed to inspire and excite students.\nLooking to get kids moving, too? Unruly Splats combines active physical play with tough-to-learn concepts in technology.\nLeft Brain Craft Brain keeps tabs on \u201cplugged\u201d and \u201cunplugged\u201d CS and coding activities!", "id": "<urn:uuid:821741ae-4b7b-4a3c-a906-be7602db92a1>", "dump": "CC-MAIN-2022-21", "url": "https://blog.edcuration.com/computer-science-is-fun-4-engaging-ways-to-launch-a-cs-initiative-today", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517245.1/warc/CC-MAIN-20220517095022-20220517125022-00180.warc.gz", "language": "en", "language_score": 0.9248231053352356, "token_count": 1491, "score": 4.03125, "int_score": 4}
{"text": "Simply ask them to collect some photos from magazines or the internet. In particular, one type of journal which works best for third graders is an. where the student can draw and write their own words entirely. A Sonia-Inspired Activity: Poetry Read-Alouds, A Malala-Inspired Activity: Listicle Blog Posts, Storyboarding: Using Pictures to Teach Words, The Zoo Stories: Imagining Animals at Night. Help your students develop their writing skills with exciting third grade writing activities such as a spelling game and a sentence scramble. Here they can keep note of everything that inspires them daily. This fun writing activity takes a regular task - writing a story - and transforms it into a collaborative writing experience for hilarious results! Feb 27, 2017 - Explore Beth Ligon's board \"Writing Activities for Third Grade\", followed by 261 people on Pinterest. Simply ask your students to think of their favourite singer or band. Never again will you be lost for inspiration or 6 Writing Activities for Endangered Species Day. The finish the story game is a fun way to collaboratively write a story with your friends or classmates. The freedom that journalling gives students will show them the fun and easy side of writing, which often gets missed in classrooms. Our motto is This introduces your students into daily writing without too much pressure on what to write and how to write it. Encourage your third-grade students to show their creative sides, with our most popular creative writing printables. The story can be as weird and as wonderful as you like as the players are in charge. See more ideas about Writing activities, Teaching writing, Classroom writing. The basic idea of this game is that one player starts the story off with a short sentence and then the other players continue the story using their own words. This is not only a fun arts and crafts activity, but it is also a fun way to encourage your kids to see the creative side of writing. . Here's how you can help, using a technique called \"storyboarding.\". Alternatively, you could provide your students with a set of random image prompts. This activity will inspire adults and kids alike to take time to explore the beauty in their community and discover the colors of fall while developing their descriptive and creative writing skills! For example, if a student is really good at playing Minecraft, then they could write a guide on how to build a treehouse in Minecraft. In the third grade, students are just beginning to express themselves through writing. Receive monthly writing resources to your mailbox, such as writing prompts, printables and story craft ideas: Copyright \u00a9 2020 Imagine Forest, All Rights Reserved. Here is where you can go into great detail. We have third grade reading activities to keep them engaged as well. You students could even create a whole set of paper puppets, with paper scenery and props \u2013 Which can all be kept safely in a shoebox. And every day they can stick an image or two into their notebook with a short caption to describe the image. With this activity, your third grader will get experience with informational writing, and your Thanksgiving guests will leave with a keepsake to cherish! If you\u2019re planning on adding comic strips to your lesson plans, you should take a look at our blog post on, creating your comic strips and comic books, How to Retell a Fairy tale in 5 Easy Steps. This could be a story about a footballer or a storyboard for a video game idea. In particular, one type of journal which works best for third graders is an ideas journal. Forget about writing for a moment and just get your students to imagine something new. This is not only a fun arts and crafts activity, but it is also a fun way to encourage your kids to see the creative side of writing. Journaling has never meant to be perfect. Instead of assigning the topic of the guide, ask your students to come up with their own topic. This way they can experience the relaxing and fun side of writing. Then give them the task of writing their own song lyrics for those people. Once the paper puppets are created you can hold your very own paper theatre shows in the classroom or at home! This is a really quick and simple writing activity to encourage your students to, . This holiday, why not memorialize some of those details and events with a family poem? 3rd Grade Writing Prompts (This is where you can find the prompts from the printable pdf and discover even more great writing information for your grade 3 child.). Students can write their own scripts and then using their puppets act out a scene. If you\u2019re planning on adding comic strips to your lesson plans, you should take a look at our blog post on creating your comic strips and comic books. This means writing because they love writing and not because your students are being told to write for a school project. We have. Only 22% of students aged 8 to 11 years old write something daily outside of school (Source: Literacy Trust, 2018). If you continue to use this site we will assume that you are happy with it. We\u2019re sure that every one of your students loves listening to music. Alternatively, you could provide your students with a set of. This could be a newspaper article, a certain photograph or even a quick doodle. Many kids find themselves especially challenged by writing in third grade. Give your third grader's reading and writing skills a stretch: have her create a Care Manual for your pet the next time your family goes away. Help second graders grasp their understanding of tall tales and practice writing with this activity by writing about their own family! These activities show your child that their writing matters and someone will get to enjoy their hard work. There are three ways you can use storyboarding to encourage students to write. Sign-up to our community for FREE writing resources and tools to inspire you! Writing (668) 1st Grade (3,279) 2nd Grade (1,238) 3rd Grade (622) Kindergarten (4,903) Preschool (4,353) Worksheet Section (336) Popular Top 10 3rd Grade Kids Activities Third grade is the perfect time to show your students the importance of writing in our daily lives. How-to guides do sound like a normal, typical writing activity in the classroom. Third grade is a wonderful time for reading and writing development, and these third grade writing worksheets are designed to get kids excited about expressing their thoughts. This final method is great if your students already have an idea in mind for a story! Big, bigger, biggest (3rd grade) Big, bigger, biggest (3rd grade) See how we can change the amount expressed by an adjective! Get your students to create their own paper finger puppets based on their favourite movie, TV show or even their imagination. Writing song lyrics is a form of poetry. For more tips and ideas on how to play this game, read our post dedicated to the. After completing their pumpkin, they\u2019ll write a short story about a new adventure related to their picture book. >And the final way involves using completely blank storyboard templates where the student can draw and write their own words entirely. Once the paper puppets are created you can hold your very own paper theatre shows in the classroom or at home! 3rd grade Writing Sort by ... Help your students develop their writing skills with exciting third grade writing activities such as a spelling game and a sentence scramble. Eventually, the ideas journal should become your student\u2019s number one. Writing a book about a favorite trip can be fun, rewarding and a great way to practice organizational, thinking, and communication skills. Improve your creative writing skills and imagination through exploring our website. and effective for all its users. based on their favourite movie, TV show or even their imagination. Make a poster with your child about what she wants to be when she grows up, while helping her practice her writing, researching, and artistic skills. Copyright \u00a9 2020 Education.com, Inc, a division of IXL Learning \u2022 All Rights Reserved. This will help them see the real importance of writing in their daily lives and even encourage them to continue writing outside of school time. And if your students are feeling brave enough, they even perform their song in front of the class! Download your worksheet now. Help your third grader practice his writing skills and learn to operate household appliances like the washing machine or DVR with this Family How-to guide! Alternatively if one of your students owns a pet, they could write a guide on how they take care of that pet at home. This is a really quick and simple writing activity to encourage your students to write daily. This final method is great if your students already have an idea in mind for a story! Ask them to draw a monster. Even as adults, we scribble quick thoughts into our journal without second-thinking our grammar or spelling. The second method is dedicated to those students that just lack inspiration. All to help you write your own stories in no time. 9 Fun 3rd Grade Writing Activities . You can create a lasting memory in the form of a poem with contributions f. Children will learn why and how to compost as they help with the process of filling their compost, turning it, and observing the changes that occur.\nButterball Turkey Breast Recipe Oven, How To Start Fish Farming, Nike St\u00fcssy Water Short, How To Make The Best Survival Base In Minecraft, Old Grizzly 14'' Bandsaw, Scottish Shepherds Plaid, Seeds Of Change Quinoa And Brown Rice With Garlic, Digital Marketing Messages, Fallout 4 Visible Weapons Xbox One,", "id": "<urn:uuid:02932fa3-59f4-4b28-a337-c0e063837fec>", "dump": "CC-MAIN-2022-21", "url": "http://www.castresinletters.co.uk/article/3rd-grade-writing-activities-24ac33", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662588661.65/warc/CC-MAIN-20220525151311-20220525181311-00582.warc.gz", "language": "en", "language_score": 0.9586275219917297, "token_count": 1963, "score": 3.828125, "int_score": 4}
{"text": "By Katie Carpenter\nOn May 25, 2020, the world witnessed the killing of George Floyd at the hands of a Minneapolis police officer. The killing sparked a global movement of protests demanding racial justice and police reform. That day raised many questions about race in America, including, Where do we go from here?\nAs the trial of former Minneapolis Police Department Officer Derek Chauvin unfolds, more questions will arise. It offers an opportunity to bring tough conversations about race and equity into your classroom and home. It is a chance to have a conversation about how we can all do better and fight for a more equitable world for all.\nAs trusted parents, teacher and caregivers, it\u2019s our responsibility to have open and honest conversations about race and racism with our children. It isn\u2019t always easy, and we may ask ourselves if the topic is too big or too scary for little ones to handle. But, talking honestly about racism is necessary in order to raise kids that understand our country\u2019s systemic racism and the legacy of slavery that has shaped the inequities that we see and experience today.\nYou don\u2019t have to do this alone. Below are multimedia resources designed to empower and guide teachers and parents through conversations about racial justice with your children and students.\nTrial & Tribulation: Racism and Justice in Minnesota\nOn May 25, 2020, we witnessed George Floyd\u2019s police killing in a video watched around the world. As the trial of former MPD Officer Derek Chauvin unfolds in March 2021, we look back at the past year and the last 100 years of Minnesota\u2019s deep racist history, and examine the pressing questions of this moment in our collective history. How did this happen? Why did it happen here? And what does it take to heal? Trial & Tribulation: Racism and Justice in Minnesota is part of the Twin Cities PBS digital storytelling project Racism Unveiled. New videos will be added to this series weekly.\nRacism Unveiled Collection on PBS LearningMedia\nRacism Unveiled is a digital storytelling project that aims to provide surprising insights into how activism, political voice, representation, and voting rights have a direct impact upon the quality of BIPOC communities\u2019 daily lives in Minnesota and beyond.\nPBS KIDS Talk About FULL EPISODE | Race & Racism | PBS KIDS\nHosted by inaugural National Youth Poet Laureate, Amanda Gorman, this half-hour program features authentic conversations between real children and their parents and includes content from Daniel Tiger\u2019s Neighborhood, Arthur, and Xavier Riddle and the Secret Museum. The show looks at race and racial justice-related topics in an age-appropriate way and offers viewers ideas to build on as they continue these important conversations at home.\nMade possible by Target, the Corporation for Public Broadcasting, and Viewers Like You.\nFor more resources on talking about race and racism, visit PBS KIDS.\nLesson Plan: Discuss 22-year-old Amanda Gorman\u2019s inaugural poem \u201cThe Hill We Climb\u201d | PBS Newshour Extra\nNational Youth Poet Laureate, Amanda Gorman, read her poem The Hill We Climb at President Joe Biden\u2019s inauguration on Jan. 20, 2021. She wrote the piece to reflect on \u201cthe history that we stand on, and the future that we stand for.\u201d\nTalking About Race\nThe National Museum of African American History and Culture provides tools and guidance to empower your journey and inspire conversation, whether you\u2019re an educator, caregiver or person committed to equity. Topic themes include: historical understanding, community building, personal reflection, and committed anti-racist practice.\nRace and Racism\nThis \u201cTeachers lounge\u201d collection on PBS LearningMedia is designed by educators for educators, to help empower educators to bring challenging conversation on racism into the classroom.\nTalking to children Authentically about Race and Racism\nThis PBS KIDS for Parents-hosted conversation features fellow parents, educators, child development and trauma experts who join us to share tips and resources for how to talk with young children about racial injustice and violence against Black people.\nRapid Response: Race and Justice\nThis project from PBS NewsHour Student Reporting Labs seeks student stories about how they are experiencing this moment.\nThe Power of We | Sesame Street\nThis collection of easy-to-use multimedia resources can help guide conversations with children about racism and racial justice for all.\nFor Parents and Caregivers\nBelow is a collection of articles that offer a variety of books, tips, and tools to talk about racism with your children.\n\u201cWith so much media around us\u2026 it\u2019s critical that we, as consumers, do our own due diligence to find high-quality shows that will support our kids\u2019 social, emotional, and intellectual development,\u201d writes Daniel Tiger\u2019s Neighborhood creator Angela Santomero in Preschool Blues.\nInaugural National Youth Poet Laureate, Amanda Gorman, reads her poem, Talking Gets Us There.\nConnect with us\nPlease sign up for our weekly PlayDate e-newsletter for updates on new kids and educational programming, resources and opportunities to engage with community.\n\u00a9 Twin Cities Public Television - 2021. All rights reserved.", "id": "<urn:uuid:4cf78bb9-956f-4868-ac74-a3410361dab1>", "dump": "CC-MAIN-2022-21", "url": "https://www.tpt.org/post/how-to-have-tough-conversations-about-racism-with-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662584398.89/warc/CC-MAIN-20220525085552-20220525115552-00179.warc.gz", "language": "en", "language_score": 0.9237947463989258, "token_count": 1094, "score": 3.65625, "int_score": 4}
{"text": "What should a short story include?\nWhat should a short story include?\nThey are true masters at combining the five key elements that go into every great short story: character, setting, conflict, plot and theme. The ELLSA web-site uses one of these five key elements as the focus of each of the five on-line lessons in the Classics of American Literature section.\nWhat are the basic writing skills?\nHere are six skills kids need for written expression, and what can help struggling writers.\n- Reading comprehension.\n- Sentence construction.\n- Genre and content knowledge.\n- Planning, revising, and editing.\nHow do you write a killer short story?\n25 Tips for Writing a Winning Short Story\n- Keep the story tight.\n- Create a complex, charismatic main character, one readers will care about.\n- Give your protagonist a burning desire.\n- Decide what your character is most afraid of.\n- WRITING STAGE:\n- Put your character in motion right away.\n- Use close point of view.\n- Your character needs to react!\nHow much should I write for a 15 mark question?\n2. For any question worth 5 marks the word limit is 200 words, for a 10 mark question it is 350 words, and for a 15 mark question it is 500 words.\nHow do you start a school story?\nFind out which starter makes your partner most interested in reading your story.\n- Start with action or dialogue.\n- Ask a question or set of questions.\n- Describe the setting so readers can imagine it.\n- Give background information that will interest readers.\n- Introduce yourself to readers in a surprising way.\nWhat\u2019s a good sentence starter?\nBelow is a list of possible sentence starters, transitional and other words that may be useful. This essay discusses \u2026 \u2026 is explored \u2026 \u2026 is defined \u2026 The definition of \u2026 will be given \u2026 is briefly outlined \u2026 \u2026 is explored \u2026 In this essay \u2026.. \u2026 is explained \u2026 \u2026 are identified \u2026\nWhat is the best way to start a short story?\n5 Ways to Start a Short Story\n- Hook readers with excitement.\n- Introduce the lead character.\n- Start with dialogue.\n- Use memories.\n- Begin with a mystery.\nWhat are the 5 rules of writing?\nHere are five writing rules to be a better writer:\n- Don\u2019t judge the first draft.\n- Keep it simple.\n- Use adjectives and adverbs sparingly.\n- Always get an outside edit.\n- Break writing rules with intention.\nWhat are the 4 basic of writing?\nWhile there are many reasons why you might be putting pen to paper or tapping away on the keyboard, there are really only four main types of writing: expository, descriptive, persuasive, and narrative. Each of these four writing genres has a distinct aim, and they all require different types of writing skills.\nHow do children start a story?\nA Step\u2011by\u2011Step Guide to Helping Your Child Write a Story\n- Step 1: Think of an idea. A good place to start is by reading a book together.\n- Step 2: Create a character and a setting. Ask your child to create a character and a setting.\n- Step 3: The Beginning.\n- Step 4: The Conflict.\n- Step 5: The Turning Point.\n- Step 6: The Resolution.\n- Step 7: The End.\nHow long should a short story be leaving cert?\nShort story in which mistaken identity is central to the plot for Leaving Cert English #625Lab. Write a short story in which mistaken identity is central to the plot. (Composition question, 100 marks, 2016) #625Lab Wordcount: 1900 words. Even though stories should probably be a little\u2026\nWhat is the heart of a short story?\nCONFLICT: Conflict or tension is usually the heart of the short story and is related to the main character. In a short story there is usually one main struggle.\nIs 2000 words a short story?\nMost short stories are between 2,000 and 7,000 words long, with the most popular length between 2,500 and 4,000 words. Unlike a novel or even a novella, a short story is about just a small slice of life, with one story thread and one theme. Don\u2019t get too ambitious.\nHow many pages should a short story be?\nSome examples of novelettes: Novellas are short novels, from 17,500 or 20,000 words usually up to about 40,000 words, or about 100\u2013200 pages.\nWhat are the 5 parts of a short story?\n- 5 Important Elements of a Short Story. The 5 key elements that make up a short story are:\n- Character. A character is a person, or sometimes an animal, who takes part in the action of a short story or other literary work.\n- Setting. Setting is the time and place that a story occurs.\n- Plot Diagram.\nHow do I start writing for beginners?\nInstead, you can follow a few writing tips for beginners.\n- Enrich Your Vocabulary by Reading Great Books.\n- Never Stop Learning About Writing.\n- Practice Writing as Much as You Can.\n- Research and Give Credit Where It\u2019s Due.\n- Use Online Tools to Check Your Grammar and Originality.\n- About the Author.\nHow can I improve my sentence structure?\nHow to Improve Your Sentence Structure\n- Ensure the information within the sentence is clear.\n- Make sure to use transitional words.\n- Use care with subordinate clauses.\n- Use active voice.\n- Use active verbs.\n- Follow traditional grammatical rules.\nHow do I start a story?\n10 good ways to start a story\n- Spark a reader\u2019s interest. At the start of a story, all you want is for readers to read on.\n- Put a character in a setting.\n- Introduce a main character.\n- Start with action.\n- Hook them in.\n- Make it clear.\n- Have a distinctive voice.\n- Make it dynamic.\nWhat are the rules for writing?\n10 Simple Rules For Good Writing\n- Express, not impress.\n- Simple sentences work best.\n- Active, rather than passive.\n- Know who your target audience is.\n- Read it aloud.\n- Avoid using jargon as much as possible.\n- In terms of words, size matters.\n- Being positive is better than being negative\u2013even in writing!\nWhat is the beginning of a story called?\nIs 1500 words a short story?\nIn the publishing world, short story always refers to fiction. And short stories come varying shapes and sizes: Traditional: 1,500-5000 words. Flash Fiction: 500-1,000 words.\nWhat do you call a short story with less than 1000 words?\nFlash fiction is generally used as an umbrella term that refers to super short fiction of 1,000 words or less, but still provides a compelling story with a plot (beginning, middle, and end), character development, and usually a twist or surprise ending.\nWhat are fluff words?\nFluff definition can be summarised as unnecessary details in a text that are not useful to your audience. Examples of fluff words and phrases include flowery text, the writer\u2019s opinion or extra information that prevents the article from coming to the point.\nWhat are the tips for good writing?\nClean Up Your Writing With These Writing Tips\n- 19 Let your writing rest for a while and edit fresh.\n- 20 Get rid of filler words and phrases.\n- 21 Avoid cliche.\n- 22 Dump adverbs.\n- 23 Develop your comma mojo.\n- 24 Put everything in the right order.\n- 25 Read your writing out loud.\n- 26 Keep a list of mistakes you make often.\nWhat are the 6 traits of good writing?\nThe Six Traits of writing are Voice, Ideas, Presentation, Conventions, Organization, Word Choice, and Sentence Fluency. It creates a common vocabulary and guidelines for teachers to use with students so that they become familiar with the terms used in writing.", "id": "<urn:uuid:6deee87a-f6b5-49fb-ba39-647a94b7532b>", "dump": "CC-MAIN-2022-21", "url": "https://www.yoforia.com/what-should-a-short-story-include/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510097.3/warc/CC-MAIN-20220516073101-20220516103101-00581.warc.gz", "language": "en", "language_score": 0.880980908870697, "token_count": 1762, "score": 4.09375, "int_score": 4}
{"text": "Technology at HVGS isn\u2019t \u2018tech for tech\u2019s sake\u2019. It\u2019s used purposefully and safely to enhance teaching and learning, collaboration and creative thinking.\nWe fully understand that technology is ubiquitous and necessary for young people. It\u2019s important to how they connect, create, express and how they learn.\nThe reality for our young people is that their world of work may involve working for many different employers, across time and distance in jobs that don\u2019t yet exist. They need to be ready for that.\nDeveloping Digital Literacy\nThe digital revolution is here and ever evolving so we\u2019re teaching the digital literacy skills and capabilities our students need to be digital problem solvers, communicators and creators \u2013 armed with a individualised digital \u2018toolkit\u2019 at the ready. We\u2019re doing this by:\n- Creating and communicating using multimedia tools.\n- Developing virtual environments and game-based learning opportunities.\n- Utilising online collaboration tools.\n- Critically evaluating online resources for accuracy of information.\n- Designing solutions to real world scenarios using code.\n- Building and using robotic technology.\n- Exploring emerging technologies.\n- Applying digital skills within real world contexts, across subject areas.\nThe online safety of our students is embedded in our teaching and wellbeing programs from the very early years.\nExplicit cybersafety education helps HVGS students understand their responsibilities in acting appropriately and respectfully to keep themselves and others safe and to detect and report possible threats online.\nWhat devices do we use?\n- In the Early Learning Centre, students have a small number of iPads to use for simple learning activities.\nStudents K \u2013 4 have one-to-one access to the School\u2019s iPad cluster.\nYears 5 and 6 are supplied with one-to-one school specified Windows devices for classroom use.\n- In Years 7 \u2013 12 students are responsible for supplying their own device as part of the school\u2019s Bring Your Own Device (BYOD) scheme.\nA technology-rich environment ensures that student learning is consistent, contemporary and accessible.\nStudents access the internet and digital resources via our school-wide wireless network. Computing facilities include multiple computer labs with desktops and laptop trolleys, a music technology lab and recording studio, a green room and library technology lab.\nFilters and firewalls keep students safe from unsavoury content while at school.\nTechnology in the Curriculum\nHere\u2019s just an example of the ways we use technology:\n- Our preschoolers have been learning about programming. They are using simple code to send Blue Bot Robots on basic directional based adventures.\n- In the Junior School, technology is embedded across key learning areas and in inquiry based learning units. Our Green Screen is a creative way for students to explore digital storytelling and create and share digital content in new and interesting ways. In 2020 our IMAGINE-art space was completed and is a dedicated area for students to express creative ideas and to tinker with design and engineering projects.\n- Our Junior teachers are resourced with coding and robotics tools and training for incorporation into their teaching and learning programs.\n- Students in Years 7 and 8 participate in a STEM program \u2013 a joint undertaking with the Mathematics, Technical and Applied Studies and Science faculties. Through the program, students experience the design cycle and the implementation of a project, tool or model.\n- Technology electives are available for students in Years 9 and 10. Design and Technology, Industrial Technology Engineering and Information Software Technology are all on offer.\n- HSC courses include Design and Technology, Software Design and Development and Engineering Studies.\nOur cocurricular technology program is also buzzing and beeping with opportunity.", "id": "<urn:uuid:aa95e643-d757-4d3c-a58e-8faa0227144a>", "dump": "CC-MAIN-2022-21", "url": "https://www.hvgs.nsw.edu.au/learn/technology-and-digital-literacy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662558015.52/warc/CC-MAIN-20220523101705-20220523131705-00181.warc.gz", "language": "en", "language_score": 0.9140372276306152, "token_count": 784, "score": 3.734375, "int_score": 4}
{"text": "Figurative Language: About\nFigurative language is a form of expression that uses nonliteral meanings to convey a more abstract meaning or message. Oftentimes, it requires the reader/listener to make inferences from written/spoken context.There are many types of figurative language, including similes, metaphors, idioms, hyperboles, and personification*.\nLiteral versus figurative language\n- Literal language: The message is expressed exactly how it is intended (e.g., \u201cI have three homework assignments to finish tonight.\u201d)\n- Figurative language: The message requires inferencing/interpretation or has been learned (e.g., \u201cIt is going to take me forever to finish my homework.\u201d\nWhy Do We Target Figurative Language?\nFigurative language skills are a form of higher order, abstract language. Understanding figurative language is important when it comes to higher academic levels (e.g., middle/high school and college) and the development of complex literacy skills (e.g., the ability to read advanced literature and write longer essays). Individuals with language learning disorders are more likely to experience difficulty understanding the meaning of figurative language in written and oral language, which can impact literacy skills.\nThis is also common in individuals with autism spectrum disorders, who often experience deficits with pragmatic language (social language) and language delivered non-literally. Part of this comprehension limitation is that understanding figurative language requires us as listeners to infer and reason meaning from context. For individuals who learn more \u201cliterally,\u201d this can be a difficult concept to grasp without explicit instruction.\nIndividuals who have demonstrated difficulty understanding figurative language may benefit from goals and intervention that specifically target these skills. Below is a step-by-step process to writing figurative language goals, with a goal bank containing examples at the bottom.\nWriting Figurative Language Goals\nIf you haven\u2019t already, check out our article that outlines How to Write Speech Therapy Goals.\nFor the purpose of this article, we will focus specifically on writing goals for increasing figurative language understanding during therapy or other related instruction.\nThe first step to writing goals is identifying the area(s) of need. This may include formal and informal assessments, observations, and interviews with clients, parents, teachers, and/or caregivers. Once you have identified the area(s) or need, you can begin composing the goals you are going to write and target.\nAs seen above, speech goals should be written with 3* components in mind: the DO statement, the CONDITION statement, and the CRITERION statement.\n*Also commonly included is consistency (we incorporate this!). Aka: does the individual have to meet a specific criterion more than once? A common example of this may include across 3 consecutive sessions. This is usually something understood by the therapy organization/service provider and is sometimes/sometimes not included in the written goal itself. Including consistency statements ensure that the skill has been generalized and provides more reliable data that the skill has been properly mastered.\nWhat the client is actually going to DO and the specific skill they will be working towards.\nExample: will use 2 novel idioms\nThe specific setting and/or context your client will work on this skill.\nExample: within a structured or unstructured conversational task\nHow the client\u2019s performance will be measured.\nExample: in 80% of opportunities\nDO + CONDITION + CRITERION\nExample: [Client] will use 2 novel idioms, within a structured or unstructured conversational task, in 80% of opportunities.\nThere you have it! An example using our Goal Writing Formula containing the DO + CONDITION + CRITERION (don\u2019t forget to think about consistency!) for increasing figurative language skills.\nFigurative Language Goal Bank\nBelow are a series of goal examples targeting figurative language skills within the areas of receptive language, expressive language, and literacy concepts. The goals below can serve as solid examples for common figurative language skill areas, in addition to guides/templates to help you generate and customize your own goals. You can take parts of some goals and mix them with others too (e.g. take the \u201cdo\u201d statement from one goal and the \u201ccondition\u201d from another)!\nExample #1: [Client] will match the correct idiom with its corresponding definition, when provided in a multiple choice field, with 80% accuracy.\nExample #2: [Client] will differentiate between literal versus figurative language sentences, in a worksheet format (e.g., circle literal, underline figurative), with 90% accuracy.\nExample #3: [Client] will infer the correct type of figurative language form within sentences, given a word bank, in 9 out of 10 trials.\nExample #4: [Client] will raise his/her/their hand when symbolic language is identified, when presented in a passage read aloud, in 80% of opportunities.\nExample #1: [Client] will correctly use 2 different types of figurative language, within various conversational tasks, in 80% of opportunities.\nExample #2: [Client] will state the correct type of figurative language, when provided with a written/oral sentence containing a simile, metaphor, or oxymoron, with 90% accuracy.\nExample #3: [Client] will produce the definitions of 5 different types of figurative language forms and provide an example for each, within a structured treatment task, with 80% accuracy.\nExample #4: [Client] will explain the meaning of a given idiom for 8 different idioms, within an oral and/or written format, in 7 out of 8 trials.\nLiteracy: reading and writing\nExample #1: [Client] will color mark (i.e., mark text using colored pencils/highlighters) to illustrate 4 types of figurative language, within a grade-level reading passage, with 75% accuracy.\nExample #2: [Client] will identify (i.e., circle/point to) metaphors, found within 2 forms of poetry, with 80% accuracy.\nExample #3: Client will generate (i.e., write/type) a paragraph containing 3 different types of figurative language, during a creative writing activity, 8 times throughout the treatment period.\nExample #4: Client will write a complex sentence personifying an inanimate object, within a structured literary task, in 4 out of 5 trials.\nFor more How to articles, check out our Goal Bank tab! Featuring some of our top posts:", "id": "<urn:uuid:e308a003-fdb5-4610-94bb-552c17d08e40>", "dump": "CC-MAIN-2022-21", "url": "https://www.communicationcommunity.com/how-to-write-figurative-language-goals/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545090.44/warc/CC-MAIN-20220522063657-20220522093657-00380.warc.gz", "language": "en", "language_score": 0.9070774912834167, "token_count": 1411, "score": 4.3125, "int_score": 4}
{"text": "In the development of children, reading during early years is very crucial. As they enjoy books and read stories, their ability to understand words, use their imagination, and develop their speech increases exponentially. Plus, it really doesn\u2019t hurt if your child deems reading their favorite pastime.\nTeachers, parents, and reading programs like the Dicker Reading Method play a huge part in the development of young children\u2019s reading skills. Because the more kids experience books, the more they gain interest and passion for them. Reading is so much more than just another hobby or a quiet time sitting in a cozy corner.\nReading is the foundation of all learning. It develops spelling, listening, writing, literacy and social skills. Also, from the moment you learned to read, you\u2019ve been reading everyday.\nKids and Reading During Early Years\nYoung kids need to experience books. They need to understand and enjoy stories, rhymes, songs, etc. as they listen and respond to them with enjoyment and curiosity. This promotes the value and pleasure of reading and encourages an interest in reading books throughout school, and then later on in life.\nAs educators, parents, and guardians, it\u2019s nice to know that there are pre-k reading tutoring programs available. Also, there are plenty of books that feature interactive pages (pop-ups, lift-the-flaps, noisy pages, pictures with textures, etc.) that really get toddlers and babies to engage in the storytelling and stay riveted.\nDuring the first five years of life, children develop far quicker. For this reason, they are called the foundation years, because they form the building blocks for life. They set your child up for future success.\nThroughout these years, if they attend a nursery or pre-school, their progress is being monitored to see if they\u2019re growing into their learning as they should be.\nEarly Childhood Literacy Milestones\nBelow, let\u2019s take a look at the various stages where your kids need to be closely monitored to witness their milestones and see how far they can reach in terms of literacy.\n- 8-20 months: Children demonstrate an interest in holding and looking at books around this time. They learn what books are and turn the pages while looking at pictures.\n- 16-26 months: Around this time, kids can identify their favorite books and the stories they want to hear you tell. They also recognize and mimic actions from favorite stories and songs. To encourage this, let them join in one storytelling. Let them tell the story with you.\n- 22-36 months: By age 3, children are capable of filling missing gaps in stories that they\u2019ve heard repetitively. They know their favorite books and they can even help you tell the tales.\n- 30-50 months: When they\u2019re 4 years old, kids recognize a story, know the title, tell the story, and even anticipate endings of the story. They can join in on rhymes as well and recognize words that mean something to them. Their attention spans are also longer, and they can hold books correctly, and turn pages all by themselves.\n- 40-60 months: At around 5 years old, your child can remember and speak words that rhyme with 3-letter words. Their imagination and their vocabulary lets them tell their own stories and create their own songs. Story time means you don\u2019t just read them. It\u2019s way more interactive.\nReading at School and at Home\nUsually, kids start school at around 4-5 years old. Around this time, it\u2019s likely they\u2019ll be capable of recognizing letters, understanding words, and have fairly good listening skills. They can also deal with changes in routine. Typical school day in reception features routine and structure, although it still does involve plenty of free play.\nFun group tasks involve reading and acting out the book together. Imagination runs wild in young children. Most kids and even adults love to sit down and get comfy where they can free their mind and travel into their story book.\nBut because there are plenty of books to read and enjoy, there\u2019s not enough time in a single school day to discover all there is to enjoy with reading. Support from educators and parents with reading at home is just as important as a child\u2019s development.\nSo in addition to reading tutoring while they\u2019re in kindergarten, take some time to share books together. It\u2019s more than just entertainment. This develops their concentration and understanding of the language as well.\nIt\u2019s never too early to start sharing books with your child. And now is as good a time as any.", "id": "<urn:uuid:1f7dc77a-8513-4bd1-bcc1-fb114cf6815f>", "dump": "CC-MAIN-2022-21", "url": "https://dickerreading.com/reading-tutoring/reading-during-early-years/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662552994.41/warc/CC-MAIN-20220523011006-20220523041006-00582.warc.gz", "language": "en", "language_score": 0.9650505781173706, "token_count": 971, "score": 3.75, "int_score": 4}
{"text": "What is narrative therapy?\nNarrative therapy is a form of psychotherapy that focuses on the stories \u2013 or narratives \u2013 that individuals, families, and even entire cultures tell themselves.\nThe theory of narrative therapy rests on the idea that people\u2019s challenges and identities do not come solely from within themselves and their personal experiences; rather, they come from the many contexts surrounding people and the stories that people learn to tell about themselves, their relationships, and their roles in the world.\nNarrative therapy seeks to help you understand and reshape these stories and, by gaining perspective on them, claim the role of authorship in your own life.\nNarrative therapy views clients as the experts on their own lives, with the therapist serving as a guide and partner rather than an authority figure. It also assumes that individuals are separate from their problems, with sessions generally emphasizing curiosity, exploration, and the potential to create more positive stories to reshape current challenges.\nThe course of narrative therapy can vary from only a few sessions to a longer, ongoing process. It can also be used in conjunction with other forms of psychotherapy such as psychodynamic therapy and cognitive-behavioral therapy.\nWhat narrative therapy can help with\nNarrative therapy can be a helpful strategy for just about anyone, since it focused on the near-universal human impulse to tell stories and make meaning out of the events of our lives.\nIt may be particularly helpful for couples or families seeking therapy, since it emphasizes the unique value of each person\u2019s perspective and interpretation of reality. Additionally, it\u2019s one of the few therapeutic modalities that specifically uses a social justice lens, through its emphasis on the strength of societal narratives and the need to understand the impact they can have on marginalized populations. Accordingly, narrative therapy may be especially appealing for individuals with marginalized racial, ethnic, sexual, or gender identities.\nEffectiveness of narrative therapy\nThe quantitative evidence base for narrative therapy is relatively small, but some qualitative studies have found that clients report positive outcomes after treatment with narrative therapy. \nAdditionally, quantitative studies have found significant improvements after using narrative therapy for a variety of issues, suggesting that it may be effective in a range of circumstances that have not yet been documented. For example, one study found that narrative therapy helped improve young children\u2019s social skills, while another indicated that narrative therapy can helpful for adults struggling with depression.\nHow narrative therapy works\nAccordingly to the core concepts of narrative therapy, there is no objective reality that everyone shares; rather, reality is actively constructed by the stories that individuals and societies tell. By recognizing this reality, individuals can learn to examine what kinds of stories are defining their realities and explore how to retell them for more positive outcomes.\nBecause storytelling is a natural human tendency, narrative therapy taps into this inclination and uses basic storytelling concepts such as plot, timelines, key events, and characterization to help individuals gain distance from their personal experiences and find opportunities for desired change. Narrative therapy also assumes that individuals are living many stories simultaneously, some of which are shaped by societal forces that they cannot control.\nFor example, an individual struggling to advocate for herself at work might work with a narrative therapist to uncover the hidden story of her self-perception as a polite, helpful woman. This process could include identifying key events and people from her past that constitute the plot points and characters in that story, and it could also involve identifying societal narratives that relate to her challenges \u2013 for example, the mainstream narrative, reinforced by media and lived experience, that nice women are the ones who succeed. By seeing her personal struggles as the product of these intersecting stories, the woman in this example may be able to discard aspects of the stories that she no longer believes and choose instead to build an alternative narrative that includes a new role for herself.\nViewing oneself as a character shaped by external events can also increase self-compassion and help reduce harsh, critical self-talk.\nStructure of narrative therapy sessions\nAs in most forms of psychotherapy, you\u2019ll likely spend your first session or two building rapport with your therapist and identifying the issues you\u2019d like to focus on in therapy.\nFrom there, you\u2019ll continue to lead a discussion of these issues, with your therapist helping you to find opportunities to bring a narrative lens to the process. This might include piecing together the various stories that you\u2019ve built about yourself over time, as well as working together to analyze the larger family, community, or societal stories that relate to your current situation.\nNarrative therapists generally do not offer advice or judgment; rather, they will encourage you to view yourself as an expert on your life and help you identify the tools, skills, and knowledge already at your disposal.\nWhat happens in a typical narrative therapy session\nThe specific activities of narrative therapy can vary widely, but some common exercises that you might undertake with your therapist include:\n- Listing the dominant narratives that are most meaningful to your self-concept, then examining how these stories came to be.\n- Looking for alternative narratives within the events and experiences of your life. Where are there exceptions to your dominant narratives, and what kinds of stories might these exceptions suggest?\n- Analyzing your narratives for themes, symbolism, and other recurring ideas that might be influencing your interpretation of your life.\n- Externalizing problems by practicing viewing them as separate from yourself. For example, you might think of yourself as an essentially incompetent person and locate this problem within yourself, when really your problem is that you\u2019ve been making mistakes at work recently and need strategies to change this behavior. A narrative therapist can help you make this distinction between internal flaws and external problems.\nWhat to look for in a narrative therapist\nAll narrative therapists should have an advanced degree in mental health treatment and a current license to practice, as well as additional training and education specifically in narrative treatment.\nNarrative therapists may come from a variety of fields including social work, psychology, and psychiatry. Some narrative therapists also have certifications from training institutes such as the Dulwich Centre, which was founded by the early developers of narrative therapy.\nNew to therapy? Learn about how to find a therapist here.", "id": "<urn:uuid:7007b208-8a4b-4eef-ab84-ad125333f365>", "dump": "CC-MAIN-2022-21", "url": "https://zencare.co/therapy-type/narrative-therapy", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662558015.52/warc/CC-MAIN-20220523101705-20220523131705-00182.warc.gz", "language": "en", "language_score": 0.9581860303878784, "token_count": 1315, "score": 3.71875, "int_score": 4}
{"text": "The following writing rubrics for the Common Core were ... Common Core Writing Rubrics, Grades 7\u20138 The following writing rubrics for the Common Core were developed by the Elk Grove Unified School District in Elk Grove, California. There are rubrics for each major writing type described in Writing Standards 1\u20133: argument, exposition, and narration. Essay rubric for middle school | Sales Architects Essay rubric for middle school - 100% non-plagiarism guarantee of exclusive essays & papers. Quick and reliable services from industry top agency. Benefit from our inexpensive custom term paper writing services and benefit from amazing quality Top Quality Essay Rubric High School | Writingbeat.com Rubrics can range for those used in the elementary, high school and college level. They are naturally not all the same, an essay rubric for the high school level will typically contain more criteria than those given at the elementary level. Personal Narrative Rubric - wadsworthstem.com\nCommunity House Middle School * Argumentative Essay \u2026\nThe Tennessee writing rubrics are designed to score the student responses from the writing portion of the TNReady assessment. Each rubric is aligned to the appropriate grade-level standards in the Writing and Language strands. Though the rubrics are not explicitly designed to be used as ... Argument essay rubric middle school - WordPress.com the school hotline rubric at Royal Essays, middle. A middle argument should be posed to the argument to him or herself as a essay, middle argument in the rubric of the argument, and answered middle the school of the argument middle essay. Seek the rubric from a essay of individuals, but middle importantly from the DFO and K-12 Rubrics : Common Core State Standards The Elk Grove Unified School District (EGUSD) created Common Core State Standards-aligned writing rubrics as a resource to assist teachers with this work. These rubrics are intended to help in instructional planning and to provide guidance in assisting students with the writing process. Permission to Use EGUSD Rubrics A Plethora Of Writing Examples For Middle School (& High School) Expository writing examples for middle school. Below are several sources of expository writing samples for middle school students. The Write Source Expository Writing Samples; Holt, Rinehart, Winston Expository Essay Models; Finally, here is an article in the New York Times that will help you teach your students real-world expository writing ...\nAssessment of Learning: Essay Rubric - blogspot.com\nCATEGORY: Exemplary : Proficient : Partially Proficient : Incomplete : POINTS: Research Questions 3 points . 2 points . 1 point. 0 points ___/3: Wrote thoughtful, creative, well-worded specific questions that were relevant to the assigned topic. 5th Grade Opinion Essay Writing Rubric | Elementary and ... Essay writing rubric esl 9 rows \u00b7 This essay writing rubric also contains marks not only for organization and structure, but also for important sentence level mistakes such as the correct usage of linking language, spelling and grammar. close reading essay rubric FREE Essay Writing Rubric from Teach It With Love on . PDF Expository Essay Rubric - Madera Unified School District Expository Essay Rubric English II A B C D F Thesis Statement The Thesis Statement is skillfully introduced in the last sentence of the introduction. It PDF Rubric for critical analysis Essay Rubric for Critical Analysis Essay Maximum: 100 points X 5 4 3 2 Comments INTRODUCTION and CONCLUSION (Background History/Thesis Statement) There is a well-developed introduction with an attention grabber that grabs the reader's interest and continues to engage the reader up until the thesis statement. The thesis statement should\nWriting Rubric For Narrative Essay Middle School\nRubric for essay writing for middle school Class Participation Rubric \u2014 DOC rubrics Pinterest Class Participation Rubric \u2014 DOC.The Middle School TPSP Assessment Rubric is divided into two sections: 1) Developing and Implementing a Research Plan: The Research Process and 2)...\nCreative writing rubric middle school Essay. A muffled moan of grief arose in her throat, and her head throbbed with pain. But she kept silent, because she ad learnt to do so now. The way she had learnt to adjust to her new surroundings in this alien, hostile country, and had learnt to accept the countless jeers and merciless teasing and\nResources for Using Rubrics in the Middle Grades | Edutopia\nEssay Writing Rubrics | Ereading Worksheets", "id": "<urn:uuid:f5c26c7c-b576-40ce-bc96-7e187a9404b1>", "dump": "CC-MAIN-2022-21", "url": "https://emyblog2021iarx.netlify.app/osche37118boba/essay-rubric-for-middle-school-716.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00582.warc.gz", "language": "en", "language_score": 0.8997364640235901, "token_count": 943, "score": 3.703125, "int_score": 4}
{"text": "During the first few weeks of school, it's important to acclimate students to using computers independently. It's also important for you as the teacher to get to know your students and give them an opportunity to express themselves creatively. Storyboard That can help you familiarize students with the use and protocols of technology and allow you to get to know students at the same time. There are tons of ways to introduce your students to Storyboard That with digital storytelling projects!\nOf course, all students don't need to do the same project. Everyone has a different experience each summer: camps, staying home, travelling, family vacations, beach trips, going to the movies, hanging out with friends, lounging at the pool, and LOTS more. Below, you'll find fun ideas for storyboard projects that you can do at the start of the new school year. If you want to extend the fun, we also have ice breaker activity suggestions!\nA new year means a new you! Visualize goals that you or your students want to achieve. Include just the goal itself, and also steps to reaching that goal. Ask students to show what academic, social, and personal goals they have for the new school year on storyboards. This activity is fun to revisit at the end of the year, to see if students accomplished what they set out to do! For more activities related to goal setting, check out our SMART goals lesson plan.\nMany students are assigned summer reading projects, and some students read many, many books over the summer months. Either choose a book that was assigned, or let students choose one of the books they read. Students can create amazing storyboards that show\nOn top of storyboards, students can create posters that showcase the themes, plot, and important elements of the story. Movie posters are one great way for students to show off what they've read!\nEach and every student is their own being with lots of past stories, quirks, favorite things, hobbies, and talents. Give them a chance to present themselves to you and to the class at the start of the year! Storyboard That offers tons of flexibility and art that students will be able to use to create the perfect storyboard depending on what type of information they want to share. They can create things like\nTake your classic beginning of the year writing activity, but spice it up with Storyboard That! Use the traditional layout to create a narrative of \"What I Did This Summer\" (or \"What I WISH I Had Done This Summer\"). Alternatively, students can use the spider map to show various activities or places visited or use a timeline to show the sequence of their summer.\nPick out four or five most important events of the summer and put them in chronological order. It's okay if exact dates aren't used, as long as the order is right. Focus on just a few events, like going to a movie with friends, a family vacation, a big thunderstorm that made the lights go out, or whatever. For students who did \"nothing\" all summer: end of school, July, August, back to school.\nStudents will probably have a lot of assumptions about what the new school year will bring. Whether it's things they've heard from older siblings, the books and shows they've consumed, or just the murmurs of the school hallways, they're already anticipating what's to come. Get a feel for what students are thinking and what they want out of the year by having them create movie posters! What do they think Sixth Grade: The Movie will be like? Need templates to get them started? We've got you covered.\nStory cubes don't just have to be for creative writing activities! Teachers and students can create conversation cubes that include questions or discussion prompts. When students roll the cubes, they can answer the question, tell a fact about themselves, a goal they have, or something they learned last year depending on what's written on the cube faces.\nThese cubes can be rolled during a full class discussion, or you can break students into small groups and have them use the cubes as a conversation starter. The more variety of questions, the more opportunities students have to answer fun questions and get to know their peers!\nStudents may also find it fun to create their own story cubes before this activity. What questions would they like to ask their peers? If you allow students to create their own questions, try to provide them with guidelines about what is and isn't okay to ask in order to avoid students feeling pressured to disclose information they don't wish to share.\nFind more story cube templates to get started!\nAt the start of a new school year, it's fun to know what students want to learn! They may already know what subjects await them based on their previous year or older siblings, but they might not have a clue. A KWL or KWHL chart will give you some insight on where students are coming from and the things they're excited about.\nFor a paper assignment, create custom KW(H)L worksheets to distribute to students on one of the first few days of school. Students can turn these in for you to take a look at, and then keep them in their notebooks or binders to look back at at the end of the year. It can also be fun to complete a KWHL poster as a class and hang it up for students to look at throughout the year. The poster can be edited digitally and reprinted or added on to with markers later in the year.\nIf you're looking for even more awesome things, you can create first day activities that students can complete digitally or that can be printed out and completed by hand! Have students create a coat of arms or a family tree, and get to know a little bit about what makes them unique!\nStudents can also help create some of the decorations for the classroom with the first day activity worksheets! While you've already spent some time setting up an awesome classroom, it can be fun for students to see something they created hanging in the classroom every day. Banners, name plates, and posters are a great way to accomplish this!\nWhat other fun back to school activities do you do with Storyboard That? Send us an email at firstname.lastname@example.org! We'd love to see what incredible things you're doing with your students.\nSchedule a free Guided Session with us to become a Storyboard That pro!", "id": "<urn:uuid:9e68cbcc-8e6a-42f0-8ef2-36c6ae10f907>", "dump": "CC-MAIN-2022-21", "url": "https://www.storyboardthat.com/articles/e/back-to-school", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00383.warc.gz", "language": "en", "language_score": 0.9688575863838196, "token_count": 1312, "score": 3.5, "int_score": 4}
{"text": "We have all heard that tired definition of empathy: the ability to put oneself in someone else\u2019s shoes, perhaps even walk a mile in them. While this might be a useful entry point into discussions about empathy, the metaphor is in desperate need of extension and nuance. For one, we each have different feet, so simply stepping into someone else\u2019s shoes is no indication of how they experience those shoes. Further, the definition forgets that walking takes place in a physical context; even a deep familiarity with the shoe does not give us any useful information unless we know the ground on which it walks (after all, a pair of flip flops on the beach would experience things differently than on a snowy mountain hike). But perhaps the deepest problem with this definition is that it still keeps the \u201cI\u201d \u2013 the person who has decided to put on someone else\u2019s shoes \u2013 at the center of the conversation while empathy is precisely about de-centering the \u201cI\u201d in favour of other imaginings and experiences of the world.\nThus, if we want to strengthen our students\u2019 empathic muscles (I use the word muscle to suggest that the more we consciously cultivate empathy, the stronger our empathic abilities grow), we have to empower them with more than just a self-centered questioning about how they would feel in a given situation. We must teach them to be curious about the original wearer of the shoe, about her/his specific quirks and build, and equally, we must help them learn about the context in which this \u201cother\u201d operates. And then we must be able to unleash their imaginations, support them in an informed imagining of other lives that creates equal space for feelings, dreams, and experiences. The arts can play a unique role in this process of helping us, students and teachers alike, inhabit other worlds. Stories, in particular, whatever the medium of their telling, have a way of welcoming us into a range of experiences unmediated by constraints like familiarity or rationality.\nThe first gift that the arts offer us on this journey is that of curiosity. Most of us have probably experienced how stories about places or periods of time with which we are unfamiliar spur us onto new questions, perhaps to a quick google search or a more extended library visit. I remember how, even when I was a child, the Panchatantra tales made me curious about the lives of monkeys and crocodiles. Today, as a teacher, I use story as an opening into asking questions about the world. When I teach creative writing, I spend a lot of time encouraging students to come up with lists of questions that the story elicits for them. They may be questions about how a character feels, why their world is set in a particular way, why the author chose a particular genre, how the story links back to their own lives, what happens next. The point is not necessarily for students to answer these questions, only to ask them, repeatedly.\nOnce this questioning has become a habit, you can take this one step further. Create assignments around asking questions in the world. Perhaps your fourth-grade students need to write about their neighbour\u2019s favorite foods instead of their own; encourage them to go across and ring the doorbell. Perhaps your eighth-grader will need to ask a grandparent about their childhood dreams and paint a dreamscape in response. Perhaps your eleventh grader will visit a school or organization that works with a very different demographic group from their own and write a short biography of someone they interview there. When you give students assignments that begin from questions about people unlike themselves, and which then culminate in creative projects for which the student must also look inwards, you encourage them to become curious about the world and how they relate to it. In doing so, you sow that first seed from which empathy grows.\nIt is of course crucial that we don\u2019t stop at a question, that we encourage students to research the contexts within which the people they are trying to understand operate. In order to do this, we must be prepared to have difficult conversations with our students, must talk about realities like gender or caste or disability, all of which influence the worlds that those shoes walk through. The role of the arts here can be to take some of these large ideas and make them concrete through image or story, particularly to take the five senses into account. I was once facilitating a group of teenagers from diverse backgrounds in a creative writing workshop where we used a five-senses poetry prompt around \u201chome\u201d as a way for participants to introduce themselves to the group. In this particular group, one boy described home as \u201ckebabs and bomb blasts\u201d; the group laughed uncomfortably. He shrugged and told them he was an Afghan refugee in Delhi; he remembered Kabul by its bombs and its kebabs. In that moment, he opened a window for them to enter his memories of home that were simultaneously violent and deeply missed. In that one image, he created an opening for understanding, without which empathy is impossible.\nAnd yet, information will only take us so far. Empathy, after all, implies an emotional resonance, and in many ways there are no shortcuts to this. We will only \u201cget\u201d others emotionally to the degree that we become comfortable with emotion itself, something that our classrooms in general do not prepare us for. As art teachers, we must create spaces safe enough for students to express all of themselves, including their most vulnerable stories and feelings. We must not insist that students write chirpy poems about spring when they are grappling with their parents\u2019 divorce; we must meet our students where they are and encourage them to open up there. The Internet is full of trust building games and exercises that can become a critical investment in creating safe spaces for our students. Once such spaces have been built, they can offer students the ability to explore and name their own emotions, regardless of artistic medium, and learn both to share and to listen. Much of this will begin from our ability as teachers to take risks and model emotional disclosure; I always do every exercise I assign my students, and I never ask them to take greater emotional risks than I take. I am regularly amazed at their ability to absorb and empathize with me, and then with each other, as we share our own worlds and feelings with each other.\nFinally, once we have done the groundwork of asking questions, seeking information, responding imaginatively, and sharing and listening to feelings, there is nothing that will build empathy quite as powerfully as actually inhabiting each other\u2019s stories. I have found theatre to be a powerful medium for this. In a the theatre based youth program I run, we create a final production based on the stories in the room, but we make sure that no one plays their own parts. One of my most powerful memories from this space is of our very first play, wherein one narrative was about two dalit students who get bullied off the playground by dominant caste youth. For a while, the scene was just falling flat, although none of us could pinpoint why, until I turned to one of the boys who had originally told this story and asked for help. The two dalit students in the room walked up to their peers who were acting their parts and slowly began to show them what one\u2019s body would look like when one is being bullied: they got one actor to slouch her shoulders, another to lower her eyes; they told them that they could express anger to each other but not to the bullies; they got them to shrink a little. The effect was powerful. Not only did the scene come alive but suddenly two students got a chance to inhabit an experience that would never be theirs in everyday life. Later one of those actors expressed a deeply felt dismay at how her private school education had taught her that casteism was abolished in 1950. In that mix of information and experience, feeling and body, context and care, a new possibility of empathy was born.\nPeople often think of the arts as being primarily about expression. I disagree. I think the arts are primarily about listening; I believe that a deep and sustained attention to the world precludes any authentic expression of it. If we can teach our children to be artists in this genuine sense, paying attention to the world, asking questions of it, seeking out the information they need, and working their own and others\u2019 feelings and experiences, we might be well on our way to a more empathetic generation.\nThe author is a writer, educator, and dreamer. She worked extensively in the fields of youth development and peace education before founding Tasawwur, an arts-for-social-change program for teenagers. She is also a widely published poet and has won several awards for her writing. She currently lives between Delhi and Shimla. For more, please visit http://aditirao.net.", "id": "<urn:uuid:91e6671f-ec31-4fd8-830d-7a16847f5322>", "dump": "CC-MAIN-2022-21", "url": "https://www.teacherplus.org/exercising-the-empathic-muscules-artfully/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515501.4/warc/CC-MAIN-20220517031843-20220517061843-00782.warc.gz", "language": "en", "language_score": 0.9750661849975586, "token_count": 1824, "score": 3.6875, "int_score": 4}
{"text": "Have you ever stood up on a stage and delivered a speech in front of hundreds of people? Or better, have you presented your project document on Zoom to certain key people? How anxious and nervous were you while doing that? While the thought of public speaking can make many adults nervous, children might easily overcome this fear by getting exposed to it early in their lives....\nLive Feedback in Funroom\nGet personal feedback on your child\u2019s development from our facilitators.\nResources for Practice\nSession summary, practice video and session recording.\nCertificate of Completion\nGet achievement certificate on successful course completion.\nLearners will learn about the four pillars of Public speaking - Speech content, Memorizing and remembering, Voice modulation and Physical delivery. They will learn to acknowledge and overcome their stage fright. Learn and perform: Introductory speech\nLearners will be introduced to the structure of a speech and story - opening, body and closing. They will learn to identify and write key-points for a speech. The learners will also be equipped to write a speech by applying their knowledge of speech structure, audience, setting and speech objective. Learn and perform: Informative speech\nLearners will be introduced the importance of using voice variation in their presentations. They will learn techniques like volume, pace, pause, voice projection to deliver an effective speech. For storytelling and narrative speech, the learners will build character sketches, and accordingly voicing characters based on emotions and situations. Learn and peform: Story reading (Reader's theatre)\nLearners will learn about importance of using appropriate body language in speech delivery and story narration. They will use befitting facial expressions, hand movements and body movements depending on the speech content or story characters. Learn and peform: Story narration\nLearners will gear up for their performance and learn to deal with pre-performance anxiety. They will write their own speech, mark-up the speech script, understand the voice variety tools and body language to be used for the speech and finally present their own speech! Learn and peform: Narrative speech\nDevelop communication skills to initiate & sustain conversations & address a larger audience. Improve Body Language\nTrain the vocal cords to articulate a variety of sounds.\nDevelop decision making - choose appropriate communication tools depending on the setting & objective.\nCreate engaging content using appropriate literary devices for written & oral presentation.\nDevelop confidence with high levels of self-esteem & self awareness.\nStrong Internet Connection\nPen or pencil\nWill this course help my child become confident?\nThe main objective of the course is to build confident leaders. We work on three levels, first help the child prepare the speech content, then practise with voice modulation with physical aspects and then finally perform and learn to manage pre-performance anxiety and overcome their stage fright.\nWill you give my child practice material?\nTo help your child practice the concepts that they have learnt in their sessions, we provide additional learning materials. You can find this in the \u2018My Courses\u2019 section.\nWhat if my child forgets what is introduced in the class?\nWe provide notes after every session for the child. You will also get to watch the session recordings after the session, in case the child wishes to recap any concepts. You can find these extra materials in the \u2018My Courses\u2019 section.\nWill the course cover vocabulary, writing and grammar?\nWe will definitely help children structure their thoughts and write a good speech. However we won't be teaching the children to read or write or focus exclusively on vocabulary. The focus will be preparing the children to perform on a wider stage with confidence.\nHow do you conduct Public Speaking classes online?\nPublic Speaking sessions are conducted online on our custom-built interactive video platform called Funroom! They are live interactive sessions between learners and facilitators where we teach all the pillars for public speaking and advanced techniques. There are lot of interactive exercises with performance sessions at end of each module to make your child a confident speaker", "id": "<urn:uuid:213ee232-1f52-4b55-b4b5-0bef0a8c1f42>", "dump": "CC-MAIN-2022-21", "url": "https://www.crejo.fun/course/language-arts-public-speaking-beginner-cfclaps0911b/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00382.warc.gz", "language": "en", "language_score": 0.9244188666343689, "token_count": 847, "score": 3.671875, "int_score": 4}
{"text": "Research Paper Have you ever wondered how banquets from the Elizabethan Era are similar and different from today\u2019s era? Everyday life in the Elizabethan Era was amazing; however, banquets and inventions were the same as how we live today. This paper will explain the different events and similarities and differences from now and the Elizabethan Era . In the Elizabethan Era there were many big feasts and festivals. Some feasts were for the queen and many other royals\u2019 .These banquets and feast were\nresults of centuries upon centuries of exploration and growth in not only the art of live performance, but the very core of storytelling as well. Throughout its rich and exciting history, however, it\u2019s difficult to find a period quite so prosperous for the art of western storytelling as the Elizabethan era: an era which sparked exponential growth that would be built upon for centuries to come. Since its very beginning, Elizabethan Theatre has had a marvelous impact on the lives of everyone it touched,\nVirginia Woolf, the author investigates the misogynistic society\u2019s effect on women, specifically artists, during the Elizabethan era. Woolf implies how women were deemed no value beyond the home or childbearing. The passage explains how women were inferior in areas like education, social status, and wage. Women were constrained by domestic responsibilities that hinder their freedom for art. Women are not less artistic than men, instead they receive inferior training and are viewed negatively. Determined\ndifferent periods. The renaissance period rolled into the baroque era. There were changes made over the years from the baroque to the renaissance period. Differences in style accumulated along with views of art and music. Baroque era covers the period between 1600 and 1750 beginning with Monte Verdi (birth of opera) and ended with deaths of Bach and Handel. The term baroque music is borrowed from the art history. It follows the Renaissance era (1400-1600). It was initially considered to be a corrupt way\nunderlying tension. \u2018Hamlet\u2019 presents challenging representations of the traditional values of passion and reason through their varying forms. The representation of these concepts coupled with dramatic tension conflicts with traditional plots of the Elizabethan era thus creating a sense of enduring value. The various depictions of dramatized tension that underpin the play, allows issues of passion and reason to\nThe history of English poetry stretches from the middle of the 7th century to the present day. Over this period, English poets have written some of the most enduring poems in Western culture, and the language and its poetry have spread around the globe. Consequently, the term English poetry is unavoidably ambiguous. It can mean poetry written in England, or poetry written in the English language. The earliest surviving poetry was likely transmitted orally and then written down in versions that do\nThe Elizabethan Era's Effect on Shakespeare's Works If every playwright in Shakespeare's time aspired, as he did, to paint a portrait of an age in their works, his would have been the Mona Lisa, leaving the most lasting impression on generations to come and at the same time, one of the world's most baffling mysteries. Surely it is no coincidence that the world's most celebrated dramatist would've lived during the time when one of the world's most powerful rulers in history reigned. Or was it?\nWest Side Story was based on the classic story of Romeo and Juliet. This story was originally written in the 3rd Century and then re-written by William Shakespeare in 1594. Shakespeare\u2019s version was based on a poem written by Arthur Brooks in 1562. The story of Romeo and Juliet is a love story/ tragedy about two families: Capulet and Montague. Both families hate each other which leads to Romeo and Juliet knowing that they cannot be married, even though they are in love. They then try to arrange\npassage of time and people have grown accustomed to cultural differences, yet racism hasn\u2019t completely gone away. Instead, the public has learned to redirect their hatred and invest their energies differently. The racist message is now conveyed through art, be it musical or literary. Some of the most influential pieces of English literature date back to a time where ethnic minorities were mistreated and so they tend to be quite racist.\nrecognized the importance of the arts to the life and legacy of her nation. Very fond of plays, Queen Elizabeth permitted professional theaters to be built in England for the first time. These new and improved theaters attracted 15,000 theatergoers per week in London. (Arts). In addition to Shakespeare's masterpieces of the stage like Romeo and Juliet and Macbeth, Sir Philip Sidney's Defence of Poesie was written during this golden age in the literary arts (Arts). Queen Elizabeth managed to capture", "id": "<urn:uuid:62934545-88d6-45b0-bf9f-4d68430050eb>", "dump": "CC-MAIN-2022-21", "url": "https://www.bartleby.com/essay/Arts-and-Crafts-of-Elizabethan-Era-F3J68YGSTJ", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662538646.33/warc/CC-MAIN-20220521045616-20220521075616-00782.warc.gz", "language": "en", "language_score": 0.9726172685623169, "token_count": 979, "score": 4.0625, "int_score": 4}
{"text": "This live online American Literature course is a college prep high school-level survey of American authors, poets, and essayists. On completion, students may earn college credit by taking the American Literature Clep Exam.\nBy taking a close look at the writer, as well as their work, students begin to develop a better understanding of how literature reflects both the person who wrote it, as well as the time period in which it was written. Students are provided with a variety of authors who helped describe the challenges, joys, and perseverance that went into the building of this nation. Literary genres and techniques are explained so the reading that follows makes sense, and students can begin to see patterns and then provide their own explanations of the meaning behind the stories they read. My goal is to make literature understandable and fun. Students are encouraged to ask questions, offer comments, and find unique ways to respond to the works written by some of America\u2019s well-known writers.\nThis is a 32-week course. Students will find all assigned work posted on our class Canvas page. There is assigned reading, as well as related homework each week. The assigned reading will be discussed in the weekly live class. This offers students a chance to come to class prepared to engage with the Instructor, as well as their fellow classmates, in analyzing that week\u2019s selected reading.\nTwice a year, students are given an opportunity to create a longer paper in response to their reading. They will choose the subject to explore in this paper. On the weeks the larger paper is due, there is little or no other homework. Each student will produce one creative project related to something we have covered. In the past, students have crafted art pieces, composed songs, performed skits, and built structures from wood in response to this assignment. Using their personal talents for this assignment makes it one of the highlights of the class. Students can expect to spend 5 to 10 hours per week on this course.\nUpon completion of this course students will have an understanding of the various literary movements that have shaped American writing since its founding. Students will also see how historical events impacted writers and the works they created, will be able to identify literary elements such as rhyme, foreshadowing, flashbacks, etc., will be able to distinguish the unique traits found in a variety of literary genres, and will be able to analytically respond to a work of literature in writing.\nWho should enroll?\nAny student in grades 9-12 may take this course. There are no prerequisites.\n- High speed, broadband Internet\n- Sound card and microphone (for live sessions)\n- Streaming video capabilities to watch recorded lectures\nEvaluation and Feedback\nStudents can expect their homework to be evaluated and graded weekly. Since homework is due the day of our live class sessions, I try to have all homework graded before the next class. If the work is completed on time and questions are answered completely, full credit is normally awarded for the weekly assignments.\nFor the larger papers, I offer a deep evaluation of both style and content, and students should expect to have my comments and a grade back within 2-3 weeks. Former students have said these evaluations have been most beneficial as they prepare for higher level writing in college. Students are welcome to communicate with me via email, and I usually respond with 24 hours.\nOnce registration is complete, I send a welcome email to each student and their parent. They will be added to the course and will be alerted when the Canvas page is open and they can begin their study of literature.\nExamples of Student Projects\nClass Sample: (edited to protect student privacy)", "id": "<urn:uuid:6ed9d22e-b6ae-47e8-9530-ffc9dbc3f9c8>", "dump": "CC-MAIN-2022-21", "url": "https://debrabell.com/onlineclasses/american-literature/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604495.84/warc/CC-MAIN-20220526065603-20220526095603-00582.warc.gz", "language": "en", "language_score": 0.969355583190918, "token_count": 756, "score": 3.71875, "int_score": 4}
{"text": "Social Studies - 5th Grade\nStudents will understand that the 19th century was a time of incredible change for the United States, including geographic expansion, constitutional crisis, and economic growth.\nInvestigate the significant events during America's expansion and the roles people played.\nBryce Canyon National Park: Hoodoos Cast Their Spell\nBy looking at Bryce Canyon National Park: Hoodoos Cast Their Spell, students explore why and how the geological wonders of Utah's Bryce Canyon were set aside for public enjoyment in the early 20th century. Students describe the formations that deterred settlement and encouraged tourism in Bryce Canyon and examine how it was used by settlers, scientists, government agencies, and tourists.\nExhibit: The Louisiana Purchase\nThis exhibit from the National Archives shows the original documents and includes Napoleon Bonaparte's signature.\nGo West: Imagining the Oregon Trail\nAfter this lesson, students will have learned about the pioneer experience on the Oregon Trail,compared and contrasted modern-day travel experiences with travel experiences of the 19th century, and synthesized historical data through creative writing.\nThis is the official Utah sesquicentennial web site for K-12 education. It features information about the Mormon Pioneer Trail as well as interaction with the modern-day pioneers on the trail during the 1997 summer months\nHistory in Quilts\nThroughout history, women and sometimes men have used the art of quilting for many diverse purposes: to keep warm, to decorate their homes, to express their political views, to remember a loved one. Heighten your students' awareness of how quilts have reflected and continue to reflect the lives of the people who create them, and of how quilts record the cultural history of a particular place and time. This theme of History in Quilts contains two separate lessons that can stand alone or be taught in conjunction with one another.\nInteractive Lewis and Clark\nCheck out all the things you can learn about the Lewis and Clark expedition including: maps, biographies, animals, video, and activities.\nPBS- The West\nLearn about the different groups of people involved in the movement west and what happened to them.\nTeaching With Documents: The Homestead Act of 1862\nLearn about The Homestead Act of 1862 from copies of the original documents.\nThe Great American Bison\nA lesson plan that helps students understand the impact of the Transcontinental Railroad on American bison herds. Compare and contrast differing perspectives. Upcycle found objects into artwork.\nThe Impact of the Transcontinental Railroad\nAnalyzing archival material such as photos, documents, and posters, students can truly appreciate the phenomenon of the Transcontinental Railroad. They can begin to answer some important questions: Why was the Transcontinental Railroad built? How did it affect Native Americans? Other minorities? How was the environment affected? What were the advantages of railroad travel? Who used the railroads, and why? Who built the railroad?\nThe Trail of Tears and the Forced Relocation of the Cherokee Nation\nThis National Park Service lesson plan commemorates the removal of the Cherokee and the paths that 17 Cherokee detachments followed westward. It also promotes a greater awareness of the Trail's legacy and the effects of the United States' policy of American Indian removal not only on the Cherokee, but also on other tribes, primarily the Chickasaw, Choctaw, Creek, and Seminole.\nThe Trail of Tears Association\nThe Trail of Tears Association (TOTA) is a non-profit, membership organization formed to support the creation, development, and interpretation of the Trail of Tears National Historic Trail. Designated as a national historic trail by Congress in 1987, the Trail commemorates the forced removal of the Cherokee people from their homelands in the southeastern United States to Indian Territory (present-day Oklahoma) in 1838 - 1839.\nTrails of Hope: Overland Diaries and Letters\nTrails of Hope: Overland Diaries and Letters, 1846-1869 is a collection of the original writings of 49 voyagers on the Mormon, California, Oregon, and Montana trails who wrote while traveling on the trail. The collection also includes interactive maps of the area traveled by these pioneers.\nWebquest: Exploring Western Expansion\nLearn about actual hardships from letters of the people involved in western expansion.\nhttp://www.uen.org - in partnership with Utah State Board of Education\n(USBE) and Utah System of Higher Education\n(USHE). Send questions or comments to USBE\nand see the Social Studies website. For\ngeneral questions about Utah's Core Standards contact the Director\nThese materials have been produced by and for the teachers of the\nState of Utah. Copies of these materials may be freely reproduced\nfor teacher and classroom use. When distributing these materials,\ncredit should be given to Utah State Board of Education. These\nmaterials may not be published, in whole or part, or in any other\nformat, without the written permission of the Utah State Board of\nEducation, 250 East 500 South, PO Box 144200, Salt Lake City, Utah", "id": "<urn:uuid:b385e00f-3fee-4d24-9296-835cfeb84624>", "dump": "CC-MAIN-2022-21", "url": "https://www.uen.org/core/displayLinks.do?courseNumber=6050&standardId=3261&objectiveId=3262", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662520817.27/warc/CC-MAIN-20220517194243-20220517224243-00782.warc.gz", "language": "en", "language_score": 0.9246699213981628, "token_count": 1105, "score": 4.03125, "int_score": 4}
{"text": "Han and Classical Chinese\nHan Chinese developed more polysyllabic words and more specific verbal and nominal (noun) categories of words. Most traces of verb formation and verb conjugation began to disappear. An independent Southern tradition (on the Yangtze River), simultaneous with Late Archaic Chinese, developed a special style, used in the poetry Chuci (\u201cElegies of Chu\u201d), which was the main source for the refined fu (prose poetry). Late Han Chinese developed into Classical Chinese, which as a written idiom underwent few changes during the long span of time it was used. It was an artificial construct, which for different styles and occasions borrowed freely and heavily from any period of pre-Classical Chinese but in numerous cases without real understanding for the meaning and function of the words borrowed.\nAt the same time the spoken language changed continually, as did the conventions for pronouncing the written characters. Soon Classical Chinese made little sense when read aloud. It depended heavily on fixed word order and on rhythmical and parallel passages. It has sometimes been denied the status of a real language, but it was certainly one of the most successful means of communication in human history. It was the medium in which the poets Li Bai (701\u2013762) and Du Fu (712\u2013770) and the prose writer Han Yu (768\u2013824) created some of the greatest masterpieces of all times and was the language of Neo-Confucianist philosophy (especially of Zhu Xi [1130\u20131200]), which was to influence the West deeply. Classical Chinese was also the language in which the Italian Jesuit missionary Matteo Ricci (1552\u20131610) wrote in his attempt to convert the Chinese empire to Christianity.\nPost-Classical Chinese, based on dialects very similar to the language now spoken in North China, probably owes its origin to the Buddhist storytelling tradition; the tales appeared in translations from Sanskrit during the Tang dynasty (618\u2013907). During the Song dynasty (960\u20131279) this vernacular language was used by both Buddhists and Confucianists for polemic writings; it also appeared in indigenous Chinese novels based on popular storytelling. During and after the Yuan dynasty (1206\u20131368) the vernacular was used also in the theatre.\nModern Standard Chinese has a threefold origin: the written post-Classical language, the spoken standard of Imperial times (Mandarin), and the vernacular language of Beijing. These idioms were clearly related originally, and combining them for the purpose of creating a practical national language was a task that largely solved itself once the signal had been given. The term National Language (guoyu) had been borrowed from Japanese at the beginning of the 20th century, and, from 1915, various committees considered the practical implications of promoting it. The deciding event was the action of the May Fourth Movement of 1919; at the instigation of the liberal savant Hu Shi, Classical Chinese (also known as wenyan) was rejected as the standard written language. (Hu Shi also led the vernacular literature movement of 1917; his program for literary reform appeared on Jan. 1, 1917.) The new written idiom has gained ground faster in literature than in science, but there can be no doubt that the days of Classical Chinese as a living medium are numbered. After the establishment of the People\u2019s Republic of China, some government regulation was applied successfully, and the tremendous task of making Modern Standard Chinese understood throughout China was effectively undertaken. In what must have been the largest-scale linguistic plan in history, untold millions of Chinese, whose mother tongues were divergent Mandarin or non-Mandarin languages or non-Chinese languages, learned to speak and understand the National Language, or Putonghua, a name it is now commonly called; with this effort, literacy was imparted to great numbers of people in all age groups.\nThe writing system\nThe Chinese writing system is non-alphabetic. It applies a specific character to write each meaningful syllable or each nonmeaningful syllabic that is part of a polysyllabic word.\nWhen the Chinese script first appeared, as used for writing Oracular Chinese (from c. 1500 bc), it must already have undergone considerable development. Although many of the characters can be recognized as originally depicting some object, many are no longer recognizable. The characters did not indicate the object in a primitive nonlinguistic way but only represented a specific word of the Chinese language (e.g., a picture of the phallic altar to the earth is used only to write the word earth). It is therefore misleading to characterize the Chinese script as pictographic or ideographic; nor is it truly syllabic, for syllables that sound alike but have different meanings are written differently. Logographic (i.e., marked by a letter, symbol, or sign used to represent an entire word) is the term that best describes the nature of the Chinese writing system.\nVerbs and nouns are written by what are or were formerly pictures, often consisting of several elements (e.g., the character for \u2018to love\u2019 depicts a woman and a child; the character for \u2018beautiful\u2019 is a picture of a man with a huge headdress with ram\u2019s horns on top). The exact meaning of the word is rarely deducible from even a clearly recognizable picture, because the connotations are either too broad or too narrow for the word\u2019s precise meaning. For example, the picture \u2018relationship of mother to child\u2019 includes more facets than \u2018love,\u2019 a concept that, of course, is not restricted to the mother-child relation, and a man adorned with ram\u2019s horns undoubtedly had other functions than that of being handsome to look at, whereas the concept \u2018beautiful\u2019 is applicable also to men in other situations, as well as to women. Abstract nouns are indicated by means of concrete associations. The character for \u2018peace, tranquility\u2019 consists of a somewhat stylized form of the elements \u2018roof,\u2019 \u2018heart,\u2019 and \u2018(wine) cup.\u2019 Abstract symbols have been used to indicate numbers and local relationships.\nRelated words with similar pronunciations were usually written by one and the same character (the character for \u2018to love, to consider someone good\u2019 is a derivative of a similarly written word \u2018to be good\u2019). This gave rise to the most important invention in the development of the Chinese script\u2014that of writing a word by means of another one with the same or similar pronunciation. A picture of a carpenter\u2019s square was primarily used for writing \u2018work, craftsman; to work\u2019 and was pronounced ku\u014b; secondarily it was used to write ku\u014b- (the hyphen stands for an element that was perhaps s) \u2018to present,\u2019 gu\u014b \u2018red,\u2019 ku\u014b \u2018rainbow,\u2019 and kru\u014b \u2018river.\u2019 During the Archaic period this practice was developed to such a degree that too many words came to be written as one and the same character. In imitation of the characters that already consisted of several components an element was added for each meaning of a character to distinguish words from each other. Thus \u2018red\u2019 was no longer written with a single component but acquired an additional component that added the element \u2018silk\u2019 on the left; \u2018river\u2019 acquired an additional component of \u2018water.\u2019 The original part of the character is referred to as its phonetic and the added element as its radical.", "id": "<urn:uuid:e4607aad-590e-42e5-b23a-5869e068727e>", "dump": "CC-MAIN-2022-21", "url": "https://www.britannica.com/topic/Chinese-languages/Han-and-Classical-Chinese", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662552994.41/warc/CC-MAIN-20220523011006-20220523041006-00583.warc.gz", "language": "en", "language_score": 0.9739991426467896, "token_count": 1598, "score": 3.90625, "int_score": 4}
{"text": "Academic Drama was focused on the study of classical theater in high education or within universities. New interest in classical and neoclassical drama meant that students were studying the works of Sophocles, Euripides, and others. In England, students performed plays by these writers, while in other European countries, the classical plays were adapted for their particular interests. The plays performed often conveyed moral lessons and sought to contend with particularly complex issues of politics and religion, gender was even referenced on occasion.\nExplore Academic Drama\nDefinition of Academic Drama\nThe academic drama was the production of classical and neoclassical plays during the Renaissance. These productions focused on topics like economics, mortality, politics, knowledge acquisition, and more. Today, this dramatic period is understudied, but many scholars believe that it served as an important, culture-shaping theatrical movement. The narratives in these plays, as described in Early Modern Academic Drama by Paul D. Struefert and Jonathan Walker, were an exercise in and representation of knowledge formation. Colleges like Cambridge and Oxford played an important role in the production of these plays.\nThe plays the college students chose were often comedies. They featured hapless and comedic characters like slaves, tutors, cooks, and lovers blinded by their affection for one another. Often, Puritans were included in the plays as a way of mocking their consideration of plays as a sin. The advancement of puritanism in the 17th century meant that slowly the production of plays ceased. Queens\u2019 College and Trinity were two of the last insinuations putting on plays. In 1642, theaters were closed, and plays were banned. They reopened after the Restoration, according to Queens College Cambridge.\nHistory of Drama\nThe earliest dramatic works, according to PBS\u2019s The Origins of Theatre, were created in Athens, Greece. There, authors created dithyrambs for the god Dionysus that were later turned into processions. These featured costumes and masks. There were three distinct genres of drama, tragedy, comedy, and the satyr play. Eventually, competitions were created around the genres. The primary dramatists of the time were Aeschylus, Sophocles, and Euripides. Drama expanded during the Roman Republic and spread around Europe. It was at this time that it started to break out of the genres defined in Athens. In the Middle Ages, dramatic performances were put on by churches that dramatized scenes from the Bible during celebrations.\nThe word \u201cdrama\u201d was not used as it is today until the modern period. It refers to something that sits between comedy and tragedy.\nExamples of Academic Drama\n\u201cEunuchus\u201d by Terence\n\u201cEunuchus\u201d by Terence is one of the many academic dramas that were performed during the Renaissance in English universities. It was written by the Roman play writer Terence. The plot is complex, including characters like Demea, Pahedria, Chaerea, and Antipho, among many others. The narrator focuses on a family and a central misunderstanding. It is usually categorized as a comedy. The play is considered to be Terence\u2019s most popular and successful. Here are the best-known lines from the play, translated into English:\nAll these vices are in love: injuries,\nSuspicions, enmity, offenses,\nWar, peace restored. If you think that uncertain things\ncan be made certain by reason, you\u2019ll accomplish nothing more than\nif you strived to go insane by sanity.\nThe play follows several plot lines. There is a love affair between Phaedria and Thais, humorous conflicts, misplaced and unwarranted advice, and more. Thraso plays an important role later on in the play, as does Chaerea, recently returned from the military.\n\u201cStichus\u201d by Titus Maccius Plautus\n\u201cStichus\u201d is a Latin play written by Roman author Titus Maccius Plautus, although there is some controversy surrounding the authorship. The plot follows two daughters and their husbands, brothers Epignomus and Pamphilus. The husbands become merchants and travel for three years away from home. The title character, Stichus is a slave. According to Loeb Classics, the play was staged for the first time during the Plebain Games in 200 BC.\n\u201cOedipus\u201d by Seneca the Younger\n\u201cOedipus\u201d is another play that was famously performed during this period. Written by the famed satirist Seneca the Younger, the play was based around the story of Oedipus Rex (as told by Sophocles). It follows the protagonist as he tries to outrun a prophecy predicting that he\u2019d marry his mother and kill his father. Famously, the further he moves away from what he thinks is the source of the prophecy, the closer he gets to fulfilling it.\n\u201cPseudolus\u201d by Titus Maccius Plautus\n\u201cPseudolus\u201d is another well-known Plautus play that was performed during the period of academic drama. It is also one of the earliest examples of Roman literature, first performed in 191 B.C. Some of the themes that the play touches on include the power of true love, boundaries, class, and it does not correspond with intelligence and objectification of women.\n\u201cPhormio\u201d by Terence\n\u201cPhormio\u201d is another play written by Terence. It was based around another play, \u201cEpidikazomenos,\u201d or \u201cThe Claimant,\u201d that\u2019s now lost. It was first perfumed in 161 B.C. and is often considered to be one of the best Roman comedies. It tells the story of two character\u2019s, Phaedria and Anitpho, cousins who are both involved in love affairs. They both face difficulties in marrying the women they want. But, Phormio, who is regarded as cunning, figures out a way for both men to marry the women they want. He also gets away with a great deal of money. Other characters include Hegio, Crito, Davos, and Chremes.\n\u201cBacchides\u201d by Titus Maccius Plautus\n\u201cBacchides\u201d is a comedy that is focused on a misunderstanding between two sisters, both of whom have the same name and work in the same place as prostitutes. The play features servants who prove that class does not equal intelligence. Two men fall in love with the sisters who try to buy the sister\u2019s freedom. The misunderstanding at the heart of the play is concerned with which Bacchis is which and who loves whom.\nDrama is a mode of fiction, such as a play or opera, that\u2019s performed for an audience. This could be a live audience in a theater or one over the radio or television.\nAcademic drama is a theatrical movement that was important around Europe during the Renaissance (mid-16th century).\nHistorically, drama played a more important role in academics than it does today. It was less of an extracurricular activity and more of a requirement during previous centuries.\nPlays included \u201cPhormio,\u201d \u201cOedipus,\u201d and \u201cStichus.\u201d\nIt focused on classical and neoclassical Roman plays.\nRelated Literary Terms\n- Aside: a dramatic device that is used within plays to help characters express their inner thoughts.\n- Drama: a mode of storytelling that uses dialogue and performance. It\u2019s one of several important literary genres that authors engage with.\n- Dramatic Monologue: conversation a speaker has with themselves, or which is directed at a listen or reader who does not respond.\n- Melodrama: a work of literature or a theatrical performance that uses exaggerated events and characters.\n- Soliloquy: a dramatic literary device that is used when a character gives a speech that reveals something about their thought process.\n- Tragedy: a type of drama that explores serious, sometimes dark, and depressing subject matter.\n- Tragicomedy: a fictional genre that incorporates elements of tragedies and comedies.\n- Comedy: a humorous and entertaining genre of literature, film, and television.", "id": "<urn:uuid:4365ca04-a417-48bc-aabc-24b801a23d85>", "dump": "CC-MAIN-2022-21", "url": "https://poemanalysis.com/movement/academic-drama/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662543797.61/warc/CC-MAIN-20220522032543-20220522062543-00183.warc.gz", "language": "en", "language_score": 0.9778082370758057, "token_count": 1745, "score": 3.546875, "int_score": 4}
{"text": "We have a beautiful history of oral storytelling in Aotearoa (New Zealand). The first waka (boats) to scrape their bellies on these sands have brought with them people unmatched in seafaring and whose history and stories were remembered through k\u014drero the spoken word. M\u0101ori waiata (songs), and karakia (prayers) were passed on between generations, along with their history and whakapapa (genealogy). Knowledge was shared between old and young, and stories told for both learning and pleasure.\nIn Western culture, there is a lot more emphasis on the written word. We value reading and writing, which often puts pressure on children to learn these skills before they are ready to do so. Foundational skills such as the ability to hold a pencil correctly, phonological awareness and learning how to listen form the basis of emergent literacy in early childhood education and need to be learnt before any formal writing begins to happen.\nWhere literacy begins\nCommunication is arguably the most important skill that human beings possess. While many other animals have systems of doing so, nothing comes close to human language. Every single language consists of specific sounds (or gestures, as is the case with sign language), combinations and rules behind using them that allow us to communicate our thoughts, feelings and ideas with others in a uniquely exact and specific way. There are rules, there are exceptions, and there are stylistic and regional variations on top that add extra complications.\nLearning a language is a huge undertaking, and most of it happens orally. Children learn languages through listening and talking. They hear how different words are used, they figure out their meaning from context, and pick up on the patterns in which they sit within a sentence. They use those same words to express themselves, experimenting with sounds and patterns so that they can convey what they mean and feel while conforming to the complicated rules. This is the foundation of literacy.\nAs they get older, children will use what they\u2019ve learnt through writing. They will use a pen or a keyboard to record strings of symbols that represent the combination of words that they want to use to express their thoughts. And while using these symbols is an important skill, it\u2019s nowhere near as important as coming up with ideas and knowing the right words and how to combine them.\nSupporting children\u2019s development of oral literacy\nWhilst a child might not have the words yet, there are ways we can communicate and still have conversations. Serve and return is played in a game of tennis and is a term we can utilise when we are \u2018talking\u2019 with infants and toddlers. Their \u2018serve\u2019 may be a gesture or sound and we can \u2018return\u2019 and respond through the tone of our voices and facial expressions.\nThe best thing that we can do to support the development of young children\u2019s oral literacy is to talk, even if they are not ready to talk back. Voice your thoughts and observations, narrating and describing the world around you as much and as often as you can. Adding language that describes what is happening will help children understand the world and later help them to express their thoughts in new and more complex ways. Use self-talk, when you are alongside children, talk about what you are doing as you are doing it. Try parallel talking and model or repeat sounds or words using the correct pronunciation directly after the child has spoken, so they can hear how to say it correctly. Adding words to what a child has just said is a way to increase vocabulary and will grow the complexity of ideas or sentence types in their oral language.\nNone of us have learnt to speak from using a dictionary. We learn most words by hearing them and connecting their meaning within the context in which they are used. The more words we hear, the more words we can learn. The more sentences we hear, the better we learn to form our own.\nWhile it is important for us to talk, it is also important for young children to voice themselves. Be it sounds, single words, or full sentences, children need to feel comfortable and know that their voice is valued. We want them to feel confident about communicating with us and to know they are being heard. If they are, they will speak more \u2014 they will practice. The more they practice, the better they will get. Ask lots of open-ended questions allowing them to give a wider range of responses, encouraging them to express their own views. Maybe they have made a painting at kindy or encountered something fascinating in the park that they are desperate to tell you all about. And make sure you let them answer in their own words. The point of the question isn\u2019t to find out the information, it\u2019s to give them the opportunity to tell you what they think.\nSongs and story telling\nReading together and storytelling are valuable interactions for fostering children\u2019s oral language. Whilst a large portion of our language use is practical in nature, we also use it to entertain. No matter where you go in the world, people tell stories and sing songs. This is where we can have a little more fun with our words and how we use them. Rhyme, metre, tempo, structure, they are all used with a little more freedom. There are figures of speech, metaphors, and the content is rarely confined to reality. This makes for a fascinating exploration of what language can be. And it\u2019s not just about listening.\nMaking up stories and songs is a valuable exercise. We often shy away from creating stories for fear of feeling foolish which is a shame as children love nothing more than hearing new and colourful adventures, the crazier the better. Let\u2019s face it our small audience is appreciative of anything we usually do and will probably hang on every word we say, especially at bedtime. So, it may seem awkward at first, but try making up stories with your children. Just start talking. If you\u2019re stuck, ask your child and get them involved, I\u2019m sure they\u2019ll have lots of ideas of their own. Use props or objects to help you tell the story, whatever\u2019s handy at the time. A favourite teddy could be a prince on horseback, the duvet a troll\u2019s cave. Be playful with your voice, make it loud, quiet, slow, fast, high and low or just be plain silly! This will add drama and excitement to your song or storytelling.\nTelling stories together teaches children that stories and songs aren\u2019t just there to be read in storybooks but can be told by anyone. So have fun and enjoy these special interactions, use your imagination, be creative and know that you are playing an important role in supporting your child\u2019s literacy development.", "id": "<urn:uuid:51aafc12-1054-4f92-9f44-6fd9eac3acf7>", "dump": "CC-MAIN-2022-21", "url": "http://www.littletreehouse.co.nz/blog/oral-literacy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522556.18/warc/CC-MAIN-20220518215138-20220519005138-00383.warc.gz", "language": "en", "language_score": 0.969190776348114, "token_count": 1394, "score": 3.921875, "int_score": 4}
{"text": "Most of the lessons are videos or available as Powerpoint download with embedded sounds. As a teacher, it is easy to get carried away with your lesson plan, and soon you will find you are actually lecturing your young pupils. Students may submit their answers to be scored. (possession, quantity, quality, size, age, shape, colour, origin, material). In this English grammar worksheet, young scholars create negative sentences from given positive sentences, write answers to questions, and complete sentences using the correct object pronoun. While your students read The Secret Garden, use these seven grammar worksheets to help apply concepts such as synonyms, verbs, capital letters, and proper nouns. They draw a picture of a doctor and then write his title on the line. Young learners take part in some fun grammar practice by identifying the subject in a variety of sentences about going away to camp. Students then circle the pronouns that name more than one for problems 6-10. Learners complete 25 question online interactive quizzes at either a beginning or intermediate level. Comprehension: Identify Story Grammar. It outlines what you should do and say as you teach grammar and literary elements such as, main character, setting, and events through reading. (Water) The Royal Order of Adjectives? This... Is it yours, mine, or his? Conventions 101: A Functional Approach to Teaching (and Assessing!) These prepositions worksheets are great for working with Prepositions. Use these resources to support teaching verbs to elementary students through practice worksheets, a learning game,... New readers need as much practice with capitalization as they can get! Remember that you teach grammar to primary school students. What will you be doing next month? Let's eat, kids. Fourth graders use a word processor document to refine and practice their grammar. There are 30 grammar tests available; each has 25 questions. If you can bring in a real life application, such as a restaurant menu or a bus schedule, you are giving them the chance to see the grammar rules and concepts being used by the real world. Communication between students is one of the best ways to practice grammar. The grammar presentation focuses on the use of main and subordinate clauses. Halloween fun is easy with these 6 video game events, 7 alternative ideas for trick-or-treating Halloween this year. Although the intended audience is supposed to be familiar with grammar brush strokes, you could easily assign this worksheet and have writers simply combine the sentences provided to form one, sophisticated sentence. In this sentence types worksheet, students read the sentences and write in the correct punctuation mark to complete the 4 sentences. Add some rockin' tunes to your grammar instruction with a collection of videos addressing the grammar needs of first to eighth graders. Who gave you grammar homework? Teaching grammar to young students doesn\u2019t have to be a tedious task. Young grammarians work on their grammar skills with a series of ten sentences, each with an indirect object ready for pupils to circle. When your students can realize that grammar is important for the outside world, not just the classroom, they will understand how important it is. This lesson incorporates different learning styles to help students get a firm grasp of what a noun is and its function. Help... Learners practice forming and using comparative and superlative adjectives with a simply, but usefully illustrated worksheet. Explore diagramming sentences with this presentation. Grammar Lessons: Five Fun Activities; Grammar Lesson: Identifying Basic Parts of Speech; 10 Grammar Mistakes and 10 Lessons to Fix Them; Punctuation Lesson Plans; Lesson Plan: Tactile Parts of Speech Practice substituting subjects and objects in a sentence with the correct pronouns. Each video provides the song's lyrics, so prepare your scholars to sing loud and proud. Focus on verb usage with a series of fill-in-the-black exercises on basic tenses, inappropriate shifts in tense, and active and passive voice. Many Free English Grammar & Vocabulary Exercises for Teachers and Students. They also discover how to ignore some of Word's incorrect suggestions and... An excellent grammar reference page from Jolly Phonics provides definitions and actions to remember several fundamental parts of speech. Ask a prescriptivist who will tell you about common established patterns of language at a given time while a descriptivist will describe a set of linguistic habits. The learning exercise includes 12 practice sentences, and a fun comic to start! They also arrange words to complete a sentence, and change a sentence from positive to negative. Change twelve sentences from the active voice into the passive voice with a grammar worksheet. Students study sight words and grammar rules in sentences. Each learner is... Learners go on the lookout for grammatical errors. Learners answer 40 multiple choice questions about word usage and error correction.... Use this comprehensive presentation to have learners practice basic grammar skills. Once you review the basics, learners can use possessive pronouns easily and correctly in their writing. In this sentence structure lesson, kids define run-on sentences and read sample sentences to determine whether they are complete or incomplete. They complete matching, fill in the blank, short answer, and word choice activities based on the reading. Strengthen your pupils' writing with this worksheet, which provides a reference guide to using strong verbs instead of forms of is and have. How many times do you need to review quantity expressions? Give your students a real life application that they will need to practice and allow them to work it out among themselves. In this online interactive English skills worksheet, students answer 50 multiple choice questions regarding appropriate grammar. Scrambled sentences are given to put in... Review important grammar skills using this resource. Learners diagram sentences and identify conjunctions, interjections, and prepositional phrases. Learners circle the correct adjective (comparative or superlative) to fit the context of each of five sentences. Speaking with a classmate and brainstorming ideas over a concept will get them thinking easier than just another worksheet (although worksheets should be used, don\u2019t over-do it). In this grammar test worksheet, students use the pictures to help them write answers to the questions using present continuous form. Students may submit their answers to be scored. Kids can get to know each part of speech and sing along with the catchy tunes! Start from the beginning, give a few exercises and let students do the work on their own. Grammar Review Worksheet: Diagramming Extravaganza! My teens are fluent in cursive writing and love to use it because of its beauty. Learners review the verb tenses. When and where will your students need to use the grammar they are learning? Students then write one command and one exclamation sentence. Perfect for first-time instruction or classroom review, a set of four presentation enhances learners' Spanish comprehension. Good, basic practice! For TeachersK - 1st. Fix this problem in your language arts class with this straightforward grammar worksheet. Share My Lesson is a destination for educators who dedicate their time and professional expertise to provide the best education for students everywhere. They write eight sentences. There are 10 emotions listed. In this commands and exclamations worksheet, learners read the 3 sentences and write C or E if the sentence is a command or exclamation. Assess and diagnose grammar knowledge with this online resource. Focus on the words any, how much, some, and how many with an engaging grammar presentation. Students can use the Grammar Cheat Sheet with Grammar Sorting Sheet as t... Tenses chart will help you to learn tenses and remember tenses formula. This would be a great center activity. Read about Lilly-Ann's birthday cupcake surprise and work on grammar skills at the same time. While this worksheet looks like it was intended for a grammar or language arts journal, it could easily be done on loose-leaf paper. Discover the magic of the internet at Imgur, a community powered entertainment destination. Here is a grammar learning exercise that provides practice identifying the correct form of each word in 20 sentences. In this grammar skills learning exercise, students use their grammar skills to respond to 6 multiple choice questions regarding the appropriate use of conditional verbs. They identify all the parts of grammar they see in the image, discuss what they see and do on a picnic, and then draw an imaged... Have your ESL learners practice their written and oral English grammar skills, with this highly engaging ESL Lesson. Talking too much will be sure to lose your students' interest and even bore them on the subject of grammar. What about the?\nRecipes Using Eggs And Ricotta Cheesejamie Oliver Raspberry Cheesecake Ministry Of Food, In The Beginning Was The Word Niv, Frozen Lemonade Limeade Margarita Recipe, Everyday Maths Questions And Answers, Wow Tbc Leatherworking Specialization, Pimento Cheese Recipes, Orders Crossword Clue, The Problem We All Live With Painting Analysis, Nakka Synonyms In Telugu, Cheap Furniture Under $300, Maranatha Peanut Butter Review, Vegan Blueberry Pancakes, How Much To Sell A Used Bunk Bed For, Cvs Photo Promo Code, Letters From Auschwitz, Homes For Sale By Owner Austin, Tx, Pir Meaning In Urdu, Made In Usa Wholesale Dropshippers, Prefab Homes Alabama, Down Filled Sofa Vs Foam, Prs Custom 24, Wellshire Smoked Andouille Sausage, Fleming's Plano Restaurant Week Menu, Can You Eat Honeycomb In Minecraft, Pendleton Guitar Strap, Vegetable Fried Rice Kerala Style, Divine Visitation From God,", "id": "<urn:uuid:342d0998-0c51-4412-a3de-81a873fb7b32>", "dump": "CC-MAIN-2022-21", "url": "http://www.kjellasplund.se/blog/article.php?efaf68=grammar-lesson-plan-for-primary-school", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663016373.86/warc/CC-MAIN-20220528093113-20220528123113-00783.warc.gz", "language": "en", "language_score": 0.9173972010612488, "token_count": 1970, "score": 3.734375, "int_score": 4}
{"text": "Beyond Pink & Blue: How to Raise Gender-Sensitive KidsInstilling gender-sensitive values as early as infancy produces bias-free outlooks, attitudes, and actions in children.\nWe find it normal when boys mess around with plastic popguns and girls play with floral-patterned tea sets. And if they trade toys, most of us are overcome with uneasiness, shock, even anger. But experts say that kids grow into well-rounded adults if their parents allow them to explore all possibilities\u2014and this includes stripping them of gender biases. Therefore, seeing Maria play with toy cars and Junior with Barbie dolls shouldn\u2019t be viewed as a threat, but as an avenue for children to reach their full potential.\nChildren begin to form their own concept of gender identity\u2014or the sense of being a boy or a girl\u2014by age 1. Some say gender identity is biologically determined. Most psychologists, however, believe that gender identity is determined by environmental factors, particularly in the way parents, relatives, and peers treat children. Once a child\u2019s gender identity is established, \u201cgender stability\u201d takes place\u2014which is when children develop gender-typical behaviors.\nPromoting gender equality\nThough physically different, both girls and boys should be given equal opportunities to develop their potentials to the fullest. Doing so boosts their self-image and emotional stability. By removing gender stereotypes, you allow your children to explore and develop latent gifts and talents that could otherwise be left untapped.\nAs authors Heidi Murkoff, Arlene Eisenberg, and Sandee Hathaway write in their book What to Expect: The First Year, \u201cIt is possible to raise children who are not \u2018sexist\u2019 in their points of view, who have respect for both males and females, who will choose their future life roles not on the basis of stereotypes (of any kind) but on the basis of their own personal strengths and desires\u2014and who, no matter what their gender, will be nurturing in their relationships.\u201dADVERTISEMENT - CONTINUE READING BELOW\nPositive parent- and teacher-child interactions are crucial in forming bias-free outlooks, attitudes, and actions in children. Here are a few tips on raising gender-sensitive kids for both parents and teachers.\n1. Encourage all kids\u2014both boys and girls\u2014to keep their rooms clean, fold their own clothes, and put their shoes in place.\nJust because yaya\u2014a woman\u2014usually cleans up the mess, it doesn\u2019t mean that only women perform these chores.\n2. Mom and dad should switch household chores once in a while.\nDad can do the cooking or iron the clothes, while mom takes out the trash or washes the car.\n3. Allow both girls and boys to express their emotions.\nA boy has as much right to break out in tears as a girl has to show assertive behavior in venting her frustration. \u201cTeach boys to be nurturing and compassionate, and praise courage and strength in girls,\u201d suggests Dana Williams, a regular parenting columnist for www.tolercance.org.\n4. \u201cSelect toys not because you\u2019re trying to either make or break a stereotype, but because you truly believe your child will enjoy them and benefit from them,\u201d write Murkoff, Eisenberg, and Hathway. \u201cRemember, a boy never has to rock a doll to sleep to become a nurturing father; the example of a nurturing father (or another nurturing man in his life) will have far more impact.\u201d\n5. Parents should show equal enthusiasm for women's and men's sports.\nWhen mom watches ice-skating on TV, dad can join and even encourage the kids to watch with them. Afterward, the whole family can make a trip to in-mall ice-skating rinks found in the city. (Adapted from www.seejane.org )\n6. Expose the kids to what they really like.\nMultiple intelligences theorist Howard Gardner says that each person has his or her own unique talents. If your son shows an inclination toward dance and drama, then provide him with the tools to hone his potential. Do the same if your daughter is into rough sports like soccer or wrestling.\n7. Show children that jobs are not gender-bound.\nPoint out real people who carry out non-traditional gender roles, like a stay-home dad or a female tricycle driver.\n8.\u201cInnate differences between males and females in no way means that one sex is better or worse, stronger or weaker.\nAuthors Murkoff, Eisenberg, and Hathaway remind parents that differences are enriching, sameness is limiting. Pass this attitude on to your children.\u201dCONTINUE READING BELOWRecommended Videos\nIn Your Kids\u2019 Preschool\n1. Allow both boys and girls to play with all kinds of toys during playtime.\nIf you see a boy pick up a Dora the Explorer doll, just let him. You can even encourage him to pretend he\u2019s an explorer like Dora. Colunmnist at www.tolerance.org Williams also suggests providing kids with toys and activities that are not gender-specific, like art supplies, musical toys, and building toys.\n2. Encourage children to play with members of both genders.\nRemember that at age 4, kids tend to stick to their own gender group, so make sure they are given opportunities to spend with the opposite gender.\n3. During storytelling time, read stories with characters that cut across gender stereotypes.\nThe storybook William\u2019s Doll by Charlotte Zolotow teaches the qualities of being nurturing, while Free to Be You and Me, a compilation of stories by Marlo Thomas and other noted children\u2019s book authors, is about diversity, love, hope, and community. You can even show them movies like \"A Simple Wish,\" where comedian Martin Short plays a fairy godfather.\n4. \u201cIf a boy at school makes your daughter mad, don't allow her to say, \u2018Boys are stupid!\u2019\" writes Williams in her web column called \u201cTalk to Kids About\u2026\u201d \u201cSince one person's behavior is never representative of a group, encourage her to express her feelings about the individual rather than the entire gender.\u201d\nWhile watching a movie or TV show, ask your kids these questions:\n1. Count all the characters in the show. How many are girls? How many are boys?\n2. Who is your favorite character? How are you like your favorite character?\n3. What colors do the male characters wear? What about the girls? Is there a difference?\n4. Do the boys act differently from the girls? How? Why do you think that is?\n5. How many mothers and fathers were in the show? Were there more mothers or fathers?\n6. How many characters in the show were aggressive or violent? How many of the aggressive or violent characters were boys?\n7. How do the kids in the story get along with their mothers and fathers? How do you feel about that?\n8. Which character do you want to be? Why?\n9. If you could change the story of the show, how would you change it?\n10. After the show, ask your children to tell you what they liked. Did anything in the show bother them?ADVERTISEMENT - CONTINUE READING BELOW\nVarious studies also show that children\u2019s awareness of gender\u2014theirs and others\u2019\u2014naturally unfolds in a series of steps. The following are some important milestones:\nPreconceived notions of gender identities are already apparent in preschool. Girls are given more domestic, mostly indoor assignments such as sweeping the floor or checking attendance. Anything that requires physical strength is quickly delegated to boys\u2014carrying the toy box, putting the chairs up, etc.\nMany Filipino households still adhere to stereotypical gender roles: the mother stays home while the father goes to work. In an April 2006 Philippine Labor Force Survey conducted by the National Statistics Office, 35.1 percent of the population 15 years old and above are unemployed, with females comprising 70.8 percent of this group.\nEnter your details below and receive weekly email guides on your baby's weight and height in cute illustration of Filipino fruits. PLUS get helpful tips from experts, freebies and more!\nWe sent a verification email. Can't find it? Check your spam, junk, and promotions folder.\nDon't Miss Out On These!", "id": "<urn:uuid:98611aa0-2de9-4293-88d0-8bd473514a3b>", "dump": "CC-MAIN-2022-21", "url": "https://www.smartparenting.com.ph/life/home/beyond-pink-blue-how-to-raise-gender-sensitive-kids?ref=article_related", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545090.44/warc/CC-MAIN-20220522063657-20220522093657-00382.warc.gz", "language": "en", "language_score": 0.9503113627433777, "token_count": 1799, "score": 3.65625, "int_score": 4}
{"text": "Young children are sensitive to several factors in their surroundings, which could break or make their self-confidence. Hence, it is important to understand how to build confidence in kids to create a secure self-image. Being confident is essential for children since it plays a major role in determining their success in academics and other fields of interest. It also enables them to confront their challenges to reach their long-term goals. This article will help you understand how to build confidence in kids and offer some confidence-building activities for children.\nHow To Build Confidence In Children\nBuilding confidence in children requires consistent effort and acknowledgment. As children grow older, their self-esteem and confidence reflect in their personalities and eventually shape their lives. So here are some tips to help build a child\u2019s confidence (1):\n- Be a role model: Show your child how to be smart and confident through how you overcome difficult situations. Even when you don\u2019t feel your best, try to carry yourself with confidence and set an example for them.\n- Avoid getting excessively upset: Getting upset over minor things that don\u2019t work out as planned will set a bad example for your child. Instead, pick yourself up and face situations with a positive approach.\n- Express your love: Children require love and attention, the lack of which may cause them to assume that they are incapable of being loved. This may affect their overall confidence and hinder their personality development.\n- Cheer for their successes: When your child accomplishes a task, even a small one, acknowledge it and appreciate them. Even the little achievements are big, so ignoring them may demotivate them.\n- Allow imperfections: Often, things may not go as planned, leading to small disturbances in your child\u2019s development. Your child needs your support and encouragement to overcome those setbacks confidently in such situations.\n- Let them showcase their ideas: Encourage your child to talk and express how they feel about things. They will only respect you and your ideas if you do the same for them. In addition, giving them the confidence to speak up boosts their self-esteem.\n- Encourage them to try something new: Allow them to find their interests early on. For example, introduce a physical activity or various hobbies, such as dance, music, sports, or craft, and let them choose their favorite.\n- Acknowledge their differences: Each child has different abilities. Some may be more intellectually smart, while some may be creative or excel in sports. Help them shine in the field they choose instead of forcing them to pursue your interests.\n- Teach them how to embrace failure: Young children may be demotivated after experiencing failure. Thus, they should learn how to deal with failure, stand up, and try harder. As parents, be supportive and encourage them to keep trying.\n- Applaud their perseverance and hard work: When your child has worked consistently toward achieving something, applaud their hard work even if they don\u2019t achieve their goal. This shows that winning is not as important as learning from the experience.\n- Set achievable goals: Unrealistic goals only cause children to feel demotivated and stop trying if they don\u2019t achieve them. Therefore, set short-term goals and plan easy targets that your child can achieve with some effort. The sense of accomplishment they experience will motivate them to work harder.\n- Don\u2019t compare them to others: Accept your child for what they are. Drawing comparisons with other children leads to insecurity and jealousy. It also restricts the child from mastering the skills they are interested in.\n- Allow independent decision-making: Give your child space to make small decisions independently. This empowers them and makes them feel eligible to control small tasks in their daily life.\n- Focus on their strengths: Instead of pointing out their faults and weaknesses, pay attention to their strengths. Then, encourage them to use those strengths to improve themselves. This will motivate them to perform better in their favorite activities.\n- Give them responsibilities: Start by assigning them small tasks around the household, such as watering the plants every day. Even if they do not enjoy the chores, they will unknowingly gain confidence from feeling needed around the house.\nConfidence Building Activities For Children\nHere are some fun activities to help boost confidence in children:\n1. Mirror box\nFor this activity, you need a cardboard box and a mirror. Make a hole in one side and place the mirror facing the opposite side of the hole. Now, ask each child to look inside the box individually and tell you what they see. When they see themselves in the mirror, tell them that they are looking at the most special person. Loving themselves is the key to a more confident and secure personality.\nGet a paper, pencils, and a ruler. Ask the children to draw four columns: one each for the date, serial number, task to be done, and the deadline. This activity will help them organize their priorities. When they are clear about what needs to be done, they will approach tasks more confidently.\nIn this group activity, each child should describe themselves positively in five lines. Once done, the group must discuss and add one more line to those five lines. This will make the children feel acknowledged and liked by their peers, boosting their confidence.\n4. Dance to the rhythm\nMost kids love to dance, but some may be too shy to loosen up. This activity requires you to blindfold all the children and ask them to shake to the music you play. When the children realize no one is watching them, they will feel less shy and let themselves loose. This boosts their confidence by making them comfortable to loosen up.\n5. Story building\nEncourage children to speak up with this storytelling activity. Start by framing the first sentence, and then ask each child to pitch in by adding the next line to the story. Ensure that everyone receives a turn. Public speaking helps children be more bold and articulate in front of a crowd, thus boosting their confidence.\nThis activity can be done at the end of each day. Take five minutes to ask the child to remember everything they did throughout the day. Now, ask them if they believe they were good, bad, or moderate and how they can improve themselves the next day. This activity is a great way to deal with issues regarding esteem in children and builds a sense of competence.\nSome kids acquire confidence quite naturally, whereas others may struggle with a lack of confidence. A confident child is more likely to think positively, have a strong self-image, and accomplish tasks more efficiently. In addition, the attitude parents instill in young children helps shape their personality. Therefore, the earlier you start building confidence and healthy self-esteem in children, the better and more beneficial it is for their future.", "id": "<urn:uuid:c9b0693b-81d5-4522-98d4-d1a5849e452c>", "dump": "CC-MAIN-2022-21", "url": "https://usparenting.com/kids/15-ways-to-build-confidence-in-kids-with-fun-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00583.warc.gz", "language": "en", "language_score": 0.9604991674423218, "token_count": 1410, "score": 3.65625, "int_score": 4}
{"text": "A Letter To Parents & Students Before We Begin\nAbout What Is Included\nThis course includes 10 poetry units. Each poetry unit includes:\n- the study of a poet\n- a study of the poetry of this poet\n- a study of the literary elements found in the poetry\n- a writing assignment\n- a movie suggestion\n- a grammar component\nBooks, articles, and videos are used as source material to appeal to multiple learning styles. The culmination of each unit is watching a movie that features the poetry of the poet studied.\nThere is also a final writing project at the culmination of the course.\nThis course is recommended for 7th grade and up.\nAbout How To Implement This Course\nWhile this course can be independently completed by the student, we encourage the parent to join the student for a Poetry Teatime for each unit. This is the perfect time to review with your student what he/she has learned, including the writing assignment, and enjoy some poetry together. If you choose to take some pictures, please share them with us by using the #la4k.\nIf you are unsure of what Poetry Teatime is, read the article located HERE.\nWe also encourage parents to watch the movie with your student, if at all possible. In addition to being a great bonding experience, it can provide many opportunities for great discussion between you and your student.\nAbout How To Use This Course\n*As a full-year Language Arts course.\nComplete all the assignments for one language arts credit. Or you might choose to track your student's hours in order to meet the requirements for your state.\n*As one-half of a full Language Arts program.\nAdd your own grammar curriculum and complete all assignments in the course, except for the grammar lectures, for full high school credit in Language Arts for the year.\n*As a supplement to any Language Arts program.\nYou can choose to complete units in your own time frame. Use the parts of the lesson which appeal to you and fit with your current language arts program. For example, if your student is currently using a writing program, you might opt-out of the writing lessons. We encourage you to make the program work for your homeschool.\nAbout the Order of the Lessons\nThis course is designed to be used in the order presented. If you choose to learn the poets in a different order, you may find that the assignments will not correlate and you will need to adjust the assignments.\nMovies that are chosen may have themes and situations that are controversial or that may be uncomfortable in your family. Please read the reviews from Common Sense Media that we have included in the lessons.\nAbout the Grammar Component\nThe grammar your student will be using is the program in the book, The Perfect English Grammar Workbook. You can find it on Kindle Unlimited for free.\nThe grammar lecture should be reviewed at the beginning of each poet as it will be utilized during the entire month of the poet. We have given a general outline as to how many lessons need to be completed each month. However, your student can determine their own schedule.\nEach grammar lesson has a unit quiz. You can check your student's progress with these quizzes.\nIn this course, we reference events you can add to a timeline. Many homeschoolers take advantage of a historical timeline. If you already use a timeline, these dates will be helpful to you.\nIf you do not use a timeline, this article will help you to understand the advantages of using one in your studies. You can download a simple timeline HERE. You will only need to print pages 57 - 93 for this study.\nAbout Trivia Cards\nDuring each of the lessons, students will create trivia cards about the poets. These cards can be used to quiz students about the history and life of the poets. We recommend using the cards to play games during poetry teatime or as a review of the lesson. Keep in mind because you will be using these for a full year you probably don't want to include obscure facts. Also, you might want to consider using the Jeopardy format for writing your question.\nAbout The Answer Key\nThe answer key provided with this course is to be used as a reference for the Literary Elements portion of the course. It is not to be used as an exhaustive resource of all occurrences of every literary element found in the poems. Poetry and its literary elements can be subjective. Use the answer key to help your student understand the literary elements and to start conversations about the elements and the poetry.\nThe goal of this course is exposure to classic poetry by the master poets. This course is not designed as a mastery of the literary elements or of grammar.\nAbout The Credit\nThis course is the equivalent of a year of high school literature course study. We recommend allocating a year of literature credit. Each individual poet would be the equivalent of roughly one month of literature credit.\nAbout The Course Description\nStudents in this course are engaged in the careful reading and critical analysis of classic poetry. Through close reading of selected literary works, they will develop critical standards for interpreting the effects writers create by means of the artful manipulation of language. To achieve these goals, students study individual works and their characters, action, structure, and language. They consider large-scale literary elements such as form and theme, and smaller-scale elements such as figurative language, imagery, symbolism, and tone. The writing assignments focus on the critical analysis of literature and include expository, analytical, and argumentative essays.\nAbout The Certificate\nOnce the student has completed the course, they will receive a certificate. You may print this out for your records.\nAbout Videos and Links\nIf a link is broken, please email me at [email protected] and I will correct it or find a suitable replacement as soon as possible.\nIf the video shows an ad, please understand that we do not control this. This is a product of using YouTube. If you feel the ads are inappropriate, you can turn on Restricted Mode.\n\u00a9 2016-2022 Hide The Chocolate's Literary Adventures for Kids", "id": "<urn:uuid:eae57d7f-10c6-4ec3-89f8-62435ae090e8>", "dump": "CC-MAIN-2022-21", "url": "https://www.literaryadventuresforkids.com/courses/poetry-and-a-movie/lectures/5558350", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00383.warc.gz", "language": "en", "language_score": 0.9439787864685059, "token_count": 1258, "score": 3.703125, "int_score": 4}
{"text": "People learn best when they are active participants in the learning experience. To achieve the best learning outcomes we need to build experiences that immerse the learners in environments and scenarios that make them active participants.\nMany past and current training initiatives fail to immerse learners. Role plays in face-to-face workshops don\u2019t provide the realism required, many eLearning courses fail dismally only immersing the learner in a \u2018click next\u2019 experience and real-life immersive situations are too dangerous for learners to engage with or too difficult to replicate at the point of training (could you imagine failing a CPR exam on a real patient?). However, with improvements in technology (which is only getting better) we now have the capabilities to create effective immersive learning experiences that provide so many benefits.\nTechnology now provides us with the tools to create immersive virtual environments, that can engage the skills and knowledge of learners as well as the senses of sight, sound (and in some cases) touch.\nWhat is an immersive learning environment?\nVirtual worlds are often the first thought when immersive learning is mentioned. However, immersive learning environments can incorporate a number of mediums including augmented reality, simulations, games in addition to the virtual worlds.\nAn immersive learning experience can more quickly move individuals towards the mastery of skills. The immersive environment can allow for the learner to be placed in a simulation of their real working environment. They can practice their skills and apply knowledge to a range of situations, some of which they may not be readily exposed to in real world training.\nLearners can practice, and receive instruction, in a safe environment. They can progress at a pace that suits them. The safe environment means the learner does not have the concerns of injury or accident when practicing. They can fail safely and receive feedback on how to improve in the future.\nBecause of the realistic and immersive nature of the virtual environment, learners can develop an emotional connection to the learning experience. This emotional connection will increase the opportunity for the transfer of learning into the real-world environment.\nJoost Uitdewilligen in his TedX talk \u2018I Am You. How Immersive Learning Can Help Us All\u2019 discusses how you can develop empathy in learners through virtual learning environments. He talks about how people\u2019s empathy can be limited based on their own experiences. By immersing people in an environment, or putting them in another person\u2019s shoes (virtually), you can educate them and allow them to develop empathy for the other person.\nFactors required of an immersive environment\nThere are four key factors to consider when developing an immersive learning experience.\nProvide a visually rich and realistic environment\nTo have a strong impact on the learner\u2019s psyche, to make them think they are there, you need to provide a visually rich and realistic environment. It is not only having the environment look as authentic as possible to complete the learning task, but also incorporate other experiences and objects that deepen the immersion. I recall one of my first immersive learning experiences, photocopying documents in a virtual environment. On my desk, with many other objects, was a ball. It had nothing to do with the learning experience. The ball was an insignificant object that did not need to be there or require me to interact with it to complete my learning task. However, I could interact with it. I picked it up, and as you do with a ball, I threw it across the virtual office. This simple experience of picking up the ball, throwing it and watching it move through the air like a real ball, deepened my experience in the environment.\nAdapted from Koreen Olbrish Pagano, Immersive Learning: Designing for Authentic Practice.\nTo create a strong emotional connection to the experience, you need to incorporate effective storytelling. Stories provide an effective way to engage learners with the content. A good story can be used to provide some context around the topic, to provide some characters that people can relate to.\n\u201cStories have the ability to encapsulate, into one compact package, information, knowledge, context and emotion\u201d. (Norman)\nStories provide an immersive learning experience, making learning more memorable and fun. People always remember a good story, therefore will have a higher retention of the content covered. Incorporating the use of imagery, animation and sound to tell the story create a user experience that is even more memorable.\nGive up control\nFor an authentic and engaging immersive experience you need to give up control. The learner must be free to explore the environment in their own way. You can control what they see and the feedback they receive, but control on how and when they engage with the content must be relinquished. If we sent a learner into a library or other real life room to find content we would not have control. The same must occur in a virtual immersive environment.\nBy giving up control we allow learners to explore how and when they want. During this time we must provide an environment that allows them to fail safely. The immersive environment is perfect for this as they can undertake dangerous tasks, make risky decisions and see the impact without the fear of injury or accident. Learning through failure provides an effective learning experience that can support the learner into the real-world environment.\nAn active participant in an immersive learning experience will retain more information and develop knowledge and skills quicker. One could argue that the end result would then better learning, better outcomes and better returns.\nConsider how your next learning experience can be made immersive.\nThis article originally appeared in Training & Development magazine October 2017 Vol 44 No 5, published by the Australian Institute of Training and Development.\n- Kapp K, 2008, Advantages of Immersive Learning http://karlkapp.com/advantages-of-immersive-learning/\n- Norman D, 1993, Things That Make Us Smart: Defending Human Attributes in the Age of the Machine, Addison-Wesley Publishing Company, Reading, MA.\n- Olbrish Pagano K, 2013, Immersive Learning: Designing for Authentic Practice, ASTD Press, Alexandria VA.\n- Uitdewilligen J, 2015, I Am You. How Immersive Learning Can Help Us All. TEDxAmsterdamED http://tedxamsterdamed.nl/talk/joost-uitdewilligen", "id": "<urn:uuid:c8ec9aa7-3413-4320-b4fd-bc2492b71a60>", "dump": "CC-MAIN-2022-21", "url": "https://superblearning.com.au/immersive-learning-environments/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663013003.96/warc/CC-MAIN-20220528062047-20220528092047-00583.warc.gz", "language": "en", "language_score": 0.9348315596580505, "token_count": 1322, "score": 3.671875, "int_score": 4}
{"text": "How Much More Effective Is Potash Relative to Urea Ammonia?\nYellowing leaves and slow plant growth are signs that nutrients are missing from the soil and can indicate lack of nitrogen or potassium. Potash and urea ammonia are frequently used in caring for yellowing plants. Potash adds potassium, while urea ammonia supplies nitrogen. It is important to know what nutrient is needed as too much of either can be damaging.\nYellow and Dry\nWhile the symptoms of nitrogen and potassium deficiencies are similar, showing up in older leaves first, there are a few differences. Nitrogen deficiency causes pale green as well as yellow leaves. Generally the yellowing begins at the tip of the leaf, moving down the middle. Potassium deficiency includes a dry, burned look to the yellow leaves and can include a lessening of stalk strength. Testing the soil with a kit from a home or garden center is recommended to ensure that the correct nutrient is added.\nThrough the Veins\nPlants use potassium for many plant processes including protein synthesis and maintaining water balance throughout the plant. Potassium deficiency is most common in soil that has little organic content. Applying potash to the soil adds potassium to the soil. Potassium is in the soil is not water soluble, so it does not move throughout the soil. Turning potash into the soil when it is applied will make the potassium available to the plant roots. Excess potassium in the soil can increase the salt levels in the soil, which is damaging to plants. Since potassium is not water soluble it takes a long time to correct an over-application of potash.\nIngredient for Green\nNitrogen is an important component of proteins, which the plant uses for growth. It also a vital part of chlorophyll and is necessary for photosynthesis. Nitrogen in the soil comes from organic material and must be broken down by microbes before it can be absorbed by plant roots. Nitrogen is extremely mobile in the soil, and levels can depend on the weather. Levels in the soil vary so much that soil testing should be done during the growing season and right before application. The mobility of nitrogen also makes it susceptible to excess nitrogen polluting waterways.\nUse or Lose\nUrea ammonia adds nitrogen to the soil; however if its applied to the surface of the soil and left there, it is likely to convert to a gas and be lost. Urea ammonia can applied by spreading and working it into the soil at the root level. It is also completely water soluble, so it can also be spread on the top of the soil and incorporated by immediately watering. This will dissolve the urea ammonia and take the nitrogen it supplies to the root level of the plants.\nCrafting and creative projects have been part of Heidi Grover's life since she was old enough to reach the glue and glitter. Grover received a degree in creative writing from Utah Valley University and combines her love of crafting with her love of words.", "id": "<urn:uuid:3f53999b-fabc-4e8d-a2b8-0c109343b234>", "dump": "CC-MAIN-2022-21", "url": "https://homeguides.sfgate.com/much-effective-potash-relative-urea-ammonia-94934.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662539131.21/warc/CC-MAIN-20220521143241-20220521173241-00382.warc.gz", "language": "en", "language_score": 0.9557878375053406, "token_count": 611, "score": 3.890625, "int_score": 4}
{"text": "Film and Dramaturgy\nDramaturgy is the knowledge of how to choose, apply and structure narrative elements to tell a story. As a tool of storytelling it is based on the analysis of narrative works. Since ancient times people tried to understand the elements and structures of myths, legends, fairytales and drama and then started to set down this understanding as principles. This is how basic plot emerged in a cross-cultural way that corresponded with human consciousness. Aristotle was the first to point out the interrelation between ways of storytelling and the raw human experience of its audience. He declared the recipient to be the benchmark of narrative skills and application.\nCinematic Dramaturgy ^\nCinematic dramaturgy offers the principles and tools for the most effective composition of a story in combination with a film\u2019s visual and audible narrative channels. The audio channel is further divided into speech, sound and music. Because film as a medium harbours numerous narrative, spatial and temporal possibilities dramaturgy counters its boundlessness with a demand for selection and effectiveness. Its understanding of effectiveness contains two aspects: economical reduction as well as maximised impact. Dramaturgy aims at creating specific audience impressions at every moment of the story which requires that it remains invisible within the film. Therefore its mechanisms are extremely pragmatic. The central question is: How can a specific story be told in the most impressive as well as condensed way? Possible effects of a story are: pleasure, understanding or unsettledness and accordingly humour, tension and emotion.\nDramaturgy deals with the classification and perspectivation of storylines as well as the measuring and timing of story information: At what point, in what way and to whom is information presented? Is the information disclosed at once or gradually? How can a conflict be resolved most effectively? What is the function of each narrative unit? Does a scene move the action forward or is its role already fulfilled elsewhere?\nDramaturgy puts the single elements of a story into a dramatic structure independent of their chronological order. At the same time it steers the audience\u2019s perception and reaction. Yet cinematic dramaturgy doesn\u2019t just cover the process of story and script development but also covers all creative areas of filmmaking such as the directing of actors, camera, sound, mise-en-scene, montage/editing or music. Furthermore it enables an authoritative and verifiable understanding of a film\u2019s narration.\nDramatic Storytelling ^\nAccording to Aristotle dramatic storytelling is a mimesis \u2013 i.e. a performed imitation of \u2018true\u2019 life realities in form of a storyline: the world is translated into a structure that can be communicated to others in form of a story. Conflicts are handled through the use of characters in order to extract a basic truth about life. Because of this replacement principle and the claim of truth the audience is able to obtain pleasure, understanding and cathartic release from the mimesis.\nThe fictional narration doesn\u2019t follow the criteria of world realism or the requirements of logic, naturalism or mathematical probability. The crucial criterion is the authenticity within the created world \u2013 i.e. within the parameters which the story itself established within its exposition; whereby the world knowledge and the narrative knowledge compete with each other. A narrative trick is to create doubt within a character only to settle it within the story for the benefit of the audience.\nThe story needs to be immanently plausible and organic. In a movie something impossible may be more believable than something possible. Objectively speaking most happy endings are probably quite implausible, yet they can seem true. That\u2019s when they\u2019re \u2018bigger than life\u2019. However coincidences are often met with audiences\u2019 disapproval regardless of how much they are actually a part our daily life. They\u2019re only accepted when they occur at the beginning of a story or when they create a disadvantage for the protagonist, i.e. make her journey more difficult rather than easy. Only when dispositions and character motivations turn into turning points or result from the laws of the created world do they become believable for the audience.\nIn summary the challenges of cinematic storytelling are:\n- turning situations into actions\n- visualising abstract incidents through scenes\n- personalising structural storylines\n- presenting character motivations\n- achieving authenticity and plausibility\nSelf-contained Story Structure ^\nThe self-contained story structure is based on the understanding of a story\u2019s \u2018completeness\u2019 and defines it through a definite beginning and ending: at the beginning of a story a stable situation is brought into motion and at the end this motions congeals into a new solid condition. Therefore the self-contained story structure is based on the 3-act-structure.\nThe linking of single storylines follows the principle of cause and effect. The narrative objective is to create a plot that develops and escalates from within. Ideally each incident ensues from the former action: It is a direct consequence or result of the action before. And this action inevitably leads to the next one: \u2018Because\u2026therefore\u2026\u2019 The plot moves forward in a way that makes the individual steps mutually dependent and non-exchangeable. This causal coherence between single scenes is also called the dramatic storytelling principle.\nYet in practice it doesn\u2019t exist in such pure form because even a self-contained drama needs a few epic elements. Because of these needs the development of a self-contained structure is constantly torn between the constructed and the organic, between storylines and character dispositions. The challenge is to embrace both aspects.\nThe self-contained story structure satisfies the following basic human needs and desires within the audience:\n- Order and orientation\n- Closure and harmony\n- Completeness and coherence\n- Meaning and realisation: everything one does has consequences.\n- Accessibility and simplicity: interconnectedness becomes visible.\n- Solution: conflicts are resolved .\nThe self-contained story structure constitutes the foundation for specific structure styles.\nOpen Story Structure ^\nThe open / epic story structure is based on the idea of film as a fragment, a tessellated narration without an overriding (act-)structure. The story starts in medias res, without character or setting exposition. Equally the story breaks off abruptly at the end without closure to the storyline(s). The point open story structure is trying to make is that a story or theme cannot be told or dealt with in a concluding or comprehensive fashion. It is quite characteristic for epic structure designs that scenes stand for independent episodes and therewith for themselves or the overall problem of a story. It offers primarily condition-based events and situations rather than actively induced plots where characters act according to their true nature. The linking of incidents follows the construction principle of a string of events \u2013 \u2018and then, and then\u2026\u2019 \u2013 as well as the theme of the film. Depth and concentration derive from elaborate theme successions and narrative islands in form of thematic and aesthetic clusters. Possible turning points within the story are not exposed or dramatized. An epic story structure demands active participation from the audience because it doesn\u2019t offer as much guidance as a self-contained structure. The open format is suitable for pure comedies as well as free, episode-based, experimental or documentary material of all lengths.\n\u2022 Aristotle: Poetics.\n\u2022 Rabenalt, Peter: Filmdramaturgie. Berlin 2000.\n\u2022 Klotz, Volker: Geschlossene und offene Form im Drama. Munich 1960.", "id": "<urn:uuid:303858fd-ec6d-4111-88d5-51c3d8c6d9e2>", "dump": "CC-MAIN-2022-21", "url": "https://dramaqueen.info/wiki/film-and-dramaturgy/?lang=en", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663013003.96/warc/CC-MAIN-20220528062047-20220528092047-00582.warc.gz", "language": "en", "language_score": 0.936774730682373, "token_count": 1562, "score": 3.625, "int_score": 4}
{"text": "Language Arts Curriculum\nElementary Language Arts\nWriting: The elementary language arts program emphasizes purposeful writing: to tell stories, to present information, to persuade/argue, and to entertain. Students begin writing in kindergarten, even before they can read, by drawing and using phonetic spelling. In elementary school, students are expected to write every day. They write frequently in writing workshops, practice all types of writing, receive feedback from their classmates, conference with their teachers, and learn editing and revising skills.Students publish and celebrate their pieces in their Writer's Notebook, iPad, or laptop. In addition, students also use writing as a tool for learning content in all subject areas: to respond to literature, to analyze scientific information, to problem solve in mathematics, and/or to support a point of view in social studies.The myView program is a yearlong writing curriculum for grades K\u20135 that combinesthe teaching of reading, writing, speaking and listening by integrating literacy skills grounded in research. The program has two goals: to teach students the connections between reading and writing and to inspire creativity. We want students to learn from the world around them and let their own stories unfold. Teachers use trade books for to immerse students in various genres and teach students how to use the characteristics of that type of writing in their own writing.Information Skills: Information literacy is a set of abilities requiring individuals to recognize when information is needed and have the ability to locate, evaluate, and use effectively the needed information. Students will be able to use the library and its available resources to\n- Determine the extent of information needed\n- Access the needed information effectively and efficiently\n- Evaluate information and its sources critically\n- Incorporate selected information into one's knowledge base\n- Use information effectively to accomplish a specific purpose\n- Understand the economic, legal, and social issues surrounding the use of information, and access and use information ethically and legally\nLanguage Use: Instruction in the other language arts skills is embedded in application. Speaking and listening skills are taught and then applied in both informal group discussion and public speaking situations. Our district scope and sequence of language skills introduces students to the formal structure of English and highlights grammatical skills to be emphasized each year.Spelling: Kindergarten, first, and second grade teachers use the Reading Horizons program to teach spelling. All classrooms teachers in third through fifth grade use the the myView program to teach spelling. Finally, systematic handwriting instruction rounds out the language arts program.Assessment: Assessment in the language arts includes a variety of instruments: written pieces, end-of-year skills tests, PSSA tests, portfolio prompts, and performance assessments. The culminating sixth grade performance assessment task also targets the language arts program. It requires that students develop a research question, conduct research, create a product that demonstrates their findings, deliver it orally to an assessment panel, and self-evaluate their performance.\nLinks to online grammar games:At home spelling practice: Spelling Practice\nSecondary Language Arts\nThe secondary language arts program in Central Bucks integrates reading, literature study, writing, speaking, and research skills at each grade level. Our program goal is to have students achieve high academic standards in the language arts: reading independently, reading critically, analyzing and responding to literature and nonfiction text, writing in various forms for a variety of audiences, producing compositions of high quality, speaking proficiently, and using research skills. Students read and respond to literature (classic as well as contemporary novels) in discussions called literature circles. They respond to their reading in blogs and journals and also learn to analyze the craft of literature. They write personal narratives, informative pieces, argument pieces, and creative stories, poems, or plays. They learn to respond to each other's writing and to revise and edit their own work during writing workshops. They learn research skills and present their findings in speeches, media presentations, and papers.\nIn middle level, students engage in thematic units. In grade 7, students have a double block of English Language Arts. Some students are identified for honors English each year. In grade 9, a double block of reading and writing is also provided for students who need extra support to reach the standards.\nIn senior high, students take core English courses in grades 10, 11, and 12. Central Bucks uses block scheduling, so all students have ninety minute classes for one semester each year: English 10 (using McDougal-Littell's The Language of Literature and Bedford St. Martin's Models for Writers), English 11 (using Bedford St. Martin's 40 Model Essays), and English 12 (using Bedford St. Martin's Language and Composition). All three years of study are offered at different challenge levels (honors and academic). In addition, AP English Language and AP English Literature are offered to qualified juniors and seniors.\nThe high school also offers a varied elective program, including offerings such as Journalism, Becoming a Better Writer, Debate, Creative Writing, Theater, Sports Literature, SAT/ACT Preparation, Media Production, and Introduction to Film Studies.", "id": "<urn:uuid:cf7a4c59-b92d-499b-9ceb-0b47768fee24>", "dump": "CC-MAIN-2022-21", "url": "https://www.cbsd.org/domain/594", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00583.warc.gz", "language": "en", "language_score": 0.9415801763534546, "token_count": 1038, "score": 3.796875, "int_score": 4}
{"text": "Mary\u2019s deep passion for books began at a very young age. If you read a story to her once she was fully engaged. If you gave her the same picture book a second time, she could repeat the story nearly word for word.\nHow, then, her parents wondered, could this highly intelligent child with such a rich vocabulary and unmistakable gift for storytelling make it all the way through second grade still unable to read?\nMary is a visual thinker. She has no real internal dialogue, which means that she doesn\u2019t hear her own voice inside her head as she reads or thinks. Instead, she sees pictures; dimensional, interesting, glorious pictures.\nWith no internal dialogue, you can understand why phonics rules make no sense to Mary. She has trouble associating sounds with symbols. Tell her 100 times that this flat, 2 dimensional letter b says the sound \u201cb\u201d and you\u2019ll be wasting your breath, not to mention increasing Mary\u2019s feelings of inadequacy. Her brain does not register the association.\nPerplexed, her parents want to know how Mary can read ten dollar words like hippopotamus without a second thought, yet simple words like cat stop her every time.\nThe reason? Mary uses her strong visual skills to memorize the unique visual patterns of larger words. She then matches the pattern with her mental image of, say, a hippopotamus, and instantly recognizes the word.\nSince cat looks very similar in shape to bat, or sat, or mat, memorizing its shape does nothing to help her. Remember, short words like cat are only \u201csimple\u201d if you have the ability to sound them out. Mary does not.\nThe Good News About The Storyteller\nMary has always been inquisitive, creative, and curious. As a visual thinker she tends to think and process information much faster than her verbal-thinking peers.\nBecause she relies heavily on auditory input for information, most of Mary\u2019s teachers are delighted by her active engagement during class discussions.\nHer love of books and stories all began when her parents read stories to her out loud. This allowed her to strengthen her natural mental movie-making skills. Those skills, in turn, continue to feed her imagination. Tea parties become extravaganzas. Family and friends become characters in her dramatic stories.\nIs she the next Steven (or Stephanie) Spielberg in the making? Will she be the top saleswoman in her industry? Perhaps, but she\u2019s also a gifted artist. With a keen understanding of perspective, her drawings are vibrant and full of depth. She has multiple talents and high-value skills that many of her reading peers simply don\u2019t have.\nReading Help for The Storyteller\nClearly, not all gifted storytellers struggle with reading. However, non-readers who resemble Mary\u2019s storyteller profile become strong readers with a number of educational therapy techniques. I\u2019ll list just a few of them here.\nWhile we do want Mary to maintain her incredible visual talents, we also want to train her brain to develop an internal dialogue. Rhyming games are just one way to do this. You can check out my Auditory Learning Pinterest board here for a few ideas.\nCreating letters and words out of clay transforms them into 3D objects. This perfectly taps into the way The Storyteller sees and learns. Clay work is especially helpful for troublesome sight words that have no clear visual representation. Can you visualize the definition of the word \u201cthe?\u201d Neither can the visual thinker. Working with clay helps create that visual connection.\nSome struggling readers like The Storyteller find themselves reading random words from different lines on the page. Suddenly a word from 2 lines above or 3 lines below appears in the line they are reading. Building Visual Tracking Skills THE BOOK targets this issue. It also happens to help students build visual discrimination skills at the same time.", "id": "<urn:uuid:dc2cb9e3-8313-4573-9221-f8a52bc48a62>", "dump": "CC-MAIN-2022-21", "url": "https://innerpiecesgallery.com/profile-of-a-unique-learner-the-storyteller/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662627464.60/warc/CC-MAIN-20220526224902-20220527014902-00583.warc.gz", "language": "en", "language_score": 0.9462728500366211, "token_count": 827, "score": 3.5, "int_score": 4}
{"text": "Both the stories portray post-war traumas, psychological conflicts, the hollowness of the society, Class conflicts, racism, interior monologues, nonlinear storytelling technique that make them modernist in approach and tone.\nBEYOND THE BAYOU is a children\u2019s story. It was first published in a children\u2019s magazine Called THE YOUTH\u2019S COMPANION (June 15,1893). THE GARDEN PARTY also appeared in a magazine called \u2018Saturday Westminster Gazette\u2019 (1922).\nThe stories were initially written for the children but also stand right for every reader as there are many themes, hidden behind the clouds. Both of them portray class conflicts. In BEYOND THE BAYOU Jaqueline suffers from mental trauma as in her childhood she saw her master P\u2019tit Mai^tre in a bloody condition when he took shelter in her mother\u2019s cabin.\nThe master only enters two times in her hut in the time of need. Her separation from the outside world shows the physical and psychological distance between white and black, rich, and poor people.\nIn THE GARDEN PARTY, we see the Sheridan family who is rich and happy. They have everything. They have the \u2018Bright blue sky\u2019. Their neighbours are poor and that\u2019s why the Sheridan children can\u2019t go there! Even when Laura requests her mother to stop the garden party after hearing the accidental death of one of their poor neighbours, Mrs. Sheridan simply replies, \u2018Don\u2019t be so extravagant\u2019.\nMrs. Sheridan\u2019s idea of distributing their leftover food to the dead man\u2019s family clearly shows her plastic mentality. Cheri and Laura in a way symbolize innocence, which is far away from the class or racial discriminative mentality. They are simply the representative of the victimized children whom the grown-ups try to exploit slowly by their venomous tongues day by day.\nBEYOND THE BAYOU centres around a woman named Jaqueline also known as La Folle whom the society calls \u2018mad\u2019. She allows only Cheri in her lonely world and when Cheri gets the wound, in desperation she crosses the bayou. She conquers her fear. Chopin\u2019s protagonist is poor, black, and unconventional.\nThe story ends with Jaqueline watching the sunrise, which symbolizes hope and positivity. The readers get happy with the thought that finally, a poor black woman is getting a new life.\nOn the other hand, THE GARDEN PARTY shows a \u2018Barbie girl\u2019s\u2019 sad and bitter experience about the class conflicts that make her arrive at the harsh reality from her \u2018Barbie world\u2019. She can\u2019t tolerate the sensitive situation and bursts into tears. She ends the story with her stammering voice \u2018isn\u2019t life\u2019.\nThough class conflicts are visible in both the stories, the family of P\u2019tit Ma\u00eetre is much kind than the Sheridans. Atleast P\u2019tit Ma\u00eetre or his son Cheri have the freedom to visit La Folle or her mother\u2019s house but Laura Sheridan or her siblings have no freedom to visit at least their neighbours\u2019 locality.\nTo conclude the two stories become one at the end as both of them is about \u2018self-discovery\u2019 of two woman. Laura and La Folle can have different social backgrounds, skin tones, families and beliefs etc. But the incidents that revolves around them in the stories, give them a new perspective in their lives. At this point the two becomes one.", "id": "<urn:uuid:77d89e7f-476a-4af6-958d-3a19018dce9b>", "dump": "CC-MAIN-2022-21", "url": "https://englishsummary.com/beyond-the-bayou-the-garden-party-a-comparative-study/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662538646.33/warc/CC-MAIN-20220521045616-20220521075616-00780.warc.gz", "language": "en", "language_score": 0.9547558426856995, "token_count": 776, "score": 3.578125, "int_score": 4}
{"text": "\u201cEvery child is an artist\u201d \u2013 Picasso\nWhy is art important in schools?\nArt is food for the soul and comes in many different forms, from music, dance, puppetry, painting, and drawing to storytelling and more. The role of parents and teachers is to expose children to a variety of materials so they can create art. If children are given the proper opportunities to develop their creativity through practice, creativity will come more naturally to them.\nArt and creative activities develop children mentally, socially and emotionally and have many other benefits for a child\u2019s development.\nThe following are some of the documented benefits of art for children.\n- Making a choice \u2013 by choosing what shapes to draw, what colours to use and what size to make their drawings, children are learning how to make a choice.\n- Sensory development \u2013 art can employ many senses as children mix colours, draw what they see in front of them, feel the materials and squish paint between their fingers. All these make for great sensory activities.\n- Fine and gross motor skills \u2013 drawing, mixing colours, cutting, controlling a glue stick, rolling, tearing and sticking all require coordination and are fun activities that children want to keep repeating. As children engage in these activities, their motor skills improve.\n- Builds confidence \u2013 by getting up in front of a group, taking pride in their artwork and showing other people their work and talents, children are given a confidence boost.\n- Promotes creativity and builds problem-solving skills \u2013 art helps children to think outside the box and develop critical problem solving skills. When your child is encouraged to think outside the box, they will be able to use this skill in other situations too. The more experience they have with a variety of materials and techniques, the more likely they are to try new combinations. According to the International Child Art Foundation, \u201cResearch indicates that a child who is exposed to the arts acquires a special ability to think creatively, be original, discover, innovate, and create intellectual property\u2014key attributes for individual success and social prosperity in the twenty-first century.\u201d\n- Pre-writing \u2013 as babies and toddlers scribble, they are actually improving the way they hold and control a crayon and, as they move on to making shapes, they improve their prewriting skills which helps when the time comes to start writing.\nHow You Can Help at Home\n- Have an \u201cart area\u201d or corner in the house with paper, boards or a variety of materials with drawing tools like pencils, paintbrushes, crayons and paints. You can also add scissors, glue, containers, beads, glitter and so much more so keep it interesting. Every now and then you can add in something new to make it that much more fun for your little one. Set up a space where your child can experiment. Expect and encourage a mess!\n- Get your child involved in art programs after school, during the weekends and vacations\n- Have fun together- create a scrapbook with pictures, captions and collages and work on fun art projects together.\n- Sing and dance together \u2013 get the whole family involved and make an event of it!\n- Act our stories with props and costumes and encourage your children to act out stories for you too.\n\u201cCreativity is contagious, pass it on.\u201d \u2013 Albert Einstein", "id": "<urn:uuid:16a7b5e7-dc3b-40b4-90e1-628f6d71ee5a>", "dump": "CC-MAIN-2022-21", "url": "https://stepbystepnursery.ae/the-benefits-of-art-for-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512249.16/warc/CC-MAIN-20220516204516-20220516234516-00383.warc.gz", "language": "en", "language_score": 0.9580438137054443, "token_count": 693, "score": 4.03125, "int_score": 4}
{"text": "Literature allows a person to step back in time and learn about life on Earth from the ones who walked before us. We can gather a better understanding of culture and have a greater appreciation of them. We learn through the ways history is recorded, in the forms of manuscripts and through speech itself.Nov 13, 2020\nAs an educative source, literature plays a significant part in human life. Literature works with direct or implied moral. \u2026 Literature influences us and makes us understand the every walk of life. Narratives, in particular, inspire empathy and give people a new perspective on their lives and the lives of others.\n\u201cLiterature offers the reader \u2018knowledge\u2019 in the form of information . . . \u2026 \u201cLiterature read in this way serves as a social document, giving us insight into the laws, customs, institutions, attitudes, and values of the age in which it was written or in which it is set.\u201d Literature \u201cbroadens our knowledge of the world.\nLiterature expand our imaginations and refine our moral and social sensibilities. \u2026 The emotional situations and moral dilemmas that are the stuff of literature are also exercise for the brain studies suggest, increasing our real-life. We also become sensitive towards other human beings.\nliterature is truly the reflection of life and human experiences. In conclusion, literature allows people to do many things. it also allows the reader to share the same experience with the writer. lastly, literature allows the reader to learn through a persons mistakes and wins.\nLiterature reflects human nature and a way we can learn and relate to others. By reading through a first-person perspective, we can fully immerse ourselves into a different mindset and figure out how others think and feel.\nLiterature allows us to interpret our own life and emotions and find ways to relate to the story so we in turn can reflect. It is also a form of entertainment and allows people to use their imagination to visualize the story within their own mind.\nWhen students study Literature, they learn to appreciate words and their power. They travel to other realms and times through the texts they read. They understand about their own culture and others\u2019. They learn to empathise with characters, to feel their joys and pain.\nReading great literature exercises the imagination. We enjoy stories; it is a pleasure to meet characters and to live in their world, to experience their joys and sorrows. In a practical sense, an active imagination helps us perceive truth, make value judgments, and deal with the complexities of life in creative ways.\nLiterature enhances the adequacy of our ethical reflection and leads to more accepting, tolerant viewpoints as a consequence of readers being faced with an infinite range of characters, cultures and crises that they may not otherwise come into contact with.\nLiterature is the foundation of humanity\u2019s cultures, beliefs, and traditions. It serves as a reflection of reality, a product of art, and a window to an ideology. Everything that happens within a society can be written, recorded in, and learned from a piece of literature. \u2026 Without literature, life ceases to exist.\nThe phrase \u201cvalues of literature\u201d refers to those qualities of poems, stories, novels, etc. that make them worthwhile to read. If we feel our time reading is well spent, we can say that a work has value for us.\n\u201cLiterature deserves its prestige for one reason above all others: because it\u2019s a tool to help us live and die with a little more wisdom, goodness and sanity.\u201d As writers and book lovers, we know everyone should be reading literature.\nLiterature is a mirror of society because it gives an image, but the image is not necessarily a true image. The image can be distorted in reality or perceived as distorted by society as a whole. Literature tends to focus on subjects current to societal engagement.\nThe literature of any nation is the image that reflects the sincere ideas, so we can call it the mirror of life which reflects writers \u2018 thought about life and the real situation of the world around. \u2026\nIt establishes the authors\u2019 in-depth understanding and knowledge of their field subject. It gives the background of the research. \u2026 Demonstrates how the research fits within a larger field of study. Provides an overview of the sources explored during the research of a particular topic.\nLiterature is our journey into the past and allows us to keep great traditions and works of art alive in the present. It helps us understand where we come from, how we evolved, guides us towards the future, and adds meaning to our often chaotic, fantastically tremendous lives.\nliterature, a body of written works. The name has traditionally been applied to those imaginative works of poetry and prose distinguished by the intentions of their authors and the perceived aesthetic excellence of their execution.\nGreat literature is based on ideas that are startling, unexpected, unusual, weighty. or new. Great literature makes us see or think things we never did before. The ideas underpinning the work challenge our accustomed categories and ways of thinking, putting minds on edge.\nLiterature is a powerful storytelling technology that unites us across space and time. Literature chronicles and preserves the ever-evolving human story. It invites us to reflect on our lives and, in discussion with others, to add our voices to the exploration of timeless human themes. Literature makes us think.\nLiterature is a very effective way of understanding a culture of a particular time, of a particular class and of a social group. \u2026 With Literature, we see the Countries and People as they were. We experience the different climates,language and tone. Literature also gives us glimpses of much earlier ages.\nWorld literature can show us how information is shared between cultures and nations. It provides insight into how cultural artifacts are transformed as they traverse languages and boundaries.\nOne of the qualities of Literature that makes it different from other areas of knowledge is its aesthetic beauty. Poets, writers or authors use words that can make the readers visualize what they are reading. They can make the readers see the vivid colors of the various images being described by the authors.\nLiterature entertains and educates us. It can teach us about the past, help us understand the present and empower us to create the future. \u2026 Still finer literature reveals the complex interactions between action, individual character and the evolving character of the society in which the action takes place.\nLiterature, however, can be said to be the mirror of life, because it reflects and comments on aspects of things people encounter in their daily lives. Even futuristic novels such as The Hunger Games can reflect life, despite the fact that its world is alien to the modern human being.\nThe literary purpose is used to entertain and to give aesthetic pleasure. The focus of the literary purpose is on the words themselves and on a conscious and deliberate arrangement of the words to produce a pleasing or enriching effect. A writer often expresses a worldview when using the literary purpose.", "id": "<urn:uuid:f817216e-814c-45cc-a060-4abe2483618b>", "dump": "CC-MAIN-2022-21", "url": "https://daitips.com/what-does-literature-offer-an-individual/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662541747.38/warc/CC-MAIN-20220521205757-20220521235757-00784.warc.gz", "language": "en", "language_score": 0.9457994699478149, "token_count": 1433, "score": 3.9375, "int_score": 4}
{"text": "Key Stage 1 Chronology Display Blog\nThis blog should ideally be read in conjunction with the Key Stage 2 post which can be found here. The purpose of this post is to ensure that children reach the end of Key Stage 1 ready to build on their chronological understanding in Year 3.\nThe new EYFS framework which comes into effect in September has a strong emphasis on the subject discipline of history. The ELG: Past and Present (P14) emphasises the beginnings of chronological understanding by \u2018Know[ing] some similarities and differences between things in the past and now,\u2019 and \u2018Understand the past through settings, characters and events encountered in books read in class and storytelling.\u2019. On a personal level, this would bring in line the curriculum approach with that of KS1 and 2.\nIf we spend time reading the Key Stage 1 element of the National Curriculum 2014 (NC), the many references to chronology should become clear. It can be broken down into two sections:\n\u00b7 An awareness of the past, using everyday vocabulary\n\u00b7 Chronological position (framework)\nThese are both fundamental and should be evident every time history is taught. The main focus of this particular blog is that \u2018They should know where the people and events they study fit within a chronological framework and identify similarities and differences between ways of life in different periods.\u2019 from the KS1 subject content paragraph. But please remember that this should be done in conjunction with the development of vocabulary to show the passing of time.\nKey Stage 1 Objectives:\nHere is an annotated screenshot of the subject content for KS1. All of the content which is explicit chronology or chronologically underpinned is underlined. What stands out?\nHopefully what\u2019s clear is the way in which chronology underpins every aspect of the knowledge that we teach. In terms of using a central chronology display, there are a number of key ways this would support the development and then application of a greater chronological understanding.\nWhat to Include:\nLet\u2019s begin with the obvious. Every suggestion is space dependent! With that in mind, there are two branches of chronology to consider:\n1) the overall narrative (framework as the curriculum names it).\n2) the internal narrative being studied in depth during a particular topic.\nAfter positing on social media about this blog, I had a couple of people send through their examples. The first, from @Suchmo83 on twitter shows both examples using an expanded narrative below the overall picture.\nAs you can see, the link is established as to how the scale changes and there is a distinction between single events and duration. This is exactly the way in which I represent it \u2013 we both agree consistency of approach is key! He is writing a blog on this which I will link when it goes live. The coloured, numbered key relates to explanation below.\nThe question around using a numbered scale is an interesting one. If we use the curriculum specification, then \u2018common words and phrases\u2019 and \u2018chronological framework\u2019 are specified which would imply that no numbered scale is needed. In addition, children\u2019s knowledge and understanding of place value in maths is 100 so are we going to add confusion by insisting on a numbered scale they won\u2019t comprehend? Whilst talking to Chris, he said that no child is expected to use the numbers in Key Stage 1 but the consistent timeline across school means they are exposed to it in Y1 and 2 before making more deliberate and precise use in KS2. My own approach to this is below:\nAs a personal opinion, there are pros and cons to both but simple, effective and consistent are important which is why I use a colour-coded incremental scale for the overall narrative. I also have certain features which I use in all my timelines. First, scales are explicitly explained to ensure children understand what they are representing. Second, an arrow represents a single \u2018point\u2019 in time and a bar represents a longer duration. This helps highlight change over time and turning points more effectively. Chris\u2019 scale would achieve a similar outcome because it\u2019s consistent and developed throughout school in incremental steps. There is a fine balance between visual simplicity and accurately representing the complex narrative of history.\nInteracting and Understanding\nThis second example uses a timeline to reinforce the key concept of duration. Within and beyond living memory are paramount to build on the EYFS\u2019 ELG of now and past. It\u2019s also really useful to have it at child height so that they can interact with it independently and under explicit instruction. The pictures directly relate to what has been studied/is currently being studied.\nThe colour-coded school to help reinforce the narrative of past starting at today, which is labelled as now, to anchor the understanding and then looking backwards to within living memory (what can be remembered by those alive today) and beyond it.\nHowever your timeline looks, it\u2019s crucial that understanding is built and children have the opportunity to engage with what it means and then what it represents:\n1)The scale! This helps introduce children to key concepts such as interval and duration. In addition, it highlights the link between the timeline and mathematical understanding of graphs and bar modelling. Both examples have a clear scale which allows accurate placement of the lives of significant individual or to highlight where in history the changes within living memory \u2018sit\u2019.\n2)The curriculum specifies \u2018They should know where the people and events they study fit within a chronological framework and identify similarities and differences between ways of life in different periods\u2019 and by having a clear timeline setting the overall narrative, this becomes an easier task. It supports children to use everyday vocabulary such as before, after, earliest etc. This isn\u2019t depicted on the second image as the example comes from their first history topic of the year. It will, however, be built up and added to as their knowledge base increases.\n3) In EYFS and KS1, using the child\u2019s own lives so far is a good start point to support them understanding that the past is what has already happened and they can remember a small fraction of it. That\u2019s where the original idea for depicting living memory in image two came from including the overlap of grandparents\u2019 living memory including the parent\u2019s and child\u2019s. Image 1 does the same using the child and also the history of the school which ties into their taught curriculum.\nWhere and when to teach it?\nSetting the context is really important. Chronological understanding is built up and reinforced as part of each topic and then a way to link between them. Always begin teaching with context to introduce where and when in the past this new topic sits (that\u2019s the overall narrative). In addition, it\u2019s also a good place to introduce the core vocabulary using a knowledge organiser as both help to master the minimum knowledge (phrase shamelessly stolen from @MrBartlettHist\u2019s recent teachmeet session). In addition, keep reinforcing this understanding of the internal narrative throughout. It helps to highlight the significance of a point in someone\u2019s live, a turning point for an event or the legacy of said point.\nBy the end of KS1, what do we want the children to understand about chronology? This is an initial unedited list of initial thoughts as I intend to refine and revisit when I\u2019ve considered it in more depth:\n1) Chronology is a way to understand how history \u2018fits together\u2019. We can use timelines to understand where our learning sits in the past and begin to compare it.\n2) We start reading timelines from now and always work backwards into the past. Time flows from left to right.\n3) The scale of history. Within living memory is a much shorter duration than beyond.\n4) There is so much more history to be studied than we have learned so far.\n5) Use relevant vocabulary and begin to talk about the narrative they have learned. The earliest event was the GFoL, after that was Florence Nightingale and Edith Cavell etc.\nIn Key Stage 2, periodisation of the past to show the greater breadth of study we teach and the more precise way our scales and timelines are depicted. These are good next steps for year 3 to begin with.\nUnderstanding and Teaching Primary History by James Percival pp34 \u2013 53 in particular", "id": "<urn:uuid:c1804fda-a399-4c0d-8d8e-d84d5f87a8ac>", "dump": "CC-MAIN-2022-21", "url": "https://www.mrtdoeshistory.com/a-purposeful-timeline-in-key-stage-1/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662572800.59/warc/CC-MAIN-20220524110236-20220524140236-00784.warc.gz", "language": "en", "language_score": 0.9510018825531006, "token_count": 1749, "score": 3.90625, "int_score": 4}
{"text": "Kwanzaa is an African-Americans celebration of life from 26 December to 1 January. Dr. Maulana Karenga introduced the festival in 1966 to the United States as a ritual to welcome the first harvests to the home.\nWhat African countries celebrate Kwanzaa?\nThe name Kwanzaa comes from the phrase \u2018matunda ya kwanza\u2019 which means \u2018first fruits\u2019 in the Swahili language (an Eastern African language spoken in countries including Kenya, Uganda, Tanzania, Mozambique and Zimbabwe). Kwanzaa is mostly celebrated in the USA.\nWhat country is Kwanzaa from?\nAlthough Kwanzaa is based on ancient and modern celebrations in Egypt and Southeastern Africa, the Kwanzaa holiday as we know it today was started in the United States. Kwanzaa was created in 1966 by Dr.\nWhy is Kwanzaa such an important holiday for African Americans and African Canadians?\nEach day of Kwanzaa is devoted to celebrating the seven basic values of African culture or the \u201cNguzo Saba\u201d which in Swahili means the seven principles. Translated these are: unity, self-determination, collective work and responsibility, cooperative economics (building Black businesses), purpose, creativity and faith.\nIs Kwanzaa celebrated in South Africa?\nThis December 26 Constitution Hill presents the 16th annual South African Kwanzaa Celebrations which promises to be a day of great food and music that is perfect for all the family. \u2026 Kwanzaa is traditionally celebrated from December 26 to January 1 and ends with gift-giving and a feast.\nWhat religion is Kwanzaa?\n\u201cThus, Africans of all faiths can and do celebrate Kwanzaa, i.e. Muslims, Christians, Black Hebrews, Jews, Buddhists, Baha\u2019i and Hindus, as well as those who follow the ancient traditions of Maat, Yoruba, Ashanti, Dogon, etc.\u201d According to Karenga, non-Black people can also enjoy Kwanzaa, just as non-Mexicans \u2026\nWhat is Kwanzaa for kindergarten?\nKwanzaa is a relatively new winter holiday that honors African heritage. The holiday is celebrated by Black American families and in communities of African descent around the world.\nWhy is Kwanzaa important?\nBeginning December 26 and lasting for seven days, Kwanzaa is a celebration of community, family and culture, established as a means to help African Americans reconnect with their African roots and heritage.\nWho celebrates Kwanzaa religion?\nThis celebration is not a festival originating in any of the 55 African countries nor is it an \u201cAfrican\u201d Christmas celebration. Kwanzaa is an African-Americans celebration of life from 26 December to 1 January.\nHow is Kwanzaa celebrated today?\nPeople celebrate with feasts, also known as karamu, music, dance, poetry, narratives and gifts that are encouraged to be educational and promote African heritage. The holiday ends with a day that is dedicated to reflection and recommitment to the Seven Principles and other core cultural values.\nHow is Kwanzaa celebrated in the United States?\nKwanzaa takes place each year in the United States from December 26 to January 1 and celebrates family and community through music, dance, poetry, storytelling and art. \u2026 Each night during Kwanzaa, celebrants light one of seven candles in a special candle holder called a kinara.\nWhat does Kwanzaa mean in English?\nKwanzaa is a Swahili word that means \u201cfirst\u201d and signifies the first fruits of the harvest. From December 26 to January 1, many people of African descent in America-celebrate Kwanzaa. \u2026 One of these is the celebration of the harvest.\nWhat happens during Kwanzaa?\nThe name Kwanzaa is derived from the phrase \u201cmatunda ya kwanza\u201d which means \u201cfirst fruits\u201d in Swahili. Each family celebrates Kwanzaa in its own way, but celebrations often include songs and dances, African drums, storytelling, poetry reading, and a large traditional meal.\nHow many days is Kwanzaa celebrated?\nKwanzaa is observed for seven days, and there is a different value for each day. On each night, a candle is lit to observe the nguzo saba, the seven principles of Kwanzaa.", "id": "<urn:uuid:ccec3119-82ab-46e9-b710-d3929e597ad9>", "dump": "CC-MAIN-2022-21", "url": "https://flairng.com/africa/is-kwanzaa-an-african-american-holiday.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545090.44/warc/CC-MAIN-20220522063657-20220522093657-00382.warc.gz", "language": "en", "language_score": 0.9459021687507629, "token_count": 955, "score": 3.59375, "int_score": 4}
{"text": "How do you describe a short story?\nShort story, brief fictional prose narrative that is shorter than a novel and that usually deals with only a few characters. The short story is usually concerned with a single effect conveyed in only one or a few significant episodes or scenes.\nWhat is the importance of a short story?\nShort stories provide authors the freedom to convey a message or experiment with a theme without the burden of committing to a lengthier, more time-consuming task. By their nature, they are more accessible to more categories of readers, especially students, and provide a more concise format than full-length novels.\nWhat is short story and example?\nA short story typically takes the form of a brief fictional work, usually written in prose. Anecdotes, fables, fairy tales, and parables are all examples of the oral storytelling tradition that helped to shape the short story, such as \u2018The Painting of the Dog and His Reflection\u2019 from \u2018Aesop\u2019s Fables\u2019. \u2026\nHow should students introduce short stories?\n10 Tips for Teaching Short Stories: Part 1\n- Enthusiasm is contagious.\n- Encourage personal discovery.\n- Think carefully about your material.\n- Read each story more than once.\n- Embrace opportunities for cross-cultural discussion.\n- Conduct a debate on a central theme.\n- Enhance critical thinking skills through literary analysis.\n- Make vocabulary stick.\nWhat are the types of short story?\nWhat is a Short Story?\n- 10 Types of Short Stories that You Might Not Know: Given below are 10 types of short stories that you could make use of while writing short stories:\n- Anecdote: An anecdote is a type of storytelling about a real person and/or incident.\n- Flash Fiction:\n- Frame Story.\nHow do you develop a story?\nHere are 10 steps to ensure that the final draft of your book has a winning, memorable plot:\n- Step 1: Study effective examples of plot development.\n- Step 2: Use a plotting process that will shape your story.\n- Step 3: Create a timeline of your novel\u2019s plot events.\n- Step 4: Make characters develop in intriguing ways.\nWhat do short stories teach us?\nStories teach us about life, about ourselves and about others. Storytelling is a unique way for students to develop an understanding, respect and appreciation for other cultures, and can promote a positive attitude to people from different lands, races and religions.\nWhat are the basic elements of short story?\nThe basic elements of a short story are setting, conflict, character, plot, theme, and point of view.\nWhat is the main purpose of short story?\nThe main purpose of a short story is to enable the reader to picture in their mind the images which the writer \u2018paints\u2019. Consequently, more demands are made on the reader. Since words are strictly limited, characters must be created very quickly. It is for this reason that writers use a \u2018plunge\u2019 technique.\nWhat are the 3 main parts of a story?\nThe three main parts of a story are the CHARACTER, the SETTING, and the PLOT.", "id": "<urn:uuid:f7e6916e-845e-4a6e-b224-920a225410d5>", "dump": "CC-MAIN-2022-21", "url": "https://mysqlpreacher.com/how-do-you-describe-a-short-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663012542.85/warc/CC-MAIN-20220528031224-20220528061224-00384.warc.gz", "language": "en", "language_score": 0.9183430075645447, "token_count": 696, "score": 4.125, "int_score": 4}
{"text": "Save the date: April 10 is National Encourage a Young Writer Day, and PBS wants you to know it!\nDo you have children and want to encourage literacy? Do you know a young child who loves to read, write, and/or draw? If so, you may want to remember the National Encourage a Young Writer Day on April 10! Unsure of where to begin, or need ideas? PBS Kids has a variety of resources for all ages and stages of development, easily searchable on their website. Here are some ideas from PBS Kids to get started:\n- 13 PBS Kids Games for Reading and Storytelling\n- 9 New Books Filled with Fantasy\n- Storytime at home, via Skype\n- This book list for family fun\n- 5 Simple Ways to Encourage a Young Writer \u2013 The Writer\n- Read the winning selections from the 2022 annual Lucas County Public Library and PBS Kids writing contests!\nEncouraging literacy development is extremely important for a young child\u2019s developing brain; the earlier the better! PBS Parents offers examples of activities that encourage literacy, including doodling and scribbling for toddlers (be sure to have thick crayons or markers for small hands and fingers), reading a bedtime book together that suits your child\u2019s interests, displaying your child\u2019s work on the refrigerator or other highly visible areas in your home, and simply offering praise that conveys pride in your child\u2019s accomplishments. These simple activities promote your child\u2019s development with communication, critical thinking, and problem-solving, as well as the fine motor skills needed to hold a pencil all day when they begin school.\nIf you have older children, consider daily writing prompts for your aspiring author in a personal journal or challenge them to attempt different writing styles like current events, poetry, fantasy, and even blog posts! Encourage them to read independently at home and provide them with books or magazines of subjects that are interesting to your individual child. You could even begin a writing group with your child and their friends, participate in writing contests through PBS, public libraries, or submit their work to organizations like Story Pirates, a group of professionals who use children\u2019s submissions for songs and sketches on their website. Some companies, like IlluStory, will send your child everything they need to create their own book. Once your child has finished their creation, send it back, and in 2-3 weeks a hardbound version of it arrives.\nHowever you decide to celebrate this fantastic day, be sure to share it on social media with #EncourageAYoungWriterDay!\nOther websites that promote young authors:", "id": "<urn:uuid:1a401ee9-46ee-4f85-93c0-6cf1c11fe048>", "dump": "CC-MAIN-2022-21", "url": "https://toledoparent.com/brief/pbs-encourages-young-writers-day/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531352.50/warc/CC-MAIN-20220520030533-20220520060533-00184.warc.gz", "language": "en", "language_score": 0.9422377943992615, "token_count": 537, "score": 3.546875, "int_score": 4}
{"text": "The following resources are helpful for early-childhood education teacher training. They can be used to stimulate discussion and critical thinking and some contain practical examples for classroom use:\nby Louise Derman Sparks and Julie Olsen Edwards\nKids like Us\nby Trisha Whitney\nThis book introduces the \u201cpersona doll method\u201d \u2013 an excellent tool for stimulating discussion in the classroom about issues such as stereotyping, exclusion, diversity etc. The teacher creates a realistic biography for a special handmade doll that is not used as a typical toy \u2013 but rather is introduced into the classroom as a friend and brought into special circle discussions by the teacher on a regular basis. Care is taken to include different aspects of diversity relevant to the children in the group when formulating the biography. The book gives hundreds of practical examples, directly from the classroom, of facilitating children to identify emotions, solve problems and increase empathy. The book can be bought online at Amazon. You can also learn more about this method, and order dolls from the Persona Dolls Training website. They also have a rich resource section, with many useful books and DVDs. In particular, the DVD \u201cStorytelling to make a Difference\u201d shows many examples of utilizing the persona doll method in the classroom, with feedback from the teachers as well.\nIndex for Inclusion\nby Tony Booth and Mel Ainscow\nThe Index for Inclusion by Tony Booth and Mel Ainsow is concerned with promoting values-led development for schools, kindergarten and other educational settings. It sees inclusion broadly as concerned with putting inclusive values into action and through its 70 indicators and 2,000 questions relates its values framework to the fine detail of settings and the activities within them. The most recent edition has been written by Tony Booth and can be obtained by writing to him at firstname.lastname@example.org. More information is available from the Index for Inclusion Network at indexforinclusion.org\nThis comprehensive resource offers an important tool for critical reflection to school communities that are seeking to improve their inclusiveness. It offers guidance in developing an inclusive school development plan, and offers a list of indicators that help to paint a clear picture of what an optimally inclusive environment would look like. It is designed to stimulate discussion between stakeholders rather than as a checklist.\nRecent movements, such as \u201cGross National Happiness\u201d, or the \u201cHappy Planet Index\u201d have shown the importance of \u201cmeasuring what matters.\u201d The process of doing so, helps us to define more clearly the future we are seeking to create. Clear goals and clear vision lead to better outcomes.\nTed Talk: The Happy Planet Index\nThis Ted Talk, by Nic Marks further elaborates on the importance of having positive visions of change \u2013 with very interesting implications for the ecological movement as well. He begins his talk by saying that Martin Luther King, when inspiring the civil rights movement, did not start out his famous speech with \u201cI have a nightmare\u201d but rather with \u201cI have a dream.\u201d\nMore and more people are becoming aware of the need to emphasize well-being in early childhood education, rather than only looking at standard cognitive developmental benchmarks. This organization \u201cLearning for Well-Being\u201d shares many Neohumanist values.\n\u201cA Class Divided\u201d\nThe following video, \u201cA Class Divided\u201d is a documentary about a controversial experiment that a 2nd grade teacher, Jane Elliot, did in 1968, immediately after the shooting of Martin Luther King, in order to sensitize her students to racism by creating an experience of discrimination. The students were interviewed many years later as adults, and all of them felt it was an important life-changing experience that they wish more children could have so that they could learn to empathize with people that experience discrimination.\nVideos by Proinfirmis\nThe Swiss organization, Proinfirmis, has produced several touching videos designed to help shift the way people view those with disabilities:", "id": "<urn:uuid:c7540204-dfc9-4d53-834e-87dd05506397>", "dump": "CC-MAIN-2022-21", "url": "https://www.neoumanism.org/resurse-excelente-pentru-promovarea-practicilor-incluzive/?lang=en", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662578939.73/warc/CC-MAIN-20220525023952-20220525053952-00784.warc.gz", "language": "en", "language_score": 0.958770751953125, "token_count": 819, "score": 4.09375, "int_score": 4}
{"text": "WHAT IS MUSICAL THEATRE?\nMusical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting and dance. The story and emotional content of a musical \u2013 humour, pathos, love, anger \u2013 are communicated through words, music, movement and technical aspects of the entertainment as an integrated whole.\nIn a strong musical theatre program like BPA, students do more than sing, dance and act. They will focus on creative skills and voice development, improvisation and movement \u2013 skills that go beyond the stage to general communication. They work on clarity and expression which are critical factors when it comes to public speaking and presentation skills, both as students and throughout their adult lives.\nContrary to what many think, an effective musical theatre program actually embraces both the extroverted and introverted kids. Musical theatre based programs draw all kids together to share creative ideas, and all children, not just the confident few, are given the opportunity to share their own ideas and collaborate. Natural leaders learn cooperation and how to listen, and those who prefer the sidelines are encouraged to lead. All creative ideas are welcomed and encouraged so that every child feels positive about his or her contribution. Musical theatre also gets children beyond their social circle to meet new friends and build compassion for others. They learn respect by working with teachers/directors and fellow students toward a common goal.\nMusical theatre instills creativity and helps children to \u201cthink outside the box.\u201d Drama related activities nurture spontaneity and help students think on their feet and use their imaginations. Students learn empathy and to understand how others feel. They identify emotions and have to express them. Our musical theatre programs also teach patience and commitment. Children learn through patience and perseverance that they can produce something wonderful. They learn that hard work leads to gratification.\nSimilar to IMAGINATIONS students will also learn stage directions, character development and acting terms while engaging in imaginative story-telling.\nStudents in this age group need to be able to understand and have basic reading abilities to get the most out of the class. We do cover script reading and memorisation.\nIf you are interested in becoming a triple threat, this class is for you!\nCome explore & experience PRESETS.\nIt is BPA's Musical Theatre class.\nThis class is designed to help students learn all of the essentials of musical theatre in a fun, creative and supportive environment. It will teach the fundamentals of using drama, song and dance to create characters and tell a story. Become a more versatile performer while studying Musical Theatre Dance incorporating Broadway styles,Vocal Performance, Diction,\nTheatre Techniques, Acting for the Stage,\nCharacter Development, Improvisation and Audition Techniques.\nSimilar to PRESETS. This class is catered to individuals looking for a challenge and wanting to step up their natural abilities to becoming a triple threat.\nIf you are focused and passion driven,\nthis class is for you!\nThis class is designed to help students learn all of the essentials of musical theatre in a fun, creative and supportive environment. It will teach the fundamentals of using drama, song and dance to create characters and tell a story. Become a more versatile performer.", "id": "<urn:uuid:01a8a0f3-8275-4a7e-bca7-46bc3532acc9>", "dump": "CC-MAIN-2022-21", "url": "https://www.bellarineperformingarts.com.au/classes", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545548.56/warc/CC-MAIN-20220522125835-20220522155835-00784.warc.gz", "language": "en", "language_score": 0.945942759513855, "token_count": 687, "score": 3.671875, "int_score": 4}
{"text": "Brain development in infants happens whenever the baby is awake. They\u2019re constantly checking out the world around them, touching things to see what they feel like, and putting things in their mouth to get an idea of how things taste. As babies grow, there are tons of activities to do with them that will help them learn and support their brain development. If you\u2019re looking for more ways to help your baby learn, try the following.\nThis post may contain affiliate links. Please read our disclaimer for more information.\nEarly learning Educational Activities for Babies\n1. Giving Them a Book\nEven little ones will enjoy playing with a book. They might not be able to read yet, but soft books or ones with different textures in them are perfect for looking and feeling. When it\u2019s time for the parent or guardian to cook dinner or clean the house, placing babies in playards with books that are safe to enjoy can help keep the baby entertained and support their development.\n2. Reading to Babies\nBabies might not understand all of the words they hear yet, but reading to them is still an amazing way to connect and to encourage more language. Even infants will enjoy the soothing sounds of someone reading to them, and it doesn\u2019t matter what is being read. As babies grow, they\u2019ll get more interested in looking at the pictures and hearing different voices of different characters, but the main goal is just to read and inspire a love of reading.\n3. Singing Songs\nBabies love hearing voices, so start singing. It doesn\u2019t matter if carrying a tune is not something that comes naturally. There are tons of songs to sing to babies, but almost anything is fine as long as they can hear the voice. It doesn\u2019t even need to be a real song- singing a made-up song about cleaning the house while cleaning is silly but enjoyable for the babies. Singing helps entertain them, helps them learn a language, and helps their brain develop properly. Try out different songs to see which ones the baby prefers.\n4. Building with Blocks\nBuilding blocks are a great way to learn about stacking and balance. Babies can play with softer blocks that can be stacked on top of each other and then knocked down again. Don\u2019t be surprised if they enjoy the knocking down part more than the stacking part. No matter which part they like best, this helps develop their brain in numerous ways, as well as helps with fine and gross motor skills they\u2019ll need as they grow.\n5. Safe Exploration\nSafely being able to explore the world is the best way for babies to learn. There are soft climbing blocks that can be crawled over, textured mats that babies can crawl on to see how they feel, and a lot more. Try out a variety of toys to allow the baby to learn more about the world around them and help develop their brain.\nWhen it comes to brain development, any interaction with babies will help. The more opportunities they have to experience language, feel textures, and use their senses, the faster they\u2019ll learn and grow. Try out these ideas to help encourage brain development for your infant.\nAlexis Barron is a Content Manager at Taktical Digital. Alexis has experience in Marketing and Community Management for brands in fashion, lifestyle, media, and sustainability. Passionate about storytelling, Alexis has worked with companies in the US, UK, Mexico, and other Spanish-speaking countries to help them reach their goals and connect with audiences through content strategies.", "id": "<urn:uuid:92fcd56d-8e84-4a5f-b91f-a53de031d15c>", "dump": "CC-MAIN-2022-21", "url": "https://rainbowdesire.com/babies-learning-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577259.70/warc/CC-MAIN-20220524203438-20220524233438-00384.warc.gz", "language": "en", "language_score": 0.961586594581604, "token_count": 727, "score": 3.828125, "int_score": 4}
{"text": "At Our Lady\u2019s we use English for both written and spoken communication. We use language to understand all aspects of our world, and to build and share our own views, opinions and ideas. We believe that developing a love of language in our pupils is vital toachieving success at school and in the future. Children come into school with a wide variety of language experiences \u2013 we aim to enable all children to develop their ability to understand and their confidence to use language and to foster a love of language through a rich and varied curriculum. English is taught daily across the school, but language pervades all areas of the curriculum and we encourage children to explore and enjoy the English language to its full.\nThe English curriculum at Our Lady\u2019s is in line with the National Curriculum 2014. The Early Years Foundation Stage (EYFS) underpins all future learning by supporting, fostering, promoting and developing children's language, communication, reading and writing. At Key Stages 1 and 2, English teaching is divided into 3 main groups: Reading (Word Reading and Comprehension); Spoken Language; Writing (Transcription and Composition).\nSpeaking and Listening\nSpoken language is fundamental to learning. At Our Lady\u2019s we aim to ensure that all children are competent in the art of speaking and listening and that they use discussion in order to learn. Pupils are encouraged to speak clearly, confidently and with expression in order to communicate effectively, using language which is appropriate to their needs and the intended audience. Carrying equal importance is the skill of listening carefully to others and responding appropriately. At Our Lady\u2019s pupils are given opportunities in all areas of the curriculum to develop their speaking and listening skills \u2013 this includes paired, group and whole class situations, drama, role play, presentations, assemblies etc. Speaking and Listening forms part of our learning behaviour expectations.\nAt Our Lady\u2019s we aim to ensure that all children read fluently and with good understanding. We encourage pupils to develop the habit of reading widely and often, for both pleasure and information. Those who read for pleasure have a wider vocabulary, more knowledge, and critical thinking skills and are more independent learners. They also tend to be better writers. English lessons are used to provide rich reading experiences and allow children to appreciate our rich and varied literary heritage. They are taught to analyse and acknowledge the author\u2019s language choices and writing techniques in order to develop their own writing skills. Guided or Reciprocal reading is an important part of our curriculum. Children study a text as a class or in focused groups to develop their reading skills and understanding of texts.\nAt Our Lady\u2019s we develop early reading skills using Sounds Write books. The core reading scheme at Our Lady\u2019s is the Oxford Reading Tree. This is supplemented by a range of books appropriate to each reading level. The school library also offers the opportunity for children to read a wide range of genres. Pupils take their books home daily to share with their parents, guardians and families. As children progress through the school, they become more responsible for their own reading choices when they move onto free reading.\nIf you are struggling to find books to read with your child, this information can be found on all class pages. The local library is also an excellent free resource for a wide range of books for all ages.\nAt Our Lady\u2019s we aim for all children to be independent writers. We encourage them to write clearly, accurately and coherently, adapting their language and style for a range of contexts, purposes and audiences. Children are given a wide range of opportunities to develop their writing skills both in English and across the curriculum. It is vital that children understand that writing is not just an English skill for use in those lessons, but that they can write confidently in any given genre or subject. Pupils are taught to proofread their own work and to plan, draft, edit and refine. Talking, reading and drama are extremely valuable as part of the writing process and children are given opportunities to use these when gathering ideas and planning their own work. Vocabulary, punctuation and grammar are taught discretely so that pupils can use them accurately in their writing. At Our Lady\u2019s, we encourage pupils to take pride in their work, placing value on using neatly joined handwriting, and displaying pupil work around the school.\nCelebration assemblies are held three times per year in order to celebrate writing across the school. Parents are invited into school, work is displayed on the Writing Wall and prizes are awarded for achievement and progress.\nPhonics and Spelling\nAt Our Lady\u2019s we use the SoundsWrite programme, which is a synthetic phonics approach. This develops the skills of blending and segmenting sounds, first orally and then through writing. In EYFS, children learn the initial single letter sounds and then, in KS1, children learn the extended code phonemes (2-5 letters that join together to make a sound). In KS2 we follow the National Curriculum 2014 to teach spelling patterns and words that are often misspelt. Spellings may be sent home for children to learn.\nAssessment in English is an on-going process throughout the year. Teachers produce a baseline assessment at the start of the year, and then subsequently update i-Track with their assessment of children for Reading, Writing, GPS and Speaking and Listening at the end of each term. This is based on the work children have produced in class however also on the termly assessments in Years 1, 3, 4 and 5. Year 2 and 6 have assessments every short term in preparation for the end of key stage statutory assessments. Early Years Foundation Stage have their own assessment system based on the Early Learning Goals with assessments being made through observations.\nSelf and peer assessment is used throughout the school to help children become more independent and reflective of their own learning. Self-assessment in KS1 is in the form of a smiley face on each piece of work. In Year 3 and 4, self-assessment is in the form of a smiley face on each piece of work with an explanation for this. In upper KS2, self-assessment may be in the form of a \u2018cloud\u2019 and \u2018triangle\u2019 comment (what they\u2019ve done well and what needs to be improved), use of highlighters to show where the children think they have achieved the learning objective or by completing a task from the Self-Assessment Mat. Therefore, self-assessment happens in some form at the end of each English lesson across the school. Peer assessment begins in Year 2 with children writing a comment on the work of another child after each Big Write. In KS2, the peer assessment is more of a co-operative process in which children are expected to have a conversation about the writing and then come up with a positive comment and a next step. The children only write in their own book \u2013 this is to allow children to take ownership of their writing. Once this peer assessment has been completed, children then act on the discussion they have had as they begin editing the writing. Furthermore, they continue to edit their writing as they use editing stations: these stations work as a carousel of reminders and prompts to allow the children to focus, predominately, on their GPS skills. Again, the focus should be on the children independently improving their writing.\nTeachers mark one piece of English work a week in depth per child. The children should then respond to this in the allotted time given in the weekly review morning. Teachers\u2019 marking may include a \u2018cloud\u2019 and \u2018triangle\u2019 comment or use of a marking sticker with a question linked to Bloom\u2019s Taxonomy. However, it is important that at least once a week, the marking includes a subject specific question. All questions and responses from teachers should be challenging and aim to further the learning.", "id": "<urn:uuid:3f8d83d6-4272-494f-9a4b-0a94d92cbe8b>", "dump": "CC-MAIN-2022-21", "url": "https://www.our-ladys.kent.sch.uk/curriculum-statement-6/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604495.84/warc/CC-MAIN-20220526065603-20220526095603-00583.warc.gz", "language": "en", "language_score": 0.9632130861282349, "token_count": 1625, "score": 3.625, "int_score": 4}
{"text": "Trade unions, also known as labor unions in the United States, are organizations of workers in a common trade who have organized into groups dedicated to improving the workers' work life. A trade union generally negotiates with employers on behalf of its members, advocating for improvements such as better working conditions, compensation and job security. These unions play an important role in industrial relations -- the relationship between employees and employers.\nThe origins of trade unions can be found in guilds and fraternal organizations composed of people practicing a common trade, which date back hundreds of years. However, the modern conception of trade unions, in which unions represent a specific set of workers in negotiations with employers, dates back only to the 18th century. Membership in unions only became widespread in the United States and Europe in the 19th century.\nTrade unions are generally organized by various trades. For example, in the United States, coal miners have their own union, the United Mineworkers Association, as do plumbers and pipefitters, who are considered similar enough to be grouped together. Trade unions are organized by trade based on the idea that a union grouped around people who perform similar tasks are more effective than those composed of workers practicing disparate skills.\nIn industrial relations, trade unions represent the interest of their members. By contrast, an employer represents his own interests, as well as the interests of those with financial stakes in the company. However, because both trade unions and employers can only earn a livelihood through the continued viability of the businesses that they work for and own, both parties will defend the interests of their industry.\nThe advocacy of trade unions has provided a number of improvements in the working conditions of many workers. For example, in the coal industry, advocacy by the UMA has led to safer working conditions for coal miners. However, given trade unions work in the interests of their members specifically, rather than the companies that employ these workers, unions can sometimes advocate policies that, while beneficial to workers in the short term, may harm the company's long-term health.\nAccording to Bernhard Ebbinghaus, a professor at the Industrial Relations Research Institute and European Union Center at the University of Wisconsin, Madison, the role of trade unions changed significantly in the last decades of the 20th century. As union membership declined due to structural changes in the economy, unions became more active in maintaining vestiges of the welfare state. This includes resisting privatization of public institutions and roles, and advocating for public benefits for a country's citizens.\n- University of Wisconsin-Madison: Trade Unions' Changing Role\n- Biz/Ed: What Do Unions Do?\n- Social Science Research Network: The Function of Trade Unions\n- Labor Notes. \"Are Industrial Unions Better than Craft? Not Always.\" Accessed Mar. 6, 2020.\n- Union Plus. \"A Brief History of Unions.\" Accessed Mar. 6, 2020.\n- Bureau of Labor Statistic. \"Union Members Summary.\" Accessed Mar. 6, 2020.\n- Maurer School of Law: Indiana University. \"Undermining or Promoting Democratic Government?: An Economic and Empirical Analysis of the Two Views of Public Sector Collective Bargaining in American Law,\" Page 416. Accessed Mar. 6, 2020.\n- University of Maryland. \"A Living Wage.\" Accessed Mar. 6, 2020.\n- Baldwin Wallace University. \"Local Union Strength\u2019s Effects on Individual Employment Outcomes,\" Page 7. Accessed Mar. 6, 2020.\n- AFL-CIO. \"Tariffs and Trade Are a Means, Not an End.\" Accessed Mar. 6, 2020.\n- United States House of Representatives. \"The Clayton Antitrust Act.\" Accessed Mar. 6, 2020.\n- Joint Information Systems Committee. \"Miners' Strike 1984-1985.\" Accessed Mar. 6, 2020.\n- Bureau of Labor Statistics. \"Differences Between Union and Nonunion Compensation, 2001\u20132011,\" Page 16. Accessed Mar. 6, 2020.\n- National Labor Relations Board. \"Union Dues.\" Accessed Mar. 6, 2020.\nMichael Wolfe has been writing and editing since 2005, with a background including both business and creative writing. He has worked as a reporter for a community newspaper in New York City and a federal policy newsletter in Washington, D.C. Wolfe holds a B.A. in art history and is a resident of Brooklyn, N.Y.", "id": "<urn:uuid:33a23f67-c1c2-4723-92b6-b1a72bad4da6>", "dump": "CC-MAIN-2022-21", "url": "https://bizfluent.com/about-7588167-role-trade-unions-industrial-relations.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663011588.83/warc/CC-MAIN-20220528000300-20220528030300-00183.warc.gz", "language": "en", "language_score": 0.9536892771720886, "token_count": 915, "score": 3.84375, "int_score": 4}
{"text": "Alcatraz \u2013 Native American Presence and Occupation\nAlcatraz Island is located 1.5 miles from the shores of San Francisco, California in the San Francisco Bay. Alcatraz offers tourists a chance to see the first lighthouse and the first fort built on the west coast of the United States, the infamous state penitentiary, and remnants of the 19-month occupation of the island by Native Americans. Since the prison\u2019s closure in 1963, Alcatraz has also become a sanctuary for seabirds such as cormorants and pigeon guillemots, and for water birds such as snowy egrets and black-crowned night herons (National Park Service, 2010). Although Alcatraz Island is geographically small, it has been affected by numerous significant historical events. This landmark has enormous potential as one of California\u2019s premier heritage sites.\nIn 1933 Alcatraz was acquired by the Department of Justice and in 1934 it was transformed into a maximum-security United States Penitentiary Federal Prison. This maximum-security prison was to be the toughest, most strictly run prison in the United States. Wardens from the Bureau of Prisons were polled and asked to select their most incorrigible inmates for shipment to Alcatraz. This heritage is evident in the structures on the island. For the next twenty-nine years, Alcatraz would house the nation\u2019s most infamous and deadly criminals and gangsters, including Al \u201cScarface\u201d Capone, George \u201cMachine Gun\u201d Kelly, and Doc Barker. On November 20, 1969, Alcatraz Island became the focal point of the fight for justice and self-determination for Native Americans of all tribes when 79 Native Americans arrived on Alcatraz to begin what would be a 19-month occupation of the island.\nThe primary aims of this management plan are to:\n- Identify and preserve Native American heritage on Alcatraz Island\n- Educate tourists about the island\u2019s significance as a Native American heritage site\n- Signal to the Native American community that their heritage is valued by their government and the American people\nObjective #1: Reevaluate and manage the island taking into consideration its significance as a Native American heritage site.\nObjective #2: Call attention to and preserve the remaining tangible Native American heritage on the island.\nObjective #3: Educate visitors to the island about the Native American heritage on the island through storytelling, reenactments, and island activities.\nObjective #4: Develop a Native American community center on the island.\nObjective #5: Build a Native American museum on the island.\nObjective #6: Excavate the island for remnants of pre-contact Native American artifacts without disturbing the environment.\nObjective #7: Increase the island\u2019s availability to the public.\nTo read the complete Site Management Plan, click the following: Alcatraz Island Site Management Plan 2011\nIn 1994 the American Indian Studies Center at UCLA published a special edition of the American Indian Culture and Research Journal to commemorate the Native American occupation of Alcatraz Island. PDF versions of every article that appeared in this edition are available for download here:\nJesse is a third year Political Economy major at University of California, Berkeley. He has absolutely no idea what he plans to do after graduating.\nIan is a British-Australian anthropology major at UC Berkeley in his junior year, who transferred last fall as a \u201cmature\u201d student from City College of San Francisco. He has greatly enjoyed this course, and would like to extend his thanks to the course\u2019s instructors: Ruth \u201cThe Truth\u201d Tringham, and Meg \u201cDoc\u201d Conkey. Ian is particularly fond of wombats.\nJulia Frers-Karno recently ended her Junior year at UC Berkeley. She plans to graduate in 2012 from UC Berkeley with a BA in Anthropology. Although she prefers to focus her studies on Cultural Anthropology, she has found an interest in Archaeology and has participated in Archaeological digs in Belize and Guatemala. After she graduates, she plans to study and possibly conduct fieldwork in Latin America.\nNina has just finished her BA in Anthropology at University of California, Berkeley. Currently she aspires to write a novel, teach English in Japan, and/or see the future (and make sure she\u2019s making the right decisions). She has learned a lot from this project and hopes others will learn something, too.\nTanya is a senior at University of California at Berkeley, majoring in Media Studies. She enjoys traveling abroad, as well as within the United States. She aspires to learn more languages fluently, and expand her knowledge of English, Russian and French literature. Tanya is the biggest cat-lover on this planet.", "id": "<urn:uuid:b2c37467-657f-4a67-b860-d41db5878396>", "dump": "CC-MAIN-2022-21", "url": "https://whoownsthepast.com/microhistories/alcatraz-the-native-american-occupation/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662541747.38/warc/CC-MAIN-20220521205757-20220521235757-00785.warc.gz", "language": "en", "language_score": 0.9454757571220398, "token_count": 1020, "score": 3.796875, "int_score": 4}
{"text": "Life skills are skills a child needs to develop in order to succeed in life, but are not necessarily part of any academic course curriculum. Life skills include attributes such as honesty, perseverance, resourcefulness, patience and organization. Life skills lessons are common components of both special education programs and standard classroom education, and sometimes fall under the heading -- as in the case of the state of Utah -- character education.\nThe Needs of Others: The Boy From Outer Space\nCut a picture of a little boy out of a magazine and hold it up in front of the class. Tell the class that this little boy has just landed on Earth from outer space. He is all alone and doesn't have anything with him except for the clothes he is wearing. Ask each student to suggest one thing the boy might need. Write each suggestion on the chalkboard. Afterward, discuss their suggestions and whether each suggestion is physical, or emotional or both. Ask students how they feel knowing that the boy needs certain things, how they would feel if they were able to provide those things and why.\nAnger Management: Role Playing\nHave students make lists of things that make them angry: being made fun of, or failure, for example. Then, as a group, ask students to say what happens to their bodies when they get angry: shouting, trembling and crying. Follow up by asking the group what people might do when they lose their tempers, such as hitting someone or yelling, and then how someone might control their anger, such as walking away, or finding outside help. Split the group into pairs and have each pair devise and perform two short role plays: in the first play they will act out when people get mad and lose their temper. In the second play they will act out when people get mad and control their anger. Afterward, have the entire group comment on how tempers were controlled.\nCooperation: Ball in a Blanket\nHave students work in groups of four. Give each group a square blanket or cloth and an inflatable ball. Instruct each student of each group to hold one corner of their blanket. Place the ball in the center of their blanket. Tell the groups that they have to work together to lift the ball into the air and then catch it in the blanket as many times in a row as they can, and have them count out loud. Afterward, discuss the game with the class. Ask if they found working together enjoyable, how they each felt when they worked together successfully and if any aspect was frustrating.\nHonesty: A Web of Lies\nFor this activity you'll need a ball of yarn. Have one student sit in a chair at the front of the room, facing the class. Secretly instruct the student to answer each question with a lie. Ask the student why she didn't get her homework done last night. After she lies -- perhaps she will say her dog ate it, for example -- wrap yarn once around her body. Select another student to ask another question about her homework, such as, \"Where did the dog take it from?\" After her next lie, wrap yarn around her again. Continue to have students ask follow-up questions until the student in the chair is completely tangled in yarn. Then, ask students to discuss what they learned about telling lies, and the patterns it can cause.\nChristopher Cascio is a memoirist and holds a Master of Fine Arts in creative writing and literature from Southampton Arts at Stony Brook Southampton, and a Bachelor of Arts in English with an emphasis in the rhetoric of fiction from Pennsylvania State University. His literary work has appeared in \"The Southampton Review,\" \"Feathertale,\" \"Kalliope\" and \"The Rose and Thorn Journal.\"", "id": "<urn:uuid:5da064a8-e2b9-45db-9f18-fc0cfeb6f178>", "dump": "CC-MAIN-2022-21", "url": "https://www.theclassroom.com/fun-lessons-teaching-life-skills-28305.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00782.warc.gz", "language": "en", "language_score": 0.9719811081886292, "token_count": 760, "score": 4.375, "int_score": 4}
{"text": "School resources for National Reconciliation Week and Sorry Day\n29 Apr 2021\nAbout National Reconciliation Week 2021\nNational Reconciliation Week is a time for all Australians to engage in shared histories and cultures, and understand how we can all work towards reconciliation. From 27 May to 3 June of every year, National Reconciliation Week is a time to reflect and celebrate two significant milestones in the reconciliation journey - the successful 1967 referendum, and the High Court Mabo decision respectively.\nThe theme for 2021 More than a word. Reconciliation takes action, urges the reconciliation movement towards braver and more impactful action. There are five dimensions to NRW, bound by a theme of unity: Race Relations, Equality and Equity, Institutional Integrity and Historical Acceptance. 2021 marks twenty years of Reconciliation Australia and almost three decades of Australia\u2019s formal reconciliation process. With the anniversary of Sorry Day on Wednesday 26 May, a day of remembrance and commemoration held to highlight the impact of past policies of forcible removal on the Stolen Generations, their families, and their communities, Story Box Library is sharing the stories of First Nations people, to help educators and students learn more.\nReconciliation is also an education process and the key to positive change. Aboriginal and Torres Strait Islander Histories and Cultures form a crucial part of the Australian curriculum, and provides the opportunity for all students to gain a deeper understanding of First Nations cultures, traditions and stories. No matter how young or what kind of background, students can begin to engage in learning more through impactful stories, created by First Nations people.\nCelebrating a rich history of storytelling with Story Box Library\nWe've released a number of stories as part of our Indigenous Story Time series, including Stolen Girl, Tea and Sugar Christmas, Once There Was a Boy, Sorry Day, Alfred's War and The Shack that Dad Built. Engage with and discuss these stories at school using our Classroom Ideas, Activity Time resources, and encourage families to watch dedicated stories and short films in their own time.\nPublished by Magabala Books, Baby Business tells the story of a Darug baby smoking ceremony that welcomes baby to Country. With Darug language words integrated throughout the book and a central message of connection to Country, Baby Business stresses the need to care for our land.\nBeneath the dark sky of the Northern Territory, Hippy-Boy is captivated when Great-Grandpa Liman tells him the mysterious story of his brother and how it guides his connection to Country.\nGreat-Grandpa is a masterful storyteller and, as the tale of Brother Moon unfolds, he finally reveals his brother is the moon \u2014 a wonder of the universe. Hippy-Boy learns how his great-grandfather uses the phases of the moon when he goes hunting and fishing, and why it is important for us all to have an understanding of the natural world.\nAn allegorical fable about colonisation or a perspective on the effect of humans on the environment, The Rabbits is powerfully told by actor Richard Green, and immerses readers of all ages in a story that promotes cultural awareness and a sense of caring for the natural world.\nAlfred\u2019s War is a powerful story that unmasks the lack of recognition given to Australian Indigenous servicemen who returned from the WWI battlelines and the sacrifices Indigenous people have made to Australia\u2019s war efforts.\nStolen Girl from Trina Saffioti, Norma MacDonald and Magabala Books is a fictionalised account of the Stolen Generation, sharing the story of an Aboriginal girl taken from her family. Read by Anita Heiss, Stolen Girl offers viewers a greater understanding of \u2018home\u2019 and a glimmer of hope.\n\u201cIn a time long ago and not so long ago children were taken from their parents, their sorrow echoing across the land. Sorry Day follows Maggie and her mother, who watch the Prime Minister give his apology to the Stolen Generations on behalf of the Australian Government.\u201d Sorry Day includes a special introduction and afterword from former Prime Minister, Kevin Rudd, and is read poignantly by actor Trevor Jamieson.\nWe see a celebration of nature and the land in My Country from Fremantle Press. Inspired by author Ezekiel Kwaymullina\u2019s grandmothers, who passed on their love of country, this story is brought to life with vibrant colours from Ezekiel\u2019s mother Sally Morgan and celebrated through Isaiah Firebrace\u2019s joyous read.\nMeet some of the storytellers of Indigenous Story Time, as they reflect on what Story means to them and their families, and the ways we share our experiences and identities. Working with the idea that stories connect us all, we hope this short film, Stories Connect Us All, inspires you and the children in your life to connect with a wide range of voices and ideas.\nConsultancy is the key for non-Indigenous educators\n\u201cOn the contrary, the key to developing learning programs around Aboriginal and Torres Strait Islander Histories and Cultures is consultancy and allowing Australia's First Peoples to contribute to the learnings happening in our classrooms to ensure that an accurate and shared history is formed.\u201d Education Project Specialist reflected on the launch of Indigenous Story Time, and how educators can engage in respectful and active listening.\nFurther reading and resources for educators\nNarragunnawali: free to access, providing practical ways to introduce meaningful reconciliation initiatives in the classroom, around the school and with the community. Reconciliation Australia website\nShare Our Pride: giving you a glimpse of what life looks like from an Aboriginal and Torres Strait Islander perspective\nState of Reconciliation Discussion Guide: enabling users to expand their level of comfort, confidence and competence in understanding and acting on Reconciliation Australia\u2019s landmark State of Reconciliation in Australia report (2016).", "id": "<urn:uuid:afbb4e46-3dc3-4290-9e0b-9af8a2d6f923>", "dump": "CC-MAIN-2022-21", "url": "https://storyboxlibrary.com.au/blog/school-resources-for-national-reconciliation-week-and-sorry-day", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662595559.80/warc/CC-MAIN-20220526004200-20220526034200-00185.warc.gz", "language": "en", "language_score": 0.9276947379112244, "token_count": 1210, "score": 3.53125, "int_score": 4}
{"text": "In the first half term, year 7 will be securing their basic literacy skills whilst writing to describe themselves. They will become secure using Clicker to record their work. They will look at biographies and use their reading and comprehension skills to find out about other people.\nLater in the term they will look at artistic works to develop their creative writing skills. They will use the Foodscapes series by Carl Warner. They will use their five senses to describe scenes and use their imagination to write descriptions and short stories.\nIn maths we continually develop the core skills of number- place value, counting, ordering, arithmetic and times tables. Problem solving skills are developed. Money and time skills are regularly developed to improve functional skills.\nThe pupils have regular sessions using RM Easimaths. Some will start to use MyMaths and other ICT resources.\nAdditionally, this term there will be topics on shape, measures, patterns, sorting data, fractions, area, capacity and mass.\nUNDERSTANDING OUR WORLD \u2013 SCIENCE\nHealthy Lifestyles \u2013 In this theme the girls do lots of practical activities to do with food and digestion. They also explore other aspects of health and fitness.\nClassifying Materials \u2013 In this theme we explore the properties of different materials and the way in which some of these properties can be explained using the idea of particles.\nUNDERSTANDING OUR WORLD \u2013 HUMANITIES\nThis term pupils will be looking at what life was like during the Middle Ages. They will be investigating where people lived, especially castles, and who lived in them. They will be finding out about what life was like for different groups of society such as the rich and poor.\nThis term year in Geography pupils will be focusing on getting to know the UK in more detail; its places and regions and the different types of settlements that make up the United Kingdom. They will be investigating different types of settlements, their physical features and what they offer to people who live there.\nUNDERSTANDING OUR WORLD \u2013 RELIGION AND ETHICS (R AND E)\nWhat makes things special? \u2013 First of all pupils will consider what is meant by Religion and Ethics. Pupils will then have the opportunity to share things they have already learned and to think about things that are special to them. Pupils will look at special stories, celebrations and people and follow some children on their own special visits too. They will use key questions to help them to join in discussions and write down their ideas.\nArt in Year 7 has three themes across the year. In Autumn, the focus is portraits. The pupils will focus on different techniques to produce their own art using a range of resources and skills such as water colour, shading with pencils, collage and acrylic paint. Discussion and forming opinions about their own art and the work of others is a large part of the curriculum as a means of developing self -reflection and appreciation of the world around them.\nDESIGN AND TECHNOLOGY\nPupils in years 7 spend half of the year working with Resistant Materials and half with Textiles. Half of the year group start in September with Resistant Materials and half with Textiles. The groups then swap areas after the February half term.\nDESIGN AND TECHNOLOGY \u2013 RESISTANT MATERIALS\nPupils will begin the year by spending three weeks looking at the different areas of Design and Technology \u2013 understanding design in society; designing and making & evaluating.\nPupils will then focus on resistant materials for the next term and a half. Pupils will be introduced to safe practice in the workshop and the use of hand and machine tools. Projects will be based around the theme of \u2018designing for myself\u2019. Pupils will make a key-ring from acrylic, a hook using the Hegner saw and pillar drill and a final project of a photo frame.\nDESIGN AND TECHNOLOGY \u2013 TEXTILES\nPupils will begin the year by spending three weeks on a mini skills project or \u2019Focused Practical Tasks\u2019, allowing them to access the use of the sewing machines and other pieces of small equipment. They learn about the types of equipment and how to use them successfully. During this time, they make a chicken.\nThey will learn how to use a commercial pattern and make a winter hat based on the theme of \u2018animals\u2019. They have to choose an animal and design their hat around this.\nThey also about the fabric decoration technique of \u2018applique\u2019 to decorate their hats. Alongside this pupils will investigate from where fibres and fabrics come and how important it is to choose materials carefully for different uses.\nPERFORMING ARTS \u2013 MUSIC\nMaking Music \u2013 Pupils will be concentrating on key words \u2013 rhythm, duration and ostinato. There will be plenty of opportunities to play drums and tuned percussion instruments as well as recorders and Boomwhackers! Each lesson will include singing, listening and performing activities and assessments will be based on Machine Music.\nPERFORMING ARTS \u2013 DANCE\nElements of dance \u2013 This term, pupils will be focussing on the four key elements of dance, Action, Space, Dynamics and Relationships. They will be encouraged to take inspiration from professional work and choreograph their own routines.\nPupils will learn how to organise themselves efficiently for physical education lessons and understand the importance of taking part in regular exercise. Activities this term will be made up of a programme of basic skills, multi skills and a selection of mini games. The skills will be developed through a range of activities and will be applied during mini games.\nAn emphasis will be placed on team-building and developing social relationships through practical experiences. Pupils will experience using our swimming pool and rules and regulations that surround it.\nPupils will be split into smaller groups and receive a rotation of Social Skills, Occupational Therapy, and Speech and Language Therapy. For the Social Skills classes pupils will talk through what they have covered in Occupational Therapy and Speech and Language Therapy and it will be reinforced in a circle time format. Following this, pupils will play games or do team building exercises in order to build friendships with the other pupils, learn/practise social and emotional skills, and become accustomed to the style of Social Skills lessons ready for year 8 and 9 when the classes are much larger.\nFor the Occupational Therapy Classes pupils will cover expectations about appearance in school, which includes the school dress code, buttons and dressing, and hair tying. In the second part they will explore learning where things are in school, which will include finding routes around school, using maps and navigating around the school.\nFor the Speech and Language Therapy Classes pupils will cover Classroom Skills, which includes listening skills, showing you are ready to work, respecting others, indoor and outdoor voice and learning teachers\u2019 names. They will also explore how to use their visual timetable, bag packing, homework diaries, and asking for help.\nNew to the school \u2013 This module provides an introduction to the school and to Citizenship. There will be opportunities for pupils to find out what the school is like, how it functions as well as its rules. They will then think about friendships and relationships and begin to consider their future challenges and choices, both personal and in school.\nPASSPORT FOR LIFE\nPupils in years 7 spend half of the year working in Home Economics and half in Outdoor Learning (Forest School). Half of the year group start in September with Home Economics and half with Outdoor Learning (Forest School). The groups then swap areas after the February half term.\nPASSPORT FOR LIFE \u2013 HOME ECONOMICS\nThe pupils working in Home Economics will focus on basic cooking and food preparation skills. Pupils will learn how to work safely in the kitchen as well as developing, an understanding of what Home Economics is and learn the important hygiene and healthy eating rules. They will learn about basic nutrition and the importance of a balanced diet. Pupils will cook a wide range of dishes from a variety of simple recipes. Pupils will gain independence in the kitchen and begin to discuss the skills they are learning.\nYear 7 pupils will focus on the importance of a healthy diet. They will learn that it is made up from a variety and balance of different foods and drinks, as depicted in the \u2018Eatwell\u2019 Guide. They will be able to identify and classify unfamiliar dishes according to the 5 groups depicted in the Eatwell guide.\nPASSPORT FOR LIFE \u2013 OUTDOOR LEARNING (FOREST SCHOOL)\nThe pupils working in Outdoor Learning (Forest School) will be outside in the woodland area having a hands-on opportunity to learn about the natural environment through directed tasks and play. They will be guided to use their own initiative to solve problems and cooperate with others. The students will be given a large amount of freedom in their learning.\nIn year 7 there will be a large focus on organising ourselves and being prepared for each lesson as well as becoming familiar with the rules and ready for learning. The main theme throughout the lessons will building relationships and team work. Some of the activities throughout the year will include den building, fire lighting and exploration.", "id": "<urn:uuid:3326fd41-6134-466b-91e2-8de765f42acf>", "dump": "CC-MAIN-2022-21", "url": "https://www.alfristonschool.com/info-centre/curriculum/year-7/year-7-autumn/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662512229.26/warc/CC-MAIN-20220516172745-20220516202745-00185.warc.gz", "language": "en", "language_score": 0.9572896361351013, "token_count": 1917, "score": 3.609375, "int_score": 4}
{"text": "Gender Balance in Computing: Trialling a storytelling teaching approach\n10 May 2022\nOur Gender Balance in Computing programme is the largest national research effort to date to explore ways to encourage more girls and young women to engage with the subject. Since early 2019, we have been working with partners and schools to trial different interventions that aim to positively impact girls\u2019 and young women\u2019s engagement with computing.\nToday we have published the first of a series of evaluation reports. The report concerns the feasibility of our pilot study of a teaching approach based on storytelling in key stage 1.\nThis was a small pilot study, designed to ascertain whether it could be worthwhile to trial this relatively new approach to teaching computing at a larger scale. We are pleased to report that the independent evaluators found that it has evidence of promise.\nStorytelling for teaching computing\nAcross the Gender Balance in Computing programme, we have designed interventions to address areas that have been identified in previous research as barriers to girls\u2019 engagement with computing. Young children are often introduced to computer programming by using code to make simple games. Although this can be engaging for some children, historically, games have often been seen to be more engaging for boys than for girls*. For this intervention, we drew on evidence that storytelling and story-writing can be engaging ways to teach computing, based on research in middle schools**. Given that storytelling is a well-used approach in the teaching of younger children, we decided to explore whether it could be used to effectively teach computing to younger children.\nWe designed a unit of work for key stage 1 teachers, with 12 weeks of lessons using storytelling to teach computing concepts. Pupils were taught computing concepts such as sequencing and repetition, linked to familiar story elements such as structure and rhyme. They used the block-based programming language ScratchJr to implement these elements in code, and created their own stories with code using computing concepts.\nThe lessons reintroduced pupils to elements of stories and let pupils explore how they relate to computing concepts that they could use in animations and other ScratchJr projects.\nPupils discussed the concepts and learnt how they could use ScratchJr blocks to program familiar stories. The lessons guided the class through creating short sections of stories as animations, before setting an extended task for pupils to plan their own story and tell it through code.\nWhat we learnt\nFrom the trial itself:\n- The intervention was found to be acceptable for pupils and feasible for teachers.\n- The intervention has evidence of promise.\n- The independent evaluators recommended proceeding to a full trial.\nFrom teachers\u2019 feedback about the trial:\n- Some teachers suggested that the training could be shortened.\n- Less experienced teachers highlighted the need to ensure that the training introduces teachers to all of the content covered in the lessons.\n- More experienced teachers suggested allowing flexibility to skip some lessons based on the existing skills and knowledge of their classes.\nFrom the implementation of the trial:\n- For future trials, the recruitment team will need to review strategies to ensure that as many schools as possible stay engaged with the trial and complete it.\n- For future trials, it was recommended that more testing of the surveys be carried out to ensure that pupils are able to complete the surveys on their own and that teachers feel that it is feasible to administer the surveys within existing time constraints.\nThe independent evaluators found that the intervention has evidence of promise, and recommended that it be scaled up to a larger trial. Such a trial would allow us to see whether the teaching approach has a measurable positive effect on attitudes towards computing, and whether it encourages more girls to engage with computing at scale. This would mean working with a large number of schools, and the evaluators raised the need to make sure that we could recruit and retain a large enough number of schools in light of the disruptions related to the pandemic.\nTeachers gave some really useful feedback that we could adjust the training provided on the teaching approach. They said that we could make the training shorter, but would need to make sure that we include all of the lesson content in it for less experienced teachers. More experienced teachers asked for more flexibility in how they deliver the lessons so that they could adjust them for the previous experience of their classes.\nThis is a pilot study, based on emerging research, so the evaluation report provides further evidence that storytelling is a promising approach for teaching computing.\nThis is the first of a number of evaluation reports that will be published as part of the Gender Balance in Computing research programme. Research projects explore different teaching approaches, the importance of relevant content, interventions in non-formal education contexts, approaches to building a sense of belonging, and the impact of school subject choice systems.\nYou can find the full evaluation report about the Storytelling intervention on the Teaching Approach page.\nIf you would like to find out more about the research programme and be notified when we publish new findings, you can sign up to our Gender Balance in Computing newsletter.\n*Kafai, Y. B., & Burke, Q., Beyond Game Design for Broadening Participation: Building New Clubhouses of Computing for Girls. In: Proceedings of Gender and IT Appropriation. Science and Practice in Dialogue \u2014 Forum for Interdisciplinary Exchange. European Society for Socially Embedded Technologies. 2014. pp. 21\u201328.\n**Kelleher, C., Pausch, R., & Kiesler, S., Storytelling Alice Motivates Middle School Girls to Learn Computer Programming. In: Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. New York: Association for Computing Machinery. 2007. pp. 1455\u20131464.", "id": "<urn:uuid:729a365e-9f99-45be-9f18-3dd45c243324>", "dump": "CC-MAIN-2022-21", "url": "https://blog.teachcomputing.org/gender-balance-in-computing-trialling-a-storytelling-teaching-approach/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545326.51/warc/CC-MAIN-20220522094818-20220522124818-00585.warc.gz", "language": "en", "language_score": 0.9442140460014343, "token_count": 1160, "score": 3.625, "int_score": 4}
{"text": "Students take a huge step forward in their growth and development as students, friends, artists, mathematicians, and scientists. The Third Graders are always on the go, whether they\u2019re on campus or out on one of their adventurous field trips to study Colorado history.\nIt\u2019s no coincidence that the character Arthur, the aardvark hero of books by Marc Brown (and a PBS tv spinoff), was a Third Grader. At this age, children are coming into their own as students, and engagement is high. Interested in everything, Third Graders come to class eager to explore, learn, discover, and discuss. The academic program in Third Grade leverages this enthusiasm to build confidence, reslience, and joy in learning.\nIn Third Grade, students develop a stronger ability to use their reading skills to learn about areas of interest. Students become better at selecting novels independently and seek out nonfiction to increase their understanding about a topic. These are critical steps towards the goal of becoming a life-long learner. Students develop their understanding of paragraph writing and are introduced to formal expository writing through persuasive letters and informational pieces based on research.\nThird Grade teachers use the Bridges in Mathematics program to teach in engaging ways that foster a deeper understanding of numeracy and math concepts. Students in Third Grade focus on multiplication, fractions, and area. Throughout the year the multiply numbers from zero to ten with fluency, multiply with numbers greater than ten, add and subtract with numbers to 1,000, work with unit fractions (fractions with a one in the numerator, such as 1/3 and 1/6), add and subtract fractions, and explore division. They are continuously learning to solve multi-step story problems and show their thinking using a variety of strategies. Bridges uses visual models and a hands-on approach to make mathematics accessible to all learners.\nThird Graders investigate the following topics: weather, ecosystems and watersheds, properties of water and hydropower, the solar system and outer space, the Earth and its ability to sustain life, and the human body. Hands-on projects engage students in building on their natural curiosity and students use our beautiful surroundings and outdoor education destinations as an extended classroom.\nIn Third Grade, students explore the concept of the past through their study of Colorado history. Our community provides ample opportunities for children to experience the past through ghost towns, mines and numerous museums that bring specific aspects of history alive. Children begin to see that the past influences the present, laying a foundation for the more abstract concept of considering how the present influences the future. Projects include an in-depth living history project called Changemakers, where children research a particular leader, identify the characteristics that led to the character\u2019s accomplishments, and present their findings in costume with a research presentation.\nThird Graders review previous vocabulary and continue their studies of French-speaking or Spanish-speaking countries around the world. They learn simple verb conjugation and learn the correct use of nouns and articles related to school, weather, seasons, community, places, and family. They delve deeper into the phonetics of the language to speak, read, or write more accurately. Their world language skills are becoming more sophisticated, just as their worldview is beginning to expand to encompass a more global perspective.\nThe full scope of the Aspen Country Day School arts program is even more apparent in Third Grade, when children are becoming more independent in their creative expression, ready to try new skills and tools to convey their many enthusiasms. Learning truly becomes cross-curricular as they create their portrait-sculptures for their historical research into a character who was a \u201cChangemaker,\u201d or as they create visually informative presentations in tech class.\nThird Graders build on sewing and tying skills in a colorful tapestry project while learning about the Mexican holiday, Day of the Dead. They reproduce Edvard Munch\u2019s painting of The Screamby creating their own rendition of what makes them scream, and they learn about proportions of the face during a portrait unit on Salvador Dali. They study form, color, and texture in 3D basket weaving, and use both ink and watercolor to create original work. They each create a soft sculpture dolls of their character for their Changemaker project presentations, exploring form and structure in textile art.\nIn Third Grade, actors begin to understand their voices using projection and diction. Extending the voice forward and working on their style of speaking, students learn about characterization. Third Grade performs Hamlet in the Shakespeare festival and helps create their scene for the All-School Play held at the Wheeler Opera House. Children also put on a playwright festival where they display their narrative skills of exposition and character development.\nOutdoor & Physical Education\nThird Graders are active and eager to use their growing strength and coordination to tackle new challenges. Children have regular PE classes both outside on campus and in the big gymnasium, along with outdoor education day outings that might find them hiking up the hillside behind campus or flying down the sledding hill by the Aspen Recreation Center. On the Outdoor Ed overnight expeditions in the fall, they go rock climbing with experienced guides, and in spring, bouldering in the desert.\nThird Grade students build on the skills developed in the primary grades and have instruction and practice in volleyball, soccer, handball, badminton, basketball, and hockey, among other sports. Highlights of the program include rock climbing in preparation for the fall outdoor education trip as well as the winter afternoons ice skating and skiing with their class and parent chaperones.\nThird Graders are introduced to rock climbing on a fall trip to nearby beginner rock climbing destinations. They learn the mechanics of a belay system and develop deeper trust among their classmates as they engage in this challenging sport. Each trip begins with the Third Graders hiking at least a mile into camp with their own backpacks on. In the spring, Third Graders spend three days in Arches exploring the majestic landscape through hiking and bouldering.\nA Third Grader\u2019s natural curiosity and powers of inquiry come to the forefront in projects like Changemakers, left. They take a deep dive into research of an historical figures who has made a positive difference in the world. In multi-disciplinary projects like these, children find many ways to explore a subject and make connections across traditional subject areas. They then use their growing public speaking and presentation skills to communicate what they have learned.\nProjects & traditions\nAspen Country Day School\u2019s emphasis on public speaking and presentation skills really shines in the Third Grade, when it seems each month finds the students demonstrating their increasing knowledge in front of an audience of classmates, parents, friends, or Middle School buddies. Children learn to leverage their own interests in learning, particularly in projects like Changemakers, when children select an historical character to research and portray. They learn how to break a large task down into manageable parts \u2014 just one of the many foundational academic habits established in Third Grade.\nService learning: Little Free Libraries\nA few years ago, the Third Graders decided to create their own version of the Little Free Library for our campus. This was part of our school-wide tradition of each grade taking on a service learning project that culminates with an activity on Martin Luther King, Jr. Day. The experience of building, engineering, and painting the library boxes proved so rewarding that the Third Graders have made this a recurring project each year.\nAbove, Fourth Graders enjoying the library stand they made the previous year.\nAspen Country Day School\u2019s social-emotional learning curriculum becomes even more robust in Third Grade, when students are often balancing the demands of their many friendships with the responsibilities of the classroom and extracurricular activities and sports. Third Graders have a weekly class meeting session with Lower School Counselor Mary Stokes. This is a valuable time to build community and focus on one of the school\u2019s monthly themes, such as \u201cpatience\u201d or \u201ccompassion.\u201d Children also use this time to discuss interpersonal issues in the class and find ways to work even better together as a Third Grade community.", "id": "<urn:uuid:6c7a28db-4569-4493-ac95-1dcc9ed16192>", "dump": "CC-MAIN-2022-21", "url": "https://aspencountryday.org/home/powerofthree/explore-by-grade/third-grade/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662527626.15/warc/CC-MAIN-20220519105247-20220519135247-00185.warc.gz", "language": "en", "language_score": 0.9548066258430481, "token_count": 1720, "score": 3.765625, "int_score": 4}
{"text": "Indigenous Learning Styles\n1. Allow for ample observation and imitation rather than verbal instruction.\n2. Also allow students to take their time before attempting a task so that the chances for success are higher even on the first effort.\n3. Make the group more important than the individual as often as possible in terms of both the learning process and learning goals.\n4. Emphasize cooperation versus competition whenever possible.\n5. Make learning holistic rather than sequential and analytic. Spend more time in dialogue talking about the big picture associations before looking at details.\n6. Use imagery as often as possible. Einstein wrote that \u201cimagination is more powerful than knowledge,\u201d and Indigenous education takes advantage of this fact.\n7. Make learning connect to meaningful contexts and real life.\n8. Be willing to allow spontaneous learning opportunities to change pre-planned lessons.\n9. De-emphasize letter grading and standardized evaluations and use authentic narrative assessments that emphasize whet is actually working best and what needs more work.\nFrom Teaching Truly by Four Arrows (p70-71)\nIndigenous Learning Approaches\n1. Field experience\n2. Cooperative learning\n3. Intrinsic motivation\n4. Student ownership of subject matter\n5. Critical reflection\n6. Intuitive work\n7. Visualizations and dream work\n8. Honoring student pace\n9. Using song and music\n10. Honoring place\n11. Using natural world as teacher\n12. Involving community\n13. Doing activism and serving others\n14. Remembering that everything is connected/related\n15. Using humor whenever possible\n16. Employing wellness/fitness considerations\n17. Using peer teaching\n18. Allowing for observation rather than participation\n19. Using storytelling prolifically and interactively that is related to the students\u2019 world\n20. Being aware of sustainability issues in the class, school and home environment\nFrom Teaching Truly by Four Arrows (p79-80)\nIndigenous Approaches to Conflict Resolution\n1. Make bringing everyone back into community the main objective.\n2. Widen the circle of blame and involvement to include all possible individuals who may have some influence on the problem or the solution.\n3. Use ample and appropriate humor throughout the process.\n4. Appeal to a universal sense of love and power that connects all participants.\n5. Discuss cognitive dissonance in ways that show it is human to react to it.\n6. Avoid punishments and instead seek honorable reciprocity.\n7. Refer when possible to the non-human kingdoms for metaphors.\nFrom Teaching Truly by Four Arrows (p71)", "id": "<urn:uuid:912eccda-5017-4aaa-b502-db0a1e77f5bb>", "dump": "CC-MAIN-2022-21", "url": "https://www.wolakotaproject.org/indigenous-learning-research/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662519037.11/warc/CC-MAIN-20220517162558-20220517192558-00582.warc.gz", "language": "en", "language_score": 0.895318865776062, "token_count": 541, "score": 4.0, "int_score": 4}
{"text": "\u201cI don\u2019t like dealing with all the social and emotional drama of middle school,\u201d a first-year teacher vented to me 20 years ago. \u201cI just want to teach science!\u201d\n\u201cI hear you,\u201d I told him. \u201cBut think of it this way: you aren\u2019t teaching science, you are teaching kids. If we spend time meeting their social and emotional needs, they will be better science students. It\u2019s really hard to focus on the periodic table when your stress response is on high alert.\u201d\nSince that time, the term SEL has become a much more ubiquitous part of schools\u2019 language, programs, and teacher training. That said, there are a lot of educational acronyms out there, and parents can\u2019t be expected to know them all! So here\u2019s a quick primer on what schools mean by Social and Emotional Learning.\nGood schools recognize that kids bring their whole, complex selves to the classroom. A child\u2019s background, culture, emotional development, and relationship skills will influence how they interact with others, how they perceive themselves, and how they learn. Social and emotional learning is designed to help kids become better at recognizing, expressing, and regulating their emotions \u2014 and this, in turn, helps them build stronger relationships with others.\nThese skills also lay the foundation for life-long character development. It\u2019s easier to be brave if we have had practice working through our fears. It\u2019s easier to be compassionate when we have learned how to imagine how others might be feeling. And it\u2019s easier to be responsible when we understand our unique role in helping our classrooms, families and communities thrive.\nS: What are Social Skills?\nKids start developing social skills in infancy. Babies look to caregivers for social cues as they learn how to interact with the world. In their preschool years, kids develop a theory of mind \u2014 learning that the people they meet have needs and likes and dislikes that are distinct from their own. As they grow older, children and teens develop more sophisticated social skills including perspective-taking, empathy, friendship skills, listening skills, social problem-solving strategies, and civic engagement.\nE: What Are Emotional Skills?\nMy favorite distillation of the key emotional skills comes from Marc Brackett, Director of the Yale Center for Emotional Intelligence and creator of the RULER approach. Here is how he describes them in his book \u201cPermission to Feel\u2019\u201d:\n- R: RECOGNIZE our own emotions and those of others, not just in the things we think, feel, and say but in facial expressions, body language, vocal tones, and other nonverbal signals.\n- U: UNDERSTAND those feelings and determine their source \u2014 what experiences actually caused them \u2014 and then see how they\u2019ve in\ufb02uenced our behaviors.\n- L: LABEL emotions with a nuanced vocabulary.\n- E: EXPRESS our feelings in accordance with cultural norms and social contexts in a way that tries to inform and invites empathy from the listener.\n- R: REGULATE emotions, rather than letting them regulate us, by \ufb01nding practical strategies for dealing with what we and others feel.\nL: How Do Students Learn These Skills in School?\nSchools approach SEL in a variety of ways, including class meetings, advisory programs, wellness programs, guest speakers, curriculum integration, and student-led initiatives. But the most important resource is teachers and administrators \u2014 amazing professionals who develop safe and supportive classrooms, keep their eyes on the child, and intervene proactively to support children when they struggle.\nRemember, just because a school has an SEL program doesn\u2019t mean kids won\u2019t experience the inevitable ups and downs of childhood. What it should mean, however, is that students will have caring adults by their side who are skilled at mentoring them through it.\nAdditional SEL Resurces for Parents\nWhile school is a key partner in teaching SEL, kids take their first cues from parents and caregivers. Here are 10 articles about how parents can support social and emotional learning at home.\n- Four Questions to Ask When Emotions Spike\n- The 3L Reset: Taking 3 Minutes to Help Kids Build Stronger Habits\n- \u201cI\u2019m Having a Human Day\u201d: How to Help Kids Reframe and Practice Self-Compassion\n- Emotionally-Literate Parenting: The Power of Helping Kids Name Their Fears\n- Breathing Exercises to Help Calm Young Children\n- When a Child\u2019s Emotions Spike, How Can a Parent Find Their Best Self?\n- How to Help Teenage Girls Reframe Anxiety and Strengthen Resilience\n- How Strengthening Relationship with Boys Can Help Them Learn\n- How Mindfulness Can Help Kids (And Parents) Weather Emotional Storms\n- How Play Helps Kids Navigate Difficult Times", "id": "<urn:uuid:79971af9-4820-40d1-8864-7af0e667c401>", "dump": "CC-MAIN-2022-21", "url": "https://www.intrepidednews.com/qa-for-parents-what-does-sel-mean-anyway-deborah-farmer-kris/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662647086.91/warc/CC-MAIN-20220527112418-20220527142418-00385.warc.gz", "language": "en", "language_score": 0.9349109530448914, "token_count": 1042, "score": 3.875, "int_score": 4}
{"text": "Editor's Note: This blog was previously published, we're re-sharing it as part of our 'Best of' series, a look back at some of our most popular blogs.\nThis is the last post in our series on the role of parental involvement in children's literacy, which presents ideas for Family Literacy Workshop activities taken from Family Literacy Workshops for Preschool through Grade 6: A Research Based Approach, and offers free activity downloads and further instruction on how to hold successful family literacy workshops at your school and tips for taking literacy home. You can see the earlier posts here.\nThe workshop ideas presented in this post and the previous two family literacy posts help parents learn new skills in order to increase their child\u2019s oral language development through structured and unstructured activities.\nFact and Fiction\nToday's oral language development activities, intended to be used as take-home activities for parents to complete with their children, offer families a chance to play with both the discovery of facts and the creation of narrative, two skills that are very important for children to acquire if they are to meet the Common Core State Standards. Both activities are available as reproducible sheets free for download as a PDF at the bottom of the page, in addition to being laid out here.\nMy Turn, Your Turn Story Time\nThis is an old-fashioned storytelling time activity. It begins with a prompt from which one person starts telling a story and then at any moment hands the story off to the next person, who continues telling the story in his or her own way. This is repeated among the participating members until the story is finished.\n\u2022 Appropriate for all ages\nStep 1: The first person should begin telling a story based on the story prompt provided below.\nStep 2: When the story has reached a point that the first person feels is a good place for someone else to continue, he or she allows the next person to take over the storytelling, going in any direction of his or her choosing.\nStep 3: Continue this way until each person has had a chance to add to the story and someone comes up with an ending. An alternative to this oral interaction is to take turns writing the story down until it is complete.\nStep 4: Make up your own story prompts and repeat the activity.\nSample Story Prompt:\nThere was a boy who loved school. He was very smart and loved to read. One rainy day, he was walking to school with his best friend when ...\nCreating a family tree is a great way to discover and preserve your family\u2019s unique history. This may take some time and energy, but creating an heirloom that the family can share forever will be well worth it in the end.\n\u2022 Appropriate for older children\nStep 1: Start by interviewing your parents. Ask them about themselves and then about their parents (where and when they were born, what their names are/were, what your mother/grandmother\u2019s maiden name was, and so on). Keep notes on this so that you can create your family tree.\nStep 2: Interview other immediate family members such as your grandparents and possibly great-grandparents. Ask them to tell you what they remember about their parents and grandparents.\nStep 3: Talking with everyone listed so far should allow you to take your family tree back to at least your grandparents, if not your great, or great-great grandparents. The more family members you talk to, the more information you should be able to gather. Record this information and make a couple of rough drafts of your family tree before you make your final draft. Share your finished family tree with family members.\nYou can download a PDF of the family tree worksheet below.\nThis is the last installment of our Family Literacy Workshop blog series. For the remaining six workshops, order the book: Family Literacy Workshops for Preschool through Grade 6: A Research Based Approach.", "id": "<urn:uuid:cc7928bc-c7dd-431d-96e1-055d98453d59>", "dump": "CC-MAIN-2022-21", "url": "https://www.hameraypublishing.com/blogs/all/more-fun-oral-language-development-at-home-family-literacy-12", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522270.37/warc/CC-MAIN-20220518115411-20220518145411-00785.warc.gz", "language": "en", "language_score": 0.9629008769989014, "token_count": 808, "score": 4.09375, "int_score": 4}
{"text": "A storyboard is a graphic organizer that plans a narrative. Storyboards are a powerful way to visually present information; the linear direction of the cells is perfect for storytelling, explaining a process, and showing the passage of time. At their core, storyboards are a set of sequential drawings to tell a story. By breaking a story into linear, bite-sized chunks, it allows the author to focus on each cell separately, without distraction.\nDepending on the source, either Howard Hughes, with the 1930 film, Hell\u2019s Angels, or Walt Disney, with the 1933 animated film, Three Little Pigs, is cited as the father of modern day storyboards. In 1939, Gone with the Wind was the first live-action movie to be completely drawn out on storyboards before filming.\nThe original storyboards showed stories broken up into pieces. Each piece of the story was drawn out on a card or piece of paper and pinned to a board in sequential order. Collaborators were then able to talk about and revise the story by looking at one part at a time, check to be sure it made sense, and plan for the production. Instead of redoing a large-scale drawing when changes were made, a single card could be reordered, redrawn, or even deleted. The ability to make changes easily ahead of time saves a lot of time and money!\nOver the last 80+ years, the use of storyboards has grown. Following the roots of animation and movie-making, storyboards are used by advertisement agencies for commercials, directors for plays, and artists for comics. Storyboards have also found their way into the business world for modeling how customers will interact with new products.\nWe all need to plan for something, whether it be at work, school, or home. Storyboarding out your desired outcome, even in a very simplified manner, helps you prepare for potential issues, make sure your plan is sound, and/or communicate ideas with others. There are many uses for storyboards in the entertainment industry, the business world, and education. Here are a few ideas to get you started!\n|Entertainment Industry||Business World||Education|\n(commercial, vlog, TV show, film, etc.)\nThe ultimate in visual storytelling is film. Storyboards were first used for this purpose and work just as well (if not better) than they did in the 1930s. By storyboarding before filming, you can better plan out your camera angles, setting, props, actors, effects and so on and be more industrious during production. Storyboarding ahead of time also checks to see that your script makes sense and allows you to correct errors before they become too expensive to fix.These are some film projects that greatly benefit from storyboarding.\nPeople love stories. People can connect to stories, and often remember information better when it is wrapped up in a story. It is sometimes better to show others\u2019 stories rather than examples that are too close to home. Give examples using fictitious characters, rather than say things like, \u201cWhen your boss comes to you and says you aren\u2019t doing a good job\u2026.\u201d\nWe forget that people have different perspectives, backgrounds, biases and other stuff that could be clouding thinking or making someone think a certain way. Often we need a way to SHOW what we mean rather than spend time describing or explaining things. Meetings will be much more productive if everyone has the same visuals and everyone is on the same page.\nUsing a storyboard lets you rapidly and easily experiment with a number of choices until you figure out what feels natural and right for you needs. Take a look at all of our Business Resources.\nStoryboards and other graphic organizers are ideal for many aspects of education. A main thrust of a teacher's job is to relay information to students, and in turn, students must show mastery of concepts. In addition to some students being better visual learners, teachers tell narratives, describe processes, and organize information.\nStoryboard That has many Education Resources available for you to use in your classroom right now.\nHere at Storyboard That, we have expanded on the traditional storyboard and have made multiple layouts and we encourage you to use one in any way that you can think of! Visual communication and storytelling will make you think about the most important things and get you to collaborate in a whole new way.\nSchedule a free Guided Session with us to become a Storyboard That pro!", "id": "<urn:uuid:5c3b1a0e-2731-4dbd-9cbf-fa58f931c813>", "dump": "CC-MAIN-2022-21", "url": "https://www.storyboardthat.com/blog/e/what-is-a-storyboard", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00785.warc.gz", "language": "en", "language_score": 0.9590421915054321, "token_count": 906, "score": 3.703125, "int_score": 4}
{"text": "Curiosity drives kids to learn new things, boosting their educational process. It pushes them to use a creative and critical thinking mindset in search of their answers. With curiosity, a child learns how the world works.\nSome kids are naturally curious. They want to know about everything that goes around in the world, which is a good thing! They are actively looking for ways to feed their curious minds. In contrast, some kids haven\u2019t yet developed this instinct. As a parent, it is your role to identify this problem and cultivate curiosity in them.\nTo initiate the process of cultivating curiosity in your child, we have a list of seven exciting ways to awaken their curiosity that will boost their creative thinking and help you raise a successful kid.\n1. Ask Open-ended Questions\nUsing open-ended questions like why, when, what, where, who and how has many benefits. It encourages children to think beyond the obvious of as many possibilities as possible. It also allows kids to include more information, feelings, attitudes, and understanding of the topic. It provides them with the opportunity to explain or describe something. This develops their vocabulary, speech, and language skills.\n2. Independent Thinking\nWhen your child asks you a question, do not answer directly. Ask for their thoughts first. Even you can ask questions. It will boost their thinking skills in the search for an answer.\n3. Open-Ended Stories\nReading stories to your child before bedtime is a good habit. You can skip the monotonous routine of reading the same stories to them by making it fun. To add fun, you can narrate stories with open ends. Open ends leave your child to use their imagination to finish the story.\nAnother way to get their creative juices flowing is by helping them develop their own imaginative stories by coming up with titles, storylines, and the ending.\n4. Observe Their Interests\nEveryone has different interests, and when we are interested in something, it binds us to learn more about it. As parents, notice what your child\u2019s interests are. Focus on their likes and dislikes and encourage them to do activities related to their interests.\nEncourage developing their knowledge about it. This will pique their curiosity and push them to learn more about the topic.\n5. Look Out for a Teachable Moment\nNotice when your child is confused or in need of your help. Take this as a teaching opportunity and help them solve it by sparking the desire to find answers. When they have to search for answers, it will raise their curiosity.\n6. Encourage Them to Ask Questions\nEncourage your child to ask more questions because questions will lead to curiosity. When your child asks you about something, explain it to them, and if it further interests them, their curiosity will pique, and they will ask more questions.\nWhen you encourage more questions, you increase their curiosity about the subject. This happens because when your child knows nothing about a topic, they won\u2019t be curious about it, but their interest will peak as soon as they know a little about something.\nBy allowing your child to be curious, you teach them to be confident. By exploring the answers to their queries, they also see the world and learn the value of experience.\nSo get outdoors with your child, explore and learn about the world. Give them opportunities to get curious as it opens doors that lead to new and exciting learning adventures.\nGuest Blogger: Samidha Raj works as part of the content marketing team at PlanetSpark, a platform that provides online classes to K8 learners on \u201cNew Age Skills\u201d such as English Communication, Public Speaking, Grammar, Creative Writing, Debating, etc. She is passionate about empowering the youth by educating parents about the importance of 21st-century skills. In her free time, you can find her watching documentaries or animated movies and organizing game nights (board games are her thing)!", "id": "<urn:uuid:8a6e54a5-9091-4218-b522-ac334c29fef0>", "dump": "CC-MAIN-2022-21", "url": "http://hotandsourblog.com/2022/01/childs-curiosity/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662558030.43/warc/CC-MAIN-20220523132100-20220523162100-00385.warc.gz", "language": "en", "language_score": 0.9634146690368652, "token_count": 808, "score": 3.765625, "int_score": 4}
{"text": "\"If you've met one individual with Autism, you've only met one individual with Autism.\" -Stephen M. Shore\nFirst things first...\nWhat is Autism?\nAutism Spectrum Disorder (ASD) is a neuro-developmental disorder characterized by observing differences in social development, communication, repetitive behavior, and sensory regulation (American Psychiatric Association [DSM-5\u00ae], 2013)\nWhat is Music Therapy? Music Therapy is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship. Services must be provided by a credentialed professional who has completed an approved music therapy program (AMTA,2018)\nIn other words...\nMusic therapy can strengthen deficits associated with Autism such as social interaction, verbal communication, initiating behavior, and social-emotional reciprocity... just to name a few.\nHow does music affect the brain? Music provides organization, predictability, and sensory integration. Various Music Therapy techniques enhance neural functioning in BOTH hemispheres of the brain, support individuality, and organically supply a ton of motivation!\n1. ORGANIZATION: the auditory scaffolding theory suggest sounds are sequential and auditory tones are more efficiently tracked throughout the brain. Therefore, gaining information through musical means is typically better understood than other stimuli.\n2. PREDICTABILITY: Music's natural precision and repetition create anticipation for action and opportunity for practice. This predicable structure decreases fear responses (the release of cortisol) to sensory stimulation.\nRhythm, pitch, melody, timbre, mixed with nostalgia and novelty of musical selections, all play a role in how our brain perceives and reacts to musical cues.\nRhythmic entrainment can enhance our motor functioning and speech production. While pitch and timbre are connected to our memories and emotional responses.\n3. SENSORY INTEGRATION: Our sensory system provides us with information from our environment and body. Musical elements encompass a vast array of sensory information from somatic sensations (tactile, proprioception, and pain), vestibular sensation (balance), auditory sensations, visual sensations, and even olfaction and taste.\nMusic can provide sensory input through non-threatening and predictable sources. If a person experiences sensory defensiveness or sensory seeking behaviors, appropriate music stimulation (by a board certified music therapist) can help aid sensory integration and regulation.\n4. NEUROTRANSMITTER ENHANCEMENT: Contrary to popular belief, music does not just affect left brain activity but has significant impact on all sides of the brain.\nThere are numerous brain activations from music stimulation that host similar functions as other non-musical areas. This is called having a shared neural network.\nHere's an abstract called From Music Making to Speaking: Engaging the Mirror Neuron System in Autism.\nOverlapping and Extended networks, similar to shared networks, are just as they sound. They are brain networks that music stimulation might overlap or be an extension of those non-musical areas.\nHere's an article to support the overlap between music and speech called Neural Overlap in Processing Music and Speech.\nNeuroplasticity is the forming of new neural connections through each piece of information our brain receives. Music, in a sense, primes the brain for information and enhances neuroplasticity. Music stimulation helps makes these new connections even stronger through all the points we've mentioned before (organization, predicability, and sensory input). This can be extremely helpful for brains with neural connection issues, as seen in many people with Autism.\nCheck out this article called How Music Enhances Learning Through Neuroplasticity.\nHere's the deal... through these concepts music therapy interventions can be used to aid in the rehabilitation or development of every day functioning like speaking, walking, grasping, completing activities of daily living, and much, much more.\n5. INDIVIDUALITY: Preference is key! Music therapy interventions are structured around preferred musical tastes.\nSo, if you fancy The Bangles to get you grooving into your Manic Monday or little Lionel Richie on an Easy Sunday every music therapy session will revolve around your likings. Maybe you're not into pop music at all and prefer the beat of your own drum. Your music therapists will be sure to provide an eclectic array of musical experiences just for you.\n6. ADAPTABILITY/INCLUSION: You do NOT need to be musically inclined to receive the benefits of music therapy. Music therapists are highly trained to provide the most appropriate music experience for whomever they are working with. Music is for everyone and comes in all shapes and sizes just like us! Music therapists are trained to utilize all forms of music including voice, guitar, piano, percussive instruments, music technology, and more.\n7. Motivation: Music has always been and continues to be a part of every culture near and\nfar. We use music to celebrate and mourn, for storytelling and self-expression, to get us moving or comfort our wounds because we all have a primal connection to music stimulation.\nMusic, because of all the reasons mentioned above, elicits strong emotional connections that are tied to our memories and schemas (how we organize the information we learn). We use these connections to seek the perfect balance of excitement and comfort which lead us to our musical preferences and drives our motivation.\nFor more information about Music Therapy in Fort Myers, Florida (and surrounding areas) visit www.thehouseofmusictherapy.com\nThere will be more music therapy topics to come, including...\nMusic Therapy and Speech/Language\nMusic Therapy and Dementia\nMusic Therapy and Mental Health\nRebuilding a Music Therapy practice in Fort Myers, Florida\nContact The House of Music Therapy (Fort Myers, Florida) by email or by phone (727)755-4373.\nStop by and say \"Hi\" on our Facebook page @thehouseofmusictherapy\nThanks for reading!\nAna-Alicia Lopez, MT-BC\nMusic Therapist-Board Certified\nThe House of Music Therapy\nLet's make music today for a more beautiful tomorrow!\n\u00a1M\u00fasica para todas las ma\u00f1anas bonitas!\nKeywords: Music Therapy, Autism, Fort Myers Music Thrapy, SWFL, Southwest Florida, Developmental Differences, Therapy, Music Therapy and Autism", "id": "<urn:uuid:a71b73f3-8c28-4b80-8bdb-3515ceeaa649>", "dump": "CC-MAIN-2022-21", "url": "https://www.thehouseofmusictherapy.com/post/7-ways-music-therapy-can-support-autism", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662595559.80/warc/CC-MAIN-20220526004200-20220526034200-00185.warc.gz", "language": "en", "language_score": 0.9144160151481628, "token_count": 1319, "score": 3.6875, "int_score": 4}
{"text": "Why Ag in the Classroom?\nAgriculture means survival. Over time, fewer and fewer people have close contact with farming and the total agricultural sector. They\u2019re not aware of their own and society\u2019s total dependence on agriculture. People must be agriculturally literate in order to make responsible decisions affecting this giant lifeline.\nTeaching students to be agriculturally literate brings their learning to life. Helping students understand the farm-to-table connection is important in our consumer-driven society. That\u2019s what the student Minnesota AgMag Series is all about.\nAbout Your AgMag\nThe AgMag is a great supplement to your social studies, science, or language arts curriculum. The AgMag has particular appeal to the study of Minnesota history and geography. You\u2019ll get three issues per school year: October, January, and March.\nAgMag Theme: Agriculture, the Land, and You!\n\u25cf Overview of Producers and Consumer roles in the Agriculture System\n\u25cf What the Agriculture System is and examples of how it works\n\u25cf The farmers role in the Agriculture System\n\u25cf A Turkey\u2019s life in the Agriculture System\n\u25cf Minnesota\u2019s Top Crops\n\u25cf Egg Activity: What Do Animals Need to Survive?\n\u25cf Agriculture Inventions\n\u25cf Diagram the path of production for a processed product, from farm to table\nEnglish Language Arts\n\u25cf Ask students to identify key ideas and details and build their vocabulary through the AgMag\u2019s informational text.\n\u25cf Use agriculture as an inspiration for creative writing activities and group discussions. Ideas: Stories from the points of view of plants or animals that depend on humans; predictions for agriculture in 2050 (or future years); letters to children in other countries with descriptions about agriculture here and questions about agriculture there.\nScience and Math\n\u25cf Have the students create diagrams of an animal/plant of their choosing following the examples on page 6 to help them identify similarities and differences between different organisms.\nSome words in your AgMag may be unfamiliar to your students. Many are defined in the articles. There is also a glossary on the AgMag website: https://mnagmag.org/glossary/ Words you might wish to pre-teach are:\nAGRICULTURE: Growing plants and raising animals that people use for food, clothing and many other things every day. It\u2019s also harvesting those farm products and getting them to us so we can use them. Agriculture is the industry that grows, harvests, processes, and brings us food, fiber, fish, forests, sod, landscaping materials, and more. It uses soil, water, sun, and air to produce its products. The process starts on farms, orchards, gardens, and ranches with the growing and the harvesting of crops and livestock, then moves to processing plants before finally traveling as finished products to stores, farm markets, lumberyards, greenhouses, and more where consumers buy the products. Agriculture is connected in some way with almost everything we eat, wear, and use.\nQuote from an Unknown Source: \u201cAgriculture is not simply farming. It\u2019s the supermarket, the equipment factory, the trucking system, the overseas shipping industry, the scientist\u2019s laboratory, the houses we live in, and much more. It has an effect on the air we breathe, the ground we walk on, the water we drink, and the food we eat.\u201d\nPRODUCER: a person, company, or country that makes, grows, or supplies goods or commodities for sale. Farmers are producers.\nCONSUMER: a person who purchases goods and services for personal use.\nHUMAN RESOURCES: the workers and employees who help process the product.\nNATURAL RESOURCES: materials or substances such as minerals, forests, water, and\nfertile land that occur in nature and can be used for economic gain.\nCAPITAL RESOURCES: man-made tools and equipment used to produce a product. Examples of capital resources are factories, equipment, and tools such as hammers, saws, and computers.\nAgMag Cover (Social Studies)\n- Where do you get food, clothing, or supplies to build houses? Where do you think those items come from? Who grows or makes them?\n- What would we do if there were no farmers?\nEngagement Activity: Where does this come from? Tracing Origins \u2013 the orgins of everyday items\n- The point of this short activity is to help students recognize that everything they use/consume comes from somewhere. Someone had to make, assemble, process, transport, grow, create that item from the earth\u2019s resources.\n- Show your class a standard piece of paper (You could use almost any object, but we\u2019ll use paper as an example). Ask the class to help you track the process it took to get this piece of paper into their classroom. Ask the question \u201cHow did it get there? Or who made it that way?\u201d\u201d at each step to find the next step until you get down to the raw material. Consider writing or displaying the steps in front of the class as you discuss the process so students can visually understand all the resources required.\n- Example: Paper in school \u2192 someone bought the paper at the store and brought it to the school\u2192 someone stocked the paper on the shelves \u2192 someone shipped the paper to the store \u2192 someone made the paper at a warehouse \u2192 someone had to gather the materials to make the paper \u2192 someone had to grow the raw materials to make the paper.\n- Feel free to try this example with other items the students suggest. Students can work in pairs for 5 minutes tracing the origins of an item of their choosing.\n- Note: this activity can be as simple or complex as you want it to be. As an engagement activity, this can be done in 5 minutes or less, but could be developed further into a research or informational writing project.\nPage 2 Steps Along The Way\nWhere do the materials come from that make up what we eat, wear, and use every day?\nWhich takes more time to produce: Grain becoming a loaf of bread, or a carrot that goes into\nConsider taking a product (a food item would be most intuitive) and discussing each step of the agriculture system for that specific product. Ideas: Milk, cereal, granola bars, rice, etc.\nPage 3: Naming & Matching. Meet The Farmer\nNaming & Matching\nTop row, left to right: Distributing, Marketing, Consuming\nBottom row, left to right: Producing, Disposing, Processing\nMeet The Farmer\nFor more information on raising sugarbeets, check out this video!\nWhat role does the farmer (producer) play in the agriculture system?\nWhy are sun, air, water, and soil part of the agriculture system?\nPage 4-5: Tracking A Turkey\nMinnesota has 600 turkey farms! Minnesota has more independent turkey farmers than any other state in the U.S. These farmers raise between 40-42 million turkeys every year!\nHow are turkeys used?\nWhat surprised you after you tracked the turkey?\nFor more information on turkeys, visit: https://www.eatturkey.org/\nFor a history tie in, read this article explaining the history of the turkey and the tradition in which the President of the United States pardons the Thanksgiving Turkey each year: https://www.eatturkey.org/history/", "id": "<urn:uuid:613cc894-0965-45b0-9a68-f4eb54f920ba>", "dump": "CC-MAIN-2022-21", "url": "https://mnagmag.org/guides/agmag-grade-3-spring-2021-teacher-guide/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662531352.50/warc/CC-MAIN-20220520030533-20220520060533-00185.warc.gz", "language": "en", "language_score": 0.9266403913497925, "token_count": 1604, "score": 4.03125, "int_score": 4}
{"text": "Language is the mind\u2019s most mysterious ability and one of its most powerful tools. It is what allows us to contemplate the vastness of the night sky, ponder on Plato\u2019s nonmaterial world of ideas, and helps us stablish a spiritual connection to a higher power. Since our origin, language has served humans as a basic survival mechanism. Indeed language genes have been highly conserved throughout the evolutionary process, and are used, in different ways, by many species.\nOne of the core deficits of autism is language difficulties and language development. Some autistic individuals may not speak at all; they are nonverbal. For those who do speak, language development may be delayed, and speech may be unnatural. The \u201cback and forth\u201d of a conversation is difficult for them and some may require functional aids like a voice output device, pictures or the use of other types of symbolic communication (e.g., sign language). Studies of language difficulties in autism have shown that its causes are heterogeneous and that, even within the same individual, there may be many contributing factors. This is to be expected as language itself is complex; a system composed of multiple components working together (i.e., morphology, phonetics, pragmatics, semantics, and syntax). None of these components when taken individually can be called language. However, among the different components of language, the most difficult to learn is pragmatics.\nPragmatics is the art of using language in a social context. Changing your tone of voice when talking to a baby and then to an adult is an example of pragmatics. The ability to use language for different purposes (as in demanding something, greeting or for information purposes) is also pragmatics. This aspect of language is also what provides rules for conversation and storytelling (e.g., taking turns in a conversation). My own assertiveness and sarcasm in English may be construed as rude in other languages. Without pragmatics people around you may as well be talking in a foreign language.\nI must believe that for many utterances, listeners will first interpret the literal explanation and immediately following would deal with other suggested meanings. With practice this is done automatically, without waste of time. Can you pass me that book? This is not a question about a person\u2019s physical ability to pass a book but rather a polite request. Any chance for a cup of coffee? The question is not about mathematical probability but rather a request for coffee. Language in this regard helps people build expectations of those around them. By talking about our shared intentionality, we showcase our ability to see things from different perspectives. Without pragmatics, autistic individuals are stuck in the phase of literal interpretation; the analysis phase of suggested meanings no longer follows. They are trapped in the present tense of a conversation and often fail to displace their thought process to other aspects of social communication.\nSpeech-language pathologists (sometimes called speech therapists, or speech teachers) help asses, diagnose, and treat, pathological conditions of communication. They, along with social skill therapists, work synergistically with autistic children in order to overcome pragmatic speech delays. I have been to many sessions where speech pathologists try to teach communication skills to autistic individuals. They do a wonderful job with standardized test to focus on problems and help individuals improve their verbal fluency. Treatment for them is individualized; every patient is different. Some of the best ideas I have seen to improve communication are given below (from Communication and Autism | Cortical Chauvinism, Casanova 2015).\nThe best way to make a child learn is by stressing that communication is a type of game where words, and the ideas they convey, are flung back and forth in-between contestants. It feels good to play the game. Some of the rules for playing this game are as follows:\n1) In this game, like others, you have to take turns. People are given the opportunity to talk and express their views in roughly similar amounts of time. Talking far too long may be seen as attempt to monopolize the conversation.\n2) If somebody asks you a question in a few words, you also answer with a few words. Question: How are you? Answer: I am well. Thank you. How about yourself? If you were to answer with a long drawn-out reply or divert the conversation to your favorite subject, this would be considered improper.\n3) You respond to questions in the same mood they are provided. Somebody making a joke requires a light answer. Somebody making a serious statement requires a serious answer.\n4) Solving the puzzle in terms of communication means talking about what has been brought up in the conversation; talking about things we have in common.\n5) Sport psychologists usually advice using your imagination to review or even increase your preparation for an event. Prepare yourself by imagining different scenarios: how to start a conversation, what to expect? Imagine cartoons made by line drawings. Fill in the balloons on top of the heads of the characters (i.e., ideas) with your thoughts. People prepare for emergencies before they actually happen. They develop routines for the same and practice until they learn to respond as a gut reaction. This type of forethought is useful for communication and other aspects of life. Rehearse with family and friends. Always remember that in order to make things clear to others you have to start by making things clear to yourself.\n6) Too many patterns within a conversation may make you confused. Pay attention primarily to those that make sense to you from previous experience.\n7) Accept the fact that everyone have biases and may not respond in the way you would like them to. Talk to family members or friends to see if you are reacting or interpreting things properly. Don\u2019t jump to conclusion about people.\n8) Sometimes it is worth talking to yourself and interpreting the behaviors of others this way.\n9) Accept your limitations. It is not always possible to understand what the other person is thinking or feeling. Be humble and ask questions.\n10) If you cannot read a person, don\u2019t assume things as facts. Do not assume that all your beliefs are true or that the same should be obvious to other people.\nAbove all, a single bad moment does not mean a pattern of defeats. \u201cThis always happens to me!\u201d is a phrase to be avoided. Learn to let things go. Treat yourself as a friend. In addition, be careful as pragmatic speech skills can be overtrained. Patients may learn the rudimentary mechanics of a conversation but lack the required fluidity within a social setting.", "id": "<urn:uuid:aa48a869-8ff5-4a7b-9171-7ce53317e277>", "dump": "CC-MAIN-2022-21", "url": "https://corticalchauvinism.com/2021/06/21/language-and-autism/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662517485.8/warc/CC-MAIN-20220517130706-20220517160706-00386.warc.gz", "language": "en", "language_score": 0.9577347040176392, "token_count": 1345, "score": 3.640625, "int_score": 4}
{"text": "We move slightly West and on to the 5th \u2013 4th Century BC to find ourselves in Ancient Greece amidst a performance of \u201cOedipus Rex\u201d written by Sophocles circa 428 B.C. There are two gentlemen in the forefront with a 3rd in the back holding his mask awaiting his role (1) (he\u2019s actually wicked close, check out the forced perspective, I refer to him as \u201clittle dude\u201d in the next post).\nAthenian society as a whole was inspired with a sense of event and the things were done in a theatrical fashion. Communication modes were limited limited during this time and it was drama that played an effective role as a mode of communication to the citizens of the ancient Greek world (2). The Greeks had adapted the Phoenician alphabet around the 8th Century BC by using five of their consonants as vowel sounds (3).\n|\u03c5 Upsilon||U or Y|\nDuring the 4th century, the transition from orality to literacy solidified (4). Literacy was becoming increasingly important as more and more Greeks were able to better understand and adopt the alphabet compared to logographic scripts. Writing lead to changes in rhythm and diction. Writing lead to more well rounded character development that was first seen in the play depicted in this scene. As literal culture developed, more actors appeared on stage. In fact it was Sophocles himself who introduced the third actor to the stage (5).\nNow that we have three actors on stage there are more people to play the parts, but these dramatists would often still have to play multiple people in the course of the play. This is one reason for the greek masks that were worn in this scene. The greek theaters were large, seating 10\u2019s of thousands at a time and so the masks were also exaggerated so that audience members in far away seats could understand what character they were seeing (6). The shape of the mask also amplified the actor\u2019s voice, making his words easier for the audience to hear (7).\nWhen turning the corner to this scene on the right the first thing we see are the greek columns on the left. The actors on the stage are also standing in front of greek columns. These columns are designed with the Doric order of architecture.\nIn the Doric Order, the column shaft is simple and tapered, meaning it is wider at the base than the top. Each column has 20 parallel, vertical grooves called flutes. Columns in the Doric Order did not have a base but rested directly on the pavement of the temple. The top of a column has a wide, flat section (8).\nI\u2019m sure you Disney regulars will know where I\u2019m going to go with this. Are these the same shrubs Disney uses to cover up areas they don\u2019t want you to see? Is it possible that this scene is under construction?!\nDisney cloaking devices at Epcot International Gateway. pic.twitter.com/whUvmCD8q7\u2014 bioreconstruct (@bioreconstruct) May 21, 2017\nFebruary 15, 2008 \u2013 current\nNarrated by Judy Dench\nSee the next post about the major changes made in 2008 that focus on Greek communication outside of the theater.\nNovember 23, 1994 to July 9, 2007\nNarrated by Jeremy Irons\nIn ancient Greece, the spoken word was elevated to a fine art. Philosophers debated with one another in plazas and storytellers found a new forum for personal expression. The theater was born.\nMay 26, 1986 to August 15, 1994\nNarrated by Walter Cronkite\nIn classic Greece, the alphabet grows and flowers with new expression and a new stage of storytelling emerges. A stage on which we examine our world and ourselves. The theater is born.\nOctober 1, 1982 \u2013 May 25, 1986\nNarrated by Larry Dobkin\nDeep in the shadows of Mount Olympus, our alphabet takes route, flowering with new expression. Hail the proud Greeks: Aeschylus, Sophocles, Euripides. The theater is born.\nJuly 22, 1977 \u2013 Ray Bradbury script\nAnd now for all, the printed word! With ink and press we made new walls, bound volumes of Ecclesiastics and Plato! Of Galileo and Homer! Scholar! Scientist! Philosopher! WE caught your should in type and printed you forth in mobs. By the hundreds! By the thousands!\n- Bamunusinghe,S (2012).Drama as a Mode of Communication in the Ancient Greek World. Sri Lanka. Journal of Human Resource Management Vol.3, No.1.\n- Nellhaus,T (2010). Theater, communication, critical realism. New York. Palgrave Macmillian", "id": "<urn:uuid:b4cd4b91-c640-4a75-ada7-aac5ad1ffb58>", "dump": "CC-MAIN-2022-21", "url": "https://tikispaceshipearth.org/2017/08/20/greek-theater/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00786.warc.gz", "language": "en", "language_score": 0.9524751305580139, "token_count": 1226, "score": 3.703125, "int_score": 4}
{"text": "Great site for teaching your children about coding through applying it to other activities like art.\nProgramming: A 21st Century Creative Medium\nIn many discussions, art is contrasted with technology and science. We say that kids are \u201cartsy\u201d or \u201ctechy,\u201d that people are \u201cleft-brain thinkers\u201d (logical or analytical) or \u201cright-brain thinkers\u201d (creative and artistic). Many worry that schools, from elementary schools to universities, are sacrificing their arts programs in favor of a greater emphasis on STEM\u2014whereas others feel this shift is not happening quickly enough in order to meet the demands of a changing economy.\nIn 1968, Donald Knuth published the first volume of what would become one of the defining texts of Computer Science. He called this book The Art of Computer Programming. Knuth says the title was deliberate. He argues that programming is an art as well as a science because it requires both left-brain thinking to work out the logic of the program, as well as right-brain thinking to devise creative solutions and produce elegant designs.\nProgramming is an Artistic Tool\nRegardless of whether you think programming is an art in and of itself, it\u2019s clear that programming is being used to add to art with motion and interactivity, especially by kids. As they learn valuable STEM skills, they can make incredible storytelling projects, beautiful animations, programmatic drawing, and captivating games. Many young artists see programming in the same way they see painting, drawing, or sculpting: a tool they can use to bring to life what\u2019s in their imagination.\nProgrammatic drawing is just one way that kids can bring their ideas to life with code.\nEmily, the mother of 4th grader and avid Tynkerer Julian, says she loves seeing what her son has been able to create with programming: \u201cIt\u2019s the language of creativity. [My children] actually don\u2019t have a lot of screen time, and the only time we allow them to have screen time is if they\u2019re doing something creative. They\u2019re very driven to not just watch things, but do something creative.\u201d Julian used Tynker to program an incredibly detailed game called \u201cThe Flying Penguin Game,\u201d for which he created all his own visuals by taking photographs and editing them using Tynker\u2019s image editing software. The game starts with a compelling backstory of why the penguin is lost and how he needs your help to get back home.\nKids can use their own drawings and photos to make games.\nJulie is the mother of Kira, who is in 7th grade and loves animals, coding, and art. Julie says she\u2019s known Kira was a talented artist since she was three, but learning to code has given her even more ways to express herself artistically. For Julie, it\u2019s clear that Kira being left-brain and right-brain is not a contradiction; they\u2019re just two sides of the same coin, and they allow her to create beautiful animations and stories: \u201cIt\u2019s her thing. She\u2019s artsy, she\u2019s techy, she\u2019s just talented.\u201d\nCoding allows kids to combine just a couple of drawings to tell animated stories.\nPhil is also the parent of an artist, his 12-year-old daughter Abby. Abby, who wants to work on special effects for movies when she grows up, has made some amazing interactive projects that combine incredibly intricate artwork with programming logic, like her \u201cAnime Face Maker\u201d project. For Abby, coding is a natural extension of her artwork. Phil says the most exciting part of Abby learning to code is seeing her \u201cbring her art to life in new ways through coding.\u201d\nKids can make their drawings interactive, so the user can customize the art.\nEven if you don\u2019t see programming as an art, today\u2019s kids are undoubtedly using it to create unbelievable artistic projects, making it a perfect way to get STEM-inclined kids interested in art as well as to get art-inclined kids engaged in STEM. If your child loves science, they\u2019ll love how programming allows them to use their technical skills in creative ways, and if your child is an artist, they\u2019ll love the open-endedness of coding.\nAll of these games and projects were created by kids using the free Tynker app for iPads and Android tablets. Tynker\u2019s fun, game-based programming courses teach kids how to code in an engaging way that allows them to express themselves creatively as they build apps, design games, and create animations. Our programming curriculum allows kids to learn to code at home or at school.", "id": "<urn:uuid:61293f8d-e503-4fcf-a3a3-5059439e947e>", "dump": "CC-MAIN-2022-21", "url": "https://4u2nomore.blogspot.com/2016/09/great-site-for-teaching-your-children.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662604794.68/warc/CC-MAIN-20220526100301-20220526130301-00785.warc.gz", "language": "en", "language_score": 0.9637560248374939, "token_count": 993, "score": 3.8125, "int_score": 4}
{"text": "Electronic components that can be elongated or twisted \u2013 known as \u201cstretchable\u201d electronics \u2013 could soon be used to power electronic gadgets, the onboard systems of vehicles, medical devices and other products. And a 3-D printing-like approach to manufacturing may help make stretchable electronics more prevalent, say researchers at Missouri University of Science and Technology.\nWriting in the January 2017 edition of the journal Micromachines, Missouri S&T researchers assess the current state of the emerging field of stretchable electronics, focusing on a type of conductor that can be built on or set into the surface of a polymer known as elastomer.\nThese conductors could one day replace the rigid, brittle circuit board that powers many of today\u2019s electronic devices. They could be used, for example, as wearable sensors that adhere to the skin to monitor heart rate or brain activity, as sensors in clothing or as thin solar panels that could be plastered onto curved surfaces.\nKey to the future of stretchable electronics is the surface, or substrate. Elastomer, as its name implies, is a flexible material with high elasticity, which means that it can be bent, stretched, buckled and twisted repeatedly with little impact on its performance.\nOne challenge facing this class of stretchable electronics involves \u201covercoming mismatches\u201d between the flexible elastomer base and more brittle electronic conductors, the researchers explain in their paper, \u201cMaterials, Mechanics, and Patterning Techniques for Elastomer-Based Stretchable Conductors\u201d (Micromachines 2017, 8(1), 7).\n\u201cUnique designs and stretching mechanics have been proposed to harmonize the mismatches and integrate materials with widely different properties as one unique system,\u201d writes the research team, which is led by Dr. Heng Pan, assistant professor of mechanical and aerospace engineering at Missouri S&T.\nA relatively new manufacturing technique known as additive manufacturing may help resolve this issue, Pan says.\nAdditive manufacturing is a process that allows manufacturers to create three-dimensional objects, layer by layer \u2013 much like 3-D printing, but with metals, ceramics or other materials. In their paper, the researchers suggest that additive manufacturing could be used to \u201cprint\u201d very thin layers of highly conductive materials onto an elastomer surface.\n\u201cWith the development of additive manufacturing, direct writing techniques are showing up as an alternative to the traditional subtractive patterning methods,\u201d the S&T researchers say.\nSubtractive approaches include photolithography, which is commonly used to manufacture semiconductors.\nPan and his colleagues see additive manufacturing as a relatively economical approach to creating these new devices. At Missouri S&T, they are testing an approach that Pan calls \u201cdirect aerosol printing.\u201d The process involves spraying a conductive material and integrating with a stretchable substrate to develop sensors that can be placed on skin.\n\u201cWith the increase of complexity and resolution of devices, higher requirements for patterning techniques are expected,\u201d they write. \u201cDirect printing, as an additive manufacturing method, would satisfy such requirements and offer low cost and high speed in both prototyping and manufacturing. It might be a solution for cost-effective and scalable fabrication of stretchable electronics.\u201d\nYet further challenges must be addressed before stretchable electronics become widely used as components in consumer electronics, medical devices or other fields, the researchers say. These challenges include the development of stretchable batteries that can store energy and the need to ensure that stretchable electronics and the malleable surfaces they\u2019re built upon perform and age well together.\nNevertheless, Pan and his colleagues are optimistic for the future of stretchable electronics. They foresee a growth in the types of materials that could be used as efficient conductors of electricity and as flexible surfaces on which to build stretchable electronics.\nPan\u2019s co-authors of the Micromachines paper are Xiaowei Yu and Wan Shou, both Ph.D. students in mechanical engineering at Missouri S&T, and Bikram K. Mahajan, a master\u2019s student in mechanical engineering at Missouri S&T. Their paper was first published online Dec. 27, 2016.", "id": "<urn:uuid:b40fb446-56e8-443d-83cb-f8ad9ec1e51f>", "dump": "CC-MAIN-2022-21", "url": "https://news.mst.edu/2017/01/additive-manufacturing-a-new-twist-for-stretchable-electronics/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00786.warc.gz", "language": "en", "language_score": 0.9449169635772705, "token_count": 874, "score": 3.90625, "int_score": 4}
{"text": "Authentic materials are in imperative part of a well-rounded reading program. By definition, authentic materials are those that mimic what students would find in the outside world. It is a text that is not produced for the sole purpose of teaching reading or language skills. Authentic texts are meant to foster engagement and interest in students while delivering important reading instruction. Studies have shown that students have higher comprehension when they are motivated and engaged in the texts they are reading, thus providing an excellent argument for use of authentic texts to bolster reading comprehension.\nExamples of Authentic Texts\nSince anything not produced for the sole purpose of teaching a skill is considered authentic, the list of possibilities is nearly endless. Speeches given by political figures, song lyrics, poetry, cartoons, newspaper articles and editorials as well as websites are all considered authentic texts. Literature, whether a picture book or novel is authentic text as well as published non-fiction texts. The variety from which to choose is vast and one of the advantages of using authentic texts in reading instruction.\nAdvantages of Using Authentic Texts\nThe first and foremost advantage to using authentic texts is that they are easy to find. There is a plethora of literature and media available from which to choose. Authentic texts are generally up to date, especially texts pulled from websites and other online sources. Use of these texts allows students to get used to reading in the real world which increases student motivation and interest, key factors in advancing comprehension strategies. Using pre-reading, while-reading and after-reading strategies are important aspects of an authentic text based reading program.\nDisadvantages of Using Authentic Texts\nThe main disadvantages of using authentic texts are that the reading level can vary greatly within one piece, they can include advanced vocabulary which can cause frustration for struggling readers. Another disadvantage is the length. Many authentic texts tend to be fairly long, which is often hard to accommodate in a typical classroom setting. Finally, some authentic texts can be culturally biased. All of these disadvantages, though, can be overcome by careful selection of texts and knowledgeable instructors. Vocabulary should be taught as part of the pre-reading strategy, enabling readers to better understand the text at hand.\nWhat Research Shows\nStudies show that the use of authentic materials does increase overall motivation which in turn advances comprehension skills. These texts introduce students to real world language that will benefit them as they develop life long reading habits. Disadvantages of using authentic materials can be addressed by carefully selecting the texts that are used with students. Teachers should take into account the piece's linguistic, psychological and cognitive simplicity and make sure it is appropriate for the audience. Authentic texts should be appropriate in terms of grammatical structure, age-appropriate themes, and social norms. The overall benefits to student comprehension far outweigh the disadvantages when the texts are carefully chosen and instruction is competent.\nAlicia Anthony is a seasoned educator with more than 10 years classroom experience in the K-12 setting. She holds a Master of Education in literacy curriculum and instruction and a Bachelor of Arts in communications. She is completing a Master of Fine Arts degree in creative writing: fiction, and working on a novel.", "id": "<urn:uuid:f198ab99-bae8-4b22-b2c2-679bda266c97>", "dump": "CC-MAIN-2022-21", "url": "https://www.theclassroom.com/effect-authentic-materials-reading-comprehension-14711.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662515466.5/warc/CC-MAIN-20220516235937-20220517025937-00585.warc.gz", "language": "en", "language_score": 0.9477721452713013, "token_count": 648, "score": 3.625, "int_score": 4}
{"text": "How to Identify Figurative Language\nReading could become very boring if authors only wrote what they meant or described things exactly as they are. Figurative language gives poetry, fiction and other writings a bit of spice and flair. This language often appeals to the senses and describes things in a way that allows the reader to imagine what those things look, feel, taste, smell or sound like.\nCommon Figures of Speech\nBefore you can identify figurative language, you must first be able to define the different figures of speech and recognize examples. Metaphors and similes are two figures of speech used most often. A metaphor describes an object or person as if it is something else; a simile does the same thing but uses the words \u201clike\u201d or \u201cas.\u201d A metaphor would state \u201cHer eyes are the sea,\u201d while a simile would be phrased \u201cHer eyes are like the sea,\u201d according to Professor Debora B. Schwartz of California Polytechnic State University. Irony makes a statement opposite of what it means literally -- saying, \u201cOh, that\u2019s wonderful!\u201d after getting a parking ticket is an example of irony, according to the Doyle Online Writing Lab at Reed College.\nOther Figurative Language Devices\nThe the Doyle Online Writing Lab contrasts the devices hyperbole and understatement. Hyperbole is a grand exaggeration, such as the phrase, \u201cI have a ton of homework.\u201d Opposite the hyperbole is an understatement, a figure of speech that underemphasizes what is true, an example of which is, \u201cThe middle of a freeway isn\u2019t the best place for children to play.\u201d There a still more devices. Personification gives human characteristics to animals or inanimate objects. An idiom is an everyday saying that holds a meaning other than its literal one, such as the example offered by South-Western City School District: \u201ca piece of cake.\u201d Synecdoche uses a part of something to represent a whole, and metonymy substitutes the name of something with an object or attribute associated with it, such as, according to Schwartz, saying \u201cthe crown\u201d in place of \u201cthe king.\u201d Periphrasis uses a descriptive phrase in place of a single word.\nSpotting Figurative Language\nSome figures of speech are easy to recognize -- similes, for example, use the words \u201clike\u201d or \u201cas.\u201d Start by looking at a short block of text and highlighting anything you think could be a figure of speech. Many figures of speech use imagery or unusual comparisons rather than literal phrases, so certain phrases might jump out at you as being odd or interesting. Consider writing some phrases using figurative language to enhance your understanding of the different figures of speech.\nRead a piece of text and ask questions that require you to think about the work critically. For example, if you read about a character who has a bad day, and he says, \u201cWell, hasn\u2019t this just been a wonderful day,\u201d do you think the character meant what he said literally? Knowing the character had a bad day, you are likely to rationalize that he must be using a figure of speech -- in this case, irony. Consider another text that calls red flowers \u201ccrimson cotton balls\u201d or describes the sea as \u201cthrowing itself against the shore.\u201d You will begin to realize the author did not mean that the flowers were literally cotton balls or that the sea could throw itself.\nCara Batema is a musician, teacher and writer who specializes in early childhood, special needs and psychology. Since 2010, Batema has been an active writer in the fields of education, parenting, science and health. She holds a bachelor's degree in music therapy and creative writing.", "id": "<urn:uuid:8f4edea9-f6c8-476c-9177-1a0e2dc9cba6>", "dump": "CC-MAIN-2022-21", "url": "https://penandthepad.com/identify-figurative-language-19206.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510097.3/warc/CC-MAIN-20220516073101-20220516103101-00586.warc.gz", "language": "en", "language_score": 0.9528887271881104, "token_count": 807, "score": 4.21875, "int_score": 4}
{"text": "Books by Theme\nThese are stories of turbulent times in the United States. Each is told with a young audience in mind. Each presents a slice of history and highlights the impact of real individuals.\nChild of the Civil Rights Movement\nThe youngest daughter of civil rights leader Andrew Young shares a time when she and her two older sisters moved from New York to Atlanta to protest and ultimately change unfair laws. The narration is innocent and child-like \u2014 effectively describing what Jim Crow was and giving glimpse of the leaders of the period (including Martin Luther King, Jr.). Soft lined, textured illustrations evoke the time and its tenor while portraying people in a recognizable way. An end note provides additional information about the people depicted.\nClaudette Colvin: Twice Toward Justice\nNine months before Rosa Parks\u2019 history-making protest on a city bus, Claudette Colvin, a 15-year-old Montgomery, Alabama, high-school student, was arrested and jailed for refusing to give up her seat to a white passenger. Based on extensive interviews with Colvin and many others, this book presents the first in-depth account of an important yet largely unknown civil rights figure, skillfully weaving her dramatic story into the fabric of the historic Montgomery bus boycott and court case that would change the course of American history.\nHenry Aaron's Dream\nIn spite of growing up in the 1940s before the United States was integrated, in a segregated Mobile, Alabama, Henry Aaron dreamed of playing baseball. His perseverance and courage paid off; he was to become one of the most talented and revered players, whose major league career spanned from 1954 through 1976. He was also a vocal spokesperson for equality between white and black players. Aaron's early life, his career, and his impact on the game are revealed in an honest, sometimes difficult text and richly colored paintings.\nLet It Shine: Stories of Black Women Freedom Fighters\nBrief sketches of the lives of both well (e.g. Harriet Tubman) and lesser known African American women (e.g., Biddy Mason) and their impact on civil rights are presented in the lively language of a storyteller sure to read aloud well. Vibrant, stylized Illustrations enhance the evocative text to complete the thought-provoking portraits.\nMarch On! The Day My Brother Martin Changed the World\nMartin Luther King, Jr. prepared diligently for his now famous \"I have a dream\" speech given on August 28, 1963 during the March on Washington for Jobs and Freedom. It was King's unshakable belief in nonviolence and the power of words that galvanized the country. This informal account is both personal and satisfying as revealed by Martin's older sister who watched it on television with their parents in Atlanta. Full-color illustrations and expressive typography highlight words and enhance the tone.\nMuhammad Ali: The People's Champion\nCassius Clay learned to box when he was twelve, trained by Joe Martin in his native Louisville, Kentucky. He would go on to win the Golden Gloves championship and to box in the Olympics. Clay stunned not only the sports world but the world as a whole by winning the world boxing championship and changing his name to Muhammad Ali when he embraced Islam. His portrait is painted in a chronological account, highlighting Ali's words in text and dramatic full-color paintings.\nRosa Parks was an ordinary woman who became a hero because she \"was not going to give in to that which was wrong.\" A catalyst for the famous Montgomery Bus boycott in Alabama, she turned the nation's attention to a glaring injustice in our society. Powerful illustrations evoke a time before the Civil Rights era and give the reader a glimpse at a person, her impact, and a period in American history.\nSit-In: How Four Friends Stood Up by Sitting Down\nThe words of Dr. Martin Luther King, Jr., inspired four students to protest in a way that ultimately changed the United States. Their peaceful dissent at the segregated lunch counter in Greensboro, North Carolina, would \"combine black with white to make sweet justice.\" The \"Greensboro Four\" began their sit-in on February 1, 1960 and contributed to the passage of the 1964 Civil Rights Act. The text suggests storytelling and is accompanied by light-lined but evocative illustrations; back matter completes this compelling portrait.\nProceeds from the sale of books purchased at Amazon.com help support the Reading Rockets project. Thank you!", "id": "<urn:uuid:4ff8b6bd-4ee4-4d5f-82a8-184631d21ccc>", "dump": "CC-MAIN-2022-21", "url": "http://mapping-the-text.org/people-make-difference-celebration-black-history-month.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662510117.12/warc/CC-MAIN-20220516104933-20220516134933-00786.warc.gz", "language": "en", "language_score": 0.955694854259491, "token_count": 908, "score": 3.5, "int_score": 4}
{"text": "There is just something about fun snowball activities that make learning fun! These snowball games and snowball ideas can be used in winter occupational therapy activities or in hands-on learning with a snowball theme. Winter fun and play is here, so snowball games are the way to go for learning activities with movement. With winter in full swing, we\u2019ve got snowball themed math, science, art, sight words, and more!\nSnowball Activities for learning\nWinter learning activities can incorporate snowballs for themed, hands-on play. Whether you use paper crumbled into paper snowballs or printable snowball activities, there are so many ways to work on letter formation, handwriting, sight words, math facts, vocabulary, and much more.\nThen, with snowball themed activities, there is the opportunity to add in gross motor skills, core strength, balance, coordination, motor planning, and movement.\nGross Motor Snowball Activities\nSnowball Throwing Games\u2013 Incorporate learning with snowball throwing activities. If you have actual snow in your area, use that snow to scoop and make real snowballs. It\u2019s a great way to strengthen the arms, work on bilateral coordination, and gain proprioceptive input.\nCrumble Paper Snowballs- In this Snowball Fight Math, we wrote numbers on the outside of the crumbled snowball, then threw them at targets and into bins or buckets to incorporate coordination and motor planning.\nSnowball Shotput Game\u2013 Kids can work on coordination, balance, AND add in movement-based sensory input in the form of vestibular sensory experiences with this snowball shotput activity. Work on visual processing skills such as tracking and convergence, too.\nAdding an obstacle course is another gross motor idea for indoor winter learning or play. This idea from Toddler Approved is fun.\nSnowball Fine Motor Activities\nCrumble snowballs\u2013 Try crumbling paper or foam sheets to create snowballs. Inside, students can write math facts or sight words.\nScoop snowballs- Cotton balls make a nice miniature snowball. Use tongs, tweezers, or scoops to work on fine motor skills. This idea from Still Playing School can get you started.\nPaint snowballs- Use colored water and some spray bottles to paint snow and improve hand strength in this painted snow activity.\nSnowball target practice\u2013 Snowball Alphabet Throw is another idea.\nSnowball Math Activities\u2013 Try this Comparing shapes with snowballs activity from Hands On As We Grow.\nSnowball Sensory Play\nFor children that need to work up to tactile tolerance, this mess-free sensory play encourages kids to touch messy materials and build up their tolerance. It\u2019s got a snow and snowball theme, so this sensory activity would work well with this theme.\nSensory Dough\u2013 Explore sensory tolerance and tactile experiences with this frozen snow dough recipe. It\u2019s a fun one for messy sensory play. Just add sight words, math facts, or winter cards from the Winter Fine Motor Kit\u2026or make it all about pretend play with some arctic animal figures or Frozen characters.\nSnowball Art Activities- Making crafts and art is an easy way to help children develop fine motor skills and incorporate tactile sensory experiences. This Indoor snowball painting from Fantastic Fun and Learning is a fun idea.\nShaving Cream Snow- Tactile experiences can involve more than just snow! Try this Shaving Cream Snowball Big Art from Coffee Cups and Crayons.\nIf taking the learning to multi-sensory experiences is interesting, try this snowball Science Experiments where we experimented with actual snow.\nMore Winter Learning Ideas\nTo take learning and motor skills further, add the Winter Fine Motor Kit to your toolbox.\nUse the cards and sight words in the Winter Fine Motor Kit, to challenge kids in scissor skills, reading, sight words, sequencing, storytelling, and visual perceptual skills. The Winter Fine Motor Kit has simple and complex shapes with all kinds of Winter themed images including mittens, arctic animals, penguins, snowflakes, and more. These shapes and words can be hidden in the fake snow sensory bin for kids to hide, find, and hide again.\nTo up the fine motor work further, add tongs, scoops, small bowls and bins, and more.\nFor more ways to work on scissor skills, along with all of the fine motor skills needed for scissor use and handwriting, try the Winter Fine Motor Kit. It\u2019s loaded with cutting activities, lacing cards, coloring, clip activities, fine motor art, and fun ways to help children develop pre-writing hand strength, dexterity, and motor skills.\nUse the fine motor activities, lacing cards, toothpick art, and crafts in the Winter Fine Motor Kit. It\u2019s a 100 page packet with all winter themes, and you\u2019ll find winter fun there!\nColleen Beck, OTR/L is an occupational therapist with 20 years experience, graduating from the University of Pittsburgh in 2000. Colleen created The OT Toolbox to inspire therapists, teachers, and parents with easy and fun tools to help children thrive. As the creator, author, and owner of the website and its social media channels, Colleen strives to empower those serving kids of all levels and needs. Want to collaborate? Send an email to email@example.com.", "id": "<urn:uuid:20d4ccc8-d55c-4b9b-ab4d-aa7468a4edd9>", "dump": "CC-MAIN-2022-21", "url": "https://www.theottoolbox.com/snowball-learning-activities", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662570051.62/warc/CC-MAIN-20220524075341-20220524105341-00585.warc.gz", "language": "en", "language_score": 0.8845818638801575, "token_count": 1110, "score": 3.546875, "int_score": 4}
{"text": "Among the multitude of benefits of reading stories in the language class, we would like to point out the importance of interaction during reading sessions. We have already discussed that, with the right questions and activities, stories develop language and thinking skills. Picture books also contribute to the development of visual literacy in children. Now we turn to another important aspect of the picture books in The Thinking Train series: dialogic and interactive reading.\nLearning to talk to the text\nInteracting with a story\nDuring my experiences of teaching English in different educational contexts (upper primary, secondary and higher education), I noticed some reading habits of successful readers. When they really want to understand a text, they behave as if they were in conversation with it. First, they have questions before they start reading the story. These might be unsaid questions, the ones we all have in mind before we open a book. What\u2019s going to happen? Where will the story take us? Is there a happy ending? Then, as they become familiar with the characters, they draw a family tree or diagram of them in their minds. They may imagine a map of the locations the characters visit during the course of the novel. Plus, they stop from time to time to interact with the plot. They might comment on the characters\u2019 action and stop to predict what might happen next. They might even get frustrated when something unexpected happens and wonder how they would act in a similar situation and what might make someone behave in a particular way. And then, when it\u2019s all over, they try to make sense of the narrative structure, by retelling parts of it to others or to themselves.\nInteracting with academic texts\nAll these actions form the basis of learning through reading in school. Before students open a chapter in their history or science book, or before they start reading a complex research article, they should follow similar steps. The question students ask can be general (How does the circulatory system work in humans?) or specific (What are the best strategies to learn vocabulary in English for young learners?). Then, students highlight important pieces or bits which are not clear, they also comment on the margin or ask questions. Finally, they need to learn to summarize what they learnt from the text. Learning to interact with stories as a child prepares us to interact with other types of texts.\nMost children come to school with the basic strategies needed to interact with books. However, in the language class, they need to recreate these familiar experiences in a new language. Unfortunately, not all children have had sufficient shared reading experiences in the family. They are the ones who need more help during the language lessons.\nLearning how to interact with a book should start in the classroom with the teacher modelling some steps of the reading process and prompting questions from children. Then, the books students read ideally have scaffolding activities and questions which guide them when the teacher is not present.\nHere are some steps with examples from The Thinking Train series to illustrate how the teacher and a picture book can model this interactive reading process.\nStart with the cover\nBefore you start reading the book, ask students some questions about the book cover.\n- What is the story about?\n- Who are the main characters?\n- Who wrote the book?\n- Who drew the pictures?\n- How do the illustrations make you feel?\nLearn about the blurb\nWhen you have explored the front cover, move on to the back cover where you find even more information about the story. The blurb tells us about the plot by raising interest in it.\nWhen you open a reader in The Thinking Train series, you will see an introduction page with the names of the authors/illustrator and an illustration with a short text, a sentence or a question. This page either introduces some of the main characters or asks a question to prompt the students to think about the story before they get into it.\nBefore reading activities\nWhen you open a picture book in The Thinking Train series, you will find two pages with activities that prepare the students for reading. Here you will can focus on the lexical set activated in the story.\nQuestions during reading\nAfter you have read the story once, or during the first reading, it is a good idea to linger for a while on every double page. You can retell that part of the story with your own words, identifying new objects and practising new words. Children can also ask questions and you can direct their attention to some aspects of the plot. The questions in the reflection boxes help you with this. They focus on a specific thinking skill and they run through each picture book in the series. Some questions will ask you to think about the story, solve problems and make decisions.\nThe activities after each story are fun playbook activities to consolidate vocabulary, practise new language structures and work on reading comprehension. They also extend the story and connect them with personal experiences. They also use the story to generate new tasks to use new language.\nMake and Do\nThese projects are creative projects which can be done after the reading sessions. You can finish the reading of any story with a creative sessions and make something to remember the story.\nDo you have any reading strategy that you teach to your students?", "id": "<urn:uuid:9e825b98-9d01-410b-af9e-50b6d41eb1a5>", "dump": "CC-MAIN-2022-21", "url": "https://www.helblingpublishing.com/int/en/blog/interactive-reading-learn-think-and-play-with-the-thinking-train-series", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662521883.7/warc/CC-MAIN-20220518083841-20220518113841-00585.warc.gz", "language": "en", "language_score": 0.9563262462615967, "token_count": 1073, "score": 3.859375, "int_score": 4}
{"text": "- 1 What is the symbolism in Caged Bird?\n- 2 What symbolizes Maya Angelou?\n- 3 What does the Free Bird symbolize?\n- 4 What literary devices are used in I Know Why the Caged Bird Sings?\n- 5 What is the caged bird a metaphor for?\n- 6 What is the theme of the caged bird?\n- 7 What does the caged bird singing reveal about him?\n- 8 What are the conditions in which the caged bird lives?\n- 9 Why is Maya Angelou a hero?\n- 10 What is the difference between a free bird and a caged bird?\n- 11 What are three things the free bird does?\n- 12 What is a free bird explain what this could be a metaphor for?\n- 13 What literary devices are used in caged bird?\n- 14 What is ironic about the caged bird?\n- 15 What kind of imagery is used in caged bird?\nWhat is the symbolism in Caged Bird?\nAngelou uses the metaphor of a bird struggling to escape its cage, described in Paul Laurence Dunbar\u2019s poem, as a prominent symbol throughout her series of autobiographies. Like elements within a prison narrative, the caged bird represents Angelou\u2019s confinement resulting from racism and oppression.\nWhat symbolizes Maya Angelou?\nIn \u201cStill I Rise,\u201d Maya Angelou uses gold mines and oil wells as symbols of wealth and confidence. She also uses natural imagery, including the sun, the moon, the tides, and the air, to symbolize the inevitability of her continued rise beyond the reach of oppression.\nWhat does the Free Bird symbolize?\nThe free bird symbolizes people who live in this world unencumbered by prejudice of any type whether it be racial, socioeconomic, or psychological. The free bird has the opportunity to move through life soaking in its abundance.\nWhat literary devices are used in I Know Why the Caged Bird Sings?\nRhetorical devices abound in I Know Why the Caged Bird Sings, that makes the reading more memorable. Angelou successfully employs hyperbole, simile, alliteration, allusion and aphorism to draw attention to key phrases, characters or settings.\nWhat is the caged bird a metaphor for?\nThe Caged Bird Metaphor is a common Animal Metaphor whereby a character\u2014often a woman or girl in an oppressive environment\u2014is associated with a caged bird, symbolizing their sense of confinement and longing for freedom.\nWhat is the theme of the caged bird?\nThe main themes in \u201cCaged Bird\u201d are freedom and confinement, artistic expression as resistance, and civil rights. Freedom and confinement: As its title indicates, \u201cCaged Bird\u201d is concerned with both imprisonment and the innate urge for freedom.\nWhat does the caged bird singing reveal about him?\nWhat does the caged bird\u2019s singing reveal about him? Answer: It reveals that he is unhappy and wants to be free.\nWhat are the conditions in which the caged bird lives?\nHis wings are clipped and legs are tied. He can seldom see through the \u2018bars of rage\u2019. The bird is essentially deprived of freedom, rights and justice. He is fearful with the utmost uncertainty of his life.\nWhy is Maya Angelou a hero?\nAn honorable hero is Maya Angelou because she has given many contributions to affect history since 1928 when she was born. Maya Angelou is a southern African-American woman who endeavored many hardships, but became an inspiration to women across the world by how she overcame them.\nWhat is the difference between a free bird and a caged bird?\nHe sings of freedom and hope. A caged bird is not free to have his own life. He is not free and the only thing he can do is he can sing for his freedom and hope. On the other hand, the caged bird walks sadly inside his narrow cage and tries hard to see through the bars of his cage.\nWhat are three things the free bird does?\nWhat are 3 things the free bird does? The free bird leaps in the wind, floats downstream, and dips his wings in the suns rays daring to claim the sky.\nWhat is a free bird explain what this could be a metaphor for?\nIn \u201cCaged Bird \u201d by Maya Angelou, the free bird is an extended metaphor for a free person, and the caged bird is an extended metaphor for an oppressed person. Angelou creates a comparison between the two birds to make her point.\nWhat literary devices are used in caged bird?\nCaged Bird Literary Elements Speaker or Narrator, and Point of View. The unidentified speaker relates the experiences of the caged bird and the free bird. Form and Meter. The six-stanza poem is written in free verse. Metaphors and Similes. Alliteration and Assonance. Irony. Genre. Setting. Tone.\nWhat is ironic about the caged bird?\nMaya Angelou uses plenty of irony in her book I Know Why the Caged Bird Sings. Situational irony is when things do not turn out as expected. Vivian brings Maya into her bed to make her feel safe when she has nightmares, but as a result, Maya is raped by Mr. Freeman.\nWhat kind of imagery is used in caged bird?\nImagery: Angelou has used vivid imageries. \u2018Orange sun rays\u2019, \u2018distant hills\u2019, fat worms\u2019 etc are examples of visual imageries while \u2018sighing trees\u2019, \u2018nightmare scream\u2019 and \u2018fearful trill\u2019 are auditory imageries.", "id": "<urn:uuid:13d87496-61f7-476c-8330-e748bb1b170a>", "dump": "CC-MAIN-2022-21", "url": "https://www.riedelfamilyltl.com/faq/symbolism-in-i-know-why-the-caged-bird-sings.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662532032.9/warc/CC-MAIN-20220520124557-20220520154557-00786.warc.gz", "language": "en", "language_score": 0.9421418309211731, "token_count": 1207, "score": 3.546875, "int_score": 4}
{"text": "Regular opportunities to explore and learn in an outdoor environment supports the development of a healthy and active lifestyle in young children and also offers them opportunities for physical activities and promotes a sense of well-being. The outdoors offers unique experiences for young children such as direct contact with the weather and seasons. The sensory and physical experiences young children encounter outdoors supports brain development.\nOutdoor learning is enhanced by an environment that is resourced with play materials that can be adapted and used in different ways. These non-prescriptive play resources can be used in imaginative ways as the children can make up their own games with them. Some of these outdoor resources include:\nA Garden for growing various fruits, vegetable and plants allow the children to experience life processes and can be a great way to teach them a little bit about science at the same time. Having multiple planting beds gives children the opportunity to practice on one without harming their growing plants.\nResearch has proven that simply being in a natural space increases wellbeing, builds self-worth and reduces stress. Encouraging young children to play and explore outdoors aids in their understanding of life processes work and introduces them to the idea of sustainability. Trees and woodland areas are perfect as they allow children to build dens, climb and do activities such as bark rubbings. Other good natural spaces to take young children are grasslands, wetlands and hedgerows, the dynamic environments stimulate the natural curiosity of children.\nAs much as children need outdoor activity, they also need quiet areas where they can relax alone or socialise with friends. These areas can includes woodlands, gardens, enclosed areas or simply seating such as rugs or beanbags. This allows young children to develop a sense of wonder about the world around them and is important for their wellbeing.\nAn area for children to express their creativity is crucial for their development, the outdoors allows for many opportunities to experiment with both sounds and materials as well as role play, singing and storytelling. Children have plenty of mark making opportunities outdoors such as chalk on hard surfaces, sticks in mud, brushes in water or charcoal on wood. Children can also make their own wind chimes or use metal pots and pans and homemade shakers to create different music and sounds.\nA variety of surfaces with different textures and hardness encourages the young children to play and explore whilst developing their gross motor skills and providing opportunities for them to discover new things. A few of the different surfaces you can look for include:\n- Short and Long Grass\n- Earth and Mud\n- Rocks and Stones\n- Slopes and Hills\n- Hard Top (e.g. concrete or asphalt)\nIf you\u2019re limited to a hard surface play area then you can use old tyres, paddling pools or buckets to fill with the different surfaces so the children can still get a sensory experience.\nOutdoor Play Equipment\nAs well as the natural outdoors there are also specific pieces of play equipment designed for outdoor use such as kitchens, shops and theatres that children can use for group role play and climbing frames that help to improve their coordination as well as gross motor skills.\nHere at Early Learning Furniture we are launching a brand new range of outdoor play equipment perfect for nurseries, primary schools and the home.\nIf you have any questions feel free to contact us on 01733 511121 or email us at [email protected]", "id": "<urn:uuid:f38dff2c-d5c6-47c0-bf6f-830b139eadc4>", "dump": "CC-MAIN-2022-21", "url": "https://www.earlylearningfurniture.co.uk/blog/learning-outdoors.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662625600.87/warc/CC-MAIN-20220526193923-20220526223923-00386.warc.gz", "language": "en", "language_score": 0.9595140218734741, "token_count": 722, "score": 4.25, "int_score": 4}
{"text": "The printable reading comprehension worksheets listed below were created specially for students at a 3rd grade reading level. Free worksheets to print and download.\nThis is a comprehensive collection of free printable math worksheets for third grade, organized by topics such as addition, subtraction, mental math. When 3rd graders come across a word that they are not sure of, they. Third grade readers start to form a tremendous vocabulary;\nFree reading worksheets, activities, and lesson plans.\nCritical thinking reading comprehension worksheets. Have a look into our printable reading comprehension passages to improve your little ones reading skills this is why we are here for. A collection of english esl worksheets for home learning, online practice, distance learning and english classes to teach about reading, reading. 3rd grade reading worksheets for k12 kids and parents. Select the topic to view and print available worksheets. See printable 1st grade exercises. Free reading worksheets, activities, and lesson plans. #[email protected]_english_for_all_children word mastery a course in phonics for the first three grades by florence akin & donald potter. Our printable third grade worksheets help your students practice with printable math worksheets, phonics for teachers and parents: We have grammar activities, creative writing prompts, and 3rd grade reading worksheets to make learning the variety of skills third graders need to succeed. Browse 3rd grade reading worksheets at education.com. Take reading comprehension skills of your 3rd graders to the next level with easy teacher's free over most of our 3rd grade reading comprehension worksheets students will read a short get free worksheets in your inbox! Live worksheets worksheets that listen. Printable 3rd grade reading comprehension worksheets. 3rd grade science worksheets these are mostly reading passages within the content area. Third grade readers start to form a tremendous vocabulary; All worksheets are created by experienced and qualified teachers. A free prek reading curriculum. The printable reading comprehension worksheets listed below were created specially for students at a 3rd grade reading level. Grade 3 science vocabulary quiz. Third grade reading worksheets help young readers build vocabulary and fluency. Ladybird reading phonics hot fox stunt duck. To improve reading comprehension, first graders must have a strong foundation of reading skills. 9 stories in level a. Free interactive exercises to practice online or download as pdf to print. It can also be used to stimulate thinkin. Reading worksheets and online activities. 1st grade reading comprehension worksheets. The third grade level is where students start to work on their reading stamina. Use these free, printable worksheets to practice and improve reading comprehension, vocabulary and writing. Below are our 3rd grade reading comprehension worksheets in click on any one to read the details of each reading comprehension worksheets for 3rd grade.", "id": "<urn:uuid:e5f9bf6e-e73b-46d8-9cba-b5dc6e5b74d1>", "dump": "CC-MAIN-2022-21", "url": "https://rugby-rumilly.com/luxury-free-printable-3rd-grade-reading-worksheets-photography/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662522270.37/warc/CC-MAIN-20220518115411-20220518145411-00784.warc.gz", "language": "en", "language_score": 0.9280180931091309, "token_count": 615, "score": 3.921875, "int_score": 4}
{"text": "Wicked problems, as defined by design theorist Horst W. J. Rittel and city planning professor Melvin M. Webber in 1973, are complex social or cultural problems with an unknown number of potential solutions.\nExamples of wicked problems are hunger, climate change, terrorism, health care etc.\nWicked problems often require large systems change; otherwise, they would have been tackled already by firms, governments or civil society organisations.\nOptional tool, for note-taking during brainstorming sessions: Dialogue Mapping (http://www.cognexus.org/id41.htm)\nMore than an active learning method, this can be a framework to engage students with current challenges. The wicked problems method can integrate elements of roleplaying, debating, design thinking or problem solving, just to name a few active learning methodologies worth reviewing.\nDesign thinking, a systematic approach to finding solutions to problems, is considered a good method for approaching wicked problems. Using the stages of empathizing, defining, ideating, prototyping, and testing, this approach helps students combine knowledge, experience, reasoning, and creativity.\n3 main three steps:\nimmersion in the problem: (students are can be assigned the role of the stakeholders involved in the wicked problem;)\ngeneration of potential ideas to tackle the problem:\n2:30 minutes of brainstorming by oneself to produce a list of ideas, 2:30 minutes;\nworking in pairs with another member of the group to pick a single idea from their respective lists;\n7:30 minutes developing their idea by discussing, inside the couple, how the idea would work in practice, 7:30 minutes;\neach couple then they presentsed their idea to the rest of the group, and the others did the same, 1 each for one minute each;only.\nadvancement of the most promising ideas: a facilitator wrote each idea on a whiteboard, and the group, as a whole, voted for their favorite idea by placing a Post-it next to the name of the idea on the board.\nRoles: different societal actors interact and create problems or are not able (or willing) to come up with solutions. At societal level, identifiable groups of actors become stakeholders, have vested interests, adopt ideologies and create institutions that define the context in which problems become more or less wicked. It is common to distinguish between three societal sectors: state (governments or supranational institutions), markets (firms), civil society (citizens).\nYou can consider the importance of empathy among the participants who have to put on the shoes of those affected by the wicked problem and thus immerse themselves in the problem. Thus the need to provide providing just enough context to get the participants understand the issue from multiple angles. Once context is settled, students can bring an object/metaphor to the group that symbolises the wicked problem for them (the aim is to introduce themselves by telling personal stories instead of function/role profile).\nIt is difficult to measure the outcome of work done to solve wicked problems because, by their very nature, they must be confronted in a multitude of different contexts and by different stakeholders.\nAssessment can be done depending on the other active learning methodologies used.\nRittel, H. W., & Webber, M. M. (1973). Dilemmas in a general theory of planning. Policy sciences, 4(2), 155-169.\nWeber, E. P., & Khademian, A. M. (2008). Wicked problems, knowledge challenges, and collaborative capacity builders in network settings. Public Administration Review, 68(2), 334-349.\nPartnerships Resource Centre (2016) Wicked Problems Plaza: Principles and Practices for Effective Multi-Stakeholder Dialogue. Rotterdam: Partnerships Resource Centre at RSM, Erasmus University\nRotterdam School of Management A crash course \u2018Wicked Problems\u2019 for international students of The Hague Summer School\nOur Project Objective\neLene4Life supports curriculum innovation in higher education (HE) through the development of active learning approaches for transversal skills, with the ultimate aim of improving students\u2019 employability.\nThe European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.\nThis project No. 2018-1-FR01-KA203-047829 has been funded by Erasmus + programme of the European Union.", "id": "<urn:uuid:4135eea8-5b96-43d2-9143-d912d4cd8ad6>", "dump": "CC-MAIN-2022-21", "url": "https://elene4life.eu/dynamic-toolkit/wicked-problems/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577259.70/warc/CC-MAIN-20220524203438-20220524233438-00386.warc.gz", "language": "en", "language_score": 0.9209320545196533, "token_count": 945, "score": 3.546875, "int_score": 4}
{"text": "In Peru, Dr Joanna Alfaro Shigueto collaborates with small-scale fishers to protect critically endangered leatherback turtles.\nIf you ever see one in the wild, you will immediately know what is in front of you. Leatherback turtles are the largest living turtles in the world and have a unique look: Instead of having a hard carapace shell like other sea turtles, it has a black rubbery skin that gets strengthened by many tiny bone plates. Sporting seven unmistakable ridges on its leather-like back, the species is highly migratory and can be found in almost all oceans due to its special ability to maintain warm body temperatures in colder waters.\nAs the third largest country in South America, Peru boasts 3,000km of coastline and some of the world\u2019s most productive ocean ecosystems. The Pacific Ocean off Peru is teeming with life, including migratory whales, numerous sharks and five species of turtles. Amongst Eastern Pacific green turtles, olive ridleys, loggerheads, hawksbills as well as leatherbacks call the region their temporary homes. But the large numbers of fish and other marine species also attracts large-scale fisheries to the region. Not only do large-scale fisheries have a negative effect on the general health of the marine ecosystems, they also affect small-scale, artisanal fishers whose livelihoods depend on healthy ecosystems to make a living and feed their families.\nThe Lima-based non-profit organisation ProDelphinus targets this imbalance right at the source. Founded by marine biologist Dr Joanna Alfaro Shigueto, the organisation seeks to directly work with fishing communities, researchers and the Peruvian government to bring all parties together, promote sustainable fishing methods and reduce bycatch to protect sea turtles and marine fauna in the region.\nDr Shigueto\u2019s main target are leatherback sea turtles, also known as the largest and deepest diving sea turtle in the world. While the charismatic species can reach lengths of up to 2m, it can weigh up to 1,000kg and can grow up to become 45 years old. Scientists have estimated that leatherbacks regularly dive to depths of over 900m, while one individual was even recorded at 1,200m below sea level on one occasion. As is the case in other parts of the world, the number of leatherback turtles is estimated to be decreasing in Peruvian waters. \u201cThere is an estimation for the Eastern Pacific leatherback population that says that less than 300 nesting females are left. This is a very small number for a population, thus the species is listed as critically endangered,\u201d explains Shigueto.\nSea turtle populations throughout the Pacific and on Peru\u2019s coastlines are subjected to egg poaching, habitat destruction, pollution, the negative effects of climate change as well as being caught as bycatch in large- and small-scale fisheries. Shigueto and her team conducted a study that tried to find out how many leatherbacks end up in fishing gear in Peruvian ports. She explains: \u201cThe estimate of leatherbacks captured in one year was 70 individuals which is a very high number. While most of them were alive, the findings highlight the importance of training fishermen to release the turtles safely in order to increase their chances of survival after capture. Population models for the Eastern Pacific population show that even reducing the incidental takes or bycatch by 20% would give the species a chance to survive.\u201d\nThat\u2019s why Shigueto thinks the approach to include small-scale fishers in her efforts to protect leatherback sea turtles in Peruvian waters is the right one. \u201cWe work closely with fishers, providing opportunities for capacity building and implementing sustainable fisheries. That way they can continue fishing, maintain their jobs, and enjoy fish products while the biodiversity is preserved in their areas. This is not an easy balance but with education, access to opportunities such as markets, and bottom-up conservation measures, there is more chance for everybody to coexist,\u201d she says.\nMaking fishing methods more sustainable to help alleviate the pressure on leatherback populations throughout Peru is the core of Shigueto\u2019s approach. Concretely, it involves the use of technology. \u201cFor example, we have used lights to illuminate fishing nets which reduced the bycatch of turtles as well as dolphins by approximately 50%,\u201d says Shigueto and adds: \u201cA challenge is to implement these technologies in small-scale fisheries, and that is where NGOs and government offices can help.\u201d\nRecently awarded with continuation funding by the Whitley Fund for Nature, a UK charity seeking to channel funds for conservation leaders across the globe, Shigueto and her team want to expand the project in the near future by approaching communities they have worked with in the past as well as addressing new ones. The funding will allow the team to scale up the work it has done in a couple of communities which have started using the proposed techniques to release leatherbacks back in the water and reporting those incidentally caught.\n\u201cBy expanding our work, these practices will be broadly used across the country, reducing the chance of mortality in a species that is highly threatened. In the locations that are new, we expect to hold a lot of meetings with the communities to explain the goals of the project and explain how individual community members are an important part, if not the core, of it all,\u201d adds Shigueto.\n\u201cBringing together the protection of turtles with the protection of livelihoods of fishermen is key. We want to make sure that communities understand we want them to continue fishing. However, in a more responsible and sustainable way. That way we can make sure the fisheries will last for decades, while biodiversity is upheld too. To achieve our goal, communication is key.\u201d\nExplore the current issue\nBeautiful photography. Captivating storytelling.\nTake a look inside the latest issue of Oceanographic Magazine.\nSubscribe to the digital edition for just \u00a320 a year, or enjoy it for free courtesy of Oceanographic\u2019s partnership with Marine Conservation Society. No cost, no catch.\nBeautiful ocean stories straight to your inbox.\nJoin our community.", "id": "<urn:uuid:d574d6b8-bc1b-43c1-8197-249f21ae7953>", "dump": "CC-MAIN-2022-21", "url": "https://www.oceanographicmagazine.com/features/influencing-change/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662540268.46/warc/CC-MAIN-20220521174536-20220521204536-00586.warc.gz", "language": "en", "language_score": 0.9484950304031372, "token_count": 1292, "score": 3.71875, "int_score": 4}
{"text": "What Are the Requirements of Narrative Writing? | Pen and the Pad Narratives are mostly written as stories, and they must include all the basic story elements. They must have characters, conflicts and plot events. The story arc ... A Guide to Narrative Writing | What is a Narrative? - 3P Learning 8 Jun 2019 ... Narratives are how stories are told. They're made up of four sections: the orientation, complication, sequence of events and resolution. Rush My Essay \u2013 Essay Writing Service For Students\u2026 Every single essay you order from us will be custom-made to meet your guidelines. If you are disappointed with what you obtain, we will modify the data right up until you are completely satisfied.\n500 Prompts for Narrative and Personal Writing - The New York ...\nA narrative story is written from the writer's point of view and can include the writer's feelings and view point on a certain event. The narrative story is suppose to make a point which is either covered in the beginning sentence or the ending sentence Story Starters: Creative Writing Prompts for Kids ... Scholastic's Story Starters kids' writing activity generates creative writing prompts, from general fiction to adventure, fantasy, and science fiction. Types of Papers: Narrative/Descriptive\nShort Story Writing - Ebook download as PDF File (.pdf), Text File (.txt) or read book online.\nWriting Narrative History - TerpConnect Sometimes budding historians think of narrative history as a sequenced listing ... For example, perhaps you are writing the narrative as a first person account of ... English / Narrative Writing A narrative is the story (fiction or non-fiction) told and the order in which it is told. Sometimes ... Narrative writing is very important in your day-to-day life. For the ... Narrative Writing Tips - Primary Resources\nThe narrative can be funny, serious, awe-inspiring, or tear-jerking, but as long as you\u2019re telling your story and making your audience feel what you feel, you\u2019re moving in the right direction. For more help writing narrative essays, check out these posts:\nWhen writing a narrative essay, one might think of it as telling a story. These essays are often anecdotal, experiential, and personal\u2014allowing students to express themselves in a creative and, quite often, moving ways. Here are some guidelines for writing a narrative essay. If written as a story, the essay should include all the parts of a ... How to Write a Narrative Essay - A Research Guide for Students\nPurpose of Narrative Writing. Narrative writing is primarily intended to tell a story to its readers. It is typically presented in a way that engages the writers to imagine themselves as the main character of the story. In narrative writing, the sequence of\nHow to Write a Narrative: 13 Steps (with Pictures) - wikiHow A narrative recounts a sequence of events, offers readers clear details and, typically, delivers a compelling message. If you have a story to write, getting your ideas on paper can be fun and rewarding! To brainstorm ideas, do free-writing exercises, outline your narrative\u2019s structure, and practice writing vividly detailed descriptions. Narrative Essay Examples - examples.yourdictionary.com The following narrative essay examples can help you get started writing your own narrative essay. In a narrative essay you tell a story, often about a personal experience, but you also make a point. So, the purpose is not only to tell an entertaining tale but also show the reason for the story and the importance of the experience. Story Starters: Creative Writing Prompts for Kids ... Scholastic's Story Starters kids' writing activity generates creative writing prompts, from general fiction to adventure, fantasy, and science fiction.\nLearn what a story climax is and how to write a story that will keep your readers on the edge of their seats. 7- How to Write Short Stories from Inside Your Character's Head. What's the best way to tell your story? All about narrative point of view, plus tips to help you avoid common creative writing mistakes. What Does it Mean to Write in Narrative Form? | Synonym", "id": "<urn:uuid:2af044fa-bd7a-4a0b-a280-4a264cb51a44>", "dump": "CC-MAIN-2022-21", "url": "https://coursessonqt.netlify.app/broach37826ru/writing-a-narrative-story-nuk.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00784.warc.gz", "language": "en", "language_score": 0.9407923221588135, "token_count": 854, "score": 3.640625, "int_score": 4}
{"text": "The short story has a long and rich tradition, spanning everything from the Gothic tales of Poe to contemporary masterpieces. Writing a short story will improve your writing skills, as you can apply many of the techniques you master in the process to longer forms. Telling a complete story in 5,000 words rather than 100,000 nurtures your storytelling abilities because you:\n1. Learn how to create good form and structure\nA short story has many of a novel\u2019s features. It typically has:\n- Exposition (introducing characters, their world, a scenario)\n- Development (developing these elements)\n- Rising and falling action\nThe last point makes writing short stories particularly useful for bettering your craft. Creating a satisfying shape of rising and falling action, well-paced high and low points, is trickier for longer forms. When you write in a smaller form you can see the broader sweep of events and moments from scene to scene easier.\nMany famous authors have written now-celebrated works first in trial runs as shorter stories. James Joyce\u2019s modernist classic A Portrait of the Artist as a Young Man (1916) was based in part on a shorter autobiographical book, Stephen Hero. This book gave a testing ground for ideas and the structure of events that take place in the last third of Portrait.\n2. Play with plot devices in shorter fiction\nPlotting a substantial story like a novel is challenging. [The Now Novel story dashboard makes plotting easier using step-by-step prompts and explaining concepts].\nSeeing writing short stories as preparatory work for a novel can be useful. Given the shorter time commitment, you can play with plot devices such as starting in the middle of action (in medias res).\nA plot device is an incident or anything else that changes the direction of a story or helps to moves it forward. When you write a short story, try use different devices such as:\n- Plot twists and reveals (surprising turns of events the reader doesn\u2019t see coming)\n- Multiple time-frames or versions (you could tell each quarter of a story from one of four siblings\u2019 points of view, for example)\n- Flashbacks (characters recalling earlier events) or flash forwards\nA plot twist, for example, is a good plot device to practice in short story form. Why? Because if executed clumsily or obviously, a twist can frustrate or annoy readers.\nThe nineteenth century writers Guy de Maupassant and O. Henry were masters of creating concise, effective plot twists. In much of their short fiction, information introduced at the end of the story changes the reader\u2019s understanding of what came before. Modern masters of this device include Ian McEwan and Kazuo Ishiguro.\nLearn which plot devices could help make your novel memorable and intriguing by testing them out in short fiction first.\n3. Kill your darlings with less time lost\nWhen you\u2019ve poured your heart into a dense, lengthy novel, it\u2019s hard sometimes to cut large swathes that aren\u2019t working. The beauty of writing a short story is that you can test and expand character ideas a little more. This helps you see early who you\u2019ll fall in love with as you write, and who\u2019ll yield narrative dead ends.\nThe phrase \u2018kill your darlings\u2019, often attributed to Faulkner, means to let go of parts of your story you may be holding onto for sentimental reasons while they don\u2019t completely serve your story. It\u2019s the clever pun or the sarcastic back and forth that might not actually be contributing enough development or focus, for example.\nWriting a short story is a good exercise for cutting away the fat and making every detail of your fiction lean and precise. While a novel is often forgiving of digressions, every moment in a short story has to push the story forward, given the limited space. You have to grab readers\u2019 attention and entertain, move, thrill or terrify them, faster. Writing short fiction will help you master this ability to ruthlessly eliminate filler or fluff.\n4. Practice concise character development\nOften first-time (or even experienced) novelists are tempted to develop characters using long flashbacks and back story. These sometimes take too much focus away from the main narrative arc, from what\u2019s happening to characters now.\nIn a short story, you have to set up characters and convey their distinct personalities fast, using key details. For example, you might sketch a character quickly in a few lines, based on how they are dressed or how they respond to a brief conflict. Concise dialogue also is necessary to just give enough of the voice to show.\nWriting short stories helps you to focus on characters\u2019 immediate goals, by bringing them closer in terms of the number of pages you have to help (or hinder) their reaching them!\n5. Learn how to write lean dialogue\nIn a novel, you have the opportunity to develop the voices of different characters over a much broader canvas.\nIn a short story, you need to give those characters distinctive voices within a fraction of the space. Depending on the nature of your story, there might be little dialogue. Yet what little there is has to be focused so you don\u2019t waste the short story\u2019s limited space.\nRead tips on whittling down your dialogue to essentials here.\n6. Develop key themes you want to use in a novel\nThe novel Flowers for Algernon (1959) by Daniel Keyes began life as a short story by the same name. It began with the same themes.\nIn a short story, you can begin mulling over major themes that you will explore at greater length when you write your novel. Use the condensed medium to sketch out the basics of your characters and plot. It will result in a more tightly structured novel.\n7. Refine your writing style, line by line\nThere is a reason that when a poet turns to writing fiction, critics will often comment on the writer\u2019s command of language. Like poetry, short stories give you the opportunity to work on your prose at a very precise, miniature level. If a story is just a few thousand words long, you have time to pore over every word. It\u2019s also why most successful novelists working in longer forms rely on help from skilled editors when they\u2019re finished their drafts!\nTry writing a few short stories and giving extra attention to the construction of every sentence.Ask questions such as, \u2018Could this verb here be more active as a participle?\u2019 (an \u2018-ing\u2019 word).\n8. Practice point of view\nPoint of view is a tricky aspect of narration to master. Many aspiring writers understand the difference between first, second and third person.\nIn omniscient point of view, a narrator who has access to the thoughts and actions of all characters is telling the story.\nIn third person limited, the narrative may jump between characters\u2019 heads, but at any given time the narrator can only report what the viewpoint (currently narrating) character sees and knows.\nSecond person point of view is like a \u2018choose your own adventure\u2019 book, as the narrator addresses the reader as \u2018you\u2019. (\u2018You lift the gun and check the safety mechanism is active.\u2019)\nThe real problem with point of view tends to come with switching between characters\u2019 POVs. When you write a short story, try changing the point of view throughout the entire story as an exercise. Change it from first to third, or vice versa. How does it change the effect? Writing short lets you experiment and be free with your style. Then write that epic novel.\nWhether you\u2019re writing something short or longer, brainstorm and outline the easy way using Now Novel\u2019s step-by-step prompts.", "id": "<urn:uuid:e84ef0b1-6f04-4dd1-8975-32c9f527062c>", "dump": "CC-MAIN-2022-21", "url": "https://www.nownovel.com/blog/improve-writing-skills-short-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652663035797.93/warc/CC-MAIN-20220529011010-20220529041010-00786.warc.gz", "language": "en", "language_score": 0.9428179860115051, "token_count": 1647, "score": 3.640625, "int_score": 4}
{"text": "Last Updated on May 6, 2015, by eNotes Editorial. Word Count: 445\nRobert Louis Stevenson directed many of his works to young readers in deference to nineteenth century Romanticism\u2019s idealization of the innocence of childhood and the fecundity of children\u2019s imaginations. He believed strongly that youngsters were an important segment of the reading public. Kidnapped was originally published as a serial in a boys\u2019 magazine, and Stevenson first won fame as a novelist with the children\u2019s adventure story Treasure Island (1881-1882, serial; 1883, book). A Child\u2019s Garden of Verses (1885) also falls in this category.\nA large part of the popular appeal of Kidnapped lies with the historical-romantic nature of the plot. The novel revolves around a historical incident, the murder of Colin Campbell, the Red Fox of Glenure, and other historical figures appear, among them King George. Thus the nonhistorical but pivotal events of the plot\u2014David Balfour\u2019s trials and Alan Stewart\u2019s escapades, which constitute the largest part of the novel\u2014are tied to actual history. This intertwining of history and fantasy has the effect of personalizing history and making fantasy credible.\nAnother factor that enhances the verisimilitude of Kidnapped is Stevenson\u2019s narrative technique. David tells his story in the first person. As a consequence, the reader develops a close rapport with the narrator and sympathizes with his plight. Most important, the first-person narrative makes the story highly plausible.\nTo some extent, Stevenson emphasizes plot over characterization; his goal is above all to entertain, to transport the reader from mundane, daily existence to a believable world of excitement and adventure. To create this effect, Stevenson combines the extraordinary with the commonplace. David\u2019s kidnapping, Alan\u2019s rescue, and the shipwreck combines with such more commonplace occurrences as family hostilities, the life of sailors, and Scottish feuds. This combination produces an exceptionally convincing tale.\nStevenson does not ignore the impact of character development, however. By juxtaposing David, the canny Lowlander, with Alan, the proud Highlander, he brings two opposing value systems together into a compatible relationship. David and Alan have contradictory points of view and antithetical sociopolitical commitments; yet they work together and form a lasting bond on the basis of friendship and loyalty that transcend their differences. Here Stevenson the novelist is at his best, forsaking dogma and ideology in favor of humanistic values.\nStevenson is a master storyteller. He weaves this tale around the great and the small, the rich and the poor, virtuous men and scoundrels, and each character is truly drawn. A stolen inheritance, a kidnapping, a battle at sea, several murders\u2014these are only a few of the adventures that befall the hero. It is easily understood why Kidnapped is a favorite with all who read it.", "id": "<urn:uuid:f7380945-5dab-48e8-b31b-78eabd9ab8c1>", "dump": "CC-MAIN-2022-21", "url": "https://www.enotes.com/topics/kidnapped/critical-essays", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662573189.78/warc/CC-MAIN-20220524173011-20220524203011-00187.warc.gz", "language": "en", "language_score": 0.936012864112854, "token_count": 610, "score": 3.53125, "int_score": 4}
{"text": "Most of us will have a favourite folk tale - often more than one. Every country and every culture has its own way of telling, retelling, adapting and updating folk tales. Dual language folk tales can be a particularly magical way to gain insight into cultures other than our own, and to build authentic vocabulary in our own and other languages.\nWhat is \u2018once upon a time\u2019 in other languages?\nIn English, the custom, when telling a folk tale, is to start with \u201conce upon a time\u201d. While \u201ces war einmal\u201d is usually translated as \u201conce upon a time\u201d it literally means \u201cthere was once\u201d \u2013 not quite as poetic. Danes will recognise \u201cder var engang\u201d, French speakers will understand \u201dil etait une fois\u201d, and if your mother tongue is Polish you\u2019ll probably be familiar with \u201d Dawno, dawno temu\u201d, followed by mentions of seven mountains and seven forests or rivers. Bengali stories often use \u201d ek je chhilo raja...\u201d or \u201conce there was a king\u201d or \u201cEk deshe chhilo...\"(\u201cin a country there was\u2026\u201d) to get the story started while Hindi tales may use \u201cBahuta pur\u0101n\u012b b\u0101ta hai\u201d (\u201cIt is an old story\u201d). Every language and culture has its own way of beginning a folk tale.\nA huge amount of skill is required to not only translate a story from one language to another, but to keep the \u201csense\u201d of the tale. There\u2019s really no substitute for a human translator, and for dual language books or bilingual books, one who is familiar with both languages and both cultures.\nWhat is a folk tale?\nAccording to the Collins English dictionary, a folk tale is a story where the original authorship is not known, containing \u201clegendary elements\u201d, and handed down orally through generations of ordinary people (or folk). Now that we\u2019re lucky enough to have writing and, generally, a high level of literacy, these tales have been preserved for future generations. When you add in sound, using PENpal\ntechnology for instance, the oral tradition is brought up-to-date in a way that makes the stories even more accessible.\nWhat dual language folk tales are available?\nIn recent years, there has been increasing awareness that a dual language approach to telling stories to children can pay dividends. There are many different titles avaiilable; you may prefer to lose yourself in tales of the Arabian nights like Ali Baba and the Forty Thieves\n, Egyptian legends like the tale of Isis and Osiris\n, or ancient Greek myths like Pandora\u2019s Box\n. All of these tales remain relevant to us today.\nHow are dual language folk tales relevant to our current world?\nOne of the most appealing aspects of folk tales is that they can be easily updated to reflect the current world. The Musicians of Bremen, for instance, becomes The Buskers of Bremen\n. There are many dual language folk tales available which put a splendidly modern spin on stories like Goldilocks and the Three Bears\n(what WAS she doing breaking into a stranger\u2019s home, anyway?) and Jill and the Beanstalk\n, where Jill takes control of the family\u2019s situation, which includes dealing with that pesky giant. And dual language folk tales in particular are especially relevant to our global village.\nOne thing is for sure \u2013 though folk tales evolve, they\u2019re here to stay.\nDefinition of \u2018folk tale\u2019 (c2010) Webster\u2019s New World College Dictionary\n, 4th Edition https://www.collinsdictionary.com/dictionary/english/folk-tale\n(accessed 28 June 2019)\nKirsch, C.,( 2016) Using storytelling to teach vocabulary in language lessons: does it work?. The language learning journal\n, 44(1), pp.33-51.\nOnce Upon A Time (c2019), Wikipedia\n, edited 6 May 2019, https://en.wikipedia.org/wiki/Once_upon_a_time\n(accessed 28 June 2019)", "id": "<urn:uuid:7deaf434-7a9a-4659-9ec1-4d7936c01867>", "dump": "CC-MAIN-2022-21", "url": "https://uk.mantralingua.com/Once%20upon%20time%20%E2%80%93%20why%20dual%20language%20folk%20tales%20are%20still%20relevant%20our%20global%20village", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662577259.70/warc/CC-MAIN-20220524203438-20220524233438-00386.warc.gz", "language": "en", "language_score": 0.9022538661956787, "token_count": 901, "score": 3.578125, "int_score": 4}
{"text": "The modern internet is something today\u2019s children grow up using and is also one of our most important educational resources. However, the internet was not designed with child safety in mind.\nAcross the school, we implement structured, progressive year group tailored teaching programmes. We also ensure that our teaching is proactively responsive to any needs that arise and take part in February\u2019s Safer Internet Day. Pupils learn how to stay safe online for their own wellbeing and the wellbeing of others in their environment.\nWe recommend parents reinforce e-safety rules with children and discuss their digital choices, such as managing subscriptions and balancing their use of technology.\nE-safety general principles\nWe teach children to know that:\n\u2022 Passwords should be kept secret, even from friends and strong passwords can be created using unrelated word jumbles, mixed upper and lower cases and including numbers or symbols. Passwords should not be shared between different accounts. If they are using a public or shared computer, options to remember their password might not be safe to use.\n\u2022 It is important never to share information that might be used to identify them online with people they do not know. This includes photos because some phones and cameras add geotags to photos that can tell people you share them with where they were taken. This means children should never post personal information to a public chat or forum and when using a social networking site and must make sure they understand the privacy settings.\n\u2022 If they receive hurtful messages online or are exposed to bullying behaviour, they should talk to an adult about it. Behaviour like this can be dealt with, including by reporting and blocking the sender. Cyber-bullying can also be a criminal offence due to laws including the Communications Act 2003.\n\u2022 The internet is not always a reliable source of information. People are free to put anything online, so some websites may contain mistakes or deliberate fake news. Even Wikipedia, which is widely used, can be edited by anyone to contain made-up facts. Information taken from the internet should be checked between different sources to make sure it is accurate.\n\u2022 Some websites can be malicious. This means downloads from them can contain malware which will damage their computer or steal their information and send it back to an attacker. It is important to check that a website is a trusted provider before downloading any files. Also, if you are entering information about yourself into a form (for example, when you\u2019re logging in to a website) or uploading files, you must check that the URL in your browser\u2019s address bar begins with https rather than http. This means that attackers won\u2019t be able to read the information you\u2019re sending because it has been encrypted to look like nonsense.\n\u2022 People who create content online, including text, images and videos, get copyright automatically. This means that they own what they have made and no one else can legally copy and re-use it. They can also choose to write a license, which gives rules about how other people can use what they have made. Many people use different types of Creative Commons licenses, which can be read about at\nhttps://creativecommons.org. We teach children to be aware of the meaning of licenses when they use resources they find online, for example the function to filter results by license provided by search engines such as Google and Bing.\n\u2022 Some social media networks, such as YouTube, Tiktok, Twitter and Facebook, have an age restriction. In these cases, children who sign up might be exposed to mature content. We suggest you take time to talk to your child about the social networking sites they use and help set them up so they understand the privacy and content settings.\n\u2022 Children will be exposed to single-sided views of the world through social media. This may be through extreme positive representations of other peoples\u2019 lives. These can have a harmful effect on mental health and unrealistic expectations of children\u2019s own lives.\n\u2022 They can also shape world views due to algorithms that actively screen content for the user. This can lead to a false impression of the world.\n\u2022 Gaming has quickly become the world\u2019s biggest entertainment medium, offering interaction, storytelling and communities.\n\u2022 Games are aged rated in the same way as films to ensure parents are aware of the suitability for their children. Further to this, you should always be aware of what your children are playing.\n\u2022 Online communication in games is rarely moderated. This can pose significant risk of exposure to unsuitable language, content and behaviour. Voice chat and other communications can often be turned off. Ensuring children play in a shared home environment can ensure you are aware of what children are engaging with.\n\u2022 Many children spend time with free-to-play games. Parents should be aware that these games often include monetisation which pressures the players.\n\u2022 Free-to-play games can also include gambling mechanics, such as loot boxes. These are as-yet unregulated by government but are under review. The risk of normalising gambling in children and developing unhealthy dependency should be considered by parents when choosing games.\n\u2022 Children should be careful to check the sender of an email before trusting the contents. Some attackers send emails which ask for personal details (this is called phishing, because they try lots of email addresses in order to get a few responses) or contain downloads or attachments with viruses.\nThere are many technologies you might find useful for keeping your children safe online or controlling or monitoring their internet use. Any list we provide would be out of date quickly, but appropriate tools can be found easily by searching online.\nThere are also many resources you and your children can use to learn more about e-safety or report online abuse, including:\nCEOP is a command of the National Crime Agency where children or adults can go to report online abuse.\nThink U Know is CEOP\u2019s education program, which is designed for children to use to learn about e-safety.\nThe NSPCC has advice and resources for talking to children about e-safety as well as a helpline that can be used by parents or children.", "id": "<urn:uuid:1a646f83-39f4-4038-881c-722ad894e321>", "dump": "CC-MAIN-2022-21", "url": "https://alfredsuttonprimary.co.uk/statutory-info/e-safety/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662560022.71/warc/CC-MAIN-20220523163515-20220523193515-00584.warc.gz", "language": "en", "language_score": 0.9586448073387146, "token_count": 1269, "score": 3.890625, "int_score": 4}
{"text": "Designed to supplement the ELA curriculum or be used on their own, Writing Workshops help students hone a skill essential to college and career readiness.\nWhy It Helps\nLearning to express themselves in modes ranging from argumentative text to poetry, students develop the ability to write fluently in different genres while also learning to use research, evaluate evidence, and support arguments\u2014skills essential to college and career readiness.\nHow It Works\nEach workshop guides students to write three separate texts: one that is constructed as a class with direct guidance from the teacher, one that is peer constructed with teacher support, and one that is written independently.\nThe writing workshops follow an instructional sequence designed to gradually build students' independent writing skills. Each workshop is organized to provide a gradual release of instruction, moving students from a class writing exercise to independent writing.\nStudents begin with shared reading of a model text. Then they analyze writing techniques and grammar, before moving on to drafting, writing, and revising in groups. Finally, they do independent work that draws on techniques learned in the previous steps.\nEach grade level has 10 workshops and each of those focuses on a particular type of writing\u2014such as expository, narrative, or argumentative\u2014then gives students targeted strategies, grammar, and practice exercises to help them master that genre.\nBenefits for Students\nThrough writing experiences in these writing workshops, student will be prepared to write in any tested genre and will gain the following:\n- Reading-writing connections that result in transferable literacy skills\n- Ability to produce writing in a variety of modes\n- Experience in using research to inform writing and to support credible argument\n- Skills in collaborating and communicating with other writers\n- Language development in writing and speech, as well as embedded grammar instruction that focuses on structure and effect in writing\nHow Writing Workshops Addresses Unfinished Learning\n- Targeted, focused instruction that uses gradual release, allowing teachers to model first and then monitor closely as students gain independence\n- Focused and specific instruction and strategies that can be applied later in other instruction\n- Powerful for supporting students who have not gotten much writing instruction, given loss of face-to-face time, constraints of digital teaching, and loss of overall instructional time.\n- Powerful as preparation and remediation before asking students to complete an independent performance-based assessment (pre-cursor to a writing assessment)\n- Can be used with small groups, whole class.\n- Can be used as response to intervention based on student performance with writing and reading skills\n- A single workshop can be completed in 4\u20138 days, giving powerful focus without derailing instruction.\n- 9 modes plus a workshop focused on the writing process\nPlace an Order\nTo order, download an order form. Complete and sign it and return with a purchase order/check to: [email protected] Contact the SpringBoard team at 877-999-7723 if you have any questions", "id": "<urn:uuid:2e7e1926-6dbc-4b10-a33f-cc9f27152633>", "dump": "CC-MAIN-2022-21", "url": "https://springboard.collegeboard.org/ela/curriculum-and-resources/writing-workshops", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662534693.28/warc/CC-MAIN-20220520223029-20220521013029-00387.warc.gz", "language": "en", "language_score": 0.9457736015319824, "token_count": 598, "score": 4.03125, "int_score": 4}
{"text": "Structures & Buildings\nFlags of the World\nBuildings & Structures\nRace & Ethnicity\nArts & Entertainment\nSpeaking & Listening Tips\nAcademia & Culture\nArts & Entertainment\nHistory & Gov't\nU.S. Supreme Court\nU.S. Monuments & Landmarks\nScience & Health\nAstronomy & Space\nEnvironment & Energy\nWeights & Measures\nCalendar & Holidays\nSeasons, Months, Days\nEmployment & Labor\nPoverty & Income\nThe Fifty States\nShare on printShare on emailShare on twitterShare on facebook|More Sharing ServicesShare Homework Center \u2013 Writing Skills\nHow to Write a Book Report (Middle and High School level)\nBook reports and book reviews are similar. Book reports tend to be a little more descriptive (What is this book about?) and book reviews are usually more persuasive (Why a reader should or shouldn't read this book). Both offer a combination of summary and commentary.\nThey are a way to think more deeply about a book you've read and to demonstrate your understanding.\nMost teachers have their own requirements, and sometimes a specific format they expect you to follow, so be sure to check, but the following general elements of a book report or book review should be helpful.\nHere you want to provide basic information about the book, and a sense of what your report will be about. You should include:\nPublication Information: Publisher, year, number of pages\nA brief (1-2 sentences) introduction to the book and the report/review.\nThere are two main sections for this part. The first is an explanation of what the book is about. The second is your opinions about the book and how successful it is. There are some differences between reports on fiction or other imaginative writing and reports on non-fiction books.\nBut for both, a good place to start is to explain the author's purpose and/or the main themes of the book. Then you can summarize.\nFor fiction or other creative writing:\nProvide brief descriptions of the setting, the point of view (who tells the story), the protagonist , and other major characters. If there is a distinct mood or tone, discuss that as well.\nGive a concise plot summary. Along with the sequence of major events, you may want to discuss the book's climax and resolution, and/or literary devices such as foreshadowing. But, if you are writing a review, be careful not to give away important plot details or the ending.\nProvide a general overview of the author's topic, main points, and argument. What is the thesis? What are the important conclusions?\nDon't try to summarize each chapter or every angle. Choose the ones that are most significant and interesting to you.\nAnalysis and Evaluation\nIn this section you analyze or critique the book. You can write about your own opinions; just be sure that you explain", "id": "<urn:uuid:5a0d6310-f484-4723-bbe1-716bbda19258>", "dump": "CC-MAIN-2022-21", "url": "https://www.majortests.com/essay/Book-Report-And-News-History-Geography-537720.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662564830.55/warc/CC-MAIN-20220524045003-20220524075003-00387.warc.gz", "language": "en", "language_score": 0.8599459528923035, "token_count": 819, "score": 3.921875, "int_score": 4}
{"text": "Storytelling is a way to compose and deliver a story to the audience with a certain meaning. To tell informative stories with the ending that becomes food for thought has always been popular and engaging. Storytelling at school suggests a variety of opportunities for students to learn how to express their thoughts logically, and how to create something unique that nobody has never told before. Today, storytelling has become digital, and it adds a new turn of fascinating, influential stories creation. However, they should be unique, so to check for plagiarism with special tools like Unicheck is vital. So, find out the main \u201cingredients\u201d of storytelling.\nThe Notion of Digital Storytelling\nDigital storytelling is telling a story by means of digital tools that help create pictures, videos, thus resulting in a greater impact on listeners. You may easily create a digital story using Cos, WireWax, Storyboard That, and many more. By telling a story, you will make your audience to remember it, as just raw facts and data have a short-term effect. No doubt, this activity will make you even more creative, you will learn how to explain various phenomena, and present them to your peers, so you will learn how to analyze a topic, and foresee the audience reaction, previously considering other people\u2019s interests.\nWhat Is So Beneficial About Storytelling?\nStorytelling helps lazy readers. Your peers will have a chance to listen to and see what they were so reluctant to do earlier, and that may give them a nudge to discover a topic. Although, they quickly become engaged, and start collaborate discussing not only a topic, but many other issues that may arise. Storytelling cultivates leadership skills as you learn how to single out your interest, promoting your initiatives, and make decisions. You learn how to deliver your message to others, so it could be clear for all. Moreover, you learn how to speak in public, and how to be confident about that.\nHow to Create a Story\nDraft the ideas you would like to develop on, and think over how they may boost your audience interest. Outline the main ideas, find pictures that illustrate them at their best. Think over audio background to a story, and video content that may visualize examples, or lead the audience to conclusions, and inspire to vivid discussions. You may take a board and draw a vertical line with ideas, so it could be like a skeleton, and add ways of the ideas implementation to the sides. When your story is ready, show it to others, and consider what they think, make corrections if needed.\nLet\u2019s Sum Up\nStorytelling is an enticing way to unleash your creativity, tell about something that really inspires you, enhance communication and presentation skills. Digital storytelling nurtures technology and analytical competence. Every story should be meaningful, and you are responsible for delivering a meaningful message that will motivate others to listen, read, and become involved in argumentative discussions.", "id": "<urn:uuid:f6e70b22-3f40-4844-9c0e-9a0ce472881f>", "dump": "CC-MAIN-2022-21", "url": "https://unicheck.com/blog/the-art-of-storytelling", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662631064.64/warc/CC-MAIN-20220527015812-20220527045812-00787.warc.gz", "language": "en", "language_score": 0.9451049566268921, "token_count": 601, "score": 3.578125, "int_score": 4}
{"text": "\u201cPlay is the highest form of research.\u201d ~ Albert Einstein\nIt is widely accepted in the field of Foreign Language Teaching (FLT), that the knowledge of lexical items gives evidence of progress and permits communication at a basic level. Undoubtedly, the development of our learners\u2019 lexical competence is an indispensable premise for the attainment of a certain degree of communicative competence, which is the final aim according to modern curricula.\nGames and playful activities should be at the heart of the FLL process in primary education, since they are in children\u00b4s nature. This implies that any game entails an intrinsic engaging power, as long as it is adapted to our learners\u00b4 characteristics. In this sense, it is widely accepted that games provide stimulation, variety, interest and motivation; and also that they contribute to create positive attitudes towards learning English in a non-threatening environment. Consequently, they should be a weighty and integrated part of the FL programming.\nThere are plenty of advantages in the use of games to practise English in contextualized situations. Amongst others, we may mention that they: provide \u201chidden practice\u201d, improve their attention span, encourage active participation and communication (as they create a need to communicate), motivate and improve the four skills, develop their creativity, etc.\nSome games to practise vocabulary may be:\n\u201cI went to the market and I saw\u2026\u201d in which learners have to remember and repeat a set of items in the correct order. The child or pair who remembers more vocabulary items shall be the winner.\n\u201cMonkey\u201d is a creative writing game where each group has to write a letter in turns, until a word is completed. Every time a group cannot go on writing gets a letter of \u201cMonkey\u201d; and the winner is the last group to complete this word. Obviously, it is the teacher\u00b4s task to promote healthy competition and let them see that \u201ca game is only a game\u201d.\n\u201cFeely bag game\u201d is ideal to practise vocabulary food in an oral way. This game only requires a black bag and some toy food. Within their groups, children in turn put their hands in the bag, feel one of the objects and guess what it is (i.e. \u201cI think it\u00b4s a banana\u201d.\n\u201cCops and robbers\u201d is a competitive action game in which students are organized in two groups of cops and robbers in opposite sides of the class. The teacher places some flashcards nearer to the robbers; the teacher calls out one of the flashcards and nominates a cop and a robber; then the robber has to run and pick up the card before the cop can arrest him/her.\n\u201cFruit salad\u201d is specially designed to work on this topic. With children in a circle, each child is assigned one or two different names; then, when the teacher calls out their names i.e. pineapples!, all children who have been assigned that word have to change sits.\n\u201cHungry crocodile\u201d is a variation of the popular \u201changman\u201d. Instead of being hung, every time a team does not guess a letter they have to \u201cjump to the next stone\u201d. At the other side of the river, a hungry crocodile is waiting for those who do not complete the word.\n\u201cMemory cards\u201d is specially indicated to develop special-visual intelligence. This game is played in pairs and we need pair cards related to any topic. The cards are displayed on the table face down. In turns, a student picks two cards and says the names aloud. If they make a pair, he/she can keep the cards, otherwise they will be placed in its original position.\nOn the other hand, communicative games promote real communication in contextualized situations. Some proposals may be:\nAn adaptation of the \u201cwho is who\u201d game in which we replace characters with food items; hence we may call the game \u201cguess my favourite food\u201d. In pairs or small groups, a child thinks of a favourite food and the rest of pupils make questions to guess his/her preferences (i.e. is it yellow, do monkeys like it?, etc). In order to cater for diversity, we can provide them with the chance to be guided in their questions by a multiple option questions chart.\nClassroom market is an example of role-play in which the classroom is transformed into set of stalls and students interact assuming the roles of customers and shop keepers. In this game, children ask for and give things, say prices and use polite conventions. The materials required are: realia (i.e. plastic fruits and vegetables, paper money, etc). Once children have been assigned their roles (customers or shopkeepers), the pre-activity consists of making a shopping list (customers) and deciding the prices for each object (shopkeepers). Then, customers in pairs have to do the shopping in a time limit. Finally, customers report to the rest of the class the things they have bought and how much money they have left; and shopkeepers can tell other children how much money they earned.\nAs we have seen, games provide opportunities for FL practice in contextualized and meaningful situations; therefore, they should be regarded as an integral part of the FL syllabus. Apart from the linguistic benefits in the use of games for FL teaching and learning, one of the most important reasons for using games is simply that they are immensely enjoyable for children. This undeniable fact represents the cornerstone for success in teaching languages in primary education. Finally, it is worth considering that games provide a relaxed atmosphere which is crucial for children to take the risk and use the FL to communicate.\nVideo by Kevin & Steve", "id": "<urn:uuid:a86c1662-0ba2-4983-a86d-6c4deb8396d3>", "dump": "CC-MAIN-2022-21", "url": "https://blog.oposicionesingles.com/simple-games-and-english-practice-a-winning-horse", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662545548.56/warc/CC-MAIN-20220522125835-20220522155835-00787.warc.gz", "language": "en", "language_score": 0.9540205597877502, "token_count": 1190, "score": 3.640625, "int_score": 4}
{"text": "In spite of the wide variety of shapes and sizes, all hard-shelled gourds are members of the same species, Lagenaria siceraria (also synonymous with L. vulgaris and L. leucantha). They belong to the family of plants known collectively as Cucurbits; as the name suggests, this is the same family to which belong cucumbers, as well as all squash, pumpkins/ melons, luffas, and ornamental gourds.\nThe origin of cultivated Lagenarias remains something of a mystery; they are unquestionably one of the earliest cultigens, and it is quite interesting that the nature of early agriculture focused not on food production, but utility (Flannery, 1986). With truly wild relatives occurring only in Africa, bottle gourds (as they are often called) do not occur as convincing \"wild\" populations elsewhere in their domestic range. Although inconclusive, Africa provides the most probable genesis for the domesticated gourd.\nIn any event, gourds had not only arrived in the New World by the Archaic, but had spread by cultivation into Peru and as far north as central Mexico by 7000 BC (Flannery, 1986). By the time they had reached these areas (and probably long before), their use as net floats had presumably been augmented by other, more obvious functions such as water bottles and eating utensils. In the southeastern United States, Lagenarias can be comfortably dated to at least 1000 BC (Hudson, 1976). With the less problematic introduction of gourds into Asia by overland transportation, they became a mainstay of traditional life throughout the temperate and tropical world for thousands of years.\nResearch of anthropologists and biologists suggests that the domesticated bottle gourds widely used by prehistoric peoples were likely brought to the Americas some 10,000 years ago from Asia. Since bottle gourds are thought to have originated in Africa, the previously held theory was that the gourds had floated across the Atlantic ocean from Africa and were picked up and used as containers once they reached the Americas. Genetic comparisons showed that the gourds found at archaelogical sites in the Americas were a closer genetic match to modern-day gourds in Asia. The current research suggests that these bottle gourds may have been brought in boats from Asia, hand-carried across a land bridge, or floated across the Bering Strait.\nThe gourds of northeastern Asia were originally transported by humans from their native Africa. When humans harvest, store, and plant seeds over a sustained period, the plant populations adapt through genetic and morphological changes making it possible to distinguish the populations from the various regions. In addition to providing information about the origin of American gourds, it is interesting to note that this research shows that the bottle gourd -- essentially a container, not a food crop -- is the earliest known domesticted plant grown here. Radiocarbon dating indicates that gourds were used as containers in the New World for at least 9000 years.\n(The collaborative research was done by scientists from Harvard University, the Smithsonian Institution's National Museum of Natural History, Massey University in New Zealand and the University of Maine. The full report is available online on the website of the Proceedings of the National Academy of Sciences.) Go to: http://www.pnas.org/cgi/content/full/102/51/18315\nRadiocarbon dating indicates that bottle gourds were present in the Americas by 10,000 years ago and widespread by 8,000 years ago. Some of the specimens studied were not only the oldest bottle gourds ever found but also quite possibly the oldest plant DNA ever analyzed.\nThe Bottle gourd or calabash gourd has been reported to be the only cultigen most widely dispersed and common both to the Old World and New World since ancient historic times.\nArchaeological reports on the occurrence of this pantropical species were recorded from several regions of the world, viz., Ocampo cave, Tamaulipas (7000 BC), Coxcatlan cave, Tehucan valley (5000 BC), sites near Ancon, Peru (2700 BC), Njora river cave, East Africa (1000 BC), a fifth dynasty Egyptian tomb (2500 BC), Spirit cave, Thailand (7000 BC), and China (2000 BC) (Leakey and Leakey, 1950; Cutler and Whitaker, 1967; Chang, 1968; Gorman, 1969; Pickersgill, 1969; Harlan, 1975). According to Decker-Walters et al. (2001), molecular analysis suggested the dispersal of bottle gourd fruits from Africa to Asia and the Americas during pre-Columbian times was followed by independent domestication on all three continents.\nPreviously, researchers speculated that the gourds floated here from Africa, although they had no way to prove it. In 2005, a team of scientists challenged that notion. They analyzed short fragments of DNA taken from living and archaeological bottle gourds and found that ancient North American specimens shared more in common with Asian than with African gourds, so perhaps the colonizers who crossed the Bering land bridge more than 10,000 years ago took gourd seeds with them.\nBut that did not explain how the bottle gourd, a plant that prefers tropical climates, could have survived such harsh winters. Moreover, ancient American seeds more closely resemble the fatter, oddly shaped African seeds than the thinner, more symmetrical Asian ones.\nNow, it seems, those questions have finally been answered. The founding bottle gourds did not come from Asia after all, but instead traveled to the Americas directly from Africa, a new study in Proceedings of the National Academy of Sciences reports.\nTo arrive at this conclusion, researchers used a relatively new method of genetic analysis called high-throughput sequencing. \u201cThe technology has come an incredibly long way since the 2005 study, so now we can look at this question in a lot more detail,\u201d said the lead author, Logan Kistler, a postdoctoral fellow in anthropological genomics at Penn State.\nTo recreate the plant\u2019s family tree, the researchers isolated DNA taken from modern bottle gourds around the world and ancient ones found at nine archaeological sites throughout the Americas. The pre-Columbian artifacts from the New World, they found, were linked directly to African relatives. This means the gourds floated to the Americas on their own.\nTo double-check this conclusion, the team created a computer model of Atlantic Ocean currents. Simulations confirmed that a bottle gourd traveling from West Africa could make it to North or South America in nine months, on average. Once there, given the right conditions, the seeds could very likely take root. (A 1954 study found that bottle gourds could spend up to a year floating in saltwater without losing fertility.) The diversity of New World gourd populations suggests that there were several successful oceanic crossings throughout history.\nSome mysteries remain, however. Scientists are not sure how the gourds managed to spread from New World shores across entire continents, or why wild bottle gourds no longer grow in the Americas. Dr. Kistler and his colleagues hypothesize that large animals might have spread the gourds\u2019 seeds, and when those animals later went extinct, the wild bottle gourds did the same.\nChanging climate could also have played a role. \u201cThe study is another step forward, but we are still far from understanding what really happened,\u201d said Hanno Sch\u00e4fer, a botanist at the Technical University of Munich who was not involved in the work. Further detailed studies \u201cwill probably be the only way to really answer the question without the need of storytelling,\u201d he said.\nAnalyzing bottle gourds from archaeological sites elsewhere in the world could help fill in those details, as could examining genetic material found in the cells\u2019 nuclei.\n\u201cAt this point, I think we can say we\u2019re confident that bottle gourds did travel from Africa, but that certainly isn\u2019t the end of the story for the species,\u201d Dr. Kistler said. \u201cThere\u2019s always more to learn.\u201d", "id": "<urn:uuid:62e6accb-d24f-41d3-92d0-7e978df3ccd9>", "dump": "CC-MAIN-2017-17", "url": "http://www.pescadise.com/gourdfacts.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00359-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.96575528383255, "token_count": 1718, "score": 3.828125, "int_score": 4}
{"text": "Education Customer Service\nEducation is together with teaching knowledge to others or the act of receiving knowledge from someone. Education recommends the knowledge received through schooling or instruction and the institute of teaching as complete. It is the process of facilitating or acquiring skills, knowledge, beliefs, habits, and morals. Educational methods include storytelling, discussion, training, teaching directed research. This takes place under the guidance of educators. However, learners can educate themselves.\nEducation takes place in formal or informal settings, and the experience that has a formative impact on the way one feels, acts, or thinks should be considered educational. The teaching methodology is called Pedagogy. Formal Education is usually divided into few stages like preschool, primary school, secondary school, college, university, or apprenticeship. In several regions, Education is compulsory up to a certain age. Education is the social platform through which society offers its members essential knowledge, including basic facts and cultural values. The essential advantages of education are that it improves personal lives and assists and assists society to run smoothly. Three primary types of Education are Formal, Informal, and Non-formal. The primary function of Education is to educate individuals within society, prepare and qualify for their job in the economy, to integrate people, and teach moral values in the society. The role of education is means of socializing personnel and keeping society smooth and stable.\nTypes of Education\nEducation moves beyond that take place within four walls of the classroom. Three types of Education are Formal, Non-Formal, and Informal. A child receives Education from their experiences outside the school and those based on these factors.\n1. Formal Education\nFormal Education occurs in the school premises where a person may learn academic, basic, or trade skills. Children often attend a nursery class, but formal Education starts in elementary school and goes with secondary school. Bachelor\u2019s degree is counted on post-secondary Education at a college or university that may be accepted as an academic degree. It is related to a particular stage that is given under a set of rules and regulations.\nExamples of formal Education\n- Studying in a classroom\n- College, University and School grading certificate\n- Planned Education of several subjects having an appropriate syllabus achieved by attending the institution\n2. Informal Education\nInformal Education is like parents teaching a child how to prepare a meal or ride a bicycle. People will receive an informal education by reading several books from education sites.\nInformal Education is when you are not studying in a school and don\u2019t use a specific learning method. In this Education, conscious efforts are not included. Neither pre-planned nor deliberate, and it can be studied at the hotel, home, market place. Informal Education is not offered by an institution such as schools or colleges. It is not provided according to any fixed timetable. It consists of experiences of family or community.\nExamples of informal Education\n- Teaching the child some basics like numeric characters\n- Someone studying from their mother\n- Spontaneous learning when a bank learns about opening and maintaining the account at the bank from someone\n3. Non-Formal Education\nNon-formal Education includes adult basic and literacy education or school equivalency preparation. Someone learns literacy-like skills or job skills in non-formal education. Home education, distance learning, computer-supported instruction, and personalized instruction are few possibilities given below. Non-formal Education is imparted consciously and deliberately, and systematically inserted. It must be stabilized as a homogeneous group. Education should be programmed to emulsify the requirements of recognized groups. It also adds flexibility to the design of the academic curriculum.\nExamples of non-formal Education\n- Boy scouts and girl instruction develop few sports program like swimming comes under non-formal Education\n- Healthy programs\n- Community-based adult education curriculum\n- Adult education free courses offered by few organizations\nFew categories of Education are listed below.\n- Harvard University Customer Service\n- Columbia University Customer Service\n- Stanford University Customer Service\n- University of California, Los Angeles Customer Service\nEducation observes the significance of hard work. It helps us to develop and grow at the same time. Learning languages assists in engaging with different people through educational procedures concerning sharing knowledge, ideas, and good practices. Education teaches us to live in peace and harmony.\nEducation is the method of making intentional changes in the behavior of human beings. This Education brings understanding, skills, and knowledge to one's life.\nIdentifying the significance of girls' Education. Shaping the level of girls' Education is essential to improve the lives of girls and everywhere. The research observes that better female Education is co-added to the lowest rates of poverty and poor health.\nGeneral Education is the first phase of a degree before starting the area of study. General Education is the required module that create the foundation of an undergraduate degree.", "id": "<urn:uuid:9fa7f51b-92ed-46e5-aee0-9f47e979e906>", "dump": "CC-MAIN-2022-21", "url": "https://www.customerservice-directory.com/education/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662525507.54/warc/CC-MAIN-20220519042059-20220519072059-00787.warc.gz", "language": "en", "language_score": 0.9552573561668396, "token_count": 1002, "score": 3.609375, "int_score": 4}
{"text": "Today we started out look at Dante\u2019s Inferno by creating our versions of a modern hell based on our own personal values. We published our creations using g Keynote. Click here for a copy of the template we used in class.\nIn the next few days, we\u2019ll learn how Dante\u2019s personal and political lives influenced one of the most famous poems in history.\nClick here for a copy of the text we\u2019ll use in class\nNo homework tonight.\nToday we started looking at the first sura in The Koran. We discussed the background of the Koran and its place in the Islamic religion. Very quickly we saw how the words and verses can be interpreted and twisted by different people.\nWe will continue to look at The Koran this week.\nThere is no homework tonight.\nWe started our review for our upcoming exam on subject verb agreement. The exam will be on Friday March 31, 2017.\nWe will continue to review throughout the week.\nClick here for the review packet we\u2019ll be doing in class.\nFor homework, please look over Chapter 20 in To Kill a Mockingbird. When you\u2019re finished, please write a paragraph explaining the following:\n-What is the main idea of the chapter?\n-What literary elements does Harper Lee use to get that idea across?\n-How does she use those literary elements to get that idea across?\nWhen you\u2019re finished, please send to me *P\nToday we dug a little more deeply into subject/verb agreement. As long as you remember these two rules, you\u2019ll be fine:\n- The subject will always be a noun or a pronoun\n- The subject WILL NEVER be in a prepositional phrase\nClick here for the warm worksheet\nClick here for a copy of the lesson\nTomorrow, we will talk about indefinite pronouns. There is no homework tonight.\nDon\u2019t forget: Beowulf projects due on Monday.\nWe wrapped our reading/listening of Seamus Heaney\u2019s translation of Beowulf. We looked at Beowulf\u2019s final battle with the dragon and his last words. As a class, we discussed what was important to Beowulf upon his deathbed.\nClick here for lines 2510-2537\nClick here for lines 2669-2723\nClick here for the video clip we watched in class\nClick here for the lesson from today\nDONT FORGET \u2013 Chapters 17-25 will be discussed in class on Monday\nToday we looked at the fight between Beowulf and Grendel\u2019s mother. We discussed the motivations of both characters and how those motivations reveal fatal flaws. Once again, Beowulf is victorious, but at a price. Is he in danger of becoming the very monsters he fights?\nWe\u2019ll finish up Beowulf tomorrow\nYour unit exam in next Wednesday. Possible topics for the exam include:\n- The Gospel of Matthew\n- Book of Revelation\n- The Gnostic Gospels\n- The Beginnings of Old English\n- The Seafarer\nThe exam will be the same format as the other unit exams, 15 multiple choice questions and two short answers.\nYour Beowulf project is due on March 23, 2017. Click here for a copy of the assignment.\nYour only homework is to complete and upload your Nemesis essay.\nClick here for a copy of today\u2019s lesson\nWe will wrap up our presentations on TKAM tomorrow. I hope to have the vocabulary tests back to you before Friday.\nFriday 3/10 \u2013 Nemesis Assignments Due\nMonday 3/13 \u2013 Mockingbird Chapters 17-25 should be completed\nWednesday -3/15 \u2013 Unit exam on The Growth of Christianity & Beowulf.\nWe will wrap up Beowulf this week.\nPlease click here for the lesson\nThere is now homework, but stay on top of\nToday we looked at a selection from John Gardner\u2019s 1971 novel, Grendel. In novel, Gardner retells the story of Beowulf from Grendel\u2019s perspective. Click here for the selection we read.\nWe sought to answer a few different questions:\n- Aside from the obvious issue of perspective, how are the two accounts of the battle similar? How are they different?\n- What new insight do we get into Grendel\u2019s character?\n- What insight do we get into Beowulf\u2019s character?\nAs an in-class activity, I asked you to find the central idea of Gardner\u2019s Grendel. Then explain how that central idea is conveyed through literary elements and techniques. That should have been emailed to me before the end of class.\nFinally, we discussed The Nemesis Assignment:\nDue on Friday 3/10\nYour Assignment: Create a story like John Gardner did with Grendel. Tell the story of the final confrontation between the hero and his or her \u201cnemesis.\u201d\nYour story should be between 2-3 pages, double-spaced, and should be narrated by the \u201cnemesis\u201d figure. You may use a \u201cnemesis\u201d from one of the works we have read in class (Humbaba, the Cyclops, etc.), or from any book or movie that features this sort of showdown between hero and nemesis.\nDon\u2019t forget: Mockingbird Monday on Monday (Chapters 9-16)\nVocabulary Test on Tuesday.\nToday we looked at the battle between Grendel and Beowulf. We discussed what each character is thinking at the moment of battle. Was it right for Beowulf to kill Grendel? Should he have simply let Grendel go?\nFor homework, please retell the story of the fight on lines 662-835 from Grendel\u2019s perspective. Make sure you write in the first person. What is Grendel thinking? Feeling? Make me feel empathy for Grendel.\nClick here for the audio for lines 662-835\nClick here for the video we watched in class\nComplete chapters 9-16 for Mockingbird Monday\nTuesday is our vocabulary test.\nToday we continued to dig more deeply into Beowulf. We examined lines 144-300 and finally met out title character, but we still haven\u2019t heard his name.\nClick here to listen to lines 144-193\nIn this portion, we learn about the toll Grendel has taken over the last 12 winters.\nClick here to listen to lines 193-300\nHere we meet our hero, Beowulf as he arrives on the Danish shores. Imagine what this must have looked like for the watchman. Why does he suddenly become trusting of Beowulf and his crew of 14 men.\nThere is no homework, but you do have Mockingbird Monday coming up. By 3/6, you should be done with Chapter 16. We also have our vocabulary test on Tuesday.\nClick here for today\u2019s lesson", "id": "<urn:uuid:df60b9b6-cf03-458f-a5eb-c58057e9097e>", "dump": "CC-MAIN-2017-17", "url": "http://mrreiff.com/category/frohum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118963.4/warc/CC-MAIN-20170423031158-00240-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.925542950630188, "token_count": 1467, "score": 3.609375, "int_score": 4}
{"text": "Digital storytelling provides students with a powerful learning experience that capitalizes on their interest in technology and their skills with it. Because they are creating as well as consuming media as they develop stories, the process of researching and creating a digital story provides an authentic opportunity to practice essential literacy skills in areas of reading, writing, speaking, and listening.\nThe Common Core State Standards for English Language Arts state, \u201cThe need to conduct research and to produce and consume media is embedded into every aspect of today\u2019s curriculum\u201d so students develop the ability to \u201canalyze and create a high volume and extensive range of print and nonprint texts in media forms old and new.\u201d Digital storytelling gives students these opportunities while making deep connections to content.\nWhile the technical aspect of digital storytelling may be the \u201chook\u201d for students, technology is secondary for student learning during the process of developing a digital story. Effective digital stories combine extensive research, ideation, critical thinking, organizing, writing, editing, and media literacy. Digital storytelling provides a compelling need to read and listen carefully and to write and edit effectively.\nScience and Social Studies, with their wealth of information, data, and primary sources, are great places to implement digital storytelling projects that require students to \u201cgather, comprehend, evaluate, synthesize, and report on information and ideas.\u201d\nWhen reading informational text, students often overlook the author\u2019s perspective on an issue. A great digital story doesn\u2019t just share facts about something, but shares information through a story from a specific narrator. Digital storytelling requires students to research a topic and read information with an eye to author\u2019s perspective, helping them learn to carefully analyze informational text for point of view.\nWhile students may be able to quickly locate information online, they will need guidance in digging deeper to find high-quality information. Primary sources generally have a name attached to the creator, but you will want to include instruction on how to evaluate the quality of secondary sources. Who is the author of the information? How many other authors are cited as research to support the information?\nStudents also need instruction and coaching on how to analyze and use the information they find. The use of graphic organizers during the research and organization process helps students evaluate and organizer the information they are gathering. As students become more savvy using organizers, discuss how to choose an organizer most appropriate for the content and ideas.\nWhile digital storytelling implies a focus on technology, a powerful digital story cannot exist without powerful writing. While students will be reading, researching, and even creating soundtracks, the heart of a powerful digital story is a well-written script. Digital stories are concise moments in time, usually consisting of approximately 300 words.\nWhen students are trying to tell a story from their research, 300 words won\u2019t initially be enough. They may start with 500-1000 words and then work down to make the story more concise, focusing on precise language for powerful communication. The editing and redacting process helps them dig to the heart of the issue they are exploring.\nAs you begin to incorporate this process in your classroom, you may want to utilize how-to videos. Most students have used YouTube videos to learn more about something they find compelling whether it is creating rubber band bracelets or learning the latest soccer move. Students may have also encountered how-to videos in flipped classroom environments. Student\u2019s familiarity with this format means you have to teach them less about the process and more about the criteria makes them effective.\nDigital storytelling also provides students with authentic opportunities to write in all three forms mentioned in the Common Core State Standards (Appendix A): argument, informational/explanatory, and narrative. The best digital storytelling projects often combine these forms of writing for powerful effect.\nMany PSAs include argument and persuasive elements to change the behavior of the viewer. Students can funnel their passion about issues into informative PSAs to raise awareness and educate others about an issue.\nWhen creating documentaries, students often make the mistake of simply summarizing facts instead of telling stories that will engage viewers. To avoid this, encourage students to share the information as a docudrama or dramatization of events from a specific character\u2019s perspective.\nIn today\u2019s digital world, research materials come in many forms. Students will, of course, read many texts, but they may also be listening carefully to music for lyrics, intonation, and mood.\nThey may also be listening to interviews and other oral forms of storytelling or even conducting their own. As they listen to this information, especially content from primary sources or interviews, they need to become critical listeners to better evaluate point of view and personal perspectives.\nAs students are work to get the narration just right, they don\u2019t often notice they are reading and practicing fluency. Effective digital storytellers don\u2019t \u201cwing it;\u201d they write scripts, read, reread, edit, and practice, practice, practice. They work on intonation, using grammar cues to help with cadence and flow.\nIf your students aren\u2019t strong readers or confident speakers, or if they are new to the English language, creating a digital story provides an authentic reason to practice fluency. To provide a non-threatening environment for this practice, use headset microphones. This allows them to record, listen, and rerecord until they are comfortable with their fluency and ready to include their speech within their digital story.\nThe plethora of options for images and soundtracks can lead to stories with a lot of flash and not much depth. Educators can structure the process and provide feedback to help students build essential digital age communication skills. For example, many teachers require a script to be written and even a storyboard and pitch to be given before work on the computer can begin.\nAs with any skill, students will grow into their ability to \u201ctake advantage of, rather than suffer from, the visually stunning effects today\u2019s tools provide.\u201d As students work to combine a compelling narrative with powerful imagery and a meaningful soundtrack, they become increasingly savvy about the media they are creating. It takes practice to become effective communicators, regardless of the medium.\nThe creation process also turns them into more astute media consumers. As they add pans and zooms to their stories to focus the viewer\u2019s attention, they start to see these same techniques being used on them in the commercials and movies they watch.\nDigital storytelling provides a wealth of opportunities to engage students in content learning in your classroom. No matter what content they explore, the process of research, writing, creating, and editing a digital story builds essential 21st century literacy skills.\nCreate custom rubrics for your classroom.\nGraphic Organizer Maker\nCreate custom graphic organizers for your classroom.\nA curated, copyright-friendly image library that is safe and free for education.", "id": "<urn:uuid:19259006-4ab9-4550-a90c-c63989b104fb>", "dump": "CC-MAIN-2017-17", "url": "http://thecreativeeducator.com/2016/articles/build-literacy-through-digital-storytelling", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124371.40/warc/CC-MAIN-20170423031204-00069-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9408538341522217, "token_count": 1408, "score": 4.21875, "int_score": 4}
{"text": "Ever since the beginning of civilization, man has been captivated by all that happens around him. The early man\u2019s experiences took the shape of primitive drawings and coded symbols. Gradually language evolved and these experiences were transmitted orally through stories. As civilization progressed, the essence of these stories took the shape of various art forms \u2013 such as song, dance, drama and fine arts. We are now in an era of rational thinking and scientific reasoning. But, the inner child within us is still enchanted by the magical realms created by stories. And the human brain, even today, tends to understand thoughts that have been conveyed as stories, better than any other form of communication, irrespective of social conditioning and training.\nHistory tells us how different civilizations emerged in different parts of the world, at different times. Each with its own culture and tradition, each with its own unique and rich set of values. Yet, the one thing that was common to all \u2013 they all told stories. Each created its own mediums of storytelling that helped in passing on their values from generation to generation. Each had its set of dedicated storytellers whose job it was to keep these stories alive. One such form of storytelling was Mumming.\nHistory and Origin of Mummers\nThe word Mummers seems to have originated from the French word Momeur, the definition of which is still ambiguous. The mummers could also have derived their name from various other origins, sometimes meaning mum, to remain silent or mommo, meaning mask. It generally means to disguise oneself or be a disguised person.\nMummers are a group of men and women in fancy dresses and masks, disguising themselves as fantasy characters. They mostly pick stories from folklore, and the stories are told theatrically through plays. They are known by various names such as guisers, rhymers, soulers and galoshins. The mummers have their roots tracing back to ancient Egypt where their performances and plays were a favorite pastime among the poorer class.\nMumming traces its roots to pagan, Anglo-Saxon and Celtic cultures that celebrated the winter solstice and Samhain. It became popular in the British Isles from where it spread to many former British colonies, specifically in US and Canada. Although sometimes performed in the streets, it is more commonly performed during visits to houses and pubs. References to mummers can be traced as far back as 1296, where \u2018mummers at the court\u2019 were a part of the marriage rituals of Edward I\u2019s daughter during Christmas. These references hint that the mummers would be involved in a performance of dicing with the hosts for jewels and would later join the other guests in an elaborate dance. Mummers mostly performed seasonally, at Christmas or Easter. As such, many characters in these stories were found to recur in local seasonal performance variants \u2013 Saint George, King George, a quack Doctor, Old Father Christmas, the Fool and Beelzebub.\nThe Mummers\u2019 Parade\nThe Mummers Parade is a notable and popular event held on New Year\u2019s Day in Philadelphia, Pennsylvania, USA. It is also believed to be one of the oldest folk festivals since 1860. The parade is a melting pot of various cultures from European, English, German and many other countries. Initially held during Boxing Day (December 26th) celebrations, it was later extended to New Year\u2019s Day. The masqueraded crowd would parade around the city shouting and celebrating,\nHere we stand before your door,\nAs we stood the year before;\nGive us whiskey; give us gin,\nOpen the door and let us in.\nOr give us something nice and hot\nLike a steaming hot bowl of pepper pot!\nThe Philadelphia Mummers\u2019 Parade comprises of four major groups.\nThe mummers\u2019 parade usually starts with the comics\u2019 group. They are generally clowns, dressed in colorful, multilayered outfits accompanied by equally colorful umbrellas and other embellishments. The themes portrayed by them are satirical in nature, largely based on current events, pop culture and traditions.\nThis category of mummers branch from the comics and are distinguished by their painted faces and elaborate suits. Sometimes the men dress up in women\u2019s dresses and vice versa and are accompanied by live bands.\nFancies are the most colorful group among the mummers, popular for their fantasy-themed dresses, masks and disguises. The costumes are both intricate and magnificent. The strut on small floats is musical, accompanied by live bands during the entire parade.\nThe String Bands are distinguished by their grandeur. The parade of String bands moves on descriptive floats. The mummers, dressed in the trademark colorful costumes, present a theme with a wide assortment of musical instruments, always directed by a captain. The performance is often done in military-drill formations.\nTraditions vary and so do various forms of storytelling. Mummers have been around for centuries, standing apart from other art forms for varied reasons. Through their unique way of reflecting the present situations of the society and celebrating the diversity of the human nature, mummers have been a popular part of the world culture and an effective medium of storytelling. The underlying principles of the themes enacted by the mummers have an effectual impact on lifestyle and the differences due to cultural and societal hierarchies. In addition to being highly interactive, they mummers play an important role in transporting the audience to a different time and place through their performance.\nHere are some interesting videos of Mummer\u2019s Dance\nDisclaimer: We try our best to make our articles as factually correct as possible. Tell-A-Tale or its editors do not take any responsibility for any factual errors in the article. In case you notice any discrepancies, please drop a line to email@example.com.", "id": "<urn:uuid:ae66841f-1c18-48a4-8f8c-f01581b38e45>", "dump": "CC-MAIN-2017-17", "url": "https://www.tell-a-tale.com/the-mummers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123635.74/warc/CC-MAIN-20170423031203-00010-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9698007106781006, "token_count": 1200, "score": 3.546875, "int_score": 4}
{"text": "Presentation on theme: \"STUDYING WITH CHILDREN UNDERFOOT * Workshop: Feb. 16 th, 2011. Presented by: Erik Ashby, Coordinator Student Programs & Services Weber State University.\"\u2014 Presentation transcript:\nSTUDYING WITH CHILDREN UNDERFOOT * Workshop: Feb. 16 th, 2011. Presented by: Erik Ashby, Coordinator Student Programs & Services Weber State University - Davis\nPLAN TASKS WITH YOUR CHILD Silly Putty Etch a sketch Blocks Coloring books *Consider allowing only particular activities only while you\u2019re studying. This makes it a treat for your kids to play with them.\nCHILDPROOF A ROOM TO STUDY IN AND FILL IT WITH TOYS Set aside one room or area in your home for children. Childproof the area for safety Again, consider only using this area while you study\nALLOW FOR INTERRUPTIONS Schedule the kind of studying that can be interrupted. Flash card reviews / Key terms / definitions. Save the tasks that require sustained attention for other times.. After bedtime \u2013 before the children wake up \u2013 etc.\nBUILD STUDY TIME INTO YOUR SCHOOL SCHEDULE Can you arrive 15 minutes before class? Can you stay 15 minutes after class? Study time in between classes?\nUSE TELEVISION / COMPUTERS WISELY Television/Computers makes a great babysitter Can you program the tv? Do you have the children\u2019s favorite movies? Worried about your child becoming a \u201ccouch potato\u201d? Purchase educational films / tv shows or computer programs. Ask them to color pictures about what they are listening to. Headphones can be a life saver.\nMAKE IT A GAME The secret is to choose the kind of studying that your child can participate in. Example, while studying chemistry you can use funny voices and faces as you recite different elements on the periodic table. Draw goofy pictures and make up an exciting story about the process of titration. Ask them to hold flash cards for you. Play \u201cschool\u201d and let them be the teacher. Invent rhymes, poems or songs for your children.\nASK FOR COOPERATION Sometimes we forget just how smart and caring our children can be. Ask them for help. Reward and praise them when they are quiet When children are included in the process, children are less likely to resent schoolwork as an activity that takes you away from them but something you do together.\nPLAN STUDY BREAKS WITH CHILDREN Take a 10 minute break every hour. Or 15 on and 10 off.. Be creative. See what works best for you and your child(ren). Let your children in on the plan. Plan activities with your children that you can do when you take a break. Example.. Quick puppets out of paper sacks. Quick science experiment such as catching a ghost in a bottle. Children love visual reminders. Get a colorful oven timer. Let the child decorate and paint it.\nDEVELOP A ROUTINE Children are creatures of habit. They love routine. This lets them feel more comfortable with the situation. Bargain with your children. Reward them for keeping the schedule. Children may enjoy receiving \u201ccredits\u201d for this purpose. When they earn so many credits they earn a reward. Ice Cream with Dad Trip to the park Activity sponsored by the Nontraditional Student Services/Center. What motivates your child?\nFIND A PLAYMATE Sometimes children can pair off with close friends and play for hours.\nASK OTHER ADULTS FOR HELP This can be as simple as asking a spouse / close friend or a neighbor to watch the child(ren) while you study for a big test. Some parents start a baby-sitting co-op. They\u2019ll watch the kids for 2 hours Tuesday night while you watch them for 2 hours Thursday night.\nFIND COMMUNITY ACTIVITIES AND SERVICES Sometimes community agencies offer day care services Gym (put your notes on an ipod, drop the kids off at the child care and go walking on the treadmill while studying) Special events Storytelling hours at the library\nWHEN YOU CAN\u2019T DO EVERYTHING, JUST DO SOMETHING We all run into the mental trap of saying we can\u2019t get everything done when the children are around. That\u2019s OK\u2026 When you can\u2019t everything done, just get \u2018something\u2019 done. Skim a chapter Read the introduction to the chapter But if you always study this way, your education will be compromised!\nRESOURCES FOR CHILDREN ACTIVITIES http://www.educational-freeware.com http://www.scholastic.com/parents/activities http://www.crayola.com/ http://www.kaboose.com/ http://www.theideabox.com/ http://www.toddlertoddler.com/ http://fun.familyeducation.com/", "id": "<urn:uuid:8678903b-e1fe-4a56-aedf-fc1614ce547e>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/3151677/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124371.40/warc/CC-MAIN-20170423031204-00070-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8740369081497192, "token_count": 1036, "score": 3.75, "int_score": 4}
{"text": "In the preceding 12 chapters we covered the subjects\nthat comprise roughly two-thirds of the journalist\nrating print journalism and photography. Now we\nwill examine the electronic media, beginning with the\nAlthough many of the techniques to be addressed\nalso apply to television (Chapter 14), our emphasis in\nthis chapter is on radio and the unique writing,\nannouncing and technical requirements of which you\nmust be aware.\nTHE BASIC ELEMENTS OF RADIO\nLEARNING OBJECTIVE: Identify the basic\nelements of the radio medium.\nTo use radio effectively as a Navy journalist, you\nmust remember the following one essential fact and be\nconstantly guided by it: radio is a medium of sound.\nWhile people might hear without trying, they\ngenerally do not listen without being stimulated.\nConsequently, your job will be to stimulate them to\ntrigger their imagination so they can picture the event\nbeing described, a necessity for an attentive radio\naudience. To do this, you must use one or a combination\nof the following three basic elements:\nThe most important element of radio is voice,\nbecause it is generally the one used specifically to reach\nthe listener with the desired information.\nWhen used on radio, sound must be distinguished\neasily so the listener is able to interpret the sound and\nunderstand what is being conveyed. The roar of a jet\nengine and the muffled sounds of other flight deck\nactivity will help the listener to visualize the scene.\nMusic has a great suggestive power because it plays\non human emotion and colors scenes. It touches the\nheart and mind and sets a desired mood. When properly\nused, these elements should accomplish the following\nthree distinct purposes:\nAttracting immediate interest\nMaintaining that interest through a particular\nSatisfying the audiences attention and curiosity\nRADIO WRITING TECHNIQUES\nLEARNING OBJECTIVE: Recognize the basic\nradio writing techniques.\nRadio writing techniques are designed to capture\nand hold the audiences attention until you have\ndelivered your message. These six techniques are as\nAural sense appeal\nPower of suggestion\nPacing and timing\nFreedom of movement\nAURAL SENSE APPEAL\nRadio depends entirely on the ear; it must work\ncompletely on the listeners mental image inspired by\nsound waves coming from the radio speaker.\nRadio material must capture the attention of the\naudience within the first few moments of presentation\nor listeners will be lost. The material must present a\nchallenge, a promise, a suggestion or a conflict to arouse\nthe listeners attention.", "id": "<urn:uuid:e1445c0a-ccb3-4bce-92ba-bcfd6510b7ff>", "dump": "CC-MAIN-2017-17", "url": "http://photographytraining.tpub.com/14130/css/Chapter-13-Radio-257.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118851.8/warc/CC-MAIN-20170423031158-00535-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8674317002296448, "token_count": 544, "score": 3.65625, "int_score": 4}
{"text": "What do we really mean when we talk about storytelling? In this piece, Karen Simpson, a Senior Lecturer in Primary Education, looks at the different interpretations of storytelling. She explores its importance as the foundation for early literacy.\nStorytelling is a key part of our lives. When we arrive home after a busy day at work or school, we will tell our families in great detail about the events of our day. When we arrive at work in the morning, our colleagues and friends will hear all about the nightmarish journey and how long our trains were delayed for. We will describe and detail, exaggerate and embellish and relish in our listeners\u2019 reactions to the tale we have told. We all tell stories every day.\nIn schools, storytelling can be a rich experience for children, sometimes happening before they shape texts in writing, sometimes when telling stories for their own sake. It is what writing is built upon and skilled teachers know about its importance when using storytelling as part of the language curriculum to build children\u2019s literary skills. As Jimmy Britton describes: \u2018reading and writing float on a sea of talk\u2019 (1982, p.11).\nWhen talking about storytelling, it is important to be very clear about what we mean; to make the distinction between story-reading and being read to, from texts that have been written by others, and storytelling, where we craft texts of our own making or tell our own versions of tales from the oral tradition. By telling and retelling tales about magical worlds, children can begin to understand settings outside of their own experiences and try out their ideas in a safe space.\nOf course, reading stories and being read to are both hugely important to a child\u2019s literacy development. Children can experience texts that are more challenging than those that they could access on their own and enjoy getting lost in another world as an adult or older child takes away the decoding element of reading for them. It is, however, storytelling and its rich elements that I want to explore.\nIn his recent speech \u2018The Importance of Storytelling\u2019 Nick Gibb stated that \u201cLearning to decode words is the vital first step in becoming a confident reader\u201d. I would argue that there are many, crucial earlier stages to children\u2019s reading development; having the opportunity to talk and tell stories being one of these.\nFrom their earliest utterances and interactions with people around them, young children are learning about language. By listening to their parents and siblings and mimicking what they say, they learn about its patterns and rhythms as well as the way it is used to communicate what we want and need.\nAs children grow and their language develops they use storytelling in their play to imagine events and create worlds. They describe what has happened to them and they plan their adventures.\nStories form part of a rich oral tradition and cultures all around the world have their own canon of tales that have been shaped over hundreds or even thousands of years. Stories are the way that we make sense of the world, and for children, form a crucial stage in their language development.\nParents and teachers play a vital role in building the foundations of a child\u2019s literacy development. Through singing, sharing rhymes and riddles and telling stories, both traditional and nursery stories to our own tales about daily life, we are giving young children the important first skills that they need to go on to become confident and fluent readers. More importantly, I would argue, we are furnishing children with a love of language and its power to communicate, to entertain and to express our needs and feelings.\nTrisha Lee, in her book Princesses, Dragons and Helicopter Stories, (2016) describes \u2018the enchanted place\u2019 that we create in classrooms when we tell, and encourage children to tell, tales about our lives and the things that happen in our imaginations. She goes on to outline the many skills and nuances involved in the tales told by very young children, before they are able to read, write and certainly before they have learnt anything about the phonic code.\nEven when children become more established in reading and writing, teachers can continue to use storytelling as a powerful classroom tool. Children can try out their ideas, and orally rehearse before they commit their ideas to paper, thus improving \u201cthe flow, fluency and feel of their writing.\u201d (Cremin 2002) How many of us have had experience of needing to read a letter or other text out loud as we are crafting it \u2013 either just to ourselves or to someone else, to gauge their reaction to the words and structure or simply to see how it sounds. Children need to do the same.\nChildren develop reading and writing skills through understanding the language patterns of stories, through word play and developing their vocabulary \u2013 they learn not just to select the right words, but to use those words in the right way, to express their meaning and have the desired effect on their reader.\nThe importance of storytelling then, lies in everybody, from parents to teachers, school leaders to policy-makers, understanding how storytelling can be used powerfully at home and in the classroom as a vital foundation for children\u2019s literacy development. In teaching children the skills they need to read the words but, crucially, building these skills on a language rich foundation so that children want to read and write so that they can access and create worlds beyond their own experiences.\nBritton, J. (1982) Prospect and Retrospect: Selected Essays of James Britton in G. Pradl, (ed.) London: Heinemann.\nCremin,T. (2002) Storytelling: the missing link in story writing. UKLA Available at: https://ukla.org/downloads/ecaw_storytelling.pdf (accessed 13th March 2016)\nLee, T. (2016) Princesses, Dragons and Helicopter Stories Oxon & New York: Routledge", "id": "<urn:uuid:de5f15cd-b361-47ba-a404-04c324f1a89b>", "dump": "CC-MAIN-2017-17", "url": "http://www.consider-ed.org.uk/the-importance-of-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120092.26/warc/CC-MAIN-20170423031200-00477-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9663991332054138, "token_count": 1213, "score": 3.5, "int_score": 4}
{"text": "The usage of technology to aid in children\u2019s education from an early age has become quite common with the advent of mobile apps specifically developed for kids. Learning from a textbook can sometimes become a tad mundane, which is why interactive studies have been devised to sustain the kids\u2019 interest so they can focus without other distractions.\nEducational apps provide a good support outside the school curriculum \u2013 the child gets to learn and has something fun to look forward to at the same time. These apps have several benefits like:\nConstructive use of free time\nChildren have a tendency to get addicted to watching cartoons, surfing the Internet for a long time, or talking over the phone for hours! Kill two birds with one stone \u2013 let your kids enjoy free time but use it creatively. Incorporate some educational apps on mobile phones and encourage them to try those out. Mathematical games, interactive puzzles etc. can actually help to hone their skills.\nKnowledge can\u2019t be imparted in a haphazard manner \u2013 learning methods need to be systematic so as to instill a sense of discipline in the child. Be it a subject-specific learning app or storytelling software for kids, most educational apps are equipped with in-built databases for storing completed assignments that can be reviewed later, saving stories, and accessing digital copies of texts and references.\nDeveloping social skills\nCritics had speculated that such apps are hampering the social skills of kids, but it is a gross exaggeration. Most apps nowadays can be seamlessly synchronized with social media such as Twitter, Facebook and Google Plus. These networking platforms aren\u2019t just for uploading pictures or chatting with friends \u2013 they can be used to form virtual study circles where kids can interact with friends and share what they are studying. It can help your child to make new friends and become more outgoing.\nPerformance in classrooms\nEducational apps can\u2019t perform miracles such as generating good grades without any effort. However, they can give the kick-start in the right direction. For instance, kids can prepare for daily assignments in school if they are given a topic in advance \u2013 they remain updated with the subject by reading up relevant information. Such preparation beforehand plays a huge role in building confidence to do well in studies.\nWhen you go for vacations, children will never agree to sit down with their books and study buy it is necessary that they don\u2019t forget their assignments. Learning resources like tablets and smartphones are extremely useful during flights and train journeys. You should designate at least an hour of interactive studies to sustain the habit of learning regularly, even if you are on a holiday.\nThere are several educational apps to choose from such as video-based, text-based, audio narration, multiple-choice, infographics, and many more. Download and watch your kids get excited to try them out!", "id": "<urn:uuid:1f2bdbaf-31d5-416e-9dbc-b31e24ba4eb1>", "dump": "CC-MAIN-2017-17", "url": "http://educationalfunforkids.com/blog/benefits-of-using-apps-to-educate-kids/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122865.36/warc/CC-MAIN-20170423031202-00244-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9524176120758057, "token_count": 574, "score": 3.609375, "int_score": 4}
{"text": "Romeo and Juliet is one of Shakespeare\u2019s most popular and enduring plays...but that doesn\u2019t mean your students will want to endure it! How can you overcome negative or defeatist attitudes about Shakespeare and his works? Follow these 8 easy steps to help your students understand and appreciate Romeo and Juliet.\n1) Consider using modern translations along with the original. You will find an eText of Romeo and Juliet with a side-by-side translation right here on eNotes. Be sure to stress to students that they are to use the translation as support for reading the original, not as a substitute. They will find that the original gets much easier to read with practice.\n2) Define the term \u201cstar-crossed lovers.\u201d Fate will never allow Romeo and Juliet to live happily ever after. The minute Romeo and Juliet meet, their relationship is doomed to end tragically. Students need to understand how being \u201cstar-crossed\u201d sealed their destiny. This fact will allow students to make sense of this senseless tragedy.\n3) Assign small research projects. What did women wear during Elizabethan times? What did young people do for fun? How and when did young ladies and gentlemen enter the courting process? Students may work individually or in small groups and present their finding to the class. Once they have an overview of the time period, the dynamics of the Montague and Capulet families will come alive, and Romeo and Juliet\u2019s relationship will become less foreign.\n4) Add creative and fun activities to your teaching unit. Romeo and Juliet is a story that will certainly appeal to high school students. Once your students understand the themes, characters, and story line of the play, they are ready to write creative projects or perhaps even compile an original soundtrack to accompany a new version of Romeo and Juliet. Ask your students to brainstorm other projects that appeal to their creative interests.\n5) Have students act out a variety of scenes. Ask for a volunteer \u201cRomeo\u201d and \u201cJuliet\u201d to act out the balcony scene. Choose a student to become the Nurse, who is charged with delivering Juliet\u2019s heartfelt message to Romeo. After all, plays are written to be performed!\n6) Instruct students to annotate and react. Active reading is the key to comprehension. Using whatever strategies you find successful for annotation, have students question or react to the events of the play. In particular, help them discover how the characters, time period, and chance events sealed the ending of the story.\n7) Introduce West Side Story and other contemporary versions. Two gangs from opposite sides of town hate each other, yet a teenage boy and girl from each gang fall in love\u2014much to the chagrin and opposition of all. Sound familiar? West Side Story is one of the many modern plays and stories modeled after the plot and themes of Romeo and Juliet. A great assignment for students would be to find as many modern-day applications as they can in short stories, plays, novels, poems, movies, and even cartoons.\n8) Memorize and apply key lines. \u201cOh, Romeo, Romeo, wherefore art thou Romeo?\u201d Many lines from Romeo and Juliet have been quoted so extensively that they are part of popular culture. Make memorizing lines, particularly for the ever-popular balcony scene, part of your teaching repertoire for the play. Also find some \u201cwow\u201d dialogue from the play and incorporate it into creative writing assignments\u2014perhaps a poem or an original narrative!", "id": "<urn:uuid:ac65d216-7049-4d82-9ece-0b7128aadfce>", "dump": "CC-MAIN-2017-17", "url": "https://www.enotes.com/topics/how-teach-romeo-juliet", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126237.56/warc/CC-MAIN-20170423031206-00247-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.95184326171875, "token_count": 726, "score": 3.96875, "int_score": 4}
{"text": "Folklore- Part 1: Introduction; Folklore- Part 2: Types of Folklore and the North Carolina Folklore Society; Folklore- Part 3: North Carolina Folktales and Storytellers; Folklore- Part 4: Legends, Animal Tales, and Superstitions; Folklore- Part 5: References\nPart 3: North Carolina Folktales and Storytellers\nAmong the primary forms of folk narratives, folktales are medium-length stories traditional among a given group. North Carolina enjoys a rich folktale heritage and a wealth of excellent storytellers. Folktales stretch recollections of everyday occurrences into stories of the supernatural. Passed down through generations of storytellers, these tales often reflect the simple farming lifestyle common throughout North Carolina in the nineteenth and twentieth centuries. Isolation and lack of formal education in rural communities led to a reliance on natural signs found in the moon, crops, and livestock to explain everyday events such as births, deaths, and marriages. Folktales capture the spiritual omens, rural traditions, and livelihood of a specific region and may act as historical reference for future generations. They relay a moral or lesson by involving an ordinary hero, usually the storyteller, in an extraordinary experience. The story's hero often assumes supernatural strength, accuracy, or cunning to overcome an obstacle or accomplish a goal. The storyteller's sincere and straight-faced rendering of the tale often dictates its success.\nNative American folktales include animal stories, creation myths, legends, and ghost stories. Indian storytellers, particularly those of the Cherokee Indians of western North Carolina, continue to play a vital role in the state's rich folklife. Living Stories of the Cherokee (1998), edited by Barbara R. Duncan, contains stories told by Davey Arch, Robert Bushyhead, Edna Chekelelee, Marie Junaluska, Kathi Smith Littlejohn, and Freeman Owle, Cherokee storytellers who learned their art through familial and community traditions.\nSome of the best-known North Carolina folktales, and a prime example of the cultural importing so common in the folk tradition, are the Jack tales, comprising a group of sagas from the southern Appalachian Mountains revolving around the lively deeds and delightful adventures of a young boy named Jack. Although one of these tales, \"Jack and the Beanstalk,\" is extremely well known, less familiar are the 17 other surviving stories. As successive generations passed down the tales by word of mouth, Jack acquired a distinctively mountaineer flavor, but two of the tales preserve elements of Norse mythology that indicate the ancient character of these British-American tales.\nIn 1927 folklorist Isobel Gordon Carter collected the first three Jack tales from Jane Gentry in Wise, Va., and published them in the Journal of American Folk-Lore. Eight years later, folklorist Richard Chase uncovered a dozen more tales as told to him by R. M. Ward and his relatives living near Beech Mountain, N.C. Ultimately, Chase demonstrated that a common ancestor and celebrated storyteller, Council Harmon (1803-96) of Watauga County was the source for all the tales inherited by his Ward and Harmon descendants in North Carolina and his Gentry descendants in Virginia. In the Ward family, the tales functioned practically as a way of entertaining children while they worked at various communal tasks, such as stringing beans. The later discovery of other Jack tales in unrelated families scattered across Appalachia suggests that the tales were once quite common in the region and throughout America. In 1943 Richard Chase edited and published the stories in The Jack Tales, which contains a scholarly appendix by folklorist Herbert Halpert.\nJack tales themselves are often referred to as \"tall tales,\" not because of the giant's scope, but because of their aforementioned ability to expand the bounds of reality and belief. In general, tall tales are folk narratives that stretch recollections of everyday occurrences into stories of the supernatural. Tall tales possess all the major characteristics of folklore and also encapsulate an everlasting image of rural innocence. They relay a moral or lesson through the deeds and commentary of the hero-often the character who provides the audience with the ultimate perspective. All tall tales incorporate elements of the simple life exaggerated to heroic proportions, wherein the simple acts of hunting or fishing might become epic enough to merit timeless status. North Carolina novelist Daniel Wallace, for example, incorporated a strong sense of the southern oral tradition into his sometimes supernatural, folk-infused work Big Fish (1998).\nNorth Carolina folklore is, indeed, a cultural crossroads. The communal mode of story crafting has resulted in numerous combinations of popular myths and beliefs to suit particular social or ethnic groups. While the North Carolina folk tradition owes its diversity, in large part, to combining influences, its native storytellers help to boost its popularity within the state. The North Carolina Storytelling Guild supports the state's storytellers through various programs and events centered on the art of oral tradition. The guild's annual storytelling festival, held each November, attracts North Carolina storytellers as well as many participants from outside the state.\nNorth Carolinian Ray Hicks (1922-2003) is widely considered the \"grandfather of storytelling\" in the United States. His influence extended beyond his Old Beech Mountain roots, annually taking him to Jonesborough, Tenn., where he was the top-billed personality at the National Storytelling Festival since its establishment in 1973. Hicks was credited with reviving the art of American storytelling in the latter part of the twentieth century, a movement he launched from his home in the North Carolina mountains. He strongly believed in the fantastic in everyday life and idolized his family members for their ability to weave stories out of their everyday experiences. Hicks's stories, of which there are thousands, revolved around him but dealt with his alter-ego \"Jack\"-a nod to the folklore traditions he so deeply revered. The messages in his tales were down-to-earth, gleaned from a hardscrabble life in the mountains living in the house in which he was born.\nIn a technological age, Hicks insisted on living in his ancestral home, telling his ancestral tales, and acting as a living encyclopedia of natural mountain knowledge. American oral traditions are largely indebted to him-not only for his contributions, but for the profile he set among North Carolinians and storytellers nationwide.\nKeep reading >>Folklore- Part 4: Legends, Animal Tales, and Superstitions\n1 January 2006 | Baker, Bruce E.; McFee, Philip", "id": "<urn:uuid:33a2c501-252d-4998-be74-c26092583cc7>", "dump": "CC-MAIN-2017-17", "url": "http://www.ncpedia.org/folklore-part-3-north-carolina-folk", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121165.73/warc/CC-MAIN-20170423031201-00421-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9432726502418518, "token_count": 1336, "score": 3.53125, "int_score": 4}
{"text": "Blended learning or blended instruction is a mix, or blend, of technology and traditional classroom instructional methods. Typically, the technology component of blended learning will be at least in part student-driven or student-directed. This approach to teaching and learning affords teachers and students alike the opportunity to approach instruction in multi-faceted ways. Students receive the benefits of direct instruction and teacher guidance, while they are also given the opportunity to acquire knowledge and demonstrate their understanding in different ways. The idea of integrating digital content into the instructional framework also presents an opportunity for differentiated instruction. Differentiated instruction within a classroom setting allows for teachers to adapt instruction and assessment to the needs and interests of individual students or groups of students, which helps to ensure that all students are receiving the best possible education.\nHere at Annunciation, teachers work to integrate technology into their daily instructional time. Our early childhood students have the opportunity to use iPads with the support of the teacher. Each prekindergarten and kindergarten class has several iPads in their classroom for use throughout the day in centers or small groups. All the iPads can also be gathered together for whole classroom use. Students in the primary and middle school grades are afforded the opportunity to work with MacBook computers which are stored on carts in various wings of the building. Because the MacBooks are stored in carts, and not housed in one central computer lab, there is more opportunity for multiple classes to access computers at the same time, or for a teacher to bring in a set of four of five computers into the classroom for small group work.\nBlended learning enhances the educational experience for our students. We are currently implementing various programs that incorporate technology to improve student understanding of concepts across the content areas. Students in grades K-8 participate in Mathletics, a rigorous mathematics program that is tailored to meet the needs of individual students. Students in grades 7 and 8 are also actively using Discovery Education TechBooks in science and social studies class. These digital textbooks offer a student driven approach to learning and provide students with interactive activities to enhance understanding. The techbooks also never have the downside of becoming obsolete or out of date since the content is updated on a weekly basis. Not only do these digital platforms promote academic success for our students, they also provide many avenues for teachers to gain insight into areas of student strength and weakness, as well as give productive feedback to each student. All this while also making learning fun!\nThrough weekly technology classes, students acquire a variety of technological skills and become comfortable with various applications such as Word, PowerPoint, iMovie, Garage Band, and Scratch. Students can then use these skills to help demonstrate the knowledge and understanding in their core academic subjects, such as using digital storytelling to showcase their knowledge of World War II. This affords students an alternative, creative way to express their understanding rather than the traditional essay format.\nAs education evolves over time, Annunciation is eager to provide students with a dynamic educational experience. Blended learning is one of the many programs we have with the goal of maximizing the educational experience for each individual learner within our community.", "id": "<urn:uuid:1fc32ebf-c7f2-4615-8b5b-9d49e06f65bb>", "dump": "CC-MAIN-2017-17", "url": "http://school.annunciationcrestwood.com/academics/curriculum-enhancements/blended-learning/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917127681.84/warc/CC-MAIN-20170423031207-00307-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9590408205986023, "token_count": 624, "score": 3.640625, "int_score": 4}
{"text": "I have been concerned about \u201calternative facts\u201d even before that term got popularized in the last month or two. I have studied African American culture for the past two decades, and I have learned how the history of racism was (and is) built on a series of \u201calternative facts\u201d: whites are smarter than blacks, blacks are lazy, black bodies are weaker or stronger, blacks are violent, etc. These alternative facts become the narratives that shape how people think and see the world. On the other hand, stories and cultural narratives, like Martin Luther King\u2019s Dream or how Rosa Parks\u2019s tired feet caused her to sit in the white section of a bus, can help foster empathy and can change the world. Stories are thus a conundrum, sometimes supporting racism (or other forms of hate) and other times challenging it.\nStories are fundamental to human experience. The history of the humanities is a series of intellectual debates on the role of storytelling in helping us understand the world. For philosophers, such as Aristotle, knowledge acquisition and learning is rooted in careful observation of the world, where we see without being affected by narrative context. For others, both the natural world and human creations, everything from a poem to the Constitution, cannot merely be observed; rather they must be interpreted based on the narratives that generate them. In other words, these critics would argue that what we know about the world make sense only within certain narrative frames.\nPlato\u2019s \u201cAllegory of the Cave,\u201d arguably the starting point of all philosophical inquiry, uses a story and a set of analogies to demonstrate things are not always as they appear and human perception and understanding are frequently faulty. For Plato, human perception and understanding are the starting points for discussions of ethics, justice, and the foundations of a moral state. Socrates, the hero of Plato\u2019s The Republic, claims to know nothing and lack wisdom. In the Platonic dialogues, the careful questioning of Socrates reveals that his interlocutors do not know as much as they claim to know and their conceptions of justice cannot withstand critical interrogation. Their supposed knowledge is bound up with unspoken or unrealized assumptions and cultural narratives.\nMore recently, scholars have looked even more closely at the origin and purpose of stories, narratives, and narrative framing. For Jonathan Gottschall, stories and narratives are neither superfluous and meaningless, nor are they entirely truthful or accurate representations of reality. Rather, Gottschall argues that they are deeply implicated in creating, strengthening, and reproducing social and cultural bonds. He further observes: \u201cResearch shows that story is constantly nibbling and kneadling us, shaping our minds without our knowledge or consent\u201d (148). Gottschall\u2019s research is focused on the evolutionary purpose of stories and how our minds have been organized to operate through story and emotion as much or more than logic.\nGeorge Lakoff, a cognitive scientist and linguist, connects how stories, or what he terms \u201cframes\u201d shape political ideology and voting behavior. \u201cFrames are mental structures that shape the way we see the world. As a result, they shape the goals we seek, the plans we make, the way we act (xv). Lakoff identifies a conservative frame that emphasizes discipline, traditional morals, individualism and maximizing self-interest as key strategies to cut through the chaos of modern life (7-8). He further observes that this conservative frame distrusts government efforts to help people deal with difficult circumstances. By contrast, Lakoff argues the liberal or progressive frame emphasizes how government can nurture people and society by taking responsibility for the disenfranchised and empathizing with them (12). These frames, according to Lakoff, shape the country\u2019s political divide, the political positions people take, and the legislation our representatives enact. Facts, in this context, do not stick in individual\u2019s minds unless they confirm the frames they hold.\nThe humanities are obsessed with stories, what they mean, and how people use them in their daily lives. To some commentators, this is precisely what is wrong with the humanities: focusing on stories over facts, data, and scientific descriptions of reality. The research on stories and frames, however, teaches us that so much of what we think we know, even scientific knowledge, is rooted in specific political or cultural narratives and frames. So many of the political conflicts that dominate our news hinge on the opposing and contrasting stories that progressives and conservatives tell themselves about the country and the world. It is clear that data alone will not resolve these debates, especially as the term \u201calternative facts\u201d gets thrown around with increasing regularity.\nI would argue that the humanities, with its 500-year plus history of exploring stories, narratives, and frames, offer a key tool to working through these interpretive conflicts. Just about every literature, history, or philosophy classroom explores how different people or schools of thought interpret a specific text or idea. This is excellent training for negotiating the competing political narratives our country is facing. In the humanities, we teach students to hold multiple views or critical readings in their minds at the same time. We also teach students to distinguish the criticism from the critic who offers it. The humanities have a lot to say about how to work and re-work narratives, especially when those narratives are rooted in alternative facts.\nI don\u2019t think that the humanities are a panacea to cure all the conflict in today\u2019s world. I do believe, however, that humanists and everyone who loves the humanities can find strength and wisdom in the traditions that have guided humanists for centuries. The very values and methods we love and cherish may be the key for making our world a better place.\nPlato. The Republic. Trans. Allan Bloom. New York: BasicBooks, 1968.\nGeorge Lakoff. Don\u2019t Think of an Elephant! Know Your Values and Frame the Debate. White River Junction, VT: Chelsea Green, 2004.\nJonathan Gottschall. The Storytelling Animal: How Stories Make Us Human. New York: Houghton Mifflin Harcourt, 2012.\nThis is a small part of an early draft of a bigger project I am working on about the role of storytelling in Critical Race Theory. I am planning on working on this project over the next six months.", "id": "<urn:uuid:46de45bf-2a7a-4a34-b732-372236837412>", "dump": "CC-MAIN-2017-17", "url": "http://humanities.drury.edu/?p=3328", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00479-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9454421997070312, "token_count": 1300, "score": 3.6875, "int_score": 4}
{"text": "Earth Day Poems: Earth Day is celebrated on April 22 and this is a perfect opportunity for your students to write an acrostic poem with an environmental theme.\nThe first Earth Day, on April 22, 1970, is widely credited with launching the modern environmental movement. In the United States, the passage of the landmark Clean Air Act, Clean Water Act, Endangered Species Act and many other groundbreaking environmental laws soon followed.\nToday, Earth Day is celebrated in more than 192 countries.\nOn this page, you will find an E.A.R.T.H. Day acrostic poem\nthat is set inside a globe template.\nFor these E.A.R.T.H. Day acrostic poems, students lightly color the background of the continents and oceans in their globes, and then use a dark pen to write their acrostic poems on the lines.\nStudents cut out the globe templates along the thick black border, and then they will have unique globe shaped poetry templates.\nThese Earth Day poems will make a colorful bulletin board display in your classroom that will highlight this important date which is recognized around the world.\nThis set of Earth Day lesson plans includes:\nEverything that you need to complete these Earth Day poems is included in this teaching resources set. All that you will need is scissors, coloring pencils, and pens.\nFor creative writing assignments, I believe that it is important for students to go through the steps of the writing process.\nFor this reason, my students never begin writing their Earth Day poems on their final draft templates, instead they write on first draft worksheets. Then, they edit and revise their poems on their own, with a partner, or in individual writing conferences with me.\nBelow is an example of the first draft worksheet that\nis included in this set of Earth Day teaching resources.\nAfter students have edited and revised the first drafts of their poems, you should give them their final draft globe templates.\nThe Earth Day globe templates measure 9 inches in length and 7 inches in width.\nFor their final drafts, students lightly color the continents and oceans using color pencils. Then, using a dark ink pen, students write their Earth Day poems on the lines.\nThese globe templates have thick border lines, so it is easy for the students to cut out their globe poetry templates themselves.\nBy using these unique globe templates, you will be able to create a dynamic poetry bulletin board display that highlights an important environmental theme as well.\nAs I am introducing this poetry assignment to my students, I like to begin by sharing my Earth Day poem with my students.\nAt the front of my classroom, I display an example of what the final draft globe templates look like.\nBy providing a visual example at the very beginning of this Earth Day lesson, my students know what their poetry assignments will look like when they have completed their final drafts.\nFor final draft poetry assignments, when I give my students fun templates to write on, I have found that they tend to use their best effort, and they are more careful to not make careless spelling, grammar, and punctuation errors.\nThis set of poetry teaching resources includes 5 colors of Earth Day globes.\nBelow is an example of the red template.\nBesides the red template shown above, there are yellow, orange, green, and blue globe templates in this set of Earth Day Poems (see examples below).\nYou can choose to print out multiple copies of these 5 colorful globe templates and give them to your students to write their poems on instead of the black and white globe templates.\nIf you choose to use the color globe templates with your students, the finished bulletin board display of your students' Earth Day poems will be a bright array of rainbow colors.\nYour colorful Earth Day poetry bulletin board display will be sure to capture everyone's attention!\nI know that it takes teachers a lot of valuable time to assemble their bulletin board displays. Many teachers spend hours of time cutting out large display letters or making a banner on their own at home on their computers.\nThis time is valuable and better spent on developing your classroom curriculum.To help save you time, I have included a matching 5 page bulletin board display banner (shown above) in this set of Earth Day teaching resources.\nIf you have access to a laminating machine, you can laminate your banner so that it is durable and you can use it year after year for bulletin board displays of these Earth Day poems.\nThis set of Earth Day teaching resources also includes 18 globe bulletin board accent pieces to help you decorate your bulletin board for this environmental theme. Inside each of the globes, there is a conservation tip.\nIf you are interested in viewing other Earth Day teaching resources\nthat are on my website, please click on the link below\nthat will take you directly to that web page.\nThank you for visiting my Earth Day Poems page.\nPlease be sure to check out the other pages on Unique\nTeaching Resources for a large variety of fun lesson plan activities\nthat will engage your students in learning and save you valuable time.\nCreator and Website Manager\nUnique Teaching Resources\nTo join our fun\nof over 100,000 teachers,\nclick the \"Like\" button below.\n\"Teachers Have Class!\" Newsletter\nClick on the book titles\nbelow to view each project.\nClick on the book titles\nbelow to view each project.\nMore Book Report Projects:\n60% Off Value Pack\n28 Book Report Projects\n+ 14 Free Gifts\nCopyright \u00a9 Unique Teaching Resources 2009 - 2017", "id": "<urn:uuid:657ca7e9-0634-416c-aa00-17a341ae730f>", "dump": "CC-MAIN-2017-17", "url": "http://www.uniqueteachingresources.com/earth-day-poems.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121153.91/warc/CC-MAIN-20170423031201-00067-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.904401957988739, "token_count": 1143, "score": 3.53125, "int_score": 4}
{"text": "Copywork: The Act of Writing\nIntroducing children to the skill of writing need not be an ominous task. One must merely keep in mind that young children are also young thinkers who need exposure to the world of ideas before they can be expected to put their thoughts into complete and coherent sentences. Often, young students are required to write from what is within them, and therein lies the problem. Young children simply lack the life experience and expertise of their adult counterparts. Therefore, the task of organizing their thoughts (on paper) in a structured manner is overwhelming and too often a recipe for failure. Therefore, what many young learners need is a model for their writing, a kind of visual map to show them, literally, what organized words and sentences look like. This is easily accomplished through the method of copywork, which is merely copying a sentence, a paragraph, or a page from a selected passage of writing.\nThe practice of copywork has numerous benefits, the first of which is that it gives the emerging writer a safe place to start\u2013a place where he can concentrate on the skill of handwriting, without the added layers of complexity that come with putting one\u2019s own thoughts on paper. This is an advanced skill that will come gracefully, with time and maturity. In the meantime, the emerging writer needs clear directions. Consider, for example, the following passage by Robert Louis Stevenson, which is a wonderful passage for a beginning writer to copy:\nThe world is so full of a number of things,\nI\u2019m sure we should all be as happy as kings.\nThe preceding 20 words give a first or second-grade child a correct way to write, spell, and punctuate a sentence. He is not forced to invent the spelling of a word he does not know how to spell. Everything is correctly modeled. In this respect, copywork can be compared to having a recipe when one is baking. It would be inconceivable for a novice in the kitchen to try to bake chocolate chip cookies without having a recipe to follow. However, after baking dozens of batches, reliance on the original recipe is not as strong, and variations of the recipe can be attempted with confidence. And after further experience, a variety of cookies can be prepared because the basics have been mastered. The same is true with writing. The practice of copywork enables children to make a smooth transition from writing the words of others to writing words of their own.\nAnother advantage of copywork is the exposure it provides to beautiful and/or profound thoughts. When the printed word is given as a model for handwriting, the ideas represented by those words are also being modeled for the young mind. In this respect, copywork exercises are similar (in the advantages they provide) to reading aloud to your child. In both instances, the child\u2019s developing mind is given increasing exposure to the world of thoughts and ideas. After all, in order to absorb ideas, one must first be exposed to them! Therefore, copywork provides the unique opportunity for great authors and other thinkers to \u201cspeak\u201d to your child, while his own thought processes continue to mature.\nAnother benefit of children writing out passages from great authors and thinkers is that they are taught to pay attention to detail. In order to write out a passage accurately, the young writer must pay attention to every \u201cjot and tittle,\u201d so to speak, and copying letters and words exactly as they are written. In this respect, copywork is a great tool for teaching accuracy. It is also a great tool for sharpening cognitive thought, especially when the student matures enough so that he can compare his work with the original passage and find any inconsistencies, rather than relying on his parent to do the same. As you can see, copywork teaches so much more than penmanship!\nCopywork also introduces students to the beautiful structure and style of the English language, an abundance of literary styles, and various models of good grammar. A fourth- or fifth-grade student will discover that some writers speak with grace and eloquence, some use words as if they were magic, and some get right to the point and speak with a simplicity that can always be appreciated by the reader. Each author\u2019s thoughts, when selected with discernment, have something valuable to teach your young child. Indeed, copywork is the perfect vehicle for soaking up these lessons on \u201cword choice\u201d and the rhyme and rhythm of the English language.\nOn a less esoteric level, copywork passages can also serve as an alternative to the traditional book report, especially for younger students who are still struggling with correct spelling and grammar usage. Copywork books can also serve as a visual record of your children\u2019s handwriting ability and progress, especially if the handwriting passages are dated. And with the passage of a few years\u2019 time, most children will enjoy looking back on their handwritten pages, and they will have the added benefit of better understanding and appreciating the passages they wrote in years past. Therefore, whether you use a composition book and select your own passages for your children\u2019s copywork or use a prepared program, a completed copywork book provides a solid record of achievement and a memento to treasure in years to come.\nAnother beneficial aspect of copywork is that it is easy for you as the parent to provide the oversight, which is minimal. As the parent, you can also determine how often your child writes passages, and, until your child matures, longer passages can be divided into two or three days\u2019 worth of work. However you go about it, each year\u2019s completed copywork provides concrete evidence of a student\u2019s hard work. And since I cannot say enough in regard to the benefits of copywork, allow me the liberty to share one more example, from Augustus Caesar\u2019s World by Genevieve Foster, and recorded by my son when he was in the fourth grade:\n\u201cThis is what makes the study of history so valuable,\u201d he was to say\u2013 \u201cthe fact that you can behold, as displayed on a monument, every kind of conduct; thence you may select for yourself and your country that which you may imitate; thence not what is shameful in the undertaking and shameful in the result, which you may avoid \u2026\u201d\nAs the above passage illustrates, children who are engaged in copywork are exposed to a multitude of thoughts and ideas. Aside from time spent on the art of handwriting, time spent on copywork allows time for absorption of the ideas behind the words. After this process of \u201chearing\u201d the thoughts of others, your child is greatly helped in his process of learning to articulate his own thoughts, and he will be better equipped to communicate them on paper. Indeed, the practice of copywork enables a smooth transition from writing the words of others to writing words of one\u2019s own. In the meantime, as your child matures he is using increasingly sophisticated passages for his copywork because one of the marvels of the copywork method is that it grows with your child.\nIndeed, copywork is a great \u201claunching pad\u201d for beginning writers. After your student has practiced (and practiced and practiced) writing, using the words and thought of others, he will have had time for further cognitive development. He will now have something worthwhile to say. He will be more ready for creative writing, descriptive writing, book reports, essays, journaling and journalism, and whatever other avenues of writing he would like to pursue. He will have gained confidence in the world of words because he is no longer intimidated by words. On the contrary, he will have become familiar and well acquainted with words, and ideally, words are now his friends\u2013and useful friends at that. More importantly, he will be ready for the act of writing, which is merely giving voice to one\u2019s thoughts.\nRemember, a child who says, \u201cI don\u2019t know what to write\u201d is usually saying, \u201cI don\u2019t know what to think.\u201d But please don\u2019t misunderstand. Copywork is not something merely for \u201cslow\u201d students or reluctant writers. Copywork is for everyone. Accomplished writer and inventor Benjamin Franklin taught himself to write using a method of copywork\u2013the details are in his autobiography. But the point is this: the practice of copywork was tremendously advantageous to the students of yesteryear, and those who use this same structure today will be well served. Thanks in part to this old-fashioned method of learning to write, it is possible to produce articulate writers. In fact, it is more than possible; it is highly probable (and achievable). Just allow your child\u2019s mind to be filled with great ideas and thoughts before you give him his first writing assignment. Sharpen those pencils and let the writing begin!", "id": "<urn:uuid:71594a7f-d3c0-48d2-94b3-b0a062778e86>", "dump": "CC-MAIN-2017-17", "url": "http://www.theoldschoolhouse.com/copywork-the-act-of-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122174.32/warc/CC-MAIN-20170423031202-00420-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9679979681968689, "token_count": 1820, "score": 3.703125, "int_score": 4}
{"text": "Second Grade Curriculum\nThe emphasis for Second Grade Religion focuses around the students preparation for Reconciliation and Holy Communion. Students will develop a deeper relationship with the church and realize and appreciate their own uniqueness!\nStudents will continue in their development of oral language, using both auditory and visual discrimination. They will be able to develop concepts and implement new vocabulary. Students will read for appreciation, information, attention to details and be able to make critical assessments. Within the reading program there is an opportunity for creative response in the form of art or writing skills. Writing will be developed further and students will experience creative writing, poetry and will use the process writing technique.\nStudents will have the opportunity to respond to literature and relate it to actual life experiences. They will be able to read independently and develop a confidence and enthusiasm for reading that will enhance their lives.\nThe focus of the second grade Phonics curriculum is to enhance reading fluency through mastery of letter-sound relationships. Students will practice and begin to master ABC order, vowel sounds, significance of letter placement, compound words, digraphs, contractions, plurals, synonyms, antonyms, homonyms, prefixes and suffixes.\nSecond grade mathematics instruction incorporates the strengthening of basic math facts with the development of communication and critical thinking skills. Students will become confident problem solvers and will develop number and operation sense. They will think, reason, and communicate mathematically. Students will connect mathematics to everyday life and to other subjects. They will value mathematics and will use technology as a tool. These goals will be attained through classwork in the areas of addition and subtraction and basic facts through two digit problems (with an intro to three digit addition and subtraction). Place value to 999 will be explored. Students will be exposed to and will practice time, money, measurement, basic geometry, fractions and beginning multiplication.\nStudents will develop an awareness of community and groups. They will understand the need for rules and cooperation. Students will utilize graphs, calendars, charts and have a knowledge of maps and the globe. Through projects, class discussion and outside reading students will be familiar with world in which we live.\nThe second grade Science curriculum explores subject matter in environmental, plant, animal, and human growth and change, the Earth and our solar system, sound, heat, and measurement. These subject areas are covered in text readings, supplemental readings, projects, and \u201chands-on\u201d activities. The student goals include development of analytical problem solving skills to better understand themselves and their world and to approach Science, Technology, and their world with questions and enthusiasm.\nStudents will learn the arts and skills of the English language through a challenging and motivating program which takes advantage of the integrated nature of the language arts. This program teaches process and method as well as skills. Curriculum areas include grammar, usage, mechanics, spelling, composition, vocabulary, reference and study skills, thinking skills, strategies, listening and speaking skills, literature and reading.\nUsing an integrated language arts approach, students will acquire spelling proficiency. Activities will include vocabulary building, reinforcement of key language skills, development of oral language, encouragement of reading and stimulation of writing skills.\nStudents will refine their manuscript skills, writing legibility and with ease and speed. Transition to cursive will be made systematically, implementing the five basic strokes. Students will be able to make the correct muscular movements needed to write consistently legible.", "id": "<urn:uuid:6c4b4eff-1d43-4303-af15-f5c064ce9798>", "dump": "CC-MAIN-2017-17", "url": "http://smscranford.com/2nd/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122886.86/warc/CC-MAIN-20170423031202-00598-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9324074983596802, "token_count": 697, "score": 3.96875, "int_score": 4}
{"text": "Comic Book Planning\nWith Your Students!\nThe Real World content advantage of comic books is cross-curricular. The use of comic books is an adventure in subject integration... as seen through the eyes of a videographer.\nIf you work comics into your course of study, you have excellent options for partnering with at least one other department colleague to help students add valuable insights from skill sets across the curriculum.\nPlanning for a comics project is key to best results.Before planning a response project, students can pool their knowledge about this powerful storytelling medium. Depending on culture and experience, some students will have more facility with comic books and their conventions or elements than others.\nLead off with a little investigative group work. Form groups to include both experienced and inexperienced comic book readers. Focus on surveying comic book content to compile a list of common structures and elements or features.\n* How many different purpose speech balloons can the group find?\n* How is a change in setting illustrated?\n* How are sets shown? How are you able to figure out where the story takes place? What single object or group of objects does the artist choose to represent a setting?\n* How is a jump in time or distance indicated?\n* How is a flashback shown?\n* How many camera angles can you identify? Points of view?\nOnce basic elements are charted or otherwise shared, students can plan their own comic book vehicle either individually or in small, creative-teamed groups.\nWhat topics are available for comic book creation? Every school subject has dozens of possibilities. Keep the first venture short.\nIn the planning stage we need to decide how long the comic is to be. Is this a single strip of three to four frames? Is it to be a full page layout of six to eight or ten frames?\nWill it be an episode in comic format of something students have read? An instructional illustration of a procedure? A new story creation? A biographical nugget from a famous, subject-specific life?\nIs it a report? Is it a genre story?\nHow many characters will we need?\nIn the first of a series of comics projects, help limit choices so, at the very least:\nguidelines are clear,\nthe amount of work to do is reasonable,\nthere is a time limit,\nand a maximum physical length for projects.\nThe other bonus teaching tool in a planning discussion with students is the development of a marking system. This may be very general \u2013 a pass-fail or simple rank of \u201cpresent\u201d from a list of required elements.\nPlanning with students affords choices that students can agree on about comic strip elements that, where present, satisfy a pedagogical requirement. Keep this requirement simple so that marking is not only simpler for you but also easily understood by all participants. A class-developed evaluation contract is a terrific teaching tool.\nReturn from Comic Book Project Planning to Comic Books hub page for even more comic book teaching ideas!\nReturn from Comic Book Project Planning to Real World Content Advantage home page.", "id": "<urn:uuid:23624e6a-0da2-487c-99e2-b7d6ab9c1d0b>", "dump": "CC-MAIN-2017-17", "url": "http://www.realworldcontentadvantage.com/Comic-Book-Planning.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118831.16/warc/CC-MAIN-20170423031158-00183-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9334984421730042, "token_count": 627, "score": 4.1875, "int_score": 4}
{"text": "- Language Development in the Early Years\nThis digest, written from a social interaction perspective, provides readers an overview of children's language development in the first five years of their life.\n- Phonemic Awareness\nAn Important Early Step in Learning To Read\nThis Digest discusses the concept of the awareness that spoken language is made up of discrete sounds, why this concept is so important to early childhood educators, its relation to the debate on the best type of reading instruction, and finally, teaching methods that may help children in developing such an awareness.\n- Phonics in Whole Language Classrooms\nThis digest discusses some of the ways children develop functional phonics knowledge in the context of authentic reading and writing, as well as some of the ways teachers can foster such development.\n- Beginning Reading\nThis digest provides unequivocal research evidence that students who enter first grade with phonological awareness skills are more successful readers and urges explicit instruction in these skills. The two processes described here, (1) phonological awareness and (2) word recognition, are essential to teaching beginning reading to children with diverse learning and curricular needs, such as students with learning disabilities.\n- Encouraging Young Children's\nRecent studies in emergent literacy -- the early stages of\nlearning to write and read -- have shown that young children\ncompose before they know much about the conventions of writing and\nreading or have the skill to control the formation of letters. It is important to recognize that graphic experimentation at the preschool and kindergarten levels allows children to use comfortable, nonconventional forms of writing to express complex thoughts.\n- What Elementary Teachers Need To Know about Language\nThis digest summarizes some basic aspects of oral and written language about which elementary teachers need expertise in order to promote literacy.\n- Helping Children Overcome Reading Difficulties\nThe digest offers a definition and discussion of dyslexia, examines instructional conditions that help the reading comprehension of children labeled as learning disabled, offers suggestions for choosing helpful reading materials, and stresses the importance of a positive attitude on the part of the child.\n- Organizing for Effective Reading Instruction\nThis digest deals with within-class reading ability grouping. It discusses limitations of grouping; teacher attitudes; student recollections of ability grouping experiences; and grouping for specific purposes (focusing on cooperative learning and its benefits).\n- Student Groupings for Reading Instruction\nThis digest summarizes research on methods of student grouping in reading instruction other than whole-class instruction and ability grouping.\n- Helping Underachieving Boys Read Well & Often\nBoys tend to learn to read later, take longer to learn, comprehend narrative texts less easily, value reading less, and read a wider number of genres over a broader range of topics than girls. This digest provides information on how schools and families can improve the reading skills of boys, particularly poor elementary school level boys of color.\n- Vocabulary Instruction and Reading Comprehension\nThe issue in the classroom usually revolves around how to improve the student's reading comprehension, whether it be in content area reading or in the language arts. Should the teacher teach vocabulary directly or incidentally? That is, should words be targeted for the learners or should they develop naturally through reading and the learner's desire to clarify concepts?\n- Increasing Comprehension by Activating Prior Knowledge\nIt appears that when readers lack the prior knowledge necessary to read, three major instructional interventions need to be considered: (1) teach vocabulary as a prereading step; (2) provide experiences; and (3) introduce a conceptual framework that will enable students to build appropriate background for themselves.\n- Open-Ended Questions in Reading\nResearch has helped shift the focus from learning as content knowledge per se to learning as the ability to use and interpret knowledge critically and thoughtfully. If subject knowledge itself is not a sufficient criterion for achievement, simple judgments of correct and incorrect are not enough to assess achievement. A more open-ended form of testing is required.\n- Helping Children Understand Literary Genres\nReading a variety of literary genres has a related positive effect on writing. One genre that might be effective as a beginning point, and is particularly enjoyable for children, is folktales. It is not necessary for children to define every piece of literature that they read, though the elementary school curriculum should provide a wide range of genres.\n- Teaching Children To Appreciate Literature\nTwo basic approaches to teaching literature at any level are the \"structural\" (traditional literary analysis) and the \"reader response\" approaches. For children, encounters with literature should retain characteristics of play, children's most natural activity. As they encounter more varied literature, children must make decisions such as setting purposes for themselves and modifying reading strategies in accordance with the possibilities within a text.\n- Teaching Critical Reading through Literature\nThis Digest focuses on developing thinking skills in reading. Readers draw on background experiences to compose a text, engaging in an ongoing negotiation to arrive at meaning. This is fundamental to the act of reading. For this reason, reading offers the potential for higher level thinking.\n- Metacognition and Reading To Learn\nMetacognition has been defined as \"having knowledge (cognition) and having understanding, control over, and appropriate use of that knowledge\". Thus, it involves both the conscious awareness and the conscious control of one's learning. This digest presents reading to learn from a metacognitive perspective as it relates to four variables: texts, tasks, strategies, and learner characteristics.\n- Strategic Processing of Text\nImproving Reading Comprehension of Students with Learning Disabilities\nThis digest summarizes relevant research and promising practices in the strategic processing of text, focusing first on the strategic processing of narrative and then expository text.\nThis digest explores the nature of students' metacomprehension, or their awareness of their own understanding, and the implications of this awareness for reading instruction. After defining metacomprehension, the digest discusses why this awareness is important to the learning process. It then suggests ways that English and language arts teachers can help students improve their metacomprehension. Finally, the digest explores ways in which teachers can evaluate student metacomprehension.\n- Grammar & Its Teaching: Challenging the Myths\nGrammar is often misunderstood in the language teaching field. The misconception lies in the view that grammar is a collection of arbitrary rules about static structures in the language. Further questionable claims are that the structures do not have to be taught, learners will acquire them on their own, or if the structures are taught, the lessons that ensue will be boring. Consequently, communicative and proficiency-based teaching approaches sometimes unduly limit grammar instruction. Of the many claims about grammar that deserve to be called myths, this digest will challenge ten.\n- Teaching Creative Writing in the Elementary School\nNoting that most children enter school with a natural interest in writing, this digest discusses how elementary school teachers can become actively involved in teaching creative writing to their students. The digest considers several reasons for teaching creative writing, provides practical suggestions from other teachers about teaching story writing, reports on the effectiveness of peer feedback, and offers some ideas about publishing children's writing.\n- Writing as a Response to Reading\nReading and writing exist only in relation to each other. Writing is to reading as waking is to sleeping, as giving is to receiving. The one act presupposes the other act. Together, the two acts are one act, and yet each remains a separate act, at the same time. Literally, to write and read, we must give and receive.\n- Effective Use of Student Journal Writing\nStudent journal writing can connect reading, writing, and discussing through activities that accommodate diverse learning styles and that further students' linguistic development. The various uses of journal writing can be incorporated into one compact student notebook: dialogue journals, literary journals and subject journal.\n- Teaching Expressive Writing\nThis digest discusses expressive writing and the expressive mode, which is seen as a recurring stage in a writer's process of writing. The digest advocates using journal writing as a stimulus for various stages in the creative process and presents several class exercises and assignments in journal writing which can help develop the students' expressive writing abilities.\n- Audience Awareness: When and How Does It Develop?\nA case can be made for teachers to use audience-oriented teaching strategies that encourage children to write for a wide range of readers. Even so, questions remain about how writers, especially student writers, actually learn to consider an audience of readers when they write.\n- Writing Instruction: Current Practices in the Classroom\nNoting that the emphasis in writing instruction over the past 40 years has shifted from product to process, this digest focuses on the experience of individual teachers as they searched for ways to put the principles of process writing into practice in the classroom. The digest discusses (1) writer's workshops (2) questions about writer's workshops (3) journal writing and (4) writing instruction in the upper grades.", "id": "<urn:uuid:b0b358fb-4b31-4d47-93cf-5397e620cef9>", "dump": "CC-MAIN-2017-17", "url": "http://www.vtaide.com/png/readwrite.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120206.98/warc/CC-MAIN-20170423031200-00538-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9288107752799988, "token_count": 1820, "score": 3.703125, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, videos, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nPlot Structure: A Literary Elements Mini-Lesson\n|Grades||6 \u2013 8|\n|Lesson Plan Type||Standard Lesson|\n|Estimated Time||Two 50-minute sessions|\nFreytag\u2019s Pyramid is a tool for mapping plot structure, which allows readers to visualize the key features of stories. Students whose experience with text is limited have internalized the pattern described by Freytag\u2019s Pyramid through oral storytelling and television viewing. They need help seeing that the patterns they are familiar with are the same ones writers use to construct a short story, play, or novel. This lesson plan provides a basic introduction to Freytag's Pyramid and to the literary element of plot. After viewing a brief presentation about plot structure, students brainstorm the significant events in a story with which they are all familiar and place those events on Freytag\u2019s Pyramid. They work in small groups to map the plot of another story. For homework, they map the plot of a favorite television show. Finally, they apply their knowledge of Freytag's Pyramid to map the plot of a narrative poem.\nPlot PowerPoint Presentation: Use this presentation as an introduction to Freytag's Pyramid and the literary element of plot.\nPlot Diagram: Students can use this online tool to map the plot of any story, play, movie, or other text.\nAs Carol Jago explains, \"It's easy to \u2018teach' literary terminology and devise quizzes on the terms, but to make the language of literature useful to readers, students need to practice using academic vocabulary in ways that deepen their understanding of how stories work\" (51). Jago proposes using Freytag's Pyramid to present and explore plot because the graphic organizer \"allows readers to visualize key features of stories\" (51). This lesson, which is adapted from Jago's \"Stop Pretending and Think about Plot,\" asks students to practice using the literary element \"in familiar contexts\" (51). Through this process, students gain a deeper comprehension of the literary element's meaning and the ways that it contributes to a writer's craft.\nJago, Carol. \"Stop Pretending and Think about Plot.\" Voices from the Middle 11.4 (May 2004): 50-51.", "id": "<urn:uuid:34714a38-0a1b-4c65-9f99-2f68e69154c6>", "dump": "CC-MAIN-2017-17", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/plot-structure-literary-elements-904.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123102.83/warc/CC-MAIN-20170423031203-00423-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9066359996795654, "token_count": 581, "score": 4.1875, "int_score": 4}
{"text": "Most people have already experienced digital storytelling in one form or another. Digital storytelling is a multimedia approach to storytelling which uses narrative, music, pictures and/or video which are put together in a sequence to relate an experience or idea. It combines traditional elements of the oral and literary tradition while integrating current digital technologies into the storytelling process. Journalism today depends heavily on the digital world. Most news is consumed through digital means. It is also a quickly growing trend in the field of education as a teaching tool and is well established in the professional world as an efficient means of conveying information.\nEducators implementing digital storytelling as a teaching tool see it as a way to boost the level of engagement in the classroom. Students may be given the task of reporting on an important incident in their life or something similarly biographical in nature. There are countless approaches students may take so the involvement the process demands ultimately generates more personal and meaningful stories. Also, learning the tools and techniques of digital storytelling equips students with many modern skills which are more essential every day. These include basic journalism, internet research, computer skills, audiovisual tools, writing and presentation, just to name a few. The use of digital storytelling for teaching a variety of subjects not only has the potential to increase performance in a particular area but reinforce these twenty-first century skills across many different fields. Anyone desiring to enter the modern business world will need proficiency in at least some if not most of these skills.\nThe relationship digital storytelling fosters between creator and audience is also powerful. A certain level of participation can be required of the audience, and the choices or decisions of those who take part offers an individualized experience and sometimes can effect the outcome of the story. Some common examples are video games, internet marketing campaigns, and social media. The involvement of the audience leads to a more engaging and memorable experience as well as a sense of community amongst the participants. The effect of this within a society can be very far-reaching. To have a voice is a powerful thing, and digital storytelling can give voice to those who might otherwise meet with too many barriers to be heard. A person who is unskilled with the written word may instead use images and music to tell their story more effectively to a potentially wider audience than the most articulate writer. Some things cannot be said, after all.\nDigital storytelling may ultimately be more effective journalistic tool than the traditional methods of storytelling. It can cross barriers of language and culture with the use of music and images. Through participation and choice it can blur the lines between the creator and audience. It can create a sense of community and belonging for those who have shared in a collective experience. It can empower individuals by giving them a voice that has the potential to be heard around the globe. There are stories all over the place; one just has to look for them. Whether the purpose is to inform or entertain, the tools and techniques of digital storytelling allow a story told by anyone from anywhere in the world and then be shared with people everywhere in the world.", "id": "<urn:uuid:61cd79f9-f393-46d7-9e25-96d2cb52e581>", "dump": "CC-MAIN-2017-17", "url": "https://www.openschoolofjournalism.com/trends-in-journalism/digital-storytelling", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118713.1/warc/CC-MAIN-20170423031158-00125-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9530836939811707, "token_count": 612, "score": 3.90625, "int_score": 4}
{"text": "Children in the elementary years still need rhythm. A predictable flow to the day, week, and lessons helps your child focus on the task at hand. It\u2019s also a huge help to you in planning and learning the lessons you\u2019ll teach.\nElements of the Day\nThe biggest changes to daily rhythm in the elementary years are adding in lesson times and giving your child increasing independence and responsibility for her routines and lesson work over time. Here are the elements of the day for the grades child:\n- Anchor routines for waking, meals, and going to bed\n- Chores \u2013 opportunities to do real helpful work in the home and with meals\n- Creative play inside and outside\n- Main Lesson \u2013 including storytelling, artistic work, academic work, movement, and more\n- Practice or Track Lessons \u2013 included in main lesson or another time, regular practice in math, reading, etc.\n- Music \u2013 singing everyday, recorder lessons, and adding a musical instrument around age 9\n- Movement \u2013 play (especially outside), walks, and rhythmic movement in lesson\n- Afternoon rest time \u2013 time for everyone to get a quiet break\n- Read aloud\n- Handwork \u2013 this might be part of your daily rhythm or something you do a few days a week\nA balanced day with in-breath and out-breath is just as important in the elementary years as in kindergarten. Your child needs time every single day to play. Playtime should be a priority over organized activities, sports, and excessive time in lessons through at least age twelve.\nTime to play, move their bodies, be outside, time for a feeling of reverence, connection, and peace in the routines of the day \u2013 these are all crucial for building a healthy child.\nElements of the Week\nThe elements of the week for the elementary years include:\n- Main lesson (3-5 days a week depending on the age of your child)\n- Art lessons (painting, modeling, handwork, etc.)\n- Social time\n- Weekly activities, classes, etc.\nYour weekly rhythm can include anything you want to do on a regular weekly basis such as getting together with friends or a homeschool group, errands or house cleaning, math games, nature lessons, outings, library, activities or lessons out of the house, etc.\nYou\u2019ll want to decide how many days to do main lesson and any other lessons and how they will fit into the rest of your schedule. There\u2019s a lot of flexibility in Waldorf-inspired homeschooling for when to bring in subjects like painting, modeling, handwork and crafts, music, and form drawing. You could:\n- Continue with your weekly rhythm from kindergarten for painting, modeling, and handwork (this especially works well if you still have kindy-aged children at home too)\n- Set aside one main lesson day each week for art lessons\n- Bring these subjects in as part of the artistic and active portions of your main lessons\n- Teach these subjects in blocks as a mid-day or afternoon lesson\n- And so on!\nThere isn\u2019t a right way to do it, and as with everything else, your goal is to find a rhythm to your week that works great for your family.\nElements of the Main Lesson\nIn Waldorf-inspired homeschooling, the lesson itself has a rhythm to it.\nEvery main lesson includes engaging with the material actively (hands), artistically (heart), and academically (head).\n- Active \u2013 including rhythmic movement, crafting or modeling, acting out stories, form drawing, speech\n- Artistic \u2013 including poetry, singing, storytelling, painting, drawing\n- Academic \u2013 including writing, reading, solving math problems, retelling stories, copywork, spelling and grammar, learning something new\nMain lessons also include a time to review, revisit, or practice what has been learned before (from the previous day and also in previous weeks or blocks) as well as learning something new. The time and space between main lessons is also a key element of the main lesson rhythm. This is when your child is sleeping on or digesting new material. Much of the learning work that our brains do happens in the off time when we are not consciously working on something. Then when we revisit the material it begins to consolidate in long-term memory. So a teaching rhythm over the course of a few days looks like this:\n- Introduce \u2013 new material is usually introduced through story or activity\n- Sleep \u2013 let the concept rest over night\n- Revisit \u2013 review and practice what was learned to deepen understanding\n- Practice \u2013 continue to practice regularly\nThis is a lot to pull together, and crafting a rhythm for your lessons will help you to bring in all these elements with ease rather than chaos.\nFor example, your main lessons in broad strokes might look like this:\nReview and Practice (from previous day, and often from previous weeks and blocks)\nActivity (the main focus of your lesson \u2013 could be painting, form drawing, reading, place value, a mural of animal homes in the winter, something to go deeper with what you learned the day before\u2026..)\nMain lesson book work\nStory (learning something new)\nPutting it all together\nSo how do you pull together a rhythm for the days, weeks, and lessons in the grades? Start by listing out which subjects and activities you would like to do on a daily, weekly, or rotating basis. For example, do you want to paint once every week (and maybe maintain your painting rhythm from kindy), or would you prefer to paint during certain lesson blocks and take up something different in others?\nThen think about a pattern for your days that gives you time for your lessons, time for your family life, and open-ended time for play. Many homeschoolers like to think of the day as having a head-heart-hands rhythm, with main lessons (head) first thing in the morning, mid-day lessons such as painting or recorder just before lunch (heart), and afternoon lessons such as games, movement, or handwork (hands) later in the day. This can work very well, but it isn\u2019t something to get stuck on, especially keeping in mind that a Waldorf main lesson includes a vast amount of time on heart/hands activities!\nYou have a wonderful amount of flexibility to do what works for your family, but do think it through so your days don\u2019t feel scattered!\nHere\u2019s just one example of a rhythm that could work in the grades:\nMorning Routine, Breakfast, and Chores\nCircle \u2013 singing, recorder, speech, movement\nMain Lesson \u2013 including story\nLunch and Playtime\nAfternoon Quiet Time\nOutside Play and Snack\nMondays \u2013 Form Drawing (main lesson); Baking Day (mid-day); Handwork (afternoon)\nTuesdays \u2013 Math Games (mid-day); Cooking (afternoon)\nWednesdays \u2013 Painting (mid-day); Handwork (afternoon)\nThursdays \u2013 Beeswax (mid-day); Music Lessons and Swimming (afternoon)\nFridays \u2013 Friends Day; Handwork (afternoon)\nSaturdays \u2013 Hiking Day (summer) or Crafts Day (winter)\nSundays \u2013 Family Day\nWhat does your rhythm look like?\nI know I always love to hear about how other families do things. Please share with us in the comments below!\nRead the rest of the series:", "id": "<urn:uuid:219695de-11eb-4c50-9299-93ad163311e3>", "dump": "CC-MAIN-2017-17", "url": "http://lavendersbluehomeschool.com/rhythm/page/3/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121893.62/warc/CC-MAIN-20170423031201-00011-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9451272487640381, "token_count": 1557, "score": 3.734375, "int_score": 4}
{"text": "One of the most pressing questions faced by math teachers is, \u201cHow do I keep my students interested?\u201d\nIt\u2019s a challenge faced by all educators, but overcoming boredom may not be as tricky as you think. The secret is to remember to illustrate the big picture. For students, math can easily feel like a tedious jumble of facts; it\u2019s not always obvious how the parts join together to become a coherent whole. A pile of cardboard pieces is not very interesting \u2014 until someone reveals that they fit together to create a puzzle.\nBelow are five suggestions that will hopefully help your math students see the method behind the madness. At Knewton, we\u2019re focused on creating engaging online lessons for our Math Readiness program and our GMAT course, but these tips will be helpful whether your preferred lesson medium is PowerPoint or poster board.\n1. Tell a Story\nPeople naturally find characters and narratives interesting. Stories are easy to remember because they\u2019re not a random assortment of information. They have a beginning, middle, and end. In the same way, your lesson should have a narrative arc. It should include an \u201ca-ha\u201d moment, a point where all the pieces come together.\nA concept like probability tends to produce eye-glazing on its own. Relating it to a basketball player students have already gotten know (Michael Yourdon! The legend!) puts the math into a context that\u2019s easy to grasp.\nStory characters don\u2019t always have to be fictional, either. Ancient thinkers such as Pythagoras, Archimedes, and Euclid asked very basic questions about the world around them, questions that your students might even ask themselves. Tying a lesson to the historical figures that grappled with it \u2014 or simply sharing your knowledge about a mathematical concept\u2019s origins \u2014 can help students make connections to study material that would otherwise seem remote or abstract.\n2. Open with a Hook\nThis can be a real-world example, an interesting problem, or a novel way of looking at a familiar situation. In one lesson, we used the game of Flip Cup (which we were pretty would resonate with our college-age audience) to show the applications of probability in everyday life.\nThis \u201chook\u201d should then reappear in different contexts throughout the lesson. By examining a single problem from different angles, you maintain a sense of familiarity (essential to storytelling) and help students to see how ideas relate to each other. Presenting new concepts in familiar situations allows them to build on what they already know.\n3. Emphasize Your Main Points\nDon\u2019t keep students guessing what the point of the lesson is. Put your takeaways in bold or outline them in orange, and make sure that they reappear throughout the lesson. Students shouldn\u2019t be surprised by the lesson\u2019s conclusion; they should be able to see the ending well in advance. It also helps to include a final page where you summarize all of the lesson\u2019s main points.\n4. Choose Images over Words\nNo need to insert blocks of text. You\u2019ll be present to provide the details and explanations. Diagrams, images, arrows, color coding \u2013 the more ways you can connect ideas to visual reminders, the better. It\u2019s a lot easier to remember a picture than a paragraph. Keep in mind that in order to be effective, the image should connected to the storyline; it should drive the story forward or illustrate an important point.\n5. Address the \u201cWhy\u201d\nMath was created by people for people. Math is anything but arbitrary and haphazard, though it can frequently feel that way to a student. Above all, it was designed to be user-friendly. As often as possible, you should address the question, \u201cWhy was this math subject necessary here in the first place?\u201d The more students can see that math was developed for their benefit \u2014 to simplify their world \u2014 the more they will trust their ability to use it.\nFor example, in addition to explaining what percentages are, don\u2019t forget to share why they are helpful and why we came up with them to begin with. For one thing, they make comparing fractions a lot more intuitive.", "id": "<urn:uuid:d1de4777-124d-4d31-8e8a-d9f434aec57a>", "dump": "CC-MAIN-2017-17", "url": "https://www.knewton.com/resources/blog/teacher-tools/five-ways-to-make-math-lessons-more-engaging/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118552.28/warc/CC-MAIN-20170423031158-00420-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9489293098449707, "token_count": 881, "score": 3.90625, "int_score": 4}
{"text": "Read to Succeed in the 11 Plus Exam\nWe often find parents who haven\u2019t understood why reading is so important. We thought it might be useful to explain why reading is absolutely crucial to any successful 11 Plus campaign.\nFirstly let\u2019s look at some of the most common reasons for not getting the result you need in your 11 Plus exams:\n- Insufficient breadth of vocabulary (holds back progress in Verbal Reasoning, Comprehension and Creative Writing).\n- Poor spelling skills.\n- Slow reading skills (insufficient time to master long comprehensions)\n- Poor punctuation skills (particularly in punctuation tests or creative writing.)\n- Not reading Maths questions properly (linked to comprehension ability)\n- Not reading VR or NVR questions properly (linked to comprehension ability)\n- Concentration skills and stamina (v. important when doing perhaps three or four exams in a day).\nWhile children may not actually sit a reading test ,reading is a magic tool and it can boost their development in all of the above areas (some more than others obviously).\nOf course we haven\u2019t mentioned the single most common reason for 11 Plus exam difficulties which is an excess of pressure and stress , reading can also help there.\nHow does reading help with many 11 Plus problem areas.\nA child who reads every day will normally have a much wider vocabulary, much better spelling skills and much better grammar and punctuation skills than a child who doesn\u2019t read, or only reads a little.\nChildren will build up a very wide vocabulary through reading. They may not be able to closely define each word but they will have built up an understanding of meaning based on context.\nAt the same time the more frequently children see words and read them then the more likely they are to naturally feel when a word is spelt wrongly. Words that are spelt wrongly look odd to those who can spell and reading helps children begin to develop this ability.\nIt is also true that regular readers tend to read more fluently and quickly than those who do not read every day. This ability to read quickly, whilst not missing meaning, is invaluable in a long comprehension exercise.\nAnd finally of course those who read regularly are, in a way, training themselves to concentrate every day, and their focus on reading really does help them to concentrate hard enough to be able to make fewer mistakes when reading questions in subjects other than English or Verbal Reasoning.\nThe importance of a wide vocabulary\nTo emphasise the importance of a wide vocabulary think about these two facts\u2026 over 55% of mistakes in 11 Plus verbal reasoning tests specifically concern weak vocabulary and in comprehension tests mistakes are most persistent in the vocabulary test sections. These are not problems which doing test paper after test paper can solve, nor are they areas where technique can help. To show you what we mean let\u2019s look at a typical vocabulary based question which you could find in a VR test or a comprehension test.\nIn an 11 Plus exam children may face questions such as this:\nIdentify the word on the right which is most similar in meaning to word on the left.\nAUDACITY POLITENESS GREED IMPUDENCE CARE\nYou can see that no amount of technique or question experience could help children with this sort of question. They will either know it or they won\u2019t and will have to guess. Children who do read a lot are however likely to have seen many if not all these words before and may well have a feeling for which one is correct, or they may have a feeling that perhaps two of the options given are not correct and so will have a better chance guessing.\nChildren who read more will have a much wider vocabulary than those who don\u2019t. Children who are readers may have 1,000-2,000 words in their vocabulary than those who don\u2019t; this is one of the key points of difference between those who succeed at the 11 Plus and those who don\u2019t. Reading every day is essential for 11 Plus exam success.\nHow does reading help with the issues of pressure and stress encountered by many children when they prepare for their 11 Plus exams?\nFirstly the act of reading every evening for pleasure before sleep helps children to switch off. This is especially relevant in year five when some children may be working very hard and maybe feeling the pressure mounting. Adults use reading as a tool to switch off and relax and it works the same way with children.\nSecondly readers will find everything to do with the 11 Plus so much easier than those who read less or who have only just started reading. Readers have a very large start when it comes to things like comprehension or vocabulary based Verbal Reasoning exercises. Equally when they are trying to make their writing more interesting by adding new adjectives or adverbs they have a much wider choice than those who don\u2019t read or only read a little.\nFinally we know through research that every child feels some degree of pressure when they go into the exam and we know that in many cases this reduces ability to recall vocabulary by over 10%. With children who have acquired their vocabulary over a long period thanks in part to reading these effects will be less marked.\nWhen should children start reading as part of an 11 Plus exam preparation programme ?\nWe\u2019d suggest whether you are going for the 11 Plus or not that reading should be happening in every family every day. As soon as children have become independent readers- normally by the time they are in year 3- then they should be reading every day.\nWe\u2019d suggest children will benefit from reading all the through any 11 Plus preparation, it\u2019s not something to ditch when the work gets a little more intensive in year five, it is something children will benefit from doing throughout.\nThere\u2019s an old adage- \u2018 Those who read, succeed.\u2019 It is as true today as it has ever been.\nWhat books to read as part of an 11 plus preparation programme?\nBearing in mind you need to get children turning the page and falling in love with reading the simple answer is to get them to read something they like. Often children fall into a series whether it is Horrid Histories or Harry Potter. Some children like fiction, others like non-fiction and some like science fiction. Some children like reading novels others might like a newspaper or even the Guinness Book of Records. To start with at least getting enjoyment from what they are reading and reading every day are the important things to achieve.\nIt often helps to have a school book on the go as well as a special book they are reading for their own enjoyment.\nIf your child is a reluctant reader or you feel they don\u2019t read as much as they should then we\u2019ve put together two reluctant reader book lists for children.\nReading Classic books as part of an 11 Plus preparation exercise\nMany 11 Plus Grammar Schools and Independent Schools do sometimes have a knack of giving children some quite tricky comprehensions, and there\u2019s no doubt that a piece of twentieth or nineteenth century text (Charles Dickens for instance) can throw many children into a tail spin.\nIt is also true that classic books tend to use a range of vocabulary that many children just do not come across.\nWe\u2019d suggest the following as a potential approach which works with many children.\n1/ Recognise that it will be useful to cover some classic books.\n2/ Have a look through a classic book list and pick one or two that you both think your child might like to try by themselves ( this could be done over the Easter holidays as an example).\n3/ Pick one or two classic books and then use them as work books for your paired reading activities. You can either choose to read the book together from start to finish or go through the book and choose passages ( a page or two at a time) and treat them a little like comprehension exercises ( as you read you can ask if a word is known or if they understood why something was said or done etc.). It is not the most exciting of activities but it can be done and actually where there are words that neither of you know you can have some fun guessing and finding out.\nThe key thing is that children are regularly exposed to various classic authors so they are not thrown by the comprehension which can often be a rather difficult text. The skills they learn using the context to try and understand the meaning of new words will help them when they face the real thing.", "id": "<urn:uuid:7f0891cb-d317-4a4b-8bca-627bc6e76268>", "dump": "CC-MAIN-2017-17", "url": "http://www.11plusguide.com/11-plus-exam-preparation/reading-succeed/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120206.98/warc/CC-MAIN-20170423031200-00539-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9669910073280334, "token_count": 1737, "score": 3.53125, "int_score": 4}
{"text": "English Language Arts classrooms naturally devote time to narrative writing, an important text type that offers an opportunity to demonstrate creativity through storytelling. The Common Core Anchor Standard states that students of all grade levels should be able to:\nWrite narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.\nAlthough we often think of research papers or essays as being the one and only writing type in social studies classrooms, narrative writing can play a crucial role. Providing students with a chance to create exciting and interesting stories can promote student engagement and motivate those who are reluctant to participate in traditional assignments. Teens will need to know a topic inside and out in order to write a compelling narrative that describes characters, setting, events and actions in a way that is true to a period in history or a topic they are studying.\nIncorporating narrative writing assignments into a set curriculum may seem challenging at first. Start off by locating moments in a unit where students are taking a deep dive into a particular period in history or topic. Narrative writing assignments could include:\nCreate a story of a person your age, living during the American Revolution. Choose one historical figure to include in this story that your main character will have to interact with as events unfold. Add details that describe the setting and what life was like at this time.\nImagine that you lived through an important event that changed the nation, such as the Apollo 11 moon landing or the \u201cI Have a Dream\u201d speech. Describe your reaction to this event, including what surprised or inspired you.\nAs students complete these types of assignments they should be held accountable for the claims that they make. Ask teens to include a one page explanation for why they made decisions as a writer. This could include:\nStudents completing this type of assignment will need to have an understanding of a particular event or period in history. They will also need to know how to locate information to help them learn more. In addition to providing traditional resources like a textbook or content area readers, you may want to curate a list of Internet resources to help with their research. If individual students in your class are writing about different topics, create subject area groups so that one student can ask another questions on a specific topic.\nGrading this type of writing in a social studies classroom should be more about content than English Language Arts skills. You may want to develop a rubric to share with students that asks them to include a certain number of details about a time period, including contemporary figures or the setting.\nHow could you incorporate narrative writing into your next unit of study?\nMonica Burns is an Education Consultant, EdTech Blogger, and Apple Distinguished Educator. Visit her site ClassTechTips.com for more ideas on how to become a tech-savvy teacher.\ni think u should not nap at ork cause its mean", "id": "<urn:uuid:0ad87e19-c6b3-4090-acae-2628e89bd103>", "dump": "CC-MAIN-2017-17", "url": "https://www.channelone.com/blog_post/common-core-connection-narrative-writing-in-the-social-studies-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122621.35/warc/CC-MAIN-20170423031202-00481-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9562658667564392, "token_count": 592, "score": 4.125, "int_score": 4}
{"text": "Presentation on theme: \"Active Literacy Monday 29 th September. What is Active Learning? Active learning is learning which engages and challenges children and young people\u2019s.\"\u2014 Presentation transcript:\nWhat is Active Learning? Active learning is learning which engages and challenges children and young people\u2019s thinking using real-life and imaginary situations. It takes full advantage of the opportunities for learning presented by: spontaneous play planned, purposeful play investigating and exploring events and life experiences focused learning and teaching. A Curriculum for Excellence Building the curriculum 3-18 (2) 2007\nActive Learning/Play and the four capacities Active learning can support learners' development of the four capacities in many ways. For example, they can develop as: successful learners through using their imagination and creativity, tackling new experiences and learning from them, and developing important skills including literacy and numeracy through exploring and investigating while following their own interests confident individuals through succeeding in their activities, having the satisfaction of a task accomplished, learning about bouncing back from setbacks, and dealing safely with risk responsible citizens through encountering different ways of seeing the world, learning to share and give and take, learning to respect themselves and others, and taking part in making decisions effective contributors through interacting together in leading or supporting roles, tackling problems, extending communication skills, taking part in sustained talking and thinking, and respecting the opinions of others.\nActive learning/play supports literacy development by being: Fun Interactive Meaningful Broad and balanced Structured/unstructured Responsive/planned Observed Evidence based.\nActive Literacy Includes: Storytelling Phonics work based Guided reading and active literacy Daily writing, taught writing Spelling and dictation\nActive literacy works alongside our existing Jolly Phonics programme. Letter sounds taught first and names later Initially simple three letter words can be made from the sets of letters. Children are encouraged from the outset to listen for the sounds and decide where they come in the word \u2013 beginning, middle or end.\nOrder of sounds taught s a t i p n c k e h r m d g o u l f b j z w v y x q/qu Sounds are taught 2 or 3 per week.\nStoryline and action Each letter sound introduced with a story Children hear the sound and see the action\nLearning the letter formation Pencil hold Tripod grip Movement of pencil from thumb and first finger Knuckles to go in and out \u2013 \u2018froggy legs/fingers\u2019\nLetter formation Finger Phonic books Grooved letters Following arrows Follow example of teacher forming letters in the air/on the ground Pairing and sharing with shoulder partners\nLetters with joining tails Trace dotted lines following arrows Check correct formation and accuracy Joining tails prepare for joined up writing\nBlending Blending is when children are beginning the skill of reading Blending is: Looking at the letters Saying the sound Hearing the word s \u2013 u \u2013 n m \u2013 ou \u2013 s e f \u2013 i \u2013 sh\nSay, Make/Break, Blend, Read, Write Say the word Make/break the word using magnetic letters Blend the word Read the word Write the word\nCommon and Tricky Words Children are given 3 common words every week. Some of these words may be tricky words \u2013 these are mostly irregular keywords (not easy to blend). These tricky words need to be learned by heart.\nBuddy Reading What is Buddy Reading? Buddy reading is a fun way to help pupils learn to read. In buddy reading, an older child shares reading sessions with a younger pupil. Together they practise reading skills through discussion of class reading texts, library books and other language activities. Buddy Reading is an excellent activity for developing literacy outcomes, in particular those relating to listening, talking and reading.\nWhat will they learn/consolidate during Buddy Reading? Concepts of print How to hold a book Front and back of book Recognition of where to start when reading Left to right sweep and return Comprehension Strategies Using the title and front cover as a prediction tool Use of picture clues to aid understanding Recall of the story Identification of main characters Identification of main events Identification of setting Sequence events\nResearch shows that reading to your child is the single most important thing you can do to help your child's education. How can you make sure your child gets off to a good start, gains independence and enjoys reading? There are lots of simple things you can do at home to help. Support from Home\nFocus on what you can do, not what you can\u2019t. Make a regular time together. Find the right level. Take time to listen, listen and listen again! Strike a balance between connection and perfection. Talk about what you\u2019ve read. Enjoy reading everywhere. Think outside the book. Have fun! Ask for extra help if you think your child needs it.\nSupport from Home Daily revision of sounds 2 new sounds each week and 3 words Reading Book Identify sounds in words Fun word games \u2013 I spy / matching games Encourage a love of books and read together regularly S\nHow you can help in School Photocopying resources Making games Making booklets Laminating resources Preparing craft resources Book banding If you think you can help with any of these things please talk to Mrs Littlejohn, Mrs McKenzie, Mrs Banfield/Mrs Booth.\nVisit to Room 2 Set up in room 2 are a number of activities your child/children may take part in during an Active Literacy Lesson. Please come and try some of them for yourself. Thank you for coming today.", "id": "<urn:uuid:536149c9-9c96-4e8e-b16f-a9edd8173a45>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/3551393/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00480-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9204216003417969, "token_count": 1116, "score": 4.0, "int_score": 4}
{"text": "As a member of the TOS Homeschool Crew I recently had the opportunity to review a literature guide from Progeny Press. They produce over 100 literature study guides for all levels from Kindergarten through High School. Progeny Press says about their guides:\n\"Progeny Press study guides concentrate on critical thinking, comprehension, literary analysis, and Christian application. Our goal is to teach our children to think clearly, to understand literature, and to rely on scripture for truth and values, and enjoy themselves while they do it!\"\nI received a download copy of the study guide for the novel Across Five Aprils. Across Five Aprils is classified as American literature and takes place during the Civil War.\nThe study guide opens with a synopsis of the book,a brief biography of the author, and a description of the political/ social climate leading up to the Civil War. The beginning portion of the guide also features several literature based prereading activities to familiarize the student with causes of the Civil War as well map work showing the major battles and Union and Confederate states.\nThe study guide takes readers through two chapters of the novel at a time and focuses on several literary concepts. Vocabulary is addressed several ways. First students are required to define several words, determine word meaning from its context and then double check their guesses in a dictionary. Vocabulary words and definitions are presented to be matched. Another vocabulary activity is a multiple choice format. Another vocabulary exercise has the student use a thesaurus in studying definitions.\nNext are several questions which ask the student to recall events from the book and analyze them. Several literary devices such as similes, synonyms, foreshadowing, hyperboles, juxtaposition,metaphor, personification, and idioms are reviewed and their uses in the text are studied. Some questions ask the student to examine the characters and actions in simple recall and application type questions.\nStudents also study the characters' personalities, reactions to events, and events in general in light of Scripture passages. The student is directed to read one or more Scripture references and apply them to events or reactions discussed in the story.\nThere are also activities and questions which relate more to the historical context of the novel than the story itself. Topics covered here include studying various generals, battles, The Gettysburg address, and Lincoln's positions and assassination.\nEach section concludes with one or two questions for group or class discussion and one or more writing activities.\nConcluding the study guide is a brief study regarding plot and additional research and writing projects and suggestions. These activities feature more in depth study on people and battles of the Civil War. Students are directed to learn more about specific people as well as generic groups of people such as soldiers who fought for either the North or South.It is also suggested that students research some of the battlefields as well as visit, if possible. Researching the impact of the Civil War on the community where the student lives is also suggested.\nAt the end of the study guide is a list of other books by the same author and additional Civil War related resources and websites. Brief biographies and qualifications of the study guide authors are included at the beginning of the product.\nThe suggested length of time for finishing a study guide is 8-10 weeks. The first week being used to read the book and then working on one section a week.\nProgeny Press also offers study guides covering the genres of British literature, Christian literature, World Literature, History, Poetry, and Shakespeare. Study guides are available in printed format, CD in pdf. format, or pdf. format via email download. Novels/ books are also available for purchase from Progeny Press.\nPrices for Across Five Aprils study guide are:\nCD & Booklet $23.99\nEmail attachment $16.99\nMy daughter enjoyed the interactive format of the study guide I received. This allowed her to write her answers directly into the document on the computer, rather than printing out papers that she would have to fill out. This interactive format takes some of the writing pressure off of her and makes the assignment less of a chore.She is quite capable of handling the material and analyzing the questions, but seemed to be overwhelmed with the amount of work presented.\nIn addition to questions regarding the plot and literary elements of the story there are a number of activities designed to help the student learn more about and understand the historical setting of the story. I appreciate having all of these and feel they are well chosen and designed. However, since this is her first in depth literature study I don't want her to lose focus on the story therefore, I do not plan to have her do all the history related activities at this time. We will probably do more of those when we study the Civil War in our history studies.\nI also like the scope of the study guide. By studying literary devices, their uses are made clearer to the reader than maybe found while just studying random examples. Seeing them in action may also help young writers use them in their own written work more easily and effectively. I am reading the novel myself and feel this guide is very complete and well done in what it covers from the novel. Most of the points and elements I would have tagged as important as addressed in the study guide.\nMy only disappointment with the guide is a point or two regarding Biblical choice and application. A couple verses chosen and applied to story events do not necessarily mesh with my Lutheran beliefs.\nOther members of the TOS Crew had the opportunity to review this same guide as well as guides for other novels. See what they had to say at the Crew Blog.\nDisclaimer: I received a download copy of the above reviewed guide for the purposes of writing this review. I have not been compensated in any other manner and all opinions expressed here are solely my own.", "id": "<urn:uuid:ae8417da-685f-4d36-95bf-12edbe8e9d81>", "dump": "CC-MAIN-2017-17", "url": "http://marthaschool.blogspot.com/2012/03/across-five-aprils-study-guide-by.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123635.74/warc/CC-MAIN-20170423031203-00012-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9678453207015991, "token_count": 1185, "score": 3.859375, "int_score": 4}
{"text": "TIL: The word \u201cmap\u201d comes from the medieval Latin Mappa mundi, wherein mappa meant napkin or cloth and mundi the world. In essence, \u201cmap\u201d is the shortened term referring to a two-dimensional representation of the surface of the world.\nThe functions of maps do not only cover the physical representation of the three-dimensional surface, as traditional maps do. In today\u2019s digital world, maps can be further visualised to include more versatile data such as traveling time, running tracks, habits of users, and many more. These data are also often made interactive online.\nWhat\u2019s more interesting is the wonders of maps are not limited to real life. A Song of Ice and Fire map encapsulates the best examples of fictional map where it capture a snapshot of the world during the time that George R.R. Martin\u2019s series is set. We\u2019ve seen the history of the world told through a series of political maps. We\u2019ve even seen a map of the world\u2019s geological history. Each of these maps considers the story of Martin\u2019s world, but in a different way.\nFictional maps depicting the places in literature had been designed as early as Middle Ages and the Renaissance. Fascinated by the Marauder\u2019s Map that can reveal people\u2019s locations (a Harry Potter-esque version of open sourced map) and the mortal lands of Middle Earth for The Lord of the Rings, among others, we take a look at some famous fictional maps and their stories.\nProbably the most famous fictional map dating as early as the Middle Ages and the Renaissance is the depiction of Dante\u2019s Hell from the Divine Comedy. The cantos were written by Dante Alighieri, in which the author travels through hell, purgatory and paradise, aided by illustrations so readers could embark on their journey with Dante. One of the illustrators was Antonio Manetti, an Italian mathematician and architect from Florence, who was also the biographer of the architect Filippo Brunelleschi of the Florence Cathedral fame.\nHis maps spurred the study and refinement of Dante\u2019s world, where it was said, \u201cDantean cosmography became an intellectual fad that attracted the attention of some leading thinkers, including no less a figure than Galileo Galilei.\u201d\nThere are now a number of modern representations of Dante\u2019s levels of hell in Inferno, as shown in the first photo.\nA post about famous fictional maps wouldn\u2019t be complete if we are not talking about the Middle Earth. J.R.R Tolkien did not just write The Lord of the Rings \u2013 he drew it. The Lord of the Rings was a turning point in the history of fantasy map-making. J.R.R Tolkien is a master world-builder, creating several conlangs (constructed languages) for his races as well as a world so detailed that many, many people have created their own maps of it over the decades.\nThe many maps and sketches he made while drafting The Lord of the Rings informed his storytelling, allowing him to test narrative ideas and illustrate scenes he needed to capture in words. For Tolkien, the art of writing and the art of drawing were inextricably intertwined.\nOf course, if you are a fan of Winnie the Pooh and A.A. Milne, you would have come across (and loved) this map of The Hundred Acre Wood, an entire world inhabited by Winnie and his friends. The map was inspired by the beautiful landscape of Ashdown Forest in East Sussex, England, where A.A. Milne\u2019s country home was nearby. Many features from the stories can be identified with specific locations in the forest.\nOther notable maps in literature would be Arrakis of Frank Herbert\u2019s Dune, Edwin Abbott\u2019s Flatland, Jonathan Swift\u2019s Gulliver\u2019s Travels (shown above), Jules Verne\u2019s Twenty Thousand Leagues Under the Sea and Mark Haddon\u2019s The Curious Incident of the Dog in the Nighttime.\nWe\u2019d love to know: What are your favourite fictional maps?", "id": "<urn:uuid:fb7b76d5-853e-4f92-ba71-54a19390a6fb>", "dump": "CC-MAIN-2017-17", "url": "http://curated.stampede-design.com/2016/07/the-future-of-cartography/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120001.0/warc/CC-MAIN-20170423031200-00126-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9603772163391113, "token_count": 869, "score": 3.546875, "int_score": 4}
{"text": "Today we're going to look at three strategies for teaching narrative to young writers. These strategies are straightforward ways to assess someone's understanding of a narrative's structure, and they also help students get better at creatively structuring their own narratives.\nA cloze exercise is a tool that is commonly used for assessing a child's ability to \"fill in the gaps\" in a story.\nA very basic example of a cloze would be something like this:\n\"John was crying because he was __\"\n\"I talked _ the doctor and __ said I was sick\"\nIf a child fills in the blanks with suitable words, they must understand the phrase. This is a very powerful way to measure sentence or paragraph comprehension.\nThe term \"cloze\" comes from the word closure, which refers to an important concept in Gestalt psychology.\nTo demonstrate this concept, notice how your mind fills in the gaps in the following images.\nThese are not full shapes, but we still perceive them as shapes from the partial outline.\nWe perceive language in the exact same way.\nAs long as we understand the vocabulary and context of a sentence, humans naturally \"fill in\" and complete any missing words in our heads.\nYou can easily test general reading comprehension by using a tool to remove every 5th word. By writing your own cloze, you can evaluate specific criteria. For example, if you wanted to assess emotional understanding you could use something like:\nA child that understands the emotional content of this sentence should say something like \"sad\", or \"lonely\".\nInterestingly, if you are a writer, you can also use this tool to test whether your writing is clear enough to provide context cues. If your target audience doesn't fill in the blanks correctly, your story might be unclear!\nHere is a great tool you can use to make a cloze:\nA traditional cloze is for assessing sentence comprehension, but a macro cloze can assess a child's understanding of an entire story or sequence. Instead of taking out words, we now take out the beginning, middle, or end of a story. A macro cloze can range from a few sentences to an entire short story. Here are some short examples:\nThese cloze examples are more open ended, but they still provide a context that a child has to understand in order to finish the story correctly. For older students, longer and more complicated macro-cloze exercises would be more appropriate.\nPlaying with a narrative's structure is important for writers of all ages. A study in \"Reading Research Quarterly\" found that third graders grasp a story's implicit structure worse than older students.\nThe Macro Close Exercise is great because it allows for creative storytelling, but also allows people to grapple with a story's structure.\nA final strategy for teaching narrative structure is to use writing prompts.\nWriting prompts are a very open ended way to help children develop stories. These allow for more creativity, but still impose a minimal amount of structure for a child to incorporate into their story.\nAll three of these techniques can be used for students at different comprehension levels, and allow for varying degrees of creative freedom in writing a narrative.\nYou might also like:\nHow To Integrate My Storybook Into Classrooms\nThinking about using My Storybook with your students? Find out how educators can effectively integrate My Storybook into the classroom or library.\n4 Online Tools to Keep Your Kids Stimulated This Summer\nLooking for ways to keep your children educationally stimulated this summer?\nAuthor of the Month for April: Winners!\nThis month we've chosen 3 winners! Congratulations to the authors of 'Mommy's Choice', 'Your Dad, My Dads' and 'The Spirit Behind Cystic Fibrosis'.", "id": "<urn:uuid:72356aaa-5ad4-4fc6-b7ab-c144d35662f6>", "dump": "CC-MAIN-2017-17", "url": "https://www.mystorybook.com/blog/cloze-and-macro-cloze-stories", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125849.25/warc/CC-MAIN-20170423031205-00543-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9350184798240662, "token_count": 770, "score": 4.5625, "int_score": 5}
{"text": "Learn to animate\u2014one frame at a time\nExperience the National Film Board of Canada\u2019s stop-motion animation workshop online. This web module will teach you how to produce stop-motion animation videos and introduce you to NFB stop-motion animated films. It offers instructional videos and step-by-step lessons. The 7 lessons have been designed for an Intermediate (Grade 7\u20139) Art Curriculum. However, they can be easily modified to suit other age levels and subject areas.\nAre you an Educator?\nIf you want to use stop-motion animation in your classroom, start by clicking on the StopMoStudio Overview. Read the Educator\u2019s Strategy Guide first, which is a companion piece to the tutorial videos featured on this playlist, then work through the rest of the resources. Watch the tutorial clips (one, a couple, or all in one visit) then select a lesson plan related to what your students are studying in class. Next, familiarize yourself with Lessons 1\u20137 and the related activities.\nStop-motion animation can be integrated across the curriculum in subjects as diverse as math, social studies and media literacy. We recommend introducing stop-motion animation as a learning activity or even as a tool for students to demonstrate their knowledge of a subject area. Why not collaborate with other teachers in your school to create an interdisciplinary learning activity?\nLearning for Fun\nIf you want to try your hand at stop-motion animation outside of a classroom context, we suggest you start by clicking on the NFB Instructional Videos. View the Mediatheque Playlist to see examples of users\u2019 previous animation work. You can view NFB professional stop-motion animation films on our curated Stop-Motion Animation Playlist. Then, if you would like to learn more about creating your own animations, explore Lessons 1\u20137, and complete any activities that interest you. Animation Resources will provide you with more useful tips, references and templates to round out your online workshop experience.\nSTOP-MOTION AND GO!\nEducator\u2019s Strategy Guide\nLesson 1 \u2013 Introduction to Media Literacy\nLesson 2 \u2013 Introduction to Animation\nLesson 3 \u2013 Overview of Technology and Principles of Animation\nLesson 4 \u2013 Storyboarding and Storytelling\nLesson 5 \u2013 Creating Characters for Animation\nLesson 6 \u2013 Creating a Set\nLesson 7 \u2013 Animation Production\nStopMoStudio was inspired by our ever-popular stop-motion animation workshops. Want to discover stop-motion in-person? You can participate in these unique workshops by visiting the NFB Education offices in Toronto or Montreal.\nEducators, to show NFB films or NFB Interactive projects that are online to your students, you require a subscription to CAMPUS. Your ministry of education or school board may have already purchased a subscription; to check and see if they have or to inquire about purchasing a subscription for you or your school, contact us. A subscription to CAMPUS ensures that you have the public performance rights to share content from NFB.ca with an audience, including your students.\nFind out how stop-motion animation can be integrated into lessons in the classroom or learned for fun at home. There are many ways to create stop-motion films; these StopMoStudio workshop video tutorials will show you how to work with modelling clay and sets in both 2D and 3D\u2014but the possibilities are endless.\nIt all starts here: In this clip you\u2019ll learn about the\nfundamentals of animation so you can get experimenting. Whether you\u2019re a\nyounger student or a first-time animator, we encourage you to try all kinds of\nmedia and techniques\u2014you\u2019ll be amazed at what you can achieve.\nFlip it and watch your world come to life! Animation is\nbased on the principles of recording small, incremental changes to an image,\nobject or character to create the illusion of smooth and fluid motion. One way\nto illustrate these principles is to create your own flipbook or flip trick.\nAll you need is paper and pencil.\nFilms are anchored by a story, which often follows a\ndeliberate plan. Filmmakers usually chart out the beginning, middle and end of\na sequence of events, detailing the actions of their characters from scene to\nscene on a storyboard. This is a kind of map, displaying the arc and rhythm of\na story. If you plan your story before you shoot, you will find you achieve\nthe best results. Watch this clip to learn more about storyboarding on paper\nbefore you turn on the camera and yell \u201cAction\u201d!\nThought your years of playing with plasticine were over?\nWatch this clip to learn how to mould perfect 3D characters, ready to bring\nyour animated stories to life. All you need is basic modelling clay (or\nplasticine), which is oil-based and pliable, and your imagination.\nYou\u2019ve watched the basics of animation and understand rhythm and frame rates, storyboarding and the art of building your own characters and sets\u2014now it\u2019s time to bring it all together. This clip demonstrates how to shoot stop-motion animation using basic technical equipment to capture your story in motion.\nExtra tips for making your own stop-motion animation creations. This tutorial follows on from the first tutorial, StopMoStudio \u2013 Stop-Motion Animation Workshop, on the basics of stop-motion animation.\nThis short clip provides more detailed guidelines on art materials, set design, props, decor and the creative process when working with simple 2D and 3D animation sets.\nWant to go deeper into the art of character construction for your stop-motion plasticine animation film? If you\u2019ve already watched the first main clip on Creating Characters, you\u2019ll find this one a useful extension. Learn all about topics such as optimum dimensions and supports.\nA step-by-step tutorial explaining what basic technical equipment you\u2019ll need and how to use it to shoot your stop-motion animation film. There are many types of cameras, software programs and mobile devices or apps you can use. This clip suggests one possible set-up.", "id": "<urn:uuid:13eb988f-32e2-444e-8c0c-861bef3538f4>", "dump": "CC-MAIN-2017-17", "url": "https://www.nfb.ca/playlist/stopmostudio/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122996.52/warc/CC-MAIN-20170423031202-00013-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.909863293170929, "token_count": 1274, "score": 4.0625, "int_score": 4}
{"text": "\"From [women Elders] I have come to understand how they see\nwords as having work to do; words make the world rather than\nmerely referring to it.\"1\nIn Aboriginal culture, the oral tradition is very complex.\nAboriginal Peoples give a special place to the ability to speak\nwith meaning and confidence. The birth of oral tradition lies in\nits immediacy and liveliness. For Aboriginal Peoples, the act of\noration is powerful.\nAboriginal Elders are an example of those who have mastered\nthe creative art of the human voice. Elders are living examples\nof the power of storytelling; their stories contain the power to\ntransmit the social and cultural folklore, memories, histories,\nand laws of their peoples from generation to generation.\nIt begins with the telling of the story. Oral history can be\ndefined in many ways among the Aboriginal Peoples. Stories can\nbe told in ceremony as well as in everyday speech. Some\nAboriginal Peoples view ceremony as the physical enactment of a\nstory that was created by the ancestors or the spirit world.\nAlthough a ceremony may not mimic exactly that mythic moment it describes, it makes\npresent for the people their connection with ancestral history and tradition.\nThe ceremony reveals the cultural truths found in the\nancestral past. The re-enacting of ancient events also bears\nwith it the thrust of social memory. It is this social memory\nthat plays a key role in many Aboriginal cultures. Social memory\nis central in the construction of Aboriginal law. Social memory\nnot only remembers what we would call the historical past, but\nmore importantly it remembers the potent mythic past. Moral and\nreligious values stem from this shared, remembered history.\nThe stories laid down by the ancestors set both the framework\nand the laws for the contemporary community. The practice of\n\u2018remembering\u2019 in the daily lives of Aboriginal peoples reaffirms\ntheir place in the social and physical world. For example, it\nconfirms who they are, what they are to do, and, more\nimportantly, what their relationship is to other beings and\nobjects: animate and inanimate. Social remembrance retains both\nthe ceremonial acts that we would call spirituality and the\nnorms that we would call law. The result is circular. Oral\nhistory is the crucial element in the ongoing transmission of\nidentity but it also stems from that identity.\nOral history can be a way of showing the consequences of\ncertain acts that are or would be extremely unlikely to occur,\nand by doing so set standards for the good, in tune and in\nbalance with the \u2018natural\u2019 order. Should the teaching be broken,\nthe result will have a tremendous consequence, usually of the\nkind we would associate with the supernatural. This kind of\n\"teaching\" component sets Aboriginal law apart from other ways\nof presenting law. Oral history provides access to the unusual\nfor everyone who hears such stories. These special cases of\nencountering reality are not regarded as extraordinary\u2014they are\nmerely experiences accorded to the gifted; however, everyone\npotentially can experience them in dreams or in other\nThough many of these stories and story types are found almost\neverywhere in the world, what is so significant for Native North\nAmericans is that their stories indicate who and what they are.\nStorytelling is not just the act of retelling a favourite tale\nwith passive listeners. To say that it is a group sitting around\nthe fire while an Elder or the societal authority relates a\nstory of the ancestors is, in effect, stereotypical and narrow.\nOral history is a re-connection to the unimaginable act that\noccurred in the ancestral past. The language within the stories\ntold is laden with meanings. By extension, language is a\ncreative arena within human life that can be directly linked to\nOral history is much like a case in law that is tried more\nthan once\u2026each time deals with the same facts, but the place,\ntime and characters can shift the parameters of the case. No two\nauthorities will tell the story the same way for the simple\nreason that no two people are on the same life journey.\nTherefore, each has his or her own spiritual take on the\nmeaning, and the orator realizes the nature of the group\nreceiving the story.\nThis multimedia presentation provides access to Aboriginal\noral history. Through video segments, audio clips, and text\narticles, the stories and wisdom of the Elders, the keepers of\nknowledge, have been preserved for future generations to\nexperience and enjoy.\nThere is an increasing need to preserve such oral traditions\nin this manner. Time and circumstance have eroded many cultural\nfoundations for the Aboriginal Peoples in Alberta and across\nCanada. It is not enough to translate into written text the\nstories of Aboriginal Elders, simply because it is impossible\nfor the written form to articulate the cultural expressiveness\nof the oral tradition. The written word cannot capture the\nimmediate moment of cultural transmission, or recreate the\nphysical gestures or subtle nuances in tone that lend deeper\ncontext to the words spoken.\nAboriginal Elders are a living form of oral and visual\ncultural and historical expression, and the Elders\u2019 Voices\nproject has undertaken to preserve this mode of expression\nthrough auditory and visual media. In this way, a living record\nof Aboriginal history is being compiled. As one explores these\nvideo and audio segments, one will see the faces, the gestures,\nand the expressions that will enrich the meanings of the words\nThe audio, video, and text resources for this project were\nprovided through the generous donation of a number of\norganizations that are listed in the quicklinks section of this\nwebpage. Click on the name of the desired organization to access", "id": "<urn:uuid:cd7d3e44-e14a-45c0-ba0e-633646c19096>", "dump": "CC-MAIN-2017-17", "url": "http://wayback.archive-it.org/2217/20101208160530/http:/www.abheritage.ca/eldersvoices/voices/index.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120187.95/warc/CC-MAIN-20170423031200-00187-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9331099390983582, "token_count": 1215, "score": 4.15625, "int_score": 4}
{"text": "Developing a positive attitude to learning and an \u201cI can do it!\u201d attitude in young children is important. Children need to be willing to take a risk, to have a go, to try something new. They also need to realise that, if they can\u2019t do it yet, it\u2019s not the end of the world. If they try again, practise, and show persistence, one day they\u2019ll be able to achieve many of the things they want. Giving up doesn\u2019t achieve anything.\nThat little word \u201cyet\u201d is very important for children, and adults, to understand. It helps them see that learning is a process, not just a product. Learning is something that continues throughout life. If we want to develop life-long learners, it is important to view learning as a continuum. Every stage is important in and of itself, not just as a stepping stone to the next. If children are acknowledged for what they can do, they will be more willing to have a go at things they haven\u2019t yet.\nDeveloping confident children is at the heart of a supportive classroom environment.\nAn \u201cI can do it!\u201d attitude consists of three main parts:\n- the confidence to have a go, a willingness to try, and of not being afraid of not getting it on the first attempt,\n- the persistence to keep on trying and the determination to succeed, despite setbacks, and\n- the resilience to not crumble under setbacks.\nThere are many subtle ways that confidence can be encouraged in a classroom. It won\u2019t happen with just one session a week, or even a day. It comes from an attitude, a way of viewing children and their abilities; a way of understanding learning, of where the children are and where they are going. It is about finding the best way of extending their learning while keeping their self-esteem, confidence, and joy in learning intact.\nWithin a supportive environment that appreciates the present while keeping a firm, but flexible, eye on the future, there are many activities that can be used to affirm children\u2019s developing abilities and to help them grow into confident learners.\nKnowing how much children enjoy fairy tales, one year when we were discussing confidence and the things they could do, I wrote a fairy tale starring the children in the class. They loved it, and I used it with each subsequent class. It is now available to readilearn subscribers to use with their classes.\nThe Clever Children, tells of a kingdom over which a wicked witch has cast a spell of forgetfulness \u2013 everyone has forgotten what they once knew. The king, hearing about the class of clever children, enlists their help in teaching the people what they need to know.\nThe story is available both as a estory for reading online and as a printable to personalise for your class. Free teaching notes are also available. This week I have uploaded a new free resource, the I can caption book, which can be used in conjunction with The Clever Children or on its own.\nI can caption book and I can caption book \u2013 Teaching suggestions combined in an easy-to-download zip folder. Print out the booklets, brainstorm ideas, and have children write their own booklets about things they can do.\nNote: It is just as effective, and saves on printing costs, to give children sheets of blank paper for writing. However, the booklet is available if you wish to use it.\nI hope you and your children enjoy using these resources. I\u2019ll see you next week with an author spotlight and suggestions for storytelling. In the meantime, enjoy the weekend.\nThank you for reading.\nHappy teaching and learning,\nYou can contact me:\nvia email email@example.com\nvia the Contact page\non Facebook @readilearnteachingresources\non my other blog NorahColvin.com\nI invite you to rate and review any resources you use, and to share information about readilearn on social media.\nI appreciate your comments. Please share your thoughts.", "id": "<urn:uuid:9a63e165-1e03-4bfa-9861-2bc87750cd60>", "dump": "CC-MAIN-2017-17", "url": "http://www.readilearn.com.au/developing-can-attitude/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00483-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.963530957698822, "token_count": 845, "score": 3.625, "int_score": 4}
{"text": "Watching recorded lessons in the privacy of your home (or in a support classroom) allows students to re-watch, rewind, discuss with a friend/support teacher/parents\u2026 then the teacher can reteach in small chunks while students are participating in active learning. When flip teaching is done right, what matters is that it uses time differently and more effectively, in ways that can profoundly benefit all learners, including students with special needs.\nHow to get started, the basics-\nSix Steps to Flipping a Classroom\n- Plan: Identify which lesson you want to flip.\n- Record: Make a video that incorporates your classroom lessons.\n- Share: Send the video to your students, explaining that it will be discussed in class.\n- Change: After students view the lesson, they\u2019ll be prepared to take a deeper dive into the concepts discussed.\n- Group: Split students into groups and give them a task to perform. Make it fun\u2014examples include writing a poem or making a video.\n- Regroup: Bring the students back together to share everyone\u2019s work. Ask questions to encourage comprehensive understanding.\n- iNov8 provided a \u201cFlipped classroom for students with special needs \u2013 List of tools\u201d that includes: Those that can be used outside of the classroom only (content curation and interactive screencasting) Those that can be used both inside or outside the classroom (screensharing, interactive polling) and Those used mainly for use inside the classroom (digital storytelling, blogging/microblogging, concept mapping).\n- What is a Flipped Classroom? - Special Education and \u2026 Flipped About Learning - Information on the flipped classroom. What it is, and what people are saying about it.\n- One teacher's experiences and recommendations and a great teacher site that offers valuable implementing resources.\n- My Pinterest site will provide you with resources for how to put your own flipped classroom together.\n- 54 Flipped Classroom Tools for Teachers and Students\nTech and Learning's article, \"Flipping Instruction for Struggling Students\" provides a short slide show along with tips and resources.\nThe thinking behind the flipped class - blended learning where students learn content through technology usually at home, and \"homework\" is done in class with teachers and students discussing and solving questions, involved in projects - is to engage learners in and out of the classroom. The dynamic nature of this approach enables teachers to create effective and fun learning experiences. Flipped classrooms can help to bring parents into the classroom, creating more family involvement, conversation and knowledge about what is being taught. Parents have the knowledge to then reinforce what is being taught in the classroom with life experiences, extending the learning even further. How our special needs students lives can be enriched through this process and the support it can provide - that's the cherry on the top.", "id": "<urn:uuid:57c7bed4-b8c0-49c7-afe5-2a965ef27e6f>", "dump": "CC-MAIN-2017-17", "url": "http://atclassroom.blogspot.com/2015/01/flipping-classroom-and-special-education.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125654.80/warc/CC-MAIN-20170423031205-00486-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9342963695526123, "token_count": 585, "score": 3.578125, "int_score": 4}
{"text": "2Chapter 1Draw a picture of what you think Treegap looks like.\n3Chapter 2 Create a character map of Mae Tuck Cinderella Lives with her evil stepmother and step sisters.Is unhappy working as aServant, but she is a goodpersonCinderellaMice help her prepareFor the ball.Has a fairy god motherMeets the prince, loses herGlass slipper\n4Chapter 3 What books have you enjoyed reading? Why? Were you able to make a connection to the text?Write about how relating to a book can help you understand the book better.Have you ever felt like Winnie does- like running away? Describe how you felt and how your feelings were similar to Winnie\u2019s.\n5Chapter 4Foreshadowing is another author\u2019s craft. An author uses foreshadowing to give readers a hint about something that will happen later in the story. This creates tension in the reader\u2019s mind and makes the story more exciting. It also helps tie the story together by relating early events to later ones. (pg. 18?)Whom or what do you think the man in the yellow suit is searching for?\n6After you read Chapter 4Imagery is language that an author uses to illustrate with words the characters and events in a book. Imagery can include both descriptive language and figurative language.Figurative language can consist of similes and metaphors.Can you find an example of a simile in the text?\n7Chapter 5 The Wood Winnie Foster thinks about running away. Winnie tells her troubles to the toad.She goes into the wood.The stranger talks to Winnie. He is looking for a family.Winnie meets Jesse, Mae, and Miles in the wood.The WoodTuck family has looked the same for 87 years.A stranger stops at the Foster gate, and he is looking for someone.Owned by the FostersAsh tree and spring at centerMae has a music box.He wears a yellow suit and is \u201ctall and narrow.\u201dMae Tuck sets out to meet her two sons, Jesse and Miles.\n9After reading Chapter 7What do you think about the Tuck\u2019s story? Back up your thinking with examples from the book.If you were Winnie, would you believe them? Why or why not?List some parts of Chapter 7 that are fantasy, and others that are realistic.\n10Chapter 8-9Character development- It is important not only to look at what a character is like at a particular moment in time, but also to watch how the character changes over time.Have you noticed any changes in Winnie since the beginning of the book? For what reasons has she changed?\n11Chapters 8-9Winnie is constantly watched and protected by her family. She\u2019s tired of it and wants to do something interesting. She\u2019s determined to run away.Winnie realizes she\u2019s afraid to run away, but she has enough courage to sneak off into the wood by herself.After being kidnapped, Winnie feels frightened and helpless.Ch\n12Chapters 10-11Comparing and contrasting is a comprehension skill that you can use to understand the story, including setting, theme, and characters. By noticing similarities and differences between characters, you can understand what a character is doing and, more importantly, why the character is doing it.Develop a compare-contrast chart for Winnie and the Tucks home.\n13Chapters 10-11 Compare and contrast Winnie\u2019s home and the Tucks home. How does Winnie feel now?\n14Chapters 10-11 Winnie\u2019s home life Very organized Lots of rules Uncomfortable way of lifeLimitedIn a lonely spotTuck\u2019s home lifeVery little rulesVery dirty houseComfortableFree to do almost anythingfriendly\n15Chapters 12-13One theme is the idea that life is a natural cycle. Images of a wheel, hub, or circle recur throughout the text.Make inter-textual connections to other books that you have read or movies that you have seen that employ recurring ideas or images.\n16Chapters 12-13 Story Themes A story theme is repeated images, a major idea, or the point of the story.Do you notice any familiar or recurring images in Chapters 12 and 13?Where in the book have you seen them before?How are they related to the theme of the story?\n17Two recurring elements are: (Ch. 12-13) Water-The water from the spring that gave the Tucks eternal lifeTuck uses the ever-flowing water of the pond to explain to Winnie about the wheel of life.Toads/Frogs--Winnie spoke to a toad outside the fence of her own house,- She noticed the loud croaking of frogs at the Tucks\u2019 pond when she was in the boat with Tuck and then with Miles.\n18Chapters 14-15Complete 2 quadrants in your notebook for each chapter.\n19After reading Chapters 16-17 Literary Elements:Beginning (Setting, Main characters and problem are introduced)Middle (the characters struggle to solve the problem)Climax- (events lead up to a climax which is the most exciting point in the story)End (the problem is solved/ resolved)What is the central problem or conflict in Tuck Everlasting?\n20After reading Chapters 18-19 Complete 2 quadrants for each chapter.Use strategies that you have not used thus far in the book.\n21After reading Chapters 20-21 A story graph helps students track changes in the story from beginning to end.She gets to the house and goes over to Grandma\u2019s bed.Very happyThe woodcutter kills the wolf.HappyLittle Red Riding Hood leaves for Grandma\u2019s House.She\u2019s glad to be safe, but her grandmother is gone.Not happyThe wolf jumps out and threatens to eat her.BeginningMiddleEnd\n22Story graph Winnie\u2019s feelings change over time Her situation changes over timeYour feelings about the story may have changed over time.Now it is your turn to create a story graph for Tuck Everlasting. You can choose which situation or character changes.\n23After reading Chapters 22-23 A theme that emerges throughout Tuck Everlasting is the complex relationship between being responsible and following the law.What are laws?How do the people who live in a community benefit when everyone knows and follows the laws?How important is your responsibility to do what you think is right? How important is your responsibility to obey the law?When your own sense of right and wrong goes against what the law says, what should you do? Why?\n24Why do you think she should drink the water? Chapters (Cont.)Predict whether you think Winnie will go back to the spring when she is 17 , and why?Why do you think she should drink the water?Why do you think she should not drink the water.\n25After reading Chapter 24 What is \u201cPoint of view\u201d? Stories can be written in first-person or third-person point of view.If the character, or narrator, uses the words I and me to refer to himself or herself, the story is written in first-person.If the narrator is outside the story and uses words such as he, she, him, and her to refer to the characters in the story, the story is written in 3rd person.\n26First person Point of View- -I clasped my trembling hands thankfully. -One by one I kissed them back.Third Person Point of View-Winnie clasped her trembling hands thankfully.One by one she kissed them back.\n27What point of view did Natalie Babbitt use to write Tuck Everlasting? In some stories the third-person narrator can describe the thoughts and feelings of only one character. In other stories the third-person narrator can describe the thoughts and feelings of all of the characters.Why do you think that the author chose to limit the descriptions to the thoughts and feelings of Winnie.How did this affect the way readers experience the story?How would the story be different if the narrator described only Jesse\u2019s thoughts and feelings instead of Winnie\u2019s?\n28After reading Chapter 25Do you think the central problem or conflict in the story has been resolved?The man in the yellow suit is dead, Mae Tuck has been rescued from prison, so the secret of the spring is safe.What questions still remain unanswered?Turn and talk with your partner.\n29EpilogueAn epilogue is a short section at the end of a book that often explains what happens to characters after the main action of the story is over.What clues does the author use to reveal when the events of the epilogue take place?How does the author use the gravestone to give details about what happened to Winnie?", "id": "<urn:uuid:396845de-a0c9-4852-b908-c380db6e8e83>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/1655926/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119838.12/warc/CC-MAIN-20170423031159-00422-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9507918953895569, "token_count": 1845, "score": 3.546875, "int_score": 4}
{"text": "Lienzos are maps that tell the story of a place. The story of the Lienzo de Quauhquechollan, one of the oldest of these maps, is being told on the Web 500 years after the events it records occurred. A responsive and intuitive Web site developed by the Universidad Francisco Marroqu\u00edn (UFM) and Geosistemas y Tecnolog\u00eda Avanzada, S.A. (Geosistec), Esri's distributor in Guatemala, using the recently implemented ArcGIS API for Microsoft Silverlight, has made sharing this cartographic treasure with potentially millions around the world possible.\nThe Original Multimedia Experience\nFor the peoples of Mesoamerica, place and past were inseparable. Lienzos not only recorded the details of a geographic location but also communicated what happened there in a form of mapping now described as historical cartography. Graphic symbols designate people, places, and dates while stylized images of plants, animals, rivers, roads, and other features indicate where the story took place.\nLienzos were not meant to be studied silently by individuals but were performed aloud for groups by a narrator who brought to life the events shown on the map. The story was recited to audiences assembled at market days and other community gatherings.\nA Uniquely Important Map\nDating from circa 1530 to 1540, the Lienzo de Quauhquechollan tells a story of great adventure\u2014the Spanish conquest of Guatemala. It is an important historical document for many reasons. Not only is it the first known map of Guatemala, but it also provides the only firsthand account by indigenous people of this military campaign.\nThis account changed previously held beliefs about the conquest of Guatemala. The lienzo illustrates how the Quauhquecholteca of central Mexico, who viewed the arrival of the Spanish conquistador Jorge de Alvarado as an opportunity for enhancing their own power base, allied with his forces to conquer Guatemala.\nThe Quauhquecholtecan artists recorded this triumph on 15 rectangular pieces of cloth. Together, these panels show selected elements, both events and locations, that these artists felt would help listeners best experience the story. The existing map is 10 feet, 6 inches wide by 8 feet, 5 inches long. However, the lienzo did not survive intact. A portion of the right side of the lienzo\u2014perhaps as much as one-third of the original\u2014was cut off.\nA Hidden Treasure\nThe original Lienzo de Quauhquechollan had been for many years (and remains) part of the collection at the Museo Casa de Alfe\u00f1ique in Puebla, Mexico. However, its significance was not initially appreciated because the location of the events depicted had been misidentified. While its pictographs clearly show the activities of Spanish conquistadors, it is Guatemala\u2014not an unidentified area in central Mexico\u2014where these events occurred. Florine Asselbergs, a Dutch archaeologist working on her doctoral thesis, correctly located these events. Her 2004 book, Conquered Conquistadors: The Lienzo de Quauhquechollan: A Nahua Vision of the Conquest of Guatemala, is based on her thesis and recounts her findings.\nUnderstanding this type of map with its nonlinear representation of events was difficult for western researchers. Identifying locations and deciphering the pictographs were also challenging because the lienzo was so worn; faded; discolored; and, in places, torn. However, attempting to physically repair the map's fragile cloth would likely distort or destroy it.\nRestoring without Destroying\nAs part of its Explorations on History program, the UFM, in Guatemala City, Guatemala, gathered a team drawn from many disciplines to digitally restore the Lienzo de Quauhquechollan. The project, cosponsored by Banco G&T Continental, brought together experts in anthropology, archaeology, epigraphy, ethnobotany, various digital technologies, graphic design, history, lighting, photography, storytelling, and textiles. The project's goal was not limited to restoring the original map digitally. Using the Internet and GIS, the project would make the lienzo accessible to both researchers and the public so its secrets could be unraveled.\nAlmost nine months of intensive work has resulted in four digital layers that progressively restored the map to its original appearance by eliminating stains and blurs, reproducing the textures of the original canvas, restoring the colors produced by the natural dyes, and reinstating the black outlines of pictograph elements.\nFrom these restored layers, the team created several vehicles for telling the map's story. Embodying the spirit of the original lienzo performance, a narrated and animated feature adds movement and sound to the images of the pictographs. It features an original score based on pre-Hispanic and 16th century Spanish music. An exhibit about the map has attracted more than 18,000 visitors to UFM's cultural center. An exhibit catalog, El Lienzo de la Conquista Quauhquechollan\u2014A Chronicle of Conquest, describes both the map and the project.\nSharing the Story\nAlthough thousands of people have viewed the exhibit and the animated feature, a Web site could potentially share the map's story with millions of people worldwide. UFM approached Luis Ferna\u00f1dez, president of Geosistec, about making the lienzo project accessible to more people.\n\"Our goal was to find a way to merge modern cartographic tools with the concept of \u2018living geography' through which the Mesoamerican peoples communicated stories, legends, and traditions based on collective experience and which had a narrator as the key component,\" said Ferna\u00f1dez.\nFounded in 1994, Geosistec provides geodatabase management, thematic mapping, and geographic analysis to governments and companies in many fields. The creation of a comprehensive geographic database for Guatemala, El Salvador, and Honduras has positioned the company as a leading provider of geographic content for automated vehicle location (AVL) applications in the Central American region.\nGeosistec had created dynamic Web applications for environmental monitoring, telecommunications services, and emergency response. However, the lienzo project was the company's first experience making historic documents and maps dynamically available over the Web. Geosistec has a history of adopting cutting-edge technologies.\nAfter following the development of Microsoft Silverlight technology, the company chose it for this project rather than Adobe's Flex, a more mature technology, believing it to have more potential for rapid evolution. Silverlight has proved to be a strong platform for providing rich functionality and good user interactivity. The responsive, intuitive, and dynamic Web map built by Geosistec uses the ArcGIS API for Microsoft Silverlight.\nAlthough this was the first time Geosistec had used Silverlight, the team of three staff members took just two months from conception to completion\u2014working on a part-time basis. Developing the conceptual design and innovative tools for the site took half the time spent on the project. VisualSVN (Subversion for Visual Studio), a plug-in for the open source version control system Subversion, helped manage the project by sharing multiple versions of the code for easy integration and deployment of the application.\nRelating this ancient pictographic map to a modern map presented certain challenges because the lienzo lacks a spatial reference and map units. In addition, its emphasis on the story line meant that a single location might appear several times if more than one significant event occurred there.\nUsing a timeline handles these problems and performs the function of the traditional narrator. It relates the events and images selected on the lienzo with locations and attributes on a smoothly scaling modern map.\nDeveloping new tools for exploring the lienzo and related geographic content was among the most challenging aspects of the project. The Flip and Swipe tools promote unstructured exploration of the map's information. The Flip tool exchanges the display of the modern map with a scene-by-scene description of events on the lienzo without requiring users to open another window or leave the current one. With the Swipe tool, the user can explore the Lienzo de Quauhquechollan as it appears now and as it did when it was first painted nearly half a millennium ago.\nOptimizing the user experience while exploring the lienzo and geographic content it depicts and incorporating information compiled by Universidad Francisco Marroqu\u00edn on the places, symbols, clothing, and plants shown in the lienzo tested the team's mettle. The resultant Web application marries technology and tradition so the story the Lienzo de Quauhquechollan tells can be \"heard\" by people from around the world.\nIt is often said that maps tell as much about the mapmaker as the landscape. The Lienzo de Quauhquechollan project has given modern viewers, used to the conventions of western cartography, a different way of looking at geography\u2014one that is intertwined with history. Deciphering this map has also provided new insights into the historical events surrounding the conquest of Guatemala. The Web site (lienzo.ufm.edu) created by the UFM and Geosistec is retelling the dramatic story of one of the oldest and most striking lienzos to a 21st century audience.", "id": "<urn:uuid:9cd5df52-f19c-4620-8767-5a16e99c3540>", "dump": "CC-MAIN-2017-17", "url": "http://www.esri.com/news/arcuser/1009/storymap.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120844.10/warc/CC-MAIN-20170423031200-00306-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9413455128669739, "token_count": 1952, "score": 3.859375, "int_score": 4}
{"text": "Reading, Writing, Gaming\n- on May 5, 2014\n- in Institute of Play\n- by Educator Innovator\nBy Maureen Kelleher\nRecent research and innovative school practices show how games\u2014both digital and non-digital\u2014inspire young learners. The secret? Games tap into the power of interest-driven learning.\nWhat is the fastest way a teacher can spark students\u2019 curiosity and channel their internal motivation to learn? Make a game of it.\nResearch on how video games can promote literacy shows that gamers want to understand game-related text badly enough to correct their own reading mistakes. Increasingly, classroom teachers and even entire schools are using games to build students\u2019 reading and writing skills.\nA 2010 paper by associate professor of digital media Constance Steinkuehler and colleagues at the University of Wisconsin showed that when struggling readers read from school-based and game-based texts chosen by researchers without regard for student interest, the struggling readers showed low performance on both kinds of text. However, when a handful of struggling readers were given game-related texts seven to eight levels of difficulty above their tested reading level that matched their interests, they read them accurately and independently.\n\u201cWhen they choose the text, when they care about it, they actually fix their own comprehension problems more than two times as often as when they don\u2019t care about the text,\u201d Steinkuehler told Edutopia in this 2013 video.\nSteinkuehler\u2019s research is inspiring teachers to bring games into the classroom. At West Pender Middle School in Burgaw, N.C., Lucas Gillispie, a teacher and instructional technology coordinator, credits Steinkuehler\u2019s work for inspiring his World of Warcraft in School project.\n\u201cThere\u2019s a lot of reading inherent in World of Warcraft play,\u201d Gillispie said.\nBecoming an excellent player requires reading online references like WoWWiki.com, which includes vocabulary found in academic textbooks across many subjects and is written at a level of difficulty appropriate for students nearing the end of high school or high school graduates.\nGillispie\u2019s project started as an after-school club integrating academic skills, including literacy, with the online game World of Warcraft. It has since evolved into an elective language arts course using Guild Wars 2 as the game platform through which to build literacy skills. Students learn about different literary genres\u2014from poetry to propaganda\u2014and write mission statements for their guilds, or groupings of players who work together to play more successfully.\n\u201cThe kids run to this class,\u201d said Gillispie. \u201cWe don\u2019t give them homework, but we find students logging in to advance on their work at night.\u201d\nThe secret of games\u2019 success\u2014their power to spark and channel students\u2019 motivation to read and understand complex content\u2014isn\u2019t confined to digital games. Founded in 2007, the Institute of Play has designed and opened two secondary schools devoted to game-based learning: New York City\u2019s Quest to Learn, a public school, and ChicagoQuest, a charter school. Though the Institute of Play designs digital games like SimCityEDU, a city-building game that teaches principles of urban planning, digital games are just a piece of its games-to-learn picture.\nAt Quest to Learn, game designers like Shula Ehrlich work hand-in-hand with classroom teachers and \u201clearning designers,\u201d veteran educators with advanced degrees who understand both traditional instructional methods and the Quest to Learn model. Together, they develop games targeting specific instructional skills.\n\u201cThe majority of games we make are board games and card games,\u201d said Ehrlich who\u2019s employed by the Institute of Play but works inside the Quest to Learn school.\nFor example, Ehrlich worked with a classroom teacher and learning designer to create Snack Wars, a game to teach students the basics of argumentation. Students work in groups to propose an official school snack. They make their case based on a variety of evidence\u2014from nutritional information to survey data showing the most popular kinds of snacks. Having easy-to-understand evidence at hand keeps the focus on what evidence makes the best case and why, Ehrlich said.\n\u201cWhen we have students practicing a skill like making an argument and supporting it with evidence, we want them to have super-accessible content to grapple with,\u201d Ehrlich said.\nFor more advanced argumentation practice, students can play Socratic Smackdown, a discussion-based game that rewards students for citing textual evidence to support their arguments.\nGames can also morph from non-digital to digital formats. That\u2019s what happened when Jason Darnell and Rick Brennan, former middle school history teachers from the Houston area, began developing Historia, a simulation game to teach ancient history. After more than six years of refining their original, technology-lite version of the game, Brennan and Darnell are launching a beta test of the digital version in 25 classrooms around the country on May 5.\n\u201cGames give kids a choice, a context they can dive into. And they really produce some amazing stuff,\u201d said Darnell, now president of Histrionix Learning Company.\nIn Historia, student teams govern their own fictional societies and strive to keep them strong in the face of competition from great civilizations of the past. To succeed, students must research their competitors\u2019 civilizations and understand how key events in each era affected them. Students also develop writing skills by answering essential questions about each civilization they encounter and by learning to write argumentative essays.\n\u201cThe way to do better in the game is to research. The more you know about the civilizations you are going to encounter, the more you will succeed,\u201d Darnell said.\nGames even inspire students\u2019 storytelling. At Quest to Learn, a seventh-grade English teacher wanted to design a game that would allow students to practice using literary elements like setting, characters, simile, and metaphor. She and Ehrlich worked together with a learning designer to create Story Weavers, a collaborative writing game that uses Keynote presentation software.\n\u201cEvery slide of the Keynote presentation is a different part of the story,\u201d Ehrlich said. Students choose from groups of cards offering varying settings, protagonists, and other literary elements, then use them to write their own stories. \u201cIn a group of four kids, four stories are being written simultaneously.\u201d\nThe game has been adapted to brainstorm essays and write fiction of varying genres. A particularly successful variation grew out of a quest related to dystopian fiction.\n\u201cUltimately, kids had to write their own dystopian fiction. They could use the group story as a base for their own work,\u201d Ehrlich said. \u201cInitially, kids were resistant to a writing piece. In this context, they\u2019ve really liked it and had fun with it.\u201d\nInterested in learning more about how to use games in your classroom? The Institute of Play has resources that can help, including videos, design packs to empower educators to create their own game-like learning experiences, and game design challenges for aspiring designers.\nTop photo/ Institute of Play: Ninth-graders discussing To Kill A Mockingbird while playing Socratic Smackdown in their English Language Arts class at the Quest to Learn school.", "id": "<urn:uuid:be6f313d-dabc-4fb5-9e9d-e3d6c3ae9994>", "dump": "CC-MAIN-2017-17", "url": "http://educatorinnovator.org/reading-writing-gaming/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122955.76/warc/CC-MAIN-20170423031202-00308-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9517655968666077, "token_count": 1542, "score": 3.78125, "int_score": 4}
{"text": "Michael Wood explores the history behind some of the most well-known myths in the world. He traces the history of the story of the Queen of Sheba and chronicles the different versions of the legend that exist in various cultures. This 3,000-year-old story is referenced directly in the Hebrew Bible and the Muslim Koran. The people of Ethiopia believe that the Queen of Sheba is the reason they possess the Ark of the Covenant. Wood's long journey through the Red Sea Region documents the historical aspects of the story of the Queen of Sheba.\nLanguage Arts, Mythology, World History, Religion, and Geography\nStudents will be able to:\n- Participate in a brainstorming session and class discussion where they share what they know about the story of the Queen of Sheba and the basic characteristics of myths.\n- Practice map reading, interpretation, and plotting skills along with their knowledge of geography to discuss the historical and cultural aspects of the story of the Queen of Sheba.\n- Utilize a graphic organizer to compare how different cultures describe the Queen of Sheba and continue to incorporate this myth into their storytelling and religious beliefs.\n- Conduct research from other primary sources to learn more about how the cultures represented in the film continue to pass on the story of the Queen of Sheba as part of their cultural and religious teachings.\n- Produce creative projects about the Queen of Sheba and present their work to the class.\nRelevant National Standards from Mid-continent Research for Education and Learning (McRel) available at http://www.mcrel.org\nStandard 2: Understands the historical perspective.\nThe World in Spatial Terms\nStandard 1: Understands the characteristics and uses of maps, globes, and other geographic tools\nStandard 2: Knows the location of places, geographic features, and patterns of the environment.\nPlaces and Regions\nStandard 4: Understands the physical and human characteristics of place.\nStandard 5: Understands the concept of regions.>\nUses of Geography\nStandard 17: Understands how geography is used to interpret the past.\nStandard 4: Gathers and uses information for research purposes.\nStandard 7: Uses reading skills and strategies to understand a variety of information texts.\nListening and Speaking:\nStandard 8: Uses listening and speaking strategies for different purposes.\nStandard 9: Uses viewing skills and strategies to understand and interpret visual media.\nThinking and Reasoning:\nStandard 3: Effectively uses mental processes that are based on identifying similarities and\nWorking With Others\nStandard 4: Displays effective interpersonal communication skills.\nApproximately two 90-minute or three to four 45-minute class periods\n- Internet access\n- Photocopies of maps for the Red Sea Region\n- Graphic Organizer Worksheet\n- Television/VCR/DVD to view the \"Myths and Heroes: Queen of Sheba\" episode (Visit PBS Shop for ordering information)\n- Access to Internet and library resources for the completion of project research\n- Assorted art/craft supplies and multi-media presentation software for creation of projects (optional depending on the type of project assigned by the teacher)\nAssumed Student Prior Knowledge\nStudents will need to have a basic understanding of the terms myth and legend. They will also need to understand historical references such as B.C. as it is used many times to create a timeline of events. Knowing that the Ark of the Covenant is a box that reportedly contains the marble tablets given to Moses on Mt. Sinai is also important to student understanding of Sheba's importance in the religious world, particularly in Ethiopia.\n- Create student interest by accessing the \"Myths and Heroes\" section of the companion\nwebsite at \"http://www.pbs.org/mythsandheroes/myths_four_sheba.html\". View the video clip of Michael Wood's visit to Jerusalem so\nstudents can be introduced to the various ways that The Queen of Sheba has been\nportrayed and viewed in various cultures.\n- Facilitate a short discussion about what students already know about this particular story.\nAsk them to provide as many details as possible. Record this brainstorming on the board\nor overhead so all students can see what has been contributed.\n- Distribute a copy of a map of the Red Sea Region such as the one available at\n, point out\nthe countries that will be the focus of the story of the Queen of Sheba. Discuss the general\ngeography of the area so students can understand why Sheba's empire was considered so\nrich. Have students keep the map for future reference and use while viewing.\n- Using the What is a Myth link on the companion website at http://www.pbs.org/mythsandheroes/myths_what.html, discuss some\nof the basic characteristics of a myth including ideas such as:\n- myths are passed down for many years\n- myths are often changed to reflect the culture of the people telling the story\n- myths have certain characteristics and types of characters that make them memorable stories\n- myths can be changed over time as a result of the growth of new civilizations, globalization, and a greater understanding of the physical world\n- myths originate from many different cultures but have common themes\n- Distribute the Graphic Organizer Worksheet and explain that students will be using this to\ncompare the various stories each culture has regarding the Queen of Sheba. Direct students to\nmake note of details about the Queen of Sheba story as it is told in each different culture\nrepresented in the film.\n- As a class, view The Queen of Sheba episode. While viewing, have students:\nNOTE: Stop the film at regular intervals to allow students to record details related to Sheba as\nshe is portrayed in each of the cultures presented in the film and for students to\ncorrectly map the various areas visited by Michael Wood as he searched for the history\nof the Queen of Sheba.\n- Once viewing is complete, have students compare how the different cultures followed in the\nfilm regard the Queen of Sheba by discussing the information recorded on the Graphic\nOrganizer Worksheet. It may be helpful to provide students with a copy of Michael Wood's\narticle \"The Queen of Sheba,\" to assist with this discussion. The article is available at\n- Discuss Michael Wood's journey to search out the history of Sheba and her empire. Facilitate\na discussion about the map including questions such as:\n- How could the growth of civilizations and the geography of the area have influenced how Sheba was viewed in these countries as the myth was passed down over time?\n- In the story, Sheba was a wealthy, powerful woman who ruled a vast, rich empire. On the map, discuss the area that could have been her kingdom and why it would have been considered rich at that time in history.\n- While the countries of the Red Sea Region are close to one another, their stories about the Queen of Sheba and her significance in the culture and religion varies greatly. Discuss some geographic reasons for these variances.\n- Using additional resources such as those listed in the \"Related Resources\" section below,\nhave students conduct research about the story of the Queen of Sheba in the Israeli,\nArabian, or Ethiopian culture. Students should create a project that represents the role of the\nQueen of Sheba within the culture. Encourage students to use creative means to share what\nthey have learned including art (collage, drawing, painting), music (a song), poetry, or\nmulti-media (a PowerPoint type of presentation) to provide the class with details about:\n- Sheba's physical characteristics\n- Sheba's personality\n- Sheba's role in religion\n- Sheba's relationship with Solomon\n- Sheba as a ruler/leader\n- Other interesting information/details about Sheba\n- Once projects have been completed, students should share their work with the class by\nexplaining artwork, performing songs, reading poetry, or presenting their PowerPoint show.\nWhen making presentations, students should clearly indicate which culture they are\nrepresenting before beginning.\n- Students could receive participation scores/grades for involvement in class brainstorming and\n- Students could receive completion or accuracy grades for their work on the Graphic\nOrganizer Worksheet and completion of the mapping activity of Wood's travels.\n- Students should receive individual grades on the creation and presentation of their individual\nprojects based on a scoring guide created by the teacher or the class.\n- Students could complete self and peer evaluations to assess the quality of their individual\nprojects and provide one another with feedback about the content and presentation of these\n- View portions of the 1959 Hollywood movie Solomon and Sheba and discuss how the\nmodern American version of the story differs from what has traditionally been passed down\nin the Arab and African versions of the story.\n- Examine the role of Sheba as a powerful woman. Compare and contrast her qualities and\ncharacteristics to the strong women that appear in the ancient myths of other cultures.\nDiscuss the role of women in mythology, particularly as they appeared in leadership roles.\nIn Search of Myths and Heroes PBS companion site to the program\nThe Story of Africa: Christianity\nMakeda: Queen of Sheba\nAfrica: Explore the Regions: Ethiopian Highlands Folkore\nWonders of the African World: The Holy Land", "id": "<urn:uuid:7fe57fcd-ef3e-40fc-b2d5-ede65451487f>", "dump": "CC-MAIN-2017-17", "url": "http://www.pbs.org/mythsandheroes/tguide_sheba.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121267.21/warc/CC-MAIN-20170423031201-00130-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9102615714073181, "token_count": 1944, "score": 3.703125, "int_score": 4}
{"text": "California\u2019s Chumash natives were amoung the first people (or the first) to inhabit North America \u2013 they even called themselves \u201cthe first people,\u201d and they pointed to the shores of the Pacific Ocean as their first home.\nEvidence was found showing that they had settlements on the Channel Islands and Santa Monica Mountains as far back as thousands of years ago.The Chumash Indians of California numbered over 20,000 people who lived along the coast of California. At one time, their territory encompassed 7,000 square miles that spanned from the beaches of Malibu to Paso Robles. The tribe also inhabited inland to the western edge of the San Joaquin Valley. The Chumash Indians were able to enjoy a more prosperous environment than most other tribes in California because they had resources from both the land and the sea.\nThe Chumash were physically and spiritually united with nature, and did not waste any part of any animal they killed, or any plant they pulled from the earth. They lived according to \u201cnature\u2019s time\u201d, and believed that man\u2019s greed and desire for supremacy could eventually lead to his downfall. The Chumash villages were endowed with a shaman/astrologer. These gifted astronomers charted the heavens and then allowed the astrologers to interpret and help guide the people. The Chumash believed that the world was in a constant state of change, so decisions in the villages were made only after consulting the charts.\nThe Chumash were a matriarchal society, meaning their lineage was traced from the mother\u2019s side of the family, and that the Chief could be either a man or a woman. They were also considered to be the keepers of the Western Gate, and took this responsibility very seriously, which is probably why knowledge of their respect of nature is remembered as one of their defining traits.\nThe Chumash were also accomplished traders, and had a monetary system based on beads and seashells. They traded herbs, baskets, tools, and other artifacts with other tribes and bands, in the spirit of sharing as opposed to one of profiteering. Many elders today say that Chumash means \u201cbead maker\u201d or \u201cseashell people.\u201d\nThe Chumash lived by three basic laws which were:\n1. Limitation; this meant each individual should recognize and accept his or her limitations, and not envy those of others. This mean that each member of the tribe should be happy in their abilities, for they all had equal value in the community.\n2. Moderation; take only what you need from the land and the ocean. Leave some for future days and future peoples. The same goes for your tasks; better to take your time than make a mistake which would render all your work useless.\n3. Compensation; give without expecting anything in return, give from the kindness of your heart, and recognize the fact that compensation comes in many forms which are not always tangible.\nThe Chumash lived life in balance with nature, and they were ready for any situation they would encounter in their daily existence and their tasks. As a spiritual people, their view of death also echoed wisdom, believing it to be a natural part of life, bringing forth renewal and allowing the spirits of those who had departed to carry on within the living through songs, dance, art, and storytelling.\nOnce a thriving culture, the Chumash (and other Native American tribes) eventually succumbed to Spanish conquistadors and American colonists. The Chumash population was almost decimated by the introduction of European diseases and the Spanish Mission system, which awarded California (Chumash) land to Spanish/Mexican conquistadors. Ironically, the Chumash are now a people without land to call their own, as most Chumash bands have not yet made the list of federally recognized tribes.\nThe annual Pow-wow in Malibu celebrates their beautiful culture and traditions. Native Foods, Native American Arts and Crafts, story-telling, childrens activities and more.", "id": "<urn:uuid:7e5fe889-1973-46f9-8baa-dd4e10579d04>", "dump": "CC-MAIN-2017-17", "url": "http://glad.is/article/oldest-spiritual-laws/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118310.2/warc/CC-MAIN-20170423031158-00364-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.982857346534729, "token_count": 839, "score": 3.84375, "int_score": 4}
{"text": "Top 20 Ways to Use YouTube in the Classroom\nIf you sieve through the endless cat videos and clips of people falling over, YouTube is a treasure trove of educational content that can turn a one-dimensional lesson into an interactive discussion that really taps into the imagination of students.\nAs one of the most used sites on the web, YouTube can seem a bit daunting if you\u2019re contemplating using it in the classroom for the first time, so we\u2019ve put together some pointers to help ease the transition.\n- 1. Trigger interesting and unique discussion.\nSearch for topical videos surrounding current affairs, such as clips from news stories, and ask the class what their thoughts or opinions are. News reports, especially the same story reported by two different news stations, can be a great way for students to deconstruct the motives and impact of competing broadcasters.\n- 2. Use videos to inspire themed reflections in form time.\nForm time is often used to encourage students to reflect on topical issues, such as Remembrance Day or Red Nose Day. YouTube has lots of clips you could use to generate topical discussion.\n- 3. Access high quality educational instruction videos for free.\nThere are hundreds of high quality videos specifically made for a YouTube audience that are short, snappy, entertaining and educational. Here\u2019s an example:\n- 4. Play videos of poets reading their own works.\nAn excellent resource for literature classes, a video of a writer reading their own work can breath life into the lines and encourage those who are not so confident to give reading poetry aloud a go. Stress, intonation and tone are far more effective when performed by those who wrote the lines.\n- 5. Use short clips from documentaries to provide context to a topic.\nThe BBC, Channel 4 and many other large broadcasters upload small parts of documentaries to their own YouTube channel. These are great to use as part of your lesson planning, and help to bring a \u2018real world\u2019 element to the class.\n- 6. Take advantage of YouTubeEdu.\nThese videos are specifically created for educational purposes and are often concise and professional in their style.\n- 7. Find clips to use as an archive resource.\nGreat for contextualising historical context, there are plenty of clips on YouTube that feature archived footage from as early as the 1920\u2019s. There are also plenty of \u2018local\u2019 clips that may show your city or town from decades before, helping children to link their experiences with those who lived in the same area many years ago.\n- 8. Create playlists to help with future lesson planning and share amongst your department.\nOnce you have made an account, YouTube allows you to create and name playlists that videos can be added to in an ongoing fashion. This is a great way to archive your favourite videos and locate them easily in the future.\n- 9. Engage visual learners with your lesson content.\nNo one child learns the same way, and whereas one may experience the \u2018penny drop\u2019 moment from a textbook, another will get it from a visual explanation.\n- 10. Extension opportunities.\nA video introducing a more complicated area of the current topic can be set to watch as homework for students who consistently overachieve in class.\n- 11. Set an assignment that requires students to research and make their own videos to be later played in class.\nIf your school has access to cameras or tablets, students can be set an extended assignment to write, produce and edit videos on a specific topic. For instance, if you were looking at advertisements, children could be set a task to create a video advertising a product in a fun and persuasive way. There are plenty of video editing apps that students could use to create their final video before uploading it to YouTube, with a \u2018screening\u2019 of these videos at the end of the task.\n- 12. Use video infographics as a compelling way to introduce a lot of information in a short amount of time.\nThere\u2019s a great example here:\n- 13. Demonstrate experiments.\nIf you don\u2019t have the means to create large scale experiments, you can bet someone on YouTube has done it for you.\n- 14. Set a \u2018video watch\u2019 homework to prepare students for new material in the classroom.\nWith Ofcom\u2019s 2014 report stating that \u2018one in three children have a tablet at home\u2019, the chance to set \u2018video\u2019 homework is ever increasing.\n- 15. A step-by-step explanation of problematic equations.\nCompanies like the Khan Academy upload step-by-step equation solution videos onto YouTube, which is great for those looking to find resources. Here\u2019s an example:\n- 16. Use videos as a writing prompt.\nAn emotive video can be an invaluable resource when planning a creative writing lesson.\n- 17. Honing listening skills.\nAn excellent idea to perk up a class and engage their listening, there are plenty of interview videos on YouTube that you can use, asking the class to note down key pieces of information in a \u2018journalism\u2019 style task.\n- 18. Deconstruct adverts.\nOften included as part of the A-Level English Language curriculum, advertisements on YouTube can be used as a resource in practice \u2018analysis\u2019 tasks. Hint: The late 1970\u2019s and 80\u2019s provide fantastic archived material, like this one here:\n- 19. Use YouTube as a reward.\nIt\u2019s no surprise that young people love browsing videos on the web, so a carefully selected video that\u2019s fun, yet educational can be used as a treat but also as a learning resource.\n- 20. Set a research assignment.\nDuring a computer or tablet based lesson, students can use YouTube to increase their knowledge of a topic whilst making notes to share with the class.\nYouTube is a fantastic tool to use, so we hope this article has given you some ideas about how to implement it in the classroom. Both for accessing videos and hosting your own, YouTube is free and highly accessible, which is hugely beneficial to the teaching community.\nIf you\u2019re interested in making your own videos for YouTube have a look at our Top 5 Apps for video editing here:", "id": "<urn:uuid:4a34c27b-a441-4517-a82a-c1ba292e9480>", "dump": "CC-MAIN-2017-17", "url": "http://www.educationalappstore.com/blog/top-20-ways-to-use-youtube-in-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122996.52/warc/CC-MAIN-20170423031202-00014-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9287005662918091, "token_count": 1300, "score": 3.75, "int_score": 4}
{"text": "This essay has been submitted by a student. This is not an example of the work written by our professional essay writers.\nThe strategy I chose to write about utilizes hand puppets in the classroom to reinforce development of early language skills. Storytelling and education have taken on a profound new dimension with the addition of puppetry. Puppets contribute a degree of expression and flexibility. Because of the puppet's special ability to animate, the individual has a complete control over its actions as the puppet becomes an extension of its operator. Puppets' representation of worldwide folktales teaches children about foreign cultures and traditions. Stories presented by puppets promote an appreciation for language arts. This early childhood literacy strategy supports child's creativity and imagination, which are wonderful traits for children to possess (Champlin, 1998).\nChildren of all age levels are fascinated with puppets and take delight in their inclusion, preschoolers are a unique audience since they are in an impressionable, believing stage of development. According to Beaty and Pratt young children perceive puppets as an extension of themselves. Therefore, when working with young children teachers have to be attuned to this sensitive aspect of young children, when using puppets. The puppet characters should be true to their nature, especially in the general course of conversation and interaction. Teachers also have to keep in mind the short attention span of young children when selecting material. It is better to chose short stories. Repetition is also very important when teaching young children. Children enjoy hearing the same story over and over, each time they discover something new.\nYoung children have a difficult time holding back when it comes to expressing their emotions. Therefore, furry and huggable puppets would be a good choice. Puppets to be used by the preschool children have to be simple to operate, lightweight and highly durable. There are two kinds of hand puppets; those with flexible bodies and those that have a talking mouth. Flexible-body hand puppet has the ability to interpret a wide range of emotions and actions. Talking-mouth hand puppets are useful for stories with farm animals (Champlin, 1998).\nFirst of all it is important to select an appropriate literature and to introduce the story to children. Appropriate stories for preschool children contain people and animal characters from everyday life, most of these stories deal with one concept or feelings that children face daily (Gordh, 2006). I will also introduce puppet or a couple of puppets to children and show how they take on a role. I prefer to have a speaking host puppet, which can be used in many ways; before, during and/or after the story. Before the story host puppet greets the children and prepares them for story time. The host puppet will announce the title of the story, before the children go to a specific place to sit and listen to the story. The reason I prefer to use a host puppet because of its function which is to introduce a story and to set the scene through topic discussion. Children will be anticipating after hearing the puppet mention a character from the story. Two Good Friends by Judy Delton is about Bear and Duck who are close friends. Each does a good turn for the other by sharing talents. The host puppet introduces this story by talking about special friends - those who help each other. Then the host puppet can continue by saying, \"In this story Bear is a terrific cook but a poor housekeeper, while Duck is a wonderful housekeeper but a very poor cook. Let's see how Duck and Bear use their special talents to help each other.\" And then I would tell the story. My host puppet is a good listener and therefore a model for the children. This puppets' strength of direct communication is used to help children empathize with the story characters and share similar situations from their own lives. The interaction between a host puppet and a child increases interest and attention of a child. This technique helps children to increase their attention spans and to improve active listening skills. As I read the story, the puppet may also comment on a particular sentence or concept to reinforce an idea; ask for an explanation to determine comprehension; or draw out a child's response to a plot twist or character action. This technique is suitable as a beginning step for developing listening and early language skills.\nPopular story themes for preschoolers often fall at two extremes: those that display a warm cozy feeling and those that reflect a wicked or mischievous theme. Warmth seems to prevail in a lot of books about animal creatures; it is often conveys a strong moral issue while, giving young children a sense of security in expressing messages about caring and sharing. At the other extreme, stories about wicked character offer an acceptable means by which children can vent any aggressive emotions they might feel (Silberg, 2004).\nWith more complex literature, I would use another technique, which calls for each child to hold a puppet and to move around the story telling area in a free manner with puppets. My approach would be; I narrate the story and use a puppet, children will supply dialogue and manipulate a puppet. When children are to be involved in the story, they should first get familiar with the plot and the characters as well. First, I read the story Tukama Tootles the Flute by Phillis Gershator, in the traditional manner, briefly summarize the plot and introduce the characters. This tale from the Caribbean is about a boy Tukama, who is captured by a two-headed giant when he disobeys his grandmother. Children wearing large body puppets act out the parts of the giants. A hand puppet can be used for Takuma. I will play the role of grandmother, perhaps wearing a scarf around my head. One group of children is a singing group that will chant the rhyme whenever Tukama plays his flute. As follow-up activities, I would encourage children to retell the story or create a new story using the same puppet characters involved in the original story. I can ask children to describe how the main character felt or what it thought during the story. Children could invent a new ending, dramatize definitions of words or concepts for a confused puppet, and recreate the confrontation between characters. It would also be interesting for children to experience a new point of view by retelling a story from a different culture.\nThis approach of teaching reading stresses that children are to know literature, they need opportunities to respond to it in a variety of ways: discussion, art, music, writing and drama. Puppetry provides a wonderful chance for children to return to a story to analyze characters, themes, plots, and examine language, while expressing personal feelings.", "id": "<urn:uuid:22648383-7106-43d5-9c6c-f0e208f0eee2>", "dump": "CC-MAIN-2017-17", "url": "https://www.ukessays.com/essays/education/utilizing-hand-puppets-in-the-classroom-education-essay.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124297.82/warc/CC-MAIN-20170423031204-00368-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9581537842750549, "token_count": 1348, "score": 3.9375, "int_score": 4}
{"text": "Beacon Lesson Plan Library\nBark/Meow, Purr/Snort - Oh, What a Voice!\nDescriptionStudents will do teacher directed experiences to understand voice in writing. Students will complete a narrative writing depicting two animals/things that are opposite by focusing on different voices.\nObjectivesThe student uses creative writing strategies appropriate to the format (for example, using appropriate voice; using descriptive language to clarify ideas and create vivid images; using elements of style, such as appropriate tone).\nThe student attempts to create a logical organizational pattern appropriate to narrative writing (including a beginning, middle, end).\nMaterials- A copy of the book I Am The Dog/ I Am The Cat by Donald Hall published by Dial Books, 1994\n- Sections of the book (see preparation)\nPreparations1. Obtain a copy of the book titled I Am The Dog/ I Am The Cat by Donald Hall published by Dial Books, 1994.\n2. Peruse the book and select sections of the book that students can use when practicing their voice. There should be one dog response and one cat response for each section. Type your selection (s) and make sure there are enough for each pair of students to have one section.\n3. Put up two large sheets of chart paper.\n4. Get markers.\nProcedures1. Have two students take on the roles of the dog and the cat (they could even dress up as the characters).\n2. Make two lists on the board or a large piece of chart paper; one for the dog and one for the cat.\n3. Brainstorm characteristics of dogs and/or cats. Use pictures and student models to help get ideas.\n4. Read the book in a normal voice.\n5. Then ask, -What is the dog's voice? What words are used to get the impression a cross?- Then do the same thing for the cat.\n6. Pass out pieces of the story to pairs of kids with the instruction to come up with voices for the cat or dog.\n7. Ask the students to read their part in a voice they think matches the animal and the message.\n8. As a group, discuss their -voice choices- and which ones they found the most effective.\n9. Let the students read the piece again and try out new voices.\n10. Review with students the steps to writing a narrative story (discuss beginning, middle, and end).\n11. Have the students work individually to write about two animals/things that are opposites by focusing on different voices (cat and mouse, horse and cow, truck and car, girl and boy).\n12. Once students complete their work, use the rubric (in associated file, to formatively assess their work.)\nAssessmentsEach student will write a story about two animals/things that are opposites by focusing on different voices. A rubric will be used as a formative assessment of the student's learning (see attachment).\nAttached FilesThe attached file contains a rubric to be used as a formative assessment. File Extension: pdf\nReturn to the Beacon Lesson Plan Library.", "id": "<urn:uuid:53ffdcfa-6615-49ab-97b2-f54428d81cf8>", "dump": "CC-MAIN-2017-17", "url": "http://www.beaconlearningcenter.com/lessons/lesson.asp?ID=1357", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122041.70/warc/CC-MAIN-20170423031202-00366-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9306724667549133, "token_count": 649, "score": 3.75, "int_score": 4}
{"text": "Developing 21st Century Literacies : A K-12 School Library Curriculum Blueprint with Sample Lessons\nOverview - Here is a guide that shows you how to help students develop the critical thinking and learning skills necessary for effective and engaged citizens in the 21st Century. It provides tools and strategies to deliver a cutting-edge school library curriculum. Read more...\nIn Stock Online.\nFree Shipping is not available for this item.\nNew & Used Marketplace 7 copies from $83.00\nMore About Developing 21st Century Literacies by Mary Jo Langhorne; Denise Rehmke\nHere is a guide that shows you how to help students develop the critical thinking and learning skills necessary for effective and engaged citizens in the 21st Century. It provides tools and strategies to deliver a cutting-edge school library curriculum. Langhorne and Rehmke survey visual, technological, media, and information literacies, explore the concepts for learning with electronic formats, and expand the teacher librarian's role in school reading programs. All of the forms, lessons, and worksheets found in the book are just a sample of what is available on the website, all of it available for easy downloading. Part I of this book outlines the building blocks for creating a school library instructional program. Part II presents the curriculum blueprint developed in the Iowa City Community School District, including sample lessons and units. Like most curriculum documents, this one is organized around standards, benchmarks and objectives. Because school librarians have two major areas of responsibility for teaching, the content is also organized into two concept areas: literature and inquiry. The school librarian plays a critical role in the reading program of the school, both in supporting classroom reading instruction and in library teaching activities that enrich reading for students through exposure to various types of literature, literary elements and the work of respected authors. The literature component of this curriculum reflects the long-held belief that skillful reading is fundamental to all types of literacy. An inquiry-based approach involves students seeking multiple perspectives, working collaboratively with others, using information ethically and creatively, and developing dispositions for learning-curiosity, responsibility, persistence and independence. The following is a sampling of lessons provided in the printed version of the book. Many more are available on the website. Alphabetical Order Library Orientation - Sections of the Library Book Care Kindergarten and Book Parts Selecting a Just Right Book Using the Table of Contents in a Nonfiction Book to Locate Information Using Nonfiction Book Elements to Locate Information Identifying Elements of Setting Identifying Elements of Character Poetry Fantasy: Characters Exploring Historical Fiction, Biography, and Nonfiction through Baseball Realistic Fiction Types of Literature Review Asking Questions of Text Barbara O'Connor Author Study Using Keywords to Find Online Information and Choosing Appropriate Sources Basic Searching in the Library Catalog Navigating Websites without Getting Lost Evaluating Sources of Information Using Non-fiction Text Structures to Improve Comprehension Note Taking Two Column Notetaking Notetaking and Citation Using Index Cards Creating a Beginning Bibliography Producing a \"New Directions\" Movie", "id": "<urn:uuid:cb1fac46-5f7f-46f7-b94f-36d4d618f093>", "dump": "CC-MAIN-2017-17", "url": "http://www.booksamillion.com/p/Developing-Century-Literacies-K-School/Mary-Jo-Langhorne/9781555707521", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118519.29/warc/CC-MAIN-20170423031158-00068-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.891499936580658, "token_count": 627, "score": 3.671875, "int_score": 4}
{"text": "Presentation on theme: \"Chapter 32: Critical Approaches Important in the Study of Literature\"\u2014 Presentation transcript:\n1Chapter 32: Critical Approaches Important in the Study of Literature AP English Literature & CompositionIntroduction to AP Literature\n2Literary Criticism Concerned with Reading and interpreting stories, poems, and playsEstablishing a theoretical understanding of literatureMay utilize a variety of lenses or approaches with which a reader can view and analyze the text.\n3Caveats for Critical Approaches Not every approach is appropriate for every work.The approaches are not always mutually exclusive.A critic taking one approach may utilize methods that technically belong to another.Most criticism is pragmatic or eclectic rather than rigid.\n5Moral / IntellectualConcerned with content, ideas, and values (moral, philosophical, and religious).Seeks to determine whether a work conveys a lesson or a message and whether it can help readers lead better lives and improve their understanding of the world.Readers should be left with the decision to accept the ideas conveyed by the work.\n6Topical / HistoricalStresses the relationship of literature to its historical period, includingWords and concepts unfamiliar to modern readersBiographical information about the authorCriticism of this approach is that it deals with the history rather than the literatureNew Historicism: parallel reading of literary and nonliterary works to better understand the context of the literary work\n7New Critical / Formalist Focuses on literary texts as formal works of art; discusses the use of literary elements in the manner of artistic techniqueGoes beyond explaining the content (what does it say?) and evaluates artistic quality (how well is it said?)One criticism of this approach is that it focuses on the author to the exclusion of the reader\u2019s reaction.\n8Structuralist Attempts to discover the forms unifying all literature Enables critics to discuss works from varied cultures and historical periodsMost appropriate for longer narrative literature (novels, myths, stories, plays, and films)\n9Feminist Criticism / Gender Studies / Queer Theory Promotes reading of non-canonical women writersInvestigates how male and female characters are portrayed in literature, includingWhether societal norms are supported or subvertedThe effect of patriarchal institutions (i.e. marriage)Interested in how interpretations differ between the sexes (do men and women read and write things differently?)\n10Feminist Criticism / Gender Studies / Queer Theory continued Brings attention to gender rather than sexual differencesSees the masculine/feminine divide as socially constructed, not innateChallenges traditional patriarchal modes of thinking, which tend to value male over female experience\n11Feminist Criticism / Gender Studies / Queer Theory continued Interested in how homosexuals are portrayed in literature and whether they write or read literature differently than heterosexualsDeals with lesbian and gay themes thatAre explicit, usually in modern literatureMay be the subject of \u201cveiled\u201d references in canonical literatureQueer theory analysis is often theoretical.\n12Economic Determinist / Marxist Karl Marx emphasized that the primary influence on life was economic; society is in continuous conflict between capitalist oppressors and oppressed working peopleApproach judges literature from the perspective of economic and social class inequality and oppression.\n13Psychological / Psychoanalytic Psychoanalysis: behavior is caused by hidden and unconscious motivesThis approach may be used toExplain the actions of fictional charactersWhat motives influence behavior and speech?How much background info. does the author give?Analyze authors and the artistic processWhat life experiences relate to and explain characteristic subjects or preoccupations?\n14Archetypal / Symbolic / Mythic Presupposes that human life is built up out of patterns (archetypes) that are similar throughout various cultures and historical timesSimilar to structuralist analysisCommon archetypesGod\u2019s / god\u2019s creation of human beingsSacrifice of a heroSearch for paradise\n15DeconstructionistSeeks to challenge and undermine logocentrism (belief that the words of a text directly express the author\u2019s intentions)Assumes the instability of language and impossibility of arriving at a fixed standardGeneral strategyBegin with standard formalist reading of textUndermine formalist interpretation in order to yield a new reading of the text\n16Reader-ResponsePhenomenology: our knowledge is based on our collective and personal understanding of the world and our conclusions about itA literary work is the result of the relationship and interaction between the author, the text, and the reader.\n17Reader-Response continued Literature is not fully created until the reader assimilates and actualizes it.This method is initially personal and anecdotal.The more that readers bring to the literature (experiences, knowledge, interests, and studies) the more competent and comprehensive their \u201ctransactions\u201d will be.", "id": "<urn:uuid:97fb0692-62cc-475e-99b2-28f8e0460fcb>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/2754505/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125841.92/warc/CC-MAIN-20170423031205-00190-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.900471568107605, "token_count": 982, "score": 3.90625, "int_score": 4}
{"text": "Montessori Philosophy and Theory\nThis course is an introduction to Montessori principles\nof child development and\neducation, including a historical perspective,\nmethodology, Montessori concepts, and classroom procedures. The\nthe relationship between\nthe Montessori philosophy, the prepared environment, the adult and\nThe course presents an overview of child development theories and\ntheorists, stages of\nareas of physical,\ncognitive, emotional and social development and current\nresearch on Montessori education.\nprovides a basis for comparison\nan opportunity to view\nMontessori within the\nhistorical context of the changing\nperception of the young child.\nPractical Life is the foundation for\nfor learning practical\nskills. The general\nof concentration, self-discipline, independence, social skills, and\nPractical Life includes ground rules and courtesy, control\nThe purpose is the development\nof the senses, and of the intellect.\nand discrimination of size, color,\nform, auditory and tactile discrimination,\nolfactory, and gustatory senses.\nIt is the direct preparation for\nExploration of the materials used for the development of receptive and\nexpressive language experiences, visual and auditory perception and\ndiscrimination, vocabulary development and enrichment, and oral language\nexperiences. The course includes interpretative reading skills, function\nof word studies, penmanship skills, creative writing, simple research\nand multi-cultural studies.\nThe course presents the Montessori Mathematics philosophy and\nrationale. The materials for the development of the mathematical mind\nare explored. The curriculum covers the introduction to numeration, the\ndecimal system vocabulary and quantitative values, operations of the\ndecimal system, linear counting, memorization, fractions, and practical\nPhysical and Life Science\nexploration of the concrete materials which help young children to\nunderstand botany, zoology, earth science, physical science and the\nrelationship of science to our lives.\nHistory and Geography\nGeography studies include the components of the earth, and physical and\ncultural geography. History\ncovers time, seasons and personal history. History and Geography\nare based on language development\nThe course includes\nand three dimensional\nwork, art appreciation\nThe course includes\nrhythmic skills, singing\nskills, instrumental skills, the Montessori bells,\nThe course includes body awareness, basic gross motor skills\n(loco-motor, stationary movement,\nand group activities.\nObservation, Classroom Management, Evaluation, Records and Planning\nThe courses cover methods for observation,\nmanagement skills, and\nScheduling, planning, lesson\nstrategies, evaluation of children, techniques for discipline, communication\nand problem solving are also\nLiterature, Peace Education, and Parent Education and Administration\nPractices are included.\nAdvanced materials and extension lessons are presented during seminar\nsessions. Directed practice\nwith materials is guided by VCMS instructors during the seminar sessions\nin order to apply the Montessori theory to the curriculum.", "id": "<urn:uuid:3221a45f-c42f-46c6-a8a4-96a5713af907>", "dump": "CC-MAIN-2017-17", "url": "http://westendmontessori.com/vcms-trainingcenter/curriculum.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121865.67/warc/CC-MAIN-20170423031201-00308-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.817119836807251, "token_count": 629, "score": 3.53125, "int_score": 4}
{"text": "We Offer top 20 ready-made science graphic organizer templates and an easy graphic organizer software for all k12 education.\nWith Edraw Max, you can create clear and comprehensive science graphic organizers even without prior experience.\nFlowchart helps to clarify how things are currently working and how they can be improved.\nA flowchart is a diagrammatic representation that illustrates the sequence of operations to be performed to gain the solution of a problem. Flowcharts are generally drawn in the early stages of formulating computer solutions.\nRepresent notes, memory, learning, creative thinking, associate ideas, tasks, or other items linked to and arranged around a central key word or idea.\nMind map helps you take notes, brainstorm complex problems, and think creatively. A mind map is often created around a single word or text placed in the center, to which associated ideas, words and concepts are added.\nVenn diagram is an graphical illustration of the relationships between and among sets of data, groups of objects that share something in common.\nThe Venn Diagram is made up of two or more overlapping circles that show all possible logical relations between a finite collection of sets.\nStep Charts write a procedure or a change in value over time.\nHelp you list steps, series or topics according to certain order.\nSequence diagram shows how processes operate with one another and in what order.\nFor example: List steps or events in time order.\nSpider chart is a very effective tool for comparing multiple entities based on different characteristics.\nSpider charts facilitates thinking about the main ideas and then how the ideas are seen to be present in many parts.\nKWL chart helps you gather information, solve a problem, or think through a research topic.\nKWL Chart tracks what a student knows, wants to know, and has learned about a topic, which can be used before, during, and after research projects.\nObservation chart helps you work prior to a creative writing assignment or for scientific investigations more effectively.\nProblem solution chart helps students focus on the four areas critical to problem-solving.\nIt is an choice ideal, too to identify the problem, list the consequences or results of that problem, isolate the causes, and propose solutions.\nPlanning chart helps to plan a project, find out how a visual overview of your project plan can help to minimize risks and help you succeed.\nFact-opinion chart helps explain the two and explain that generally.\nStudent will find more facts in a nonfiction text.\nFour-column chart helps students organize details and information about the topic of their choice in this.\nDescribing wheel determines central ideas or themes of a text and analyze them.\nThe describing wheel is a graphic organizer for students, allowing them to explore a topic or subject while utilizing critical thinking skills.\nPurpose chart helps in identifying the appropriate purpose. It's an ideal tool to analyze purpose.\nISP Chart is commonly used for referencing a research.\nRadial diagrams helps illustrate relationships between a core idea and outer elements.\nList shows proportional, interconnected or hierarchical relationships.\nPersuasion map is an interactive graphic organizer that enables students to map out their arguments for a persuasive essay or debate.", "id": "<urn:uuid:c56a1e25-a5b4-4ef2-bc86-8225e3f104e3>", "dump": "CC-MAIN-2017-17", "url": "http://download.edrawsoft.com/science-graphic-organizer.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118740.31/warc/CC-MAIN-20170423031158-00481-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9066287875175476, "token_count": 654, "score": 4.09375, "int_score": 4}
{"text": "Playdough for Literacy Fun\nPlaydough, that squishy childhood staple, gets kids\u2019 hands pounding, poking, rolling, and shaping while their brains find the play a valuable learning opportunity which builds literacy skills. Whether store-bought or homemade, playdough is a great way to engage children in hands-on learning.\nTry one of these engaging playdough activities and your child will be working on skills such as listening, vocabulary development, alphabet development, writing one\u2019s name, storytelling, letter-sound matches (phonemic awareness) and memory.\nActivity: Make Your Own Playdough\nLiteracy Skills: listening, vocabulary\nInvolve your child in the process of making playdough \u2014 measuring, adding color, and stirring.\nCooked Playdough Recipe\n1 cup water\n1 tbsp vegetable oil\n1/2 cup salt\n1 tbsp cream of tartar\nfood coloring or cake decorating paste (great color)\n1 cup flour\nMix all ingredients in a saucepan. Heat over medium-low heat and stir until ingredients form a ball. Remove from heat, let cool and knead, adding flour if necessary. Store in a plastic bag.\nNo-Cook Playdough Recipe\n3 cups boiling water\n3 cups flour\n1 1/2 cups salt\n1 1/2 tbsp vegetable oil\n3 tsp cream of tartar\nMix all ingredients except for the flour in a large bowl. Once well mixed, add the flour. Stir until blended and knead on floured board. Add more flour if needed. Store in a plastic bag and refrigerate.\nActivity: Alphabet Cookie Cutters\nLiteracy Skills: alphabet development, letter-sound matches, writing own name\nUse alphabet cookie cutters to make letters, practice sight words, or learn letter sounds. Use your playdough letters to make a train or a tower.\nActivity: Alphabet Flags\nLiteracy Skills: alphabet development, letter-sound matches, writing name\nAuthor / illustrator Jan Brett has printable alphabet flags on her website. Print, cut, and attach to toothpicks. Use the letter flags to build an alphabet castle or a building with your name.\nActivity: Colors of the Rainbow\nLiteracy Skill: vocabulary development\nUsing playdough of different colors, sort the playdough and talk about the color names. Sort colors, stack colors, and make color patterns.\nActivity: Nature Play\nLiteracy Skill: vocabulary\nGather leaves, sticks, and other safe natural elements from outside to use in your playdough. Press to make prints or use as decorations.\nActivity: Write Your Name\nLiteracy Skill: writing own name\nRoll your playdough into long snakey strips. Use a large laminated place mat with the child\u2019s name on it. Copy the letters on the placemat with your playdough snakes.\nActivity: Pretend Play Birthday Party\nLiteracy Skill: vocabulary\nPretend it\u2019s a birthday. Make a cupcake or a cake and top with the correct number of unlit candles or playdough candles. Sing \u201cHappy Birthday\u201d and blow out the candles.\nActivity: Story Play\nLiteracy Skills: storytelling, vocabulary, memory\nRead a picture book story together. Then, make the characters out of playdough. Retell the story using your playdough characters.\nActivity: Pretend Play Bakery\nLiteracy Skill: Vocabulary\nGet out your muffin papers and let your child make playdough cupcakes and muffins to \u201csell\u201d at his or her bakery.\nAdd-Ins for More Playdough Fun:\ntoothpicks, straws, sticks, uncooked spaghetti, plastic toys, scissors, spatula, forks, plates, muffin tin, muffin papers, candles\nYoung children learn best by active, hands-on playtime. Sensory playdough activities allow children to develop important pre-literacy skills through play. Squish and learn!", "id": "<urn:uuid:69ffab39-8392-4220-a9da-5401987b9f2e>", "dump": "CC-MAIN-2017-17", "url": "https://www.childtime.com/parent-resource-center/blog/2012/06/playdough-for-literacy-fun/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122720.81/warc/CC-MAIN-20170423031202-00191-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.860650897026062, "token_count": 837, "score": 3.5, "int_score": 4}
{"text": "Storytelling has been around since humans began, but the venues for storytelling have changed significantly since then. Television, movies, computers and smartphones present shinier, flashier, more technologically impressive stories. Storytelling, however, still has importance for children, in particular, according to both KidsHealth.org and the Corporation for National and Community Service. Storytelling teaches children about the world, provides real-world social interaction, and develops both a knowledge and love for stories themselves.\nA Cultural Meet and Greet\nChildren are fairly new to the planet and storytelling teaches them a lot about the way life works around here. Through stories, they hear about characters who are good, bad and in-between. They see a dramatic representation of problems, how characters choose to solve them and the positive and negative consequences of those choices. They meet characters from their own culture and others, and become familiar with a range of customs, personalities and points of view. The stories of others can help children deal with their own life experiences, both big and small.\nA Social Experience\nUnlike any television show, movie, video game or app, storytelling provides a fun experience for children with real, live human interaction. Caught up in the story's events as they unfold, children respond with emotional reactions and questions for the storyteller. They chime in with the storyteller's songs or other narrative tactics. Storytelling provides children with the opportunity to practice social skills such as listening, making eye contact and taking turns.\nA Lesson in Telling their Own Stories\nAs children listen to stories, they become familiar with the art and practice of storytelling itself. They internalize the rhythms and tones of a storyteller's words and, through those elements, come to know what makes stories interesting, exciting, funny and sad. They learn through observation how to pair gestures and words to bring characters and their actions to life. They hear unfamiliar words whose meanings they can piece together through the context of the story, increasing their vocabularies in a meaningful, lasting way. Regularly seeing public speaking in action, children become more comfortable with oral communication in general, helping them to tell their own stories in an effective way.\nA Key Ingredient of Literacy\nStorytelling acts as fuel for the fire of literacy in a child's development. Hearing a story they love can inspire interest in learning more about a given topic. Stories tend to be addictive in the best way possible and can encourage children to read more stories and write them, too. Storytelling surreptitiously teaches children the elements of a story, helping them devise their own narrative beginnings, middles and ends.\n- Siri Stafford/Lifesize/Getty Images", "id": "<urn:uuid:4d2ccfe3-908d-4194-ba0d-0cc6c2511af4>", "dump": "CC-MAIN-2017-17", "url": "http://oureverydaylife.com/importance-storytelling-children-8782.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123102.83/warc/CC-MAIN-20170423031203-00427-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9548380970954895, "token_count": 551, "score": 3.734375, "int_score": 4}
{"text": "English Foreign Language classes can accelerate learning if they offer exciting stories for the children to enjoy. People of all ages need to be interested in what they are studying. If you think of your own experience you\u2019ll remember times when you were expected to learn material that held no interest for you. This article suggests ways in which storybooks can be used to spark imagination and creative writing.\nHow Can We Keep the Kids Interested and Excited About Learning English?\nThinking about what kids like will give us some clues. We suggest a few:\nanimals \u2013 friends \u2013 family \u2013 machines \u2013 space \u2013 wizards\ngames \u2013 drawing \u2013 singing \u2013 sports \u2013 talking activities \u2013 making things\nanticipating something \u2013 guessing the ending \u2013 rewards \u2013 success \u2013 praise \u2013 being accepted \u2013 belonging to a group\nThe storybooks a teacher uses may be a part of the curriculum or they may be supplementary. The essential point is: How many of the above items do they include? A single storybook won\u2019t provide all of the items but a series of books can involve many of them and the teacher can be the catalyst for many more.\nIf we choose \u201canimals\u201d then dinosaurs would likely be a popular choice. The story provided below includes an exciting adventure and requires the students to anticipate events. Other popular activities such as talking, drawing, guessing the ending, writing and working together are included.\nGive each student a copy of the first part of this story. Do not give them the end of the story until they have done the following.\nBob, Daniella, Nicholas and Sid are the children in this story. They have traveled back in time to the age of the dinosaurs. An enormous creature is attacking them but they are with the wizard, \u201cTempus\u201d. He is a time traveler and has a sword with magic powers.\nNicholas sees the terrible creature appear from behind a rock.\n\u201cLook at that!\u201d he yells.\n\u201cQuickly, stand behind me!\u201d commands Tempus. \u201cI\u2019ll need all the strength of my sword to protect us from this creature.\u201d\nThe great reptile approached as Tempus raised his sword to protect them all.\nBob, Daniella, Nicholas and Sid watch as Tempus swings his sword and great clouds of smoke and sparks surround the creature. As Tempus worked to chase the creature away they could hear the roar of the angry reptile and the swishing of the sword.\nPossible Class Activities\n\u2013 discuss what Tempus and the enormous creature might look like\n\u2013 discuss their environment\n\u2013 ask if they would want to travel back to the time of the dinosaurs\n\u2013 discuss how they would feel\n\u2013 have the children imagine the scene and draw it\nBrainstorm What They Think Will Happen Next\nWill the creature be too strong for Tempus?\nWill the children need to return to real time in a hurry?\nWill Tempus kill the creature or will he scare it away?\nHave the students write several sentences or a paragraph telling what they think will happen next.\nHave them divide into groups according to what they think will happen. Then they are to tell the other groups why they made that decision.\nDistribute the Possible End of the Story\nAfter many minutes had passed, the angry creature ran down over the rocks and away through the water. Tempus turned back and smiled at them all.\n\u201cHe\u2019s scared,\u201d he said. \u201cHe won\u2019t come back.\u201d\n\u201cWow! That was a blast!\u201d they all shouted.\nExplain that everyone\u2019s ending was right because they were all storytellers and could create their own ending.", "id": "<urn:uuid:4698eeed-a2ac-4b90-ae5d-07f1cbd111f0>", "dump": "CC-MAIN-2017-17", "url": "http://successfulesl.com/english-second-language-storybooks-spark-a-students-imagination/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122886.86/warc/CC-MAIN-20170423031202-00603-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9599727988243103, "token_count": 772, "score": 3.796875, "int_score": 4}
{"text": "6 Punctuation Rules You Must Never Overlook by Ethan Miller\nPunctuation is a crucial aspect of any language. It can make a string of random words meaningful. Punctuation rules are necessary to convey the right meaning.\nPunctuation marks give a sense of expression to the words as they display how the words would sound when spoken. A sense of excitement, shock, awe, cheer, hesitation, etc., everything can be expressed using the right symbols. But if used incorrectly, it ruins the tone of a sentence and can lead to misinterpretation. Nobody wants that.\nSo here you go. A few simple punctuation rules that are often overlooked while writing.\nRule 1: Using commas\nCommas are one of the most important and most frequently used punctuation marks (separator) that are easily misplaced in a sentence, giving it a completely different meaning.\nLet\u2019s eat, grandpa.\nLet\u2019s eat grandpa.\nThere are nearly 16 rules for using the comma right, but here are a few areas where we are prone to make mistakes.\nWhile introducing active speech in a sentence, you must use a comma to separate a quote from the subsequent sentence but never when the sentence precedes the quote. Example: \u201cStop the car,\u201d he said. / He said \u201cStop the car\u201d. You can also avoid the comma if the sentence within the quotations contains an object or subject. Example: Telling \u201cPlease stay with me\u201d was my mistake. In this sentence, me is the subject.\nAn appositive comma is often missed out in the flow while writing a sentence. It goes unnoticed at first, but the flaw is visible when you give the sentence a closer look. An appositive comma comes after an inessential part of a sentence Example: I asked Jim, who\u2019s my friend, to come over. The line who\u2019s my friend is inessential in the sentence and hence, is followed by a comma.\nThe Oxford comma appears when a series of items are stated and is used at the end of the series, especially to avoid confusion. Example: My favorite snacks are fries, rolls, bagels, cheese and crackers, and donuts. The last comma before and donuts is an Oxford comma which denotes that donuts are a separate item unlike cheese and crackers which are treated as one. Oxford commas are often missed (or dropped intentionally) in a sentence as it seems unnecessary to add an extra character.\nRule 2: Using Colon and Semicolon\nA colon (:) is a punctuation used before the start of an explanation, series of items or a quotation.\nA semicolon (;) acts like a comma and is used to give a longer pause before a sentence.\nNever start the sentence that follows a colon with a capital letter unless it\u2019s a quote with a quotation, or a combination of two or more words that complete a sentence.\nExample 1: You\u2019re required to buy the following things: curd, bread, flour, and butter.\nExample 2: He got what he deserved: a raise in his pay.\nExample 3: Our teacher tells us three things: Wake up early. Study hard. Be honest.\nExample 4: The captain made an announcement: \u201cWe are ready to take off.\u201d\nDon\u2019t use a colon after a preposition or verb when mentioning a list of items that directly follows them in the sentence.\nExample 1: I had breakfast with Jim, Jill, Jake and Jonathan.\nExample 2: I\u2019ve read Harry Potter, Twilight, and Lord of the Rings.\nUse a semicolon to connect two independent clauses if one or more commas are already used in the first clause. Example: You may think I don\u2019t care, but I will come over soon; and that\u2019s a promise. Also, a semicolon separates a series of places where there are commas used in between. Example: St. Louis, Missouri; Houston, Texas; LA, California...\nDon\u2019t use colons and semicolons interchangeably.\nRule 3: Using M Dash, N Dash, and Hyphen\nThe M Dash (or em-dash) is the longest of the dash symbols that shows an interruption in the sentence. Say, while adding a parenthesis or introducing a change of thought. Example: When I picked up the cans\u2014all 6 of them\u2014I noticed that one was leaking.\nThe N Dash (or en-dash) is shorter than the M Dash and is used to separate a time period or indicate a range. Example: 2012\u20132016, pages 50\u201355, etc.\n(Joanne says: don't get hung up about N dash and M dash the only people who seem to know these are proof editors, and editors.\nThe hyphen is a small dash that is used to break connecting words, compound verbs, nouns and adjectives. Example: Two-bedroom apartment, State-of-the-art security, etc.\nAgain, you must never use these three dashes interchangeably as they serve different purposes. If you think it\u2019s hard to remember the difference, write it down or even better, make flashcards with simple tools like Cram to note them down.\nRemember, dashes are mostly used in informal writing and are replaced by commas, brackets and colon in formal writing.\nRule 4: Using the Ellipsis\nAn ellipsis (...) is a series of three dots that are used at the end of a sentence. They have two different purposes. One, to denote that a few irrelevant words from a sentence or phrase have been removed to save space. Two, by authors to show a poignant pause between two sentences.\nExample 1: Today, after so much hard work, we won the match.\nToday...we won the match.\nExample 2: I know I may be wrong but...I still want to do it.\nAn ellipsis always has three dots. Not two, not four, but three. Writers sometimes forget this rule and put an extra dot or two in their flow of words and miss it while revising their work. Afterall, it\u2019s just an extra dot; but editors will point it out.\nRule 5: Using the Exclamation Mark\nAn exclamation mark (!) was invented as a note of admiration which can be used after any word that expresses excitement, shock, astonishment or any other strong feeling. It makes an immediate impact on reader\u2019s mind and helps them better understand a scene or a situation.\nExample: Oh Yes. I won the Gold.\nOh Yes! I won the gold!\nSee the difference? Generally, in formal writing, only one exclamation mark is used after a sentence. But we see while reading books or stories that the author sometimes uses multiple marks to state the extremity. Example: No!!! You must not read from that book!!!\nExclamation marks are also used in combination with question marks to show a sign of protest and shock. Example: What do you mean you don\u2019t have my money!?!?!?!? Although an exclamation is used freely in informal writing, it should have a minimal or preferably no use in formal articles and papers.\nRule 6: Using Quotations (double and single)\nQuotations (\u201c\u201d) are the most useful punctuation marks that find their place in both formal and informal writing. They are used a lot in research papers and books while using a scientist\u2019s or an author\u2019s quote that makes a vital point and cannot be paraphrased, or simply when using an active speech.\nWhile using quotations, any other punctuation mark that comes before a quote in a sentence must be outside the quotations and a punctuation that comes after the quote must be within the quotations. Example: He said \u201cI\u2019ll never see you again!\u201d and left. Quotations are also used to imply a tone of sarcasm. Example: The cop didn\u2019t believe that Joe \u201caccidently\u201d got the knife. If a quote runs into two or more paragraphs, always start the new para with a quotation mark, and close the quotations only once at the end.\nThere\u2019s a confusion among writers about when to use single quotation marks. In British English, the writers mostly use the single quotations, while American English uses the double.\nKeeping it American, single quotations should be used when there is a title or a quote within a quote.\nExample 1: The teacher asked \u201cDid you all write the book report on \u2018The Lord Of The Flies?\u2019\u201d\nExample 2: Mom told me \u201cYour dad had called and he says \u2018tell Tim not to go out today.\u2019\u201d\nNever use quotation marks unnecessarily to highlight words. You can underline or italicize them instead.\nPunctuation marks are very important and even the most difficult sentences can be explained by using the right punctuations. Today, it has become easy to revise and remember the important rules of grammar with tools like GrammarBook. To be a good writer, keep yourself abreast with the grammar rules and your words will fall into the right place.\nEthan Miller is a private ESL teacher who also works as an online tutor. Apart from his passion for teaching, he loves to write and holds a degree in creative writing. When he is not teaching or writing his book, Miller loves to blog and is a huge fan of educational technology. You can follow Miller on Facebook and Twitter and check out his blog.\nFor more information about punctuation for American and British users check out the book and online course by Joanne from how to spell", "id": "<urn:uuid:ab326473-3740-4c95-9705-1bb46e3a211b>", "dump": "CC-MAIN-2017-17", "url": "https://howtospell.co.uk/6-punctuation-rules", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121165.73/warc/CC-MAIN-20170423031201-00426-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9387611150741577, "token_count": 2038, "score": 3.53125, "int_score": 4}
{"text": "If you are a parent or a teacher, you most probably read stories to young children. Together, you laugh and point at the pictures. You engage them with a few simple questions. And they respond.\nSo what happens to children when they participate in shared reading? Does it make a difference to their learning? If so, what aspects of their learning are affected?\nBritish researcher Don Holdaway was the first to point out the benefits of shared reading. He noted that children found these moments to be some of their happiest. He also found that children developed positive and strong associations with spoken language and the physical book itself, during these moments.\nEarly childhood researcher Vivian Paley, for example, during her work in the University of Chicago Laboratory Schools, found that kindergarten children learned when a story was dramatized in shared reading. Not only did children develop oral language, they imaginatively learned the conventions of a story, such as character, plot and themes. In shared storytelling, children also learned how to use language in multiple ways.\nOther research found that shared reading was related to the development of expressive vocabulary. That is, children developed listening skills and built an understanding of grammar as well as vocabulary in the context of the story.\nAs a language and literacy researcher, I work with teachers to develop reading strategies that develop children\u2019s interest in reading and help them think critically. Kay Cowan, an early childhood researcher who studies the role of the arts in language learning, and I conducted two studies to understand children\u2019s language development in grades one to five.\nWe worked with approximately 75 children across grade levels. We began our language study by talking with the students about the power of words, and the role they play in and outside of school. Following this, we discussed the pleasures associated with words. We then read \u201cShadow,\u201d an award-winning picture book by children\u2019s author Marcia Brown, and poems by Shel Silverstein, another children\u2019s author.\nChildren were then asked to think of an \u201cabsolutely wonderful\u201d event that they had experienced, and associate an emotion with it. Children chose a personal event that elicited emotions. They then drew contrasting images of the word that showed opposite emotions, and studied synonyms and antonyms to understand the \u201cshades of meaning.\u201d They then wrote descriptive poetry to convey this emotion.\nAll children \u2013 even those who were at the risk of failing \u2013 used vivid language. Children described words like \u201cebullient\u201d and \u201cmelancholy\u201d in ways that related to their own emotion.\nOne child described her word \u201cebullient\u201d as \u201cbright,\u201d and \u201cmerry,\u201d and \u201cnever asking for anything.\u201d \u201cEbullient\u201d was also \u201cwarm,\u201d and \u201cgypsy-like,\u201d and so on. Another described loneliness as \u201c\u2026making me feel cold/Like an icicle/wanting to melt away.\u201d\nFollowing this exercise, children noticed that their writing was much better. It showed us how wide and varied reading, repetition and varied encounters with words were extremely important for children to have a depth of understanding as well as verbal flexibility \u2013 being able to express the meaning of word in different ways.\nThe quality of exchanges between children and adults during shared reading is found to be critical to their language development. So, the role of home in shared reading is crucial.\nLong-term studies by linguistic anthropologist Shirley Brice Heath and other literacy scholars have documented children\u2019s ability to read as related to their families\u2019 beliefs about reading, the quality of conversation at home and access to print materials prior to their entry into school.\nFor 10 years, Heath studied two communities a few miles a part, one black working-class and one white working-class. She documented how family practices (e.g., oral storytelling, reading books, talk) influenced children\u2019s language development at home and in school. For example, children read and talked about stories, were asked questions about the stories or told stories about their lives, events and situations in which they were involved. Parents engaged their children in these experiences to prepare them to do well in school.\nSimilarly, researcher Victoria Purcell-Gates worked with an Appalachian family, specifically mother Jenny and son Donny, to help them learn to read. With Jenny, they read and talked about picture books, listened to and read along with books on tape and wrote in a journal. With Donny, they shared reading, labeled pictures and wrote stories. Jenny was able to read picture books to her sons, while Donny learned to write letters to his dad in prison.\nOther researchers have found that when parents, specifically mothers, knew how to interact with their children during shared reading using positive reinforcement and asking questions about the story, both children and mothers benefited.\nMothers learned how to ask open-ended questions, and prompted their children to respond to stories. Children were more engaged and enthusiastic about the shared reading experience. They also were able to talk more about the story\u2019s content, and were able to talk about the relationship between pictures and story.\nChildren more readily learn math concepts like numbers, size (bigger, smaller) and estimation/approximation (lots, many) when parents engaged in \u201cmath talk\u201d while reading picture books.\nWhile shared reading is often associated with print books, shared reading can be extended to digital texts such as blogs, podcasts, text messages, video and other complex combinations of print, image, sound, animation and so on.\nGood video games, for example, incorporate many learning principles, such as interaction, problem-solving and risk-taking, among others. As in shared reading, children interact with their parents, teachers or peers as they engage in stories.\nLiteracy researcher Jason Ranker\u2019s case study of eight-year-old Adrian shows that young children can actually \u201credesign\u201d how stories are read, discussed and told when they engage actively with video game narratives.\nAdrian, who played a video game, Gauntlet Legends, created a story in Ranker\u2019s class, to which he added many drawings to show the movement of characters.\nIn this case study, Ranker found that children like Adrian who play video games learn how to produce stories that do not follow the linear pattern found in print stories (exposition, climax, resolution). Rather, children experience stories at \u201clevels\u201d that allow characters and plots to move in many directions, eventually coming to resolution.\nSimilarly, children with access to certain apps are coordinating their storytelling on a touchscreen. They choose characters for their stories. They move them around with their fingers, and drag-and-drop them in and out of the story. If they want to create more complex stories, they work with others to coordinate characters\u2019 movements. Sharing stories, then, becomes collaborative, imaginative and dynamic through these digital mediums.\nChildren, in essence, have redesigned how stories are told and experienced, demonstrating imagination, vision and problem-solving.\nOne thing that is clear across research is that rich complex language development does not happen merely by pointing at letters or pronouncing words out of context. It is engagement, and guided attention to language conventions, that matter in shared reading.\nUltimately, what is important is that shared reading must be a joyful experience for the child. Sharing stories must allow for a personal connection and allow for interaction and a shared learning.", "id": "<urn:uuid:af48e96a-8ca2-4f82-a741-35f0c24c9af8>", "dump": "CC-MAIN-2017-17", "url": "http://digitalpromise.org/2017/04/03/reading-child-difference-makes/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124478.77/warc/CC-MAIN-20170423031204-00428-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9773476123809814, "token_count": 1556, "score": 3.796875, "int_score": 4}
{"text": "Lesson 1 \u2013 The Orphan: Discrimination and Alienation\nUnderstand that stereotypes used to characterize and demean people of different ethnic backgrounds are founded on feelings or beliefs that have little or nothing to do with the true nature of racial/cultural identity.\nShare stories from the point of view of the \u201cother\u201d to start a dialogue about racial identity development and issues of diversity.\nThe orphan phase of the hero\u2019s journey is the feeling of being alone. It is a sense of isolation from others, a feeling of being singly challenged, and even feeling overwhelmed at times by what you need to confront.\nThe Way It Was\nThere were signs in store windows saying \u201cNo dogs and Indians allowed.\u201d\nDiscriminatory practices aimed at Native Americans have been pervasive throughout the United States. The persistence of stereotypes have fed these biases and fueled the exclusionary treatment of Native peoples and other minority populations.\nWe learn stereotypes very early. Animals in many traditional stories and fairy tales are depicted in stereotypic roles and with exaggerated traits. They behave in ways that make them exceptionally \u201cgood\u201d or exceptionally \u201cevil.\u201d Similarly, racial stereotyping reinforces limited images of a particular group, race or sex and perpetuates distorted views of reality. One-dimensional characterizations of Native Americans commonly romanticize, demonize and simplify. Examples of these characterizations include the Indian princess, the noble savage, the skid road drunk, the loyal sidekick, the scalp-taking warrior, the monosyllabic speaker (e.g., \u201cugh,\u201d \u201cHow\u201d).\nHollywood westerns have been the source of many stereotypes, portraying Native American tribes as a threatening menace that must be wiped out to protect white settlers. Many people find it objectionable when sports teams use tribal names, references or symbols to represent them. Even common sayings may mock Indian ethnicity. Most everyone has heard the admonition to stop behaving \u201clike a bunch of wild Indians.\u201d\nWhen we \u201cthink\u201d in stereotypes, we automatically ascribe values of superiority and inferiority based on implied distinctions, and in doing so, we create \u201cin-groups\u201d and \u201cout groups.\u201d Stereotyping usually functions to deny people certain rights or limit their access to opportunities or services. As Ed recalls his childhood days he describes many instances of discrimination directed toward him and other Indian people. For example, he remembers his family being forced to leave a restaurant because the management had a policy against serving Indian people. When his mother wanted to get her hair done, she had to go to the home of the beautician because she wasn\u2019t welcome inside the beauty salon. Other business owners were also guilty of discriminatory practices which made Ed feel like an outsider. As a small child he was made to purchase his candy treats through the back door on the alleyway instead of at the store counter like \u201cregular\u201d customers. Ed and his friends were not allowed to use the local swimming pool at the same time as white children. Even at the Saturday matinee Indian children were forbidden from sitting on the main theater floor and instead were relegated to the balcony seating. In all these instances, Ed was made to feel marginalized and prevented from full participation in a variety of social settings.\n\u201cStorytelling Has Saved Me\u201d\u2014Ed Edmo\nEd is a storyteller, a playwright, and a poet. He has spent many years in classrooms teaching young people about Native culture and heritage. He has used puppets to help him bring to life stories and legends for school children. Ed\u2019s one-man play \u201cThrough Coyote\u2019s Eyes\u201d takes a historical perspective to trace his understanding of stages in the Native American experience from the past to the present day. He has had his short stories published in various venues; many of his stories, plays and poems show-case and document his experiences of prejudice and exclusion.\nStories Have Power\nMany professionals (historians, economists, psychologists) understand the power of story-telling to illustrate and frame \u201creality\u201d in order to help people understand the essence of what they are trying to convey. People relate to stories at very personal and fundamental levels. Stories impart wisdom and help to make a point in more effective and interesting ways then merely relating \u201cthe facts.\u201d\nTell Your Own Stories\nTurn your personal experiences into stories. Your story gives voice to events in your life or interactions with people who have had an impact on you. Your words can paint a picture, demonstrating ways to reevaluate previously held attitudes and values.\nA story need not be a long drawn-out expos\u00e9. It can be a short, punchy anecdote that carries a meaningful message or creates a \u201cteachable moment\u201d for the listener.\nYou may decide to tell your story for a variety of reasons. Think how you might:\n- Illustrate something traumatic in your life\n- Build a shared vision\n- Reveal and dispel stereotypic thinking\n- Broaden cultural perspectives\nYou can find books in both the adult and children\u2019s sections of the library or local bookstores that can help you get started telling your story. Consider joining a storytelling group to hone your skills.", "id": "<urn:uuid:86ffeecb-e5da-495c-9ce1-335fffadf06a>", "dump": "CC-MAIN-2017-17", "url": "http://discoveringourstory.wisdomoftheelders.org/lesson-1-%E2%80%93-the-orphan-discrimination-and-alienation", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118713.1/warc/CC-MAIN-20170423031158-00129-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9608622193336487, "token_count": 1087, "score": 4.09375, "int_score": 4}
{"text": "Cinco de Mayo\nThe United States of America, with such a close neighbor to the south as Mexico, has a history of ties with the country that go back hundreds of years. Mexico used to lay claim to much of the southwestern United States as well as California, and so their heritage is sometimes mixed inexorably with our own. Cinco de Mayo is a very important holiday in Mexico, and one that is celebrated both north and south of the border. While not exactly their Independence Day, like the fourth of July is to Americans, May 5th is the anniversary of a time when Mexico successfully, though briefly, repelled the invasion of French rule into their country.\nBack in the 1860\u2019s, Mexico owed money to several countries, including Spain, France and England. These three countries grew tired of waiting for reimbursement and decided on a joint venture to \u2018strongly recommend that Mexico make good on her debts.\u2019 The fleets of this combined effort appeared in Vera Cruz, and while the ships from England and Spain left shortly thereafter, feeling that their threat had made its intended impact, those from France remained. However, the French decided that they no longer cared about the repayment of loans, and decided to start a war instead.\nOn May 5, 1862, two thousand soldiers under General Zaragoza met the foreign forces and ultimately drove away almost six thousand French soldiers. Overjoyed by the rather unexpected victory, Mexican citizens changed the name of the site to Puebla de Zaragoza in honor of their general. Ever since then, no matter where they are, Mexicans honor the fifth of May and celebrate the day with parades and songs and storytelling.\nEspecially in states with heavy Latino populations such as California, Arizona, New Mexico and Texas, the day is rife with music and parties. The Mexican flag of red, white and green is flown from houses and neighborhood businesses and children and adults perform special Mexican dances in streets while dressed in traditional and colorful clothing. In Los Angeles, California, many celebrations start on the steps of City Hall, with both American and Mexican bands playing together. Mexican congressmen make speeches and a portrait of General Zaragoza is displayed in prominent position while the red, green and white flag of Mexico flies beside the red, white and blue of the United States. Millions attend what turns into a giant street party and festival, with men, women and children performing various dances in traditional Mexican attire, enjoyed by both Mexicans and their Caucasian neighbors.\nOne of the biggest traditions of the day, especially in Los Angeles, is the celebration that occurs on historic Olvera Street, near the old city plaza. Foods, dancing, games and merriment generally keep everyone entertained well into the night hours, and laughter and Mexican music keeps the party going. In addition, banquets at nearby historical hotels in downtown Los Angeles receive and entertain guests of prominence from both sides of the border, with black tie dinners and speeches.\nCinco de Mayo is honored and recognized in America as well as Mexico, for Americans respect and understand what fighting against oppression means. Independence is deeply ingrained in American souls and anyone who fights for their freedom from foreign occupation is to be honored and respected. Despite America\u2019s own war with Mexico for territories in the early 1830\u2019s, Mexico\u2019s efforts to remain a good neighbor and an independent country has earned the respect of Americans for generations, and Americans around the country stop what they\u2019re doing to help Latinos in their communities to celebrate their struggle for independence. While Cinco de Mayo is not recognized as a national holiday in the United States, it is observed as a time of celebration and brotherhood with our closest neighbor to the south.", "id": "<urn:uuid:f456e411-785e-4a77-ad84-2c25023d8c4a>", "dump": "CC-MAIN-2017-17", "url": "http://wardrobeadvice.com/what-cinco-de-mayo-celebrates/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124371.40/warc/CC-MAIN-20170423031204-00076-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9723019599914551, "token_count": 757, "score": 3.546875, "int_score": 4}
{"text": "Lower School students build their listening, discussion, and book selection skills during their scheduled and voluntary visits to the library with their teachers. They learn how to ask for help, about library etiquette, how to take care of shared resources, safety rules, and which books are real and not real. By the time they are in the 5/6s, students feel confident in their ability to find information about those topics that interest them or support their inquiry and work in their classrooms.\nMiddle (Grades 1-4)\nBuilding on skills acquired through formal instruction, discussion, and storytelling, students become proficient in the following areas: finding information, selecting books, understanding fiction/non-fiction, using shelf markers, comprehension and appreciation of folktales, assisted use of the computer catalog, awareness of genres, and how to care for books.\nThe 6/7s and 7/8s hone their critical skills by evaluating picture books and also their abilities in library use. By the end of the 8/9s, students can independently search the catalog and discuss books critically. They are able to do research using encyclopedias, indexes, and electronic databases. In the 8/9s and 9/10s, children are in the process of becoming information-literate. With the cooperation of classroom teachers, students embark on research that enables them to become discerning and capable users of information. They learn how to gather data efficiently and effectively, evaluate it critically and then use and present it accurately and creatively. The 9/10s become self-reliant as library users. In order to support their independent research, they continue to develop their skills in evaluating print and on-line materials for accuracy, currency, and bias.\nThe Middle School actively participates in the selection of the book to be honored by the Irma S. and James H. Black Book Award, which Bank Street presents each year to a picture book. The children in the 8/9s and 9/10s select four finalists after evaluating over twenty current picture books. The 6/7s and the 7/8s, together with their teachers and the librarian, read the four finalists and choose the winning book. The librarian also asks the children to recommend new titles to be considered for inclusion in the annual Best Children\u2019s Books of the Year, a book published by the Children's Book Committee at Bank Street.\nUpper (Grades 5-8)\nWorking collaboratively with the Upper School\u2019s classroom curriculum, Bank Street Library staff works with teachers to helps students develop critical evaluation skills so that they can be independent learners, critical selectors of print and media materials, and lifelong readers.\nObjective: For students to become discriminating consumers of information by learning how to access, locate, use, analyze, synthesize, and produce information in many formats.\nThe library's instructional program:\n- Combines information skills with literature evaluation and book selection.\n- Provides reference material for classroom use to support current curriculum needs.\n- Recommends readers references to individual children.\n- Nurtures independent study skills in accessing, locating, evaluating, and synthesizing information.\n- Refines critical thinking and public speaking skills by reading books eligible for a mock Newbery award.", "id": "<urn:uuid:44a20a39-6c93-4fd7-93ef-773b1bb985f5>", "dump": "CC-MAIN-2017-17", "url": "https://www.bankstreet.edu/library/about/library-curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121153.91/warc/CC-MAIN-20170423031201-00071-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.948813259601593, "token_count": 664, "score": 3.75, "int_score": 4}
{"text": "Canadian literature, French\nExcept for the narratives of French explorers (such as Samuel de Champlain and Pierre Esprit Radisson ) and missionaries, no notable writing was produced before the British conquest of New France in 1759. Since that time the inspiration for much French Canadian literature has been a concern with preserving an autonomous identity in a country dominated by the English language and the Protestant religion. Traditionally, there has been little contact between Canada's French and English literature. Until the 20th cent. French Canadian writers found their models mainly in writers from France and their themes in nationalism, the simple lives and folkways of the habitants, and the devotion to the Roman Catholic Church.\nThe first artistic expression of this spirit was F. X. Garneau 's Histoire du Canada (1845\u201348), still the classic of French Canadian nationalism. Other historians, including Benjamin Sulte, Thomas Chapais , and L. A. Groulx, also placed their emphasis on pride in and protection of their French heritage. This school of thought inspired the first nationalist poet, Octave Cr\u00e9mazie and the Quebec school of poets, novelists, and historians. In 1861 they began a deliberate effort to create a national literature, with such French authors as Hugo and Lamartine as their chief models. The group included Philippe Aubert de Gasp\u00e9 , J. B. A. Ferland, Louis-Honor\u00e9 Fr\u00e9chette , Pamphile LeMay, Abb\u00e9 H. R. Casgrain , Antoine G\u00e9rin-Lajoie , and N\u00e9r\u00e9e Beauchemin.\nAbout 1900 a new group of writers developed, centered chiefly in Montreal, who tried to achieve the stricter technique and keener artistic perceptions of the Parnassians of France. These more sophisticated poets included Charles Gill, Ren\u00e9 Chopin, and Louis Dantin. Some writers of the new group, such as \u00c9mile Nelligan\u2014considered French Canada's first native poetic genius\u2014and Paul Morin, abandoned the national note for exotic subjects. Others, such as Albert Lozeau and Albert Ferland, found inspiration in Canadian nature. About the same time another movement began, led by Adjutor Rivard, aimed at preserving the purity of the French language in Canada. Influential critics included Camille Roy, Henri d'Arles, and the poet Louis Dantin.\nIn the novel, a rural romanticism was expressed in the works of F\u00e9licit\u00e9 Angers (Laure Conan). A more realistic fiction took impetus from Louis H\u00e9mon 's Maria Chapdelaine (1913), a novel of the peasants of the Lake St. John country. There followed a stream of fiction on habitant life in the backwoods, on the farms, and in the villages, by such native Canadians as Robert Choquette, F. A. Savard, Claude Henri Grignon, Roger Lemelin, and Ringuet.\nAlthough some novels were set in cities and the notable author Robert Charbonneau explored the psychological defeatism of his characters, the realistic regional novel about the simple Catholic community remained dominant until the 1950s. Important poets since 1914 include Cl\u00e9ment Marchand, whose inspiration is often religious Alfred DesRochers, who writes of the life of the soil and Robert Choquette and Roger Brien, whose romantic lyrics are eloquently individualistic.\nFollowing World War II there was evidence of a new, less self-conscious spirit. Poets and novelists, trying to settle the language problem, declared that pure French should be standard, with the use of Canadianisms accepted wherever these served a purpose. Although it was still possible to detect the influence of France, in the mid-20th cent. much creative writing in Canada, as elsewhere, was characterized by experiment with subject matter and technique.\nFrom the 1970s to the 90s a nationalist focus in the novel was generally replaced with irony, skepticism, and universalism, reflecting developments in both Europe and the United States. Among noteworthy postwar novelists are Herbert Aquin, Yves Beauchemin, Victor-L\u00e9vy Beaulieu, Jacques Godbout, Gilbert La Rocque, Antonine Maillet, and Jacques Poulin. Among the poets are Michel Beaulieu, Fran\u00e7ois Charron, Anne H\u00e9bert, Paul Marie Lapointe, Rina Lasnier, Gaston Miron, Yves Pr\u00e9fontaine, Jacques Godbout, and Jean Guy Pilon, the last two founding the literary magazine Libert\u00e9 in 1959.\nSee I. F. Fraser, The Spirit of French Canada (1939) E. Wilson, O Canada (1964) A. J. M. Smith, ed., Modern Canadian Verse in English and French (1967) N. Story, The Oxford Companion to Canadian History and Literature (1967) R. Lecker and J. David, ed., Annotated Bibliography of Canada's Major Authors (7 vol., 1979\u201387).\nThe Columbia Electronic Encyclopedia, 6th ed. Copyright \u00a9 2012, Columbia University Press. All rights reserved.\nSee more Encyclopedia articles on: French Canadian Literature\nBrowse By Subject\n- Earth and the Environment +-\n- History +-\n- Literature and the Arts +-\n- Medicine +-\n- People +-\n- Philosophy and Religion +-\n- Places +-\n- Australia and Oceania\n- Britain, Ireland, France, and the Low Countries\n- Commonwealth of Independent States and the Baltic Nations\n- Germany, Scandinavia, and Central Europe\n- Latin America and the Caribbean\n- Oceans, Continents, and Polar Regions\n- Spain, Portugal, Italy, Greece, and the Balkans\n- United States, Canada, and Greenland\n- Plants and Animals +-\n- Science and Technology +-\n- Social Sciences and the Law +-\n- Sports and Everyday Life +-", "id": "<urn:uuid:0f3ce0e8-8c92-4ded-8290-09e890faeef2>", "dump": "CC-MAIN-2017-17", "url": "https://www.factmonster.com/encyclopedia/literature-and-the-arts/literature-in-other-modern-languages/french-canadian-literature/canadian-literature-french", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123046.75/warc/CC-MAIN-20170423031203-00366-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9190526604652405, "token_count": 1218, "score": 3.796875, "int_score": 4}
{"text": "The graphic below shows the number of kilograms of sulfur dioxide (SO2) emitted as a byproduct of each metric ton (1,000 kg) of copper extracted at selected copper smelters around the world. The data in the 3rd column is the SO2% capture rate.\nCopper is mined in Chile as copper sulfate. To produce pure copper from copper sulfate it is necessary to separate the copper from the sulfur. This is done in a copper smelter where the rocks are ground up and then melted as we explain here.\nSO2 is produced as a byproduct of copper production. SO2 is a pollutant that causes respiratory problems if people are exposed to too much of that.\nSO2 can be converted to sulfuric acid and sold for other industrial uses. The amount of SO2 that is not converted is emitted into the air as pollution. The capture rate shown below is the amount of SO2 that is not released into the atmosphere but is converted to sulfuric acid. To reduce SO2 pollution it is necessary to install electrostatic and other types of filters or replace old plants, which are more difficult to operate cleanly, with newer designs.\nAs you can see, Chilean copper smelters are the the bottom of the list with regards to SO2 emissions, meaning they are the dirtiest in the world. The Japanese plants are at the top, in part due to government programs to boost the domestic production of sulfuric acid there.\nAES Gener (power plant) and Codelco (copper smelter) maintain an air quality monitoring station for the Las Ventanas, Chile region here. This is part of their effort to show that they are complying with the emission standards that are current in Chile. (We will explain those emission standards in another post and how they compare to other countries). The monitoring network also was set up as a means to reassure a nervous public as there have been several accidents where SO2 gas was released into the air causing many people to become sick for a time.\nThe data on the international plants is from USGS data from 2002. The Chilean data comes from Chilean sources dated 2010.\n(0) Readers Comments\nApril 24, 2017\nApril 21, 2017\nApril 15, 2017\nApril 15, 2017\nApril 06, 2017\nJudging a creative writing contest is to pretend authority and, even m\nAnita! I know someone who wants to work in Chile but as electrician. D\nI really enjoyed this story. It made me think about my own predisposit\nThank you, Scott.\nI have been living in Santiago for about one year and I can confirm th", "id": "<urn:uuid:d0a9145d-1320-4e91-8d5e-bffdd56b3d88>", "dump": "CC-MAIN-2017-17", "url": "http://southernpacificreview.com/2014/06/28/chile-air-quality-copper-smelter-emissions/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120187.95/warc/CC-MAIN-20170423031200-00191-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.964962363243103, "token_count": 544, "score": 3.546875, "int_score": 4}
{"text": "About This Chapter\nAnalyzing Dramatic Literature - Chapter Summary\nMost people have attended a play or are familiar with the works of Shakespeare, but how many of those people could analyze a drama? Learn what defines drama and how to identify the elements of literary dramatic analysis. Evaluate drama-specific elements such as staging and scenes. This chapter will prepare you to:\n- Define drama and its literary elements\n- Explore plot\n- Evaluate scenes for main idea and purpose\n- Analyze drama\n- Outline the history of dramatic comedy\nEngaging videos, written transcripts and fantastic instructors make our lessons one of the best ways to master dramatic literary analysis. Our material is specifically designed to help you learn faster and remember longer. Take the optional quizzes and chapter exam to prove it!\n1. What is Drama? - Terms, Time Periods and Styles\nEver wonder why we use the word 'drama' when referencing people who overreact to a situation? Discover the definition of drama, its different styles, and why your friends might belong on the stage in this overview of the dramatic genre.\n2. Elements of Drama: Characters, Plot, Setting & Symbolism\nHave you ever wondered how actors in a play can convey a story without the audience reading the script? Watch and learn how playwrights use dramatic elements to tell a story on the stage.\n3. Plot Elements in Drama: From Exposition to Resolution\nPlays follow a predictable pattern that is referred to as their dramatic structure. In this lesson, you'll learn the five parts of dramatic structure, and you'll have the opportunity to test yourself at the end with a short quiz.\n4. Interpreting the Main Idea and Purpose of a Scene\nEssays usually have a stated main idea, but it's not as obvious in a play. In this lesson, you'll learn a technique that will help you determine the main idea and purpose of a dramatic scene.\n5. Analyzing Dramatic Works: Theme, Character Development & Staging\nIf 'All the world's a stage, and all the men and women merely players,' then why does analyzing a dramatic script seem so difficult? Find out how to make analyzing dramatic works easier with a four-step process in this video lesson.\n6. Dramatic Comedy: History and Types\nEveryone loves to laugh, and sometimes it's at the most inappropriate times. Even the ancient Greeks loved a dirty joke or two! Learn more in this video about dramatic comedy, its history and types.\nEarning College Credit\nDid you know\u2026 We have over 79 college courses that prepare you to earn credit by exam that is accepted by over 2,000 colleges and universities. You can test out of the first two years of college and save thousands off your degree. Anyone can earn credit-by-exam regardless of age or education level.\nTo learn more, visit our Earning Credit Page\nTransferring credit to the school of your choice\nNot sure what college you want to attend yet? Study.com has thousands of articles about every imaginable degree, area of study and career path that can help you find the school that's right for you.\nOther chapters within the TASC Reading: Prep and Practice course\n- Analyzing & Interpreting Literature\n- Literary Elements\n- Informational Text & Analysis\n- Analyzing Informational Texts Practice\n- Word Choice & Tone in Writing\n- Rhetorical Devices in Literature\n- Argumentative Writing\n- American Literature: Examples & Analysis\n- American Drama: Examples & Analysis\n- British Plays: Examples & Analysis", "id": "<urn:uuid:922533d5-4f8e-42f5-b0a1-7cdb44f9af89>", "dump": "CC-MAIN-2017-17", "url": "http://study.com/academy/topic/analyzing-dramatic-literature.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00486-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9087051153182983, "token_count": 733, "score": 3.859375, "int_score": 4}
{"text": "When we were very young, stories helped us make sense of the world, and in many ways they laid the foundation for how we\u2019ve interacted with information\u2014and people\u2014ever since. (The irresistible appeal of a good story lasts well into adulthood, as our late-night reading and binge-viewing habits demonstrate.) Whether children are the ones doing the telling or are simply listening to a parent or teacher, stories give kids the opportunity to fire up their imaginations, put themselves in other people\u2019s shoes, and learn how to communicate. Story structures and elements like characters, plots and settings engage the developing mind in ways that help organize thinking and make connections between words and images\u2014the fundamentals of reading and writing. Storytelling is an amazing catalyst: When children build narratives around content they have learned in class or at home, they strengthen and enhance what they have learned. They begin to make ideas their own.\nLi\u2019l Stories framework: storyboard, app, and web site.\nLi\u2019l Stories is an educational framework that helps teach first through third graders to express themselves through visual, spoken and written storytelling. Structured as a classroom activity, the framework guides students through the collaborative creation of a visual narrative. The system supports the teaching of communication, creative thinking and problem-solving skills, as well as self-expression and confidence with others. It also establishes concepts of physical and digital production, and how the two are linked. An accompanying app and website give students the opportunity to capture their stories, so teachers can assess them and share them with parents.\nLi\u2019l Stories framework: create a story together, capture it, and then share it.\nLi\u2019l Stories was developed by Li\u2019l Robin founder Anke Stohlmann as her thesis project at the MFA Interaction Design program of the School of Visual Arts. The work began as an investigation into learning through play. With a growing emphasis in public elementary schools on skill-based learning such as math or reading, children have limited time for play or creativity, activities that are just as important in the development of young minds. Stohlmann wanted to see if it was possible to do both at once\u2014to teach skills like reading and writing, while also fostering play and imagination.\nLi\u2019l Stories acrylic storyboard, used with Post-its.\nThe activity is based around a storyboard that consists of a series of panels. In groups of two, three, or four, students take turns drawing in the squares, extending the story panel by panel. The concept is partially inspired by \u201cExquisite Corpse,\u201d the classic game where players build on previous elements to create a drawing or narrative. The storyboard format resembles a game board or comic strip, things most children are familiar with. Its structure helps students organize their thinking. At the end of the exercise, students can share their stories together in class, or use the Li\u2019l Stories app to capture and upload the stories to an online classroom gallery.\nFor the physical activity teachers have different options\nLi\u2019l Stories provides an easy-to-use framework for teachers to engage and reach different learners and to support and assess educational goals. The flexible system can be applied to a variety of school programs and curriculums, and is accessible to any educator who wishes to use it. Teachers can purchase an acrylic storyboard, or download free templates to print their own board and use materials they already have in the classroom.\nThe program utilizes children\u2019s natural love for stories to reinforce the core ELA curriculum, teaching things like story structure, story elements, sequencing and focus. It also helps introduce new vocabulary, especially transition words that are important to the construction of sentences and paragraphs. Children are encouraged to think on their feet: The board features spaces for \u201cdisruptions\u201d\u2014unexpected elements introduced by the teacher that students must incorporate into their stories.\nClick to view Li\u2019l Stories storyboard in use.\nTo enrich a study module, teachers can use material covered in class to inspire characters, settings and plots of stories created by students. Students can retell stories they have read or heard in class, or create new stories around specific topics or story structures like \u201cpourquoi tales,\u201d origin stories that are particularly engaging to children. Almost any narrative can be adapted for an exercise: fairy tales, folk stories, historical events, books and movies.\nLeft: Izzy and Arpi, two third graders testing the Li\u2019l Stories app. Right: Izzy showing her dad the story she and Arpi created.\nIn addition to language skills, the teaching tool helps introduce young children to our connected world, where people are expected to move fluidly between creating in the physical world and capturing and sharing in the digital. Students learn how to use digital tools like the camera and microphone to document and share their work.\nTesting different materials during a class at the Children\u2019s Museum of the Arts.\nStohlmann developed the system in the classroom. Working with several teachers and classes at P.S. 3 in New York, she tested various prototypes to determine how best to structure collaboration among young students, who are easily\u2014and understandably\u2014excited about being able to do something together. Once the format was refined, the teachers found Li\u2019l Stories to be extremely useful, and the students loved it, too. (A set of best-use guidelines have been assembled for teachers and can be found with other resources on the Li\u2019l Stories prototype site.)\nMagnus Sweger showing a student group\u2019s creation story.\n\u201cWhat it really does is help children find their voice. They are working on how stories are put together,\u201d says Magnus Sweger, a second and third grade teacher who tested a prototype of the framework in his classroom at P.S. 3 in New York.\nSocial skills also benefit. \u201cIt\u2019s a stand-alone unit for public speaking. It helps kids overcome their shyness,\u201d he says. \u201cThey can use the visuals when telling their stories.\u201d\nAnd it may uncover skills kids didn\u2019t even know they have: \u201dTraditionally it\u2019s only the good writers who are good storytellers,\u201d Sweger adds. \u201cWith the storyboards and the oral storytelling, that equation gets turned on its head.\u201d\nLi\u2019l Stories pitch video, created for the Smart Pitch Challenge 2015 presented by the CUNY Institute for Virtual Enterprise.\nAfter successfully developing Li\u2019l Stories as a prototype, we now plan to launch the framework to educators. We\u2019re happy to announce Li\u2019l Stories won the Project: Interaction Education Award at SVA to continue our work. We can\u2019t wait to bring more Li\u2019l Stories into the classroom, and look forward to sharing all the twists and turns as the project progresses.", "id": "<urn:uuid:4b39afa6-e8c3-49ed-b8f1-9882e1e687d8>", "dump": "CC-MAIN-2017-17", "url": "http://lilrobin.com/news/2015/05/learning-through-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120844.10/warc/CC-MAIN-20170423031200-00309-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9571768641471863, "token_count": 1433, "score": 3.515625, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, videos, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nNovel News: Broadcast Coverage of Character, Conflict, Resolution, and Setting\n|Grades||9 \u2013 12|\n|Lesson Plan Type||Standard Lesson|\n|Estimated Time||Five 50-minute sessions|\n- explore the literary elements of character, conflict, resolution, and setting in a piece of fiction.\n- analyze a piece of fiction for highlights and significant passages.\n- compose original reactions to text, using readers theater.\n- Introduce the activity: to prepare segments for a news program based on incidents in the novel. Students will be responsible for props, costumes, and the content of their segments.\n- Have students brainstorm the things that go into a news program. Write the list on the chart paper so that you can return to the list in later sessions. You can use the traditional \"journalist's questions\" to get discussion started:\n- Who appears on the news program?\n- What is covered on the news program?\n- Where are the programs taped?\n- When are the segments in the program shown (in what order)?\n- Why are the particular segments shown? Why were they chosen?\n- How do all the parts of the news program fit together?\n- Who appears on the news program?\n- Once students have some basic information gathered, show one or more of the archived news programs. While they watch the shows, ask students to look for things they can add to their list.\n- When the videos finish, give students a few minutes to jot down their notes on scrap paper.\n- Return to your brainstorming list and add details that students gathered from watching the program. If you need to provide more scaffolding for the discussion, the Television Newscasts lesson plan from the Media Awareness Network lists questions that should provoke conversation.\n- Conclude the session by mapping out jobs that will need to be done for every news segment. Invite students to identify the jobs that are included on their brainstormed list. There can be news anchors, investigative reporters, weather forecasters, and news analysts. In addition to the jobs seen on camera, students may add jobs such as the director, set designer, and camera operator.\n- Review the assignment and the lists from the previous class. Share the Novel News Broadcast Segments Rubric and discuss the expectations and evaluation of the project.\n- Drawing from the list, create a chart of the possible segments the groups can produce (e.g., investigative report, weather forecast, editorial commentary).\n- Divide students into small groups. Each group will produce a news segment related to a novel they've all read. who have read the same book.\n- Ask students to choose a kind of segment for their group to produce and the section (or sections) of the book that they'll draw on for their segment. Also encourage students to identify the jobs that they'll be doing.\n- For the sections of the novel they've identified, ask students to create a list of characters involved, the conflict, its resolution (if there is one), and the setting.\n- Using this short list, have students use the Literary Elements Mapping student interactive to gather facts and details about the sections of the novel related to their segment. They can complete the Literary Elements Map as many times as necessary (e.g., for multiple characters) to gather the research for their news segment. Remind students that they need to print out the Literary Elements Maps to save their information.\n- Ask students to come to the next session ready to begin writing their segments. They should bring any materials they need to class\u2014the novel they're writing about, Literary Elements Mapping printouts, and notes, as well as props and other material they may need for their segment.\n- Review the project and answer any questions; then, give students the entire class period to write and practice their segments.\n- Use Roy Peter Clark's If I Were a Carpenter: The Tools of the Writer to help students get started. Emphasize that the \"rules\" are simply guidelines, not absolutes.\n- While students work, circulate among groups, providing assistance as needed. Use the resources listed in the Resources section to give students more detail on writing their stories.\n- Ask students to come to the next session prepared to complete a \"dress rehearsal\" by the end of the class. Again, they should bring any materials they need to class\u2014the novel they're writing about, Literary Elements Mapping printouts, notes, and props and material for their segment. For the rehearsal, students should have all props and significant materials, but they need not \"dress\" for the part.\n- Review the project and answer any questions. Segment time for students: they should use half the class to finish any writing and practice sessions. The other half of the class should be used for their \"dress rehearsal.\"\n- While students work, circulate among groups, providing assistance as needed.\n- Play the role of timekeeper as students work, letting them know when they need to shift from preparation to the dress rehearsal. Be sure to allow enough time at the end of class for students to discuss the results of their rehearsal and make any revisions to their scripts and plans.\n- Ask students to come to the next class session prepared to perform their news segment for the rest of the class. They'll need all props, costumes, and any additional materials.\n- Allow students a few minutes at the beginning of the class to make last-minute preparations, get into costumes, and assemble their props.\n- (Optional) If you are going to videotape the segments, set up your video equipment and ensure that you're ready to film the events.\n- If students are to write letters to the network as part of their assessment of this lesson, explain the writing task and suggest that they may take notes during the performances.\n- Have each group perform their news segment, keeping strict watch of time to ensure that all groups have adequate time to share their work.\n- Between segments, invite students to discuss what they've seen. This activity should be enjoyable for students; place the emphasis on positive feedback and reinforcement.\n- The Novel News Broadcast Segments Rubric provides feedback categories on both the use of details and information from the novel and the staging and group work.\n- The best feedback on this lesson, however, will come from students themselves. The reaction to news segments and accompanying discussion should provide students with information on their segment's successfulness.\n- As part of the evaluation, each student can write a letter to the network expressing positive and/or negative reactions to the segments performed by other groups.\n- Even better, students can be asked to write personal reflective pieces on the segment that they have helped produce. Encourage students to reflect on the kind of segment they choose, the sections of the novel they used, their scriptwriting, and their use of staging and props.", "id": "<urn:uuid:414e7e44-535b-4f58-ba53-9c9adff190d7>", "dump": "CC-MAIN-2017-17", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/novel-news-broadcast-coverage-199.html?tab=4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119838.12/warc/CC-MAIN-20170423031159-00425-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9364874958992004, "token_count": 1538, "score": 3.75, "int_score": 4}
{"text": "- When and how do teachers act as designers?\nTeachers are always acting as designers. Teachers must design lesson plans, assignments and activities. The teacher assesses the student\u2019s needs and creates a lesson that will meet their needs. A teacher can use several design tools such as computer programs to aid classroom instruction.\n- Select one of the followings and explain what it is and how it can be used in classroom: SketchUp, Trebuchet Simulator, Model Car Design, Scratch, iStopMotion, Impromptu.\niStopMotion is a computer program that enables students to create animated movies. The students can manipulate clay figures on the screen to create a story or they can record a video on a camera and use the program to edit the story. The good thing about this program is that it is easy to use and can be used by students in elementary school. Students can create a story a present it to the classroom.\n- Explain \"Digital Storytelling by Kate Kemker.\" What do you think it would work in your classroom?\nDigital storytelling is creating a video in three steps. First the student makes an outline of their story on a piece of paper. Then they use a camcorder to shoot the video. Finally the student uses a computer program to edit the video. This project encourages students to use critical thinking and it is a fun and creative way for a student to share their assignment with the class. I could use digital storytelling in my high school Spanish class. I would tell students to draft a story in Spanish on a piece of paper and then create the video and share it with the class.\n- Mathematics is one of the most abstract subject-matter domains. Helping students to visualize mathematical concepts is very useful in helping students make math real. What other methods suggested in the textbook will also help make math more real to students?\nThe book suggests using some technological tools for visual aid in mathematics. There are several computer programs such as Mathematica and Mathlab that show visual representations of the problem. I actually have experience with Mathlab and it is a very helpful program because it shows examples, videos and online lessons. The book also suggests using graphing calculators, data sets and statistics software.\n- Is it possible to learn from TV alone?--that is, learn how to do something merely from watching TV instruction?\nI think that television can be a very helpful tool for learning but I do not think that someone can learn how to do something merely from watching TV. I think face-to-face instruction is very important because the teacher can tell when a student does not understand something and they can go back and explain the material again. Classroom activities and student interaction are also very important for learning.\nJonassen, David H., and David H. Jonassen. Meaningful Learning with Technology. Upper Saddle River, NJ: Pearson/Merrill Prentice Hall, 2008. Print.", "id": "<urn:uuid:638aee9f-a160-4f9c-a4bb-772615b6b45c>", "dump": "CC-MAIN-2017-17", "url": "http://cristydeweese.blogspot.com/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125841.92/warc/CC-MAIN-20170423031205-00192-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9533271193504333, "token_count": 600, "score": 4.53125, "int_score": 5}
{"text": "Phrenology, the study of the contours of the skull and how they relate to personality traits, represented an early attempt at understanding human behavior. The \u201cnew science\u201d was all the rage in mid-nineteenth century America. Phrenology attracted and inspired some of the greatest minds of the early Victorian age, including our twentieth president James A. Garfield. Once considered a medical discipline, phrenology is today regarded as a pseudo-science.\nPhrenology was founded by German-born physician Franz Joseph Gall (1758-1828). In 1810 Gall published his principal work The Anatomy and Physiology of the Nervous System in General, and of the Brain in Particular in which he stated the following doctrinal thesis of phrenology:\n\u2022 That moral and intellectual faculties are innate;\n\u2022 That their exercise or manifestation depends on organization;\n\u2022 That the brain is the organ of all the propensities, sentiments and faculties;\n\u2022 That the brain is composed of as many particular organs as there are propensities, sentiments and faculties which differ essentially from each other;\n\u2022 That the form of the head or cranium represents the form of the brain, and thus reflects the relative development of the brain organs.\nGall ascribed personality traits such as \u201cReverence\u201d, \u201cDestructiveness\u201d, \u201cFirmness\u201d, \u201cMirthfulness\u201d, and \u201cCaution\u201d to specific areas of the brain. If a trait were especially well developed, that area of the brain would be larger, causing a bump in the skull. Likewise, if a trait were underdeveloped, that area of skull would be flat or possibly compressed. Phrenologists hypothesized that by palpating one\u2019s head they could identify one\u2019s parental aptitude, artistic talent, intelligence, propensity to crime, and other mental and moral faculties.\nAcceptance in Victorian America\nPhrenology asserted that the brain, a physical organ, and not the soul, was the center of moral reason and character development. Mainstream Victorian society was offended by and skeptical of any discipline that was not in harmony with religion. Phrenology could not have enjoyed such enormous popularity had it not made the effort to reconcile the dichotomy of God and science. The movement had to place less emphasis on scientific research, and its doctrines had to be in accordance with scripture and the laws of nature.\nBritish phrenologist George Combe (1788-1858) is recognized for popularizing phrenology in America. His classical exposition, The Constitution of Man, served as a guide for conduct and was one of the bestselling books of the nineteenth century. Combe\u2019s treatise promoted naturalism, a philosophy that \u201cnature is all there is and all basic truths are truths of nature.\u201d\nOrson Squire Fowler (1809-1887) and his brother Lorenzo Niles Fowler (1811-1896), two of phrenology\u2019s pre-eminent promoters in the United States, are widely credited with cracking the \u201cscience vs. religion\u201d paradigm. Both men studied for the ministry before becoming interested in the new science. Their books and lectures on the subject made many references to God and \u201cthe truth.\u201d The brothers touted phrenology as a practical tool for self-improvement.\nJames A. Garfield and Phrenology\nAs a student of The Western Reserve Eclectic Institute (now Hiram College), James A. Garfield attended several lectures on phrenology and even debated on the resolution that phrenology was a science \u2013 Garfield in the affirmative. In July 1850, the future president attended a lecture on the subject in Chagrin Falls, Ohio. The speaker, Nelson Sizer, was a leading phrenologist in the \u201cPhrenological Cabinet\u201d founded by the Fowler brothers. Four years later, Garfield made a trip to the Fowlers\u2019 establishment in New York. In his diary, dated July 10, 1854, he wrote about the experience:\n(I) had my head examined by Mr. Lorenzo N. Fowler. In the main he agreed with others. He said I was inclined to be mentally lazy, and had never called out my powers of mind, that they were greater than I supposed. He told me to elevate my standard of aspiration and thought. I had better aim at the Judge\u2019s Bench. Said I needed to be more spirited in resenting an insult.\nDuring another visit to New York in the summer of 1857, Garfield would again have his head examined by Lorenzo Fowler. In his diary, dated July 28, is a dictation of the diagnosis:\nBrain very large \u2013 too large. Great amount of vitality. You cannot wear out if you have any regard to physical law. You will not reach your meridian of life and strength till you are 45 years old.\nYour strength lies in your general power. The whole of your machinery comes to the help of any one part, thus giving great force. When your intellect is engaged your feelings are too, and when your feelings are engaged so is your intellect.\nRemarkable power of accumulating knowledge. Bent of mind for Science but is getting more and more for Literature. In faith you are a Thomas Didymus. Wonderful memory. Ear for music good. Talent for it ordinary. Enjoy fun and make it. Your fun is the offspring of Wit and Fancy.\nHave high ideas of worth in Character, a Disposition to do good.\nYou have a great a great deal of poetic talent. You have a good degree of self esteem. Are very warm hearted. Always had to love something. Should have a wife to keep you in the right place. You have the powers and qualities to be a good general. Your mental grasp equal to any task. Can accomplish whatever you undertake and determine to do. Set your mark as high as it can be placed and then work up to it. You want a wife \u2013 refined, genteel, graceful, of a philosophic mind, sharp, lively, sprightly, forehead high and broad.\nIn the department of Science you would become an Agassiz. The profession of the Law for you should only be a steppingstone to something else higher.\nIn speaking you need the stimulus of opposition.\nThere is no other mention of phrenology in the twenty-four years of journal writing that followed this entry. There is evidence, however, that Garfield had at least one more reading. A record of this event, a phrenological chart, is on exhibit at James A. Garfield National Historic Site. The book containing the chart is inscribed by Nelson Sizer and is dated May 14, 1864. Though no diaries exist for this year, Garfield\u2019s letters to family, friends, and colleagues suggest that this was a particularly conflicting time professionally and personally for the young congressman, husband, and father. One can only speculate if Garfield\u2019s phrenological readings had any influence on his future pursuits.\nTaken quite seriously by numerous Victorians, phrenology naturally extended to the diagnosis and treatment of criminals and the insane. One such example leads us back to the life, or more appropriately, the death of James A. Garfield.\nBy 1881, the year the president\u2019s assassin Charles Guiteau was put on trial for murder, interest in phrenology was fading. Nonetheless, the correlation between the physicality of the head and the processes of the mind continued to consume neurologists and psychiatrists. Several physicians who examined the accused were called by the defense to give their expert testimony. Dr. Edward Spitzka gave a lengthy analysis based on what he considered correlative neuroanatomy. Spitzka commented on Guiteau\u2019s cranial asymmetry, but conceded that the difference between the two sides of the brain did not \u201cconstitute a diseased difference\u201d.\nBefore advancements in the field of science and medicine discredited the claims of phrenology, its reputation was sullied by disreputable people who exploited the \u201cscience\u201d for profit, or used its tenets to promote racism. The profound effect it had on Victorian culture cannot be denied. Phrenology played a huge role in motivating, shaping and coloring the minds of some of the era\u2019s greatest thinkers and literary artists and it helped advance the study of human behavior. Perhaps most importantly, it brought to light the need for serious critical analysis in all we accept as \u201ctruth.\u201d\n-Mary Lintern, Park Ranger", "id": "<urn:uuid:1b0f1789-4360-48c5-84ad-2a4ee149a7ca>", "dump": "CC-MAIN-2017-17", "url": "https://garfieldnps.wordpress.com/2012/08/31/phrenology-in-victorian-america/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126538.54/warc/CC-MAIN-20170423031206-00606-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9672229886054993, "token_count": 1768, "score": 3.890625, "int_score": 4}
{"text": "\u00b7 Revival of Romantic features in Shelley and Byron.The Romantic age: -\nAssignment Paper No:-6\nTopic:- Revival of Romantic Feature\nSumitted to:- Mr. Jay sir\nDept of English\nRomanticism largely began as a reaction against the prevailing Enlightenment ideals of the day. Indeed, the term \u201cRomanticism\u201d did not arise until the Victorian period.\nRomanticism in British literature developed in a different form slightly later, mostly associated with the poets William Wordsworth and Samuel Taylor Coleridge, whose co-authored book Lyrical Ballads (1798) .The poets William Blake ,Lord Byron, Percy By she Shelley, Mary Shelley and John Keats constitute another phase of Romanticism in Britain.\nFemale writer like Mary Shelley, Anna Leticia Barb auld, Charlotte Turner Smith, Mary Robinson, Hannah More and Joanna Baillie.\nInfluence of War on Romantic WritingsThe Romantic Era is a time in history that was surrounded by war. The Seven Years' War (1756\u20131763), as well as the French and Indian War (1754\u20131763), and the American Revolution (1775\u20131783), which directly preceded the French Revolution (1789\u20131799).\nLord Byron, 1788-1824.\nByron (George Gordon Byron) expresses mainly the spirit of individual revolt, revolt against all existing institutions and standards. This was largely a matter of his own personal temperament, but the influence of the time also had a share in it. Byron was born in 1788. Byron suffered also from another serious handicap; He had already begun to publish verse, and when 'The Edinburgh Review' ridiculed his very juvenile 'Hours of Idleness' he added an attack on Jeffrey to a slashing criticism of contemporary poets which he had already written in rimed couplets (he always professed the highest admiration for Pope's poetry), and published the piece as 'English Bards and Scotch Reviewers.' The first literary journey was the publication in 1812 of the first two cantos of 'Childe Harold's Pilgrimage. He wrote throughout in Spenser's stanza, Byron summed up the case in his well-known comment: 'I awoke one morning and found myself famous.' In fact, 'Childe Harold' is the best of all Byron's works,\nHe published his brief and vigorous metrical romances, most of them Eastern in setting, 'The Glamour' (pronounced by Byron 'Joker'), 'The Bride of Abydos,' 'The Corsair,' 'Lara,' 'The Siege of Corinth,' and 'Parisian.' the narrative structure highly defective, and the characterization superficial or flatly inconsistent. In each of them stands out one dominating figure, the hero, a desperate and terrible adventurer, characterized by Byron himself as possessing 'one virtue and a thousand crimes,' merciless and vindictive to his enemies, tremblingly obeyed by his followers, manifesting human tenderness only toward his mistress .And above all inscrutably enveloped in a cloud of pretentious romantic melancholy and mystery. But in spite of all this melodramatic clap-trap the romances, like 'Childe Harold,' are filled with the tremendous Byronic passion, which, as in 'Childe Harold,' lends great power alike to their narrative and their description. All the while he was producing a great quantity of poetry. In his half dozen or more poetic dramas he entered a new field. In the most important of them, 'Manfred,' a treatment of the theme which Marlowe and Goethe had used in 'Faust,' his real power is largely thwarted by the customary Byronic mystery and swagger. 'Cain' and 'Heaven and Earth,' though wretchedly written, have also a vaguely vast imaginative impressiveness. Their defiant handling of Old Testament material and therefore of Christian theology was shocking to most respectable Englishmen and led Southey to characterize Byron as the founder of the 'Satanic School' of English poetry.\nMore significant is the longest and chief of his satires, 'Don Juan,\u2019. Its real purpose is to serve as an utterly cynical indictment of mankind, the institutions of society, and accepted moral principles. Byron's fiery spirit was rapidly burning itself out. He died of fever after a few months, in 1824, before he had time to accomplish anything. At the core of his nature there was certainly much genuine goodness--generosity, sympathy, and true feeling. 'The Prisoner of Chillan and the 'Ode on Venice.' On the other hand his violent contempt for social and religious hypocrisy had as much of personal bitterness as of disinterested principle; and his persistent quest of notoriety, the absence of moderation in his attacks on religious and moral standards, his lack of self-control, and his indulgence in all the vices of the worse part of the titled and wealthy class require no comment.\nIn 'Memorial Verses' Arnold says of him: He taught us little, but our soul had felt him like the thunder's roll. With shivering heart the strife we saw of passion with eternal law. His poetry has also an elemental sweep and grandeur. The majesty of Nature, especially of the mountains and the ocean, stirs him to feeling which often results in superb stanzas, like the well-known ones at the end of 'Childe Harold' beginning 'Roll on, thou deep and dark blue Ocean, roll'! Too often, however, Byron's passion and facility of expression issue in bombast and crude rhetoric.\nPERCY BYSSHE SHELLEY:- 1792-1832\nShelley resembles Byron in his thorough-going revolt against society, but he is totally unlike Byron in several important respects. His first impulse was an unselfish love for his fellow-men, with an aggressive eagerness for martyrdom in their behalf; his nature was unusually, even abnormally, fine and sensitive; and his poetic quality was a delicate and ethereal lyricism unsurpassed in the literature of the world. In both his life and his poetry his visionary reforming zeal and his superb lyric instinct are inextricably intertwined. Shelley, born in 1792.\nHe came to believe not only that human nature is essentially good, but that if left to itself it can be implicitly trusted; that sin and misery are merely the results of the injustice springing from the institutions of society, chief of which are organized government, formal religion, law, and formal marriage .\nShelley himself formed a union with Mary Wollstonecraft Godwin, the daughter of his revolutionary teacher. Her sympathetic though extravagant admiration for his genius, now beginning to express itself in really great poetry, was of the highest value to him. As we have said, with Byron, for whose genius, in spite of its coarseness, Shelley had a warm admiration. Shelley's death came when he was only thirty, in 1822, by a sudden accident. Some of Shelley's shorter poems are purely poetic expressions of poetic emotion, but by far the greater part are documents (generally beautiful also as poetry) in his attack on existing customs and cruelties. Shelley is the poetic disciple, but a thoroughly original disciple, of Coleridge. His esthetic passion is partly sensuous, and he often abandons himself to it with romantic unrestraint.\nHis 'lyrical cry,' of which Matthew Arnold has spoken, is the demand, which will not be denied, for beauty that will satisfy his whole being. Sensations, indeed, he must always have, agreeable ones if possible, or in default of them, painful ones.\nWordsworth is always exulting in the fullness of Nature; Shelley is always chasing its falling stars.' The contrast, here hinted at, between Shelley's view of Nature and that of Wordsworth, is extreme and entirely characteristic; the same is true, also, when we compare Shelley and Byron.\nThe finest of Shelley's poems, are his lyrics. 'The Skylark' and 'The Cloud' are among the most dazzling and unique of all outbursts of poetic genius. Of the 'Ode to the West Wind,' a succession of surging emotions and visions of beauty swept, as if by the wind itself, through the vast spaces of the world, Swinburne exclaims: 'It is beyond and outside and above all criticism, all praise, and all thanksgiving.' The 'Lines Written among the Eugenia Hills,' 'The Indian Serenade,' 'The Sensitive Plant' (a brief narrative), and not a few others are also of the highest quality. In 'Adonis,' an elegy on Keats and an invective against the reviewer whose brutal criticism, as Shelley wrongly supposed, had helped to kill him, splendid poetic power, at least, must be admitted. the longer poems, such as the early 'Alastair,' a vague allegory of a poet's quest for the beautiful through a gorgeous and incoherent succession of romantic wildernesses; the 'Hymn to Intellectual Beauty'; 'Julian and Maddalo,' in which Shelley and Byron (Maddalo) are portrayed; and 'Epipsychidion,' an ecstatic poem on the love which is spiritual sympathy. 'The Cenci' is more dramatic in form,\nThat the quality of Shelley's genius is unique is obvious on the slightest acquaintance with him, and it is equally certain that in spite of his premature death and all his limitations he occupies an assured place among the very great poets. On the other hand, the vagueness of his imagination and expression has recently provoked severe criticism. It has even been declared that the same mind cannot honestly enjoy both the carefully wrought classical beauty of Milton's 'Lucida' and Shelley's mistily shimmering 'Adonis.'", "id": "<urn:uuid:0fa50cfb-a900-4534-a597-eb1eb7bb046d>", "dump": "CC-MAIN-2017-17", "url": "http://italiyakinjal201011.blogspot.com/2011/03/revival-of-romantic-features-in-shelley.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123484.45/warc/CC-MAIN-20170423031203-00194-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9663575291633606, "token_count": 2023, "score": 3.625, "int_score": 4}
{"text": "After reading NurtureShock, I immediately bought Tools of the Mind. In my reading, what strikes me about the Vygotskian approach to early childhood education is that its goal is to arm children with tools that extend their mental abilities through PLAY. What is important in this approach is \"how the child can become what he not yet is.\" For example, PLAY gives the child a tool that allows him to function on a higher level in this following technique:\n\"Seven year old Juan has written his own version of a story he has read. The teacher asks him to \"edit\" his work by looking for spelling and capitalization errors. He puts on a pair of special glasses called \"Editor's Eyes\" to help him step out of his role of writer and into the role of editor. With the glasses on, he notices many more mistakes in his own writing.\"\n\"These mental tools, or tools of the mind... extend our mental abilities... help us attend, remember, and think better... When children lack mental tools, they don't know how to learn in a deliberate fashion... When children have mental tools, they are no longer reactive learners. They can take more responsibility for learning on their own because learning becomes a self-directed activity. The teacher no longer has to take total responsibility for every aspect of the learning process. Tools relieve teachers of this unnecessary burden, and more important, they can be applied across the curriculum, from reading to math or manipulatives to dramatic play.\"\n\"What the child is able to do in collaboration today he will be able to do independently tomorrow.\"\nUsing Mediators to \"promote development and help children move from assisted to independent performance... Unlike adults and older children, young children can only use mediators that are external and overt... visible to others and to the child, and can even be tangible.\" For example: use of pictures, arrows, tickets to remember which centers to go to next in a classroom, timers, menus for reading, language and math... In the following case, a little boy has to use 4 mediators to enable independent performance: \"Lani is very distractable during group meeting time and requires maximum mediation before he is able to attend through a story. He does best hen he sits on a carpet square with his name on it, with a stuffed animal on his lap, between two children who hold his hands during the story, and in front of the teacher. With this much mediation, he is able to sit through a story. After successfully doing this for a week, the teacher begins to remove the mediators one by one.\"\nUsing Language: \"Asking children to explain their thinking, to think while talking to peers, and to write and draw their understandings are ways that teachers can assist the process of unfolding verbal thinking... Written speech is not just oral speech on paper but represents a higher level of thinking. It has a profound influence on development because\n1. it makes thinking more explicit (allows you to look at your thoughts)\n2. it makes thinking and the use of symbols more deliberate (only what is on paper communicates)\n3. it makes the child aware of the elements of language... (words make up sentences)...\n... There are many parallels between how children learn to say their first words and how they learn to draw... Vygotsky considered young children's drawings a direct prerequisite to writing... Drawing can increase a child's awareness of her own thinking... Children thus begin to master the purpose of written speech long before they actually learn to write.\"\nUsing Shared Activities to learn how to regulate another and promote self-regulation: \"Playing or working next to each other is not enough. The participants must communicate with each other by speaking, drawing, writing, or using another medium... A beginning reader might resist reading 2 pages when it is assigned by the teacher, but be willing to read an entire book to a younger sister... In talking, writing, or drawing for someone else, thought becomes sequential and visible to the thinker... To communicate with another person, you must be clear and explicit.\" Shared activities that are most beneficial for development include: cooperating with more/less/equally capable peers on same task or interrelated task, cooperating with virtual peer (i.e. drawing a map for a newcomer to campus), engaging in dramatic play and games.\nLeading Activity for Preschoolers and Kindergarteners:\nMake Believe Play which helps them develop symbolic function, helps them begin to act on an internal mental plane, generate imagination, integrate emotions and thinking, and develop self-regulation.\n\"Vygotsky believed that play (dramatic or make-believe) promotes cognitive, emotional and social development... Real play... has 3 components: children create an imaginary situation, take on and act out roles and follow a set of rules determined by specific roles.\"\nNonplay Activities includes games with rules, productive activities (drama, storytelling, block building, art and drawing), preacademic activities (early literacy and mathematics only if they emerge out of children's interests and only if they occur in a social context appropriate for young children - i.e. through play) and motor activities (large-muscle activities, i.e. Simon Says, Freeze, Follow the Leader, Duck Duck Goose).", "id": "<urn:uuid:36f62a69-e385-40de-9ecd-3b504712b8b4>", "dump": "CC-MAIN-2017-17", "url": "http://thecardinalhouse.blogspot.com/2010/03/tools-of-mind.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125532.90/warc/CC-MAIN-20170423031205-00136-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9636064171791077, "token_count": 1079, "score": 3.515625, "int_score": 4}
{"text": "Teaching short story elements works best when using\u2026short stories. These classic short stories with lesson ideas will help you focus on specific elements of a short story.\nTeaching the Elements of Literature with Popular Short Stories\nTeaching short stories is an integral part of the high school English curriculum. Teach the elements of a short story with the following:\n(Note: Click on the titular links for free awesome lesson plans, analysis, and more. Click on the pictures, if you\u2019re interested in an entire unit with graphic organizer handouts with answer keys, common core aligned lesson plans, writing topics, rubrics, summaries and analysis, discussion topics, quizzes, and more)\n1. \u201cThe Most Dangerous Game\u201d by Richard Connell \u2013 Ship Trap Island claims another victim, world famous hunter William Rainsford. Will the island\u2019s lone inhabitant, General Zaroff get his prey or will Rainsford turn the tables.\n\u201cThe Most Dangerous Game\u201d provides the perfect example of man vs. man conflict. Create a three-column chart with Rainsford on top, Zaroff in the middle, and student on the bottom. Include four categories at the top\u2013views on hunting, views on animals, views on humans, and other important characteristics.\n2. \u201cThe Necklace\u201d by Guy de Maupassant \u2013 Mme. Loisel will do anything to be a part of the upper class. She borrows a necklace from her friend, loses it, and spends the rest of her life paying for it.\nThe theme of \u201cThe Necklace\u201d is relevant today. After reading the story, instruct students to write the theme of the story at the top of their paper. List 5-10 specific facts about the story that supports the theme.\n3. \u201cThe Scarlet Ibis\u201d by James Hurst \u2013 Break out the tissues as Doodle\u2019s brother explains what happened many summers ago.\n\u201cThe Scarlet Ibis\u201d provides an excellent example of first person point of view. Discuss why this story would lose its power if it were written in third person. Instruct students to write a passage from the story in third person to show them why author\u2019s choose to write how they write.\n4. The \u201cTell-Tale Heart\u201d by Edgar Allen Poe \u2013 A crazy narrator murders an old man, gets away with it, goes crazy, and confesses\nUse this teaching suspense lesson plan for either the \u201cTell-Tale Heart,\u201d \u201cThe Black Cat,\u201d or \u201cThe Cask of Amontillado.\u201d\n5. \u201cThe Interlopers\u201d by Saki \u2013 Ulrich and Znaeym resolve their feud, but will anyone hear of it?Examine conflict\u2013man vs. man and man vs. nature.\nThink irony. Adapt this lesson plan for teaching irony to help your students think about it.\n6. \u201cThe Secret Life of Walter Mitty\u201d by James Thurber \u2013 Walter Mitty is a brow-beaten middle aged man who dreams of so much more. Join Walter on his life-and-death adventures in James Thurber\u2019s most popular short story.\nWalter Mitty is one of the most popular short story characters in American Literature\u2013even inspiring the formation of Walter Mitty societies shortly after its release. Teach characterization by instructing students to find specific facts from the narrative that characterize Mitty.\nELA Common Core Standards Covered\nAmaze your administrator when he or she observes you teaching this creative book report idea by sharing the ELA Common Core Standards covered by this short story project.\n- RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.\n- RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.\n- RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.\n- RL.9-10.10 By the end of grade 9, read and comprehend literature, including stories, dramas, and poems, in the grades 9-10 text complexity band proficiently, with scaffolding as needed at the high end of the range. By the end of grade 10, read and comprehend literature, including stories, dramas, and poems, at the high end of the grades 9-10 text complexity band independently and proficiently.\n- Common Core Writing Standard 1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.\n- Common Core Writing Standard 2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.\n- W.9-10.6 Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology\u2019s capacity to link to other information and to display information flexibly and dynamically\nTeaching Literary Elements with Short Stories\nUnderstanding literary elements is necessary for literary analysis. These short stories will help you teach literary elements.", "id": "<urn:uuid:b75f2503-d660-4019-9081-cac7db535d1a>", "dump": "CC-MAIN-2017-17", "url": "http://www.elacommoncorelessonplans.com/literature-reading-standards/short-story-project.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121453.27/warc/CC-MAIN-20170423031201-00192-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9053748846054077, "token_count": 1134, "score": 4.03125, "int_score": 4}
{"text": "Using Poetry to Teach Reading\nStart with humorous poems that rhyme. That's the first piece of advice in this easy to read guide to using more poetry in your classroom. Other advice includes tips for choosing poems, how to manage poetry readings, and how to avoid breaking copyright laws when you copy poems for kids to read.\nMuch of poetry's beauty comes from careful word choice. Adding new words to one's vocabulary is a great way to expand the possibilities within a poem. In this article, learn several elaboration techniques that help students learn new words. You'll learn more about guidelines for selecting words, guidance for developing examples and non-examples, and much more.\nAs teachers, we recognize that to help struggling students succeed in school we must do more than address their academic needs. We must recognize students' emotional needs and feelings. In this important article, Dr. Bob Brooks reminds readers of the value of providing support and encouragement, and of lessening the negative beliefs students may hold about themselves that serve as obstacles to their learning.\nNational Poetry Month is a month-long, national celebration of poetry established by the Academy of American Poets. If you're looking for lots of resources for using poetry with kids, start at poets.org where you'll find interviews, video archives and much, much more.\nMay 7-13, 2012\nChildren's Book Week is the national celebration of books and reading for youth. Established in 1919, Children's Book Week is the longest-running literacy initiative in the country. Each year, books for young people and the joy of reading are feted for a full week with author and illustrator appearances, storytelling, parties, and other book-related events at schools, libraries, bookstores, museums, and homes from coast to coast!\nVoting for @CBCBook's 5th Annual Children's Choice Book Awards is now open!\nPlain Talk About Reading Institute\nApril 30-May 2, 2012\nNew Orleans, LA\nLearn the most current findings on reading instruction, reading difficulties, and reading intervention from the nation's leading researchers. Plain Talk About Reading is heralded as the nation's premier reading institute. The institute offers a clear focus on providing the latest scientifically based reading research (SBRR) and strategies for those who teach reading at all ages and grade levels.\nLD OnLine is a proud partner with Youth Service America (YSA). YSA improves communities by increasing the number and the diversity of young people, ages 5-25, serving in substantive roles. On Global Youth Service Day \u2014 April 20-22, 2012 \u2014 millions of children, teens, and young adults in over 100 countries on 6 continents will change the world through service. They will educate, volunteer, advocate, and give, addressing critical issues including health, education, the environment, hunger, poverty, disaster preparedness, and human rights. Need project ideas for Global Youth Service Day? From major park clean-ups to quick and easy crafts, you'll find loads of fun, easy projects at The Global Youth Service Day website.\nDVD from Reading Rainbow\nMy America: A Poetry Atlas of the United States\nColorful animation and fun music entertain and reinforce students' learning of new people, places, and activities. Popular personalities narrate the feature books in each episode while captivating illustrations appear on-screen. Capsule book reviews presented by students expand on the themes in the feature book, while \"kid-on-the-street\" interviews allow real kids to sound off about issues.\nHow can I help my son's teachers to find the best ways to help him learn?\nMatt Cohen, Esq. answers: Schools are required to use peer-reviewed, scientifically-based educational programs to the extent possible. If the math and science programs your son is being provided do not seem to be working, the first thing to ask the school is whether the program is a research-based, systematic instructional program designed to address his specific disability. Read the rest of his answer\u2026.\nVocabulary refers to the words a reader knows. Listening vocabulary refers to the words a person knows when hearing them in oral speech. Speaking vocabulary refers to the words we use when we speak. Reading vocabulary refers to the words a person knows when seeing them in print. Writing vocabulary refers to the words we use in writing.\nTo learn more about teaching vocabulary, see this article.\nA handful of exciting new words may be what your students need to finish off their poems. Try Graph Words, a simple interactive dictionary that helps us find the meanings of words and show connections among associated words. Color coding is used for nouns, adjectives, verbs, and adverbs. Word maps can be used to generate words needed for writing. Finished maps can also be saved as a PNG file.", "id": "<urn:uuid:e1cb7294-4e40-42cd-93c1-c4e749d7b75b>", "dump": "CC-MAIN-2017-17", "url": "http://www.ldonline.org/ldnewsletter/Using_Poetry_to_Teach_Reading", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00367-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.940657377243042, "token_count": 978, "score": 3.828125, "int_score": 4}
{"text": "As a whole, through the ages, India has contributed to world literature rich and diverse forms of creative writing that includes prose and poetry. In fact there is such diversity in the types of poetry in this country, that it far outnumbers the types created anywhere else in the world. This is primarily because of the diversity that makes up this country.\nSo, apart from the Indian poetry written in English, keeping to the rules laid in terms of writing sonnets, ballads and other forms of poetry; there are myriads of others. Indian poetry is generally classified in accordance to the language in which it is written, or the region from which it hails.\nHowever apart from the distinction based on the language and region of origination, Indian poetry is generally classified into the following types:\n-Devotional: This is one of the oldest types of Indian poetry. In fact, all religious scriptures have been written in the poetic form, as it was felt that people would comprehend the texts better, through the entertaining poetic language.\n-Epic: India has produced two of the longest epic poems to have ever been created in the world of poetry \u2013 The \u2018Mahabharata\u2019 and the \u2018Ramayana\u2019. Both these texts have been recognized all over the world, with it being translated into a number of other languages.\n-Couplets: A number of poets used a basic format of writing poetry in the form of couplets, i.e., the entire poem consisting of a number of couplets, called \u2018doha\u2019.\n-Ghazal: This form of poetry is generally written in the Urdu language and put to music. The uniqueness of this type of Indian poetry is that the poet expresses his thought in poetic format about something he is passionate about \u2013 generally about the woman he loves, his love for his nation, etc.\n-Bhajan: This is a form of devotional verse that is set to music. They are poems praising the Hindu Gods in their various forms.\n-Folk poetry: This is also known as regional or vernacular poetry that comes from the various parts of country, representing the varied traditions, cultures and customs.\nThrough the ages a lot of importance was given to the constant and consistent development of the literary forms in India. In fact, literature was a way of entertainment, and every king\u2019s court had a team of poet laureates who have contributed to the wealth of Indian poetry. In fact, even today poetry continues to be a part of the Indian cultures with a large number of poets being published each year, belonging to various age groups.", "id": "<urn:uuid:74e771ae-ae99-4fc9-98e8-d170bc0cc4a7>", "dump": "CC-MAIN-2017-17", "url": "http://www.indianchild.com/category/poems", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125654.80/warc/CC-MAIN-20170423031205-00488-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9811105728149414, "token_count": 542, "score": 3.578125, "int_score": 4}
{"text": "French Gothic architecture\n|This article needs additional citations for verification. (September 2014) (Learn how and when to remove this template message)|\nFrench Gothic architecture is a style of architecture prevalent in France from 1140 until about 1500.\nSequence of Gothic styles: France\nThe designations of styles in French Gothic architecture are as follows:\nThese divisions are effective, but still set grounds for debate. Because the lengthy construction of Gothic cathedrals could span multiple architectural periods, and builders in each period did not always follow wishes of previous periods, dominant architectural style often changes throughout a particular building. Consequently, it is often difficult to declare one building as a member of a certain era of Gothic architecture. It is more useful to use the terms to describe specific elements within a structure, rather than applying them to the building as a whole.\nThis style began in 1140 and was characterized by the adoption of the pointed arch and transition from late Romanesque architecture. To heighten the wall, builders divided it into four tiers: arcade (arches and piers), gallery, triforium, and clerestorey. To support the higher wall builders invented the flying buttresses, which reached maturity only at High Gothic during the 13th century. The vaults were six ribbed sexpartite vaults.\nThis 13th-century style canonized proportions and shapes from early Gothic and developed them further to achieve light, yet tall and majestic structures. The wall elevation was modified from four to only three tiers: arcade, triforium, and clerestorey. Piers coronations were smaller to avoid stopping the visual upward thrust. The clerestorey windows changed from one window in each segment, holed in the wall, to two windows united by a small rose window. The rib vault changed from six to four ribs. The flying buttresses matured, and after they were embraced at Notre-Dame de Paris and Notre-Dame de Chartres, they became the canonical way to support high walls, as they served both structural and ornamental purposes.\nThe portal sculpture of Burgundy integrates Classical, literary elements with its 13th century Gothic style. In Auxerre, two such examples of sculptures are upon the Cathedral of Saint-Etienne depicting Hercules, a satyr, and a sleeping faun; the Chartres-Rheims cathedral's north transept illustrates the biblical tale of David and Bathsheba. The Sens Cathedral's \"Coronation of the Virgin\" reflects a similar relief cathedral on the Notre Dame in Paris, and was created in a workshop that made minor contributions to Spanish Gothic architecture\n- Sens Cathedral\n- Lyon Cathedral\n- Toul Cathedral\n- The west facade of Chartres Cathedral\n- Notre Dame de Paris (started 1163)\n- The east end of the Abbey Church of St Denis\n- Notre-Dame of Laon\n- The main body of Chartres Cathedral (1194\u20131260)\n- Amiens Cathedral\n- Notre Dame de Paris\n- Bourges Cathedral\nLate Gothic (Flamboyant):\n- The north tower of Chartres Cathedral\n- The rose window of Amiens Cathedral\n- The west facade of Rouen Cathedral\n- Church of Saint-Maclou, Rouen.\n- The north fa\u00e7ade, south fa\u00e7ade, and south porch of the Church of Notre-Dame de Louviers\n- The south transept of Beauvais Cathedral\n- Notre-Dame de Caudebec-en-Caux\n- The north transept of \u00c9vreux Cathedral\n- Notre-Dame de l'\u00c9pine\nIn addition to these Gothic styles, there is another style called \"Gothique m\u00e9ridional\", Southern Gothic, as opposed to Gothique septentrional, Northern Gothic. This style is characterized by a large nave, and has no transept. Examples of this Gothic architecture are:\n- Notre-Dame-de-Lamourguier in Narbonne\n- Sainte-Marie in Saint-Bertrand-de-Comminges\n- Church of the Jacobins in Toulouse\nMany examples of secular structures in Gothic style survive in fairly original condition. The Palais des Papes in Avignon is the best complete large royal palace and parts of the famous Conciergerie, former palace of the kings of France in Paris. The house of the wealthy early 15th-century merchant Jacques Coeur in Bourges, is the classic Gothic bourgeois mansion, full of the asymmetry and complicated detail beloved of the Gothic Revival. The living and working parts of many monastic buildings survive, for example at Mont Saint-Michel.\n- Williamson, Paul. \"Gothic Sculpture 1140-1300\". ISBN 978-0300074529\n- Begun in 1443. \"House of Jacques C\u0153ur at Bourges (Begun 1443), aerial sketch\". Liam\u2019s Pictures from Old Books. Retrieved 29 September 2007.\n|Wikimedia Commons has media related to French Gothic Architecture.|\n- Mapping Gothic France, a project by Columbia University and Vassar College with a database of images, 360\u00b0 panoramas, texts, charts and historical maps", "id": "<urn:uuid:bfbd218a-8311-4d9e-8eff-d90e7b06ed2e>", "dump": "CC-MAIN-2017-17", "url": "https://en.wikipedia.org/wiki/French_Gothic", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122167.63/warc/CC-MAIN-20170423031202-00076-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8926265835762024, "token_count": 1090, "score": 3.796875, "int_score": 4}
{"text": "This essay has been submitted by a student. This is not an example of the work written by our professional essay writers.\nA Tale of Two Cities, by Charles Dickens, is set during the French Revolution time period. A young man named Charles Darnay moves to England with his wife to start a new life after rejecting the harshness of his family, the Evr\u00e9monde. Darnay goes back to France after receiving a letter from Gabelle, who got himself into legal issues and needed his help. Upon arriving he gets arrested for the crimes his family committed. Darnay tries to explain that he was nothing like his family, but the court still finds him guilty and sentences him to the guillotine for execution. Sydney Carton then gives his life and dies for Darnay due to his love for Luci Manette and his desire to finally make his life worthwhile. In A Tale of Two Cities, Charles Dickens employs many characteristics of the French Revolution into this literary work, depicting the impact the French Revolution had on his life.\nCharles Dickens displays his acrid point of view on the aristocratic class during the French Revolution through Charles Darnay as well as Marquis Evr\u00e9monde who are two key characters in the plot of the novel (Cicarelli 361). Darnay is an affiliate of the Evr\u00e9monde decent which is part of the French elite (Cicarelli 361). Darnay rejects the characteristics that his harsh family is known for, and he escapes to London in order to start a new life and neglect the memories of the cruel acts that his ancestors committed (Cicarelli 362). The reader may first see this as a chivalrous act, but Dickens portrays Darnay's character negatively since his behavior is that of a coward because he flees to England instead of getting up on his feet and fighting to stop the brutal treatment of the lower class peasants (Cicarelli 363). The Evr\u00e9monde, with the exception of Darnay, are all cruel and inhumane (Davis 224). Dickens depicts the atrocities brought upon the common people of France by the aristocracy (Moss 71). He cleverly utilizes the characters in A Tale of Two Cities, to formulate an extremely cynical view of the nobility as harsh and barbaric, and the French people cannot rely on these nobles for their well-being (Moss 71). The harsh portrayal of French aristocracy in A Tale of Two Cities directly correlates to the aristocrats during the French Revolution (Cicarelli 366). They took advantage of the poor and treated them unjustly, so it is clear that Charles Dickens sympathizes with the peasants (Moss 73).\nIn contrast, Dickens almost entirely disregards the severe domination of the middle class during the Reign of Terror, and he places the blame on blood-thirsty mobs calling for the Guillotine instead (Davis 262). The characters of Dr. Manette, Sydney Carton, and Luci Manette are the three most important characters from the middle class, yet they are not involved in the Revolution and are portrayed as positive characters (Brown 86). Dr. Manette is a man who had everything taken from him by the aristocracy, yet he never wishes to exact revenge on their brutality until the mob essentially forces him (Davis 307). Lucie Manette is the charming daughter of Dr. Manette who brings the best out of every person around her (Brown 92). Sydney Carton is the hero of the tale who sacrifices himself for his rival out of love for Lucie and the desire to make his life worthwhile (Brown 97). None of these characters embody the clever and cold-blooded leadership that embodied the middle class during the Revolution (Brown 98). This twist of historical facts could either be biased for or against the middle class by Dickens depending on his point of view (Davis 329). Since the Industrial Revolution was occurring in England during Dickens' time period, he may have put the middle class in good view due to amount of respect paid to the middle class in Britain at the time he wrote the novel (Pritchard 97).\nIn A Tale of Two Cities, Monsieur and Madame Defarge represent the lower working class during the French Revolution (Cicarelli 377). Monsieur Defarge is a leader in the cause for revolution who once served Dr. Manette. Madame is a vengeful and blood-thirsty revolutionary that keeps track in her knitting the people that must die in the Revolution (Pritchard 102). It appears as though Dickens over exaggerated the power of that working class has during the French Revolution (Frey 47). This overstatement could come out of his personal feelings towards the working due to his childhood experiences (Frey 49). Another possible bias when discussing the role of the lower class here is his bias toward the peaceful transition toward a more democratic system like that of Britain (Frey 49). He could be making the statement that if the change had come from the top, rather than from the bottom, the more educated and less base members of society could have made the transition smoother and altogether less violent (Bloom 80). This interpretation further emphasizes Dickens' belief that the changes were necessary, but that he ostracized the violence (Bloom 81).\nAlso, the symbol of wine is used in A Tale of Two Cities to represent the blood of the French Revolution (Cicarelli 399). Moreover, the wine was spilled in the house of Monsieur Defarge, one of the head revolutionary Jacques (Cicarelli 398). Clearly, Dickens shows his readers that all citizens living under the oppression of the French Government will one day be stained red with blood (Cicarelli 396). Soon, all the citizens nearby have come to drink the wine with an animalistic lust, and they even drink the wine off of the ground (Cicarelli 401). The citizens become beastly in the presence of wine, just like how they will become beastly in the presence of blood during the French Revolution (Frey 61). The blood-like wine further symbolizes the wide encompassment of people involved in the bloodshed of the revolution. The wine is \"red...and had stained the ground of the narrow street...where it was spilled\u00e2\u20ac\u00a6 it also stained many hands, too, and many faces\"(Bloom 98). This shows readers that the beginning of the bloodshed will be initiated by these common, oppressed people. It also creates imagery of the blood, about to be shed during the French Revolution (Bloom 99). The spill of the wine symbolizes the inevitability of the revolution through both the intolerable suffering of the common people, as well as the literal imagery of blood-stained people (Bloom 99). Later, when the French Revolution does begin at the Bastille, Dickens uses the same imagery of wine representing blood (Moss 84). As revolutionaries gather at the Bastille, \"women held wine to their mouths...and what with dropping blood\" (Moss 85). Wine is a powerful, common image that represents both the extensive reach and the beastly nature of the Revolution (Moss 87).\nCharles Dickens incorporates many characteristics of the French Revolution into the novel, A Tale of Two Cities. He uses symbolism as well as many clever instances of literary elements to depict the impact the French Revolution had on his life and the people around him during his time period. Charles Dickens displays the historical event through the characters by placing them in different social classes and making them act accordingly to fit the major conflict between the social classes during the French Revolution.", "id": "<urn:uuid:16e82066-ae73-4aea-aba1-52c92854d451>", "dump": "CC-MAIN-2017-17", "url": "https://www.ukessays.com/essays/english-literature/a-tale-of-two-cities-charles-dickens-english-literature-essay.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120206.98/warc/CC-MAIN-20170423031200-00545-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9671151638031006, "token_count": 1531, "score": 3.546875, "int_score": 4}
{"text": "We often use stories to illustrate a point we want to make. Storytelling is a time honored tool for passing on important information, and for demonstrating how we have come to a certain point in our lives. It can also be used to unite a community around a certain point of view. Storytelling is an ongoing process through which individuals, communities and nations construct their identity, make choices and inspire action. Each of us has a compelling story to tell that can move others.\nThere are three basic elements to keep in mind when you construct a story:\nChallenge: What was the specific challenge faced by you, others, or your organization/community? What are or were the specific factors that created this challenge?\nChoice: What was the specific choice that was made in face of this challenge? What led you or others to believe this was the best choice?\nOutcome: What happened as a result of this choice? Was there a lesson learned?\nOnce you have the basic framework of your story, you will want to consider the factors below. These will help you build your story in a way that engages and holds the interest of your listeners:\n- Match your story to your audience\nConsider the occasion and setting where you are telling the story. Is it to make a point for children? Perhaps you are trying to illustrate how your organization has effectively solved a community problem. Are you recognizing the accomplishments of someone special? Would humor be appropriate?\n- Memorize the basics\nTo keep an audience engaged you need to keep the story moving. Have a clear idea of where you are going with the story. Avoid verbal trash like \u201cum\u201d or \u201cy\u2019know?\u201d\n- Physically interact with your audience\nUse words, gestures, and facial expressions to create images for your story. You can even use visual aids if they will work in your setting. Vary the tone of your voice and make gestures that indicate what is happening. Don\u2019t fidget, put your hands in pockets, or shift from foot to foot, though.\n- Manipulate the details\nA good story is \u201ctrue,\u201d but it doesn\u2019t have to be fact. It\u2019s not as important to explain everything that happened as it is to create an atmosphere where listeners can fill in the blanks with their own experiences or observations. Eliminate extraneous details. Make space for your listeners to \u201csee\u201d the story, time to laugh, time to feel, time to reflect, time to hang on the edge of their seats for what comes next.\n- Practice before you deliver\nIf possible, tell your story first to friends in a small group. As you gain confidence, perform for larger, less intimate groups. Before long, you\u2019ll think nothing of telling a story to a large room full of strangers.\nIf you are new to public speaking, Toastmasters offers a supportive environment to learn the basics and get some practice.\nIf you would like to expand your story telling experience, Cowbird can help you do this.\nFinally, read to this classic piece about storytelling from America\u2019s greatest storyteller, Mark Twain.", "id": "<urn:uuid:3cea03aa-5fd8-4e93-80c1-232ee9d583d2>", "dump": "CC-MAIN-2017-17", "url": "http://resources-now.org/?p=1588", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119225.38/warc/CC-MAIN-20170423031159-00306-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.95737224817276, "token_count": 650, "score": 4.0, "int_score": 4}
{"text": "Name of Book: Harvesting Hope: The Story of Cesar Chavez\nAuthor: Kathleen Krull\nIllustrator: Yuyi Morales\nSummary: At the age of 10, Cesar\u2019s family had to migrate to California in search of farm work after being displaced from their ranch in Arizona due to a severe drought which resulted in their inability to pay their bills. Cesar quits school after the eighth grade to work on the farms and help support his family. The working conditions on these farms were harsh and poor with low wages. Cesar feels that the workers are being treated as less than human. When he could no longer tolerate the conditions, he organizes the first National Farm Workers Association and in a non-violent protest he fought for justice. He organized a strike and a non-violent march from Delano to Sacramento the capital, a total of 340 miles to ask for government help. As a result of the march, Cesar\u2019s protest against the grape company became well publicized. The National Farm Workers Association was recognized and a promise of better pay and working conditions was the result. Cesar celebrates this victory but he states that \u201cit is well to remember that there must be courage but that in victory there must be humility.\u201d\nLiterary elements at work in the story:\nGenre: Picture book partial biography of a Mexican American Cesar Chavez\nSetting: Inhumane working conditions on the grape farms in California during the life of Cesar Chavez\nCharacterization: Cesar Chavez portrays courage, determination and hope of changing the inhumane conditions in which the farm workers had to work. He organized the first farm workers union.\nPlot: The author gives a chronological account of Chavez\u2019 life to the point where he organizes a non-violent protest to bring about change and justice to a group that was disenfranchised by wealthy land owners.\nTheme: The theme of this book is centered in having the hope, determination and courage to bring about change and justice through a non-violent protest.\nPoint of View: Written from a third person point of view\nStyle: Beautifully illustrated with warm colors that draws the reader in and brings the story to life.\nGender: No gender stereotyping; Story is specifically about Cesar Chavez;\nRace: The main character is Chavez a Mexican America who sought change for Mexican American Farm Workers\nCulture: Mexican American working for predominantly white farm owners in California during a specific time period\nEconomic: Suppress a specific ethnic group\u2014Mexican American Farm Workers by wealthy land owners.\nAbility: No representation of anyone being handicapped\nScripture : Jeremiah 33:15-16\n1) The Lord raises people up for a purpose\n2) Righteousness and justice\nFaith Talk Questions:\n1) How does it make you feel when certain people are treated incorrectly because of how they look?\n2) How does God expect us to treat each other?\n3) What other leaders or heroes used non-violent resistance to create change?\nReview prepared by Union Presbyterian Seminary student Dee Osbourne-Smart\nHarvesting Hope by Storypath is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.", "id": "<urn:uuid:7a919158-1895-40d2-8b6f-a970860bbf0a>", "dump": "CC-MAIN-2017-17", "url": "http://storypath.upsem.edu/harvesting-hope/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917127681.84/warc/CC-MAIN-20170423031207-00314-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9506651163101196, "token_count": 654, "score": 3.84375, "int_score": 4}
{"text": "\u3010Unlocking Word Meanings\u3011\nRead the following words/expressions found in today\u2019s article.\n1. model /\u02c8m\u0252d l/ (n.) \u2013 a mathematical or scientific system that makes calculation and prediction easier\nExample: He created a new mathematical model using old formulas.\n2. neural /\u02c8n\u028a\u0259r \u0259l, \u02c8ny\u028a\u0259r-/ (adj.) \u2013 dealing with the nervous system or with nerves in general\nExample: An injury to the spine may severely damage neural functions.\n3. excerpt /\u02c8\u025bk s\u025crpt/ (n.) \u2013 a short passage from a piece of writing\nExample: The professor asked the students to read only some excerpts of the book.\n4. integrate /\u02c8\u026an t\u026a\u02ccgre\u026a t/ (v.) \u2013 to bring together two or more things so they become whole\nExample: The researchers will integrate all their research on dogs into one journal.\n5. neurological /n\u028a\u02c8r\u0252l \u0259 d\u0292\u026a k\u0259l/ (adj.) \u2013 concerning the study of diseases affecting the nervous system\nExample: The patient\u2019s headaches were a neurological symptom.\nRead the text below.\nNeuroscientists have developed a method to determine a person\u2019s thinking process while reading a book.\nTheir study introduces a model that can identify and incorporate all the brain activities that occur when reading a book, particularly fiction stories.\nThe model can simultaneously produce two results. First, it can identify the different neural processes taking place while reading. These processes include linguistic interpretation\u2014such as defining words\u2014and literary understanding\u2014such as getting to know the characters. Second, the model can provide a detailed brain map that displays which brain region is associated with a particular reading process.\nTo demonstrate how the model works, the researchers conducted an experiment using functional magnetic resonance imaging (fMRI) scans. They asked eight participants to read two excerpts from the book Harry Potter and the Sorcerer\u2019s Stone. While reading, the participants were monitored using fMRI scanning.\nThe researchers then analyzed the fMRI images using their model. This includes compiling all the brain activities in visual brain maps. Each map shows the brain activities happening in every four words read by a participant.\nResults show that parts of the book focusing on character development activate the brain region that observes other people\u2019s intention. On the other hand, the part where Harry Potter and his friends were learning how to fly on brooms was associated with the brain region that processes people\u2019s movements.\nAlthough the model still needs more improvement, it is considered an important progress in the field of neuroscience. It is the first method of reading brain scans in which several brain activities are integrated into one visual brain map. The model can thus lead to new ways of studying neurological disorders and learning problems.\nEnjoy a discussion with your tutor.\n\u00b7 What can we gain from studying about our thinking process?\n\u00b7 In your opinion, how can the results of this study be beneficial to people, in general? Please explain your answer.\n\u00b7 What about the brain would you be most interested to know more about? Why?\n\u00b7 What, for you, is a good reading or learning strategy when you encounter a difficult book? Please explain your answer.", "id": "<urn:uuid:0a7291ca-4f0b-4188-b810-2296d1e684c1>", "dump": "CC-MAIN-2017-17", "url": "http://rarejobdailynewsarticle.blogspot.jp/2015/02/thinking-process-determined-through.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122041.70/warc/CC-MAIN-20170423031202-00370-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9067206978797913, "token_count": 697, "score": 3.8125, "int_score": 4}
{"text": "2A: Design or adapt relevant learning experiences that incorporate digital tools and resources to promote student learning and creativity (ITSE, 2012).\n5C: Evaluate and reflect on current research and professional practice on a regular basis to make effective use of existing and emerging digital tools and resources in support of student learning (ITSE, 2012).\nThese were the standards that I choose to focus on when I started this course and designed a GAME (goals, actions, monitor, evaluate and extend) plan for my students (Cennamo, Ross, & Ertmer, 2009). In regards to the first standard that I choose, incorporating digital tools that promote student learning, I was able to infuse my existing curriculum with more technology than I have ever used before. Students were able to become familiar with tools such as VoiceThreads, wikis, and digital storytelling. It resulted in a learning curve for both the students and me. The number one thing that I will take away from this experience is that preparation is the key to any lesson that involves technology. Having a back-up plan in place comes in a close second. Rubrics guided the students through the labyrinth of what to include and helped to keep them focused on the lesson at hand. Pacing was another hurdle that students and I needed to work through.\nAs for the second standard that I focused on, evaluating and reflecting on current research, using the tools and experiencing first-hand how they work in a classroom setting allowed for adaptations to be made. Accommodations such as translated pages for English language learners, adjusted reading levels for struggling students, and allowing for extra time to type the information gleaned were all discovered through implementation of the technology itself. Having students reflect on the aspects of the lesson that worked well and those that did not afforded yet another look at how to better execute the lesson in the future. The piece that I still struggle with is finding the time to explore new technologies and determine how to best incorporate them into my teaching repertoire.\nThis experience has shown me that including various technologies into my teaching does not detract from the content being learned. In fact, the opposite seems to be true. Students are learning exponentially, not only content but digital literacies that they will take into the work force with them. Providing students with the skills that will enable them to compete in today\u2019s global market is why I choose teaching as a profession 20 years ago. Sharing how to use technologies that they are already familiar with, in a new way that they otherwise might not have ever thought of, opens up possibilities for students to become critical and creative thinkers while collaborating with each other or experts to solve the problems that they face, not only today but in the future as well.\nCennamo, K., Ross, J., & Ertmer, P. (2009). Technology Integration for Meaningful Classroom\nUse. Mason, OH: Cengage Learning.\nITSE, I. S. (2012). NETS for Teachers. Retrieved September 12, 2012, from", "id": "<urn:uuid:4f5539bb-4d9d-4bf5-bd32-457d41854c19>", "dump": "CC-MAIN-2017-17", "url": "http://educationallyfrustrated.blogspot.com/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120881.99/warc/CC-MAIN-20170423031200-00016-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9623056054115295, "token_count": 616, "score": 3.734375, "int_score": 4}
{"text": "Social Inclusion ~ in social justice, inclusion gives equal importance to all living things including humans, animals, plants and even the oceans, places where we work, school, live and play. When we are included and include others this adds to our own personal sense of belonging.\nArts programs that support social inclusion\nEach kindness is an eponymous story of inclusion expressed in a colourful narrative mural inspired by grade 4 to 6 students from Morse St PS. We share it with you!\nBased on Each Kindness by Jacqueline Woodson, Illustrated by E.B. Woodson, Nancy Paulsen Books, An Imprint of Penguin Group (USA) Inc.\nChloe and her friends won\u2019t play with the new girl, Maya. Every time Maya tries to join Chloe and her friends, they reject her. Eventually, Maya stops coming to school. When Chloe\u2019s teacher gives a lesson about the ripple effects of kindness, Chloe is stung by the lost opportunity for friendship, and thinks about how much better it could have been if she\u2019d shown a kindness toward Maya. Adaptable to all grades ~ Mahshid Fadaei, Sandra Iskandar, Pria Muzumdar+ Allycia Uccello ~\nEradicating World Poverty through Gender Equity\nRenowned entrepreneur and philanthropist Melinda Gates believes that the solution to eradicating world poverty is to empower young people to change world thinking on the value of women and children. The stronger the dominant social beliefs on gender equity in a nation, the greater the development of a country through social and economic opportunities. What does this mean for families? What is middle class? What does it look like to have a nation where all families are middle class? Let\u2019s accelerate discovery of how to most effectively and intentionally identify and address gender inequalities and how this relates to wellbeing and world peace. What are the human rights issues involved? What is individual and intra-household decision-making power? What part does education play? What part do boys and men need to play? Consider beliefs and attitudes and how these can be changed. Artist Charmaine Lurch works with grade 5/6 students from Rose Ave PS in mapping the inequities in beliefs about gender and turns it into a dialogue and visual arts game to affect change.\n(The Immortal Life of) Henrietta Lacks\nThe true story of Henrietta Lacks who surprised doctors at John Hopkins University in Baltimore in 1950 when it was discovered her immortal (durable and prolific) cells could heal millions of sick and dying and also contribute to successful cloning, polio and other preventative vaccines and gene mapping. Henrietta died of cancer in 1951 and since then 11,000 patients have been involved in research with HeLa cells. Yet Henrietta never knew of her remarkable cells. She never gave her consent for their use and she and her poverty stricken family were never compensated. Here is a remarkable true story inspired program of a remarkable woman and her immortal cells expressed in a tiny petri dish.\nSeven Sacred Grandfather Teachings\nThe First Nations, M\u00e9tis and Inuit peoples of North America were given the great gift of human understanding in Seven Teachings of the Sacred Grandfathers, oral traditions that form the foundation of their spirituality. Each teaching is represented by an animal and honours one of the basic virtues to a full and healthy life. Grounded in these teachings is the notion of mindfulness. When we are in balance with our world we contribute to overall harmony. This program brings Mariposa In The Schools Ojibwa storytelling Esther Osche into the classroom in partnership with visual artist and ICA sculptor Charmaine Lurch. Young students learn about balance and harmony through these remarkable tales and practice a visual interpretation of each. Ideal for grades 3 to 6 ~\nImagine a Place (coming soon)\nThe Woman Who Outshone the Sun\nThis legend is part of the oral history of the Zapotec People of Oaxaca, Mexico and adapted from a poem by Alejandro Cruz Martinez, a young Zapotec poet and social activist. It is the story of a beautiful and dignified woman named Lucia Zenteno who arrives in a village bringing with her dancing butterflies and brightly coloured flowers on her skirts. Even a loyal iguana walked at her side. Some said she outshone the sun. But the village soon becomes fearful of her differences and she is cast aside. The loss is deep and far beyond anyone could imagine. With story, word, visual art, mixed media and shadow puppets students explore concepts inherent in cultural competence to gain understanding of the importance of inclusion and its relationship to social justice and wellbeing at a global scale. Several artists ~ Ideal for grades 3 to 6 ~", "id": "<urn:uuid:96163f9e-9bb5-440f-af70-dfe404bb1b8f>", "dump": "CC-MAIN-2017-17", "url": "http://innercityangels.ca/programs/social-justice/inclusion/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123276.44/warc/CC-MAIN-20170423031203-00490-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9427046775817871, "token_count": 965, "score": 3.765625, "int_score": 4}
{"text": "Throughout the novel Huckleberry Finn, by Mark Twain, the author points out the injustices and hypocrisy of society and mirrors his views on society with those of Huck. As the reader follows Huck, a young southern boy making an escape from his abusive drunkard of a father, alongside Jim, a runaway slave, he/she views Huck's moral development as he transcends common public opinion of African Americans at the time, part of Twain's comment on society. Twain shows the hypocritical ways of civilized society through the actions of those surrounding Huck and then goes on to display his feelings about society through the actions of Huck. All of this culminates in the antagonist's final decision to reject society and \"sivilized\" ways and move out west.\nThe first blow to society that Twain delivers comes early in the book in the form of a court decision. Disregarding what would be in the best interest of the child, the new judge in town grants Pap full rights to his child.\nTo the reader, this is an absurd decision as it is clear that Pap is only interested in Huck because he believes that Huck has money. Twain also delivers an underlying message in this decision though. To a reader at the time of this novels publication (30 years after the civil war) the moral wrongdoing of granting custody of one man to another would have been overlooked, but in mirroring this situation and granting rights to the immoral Pap over the lovable Huck, Twain forces the reader to look at the meaning of slavery from a more humane standpoint. Twain uses the readers sentiment, as he/she knows what Huck will be forced to endure under Pap's control, to create a sentiment for the troubles of the slaves under the slave-owners.\nThe next slap in society's face comes much later in the novel when Huck witnesses the shooting of a drunkard for merely shouting insults and the wrong man, Sherburn. A mob then sets out to avenge this cold-blooded murder, but when it arrives at Sherburn's house, he delivers a speech about the cowardice of mobs and the human race in general and the crowd subsides. Although Sherburn's speech clearly reflects Twain's view on mob mentality, Twain's outburst at society is once again found deeper that this. Through the actions of Sherburn, Twain shows that society lacks logic when one man is punished with execution for simple drunken jeers, far more terrible acts go unpunished, such as the abuse of slaves and, after the war, the mistreatment of blacks. Though this may not have been Twain's true intention when he wrote this, one can at least take away that he was speaking out against a lack of logic and an intense selfishness found in society.\nTwain's next comment on society, and the overall purpose of the book, focused mainly on Jim's character throughout the course of the novel. Character development throughout portrayed Jim as a noble man with morals, as shown when Jim explains his plan for his life as a free man, to save every sent toward buying freedom for his wife and children. Throughout the majority of the novel, the reader is only exposed to this one side of Jim, the honest, noble Jim who has pride in himself. This makes it seem that Jim is flawless and creates a sort of surreal feeling for the reader. However, in the conclusion of the novel, Twain reveals a long kept secret of Jim's. For a good portion of their trip down the river, Jim knew that Pap had been dead, but he withheld this from Huck possibly believing that if Huck were to know this then there would be nothing keeping him from abandoning Jim and heading back home. Jim could not allow this because he needed Huck to get to freedom. This final discovery shows that Jim is in fact human and has his own needs, which he must cater to just as any human would. This brings Jim to the level of just a man, rather than being placed above all men, and this helps create a hope for equality.\nTwain found many flaws in society and he used his writings as a forum to display his feelings toward these injustices. Often Twain's feelings would show themselves in the actions of his characters, and the end of this novel was a fine example of this. As everything in the novel is wrapped up, Huck states that he is going out west because if he stays there Aunt Sally will try to \"sivilize\" him and Huck finishes out the novel by saying \"and I can't stand it. I been there before.\"", "id": "<urn:uuid:dd871691-ff8f-4f6b-a4a2-89e2a5e026cb>", "dump": "CC-MAIN-2017-17", "url": "http://www.writework.com/essay/essay-twain-s-comment-society-huckleberry-finn-mark-twain", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121865.67/warc/CC-MAIN-20170423031201-00310-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9738479256629944, "token_count": 911, "score": 3.828125, "int_score": 4}
{"text": "Humanistic Imagination in the Classroom\nI discovered a fascinating article called Humanistic Imagination: Soul Food for the Language Class by Dr. Gertrude Moskowitz.\nThrough research and storytelling, she shows that when we are given the chance to draw on imagination, we can stretch, grow, open up, and astonish ourselves. For example, Moskowitz describes how her Asian students were able to push past their traditional roles using drama techniques and how her 15-year-old English student, who could neither read or write, was empowered when his ability to draw was acknowledged and nurtured in a classroom activity.\nThe article provides a wealth of tips and classroom activities to trigger the imagination of our students, as well as our own imagination as teachers. But the article gets really interesting when she brings in the topic of using \"humanistic techniques\" in second-language teaching.\nThe real purpose of humanistic education, Moskowitz explains, is personal growth: becoming the best person we can be, developing a positive self-image, becoming aware of our feelings, discovering our true selves, and unearthing what she ultimately calls \"food for the soul.\"\nAt its best, the humanist approach to education encourages both the cognitive (i.e., rational or intellectual) ways of knowing as well as the affective (that is, emotional or intuitive) ways of knowing.\nBy combining content (i.e., subject matter) with the personal feelings and experiences of the student, education engages the whole person and not just the intellect.\nThe article concludes that when these two areas--the head and the heart--unite in classroom activities they not only provide powerful avenues for teaching, more importantly they satisfy the deeply felt human needs to understand and be understood. In Moskowitz's words, \"You have a potent package of appeal!\" I agree! The article is packed with research and carefully articulated thoughts and experiences as well as practical tips for the classroom. Here's one of the activities from this fascinating article by Gertrude Moskowitz.\nSculpture in Feelings\nTell the students that there are many ways we can express ourselves and our feelings and that today they'll experience a new and very different way.\n- Pass out a piece of clay or play dough to each student.\n- Ask the students to close their eyes and mold their clay into a round ball.\n- As they mold the clay, tell them, \"I'm going to read you a list of feeling words. While I'm reading, I want you to start molding your clay, without opening your eyes, into whatever shape the words lead you.\"\n- Select some positive feelings and read the list slowly at least twice. For example: confident, free, daring, peaceful, optimistic, excited, loved, curious, joyful.\nSSL & ESL Tip: For language students, this is a great TPR activity. Simply read your list in the target language. For example for SSL: \"seguro, libre, fantastico, feliz...\"\n- Tell the students to choose one word that appeals to them and let their hands create the shape that comes to them.\n- Read the list through two more times to give them time to sculpt.\n- When the students have finished, divide them into groups to discuss their creations or have them share with the whole class.\n- A great way to do this that gets your students up and moving is to display their creation like an \"exhibit\" (one per desk) and have them walk around the room trying to guess each others imagined word or feeling.\n- After they've guessed, have the class explain how they came to their conclusions.\n- Then have the sculptors themselves share about the significance of their work.\n- After viewing, have the students sit back down and then discuss as a class how the positive feeling words affected them, how it affected their sculptures, and what it was like evaluating other people's work as well as explaining their own.\nThe discussion and unusual depiction of feelings is the humanistic focus. The pieces of sculpture, clearly from the imagination, can be very fascinating to see and tend to induce surprise in what one can create with the eyes closed.", "id": "<urn:uuid:e2d8aeba-9d3d-4e26-8db6-27cbafe3f77d>", "dump": "CC-MAIN-2017-17", "url": "https://sube.com/blogs/sube-blog/how-to-teach-the-head-and-the-heart-with-a-hands-on-activity", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122621.35/warc/CC-MAIN-20170423031202-00489-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9645549058914185, "token_count": 866, "score": 3.796875, "int_score": 4}
{"text": "Celebrate Flag Day in Your Class\nLearn About the American Flag\nWithout an understanding of the country\u2019s foundation, children are sometimes swept along in the emotion of patriotism without really understanding what a true love for country involves. The following activities help your students grasp the history, symbolism and significance of \u201cOld Glory,\u201d as they plan a community program to commemorate Flag Day on June 14.\n- Students will recognize the symbolism of the United States flag, including the stripes, the stars and the colors.\n- Students will explain the origin of the U.S. flag and identify the changes to the flag over time.\n- Students will explain the history of the Flag Day observance.\n- Students will practice research, writing, and speaking skills.\nDivide students into three groups. Assign each group one of the following research topics upon which they are to become the class experts:\n- Origin of the U.S. flag and its symbolism\n- History of Flag Day observances\n- Flag etiquette for display, folding, disposing and other uses\nAs groups research the assigned topic, they will create fact sheets to share with the other students in the class. In addition, the groups should write three to five multiple-choice questions that you will use on a class quiz.\nRegroup the students so that one member from each of the original groups is in each of the new ones.\nUsing their fact sheets, topic \u201cexperts\u201d teach the remaining group members the important information about their individual topics.\nGroup members should check one another\u2019s understanding of the concepts, using the questions written by the original groups. They should be sure that everyone not only knows the correct answer, but also why it is correct, since the order of the answers may not be the same at test time.\nPlan a Celebration!\nReform the original \u201cexpert\u201d groups. These groups will prepare the components of the community program, as well as the decorations for the ceremony.\nAssign the groups the following tasks:\nWrite a three to five minute speech in which the group explains how a flag should be used and cared for.\nFind or write a poem about respecting the flag.\nMake a mural that shows proper flag care and etiquette. The mural should be at least 3 feet by 6 feet.\nFlag History and Symbolism\nWrite a three to five minute skit that explains the origin of the U.S. flag and the symbols used on it.\nFind or write a poem about the flag as a symbol of the United States.\nMake an illustrated timeline to show the changes in the U.S. flag from its beginning to today. The timeline should be at least 3 feet by 6 feet.\nFlag Day History\nWrite a three- to five-minute speech that explains how this day started, how it has been celebrated during its history, and why we continue to celebrate today.\nFind or write a song about the flag that matches the reasons for celebrating this special day.\nMake a mural about Flag Day celebrations and their history. The mural should be at least 3 feet by 6 feet.\nSpreading the Word\nReview the style of a journalism lede (5Ws and 1H) and the inverted pyramid used for news writing.\nAsk students to write press releases for newspapers, as well as radio and television stations, to explain the significance of Flag Day and to announce the ceremony sponsored by the class. Encourage them to write in a manner that a journalist could use the release for publication.\nNext, review the elements of a friendly letter. Ask students to draft compelling letters of invitation to send to special guests, such as community dignitaries or veterans\u2019 groups.\nHaving Fun with Flag Day\nProvide students with shrinkable plastic and markers or paint, along with key rings. Allow them to make their own flag key chains by drawing and coloring flags on the plastic. Punch a small hole in one corner and place the flags in a toaster oven to bake according to the manufacturer\u2019s directions. Thread the cooled flags on key rings.\nExpand the craft project by letting students make key chains, safety pin and bead flag pins or unity pins for the invited guests.\nReinforce the lessons you\u2019ve taught on literary elements by having students write alliterative poems about flags and Flag Day. After the poems are illustrated, compile a class book and provide each student with a copy.\nWith these Flag Day activities, you and your students will gain new understanding of the significance of the national symbol and have fun in the process. Students can take pride in knowing that they have helped to educate the community, as well.\nFor more information on Flag Day or the U.S. flag, check these sites:\nFlag Folding, http://www.usflag.org/fold.flag.html\nFlag Facts for Flag Day, http://edsitement.neh.gov/lesson-plan/stars-and-stripes-forever-flag-facts-flag-day\nNational/Historic American Flags, http://www.law.ou.edu/hist/flags/fedflag.shtml\nThe following sites provide a collection of poems and short stories appropriate to Flag Day studies:\nPrintable Flag Day Short Stories for Children, http://www.apples4theteacher.com/holidays/flag-day/short-stories/Flag Day Poems and Rhymes Patriotic Poetry, http://www.apples4theteacher.com/holidays/flag-day/poems-rhymes/\nThe ideas for these lessons come from the author's 20 years' experience in education.", "id": "<urn:uuid:5a187476-3e97-4c5f-adae-a5555e6f1589>", "dump": "CC-MAIN-2017-17", "url": "http://m.brighthubeducation.com/middle-school-social-studies-lessons/117125-flag-day-activities/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122996.52/warc/CC-MAIN-20170423031202-00019-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9171392917633057, "token_count": 1171, "score": 3.9375, "int_score": 4}
{"text": "5 Better Writing Techniques for Students\nWriting is not as easy as it seems. It takes time and patience to acquire the skill in a conventional manner. It is hard to teach students to write because it requires a complex mix and coordination of cognitive processes. You can break it down for them, however. Here are five writing techniques to help you teach students to become better writers.\nTip #1 Engage in Pre-writing Activities\nThe first stage of any type of writing is pre-writing.\nYou may not be aware of it as a writer, but it is where you consider and discard ideas on a topic. It is a free-flowing process, sometimes called brainstorming, and it is not usually organized.\nYou can walk your students through this process by providing them with activities to help them come up with and organize ideas. You can use brainstorming apps, or simply ask them to write down ideas and discuss each one in turn.\nTip #2 Collaborate\nWriting is a very personal endeavor but, for the student writer, they need all the help they can get.\nHave your students work together on a writing project. Encourage them to plan how they will approach a topic, organize the research, write the paper, and do revisions. This type of collaboration improves student writing skills as they go, together.\nTip #3 Summarize Text\nYou can help your students become better writers by teaching them how to get at the major ideas in any written work.\nSummarizing involves decoding complex ideas into simpler ones and, in the process, they will begin to understand how to develop simple ideas into complex ones. Give your students articles to summarize, and guide them through the process.\nTip #4 Provide Feedback\nHave your students critique each other\u2019s work, and provide feedback. You need to give them pointers on how to do it to make sure they give constructive criticism. Ultimately, they have to understand that such feedback is the same thing they will get from their readers, and nothing is more valuable than that kind of realization.\nTip #5 Emphasize the Importance of Writing\nYou have to impress your students with the importance of good writing skills. You are not just to give them a hard time to get a good grade in your class. Give them examples of how good writing can get them better jobs, and make them a valuable asset to any company. Provide them with role models of excellent writers, and tell them that they, too, started with no skills in writing.\nWriting is a skill that evolves over time, which is why educators have to take the initiative to provide students with writing techniques they can practice constantly. These five techniques can make them writers of whom you can be proud. Teaching them to be better writers is both your responsibility and your privilege.\nJoan Selby is an ESL teacher in Green Dot Public school at Los Angeles, California and tutor at Edugeeksclub. Her passion for education comes from her desire to see students develop to their fullest potential. She is a CalArts graduate and a fancy shoelover. Find her on Twitter and Facebook.", "id": "<urn:uuid:21e2d79f-0c2c-48cf-841e-f38952402a12>", "dump": "CC-MAIN-2017-17", "url": "http://www.simplek12.com/reading-writing/5-writing-techniques-to-turn-your-students-into-better-writers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118310.2/warc/CC-MAIN-20170423031158-00367-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9653555154800415, "token_count": 635, "score": 3.78125, "int_score": 4}
{"text": "Creativity is intelligence having fun.\u201d\nWe\u2019re very happy to be sharing our thoughts and ideas about creativity with you, because it is such a natural and motivating skill to develop in our young learners. Creative activities are fun and engaging for our students. They take learning far beyond the simple tasks of understanding and memorizing. In fact, it is the highest order thinking skill, as Bloom\u2019s Revised Taxonomy illustrates below:\nCreativity is an essential skill (along with critical thinking, collaboration, and communication) that students need in order to be successful in the 21st Century. Creative students are better at making changes, solving new problems, expressing themselves through the arts, and more.\nHow important is creativity?\nIn one of his TED talks, education scholar Sir Ken Robinson says:\nCreativity now is as important in education as literacy. We should treat it with the same status.\u201d\nCreativity is a natural ability that is found in every young learner. Unfortunately, traditional classrooms don\u2019t always value creativity, and sometimes even hold it back. Our role as teachers is to nurture creativity at every opportunity.\nConsider the following:\n- Creativity develops when students are able to analyze the information they\u2019ve learned, make new connections with that information, come up with new ideas, and evaluate their choices.\n- To nurture creativity, students need the freedom to offer ideas and express themselves without judgment. In a creative classroom, all contributions from students are welcomed.\n- Creativity requires the courage to make mistakes. Sir Ken Robinson states, \u201cIf you\u2019re not prepared to be wrong, you\u2019ll never come up with anything original.\u201d\n- Creativity and innovation go hand-in-hand. David Hughes, founder of Decision Labs and professor at UNC Chapel Hill, feels that innovation is essential for our global economy.\nWhat are the qualities of a creative classroom?\n- Teachers and students ask open-ended questions that encourage curiosity and creativity.\n- Students brainstorm as many ideas as possible without fear of being judged or being wrong. Students then go on to choose the best ideas and improve upon them.\n- Students demonstrate creativity not only individually, but with partners and in small groups. Ideas are generated and assessed collaboratively.\n- Students lead the learning and work together to complete projects. These projects help students take the information they have learned and present it in new and creative ways.\nHow can you nuture creativity in your classroom?\nLet\u2019s look at some specific ways to nurture creativity in your classroom, starting with one of the building blocks of language learning:\nLearning about letter shapes and names can be creative! When your young learners are introduced to letters, try this activity to build their creativity. Write the letters one by one on the board and ask the following questions:\nCan you make the letter _(b)_ with your fingers? With your hands? With your whole body? With a partner?\nWhen you first do this task, you might model how students could do this. Think out loud. Let\u2019s see. Letter b is round and straight. How about like this? Or like this? Then your students are ready to try their own ideas.\nVocabulary words can be taught in many creative ways. For example, verbs such as walk, tiptoe, and skate can be learned more deeply by inviting students to move in creative ways. Questions might include:\n- Show me what it\u2019s like to walk in deep snow. Show me how you might walk on hot sand.\n- Imagine that you\u2019re tiptoeing past a sleeping polar bear.\n- We\u2019re on a frozen lake in Antarctica. Let\u2019s skate with the penguins!\nAs you can see, creativity and imagination are closely related.\nOther words such as nouns and adjectives can be presented creatively through facial expressions and body language, through movement, and even through dramatic skits.\nGrammar is often considered to be a logical and unimaginative part of English. However, grammar can be very creative as it is expressed in songs, poetry, and storytelling. Look for opportunities to build creative skills along with grammar skills.\nHere\u2019s a fun and creative way to teach not only grammar and speaking skills, but math as well! It\u2019s taken from Oxford Discover Student Book 2, Unit 8:\nThe above activity combines the logical thinking from math with the imaginative thinking from poetry. Students have a great time substituting the animals and numbers in the poem with their own creative ideas, while at the same time presenting a logical math problem.\nOxford Discover offers an inquiry-based approach to learning that allows students to consider big questions with many answers. Students are allowed to come up with their own additional questions. This process is creative as well as motivating for students.\nConsider this Big Question from Oxford Discover Student Book 3: How do people have fun?\nStudents explore the many ways that people have fun around the world. The discussion may turn to the subject of celebrations. Students may explore the following questions:\n- What is a celebration?\n- What are some ways that people celebrate around the world?\n- What do people celebrate in your area? How do they celebrate?\n- What is needed to make a celebration successful?\nAs students explore these questions and find answers, they process the information by analyzing and evaluating what they have learned. Finally, they should be given an opportunity to create.\nOne suggestion is to get students working together to plan a celebration. They must determine:\n- What are we celebrating?\n- What is our celebration called?\n- Who is invited?\n- How will we celebrate?\n- What will we need to prepare?\nAs students plan, they also create. Students might create a poster, gather materials for their celebration, or even write a short play. Finally, they share what they have planned with the rest of the class.\nA creative classroom is a joyful and motivating place where children feel empowered to learn, where all ideas are welcomed, and where learning is deep and meaningful. Children who are allowed to be creative are better learners, and they are more aware of their own learning styles. Creativity is a lifelong skill that our students will take with them into their adult lives to solve problems and help build a better world.\nWe\u2019d like to conclude with a powerful quote from Robert Fisher in his IATEFL address entitled, \u201cExpanding Minds: Developing Creative Thinking in Young Learners\u201d:\nWhat promotes creativity is a questioning classroom where teachers and pupils value diversity, ask unusual and challenging questions; make new connections; represent ideas in different ways \u2013 visually, physically and verbally; try fresh approaches and solutions to problems; and critically evaluate new ideas and actions.\u201d\nThank you, and happy teaching!\nWould you like more practical tips on developing 21st Century skills in your children? Visit our site on Teaching 21st Century skills with confidence for free video tips, activity ideas and teaching tools.\nSign up for a free webinar with Charles Vilina and Natasha Buccianti on How to use creativity in the classroom on 18 and 20 March 2014.", "id": "<urn:uuid:49541b14-b4c3-4625-9795-8ecef3d51628>", "dump": "CC-MAIN-2017-17", "url": "https://oupeltglobalblog.com/2014/03/03/creativity-in-the-young-learner-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00370-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9531421065330505, "token_count": 1485, "score": 4.03125, "int_score": 4}
{"text": "3.2.1 Granularized Learning Objectives for Introduction to Web Native Filmmaking\nThese learning objectives were created in collaboration with Michelle Levesque and other Mozilla Foundation staff. They begin to define specific learning objectives needed to reach the meta-definitions of the first three Web Literacy categories as defined in Chapter 1.6.1. This list is currently under review.\nBrowser Basics is about knowing enough about a web browser to be able to navigate through webpages without getting lost.\n\u2022 How to type in a URL and visit that webpage.\n\u2022 How to click on things (eg: a link).\n\u2022 How to navigate back to the page you were previously on\n\u2022 How to retrieve the URL of the page you are currently on, in order to share it, paste it in an email, return to it later, etc.\n\u2022 How to pause a current activity (eg: filling in a form) to do another activity (eg: open up another tab to look something up) and return to the original activity without losing state.\n\u2022 Components of a URL \u2013 some host name which is a computer somewhere on the web, the path on that computer\n\u2022 What actually happens when you type a URL into your browser and hit enter. \u2013 You are contacting a computer somewhere in the world\n\u2022 Who owns the web? Who owns a web page? \u2013 Understanding that servers are rented (most of the time), understand that people put their content on rented servers\n\u2022 What does \u201cupload\u201d mean? \u2013 Understanding you have to put your content onto a path\n\u2022 Find the answer to a specific fact question, eg: What is the capital of Alberta?\n\u2022 Find information about a topic, eg: How do we digest gluten?\n\u2022 Find a process to answer a problem, eg: How do I repair a toilet that doesn\u2019t flush properly?\n\u2022 How to re-discover the answers to problems/questions you\u2019ve previously solved.\n\u2022 The difference between aggregators and direct content pages.\n\u2022 How much can you believe what you read online?\n\u2022 Thinking through who authors things, and what that means about reliability.\n\u2022 Crowd-sourced reliability\n\u2022 Involves advanced social skills (eg: understanding \u201cwhy would someone create a parody website of this company?\u201d) to be able to fine-tune it.\nRestaurant HTML The ability to identify HTML and know how it works. The ability to use basic html and understanding of how to create and format basic page structure using CSS, images, links, lists, sound and video.\n\u2022 Tags (the opening and closing thereof)\n\u2022 Basic formatting tags (bold, paragraph, etc.)\n\u2022 Images, video, audio\n\u2022 Where to find more tags, look up tag/attribute syntax\n\u2022 CSS and classes\n\u2022 CSS and ids\n\u2022 How to find an example of formatting you want to copy, view its source, and then use the example to include it in your own page.\nLinking/Embedding The ability to create hyperlinks between content, embed content and the understanding of nuances in linking terminology.\n\u2022 Links vs Embedding\n\u25e6 absolute vs relative\n\u25e6 internal vs external\n\u25e6 Navigational vs Non-Linear\n\u2022 Styling Links with CSS\nDesigning for the Web The ability to plan and organize content for an interactive series of webpages with adherence to the fundamental principles of design and acknowledgement of web limitations. Introduction to basic CSS as a tool for design. Does not include the ability to PROGRAM webpages or how to USE layout software.\n\u25e6 determining purpose\n\u25e6 designing for your audience\n\u2022 Principles of design\n\u25e6 page elements\n\u25aa Pull-quotes, lead-ins and kickers\n\u25e6 interface design\n\u25aa Logic versus reality\n\u25aa Using metaphor\n\u25aa Grids as Guidance\n\u25aa Grid Design Methods\n\u25aa Designing for the Reader:\n\u25aa Reading with ease\n\u25aa Columns as Control\n\u25aa The blech factor\n\u25aa Graphics as text\n\u25aa Color Association\n\u25aa Color Terms\n\u25aa Neutral Colors\n\u25aa Chromatic Hues\n\u25aa Monochromatic Color\n\u25aa Choosing Effective Colors\n\u25aa Helpful sites\n\u25aa vector vs pixel\n\u25aa background graphics\nRemixing The ability to alter someone else\u2019s content. An understanding of copyright and copyleft licensing. A grounded understanding of why allowing others to remix your content is advisable, and why the practice of remixing is a new derivative art form.\n\u2022 Definition of remixing\n\u2022 How to remix. (eg: view source)\n\u2022 Ability to recognize remixes on the web as remixes.\n\u25aa per country stipulations\n\u25aa fair use policies\n\u25aa CC licenses\n\u25aa as an ethos\n\u25e6 Ability to tag one\u2019s own work for remixing by others\n\u2022 Forking and Copying Code\n\u2022 Changing Content\nOpen Web The ability and foresight to advocate for an Open Web. Includes the understanding of its difference from the closed web, the understanding and usage of open content/code and adherence to open standards.\n\u2022 History Lesson: The Web was Built to be OPEN\n\u25e6 Intro to Open Standards\n\u25e6 Transparency and hackability\n\u2022 Why you should care\nLinking vs Copying When you make a copy of something, there are now two versions in the world. If you change one, the other does not get changed. When you link something, there is still only one version in the world. If you make changes to it, everyone sees that change.\n\u2022 The difference between emailing someone an attachment versus emailing them a link\n\u2022 The difference between editing and forkingcopying then editing\n\u2022 When linking is appropriate, when copying is appropriate\n\u2022 The use of permalinks to send someone to a specific part of the web\n\u2022 Broadcast versus one-to-one communication\n\u2022 Online social network knowledge\nDesigning for your Audience\n\u2022 Thinking about how your audience wants to consume your content\n\u2022 Age-appropriate / geographic-appropriate / attention-span-appropriate content\n\u2022 Accessibility, data portability, etc.\n\u2022 You\u2019re on a forum and have a question. Is it okay to post a question here? Is there a FAQ you should look up first?\n\u2022 Being an active participant versus being a consumer\n\u2022 Each community has its own (usually unspecified) set of rules, and how to suss them out\nCollaborative Making Harnessing the collaborative, open nature of the web to produce something authored by more than one person. Also see: open web.\n\u2022 Using the web to produce something in collaboration with someone else\n\u2022 Asynchronous collaboration (eg: git, wikis)\n\u2022 Synchronous collaboration (eg: etherpad, etc.)\n\u2022 Working with people you\u2019ve never met (eg: open wikis)\n\u2022 Best practices and etiquette, see Community_etiquette\n3.2.2. Survey for the Learners\nHow much did you know about Web Native Filmmaking before the course? (rating scale)\nHow much did you learn about Web Native Filmmaking during the course? (rating scale)\nWhat was your favorite popcorn project?\n\u2022 Make a MadLib\n\u2022 Hack a Commercial\n\u2022 Report the News\n\u2022 other (text box)\nWho was your favorite guest speaker?\n\u2022 Week 1 \u2013 Kick Off \u2013 with Damian Kulash of OK Go\n\u2022 Week 2 \u2013 Media Literacy \u2013 with Cory Doctorow\n\u2022 Week 3 \u2013 Intro to Remix \u2013 with Jonathan McIntosh\n\u2022 Week 4 \u2013 Web Literacy \u2013 with Michelle Levesque\n\u2022 Week 5 \u2013 Media Empowerment \u2013 with Anita Sarkeesian\n\u2022 Week 6 \u2013 Leveling Up \u2013 with Greg Pak and Tommy Pallotta\nWhy? (text area)\nHow much do you feel you learned of the following:\n\u2022 How to use Popcorn\n\u2022 Open web and open video standards\n\u2022 Web mechanics \u2013 cutting and pasting, browsing, searching\n\u2022 Digital storytelling\n\u2022 Media aggregation\nThe tool was easy to use. (rating scale)\nI got stuck. (rating scale)\nI had fun at an Introduction to Web Native Filmmaking. (rating scale).\nI\u2019d go to another advanced Web Native Filmmaking course. (rating scale)\nI am going to use Popcorn again. (rating scale)\nIf we were to do this again \u2013 what feedback would you have for us? What worked? What didn\u2019t?\nEverything you say influences how we work. Your feedback shapes our software, our resources, our goals. Tell us more! (Open ended)\n3.2.3. Survey for Facilitators\nHow many participants did you facilitate during the course? (text area)\nHow closely did you follow the teacher guide during the course? (rating scale)\nHow useful was the guide? (rating scale)\nHow can the guide be improved? (text area)\nI found the Mozilla projects and materials helpful. (rating scale)\nI felt supported by the Mozilla Team. (rating scale)\nThe participants enjoyed themselves and were excited about doing more. (rating scale)\nI feel like my participants learned a lot. (rating scale)\nI learned a lot. (rating scale)\nI plan to teach with Popcorn in future events / courses. (rating scale)\nI would be happy to host another Mozilla Webmaker event. (rating scale)\nWhat did you enjoy most about the course? (text area)\nAny tips we should keep in mind for future coursess? (text area)", "id": "<urn:uuid:a394c0f3-e68d-46d6-9c10-5a8697a77780>", "dump": "CC-MAIN-2017-17", "url": "http://www.zythepsary.com/thesis/3-2-appendix/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123549.87/warc/CC-MAIN-20170423031203-00608-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8901810050010681, "token_count": 2021, "score": 3.78125, "int_score": 4}
{"text": "Character traits are a positive\nset of principles to live by. The following positive traits are\nprovided to illustrate concepts that can be incorporated into a\nperson's daily life beginning in early childhood:\n- Honesty - Telling the truth; never mislead or\nwithhold key information in relationships of trust;\n- Courage - Doing the right thing in face of\ndifficulty and following your conscience instead of the crowd.\n- Demonstrate integrity - Stand up for your beliefs\nabout right and wrong; be your best self; resist social pressure to do\n- Keeping promises - Always limit promises to those\nyou KNOW you\ncan keep; Your word should be your bond; Don't borrow money if you\nrepay the obligation; Always return what you borrow in a timely\n- Loyalty - Stand by your family, friends, employers,\ncommunity, and nation; Don't gossip about people.\n- Responsibility - Think before you act; Always\nconsequences; Hold yourself accountable and own up to mistakes you\nmake; Never attempt to shift the blame to others.\n- Pursue excellence - Do your best and don't quit when\nthe going gets tough.\n- Be kind and caring - Be generosity and show\ncompassion; Never be selfish or mean.\n- Respect - Be courteous and respectful; judge all\npeople on their merits; be tolerant, appreciative, and accepting of\n- Fairness and being nonjudgmental - Treat all people\nalways listen to others and try to understand what they are saying and\nfeeling. Be open-minded and be willing to give people another chance\nfor their first offense (depends on the offense).\n- Be a responsible citizen - Obey the law and respect\nauthority; Exercise your right to vote; Serve willingly on jury panels;\nwhenever possible, volunteer in various community projects;\nenvironment by recycling and when possible make a \"green\" choice.\n- Perseverance - Pursuing worthy objectives with\ndetermination and patience while exhibiting fortitude when confronted\n- Self-discipline - Demonstrating hard work\ncontrolling your emotions, words, actions, impulses and desires. Giving\nyour best in all situations.\nWe should always attempt to\nbe a role model of positive character traits that demonstrate how these\nvirtues are both good for the individual and for society. As defined by\nDr. Thomas Lickona, the objective\ngoodness of virtues is based on the fact that they:\nThe Character Education Network has\nadopted nine of the most popular\ntraits for the organization of school curriculums. These\nare not the exact traits adopted by all school systems. However most\ntraits and values used in character education are synonymous or related\nto the character traits on this site. Below are traits that can be\ntaught using the content contained on this site.\n- Affirm our human dignity\n- Promote the well being and happiness of the individual\n- Serve the common good\n- Define our rights and obligations\nthe classical ethical tests of reversibility (Would you want to be\ntreated this way?) and universal ability (Would you want all persons\nto act this way in a similar situation?).\nCompassion, Generosity, Cheerfulness,\nRespect, Respect for Others\nA Personality Makeover\nHair color can be easily changed.\nClothing sizes can quickly change with increases in weight, but like\nloosing weight takes much more time. It is possible to change your\npersonality is you determine what others see you in a negative light.\nSo how hard could it\nbe to develop your own personality? The following is a partial list of\nways to improve your image:\n- Being the Class Clown - People love\nthose who are fun to be around. However, you don't always want to be\nthe life of the party or people will not take you serious when you want\nto make a point.\n- What Is Your Communication Style? Effective\ncommunication is very important in our information intensive world. How\nyourself through verbal communication can have an major impact on your\nYour personal experiences shape your understanding of personal,\nbusiness, social, and school relationships. If you have a difficult\ntime understanding other people's motives then it will be more\ndifficult for you to explore characters that feel or think differently\nthan you do.\nThe family environment and\nrelationships experienced as a child provide a major influence on the\nrelationships we form as we transition into adulthood.\nMoral or Ethical Code\nMoral and ethical codes\nvary depending on a persons religious beliefs and country of\norigin. The following are provided for illustrative purposes:\nDo you have difficulty\nin empathizing with other people and their struggles. You need to delve\ninto your inner thoughts to begin to understand the positive and\nnegative traits that for your character.\n- Physically and/or mentally abuse others?\n- Use abusive or overly sophisticated language to intimate\n- Engage in power plays with the groups you associate with?\n- Cheated on a test?\n- Entered false information on your income tax or a\n- Betray the confidences of a family member, coworker, close\nfriend, significant other?\n- Addicted to drugs, alcohol, nicotine, etc.\n- Break laws that you consider are irrelevant - driving under\nthe influence, texting or using cell phone while driving, driving\nwithout care insurance or a legal driver's license?\n- Have deep seated fears?\n- Constantly flirt?\nEverybody acts differently\nunder stressful conditions. The personal history and upbringing of each\nindividual play a large part in forming the person they will become. No\ntwo siblings will have the same perception of their family environment.\nEvery individual develops\nlittle gestures and movements that make them unique and set us apart.\nThese collective mannerisms are ingrained into our subconscious and\nuntil someone calls attention to them, we rarely realize we're doing\nthem. These traits can originate by association and observation of\npositive and negative behavior of those who are most influential in our\nSome might describe these\nbehaviors as little idiosyncrasies give our characters depth and\nappeal. Others might find them as annoying to a point of avoiding the\n\"offending\" individual. Sometimes people display a wide variety\nof mannerisms when they are nervous, happy, scared, bored, or angry. A\nfew examples are provided to illustrate annoying mannerisms:\n- Tapping a foot or \"drumming\" with fingers.\n- Snapping fingers or cracking knuckles.\n- Biting fingernails\n- Greeting everyone with a \"bear\" hug or \"bone crushing\"\n- Constant tossing of the head to rearrange their hair.\n- Running fingers through hair.\n- Blowing breath out through the mouth in exasperation\n- Loud, audible sighs\nthose character qualities, those character traits, that determine a\nperson's ... Character development is essential to the ongoing success\nof our society.\nEducation - Youth Development (CA Dept of Education)\nAug. 31, 2011\n\"Effective schools seek to develop and\nreinforce character traits, such as caring, citizenship, fairness,\nrespect, responsibility, etc..\nof Socialization: Personality Development\nJuly 4, 2006 Some hereditary factors that contribute to\ndevelopment do so ... We often share personality traits with others,\nespecially members of close family, religious groups, etc..\nunique attributes called traits. Site provides a list of\nDevelopment - Personality Pathways\nAn Introduction to the\ndynamics of personality development using MBTI, ... The penchant of\nconventional psychology to identify personality traits.\nCatalog - Character Education & Emotional Intelligence\nHow do you develop these valued character traits? At this web site, you\nwill find hundreds of questions, quotations, and dilemmas to explore.\n. Using these values as a guide for how you conduct\nyourself. They can help you develop solid friendships, a good career\nand a foundation of good reputation and integrity.\nThe following internet\nlinks have been\ngleaned from personal communications\npublic institutions and athletic\nhave a web presence with information concerning team\nmaterials are copy protected.\nThe limited use of the\nmaterials for education purposes is allowed providing\ncredit is given\nfor the source of the materials.", "id": "<urn:uuid:2f9af2d7-49ed-4e37-9b55-bfc4948c5f04>", "dump": "CC-MAIN-2017-17", "url": "http://iceskatingresources.org/CharacterTraits.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118740.31/warc/CC-MAIN-20170423031158-00486-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8725152015686035, "token_count": 1731, "score": 3.8125, "int_score": 4}
{"text": "This essay has been submitted by a student. This is not an example of the work written by our professional essay writers.\nThis study shares on how the mobile storytelling can improve the literacy skills of underserved children's around the world. This research carries out for the reason because the unlimited love and caring for the underserved & underprivileged children's. Finally, this research will address how mobile storytelling can be used as a pedagogical strategy to improve literacy learning in the areas of reading and writing among under-served children's. A great deal of effort has also been devoted to understanding how mobile technologies relate to both traditional and innovative ways of teaching and learning, showing the applicability of mobile learning across a wide spectrum of activity (Naismith et al., 2004; Kukulska-Hulme & Traxler, 2007) as well as highlighting the most important emerging issues (Sharples, 2006). Accoding to reamers' research, children of different social backgrounds do not have equal opportunities to learn and reap its benefits (Reimers, 2000). Many are still denied their right to an education and find themselves unable to break from the cycle of poverty. Inequality is particularly acute for indigenous populations. Wherever they live, many indigenous people are among the poorest of the poor in that country (Psacharopoulos and Patrinos 1994; Tomei 2005; Hall & Patrinos, 2006). (Hall & Patrinos, 2005, p.11-12). mention that \"Poor and indigenous children often attend the worst schools, are served by the least educated teachers, have the least amount of didactic resources, and are more likely to arrive to school hungry and ill\". Furthermore Hall carries out a survey and concludes that in Mexico, Bolivia, Ecuador, Guatemala, and Peru indigenous schools have the maximum rate of failure rate, poor scores, lowest knowledge in reading and counting. (Hall & Patrinos, 2005). (McEwan & Trowbridge 2007) identified that there are three main reasons for indigenous poor performance which is uneducated parenting system, inexperienced instructional materials and usage of proper language. Thus this research will give a better solution for this underserved children's by providing them a mobile storytelling. It's a suitable instrument to easily improve literacy skills. As well as update the underserved children's with most portable technology; mobile technology.\nThe objective of this research is to:-\nTo improve the literacy skills of underserved children using mobile technology\nTo enhance the method of teaching for underserved children using digital storytelling\nThe effectiveness and efficiency literacy of mobile storytelling for the underserved children\nTo achieve the objectives of study, research questions were questions were designed as follow:\nRQ1. How storytelling can enhance and improve underserved children literacy\nRQ2. How effective and efficient the mobile technology for underserved children\nRQ3. How mobile technology can replace traditional method of teaching for under-served children\nThe potential of mobile learning technology\nToday, it is possible for everybody with a mobile phone and internet access to share stories of everyday life experiences with each other (Klastrup 2008). Mobile learning is undergoing rapid evolution. While early generations of mobile learning tended to propose activities that were carefully crafted by educators and technologists, learners are increasingly motivated by their personal learning needs, including those arising from greater mobility and frequent travel. (Kukulska-Hulme & Lesley, 2007).The importance reflects at least two aspects: the number of users and the variety of usage. Mobile learning devices have a higher potential to reach a large impact due to their mobility, cheapness, and multiple features (Roschelle, 2003). There are several of research mentions about the progress of mobile learning researchers and practitioners alike (Naismith et al., 2004; Kukulska-Hulme & Traxler, 2005; Naismith & Corlett, 2006; Faux et al., 2006; Sharples, 2006). Often, the informal aspects of m-learning are also emphasized (Kukulska-Hulme et al., 2009).The fast growing advancements in information and communication technology (ICT) have made this rapid success to the technology. (Pea & Maldonado, 2006).\n..The mobile technology, while essential, is only one of the different types of technology and interaction employed. The learning experiences cross spatial, temporal and/or conceptual borders and involve interactions with fixed technologies as well as mobile devices. Weaving the interactions with mobile technology into the fabric of pedagogical interaction that develops around them becomes the focus of attention.\n(Kukulska-Hulme et al., 2009: 20)\nOpportunities with mobile storytelling\nThe Times Magazine and New York Times has been reported that the top ten selling novels in Japan January 2008 are keitai shosetsu called as \"cell phone novels\", Mobile story sharing application (Day, Lara 2008).This examples shows the opportunities for the mobile contents. The most innovation example of this mobile learning are connecting to worldwide anytime, any ware you are and encourage the learning from out of the wall. Students easily can expose to wide learning experience. As (Carly Shuler, Ed.M.2009) said in his research that mobile technology brings the real world in to the classroom, and brings the classroom into the real world. The research done by several researchers, (Kukulska-Hulme 2009; Stein. J 2009) proved that there are golden opportunities by using mobile learning other then mobile learning allows learners to construct their own learning thus the engagement and enjoyment by using mobile also huge.\nMobile storytelling and Literacy Development\nThe huge improvement in mobile technologies has opened up the possible door for literacy development (Joseph & Uther, 2006). Using storytelling in the classroom is one way to address literacy development by improving oral language, reading comprehension, and writing. Because of the interrelated nature of the processes involved in reading and writing, storytelling is an effective pedagogical strategy that can be woven into instruction to increase children's competencies in all areas. From the moment the children enter kindergarten until the last day of the high school, children been monitored and assessed on their reading and writing ability. Literacy is an important issue for everyone because our success as a society depends on the innovation of the next generation. In recent years, there have been several researches and projects using mobile technologies for language learning and literacy development (Brown, 2001; Cabrere, 2002; Chinnery, 2006; Joseph, Brinsted, & Suthers, 2005; Kadyte, 2003; Kiernan & Aizawa, 2004; Levy & Kennedy, 2005) took place. This developments shows a very clear point that mobile storytelling have maximum potential to improve the development of literacy in language learning.\nThe aims of this paper were reflect on how mobile storytelling has been used to develop the literacy skills. By looking at examples across different disciplines, we can notice the benefits being derived from use of mobile technologies whether these are applicable to language learning.", "id": "<urn:uuid:e0189635-05b6-4100-9c13-7b2b1a6e77b7>", "dump": "CC-MAIN-2017-17", "url": "https://www.ukessays.com/essays/education/mobile-storytelling-to-improve-literacy-education-essay.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123270.78/warc/CC-MAIN-20170423031203-00135-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9425937533378601, "token_count": 1433, "score": 3.578125, "int_score": 4}
{"text": "How to Analyze a Short Story\nWhat is a Short Story?\nA short story is a work of short, narrative prose that is usually centered around one single event. It is limited in scope and has an introduction, body and conclusion. Although a short story has much in common with a novel (See How to Analyze a Novel), it is written with much greater precision. You will often be asked to write a literary analysis. An analysis of a short story requires basic knowledge of literary elements. The following guide and questions may help you:\nSetting is a description of where and when the story takes place. In a short story there are fewer settings compared to a novel. The time is more limited.\n- How is the setting created? Consider geography, weather, time of day, social conditions, etc.\n- What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?\nStudy the time period which is also part of the setting.\n- When was the story written?\n- Does it take place in the present, the past, or the future?\n- How does the time period affect the language, atmosphere or social circumstances of the short story?\nCharacterization deals with how the characters in the story are described. In short stories there are usually fewer characters compared to a novel. They usually focus on one central character or protagonist.\n- Who is the main character?\n- Are the main character and other characters described through dialogue \u2013 by the way they speak (dialect or slang for instance)?\n- Has the author described the characters by physical appearance, thoughts and feelings, and interaction (the way they act towards others)?\n- Are they static/flat characters who do not change?\n- Are they dynamic/round characters who DO change?\n- What type of characters are they? What qualities stand out? Are they stereotypes?\n- Are the characters believable?\nPlot and structure\nThe plot is the main sequence of events that make up the story. In short stories the plot is usually centered around one experience or significant moment\n- What is the most important event?\n- How is the plot structured? Is it linear, chronological or does it move around?\n- Is the plot believable?\nNarrator and Point of view\nThe narrator is the person telling the story.\nIs the narrator and the main character the same?\nBy point of view we mean from whose eyes the story is being told. Short stories tend to be told through one character\u2019s point of view\n- Who is the narrator or speaker in the story?\n- Does the author speak through the main character?\n- Is the story written in the first person \u201cI\u201d point of view?\n- Is the story written in a detached third person \u201che/she\u201d point of view?\n- Is there an \u201call-knowing\u201d 3rd person who can reveal what all the characters are thinking and doing at all times and in all places?\nConflict or tension is usually the heart of the short story and is related to the main character. In a short story there is usually one main struggle.\n- How would you describe the main conflict?\n- Is it an internal conflict within the character?\n- Is it an external conflict caused by the surroundings or environment the main character finds himself/herself in?\nThe climax is the point of greatest tension or intensity in the short story. It can also be the turning point where events take a major turn as the story races towards its conclusion.\n- Is there a turning point in the story?\n- When does the climax take place?\nThe theme is the main idea, lesson or message in the short story. It is usually an abstract idea about the human condition, society or life.\n- How is the theme expressed?\n- Are any elements repeated that may suggest a theme?\n- Is there more than one theme?\nThe author\u2019s style has to do with the author\u2019s vocabulary, use of imagery, tone or feeling of the story. It has to do with his attitude towards the subject. In some short stories the tone can be ironic, humorous, cold or dramatic.\n- Is his language full of figurative language?\n- What images does he use?\n- Does the author use a lot of symbolism? Metaphors (comparisons which do not use \u201cas\u201d or \u201clike\u201d, similes (comparisons which use \u201cas\u201d or \u201clike\u201d) ?\nYour literary analysis of a short story will often be in the form of an essay where you may be asked to give your opinions of the short story at the end. Choose the elements that made the greatest impression on you. Point out which character/characters you liked best or least and always support your arguments.Hide\nNodes which use this node\n- ENGLISH \u2013 PROGRAMME SUBJECT IN PROGRAMMES FOR SPECIALIZATION IN GENERAL STUDIES\n- English subject curriculum", "id": "<urn:uuid:a50cc19d-4817-4968-ad22-6dcdaefdfda3>", "dump": "CC-MAIN-2017-17", "url": "http://ndla.no/en/node/9075?fag=56850", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120092.26/warc/CC-MAIN-20170423031200-00487-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9484622478485107, "token_count": 1052, "score": 4.0625, "int_score": 4}
{"text": "Written by: Robyn Shulman\nBuilding compassion in the classroom may not be an easy task for all teachers. Professional development for teachers usually focuses on pedagogy, strategies and methodologies. However, building compassion in the classroom is exceedingly important for students, and should be part of teacher training and ongoing professional development. Without compassion, many students fall through the cracks. Teachers need to show they care and are paying attention, real attention. The stories of suicide, bullying and depression have grown tremendously over the past 10 years. According to the CDC, suicide is the 3rd leading cause of death for 15-to 24-year-old Americans. This is a serious problem in American society. Everyone needs to pay attention, as teachers cannot do it alone. However, teachers can help by providing opportunities to build compassion in the classroom.\nHere are simple ways teachers can build compassion:\n1. Pay attention: Many times students will give out signals that they are experiencing something difficult. Notice changes in behavior, talk to them, and really listen. Teachers do not have to be social workers. However, because they spend a great deal of time with their students, they can and should let their students know that their door is always open to discuss and help.\n2. Teacher storytelling: Students love to hear teachers\u2019 stories because they are personal, surprising and they bring emotion and struggle to light. When teachers share a small part of their lives, students will know that their teachers went through issues as well, and may come to the realization that their own problems are temporary. By sharing stories, teachers are saying, \u201cI\u2019ve been there too, and you will make it through.\u201d Students begin to feel that they are not alone. Teachers have gone through many of the issues that students face now; maybe some were just delivered differently. Teachers can show their support through storytelling. However, there is a line to be aware of, as teachers should not share anything inappropriate.\n3. Resources: Teachers can set up communication resources where students can leave notes (such as a teacher\u2019s mailbox). Students can spend time writing in a journal (with teacher feedback). Teachers can also set up a special class discussion or storytelling time (where each student can share a story with the class). When students share stories, they are sharing things that other students may be experiencing as well. These stories can lead to life-long bonds and unexpected friendships.\n4. Strengths: Teachers should focus on the strengths of their students. They should not highlight, name or provide personal feedback in a public setting. Teachers can provide tough love by showing they care, defining boundaries and setting high expectations. Teachers can and should find something in each student that shines, and they should tell each student, individually.\n5. Reflect: Teachers should take time to reflect and regroup each week. Teachers can think of things that worked well during the week, and build on those strategies. They should try and see their students\u2019 lives through their lenses. By doing this, teachers will build a better understanding of where students are coming from and where they need to go.\n6. Lead by example: Teachers should always display acts of compassion in front of their students. They should be kind, understanding and aware (especially when they are interacting with colleagues). They should not dismiss questions, assume anything, or close their doors. When teachers show they care about people and the world around them, students will pick up on these behaviors, and may feel more comfortable approaching their teachers with concerns.", "id": "<urn:uuid:1a759dd4-bac7-45f2-8150-4258fbfd2bce>", "dump": "CC-MAIN-2017-17", "url": "http://www.ednewsdaily.com/building-compassion-in-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121893.62/warc/CC-MAIN-20170423031201-00019-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9746595025062561, "token_count": 720, "score": 4.09375, "int_score": 4}
{"text": "- Virginia Johnson\nThe tribes who lived in the Western Hemisphere before the coming of the Europeans were as different from each other as the countries that came to claim their lands. The many stories of the people who farmed, hunted, and herded in the plains, forests, deserts, and hills of what we call North America tell how they saw the Universe and the wisdom that they found in Nature.\nThe Virginia SOL's (Standards of Learning) have chosen to divide the hundreds of different tribes into groups according to where they lived: the Eastern Woodlands, the Great Plains, the Southwest, the Northwest Coast, and the Arctic region. Our booklist of Indian folktales has stories from different regions.\nThings to Know\nBefore choosing a story based on a tribe's location, remember that a tribe that lives in the Great Plains today may have been relocated there a century ago. For example, the Cherokee Indians were pushed out of their lands in Georgia and elswhere and moved far west to Indian Territory after the Indian Removal Act of 1830. For storytellers, this means that traditional tales might mention animals and places that were important to the hearts and memories of people but were no longer to be seen in their new homes.\nAmerican Indian is an interesting way to describe the people who lived here before the coming of the Europeans. There's a story behind all of it, of course. America was named after Amerigo Vespucci, an Italian explorer during the early 1500s. Columbus, looking for the spice-rich land of India, was bound and determined to call the people he found Indians in what he called the Indies. So American Indians, as opposed to the Indians who lived in India, was the name handed down through generations. In recent times, some scholars have found the phrase to be offensive and prefer \"Native American,\" but the adoption of the word Indian by many of the native peoples as part of the rising American Indian Movement (AIM) has put it back into use in textbooks.\nWhen you write or tell of a particular tribe, try to use the tribe's own name for themselves. For example, take the name Eskimo. For most Americans, it conjures up a clear picture of fur-clad people who live in igloos and hunt seals. But the word Eskimo offends some people who believe it comes from another tribe's word for \"eaters of raw meat.\" You will see Inuit used sometimes in place of Eskimo, but that is often not a better name. The Inuit people are only one of the tribes of the Arctic area. However, many of their stories were gathered early in this century. So, your story may indeed by from the Inuit tribe, but it's always better to make sure, simply as a courtesy to the other Arctic peoples.\nTypes of Stories\nIn every culture, there are certain kinds of stories that are told over and over again. Here we will look at a few of the popular types found in the American Indian traditions:\nThese are the smart alecks who think they can get a better deal by using their brains instead of their brawn. Sure, sometimes they may end up on the losing end of the bargain when they try to push their luck too far, but somehow they walk away from their adventures in one piece if no wiser\u2014although hopefully the listener will have learned something. Examples of tricksters are Iktomi of the Lakota tribe from the Plains and Raven who can be found in stories from the Pacific Northwest.\nThe beginning of the world is the starting place for a tribe's stories. Which gods came first, how the earth and sky came into being, which animals are special to the tribe\u2014all of this unfolds in the creation stories. The Precious Gift (Southwest) and The Woman Who Fell From the Sky (Eastern Woodlands) are creation stories.\nLike creation stories, pourquoi (French for \"Why?\") stories tell how things came to be as they are. The Legend of the Bluebonnet is a Comanche (Plains) story of why the land is covered in beautiful blue flowers every spring. The Story of the Milky Way is a Cherokee (Eastern Woodlands) tale of how that glittering path came to be in the night sky.\nThe original action stories have bad guys, good guys, monsters, and a lot of other stuff that may sound familiar from Saturday morning television. The heroes of these tales put aside their fears and their own needs for the good of the people. Monster Birds (Southwest) and The Magic Hummingbird are hero tales.\nStories of Love and Loss\nStories of undying love are a sweet and sometimes sad part of the storytelling tradition. The Love Flute (Plains) tells the story of how (yes, it's a pourquoi tale) the first shy, young warrior showed his love for his girl by playing her beautiful music on a magic flute blessed with the songs of the animals.\nLegends on the Web\nEldrbarry's Raven Tales (Pacific Northwest)\nFour stories feature clever Raven who often helps humans. This page also has information on the stories' setting and the problem of \"ownership\" of certain folktales.\nThe Hunter and the Polar Bear (Arctic)\nA very short story from the Inuit about a hunter's meeting with a polar bear.\nThe Legend of the Cedar Tree (Eastern Woodlands)\nLearn why the Cherokee consider the cedar tree to be sacred.\n\"How Morning Star Lost Her Fish\", from Stories the Iroquois Tell Their Children by Mabel Powers, 1917 by illustrator unknown (Public Domain)\n\"The Historian\" by E. Irving Couse (Public Domain)\n\"The Coyote Canoeing Up Columbia River\" from The Raven Stories, 1915 by F.N. Wilson (Public Domain)", "id": "<urn:uuid:847ac8a5-13a6-4824-a0b1-528cd1e4093a>", "dump": "CC-MAIN-2017-17", "url": "http://kids.librarypoint.org/folktales_of_the_american_indians", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122720.81/warc/CC-MAIN-20170423031202-00196-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.958670973777771, "token_count": 1201, "score": 4.03125, "int_score": 4}
{"text": "THE ARTS THE SENSES THE IMAGINATION Humanities 117\nEngaging LITERATURE, engaging the imagination . . .\nRead one of the following books and comment on the quality and techniques of the storytelling (the telling of the tale more than the tale itself). Write a 3-4 page paper about what you have read and your response to it. As you read, try to be aware of your reading process -- the constant stream of interpretation and cross connection. Take special care to note how the text calls on you to imagine sensations, and present examples for each sense. The general plan of this class begins with the rather dry and factual appraisal of the senses by Diane Ackerman, then moves from the realm of the senses to the realm of the imagination. Notice how literature makes those connections.\nIsabel Allende, Aphrodite, A Memoir of the Senses, (1998), 315 pp, with lots of recipes. What is it, fiction, autobiographical truth, a cookbook? A sensual experience with a lot of thinking about sex, food, feelings and desires. You may notice the quality of the paper in the book, the quality of the illustrations in the book, the pleasant heft of the weight of the book in your hand as you read it. Great attention is paid to the quality of the book itself. Discuss the act of reading the book as both an act of imagination and of physical perception.\nRespond to it! There are many things to write about, and different ways to respond. For example, you could make one of the recipes, and explain the process and why you chose a particular one.\nOne of the great pleasures of this book is that it is rather difficult to classify. Is it a cookbook? Yes, but not really\u2013how many cookbooks have so much narrative & storytelling? Is it autobiography? It is, but how much of it is true and how much is fantasy? When does the factual truth shade into fantastic truth? For example, Allende writes about getting some herbs from a Japanese friend; after eating food prepared with these ingredients, Allende's husband begins to behave with more energy and levitates a few inches off of the ground. Now, we know that the levitation part is probably fantasy, but when does the invention begin? Does she have a Japanese friend? Did that friend give her something to cook with? Did those substances change her husband's behavior? This book seems to me to be a perfect intensification of the literary technique known as \"magical realism.\" The reality in this work of literature seems extremely real\u2013 we can cook those recipes and taste the food, engaging the senses with little immediate need of the imagination. To produce the book, Allende worked with other people and we see photographs of them in the book, so they are probably real. Her casual, matter-of-fact treatment of matters of fact, her delight in licentious freedom with fact, can ultimately make a reader aware of the act of reading, the act of interpretation, the act of imagination.\nWe have our handful of sensory perceptions that art and culture extend into pleasures \u2013 we taste something, identify it as chocolate, and then transform that factual information into the emotional response of \"delicious!\" We can perceive the color red, but in a vivid painting, a film, a visually appealing food, some gorgeous fabric cut into an eye-catching dress, we enjoy the color red. Adding to our actual senses, we have the senses of the imagination \u2013 a sense order, a sense of balance, a sense of proportion. Our sense of order, our desire that the world make sense, is satisfied by the continuous stream of narrative that we swim in. Ever hungry for more stories, we have storytelling machines in our homes, we go to see stories with other people in various kinds of theaters. We enjoy that order, but we also enjoy, occasionally, escapes from that order, escapes from the constant narrative stream. Poetry might tell a story, but more often than not, poetry is a chance not to tell a story, to put words in an order that is not a narrative. Music can be an escape from narrative order, sometimes leading to a different kind of order, a language-like code. We enjoy the language-like properties of music, but value just as much the properties of music that seem to resist language & the patterns of language. For example, we might enjoy a performance of the blues because of how perfectly central it is to our notion of the general code of blues (the harmonic patterns, the melodic patterns, the usual form of the lyrics, the usual rhythmic feel, etc.) while we enjoy the specific fingerprints of the performance (the idiosyncrasies of the performance). We enjoy certain musical performances, works of art, poems, films, & stories because they satisfy our expectations in a comfortable way. Other works are interesting to us because they challenge our codes of art \u2013 how should a novel behave? How is a poem to be poetic? What is the usual form for a cookbook? How does one write a proper book of autobiographical essays? What happens when someone (Allende) crosses over those lines, blurs distinctions, upsets order and our expectations of order? Some people enjoy it; others recoil or at least prefer more well-behaved works of art.\nBeryl Markham, West With the Night, 293 pages. The opening page is full of questions about how to tell a story, but once she sets out on telling it, what a tale she tells! It is of a childhood in Africa, raising race horses and becoming a bush pilot. Here is an example of the terrific sense descriptions you'll find in her writing:\n[The narrator has just landed at a rural airfield in Africa at night.] I cut the engine, relaxed in the seat, and adjusted my ears to the emptiness of silence.\nThe air was heavy, with life gone out of it. Men's voices came from across the runway, sounding, after the deep drone of the plane, like the thin bleating of reed pipes or like the fluted whispers of a bamboo forest.\nI climbed out of the cockpit and watched a band of dim figures approach before the dancing flares. By the manner of their walk and by their clothes, I could see that most of them were black -- Kavirondo, bulky-thighed in their half-nakedness, following two white men who moved with quicker, more eager steps over the clearing.\nSomewhere an ancient automobile engine roared into life, its worn pistons and bearings hammering like drumbeats. Hot night wind stalked through the thorn trees and leleshwa that surrounded the clearing. It bore the odour of swampland, the smell of Lake Victoria, the breath of weeds and sultry plains and tangled bush. It whipped at the oil flares and snatched at the surfaces of the Avian. But there was loneliness in it and aimlessness, as if its passing were only a sterile duty lacking even the beneficent promise of rain.\nBeryl Markam, West With the Night, p. 18, North Point Press edition.\nNote that she generally writes in the first person, but for one chapter she shifts into the third person. Why?\nRaymond Chandler, Farwell, My Lovely, 1940, 175 pages. A classic of hard-boiled American detective fiction. Chandler's heightened way of writing certainly makes me aware of the act of reading. He doesn't just say that someone sticks out of a crowd -- he writes, \"he looked about as inconspicuous as a tarantula on a slice of angel food.\" Usually, writing that is full of adjectives and descriptive phrases can be slow going, but his word choice & economy makes his writing crackle. Note that he didn't write \"a piece of angel food cake.\" \"Cake\" can be left out; \"slice\" is so much more violent than \"piece.\" How is the reader like a detective? What don\u2019t you know? How do you find it out, tracking down those meanings?\nItalo Calvino, If on a winter's night a traveler, 1979, 260 pages. For the adventurous reader. A deliberately fragmented and broken narrative constantly reminds the reader that he or she is reading, and makes the reader aware of the act of reading and the many acts of interpretation and re-interpretation that that entails. The body is involved too! Note the second-person address\u2013very unusual.", "id": "<urn:uuid:bfd3b13a-ebb2-49ec-9d52-12c5fe45e619>", "dump": "CC-MAIN-2017-17", "url": "http://accounts.smccd.edu/mecklerd/ASI/engage_literature.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123491.68/warc/CC-MAIN-20170423031203-00549-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9555702209472656, "token_count": 1744, "score": 3.8125, "int_score": 4}
{"text": "2Where Did the Pawnee Live? They lived in the Plains RegionThe Great Plains lie in the center of North America. The Plains stretch from the Mississippi River to the Rocky Mountains and from Texas into CanadaEastern Plains and Western Plains\n3Eastern PlainsLots of rain that would cause the grass to grow EIGHT FEET HIGH!Rain allowed Americans Indians, such as the Pawnee, to farm successfullyThey settled their villages near rivers and built earth lodges to live in.The lodges house were built out of bark, earth and grassThey also protected people from cold story weatherIn the spring and fall, the Pawnee farmed and in the summer and winter, they left their villages and hunted buffalo\n5Western PlainsThe dry lands on the western plains made farming difficultBut this area had one very important resource- BUFFALOAte Buffalo meatCarved bones from the buffalo to make tools and wove hair into ropeEven used the tail as a fly swatter!Used buffalo skin to make teepeesWestern Plains Indians were NOMADS (people who moved around from place to place)\n6What did they eat?Pawnee women raised crops like corn, beans, squash and sunflowersPawnee men would hunt buffalo and antelopePawnee hunters would drive the buffalo to marshy land where it was easier to shoot them, but once the acquired horses, they began to hunt buffalo on horsebackLooking at the region in which the Pawnee lived, do you think they ate fish?\n7What did the Pawnee Wear? Pawnee women wore deerskin skirts and poncho-like blousesPawnee men wore breechcloths and leather leggings. Men did not usually wear shirts, but warriors sometimes wore special buckskin war shirts.The Pawnees wore moccasins on their feet, and in cold weather, they wore long buffalo-hide robesPawnee men shaved their heads except for a scalplock (one long lock of hair in back) and wore a porcupine roach on top. Pawnee women wore their hair either loose or braided. The Pawnees also painted their faces for special occasions. They used different patterns for war paint, religious ceremonies, and festive decoration\n9What were the women and men\u2019s roles in the Pawnee Tribe? Pawnee men were hunters and sometimes went to war to protect their families. Pawnee women were farmers and also did most of the child care and cooking. Only men became Pawnee chiefs, but both genders took part in storytelling, artwork and music, and traditional medicine.\n10How did the Pawnee travel? When they traveled over land, the Pawnees used dogs pulling travois (a kind of drag sled) to help them carry their belongings. There were no horses in North America until colonists brought them over from Europe.\n11What were the Pawnee\u2019s arts and crafts like? Pawnee artists are famous for their pottery, woven baskets, and hide paintings.Pawnee Indians told lots of legends and fairy tales. Story telling is very important to the Pawnee Indians culture.\n12Bibliography Laura Redish and Orrin Lewis; Native Languages of the Americas,2009.", "id": "<urn:uuid:7e46a1f0-6de3-4f4b-b624-73fc6732a520>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/3784046/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122619.71/warc/CC-MAIN-20170423031202-00136-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9694286584854126, "token_count": 675, "score": 3.71875, "int_score": 4}
{"text": "Digital Story TellingDigital storytelling is an excellent way for students to express their creativity and to share their work with others. It is engaging and fun for students. Digital stories allow students to take a series of events and turn them into a media experience. It encourages them to communicate, collaborate, and research as well as to infuse media into the process. Many tools and apps exists to create these projects, and all of them enable students to gain a deeper understanding of history as they explore the most effective way to retell their stories.\nIn two weeks we are starting our Native American project in my classroom leading up to Thanksgiving. For this project, each group of students gets a different Native American Tribe that they must research facts about. Usually what students do is take all of the information they have gathered and researched and turn it into a poster presentation. I thought it would be a good way to introduce digital storytelling by having them create a story as if they were the Native American\u2019s and they were telling a story about their lives in the tribe based on the facts they learned. The students would be putting themselves in the Native American\u2019s shoes and telling it from their point of view. Students would be able to use expression in their digital stories and turn a poster of facts into a meaningful story of a piece of history.\nSome more tools that I found for storytelling in the classroom...\nStorybird lets anyone make visual stories in seconds. They curate artwork from illustrators and animators around the world and inspire writers of any age to turn those images into fresh stories. Note that while making, sharing, and reading stories on Storybird is free, printing them or downloading them have various fees that are clearly explained with each option.\nZooBurst is a digital storytelling tool that lets anyone easily create his or her own 3D popup books. ZooBurst books \u201clive\u201d online and can be experienced on your desktop or laptop computer, or on your iPad via the free ZooBurst mobile app. Authors can arrange characters and props within a 3D world that can be customized using uploaded artwork or items found in a built-in database of over 10,000 free images and materials. The basic, free, account allows you to create 10 books of 10 pages each.\nHow Else Can Students Use Digital Storytelling In Our Classroom?\n\u2022 Students can create a virtual tour of an historical place in our social studies curriculum.\n\u2022 Students can simulate an interview of a historical character.\n\u2022 Students can create a storyline on specific topic (changes of matter, the constitution, fairytales).\n\u2022 Students can create a presentation based on images of local artifacts and architecture.\nBelow is a great website I found with A LOT of information on Digital Storytelling, examples, tutorials, videos and so on.", "id": "<urn:uuid:2f5815c6-1d0d-4dac-b273-38bd0d8b121c>", "dump": "CC-MAIN-2017-17", "url": "http://jumpintosecond.blogspot.com/2016/10/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118519.29/warc/CC-MAIN-20170423031158-00069-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9486875534057617, "token_count": 571, "score": 3.65625, "int_score": 4}
{"text": "I am so excited about this STORYTELLING lesson plan. Storytelling is one of my very favorite things to do and my silly Niece T is one of my very favorite people to make up a story with!\nYesterday I posted a tutorial on Kid Made Storytelling Cards. Of course now that you have them made you\u2019ll need a few tips and tricks for using your storytelling cards!\nUsing Storytelling Cards\n(Teaching kids the basics.)\n- Before you get stared talk about the different parts of a story; beginning, middle, and end. Talk about specific parts in their favorite story as an example. (To go further mention a different type of story as well. Does it still have a beginning, middle and end?)\n- Have the storyteller pick a card from each category: character, setting, problem and object. (This is all about creativity so be flexible. If the storyteller wants to use all of the cards, go ahead and let them. Then model 4 cards with a story you tell yourself!)\n- Once the storyteller has picked the cards ask them to think for a minute about how each of these cards can be used to create a story.\n- Listen, and make mental notes of certain parts of the story. This is an important step\u2026 even if the story makes no sense!\n- Once the story is finished, ask questions. \u201cWhat color was the pail? Why was the girl running? Did the goat ever find the missing shoe?\u201d These questions just might soak in and help your little storyteller expand on the story he/she tells next time! (Plus it really shows the storyteller you were paying attention.)\nUsing Storytelling Cards\n(To tell your own story.)\n- Pick 4 cards: character, setting, problem and object.\n- Think before you start. This will help you come up with the bones of the story. If you have the bones the meat is easier to fill in!\n- Add details (and voices \ud83d\ude09 ). This is a great place to add to your little ones\u2019 vocabulary!\n- Vary the lengths of your stories. Some can be very long, while others might be short and sweet!\n- If you get stuck ask your audience for advice. (If you already practice storytelling it will be easy for them to jump in!)\n- Have fun and remember your story doesn\u2019t have to be worthy of an award\u2026 I bet you\u2019ll receive \u201cohhs\u201d and \u201cahhs\u201d from your most important fans.\nMake these storytelling cards a part of your everyday story time. You just might find that you have a storyteller just as creative and captivating our little Cousin T!\nAdd any storytelling tips you have into the comment section!\nThis post is a part of the Storytelling lesson plan.", "id": "<urn:uuid:3511b1cd-8145-4a31-aa7c-b872d82b51d5>", "dump": "CC-MAIN-2017-17", "url": "http://amomwithalessonplan.com/using-storytelling-cards/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122167.63/warc/CC-MAIN-20170423031202-00079-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9479702115058899, "token_count": 594, "score": 3.5, "int_score": 4}
{"text": "1.0 Knowledge and Understanding of the English Language, Language Development, and its Diversity\nCandidates know and understand the English language.\n1.A Understand how to integrate reading, writing, speaking, listening, viewing, and thinking\n1.B Understand the grammar of Standard American English including semantics, syntax, morphology, and phonology\n1.C Understand the fundamentals of first and second language acquisition and development and that the linguistic/rhetorical patterns of other languages affect the written and oral expression of diverse learners\n1.D Understand diversity in language use, e.g., grammar, patterns, and dialects across cultures, ethnic groups, geographic regions, gender, and social roles\n1.E Show an understanding of the evolution of the English language and the historical influences on its various forms\n1.F Understand root words, suffixes, inflectional endings and how they change meaning\n2.A Know the essential components of reading (phonics, word recognition, fluency, vocabulary, and comprehension)\n2.B Understand and articulate how to use metacognitive processes of reading for a variety of purposes, including strategies useful before, during, and after reading\n2.C Discover and construct meaning from a wide variety of culturally relevant literary and expository text including fiction, non-fiction, poetry, and drama\n2.D Understand and articulate a wide range of strategies used to comprehend, analyze, interpret, and evaluate a wide variety of literary, argumentative, narrative, and expository texts (e.g., demonstrate an understanding of how elements such as tone, bias, and point of view influence the meaning of text)\n2.E Demonstrate knowledge of selecting reading assessment tools to match the instructional purpose\n2.F Demonstrate how to use a wide range of reading assessment tools and practices that range from individual and group standardized tests to individual and group informal classroom assessment strategies, including technology-based assessment tools\n2.G Demonstrate understanding of the reasons for using a wide range of assessment tools and practices [e.g., individual and group standardized tests, individual and group informal classroom assessments, and technology-based tools]\n2.H Demonstrate understanding of interpreting assessment results to inform instruction based on assessment data; identify students\u2019 proficiencies and difficulties\n3.0 Knowledge and Understanding of Writing processes\nCandidates understand different elements and modes of writing.\n3.A Understand how purpose, audience, and perspective shape writing\n3.B Understand the writing process, its components (prewriting, drafting, revising, editing, publishing), and its recursive, interactive, and collaborative nature\n3.C Understand conventions of spelling, capitalization, punctuation, proper word usage, and grammar\n3.D Understand how mode (expository, persuasive, and narrative) and form (such as research paper, editorial, memoir) shape writing\n3.E Understand methods of developing text that are clear, concise and coherent\n3.F Understand strategies for writing informational and persuasive text, including:\n3.F.1 finding, selecting, and refining topics for research projects in history, science, and technical subjects\n3.F.2 locating and documenting reliable sources for research\n3.F.3 developing and supporting arguments for informational and persuasive text\n4.0 Knowledge and Understanding of Literary Texts\nCandidates know and understand an extensive range of literary texts.\n4.A Read and understand a broad range of literary texts (such as short stories, novels, poetry, and drama), including:\n4.A.1 Works representing and authored by a range of cultures and ethnicity globally and within the United States.\n4.A.2 Works written specifically for children and young adult readers.\n4.A.3 Works providing both male and female representation and authorship.\n4.BUnderstand the elements of literature, including:\n4.B.1 structure (e.g., structure, denouement, meter)\n4.B.2 literary & rhetorical devices (e.g., flashback, foreshadowing, metaphor)\n4.B.3 points of view, tone, voice, mood\n4.B.4 style (e.g., diction, register, word choice)\n4.B.5 development of characters, plot and setting\n4.B.7 formal, stylistic, and thematic characteristics of major literary works, genres, movements, and periods and of major authors of literary texts\n4.B.8 historical, social, cultural, and political contexts and influences of literary texts\n5.0 Knowledge and Understanding of Informational and Persuasive Texts\nCandidates know and understand a wide range of informational and persuasive texts.\n5.A Read and understand a broad range of informational and persuasive texts such as textbooks, newspapers, magazines, maps, atlases, surveys, warranties, print advertisements, propaganda, and multimodal communications from the Internet\n5.B Understand key elements in informational texts, such as organizational features & structures (e.g., index, sidebar, appendix)\n5.C identify the main idea and purpose of given informational and persuasive texts\n5.D Differentiate between facts and opinions\n5.E Judge the relevance, importance, and sufficiency of evidence, examples, and reasons provided as support\n5.F judge the reliability, objectivity, and credibility of sources used in an informational or a persuasive text\n5.G Understand author\u2019s purpose or motivation for persuasive influence\n6.0 Knowledge and Understanding of Speaking and Listening Communications\nCandidates know and understand communication through speaking and listening.\n6.A characteristics of various types of listening and speaking, such as interviewing and empathic listening, and listening to gain knowledge\n6.B barriers to listening, such as listening only to what is considered important, and methods of listening actively, such as restating and encouraging\n6.C types of speech delivery, such as impromptu, and methods of managing speech anxiety and apprehension, such as visualizing success\n6.D Understand how linguistic/rhetorical patterns of other languages affect the oral expression of diverse learners.\n6.E forms and functions of verbal and nonverbal interpersonal communication, such as clarifying and validating\n6.F individual, social, and cultural factors that influence interpersonal communication, such as internal and external noise and perceptions of self and others\n6.G large and small-group dynamics and factors that influence group communication, such as group composition and group members' roles\n6.H strategies for managing conflicts, solving problems, and making decisions in large and small groups, such as compromising and collaborating\n6.I Understand how to communicate through a wide variety of media and non-print materials (e.g., digital slide shows, web pages, digital portfolios)\n7.0 Instructional Methodology\nCandidates foster a literate environment by utilizing a wide range of instructional practices, approaches, methods, assessments, and curriculum materials to support literacy instruction.\n7.A Apply strategies that help students master the grammar of Standard American English\n7.B Use strategies for differentiating English Language Arts instruction to meet the needs of diverse learners\n7.C Use instructional strategies to help students, including struggling readers, develop reading proficiency (such as semantic mapping, directed reading-thinking activities, comprehension skill-based activities, phonics based instruction, and scaffolding)\n7.D Use strategies that enable students to construct meaning from a wide variety of literary and expository text as well as non-print media\n7.E Provide students with strategies that enable them to write effectively for a variety of audiences and purposes, including informational and\n7.F Use strategies for helping students master the conventions of spelling, capitalization, punctuation, proper word usage and grammatical sentence structure\n7.G Use strategies that enable students to analyze and understand a wide range of literary texts, including basic literary elements such as structure, style, and rhetorical devices\n7.H Use strategies that enable students to analyze, understand, and evaluate a wide range of informational and persuasive texts\n7.I use instructional strategies that develop listening proficiency, such as using structured listening activities (SLA) or investigative questioning procedures (InQuest), and speaking proficiency, such as helping students prepare for oral presentations or debates\n7.J Demonstrate the use of primary support material in lessons and units\n7.K use classroom-based, informal assessments and assessment tools used for English language arts, such as rubrics, running records, attitude and interest inventories, portfolios, self-assessments, and observation of student work with the use of checklists and anecdotal records\n7.L use assessment, diagnostics etc. to plan instructional strategies", "id": "<urn:uuid:09e6d276-7905-49e4-a9cf-ef9bd78fdcf8>", "dump": "CC-MAIN-2017-17", "url": "http://program.pesb.wa.gov/standards/list/ela", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120349.46/warc/CC-MAIN-20170423031200-00249-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8876372575759888, "token_count": 1784, "score": 4.125, "int_score": 4}
{"text": "BY: PAT TIMLIN\n\u201cStories are both the form and content of the media, and provide cultural links to the most ancient human traditions. The narrative form of the plot, characters, tension, development, and resolution entertains and informs audiences, anchors the media in literary and artistic traditions, spawns celebrities, drives advertising sales, recounts history, and encompasses the American ethos\u201d (King, Cook, & Tropin 231).\nChapter 9: Communication as Storytelling begins by emphasizing the importance of narrative traditions in human social interactions. Storytelling is representative of the human need for interaction; our instinctual and inexplicable desire for social stimulation. King, Cook, and Tropin preface their argument on the benefits of storytelling in the media by citing Homer\u2019s The Iliad and The Odyssey, the Koran, the Bible, and the Talmud as products of great historical storytelling. They argue, \u201c[t] he act of speaking implicitly means to have the Other present. Media stories put one in the present moment in communion with storytellers of the past, traversing time and space\u201d (King, Cook, & Tropin 232). The text then goes on to list the benefits of the propagation of the printed word, but criticizes it as inferior to certain forms of media due to the fact that the printed word \u201c[\u2026] deprive[s] the tribal collective memory of the sounds and rhythms of the storyteller\u201d (King, Cook, and Tropin 232).\nThe chapter then goes on to discuss the power of interpretation, delivery, and manipulation that is associated with storytelling in the sub-chapter, Truth, Fiction, and Lying. Mainstream media sources such as newspapers, newsrooms, TV, print news, blogs, and documentaries are all subject to ratings and profit margins that decide their survival. For example, \u201c[\u2026] many U.S. newspapers shed most of their newsroom employees and struggled to develop new income streams from the Internet to replace subscription and newsstand losses\u201d (King, Cook, and Tropin 236). Additionally many mainstream media sources will manipulate stories or news in order to generate profits, as can be seen the \u201cGreat Moon Hoax\u201d of 1835. By twisting the truth to fiction, they can draw in a larger audience. The chapter then concludes by discussing the four different types of storytelling techniques:\n1) Oral Histories: \u201cPersonal stories based on the spoken word [\u2026], a structured\nform of storytelling used in truth-telling genres such as news, documentary,\nand fiction based on fact\u201d\n2) Screenwriting: \u201c[\u2026] describe only what is heard or seen by a mass media audience, refrain from elaborate descriptions or internal dialogue, and use present tense verbs\u201d\n3) Genres: \u201c[\u2026] or story types, are comprehensive structures that provide whole frameworks of understanding to the mass media audience. They help audiences better understand media content with which they are interacting.\u201d\n4) Transmedia Stories: \u201c[\u2026] stimulate curiosity about\u201d a film or other form of media. (King, Cook, & Tropin 238-240).\nThe required reading The Good Lynching and the Birth of the Nation: Discourses and Aesthetics of Jim Crow is an essay written by Michele Faith Wallace that proposes that the film The Birth of a Nation reflects the storytelling and racial ideologies of the American South in the years after the Civil War.\nThe Birth of a Nation is a 1915 silent film made by D.W. Griffith was praised for its use of a new medium; however, it was also condemned for the racist prejudices it promoted. According to Wallace, \u201cGriffith\u2019s intention was partly to show the undeserved and unearned prosperity of blacks during Reconstruction [\u2026],\u201d by portraying them as animalistic, uneducated, and uncivilized (King, Cook, and Tropin 247). It is very difficult to classify Griffith\u2019s technique under any of the four storytelling techniques, but it is clear that he drew upon anti-black sources such as writings (novels such as The Clansmen), and probably some of the racist sentiments in the South at the time in order to produce his film. However, his film relates most to the sub-chapter Truth, Fiction, and Lying in Chapter 9. Griffith\u2019s makes use of artistic liberty in order to present African-Americans in the way that he wanted them to be viewed. He was implementing both fiction and lies in his film in order to appeal to a Southern audience that perhaps shared his racist sentiments.\nThe concepts discussed in Chapter 9 can be applied to one of my favorite movies, Gladiator. Gladiator is a fictional film that is based on the storytelling traditions that have carried over from hundreds of years ago to the present day. The film loosely interprets some real-life individuals such as the Caesar Aurelius; however, it fictionalizes and dramatizes the experience of the main character, Maximus. It makes use of both oral and written storytelling relics that have been passed down over the years in order to formulate a audio/visual experience to entertain viewers. A second narrative, which I am not so fond of, was first a book and later became a movie and is entitled The Last of the Mohicans. While the film is extremely entertaining, and provides a large amount of accurate historical context, I feel that it does not do justice to the Mohican, or Native American, side of the story. Much in the same way that The Birth of the Nation criminalizes African-Americans, The Last of the Mohicans also criminalizes Native Americans and barbaric criminals who are instigating violent uprisings. I feel that the narrative fails to maintain the Native American perspective of the historical happenings.", "id": "<urn:uuid:22b725fd-e6c7-49fb-9ef1-e687eda99ef5>", "dump": "CC-MAIN-2017-17", "url": "https://9amcommunications.wordpress.com/author/pjtimlin/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123549.87/warc/CC-MAIN-20170423031203-00610-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9532062411308289, "token_count": 1186, "score": 3.875, "int_score": 4}
{"text": "As Aristotle defines tragedy as an imitation of an action that is serious having complete form in a dramatic form. It imitates serious actions and subject pattern matter that happen in everyday life. Its language arouses pity and fear in the audience. It birth is the imitation of a human. Human beings are the most imitative creatures in the world. Imitation is helpful for them in two ways. First, they learn by imitation and second they get pleasure in imitation.\nUnity- The word unit means the relatedness of things which are seemingly on related. Aristotle uses thing word to signify the relatedness of time, place, and action. It also means tightness amidst the things presented in a certain form an order unity of plot, a unity of action, a unity of time, place and action.\nPlot- The plot is a sequence of interrelated events arranged to form a logical pattern and achieve an intended effect. Aristotle wrote in poetics that mythos is the most important element of storytelling. Aristotle has many parts that composed poetry and stories. However according to Aristotle plot is the most important part. The plot makes the story complete. It is a chain of action. It refers to that state and situation in which events are causally connected. In a good plot, every succeeding action is the result of preceding action. A plot is the heart of the tragedy, no plot no tragedy.\nDiscovery- The kind of action in a play by which fable allures the soul is revolutions and discoveries. The revolution is a mutation by which actions turn into contrary conditions which still has to happen in a probable or even a necessary way. The discovery is simply a change from ignorance to knowledge of something central to the plot, but Aristotle regards the beauty of discovery as a heightened if it is combined with revolution. It refers to that level of knowledge and understanding which a tragic hero acquires when he realizes his fatal mistake. At the moment of discovery, a tragic character comes to know about his mistake which brought about his tragic doom.\nSuffering- Suffering is a technical term for Aristotle: an action that involves distortion and pain such as death, wounding, and physical agony. There are many deaths and wounding in the Iliad. One of the striking features of Homer\u2019s technique is how even minor figures are brought into focus at their death in a way designed to create a sense of the significance and pathos of their death. The word suffering means mental torture, pain, and agony which start after the moment of discovery. It does not indicate physical suffering. It refers to the mental agony and anguish which happens to the tragic hero.\nPity and fear- The audience becomes aware of the fact that catastrophe in a tragedy that is to death of the hero arouses pity and fear. The words pity and fear cannot be reducing to one level of meaning. It was Aristotle who for the first time use the term catharsis to mean the emotional cleansing- the release of the pent up overwhelming emotions of pity and fear. The scene of the suffering arouses a sense of pity. The people in the audience feel that similar fate may not overtake them. The main emphasis is on identification and a pathetic scene of the hero may arouse pity and fear but it is the objective center of the subjective state of the audience.\nSpectacle- It refers to specially prepared or arranged display of a more or less public nature, forming, and impressive or interesting show or entertainment for those viewing it. Or a person or thing exhibited to or set before the public gaze as an object either of curiosity or contempt or of marvel or admiration. The words spectacle conjures images of extravagant display and performance or more negatively, images of violence and atrocity. The definition of spectacle encompasses curiosity or contempt and marvel or admiration. While the effective response to spectacle may vary from spectator to spectator, much of the spectacle\u2019s appeal drives from its visual power and ability to whole the gaze of the viewer.\nHamartia- Hamartia is a term developed by Aristotle in his work Poetics. The term can simply be seen as a character\u2019s flaw or error. The word Hamartia is rooted in the notion of missing the mark and covers a broad spectrum that includes accident and mistake, as well as wrongdoing, error or sin. It means a grave mistake of a tragic protagonist. It also means a tragic flaw it consists of error of a different kind. Insert Hamartia means that flaw in a tragic character, which leads to the tragic downfall of a protagonist.\nCatharsis- Catharsis means \u2018purification\u2019, cleansing or clarification. It is derived from the word meaning to purify, purge and pure or clean. The term in drama refers to a certain emotional climax that evokes overwhelming feelings of great sorrow, pity, laughter or any other extreme change in emotions resulting in restoration, renewal, and revitalization in members of the audience. It means purification of pity and fear. It means bringing out pity and fear. Tragedy takes out our hidden fear and pity. Our pent up emotions are brought out. This process of bringing out repressed pity and fear is called catharsis.\nTherefore, the most important elements of tragedy are suffering. Aristotle says that a tragedy most includes great suffering especially the suffering. Similarly, the characters most have an error of judgment. It leads towards the tragic downfall of main characters. The tragedy is out of the imagination of common people. Finally, Aristotle says that a good tragedy must have catharsis and Hamartia. Catharsis is the perfect satisfaction of watching a drama. Hamartia means the tragic fall of a hero. It is the serious weakness of the tragic hero. These are the most importance part of the good tragedy. Similarly, as Aristotle says that the best tragedy should have basic elements. A tragedy that most have unity of plot and action. Here it means that tragedy must have a single plot and all the minor action must be related to the same major actions. He says that a good tragedy should not be related to the same major actions. He says that a good tragedy should not have multiple plots. Multiple plots weaken the effects. All the minor action should enforce the same plot. All the action in the tragedy must represent one action, a complete whole with its several incidents so closely only then tragedy can be turn out to the best one.\nLohani, S. (2012). Western Intellectual Tradition. Kathmandu: M.K Publication..", "id": "<urn:uuid:10ff2cc7-47a5-47ab-8c43-37a2425114c3>", "dump": "CC-MAIN-2017-17", "url": "https://kullabs.com/classes/subjects/units/lessons/notes/note-detail/8022", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120001.0/warc/CC-MAIN-20170423031200-00135-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9517298936843872, "token_count": 1318, "score": 3.90625, "int_score": 4}
{"text": "Also, hab da paar Englischaufgaben und br\u00e4uchte eure Hilfe\nW\u00e4re sehr nett!\nM\u00fcsst auch nicht gleich alles ausf\u00fcllen sondern nur das was ihr wisst\n1. Find your own definitions for these words. (nur 1 satz)\n1. Ask questions and use the correct forms of the verbs. ( take \u2013 listen \u2013 say - sell \u2013 use \u2013 cost)\n1. When _________ Brian _______ to the radio?\n2. Why __________ you ________ a shower every morning?\n3. How often _______ your brother ______ deodorant?\n4. What _______ the article _______ about the TV program last night?\n5. How much _______ these shoes ______?\n6. Where _______ they ______ the vegetarian shoes?\n2. Fill in the missing forms.\nSimple present | Simple past | Present perfect\nShe wears | ________ | ________\nHe loses | __________ | ___________\n______ | It happened | It has happened\n_______ | She had | She has had\n3. Fill in the verbs. Use the correct form.\nRob Hancock ______ (be) 38, _______ (live) in Brighton and _______ (produce) vegetarian shoes.\nHe first _____ (have) this idea more than 12 years ago, in 1990.\nHe sold his first pair of shoes in 1991.\nToday he ______(sell) one pair for about \u20ac 49.\nPaul McCartney bought at least ten pairs during the last years.\nMr Hancock _____ (open) three new shops next year.\n4. Reading comprehension\nFrench fries fight fires\nThe fire brigade in Holland has a new method of fighting fires in kitchens. They throw frozen French fries on them! Often a fire starts in a kitchen when a pan filled with oil gets too hot and breaks out in flames. Two restaurant fires in Holland have already been stopped with icy potatoes. The Dutch fire brigade says one kilo of frozen French fries is enough to put out one big pan of burning cooking oil.\nThere is only one problem: You can\u2019t eat the fries afterwards!\na) Answer the questions. Write full sentences.\n1. How do the firemen fight kitchen fires?\n2. How can a fire start in a kitchen?\n3. How many fries do you need to put out a fire in a pan?\nb) Find the words in the text.\n1. a ground of men who fight fires: _________________\n2. a different way, another way: ___________________\n3. very cold: ___________________\nc) Report what these people say.\nOne fireman: \u201cWe come from Amsterdam.\u201d\nTwo firemen: \u201cThere are lots of kitchen fires in Holland.\u201d\nCook: \u201cMy kitchen burned down last summer.\u201d\nWaitress: \u201cMy sister has a new kitchen, too.\u201d\n5. A TV program\nFill in the correct words. (ago \u2013 although \u2013 carefully \u2013 drugs \u2013 safe \u2013 tests \u2013 that\u2019s why)\nSome day\u2019s _____ Mary Jo watched a program about animal experiments. She thought the experiments were cruel and awful. Mary Jo was very sorry for the animals and ______ she thinks she is a vegetarian. In the program they showed _____ on cats. They tested _____ to make sure they are ____ for humans. But \u2013 drugs may not be safe for humans _____ they were tested on animals. Mary Jo had an argument with her brother. He told her that the experiments are done ______ and the animals don\u2019t fell any pain. In the end Mary Jo thought that perhaps he was right.\n6. Creative writing\nWrite an article for the school magazine about four favourite sports. Explain what you have to do, how many people you need and why you like it.", "id": "<urn:uuid:99ad317d-37aa-4eae-bcde-b53376f9c81b>", "dump": "CC-MAIN-2017-17", "url": "https://www.freesoft-board.to/thread/259125-englisch-aufgaben-w%C3%A4re-sehr-nett/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122886.86/warc/CC-MAIN-20170423031202-00609-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8904443383216858, "token_count": 833, "score": 3.515625, "int_score": 4}
{"text": "Summative Assessment for Of Mice and Men: Academic Choice\nLesson 15 of 15\nObjective: SWBAT analyze how complex characters in the text in Of Mice and Men interact with other characters and advance the plot or develop the theme by answering questions on a summative assessment.\nWe've spent a lot of time in this unit analyzing characters and the focus of the Unit Test is on character development and how it advanced the plot RL.9-10.3. For the activator I want to check for prior knowledge and create a mindset for today's summative assessment. I first hand out a plot summary sequence list. Those students that complete this activity before the end of the warm up activity, are given a second quick assessment (sponge activity) on finding examples of the literary devices Steinbeck used in his novella, RL.9-10.4 .\nAs students work on their quick assessments, I circulate among them checking and correcting papers as they are completed.\nNext I explain the purpose and outline of the test by reviewing the Academic Choice questions students can choose from:\nA. 3 paragraph \u201cLetter to George\u201d from Lennie (W.9-10.3 and RL.9-10.3)\nI explain that they have to put themselves into Lennie's character using his experiences of being with George when writing the letter.\nB. Design a Poster for Of Mice and Men movie which includes at least 2 main characters, a summary, 1 theme, and a colored drawing of setting and characters (W.9-10.10, RL.9-10.2, RL.9-10.3).\nIf they choose to design a movie poster they are told to remember that the poster should be:\n- Aesthetic - it should get peoples attention so the message is clear and the poster designed by using colored pencils.\n- Focused \u2013 it should focus on and communicate why people should \"see the movie\" without giving away the plot.\n- Ordered \u2013 the sequence should be well-ordered and obvious starting with the movie title and then the characters.\nI will use a Unit Test Rubric Of Mice and Men for each option to assess student mastery.\nStudent Learning Activity\nIt's now time for my students to demonstrate what they've learned by completing the summative assessment, UNIT TEST Of Mice and Men by John Steinbeck. The assessment is down loaded onto Socrative. To match their preferred learning style and increase engagement, students are given the choice of either writing their answers on a hard copy of the the test or using their lap tops to go onto Socrative.com to type in their answers. As they begin I circulate among them checking for understanding and keeping them focused on the task.\nWhen students complete the 8 text dependent questions on the first section RL.9-10.1, they then choose to answer the second section by either writing a letter from Lennie to George, RL.9-10.2, RL.9-10.3, W.9-10.3 or designing a movie poster W.9-10.9, RL.9-10.3, RL.9-10.2. I have the materials for making the poster laid out on a table in the front of the classroom.\nTicket to Leave\nI ask those students who designed a poster to voluntarily share it with the class by giving a brief explanation of the information they included. Students who have not completed the letter or poster can do so for homework and hand it into me on the following day.\nI attached two videos. The first video is a short reflection of this final lesson as well as reflection of my year. I found it interesting that I'm ending the year sharing with you the importance of building trust an respect between you and your students because this was the focus of my lessons at the beginning of the year. The second is a short video of my teacher/student relationship according to one of my students who use his hands to communicate the message!", "id": "<urn:uuid:9d4a476f-0d22-4f9d-9dc5-c6919ff26d21>", "dump": "CC-MAIN-2017-17", "url": "https://betterlesson.com/lesson/619399/summative-assessment-for-of-mice-and-men-academic-choice", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123270.78/warc/CC-MAIN-20170423031203-00139-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9371204972267151, "token_count": 830, "score": 3.609375, "int_score": 4}
{"text": "Indigenous Australian practices, developed and honed over thousands of years, weave science with storytelling. In this Indigenous science series, we\u2019ll look at different aspects of First Australians\u2019 traditional life and uncover the knowledge behind them \u2013 starting today with astronomy.\nThis article contains the names of Aboriginal people who have passed away.\nIndigenous Australians have been developing complex knowledge systems for tens of thousands of years. These knowledge systems - which seek to understand, explain, and predict nature - are passed to successive generations through oral tradition.\nAs Ngarinyin elder David Bungal Mowaljarlai explains: \u201cEverything under creation [\u2026] is represented in the ground and in the sky.\u201d For this reason, astronomy plays a significant role in these traditions.\nWestern science and Indigenous knowledge systems both try to make sense of the world around us but tend to be conceptualised rather differently. The origin of a natural feature may be explained the same in Indigenous knowledge systems and Western science, but are couched in very different languages.\nA story recounted by Aunty Mavis Malbunka, a custodian of the Western Arrernte people of the Central Desert, tells how long ago in the Dreaming, a group of women took the form of stars and danced a corroboree (ceremony) in the Milky Way.\nOne of the women put her baby in a wooden basket (coolamon) and placed him on the edge of the Milky Way. As the women danced, the baby slipped off and came tumbling to Earth. When the baby and coolamon fell, they hit the ground, driving the rocks upward. The coolamon covered the baby, hiding him forever, and the baby\u2019s parents \u2013 the Morning and Evening Stars \u2013 continue to search for their lost child today.\nIf you look at the evening winter sky, you will see the falling coolamon in the sky, below the Milky Way, as the arch of stars in the Western constellation Corona Australis \u2013 the Southern Crown.\nThe place where the baby fell is a ring-shaped mountain range 5km wide and 150m high. The Arrernte people call it Tnorala. It is the remnant of a giant crater that formed 142 million years ago, when a comet or asteroid struck the Earth, driving the rocks upward.\nPredicting seasonal change\nWhen the Pleiades star cluster rises just before the morning sun, it signifies the start of winter to the Pitjantjatjara people of the Central Desert and tells them that dingoes are breeding and will soon be giving birth to pups.\nThe evening appearance of the celestial shark, Baidam traced out by the stars of the Big Dipper (in Ursa Major) tells Torres Strait Islanders that they need to plant their gardens with sugarcane, sweet potato and banana.\nWhen the nose of Baidam touches the horizon just after sunset, the shark breeding season has begun and people should stay out of the water as it is very dangerous!\nTorres Strait Islanders\u2019 close attention to the night sky is further demonstrated in their use of stellar scintillation (twinkling), which enables them to determine the amount of moisture and turbulence in the atmosphere. This allows them to predict weather patterns and seasonal change. Islanders distinguish planets from stars because planets do not twinkle.\nIn Wergaia traditions of western Victoria, the people once faced a drought and food was scarce. Facing starvation, a woman named Marpeankurric set out in search of tucker for the group. After searching high and low, she found an ant nest and dug up thousands of nutritious ant larvae, called bittur.\nThis sustained the people through the winter drought. When she passed away, she ascended to the heavens and became the star Arcturus. When Marpeankurric rises in the evening, she tells the people when to harvest the ant larvae.\nIn each case, Indigenous astronomical knowledge was used to predict changing seasons and the availability of food sources. Behind each of these brief accounts is a complex oral tradition that denotes a moral charter and informs sacred law.\nAn important thing to consider is that small changes in star positions due to stellar proper motion (rate of angular change in position over time) and precession (change in the orientation of Earth\u2019s rotational axis) means that a few thousand years ago, these sky/season relationships would have been out of sync.\nThis means knowledge systems had to evolve over time to accommodate a changing sky. This shows us that what we know about Indigenous astronomical knowledge today is only a tiny fraction of the total knowledge developed in Australia over the past 50,000-plus years.\nAs we increase our understanding of Indigenous knowledge systems, we see that Indigenous people did develop a form of science, which is used by Indigenous and non-Indigenous people today.\nTraditional fire practices are used across the country, bush medicines are being used to treat disease, and astronomical knowledge is revealing an intellectual complexity in Indigenous traditions that has gone largely unrecognised.\nIt is time we show our appreciation for Indigenous knowledge and celebrate the many ways we can all learn from this vast accumulation of traditional wisdom.\nDuane is speaking at The Edges of Astronomy symposium at the Australian Academy of Science in Canberra on December 4, 2014.", "id": "<urn:uuid:9b600f70-d68f-4613-b342-4abfa271ce45>", "dump": "CC-MAIN-2017-17", "url": "http://theconversation.com/stories-from-the-sky-astronomy-in-indigenous-knowledge-33140", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123097.48/warc/CC-MAIN-20170423031203-00080-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9340291619300842, "token_count": 1092, "score": 3.65625, "int_score": 4}
{"text": "Do You Want Your Young Child to Write? Tips for Encouraging Literacy Skills\nLearning to read and write is a process. Your children will not write before they are developmentally ready. They have to develop fine motor skills, language acquisition skills, strengthen brain connections, understand symbolism and more. While it isn\u2019t a realistic expectation that 2 year olds will read and write or that 4 year olds will master letter formation or blending sounds, there are things we can do to encourage children to pick up crayons, markers, paint brushes and eventually pens or pencils.\n- Children need to see their most important adults writing with pens and pencils. Put down the smartphone, tablet and laptop. You are the children\u2019s role model. They will want to do what they see adults doing. If they do not see us writing with pens or pencils, why would they ever want to do that? Use pen and paper to handwrite a shopping list while your children are in the room. Write your to-do list. Find ways to make writing with a pen or pencil a more visible activity when children are present.\n- Celebrate every effort. If a young child picks up a pencil and scribbles, show that doing so is valued. It may not look like much to you yet, but it is the beginning of a lifetime of writing. It takes time for children to be able to successfully master tracing lines, tracing letters, writing over dotted letters and writing independently. It all starts with mastering the fine motor skills and movements that it takes to scribble. Every step of the way \u2013 every effort \u2013 needs to met with positive, non-judgmental recognition.\n- Make writing fun. We all embrace trying new things when we find them to be enjoyable. Remember tic-tac-toe? Bring that back. Remember dot-to-dot and mazes? They make simple ones that you can do with your children. Some of my favorite toys that encouraged the pre-writing skills were Etch-a-Sketch, Invisible Ink books and magic slates (you would write, lift the plastic and it would be erased). If you can\u2019t find those oldies but goodies, get a dry erase board. Children love to erase it. Of course, in order to have something to erase, they have to write!\n- Encourage their dramatic play. When children are pretending, they transform into storytellers. They enter a world just like that of the fiction writer. They are taken out of their everyday routine and transported to a new place where their imagination is dominant. They hone language skills when they pretend and strengthen the brain connections for storytelling thinking. They become symbols of other people \u2013 their loved ones, teachers, superheroes, princesses. They learn that one thing can stand for another. That will eventually help them to understand that a letter stands for a sound and words are symbols for objects in the world. Dramatic play is the most important part of their day for so many reasons, including pre-literacy skill building.\n- It isn't only about pens and pencils. Remember that painting, playing with Play Doh, coloring and other forms of art / sculpture develop the fine motor muscles and brain development pathways needed to write. We shouldn\u2019t shrug off these activities as less important or apart from literacy activities. They do help children to get ready for more time with pencils and pens.\nBe patient. Writers were not built in a day in the past and they aren\u2019t now. We can change our educational systems but that does not change the fact that mastery of writing is a process. We are a very product driven society and are used to instant gratification. I can instantly find facts (and fiction) on my smartphone. I can instant message, make instant coffee and have instant photos. There is nothing instant about the development needed to be a reader or a writer. Typically developing children will write. Honestly. I promise. They will get there.\n\u201cTeach the Whole Preschooler: Strategies for Nurturing Developing Minds,\u201d my soon-to-be-released book, is listed for pre-sale on Amazon, Barnes & Noble and WW Norton (publisher)\nBe the first to get updates about the book\u2019s release and stay connected \u2013 click HERE to join my mailing list. I promise not to crowd your inbox J\nYou can learn so much more from me online! \u201cHelping Preschools Achieve with Cindy Terebush\u201d \u2013 An Online Learning and Support Community for Early Childhood Professionals. Now with individual sessions for only $ 15 and staff bundles for groups of people. Go to Helping Preschools Achieve for more details.\nAnd in person\u2026.Go to my full website for information about webinars, presentations and individual consulting for parents and educators -Helping Kids Achieve.\nCopyright 2016 \u00a9 Cindy Terebush\nAll Rights Reserved\nPlease do not sell, post, curate, publish, or distribute all or any part of this article without author's permission. You are invited, however, to share a link to this post on your webpage, Facebook, Pinterest, Twitter, and other social networking sites.", "id": "<urn:uuid:7fe6d3b4-35c5-40c9-9b8e-c2597d9cb9e9>", "dump": "CC-MAIN-2017-17", "url": "http://cindyterebush.blogspot.com/2017/03/do-you-want-your-young-child-to-write.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121165.73/warc/CC-MAIN-20170423031201-00431-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9456394910812378, "token_count": 1069, "score": 3.796875, "int_score": 4}
{"text": "Our CAFE strategy this week was focused on \u201cName the Problem and Solution\u201d. When we read, we often recognize common elements of a story that include plot, character, setting, problem and solution and theme. We use these elements to help us infer what will happen next. As readers, when we identify and understand these elements, we store this information to help us remember and comprehend what the story is about. Literary elements work together to form the story and make it interesting. We learn literary elements separately, but we combine them when reading to give us a better understanding of the story. It is important that children specifically look for these elements as they first learn them. It is through exposure and practice that readers become good at using these elements to comprehend text.\nHow can you help your child with this strategy at home?\n1. When reading a story with your child, discuss the character. Begin by asking your child who or what the story is about.\n2. After determining the character, see if your child is able to tell you where and when the story occurs. Ask your child how they were able to determine the setting? Did he/she use pictures, words, or infer to establish the setting?\n3. Continue to read the selection and discuss with your child important events that occur in the story. Ask your child what the problem is in the story and how the problem was solved.\n4. Conclude the story by talking about the theme of the story. The theme is the underlying message, or meaning, of the story. Encourage your child to use what they know about the characters, setting, and plot to help determine the theme.\nOur vocabulary words this week were:\nWe wrote two different types of weather reports this week! The first report we completed with a partner by taking a picture of a specific type of weather, writing a fact about that weather, adding effects to the font and transition of the words and recorded our voice. The finished product was a movie we created using an app called Shadow Puppet Edu.\nOur second weather report this week was a writing lesson where we pretended to be a weather reporter and was giving the forecast for the day. We used an app called Tellagami where we drew the background showing the type of weather and recorded our voice to go along with the character we created to explain and give the forecast. We tried to make sure to give facts and/or advice to our listeners about how to prepare for the type of weather we were forecasting! We finished by sending the video to Google Classroom and sharing with the class.\nWe learned a new math concept this week...ADDITION STORY PROBLEMS. We practiced as a group and with partners telling our own story problems and answering others story problems. We focus on writing the answer and/or challenging ourselves to write the addition sentence to the story problem as well. It is also important to remember to say the unit/item that is being told in the story with your answer. For example, if the story problem was \u201cI went to the pantry and took out 4 cookies. I then took out two more. How many cookies did I take from the pantry?\u201d The answer would not only be 6 but 6 cookies. .\nThis week was all about weather and fun we have with weather. We also took a little break from weather on Thursday and celebrated St. Patrick\u2019s Day with an entire day-o-fun!\n- Monday we completed a Popplet to go along with the story Cloudy With a Chance of Meatballs. We decided if we could have any food fall from the sky, what type of food would we choose!\n- Tuesday, we went outside on a walk around the school to enjoy the sunshine!\n- Wednesday, we shared our weather reports with the class.\n- Thursday, was all about St. Patrick\u2019s Day!\n- When the students arrived the tables were green and there was a green doorway sign they had to walk through to get in the room!\n- They created rainbow binoculars to help find the leprechaun.\n- We realized the leprechaun changed our poem to his own poem about him!\n- Mrs. Brown caught the leprechaun and one of his pieces of gold and then he took it away from her and POOF he was gone!\n- He left us clues to find his pot of gold though and we solved all the clues, but only found a pot of Skittles. We didn\u2019t mind though, they were yummy!\n- We painted a leprechaun using orange paint and fork to make his beard!\n- We finished the day by enjoying some ice cream with Lucky Charms cereal as our topping!\n- What a FUN DAY!\n- Friday, we continued with our weather fun and created a picture to go with our Cloudy With a Chance of _______ from Monday.\nI had to cut this video because it was really long but we found one coin from the pot of gold and you will see me showing the kids the coin and then POOF a hand comes up and grabs it and disappears! It was so shocking!\nPRACTICE AT HOME:\nHAVE A FANTASTIC SPRING BREAK!!!!\n- In reading we will focus on visualizing\n- In writing we will begin our third unit Opinion Writing.\n- In math we will continue to learn about addition & subtraction stories.\n- Our theme next week is all about INSECTS!\n- 3/ 21-3/25 NO SCHOOL SPRING BREAK\n- 4/8 Spring Pictures\n- 4/29 Spring Carnival\n- 5/5 Muffins for Mom\n- 5/10 Field Trip to Indy Zoo", "id": "<urn:uuid:a7a17e63-92b9-4bdd-a050-beac88d59882>", "dump": "CC-MAIN-2017-17", "url": "http://mrsbrown26.blogspot.com/2016_03_13_archive.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118963.4/warc/CC-MAIN-20170423031158-00253-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9735743999481201, "token_count": 1182, "score": 3.625, "int_score": 4}
{"text": "Literature and Moral Growth In Children\nWith each lie Pinocchio told, his nose grew longer. By means of this physical retribution, the 19th-century story of a wooden puppet come to life suggested the consequences of prevarication.\nCarlo Collodi's tale is probably not taught in many schools today: Most educators would consider it too old-fashioned and heavy-handed in its moralizing about Pinocchio's lies.\nYet in the volley of complaints being fired at schools, a common charge is that they are negligent in providing moral education--even that they are amoral.\nAnd as politicians and preachers in the public eye attempt to cover their tracks with equivocations, our attention is focused on the lying and other moral shortcomings of those holding positions of leadership.\nIn the large body of children's literature that includes the story of Pinocchio, many resources can be found for fostering the moral growth of young people. To prepare children to think critically about ethical concerns, schools should emphasize the thoughtful reading of such literature.\nWith the current warfare between religious fundamentalists and civil libertarians over the issue of moral instruction in the classroom, it is hardly surprising that shellshocked administrators want to avoid any teaching of moral values that might result in a lawsuit or adverse publicity.\nYet at the same time, politicians are jumping into the fracas with calls for increased emphasis on moral education. Gov. Mario Cuomo of New York, for example, saying that schools must counter a \"message of silence,'' has proposed revitalizing the teaching of values.\nAnd U.S. Secretary of Education William J. Bennett has on several occasions stressed the importance of identifying and praising schools that effectively encourage the development of values.\nLocal community members are also launching offensives in the name of moral issues. Feeling powerless to confront public officials over their dissatisfaction with such problems as unemployment, homelessness, and teen-age pregnancy, they raise the battle cry for a \"return to the teaching of moral standards.''\nUnfortunately, various entrepreneurs are taking advantage of an unsettled climate by producing \"programmed'' educational materials. Claiming nonprofit status, these firms appear eager to fill the presumed need for moral instruction.\nBut their programmed materials are educationally unsound. The content of these packages typically consists of short stories and parables designed to be presented by the teacher rather than read by the students. Accompanying discussion guides are aimed at involving children in simulations calling for moral decisions.\nWith their natural resistance to anything inauthentic, children perceive programmed materials on morality as contrived and phony. They close their minds to any attempts at moral instruction that seem manipulative or adult-centered.\nSchools need not waste their money on such materials when they can draw on resources at hand to build successful programs of moral education and character development: The two essential ingredients are good books and good teachers.\nMost schools already possess a balanced library of well-written children's books. Librarians can aid teachers and students with selection of appropriate texts.\nWell-trained teachers, who understand the needs of students and who value literature, can identify appropriate books and develop creative critical-thinking activities based on them. Every time a story is read aloud or a novel discussed, such teachers are fostering moral education.\nRecent research has shown the effectiveness of using literature and structured discussions of moral dilemmas to stimulate the growth of children's moral judgment.\nIndeed, the value of literature in enriching the lives of children is manifold. Above all, books provide pleasure and insight. The narrative patterns of storytelling reflect an ordered way of life. And by imaginatively entering the fictional worlds created by talented authors, children come to perceive their own environment and other people in fresh ways.\nThrough the vicarious experiences reading offers, children can see and feel how others have lived, and understand how they have dealt with the universal questions of life.\nAnd stories can become quests for self-discovery. Facing the conflicts and dilemmas posed by a given tale, the young reader postulates fundamental questions: \"Who am I?'' \"What is my place in the world?'' \"How can I make this a better world?''\nThe moral questions that characters in books must resolve present the child with conflicts that might be replicated in real life. In the best of scenarios, the reader \"becomes'' the character confronted with a moral problem.\nIf the decision made by the book's hero coincides with the values of the reader, those values are reinforced. If his judgment does not accord with the hero's, however, then the child must evaluate the character's action.\nThe objectivity required by such an exercise is not easy to maintain for a child with an inflexible code of ethics. But in all likelihood, the 8- or 9-year-old child will switch from considering consequences of behavior to evaluating a character's motives in deciding what was right or wrong behavior.\nLiterature should be valued by schools as a tool to involve children in decisionmaking situations where, without actual risk, they experiment with various positions in moral conflicts.\nA fundamental goal of education is to enhance students' ability to analyze critically not only their own behavior but also that of others. While we remind ourselves, for instance, that we are all capable of telling lies, the more formidable task is to discern when others are lying to us. To help children develop character, we must ask them to judge others' characters.\nWe must prepare children to cope with living in a world of uncertainty--not to dissolve in cynical despair, but to function with a healthy sense of suspicion about what they see, hear, and read.\nBy reading about characters who lie, for example, children learn to evaluate the truthfulness of others. And they need not look far to discover that somebody might be speaking or acting deceitfully at any time, in any place: As the Secretary of Education pleads for character development in our schools, the shadow of duplicity falls over his colleagues in the White House.\n\"Truth'' has been identified by Lawrence Kohlberg as one of what he calls the \"Ten Universal Moral Issues.'' But only when the child is capable of weighing others' claims against his own, of taking the role of others, can he make a moral judgment.\nUniversal values, Kohlberg warns, cannot be taught directly, but must be absorbed by interacting with adults and peers. The reading and sharing of literary experiences serves as a bridge for such involvement.\nThe child psychiatrist Robert Coles cautions that no amount of psychoanalysis can provide a strong conscience to one who has become chronically dishonest and mean-spirited. He also argues, however, that literature is more useful than psychiatry and the social sciences in coming to grips with complicated moral issues.\nAs a motif in contemporary children's literature, the theme of the lie exemplifies the possibilities of moral education. Motives for lying found in current books reflect all the complexity of the moral decisions adults must make: to evade responsibility, to escape punishment, to avoid confrontation, to hurt others, to shield others, and to avoid stress.\nThoughtful reading and discussion of such literature is crucial to any program of moral education.\nVol. 07, Issue 28, Page 36", "id": "<urn:uuid:3afae079-b859-4c3c-bd96-4108a4722160>", "dump": "CC-MAIN-2017-17", "url": "http://www.edweek.org/ew/articles/1988/04/06/28watson.h07.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119225.38/warc/CC-MAIN-20170423031159-00314-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9570937752723694, "token_count": 1473, "score": 3.59375, "int_score": 4}
{"text": "Wheels on the bus coloring : Old crow medicine show wagon wheel youtube\nWheels On The Bus Coloring\n- The process or skill of applying a substance to something so as to change its original color\n- The process of filling in a particular shape or outline with crayons\n- A drawing produced in this way\n- the act or process of changing the color of something\n- a digestible substance used to give color to food; \"food color made from vegetable dyes\"\n- color: a visual attribute of things that results from the light they emit or transmit or reflect; \"a white color is made up of many different wavelengths of light\"\n- left side of the screen you can see different product categories. When you click on one of them the products contained in it will be displayed on the right side of the screen and you can scroll down the page to see all the products.\n- South Kona coast, Pu\u2018uhonua o Honaunau National Historical Park encompasses an ancient Hawaiian area that contains royal grounds and heiau as well as a pu\u2018uhonua (place of refuge). The ancient heiau and pu\u2018uhonua have now been reconstructed, along with carved images of ancient gods (ki\u2018i).\n- Standard Work Combination Sheet, automatic machine cycle time is shown with a dashed line to indicate that the machine is running on its own.\n- A circular object that revolves on an axle and is fixed below a vehicle or other object to enable it to move easily over the ground\n- steering wheel: a handwheel that is used for steering\n- A circular object that revolves on an axle and forms part of a machine\n- (wheel) a simple machine consisting of a circular frame with spokes (or a solid disc) that can rotate on a shaft or axle (as in vehicles or other machines)\n- Used in reference to the cycle of a specified condition or set of events\n- (wheel) change directions as if revolving on a pivot; \"They wheeled their horses around and left\"\n- a vehicle carrying many passengers; used for public transport; \"he always rode the bus to work\"\n- Remove (dirty tableware) from a table in a restaurant or cafeteria\n- send or move around by bus; \"The children were bussed to school\"\n- Transport in a communal road vehicle\n- Transport (a child of one race) to a school where another race is predominant, in an attempt to promote racial integration\n- bus topology: the topology of a network whose components are connected by a busbar\nwheels on the bus coloring - Melissa &\nMelissa & Doug Girls Sticker Pad / Coloring Books Bundle\nTwo coloring books with oversized 11\" x 14\" premium white bond paper, featuring outline drawings of flowers, princesses, fairies, horses and more, and a giant sticker book with over hundreds of stickers. The pages of the coloring books are printed on one side only, so that the colorful masterpieces won't smudge. The pages tear out cleanly to allow more than one child to color simultaneously and for proud display once completed. Cute couture, adorable animals, flowers and fairies, are just some of the favorite themes in the giant sticker book. Over 800 stickers are ready to create a picture or tell a story. Everything your young artist will need for creative fun.\nGreen Bus Company of Rugeley, 1969\nColour pictures of the Green Bus Company of Rugeley are relatively uncommon, despite the varied and interesting fleet they operated. Absorbed into the Midland Red Omnibus Company in 1973, very few of their vehicles saw service beyond the takeover, and certainly older buses such as these would never turn a wheel with their new owners, but were quickly despatched to the breakers yard. This view from 1969 gives a small insight into some of the fascinating second hand buses the GBC once operated. To the far right (just in shot) is one of the ex Huddersfield Corporation Park Royal bodied Guy Arab LUF\u2019s; possibly GVH793, or GVH796, acquired by the Green Bus in 1968. Central to the picture, MAC570 was a 1952 all Leyland, Leyland PD2/12 that had originated with Stratford Blue Motors Ltd. Withdrawn by Statford Blue in 1965, MAC570 found a new home with Green Bus becoming No38 in the fleet. Like the GBC, Stratford Blue Motors, would themselves be absorbed into the Midland Red, but two years earlier on New Years Day 1971. Next to MAC570 stands NEH448, ex Potteries Motor Traction H448, a 1950 Leyland OPD2/1. When new, the chassis had received the North Counties bus body from a withdrawn Leyland Titan TD4 (H69). After nearly fifteen years service, PMT disposed of H448 to a Salford based dealer in February 1965. It was eventually sold onto the Green Bus Company in June 1965, were upon it became No33 in the GBC fleet. The bus wouldn't survive long enough to make the MROC takeover, being withdrawn and sold for scrap in 1970. The bus on the far left of the picture, almost out of shot is so far unidentified, but looks to be another Leyland bodied Leyland PD2?\nArt on Wheels\nPakistani truck art is about cultural history and tradition, storytelling, passion, and sometimes playful one-upsmanship. As such, every little adornment on the trucks has a special significance. Its not about the competition, its all about the Pride. And its not about the outer appearances but also with-in the cabin you can see such beautiful carving and patterns that it bring colors to the life of the Drivers. In ancient times, when camels were used for the transportation, they were decorated with brilliant and contrasted colors. The history continues as the culture advances and so as the mode of transportation. Starting from the early 20th Centry competing transportation companies would hire craftsmen to adorn their buses in the hopes that these moving canvases would attract more passengers. While the art doesn\u2019t serve the same purpose anymore, it is still as prevalent as ever and has become more intricate and developed a deeper cultural significance over time. In a country where the per capita income is barely $2,000, it is surprising to see truck owners spend thousand of dollars per truck for structural modifications that convert these gas-guzzling, smoke-spewing, road-dominating monstrosities into beautiful moving canvases covered in poetry, folk tales, and \u2018religious, sentimental and emotional world-views of the individuals employed in the truck industry,\u2019 making it one of the biggest forms of representational art in the country. Sharing with you the view of the Driver's Cabin of Pakistani Truck. Taken: PPA Art on Wheel PhotoWalk, Rawalpindi", "id": "<urn:uuid:b9026657-367b-4150-b2ef-0ab1a1795622>", "dump": "CC-MAIN-2017-17", "url": "https://sites.google.com/site/16inchaluminumwheels/wheels-on-the-bus-coloring-wheels-on-the/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119637.34/warc/CC-MAIN-20170423031159-00372-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.949701189994812, "token_count": 1426, "score": 3.609375, "int_score": 4}
{"text": "Suggestions for Using Biographies\nJewish Heroes Playing Cards (4th to 8th grade)\nCreate stations with several copies of each biography, art supplies (markers, pens, colored pencils), and blank index cards. Each student should read the biography and then write one or two facts about the labor leader on one side of the index card. On the other side, students can draw a picture of the person or write his or her name. After each student has made a set of cards, students can trade with one another, use the cards to play a memory type game, or add the cards to a larger \u201cdeck\u201d of Jewish heroes discussed in your classroom throughout the year.\nComic Strip or Picture Book (4th to 8th grade)\nAllow each student to choose a specific labor leader to study. Using the biography, and other resources on jwa.org or the web, encourage the student to explore the leader\u2019s life, or one particular event. Then, the student should create a comic strip, picture book, or short story chronicling the story they have chosen to explore. Encourage students to use the language of storytelling rather than academic language they would use in a report or research project. Here are some guiding questions you can use to help your students build a strong narrative arc:\n- Where does the story begin?\n- Who are the main characters in the story?\n- What is the major conflict or struggle in the story?\n- How is the conflict/struggle resolved?\n- How does the story end?\n- What should the reader learn from this story? What is the lesson that this person\u2019s life can teach us today?\nWax Museum (4th to 7th grade)\nAllow each student to choose a specific labor leader to study. Using the biography, and other resources on jwa.org or the web, encourage the student to explore the leader\u2019s life. Then, have students write a brief description of the leader as a \u201clabel\u201d for their statue. Students can then dress up as the leader they studied and pose as a statue for a museum exhibit. You can invite parents, community members, or other classes to your museum, or simply have students take turns as viewers/visitors and statues. Students might also give a short, explanatory speech in character to visitors as they walk by, or take turns being docents, learning about other leaders and describing them to people visiting the museum. Students should include the following information in the museum label or speech:\n- Date and place of birth, death\n- Description of life as a child/young adult\n- Description of the accomplishments and struggles the labor leader overcame.\n- An explanation of what museum visitors can learn from the labor leader or how that leader can inspire us today.\nWrite an interview (6th to 12th grade)\nAllow each student to choose a specific labor leader to study. After reading the biography, have the student write a brief set of interview questions\u2014questions they would ask the labor leader if they could speak with him or her today. Students can use \u201cHow to Ask Great Questions\u201d page from the Family History Tool Kit on JWA's MyBatMitzvahStory.org to formulate both closed and open questions. After constructing 5-10 questions, students should write the answers as if they are the labor leader being studied. For some questions, like \u201cWhen were you born?\u201d students will be able to find the answer in the biography text. For others, such as \u201cWhy did you choose to become a union organizer instead of a teacher?\u201d students will have to draw some of their own conclusions based on what they have learned about the person they are studying. Students may choose to do further research on jwa.org or the web. Completed interviews could be put in a class newspaper or magazine, a school newsletter, or up on a class or school blog to share the information with the larger community.\nMatch them to Biblical heroes (4th to 12th grade)\nThroughout the year, many educators teach about Jewish heroes from the Torah. Biblical characters like Miriam, Isaac, Esther, and Moses offer interesting parallels to modern Jewish leaders. Have students list people they know from the bible, and a few facts about the characteristics, accomplishments, and struggles of each person. Then, students should read the labor biographies (or excerpts of the biographies) and decide which biblical hero the modern-day labor leader is most like. Students can do this by listing pairs on a worksheet or piece of paper, using sticky notes to post names of labor leaders next to signs with the biblical characters names, or by having in person debates with one another. Be sure to encourage students to give reasons why they think a leader is or is not like a biblical hero.\nWho is someone like this person and why? (4th to 12th grade)\nAssign each student a biography to read, or allow students to choose one person on which to focus. After reading through the biography, encourage students to retell the story of the labor leader in a short paragraph or out loud to a friend. Then, ask the student to write (or share with a partner) the answers to the following questions:\n- Think about the people you know\u2014in school, in your community, your friends and your family. Who is someone that reminds you of the labor leader that you studied? How are they similar to one another? How are they different?\n- Think about politicians or celebrities you have heard of. Are there any that are like the labor leader you read about? How are they similar or different from one another?\n- Now think about yourself. Are there any things you have in common with the labor leader you read about? What are they? What issue or problem do you see in the world that needs a strong leader to make change? How can you start working for that change now?\nHow to cite this page\nJewish Women's Archive. \"Suggestions for Using Biographies.\" (Viewed on April 28, 2017) <https://jwa.org/teach/livingthelegacy/biographies-guide>.", "id": "<urn:uuid:82710609-71e4-4220-9f3e-2f98c84861ff>", "dump": "CC-MAIN-2017-17", "url": "https://jwa.org/teach/livingthelegacy/biographies-guide", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123102.83/warc/CC-MAIN-20170423031203-00435-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9620825052261353, "token_count": 1273, "score": 4.03125, "int_score": 4}
{"text": "Creative writing isn't just for the artists and the dreamers. Incorporating creative writing assignments into an eighth-grade lesson plan can help students strengthen their writing by improving their command of language, sentence structure and narrative devices. Some creative writing prompts can also reinforce information they are learning in other classes, such as assignments concerning historical figures or works of literature. In addition, creative writing allows students to have fun and stretch their imagination.\nNot only is historical fiction popular -- thanks to stories like \"The Other Boleyn Girl\" and \"Game of Thrones\" -- but it also offers teachers the opportunity to bring history to life. Assign students some historical fiction of their own. Choose historical events or figures that they are studying, such as the Civil War or Abraham Lincoln, and ask them to create their own fictional story based on these events or characters. You can also allow them to choose their own historical inspiration.\nFictional Memoir or Journal\nSimilar to historical fiction is the fictional memoir or journal. Students can select a historical figure or a literary figure and create an imagined memoir or journal based on details they know from their life. The fictional piece can focus on a specific period in the person's life, such as the two weeks leading up Dr. Martin Luther King's assassination or the childhood of Benjamin Franklin. The assignment could be a large project or year-end assignment, or it could be just a brief couple of pages to cover a shorter period.\nFan fiction has earned its own place in literature. Works like \"Wicked\" and \"50 Shades of Grey\" show that starting out with already established characters and story lines can lead to something new and different. If your eighth-graders are having a hard time coming up with their own stories, ask them to create fan fiction based on one of their favorite books or TV shows. They'll likely be more excited about the assignment, and it could help them find their voice and their confidence as writers.\nSome famous works of literature were set in the future. Take for example, \"Brave New World,\" \"1984\" and \"Fahrenheit 451.\" Some students will begin reading these works in the eighth grade. Use them to inspire students to think about what changes they think the future will bring. Ask them to write a short story about this future world, how it is different and what has caused the change. Students can attach a social message if they like, or they can let their imaginations run wild with creating the new world.\n- Jupiterimages/Goodshoot/Getty Images", "id": "<urn:uuid:896264f9-d2df-40ec-b441-b79dca7f6de9>", "dump": "CC-MAIN-2017-17", "url": "http://oureverydaylife.com/8th-grade-creative-writing-assignment-ideas-32708.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123102.83/warc/CC-MAIN-20170423031203-00434-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.965763509273529, "token_count": 514, "score": 4.0, "int_score": 4}
{"text": "He was a sharp little guy who seemed to understand the conversation of family and friends and easily followed his parents' directions.\nDespite these excellent receptive abilities and equally impressive motor skills, the two-year-old had few spoken words. Mom wondered if this expressive delay was due to the family's efforts to foster the development of dad's native tongue along with English.\nI'm a big fan of kids learning two languages as early as possible and always encourage parents when they tell me they are trying to pass along their own cultural language.\nThere's no better time to start this process than early infancy when the developing brain easily absorbs information without the self-conscious hesitation that often accompanies learning a second language as a high school student or adult.\nThis early dual-language use is not thought to be responsible for speech deficits. In their article on speech and language in Pediatrics in Review, authors Susan McQuiston and Nancy Kloczko report that many experts find that bilingualism does not cause language delay in children with normal learning potential.\nTherefore, speech-delayed bilingual kids require the same speech evaluation and treatment as their speech-delayed single language peers.\nDrs. Barbara Lust and Sujin Yang of the Cornell University College of Human Ecology confirm that bilingual children do not experience speech delays, language confusion, or cognitive problems. In fact, the two researchers note that bilingualism has definite cognitive and social advantages.\nLearning and speaking two or more languages appears to enhance the development of a student's executive attention -- the ability to focus amid distractions, while providing the multi-language child with easier access to other world cultures.\nWhile some parental effort is usually needed to encourage a bilingual child, the Cornell researchers note that typically developing kids don't need to be \"drilled\" in a second language. Kids come to understand and speak a given language by listening, through interactive conversation, and while at play with kids in multilingual environments.\nExposing kids to two or more languages through the arts -- movies, music, dance, reading and storytelling -- can help keep language learning fun and appealing at all ages.\nLust and Yang also advise that parents continue using their mother tongue at home if they wish to keep this \"heritage\" language alive while their children speak English in day care or at school.\nAt the same time, the Cornell researchers note that there is no need to rigidly follow a \"one person-one language\" plan since kids are amazingly clever and learn to \"sort out\" languages on their own.\n\u2022 Dr. Helen Minciotti is a mother of five and a pediatrician with a practice in Schaumburg. She formerly chaired the Department of Pediatrics at Northwest Community Hospital in Arlington Heights.", "id": "<urn:uuid:a003055f-d9c6-4562-8dfe-ef3324c2861b>", "dump": "CC-MAIN-2017-17", "url": "http://www.dailyherald.com/article/20131106/entlife/711069646/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917127681.84/warc/CC-MAIN-20170423031207-00320-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9544569253921509, "token_count": 551, "score": 3.6875, "int_score": 4}
{"text": "Welcome to day 25 of the A to Z Challenge, and today\u2019s topic is Voice. Writers are often advised to \u2018develop their own voice\u2019 and there\u2019s much talk in creative writing classes about \u2018voice, tone and style\u2019. What do these different terms mean, and how does a writer\u2019s \u2018voice\u2019 differ from the voice of a character?\nVoice, tone and style\nTrying to differentiate between these terms is tricky. The Oxford English dictionary definition of voice is:\nthe distinctive tone or style of a literary work or author:she had strained and falsified her literary voice\nSo hold on a minute \u2013 voice means tone and style? OK, so how about tone:\n1. a musical or vocal sound with reference to its pitch, quality, and strength:they were speaking in hushed tones\n2. the general character or attitude of a place, piece of writing, situation, etc.:trust her to lower the tone of the conversation\na particular procedure by which something is done; a manner or way:\na way of using language:he never wrote in a journalistic style\nI think we\u2019re getting somewhere now. It\u2019s fairly easy to see how you might alter the tone of a piece of writing \u2013 keeping it light and fluffy for comedy, say, or using darker imagery for crime fiction. Although amorphous, style is also reasonably simple to understand \u2013 at least, you can usually see the style of a piece quite clearly. There are definitive styles of writing: journalistic, academic, informal etc. And there will, of course, be your own personal style.\nBut voice? I\u2019m still stumped. When I started writing my first novel, I had every intention of writing like my hero, Anne Tyler. I sat down and began to put words on paper. To my utter horror, when I read it back I found that what I\u2019d written was nothing like Anne Tyler; it was actually a bit funny, a bit (as they say in the States) \u2018snarky\u2019. Was this my voice? Was I stuck with this forever?\nWell, thankfully no. But I do think this gets us closer to understanding voice. It\u2019s not merely how a particular character talks \u2013 even if the book is written in the first person \u2013 and it\u2019s not just made up of tone and style. A writer can alter their voice, but I don\u2019t think they can successfully mimic someone else\u2019s. Voice is individual and unique; it\u2019s your own experiences and linguistic preferences coming through. The way to develop a unique voice is to just write, and keep writing.\n- How to find your authentic writing voice (lessonsinselfpublishing.com)\n- Lessons from Anne Tyler (simonedavy.wordpress.com)\n- AUDIO: Anne Tyler reveals \u2018final\u2019 novel title (bbc.co.uk)", "id": "<urn:uuid:a4c87ba9-c655-43b6-992d-fd6800c28111>", "dump": "CC-MAIN-2017-17", "url": "https://joannegphillips.wordpress.com/2013/04/25/v-is-for-voice/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122726.55/warc/CC-MAIN-20170423031202-00551-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9528130888938904, "token_count": 616, "score": 3.671875, "int_score": 4}
{"text": "Characters & Motives: Using Annotation To Understand Decisions of Slaves in \"Runagate Runagate\"\nLesson 5 of 14\nObjective: SWBAT express central themes of the Underground Railroad and explain how characters' actions show their personality and motivation in life to be FREE.\nWarm-Up: Quick Write\nHow would you describe Harriett Tubman? Students all over the world have learned about the risky things this woman did to free herself and so many slaves held in captive. With so much notariety given to Tubman, it is amazing to see what students would use to describe this wonderful woman in history.\nOn the board the following prompt is placed for students to answer:\nTalking to a 6 year old, how would you tell them about Harriet Tubman?\nI want students to respond about Tubman in a language that is simple to young kids. Knowing that young kids' attention and comprehension span is limited, my students must chose wisely in their response to the warm-up prompt.\nWho was this phenomenal woman? To answer this question, students will watch two video clips on Harriett Tubman and take notes on the traits of this brave woman. As students watch each video, I write notes heard from the digital mediums on the whiteboard. Because I am doing this lesson with my regular class, many students struggle with watching a video and taking notes simultaneously. However, students are more than willing to copy my notes, add my notes to their running list, or help me add to my notes at the end of each video clip.\nHere are samples of Tubman qualities 1 & Tubman qualities 2 that students placed in their notebooks. From here, its time to close read a poem that highlights not only the strength of Tubman but African Americans wanting freedom.\nStudents will focus on the risk taken by individuals to be FREE. Harriet Tubman is known for her heroic acts on the Underground Railroad. Students learned in the video clips that Tubman was seen world-wide as a woman of strength, determination, and passion. We will continue to study the great works of this women through the perspective of a slave in \"Runagate Runagate\"\nWe will read and analyze this poem in three ways. In the first read, students silently read the poem. Because the division of the poem is not obvious, students will make the mistake of just reading the words on the paper and not noticing that the poem is told through two voices: a slave and a master. In the next read, students will listen to the cd reading of the poem. Here the voices used by the reader changes between voices so the perspectives of each voice is heard to gain a better sense of the action. In the final read, we will discuss all of the literary elements found in each stanza of the poem. This will be modeled whole class where I will underline the elements and take notes in the margin of its meanings. Listen to my talk over annotating Runagate Runagate to understand the purpose of the re-reads and impact on student learning.\nStudents will end this lesson by answering comprehension questions in their notebooks. Because these questions are text-dependent, students may require some help with how to rely solely on the text and not prior knowledge to understand the literary elements and overall meaning of the poem.", "id": "<urn:uuid:a07d8f2b-c248-4490-8cd2-592fb79cddff>", "dump": "CC-MAIN-2017-17", "url": "https://betterlesson.com/lesson/resource/2676436/tubman-qualities-2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00491-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9536015391349792, "token_count": 673, "score": 4.40625, "int_score": 4}
{"text": "The exact numbers of Africans shipped overseas during the slave trade are hotly debated\u2014estimates range between 10 and 28 million.\nWhat is undisputed is the degree of savage cruelty endured by men, women and children. Up to 20% of those chained in the holds of the slave ships died before they even reached their destination.\nThe Middle Passage was integral to a larger pattern of commerce developed by European countries.\nEuropean traders would export manufactured goods to the west coast of Africa where they would be exchanged for slaves.\nThe slaves were then sold for huge profits in the Americas.\nTraders use the money to buy raw materials such as sugar, cotton, coffee, metals, and tobacco which were shipped back and sold in Europe.\nSlavery created and then relied on a large support network of shipping services, ports, and finance and insurance companies.\nNew industries were created, processing the raw materials harvested or extracted by slaves in the Americas\nThe slave trade contributed significantly to the commercial and industrial revolutions. Cities such as Liverpool and Amsterdam grew wealthy as a result of the trade in humans.\nIn Europe, slavery was often justified by the state on philanthropic\ngrounds. They argued that Africans taken into captivity could then be\nsaved by conversion to Christianity.\nHowever, Europe did not have a monopoly on slavery. Muslim traders also exported as many as 17 million slaves to the coast of the Indian Ocean, the Middle East, and North Africa.\nSlave narratives offering an African perspective on the slave trade contributed to the growing anti-slavery movement.\nSome historians say that between the years 1500 and 1900, five million African slaves were transported via the Red Sea, the Sahara and East Africa to other parts of the world.\nIn Africa, unknown numbers of people\u2014according to some estimates at least four million\u2014died in wars and forced marches before ever being shipped to another continent.\nWithin central Africa, the slave trade led to huge population upheavals. Coastal tribes fled slave-raiding parties, and captured slaves were redistributed to different regions in Africa.\nSlave dealing also contributed to the expansion of powerful West African kingdoms such as Mali and Ghana.\nDespite attempts to supress or even eradicate African culture, slaves and their descendants carried skills and traditions to their destination countries.\nAfrican literary traditions\u2014particularly oral storytelling featuring the tortoise, hare, and spider\u2014spread throughout the Caribbean, Latin America, the United States and Europe.\nBy the late 18th Century, a growing abolitionist movement, fuelled by slave uprisings in the West Indies, resulted in most European countries making tentative moves towards halting the trade.\nSlave narratives, particularly that of freed slave Olaudah Equiano offering an African perspective, contributed to the growing anti-slavery movement.\nBritain banned the slave trade in 1807 but a fierce debate in the United States, which stoked civil war between the abolitionist northern states and the pro-slavery south, delayed a unified resolution.\nSlavery was eventually abolished in the US in 1865 by the 13th Amendment to the constitution.\nBut it was not until 1888\u2014when slavery was banned in Brazil\u2014that the trade was outlawed across the American continent.", "id": "<urn:uuid:10b27a02-2701-4c7c-9361-c41956f3688e>", "dump": "CC-MAIN-2017-17", "url": "http://www.hartford-hwp.com/archives/20/040.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120844.10/warc/CC-MAIN-20170423031200-00317-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9683869481086731, "token_count": 655, "score": 4.5625, "int_score": 5}
{"text": "Study Guide for Left and Right Brain Learning\nAs covered in the lesson on the left and right hemispheres of the brain, each hemisphere is responsible for different functions. This plays a large impact on how your brain learns. If, for example, you plan things out, are an avid reader, and are more thoughtful, then you have a left brain dominance; if, however, you excel at sports, art or music, and are a more visual thinker, then you have a right brain dominance. Learning what half of the brain controls what, and your learning strengths, can improve your grades at school.\nWhen studying the different functions of each hemisphere, try using an image of the brain that shows the two hemispheres. Write down the functions on the appropriate side of the brain. Remember, each hemisphere function also correlates to the lobe; for example, sequential thinking is a function of the frontal lobe, which occurs on the left hemisphere.\nLeft Hemisphere Functions\nWhen studying the different functions of the hemisphere, remember that each hemisphere controls the opposite side of the body. So, the left hemisphere sends signals to the right arm and leg, while the right hemisphere does the same for the left arm and leg. The left brain is responsible for many of the logical and thinking process of the brain, such as:\n- Language: Broca's area is in the frontal lobe (speech production) and Wernicke's area is in the temporal lobe (comprehension)\n- Sequential thinking and putting details together\n- Figuring out cause and effect\n- Using facts\n- Working with numbers (mathematics)\n- Naming items\n- Analyzing things\nIf you have a dominance in the left brain, then you are a verbal learner. This means you would do better reading or hearing information, instead of looking at an image. When studying, take advantage of this learning style: while writing notes down, then read them out loud.\nRight Hemisphere Functions\nThe right hemisphere, on the other hand, is the more creative half of the brain; this is why artists and musicians are called \u201cright brained.\u201d Besides being artistically inclined, the right brain is also involved in visual tasks, like:\n- Face recognition\n- Visual imagery\n- Spatial abilities, such as being able to tell where things are in space\n- Music, including rhyming\n- Creative writing, like drama and poetry\n- Insight and meditation\n- Art and color\nIf you have dominance in the right brain, then you are a visual learner. This means you learn best when a teacher uses a visual aid, such as a PowerPoint slide or a 3-D model. When studying, take advantage of your artistic abilities, and use drawings or charts with your notes. You can also print off images and include them in your notes if you do not want to draw.", "id": "<urn:uuid:71e2dfa0-61c0-473a-b826-c1457bd97987>", "dump": "CC-MAIN-2017-17", "url": "http://m.brighthubeducation.com/science-homework-help/62547-review-right-brain-vs-left-brain/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123590.89/warc/CC-MAIN-20170423031203-00320-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9226794242858887, "token_count": 588, "score": 4.0, "int_score": 4}
{"text": "Games, and the entertainment value of play, have the ability to teach and transform.\nWe don\u2019t think about that as children playing hide-and-seek in the neighborhood. We don\u2019t acknowledge it during turns at charades or throughout the rounds of a board game. That\u2019s because games are engaging and entertaining. And precisely because they are, research shows, they provide effective means to teach skills and transform thoughts.\nLearning today is a very different process than it was in the past, according to the Institute of Play. While 20th century education focused on rote memorization and acquired skills (reading, writing, calculation, history, science), much of the way we learn today is through the use of higher order skills, many experts believe. These include the ability to think through and solve complex problems, or interact critically through language or media. \u201cGames naturally support this form of education,\u201d the Institute says. So game playing is an excellent way to help wire our brains in ways that are crucial to the what, why, and how of learning needs for the 21st century.\nMore Than a Game\nThe unique structural elements of games build brainpower, the Institute says, because they:\n- Provide a platform for self-directed exploration\n- Deliver just-in-time learning\n- Use data to help players understand their progress, and what to do and where to go next in the game\n- Create a compelling need to know, ask, examine, assimilate, and master skills and content\nOther aspects of games facilitate learning, including the state of being called play.\nWe never think about how play engages us while we\u2019re involved in it, or how it teaches us by providing a \u201cfreeing\u201d environment along the way. We simply enjoy the fun and entertainment value of games as we play them. But according to the Institute,\n\u201cMuch of the activity of play consists in failing to reach the goal established by a game\u2019s rules. And yet players rarely experience this failure as an obstacle to trying again and again, as they work toward mastery. There is something in play that gives players permission to take risks considered outlandish or impossible in \u2018real life.\u2019 There is something in play that activates the tenacity and persistence required for effective learning.\u201d\niSchool Faculty Research\nThe transformative power of games\u2013and how they can be used in learning\u2014are research topics for several faculty members at the School of Information Studies (iSchool). Several faculty members are looking at the elements of games, the processes involved, and the learning that can result from an individual\u2019s engagement through playing a game.\nYang Wang and Scott Nicholson have teamed up to explore games as a principled approach to educate people about security and privacy risks. Their first proof-of-concept prototype will be a mobile game to teach users about Android application permissions. The learning outcome of the game is that players will understand what kind of permissions they have given their apps, how those permissions could threaten their personal data, and how to protect themselves from these threats. As players engage with the game, they will be changing the permissions on the apps so that after the game has been completed, the player is much safer from threats, according to Wang.\nCarsten Oesterlund studies he game design process, with a focus on game pieces. He is looking both at board game design as well as the process of translating board games to electronic media. He studies the process through participant observation and interviews with game designers, game publishers and play testers. Oesterlund says his research approaches game design as an expression of broader system design dynamics, where designers mold social and material structures to create specific situations for work, play or learning that involves particular configurations of people, places, times, materials, and activities.\nMarilyn Plavocos Arnone, who teaches \u201cStorytelling for Information Professionals,\u201d uses a gaming module to expand the realm of digital storytelling. \u201cGames \u2026 have the ability to draw gamers into a totally immersive experience like reading a good book,\u201d she writes. \u201cGame developers create settings designed to draw the player into the \u2018environment\u2019.\u201d\nNicholson runs the Because Play Matters game lab at the iSchool and organizes the Game Designers Guild. His research is about transformative games for informal learning environments (games whose forms of play are intended to change players.) His current focus is creating an online toolkit that will enable academic libraries to quickly generate an alternate reality game that will help users explore library resources. Nicholson also examines the gamification journey, which moves players from short-term, reward-based gamification, into meaningful gamification, he says. He has taught three courses on gaming: Gaming in Libraries; Adding Game Layers to the Real World, and Transformative Game Design.\nYou can check out more courses at Syracuse University\u2019s iSchool on the subject of gaming here.\nDo you have a favorite traditional or electronic game experience? Did you realize it was helping you learn? Let us hear about your experiences in the comments below.", "id": "<urn:uuid:08c849c9-9f31-4a42-834f-58ddedf9d0c5>", "dump": "CC-MAIN-2017-17", "url": "https://ischool.syr.edu/infospace/2013/06/27/games-as-educational-tools-teaching-skills-transforming-thoughts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122865.36/warc/CC-MAIN-20170423031202-00259-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9635537266731262, "token_count": 1048, "score": 3.703125, "int_score": 4}
{"text": "Writing a poem may be one of the most difficult assignments you will face as a student. Students new to writing poetry will find this nerve racking because they may view writing a poem as putting their true selves on display. Seasoned poets may not find an assigned poem provokes anxiety, but they may find the assignment specifics challenge them beyond their comfort levels or force them to change their styles completely.\nThe first step towards overcoming the nervousness of writing a poem for school is to familiarize yourself with the rules of poetry. They can help you to place the assigned poem into a larger context. You will learn that poetry does not have to be personal; like short stories and novels, poems can have narrators. This means that an assigned poem doesn't have to be about your life or feelings. You can choose a character to narrate your poem and write from her point of view. Knowing the rules of rhyme, rhythm, meter, fixed forms, free verse and imagism will make you feel in control of the poem.\nUnderstand the Assignment\nSome poetry assignments require you come up with your own topic. In such a case, using creative writing prompts are suggested by Melissa Donovan at Writing Forward. Other poetry assignments will assign topics that range from writing about a childhood incident, to writing about an important historical event that you witnessed, to writing a dialogue set in a barroom between two fictional characters (or perhaps two historical characters). Students who have taken poetry writing courses have faced these assignments, and even though they were thrown for a loop at first, once they started writing within the parameters of the assignment, they found that the poem took shape.\nTake the Assignment Seriously\nWhen you begin a poetry assignment, work on the technique it emphasizes. An assigned poem that calls for you to use a controlled pattern of strong (sometimes called perfect) rhyme, or one that requires weak (also called slant or imperfect) rhyme, or one that allows for free verse will teach you about a specific technique. Over the course of writing poems for classes, you will perfect techniques, especially if you research poets who use those techniques. This will make you even better at writing assigned poems, since emulation is an excellent method of learning.\nPractice a Technique\nMusic students learning the bass guitar for the first time know that first they need to learn fingering, then hammering, then scales, then chords, and finally, they have to play in front of others to get feedback and advice. Writing poetry is no different. Poetry assignments in school are designed to get you beyond the beginning skills levels. One way to get better at writing poems for class is to practice writing your poetry, or at least practice the type of poem that an assignment calls for. Like all writing, poems should go through many drafts.\nShare Your Work\nThe final step to writing an assigned poem is to compare and share your work with others. Group learning is advantageous in many fields, and in creative writing, it is essential. It allows you to get a larger perspective on your poem, and perhaps one of your classmates will help you find that perfect image or line that every good poem needs. The important thing to remember is that a critical comment is meant to be constructive and help you improve your poetry.\n- Adam Taylor/Digital Vision/Getty Images", "id": "<urn:uuid:eb6500f5-c17c-404a-95d8-967f6b50300c>", "dump": "CC-MAIN-2017-17", "url": "http://oureverydaylife.com/write-poem-school-17111.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122167.63/warc/CC-MAIN-20170423031202-00084-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9661000370979309, "token_count": 671, "score": 3.703125, "int_score": 4}
{"text": "Different types of books\nDeveloping reading: Different types of books\n- Many baby and toddler books help with speech development by providing pictures for children to label objects and package/network build.\n- Oftern based around hypernyms (weather, clothes, animals) to provide children with hyponyms (rain, socks, dogs).\n- Nouns and adjectives are the most common word classes in early books.\n- These link children's literacy experience with the equivilent speech aqcuisition stage- giving labels to objects increases knowledge of immediate environment.\n- Early story books are designed to be read to children (not by them). They contain complicated words and grammatical structures that children can understand even if they cannot read or use them.\n- Children's understanding of words and structures is ahead of their ability to use them.\n- Books for young children are enjoyable and act as a shared experience: they introduce children to stories and storytelling.\n- Books for school-aged children, although entertaining, have been created for formal learning process. Being graded to assist children in aqcuiring fluency skills.\n- Children become independent readers around age 8- books for older children are entertaining, informative, and instructive- but are centred on them as solo readers.\nJerome Bruner's LASS (Language Acquisition Support System\nExplains how adults encourage children's speech by using books to interact with babies and young children.\nHe sees parent- child interations with books as four-phased:\n1) GAINING ATTENTION: Getting the baby's attention on a picture.\n2) QUERY: Asking the baby what the object in the picture is.\n3) LABEL: Telling the baby what the object in the picture is.\n4) FEEDBACK: Resonding to the baby's utterance.\nBruner was inspired by Vygotsky who believed that children learn by being helped to do something when they are ready (not by being told). This is part of the scaffolding process. Both Bruner and Vygotsky see children as active learners and believe that social contexts of their experiences are very important.\nWhat do young readers need to know?\nChildren need to know that written texts:\n- Reflect the relationship between written symbols (graphemes) and sounds (phonemes)\n- Have cohesion with different parts interconnecting.\n- Are organised in particular ways, with chapter headings, page numbers etc.\n- Differ in their organisation according to genre (e.g fiction and non-fiction books are organised in different ways).\n- Represent the original culture, following its rules and conventions (e.g English is read from left to right; narratives are organised in particular ways; certain 'characters' are well known in English- speaking cultures etc).\nHow are children taught to read?\nThe 'look and say' and phonics methods are the two used in British classrooms.\n'Look and say' or whole-word approach\n- Children learn the shape of the word, not breaking them down phonologically.\n- Children learn to recognise whole words or sentences rather than individual phonemes.\n- Flashcards with individual words written on them are used for this method, often accompanied with a related picture so that children can link the object and the referent.\n- Children learn the sounds made by different letters and letter blends and some rules of putting them together.\n- Emphasis is on developing phonological awareness and on hearing, and replicating sounds in spoken words.\n- The two main approaches to teaching phonics are analytical and synthetic.\nDombey and Konza\nSome theorists found that children who are sensitive to rhyme are much better at reading.\nLearning phonological patterns in langauge is key to reading successfully, as is learning that orthography does not always match phonology in English.\n- Dombey (1999) says that rhyming (and rhyming games) help children to relate sound patterns to letter clusters, which assist both reading and spelling.\n- Konza (2011) makes phonemic awareness one of the most important skills for reading successfully. Phonemic awareness is the ability to hear, separate and manipulate individual sounds and phonemes.\nThe key features of analytical phonics\n- To break down whole words into phonemes and graphemes, looking for phonetic or orthographic patterns.\n- To decode words by separating them into smaller units:- onset (the vowel or syllable at the start of a word) -rime (the rest of the word, always beginning with a vowel)\n- To use rhyme or analogy to learn other words with similar patterns e.g c-at, m-at, p-at.\n- To recognise one letter sound at a time, seeing pictures showing words beginning with the same letter sound.\n- Children learn the initial letter sound first, then middle sounds, then the final sounds of words and consonant blends.\n- Children are competent readers within three years, breaking down and sounding out unfamiliar words. The phonics method runs alongside the whole-word approaches and reading-scheme books.\nKey features of Synthetic phonics\n- To remember us to 44 phonemes and their related graphemes (one phoneme can be represented by differnt graphemes , e.g 'ough', 'ow' and 'oa'.\n- To recognise each grapheme, sound out each phoneme in a word, blending the sounds together to produce the word phonetically.\n- To memorise the phonemes quickly (up to five or six sounds a week).\n- Often through a multi-sensory approach whereby they: 1) see the symbol, 2) listen to the sound, 3) use an action (such as counting phonemes on fingers or using magnetic letters to correspong the phonemes).\nChilren learn in whole-class teaching groups. Reading schemes are not used in the early stages of learning synthetic phonics as the method can be taught in a few months.\nTypes of reading cues\nAn early reader aquires many tools to interpret the written word, using cues to decode words and meanings within texts. Writers of children's books build cues into their texts.\nGRAPHOPHONIC Looking at the shape of words, linking these to familiar graphemes/ words to interpret them .\nSEMANTIC Understanding the meanings of words and making connections between words in order to decode new ones.\nVISUAL Looking at the pictures and using the visual narrative to interpret unfamiliar words or ideas.\nSYNTACTIC Applying knowledge of word order and word classes to work out if a word seems right in context.\nCONTEXTUAL Searching for understanding in the situation of the story- comparing it to their own experiences or their pragmatic understanding of social conventions.\nMISCUE Making errors when reading: a child might miss out a word or substitute another that looks similar, or a guess word from accompanying pictures.\nThe stages of reading development- Jeanna Chall\nJeanna Chall identified six stages from her studies with children.\nChall's stages of reading development\nSTAGE DESCRIPTION AGE KEY CHARACTERISTICS\n0 Pre-reading and psuedo reading Up to 6 'Pretend reading' (turning pages and repeating stories previously read to them). Some letters and word recognition espcially letters in own name. Predicting single words or the next stage of a story .\n1 Initial reading and decoding 6-7 Reading simple texts containing high-frequency lexis (this happens when children start to learn the relationship between phonemes and graphemes) Estimated around 600 words understood.\n2 Confirmation and fluency 7-8 Reading texts more quickly, accurately and fluently, paying more attention to the meanings of words and texts. Estimated around 3,000 words understood.\n3 Reading and learning 9-14 Reading for knowledge and information.\nChall's stages of children's reading continued\nSTAGE DESCRIPTION YEARS KEY CHARACTERISTICS\n4 Multiplicity and complexity 14-17 Responding critically to what they read and analysing texts\n5 Construction and reconstruction 18+ Reading selectively and forming opinions about what they have read.\nKey features of reading schemes\nReading-scheme books use different linguistic choices from the kinds in books like the Gruffalo as their primary purpose is to teach reading skills rather than to entertain.\nKey features of reading schemes are:\n- Lexical repetition: Especially the new lexis introduced in each book but also in proper nouns.\n- Syntactical repetition of structures: Usually subject-verb-object order and simple sentences containing one clause (in early books).\n- Simple verbs: Single verbs used (i.e is) rather than verb phrases.\n- One sentence per line: Helping children to say complete phrases.\n- Anaphoric referencing: Pronouns (she/he) refer to names of characters already used.\n- Limited use of modifiers: This makes graded reading schemes different from imaginative stories where adjectives add details and description.\n- Text-image cohesion: the picture tells the story of the text on the page.", "id": "<urn:uuid:f3751dd4-e71e-4312-b3be-e5a81b87552a>", "dump": "CC-MAIN-2017-17", "url": "https://getrevising.co.uk/revision-cards/engb3_cla_developing_reading", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119782.43/warc/CC-MAIN-20170423031159-00081-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9176103472709656, "token_count": 1906, "score": 3.96875, "int_score": 4}
{"text": "The saying goes,\u201dA picture is worth a thousand words: \u2018That means in every photograph, there is a story being told and something to interpret. Storytelling through images has been around since the dawn of humankind, and in conjunction with written text, images have been used to pass down stories from generation to generation. Images have been around for thousands of years, but photographs, although relatively younger, are just as powerful as the images.\nThe production of images was made a lot easier with photography, but it would take centuries before photography as we know it today would surface. The Chinese and the Greeks described the pinhole camera as early as between the fifth and fourth century BC, and the Byzantines experimented with a crude prototype of the camera obscura in the sixth century AD. The Arabs further developed the idea of both the camera obscura and the pinhole camera throughout the late 1 Qth and early 11th centuries.\nA major breakthrough came through Albertus Magnus (more famously known as the teacher of major Catholic theologian and Doctor of the Church St. Thomas Aquinas), who discovered silver nitrate, one of the biggest ingredients in early photography. Silver nitrate was used in making photographic film by treating it with halide salts of sodium or potassium to form the insoluble silver halide, which was then applied to strips of tri-acetate or polyester. Georges Fabricius then discovered silver chloride in the 16th century, and Daniel Barbaro described the diaphragm (which prevents the passage of light aside from that in the aperture in its center) in the 16th century as well. Wilhelm Homberg described the photochemical effect (how light darkened some chemicals) in the 17th century, and a novel, Giphantie, by Tiphaigne de Ia Roche, which had a passage that described the modern day process of photography by the 18th century. So, in essence, photography was gradually being \u201cinvented\u201d over the centuries.\nBy 1790, Thomas Wedgwood put it all together, although the term \u201cphotography\u201d would not be used for another 50 years. He was the first person to think of and develop a method to copy visible images chemically to produce a photograph. He would chemically stain an object\u2019s silhouette to paper by coating the paper with silver nitrate and then expose the paper, object side up, to natural light, and then preserve it in a dark room. Since it was repeatable, the mass production of photographs was possible as early as the late 18th century, and thus, Wedgwood became the first \u201cphotographer.\u201d\nMany newspapers caught on to Wedgwood\u2019s process, and other chemists and scientists sought to improve on his work. By the 1820s, Joseph\nNicephore Niepce was able to capture images formed in a camera. His attempt to use paper and silver chloride in the 1810s failed because he was unable to prevent the coating from darkening all over when exposed to light for viewing, and thus abandoned the more popular silver compounds being used in photography at the time. He produced the photograph on a polished pewter plate. Instead of using silver nitrate, he used bitumen, a naturally occurring petroleum tar, and dissolved it in white petroleum, applied it to the surface of the plate and allowed it to set before use.\nHowever, the process took anywhere between eight hours and several days, and to get an image, a solvent had to be applied to remove the unhardened part of the bitumen, and then to see the image plainly, the plate had to be lit and viewed so that the bare metal was dark and the bitumen was light.\nHe collaborated with another well-known name in photography, Louis Daguerre, to reduce the exposure times to hours instead of days, but Niepce died in 1833, leaving Daguerre to continue his work. Daguerre went back to the silver-based compounds that Niepce disregarded, and experimented with photographing camera images directly onto a silver-surfaced plate fumed with iodine vapor, thus forming silver iodide, but the exposure times were still way too long. Daguerre then allegedly solved this problem by making an important discovery-that an invisibly faint latent image on a silver-surfaced plate could be \u201cdeveloped\u201d via mercury fumes, which brought exposure time down to mere minutes, and then a hot solution of common salt could then stabilize or fix the image by removing the remaining silver iodide. Daguerre brought his idea to the French Academy of Sciences, and the first instructions on photography were published in 1839, and his photos were thus known as daguerreotypes. William Henry Fox Talbot and John Herschel (who coined the term \u201cphotography\u201d itself) also developed their own solutions. Instead of using Daguerre\u2019s hot salt water solvent, Talbot substituted it for hyposulfite of soda (sodium thiosulfate) to dissolve the silver salts, and Daguerre also began to use it. Calotypes, however, also lacked fine clarity because of its translucent paper negative, but was seen as a good thing for portraits, softening the appearance of the human face. However, in an unprecedented move, Talbot patented his process, which resulted in numerous lawsuits until he gave up on photography.\nAlthough there were many attempts to make photography quicker and as hassle-free as possible, the daguerreotype remained the photography\nmethod of choice until 1884, when George Eastman developed dry gel on paper, otherwise known as film, to replace the photographic plates and toxic chemicals that photographers had to carry around. In 1888, the camera as we know it was finally \u201cinvented\u201d after years of experimentation and hard work. Eastman\u2019s Kodak camera went on the market in 1888 with the slogan \u201cYou press the button, we do the rest.\u201dThe Kodak Brownie came into the market in 1901, and it was known as the first popular camera, so that anyone who was interested in photography could buy a camera and do it.\nBy the 20\u2019h century, photography was developing as an industry and commercial service. Color photography also developed side by side with\nphotography itself, but it met dead ends everywhere because many of the solutions were impractical or even impossible, as the experiments often resulted in temporary color, not permanent as they were intended to be. Kodak, who invented the first popular camera, also invented the first\npopular color film, the Kodachrome, the brainchild of Leopold Mannes and Leopold Godowsky, Jr. The two were classical musicians who ended up working for Kodak\u2019s Research Laboratories. Kodachrome had three layers representing the three additive primaries: red, green, and blue. However, the processing was rather complicated: as each layer was developed into a black-and-white silver image, a dye coupler caused a cyan, magenta or yellow dye image to be created along with it. The silver images were then removed, leaving only the three layers of dye images in the finished film.\nEven as late as the 1950s, black-and-white snapshots were still the norm, but by the 1960s, as technology began to advance, color photos were\nbeginning to replace black-and-white ones, and by the 1970s, they were the preferred norm. Instant color film also came via Polaroid in the 1960s.\nDigital cameras also came onto the scene in the 1970s. The megapixel sensor was also invented by Kodak in 1986, but the ability to record them as a computerized file like most digital cameras can do nowadays (and thus do away with traditional film) came in the Fuji DS-1 P of 1988, which\nhad 16MB of internal memory. The JPEG and MPEG standards were also invented in the same year. The Kodak DCS-1 00 was one of the most important digital cameras as it had a 1.3 mega pixel sensor, but it cost USD 13,000, putting it far out of the reach of the consumer market. The first to have a LCD on the back was the Casio QV-1 0 in 1995, the first to also be able to record video, the Ricoh RDC-1, also came out in 1995, and the first to use CompactFiash was the Kodak DC-25 in 1996. Digital cameras were still out of reach for the consumer market, but by 2002, mega pixel and 2 mega pixel cameras were going for less than USD 1 00.\nTraditional film essentially was killed off In the 2000s, with digital point-and- shoot and DSLR cameras taking center stage. The rise of digital cameras also meant changes in the companies that produced cameras. Most notably, Kodak, the company which invented the first popular consumer camera, the first color film, and the mega pixel sensor, eventually went under, and even filed for bankruptcy in 2012, namely because Kodak did not adjust as quickly to digital photography as their competition did. Nowadays, photography is readily available to anyone, with other devices integrating a camera into it, such as laptops, tablets and smartphones. The rise of photo sharing sites such as Facebook, Flickr. Picasa, lnstagram and Photobucket all allow people to share their photos with their friends and relatives, and some cameras even allow you to instantly share photos that you just took.\nThe history of photography was a long and tedious process, but photography eventually grew into one of the biggest hobbies in the world, and also helped make it into a lucrative profession as well. If a picture is worth a thousand words, we have infinite opportunities to describe the world around us using a camera.\nFirst published in Gadgets Magazine, April 2013\nWords by Jose Alvarez", "id": "<urn:uuid:3dd03664-6c10-468f-9a80-3355d370e499>", "dump": "CC-MAIN-2017-17", "url": "http://www.gadgetsmagazine.com.ph/features/relic/relic-the-history-of-photography.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124478.77/warc/CC-MAIN-20170423031204-00438-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9813545346260071, "token_count": 2043, "score": 3.609375, "int_score": 4}
{"text": "This is an article I wrote for the school web site. Much of the information was taken from past entries. I just want to preserve it in an online format.\nEarly this school year, the GS LRC thought of acquiring comic books. You read it right. Comic books.\nThis is a bold step for a school library considering the very traditional perception people hold on libraries in general. But, the GS LRC is not made from the conventional mould. Put aside its issues on library automation, the GS LRC boasts of a rich, up dated and well balanced print collection. It provides books and print materials that cater to its readers\u2019 varied reading interests and different reading levels. Aside from supporting the curricular offering of the school through its collection, it also strives to encourage students to read for fun and recreation. Reading is, after all, not entirely a perfunctory endeavor.\nComic books or graphic novels are in trend these days because current research shows that it is an effective tool to motivate children to read. In a highly graphic world, comic books help young learners understand visual representations in a highly graphic environment. It presents these advantages for the child who is still learning to be (Lavin, 2000).\nAssist Poor Readers. Comics and graphic novels are excellent tools for use with children and young adults with poor reading skills.\nConnect with Visual Learners. As educators become increasingly aware of the importance of different learning styles, it is clear that comic books can be a powerful tool for reaching visual learners.\nDevelop Strong Language Arts Skills. Several studies have shown that students who read comic books regularly have better vocabularies and are more likely to read above grade-level.\nEncourage Unmotivated and \"Dormant\" Readers. Teachers often use non-book materials to encourage reading. Comic books are an ideal medium to spark interest, equate reading with enjoyment, and develop the reading habit.\nWhen building a Graphic Novels collection, there are policies to consider in selecting the ones that are appropriate to the needs and nature of growing children. It is vital that librarians collaborate with subject area coordinators and reading teachers in determining the graphic novels to acquire. Teachers and librarians must work together to create learning experiences that will merit the children\u2019s reading of such materials.\nThe recent author visit program held last Friday, December 2, 2005 at 2.30 p.m. in the GS LRC Storytelling Area is one example of this collaboration and learning experience. The GS LRC invited Dean Alfar and his better half, Nikki Alfar, for a session on graphic novels. Selected clubs from grade 5, 6 and 7 were the audience that afternoon. It was an interesting session, as well as enlightening.\nDean Alfar is a fictionist, playwright, businessman and comic book creator. He has eight Palanca Awards to his name, one of which is a recent award given for his novel, Salamanca. Nikki, on the other hand won the third prize for children\u2019s fiction for her story, Menggay\u2019s Magical Chicken this year\nThe guest writers presented a brief but comprehensive history of graphic novels; the different kinds and variety available in the market; the relevance of comic books in Philippine culture and the arts; and the hard work that writers and artists put into the process of creating a graphic novel. At the end of the session, the boys understood that the whole process is one that requires a lot of creativity, patience and perseverance. Dean and Nikki emphasized that above all the technical and production value, what matters is a good and well written story.\nA graphic novel is a means to tell a story. The writer and the artist work closely together to achieve wholeness to the concept. It takes two to tango, so they say. In creating graphic novels, the writer and the artist must dance to the same beat with the guidance and the supervision of an effective editor who clearly sees the big picture.\nWinning literary awards left and right is just icing on their cake. They are real people, like you and me who lead normal lives. But two things set them apart from their contemporaries. They are willing to share their skills on writing to children and their genuine love for books and reading. Dean has these tips for the aspiring writer, artist and comic book creator.\n2. Read more and TAKE NOTES (my caps)\n3. Know your grammar, master the words\n4. Know the rules before you break them\n5. Be prolific - produce consistently\n6. Do not fall in love (with your work)\n7. Expand your horizons\n8. Be inventive\n9. Join competitions, seminars and workshops\n10. Keep a workbook, a journal or a blog\nAside from this, the Alfars are advocates in creating quality *grafiction that will eventually lead to raising the bar of comic books production in the Philippines. And they have been successful so far. Their grafiction, Siglo : Freedom won the critics approval. It was awarded by the Manila Critics\u2019 Circle as Best Comic Book of 2004. Last Decemeber 10, 2005, Siglo : Passion, along with an anthology (Philippine Speculative Fiction vol. 1) and a comic book for younger readers (Project Hero) was launched in Fully Booked Greenhills. All are available in local bookstores in Metro Manila.\nI was glad to have attended the launching last week. I did get good discounts, but the highlight of the evening for me was meeting three Xaverians, Andrew Drilon, Sean Uy and Joel Chua who contributed their story and art to Siglo:Passion, Philippine Speculative Fiction and Project Hero.\nCome Januaray, the GS LRC, in coordination and collaboration with the Reading & Language Arts Dept. will launch its graphic novel collection. We may have our own preconceived knowledge on comic books. Some are good. Some may be otherwise. But as long as there are teachers, librarians, writers and artists, people who care enough to provide children with the literature that they will enjoy and learn from, half the battle for the campaign for a reading culture is already won.", "id": "<urn:uuid:c0fa551c-31f7-405e-9c9b-9894cc47137b>", "dump": "CC-MAIN-2017-17", "url": "http://lovealibrarian.blogspot.com/2005/12/going-graphic-graphic-novels-in.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917127681.84/warc/CC-MAIN-20170423031207-00322-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9624583721160889, "token_count": 1270, "score": 3.984375, "int_score": 4}
{"text": "How do you respond in your classroom to a societal, medical, or environmental concern? Here's the next step in planning how to use such a problem as a springboard for a class project.\n2. Connect your curriculum to the problem: This step is pretty straightforward. An essential question could be, \"How can our class or school most effectively fight the spread of West Nile virus in the local community?\"\nWe already know of simple things that help -- such as getting rid of standing water in buckets, tires, and so on. You can even watch an e-book on the subject to see what really needs to be done.\nNow, it is time to look closely at your curriculum. Is persuasive writing on the list? Have your students write letters to the editors of local newspapers to encourage change and to civic organizations to request small grants for community educational campaigns. Script and produce audio programs to broadcast over local radio stations and post as podcasts on the Web, and use tools such as 4Teachers.org's PersuadeStar to support the class in becoming more persuasive writers. In this case, students need to become more persuasive not simply to meet a standard, but in order to save lives. This matters more.\nIf your standard is simple expository writing, what about using a tool, such as My Brochure Maker to create handouts to distribute to the community? Tell your students they have to make their writing accurate, clear, well organized, and concise, because it is going to be distributed community-wide, not just graded and handed back.\nAnd how about seeking funding or support for printing costs from local health officials, hospitals, and civic organizations? You'll need your persuasive writers back on deck to make that happen.\nIs digital storytelling something you are working on? This project provides an opportunity to move beyond simple personal stories. Instead, your students can start making public service advertisements that can help save lives. The PSA Research Center is a great resource on how to make PSAs.\nYou see, you and your students are going to be point people in an effort to save lives. Folks are going to want the facts, and the kids will soon learn that these facts are pretty interesting -- and more than a little scary. Now, that is engaging. Oh, and because hands-on science is the kind that makes the learning stick, consider joining a great online project, offered for free twice a year by the Stevens Institute, called Bucket Buddies.\nIn math class, your students will need to get better at collecting and analyzing data. There is significance to the number of West Nile virus cases in your state and the surrounding ones, but if you don't know what the percentage of infections are in rural settings versus urban ones, whether those infections are happening within 100, 50, or 25 miles of your school, or any other piece of hard, quantifiable data, you just won't be ready to do what must be done.\nAgain, your students are no longer doing math just to make the teacher happy; they are doing it so they can save lives. Here is a great place to learn how easily a spreadsheet can become a part of your world.\nFor social studies, your students will need to get started with Google Earth and your state's resources about geographic information systems so you can talk intelligently about the battle against this virus. Where is the water? Where are the bugs?\nMusic, art, physical education, and health all play key roles as your students design posters, compose songs, and pull out all the stops in their effort to help the community fight West Nile. Together, you and the kids will be on a mission -- and the learning, the foundational reason for school, will simply have to happen.\nClick here for part three of this entry, but feel free to respond below about my suggestions here or add some of your own -- or both.", "id": "<urn:uuid:83c8c7e9-a046-434a-81ba-7593cf4b5525>", "dump": "CC-MAIN-2017-17", "url": "https://www.edutopia.org/emotional-engagement-education-part-two", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121893.62/warc/CC-MAIN-20170423031201-00025-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.954994797706604, "token_count": 791, "score": 3.71875, "int_score": 4}
{"text": "- During the American Revolution (1775-83) the Continental Congress designated one or more days of Thanksgiving each year.\n- In October 1789, George Washington proclaimed a Thanksgiving, not just to celebrate the harvest, but also the success of our war of independence and ratification of the U.S. Constitution, which was signed on September 17, 1787.\n- In 1863, during the Civil War, President Abraham Lincoln announced a national day of Thanksgiving to be held the last Thursday in November.\n- During the Great Depression President Franklin Roosevelt made Thanksgiving a week earlier in an effort to help the economy. He later signed a bill in 1941 to make Thanksgiving the fourth Thursday in November.\n- Since 1957 Canadians have also been celebrating a day of Thanksgiving for their bountiful garden harvests. Canadians celebrate their Thanksgiving on our Columbus Day, the second Monday in October.\nHow Thanksgiving Began\nThanksgiving started as religious days of prayer by the Pilgrims. Thanksgiving feasting evolved when Pilgrims and Wampanoag Indians shared a harvest feast together in the autumn. Then, feasts were not a single gathering for one meal; instead they lasted anywhere from 3 days to one week long. Thanksgiving celebrations continued throughout individual colonies and states for centuries after 1620.\nWho were the Wampanoag? Wampanoag were Native American people known as the Eastern people who assisted the Pilgrims (English colonists) with finding food and building shelter when they first arrived to the new world. Wampanoag tribes were located in southeastern Massachusetts and Martha's Vineyard and Nantucket, as well as in Rhode Island.\nWampanoag men hunted deer (venison), rabbit and squirrel, and as you may guess - turkey. Water fowl were also plentiful, since they lived near the bay areas. Wampanoag women were the farmers of the group, and also gathered wild nuts and berries. They dried and stored their harvests underground. Everyone was involved in storytelling, creative arts and music. The Wampanoag shared with the Pilgrims their knowledge of local crops, how to avoid poisonous plants, and how to build wetus (homes).\nThe Three Sisters\nNative Americans knew how to plant using the Three Sisters companion planting technique. This is fun to try in a school or kid's garden. Three Sisters companion planting teaches children about gardening, Native American customs, traditions, nutrition and American history.Three Sisters\nSquash Squash Climbing Beans\nThe corn stalks (or giant sunflowers) provide a structure for the beans to climb on, eliminating the need for poles. The beans add nitrogen to the soil, and the squash spreading along the ground helps prevent weeds and shades the soil, helping to retain moisture. Nutritionally speaking, grains (in this case corn) and beans compliment each other, making a complete protein.\nTraditional Three Sisters even graced the gardens at The White House this past season. First Lady, Michelle Obama, had children plant corn, squash and beans in the 1,500 square-foot garden using seeds from the Smithsonian Institution's National Museum of the American Indian. Varieties included Cherokee White Eagle corn, Rattlesnake pole beans, and Seminole squash.\n17th Century Cooking\nThanksgiving feasts of the 17th century probably included seafood, duck, deer, eggs, along with combinations of grains and beans. Sides of cranberry sauce and potatoes were not foods eaten back then. Pilgrims cooked in household hearths and used spits to roast freshly hunted meats and fowl. Women baked in covered pots placed on stones over hot embers.\nIndian corn (not sweet corn), barley and wheat were staple grains, along with root vegetables, beans, berries and fruits that were preserved by drying. Sweet corn didn't make its appearance in the US until 1779 and didn't become widely available until the 19th century.\nNature's bounty included: beans, wild onions, berries, fruits (including beach plums and grapes), squash, parsnips, turnips, Jerusalem artichokes, Indian corn (ground into samp, a cornmeal mush for porridge), cabbage, leeks, herbs and spices (including parsley, sage, rosemary and thyme), nuts, eggs and roots such as yellow pond lily roots (Nuphar advena).\nWhen it comes time to eat, avoiding oversized portions can be a challenge. Filling half of your plate with fruits and vegetables and then 1/4 plate protein and 1/4 plate starch helps in balancing food groups. Traditional Thanksgiving fare today includes turkey and any or all of the above-mentioned native ingredients, plus, you name it: stuffing, casseroles, fruits, exotic veggies, buns, biscuits, and pies from apple to mincemeat. Every family has their own favorite cultural traditions and dishes using garden grains, fruits and vegetables. American Thanksgiving menus may include sides of gravy, biscuits, breads, rolls, soups, stews, or foods made with carrots, celery, onions, potatoes, yams, turnips, rutabagas and pumpkin. Vegetarian or Vegan Thanksgiving meals feature non-meat proteins, such as tofu or seitan (made from wheat) or bean and grain complimentary protein combinations.\nThanksgiving traditions may also include donating or volunteering to help at soup kitchens, participating in or going to parades and other fun activities. Holidays in general are times to be mindful and considerate of the many Americans who suffer from eating disorders and those who have recently lost a loved one.\nHave a Happy Thanksgiving!\nPhoto Credits:\"Mayflower in Plymouth Harbor,\" by William Halsall, 1882 at Pilgrim Hall Museum, Plymouth, Massachusetts, USA; courtesy of Wikipedia.\nRelated Links: ChooseMyPlate.gov", "id": "<urn:uuid:e70faabf-bdc6-4e31-a208-f56acd541300>", "dump": "CC-MAIN-2017-17", "url": "http://davesgarden.com/guides/articles/view/3470/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118851.8/warc/CC-MAIN-20170423031158-00552-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9490253925323486, "token_count": 1190, "score": 3.65625, "int_score": 4}
{"text": "Dickens 3 Essay, Research Paper\nCharles Dickens was an English novelist and one of the most popular writers in the history of literature. In his enormous body of works, Dickens combined masterly storytelling, humor, pathos, and irony with sharp social criticism and acute observation of people and places, both real and imagined. (Encarta, 1998)\nCharles Dickens was born on Friday, February 7, 1812 at No. 1 Mile End Terrace, Landport, Portsmouth. His father, John Dickens, was a clerk in the Navy Pay Office. In 1814 John was transferred to Somerset House in London. In 1817 John moved his family to Chatham and worked in the naval dockyard.\nIt was here, at Chatham in the Medway Valley, that Charles experienced his happiest childhood memories. John was transferred back to the London office and moved his family to Camden Town in 1822.\nJohn Dickens, continually living beyond his means, was finally imprisoned for debt at the Marshalsea debtor\u2019s prison in Southwark in 1824. 12 year old Charles was removed from school and sent to work at a boot-blacking factory earning six shillings a week to help support the family. Charles considered this period as the most terrible time in his life and would later write that he wondered \u2018how I could have been so easily cast away at such an age\u2019.\nThis childhood poverty and adversity contributed greatly to Dickens\u2019 later views on social reform in a country in the throes of the Industrial Revolution and his compassion for the lower class, especially the children.\nDickens would go on to write 15 major novels and countless short storys and articles before his death in 1870. The inscription on his tombstone in Poet\u2019s Corner, Westminster Abbey reads: He was a sympathiser to the poor, the suffering, and the oppressed; and by his death, one of England\u2019s greatest writers is lost to the world.\nThe storys, characters, and places he wrote about will live forever.\nOn January 3, 1842 Charles Dickens sailed from Liverpool on the steamship Britannia bound for America. Dickens was at the height of his popularity on both sides of the Atlantic and, securing a year off from writing, determined to visit the young nation to see for himself this haven for the oppressed which had righted all the wrongs of the Old World. The voyage out, accompanied by his wife, Kate, and her maid, Anne Brown, proved to be one of the stormiest in years and his cabin aboard the Britannia proved to be so small that Dickens quipped that their portmanteaux could \u201cno more be got in at the door, not to say stowed away, than a giraffe could be forced into a flowerpot\u201d.\nThe violent seas on the journey can best be described by Dickens\u2019 comical account of trying to administer a little brandy to his wife and her traveling companions to calm their fears.\nArriving in Boston on January 22, 1842 Dickens was at once mobbed and generally given the adulation afforded modern day movie stars. Dickens at first reveled in the attention but soon the never-ending demand of his time began to wear on his enthusiasm.\nOne of the things on Dickens\u2019 agenda for the trip to America was to try to put forth the idea of international copyright. Dickens\u2019 works were routinely pirated in America and for the most part he received not a penny for his writing there. Dickens argued that American authors would benefit also as they were pirated in Europe but these arguments generally fell on deaf ears. Indeed there would be no international copyright law for another 50 years.\nIn keeping with his fascination for the unusual, visits to prisons, hospitals for the insane, reform schools, and schools for blind, deaf, and dumb children were high on his list of places to visit in almost every city he toured. He also toured factories, the industrial mills of Lowell, Massachusetts, a Shaker village in New York, and a prairie in Illinois. While in Washington he attended sessions of Congress, toured the White House, and met President Tyler. In the White House, as just about everywhere he went in America, Dickens was appalled at the American male passion for chewing tobacco.\nDickens wanted to see the South and observe slavery first hand. His initial plan was to go to Charleston but because of the heat and the length of the trip he settled for Richmond, Virginia. He was revolted by what he saw in Richmond, both by the condition of the slaves themselves and by the whites attitudes towards slavery. In American Notes, the book written after he returned to England describing his American visit, he wrote scathingly about the institution of slavery, citing newspaper accounts of runaway slaves horribly disfigured by their cruel masters.\nFrom Richmond Dickens returned to Washington and started a trek westward to St. Louis. Traveling by riverboat and stagecoach the Dickens entourage, which included Dickens, his wife Kate, Kate\u2019s maid, Anne Brown, and George Putnam, Charles\u2019 traveling secretary, endured quite an adventure. Gaining anonymity and more personal freedom the further west they went, Dickens\u2019 power of observation provides a very entertaining and enlightening view of early America.\nDickens came away from his American experience with a sense of disappointment. On returning to England Dickens began an account of his American trip which he completed in four months. Not only did Dickens attack slavery in American Notes, he also attacked the American press whom he blamed for the American\u2019s lack of general information. In Dickens\u2019 next novel, Martin Chuzzlewit, he sends young Martin to America where he continues to vent his feelings for the young republic. American response to both books was extremely negative but eventually the passion subsided and Dickens\u2019 popularity was restored.\n1812 \u2013 Feb 7 Dickens born in Landport, Portsmouth\n1812 \u2013 Jun 24 John Dickens moves family to Hawke Street, Kingston, Portsea\n1814 \u2013 John Dickens transferred to Somerset House, London\n1815 \u2013 Catherine Hogarth, Dickens\u2019 future wife, born\n1817 \u2013 John Dickens moves family to Chatham\n1821 \u2013 Dickens starts school at William Giles School, Chatham\n1822 \u2013 John Dickens transferred to London, moves family to 16 Bayham Street, Camden Town\n1824 \u2013 Feb John Dickens imprisoned at Marshalsea for debt\n1824 \u2013 Feb Dickens leaves school, employed at Warren\u2019s Blacking House\n1824 \u2013 Mar John Dickens released from debtors prison\n1824 \u2013 Jun Dickens leaves blacking factory, returned to school\n1825 \u2013 John Dickens retires with small pension\n1827 \u2013 John Dickens evicted from home, Dickens removed from school\n1827 \u2013 Dickens begins work as solicitor\u2019s clerk, Ellis and Blackmore, Gray\u2019s Inn\n1828 \u2013 Dickens working as a reporter for the Morning Herald\n1829 \u2013 Dickens becomes a freelance reporter at Doctor\u2019s Common\n1831 \u2013 Dickens reporting for the Mirror of Parliament\n1832 \u2013 Dickens reporting for the True Sun\n1833 \u2013 Dickens\u2019 first story, A Dinner at Poplar Walk, published in Monthly Magazine\n1834 \u2013 Dickens meets Catherine Hogarth, 8 more stories published in Monthly Magazine\n1836 \u2013 Dickens marries Catherine Hogarth, begins writing Pickwick\n1837 \u2013 Posthumous Papers of the Pickwick Club published\n1838 \u2013 Oliver Twist published\n1839 \u2013 Life and Adventures of Nicholas Nickleby published\n1841 \u2013 The Old Curiosity Shop published\n1841 \u2013 Barnaby Rudge published\n1842 \u2013 Dickens first visit to America\n1843 \u2013 A Christmas Carol published\n1844 \u2013 Life and Adventures of Martin Chuzzlewit published\n1845 \u2013 Dickens writes Cricket on the Hearth\n1848 \u2013 Dombey and Son published\n1850 \u2013 David Copperfield published\n1853 \u2013 Bleak House published\n1854 \u2013 Hard Times published\n1857 \u2013 Little Dorrit published\n1858 \u2013 Dickens and Catherine are legally separated\n1859 \u2013 A Tale of Two Cities published\n1861 \u2013 Great Expectations published\n1865 \u2013 Our Mutual Friend published\n1867 \u2013 Dickens second American visit\n1869 \u2013 Dickens begins writing Edwin Drood (never completed)\n1870 \u2013 Dickens dies, buried in Poet\u2019s Corner, Westminster Abbey", "id": "<urn:uuid:43ab41df-df5f-4215-be9c-0e8eaeb1c39f>", "dump": "CC-MAIN-2017-17", "url": "http://mirznanii.com/a/79249/dickens-3-essay-research-paper-charles-dickens", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120349.46/warc/CC-MAIN-20170423031200-00259-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9671935439109802, "token_count": 1721, "score": 3.734375, "int_score": 4}
{"text": "The authors of Learning Language Arts Through Literature (or LLATL) modeled their approach on the \"natural learning\" teaching methods of Dr. Ruth Beechick. Beechick emphasizes starting kids out strong in the essentials\u2014reading, writing/language arts, and math\u2014before building on those foundations to explore the vast world of knowledge. LLATL is an integrated learning approach that doesn't focus on one aspect of language arts, instead attempting to synthesize phonics, spelling, grammar, reading comprehension, creative writing, and literature study into a single program.\nStudents read portions or whole texts of famous books and follow up with a series of activities and/or written assignments that demonstrate elements of grammar, spelling, etc. found in the reading. The lessons are teacher guided, though after the first two years (the Blue and Red books in the series) there is almost no teacher prep required. A lot of the assignments, especially in the later levels, involve copy and dictation to introduce and reinforce important concepts. The early levels rely heavily on games and crafts to teach and hold students' interest.\nHow Do These Work?\nThe first eight books (Blue, Red, Yellow, Orange, Purple, Tan, Green, and Gray) each cover a single grade starting with first. The two Gold books (one each for British and American literature) are intended for high school study. Each book covers one school-year in 36 weekly lessons. The first grade Blue book is almost entirely a phonics course; the second grade Red book continues some phonics instruction but focuses more on spelling, handwriting, and basic reading comprehension. Later levels concentrate more on comprehension and writing skills.\nThe first grade level (Blue) comes with a teacher guide, consumable student workbook, and three sets of readers. Red level comes with a teacher guide, consumable student workbook, and one set of readers. The next six levels each consist of a teacher guide and student workbook. Both Gold level texts are a combined teacher/student book. Besides the readers and student and teacher books each level requires the use of several supplementary texts; most are available at the library, though the course authors do use specific editions for the assignments.\nFirst grade begins with no assumed previous reading instruction. Students will need to know their alphabet, but the LLATL writers undertake to get kids reading within their first year of formal instruction. The phonics approach emphasizes sound recognition and memorizing letter and word sounds by the smallest degrees possible, in order to limit memory tasks to a workable size. Students are required to read from basic phonics readers and practice their handwriting skills. Supplementary texts at this level include Corduroy, Ferdinand, and Mike Mulligan's Steam Shovel.\nSubsequent levels turn increasingly to building grammar, composition, and vocabulary skills. This is mostly through the reading of a passage, taking it down dictation-style, making necessary corrections through comparison of the original and the copy, then discussing or looking up specific vocabulary words. The idea is that through copying the work of masters, students will learn the proper use and rules of language in a more organic fashion than simple memorization. That isn't to say formal rules are never introduced, simply that they are de-emphasized. Instead of memorizing rules, students observe the work of those who knew how to use them.\nIn addition to grammar, spelling, vocabulary, and writing, students study individual texts through book studies. A lot of the literature introduced throughout the series are just small passages taken from longer works and used for the dictation exercises. For the book studies (there are usually three or four a year), students read a longer work (typically a novel or biography), then in addition to the usual vocab and grammar work write short essays based on what they've read. The book studies tend to assume a unit study feel, with students required to investigate the accompanying historical period of the work and its author. These unit study-esque assignments aren't elaborated much, and are more suggestions than requirements.\nWhile this is supposed to be a literature course as well as a grammar, vocabulary, spelling, etc. course, the selection of books for in-depth study often seems a bit odd. For instance, in the Gray book, students study the complete texts of A Lantern in Her Hand, God's Smuggler, Across Five Aprils, and Eric Liddell. The Gray book was designed for use by eighth graders, and is also the level that introduces Moby Dick which makes its appearance in the form of an obscure paragraph from the middle of the book for students to copy from dictation. Also, in the high school Gold book for American literature, the books seem somewhat unrepresentative\u2014The Red Badge of Courage, The Old Man and the Sea, and The Pearl. While it's good to get kids reading in general, a literature course ought to devote more time to important, well-known works than an occasional paragraph.\nLLATL was written by Christians, but there isn't an overpowering moralism or preachiness to the series. Some of the dictation work includes passages from the Bible, though this is a language arts/literature course, not a Bible curriculum. When (as in the Bible selections) grammar usage or punctuation in the original is archaic or no longer standard, the course authors discuss the differences with current norms.\nOur Honest Opinion:\nThe authors of LLATL claim a lot for their course. The question, of course, is whether they succeed. While we've sold a lot of this program over the years, we've also seen a lot of it returned. At the same time we don't want to dismiss it out-of-hand, as some we trust (notably Cathy Duffy) highly recommend the course. With that said, we feel some cautions are in order.\nIf LLATL was actually able to integrate all it says it can, it would be an invaluable resource. However, as you can only fit so much in a 200-page workbook, some things are naturally given less space than they deserve. Handwriting and spelling practice are noticeably lacking in the early levels, while in-depth textual criticism is lacking in the later ones. A lot of the comprehension questions and activities deal more with plot than meaning. And while it isn't necessary for a student to know what a gerund is in order to write well, some formal grammar instruction is needed for a solid grasp of mechanics. The integrated approach celebrated by the authors (obviously induced by their reverence for Ruth Beechick) has some good aspects, but at times they seem to expect students to learn by little more than osmosis.\nA good literature course introduces students to the highlights of the literary canon in order to expand their understanding and to help them toward a cultural literacy that will make them more articulate and aware. Many of the greatest works of Western literature are mentioned in this series, but in-depth study is often reserved for lesser-known and often less important works. Students whose reading has been defined largely by the selections in LLATL may find themselves at a loss in college, or anywhere there is educated dialogue.\nThe course isn't all bad. Students will be introduced to some good literature (and some obscure literature), and the integrated approach is at least a good idea. But without a logical progression to the introduction of grammar rules, spelling rules, etc., many students may become frustrated or will simply not retain the information. The concept that students learn from imitating those who already know how to do something well is an old one and a proved one; but if the execution is flawed, even the best plan will go wrong.\nReview by C. Hollis Crossman\nC. Hollis Crossman used to be a child. Now he is a husband and father, teaches adult Sunday school in his Presbyterian congregation, and likes weird stuff. He might be a mythical creature, but he's definitely not a centaur.Read more of his reviews here.\nDid you find this review helpful?", "id": "<urn:uuid:127f9b9d-e797-48ff-93b6-94271fee9ee6>", "dump": "CC-MAIN-2017-17", "url": "http://www.exodusbooks.com/learning-language-arts-through-literature/5331/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00493-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9606257081031799, "token_count": 1642, "score": 3.71875, "int_score": 4}
{"text": "Using The Civil War Day by Day in the classroom\nIntroduction: Primary source materials, like the letters, diaries, photographs, and newspapers featured on The Civil War Day by Day, can be used for various purposes in the classroom. They can enliven history. Moving beyond the abstractions of history textbooks to the original documents helps to restore the reality of past events by connecting the students to familiar and concrete documentary forms. They can also facilitate critical inquiry by offering students the opportunity to evaluate multiple sources presenting multiple perspectives.\nApplication: Here are some ideas for using primary source material in the classroom:\n- Identify perspectives\u2013Select 2 or 3 letters that describe the same event from different viewpoints (like those from the First Battle of Bull Run), have students identify the perspectives from which they are written, and then analyze how the authors\u2019 language and style influences the account. Does one letter seem more trustworthy than another?\n- Compare primary and secondary sources\u2014Examine firsthand accounts of the same event or similar topic, and then compare these firsthand accounts with what has been written up in a secondary source (like your class\u2019s history textbook). Do these accounts differ? Does one source emphasize something that another dismisses? What has been left out?\n- Evaluate a single document\u2014Have students examine a letter, diary entry, or a newspaper article and identify its key components (author, intended audience, genre, content, &c), and then have them examine it more closely, noting how its language and style contributes to the message. For instance, does the author use charged phrases like \u201cthe Rebels\u201d or \u201cLincolnites\u201d that indicate his or her perspective? What about style and tone\u2014does the author write methodically and relate his activities in detail, or does he seem to dramatize his account? How trustworthy does this account seem? Does the author leave anything out?\n- Analyze cultural elements\u2014Select an account and have students identify the author\u2019s personal beliefs and cultural context. Does he or she express a belief in God, for example? What does he or she value? Does the author mention food or music? Does he or she refer to any traditions?\n- Follow one person\u2019s experience\u2014Choose a series of letters or diary entries written by one author and trace his or her experience throughout the war. Does the author change during the course of the war, or do his or her reactions remain consistent? Plot the events he or she recounts on a time-line. Guide students in reconstructing the person\u2019s life through additional resources. Tip: identify series through the tag cloud in the sidebar.\n- Creative writing prompts\u2014Locate a photograph and have students describe what they think is going on, or have them create a story around that photograph, or select a personality and have students write an entry in a journal or diary as that personality.\nAdditional Resources: Other institutions offer helpful resources for incorporating primary sources into the classroom. Here are just a few to get you started:\n- Documenting the American South\u2019s Classroom Resources offers strategies for using DocSouth\u2019s resources in the classroom; in particular, check out the Teacher\u2019s Toolkit for activity guides and lesson plans\n- LearnNC\u2019s Classroom offers digital resources and lesson plans for K-12 teachers in North Carolina; its Civil War digital textbook is available here\n- Smithsonian Education: Educators offers lesson plans and other resources revolving around the Smithsonian\u2019s collections; its Heritage Teaching Resources groups the classroom resources around federally mandated Heritage Months\n- Library of Congress: Teachers offers classroom materials, professional training, and guidance on using primary sources; in addition, check out Teaching with the Library of Congress, a blog featuring documents from the Library of Congress collections along with particular strategies for teaching with them\nWe welcome your comments and suggestions. For instance, how do you incorporate primary sources into your lesson plans? What sorts of activities can you suggest for teaching with primary sources? What sort of classroom resources do you find helpful? We\u2019d love to hear from you:\nContact us by email: firstname.lastname@example.org\nContact us by phone: 919-962-1345\nOr, please feel free to leave a comment below!", "id": "<urn:uuid:e5e5932c-d77b-42f0-8c66-c371889b623e>", "dump": "CC-MAIN-2017-17", "url": "http://blogs.lib.unc.edu/civilwar/index.php/classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121165.73/warc/CC-MAIN-20170423031201-00437-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9400615096092224, "token_count": 874, "score": 4.03125, "int_score": 4}
{"text": "Grammar, parts of speech and punctuation don't exactly have an exciting reputation among eighth-graders, but hands-on, interactive activities can change their attitudes. Getting students out of their seats, working together and being creative can transform the atmosphere of your English classroom and help them to grasp these concepts in a unique way. Acting, movement and teamwork are all skills you can use to make learning language arts fun.\nWhile paragraphs provide the building blocks for a successful essay, their significance can be hard for students to see when trying to write an entire assignment. Ask students to come to class with a printout of their essay drafts. Then, instruct them to cut out each paragraph, mix them up and reassemble the pieces in a logical order. Manipulating the paragraphs can help them research specific conclusions about their writing, such as that some paragraphs are too short or too long, off-topic or need to be reordered. Have students tape their essays back together when they are finished.\nParts of Speech Hunt\nTo help students practice constructing sentences and paragraphs, write the individual words and punctuation marks of four sentences on different colored index cards, using one color for each complete sentence. Some cards may have one word on them, while others may just have a comma or period. In class, distribute one card at random to each student, and have them find other students with their same colored card. Then, each group must put the words and punctuation together to form sentences. When the class reconvenes, have each group read their sentence and put the sentences in order to form a class paragraph.\nLights, Camera, Action\nIdentifying the significance of creative choices authors make in fiction, such as dialogue, imagery and character development, is a key skill for eighth-grade language arts students, states the Ohio Department of Education. Choose a few key scenes from a novel your class has just read. Then put students in groups, and give each one a scene to dramatize. Using construction paper, streamers and other art supplies, they can create costumes and props as they find a creative way to portray the scene. After students perform for the class, you can ask them about the artistic decisions they made in adapting the text into their group production.\nThe Great Debate\nEighth-grade language arts also introduce students to carefully structured, well-supported arguments. A class debate is a hands-on, cooperative way to introduce this concept. As a class, brainstorm some significant issues that affect students at your school, such as standardized testing, bullying or lack of performing arts groups. Then, break the class into two teams and assign each one to present a side of the issue. Students must do research, interview administrators and other students and prepare an argument for their side of the issue. Bringing a guest judge, such as the principal, vice principal or another teacher, can lend objectivity to which side wins the debate.\n- Jupiterimages/Photos.com/Getty Images", "id": "<urn:uuid:194f933f-a056-4a78-965d-d6ae86fbcace>", "dump": "CC-MAIN-2017-17", "url": "http://education.seattlepi.com/handson-activities-8th-grade-language-arts-class-3964.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123102.83/warc/CC-MAIN-20170423031203-00438-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.956475555896759, "token_count": 604, "score": 4.1875, "int_score": 4}
{"text": "In our Montessori preschool classroom, we try to incorporate a variety of music and movement activities that help to build good listening skills, promote self expression, and increase a child\u2019s self confidence. The children enjoy playing games like Sound Bingo and Name That Sound, and they enjoy working with Montessori materials including the Sound Cylinders and Hand Bells. We have a specialized music teacher who comes twice a week, and it is such a special time for the young students. They learn about rhythm, rhyme and melody, they have the opportunity to explore various rhythm instruments, they learn how to keep a steady beat, and they enjoy exploring different types of body percussion.\nAt the beginning of the school year, my three-year-old Montessori student Jordan was very quiet, and rarely participated in such activities. But with regular exposure in a fun and non-threatening environment, he now has the confidence to stand up in front of his peers and hum a melody, as well as participate in the various games that are played during circle time and music class.\nActivity Ideas for Musical Training in the Montessori Preschool Classroom\nThe other day we were listening to a song from a music and movement CD. Jordan put up his hand and said, \u201cTeacher Bree, I hear a glockenspiel in that song!\u201d He was absolutely correct, and I was amazed that he was able to hear and name the instrument \u2026 such an abstract concept! I often hear Jordan humming a song or singing to himself while working with Practical Life activities, and he is often curled up in our Sound Corner exploring the rhythm instruments from around the world.\nMusical training can enhance child development in so many ways. It helps children learn valuable problem-solving skills, improves their physical coordination, concentration, memory, and their language skills.\nThrough musical training, a child learns to be more self-disciplined and to feel more confident in expressing themselves.\nMusical training improves listening skills, not to mention instills in children a love for music! A child\u2019s sense of worth and creative nature will surely shine when they are given a wide range of musical opportunities. A few of the activities that I have implemented over the years in my Montessori preschool are listed below.\n- A Music and Movement lesson that incorporates Geography is always fun. Try dancing to music with colored scarves that correspond to the various continents, or listening to a CD with songs from around the world.\n- Challenge the children to identify everyday sounds. My Montessori preschool students love to close their eyes and put up their hand to identify different sounds that they hear in the environment; we do this both indoors and outdoors.\n- Play a CD with animal sounds and encourage the students to guess which animals make each one.\n- Play a \u2018copy-me game\u2019. Make different sounds or a particular rhythm and encourage the children to repeat it back.\n- Challenge the children to identify the instruments being played in different songs. This activity works best with children 5 years and older.\n- Rhyming Games are always popular with young children. The children in my class love to sing Down by the Bay as well as Willaby Wallaby Woo. We sing the following song and try and incorporate each child in the class.\nWillaby Wallaby Woo\nWillaby Wallaby Wordan\nAn elephant sat on Jordan\nWillaby Wallaby Welissa\nAn elephant sat on Melissa\n- Musical storytelling is another fun activity that my students love. I retell an old favorite, but incorporate rhythm instruments to make various sounds during the story.\n- Exploring instruments from around the world is a wonderful activity and a great way to promote a sense of cultural awareness.\n- Freeze dancing is always a favorite, and the children love holding still like statues when the music stops.\n- Play Musical Chairs.\n- Provide the children with rhythm instruments and help them to create a musical band.\n- Explore sound boxes. Have a few boxes available and inside each, place a variety of items that make different sounds.\n- Make sounds shakers or rainmakers out of various recyclable materials (yogurt containers, baby food jars, toilet paper rolls, paper towel rolls).\n- Record the children's voices and then challenge them to identify the person whose voice it is when played back.\n\u00a9 North American Montessori Center - originally posted in its entirety at Montessori Teacher Training on Thursday, February 10, 2011.", "id": "<urn:uuid:fd04f9bf-6713-480f-860b-fdc7ca43e46f>", "dump": "CC-MAIN-2017-17", "url": "http://montessoritraining.blogspot.com/2011/02/activity-ideas-musical-training-montessori-preschool.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119361.6/warc/CC-MAIN-20170423031159-00021-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9514541029930115, "token_count": 927, "score": 3.609375, "int_score": 4}
{"text": "As previously mentioned, in astronomy, there are very few circumstances in which astronomers can obtain physical samples with which to work. Instead, our work relies primarily on objects transmitting their secrets to us in another form.\nThis form is electromagnetic radiation, or, as it is most commonly known, light. For those that remember, the light that we see with our eyes is just a small part of a much larger spectrum of light that we cannot see.\nLooking at the above diagram, you are probably familiar with several other of the types of electromagnetic radiation listed. The low energy radio waves are the ones that we pick up our cars on the way to work (assuming of course you're not listening to a CD or something else).\nYou're probably also familiar with microwaves. However, this title encompasses a much broader range of light than what your microwave oven actually uses (microwave ovens use a very specific frequency that excites water molecules to heat your food while other frequencies won't).\nInfrared radiation is most commonly known as heat. When heat is not transferred through direct contact, this is the method that is generally used.\nVisible radiation is what we see with our eyes.\nBeyond that is the ultraviolet. Bees see in this region of the spectrum, which is why flowers and are frequently marked differently when viewed in this region, in order to indicate where the pollen is:\nX-rays are what we use to see through soft tissue and take images of bones. I just had a few of these at the dentist a few hours ago.\nGamma rays are much rarer as they are only generated in high energy reactions. They are quite dangerous as they can cause cancer, but fortunately, our atmosphere shields us from the cosmological sources.\nPast gamma rays, and not featured in this image, is the enigmatic cosmic rays which are even more powerful, but extremely rare.\nSo that's a quick overview of each different region. However, this does not answer the question of what's behind all this radiation? To answer this in a complete manner requires a look at over 200 years of physics history.\nEarly experiments into how light works revealed that light is a wave. A classic experiment demonstrating this was done in the early 1800's in which light was passed through two narrow slits and projected onto a screen.\nIf you don't already know the result of this experiment, take a moment to think about what you'd expect. Inuition would tell you it should be like shining two spotlights nearby eachother. Where they overlap, you should have a brighter spot, whereas where they don't, it wouldn't be as bright.\nAs you might suspect though, this isn't the case. It turns out, that when the slits are made narrow enough, a strange pattern emerges:\nIn this pattern, we see that there is a series of light and dark bands, which is brightest towards the center, and fades as you move away in either direction.\nThis pattern is indicative of waves. When a wave from the right slit would interact with the wave of light from the other, the two waves merge. When they merge in such a way that the crest of one wave matches with the crest of another, then it makes a bright spot. When the crest meets a trough, they cancel out and that point on the screen is dark.\nSo the wave theory of light was established. However, if light was a wave, waves, like water waves and sound waves, need a medium through which to travel. That means that there should be something beyond our atmosphere though which the wave could propogate. This mysterious medium was dubbed the \"ether\".\nUnless you're really into science, most of you reading this have probably never heard of this ether. It's likely you don't remember everything from science class, but this term is probably one you've never even heard (unless you play a lot of roleplaying games).\nSo why don't we teach about this ether in science courses? The reason is that it was eventually discredited in the early 1900's by a team of scientists known as Michelson and Morely. These two attempted to determine the properties of the ether. Since the Earth travels around the sun, the Earth should be moving through this ether. Therefore, waves should be deflected in some measureable amount as they were swept away by the current relative to the moving Earth.\nHowever, their experiment was completely unable to detect any sort of variation. No matter how many times they tried their experiment, the results always showed the waves propagating at the same speed, roughly 3 x 108 meters per second.\nThe puzzle seemed unsolvable and it would take a genius like Einstein to solve it. In fact, it was Einstein that solved it. Although most people known Einstein for his famous equation, E = mc2, and his laws of relativity, his nobel prize was actually awarded the prize \"for his services to Theoretical Physics, and especially for his discovery of the law of the photoelectric effect.\"\nHuh? Photoelectric effect?\nSince a comprehensive explanation would take quite a bit of time and space, I'll cut to the chase on this one and just say that this effect shows that light comes in discreet \"packets\". This indicates that light is a particle with a fixed energy. This particle, which travels at the speed of light and has no mass, was called the photon.\nSo which is it? Is light a particle, or a wave?\nIn reality, it's both. This discovery, and similar ones that showed all subatomic particles exhibit this wave/particle duality, gave rise to the entire field of quantum mechanics.\nBut that's beside the point for this post. For this topic, it's just important to understand that light can be thought of as either and while neither is wrong, one may be more convenient than another for explanation.\nSo now that you have a rough understanding of what light is, the next question I'll cover is \"Where does it come from?\" That should cover everything about light from the time it starts, until we detect it.\nThen in the next section, I'll cover the history of observations of the light that crossed these vast distances, from the naked eye, to the modern CCD (more emphasis will be placed on the latter since that's what contemporary astronomers do).\nThen last, I'll attempt to cover how astronomers can glean detailed information from a ray of light.", "id": "<urn:uuid:7791fb15-24d5-42d4-a527-252f40c613d1>", "dump": "CC-MAIN-2017-17", "url": "http://angryastronomer.blogspot.com/2006/06/astronomical-data-part-1a-what-is.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917127681.84/warc/CC-MAIN-20170423031207-00323-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9795114398002625, "token_count": 1316, "score": 3.875, "int_score": 4}
{"text": "Activity 2: Story - Amrita's Tree\nActivity time: 10 minutes\nMaterials for Activity\n- Story, \"Amrita's Tree\"\n- A large basket\n- Objects to place in the basket that are related to the story such as a small globe or map to locate India, a tree branch or tree \"cookie\" (a cross section, like that of a slice of a tree), pictures of girls and women in saris\n- A chime or rain stick\n- Optional: Fidget Basket (Session 1, Leader Resource 1)\nPreparation for Activity\n- Place the story-related items and the chime or rain stick in the story basket and place the filled basket in the storytelling area.\n- Read the story a few times. Plan how you will use items from the story basket as props.\n- Read the story questions and choose ones that will best help these children interpret the story and relate it to their own lives.\n- Optional, but highly recommended: Provide a basket of soft, quiet, manipulable items for children who will listen and learn more effectively with something in their hands. Remind children where is the Fidget Basket is before you begin the \"centering\" part of this activity. See Session 1, Leader Resource 1, Fidget Basket, for a full description of a fidget basket and guidance for using it.\nDescription of Activity\nGather the children in a circle in the storytelling area and show them the story basket. Say something like:\nThis is our story basket. I wonder what is in it today?\nTake the story-related items from the basket, one at a time, and pass them around. Objects that are fragile or cannot easily be passed around can be held up for all to see and then placed on the altar/centering table or any table or shelf.\nTake the chime or rain stick from the basket and say in these words or your own:\nEach time you hear a story during World of Wonder we will use this instrument to get our ears, minds, and bodies ready to listen. Sit comfortably and close your eyes. When I sound the chime (turn the rain stick over), listen as carefully as you can and see how long you can hear it. When you can't hear it anymore, open your eyes and it will be time for the story to start.\nSound the chime or rain stick. When the sound has completely disappeared, tell or read the story, \"Amrita's Tree.\"\nWhen the story is finished, lead a brief discussion using questions such as:\n- What did you wonder about the story?\n- What did you like most about the story?\n- I wonder what Amrita was feeling inside as the woodcutter came toward her?\n- I wonder if any of you have done something brave, like Amrita? How did that feel?\n- How do you think Amrita felt when she saw everyone hugging trees after they saw her do it? How do you feel when you are a leader?\n- Why do you suppose it is important for Unitarian Universalists to help take care of plants and trees?\nIncluding All Participants\nFidget objects, described in Session 1, Leader Resource 1, can provide a non-disruptive outlet for anyone who needs to move or who benefits from sensory stimulation.", "id": "<urn:uuid:4026e973-6fa8-499b-9a26-26abf18ac5a5>", "dump": "CC-MAIN-2017-17", "url": "http://www.uua.org/re/tapestry/children/wonder/session3/276398.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123484.45/warc/CC-MAIN-20170423031203-00202-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9361571073532104, "token_count": 694, "score": 3.5, "int_score": 4}
{"text": "Bible Together: Parables of Jesus (he told a lot of stories having to do with agriculture and a lot having to do with money and so that is what this unit will be about) Parables of the sower, the weeds, the mustard seed and leven, growing seed, fig trees and workers in the vineyard.\nScience (and the words/concepts to introduce to J):\n- Roots (primary, secondary, fibrous)\n- Stems (monoctyledon, dicocotyledon, epidermis, cortex, phloem, xylem, pith, bark, cambium, runners, tubers, bulbs)\n- Leaves (parallel-veined, net-veined, needles v. scales, stomata, mesophyll)\n- Photosynthesis (chlorophyll and glucose)\n- Flowers (review -- sepals, petals, stamen, pistil, filament, anther, pollen, stigma)\n- Seeds (angiosperm, gymnosperm, cotyledon)\nDiscuss creation care (\"A steward only has responsibilities, not rights\").\nReview biomes and ecosystems and perhaps build a terrarium.\nWork in a nature journal each day. Practice drawing what you see.\nMath J: Begin Complex Fractions\nMath B: Begin First Grade Book (skip the first 29 lessons of review).\nStations -- J: Penmanship (continue Horizons cursive), Language Arts (Practice the craft of oral storytelling), Reading (to mix it up a little he'll read various advanced \"picture books\" containing stories and information centered on agricultural themes and take a comprehension \"quiz\" each day), Memory Verse (Psalm 1:1-3 \"...he is like a tree planted by a stream of water...\"), Vocabulary Activities (primary, secondary, vein, glucose, photosynthesis, flower, parable, forest, agriculture, native), Topical Study (Make a lapbook of the plants and agriculture of either Washington or Oregon -- since we live in both states).\nStations -- B: Creative Drawing (works on his Nature notebook), Phonics (Spectrum Grade 1 workpages...ending blends), Reading (Continue lessons in Phonics for the New Reader and begin set four of the phonics readers by Innovative Kids), Memory Verse (same as J), Vocabulary Activities (tree, crop, land, root, stem, make, draw, bark, seed, weed), Topical Study (same as J on a lesser scale).\nField Trip: Either to the Washington Park Arboretum or the World Forestry Center.\nPlanning Ahead: If you have suggestions for a good chapter book (5th grade level and above) having something to do with the wise use of money, I'd love to check it out. I'm also on the lookout for a good video that might teach us how to draw/paint trees next week.", "id": "<urn:uuid:c0d33839-26d9-472c-97e9-74c99be880ab>", "dump": "CC-MAIN-2017-17", "url": "http://thiscommonlife.blogspot.com/2008/03/back-into-it-again.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126237.56/warc/CC-MAIN-20170423031206-00263-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8858110904693604, "token_count": 609, "score": 3.640625, "int_score": 4}
{"text": "Cut! Elements of Drama Workstations\nLesson 3 of 14\nObjective: SWBAT work with the elements of drama to complete some independent activities.\nSince it's been so hard to get my hands on quality plays for the kids to read, I searched and stumbled upon this website. I've been read through many of them, and I have to say, they're not too bad. I'll be using two of these plays today; One for my teacher station, and one for the kids to perform a reader's theater.\nVocabulary Station: The kids will complete a vocabulary matching activity. This seems like a pretty easy station, but there are additional words here to review literary elements from throughout the year as well. Not only are the kiddos working with domain specific vocab from this unit, but they're working with essential terms for understanding literature. When the students have finished matching, I want them to create a graphic organizer that shows a relationships between the words.\nTeacher Station: In my station, we will be reading The Baker's Dozen, but I need this time to talk about character motivations and actions today. This is something we haven't discussed in a while, so I want to be sure I hit on this throughout the unit. We hit RL5.1 and RL5.3 in my fiction unit and in poetry, but I know my kiddos need to continue to work on this before heading out for the summer.\nReader's Theater: In the past, I've had the kids read and record themselves for fluency, but the play Resthaven is a bit longer today, so they'll just be reading to perform. I want them to use the stage directions to jump into character instead of practicing and trying to perform without looking at the text. All students will complete a drama problem and solution organizer when we finish stations today. That will serve as my wrap up and a quick check for the lesson.\nVocabulary Station: In this station, you'll find some word cards and definitions. You may use your notebook for help, but you'll mostly need to rely on your previous knowledge to help you. There are 20 words, so this may take you some time. When you have finished, come see me for the answer sheet to check your answers. If there is time to spare, I want you to come up with a way to organize the words to show relationships between them. I kind of see a web in my mind with the word drama at the center. Then I would cluster related words together in some way.\nTeacher Station: In this station, we'll be reading a play and stopping to chat about the characters. Anything character related is possible. We all know the character skills we've learned throughout the year, so I expect to hear things about characters' roles and actions, motivations, feelings, conflicts, etc.\nReader's Theater: In this station, you'll find a play for all 10 of you. Determine the parts and then begin the performance. You won't record yourselves as you have in the past, but I want you to really think about the stage directions and the inflection needed for your part. When a partner is reading, try to listen (although, I know you'll be prepping for your next line) to how they read and give honest feedback at the end. Once we all finish stations, there will be a problem and solution organizer to complete to show me that you stayed focused during this station.", "id": "<urn:uuid:3190e906-5b0c-4750-94db-d6953c9cfa59>", "dump": "CC-MAIN-2017-17", "url": "https://betterlesson.com/lesson/resource/3118035/resources-for-drama", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120844.10/warc/CC-MAIN-20170423031200-00316-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9705794453620911, "token_count": 710, "score": 3.875, "int_score": 4}
{"text": "Earth Science for Elementary Education Majors\nThis is the second part of a 2-semester sequence on the physical sciences required for Elementary Education and Early Childhood Education majors. The first course in the sequence covers principles of chemistry and physics, while this course addresses principles of Earth science.\nFor Dr. Bickmore's reflections on the course and its design, see Earth Science for Elementary Majors: Role in the Program\n- Students should be able to explain and apply basic principles of earth systems science, corresponding with state and national standards for elementary school earth science education.\n- Students should show that they can verbalize earth science concepts at an elementary school level.\n- Students should be able to identify common rocks and minerals, and understand their genesis.\n- Students should be able to prepare and present various demonstrations or teaching aids that reinforce concepts learned in class, and that will be useful in an elementary school classroom setting.\n- Students will begin to make a difference right now for elementary science education.\n- Students should learn the nature of science, and how to think clearly and critically about science-religion conflicts.\n- Students should come out of the class with an improved attitude toward science.\nSyllabus (Microsoft Word 41kB Apr16 07)\nFor an example activity from this course, see Science as Storytelling for Teaching the Nature of Science\n- Tests include questions that require application of principles learned, as well as concept mapping exercises that require the ability to explain connections between the principles. The level of success at these tasks varies widely among students in the class.\n- Lab activities require students to explain earth science concepts. Most of the students are fairly good at this, as long as they can get the concepts straight in their heads.\n- The lab also includes a rock and mineral identification final. Almost all of the students do very well at this if they put in some practice time outside of class.\n- The mini-lesson activity requires students to teach science concepts in a setting where it really matters. The students really put a lot of effort into this, and they have usually been very successful.\n- Surveys and test questions are given to assess student understanding of the nature of science, and in-class essays are assigned where the students are asked to express their thoughts about science-religion issues. They show significant gains in their understanding of the nature of science and begin to express much more sophisticated and nuanced views about science-religion issues.\n- Surveys for measuring attitudes toward science are given before and after the semester. The students (especially the ones who initially had very poor attitudes toward science) show significant gains by the end of the semester.\nReferences and Notes:\nTextbook: Fundamentals of Earth Science, by Lutgens and Tarbuck.", "id": "<urn:uuid:836e4324-9fee-4810-83fc-4e65cb2f059d>", "dump": "CC-MAIN-2017-17", "url": "http://serc.carleton.edu/teacherprep/courses/BYU-ESEEM.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118310.2/warc/CC-MAIN-20170423031158-00374-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9404601454734802, "token_count": 567, "score": 3.6875, "int_score": 4}
{"text": "Extra! Extra! Read All About It! #\nCalling all aspiring journalists, reporters, and anyone who wants to improve their writing through journalistic techniques! Believe it or not, there is value to understanding and practicing the elements of news writing, even if you never become reporter. In fact, many celebrated authors were or are journalists as well: Charles Dickens, Mark Twain, Ida B. Wells,George Orwell, P. G. Wodehouse, E.B. White, Ernest Hemingway, John Steinbeck, Richard Wright, Joan Didion, Maxine Hong Kingston,and more! At its heart, journalism is storytelling. Journalists are especially equipped by their training to craft stories that get to the point and communicate in a way that shows readers what happened and why. News writing requires organization, precision, economy, empathy, and rhythm to propel readers through the story. These are also the hallmarks of great fiction!\nThe Scoop #\nThis class will provide an introduction to journalism and news writing. Students will explore and practice the following journalistic elements in depth:\n- Hard news versus feature story structure\n- The inverted pyramid\n- Writing a lead sentence\n- Crafting a nut graph\n- Using color\n- Exercising the power of observation\n- Interviewing techniques\n- Choosing supporting quotes\n- Attributing sources\n- Headline writing\n- Choosing accompanying art/photographs\nIn addition, we will discuss:\n- The definition of news\n- News values\n- Pitching a story\n- Asking the right questions\n- Accuracy and fact checking\n- Fairness and balance in reporting\n- Framing a story\nBy the end of this class, students will have created a news article worthy of publication.\nTentative Class Schedule #\nWeek One: What makes a good news story. We\u2019ll warm up by discussing the definition of journalism, the characteristics of good journalist, and the importance of news values in order to understand what stories are newsworthy and what makes a good one. Students will learn how to identify newsworthy events and pitch story ideas. They will then explore the story by asking questions. Students will also read daily news from a local and national news source.\nWeek Two: Journalists are investigators! In their quest for answers, modern journalists have abundant resources at their disposal. Students will use these tools to research their story to find background information and concrete facts to answer questions. This includes identifying possible sources (experts on the topic) and contact methods.\nJournalists are only as reliable as their sources, which means that a good interview and verification of the information obtained is vital for a solid, informative story. Students will craft interview questions, contact sources, and learn some tricks of the trade to get accurate, meaty quotes.\nWeek Three: Framing and organizational structure. With the reporting done and groundwork laid, it\u2019s time to step back, look at the raw material, and choose what information to include in the story. Students will decide how to accurately represent the story to readers and organize the information according to the inverted pyramid.\nNext it\u2019s time to write the most important paragraph of the story, the lead. Students will learn how to construct a gripping, informative, concise lead paragraph to grab attention and set the tone for the rest of the article. In addition, they will work on one sentence that is the heart of the story, also known as the nut graph.\nIn preparation for writing the article, students will also learn how to choose supporting quotes and add color.\nWeek Four: Submitting copy and publication. In the final week, students will submit a draft of their article and implement revisions based on instructor feedback. The final article will be eligible for publication, and students will learn how to pitch their story to local news organizations or online publications.\nAbout the instructor: Samantha earned a bachelor of arts degree in journalism from Patrick Henry College in 2009, graduating magna cum laude with honors in her major. While in college she served as editor for her college newspaper and received the Baptist Press Excellence in Journalism award for First Place in Newspaper Feature Writing. Throughout her journalism career Samantha covered stories ranging from polygamy to Hurricane Katrina evacuee relief measures to the opening of a teen center for local youth. She has written for town newspapers, city magazines, online news sources, and blogs. She has even worked on the \u201cother side\u201d of journalism in media relations writing press releases for a think tank in Washington, DC. Before joining Brave Writer, Samantha wrote and edited her culture blog, Art of Cultivation.\nClass Structure Description #\nBrave Writer online classes are specially designed with the busy homeschooling parent in mind. Classes last anywhere from four to six weeks. We offer courses that address a specific writing need so that you can take the ones that suit your family throughout the school year. Short class sessions enable you to work around family vacations, out-of-town swim meets, recovering from wisdom teeth removal, and visits from grandparents. We operate on the quarter system, including a summer session. Our most popular classes repeat each quarter, while others are seasonal.\nOur classes meet in a customized online classroom, designed specifically to meet the needs of Brave Writer. Only registered students and the instructor have access to the classroom to ensure your privacy. Assignments and reading materials are posted by Brave Writer instructors each week (no additional supply fees necessary, unless otherwise indicated). Either you (homeschooling parent) or your child (homeschooling student) will visit the classroom daily at your convenience to read helpful information about the current topic or to find the writing assignment. We operate \"asynchronously\" (which means that the discussion is not live, but that posted information remains available to you in your time zone at your convenience). Instructors check the classroom throughout the day to answer questions and give feedback on writing.\nWriting is done at home and then typed into the classroom, and shared with both the instructor and other classmates. You're not required to be online at any specific time of the day. We have students from all over the world participating in our classes so \"live\" discussion is impossible. Instead, the online classroom enables the instructor to post information and assignments when it is convenient to the instructor. Then, when it is convenient for you, you come to the classroom and read the latest postings.\nInstructor feedback to student writing is offered for all participants to read. Writing questions are welcomed and encouraged! That's the point of class. We aim to give you immediate support as you face writing obstacles.\nBrave Writer takes seriously the need for encouragement and emotional safety in writing. No student is ever at risk of being humiliated or mistreated. All online dialog is respectful and supportive of your child's process. This is the core of Brave Writer philosophy. You can read about Brave Writer values here.\nWhat makes our program especially unique in the world of online education is that we value a corporate experience. Rather than teaching your child in a tutorial format, we prefer students to have the opportunity to both publish their work for an audience (other students) and also to have the chance to read other student writing. In no other setting is this possible. Schools-in-buildings rarely have students read each other's work. Homeschooled children are rarely in a classroom environment to begin with, so the opportunity to read peer-writing is nil.\nOur classes provide an utterly unique experience in the world of writing instruction. Since most writers grow through emulation of good writing, it is a real advantage to Brave Writer kids to get the chance to read the writing of their fellow home-educated peers. They love it! They get to examine and internalize other ways of writing, analyzing and expressing ideas similar to their own. They have the chance to validate and cheer on their peers. And of course, the best part of all is that they receive the praise and affirmation of kids just like them.\nNot only that, all instructor feedback is posted to the classroom for all students to read. That means your kids get the benefit of instructor comments on many papers, not just their own. We've noted that this style of instruction is especially effective and hope you'll test it and agree!\nClick here to login to a sample classroom.", "id": "<urn:uuid:68e52a57-2bba-43c0-baae-de859432e66e>", "dump": "CC-MAIN-2017-17", "url": "http://www.bravewriter.com/online-classes/the-scoop-the-art-of-journalism", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122955.76/warc/CC-MAIN-20170423031202-00321-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9484931826591492, "token_count": 1689, "score": 3.90625, "int_score": 4}
{"text": "The Sign of the Beaver Book Chapters: Matt's Journal\nThe Newbery Honor winning book, The Sign of the Beaver by Elizabeth George Speare, is an inspiring story of survival, friendship and tolerating differences. Students will do some journal writing as they listen to Sign of the Beaver book chapters. A keyword will be provided to help them get started and give them a focus.\nJournals: Make a journal with a construction paper front to decorate and notebook paper inside. The alternative would be to have the students bring in a new spiral notebook or composition book.\nInstructions for Students:\nThere are twenty-five chapters in this book, each about five pages long. In each chapter an event shaped Matt\u2019s feelings and enhanced his learning, as he tried to survive alone in the forest. Write a journal entry as if you are Matt, the main character. For each chapter a keyword is given. It is meant as a guide to help you get started. Describe each experience and perhaps how it changed Matt in some way.\nA summary sentence is given for you beneath the keyword for each chapter. It will help you, as you are writing your journal. Before you begin to read each chapter, write the keyword(s) downs so you will know what to listen for in the chapter. For example, before you begin to read Chapter 1, write \"Counting Days\".\nChapter 1: Counting Days\nMatt and his father built a small cabin on their newly purchased land in Maine. Father left Matt at the cabin to guard it and tend the crops while he went back to get Mother, sister and new baby in Massachusetts. Without a calendar, his father told Matt to make a notch every day on a stick. Seven notches per stick on seven sticks and then Matt\u2019s family should return to the cabin.\nChapter 2: Chinking and Chores\nMatt was beginning to enjoy being along to do his chores without parental advice. He had to chink the spaces between the logs with clay from the creek bank. He also tended the crops, chopped wood, killed something for dinner and cooked.\nChapter 3: Ben\nA bold stranger comes to visit. He eats lots of food and while Matt is sleeping the stranger steals Matt\u2019s rifle. What will Matt use to get his dinner and for protection?\nChapter 4: The door\nMatt forgets to bar the door securely and a bear gets into the cabin, wasting food and making a mess.\nChapter 5: Bees\nHungry for something sweet, Matt climbs up a tree and breaks into a beehive. Angry stinging bees chase him to the creek. Swollen and poisoned by the stings he is carried back to his cabin and cared for by two Indians.\nChapter 6: Treaty\nOld grandfather Indian makes \u201ctreaty\u201d with Matt. Matt will teach the Indian\u2019s grandson, Attean, how to read in exchange for food from the Indians.\nChapter 7: ABC\u2019s\nHow would Matt teach Attean how to read? He\u2019ll start with the ABC\u2019s; apple, bone, candle, door and so forth.\nChapter 8: Robinson Crusoe\nMatt grabs Attean\u2019s attention by reading Robinson Crusoe. Attean compares the white man\u2019s way of doing things to the Indian\u2019s way.\nChapter 9: \u201cNot be slave\u201d\nMatt asks Attean to show him how to trap a rabbit. Then, when reading Robinson Crusoe, Attean becomes upset when he hears that the native becomes a slave to Crusoe.\nChapter 10: Fish\nMatt smooths over the idea that the native was a slave to Crusoe and seems to calm Attean. Attean takes Matt fishing the Indian way.\nChapter 11: Sign of the Beaver\nAttean leads Matt into a new part of the forest and shows him a beaver dam. He points to a marking on a tree\u2014the sign of the beaver. Attean is part of the Beaver tribe. The Indian teaches Matt how to make his way in the forest so he would not get lost.\nChapter 12: Bow and Arrow\nAttean shows Matt how to make a bow and arrow.\nChapter 13: By Golly\nMatt learns more about Indian ways when they find a fox in an iron trap of the white man. Attean shows signs of learning from Matt, too, when he says, \u201cReckon so and by golly.\u201d\nChapter 14: Noah\nWhen Matt finished reading Robinson Crusoe, he reads adventurous stories from the Bible. Noah\u2019s Ark is the first story and Attean knows a similar Indian story.\nChapter 15: Bear\nThe boys come face to face with a bear and together killed it.\nChapter 16: Celebration\nAttean takes Matt to his village to celebrate killing the bear. Matt enjoys food, dance and storytelling. He sleeps there in a wigwam.\nChapter 17: Not Welcome\nMatt learns that Attean\u2019s grandmother hates all white people, so Matt is not welcome in the village.\nChapter 18: Rescue\nMatt wonders why his family has not come to the cabin. It has been ten weeks since Father left. He wanders in the woods and finds Attean\u2019s dog caught in a white man\u2019s trap. Unable to open the trap, Matt races to the Indian village and summons Attean\u2019s sister to help him rescue the dog.\nChapter 19: Games\nAttean\u2019s grandmother welcomes Matt back to the Indian village. The boys play rough Indian games. Matt finds his way back to the cabin using what he learned from Attean.\nChapter 20: Manitou\nAttean goes on a ritual journey to find his \u201cManitou\u201d (spirit). It is a passing from youth to adult.\nChapter 21: Come With Us\nThe Indians will be moving on from the village to hunt for moose. They invite Matt to come with them because they don\u2019t want him to be alone. Matt refuses, though he is honored, and wants to wait for his family.\nChapter 22: Goodbye\nThe boys say good-bye. Attean leaves his dog with Matt and Matt gives Attean his father\u2019s watch.\nChapter 23: Squaw Work\nMatt does many chores to pass the time. It is work that Attean would call \u201csquaw\u2019s work\u201d. Matt keeps hoping that his family will arrive.\nChapter 24: Snow\nDeep snow surrounds the cabin and Matt tries out the snowshoes that the Indians gave him. He feels safe and content in the cozy cabin.\nChapter 25: They\u2019re Home\nMatt\u2019s family arrives just before Christmas. Sickened by typhus, the journey had been delayed but mother insisted on getting there before the holiday. The baby died shortly after being born. Father was proud of all that Matt had accomplished.\nAs you listen and write about each of The Sign of the Beaver book chapters, you will begin to understand the difficult life of the pioneers. The book also provides an insight into how the Indians felt when the pioneers began to push them off of their land. Journal writing will provide you with a vehicle to express the main characters fears, frustration and triumphs.", "id": "<urn:uuid:6717a49b-ced7-4b6d-8458-401bbd2615b6>", "dump": "CC-MAIN-2017-17", "url": "http://m.brighthubeducation.com/lesson-plans-grades-3-5/65668-journal-activity-with-keywords-and-chapter-summaries/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124297.82/warc/CC-MAIN-20170423031204-00380-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9565851092338562, "token_count": 1533, "score": 3.609375, "int_score": 4}
{"text": "Traditions of recording events or rituals through weaving, tapestry work, or quilting are found in cultures across the globe. There are many wonderful examples in museums: pre-Columbian Aztec work, Japanese Haori overcoats with family crests, medieval tapestries glorifying battles or fables, Tibetan banners and prayer flags, African storytelling shown in cloth, stories celebrating many different religions, and countless others.In the last few decades, two amazing examples of the cultural use of quilts to tell stories, and to express politic protest, have gained world-wide attention. The stream of immigrants from Southeast Asia has brought the wonderful handiwork of Hmong women to our attention, from traditional quilted and woven clothing to intriguing story cloth quilts. And in parts of South America, when political uprisings led to severe suffrage and censorship, groups of women created striking arpilleras to tell us about their anguish.\nHmong people have lived in China, Laos, Thailand, Myanmar, Vietnam and the surrounding regions for generations. There are several groups, each having their own unique style of handwork. Many clothing items feature intricate reverse appliqued quilt patterns, others use Hmong flower cloth embroideries.Fifty years ago, there was no written Hmong language. Storytelling preserved history and traditions, and these stories were supported by embroidered story cloths. Old story cloths show families in daily activities, such as working in rice paddies, hunting, or celebrating a wedding. More recent ones show armies, planes, and stories of war and immigrating. Their use of color and intricate stitching creates a striking medium for preserving history. Less than thirty years ago, political unrest was rampant in Chile, Peru, and many other South American countries. Dictatorships left behind trails of violence, and despicable living situations. Total censorship was often imposed, but the traditional arts of weaving, embroidery, and applique were apparently not regarded as a method of communication. In Chile, the original arpilleras were often small dolls, stitched from rags, then sewn together. These evolved into story boards depicting daily life. Some showed the hope for a better life, without the hardships that had come under dictators. Many showed protests, asked where lost relatives were, or depicted the violence that was used to squash the people\u2019s spirit. In Peru as well, these arpilleras helped women to build strong community ties and to envision a different life. Many of these creations were traded or smuggled out of the country, and helped to raise awareness of the need for change.\nWe may find it odd to see quilts portraying violence, weapons, or suffering. For the Hmong story cloths, perhaps it was the lack of written language that naturally opened the door for this way to share life\u2019s daily realities. And maybe, for the Chilean and Peruvian women able to share their handiwork when all other forms of communication were being censored, the quilts became their voices.If you were to tell the story of your life, your family, or some event that impacted your world, and words were not allowed, would you stitch it for others to see? What legacy can we pass on today, beyond the comfort of a quilt? How could you use your hands and handicraft to communicate the emotions of your life?\n\u00a92010, The Curious Quilter, thecuriousquilter.net, maryeoriginals.com.", "id": "<urn:uuid:19451cf9-fb0c-4edd-b2e2-1202d897c1ef>", "dump": "CC-MAIN-2017-17", "url": "https://thecuriousquilter.wordpress.com/2010/11/01/quilts-that-communicate-politics-and-history-hmong-and-south-american-story-quilts-2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123530.18/warc/CC-MAIN-20170423031203-00263-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9707568287849426, "token_count": 719, "score": 3.5, "int_score": 4}
{"text": "Characterization \u2014 Pap versus Jim\nThere is no doubt that one of the most important literary elements in a work is characterization: The creation of a group of personalities who function as representatives of a fictional world are as vital to a novel's story as its many themes. For Twain, the challenge was to embody fictional characters with realistic traits and personalities; that is, his characters had to be as believable and as recognizable as the people readers confronted every day. To accomplish this feat, Twain frequently called upon his childhood experiences to create some of the most memorable characters in American literature.\nThe expanse of characters that blanket the pages of The Adventures of Huckleberry Finn are numerous. Certainly Huck is an incredible character study, with his literal and pragmatic approach to his surroundings and his constant battle with his conscience.\nHuck's companion, Jim, is yet another character worthy of analysis. At a period in American history when most African-American characters were depicted as fools or \"Uncle Tom's,\" Jim's triumphant but humble passage from simple house servant to Tom's savior is an outline for the heroic figure. He embodies all the qualities \u2014 loyalty, faith, love, compassion, strength, wisdom \u2014 of the dynamic hero, and his willingness to sacrifice his freedom and his life for two young boys establishes him as a classic benevolent character.\nBoth Huck and Jim can be viewed as the heroes of Adventures of Huckleberry Finn. But if the two characters are the chief agents of good, the loathsome Pap Finn is the novel's most pitiful and despicable character in terms of exemplifying the characteristics of a depraved, squalid world. When Pap reappears, with hair that is \"long and tangled and greasy\" and rags for clothes, it is a reminder of the poverty of Huck's initial existence and a realistic representation of the ignorance and cruelty that dominated the institution of slavery and prejudice in America. Pap is suspect of both religion and education and feels threatened by or resents Huck's ability to read and exist in the world of Miss Watson and the Widow Douglas.\nExcept for brief passages, however, readers are not privy to all of Pap's history and his rage at a world that he thinks has mistreated him. In a revealing sequence, Pap displays all of the con man's tactics when he tries to acquire Huck's reward money. Pap convinces a new judge that he is a changed man, has \"started in on a new life,\" and has given his life to God. It only takes a night for Pap to return to his previous ways, as he becomes \"drunk as a fiddler\" and ends up collapsed outside the judge's house with a broken arm and a bitter spirit. The judge's observation that Pap might be reformed with the aid of a shotgun is a dark foreshadowing of what will follow.\nAlong with Pap's obvious insecurity toward Huck, what readers receive is a frightening picture of what Huck could become if left to the parental guidance of Pap. Huck's vague, past home life is solidified by Pap's constant verbal threats, and Pap warns Huck that he will physically abuse him if he tries to \"put on considerble many frills.\" During the first meeting between the boy and his father, Pap's threats of abuse are so haphazard and disjointed that he becomes a comical figure. For Huck, the drunken rantings of Pap are neither astonishing nor cruel; they simply exist as a facet of his life, and Huck reports the threats with a tone of indifference and detachment.\nUnder the abusive eye of Pap, Huck attempts to romanticize a life free from the intrusions of a judgmental society and constrictive civilization. Away from the enforced rules of school and town, Huck is \"free\" to exist and absorb Pap's life of liquor and theft. But after Pap gets \"too handy with his hick'ry,\" Huck decides to escape. The ensuing passages portray another comical, slapstick version of Pap, cursing against a \"gov'ment\" that would take his only son away and condemning a nation that would allow a \"nigger\" to vote. Beneath Pap's farcical ramblings, however, is the reality that Huck has, indeed, been constantly beaten and left alone for days, locked in the cabin. The reality of Huck's existence under Pap, then, is one where the presence of Pap's fist and racism pervade \u2014 where Huck is \"all over welts\" and subject to the venom Pap has for all of society.\nPap's role as an abusive parental figure is disturbing but vitally important to the novel, because it sets up as a direct contrast to the heroic and caring Jim. When Huck and Jim come upon the floating frame-house in Chapter 9, they discover a dead man among the various items. After Jim looks over the body, he tells Huck to come in the house, but \"doan' look at his face \u2014 it's too gashly.\" Jim's gesture is similar to that of a protective parent, but the symbolism of the act is not fully realized until the last chapter of the novel. In Chapter the Last, Jim explains that the dead man aboard the house was Pap, and Huck realizes that Pap will not bother or abuse him ever again. With this realization, readers now view Jim's earlier gesture as an act performed by an empathetic and caring figure, and, in this sense, Jim serves as a father figure. With Jim as his role model, Huck is able to \"inherit\" the admirable and worthy qualities that Jim possesses and, therefore, is able to make his later decision to free Jim.", "id": "<urn:uuid:03b30c95-f2c2-4c7b-bdc4-017f4d6f7817>", "dump": "CC-MAIN-2017-17", "url": "https://www.cliffsnotes.com/literature/a/the-adventures-of-huckleberry-finn/critical-essays/characterization-8212-pap-versus-jim", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118552.28/warc/CC-MAIN-20170423031158-00435-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9756670594215393, "token_count": 1148, "score": 3.625, "int_score": 4}
{"text": "One fictional story and one essay is selected.compare, and contrast how they use narrative. As you do, analyze in what ways and on what topics a fictional narrative may be superior for discussing workplace themes and in which ways and on what a nonfiction narrative may be superior. Make sure you explain why this is the case.\nThis comparison would be facilitated by selecting works related in some way: works that share a theme, a type of character, a situation, an ethical question, and the like. Be specific in the analysis of story elements. Discuss how essays and fictional stories differ in characterization, plot, story line, suspense, language use, setting, point of view, presentation of theme, and in the integration of other literary elements discussed in this course. As you make these comparisons, consider the following points:\na. What shapes your emotional response to the stories in each work?\nb. In a nonfiction work, the author must establish him or herself as credible. What takes the place of this need in fiction? How does this difference in narrative strategies relate to what is communicated about workplace themes?\nc. Fiction is often intended to entertain the reader more than is the case in nonfiction. How are narratives used differently for entertainment purposes and for persuasive purposes in essays? How does the element of entertainment in either genre relate to the communication of serious messages about the workplace?\nd. How do facts and narrative relate?\ne. Consider where the theme of each work is introduced and how explicitly it is unveiled.\nI offer some notes for you to consider as you formulate your own essay.\nFirst of all, as you compare and contrast this fictional story example and the essay, you might demonstrate how I feel that the fictional narrative is more superior for discussing workplace themes because it seems to solicit more emotional responses than the nonfiction narrative does in this case. Although both pieces contain numerous workplace themes and implications, I feel that their emotional impact varies. What do you think?\nIn the first piece, \"A Delicate Balance,\" I feel that the genre of fiction functions more successful since it intends not only to entertain the reader but also to persuade the reader about workplace issues. Although both pieces share the element of entertainment and both also effectively communicate quite serious messages about the workplace, their emotional appeals are different.\nSpecifically, I feel that \"A Delicate Balance\" draws and entertains readers more with the well developed characters, themes, plot, and overall emotional appeal. What do you think?\nAs we are drawn to the plot, we also learn many lessons. Please note how Armas crafts Romero Estrada's character as almost a Bartleby or a victim of life and work. This character is portrayed as submissive, silent, and subjugated initially as a worker since \"He would get up almost every morning and clean and shave, and then after breakfast he would get his broom and go up and down the block sweeping the sidewalks for everyone.\"\nI feel that it seems like Armas is commenting on how monotonous labor is and how devalued workers often are. Since the character \"would sweep in front of the Tortilleria America, the Tres Milpas Bar, Barelas' Barbershop, the used furniture store owned by Goldstein, the corner grocery store, the Model Cities office, and the print shop. In the afternoons, he would come back and sit in the barbershop and just watch the people go by,\" it seems like we are emotionally drawn to him, feeling empathy that his entire identity is linked to his job as a sweeper, not his personality, talents, ...\nComparing Narrative in Fiction and Nonfiction is achieved in \"A Delicate Balance.\"", "id": "<urn:uuid:4b57f861-441e-4d95-867d-8fcc1f525321>", "dump": "CC-MAIN-2017-17", "url": "https://brainmass.com/english-language-and-literature/language/comparing-narrative-in-fiction-and-nonfiction-240733", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123484.45/warc/CC-MAIN-20170423031203-00203-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9660348892211914, "token_count": 756, "score": 3.734375, "int_score": 4}
{"text": "Youth in the United States represent many different backgrounds, cultures, and lifestyles. The issues faced by these youth are also diverse. PYD can assist and benefit the youth service providers and public health programming by identifying diverse circumstances to better understand the needs of youth. Examples of these issues include the following:\nDifferent Types of Transitions During Adolescence:\n- Youth transitions can include: transitioning from elementary or middle to high school environments, student to employee, foster youth to adult of legal age, resident of juvenile justice facility to reintegrated youth/adult, stable family routine to disrupted living arrangements, and dependence on guardian income to taking on more financial responsibility.1\nSpecific Population Challenges:\n- Issues that LGBT youth are more likely to experience than heterosexual youth, such as stigma, discrimination, family disapproval, and violence, can place them at a higher risk for behavioral health challenges and complications (e.g., suicidal ideation and substance use).\n- Youth with disabilities may face additional challenges while attending school and gaining employment. You can learn more about youth with disabilities here.\n- Immigrant and refugee youth are more likely to experience stress due to societal exclusion, poverty, trauma, and separation from family.2\n- Exposure to violence and trauma while experiencing a transition can have a cumulative effect on increasing physical and mental health risks for youth.3\nPYD enhances the sense of belonging, creating, and strengthening relationships with peers, friends, and identification of one's culture within a community. Increased resiliency and risk reduction can be fostered by utilizing PYD principles and practices with youth and communities of different ethnicities, races, cultures, specific needs with respect to behavior and learning, and sexual orientation. Examples of positive youth development principles in research and programming for multicultural youth include:\n- Within cultures of the United States, Native American youth with a high sense of cultural identity and self-esteem displayed lower levels of alcohol and drug use.4\n- The use of traditional American Indian/Alaska Native values through activities, such as storytelling, have shown success in decreasing substance abuse among these youth.5\n- Vietnamese-American youth exhibited a greater connection to their culture and community when they participated in a youth development program that enhanced their interpersonal skills and self-confidence.6\n- An intervention primarily targeting youth of color (specifically African American, Asian, and Latino) found that youth engagement in safe sexual practices increased after two months of receiving preventative messages via Facebook.7\n- Similarly, an intervention for African-American adolescent girls at high risk for sexually transmitted diseases included information about ethnic and gender pride, HIV knowledge, communication, condom use skills, and healthy relationships. The girls who received 16 hours of training were more consistent in their use of safe sex practices at the 6- and 12-month assessments.8\nFrom an international perspective, similar studies confirm the effectiveness of PYD practices.\n- Youth in Panama, Costa Rica, and Guatemala who had PYD experiences, such as relationships with peers, teachers, and their families, were better able to make decisions regarding drugs and substance abuse than those with fewer positive experiences and relationships.9\n- When agencies and youth development professionals in Hong Kong provided high-risk youth life-skill training aimed at personal competency, belonging, and optimism, the youth reported having positive behavior changes. These changes included controlling anger, resolving conflict, learning more effective communication with adults, solving problems, and developing stronger value for teamwork. The key was that youth were encouraged to make contributions to their communities through service-learning activities, and parents and teachers were empowered to serve in supportive roles.10\n- Children with cerebral palsy in Bangladesh were able to improve their adaptive skills when their caregivers received a parent training program. The adaptive skills were measured in communication, socialization, motor skills, and daily living.11\nPositive experiences, positive relationships, and positive environments\u2014regardless of culture or ethnicity\u2014can contribute to PYD.\nImproving Education and Employment for Disadvantaged Young Men: Proven and Promising Strategies\nThis report reviews programs and policies\u2019 evidence base on topics such as youth development, programs developed to improve educational attainment and employment for in-school youth, and programs that try to reconnect youth that are out of school and often unemployed.\nGrowing Up in a New Country: A Positive Youth Development Toolkit for Working with Refugees and Immigrants\nThis toolkit supports service providers in their efforts to develop quality programming that is culturally competent and effective for the refugee and immigrant youth in their communities.\nA Native Pathway to Adulthood: Training for Tribal and Non-Tribal Child Welfare Workers\nThis competency-based curriculum enhances the skills of tribal and state workers in facilitating the transition of older Native American youth from out-of-home care to adulthood. The curriculum also encourages collaboration between tribes and public agencies to ensure that culturally relevant transition services are provided. The manual introduces the unique life path of tribal youth, provides information to enhance current intervention skills, and adds to the knowledge base of accessible local and national resources.\nPositive Youth Justice: Framing Justice Interventions Using the Concepts of Positive Youth Development\nThis report can help develop a data-driven system and can act as a guide to answering such questions as: How many youth are homeless? Which housing or service interventions are most effective at ending homelessness for youth of diverse needs and contexts? Are we reducing the number of homeless youth and the length of time they are homeless?\nA Training Curriculum for Youth Trainers: Strategies for Supporting Transition Aged Youth (PDF, 167 pages)\nThis training curriculum from the Y.O.U.T.H. (Youth Offering Unique Tangible Help) Training Project was developed for training child welfare workers and empowering foster youth. Former foster youth developed the curriculum, which includes training for specific competencies; samples of training-day curricula; training activities; and tips, resources, and surveys for foster and LGBTQ youth.\n1 World Development Report, 2007; Yudin, 2013; Walters, et al. 2011\n2 Rhodes, 2005\n3 Boynton-Jarrett, Hair, & Zuckerman, 2013\n4 Zimmerman & Arunkumar, 19947\n5 Moran & Reaman, 2002; NREPP, 2007\n6 McConachie, Huq, Munir, Ferdous, Zaman, & Khan, 2000\n7 Kegler, Young, Marshall, Bu, & Rodine, 2005\n8 Bull, Levine, Black, Schmiege, & Santelli, 2012\n9 DiClemente et al., 2004\n10 Kliewer & Murrelle, 2007\n11 Wong & Lee, 2005\nOther Resources on this Topic\nTools & Guides\nVideos & Podcasts\nWebinars & Presentations", "id": "<urn:uuid:6216ef3e-c7ad-4479-bb60-c9f10ea7d34d>", "dump": "CC-MAIN-2017-17", "url": "http://youth.gov/youth-topics/how-culture-diversity-and-prior-experiences-can-influence-positive-youth-development", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121165.73/warc/CC-MAIN-20170423031201-00437-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9319161176681519, "token_count": 1387, "score": 3.625, "int_score": 4}
{"text": "Refining Your Reading Workshop. Session 4. Agenda. Finish prompting activity Mini-Lessons Sharing Journals. \u201cPeople who do not trust children to learn, or teachers to teach, will always expect a method (or program) to do the job.\u201d Frank Smith. Whole Group Instruction. Mini-Lessons.\nDownload Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.\nRefining Your Reading Workshop\nFinish prompting activity\nWhole Group Instruction\n5 \u2013 15 minutes\n- introduce a comprehension strategy, skill, or concept\n- think aloud\n- apply strategies to text\n- students share/participate\n- based on student NEED &\nBook Talks (optional)\n** Skills and Strategies that ALL students at your grade level should know or learn.\nProcedures and Organization\nStrategic Reading Behaviors\nLiterary Elements and Techniques\n**Kids who struggle with these skills then get more supported practice during small group instruction so they can practice these skills with text at their reading level. \u201ctraining wheels\u201d\nTDC \u2013 Mini-Lesson (Angel for Solomon Singer)\nWhat did you notice about the level of thinking from the students?\nMake your thinking \u201cvisible\u201d to kids.\nDemonstrate the thoughts that might come to your mind while reading.\nSee p. 33 \u2013 34 in handout\nHow would this help you?\nShare ideas of great mentor text ideas for the comprehension strategies.\nGive one idea and get one idea from as many people as you can.\nOptimal time for informal assessment.\nTeaching for Deep Comprehension\nClip on Authors Study Share time\nShare ideas about how you structure share time in your workshop.\nWhat ways could you take informal assessment information during the share time?\n\u201cOur understanding is enhanced when we communicate with others about our thinking. It is a way for readers to construct knowledge, generate new ideas, clarify their own thinking\u2026\u201d\n-Fountas and Pinnell\nTeaching for Comprehending and Fluency p. 438\nWhat should they be reading?\nHow often do they read?\nWhat if they aren\u2019t choosing the right books?\nWhat do they write about?\nHow often do they write?\nDeeper comprehension entries\nHow often do they respond in their journal?\nGet into grade level teams.\nShare ideas for structuring your students\u2019 reading response journals.\nKeep in mind\u2026less is more in terms of sections.", "id": "<urn:uuid:59a02524-e6c9-45d2-ba42-16d693a9afcb>", "dump": "CC-MAIN-2017-17", "url": "http://www.slideserve.com/burton/refining-your-reading-workshop", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118713.1/warc/CC-MAIN-20170423031158-00141-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.861530601978302, "token_count": 565, "score": 3.640625, "int_score": 4}
{"text": "A semester-long subject chosen by many students, undertaken either in first or second semester.\nThis unit is structured to help each student to develop ideas for drama from a variety of sources: the arts, literature, current affairs and real life characters. They explore the dramatic potential of a range of stimuli, responding in either naturalistic or non-natualistic forms of expression. They create roles and characters in response to and in collaboration with others, exploring the contexts of characters and situations.\nStudents improvise, select and structure elements of drama to make short improvisational plays. They experiment with a range of forms, styles and conventions in drama such as mime, physical theatre, circus arts and role play to create dramatic images and to convey meaning.\nUsing a variety of techniques and processes, students develop a range of performance skills to communicate with an audience. Drama classes seek to help students to develop the ability to use starting points to generate and expressively develop ideas for making and presenting drama.\nThe units of work allow students to develop the ability to make informed judgments about the values and purpose of drama. They describe, analyse, interpret and evaluate drama. Students use appropriate terminology to critically discuss and investigate the works.\n- Explore the dramatic potential of a range of stimuli.\n- Use observation, experience or research to create drama.\n- Develop characters and situations from starting points, individually and as part of a group.\n- Plan, rehearse and present drama to a variety of audiences.\n- Develop and sustain characters and situations to express ideas.\n- Develop scripts from improvisation.\n- Evaluate and refine own work\n- Compare the structure and expressive qualities of a range of dramas.\n- Develop and express informed opinions about drama.\n- Use appropriate terminology to discuss drama.\n- Compare dramas from selected cultural and historical contexts.\n- At Year 8 level, the curriculum aims to introduce students to ways in which scenes and plays can be developed from observation, research and personal experience. They are also encouraged to use the Internet to access this information. Students are encouraged to continue to develop the skills of refining and shaping improvised drama which incorporates dramatic elements and forms and to use imagination and perception to develop characters.\n- Students also study play scripts to learn ways of organizing their own ideas before writing their own plays. Learning to sustain characters by use of appropriate voices, gestures, movement and timing are incorporated into the units of work. Individually and in groups, they experiment with dramatic and theatrical forms to convey meaning. Students learn that different effects can be achieved by acting the same scene naturalistically and non-naturalistically. Students also experiment with staging possibilities to communicate their work to a variety of audiences in a range of settings. Students are given opportunities of building on their creative gifts and talents and to further develop in confidence and self esteem.\n- Use resources from a variety of sources to develop and expand ideas.\n- Make decisions about which techniques and processes to use in developing characters.\n- Use a range of skills and techniques to organise drama elements.\n- Structure drama to lead to performance.\n- Use methods involved in script writing techniques.\nAt Year 8 level, students are encouraged to use appropriate drama terminology to discuss and evaluate their own work and also to express opinions about their own and others drama. Students identify ways in which drama can inform, entertain and challenge an audience or simply provide an escape into imaginary worlds. Students learn about ways in which drama and theatre have developed and identify differences in content and presentation. Taking part in discussions about ways in which theatre and drama challenge and reinforce attitudes helps students to construct personal and social values.\nStudents will develop ideas about:\n- How the organisation and presentation of drama communicates ideas and feelings.\n- Effectively communicating ideas through drama.\n- The ways in which drama is an essential part of identity and culture.\nAssessment of this subject takes place mainly through teacher observation through:\n- Keeping a well maintained workbook\n- Teacher observation of cooperative behaviours\n- Observation of contribution during class\n- Use of imagination to create characters\n- Ability to collect and use ideas from a varied source\n- Ability to sustain character\n- Ability to follow through on storyline during improvisation\n- Production of a script\n- Participation in role plays\n- Confidence during performance\n- Ability to work as a member of a group", "id": "<urn:uuid:e15faeea-8e5d-4c98-903a-e0d3982770f3>", "dump": "CC-MAIN-2017-17", "url": "http://www.oxley.vic.edu.au/about/senior-school/year-8-curriculum/year-8-drama", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125532.90/warc/CC-MAIN-20170423031205-00146-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9219001531600952, "token_count": 885, "score": 4.03125, "int_score": 4}
{"text": "Glass Painting: the Storytelling Griot of the Signares\nby Chrysanthe M.\nHigh on the dining room walls in our house are several representative portrait paintings of African women of the 15th century. They\u2019re representative because the paintings are depictions of members of a class of women called Signares. Signares were African women who married or were the mistresses of Portugese traders (including slave traders), first in the 15th century, and with other Europeans in the centuries that followed. Many of the Signares of note were centered on the island of Gor\u00e9e, off the coast of Senegal near Dakar. In many original African societies, while the men hunted for game meat, the women took charge of the domestic domain. This often included farming the land, and trading the produce and other goods sold at the market. Their commercial experience served them in dealing with the Europeans, with whom they were often partners, and served as translators and guides to local culture. The slave trade was notorious and dirty business, but a whole society existed around it, and the Signares who were free women operated in it, and made the most of it. They were given credit for being tenacious and clever, often competing with the men. They became prominent, powerful and wealthy in their own right, and were often noted for their beauty. Fashionably dressed to the nines in their striking gowns, headwear, and jewelry, it is no surprise that they became a staple and iconic image in the medium of glass painting.\nThe practice of glass painting is thought to have originated in Syria and Iraq around 1500 BC. Influenced by the flattened forms of Byzantine artwork, the practice traveled a circuitous route to Europe via Asia and North Africa by the 14th century AD. It enjoyed great popularity and production in Asia, North Africa, the Middle East, India and China. In Europe, its demise was result of the invention of chromolithography 1830\u20141850.\nAt that time in French territories in west Africa, Muslim pilgrims from Senegal to Mecca would return with glass paintings of imaginary religious scenes, like those they had first seen in the shrines. Local craftspeople quickly took to the practice, copying the works they saw. They improvised, using local tools and Chinese ink, paper and brushes. Although the practice began with the Muslim faithful, it soon became a common practice by any artist that wished to use the technique. Not unlike European religious paintings based on the Bible, many of the early works depicted scenes from the Qur'an and Muslim teachers in various brotherhoods. This was in defiance of the French colonial ban on such imagery.\nThe glass painting genre has never gone out of style, and things have changed and become more inclusive over time, going from religious imagery of the Qur'an, the Bible, and leaders of sects and mosques, to social commentaries and portraits. The earliest practitioners were self-taught, copying earnestly from the original artworks brought back by religious pilgrims. In time, however, the proficient self-taught craft painters took on apprentices to whom they taught the form. As the glass painters grew in number and the medium's popularity spread, new themes and diverse styles were emphasized.\nIn the 1920s and 1930s photography became established there, and the wealthy Senegalese used it to document their lives. Glass paintings became photographic backdrops, and flourished with photographs mounted on them, sides and tops painted in decorative designs. Yet photography proved too expensive, its supplies too difficult to obtain and replenish, in colonial Africa. Glass paintings became the established medium for commissioned portraits from life, and family scenes.\nNon-commissioned glass-paintings were often of beautiful women, called \u00e9l\u00e9gantes, with special attention given to their hairstyles, head coverings and jewelry, plus clothing and accessories that indicated status and ethnicity. The early style of these was of flat, frontal images painted on a background in a neutral tone. Details and shapes came through ink outlines.\nThe painting is done in reverse of traditional western painting process, with the outline drawn in ink first of all. Next, small details and embellishments are filled in, then the larger forms are filled in with oil paints. The background is painted last of all, and the entire project is completed on the back side of the transparent glass. What the artist sees is the reverse of the viewer will see. This is not as simple as it may seem, for the paint must be built up layer by layer, and sometimes baked to insure adhesion to the back of the glass. The glass painting is backed by a stiff material and taped around the edge. The painting may then be framed, but is often not.\nThe early painters did not sign their work, and although it was very popular, was almost an underground or unheralded, unrecognized art form. Early painters called themselves the School of the Streets. The first wave of apprentices opened up the form and made it less static and formal. Instead of using templates or tracing to place the image, some began to draw directly in ink or paint upon the glass. Some of these new painters based their subject matter on local histories, and the dreams or victorious actions of local warriors. With the growth of tourism and broader interest, the images and their meanings expanded to include legends, myths, proverbs and cultural histories. The age-old conflict between man and woman and moral overtones appeared in some of the works. Some artists tried mixed media experiments with collage and home made dyes.\nThe glass painters\u2019 third generation are those with recognized training by approved art centers and schools. Long ignored by mainstream institutions and galleries, the trade of glass painting was left to the bustling street markets. By the 1970s that identity began to change. The Senegalese government supported the founding of a workshop, and slowly local galleries began to show and sell glass paintings. The marketplace has moved to more formal settings, traveling shows and cultural centers in Dakar and other cities.\nWomen with formal educations entered the mostly-male domain. One of the most notable and successful artists is Anta Germaine Gaye. Born 1953 into a wealthy family, she had an early and enduring interest in art, and her studies at Universit\u00e9 Cheikh Anta Diop in Dakar led her to study the Signares and their history.\nMs. Gaye felt a personal connection with them, as part of her heritage as a descendant of one of these women. She and other artists in the 1980s expanded the glass-painting form with more colors, the outlines softer and irregular, or with a massed textural effect. Although the presentation was flat, the images seem more layered and visually fractured, to offer a more dynamic view than in the past. Sometimes referred to as fix\u00e9, the mottled look came from the laying of paper over the wet painted surface of the glass, causing the paint to crack and blister as it dries.\nThe history of glass painting in Senegal is long, and rich in detail. Its flatness reminds this collector of the classic Japanese ukiyo-e woodblocks that so inspired 19th century French artists. The glass painting art form may not have been founded in West Africa, but was taken up there in full vigor as a keeper of culture, a storyteller, a visual griot for its time, today.\nClick to see A Gallery of Glass Paintings of Signares.\nChrysanthe M. is an artist and photographer inspired by African culture and her travels.\nFor more information, please see In Senghor\u2019s Shadow by Elizabeth Harney, and\nAfrica Through the Eyes of Women Artists by Betty LaDuke.\nAnta Germaine Gaye photo from wakh-art.blogspot.com.", "id": "<urn:uuid:d08aa247-9dd7-4490-b8e6-2d635a4ac536>", "dump": "CC-MAIN-2017-17", "url": "http://bad.eserver.org/issues/2013/84/chrysanthe.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121665.69/warc/CC-MAIN-20170423031201-00258-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9783154129981995, "token_count": 1601, "score": 3.609375, "int_score": 4}
{"text": "Depending on your particular class, you may find this transition option more effective. It\u2019s best to have two or three \u201cbridge\u201d assignments because as we all know, class personalities greatly differ!\nThis transition incorporates the connection of how we treat others and how others treat us, based on such factors as race, ethnicity, and culture. First have students ascertain their understanding of terms such as self-fulfilling prophecy. Given what they\u2019ve just read, they should have a pretty good idea!\nYour task in the discussion is to help them understand the current psychological and sociological implications of the term. Once they seem to have a solid grasp and have provided real-life examples that seem to have everyone nodding their heads, you\u2019ll want to have them make the connection to such terms as stereotyping, marginalizing, and discrimination.\nThe goal is to point them towards an understanding of the connection between how people, teenagers in particular (but you may not want to advertise that point), are engaged in all of these behaviors to a degree. Empathizing with this fact, we want them to move into how Junior moves through each and every one.\nDepending on where the discussion ends, you may want to have them journal about the discussion at the end of class or for homework. If you have time, have them begin reading the text together.\nVII. Reading the Text\nIf you\u2019re lucky, you can break up the reading into thirds, finding ideal spots for break offs\u2014students will, more than likely, find it engrossing and engaging. By purposefully presenting Oedipus, first, you\u2019ve set them up for success in reading solo.\nIn the past, I\u2019ve found great success with short quizzes on reading at the beginning of class, which include simple questions based on the \u201cchunk\u201d they\u2019ve read. I would present these before moving into discussion to provide those students who actually did the reading with a boost to their grade.\nConfirmation of understanding is at the core of breaking up the text, and depending on your group and time-frame, you may want to have volunteers illustrate, dramatize, or retell the story to the class. The beauty of having students as the center of attention increases understanding. As you work through each chunk of the text, highlight literary elements you find along the way.\nA.After reading, students should determine the author\u2019s argument: What message does Alexie want readers to understand about self-fulfilling prophecy, predestination, or free will? Through what literary elements, such as plot, character, or symbolism, do they receive the message?Why do you think he wrote about this particular age-group, race, and culture, at this particular moment in history?\nFor lower-level classes, you may want to provide students with the option to work in pairs. This may be their first literary analysis. The idea is that they are able to articulate what the author argues, how, and why. For this very first endeavor, also consider having them expand on only one paragraph per focus to ensure they understand how to build an analysis.\nParagraph One: What they think Alexie argues in the novel and why.\nParagraph Two: One literary element that he uses to make that argument--using examples from the novel to support their choice.\nParagraph Three: Why, based on what they've read, do they think he chose to write this message to readers of today.\nThe next \u201cbump\u201d in thinking is much more in-depth. That is, students will be combining personal narrative with argument, using Alexie\u2019s text as a model. Coming soon! : )", "id": "<urn:uuid:495307a6-1ef1-4aff-8482-69fe4edaefcf>", "dump": "CC-MAIN-2017-17", "url": "http://joyfulcollapse.blogspot.com/2012/06/destiny-fate-or-free-will-unit-part-iv.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122167.63/warc/CC-MAIN-20170423031202-00083-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9597707986831665, "token_count": 772, "score": 3.5625, "int_score": 4}
{"text": "Individual differences |\nMethods | Statistics | Clinical | Educational | Industrial | Professional items | World psychology |\nImagination is the ability to form mental images, or the ability to spontaneously generate images within one's own mind. It helps provide meaning to experience and understanding to knowledge; it is a fundamental facility through which people make sense of the world, and it also plays a key role in the learning process. A basic training for imagination is the listening to storytelling (narrative), in which the exactness of the chosen words is the fundamental factor to 'evoke worlds'.\nIt is accepted as the innate ability and process to invent partial or complete personal realms within the mind from elements derived from sense perceptions of the shared world.[How to reference and link to summary or text] The term is technically used in psychology for the process of reviving in the mind percepts of objects formerly given in sense perception. Since this use of the term conflicts with that of ordinary language, some psychologists have preferred to describe this process as \"imaging\" or \"imagery\" or to speak of it as \"reproductive\" as opposed to \"productive\" or \"constructive\" imagination. Imagined images are seen with the \"mind's eye\".\nThe common use of the term is for the process of forming in the mind new images which have not been previously experienced, or at least only partially or in different combinations. Some typical examples follow:\n- Fairy tale\n- A form of verisimilitude often invoked in fantasy and science fiction invites readers to pretend such stories are true by referring to objects of the mind such as fictional books or years that do not exist apart from an imaginary world.\nImagination in this sense, not being limited to the acquisition of exact knowledge by the requirements of practical necessity, is, up to a certain point, free from objective restraints. The ability to imagine one's self in another person's place is very important to social relations and understanding. (Some psychiatrists suspect this is beyond the grasp of a sociopath. All they know is the gratification of personal pleasure).\nIn various spheres, however, even imagination is in practice limited: thus a man whose imaginations do violence to the elementary laws of thought, or to the necessary principles of practical possibility, or to the reasonable probabilities of a given case is regarded as insane.\nThe same limitations beset imagination in the field of scientific hypothesis. Progress in scientific research is due largely to provisional explanations which are constructed by imagination, but such hypotheses must be framed in relation to previously ascertained facts and in accordance with the principles of the particular science.\nImagination is an experimental partition of the mind used to create theories and ideas based on functions. Taking objects from real perceptions, the imagination uses complex IF-functions to create new or revised ideas. This part of the mind is vital to developing better and easier ways to accomplish old and new tasks. These experimented ideas can be safely conducted inside a virtual world and then, if the idea is probable, and the function is true, the idea can be actualized in reality. Imagination is the key to new development of the mind and can be shared with others, progressing collectively.\nImagination vs. belief Edit\nImagination differs fundamentally from belief because the subject understands that what is personally invented by the mind does not necessarily impact the course of action taken in the apparently shared world while beliefs are part of what one holds as truths about both the shared and personal worlds. The play of imagination, apart from the obvious limitations (e.g. of avoiding explicit self-contradiction), is conditioned only by the general trend of the mind at a given moment. Belief, on the other hand, is immediately related to practical activity: it is perfectly possible to imagine oneself a millionaire, but unless one believes it one does not, therefore, act as such. Belief endeavours to conform to the subject's experienced conditions or faith in the possibility of those conditions; whereas imagination as such is specifically free. The dividing line between imagination and belief varies widely in different stages of technological development. Thus someone from a primitive culture who is ill frames an ideal reconstruction of the causes of his illness, and attributes it to the hostile magic of an enemy based on faith and tradition rather than science. In ignorance of the science of pathology the subject is satisfied with this explanation, and actually believes in it, sometimes to the point of death, due to what is known as the nocebo effect.\nIt follows that the learned distinction between imagination and belief depends in practice on religion, tradition, and culture.\nImagination as a reality Edit\nThe world as experienced is actually an interpretation of data apparently arriving from the senses, as such it is perceived as real by contrast to most thoughts and imaginings. This difference is only one of degree and can be altered by several historic causes, namely changes to brain chemistry, hypnosis or other altered states of consciousness, meditation, many hallucinogenic drugs, and electricity applied directly to specific parts of the brain. The difference between imagined and perceived real can be so imperceptible as to cause acute states of psychosis. Many mental illnesses can be attributed to this inability to distinguish between the sensed and the internally created worlds. Some cultures and traditions even view the apparently shared world as an illusion of the mind as with the Buddhist maya or go to the opposite extreme and accept the imagined and dreamed realms as of equal validity to the apparently shared world as the Australian Aborigines do with their concept of dreamtime.\nImagination, because of having freedom from external limitations, can often become a source of real pleasure and unnecessary pain. A person of vivid imagination often suffers acutely from the imagined perils besetting friends, relatives, or even strangers such as celebrities. Also crippling fear can result from taking an imagined painful future too seriously.\nImagination can also produce some symptoms of real illnesses. In some cases, they can seem so \"real\" that specific physical manifestations occur such as rashes and bruises appearing on the skin, as though imagination had passed into belief or the events imagined were actually in progress. See, for example, psychosomatic illness and folie a deux.\nIt has also been proposed the whole of human cognition is based upon imagination. That is, nothing that we perceive is purely observation but all is a morph between sense and imagination.\nImagination preceding reality Edit\nWhen two existing perceptions are combined within the mind the resultant third perception referred to as its synthesis and on occasion a fourth called the antithesis, which at that point only exists as part of the imagination, can often become the inspiration for a new invention or technique[How to reference and link to summary or text].\n- Egan, Kieran (1992). Imagination in Teaching and Learning. Chicago: University of Chicago Press.\n- Frye, N. (1963). The Educated Imagination. Toronto: Canadian Broadcasting Corporation.\n- Norman, Ron (2000) Cultivating Imagination in Adult Education Proceedings of the 41st Annual Adult Education Research.\n- Sutton-Smith, Brian. (1988). In Search of the Imagination. In K. Egan and D. Nadaner (Eds.), Imagination and Education. New York, Teachers College Press.\nA philosopher for whom imagination is a central concept is John Sallis. See in particular:\n- John Sallis, Force of Imagination: The Sense of the Elemental (2000)\n- John Sallis, Spacings\u2014Of Reason and Imagination. In Texts of Kant, Fichte, Hegel (1987)\n- This article incorporates text from the Encyclop\u00e6dia Britannica, Eleventh Edition, a publication now in the public domain.\n|This page uses Creative Commons Licensed content from Wikipedia (view authors).|", "id": "<urn:uuid:40745aaf-9a3b-4846-b4b3-489ba25d8719>", "dump": "CC-MAIN-2017-17", "url": "http://psychology.wikia.com/wiki/Imagines", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121453.27/warc/CC-MAIN-20170423031201-00203-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.939662516117096, "token_count": 1592, "score": 3.625, "int_score": 4}
{"text": "Which elements are needed to make not just the story, but the experience of learning it special and impactful?\n\"Knowledge is Power\" goes the old saying. But the thing about power is that you have to know how to use it, and you need to know that sharing power is more important than holding on to it for yourself. The act of sharing knowledge- story sharing - needs a special brand of skill and competence. Use that power to be a wizard and perform story sharing magic!\nThe Magic of Stories\nExtensions of Story-Based Learning Design\nStory-Based Learning Design encompasses the development of learning lessons and the facilitation of story-sharing. It is in the story-sharing that trainers, mentors, coaches and leaders extend and expand the \"viral effect\" of lesson stories. A good story lesson distributes factual content and knowledge much more rapidly and penetrates learners' minds more deeply.\nA good example of this is the Apartment Manager Story we last saw in our Positive Stories article. Using a story with a strong emotional core grabs learners' attention and encourages an empathetic reaction that makes the lesson come alive, relatable and memorable. These kinds of stories - and the lessons they illustrate - stick!\nPutting it all together: Wand, Spell, and Stage\n1. Your Wand: Choosing the right story\nIn her book, \"Whoever Tells the Best Story Wins,\" author Annette Simmons enumerates six different kinds of stories used for business purposes. For our purposes, we can look at these classifications that apply:\nTeaching Stories can change their behavior, perspective, or skills and lead to meaningful results\n|Use with product training, sales training, skills training|\n|Vision Stories inspire people, and link their actions to a specific, valuable, and worthy outcome.||Use with behavioural training and goal-setting|\n|I-know-what-you-are-thinking stories allow you to anticipate your audience's point of view, so you choose a story that deals with their unspoken concerns.||Use with all kinds of training|\n|Values-in-Action Stories can be positive or negative. You can tell stories that demonstrate positive values, or tell ones that highlight attitudes that you don't want to see.||Use with corporate values training, behavioral training, compliance training|\n2. Your Spell: Using the right story questions\nWe know that the Set Up, Relate, Interpret and Apply (SRIA) model involves injecting effective Story Questions for each step. Combine these with the right story and you have a well-rounded discussion. Learn more about the right story questions here.\n3. Your Stage: Delivering the story in the right way\nA story is only as good as the storyteller. Develop your confidence and improve your delivery skills to maximize the effect your story has on the audience. Add humor, drama, and flourish to your storytelling to inspire, entertain and educate all at the same time. Find out what it takes to be a master storyteller here.\nKnowledge is powerful stuff, and sharing knowledge effectively adds and enriches the collective tapestry of stories within an organization. Understanding this will help you captivate your learners and create story-telling and learning experiences that will add to their overall value.\nWhoever Tells the Best Story Wins: How to Use Your Own Stories to Communicate with Power and Impact\nKnowledge Sharing-The Value of Story Telling\nTip #34: Are You A Master Storyteller Trainer and Designer?\nTip #43: How to Use Questions to Immerse Learners in Your Lesson\nRay Jimenez, PhD\n\"Helping Learners Learn Their Way\"", "id": "<urn:uuid:5bc27ab6-255d-4c6b-8b20-196b677f450e>", "dump": "CC-MAIN-2017-17", "url": "http://vignettestraining.blogspot.com/2015/01/be-story-sharing-magician.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118851.8/warc/CC-MAIN-20170423031158-00553-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8985012769699097, "token_count": 757, "score": 3.5, "int_score": 4}
{"text": "|Author Chris Eboch|\nThis post is adapted from You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, from Chapter 5: Characters.\nSome authors prefer to start with a plot idea, while others start with an interesting character. Either can work, but ultimately the plot and character must work together. Let\u2019s start with a look at character development, as it intersects with plot.\nA strong story needs conflict. Without conflict, you have one of those \u201cslice of life\u201d episodes that isn\u2019t a real story. But conflict doesn\u2019t just come from dramatic things happening. It comes from the character \u2013 what he or she needs and wants, and why he or she can\u2019t get it easily. Conflict comes from a character with a problem or a goal.\nLet\u2019s start with a premise: a kid has a math test on Monday. Exciting? Hardly. But ask two simple questions, and you can add conflict.\n\u00b7 Why is it important to the character? The stakes should be high. The longer the story or novel, the higher stakes you need to sustain it. A short story character might want to win a contest; a novel character might need to save the world.\n\u00b7 Why is it difficult for the character? Difficulties can be divided into three general categories, traditionally called man versus man, man versus nature, and man versus himself. You can even have a combination of these. For example, someone may be trying to spy on some bank robbers (man versus man) during a dangerous storm (man versus nature) when he is afraid of lightning (man versus himself).\nFor our kid with the math test, here\u2019s one example: It\u2019s important because if he doesn\u2019t pass, he\u2019ll fail the class, have to go to summer school, and not get to go to football camp, when football is what he loves most. Assuming we create a character readers like, they\u2019ll care about the outcome of this test and root for him to succeed.\nOur football lover could have lots of challenges \u2013 he forgot his study book, he\u2019s expected to baby-sit a sibling, a storm knocked out the power, he has ADHD, or he suffers test anxiety. But ideally we\u2019ll relate the difficulty to the reason it\u2019s important. So let\u2019s say he has a game Sunday afternoon and is getting pressure from his coach and teammates to practice rather than study. Plus he\u2019d rather play football anyway.\nWe now have a situation full of potential tension. Let the character struggle enough before he succeeds (or fails and learns a lesson), and you\u2019ll have a story. And if these two questions can pump up a dull premise, just think what they can do with an exciting one!\nFears and Desires\nAs that example shows, conflict comes from the interaction between character and plot. You can create conflict by setting up situations that force a person to confront their fears. If someone is afraid of heights, make them go someplace high. If they\u2019re afraid of taking responsibility, force them to be in charge.\nFor example, my middle grade fantasy The Genie\u2019s Gift is set in the fifteenth-century Middle East and draws on the mythology of 1001 Arabian Nights. It could have been simply a magical adventure tale, but the main character gives the story depth. She is anything but the typical swashbuckling hero:\n\u201cThirteen-year-old Anise, shy and timid, dreads marrying the man her father chooses for her. Her aunt tells her about the Genie Shakayak, the giver of the Gift of Sweet Speech, which allows one to charm everyone. Anise is determined to find the genie and ask for the gift, so she can control her own future. But the way is barred by a series of challenges, both ordinary and magical. How will Anise get past a vicious she-ghoul, a sorceress who turns people to stone, and mysterious sea monsters, when she can\u2019t even speak in front of strangers?\u201d\nBecause Anise is so desperate to reach her goal, she tackles challenges far beyond her comfort zone. This makes the dramatic action even more dramatic, while providing a sympathetic character and a theme about not letting your fears stop you from achieving your dreams.\nYou can also create conflict by setting up situations that oppose a person\u2019s desires. Sometimes these desires are for practical things. In my middle grade mystery set in ancient Egypt, The Eyes of Pharaoh, the main character is a young temple dancer whose one goal is to win an upcoming contest. When her friend disappears, she has to decide if winning the contest is really more important than helping a friend.\nPerhaps your character simply wants an ordinary life. In my Mayan historical novel, The Well of Sacrifice, Eveningstar never dreams of being a leader or a rebel. But when her family, the government, and even the gods fail to stop the evil high priest who is trying to take over the city, she\u2019s forced to act. The reluctant hero is a staple of books and movies because it\u2019s fun to watch someone forced into a heroic role when they don\u2019t want it. (Think of Han Solo in Star Wars.)\nTo build conflict:\n\u00b7 Start with the character\u2019s goal. Create conflict by setting up situations which oppose a person\u2019s needs and desires.\n\u00b7 What does your main character want? What does he need? Make these things different, and you\u2019ll add tension. It can be as simple as our football player who wants to practice football, but needs to study. Or it could be more subtle, like someone who wants to be protected but needs to learn independence. (Or the reverse, someone who wants independence but still needs to be protected. Those two characters could even be in the same story. Life is complex, with many shades of gray, and books can explore that.)\n\u00b7 Even if your main problem is external (man versus man or man versus nature), consider giving the character an internal flaw (man versus himself) that contributes to the difficulty. Perhaps your character has a temper, is lazy, or refuses to ever admit she\u2019s wrong. This helps set up your complications and as a bonus makes your character seem more real.\n\u00b7 Your character may change or grow as a person during the story. This is called a character arc. A character who changes is usually more interesting than one who does not. However, growth does not always mean a reversal of attitude. The growth can come from reaffirming what the character already knew. For example, a child could know what is right but struggle to do it. In the end he does what is right, growing by following and reinforcing his beliefs.\n\u00b7 A character\u2019s growth can reflect your theme, by showing what the character learns.\n\u00b7 Before you start, test the idea by considering different options. Change the character\u2019s age, gender, or looks. Change the point of view. Change the setting. Change the internal conflict. What happens? Choose the combination that has the most dramatic potential.\n\u00b7 The conflict must be important enough to sustain the story, and it must not be too easy to solve. This will vary by story length and readership age group.\n\u00b7 It should take more than one attempt to solve the problem \u2013 three tries works well for shorter fiction. For longer fiction, add more attempts, or have each attempt made up of several parts.\n\u00b7 To build original plots, brainstorm 10 possible things that could happen next. Pick the least likely, so long as it makes sense for the story.\nSome writers start with plot ideas and then develop the character who\u2019ll face those challenges, while others start with a great character and then figure out what he or she does. Regardless, remember to work back and forth between plot and character, tying them together with conflict.\nYou Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers offers an overview on writing for young people. Learn how to find ideas and develop those ideas into stories, articles, and books. Understand the basics of character development, plot, setting, and theme \u2013 and some advanced elements, along with how to use point of view, dialogue, and thoughts. Finally, learn about editing your work and getting critiques.\nYou Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers is available for the Kindle, in paperback, or in Large Print paperback.\nNote: If you order the print or large print version from Amazon, you can get the Kindle version as a free add-on. You Can Write for Children includes many links to additional resources; in the Kindle version you can click to go directly to the websites or blogs listed. If you don't have a Kindle, download a free Kindle app for your computer.", "id": "<urn:uuid:e7e09d05-676e-4501-8fda-e3d348c0c92d>", "dump": "CC-MAIN-2017-17", "url": "http://project-middle-grade-mayhem.blogspot.com/2016/02/plot-or-character.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123549.87/warc/CC-MAIN-20170423031203-00614-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9585161805152893, "token_count": 1864, "score": 3.5625, "int_score": 4}
{"text": "The teaching principle used in Aflatoun\u2019s program is called child-centered learning. Children are given space to express themselves, to act on their own, and to solve practical problems together. They act in these situations according to the Aflatoun motto: \u2019Explore, Think, Investigate and Act\u2019. Methods of learning include storytelling, song, drama and dance, games, Aflatoun club formation (Children club).\nAll activities and books covered in the current Aflatoun programme address these issues through \u201cFive Core Elements\u201d that are balanced throughout the curriculum.\nSelf-Understanding and Personal Exploration\nAflatoun boost a child\u2019s confidence and understanding by helping them explore their own identity from an early age. Children are strengthen to determine and assume about their place in the world as a child, a girl or a boy, a son or daughter, a student, and a citizen. Children are also familiarize with nationality, ethnicity and religion, which make children aware of and appreciate the different characteristics that make them unique individuals. Aflatoun programme material promotes compassion, respect for others, and stress the child\u2019s position within a wider community.\nRights and Responsibilities\nAflatoun programme is grounded in the UN convention on the Rights of the Child. We look into four major rights i.e., Right to Survival, Right to Protection, Right to Development and Right to Participation. Children increase their understanding and knowledge of their rights as well as those of others. They are given an opportunity to initiate, plan and organize activities that may positively promote child rights. Rights does not exist alone it goes hand in hand along with responsibilities, children learn about their responsibilities towards themselves, their family, community and the environment.\nSaving and Spending\nChildren as we all know are keen in collecting things that they think have value. The programme develops a broad and clear definition of savings. Children save money and learn how to spend responsibly. Even objects of personal value and natural resources are promoted as equally important as money (coins and bills). Aflatoun often use club and class approach to saving. Children set up Aflatoun club and elect a child leader who manages a group saving process under the supervision of trained teacher. It is place for democratic decisions and the club organize social and financial enterprises.\nPlanning and Budgeting\nThe concept of thinking ahead and planning is a skill, and is a key to individual development. Planning and budgeting let on children to set both personal and financial goals for the future. Children starts to think ahead by their experience and look at what their future may hold. They learn how to make a concrete steps towards a goal that they set for themselves.\nSocial and Financial Enterprise\nIn social and financial enterprise, children view themselves and act as active participants in their community. It is the rational extension of the different learning objectives and activities in Aflatoun programme. Social enterprise focuses on improving their own lives and the lives of the people around them through their collective activities and action, while in financial enterprise children make money through small business initiatives as a way to learn more about the market. The objectives of social and financial enterprise may seem very different however they are connected by the idea that children can play an active and solve a set of problem together. The money earned here is not important as much as their learning about the world and realizing that they are capable of accomplishing things together.\nBased on these concepts, a well structured and balanced curriculum has been drafted which referable by children aging between 6-14yrs. The curriculum itself was refined over 18 years of action research in India, followed by 10 pilot projects around the world. It has been adapted to be appropriate for children in different regions and of different ages, and to be taught both in classrooms and out of school. Aflatoun partners have translated the curriculum and have contextualized it for over a 100 countries. MelJol conducts training, facilitate interactions with the children and teachers and help them understand and implement the program during these sessions.", "id": "<urn:uuid:77c2217b-ffe4-4643-a833-d5f6174936a1>", "dump": "CC-MAIN-2017-17", "url": "http://meljol.org/aflatoun/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118310.2/warc/CC-MAIN-20170423031158-00377-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.968468189239502, "token_count": 816, "score": 3.703125, "int_score": 4}
{"text": "To view this page ensure that Adobe Flash Player version 11.1.0 or greater is installed.\nDOUBLE TAP TO ZOOM WITH PHONE OR TABLET 8 CHAPTER 1 demonstrated, and encouraged to manifest during the earliest years: caring, hon- esty, integrity, respect, responsibility, and self-discipline. These six traits are also commonly found in other literature on character development. Caring The ability to show caring is a pillar of good character. There are benefits to cre- ating a world where people freely demonstrate caring. We would all be healthier and happier if we cared consistently for others, the environment, and ourselves. In a caring world, children would be nurtured (not neglected or abused), adults would demonstrate their care for one another, homes would be comfortable and inviting, and people would be safe and have access to fundamental services and comforts. Infants and young children intuitively yearn to be comforted and cared for by loving adults. Perhaps even more importantly, they are entirely dependent on adults\u2019 care. Therefore, they are constantly learning and observing, through the type of care they receive, what it means to care for another. This happens long before they can cognitively process or describe the actions of caring. Like Becky in the opening story, very young children often demonstrate caring behaviors possibly driven by instinct, or maybe modeled after what they have experienced or observed in the past. Regardless, the expression of caring is one that can be easily affirmed, supported, and encouraged in very young children. As children grow physically and cognitively, they can begin practicing simple caring behaviors, such as gentle touches toward pets and friends, careful han- dling of toys and belongings, respectful treatment of flowers and nature, and regular hand washing and bathing. Very young children can also observe and mimic in a rudimentary fashion how the adults in their lives care for themselves, including personal safety, health, hygiene, nutrition, and appearance. Describing self-care actions to young children is powerful even if they don\u2019t fully understand the words, and it can begin to build their caring vocabulary. For example, before meals we can demonstrate and describe hand washing by saying, \u201cI need to wash my hands before I eat to get rid of all the germs. I\u2019ll use soap and scrub, scrub, scrub until they are clean.\u201d An ethic of caring for the environment can also begin forming in the first years. As adults we can intentionally pick up trash or maintain a backyard bird feeder and describe what we\u2019re doing to children. We can care for our indoor envi- ronments by keeping them clean and arranging them aesthetically and efficiently. Intentional room arrangements with clear and accessible storage for toys can help toddlers and twos learn to care for their things. When we encourage children to COPYRIGHTED MATERIAL", "id": "<urn:uuid:9ffc8e43-ab2f-432c-b190-e14f2b584ec4>", "dump": "CC-MAIN-2017-17", "url": "http://www.redleafpress.org/Assets/ClientPages/e-reader/FY2016/Starting-with-Character/files/17.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120844.10/warc/CC-MAIN-20170423031200-00320-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9618876576423645, "token_count": 588, "score": 3.53125, "int_score": 4}
{"text": "Structure and Character - Excerpted with Permission from the Book \"Story\" - Part One\nBy Robert McKee\nPlot or character? Which is more important? This debate is as old as the art. Aristotle weighed each side and concluded that story is primary, character secondary. His view held sway until, with the evolution of the novel, the pendulum of opinion swung the other way. By the nineteenth century, many held that structure is merely an appliance designed to display personality, that what the reader wants is fascinating, complex characters. Today both sides continue the debate without a verdict. The reason for the hung jury is simple: The argument is specious.\nWe cannot ask which is more important, structure or character, because structure is character; character is structure. They're the same thing, and therefore one cannot be more important than the other. Yet the argument goes on because of a widely held confusion over two crucial aspects of the fictional role - the difference between CHARACTER and CHARACTERIZATION.\nCharacter Versus Characterization\nCHARACTERIZATION is the sum of all observable qualities of a human being, everything knowable through careful scrutiny: age and IQ; sex and sexuality; style of speech and gesture; choices of home, car, and dress; education and occupation; personality and nervosity; values and attitudes - all aspects of humanity we could know by taking notes on someone day in and day out. The totality of these traits makes each person unique because each of us is a one-of-a-kind combination of genetic givens and accumulated experience. This singular assemblage of traits is CHARACTERIZATION... but it is not CHARACTER.\nTrue CHARACTER is revealed in the choices a human being makes under pressure - the greater the pressure, the deeper the revelation, the truer the choice to the character's essential nature.\nBeneath the surface of characterization, regardless of appearances, who is this person? At the heart of his humanity, what will we find? Is he loving or cruel? Generous or selfish? Strong or weak? Truthful or a liar? Courageous or cowardly? The only way to know the truth is to witness him make choices under pressure to take one action or another in the pursuit of his desire. As he chooses, he is.\nPressure is essential. Choices made when nothing is at risk mean little. If a character chooses to tell the truth in a situation where telling a lie would gain him nothing, the choice is trivial, the moment expresses nothing. But if the same character insists on telling the truth when a lie would save his life, then we sense that honesty is at the core of his nature.\nConsider this scene: Two cars motor down a highway. One is a rusted-out station wagon with buckets, mops, and brooms in the back. Driving it is an illegal alien - a quiet, shy woman working as a domestic for under-the-table cash, sole support of her family. Alongside her is a glistening new Porsche driven by a brilliant and wealthy neurosurgeon. Two people who have utterly different backgrounds, beliefs, personalities, languages - in every way imaginable their CHARACTERIZATIONS are the opposite of each other.\nSuddenly, in front of them, a school bus full of children flips out of control, smashes against an underpass, bursting into flames, trapping the children inside. Now, under this terrible pressure, we'll find out who these two people really are.\nContinue to read Part One of this riveting book excerpt here:\nWho chooses to stop? Who chooses to drive by? Each has rationalizations for driving by. The domestic worries that if she gets caught up in this, the police might question her, find out she's an illegal, throw her back across the border, and her family will starve. The surgeon fears that if he's injured and his hands burned, hands that perform miraculous microsurgeries, the lives of thousands of future patients will be lost. But let's say they both hit the brakes and stop.\nThis choice gives us a clue to character, but who's stopping to help, and who's become too hysterical to drive any farther? Let's say they both choose to help. This tells us more. But who chooses to help by calling for an ambulance and waiting? Who chooses to help by dashing into the burning bus? Let's say they both rush for the bus - a choice that reveals character in even greater depth.\nNow doctor and housekeeper smash windows, crawl inside the blazing bus, grab screaming children, and push them to safety. But their choices aren't over. Soon the flames surge into a blistering inferno, skin peels from their faces. They can't take another breath without searing their lungs. In the midst of this horror each realizes there's only a second left to rescue one of the many children still inside. How does the doctor react? In a sudden reflex does he reach for a white child or the black child closer to him? Which way do the housekeeper's instincts take her? Does she save the little boy? Or the little girl cowering at her feet? How does she make \"Sophie's choice\"?\nWe may discover that deep within these utterly different characterizations is an identical humanity - both willing to give their lives in a heartbeat for strangers. Or it may turn out that the person we thought would act heroically is a coward. Or the one we thought would act cowardly is a hero. Or at rock bottom, we may discover that selfless heroism is not the limit of true character in either of them. For the unseen power of their acculturation may force each to a spontaneous choice that exposes unconscious prejudices of gender or ethnicity ... even while they are performing acts of saint-like courage. Whichever way the scene's written, choice under pressure will strip away the mask of characterization, we'll peer into their inner natures and with a flash of insight grasp their true characters.\nThe revelation of true character in contrast or contradiction to characterization is fundamental to all fine storytelling. Life teaches this grand principle: what seems is not what is. People are not what they appear to be. A hidden nature waits concealed behind a fa\u00e7ade of traits. No matter what they say, no matter how they comport themselves, the only way we ever come to know characters in depth is through their choices under pressure.\nIf we're introduced to a character whose demeanor is \"loving husband,\" and by the end of the tale he's still what he first appeared to be - a loving husband with no secrets, no unfulfilled dreams, no hidden passions - we'll be very disappointed. When characterization and true character match, when inner life and outer appearance are, like a block of cement, of one substance, the role becomes a list of repetitious, predictable behaviors. It's not as if such a character isn't credible. Shallow, non-dimensional people exist... but they are boring.\nFor example: What went wrong with Rambo? In First Blood, he was a compelling character - a Vietnam burnout, a loner hiking through the mountains, seeking solitude (characterization). Then a sheriff, for no reason other than wickedly high levels of testosterone, provoked him, and out came \"Rambo,\" a ruthless and unstoppable killer (true character). But once Rambo came out, he wouldn't go back in. For the sequels, he strapped bandoleers of bullets across his oiled, pumped muscles, coiffed his locks with a red bandanna until super-hero characterization and true character merged into a figure with less dimension than a Saturday morning cartoon.\nCompare that flat pattern to James Bond. Three seems to be the limit on Rambos, but there have been nearly 20 Bond films. Bond goes on and on because the world delights in the repeated revelation of a deep character that contradicts characterization. Bond enjoys playing the lounge lizard: dressed in a tuxedo, he graces posh parties, a cocktail glass dangling from his fingertips as he chats up beautiful women. But then story pressure builds and Bond's choices reveal that underneath his lounge lizard exterior is a thinking man's Rambo. This expose of witty super-hero in contradiction to playboy characterization has become a seemingly endless pleasure.\nTaking the principle further: The revelation of deep character in contrast or contradiction to characterization is fundamental in major characters. Minor roles may or may not need hidden dimensions, but principals must be written in depth - they cannot be at heart what they seem to be at face.\n\u00a9 Robert McKee. Reprinted with permission from the author.\nExcerpted from Robert McKee's STORY: Substance, Structure, Style and the Principles of Screenwriting.\nMeet the Author: Robert McKee\nRobert McKee, a Fulbright Scholar, is unique among writing mentors. No matter what your writing credentials or story medium, your next project calls for an absolute command of creative decisions. With his distinctive blend of award-winning scholarship, professional acting, and directing experience and craft knowledge across all media, Robert McKee helps writers think beyond formula and take the best story decisions of their career \u2013 be it in cinema, literature, theater or television.", "id": "<urn:uuid:754e7f1d-4f46-49ee-84bc-1feafd4de626>", "dump": "CC-MAIN-2017-17", "url": "https://www.writersstore.com/structure-and-character-excerpted-with-permission-from-the-book-story-part-1/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118519.29/warc/CC-MAIN-20170423031158-00083-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9527864456176758, "token_count": 1896, "score": 3.578125, "int_score": 4}
{"text": "Gatsby Chapter 1: The Evolution\nLesson 3 of 24\nObjective: SWBAT analyze the development of elements in a piece of fiction and cite strong and thorough textual evidence to support analysis.\nThis lesson begins reading Chapter 1 of The Great Gatsby. To prepare students for coming events, I pop up on the projector an anticipation guide to help students begin to see the connotative meanings in words. I first ask students to note on a piece of paper what they believe is the connotative meaning associated with the words or questions in the anticipation guide.\nThe questions on the Anticipation Guide are related to significant inferences that students will make in the first chapter. For example, question 1 asks students to determine the connotative meaning attached to the color white. Daisy is often related to this color, which connotes a feeling of innocence or purity. The irony is that she is neither. Question 2 refers to colors associated with wealth. Of course, I want students to suggest green because the green light at the end of the Buchanan's dock is a significant symbol in the novel. The buoy in question 3 is mentioned in chapter 1 to suggest how sedentary and relaxed Daisy and Jordan are in the Buchanan living room. The wedding cake reference in question 4 creates a fluffy, saccharine atmosphere.\nAfter students have a chance to answer the anticipation guide individually, I randomly call on students to offer their answers in a whole-class discussion. I also solicit other interpretations and reasons from the class. (This segment dates back to the first lesson Art of Interpretation.) My objective is for students to hear other interpretations other than their own.\nAdditionally, students are assigned one vocabulary word from a list of words for the first half of the novel. The vocabulary list has words on one side and definitions and other information on the other. Students will find their word in the novel as we read and determine the meaning through context. If needed, I will instruct students to look up the word in the dictionary if further clarification is necessary. As we come upon the selected vocabulary words in the first part of the novel, the student assigned to the word will offer his or her definition.\nTo reinforce the meanings of words, I will instruct students to create flashcards of all words by writing the word and definition on one side of the flashcard. They also include the connotative meaning of the word or what the word sounds like as related to its definition. The also provide a synonym and antonym, and they use it in a sentence.\nOn the other side of the flashcard, students create a graphic representation of the word's meaning. This assignment is done for homework. For the first 10 minutes of every class until the vocabulary test (given one week after distribution of vocabulary list), I will give students an opportunity to flip through their flashcards with a partner to reinforce definitions. I chose the selected words based on those words that I thought students would have trouble with. Some words are indicative of early twentieth century vocabulary: words such as rotogravure and rivulets.\nActive Reading Reporters\nStudents will be assigned an active reading reporter role. These roles consist of the following:\n- Setting Reporter: Identifies three details about the setting and accompanies these details with text evidence.\n- Character Reporter: Identifies three details about the characters mentioned in the chapter and chooses one quote per character which best captures the essence of the character.\n- Character Connections Reporter: Identifies how each character connects to the other characters. Identifies one quote per detail to support connections.\n- Symbols Reporter: Identifies two symbols with accompanying text evidence.\n- Point of View Reporter: Identifies specifically the narrative structure of the chapter/novel and identifies two quotes that indicate the point of view.\n- Conflicts Reporter: Identifies all conflicts in the first chapter: man vs. man; man vs. society; man vs. self, etc. Each example should have an accompanying quote.\n- Vocabulary/Unique Phrases Reporter: Identifies and hypothesizes on unusual words or phrases in the chapter.\nEach reporter will also be assigned to a group. There will be one of each reporter role per group. After the chapter is read, reporters will convene in their groups. Each reporter will share their findings and group members will complete a handout where they add all the findings from each reporter.\nChapter may be read for homework or in class.\nThe significance in each role is directly related to the CCSS shift of \"students engaging in rich and rigorous evidence based conversations about text.\" Students are citing strong textual evidence to support their answers, and they are analyzing the development and relatable elements of a story. This is being done both through written responses and through speaking and listening.\nFollowing the completion of the Active Reading worksheet, students analyze the narrator's portrayal of Gatsby at the end of chapter 1 and compare it to the first two pages of the novel. I use a short music video that I made to get them motivated and to introduce this assignment.\nStudents dig for specific words and phrases that are used to describe him in the first two pages of the novel; such as, \"There was something gorgeous about him.\" \"Gatsby represented everything for which I have an unaffected scorn.\" \"An extraordinary gift for hope.\"\nStudents then examine Gatsby's depiction at the end of Chapter 1 where he is described as emerging \"from a shadow.\" \"Silhouette of a moving cat.\" \"He had vanished.\"\nI ask students to write a response to the following questions:\n- How do the descriptions of Gatsy at the end of the chapter differ from the beginning of the chapter?\n- What prediction can we make as to why Nick hates what Gatsby represents, but forgives him anyway?\nStudents write their answers as a prompt for a class discussion. I will randomly call on students to read their answers.", "id": "<urn:uuid:a6700fdc-f092-4e5d-80eb-d681576a2ca2>", "dump": "CC-MAIN-2017-17", "url": "https://betterlesson.com/lesson/491132/gatsby-chapter-1-the-evolution", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123046.75/warc/CC-MAIN-20170423031203-00381-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9425283074378967, "token_count": 1216, "score": 3.890625, "int_score": 4}
{"text": "During autumn the attention of the children should be attracted to the leaves by their gorgeous colors. It is well to use this interest to cultivate their knowledge of the forms of leaves of trees; but the teaching of the tree species to the young child should be done quite incidentally and guardedly. If the teacher says to the child bringing the leaf, \"This is a white oak leaf,\" the child will soon quite unconsciously learn that leaf by name.\n~Anna Botsford Comstock, \"How to Begin Tree Study\" in Handbook of Nature Study\nAnd with these words of wisdom, let's start the 50th edition of the Festival of the Trees: Through a Child's Eyes.\nWhat better way to introduce children to the wonders of trees than a gentle walk in the woods?\nIn Trees, JSK at Anybody Seen My Focus? takes us on a beautiful walk through Fort Yargo State Park in Barrow County, Georgia.\nAt the Handbook of Nature Study blogspot, Barb has a list of ways to train your senses during Summer Tree Observations. We often forget our senses of touch, hearing and smell when walking in the woods, and children can definitely benefit from using all their senses to explore trees. Barb's blogspot has lovely nature sounds that play automatically when you visit.\nOnce a child has developed an interest in trees, you might want to explore the life cycle of a tree. How do trees get there? How do trees make seeds?\nWelcome to Mike at Slugyard, who introduces us to how a walnut sprouts in Where do trees come from? How lucky to be able to find a seedling from a nut the squirrels hadn't eaten.\nWe discovered ash samaras in our yard last week, and learned about ash trees.\nAnna Comstock was an artist as well as writer and naturalist, and she recommended classifying leaves according to color and form and \"thus train the eye to discriminate tints and color values.\" Art, trees and children go together naturally.\nThere are a number of art projects in the chapter on trees in the Handbook of Nature Study. You can download the book here. (Remember that this book was written near the turn of the last century and many things have changed. For example, in the instructions on how to make a leaf print, there is no need to dilute the printers ink with gasoline. Yikes!)\nIn Art through a kid's eye, Kimber at A Journey in Creativity blog shows us a page from her niece's altered book project where she has done some torn paper collage trees. Altered books are a terrific way to re-purpose old books.\nMaking bark rubbings incorporates both art and science, and is a great excuse to get outdoors to play around with trees.\nHold a piece of paper firmly against a tree trunk and rub back and forth. You can use crayon or charcoal.\nWhile children are experiencing the tough, rough feel of bark, it is a chance to explain how the delicate cambium lives just under the bark and how removing or damaging the bark can kill a tree. Doesn't seem possible that something so tough could be so fragile.\nChildren can also explore trees through reading, writing, and storytelling.\nIn his ode to Trees, Joyce Kilmer said:\nI think that I shall never see\nA poem lovely as a tree....\nRegardless of that sentiment, trees inspire poetry. Encourage your children to read and write poems about trees.\nDave Bonta has translated the poem To a Child in a Tree, by Jorge Teillier at Via Negativa. The poem is a celebration of tree climbing (More about that in the next section).\nKristine O'Connell George reads from her book of poems Old Elm Speaks at this link on her website.\nCarol at Where will you journey to? reminds us that trees inspire stories and tales, such as the adventures of Winnie the Pooh in the Hundred Acre Woods. She repeats a fascinating tale her husband dreamed when he was young called the woodcutter.\nOur own list of books about trees for children reflects our passion for nonfiction books. Reading books is always an adventure.\nFor an even bigger adventure, how about tree climbing and tree forts? Anna Botsford Comstock once climbed a tree during recess at her school and then refused to come down when she felt her teacher treated her unfairly. A few years later she was teaching at that school herself.\nCaro at Caro & Co. has a celebration of sweet gum trees and a humorous report of tree climbing at Love me, love my conkers \u2013 Plants kids can play with #2.\nJade Blackwater grabs our attention with a fabulous childhood activity in The Making of Good Tree Forts at Brainripples. She has many good tips about creating a tree fort and what to do if you don't have a backyard full of appropriate trees. Brings back fond memories, doesn't it?\nFor more fun ideas of things to do outside, Emily has links to several kid-oriented nature organizations at The Maine Family: Outside\nFinally, a way to excite children about trees that doesn't require going outside is to brainstorm a list of all the foods that come from trees, and then have a tree-inspired snack. Here's a short list to get you started:\n- maple syrup\n- hickory nuts\n- mesquite (use the beans to make flour)\n- saguaro fruit\nI'll bet you can list many more.\nHere's a recipe for Bread from Trees.\nCan you guess all the ingredients that come from trees?\nIn a large bowl combine:\n2 1/4 cups all-purpose flour\n2 teaspoons baking powder\n1/2 teaspoon baking soda\n1/2 teaspoon cinnamon\nIn a separate bowl mix:\n2/3 cup maple syrup, or to taste\n1/2 cup warm decaffeinated coffee*\n1 1/3 cup pitted, snipped dates (May substitute chopped dried apricots)\n1 cup apples, peeled, cored and grated\n1/2 cup chopped walnuts\n1 egg beaten\n2 Tablespoons melted butter or margarine\nAdd moist ingredients to the dry ones, and stir until just moistened. Pour into a 9\u201d by 5\u201d by 3\u201d greased loaf (bread) pan. Bake at 350\u00b0 F for 60 to 65 minutes.\n*Please ask an adult to assist with preparing or heating the coffee\nAnd Jade just sent me a link to a wonderful Plum Cake recipe from Amid the Olive Trees. Looks scrumptious.\nIt turns out the next Festival of the Trees host, Peg at Orchards Forever has chosen the theme \"edible trees.\" If you write about one of these wonderful trees, send links to Peg at amberapple [at] gmail [dot] com by August 29.\nA special \"thank you\" to everyone who participated.", "id": "<urn:uuid:47896a5f-c253-43f7-935f-be2f957be150>", "dump": "CC-MAIN-2017-17", "url": "http://blog.growingwithscience.com/2010/07/festival-of-the-trees-50-through-a-childs-eyes/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119838.12/warc/CC-MAIN-20170423031159-00436-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9480037689208984, "token_count": 1428, "score": 3.671875, "int_score": 4}
{"text": "Much Ado about Manners\nBy Corinne Gregory, President and Founder, SocialSmarts\nPublished in Momcentral.com; April 18, 2008\nThe first in a continuing series.\nWe\u2019re hearing a lot these days about the importance of teaching manners to our children, preferably at an early age. But, there are still many parents who aren\u2019t sure what to teach, how to teach it, or why it\u2019s even necessary. If you ask parents these days if they feel teaching their children etiquette is important, most will tell you \u201cnot really.\u201d They feel that we are a much more informal society these days, that etiquette isn\u2019t really as important today as it has been in the past. But, ask those same parents if they think their children would benefit from being more polite or having better social skills, they\u2019ll overwhelmingly respond \u201cyes!\u201d So what\u2019s the difference?\nEtiquette vs. Manners vs. Social Skills\nWhile people often use these phrases interchangeably, raising a courteous and kind child involves more than just teaching \u201cetiquette\u201d and behavior rules. Really we are teaching our kids the social \u201crules of engagement.\u201d Not only how to behave, and in what circumstances but why. \u201cEtiquette\u201d refers to a strict set of rules for behavior in specific circumstances. Think \u201cprotocol.\u201d \u201cManner,\u201d too, are focused primarily on behaviors, but really refer to a commonly accepted norm of behavior given a certain situation. So, both of these concepts are about outward actions. \u201cSocial skills\u201d refers to a deeper, more fundamental layer involving not only the actions, but also the fundamental foundations \u2013 the motivators \u2013 of these actions. For example, when we hold the door open for someone (manners), we do that because of the motivators of respect and courtesy (social skills). Our actions need to start from the motivators so that we are not only acting like a kind, courteous person when it suits us, we genuinely are that kind, courteous person all the time.\nThe Importance of Social Skills\nSo, why is this important? We are all working very hard to make sure our children are in good schools, are getting good grades, have a good balance of extracurricular activities between sports and artistic or creative pursuits. Why work on developing their manners and social skills? Because, it literally is the most important thing you can do for their future success! Repeated studies show that a child\u2019s social skills will be the number one factor influencing his or her future success \u2013 more than academic achievement, more than family background and socio-economic status, more than the \u201cwho you know\u201d factor. In fact, social skills are more important than all of those other factors combined! If that seems far-fetched, consider this: if you can\u2019t get along with people, if you don\u2019t know how to behave appropriately in a variety of situations, it really doesn\u2019t matter how smart you are or how good you are at what you do, does it? And, the reverse is true: good social skills can make up for a lack in education, financial resources, or connections. If you know how to conduct yourself and how to get along with others, you\u2019ll go much farther in this life than those people who can\u2019t, or don\u2019t.\nNot just a \u201cNice to Have\u201d\nThe issue of good social skills isn\u2019t just a nicety to have in our interpersonal bag of tricks. Treating others with courtesy, kindness, and respect may actually be a survival skill in today\u2019s often-abrasive and confrontational world. It really is rough out there, and we need to equip our children with the skills they need to smoothly navigate life\u2019s challenges.\nYou\u2019ve no doubt heard of \u201cstreet smarts\u201d\u2014the skills and learned behaviors you need to survive in the urban jungle of our inner-city streets. Well, we have coined a term for we are teaching kids that gives them social survival skills: \u201cSocialSmarts\u2122.\u201d SocialSmarts provides our children with the ability to be socially adept and confident in any circumstance, even those they may not have encountered before. The increasing rate of violence and agression school-age children are encountering speaks to the need for a return to attitudes and behaviors that defuse conflicts before they occur, and promote greater civility towards one another. When current statistics show that our children stand a 1 in 4 chance of becoming the victim of some form of school-based violence or harassment, it\u2019s clear that we have a major problem overall with the level of social skills and character development in many of our young people. Something has to change.\nWe Can do Better\nThe good news about social skills is that these can truly be learned at any age. Certainly the earlier you begin to instill positive behaviors and character lessons in your child, the easier it will come and the more likely the lessons will stick. But it\u2019s never too late to start. Babies and toddlers will learn manners and behaviors \u2013 good or bad \u2013 the way they learn anything else: by observation, experimentation, and repetition. It\u2019s important that we parents be aware of the modeling we are doing for our kids when we are trying to teach them good lifeskills and moral lessons. Older children, too, can learn better ways of conduct and behavior when they see why it\u2019s important and what\u2019s in it for them. Good social skills help us get more of what we really want, more easily and with less stress, and a whole lot less of what we don\u2019t want. And, a terrific by-product is that it will make our entire society a better place \u2013 for all of us.\nNext month\u2026what are the most important social skills we should we be teaching our children and how do we start?", "id": "<urn:uuid:e8abe860-b278-4621-baf8-c66d3f3455b2>", "dump": "CC-MAIN-2017-17", "url": "http://www.socialsmarts.com/muchadoaboutmanners.cfm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123097.48/warc/CC-MAIN-20170423031203-00086-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.951732873916626, "token_count": 1257, "score": 3.78125, "int_score": 4}
{"text": "Mobile Apps in the Classroom\nEducation, there's an app for that! Here, I'll show you a few mobile apps that could be used in an elementary classroom. All of the Apps listed are free to use!\nThis App helps student learn to spell in a fun and exciting way! It's very accessible because it's free. Would be great for kids to use in class or at home, if the child does not have their own phone they could use a parent's phone (this could increase parental involvement as well!). One drawback is that this tool is only available through Apple, so an alternative could be chosen for student with different types of phones or with computer access.\nPuppet Pals HD allows students to put together stories using puppets. This could be used in a language arts class or drama class to begin to learn storytelling. Would also be great to use to demonstrate understanding of a story already read in class, much like students often draw comics of stories read in class. You could have the students use this tool, draw a comic or act out a play for an assignment to add an element of choice to the project.\nSkyView Free - Explore the Universe\nSkyview brings the night sky to life. For science units dealing with stars and the planets, this app could be used for when the students go out on their own to look at the stars. Provides info on planets and draws out constellations for easier understanding.\nThis app provides more information on planets and has night sky maps built in. Could be used alongside the sky view app or on it's own. Students could even compare the two apps and suggest ideas for improvement in each to build critical thinking within the assignment.\nToca Kitchen Monsters\nTeach kids cooking with monsters! This could be done as an introduction or an extension to a cooking activity. Users get to feed the hungry monsters using a variety of ingredients and prepare the food using different food prep techniques such as boiling, slicing, heating and mixing. This app could even be used as the beginning of a conversation about nutrition and different types of food or what different animals eat.\nGreat app to help develop fine motor skills while learning the alphabet! Students trace alphabet letters with a variety of \"pen\" choices.\nLearn a second language with Duolingo! This app could be used to support a second language program. It provides immediate feedback and a variety of ways to answer questions. Available in Spanish, French, German, Portuguese, Italian, and English! A student whose first language is not english could use this to help them outside of school, or if the the whole class is learning a second language, this could be used as a support tool. The app provides tracking of points, so students could be assigned to finish up to a certain level. To further increase accessibility, this app is also available online for computer users at https://www.duolingo.com.", "id": "<urn:uuid:a046585a-7b34-49a2-b112-03a56d220f0f>", "dump": "CC-MAIN-2017-17", "url": "https://tackk.com/sr0afm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121165.73/warc/CC-MAIN-20170423031201-00439-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9450756311416626, "token_count": 589, "score": 3.515625, "int_score": 4}
{"text": "Mla descriptive essay format\nWhat is a descriptive essay? The descriptive essay is a genre of essay that asks the student to describe something\u2014object, person, place, experience, emotion. The Standard Format of a Descriptive Essay. Descriptive essays, derived from the word describe, are used to effectively provide the readers details of how something. Automatic works cited and bibliography formatting for MLA, APA and Chicago/Turabian citation styles. Now supports 7th edition of MLA. Citation putting together the writing example college essay format essay;. Mla 2016-02-08 08, good descriptive essays yale their belt in the precis for how to.\nWriting a descriptive essay takes time and some creativity. Some students make the mistake of using a free descriptive essay from the internet and used as their own. MLA, or Modern Language Association, is a formatting style most often used in the humanities and liberal arts. When writing a descriptive essay, or an essay that. MLA Essay Format (With Example) MLA refers to a set of rules and formatting guidelines that are used by researchers within the humanities and liberal arts.\nMla descriptive essay format\nSample research paper written following the style guidelines in the MLA Handbook for Writers of Research Papers, 7th Edition This document will show you how to format an essay in MLA style.. \u201cMLA Format Papers: Step-by-step Instructions for Writing Research Essays\u201d to our website. MLA Page Format: First page.. The opening page to your essay should use the format shown below: top: Only the first page should include the whole heading and \u2026\n... mla research papers MLA Style Essay Format - Word Tutorial. MLA Handbook for Writers of Research Papers, 7th Edition [Modern Language Association]. While the MLA guidelines are used widely in literature and other.narrative essay in mla Basic Dialogue Format for. edition of MLA.narrative essay in mla mla essay format works cited 2016 Compare and contrast essays The aim of a compare and contrast essay is to develop the relationship between two or more things.\nHow to write a Descriptive Essay: Outline, Format, Structure, Topics, Examples How to Write a Descriptive Essay A descriptive essay is one of several forms of writing you may be required to use in college, with the other forms being the. We are glad to introduce You our database of free Descriptive essay samples. These examples of Descriptive essays are to help you understanding how to write this type. A guide from Purdue University on using MLA guidelines in research papers, and citing all sources from a single book to government documents. mla essay outline MLA Format for Essays and Research Papers Using Microsoft Word 2003 CLICK HERE if you use Word 2007 Introduction. The Modern Language Association.\nstandard research paper format One type of standard research paper format is that which has a technical device. It may help explain installation, operation, and. Descriptive Essay Help Format Descriptive Essay Format Descriptive essays, derived from the word describe, are used to effectively provide the readers details of \u2026 type my essay mla format Write My Essay. Essays are the huge part of your college life. You know that the demands of professors grow and essay writing becomes a \u2026 Mla format essays essay examples college. College essays application example of apa format.sample resume writing format In this free Resume Writing tutorial,.\n- Mla format essays essay examples college. College essays application example of apa format.sample resume writing format In this free Resume Writing tutorial,.\n- mla format works cited essay online WORK CITED ESSAY. Watch video.MLA Page Format:. maybe just a response essay?MLA Format Works Cited. by Stephen on \u2026\nmla essay thesis acknowledgements phd thesis The best dedications ever written:. Our Essay editing services are extremely cost effective to fit in your budget.mla. write a mla essay MLA Format Essay \u2013 How to Write a Good MLA Paper. MLA Formatted Essays as an Example of a Perfect Writing. writing an essay in mla format creative writing essay format Custom Essay Writing Service. Why risk an important project?. But I don\u2019t know how!\u201dmla format.", "id": "<urn:uuid:e095a2d3-0b7b-4e1f-8481-c0826a97d3e2>", "dump": "CC-MAIN-2017-17", "url": "http://bapaperueqb.casestudyhouse26.com/mla-descriptive-essay-format.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125654.80/warc/CC-MAIN-20170423031205-00500-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8540008664131165, "token_count": 877, "score": 3.65625, "int_score": 4}
{"text": "Bibliographic record and links to related information available from the Library of Congress catalog.\nNote: Contents data are machine generated based on pre-publication provided by the publisher. Contents may have variations from the printed book or be incomplete or contain other coding.\nCONTENTS FOREWORD PREFACE INTRODUCTION Storytelling: The Rewards are Well Worth the Risks How to Use this Book and Companion DVD Storytelling is Fun! Ch 1. The Power of Storytelling in the Classroom An Ancient Tool with Enduring Power Differences Between Storytelling and Story Reading An Authentic Activity That Motivates Students Imagination and Visualization Ch 2. The Educational Benefits of Storytelling Literacy Benefits Enriching Emotional Development Appreciation of Diversity and Cultures Other Than One's Own Opening a World of Storytelling Ch 3. Getting Started with Storytelling The Importance of the Teacher as a Model Setting the Tone for Storytelling Telling Family and Personal Stories Telling Jokes and Reciting Poems Telling Stories with Puzzles or Riddles Telling Stories Using Wordless Picture Books Retelling Stories Story Games Story Theater Ch 4. Planning and Preparing for a Storytelling Unit Length of the Unit What You'll Need Planning for a Culminating Festival Why We Discourage Contests The Importance of Teacher Expectations and Encouragement Dealing with Family Members With Reservations or Concerns Enlisting the Aid of Others Physical Setting for Rituals for Storytelling How to Include Students with Disabilities Working with English Language Learners (ELLs) Cultural Differences The Use of Props Students Telling Stories with Partners Ch 5. Introducing a Storytelling Unit Observing Live Storytelling Understanding the Importance of Storytelling Past and Present Understanding the Practical Importance of Storytelling Skills A Sense of Safety Listening Skills Books for Teaching About Storytelling in the Past and Present Ch 6. Helping Students Choose Stories to Tell Tips for Selecting Stories to Tell Modeling Storytelling for Your Students A Story to Get You Started (If You Haven't Picked One) Problems, Problems, Problems: A Folktale from India Ch 7. Helping Students Learn Their Stories Creating an Awareness of the Oral Tradition Making the Stories Their Own Methods for Learning Ways of Practicing Specific Suggestions for Classroom Practice Developing Characters Ch 8. Helping Students Tell Their Stories Beginnings and Endings Change Your Voice in Many Ways Put Expression on Your Face Use Gestures to Help Listeners See Pictures in Their Minds Look at the Listeners Working with an Audience Ch 9. Teachers Coaching Students, Students Coaching Students Keep Your Priorities Straight Our Style of Coaching Young Tellers Coaching Older Students Creating a Safe Environment for Risk Taking Teaching Student Tellers How to Coach One Another The Teacher/Leader's Role Handling Various Problems Suggestions to Keep Things Interesting Tools That May Help Ch 10. A Celebration of Stories On the Road to Other Classrooms A Family Storytelling Festival A School Storytelling Festival on a Grand Scale How to Celebrate in Your Community More Creative Ways to Celebrate Storytelling Ch 11. Assessing Student Storytellers Self-Evaluation Working with Rubrics Using Assessments to Help with Fund-Raising Ch 12. Storytelling Clubs and Troupes Establishing Goals Get 'Em While They're Young Group Size Laying Down the Ground Rules How a Long Running Middle School Troupe Worked Where Troupes Can Tell Fund-Raising Ideas For More Activities Ch 13. Helping Students Develop Family and Personal Stories for Telling and Writing Sharing Your Own Stories Collecting Family Stories Developing a Story for Telling (Lesson Plan) A Culminating Family Stories Event Ch 14. Storytelling as an Integral Part of the Curriculum How to Use Storytelling to Enliven Various Subject Areas Character Education Stories as Healing Tools Integrated or Thematic Units Handouts That Can Be Found Throughout the Book How To Learn A Story How To Tell A Story Stories I've Read Student Story Sheet Student Peer Coaching Guidelines Keeping Storytelling Alive at Home Storytelling Star Certificate Storytelling Skills Rubric Student Self-Evaluation and Goal Setting Prompts for Personal or Family Stories Appendix A: Suggested Stories for Students to Tell Stories From Our Anthologies Categorized by Difficulty for Telling by Second Through Eighth Graders Bibliographies of Stories for Telling Suggested Picture Books for Telling in Four Categories of Difficulty Suggested Anthologies with Tellable Stories in Three Categories of Difficulty Appendix B: Storytelling Resources Finding the Best Recent Resources: Storytelling Awards Favorite Storytelling Sources Storytelling Recordings Storytelling Web Sites Works Cited Index Companion DVD Children Telling Stories: A Storytelling Unit in Action (twenty minute main feature) Four Students Sharing Stories at a Family Storytelling Festival Chandler telling \"Oh, That's Good! No, That's Bad!\" Ari telling \"The Man Who Didn't Know What Minu Meant\" Sunyoung telling \"The Mouse and the Sausage\" Hannah telling \"The Hairy Toe\" 25 Stories in Printable Format for Students to Tell About the Stories Aesop's Fables A Handful of Peanuts Wind and Sun The Belly The Frog and the Ox The Dog and His Reflection The Two Who Tried to Please Everyone Excuses, Excuses World Tales Two Stubborn Goats on One Narrow Bridge (Cameroon) How the Milky Way Came to Be (Iran) The Boy Who Turned Himself into a Peanut (Democratic Republic of Congo) Three Goats in a Turnip Field (Norway) Coyote and the Money Tree (Apache) Monkeys to the Rescue (Tibet) The Little House (Russia) The Rat Princess (Japan) Why Frogs Croak When it Rains (Korea) Why Deer and Tiger Fear Each Other (Brazil) How Rabbit Fooled Whale and Elephant (African American) The Jackal and the Lion (India) Like Meat Loves Salt (Europe) Sample Student Authored Story for Telling Sneezy (original story by third grader Erik Devenpeck) Sample Stories From Our Anthologies of World Stories for Kids to Tell Tilly (England, Canada, United States) Why Parrots Only Repeat What People Say (Thailand) Juan Bobo and the Pot That Would Not Walk (Puerto Rico) The Argument Between the Sea and the Sky (Philippines) Sources for Stories in the Book and on the DVD\nLibrary of Congress Subject Headings for this publication:\nChildren's stories -- Study and teaching.\nStorytelling ability in children.\nActivity programs in education.", "id": "<urn:uuid:d203a4e2-bd3b-41d4-984d-3dc7fa6a88a5>", "dump": "CC-MAIN-2017-17", "url": "http://catdir.loc.gov/catdir/toc/ecip0516/2005021667.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120349.46/warc/CC-MAIN-20170423031200-00262-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8138481974601746, "token_count": 1342, "score": 4.09375, "int_score": 4}
{"text": "The Big One\nNobody understands why Joe loves fishing. But one day, he catches something very special.\nThis witty, sweet story about a boy who makes a fishing fan out of his father has a special emphasis on character. Students will understand how the main character feels throughout the story, as well as the events that cause him to feel that way.\nCharacter, text features, vocabulary, close reading, inference, plot, character\u2019s motivation, explanatory writing\nThis article and lesson support the following standards:\nCommon Core anchor standards: R.1, R.3, R.4, W.2, SL.1, L.4, L.6\nTEKS: 3.2, 3.4, 3.8a, 3.8b, 3.20c, 3.29, 3.30\nActivity SheetsDownload All\nLesson planPrint All\nPreview Text Features (10 minutes)\n\u2022 Direct students to the text features, including the bubble on the first page that says \u201cFiction.\u201d Ask: What does this tell you? Point out the subheads and the Pause and Think boxes at the end of each section. Explain that the questions in these boxes will help them better understand the story.\nSet a Purpose for Reading\n\u2022 We have created a fiction package that helps students focus on one important aspect of the story\u2014in this case, how the main character feels throughout the story. The tasks in the Think and Read and Think and Write boxes work together to support this skill focus. Have one student read the task in each box.\n\u2022 Read aloud the first Pause and Think box on page 11. These questions will check basic comprehension. (Students will delve into higher-level questions with the close-reading questions, available in this guide and online.)\n(15 minutes, activity sheet online)\n\u2022 This story includes four vocabulary words highlighted in bold: bait, rippled, reeled, and grime.\n\u2022 The words are defined at the bottom of the column in which they appear. Discuss the meanings of the words, looking at how they are used in the story to help students further understand them.\n\u2022 Distribute our vocabulary activity for more practice with these words.\nReading and Unpacking the Text\n(activity sheets online)\n\u2022 First read: Students should read the story through one time for general comprehension. Whether your students read as a class, in small groups, or independently, ask them to answer the Pause and Think questions along the way.\n\u2022 Second read: Distribute the close-reading and critical-thinking questions. (For struggling readers, you can distribute the sheet of Pause and Think questions, also available online.) Preview them as a class.\n\u2022 Have students read the story again, pausing to answer the questions.\nClose-Reading Questions (20 minutes, activity sheet online)\n\u2022 Read the last three lines of \u201cOn My Own.\u201d How do you think Joe\u2019s mom and dad feel when they say \u201cWow\u201d and \u201cGee\u201d? How do you know? (inference) They\u2019re trying to act excited, but they\u2019re just not interested. You know this because they don\u2019t say anything else, and they don\u2019t ask any questions to learn more about what Joe is telling them.\n\u2022 In \u201cTime to Fish,\u201d why does Joe feel embarrassed that his dad is drinking hot chocolate? (character) Joe feels embarrassed because everyone else\u2019s parents were fishing, not inside the tent drinking hot chocolate.\n\u2022 In \u201cA Surprising Catch,\u201d why does Joe\u2019s dad take the elephant home? What do the last three lines of this section tell you about the fishing trip? (plot) Joe\u2019s dad wants Joe to understand that the stuffed animal is special, even if it wasn\u2019t what he wanted to catch. The last three lines tell you that Joe\u2019s dad really did enjoy himself on the fishing trip.\n\u2022 In \u201cA New Fishing Fan,\u201d how does Joe feel when his dad asks to go fishing? Why? (character) Joe is surprised and happy. He didn\u2019t realize his father had such a good time on their trip that he would actually want to fish again.\n\u2022 In the last line, what does Joe mean when he says he caught The Big One? (inference) In this case, Joe\u2019s dad is The Big One. Joe \u201ccaught\u201d him as a fishing partner.\nCritical-Thinking Question (7 minutes)\n\u2022 By the end of the story, why does Joe\u2019s dad want to join Joe on his next fishing trip? (character\u2019s motivation) Joe\u2019s dad ended up having a good time on the first fishing trip with Joe. It didn\u2019t matter that they didn\u2019t catch any fish because they were talking and laughing and creating memories together. He wanted to do that again with his son.\n\u2022 Call on a volunteer to read aloud the Think and Write box at the bottom of page 15.\n\u2022 Download and distribute our Fiction Reading Kit, which focuses on key reading skills, including the featured skill, character. Have students work in small groups to complete it.\nSome inside scoop to share with your students: This story was based on the experience of author Tommy Greenwald\u2019s oldest son. But there was one key difference in real life: After their unsuccessful ice-fishing trip, Tommy never fished with his son again!\nSpeaking of Tommy Greenwald, he recorded the audio version of \u201cThe Big One\u201d for us. Make the most of audio in your class with these ideas.\nHave your students do a creative writing exercise about a time they felt at odds with the people around them. Maybe they have a hobby that their family and friends don\u2019t understand. This could also be a class discussion!\nYour students will love Tommy Greenwald\u2019s other books, including the super fun Crimebiters series.", "id": "<urn:uuid:870f7fc2-7b1e-4aad-a2bc-99dd17716407>", "dump": "CC-MAIN-2017-17", "url": "http://storyworksjr.scholastic.com/issues/04-01-16/fiction/big-one", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123530.18/warc/CC-MAIN-20170423031203-00265-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9466617703437805, "token_count": 1257, "score": 4.09375, "int_score": 4}
{"text": "Effective characterisation is not achieved by describing visual features alone (\u2018He had a light blue top with a faded, frayed collar\u2019) but rather by balancing this kind of descriptive writing with action, motive and a trait, or traits. As motive and actions (and therefore, to some degree, plot) evolve from the characters/s\u2019 temperament/s, emphasising this aspect of characterisation in our teaching leads to more \u2018rounded\u2019 characters in pupils\u2019 stories.\nA successful method of achieving this is for the teacher to dramatise particular character traits and then ask the pupils\n\u2018What kind of character am I ?\u2019\nThe author begins with sad, happy, angry and shy , all of which are easy to render dramatically. Pupils are then invited to dramatise, or suggest, other character traits. If the pupils are reluctant to dramatise further traits the teacher may wish to continue with some of the following : lazy, cruel, greedy, jealous, confident, talkative, helpful, argumentative, cunning etc.\nAfter a list of traits has been generated it is usually possible to reinforce previous work on synonyms by grouping some of the words on a basis of similarity e.g.\nhappy, joyful, cheerful, blissful\nsad, unhappy, cheerless, miserable etc.\nThis activity also provides an opportunity to discuss / use a Thesaurus in a meaningful context.\nOne of the traits is then chosen and the teacher explains that a game of \u2018Show not Tell\u2019 is going to take place. A sentence, which includes the chosen trait, is then written for all to see e.g.\nHe / She was sad.\nThe teacher explains (whilst writing \u2018TELL\u2019 before the sentence) that this is \u2018telling\u2019 the reader about the character. It is then explained that it is better to \u2018show\u2019 the reader what kind of character is developing by describing things that such a character would do ! The word \u2018SHOW\u2019 is then written under the sentence already on the board and the teacher asks the following question.\n\u2018If I came into the classroom and I was sad what would I do ?\u2019\nThe sentence starter \u2018He---\u2018 is then written after the word \u2018SHOW\u2019 and the pupils are invited to suggest ways of continuing the sentence which demonstrate what a sad person would do e.g.\n\u2018He cried a lot\u2019\nAt this stage in the modelling of \u2018Show not Tell\u2019 process, judicious teacher interventions and questioning can maximise the learning opportunities ;\nFirstly the teacher can place a range of connectives between each of the pupils\u2019 suggestions, thereby avoiding the \u2018and then-----and then\u2019 trap ! Secondly the teacher can extend answers through careful questioning :\nTeacher : What did he do ?\nPupil : He wept ?\nTeacher : How did he weep ?\nPupil : (No answer)\nTeacher : Can you give me a word that will \u2018go\u2019 after wept which will describe how he wept ?\nPupil : bitterly etc.\nThe final question, asked by the teacher, in the above sequence could be replaced with,\n\u2018Can you give me an adverb of manner which we could place after the word wept ?\u2019\nThe complexity of the questioning is determined by both prior and future learning.\nWhen the process has been completed the pupils are asked to compare the two approaches \u2018Show\u2019 and \u2018Tell\u2019 and to describe which works best. As there is clearly no competition the pupils are then asked to work collaboratively (pairs \u2013 fours) on a further trait selected from the list. Deadlining functions as a useful motivator (\u2018You now have ten minutes to complete the \u2018Show not tell\u2019challenge !) as does explaining that they will be required to read their piece to the rest of the class who will be invited to guess which trait they have chosen.\nThe activity can be differentiated so that \u2018more able\u2019 pupils develop more complex multi \u2013 faceted characters. To achieve this, two methods can be applied.\n1. The pupils are asked to choose two (or three traits) to be combined in their character description so that the final piece of writing evokes a character who is both shy and sad ; both happy and talkative ; both cheerless and lazy etc. The teacher can then discuss how events in a story can alter the character trait of their protagonist or antagonist e.g. A happy character is involved in a plane crash which traumatises him /her. After the event he / she is both sad and shy.\nClearly this approach can only be taken after the teacher is sure that the pupil has understood the \u2018Show not Tell\u2019 process using a single character trait.\n2. The second method of eliciting more complex characterisation is to consider trait development. This is best achieved through modelling but essentially the story begins with the character exhibiting infrequent aspects of their trait. As the story develops so does the trait so that, for example, a character who, at the beginning of the story is mildly annoyed becomes, by the end of the story,very angry. Incidents which occur throughout the narrative will influence the the development of the specific trait.The interrelationship between plot and character development makes this quite complicated at Key Stage 2. It is , however, achievable with more able Y4 \u2013 6 pupils. An interim stage, which the author uses, is to focus (after single trait writing) on analysis of characters in books which the pupils are reading. The undoubted benefit of this is that the link between reading and writing is made explicit. A grid like the one below can be used by pupils to consider how authors create multi \u2013 faceted characters.\n|Name of character:||Title of book:||Author:|\n|Trait||Very (quote evidence and page number)||Quite (quote evidence and page number)||Not a lot (quote evidence and page number)||Not at all (quote evidence and page number)|\nThe column of traits on the left should be altered by the teacher so that it relates specifically to the book being read. It should be noted that some characters in published books are, sadly, uni \u2013 dimensional ; for this reason books should be pre \u2013 selected by the teacher.\nA further aspect of characterisation which can be developed through direct teaching is interaction. This can easily be linked to trait development so that a shy person, for example, talks infrequently to others ; speaks in short sentences ; never instigates conversations etc. The same approach works with other traits and explicit discussion (and modelling) of this should help pupils to integrate the process into their own story writing.\nIn conclusion, effective characterisation is achieved by focussing on much more than what a person is wearing. The busy teacher needs practical strategies to raise the standard of pupils\u2019 writing. It has been the aim of this article to provide a range of new, practical, ideas which will assist in developing the ability of pupils to evoke believable characters in their narrative writing.", "id": "<urn:uuid:be844c68-8b51-450a-89b9-bcdd2f55e752>", "dump": "CC-MAIN-2017-17", "url": "http://www.alanpeat.com/resources/characters.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123046.75/warc/CC-MAIN-20170423031203-00382-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9564829468727112, "token_count": 1490, "score": 4.5, "int_score": 4}
{"text": "What is storytelling?\nBased on these and other definitions that can be found on the references from the bibliography below, we can conclude that:\n- Storytelling is literally \u201ctelling a story\u201d\u2026 it makes use of the oral language.\n- Storytellers \u201cknow\u201d the story\u2026 it is not read, and it is not memorized word-by-word, but it is re-created every time it is told.\n- Storytellers use the tone and sounds of their voice, hand gestures, and movement to convey the story.\n- In many cases, storytellers promote a brief participation of the public by inviting them to join in with refrains, sounds, or noises.\n- Storytelling preferably does not include the use of props, costumes, or other visual aids.\n- Storytellers usually have a repertoire of folktales, traditional stories, fables, cumulative stories, etc., as genres that are more appropriate for this practice.\n\u201cNoche is a wonderful way to return to the roots of literacy and use orality as a way to promote literacy in families,\u201d says Oralia Garza De Cortes, a founding member of the Noche de Cuentos Task Force.\nStorytelling in Latin America\nAugusta Baker said:\n\u201cChildren need to hear stories that give them a sense of their own culture as well as stories that introduce them to other ways of thinking and doing, and that inherently teach respect for other cultures\u201d (as cited in Greene, 1996, p. 33).\nLikewise, a program like Noche de Cuentos emphasizes the use of stories as a way to connect Latino children and families with their Latin American origins, while making their culture known to others.\nBut\u2026 what is Latin American storytelling?\nLatin America is a conglomerate of countries, nations, cultures, and ethnicities. There is not an actual \u201cLatin American identity.\u201d The geographical area known as Latin America is too diffuse and diverse to be encompassed in one definition. There are, however, some commonalities that make possible to refer to the Latin American cultures.\nWhat do Latin Americans have in common?\n\u2013 Languages: Note the plural! Yes, Spanish is the main, but not the only, language spoken in the region.\n\u2013 Pre-Columbian civilizations: Some traditions and cultural remains of the region\u2019s ancient indigenous civilizations still have a place in today\u2019s cultures.\n\u2013 Colonial past: The influence received by the influx of Spanish, Portuguese, and other European colonists complemented the authochtonous legacy to create an inventory of local lore.\nSo\u2026 can we refer to Latin American storytelling?\nYes, but that means recognizing the diversity of cultures included in that vague concept, and focusing on the connections that the oral traditions perpetuated from the three sources mentioned above.\nWith these remarks in mind, we invite you to explore the different traditional tales and stories from the vast array of Latin American regions.\nPlease refer to the following bibliography of resources that include examples and information about oral traditions of the many Latin American cultures. If you have materials to add to this bibliography, please send us a message with your recommendation.\nStorytelling in Latin America: A Bibliography\nBalcells, Jacqueline. The Enchanted Raisin. Trans. Elizabeth Gamble Miller. Pittsburgh: Latin American Literary Review Press, 1988.\nCampoy, F. Isabel and Alma Flor Ada. Cuentos que Contaban Nuestras Abuelas: Cuentos Populares Hisp\u00e1nicos / Tales Our Abuelitas Told: A Hispanic Folktale Collection. New York: Atheneum, 2006.\nDance, Daryl C. Folklore from Contemporary Jamaicans. Knoxville: U of Tennessee Press, 1985.\nDe Almeida, Livia and Ana Portella. Brazilian Folktales. Ed. Margaret Read MacDonald. Englewood, Co: Libraries Unlimited, 2006.\nDeSpain, Pleasant. The Emerald Lizard: Fifteen Latin American Tales to Tell in English and Spanish / La Lagartija Esmeralda: Quince Cuentos Tradicionales Latinoamericanos. Trans. Mario Lamo-Jimenez. Little Rock: August House, 1999.\nGerson, Mary-Jo. Fiesta Femenina: Celebrating Women in Mexican Folktales. Ill. Maya Christina Gonzalez. Cambridge: Barefoot Books, 2005.\nGonzalez, Luc\u00eda M. \u201cStorytelling and Recently Arrived Latino Children.\u201d Celebrating Cuentos: Promoting Latino children\u2019s Literature and Literacy in Classrooms and Libraries. Ed. Jamie Campbell Naidoo. Santa Barbara: Libraries Unlimited, 2011. 213-225.\nGreene, Ellin. Storytelling: Art and Technique. 3rd ed. New Providence, NJ: Bowker, 1996.\nHern\u00e1ndez, Antonio. The Eagle and the Rainbow: Timeless Tales from Mexico. Ill. Tomie de Paola. Golden: FulcrumKids, 1997.\nLeeming, David A. and Marion Sader. Storytelling Encyclopedia: Historical, Cultural, and Multiethnic Approaches to Oral Traditions Around the World. Phoenix, Az: Oryx Press, 1997.\nLenox, Mary F. \u201cStorytelling for Young Children in a Multicultural World.\u201d Early Childhood Education Journal, 28.2, (2000): 97-103. Academic Search Complete. Web. 1 Feb. 2012.\nLopez, Asbel. \u201cWeaving Magic with the Spoken Word.\u201d Unesco Courier May 2001: 48-49. Academic Search Complete. Web. 12 feb. 2012.\nMacDonald, Margaret Read. Traditional Storytelling Today: An International Sourcebook. Chicago: Fitzroy Dearbon, 1999.\nMontejo, Victor. Popol Vuh: Sacred Book of the Maya. Ill. Luis Garay. Trans. David Unger. Toronto, Ontario: Groundwood Books, 1999.\nNaidoo, Jamie Campbell, ed. Celebrating Cuentos: Promoting Latino children\u2019s Literature and Literacy in Classrooms and Libraries. Santa Barbara: Libraries Unlimited, 2011.\nPerez, Elvia. From the Winds of Manguito: Cuban Folktales in English and Spanish / Desde los Vientos de Manguito: Cuentos Folkl\u00f3ricos de Cuba, en Ingl\u00e9s y Espa\u00f1ol. Ed. Margaret Read MacDonald. Trans. Paula Martin. Englewood, Co: Libraries Unlimited, 2004.\nSalles-Reese, Veronica. From Viracocha to the Virgin of Copacabana: Representation of the Sacred at Lake Titicaca. Austin: U of Texas Press,1997.\nSmith, Mary Morgan and Mary Ann Gilpatrick. \u201cStorytelling 101: Resources for Librarians, Storytellers, and Storytelling Librarians.\u201d Children and Libraries 3.1 (2005): 37-39.\nVigil, Angel. The Corn Woman: Stories and Legends of the Hispanic Southwest / La Mujer del Ma\u00edz: Cuentos y Leyendas del Sudoeste Hispano. Englewood: Libraries Unlimited, 1994.\nValdez, Mario J. \u201cStorytelling and Cultural Identity in Latin America.\u201d Latin American Narratives and Cultural Identity: Selected Readings. Eds. Irene Maria F. Blayer and Mark Cronlund Anderson. New York: Peter Lang, 2004. 9-27.\n[Alicia K. Long, 2012]", "id": "<urn:uuid:26d46262-dc5a-45cc-89bf-7eccf47ddb01>", "dump": "CC-MAIN-2017-17", "url": "https://nochedecuentos.org/storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122619.71/warc/CC-MAIN-20170423031202-00145-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8204706311225891, "token_count": 1587, "score": 4.09375, "int_score": 4}
{"text": "Benefits of Inclusion for Typically Developing Children\nPart 1 of a two-part series, academics and advocacy\nThe benefits of inclusive education for children with special needs have been well documented, including increased positive gains in academic skills, as well as motor, cognitive, self-help, language, and social skills. Increasing positive outcomes, both short term and long term, for children with special needs in general education classrooms is the goal of inclusive education, but those with special needs are not the only fortunate recipients.\nDespite the benefits of inclusive education for typically developing children being just as dynamic, they are not as well dispersed. For the next two months, the Haring Center Today will explore the advantages typically developing children receive from participation in inclusive classrooms.\nThe most prevalent concern of inclusive education voiced by parents of typically developing children is that children will not receive the same amount of challenging instruction, or that being taught in an inclusive classroom will slow a child\u2019s progress.\nThis has been demonstrated as untrue. Research has consistently shown that children without disabilities do equally well or better academically when taught in inclusive classrooms when compared to children who are in classrooms that do not include children with disabilities.\nBoth children with and without disabilities benefit from the individualized instructional support that comes from teachers who are skilled at modifying the teaching strategies they use to help students overcome learning challenges. This practice of differentiating instruction to meet the learning needs of all children is used in inclusive classrooms, regardless of whether a child has a diagnosed disability or not. Studies show that inclusive classrooms tend to be of higher quality and employ staff who use state-of-the-art practices.\nChildren without disabilities also learn skills that are not explicitly taught as part of a traditional educational core curriculum, but are skills that are beneficial to children throughout their school years, and beyond. For example, an Experimental Education Unit (EEU) preschooler\u2019s parents explain an important set of skills their daughter has learned as a result of her time in an inclusive classroom:\n\"At the EEU, Olive is learning how critical it is for everyone to have a voice. As a result, she is finding her own.\"\n\u2014 Cassie Martin (mom)\n\u201cOlive is learning important things at the EEU, like how to read and write. While these are great, what matters most is that she is learning to be socially responsible. Our favorite recent example of why inclusion matters: Olive has a friend in class who uses picture exchange as a method to communicate. Once, he dropped one of his pictures from his communication book. Olive picked it up, handed it to him and said, \u2018Friend, you dropped one of your words!\u2019 She knew it wasn\u2019t his picture. She knew it was his word. At the EEU, Olive is learning how critical it is for everyone to have a voice. As a result, she is finding her own.\u201d\nRecognizing and appreciating the differences amongst her friends in how they communicate, Olive is developing a mindset that might not have been possible if not for inclusive education. By learning to embrace diversity from an early age, she developing a skills and attitudes that will set her up for success throughout her life.\nFormer EEU student Delaney Foster is a recent graduate of King\u2019s High School, a private school in Shoreline, and was a leading member of the school\u2019s robotics team. Delaney\u2019s sister, Kendall Foster, was diagnosed with autism in early childhood and now attends Roosevelt High School in north Seattle.\nWhile Kendall attended all of Delaney\u2019s King\u2019s robotics practices and competitions, cheering along as the team\u2019s biggest fan, there weren\u2019t options for her to participate in her passion for robotics at her own school. This lack of opportunity for her sister motivated Delaney to make a change and impact the quality of life for her sister and others like her. Delaney worked hard to organize a unified robotics team that would include students with and without disabilities, and three years ago her hard work paid off.\nIn 2013, a unified afterschool robotics program launched, a collaboration between King\u2019s High School and the special education program at Roosevelt High School. More than 20 students with special needs are now participating in this program, all with teammates and mentors who are students at King\u2019s.\nDelaney Foster\u2019s motivation to advocate for and include people of all abilities in quite common for children who participate inclusive education. Studies have shown not only the academic benefit of inclusion, but also the long term impact on the social and character development of children without disabilities. Among many other benefits, it has been shown that children without disabilities who are in inclusive classrooms more often go into \u2018helping\u2019 professions, such as social work, teaching and medicine.\nIn short, inclusion is good for everyone. Children without disabilities who are part of inclusive classrooms, through their increased awareness and acceptance of difference and diversity, are helping to make the world better for everyone. Academics and advocacy are just two benefits for children without disabilities are taught in inclusive classrooms. Next month we will explore more.", "id": "<urn:uuid:e3467600-84eb-49fb-82a9-c85c2dacb798>", "dump": "CC-MAIN-2017-17", "url": "http://haringcenter.org/publications/HaringCenterToday/nov2016/novPg2.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00380-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9769748449325562, "token_count": 1053, "score": 3.78125, "int_score": 4}
{"text": "Organizing Reading Instruction\nIn grades four and five most teachers have a large block of time for reading and can organize instruction into three or at the most four guided reading groups. Once students enter middle school, teachers have 42 to 50 minutes to teach reading, therefore, meeting frequently with guided reading groups becomes impossible.\nWhether your curriculum is based on guided reading, reading workshop, or a more traditional model, three teaching and learning practices should be an integral part of instruction: Instructional Interactive Read Aloud, Instructional Reading, and Independent Reading. In this newsletter, I will discuss the benefits of each one of these teaching practices.\nInstructional Interactive Read Aloud\nReading can be taught, and having the teacher model in a think aloud how she applies a reading strategy builds and/or enlarges students\u2019 mental model of how a strategy works. For this aspect of instruction, I suggest that the teacher models with a short text that matches the genre and/or theme that ties a reading unit together. Short texts can include a picture book, an excerpt from a longer text, a folk or fairy tale, myth or legend, a short, short story, or an article from a magazine or newsletter.\nOnce you\u2019ve modeled how to apply a strategy such as making inferences, add the interactive component. The goal is to involve students as soon as possible for two reasons:\n- You can observe students\u2019 thinking process. You can also identify students who don\u2019t respond and confer with them to explore their reasons not participating. Once you know why active involvement is minimal, you can help them gain the confidence to participate by helping them prepare to answer a question.\n- You\u2019ll involve students in the lesson and make it interactive instead of passive. Involving students in the lesson can lead to engagement and an investment in the learning.\nHere are some skills and strategies that you can model in interactive read aloud lessons:\n- Making inferences\n- Identifying big ideas and themes\n- Identifying central ideas and themes\n- Locating important details\n- Skimming to find details\n- Author\u2019s purposes\n- Purposes of informational texts (nonfiction) and literature (fiction)\n- Literary Elements and how each supports comprehension: setting, protagonist, antagonists, plot, conflicts, other characters, climax, denouement\n- Informational text structures and how these support comprehension: description, compare/contrast, cause/effect, problem/solutions, sequence, question/answer\n- Word choice as a guide to pinpointing mood or tone\n- Vocabulary building with an emphasis on: general academic vocabulary, figurative language and comprehension, using roots, prefixes, suffices, discussing concepts, diverse word meanings, and different forms of a word.\nDuring class, the teacher can continually circulate among students to observe and offer quick, desk side conferences.\nInstructional reading should happen during class. Students need to read materials at their instructional reading level\u2014about 95% reading accuracy and about 85 % comprehension. Organizing instructional reading around a genre and theme\u2014for example biography with a theme of obstacles\u2014permits students to read different texts and discuss their reading around the genre and theme.\nThe reading workshop model is ideal for this type of reading instruction. The class opens with an interactive read aloud lesson that lasts about ten minutes and occurs daily. These lessons include vocabulary and word building. You can find books for students in your school library, your community public library, and in your class library and school\u2019s bookroom (if you have one). Instructional reading books stay in the classroom, as students from different sections will be using the same materials each day.\nTeachers have students chunk instructional texts by putting a sticky note at the end of every two to three chapters. When students reach a sticky note, they stop to discuss their books with a partner and then a group of four. During this stop-to-think time, students can write about their books, connect the theme to the book, and apply strategies and skills the teacher has modeled during interactive read aloud lessons.\nPartners should be no more than one year apart in reading levels so they have something to contribute to each other. Students reading far below grade level learn with the teacher.\nReading forty to sixty self-selected books can become the achievement game changer, especially for students who read below grade level. Students can read graphic novels, comics, magazines, e-books, and print books. By encouraging them to read accessible books on topics they love and want to know more about, you develop their motivation to read, read, read!\nHave students keep a Book Log of the titles they\u2019ve read and reread. Do not ask students to do a project for each completed book, for that will turn them away from reading. A book talk a month and a written book review twice a year on independent reading is enough. Trust and a personal reading life are what your building. In the archived newsletter, \u201cIndependent Reading\u201d you\u2019ll find directions for four book talks and for writing book reviews. You\u2019ll find this newsletter under the tab, \u201cResources\u201d on my website.\nStudents should complete thirty minutes of independent reading a night, and that should be their main homework assignment. Try to set aside two days a week for students to complete independent reading at school.\nTEN Ways to Improve Students Reading\nTo develop students\u2019 reading proficiency and motivation to read, you need to balance instructional and independent reading. Both kinds of reading are the foundation of these ten suggestions.\n- Instructional Reading: teach students to comprehend and think deeply about instructional materials to enlarge their vocabulary, enlarge their prior knowledge, and develop understandings of complex concepts such as human rights.\n- Independent Reading: in addition to instructional reading, students read thirty to fifty books a year \u2014books they can read with 99% to 100% accuracy. Like sports, to improve their reading students practice skills and build automaticity in applying specific strategies.\n- Choice: give students choice in independent reading materials and as much as possible with instructional texts. Choice results in motivation and engagement because students explore their passions and interests.\n- Easy Access to Reading Materials: one of my eighth graders pointed out, \u201cwe need all kinds of reading [materials] at our fingertips.\u201d My hope is that teachers will build class libraries with 700 to 1000 books and magazines on a wide range of topics and reading levels.\n- Teacher Reads Aloud: read aloud to introduce students to different authors and genres and model how you think about texts. Choose materials students will enjoy!\n- Discussions: these make learning interactive, help students clarify their hunches, and provide accessible peer models for thinking about texts.\n- Book Talks: invite students to present a book talk a month to advertise favorites. Over ten months, students will be introduced to 250 to 300 plus books recommended by peers.\n- Silent Reading: set aside twenty to twenty-five minutes of silent reading at school. This can be instructional and independent reading. Have students read at home for thirty minutes each night.\n- Readers Notebooks: 4invite students to complete informal written responses in their notebooks. Students can draw, draw and write, or write their reactions to read alouds and instructional and independent reading.\n- Conferences: hold three to five minute conferences to discover students\u2019 reading strengths, build self-confidence, and determine whether scaffolds are needed. Show students how to confer with one another and document their paired discussions.\nThese ten ways to improve reading provide research-based practices that can help students develop positive attitudes toward reading and read, read, read to build stamina and proficiency.\nThe Principal\u2019s Corner\nIncluding the three layers of reading into a middle school curriculum brings balance, engagement, and motivation to the curriculum and holds the potential of improving reading for all students. When the teacher models how she/he applies a skill or strategy to a specific text, the teacher provides opportunities for all students to observe how a skill or strategy works. Instructional reading asks students to apply specific skills and strategies to texts that can improve students\u2019 comprehension, vocabulary, and skill because these texts stretch students\u2019 thinking with the teacher, the expert, as a supportive guide. Equally important is independent reading: easy, enjoyable texts that students self-select on topics, genres, or by authors that interest them\u2014texts about two years below students\u2019 instructional level.\nIn my school, I hold teachers accountable for the three types of reading. I encourage teachers to set an independent reading goal for students of forty books a year in addition to their instructional reading. Independent reading that offers students multiple opportunities to practice what they learn from instructional reading can develop students\u2019 personal reading lives and accelerate their reading achievement.\nTo support independent reading, try to find and allocate funds to build teachers\u2019 classroom libraries so students have quick access to books. Once-a-week-visits to the library are not enough to meet the forty-book challenge.\nHere are some sites to Google to find outstanding books for class libraries:\n- Teachers Choices and Children\u2019s Choices: a yearly list from the International Literacy Association\n- Orbis Pictus Annual Awards for Nonfiction\n- American Library Association\u2019s Annual List of the Best Young Adult Books.\n- The National Association of Teacher\u2019s of English (NCTE) annual list of Books for a Global Society\n- The Newbery Award Winners\n- The Children\u2019s Book Center\u2019s annual list of multicultural books\nEvan Robb, Principal Johnson Williams Middle School and author of: The Principal\u2019s Leadership Sourcebook, Scholastic, 2007.", "id": "<urn:uuid:ed96a6ad-5608-4ad6-955f-a3c6160550d2>", "dump": "CC-MAIN-2017-17", "url": "http://lrobb.com/newsletter/three-layers-of-reading/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122041.70/warc/CC-MAIN-20170423031202-00378-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9368566870689392, "token_count": 2000, "score": 3.859375, "int_score": 4}
{"text": "Facts and Fun Information about the California Gold Rush\nWhat started as a discovery of Gold nuggets initially in the Sacramento Valley in 1848 became \"one of the most significant events to shape American history during the first half of the 19th century.\" (History) The California Gold Rush was a significant event because it helped usher in an era that greatly expanded the West and built an economy. Thousands of prospectors came by sea and land to get their hands on the riches that were so abundant in the northern California region. Once rumors spread about the discovery of the nuggets, it took little else to gather the masses. There are many tales about the California Gold Rush. While some may be true, others are exaggerated for the sake of show and storytelling. Here are seven facts and fun information about the Gold Rush of 1849.\n7 Facts and Fun Information About the Gold Rush\n- It all started with a man named James Marshall. When working as a carpenter, Marshall discovered Gold flakes at the base of the Sierra Nevada Mountains. The mill he was working in at the time was owned by John Sutter. Despite trying to keep the news of Gold on the property a secret, word leaked out and the masses came running.\n- The Gold Rush caused the largest migration of people to one location ever documented. Prospectors and business owners came from as far as China to explore the rumors of Gold. After the Gold Rush died down, it was estimated that 100,000 non-Californians settled there. Because of the migration, San Francisco became a forefront of a bustling economy and a shining light on the new frontier.\n- California was admitted into the Union in 1850, becoming the 31st state, in response to the Gold Rush. The United States had obtained California as a free state after being ceded by Mexico after the Mexican-American War in 1848. Little did anyone know the Gold Rush would put California on the fast-track to officially becoming a state.\n- The California Gold Rush was a short-term event in relation to years. From 1848 to 1857, Gold was mined and excavated in force. Millions of dollars in Gold were either pulled from the ground or deposited due to blast mining and surface excavations. The largest haul in one year was $81 million in 1852.\n- There were no banks in California in the early parts of the Gold Rush. California passed a constitution in 1849 that prohibited creating state or commercial banks. Banking was conducted by private individuals who could set their interest rates and loan amounts. Free of government regulation, these bankers could also change Gold into currency.\n- Merchants made more than some miners. Because it was vital to provide a support hub to miners, merchants and business owners opened shops to feed and clothe the miners and supply the necessary materials for excavation. Many merchants made a fortune offering support to the miners and after the Gold Rush many stayed in the area to conduct business.\n- Ships played an important role in building San Francisco. Even though there were settlers and miners who came in on wagons and foot, some came through the ports of San Francisco. Many ships were abandoned while others suffered greatly on their way into harbor. The ships were either repurposed as hotels or shops while others were torn apart for lumber. The ships incidentally provided San Francisco much needed and important supplies. (History)\nThe California Gold Rush offers many important historical narratives. Most importantly, it shows the importance of Precious Metals and the role they play in an economy. Gold would soon become an important part of cultural and financial lore.", "id": "<urn:uuid:d4e71763-25c6-4bb7-a589-2a2c4eda801e>", "dump": "CC-MAIN-2017-17", "url": "http://www.apmex.com/education/history/facts-and-fun-information-about-the-california-gold-rush", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123484.45/warc/CC-MAIN-20170423031203-00206-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.979723334312439, "token_count": 725, "score": 3.734375, "int_score": 4}
{"text": "What Are Open-Ended Materials?\nOpen-ended materials have potential use (typically re-use) for purposes different than for which the items were originally manufactured. Research and practice has demonstrated that open-ended materials are a powerful, economic and often-overlooked resource in education where stimulation of creativity is an important ingredient. Open-ended materials take many forms including\n\u2022 Different sizes, textures, shapes, and colors of paper, fabric, carpet, plastic and metal.\n\u2022 Pre-made blank books.\n\u2022 Envelopes, folders.\n\u2022 Canvas and plastic bags.\n\u2022 Jar lids and bottle caps.\n\u2022 Containers, jars, vases, and boxes.\n\u2022 CDs, CD cases. audio tapes and cases.\n\u2022 Seasonal decorations and components thereof.\n\u2022 Manufacturing scrap.\n\u2022 Packaging such as foam, styrofoam, and bubble wrap.\n\u2022 Out-of-date promotional items.\n\u2022 Foam core and poster board (even if used on one side).\n\u2022 Picture frame molding, corners, and mat samples.\nHow are Open-Ended Materials Used?\nThe follow links to indicated articles contain a wealth of information on how others have used open-ended materials in effective ways. Check them out and you might find some ideas you can try.\n\u2022 Promoting Creativity for Life Using Open Ended Materials.\n\u2022 Endless Possibilities: Free play helps your child build knowledge, skills, and creativity at his own pace.\n\u2022 Introduction to Open-ended Materials.\n\u2022 Creating with Open-Ended Materials.\n\u2022 Early Childhood Open Ended Art Projects.\n\u2022 Writing to Share \u2013 Open-Ended Materials.\n\u2022 Open-Ended Play with Blocks and Simple materials.\n\u2022 Open-Ended Inquiry in Science Education.\n\u2022 Your Inspiration.\n\u2022 A to Z Teacher Stuff: Lesson Plans.\nA Great Example\nTo learn about a great example of how a Waste Not Center member used open-ended materials in a creative writing class visit: http://www.cosa-oh.org/wnc_creativity.php.\nWhere Do I Find Open-Ended Materials?\nThe Waste Not Center is stocked with open-ended materials. If you do not live in Columbus, OH we may be able to direct you to a similar resource in your area. Give us a call at (614) 278-9445 or send us an email at firstname.lastname@example.org.", "id": "<urn:uuid:13a0c025-ee1a-4abf-8ee0-db4081974617>", "dump": "CC-MAIN-2017-17", "url": "http://www.cosa-oh.org/wnc_materials.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118851.8/warc/CC-MAIN-20170423031158-00555-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8194831013679504, "token_count": 514, "score": 4.0, "int_score": 4}
{"text": "news & tips\nA collection of helpful articles on teachers and teaching\nComic Books in the Classroom? How Reading and Writing Comics Boosts Literacy\nby Monica Fuglei\nTeaching is a tough job, and teaching literacy in underserved areas can be particularly challenging. With an increased focus on student performance, many teachers must push literacy for their students but can sometimes meet resistance from disinterested students who feel their assigned reading is boring. It\u2019s no wonder so many teachers are feeling beat up these days.\nWham! Biff! Kapow! How comics help win the battle for literacy\nNever fear \u2014 help is on the way. As superheroes often can be, this help is in disguise, wearing the brightly-colored pages of a comic book. With a little work, they can sweep in to help save the day. Comics are winning increased respect in the academic field as a powerful combination of storytelling and art that builds student engagement with course content.\nJason Tondro, author of the blog Doctor Comics, provides an excellent review of several books about comics and their positive effect on literacy. These publications speak to an increased movement among teachers to find material that combines attractive form with content. This both engages students and allows them to attach the curriculum to their own worlds, reinforcing content knowledge by making it personal.\nComic books in the classroom: A powerful storytelling tool\nComic book heroes have been taking over classes in Denver, Colorado since 2010. Comic Book Classroom is a non-profit group whose mission is to improve literacy and arts by providing a free comic-based curriculum as well as support for the teachers who use it.\nWhile much of their current outreach is local to Denver, CBC provides curricular support to teachers across the nation and has helped increase the literacy and arts engagement of over 400 students in their first three years. They currently provide a unit called \u201cProblems in My World,\u201d a two-45-minute-class unit that helps introduce comic book language and techniques to students while connecting five Common Core Standards to their own experience. Comic Book Classroom\u2019s website also provides an area for teachers to share and discuss their own comic-based lesson plans.\nLiteracy outreach to kids at Comic Con\nComic Book Classroom recently had their second annual Comic Convention. With a focus on their mission, the CBC ensures that the Denver Comic Con pays ample attention to their Kids\u2019 Corral, which highlights their goal of connecting youth with the power of comics by providing age-appropriate comics, a reading area, a stage for youth-oriented presentations, and plenty of hands-on activities to exhilarate young people.\nThis year, Kids Corral highlighted special reading guests. Peter Mayhew (Star Wars\u2019s Chewbacca) read from his own children\u2019s book. William Shatner snuck into the Kids\u2019 Corral to read \u201cWhere the Wild Things Are\u201d to the crowd:\nBeyond engagement: Writing comics teaches students plot analysis, story elements and problem solving\nComic Book Classroom is far from alone in their mission: several other organizations seek to marry curriculum content with the excitement of comics. The National Council of Teachers of English and several other online resources like Edutopia focus on the importance and benefits of using comics in the classroom while other sources like Free Technology for Teachers and Comics In The Classroom provide tangible strategies for integrating comics into the curriculum.\nAs the Comic Book Classroom describes, the visuals of a graphic novel can provide an excellent means for teaching basic movements of plot. Because so many of the features of writing are apparent right on the brightly-colored pages, one excellent way to use comics is to show early readers the parts of a story and help them with plot forecasting and recall. More developed writers and readers can use a graphical representation of a story to ensure that all major story elements are present in their own writing or to easily identify them in the comics they read.\nAdditionally, the marriage of classroom content with a graphical interface can further open students\u2019 eyes to literacy content in their own at-home worlds. A homework assignment that encourages students to find an example of a comic to discuss in class encourages them to explore reading and writing online, in print media, or even in advertisements. Sending students home or to the library to find comic books provides opportunities for content discussion that further reinforces the idea that writing and reading are a part of their world and can help save the day, one student at a time.\nMonica Fuglei is a graduate of the University of Nebraska in Omaha and a current adjunct faculty member of Arapahoe Community College in Colorado, where she teaches composition and creative writing.", "id": "<urn:uuid:8619c540-0a29-4454-8bfb-95c806b1e5bd>", "dump": "CC-MAIN-2017-17", "url": "http://lessonplanspage.com/comic-books-in-the-classroom-boost-literacy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123590.89/warc/CC-MAIN-20170423031203-00325-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9544294476509094, "token_count": 956, "score": 3.515625, "int_score": 4}
{"text": "NC 2014-15 Overall Performance Score - 72; Grade - B\nNC 2013-14 Overall Performance Score - 76; Grade - B\nMathematics at our school is taught by giving students opportunities to solve engaging problems and by building on the natural ways children make sense of numbers. Rather than primarily giving students worksheets of problems and prescribing formulas to find answers, teachers convey the fundamental concepts that will allow students not only to make calculations and memorize math facts, but also to solve problems that are meaningful to them. Teachers ask students to explain their thinking.\nBy explaining how they solve problems, children learn that math is a process of thinking and a tool to use in life. Students\u2019 thinking moves developmentally from the concrete to the abstract. In this way, students become adept at higher levels of critical thinking, such as synthesizing, analyzing, and applying.\nResearch has shown that when children construct for themselves new ways of thinking about problems, understanding is deeper and can therefore be applied to new situations. While all students at Evergreen learn to use math for problem solving and abstract thinking, we also work to differentiate our math curriculum for students of different abilities and learning styles. For this reason, students will sometimes work in flexible ability groups for math instruction.\nSpecific components of mathematics include:\nThe commitment of math facts to memory, so that recall of addition, subtraction, and multiplication becomes \u201cautomatic\u201d\nMeasurement, time, money, and other areas of \u201cpractical\u201d math\nCalculations, geometry, algebra\nWord problems and hands-on problem solving with manipulatives or real-world situations\nDifferentiated assignments, homework, and/or instruction\nHeterogenous grouping or ability grouping, as appropriate\nSocial Studies is explored through interdisciplinary units in which our students gain a better understanding of the diverse world in which we live. Students develop the awareness that they are a small, but important, part of a broader civilization, culture, and world.\nStudents will gain an enriched knowledge about the world through reading, film, and direct experiences such as:\nCreation of communities, cities or villages within the classroom\nExploration of the broader community, especially Asheville and the French Broad River region\nInternships, shadowing community leaders, or mentoring\nIndividual and cooperative research projects\nCommunity and international service projects\nOur Language Arts curriculum makes literacy relevant to children\u2019s lives. We foster a love of reading and communicating. Learning strategies that enable one to effectively read, write, speak, think, and listen extend the child\u2019s natural inclination to communicate ideas, fantasies, emotions, thoughts, questions and experiences with others and for themselves. Our curriculum is based upon the premise that communication involves complex processes and skills, all of them basic not only to communication, but to living as a fully-functioning, creative human being. It is rooted in the Language-Experience approach and Piaget\u2019s assertion that a child\u2019s interests and experiences are used as a springboard into further investigation via reading and writing.\nSpecific components of our curriculum include:\nReading for fluency\nVocabulary development and word exploration\nReading comprehension strategies\nIndividual reading conferences\nSmall group guided reading\nHomework reading nightly\nWriting: journal writing, report writing, dictation, writing as a process which involves brainstorming, outlining, creating rough drafts, critiquing, revising, creating a final draft and publishing.\nWriting with a focus on the six traits: ideas, organization, word choice, voice, sentence fluency, and conventions\nRead aloud daily where developmentally appropriate\nSilent, sustained reading\nShared reading and drama\nSpeaking and viewing experiences: class meetings, project presentations, storytelling\nScience is the process of discovering and understanding the physical world and its dynamics. We provide opportunities for students to explore and experiment actively, and to supplement hands-on activities with projects involving research. Teachers will guide students in scientific inquiry and in constructing logical conclusions. The primary grades emphasize the wonder of the world around us. In the upper elementary grades, students learn the formal scientific method and a format for performing and writing up scientific experiments. In middle school, students use formal scientific inquiry regularly and determine findings through research.\nScientific inquiry includes:\nObserving, classifying, questioning\nPredicting and forming hypotheses\nExperimenting, identifying and controlling variables\nGathering information from many sources, including the internet, books, magazines, encyclopedias, film, field trips, guest speakers, etc.\nCollecting and analyzing data\nDrawing conclusions and communicating them effectively\nLearning from \u201cmistakes\u201d and revising experiments or conclusions\nASSESSMENT AND TESTING\nAssessment at our school is a tool for growth. We begin by assessing what the child can do, observing how the child learns, gathering information about learning obstacles the child might encounter, and then we differentiate lessons accordingly. Throughout the school year, teachers assess students\u2019 skills and knowledge regularly, provide written feedback to students and parents, and provide instruction that enables the student to build on strengths and address weaknesses.\nEvergreen Community Charter School has a balanced system of assessment consisting of three components: performance-based assessments reflecting all disciplines; portfolios; and standardized state tests in communication and mathematics for grades three through eight, for writing in grades four and seven, for science in grades five and eight, and for computer skills and algebra in grade eight. This system generates needed diagnostic and achievement information for the individual student and for our school.\nPerformance-based assessments are defined as rubrics that indicate the level of performance on assigned tasks, and on-going teacher observation/evaluation of skills needed for the student\u2019s particular grade level. We do not issue traditional grades of A,B, and C; instead, teachers provide ongoing dialogue and written feedback about students\u2019 work, as well as narrative and rubric reports each trimester that detail students\u2019 progress and abilities in all subject areas.\nIn addition, teachers and parents will confer on student progress twice each year, once in the fall and once in the spring. Student-led conferences 1-2 times per year allow students to report on their progress to parents.\nPortfolios are defined as writing, math samples, social studies, and science samples from each of the three assessment periods that provide evidence of academic growth, as well as the student\u2019s strengths and weaknesses. The portfolios are used to support student placement decisions, identify areas needing further study, and, at conference time, provide parents with a resume of what their students are able to do. The school does not rely on \"one-shot-tests\u201d and seat time to determine student progress. Instead, students demonstrate their proficiencies in a variety of ways.\nStandardized state tests include all required North Carolina state tests for 3rd through 8th grade. Students in grade 3, 5 and 8 shall demonstrate proficiency by having test scores at Level III or above on end-of-grade tests in both reading and mathematics. We are required as part of our charter with the State of North Carolina to administer all state-mandated tests. These tests are part of our balanced assessment. The End-of-Grade/End-of-Course tests are always administered during the last three weeks of school.\nWant to know more about how Evergreen uses MAP testing to inform planning for instruction and differentiation for individual student needs? Call or email email@example.com Cameron Brantley, Associate Director.", "id": "<urn:uuid:90b83d9d-31d1-4781-b6a7-2b57033195bf>", "dump": "CC-MAIN-2017-17", "url": "http://www.evergreenccs.org/academic-excellence", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122886.86/warc/CC-MAIN-20170423031202-00616-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9283681511878967, "token_count": 1542, "score": 3.671875, "int_score": 4}
{"text": "The International Council of Museums explains that museums serve our society by sharing the \u201cheritage of humanity and its environment for the purposes of education, study and enjoyment.\u201d As you can imagine, it takes a lot of time and money to create, develop, and support a traditional museum. New digital-age tools make it easy to create a user experience that doesn\u2019t exist physically, providing opportunities for community members to learn without having to travel.\nYour local community wants you to share the history and influences of how the community was founded and has grown over the years. They don\u2019t have money or space to build a physical museum; instead, they hope that technology can help share this heritage using online exhibits. Your task is to build an online museum to share the stories of the people, historical sites, and artifacts that make the history of your community unique.\nBring an object from your home that has is both historical and important to your family. For example, grandma\u2019s rolling pin, a quilt made by your aunt, or a few baseball cards from your dad\u2019s collection. Share a story or two about the object or the time period from which it came.\nTalk with your students about your decision whether or not to let them touch the object or objects. Can they touch objects in a museum? Why or why not? It is important to see the object in real life, even if they can\u2019t touch it?\nTo help get your students thinking about how to share stories through artifacts at a digital exhibition, show examples of online museums with your students. Examples might include History Day exhibitions like Out of the Box and Into the Oven and digital extensions of existing brick-and-mortar structures like the Anne Frank House. How do these sites connect the viewer with artifacts and information?\nRather than providing students with a survey of the history of your community and boring them with facts and dates they may not care about, ask students to share what they already know about local celebrities and important historical events. You can prompt them with pictures of people and places if necessary, but you will likely be surprised at what they already know.\nRecord the people, events, and information students share in this discussion. Don\u2019t organize by timeline; instead, work together to group similar items together. You may want to give students a day or two to add to the list.\nYou can also task studentes with asking a parent, older family member, or neighbor about the past of your community. Great exhibitions include human stories, and learning to talk to adults will help them be more confident if they need to conduct interviews for their online museum exhibition.\nChoose a group of student team leaders. Have them choose an item from the list they want to learn more about. Then let other students form groups of 3-5 around the selected topics. If some topics do not generate sufficient interest or you have leftover students, have them choose another topic with the caveat that they must find at least 3 like-minded team members.\nStudent teams should begin the research process with a brainstorm about how and where to find information. It may be hard to find books on local, so be prepared to encourage them to move beyond the library and Wikipedia to include local experts and community institutions.\nPart of this process is learning how to be a historical detective. Giving them a set list of research resources doesn\u2019t require them to think about how to find information. Have them share their initial ideas with the other teams in the class. Encourage groups to share ideas for resources.\nAs teams begin collecting factual information, images, and maybe even interviews, they should begin to determine the story they want to tell. Who are the central characters? What is the conflict or problem?\nA great museum isn\u2019t just a collection of artifacts. Compelling collections include stories to place the objects in their historical context. As they begin research and developing the story for their exhibition, teams should create a flow chart storyboard that outlines the progression of artifacts and supporting media people will experience in their museum.\nAs students clarify their flow charts, they should continue to research and collect facts, stories, and media artifacts. They will need to collect media for each part of the exhibition\u2019s story. Media artifacts can include:\nAt this point, or possibly even earlier, you will want to talk with students about issues of copyright and permissions. Because they are creating an online museum intended to be a real community resource, student work will not fall under the Fair Use Guidelines for Educational Multimedia.\nRather than relying on copyrighted work, have students take original photographs of physical objects they have found during their research. They should request written permission from the subjects of photos and videos as well as from people who have allowed students to take photographs of their property or possessions.\nLocal history sites may also have archives that include copyright-free media. The Library of Congress is a great resource for primary source documents, all of which include information about the copyright status of the artifact. When in doubt, assume you do not have permission. Remind students to ask sources for permission and to create as much original content as possible.\nTeams should write informational text, narration, and captions for each stop in their online museum. As they work to build their collections, they can organize each stop on the flow chart tour with a single artifact or story.\nStudents can use online tools like Wixie or Google Sites to create their virtual exhibitions. Since so much work has gone into using storytelling to connect the viewer with the past, teams may want to make their exhibitions self-running.\nBy definition, the online museum can be shared with the world by distributing its URL. Although these virtual exhibitions exist online, you may want to invite parents and community members to a celebration to showcase the work students have done.\nIf students use Wixie to develop their virtual museums, have them share the URLs with potential \u201cvisitors.\u201d Students can use Share to create an online museum complete with images, narration, and videos, or use other tools like Google Sites to create the pages.\nYou may also want to create a web page or classroom blog post with links to each group\u2019s project. You can also use Share to create a home page with links to each student-created exhibition.\nIf students create virtual museums related to local history, be sure to invite your city council person and members of the historical society. Remember to have a sufficient number of devices on hand so students can act as docents while sharing their online museums.\nThe virtual museum is a great \u201cwriting across the curriculum\u201d performance task, where students engage much more deeply with content as they read and write outside of language arts class. This allows you to evaluate students\u2019 content knowledge about a time you are studying in a fun way.\nThe research process helps them build important literacy skills in Social Studies and Science as they practice finding and evaluating research materials and reading data and primary source materials. Their use of graphic organizers and charts can help you \u201csee\u201d their understanding. Their writing gives them an opportunity to practice sharing scientific and historical information through a combination of informative and narrative writing.\nDuring the process, you will also want to complete formative assessments so you can better determine which supports or additional instruction students need to better comprehend the content they are exploring and the skills they need to complete the project. For example you could do a 3-2-1 style exit ticket after work each day, where individuals share three things they learned, two things they found interesting, and one question they have.\nYou can also evaluate student groups for teamwork, responsibility, organization, and problem solving during the process.\nJanet Hoskins. Biographical Objects: How Things Tell the Stories of Peoples\u2019 Lives. ISBN: 0415920124\nDawn Raffel. The Secret Life of Objects. ISBN: 193754303X\nLiteracy in History/Social Studies\nCCSS.ELA-Literacy.RH.6-8.1 Cite specific textual evidence to support analysis of primary and secondary sources.\nCCSS.ELA-Literacy.WHST.6-8.2 Write informative/explanatory texts, including the narration of historical events, scientific procedures/ experiments, or technical processes.\nCCSS.ELA-Literacy.WHST.6-8.7 Conduct short research projects to answer a question (including a self-generated question), drawing on several sources and generating additional related, focused questions that allow for multiple avenues of exploration.\n1. Creativity and Innovation\nStudents demonstrate creative thinking, construct knowledge, and develop innovative products and processes using technology.\n2. Communication and Collaboration:\nStudents use digital media and environments to communicate and work collaboratively, including at a distance, to support individual learning and contribute to the learning of others.\nWhat can your students create?\nCreate custom rubrics for your classroom.\nGraphic Organizer Maker\nCreate custom graphic organizers for your classroom.\nA curated, copyright-friendly image library that is safe and free for education.", "id": "<urn:uuid:923f8f39-2e1d-48a8-8e16-099636867206>", "dump": "CC-MAIN-2017-17", "url": "http://www.thecreativeeducator.com/2016/lessons/virtual-museum", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00499-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9440697431564331, "token_count": 1864, "score": 3.90625, "int_score": 4}
{"text": "Celtic music is about 3000 years old- so how do we know what it sounds like? Come with me to ancient Europe and check out what the Celts were listening to!\nAs you may have guessed, we know how Celtic music sounds because of oral tradition. Long before the times of smart phones, people had to actually remember things (I know, shocking, right?). They would memorize songs and teach others for generations to come. As millenia passed by, the music evolved and changed; however, the quintessential \u201cCeltic\u201d sound stuck around and is staying alive 3000 years later thanks to artists like Adrian von Ziegler.\nWhat was it about?\nHistory was recited and stored in Celtic songs and poems. Martin J. Dougherty notes in his book, Celts, that if a bard (highly revered professional poet) made a mistake in the dates, names, etc., it would be easy to spot because it would throw off the entire song. Of course, with human memory acting as unwritten textbooks, many legends have formed from these poems. Songs weren\u2019t just historical recitations, though. They could cause some serious social damage.\nPraise and satire were commonly employed by bards. Satire would be used to mock a fallen enemy or disgrace someone for an unjust action. If a bard were to satirize someone, that person could kiss his reputation goodbye. A bard could even satirize a king without punishment. What if someone wasn\u2019t particularly fond of being satirized? It could be undone with a song of praise. A song of praise could also unimaginably raise a person\u2019s reputation. But bards didn\u2019t just shame or honor people- they could prevent wars.\nWars between tribes could start from a simple insult. There were songs about wars, but sometimes they prevented them. A bard was supposed to be able to grab and hold people\u2019s attention. If a dispute arose, the bard could cool the hostility with a song. Why should people have a war over dishonoring someone\u2019s pride? Music didn\u2019t just save lives, it helped make them more fun!\nAs in any party, music was essential. How can you have a party without music? The Celts, like any culture past and present, would hire bards to entertain at parties. Some were hired in royal courts to entertain the family or guests to a party. Their voices were their primary instrument, but the Celts developed numerous other instruments to aid in their poems and storytelling.\nThe bagpipes that we\u2019re used to are the Scottish highland pipes. The uilleann pipes are like the Irish version, except that they are much quieter and have different numbers of the same types of pipes. There\u2019s the chanter pipe (main pipe), drone (tuned an octave lower than the chanter), and the bass (tuned down two octaves). Uilleann pipes have 3 or 4 drones, whereas the bagpipes have 2. The uilleann pipes also have extra pipes called regulators that allow certain chords to be played.\nThe hammered dulcimer is similar to the zither. It originated in India around 900 AD. It is played using-you guessed it-hammers. These little wooden hammers are used to hit the strings and produce smooth sounding pitches. A common instrument which works using hammers is the piano. On a piano, you hit a key which triggers a hammer to hit a string. With this dulcimer, you\u2019re skipping a step and hammering it yourself!\nBouzouki and other Guitars\nGuitars were used for background rhythm rather than taking on melodies. The bouzouki (pronounced \u201cboo-zoo-key\u201d) sounds like a tinny lute. That\u2019s not a bad thing! The unique sound of the bouzouki gives some Celtic music its flair. Other guitars include the banjo, cittern (like a bouzouki, but with a more reverberating sound), and mandolin. All of these but the banjo have \u201cdouble strings.\u201d I.e., every string has another string right by it tuned the same way. This gives the chords a fuller sound. Imagine a twelve-string guitar- it\u2019s the same thing.\nThe Irish drum, or Bodhran (pronounced \u201cboh-rawn\u201d), was traditionally made with wood and goatskin. Now, other skins or synthetic materials are used. It is played with a type of drumstick called a tipper. One would hold the drum with one hand using a handle on the inside, and use the other holding the tipper. The player would hit the ends of the tipper against the drum, with two-headed tippers allowing for faster drumming. Playing using the fingers and knuckles is also common. For plenty of bodhran information, check out this link.\nThe bombarde is a small oboe-like instrument. It takes a lot of breath out of the player, since high pressure air is needed to play it. It\u2019s used for shorter parts because of this. The bombarde shines in short and sweet melodic parts. It is in the shawm family of instruments, meaning it has two reeds instead of a clarinet, per se, which has only one.\n- Flutes were made of wood and gave a much smoother sound than metals ones.\n- Harps were typically leaned against one\u2019s leg while performing.Harps have been symbolic in Irish nationalism since the 10th century, and were originally a trade good from Egypt. They typically have 12-19 strings, with the ones played by the Celts having 12 or 15. These harps were played sitting down with the harp resting on the player\u2019s leg.\n- Fiddles are violins. The name \u201cfiddle\u201d really refers to the folk music which is played on one.\n- Melodeon/Accordion/Concertinas are so-called \u201csqueezeboxes\u201d and differ either by rows of buttons or body shape. For example, the concertina has two hexagonal ends with buttons on both ends. You may have never heard of a melodeon, likely due to the fact that there\u2019s only one difference between that and an accordion: accordions have an extra row of buttons.\nCeltic Music Theory\nFor my fellow music theory geeks out there, here are some methods used in Celtic music. If music theory isn\u2019t your thing, don\u2019t worry, there are explanations below. For more, click here.\n- Major, minor keys\n- Dorian, mixolydian modes (give a minor and major feeling, respectively)\n- Grace notes used frequently\n- 6/8 meter used frequently\n- Lively and quick tempo\n- Pentatonic scales used frequently\n- Emphasis typically on beat one\n- The two main types of keys in music (a key dictates what notes are played in the song).\n- Modes: take a key, start on any note and play the scale with the same notes as the original key. For example, C major has notes CDEFGABC. D dorian is the C scale starting on D, so the scale is DEFGABCD. Major and minor are the ionian and aeolian modes, respectively.\n- Grace notes are quickly played notes in between main notes used in a piece.\n- Meter dictates what type of note gets one beat and how many beats are in a measure. 6/8, for example, counts eighth notes as one beat and has six beats per measure. Reading from top to bottom, X amount of Y notes.\n- Played faster and maybe with some \u201cswing.\u201d\n- A normal scale but without the 4th and 7th note (typically).\n- The first note of every measure may be accented or played with a tenuto (slightly longer). Many other methods could be employed.\nIf you thought this was interesting, just wait until I finish up the rest of my Celtic posts. If you think someone else might like this, feel free to share it! As always, thank you very much and I\u2019ll see you next post!\nCeltic Design: https://www.pinterest.com/carolsuekreisch/celtic-tapestry/\nUilleann Pipes: http://www.ehx.com/forums/viewthread/2710/\nCeltic Tribe: https://www.pinterest.com/pin/400538960585007253/\nBard Re-enactor: http://annoyinglizardvoice.deviantart.com/art/Celtic-bard-176666682", "id": "<urn:uuid:1c017255-90b5-4e79-bc4f-ea716021bf96>", "dump": "CC-MAIN-2017-17", "url": "http://colvincuriosity.com/index.php/2016/12/08/what-was-celtic-music-like/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00380-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9641688466072083, "token_count": 1855, "score": 3.5, "int_score": 4}
{"text": "\"Lob's Girl\" Literature Study Unit\nIn this 8-day unit students will develop a deep understanding of Joan Aiken\u2019s short story \u201cLob\u2019s Girl\u201d\n. Its tale of loyalty and friendship combined with mystery and suspense make it an incredibly engaging read. Students develop skills in understanding short story elements, mood development, theme, foreshadowing, vocabulary, dialect, and writing in this unit. Through whole class, small group, and independent work students not only stay actively engaged with their instruction, they also build crucial skills in reading, listening, and writing.\nCommon Core State Standards\n- R.1, R.2, R.3, R.4, R.5, R.10\n- W.1, W.4, W.10\n- SL.1, L.4, L.6\nIn this unit, students will...\n- Understand and appreciate short story elements: plot, setting, characters, theme\n- Recognize cause and effect to help understand foreshadowing\n- Build background information on Joan Aiken, Cornwall, England, and British English\n- Build understanding of mood\n- Develop understanding of dialect (British English)\n- Increase vocabulary\n- Make personal connections to text to increase comprehension\n- Creatively write in response to the text\n\u201dLob\u2019s Girl\u201d Unit Highlights:\n- Pre-Reading Writing Prompt\n- Reading Toolkit Graphic Organizers for Ongoing Comprehension Development\n- Small Group Discussion Activity\n- Making Predictions Graphic Organizer\n- Foreshadowing Discussion Starters\n- Hands-On Mood Analysis Lesson\n- Small Group Vocabulary Sort\n- Creative Writing Activity\nIncluded in Student \u201cLob\u2019s Girl\u201d Packets:\n- Building Background Information\n- Connect to the Reading\n- Dialect Graphic Organizer\n- Plot Log\n- Setting Chart\n- Character Log\n- Predictions Graphic Organizer and Writing\n- Group Discussion Questions and Record Sheet\n- Mood Analysis and Web\n- Literary Analysis - Foreshadowing\n- Theme Analysis\n- Creative Writing Prompt and Pre-Write\nTeacher and Instructional Resources for \u201cLob\u2019s Girl\u201d Unit:\n- Vocabulary Sort Activity\n- Mood Analysis Activity\n- Unit Overview\n- Detailed Lesson Plans (8)\n- Final Assessment (Multiple choice, matching, and short answer test)\n- ALL Instructional and Assessment Keys\nThis unit is part of a Six-Week Incredible Journeys Multi-Unit Bundle Project\n. In this project students study a short story about a dog\u2019s journey to his owner, investigate Lewis and Clark\u2019s journal entries, analyze speeches about journeys, research explorers, write speeches about incredible journeys, analyze journey poems, write poetry and reflect on their personal journey while actively meeting 38 Common Core State Standards.\nFind out all about the Incredible Journeys Multi-Unit Bundle Here!\nYou may also like\u2026\nDescriptive Writing Unit\nContext Clues - Reading Comprehension Mini-Unit\nHow to Respond to Short Answer Questions - Test Prep\nFollowing is Fun!\nGet the inside scoop on all store discounts, free products, and product launches. Just click the green \u201cFollow Me\u201d star under my store name on this page or click the green \u201cFollow Me\u201d star on my store homepage.\n*** Click HERE\nto receive the Brain Waves Instruction Newsletter\nfilled with exclusive FREEBIES and Teaching Tips!\n*** Click HERE\nto become a seller on TpT\n(Referral by Brain Waves Instruction)\nBrain Waves Instruction\nFYI - Due to copyright regulations, the text for \u201cLob\u2019s Girl\u201d is not included in this unit. However, you can easily get a copy of the story by searching for a pdf of \u201cLob\u2019s Girl\u201d on the internet.", "id": "<urn:uuid:1f09f1cc-2bb7-4b17-8009-b6c557c29ba0>", "dump": "CC-MAIN-2017-17", "url": "https://www.teacherspayteachers.com/Product/Lobs-Girl-Short-Story-Unit-1152212", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119782.43/warc/CC-MAIN-20170423031159-00086-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8327085375785828, "token_count": 812, "score": 3.625, "int_score": 4}
{"text": "The Bronte Sisters, Jane Eyre And Wuthering Heights Essay, Research Paper\nThe Bronte Sisters\nVarious aspects of Charlotte and Emily Bronte s background greatly influenced them to write the novels Jane Eyre and Wuthering Heights. The death of their mother influenced them as young children when she died of a lingering illness, and this loss drove the Bronte children into an intense and private intimacy (Dunleavy 239). But their father remained, and he directed their education at home, letting his children read freely and treating them as intellectual equals (Stabenau 179). Similarly, both of the main characters, Jane Eyre and Catherine Earnshaw, lose their mothers to illnesses as young children and the remaining parent or relative must raise the child. Both stories make use of the popular nineteenth century motif of the orphaned child who must make his or her own way in an antagonistic world (Dunleavy 242). Besides the absence of a mother figure, both sisters spent most of their lives in isolation on the Yorkshire moors, another important influence on the novels (Abbey and Mullane 414). Rebecca Fraser, a biographer of the Bronte family, believes that they clearly preferred a reclusive lifestyle admist the primitive beauty of the moors (23). By comparison, the bleak, lonely moors of Yorkshire serve as the same setting for two of the greatest novels of the nineteenth century, Jane Eyre and Wuthering Heights ( Bronte CD-ROM). According to an essay written in The Eclectic Review in 1851, Charlotte and Emily Bronte were at home amongst the moors; therefore, a vividness and graphic power in their sketches present them before the reader (108). The Bronte s work was shaped by the wild and lonely moors where they spent most of their lives. Although quiet and withdrawn women, they possessed a mystical streak that responded to the natural environment around them ( Heights 1). Many unique individuals in both sisters lives also influenced their novels since they base many of the main characters in the stories on these individuals. Vividness, cogency, plausibility these attributes of exceptional writing result from characters in both stories exhibiting personalities exactly like ones in the novelists lives. In order to create these characters, Charlotte and Emily Bronte selected an actual living person they knew, collected traits from his or her personality, and modified this person to make another (Roscoe 51). This background, together with a Gothic setting, convincing characterization, and important literary devices enables Charlotte Bronte in Jane Eyre and Emily Bronte in Wuthering Heights to develop the theme of exploration into different kinds of love.\nThe combination of literary elements from both novels constitute them as Gothic romances. To be considered as such, a story must present a stormy love affair within a violent brooding atmosphere often entwined with supernatural occurrences. The stormy love affair in Jane Eyre exists between Jane and Rochester and, in Wuthering Heights, between Catherine and Heathcliff. Literary critic, David Cecil, observes that love is indeed the central theme of Charlotte and Emily s stories, for it is inevitably the main preoccupation of such passionate temperaments. Characteristically, the Brontes describe frustrated love, but the fact that it is frustrated does not make the love of their heroines less intense; indeed, it makes it more of an obsession (66). And although this love, which devours life itself, devastates the present, and desolates the future, may seem violent and turbulent, it contains nothing less pure in it than flame or sunshine (Tucker 137). The hero or heroine must also counter threatening circumstances for the story to be classified under the genre of Gothic romance. Under an atmospheric dome of brooding unpredictability as such, Emily Bronte explores the violent and unpredictable elements of human passion in her novel (Dunleavy 251). Cecil describes her sister s methods similarly: Charlotte Bronte s plots are full of sinister secrets and inexplicable happenings. The lurid light of her vision does invest these with a weirdness beyond that of ordinary mundane horror (Cecil 66). The combined atmosphere of both novels seems charged with suppressed electricity and bound in with blackness of tempest and desolation (Tucker 137). An environment of mystery and supernatural happenings constitute the final ingredients typical of a Gothic romance. Charlotte Bronte s power of creating a scene directly relates to her power of suggesting the eerie although she never actually brings in the supernatural (Cecil 66). Gweneth Dunleavy describes much of the supernatural in Emily s Wuthering Heights as the lack of established borders between life and death because the main characters communicate as ghosts and in dreams through the veil of time, in a setting that simultaneously assumes supernatural qualities (250). The author also heightens the experience of supernatural imagery with descriptions of characters as angels and devils living in heaven and hell ( Heights 2). The romantic tendency to invent and delight in monsters, the love of violence in speech and action, and the abnormal in situation\u2013of all these are abundant examples in Jane Eyre and Wuthering Heights (Draper 419).\nWhen analyzing characterization in Jane Eyre and Wuthering Heights, many other comparisons can be made since all the main characters of both stories are placed into similar typecasts and circumstances concerning theme. The central figure of the authors themes involve a strong-willed, passionate young heroine who must decide between the wild, unpredictable man whom she loves, or the honest, Christian gentleman who would be the most suitable for matrimony. Such a description perfectly embodies Charlotte Bronte s heroine, Jane Eyre, whose best recommendations are her tranquil devotion and perfect virtue (The Times 46). In 1847, G.H. Lewes describes her in his essay when he states:\nWe never lose sight of her plainness, no effort is made to throw romance about her\u2013 no extraordinary goodness or cleverness appeals to your admiration; but you admire, you love her\u2013 love her for the strong will, honest mind, loving heart, and peculiar but fascinating person (44).\nEdward Rochester is the character that opposes everything that Jane knows to be morally correct and socially acceptable. He is strong and yet weak, a very thunderbolt for strength and exploisiveness and yet a bundle of ordinary human weaknesses (Smith 55). The most that can be said for Rochester is that he truly loves and values Jane. This trait is his sole defense in his attempt to marry her while he still has a wife living under his own roof (Tucker 138). The foil to Rochester is the clergyman, St. John Rivers. He is the medium through which Charlotte represents her father, a symbol of everything she has learned to be the adequate amount of discipline and devotion required of a Christian (Draper 408). Charlotte s goal is to balance one kind of temptation with its reverse. If Rochester is all romantic passion, urging her to give in to emotional desire, St. John Rivers is all Christian ambition, urging her to attempt a spiritual asceticism of which she knows herself incapable (Oates viii). Emily Bronte s heroine is Catherine Earnshaw. W. Somerset Maugham, English dramatist, short story writer, and novelist known best for his autobiographical novel Of Human Bondage believes that her consuming, obsessive passion differs greatly from the more conservative personality of Jane (117). Catherine vibrates with passions that fictional conventions only partly construct or gloss over. Within her exists an almost violent devotion that has a fire of independence, a spiritual energy and vivid sexual responsiveness. This is enhanced by her self-righteousness, a sense of power, sometimes self-pity, and enviable competitiveness (Draper 69). Catherine s heart undoubtedly belongs to Heathcliff, a representative of natural man and pure passion (Abbey and Mullane 415). His appeal comes from his unwavering passion as inexplicable and terrible as it is unalterable. It is a passion that makes him and his beloved believe that the two of them are one life, one soul (Shaeffer vii). Heathcliff s rival is Edgar Linton, whom Catherine believes to be more socially inclined for marriage. Through her marriage to Edgar, she yields to that destiny, but her yielding is uneasy, her resistance tormented, and she finds her way out of it by death (Draper 425). Edgar s refinement and delicate beauty stand in stark contrast to the degraded, unkempt Heathcliff whom Catherine describes as an arid wilderness of furze and whinstone (Cerrito and Keppos 107). We obtain from the Bronte novels no multitude of characters, but those we do get, we become closely familiar with, and one being of veritable flesh and blood is worth a thousand imitations (G.B. Smith 55).\nBesides characterization, literary devices are another contributing factor to the theme of the novels. Symbolism, pathetic fallacy, and realism\u2026\nThe rest of the paper is available free of charge to our registered users. The registration process just couldn\u2019t be easier.\nLog in or register now. It is all free!", "id": "<urn:uuid:d43dafa2-80b4-4df4-9f5c-16129a358d59>", "dump": "CC-MAIN-2017-17", "url": "http://mirznanii.com/a/91833/the-bronte-sisters-jane-eyre-and-wuthering", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124478.77/warc/CC-MAIN-20170423031204-00444-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.933192789554596, "token_count": 1855, "score": 3.734375, "int_score": 4}
{"text": "Alice Walker was born on February 9, 1944, in Eatonton, Georgia. She worked as a social worker, teacher and lecturer, and took part in the 1960s Civil Rights Movement in Mississippi. Walker won the 1983 Pulitzer Prize for Fiction for her 1982 novel, The Color Purple, and is also an acclaimed poet and essayist.\nNovelist, poet and feminist Alice Malsenior Walker was born on February 9, 1944, in Eatonton, Georgia. Alice Walker is one of the most admired African-American writers working today. The youngest daughter of sharecroppers, she grew up poor. Her mother worked as a maid to help support the family's eight children. When Walker was 8 years old, she suffered a serious injury: She was shot in the right eye with a BB pellet while playing with two of her brothers. Whitish scar tissue formed in her damaged eye, and she became self-conscious of this visible mark.\nAfter the incident, Walker largely withdrew from the world around her. \"For a long time, I thought I was very ugly and disfigured,\" she told John O'Brien in an interview that was published in Alice Walker: Critical Perspectives, Past and Present. \"This made me shy and timid, and I often reacted to insults and slights that were not intended.\" She found solace in reading and writing poetry.\nLiving in the racially divided South, Walker attended segregated schools. She graduated from her high school as the valedictorian of her class. With the help of a scholarship, she was able to go to Spelman College in Atlanta. She later switched to Sarah Lawrence College in New York City. While at Sarah Lawrence, Walker visited Africa as part of a study-abroad program. She graduated in 1965\u2014the same year that she published her first short story.\nAfter college, Walker worked as a social worker, teacher and lecturer. She became active in the Civil Rights Movement, fighting for equality for all African Americans. Her experiences informed her first collection of poetry, Once, which was published in 1968. Better known now as a novelist, Walker showed her talents for storytelling in her debut work, Third Life of Grange Copeland (1970).\nWalker continued to explore writing in all of its forms. In 1973, she published a set of short stories, In Love and Trouble; the poetry collection Revolutionary Petunias; and her first children's book, Langston Hughes: American Poet. She also emerged as a prominent voice in the black feminist movement.\nThe Color Purple\nWalker's career as a writer took flight with the publication of her third novel, The Color Purple, in 1982. Set in the early 1900s, the novel explores the female African-American experience through the life and struggles of its narrator, Celie. Celie suffers terrible abuse at the hands of her father, and later, from her husband. The compelling work won Walker both the Pulitzer Prize for Fiction and the National Book Award for Fiction in 1983.\nThree years later, Walker's story made it to the big screen: Steven Spielberg directed The Color Purple, which starred Whoopi Goldberg as Celie, as well as Oprah Winfrey and Danny Glover. Like the novel, the movie was a critical success, receiving 11 Academy Award nominations. Walker explored her own feelings about the film in her 1996 work, The Same River Twice: Honoring the Difficult. In 2005, The Color Purple became a Broadway musical.\nWalker incorporated characters and their relations from The Color Purple into two of her other novels: The Temple of My Familiar (1989) and Possessing the Secret of Joy (1992), which earned great critical praise and caused some controversy for its exploration of the practice of female genital mutilation.\nWalker has proved time and time again to be a versatile writer. In 2004, she published Now Is the Time to Open Your Heart. Two years later, in 2006, she published a collection of essays, We Are the Ones We Have Been Waiting For: Light in a Time of Darkness, and the well-received picture book There Is a Flower at the Tip of My Nose Smelling Me.\nContinuing her work as a political activist, Walker also wrote about her experiences with the group Women for Women International in 2010's Overcoming Speechlessness: A Poet Encounters the Horror in Rwanda, Eastern Congo and Palestine/Israel. She published another poetry collection, Hard Times Require Furious Dancing, that same year.\nAfter more than four decades as a writer, Alice Walker shows no signs of slowing down. In 2012, she released The Chicken Chronicles; in this latest memoir, she ruminates on caring for her flock of chickens. Following the release of The Chicken Chronicles, she began working on The Cushion in the Road, a collection of mediations on a variety of subjects slated to be published in 2013.\nWalker married activist Melvyn Leventhal in 1967. The couple had one daughter, Rebecca Walker, before divorcing in 1976.\nWe strive for accuracy and fairness. If you see something that doesn't look right, contact us!", "id": "<urn:uuid:8ac3c6ea-ca1c-4c62-8685-2dd5e4a40d64>", "dump": "CC-MAIN-2017-17", "url": "http://www.biography.com/people/alice-walker-9521939?page=2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126538.54/warc/CC-MAIN-20170423031206-00620-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9768406748771667, "token_count": 1039, "score": 3.5, "int_score": 4}
{"text": "Lesson 7 of 7\nObjective: Students will be able to demonstrate their understanding of photosynthesis\nPurpose of Lesson:\nThe purpose of this lesson is to assess student learning of photosynthesis. This is also the final shot at making connections within the unit.\nMajor Strategies to Watch for:\nWrap -up- At the end of units I use an animated, interactive power point to review the content and make deeper connections with kids.\nConcept map - I use a shared concept map to make connections with the unit and with previous and future student learnings.\nLearning Goal: Prove what you have learned about photosynthesis.\nOpening Question: Fill in the blanks of these sentences using your word glossaries.\nPhotosynthesis creates __________ for plants. This food is _____________. The __________________ of photosynthesis are carbon dioxide, water, and sunlight. The ____________________ of photosynthesis are sugar and oxygen.\nStudents record their opening question on their learning goal sheet and are ready to start class 3 min after the bell has rung. I reward students who get started early with ROCK STAR SCIENTIST tickets.\nThis video of photosynthesis, from the point of view of the seed, is a funny way to end this unit. I ask kids to listen for specific things like ATP, mitochondria, chloroplasts, molecules.\nI stop the video at certain points to emphasize the most important learning that we've done this unit and to give kids a chance to share their thinking with their partner.\nOn the day of any summative assessment, I like to take the time to wrap-up my instruction by using an animated interactive power point review. The purpose of the review is to give the students one more look at the content this time at a global perspective so that students can make connections and solidify their understanding.\nIn this review I want to focus students on some of the main ideas.\n1) Photosynthesis produces food for plants.\n2) This food is sugar.\n3)Understanding the reactants and products of this process.\nFor me, there are two important instructional aspects of the power point. First, I set it up to be interactive with several processing slides within the presentation so that students can hear thoughts from their peers as well as me.\nSecond, I use animation techniques in the powerpoint to capture student attention, include non-verbal visual cues, and allow for storytelling. Making animated powerpoints can be time consuming and tricky, but I love it and find it well worth the time.\nBelow are several screenshots of how to do different animations. Once you have the skills, the rest is up to your imagination!\nMaking basic entrance and exit animations\nUsing animations to tell a story\nAdding in movement lines\nThe purpose of this section is to reexamine the shared concept map we made at the beginning of the unit and to add connections and thinking.\nTo do this I pull students to the back of my room by one of my unused white boards. We have three norms at the board.\n-Everyone sits on the floor.\n-Everyone brings their map paper and a pencil.\n-Everyone raises their hand to talk.\nEach unit, I print out the Essential Learnings on tag board for the students. This also includes the success criteria for each standard and a tracking device. I give students a plastic cover to keep them in. This simple structure increases their worth to kids, showing them daily how important the student trackers are. Because this shows the tracking of learning it makes a very logical place to put the picture or concept map of learning on the back.\nWith students, I sketch out the unit on the board and fill in some details. Students have the freedom to add more details to their maps. With each mini- unit, the maps grow in detail and connections. This is a picture of what one students' map looked like. In later units, I want to bring kids up to do the thinking on the concept maps. Below I loaded a video of a student walking us through the map.\nThe purpose of this section is to assess the students. This test assesses the essential learnings of the unit and also looks at whether students are being able to count atoms in a chemical formula. This information is actually a pre-assessment for some conservation of mass learning we will be doing later in the year. When students are done with their tests, they can read or finish their Animotos.\nClosing Statement: \"This week we have been studying photosynthesis and looking at how plants make food. Next unit will be all about how plants and animals use that food to make energy.\"\nClosing Question: \"Now that we know where the plants get food, what do you think they DO with the food?\"\nClosure depends greatly on timing and is not as easy to plan in advance as opening. You can find more information about how I manage closure here.", "id": "<urn:uuid:475c317f-4ef2-4ae1-b710-8d5d3577bc6a>", "dump": "CC-MAIN-2017-17", "url": "https://betterlesson.com/lesson/resource/3141258/79003/energy-in-life-unit-plan", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119225.38/warc/CC-MAIN-20170423031159-00321-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9426287412643433, "token_count": 1010, "score": 3.671875, "int_score": 4}
{"text": "2 Answers | Add Yours\nA novel is a piece of literature written in narrative prose. Prose is different from Verse. Verse is the style of poetry - even dramas and histories had always tended to be written in verse: think Beowulf, The Odyssey, and The Canterbury Tales.\nMost cite Cervantes' Don Quixote as the first novel in 1604, but the novel as a genre did not gain popularity until more than a century later. Novels gained popularity in the 18th and 19th century in England with books such as - Robinson Crusoe (1719), Pamela (1750), and later with novels like Jane Eyre (1847). As the middle class expanded, so did readership in general with an increasing amount of those reading novels. Novels continued to increase in popularity, eventually becoming as, or more, read than poetry. Fiction has sort of become synonymous with \"novel.\" However, Fiction is just a type of novel: others are nonfiction, epistolary, and historical.\nA \"Novel\" is a narrative in prose with a specific setting, plot, rising action, climax, declining action, and characters to portray it.\nIn the English language, the term \"novel\" did not come to be of household use until the 1740's and later on in the 18th century, as Romances, Histories, and other genres were still taking most of the works of the time.\nThe first English Novel, as accepted within theory was written in 1688 by Aphra Benn Oroonoko or The History of the Royal Slave.\nAs far as popularity goes, however, it is accepted that the Robinson Crusoe by Daniel Defoe was actually the work (1718) which set the wheels in motion and began the novel writing movement in all of England.\nYet aesthetically and in form, the first English novel that is accepted as modernist was Samuel Richardson's Pamela (1740).\nBeing that the 18th century began the formal introduction of the English Novel, the themes began to adapt from the enthralling and captivating fiction to more of a mirror of society.\nThis is how you move from the 18th century Robinson Crusoes and Fielding, Defoe, and Chaucer to the 19th century commedies of manners of Jane Austen and Charles Dickens which, instead of removing the reader entirely from the present perspective through fiction and storytelling, they want to keep you in a realistically fictional stage exposing issues and making their own witty observations.\nThe move has been gradual and representative of its social changes, but it has mirrored universally the mental and psychological state of its writers for over 300 years.\nWe\u2019ve answered 319,811 questions. We can answer yours, too.Ask a question", "id": "<urn:uuid:8afc0c63-25f5-4790-b842-54254fab7e20>", "dump": "CC-MAIN-2017-17", "url": "https://www.enotes.com/homework-help/what-novel-when-did-appear-what-difference-between-146987", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119080.24/warc/CC-MAIN-20170423031159-00616-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9771923422813416, "token_count": 569, "score": 3.609375, "int_score": 4}
{"text": "Spice Up Poetry by Incorporating American Sign Language Signs\nMost elementary and even preschool teachers have poetry centers or do a poetry unit with their students. They can help with word play, rhyming words, introduction and reinforcement of different poem styles, similes, word comparisons and more. Because poetry centers are usually set up as a bunch of poems for students to read quietly, it\u2019s not very interactive or fun \u2013 especially for your kinesthetic learners. An easy way to make your poetry center more interactive and fun is to incorporate some American Sign Language signs.\nIntegrating ASL With Poetry Is Easy and Fun!\nHere are a few tips for integrating ASL with your poetry unit.\n- Choose a poem that goes along with and supports your curriculum, to make the content more meaningful.\n- Choose one or more words on each line for the students to sign. Be sure to pick out the keywords (or the most important words in the poem) as your signing words.\n- If you don\u2019t already know how to sign the words, look up the signs in an American Sign Language Dictionary. I highly recommend Michigan State University\u2019s ASL Web Browser.\n- Teach your class how to read and sign the poem. You may want to explain to your class that you aren\u2019t really signing the whole poem, just the keywords or the most important words. (This could make for a great keyword lesson as well.)\nThen during poetry center time, your students can practice reading the poem again, but they can also practice the signs that go along with the poem as they read. They will then, in a sense, be storytelling or acting out the poem with their hands. You can even make cards with pictures of the signs on them and they could match the words in the poems with the sign cards. This strategy will also help your struggling readers as many signs are iconic in nature, that is they look like the actual object, so give a great visual representation of new words they are trying to learn/read.\nIf your students are good at their dictionary skills and at finding keywords, you could put an American Sign Language Dictionary in the poetry center with a new poem and see if the children can find and figure out how to do the signs for the keywords in the poem on their own. If correct, they could even teach and/or show the rest of the class how to sign the poem they worked on.\nBy integrating American Sign Language signs into your poetry center or your poetry unit, you can create a new, fun, and interactive way for your students to learn about the joy of poetry.", "id": "<urn:uuid:0ebab1d6-d036-4e42-9949-e271b8a675dd>", "dump": "CC-MAIN-2017-17", "url": "http://m.brighthubeducation.com/teaching-elementary-school/11865-preschool-and-elementary-poetry-lesson-plan-ideas-using-sign-language/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125841.92/warc/CC-MAIN-20170423031205-00207-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9603524804115295, "token_count": 536, "score": 3.578125, "int_score": 4}
{"text": "GME: Neuro Linguistic Programming in ELT\nNLP (Neuro Linguistic Programming) has been around in language teaching longer than we may realise. Those teachers who incorporate elements of suggestopedia, community language learning, music, drama and body language into their lessons are already drawing on NLP as it stood twenty years ago.\nThe roots of NLP\nNLP, with its roots in psychology and neurology, is about the way the brain works and how the brain can be trained for the purpose of betterment. It encompasses or is related to 'left / right brain' functions, 'visual / auditory / kinesthetic' learning styles, multiple intelligence and other areas of research which are attempting to identify modes of learning whilst recognising the importance of the individual learner.\nNLP and related subjects have their sceptics, particularly in terms of general classroom applicability and how NLP is commercially marketed as a method of self-improvement. NLP has been labelled a 'quasi science' and criticised on the grounds of lack of empirical studies, but there are sound reasons why NLP is compatible with current classroom practice.\n- NLP is about recognising patterns.\n- NLP is concerned with process rather than content.\n- NLP provides a model of how we communicate with ourselves and others.\nNLP and language learning\nThe NLP model explains how we process information which comes to us from the outside and is based on the work of Richard Bandler and John Grinder, who initially recognised the importance of eye contact and movement in identifying emotional states and how (rather than what) individuals think.\nIn NLP, information arrives via the senses, and 'six modalities' are identified as ways that different individuals perceive the messages. These modalities are:\n- Visual Remembered\n- Visual Constructed\n- Auditory Remembered\n- Auditory Remembered\n- Auditory Digital\nThese clearly form the basis of what we now know as 'VAK'- The identification of visual, auditory and kinesthetic learners and the need to cater for different learning styles in the classroom.\nAs externalities arrive, our perception of these is modified by three major elements - deletion, distortion and generalisation. These processes are instantly recognisable in language learners:\nThere is too much information for the learner to handle. Learners delete or omit some information in order to make input manageable. From the teacher's point of view, we have already learnt not to present too much new language at once, and the principle of 'less is more'.\nLanguage learners will distort information into forms which are understandable and learnable. This process is both negative, in that it produces errors and misunderstandings, and positive in that it contributes to learnability and motivation.\nThis is one of the ways that we learn, by taking the information we have and drawing broad conclusions. At its worst, over-generalisation occurs, causing misuse of rules and poorly formed hypotheses.\nHowever, what is actually learnt by individuals is dictated by their own personal filters. NLP identifies these as 'beliefs', 'values', 'decisions' and 'memories', broadly defined as the way someone handles information.\nIn NLP, these filters affect our model of the world and our behaviour. In language learning, they explain a wide range of learning styles and strategies:\n- Learners make decisions based on beliefs and value judgements. They are often in a state of conflict because their previous learning experiences do not coincide with their current learning environment.\n- Values provide the basis for decisions about what is right and wrong, what they want / need to know and don't want / need to know. In certain cultures, some beliefs are disabling, in that they prevent learners adopting strategies such as risk-taking which teachers would like to encourage.\n- Memories and prior decisions create beliefs which are affect our current behaviour. Learners often revert to previously adopted strategies and require deconditioning, while it can be argued that adult learning patterns merely replace earlier learning strategies which have been forgotten.\nNLP also recognises the importance of non-verbal communication, particularly eye contact, posture, breathing and movement. 'Congruency' is achieved when there is a match between verbal and non-verbal communication. Congruency, here, may have a language learning parallel in the concept of fluency, suggesting that non-verbal communication should be taught alongside functional language and phonology in order to achieve natural language production.\nNLP in the classroom\nTeachers using music to create atmosphere and stimulate creativity, or using mime and drama techniques to build confidence and add body language to speech acts are already drawing from the NLP repertoire. Only recently, however, have classroom activities specifically and overtly based on NLP been developed by ELT practitioners.\nMany of these activities also integrate the skills and are extensions or modifications of existing techniques such as storytelling, guided fantasy, role-play and simulation. Areas where NLP can have a real impact, however, are those which explore the relationships between students and between students and teacher, and those which help to create a healthy and positive learning environment:\nRapport is the sense of ease that develops when people are interacting with others they feel comfortable with, and is essential for meaningful communication to take place. Rapport is most likely when like-minded people interact. In the classroom, mingle and 'getting to know you' activities, as well as continuous negotiation between teacher and students foster rapport, while communication gap activities and group work reinforce it.\nOne way of establishing good rapport is to mirror the behaviour of those we wish to influence or to be influenced by. Mirroring of posture, gestures, facial expressions and even breathing can easily be practised in the classroom, while simple drilling achieves the same results with phonological features of connected speech and key lexical phrases. To achieve natural communication, verbal and non-verbal aspects need to be combined in communicative activities. Learners may be asked to mirror the behaviour of characters on television before mirroring each other and the teacher.\nCreating positive states and anchoring\nThis is about motivation and maintaining positive attitudes to learning. In NLP, a positive state is created through a mental image formed by the process of achieving something mentally or physically, and this state is anchored by a gesture, expression or body movement which is repeated to maintain or recall the state. Guided fantasy may be used to create the state, and a movement or sound selected to represent it. Some teachers, often subconsciously, opt for different positions in the classroom to carry out certain actions, such as give instructions, teach grammar or tell a story. In ELT this is a type of anchoring by which students automatically know what is going to happen next in a lesson, and are prepared for it.\nNLP fits in nicely with 'Flow Theory', the notion that learning flows like water and that the best learning takes place when uninterrupted. For the purposes of lesson planning, flow is achieved when there is a balance of skills development and new challenges, clear task goals and the need for concentration. Successful learning takes place when learners feel a sense of control over what is happening in the classroom, do not feel self-conscious, and receive positive feedback from each other and the teacher. In good lessons, time seems to pass quickly. There are clear messages here about balance of activities, interest, attitude to errors, confidence building, learner training and autonomy. Competitive and collaborative games, jokes, songs and anecdotes, personalisation and well-stuctured information gap activities all help to maintain flow.\nPacing and leading\nA set of strategies requiring the listener to 'tune in', accept and correctly state the speaker's point of view (pacing) before suggesting an alternative point of view (leading). Acceptance of an argument will be accompanied by the listener's mirroring of the speaker's behaviour. Activities involving listening without response, turn-taking, planning and decision making are useful for raising awareness of this process.\nThis is an extension of mirroring used in NLP for resolving conflicts and involving a neutral third party as a mediator in disputes. An ELT application here would be in a reading or storytelling lesson, where one position is taken by the writer / teller, another by a character in the story, and a third by a reader or neutral observer of events.\nModelling good practice\nNLP asks us to mirror what others do well. In ELT, much of this is about learner training, particularly when learners discover each other's strategies or adopt new study skills, for revision and examination preparation for example.\nWhether one is a disciple of NLP or not, what is clear is that NLP and ELT are complementary in that NLP learns by observing communication patterns, and ELT learns from what NLP suggests as best practice in improving interpersonal communication and therefore learning. There is nothing in NLP that is contrary to current ELT methodology in terms of communicative language learning and humanistic approaches, while NLP has much to contribute to the already vast repertoire of the informed eclectic.\nRevell and Norman, In your Hands, Saffire Press\nRavell and Norman, Handing Over, Saffire Press\nRinvolucri and Baker, Unlocking Self-expression Through NLP, Delta Publishing\nO'Connor and Seymour, Introducing Neuro-Linguistic Programming, Thorsons\nfirst published 01 December 2005 http://www.teachingenglish.org.uk/think/articles/neuro-linguistic-programming-elt", "id": "<urn:uuid:4b51c612-a788-4024-b1de-99723007fa9b>", "dump": "CC-MAIN-2017-17", "url": "http://stevedarn.com/?Writings:Publications:GME%3A_Neuro_Linguistic_Programming_in_ELT", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122621.35/warc/CC-MAIN-20170423031202-00500-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9446682333946228, "token_count": 1960, "score": 3.734375, "int_score": 4}
{"text": "The Legacies of War Curriculum for Middle and High School Students\nThe Legacies of War (\u201cLegacies\n\u201d) curriculum is the only educational unit in the U.S. addressing the impact of U.S. bombings on Laos and teaching a new generation about this history. Already taught in Seattle and Boston schools, we are offering the curriculum nationwide. The unique set of five lesson plans includes trainings from Legacies of War consultants to teachers and community members. The curriculum was developed to encourage collaboration between the school and community. Hence, we offer a series of community programs in conjunction with the curriculum.\nWe hope the information is helpful in exploring the possibilities of implementing the Legacies of War curriculum and complementary programs in your school. Please feel free to contact us with questions.\nGeneral Overview of Curriculum\nThe Legacies of War\nCurriculum is an educational unit designed to introduce students to the history and aftermath of Vietnam Era bombings of Laos. The curriculum weaves together introductory elements of social studies, English, human rights and war and peace studies, alongside world history, geography and statistics. The curriculum provides a flexible framework, which the instructor may adapt to the needs and structure of the students and class. Ultimately, the curriculum aims to raise awareness of Lao culture and community\u2014often forgotten in U.S. history\u2014while demonstrating its relevancy to students\u2019 current lives and world events.\nThe curriculum is designed to function as a five lesson block unit with each lesson plan filling roughly an hour-long time period. Each unit can function as a week-long unit within the broader context of a high school Social Studies/U.S. History curriculum. Ideally, the Legacies\ncurriculum would serve as a challenging counterpoint to a standard American textbook interpretation of the Vietnam War and the political events surrounding it.\nAs mentioned above, the target age-group for the curriculum is junior and high-school but can be modified (intensified or downgraded) to function above or below these age groups. The framework can be adapted to accommodate a college-level course as well, though significant adjustments and workload increases would be in order here.\nThe work itself falls heavily on the writing component, but the intention is to avoid strict academic prose and enhance the artistic and creative writing/thinking skills of the students involved. Thus, nearly every lesson incorporates a \u201cfree-writing\u201d component, which offers students the opportunity to put pen to paper and document their thoughts and attempt to tie the story of Laos into their own lives.\nThe materials involved are not extensive, and a comprehensive listing of the reference literature, media articles and reports are all provided in this unit. In addition, the curriculum is designed to be flexible so that other suggested lesson alternatives can be substituted in the absence of accompanying reference materials.\nLegacies of War\nuses historic illustrations drawn nearly 40-years ago by Lao villagers who survived the secret U.S. bombings. These vital primary source materials speak to the human impact of war and offer a window into the role of art and creativity in conflict resolution and prevention. While some of the curriculum works to tease out these themes explicitly, there are many implicit lessons to be learned from the activities in which the students engage. The expectation is that by first starting at the level of the individual experience in the illustrations, then broadening the historic context, and finally returning to the story in the illustrations, students may be able to draw these connections on their own. At Legacies\n, we envision this curriculum as playing a vital role in learning about Laos and the Vietnam War, and thinking critically about the current landscape of peace and security.", "id": "<urn:uuid:0dc3ebfe-c480-4520-a0b6-df12b97294af>", "dump": "CC-MAIN-2017-17", "url": "http://legaciesofwar.org/programs/school-curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122886.86/warc/CC-MAIN-20170423031202-00619-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.94452303647995, "token_count": 747, "score": 3.640625, "int_score": 4}
{"text": "Preorder our new book, \u201cThe Big Fish Experience\u201d to see everything we\u2019ve learned over the years, all the resources we use to do what we do, and our tips on how to present experiences.\nStories have existed long before recorded history, and the telling of stories has changed forms drastically throughout the ages. From cave painting to novels to movies, stories have always fascinated mankind. Although the methods have changed, the desire to tell and hear stories has remained unchanged, and still greatly impacts the way we look at life.\nThe earliest form of storytelling that has been discovered is from the Lascaux Caves in the Pyrenees Mountains in southern France. Discovered in 1940 by a group of French children, a series of cave paintings that date back to sometime between 15000 and 13,000 B.C. depicted a variety of animals and one image of a human being. When closely examined, this mural of sorts actually follows a very simplistic series of events. It tells of rituals performed and hunting practices. It tells a story.\nFlash forward to 700 B.C. The first printed story, the epic of Gilgamesh, was created and began to spread from Mesopotamia to other parts of Europe and Asia. The story was carved on stone pillars for all to see, which spread the story around very quickly.\nIn the 200s B.C., Aesop\u2019s fables were written down, and continue to teach lessons today in many areas of life. Aesop lived in the 500s B.C., but his stories were remembered for hundreds of years without a single shred of paper or other printed material. Isn\u2019t that amazing? Oral storytelling was so powerful and people remembered Aesop\u2019s tales so well that even 300 years later the stories were revered enough for mass production.\nStorytellers began to arise as very important figures in a community. The ability to tell stories effectively and memorably was a very valuable skill. Why? As wars were fought and valiant deeds were done, the people needed some way to remember them. Instead of simply stating what happened, stories began to emerge as a way to preserve the raw emotions and sequence of events of the actual event.\nThe Bible\u2019s Old Testament spoke of men and women, of tales and lessons learned that occurred many, many years before they were written. A majority of the books relied on solid resources for their writings. What were these resources? Stories. People witnessed events, heard the stories and kept them alive through word of mouth. They told their friends, families and communities about the events, and a chain was formed, one link, one storyteller, at a time.\nShakespeare\u2019s plays and sonnets weren\u2019t meant to be published, but his status became legendary once they were. He was known as a great storyteller to many of his close friends, but soon became immortalized in the pieces that he produced. From a young street rat in London to being taught in every school hundreds of years later, he made his mark on literature forever. How did he do it?\nSteve Jobs was famous for his keynotes. Whether launching new products or making an announcement, he agonized for hours over the details of his presentations. People were amazed at his ability to craft a narrative, to create and maintain suspense and to deliver a solid message. It wasn\u2019t dazzling special effects or crazy props.\nIt was storytelling.\nHistory is nothing but a series of stories that, when told correctly, can teach us lessons, give us insights into a variety of concepts, or entertain us. Every story serves a purpose, even if to simply relay a message. Without history, without chronicled stories, mankind would never learn from his mistakes, would never dream to emulate past heroes, would never see anything but the now. We would be clueless to the past, and therefore helpless for the future.\nWe all crave stories because they allow us to sympathize with characters. Tell your audience a story, and you will gain their support. You will create a following for your cause and inspire your audience to act and believe.\nIn your next presentation, remember the power of storytelling. Remember that even in a straightforward business presentation, a story helps to illustrate a point better than a set of facts. A story gives people a reason to care about what you\u2019re saying. They relate to the characters, the plot and the lessons learned. They relate to your story, and therefore your message.\nSo, what\u2019s your story?", "id": "<urn:uuid:29073685-1287-4cd6-a159-f70dc3794a60>", "dump": "CC-MAIN-2017-17", "url": "http://bigfishpresentations.com/2012/02/28/a-very-brief-history-of-storytelling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121865.67/warc/CC-MAIN-20170423031201-00322-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9811724424362183, "token_count": 935, "score": 3.5, "int_score": 4}
{"text": "Online Games (Websites & Apps):\n- 4th Grade Education Websites\n- 4th Grade Language Arts Games\n- Fun English Writing Games (Letters)\n- Fun English Writing Games (Newspaper)\n- Fun English Writing Games (Stories)\n- Vocabulary Games\n- Comic Master\n- Slide Story\n- Story Bird\nGames & Activities:\n- Take a look at the secondary characters in your story idea. Try some of the same work with a secondary character that you did with your main character. You can make an internal/external T-chart or explore different things about them that we have on our lists. Whichever you try, the most important thing to keep in mind is that writers know all the characters in their stories well, not just the main characters.\n- Spend some time thinking about your favorite titles for books, and then try to figure out why you think authors chose them. After you\u2019ve done that, don\u2019t just slap the first title that comes to mind on your story. Jot down a list of titles and then choose the one that truly connects to some big ideas you have in your story, one that will really catch a reader\u2019s interest.\n- Pull out a mentor fiction story, ideally one you know very well, such as Fireflies! This time, I\u2019d like you to study it for punctuation. How does this author use quotation marks with dialogue? How does she use commas? Paragraphs? Choose a few lenses to look through; focus on things you know you need to pay more attention to in your own writing. Then go back to your story and apply some of what you learned from your mentor author to your draft.\n- Create a storybook with your family. Have each member write a story about the same topic, or using the same central character. Bind them together to create a series!\n- Writing Worksheets and Printables\n- 5 Favorite Fourth Grade Writing Sheets\n- Language Arts Creative Writing\nGames & Activities:\n- Pull out a book or two that you\u2019ve read and loved. Don\u2019t limit yourself to chapter books, either. Often some of the best stories are in picture books. Look through these books and put a sticky note wherever you find a place you love, one that gives you goose bumps. Read that part again and again. Read it aloud. Then, put the book aside and bring out your draft. Reread what you\u2019ve written so far. Perhaps you\u2019ll find yourself drafting or even revising!\n- I want you to spend a little time watching television. It can be a movie or a TV show, whichever your grown-ups say you can watch. I\u2019d like you to watch a little bit with your writer\u2019s notebook in your lap. As you watch, look for the setting. Try to watch a part where the setting stays the same for a little bit. Watch, for example, a scene in a living room or in a park. While you\u2019re watching, jot a few notes about what you notice about the setting. Can you tell what the weather is? What time it is? Day or night? What colors do you see? What\u2019s high up in the setting? What\u2019s low? What does the camera show with more detail? Once you\u2019ve jotted a few notes, I\u2019d like you to think about which parts of the setting helped you, as the viewer, understand the story more deeply. Then make some notes on your draft, suggesting ways you can weave more setting details into the draft when you come to school tomorrow.\nArticles & Resources:", "id": "<urn:uuid:191d1cb0-2b40-4e3a-be10-3833a4cbc90c>", "dump": "CC-MAIN-2017-17", "url": "https://ps11showme.com/h-o-p-s/4th-grade/writing/narrative/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123276.44/warc/CC-MAIN-20170423031203-00502-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9418622255325317, "token_count": 767, "score": 3.8125, "int_score": 4}
{"text": "In Key Stage 3 students develop a range of reading-and writing based skills through studying novels, poetry, non-fiction and drama. Students learn how to structure an essay in preparation for GCSE and beyond as well as how to enhance their creative writing skills for a variety of purposes.\nYear 7 is created around interactive units of work that aim to build students\u2019 skills through speaking and listening, reading and writing. Through the exploration of fertile questions, students are encouraged to use English as a pathway to their understanding of the world around them. The course starts with: \u2018Monsters, fear and adventure: what entertains a reader?\u2019 allowing students to understand what elements make a story engaging. Using the novel Darkside as a backdrop, students will create their own gothic narratives, with emphasis on descriptive writing skills. In addition to this, students will reflect on their understanding of the text by producing analytical paragraphs on key parts of the text. Later in the course, students will also read and analyse texts such as Two Weeks with the Queen, a collection of Greek myths and Shakespeare\u2019s Macbeth. Students will gain an insight to the progression of English over time, as well as develop interpretation skills necessary for exams and assessments. Assessments will consist of written analysis, dramatic and formal presentations and exam style tasks.\nYear 8 begins with the novel Private Peaceful by Michael Morpurgo, where students are able to explore the themes of love, innocence, courage and cowardice. Alongside the study of the novel, students explore war, patriotism and the notion of power through war poetry. Further in the year, students focus on the theme of crime and punishment, where students explore the fertile question: \u2018Is punitive punishment the only option for criminals?\u2019 While studying the novel Holes, students will engage in dynamic discussions as a means to build their presentation and debate skills. Alongside Holes, students will analyse similar characters and themes in Charles Dickens\u2019 Oliver Twist. This unit will assist students in developing their formal writing skills, with emphasis on writing to inform and explain. Moreover, students are given an array of opportunities to learn and apply a range of grammar and punctuation which will then assist them in writing tasks. The rest of the year consists of analysing, interpreting and engaging in texts such as Roald Dahl short stories, poetry and Blood Brothers. Such variations in texts, authors and time periods, will force students to challenge their ability to make links within the English classroom and the world they live in. Assessments will consist of written analysis, writing to inform/explain, formal presentations, creating poetry and exam style tasks.\nYear 9 is a very significant year for students, as we further enhance the skills they require for success at GCSE. Year 9 begins with the classic Of Mice and Men, where students are challenged by analysing key extracts in light of language and structure. Additionally, students begin to think more critically about the significance of social and historical context to a text and its purpose. Students then continue their study of classical texts with Shakespeare\u2019s Romeo and Juliet. Here students work on their reading and writing skills, with the focus being their ability to write creatively and with flair. The rest of the course explores \u2018Victorian Murders\u2019 through texts such as Sherlock Holmes, a collection of GCSE poems and An Inspector Calls. Each unit of study provides students with the opportunity to build upon their analytical skills, their writing skills and their knowledge and application of grammar and punctuation. Assessments will consist of GCSE style questions, formal presentations and a blogging project. Year 9 students will develop their analytical skills as well as building their understanding and interpretation of various texts, through formal exam style assessments.", "id": "<urn:uuid:a5c2e7c3-f406-4ac4-b31b-bd946ba63f2e>", "dump": "CC-MAIN-2017-17", "url": "http://walthamstow-academy.org/Curriculum/English", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121893.62/warc/CC-MAIN-20170423031201-00031-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9564329981803894, "token_count": 763, "score": 3.640625, "int_score": 4}
{"text": "In order to meet the needs of each individual reader at his or her level, I organize reading workshop into three major parts: Independent Reading, Shared Reading, and Guided Reading groups using the Caf\u00e9 model and The Daily Five.\nHere are a few documents to help explain the Cafe model:\n- Independent Reading: Students will read independently in class and at home every day. Students may read books on their level from the school library, public library, or personal library! Students will be required to complete a written reflection for an independent reading book conference each week.\n- Shared Reading: This includes all the wonderful literature we will read together as a class, read alouds by the teacher, and whole class reading lessons and activities. We will explore the genres of reading: poetry, fiction, nonfiction, fairy tales, fables, fantasy\u2026ect.\n- Guided Reading: Guided reading groups are based on student interest and reading levels. Students will meet regularly with their group and will complete activities to practice reading and language arts skills.\nCAFE Parent letter.pdf\nCAFE Menu 2nd grade pdf.pdf\nWays to help your Child to Read Better\n- Take time to read daily. Set up at least 10 minutes of reading time each day to show your child the importance of reading and time spent together. Practice Cafe skills at home.\n- Do a picture walk before you read a story. Flip through the story and look at the pictures. Ask your child, \u201cWhat do you think the story will be about?\u201d \u201cWhat is happening in the pictures?\u201d \u201cWhat do you think will happen next?\u201d\n- Help your child become an independent reader. Don\u2019t be too quick to tell them a difficult word. Remind them to use the Cafe reading strategies. This helps children become problem solvers. When they make a mistake, ask, \u201cDid that make sense?\u201d Work on stamina - use a timer to help.\n- Encourage your child to use the reading strategies taught in school. When at a difficult word, ask questions such as: \u201cDid you look at all the letters in the word?\u201d \u201cWhat word would make sense that begins with this letter?\u201d \u201cWhat word would make sense in the sentence?\u201d \u201cSkip the word, and read to the end of the sentence and then return to the unknown word.\u201d If the child still struggles after using these strategies, you may help to \u201cfigure out\u201d the word yourself.\n- Talk about the story after you read it. Ask your child questions such as: \u201cDid you like the story?\u201d \u201cWhat did you like or dislike?\u201d \u201cWas it real or make-believe (fiction)?\u201d Share your views too. Let them know it\u2019s okay to have your own opinion.\n- Get excited about your reading time together! Show your child that you love to read too.\nParent Pipeline - Here is an explanation of the Cafe strategies we have learned so far:\nParent Pipeline ~ Check for Understanding.pdf\nParent Pipeline ~ Predict What Will Happen_ Use Text to Confirm.pdf\nParent Pipeline ~Recognize Literary Elements 2.pdf\nParent_Pipeline_~_voracious reading - fluency.pdf\nParent Pipeline ~ Use Pictures, Illustrations, and Diagrams.pdf\nParent Pipeline ~ Use Word Parts to Determine the Meaning of Words1.pdf\nParent Pipeline ~ Use Main Idea and Supporting Details to Determine Importance.pdf\nParent Pipeline ~ Chunk Letters and Sounds.pdf", "id": "<urn:uuid:1f83b7a3-50b4-4e6c-bdb5-7836c4936f81>", "dump": "CC-MAIN-2017-17", "url": "http://laurelhill.ccsdschools.com/directory/2nd_grade/sarah_frey/reading", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126538.54/warc/CC-MAIN-20170423031206-00621-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9166790246963501, "token_count": 750, "score": 4.125, "int_score": 4}
{"text": "Vikings (ages 11-12)\nThis scheme of work enables students to create and maintain many different characters ranging from \u2018humans\u2019 to Norse gods and mythical creatures. Using Norse beliefs, myths and well researched facts about the Vikings themselves, the students get to understand this nation of people that ruled Britain for 400 years in a fun and engagingly practical way, whilst being able to take part in exciting, interactive activities and develop their knowledge and understanding of essential drama forms.\nEach lesson plan has clear objectives and learning outcomes. They are structured to include introductory warm up, development and plenary sessions. A homework task is also included.\nThis scheme of work contains 6 drama lesson plans.\n- Lesson 1: Who Were the Vikings? The students are introduced to who the Vikings were and where they came using the included presentation. This is then developed by the students creating the Vikings arrival in Britain using frozen pictures and vocal collages.\n- Lesson 2: Norse Gods & Goddesses. After an entertaining game involving elves, dwarves, giants and Valkyries, the students work on one of the stories involving Thor, the god of thunder. The story is brought to life through the use of flashbacks, narration and physical theatre.\n- Lesson 3: The Creation (Norse version.) In this lesson students are introduced to the Vikings beliefs about how the world began. The students take part in a very physical activity to recreate the different places in the Vikings world and then use sound scapes to add atmosphere to them.\n- Lesson 4: A Viking Feast. This lesson sees the students taking part in a whole class spontaneous improvisation set at a Viking feast. They are challenged by their ability to stay in character and work with the Teacher in Role.\n- Lesson 5: Ride of the Valkyries. The students listen to Richard Wagner\u2019s \u2018Ride of the Valkyries\u2019 and then in small groups create a movement piece based on a dead soldiers arrival at Valhalla, the underworld.\n- Lesson 6: Assessment. For their assessment students devise a documentary style piece of drama based on a discovery at an archaeological dig at a site near York. The work includes the use of duologues, split scene, mime, frozen pictures and flashbacks.\nSupporting materials include\n- Story: Thor in Utgard\n- The Creation Story\n- Ride of the Valkyries (MP3 file)\n- Who were the Vikings? (PowerPoint Presentation)\nAdditional resources are included in the appendices\n- Basic Drama Skills\n- End Of Unit Self-Assessment Form\nThe scheme of work is supplied as a zip file containing a PDF file, readable on most computers, and 1 piece of music (MP3 format) and 1 presentation (PPT format).\nMore Lesson Plans\nDrama inspired by the tale of a metropolis under siege! (Year 7)\nActive unit featuring the lost boys, Captain Hook and a ticking crocodile. (Year 7)\nEntertaining stock characters with Ali Baba and the Forty Thieves (Year 7)\nFrom cave paintings, flags and flashlights to the telephone (Year 7)\nUsing bullying issues as a backdrop for drama education (Year 7)\nDrama scheme set on that fateful night to remember in 1912 (Year 7)\nCreating drama using social and economic issues and tensions (Year 7)\nCharacter development using the traditional Chinese legend (Year 7)\nThe Tortoise and the Hare and the origins of the Olympics (Year 7)\nIntroducing facial expressions, gestures and body language (Year 7)\nPhysical drama based on the tales of Pirates and lost treasure (Year 7)\nSpend a night at the spooky, haunted house of Miss Screech (Year 7)\nDrama based on the issues and experiences faced by refugees (Year 7)\nLearn mime using the magic of Charlie Chaplin and The Kid (Year 7)\nIntroducing new students to a range of drama techniques (Year 7)\nMysterious new neighbours, clashing cultures, alienation and bullying (Year 7)\nMagical drama unit inspired by the legendary Arthurian wizard (Year 7)\nLongboats, Norse Gods and the Ride of the Valkyries (Year 7)", "id": "<urn:uuid:eb9dc0e4-ad9d-49b4-9695-9805fd352969>", "dump": "CC-MAIN-2017-17", "url": "http://drama-lesson-plans.co.uk/downloads/vikings/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122720.81/warc/CC-MAIN-20170423031202-00207-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9122409224510193, "token_count": 875, "score": 4.28125, "int_score": 4}
{"text": "Download the free teaching resource: \u2018Building materials \u2013 a collection of inspiring images\u2019 (PowerPoint, 5.0 mb).\nThis PowerPoint resource is a collection of 23 images showcasing a range of different building materials in context. It is designed to be a flexible resource useful for any student from key stages 1 to 5. (Due to copyright restrictions it can only be used by non-profit making organisations, ie. schools).\nChild helps at St James Church, Strichley \u00a9 Virginia Simpson, The Churches Conservation Trust\nThe images on the \u2018Building materials\u2019 PowerPoint can be used in many ways. For example, the photos could introduce younger students to the wide range of possible construction materials and their key characteristics. Alternatively, the images could highlight different types of buildings and, for example, be used to elicit emotional responses from the students.\nTeaching activities: Key stages 1-4\nScience \u2013 ask your students to sort the images into categories. Younger children could sort according to simple properties, for example shininess, older students could be encouraged to make up their own categories or consider the sustainability of the materials.\nGeography \u2013 these images could be compared to buildings in your local area. Do you have similar structures? Why or why not? This discussion could be widened out to consider the relative availability of materials in different areas and how this has influenced human behaviour and construction.\nHistory \u2013 students could consider the relative ages of the different buildings, for example, by placing the images in order of age. Alternatively you could pick a subsection of the images representing a time period students are studying and ask them to compare these to contemporary buildings.\nEnglish \u2013 display the images to your students to develop the setting for a piece of creative writing. Alternatively in groups, ask students to reach a consensus about their preferences by ordering the images based on their personal likes and dislikes. This will help practise their discussion skills.\nMaths \u2013 For younger children, basic numeracy could be practised by counting and comparing the prevalence of certain features in these images, for example the number of windows on the buildings.\nGreen Day \u2013 a climate change event for schools\nUse the \u2018Building materials\u2019 PowerPoint resource to help you deliver key activities from the free Green Day teachers\u2019 activity kit available on CABE\u2019s website. You will find it particularly useful to support the topic of \u2018Building materials\u2019 on page 13.\nDisclaimer for images\nBy downloading these images you agree to abide by copyright restrictions and use them only in the course of your normal teaching. You also agree to credit the photographer of each image you use. If you want to use any of the images in a different context then permission must be sought from Engaging Places and CABE (in the first instance) and the photographers concerned, email firstname.lastname@example.org.", "id": "<urn:uuid:02c41450-ba80-458e-bcb0-b36f43f3c6fa>", "dump": "CC-MAIN-2017-17", "url": "http://www.engagingplaces.org.uk/teaching+resources/art76694", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120461.7/warc/CC-MAIN-20170423031200-00617-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9175706505775452, "token_count": 583, "score": 3.921875, "int_score": 4}
{"text": "April is National Youth Financial Literacy Month. Teaching your children about financial literacy can help them develop and carry financially savvy habits well into adulthood. The basics of a financial education should include guidance on spending, saving, and managing money. Ensure that your child is on the path toward a financially stable future by teaching them these basic lessons.\nTeaching Young Children to Save\nKids are never too young to learn the basics of handling money. While younger kids won\u2019t need to pour over financial spreadsheets with you, they can benefit from learning about the meaning of making, spending, and saving money. Introduce coins and paper bills to your child to help explain counting, currency, and equivalency. Encourage your kids to begin saving coins in a clear jar. A clear jar will help them visualize the savings.\nIf it works for your family, an allowance is a novel way of learning about money management. Consider a few of the following tips as you set an allowance:\n- Set clear expectations of what your child has to do to earn an allowance. Whether they have to finish chores or keep their grades up, this will help them learn about goal-setting and the value of money.\n- Set a clear amount. Give them a \u201craise\u201d as they get older or take on more responsibilities.\n- Be clear about using an allowance as a tool of money management, not as reward or punishment. This can help your child develop a healthy relationship with their finances and a better understanding of money.\n- Encourage them to set goals on spending. What do they want to save for and how can they get there? Now is the perfect time to open a savings account and teach them about saving and contributing.\nSavings Tips for Pre-teens\nFraming how you discuss money with your kids can affect how they perceive money management. Encourage honest communication about money. Be forthright with your own money mistakes from overspending, not saving enough for college, or not being financially independent until adulthood. Also share your successes\u2014paying off debts, successfully budgeting for a down payment, etc.\nEncourage your children to ask questions about money. Teach your children about budgeting and include them on family budgeting for things like groceries, Holiday gift shopping, and planning family events. Explore online resources, like Kids.gov to learn more about money management together.\nImportant Teen Saving Plans\nNow is the time that your child becomes more financially independent. Encourage them to take on more responsibilities at home and to find a job. This way they can learn, with guidance, about managing their own money.\nAs your teen gets closer to high school graduation, make sure that they know about the following on money management:\n- Have a solid understanding of the basics of saving and spending\n- Review the costs of tuition, living, meal plans, education, etc. of college\n- Set up financial accounts and have an understanding of their student loan system\n- Safety when handling secure financial and private information including, but not limited to passwords, account numbers, PIN, ATM transactions, and more\nFree Youth Financial Literacy Sessions from TopLine\nWe believe that it\u2019s never too early to talk with your kids about money, which is why we have the program Get Smart With Your Money \u2014 a financial education initiative that encourages conversation about money among your family. There are three different age-specific groups that tailor to the needs and understandings of your children:\nBuilding Dreams (ages 5-8)\nThis is a baseline course about the concepts of spending, saving and sharing. It will involve storytelling, worksheets, and other fun activities.\nDollar Power (ages 9-13)\nThis course teaches the difference between needs and wants, planning and goal setting, saving and paying yourself first, spending wisely and gift cards. Kids will be given real-life scenarios and asked questions about the importance of saving and spending wisely.\nDollars & Sense (ages 14-18)\nThis course digs deeper into the concepts that were taught in Dollar Power and expands further on sound money management, checking accounts, debit and credit cards and the significance of credit. Again, students will be taught by example with real-life scenarios and thought-provoking questions.\nThese sessions are offered Saturday, April 22 and Thursday, October 19 starting at 9:00 AM. They will be held at TopLine\u2019s Maple Grove Learning Center located at 9353 Jefferson Highway.\nFor more information, give TopLine a call at 763-391-9494 or you can register online.", "id": "<urn:uuid:4072a036-c613-492f-96ee-a9dab387b6a6>", "dump": "CC-MAIN-2017-17", "url": "http://blog.toplinecu.com/tag/topline-federal-credit-union/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119361.6/warc/CC-MAIN-20170423031159-00029-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9523441791534424, "token_count": 935, "score": 4.09375, "int_score": 4}
{"text": "10 reasons why play is important\n26 Jul 2010\nPlay is integral to the acquisition and development of communication skills in children. Because of its importance, TTYB has brought together the top 10 reasons why we think play is important.\nThey [children] are learning key scientific concepts, such as what sinks and floats; mathematical concepts, including how to balance blocks to build a tower; and literacy skills, such as trying out new vocabulary or storytelling skills as children \u201cact out\u201d different roles. ... they are also learning \u2014 that they are loved and important and that they are fun to be around. These social-emotional skills give them the self-esteem and self-confidence they need to continue building loving and supportive relationships all their lives.\" Zero to Three Journal\nThe top ten\n1. Play lays the foundation for literacy. Through play children learn to make and practise new sounds. They try out new vocabulary, on their own or with friends, and exercise their imagination through storytelling.\n2. Play is learning. Play nurtures development and fulfils a baby\u2019s inborn need to learn. Play takes many forms, from shaking a rattle to peek-a-boo to hide-and-seek. Play can be done by a child alone, with another child, in a group or with an adult.\n3. Play encourages adults to communicate with the children in their lives. Adults support play by giving children the opportunity to engage in play, by knowing when not to intervene, and by knowing when to intervene.\n4. Play gives children the chance to be spontaneous. You may think your child should be rolling the truck on the ground but that doesn\u2019t mean that truck is not equally useful as a stacking toy.\n5. Play gives children choice. Having enough toys or activities to choose from will allow children to express themselves.\n6. Play gives children space. To practise physical movement, balance and to test their own limits.\n7. Play gives adults the chance to learn how to play again. One of the most challenging parts of play is incorporating yourself in it.\n8. Play allows adults to learn their child\u2019s body language. Knowing when you should incorporate yourself in your child\u2019s play is key.\n9. Play teaches adults patience and understanding. If you do choose to join in your child\u2019s play make sure that you do not try to take it over and force incorporation of your ultimate learning objectives into their play. Structured adult-led activities have their time and place but remember to allow for time for children to control and decide their own play.\n10. Play is fun. Learning to play well, both by themselves and with others, sets children up to be contented and sociable.", "id": "<urn:uuid:5b3bdd51-11a8-4d3c-b3dc-a5da36f950a7>", "dump": "CC-MAIN-2017-17", "url": "http://www.literacytrust.org.uk/talk_to_your_baby/news/2332_10_reasons_why_play_is_important", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120881.99/warc/CC-MAIN-20170423031200-00028-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.958236038684845, "token_count": 564, "score": 3.5625, "int_score": 4}
{"text": "My favorite type of art is art that expresses feeling\u2013art that makes my breath catch in my throat, makes me gasp or cry, or makes my heart churn. These expressions of humanity and raw human emotion can be created in so many different ways by so many different artists from different times and places. One artist who work does this for me is an expressionist artist from the late 1800s and early to mid 1900s, K\u00e4the Kollwitz. Experiencing art like hers is why I love art and dedicate my life to helping others experience art the way I do.\nSome of the below images are small. Please click them to view a larger image.\nK\u00e4the Kollwitz lived in Germany from roughly 1883 to her death in 1945 and dedicated her life to documenting the pain, suffering, and trauma of war. Even before World War I and World War II, which she lived and suffered through, she documents other hardships and human suffering such as the German Peasants\u2019 War and others. She lost her son in World War I, and this solidified her stance as a pacifist and socialist.\nIt is my duty to voice the suffering of men, the never-ending sufferings heaped mountain-high. \u2014 K\u00e4the Kollwitz\nHer art is so simple, but so incredibly powerful. Her work is often drawings or prints of individuals or groups of people. There is often no setting or context, but you don\u2019t need it. The expressions on the faces, the quality of the lines, the texture, and the absence of color capture the deep emotion of the figures in such a compelling way.\nLesson and Activity Ideas\nIn my mind, there are three tracks of lessons you can take in your classroom with her work: using her art to support lessons on the World Wars, discussing her work to teach about expression in art, and using her work among others to teach about different elements of art and principles of design.\nAs I have mentioned, her artwork displays amazing expression of emotion. Have students study the work to analyze the artist\u2019s choices. What artist choices did she make and how do the impact the emotion? Have students practice drawing different emotions using Kollwitz\u2019s work as a guide. Give the students mirrors and let them practice expressing emotion on their own face.\nYou could also so some character analysis activities or creative writing exercises to analyze the emotions even further.\nWhile I drew, and wept along with the terrified children I was drawing, I really felt the burden I am bearing. I felt that I have no right to withdraw from the responsibility of being an advocate. \u2014 K\u00e4the Kollwitz\nArt Analysis with the Elements and Principles\nKollwitz\u2019s work is masterful in its use of elements and principles of art. Have students analyze the works using the elements and principles worksheets in my Art Appreciation Printable Worksheet Bundle.\nHere are some talking points for this activity and things your students may point out with this activity. Of course, let them discover these for themselves. I was looking at a large grouping of her work as a whole for this, so you could have students look at several of her works and look for commonalities with the use of elements and principles.\n- Line \u2014 The artist uses a variety of thick and thin lines to create texture, form, and expression. She varies the value of the lines as well.\n- Texture \u2014 The artist uses lines and shading to create on the faces to both add form.\n- Value \u2014 Dark areas highlight special focus areas like hardworking hands or sunken sad eyes.\n- Space \u2014 The negative space along the edges focuses our attention and doesn\u2019t distract us from the main figure. She presses figures together in her artworks that include many figures leaving no personal space between them.\n- Color \u2014 The absence of color intensifies the emotion.\n- Emphasis \u2014 The artist uses line, value, and space as described above to emphasize the emotions of the figure.\n- Unity \u2014 The color and texture lines create a sense of unity. The whole artwork works well together.\nArt is a great way to study the impact on people and the emotions of history. Use these works when studying World War I and World War II. I\u2019ve also written a post about Franz Marc\u2019s Fate of the Animals which goes along with World War I. Have students look at both artworks and talk about how the different artists took the same emotions and themes and expressed them in two very different ways.\nWomen\u2019s History Month on MKB\nI am in the world to change the world. \u2014 K\u00e4the Kollwitz\nThis post is a part of the Women\u2019s History Month on Multicultural Kid Blogs. Please click the image to check out other posts from the series!\nIf you like this post, you might also like:", "id": "<urn:uuid:aa6db925-523c-4085-b138-7b0661015a90>", "dump": "CC-MAIN-2017-17", "url": "http://artcuratorforkids.com/kathe-kollwitz/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118831.16/warc/CC-MAIN-20170423031158-00205-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.953266978263855, "token_count": 1007, "score": 3.640625, "int_score": 4}
{"text": "Wilhelm Grimm was born on February 24, 1786, in Hanau, Germany. He and older brother Jacob studied German folklore and oral traditions, publishing a collection of stories eventually known as Grimms\u2019 Fairy Tales which includes narratives like Briar Rose and Little Red Riding Hood. Wilhelm oversaw editorial work on future editions of the collection, which became more geared towards children.\nWilhelm Carl Grimm was born on February 24, 1786, in the town of Hanau, Germany, to Dorothea and Philipp Grimm. Wilhelm Grimm was the second oldest of six siblings, and would later embark on an industrious writing and scholarly career with his older brother, Jacob.\nWilhelm and Jacob studied law at the University of Marburg from 1802 to 1806, following the path of their lawyer father. Due to health issues, Wilhelm didn't start regular employment until 1814, when he obtained a position as secretary at a royal library in Kassel, Germany. Jacob Grimm would join him there in 1816.\n'Grimms' Fairy Tales'\nInfluenced by German Romanticism, a prevailing movement of the time, the brothers robustly studied the folklore of their region, with an emphasis on recording village oral storytelling that was vanishing with the advent of new technology. Jacob's and Wilhelm's work culminated in the book Kinder-und Hausm\u00e4rchen (Children's and Household Tales), the first volume of which was published in 1812. A second volume followed in 1815. The collection would later come to be known as Grimms' Fairy Tales, with famous stories that include Snow White, Hansel and Gretel, The Golden Goose, Little Red Riding Hood and Cinderella.\nDespite the emphasis on village oral traditions, the stories were in fact an amalgamation of oral and previously printed fairy tales, as well as information shared by friends, family members and acquaintances, with non-German influences. For instance, French writer Charles Perrault had earlier written a version of The Sleeping Beauty, known as Briar Rose in the Grimm collection.\nThe brothers aimed to make the collection more palatable to children by its second edition, and hence made note that they had altered and expanded the language of the stories. Wilhelm, seen as the more easygoing of the two with a passion for the arts, served as editor on future editions of Tales.\nMarriage and Later Years\nWhile Jacob remained single, in the mid-1820s, Wilhelm married Dortchen Wild, with whom he would have four children.\nBy 1830, the brothers had taken on work at the University of G\u00f6ttingen, with Wilhelm becoming an assistant librarian. The two left the university in the mid-1830s\u2014the result of being banished by the king of Hanover after they protested changes he'd made to the region's constitution.\nIn 1840, the brothers decided to settle in Berlin, Germany, where they became members of the Royal Academy of Science and lectured at university. They subsequently took on a massive project\u2014a comprehensive dictionary of the German language. The book reached completion years after Wilhelm's passing.\nWilhelm Grimm died on December 16, 1859, in Berlin, Germany. Throughout his life, he authored or co-authored nearly two dozen books.\nThe Brothers' Legacy\nGrimms' Fairy Tales have been retold in a wide variety of media formats over the past several decades, and as such, the storylines have often been tweaked to fit varying ideas of what's appropriate for children. Much dialogue has been had about the violence contained in the stories' original forms, with controversy also arising over some of the tales' anti-Semitic and anti-feminist themes.\nNonetheless, the Grimm legacy continues to be celebrated. Marking the 200th anniversary of the brothers' historical collection, 2012 saw a number of special tie-in publications and special events, including the release of a bicentennial edition of The Annotated Brothers Grimm, edited by Harvard mythology scholar Maria Tatar, and a retelling of the brothers' classic tales by Philip Pullman, Fairy Tales From the Brothers Grimm.\nWe strive for accuracy and fairness. If you see something that doesn't look right, contact us!", "id": "<urn:uuid:38bd7b2c-ec45-4996-9157-5d7dcfcbcfe6>", "dump": "CC-MAIN-2017-17", "url": "http://www.biography.com/people/wilhelm-grimm-21085173?page=2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123270.78/warc/CC-MAIN-20170423031203-00149-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9750432968139648, "token_count": 858, "score": 3.703125, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, videos, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nCreating Character Blogs\n|Grades||6 \u2013 12|\n|Lesson Plan Type||Standard Lesson|\n|Estimated Time||Five or six 45-minute sessions|\n- Improve media literacy by viewing a variety of well-written and designed blogs\n- Learn about web design and development by constructing and editing their own blogs\n- Engage with a given text through identification with a character by creating a blog from the perspective of that character\n- Improve creative writing ability by selecting an appropriate style, tone, vocabulary, and set of topics for their chosen character\n- Develop their ability to infer details from text and use their imaginations by constructing a creative character blog that draws heavily on the original text\n|1.||Begin by telling students they are going to take part in a media literacy project in which they will learn how to create blogs for a fictional character. Let them know that this first session will be spent learning about what makes a good blog\u2014interesting design elements, creative writing, clear theme, strong organization\u2014by viewing a few key ones. Encourage students to begin thinking about what character they\u2019d like to choose from a book or books the class has recently finished reading.\n|2.||Pass out copies of the Blog Exemplar WebQuest and ask students to follow the directions provided, navigating to the blogs listed and filling out the questions. They may talk about the blogs they find with each other, but under no circumstances should they use the Internet for any other purpose.\n|3.||Circulate around the room and answer questions as needed. Students may begin asking about how to create the elements they see, but let them know you will get to that soon. If students ask if they can explore other blogs, suggest they use this time to focus on the given blogs.\n|4.||For homework, students should complete the Blog Exemplar WebQuest if they have not already done so and choose a character for the next session.\n|1.||Greet students in the computer lab and explain to them that today they will begin building their blogs. Pass out copies of the Character Blog Requirements and give students a few minutes to read it. Ask them to wait with their questions until it is time for individual work. Draw students\u2019 attention to the requirement of having at least four posts\u2014one significant entry each from their character\u2019s perspective from four different moments in the book. Emphasize that posts and all design elements should be consistent with the chosen character and his/her history, relationships, and dreams, and also consistent with the time period and setting of the book.\n|2.||Pass out copies of Blog Creation Steps. On an overhead projector, go through each step of creating a blog. Allow students to follow the steps on their computers. Wait for a few minutes between each step, checking to be sure students are with you and allowing them to help each other if they encounter problems. Use the blog you created as a model of a finished product.\n|3.||Call up A Post from Juliet and inform students that it is a very basic example of a character blog\u2014theirs should be more extensive.\n|4.||Give students the remainder of the session to begin building their blogs. Tell them they may always click \u201cedit posts\u201d from the post page to go back and change something or to delete a post, so they should feel free to create rough drafts to which they can return. Remind them to look at their Character Blog Requirements handout if they forget a step and to experiment with posting images and other elements. Circulate around the room and answer questions as needed.\nAs students work, pass around a copy of the Character Blog: Assessment Rubric so they can clearly see how they will be graded. Let them know they will receive two kinds of grades\u2014the final grade for an excellent product, and a process grade for their level of effort and focus along the way, both out of 40 points.\n|1.||Invite students to begin working in earnest on their character blogs. Remind them that they should work on posts first and graphic design afterward. Remind them that the blog is for their chosen characters, and that entries should be written in first person and graphic design choices should be appropriate. Inform students that they will begin this work period with a process grade of 40/40, and can only lose points by failing to stay on task or distracting others.\n|2.||Circulate around the room, helping students stay focused, preventing them from getting too caught up in design before they have enough content, and assisting with any technical issues. Using an attendance list, jot notes for the process grades.\n|3.||For homework, students should continue to work on their blogs. If students do not have computers at home, continue to Session 4 for next time. If they do have computers at home, continue to Session 5. By Session 5, students should have completed about three-quarters of their blogs to prepare for peer editing.\nNote: This session is optional, depending on whether or not students have access to computers at home.\n|1.||Have students continue work on their blogs. Again jot notes for process grades. Allow media-savvy students to explore the many possible additions to the layout page, including video, music, photo collages, or widgets, encouraging them to go beyond the requirements of the assignment.\n|2.||Explain to students that they need to be prepared with at least three-quarters of a complete version of their blogs next session. Inform students that this is worth 10 process points.|\n|1.||Hand out copies of the Peer Editing Questions, explaining to students that they will be helping each other strengthen their blogs by noticing both the strong and potentially confusing or disparate elements on the blogs. Assign partners. Have students trade chairs to view each other\u2019s blogs, fill out the questions for their partner\u2019s blog, and then trade handouts and return to their own computers.\n|2.||Circulate around the room as students work to be sure everyone has completed a reasonable amount of work. Use an attendance list to jot notes for the process grades.\n|3.||Students should use the remaining time to make improvements to their blogs based on the responses of their partners.\n|4.||For homework, students should tie up any loose ends with their blogs, making sure they are complete by Session 6.\n|1.||Welcome students with the news that they have completed their work as designers and bloggers and now have the opportunity to become media critics.\n|2.||Ask students to navigate to their blogs. Distribute copies of the Peer Nominations for Excellence. Inform students they will be spending the period viewing the wonderful work of their classmates, then filling out nominations for two classmates, and that secrecy is vital. Remind them that the nominations do not represent a popularity contest, and that they should vote for blogs with strong writing and unique design elements that really seem to capture the chosen character. You may choose to create certificates for the winners of the Excellence Awards, or simply to recognize them verbally in the next class period after you have counted up the votes.\nHave each student choose a blog and sit down to read it. Call for a circular rotation every few minutes, planning your time so that all students will view all blogs and have a few minutes to vote for their favorites at the end of the period.\n|3.||Walk around as students view the blogs, breaking up any inappropriate conversation. Point out interesting features and ask students why they like what they see, encouraging them to be specific. Feel free to compliment students on innovative ideas as they are rotating.\n|4.||In the last five minutes of class, ask all students to fill out their ballots, then to e-mail you the URL of their blog. Encourage their conversations with each other about what they have just seen, asking questions of authors and complimenting excellent work. As a final note, congratulate them on a job well done and collect their nominations as they leave the room.\n- As a year-end project, ask students to create a blog reviewing the books from the year. Choose the best one to share with your incoming classes the next year.\n- Create a blog for your class, posting photos, announcements, or even assignments using Google docs. Give everyone in class the URL.\n- Ask students to bring in posts from major news blogs for a Current Events day.\n- If working with seniors, suggest personal blogs as a nice way to keep in touch with family and friends when they move away or go to college.\n- Using an attendance list, note any disruptive behavior among students during the lab periods. Deduct points from their process grades (40 points) if necessary.\n- Assess students\u2019 blogs using the Character Blog: Assessment Rubric. The final blog is worth 40 points.", "id": "<urn:uuid:1816d7f1-9616-452a-a5a8-af29786c9285>", "dump": "CC-MAIN-2017-17", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/creating-character-blogs-1169.html?tab=4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126538.54/warc/CC-MAIN-20170423031206-00620-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9519880414009094, "token_count": 1956, "score": 3.6875, "int_score": 4}
{"text": "Learn more about Montana history, native cultures, and artistry and introduce primary sources (including art, photographs, and documents) into your classroom through these lessons, while providing your students insight into the Essential Understandings regarding Montana Indians.\nNEW! Neither Empty nor Unknown: Montana at the Time of Lewis and Clark Lesson Plan (4-7). For teachers able to bring their students to the Montana Historical Society, this lesson plan offers pre- and post-tour lessons and other resources to complement a tour of the Neither Empty nor Unknown exhibit. (Find information about scheduling tours here.) For those unable to tour the exhibit, the lesson plan offers instructions for modifying the lesson and a \"virtual tour\" via PowerPoint and script. You can preview the virtual tour PowerPoint here.\nThe Art of Storytelling: Plains Indian Perspectives (K-12). These materials are designed to provide you and your students with an exciting way to incorporate Indian Education for All into your art curriculum. The material includes grade-appropriate lesson plans which are aligned with the Essential Understandings and the Montana Art Content Standards; three PowerPoint presentations, one focused on winter counts and two about ledger art (one of which is designed for grades K-6 and the other for grades 7-12); and additional material that explores winter counts and biographical art.\n\u201cRussell on Indians\u201d (grades 7\u201312) explores the topic of stereotypes, especially about Indians. After class discussion, students will examine several Russell paintings during a \u201cgallery walk\u201d to explore how the artist did and did not reinforce Indian stereotypes.\nA Beautiful Tradition: Ingenuity and Adaptation in a Century of Plateau Women's Art (Designed for 4th-12th) These materials are designed to provide you and your students with an exciting way to study this colorful art form while incorporating Indian Education for All in your classroom. There are three grade-appropriate versions of this curriculum: fourth/fifth grade, middle school, and high school. These interdisciplinary units include grade appropriate lesson plans, aligned with the Essential Understandings; PowerPoint presentations; worksheets; and other material that explores this remarkable art form.\nNEW! Resilience: Stories of Montana Indian Women Ordinary People Do Extraordinary Things! Connecting Biography to Larger Social Themes Lesson Plan (Designed for grades 8-12) This lesson uses essays published on the Women\u2019s History Matters website to help students explore how ordinary people\u2019s lives intersect with larger historical events and trends and to investigate how people\u2019s choices impact their communities. After analyzing two essays on American Indian women from the Women\u2019s History Matters website, students are asked to conduct interviews with people in their own community to learn about how that person has chosen to shape the world around him or her.\nNEW! \"Sun Dance in Silver Bow: Urban Indian Poverty in the Shadow of the Richest Hill on Earth\" is a PowerPoint-based lesson plan that explores the complexity underpinning the change-over (or reconfiguration) of the West (and particularly Montana) from Aboriginal lands into Euro-American hands at the end of the nineteenth century.\n\"Native American Trade Routes and the Barter Economy\" includes two learning activities intended designed to complement Chapter 2 of the Montana: Stories of the Land textbook. Designed for use in grades seven through nine, Activity One, \"Resources and Routes,\" focuses primarily on mapping pre-contact trade routes, with a special emphasis on Montana. Activity Two, \"Trading Times,\" asks students to simulate the process through which various products from different regional tribes were bartered and disseminated to gain a better understanding of pre-contact barter economy and how it compares with the modern-day cash economy.\n\"When Worlds Collide: The Salish People Encounter the Lewis and Clark Expedition\" is a flexible one- to four-day learning activity designed to complement Chapter 4 of the Montana: Stories of the Land textbook. Recommended for use in grades seven through nine, the activity challenges students to grapple with historical evidence and to better recognize the complexity of native-white encounters.\n\"Blood on the Marias: Understanding Different Points of View Related to the Baker Massacre of 1870\" is a flexible one- to three-day learning activity designed to complement Chapter 7 of the Montana: Stories of the Land textbook. Recommended for use in grades seven through twelve, the activity challenges students to grapple with historical evidence and to better recognize the complexity of native-white encounters. In considering a variety of historic documents, students will have an opportunity to raise questions and draw meaningful conclusions about a historically significant event: the Baker (also known as Marias) Massacre.\n\"Hearing Native Voices: Analyzing Differing Tribal Perspectives in the Oratory of Sitting Bull and Plenty Coups\" is a flexible one- to three-day activity designed to complement Chapter 7 of the Montana: Stories of the Land textbook. Recommended for use in grades seven through twelve, the activity focuses on excerpts from a number of speeches and addresses given by two well-known leaders of native peoples closely associated with the story of Montana's past: Sitting Bull, of the Hunkpapa Sioux, and Plenty Coups, of the Crow. This lesson seeks to challenge students' preconceived stereotypes of American Indians as one-dimensional, inflexible caricatures who were merely acted upon by outside forces. In comparing and contrasting brief excerpts of these leaders' speeches, students will come to appreciate that great diversity existed among individual American Indian leaders and the ways they responded to changing circumstances during the late nineteenth century. Library of Congress\n\"Mining Sacred Ground: Environment, Culture, and Economic Development on the Northern Cheyenne Reservation\" is a learning activity designed to familiarize students with an important and contentious issue now facing Montana's native peoples: whether or not to develop their reservation's coal and coal-bed methane resources. Recommended for use in grades seven through twelve, this activity challenges students to better appreciate the complexities of promoting resource-based economic development when such action conflicts with traditional cultural values.\n\"Montana's Landless Indians and the Assimilation Era of Federal Indian Policy: A Case of Contradiction\" is a week-long primary-source based unit designed to introduce students to the history of the landless M\u00e9tis, Cree, and Chippewa Indians in Montana between 1889 and 1916, while giving them an opportunity to do their own guided analysis of historical and primary source materials. In this Common Core-aligned unit, students will wrestle with issues of perspective, power, ideology, and prejudice and will closely examine the role Montana newspapers played in shaping public opinion toward the tribes\u2019 attempts to maintain economic independence and gain a land base and political recognition.\n\"Picturing the Past: Understanding Cultural Change and Continuity among Montana's Indians through Historic Photographs\" is a two-day learning activity designed to complementChapter 11 of the Montana: Stories of the Land textbook. Recommended for use in grades seven through twelve, the activity challenges students to examine historical photographs while considering issues of cultural change and continuity over time.\nMontana Ancient Teachings: A Curriculum for Montana Archaeology and Prehistory (Designed for 4th-8th). Introduce elementary and middle school students to the world of archaeology and what archaeologists have learned about Montana prehistory through archaeology and related scientific disciplines.\nHands-on History Footlockers relating to Montana Indians\nLearn more about our footlocker program and reserve these titles by visiting the Hands-On History Footlocker page.\nContemporary American Indians in Montana - Highlights the renaissance of Montana's Indian cultures and tribal efforts to maintain their identities and traditions.\nLand of Many Stories: The People and Histories of Glacier National Park\nFocuses on the commemoration of the centennial anniversary of Glacier National Park. It is thematically tied to the MHS' exhibit The Land of Many Stories: The People and Histories of Glacier National Park. It examines the human experience in the area now known as Glacier National Park, from pre-contact to the recent past, focusing on human-environmental interaction.\nLifeways of Montana's First People - Emphasizes the various tribal lifeways of the people who utilized the land we now know as Montana in the years around 1800.\nMontana Indian Stories Lit Kit - Immerses students in storytelling and the oral tradition with seven class sets of Montana Indian stories collected for the Indian Reading Series (1972) and reprinted by the Montana Historical Society Press. The lit kit includes animal puppets and User Guide. NOTE: Out of respect for the storytelling customs of many Montana Indian people, this kit will be made available for use in the winter months (November through March.)\nPrehistoric Life in Montana - Exposes Montana prehistory (10,000-12,000 years ago) and archaeology through a study of the Pictograph Cave site in eastern Montana.\nStones and Bones - Uncovers the earliest evidence of Montana's human history through a study of casts and reproduction stone and bone tools, including replica artifacts from the Anzick collection found in Wilsall, Montana.\nTo Learn A New Way- Through a child's voice, as much as possible, this footlocker explores the late 1800's and early 1900's time in which Montana Indians were moved to reservations, experienced allotment and boarding schools - all of which resulted in dramatic changes in their lands, languages, and way of life.", "id": "<urn:uuid:34f9da01-1f6b-42b3-8c90-9e85a3dd4c9f>", "dump": "CC-MAIN-2017-17", "url": "http://mhs.mt.gov/education/IEFALessonPlans", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119637.34/warc/CC-MAIN-20170423031159-00381-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9273481965065002, "token_count": 1929, "score": 3.953125, "int_score": 4}
{"text": "Programming 101: Key Mental Models\nProgramming is about casting spells on machines so that they serve your will.\nOkay, okay. So maybe it\u2019s not really magic. But it is magic-like. You have to learn a cryptic language, and you have to speak (type) the symbols in the right order for your spell to work properly.\nSo why does programming have a reputation for being hard? Because there are many pieces involved, which require many different \u201cMental Models\u201d. What\u2019s a mental model, you ask? A mental model is something in your head that helps you make predictions about how things in the world (people, animals, machines, etc.) will react in response to your actions or events in the world.\nSuppose you\u2019re a teen and you stay out late\u2014past midnight on a school day. You know your parents will be very upset with you, and possibly yell at you the next day. How do you know that? You have a mental model of your parents! Another example: Don\u2019t stare a dog in the eye because you might make it mad and it will bite you. How do you know that? You have a mental model of dogs.\nA mental model doesn\u2019t have to be 100% accurate. It\u2019s merely a guide for your expectations and actions. You create mental models constantly and you constantly update your mental models in response to new information.\nSo let\u2019s go through the mental models you need to know for programming.\nMental Model: Programming as Communication\nSetting aside colorful magic, wizard, and spell metaphors, how should you think about programming?\nProgramming is communicating directions to a computer. So, you know how you sometimes give driving directions to other people? It\u2019s like that. But instead of driving directions to a person (in English), it\u2019s directions to a computer (in a language like C# or Java) for taking information and either\n- Storing the information in memory, disk/USB drives, across the network;\n- Calculating new information by using information in equations;\n- Displaying the information.\nAnd technically it\u2019s only storing and calculating, because displaying information is a kind of storing of the information on screen or on paper.\nSo if someone asks you what programming is, tell them:\nB. Computers only know how to follow three directions:\n- store information,\n- calculate new information, or\n- display information.\nMental Model: Programming as Communicating With Computers\nBut how exactly do you communicate with a computer? Can you simply talk to it? Technically yes, but let\u2019s pretend our computer doesn\u2019t have voice recognition like our smart phones. And let\u2019s continue using \u201ccommunicating with people\u201d as our starting point for understanding programming computers.\nWhen we communicate with other people we simply talk and if they\u2019re paying attention, they hear us and respond appropriately.\nWhen we\u2019re communicating with a computer, instead of speaking words in English, we\u2019re:\n- Typing code from a computer language into an editor.\n- Saving our code as a file on the computer. And then telling the computer to\n- Run the code.\nMental Model: Coding as Storytelling\nAlmost every well-written story consists of three parts: a beginning, a middle, and an end. In the beginning, the hero encounters a problem. The middle is spent searching for a solution. And in the end the hero solves the problem.\nSimilarly, almost all code also has a three-part structure:\n- Input: getting information from the user, or from storage or from the network\n- Processing: running calculations on the information\n- Output: displaying the information to the user, or storing it, which may involve sending the information across the network.\nMental Model: Syntax as Grammar\nJust like you can\u2019t randomly mix words in a sentence and expect people to understand what you\u2019re saying, you can\u2019t randomly mix programming terms and expect the computer to run your program without crashing.\nEnglish has a grammar, and Programming Languages have a syntax. When you hear the term \u201csyntax\u201d think grammar. Bad syntax leads to your code crashing, just like bad grammar leads to people misunderstanding you (a kind of human crash).\nMental Model: How Software and Hardware Interact\nA computer consists of storage (hard drive, usb drive), memory (RAM), a processor (Intel or AMD), and a graphics card (NVidia, AMD). Yes, there\u2019s the network too, but let\u2019s ignore it for now.\n- Your program is kept in storage.\n- When you run your program, it gets moved into memory.\n- The processor reads and executes each line of code in memory.\n- Any code for displaying information gets sent to the graphics card.", "id": "<urn:uuid:57106c1a-777b-41ef-8908-262bed36426f>", "dump": "CC-MAIN-2017-17", "url": "http://professorf.com/programming-101-key-mental-models/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122619.71/warc/CC-MAIN-20170423031202-00150-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9155916571617126, "token_count": 1032, "score": 3.953125, "int_score": 4}
{"text": "To view the slideshow full screen click on far right button.\nTo view more slideshows click on far left \u201cgallery\u201d button.\nThe seventh grade is a bridge between a student\u2019s middle school experiences, similar to how a ligament bridges muscle to the bone. This important year finds the student no longer new to middle school rituals nor yet faced with the intensity of 8th grade. As a result, it can be a year with great internal focus as they develop and immerse themselves in their academic and artistic pursuits. While the period of adolescence can be trying for any parent and child as the separation between the student with the parent and teacher continues to grow, this in no way minimizes the importance of adults in the child\u2019s life. At thirteen, a child begins to make critical character-building choices usually by copying what she sees in others. This is why it is so important for the students to have many strong role models not only to observe in real life, but to encounter and study in the curriculum.\nThis year offers a mix of mastering past skills and learning new concepts. The general categories include: Operations with Rational Numbers, Proportional Reasoning, Consumer Math, 2-d and 3-d Geometry, Pythagorean Theorem, and heavy concentration in Pre-Algebra. In middle school, developing good homework habits and learning to persevere through challenging problems are two overarching goals.\nThe student will continue to develop and strengthen listening, speaking, reading, and writing skills while studying biographical stories and written documents from the Age of Exploration, the Italian Renaissance, the Reformation, and the Scientific Revolution. Expository and creative writing skills will be further expanded. In the Dramatic Arts Block, students study Shakespeare through his sonnets and plays, and present a full or abbreviated version of one of his plays in a live theater setting.\nScience continues to be a proportionally dominant block area, with several distinct areas of study. In Chemistry, students observe the process of combustion and delve into the elements of the periodic table, and investigate acids, bases, and salts. In Physics, students learn about machines, including the six simple machines, the internal combustion cycle, and electromagnetism. This also includes a large group project to design and build a Rube Goldberg machine. In two Physiology blocks, students review both the male and female reproductive systems and understand human fertility. Students also learn about our metabolic process that involves: respiration, circulation, digestion, and cellular activities. Students learn about important health topics such as the effect of alcohol on their cells, sexually transmitted diseases, the effects of smoking on their lung capacity, and general nutrition as part of these studies.\nStudents continue to develop their ability to play violin, viola, and cello in a string orchestra. They are taught more advanced music reading concepts and more advanced playing techniques. They will also continue to develop their ability to play soprano, alto, tenor, and bass recorder in an ensemble, and learn choral singing skills. Students will learn to identify stylistic characteristics of music periods and composers and the key periods and dates of music history. The 7th grade music class performs in two formal string orchestra concerts.\nThe historical period known as the Renaissance forms the basis for artwork in Seventh Grade, so we begin an intensive study of the basic laws of perspective drawing, which were first formulated at the dawn of the Renaissance. As they slowly master the technicalities of vanishing points, converging lines, interpolation and extrapolation, students will gain the ability to create the illusion of three-dimensional space on a two-dimensional sheet of paper. We will continue our watercolor work with a focus on the wet-on-wet approach.\nHistory and Social Studies\nThe study of the Renaissance, Reformation, and the Age of Exploration reflects what the children are experiencing within. The children learn biographies of great figures that went against the traditional, prevailing views of their day in their own search for truth, freedom, and self-expression. Through studying the lives of key figures such as Galileo, Martin Luther, Christopher Columbus, Elizabeth I, and others, students find reassurance that in their struggle to become who they are, they also can contribute to the world.\nCrowing their studies on the Renaissance, students travel to Oregon for a weeklong stay in Ashland during the Oregon Shakespeare Festival, watching a minimum of three performances and participating in drama workshops.\nForeign Language (Spanish)\nAn emphasis is placed on the reinforcement and acquisition of grammar and other vocabulary study that will prepare students for high school level Spanish. Students continue to formally study various aspects of grammar, including deeper work into a range of regular and irregular verbs and tenses, possessive adjectives and superlatives. Students apply their burgeoning fluency in Spanish to reading short stories and passages in Spanish.\nStudents conduct a research-based investigation of the African continent with a focus on report writing using external sources, including a \u201cKeynote\u2122\u201d computer presentation to the class. The Keynote aspect will help prepare the students for their 8th grade project presentations. Students will also learn the current physical and political geography of modern Africa.\nStudents expand the use the computers and the computer lab to write essays and other Main Lesson content. They use teacherweb.com to communicate with their teachers online, gather details of assignments and find copies of Main Lesson chalkboard drawings. Through digital literacy studies, students learn the essential skills to be digital citizens and safe and ethical online.\nThe goal of this program is to instill a love of games that promote cooperation versus competition. Each game is designed to refine motor skills, and also challenge the class to work together to find a solution or to improve the game. To promote fitness, health and wellness, the seventh grade student participate in weekly exercises to improve overall fitness and strength. Each child will run the mile, perform sit up and push up tests and will perform stretches to improve overall flexibility. Students will also learn basic stretches to support muscles for exercise.", "id": "<urn:uuid:9c961552-b12e-47c4-8c62-872378e2841f>", "dump": "CC-MAIN-2017-17", "url": "http://www.novatocharterschool.org/program/curriculum/seventh-grade-curriculum", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126538.54/warc/CC-MAIN-20170423031206-00619-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.94516521692276, "token_count": 1239, "score": 3.640625, "int_score": 4}
{"text": "This page contains a non-exhaustive list of useful reference points in the National Curriculum relevant to the teaching of classical civilisation and the classical tales storytelling resources hosted on this website. It is based on the statutory and non-statutory National curriculum in England for teaching from September 2014 (last revised July 2014).\nAt Key Stage 2, the curriculum specifies that children should study the Roman Empire and its impact on Britain. It lists non-statutory examples of material that could be covered:\n- Julius Caesar\u2019s attempted invasion in 55-54 BC\n- the Roman Empire by AD 42 and the power of its army\n- successful invasion by Claudius and conquest, including Hadrian\u2019s Wall\n- British resistance, for example, Boudica\n- \u2018Romanisation\u2019 of Britain: sites such as Caerwent and the impact of technology, culture and beliefs, including early Christianity\nIt also makes reference to the legacy of Greek or Roman culture (art, architecture or literature) on later periods in British history, including the present day and Ancient Greece \u2013 a study of Greek life and achievements and their influence on the western world.\nLearning at key stage 3 \u2018should extend and deepen pupil\u2019s chronologically secure knowledge and understanding of British, local and world history, so that it provides a well-informed context for wider learning\u2019. The curriculum for history provides explicit opportunities for building on knowledge of classical civilisation and making links to classic tales.\nThe aims of the English curriculum focus on pupils\u2019 acquisition of \u2018a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language\u2019. It states that spoken language underpins the development of reading and writing and notes that \u2018the quality and variety of language that pupils hear and speak are vital for developing their vocabulary and grammar and their understanding for reading and writing. Teachers should therefore ensure the continual development of pupils\u2019 confidence and competence in spoken language and listening skills\u2019. There are clear opportunities for use of classic tales story telling materials here; providing a rich seam of resources for expanding vocabulary, exploring linguistic conventions and improving written work.\nThe statutory guidance for English states that in years 3 and 4, pupils should continue to have opportunities to listen frequently to stories and in years 5 and 6, they should be able to summarise and present a familiar story in their own words. Classic tales story telling materials very clearly meet these aims and can be built upon here.\nAt key stage 3, the emphasis is on developing an appreciation and love of reading, and read increasingly challenging material independently and \u2018reading a wide range of fiction and non-fiction, including in particular whole books, short stories, poems and plays with a wide coverage of genres, historical periods, forms and authors, including high-quality works from English literature, both pre-1914 and contemporary, including prose, poetry and drama; Shakespeare (2 plays) and seminal world literature\u2019 Classic tales materials can greatly contribute to encouraging a love of reading and introducing more challenging material e.g. through making classic tales accessible to lower level readers and spurring on better readers to looking at different translations of the texts on which the recordings are based.\nThere is a strong emphasis on the development of listening, discussion and debating skills including listening and responding in a variety of different contexts, both formal and informal, and evaluating content, viewpoints, evidence and aspects of presentation. Discussing themes of classic tales recordings are a rich resource to meet these curriculum aims.\nThere is also reference to \u2018improvising, rehearsing and performing play scripts and poetry in order to generate language and discuss language use and meaning, using role, intonation, tone, volume, mood, silence, stillness and action to add impact\u2019. The classic tales recording provide ample examples of performance aspects which can contribute to this type of learning.\nThe statutory guidance for teaching citizenship at key stages 3 and 4 also places emphasis on the skills required for debate and skills to think critically and debate political questions which could be linked thematically to classic tales. Pupils must also:\n- acquire a sound knowledge and understanding of how the United Kingdom is governed, its political system and how citizens participate actively in its democratic systems of government\n- develop a sound knowledge and understanding of the role of law and the justice system in our society and how laws are shaped and enforced\nThere are links to be made here about the origins of democracy and the role of storytelling in exploring political and values-based themes.", "id": "<urn:uuid:26b74f7a-5889-4246-9363-c51b441141ea>", "dump": "CC-MAIN-2017-17", "url": "http://classictales.educ.cam.ac.uk/teachersarea/resources/curriculumlinks/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118851.8/warc/CC-MAIN-20170423031158-00558-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.929617702960968, "token_count": 925, "score": 4.0, "int_score": 4}
{"text": "Over 15 years in the making, an unprecedented one-volume reference work. Many of today's students and teachers of literature, lacking a familiarity with the Bible, are largely ignorant of how Biblical tradition has influenced and infused English literature through the centuries. An invaluable research tool. Contains nearly 800 encyclopedic articles written by a distinguished international roster of 190 contributors. Three detailed annotated bibliographies. Cross-references throughout.\nThis edition of the classic reference has been thoroughly revised and updated, offering unrivalled coverage of English literature. It continues to offer detailed and authoritative information on authors and works, alongside extended coverage of popular literary genres, as well as of the themes and concepts encountered by students.\nChallenges students to think beyond a narrowly defined canon and conventional disciplinary boundaries. Includes close readings of frequently studied texts, including texts by Chaucer, Langland, the Gawain poet, and Hoccleve.\nAlexander\u2019s A History of Old English Literature is an outstanding introduction to a difficult period of literary history. It provides a simple historical and cultural context for the study of the Anglo-Saxons, and offers a history, illustrated by many passages in translation, of the whole of the literature that survives. While it contains solid, insightful and sensible criticism of individual literary works, its overall historical organization suggests that Old English literature was created in a cultural context that changed from one century to another. Although its intentions are scholarly, this history of Old English literature is also an introduction, assuming little knowledge of this period or its surviving products, and none of its language. This edition has been revised and rewritten throughout, and offers a new preface as well as an updated bibliography.\nIt would be difficult to overestimate the importance of the Bible in the medieval world. For the Anglo-Saxons, literary culture emerged from sustained and intensive biblical study. Further, at least to judge from the Old English texts which survive, the Old Testament was the primary influence, both in terms of content and modes of interpretation. Though the Old Testament was only partially translated into Old English, recent studies have shown how completely interconnected Anglo-Latin and Old English literary traditions are. Old English Literature and the Old Testament considers the importance of the Old Testament from a variety of disciplinary perspectives, from comparative to intertextual and historical. Though the essays focus on individual works, authors, or trends, including the Interrogationes Sigewulfi, Genesis A, and Daniel, each ultimately speaks to the vernacular corpus as a whole, suggesting approaches and methodologies for further study.\nDetails the evolution of literature during a period representing a staggering amount of change, moving from one-dimensional action stories and religious lessons to stories with subtleties of plot and character development.\nOffering new readings of works by Shakespeare, Spenser, and their contemporaries, this study examines the profound impact of the cultural shift in the English aristocracy from feudal warriors to emotionally expressive courtiers or gentlemen on all kinds of men in early modern English literature. Jennifer Vaught traces the gradual emergence of men of feeling during the sixteenth and seventeenth centuries, to the blossoming of this literary version of manhood during the eighteenth century.\nFirst published in 1985, Between Men challenged old ways of reading while articulating critical byways for two emerging disciplines. Its iconoclastic approach gave queer studies and gender studies scholars further reason to crack open the canon, scrutinize its contents, and add unconventional texts on sound theoretical grounds. Striking a devastating blow to the hegemony of heteronormative critique, it opened not only literature but also politics, religion, society, and culture to broader investigations of power, desire, and sex. Between Men still has much more to tell us, and much work left to do. It has kept pace with Western society\u00d5s evolving ideas of and debates on gender and sexuality...", "id": "<urn:uuid:a136f591-765a-48c1-b1f8-128cf8bb1ab7>", "dump": "CC-MAIN-2017-17", "url": "http://easywebbookmarks.info/english-literature.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118831.16/warc/CC-MAIN-20170423031158-00204-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9420719146728516, "token_count": 782, "score": 3.578125, "int_score": 4}
{"text": "Newby states that a case study is a thorough analysis of a typical or unusual event or occurrence which was either successful or encountered a problem. Case studies analyse particular instances rather than search for the general truth. They usually have two goals: to find the patterns created by the processes at work and to uncover variations from the expected.\nCase studies are methodologically eclectic. The numerous types of case studies involve ethnography, experiment, action research, surveys, illuminative, observational and documentary research that allow flexibility in using different ways of data collection such as quantitative and qualitative data collection, as well as flexible means of analysing the data which can be both short and long term.\nCase studies possess different advantages (Adelman); the source of data is based from real situations, they allow generalizations about an instance, recognise the complexity and \u2018embeddedness\u2019 of social truths, hold the archive values for other researchers and users whose purposes are dissimilar to each other. Their results instigate action for staff or individual development, formative evaluation and educational policies. The research findings and data from case studies are more accessible than other types of research because they are easier to understand. They can also serve multiple purposes and audiences for they allow readers to judge the situation themselves before making decisions.\nThere are also disadvantages of case studies (Nisbet and Watt). If there is not an application, for instance, the results may not be generalizable. Moreover, the results can be selective, biased, personal and subjective. If the researcher or observer is biased, the results may be problematic to use. Additionally, the complexity of the case may make the analysis harder. Even though everything may appear relevant, one might find that they are irrelevant when writing up the actual case. Finally, with case studies it can be difficult to know where \u2018context\u2019 begins and ends (Blaxter, Hughes & Tight)\nLewin (1946) named this method of research, which originated from \u2018action\u2019 and \u2018research\u2019 (Pollard). It requires teachers, researchers and other practitioners to plan, act, observe and reflect in a cyclical process.\nAction research aims to directly improve practice through self-development (Pollard) and its characteristic methods are cyclical designs, based-on self monitoring using a range of data in a practitioner\u2019s workplace. Action research is evaluative; it describes and analyses personal practice.\nAction research can be used in different areas such as: in teaching methods, learning strategies, evaluative procedures, attitudes and values, continuing professional development, management and control as well as administration (Cohen, Manion and Morrison).\nAction research is a device which includes identifying the problem, planning an intervention, implementing the intervention and evaluating the outcome.\nThe research in appendix 3 is a typical example of action research. It was planned by an elementary school teacher and the new head teacher of the school. The aims of the research are to find out if there was significant increase in learning using the inquiry-based strategies and also to see if the students were motivated more by learning science concepts using inquiry- based instruction versus traditional teaching practices.\nOne of the biggest strengths of action research is that it is quite straightforward in tackling issues. The methodology and data gathering are not complicated therefore an action researcher does not need to learn analytical skills. There is no need to rely on researchers, experts or outside authorities. (Kember)\nHowever, there are also difficulties in undertaking action research. The first one is making sure that the experiment and control are genuinely comparable. Educational settings are quite difficult to control or design experiments for, because of their variables which interact with one another in unexpected ways. There are also ethical issues during the investigation; one side may feel disadvantaged.\nDesigning different teaching programmes, arranging for the separation of groups and holding extraneous variables constant becomes more difficult the longer the trial.\nThe meaning of \u2018ethnography\u2019 is to describe peoples and cultures. Originally, it was used as a research method by anthropologists and aimed to provide an account of the cultures and lives of small, isolated tribes (Denscombe). For instance, a book called \u2018The Navaho\u2019 by Clyde Kluckhohn and Dorothea Leighton is written after an ethnographic research about the biggest American- Indian tribe in 1946. The purpose of this research was to understand the traditions & culture in Navahos, to find out how they were coping with the American-Western way of living, if it is possible to protect their heritage despite the pressure of industrialization.\nAccording to Whyte \u2018ethnographic\u2019 research requires the researcher to spend a long time in the field amongst the people whose lives and culture are being investigated. The ethnographer needs to share the same life as all aspects of \u2018everyday life\u2019 are considered to be valuable data. Special attention should be paid to those whose lives are being studied. It generally prefers a holistic approach towards relationships, connections and interdependency. It is a construction which requires particular writing skills and is influenced by the ethnographer\u2019s own experiences (Denscombe).\nThe advantages of ethnography are: it is a direct form of observation and empirical which involves direct contact with relevant people and is also possible to link with theory. The data is relatively rich in detail and seeks holistic explanations which put things in context. Furthermore, it allows the comparing and contrasting of other culture. The \u2018actors\u2019 point view and perceptions are open and explicit. Finally, it is ecologically valid so that the researcher should have little impact on the setting (Denscombe).\nAccording to Denscombe there are also disadvantages of ethnography such as: tension between wanting to stay as close to the truth as possible and the influence of the ethnographer\u2019s personal experience and social awareness. Although it produces a large number of stories, they may be isolated from each other if the researcher isn\u2019t guided by the theoretical framework. If the researcher makes storytelling their only purpose, there is a potential of losing analytical insight or theoretical position. Reliability can be another problem as it is often difficult to generalize culture and events. Ethics can be an obstacle because of the intrusion into private lives. Finally, two other disadvantages are: accessing the settings without disruption and insider knowledge which may result with a blind spot that obscures the obvious. (Denscombe)\nNewby describes \u2018Phenomenology\u2019 as how we give significance to our experiences of the world rather than how the world really is. Phenomenologist examines the individual and collective experiences of the \u2018life-world\u2019. They use description, observation, reporting and reflection.\nCohen, Manion and Morrison say that;\n\u2018Phenomenology\u2019 is a theoretical point of view that advocates the study of direct experience taken at face value; and one which sees behaviour as determined by the phenomena of experience rather than by external, objective and physically described reality.\nAccording to Curtis there are three distinguishing philosophical viewpoints in Phenomenology: firstly there is an important belief and subjective consciousness; then there is an active understanding of this consciousness and lastly, there is a claim that there are certain essential structures to the consciousness of which we gain direct knowledge by a certain kind of reflection.\nAdvantages of phenomenology are; it is suited to small- scale and low budgeted research where the main resource is the researcher his/herself. It allows the researcher to deal with the complexity of the social world through phenomena in depth. The approach is humanistic as there are efforts to base its enquiry on the lived experiences of people in the everyday world. (Denscombe)\nThe disadvantages of phenomenology (Denscombe) are: it lacks a scientific basis; it can easily turn into the weakness of researcher by people who do not share the same opinion; may only provide description without analysis. Moreover, generalizing the research can be difficult as it involves only small numbers or instances. In addition, the issues a phenomenological researcher deals with may not be relevant to apply for big issues such as the spheres of social policy, international relations and economic progress. Therefore, it is possible to assume things in advance by the researcher which may cause feasibility of suspending common sense.", "id": "<urn:uuid:087e4585-7f06-415c-a5b3-e98ca12ed488>", "dump": "CC-MAIN-2017-17", "url": "http://ealteachers12.blogspot.com/2012/06/professional-enquiry-assignment-part-3.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120206.98/warc/CC-MAIN-20170423031200-00561-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9497824311256409, "token_count": 1695, "score": 3.578125, "int_score": 4}
{"text": "in the Canadian History Class\nBy Kathryn Bjornson\nMost Canadian history courses will cover the discriminatory immigration and war-time policies that were levied against immigrants from Asia in this country from roughly the mid 19th Century to the mid 20th Century. Whether teaching about the head tax that was meant to discourage immigrants from China or the treatment of Japanese \u201cenemy aliens\u201d during WWII, poetry can help students to better understand the effects of these policies. Poetry allows us to bring those voices into the classroom that can speak in a direct way to the experiences of immigrants and their families. The opening lines of Joy Kogawa\u2019s poem \u201cWoodtick\u201d (A Choice of Dreams. Toronto: McClelland and Stewart, 1974) personalizes the lasting effects of discrimination:\nThe spring day the teen on his bike slanted his Caucasian eyes\nAt my eight year old beautiful daughter\nAnd taunted gibberish\nI was eight years old and the Japs were\nEnemies of Canada and the big white boys\nAnd their golden haired sisters who\nLived in the ghost town of Slocan\nWere walking together, crowding me\nOff the path of the mountain.\nSimilarly, the opening poem in Fred Wah\u2019s Waiting for Saskatchewan (Winnipeg: Turnstone Press, 1985) evokes a strong sense of place and origin in a young province that was shaped by immigration: \u201cWaiting for Saskatchewan / and the origins grandparents countries places converged / Europe Asia railroads carpenters nailed grain elevators.\u201d The poetry of Kogawa and Wah explore themes of cultural and personal identity, ownership, and belonging within the historical context outlined above: These poets also explore how the experiences of one generation inform those of another.\nBy the time I introduce these poets, my students have already studied the treatment of Asian immigrants in Canada, including the Chinese Head Tax, the Act to Prevent Chinese from Acquiring Crown Lands, the use of Chinese labour to construct the CPR, such exclusionary incidents as the Komogata Maru, and the property seizures and internment of Japanese Canadians during WWII. I teach Canadian History to grade 10 students, but these activities can be adapted for use in grades 9-12. This activity can also be used in the English classroom where the teacher wants to bring in History or Geography or to explore cultural issues.\nI then use entries in the Canadian Encyclopedia and other sources on Wah and Kogawa to present the students with some biographical information. I ask them to construct a brief time line for each poet so to place them within the historical context we\u2019ve been studying. These kinds of activities are helpful because they prompt the student to attach a given person to a particular time and place. Students make the connection that Wah was born in Saskatchewan during WWII and that Kogawa and her family were actually interned during WWII while she was a child.\nAfter constructing the necessary background information I ask the students to read the poems introduced above. I first ask students to compare the poems. They often observe that \u201cWoodtick\u201d is more narrative with definite characters (the speaker, her daughter) engaging in a specific activity (walking) and encountering a taunting teenager who is leveling cultural slurs. Although they recognize a speaker in Wah\u2019s poem with references to \u201cme,\u201d \u201cI,\u201d and \u201cmy\u201d and also a vague reference to \u201cthey\u201d; this is clearly a poem that is less narrative than a collage of images and experiences.\nOne thing that both poems have in common is that the speaker exhibits an attitude toward a particular place. This also allows us delve into a bit of geography and to explore the idea of a sense of place and what place means to an individual. I ask students to look up any place references in both poems. In Wah\u2019s poems, they note that \u201cEurope\u201d and \u201cAsia\u201d converge at \u201cSwift Current,\u201d Saskatchewan and they even note that specific streets are named. In Kogawa\u2019s poem, reference is made to \u201cSlocan,\u201d B.C. and \u201cSaskatoon,\u201d Saskatchewan. These place references must be explained within the context of each poem. A close examination and discussion will conclude that Asia and Europe converge in the immigration to the region, and that many of the references in the poem are to the activities of immigrants once they have landed, such as \u201crailroads,\u201d \u201ccarpenters,\u201d \u201cgrain elevators,\u201d and \u201ccafes.\u201d It becomes clear also that Slocan is the place to which the speaker returns in her vivid recall of a childhood experience and that the here and now of the poem is Saskatoon. It is helpful to look at a map or even Google Earth to get a sense of the geographical references in the poems such as mountains, plains, railroads, and farm strips.\nI then ask the students to identify the attitude of the speaker towards the place as expressed in each respective poem. In the Kogawa poem, place is closely associated with bad memories of fear and cultural discrimination, to the extent that there is a vivid recall of place even when the speaker is clearly in a very different place. In the Wah poem, there is an ambiguous attitude towards place: \u201cwhy / why on earth would they land in such a place\u201d is answered by \u201cI want it back\u201d and we are left wondering what that place \u201cstill owes\u201d him.\nAfter discussing the cultural experiences that these poets may have had in this country, as a culminating activity I ask the students to write their own poems based on their family history in Canada. I usually give them about two weeks to do some research and write the poems. They can either write a collage poem that is closely associated with a place where their family settled and lived, or they can write a narrative poem from the first person perspective in which they may adopt the persona of a relative or ancestor. Some students, depending on their family history and cultural heritage, may go back further in history than others, but the objective is for the students to connect to Canadian History through their own personal experiences or family histories.\nBy the end of this activity, I have shown my students that artists creatively respond to their historical realities and to government policies, and that they, too, can connect to history in a personal way by their own creative endeavors. Also, they have learned that there are many modes through which we can learn about history, including the creative mode.\nFor Further Reading:\nThe Splintered Moon. Fredericton: University of New Brunswick Press, 1968.\nA Choice of Dreams. Toronto: McClelland and Stewart, 1974.\nJericho Road. Toronto: McClelland and Stewart 1977.\nSix Poems. Toronto: League of Canadian Poets, 1978.\nWoman in the Woods. Oakville: Mosaic, 1985.\nObasan. Lester and Orpen Dennys 1981 (novel).\nLoki is Buried at Smoky Creek: Selected Poetry. Vancouver: Talonbooks, 1980. Waiting For Saskatchewan. Winnipeg: Turnstone Press, 1985.\nDiamond Grill. Edmonton: NeWest Press, 1996.\nChoy, Wayson. The Jade Peony. Vancouver: Douglas and McIntyre, 1995.\n\u2014. Paper Shadows: a Chinatown Childhood. Toronto: Viking, 1999.\nHall, Patricia Wong and Victor M. Hwang. Anti-Asian Violence in North America: Asian American and Asian Canadian Reflections on Hate, Healing and Resistance (Critical Perspectives on Asian Pacific Americans Series). Walnut Creek, CA: Alta Mira Press, 2001.\nHutcheon, Linda, and Marion Richmond, eds. Other Solitudes: Canadian Multicultural Fictions. Toronto: Oxford University Press, 1990. 87-94.\nMarlatt, Daphne. Steveston. Vancouver: Talonbooks, 1974.\nKathryn Bjornson is a poet and educator who lives in Dartmouth, Nova Scotia. Her work has appeared in The Antigonish Review, CV2, The Nashwaak Review, Freefall, and The Mom Egg. She teaches English and Canadian History at Sacred Heart School of Halifax, where she also runs a creative writing club for students.", "id": "<urn:uuid:1bf8aa3b-c2f6-4af9-b143-d9f498623bd4>", "dump": "CC-MAIN-2017-17", "url": "http://poets.ca/2016/05/20/fred-wah-and-joy-kogawa/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118851.8/warc/CC-MAIN-20170423031158-00560-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9546005725860596, "token_count": 1733, "score": 3.625, "int_score": 4}
{"text": "They discovered and settled in foreign places such as Iceland, Greenland and the Faroe Islands. They settled in Ireland and this early trading place later became Dublin. Before that, there were no cities there. Around 1000 A.D. they discovered North America, which they called Vinland, that today are parts of Canada. The word \u201ddiscover\u201d is of course difficult. Just as Columbus, \u201ddiscovered\u201d America around 500 years later, the Vikings simply took Vinland and these other places, occupying them. For the sake of argument, there is also a theory about an Irish monk that might have reached North America as early as the sixth century. Unfortunately, the people already living in these places didn't count when European self-appointed leaders with imaginary warrants turned up.\nThe Swedish Vikings set out for the east, to Byzantium. Among the late tenth century guards of the Byzantine emperor, many of the elite fighters were Scandinavian, the Varangian guard. They even carved their names into the big church Hagia Sophia in Istanbul.\nBut the Vikings were not only brutal warriors. They were intelligent people. They used a compass made of wood and a piece of crystal to navigate and locate the sun during bad weather. They used hundreds of ships when concuring places around the world. Cnut had 93 ships and ruled an empire that consisted of Denmark, England, Norway, Orkney and south western Sweden. There seem to have been a great exchange of information and cultural traditions. Cnut introduced Danish culture to England and at the same time, many of the Danish words of church organisation are English in origin.\nThe most fascinating part of the book is where the authors explain the true identity of the Vikings. Most of the time, they seem to have lived a quiet life, away from battle. Most of the Viking Age Scandinavians were farmers. After their raids they came home and tended to their farms. They were more civilized and sophisticated then they usually get credit for. The oldest evidence for a Viking Age legal system is the Forsa rune ring from the ninth century, from H\u00e4lsingland, Sweden. Women were independent, owing and inheriting landed property, and able to marry and divorce. Burials indicate that some women were cult leaders, prophetesses and sorceresses. The book contains many pictures of beautiful objects, such as carefully crafted jewellery. Children toys have been found, and objects indicate that the adults played board games, sports, and those from a high social strata were hunting. The Vikings were intellectuals, and appreciated storytelling and poety. There were skalds, poets, appreciated especially by the kings.\nThe Vikings believed in the gods Odin, Thor, Frey and Freyja. Everyone in Sweden have heard of the Viking spirituality and there is still jewellery with Thor's hammer to buy. There was also a belief in giants, trolls and the underworld. Mythological poems called the Eddic poems had their roots in the Viking poems and were recorded onto vellum later in the Middle Ages. Other poems were about kings, battles and every day life, written by these skalds, professional poets. Many of the Icelandic sagas originate from the Viking age. Eventually, Scandinavia became Christianized, but it took a while. The conversion period took the longest in Sweden, which was Christianized as late as in the thirteenth century.\nWhat's special about the book is that all the facts and information about the era don't feel heavy. Text and pictures make the story come alive. It's exciting to be able to come close to a people that have lived and ruled over a great number of lands, more a thousand years ago. There are many photographs of excavations of Viking settlements and culture, as well as small envelopes with pieces of copies of old manuscripts and maps, one of which shows where Vinland, North America, was discovered. These objects are pieces, drawing the reader into the story.\nThis is a wonderful book that gives insight into a lost world, a mythical world and a historical world. In the nineteenth century, the interest grew and the modern Viking was born. The interest was much due to the national romanticism of the time. Unfortunately, much research has had to be reinvestigated and changed because of untruthful theories, such as the one wrongfully claiming they drank from the skulls of their beaten enemies. But perhaps the misinterpretations and misconceptions have served as fueling the fire of interest around the world. Still, today, there are festivals celebrating the Vikings. These mythological people are still very present.", "id": "<urn:uuid:5db50f4a-28e6-4c35-b21c-ca0f54b27b18>", "dump": "CC-MAIN-2017-17", "url": "http://thereaderdiary.blogspot.se/2015/03/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119361.6/warc/CC-MAIN-20170423031159-00032-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9846164584159851, "token_count": 931, "score": 3.625, "int_score": 4}
{"text": "TeachersFirst's Editors' Choices for Geography Awareness and Exploration\nThere are many ways to view and learn about our world: maps, statistics, photographs, narratives, interactive navigation systems, and mobile apps. Exploring geography and seeing relationships between natural resources, maps, landforms, climate, and human activity can seem overwhelming. TeachersFirst's editors selected these \"editors choice\" resources to inspire interest and explorations of world geography in any classroom from kindergarten through high school. If you would like to see more, try browsing our full database of resources appropriate for learning geography or use our keyword search (at the left of this page) to search a specific geography term. Use the keyword search options and filter by grade level to narrow your choices.\nGrades2 to 4\nIn the ClassroomDisplay this site on your interactive whiteboard (or projector) when learning about coordinate grids. This site would be useful when teaching basic map reading skills in social studies. Allow students to play on their own. Challenge students to create their own coordinate grids using the model on the website. Take any picture and draw grids using rulers then label. Have students identify different portions of the picture using the coordinate grid location.\nGrades3 to 12\nThis site includes advertising.\nIn the ClassroomAsk each student to choose a country to compare to their country of origin. Have students pair up with a partner and compare their chosen countries to the country of origin. Tie in a creative writing project, and have students imagine that they are moving from their country of origin to their chosen country. Students can use the information and comparison as inspiration for their fictional story about what life would be like in their new home. Use the statistical data in If it Were My Home for some real world mathematical comparison between countries. Create infographics to compare the two countries using a tool such as Venngage, reviewed here.\nGradesK to 12\nIn the ClassroomThis is a wonderful site to include with your bookmarks for units on transportation, maps, explorers, Colonial America, and more. Print and display maps in your classroom when using the included lesson plans. Have students use a tool such as Padlet, reviewed here, to create an online bulletin board for information they learn from the maps. Have students use a tool such as Zeemaps, reviewed here, to create a fictitious radio news story from a location they learn about.\nGradesK to 12\nIn the ClassroomGo beyond state \"reports\" to state experiences by encouraging students to select independent reading books. Looking for more information about the states? For history, economics, facts, famous people, and sights to see in each state, try TeachersFirst's 50 States, the perfect complement to these independent reading selections. Even younger students would enjoy a \"tour\" of the states using some of the easier books on this list. Maybe have a read-aloud tour featuring one or two states per week throughout the school year.\nGrades2 to 12\nThis site includes advertising.\nIn the ClassroomUse an overlap map on your interactive whiteboard (or projector) to compare states, countries, rivers, and more. Use this to give students a perspective on geographic size of earth features that they can't see by looking at a standard map. Challenge students to find states or countries that are similar in size, then compare and contrast geographic features. This tool would be especially important when explaining the concept of map scale or square miles/meters. In math class, use it to show a practical application of the concept of area. Have students use an overlap map when presenting state reports. Find a similar sized state (or country), then use the map as part of the presentation. Have a new student from another state or country? Create an overlap map to begin discussion of comparative size of where they came from to where your classroom is located. Try an overlap map to compare locations students read about in Globetracker's Mission or books they are reading. Include it in discussions about the impact of a country's size on its culture in world language or cultures classes.\nGrades4 to 12\nIn the ClassroomWorld history, and world culture teachers could use this video by putting in a city and country where you know there are historical buildings from the time period you are studying. Science and math teachers could put in cities and countries for the origins of famous scientists or mathematicians or locations of major environmental events. And, of course, world language and geography teachers can input any city and country you are studying.\nAny student, but especially ESL/ELL students, will discover forgotten memories after putting in an address and watching the film. Students who have always lived in the same home may want to put in the address of a favorite relative or vacation spot. At the end there is a prompt to write a postcard; however, it cannot be mailed to anyone in particular. So, have students jot memories ignited by the video on paper or in an open word processing document. Have them use one of the memories as a prompt for a memoir. Have students create blogs using Throwww (reviewed here). This site allows you to create \"quick and easy\" blogs to be used one time only. There is no registration necessary!\nDuring Poetry Month or a poetry unit, talk about the song lyrics as poetry, then have students write their own poems and read them along with their personal location video (with sound muted). Make poetry a personal performance piece!\nHave you ever wanted to show your students the setting of a novel you are reading as a class? Imagine using the setting for Chasing Vermeer by Blue Balliet and putting in the street, city, and zipcode for Hyde Park and the University of Chicago. Powerful! At the end of the book there is a chase scene, and the students will really be able to visualize this section of the book. You might want to show the setting at the beginning and ask the students to write about why the person is running. After reading the novel, students could select different music to fit their impression of the book. Just mute the music in the video and allow their selection to play. Have students explain why they felt their choice fit that part of the novel better. Have students do this and vote on the musical selection they think fits best by using a tool such as Thinkmeter reviewed here.\nThis video could also be used as a prompt for a creative writing. Ask the students to listen carefully to the words in the music and connect the runner with the words, and explain why the figure is running? What might the figure be running from? Toward? Or, students could create a poem for the video, and even put the poem to music, or use the music from a favorite song for their poem. This site invites creativity and multimedia responses.\nGradesK to 10\nIn the ClassroomBuild student literacy skills, reinforce what students are learning about maps, and help students build the important reading strategy of connecting what they read to prior (classroom!) knowledge. Share this link on your class web page or wiki so students can select independent reading books to accompany your unit on maps. Don't forget to share the list with the school and local libraries so they can bring in some of the books on interlibrary loan. CurriConnects are a great help for teachers who have lost school library/media specialists due to budget cuts.\nGradesK to 10\nIn the ClassroomBuild student literacy skills, reinforce what students are learning about Geography, and help students build the important reading strategy of connecting what they read to prior (classroom!) knowledge. Share this link on your class web page or wiki so students can select independent reading books to accompany your unit on Geography. Don't forget to share the list with the school and local libraries so they can bring in some of the books on interlibrary loan. CurriConnects are a great help for teachers who have lost school library/media specialists due to budget cuts.\nGrades2 to 6\nIn the ClassroomSee \"Lesson Ideas\" from the Teacher Edition page for a complete list of ways to use this creative unit with younger students, on laptops with student partners, or as semi-independent work. Be sure to share the link on your teacher web page for students to share at home (or check on the next episode, if they can't wait!).\nEncourage parents to join the fun on the mission by sharing the suggestions listed under \"Parent Info.\"", "id": "<urn:uuid:6fd687f5-8fa8-45cc-8626-26e58a809dce>", "dump": "CC-MAIN-2017-17", "url": "http://www.teachersfirst.com/spectopics/geofavs.cfm?sort=recent&page=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125841.92/warc/CC-MAIN-20170423031205-00211-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9490967988967896, "token_count": 1725, "score": 3.921875, "int_score": 4}
{"text": "The life story interview is a practice within oral history and is an interview with someone about key moments in their life. It can be conducted in one session or over several days. Often interviews are conducted only for information and very little space is given to how one narrates important events in their lives. Video interviews are a great way to capture both what is shared and how it is conveyed. Download chapter 4 for a more in-depth discussion on conducting oral histories in the classroom and see below for tips on video interviews.\n- Tips on Video Interviews\n- Tips on the Life Story technique\n- Life Story Playlist - using music to tell stories\nCenter for Oral History and Digital Storytelling has a great online toolbox, (http://storytelling.concordia.ca/toolbox)\nDigital storytelling is usually associated with short autobiographical narratives that combine photographs and short written narratives. Combining photography and writing is effective because the technology is quick to grasp and permits a group to emphasize message over technological know-how. Find handouts on writing, photography, and working with sensitive stories or find our more by downloading chapter 3, 4 or 5.\nIssue composition \u2013 http://issuu.com/archinodes/docs/composition_forweb/1?e=0\n- Ideas for writing exercises\n- How to take and select photos\n- Things to keep in mind when working with sensitive stories\n- Sample One-day Workshop\n- WHAT MAKES A GOOD STORY.doc\n- Partners in Rhyme, http://www.partnersinrhyme.com/\n- AudioMicro, http://www.audiomicro.com/\n- PacDV, http://www.pacdv.com/sounds/\n- Smithsonian Folkways, http://www.folkways.si.edu/folkways-recordings/smithsonian\n- Fun Fun Fun Media posts mp3s for free download. http://funfunfunmedia.com/\n- Musopen provides recordings, sheet music, and textbooks to the public for free, without copyright restrictions. https://musopen.org/\n- Jamendo - royalty free music, https://www.jamendo.com/\nThroughout the project we used the term \u201cmap\u201d to describe the process of connecting personal experiences to places of significance (place-based stories). For example we led activities where we asked participants to draw an image of home and tell us about a story, we called these personal maps. We worked with participants to map their stories using geographical coordinates online or in a community. \u2018Going Places\u2019 was our story bus on wheels where we created soundscapes and toured passengers around the city of Montreal. \u2018Queer is in the Eye of the Newcomers\u2019 was a walking tour that we then turned into a non-linear web documentary using the open-source program, Korsakow. Mapping helped individuals locate the relationship between the past and the present, the personal and the collective, story and place. Download chapters 3 and 5 to find resources and how we organized the walks.\nInviting participants of collaborative projects to share their work and experiences with a broader public can be not only individually empowering, but can also contribute to far-reaching social change that influences social opinion and affects entire communities. The resources below help you think through what to consider when dealing with the press or planning a public event. http://www.goingpublicproject.org/\nMany of our stories are the perfect length to use with newcomer students who are learning English. Our collaborator, Kevin Stanley has used Mapping Memories examples to get his own students telling their stories. He developed viewing guides for two Mapping Memories projects that he felt worked especially well in an introductory or intermediate ESL class. Discover the resources he developed.\nDownload his guides and try it out in your classrooms.\nWorking with Refugees\nThe Canadian Council for Refugees has developed a wealth of resources. One of their most popular is an immigration history timeline as well as a helpful timeline on refugee rights. On their public education page find a glossary, myths and facts sheets as well as many other resources.", "id": "<urn:uuid:a490ac21-0b85-4059-8a73-352e7fcea54a>", "dump": "CC-MAIN-2017-17", "url": "http://mappingmemories.ca/activities.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122621.35/warc/CC-MAIN-20170423031202-00503-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9319026470184326, "token_count": 853, "score": 3.640625, "int_score": 4}
{"text": "October 2, 2013\nDC Trainers Network Skillshare - Youth Work\n1. Introduction (30) - Lauren and Cathy\na. Names, PGPs\nb. Youth / Adult / Etc.: Identify where you\u2019re at\nc. Youth/Adult T Chart\ni. Each person should share assumptions, expectations about Youth and Adults\ni. Understand adultism (what makes working with youth different? adultism)\nii. Activity bank and ideas for incorporating youth participation and working WITH youth\n2. Adultism (30) - Cathy\na. Discuss youth/adult chart\ni. Key points:\n1. Blur the lines of adulthood and childhood\n2. Expectations for youth in society to move to adulthood without much guidance around it, and are never trainer or taught how to be youth, only adults. Moved along into adulthood.\n3. Transition into adulthood is often pretty shoddy, job skills, taking on responsibility, often depend on family to take care of this (and essentially, passing down privilege or lack of)\n4. Tie in to Capitalism as the system of power (youth and old people are devalued because they do not work or are not seen as the ideal worker)\n5. This sets us up to think about adultism - how society devalues youth, how adults exert power over youth and devalue youth experiences\nb. Adultism Statements (Raise a hand / move forward, move back / stand up, sit down)\ni. The statements give a more concrete example of adultism\n1. When are you going to grow up?\n2. What do you know? You haven\u2019t experienced anything! / You\u2019re just a child.\n3. \u201cYou\u2019re so smart for your age\u201d / \u201cYou\u2019re so mature for your age!\u201d\n4. You are too old for that!\n5. You\u2019re not old enough.\n6. Oh, it\u2019s only puppy love\n7. Act your age\n8. Adults know best.\n9. It\u2019s just a stage. You\u2019ll outgrow it.\n10. You\u2019re being childish / You\u2019re behaving like children\n11. Youth these days have no sense of discipline.\n12. OMG you work with teenagers? I can\u2019t stand kids.\nc. Share personal experiences (Popcorn)\ni. Which statements resonated?\nii. What feelings did the statements bring up anything for you?\niii. How do your assumptions about youth manifest themselves? How does your adultism manifest itself when you think about working or actually work with youth\niv. Discuss in a big group\nd. Transition: One way to combat adultism is to guide youth through the developmental process in a way that encourages their engagement and investment in themselves, their community, their project, their peers. Some of that is your direct interaction with youth and being conscious of your attitude and prejudices. It\u2019s also important to build in structures for youth participation into your agendas, lesson plans, projects, programs.\n3. Activities - Building a Structure for youth participation (45 min) - Lauren\nSUMMARY: Write out the five kinds of youth participation on flip chart paper. We will break up the participants into groups by reading the scenarios and they will self-select their groups. The groups will brainstorm activities and structures (in general, things they can do) that apply to the five different kinds of youth participation, and write these on post-its. After time is up, post-its will be placed on the big flip charts, and participants do a museum walk. Clarify any confusion about activities, and facilitators will comment on how these activities may vary based on the context.\nb. Five Kinds of Youth Participation\nii. Decision Making\nc. Split up into groups (by scenario) (5 min)\ni. 4-6 people per group\nd. Group Brainstorm (15 min)\ni. Groups should brainstorm to think about how to structure their meeting/agenda/program/training to encourage youth participation and youth leadership (perhaps more over the long term). Use the five kinds of youth participation to guide your brainstorm. Write ideas separately on post-it notes.\nii. Discussion questions for your group (if you have time)\n1. How would this be different if you were working with a different age group?\n2. Different contexts? (school, youth program, group home, forced vs. voluntary participation)\ne. Museum Walk (10 min)\ni. Groups can put up their post-its on the corresponding flip charts. Everyone does a museum walk.\nf. Group Discussion - in a circle (15 min)\ni. Clarifying Questions\nii. Facilitators comment on how these activities are different based on context and participants.\n4. Closing (15 min) - Lauren and Cathy\na. Round Robin take away - What is one thing you are taking away?\nb. Additional handouts\ni. Ladder of youth participation\nii. 5 kinds of youth participation\nCall for Submissions\nDo you have any programs, events, trainings, or lessons you are planning for youth? Do you want the trainers network\u2019s help in brainstorming ideas? Send us a scenario or a challenge that you have related to working with youth! Please be sure to include contextual information, such as age group and an objective and/or summary of the group or situation.\nYouth Detention Groups Home - Lauren\nYou work for a group home in NE that houses 15 youth between the ages of 15-19 who have been court mandated to participate in the full-time live-in program at the home for their first 3 months upon release from juvenile detention. The home offers a wide range of programming including group counseling, mentoring, career skills, college prep, and extra-curricular activities. In hopes of decreasing the repeat-offender rate, the home has given the staff flexibility in creating/changing programming to meet the group\u2019s needs. Your job is to help engage the youth in a way that encourages them to become more invested in the programming and ultimately, their own futures.\nAfter School program for elementary students - Lauren\nYou have recently been hired to join a team of facilitators for a DCPS after school program for elementary-age students. The program runs 3 days a week from 3:15pm - 6:00pm. You\u2019ll be working with the arts program, which aims to improve reading and writing skills by teaching children through hip-hop (marketed as \u201cRap 101\u201d). At the end of each quarter, your group will have written a mini mixtape of original songs that will be performed at the quarterly all-school assembly - this is usually the highlight of the assembly and something the entire school looks forward to. Students enrolled in the after school program have the opportunity to pick between your program and several others that are happening at the same time. Although all of the students attending your program have chosen to be there, they have recently hired you to as an additional support staff to address some behavioral issues that have been interrupting the group\u2019s progress. The main challenge is students not following directions / not paying attention. What can you do to help get things back on track?\nTeen Moms \u2013 Organizing Childcare in their high school -\nYou work for an organization that hosts support groups and provides services for teen mothers and pregnant teens. As a facilitator of one of the support groups you have consistently heard from the participants that finding childcare is one of their largest challenges in staying in or returning to school. Your organization has started to think about organizing for childcare in local high schools, and they\u2019ve suggested that you form a youth / client advisory council that will help you in putting together this campaign. You are in charge of outreach and recruitment for the council and for working with the council to plan this potential campaign.\nLanguage Accessibility in middle schoolers -\nYou are a teacher in the English Language Learner program in a middle school. You have a class of 30 that you work with all day. You heard that a local campaign on language accessibility in schools is collecting video testimonials. It sounds like a great project for your students to learn about media and build their competencies in public speaking while sharing their experiences. How can you engage your students in the process of creating this video or videos?\nSchool Closing storytelling training\u2013\nYour group has been approached by a group of activists organizing against local school closings. They are seeking a speak out training and have asked you to design something to help these folks feel prepared to share their stories with the media to advance the larger campaign. The group is made of 25 people and a mix of teachers, high schoolers, and parents. The training is for 3 hours. One of the organizers had been planning on organizing childcare for the event, but one of the parents pointed out that younger children speaking out would be an effective tool for the campaign. In addition to the 25 high schoolers and adults, you now have four 3th-7th graders\nTeachers \u2013 planning a service project field trip - Cathy\nYou are a science teacher or teaching assistant at a local school. New to this year\u2019s curriculum is a requirement to teach students about an environmental issue that ties back to what students are learning in class, and have them conduct a service project related to that issue. You hope to find opportunities to integrate youth leadership and greater youth participation (and therefore investment) in the project.\n5 Types of Youth Participation & Descriptions", "id": "<urn:uuid:cf61fac9-8507-4166-aa0a-a9149198ff54>", "dump": "CC-MAIN-2017-17", "url": "http://washingtonpeacecenter.org/node/10921", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123102.83/warc/CC-MAIN-20170423031203-00447-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9441391229629517, "token_count": 1993, "score": 3.515625, "int_score": 4}
{"text": "For session specific topics, click on\u2026.\nFor general Common Core Writing Standards, continue reading\u2026\nBased on the initial assessment, each student in the workshop will be assigned to a Beginner, Intermediate or an Advanced level curriculum within a specified grade range.Grade range: Lower Elementary (Grades K, 1, and 2)Learn To Write Now will incorporate the National Common Core Standards for English Language Arts in its curriculum with a focus for instruction to help ensure that students gain adequate mastery of a range of skills and applications. In addition, every student will have the opportunity to work on creative writing projects through a personalized & exclusive curriculum to bring the true writer in each child.\n- The writers in this grade range are anywhere between the emergent to transitional stage( Refer: Stages in Writing Development) and are predominantly expressing their ideas through a combination of drawings and words with invented spellings.\n- All writers in this grade range are exposed to the writing process using 6+ 1 traits.\n- All writers will write on topics that interest them, while also learning to express their ideas to carefully selected prompts.\n- Proper pencil grip & good handwriting are reinforced.\n- Beginning grammar concepts are established.\n(Typically Kindergartners & Some 1st Graders)\nUsing a combination of drawing, dictating, and writing students will,\n- compose opinion pieces in which they tell a reader the topic or the name of the book they are writing about and state an opinion or preference about the topic or book (e.g., My favorite book is . . .)\n- compose informative/explanatory texts in which they name what they are writing about and supply some information about the topic.\n- narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened.\n- With guidance and support from adults, focus on a topic, respond to questions and suggestions from peers, and add details to strengthen writing as needed.\n- Participate in shared research and writing projects (e.g., explore a number of \u201chow-to\u201d books on a given topic and use them to write a sequence of instructions).\n- With guidance and support from adults, recall information from experiences or gather information from provided sources to answer a question.\n(Typically Grade 1 Students)\nIntermediate Writers will exhibit adequate mastery of all beginner level skills and in addition will,\n- Write opinion pieces in which they introduce the topic or name the book they are writing about, state an opinion, supply a reason for the opinion, and provide some sense of closure.\n- Write informative/explanatory texts in which they name a topic, supply some facts about the topic, and provide some sense of closure.\n- Write narratives in which they recount two or more appropriately sequenced events, include some details regarding what happened, use temporal words to signal event order, and provide some sense of closure.\n(Typically Grade 2 Students)\nAdvanced Writers will exhibit adequate mastery of all intermediate level skills and in addition will,\n- Write opinion pieces in which they introduce the topic or book they are writing about, state an opinion, supply reasons that support the opinion, use linking words (e.g., because, and, also) to connect opinion and reasons, and provide a concluding statement or section.\n- Write informative/explanatory texts in which they introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section.\n- Write narratives in which they recount a well-elaborated event or short sequence of events, include details to describe actions, thoughts, and feelings, use temporal words to signal event order, and provide a sense of closure.\n- Advanced writers in this grade range will also work on a variety of grammar and vocabulary concepts throughout the workshop.", "id": "<urn:uuid:446f15c9-da01-4946-8c9b-2c5fdbbc8665>", "dump": "CC-MAIN-2017-17", "url": "http://www.learntowritenow.com/classes/lower-elementary-curriculum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00386-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9368239045143127, "token_count": 785, "score": 3.953125, "int_score": 4}
{"text": "National Black HIV/AIDS Awareness Day\nThe Centers for Disease and Control Prevention (CDC) reports that African Americans are the group most affected by HIV/AIDS in the United States. Since 1999, NBHAAD has called on African Americans to set aside the stigma, fear and negative perceptions about HIV testing to find out their status. Socioeconomic issues contribute to high HIV rates in Black communities. According to the CDC, nearly half of HIV diagnoses in 2014 were among African Americans. The goal is to get people educated, involved, tested and treated.\nNational Women and Girls HIV/AIDS Awareness Day\nStarted by the federal Office on Women\u2019s Health (OWH), this day recognizes the impact of HIV/AIDS on women and girls. Even though HIV diagnoses among women fell 40 percent from 2005 to 2014, women need HIV-related information and more resources for those numbers to continue to drop. According to the CDC, in 2014, women made up\n19 percent of new U.S. HIV diagnoses. Females of all ages are encouraged to participate in awareness day walks, read up on need-to-know information and be inspired to take action.\nNational Native HIV/AIDS Awareness Day\nThis day honoring American Indians, Alaska Natives and Native Hawaiians is observed each year at the start of spring and is intended to empower these groups to get tested and bring HIV/AIDS awareness to their communities. The CDC reports that new HIV diagnoses among American Indians and Alaska Natives are proportional to their population sizes and that new HIV diagnoses among Native Hawaiians have declined. However, there is still much work to be done to lower HIV rates even further in these communities.\nNational Youth HIV & AIDS Awareness Day\nTo engage those under age 25 on the topic of HIV/AIDS, this awareness day was started in 2013. NYHAAD recognizes that as the first generation never to know a world without HIV, youth are important to ending the epidemic. According to the CDC, about 22 percent of new U.S. HIV diagnoses in 2014 were among 13- to 24-year-olds. For NYHAAD, youth are encouraged to tweet, host events, get tested for HIV and set up tables on school campuses to educate others.\nNational Transgender HIV Testing Day\nThe available\u2014though incomplete\u2014data about transgender people living with HIV/AIDS show that the virus disproportionately affects this community. Headed by The Center for Excellence in Transgender Health, this awareness day inspires transgender and gender nonbinary people to get tested. It focuses on learning about current and future options for prevention and treatment. NTHTD also encourages local testing events and campaigns promoting testing and awareness in the trans community. Use the hashtags #NTHTD and #TransHIV to share your plans.\nHIV Vaccine Awareness Day\nHVAD recognizes the thousands of volunteers, community members, health professionals and scientists working to create a safe, effective and affordable HIV vaccine. HVAD showcases the progress of the work so far, the importance of the research being conducted and how others can contribute. The goal is to one day have an AIDS-free generation both nationally and globally, which, with continued preventive and therapeutic vaccine research, is within our reach.\nNational Asian & Pacific Islander HIV/AIDS Awareness Day\nThe Banyan Tree Project founded this awareness day in 2005. Through education and storytelling, this national social marketing campaign has worked to create environments that are accepting of Asians and Pacific Islanders living with HIV/AIDS. It\u2019s estimated that nearly two thirds of Asians\nhave never been tested for HIV, due in part to stigma. Although the CDC reports that as of 2014, Asians accounted for only 2 percent of new HIV diagnoses and Pacific Islanders for less than 1 percent, new HIV diagnoses among Asians have been increasing.\nNational Hepatitis Testing Day\nAbout 850,000 Americans are living with hepatitis B virus (HBV) and 3.5 million with hepatitis C virus (HCV). This testing day is important to Americans living with HIV/AIDS because many of them also have hepatitis. The CDC reports that one quarter of people with HIV nationwide also have HCV and that people at risk for HIV are also at risk for HBV. The goals of this day are to provide support and resources for those with viral hepatitis, to increase awareness of HCV and HBV and to encourage testing.\nHIV Long-Term Survivors Day\nThis day honors all Americans who identify as long-term survivors of HIV. (June 5, 1981, marks the first official reporting of what would come to be known as the AIDS epidemic.) HLTSAD raises awareness about long-term survivors and makes sure they continue to be included in the ongoing HIV conversation. For those still alive who contracted the virus at the beginning of the epidemic, things have greatly changed. This day reminds them they are still important.\nNational Caribbean American HIV/AIDS Awareness Day\nHIV prevalence in the Carribbean is the second highest globally after sub-Saharan Africa. Founded in 2006, NCAHAAD brings HIV awareness to Caribbean Americans and Caribbean-born individuals in the United States through resources, education and testing. NCAHAAD is held annually during National Caribbean American Heritage Month. Local NCAHAAD events nationwide emphasize the importance of learning about prevention, testing and treatment.\nNational HIV Testing Day\nFounded by the former National Association of People with AIDS in 1995, NHTD is a call to people of all ages to know the facts about HIV. Getting tested allows people to know their status so they can learn how to stay negative or get treatment if they test positive to help prevent further spreading the virus. According to the CDC, one in eight people with HIV don\u2019t know they have the virus. Every year, up to 45,000 people become HIV positive, which is why NHTD is important. NHTD gives us all a chance to take control of our sexual health.\nNational Faith HIV/AIDS Awareness Day\nHIV/AIDS affects all faiths across the United States. Global health groups have called on religious leaders to capitalize on the trust of their followers and use their power to help end the epidemic. Religion can help heal those living with and affected by HIV/AIDS. This national day is being launched this year in an effort to raise awareness about the importance of HIV education, prevention, support and love within faith communities. The goal is to bring together Muslims, Christians, Jews, Buddhists, Hindus and members of other religions to fight HIV/AIDS.\nNational HIV/AIDS and Aging Awareness Day\nAccording to the CDC, people age 50 and older accounted for an estimated 17 percent of new U.S. HIV diagnoses in 2014. This age group has the same HIV risk factors as younger people but may be less aware of them. The AIDS Institute first observed NHAAAD in 2008. The AIDS Institute wants people to get involved by hosting free HIV screening events, encouraging HIV testing among older adults and hosting events at senior centers and nursing home facilities.\nNational Gay Men\u2019s HIV/AIDS Awareness Day\nHIV/AIDS continues to play a major role in the lives of gay and bisexual men. This is why the former National Association of People With AIDS established NGMHAAD. According to the CDC, nearly one in seven gay and bi men living with HIV are unaware they have it. The purpose of this national awareness day is to get individuals tested so that those who are positive can get on treatment, remain healthy and reduce the likelihood of transmitting the virus to their partners.\nNational Latinx AIDS Awareness Day\nThis awareness day is observed on the last day of Hispanic Heritage Month. While representing only about 17 percent of the U.S. population, Latinos made up almost one quarter of new HIV diagnoses nationwide in 2014, according to the CDC. The Latino Commission on AIDS and the Hispanic Federation spearhead NLAAD. The goal is to get Latinx (pronounced \u201cLa-teen-ex\u201d and used as a gender-neutral plural pronoun for Latinos/Latinas) people to join the fight to end the epidemic.\nWorld AIDS Day\nThe World Health Organization founded World AIDS Day with support from the United Nations. About 36.7 million people across the globe have HIV, according to UNAIDS. Every December 1, the world comes together to continue the fight against HIV, show support for those living with the virus and to remember those lost to it. Community organizations, health advocates, governments and others coordinate related events worldwide.\nClick here to download a PDF.", "id": "<urn:uuid:b302dc21-22d0-4f5f-808a-cb267f451edd>", "dump": "CC-MAIN-2017-17", "url": "https://www.poz.com/article/2017-hivaids-awareness-days", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123046.75/warc/CC-MAIN-20170423031203-00386-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9482235312461853, "token_count": 1737, "score": 3.765625, "int_score": 4}
{"text": "Do you want your child to grow up to be a good moral citizen? If the answer is a resounding yes, you have come to the right place. Reading bedtime stories, with well defined morals has proved to increase the moral values of a child.\nNo matter how busy you are balancing your work and home, bonding and interacting with your baby is vitally essential. Storytelling helps you achieve this bond with your newborn.\nReading not only a way to put her to sleep, but it is also to enhance her creativity from a very early age. Let\u2019s know more about the benefits of reading out bedtime story for babies.\nWhy Should You Tell Stories to Your Little One?\nStories take kids to an imaginary world, where the fun seems to be never ending. Doctors suggest that you start reading bedtime stories for baby from the very early age to help her imagine.\n- Dr Fernald of Stanford University in California says that reading to babies helps babies to process words very fast.\n- He also says, \u201cBy reading to y\n[ Read: Benefits Of Reading To Your Baby ]\nBenefits of Reading Bedtime Stories For Babies:\nBedtime stories are a great way to improve interaction between you and your baby. She will love staring at the colorful pictures and have real good time listening to the fairy tales. Here are numerous other benefits when you take the time to read out a story every night to your darling baby!\n1. Reading helps development of your baby\u2019s oral communication skills, listening abilities and language recognition skills. It is a good way to strengthen her vocabulary and different sentence structures from a very early age.\n2. Books with colorful illustrations are a good way to influence socio-economic development of your baby. Illustrations and stories go hand in hand and your baby can develop ideas about different toys, animals, birds and so on.\n3. Stories with small details such as difference in colour, shape and size shall help her distinguish between the different available options.\n4. Long before your baby has actually started speaking, she is absorbing information about language by listening to the stories you read. This will certainly come into help when your child starts her education.\n5. Moral stories speak about proper behaviour and basic manners. Reading these stories loud will help her learn the values and use them all through her life.\n6. Babies, who are around a year old, can develop their problem solving skills listening to bedtime stories. She can simply follow a character and take cues from her actions.\n7. You as a parent can pick up stories that relate with her current stage in life. The stories can be on how a boy finds his lost toy or how a girl learned using the potty.\n8. Babies around 10 months can learn to turn pages and listen to new words. As she continues to grow she learns the art of reading from left to the right.\n9. With time and age your baby shall learn to communicate through body language, verbal methods, listening and written words just like you. You will find her advancing and using new words to think, feel and express what she feels.\n10. Engaging your baby in bedtime stories is a great way to help her get comfortable with the reading habit. This is indeed a very beneficial and a healthy habit. You can improve her attention spans by reading bedtime stories to her every night.\n11. It is a good way to relax her mind and body before going to bed. Even she had a fight with another sibling or got a scolding for you for doing something wrong, reading will help her get involved in a completely different world and relieve her from all anxieties of the real world.\n12. As your baby grows, she may start looking up to some people and draw inspiration from them. This can be a very effective way of improving her personality and knowledge.\nHope you liked these benefits of reading best bedtime stories for babies. Reading and talking to babies should be considered as seriously as feeding them, as per psychologist Anne Fernald. As it is never very early to start, introduce your baby to the world of reading. So what are you waiting for, take your baby and visit your local library or bookstore!\n- 6 Creative Sensory Activities For Infants\n- 3 Learning Activities For Your 1 Month Old Baby\n- 6 Important Bedtime Routines For Your Baby", "id": "<urn:uuid:6e8fec4e-d853-495d-ac98-82a831ffe707>", "dump": "CC-MAIN-2017-17", "url": "http://coolmom.info/en/pages/604869", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118519.29/warc/CC-MAIN-20170423031158-00090-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.955513596534729, "token_count": 899, "score": 3.5, "int_score": 4}
{"text": "Our voices are loudest closer to home\nLetters to the Next President 2.0 asked students to share their views on an issue that mattered to them during the 2016 election.\nBut students don\u2019t need a presidential election to make their voices heard. The L2P2.0 model can be used to reach out to any elected official at any level of government at any time. Use this local election toolkit to get started.\nStep #1: Visit the Letters to the Next President 2.0 archive\nExplore the 2016 letter archive to see how students addressed topics that mattered to them. Letters are searchable by topic, state, or letter format, which includes video and audio. Students across the country reported how inspiring it was for them to see what their peers in different regions were thinking.\nStep #2: Identify an issue that matters\nWriting about a specific issue gives students choice and voice. Deciding on an issue to focus on may depend on a student\u2019s personal history, what\u2019s happening in the news, or connections to relevant classroom curriculum. We recommend students have as much freedom as possible to select an issue they care about. Here are some resources to start a conversation and investigate the issues:\nKQED\u2019s In the Classroom: Developing and Discussing Diverse Political Views in the Classroom: Written by an educator in Texas, this blog post discusses the value of tackling political topics with students and strategies for making it work in a classroom of diverse opinions.\nNew York Times Learning Network: 10 Ways to Encourage Civil Classroom Conversation On Difficult Issues: Helpful tips about discussing controversial topics in classrooms. Packed with resources on how to structure discussions and links to other organizations tackling civic issues.\nFacing History and Ourselves: Choosing to Participate: This curriculum explores the question How can I make a difference in the world? Readings, videos and stand-alone lessons help students wrestle with relevant civic choices. This resource is also available in Spanish.\nWe the Voters: Run Rep Run: This short film profiles state Rep. Juana Matias, a 29-year-old resident of Lawrence, MA, during her campaign. Matias, who speaks passionately about her decision to run for office, is now Massachusetts\u2019s first Latina state representative.\nKQED Learning: Students Share Personal Stories about Election Issues: Examples from youth writers about sharing their thoughts about issues that matter to them.\nKQED\u2019s The Lowdown: A resource to bring the newsroom to the classroom with articles, videos, interactive graphics and lesson plans. Frequent updates and an easily searchable archive make this a resource for students as well as educators.\nKQED\u2019s Do Now: Students connect weekly to answer a question on a relevant issue with other young people around the country using social media tools.\nGeneration Citizen: Beyond the Ballot lesson plans and youth civic action toolkit encourages conversation and action around issues both in and out of the classroom.\nNational Action Civics Toolbox: Pages of resources focused on engaging students in civic issues and opportunities\nPBS\u2019s Point Taken: This debate show can be used to examine civil debate, analyze how speakers craft an argument or simply to explore timely issues. It\u2019s geared for a general audience, so a few topics may not be classroom-friendly.\nStep #3: Create a letter\nA letter can be text, video, or audio. It can feature images, infographics, charts, graphs and personal stories. These resources are designed to help you and your students create a letter that will best reach its intended audience and communicate the writer\u2019s views most effectively.\nCollege Ready Writing Project: Finding a Topic Mini-Unit:This unit invites students to choose a topic and think about their audience when constructing an argument. The link also includes a full unit on writing and sourcing letters.\nIt\u2019s Elementary: Writing Letters to the President (and others!) in the primary grades: A bundle of resources about how to write class letters or organize around a social issue in primary classrooms.\nKQED Teach: Online courses for educators to build skills in video storytelling, podcasting, infographics and other multimedia tools.\nKQED Learning: How to Make Your Own Political Art: Political art can accompany a text letter or stand alone as the letter. This resource helps guide students to express their views visually.\nYouth Radio: How to Write a Commentary: Three activities explore the basics behind crafting commentary around a specific issue.\nKQED Learning: Spoken Word Letters: Spoken word is a powerful tool of self-expression. Get started with this resource and videos.\nStep #4: Get your letter to right person\nOur voices are loudest the closer we are to home. Reaching out to local representatives is likely to get a faster and more meaningful response. Whether students email multimedia letters or send text letters through the mail, we recommend teachers contact the elected official\u2019s office in advance to let them know who is writing and how many letters to expect.", "id": "<urn:uuid:584fa357-1821-4edb-9155-ce1a0675bf53>", "dump": "CC-MAIN-2017-17", "url": "http://ww2.kqed.org/learning/2017/02/07/local-election-toolkit/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121153.91/warc/CC-MAIN-20170423031201-00092-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9257645010948181, "token_count": 1047, "score": 3.640625, "int_score": 4}
{"text": "Reconciliation is an essential process for conflict transformation. It is about building relationships, with the focus on emotional and psychological aspects of conflict.\nReconciliation encompasses different challenges, such as the notion of truth, mercy and justice. And seeking truth about the past can generate tensions. In the case of Northern Ireland, the narrative can be different (or perceived as such), depending upon the community affected.\nProjects or actions encouraging the truth about the past can thus be difficult to realise, since different communities will struggle to agree a shared narrative.\nReconciliation is a complex process involving healing as well as encouraging peace and opportunities for all, while also implementing mechanisms for justice.\nA reconciliation process has to address controversial and sensitive issues that would not be seen as such in other more settled societies. For example, the notion of victim and perpetrator is more challenging, since a perpetrator can \u2014 in the context of a deeply divided society \u2014 also be a victim.\nLaura Fowler Graham explains this, along with the contentious notion of innocence.\nThis lack of agreement on basic notions makes the pursuit of justice more difficult.\nReconciliation is connected with a bigger and necessary project: dealing with the past. Yet this issue has been left aside in the politics of Northern Ireland. Though it is worth bearing in mind that the end of violence conflict is recent, and it can be very difficult to deal with a past that is very present for many Northern Irish people.\nThe Good Friday/Belfast Agreement in 1998 can be seen as an historical step. But the idea of dealing with the past is absent from it, mostly in order to ease the negotiations that were already complicated enough.\nProfessor Kieran McEvoy (School of Law, Queen\u2019s University Belfast), at a conference in early 2014 hosted by the Commission for Victims and Survivors, explained that as a result, the issue of dealing with the past has been done so in a piecemeal approach. He identified three significant attempts to date:\n- Healing through Remembering (2006)\n- Consultative Group on the Past (2009)\n- Haass-O\u2019Sullivan negotiations (2013)\nHealing through Remembering\nThe Healing through Remembering project was inspired by the visits of Dr Alex Boraine, of the South African Truth and Reconciliation Commission, in February 1999 and March 2000. He met groups and individuals in Northern Ireland, and tried to identify any bearing they may have on the conflict. In parallel, a small group was formed, and it produced a report, \u201cAll Truth is Bitter\u201d. A consensus emerged from this report: the need for parameters within which the people of Northern Ireland would have an opportunity to establish a mechanism to identify their own truth, a common narrative.\nThe Healing through Remembering report was launched in June 2002, with six recommendations:\n- network of commemoration and remembering projects\n- Day of Reconciliation\n- collective storytelling and archiving process\n- permanent living memorial museum\n- Healing through Remembering initiative\nThis led to the establishment of five sub-groups, which published several reports in 2006 and 2007. An important one is \u201cMaking Peace with the Past: Options for Truth Recovery Regarding the Conflict in and about Northern Ireland\u201d, produced by the Truth Recovery and Acknowledgement sub-group.\nConsultative Group on the Past\nThe second major attempt was the Consultative Group on the Past. This independent group was established in 2006, in order to seek views across the community in Northern Ireland on the best way to deal with the legacy of the past. Their final report contained 31 recommendations.\nIn September 2007, the Consultative Group invited individuals and groups affected by the conflict (in Great Britain and in the Republic of Ireland, in addition to within Northern Ireland), to share their views on the legacy of the previous 40 years, to learn lessons and identify some actions that might be useful to support Northern Ireland society in building a shared future.\nFive working principles emerged from the consultation:\n- dealing with the past is a process and not an event\n- sensitivity towards victims and survivors is essential\n- recommendations should be human rights compliant\n- relationships matter and are the foundation for reconciliation\n- consensual agreement is the ideal\nThe resulting document, the Eames-Bradley Report, was published in January 2009. The recommendations were divided into various sub-topics. The topic, \u201cThe legacy of the past and reconciliation\u201d, had within its recommendations the establishment of an independent Legacy Commission, combining processes of reconciliation, justice and information recovery. Also, the proposed creation of a Reconciliation Forum would be a way to liaise with the Legacy Commission and the Commission for Victims and Survivors for Northern Ireland (CVSNI).\nOther issues such as \u201cvictims and survivors\u201d, \u201cprocesses of justice and information recovery\u201d, and \u201cremembering\u201d were discussed. Some recommendations were challenging for the general public. A particularly controversial recommendation was the proposal of a one-off ex-gratia recognition payment of \u00a312,000 for the nearest relative of someone who died as a result of the conflict in and about Northern Ireland, from January 1966.\nProf. McEvoy described the Haass-O\u2019Sullivan negotiations as an attempt by politicians to take responsibility for dealing with the past. He considers this a positive step, since it acknowledges that a collective action is needed across the political spectrum. There is a consensus to act. The idea was therefore to have a five-party agreement. But the agreement was not accepted by all parties, as hoped for.\nThese negotiations actually originated with a strategy in May 2013, named \u201cTogether: Building a United Community\u201d, which called for the formation of a panel of parties in the Northern Ireland Executive, to deal with issues of parades, flags and emblems, and dealing with the past.\nThe Office of the First Minister and deputy First Minister invited Richard Haass and Meghan O\u2019Sullivan to serve as chair and vice-chair of this panel. Working over six months, they met up and organised broad consultations with the five biggest political parties, and invited submissions from interested individuals and groups.\nThe main approach was to build on the previous agreements, such as the 1998 Good Friday/Belfast Agreement, by dealing with the issues ignored so far. One of the strong outcomes of the negotiations was a consensus of the need to deal with the past, as well as to deal with present contentious issues that divide Northern Ireland. The following set of institutions for this work were proposed:\n- Historical Investigations Unit\n- Independent Commission for Information Retrieval\n- Implementation and Reconciliation Group\nThe shortcomings of the Haass-O\u2019Sullivan negotiations illustrate what still needs to be addressed. For instance, Brian Rowan (security correspondent for BBC Northern Ireland) argues that Northern Ireland society is not ready for a truth process, because \u201c(a) we don\u2019t know what truth means, and (b) what will a truth process deliver?\u201d\nAt least the necessary discussion about the past in Northern Ireland has opened up. This itself is a positive step.\nBut while \u201cthe war of narratives has replaced the war of weapons\u201d, as the 2014 Northern Ireland Peace Monitoring Report puts it, there is peace without reconciliation.\nThe contest of narratives could be seen as a struggle to tear apart a tapestry of complex weaving. Perhaps if there was an appreciation that there will be no reconciliation until everyone accepts the cloth at hand (versus one we idealise it to be), then more constructive work could be more readily realised.\nResearch by Emilie Graziani for Northern Ireland Foundation.", "id": "<urn:uuid:3ce7cb4e-20d0-4954-b555-ba72b4f39034>", "dump": "CC-MAIN-2017-17", "url": "https://northernireland.foundation/sharedfuture/research/reconciliation/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119361.6/warc/CC-MAIN-20170423031159-00033-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9612318277359009, "token_count": 1579, "score": 3.640625, "int_score": 4}
{"text": "Much of the time and money devoted to testing is misspent.\n. . . Test scores provide little useful information to help improve instruction\nand students' learning. In pursuit of higher test scores, the curriculum\nhas been narrowed and \"dumbed-down\" to match the tests. Children\nEvery year, America's public schools administer more than 100 million\nstandardized exams. These include readiness tests, to determine if a child\nis ready for the kindergarten program offered by the school; screening\ntests, to determine if a child will be labeled as learning disabled or,\nat the other extreme, as gifted and talented; intelligence tests, which\nare widely but erroneously thought to measure intellectual ability; and\nachievement tests, which measure a much narrower range of skills and content\nthan what we really want students to learn. Because of these and other\nconcerns about standardized tests, educators have been developing alternative\nmethods of assessment-methods and measures that more accurately reflect\nthe curriculum and what parents and the public want children to learn,\nknow, and be able to do.\nConcerns about standardized tests\nThe following is only a partial list of concerns that have been raised\nabout standardized tests. While such concerns and criticisms apply particularly\nto multiple-choice tests, many of these observations apply to other large-scale\ntests as well:\nThe primary purpose of many such tests is to rank-order students, their\nteachers, and their schools: that is, to guarantee that some will be labeled\nas successes and others as failures, with the vast majority considered\nmediocre. This is the main function of norm-referenced tests. When\nthe distribution of test scores no longer resembles the bell curve, the\ntests are renormed-typically about every seven years. Criterion-referenced\ntests are also used to sort and label students, though they are not particularly\ndesigned to do so.\nStandardized tests (especially the multiple-choice variety) give a\nfalse impression of objectivity and consequently of equal opportunity and\nfairness. However, \"the only objective part of standardized tests\nis the scoring, which is done by machine. What items to include on the\ntest, the wording and content of the items, what will count as correct\nanswers, how the test is administered, and the uses of the results are\nall decisions made by subjective human beings\" (FairTest, K-12\nTesting Fact Sheet).\nStandardized tests are biased in favor of those whose culture and upbringing\nmost closely resemble that of the test makers-typically, white middle-class\nmales who live in metropolitan areas. Or in other words, such tests are\ntypically biased against females, children of color, children from lower\nsocio-economic backgrounds, and children who live in rural areas. Efforts\nto eliminate such bias have only partially succeeded. Indeed, the very\nnature of such tests is biased in favor of middle-class students.\nStandardized tests tend to narrow the curriculum to what will be tested.\nBecause teachers are pressured by the demand to produce higher test scores,\nthey often spend a lot of time having students practice items like those\nthat will be on the tests. Indeed, the tests not only determine all too\nmuch of the curriculum but may virtually become the curriculum. Such heavy\nemphasis on testing crowds other, more important learning activities out\nof the curriculum. Thus, standardized tests tend to discourage effective\nteaching and engaged, meaningful learning.\nFor many young children, standardized tests result in \"death at\nan early age\" (Jonathan Kozol's book title)-or at least to a life\nsentence doing remedial practice and drill in special classes or lower\n\"ability\" groups or tracks. That is, scores on such tests result\nin many children's being given an inferior education that virtually ensures\nthat they will not learn what their more advantaged peers will learn. Because\nso-called readiness tests are used to assign children to different classes\nand \"ability\" groups, they and other screening tests condemn\nmany children to relative failure from the primary years onward.\nStandardized tests tend to focus attention on what students do not\nknow and cannot do, in situations unlike daily life. At the same time,\nthey do not tell us what we really need to know in order to foster individual\nAlternative methods and means of assessment\nTwo authentic and widely accepted alternatives to standardized tests\nare known as \"performance assessment\" and \"portfolio assessment.\"\nPerformance assessment looks at actual student work produced over time,\nand-potentially, at least-at the processes by which the students produce\nsuch work, both individually and collaboratively. \"Portfolio assessment\"\nis similar. The term seems to imply that students' work will be collected\nin an actual portfolio, though in fact other containers may be more practical\nand, furthermore, the essence of portfolio assessment lies not in the container\nbut in the concept. Like performance assessment, portfolio assessment focuses\non students' products and processes of learning, but also on their growth\nin other areas, such as their interest in reading and writing, their concept\nof themselves as readers and writers, and their ability to evaluate their\nown work and set goals for themselves as learners. In reading, for example,\nauthentic assessment might include many of the following kinds of information\nTape-recorded samples of students' oral reading, analyzed to determine\nwhat strategies the reader uses effectively and what strategies (if any)\nthe teacher might help the reader develop.\nTape-recorded samples of a retelling and discussion of some selection(s)\nthey have read, with analysis of the reader's strengths in retelling and\ndiscussing, plus recommendations for instruction.\nTape-recordings of students describing their thinking process as they\nread both fiction and non-fiction texts, along with the teacher's analysis\nand recommendations for instruction.\nNotes on individual conferences with the reader, including particularly\nconferences in which the teacher has focused on teaching a reading strategy\nor developing a particular reading skill.\nResults of interviews undertaken to determine students' understanding\nof reading; the strategies they are aware of using to deal with problem\nwords and problems in comprehending texts; their evaluation of themselves\nas readers and their willingness to read independently; and their goals\nfor themselves as readers.\nRecords of students' reading interests and lists of what they have\nbeen reading during the year.\nStudents' responses to what they are reading: responses through art\nand drama and literature discussions, for example, and responses written\nin what are often called literature logs or reading journals. Recorded\nobservations of literature discussions and students' written responses\nare particularly helpful in assessing change and growth in many of the\nabove areas, as well as growth in understanding literary elements and appreciating\nand critiquing literature.\nTo generalize: authentic assessment is derived from what students are\ndoing daily in the classroom. At a minimum, it includes samples of students'\nwork, recorded observations of their learning processes, and students'\nevaluation of their own processes and products, along with teacher evaluation.\nWhile authentic assessment information can be summarized numerically for\ngrading, its primary benefit is that it improves teaching and learning.\nSee the guidelines developed by the International Reading Association and\nthe National Council of Teachers of English (1994).\nREFERENCES AND RESOURCES\nFairTest. (n.d.). K-12 testing: Fact sheet. Based\non FairTest's comprehensive study, Fallout from the testing explosion,\nby N. Medina and M. Neill. See also Implementing performance assessments\nand other FairTest publications. Write or call the National Center for\nFair and Open Testing, 342 Broadway, Cambridge, MA 02139, (617) 864-4810.\nIRA/NCTE Joint Task Force on Assessment. (1994). Standards\nfor the assessment of reading and writing. Newark, DE: International\nReading Association, and Urbana, IL: National Council of Teachers of English.\nNational Commission on Testing and Public Policy. (1990).\nFrom gatekeeper to gateway: Transforming testing in America. Chestnut\nHill, MA: Boston College.", "id": "<urn:uuid:ca22b1b7-22ad-41d6-9bab-25f8e8da121d>", "dump": "CC-MAIN-2017-17", "url": "http://homepage.eircom.net/~seaghan/articles/10.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123046.75/warc/CC-MAIN-20170423031203-00389-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.939111053943634, "token_count": 1714, "score": 3.53125, "int_score": 4}
{"text": "- \"Mainstays among the Massassi infantry even today, the warbirds are used as mounted assault avians that can carry a rider into battle and rip apart enemy soldiers with their beaks.\"\n- \u2015Sorzus Syn\nThe Sith warbird was a species of flightless bird from the planet Khar Delba that was commonly used as an artillery mount by the Sith, a Force-sensitive species from the world Korriban. By the time of the arrival of Dark Jedi Exiles on the planet Korriban around 6900 BBY, warbirds were a mainstay of the Massassi infantry of the Sith Empire, and the birds were later used by the Sith Empire of the fallen Jedi Exar Kun during the Great Sith War. Sith warbirds were notorious for their bad temper, and they typically used their large size to ram and trample down their prey.\nBiology and appearanceEdit\nSith warbirds were large, flightless birds from the icy planet Khar Delba. When fully grown, they stood at approximately six meters in height from ground to top of the head, and ten meters long from head to tail. In place of wings, warbirds had two short dual-clawed arms, and the birds also sported two legs and a large, blunt beak, which was used for devouring prey. Their feathers ranged from yellow to yellowish-green in color, and they had two eyes, with iris colors ranging from black to blue. The creatures also had extremely thick hides, which allowed hooks and spikes to be embedded into the sides of domesticated warbirds without causing the creatures to come to harm.\nSith warbirds were predators and were notorious for their bad tempered nature, attacking anything that they saw as a threat. Though lacking in power, warbirds could move with great speed and maneuverability; they typically used their large size to ram and trample their prey, and they were also known to use their large beaks to gore their enemies.\n- \"During the same war that birthed the silooth, the Sith introduced the warbird and the war behemoth.\"\n- \u2015Sorzus Syn\nWarbirds originated on the planet Khar Delba in the Stygian Caldera, where they inhabited the world's frozen mountains. Khar Delba lay within the bounds of the Sith Empire, a civilization established by the Force-sensitive Sith species, and, during the early history of the Empire, the birds were discovered and subsequently domesticated by the Sith.\nIn the midst of an ancient conflict in which the Empire became embroiled, the domesticated warbirds were pressed into military service to be used as artillery mounts, as was common practice for tamed animals within the Empire at the time. By the time of the arrival of Dark Jedi Exiles on Korriban around 6900 BBY following their banishment from the Galactic Republic, warbird mounts were mainstays of the Massassi infantry forces employed by the Sith, and the Dark Jedi alchemist Sorzus Syn mentioned the creatures in a chronicle of her encounters with the Sith.\nSith warbirds in the galaxyEdit\nSith warbirds saw common usage among the military forces of the Sith Empire as battle mounts, and when employed for combat purposes, the birds were fitted to carry battle harnesses, which contained a cockpit to house the rider and a mounted blaster cannon supported by a fusion generator. The Sith used the birds as mobile platforms that were deployed in front of infantry columns to weaken enemy ground-based troops. During the Great Sith War, the creatures were also commonly used for scouting and reconnaissance assignments because, as living creatures, they were less likely to be spotted by enemy detection devices.\nAfter the end of the Great Sith War, Sith warbirds continued to be found throughout the galaxy, with survivors of the conflict breeding on worlds where battles had been fought by the Sith. These wild-once-more warbirds were prone to terrorizing local forms of wildlife that posed little threat to them.\nBehind the scenesEdit\nThe Sith warbirds were created by Michael Mikaelian and were first mentioned in The Sith Compendium, an article that appeared in the 2001 Wizards of the Coast magazine Star Wars Gamer 5. The warbirds later received a further mention in the 2004 roleplaying sourcebook Ultimate Adversaries, which became the first source to provide a visual depiction of the creatures, in an image by the artist Matt Hatton. Subsequently, the birds received an entry in the 2008 compendium The Complete Star Wars Encyclopedia, and were referenced within the Jedi Academy Training Manual of 2009 and the 2012 reference book Book of Sith: Secrets from the Dark Side, both of which expanded upon the history and usage of the birds among the Sith.\n- The Sith Compendium\"\u2014Star Wars Gamer 5 (First mentioned) \"\n- Ultimate Adversaries (First pictured)\n- The Complete Star Wars Encyclopedia\n- Jedi Academy Training Manual\n- Book of Sith: Secrets from the Dark Side\nNotes and referencesEdit\n- \u2191 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 The Sith Compendium\"\u2014Star Wars Gamer 5 \"\n- \u2191 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 Jedi Academy Training Manual\n- \u2191 3.0 3.1 3.2 3.3 3.4 3.5 Ultimate Adversaries\n- \u2191 4.0 4.1 4.2 4.3 4.4 4.5 4.6 Book of Sith: Secrets from the Dark Side\n- \u2191 5.0 5.1 5.2 5.3 The Complete Star Wars Encyclopedia, Vol. III, p. 156 (\"Sith warbird\")\n- \u2191 6.0 6.1 The Essential Atlas\n- \u2191 7.0 7.1 7.2 The New Essential Chronology", "id": "<urn:uuid:40ea7ce6-7bdb-4bfb-90ef-f3034317e740>", "dump": "CC-MAIN-2017-17", "url": "http://starwars.wikia.com/wiki/Sith_warbird", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00505-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9630642533302307, "token_count": 1218, "score": 3.671875, "int_score": 4}
{"text": "J.R.R. Tolkien\u2019s tales of Middle-earth are hailed as founding texts of modern fantasy. But his recently published commentary on the Old English poem Beowulf suggests that Tolkien saw his creative writing as a work of historical reconstruction. The Silmarillion, The Hobbit, and The Lord of the Rings were conceived as the original stories behind an ancient but long lost English mythology.\nAn Oxford scholar, Tolkien was fascinated by the origins of the English, their culture and history in the days before their migration to the British Isles. Focusing especially on the Angles, Tolkien followed the Edwardian scholar H.M. Chadwick in identifying the island of Zealand (now the largest island of Denmark) as the ancient center of English life. Both Chadwick and Tolkien believed that Zealand was once the site of the cult of Nerthus, the fertility goddess connected with the Angles by the first-century Roman historian Tacitus.\nIn his authoritative study of The Origin of the English Nation (1907), Chadwick had identified two key features of ancient English traditions. Firstly, he argued, the goddess Nerthus was said to take a mortal husband. Secondly, this husband was identified with the mysterious figure of Ing, who came to be regarded as the founding father of the northern tribes and the first great king of the North. Chadwick argued that Scyld Scefing, the \u201cgood king\u201d praised in the opening lines of Beowulf, was just another name for Ing.\nAs his commentary on Beowulf makes clear, Tolkien thought that Chadwick had bought into age-old Danish propaganda. Tolkien saw the story of the English settlement of the British Isles as beginning with Danish military expansion in Baltic waters. Conquering Zealand, and pushing the English into their westward migration, the Danes had claimed the ancient English sanctuary of Nerthus and its associated traditions for themselves. Eventually, even the English had come to accept this \u2018Danification\u2019 of ancient English traditions, as illustrated by the praise of the Danish king Scyld Scefing in Beowulf. Tolkien was determined to discover the original English story that lay behind the later, distorted tales of Ing, the first great king of the North.\nA key element in the traditions about Scyld Scefing and Ing is his mysterious arrival on a boat from over the western ocean. In \u2018King Sheave\u2019, composed in the 1930s, Tolkien envisaged this figure of ancient English myth reaching the Atlantic shore after escaping the destruction of N\u00famenor \u2013 the imaginary island realm at the center of Tolkien\u2019s conception of the \u2018Second Age\u2019 of Middle-earth. As he worked on The Lord of the Rings in later years, Tolkien worked up this idea of Ing into the figure of Elendil, the king who came from over the sea to found the realms of Arnor and Gondor, the father of Isildur and ancestor of Aragorn.\nAragorn was at the center of Tolkien\u2019s reworking of Chadwick\u2019s interpretations of the ancient mythology of the English. The descendant of Elendil, the founder of the royal house of Middle-earth, Aragorn is associated with the tradition of Ing, the king of the North. But in marrying the Elf-maid Arwen, Aragorn is also connected to the tradition of Ing the mortal husband of an immortal bride. In Tolkien\u2019s version, of course, Ing weds an immortal elf rather than a divine goddess, the implicit suggestion being that Chadwick (or perhaps the ancient English in telling these stories) had confused an Elf with a goddess.\nAt the kernel of The Lord of the Rings is thus a conception of the original stories behind those later (but still ancient) English traditions investigated by scholars such as Chadwick \u2013 and Tolkien himself.\nHow did the English come to forget their ancient stories? For four hundred years after their settlement of Britain the English had retained their pagan traditions, passing on the stories and songs of their Baltic homeland even as they built a new life amidst the ruins of another civilization. But when King Alfred turned their attention toward Church learning and the study of Latin authors, the English began to forget their own oral traditions. Today Alfred is the only king they remember as \u2018great\u2019.\nYet Tolkien was convinced that the stories and songs of an oral culture shape the language in which they are told. As such, he regarded the ancient stories of the English as bound up in the linguistic identity of modern English speakers. If the stories had been forgotten an underlying affinity for the traditions remained. Tolkien would not have been altogether surprised at the extent to which the English today have embraced his retelling of their ancient stories.", "id": "<urn:uuid:fb94bf03-59a0-4684-83f2-4f523a038c73>", "dump": "CC-MAIN-2017-17", "url": "http://www.thehistoryvault.co.uk/tolkiens-english-mythology/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121153.91/warc/CC-MAIN-20170423031201-00093-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.971437394618988, "token_count": 967, "score": 3.671875, "int_score": 4}
{"text": "Roy Rogers kicked off yesterday\u2019s 4-day roundtable with a review of the graphic novel, Rebel. For day two of our roundtable on graphic novels and history, I will discuss the use of graphic novels in teaching traumatic histories.\nAs anyone who has taught the history of slavery knows, it can be challenging. It is an important, but also emotionally loaded subject that can provoke spirited responses from students. Some students are resistant to discussing what they view as an ugly event in the past. Others may become defensive. And, for others, the history of slavery may be personal. The challenge becomes presenting the history in a thoughtful way that will engage students, but does not whitewashing history. Other traumatic events\u2014genocide, war, etc.\u2014can present similar pedagogical challenges.\nOn the surface, graphic novels may seem like an odd choice for teaching a more sensitive historical topic. Those who are familiar with the work of Art Spiegelman may know his 2-volume graphic novel Maus, in which he uses anthropomorphic characters to narrate his parents\u2019 experience during the Holocaust. The graphic novel is, in many ways, Spiegelman\u2019s own deeply personal effort to come to terms with a traumatic family past. Although rendering the Holocaust in cartoon form was not without controversy, few would disagree that Spiegelman succeeded in engaging an audience that might not have otherwise picked up a book about the Holocaust. Spiegelman\u2019s narrative art became a sort of public history in its own right.\nI have taught Maus in a couple of contexts: a Race and Ethnicity course geared towards survey students and a World War Two seminar. In the first instance, my goal was to get students thinking about not only genocide and ethnic cleansing, but also the meaning of being Jewish in post-war America. The graphic novel was paired with other materials, including propaganda posters and clips of the documentary, Kitty, Return to Auschwitz. More than mere infotainment, the personal nature of the narrative made an emotionally challenging topic more accessible to students who are often uncomfortable confronting historical traumas, and opened them up to broader discussions about the meaning of ethnicity in modern America. Many students were initially skeptical at being told to read a comic book, but found themselves engaged in thoughtful discussion not only about genocide, but also about the meaning of ethnicity in modern America. The graphic novel helped make what seemed like distant past seem more tangible and real.\nThe narrative style of graphic novels can also make them useful tools in teaching about slavery, in a couple of different contexts. As historian James Oliver Horton notes in his article on slavery and public history, those who teach about slavery in public settings are \u201casked to educate a public generally unprepared and often reluctant to deal with a history which, at times, can seem very personal.\u201d The popular Twitter account Af-Am History Fail demonstrates in practice, just how difficult teaching slavery can be.\nKyle Baker\u2019s recent treatment of the 1831 Nat Turner revolt offers wonderful pedagogical opportunities. What makes this graphic novel so powerful in a lot of ways, is that the drawings are rendered in black and white, and there is little-t0-no text. The reader is left to process the event through pictures. Baker is masterful in his use of imagery, space and positioning to subtly convey ideas. His model for Nat Turner comes from a satirical Independence Day cartoon he published, depicting a hungry slave child peering in at Thomas Jefferson, as he writes the Declaration of Independence. The window, as Andrew Kunka observes, serves as comment on the accuracy of historical record. The images are treated as equal to, or greater than text. In the hands of someone like Baker, the images can convey layered and multiple meanings. Almost wordlessly, he weaves into the narrative of a slave revolt, the trauma and violence of slavery.\nGraphic novels like Nat Turner can be used in both surveys and public history courses to get students to think about historical representation and memory without necessarily delving into a complicated historiography that may not be suitable for all levels of students. It can also help students to look at a traumatic history that is presented powerful way, that can help open them up to further exploration of the topic. If I were teaching Nat Turner in the context of a public history course, I would probably pair it with the Af Am History Fail Feed, and an article or two, or chapter on public history and slavery. In a survey course, I would likely pair it with some primary sources, such as Frederick Douglass\u2019s 4th of July speech, and excerpts from Nat Turner\u2019s Confessions, and from David Walker\u2019s Appeal, the text said to have inspired Turner. All have potential for lessons about slavery, abolition, and freedom.\nAnd finally, war is another area of historical trauma; particularly when one delves into the war experience. Few wars have ignited more controversy recently than the Civil War and Reconstruction. Tomorrow, the Junto will run an interview with Bancroft Prize winning historian Ari Kelman, who co-authored Battle Lines: a Graphic Novel of the Civil War with illustrator Jonathan Fetter-Vorm. Battle Lines is a complex, layered treatment of the Civil War that begins in 1808 and runs through Reconstruction. It involves a series of connected mini-narratives, dissecting the causes and consequences of the Civil War but also to unpack the complexities of why soldiers on both sides fought. The novel includes not only vivid history, but also the careful character development. A soldier\u2019s heartache becomes the reader\u2019s: the loss, the destruction, and the devastation. \nThe Civil War was deadly, claiming approximately 620,000 lives and over a million casualties total. But numbers alone can be hard for students to process, beyond instinctively know that\u2019s a large toll. Combining Battle Lines\u2019s narrative treatment of the war with battlefield photographs (like Matthew Brady), letters, and journal extracts can help make the human cost of the war painfully real. This combined approach can also help open students up to the nuances of the Civil War.\nGraphic novels are certainly not the same as a scholarly monograph or journal article, but when paired with other things (articles, lecture, books, primary sources, film), they can be powerful tools. Abina can be used along side other sources to talk about the broader implications of colonization or the multiple legalities in abolition and the slave trade. I have combined Persepolis with a lecture on U.S. foreign policy during the Carter and Reagan administrations. John Lewis\u2019s March trilogy might be used alongside Selma, and primary sources, like Letter from a Birmingham Jail. In some ways, they are not much like other pedagogical tools, in that a layered approach can help improve information literacy and really let the material sink in. They can just be particularly helpful in approaching traumatic, controversial, or otherwise sensitive topics\u2026.especially in the age of trigger warnings.\n Spiegerman\u2019s own anthropomorphic treatment of ethnicities came from a prior effort to draw African-Americans, using the old racist tropes to void them of their power. He realized that he could apply what he learned to his own family experience. See Art Spiegerman, \u201cWhy Mice?,\u201d The New York Review of Books. For more on racial tropes, see Michael A. Cheney, \u201cDrawing on History in Recent African American Graphic Novels,\u201d MELUS, Vol. 32, No. 3: Coloring America: Multi-Ethnic Engagements with Graphic Narrative (Fall 2007): 175-200.\n James Oliver Horton, \u201cPresenting Slavery: The Perils of Telling America\u2019s Racial Story,\u201d The Public Historian, Vol. 21, No. 4 (Autumn 1999): 20.\n Andrew J. Kunka, \u201cIntertextuality and the Historical Graphic Narrative: Kyle Baker\u2019s Nat Turner and the Styron Controversy,\u201d College Literature, Vol. 38, No. 3, Visual Literature (Summer 2011): 169-170.\n Amanda Gluibizzi, \u201cThe Aesthetics and Academics of Graphic Novels and Comics,\u201d Journal of Art Documentation, Vol. 26, No. 1 (Spring 2007): 28-30.\n There are two outstanding graphic novels that can add global perspectives on slavery. Trevor R. Getz and Liz Clarke, Abina and the Important Men (Oxford, 2011 ) narrates the 1876 West African court case of Abina Mansah, who was illegally enslaved, ran away, and then challenged her master in court. Marcelo D\u2019Salete, Cumbe chronicles the experiences of African slaves in Brazil. The text is in Portuguese, but the story line is still clear.\n As I noted in my review on H-War.", "id": "<urn:uuid:95d25f7b-717b-4640-9aa2-e9f436814f0e>", "dump": "CC-MAIN-2017-17", "url": "https://earlyamericanists.com/2015/07/14/teaching-slavery-the-use-of-graphic-novels-in-discussing-difficult-pasts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118831.16/warc/CC-MAIN-20170423031158-00209-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9483639001846313, "token_count": 1829, "score": 3.59375, "int_score": 4}
{"text": "How to Organize\nWhen you're planning your\nlessons, there are a lot of things to keep in mind. You know your\nlesson must be focused on a specific topic and contain different kinds\nof activities to keep it interesting.\nHow much time should you\nspend on each activity? What should come first? How should you end your\nclass so that your students will remember all the new information\nthey've learned? Read these tips for some pointers and ideas on how to\norganize an excellent English lesson.\nClick Here for Step-by-Step Rules, Stories and Exercises to Practice All English Tenses\nHow should your lessons\nbe organized? There are\ntwo main factors to keep in mind: time\ncourse, the time for your English class is limited! You want to use\nthat time in the best possible way so that you can complete each\nactivity. It is important for the students to understand each topic\nbefore you continue with the next one.\nYou also need to keep your classes interesting\ndoing different kinds of\n. This helps your students practice different\nskills and remember the new information by using it in different ways.\nLet's imagine that we have one hour for our English class. How should\nwe organize that hour?\n1. Greeting and review (5 minutes)\nWhether you are working with just one student or a large class, it\nis important to say hello! There are two main reasons for this:\n- It will help your students feel comfortable in class\nbecause they know you are interested in how they are doing.\n- It gives your students a chance to speak in English and\npractice very important skills.\nGreetings are some of the most basic skills in English. You can\nalso ask your students what they did since you last saw them to\npractice the simple past\ntense, or what they\nwill do after class to practice the simple future\nAfter you greet your students, ask them to summarize what you did\nin your last class. What did they learn? What skills are you working on?\nthe topics on the board and have them create some examples. Now your\nstudents are concentrated on English! What you do in each class is a\ncontinuation of the previous class, so be sure to have a quick review\nbefore you enter the main part of your lesson.\n2. Introduction of new skills (20 minutes)\nNow you and your students are comfortable and you know what you did in\nyour last class. Take a moment to explain to your students what you\nwill do today.\nIt is an excellent idea to write\na list of your activities on the board\n(if you have one).\nIt can look something like this:\n- Introduction and review\n- New vocabulary explanation (topic)\n- New vocabulary game\n- Role play (or another activity)\nIn this example, we are working with vocabulary. Of course we can\nintroduce new grammar, speaking skills, reading skills, etc. This is\njust an example!\nYou have used 5 minutes in your introduction. Now use the next 20\nminutes to teach the new lesson.\ngive a clear, step-by-step explanation of the topic. Give lots of\nexamples and write them on the board. Check the students' understanding\nby asking them questions and having them help you create examples.\n3. Activation (25 minutes)\nAt this point, you and your students are ready for the most\nimportant part of the class! In order to remember the new skills you\nhave just taught them, your students need to activate\nmeans they must use the\nshould spend about 25 minutes on your activities. Try to incorporate\ndifferent kinds of activation exercises to keep your class fun and\nSometimes you can do writing exercises and\nworksheets, especially for more difficult grammar lessons. But you\nshould try to keep your activities as fun and interactive as possible!\nWhen your students enjoy what they are doing, they will remember the\nTry to work with games\n, role plays, competitions,\nmovement, or storytelling\nThere are endless possibilities! You should incorporate two or three\ndifferent activities in the activation section of your lesson. Choose\nthem according to the skill you are working on.\nTry to get your students moving around the room once in a while. Try\none quieter activity, like a worksheet or a short story\n, and one more dynamic\nactivity, like a role play\n, during the same class.\nTime will fly by as your students practice their new skills!\n4. Wrap-up (5-10 minutes)\nSo, let's review. So far, we have divided our class this way:\n- Greeting and review (5 minutes)\n- Introduction of new skills (20 minutes)\n- Activation (25 minutes)\nSo, we should have about 5 or 10 minutes left at the end of the class.\nIt is very important to keep\nan eye on the clock\nYou don't want to spend your whole class explaining new information.\nThat will be less interesting for you and your students. Plus, if they\ndo not actively practice the new skills, they will not remember them\nDuring the last few minutes, wrap up your class with a short review.\nFirst, congratulate your\non their hard work. They have learned a lot and\nbeen very active!\ndo a review similar to the one you did at the beginning of the class.\nBut this time, you are talking about the new information you just\ncovered. Refer back to your list. Ask your students to summarize what you did in class\nthey make examples of the new grammar or vocabulary skill? Can they\nexplain the new reading tips you worked on today? Whatever your lesson\nwas, your students should be able to explain it in their own words now\nthat they have practiced.\nOrganize your lessons this way, and your students will do great!", "id": "<urn:uuid:e520c17f-8938-4e18-ad4b-2e5a3af55d56>", "dump": "CC-MAIN-2017-17", "url": "http://www.really-learn-english.com/how-to-organize-your-english-lesson.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121453.27/warc/CC-MAIN-20170423031201-00211-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9338952302932739, "token_count": 1236, "score": 3.8125, "int_score": 4}
{"text": "The whole-tone scale consists entirely of whole steps. It is a hexatonic (six-tone) scale; that is, six steps are required to fill in the octave.\nThe whole-tone scale has no modes because each rotation of the pitches produces an identical pattern of steps and intervals.Example 1: Whole-tone Scale\nOnly one transposition, up a minor second, produces a new collection of pitches.Example 2: Whole-tone Scale transposed\nUnless one uses double sharps or flats, it is difficult to avoid a diminished third when writing a whole tone passage.Example 3: Diminished thirds in whole-tone passages.\nDebussy based Violes (Prelude # for Piano) on the whole tone scale. The following example faithfully reproduces a passage from that work. Notice how he handled the problem of the diminished third, not always consistently.Example 4: Violes (from Preludes for Piano)\nPattern Repetition in the whole-tone scale is especially pronounced. For example, every second and third is major, every fourth is a tritone, and every sixth and seventh is minor. All triads are augmented. Any pattern built on one step of the scale can be replicated on all other steps of the scaleExample 5: Pattern Repetition\nA keynote or central pitch is established by persistance rather than by use of context forming intervals. There are no perfect fourths or fifths to help create harmonic focus. The major third, the next strongest root producing interval, lies above every step making every step a potential keynote. Furthermore, the augmented triad divides the octave into three equal segments. Any of its tones can be perceived as the root of the chord. One usually hears the lowest tone in the texture as the root of the chord because it is the root of the lowest major third.Example 6: Roots in Augmented Triads\nIf the tritone is spelled enharmonically as a diminished fifth, all tones of the scale can be use to build a dominant ninth chord with (1) a lowered fifth and an added minor thirteen or (2) a raised fifth and and augmented eleventh. The latter can also be seen as a polychord of two augmented triads. These chords can be produced on every step of the scale. The harmonic potential of the scale centers on the sound of a complex altered dominant chord.Example 7: (1) Dominant ninth (-5, -13) (2) Dominant ninth (+5, +11)\nA whole-tone chord can be constructed from a collection of scale steps. For example, steps 1-2-3-4 will produce an dominant ninth chord. Steps 1-2-4-5 will produce an altered dominant seventh. The number of possible patterns is limited if one eliminates all duplications produced by transposition. A little experimentation with this method will show that all chords produced by the step method are subsets of the chords in Example 6.Example 8: Chord Construction by Scale Step Pattern\nBartok's Mikrokosmo 136 (Volume V), Whole-tone Scale illustrates several writing techniques effectively adapted to whole-tone materials. In m.m. 1-19, Bartok used pedal tones to establish pitch centers. A short canon begins at m. 20. The remainder of the piece (m.m. 28-80) features a variety of devices such as simultaneous use of the scale and its transposition, parallelism, polychords and mirror lines.\nGriffes White Peacock. whole tone passing chords provide a melodic linkage in a passage of complex chords.Example 9: Whole-tone Chords in Griffes' White Peacock\nBecause latent pattern repetition, extended whole-tone passages are difficult to sustain. For the sake of interest, one should consider increased use of texture, timbre, rhythm and other variables such as transposition. While full of redundancy, the whole tone scale also produces vivid and memorable colors, making its use an effective diversion.\nThe whole-tone scale contains a few memorable thematic protocells that can be replicated on every step of the scale. 1-3-4 is the melodic inversion of 1-2-4. 1-2-3-4 and 1-2-4-5 are identical to their melodic inversions; that is, they map onto themselves.Example 11: Whole-tone thematic protocells\nA rich panchromatic context is possible by combining a whole tone scale and its transposition. This, combined with use of recurring motives based on protocells, can produce coherent and colorful passages.Example 12: Sample Whole-tone Passages\nThe whole-tone scale is one of the all-combinatorial hexachords listed by Milton Babbitt. This hexachord combined with its solitary transposition produces an aggregate (all twelve pitch classes). See materials on pitch sets and twelve-tone composition for further details.Copyright \u00a9 1996, Kenneth R. Rumery, all rights reserved. Revised May 9, 1996.", "id": "<urn:uuid:2df1d86c-26f3-47f8-92f9-56d210d267b5>", "dump": "CC-MAIN-2017-17", "url": "http://jan.ucc.nau.edu/~krr2/ct_whole.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121528.59/warc/CC-MAIN-20170423031201-00563-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8979032635688782, "token_count": 1031, "score": 4.03125, "int_score": 4}
{"text": "The fairytale opening line of J.R.R. Tolkien's The Hobbit is among the most memorable and beloved in literature: \"In a hole in the ground there lived a hobbit.\" It is an unassuming first sentence for what turns out to be an epic fantasy saga about good and evil, and one of the most influential works of fiction of the 20th century.\nIn fact, The Lord of the Rings had even humbler beginnings. Well before Tolkien had even conceived of the hobbit, let alone its habitat, the foundations of Middle-earth were forming, syllable by syllable, in a collection of mysterious, made-up words.\nMore than a teller of stories, Tolkien was a lover of languages. An Oxford professor specialising in classical linguistics, he was well versed in Latin, Greek, Italian and Spanish, as well as the ancient Germanic languages, Old Norse, Old English and Gothic. He was particularly intoxicated by his discovery of Finnish and proclaimed passionately of the inherent beauty of certain combinations of spoken sounds. (\"Cellar door\" was one such favourite.)\nAs early as his undergraduate years, Tolkien began creating an invented vocabulary of words, building it into a number of \"Elvish\" languages, purely for intellectual and aesthetic enjoyment. He equipped the languages with their own grammatical systems, with elements borrowed from Finnish and Welsh, and furnished them with the phonology that, much later, was thought of as the author's \"sentimentalised Celtic\".\nHowever, Tolkien understood that his invented languages lacked an essential element of any effectual language: context. By his own account, he was compelled to create a world for his languages to exist in. The entire fantastic mythology of The Lord of the Rings emerged from that impetus.\n\"The invention of languages is the foundation,\" Tolkien wrote. \"It is to me, anyway, largely an essay in `linguistic aesthetic', as I sometimes say to people who ask me, `What is it all about?'.\"\nTolkien would have preferred to write the books entirely in Elvish, and continued to refine the language beyond the publication of The Lord of the Rings until his death, in works and papers both published and unpublished. He also developed, to varying degrees, several other languages for the inhabitants of Middle-earth, including Khuzdul, the Hebrew-flavoured language of the Dwarves; the \"hideous\" pidgin language of the Orcs; and the Black Speech, the sinister, slithery syllables spoken by the servants of Mordor and inscribed on the One Ring.\nLinguist David Peterson, creator of the Dothraki and Valyrian languages spoken in the Game of Thrones television series (these days, Peterson is the guy to whom series author George R.R. Martin defers for translation advice), calls Tolkien the \"godfather of modern language creation\".\n\"Tolkien, as far as we know, was the first person in at least recorded history to create languages for his own purposes,\" says Peterson. \"Everybody before him was creating it to create an international language that everybody could speak, like Esperanto, or because they thought angels were speaking to them. Nobody before him that we know of said, `Well, I love language. I'm going to create one.' \"\nPeterson also credits Peter Jackson's original trilogy of films with highlighting Tolkien's invented languages \u2013 called constructed languages, or conlangs, by fans and aficionados \u2013 and frequently doing so without subtitles.\nSince those films, Peterson says, conlangs have become a staple and hallmark of superior fantasy and science fiction.\n\"You could just as easily see them putting out a Lord of the Rings trilogy that didn't feature the languages at all, but Peter Jackson made a point of using them, and people loved it. That was huge. That was the spark that led to where we are today.\"\nAvatar was the first major production after the Lord of the Rings trilogy to incorporate a conlang as an integral part of its grand-scale world-building. Linguist Paul Frommer developed the Na'vi language from of a list of about 30 words supplied by writer-director James Cameron. Frommer is already expanding the language for an upcoming trilogy of Avatar films.\nWhether it is his own Na'vi, Dothraki, Star Trek's Klingon or any number of Middle-earth dialects, Frommer says a work of fiction is enhanced by a robust, working language.\n\"Even for the most naive viewer, there's something that comes across when you hear consistent sounds,\" says Frommer, \"when from one scene to another, you might actually hear the same word, without knowing it, if the same thing is being spoken about. And so even on an unconscious level, there's a consistency that can come across with a real language.\"\nA \"real\" language also inspires better performances. \"Actors are much more apt to do a good job with a language that has real grammar and real construction to it,\" Frommer says. \"They will know how to mould or shape a sentence, how to place emphasis on the right words, so it actually begins to sound like a real language, as opposed to, `Ba-ba-goo-goo'.\"\nLiving evidence of Jackson's unwavering commitment to Tolkien's creation, Australian dialect coach Leith McPherson has spent much of the last three years working on the filmmaker's Hobbit trilogy, helping its cast contend with the exotic tongues of Middle-earth and lines far craftier and more crafted than \"Ba-ba-goo-goo\".\n\"There was one particular day in the last block of shooting when I had Elves filming with Peter on Main Unit, Dwarves on another unit, Orcs on the motion-capture stage and a wizard recording dialogue for post-production,\" says McPherson. \"I dumped high-school French from my brain to learn enough Dwarvish to command an army, enough Black Speech and Orkish to curl a wizard's toes and enough Elvish to make my way though a dinner party in Rivendell.\"\nMcPherson's duties included drilling an army of Maori Orcs (\"The Maori vowel system and strong cultural connection of body, voice and language put them on the front foot with the Orc dialogue\") and helping actor Benedict Cumberbatch learn the Necromancer's lines backwards, injecting the Black Speech with the necessary creepy quality when played in reverse in the final film.\nHowever, whether the lines are in English or Elvish, aiding an actor in finding the voice of his or her character boils down to the same thing: \"You break down the dialect in a way that best helps the actor to learn it,\" McPherson says. \"The different vowel and consonant changes, the tune and distinctive vocal qualities of the accent.\n\"It's about the integration of dialect with character and meaning. I see my job as helping to make the storytelling as engaging to the ear as it is to the eye. Sometimes realising the director's vision is actually about finding the right voice.\"\nThere were hundreds of people on set focusing on the visual aspects of the Hobbit films, and only a few working on the words in the script. Considering Tolkien's own linguistic preoccupations, though, McPherson understood how important her role was. \"I wrote that on each of my scripts,\" she says, \"the languages came first.\"\nThe Hobbit: The Battle of the Five Armies is now screening.", "id": "<urn:uuid:9df2bcd2-82cd-41d0-8361-a58a2ac00451>", "dump": "CC-MAIN-2017-17", "url": "http://www.smh.com.au/entertainment/movies/tolkiens-hobbit-born-of-humble-words-20141221-12byra", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120461.7/warc/CC-MAIN-20170423031200-00622-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9709872007369995, "token_count": 1545, "score": 3.5, "int_score": 4}
{"text": "Looking to inspire creative writing students? Read on for reading material and lesson plan ideas.\nStudents enjoy outside sources \u2013 they view them as inside secrets or adult-like. Perhaps they are more authentic than readings in textbooks.\nI\u2019m a tad obsessed with finding writing tips on Pinterest and StumbleUpon for myself. As I sort through top ten lists and articles, I began thinking that many would work with older students, maybe in a creative writing class. Here are writing resources from famous authors that you could use in a writing lesson plan.\n1. George Orwell. Awww, Eric. He provides a list of questions that students could perhaps run through if they are attempting a change in their writing style. His process is at the very least, interesting.\n2. John Steinbeck. Prepare never to finish? Yikes. He has a point, though. Rarely does an author believe a piece of writing is perfect. Acknowledging that may make students more confident.\n(This website also has numerous other writers in a series. Perhaps students could choose other authors if Steinbeck isn\u2019t for them).\n3. I cannot find a piece of writing about writing by J. K. Rowling. People have gathered her quotes and random tips from interviews, but I can\u2019t find a list that she directly provides. Still, I wanted to include her. Here is a shorter list of her compiled ideas.\n4. Stephen King has a few naughty words in this piece, so you may want to warn students or print the piece out and black them out. He\u2019s prolific and has time-allocating tips, which students so often need.\n5. This article on Miss Literati is not about famous authors\u2019 ideas, but the tips are applicable to high school students. The rest of her blog contains other ideas and they seem clean if students want to search through a bit.\nIncorporating these into a writing lesson plan? I would do a jigsaw activity. Divide students into groups, assign each group an article, and have them present their findings to the class. Discuss which tips students would like to attempt and which ones do not seem applicable. Perhaps set individual goals or stretch past their comfort zones.\nAnother writing lesson plan idea? Often in writing classes, students complain when I assign them reading. (They\u2019re goofy like that). Since many of these authors explain that reading improves one\u2019s writing, reviewing these tips would make for a nice introduction to a larger reading assignment.\nThese would also work for a substitute lesson plan. Instead of group work (subs may not feel comfortable), ask students to pick one of the above articles and write a brief summary and ideas to implement in their own writing. Have them present their findings when you return.\nThe best part of these articles to inspire creative writing students? These weren\u2019t written specifically for high school students. Students appreciate that \u2013 reading adult material.\nHow would you incorporate these articles into your writing lesson plans? Could you use these as bell ringers with your creative writing students?", "id": "<urn:uuid:7b1a601f-3f36-4a63-ab21-db0b4367c394>", "dump": "CC-MAIN-2017-17", "url": "http://languageartsclassroom.com/2015/07/5-articles-to-inspire-creative-writing-students.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125654.80/warc/CC-MAIN-20170423031205-00509-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9660758972167969, "token_count": 631, "score": 3.5625, "int_score": 4}
{"text": "The word transmedia has been the buzzword the past few years. But almost everybody gives a different meaning to this term. Is there any common ground? Let\u2019s try to pin down the meaning of transmedia (storytelling). The search for a definition, the different types, designs and outcome.\nFirst of all, let\u2019s start with the possible difference between multimedia and crossmedia:\n- Multimedia: same content on different types of media with no interaction\n- Crossmedia: same concept on different types of media / distribution platforms. There is a degree of interaction with and participation of the public. The concept is the main thing, Communication is crossplatform.\nTransmedia has its roots in ARG. An alternate reality game is an interactive networked narrative that uses the world as a platform and uses transmedia storytelling techniques to deliver a story that may be altered by players\u2019 ideas or actions. ARG\u2019s were used for different tv-shows (e.g. Lost), media franchises or marketing campaigns.\nFrom Mike Vogel\u2019s thisistransmedia.com\nHenry Jenkins, author of the book Convergence Culture, describes the term transmedia as follows: stories that unfold across multiple media platforms, with each medium making distinctive contributions to our understanding of the world, a more integrated approach to franchise development than models based on urtexts and ancillary products.\nHenry Jenkins talking about the new media landscape:\nThe definition of transmedia storytelling on Wikipedia is more clear to me: it is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies.\nTransmedia storytelling production involves creating content that engages an audience using various techniques. In order to achieve this engagement, a transmedia production will develop stories across multiple forms of media in order to deliver unique pieces of content in each channel. Importantly, these pieces of content are not only linked together, but are in narrative synchronization with each other.\nWhat I have found is that transmedia stories all have similar layers and building blocks. Most of the time there is one theme that is translated to different platforms and distribution channels. The different storylines that can differ per medium, influence and strengthen each other. The communication is crossplatform. The receiver can be part of the story. Experience is the key word. There is a degree of participation and interaction of the public.\nMaya Zuckerman\u2019s version of Simon Sinek\u2019s \u2018Golden Circle\u2019 diagram\nHille van der Kaa, a Dutch media professor, defined 7 elements for a transmedia story (non-fiction):\n- On different platforms\n- Accessible via different \u2018ports\u2019\n- Each platform will bring an extra layer to the story, but can stand on its own\n- There are links with other media\n- Uses the typical strengths of the different media\n- Is partially controlled\n- There is a degree of user participation\nOther authors have more elements, some have less. But when you begin with your story, you always start with the same questions:\n- What is the story about?\n- What are the main characters?\n- What is the conflict?\n- What are the locations, time period, \u2026?\n- Where are the plotpoints situated?\n- What is the ending?\nWhen designing transmedia stories there are some typical questions you must answer before you start producing:\n- What will the impact be of the audience on the story?\n- Will the audience involvement be passive, active, interactive or collaborative\n- How much control will the audience and the author have on the story\n- Will the story be non-linear, parallel, sequential, \u2026?\n- How will you deliver the story?\n- How will the story on the different platforms be consumed?\nStorylines can take on different forms:\n(Chris Klug and Josiah Lebowitz)\nWhen you combine multiple storylines and media in your project, try to pin down what the typical strengths are of that medium. Each medium has its own language. Avoid unnecessary overlap between the media and work with one common theme. And, most important, keep the user experience in mind, through every stage of your story. Involve your media consumer, make him part of the story.\nWe live in an associative world. Young people are not used any more to linear information which cannot be \u2018managed\u2019. They are trained to obtain information via association. Journalism must re-invent itself and create stories for this new media consumption. Transmedia storytelling is the perfect way to achieve this goal. Social amplification of your story can no longer be an after-thought in media production. Twitter, Facebook, Instagram, Snapchat, .. are key ingredients for successful storytelling. Multimedia, Crossmedia, Transmedia, \u2026 the reality is that our definition of what transmedia really is, is still very much evolving.", "id": "<urn:uuid:5a5ea6a8-452f-40d6-a8b0-e5abf3e60284>", "dump": "CC-MAIN-2017-17", "url": "http://www.howtostory.be/transmedia-storytelling-whats-in-a-name/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118310.2/warc/CC-MAIN-20170423031158-00384-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9201751351356506, "token_count": 1008, "score": 3.546875, "int_score": 4}
{"text": "'I Know! I Know!' Connect to the Text and Share Your Perspective!\nLesson 1 of 11\nObjective: SWBAT connect to the text by evaluating the characters\u2019 point of view and using a unique voice when reading the connections.\n- Smelly Socks Robert Munsch I chose this book because its about a girl about 2nd grade who has an experience I think many of the kids have. It also has some great figurative language!\n- Connecting to the text worksheet\n- An old favorite thing from your house-it should look old or worn out (old teddy bear, blanket, etc)\n- Connect to what you know powerpoint\n- Lesson vocabulary words from the Reading/Writing word wall: literature, connecting, point of view, evidence\n- Kinds of connecting chart\nLet's Get Excited!\nUnderlined words below are lesson vocabulary words that are emphasized and written on sentence strips for my Reading & Writing word wall. I pull off the words off the wall for each lesson, helping students understand this key 'reading and writing' vocabulary can be generalized across texts and topics. The focus on acquiring and using these words is part of a shift in the Common Core Standards towards building students\u2019 academic vocabulary. My words are color coded \u2018pink\u2019 for literature/\u2019blue\u2019 for reading strategies/\u2019orange\u2019 for informational text/'yellow' for writing/\u2019green\u2019 for all other words)\nGet students engaged:\n- Demonstrate connecting and point of view\u2026\u201cI brought something to show you today that I\u2019ve had a long, long time!\"\n- Show your old favorite thing - mine was a teddy bear\n- . \u201cI still love my \u2026.. but my husband/mom\u2026 told me it was time to get rid of it! I have a different point of view than them \u2013 I want to keep it!\n- Do you have something at home that you want to keep but mom or dad say is old or dirty?\u201d Take ideas \"Wow- you can connect to this idea too!\"\n- \"Let's take a look at this quick video about connecting.\" (see reflection)\nBring students to the same learning point\n- \u201cToday we are going to read a story about a girl who has a favorite thing.\"\n- Other people think she should not have it everyday. She has a different point of view than other people.\u201d\n- \"I picked this story because I think you can connect to the character and what happens to her!\"\nThe Core standards are shifting to students doing more literary analysis, including reading complex literary text and recognizing character development (RL.2.6). This includes acknowledging differences in the point of view of characters, which this lesson builds towards. The lesson also asks students to make connections to characters and will build towards a later lesson that helps students distinguish between deep and shallow connections. A big difference with the Common Core in making connections is that the connections must be based on the text. Although connecting to outside information and experiences may enrich a students' understanding of a text, such connections are useful only insofar as they help a student understand an author's words. As we push students to make connections that are deep, we need to keep helping them understand the difference between deep, text-based connections and distracting, shallow connections. The process starts here in this lesson and builds throughout the unit.\n- \"I picked this story because I thought you could connect the main character. Connecting can really help you understand better!\"\n- \"This story about a girl about 6 or 7 years old - raise your hand if you can connect with a 2nd grader\u2026 who really wants something from her parents \u2013 raise your hand if you have ever really wanted something from your parents.\"\n- \"There are different kinds of connecting - I made a chart called the 'Kinds of Connecting'** and put that at the connection at the top \u2013 we\u2019ll be discussing other kinds of connecting later.\"\n** I used kinds of connecting with the students to demonstrate how to make these deeper connections. This chart evidences the 3 kinds that I use: text-to-self, text-to-text, text-to-world. Here are the lessons where we discuss these other kinds of connecting - \u2018Connecting to the Text' and 'Connect to the World'.\nModel demonstrating a point of view\n- Powerpoint slide 1 \"This book has great illustrations and a great story. When I think about point of view, I have to consider how the illustrations and words help determine the point of the view of the characters.\" Here's an example of how I use that text evidence.\n- Powerpoint slide 2 \"Look at the girls and mom on the first page- \u201cThe girl is saying, 'I want something new', but the mom is thinking 'no'?\u201d Use a whiny voice for the girl and a firm voice for the mom \"I know this because the illustration shows.... and the words say....\"\n- \"Let's try some examples of 'point of view' together. Also, look for ideas or events that you connect to. I think you can share some of this characters' point of view and connect to how she feels.\"\n- Powerpoint slide 3-4 Take ideas - Encourage kids to use a voice for the characters - \"Do the illustrations or word help them figure out the point of view? Do they have any connections to what's happened to her?\"\nThe Students Take A Turn\n- \u201cIt\u2019s your turn to connect to the text and share your point of view.\n- Pass out the worksheets. \"Let\u2019s do the first one together.\u201d\n- Read the first page and help students write one idea, such as \u2018the girl wants socks\u2019 or \u2018the girl wants to go to the store\u2019.\n- Ask for ideas for connections and offer several \u2013 encourage the kids to pick from their point of view. Write 1-2 ideas on the board as the students copy.\n- See white board demonstration.\n- \u201cNow you continue the chart yourselves as\u2026 (I read/you read- depends if you have a class set or are reading to the kids.)\n- \u201cIt's ok if you have different connections - you have a different point of view about things that happen in the story.\n- There's an example of one of my student's work.\nStudents Share Ideas\n- Students share one connection using a voice so to show point of view.\n- Encourage them to use and example from the book and \"cite specific evidence?\u201c\n- Make comments like \u2013 \u2018wow you have a very different point of view than she does. Did you have a special blanket like the girls\u2019 socks \u2013 I bet not everyone in here had a special blanket.\u2019\n- \u201cDid you enjoy this story? There was a lot of different points of view about your connections but I can really see that you have lots of great ideas!\u201d\nScaffolding & Special Education: This lesson can be scaffolded up and down, depending on student ability.\nFor my Special Education students, I read the text out loud to them, emphasizing the voices in the beginning. Later in the text, I read the quotes and let them repeat with a voice that demonstrated perspective. I gave them prompts on the whiteboards at their desks for the worksheet so they could offer connections to the text. They were more connected to the pictures, which gave a nice contrast to the students who were more connected to the text.\nUnderstanding perspective and point of view is an excellent skill for students of higher ability to learn. Although their language is higher, they still need to be challenged to connect to the text, perhaps with more sophisticated text based connections. Using an appropriate voice to read the perspectives and making deeper connections (I have a green shirt vs I remember a time when I could not get my parents to the store either.)", "id": "<urn:uuid:e38e63e2-51d8-4c2a-8a74-eb897b7d7930>", "dump": "CC-MAIN-2017-17", "url": "https://betterlesson.com/lesson/514141/i-know-i-know-connect-to-the-text-and-share-your-perspective", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119361.6/warc/CC-MAIN-20170423031159-00032-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9526690244674683, "token_count": 1662, "score": 3.578125, "int_score": 4}
{"text": "Many young people with reading, writing and communication difficulties are unable to realise their full potential. Even if they are very bright, they may have difficulty accessing educational resources and be unable to fully partake in class discussions. This inevitably undermines their motivation and self-esteem.\nResearch shows that audiobooks allow the listener to retain their visualisation and picture-making skills. A reader who struggles to \u2018decode\u2019 the words will have difficulty absorbing their meaning, affecting comprehension, memory and enjoyment. The listener, however, not only has the advantage of being able to visualise as they listen, their understanding is also helped by a model of interpretive reading for the tone of voice, accent, emphasis and timing given to the text by the professional reader.\nChildren struggling to read miss out on vital language resources and their written output fails to reflect their ability. Listening to books in audio form can help them acquire not only a whole new range of experience, but a vocabulary beyond their own reading level and everyday conversation, enhancing fluency and comprehension. Their horizons expand, they absorb the structure and conventions of storytelling and develop much greater confidence to communicate both orally and on paper, which has enormous benefits to their writing. When they discover the excitement of books through listening, pupils want to read more rather than less. If they follow the text while listening, their word recognition and reading speed improve.\n'They understand what a chapter is now. The structure of listening has helped. They understand paragraphs because when they have the text in front of them they can see and hear from the [audiobook] that there is a new idea. They have learnt about speech marks, because they hear different voices.'\nGood listening skills are essential for effective learning in all areas of the curriculum and will help pupils with their school work. Audiobooks improve concentration and engage pupils with their studies, helping them to achieve at a higher level across the curriculum and continue to self-select literature in the future, instilling a lifelong love of reading.\n'Listening [to audio] has made him more inclined to listen in general.'\nAudiobooks enable children to develop vital literacy skills in an enjoyable way. They restore confidence and self-esteem, and create a situation in which pupils can achieve success.\nClick on the catalogue link to see just how many audiobooks we stock that support the National Curriculum.\nWith thanks to Evelyn Carpenter who was commissioned by Listening Books to evaluate our 3 year Sound Learning pilot project and subsequently wrote the report 'Sound Learning: an Evaluation'.\nClick here to see our fantastic range of audiobook titles for children and young people.\nWe now have a fantastic online library of over 1000 titles so your pupils can listen on the go.\nFind out the many ways that using audiobooks at home or school can help students support their studies.", "id": "<urn:uuid:f4ba2049-d95a-4d27-8551-441dbb952de4>", "dump": "CC-MAIN-2017-17", "url": "http://soundlearning.org.uk/benefits-of-audiobooks.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122619.71/warc/CC-MAIN-20170423031202-00154-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9641096591949463, "token_count": 581, "score": 4.03125, "int_score": 4}
{"text": "Creative play and imaginative arts activities are very important for your school-age child\u2019s learning and development. They help nurture imagination, and also develop problem-solving, thinking and motor skills.\nCreative play: why it\u2019s important for school-age learning and development\nSchool-age children usually take a keen interest in creative arts and artistic activities. Creative activities and creative play support your child\u2019s learning and development by:\n- encouraging your child\u2019s creativity and visual expression\n- helping your child to express feelings, thoughts and ideas in verbal and non-verbal ways\n- getting your child thinking about problems that don\u2019t have set or \u2018right\u2019 answers\n- helping your child to think about issues from many perspectives.\nIn the months leading up to the start of school, you might notice your child asking more questions about how things work \u2013 and there\u2019ll be lots of \u2018Why?\u2019 questions, of course! So by school age, your child is ready to explore and experience new ideas, skills and information.\nSchool-age children are usually more confident about themselves and around others than they were a year or so earlier. This is a good thing when it comes to creative activities.\nLearning and development through drama\nSchool-age children can usually make things up as they go along.\nThey often use role-play and storytelling to solve problems. For example, when younger, your child might have expected to hear particular endings to favourite stories. Now your child might start changing things and coming up with new endings.\nSchool-age children can usually play with simple props such as hats, shoes, cooking utensils, sticks and so on. Your child might make up and act out stories using these props.\nYour child might also act out the lyrics of songs as he sings them or listens to a CD.\nTaking on a role and seeing the world from someone else\u2019s point of view helps your child to make sense of the world, build communication skills and express feelings.\nLearning and development through visual art\nSchool-age children might use colours and shapes to communicate feelings, ideas and messages \u2013 for example, using lots of black to draw a dark scene or scary feelings. They might also use symbols to show the difference between things.\nIt can be pretty easy to work out what interests your child when you watch what she creates. For example, she might enjoy creating pictures of dinosaurs, fairies or boats over and over again.\nYou might notice that your child\u2019s drawings and paintings are more detailed now. For example, your child might be drawing people with five fingers and toes. Where your child used to draw scribbles and squiggles for trees and flowers, now you can see leaves, branches, trunks and petals.\nSchool-age children are ready for \u2018art appreciation\u2019 \u2013 whether it\u2019s music, sculpting or pictures. You and your child can talk about art, artists, favourite artworks and reasons for liking certain things. Why not visit a local art gallery or exhibition together and talk about what you see?\nMusical learning and development\nSchool-age children might use musical sounds to explore their feelings. Often they can talk about how music makes them feel.\nYour child might like using music to tell stories too. For example, school-age children often enjoy the classical music piece \u2018Peter and the Wolf\u2019. This piece uses the sound of an oboe to represent a duck, a flute for a bird, and so on. In a similar way, your child might enjoy using sounds to represent characters and events in other stories.\nAnd your child will probably still get a lot of fun out of making musical instruments from everyday objects. He can use these to play songs and make up his own music. He might also be ready to use musical symbols and notes to remember how to play a piece of music.\nLearning and development through dance\nSchool-age children often enjoy moving creatively in response to the lyrics of the songs they sing.\nThe way they move their bodies in response to music becomes more expressive. You\u2019ll probably see your child moving more in time with music. She can react to contrasts in the sounds she hears.\nAnd don\u2019t be surprised if your child starts making up dance sequences with friends to popular music or songs.\nFour stages of creativity\nWhen they\u2019re playing creatively, children go through a thought process that might involve four basic stages:\nPreparation: children collect information about a topic or idea and think about what they want to do. For example, your child decides to make a card for you. So he looks at other cards, and looks to see what materials he can use.\nIncubation: children mull over the problem, subconsciously or by thinking some more \u2013 for example, your child thinks about what she might do with the card.\nIllumination: the \u2018aha\u2019 moment, where children carry through, and the creative processes all come together. For example, your child decides to choose flowers and leaves from the garden to stick on his card, and draw a picture of you.\nVerification: after the initial excitement passes, children think about the thing they\u2019ve made. For example, your child hides her finished card so you can\u2019t see it until she decides to give it to you. But she might get it out every now and then to have a look.", "id": "<urn:uuid:a1a88a1c-6690-4f92-a77a-86dab374d98b>", "dump": "CC-MAIN-2017-17", "url": "http://raisingchildren.net.au/articles/creative_arts_school_age.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119080.24/warc/CC-MAIN-20170423031159-00622-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9549298882484436, "token_count": 1127, "score": 3.875, "int_score": 4}
{"text": "The concept of an author is one that generally evokes the image of a person at his or her desk writing something that will eventually be further scrutinized by an editor before being sent off to print. The idea of authorship being ascribed to one person or group of people for a specific mode of narrative production became altered in the 20th century with the rise of graphic narratives as a common form of storytelling. Film and later television would blur the lines of authorship with multiple roles that shaped the narrative in specific manners, like the writers, directors, actors, editors, and other personnel, but most readers were unable to ascertain whose individual contributions led to the final product. Comics and other forms of print graphic narratives are far more specific as to who is charge of what part, with the primary roles of writer and artist receiving the most attention.\nWhile both the writer and the artist are the main people responsible for creating a graphic narrative, authorship is primarily assigned to the former of the two. In a formal sense, this is known by the fact that the MLA citation format, among other systems, has the writer\u2019s name be the first one to be presented. Perhaps this is due to the perception of the importance of written language when it comes to storytelling that the primacy of authorship is given to the writer. The artist is considered to be in charge of adding the visual elements to the story, usually at the behest of the writer, much like how others are tasked with turning the scenes from a screenplay into the visual elements of the play or film. Some of the most iconic authors in comics like Charles Shultz and Bill Waterson of Peanuts and Calvin and Hobbes fame, respectively, did both jobs under the title of cartoonist but they were in charge of newspaper comic strips, which have relatively much less material than a standard 32 page comic book. The constant serialization of comic books regularly requires an artist and a writer, but they also might include inkers, colorists, and leterers (those in charge of making sure words are legible and fit well into their appropriate speech bubbles. While the end product is the culmination of the work of various people; ultimately, it is the responsibility of the writer to create and develop the story.\nThe dynamic and complex relationship between writers and artists can be found back as early as works of serial fiction in the Victorian era. Charles Dickens worked with various artists during his career as a writer so that each installment of his serialized novels would have a distinctive image through a wood cut or engraving. The separation of individual panels in contemporary graphic novels means that the artist needs to work side by side with the writer to make sure the stories visual elements work well with the print ones. The relationship between writer and artist would be further complicated through what later would be known as the \u201cStan Lee\u201d method of writing. You see, DC Comics employed a more traditional method, with writers and artists working together one on one during the authorial process. Marvel comics (DC\u2019s main competitor tried to do something completely different during the 50s and 60s. During that time, Stan Lee was asked to write multiple scripts for different titles. He had several artists under him and was in charge of them. He would give each artist a different script so each one had clear guidelines as to what to draw, but were given relative freedoms as to how each scene would be portrayed. Stan Lee would then edit this almost finished comic, lacking only the dialogue boxes and its content. Later, Stan Lee would fill in the comic with the dialogue as he saw fit and then send it down the pipeline. This was Marvel\u2019s business model for several years with Stan as the head and pretty much only writer under their employment. This practice, while now unseen, illustrates the authorial performance of maintaining proper communication with the artist in charge of making one\u2019s narrative creation come to life, so to speak.", "id": "<urn:uuid:4c8cb304-6011-4f0e-a417-af6d310d999f>", "dump": "CC-MAIN-2017-17", "url": "https://midnightsnackserial.wordpress.com/2013/09/08/episode-99-writers-artists-and-stan-lee/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118963.4/warc/CC-MAIN-20170423031158-00269-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9856885075569153, "token_count": 796, "score": 3.546875, "int_score": 4}
{"text": "Children ages 3 to 5 pick up language skills from peers, caregivers, books, labels, routine activities and songs. At this age, children experiment with language and use words in creative ways. Children in this age group are considered preschoolers, and several language milestones achieved during this time support upcoming connections between writing and language.\nLanguage development is the process by which children learn to express themselves and to interact with others. Children are learning the purpose and rules of language even from birth, when caregivers respond to cries, and during the toddler and preschool years, when language is communicated through words, signs, books and gestures. Language milestones or timetables serve as a guide to normal language development and indicate \"a general age and time\" when most children will master certain skills, according to the National Institute on Deafness and Other Communication Disorders.\nLanguage skills enable preschoolers to communicate with peers and caregivers and to converse and interact effectively with others. When young children interact with other language users, they \"learn how to use language to convey messages, to express feelings, and to achieve intentions which enable them to function in a society,\" according to literacy specialist Mei-Yu Lu in \"Language Development in the Early Years.\" Language skills help children resolve conflict, name and understand their own emotions and foster complex reasoning skills.\nAge 3 to 4 Milestones\nAt 3 to 4 years of age, a child makes verbal requests, discusses real events, pretends to write, makes up stories and enjoys looking at and listening to age-appropriate fiction and nonfiction books, according to Kids Source Online. Children this age are also able to answer simple questions, identify colors, describe the use of common objects such as cars or spoons, repeat sentences and use verbs that end in \"ing,\" according to the National Institute on Deafness and Other Communication Disorders.\nAge 4 to 5 Milestones\nA preschooler aged 4 to 5 can recognize some letters if taught; might be able to print his first name; recognizes familiar words; enjoys singing, rhymes and silly words; speaks in more complex sentences; and can name six to eight colors and a few shapes, according to Iowa State's University Extension. Children this age also enjoy telling jokes, follow directions with more than one step, carry on complex conversations and can learn their address, full name and telephone number if encouraged, adds the University Extension.\nEngage children using language activities to promote language development. Encourage your 3- to 4 -year-old by including her in everyday conversation, explaining routines, asking questions and listening, advises Iowa State's University Extension. Read to your preschooler and give her books to enjoy on her own. You can nurture your 4- to 5-year-old's language development with regular visits to the library, counting and color games, creative storytelling and joke telling, adds the University Extension.", "id": "<urn:uuid:786779fb-1f9f-4670-b00a-d5b6775a431f>", "dump": "CC-MAIN-2017-17", "url": "http://www.livestrong.com/article/160473-early-language-development-in-children-ages-3-5/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917127681.84/warc/CC-MAIN-20170423031207-00333-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9439876675605774, "token_count": 577, "score": 3.953125, "int_score": 4}
{"text": "Medieval writing evolved greatly from the fall of the Roman Empire to the rise of the Renaissance. In addition to records and decrees, most extant documents from the Middle Ages are manuscripts written by monks who dedicated much of their lives to transcription. The style of their writing varied according to local traditions and influences, their methods of writing, and technical constraints such as the amount of paper or vellum they had on hand. Paleography is the study of such forms of writing.\nEarly Medieval Scripts\nParadoxically, most people find that documents written in the early part of the Middle Ages (roughly 500-1000 CE) are easier to read with an adequate knowledge of the language than later texts leading up to the invention of the printing press. The reason is that Europeans had continued the writing styles of the Roman period but this gradually progressed into an elaborate system of shorthand and compact letters as monasteries developed their craft.\nThe most significant writing styles of the early medieval period include Uncial Script, Insular Script, and Caroline Script. There are many subsets of these types, commonly with the term \"minuscule\" for compact writing in certain documents or manuscripts. These styles are characterized by gently curving, uniform letters, many of which are easily legible to untrained modern readers. Insular Script takes its name from its evolution and popular usage in Ireland and England. Caroline Script was quite universal in Continental Europe, hence being named after the Carolingian Dynasty. Although it is more elaborately stylized than most texts, the Book of Kells is an example of Insular Script.\nLater Medieval Scripts\nAs writing techniques evolved, monks became extremely proficient at stuffing the greatest amount of words onto a page as possible. The reason is that while paper and sometimes papyrus were in use, books were written on very expensive animal skin parchment (often called \"vellum\") so that they would last for centuries. The result is that individual letters developed much more concise sharp angles, relying on as many straight vertical lines as possible. In many cases, especially in \"pocket bibles\", the writing is amazingly tiny and a magnifying lens may be necessary to distinguish the letters.\nThese styles were pejoratively named \"Gothic\" because later Italians regarded them as barbaric, although the term Blackletter is frequently used to describe them. Blackletter later became more uniform by being incorporated into print it remained popular in German-speaking regions until World War II. Other areas developed their printing fonts from pre-Gothic writing styles, and handwriting moved back towards the early medieval and Roman period styles.\nMany concise documents were written with an elaborate system of shorthand. Shorthand of this period took the form of abbreviating entire words with a unique character or by representing letters or common prefixes and suffixes with lines over the word. For example, \"M\" or \"N\" at the end of a word was often written as a line over the final vowel, and the word \"et\" had several symbols to represent it. Another example is that the word \"Christ\" was denoted by \"XP\" in reference to the original Greek spelling.\nProficiency in reading minuscule Gothic hands requires an excellent knowledge of Latin and a great deal of practice to become familiar with the hundreds of shorthand marks that were commonly used.\nOwning any book in the Middle Ages was outlandishly expensive because of the labor involved in creating them, so most were of a relatively plain style that included lightly decorated initials to denote the beginning of a new chapter or section. Books owned by wealthy individuals, however, were often lavishly decorated. Highly decorated manuscripts are said to be \"illuminated.\" Capital letters often included drawings within and around them, often depicting the subject of the writing. Other illustrations were merely artistic flourishes, and often you can see animals or mythical creatures, called \"grotesques\", decorating the page. Illumination could entail gold leaf or expensive pigments made from precious materials like lapis lazuli.\nMajestic examples of illuminated manuscripts include the Book of Kells, the Maciejowski Bible, and the Book of Hours of the Duc de Berry.\n- Photo Credit Tim Jones/Photodisc/Getty Images gothic image by martini from Fotolia.com\nWhat Is a Block Style Letter?\nBusiness letters are generally formatted using a block style, of which there are at least three: standard block style, modified block style...", "id": "<urn:uuid:54a7f15c-0903-477d-9baf-ddba820b6601>", "dump": "CC-MAIN-2017-17", "url": "http://www.ehow.com/list_7418312_medieval-lettering-styles.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120461.7/warc/CC-MAIN-20170423031200-00624-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.970574676990509, "token_count": 910, "score": 4.3125, "int_score": 4}
{"text": "I love using drama techniques in classes. I have found that it really enhances the ability of a class to empathise with a character. Two I particularly like are \u2018conscience alley\u2019 and \u2018hotseating\u2019 where you can explore a characters motivations, background and moral dilemmas they may face. Here is an idea for a video project using some of the thoughts and discussion arising from analysing the advantages and disadvantages of a particular decision.\nFrom popular media, students are used to the storytelling device of \u2018angels\u2019 whispering advice from the shoulders of the main character when faced with a moral quandary. This kind of decision is often the basis of a conscience alley. Should the main character make the easy choice, which may well benefit them or should they make the \u2018right\u2019 choice, which may get them into trouble or cause problems?\nI love the idea of creating a visual of this, and even better, a video which would explore the conflicting inner thoughts of the character. With iMovie on the iPad, this is possible.\nFor the example below, I have used Harry Potter as a prompt. Harry is faced with a dilemma in the Goblet of Fire. Hagrid has told him that in the first challenge he will face a dragon. He needs to decide whether he will share this privileged information with Cedric, a fellow student from Hogwarts. The role of \u2018Devil\u2019 is taken by James Potter, Harry\u2019s father, who in many ways demonstrates Harry\u2019s competitive (and less sympathetic) side while the \u2018Angel\u2019 on Harry\u2019s shoulder is of course his mother, Lily, who was fair, kind and forgiving.\nClearly, this could be applied to any literary character and could be adapted to many different purposes in the classroom.\nCreate a title page outlining your character\u2019s dilemma\nIn order to introduce the video, it is a good idea to create a title page explaining the decision that needs to be made. This will mean that if/when the video is shared with parents or included in a portfolio of work, no additional explanation will be required. Try using Adobe Post, Typorama or even PicCollage for this.\nCreate your background image/movie\nThe first step towards creating your dilemma movie is to create an image or a movie of the character whose quandary you will be exploring. Ideally, you would like a still image with the character in the centre of the screen.\nFilm your \u2018angels\u2019 giving their advice\nFor the purpose of this example, I have used Yakit Kids (a free app which I love using, as written about here) to make Harry\u2019s parents \u2018talk\u2019. This could quite easily be done by filming a student speaking, or by using Morfo, Funny Movie Maker, Tellagami or Chatterpix, all of which can make an inanimate object or picture speak.\nYou should have at least two videos, providing conflicting advice. These can be cut and remixed later, but it is important to have sufficient content.\nIn iMovie for iOS it is possible to add video on top of an image. These additional options allow: picture in picture; overlay or side by side. For this project we are going to select \u2018picture in picture\u2019. To access these options, position the playhead (white vertical line) is at the point in the video you want to add a video clip. Instead of clicking the insert arrow, click on the three dots. This gives you the additional options. With picture in picture, it is possible to position, resize or zoom into your video clip.\nWe will add our \u2018angel\u2019 and \u2018devil\u2019 sitting atop either of Harry\u2019s shoulders.\nEdit, Refine & Publish!\nThere is a lot of scope for tinkering at this stage. You may wish to have several arguments for each point of view arranged separately or have each side state their case. You can add background music, transitions or even different background images. Students can be allowed to get creative in order to produce a high quality output. Here is my finished example! I added music from the fantastic @freakyfwoof who has shared a huge catalogue of his creations.\nThis technique can be used in many different areas of the curriculum and would be an extremely enjoyable and worthwhile activity for students. Adding additional layers of video to an iMovie project can be fiddly at first, but students quickly get the hang of it. Using a tool such as iMovie consistently with students allows them to become masters of it. Once they have a good level of skill, you can give them more ownership over projects and see just how creative they can be.\nIf you have had a go at this, or have any ideas of how it could be used in class, please let me know by giving me a tweet @theteachgeek or commenting below!\nThis work by www.theteachgeek.com is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.", "id": "<urn:uuid:a166cc3b-6341-4a82-99e4-9eeb4cf8f7eb>", "dump": "CC-MAIN-2017-17", "url": "https://theteachgeek.com/2016/05/04/using-imovie-to-explore-moral-dilemmas/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121865.67/warc/CC-MAIN-20170423031201-00330-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9440918564796448, "token_count": 1051, "score": 3.6875, "int_score": 4}
{"text": "Resources for lesson plans don\u2019t include just the lesson plans themselves, of course. The plan is the outline, the skeleton. The actual lesson involves getting students to interact with the information in the plan\u2019s focus. Teachers don\u2019t make up the informaton for the students, and teachers definitely don\u2019t want the students to make up the stuff they write (well, there is always creative writing\u2026)\nThe Internet is increasingly providing access to solid information. Not all of it is free to copy, but much of it is. Wikipedia\u2019s current article count is 2,779,000+ for the English version. The content is licensed with the GNU Free Documentation License. That is the equivalent of the free software license and encourages document reuse with the same freedoms as the GPL offers for software. That means you, the teacher, can incorporate an article from Wikipedia in your lesson plan, copying it verbatim, printing and distributing it to your classes. What\u2019s more, you can modify the document, adding specifics for your lesson. You do NOT need to worry about breaking any laws. The license is education friendly, unlike standard copyright license which limits your use of material to immediate, short-term, excerpt from the source. With standard copyrighted works, you are stealing from the publisher and author if you duplicate from a book or workbook for more than one class and certainly if you use it more than one year.\nAnother issue is primary source. Wikipedia isn\u2019t designed to present original research. The submission rules speak against that sort of writing. The idea is to write an article with references that back up the statements in the article. It is reference material in the same way that traditional encyclopedias are.\nGetting primary source material is also easier than ever because of the Internet. There are several initiatives designed to present accessible primary source material.\nThe Library of Congress has an ever-growing Web accessible digital conversion of its massive paper collection. Most social studies/history teachers are aware of and recommend students use the Library of Congress American Memories site.\nScientific research is commonly published in peer reviewed journals. The peer review is designed to ensure quality of research reports, keeping wild claims from being made, demanding high levels of proof be presented before a research article gets published. Unfortunately, the traditional scientific journals are also expensive to produce. They don\u2019t have advertising support, for example. Most high schools don\u2019t have copies, either.\nThe Internet gives a new publishing opportunity, and recently \u201copen access\u201d journals have begun to appear. These are the same peer reviewed journals, but not limited to paper and the back room stacks of university libraries.\nCheck out the Directory of Open Access Journals. It isn\u2019t just for science classes, either. History, the arts, psychology, language study, they are all represented.", "id": "<urn:uuid:05e2de21-79b2-404b-86a6-39767ab6e60b>", "dump": "CC-MAIN-2017-17", "url": "https://mosssig.wordpress.com/2009/03/09/open-access-journals/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124297.82/warc/CC-MAIN-20170423031204-00391-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.925194501876831, "token_count": 586, "score": 3.90625, "int_score": 4}
{"text": "We have always believed that education should not only be about filling a child\u2019s head with information but to develop the whole child \u2013 heart, mind and body. The more we pursue this aspiration, the more evident it becomes that everything is interconnected. Empathy, for instance, may seem to be merely a moral skill that is nice for children to have, yet the more we understand about it, the clearer its connection to our children\u2019s success becomes. If we truly desire to raise successful children, we must also raise empathic ones.\nThe Value of Empathy\nEmpathy is a skill that is essential for our personal, relationship, and career success. Individuals that have developed this skill tend to perform better socially and academically. Ellen Gallinsky has identified it as one of the essential life skills all children need to develop in her book Mind in the Making.\nPerspective taking is the ability to see things from someone else\u2019s perspective. In order to develop that skill, we need to help children develop empathy because empathy is the emotion that helps them to put themselves in someone else\u2019s shoes.\nEmpathy is also one of the skill sets that contribute to emotional intelligence (EQ) \u2013 a quality Daniel Goleman believes to be even more important than IQ in personal, relationship, and career success.\nWhy should we nurture empathy in our kids?\nEmotional intelligence has become an increasingly popular idea over the last twenty years. While \u201cIQ\u201d (intelligence quotient) attempts to describe our thinking and reasoning abilities, \u201cEQ\u201d (emotional intelligence quotient) attempts to describe our ability to work with our own and others\u2019 emotions. The importance of these skills for personal, relationship and even work success has become increasingly recognized in the psychological community, and researchers and therapists alike are developing ways of helping folks learn and make use of these skills.\n\u201cEmotional intelligence is defined as the ability to perceive and express emotion accurately and adaptively, the ability to understand emotion and emotional knowledge, the ability to use feelings to facilitate thought, and the ability to regulate emotions in oneself and in others\u201d (Salovey & Pizarro, 2002).\nOne of the most important of the emotional intelligence skills is empathy.\nA strong sense of empathy allows children to make decisions that are right for them without hurting others or seeking approval or acceptance. This may strengthen them against negative peer pressure and a range of maladaptive behaviors such as substance abuse, bullying, narcissism, aggression or violence against others.\nWhat\u2019s Wrong with Our Children?\nAlthough most parents want their children to understand that empathy is important, a study from Harvard University reveals that the majority of children today perceive achievement and happiness to be more important than caring for others.\nThe Making Caring Common project at Harvard\u2019s Graduate School of Education surveyed 10,000 middle and high school students about what was more important to them, \u201cachieving at a high level, happiness, or caring for others.\u201d Almost 80 percent of students ranked achievement or happiness over caring for others. Only 20 percent of students identified caring for others as their top priority. \u2013 The Atlantic\nWhere are our children getting these messages? From us, apparently. Even though we\u2019re telling our children that it is important to be ethical, caring and moral, our behaviours are telling them something else. Evidently, actions do speak louder than words.\n96 percent of parents say they want to raise ethical, caring children, and cite the development of moral character as \u201cvery important, if not essential,\u201d 80 percent of the youths surveyed reported that their parents \u201care more concerned about achievement or happiness than caring for others.\u201d \u2013 The Atlantic\nTeaching Children Empathy\n- Drama and Play Therapist, Dr Sue Jennings talked about using Neuro-Dramatic Play to help children develop empathy.\n- In Mind in the Making, Ellen Gallinsky also shares how we can help children develop perspective taking.\nThere are also some great tips from Amy Joyce on the Washington Post:\n1. Making caring for others a priority:\n- Instead of saying to your kids: \u201cThe most important thing is that you\u2019re happy,\u201d say \u201cThe most important thing is that you\u2019re kind.\u201d\n- Make sure that your older children always address others respectfully, even when they\u2019re tired, distracted, or angry.\n- Emphasize caring when you interact with other key adults in your children\u2019s lives. For example, ask teachers whether your children are good community members at school.\n2. Provide opportunities for children to practice caring and gratitude\n- Don\u2019t reward your child for every act of helpfulness, such as clearing the dinner table. We should expect our kids to help around the house, with siblings, and with neighbors and only reward uncommon acts of kindness.\n- Talk to your child about caring and uncaring acts they see on television and about acts of justice and injustice they might witness or hear about in the news.\n- Make gratitude a daily ritual at dinnertime, bedtime, in the car, or on the subway. Express thanks for those who contribute to us and others in large and small ways.\n3. Expand your child\u2019s circle of concern\n- Make sure your children are friendly and grateful with all the people in their daily lives, such as a bus driver or a waitress.\n- Encourage children to care for those who are vulnerable. Give children some simple ideas for stepping into the \u201ccaring and courage zone,\u201d like comforting a classmate who was teased.\n- Use a newspaper or TV story to encourage your child to think about hardships faced by children in another country.\n4. Be a strong moral role model and mentor\n- Model caring for others by doing community service at least once a month. Even better, do this service with your child.\n- Give your child an ethical dilemma at dinner or ask your child about dilemmas they\u2019ve faced.\n5. Guide children in managing destructive feelings\nHere\u2019s a simple way to teach your kids to calm down: ask your child to stop, take a deep breath through the nose and exhale through the mouth, and count to five. Practice when your child is calm. Then, when you see her getting upset, remind her about the steps and do them with her. After a while she\u2019ll start to do it on her own so that she can express her feelings in a helpful and appropriate way.\nReading Literary Fiction Helps Children Develop Empathy\nAnother interesting way you can help children develop empathy is by encouraging them to read fiction books. This is because when we engage with a story we are temporarily placing ourselves in the character\u2019s shoes. The more fictional books we read, the more shoes we step into and the more insights we gain.\nWhat sort of books?\nThe books they\u2019re referring to are literary fiction. Pop-fiction and non-fiction books had as much effect as reading nothing at all.\nLiterary fiction is a term principally used for certain fictional works that hold literary merit. In other words, they are works that offer deliberate social commentary, political criticism, or focus on the individual to explore some part of the human condition.\nGenre fiction, also known as popular fiction, is plot-driven fictional works written with the intent of fitting into a specific literary genre, in order to appeal to readers and fans already familiar with that genre.\n- Brave New World \u2013 recommended age 14\n- To Kill a Mockingbird \u2013 recommended age 12\n- Lord of the Flies \u2013 recommended age 12\n- The Adventures of Huckleberry Finn \u2013 recommended age 12\n- Animal Farm \u2013 recommended age 13\n- The Book Thief \u2013 recommended age 13\n- The Diary of Anne Frank \u2013 recommended age 11\n- The Giver \u2013 recommended age 11\n- Bridge to Terabithia \u2013 recommended age 9\n- Inkheart \u2013 recommended age 9\n- Charlotte\u2019s Web \u2013 recommended age 7\nWhat\u2019s the difference?\nThe theory follows:\nPopular fiction tends to portray situations that are otherworldly and follow a formula to take readers on a roller-coaster ride of emotions and exciting experiences. Although the settings and situations are grand, the characters are internally consistent and predictable, which tends to affirm the reader\u2019s expectations of others. It stands to reason that popular fiction does not expand the capacity to empathize.\nLiterary fiction, by contrast, focuses more on the psychology of characters and their relationships. \u201cOften those characters\u2019 minds are depicted vaguely, without many details, and we\u2019re forced to fill in the gaps to understand their intentions and motivations,\u201d Kidd says. This genre prompts the reader to imagine the characters\u2019 introspective dialogues. This psychological awareness carries over into the real world, which is full of complicated individuals whose inner lives are usually difficult to fathom. Although literary fiction tends to be more realistic than popular fiction, the characters disrupt reader expectations, undermining prejudices and stereotypes. They support and teach us values about social behavior, such as the importance of understanding those who are different from ourselves.\nIt should be noted that we need to analyse and discuss the ideas from the stories as well as identify with the characters in order to gain these benefits.\nIf literary fiction can teach you about empathy, could the same be said if that story were told in other forms? For instance, a movie or a musical? I have never read the book Les Miserables but I saw the musical and I will never forget Valjean\u2019s story. If the benefits are gained by analysing and discussing ideas from a story, then perhaps we can look at more than just books. Food for thought.\nYou can find more resources and tips for developing empathy here:", "id": "<urn:uuid:e09d5460-6d67-4445-823a-b858e2cadbbb>", "dump": "CC-MAIN-2017-17", "url": "http://figur8.net/baby/2015/06/22/emotional-intelligence-children-need-empathy-to-be-successful/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123491.68/warc/CC-MAIN-20170423031203-00568-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9483567476272583, "token_count": 2039, "score": 4.0, "int_score": 4}
{"text": "news & tips\nA collection of helpful articles on teachers and teaching\n\u201cSweet, it\u2019s Movie Day!\u201d Engaging Strategies for Showing Films in Class\nWhen I was in school, a class period (or two!) dedicated to watching a film was definitely a highlight for me. Now, my students consistently request movies or television shows as learning aids, but as an instructor I struggle with how and when to use them in class.\nShowing films in the classroom: How to get the most mileage out of a movie day\nHow can instructors utilize visual media in a way that enhances rather than interrupts learning? A few key strategies can help ensure that the time invested in movie day is worthwhile.\nContent and licensing to-dos for classroom movies\nAccording to teachers Lloyd and Lauren Sommerer, it is important to preview anything that you may show in class to ensure that it is appropriate for student viewing. It is also important that you follow legal requirements regarding film licensing, though Lloyd and Lauren point out that a film shown by a teacher in a classroom, from a legitimate source, with a focus on curriculum content, should not require a license.\nThe focus on the curriculum is essential not just for legal purposes, but to ensure that your movie day contributes to forward momentum in your classroom. The storyline of the movie should enhance or iterate course material. AP English teacher and movie blogger James Sheridan advises using visual media that is relevant to the educational questions and larger goals of the classroom.\nHelping students study films in class: Note-taking, discussion and analysis\nSheridan encourages instructors to consider what the best use of time is with films and whether teachers wish to show a movie in its entirety, lift specific scenes, or, in the case of teaching Shakespeare or another piece of literature that has several adaptations, watch the same scene from different performances.\nSheridan argues that it is essential to teach students how to encounter movies as academics rather than simple observers. Strategies he uses to get the most out of classroom films include active listening, note-taking, and occasional interruptions for discussion.\nHe says, \u201cA movie, used strategically and with accountability pieces, can build inferencing skills, practice identification and analysis of symbols and motifs, and is a natural fit for exploring method, meaning, and so what.\u201d He describes ways that students can be held accountable while they are watching by stopping the film after small sections and asking students pointed questions about directorial choices and other techniques used in the piece.\nThough Sheridan\u2019s focus is on literary works turned into movies, the same advice comes from TeachHub.com author Michael Zimmer. He recounts his experience showing a National Geographic film on North Korea. Before the film, he gave the students a note-taking strategy to compare what they witnessed in North Korea with the United States lives that they knew. Like Sheridan, Zimmer stopped the movie periodically during the experience to discuss what was happening during the piece.\nMore ways to use movies in the classroom: Teaching rhetoric using \u201cMy Cousin Vinny\u201d\nOne of my colleagues teaches rhetoric and composition in the higher education classroom using the film \u201cMy Cousin Vinny\u201d. He plays select scenes for the students, asking them to identify pieces of an argument or specific logical fallacies that they have read about in their textbook.\nMovies can show real-world examples of textbook subjects\nHe then replays the scene, encouraging the students to call out when they witness something they have studied. The multiple viewings and active engagement with the clip help him avoid what might otherwise be a boring lecture but also helps students see real-world examples of the rather dry textbook definitions they\u2019ve just finished reading about.\nThis strategy always results in a boisterous affair with the students active and engaged with the material. After the experience, students are welcome to discuss any remaining questions or clarifications they need. While my colleague does not show the movie in its entirety, he shared that often his students will watch the full movie at home to prepare for their next in-class clip.\nWhile the administration and parents may worry that a movie-showing teacher is simply recreating their own scene from \u201cBad Teacher\u201d, movies can play an interesting role in our classrooms, engaging auditory and visual learners in ways that the textbook or discussions cannot. With a little forethought and planning, full movies and movie clips can become an essential piece of our classrooms, enhancing rather than interrupting learning.\nMonica Fuglei is a graduate of the University of Nebraska in Omaha and a current adjunct faculty member of Arapahoe Community College in Colorado, where she teaches composition and creative writing.", "id": "<urn:uuid:6c17ba5b-655c-4cb0-84ce-bafe14d099e1>", "dump": "CC-MAIN-2017-17", "url": "http://lessonplanspage.com/engaging-strategies-for-showing-films-in-class/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123276.44/warc/CC-MAIN-20170423031203-00510-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.94781094789505, "token_count": 958, "score": 3.71875, "int_score": 4}
{"text": "Research Basics\u2014Crafting an Essential Question and Claim\nLesson 1 of 9\nObjective: SWBAT craft a research question and claim by revisiting the elements of culture in order to craft their question and claim.\nAs the student arrive, the powerpoint is already on the board. They immediately start looking through their class binder to find their five aspects of culture. Their second unit presentation was on their perceptions of culture and cultural identity. They had to chose five aspects of culture to frame their presentation. These aspects are based on a list the class generated.\nI give them time to review what they said way back in August and then write about how their thinking has evolved over the school year. It is important for them to think through how their understanding of each aspect has grown this year. They will develop one of these aspects into an essential question that they will answer as the final writing assessment of the school year. They need to be comfortable and confident in their selection.\nI call on a few students to share their reflections.\nToday is a busy day. Since this is the last unit of the year, it gives the students the opportunity to synthesize their learning. Students are going to complete quite a few quick writes (opportunities to spew ideas on to a page). They are going to develop an essential question that will for a argumentative research paper (W 9-10. 5). One of their aspects of culture will be the foundation for their essential question. The goal of this essay is to synthesize their learning and skills for producing writing from developing a topic, crafting a claim, researching evidence to support a claim, and using counterclaims. The summative assessment is the essay, however I will be assessing the steps they use to write their paper as we move through the process. Hopefully, by the end of class, they will have an essential question and draft claim that they can develop into a research proposal.\nI want to see how well they can work independently, engage with their peers as needed, and develop questions to facilitate writing their paper.\nBefore, they can create an essential question, the students have to understand the function of an essential question in the research process. Slides three to ten on the EQ overview and claims powerpoint walks the students through the process of developing their EQ. One of the writing techniques I have practice over and over again with the students is turning the topic into a question. Then students write to answer the question. Therefore, to start their final extend writing assignment, we begin by developing a question from a topic of the student's choice.\nWe begin with what is an essential question. I give them a definition and they discuss it with their shoulder partner (SL 9-10. 1). I also remind them that we have used essential questions all year. The EQ for the first unit is on the the powerpoint slide. After a few minutes, I ask for volunteers to share their answers.\nNext we look at some examples of different types of EQs on slide 4. I what point out that everyone can answer these questions. However answers will vary based on evidence and the personal experience of the writer.\nSlide four gives them a list of qualities of a good EQ. As I go through them, I have the students write them down. They can use the list as a checklist when they write their own EQs. I will spend a few minutes discussing Truth with a capital T. It will lead to stronger discussions of the rhetorical appeals and bias when we get to research and writing.\nIt is time to focus on EQ development, specifically developing a \"self-generated question\" as CC standard W.9-10.7 notes. I ask them to review their writing at the beginning of class. I encourage them to pick the topic that interests them the most or the top two. I show them an example of free writing I did to help me think through my choices. Then I give them time to do some free writing about their potential topics. This free writing time is so they can get the clutter out of their head and determine what they want to have as a focus for their EQ (W 9-10. 4).\nAfter they have been writing for a few minutes, I give them the option of also collaborating with their partner to choose a topic. Some students may have to spend more time exploring the question. They have a topic but need to devise a question. I encourage them to use the checklist to make before they write their questions on the board.\nNow, we go around the room and everyone gives question report out. After they say their self-generated question, either myself or one of their peers can supply suggestions or feedback.\nNow that they have an essential question, they need to know what to do with it. I pass out the final EQ paper that explains in detail the requirements for the essay. Also slide 11 briefly goes over all the parts to the Cultural Visions project.\nGetting this project done is going to be all about pacing. I need an extra week or eight fewer students. Neither is going to happen so I have to pace my instruction and model time management.\nI review some of the research basics from other units (Maus and Things Fall Apart). I specially want to touch on plagiarism and creating citations (W 9-10.8). We have steadily worked on incorporating citations into a text all year. So, I want to remind them of the expectations of the class and that they have the skills to meet them.\nNext I go into the details of the essay and the specific types of evidence I want them to use. While the internet and the databases available are valuable sources, I also expect them to use books, perhaps interviews, and fiction and other literary sources (W 9-10. 8).\nThe final section of the EQ overview is on writing a research proposal. I go over the requirements of the proposal which are to state the EQ, a claim, and counterclaims. I tell them the next class will focus on developing claims and counterclaims.\nI want them to write a proposal so they can think through their EQ, claims, counterclaims, and opportunities for research (W.9-10.1a and W.9-10.7). Also they will share their proposals and flyers to get additional feedback from the class.\nThe also have to create a flyer with the question on it and images that reflect their thinking on their question.\nFinally, I give them the handout of crafting a claim. We ask them to define claim. A claim is a subject plus a strong verb plus an opinion about the subject. It is the claim formula. I developed this formula after attending a writing workshop. I had to teach a lesson on writing a claim. It was a success at the workshop and I have been using it ever since. Students can plug in their ideas and at least have a draft they can build from. We also discuss that claims need to respond to the prompt.\nFor their EQ, I am really trying to address the Common Core focus on gradual release. With the exception of counterclaims, we have encountered all of the standards and skills necessary to write their essays. The essay synthesizes our learning for the year, so I want them to work as independently as possible. I assign writing a claim and the reasons for choosing that claim for homework. However I tell them if they need help or feedback from me or a peer, they can come to afternoon conference (tutoring time). My classroom door is always open.", "id": "<urn:uuid:cdf78d98-66aa-4c4c-b922-ad46f91a5c9c>", "dump": "CC-MAIN-2017-17", "url": "https://betterlesson.com/lesson/594782/research-basics-crafting-an-essential-question-and-claim", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121165.73/warc/CC-MAIN-20170423031201-00449-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.972343385219574, "token_count": 1536, "score": 3.53125, "int_score": 4}
{"text": "Universal Design in Learning. Social Studies: Culture By: Hamidah , Pebbles, Jing Yi, Rafidah , Shareena and Shi Hui. Culinary Diverse Classroom. http://www.youtube.com/watch?v=k--oVQq8x_o&feature=my_liked_videos&list=LL_yU0sSLOJsan4BNX37Z0EA. What is UDL?.\nUniversal Design in Learning\nSocial Studies: Culture\nBy: Hamidah, Pebbles, Jing Yi, Rafidah, Shareena and Shi Hui\nAn educational framework that guides the development of flexible learning environments that can accommodate individual learning differences.\n1. Equitable use\n2. Flexibility in use\n3. Simple and intuitive use\n4. Perceptible information\n5. Tolerance for error\n6. Low physical effort\n7. Size and space for approach and use\nThe design is useful for people with diverse abilities or different cultural backgrounds.\n- Caters to every child's individual needs\n- Avoid segregation and stigmatizing each other\nThe design accommodates a wide range of individual preferences and abilities.\n- The environment the art and display showing the different cultures and not only focusing on one culture but all\n- The materials accommodate to all children; special materials suitable for children with special needs\nUse of the design is easy to understand, regardless of the user's experience, knowledge, language skills, or current concentration level.\n- Age-appropriate activities\n- Culturally sensitive\nFlexibility in Use The design communicates necessary information effectively to the user, regardless of ambient conditions or the user's sensory abilities.\nActivities: music and movement, visual aid and materials that explores diversity and culture, set clear and specific instructions and boundaries\nThe design minimizes hazards and the adverse consequences of accidental or unintended actions\n- The physical environment of the classroom\n(Entries and pathways, furniture etc)\nThe design can be used efficiently and comfortably and with a minimum of fatigue.\n- Learning corners (should not contain activities that require a lot of effort, and not overwhelming for the children)\nAppropriate size and space is provided for approach, reach, manipulation, and use regardless of user's body size, posture, or mobility.\n- Set clear pathways and boundaries\n- Allow room for children with special needs\n- Ensure that each child has enough space for themselves\nChildren have many different styles of learning (Visual, Auditory, Kinesthetic ). Some children may likely fit into more than a single category. The tools need to be a good fit to further impact the student\u2019s achievement. If the children are more empowered, they would more likely to take control over their learning, making them more independent. Hence teachers need to think of various different ways to present the lesson to the children.\n- Children given flexibility to interpret information : reduces barriers to learning, sensory, perceptual\n- Teacher presenting information in various modalities (powerpoint, videos, brailles) eg.\nAuditory : lectures, singing, reading aloud\nVisual : reading articles, videos\nKinesthetic : Field trip, demonstrating, using a braille\nAffective : role playing, connecting to children\u2019s interest, presenting to large or small groups\nTechnology options : video, DVD, YouTube, Podcasts, online tutorial\n- Different and appropriate ways to engage children so they learn and understand better\n- Video clips on Chinese New Year/Hari Raya celebrations and get children to identify what colours are mainly seen the video. By adding digital formats, it captures children\u2019s attention and increases engagement.\n- Have a sharing session and talk about what they did during Chinese New Year/Hari Raya to share their experiences.\nHaving different ways children may respond to the information they have received\n- Drawing: Children to draw what they see during Chinese New Year/Hari Raya Celebrations and share to the class.\n- Storytelling: Stories about different festivals, cultures\n- Journal writing: Write about their own experiences during festivals\n- Drama production: Role-playing a celebration of their festivals\n- To educate children about the different cultures in Singapore\n- To create awareness in children about different cultures\n- To promote acceptance and understanding in children about the different races\n- To introduce appropriate terms and words to address the different races\n- Multiple Intelligences:\n1. Verbal/linguistic: Write a short journal about their experiences, show and tell about an object that represents their culture and share with the class\n2. Logical/mathematical: Classifying/sorting cultural representations\n3. Musical/rhythmic: Learning songs of other languages, folk songs\n4. Bodily/kinesthetic: Learning dances from other cultures\n5. Visual/spatial: Videos on different cultures, celebrations, festivals\n6. Interpersonal: Role-playing\n7. Intrapersonal: Write a short journal about their experiences, show and tell about an object that represents their culture\n- To cater to all the different learners' needs, children may choose to display understanding through various means.\n- Writing a journal\n- Role-playing a scene\n- Creating a presentation with the aid of technology\n- Carrying out follow-up activities to review children's current knowledge\n- Prompting children with questions\n- Carrying out observations (anecdotal, running records)\n- Creating a checklist", "id": "<urn:uuid:572a59ee-979f-4332-9b03-53ecab945bec>", "dump": "CC-MAIN-2017-17", "url": "http://www.slideserve.com/zelig/universal-design-in-learning", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00508-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8741644620895386, "token_count": 1126, "score": 4.1875, "int_score": 4}
{"text": "Included on this page:\n1) A video we created that demonstrates a collection of transliteracy activities across multiple grade levels;\n2) Links to an assortment of transliteracy activities that can be used in classrooms;\n3) An interactive bulletin board at the bottom for you to add your ideas for\nusing transliteracy in the classroom.\nTransliteracy In Action: K-12 (Video)\nTransliteracy Activities for the Classroom\nOther than the ideas presented in the video above, here are some suggestions for incorporating transliteracy into a classroom:\nQR Codes and Art - An activity that integrates art (vanGogh style paintings), iPads, QR codes, language arts and digitalstorytelling. On this same site, the Langwitches Blog, there is a related tutorial: How-To-Guide: Recording Audio Files and Generating QR Codes. In addition, this award-winning teacher provides numerous ideas on implementing the use of iPads in the elementary school classroom, as well as many other examples of students using transliterate practices to further their learning. Tolisano provides many tutorials and guides for teachers.\nTransliteracy in Practice - A blog post that outlines in detail how transliteracy can be incorporated into a summer reading program. The ideas could easily be incorporated into any English/Language Arts classroom.\nStudent Oral Reports with School Hallway Dioramas via AudioBoo - Audio narrations linked via QR codes for independent study projects.\nMapping the Museum: Teens Use Technology to Make Their Mark on The Art Institute - Explores a social mapping project where students use digital media to design their own annotated maps, in this case of their experiences in the Art Institute of Chicago.\nSupporting Transliteracy in a High School Library - Documents how a high school teacher librarian supports transliteracy.\nStorytelling - Elementary students used the wordless picture book Chalk to write a story and then create a narrated video.\nTitanic Reinactment - Here is a link to a newspaper article on an activity that was completed last year to mark the anniversary of the Titanic's sinking. This is the CBC story that was aired on the project.\nYouTube Video - This is a demonstration of a transmedia play experience.\nYouTube Video - International Space Station Commander Chris Hadfield and the Canadian band, Bare Naked Ladies collaborate across mulitple platforms to create this performance. The idea could be adapted to a classroom.\nYouTube Video -This powerful piece of work about bullying uses a poem, spoken word, and art to create its message.\nA Primer on Interactive Books - written by Laura Fleming, discusses the use of interactive books in the classroom to potentially engage reluctant readers.\niRead is a project in the US that demonstrates the ways in which digital audio can be a powerful learning tool in the elementary/middle school classroom to improve reading skills. Be sure to watch the video of students at work using their iPods. They demonstrate a wide range of literacies.\n***A follow-up to the Transliteracy in Action video - In the video, you see a student working on a Social Studies assignment using Google Earth. Here is one of the completed assignments:", "id": "<urn:uuid:fd602b7d-467e-4ae0-8768-4b8110871485>", "dump": "CC-MAIN-2017-17", "url": "https://sites.google.com/a/ualberta.ca/transliteracy/teaching-ideas-for-literacy-leaders", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123491.68/warc/CC-MAIN-20170423031203-00569-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9035943746566772, "token_count": 655, "score": 3.96875, "int_score": 4}
{"text": "Virginia's Third Grade Standards\nStrand / Topic: Introduction to History and Social Science\nStandard / Strand: History\n3.1 Indicator / Standard:\nThe student will explain how the contributions of ancient Greece and Rome have influenced the present world in terms of architecture, government (direct and representative democracy), and sports.\n- 3.10a) Indicator: Explaining the purpose of rules and laws;\n- 3.10b) Indicator: Explaining that the basic purposes of government are to make laws, carry out laws, and decide if laws have been broken;\n- 3.10c) Indicator: Explaining that government protects the rights and property of individuals.\n3.2 Indicator / Standard:\nThe student will study the early West African empire of Mali by describing its oral tradition (storytelling), government (kings), and economic development (trade).\n3.3 Indicator / Standard:\nThe student will study the exploration of the Americas by\n- 3.3a) Indicator: Describing the accomplishments of Christopher Columbus, Juan Ponce de Leon, Jacques Cartier, and Christopher Newport;\n- 3.3b) Indicator: Identifying reasons for exploring, the information gained, and the results from the travels.\n3.4 Indicator / Standard:\nThe student will develop map skills by\n- 3.4a) Indicator: Locating Greece, Rome, and West Africa;\n- 3.4b) Indicator: Describing the physical and human characteristics of Greece, Rome, and West Africa;\n- 3.4c) Indicator: Explaining how the people of Greece, Rome, and West Africa adapted to and/or changed their environment to meet their needs.\n3.5 Indicator / Standard:\nThe student will develop map skills by\n- 3.5a) Indicator: Positioning and labeling the seven continents and four oceans to create a world map;\n- 3.5b) Indicator: Using the equator and prime meridian to identify the four hemispheres;\n- 3.5c) Indicator: Locating the countries of Spain, England, and France;\n- 3.5d) Indicator: Locating the regions in the Americas explored by Christopher Columbus (San Salvador in the Bahamas), Juan Ponce de Leon (near St. Augustine, Florida), Jacques Cartier (near Quebec, Canada), and Christopher Newport (Jamestown, Virginia);\n- 3.5e) Indicator: Locating specific places on a simple letter-number grid system.\n3.6 Indicator / Standard:\nThe student will interpret geographic information from maps, tables, graphs, and charts.\n3.7 Indicator / Standard:\nThe student will explain how producers use natural resources (water, soil, wood, and coal), human resources (people at work), and capital resources (machines, tools, and buildings) to produce goods and services for consumers.\n3.8 Indicator / Standard:\nThe student will recognize the concepts of specialization (being an expert in one job, product, or service) and interdependence (depending on others) in the production of goods and services (in ancient Greece, Rome, the West African empire of M\n3.9 Indicator / Standard:\nThe student will identify examples of making an economic choice and will explain the idea of opportunity cost (what is given up when making a choice).\n3.11 Indicator / Standard:\nThe student will explain the importance of the basic principles that form the foundation of a republican form of government by\n- 3.11a) Indicator: Describing the individual rights to life, liberty, and the pursuit of happiness; and equality under the law;\n- 3.11b) Indicator: Identifying the contributions of George Washington, Thomas Jefferson, Abraham Lincoln, Rosa Parks, Thurgood Marshall, and Martin Luther King, Jr.;\n- 3.11c) Indicator: Recognizing that Veterans Day and Memorial Day honor people who have served to protect the country's freedoms.\n3.12 Indicator / Standard:\nThe student will recognize that Americans are a people of diverse ethnic origins, customs, and traditions, who are united by the basic principles of a republican form of government and respect for individual rights and freedoms.", "id": "<urn:uuid:658c5c5a-2635-4841-9fcc-d8445dd0587d>", "dump": "CC-MAIN-2017-17", "url": "http://teachinghistory.org/teaching-materials/state-standards/virginia/3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125654.80/warc/CC-MAIN-20170423031205-00506-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8423048853874207, "token_count": 898, "score": 3.796875, "int_score": 4}
{"text": "Behind the buzz and beyond the hype:\nOur Nanowerk-exclusive feature articles\nPosted: Mar 01, 2010\nThe future of nanoelectronics - transistors without junctions\n(Nanowerk Spotlight) The first transistors built in 1947 were over 1 centimeter in size; the smallest transistors today are less than 30 nanometers long \u2013 over three hundred thousand times smaller. The result of these efforts are billion-transistor processors where a billion or more transistor-based circuits are integrated into a single chip. But this development cannot continue for much longer. One of the increasingly difficult problems that chip designers are facing is that the high density of components packed on a chip makes interconnections increasingly difficult; and, as conventional chip structures continue to shrink, Moore's Law is on a collision course with the laws of physics.\nAll existing transistors are based on junctions \u2013 obtained by changing the polarity of silicon from positive to negative. \"It is a little bit like changing the color of silicon from black to white,\" explains Jean-Pierre Colinge, a professor at Tyndall National Institute, whose team has just reported a breakthrough in nanoelectronics by demonstrating the world's first junctionless transistor.\n\"In modern transistors, a negative-positive-negative (black-white-black) structure needs to be created, where the width of the positive (white) region is only a few dozens of atoms wide,\" continues Colinge, who heads Tyndall's Ultimate Silicon Devices group. \"And the coloring has to be done with a paintbrush \u2013 it is very difficult to avoid the black paint from smudging into the white region. By contrast, a junctionless transistor is entirely painted white or black. This is much easier to fabricate, especially at very small dimensions.\"\nColinge points out that on the other hand, in a junctionless gated resistor the doping concentration in the channel is identical to that in the source and drain. \"Because the gradient of the doping concentration between source and channel or drain and channel is zero, no diffusion can take place, which eliminates the need for costly ultrafast annealing techniques and allows one to fabricate devices with shorter channels.\"\n\"Our devices have full CMOS functionality, but they contain no junctions or doping gradients and are, therefore, much less sensitive to thermal budget issues than regular CMOS devices\" Colinge tells Nanowerk.\nSchematic of a junctionless nanowire transistor (top) and transmission electron micrograph of a single nanoribbon device (bottom). Individual atomic rows can be seen in the silicon. (Image: Dr. Colinge, Tyndall National Institute)\n\"The key to fabricating a junctionless gated resistor is the formation of a semiconductor layer that is thin and narrow enough to allow for full depletion of carriers when the device is turned off\" he continues. \"The semiconductor also needs to be heavily doped to allow for a reasonable amount of current flow when the device is turned on. Putting these two constraints together imposes the use of nanoscale dimensions and high doping concentrations.\"\nThe junctionless transistor resembles in a way the first proposed transistor structure, patented in 1928. But so far, no-one had been able to fabricate it \u2013 until now. According to the Tyndall team, the key to success was the ability to fabricate silicon nanowires with a diameter of a few dozens of atomic planes, enabled by the electron-beam writing techniques and expertise available at Tyndall.\n\"The electrical current flows in this silicon nanowire, and the flow of current is perfectly controlled by a 'wedding ring' structure that electrically squeezes the silicon wire in the same way that you might stop the flow of water in a hose by squeezing it\" explains Colinge. \"These structures are easy to fabricate even on a miniature scale which leads to the major breakthrough in potential cost reduction.\"\nSemiconductor companies are not only looking at improving the performance of their products, but also at cutting down fabrication costs. The fabrication of sharp junctions for the 22nm node and below require extremely fast, sophisticated and costly annealing techniques. These are no longer necessary in transistors that have no junctions.\nAnother key challenge for the semiconductor industry is reducing the power consumption of microchips. Minimizing current leakage is one of the main challenges in today's complex transistors. \"Our junctionless devices have near ideal electrical properties and behave like the most perfect transistors\" says Colinge \"Moreover, they have the potential of operating faster and using less energy than the conventional transistors used in today s microprocessors.\"\nNevertheless, fabricating these junction-less transistors is not without challenges. The main task is to obtain ultrapure, defect-free silicon crystals with a thickness and a width of a few atoms. This requires the use and control of high-precision instruments like electron-beam lithography equipment and highly skilled operators.\nColinge notes that further research will continue with many partners on assessing the prototype's viability for use in the manufacture of silicon chips for electronic devices. The researchers are also beginning to address the issue of variability, which is essential for good industrial process control.", "id": "<urn:uuid:147a5bb8-1029-491b-85b3-c3b7b488ee1d>", "dump": "CC-MAIN-2017-17", "url": "http://www.nanowerk.com/spotlight/spotid=15085.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121528.59/warc/CC-MAIN-20170423031201-00567-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9283648133277893, "token_count": 1075, "score": 3.71875, "int_score": 4}
{"text": "Showing character Part 1: Citizenship\nShowing Character is a series of hands-on learning activities for young people to teach them about character education when showing livestock projects. Learn more about one important area of character education: citizenship.\nShowing Character is a series of hands-on learning activities for young people to teach them about character education when showing livestock projects. 4-H volunteer leaders can use these activities with their 4-H clubs to help develop character and important life skills in youth. In this Michigan State University Extension series, youth and adults will have the opportunity to review the six character developments \u2013 one at a time \u2013 to learn hands-on activities that reinforce these life skills.\nCitizenship is one of the top character development skills and youth begin to learn this at an early age. Being a good citizen is one of the things children are taught when they start school. Through learning about citizenship, other character skills can be taught and learned.\nBeing a good citizen can be expressed in many ways: showing concern for others, protecting the environment and learning about the voting process are just a few. Getting involved and not sitting back and letting things happen when you disagree are also part of being a good citizen.\nHow does citizenship work when showing livestock projects? It is not all about teaching young people how to feed, fit and show their animals \u2013 it is also important to provide each 4-H\u2019er with personal growth. Citizenship in the Showing Character series teaches youth that by making the world a better place to live for themselves and others, it can also help in their home, club and community.\nWhen showing livestock animals, youth have to learn the \u201chow to\u201d for each animal project: what to feed them, how to care for them and how to make sure they are healthy. Youth can also practice \u201chow to\u201d be a good citizen with their project by working with the younger members on what to do, helping others during the shows and listening to what the judges say. In addition, accepting the outcome, whether you win or lose, is all part of being a good citizen.\nBy practicing certain behaviors, youth develop and strengthen their own character as they become successful adults. Encouraging youth to implement some of these activities into their livestock projects can help them develop the important citizenship life skill.\nRead the rest of the articles in this series:\n- Showing character Part 2: Caring\n- Showing character Part 3: Responsibility\n- Showing character Part 4: Respect", "id": "<urn:uuid:80818e47-6123-491d-bada-6d7ba07d4244>", "dump": "CC-MAIN-2017-17", "url": "http://msue.anr.msu.edu/news/showing_character_citizenship", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123491.68/warc/CC-MAIN-20170423031203-00568-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9681848883628845, "token_count": 512, "score": 3.8125, "int_score": 4}
{"text": "Foreshadowing, one of the oldest and most impactful literary devices, involves the construction of a narrative to suggest or predict later developments. An author who employs foreshadowing seeks to develop dramatic tension, hook the reader, establish narrative cohesion, and create a sense of completeness. Foreshadowing, which appears as prophetic statements in some of the world\u2019s oldest texts, has evolved along with literature itself.\nForeshadowing in the Bible\nA consideration of the Bible as literature can reveal its artistry to secular readers. Foreshadowing in the Bible most often takes the form of prophetic utterances and their eventual fulfillment. The writers of the New Testament establish foreshadowing through alignment with prophecies composed centuries earlier, appearing in the Old Testament. Dozens of examples occur in relation to Jesus being the promised Messiah. Isaiah 7:14 predicts the virginity of the his mother, while Micah 5:2 places the location of his birth in Bethlehem. Daniel 9:25-26 describes the people\u2019s rejection of him as Messiah, and Samuel 7:12 asserts his lineage to King David, which the New Testament affirms in Luke 1:32-33.\nThe Epic of Gilgamesh\nForeshadowing also takes the form of prophecy in the \u201cEpic of Gilgamesh,\u201d a Mesopotamian poem considered one of the earliest surviving literary works. In addition to building tension, the prophecies create a sense of destiny for the heroic characters. For example, in Tablet One, Gilgamesh has a pair of dreams that symbolically foreshadow the arrival of his companion, Enkidu. In Tablet Seven, Enkidu himself has a lengthy and complex dream that foreshadows his own eventual death at the hands of the gods. Enkidu\u2019s death could also serve to foreshadow Gilgamesh\u2019s own demise, as the epic frequently depicts the two characters as reflections of one another.\nAncient Greek Literature\nForeshadowing in Ancient Greek drama becomes a purely literary device. The plots of the classic tragedies, for example, would have been already familiar to the audience, so the inclusion of plot devices to suggest an expected outcome shows an appreciation for the purely artistic merit of foreshadowing. For example, in Sophocles\u2019 \u201cOedipus the King,\u201d Oedipus receives warning that a lack of action in regard to a plague would leave him king of a desert, a phrase that suggests his eventual exile. In Aeschylus\u2019 \u201cAgamemnon,\u201d an ominous tone established in the opening remarks of the Watchman and Chorus offsets the joyous occasion of the king\u2019s return, and foreshadows the dark events that await him.\nDevelopment in the Novel\nThe emergence of the novel as the apotheosis of the fictional form allowed for the full development of foreshadowing\u2019s potential. From the earliest examples of the form, such as Samuel Richardson\u2019s \u201cPamela\u201d and the works of Daniel Defoe, novelists have made ample use of allusion, symbolism, thematic clues, character cues, and changes in setting and mood to foreshadow developments. A classic example of foreshadowing exists in Leo Tolstoy\u2019s \u201cAnna Karenina,\u201d when a guard gets crushed beneath a train upon Anna\u2019s arrival in Moscow. An example of symbolic foreshadowing occurs in George Eliot\u2019s \u201cMill on the Floss,\u201d when references to water throughout the novel signify the climactic disaster of the flood.\n- Encyclopedia Britannica: Foreshadowing (Literature)\n- The Official King James Bible Online\n- Massachussetts Institute of Technology: The Internet Classics Archive -- Oedipus the King by Sophocles\n- Massachussetts Institute of Technology: The Internet Classics Archive -- Agamemnon by Aeschylus\n- Academy for Ancient Texts: The Epic of Gilgamesh\n- Hemera Technologies/Photos.com/Getty Images", "id": "<urn:uuid:47b3374f-7138-46d7-babe-b8db3d334516>", "dump": "CC-MAIN-2017-17", "url": "http://education.seattlepi.com/origin-foreshadowing-5801.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120881.99/warc/CC-MAIN-20170423031200-00037-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9325202703475952, "token_count": 837, "score": 4.09375, "int_score": 4}
{"text": "What is a story? What is narrative meaning?\nA narrative or story in its broadest sense is anything told or recounted; more narrowly, and more usually, something told or recounted in the form of a causally-linked set of events; account; tale,: the telling of a happening or connected series of happenings, whether true or fictitious.\nNarrative meaning is created by establishing that something is a part of a whole and usually that something is the cause of something else. It is usually combined with human actions or events that affect human beings. The meaning of each event is produced by the part it plays in the whole episode.\nTo say what something means is to say how it is related or connected to something else. To ask the meaning of an event is to ask how it contributed to the story in which it occurs. It is the connections or relations between events.\nMeaning is a social phenomenon. Meaning is produced not only by individuals but by groups, communities, societies and cultures which maintain - through language and agreed understandings - knowledge of the connections between signifying sounds and signifying events.\nGroups, communities, societies and cultures also preserve collections of typical narrative meanings in their myths, fairy tales, legends, histories and stories. To participate in a group, community, society or culture requires a general knowledge of these accumulated narrative meanings. The cultural stock of meanings are dynamic and are added to by new contributions from members and deleted by lack of use.\nNarrative meaning is about connections. It links individual human actions and events into inter-related aspects of an understandable composite. Narrative displays the significance that events have for one another. (The anti-story makes explicit that events do not have causal connections between each other.)\nStories fill our lives in the way that water fills the lives of fish. Stories are so all-pervasive that we practically cease to be aware of them.\n\"The products of our narrative schemes are ubiquitous in our lives: they fill our cultural and social environment. We create narrative descriptions for ourselves and for others about our own past actions, and we develop storied accounts that give sense to the behavior of others. We also use the narrative scheme to inform our decisions by constructing imaginative \"what if\" scenarios. On the receiving end, we are constantly confronted with stories during our conversations and encounters with the written and visual media. We are told fairy tales as children, and read and discuss stories in school.\" (Polkinghorne)\n\"The narratives of the world are without number...the narrative is present at all times, in all places, in all societies; the history of narrative begins with the history of mankind; there does not exist, and never has existed, a people without narratives:\" (Barthes).\nBeyond storytelling: narrative intelligence\nIn my book, The Secret Language of Leadership, I introduce the concept of narrative intelligence. I do this, because \"storytelling\" seems to imply a one-way relationship -- \"I tell the story and you are to listen.\" An adept use of narrative and storytelling takes place with in a two-way, interactive relationship.\nStephen Denning, The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations. Boston, London, Butterworth Heinemann, October 2000.\nDonald E. Polkinghorne, Narrative Knowing and the Human Sciences. Albany N.Y.: State University of New York Press, 1988.\nRoland Barthes, Introduction to the Structural Analysis of the Narrative, Occasional Paper, Centre for Contemporary Cultural Studies, University of Birmingham, 1996.", "id": "<urn:uuid:133a7744-07da-4f5b-9b61-d3979124200d>", "dump": "CC-MAIN-2017-17", "url": "http://stevedenning.com/Business-Narrative/definitions-of-story-and-narrative.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122621.35/warc/CC-MAIN-20170423031202-00508-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9506655931472778, "token_count": 735, "score": 3.546875, "int_score": 4}
{"text": "The seven lithographs that comprise Jacob Landau's Holocaust Suite provide us with a multi-faceted window through which we can begin to study the events of this dark and difficult period of human history. The Holocaust, or Shoah, occupies an iconic place in modern history, one that represents a clear divide in a world before and after the Nazi attempt to destroy the Jewish people. The world was forever changed, as was our understanding of the human capacity for evil. The unmentionable was spoken and the unthinkable was committed\u2014by people little or no different from us.\nThus, it is our challenge as educators to derive meaning from these events that we can use to help our students become compassionate and responsive citizens of the world. As a humanist and a man of conscience, Landau recognized that \"the Holocaust was a subject that no serious artist could neglect.\" He believed that the artist is the vanguard for human freedom and the standard-bearer for universal and immutable moral values. It is a creed that places art at the center of all learning, within the classroom and throughout life.\nThe most powerful educational experiences are those that incorporate the richness of the world around us in creative and relevant ways. The best teachers are those for whom no walls or barriers exist in the integration of their subject matter with ideas, concepts, or materials from other disciplines. Jacob Landau embraced this doctrine in his personal philosophy of education; art, in his view, was the survival tool that made it possible for humans to achieve a cosmic connection that restored the balance between information and imagination, what he defined as \"science-sense\" and \"art-sense.\" Once we accept that art is the basis of everything, including science, we will recognize that information, logic, and analysis, without intuition, imagination, or feeling, is incomplete and invalid.\nFor Landau, the denial of the complete learning experience, sensory as well as cognitive, resulted in a skewed and truncated intellectual and personal preparation. His world vision called for the integration of all intelligence and disciplines, the triumph of globalism over nationalism, and wholism over specialization. His philosophy addresses many of the concerns for character development in contemporary education: the need to teach our students the fundamentals of ethical and humanistic responses to the world around them, as well as the qualities of responsible citizenship in a modern democracy. On a pedagogical level, his philosophy supports integrated learning and the recognition of each child's path to the mastery of ideas and skills. Many academicians now recognize the need for a more \"holistic\" approach to education that considers learning styles, gender, cultural background, and family environment in the attempt to best teach our children.\nWithin this context, we have prepared curricular materials to assist you in your utilization of the seven lithographs in The Holocaust Suite. The subject areas that have been chosen are history, literature, and art\u2014performing and visual. Art, the Suite itself, is the refracting window through which you will examine these areas, enabling integration and core applicability with the subject. The suggested approaches are designed to guide your preparation; they are open-ended in regards to the time frame for their implementation and allow for the adaptation of the material according to the strengths and needs of your students. We have also provided the links to a number of additional resources so that you can pursue independent study. We invite you to share your successful lessons with us so that we can compile an archive to share with educators in the future, a collaborative venture that Landau would applaud.\nThe Holocaust Suite Curricular Materials:\n Stephen C. Feinstein, ed., Witness and Legacy: Contemporary Art About the Holocaust, Exhibit Catalogue (Minneapolis: Lerner Publications Company, 1995), 9.  Jane R. Denny, \u201cArt as Witness to History: The Holocaust Lithographs of Jacob Landau\u201d in Saliba Sarsar, Jane R. Denny, and David Sten Herrstrom, eds. The Holocaust Suite of Jacob Landau (West Long Branch, NJ: Monmouth University, 2008), 14-15.  Jacob Landau, \u201cArt in Society \u2013 An Artist\u2019s Perspective,\u201d in Strategies: A Collection of Major Presentations from the 32nd Annual NYSATA Conference (Rochester, NY, 1983), 19.  Ibid., 18.\nGenocide & Human Rights Education Center at Brookdale Community College\nThe Center for Holocaust, Human Rights, & Genocide Education at Brookdale Community College is an educational resource center that provides information, programs, training, and curricular materials that address the topics of hate, bias, and discrimination. Its community partners include schools, law enforcement organizations, clergy, and county municipal representatives. The Center strives to use the lessons of the Holocaust to enhance awareness and to empower young people, in particular, to stand up and make a difference in their world today.\nMonmouth University is an independent, comprehensive, teaching-oriented institution of higher learning, committed to service in the public interest, lifelong learning, and the enhancement of the quality of life. The University promotes creativity, intellectual inquiry, research, and scholarship as integral components of the teaching and learning process. This is accomplished through a dynamic, interactive, interdisciplinary, and personalized education that integrates theory and practice with traditional and progressive pedagogical approaches.\nThe Jacob Landau Institute\nJacob Landau (1917-2001), printmaker, painter, humanist, and teacher was an artist whose works explored the basic themes of human existence and morality with an insight that was both passionate and indignant. He was born in Philadelphia, PA, where he began as an illustrator, but he lived most of his adult life in Roosevelt, NJ. Here he immersed himself in the town's thriving artistic community, along with such noted artists as Ben Shahn, and began a distinguished career as professor at Pratt Institute, Brooklyn, NY. The art he created gained him an impressive reputation, with many of his works included in the permanent collections of the world's finest museums, such as the Philadelphia Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art New York, and the Hirshhorn Museum (Washington, DC).\nThe Jacob Landau Institute (JLI), a nonprofit New Jersey corporation, was created soon after Landau's death in November 2001. Its primary purpose is to preserve his legacy, enabling others to experience his work and artistic vision, and to extend his unique philosophy of education into our schools at all levels. Based in Roosevelt, NJ, the JLI has established two cooperative agreements: with Drew University in Madison, NJ, to permanently house the Jacob Landau Archives and his extensive book illustrations; and with Monmouth University in West Long Branch, NJ, to house the Jacob Landau Collection and create educational programs, such as this Holocaust Suite curriculum, that have far-reaching benefits.\nFor further information, contact:\nJane DennyDirector of Education,Center for Holocaust, Human Rights and Genocide Educationat Brookdale Community Collegejdenny@RCDS.org(732) 224-2769\nSaliba Sarsar, Ph.D.Associate Vice President for Global Initiatives, Monmouth Universitysarsar@monmouth.edu(732) 571-4474\nDavid Herrstrom, Ph.D.President,The Jacob Landau Institutedherrstrom@comcast.net(609) 443-4421", "id": "<urn:uuid:01540b6a-6f32-4bcb-91ca-6c2dacfb2265>", "dump": "CC-MAIN-2017-17", "url": "https://www.monmouth.edu/university/landau-holocaust-suite.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00390-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.945667564868927, "token_count": 1514, "score": 3.78125, "int_score": 4}
{"text": "Different writers, different timesJulie Blake\nThis sequence of activities is designed to last several lessons. Its primary focus is on the thematic and stylistic comparison of two poems from different times. There are oral and written outcomes including poetry performance, writing a poem within constraints, and more formal literary analysis.\nFor students to: imaginatively explore their own special places and those of two poets from different times and places: W.B. Yeats (Ireland) and James Berry (Jamaica); to experience creative reading and creative writing; to develop a comparative analysis of the two poems.\nPoetry Archive recordings: W.B. Yeats's 'The Lake Isle of Innisfree\" and James Berry's 'Childhood Tracks'. Internet connected computer, projector and speakers for class listening to these two poems. Copies of the poems and downloadable poem outline.\nTeaching sequence of activities\nGive an example of one or more of your own \"special places\": where and what it means to you. You could show pictures. Invite paired discussion of student's own \u201cspecial places\u201d, then each student to pick one, the memory of which they think they will most cherish in later life.\nSilent individual work with students noting words or phrases in response to the questions below. If you use these question forms and in this order, the activity will link more strongly to later reading of the Berry poem.\n- In this special place, what are you eating?\n- What are you drinking?\n- What are you smelling?\n- What are you hearing?\n- What are you seeing?\nInvite paired review of notes and ideas, adding new ones as they arise. Finish by asking each person to contribute a word they would use to describe how they feel when they think about their favourite place. Keep this word wall for later comparison with the moods of the poems under consideration.\nThe Lake Isle of Innisfree, W.B. Yeats\nGive students a copy of the poem and, using the Poetry Archive, play the recording of the introduction Yeats gives to his poem but not his reading of it. Link this to their thinking about \u201cspecial places\u201d and invite them to consider different ways of performing a poem: a single reader, different readers taking different parts, a reader and echoing by others; also, intonation, pace, rhythm, emphasis, etc. Then students work in groups of 3 to prepare a reading of the poem that they think best suits its mood and meaning (link back to moods word wall). Select groups with contrasting or interesting approaches to perform their version for the class.\nPlay the Poetry Archive recording of Yeats reading the poem, and invite comparisons and responses. Review what students have learned from preparing their readings of the poem: who is the speaker? What situation is s/he in or thinking about? What settings are significant and why? If the broad theme is \u201cspecial places\u201d, what does Yeats\u2019 poem make you think or feel about this? Develop more detailed analysis as appropriate to the class.\nFinish by inviting class discussion of whether or not they think the speaker does \u201carise and go now\u201d. If so, invite speculation about what happens when he gets there; if not, why not and what happens?\nChildhood Tracks, James Berry\nIntroduce the poem in relation to \u201cspecial places\u201d and James Berry\u2019s Jamaican childhood (see notes about the poet on the webpage). Play the recording and invite immediate responses, perhaps by asking the first person to contribute a similiarity to the Yeats poem, the second a difference, the third something they liked about it, the fourth something they weren\u2019t sure about, and the fifth carte blanche to say what they like.\nPlay the recording a few more times, or have students working in groups around a PC, each time asking new questions to establish the basics: who is the speaker? What situation is s/he in or thinking about? What settings are significant and why? If the broad theme is \u201cspecial places\u201d, what does Berry\u2019s poem make you think or feel about this? Review the ideas generated by this and play the recording one final time in the whole class setting, prompting one or two word responses to the question of how they think the description of Berry\u2019s \u201cspecial place\u201d is designed to make them feel. Compare with the mood wall generated in the first activity. Develop more detailed analysis as appropriate to the class.\nNext, invite them to write their own \u201cChildhood Tracks\u201d poem using the template below. Finish with some students reading their poems to the class, and reflection on where\nthe challenges lay in writing in this form and how form shapes or embodies aspects of the meaning. The long line-short line rhythm of Berry\u2019s poem, for example, could be regarded as a wave-like rhythm that emulates the sea, referred to only in the last line but a constant presence in a small island nation. How did this work in their own poems? Did it? Or was it the wrong rhythm for their own \u201cspecial place\u201d memories?\nPlay the two recordings again, with students asked to focus on similarities and differences in the way the two poets from different times and places have explored the \u201cspecial places\u201d theme. Each student to offer one comparative sentence that adds to or builds on previous contributions to the discussion.\nInvite students to write an essay comapring the way the two poets have presented their special places.\nStudents could be encouraged to develop an infographic or visual display to represent their comparative thinking.\nHaving written to a template, students could be encouraged to take off the stabilisers and develop their \"special place\" poem more fully.\nStudents could research, select and edit a \"special places\" anthology of poems.\nExtras to support this lesson plan.\npdf | 138.56 KB\nThis is an outline for writing a 'special places' poem in the same form as James Berry's 'Childhood Tracks'.", "id": "<urn:uuid:3f7e4d57-cd07-452a-abe0-9e6953679b60>", "dump": "CC-MAIN-2017-17", "url": "http://www.poetryarchive.org/lesson-plan/different-writers-different-times", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124371.40/warc/CC-MAIN-20170423031204-00100-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9516066908836365, "token_count": 1253, "score": 3.65625, "int_score": 4}
{"text": "Using similes in Creative Writing in the Classroom\nUsing Similes in Creative Writing in the Classroom\nGrammar and creative writing? They sound wrong together. Some people think that creative writing is all about the flow, the emotion, the themes and they forget about their grammar. They are right in one way. Good writing does stir and emotion and gets the reader asking questions but if the grammar is not of a standard, the message of the story or poem can be lost.\nI want to look at the use of simile in grammar and writing. A good writer will use figurative language well. Whenever you describe something by comparing it with something else, you are using figurative language. Similes and metaphors are examples of figurative language.\nWhy do good writers use similes? It makes the poem or story more interesting, it is like comparing a piece of writing to food. If the cook did not add spice or different types of ingredients, the meal would turn out bland. Adding similes makes the reading more flavoursome and interesting!\nOften, writers use similes to be funny. I have detailed an example of Kevin Barry and his use of similes to make the reader laugh below.\nWriters use similes to express a feeling in a few short words. According to the Purdue Online Writing Lab, metaphors and similes \u201cgive maximum meaning with a minimum of words.\u201d A writer might say that \u201cThey felt like a battery about to run out\u201d. The reader can infer so much from this simple statement. If the writer did not use a simile, it might take many sentences to describe this one feeling of sluggishness or tiredness.\nWriters use similes to make the reader do some work, the reader might have to use their imagination. Robert Burns, the poet used the following simile in his poem \u201cO my Luve is like the melody/That\u2019s sweetly played in tune.\u201d This can be interpreted in many ways. That is what makes poetry and fiction so interesting. Different readers can come up with different interpretations.\nI spoke about Kevin Barry and his use of similes to evoke humour, he is one of my absolute favourite writers and he uses figurative language to hilarious effect in many of his stories, including \u201cWifey Redux\u201d where describes his daughter as \u201cA perfect, placid child, and mantelpiece-pretty.\u201d Mantelpiece-pretty is a brilliant form of a metaphor and perfectly brings up an image for the reader.\nAnother favourite of mine is Raymond Carver, he uses figurative language in a simple but hugely effective way. In his story \u201cA small, good thing\u201d, the bread the characters are sharing is described as being \u201clike daylight under the fluorescent trays of light.\u201d\nI could go on but if you read anything in fiction or poetry, you will notice constant uses of figurative language. In terms of grammar, one example of figurative language is a simile. A simile is a comparison between two different things. It uses the word like or as.\nLook at this sentence. The boy slept on the soft blanket. It was yellow. His room was very dark. He rolled onto something sharp. Look at the words in bold and think of other words that remind you of these things. For example, soft reminds me of cotton, wool or a feather. Sharp reminds me of a knife, a sword or a needle. To write a simile, use this knowledge like so. The blanket was as soft as a feather. The object was as sharp as a needle.\nHelping children to understand that writing that contains similes allows the reader to make a picture in their mind and this helps them to understand better. When you are reading text, bring the children\u2019s attention towards use of simile if it comes up. This helps them connect with the text as a reader and a writer.\nI have developed a lesson plan and resources such as simile flashcards for group work, simile worksheets and a seasonal poem template activity sheet for the teacher to use with 3rd-6th Class. It is available on mash.ie in my shop at http://mash.ie/product/similes-and-seasonal-poetry-writing-lesson-pack-3rd-6th-class/ and it is on sale for \u20ac1 for the next two weeks, it is usually priced at \u20ac2.50.", "id": "<urn:uuid:e14edbf1-7c35-420b-80b9-0ca48907ff8b>", "dump": "CC-MAIN-2017-17", "url": "http://anseo.net/2015/04/05/using-similes-in-creative-writing-in-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126237.56/warc/CC-MAIN-20170423031206-00276-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9655871987342834, "token_count": 929, "score": 3.703125, "int_score": 4}
{"text": "Activity 2: Story - Beautiful Hands\nActivity time: 10 minutes\nMaterials for Activity\n- A copy of the story \"Beautiful Hands\"\n- A bell, chime, rain stick or other musical noisemaker\nPreparation for Activity\n- Read the story, \"Beautiful Hands,\" a few times. Consider telling it dramatically, rather than reading it from the page. Practice telling it. Claim the storytelling; for example, try adopting different voices for different characters. The stories here are written for a Story for All Ages moment-part performance, part ministry.\n- For storytelling, be ritualistic. Create a mood and a time that is different from other moments in the session. For example, turn overhead lights off and use lamps. Position yourself where all can see and hear you. You may wish to wear a storytelling shawl.\n- Review the discussion questions. Choose some you think might resonate with this particular group and help them relate the story to their own experiences.\nDescription of Activity\nRing the chime (or other noisemaker), make eye contact with each participant and read or tell the story.\nSound the chime (or other noisemaker) again at the end. Invite participants to think silently on their own about the story. Say:\nNow we are going to practice listening and discussing skills-both are needed to help us understand the story from multiple perspectives. Let's find out what one another thought about the story.\nRemind them not to assume others think or feel the same way. Ask everyone to use \"I think\" or \"I feel\" statements. Encourage the group to listen to each comment and then share some silence. Use the bell or chime to move between speakers.\nInvite participants to retell the story, briefly, in their own words. What children recall and relay tells you what they found most meaningful or memorable. Then, use these questions to facilitate discussion, making sure everyone who wants to speak has a chance:\n- At the beginning of the story, why was May embarrassed about her hands?\n- Do you think May was the only person in her class who did work at home? What jobs do you think her classmates might have done at home? (Invite children to find ideas on the list of their own jobs they made in Activity 1.)\n- How would you feel if you were May?\n- Was May's work at home important? What would have happened if she did not do her work?\n- Who appreciated May's work? Does appreciation matter?\n- Would it have made any difference if May earned money for her work? How would it be different?\n- Think about the people you know. Do you know someone whose hands are rough from work?\n- May really liked to draw. She signed up for an extra class and drew a picture that wasn't a school assignment. Would you say art work is one of her jobs? Why or why not?\n- If May was in this group or in your class at school, do you think you would be friends with her? Why or why not?\nConclude by affirming:\nIt is nice when others respect the work we do and understand its value, but it is most important that we, ourselves, believe our work is meaningful and valuable. No matter what kind of work we do, we must give ourselves the credit we deserve for doing a job and doing it well.\nThank everyone for sharing.", "id": "<urn:uuid:e7c582d1-6a87-410e-9865-4eef86f63357>", "dump": "CC-MAIN-2017-17", "url": "http://www.uua.org/re/tapestry/children/windows/session14/143867.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118519.29/warc/CC-MAIN-20170423031158-00092-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.968599259853363, "token_count": 709, "score": 3.96875, "int_score": 4}
{"text": "Twenty Best Practices of an Authentic Montessori School\n- Child-Centered Environment: The focus of activity in the Montessori setting is on children learning, not on teachers teaching. Generally student will work individually or in small, self-selected groups. There will be very few whole group lessons.\n- Responsive Prepared Environment: The environment should be designed to meet the needs, interests, abilities, and development of the children in the class. The educators should design and adapt the environment with this community of children in mind, rapidly modifying the selection of educational materials available, the physical layout, and the tone of the class to best fit the ever changing needs of the children.\n- Focus on Individual Progress and Development: Within a Montessori environment, children progress at their own pace, moving on to the next step in each area of learning as they are each ready to do so. While the child lives within a larger community of children, each student is viewed as a universe of one. Montessori Learning Activities\n- Hands On Learning: In a Montessori learning environment, students rarely learn from texts or workbooks. In all cases, direct personal hands-on contact with either real things under study or with concrete learning materials that bring abstract concepts to life allow children to learn with much deeper understanding.\n- Spontaneous Activity: It is natural for children to talk, move, touch things, and explore the world around them. Any true Montessori environment encourages children to move about freely, within reasonable limits of appropriate behavior. Much of the time the children select work that has been presented to them individually and which captures their interest and attention, although the Montessori educator also strives to draw their attention and capture their interest in new challenges and areas of inquiry. And even within this atmosphere of spontaneous activity, students do eventually have to master the basic skills of their culture, even if initially they would prefer to avoid them.\n- Active Learning: In Montessori learning environments, children not only select their own work from the choices presented to them, but also continue to work with tasks, returning to continue their work over many weeks or months, until finally the work is so easy for them that they can demonstrate it to younger children. This is one of many ways that Montessori educators use to confirm that students have reached mastery of each skill.\n- Self-motivated Activity: One of Montessori\"s key concepts is the idea that children are driven by their desire to become independent and competent beings in the world to learn new things and master new skills. For this reason, outside rewards to create external motivation are both unnecessary and potentially can lead to passive adults who are dependent on others for everything from their self-image to permission to follow their dreams. In the process of making independent choices and exploring concepts largely on their own, Montessori children construct their own sense of individual identity and personal judgment of right and wrong.\n- Freedom Within Limits: Montessori children enjoy considerable freedom of movement and choice, however their freedom always exists within carefully defined limits on the range of their behavior. They are free to do anything appropriate to the ground rules of the community, but redirected promptly and firmly if they cross over the line.\n- Self-disciplined Learning: In Montessori programs, children do not work for grades or external rewards, nor do they simply complete assignments given them by their Montessori educators. Children learn because they are interested in things, and because all children share a desire to become competent and independent human beings.\n- Mixed age groups: Montessori learning environments gather together children of two, three, or more age levels into a family group. Children remain together for several years, with the fully developed students moving on to the next age grouping when they demonstrate readiness to do so.\n- A Family Setting: Montessori learning environments are communities of children and adults. As children grow older and more capable, they assume a great role in helping to care for the environment and meet the needs of younger children in the class. The focus is less on the educators and more on the entire community of children and adults, much like one finds in a real family.\n- Cooperation and Collaboration, Rather Than Competition: Montessori children are encouraged to treat one another with kindness and respect. Insults and shunning behavior tends to be much more rare. Instead we normally find children who have a great fondness for one another, and who are free from needless interpersonal competition for attention and prestige. Because children learn at their own pace, Montessori educators refrain from comparing students against one another.\n- The Child As A Spiritual Being: Montessori saw children as far more than simply scholars. In her view, each child is a full and complete human being, the mother or father of the adult man or woman he or she will become. Even when very young, the child shares with the rest of humanity personal hopes, dreams, and fears, emotions, and longing. From Montessori\"s perspective, this goes beyond mental health to the very core of one\"s inner spiritual life. Montessori educators consciously design social communities and educational experiences that cultivate the child\"s sense of independence, self-respect, love of peace, passion for self-chosen work done well.\n- Universal Values: Montessori educators deliberately develop in children not only appropriate patterns of polite behavior, but seek to instill basic universal values within the core of the child\"s personality. These values include self-respect, acceptance of the uniqueness and dignity of each person we meet, kindness, peacefulness, compassion, empathy, honor, individual responsibility, and courage to speak from our hearts.\n- Global Understanding: All Montessori schools are to a large degree international schools. They not only tend to attract a diverse student body representing many ethnic backgrounds, religions, and international backgrounds, but they actively celebrate their diversity. The curriculum is international in its heritage and focus, and consciously seeks to promote a global perspective.\n- Service to Others: Montessori\"s spiritual perspective leads Montessori schools to consciously organize programs of community service ranging from daily contributions to others within the class or school setting, to community outreach programs that allow children and adults to make a difference in the lives of others. The fundamental idea is one of stewardship.\n- Authoritative: The Montessori educator is firm at the edges and empathetic at the center. The Montessori educator is never punitive but is the kind of adult who responds empathetically to children\"s feelings, while setting clear and consistent limits.\n- Observer: The Montessori educator is an observer of children\"s learning and behavior. These careful observations are recorded and used to infer where each student is in terms of his or her development, and leads the Montessori educator to know when to intervene in the child\"s learning with allowing more practice time, making a presentation of a new lesson, a fresh challenge, or a reinforcement of basic ground-rules.\n- An Educational Resource: Montessori educators facilitate the learning process by serving as a resource or caring mentor to whom the children can turn as they pull together information, impressions, and experiences.\n- Role Model: Like all great educators, the Montessorian deliberately models the behaviors and attitudes that he or she is working to instill in the children. Because of Montessori\"s emphasis on character development, the Montessori educator normally is personally attractive, exceptionally calm, kind, warm, and is always polite to each child.\nIn conclusion, the Montessori educator recognizes that his or her role is not so much to teach as to inspire, mentor, and facilitate the learning process. The real work of learning belongs to the individual child. Because of this, the Montessori educator remains conscious of his or her role in helping each child to fulfill his or her potential as a human being and therefore knows that the primary educational responsibility is one of creating an environment for learning within which children will feel safe, cherished, and empowered.\nMontessori educators are trained to identify the best response to the changing interests and needs of each child as a unique individual learner. Because they truly accept that children learn in many different ways and at their own pace, Montessori educators understand that they must \u201cfollow the child\u201d, adjusting their strategies and timetable to fit the development of each individual child.\nMontessori educators organize appropriate social settings and academic programs for children at their own level of development. They do this to a large degree through the design of the learning environment, selection and organization of learning activities, and structure of the day.\nMontessori educators are filled with hope in the development of each child\"s full human potential as a person of learning and virtue.\n*Informational portions of our website, such as what you see above, were provided by International Montessori Council (IMC), of which Clifton Montessori is a Member.", "id": "<urn:uuid:d8b3909f-ad4f-4a48-9894-99d4d170b870>", "dump": "CC-MAIN-2017-17", "url": "http://www.cliftonmontessori.com/cmes/authentic-practices.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122720.81/warc/CC-MAIN-20170423031202-00216-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9537814259529114, "token_count": 1837, "score": 4.0, "int_score": 4}
{"text": "- 6. [The rules] require that when the author describes the character of a personage in the tale, the conduct and conversation of that personage shall justify said description.\n- Show, don't tell.\n- \u2014Your English teacher and every creative writing guide ever.\nCharacterization (Brit. characterisation) is how a character is created and presented in a narrative. It includes the actions, interactions, thoughts, speech, and other traits that make them them. Four major categories of characterization are role in the story, personality, backstory, and appearance.\nCharacterization may be simple (one- or two-dimensional) or complex (three-dimensional). When writing complex characters, it is generally considered better to show the audience what they're like by means of their behavior (indirect characterization) than to tell the audience what they're like in the narration (direct characterization).\nSimple characters aren't inherently bad, but fanfiction writers often don't know how to create deep, sympathetic characters and end up writing flat, unbelievable ones instead. Discrepancies between direct and indirect characterization in fanfiction are nearly always a sign of bad writing.\nCharacter Depth Edit\nStories call for all sorts of characters, from the main character all the way down to the random people on the street. It is important for each character to be given a level of characterization appropriate to their role in the story.\nOne- and two-dimensional characters are flat or static because they have no conflict and do not undergo character development in the course of the story. Three-dimensional characters are round or dynamic because they have complex motivations, internal and/or external conflicts to overcome, and they do undergo personal growth and transformation.\nOne Dimension Edit\nOne-dimensional characterization is appropriate for generics: the nameless extras that only exist to take up space and provide a sense of scope to the world. These generally have no lines and no direct interactions with the main characters, except perhaps to cheer or get in the way. They often find themselves getting killed off to show that a situation is dangerous. Generics require only a simple description (if any) and a basic pattern of behavior consistent with their stated culture, species, or occupation.\nTwo Dimensions Edit\nTwo-dimensional characterization is appropriate for bit characters, which exist to play minor roles in the story, whether helping or hindering the main characters. They have few lines and may not appear in more than one scene. They may have an individual history and motivation, and may find their lives changed due to the influence of the main character(s), but do not experience significant development in the story. Bit characters require an individual description and a few defining character traits to establish their motivation and attitude.\nBit characters that recur in a story or series may wind up taking on more characterization and develop into full-fledged supporting characters, and may even qualify as three-dimensional.\nTwo-dimensional characterization is also appropriate in certain forms of storytelling, such as fairy tales and Greek drama, in which all the characters are archetypes (e.g. hero, villain, trickster, lover) or stock characters (e.g. damsel in distress, gentle giant, manic pixie dream girl). These characters are defined by their role in the story rather than individual identities.\nThree Dimensions Edit\nThree-dimensional characterization is appropriate\u2014and indeed necessary\u2014for main characters such as the protagonist, their close friends and allies, and the antagonist. These are the characters the audience is supposed to sympathize with and care about enough to want to know what happens to them, so they must be fleshed out enough to resemble real people in all their complexity. Real people have history that shapes them and desires that motivate them. Their appearance and various talents may be important aspects of their self-image, but then again, they may not. They have flaws, and doubt, and inner turmoil. They face challenges they must overcome in order to become wiser, better versions of themselves, and sometimes they will fail. Sometimes, in fact, failure provides more important and lasting lessons than success.\nMain characters require a well-developed personality and a backstory that supports it. A physical description and a handful of traits and abilities do not add up to a deep, interesting character, especially if they conflict with each other or are added and dropped as the plot demands. Further, main characters must experience challenges that make them learn and adapt in ways that make sense over the course of the story or series. Failure to transform is the main difference between a three-dimensional character and a two-dimensional character. If more fic writers understood these things, there would be far fewer Mary Sues for the PPC to assassinate.\nCharacter Creation Edit\nGood characterization starts with character creation, in original writing, in fanfiction, and in the PPC. Sometimes a character will introduce himself nearly fully fledged into your mind, like Harry Potter did to J.K. Rowling, but usually there will be some effort involved. Making up a unique person from scratch is difficult. There is no one perfect way to go about it, but there are ways that tend to work better than others.\nA character's role is essentially what she does in the story. This can include her character archetype, occupation, social class, and the actions she takes to influence the plot. Complex characters, especially the protagonist, will have multiple roles. This is often a good place to start character-building.\nA character's personality is how she goes about playing her roles. Is she positive or negative? Eager or unwilling? Cautious or reckless? Does she draw on her religion for strength, or her friends, or herself, or something else entirely? What does she care about the most, and how does this influence her choices? A well-developed personality should allow you to judge how the character will react in any given situation.\nA character's backstory addresses why the character does what she does. Nobody exists in a vacuum, so her personality should reflect her upbringing and the important formative experiences in her past, whether she accepts them or rejects them. If she has experienced a trauma, this may even dictate that her reactions to some things will be different than her personality would otherwise suggest. It is important to remember this in order to avoid bad psychology and trivialization. Other traits, such as hobbies, athletic abilities, supernatural powers, etc., should also be grounded in the character's backstory.\nA character's appearance is the least important thing about them, but it is still necessary to consider it carefully. If a character is from Japan, for instance, it is not likely that she will have blonde hair and blue eyes. If she does, there must be a logical explanation for it in her backstory. How a character chooses to dress and style her hair, whether she has jewelry, makeup, or tattoos, etc., should reflect her personality and her level of wealth and personal freedom. Her appearance must also be consistent with the world, culture, and time period she inhabits\u2014e.g., hot pink is not a natural Elven hair color and you won't find hot pink hair dye in Middle-earth, so your Middle-earth Elf character should not have hot pink hair.\nIt is generally advised to avoid starting a character with only a physical description, and it is especially advised to avoid starting with a collection of \"cool\" powers, but really you can start character-building anywhere as long as you cover all the basics by the time you start writing or, in the case of a PPC character, ask for Permission. If you need help with character creation, PoorCynic has a very nice guide in his blog. If you want to make sure your character is not a Mary Sue, try any of the various Mary Sue Litmus Tests.\nCharacter Writing Edit\nCharacterization may be given either directly or indirectly. Direct characterization is what is said about the character by the narrator, other characters, or the character herself, and may or may not be reliable. This is also known as telling.\nIn indirect characterization, the audience must infer what the character is like based on her actions, interactions with other characters (including how the other characters react to her), thoughts, speech, mannerisms, and appearance. This is also known as showing, and is more reliable and thus vastly preferred over telling alone.\nSometimes a character's indirect characterization is notably different from her direct characterization. In these cases, the author may be setting up a discrepancy on purpose to create suspense, or to present a character who is not sane.\nHowever, when the medium is fanfiction, it's far more likely to be a case of bad characterization. A common problem in Mary Sue stories is that the narrative and other characters describe the Sue as kind, caring, talented, etc., but her words and deeds are petty, selfish, and mediocre; or perhaps she has a backstory of trauma or abuse, but in the present she seems completely unaffected except when trying to win the sympathy of her Lust Object. Because showing is so much more powerful than telling, this sort of discrepancy can cause the audience to lose the ability to suspend disbelief, and when that happens they won't see the character as a sympathetic person, but as a wooden puppet of the author. At that point, they'll probably stop reading.", "id": "<urn:uuid:16ef24b5-dcf1-47a8-ab0d-3cebb4b3d4da>", "dump": "CC-MAIN-2017-17", "url": "http://ppc.wikia.com/wiki/Characterization", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123530.18/warc/CC-MAIN-20170423031203-00276-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.963842511177063, "token_count": 1896, "score": 3.796875, "int_score": 4}
{"text": "Media literacy educator Frank Baker reminds us that the annual season for movie awards has begun, with the 85th annual Academy Awards scheduled for February 24. In a new two-part article for MiddleWeb, Baker shares key ideas about ways teachers in grades 4-8 can develop students\u2019 visual media literacy skills by (1) involving them in video production like the PSA project described here, and (2) by teaching them to \u201cread\u201d multimedia forms, from magazine layouts to major motion pictures \u2014 all of which ties into a pair of Common Core ELA standards.\nDo your students love to pick up a camera? Take pictures with their mobile devices? Share photos?\nIf so, then you know they\u2019re already using photography to communicate a message. Engaging students in taking pictures and having them create and analyze them are important 21st century skills. In education circles, it\u2019s known as \u201cvisual literacy.\u201d\nI would argue that photographs, as well as moving images, are two of the \u201cnew literacies\u201d that all teachers need to recognize and become comfortable with using. When I speak of \u201cmoving images\u201d here, I mean internet video, television and motion pictures. We might even call this screen literacy, because they\u2019re being exposed to this media via a screen, whether it\u2019s an inch square or covers the wall of a theatre.\nWe know that our students love the movies. For the most part, they can recall the plot, the characters, the action and more. I like to say: they\u2019ve already started down the road to \u201cfilm literacy\u201d \u2014 learning how films communicate.\nWhen most of our students read a passage from a novel (for example) they visualize it by creating a mental image of what they\u2019re reading. In this way, I maintain, they\u2019re already film-makers of a sort but don\u2019t really know it.\nIn this article, I\u2019d like to zero in on film literacy, including film production by professionals and by students themselves.\nThe filmmaking process\nIt\u2019s been my experience that students in classroom situations want to pick up a video recording device and start recording immediately. This often leads to a lot of wasted time that might be used more productively for learning with some front-end preparation and instruction.\nWith help, students can come to appreciate that filmmaking (e.g. digital storytelling) is a process. This process involves:\n1. Writing a script\n2. Creating storyboards (visual representations of the scenes in the script)\n4. Production (shooting the action)\n5. Editing to create the final finished product\nAllow me to introduce you to some fourth graders from New York City. They worked in class to produce a Public Service Announcement (PSA) about global warming. But they also wanted their audience (teachers/students) to witness and understand the lengthy production process they followed BEFORE they could create their PSA.\nIn the introduction to their 5-minute video, you\u2019ll meet the students and hear them elaborate on the media making process before showing you their PSA.\nIt\u2019s a great way to introduce students to the big idea of the film-making process. Teachers will also find links to the teacher\u2019s class blog and to a PSA explaining how students were able to use images in their video, under the fair-use principle of copyright law.\nStudent PSA project steps\nThis information is drawn from notes made by the production company that supported the project at the above link.\nClass 4-302 at PS 124 brainstormed ways of appealing to their specific audience, and once their attention was held, what they wanted to communicate. The class then divided into four \u201cproduction units,\u201d each with a specific element of the PSA to communicate: 1) Grab the audience\u2019s attention; 2) define the issue and the audience\u2019s role in it; 3) convey the importance of the issue; and 4) leave the audience with an action to take. Their video also includes an introduction that explains their production process.\nEach group (production unit) of students then wrote a script and adapted it for the screen using storyboards. Three of the units shot video sequences based on their storyboards. All units searched for images on the Internet to support their scripts, saved the URL addresses on their class blog, and downloaded selections to experiment with during the editing process. Each unit presented rough cuts to the class on two occasions, and the class evaluated each other\u2019s editing decisions using a rubric.\nThis production demonstrates how thoroughly a video production can be integrated into a social studies curriculum, while also supporting video editing, internet research basics, media literacy, and critical thinking skills.\u201d\nComments from the adults involved\nTeacher Julian Marsano says: \u201cif students are downloading images, for use in a\u2026Public Service Announcement about global warming, it\u2019s really our primary focus that those images have something to do with the big idea of global warming and also with the particular method that the students have chosen to express that message.\u201d Video production, he says, \u201cdovetails with that nicely, because you have to address, in a very conscious way, issues of authorial intention, of objectivity, of tone, of mood, of message, and then, of course, the best way to actually get your message across.\u201d\nAccording to media producer Rhys Daunic, who worked with the New York students, \u201cThe abundance of searchable, downloadable images on the Internet, the accessibility of digital music, and the ease with which kids can manipulate and create with them \u2014 using free, kid-friendly video editing software \u2014 have given teachers low-maintenance opportunities to set up students to experiment with digital productions in the classroom.\u201d Daunic shows how the students learn about media literacy in this clip.\nYou don\u2019t have to own or purchase thousands of dollars worth of equipment and software to teach students about film-making. Freely available software programs (e.g. Windows Movie Maker, iMovie, Photo Story) are available and are user-friendly.\nIn the next installment of this two-part article, Frank Baker writes about the all-important role of writing and storyboarding in creating visual messages, consider ways to teach students more about \u201cmedia making & meaning,\u201d share ideas to help kids \u201cread\u201d visual media, and point to standards that tie visual literacy to the Common Core.\nFrank W. Baker is the author of three books; his most recent \u201cMedia Literacy In the K-12 Classroom\u201d (ISTE, 2012), is reviewed at MiddleWeb. Previously he wrote \u201cPolitical Campaigns & Political Advertising: A Media Literacy Guide\u201d (Greenwood, 2009) and \u201cComing Distractions Questioning Movies\u201d (Capstone Press, 2007) He maintains the nationally recognized Media Literacy Clearinghouse website and conducts media literacy workshops at schools and districts across the US. He is a consultant to the National Council of Teachers of English (NCTE). He can be reached at email@example.com.", "id": "<urn:uuid:9417609a-efc1-49e0-b6da-9d73a1ea6430>", "dump": "CC-MAIN-2017-17", "url": "https://www.middleweb.com/5291/visual-media-a-new-literacy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119637.34/warc/CC-MAIN-20170423031159-00390-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9451522827148438, "token_count": 1504, "score": 3.703125, "int_score": 4}
{"text": "Students will review addition and subtraction operations. Computational skills will expand to include multiplication and division of 1, 2, and 3 digit whole numbers and decimals. Math facts, math language, and math vocabulary are stressed. Manipulatives are frequently used to illustrate concepts, and attempts are always made to relate math to everyday life. Problem solving strategies are a part of each unit.\nStudents in Math Acceleration will cover these topics utilizing a 6th grade level text. They will cover them in greater depth and at an accelerated rate.\nScience & Health:\nScience instruction is built around hands on instruction and activities. District wide kits provide materials and resources for teaching basic concepts in each unit area as well as the scientific method of investigation.\nStudents will learn about:\n||Digestion. This unit focuses on digestive organs, the food pyramid, food labels, and nutrition.|\n||Small Life. Microscopes are used to observe living and nonliving things, single and multi-celled life.|\n||Weather. Students focus on atmospheres, air temperature, air pressure, wind, moisture, storms, and weather safety. Students will also gather weather readings and input them into an internet site to assist worldwide meteorologists in studying weather patterns.|\n||Magnetism and Electricity. Study focuses on atoms, magnets, static and current electricity, circuits, conservation, and electrical safety.|\n||Personal Health. Throughout the year, we will focus our learning on caring for our own physical, emotional, social, and developmental needs.|\n||Robert Crown Field Trip & Follow Up. \u201cLife Begins\u201d|\n||Waubonsie Planetarium Field Trip. Stars, Constellations, and Galaxies.|\nSince we do not use a basic text in science, students must rely on personal notes and class handouts to prepare for tests and quizzes.\nU.S. History! A study of PEOPLE!\nUnit topics will include:\n||America\u2019s Geography and Culture|\n||The Revolutionary War|\n||United States Constitution|\n||Civil War and Reconstruction|\n||20th Century into the 21st Century|\nThe major themes of Geography are stressed: we focus on WHO came; WHEN and WHERE they came from; WHY they came; WHERE they settled and WHY. Also included are HOW the environment determined people\u2019s lifestyles and WHAT people did to change their environment in order to survive.\nOur goals are to make students cognizant of letter patterns, to provide them with strategies for becoming better spellers, and to help students recognize the importance of correct spelling in every day writing.\nWeekly spelling lists are generated from the Zaner-Blose Spelling Program. The lists are individualized to meet student needs and abilities. They contain a range of 8 to 20 words, including many words that are most commonly misspelled by 5th graders and some that are related to other content areas.\nStudents have the opportunity to put language skills to use in personal creative writing. Fifth graders are expected to provide samples of:\nThey will come to understand and practice the basic steps in the writing process\u2014prewriting, drafting, revising, editing, and publishing. They will also continue to critique and improve their own writing according to the 6 + 1 Traits writing program\u2014ideas, voice, organization, sentence fluency, word choice, conventions, and presentation.\nSpeaking and Listening\nStudents will learn to recognize and practice the \u201cbody language\u201d skills that comprise good listening and speaking skills. They will learn to be appreciative audience members and confident, comfortable presenters by frequently sharing things they have learned with their classmates. Students will learn to evaluate personal performance and that of others in a positive way.\nOur goal is to inspire students to become critical, creative thinkers who read daily for pleasure and self-improvement\u2014just for the fun of it!\nThe basal reader \u2013 Macmillian\u2019s Don\u2019t Forget To Fly! \u2013 is supplemented with age-appropriate novel studies. This gives students a chance to read a novel and discuss it in a classroom setting while hearing views and ideas that may be different from their own. Throughout the year, our reading selections provide links to learning in other curriculum areas, especially Social Studies and Science.\nIn addition to teaching comprehension skills, our program offers time for:\n||D.E.A.R. Drop Everything And Read|\n||Book reports, book talks, and other activities related to books|\nAll students are expected to spend 20-30 minutes at home each night reading a book of their choice.\nFifth grade students review computer parts and vocabulary. They are taught keyboarding skills at the beginning of the school year. As the year progresses, specific programs are introduced to enhance all subject areas. By the end of fifth grade, most students should be able to produce finished documents for specific subject area projects, such as research projects and book reports\nOur aim is to teach our students to become lifelong learners!!!\nClick here for more information about our enrichment program.\nFifth grade starts with a unit on color theory in which the students are tested on such concepts as complementary, tertiary and analogous colors. This is followed by a computer art lesson in which the students study the math and science of perspective drawing. The fifth grade art curriculum also includes a series of projects designed to expand the student\u2019s knowledge of art as a world-wide endeavor. The student assignment in \u201cAshanti\u201d fabric design combines writing skills with their work in art class. This multicultural lesson helps students to understand the expressive use of symbols in all cultures.\nFifth grade students will continue to develop their musical skills through the study of multicultural music as well as a variety of musical styles. Students will perform pieces that contain several parts, explore different meters, and analyze forms of pieces. Students will spend part of the year in the computer lab applying their knowledge of music by composing their own original music.\nFifth graders may join band, orchestra, chorus and choirchimes.\nFifth grade students will continue to develop their understanding of sports by discussing rules, strategies and participating in modified games. Fifth grade will focus on the heart and how it is affected with exercise. They will also learn more advanced muscle groups, the circulatory system and basic health concepts during the Heart Adventure unit. A district physical fitness test, dance assessment, and cognitive test will be given to fifth grade students in the fall and spring. Throughout the year, fifth grade students have the chance to participate in an intramural program before or after school.\n||ART - 1 DAY PER WEEK, 50 MINUTES|\n||MUSIC - 2 DAYS PER WEEK, 25 MINUTES|\n||P.E. - 3 DAYS PER WEEK, 25 MINUTES|\nDISTRICT ASSESSMENT FOR MUSIC AND PHYSICAL EDUCATION OCCURS DURING THE FIFTH GRADE YEAR", "id": "<urn:uuid:f6e5006a-02a5-4231-b70d-0353cc454175>", "dump": "CC-MAIN-2017-17", "url": "http://mccarty.ipsd.org/Subpage.aspx?id=767", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118740.31/warc/CC-MAIN-20170423031158-00508-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9348912835121155, "token_count": 1438, "score": 4.0625, "int_score": 4}
{"text": "This vibrantly colored, informative graphic novel from the Stories from History series offers a glimpse into Elizabeth I's reign during her tribulations with the Spanish empire. The book introduces the historical figures with a pictorial cast page, then progresses chronologically from Elizabeth's rise to the throne to the battles between the English fleet and the Spanish Armada. The artwork, with plenty of dramatic battle action, is in full color, and the panels are used to describe specific settings and historical facts. Maps showing the course of the fleets and where the battles took place are scattered through the text, as are \"fast facts\" segments that provide more historical details A time line of Elizabeth's life, a \"Did You Know?\" page of information, and a glossary will help young minds comprehend the history. There is an unfortunate typo in one panel, and some word balloon placements are disjointed, but this will still be a good purchase for libraries searching for new ways to present history.(Reprinted with permission of Booklist, copyright 2006, American Library Association.)\nSchool Library Journal (01/01/2007):\nGr 58This history of how Elizabeth I came to power skims over the conflict in England between Protestants and Catholics and jumps to the Spanish Armada. Those reading this book with little or no background knowledge will only get a superficial introduction to the period. The illustrations are of fair quality. The vivid colorization doesn't mute difficult scenes like the burning of Protestants at the stake, but it will keep readers turning the pages.\"Esther Keller, I.S. 278, Brooklyn, NY\" Copyright 2007 School Library Journal, LLC Used with permission.\nHornbook Guide to Children (01/01/2007):\nIn an attempt to focus on the drama of the Spanish Armada, this comic-book account glosses over historical context; crucial facts are skimmed or relegated to the \"cast\" bios and are likely to be missed by most readers. The format may pique a few readers' interest but will do little to deepen their understanding. Timeline. Glos., ind. (Copyright 2007 by The Horn Book, Incorporated, Boston. All rights reserved.)\nTurn the page and take a step back in time! From the Stories From History series, Elizabeth I and the Spanish Armada takes a completely factual look at Queen Elizabeth I, one of the strongest rulers of England and how she courageously defended England against the Spanish Armada. This book is presented in a fast-paced, edgy graphic novel format including bright, action-packed scenes. Follow Queen Elizabeth I on her courageous journey. A series of dramatic battles along with expert military skill, England defended itself against the Spanish Armada. Elizabeth I and the Spanish Armada is sure to capture any reader's attention and turn even the most casual reader into a history buff! Features: - Full-Color illustrations - Fact Boxes - Timeline, glossary, and index Tales from the past meet modern-day storytelling! Epic battles, secret plots, and brave warriors await readers in the nonfiction Stories From History series. Discover history in a fast-paced format, taking readers right to the action! History has never been this exciting! Check out the other titles in this series!\nVoice of Youth Advocates 10/01/2006 pg. 367 (EAN 9780769647036, Hardcover)\nBooklist 10/15/2006 pg. 68 (EAN 9780769647036, Hardcover)\nSchool Library Journal 01/01/2007 pg. 159 (EAN 9780769647036, Hardcover)\nHornbook Guide to Children 01/01/2007 pg. 183 (EAN 9780769647036, Hardcover)\nVoice of Youth Advocates 10/01/2006 pg. 367 (EAN 9780769646299, Paperback)\nBooklist 10/15/2006 pg. 68 (EAN 9780769646299, Paperback)\nSchool Library Journal 01/01/2007 pg. 159 (EAN 9780769646299, Paperback)\nHornbook Guide to Children 01/01/2007 pg. 183 (EAN 9780769646299, Paperback)", "id": "<urn:uuid:393a0312-7641-4e59-9409-d7a40b618fcc>", "dump": "CC-MAIN-2017-17", "url": "https://ipage.ingramcontent.com/ipage/servlet/pw_link?isbn_id=0769647030&ID=20022&campId=ELETTER.ChildTeen.1206.graphicnovel", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118831.16/warc/CC-MAIN-20170423031158-00213-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8928130865097046, "token_count": 858, "score": 3.609375, "int_score": 4}
{"text": "Send the link below via email or IMCopy\nPresent to your audienceStart remote presentation\n- Invited audience members will follow you as you navigate and present\n- People invited to a presentation do not need a Prezi account\n- This link expires 10 minutes after you close the presentation\n- A maximum of 30 users can follow your presentation\n- Learn more about this feature in our knowledge base article\nDo you really want to delete this prezi?\nNeither you, nor the coeditors you shared it with will be able to recover it again.\nMake your likes visible on Facebook?\nYou can change this under Settings & Account at any time.\nTranscript of Mohican Indians\nThey used drums and rattles to make music.\nThey sang and danced along to the music.\nGames and Sports\nThe Mohicans played with corn shuck dolls, had ball games, and shot bows and arrows.\nLanguage and Communication\nThey used to speak their own Mohican language.\nToday, most Mohicans speak English.\nLearning for Adulthood\nBoys hunted with their fathers, and girls learned housework.\nThey spent more of their time doing chores and less time playing.\nThey were taught the traditions of the Mohicans.\nLocation and Terrain\nMany Mohican Indians lived along the banks of the Hudson River (New York).\nThey also lived in MA, CT, and VT.\nTheir homes were usually close to rivers, which provided food, water, and transportation.\nFor the above reason, they were often called \"River Indians\".\nWoodlands surrounded the area and provided abundant resources.\nWomen wore leggings with a skirt.\nMen wore breechcloths and leggings.\nUsually, shirts were not worn by either gender.\nBoth genders wore moccasins and everyone had two braids in their hair.\nA beaded headband with a few feathers was traditional.\nThe woodlands were teeming with wildlife.\nPine, oak, maple, and birch trees dotted the landscape.\nAnimals were plentiful. Bears, deer, and moose roamed freely.\nHerring and trout filled the clear river water.\nThese resources provided life for the Mohicans.\nMohicans lived in wigwams (bent sapling covered with hide or bark).\nThey also lived in longhouses. Several families could live in a longhouse.\nMany houses had holes in the roof so the smoke from a fire pit could escape.\nOccasionally, Mohican villages were surrounded by a log wall for protection.\nCrafts and Arts\nThe Mohican Indians were known for the beadwork and baskets they created.\nThey also made wampums, assembled with purple and white shell beads.\nStorytelling was very significant to the Mohican culture.\nThey told many legends and fairy tales.\nStorytellers explained to the children how the Earth was created, why the leaves change colors in the fall, etc.\nInfluence on Modern America\nMohicans have their own government, but they still have to abide by U.S. law.\nThey reside in Wisconsin after being pushed off of their land elsewhere.\nThe British call it a \"Mohican\" haircut, but the U.S. refers to it as a \"Mohawk\". This is named after the Mohican's rival tribe, the Mohawk Indians.\n*The Mohicans joined with other Indian tribes, and they were renamed the Stockbridge Indians. The Stockbridge Indians were forced to move to areas west of the Mississippi River. They settled in Wisconsin on a reservation with the Munsee Indians. These tribes, including the original Mohican tribe, are the Stockbridge-Munsee Band of Mohican Indians located in Bowler, Wisconsin.\nMen generally traveled to get food.\nThey killed deer, fish, beavers, and other small animals.\nVegetables and berries were also gathered and served for meals.\nThey prepared for the long winter months by storing any leftover meat, fish, and vegetables in the ground.\nDuring the fall, ceremonies would be held for the harvest of corn, squash, and beans, and again in the spring for the planting of these vegetables.\nAlso, anytime something important happened within the tribe, ceremonies with food, dancing, and music took place.\nChief Aupumut is the most known leader from the Mohican tribe.\nHe has a famous quote that states, \u201cWhen it comes time to die, be not like those whose hearts are filled with the fear of death, so when their time comes they weep and pray for a little more time to live their lives over again in a different way. Sing your death song, and die like a hero going home.\u201d\nHe passed this wisdom on to his tribe and was a respected leader to the Mohican Indians.\nMany people think that the Mohicans and Mohegans are the same tribe because of the famous book \"Last of the Mohicans.\" The author, James Fenimore Cooper, made errors in this book. He gave several of his Mohican characters Mohegan names and made their homeland in Mohegan territory. Because of this error, some people still call the Mohegans \"Mohicans\" today.", "id": "<urn:uuid:be8cbe12-e717-417c-b368-e4e0afa54850>", "dump": "CC-MAIN-2017-17", "url": "https://prezi.com/zpwgxavqlrtb/mohican-indians/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118740.31/warc/CC-MAIN-20170423031158-00507-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9670711755752563, "token_count": 1082, "score": 4.0625, "int_score": 4}
{"text": "For students engaging in creative personalised learning projects such as a \u2018Genius Hour\u2019 or \u2018Personal Passion project it can often be difficult for them to uncover the right project. Students have become so reliant upon their teachers to pose them problems that when they are given the option to explore one of their own design they don\u2019t know where to start. This is indeed a significant challenge as we know that our students will enter a workforce and world of learning beyond school where they must be active problem finders. How then might we provide the support they require without removing the opportunity for truly personalised exploration.\nStarting at the cause of the problem is worthily. Many students struggle with tasks requiring them to develop creative ideas of their own. This is a common experience teachers face when allowing students to engage in entirely open creative writing tasks. While some students start immediately some deals starting for an extended time and even then, have not been able to identify a suitable spark for their writing. A common fear is that they will pick the wrong idea or that their idea will not be perfect. An easy strategy that often works in this scenario is to set a clear limit and an almost ridiculous expectation for the number of ideas to be generated in that time. As the time pressure mounts students move away from a search for the perfect idea and jot down any and many ideas. This list can become a staring point from which ideas are refined and synthesised. A similar tactic works for problem finding or research question development.\nFor those making use of thinking routines in their classrooms there are a couple of excellent options to exploit here, the first is a little like the mass idea generation idea above:\nOptions Explosion - Begin by listing the obvious solutions or Options. Now brainstorm all the other options, generate as many options as you can, combine ideas to create more, allow your creativity to run wild and tap into your sense of wonderment and awe. Review the list of options and identify the ones that are most intriguing. Use the ideas generated to consider new possibilities and new solutions.\nCreative Questions - A good routine for developing ideas and for training your mind to think differently. Use it to generate creative questions to explore by following these steps:\nPick an everyday object or topic and brainstorm a list of questions about it. Transform some of these questions in imaginative questions such as:\n- What would it be like if . . .\n- How would it be different if . . .\n- Suppose that . . .\n- What would change if . . .\n- How would it look different if . . .\nSelect a question to imaginatively explore. Write a story, draw a picture, invent a scenario, conduct a thought experiment or dramatise a scenario. Reflect on your thinking and the new ideas you have generated. Develop those which seem most useful.\nAnother take is borrowed from the writing of Warren Berger and \u2018A More Beautiful Question\u2019. The idea here is that students generate big \u2018Why . . .\u2019 questions which identify a problem they have encountered. From here they move to \u2018What if . . . ' questions thinking individually or in collaboration and pose possible solutions. With a list of interesting \u2018what ifs\u2019 they move to \u2018how might\u2019 questions where they focus their thinking on a gradual move towards implementing a possible solution. A nice way to introduce this is with examples from the world of start-up companies which have exploded on to the market thanks to thinking differently about common problems. Starting with a \u2018Why\u2019 question like \u2018why can I not get a cab when I need one\u2019 led to the founders of Uber asking \u2018What if I could pay for one of the many empty seats in the cars driving past me\u2019 and then on to the \u2018How might we turn empty seats in cars we don\u2019t own into a global business\u2019. Similar examples can be found in the story of Air BnB among others and a list of such \u2018Beautiful Questions\u2019 can be found on Warren\u2019s site: A More Beautiful Question\nEven when students have an idea for a topic they can struggle to turn that into a project or to see the value in their idea. Going from an idea to a worthwhile research project, framed in terms that others will understand and value is not easy and is a challenge for PHD students, let alone sixth graders. To assist with this George Heilmeier working with Advance Research Projects Agency (the people who developed the internet) proposed a set of questions to be used to frame all projects submitted for research grants. Known as the Heilmeier Questions this set of prompts will have students looking beyond the surface of their ideas and getting quickly to what is most important in their investigations.\n- What are you trying to do? State your objectives using absolutely no jargon. What is the problem? Why is it hard?\n- How is it done today, and what are the limits of current methods?\n- What's new in your approach and why do you think it will be successful?\n- Who cares?\n- If you're successful, what difference will it make? What impact will success have? How will it be measured?\n- What are the risks and the payoffs?\n- How much will it cost? (Time, money, resources, environmental costs, alternatives)\n- How long will it take?\n- What are the midterm and final \"exams\" to check for success? How will progress be measured?\nThe pay offs for getting personalised inquiry projects happening are significant as they can develop essential dispositions for the future while offering engagement enhancing opportunities through autonomy and investigations aligned closely with purposes that matter to the students. Ensuring the right level of scaffolding as students design their projects and gradually removing teacher direction towards the use of these ensures students develop mastery of the problem finding and solving process.\nBy Nigel Coutts", "id": "<urn:uuid:f4b5be81-d722-45d2-8411-79ebc43c7a7e>", "dump": "CC-MAIN-2017-17", "url": "http://thelearnersway.net/ideas/2017/1/29/helping-students-to-become-problem-finders", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121752.57/warc/CC-MAIN-20170423031201-00628-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9513322710990906, "token_count": 1211, "score": 3.640625, "int_score": 4}
{"text": "Storytelling is an important skill, having applications both in the classroom and in our daily lives. It\u2019s easy to take storytelling for granted \u2013 as adults we use it so often that we can forget that it was a skill that we had to learn.\nAnd what a useful skill it is, too!\nGrasping the basics of storytelling can help kids to develop their literacy, analytical, language and communication skills, as well as providing a natural platform for children to explore their imaginations and improve their confidence, both within small groups and even in front of a whole class or assembly. Reading stories aloud can help develop understanding and an appreciation for cause and effect, skills that can be applied to the wider world. These skills can then be further developed by encouraging children to tell their own stories, whether through words or pictures, and can feed into classroom activities like drama and music.\nWe think in terms of stories, and beginning to understand how stories work can be an important tool, enabling children to find new ways of interacting with others. You may overhear these stories being retold in the classroom, in the playground and at home!\nTelling, writing and reading stories as a class can provide a fun and effective way to look at a wide range of different topics in the classroom like history, culture and religion. Human history, after all, is based on stories. There is an enormous wealth of stories out there, just waiting to energise and inspire your class!\nWhy not build on the foundation of National Storytelling Week, which took place only a few weeks ago, and try some of these great storytelling resources in the classroom?\nEarly Years and Foundation Stage\nA set of worksheets and activities based on the story of the Gingerbread Man.\nA presentation of Little Red Riding Hood.\nA child friendly presentation of Punch and Judy.\nThe story of the Phoenix \u2013 presentation and printable pdf.\nGoldilocks and the Three Bears presentation.\nA good presentation introducing an activity getting kids to think about characterisation \u2013 by pretending to be a superhero! Based on the story of Robin Hood.\nThree playscripts based on Cinderella, the Three Little Pigs and Goldilocks and the Three Bears \u2013 great for engaging kids in drama \u2013 why not get your students to write their own versions?\nFabulous sequencing activity for Jack and the Beanstalk.\nA fun activity aimed at getting kids thinking about characterisation: Wanted Posters for your evil characters.\nKS2 Lesson Plans\nA thorough literacy lesson plan for the Myths and Legends topic.\nA series of planned lessons and activities aimed at encouraging creative writing \u2013 Describing Dragons.\nA who\u2019s who of ancient Greek legends \u2013 great for getting your students thinking about different characters.\nTheseus and the Minotaur presentation.\nThe story of Pandora\u2019s Box.\nA presentation of the story of Arachne the Weaver.\nThe story of Persephone and Demeter in a short, well written presentation.\nThe story of Perseus and the Gorgon\u2019s Head \u2013 a great way to get kids reading aloud in class, and a good start to a play or assembly based around the tale.\nA great creative writing worksheet encouraging kids to develop their own characters.\nA series of lessons developed by Nuffield Primary History using Greek Myths as a means of thinking about the way history is written.\nA great worksheet aimed at planning and writing a really scary story.\nAn interactive whiteboard activity where students are encouraged to write their own quest story \u2013 looking at description and characterisation\nGeneral Resources \u2013 Storytelling Around The World\nIf you\u2019re looking for a wider range of stories, take a look at World of Tales \u2013 this is a wonderful online resource with a wealth of stories for children from all around the world. Here you can find hundreds of traditional stories in a printable format, along with a selection of audio files and animated films retelling some of these tales.\nAncient China for Kids provides a great set of resources on Chinese myths and legends in the form of fact sheets, presentations and worksheets.\nMake use of full lesson plans for a unit on the generosity of spirit in folk tales from around the world, developed by Learning to Give.\nThis retelling of The Story of the Fire Owl, an Inuit folk tale was originally intended for a German lesson, but would work just as well as a tool for improving literacy skills and comprehension.\nApples4theteacher.com have a good range of Native American stories to share with your class \u2013 along with plenty of tips and resources on encouraging your students to engage with stories and start writing their own.", "id": "<urn:uuid:154e97b4-67fc-4f1f-8e35-d82efe2cf412>", "dump": "CC-MAIN-2017-17", "url": "http://www.newsanywhere.co.uk/storytelling-in-the-classroom-free-resources/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121305.61/warc/CC-MAIN-20170423031201-00510-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9391851425170898, "token_count": 957, "score": 4.40625, "int_score": 4}
{"text": "Written by Bethany Todd, in Collaboration with Laura Barr\nResearch shows that powerful things happen when we link elders and students. It\u2019s important for different generations to engage and interact. The purpose of inter-generational planning is to serve the community, build character and promote emotional health for both generations involved. Maurice Elias, Professor of Psychology and Director at Rutgers Social-Emotional and Character Development Lab, stated that Connecting young people to senior citizens \u201cis a win-win for both the students and adults involved, creating situations rich with emotions, perspective taking, and shared activity.\u201d\nThe Benefits of Connecting Elders and Teens\nSchools often provide opportunities for older students to mentor younger students, but teens also need opportunities to be the mentee. When teens build a meaningful connection with an elder it helps strengthen their social/emotional capacity and further connects them with the community. In these programs, seniors receive some much needed company and in return, youth gain energy, purpose, wisdom, perspective, and service.\nBayshore Home Care provides a list of additional benefits from these relationships:\n- Provide an opportunity for both to learn new skills\n- Give the child and the older adult a sense of purpose\n- Help to alleviate fears children may have of the elderly\n- Help children to understand and later accept their own aging\n- Invigorate and energize older adults\n- Help reduce the likelihood of depression in the elderly\n- Reduce the isolation of older adults\n- Fill a void for children who do not have grandparents available to them\n- Help keep family stories and history alive\n- Aide in cognitive stimulation as well as broaden social circles should a youth introduce technology into the life a senior\nUsing activities to structure student visits is important because they help teens to initiate conversation and comfortably engage. Bayshore Home Care also shared a fabulous list of activities that strengthen inter-generational relationships.\n- Storytelling. Swapping stories is a great activity and can help build a connection.\n- Learning skills. Many older adults have skills or talents that would be interesting for children. Perhaps your child could learn to weave, crochet, fish, bake, or even take care of animals.\n- Reading to each other.\n- Planning/preparing a meal (if applicable).\n- Scrapbooking. Establishing phone pals. This activity can connect older community members with children who are alone after school.\n- Talking about ethnic heritage. Share ethnic customs, discuss the meaning of a name in native language, or relate special stories passed down about culture.\n- Planting seeds or gardening. This illustrates the stages of the life cycle. A container garden can be created if bending or space are issues.\n- Weather watching.\n- Telling jokes.\n- Discussing hobbies and sharing examples.\n- Having the child teach the senior a new technology\nAccountability and Reflection\nNew York City Public Schools suggests that programs continually monitor and assess the visits by providing surveys, questionnaires, and observations. They also require that each student complete a daily exit tool as a way to reflect on the days activities. These types of opportunities for reflection help students to stop and think about what was learned or done during the visit. Without doing so, many students may forget. I\u2019m reminded of the book, The Freedom Writers Diary: How a Teacher and 150 Teens Used Writing to Change Themselves and the World Around Them written by The Freedom Writers, a group of high school students from Long Beach, California. The, then controversial teacher, gave the students very meaningful learning experiences, then asked them to write. The journal entries/diaries are so powerful. Teenagers lives were changed from their connections to literature and in some cases, elders, and their writing about it. What if journals of the students times at the senior center were published and left as a gift?\nFamilies Can Get Involved Too\nIf your teen doesn\u2019t have access to inter-generational programs such as this, consider serving at a senior community center as a family. Ask a senior care center what the needs of the elder community are, and consider how the whole family can get involved to help.", "id": "<urn:uuid:57acffd0-d769-4bca-a77f-7c55978de049>", "dump": "CC-MAIN-2017-17", "url": "http://emergingconsulting.com/2017/04/04/connecting-elders-and-teens-the-value-of-inter-generational-programming/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121893.62/warc/CC-MAIN-20170423031201-00040-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9482962489128113, "token_count": 861, "score": 3.5, "int_score": 4}
{"text": "Aesop\u2019s Fables (ages 11-12)\nFocusing on the Aesop fable \u2018The Tortoise and the Hare\u2019, this scheme of work also explores the origins of the Olympic Games and develops students understanding of basic of the Greek Theatre elements such as masks and chorus work. The concept of fables is introduced and their modern relevancy explored.\nThe scheme of work contains 6 drama lesson plans.\n- Lesson 1: What is a Fable? Explores students understanding of Fables and develops them as drama pieces using Frozen Pictures and Forum Theatre.\n- Lesson 2: The Tortoise and the Hare. Teaches students how to use \u2018thought tunnel\u2019 and \u2018voices in the head\u2019 techniques, supported by masks of the two characters. Masks are included!\n- Lesson 3: A Day in the Life. Explores the building of character profiles, examining personalities and traits through flashback and narration.\n- Lesson 4: The Animal Olympics. Lively and energetic lesson, using three team games (M&M Relay, Under/Over Ball Race and Guided Creature) to help convey the excitement of the Olympic ideals of competition and participation. Culminates in a podium and winner\u2019s photo!\n- Lesson 5: The Big Race. Prepared class improvisation, including thought tapping, narration, chanting, and interviews to cover the sporting challenge between Tortoise and Hare. Ends in a class tableau.\n- Lesson 6: Performance Assessment. Exploration of the modern relevance of fables, with students using a range of techniques to create and perform original scenes.\nSupporting materials include\n- Aesop\u2019s Fable: The Tortoise and The Hare\n- Masks of Tortoise and Hare\n- *New*Cover lesson handout\nAdditional resources are included in the appendices\n- Basic Drama Skills\n- End Of Unit Self-Assessment Form\nThe scheme of work is supplied as a PDF file, readable on most computers.\nMore Lesson Plans\nDrama inspired by the tale of a metropolis under siege! (Year 7)\nActive unit featuring the lost boys, Captain Hook and a ticking crocodile. (Year 7)\nEntertaining stock characters with Ali Baba and the Forty Thieves (Year 7)\nFrom cave paintings, flags and flashlights to the telephone (Year 7)\nUsing bullying issues as a backdrop for drama education (Year 7)\nDrama scheme set on that fateful night to remember in 1912 (Year 7)\nCreating drama using social and economic issues and tensions (Year 7)\nCharacter development using the traditional Chinese legend (Year 7)\nThe Tortoise and the Hare and the origins of the Olympics (Year 7)\nIntroducing facial expressions, gestures and body language (Year 7)\nPhysical drama based on the tales of Pirates and lost treasure (Year 7)\nSpend a night at the spooky, haunted house of Miss Screech (Year 7)\nDrama based on the issues and experiences faced by refugees (Year 7)\nLearn mime using the magic of Charlie Chaplin and The Kid (Year 7)\nIntroducing new students to a range of drama techniques (Year 7)\nMysterious new neighbours, clashing cultures, alienation and bullying (Year 7)\nMagical drama unit inspired by the legendary Arthurian wizard (Year 7)\nLongboats, Norse Gods and the Ride of the Valkyries (Year 7)", "id": "<urn:uuid:31eae1b9-78d0-46a3-b896-4c1547607b66>", "dump": "CC-MAIN-2017-17", "url": "http://drama-lesson-plans.co.uk/downloads/aesops-fables/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122720.81/warc/CC-MAIN-20170423031202-00216-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8756243586540222, "token_count": 725, "score": 3.984375, "int_score": 4}
{"text": "Novel Scene Arc Building\nOne of the main aspects that every author of novel needs to know is how to create the story arc. Whether writing a short story, or writing a novel, the main plot needs a story arc.\nThe story arc describes how the story line builds in tension, crescendos and drops to an end.This is true of both the main plot and any subplots that are developed within the story.\nCharacter arcs are arcs within a story that shows changes in a character through the course of a story.. The character begins with normal life, is faced with a crisis, and changes the crisis is changed with his or her involvement with that crisis.\nIn addition, to be effective, every good scene should have its own arc.\nUse the Arc to Determine Why A Scene Is Necessary?\nEvery scene should have a beginning, middle, and an end. A scene that pointlessly meanders should be edited out or fixed so that it does have these characteristics. If you look at the length of scenes in popular fiction, you will see that many of the scenes early in books are longer so that the reader can get to know the characters. In later scenes that require less set up contain more action and tend to be shorter. The scene should be only as long as it takes for the focal character through the arc of the scene. In general, however, the average scene is about three pages long. Your scenes can be anywhere from a few sentences long to twenty pages in length.\nAs you build your scenes, determine an objective for the scene. How does this scene move the story forward? Where does it begin? Where does it lead? In other words, what problems does this scene create for its characters?\nUse the Arc to Show Your Characters In Action\nIn your earlier scenes, many of the scenes will be character development which will allow the reader into the mind of the character so that he or she can begin to identify him or herself with that character. However, the scenes still need to have an objective of its own. For instance, early scenes in your store will probably show day-in-the life events that and these are meant to show you how life was before the story began.You don't want to just tell about the characters, you want to show the characters in action.\nLet\u2019s say that the scene is of a family coming together for the evening meal. The beginning of the scene could be putting the meal on the table and gathering the characters around the table, the middle can be talking at the table, and the end of the scene can be a crisis that causes everyone to leave, leaving mother to clean up the dishes at the table alone.\nThis scene should have one focal character that enters the scene wanting something and thus changing the state of things. For instance, perhaps the above scene and the members of the family are talking about the new neighbor that moved in down the road. While sitting there, there is a knock at the door. It is the new neighbor saying that their stud horse has broken down the fence between the two properties. This is the crisis that occurs and everyone runs out of the house. Mother is left to clean up the mess alone.\nBe sure to have one focal character per scene. In the scene above, the focal character was the new neighbor even though he was not in the room. This doesn\u2019t mean however, that you must limit the viewpoint to a single character. Characters can be switched to help give better tension and emotion. Be sure, however to use the character viewpoints that are most likely to be emotionally at stake in this specific scene. For instance, perhaps the mother had met the man previously in the day and she was strangely attracted to the new neighbor, you may want her viewpoint. Perhaps the teenage daughter had the same sort of romantic interest. Perhaps the man of the house had an unpleasant encounter with the neighbor earlier in the day and it had something to do with that stud horse. Point of view could be from (any or all) of these characters point of view. You could also have the point of view from the view of the grandmother who observes the reactions of all of these other characters. Play around with point of view to see what creates the best tension in the scene. The more tension, the more likely the reader will turn the page and eventually finish the book.\nUse the Arc to Determine What The Characters Want\nMake sure that in each scene every character wants something and set up the conflict so that your main character does not get his or her objective very easily.\nPerhaps your main character is the mother, and she really does not want to hear about this new neighbor because her attraction to him reminds her of the fact that she married her husband when she was young and she imagined that marriage was a happily ever after experience. Now, many years into the marriage, she is disillusioned and bored. She has very little in common with her husband except that they have children together. She knows that she is unhappy, but she is afraid of change. She tries to redirect the conversation to center upon family issues,rather than this new neighbor who sets her heart to pounding every time he is in the room.\nBy looking at what your characters want in every scene will help you avoid conversational filler where dialogue is flat or where the dialogue turns into character centered narration designed only to expose the plot.\nUse the Arc to Emotionally Orient the Reader to Place and Time\nMake certain that the reader knows the when and where of the scene. Give vivid details to set the scene. Don't just tell the place and time make the reader feel as though he or she is in the scene like bug on the wall. The reader wants to become emotionally invested in the scene. Use word imagery that creates tension and emotion. Strong emotions like fear and emotional pain keep readers intensely invested in what happens to the characters.\nUse the Arc When Dealing With Backstory In a Scene\nAs you introduce each of your characters, weave in details for your reader to get to know the characters as the story goes on.. Be careful not to simply dump your character\u2019s description into the story, but weave in the details between lines of dialogue and action.\nBe sure that your best scenes occur in the \u201cnow\u201d rather than in flashbacks. Flashbacks take the story backwards. If the best story is from the past, perhaps you need to begin your story then rather than now.\nWithin a scene, you want to show your characters in action so that the can relate to that character better. Imagine that you were filming the action in the scene. Picture and write what the characters are doing as well as what they are saying. Make the visuals interesting.\nAll stories require some background about the characters, but weave bits and pieces of your backstory using a couple sentences at a time rather than in long narrative descriptions of past events. Developing character backstory may be necessary for you to learn about who your characters are and why they react the way they do in a scene, but in your story, use only the backstory that is pertinent to the story that you are telling. It doesn\u2019t matter that the mother in the scene above grew up on a sugar plantation in Louisiana. What does matter is how growing up on a sugar plantation affects the way she conducts herself now. Her fussing with her daughter over the proper table setting, her southern accent are all evidence of her southern style without going into the details of her backstory. Dumping backstory into the story kills momentum and destroys pace.\nAvoid plot exposition where the character\u2019s speak about past events in order to let the reader know what happens. This practice is sometimes worse than having a narrator tell the reader what is happening. A line or two of exposition will not ruin pacing, however and may help the reader understand character motivation without compromising the story by contriving the scene.\nWithin Each Scene Arc, Solve One Problem By Creating Two More\nAs your story builds, do not resolve a focal character\u2019s issues without introducing two or three more. These can be small issues or big, but keep the reader wondering how the character will get out of this new problem.\nOne technique that I like to use is what is the worst thing that could happen (usually short of death, but sometimes even that is on the table)? What is the worst thing that could happen? I then look at all the options short of that worst-case scenario. Fix one problem but add two more, make the reader want to turn the page to see how the character will contend with those problems in subsequent scenes.\nWhen Using an Arc, Always Keep Characters In Character\nIn each scene, be sure that your character is acting in character. Do not let your scene appear to manipulate your characters to make certain events occur simply to propel the plot. If you do that, the reader will not believe the scene or will simply see the characters as puppets rather than real human being. Ask yourself, \u201cHow would this character act in this situation?\u201d Set up the situation, the problems, and then let the characters deal with those issues. Let the character determine how the scene will play out and the characters will appear to be living out a real scene. As the scene ends, begin the transition into the next scene and get ready to start another scene arc. By linking each of these scene arcs together, your story will build scene arc by scene arc, building story arc and creating a novel that your readers will not be able to put down.\n\u00a9 2013 Donna Brown", "id": "<urn:uuid:dfa33cbd-6be5-4183-a482-805988f04aba>", "dump": "CC-MAIN-2017-17", "url": "https://hubpages.com/literature/Novel-Scene-Arc-Building", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123276.44/warc/CC-MAIN-20170423031203-00513-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.969306230545044, "token_count": 1953, "score": 3.90625, "int_score": 4}
{"text": "Methodology encourages students to practice language skills and life principles\nOnce an ELL student herself, Cynthia Valdez knows how vital it is to build positive relationships between students and teachers. When she began her position as a kindergarten bilingual teacher, she had the desire to develop the same supportive learning environment she had experienced as a student.\nIn the summer of 2008, Cynthia began Great Expectations training. The program gave her the tools to ensure every student receives the affirmation and support they need to be confident in the classroom.\n\u201cGreat Expectations encompasses everything that a great teacher should do,\u201d said Cynthia. \u201cThe training provides a specific guide to create an inviting atmosphere where students are never judged by who they are or how they learn.\u201d\nThe Great Expectations mandate at Roth Elementary School has made Cynthia\u2019s ELL students comfortable with learning and growing from mistakes.\n\u201cYou Should\u201d and \u201cYou Can\u201d\nThe Great Expectations training focuses on goals and possibilities, rather than limitations. This is one of the reasons that Great Expectations works so well in Cynthia\u2019s classroom.\n\u201cRules often use negative language such as \u2018don\u2019t,\u2019 but the Eight Expectations tell students they should and they can,\u201d said Cynthia. \u201cThis is incredibly important in a bilingual classroom.\u201d\nThe first of the Eight Expectations for Living states, \u201cWe will value one another as unique and special individuals.\u201d This expectation is especially applicable to Cynthia\u2019s classroom as her ELL students realize differences in learning from their monolingual peers. Cynthia regularly reminds her students they have equal opportunities to learn and should value their unique backgrounds.\n\u201cMy students know that I\u2019m there to guide their transition from language to language,\u201d said Cynthia. \u201cMaintaining positive attitudes in the classroom makes a powerful difference in how they approach learning.\u201d\nBuilding language skills is a top priority in Cynthia\u2019s classroom. In addition to giving students the tools to build self-confidence, Great Expectations sets standards that help students practice language.\n\u201cOne of the 17 Great Expectations practices is to speak in complete sentences and address each other by name,\u201d said Cynthia. \u201cThis requirement really helps my students improve their language and conversation skills.\u201d\nThe combination of character development and academic rigor leads to success in Cynthia\u2019s bilingual classroom.\n\u201cI know what it\u2019s like to be fearful of saying the wrong word when translating from Spanish to English as well as from English to Spanish,\u201d said Cynthia. \u201cBecause of Great Expectations, my classroom is a safe zone where students aren\u2019t afraid to express themselves, even if they don\u2019t know exactly what to say.\u201d\nPosted on Tue, April 19, 2016\nby Greg Boyles", "id": "<urn:uuid:7d9ef196-e259-4f42-bd3d-95e1da9ef25b>", "dump": "CC-MAIN-2017-17", "url": "http://greatexpectations.publishpath.com/great-expectations-builds-confidence-for-ell-students-at-texas-elementary-school", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121893.62/warc/CC-MAIN-20170423031201-00041-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9547890424728394, "token_count": 597, "score": 4.0, "int_score": 4}
{"text": "Every Living Thing\nAuthor: Cynthia Rylant\nSummary: This book consists of twelve short stories, each one depicting a moment when a person's life has changed, each one involving an interchange between an animal and a human being.\nIntroductory Notes: Because these stories are short and the vocabulary is easy, students may enjoy reading them independently, listening to the teacher read them, or taking turns reading them aloud. Teachers will probably not want to use them all but may want to choose a few followed by an open or directed class discussion.\nThe following teaching suggestions pertain to four of the short stories. Note, however, that many ideas for one particular story could be adapted to another story In the collection. Teachers should be careful not to overwhelm these little stories and their impact by assigning too many follow-up activities, since they are not fully developed novels and could easily be overtaught.\nTeachers may want to open the discussion by asking the students what they think might be meant by the title. The teacher may then turn to the dictionary and read various definitions, relating each to what has been offered by the class.\nWe suggest using the attached form describing the technique of a DR-TA (see attached form), stopping at the following places:\nStudents may want to follow the reading of the story with a discussion about retirement. Teachers may ask students to reflect, then write about the issues of aging and retiring from formal employment, of when retirement is a healthy and good thing, and when it is a negative.\na.Pre-reading: Tell the students they will make up a story based on specific words. After writing a story, they will read the Rylant story and see how similar or different the two stories are from each other.b.Present the words on page 4. Tell the students to use all the words and especially to use them in the given order. (A small group of students could work together in constructing the story, or they could work individually). Allow writing time.\nc.Read the story or stories together.\nd.Ask the student or class to read the Rylant story.\ne.Discuss how the two stories differ. Make SURE that you don't use language that gives the idea that the author's story is the \"right\" answer. Many different stories can be created from a given list of words.\nf.Ask the student(s) to respond to the Rylant story either in writing or in discussion. Did they like it? Why? Why not? What do they think about Jack? Will Jack stay on the wagon?\nWe suggest using a DR-TA (see attached form), asking the students to stop\nTeachers may want to suggest the following ideas for journal writing:\nb.Students may want to write about a time when a parent's decision surprised and delighted them.\nc.Students may also want to think about why we change our minds (and why Mr. Lacey changed his) and what kind of evidence we find persuasive.\nd.Students may simply prefer to respond to the story by writing about individual topics.\"Shells\"\n1.Many readers find this story the most moving in the collection. We suggest using a DL-TA (see attached form). As a follow-up, teachers may want to discuss the idea of symbolism. How does the image of the crab coming out of the shell relate to the aunt? To the boy?\n2.Teachers may want to focus on character development by doing the following.\na.Ask each student to divide a sheet of paper in half lengthside. Label one half \"Michael\" and the other \"Aunt Esther.\"\nb.Read the story aloud (or ask students to read silently), stopping four times:\nc.After each stop, ask students to make notes on their charts about each character's personality. Starting with the second stop, students may wish to revise their previous ideas based on additional information from the story. After their notes are complete, ask each student to talk with a partner about the characters.\nd.Possible post-reading activities include:\nI .Teachers may want to close the teaching unit with a discussion on the following statements, asking students to agree or disagree, asking them to draw on the stories for their proof or evidence. Teachers may also use these statements as writing prompts, asking students to write one paragraph using evidence from the book and a second paragraph with evidence from personal experience.\n2.Many ABE programs encourage students to write their own stories and books and tales and even publish them through small presses. These very short stories may serve as models of the kinds of stories our students are capable of writing. However, it is often very difficult for students, as well as teachers, to see how to revise a piece of creative writing and to pinpoint which elements are the ones that move a story from mediocre to very well told. Three elements that students and teachers could jointly explore are\n3 .If the students enjoyed reading short stories, you may want to steer them next to another Appalachian writer, George Ella Lyon, and her powerful set of stories, Choices. Or if your students would like to continue to read more by Rylant, you may want to look at her picture book An Angel for Solomon Singer with them as a class and analyze the similarities between the theme of the picture book and the theme of several of the stories in Every Living Thing. You may want to steer them on to Rylant's A Couple of Kooks and Other Stories About Love or to her short novel Missing May.\nThree of these stories, \"Retired,\" \"Stray,\" and \"Shells\" were field tested in a rural ABE program with a small group of both men and women, including an ESL student and a seventy-two-year old. \"Shells\" has also been used with a large group of adults. \"Drying Out\" was used in a one-on-one situation with a thirty-five-year-old man in an urban program.\nIn the field-testing for \"Stray,\" \"Retired\" and in the several times \"Shells\" was field tested, teachers followed up the students' predictions of what they thought would happen with lots of probing, with the intent of getting students to verbalize what they were thinking and why, and of demonstrating that good writing either prepares us for what is about to happen or surprises us for a specific reason.\nIn the field testing for \"Drying Out,\" the teacher took dictation under letter b.\n1 .In all cases the students reported that they enjoyed the stories, and the teachers reported their delight with finding accessible, short, and good quality stories to present to students.\n2.In the field testing of \"Stray,\" one student--a solid reader--reported that the DR-TA felt confining and that the story was so good that she couldn't stop at the right places.\n3.The individual student who field-tested the method under \"Drying Out\" was hesitant at first, claiming that he couldn't write a story and his would be lousy compared to the \"real\" story. As he continued to brainstorm possibilities from the word list, he became more comfortable and at the end was quite proud of his efforts. He expressed amazement that his story and Rylant's could be so different even though the same elements were present.\nNew York, Macmillan, 1985. ISBN 0-689-71263-4 (paper)\nABLE teachers can order this book from Book Wholesalers, Inc. for 40% off list price.\nFor other recommended books, see Recommended Trade Books for Adult Literacy Programs, available from ABLE Directors, public librarians, or online http://literacy.kent.edu/eureka/tradebooks/index.html. Call the OLRC for details.", "id": "<urn:uuid:906b8878-5add-4835-a650-d9aee0483eb9>", "dump": "CC-MAIN-2017-17", "url": "http://literacy.kent.edu/Oasis/Pubs/0300-15.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123530.18/warc/CC-MAIN-20170423031203-00278-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9691239595413208, "token_count": 1614, "score": 3.875, "int_score": 4}
{"text": "Here's the way Lawrence Surtees of the Globe\nand Mail describes the structure of a news story:\nlook at a recent daily newspaper (in print or on the Web) and\nlook at the front page. Scan several stories briefly.\nhow different the news is and the stories they tell, it doesn't\ntake long to realize they all seem similar.\nNews stories are organized in much the same way.\nOnce you learn how they are organized, they will be much easier\n- The first paragraph\nis called the LEAD or LEDE (pronounced as in \"to lead\")\n- The rest of the\nstory is called the BODY, which generally backs up the LEAD.\n- And, finally, as\nwith any good story, there should be a pithy ENDING.\nThe structure of a news story is often referred to as the inverted pyramid. That is because\nthe main, and most important, point is contained in the first\nsentence. The rest of the story contains elements of less importance\nas the reader nears the bottom.\nThe inverted pyramid arose during the era of movable lead\ntype. It allowed editors and composers, who laid out columns\nof type set stories, to trim a story quickly at the last minute\nfrom the bottom up. The replacement of hot type with computers\nhas made it easier to edit a story to fit its allotted space\non a newspaper page -- and eased the strictures about news story\nThe rules of newswriting have relaxed over time and different\nstyles are popular with various newspapers. But many reporters\nstill use the inverted pyramid technique to organize their stories\nand ensure that the most important information goes at the beginning\nof the story.\nhow it works:\nThe lead is the opening sentence/paragraph which\nsummarizes the basic facts of a story and conveys to the readers\nwhat you, the writer, found out in your reporting. But it must\nbe more than just an opening to your story. The lead must also\ncatch a reader's or listener's attention and make them want to\nread the rest of your story.\nJournalists are taught a simple rule about basic news leads,\ncalled the \"5-W's.\" They\nare: Who? What? Where? When? Why?\nA sentence or paragraph that gives a reader the answer to all\nthe five W's will automatically summarize any story.\nThere are many other kinds of news leads, but they all fall\ninto two categories: \"hard\"\nleads and \"soft\" leads.\nThe choice depends on the nature of the story and determines\nthe form of the rest of the story. A\nhard lead is suited for an urgent, breaking event, while a soft\nlead is more indirect and suited to feature writing.\nA hard lead:\nCanada and France don't reach an agreement on fish quotas by\nSept. 30 Ottawa will unilaterally impose one, Fisheries Minister\nJohn Crosbie says.\n-- St. John's Evening Telegram, Sept. 16, 1992.\nA soft lead:\nBryan Adams spoke and the\n\"Be good to Osoyoos,\" Adams\ntold the crowd of 30,000 who gathered in the Okanagan town Sunday\nfor the only B.C. stop in his Waking Up the Nation tour. \"Osoyoos\nhas been good to you tonight. So have a good time and don't wreck\nThen the clean cut kid from North Vancouver gave the fans what\nthey had come for.\n-- Vancouver Sun, Sept. 8, 1992\n2. Body of the Story\nThe rest of a news story is called the body. In a\nhard news story, the body supports the lead and in the classic\ninverted pyramid style is organized so that the facts and quotes\nare written in declining importance.\nAfter the lead, a story may have a theme paragraph that spells\nout the theme or sub-themes in greater detail. The story then\nproceeds with sections that explore the theme and sub-theme in\nmore detail, and in order.\nIn addition to the writer's narrative, each sub-theme is backed\nup with background facts and relevant quotations that you have\nselected. Remember that readers want to know who said something\nthat appears in quotation marks, so identify the speaker. And\nthat means asking permission and making sure you know how to\nspell a source's name correctly.\nThe body of a story can\nbe written in other ways that depart from the inverted pyramid.\nOne form is called the hourglass, which tries to retain the suspense\nof traditional fictional storytelling.\nA story should proceed in a natural and CHRONOLOGICAL order.\nSticking to a logical order will make it easier to write the\nstory, as well as to allow you to keep track of your ideas and\nmaterial. Don't jump back and forth and keep paragraphs short\nand simple -- one idea at a time.\nAfter you write down a lead, begin the body of the story with\na brief point-form outline. An outline is real simple, especially\non a personal computer, quick to start, helps organize your thoughts\n-- and allows you to remember all the great stuff you want to\nput in your story.\nNewswriters also refer to a story's \"flow\".\nWriters don't just plop down a string of ideas and sub-themes,\none after another. You have to string them together, which you\ndo by writing \"transitions.\" Those come at the end\nof one idea and relate that thought or statement to the next\n3. The Ending\nInverted pyramid stories don't need a strong ending\nsince those hard news stories simply end when there is nothing\nmore to say. But other kinds of news stories often need a good\nending. And as with any other kind of writing, the ending can\nbe as difficult as the beginning.\nOne way to end is with a \"kicker,\"\nwhich is often a catchy quote. Another effective ending is to\nconclude with a quote or anecdote that relates the story back\nto the main theme and leaves the reader thinking about the essence\nof the story.\nAvoid preaching or lecturing at the end of the story. It is\noften hard to resist, but if the story is told well, the quotes\nand facts that a newswriter chooses will allow the reader to\ncome to the same conclusion on their own.", "id": "<urn:uuid:2d1d18f9-5b4e-4f06-bd39-011534735aa0>", "dump": "CC-MAIN-2017-17", "url": "http://www.snn-rdr.ca/snn/nr_reporterstoolbox/invertedpyramid.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123491.68/warc/CC-MAIN-20170423031203-00571-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9396592378616333, "token_count": 1342, "score": 3.859375, "int_score": 4}
{"text": "The Well-Rounded Lesson: History and Common Core Math Come Together As Teachers, and Students, Collaborate\nTry this teacher-created lesson on OER Commons: \u201cCross Curricular Approach to the Child Labor Practices of the 1800s and 1900s Industrial Revolution\u201d\nTeachers embodying instructional leadership\u2014this is the ultimate goal driving ISKME\u2019s work bringing teachers together across subjects to support each other\u2019s professional learning around Common Core instructional shifts. ISKME\u2019s project, Teachers Advancing Common Core Learning, supported by the Bill and Melinda Gates Foundation as part of their Teacher Practice Networks initiative, assists cohorts of three teachers, one each from ELA, math, and either social studies or science, to work together to align learning to Common Core literacy standards, and to develop student skills related to inquiry and building evidence across the disciplines.\nThe cross-curricular collaborative approach is facilitating change in teaching practice, with the focus on increasing student engagement with core content and building close reading, inquiry, and critical thinking skills. What we have observed among the participating teachers is engagement with openly available resources, the creation of their own original lessons from a deeper familiarity with the intentions behind the Common Core standards, and a strengthened commitment to sharing and collaboration with peers across subject areas.\nCollaborating on Integrated Lessons\nShelley Arca, social studies teacher at Horner Jr. High in Fremont, CA, is a teacher participating this cross-curricular project. Shelley\u2019s two colleagues, Navpreet Bedi, ELA teacher, and Victoria Birbeck, math instructor at Horner, jointly constructed an integrated lesson and set of classroom activities, described by Shelley:\n\"When I found out about the opportunity to create a cross-curricular unit with two of my fellow colleagues, not only did I gain greater insight about the curriculum, but I also discovered how engaged my students would become along the way. Having taught a particular unit for many years, I have frequently shared ideas and possible lesson tangents with my fellow history colleagues, never stopping to think that my English and math colleagues could also enjoy the same unit.\nNow I see that each unit taught in the social studies curriculum, using Common Core standards, can be applied to other subject areas. Not only will students see the interrelation of our complex unit across the curriculum, but this can also help reinforce key concepts to help build their understanding and mastery of the unit.\nThis work began easy enough with sharing of ideas between my fellow colleagues. After meeting for a two-day seminar in November 2014 with ISKME, we decided to create a unit focused on women and child labor based on the Triangle Shirtwaist Factory Fire of 1911. We named the unit, \u201cCross Curricular Approach to the Child Labor Practices of the 1800s and 1900s Industrial Revolution\u201d. As I prepared my assembly line simulation, I knew my goal was to reinforce the daily life of a factory worker. I also knew that my students would be reading testimony from the survivors of the factory fire with my English teacher fellow; while, in math, students would be measuring the distance, velocity, and momentum on the fire nets and ladders that had failed to save lives.\"\nImplementing the Lessons\nShelley continues, \"So that students did not work with their friends, I assigned each a group number as they entered class. In each group of 5-6 students, I selected one to have a family profile. A profile consisted of age, health, family structure, living conditions, and work history. Starting the simulation, I walked around to give each group some background information about one of their fellow workers. Playing the role of the factory owner, I assigned injuries to some workers, cut pay to others, and encouraged some to work faster. I observed students creating their own backgrounds after learning about another's. After the simulation ended, I held a debriefing with the class.\nWhat I learned from this work has immensely changed the way I create lessons today. All of my students enjoyed the assembly line activity because they felt they were building a real-world product and learning to work with other students that were not necessarily their friends. Many were able to envision themselves as factory workers, sensing the struggle to work under those same conditions for 10 to 12 hours a day as a career. Reading eyewitness accounts of the original fire in their English class impacted these perceptions. They understood after doing the math work that the factory conditions did not provide a safe environment.\nThis experience showed me that lessons that keep students engaged and motivated offer rewards as well as challenges. First and foremost, I learned that students can grasp complex concepts and acquire knowledge at a greater rate when teachers teach together across the curriculum. Most students maintained focus, working in kinesthetic form amazingly during the simulation. I realized that students want to be involved in roleplaying in simulations and I will increase my lesson planning and research to accommodate this change. By working in sync with my colleagues, our students learned about this tragic and important historical event from different yet interrelated perspectives.\"\nShelley describes the \u201caha\u2019s\u201d and skills gained by students in social studies, English and math, as well as the impact to her teaching practice and professionalism. Not only does she apply her lessons learned to her individual classroom, but she hones her capacities to demonstrate instructional leadership across subjects and among colleagues to encourage creative, collaborative change. Her students experienced different perspectives, and different modes of investigation using primary source documents, such as informational text, data, stories, and by applying mathematical and physical science concepts to real world problem solving, with personal and social dimensions relevant to today\u2019s world.\nA truly well rounded lesson!", "id": "<urn:uuid:f22096b1-15cf-4e61-ae5b-fe0442ed4b5e>", "dump": "CC-MAIN-2017-17", "url": "http://iskme.org/our-ideas/well-rounded-lesson-history-and-common-core-math-work-together-when-teachers-and-students-", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123530.18/warc/CC-MAIN-20170423031203-00278-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9596976041793823, "token_count": 1167, "score": 3.53125, "int_score": 4}
{"text": "EPISODE 3: THE ART OF PERSUASION\nART, ADVERTISING AND PROPAGANDA\nThe role played by the art of sculpture, coinage and portraiture in the ancient world to celebrate the power of rulers has been taken up by advertising in our present time. Through public media like television, images of wealth, status and success are used to enhance ideas like honesty, courage, and common sense. Whether in a political advertisement or a staged \u201cphoto-opportunity,\u201d politicians, policies and events are packaged to represent the good intentions and skills of those who propose to lead us. In fact, all advertising is built around the creation of an image which can be understood as both a picture of something and an ideal representing some personal or social good thing: This or that politician tells the truth and is on your side. This product will make you beautiful and popular, the envy of everyone else. In fact, contemporary advertising often equates democratic ideals about the freedom to vote and express opinion with the consumer\u2019s choices about the quality, price and benefits of competing products. To be free is to make choices about the relative merits of products and leaders, life styles and laws.\nThe following activities incorporate the analysis of images and their accompanying text as used in print advertisements, the design of an advertising campaign for a commonplace object, and the invention of a fictitious political candidate and the development of his or her campaign theme, image, and logo, etc. The activities are not sequential and can be addressed individually.\n- Analyze images using several perspectives or entry points\n- Create images and develop accompanying texts that support a specific purpose or function\n- Assess the effectiveness of collected images and those of their own creation\nHomework; 1 classroom period\n- Advertisement collected from magazines\n- Drawing materials and paper\n- Access to photocopier\n- Using knowledge of structures and functions.\n- Students demonstrate the ability to form and defend judgments about the characteristics and structures to accomplish commercial, personal, communal, or other purposes of art.\n- Making connections between visual arts and other disciplines.\n- Students compare the materials, technologies, media, and processes of the visual arts with those of other arts disciplines as they are used in creation and other types of analysis.\nView images of Persian reliefs, the tomb of Philip of Macedon, and Augustus included in the Gallery, and discuss how they reflect the ideas described above and relate to contemporary advertising. (See Image Galleries)\nHOW DOES AN ADVERTISEMENT TELL ITS STORY?\nHave students bring magazine advertisements to class. Discuss the basic elements in an advertisement: picture, captions, description, logos, intended audience. How does the advertisement makes its case? What does it ask the viewer or consumer to believe or care about? What words does the advertisement use, how do they explain or emphasize the picture and vice versa? After this discussion, have students describe the design and messages in their ads.\n\u201cEXQUISITE AND IMPOSSIBLY RARE\u201d\nWhile a material like gold used in ancient sculpture was both scarce and beautiful, products that advertising asks us to buy are not always hard to find or unusual. Sometimes they are not even things we really need. It is advertising\u2019s goal to get us to believe in their value as things we might enjoy and need to have. Divide the class into groups, and assign each an everyday object, i.e. a spoon, toothbrush, rubber duck, pencil. The goal of each group is to create an ad campaign that will present their common object as something--whether rare, essential, glamorous or magical--that will change the lives of those that own it.\nMY CANDIDATE IS BETTER THAN YOUR CANDIDATE!\nWhat would you say about a political candidate to make him or her seem important, honest, intelligent, practical, brave, on your side? Divide the class into groups and assign each an ideal candidate represented by a photograph from a book or magazine. Each group should then name the candidate, and his or her party, and then imagine a campaign theme with ideas, slogans and a representative picture or logo. What does the politician promise and how will he or she accomplish their goals?\nOnce they have developed their approach, each student group should create two campaign posters: One picturing the candidate and campaign slogan, the other presenting his or her ideas. These should be photocopied and posted around school. Have students ask others at school for their response and then discuss in class the overall success or failure of the campaigns.\nStudent may wish to view again the images of Augustus included in the Gallery, noting how his image was developed and refined.\n- How Art Made the World: \u201cPersian Political Art\u201d (image gallery)\nHow Art Made the World: \u201cImage Power\u201d (image gallery)\nHow Art Made the World: \u201cAugustus Shapes his Lie\u201d (image gallery)\n- Art:21:Mediating Media\n- Art:21:Cartoon Commentary\nAbout the Authors\nToby Tannenbaum is currently the Director of Education, at the Los Angeles County Museum of Art. She was previously Associate Director of Education at The Museum of Contemporary Art, Los Angeles (MOCA). Tannenbaum has served as part-time faculty in the School of Critical Studies, California Institute of the Arts, as adjunct faculty in the School of Fine Arts and the School of Education at the University of Southern California, and as an assistant professor of art education at California State University, Los Angeles.\nPaul Zelevansky is an artist and writer living in Los Angeles. He has published widely on the use of text and image, web art, popular culture and educational and aesthetic theory and has taught at several schools in the Los Angeles area on visual culture, artists books, design and art history. His website greatblankness.com is a collection of flash animation loops which explore language, philosophy, and storytelling.", "id": "<urn:uuid:873b7d50-6f66-40c6-9e29-b6d1d8c2e976>", "dump": "CC-MAIN-2017-17", "url": "http://www.pbs.org/howartmadetheworld/resources/lesson3/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119225.38/warc/CC-MAIN-20170423031159-00334-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9437465071678162, "token_count": 1232, "score": 3.59375, "int_score": 4}
{"text": "Planning your next fiction reading unit will be a breeze with this \"plug and plan\" unit!\nThis unit focuses on the concepts and topics important to teaching fiction, yet can be used for any book, or even using multiple books. The unit is simple to customize for your class. Simply choose the book(s) of your choice, whether it be one chapter book, or several pictures books that you would like your students to read. Then, apply each lesson topic to the book you are reading.\nThe following concepts are taught in this unit:\n1) Fiction vs. Nonfiction (introductory lesson)\n2) Types of Characters\n3) The Story Mountain (the structure of a fictional plot)\n4) Point of View (1st person vs. 3rd person)\n5) Finding a Theme\n6) Types of Conflicts Found in Fiction\n7) Character Development\n8) Small Group Discussion (talking about the book!)\nThe unit is aligned with CCSS for grades 2-5 (outlined in each daily lesson plan). The lessons are shown in a suggested order, but could easily be rearranged to best support your book(s).\nIf using a chapter book, teach all 8 lesson with the same book.\nIf using picture books, use several books throughout the unit to teach each of the lesson. You can easily revisit previously taught concepts using each book.\nThe unit can also be used in a whole-group or small-group setting, depending on how your reading block is structured. Find lots of detail in this unit on how to teach this unit in a way that works for you!\nThe following resources are provided in this product to help you organize your unit:\n1) 8 detailed teacher lesson plans (topics listed above) - Each lesson plan included the student objective, CCSS for grades 2-5, materials needed, teacher preparation instructions, and details on how to conduct each lesson.\n2) Student activity packet (25 pages) - with activities to go along with every lesson. Pages can be used with any book!\n3) 45 anchor slides provided in SMARTBoard, PowerPoint, PDF, and PNG image files to help teach each concept.\n4) 48-piece EDITABLE bulletin board set to fit any book you are teaching!\n5) 18 discussion prompt cards to be used in small group discussions about the book(s) you are reading with your students\n6) Teacher planning guide templates to help you customize the unit for your specific book.\nUse this unit over and over with different books! Check out the preview with a fabulous snapshot of everything you will be getting!\nYou may also be interested in my Teaching Nonfiction\nOther reading units you may be interested in:\nDonavan's Word Jar\nDear Mr. Henshaw\nGeorge Washington's Socks\nBecause of Winn-Dixie\nThis unit has a very similar layout if you would like to see how this fiction unit could be applied to a book!", "id": "<urn:uuid:9de11163-2d41-439c-a58a-3a5fbd96d63e>", "dump": "CC-MAIN-2017-17", "url": "https://www.teacherspayteachers.com/Product/Teaching-Fiction-Unit-Use-With-ANY-Book-Picture-OR-Chapter-2264458", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123484.45/warc/CC-MAIN-20170423031203-00220-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9109616875648499, "token_count": 611, "score": 3.703125, "int_score": 4}
{"text": "Learn something new every day\nMore Info... by email\nLatin American literature is the written account of the trials and triumphs of the Latin American people. The literature focuses on the personal, social, or political struggles of the average citizen. Latin American writers are responsible for introducing new literary genres such as magical realism and the philosophical short story. Its popularity with the rest of the world grew from the 1940s on through the 1960s literary boom.\nThe first novels began to appear in Latin American literature during the 19th century. Early writers posed questions about national identities or whether European customs should replace local traditions. Jose Hernandez, an Argentinean writer, wrote the first Latin American epic poem during this period. The poem, \u201cMartin Fierro,\u201d criticized the Argentinean president\u2019s modernist policies and highlighted the importance of the gaucho to Argentina\u2019s national identity.\nThe late 19th century ushered in the period of modernismo in Latin American. Modernismo refers to the modernist movement that was occurring internationally at this time. Ruben Dario\u2019s poem \u201cAzul\u201d was the first poem published and read outside of Latin American society. One of the most influential writers during this period is Jorge Luis Borges, who created the genre of philosophical short stories.\nAfter World War II, Latin American literature experienced a boom period, and the rest of the world began to take an interest in Latin American writers. Writers experimented with new literary styles and writing techniques, with a focus on universal and metaphysical themes. They found inspiration for their works from Jorge Luis Borges and North American writers such as William Faulkner. The first literary magazines were produced and published to showcase new authors and poets.\nThe style most associated with Latin American literature during the boom period is Magical Realism. This form of prose incorporates and blends elements of the unbelievable or supernatural with elements of a more realistic nature. The purpose of this style is to give the reader a deeper understanding of realistic events. The style was popularized by Gabrielle Garcia Marquez after the publication of \u201cOne Hundred Years of Solitude,\u201d which has been hailed as one of the most important books from Latin America.\nContemporary literature in Latin America is more ironic, with less focus on magical realism. Writers had a strong desire to move away from magical realism and towards mainstream literary genres. Paulo Coelho is one of the most influential writers in contemporary Latin American literature. His book, \u201cThe Alchemist\u201d is a Brazilian best seller and is considered a modern classic.\nI adore Magical Realism as a genre and I'm so glad that it became an accepted way to present literary themes. Literature can be fairly dry and as a child I really preferred reading fantasy and science fiction. But, as I grew older I was dissatisfied with the exploration of human nature and of characters in general in those works. I still enjoy them, but literary works fill a need that they can't.\nMagical realism allows me to combine the two in a way that is very satisfying. And it explores the ideas that only seem to be touched on in other works. The short story A Very Old Man with Enormous Wings, by Gabriel Garcia Marquez, for example, doesn't\nhold back from showing what would actually happen if such a man appeared suddenly in a village. If the same thing happened in a fantasy novel, the result would be quite different. I'll always be grateful to South American authors for daring to write these sorts of works. It can't have been easy when they first did it.\nOne of our editors will review your suggestion and make changes if warranted. Note that depending on the number of suggestions we receive, this can take anywhere from a few hours to a few days. Thank you for helping to improve wiseGEEK!", "id": "<urn:uuid:2b9f043c-1c37-49d3-bc15-0c5588a97e79>", "dump": "CC-MAIN-2017-17", "url": "http://www.wisegeek.com/what-is-latin-american-literature.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120187.95/warc/CC-MAIN-20170423031200-00217-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9602400660514832, "token_count": 776, "score": 3.90625, "int_score": 4}
{"text": "Do your students waste endless time erasing whole sentences? Do they become discouraged when they look at their rough drafts filled with arrows, illegible notes in the margins, and ugly lines of scratched-out writing? Let\u2019s save them the pain by teaching them these handy, easy-to-use proofreading marks.\nI\u2019ve watched students in my writing classes scratch out whole sentences and rewrite them. They draw lines through words. They burn up their papers and crumble their erasers just to change something.\nThis is totally unnecessary.\nThere\u2019s an easier\u2014and quicker\u2014way to proofread that doesn\u2019t require a lot of rewriting, which should be good news to our students.\nThis is the last in a series of tutorials on grammar. In this one, you and your students will learn how to use these helpful proofreading marks.\nIf you\u2019re dying to know what the other grammar tutorials are about, click here for one on punctuation in dialog. (Tarzan and Jane help out on that one.) Click here if you yearn to know how to handle commas in compound sentences with coordinating conjunctions.\nAnd click here for the hard-hitting expos\u00e9 on where to put the comma, period, colon, or semicolon when using quotation marks. Here\u2019s a tutorial on a question I suspect you\u2019ve heard from your students about using question marks and exclamation points with end quotation marks (you know, do they go inside or outside?).\nFor the tutorial revealing the crazy fact that the word \u201ceveryone\u201d is singular, click here. And to finally put to rest your students\u2019 confusion about it\u2019s/its, you\u2019re/your, and others of that ilk, click here.\nAs with all the other tutorials, you get a super-duper package today: an infographic to teach the proofreading marks, an example of how to use them in a real paragraph, a exercise so students can fix someone else\u2019s mistakes, and the answers.\nProofreading marks are fairly universal and can be tremendously helpful to your students when they are editing their work. After your students complete their rough draft, have them print off the essay or short story. Reading the rough draft from a piece of paper catches more mistakes than simply reading the essay from a computer screen. Then students can apply the proofreading marks as tools to help them shape a better essay or story.\nThe following chart contains common proofreading marks used by all professional writers. For a PDF of this chart, click here.\nThe following image shows how to use the proofreading marks in an essay. For a PDF of this example, click here.\nProofreading Marks Assignment\nDirections: Use the proofreading marks to catch errors in spelling, punctuation, capitalization, and paragraphing, and to make the reading go more smoothly. Use a colorful pen so you can keep track of your corrections.\nProofreading Marks Answers\nYou can find another proofreading tutorial here. Students will proofread a letter to the editor that needs a lot of help!\nThis grammar tutorial is taken from The Power in Your Hands: Writing Nonfiction in High School by Sharon Watson, pages 158-160. To learn more about this course that will take the burden of teaching writing off your shoulders, click here.\nBefore I go, I want to let you know about a fascinating book I just read that makes history and the English language come alive. The book is King Alfred\u2019s English: A History of the Language We Speak and Why We Should Be Glad We Do by Laurie J. White. In fact, I loved it so much that I wrote a review for it, which you can read here. It is amusing, engaging, full of interesting facts, and will fit into your Western history, British literature, or Bible classes. Take a peek at it and consider using it in your homeschool. Believe me, your students will remember what they read in there!\nThanks for joining me these last seven week for this grammar-tutorial extravaganza!\nIf you found this tutorial helpful, be sure to spread the joy by using the Share buttons!\nYours for a more vibrant writing class,\nCopyright \u00a9 2010-2015 by Sharon Watson\nFrustrated that your students don\u2019t finish an essay or don\u2019t know the steps to complete one? Worry no more! Click here for my latest article in The Informer about a super-practical writing schedule you WILL use!\nWant daily writing prompts to tempt reluctant writers and delight eager ones? Find out more about Sharon\u2019s daily writing prompts posted on SchoolhouseTeachers.com under \u201cDailies\u201d or click here.\n|Check out the innovative The Power in Your Hands: Writing Nonfiction in High School for your complete high school writing curriculum needs. If you have a storyteller at home, try Writing Fiction [in High School] with hundreds of examples from popular fiction and classical literature.|\nGet your middle school student ready for high school with this popular writing curriculum from Writing with Sharon Watson, published by Apologia! Featured in Cathy Duffy\u2019s 102 Top Picks for Homeschool Curriculum, Jump In will prepare and even amuse your students as they learn the fundamentals of effective essay writing and storytelling.", "id": "<urn:uuid:4406cf13-5559-4b48-8de6-40b120b03cb5>", "dump": "CC-MAIN-2017-17", "url": "http://writingwithsharonwatson.com/using-proofreading-marks/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123635.74/warc/CC-MAIN-20170423031203-00042-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9220207333564758, "token_count": 1105, "score": 3.90625, "int_score": 4}
{"text": "The Video, \u201cIntroduction to Form Drawing\u201d is a visual tutorial by Diane Power that takes you on a journey from the very first steps of form drawing to form drawing in the upper grades. This video offers you the meaning behind the forms, lesson ideas, visuals on how exactly to draw the forms and tips on how to draw some of the more difficult forms. This video comes with a 23-page e-book, \u201cForm Drawing Basics\u201d.\nIn the video Diane Power talks about how form drawing is the first steps of geometry, how to progress into using more colors in form drawing, & what your very first form drawing lesson will be on the first day of first grade. She will also cover:\n*How to create the basic line\n*How to create the curved line\n*Activities to do before drawing the forms\n*The meaning behind the forms\n*Connection between geography and form drawing\n*Developing small motor skills\n*Specific types of crayons & pencils to use\n*Length of time to spend on forms & form drawing lessons\n*Form drawing with right & left hands\n*Body posture in form drawing\n*What finished work looks like\n*Form drawing off the paper\n*Spirals and their creation\n*Form drawing mistakes\n*Moods and form drawing\n*Form drawing as a transition activity\n*Verses & advanced activities for spiral forms\n*Stories & form drawing\n*Planning the entire form drawing lesson\n*Music cues and the form drawing lesson\n*Form drawing as a precursor to cursive\n*How form drawing helps with writing & penmanship\n*How much can the teacher help?\n*How form drawing relates to the themes of the grade\n*How to create metamorphic forms\n*Different stroke methods\n*Metamorphosis of a circle\n*Third grade forms & balance\n*Development of body orientation, body geography, inner visualization and observation\n*How to present the forms as a teacher\n*Shares notes of wisdom from her own teacher training that her teacher shared with her\n\u201cI just finished watching the How to Create a Main Lesson Book videos in the Teacher Support Package, and they are great! Thank you so much for providing them.\u201d \u2013 Karen Wright, Earthschooling Member\nThis amazing three-part video series takes you through the creation of a main lesson book from first through eighth grade. Waldorf teacher Diane Power shares her own main lesson books and describes the teaching process that went into each one. She covers the following topics and more in this video series:\n*How to choose a book & how to open it.\n*Creating borders & their importance\n*Pacing and the main lesson book\n*Why the student creates a main lesson book\n*Teaching techniques for the main lesson book\n*Frequently asked questions about main lesson books\n*How to fix mistakes\n*How to decide if the lesson should be modeled or student created\n*Teaching writing to first through third graders\n*Artistic -vs- scientific drawings\n*Creating more accurate maps\n*Using rulers and other tools\n*How much time to spend on the main lesson book\n*How to decide when the lesson is \u201cdone\u201d\n*Choosing a picture from the story\n*Working with multiple grades\n\u2026and so much more!\nIncludes: 1 PDF and 2 Videos\nThis 75-minute video from the Home and Hearth Conference in El Paso, TX received rave reviews from the audience and covers \u201cThe Five Stages of Storytelling\u201d, \u201cHow to Bring a Story Alive\u201d and \u201cWhere and When to Tell a Story\u201d. The accompanying lesson plans are designed to get children involved in storytelling and theater. The lessons can also be used all year in the classroom, in an enrichment school or as part of a homeschooling group. Lesson plans include theater games, many plays for children, stories, how to be a story-teller and MORE! As a bonus we have also included the short video \u201cA Waldorf Storytelling Garden\u201d as part of this package.\nThis is some of the feedback from the audience: \u201cI\u2019ve used both already with my children today with great results. I even used my new storytelling skills in Sunday school at church yesterday. I had a roomful of 7-12 year olds who had been so out of control during songtime the chorister was in tears by the end. But when I re-told the story of the lost lamb and the shepherd using some of the simple techniques Kristie taught us Saturday, I had them hanging on my every word. It was so amazing.\u201d \u2013 Rachel; \u201cI was really impressed at how well Kristie knows her topics! She spoke without notes and initially canvassed the attendees as to what each one wanted to cover. She deftly moved through the material and answered everyone\u2019s questions in an easy-to-follow manner! She made everything sound SO easy! \u2026Kristie didn\u2019t just leave us there, she carried on to explain how a beginner can work with one of the more advanced styles of storytelling if a particular story is really begging to be told!\u201d \u2013 Kimberly B. This video is free with the Teacher Support Package (at: https://earthschooling.info/thebearthinstitute/?wpsc-product=teacher-training-complete-package) and the Lifetime/Family Package (at: https://earthschooling.info/thebearthinstitute/?wpsc-product=family-curriculum-package-previously-called-lifetime-membership).\nCustomers say; \u201cThank you so much for this video! It was so useful to see what a Main Lesson looks and sounds like!\u201d \u2013 AN; \u201cDear Kristie, thanks so much for this video. I really can\u2019t tell you how helpful it is to see what a Waldorf lesson should look, sound, feel like.\u201d \u2013 BL. This hour-long video includes traditional main lesson teaching methods for the classroom as well as homeschool methods for the home or tutoring situation. The specific lessons shown are \u201cAncient\u2026\n\u2026Cultures:Ancient Greece: G5\u2033, \u201cAstronomy: G6\u201d, and \u201cSix Divisions of a Circle:Form Drawing: G6\u201d. However, the methods used in the form drawing portion are the same one would use for all form drawing lessons and the other lessons also use methods you would use in any Main Lesson you are giving to students in first through tenth grade. This is an essential video for any parent or teacher with a child in first through tenth grade. This video can be downloaded to your computer or Ipod and free tech support is provided if you need any help. These videos are free with the Teacher Support Package (at: https://earthschooling.info/thebearthinstitute/?wpsc-product=teacher-training-complete-package) and the Lifetime/Family Package (at: https://earthschooling.info/thebearthinstitute/?wpsc-product=family-curriculum-package-previously-called-lifetime-membership).\nStorytelling is an integral part of any Waldorf-inspired curriculum. In the early childhood classroom children experience the magic of stories told with small toys and play silks and enter a world of imagination. As children enter the grades they enter the world of storytelling as an adventure and inspiration through acting out stories with the teacher, dressing up and listening to fairytales, fables and more. In this video Robyn Wolfe shows you how to keep that magic alive when telling stories to children in 5th grade and up. In her demonstration she tells a story from the sixth grade Roman History block illustrating many techniques the teacher can use along the way including introduction of vocabulary, chalk drawing, facial expressions, story selection, hand gestures, voice and much more. Hone your skills as an expert storyteller with this wonderful tutorial. See a short sample below\u2026[s3sdld folder=\u201drobynshort\u201d bucket=\u201davicenna-storage\u201d width=\u201d550px\u201d thead=\u201dtrue\u201d securl=\u201dfalse\u201d]", "id": "<urn:uuid:3d528fd1-e50d-489f-bec6-dc83ee10cf5d>", "dump": "CC-MAIN-2017-17", "url": "https://earthschooling.info/thebearthinstitute/products-page/teaching-the-main-lesson/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118963.4/warc/CC-MAIN-20170423031158-00273-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9401454925537109, "token_count": 1731, "score": 3.734375, "int_score": 4}
{"text": "Each student defines, plans, creates, presents, reviews, and evaluates a creative project where he or she expresses a personal perspective, belief, value, or story in a creative medium of his or her choice, then evaluates the impact of the work on self and others.\nImpactful, creative self-expression projects engage students in developing a wide variety of skills, understandings, and mindsets. Successful self-expression learning projects often follow this process:\nStudents discuss creative works they have experienced that had a strong and lasting impact on them and what it was that made them such powerful and memorable personal expressions. They then develop a list of the characteristics of particularly impactful personal expressions.\nStudents reflect on the impact their self-expression projects had on others and themselves, how well they think the project process went, and what could be improved the next time they engage in a personal expression project.\nExpressing personal perspectives through creative writing, the arts, design and making, and other creative outlets can develop a wide variety of valuable skills and mindsets that support deeper learning, such as critical and creative thinking and problem solving; communication skills in a variety of media; project-related skills such as defining, planning, carrying out, and performing designs; learning from mistakes; improvising; and evaluating the impact of one's work. It can also spur the development of self-confidence, self-direction, and self-esteem.\nFollowing are the items you must submit to earn this micro-credential and the criteria by which they will be evaluated. To earn the micro-credential, you must receive a passing evaluation for Parts 1, 3, and 4 and a \u201cYes\u201d for Part 2.\n(200-word limit for each response)\nPlease submit work examples from two students (such as links to writing, audio, images, video, and other media) that demonstrate progress toward the expressing personal perspectives competency, including items such as evidence of discussions on what makes for compelling personal expressions, samples of student-developed personal themes, designs and plans from students\u2019 project notebooks, examples of student research and skills practice in their medium of expression, images or audio/video excerpts of actual performances or explanations of their project artifacts, reflections on what was learned from the personal expression project experience, or other relevant items.\nFor the two students whose work examples were included above, submit student-created reflections on their experience of the expressing personal perspectives project activities. Use the following questions as a guide (200-word limit for each reflection):\nProvide a reflection on what you learned, using the following questions as a guide (200-word limit):\nExcept where otherwise noted, this work is licensed under:\nCreative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)", "id": "<urn:uuid:6d77810f-31d1-48a9-939e-ef0ca76d2fda>", "dump": "CC-MAIN-2017-17", "url": "https://bloomboard.com/microcredential/view/9945d21e-14b5-42ce-996c-7fe2de235c6a", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119782.43/warc/CC-MAIN-20170423031159-00098-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9488437175750732, "token_count": 580, "score": 4.0, "int_score": 4}
{"text": "Today I will share a few websites that contain helpful resources and materials for teaching writing to young learners.\nThis collection of printables, graphic organizers, lesson plans, and activities helps teachers to build learner\u2019 creative writing skills. The resources include poetry writing activities, journal topics, art projects, short-story writing exercises, scoring rubrics, and other printable worksheets.\n2. Essay Punch\nThis online program offers a step-by-step model for writing an essay, including prewriting, writing, organizing, editing, rewriting, and publishing.\nThese resources aim at helping students improve their handwriting. They include learning to write letters with activities for each letter of the alphabet, mastering cursive and free printable books on cursive handwriting, penmanship practice with social studies themes, and exercises for improving hand motor skills and coordination.\nSimilar to Essay Punch, the resource described above, this website guides students through the process of composing a basic paragraph, including a topic sentence, body, and a conclusion.\nThe author of this blog, Larry Ferlazzo, shares his best posts on teaching writing. He also provides lists of websites helpful in writing instruction.\nThis website has a rich collection of materials for teaching writing to young learners. Teachers will find free lesson plans, workshops on a variety of topics, printable worksheets, graphic organizers, writing prompts, word games, writing across the curriculum resources, and more!\n7. Spelling Bee\nThis interactive website is designed for students to help them improve their spelling. The materials are organized according to the levels of difficulty and provide words in the context of a full story. Students will hear the audio (a story) and spell the missing words in the script. The results are calculated after each activity.\nThis resource includes model papers to help students with writing biographies, book reports, compare-and-contrast essays, personal narratives, and other papers. This website also includes tips from writing professionals on how to beat writer\u2019s block, use prewriting strategies, write introductions and conclusions, and do revisions.\nThis page offers free graphic organizers in PDF format, including \u201cOutlining, \u201d \u201cParagraph structure,\u201d \u201cStory pyramid,\u201d \u201cA map to organization,\u201d and others that the teacher can use to help young learners master their writing skills.\nAs the website indicates, \u201cStudents work with authors, editors, and illustrators in exclusive workshops designed to guide them in developing their skills.\u201d The interactive workshops include biography writing, descriptive writing, news writing, speech writing, and writing book reviews. The website also provides a variety of student model essays.", "id": "<urn:uuid:9f37f627-1d71-452a-b763-2163caea08dc>", "dump": "CC-MAIN-2017-17", "url": "http://blog.tesol.org/teaching-writing-to-young-learners-10-online-resources/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120206.98/warc/CC-MAIN-20170423031200-00571-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9376692771911621, "token_count": 551, "score": 3.96875, "int_score": 4}
{"text": "One must get past the stigma and truly experience what this free resource can do for our schools and students to appreciate its inherent value. Social media is all about conversations that center around user-created content. When structured in a pedagogically sound fashion, learning activities that incorporate social media allow students to apply what they have learned through creation. This fosters higher-order thinking skills and caters to a wide range of learning styles. Social media tools allow educators to authentically engage students as they encourage involvement, discussion, communication, collaboration, and creativity. These include mainstream examples such as Twitter, YouTube, and Facebook, as well as, specialized ones such as Voicethread, Glogster, Animoto, and Prezi.\nBlogs are an incredible social media tool that can be utilized in a variety of ways. Teachers can set up a class blog to foster creative writing and reflection, or as an alternative to a school newspaper. Blogs are not isolated to just writing, students can add rich media to posts such as pictures, videos, widgets, and gadgets. The Holocaust Study Tour blog created by a New Milford High School teacher and her students who travel abroad to Europe on an annual Holocaust Study Tour provides is a great example. School administrators can use blogs as a powerful public relations tool in lieu of traditional newsletters and email blasts. The ability to comment on any blog increases both student and community engagement.\nIn our digital journalism class students are required to have their own Twitter accounts. They are then empowered by the teacher to promote their articles and tweet out real-time school news as it happens. This class provides our students with experience using real-world tools that journalists rely on more than ever. It also teaches them about how social media can be used responsibly, to support learning, and as a professional tool.\nFor our students that have grown up in the digital age learning needs to be relevant, meaningful, and fun. Allowing them to use social media tools to achieve learning goals and objectives, of which they already are familiar with outside of school, makes sense in the globally connected, digital world we are all a part of. This, in my opinion, constitutes sensible learning. A shift towards incorporating social media into education provides a golden opportunity to teach digital responsibility and citizenship to our learners, an area where many schools are failing. When doing so, we must ensure that policies are in line with this change, teachers are supported through professional development on how to effectively use social media in the classroom, and parents are educated on its value.\nAll of this makes sense to me as an educator, parent, and citizen. What about you?", "id": "<urn:uuid:e92c18a0-1441-4839-839a-cae7551adbc7>", "dump": "CC-MAIN-2017-17", "url": "http://esheninger.blogspot.com/2013/07/sensible-learning.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123491.68/warc/CC-MAIN-20170423031203-00572-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9605042338371277, "token_count": 533, "score": 3.671875, "int_score": 4}
{"text": "This activity-based workshop is intended for classroom teachers who are looking to incorporate music, movement, and storytelling strategies into their standards-based instruction to improve student learning and transform their overall classroom environment. Strategies that incorporate movement, music, and storytelling offer unparalleled novelty, interest, stimulation, excitement, and joy, and as a result, students become emotionally involved in these activities, pay more attention, remember better, and, in short, learn better. In addition, the activities featured improve class morale, build self-esteem and enthusiasm for learning, and increase feelings of student \u00e2\u20ac\u0153connectedness\u00e2\u20ac to the class and to one another. Specifically, this session focuses on the following topics:\n- A morning movement warm-up routine that prepares students mentally and physically to have a productive school day by helping them achieve an ideal mindset for learning - calm, relaxed, focused, and confident.\n- Teaching math, language arts, social studies, and science content through \u00e2\u20ac\u0153concept-embedded movement.\u00e2\u20ac In the examples presented, the activity itself features a type of movement that represents, matches, or embodies the meaning of the content students are expected to learn. Thus, when students move around and participate in the activity, they are actually bringing the content to life.\n- Using \u00e2\u20ac\u0153Piggyback\u00e2\u20ac Songs to Entrain New Learning. Includes fifteen songs that set academic content to music to help students learn and memorize information.\n- Scheduling short \u00e2\u20ac\u0153Movement Breaks\u00e2\u20ac between academic activities to allow time for children to process new learning, catch their breath, and recharge their batteries. This section describes a series of engaging, user-friendly Movement Breaks that reenergize the room, increase the sense of connection students feel to one another and to the class, and simply make everyone happier and more cheerful. Three categories of Movement Breaks are addressed: individual, partner, and those involving objects.\n- Incorporating rhythms, chants, and movement stories into the curriculum. This part focuses on two broad categories of teaching strategies consistent with the well-known Total Physical Response (TPR) approach that aids students in their understanding of academic concepts through the use of hand and body movements. The first features short, simple rhythms and chants that help children learn information and transfer it to long-term memory. Movement stories (a newer, lesser-known strategy) enable teachers to harness the power of storytelling to great advantage in our efforts to provide novel, multi-modal instruction to our students. In a movement story children learn, practice, and review important knowledge and skills in a meaningful, engaging context.\nFeedback from Previous Students\n- \u00e2\u20ac\u0153I have not come across someone who values students as much as Steve does.\u00e2\u20ac\n- \u00e2\u20ac\u0153Steve Reifman is an exceptional instructor. He clearly strives to be an outstanding educator in his elementary classroom and he sets a high standard for us as educators to follow. He should be proud of his continued efforts to improve his own teaching styles and know that his efforts are helping to change the lives of children and educators.\u00e2\u20ac\n- \u00e2\u20ac\u0153This is the best course I\u00e2\u20ac\u2122ve taken. All teachers should be a part of this course. We would solve a lot of problems in education if we began implementing the philosophies of this course.\u00e2\u20ac\n- \u00e2\u20ac\u0153I will recommend Mr. Reifman to my colleagues.\u00e2\u20ac\n- \u00e2\u20ac\u0153Should be required for all teachers.\u00e2\u20ac\n- \u00e2\u20ac\u0153He set a very good example for the kind of teacher I\u00e2\u20ac\u2122d like to be.\u00e2\u20ac\n- \u00e2\u20ac\u0153You come out inspired.\u00e2\u20ac\n- \u00e2\u20ac\u0153Great class. Mr. Reifman is a very dedicated teacher. He gives me hope for the future.\u00e2\u20ac", "id": "<urn:uuid:adaadbed-c40c-4aaa-a173-43801127348c>", "dump": "CC-MAIN-2017-17", "url": "http://stevereifman.com/workshops/beyond-compliance/item/5-rock-it-transform-classroom-learning-with-movement-songs-and-stories", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121528.59/warc/CC-MAIN-20170423031201-00571-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9443220496177673, "token_count": 806, "score": 4.1875, "int_score": 4}
{"text": "Setting is the place or time in which the story takes place. Without setting the reader cannot put the story into context and will most likely be confused. For example, if we didn\u2019t know that The Buddha in the Attic took place just at the breakout of the Second World War, then the readers would\u2019ve likely been confused when the Japanese were being shuffled into interment camps. Perhaps the reader may have even thought that Buddha in the Attic was some sort of futuristic sci-fi, but luckily we get a clear understanding of the setting so there is no confusion.\nSetting is best described using detail about what\u2019s around the character. What does your character see? Where is your character? Be there with your character, see what they see, and you will write a good setting. There are other elements to setting, such as weather, season, and sensory detail. It\u2019s important to add the five senses (sight, touch, smell, hearing, and taste) within descriptions so it gives your writing a more three-dimensional feel and gives your character more validity as a character.\nWhile describing setting is an important aspect, there are times where it could seem a little cluttered. This can be easily fixed by incorporating other writing elements, such as dialogue, to break up the longer paragraphs. Setting should always be an underlying stream throughout the novel, because setting is constant. The easiest way to remind your reader of setting is just to incorporate little tidbits here and there, so it\u2019s subtly incorporated and not overdone.\nHere\u2019s an example of setting in Harry Potter and the Sorcerer\u2019s Stone :\n\u201cThe inside was horrible; it smelled strongly of seaweed, the wind whistled through the gaps in the wooden walls, and the fireplace was damp and empty. There were only two rooms\u201d (Rowling 44). It continues, \u201cAs night fell the promised storm blew up around them. Spray from the high waves splattered the walls of the hut and a fierce wind rattled the filthy windows. Aunt Petunia found a few moldy blankets in the second room and made a bed for Dudley on the moth-eaten sofa. She and Uncle Vernon went off to the lumpy bed next door, and Harry was left to find the softest bit of floor he could and to curl up under the thinnest, most ragged blanket\u201d (Rowling 45).\nThis example creates a clear vision of where we are in the story as well as evokes the senses. We know this place is run-down, damp, smelly, and small. The setting is as miserable as Harry. J.K. does a simple, yet magnificent job of showing the reader setting vs just telling us that the room was \u2018wet and cramped\u2019. Definitely would\u2019ve lost its appeal then.\nAnother way to look at setting, someone told me once, is like this:\neg of inside a car\nLook at setting like a layered target. The center is a very detailed portion of setting and the further out you go on the target the broader the setting is. So, in the picture I provided I said let\u2019s use the setting of the inside of a car. The innermost detail is the character sitting in the passenger seat. This would be like an extreme close up on the character if you\u2019re a movie buff. The character may notice what they\u2019re doing with their hands, or perhaps the glove box. The point of view here is very tight and detailed. The next point would be the entire front seat of the car. Now your character may notice whoever is driving the windshield, radio, steering wheel, etc. Then they notice the backseat. Perhaps there is trash and blankets back there that they notice. Then they look outside the car and note the street, the people, the town, etc, etc.\nSetting is an essential aspect of storytelling. The readers crave a time and a place, so they have a better understanding of what is going on in the novel. I recommend reading Write Great Fiction \u2013 Description & Setting by Ron Rozelle as well as Bird by Bird: Some Instructions on Writing and Life by Anne Lamott.\nOtsuka, Julie. The Buddha in the Attic. New York: Vintage Books, 2011. Print.\nRowling, J.K. Harry Potter And The Sorcerer\u2019s Stone. New York: Scholastic, 1997. Print.", "id": "<urn:uuid:f8fdb0a7-2993-4dc1-93e1-4b4f44d933e8>", "dump": "CC-MAIN-2017-17", "url": "http://nicolemichelleblog.com/10-setting/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121528.59/warc/CC-MAIN-20170423031201-00570-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.95644611120224, "token_count": 920, "score": 3.796875, "int_score": 4}
{"text": "Make myths fun in your classroom with your pupils\u2019 favourite superheroes!\nAn easy way for children to understand the relation between myths and their role as a genre is by connecting popular film or comic book characters to those which originate from Greek, Norse Roman or Egyptian myths. For example, did you know that the film \u2018The Mask\u2019 is based on Greek mythology?\nCreate your own superhero story based on the properties of a myth\n- To discuss the difference between a myth and a legend\n- To learn the basic structure of a myth\n- To create their own modern myth through creative writing\nWhat is a myth?\nA basic definition of a myth is it being a story which is told to describe the reason why or how the world came to be. This definition separates a myth from being a legend: a legend describes an event of cultural significance, which may or may not have happened, that has been passed down through the generations and has evolved to contain mythical elements.\nWhat to do\nAsk the children to think of an example of both a myth and a legend.\nCompare the stories of two popular examples of a myth and legend, such as Theseus and the Minotaur and the legend of King Arthur, and ask the children to list out what they think it is that makes one a myth and the other a legend.\nDiscuss how popular characters in modern culture have used myths as their source. Some well-known film characters and their mythical counterparts include:\n- Captain America versus Perseus\n- Wonder Woman versus Hera\n- Superman versus Zeus\n- Batman versus Hades\nWhat to do\nIntroduce the basic structure of a myth. There are four basic myths which can be classified as being:\n- Creation Myths\n- Myths of Gods and Goddesses\n- Trickster Myths\n- Myths of Death, Resurrection and the Underworld\nTo help pupils to imagine a modern myth of their own and produce a story, we have a few tips on how to create a superhero of their very own!\nWhat to do\nAsk the children to decide on what their myth will be about:\n- A story containing elements of nature, such as animals, plants or the environment\nThink of how Storm is able to control the elements in the X-Men\n- A story featuring a superhero power which a God or Goddess might have\nThink of what makes Thor a great character in The Avengers\n- A story based on a character who delights in causing chaos by breaking the rule\nThink of Loki and the tricks he plays for fun against his step-brother, Thor\n- A story of a dark brooding character who rises from the depths to become a hero\nThink of Batman and the way he wrestles with the darker side of his character\nDiscuss what elements are contained within a myth. These can include:\n- A villain, or multiple villains, to rival your hero\n- A journey for your hero to travel\n- An obstacle for your hero to overcome\n- How their superhero powers help them to achieve this\n- Is it always a happy ending?\nNational Curriculum 2014 English\nYear 5 and 6 \u2013 Reading comprehension \u2013 pupils should be taught to maintain positive attitudes to reading and understanding of what they read by:\n- Increasing their familarity with a wide range of books, including myths, legends and traditional stories, modern fiction, fiction from our literary heritage and books from other cultures and traditions\n- identifying and discussing themes and conventions in and across a wide range of writing\n- making comparisons within and across books\nYears 5 and 6 \u2013 Writing Composition \u2013 pupils should be taught to plan their writing by:\n- Identifying the audience and purpose for the writing, selecting the appropriate form and using other similar writing as models for their own.\n- Noting and developing initial ideas, drawing on reading and research where necessary.\n- In writing narratives, considering how authors have developed characters and settings in what pupils have read, listened to or seen performed.", "id": "<urn:uuid:adc62032-a4be-42a1-a160-7e796889ae2e>", "dump": "CC-MAIN-2017-17", "url": "https://www.educationsupplies.co.uk/classroom-ideas/creating-myths-with-superheros", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122619.71/warc/CC-MAIN-20170423031202-00161-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9550487995147705, "token_count": 810, "score": 3.859375, "int_score": 4}
{"text": "Hmong Story Cloth\nStorytelling is a way of life for the Hmong people, an Asian ethnic group that suffered severe reprisals as a result of alliances during the Vietnam War. Kansas has become home to a surprising number of Hmong. This story cloth depicts their journey from farming villages to refugee camps.\nThe Hmong people lived in the Yellow River region of China for centuries. Political repression by the Chinese government pushed them into Northern Vietnam between 1790 and 1860. Eventually, they migrated to the mountainous areas of Laos, Burma, and Thailand where they lived and farmed successfully for about a century.\nDuring the Vietnam War (1963-1975) the United States' Central Intelligence Agency and the Hmong army formed a secret alliance to fight Laotian communists and the North Vietnamese. Shortly after the U.S. military abandoned Laos in 1974, the communist group Pathet Lao announced plans to wipe out the Hmong people. Villages were burned and bombed during this conflict, and many people were killed.\nFleeing Across the Mekong\nThousands of Hmong escaped Laos by crossing the Mekong River into Thailand. Their only belongings were what they could carry. Many parents gave babies opium to prevent their crying and alerting Pathet Lao soldiers to their presence. Both babies and adults died during the journey. This flight across the river is dramatically depicted at the center of the story cloth.\nSeveral camps were established in Thailand to house the incoming refugees. Because the refugees were destitute (having left behind nearly all their possessions), missionaries at the camps encouraged Hmong women to produce items for sale to western markets. This story cloth, made in a refugee camp in Thailand, is one such example. Although fine needlework techniques and patterns are traditional to Hmong culture, story cloths are not. Missionaries urged women to embroider their experiences onto textile squares for an American audience. Although the Hmong people preferred bright and bold colors, missionaries chose hues they believed appealed to American tastes. The result is a unique amalgam.\nHmong refugees began leaving Thailand refugee camps for the United States in December and January of 1975-1976. Hmong people continue to immigrate to the U.S. today. They also have migrated to France, Australia, French Guyana, and Canada, but many Hmong still live in southeastern Asia.\nKansas City was among the first cities to take in Hmong refugees. The Kansas Historical Society documented the history of the immigrant community as part of its Kansas Folk Arts Apprenticeship Program. This story cloth was purchased from a refugee center in Kansas City in 1989. The Society's Kansas Museum of History has several other items from Kansas City's Hmong settlement in its collection.\nEntry: Hmong Story Cloth\nAuthor: Kansas Historical Society\nAuthor information: The Kansas Historical Society is a state agency charged with actively safeguarding and sharing the state's history.\nDate Created: April 2009\nDate Modified: December 2014\nThe author of this article is solely responsible for its content.", "id": "<urn:uuid:86d93cc0-bd0d-4807-8291-338503189f75>", "dump": "CC-MAIN-2017-17", "url": "http://kshs.org/kansapedia/hmong-story-cloth/10367", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121752.57/warc/CC-MAIN-20170423031201-00629-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9682543873786926, "token_count": 616, "score": 3.984375, "int_score": 4}
{"text": "Reflections on \u201cPlaying\u201d\nPlay is a powerful medium for learning, yet comes naturally to children and seems like a pleasant way to pass the time between more \u201cserious\u201d work. It is very appealing to educators to be able to harness this power because of the seemingly effortless way in which children learn important skills while playing, as well as the fact that they generally choose to engage in play rather than needing it to be scheduled for them by adults.\nThe first problem with utilizing play for education is defining what exactly play is. According to Spodek and Saracho (1998) there are a variety of definitions of play that have been proposed over the years. Experts debate whether play is a form of work, or something completely different. It\u2019s been noted that the same activity can be considered work or play, depending on the context, and most activities fall somewhere in between (Spodek and Saracho, 1998). There are as many theories of play as there are definitions.\nEducational play encourages learning, problem solving, and creativity (Sutton-Smith, 1998). Through play, children learn the skills of social interaction and impulse control. However, play has a long history of helping kids learn outside of the school environment (Sutton-Smith, 1998) and incorporating it into school requires separating out the various elements to figure out which ones will lead to learning in school. Unfortunately, researchers have not yet agreed on a theoretical framework for this (Bergen, 1998).\nChildren create alternate realities through play (Bretherton, 1998; Porter, 1998) and acquire a sense of mastery over the world around them (Roeper, 1998). This can be literally accomplished through play using certain software programs. For example, over the past few summers I\u2019ve taught a Digital Storytelling camp for middle schoolers where they create their own 2D and 3D worlds on the computer. Campers create characters and write stories for them, which are then animated using animation software.\nCampers enjoye having control over how their stories develop, and the direction in which each character can go. Many quiet kids feel empowered watching their stories come alive, and being able to share them with friends and family. Since they work together in pairs, there is a lot of dialogue and compromise about what to do with a specific character or storyline \u2013 important social skills, especially for pre-teens. The programs we use for animation, Scratch and Alice, were designed to teach children programming concepts through storytelling. The programs are so much fun to use that students, at least my students, do not even realize that they are learning anything in order to be able to create their stories.\nAs in any class, I have a variety of levels of technical skills among the students. Learning the programs is easier for some than for others, but all are motivated to learn at their own levels and push themselves to solve problems that they encounter, to achieve the end goal of creating their animations. Some students create more sophisticated stories because they are able to take advantage of more features within the program, and some even discover advanced features on their own that I do not demonstrate in class. Although none of the students are particularly gifted or come in with any programming experience, they all feel comfortable exploring the limits of the programs in order to achieve their own personal goals.\nBergen, D. (1998). Readings from\u2026Play as a Medium for Learning and Development. Association for\nChildhood Education International.\nElisa teaches online professional development courses for teachers at teachertechtraining.com.\nRegister now for Teaching With Games - starts Monday January 4, 2016. Save $50 - Register by December 7, 2015!", "id": "<urn:uuid:557028f3-d462-4ce2-8741-7c7ef46fffe1>", "dump": "CC-MAIN-2017-17", "url": "http://www.brain-basedlearning.com/reflections-on-playing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917127681.84/warc/CC-MAIN-20170423031207-00341-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9651568531990051, "token_count": 751, "score": 3.71875, "int_score": 4}
{"text": "What is Aggadah, and How to Read It\nAlthough the Talmud is best known for its discourse on Jewish religious law (halakhah), its pages contain a vast amount of non-legal material, including ethical and theological teachings, interpretations of biblical narratives (midrash), excurses on topics from magic to brain surgery to dream interpretation, and stories pertaining to post-biblical events and personalities. This assortment of material is known collectively as aggadah, and the breadth of this category shows that for Talmudists, the only useful distinction was between halakhah and everything else.\nTo be sure, though aggadah was marginalized in most rabbinic circles, it was never completely neglected. Various schools of thought emerged on how to read aggadah. By default, one might take these multifarious texts (however outlandish some may seem) at face value, and then either accept or dismiss them. But many have interpreted aggadah non-literally, as esoteric wisdom employing symbols to be decoded by initiates into the worlds of medieval philosophy or Kabbalah.\nMuch aggadic history was composed years\u2014even centuries\u2014after the supposed events it recounts. But where the rabbis gave straightforward, non-fantastical accounts of periods they had themselves witnessed (such as the events around and subsequent to the destruction of the Temple), it was assumed that they could be relied upon to accurately preserve events from living memory. And for a long time, these ostensibly firsthand narratives eluded the debate over literal vs. non-literal interpretation.\nBut this changed with the rise of Jewish historiography in the 19th century. This school held that in weighing the religious significance of events over the precise reconstruction of the events themselves, the rabbis accidentally or deliberately rewrote the historical record. To take just one example, the Talmud records that 24,000 of Rabbi Akiva's students died of croup during the period between Passover and Shavuot because they did not treat each other with respect. Heinrich Graetz (1817-1891) theorized a historical nucleus within the rabbinic embellishment: Rabbi Akiva's students joined the Bar Kokhba revolt against Rome and died in battle.\nA century later, Jacob Neusner, working in the United States, took developments in the field of textual criticism to their farthest conclusion and discarded the premise that talmudic stories could be of any historical value. He and his many students treated these stories as rabbinic inventions that tell us nothing of the events they represent and can only provide access to the ideals, concerns, and values of the rabbinic authors (about whom we also know nothing, except for rough approximations of where and when they lived).\nAnd yet, the past decades have seen a return to the study of aggadah for its historical value, though in a markedly different way. Talmudists have begun to study these legends not in order to reconstruct the historical record but for the information they can impart about the rabbinic culture that produced them and the broader culture in which the rabbis lived. Thus, for example, instead of reading talmudic stories about the high priest Simon the Just in order to find out about Simon the Just, one might study those stories in order to understand how Simon the Just was imagined, and what he represented, within the rabbinic culture of a particular temporal or geographical moment.\nMoreover, by comparing conflicting accounts of the same events as recorded in different rabbinic texts (most notably the Babylonian and Jerusalem Talmuds), it is possible to detect patterns in the development of Jewish culture across the times and places of the texts' production. This shows how the rabbis sought to rework received stories so as to make them address the issues and anxieties concerning them in the present. Differing traditions about, for example, the translation of the Hebrew Bible into Greek thus reflect not varying historical accounts of a single event, but various ways in which the rabbis came to terms with the loss of the Jews' uniqueness as the people of the Torah, with the difficulty of adequately translating the Torah, and with the fear of misrepresenting the word of God.\nWhat role, then, might these ancient legends play today? This last approach, which views the rabbis as active reinterpreters and reshapers of traditional stories to reflect contemporary problems, actually\u2014and perhaps ironically\u2014takes the task of interpreting aggadah out of the hands of the historians and places it back in the hands of thinkers and rabbis. It is they who must continue to fashion a usable past out of these shared Jewish memories, philosophies, and traditions.\nA recently translated volume, Rabbi Binyamin Lau's The Sages: Character, Context & Creativity (the first in a series of which three volumes have already appeared in Hebrew, to great popular success and acclaim), provides an instructive test case. This history of the Second Temple period falls short of academic standards and hearkens back to premodern efforts, attempting once more to reconstruct the biography of Simon the Just. That Lau himself holds a doctorate in Talmud and liberally cites from even recent scholarly literature about the era he discusses only seems to render his work even more disappointing. To be sure, he is anchored in and constrained by the scholarly consensus in ways that other contemporary Orthodox historiographers of the rabbinic era clearly are not. Nevertheless, his creative attempts to cast ancient disputes and movements in ways that almost inevitably correspond to some contemporary analogue give Lau's work the feel of a speculative if not fanciful retelling.\nYet Lau, a 21st-century rabbi and leading figure in liberal Orthodox southern Jerusalem, deserves to be treated as fairly as the rabbis of 5th-century Babylonia or 3rd-century Palestine. That is to say, he should be read as a rabbi and not as a historian\u2014an approach affirmed by the book's origins as a Sabbath afternoon synagogue lecture series.\nApproached in this way, The Sages succeeds in doing what rabbinic historiography or storytelling ought to do: digest and interpret earlier histories, memories, and traditions in a manner that allows them to speak to the current moment. Thus a discussion of Honi the circle-drawing rainmaker becomes a critique of contemporary reliance on alleged miracle-workers; the failure of the ancient rabbis to stand up to the Zealots in the last days of the Second Temple becomes a critique of the passivity of contemporary rabbinic leadership; and Hillel prefigures modern rabbis who seek to chart a course between fealty to tradition and contemporary relevance.\nIn his book Zakhor, the late historian Yosef Haim Yerushalmi suggested that Jewish historians could no longer be tasked with making meaning out of the Jewish past. It is up to other figures\u2014perhaps rabbis\u2014to shape the dispassionate analysis of historians into a new telling of the Jews' old stories. Lau's The Sages steps into that breach.\nElli Fischer, who lives in Israel, is a writer and translator and blogs at adderabbi.blogspot.com.\nComments are closed for this article.", "id": "<urn:uuid:c7b19d00-4aa4-47cb-8e8c-38cf040fb04e>", "dump": "CC-MAIN-2017-17", "url": "http://www.jewishideasdaily.com/919/features/what-is-aggadah-and-how-to-read-it/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119361.6/warc/CC-MAIN-20170423031159-00042-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9619444608688354, "token_count": 1464, "score": 3.671875, "int_score": 4}
{"text": "writing helpfrom expert writers.\nWe are a team of professional native English speaking writers and students, working day and night to create a helpful academic guide for current students. In our posts, we will uncover the secrets of writing essays, research papers, term papers and dissertations. Sometimes we would take on homework assignments from students and assist them in completing their tasks free of charge.\nDefine Expository Writing\nExpository writing is used to provide information and explain and describe a topic, usually assuming no prior knowledge on the part of the reader. It is intended to display the writer\u2019s wisdom on a particular subject and convey the same knowledge to the reader. Therefore, it differs in style to creative writing, because it is about frank and factual content designed for a general audience. Expository writing should be carried out in a more formal tone and systematic style, with clarity and organization at the forefront, as the main goal is to inform and instruct in a clear and concise manner.\nAn expository essay may be presented using a particular pattern or a combination of a series of patterns. Some examples of expository patterns include:\n- Description \u2013 Focuses on the characteristics and features of a topic, often describing examples, and sensory details.\n- Sequence\u2013 Items and events are listed in an orderly fashion, usually either numerically or chronologically.\n- Compare or contrast \u2013 Two or more topics are compared or contrasted to decipher differences and similarities.\n- Cause and effect \u2013 Emphasizes the relationship between two or more occurrences or events, sometimes focusing on causes, sometimes on effects, and sometimes on both.\n- Problem and solution \u2013 Problems are presented along with their solutions, or questions along with their answers.\n- Instruction - Explains a procedure or processor in a step by step instructional fashion, teaching the reader how to do something.\nRegardless of the type of pattern used, the essay should be organized into introduction, body, and conclusion. Each paragraph should contain relevant details which keep the reader\u2019s attention and add to their knowledge.\n- Be sure to give an unbiased account or analysis that presents relevant facts in a logical way.\n- Your opinion is unnecessary and will only serve to weaken the reliability of the piece.\n- Don\u2019t go off on tangents or veer off course. Stay focused and organized.\n- Structure is important, as is the ability of your reader to follow and understand your points.\n- Make sure the reader knows what they have learnt and what the purpose of this knowledge is.\nExpository writing is common in the world of business and education, and has endless everyday applications.\nEveryday practical examples of expository writing include:\n- Business and personal letters\n- Recipes and instructional pieces\n- News articles\n- Press releases\n- Essays and papers\n- Legal documents", "id": "<urn:uuid:dba3c8d8-baa0-487f-a847-ea1582d62cfb>", "dump": "CC-MAIN-2017-17", "url": "http://www.thetouchofclasschoir.com/defining-expository-writing-and-its-peculiarities.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118831.16/warc/CC-MAIN-20170423031158-00217-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9228219389915466, "token_count": 581, "score": 3.890625, "int_score": 4}
{"text": "Once children learn the ins and outs of handwriting, spelling and grammar rules, they can move on to more entertaining activities, such as creative writing. While creative writing leaves room for children to write about what they know and what they are interested in, it doesn't mean the skill is easy to grasp. Lay the groundwork for successful creative writing by doing a few simple activities that are also enjoyable and educational.\nIt's fairly easy for most students to come up with a story off the top of their heads, but it's much harder for students to be creative when someone else has done some of the writing. Ask each student to write the first sentence or two of a story, and give them about five minutes to do so. Set a timer, and let the students know that when the timer dings, they'll immediately swap stories with the person sitting next to them. Set the timer again, and give the students another few minutes to add to the story their peer already started. Swap four or five more times and then have each student get their own story back. Let the students share their creative stories by reading them out loud to the class.\nCut out enough magazine pictures to give each student six to eight pictures. Ask the students to write a story that includes each of the pictures in some way. You might also ask the students to through magazines and choose six to eight pictures to swap with a peer. Another magazine prompt idea would be to hang several magazine pictures somewhere in your classroom and ask all of the students to use the same pictures. It's interesting to see how many different stories you get even when students are using the same prompts.\nUse a variety of prompts to spur your students' imagination and to boost their creative writing skills. Give each student a specific character, such as a princess, a soldier or a magic horse, and ask them to spin a tale that focuses on that character. You might provide a setting, such as a castle, an underwater grotto or a hospital, and ask the students to come up with a story that takes place in that setting. Another prompt you might use would be a specific word, such as slimy, slippery or freezing, and see what kind of stories your students come up with based on just that word.\nWrite several plots, such as a UFO crashing into school or a school bus becoming a time machine, on index cards. For each creative writing lesson, ask each student to draw a card and craft a story based on the plot. Ask the students to write their own plots on index cards and trade as student-driven way to help the children come up with new stories. You might also ask each student to choose a famous story, such as \"Goldilocks and the Three Bears\" or \"The Tortoise and the Hare,\" and write an alternate ending to the story.\n- Comstock Images/Stockbyte/Getty Images", "id": "<urn:uuid:88da56b7-1c7f-4494-889d-874481479747>", "dump": "CC-MAIN-2017-17", "url": "http://oureverydaylife.com/beginning-creative-writing-lessons-children-32774.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118552.28/warc/CC-MAIN-20170423031158-00453-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9732096195220947, "token_count": 581, "score": 3.890625, "int_score": 4}
{"text": "Or, the dynamic forms of catharsis and tragic flaws in Shakespeare's plays\nShakespeare's most beloved plays are his tragedies. If one were to list his best and most popular plays: Othello, Romeo & Juliet, Hamlet, King Lear, and so forth, one would find the list comprised almost entirely of tragedies. So it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the definitions of the tragic form as understood at the roots of theatrical history (in Greco-Roman times) continue to be part and parcel of the official comprehension of tragedy. Many critics have sought to fore Shakespeare into the mold of tragedy defined in Aristotle's Poetica, and many others have rightfully protested that he was not cast from that mold, and that in fact he owes little to it. Speaking for the traditionalists, Robert Di Yanni claims that Shakespeare follows the Aristotelian forms entirely. According to Dieter Mehl, many critics feel that Shakespeare follows no strict form whatsoever. He quotes Brantley as saying, \"There is no such thing as Shakespearian Tragedy: there are only Shakespearian tragedies,\" (2) and personally suggests that the bard cannot be entirely predicted or codified. Alfred Harbage goes one farther, pointing out that not only did Shakespeare not follow the forms of Aristotle, but that all similarities are somewhat coincidental, as the historical playwright would not have been familiar with Aristotle's demands! It seems that the truth is to be found in a balance between these positions. One must comprehend the degree to which Aristotle was voicing not an arbitrary way of creating art but the natural and universal expression of what Plato might call a tragic Form, and in recognizing that the written script is only one half of the completed work - so that both meanings and adherence to the form may be altered both by the critical and the creative eye. Shakespeare's meanings are sufficiently universal as to be simultaneously capable of fulfilling and denying Aristotle's generalizations, and as Hamlet has said, when it comes to interpretation: \"Thinking makes it so.\"\nAccording to Yanni and to the general conception of the critical public, there are three basic demands made by Aristotle regarding tragedy. It must be the story of an exalted figure with some tragic flaw. The play must progress logically and cleanly step-by-step to the hero's doom, as his own tragic flaw creates a situation of sudden discovery and reversal culminating in his death. Finally, it must provide catharsis - a cleansing experience by which the audience's sympathies with the hero allow them to experience and overcome their own pity and fear. Yanni points out that Shakespearian tragedies often follow this pattern. All the heroes and heroines are exceptional characters. A reversal of fortune is generally associated with a fatal flaw and a discovery of some sort (though Yanni does not point out that the order of discovery and reversal are not always the same; for example Hamlet's discoveries regarding his father's death lead to a reversal of his fortune while in Othello his discovery of Iago's treachery only comes after all his fortune's have been destroyed). Catharsis is assumed.\nHowever, some of these links are somewhat tenuous, and may be criticized. Reversal of fortune is standard, of course, because the transition from life to death is part of the very definition of tragedy. However, that tragic flaw is occasionally a little uncertain, as in Romeo & Juliet, or too easily confused with virtue (as in Hamlet, where his 'flaw' is a hesitance to kill his uncle!). Additionally, as Mehl and Harbage point out, Shakespeare frequently deviates from a clear and logical step-by-step progression, dragging in elements of comedy and so forth that may make his works episodic at times.\nOn the other hand, there is a startling number of criteria discusses by Aristotle that Yanni never mentions, and which Shakespeare either fulfills or denies to some degree. For example, Aristotle suggests that the proper metre for drama is \"The iambic... The proof is that in talking to each other we most often use iambic lines.\" (Aristotle) The majority of Shakespeare's tragedies, of course, use iambic lines. Likewise, Aristotle claims that \"Necessarily then every tragedy has six constituent parts, and on these its quality depends. These are plot, character, diction, thought, spectacle, and song.\" Shakespeare is well-known for his focus on diction, spectacle, and even song. In these categories one could make any number of parallels between Aristotle's dramatic suggestions and the original staged forms of Shakespeare's work. At the same time, Aristotle suggests that plot is more important to tragedy than is character. \"They do not therefore act to represent character, but character-study is included for the sake of the action. It follows that the incidents and the plot are the end at which tragedy aims, and in everything the end aimed at is of prime importance. Moreover, you could not have a tragedy without action, but you can have one with out character-study.\" (Aristotle) In Shakespeare's tragedies, on the other hand, the exact opposite dynamic is seen. Meanwhile in Shakespeare it is the foilables of the characters, whether the madness of Hamlet and King Lear or the animal passions of Othello and cruel conning of Iago, which serve as the primary driving forces behind the plot. Character becomes more important than events.\nTerrible chance and fate seem to Aristotle the highest sorts of plot devices, the best sort of element to drive the story forward, as seen in the tale of Oedipus Rex. \"For in that way the incidents will cause more amazement than if they happened mechanically and accidentally, since the most amazing accidental occurrences are those which seem to have been providential.\" But for Shakespeare, that amazement is best reflected in the sort of terrifying incident that arises from human consciousness - character - which has gone awry. These two areas may partly explain why the sorts of tragic flaws seen in Shakespeare vary so much from the tragic flaws of Aristotelian theater. For the role of the tragic yet impersonal flaw, and the role of anonymous fortune, are both of primary value to Aristotle. To Shakespeare, they may either become subordinated in most cases to the deeply personal flaw (the inner madness) or to some external flaw (warring families), and fate itself plays a much reduced role.\nDieter Mehl, who also concerns himself with the traits of Shakespearian tragedy, is less concerned with how well it lines up with Aristotle's ideas and more about the actual innate messages of the plays. He speaks of the balance inherent in the works between an orderly sort of morality play with sinful tragic flaws and reasonable punishments, and a more ambiguous and dreadful meaningless and even fateless sort of doom. He writes that the best interpretations are: \"aware of the intensity of doubt and bewilderment as well as the presence of moral order wanting to be realized...\" (8)\nIgnoring entirely issues of structural form, Mehl deals more with searching for themes that run through-out Shakespeare's tragedies. He concludes that \"The only thing that seems to be, at first sight, really indispensable is a marked turn of fate, ending in the hero's destruction.\" (4) This is of course related to Aristotle's ideas of discovery and reversal, though many of the supporting elements may be changed. He also points out that \"tragic guilt, catharsis and Christian redemption...are all aspects\" (2) of Shakespeare's work. The Christianization of the tragic hero's downfall, tying it in to sin (as opposed to some less moral flaw) and creating a sort of morality play out of the tragedy is a common process in criticism. However, Mehl also explains that much of Shakespeare can only be understood by moving past this sort of religiousity and seeing that it \"could not have been written in the ages of faith, but neither...in an age of unbelief or an age of reason.\" (5) Many plays, including Romeo and Juliet, seem to deal not with a superbly moral lesson, but with a frightening look at the arbitrary nature of the world. Others, such as Hamlet, which might appear to have a strong moral element dealing with a tragic flaw can also be seen in a sort of ambiguous light by which \"we remain confronted with the inexplicable fact, or the no less inexplicable appearance, of a world travailing for perfection, but bringing to birth together with glorious good, an evil which is able to overcome.\" (8) Of course, Mehl also passingly points out that Romeo and Juliet's structure is such that it continually balances between tragedy and comedy until a great ways into the play, with many miscellaneous comic characters and so forth. One expects that this, too, would have irritated Aristotle's eye for a clean-cut tragedy. In essence, Mehl sees Shakespeare both as fulfilling traditional elements of the Aristotelian tragic models, and as moving beyond them into realms\u2026", "id": "<urn:uuid:6e09c425-5393-4433-a031-bc25480325cb>", "dump": "CC-MAIN-2017-17", "url": "http://www.paperdue.com/essay/shakespeare-tragedies-152291", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122041.70/warc/CC-MAIN-20170423031202-00396-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9645834565162659, "token_count": 1866, "score": 3.671875, "int_score": 4}
{"text": "Family History << Teacher's Guide <<\n| Objectives |\nMain Idea No.1 |\nMain Idea No.2 |\nPrintable Version |\nIN THIS LESSON, YOU'LL\n- BEGIN to record your life history\n- DISCOVER ways to share the family history you've learned with your relatives\nThis lesson includes opportunities for class discussion and a video presentation. Vocabulary words are included at the end of the lesson, though not specifically brought into the lesson in the form of an assignment. Resulting measurable assignments include a creative writing assignment, a journal or a mini-biography, an oral history interview and summary. While the lesson's main ideas logically build on one another, the activities and assignments suggested can be adapted or omitted according to your needs.\nMAIN IDEA NO.1\nSHARING YOUR STORY\nYou may think that your life is pretty boring. You wake up, go to school, hang out with friends, do homework . . . not too thrilling, is it? Well, what seems ordinary to you now will be fascinating to read when you're 25 or 50. Think about it. Everyone has a story.\nWhat if you had the chance to read about your Mom's first date? Or your Dad's feelings when his father caught him lying in the sun instead of mowing the lawn? Wouldn't you like to know the things they thought about when they were your age?\nWhile you've been looking at records that will give the clues you need to write your family's history, it's important to remember that you're living history right now. Take one of the two options below to help you begin.\n- Using your timeline, write a couple of pages that sum up the major events in your\nlife. Put it into a story form as a sort of \"mini-biography.\" Include some good memories\nand some sad ones. Everyone's life has a little of both.\n- Begin keeping a diary. Write at least two paragraphs every day for the next week or\ntwo. At the end, go back and re-read what you wrote. What are some interesting\nideas you had? What are you learning about life and your personality?\nVIEW ANCESTORS EPISODE 213: \"WRITING A FAMILY HISTORY\"\nTaylor McDonald grew up hearing tales about his legendary grandfather, but they remained just \"stories\" until he set out to write a family history. In the process, Taylor documents his grandfather's colorful life and finds that he really did help tame the Wild West, and even rode with Pancho Villa. Experts tell how to write, publish and share a family history.\nQUESTIONS FOR DISCUSSION\nWhat is one of the best methods for gathering family stories?\nWhat are some tips for conducting oral history interviews?\nHow should records and family artifacts be preserved?\nWhy might a person wish to publish a family history?\nMAIN IDEA NO.2\nYOUR FAMILY STORY\nAncient cultures, such as the Native American and African, have long had a sense of their family history in the form of tribal oral histories. Traditionally, someone in the society keeps in his memory the story of the family. In Africa, this person was known as a griot. Even today, you can still meet griots in Africa who can recite generations upon generations of family history.\nSociologists tell us that in modern-day America, few of us remember the names of our great-grandparents. Hopefully, you've been successful enough at your family history detective work to at least know a bit about your great-grandparents.\nDo your brothers or sisters know about them? How about your cousins? Surely someone in your family will want to know what you've discovered.\nFor ancestor detectives, writing a family history means more than just writing events that happened in the family. It includes creating a paper trail that other family detectives can follow. It means you've done good research, and you can prove it by citing your sources and even including copies of documents. Your research log will come in handy, as will your pedigree chart and the family group sheets you've created. This research is the \"skeleton\" of your family story. Like writing most reports, an outline of events will be very helpful.\nBut, as you've already noticed, records tell more than just names and dates. Sometimes, you find information like an ancestor's hair color, weight, or eye color. This is the information that will begin putting the \"flesh on the bones\". Other elements that will help you flush out your family story include:\n- photos and other artifacts or heirlooms you've gathered,\n- stories from your oral history interviews with older living relatives\n- background historical information found in town, county or even US history books\nThere are many ways to approach writing your family's history. We suggest you begin with yourself, and then go chronologically backwards in time. However, many others choose to start with the oldest ancestor they've found and work down to present day.\nSome genealogists spend years researching their family stories and then creating family histories that can be shared with others. Just think of how many ancestors there are on your family tree, and you'll begin to understand why people who begin looking for family history have a hard time knowing when to quit! Although you may not have years of history to draw on, writing down what you've discovered so far is a wonderful way to share your information. While sharing your information, other questions might also occur to you - questions that might be answered through even more detective work.\nOther ways you may choose to record either your own story or your family's history include:\nChoose a project from the list above or conduct an oral history interview with a living family member whose life you find interesting. (For more about oral history interviewing, see the lesson for Episode 202). Use the interview as the basis for writing a summary of the person's life story. Share the story with relatives.\n- attending a family reunion\n- creating a scrapbook of photos and other momentos\n- recording family traditions into your journal\n- interviewing family members on a subject which you all have in common: your enthusiasm\nfor basketball, your interest in a particular trade, favorite pets\n- creating a time capsule of momentos\n- using new technologies to put family photos on CD Rom\n- collecting favorite family recipes and sharing them with relatives\nWHAT HAVE I LEARNED\nThere are many ways to share the family history that you discover. You can start by sharing your own history. Next, share the stories and documents you've uncovered in your family history detective work.\nWhile the search for family history can often be difficult, the rewards are impossible to measure. Some people feel they appreciate the history of America more deeply when they've seen it through the eyes of their ancestors. Others find inspiration and strength when they learn of the hardships that their ancestors endured.\nWhatever you find to be of value in your own search for family history, the rewards will become even sweeter when you share them with others.", "id": "<urn:uuid:1d897c50-9141-4eb5-b84d-70ab8e4e25e3>", "dump": "CC-MAIN-2017-17", "url": "http://ancestors.com/teachersguide/episode13.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121267.21/warc/CC-MAIN-20170423031201-00160-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9600586295127869, "token_count": 1456, "score": 3.5, "int_score": 4}
{"text": "Shirley Raines and Rebecca Isbell present wonderful stories for storytelling,\nalong with directions, storytelling tips, discussion questions,\nstory backgrounds, and accompanying activities in Tell It Again! Easy-to-Tell Stories with Activites for Young Children\nThe beautiful swan was once an ugly duckling. The boy who cried wolf had no help when the real wolf came. The modest turtle won the race while the boastful rabbit bragged about his speed. Some of\nlife\u2019s greatest lessons are remembered best through the recollection of stories heard in childhood.\nStorytelling involves three essential elements: the story, the teller, and the listener. A well-selected story told by an effective storyteller captivates young listeners\u2019\nattention and the three elements work in harmony. The gifts of storytelling are many, including\nmoments filled with the wonder and excitement of stories, universal truths and morals to remember\nand use throughout life, and the special bond that connects the storyteller and the listener.\nThe Power of Storytelling\nis a powerful medium. A well-told story can inspire action, foster\ncultural appreciation, expand children\u2019s knowledge, or provide\nsheer enjoyment. Listening to stories helps children understand\ntheir world and how people relate to each other in it.\nchildren listen to stories, they use their imaginations. They\npicture \u201cnail soup\u201d or the teeny tiny woman\u201d from\nthe teller\u2019s vivid descriptions. This creativity is dependent\nupon the storyteller\u2019s lively telling of the story and the listener\u2019s\nactive interpretation of what is heard. The more delightful the\nstory and the storyteller, the more the children get out of the\nstorytelling experience also helps young children develop an appreciation\nof the story form. Because children are more involved in creating\nthe pictures of the story, they are more likely to remember the\ncharacters, the sequence, and the moral of the story. Storytelling\ncan motivate young children to explore various types of literature\nand become a storyteller, story reader, and story writer.\nHow to Select Stories to Tell Young Listeners\nwrote this book because we found few books devoted to storytelling\nfor young children. Storytellers often have a difficult time finding\nthe right stories for young children. We selected the stories\nfor this book because they are excellent tales for telling that\nfit the developmental needs of\nExcellent stories for young listeners often have one or more of the following characteristics:\n- Easy-to-follow sequence\n- Repetitive words and phrases\n- Predictable and cumulative tales\n- Often humorous\n- Interesting and entertaining happenings\n- Exciting ending with an appropriate conclusion, and\n- Clear message or moral\nGeneral Storytelling Tips\nThe following storytelling tips apply to the telling of most stories to young children.\n- Observe the young children during the telling. Adjust and make clarifications as needed.\n- Encourage interaction and participation.\n- Modify the pace and length to match the experiential and developmental level of the children in the audience.\n- Use voice variations, facial expressions, gestures, and repetitive phrases to draw the young listener into the story\n- Use appropriate words and descriptions that help young children imagine the happenings in their mind\u2019s eye\n- Retell the same story many times, since young children are building their understanding of the story\nStorytelling to young children provides special possibilities as well as unique challenges. Young children enjoy predictability, repetition, humor, and active participation in the story presentation. When stories are too complicated or the storyteller is too dramatic, the child will turn off\u201d or simply move away from the experience.\nThe Pleasure of Storytelling\nWhat were your favorite stories as a child? Do you recall listening\nto \u201cGoldilocks and the Three Bears,\u201d or \u201cThe Gingerbread\nMan,\u201d or \u201cJack and the Beanstalk?\u201d A friend remembered\nher mother telling her these three classic stories. After hearing her mother tell\nthe stories, she was startled when she went to school and the teacher read them from a book. Assuming\nher mother had made them up, she was surprised that teachers and parents knew the same stories.\nway to appreciate the power of the told story is to recall enjoyable\nstories from your childhood.\nReflect on your feelings, the strength of each character, and\nthe ways the storyteller involved\nyou in the story. Remember being scared for Goldilocks who was\nlost in the forest, relieved when\nshe spotted a charming little cottage, and anxious for her not\nto be caught when the bear family\nreturned. Feel the hard, not-so-hard, and just-right bed. Taste\nthe hot, too-cool, and the just-right\nOur own delight when remembering stories and the experiences of listening should encourage us to become storytellers. Clearly the told story has found a place\nin literary history. How does one begin? How does one become a storyteller? Remember the stories from your past, select an appropriate story, and tell it to a child or a small group of children. Practice\nthe tips we mention.\nKeep a story card handy for a quick peek, then let yourself go and\nenjoy the flow of the story.\nObserve the positive reactions of the young listeners and you will forever\nbe a storyteller.\nWhether you are a beginning teacher or an experienced librarian, a parent\nwith a first child or a grandparent of five, the message is the same. Stories told by\nyou are gifts that will last a lifetime.\nEnjoy the storytelling experience and savor the children\u2019s request when they plead,\n\u201cTell it again!\u201d\nThis activity (excerpt) is taken from:\nTell It Again! Easy-to-Tell Stories with Activites for Young Children\nby Shirley C. Raines and Rebecca Isbell\nPage 8. ISBN: 0876592000\n\u00a9 1999. Gryphon House, Inc.", "id": "<urn:uuid:8bed3e74-1552-48f1-8723-d7a110eebc29>", "dump": "CC-MAIN-2017-17", "url": "http://www.literacyconnections.com/storytelling-php/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00396-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9192416667938232, "token_count": 1270, "score": 3.890625, "int_score": 4}
{"text": "The illustration of children's books has a very long\nhistory. Its significance was reinforced by a comment by John Locke in\n1693 recommending the necessity of illustrations in children's books.\nAlthough Locke\u2019s prescient statement had little immediate impact, from\nthe 1750s onwards, illustrations appeared in substantial ways in the\nchildren's books published by John Newbery and also in chapbooks, cheap\nearly versions of children\u2019s story books, usually available for the\nsum of one penny.\nDuring the Victorian age picture books flourished in England\nwhen Kate Greenaway, Walter Crane, and Randolph Caldecott created\nillustrated books especially for children. Of these three, Randolph\nCaldecott is regarded as the real inventor of the picture book as we\nknow it today. He perfected the unification of text and illustration,\nallowing illustrations to interpret and extend text beyond words, and\ncreated illustrations without borders. His significance was\ncommemorated by the creation of the Caldecott Medal in 1937 by the\nAmerican Library Association. The award is presented annually to the\nmost distinguished American Picture Book for Children. Not only is the\naward named for Caldecott, but the image on the Caldecott medal depicts\nthe cover image from his The Diverting History of John Gilpin (1878).\nTechniques through which illustrations have been created\nhave evolved over time, but the development of newer techniques did not\nmean older ones were abandoned. Authors of one generation have\nfrequently borrowed technique from their predecessors to achieve a\nThe earliest techniques of illustration ranged from wood\nblock printing through woodcut and metal engravings. Evaline Ness\u2019s\nillustrations for Lucille Clifton\u2019s Some of the Days of Everett Anderson (1970)\npresent a nice use of the older technique of woodcuts in a newer book.\nAnother early technique popular throughout the 19th and 20th centuries\nwas pen and ink illustration, sometime done in conjunction with\nwatercolor, which we see in both Arthur Rackham\u2019s The Peter Pan Portfolio (1914) and Caldecott award-winning artist Trina Schart Hyman\u2019s illustrations for Welsh poet Dylan Thomas\u2019s A Child\u2019s Christmas in Wales (1985).\nRackham (1867-1939) was one of the most acclaimed illustrators of his time, and the Portfolio was an enlarged version of selected illustrations he created for his 1906 edition of J.M. Barrie\u2019s Peter Pan in Kensington Gardens; the Portfolio contained\ntwelve images from the original book, and was published with large\nproof-size color plates in mats that were intended to be suitable for\nframing. While Rackham was not pleased with the quality of the\nreproductions, the book went on to become one his most successful.\nSimilarly, Hyman (1939-2004) was also a tremendously popular\nillustrator, and her use of color and style show the strong influence\nof Rackham over her work.\nPainting and drawing were also popular forms of\nillustration, appearing in a variety of styles throughout the 20th\ncentury. Margaret Wise Brown\u2019s and Clement Hurd\u2019s Goodnight Moon (1947)\nis a classic of Children\u2019s literature. Hurd\u2019s acrylic paintings\nprovide an excellent example of the appeal of basic colors and simple\nlines. Similarly, highly renowned and Caldecott Award-winning artist\nJerry Pinkney is known for his colorful and beautiful watercolor\npaintings; his illustrations for Julius Lester\u2019s John Henry (1994) bring the African American folk hero to life.\nSatoru Sato\u2019s and Tsutomu Murakami\u2019s I Wish I Had a Big, Big Tree\n(1971; translated to English 1984) is another example of illustrations\nrendered in watercolor, this time combined with ink and gouache. The\nbook\u2019s design is also interesting, since it not only progresses from\nright to left but also needs to be turned vertically at times in order\nto look at the picture properly. Kevin Henkes, who won the Caldecott\nmedal for his Kitten\u2019s First Full Moon (2004), also utilizes\ngouache but combines it with colored pencil. His black and white\nillustrations provide a startling change from the full color\nillustrations popular throughout the 20th century. However, his use of\nstrong lines and simple shapes draw the eye\u2019s attention, and his poetic\nwording makes the story easily accessible for even very young readers.\nAnother 20th century development in illustration includes the use of collage. Ezra Jack Keats\u2019 The Snowy Day (1962),\nwhich won the Caldecott award, is an excellent early example of this\ntechnique in children\u2019s book illustration. The book is also significant\nbecause it was the first American picture book to be published with an\nAfrican American protagonist, and is thus recognized for introducing\nmulticulturalism into mainstream American Children\u2019s literature. Keats\nis also considered one of the first illustrators in the\nEnglish-speaking world to use urban settings for his picture books.\nDavid Diaz uses collage as well as acrylic paintings in his illustrations to Eve Bunting\u2019s Smoky Night (1994).\nThe book, which also won the Caldecott award, tells the story of a\nyoung boy\u2019s experience of the Los Angeles riots in 1992, and ends with a\nstrong and positive message of multiculturalism. Diaz\u2019s illustrations\nreinforce the book\u2019s theme, uniting not only acrylic paintings with\ncollage, but creating collages from disparate objects ranging from\ncanvas and bubble wrap to broken glass, matches, cereal, and Styrofoam\ncrinkles, to name but a few. Moreover, his acrylic paintings render all\nof the people with similar facial features, all of which are African\nAmerican in style; his choice to depict a kind of \u2018Everyman\u2019 with\nAfrican American features, despite the characters\u2019 different Asian\nAmerican, Latino, and other ethnic backgrounds, reinforces the ways in\nwhich our perceptions of culture are finally changing and expanding to\nbecome more inclusive.\nIllustration style can refer not only to media, but also to\nthe way in which an artist creates stories through both text and\nillustrations. Anthony Browne, a British illustrator who won the Hans\nChristian Andersen medal for lifetime achievement in 2000, stretches the\nboundaries of picture book illustration with his Voices in the Park (1998).\nHis watercolor paintings provide a near-photographic sense of realism,\nbut they are blended with fantastic touches that strongly show the\ninfluence of both surrealism and post-impressionism. Containing\nnumerous intertextual references to such artists as Edward Hopper, Ren\u00e9\nMagritte, and Edvard Munch, Browne still creates original illustrations\nwhich contain such whimsical details as a man nonchalantly walking an\nalligator. Moreover, his narrative in this story, which splits into\nfour different voices with each telling the same story from a different\nperspective, introduced a relatively new approach for storytelling in\nSimilarly, Jennifer L. Holm and Matthew Holm have borrowed\nan older style and rendered it new: their cartoon-like story and\nillustrations for Babymouse, Queen of the World (2005)\nillustrates the movement towards graphic images for not just young\nchildren but for older readers as well, a phenomenon that took off in\nthe late 1990s and remains popular today.", "id": "<urn:uuid:5a9409e5-4ead-416b-b991-c741d077b3c4>", "dump": "CC-MAIN-2017-17", "url": "https://www.cmich.edu/library/clarke/ResearchResources/Childrens_Material/Educating_the_Next_Generation/Pages/Illustrative-Styles.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121752.57/warc/CC-MAIN-20170423031201-00632-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9504265189170837, "token_count": 1603, "score": 3.625, "int_score": 4}
{"text": "2 Answers | Add Yours\nFor me, poems tend to be different from other forms of writing in two ways: the form of the poem and the use of language in the poem. Therefore, when writing about or interpreting poetry, I always try to begin by considering those two things.\nUnder form, it might be important to recognize that a poem is a sonnet or is written in open form, for example; the form of the poem can often have a direction connection to the poem's meaning. The open form of Walt Whitman's poetry matches the content very well; the poems seem inclusive, spontaneous, liberated, etc. The sonnet form always seems, to me, to be much the opposite: formal, polished, refined, practiced, etc.\nUnder use of language, it might be important to identify and reflect on an image that is central to the poem. Other elements to consider might include uexpected ways that the poem has of saying something, associations that you as a reader have when you read particular words in the poem, etc.\nIf you can talk about both form and language in poetry -- and, even better, make a meaningful connection between the two (do they work with or against each other?) -- I suspect that what you write will be good.\nThere are other items that you might consider, of course. The link below will take you to one of many online resources that walk through a set of questions that you can apply when preparing to interpret a poem.\nAs a final note, I would recommend focusing solely on the poem and not making any references to the poet. The poet's thoughts about the poem are, as famously phrased by the New Critics, both unavailable and undesirable.\nWhen writing about poetry, you want to discuss the structure, literary/poetic elements and literary/poetic, techniques. Firstly, in structure, along with identifying the genre and sub-genre, e.g., lyric and sonnet, you will want to analyze the rhythm and the meter, which when added together create the metric pattern, e.g., trochaic tetrameter. You will also identify the rhyme scheme; e.g., abab cddc. You will also discuss the structure of stanzas and individual verses [verse(s) is the poetic term for line(s)]. These considerations also include blank verse and free verse and other variations on rhythm, meter and rhyme.\nSecondly, you will analyze and discuss the literary device of literary elements, although when applied to poetry these are called poetic devices and poetic elements. Some poetic elements are theme; speaker/narrator: i.e., identify whose is the poetic voice; tone; mood, synonymously called atmosphere; and the metaphoric basis of the poem. In poetry, there may or may not be something like a plot. A narrative poem or a dramatic monologue as developed by Robert Browning might have some kind of a plot structure. However, poetry does have the progression of ideas and many kinds of poetry have a diametric turn in the topic, such as sonnets do.\nThirdly, you will identify and analyze the poetic device of poetic techniques. Poetic techniques differ from poetic elements, though both are poetic devices, in that they are optional additions used at the discretion and choice of the poet. For example, aside from the prevailing poetic metaphor employed in the construction of the poem, the use of metaphor and simile is up to the poet's choice. Some poetic techniques are similes, personification, metonymy, irony, sarcasm (distinct from irony by tone and intent), diction, and synecdoche.\nAs to interpreting a poem, each of the points discussed above, structure, elements and techniques, will reveal the meaning of the poem to you. Once you see the component parts from theme to structure (e.g., underlying metaphor; diametrical turn in topic) to diction to similes and all the rest, you will begin to see the deeper aspects of meaning through the clarification of ideas, the juxtaposition of ideas, the multifaceted meaning of ideas, the expansion of ideas, etc. Remember that structure plays a big part in facilitating the interpretation of poetry, similar to the importance of structure in fiction, as per one example, when the story is structured in a frame.\nWe\u2019ve answered 319,863 questions. We can answer yours, too.Ask a question", "id": "<urn:uuid:20005a79-6dc0-4369-ae19-69c4ad5069cf>", "dump": "CC-MAIN-2017-17", "url": "https://www.enotes.com/homework-help/how-do-write-answers-poetry-199309", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124297.82/warc/CC-MAIN-20170423031204-00399-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9495970606803894, "token_count": 905, "score": 3.546875, "int_score": 4}
{"text": "Learning how to read can be a very challenging experience for children.\nMany children find it difficult but it's also true that some children learn to read easily and quite quickly without needing very much in the way of formal instruction.\nOn this page, you'll find out why this is the case and learn how you can give your child a head-start when it comes to learning how to read.\nAs a primary (elementary) school teacher, I have a strong interest in how children learn to read.\nis mainly the result of the experiences I had with my own three\nchildren who are now young adults and with my five nephews who range in\nage from four to 16 years. All eight of these children learned to read\neasily and quickly progressed to becoming strong, capable readers within\nthe first three years of starting school. And they're not alone.\nYet many children I have taught have struggled with reading.\nSo why is this the case? Why do children have such different experiences when they're learning how to read?\nThere's actually no mystery about it. The research shows very clearly that children with strong oral language skills who have been read to often as pre-schoolers learn to read much more easily and quickly than children who don't have these two advantages.\nCould it really be that simple, I hear you ask?\nLet's talk a bit more about this.\nReading is a complex process for our brains.\nHumans have evolved biologically to develop the ability to speak and to acquire language without being explicitly taught how to do it. Given even minimal input from the people around her, a baby who is developing normally will learn to talk without needing to be taught how to do it.\nReading is different. We do not develop the ability to read in the same way we develop the ability to speak so reading, for most people, is something that needs to be taught and learned.\nTo read more about what reading is and the skills it involves, click here.\nLearning how to read involves a number of quite distinct skills that must be learned and then brought together in order for a child to be able to read fluently and with understanding.\nHere's a list of the nine skills children learn on their way to becoming capable independent readers:\nEducators call the process of developing these nine skills emergent literacy.\nClick here to read more about them.\nMany people think that learning how to read is something that happens at school when children are about five or six but the learning-how-to-read journey takes several years and actually begins a long time before a child starts school.\nIn fact, it starts at birth\nbabies first begin to tune in to the sound of spoken language. As they\ndo this, they are developing two of the nine building blocks of reading: phonological awareness and oral language skills.\nThese two skills are critical pre-reading skills. Research and the experience of teachers around the world shows that children who do not develop these two skills will struggle with learning how to read.\nThe good news is that these two skills don't have to be formally taught. They develop naturally if a child is brought up in an ordinary, loving and nurturing home where he is read to, enjoys loving interactions with adults and is encouraged to explore his world.\nThe key is to read aloud to your child often, a lot and from the time they're babies.\nThere's also a right way to read aloud. It involves reading slowly, with lots of pauses for your child to ask questions, reading with expression and having fun with reading.\nRead more about how to read aloud here.\nWhat about the other seven skills?\nBy reading aloud to your child often and in the right way, you will also be stimulating the development of the other seven skills too!\nWhen you read aloud to a young child, he or she begins to understand that those squiggly black lines in the book mean something. They tell mum or dad when to read in a funny voice and what's going to happen next. Your child will also learn which way to hold a book (which is the front cover?) and how to turn the pages. This is called print awareness.\nSadly, there are children who begin school without this knowledge.\nReading aloud also helps a child develop an understanding of how stories work (storytelling knowledge).\nTake reading fairy tales as an example.\nFairy tales have a pretty standard format. They often start with \"once upon a time\", there's a good-versus-evil story line with clearly-defined good and bad characters and there's a resolution where good triumphs over evil. Children very quickly begin to understand this format, the sequence of events and to anticipate how a story will play out.\nComprehension and oral language skills develop as the child and the adult reading discuss the words, characters and events in the story. This widens the child's knowledge of the world, especially of things, events and people which are not part of his or her everyday life.\nPhonological awareness develops as children tune in to the sounds of spoken language. Poetry and rhyme are particularly important stimulators of phonological awareness, so poems and rhyming stories (such as Dr Seuss books) are wonderful to share with little ones.\nProsody in reading refers to the tune and rhythm the reader uses as he or she reads. As an adult reads aloud, he or she is modelling for the listening child how reading sounds. This may seem like a small thing but it's important. We learn how to do something by observing someone who does it well and this gives us something to copy and aim for.\nThe final two skills of the nine building blocks of reading are letter-sound correspondence and decoding skills.\nOf the nine, these two are the ones that are most commonly taught at school in a formal way. But these two often develop spontaneously when a child has been read to often and from a young age.\nThis is because, when reading is fun, a child will often be fascinated by the process and will begin to ask questions about the letters and words he sees on the page and about the writing he sees on signs and so on when he's out and about.\nThis happened a lot with my own children and with my nephews when they were small. The best story I have concerns my son, James, who was two when he pointed to and read the word \"James\" on his cot blanket (the brand was St James).\nCenter, Y. (2005). Beginning Reading. Sydney: Allen & Unwin.\nCoyne, M. D; McCoach, D. B; Loftus, S; Zipoli, Jr. R; & Kapp, S. (2009). Direct Vocabulary Instruction in Kindergarten: Teaching for Breadth versus Depth. Elementary School Journal, Vol. 110 Issue 1, p1-18.\nHirsh-Pasek, K; & Golinkoff, R. (2003). Einstein Never Used Flash Cards. USA: Rodale.\nHoover, W.A; Gough, P.B. (1990). The Simple View of Reading. Reading and Writing: An Interdisciplinary Journal 2: 127-160.\nhome >>> learning how to read", "id": "<urn:uuid:15d2fcbb-b651-4f9c-962e-676dfbd957ab>", "dump": "CC-MAIN-2017-17", "url": "http://www.best-books-for-kids.com/learning-how-to-read.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121893.62/warc/CC-MAIN-20170423031201-00041-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9705321788787842, "token_count": 1495, "score": 3.6875, "int_score": 4}
{"text": "\"There are many different methods of pre\u2013literate navigation that have been documented around the world. One of the most unique, a fusion of navigation and oral mythological storytelling, originated among the indigenous peoples of Australia, who navigated their way across the land using paths called songlines or dreaming tracks. In Aboriginal mythology, a songline is a myth based around localised 'creator\u2013beings' during the Dreaming, the indigenous Australian embodiment of the creation of the Earth. Each songline explains the route followed by the creator\u2013being during the course of the myth. The path of each creator\u2013being is marked in sung lyrics. One navigates across the land by repeating the words of the song or re\u2013enacting the story through dance, which in the course of telling the story also describe the location of various landmarks on the landscape (e.g. rock formations, watering holes, rivers, trees). In some cases, the paths of the creator\u2013beings are said to be evident from their marks on the land (petrosomatoglyphs), such as large depressions in the land which are said to be their footprints (parallels can certainly be seen in some North American First Nation creation stories).\nSonglines often came in sequences, much like a symphony or album today. By singing a song cycle in the appropriate order could navigate vast distances, often travelling through the deserts of Australia's interior (a fact which amazed early anthropologists who were stunned by Aborigines that frequently walked across hundreds of kilometres of desert picking out tiny features along the way without error). Each group had its own set of songlines that were passed from generation to generation so that future generations would know how to navigate when in neighbouring tribes' territories. The extensive system of songlines in Australia varied in length from a few kilometres to hundreds of kilometres in length crossing through lands of many different Indigenous peoples. Since a songline can span the lands of several different language groups, different parts of some songlines were in different languages corresponding to the region the songline was navigating through at the time, and thus could only be fully understood by a person speaking all of the languages in the song.\"\n(The Basement Geographer, 21 October 2010)\nFig.1 \"What are song lines?\" Colin Jones, lecturer in Aboriginal History, talks about his culture, his history and his art. Queensland Rural Medical Education.\n\"OpenUrban is the first open source user\u2013generated web map and forum focusing on current and proposed urban development. It is a web platform for civic collaboration, a venue for debate, and an outlet and archive for information on urban development. We embrace crowd sourcing technology as a means to inform and empower. By combining written media with spatial information OpenUrban creates a powerful tool for people to understand how their cities are changing and supports their active participation in that change.\"\n\"Creative Industries KTN will be hosting a half day event around challenge 3 of the funding competition which seeks projects that investigate the potential of Cross\u2013Platform analytical metrics and feedback tools to help content producers better understand the consumption of their products in a converged landscape.\nThis session will provide an opportunity for potential applicants to learn more about the programme and how to apply to it.\"\n(Creative Industries Knowledge Transfer Network)\n\"The increasing ubiquity of digital technology, internet services and location\u2013aware applications in our everyday lives allows for a seamless transitioning between the visible and the invisible infrastructure of cities: road systems, building complexes, information and communication technology and people networks create a buzzing environment that is alive and exciting.\nDriven by curiosity, initiative and interdisciplinary exchange, the Urban Informatics Research Lab at Queensland University of Technology (QUT) is a transdisciplinary cluster of people working on research and development at the intersection of people, place and technology with a focus on cities, locative media and mobile technology.\"\nFig.1 QUT Urban Informatics researchers Markus Rittenbruch and Mark Bilandzik talk about the role of data in their work with street computing and the Creative Industries Urban Informatics research lab.", "id": "<urn:uuid:1277943d-b5f2-4786-a59b-9322cf4c390c>", "dump": "CC-MAIN-2017-17", "url": "http://folksonomy.co/?keyword=2213", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120349.46/warc/CC-MAIN-20170423031200-00279-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9540019035339355, "token_count": 832, "score": 3.796875, "int_score": 4}
{"text": "Descriptive writing practice\nUsing The Giver, students discuss the importance recorded history. This provides context for descriptive writing of students\u2019 own history in a lesson that. Are you looking for ways to get your students to be more descriptive when they write? Here's a collection of descriptive writing ideas to get you started in the right. Joseph Cheatle: RT @WCMSU: Game Day at MSU Writing Center!!! (: This Friday, Oct 28, at 12pm, come hang out with us at 300 Bessey Hall. It will be a lot of\u2026\n6 Descriptive Writing Skill Sheet Generates attribute charts to develop and sort ideas and details for descriptive writing. Writes concluding sentences that use a. May 24, 2016 \u00b7 Description in Stegner's \"Town Dump\" Entering Wales, by Edward Thomas; A Happy Home, by Thomas De Quincey; John Updike's Descriptive \u2026\nDescriptive writing practice\nDescriptive writing uses words that show what the writer has seen, heard, smelled, tasted, or experienced. Descriptive writing paints a picture with words so that the. Key Benefits. Personalized writing instruction & feedback from certified teachers; Motivates aspiring writers to fine tune and develop their skills Differences Between Narrative & Descriptive Writing. Seasoned writers weave descriptive and narrative writing to create compelling reading, but the two styles \u2026 Writing descriptive paragraphs helps English learners use a wide variety of vocabulary and structures to improve their writing skills.\nThis learning activity helps students increase their skills in descriptive writing by following tips and suggestions from writer Virginia Hamilton. After reading. Improving Descriptive Writing Painting an Original Picture Purpose of Descriptive Writing Describe something in an original and unique so that it appeals to the five. How do contemporary writers use description? Plus, 10 descriptive writing ideas to help you practice writing descriptions.\nAug 25, 2016 \u00b7 In this project, you will practice organizing specific details into an effective descriptive paragraph. PicLits.com is a creative writing and e-learning site that matches beautiful images with carefully selected keywords in order to inspire you. It is a forum for. Nov 04, 2012 \u00b7 Descriptive writing 1. Quality Descriptive Writing 2. The 6 Traits of WritingA great piece of writing has all of these important. DescriptiveWriting for ESL: Eslflow webguide to argumentative essay,elt, academic ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, videos, activities, or.\n- Why teach descriptive writing? It will help your students' writing be more interesting and full of details; It encourages students to use new vocabulary words\n- Writing a Narrative composition appeals to one of humankind's basic instincts, the impulse to share stories. Sometimes the aim of the story-teller is simply to.\n- Differences Between Narrative & Descriptive Writing. Seasoned writers weave descriptive and narrative writing to create compelling reading, but the two styles \u2026\nArticle focusing on writing descriptive sentences in English for English essays, as well as to make your English much more descriptive. An interactive online essay writing tutorial. Shows users how to write an essay. Begin with ideas, not grammar. Grammar is only a tool. Choose the words and structure to express your ideas. You have power and control over your grammar and words.", "id": "<urn:uuid:789863c4-a0b4-4d16-a669-56e0eca5b4ca>", "dump": "CC-MAIN-2017-17", "url": "http://ksessaykajr.casestudyhouse26.com/descriptive-writing-practice.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123097.48/warc/CC-MAIN-20170423031203-00102-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9061508178710938, "token_count": 699, "score": 3.578125, "int_score": 4}
{"text": "Teaching Resources - Preschool Lesson Plans Books and Children Books Life Lessons\nTeachers have a tremendous amount of power in the lives of children. A teacher of literature and language arts is probably one of the more fortunate of the group, because they are privileged to see children grab language concepts and run with them. They see the depth of a child through their writing and rejoice with them as they develop reading skills. However, it is no easy task being a teacher. The hours of preparation that go into a single lesson would be enough to daunt a person who isn't called to this honorable profession.\nFortunately, there are many places on the internet where teachers can find material to plan their lessons. Teacher's lesson plan books can be purchased at book outlets and supply stores that specialize in teaching materials. Lesson plan books are available from preschool lesson plan books all the way through high school. A teacher can find the aids he or she needs to help in creating children's book lesson plans wherein students are taught how to write their own books.\nUsing Literature to Teach Math\nLesson plans, while similar in structure, differ in content and objective. Using a textbook as a base, teachers build a learning platform that enables their students to grasp concepts or develop skills, or both. There are children's books that teach math; however the subject can be very dry and boring unless or until a child can grasp a concept and feel the excitement that comes with understanding something difficult. In times past, the way math was taught (for the most part) was through a teacher's lecture and the child's personal struggle to understand. Today, children's literature and enthralling story books coupled with edible manipulatives help children get concepts like never before. To understand fractions, a children's book that teaches math, \"The Hershey's Milk Chocolate Bar Fractions Book\" can be read and a Hershey's bar is used to help understand the concept - and eaten at the same time. It can make learning a lot more fun.\nUsing children's literature in lesson plans is an excellent way to reinforce concepts and give the children exposure to great books at the same time. For instance, there are children's books that teach respect and by incorporating them into a lesson plan by having the children read the books and learn songs about respect, you reinforce the need for them to honor other people and their things. Reading about men and women who changed their world by respecting others and, as a result, gained respect for themselves and their cause is another way to use children's books to teach respect.\nLearning respect is only one of the life lessons children can learn about through books. Children's books teach life lessons, especially books that are children's literature. Stories of real-life people who experience real-life issues help kids to know that they're not alone in their experience. Folk tales and fables, stories about animals-like rabbits and birds-often have life lessons attached to them and are wonderful ways to communicate values to little children.\nA Sample English Literature Lesson\nWhen it comes to language arts and teaching English literature, children's books enhance text-book and class lessons. An example of an English literature lesson based upon a book is a lesson using the book Miss Nelson is Missing by Harry Allard and James Marshall. The objective of the teaching portion is to increase appreciation for literature, expand and foster vocabulary growth, develop deduction and prediction skills, practice public speaking, develop creative writing skills, and enhance group interaction through discussion. A target vocabulary is decided and the teacher explains to the children what she wants them to be thinking about while the story is being read. Asking the children to think about what is going on in the story and how the story might end, as well as asking them to put themselves into Miss Nelson's classroom, gives the children the guidelines for their imagination to wander within. The teacher reads the book and displays the pictures as she reads, stopping the story mid-way. Then, time is spent by the children concluding the story. Depending upon their grade level, they can either draw a picture or write their summary, or they can be broken into small groups and do a little sketch of their interpretation of what the ending might look like. The teaching time ends with a group discussion as some children share their conclusions with the class.\nBy using lesson plans designed to encourage children to think, imagine, write, use tactile skills, and other faculties, teaching English using a children's book can be a rewarding and exciting adventure into literature for children in the classroom.", "id": "<urn:uuid:2b3b205e-483a-42e8-8b0c-95fd6afef549>", "dump": "CC-MAIN-2017-17", "url": "http://pregnancy-info.net/childrens-books/teaching-resources.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122619.71/warc/CC-MAIN-20170423031202-00162-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9676035046577454, "token_count": 919, "score": 3.953125, "int_score": 4}
{"text": "The art of storytelling has been around for thousands of years. In 1994, Dana Atchley and Joe Lambert modernized storytelling by founding the Center for Digital Storytelling in San Francisco. Their initial digital stories were personal memories augmented with images, recorded narration, and music.\nDigital storytelling provides students with a powerful 21st century learning experience that capitalizes on their interest in technology and their skills with it. Managing the process of crafting a powerful digital story provides opportunities for students to work on project management skills like organization, time management, leadership, initiative, persistence, and teamwork.\nDigital storytelling is more than just supplementing text with technological baubles. Learners must distill essential ideas from their research, identifying reliable text and supplementing it with imagery, and synthesize this knowledge into a deliverable that evidences their mastery of the content being studied\u2026regardless of the subject or discipline.\nThe original narrative form of digital storytelling is a powerful way to engage learners in writing, but there are many other formats you can implement to build literacy while encouraging deeper thinking about the content being studied. Here are six examples.\nPoetry\u2019s purposeful word choice encourages close, careful reading. Have students create digital storytelling versions of text poems to demonstrate their comprehension of the author\u2019s word choice and intent. As they create their visual poems, students \u201dinterpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.\u201d (CCSS.ELA-LITERACY.CCRA.R.4)\nAsk students to carefully read each line or stanza of a poem and discuss the author\u2019s word choice. Students should then find or create images for each line or stanza to illustrate the author\u2019s intent. Students should also find or create music to reinforce the emotions the poem evokes. As they record the text of the poem, they practice fluency and intonation. The final product is a multimedia version of the poem\u2026 a digital story that helps a viewer better understand the poetry.\nStudent book reports, even digital ones, tend to be superficial information dumps: the title, the author, a summary, and an opinion. Instead of this sort of low-level book report, ask students to create a short, fast-paced book trailer. Much like the movie trailers students are familiar with, book trailers should be designed to hook the audience, showcasing the text in a way that motivates viewers to choose this particular book from the library.\nEnsure that students\u2019 book trailers go beyond basic information about a book. Students should use what they know about the characters and conflict to connect viewers with the story. As students develop a \u201chook,\u201d summarize the story, and employ persuasive techniques to entice others to read, they learn how to use media to change behavior and develop a better understanding of how the mass media uses those same techniques.\nOur students have grown up watching television. Many students spend nearly as much time watching TV than they spend in school! One of the few television program types kids do not enjoy watching is, of course, the news. Challenge your students to come up with a news report they would actually want to watch based on the content they are learning.\nStudents crafting an interesting news report must organize and summarize information, helping them better understand and retain the content. To be clear and concise, students need to focus on interesting, accurate vocabulary and terminology. As they rehearse and record the reports, they practice intonation and build fluency.\nThere are few tasks in school, students dread more than writing a biography. Motivating students to do their best work is sometimes difficult, especially when they realize that no one other than their teacher will see their work.\nTo give student writing additional importance, create an audience more expansive than the walls of your classroom. Remind students that biographies aren\u2019t always books\u2026perhaps they have watched television shows about a favorite singer or musician or enjoyed an A&E biography about someone they admire.\nUsing a digital storytelling approach to biographies helps prevent their writing from becoming a list of unrelated facts. As students combine their research results with imagery, sound, and other media to create a compelling narrative, they learn that even biographies can be informational and powerful.\nAssignments that ask students to summarize and share information as a report or presentation are easily completed by copying and pasting from source materials. Asking students to present their research results as a first-person interview makes information dumping much more difficult.\nA typical interview is a question-and-answer session between two people, but you can expand the definition to include animals, viruses, or even a historic artifact. Interviewing non-human subjects, like the polio vaccine or the boat Washington used to cross the Delaware, provides awesome opportunities for student expression.\nA first-person interview requires students to recode information into their own words. It helps them learn to arrange, combine, and prioritize facts and ideas. In a world awash with information, interviewing helps students realize that knowing which questions to ask \u2014 and how to ask them \u2014 is as important as knowing all the answers.\nMany of today\u2019s important issues, like climate change and public health, cross curricular boundaries between language, science, and social studies. Tap into student passions by asking them to create public service announcements (PSA) that inform viewers about these issues and encourage them to take action.\nTo craft an effective PSA, students must become powerful communicators who can use organization, voice, and word choice to raise awareness and change behavior. Developing a PSA also provides an authentic reason to consider audience and combine informational, narrative, and persuasive writing.\nThese six ideas are just a taste of how digital storytelling provides students with opportunities to practice essential literacy skills and make powerful personal connections to the content they are learning.\nCreate custom rubrics for your classroom.\nGraphic Organizer Maker\nCreate custom graphic organizers for your classroom.\nA curated, copyright-friendly image library that is safe and free for education.", "id": "<urn:uuid:f0de70e4-0251-4055-8800-ccd252fb6174>", "dump": "CC-MAIN-2017-17", "url": "http://thecreativeeducator.com/2016/articles/six-ways-to-implement-digital-storytelling", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124371.40/warc/CC-MAIN-20170423031204-00107-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9460706114768982, "token_count": 1257, "score": 3.921875, "int_score": 4}
{"text": "Technological innovations continue to make the world a smaller place, changing the nature of work and communication. In order to fully participate and thrive in a world steeped in information, students must be able to effectively locate and qualify information, apply it to solve problems, and effectively communicate ideas and solutions.\nWhile today\u2019s classrooms may be full of digital natives, we still face the challenge of engaging those students who are not prepared for work at grade level and who are not interested in traditional activities.\nThe instructional response to at-risk students is often the application of more drilling, which further depletes their interest in school. Rote practice may seem like the fastest way to improve students\u2019 reading scores, but this tactic does nothing to foster an essential lifelong love of learning.\nLike all students, at-risk learners yearn to express themselves creatively, to do things in non-traditional ways, and to demonstrate successes. Students who are struggling with literacy are rarely asked to create literacy products, eliminating important opportunities for them to demonstrate their abilities and mastery.\nCreative multimedia tools allow for multiple forms of representation, providing an opportunity for students to demonstrate understanding while practicing literacy skills through writing (text), reading (audio), and illustration (picture walks and visualization). \u201cWhen students publish their own books, you tap into their innate desire for recognition as they learn to connect to literature, play with language, and beam with pride at their accomplishments,\u201d shares California educator Linda Oaks.\nYounger students are often asked to retell stories. We can use the same strategy for struggling readers and writers. Instead of requiring students to complete a fistful of worksheets or to order the scenes of a story in a workbook, have students publish their retellings as electronic books. Once students are masters of basic comprehension, push them to develop storytelling and linguistic skills by creating new endings or developing completely different variations of the same story.\nStudents can use tools like Wixie to create their own version of books like Mary Wore Her Red Dress by Merle Peek. Such adaptations give students an opportunity to include themselves in the story as well as practice new vocabulary or descriptive writing. Publishing an eBook motivates them not only to work hard during the process, but encourages them to practice when they revisit their very own eBooks at home.\nCombining visuals with text gives students an opportunity to demonstrate learning without struggling to tell their story solely using words. Recording student narration provides an opportunity for nonthreatening practice as they record, listen, record again, listen, and finally save. The recordings also provide performances you can use to assess fluency.\nIn a flipped classroom, students explore a variety of resources such as videos, web sites, and simulations at home and return to class to address misconceptions and explore additional questions with their teacher. Having students create flipped class resource videos helps them grapple with the content they are learning while providing an opportunity to for expository writing in a format they most likely have seen or used before, such as Khan Academy-style videos in school or how-to online videos about Minecraft or making rubber band bracelets.\nSecond-grade teacher Katy Hammack found that after innumerable worksheets and countless review activities, many of her Title I students still lacked mastery over grade-level grammar and language skills. After creating her own grammar tutorials for student review, she began to ask her students to create them instead. She immediately noticed her students more quickly internalize grammar concepts and found that they were also \u201cso proud when they saw their work being used by other students!\u201d\nThere are lots of ways to evaluate student comprehension beyond character trait charts, plot summary worksheets, and stereotypical book reports.\nStudents can show what they know by creating scrapbooks or developing social media-style profiles for characters they are reading about. These projects can include plot summaries as well as direct quotes. Regardless of the exact format, students\u2019 deliverables are intended to demonstrate their understanding of point-of-view in ways that go beyond a simple copy and paste.\nYou can also ask students to design covers for books they have read or create book trailers to encourage other students to try a title in the school library. To connect to a potential reader, students need to understand the book and connect the story to their own experiences, helping them see how the content is relevant to them and the people who will view their projects.\nThe visual nature of these products allows students who struggle to read and write to demonstrate understanding by utilizing pictures and music as well as text. As they learn to think about audience and utilize the tools of propaganda and methods of persuasion, they build powerful skills in argument and media literacy.\nRegardless of the activities you choose to do with your students, keep the following ideas in mind.\nStudents need (and want) to practice reading and writing in real-world situations. Technology helps us make this connection by asking students to use tools to create the types of products they see in the world around them.\nTry to make sure every day includes time to apply literacy skills in projects that also have value and meaning beyond a specific learning goal.\nAt the very least, make sure students are doing work that is similar to work done by people outside of the classroom or would have value to someone outside of the classroom. Even better, ask students to do work that will actually seen by, evaluated by, and used by someone outside of the classroom.\nAll of these things indicate to students that their work has value and meaning. Technology makes it easy to share student work with a wider audience, whether they are creating eBooks, comics, cartoons, or public service announcements.\nStudent work should be a reflection of the creator, not the instructor. One student\u2019s final work should not look the same as another student\u2019s. Sure, we can scaffold early work with templates, but too much structure focuses student work solely on \u201ccorrect\u201d content, not representation or meaning. If our projects assume there is only one right answer for content and delivery, we aren\u2019t asking the right questions.\nTake some time with a process like Understanding by Design to ensure you are clear on the goals for student learning. Many district lesson plan templates include great questions like: What will students know as a result of completing this lesson? Also include questions like: What will students be able to do as a result of completing this project? Sometimes this is simply a matter of remembering to focus on process learning as well content learning.\nAsking open-ended questions and using open-ended and creative technologies can help you engage your students in important reading and writing practice as well as help them develop powerful literacies that will serve them in our rapidly changing world.\nNew approaches to building literacy through creative technology in elementary schools.\nGet this FREE guide that includes:\nCreate custom rubrics for your classroom.\nGraphic Organizer Maker\nCreate custom graphic organizers for your classroom.\nA curated, copyright-friendly image library that is safe and free for education.", "id": "<urn:uuid:2a3e1dcb-1f7d-49b2-85f2-af133b8b9b0b>", "dump": "CC-MAIN-2017-17", "url": "http://thecreativeeducator.com/2015/articles/Making-in-English-Language-Arts", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121267.21/warc/CC-MAIN-20170423031201-00163-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9579498171806335, "token_count": 1430, "score": 3.78125, "int_score": 4}
{"text": "Learn something new every day\nMore Info... by email\nA strong noun is a word that refers to a particular person, place, or thing, which is evocative and fairly specific in nature. These words typically indicate something that a reader can easily visualize and connect with, ensuring that the precise image and concept a writer wishes to designate is achieved. In contrast, weak nouns are usually more vague and subtle, allowing for confusion by a reader or indicating a less specific idea. A strong noun in other languages, such as Old English, refers to a type of noun of a particular declension, which indicates the suffix used to change its form or tense.\nThe function of a strong noun is much like any other type, though it serves this purpose in a more particular way. For example, the word \"vehicle\" is a noun that describes some type of object that can be used to transport someone from one place to another. This is not a specific or descriptive word, however, and so a strong noun may more precisely function within a sentence. Rather than \"He got into his vehicle,\" it can be more effective to say, \"He got into his sports car.\"\nWords like \"vehicle\" or \"dog\" are often considered weak nouns, especially in creative writing in which detail is encouraged. Adjectives can easily be avoided through the use of a strong noun that helps indicate the idea that might be relayed through describing a weak noun. Rather than stating \"big dog,\" for example, it may be more effective for a writer to use \"German shepherd,\" which is a particular type of dog that is, in general, large.\nThis can also help prevent confusion in a sentence like, \"Avoiding the vehicles overhead, he reached his vehicle and got in.\" The types of vehicles throughout the sentence are unclear and the meaning of the action is fairly confusing. It is often more effective for a writer to use a strong noun in each instance and write, \"Avoiding the helicopters circling overhead, he ran to his boat and leapt aboard.\"\nIn some languages, a strong noun can indicate a particular way in which declension is handled within that language. Old English, for example, uses different types of declension, which indicates changes to a noun through a suffix such as the use of \"-s\" for the plural declension in modern English. Strong nouns in Old English have certain suffixes that are used to indicate plural or singular forms of different cases, such as the nominative case used as the subject of a sentence. Weak nouns use other types of declension, and this distinction is established to indicate how these nouns change to take on different forms.\nOne of our editors will review your suggestion and make changes if warranted. Note that depending on the number of suggestions we receive, this can take anywhere from a few hours to a few days. Thank you for helping to improve wiseGEEK!", "id": "<urn:uuid:60b6d7a9-b26f-4b86-ae07-3d285e91c273>", "dump": "CC-MAIN-2017-17", "url": "http://www.wisegeek.com/what-is-a-strong-noun.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122886.86/warc/CC-MAIN-20170423031202-00634-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9656761884689331, "token_count": 592, "score": 4.0625, "int_score": 4}
{"text": "This is the first half of Literary Elements Review Burke\nCentral idea(s) in a piece of literature. Author's message.\nWay or method the author uses to tell the story. Many authors have a certain ________.\nDistinctive type of literary writing. Some novels are fiction, non-fiction, mystery, romance.\nAll the events that take place in a story. A story can't be one without all of these -- they are a sequence/series of events that make up the story's ______ line.\nThe author starts the story with this part. S/he opens the story and quickly establishes characters, setting, mood, and point of view; \"plunges the reader into the story.\" In flash fiction this part of the story is VERY brief and then the writer jumps right into the conflict. In a novel, a writer has lots of time to develop this part of a story and may go on for even a chapter.\nThe people in the story are called _____.\nThe main character--in traditional literature it's often the \"good guy.\" In \"Popular Mechanics\" the main character is the mother. She may not be \"good\" but the story revolves around her and the husband goes against her.\nThe person or thing against the main character. In \"Popular Mechanics\" the HUSBAND is this type of character. He is against his wife and causes the conflict.\nThe author uses what people say about them, what the characters say, themselves, and what the narrator says to depict a character.\nThe place AND time of the story, determined by styles of clothing, technology, historical occurences, customs, manner or speaking, and more.\nThe feeling the AUTHOR CREATES for the reader. In \"Popular Mechanics\" the author creates this feeling in the exposition (story's beginning) by telling the audience about the melting, dirty snow that this was a dark story. This is not the same as tone, which is the author's attitude.\npoint of view\nThe way in which the story is told; who is telling it. it includes various types of narrators.\nThe author uses pronouns to show you that the narrator is from one person's point of view. You will find the pronouns that show this: \"I\" \"us\" \"my\" \"we\" (etc.).\nIn this point of view, the author uses crafts a narrator that is not one of the characters. The story is presented with pronouns that show he is talking about the characters: \"he\" \"she\" \"they\" (etc.).\nAn all-knowing narrator who reveals the thoughts or feelings of more than one character.", "id": "<urn:uuid:0f80d6ea-d7ed-489d-81f0-38a9e854a6f3>", "dump": "CC-MAIN-2017-17", "url": "https://quizlet.com/2962027/literary-elements-review-burke-in-parts-part-i-flash-cards/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917125841.92/warc/CC-MAIN-20170423031205-00225-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9507169723510742, "token_count": 548, "score": 3.953125, "int_score": 4}
{"text": "In an era where children spend more and more time in front of televisions, computers and video-games, it is important not to forget how important stories are!\nHearing stories regularly allows pre-readers become familiar with narrative patterns, speech rhythms, and the flow of language.\nKnowledge of story structure contributes to a child\u2019s understanding of how the world functions, facilitating the ability to\n\u2013 Predict actions and consequences\n\u2013 Understand cause and effect\nAn understanding of narrative structure reduces the processing load and facilitates the use of prediction to aid comprehension and word recognition\nThe ability to comprehend and express stories is an integral part of life and academic success:\n- It allows the child to sequence ideas or information\n- It promotes reasoning skills such as inferential thinking and problem solving.\n- It encourages the use of complex sentence structure and vocabulary and correct grammar.\n- Reading stories helps with the development of listening skills and memory.\n- Storytelling fuels the imagination and allows children to develop mental imagery.\n- Stories help children adapt to new experiences\nNarrative language skills in pre-school and early primary school are excellent predictors of literacy skills in later primary school.\nHow do children develop story telling/narrative skills?\nChildren as young as 20 months, have elements of storytelling in their play. However once verbal language develops it can be classified into developmental stages.\nStage 1: Heap Stories (2 years)\nHeaps consist of labels and descriptions of events or actions. There is no central theme or organization. There is no real high point.\nStage 2: Sequence Stories (2 -3 years)\nSequences consist of labeling events about a central theme, character, or setting. There is no plot. The events could be listed in any order without changing the meaning.\nStage 3: Primitive Narratives (3 \u2013 4 years)\nPrimitive narratives contain three of the story grammar elements: an initiating event, an action, and some result or consequence around a central theme. There is no real resolution or ending to the story.\nStage 4: Chain Narrative (4 \u2013 5 years)\nChain narratives include four of the story grammar elements: an initiating event, a plan or character motivation, an attempt or action, and some result or consequence around a central theme. There is usually either cause-effect or temporal relationships, but the plot is weak and does not build on the motivations of the characters.\nStage 5: True Narrative (5 years +)\nTrue narratives have a central theme, character, and plot. They include motivations behind the characters\u2019 actions and include logical and/or temporally ordered sequences of events. Stories at this stage include five story grammar elements: an initiating event, a plan or character motivation, an attempt or action, a consequence, and a resolution to the problem.\nWhy do children like the same story?\nThe \u201cRead it again,\u201d phase that preschoolers go through is perfectly normal. Children love the sense of power that comes from knowing what\u2019s on the printed page, and since they cannot read it for themselves, the next best thing is to memorize it. To do that they need to hear the story read over and over.\nToddlers love repetition because that the way they learn best. Hearing something many times helps them remember information for increasing periods of time. Hearing a story over and over helps children better understand the characters and the important events in the story. Children get an idea of story sequencing, as in beginning, middle and ending of a story. It also helps children understand some of the standard story \u201clanguage\u201d such as \u201conce upon a time\u201d or \u201chappily ever after\nOnce your child has learned something, he\u2019ll enjoy repetition because he can anticipate what comes next. After many readings of a familiar book, your child may even remember it well enough to add the endings to most of the sentences. This accomplishment means that he can participate more actively in story time. This is also why simple songs and nursery rhymes have such an impact on a toddler: Not only can your child practice his speaking skills and vocabulary by singing \u201cRow, Row, Row Your Boat\u201d nine times in a row, but he also has the satisfaction of feeling he\u2019s added something concrete to his repertoire.\nDuring the extraordinary early learning years, stories, songs and rhyme plant the seeds of sounds and language. So talk, sing and tell stories, and don\u2019t give up on \u201creading again.\u201d", "id": "<urn:uuid:b97e2fc7-91f4-47ab-945f-a3fdfc51a4c8>", "dump": "CC-MAIN-2017-17", "url": "http://nikkiheyman.co.za/story-time/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122174.32/warc/CC-MAIN-20170423031202-00458-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.93504798412323, "token_count": 932, "score": 4.15625, "int_score": 4}
{"text": "\u201cStudents have to believe that what they have to say is important enough to bother writing. They have to experience writing for real audiences before they will know that writing can bring them power.\u201d Anne Rodlier\nViewing and creating animation is a great way to get today\u2019s media-savvy students interested in the curriculum. Animation is exciting, challenging, and fun to create. In my work as an Instructional Technology Resource Teacher in Manassas, Virginia I have found that building animations is an excellent motivator for students which leads to an engaged learning experience.\nStudies suggest that computer-based multimedia, such as interactive animation software, can improve learning. The rate of retention using multimedia presentations is improved compared to more conventional modes of teaching (Fletcher, 2003; Mayer and Moreno, 2002).\nAnimation allows students to convey an idea, concept, or thought in a way that words, still pictures, and audio can\u2019t, which helps me find writing projects that work for students at different language levels. As they create at their own level, they enrich their understanding of the content.\nAnimation encourages students to blend informational text, original writing, and illustration making it perfect for learning in Social Studies! For example, students can use animation to recreate important moments in time, such as a famous speech, an important discovery, or an Olympian breaking a record.\nDuring the process of animating, students engage with the goals and content of the Common Core State Standards as they read and analyze informational texts, apply research skills, and write information texts, narratives, and arguments for an audience.\nAs they develop the story and script for an animation, students are naturally encouraged to write narratives that include descriptive details and clear event sequences. Storyboards are a necessary part of a successful animation and help my students understand and master sequencing, visualization, details, conflict, and narrative structure.\nCreating animations that will be shared online provides an authentic audience for student work. When traditional writing is transformed into animation and presented via the Internet to a world-wide audience, the writer has a desire to produce quality work and is excited about the final project.\nWhen I ask students to write for a specific audience, such as fellow students, the general public, local community members, or primary-age learners, they must consider how purpose, organization, and word choice can help reach convey a message. Effectively communicating to a specific audience also requires that students have a thorough understanding of the information and events they are sharing.\nOne reason students phone in their school assignments - and only halfheartedly copy edit and research them - is that they\u2019re keenly aware that there\u2019s no \u201cauthentic audience.\u201d Only the teacher is reading it. In contrast, academic studies have found that whenever students write for other actual, live people, they throw their back into the work - producing stuff with better organization and content, and nearly 40 per cent longer than when they write for just their instructor.\nSmart teachers have begun to realize they can bring this magic into the classroom. In Point England, New Zealand - a low-income area with high illiteracy rates - the educators had long struggled to get students writing more than a few sentences. So they set up blogs, had the students post there and, crucially, invited far-flung family and friends to comment. At first, the students grumbled. But once they started getting comments from Germany and New York, they snapped to attention.\nMy students commonly watch BrainPOP videos to learn about topics in their core classes, so this year, I used Tim and Moby as an example of high-quality informational animation. For the first time, students watched BrainPOP videos through the eyes of a \"movie maker/animator,\" studying both animation techniques and effective ways to share information.\nStudents used to passively watching media were excited at the prospect of creating content of their own using. They spent time exploring the features in Frames and then created their own BrainPOP-style Moby and Tim animations to introducing their topics.\nOnce they understood the process of building animation, they began to create animations in others subject areas. I have seen great examples of information writing through animations that explain the water cycle, cell division, historical events and biographical information. They have also extended information writing into how-to videos, teaching others how to paint your nails, fly a helicopter and bake cookies!\nStudent-created animation is a highly engaging activity that inspires students to develop, use, and refine writing and technology skills. Students recognize the legitimacy of the audience for their work and rise to the challenge, using a variety of sources, demonstrating logical reasoning, and exercising effective communication strategies, experiencing the realization that they have a voice and that someone is listening to them.\nNo wonder animation tops the list as my students\u2019 favorite activity each year!\nRodier, A. (2000). A Cure for Writer's Block: Writing for Real Audiences. Berkeley, CA: The Quarterly, Vol. 22, No. 2, National Writing Project. A Cure for Writers Block PDF\nThompson, C. (2013). \u201cThe dumbest generation? No, Twitter is making kids smarter.\u201d The Globe and Mail, Friday, Sep. 13 2013.\nFletcher, J. D. (2003). Evidence for learning from technology-assisted instruction. In H. F. O'Neil, Jr. & R. S. Perez (Eds.), Technology applications in education: A learning view (pp. 79-99). Mahwah, NJ: Lawrence Erlbaum Associates.\nMayer, R. E. and Moreno, R. (2002). Animation as an Aid to Multimedia Learning. Educational Psychology Review, Vol. 14, No. 1.\nCreate custom rubrics for your classroom.\nGraphic Organizer Maker\nCreate custom graphic organizers for your classroom.\nA curated, copyright-friendly image library that is safe and free for education.", "id": "<urn:uuid:d6f918cc-1d7a-47b4-badb-da6ee28be718>", "dump": "CC-MAIN-2017-17", "url": "http://thecreativeeducator.com/2013/connections/exploring-history-through-animation", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917124371.40/warc/CC-MAIN-20170423031204-00107-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9417828321456909, "token_count": 1220, "score": 3.96875, "int_score": 4}
{"text": "Soft Toy Dinosaurs Helping Young Children to Learn Life Skills (Achievosaurs)\nUsing a range of soft toy dinosaurs to help encourage young children to learn life skills and to reinforce positive values in schools is something Everything Dinosaur team members are very familiar with. Now that the three inch plus dinosaur range known as the Itsy Bitsies are back in production, our team members set out to examine how one teaching concept, the \u201cAchievosaurs,\u201d came into being.\nWe were contacted by retired Bristol school teacher Lori Mitchell who explained to us how her idea for using dinosaur soft toys took shape.\nMs Mitchell explained:\n\u201cThe idea for the Achievosaurs came after a South Gloucestershire Early Years course \u201cProviding Challenge, Improving Outcomes\u201d in October 2010. During the day, we were asked to consider how we encourage our children to reflect on their learning, rather than just talk about their activities, and how we can help them develop the skills needed to become life-long learners. We discussed the learning-focused qualities we wanted to encourage in our children and a colleague shared the \u201cCurious Cat\u201d she used with her class. One of the Early Years advisors then said something like \u201cyou know, dinosaurs would be another idea..you could have a Thinkasaurus\u201d\u2026and that was it\u2026I went home after the course and devised the Achievosaurs!\u201d\nThe Achievosaurs (Dinosaur Soft Toys) in 2015\nPicture Credit: Everything Dinosaur\nTo view the dinosaur soft toys: Dinosaur Soft Toys and Achievosaurs\nWith the rigours of a new curriculum being rolled out across England, there is a great deal of emphasis placed upon preparing pupils for the opportunities, responsibilities and experiences of later life. For example, the idea of introducing scientific working and the scientific method underpins a lot of Everything Dinosaur\u2019s teaching activities in schools. It is essential for those children at the Early Years Foundation Stage to acquire appropriate social skills as well as developing positive behaviours to help them make good progress.\nWe asked Lori, how the names of the first Achievosaurs came about and she explained that she based her prehistoric animal names on the specific learning qualities that she wanted to encourage in her Reception class (FS2). For the last seven years of her working career, before taking early retirement, Lori was a teacher at Cadbury Heath Primary School, Warmley, near Bristol, South Gloucestershire (south-west England). Using her experience, Lori devised a series of dinosaurs (plus one flying reptile), which she could use as props to help reinforce desired behaviours.\nThe names of Lori\u2019s Achievosaurs were:\n- Exploring ideas and resources: Explorasor\n- Sticking to a task: Stickasaurus\n- Sharing ideas and resources: Shareadactyl\n- Trying their best: Tryatops\n- Asking questions: Askaraptor\n- Working to solve problems: Solveosaurus rex\n- Thinking carefully about tasks: Thinkadon\nOver the years we have come across a number of variants, with something like 1,200 different dinosaur genera described to date and a new one being named on average every 20-30 days or so, educationalists certainly have plenty of scope.\nWhen asked about how she came up with her Achievosaur names, Lori said:\n\u201cWhen I first drafted the idea, all the names ended in \u201casaurus,\u201d but when I found the wonderful collection of Itsy Bitsy dinosaurs at Everything Dinosaur, my 20 year-old son got involved (dinosaurs really are any age child friendly), and selected the dinosaurs and adapted their name to \u201cfit,\u201d so, for example, we took Velociraptor to make \u201cAskaraptor\u201d.\nLori was invited to share her idea with a team of South Gloucestershire assessment co-ordinators and this simple, but very effective teaching aid has been taken up by a number of primary schools and other educational establishments.\nTeam members at Everything Dinosaur dedicate a lot of time to supporting teaching teams and many EYFS (Early Years Foundation Stage) and Key Stage 1 teachers incorporate a dinosaur themed topic into their scheme of work. A spokesperson from the Cheshire based company stated that a topic based on prehistoric animals dove-tailed into desired learning outcomes across the curriculum, whether it was using the size and scale of dinosaurs to help build confidence with numbers or having a class imagine what it would be like to have a pet Triceratops in order to lay the foundations for some creative writing.\nDinosaurs as a Term Topic Can Encourage and Motivate Young Learners\nPicture Credit: Everything Dinosaur\nFor further information on Everything Dinosaur\u2019s teaching work in schools: Contact the Teaching Team at Everything Dinosaur\nWhen asked why the likes of Tyrannosaurus rex and Stegosaurus are so popular with young learners Lori suggested:\n\u201cOne reason I think is their wonderful names. They sound fascinating, and what child doesn\u2019t like to impress an adult by knowing long words and being able to pronounce them? Another is that, although huge and terrifying when they lived, dinosaurs are not around anymore so they can\u2019t get us!\u201d\nDinosaurs enduring popularity with children (quite a few adults as well), is an area that has been explored frequently. Team member, \u201cDinosaur Mike\u201d, part of the company\u2019s teaching team was interviewed by the BBC on this subject and he hypothesised:\n\u201cDinosaurs are never really out of the media, so children are exposed to prehistoric animals such as Diplodocus and Tyrannosaurus rex from an early age. When talking to Mums and Dads we know how proud they are when their son or daughter explains all about their favourite dinosaur. With so many facts and figures associated with these prehistoric reptiles, they do help sow the seeds for an appreciation of life- long learning.\u201d\nHer Reception class loved the idea of Achievosaurs right from the start, but we wanted to know which was Lori\u2019s own favourite. Lori declared that she was very fond of them all as the encouragement these soft toys had given to her charges, getting them to think about learning skills and to develop positive behaviours, was of real benefit.\n\u201cIt has been fantastic to hear the children identifying what they need to do in order to move their learning on, for example, suggesting they need to be a \u201cStickasaurus,\u201d which concentrates, in order to learn their letters or a \u201cSolveosaurus rex,\u201d which makes links between ideas, when faced with a problem. However, if I had to pick one favourite Achievosaur, I think it would be Tryatops\u201d.\n\u201cThere is sometimes a perception that learning is just for \u201cclever\u201d children, and I think Tryatops helps to teach children that no matter what the activity or skill level, we can ALL try our best, never give up and in consequence, achieve.\u201d\nTryatops \u2013 Based on the Horned Dinosaur Triceratops\nPicture Credit: Safari Ltd/Everything Dinosaur\nNot being discouraged, even when experimental results don\u2019t quite turn out as expected, is an important aspect of scientific working. Lessons learned early in life will help pupils face future challenges with more confidence.\nIn conclusion, we asked Lori if she could design her very own dinosaur what would it be like?\n\u201cThe Achievosaurs were my first design attempt, with specific characteristics and names, to tie in with the Early Years Characteristics of Effective Learning. I had a lot of fun inventing and writing about them and I couldn\u2019t be more delighted that other Early Years professionals and schools have found the concept useful. However, I\u2019ve recently been thinking about the PSE side of things [personal, social and emotional development]: could an Achievosaur help children to take account of one another\u2019s ideas (an Early Learning Goal) or be thoughtful/helpful? What about a Respectadocus? Now that the toys are back in production, anything is possible! \u201c\nAt Everything Dinosaur we have had the privilege of working with a number of dedicated teaching professionals who have adopted and adapted dinosaur soft toys to assist them with their own learning objectives. As a result, we have come across a large number of different Achievosaurs all aimed at reinforcing appropriate behaviours and encouraging the development of life-long learning.\nThank you Lori for being a wonderful \u201cShareosaurus\u201d and sharing your story with us.", "id": "<urn:uuid:e6694be8-778a-4980-9fb9-c658b75a0846>", "dump": "CC-MAIN-2017-17", "url": "http://blog.everythingdinosaur.co.uk/blog/_archives/2015/04/13/the-achievosaurs-reinforcing-positive-learning-behaviours.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118519.29/warc/CC-MAIN-20170423031158-00099-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.962284505367279, "token_count": 1802, "score": 3.515625, "int_score": 4}
{"text": "|My first SLR camera-- a Nikon 35mm N65|\n- the rule of thirds\n- balancing elements\n- leading lines\n- symmetry and patterns\nOne can take these rules of photographic composition and apply them to writing.\nThe rule of thirds: In photography, it relates to top, center, and bottom, left, right, and middle. It breaks the picture into a grid of 9 spaces. A good photographer knows where these things are being placed on the grid to help create the best shot. A good writer can perhaps think about this grid of 9 in a different way: beginning, middle, end. Where do you want the most and the least information to lie?\n|This image is enhanced by the |\nbalance of light and dark elements\nBalancing elements: In photography, it's about balancing images, colors, and space. In academic writing, this could mean not overloading one paragraph and underdeveloping another. In creative writing, such as poetry, when the visual rhetoric is just as important as the writing, this could refer to the balance of the words on the space.\nLeading lines: This is perhaps the hardest on to apply. The definition give by PhotographyMad is this: \"When we look at a photo our eye is naturally drawn along lines. By thinking about how you place lines in your composition, you can affect the way we view the image, pulling us into the picture, towards the subject, or on a journey \"through\" the scene. There are many different types of line - straight, diagonal, curvy, zigzag, radial etc - and each can be used to enhance our photo's composition.\" In writing, one could consider this the focus of the paper, pulling the thread of an idea through, whether it be directly or indirectly. It should, however, be a conscious choice.\nSymmetry and patterns: In creative writing, patterns are especially important because they add to the meaning of the piece. In academic writing, symmetry and patterns are tools for analysis.\n|Getting up close and personal|\nwith Cluck via macro lens\nViewpoint: Photographers call it viewpoint; writers call it perspective or voice. The way a person sees an object is different depending on where they view it from. This can be literal-- a student sitting at the back of the class sees the classroom differently than the teaching behind the desk-- or figurative, more akin to a wordview-- a Green individual or a racist, for example. This plays into the way that we write characters, the way we describe things, and the way that we analyze ideas.\nBackground: Background is important because it can emphasize a subject or, if the background is too busy, we can lose the subject all together. The same happens in writing. In academic writing, if we get lost in too much background explanation, our focus can become unclear. On the other hand, the right amount of background can help illuminate historical issues, illustrate theoretical foundations, or clarify the use of a term, changing the way a reader interprets an argument. In creative writing, too much background can make the story lag and lose our readers' interests, while the right amount can endear us to characters, create suspense, or paint a scene.\nDepth: Considering how far we must pry into something for it to have an impact is important to consider for photographers and writers alike. In academic writing, depth tends to be the goal. We want to keep a narrow focus, but really \"dig in deep.\" In creative writing (and I know keep making this binary for conversation purposes, but really I don't think the line is so black-and-white), we want to make sure to add depth only where it's needed. I don't need to have an in-depth analysis of every character in a novel, or I become overwhelmed.\nFraming: In photography, this refers to surrounding something so that it is emphasized. In writing, we refer to frames all of the time: frame of reference, frame narration, framing the scene. It is much the same as the framing photographers think about.\nCropping: Photographers consider very carefully what should and should not be in a scene, what should be the focus and what should be cut out. This is the job of the writer, as well. We have to think about what information is necessary and what is fluff. We have to think about the parameters of argument, how much space we have to fill (you cannot say the same in 500 words that you can in 50,000), and how to focus in on the most important material.\n|Boring leather table + foam glowstick|\n+ slow shutter speed = cool picture\nExperimentation: Aside from balance, this seems like the most important rule of composition to me. I think many of us fear trying something new. Think of how many novice photographers, for instance, take the same already-been-done picture of the butterfly landing on a flower and believe it to be their best work. The same is true of writers. We fear stepping outside the box, especially in academic situations, but many times, risk-taking leads us to our best work. New forms, odd angles, tapping into theories outside of discipline, talking about taboo subjects-- these can make great pieces of art, both in photography and writing.", "id": "<urn:uuid:c94452f4-20b4-4c0f-9d3d-0cb778824338>", "dump": "CC-MAIN-2017-17", "url": "http://np-composition.blogspot.com/2012/02/photography-for-writers.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118519.29/warc/CC-MAIN-20170423031158-00103-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9522815346717834, "token_count": 1091, "score": 3.59375, "int_score": 4}
{"text": "Here are links to several curriculum-based lesson plans related to the Amazon rainforest. Each lesson plan is a guide to organizing relevant material and to prepare yourself to help your students achieve desired learning objectives. We will be adding in-house lesson plans sometime in the future. The lesson plans below have been selected from among hundreds available on-line. Please feel free to contact Jungle Photos Amazon if you'd like help designing lesson plans to meet your individual needs.\nClick on the links to access the rainforest lesson plans\n\u2022 Kindergarten Rainforest Unit (MAR '06)\nSeveral pages give background information. Includes three weeks worth of rainforest jungle lessons.\n\u2022 Layers of the Rainforest (MAR '06)\nThis lesson teaches children that the forest has layered structure. In this case, four layers of the rainforest are introduced.\n\u2022 Rainforest Exploration (MAR '06)\nStudents create a display of a rainforest animal and its habitat.\n\u2022 The Great Kapok Tree: A Social Studies Lesson (MAR '06)\nStudents will demonstrate an understanding of the interdependence of animals, people and plants in the rainforest by participating in an ecosystem simulation. (Related lesson: The Importance of the Rainforest)\nGRADE 1 - 2\n\u2022 Amazon Alphabet (MAR '06)\nIn this activity students create an alphabetic Amazon animal mural. The objective is to show the diversity of life in the Amazon tropical rainforest.\nGRADE 2 - 3\n\u2022 How To Create A Rain Stick (MAR '06)\nStudents construct their own rain stick in order to appreciate the sounds of the rainforest. (Related lesson: How to Make a Rain Stick)\n\u2022 Teacher CyberGuide: The Great Kapok Tree (MAR '06)\nActivities are based on The Great Kapok Tree, and are designed to supplement a unit focused on South American rain forest themes.\n\u2022 Economics Lesson: The Rain Forest (JUL '06)\nActivate students knowledge of rain forests by asking: What are the characteristics of a rain forest? What animals and plants are found in the rain forest? How do people depend on the rain forest?\n\u2022 Rain Forests and Planet Ecology (JUL '06)\nThrough the use of literature and related activities, students will expand their knowledge of rain forests and planet ecology.\nGRADE 4 - 5\n\u2022 Creative Writing From the Rainforest (MAR '06)\nStudents research relevant topics to gain knowledge of the rainforests around the world.\n\u2022 Three Aspects of the Rain Forest (MAR '06)\nIntroduce the students to three aspects of the rain forest people, animals, and life.\n\u2022 The Great Kapok Tree: A Tale of the Amazon Rain Forest (MAR '06)\nDeals with the story of the Great Kapok Tree, a tale from the Amazon forest. Students become more familiar with the animals of the rain forest and the usefulness of the rain forest (medicines, soil, and the trees).\n\u2022 Rain Forest Reporters (JUL '06)\nStudents work as magazine reporters to produce a print or multimedia magazine about rain forests.\n\u2022 Hands-On Science for Teaching Rain Forest Ecosystems (JUL '06)\nGets students to think about how the ecosystem of tropical forests fits into the big picture of the Planet Earth. Provides a basic framework of articles, information, references and \"classroom ready\" labs aimed primarily at teaching cause and effect relationships of deforestation.\nGRADE 7 - 8\n\u2022 Biodiversity Preservation Project (MAR '06)\nInspires students to speak out against environmental injustice. Deals with biodiversity and protecting and educating about endangered species.", "id": "<urn:uuid:0adfd9fa-4e74-46a7-b010-b9bbfca2cd3b>", "dump": "CC-MAIN-2017-17", "url": "http://www.junglephotos.com/amazon/teachers/lessons/lessons.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118552.28/warc/CC-MAIN-20170423031158-00455-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8112584948539734, "token_count": 757, "score": 4.09375, "int_score": 4}
{"text": "There is a vast amount of literature available regarding digital storytelling for purposes of activism and education, especially practical guides for creating digital storytelling projects. Less literature is available about digital storytelling\u2019s role in archiving history and most of it is understandably theoretical. Joseph (2006: n.p.) mentions that stories can leave a \u201clegacy of cultural heritage.\u201d Marrion (2010) similarly describes a digital storytelling festival in Norfolk, Virginia, which was used for educational purposes as well as a vehicle to archive local history. The California of the Past Digital Storytelling Project similarly focuses on creating a statewide history resource on life in California, specifically promoting intergenerational sharing of California stories. Baby boomers are encouraged to tell their stories so that the history can be documented, and immigrants are encouraged to tell their memories of California as experienced when they first arrived (California State Library, 2010). North Carolina\u2019s Levine Museum of the New South experimented with the idea of archiving user experiences with a museum exhibition by creating a video story kiosk within the exhibition (Czarnecki, 2010, ch. 3). There are many opportunities to create stories for purposes of logging and archiving local history.\nMonterey Park Bruggemeyer Library, a city library in Los Angeles County, participated in the California of the Past Digital Storytelling Project from 2010-2011 with the intention of creating digital stories documenting the history of Monterey Park. As of April 29, 2011, fourteen digital stories from local community members have been recorded, edited and made available on Blip.tv (http://montereyparkstories.blip.tv/). These stories document experiences of artists and authors in Monterey Park, the emergence of a theatre community within the city, experiences of immigrants coming to America and to California, the history of local colleges, local ethnic groups, parade experiences among other topics. Other channels from other cities can be viewed on Media Arts\u2019 California of the Past Digital Story Station website (http://www.mediaartscenter.org/site/c.dfLIJPOvHoE/b.3469463/k.3CFB/California_of_the_Past.htm).\nIf you intend to create a digital storytelling project with the goal of archiving history, selection of storytellers is of great importance. Choosing community leaders is one way to spread the word about the project, however many others in the community might have interesting and informative stories to tell. Don\u2019t limit yourself to the first people you think of, rather publicize and take recommendations from the community to determine stories that may be poignant or important for documenting your local history.\nIf you are creating a digital storytelling project for the purposes of archiving history, you may want to ask yourself the following questions:\n- How important is the quality of production when compared to enhanced community learning skills? It is possible to choose between teaching community members digital storytelling skills or deciding to use those with some background or experience in film or similar technologies.\n- What technology would you like to use? Depending on the primary goal of your project, choices for technology may vary as ease of use vs. quality may be very different across technologies. Establishing technical requirements for your project are addressed in this section.\n- How would you like to archive the stories? If the purpose is to track history, you may need to take some digital preservation issues into consideration beyond the creation (and thereby digitization) of the stories.\nFor more information on digital storytelling for purposes of archiving history, please see some of the following resources:\nCalifornia State Library. (2010). California of the Past: Digital Storytelling Grant Program Guidelines.Retrieved on April 29, 2011, from http://www.library.ca.gov/grants/lsta/docs/DSTGuide1011.pdf\nCzarnecki, Kelly. (2010). Digital Storytelling in Practice. Chicago: ALA TechSource.\nJoseph, L. C. (2006). Digital Storytelling. MultiMedia & Internet@Schools, 13(4), 13-16.\nKaare, Birgit Hertzberg and Lundby, Knut. (2009). Mediatized lives: Autobiography and assumed authenticity in digital storytelling. In Knut Lundby (Ed.), Digital Storytelling, Mediatized Stories: Self-representations in new media (pp. 123-144). New York: P. Lang.", "id": "<urn:uuid:efd25bfb-2727-4e87-aa70-4a9f1ef5dc9c>", "dump": "CC-MAIN-2017-17", "url": "http://www.prairienet.org/op/stories/managing-a-digital-storytelling-project/establishing-the-goal-of-the-project/archiving-history/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122174.32/warc/CC-MAIN-20170423031202-00459-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9033104181289673, "token_count": 913, "score": 3.640625, "int_score": 4}
{"text": "I\u2019ve been teaching my kids about the parts of speech in our writer\u2019s workshop lately. I started with a quick overview about how our words do jobs for us. We used this Parts of Speech worksheet to briefly go over the parts of speech so the kids could understand what they were and the jobs they do in writing and speech. Then I assigned a part of speech to each day and we did some activities to help reinforce the ideas over the next couple of weeks.\nParts of Speech Activities We Did:\n- Watched the Schoolhouse Rock Grammar Rock Videos that went with each part of speech. They are oldies, but goodies. I learned parts of speech from them when I was a kid and I can still sing you every song. Now my kids join in with me too.\n- Brainstormed a word list on our white board of example words for each part of speech.\n- Played with a lot of mad libs and then even wrote our own. The kids started by writing a one page story. Then they erased key words out of each sentence, filling in a blank line and an appropriate part of speech label under the blank. Then we supplied our own words according to the label, and the author of the mad lib got to read them out loud to everyone. We laughed our heads off. They were hilarious.\n- Read paragraphs from some of our favorite books, picking out instances of that part of speech.\n- Had a race. I wrote various words on index cards and put them in piles in the middle of the room. I hung signs for each part of speech up on the walls around the room. Each kid had to deliver all their index cards to the correct part of speech and race to the finish line first.\n- Diagrammed Mother Goose Rhymes. I underlined certain words from the rhymes, and they rewrote the verse and labeled each underlined word with the correct part of speech.\n- Made a flip book that listed each part of speech. When you flip the page up, you can see the job it does and some example words.\nThe biggest sheet is a full size sheet of construction paper. Each page was reduced by one ruler\u2019s width from the one underneath it. We just put our rulers down along the bottom edge, traced the edge with pencil, and then cut along the line. We sharply creased each page so it would easily flip up along the crease mark. Then we hole punched the top and attached it together with brads. Here you can see what the flip sides of the pages look like.\nOf course, we\u2019ll keep adding to these as we come across interesting words, and my kids now have their flip books by their side as they write so they can get ideas for vivid words and remember to use lots of description and full sentences as they write. We also use the flipbooks to quiz ourselves as we review parts of speech.\nAll in all, learning about the parts of speech has been really fun. We took a normally dry topic and put some life into it. It has also given me a foothold for asking my kids to improve their writing. Now when I come across \u201cThe cat sat\u201d in their writing, I can say, \u201cThrow in a preposition, an adverb, and an adjective in there and you\u2019ll have a good looking sentence.\u201d And by golly, they can do it.\nMore From Layers of Learning\nLove these ideas? Check out more like this on our Writer\u2019s Workshop page! You\u2019ll find lots of fun lessons in grammar, poetry, creative writing, spelling, and printables! Plus, you can see how I run my writer\u2019s workshop and teach my littlies to love putting pen to paper!\nAre you new to Layers of Learning? Introduce yourself in a comment \u2013 we love to meet new bloggy friends. We also hope you check out more around our little real estate on the web by perusing our menu above. We share tons of cool learning projects and ideas, new printables all the time, and really fun, hands-on units. We also share all kinds of holiday fun and yummy-licious, family-friendly recipes. Please connect with us!", "id": "<urn:uuid:fc2a07d0-9ce2-47e5-9fd3-f5d5bd94bdcd>", "dump": "CC-MAIN-2017-17", "url": "http://layers-of-learning.com/parts-of-speech/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917126538.54/warc/CC-MAIN-20170423031206-00634-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9681799411773682, "token_count": 881, "score": 4.0, "int_score": 4}
{"text": "Presentation on theme: \"Warm-up Think about a time when you had to learn a painful truth. How old were you? What was the \u201ctruth\u201d you learned, and how did you find out that truth?\"\u2014 Presentation transcript:\nWarm-up Think about a time when you had to learn a painful truth. How old were you? What was the \u201ctruth\u201d you learned, and how did you find out that truth? What had you believed was the truth before?\nObjective: To read and annotate a text for literary elements (theme, setting, conflict, resolution, and foreshadowing) and to identify the underlying purposes of a narrative \u201cThe Stolen Party\u201d pg. 110\n\u201cThe Stolen Party\u201d Chunk 1 \u2013 Read chunk 1 of \u201cThe Stolen Party\u201d \u2013 Annotate chunk 1 for elements of conflict between the main character and her mother\n\u201cThe Stolen Party\u201d Read chunk 2 Annotate chunk 2 for the feelings that Rosaura is feeling \u2013 About the party, about her mother, or about herself? How does Se\u00f1ora Ines and her daughter treat Rosaura?\n\u201cThe Stolen Party\u201d Read Chunk 3 \u2013 Annotate chunk three for elements of conflict Conflict between the two girls, and any internal conflict Rosaura may be feeling\n\u201cThe Stolen Party\u201d Under your warm up: \u2013 Make a prediction for what may happen at the party later in the story. \u2013 Turn and share your prediction with your neighbor. Take two minutes to write about how their prediction is similar to or different from your own.\n\u201cThe Stolen Party\u201d Read chunk 4 \u2013 Annotate the text of chunk 4 for Rosaura\u2019s reactions Her reactions to other children at the party, and reactions about being the assistant to the magician\n\u201cThe Stolen Party\u201d Read Chunk 5 \u2013 Annotate the text for Rosaura\u2019s feelings again Are they different from before? What is she looking forward to? What might the gift bags represent to a child at a party?\n\u201cThe Stolen Party\u201d Read chunk 6 \u2013 Annotate for Rosaura\u2019s actions toward Se\u00f1ora Ines What was the surprise ending? What did Rosaura learn? \u2013 Write: Was your prediction correct? How was your prediction similar to or different from the ending?\nStolen? What was Stolen? Talk with a partner about how the party had been stolen from Rosaura. How had her mother tried to warn or prevent her from going? Write two examples from the beginning of the story that foreshadow the ending\nFinal \u2013 Using your notes from the reading, your predictions, and your discussion, complete the Plot Diagram work sheet. \u2013 Due end of period or tomorrow as homework.", "id": "<urn:uuid:3baff79d-4bff-4228-8d13-3da496f9c16e>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/4241363/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122720.81/warc/CC-MAIN-20170423031202-00224-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9603301286697388, "token_count": 589, "score": 3.796875, "int_score": 4}
{"text": "From Wikipedia, the free encyclopedia\n|This article needs additional citations for verification. (July 2007)|\n Early researchThe notion that plants are capable of feeling emotions was first recorded in 1848, when Dr. Gustav Theodor Fechner, a German experimental psychologist, suggested that plants are capable of emotions and that one could promote healthy growth with talk, attention, and affection.\nIndian scientist Sir Jagadish Chandra Bose began to conduct experiments on plants in the year 1900. He found that every plant and every part of a plant appeared to have a sensitive nervous system and responded to shock by a spasm just as an animal muscle does. In addition Bose found that plants grew more quickly amidst pleasant music and more slowly amidst loud noise or harsh sounds. He also claimed that plants can \"feel pain, understand affection etc.,\" from the analysis of the nature of variation of the cell membrane potential of plants under different circumstances. According to him, a plant treated with care and affection gives out a different vibration compared to a plant subjected to torture.\nOne visitor to his laboratory, the vegetarian playwright George Bernard Shaw, was intensely disturbed upon witnessing a demonstration in which a cabbage had \"convulsions\" as it boiled to death. Bose found that the effect of manures, drugs, and poisons could be determined within minutes, providing plant control with a new precision. He repeated his tests on metals, administering poisons to tin, zinc, and platinum, and obtained astonishing responses which, when plotted on a graph, appeared precisely like those of poisoned animals. In conclusion he said: \"Do not these records tell us of some property of matter common and persistent? That there is no abrupt break, but a uniform and continuous march of law?\"\n Cleve BacksterInfluenced by Bose's experiments in the 1960s, Cleve Backster, an Interrogation Specialist with the CIA, conducted research that led him to believe that plants can communicate with other lifeforms. Backster's interest in the subject began in February 1966 when he tried to measure the rate at which water rises from a philodendron's root into its leaves. Because a polygraph or 'lie detector' can measure electrical resistance, which would alter when the plant was watered, he attached a polygraph to one of the plant's leaves. Backster stated that, to his immense surprise, \"the tracing began to show a pattern typical of the response you get when you subject a human to emotional stimulation of short duration\".\nIn 1975 K.A. Horowitz, D.C. Lewis and E.L. Gasteiger published an article in Science giving their results when repeating one of Backster's effects - plant response to the killing of brine shrimp in boiling water. The researchers grounded the plants to reduce electrical interference and rinsed them to remove dust particles. As a control three of five pipettes contained brine shrimp while the remaining two only had water: the pipettes were delivered to the boiling water at random. This investigation used a total of 60 brine shrimp deliveries to boiling water while Backster's had used 13. Positive correlations did not occur at a rate great enough to be considered statistically significant. Backster criticized them for misunderstanding certain fundamentals of what he termed \"primary perception\", such as that the time spent rinsing the plants might have affected their relationship to the experimenters.\n Puthoff and FontesIn November 1975 a report called \"Organic Biofield Sensor\" reviewed research by Dr. Harold E. Puthoff and Randall Fontes at Stanford Research Institute in Menlo Park, California investigating possibility that plants may respond to human consciousness as contended by Cleve Backster.\n Recent researchRecent research has shown that plants can respond to electrical impulses, but their lack of a central nervous system and nociceptive A delta fibers implies that plants have no feeling of pain.[ISBN missing]\n MythbustersThe television show MythBusters performed an experiment to verify or disprove the concept. The tests were done by connecting plants to a polygraph galvanometer and employing actual and imagined harm upon the plants or upon others in the plant's vicinity. The galvanometer showed some kind of reaction about one third of the time. The experimenters, who were in the room with the plant, posited that the vibrations of their actions or the room itself could have affected the polygraph. After isolating the plant the polygraph showed a response slightly less than one third of the time. Later experiments with an EEG failed to detect anything. When the presenters dropped eggs randomly into boiling water the plant had no reaction whatsoever. The show concluded that the theory was not true.\n Cultural references\n- Will Eisner wrote a graphic novel entitled Life on Another Planet that uses Backster's ideas as one of the main plot devices. A long description of Backster's life and thoughts appear in the comic as a letter read by one of the characters. The letter is included in the comic as a full page of text.\n- English author Roald Dahl wrote a short story entitled The Sound Machine dealing with the theory, in which the protagonist develops a machine that enables him to hear the sound of plants, especially when they are under pain. With the machine he hears the scream of roses being cut, and the moan of a tree when he strikes it with an axe.\n- Stevie Wonder sang of Bose's findings in the song \"Same Old Story\" on the Secret Life of Plants soundtrack album for the movie of the same name. The lyrics are as follows: \"for most felt it was mad to conceive/that plants thought, felt, and moved quite like we/but with instruments Bose would devise/would take science itself by surprise.\" The song also includes references to George Washington Carver and his advocacy of crop rotation.\n See also\n- \"plant emotions\". Bio.net. http://www.bio.net/bionet/mm/plantbio/1999-November/022303.html. Retrieved 2012-03-21.\n- \"plant perception (a.k.a. the Backster effect) - The Skeptic's Dictionary\". Skepdic.com. http://skepdic.com/plants.html. Retrieved 2012-03-21.\n- Michael Heidelberger Nature from within: Gustav Theodor Fechner and his psychophysical worldview 2004, p. 54\n- Sir Patrick Geddes (1920), The life and work of Sir Jagadis C. Bose, Longmans, Green, p. 146, http://books.google.com/books?id=EPtCAAAAIAAJ&pg=PA146&q=%22bernard%20shaw%20being%20a%20vegetarian%22#v=twopage \n- Sir Patrick Geddes (1920), The life and work of Sir Jagadis C. Bose, Longmans, Green, p. 97, http://books.google.com/books?id=EPtCAAAAIAAJ&pg=PA97&q=%22continuous%22#v=twopage \n- Cleve Backster Primary perception: biocommunication with plants, living foods, and human cells White Rose Millennium Press, 2003 ISBN 0966435435\n- \"Organic Biofield Sensor\" by H. E. Puthoff and Randall Fontes\n- Fein, Alan (2012). Nociceptors and the Perception of Pain. University of Connecticut: Health Center.\n- \"Episode 61: Deadly Straw, Primary Perception\". Annotated Mythbusters. September 6, 2006. http://kwc.org/mythbusters/2006/09/episode_61_deadly_straw_primar.html.\n- Life on Another Planet, http://willeisner.com/books/life_planet.html\n- The Reader's Digest, Wonders of the Natural World, The Reader's Digest Association Ltd., 1975\n- Stone, Robert The Secret Life of Your Cells, Whitford Press, 1994\n- Jensen, D., The Plants Respond: An Interview with Cleve Backster, 2006, , Accessed 30 Nov 2006\n- Horowitz, K.A., Lewis, D.C, and Gasteiger, E.L. Plant 'Primary Perception': Electrophysiological Unresponsiveness to Brine Shrimp Killing, Science, New Series, Vol. 189, No. 4201 (Aug 8, 1975), pp. 478\u2013480\n- Carey, S.S. A Beginner's Guide to Scientific Method - Third Edition, Thomson-Wadsworth, 2004\n- Carroll, R.T. Plant Perception (a.k.a. The Backster Effect), 2005, , Accessed 30 Nov 2006\n- Tortora, Gerard J. Principles of Human Anatomy - Tenth Edition, John Wiley & Sons, Inc., 2005.", "id": "<urn:uuid:4b0848fc-d5c2-4a3a-a7a0-f4225794111f>", "dump": "CC-MAIN-2017-17", "url": "http://esotericotherworlds.blogspot.com/2013/01/plant-perception-paranormal.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119637.34/warc/CC-MAIN-20170423031159-00399-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9289678931236267, "token_count": 1830, "score": 3.578125, "int_score": 4}
{"text": "Characterization, Direct vs. Indirect\nIn much the same way that the basic building block of life is the cell, or of matter the subatomic particle, the basic element of story is character. We all know what a character is, but the question is how to represent one in storytelling. There are two basic types of characterization: Direct and Indirect. I\u2019ll get to Indirect a bit later, but let\u2019s start with Direct. Direct characterization occurs when the author directly tells the reader information about a character. Pretty straightforward. Sometimes, direct characterization is used because of space constraints or pacing or the like, but keep in mind that direct characterization, when overused, can become tedious to read. So limit its use except where strictly necessary, and be sure to make it as salient and interesting as possible. The closest popular mode of direct characterization that comes to mind, for me, is the voice over in film, especially in noir film (based, of course, on noir detective novels like those of Raymond Chandler). In these novels, the narrator often addresses the reader, and therefore describes characters directly. But the narrator also reveals quite a bit about himself through his word choice and through the details he chooses to share, so that the direct characterization of other, often minor, characters also acts as an indirect characterization of the narrator, and other major characters are characterized more fully in other ways.\nWhat I\u2019m getting at, here, is the major flaw of direct characterization, which is that it can be boring because it dumbs-down the story. The reader reads not in order to take in a writer\u2019s brilliant word choice, like a dictionary-sponge, but rather to solve the puzzle of the story. This \u201cpuzzle\u201d might be as straightforward as whodunit? Or it might be more subtle, like Will this character make the \u201cright\u201d decision? Will John Stay With Marsha? etc. But within this puzzle there are many, smaller puzzles, or perhaps pieces, like Who is this character (Who is John? Who is Marsha)? which help add to the reader\u2019s understanding of the character\u2019s actions. (That was a mouthful!) The reader must understand who the characters really are, why they behave the way they do (not just how they will behave, but WHY) and then, the reader can get to that big question of the story, which is how will this particular character behave in this particular situation, and is it surprising? But understand: this is all a kind of game for the reader. It\u2019s fun to figure these things out, to accrue bits of characterization and piece them all together into an idea or image of a character, and then watch that character reach the breaking point (the decision-making point) AND STILL BE SURPRISED at the character\u2019s decision! (I bet you didn\u2019t realize you were working so hard when you read something!) So you don\u2019t want to rob the reader of actually enjoying your writing!\nBut the writer doesn\u2019t have to do ALL this work, which would be tremendous. Characters are based on people, and, as the saying goes, people are the same the world over. As writers, we can rely that our readers will recognize our characters as being similar enough to people they\u2019ve met that they\u2019ll \u201cgo with us\u201d and fill in the gaps we leave. (The danger, here, is relying on clich\u00e9d or overly familiar characters, or \u201ctypes.\u201d Many writers and critics will argue that a \u201ctype\u201d is okay in a minor character because the writer needs that character to be recognizable but can\u2019t devote a lot of space to them. I\u2019m on a fence about this. Of course, a great writer can take a minor character and make them really stand out, and a good writer can take a clich\u00e9d or familiar character and make them seem \u201cnew\u201d by perhaps taking some clich\u00e9d quality and pushing it to absurdity, as Twain does with Pap, the abusive drunk, in Huck Finn (which I assume you\u2019ve all read); Pap is such a bad man, that he revels in his badness and becomes genuinely funny because of it. Take, for example, his advice: \u201cTake a chicken when you get a chance, because if you don't want him yourself you can easy find somebody that does, and a good deed ain't ever forgot. \u201d This is hilarious, of course, because of the idea of Pap not only waxing philosophical with life advice, but having a friend with whom he would share anything. But this is a discussion I\u2019ll have to sideline for the moment. Everyone will agree that a major character cannot be a clich\u00e9d or familiar type if you want the story to be enjoyable.)\nSo how do we create memorable and enjoyable characters? Mostly by using indirect characterization. Indirect characterization involves the description of characters accomplished subtly, either through their actions and reactions, and the reactions of others to them. The way a character reacts to something another character says, the things a character chooses to share with the reader, even; there are all sorts of little methods of indirect characterization. When it\u2019s done well, we, the reader, end up with a clear understanding of who the character is (what the character wants) without ever really being told this. Think of the aforementioned Huck Finn. Twain spends little time directly describing Huck, but we have a very clear idea of Huck\u2019s desires, his age, where he\u2019s from, his socioeconomic status, his profound intelligence, etc. Similarly, consider Holden Caulfield in The Catcher in the Rye, who is in the midst of a mental breakdown but who is actually working towards something profoundly important about life, but most of what we\u2019re told is how he just doesn\u2019t want to grow up. Now, it\u2019s easier to accomplish these kinds of memorable characters when first-person narration is used because the reader becomes intimately familiar with the character\u2019s voice, but it\u2019s also quite doable with third person or even second person narration. So let\u2019s examine what it is about these characters that captivates us so we can see how best to use indirect characterization:\n-A strong voice. As I\u2019ve mentioned, through the character\u2019s dialogue we, the reader, can determine all sorts of info about the character. His/her word choice might reveal an accent or regional indicators as well as age indicators, socioeconomic indicators, time period, etc. The things s/he chooses to say can tell us a lot about personality, as well, as will the way s/he says things. Flaws as well as positive qualities can be shared in this way quite effectively.\n-A clear sense of their desires. Again, this shouldn\u2019t be dumped on the reader. It should grow organically from complications in the plot. The character needs some clearly established goal which is difficult to accomplish. The harder the character tries to accomplish this goal, the more we understand how important it is. Also, the character\u2019s reactions to these hardships helps the reader understand who the character really is, and refines our understanding of the character. To return to Huck Finn, we know that Huck wants to escape society because his dad is an abusive drunk, the widow is kind of mean and limits his personal freedom, etc. (Of course, Huck is on a journey of self-discovery and moral growth, and instead of hitting the reader over the head with this, Twain couches it in simple terms of friendship: Huck has to decide whether he wants to do right by his friend or follow society\u2019s laws, but Twain never deigns to preach to us, the reader, about this. He lets Huck work it all out.)\n-Physical attributes. Writers often rely on direct characterization in order to share physical attributes (and even a character\u2019s name) but this can be done indirectly. Frankly, it\u2019s difficult to do this directly without it coming off as a little heavy and forced. Other characters can accomplish this by commenting on appearance.\nIn order to create memorable, enjoyable characters (and let me clarify that a truly vile, evil character can be pretty enjoyable, again, think of Pap from Huck Finn, who is frankly hilarious, though most of us would probably vote to have him locked up for life or put to death if we could.) we have to understand these elements of our characters. We have to know the background info so that we can use it to shape our characters\u2019 dialogue and reactions. Research can help with this, though to be honest our lives are research. Most writers will base characters on themselves, since that\u2019s a lot easier to do, but eventually you want to break out of this. Of course, literature is full of badly-drawn characters. Think of Hemmingway or Updike when they attempt female characters, for example. Obviously there are no hard and fast rules, but I think it\u2019s important to \u201clisten\u201d to your characters. Don\u2019t force your values on a character if it doesn\u2019t work for that particular situation. Remember: the easiest way to ensure that the reader has fun with your story is if you have fun with it.", "id": "<urn:uuid:916dd914-9582-4c36-8c9a-73c67a29ed5a>", "dump": "CC-MAIN-2017-17", "url": "http://clbledsoe.blogspot.com/2013/09/nuts-and-bolts-characterization-direct.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121528.59/warc/CC-MAIN-20170423031201-00577-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9603515863418579, "token_count": 1942, "score": 4.09375, "int_score": 4}
{"text": "Genre: a distinctive category of literary composition Genre is a category, group or kind based on distinctive style, form and content. One is just right for YOU! Genres We Will Study This Year Fiction Nonfiction Poetry Drama Media Literacy Fiction vs. Nonfiction Fiction a made up story, unreal, not true, not factual can tell about things that could happen is read for fun characters may be like real people or imaginary Nonfiction has facts that can be checked and proven the author is an expert on this information real, factual, deals with actual people, places, and events it IS TRUE! Subgenres of Fiction Realistic Fiction Historical Fiction Science Fiction Fantasy High Fantasy Mystery Folktales Fables Legends Myths Classics Realistic Fiction Form of fiction (not true) Accurately reflects life as it could be lived today Everything in the story could happen to real people living in our natural physical world The characters have normal human characteristics Story may be set in real places, but the story is NOT based on history Examples of Realistic Fiction \u2022Because of Winn Dixie \u2022Crash \u2022Owl Moon \u2022Shiloh \u2022Summer of the Swans \u2022Babysitter Club series Historical Fiction Form of fiction (not true) Based on historical events Authentic settings Characters portrayed in realistic manner Some characters may be actual people from history, but the story is fictional Artistic mix of fiction and historical fact Examples of Historical Fiction \u2022A Boy at War \u2022Across Five Aprils \u2022Ben and Me \u2022The Butterfly \u2022Charlie Skedaddle \u2022Sign of the Beaver \u2022Titanic Crossing \u2022Dear America Series Science Fiction Form of fiction (not true) Contains some sort of scientific element, such as \u2013 \u2013 \u2013 Outer space Medicine Technology Within the realm of possibility Characters have some believable traits/qualities Examples of Science Fiction \u2022Aliens for Breakfast \u2022A Wrinkle in Time \u2022My Best Friend is Invisible \u2022Star Wars \u2022The Time Machine Fantasy Form of fiction (not true) Contains one or more of the following: \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 supernatural occurrences characters with magical powers things with magical powers animals with human characteristics real people in fantastic places fantastic creatures or characters in real situations Examples of Fantasy \u2022Alice\u2019s Adventures in Wonderland \u2022Charlotte\u2019s Web \u2022The Wreck of the Zephyr High Fantasy Form of fiction (not real) Good vs. evil (supernatural/evil forces) Story written in a series of books/ volumes Coming- of- age themes Include fantastical elements, such as: \u2013 \u2013 \u2013 \u2013 \u2013 Elves and dwarves Magic Wizards Invented languages quests Examples of High Fantasy Lord of the Rings Harry Potter Series Mystery Form of fiction (not true) Story revolves around a puzzle/problem Characters deal with the solution to a puzzle/problem, such as \u2013 \u2013 \u2013 finding a missing item/person unraveling a secret rationalize an event that is not explained Contains clues/hints that help the characters and readers solve the puzzle/problem Examples of Mystery \u2022The House of Dies Drear \u2022Never Say Die \u2022The Treehouse Mystery \u2022Mystery of the Midnight Message \u2022Encyclopedia Brown Series \u2022Boxcar Children Mysteries Folktales Form of fiction (not true) Story that teaches a lesson Contain the beliefs and customs of a region or country Original story is modified to make it more interesting or more humorous Present larger-than-life characters and very unusual happenings Examples of Folktales \u2022Aesop\u2019s Fables \u2022Beauty and the Beast \u2022The Bunyans \u2022Cinderella \u2022John Henry \u2022The Talking Eggs \u2022The Tortoise and the Hare Fables Form of fiction (not true) Type of folktale Ends in a moral or lesson Characters are animals that talk and act like humans A character usually represents a single human characteristic, such as a fox being symbolic of a trickster Legend Form of fiction (not true) Stories written about a real life hero and his/her mighty deeds Mix of fiction and historical facts that have been creatively altered to encourage moral conduct and right choices Leaves questions/wonder in the reader\u2019s minds (Did Mike Fink really wrestle a grizzly bear?) Myths Form of fiction (not true) Pertains to the actions of the gods and/or goddesses Characters are super-natural beings with human emotions and qualities Plot may involve interplay between worlds (this world and previous/original world) Classics Form of fiction (not true) Timelessness: enjoyed by readers from generation to generation Deals with universal themes and experiences that relate to readers, such as: \u2013 \u2013 \u2013 love conquers all good vs. evil rags to riches Communicates ideas across cultures Unforgettable characters Subgenres of Nonfiction Expository Nonfiction Biography Autobiography Interview Informational Narrative Nonfiction Expository Nonfiction Expository nonfiction provides information about real-life persons, objects, or ideas. Expository nonfiction may include graphic sources, such as charts and photos, that show information. A chart is a sheet of information. Facts are arranged in an easy-to-read form. Biography Story of a real person\u2019s life Form of nonfiction (true) Bios means life Graphe means to write Author must do research by interviewing the subject or those who knew the subject Examples of Biography \u2022Tiger Woods: An American Master \u2022The HomerunKings: BabeRuth and Henry Aaron \u2022Clara Barton, a Red Cross Pioneer \u2022Sacagawea Autobiography Form of nonfiction (true) Story of a real person\u2019s life Auto means self Bios means life Graphe means to write Written by the person the story is about Author does not need to do research Author shares how he/she feels and what he/she thinks Interview In an interview the interviewer asks questions. The other person, the subject, answers. Interviews usually appear in magazines or newspapers. Informational Informational books are nonfiction books that give true facts on a variety of subjects. Examples of Informational Writing \u2022Dirt Bikes \u2022Flying Animals \u2022Danger! Earthquakes \u2022Newspapers \u2022Encyclopedias Narrative Nonfiction A narrative is writing that tells about events. Narrative nonfiction tells about events that really happened. Poetry Poetry has many different definitions Poetry is an arrangement of words in lines having rhythm. Sometimes those lines rhyme, as in this narrative poem. The art of rhythmical composition, written or spoken, for exciting pleasure by beautiful, imaginative, or elevated thoughts. Examples of Poetry \u2022Where the Sidewalk Ends \u2022New Kid on the Block \u2022Chocolate Dreams: Poems \u2022Mammalabilia \u2022A Pizza the Size of the Sun \u2022Love That Dog Drama/Play Like a novel or a short story, a play tells a story but it is written to be acted out for an audience. Plays have many unique literary elements such as acts, scenes, stage directions, and speech tags. Media Literacy Media Literacy is the ability to access, analyze, evaluate and create media in a variety of forms. What is media? \u2013 \u2013 \u2013 \u2013 Ads News Websites Much more!", "id": "<urn:uuid:65dbb135-2715-4571-9205-2f1674389b9f>", "dump": "CC-MAIN-2017-17", "url": "http://slideshowes.com/doc/200435/genre--a-distinctive-category-of-literary-composition", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118831.16/warc/CC-MAIN-20170423031158-00222-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8759363889694214, "token_count": 1450, "score": 3.625, "int_score": 4}
{"text": "Digital Storytelling (Revision 1)\nMAIS 620: Digital Storytelling explores a variety of storytelling frameworks. Stories\u2014and the ability to tell them\u2014are assuming a new primacy in contemporary culture. As the data glut of the World Wide Web threatens to drown out personal stories, social media is responding by providing a powerful forum for digital storytelling. Blogs, YouTube, Flickr, Wikipedia, Pinterest, Facebook, and Ancestry.com are symptomatic of the popularization of personal narratives in digital media. Even as the nature of contemporary stories morph in their articulation into new forms as diverse as computer games, narrative medicine, and organizational storytelling, they remain as essential as breathing.\nThis course will include:\n- visual storytelling and photography\n- oral storytelling and alternate reality games\n- comics and the conjunction of image and text;\n- time-based storytelling in digital video\n- collaborative storytelling\n- space-based or environmental storytelling in online works, games and locative media\nStudents will learn the practice and theory of digital media production, including working with images, audio, and video.\nBy the end of the course, students should be able to:\n- identify the differences between storytelling frameworks, including the conjunction of image and text and comics, visual storytelling and photography, oral storytelling and alternate reality games, and time-based versus space-based storytelling\n- understand the basic components of a story, and how images can be used to tell stories on their own and in conjunction with words\n- transform audiences by motivating them and galvanizing them into action\n- understand the role that memory plays in storytelling and how it contributes to its organic structure\n- understand narration, and how narrative structure and visual framing affect how a story is told and experienced\n- learn the importance of location within digital culture\n- understand the complexity of the concept of authorship, as well as what role collaboration plays in the creative act\n- understand the difference between influence and appropriation in creative practice and be able to identify the three types of remix\n- understand how the creative process adapts and reimagines connections and builds on work from the past\n- understand the difference between time- and space-based narrative and be able to create them\n- understand the dialectic between technology and storytelling\n- learn about gaming and interactivity, and explore real world applications for digital storytelling\n- be able to craft excellent stories in a digital medium (including slideshows, comics, storyboards, and digital video).\nTo receive credit for this course, students must participate in the online activities, successfully complete the assignments, and achieve a final mark of at least 60%.\nThe following table summarizes the evaluation activities and the credit weights associated with them.\n|Illustrated Six Word Story (Week 3)||15%|\n|Podcast of an Oral Narrative (Week 6)||20%|\n|Family History Digital Comic Book (Week 9)||20%|\n|Proposal for video: in storyboard form (Week 10)||5%|\n|Digital Video (Week 13)||25%|\nThe course materials for MAIS 621 include the items listed below.\nBorras, Laura et al. Electronic Literature Collection, Volume Two. Free Online: http://collection.eliterature.org/2/\nDuarte, Nancy, Resonate: Present Visual Stories That Transform Audiences. Hoboken, NJ: John Wiley & Sons, 2010. Pp. 1-53. (eBook in library; Chapters 1 & 2).\nMcCloud, Scott. Understanding Comics. (New York: William Morrow, 1994).\nMcGonigal, Jane. Reality is Broken. (New York: Penguin, 2011).\nMadden, Matt. 99 Ways to Tell a Story. (New York: Penguin, 2005).\nMarker, Chris (Director/Writer). La Jet\u00e9e. (1962). Online. https://vimeo.com/27339963\nNaim, Omar (Director). Final Cut. 2005.\nMoyers, Bill. Maya Angelou Interview. Creativity. 1982.\nWang, Wayne (Director). Smoke. 1995.\nWenders, Wim (Director). Wings of Desire. 1987.\nStudents will need access to a digital camera or smartphone (Android/iPhone/iPod or iPad would work) that can shoot both stills and video. Minimum of 5 megapixel quality. Students can access the e-Lab portfolio to create a professional portfolio of their work. https://portfolio.elab.athabascau.ca/\nAthabasca University reserves the right to amend course outlines occasionally and without notice. Courses offered by other delivery methods may vary from their individualized-study counterparts.\nOpened in Revision 1, June 18, 2014.\nUpdated April 29 2016 by Student & Academic Services", "id": "<urn:uuid:a69e9cd0-aeb2-438b-a73f-7422a90f97cb>", "dump": "CC-MAIN-2017-17", "url": "http://www.athabascau.ca/syllabi/mais/mais620.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121865.67/warc/CC-MAIN-20170423031201-00342-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8911867737770081, "token_count": 998, "score": 3.578125, "int_score": 4}
{"text": "2CharacterCharacter can be revealed through the character's actions, speech, and appearance.It also can be revealed by the comments of other characters and of the author.Certain types of characters appear in many stories.\n3Protagonist & Antagonist The protagonist is the central character (person, animal, or personified object) in the plot's conflict.\n4The antagonist is the force in conflict with the protagonist The antagonist is the force in conflict with the protagonist. It may be society, nature, or fate, as well as another person. It can also be the protagonist's own self, if he or she has an internal conflict.\n5The foil therefore highlights the traits of the protagonist. Character FoilsA character foil is a character whose traits are in direct contrast to those of the principal character.The foil therefore highlights the traits of the protagonist.It is usually a minor character.\n6StereotypesA stereotype is a character who possesses expected traits of a group rather than being an individual.\n7Using stereotypes is usually considered negative Using stereotypes is usually considered negative. However, stereotypes can be useful in furthering the story quickly and can be used if they are not discriminatory.\n8Flat vs. Round Characters A flat character is not fully developed; we know only one side of the character.\n9A round character is fully-developed, with many traits--bad and good--shown in the story. We feel that we know the character so well that he or she has become a real person.\n10Static/Dynamic Characters A static character is one who does not experience a basic character change during the course of the story.\n11A dynamic character is one who experiences a basic change in character through the events of the story. This change is internal & may be sudden, but the events of the plot should make it seem inevitable.\n12A character may thus be round and dynamic, round and static, or flat and static. A flat character cannot usually be dynamic, because you do not know enough about the flat character to notice a change\n13Development is considered acceptable. Dynamic (changes)Static (doesn\u2019t change)Round(well-developed)Considered the best type of character development (protagonist)Development is considered acceptable.Flat(not well-developed)Characters cannot be dynamic and flat, because we do not know enough about flat character to recognize a change.In simple books, the protagonist may be flat and static. Also appropriate for minor characters.\n14As you read\u2026Consider which characters are well-developed (round) or undeveloped (flat).Think about which characters demonstrate change (dynamic) and which characters do not demonstrate change (static).Be prepared to support your answers.\n15The Outsiders Character List Ponyboy Curtis - 14, orphan, Greaser, narrator and protagonistDarrell \u201cDarry\u201d Curtis \u2013oldest brother, Greaser, responsible, raising Ponyboy and SodapopSodapop Curtis \u2013 Greaser, happy-go-lucky, handsome, plans to marry Sandy", "id": "<urn:uuid:d7565183-c20d-4009-83c9-f30bda6ce3ed>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/761897/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123590.89/warc/CC-MAIN-20170423031203-00344-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9408537149429321, "token_count": 625, "score": 3.9375, "int_score": 4}
{"text": "Presentation on theme: \"INQUIRE, THINK CRITICALLY, AND GAIN KNOWLEDGE. DRAW CONCLUSIONS, MAKE INFORMED DECISIONS, APPLY KNOWLEDGE TO NEW SITUATIONS, AND CREATE NEW KNOWLEDGE.\"\u2014 Presentation transcript:\nINQUIRE, THINK CRITICALLY, AND GAIN KNOWLEDGE. DRAW CONCLUSIONS, MAKE INFORMED DECISIONS, APPLY KNOWLEDGE TO NEW SITUATIONS, AND CREATE NEW KNOWLEDGE. SHARE KNOWLEDGE AND PARTICIPATE ETHICALLY AND PRODUCTIVELY AS MEMBERS OF OUR DEMOCRATIC SOCIETY. PURSUE PERSONAL AND AESTHETIC GROWTH. TIP 2009-2010 AASL Standards for the 21 st Century Learner\nStandard 1: Inquire, think critically, and gain knowledge Here, my first grade students used the Big 6 Research Method to investigate their research questions. We used databases and print materials to conduct our research. As a final product to our research, we created books using Mixbook. Mixbook \u201cI was surprised to learn that most German people live in apartments. I wonder why?\u201d \u2013Grace, 1 st grade student\nReflection 1 The students were successful in completing this project. They were very thoughtful about their research, and adjusted their topic and questions based upon what they had learned during the research process. I retrieved copyright free photos for them and uploaded them to Mixbook. They chose the backgrounds and placement of the photos. Finally, they reflected and thought about what information they found the most surprising during the process.Mixbook For next time, I would use web 2.0 tools for note taking like Evernote. I think that would solve the copyright and citation issues we had during our project.Evernote Used Big 6 Research Process Involved Reflection and Refining of search Utilize Mixbook to express learning to peers.Mixbook Necessary Citation component in EvernoteEvernote\nStandard 2: Draw conclusions, make informed decisions, apply knowledge to new situations, and create new knowledge This project outlines a reading, researching, writing and creating unit based on the book Charlie's Super Hero Underpants for the third grade. After reading the book and previewing a Google Lit Trip, students rewrite the story by researching five places around the world and animals that one could encounter in those locations. Students will then create a Google Lit Trip of their own story to share with peers. I will utilize this next year with our Mosaics teacher.\nReflection 2 As we worked with Google Earth, we realized that students could potentially cut and paste their story with pictures into the pop-up boxes. Simple text is quite easy to add but anything else requires a small amount of HTML knowledge, which most third grade are not ready for yet. While complex pop-up boxes are not a required element for my third grade students during this unit, it is something to consider for use with older students. When we first started this project, we thought that we would add a visual storytelling/book-making element but decided that the time frame that we have to work with students in the library media center is too short to include it. We encountered some difficulties while learning to use Google Earth. Prior to this we had only used it to look at pictures of locations like our houses. It really had a lot more capabilities than that, with some patience, we were able to figure out all of the functions that were needed to create a Lit Trip. Google Earth has potential for the classroom and library in a Lit Trip Might require complex HTML code with possible uses for older classes Considered a digital story telling component to the unit, but found that it would be too involved. Google Earth was a bit difficult to navigate at first\u2026but worth the result, but files can only be read in Google Earth and requires a software download Google earth\nStandard 3: Share knowledge and participate ethically and productively as members of our democratic society Assignment Performance Task (s): (with your group) Students will select one event from the Westward Expansion and create a wiki page (using internet resources listed for information and graphics) to demonstrate what life was like during this time period and traveling on a wagon train. Constructed Response: (on your own) If you lived during this time period would you have chosen to go on a wagon train? Why or why not? (Write as if you were really alive then. This should be a few journal/diary entries.) Support your answer by using information you learned about the pioneers and the westward movement. Include: hardships of pioneer life AND hardships of the native people. Westward Expansion Wiki\nReflection 3 For this project I collaborated with a fourth grade teacher. This was the first attempt for this teacher using Wikispaces to create a space where students can use their critical thinking skills. She loved the concept and the flexibility of the site, but did not fully utilize discussion function. In a later project, she did use the discussion function to share about their findings and thought when reading Hard Gold by Avi.Wikispaces Created Content and Shared it with the class Used Wikispaces to critically think about their decision to move or not to move West In the next Wiki, we moved into the discussion of the pages\u2019 content, where the students could collaborate and share information and ideas. We also had to be good digital citizens and respect the opinions of others and treat each other courteously in the digital world.\nStandard 4: Pursue personal and aesthetic growth The connections between art and math are strong and frequent, yet few students are aware of them. This lesson is integrated with history and art to enlighten students about Greek geometric and M. C. Escher's work in tessellations. Students will use the links above to view, experiment, and create a rough draft of the tessellation desired to create in the art class. The students will create it and copy it into a word document, save it as a picture and upload it to a Wikispaces for others to comment on and constructively critique. Student will then respond to the comments and change their tessellations where appropriate.Wikispaces View Tessellations Experiment with tessellation Create a final product\nReflection 4 This lesson is intended to be collaboration between the math classroom and the art classroom at the 5 th grade level. Students will be use prior knowledge about geometric shapes in the math classroom and will view primary sources in art of geometry and tessellation in art. Outside of or after school students will use the Wikispaces software to interact with tessellation websites and collaborate with peers on experimenting with tessellations. From this interaction students will create an individual computer generated tessellation pattern; they will post their work for critique and discussion using Wikispaces. After they have contributed and adjusted their work, they will print it and recreate the tessellation during their art classroom time. Finally the students will write up a summary of their experiences and work and discuss their process using the Wikispaces.Wikispaces Combines Math and Art with Technology for personal growth Utilizes collaborative software to offer feedback Utilizes a paperless area to experience tessellation\nConclusion Inquire, think critically, and gain knowledge. Big 6 Mixbook Project Required students to indentify an inquiry, gain knowledge and share that knowledge in a way that best fits their learning. Draw conclusions, make informed decisions, apply knowledge to new situations, and create new knowledge. Google Lit Trip Students had to take information learned during their research of places in the world and create a Lit trip to demonstrate their new knowledge about their travels and why they decided to pick those places for their book. Share knowledge and participate ethically and productively as members of our democratic society. Westward Expansion Wiki Project Students had to share information that they had learned regarding Westward Expansion. Pursue personal and aesthetic growth. Math and Art Students utilize web 2.0 tools to view and experiment with tessellations to learn more about Geometry and Art History.", "id": "<urn:uuid:d9734a14-6fd9-40bc-aee5-1ed0e94370b7>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/3714239/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122865.36/warc/CC-MAIN-20170423031202-00284-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9521307349205017, "token_count": 1670, "score": 3.671875, "int_score": 4}
{"text": "Presentation on theme: \"Reading 5 components. The ability to hear, identify and manipulate sounds (phonemes) in words. You can do it with your eyes closed! PHONEMIC AWARENESS.\"\u2014 Presentation transcript:\nThe ability to hear, identify and manipulate sounds (phonemes) in words. You can do it with your eyes closed! PHONEMIC AWARENESS\nThe connection between letters (symbols) and sounds. Works on applying knowledge of the letter- sound relationships and patterns to accurately pronounce or decode words. PHONICS\nTo accurately understand and attach meaning to various written materials. To be able to make connections and think deeply about what you read. Comprehension combines reading with thinking and reasoning. COMPREHENSION\nVocabulary is all words we must know to communicate effectively in these four ways: Helping to build word knowledge and language skills is very important!! VOCABULARY listening lisli reading speaking writing\nFluency is how quickly, accurately, automatically, and expressively someone reads. There is a relationship between how fluent a reader is and their comprehension! FLUENCY\nHelp your child find books that are \u201cjust right\u201d for their reading level. Play sound games with your child. Dig deeper into the story with your child. Do storytelling on the go. Talk about what you see and do. WHAT TO WORK ON?\nHelp them choose a book that interests them. Look at a page in the middle. Put one finger down for every word on that page your child can\u2019t read or doesn\u2019t understand. If your child had fewer than 5 fingers, that book is just right for them! Help your child find books that are \u201cjust right\u201d for their reading level\nPLAY SOUND GAMES Ssssss - the letter is S\u2026.let\u2019s name every thing in the kitchen that starts with the letter S. II spy a \u201cI spy something that rhymes with\u2026\u201d \u201cRHYME ENDS IN \u2026.at\u201d You give the ending sound and ask your child to make real words!\n20 Questions...animal, vegetable or mineral? TALK ABOUT WHAT YOU SEE AND DO Categories...name a category and take turns naming items that belong in that category! \u201cI packed my grandmother\u2019s trunk and in it I put ___.\u201d\nDIG DEEPER INTO READING! READ THE SAME BOOK AS YOUR CHILD AND HAVE A BOOK CLUB AT HOME. Scavenger hunt: Give your child a list of things to find in the newspaper. Have your child read to you and then make predictions about what you think will happen in the story. Model for your child how to make connections to characters, setting and plot.", "id": "<urn:uuid:1a111817-6404-4e34-b542-f0851b66030a>", "dump": "CC-MAIN-2017-17", "url": "http://slideplayer.com/slide/3095078/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123530.18/warc/CC-MAIN-20170423031203-00286-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.937567412853241, "token_count": 580, "score": 4.21875, "int_score": 4}
{"text": "Halloween and Christmas-those holidays are a piece of cake in the classroom. Everyone has great ideas for fun Halloween or Christmas activities. Thanksgiving-hm, that can be a challenge. Thanksgiving is often viewed as more of a history lesson than a fun holiday. You can change that with these fun classroom activities for the Thanksgiving season. Your students can have a good time and learn what it was really like on that first Thanksgiving.\n1. Pin the Wattle on the Turkey. Pin the Wattle on the Turkey puts a Thanksgiving spin on the classic Pin the Tail on the Donkey. Draw a turkey (missing his waddle, of course) on a large piece of poster board, and create waddles out of red card stock or construction paper. Stick double-sided tape on the backs of the waddles, and you're ready to go! Your students will have a blast trying to find that turkey's chin!\n2. Thankful Badges. Students will enjoy creating their own thankful badges for the holiday. Encourage older students to think beyond the basic, material items they cherish-ask them to think of something they are thankful for that they can't physically touch.\n3. Turkey Spelling Game. The Turkey Spelling Game is a great way to add a little fun to the usual spelling lessons. Write the word \"turkey\" on your blackboard or smartboard, and split your class into two teams. Take turns inviting team members up to write a new word using only the letters from the word \"turkey\". Teams get one point for each new word. If a child is really stuck, allow the team to collaborate on a new word. This will encourage team work and keep anyone from feeling uncomfortable.\n4. Thanksgiving Placemat. Hand out this cute, printable place mat during down time in your classroom. This could be used on a day when your class is having a \"thanksgiving feast\" or save it for a rainy November indoor-recess.\n5. Paper Turkey Pins. Students will love to show off these adorable paper turkey pins. Prep the materials for this craft at home-use your imagination and various materials to make the different sized circular shapes necessary for the turkeys' bodies. Use a different material for the wing shapes to make them stand out. Let students choose the patterns they like best, and they can create their turkeys in the classroom.\n6. Native American Stories. Storytelling is an important part of Native American history, and Native Americans are an important part of the history of Thanksgiving. Share some of these fantastic Native American stories with the class. Your students are sure to have a new found appreciation for animals and nature when you're done.\n7. Colonial New England Food & Cooking. Try this lesson about New England Food in Colonial times. Use the handout and worksheet as part of your lesson, and add a fun spin by allowing students to create their own Colonial New England cookbooks. Encourage them to create recipes that use the foods common in New England at the time. Split the class into four groups and allow each to create their own list of recipes for different categories (soups, vegetables, meats, desserts, etc.). After they've developed their lists you can make copies of the pages and allow the students to put their cookbooks together and have fun creating artistic covers.\n8. Paper Weaving. When studying the history of Thanksgiving, students will learn about various roles that men and women had during Colonial times. Weaving was a task that women often performed during these times, and this activity will allow children to experience the art of weaving. Use the paper weaving instruction sheet to show the students the basic method of weaving. Pass out strips of construction paper in various colors used during Colonial times-natural colors, blue, yellow, pink. orange, or purple. Encourage students to be creative with their weaving patterns and choose a few colors that they think work well together.\n9. Thanksgiving Investigation. The interactive presentation \"You Are the Historian\" is an excellent way to get students interested in the events of the first Thanksgiving. Everyone will want to jump in and solve the clues to discover what really happened on that day in 1621. This multimedia activity requires Adobe Flash Player and Internet Explorer 8 or Firefox 3 (or better).\n10. Virtual Field Trips. Scholastic offers this collection of videos that will transport your students to a different time and place. Students will be able to explore a replica of the Mayflower, get an up-close-and-personal look at life as a Pilgrim, and witness the daily life of the Native Americans that were part of the Wampanoag Nation.\nThese activities can help you bring history to life for your students. Whether you are a long-term substitute or only in the class for one day, you can still incorporate some of these lessons and activities during the Thanksgiving season. You can also take some of these ideas and combine them with your own creativity to think up some great new activities. How will you help your students understand the first Thanksgiving?", "id": "<urn:uuid:7183a5f6-c7da-451a-b504-c6ab22203d73>", "dump": "CC-MAIN-2017-17", "url": "http://subassistant.com/blog/fun-thanksgiving-themed-classroom-activities-games", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123097.48/warc/CC-MAIN-20170423031203-00109-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9537028670310974, "token_count": 1032, "score": 3.59375, "int_score": 4}
{"text": "When learning how to tell a story to kids, it must deliver more than your basic beginning, middle, and end story line. A good story will provide an emotional connection where the child audience is transported to another world, whether it is similar to their own environment or a fantasy. The characters can be human, animals, or other.\nHow to Tell A Story\nStories should be fun, but should not be lengthy or lacking a specific direction. There are common rules to apply when learning how to tell a story well. Imagination, practice, and enthusiasm are the basic ingredients of learning how to tell a story. These following tools are the elements that make a fun story possible for an audience of children:\nWhen listing tips for how to tell a story for kids, the environment is of prime importance. Stories told in a special setting such as by a fire when camping, or by candlelight indoors, will have a special ambiance that affects the audience\u2019s perception as the story unfolds. The physical setting may add a sense of \u201csomething special is about to happen\u201d.\nSet the Stage\nIn preparation of telling a story, it is helpful to prime the audience for the appropriate mood such as comedy or fear. If the story is funny, some jokes beforehand would be suggested. If the story is scary, then it would be beneficial to steer the young audience towards light fear. This creates anticipation.\nWhen deciding how to tell a story, it is necessary for the audience to be physically comfortable. For example, if it is cold outside, the audience should have blankets and/or a lit fire. Also, it is generally accepted that a good story told outside under the stars should be done in a circle with the speaker at the head. This bonds the group and focuses all eyes on the storyteller.\nA good storyteller emphasizes his voice and exaggerates his movements. Different characters should have different voices and cadence. The story should be told without hesitation; it should flow naturally with rehearsed ease. A pause should indicate drama, not forgetfulness. Props are helpful for adding sound effects. By engaging the senses, the story seems to be \u201chappening now\u201d rather than information being relayed.\nGood storytellers are lively and purposeful in their delivery. The person that delivers a story from beginning to end well has delivered an experience, an event.\nBe The Story\nRemaining in character is important. Despite the vocal enthusiasm from an audience, a good storyteller never wavers, or forgets he is leading this parade. A good speaker interacts without losing focus.\nA good story should be enjoyable and thoroughly engaging. When the audience is riveted and involved from beginning to end, the storyteller has done his job.\nLearning how to tell a good story will make the difference between talking about a tale and living it. Storytelling is performing. The following tips are very helpful in bringing stories to children:\nAs described, good storytelling is a performance. It involves skills and a formula to deliver the best results. To thrive while learning how to tell stories for children, these tips should be mastered:\n- Know the story\n- Make sure story is kid friendly and relatable\n- Give and take, make sure audience can contribute during story\n- Shake it up \u2013 add character quirks or sound effects\n- Become the actors in the story \u2013 impersonate with voice and mannerisms\n- Proper speed \u2013 speak slow enough to be heard, understood and keep good rhythm while moving steadily ahead\n- Damage control: improvise when necessary \u2013 quicken the pace or alter details to hold interest if it wanes. Young children need short stories due to a shorter attention span. Older children may want more details to make the story more believable\nA good storyteller should be fully prepared but also be able to wing it should the situation call for improvisation. A good storyteller can hone his skills to become great.\nBecoming a Great Storyteller\nRarely is a storyteller wonderful right out of the gate. It is challenging to learn how to tell a story fantastically. Mastering the gift of transporting an audience takes practice and talent.\nFor children, entertainment often lies in the possibilities of suspended reality. In a pretend world, the rules that apply here on Earth may be different for these characters. They may have super powers or be in an upside down world. To deepen the experience, a child should be able to relate to the protagonist or the story, because he or she recognizes something that intrigues them.\nOnce emotionally attached, a great storyteller will move swiftly from beginning, to middle, to end with dramatic voice and movements.\nMost stories have lessons that may be learned through its different characters and struggles. A character may overcome a misfortune to become a better version of himself or he may help another during the story with tools he has acquired or developed. There are a multitude of messages and lessons that can be provided to children through storytelling. The sky is the limit with entertaining children; their imaginations are primed for a short transport to another world.\nThe Magical World of Children\nThe world of a child is very different than that of an adult. The way they perceive their world is magical and often very optimistic as opposed to grown-ups. The storyteller has a unique opportunity to revel in the imagination and spirit of young people. Children absorb stories like butter on warm bread.\nWhen told well, stories can impact a child permanently and become part of their own repertoire when they are with friends or finds themselves in the same position later in life. A good story may impart wisdom that a child takes with them and applies to his their long after the story session has ended.\nAdults who learn how to tell a story can make a lasting impression on a group of young ones. They can take a boring evening and make it exciting and memorable with their performance. Children who wish to emulate this skill may find their calling in public speaking or writing. A good storyteller has the power to influence children while activating their imagination and satisfying their urge to have fun.\nThe Task of Storytelling\nStorytelling is for those who know how to tell a story, love to perform and have a good memory. The best storytellers have a magic bag of tales they can dip into for various occasions. The job of entertaining children should be fun and easy. For those who work and live with children, telling stories may be commonplace.\nMany parents, teachers and youth leaders know how to tell a story to kids. However, for everyone who is not a practiced storyteller, these tips and tools should prove beneficial to creating more excitement during sleepovers, camp-outs, and youth events.\nWith enthusiasm and energy, a good speaker understands the brilliance and innocence of a child\u2019s mind and uses his or her power for good in the ways of persuasion.\nSome groups, such as churches, schools and scouts use stories to build camaraderie and impress beliefs in a memorable style. Persuasive stories can urge children to behave well and treat people respectfully. Persuasive stories can mold character through moral lessons such as Aesop\u2019s Fables, or build on specific teachings to promote strengths while honoring the hopeful nature of a child.", "id": "<urn:uuid:62461467-af70-4539-a4cd-c50472dc6c9a>", "dump": "CC-MAIN-2017-17", "url": "https://nobullying.com/how-to-tell-a-story/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121165.73/warc/CC-MAIN-20170423031201-00459-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9497936367988586, "token_count": 1492, "score": 3.984375, "int_score": 4}
{"text": "Ancient Flood Story Passed Down Accurately For More Than 10,000 Years\nAboriginal people from around the city of Melbourne, Australia, are telling a story, passed down for thousands of years, ever since the end of the last ice age. Without using any written words, they were able to pass down this story with an incredible accuracy. A scientific study concluded that the details and accounts told, were actual fact, despite the story being longer than 10,000 years.\n\u201cIt\u2019s quite gobsmacking to think that a story could be told for 10,000 years,\u201d Nicholas Reid, a linguist at Australia\u2019s University of New England specializing in Aboriginal Australian languages, said.\n\u201cIt\u2019s almost unimaginable that people would transmit stories about things like islands that are currently underwater accurately across 400 generations.\u201d\nAfter the end of the last Ice Age, some more than 10,000 years ago, the world began warming up and much of the polar ice caps, which were much larger than they are today, began to melt. This lead to sea levels rising all over the world, including Australia. In fact, stories related to floods are being recorded all over the world. Even Noah\u2019s Ark is based on this period in time. But as we know how that particular story goes, with Noah gathering two of all animals in existence, the one told in Australia is far more accurate than this one.\nMelbourne, the capital city and most populous centre in the state of Victoria, is the second most populous city in Australia. Port Phillip Bay, covering a staggering 750 square miles, sports a very salty and shallow waterway, less than 30 feet in some places. Back during Ice Age times, this place was actually dry land. And as the ice started to melt, this land became flooded, now making part of the sea floor. What\u2019s surprising, the Aboriginals documented these changes as they were happening, and what\u2019s more the names and locations of the, now gone, islands are still known by some members of these people.\nGeographers and linguists began working together on the project and were able to confirm the veracity of 18 Aboriginal stories. Some of these were transcribed by the first European settlers before the tribes who told them succumbed to murder and foreign disease. By making use of scientific reconstructions of prehistoric sea levels, scientists have combed through these stories.\nThe results were quite surprising \u2013 the stories and the geographic data fit. But how could the story be passed on for so long?\n\u201cThere are aspects of storytelling in Australia that involved kin-based responsibilities to tell the stories accurately,\u201d Reid said. That rigor provided \u201ccross-generational scaffolding\u201d that \u201ccan keep a story true.\u201d\nInterestingly enough, this is not a unique case \u2013 stories have been told with surprising accuracy for thousands of years in other parts of the world as well.\n\u201cThere\u2019s a comparably old tradition among the Klamath of Oregon that must be at least 7,700 years old\u2014it refers to the last eruption of Mount Mazama, which formed Crater Lake,\u201d Nunn said. \u201cI\u2019m also working on ancient inundation stories and myths from India, and I\u2019ve been trying to stimulate some interest among Asian scholars.\u201d", "id": "<urn:uuid:54258e89-2fe2-43b2-b29f-9ec6b121923f>", "dump": "CC-MAIN-2017-17", "url": "http://gypsy.ninja/ancient-flood-story-passed-accurately-10000-years/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121865.67/warc/CC-MAIN-20170423031201-00342-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9747236371040344, "token_count": 698, "score": 3.5, "int_score": 4}
{"text": "Online Film Production Courses\nThe summaries below highlight the typical curriculum of some common online film courses.\n- Introduction to Film Course: Introductory film courses provide students with a survey of films that demonstrates the diversity and history of the art. Students analyze the use of sound and images in classic and contemporary films of different styles and genres.\n- Film History Course: Through film history classes, students examine the aesthetic, historical, social and technical milestones of film throughout the world. Writing assignments and discussions allow for the analysis of the films' content and the manners in which these films have influenced society.\n- Film Analysis Course: Film analysis courses develop students' abilities to interpret and write about films. Students develop the vocabulary used in film analysis and the theories behind film interpretation. Film critique writing assignments strengthen students' understandings of a film's intended message and the director's style.\n- Fundamentals of Screenwriting Course: Screenwriting courses explore the process of storytelling for film. Students are responsible for analyzing scripts and creating short scripts of their own. The course materials typically emphasize the technical writing elements of plot, subplot, character development and dialogue. Some online screenwriting courses focus on one specific genre, such as biopics, romantic comedies and documentaries.\n- Digital Cinematography Course: Students view online examples that demonstrate tools and techniques of digital cinematography. They learn about different formats and aspect ratios, and where each is best used. Other topics explain how lighting, composition and multi-camera shooting can impact a visual story.\n- Production Techniques Course: This course helps students learn how to direct actors. Other creative and technical skills used to create motion pictures are also emphasized, and students might be asked to complete a project by semester's end.\n- Camera and Lighting Course: Lighting techniques are discussed in this online course. Various topics include photography for special effects, mobile camera lighting and source lighting.\nThe technical and artistic nature of film production typically requires in-person training; however, students interested in earning certificates or associate's, bachelor's and master's degrees in the field can enroll in distance learning programs in film production, which are available through a limited number of institutions. Course content is typically available at all times for enrolled students to access. Through various forums and online message boards, students discuss course content with other students and faculty, complete assignments and take exams via the Web. Through online film classes, students can familiarize themselves with the theories and fundamental artistic concepts necessary for careers in film production.\nStudents looking to take online courses in film production can do so through associate's, bachelor's and master's degree, as well as certificate programs. Topics studied through these pathways include digital cinematography, production techniques and screenwriting.", "id": "<urn:uuid:0452a8dd-1888-46ac-82cd-9ac7194a0b48>", "dump": "CC-MAIN-2017-17", "url": "http://study.com/online_courses_in_film_production.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119838.12/warc/CC-MAIN-20170423031159-00459-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9037280082702637, "token_count": 551, "score": 3.53125, "int_score": 4}
{"text": "Narrative genres, such as the novel or the short story, are born out of the very powerful human need to tell stories, out of our fundamental desire to give shape to experience in order to understand it and share it with the community. Through story telling early communities made sense of natural phenomena, unexpected events, and personal experience. Storytelling enabled them to pass on valuable information and to keep the memory of their ancestors alive down the generations. Storytelling satisfies our need to understand and control our origins and destiny; it enables us to meaningfully shape our individual and communal experiences (to extract meaning from experiences that can appear senseless, bewildering or even traumatic). We all tell stories, everyday, to ourselves and to others and we all relish storytelling in one form or another: we love jokes, anecdotes, tales, series, myths, novels, or histories. We cannot conceive of a world devoid of stories; without them we would lose our memory and, in turn, our sense of self.\nStorytelling predates the invention of writing and was, in origin, orally transmitted. Our ancestors told stories by the tribal fire, and later by the hearth, which were verbally passed down the generations. Oral transmission meant that stories had to be committed to memory in order to survive and not be forgotten; storytellers also had to be able to effectively convey the valuable life-lessons that their stories contained taking into account the limitations that listening imposes on our capacity to retain information. Storytellers had to be able to captivate and sustain the attention of their listeners. Memory, on the part of the storyteller, and concentration, on the part of the listener, were crucial considerations in early narratives. This means that early narrative forms tended to be quite short and that the modern short story is, in origin, an older and more ancestral form than its longer counterpart, the novel. Early narratives were best memorised and transmitted in a concentrated form: their brevity allowed for valuable life lessons to be assimilated in one sitting, such as the short tales that the older generations told to the young by the fire in order to prepare them for future challenges (what we have come to call \u201cfairy or folk tales\u201d) or the tales that uncovered the mysteries of life and death and the vagaries of natural phenomena in early religious ritual (what we now know as myth). These two short narrative forms, the fairy-tale and the myth, are the distant ancestors of the modern short story. The short story, even in its modern form, partakes to a degree of this desire to illuminate and ritualise experience. It shines a light on the dark recesses of reality to offer a glimpse of life\u2019s mysteries. Like the myth it is static and revelatory.\nThe modern short story is the result of the heightened focus on individual experience and consciousness that occurs during the Romantic period. In this period, the old ancestral forms of the myth and folk tale are filtered through subjective consciousness in order to illuminate reality by projecting the individual from the inside to the outside. In the Romantic period the old mysteries of the gods and the hidden menace of the little house of the forest are transfigured into the inscrutable recesses of human consciousness. The first practitioners of the short story (or romance as they called it) in English, the Americans Nathaniel Hawthorne and Edgar Allan Poe, take the ancestral intensity of the myth and folk tale to write condensed studies of human behaviour that attempt to reveal the most enigmatic, and in Poe\u2019s case, darkest impulses behind human behaviour.\nIt is useful to consider the revelatory nature of the short story as crucial to an understanding of this genre. A comparison with the novel can shed some light on this point. Novels are invested in a process or development: they follow the unfolding of a character (or...", "id": "<urn:uuid:874fee28-e278-4cbe-b9e3-4d193170aed7>", "dump": "CC-MAIN-2017-17", "url": "http://www.studymode.com/essays/Lecture-On-Short-Story-1635768.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917119361.6/warc/CC-MAIN-20170423031159-00048-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9547432065010071, "token_count": 778, "score": 3.640625, "int_score": 4}
{"text": "Learn something new every day\nMore Info... by email\nIn language, pragmatics and discourse are closely connected. Discourse is the method, either written or verbal, by which an idea is communicated in an orderly, understandable fashion. Used as a verb, discourse refers to the exchange of ideas or information through conversation. Comparatively, pragmatics involve the use of language to meet specific needs or for a predetermined purpose. As such, pragmatics and discourse are related in that pragmatics are the means by which the purpose of discourse is achieved.\nBoth pragmatics and discourse involve concepts far deeper than mere word definitions and sentence structure. Unlike grammar, which involves the rules governing proper language structure, pragmatics and discourse focus on the meaningfulness of spoken or written language. Whether storytelling, explaining, instructing, or requesting, a speaker or writer has an intended purpose for communicating. How a speaker or writer constructs sentences to meet his intended purpose involves both pragmatics and discourse.\nFor example, there are several ways to warn a person about the risk of burns associated with a hot surface. The process of explaining the concept must follow a logical order to be understood by listeners. A speaker might change the wording of such explanations, depending on the age and developmental ability of listeners. Determining the order of the explanation is discourse, whereas determining how to word the explanation for different audiences is pragmatics.\nPragmatics and discourse go hand-in-hand with context. Changing the language used for an audience is an integral part of pragmatics, but can easily affect context clues and thus, affect discourse. Sentences changed too much or taken out of context lose the ability to further a conversation. Without the necessary information preceding or following a particular sentence, its meaning can easily be lost. Such omissions affect the cohesiveness of a conversation or text, thus making it difficult to maintain common understandings.\nLikewise, failure to follow the social rules of pragmatics can drastically affect discourse. Although not necessarily rules in the same sense as grammar, the rules of pragmatics include such concepts as allowing both speaker and listener time to express ideas, expanding on or rephrasing ideas to increase understanding, or choosing words to best fit the speaker's purpose. If a speaker is requesting something, for example, a poor choice of words can make the request sound more like a demand. Alternatively, complex sentence structure or an overly long explanation can undermine the purpose of discourse by making it impossible for listeners or readers to follow along.", "id": "<urn:uuid:b7b6d9df-0873-4e42-944f-1e0452d88dbe>", "dump": "CC-MAIN-2017-17", "url": "http://www.wisegeek.com/what-is-the-connection-between-pragmatics-and-discourse.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121893.62/warc/CC-MAIN-20170423031201-00049-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9169943928718567, "token_count": 517, "score": 3.75, "int_score": 4}
{"text": "The character report card is a shared experience between students and teachers. The activity allows students to identify character traits in others, both fictional and real. The report card encourages reflection through discussion and reasoning for a deeper, more personalized meaning and understanding of the core values. After several uses in the classroom, students begin to analyze characters as they read for their own enjoyment before they are given the character report card. Students are \u201ctrained\u201d to look at characters through different eyes \u2013 eyes that can distinguish words and actions that promote good character and those that don\u2019t. Through the character report card, core values become internalized as part of their education and part of their lives. Parents are also encouraged to generate conversations at home by asking their child such questions as, \u201cWhy did you give that character in your story such a high mark in respect?\u201d or \u201cIf you were that character, what could you have done to show you are a responsible person?\u201d\nStudents will analyze the actions/words of characters found in literature, history and core subject areas.\nStudents will determine a grade equivalent based on a character's demonstration and execution of specific character traits.\nStudents will compare and contrast fictional or historical characters' report card results to their own progress.\nStudents will reflect on a fictional or historical character\u2019s progress and cite specific examples of how a character can improve in the future or describe what he did well.\nStudents will discuss the character development of a fictional or historical character in a small group or with a partner.\nStudents will dialogue with parents regarding the fictional or historical character they are studying and the character traits he/she possesses or lacks.\nCore curriculum materials that include fictional/historical characters\nCharacter report card/reflection sheet\nIdentify and teach the character traits/core values identified by your school learning community. Students should have a working knowledge and understanding of what each trait looks and sounds like in their classroom, school, community and beyond. Students should understand the purpose of a report card and how to score the different areas.\nClass Meeting Discussion\nChoose a fictional or historical figure from your curriculum to introduce. Model the report card to identify the grade you would give for each character trait and what feedback the character should receive. Teacher should \u201cthink aloud\u201d in the beginning and then move to guided practice using partners or small groups, then move to independent practice.\nExtensions and Adaptations\nParent/Home Connection: Character Conversations\u2026 Parents are also encouraged to generate conversations at home by asking their child such questions as, \u201cWhy did you give that character in your story such a high mark in respect?\u201d or \u201cIf you were that character, what could you have done to show you are a responsible person?\u201d", "id": "<urn:uuid:ffcfc9f1-bef0-4e5f-9a97-b439aa97e28a>", "dump": "CC-MAIN-2017-17", "url": "http://character.org/lessons/lesson-plans/elementary/babler-elementary-school/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917123635.74/warc/CC-MAIN-20170423031203-00052-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9610056281089783, "token_count": 564, "score": 4.65625, "int_score": 5}
{"text": "Wooden building blocks are a standard toy in many homes and preschool classrooms. But they don\u2019t have to be just for playing, they can be used for learning too! For this #toolsforlearning post, I\u2019ll be sharing one way we used wooden building blocks for a fun Superhero Alphabet Matching Activity!\nThis post contains affiliate links.\nSuperhero Alphabet Matching Activity with Blocks\nSupplies & Materials:\nHow to Prep:\n- To prepare this activity, gather the supplies, the stick one foam alphabet sticker on the wooden blocks you plan to use. I used five wooden blocks for each letter of my son\u2019s name.\n- Then write the letters being used on the superhero figurines.\n- Once the all the blocks and superhero figurines have letters on them, set up the wooden blocks to look like a city landscape. And set out the superheroes.\nHow to Play:\nTo do this activity, invite you child to match up the letters on the superhero figurines to the letters on the wooden block buildings.\nThis is an excellent activity for kids to do to work on letter recognition. You can make it more advance by having them match uppercase letters to lowercase letters.\nWe love doing hands-on activities for letter recognition! Check out some other activities HERE for learning the alphabet!\nIf your kids enjoy learning with manipulatives, then you will love this new #toolsforlearning blog hop! Every week we will be sharing hands-on learning activities for kids using different manipulatives! This week we have activities using blocks!\nBuilding Block STEM Challenge Cards from Life Over C\u2019s\nFractions with KORXX Blocks from Still Playing School\nBuilding Block Maze Activity from Mom Inspired Life\nFree Printable: Block Scavenger Hunt for Letter Recognition from Play Dough and Popsicles\nFine Motor Development with Blocks from Sugar Aunts\nBuilding Tens Castles (Preschool/Kindergarten Math) from Preschool Powol Packets\nWord Family BINGO! from School Time Snippets\nBuilding Block Addition Towers from The Kindergarten Connection\nSuperhero Alphabet Matching Activity with Blocks from Stir The Wonder\nStorytelling with Wooden Blocks: Three Little Pigs from Adventures of Adam\nSight Word ABCs with Blocks from Simple Fun for Kids\nLetter Sound Scavenger Hunt from Raising Little Superheroes\nSymmetry with Building Blocks from In The Playroom\nBuilding CVC words with Blocks from Teach me Mommy\nMaking Patterns with Building Blocks from Play & Learn Everyday\n\u00a9 2016 \u2013 2017, Stir The Wonder. All rights reserved.", "id": "<urn:uuid:dd53e791-7b71-47cf-8c97-79e9ff1d67e6>", "dump": "CC-MAIN-2017-17", "url": "http://www.stirthewonder.com/superhero-alphabet-matching-activity-blocks/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118310.2/warc/CC-MAIN-20170423031158-00399-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8453889489173889, "token_count": 541, "score": 3.5, "int_score": 4}
{"text": "This article originally appeared in the Discovery Education blog \"Kathy Schrock's Katch of the Month\" in August 2016 and is re-posted here with permission.\nHow can you utilize the game \"Pokemon Go\" in your classroom in a meaningful way? Student excitement about this game can be easily harnessed to support all kinds of fun and pedagogically-sound lessons and activities!\nBefore we start, and if you have not yet played the game, there are some vocabulary words you might need.\nPokemon: the characters in the game you seek to capture and use for other purposes\nPokeball: the item you need to capture Pokemon\nPokestop: Place you locate in the game and visit to gather Pokeballs\nPokedex: An incomplete encyclopedia given to you in the game that is populated with details of the Pok\u00e9mon as you capture them\nGym: a specific place in the game where you can have your Pokemon battle for control\nJournal: a time-based list of your activity in the game\nPokemon trivia: Pokemon is short for \"Pocket Monsters\"\nAPA style guide for \"Pokemon Go\" information.\nI doubt if there are many Pokestops or Pokemon in or around your school. And I'm not suggesting playing the game in your classroom. However, after playing it myself for the past few days, I've had some thoughts on how to use the game to expand the learning and target some of the literacies we want students to attain.\nSome of the following activities require students to take some extra time and gather information as they're actually playing the game. Others they can complete after they're done for the day.\nVIRTUAL REALITY IMAGES\nMany of the Pokestops in the game showcase a local business, attraction or historical site. Since students already have their phone in their hands, have them use the Google Street View app to take a 360\u00b0 spherical panoramic image of the Pokestop. Having these images to share with others will both promote community pride as well as allow immersion in the Pokestop via a Google Cardboard Viewer or via the Ricoh Theta S app. By taking the time to create and share the 360\u00b0 images, students will become familiar with some of the cool sites in their community.\nHere is a sample of a 360\u00b0 image taken at a site of a Pokestop. Click and drag your mouse around the image to view it. (Direct link)\nAs you or students create 360\u00b0 images, please consider Creative Commons-licensing them for use by others, joining my Flickr group called 360\u00b0 Images for Schools and uploading them!\n- Google Street View app (iOS) (Android) (Windows Phone)\n- Theta S App (iOS) (Android) (Windows) (Mac)\n- Google Cardboard app (iOS) (Android)\n- Kathy's Katch Discovery Education blog post: Virtual reality in the classroom\nOne of the neat features of the \"Pokemon Go\" game is, when students find a Pokemon in the wild, they can turn on an augmented reality version of their mobile device screen which puts the virtual Pokemon into the live scene where their camera is facing.\nStudents can then take a screenshot of the image. By saving the screenshots to their camera roll, students will have access to them later to use in other classroom projects, such as creating a digital story about their adventures.\nDon't forget- students will need access to tools for planning, preparing, and producing their digital story. Ideas and successful practices for creating digital stories can be found on my digital storytelling site.\nEasy digital storytelling creation tools\n- Adobe Spark Video: easy-to-use video creation tool\n- Explain Everything: screen casting tool which allows students to speak, mark-up, and save as a video\n- Pixntell app: One to five images with student recording behind them\n- Adobe Spark Post: single image with overlaid text\nThe Journal component of the game automatically records the time and date of the events as they occur -- whether it be collecting Pokeballs or capturing a Pokemon. Students can use the data to figure out the average number of events per day or to graph their allocation of items from a Pokestop.\nUsing data they have collected and analyzing it will help students start to become familiar with the data literacy skills of data processing, data manipulation, data presentation, and data analysis. A great rubric for data literacy analysis by Andrew Churches can be found here.\nAnother treasure trove of data can be found in the Pokedex. Each Pokemon that is captured includes an information card, including height and weight (in metric). This data can be analyzed and manipulated for any number of measurement activities. (i.e. How many of which Pokemon would you need to stretch all the way across the US? What would be the total weight of all of them?) In addition, students could use Airtable (iOS app) to create their own relational database of their \"Pokemon Go\" data and become familiar with some of the features of a database (i.e. tagging, searching, sorting, etc.)\nEncourage students to either gather the GPS points of their finds as they play the game or have them collect that info when they are done for the day. One site that makes this easy is http://www.gps-coordinates.net/ Students can search for a location on Google Maps from this site and then copy the GPS coordinates that show up.\nOnce students have this GPS data, have them locate the GPS point in Google Earth, add the screenshots for the Poketops or areas they visited in the game, and have them create a \"Google Pokemon Go Trip\". Students quickly become aware they are actually using real-life places in the game and can share their journeys with others. To learn how to start this process, instructions for the Google Lit Trips project will help you out!\nUse the data compiled from the \"Pokemon Go\" Journal and any additional information students collect (for instance, the number of steps they take in any one day) to have students create an infographic using one of the online tools or mobile apps. I have lists of these apps and tools both on my Guide to Everything Infographics page as well as in a previous Discovery Education Kathy's Katch blog post.\nInfographics should have an eye-catching image at the top with the most important data and then include secondary and tertiary data for those want to know more. Shaelynn Farnsworth provides some solid tips about teaching the basics of infographics to students here.\nI used Canva to create a health-related infographic based on the number of steps I have taken while playing the game.\nHave students write a short piece about their personal reflection of the game. How long did it take them to learn how to play \"Pokemon Go\"? Have they joined any groups of people searching for rewards? What do they like best about playing? Least?\nHave students exchange their writings or share a Google doc with another student. Each student should create a sketchnote from the writings of the other. Provide students with the basics of sketchnoting before you begin this project (i.e. text connectors, containers, shading, color, format) and then have them share the completed sketchnote with the author of the original piece. This can help students both practice visual notetaking, as well as learn how to pull out the most important points from a piece of writing.\nI have much more information about sketchnoting on my Guide to Everything Sketchnoting in the Classroom page and the July 2016 blog post in the Discovery Education Kathy's Katch blog.\nMy sample is below. I sketchnoted this from a short piece that appeared on the CNET Web site.\nOnce students have reflected on their sketchnotes and reworked their essay on the topic, have each student create a short podcast about their experience with \"Pokemon Go\". Embed these podcasts in your class website and parents can enjoy the excitement that will definitely come through as each student reflects on their time with the game!", "id": "<urn:uuid:40f24283-cca7-47e0-9a3c-68ec5ac79367>", "dump": "CC-MAIN-2017-17", "url": "http://blog.kathyschrock.net/2016/09/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118519.29/warc/CC-MAIN-20170423031158-00106-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9429952502250671, "token_count": 1655, "score": 3.546875, "int_score": 4}
{"text": "Scroll painting, art form practiced primarily in East Asia. The two dominant types may be illustrated by the Chinese landscape scroll, which is that culture\u2019s greatest contribution to the history of painting, and the Japanese narrative scroll, which developed the storytelling potential of painting.\nThe earliest \u201cillustrative\u201d Chinese scrolls, forerunners of the narrative type, date from the late 4th century ad and teach Buddhist moral lessons. The continuous scroll form was fully developed by the 7th century. Such a scroll is opened from right to left and viewed on a table. The landscape hand scroll (makimono), a pictorial rather than narrative form, reached its greatest period in the 10th and 11th centuries with masters such as Xu Daoning and Fan Kuan. The viewer becomes a traveler in these paintings, which offer the experience of moving through space and time. There is frequent depiction of roads or paths that seem to lead the viewer\u2019s eye into the work.\nOnly about 2 feet (0.6 metre) of such a scroll should be viewed at one time or the spirit of the work is violated. One problem faced by the artists was a need for multiple vanishing points in generating a sense of perspective, since the imaginary viewer was assumed not to be stationary. They solved this in a variety of ways, causing one perspective point to fade unnoticed into the next.\nRead More on This Topic\npainting: Scroll painting\nNearly contemporary with the Chinese panoramic landscapes are the Japanese emakimono, scroll paintings of the 12th and 13th centuries. These are long horizontal scrolls, 10\u201315 inches (25\u201338 cm) wide and up to 30 feet (9 metres) long. This painting tradition is called Yamato-e, or Japanese painting, to distinguish it from Japanese work in the Chinese manner. In the earliest example of this form, The Tale of Genji, Japan\u2019s great literary masterpiece, is shown in pictures alternating with text. Eventually the illustration in such works stood nearly alone, and typical subjects were the stories and biographies popular during Japan\u2019s Middle Ages. The Japanese taste for sensation and drama finds vivid expression in these scrolls. The buildings pictured in them are frequently without roofs, so that intimate interior scenes can be shown, and backgrounds are tilted forward so as to pack more incident into a smaller space.\nDuring the renaissance of Chinese tradition that followed this period, an alcove intended for a picture or flower arrangement, the tokonoma, was introduced. Paintings were made vertical instead of horizontal in order to fit this space. These hanging kakemono, with their static compositions and contemplative themes, are more in the nature of Western paintings.", "id": "<urn:uuid:552e512e-009f-47d8-bb73-d5f19b4a331a>", "dump": "CC-MAIN-2017-17", "url": "https://www.britannica.com/art/scroll-painting", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122621.35/warc/CC-MAIN-20170423031202-00520-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9620298743247986, "token_count": 553, "score": 3.90625, "int_score": 4}
{"text": "The term FAKE News seems to be used a lot these days! April Fool's Day is a great opportunity to begin a discussion with students on FAKE and REAL news.\nA recent survey found that many young people(and adults for that matter) can't seem to determine which is a real news story from a fake news story. We need to develop digital critical literacy\nwith our students so they can try and determine the difference BEFORE they hit \"send\" to all their friends.\nThis freebie has information to use with students on the topic as well as some suggested extension activities.\nNote: Additionally, I have another resource you may find of interest to use for such a discussion on fake/real news:\nWant to introduce your students to the history of April Fools' Day? This resource provides a reading for students as well as lots of interesting famous April Fools\u2019 pranks. Additionally, there are extension activities as well as a Test your April Fools' Day IQ(can you spot the True News Stories from the Fake ones?). There are also comprehension questions for the students to answer after reviewing the resource: April Fool's Day Reading/Activities\nAgain, the above resource, although geared for April Fool's Day could be used throughout the year to foster digital critical literacy with kids.\nAppreciate your checking out this resource. Please considering FOLLOWING ME by click by my picture in the upper right hand corner.\nCheck out my April Highlighted Resources:\n1. Arbor Day: A Webquest:Arbor Day! Learn about the holiday and Trees!\n2. Exploring the Ocean Blue: A Web quest, will introduce students to our oceans. There are nine informative web questions. Fun Facts, comprehension questions,extension activities and links are also provided as is the key. Can be used as part of a unit on oceans, for Earth Day, World Ocean Day or as an activity for a Friday, before a vacation break or as an end of the year activity. This can be a one day class resource or used for a couple of days depending on whether the activities(creative writing/art work/online simulation games, etc.) are used with the students. There are 9\ninformative web questions. Fun Facts, comprehension questions,extension activities,links: Let's Explore the Oceans: A Webquest\n3. Learn about Jacques Cousteau with this Reader's Theater Script: Oceanographer, photographer,filmmaker, scientist, writer, inventor, Cousteau spent his life studying the oceans and the marine life that lived in the oceans. His books and films on his studies sparked much interest in our oceans and created an awareness about the need for marine conservation. Part of my Ms. Bie Ografee Talk Show Series where Jacques Cousteau is a guest on her talk show and answers questions of her studio audience. There are 10 audience questioners, a Did You Know? section, comprehension questions, a teacher section with extension activities, links and the key.Jacques Cousteau: A Reader's Theater Script\nLearn about the history of Earth Day and, our planet, EARTH, with this informative web quest. There are 15 web questions as well as comprehension questions and a Did You Know? fun fact section. The teacher page includes extension activities, the key, and additional links. EARTH DAY, A Webquest\"\n5. A Biologist and marine zoologist, Carson\u2019s books shared her love of nature, especially the ocean and its inhabitants. Her book, Silent Spring, sparked concern in how chemical pesticides were harming our environment. Carson helped to start the environmental movement in our country, which led to the creation of the U.S. Environmental Protection Agency. This Reader's Theater Script could be used as a STEM biography any time of year or especially during the time of Earth Day.Rachel Carson, A Reader's Theater Script", "id": "<urn:uuid:4be776bb-3d7e-4633-bf6a-7bbedcc8ce58>", "dump": "CC-MAIN-2017-17", "url": "https://www.teacherspayteachers.com/Product/Is-that-FAKE-NEWS-Developing-Digital-Critical-Literacy-with-Kids-3074653", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121665.69/warc/CC-MAIN-20170423031201-00282-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9444141983985901, "token_count": 796, "score": 3.796875, "int_score": 4}
{"text": "Last Friday, after the storytelling show we were reviewing the parts of a story and some fictional characters who are present in our everyday language. As part of the practice, pupils in 2NI had to write a short story with the different parts: introduction, background, problem, resolution and a final comment or moral. These are the stories they came up with.\n- Enrique, Esperanza and M\u00aa Angeles wrote this story about a proud achievement.\nOnce upon a time there was a little girl who didn\u2019t like helping her mother at home because she preferred to play with her dog so her mother was upset with her.\nSuddenly, one day her mother got very ill. She was lying in bed when the doctor came. He told the girl that her mother should rest for a month.\nThe little girl realised she wasn\u2019t able to do anything by herself because she never listened to her mother. She thought about what to do for a long time and finally she decided to apologise to her mother and asked for help.\nShe began to do the housework although she didn\u2019t do it very well. Every day she was improving and her mother was proud of her.\nSince then, the little girl helps her mother every day and both of them are very happy together.\nYou should listen to your parents and help them at home because one day you\u2019ll have to do many things by yourself.\n- This is an \u201covercoming-prejudice\u201d story by Inma, Miguel and Vanessa.\nOnce upon a time, in a very near land there lived a beautiful girl, who liked sports a lot. One day she wanted to play with the boys but they didn\u2019t allow her to do it. So she cut her hair and dressed in her brother\u2019s clothes and told the boy that her name was Jack.\nShe started to play with the boys and she did it very well, so she became really popular.\nWhen the children realised that Jack was actually a girl, at first they felt annoyed but in the end, they allowed her to play because they needed her to win the match.\nGive up your prejudices. It\u2019s better to play together.\n- Andrea, Ceci and Marian tell us this story whose title is \u201cPhineas\u2019 Dream\u201d\nOnce upon a time in a faraway land there lived a very little mouse called Phineas, who wanted to drive a little fast car.\nThen, he left his house and found a place where there were a lot of cars parked, which seemed to be abandoned. Phineas decided to drive one of them.\nWhile he was trying to start the engine, suddenly he heard a big noise and he became really frightened so he hid under the seat.\nThe big noise was made by his mother who was knocking on the door to wake him up. Phineas realised that it had been only a dream so he felt relaxed.\n- Carmen, Irene and Jose enlighten us with \u201cThe Slave Horse\u201d\nOnce upon a time a little horse lived in a farm. He was very sad because he was tied.\nEvery day he saw a group of horses running in front of him, but he couldn\u2019t run with them because he was tied. He dreamt of being free one day.\nA few years later, someone cut its chains and then the other horses started running in front of him. However, he didn\u2019t try to run after them.\nAfter being tied for so long, he didn\u2019t dream about being free any more because if you have been a slave for many years, you won\u2019t be able to be free.\n- And finally, Alba and Santi wrote this blood-curdling story.\nIt was a dark and cold night when suddenly a strong noise scared me.\nI went towards the desk to pick up a candle to check what was going on outside. I went downstairs carefully. Suddenly, I heard footsteps in the living room. Someone had broken into my house! So I went upstairs as fast as I could to pick my rifle. I decided to wait for the burglar in the shadow and close the door. The footsteps were closer and closer. As I put a finger in the trigger, the stranger entered the room. Then, I pulled the trigger and blew his head off.\nI was still for a couple of minutes. Then I reached the corpse and looked at his face. That\u2019s when I realised he was \u2026\nWell, thanks for your stories and make us consider some aspects of our human condition. It was worth practising.\nDid you like them? Would you like to tell us your story? Feel free to post it. We are looking forward to reading it.", "id": "<urn:uuid:7162b03f-9ec0-4fea-97ab-47df96f63b15>", "dump": "CC-MAIN-2017-17", "url": "http://englishandpractice.blogspot.com/2014/03/making-up-stories.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917120844.10/warc/CC-MAIN-20170423031200-00344-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9903803467750549, "token_count": 987, "score": 3.53125, "int_score": 4}
{"text": "Modern humans migrated out of Africa via a southern route through Arabia, rather than a northern route by way of Egypt, according to research announced at a conference at the National Geographic Society this week.\n\u201cEvolutionary history shows that human populations likely originated in Africa, and the Genographic Project, the most extensive survey of human population genetic data to date, suggests where they went next\u2026Modern humans migrated out of Africa via a southern route through Arabia, rather than a northern route by way of Egypt,\u201d said a news statement released by IBM.\nNational Geographic and IBM\u2019s Genographic Project scientific consortium developed a new analytical method that traces the relationship between genetic sequences from patterns of recombination \u2014 the process by which molecules of DNA are broken up and recombine to form new pairs, the news statement explained.\nThe statement continued:\n\u201cNinety-nine percent of the human genome goes through this shuffling process as DNA is being transmitted from one generation to the next. These genomic regions have been largely unexplored to understand the history of human migration.\n\u201cBy looking at similarities in patterns of DNA recombination that have been passed on and in disparate populations, Genographic scientists confirm that African populations are the most diverse on Earth, and that the diversity of lineages outside of Africa is a subset of that found on the continent.\n\u201cThe divergence of a common genetic history between populations showed that Eurasian groups were more similar to populations from southern India, than they were to those in Africa.\u201d\n\u201cThe divergence of a common genetic history between populations showed that Eurasian groups were more similar to populations from southern India, than they were to those in Africa. This supports a southern route of migration from Africa via the Bab-el-Mandeb Strait in Arabia before any movement heading north, and suggests a special role for south Asia in the \u2018out of Africa\u2019 expansion of modern humans.\u201d\nAjay Royyuru, senior manager at IBM\u2019s Computational Biology Center, said: \u201cOver the past six years, we\u2019ve had the opportunity to gather and analyze genetic data around the world at a scale and level of detail that has never been done before. When we started, our goal was to bring science expeditions into the modern era to further a deeper understanding of human roots and diversity. With evidence that the genetic diversity in southern India is closer to Africa than that of Europe, this suggests that other fields of research such as archaeology and anthropology should look for additional evidence on the migration route of early humans to further explore this theory.\u201d\nAccording to IBM, the new analytical method looks at recombinations of DNA chromosomes over time, which is one determinant of how new gene sequences are created in subsequent generations. \u201cImagine a recombining chromosome as a deck of cards. When a pair of chromosomes is shuffled together, it creates combinations of DNA. This recombination process occurs through the generations<\u201d IBM explained in its statement.\n\u201cRecombination contributes to genome diversity in 99% of the human genome. However, many believed it was impossible to map the recombinational history of DNA due to the complex, overlapping patterns created in every generation. Now, by applying detailed computational methods and powerful algorithms, scientists can provide new evidence on the size and history of ancient populations.\u201d\nReconstructing Genetic History\nIBM researcher Laxmi Parida, who defined the new computational approach in a study published in Molecular Biology and Evolution, said: \u201cAlmost 99% of the genetic makeup of an individual are layers of genetic imprints of the individual\u2019s many lineages. Our challenge was whether it was even feasible to tease apart these lineages to understand the commonalities. Through a determined approach of analytics and mathematical modeling, we undertook the intricate task of reconstructing the genetic history of a population. In doing so, we now have the tools to explore much more of the human genome.\u201d\nThe Genographic Project continues to fill in the gaps of our knowledge of the history of humankind and unlock information from our genetic roots that not only impacts our personal stories, but can reveal new dimensions of civilizations, cultures and societies over the past tens of thousands of years, IBM\u2019s statement added.\n\u201cThe application of new analytical methods, such as this study of recombinational diversity, highlights the strength of the Genographic Project\u2019s approach. Having assembled a tremendous resource in the form of our global sample collection and standardized database, we can begin to apply new methods of genetic analysis to provide greater insights into the migratory history of our species,\u201d said Genographic Project Director Spencer Wells. (Read a News Watch post by Spencer Wells about his book Pandora\u2019s Seed, taking us back to a seminal event roughly 10,000 years ago, when humans made a radical shift in their way of life: we became farmers rather than hunter-gatherers, propelling us into the modern world.)\nMapping how Earth was Populated\nThe recombination study highlights the initial six-year effort by the Genographic Project to create the most comprehensive survey of human genetic variation using DNA contributed by indigenous peoples and members of the general public, in order to map how the Earth was populated. Nearly 500,000 individuals have participated in the Project with field research conducted by 11 regional centers to advance the science and understanding of migratory genealogy. This database is one of the largest collections of human population genetic information ever assembled and serves as an unprecedented resource for geneticists, historians and anthropologists.\nThe Genographic Project seeks to chart new knowledge about the migratory history of the human species and answer age-old questions surrounding the genetic diversity of humanity. The project is a nonprofit, multi-year, global research partnership of National Geographic and IBM with field support by the Waitt Family Foundation. At the core of the project is a global consortium of 11 regional scientific teams following an ethical and scientific framework and who are responsible for sample collection and analysis in their respective regions. The Project is open to members of the public to participate through purchasing a public participation kit from the Genographic Web site (www.nationalgeographic.com/genographic), where they can also choose to donate their genetic results to the expanding database. Sales of the kits help fund research and support a Legacy Fund for indigenous and traditional peoples\u2019 community-led language revitalization and cultural projects.\nPosted from news materials provided by IBM and National Geographic.\nDavid Braun is director of outreach with the digital and social media team illuminating the National Geographic Society\u2019s explorer, science, and education programs.\nHe edits National Geographic Voices, hosting a global discussion on issues resonating with the Society\u2019s mission and major initiatives. Contributors include grantees and Society partners, as well as universities, foundations, interest groups, and individuals dedicated to a sustainable world. More than 50,000 readers have participated in 10,000 conversations.\nBraun also directs the Society side of the Fulbright-National Geographic Digital Storytelling Fellowship.", "id": "<urn:uuid:8e36d76a-70c1-4823-9a78-f8cb111d0f55>", "dump": "CC-MAIN-2017-17", "url": "http://voices.nationalgeographic.com/2011/11/03/modern-humans-wandered-out-of-africa-via-arabia/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121752.57/warc/CC-MAIN-20170423031201-00637-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9402403235435486, "token_count": 1438, "score": 3.6875, "int_score": 4}
{"text": "Students explore the use of an element of drama in a theatrical production and collaborate to share their findings on a poster.\n- Length: 1 class period\n- Grades: 6-8\n- Students will be able to understand and use technical elements in drama.\nFound On: Performance Excerpts\nVocabulary, Materials, and Handouts\ncostumes, lighting, makeup, props, scenery, sound, staging\nTV/VCR or DVD player, poster board, variety of markers\nOptional: computer with Internet access\n- Student Discussion Questions\n- Exit Slip\n- Multiple-Choice Questions\n- Multiple-Choice Questions Answer Key\nInstructional Strategies and Activities\nUsing colored chalk, draw a picture of Frankenstein on the chalkboard for students to see when they arrive in class. (Students love to see their teachers attempts at artwork.) Upon entering the room, they will express curiosity about the days lesson.\nTell students they will be watching an excerpt from the play Frankenstein. Before showing the video, review the elements of drama with students. If you want to, use the game Zip, Zap, Zop.\nZip, Zap, Zop uses fast action and repetition to remind students of the elements of drama. Have students stand in a large circle. One student begins the game by lunging into the circle and pointing at another student while saying, Zip! Then the student pointed to does the same action to another student, but says Zap! And it continues, Zip, Zap, Zop.\nOnce students are familiar with the action of the game, change the oral part to technical elements. One student will lunge, point, and say, Costumes! The student pointed to will name another technical element, such as Scenery! Continue until all students have named several elements (they can repeat an element, as long as its not the same as the element just mentioned). Spend about 10 minutes on this activity.\n(The Zip, Zap, Zop game was developed by Bet Stewart, artistic director of Intuition Theatre.)\nView video and conduct cooperative learning activity (about 25 minutes)\nShow the excerpt from Frankenstein. Tell students to observe the technical elements and how they are used. They should make notes about each of the technical elements: staging, lighting, sound, costumes, props, makeup, and scenery.\nDivide the class into seven groups and assign each group a technical element. Each group is to create a poster about its assigned element. The poster will identify and define the assigned element and illustrate and/or describe how the element was used in the Frankenstein production shown in the video excerpt.\nThe poster should meet the following criteria:\n- technical element clearly identified and defined\n- element creatively illustrated (make drawings showing Frankensteins makeup, the stage set-up, lighting effects, etc.)\n- effect of elements use in play described\n- appropriately titled\n- uses large print\n- positive space used well\n- enclosed in a simple border\nEstablish cooperative learning group member assignments:\n- Student 1: Make sure poster criteria are followed.\n- Student 2: Gather materials, put all materials away.\n- Student 3: Make sure all students in the group stay on task.\n- Student 4: Make sure all students write on and contribute to the poster.\nHave the groups share their posters and discuss them at the end of the lesson.\nHand out the Exit Slip for Frankenstein for completion in class or as homework.\nExtensions for Diverse Learners\n- Develop and perform a monologue for one of the characters in the video excerpt.\nWriting To Communicate\nPersonal-Expressive: Write a personal narrative about an event in your life in which you were faced with a moral decision.\nLiterary: Write a script for the opening scene of an imaginary Frankenstein II.\nTransactive: Write a review of Mary Shelleys Frankenstein, either a live performance, a video production, or the novel.\nApplications Across the Curriculum\n- Each student illustrates a different scene from the video excerpt using the elements of art. Then use the illustrations in a storytelling circle. Students stand in a circle according to the chronological order of their illustrations. Each student tells his/her part of Frankensteins story until the complete story is told.\n- Research cloning. Compare the ethical questions to those in the play.\n- Use scale factors to determine proportional objects for a set design.\n- Research the time period in which Frankenstein was written. Explore what events or conditions of the time affected the authors work.\n- Explore how having a healthy body helps actors with the elements of performance: diction, body alignment, breath control, and control of isolated parts of the body.\n- Research career opportunities in the theater. What jobs were associated with creating the Frankenstein production? How would you prepare for them?\n- In groups, have students create dances in AB form that will show a movement sequence on the stage.\n- Have students create and sing a song from the point of view of one of the characters in the play.\nOpen Response Assessment\nStage productions take a lot of preparation. Many people and a lot of time were involved in creating the Stage One production of Frankenstein.\nList and define the technical elements. Discuss how three of these elements were used to create effects in the Stage One production of Frankenstein.\nOpen Response Scoring Guide\n|Student correctly lists and clearly identifies the technical elements. Student discusses how three of these elements were used in Frankenstein, demonstrating extensive understanding of the technical elements and effectively using many examples and details.||Student correctly lists and identifies the technical elements. Student discusses how three of these elements were used in Frankenstein, demonstrating broad understanding of the technical elements and effectively using some examples and details.||Student correctly lists and attempts to identify the technical elements. Student discusses how three of these elements were used in Frankenstein, demonstrating basic understanding of the technical elements and using a few examples and details.||Student lists and attempts to identify some of the technical elements. Student discusses how one or two elements were used in Frankenstein, demonstrating limited understanding of the technical elements and using few or no examples and details.||No answer or irrelevant answer.|", "id": "<urn:uuid:fe09aad8-ee33-41a9-af9f-160eadd08255>", "dump": "CC-MAIN-2017-17", "url": "https://www.ket.org/education/resources/exploring-technical-elements-lesson-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917118740.31/warc/CC-MAIN-20170423031158-00519-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9047777652740479, "token_count": 1260, "score": 4.34375, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\nCharacter Teacher Resources\nFind Character educational ideas and activities\nWhat do Robert Downey Jr., Basil Rathbone, Jeremy Brett, Fritz Weaver, Roger Moore, Benedict Cumberbatch, and Daffy Duck have in common? Why, it\u2019s elementary, my dear Watson! They all have portrayed Sherlock Holmes. Literary detectives launch an investigation of how varying portrayals of a character influence a drama. The approach detailed here could be used with a wide range of literature. From Romeo and Juliet to The Great Gatsby, your sleuths will be engaged in the search for clues that reveal how who done it changes everything.\nThird graders analyze the importance of characters in fiction writing and performances. In this theatre lesson, 3rd graders identify the important characteristics of a fictional character and how to portray a character through many different physical and psychological choices. Students act out characters for their classmates and critique their own performances.\nCombining art, music, dance, and reading comprehension, this lesson is geared to reach all ability levels. After reading a variety of fables and discussing story elements and character traits, class members select a moral to use as the basis of their own fable about two characters, one with foibles and one without. Your fabulists then collaborate on a class mural, a music composition, and a dance which reflect the traits of characters in their stories. Document it all on a class website.\nThe Secret Garden, is a wonderful book to read with your class. After reading, why not employ the lesson plan presented here as a follow up activity? In it, pupils create character charts that portray the tremendous changes that take place in each of the principal characters during the course of the book. A handy graphic organizer is embedded in the plan which will help learners create a character web for each of the characters. Everyone gets together and has an all-class sharing session where the character webs are discussed.\nTake the text of the Ramayana and let it become a visual funfest of student interaction. View through PowerPoint artistic representations of the characters of the Ramayana and Mahabharata, and have pupils complete the character study worksheet from their viewing and reading. The materials make it easy for the students to continue storytelling traditions. Have your writers create their own stories using the conflicts and characterizations from the lesson, and practice the oral tradition in class.\nCool! Encourage your class to get to know a story's characters on a whole new level! Dress like a character and sit for an interview with a TV host. The clear explanations, great examples, and practice activities included in this 16-page worksheet will help your young writers bring their characters to life.\nHow do you know what a character's personality is like if an author doesn't tell you? With a focus on character development in Esperanza Rising, pupils complete a jigsaw activity to analyze the actions of Mama, Abuelita, and Miguel. Once group members have shared with their expert group and their own group of three, they compare and contrast the other characters to Esperanza. Class members must make inferences using author details and character behavior. During this well-sequenced lesson, learners will complete a quiz, participate in a jigsaw activity, create posters and charts, and write briefly for an exit ticket, and close with a discussion about human rights.\nEngage further in Esperanza Rising with a focus on close reading and metaphor. Class members zero in on the tenth chapter, examining characters and big ideas. Pupils discuss the text in small groups and as a whole class, and participate in a give-one-get-one activity, using their sticky notes to mark pieces of evidence that they want to share. As a final assignment, writers compose a response to a final question that sums up the lesson. An effective Common Core designed lesson.\nKindergartners examine pieces of artwork and make masks to wear in a classroom parade. They examine images of The Triumphs of Love, Chastity, and Death, and The Triumphs of Fame, Time, and Divinity. After looking at the characters that are depicted in the images, they create masks to be worn in a parade.\nDelve into narrative writing that puts choice in the hands of the writers. Kids pick their own characters, emotions, items, and places from a list and tie them together in the exposition. Several questions help guide the writers toward fully understanding and developing the characters in their story.\nFirst graders are introduced to biographical figures through participating in a number of activities. They are introduced to an important historical figure once every ten school days. This goes on throughout the entire school year! Center and assessment activities are included to correlate these characters with math standards. This 26-page plan has many worksheets and detailed descriptions of the activities to make implementation simple.\nWhat do Columbus, Aeneas, Scarlet O\u2019Hara, and Frederick Douglass have in common? How can a hero in one age be a villain in another? Does heroism depend on the context of time and place? Are there traits that all heroes share? After a consideration of these and other questions, class members create their own heroic character. To bring their hero to life, pupils choose from of menu of presentation options. From guided visualizations to online research, the whole class and small group activities in this richly detailed resource guide young writers through the process of creating their own hero.\nLensey Namioka\u2019s Yang the Youngest and His Terrible Ear provides an opportunity for young readers to observe how writers bring their characters to life. Each class member selects a character to trace through the novel, recording character traits and finding examples to show how these distinctive features are revealed.\nReaders of The Crucible use a SATDO chart to collect evidence they will use to craft interpretive statements and an analysis of one of Miller\u2019s characters. Background information on the play and about Miller, links to handouts, extensions, and assessments are included with the richly detailed plan.\nA vivid setting can bring a story to life. Challenge your writers to dive into this element as they complete worksheets in preparation for their first draft. This packet starts by giving an example of a description that simply tells who a character is and one that lets the setting speak for him. To practice, learners create animated settings for three hypothetical characters. They do the same for characters in their own story.\nThis multifaceted and very complete lesson plan provides several ways for young scholars of literature to explore character. Specifically this resource focuses on the character of Miss Trunchbull from Matilda. After reading two pre-selected passages about this character, your class will complete several provided discussion, text marking, drawing, and creative writing activities. Chock-full of creative ideas and prepared materials, this is a must-see resource for any teacher who is teaching this story.\nIn many of Shakespeare's plays, the main character drives the action. This in mind, learners take a critical look at the development of the main character. They compare three of Shakespeare's main characters to each other and to three modern day television drams. A very enlightening lesson which culminates in a thoughtful thesis and essay.\nLearners read the handout, \"The Six Pillars of Character Checklist.\" They work in groups to define each of the six pillars of character. They share their definitions with the class. Each group creates a pillar poster of one of the characteristics. Students read the story \"The Smartest Giant in Town,\" by Julia Donaldson.\nBuild reading comprehension skills with this lesson plan. Have your class listen, predict outcomes, retell the story, and produce a character web as you read the book Swimmy by Leo Lionni aloud. This lesson also asks learners to make connections between the book and their own prior knowledge about fish and oceans.", "id": "<urn:uuid:0f263ea6-8e42-4b43-ae47-f84346d21907>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/character", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163976781/warc/CC-MAIN-20131204133256-00027-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9408375024795532, "token_count": 1614, "score": 4.1875, "int_score": 4}
{"text": "Archaeologists have been uncovering Viking villages in several locations from Sweden to Canada. Each excavation reveals more information about the culture of these seafaring tribes. Vikings were warriors, traders and colonists. Your students can take online tours of Viking villages through sites like PBS or the BBC. Classroom projects can supplement your lessons on Vikings to make learning more interactive and interesting.\n- Skill level:\nThings you need\n- Handout of Futhark runes\n- Woodworking tools\nTeach students to write their names in Futhark, using Viking runes. Create a handout showing each of the Futhark runes, the sound it represents and its name. You can make your own handout from online sources such as NOVA Online or Ancient Scripts Online. You can also download a pdf of the alphabet at Lexicology. Have students make themselves a name tag using Futhark. Then have everyone bring their nametags up front. Calling up one student at a time, hand that student a nametag and ask her to find the person to whom it belongs.\nDevelop a list of important events in Viking history. Have students research to find when these events took place. Then have them create a timeline using a tree circle. Earlier events should be closer to the centre of the tree, while later events should be on the outer rings of the tree. Talk to students about how tree-dating is one of the ways scientists have dated things they find in Viking villages.\nProvide older students with woodworking tools, wood and pieces of cloth. Divide them into teams. Have one team build a model of a Viking ship and a poster to explain how Vikings depended on their ships. Have a second team build a Viking meeting hall and a poster to explain how it was built. Have a third team build a model of a Viking dock and a poster to explain how it was built.\nDiscuss with students the types of food that scientists think Vikings ate, based on what types have been found at Viking Village archaeology sites. Have students create a menu for a Viking feast.\nDownload the Viking Explorer game from the BBC. Divide students into groups of four to six. Give each group a copy of the game and explain the rules. Give students a half hour to an hour to play the game. Afterward discuss what they learnt about Viking culture from the game.\nRead a Viking saga to the class. Discuss the style of storytelling exhibited in the saga. Explain the importance of sagas to the Viking culture. Instruct students to write a Viking-style saga about the topic of their choice. Once the sagas have been written, have students deliver them in a speech the way the Vikings would have around the fires and in feast halls.\n- 20 of the funniest online reviews ever\n- 14 Biggest lies people tell in online dating sites\n- Hilarious things Google thinks you're trying to search for", "id": "<urn:uuid:0f613485-3c36-4b40-b652-a0e5183f1b79>", "dump": "CC-MAIN-2017-17", "url": "http://www.ehow.co.uk/how_7718753_make-viking-village-school-projects.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917122996.52/warc/CC-MAIN-20170423031202-00052-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9436811804771423, "token_count": 592, "score": 4.40625, "int_score": 4}
{"text": "Kindergarten Art Lesson Plan for:\nUp, Tall and High!\nby Ethan Long\nLesson plan created by Veronica Giles, Art Teacher\nRobeson Elementary Center, Birdsboro, PA\nPeople Through Out Time all over the World People Create Art to Convey Stories\nStrand 1 Through out time and all over the world people create stories that are illustrated.\nNational Core C.C.S.S.\nArts Standards RI- 1,2,3,4,5,6,7, VA:Cr1.1.Ka, VA:Cr1.2.Ka, RF- 1a,b,c,d,3a,c, VA:Cr2.3.Ka, VA:Cr3.1.Ka, RL- 1,2,3,4,5,6,7,9,10, VA:Re.7.w.Ka, VA:Re8.1.Ka, VA:Cn11.1.Ka\nStudents will create artwork in the style of Ethan Long\u2019s book Up, Tall and High!\nActivation: Students will see the images of books written and illustrated by Ethan Long on the Smart Board. The teacher will read the book Up, Tall and High in a read-aloud format.\n\u2022 Students will see text in book format and relate text to illustrations.\n\u2022 Students will compare the activities in the book and draw cartoon birds standing on each other.\n\u2022 Students will see how they can use the colors and patterns in the book for their own cartoon.\n\u2022 Students will see how art can convey a personal message through cartoons.\n\u2022 Students will have fiction read to them in a read aloud format.\n\u2022 Students will relate to text.\n\u2022 Students will see how art and illustration books are related.\nExplore the Artist Images:\nClass 1: Students are introduced to Ethan Long\u2019s books through his website on the Smart board. Students will have the story Up Tall! And High! by Ethan Long read to them. The story The Up Tall! And High! will also be read to the students in their next Library class by the Liberian for students to draw a connection between Art and their Library class. (see Liberians lesson plan)\nClass 2: Students will be reminded of Ethan Long\u2019s cartoons by seeing one of his videos. Add a link? Students will complete their drawings by using black Sharpie to outline over their pencil drawings. A demonstration of how to overlap the black marker line over their pencil drawing will help students see how they need to look ahead of where their marker is located on the page to trace over the lines successfully. A demonstration on how to color in areas using a back and forth motion and looking ahead will help students understand how to control their hand and marker.\nClass 3: Students will be reminded of the book have a demonstration of how to use the glue bottle to add small amounts of glue to the back of their art and matt their images on a larger colored paper. Students will be shown how to add a variety of stickers on their matt to add a fun border to their matt and artwork.\nAdvanced students can write speech bubbles for onomatopoeia for their the birds.\nSpecial needs students will be placed in an appropriate group with strong members. Tracers may be appropriate some students for different bird shapes. Templates could be used for eye circles. Stickers or giggly eyes could be used for eyes.\nSpeech bubbles, journal kid writing, class poems, class story ideas, character development", "id": "<urn:uuid:464f7417-2f02-446d-a467-5173a186dae3>", "dump": "CC-MAIN-2017-17", "url": "http://www.ethanlong.com/grade-k-art-lesson-plan", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121000.17/warc/CC-MAIN-20170423031201-00401-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.9156246781349182, "token_count": 732, "score": 4.28125, "int_score": 4}
{"text": "The following article was written for the Joan Ganz Cooney Center\u2019s blog, featured on 1/18/11.\nGive a young child a couple of toys or a box of crayons and he or she is likely to play for hours, deeply engrossed in an imaginary world. In both art and dramatic play, children construct settings, create fictional characters, and act out fantastic storylines that would be the envy of many Hollywood scriptwriters. Yet, ask that same child to write out a story in a blank notebook or a word processor and you would be lucky to capture a fraction of the depth and splendor of his or her imagination. Play inspires and scaffolds the creative process from an early age, but there is a persistent gap between the origins of imaginative play (ages 4-5) and kids\u2019 adoption of the formal discipline of creative writing (ages 8+). At Launchpad Toys, we\u2019re using mobile devices like the iPad to bridge this gap between informal and formal learning, to harness the power of play to help children capture and share their ideas with other kids around the world.\nWhile stuffed animal tea parties and standoffs between cops and robbers might seem rather recreational and luxurious to your average adult, researchers like Maria Montessori and Paulo Freire have shown Imaginative Play to be critical to a child\u2019s social-emotional and oral language development. From a Constructionist perspective, Play is a social laboratory where kids learn by trying on, testing out, and adapting new ideas just as they might costumes. As many parents can attest, it\u2019s not uncommon to see one day\u2019s \u201creal-world\u201d lessons being practiced in the next day\u2019s dress-up session.\nImaginative Play is also critical to a child\u2019s creative development. In play, kids become producers, writers, inventors, and artists by exercising their Divergent Thinking and storytelling skills \u2013 the building blocks of Creative Learning. As we described in Learning Across Silos: An Integrated Approach to the Creativity Crisis, Imaginative Play challenges kids to create their own characters, storylines, and fantasy worlds while thinking outside of the box to design novel and practical (creative) solutions to abstract problems.\nStill, despite these rich opportunities for Social and Creative Learning, there is a persistent gap between the playroom and the classroom. Kids learn as much about the world around them from their peers as they do from adults, teachers, or textbooks. Yet, open-ended play is difficult to assess and the scope of knowledge transfer is inherently limited, which is why we all too often draw a line in the sand between formal and informal learning.\nThe New Frontier of Digital Play\nCan you imagine if kids could not only capture their play as stories, but then share those stories with their peers around the world? What if kids could learn about geography, religion, and culture through the narrative play and stories of other children just like them?\nMobile devices like the iPad have opened the door to new Digital Play experiences that will realize this possibility and help to bridge the gap between formal and informal learning. Achieving this vision, however, requires that we as educational media designers shift our mindsets away from \u201cgames\u201d to \u201cplay\u201d. Mitch Resnick, Lego Professor of Learning at the MIT Media Lab\u2019s Lifelong Kindergarten group, says we need to start thinking about computers as paintbrushes \u2013 playful and open-ended tools for creative expression.\nWhy the iPad? Despite their common roots, Imaginative Play and Games are actually quite different. Games are relatively rigid and linear \u2013 computer guided missions that position the user behind layers of abstraction (mouse, joystick) and artificial guidelines (you can move here, but not there). Play, on the other hand is open-ended and creative \u2013 kid-driven explorations that empower them to generate their own rules, relationships, and abilities. In this way, Play is inherently oral, kinesthetic, tangible, social, and mobile. Play uses all the senses and goes anywhere, anytime. While there is certainly a great deal of hype around devices like the iPad, this much is certain: large touchscreens, positioning sensors, microphones, and mobile internet connections empower us as designers to leap over traditional gaming barriers to pioneer a new frontier in Digital Play.\nBridging the Gap\nAt Launchpad Toys, we\u2019re creating digital toys and tools that empower children to create, learn, and share their ideas through play. Our goal is to encourage and exercise kids\u2019 creativity through Constructionist Learning Tools that enable kids and parents to share their creative content with friends and family around the world. Our first product, Toontastic, is a Creative Learning tool for the iPad with which kids can draw and animate their own stories through narrative play. Toontastic scaffolds the storytelling process, introducing ideas like character, setting, narrative arc, and emotion while making cartoon animation as easy as putting on a puppet show.\nHere are four lessons that we\u2019ve learned about designing for Digital Play:\n1. Grow with the Child\nIn the Toy Industry, the best toys are often termed \u201cGrow with Me Toys\u201d \u2013 toys that retain their appeal and fun as the child gets older, but offer different benefits at different ages. LEGOs are a great example of a \u201cGrow with Me Toy\u201d \u2013 the basic mechanic of snapping bricks together stays consistent from Duplos to Mindstorms, but the play patterns and learning goals change dramatically as the child\u2019s needs and abilities mature. As a result, LEGOs are rarely a \u201cflash in the pan\u201d investment \u2013 kids will continue to play with them from age 3 through\u2026 well, adulthood (ahem).\nOur hope is that Toontastic will grow with our users from age five until, well, their iPad bites the dust. We don\u2019t expect our youngest users to grasp the complexities of narrative arc and scene types, but our aim is to make the animation process and the user interface intuitive enough that young children can work through the software and enjoy the simple process of creating stories. With age and repetition, we hope that those young users will then grow in time to understand the more complex concepts inherent in the software \u2013 much like many young LEGO builders move on to create stop-motion animations and program robots.\n2. Beware the \u201cDigital Tutor\u201d, Encourage Parent Collaboration\nCreating educational software doesn\u2019t require you to bottle a teacher inside your game. Good teachers are dynamic, charismatic, and are really good listeners \u2013 computers are not. As educational media designers, we should be creating software tools that encourage conversations and collaborative learning rather than trying to instruct or quiz the child. Parents are looking for opportunities to play and co-create with their kids. Support them with supplementary materials that will help them to guide their children rather than relying on the software to be a tutor.\nWith Toontastic, our goal is not to \u201cteach\u201d children directly, but to introduce concepts and then provide a laboratory in which to experiment with those ideas. In turn, our hope is that parents will not only play along with their children, but provide supplemental instruction. To aid parents, we provide detailed help screens on every page as well as a Parent/Teacher guide full of prompts and questions for the child.\n3. Spark the Imagination\nJust as dolls, puppets, action figures, and costumes are \u201cStory Starters\u201d for Imaginative Play, it\u2019s important to provide creative catalysts that will start a child down a path without too many guidelines and restrictions. Blank canvases are essential, but many kids will need a creative nudge or two along the way.In Toontastic, we offer customizable characters and pre-drawn settings in addition to open-ended drawing tools. We\u2019ve found that kids often gravitate towards ready-made characters their first few times playing, but then quickly graduate to designing their own characters and settings from scratch.\n4. Reward Iteration\nLearning isn\u2019t a one-stop shop. Kids evolve their ideas and knowledge over time, so use small rewards and social feedback forums to encourage repeat play.\nOur ultimate goal for Toontastic is to create what we\u2019re calling \u201cA Global Storytelling Network for Kids, by Kids\u201d \u2013 a place where kids can upload their stories, receive constructive feedback from their peers, and then adapt their stories accordingly. When a child completes a cartoon, he or she nominates that cartoon for a \u201cBadge\u201d (Boy Scouts meets Academy Awards). Through our ToonTube website, viewers can vote to give the cartoon a \u201cThumbs Up\u201d and (eventually) provide written feedback. Once the child earns enough votes, the Badge is rewarded along with a new character that can be used to create yet another cartoon, thereby creating what we hope to be a virtuous cycle of story creation.", "id": "<urn:uuid:765b42ca-646d-466a-a872-df1bd8a80575>", "dump": "CC-MAIN-2013-48", "url": "http://launchpadtoys.com/blog/2011/01/storytelling-creativity-and-the-new-frontier-of-digital-play/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164972407/warc/CC-MAIN-20131204134932-00027-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9514596462249756, "token_count": 1847, "score": 3.609375, "int_score": 4}
{"text": "Previous Research Guide\nDecember 10, 2011 will mark the 63rd anniversary of the Universal Declaration of Human Rights. This is widely seen as a day when nations across the globe came together to recognize that all human beings have fundamental rights. Nowadays human rights are increasingly evoked by politicians, non-governmental organizations (NGOs) celebrities, and businesspeople. Despite the apparent triumph of the belief in human rights, however, each day we are exposed to stories detailing the plight of refugees, unlawful detentions and torture, and racist acts targeted towards (im)migrants. The aim of this course is to further an understanding of the discourse of human rights, and we will use the lens of rhetoric to examine how all of these diverse international actors frame human rights issues and human rights violations. The main questions that will form the backdrop of our discussions are: What are human rights? Are such rights universal, or are they relative to the cultural context? What roles do race and ethnicity play in human rights policies in countries such as the U.S., France, and Great Britain? Using the lens of rhetoric will help us to understand the disconnect between human rights policy at the international level and the continued prevalence of human rights violations.\nWe'll analyze philosophical treatises from the European Enlightenment (John Locke, G.W.F. Hegel) and juxtapose those with texts by anti-colonial activists (Toussaint Louverture, Frantz Fanon); we'll look at the U.S. Bill of Rights along with texts written by Malcolm X and W.E.B. Dubois; and we'll analyze the music of activists like Bob Marley, Marvin Gaye, and Nas to reflect the trend towards cosmopolitanism and global justice. In addition to writing essays, engaging with music and videos, and collaborating on projects, students will participate in an exercise in which they are given a scenario of a fictitious country in the midst of a complex humanitarian emergency; as a class, we will determine whether intervention in the name of human rights is warranted and justified.\nPeople make claims to citizenship when presenting a passport, requesting a visa, or demanding asylum. We also make claims to citizenship when voting, applying for financial aid, or participating in political discussions. Standing up to speak in public often involves making an explicit or implicit claim to citizenship; you are claiming a right to speak and be heard in public. Claims to citizenship often provoke controversy. These claims may involve contentious demands for membership, mobility, political recognition, equal rights, and economic support. Membership and mobility are the focus of public debates over Comprehensive Immigration Reform and Sanctuary City laws. Equal rights and recognition are the focus of public debates over Health Care Reform and Proposition 8.\nWhat does it mean to be a citizen? What are the conditions in which one gains and maintains citizenship? How do we change these conditions if they keep individuals from enjoying full citizenship? What practices constitute good citizenship? These questions will guide and animate our course as we investigate claims to citizenship. We will examine arguments about citizenship by anthropologists, political theorists, sociologists, politicians, legal activists, and op-ed columnists. Specifically, we will study how engaging someone as a citizen is an essential and problematic practice of what it means to speak to those around us in order to create a common identity. In your research, you will analyze community membership and equal rights are shaped through contentious claims to citizenship.\nWhen an IBM-designed computer program nicknamed Watson participated last February in a three-day Jeopardy playoff against the game show's two most successful contestants, the results were decisive and, for those partial to the human race, disheartening: Watson's resounding triumph inspired both facetious panic (\"Robot Apocalypse Draws Nearer With Jeopardy! Victory,\" New York magazine declared) and efforts to redefine human intelligence in un-automatable terms (\"Can It Write Poetry?\" asked one Huffington Post blogger). Like any step forward in the development of machines capable of performing human tasks, then, Watson prompted many observers to adjust both their definitions of humanity and their predictions for the future of the species.\nUsing texts ranging from Edgar Allan Poe's 1836 analysis of a supposed chess-playing automaton to the recent film WALL-E, this course will explore the role of language in humanizing machines and mechanizing humans. Some of the broad questions that we will investigate together include: How do the rhetorical choices we make when writing about robots and A.I. echo or alter our notion of human intelligence? How do mechanical or computational metaphors for the human mind shape our reactions to new technological developments? How has our conception of the relationship between humans and machines changed across various historical periods, from the elaborate automata of the Enlightenment to the futuristic robot-run households imagined in post-World War II America? How do the tasks and roles we imagine for robots reflect ongoing human conversations about class, race and gender?\nIdeally, students will use these fields of inquiry not only to develop a greater awareness of and control over their own rhetorical and argumentative strategies, but also to guide their more narrowly focused research into the continuous rhetorical redrawing of the line between human and machine.\nOur daily lives are saturated in stories. Even when we are not reading literature we are bombarded with stories in the news, Facebook updates, blogs, television programs, popular music, films, and conversation with friends and family. Every one of us is both a consumer and a producer of stories. In this course we will view storytelling as a rhetorical and ethical act. How can stories be used as tools of persuasion? What makes a good or effective story? Can stories make us better (or worse) people? And in the digital environment we inhabit are there simply too many stories?\nWe will begin by analyzing some of the stories Barack Obama and John McCain told during the 2008 presidential election in their attempts to define themselves and each other. Our readings will illustrate how stories can be used in arguments as well as how arguments can be made about storytelling itself. We'll see how Erroll Morris' film The Thin Blue Line makes an argument by coordinating conflicting stories of a murder and we'll read Bill Wasik on what he sees as our unhealthy preoccupation with transitory microstories on the internet. We will investigate how writers of academic essays find ways to incorporate stories into their writing and consider the academic essay itself as a form of storytelling.", "id": "<urn:uuid:43d84c03-2052-40fa-873a-6612a485369a>", "dump": "CC-MAIN-2013-48", "url": "http://www.stanford.edu/group/ic/cgi-bin/drupal2/taxonomy/term/81?page=2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00029-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9429218173027039, "token_count": 1301, "score": 3.6875, "int_score": 4}
{"text": "A Resource Guide for Young Readers and Writers\nReading and writing not only helps children perform well in school, it boosts their creativity. When a young child reads a book or has a book read to them, they are able to imagine worlds that are different from the one they live in. Reading and writing are also essential for developing language skills. When a child reads, they are exposed to new vocabulary words and are exposed to different methods of communication. Developing writing skills helps children learn to express themselves clearly through language.\nReading, Literacy and Your Child\nAn article from the University of Michigan on the importance of reading for children. Also includes suggestions for parents to help them encourage reading in children.\nArticle from PBS on teaching writing to very young learners. The article discusses the importance of teaching writing alongside reading for developing language skills.\nWhy is Reading Aloud to Young Children So Important? The Importance of Early Literacy - and Early Intervention\nFacts explaining the value of introducing children to reading at a young age.\nThe Importance of Literacy and Books in Children's Development\nArticle arguing the value of books and reading to a child's development.\nHelping Young Children Develop Strong Writing Skills\nDiscusses the importance of learning to write in childhood and beyond. Has tips for parents to help them encourage writing at home. For example, parents can suggest that a child write letters to friends and relatives.\nParent Proven Tips to Get Kids Reading\nIdeas from parents to encourage children to read. Suggestions include reading books together and engaging children in simple reading activities, such as reading road signs.\n75 Quick Ways to Get and Keep Kids Reading\nA long list of fun ideas that will get children reading books and other written materials. The list is adapted from The Reluctant Reader: How to Get and Keep Kids Reading, by Wendy M. Williams.\nGetting Kids to Read\nRadio segment from NPR's \"Talk of the Nation.\" Features Jon Scieszka, author of The Stinky Cheeseman, and author Paul Kropp, who wrote How to Make Your Child a Reader For Life.\n100 Books Every Child Should Read Part 1\nA list of books that every young child should read, from the Telegraph. Books on the list include classics such as Where the Wild Things Are and Yertle the Turtle.\n10 Years of Newbery Winners\nList of Newbery award winners and honors from 2000 to 2010. The Newbery Award is given yearly to the \"most distinguished contribution\" to children's literature. It began in 1922 and is named after John A. Newbery, who published books for children.\n2011 Notables List\nEvery year, the American Library Association recognizes the best books published for children. This list includes books from 2011 for young readers through older readers, as well as books for all ages.\n100 Picture Books Everyone Should Know\nList of 100 children's picture books from the New York Public Library.\n10 Tips for Writing a Short Story\n10 simple tips to help children write a short story, from Dennis Jerz, professor of English at Seton Hill University.\nCreative Writing Projects\nFun ideas to get children writing and help them learn about the nervous system at the same time.\nInstant Poetry Forms\nSamples of poem forms. Examples include the septet, haiku and poems in the style of William Carlos Williams. Also has easier for forms for younger children.\nExercise teaching children how to write \"sausage\" poems, in which the words in the poem are linked by using the same letters or sounds at the beginning and the end. Also suitable for ESL students.\nWriting a Journal\nAdvice on using journaling to help ESL children learn English and develop their English writing skills.\nBiography for J.K. Rowling, author of the Harry Potter series, popular with children and adults.\nLaura Ingalls Wilder\nBiographical article on Laura Ingalls Wilder, who wrote the Little House on the Prairie series.\nBiography of Roald Dahl, written by students. Dahl wrote the classic children's books Charlie and the Chocolate Factory and James and the Giant Peach.\nAuthors, Writers, Editors\nUS Bureau of Labor Statistics report on a career as a writer or editor. Written in easy-to-understand language, it describes the training and skills needed to become an editor or writer as well as the average salary and job prospects.\nDescription of a librarian and examples of locations a librarian can work.\nScribes and Scribblers\nInformation on Scribes and Scribblers, a summer camp for children who want to write. The camp is a program of the Aspen Writers Foundation in Colorado.\nIdaho Writing Camps\nSummer camp for students in 3rd through 12th grade, sponsored by the Cabin. At camp, children work with professional writers on stories and other works that are published in a book at the end of the week.\nAfter School Programs\nDescription of after school programs hosted by Writers in the Schools, a Houston-based organization that teaches children the joy of writing and reading.\nTidewater Writing Camp\nAnnual camp held at Virginia Friend's School. Features classes in creative writing for students from grade 2 to grade 8.\nInformation on Mighty Writers, a Philadelphia area program that teaches children to write to boost their self-esteem and help them succeed.\nAnnotated version of John Keat's poem, \"To Autumn.\" Also includes a guide to help children understand the poem's meaning and context.\nChildren's Poetry Archive\nFeatures interviews with poets, as well as poems written for children. Visitors to the site can choose to hear the poem read or read it themselves.\nMoving into Reading: Preschool through Grade Two\nActivities parents can use to encourage young children to read and to promote a reading-friendly home environment.\nMrs. Acton's Favorite Poems\nA few of the favorite poems of Mrs. Acton, a high school and middle school English teacher. Includes the texts of the poems.\nChildren's Books that Encourage Healthy Eating\nA list of books that children can read to learn more about nutrition and health.\nChallenged Children's Books\nList of books for children, from picture books to more complicated chapter books, that were banned after being published for one reason or another. Books on the list include The Adventures of Huckleberry Finn and Are You There God? It's Me, Margaret.\nThe Value of Literacy Skills\nArticle on the importance of learning to read and write.\nSteve Graham on the Importance of Learning to Write Well\nA video featuring professor Steve Graham, discussing the value of writing.", "id": "<urn:uuid:f255ddb7-2a4c-4a2c-89c7-92e4390e4647>", "dump": "CC-MAIN-2013-48", "url": "http://www.textmessagecodes.net/resource-guide-young-readers-writers.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053330/warc/CC-MAIN-20131204131733-00027-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9388505816459656, "token_count": 1362, "score": 3.984375, "int_score": 4}
{"text": "Discuss the novel's narrative \"we.\" What is the effect of a plural narrator? What are the narrator's characteristics? How does the narrator compare to other characters in the novel?\nThe novel considers a group of neighborhood girls, the Lisbon sisters, who are continually watched, analyzed, and described by the book's narrators, a group of neighborhood boys. Both groups\u2014:the masculine \"we\" and the feminine \"they\"\u2014vacillate continuously between being cohesive, homogenous groups and sets of distinct individuals. The Lisbon girls are introduced on page seven, and differentiated at Cecilia's party later in the chapter. By contrast, though the reader meets many of the neighborhood boys, the identity of \"we\" is never explicitly given as a list of names. Instead, \"we\" is a category that exists independent of any particular boy, whereas individual boys are always described in the third person. The \"we\" voice has access to the collective knowledge of the neighborhood boys, and expresses their common observations and desires. \"We\" is not omnipotent, however, though its plural constituency gives \"we\" access to more knowledge than one person could have gathered. Furthermore, as the novel is told in the past tense, the narrators are able to give details in the order they wish, rather than in the order in which the details were learned.\nThe reader of the novel is invited to become part of the narrative \"we,\" despite several sentences in which the narrators single out the reader as \"you.\" The plural \"we\" gives the effect of an audience, suggesting an arbitrarily large group of friends watching the spectacle of the Lisbon lives. It also suggests the totality of the book's readers, and of others who have tried to make sense of the girls' suicides. Yet, in its totality, the narrative \"we\" also implies the enormity of the tragedy, the inability for the boys to define the world that the Lisbon sisters live in, as well as the uniformity of public opinion in their tiny suburb.\nHow are vision and sight important to the novel? What role do images play?\nThe Virgin Suicides is a deeply voyeuristic novel, a record of the neighborhood boys' continual observance of the Lisbon girls. The narrators' primary sense is that of sight, as they take copious mental notes of spectacles provided by the Lisbon girls\u2014from their tattered knee socks at school to Lux having sex on the roof of her house in midwinter. Yet the narrators' sight is hidden, secret, and skulking. They watch out of the corners of eyes, through binoculars, and when they think the girls are not looking. When the girls glance up or back, the boys pretend not to see. Not seeing, both in the sense of discretely declining to look and in the stronger sense of blindness, is used to further imply the scope of what the boys do not know, as well as their refusal to accept the facts of the girls' deaths. Sight is the sense associated with objectivity and distance. In hindsight, or the further someone can move away from a situation, the more one can understand the situation. Now that years have elapsed since the suicides, the boys invoke their visual memory, hoping for insight, clarity, and perspective. But their attempts at objective analysis are unconvincing. The boys remain too close to the narrative to see it clearly, their desire for objectivity driven not by science but by guilt.\nPractically, the boys' mental pictures of the girls are set against the actual photographs that they collect and classify as part of an ongoing archive of the girls' lives. These images serve as triggers for the boys' memories and as concrete witnesses to the past. Yet the boys', and the novel's, cataloguing of images is necessarily an incomplete project. Just as an image is always haunted by the stories beyond its borders, the boys' photographs of the Lisbon lives serve mainly to attest to the magnitude of what was not recorded. No finite number of artifacts can capture the depth and richness of human life and neither, by extension, can a limited memory. Furthermore, by describing images that the reader will never see, the boys hint at the deep privacy of their memories, acknowledging the existence of bounds which even the most empathetic reader will not be able to cross.\nThe word \"Suicide\" is mentioned in the book's title, and Mary's death is the subject of the first sentence. What is the effect of this narrative structure on the novel? How does it influence the reader's perception of events?\nThough the novel mentions Mary's death first, it is chronologically the last of the Lisbon suicides, occurring an excruciating month after Lux, Bonnie, and Therese's deaths. During that month, the community assumes Mary is as good as dead, and the reader, having been warned in advance, does as well. Thus, the narrative effect of mentioning the deaths early on is to create in the reader's mind a sense of doom that parallels that of the Lisbons' neighbors. The deaths take on a tragic inevitability, allowing both the reader and the neighbors to see the girls as victims of Fate rather than of suburban circumstance. As in a Greek tragedy, it seems as though the girls' actions can help them postpone but not avoid their destiny. Yet easily accepting this tragic sense prevents the reader from attempting to understand the reasons for the deaths by focusing only on the details. Likewise, the community's growing sense that the Lisbon girls are doomed frees them from examining their own responsibility for the suicides, or from asking how and why suburbia failed the Lisbon sisters.\nMore generally, the novel's title, The Virgin Suicides, locates the Lisbon deaths as the central point around which the narrative will revolve. Yet the title is self-consciously sensationalist, suggestive more of one of Ms. Perl's headlines and less of the somber reflections of the neighborhood boys. Its homogeneity and consensus belies the temporal and practical differences of the deaths. Put in other words, the effect of the novel's title is to tie the Lisbon suicides into a neat, presentable package, which the subsequent narrative will unravel.\nWhat is the effect of setting the novel in suburbia, the symbolic home of American middle-class happiness? How does the suburban landscape influence the story's events and narrative style?\nCompare and contrast Lux Lisbon and Trip Fontaine. What is the significance of their relationship? Why does it matter that Lux made love to Trip instead of one of the neighborhood boys who narrate the novel?\nAt the end of the book, the boys admit that they still do not understand the girls' deaths. How does this failure affect the novel? In what ways does the novel use the tropes of blindness and loss to explain their imperfect knowledge?\nThough the book purports to be about \"virgin\" suicides, Lux's encounters on the roof suggest otherwise. How does Lux's sexuality affect the reader's and the boys' perception of her character and that of her sisters? How does Lux's promiscuity affect the girls' suicides? How are the themes of sexuality, virginity, and death connected in the novel?\nAll five Lisbon girls and all the neighborhood boys are teenagers during the fateful year of the girls' suicides. How and why is adolescence important to the story? How are the physical and social changes of adolescence dealt with in the novel?\nCompare and contrast Lux and Cecilia, the two sisters about whom we know the most. What is the significance of comparing them? What do they represent? How is this reflected in the image that Peter Sissen sees of Lux's bra draped over Cecilia's crucifix?\nThe neighborhood boys are impressed with Trip's gentlemanly refusal to discuss the details of his erotic adventures. To what extent is love in the novel something that can be expressed? Compare and contrast Trip's love of Lux with the boys' own love affair with the Lisbon girls. Does the fact that Trip kept his mouth shut make his love any better or more real than the narrators' love, who divulge all they can?", "id": "<urn:uuid:7d8d3952-3a4b-443f-b23b-1083134feb1a>", "dump": "CC-MAIN-2013-48", "url": "http://www.sparknotes.com/lit/virginsuicides/study.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163037851/warc/CC-MAIN-20131204131717-00029-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9665100574493408, "token_count": 1650, "score": 3.6875, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nExploring Satire with Shrek\n|Grades||9 \u2013 12|\n|Estimated Time||Four 50-minute sessions|\nCharleston, South Carolina\nMATERIALS AND TECHNOLOGY\n- DVD or VHS copy of Shrek\n- Fairy tales for students to satirize (see Website section for suggestions)\n- Television, and DVD Player or VCR\nGrades 6 \u2013 12 | Student Interactive | Inquiry & Analysis\nStudents can map out the key literary elements of character, setting, conflict, and resolution as prewriting for their own fiction or as analysis of a text by another author in this secondary-level interactive.\nGrades 1 \u2013 12 | Student Interactive | Organizing & Summarizing\nThe Plot Diagram is an organizational tool focusing on a pyramid or triangular shape, which is used to map the events in a story. This mapping of plot structure allows readers and writers to visualize the key features of stories.\n- Additional Satirical Video Clips\n- Rubric for a Narrative Writing Piece\n- Common Elements of Fairy Tales (optional)\n- SurLaLune Fairy Tales\n- The Grimm Brothers\u2019 Children\u2019s and Household Tales\n- Open Directory Project: Fables and Fairy Tales\n- This lesson plan works well after an exploration of fairy tales; however, if students are already familiar with fairy tale traditions, their prior knowledge will be adequate for the lesson.\n- In this lesson, students write satirical versions of favorite fairy tales individually. The instruction below ask students to choose their own tales; however, depending upon resources and students, you can have students work in small groups, rather than individually. Additionally, you can narrow the fairy tales that students choose, bringing in 4 or 5 stories for students to choose among rather than having them select tales themselves.\n- In addition to choosing fairy tales from the Websites listed in the lesson, you can supplement the choices with children's books from the library.\n- Test the Literary Elements Map interactive and the Plot Diagram interactive on your computers to familiarize yourself with the tools and ensure that you have the Flash plug-in installed. You can download the plug-in from the technical support page.", "id": "<urn:uuid:7c05b453-8d17-4b4d-a1d7-699b41d7b402>", "dump": "CC-MAIN-2013-48", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/exploring-satire-with-shrek-810.html?tab=3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163811461/warc/CC-MAIN-20131204133011-00027-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8991842269897461, "token_count": 572, "score": 3.828125, "int_score": 4}
{"text": "You are never too old to set another goal or to dream a new dream.\nThere are whispers in corridors. Wanderings and wonderings. There are twists and bends. The unexpected, the predicted, the wonderous.\nSo too in learning. Yet knowledge is not something transferrable; it is not a commodity which can be absorbed. Knowledge as a commodity can only be exchanged \u2013 and this process does not include learning. Learning is a solitary process, it is up to the individual to learn or not.\nWhen it comes to digital literacies and engaging students in their learning process, I am a strong believer and practioner of digital story telling. Each student has the space to focus on his/her story, on what is valid, on what is valuable to him/herself and transferable to others, thus starting a conversation which may lead to further corridors of discovery and reflection.\nStories do not happen in a vacumm. There are contexts, hidden meanings, weavings of significance and questionings.\nTraditional school literacies have relied on printed text to transfer concepts. However, by blending multi-digital literacies (e.g. images, animation, music etc) and popular culture which engages learners (e.g. cartoons/comics), the learning process is centred on the learner. It is their creation, their process, their product.\nA photostory, for example, can demonstrate the\n\u201ctransformative power of reflecting on one\u2019s own autobiography, the compilation of a person\u2019s stories, in both words and images, to make sense of the often blurred mirror that simultaneously absorbs language learning and reflects identity construction.\u201d (Skinner & Hagood 2008)\nWhen Law and Kickmeier discuss Digital Educational Games, they touch upon a feature which is equally ingrained in storytelling:\n\u201cIn a DEG, adaptive and interactive digital storytelling serves two essential purposes: First, it strongly supports a personalized learning experience by adapting the game\u2019s story to individual preferences and by providing the possibility of explorative learning processes.\u201d\n\u201cThe major strengths of DEGs include  a high level of intrinsic motivation to play and to proceed in the game; clear goals and rules; a meaningful yet rich and appealing learning context; an engaging storyline with random elements of surprise; immediate feedback; a high level of interactivity, challenge and competition.\u201d\nIn every class, there are elements of competition among the peers and though one may not necessarily immediately perceive the competitive element in storytelling, it is there when learners share and read each others stories; there will be whispers, smiles and giggles; there will nodding in confirmation with the shared points of references and there will be that cutting edge to see who produced the best digital product with the least linguistic mistakes as well. Additionally, storytelling expresses the Individualization of learning experiences, adaptation to personal aims, needs, abilities thus giving learners a more enhanced sense of achievement.\nIn the field of education, there has been a strong emphasis on individualization and differentiation regarding students\u2019 learning process. There has also been the positive\ninfluence of Adrian Holliday\u2019s work and the voiced concern of linguistic imperialism in the field of English Language Teaching. Canagarajah (1999) defends that it is necessary to \u201cdevelop a grounded theory, in other words, a thinking on language, culture, and pedagogy that is motivated by the lived reality and everyday experience of periphery subjects.\u201d\nEchoing Canagarajah, Phillipson (1992) is clear when he explains that:\n\u201cThe belief that ELT is non-political serves to disconnect culture from structure. It assumes that educational concerns can be divorced from social, political, and economic realities. It exonerates the experts who hold the belief from concerning themselves with these dimensions. It encourages a technical approach to ELT, divorced even from wider educational issues. \u201c\nOne last feature I would like to point out is the relationship between oral, written, photographic and digital media. For many students who come from less privileged backgrounds, it is through the focus on their interests, their stories that their voices are shared. Digital storytelling is an inclusive approach when introduced in the classroom.\nWe are living in times beyond preparing students to perform diligently in an industrial age.\nEducation is no longer a process to shackle youth to their social condition.\nStorytelling is empowering.\nWhat whispers do you heed in digital storytelling?\nCanagarajah, A.S. 1999 , Resisting Linguistic Imperialism in English Teaching, OUP\nHolliday, A. 1994, Appropriate Methodology and Social Context, CUP\nLaw, E.L-C & M.Rust-Kickmeier, 80 Days: Immersive Digital Educational games with Adaptive Storytelling,\nSkinner, E.N. & M.C.Hagood, 2008, Developing Literate Identities with English Language Learners Through Digital Storytelling\nPhillipson, R. 1992, Linguistic Imperialism, OUP", "id": "<urn:uuid:6904b5fd-46b0-461d-8cb3-f09844bc7988>", "dump": "CC-MAIN-2013-48", "url": "http://dreamweavelearn.wordpress.com/2012/04/07/corridors-of-stories/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00026-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9334273934364319, "token_count": 1040, "score": 3.515625, "int_score": 4}
{"text": "Students often cite disengagement and disinterest in their education as two of the main factors in their decision to drop out of school. Many may not understand how classroom learning is relevant to the real world, or they may struggle with critical math or literacy skills and see no hope of catching up to their peers.\nUse of media and technology in and out of the classroom can help keep youth in school by increasing student engagement, connecting class work to potential career opportunities, and allowing students to learn at their own pace.\nA new teacher survey released by PBS Learning Media finds that teachers are embracing digital resources to propel student learning. Three-quarters of teachers surveyed link educational technology to a growing list of benefits, saying technology enables them to reinforce and expand on content (74%), to motivate students to learn (74%), and to respond to a variety of learning styles (73%). Seven in 10 teachers (69%) surveyed said educational technology allows them to \u201cdo much more than ever before\u201d for their students. Launch Infographic.\nAmerican Graduate: Let's Make it Happen is partnering with the Alliance for Excellent Education for Digital Learning Day on February 6, 2013. Digital Learning Day is a national campaign organized to support teachers and shine a spotlight on successful and effective use of technology in classrooms across the country. To help educators plan for their local Digital Learning Day activities and events, the Alliance for Excellent Education is offering Digital Learning: Lessons in Action. Lessons will incorporate multiple strategies with digital learning, such as collaboration, personalized learning, project-based learning, flipping the classroom, virtual access to experts, e-portfolios, bring your own device (BYOD), simulations, and real-time assessments.\nAmerican Graduate Classroom Resources presents the best of public media\u2019s interactive resources and educational projects for use with middle school and high school students, along with professional development videos for educators. The 800+ resources featured here are designed to bring educational content to life in engaging and innovative ways, and include games, activities, quizzes, quests, and other interactive experiences.\nMore Resources from Public Media Stations:\nQUEST - KQED STEM Teacher Resources. Explore science, nature and environment stories with this multimedia series.\nDO NOW - KQED Student participation activity to explore current issues using social media\nBUMP Beats curriculum - designed to immerse students in the techniques of modern computer-based music production.\nBAVC's Video Curriculum - designed to introduce the tools of media production and analysis through creative and socially relevant visual storytelling.", "id": "<urn:uuid:7ad32890-06e6-44b2-9d7e-d39088f2fcc5>", "dump": "CC-MAIN-2013-48", "url": "http://www.americangraduate.org/digital-learning-day", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00028-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.940850019454956, "token_count": 512, "score": 3.71875, "int_score": 4}
{"text": "Medical students have long used rhymes and songs to help them master vast quantities of information, and we\u2019ve just gotten fresh evidence of how effective this strategy can be. A young British doctor, Tapas Mukherjee of Glenfield Hospital in Leicester, was distressed by a survey showing that 55% of nurses and doctors at Glenfield were not following hospital guidelines on the management of asthma; 38% were not even aware that the guidelines existed.\nUsing his cell phone, Mukherjee recorded a video of himself singing immortal lines like \u201cAim for 94% to 98% sats now\u201d (a reference to the asthma patient\u2019s blood oxygen level). He posted the video to YouTube, and it went viral among the hospital staff. Two months after he released the video, Glenside conducted another survey and found that 100% of doctors and nurses were aware of the asthma-treatment guidelines and that compliance with the guidelines had increased markedly. Mukherjee reported the results at a meeting of the European Respiratory Society last week.\nAlthough Mukherjee\u2019s methods are modern, his approach is part of a long tradition of oral storytelling\u2014one that has shaped itself over thousands of years to the particular proclivities of the human brain. In his classic book Memory in Oral Traditions, cognitive scientist David Rubin notes, \u201cOral traditions depend on human memory for their preservation. If a tradition is to survive, it must be stored in one person\u2019s memory and be passed on to another person who is also capable of storing and retelling it. All this must occur over many generations \u2026 Oral traditions must, therefore, have developed forms of organization and strategies to decrease the changes that human memory imposes on the more casual transmission of verbal material.\u201d\nWhat are these strategies? Tales that last for many generations tend to describe concrete actions rather than abstract concepts. They use powerful visual images. They are sung or chanted. And they employ patterns of sound: alliteration, assonance, repetition and, most of all, rhyme. One of Rubin\u2019s experiments showed that when two words in a ballad are linked by rhyme, contemporary college students remember them better than nonrhyming words. Such universal characteristics of oral narratives are, in effect, mnemonics\u2014memory aids that people have developed over time \u201cto make use of the strengths and avoid the weaknesses of human memory,\u201d as Rubin puts it.\nSongs and rhymes can be used to remember all kinds of information. A study just published in the journal Memory and Cognition finds that adults learned a new language more effectively when they sang the words instead of spoke them. Even great literature is susceptible to this treatment. Book Tunes, a collaboration between educational entrepreneur Jonathan Sauer and hip-hop artist Andy Bernstein (he performs under the name Abdominal), turns long, wordy books into compact, catchy raps, spoken over an insistent beat.\n(MORE: Overpracticing Makes Perfect)\nThe duo\u2019s latest offering: a rap version of The Scarlet Letter, by Nathaniel Hawthorne. (\u201cHester\u2019s story is set in the Puritan settlement/ that was 17th century Boston, where she\u2019s being led/ from the town prison holding her baby daughter Pearl with an A on her chest/ for the world to see, which we quickly learn stands for adulterer \u2019cause turns out/ H is married \u2026 \u201d). Book Tunes\u2019 take on the tale of Hester Prynne is being offered jointly with SparkNotes, the study-aid provider owned by Barnes & Noble, which is said to be interested in raps of other classics like the plays of William Shakespeare.\nPurists aghast at the notion may need to be reminded that many of the world\u2019s greatest works of literature, such as The Odyssey and The Iliad, began as oral chants.\nThis article is from the Brilliant Report, a weekly newsletter written by Annie Murphy Paul.", "id": "<urn:uuid:1171f3d8-dc53-47e4-b0d4-3443c12e8c6d>", "dump": "CC-MAIN-2013-48", "url": "http://ideas.time.com/2013/09/17/need-to-remember-something-make-it-rhyme/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164722336/warc/CC-MAIN-20131204134522-00029-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9522773623466492, "token_count": 826, "score": 3.546875, "int_score": 4}
{"text": "Music and Jewish Prayer\nMusic in Jewish worship can be high art or popular song, by solo expression or with group participation.\nReprinted with permission from Entering Jewish Prayer (Schocken Books).\nMusic and ritual have been united since the most ancient times. Even storytelling was accompanied by music. The bards were musicians as well as tellers of tales. Certainly the psalms were songs as well as poems, as the headings of many of them indicate. The religions that sprang from Judaism have all used music and chant as part of the experience of worship, and there is every reason to assume that this was influenced by the practice of the parent religion. Over the centuries, music that accompanies worship has been developed into a high art.\nThe Talmud teaches that \"If one reads [Scripture] without chant or studies [Mishnah] without melody, of him is it written, 'I gave them laws that were not good' (Ezekiel 20:25).\" Melody adds not only to the beauty but even to the quality of the words. To this day, learning in traditional yeshivot is done to the accompaniment of a kind of singsong melody. The Torah is not read during the synagogue service; it is sung.\nCantillation of Biblical Texts\nThe chanting of the Torah follows notations which were applied by the classical tenth-century Masoretes (those who carefully preserved the text of the Torah). Each sign (trop--actually from a Greek word, tropos, meaning \"manner\") indicates a musical phrase. There are various melodies for this chanting, differing among the ethnic groups that make up the Jewish people, but there are similarities between them, and all of them help to clarify the way in which the Hebrew words are to be put together. They indicate where a phrase begins or ends, and actually aid in interpreting the meaning of the text.\nThese same signs are applied to all the books of the Bible, but they have different musical values depending on which book is being chanted: the Torah, the Prophets, or different books of the Writings. One must learn to read not only a particular sign but to know how it is sung when found in different texts.\nSince there was music in the Temple (the choir of Levites who sang the appropriate psalms accompanied by musical instruments), it is likely that this practice would have been taken over when psalms and other prayers came to be recited in synagogues.\nNusah: Musical Modes for Prayer\nIn regard to prayer itself, there are no musical notations in the printed Siddur, but there is a musical tradition called nusah which has been transmitted from generation to generation. Nusah refers to the musical motifs that are utilized in various combinations when chanting the prayers. The nusah sets a pattern for a particular service, much as a leitmotif does for a character in an opera.\nThese musical modes differentiate between one service and another. Weekday nusah has one set of tones, the Sabbath another, the holidays yet another, and the High Holy Days a completely different one. There is one tune for the Sabbath day and another for the conclusion of the Sabbath. These tunes reflect the mood of the time. We begin the Sabbath, for example, with exaltation and joy. We conclude with nostalgia and the sadness of parting. The melody creates the mood and reflects the appropriate feeling that should accompany the words. Here too the musical traditions differ from one ethnic division of Judaism to another and reflect the music of the place where each group lived.\nDid you like this article? MyJewishLearning is a not-for-profit organization.", "id": "<urn:uuid:2d7a5aed-5da3-4dab-a99b-6ee572dd7383>", "dump": "CC-MAIN-2013-48", "url": "http://myjewishlearning.com/practices/Ritual/Prayer/Prayer_Music_and_Liturgy/Music_and_Prayer.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163039773/warc/CC-MAIN-20131204131719-00030-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.965241014957428, "token_count": 754, "score": 3.65625, "int_score": 4}
{"text": "- Each school day begins with an intensive reading session of between 25-35 minutes. During this time pupils work towards achieving their individual reading targets. With guidance from tutors and English teachers, pupils select their reading books from our Reading Resource Centre.\n- Reading is also an integral part of every lesson and takes many varied forms.\n- Reading tasks are meaningful and, where possible, relevant to the interests of the students.\n- In addition to the Reading Resource Centre, there is also a well-stocked library at Frewen with a wide selection of both fiction and non-fiction texts. These are presented in both traditional book form and also as e-readers and interactive digital texts that are part of our e-library. Pupils are encouraged to borrow books from here and many pupils choose to use the library during their break-times.\n- We encourage pupils to read at home and provide opportunities for both staff and pupils to share their thoughts about books that they have read.\n- We encourage pupils to read independently with a variety of reward systems and regularly become involved in national reading challenges and initiatives.\n- Spelling is taught according to the needs of the student. The high frequency words identified in the National Literacy Strategy are tested and individual targets are set for each pupil. All pupils at KS3 build up personal spelling and vocabulary dictionaries which are also include subject specific vocabulary and key words.\n- Phonological awareness training (PAT) is undertaken on a daily basis for those pupils who require it.\n- Synthetic phonics underpins the teaching approach. This is differentiated using a variety of schemes. Phonemes and their grapheme choices remain a mainstay of the teaching of spelling and teachers present these by using the same picture cues for each sound ensuring continuity of approach as pupils progress within the English Department.\n- We encourage the use of dictionaries and spell check and have a variety of dyslexia specific strategies both within the classroom and also installed on our ICT network and intranet system.\n- Regardless of spelling age and ability, work is varied and age appropriate.\n- Communication is acknowledged as a crucial life skill.\n- Each pupil has the opportunity to gain experience of class, group, and paired discussion, open ended questioning and comprehension work.\n- GCSE English and Entry Level Certificate speaking and listening assessments, including role-play, are an integral part of the course.\n- ESB Speech exams are planned and taken in years 9 and 11.\n- Creative work is assisted by the use of novels, poetry, pictures, short stories, non fiction texts, extracts and discussion on a theme. These are presented in a multi-sensory way, including pictorial, live performances, talking books, e-books and pupil dramatisations as well as the more usual written forms.\n- When writing creatively, marking is modified to take into account the learning intention of the task. Drafting and re-drafting are important skills in this area and copies are kept to show progression. A variety of supportive approaches are used to scaffold this process. Writing frames help pupils to structure their work. Dictaphones are provided where appropriate and a variety of new technology is constantly being appraised to find the most effective methods for our pupils to convert their ideas into written form. Voice recognition software maybe suitable for some of our older pupils.\n- Computers can be used for best copy.\n- Evidence of the following elements of creative writing may be annotated on pieces of work where limited literacy skills result in an end product that may not reflect a pupils underlying abilities.\n- expression of sustained ideas\n- effective description\n- imaginative thought\n- plot development\n- Writing for different purposes, as outlined in the National Literacy Strategy, includes letter/postcard writing (formal and informal), form filling, reports, directions, order forms and other kinds of writing for a variety of audiences. Again, these are scaffolded to suit individual learning styles such as the provision of writing frames, real life experiences to make the writing meaningful and drawing on pupils\u2019 personal experiences and interests.\n- Factual writing at Frewen has strong cross-curricular links with our KS4 BTEC, Careers and Life Skills courses. Further down the school we also make strong links and support work with humanities topics to ensure pupils are more able to transfer their skills from one curriculum area to another.\n- Discursive writing is modelled through debate and discussion. These are often set in meaningful contexts such as the school council, or focussed tasks such as a recent KS4 activity where pupils traded stocks and shares and justified decisions in a mock stock market situation.\n- Reviews of books, websites, theatre shows, films and other media form an important part of factual writing at Frewen. Pupils are encouraged to be critical and to back up opinion with evidence from a variety of source materials.\n- Weekly comprehension work is undertaken using individual reading books, group and class texts. Work is very carefully differentiated to encourage pupils to gain independent work skills during these kinds of tasks.\n- Cross-curricular links are established to ensure that keywords and subject specific vocabulary is consolidated wherever possible. All pupils at KS3 build up an individual spelling and vocabulary dictionary to ensure that knowledge and understanding is effectively transferred from one curriculum area to another.\n- Discussion methods and open-ended questioning is used to improve logical thought and structure in answers.\n- Texts are carefully selected which are age appropriate, reading age appropriate and interesting, taking into consideration the interests of the students.\n- Vocabulary is expanded by use of dictionaries, thesaurus, spell check and computer programmes.\n- Keywords are consolidated in a variety of ways including pre-cueing techniques to ensure better understanding later on.\n- Basic grammar is taught and related to the student\u2019s own work. Individual targets are set on pupils\u2019 IEPs.\n- Use of capital letters, full stops, sentences and paragraphs are consolidated on many levels.\n- Adjectives and adverbs should be used to build more complex sentence structures and are taught through teacher modelling with pupil interaction and multi-sensory consolidation.\n- For GCSE and Entry Level Certificate coursework a basic level of grammar should be expected.\n- Presentation of work is important. Neatness is expected and where possible, developed using a cursive hand.\n- A handwriting scheme is used to support the teaching of handwriting. Pupils work at their own individual levels and additional support in provided by our Occupational Therapist. Where appropriate, recommendations by our therapists are followed up in class.\n- If a student has a neat non-cursive style, there is no need to change.\n- Work can be word-processed and touch-typing is taught and encouraged at Frewen if a student has the ability.", "id": "<urn:uuid:c69058e8-25dc-4999-a3d8-811195e67c83>", "dump": "CC-MAIN-2013-48", "url": "http://www.frewencollege.co.uk/page/?title=English+Curriculum&pid=67", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163906438/warc/CC-MAIN-20131204133146-00030-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9496719241142273, "token_count": 1411, "score": 3.859375, "int_score": 4}
{"text": "Reading 4: FOURTH GRADE READING AND ENGLISH LANGUAGE ARTS Reading and English Language Arts Fourth grade students will develop as readers and writers who are independent, self-directed and critical thinkers who take responsibility for their learning, connect new information to existing knowledge, develop habits of learning and work with others to use information. Students will learn to critically analyze and evaluate what they read, create effective oral, written and multimedia communication in a variety of forms and contexts, access and integrate information using a variety of media sources, and use listening as a reading strategy. Each of these strategies is to be applied in the content areas. At this level, students are provided with a variety of opportunities to interact with a wide range of literary and informational forms and 21st century skills, building the foundation for lifelong reading. The West Virginia Standards for 21st Century Learning include the following components: 21st Century Content Standards and Objectives and 21st Century Learning Skills and Technology Tools. All West Virginia teachers are responsible for classroom instruction that integrates learning skills, technology tools and content standards and objectives. Grade 4 Reading Standard 1: RLA.S.4.1 Students will apply reading skills and strategies to inform, to perform a task and to read for literacy experience by \u00b7 identifying and using grade appropriate essential reading components (phonemic awareness, phonics, vocabulary, fluency, comprehension, written application) and \u00b7 selecting a wide variety of literature and diverse media to develop independence as readers. RLA.O.4.1.01 Students will identify and practice appropriate vocabulary: \u00b7 multiple meaning words; synonyms; antonyms; homonyms; content area vocabulary and using context clues RLA.O.4.1.02 Students will apply structural analysis including etymology and context clues to decode and encode words. RLA.O.4.1.03 use pre-reading strategies to comprehend text (e.g., activating prior knowledge, predictions, questioning). RLA.O.4.1.04 apply and generate tiered levels of vocabulary in speaking and reading experiences. RLA.O.4.1.05 read fluently with appropriate rate, accuracy and prosody. RLA.O.4.1.06 examine meaning clues to aid comprehension of content across the curriculum (e.g., pictures, picture captions, titles, headings, text structure, topic). RLA.O.4.1.07 read fourth grade instructional level texts and use self-correction strategies (e.g., decoding, searching for cues, rereading). RLA.O.4.1.08 interpret and extend the ideas in literary and informational texts to summarize, determine story elements, skim and scan, determine cause and effect, compare and contrast, visualize, paraphrase, infer, sequence, determine fact and opinion, draw conclusions, analyze characterize and provide main idea and support details. RLA.O.4.1.09 determine the author\u2019s purpose in literary and informational texts and use supporting material to justify author\u2019s intent: to persuade; to entertain; to inform; to determine a specific viewpoint RLA.O.4.1.10 compare and contrast self to text in making connections to characters or simple events in a literary work to own life and other cultures (e.g. events, characters, conflicts, themes). RLA.O.4.1.11 distinguish between the ways in which language is used in literary texts: simile, metaphor, idioms, analogies and puns RLA.O.4.1.12 recognize and explain the defining characteristics of genre in literary and informational texts: fairy tales, folk tales, myths, poems, fables, fantasies, biographies, short stories, novels, plays, legends,\u00b7 autobiographies, magazines, newspapers, textbooks, essays, speeches, electronic databases, reference materials, RLA.O.4.1.13 judge the reliability or logic of informational texts. RLA.O.4.1.14 select and use a variety of sources to gather information (e.g., dictionaries, encyclopedias, newspapers, informational texts, electronic resources). RLA.O.4.1.15 use graphic organizers and visualization techniques to interpret information (e.g., charts, graphs, diagrams, non-verbal symbols). RLA.O.4.1.16 use reading skills and strategies to understand a variety of information resources to support literacy learning (e.g., written directions, captions, electronic resources, labels, information texts). RLA.O.4.1.17 increase the amount of independent reading to build background knowledge, expand vocabulary and comprehend literary and informational text. Grade 4 Standard 2 Writing RLA.S.4.2 Students will apply writing skills and strategies to communicate effectively for different purposes by using the writing process, applying grammatical and mechanical properties in writing and selecting and evaluating information for research purposes. RLA.O.4.2.01 demonstrate proper manuscript and cursive writing techniques: legibility, uniformity in all written work RLA.O.4.2.02 develop and apply the proper structure for simple and compound sentences. RLA.O.4.2.03 identify and produce a sentence with proper word choice to include: verb tense, verb usage, subject/verb agreement, pronoun usage, adjectives and adverbs, RLA.O.4.2.04 compose a written composition from a prompt using the writing process in a timed and un-timed setting. RLA.O.4.2.05 develop proper form in written composition: \u00b7 beginning-middle-end, indentation, topic sentence, introductory and concluding paragraphs, \u00b7 related details, related and cohesive paragraphs, transitional and descriptive words RLA.O.4.2.06 write to persuade using order of importance, classifying differences and similarities, classifying advantages and disadvantages. RLA.O.4.2.07 develop a composition that demonstrates an awareness of the intended audience using appropriate language, content and form. RLA.O.4.2.08 create an effective response to a task in form, content and language (e.g., letters, poems, brief reports or descriptions, instructions, journals). RLA.O.4.2.09 use editing strategies to correct errors in sentence structure (fragments and run-on sentences), capitalization, punctuation and grammar. RLA.O.4.2.10 identify and apply conventions of spelling in written composition (e.g., spell commonly misspelled words from appropriate grade level lists, use syllable constructions to spell words, use vowel combinations for correct spelling, use affixes). RLA.O.4.2.11 use reference skills to identify words. RLA.O.4.2.12 use strategies to gather and record information for research topics: note taking, summarizing, paraphrasing, describing in narrative form, gathering information from direct quotes, maps, charts, graphs and tables RLA.O.4.2.13 select and use a variety of sources to gather information (e.g., dictionaries, encyclopedias, newspapers, informational texts, electronic resources). RLA.O.4.2.14 use strategies to compile information into written reports or summaries (e.g., incorporate notes into a finished product, include simple facts-details-explanations-examples, draw conclusions from relationships and patterns that emerge from data of different sources, use appropriate visual aids and media). RLA.O.4.2.15 critically evaluate own and others\u2019 written compositions. Grade 4 Standard 3 Listening, Speaking and Media Literacy RLA.S.4.3 Students will apply listening, speaking and media literacy skills and strategies to communicate with a variety of audiences and for different purposes RLA.O.4.3.01 listen and respond to different literary forms and speakers (e.g., summarize and paraphrase to confirm understanding, recount personal experiences, listen to information and exhibit comprehension, provide reasons in support of opinions, respond to others\u2019 ideas). RLA.O.4.3.02 distinguish a variety of messages conveyed through visual media (e.g., internet, database, email, electronic resources, online research). RLA.O.4.3.03 recognize communication skills (e.g., speaking rate, audience, etiquette, active listening). RLA.O.4.3.04 create an age appropriate media literacy product that reflects understanding of format, characteristics and purpose.", "id": "<urn:uuid:1b94dad4-2b69-4650-9abf-dd6d5084d4fa>", "dump": "CC-MAIN-2017-17", "url": "http://brainiacsof402.weebly.com/west-virginia-next-generation-standards.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121528.59/warc/CC-MAIN-20170423031201-00580-ip-10-145-167-34.ec2.internal.warc.gz", "language": "en", "language_score": 0.8320585489273071, "token_count": 1761, "score": 4.0, "int_score": 4}
{"text": "In Kabuki theatre, wooden clappers whose beats accompany a mie pose at a particularly intense or profound moment.\nIn Kabuki theatre, a sudden, striking pose (with eyes crossed, chin sharply turned, and the big toe pointed toward the sky) at a particularly intense or profound moment; accompanied by several beats of wooden clappers, the Ki.\nAn encyclopedia of classical Indian dramatic theory and practice, written ca. 200 BCE-200 CE. Teaches actors dancing and stage gestures; also covers costume design, plot construction, music, and poetry.\nMen who play female roles in Kabuki theatre. See also Kabuki.\nJapanese puppet theatre with large wooden puppets with many movable parts, onstage puppeteers dressed in black, and a narrator who chants the script.\nA popular, robust, and spectacular version of the Japanese Noh theatre. The name comes from the characters for \"song\" (ka), \"dance,\" (bu), and \"skill\" (ki). See also Noh.\n\"Story play\"; a form of Indian folk drama begun in the second century CE and based on the Hindu epic poems Ramayana and Mahabharata.\nA form of traditional Japanese drama combining poetry, acting, singing, and dancing that was developed during the 1300s. Compare Kabuki.\nTheatre that does not have its origins in ancient Greece; includes the ancient ritual theatre of Africa, traditional theatre of Asia, and Islamic shadow and puppet theatres.\nIn the Peking opera, supernatural beings, warriors, bandits, and other stock characters whose makeup used elaborate geometrical designs and colors that symbolized character traits: red for loyalty, blue for vigor and courage, yellow for intelligence, black for honesty, and brown for stubbornness.\nA synthesis of music, dance, acting, and acrobatics first performed in the 1700s in China by strolling players in markets, temples, courtyards, and the streets. Known in China as the opera of the capital,\" or ching-hsi, it was founded by Qing dynasty Emperor Ch'ien-lung (1736-1795).\nprecolonial African theatre\nIndigenous African theatre that grew out of ritual and predates contact with Europeans. A combination of ritual, ceremony, and drama, it incorporates acting, music, storytelling, poetry, and dance; the costumed actors often wear masks. Audience participation is common.\nThe middle stage of theatre's evolution from rituals; the theatrical techniques of song, dance, and characterization were used, but the performances' purpose was that of rituals.\nOne of the earliest forms of theatre in India, performed in Sanskrit by professional touring companies on special occasions in temples, palaces, or temporary theatres.\nA form of theatre created by lighting two-dimensional figures and casting their shadows on a screen. Probably originated in China around 100 BCE and later became popular in Islamic lands, where people were prohibited from playing characters.\nA form of postcolonial theatre in Africa that mixed traditional African ritual theatre and Westernstyle drama; appeared during the 1960s after African nations won their independence from European rule.\nDrama that grew out of the theatre of Thespis in ancient Greece around 500 BCE. It passed from the Athenians to the Romans to the medieval Europeans and then to North America.", "id": "<urn:uuid:a5b90e59-215a-4437-a7b0-44fd7897c7dd>", "dump": "CC-MAIN-2013-48", "url": "http://quizlet.com/3775268/chapter-11-flash-cards/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163976781/warc/CC-MAIN-20131204133256-00030-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9470670223236084, "token_count": 680, "score": 3.546875, "int_score": 4}
{"text": "MFL Secondary resource collections index\nRachel Hawkes\u2019 TES Collections - Secondary Modern foreign language resources\n- The Olympic games provide an excellent opportunity to enhance the interest and appeal of language learning. Having a powerful, expansive context in which to situate many themes that are not usually inter-related in the languages curriculum is very welcome.\n- Games are motivating and useful, particularly for 5 minute slots at the beginning or end (or middle) or a lesson, but they can also be time-consuming to make and difficult to think up the night before a lesson. It is also easy to get stuck in a rut with a couple of game formats that you already have up your sleeve. Here is a bank of game ideas - most are templates that can be easily customised to suit different languages, ability levels and key stages.\n- It is widely accepted that speaking is both the most under-developed skill in language learners, and also the skill most closely related to motivation. This collection brings together for French, German and Spanish at KS3, 4, and 5 a number of tried and tested strategies and resources that really work to promote both unplanned/spontaneous and planned talk in the classroom.\n- Music and song can be an invaluable tool in language learning. Familiar tunes can be re-purposed to aid the memorisation of key structures and vocabulary; raps can be written and performed to develop creative writing skills, embed grammatical knowledge and improve pronunciation and speed of spoken target language production, and songs can be listened and responded to to develop comprehension skills and enhance cultural appreciation. This collection offers a wide selection of resources where songs are successfully exploited for all of these learning aims.\n- French, German and Spanish revision aids for GCSE.\n- Using film in language learning is an excellent way to generate motivation, develop listening skills, encourage creativity and add authenticity and culture to lessons. Here is a selection of excellent resources that exploit foreign film for learners of different languages and at different levels.\n- Resources to help improve memory.\n- For all languages, French, German and Spanish.\n- It is once again important for success at GCSE that students are able to look up and use accurately new language by themselves. This, together with the new secondary curriculum focus on creativity and using language in new contexts and for new purposes, has increased the need for teachers to help learners to develop dictionary and reference skills from the outset. This collection includes some of the best resources for developing dictionary skills with KS3 learners.\n- This is a collection of ideas not connected with typical textbook topics. Some of the ideas are projects and would extend over several lessons and others are one-off lessons. All have a cultural focus of some kind and would be therefore likely to be motivating for students.\n- This collection of resources is a bank of both collections of teaching and learning ideas for the classroom, as well as some very useful \u2018how to\u2019 guides for teachers. Enjoy!\n- Whilst there are many ways to teach grammar and many opinions about how best to teach it, the vast majority of languages teachers believe that students need a knowledge of structure if they are to make good progress and be able to say/write what they want to in the language they are learning. With that in mind, this collection of teacher resources focuses on grammar teaching and grammar practice. Often the most time-consuming of resources to create, I hope this collection will give teachers inspiration and save them time!", "id": "<urn:uuid:b3ca6fc2-7086-46e5-adeb-5e06ac170ea6>", "dump": "CC-MAIN-2013-48", "url": "http://www.tes.co.uk/article.aspx?storyCode=6067969", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164014919/warc/CC-MAIN-20131204133334-00032-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.952938437461853, "token_count": 705, "score": 3.953125, "int_score": 4}
{"text": "Coast Salish Villages\nof Puget Sound\nOn this page is a map of the known permanent village sites (c.1800) of the Coast Salish people who lived--and still live--in the Puget Sound area of Washington State. If you are interested in a particular group or area of the Sound click on the appropriate section of the small black and white map to the left. Then, a color map of the area you choose will download. It is only from these larger scale (smaller area) maps that you are able to access information about each of the villages.\n(The maps are not at all designed to pinpoint locations, which might result in unlawful vandalism or destruction of the sites, but rather to provide a context for imagining both where and how the Coast Salish people lived on this land.)\n* * * * *\nThese people inhabited an incredibly bountiful and mostly heavily-forested area, interspersed with myriad waterways. They shared a similar life-style oriented towards fishing, hunting and gathering, as well as creating the implements necessary to engage in these activities. Salmon was the most important food. The dugout canoe was the primary means of transport. A typical village was located adjacent to navigable water and composed of a small number of large cedar-planked longhouses--each giving shelter to thirty, forty, or more, usually related individuals. In some cases, all of the longhouses of a village were located right next to each other. In other cases, houses considered part of the same village might be strung out for miles along a river.\nInside the longhouse, along the walls, sleeping platforms were constructed. Woven reed mats were piled for mattresses and cushions, animal skins for covers. These would be removed during the day so the platform could be used for seating. Above the platforms were storage shelves holding baskets, tools, clothing, etc.; firewood was often stored below. Dried food hung from the ceiling above the earthen floor, which could be used as a work area or cleared for gatherings. In the larger houses each family would have a fire and partitions made of mats would separate the family compartments. Roof slats could be adjusted to let smoke out and light in.\nThe people took their principal identity from these permanent villages where they lived during the rainy winter months. (During the rest of the year variously composed bands would migrate among traditional camps at resource-rich areas, usually mingling with people from other, sometimes faraway, villages.) Strength of \"tribal\" affiliation varied among groups and probably throughout time, depending on whether there was a need requiring organized action. Although I have used currently accepted tribal designations in the village descriptions, some would consider them to be vast oversimplifications, or even largely artificial constructs, made for the sake of convenience by the early white settlers and perpetuated ever since.\nThe period around 1800 was one of flux. Settlers had not yet arrived in this area but their diseases had. Vulnerable coastal villages were already being decimated. Some coastal groups were re-consolidating in more favorable locations. Some riverine people were moving to occupy depopulated villages along the coast. So, although most all of the village sites described herein were of long-standing, their composition may have been of more recent origin. And memories of other settlements have not only long been lost, but doubtless were never recorded. This assumption led me to be generous the handful of times I had to decide whether or not a questionable site should be included on the map.\nBase map used with written permission, based on landform map \"Puget Sound Region, Washington\", copyright D Molenaar, 1987\nThe base map on which both the village and storytelling sites are plotted represents the way this area appeared before the arrival of settlers in the early 1800s. This was achieved by removing from a beautifully rendered shaded-relief map (provided by Molenaar Pictorial Maps), all--that could be identified--of the contemporary roads, cities, dams, fills and clearings, and then restoring a number of rivers to their original beds and Lake Washington to its pre-1916 level. It was a process akin to acting like a virtual Corps of Engineers in reverse.\nI would like to acknowledge my debt to David M. Buerge for his inspiring description of Seattle-area Duwamish villages, particularly those on Lake Washington. And I am very grateful for the continuing guidance and assistance of Dr. Jay Miller, anthropologist, linguist and author, who has generously reviewed and edited the village descriptions.\nDo you have advice? criticism? praise? questions? Please contact me:\nMy e-mail address is firstname.lastname@example.org. Thanks.", "id": "<urn:uuid:64592e9e-c474-46a0-9e35-13d5c87dc02b>", "dump": "CC-MAIN-2013-48", "url": "http://coastsalishmap.org/start_page.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164004837/warc/CC-MAIN-20131204133324-00033-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9778255224227905, "token_count": 979, "score": 3.65625, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nInvestigating Genre: The Case of the Classic Detective Story\n|Grades||9 \u2013 12|\n|Lesson Plan Type||Standard Lesson|\n|Estimated Time||Three 50-minute sessions, plus additional time for reading, listening to, or viewing a mystery.|\n- explore the concept of genre and generate a list of conventions for a given genre.\n- critique a list of genre conventions to reveal the social norms behind them.\n- generate a list of genre conventions with awareness of the social norms that inform them.\n- compose a text that responds to a list of genre conventions.\n- reflect on their text and the ways in which it adheres to and deviates from genre conventions for effect.\n- After reading, viewing, or listening to a mystery such as The Hound of the Baskervilles, ask students to write down all the ways they knew the story was a mystery.\n- Have students share some of the features or characteristics they listed. Record the examples on the board, a projector, or a piece of chart paper.\n- Review with students the concept of genre, making sure that that students have an acceptable grasp\u2014both in terms of its rigidity (guidelines that examples within a genre tend to follow or characteristics that they tend to share) and flexibility (rarely does an example follow all guidelines).\n- Share with students some background on the subgenre of traditional detective fiction, the genre they have been describing, and the essay \"The Mystery Genre\" which is part of the Masterpiece Teacher's guide before projecting the \u201cTen Commandments of Detective Fiction\u201d from Ronald Knox, a British mystery writer active in the 1920s.\n- Read over the commandments with students, clarifying any unfamiliar words or\nconcepts. Ask them to share their responses regarding the validity or applicability of Knox\u2019s rules. Students will inevitably, and rightly, be surprised and offended at the fifth commandment. Use his racist comment to begin a conversation about genre as a construction of a certain period and set of beliefs, not something that is rigid and unchangeable.\n- Elicit from students ways in which The Hound of the Baskervilles follows and does not follow the guidelines Knox suggested, reinforcing the understanding that genre conventions are not completely rigid.\n- Then, using Knox\u2019s Genre Commandments as an example, work with students to\ngenerate an updated list of rules for a \u201ctraditional mystery\u201d that suits the realities of the present day. For example, students might think about ways technology and social networking should and should not be allowed to function in a mystery.\n- Record students\u2019 ideas on the board, a projector, or a piece of chart paper. Ask students to think about this list\u2014including anything they would want to change or add\u2014for the next session.\n- Begin the session by reviewing the list of genre conventions for a contemporary mystery that the class generated in the previous session. Ask if students have any additional ideas they want to share.\n- Facilitate a vote to select ten genre conventions that will be the focus for the\ncreative writing portion of the lesson.\n- Have students copy down the ten agreed-upon conventions so they can refer to them as they work. Assure students that they do not need to agree with every characteristic, since the notion of genre is flexible and they will have the opportunity to bend and play with characteristics in their own original writing.\n- Share with students that they will be getting the opportunity to write their own mystery, using the conventions as a guide.\n- If you wish, provide students with the list of Genre-Defining Sentences from a recent film adaptation of The Hound of the Baskervilles that they can use as story starters or incorporate throughout their story.\n- Challenge students to be aware of when they are purposefully using a genre convention (from the list of conventions the class generated, Traditional Detective Fiction \u201cCommandments\u201d, or the Genre-Defining Sentences handout) to make their story function as a mystery\u2014or when they are breaking, altering, or bending a convention to make their story fresh and new.\n- Consider letting students use the Mystery Cube or provide the Mystery Cube planning sheet to help students as they plan and write their mystery.\n- Determine with students a date for a future session when students will share their mysteries with a small group of peers. On the determined date, students should bring three copies of their completed mystery.\n- After students have had time to write their mysteries, select\u2014or have students select\u2014groups of three for sharing their writing.\n- Distribute the Original Mystery Peer Feedback Guide and explain to students that they will use this handout to record some comments that they will eventually share with their peers. Each student will give copies of his or her mystery to the others in the group. The author will read his or her mystery as peers follow along, stopping occasionally to record comments they wish to offer.\n- After all three group members have read, students should take turns offering their comments. They should use the space a the bottom of the guide to record ideas they have for their own writing now that they have listened to and commented on two other mysteries.\n- Ask students to make any revisions or additions they feel are appropriate based on the comments from their peers.\n- Have students write a reflective piece that highlights the intentions behind their\nmystery\u2019s adherence to and deviation from the expectations for the genre.\n- After students write and share their updated mysteries, have students view the new interpretation of Sherlock Holmes set in modern London and utilizing tools such as the Internet and cell phones (PBS Masterpiece, fall 2010).\n- After investigating the subgenre of classic detective fiction, allow students to choose another subgenre within mystery\u2014or another genre entirely\u2014to explore.\n- Students can record their mysteries, add music and sound effects, and publish them as podcasts on a school website.\n- Focusing more on students\u2019 reflective writing that the mystery itself, look for evidence of students\u2019 blind adherence to genre standards or capricious or ineffective deviation from them and provide appropriate corrective feedback on their drafts. Also look for evidence of thoughtful use of the conventions to make the story identifiable as and function as a mystery and justifiable deviations that enhance the effectiveness of their", "id": "<urn:uuid:67634cbc-236e-40cc-8734-7197a36c8b3d>", "dump": "CC-MAIN-2013-48", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/investigating-genre-case-classic-30596.html?tab=4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053883/warc/CC-MAIN-20131204131733-00032-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9348341822624207, "token_count": 1428, "score": 4.03125, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nCreative Writing in the Natural World: A Framing\n|Grades||4 \u2013 8|\n|Lesson Plan Type||Minilesson|\n|Estimated Time||Two 50-minute sessions|\n- freewrite about a specific place that is framed by their piece of paper using imaginative and literal observations.\n- identify nouns in their writing that they would like to focus on and develop further.\n- write using specific sensory imagery and figurative language in order to accurately describe their framed \u201cworlds.\u201d\n- Ask students to get out a loose piece of paper.\n- Have them fold it in half at least once and tear or cut out the center. (Some students may want to fold it more than once in order to create an unusual shape. That\u2019s okay.) The goal is to be left with a piece of paper with a hole in the middle of it like a frame. The frame can be of any shape or size.\n- Explain that you will be taking the class outdoors and that each student will find a spot to place his or her frame. Also explain that students will pretend that what is inside the frame is the entire world, the only thing students will focus on. In their notebooks, students will freewrite about what they find in their frames. Encourage students to use their imaginations. Perhaps they\u2019ll find a bug and write about it as a giant dinosaur or a talking creature. However they proceed, students should write as freely as possible to get as much detailed information down about their framed \u201cworlds\u201d as they can.\n- Once students have found a place outdoors for their frames, give them ten to fifteen minutes to freewrite.\n- Back inside the classroom, ask students to remind you what a noun is. Ask them why nouns are important in writing. How do they function in a sentence, for example? (One answer is that nouns help us know who or what a sentence is about. They are they focus, and they help us visualize ideas as we talk or write about them in any genre.)\n- Have them read over their freewriting and underline three to five nouns that they would like to focus on.\n- Collect students' freewriting to be returned in the next session.\n- Return students' freewriting from the previous session where they had finished by underlining three to five nouns to focus on.\n- Ask students to list their five senses. Ask for a volunteer or two to provide one of their nouns. Use these to practice developing these nouns into fully described sensory experiences. Help students describe them using all five senses. Encourage imaginative leaps so students understand that their descriptions don\u2019t have to be literal.\n- At this point, discuss the difference between literal and figurative language, and explain that the goal is for students to describe their nouns using sensory detail and figurative language. Show students the Literal vs. Figurative Language Guide overhead or give them the handout. If the students were to write literal descriptions of their framed \u201cworlds,\u201d for example, they will simply write exactly what is in their frames (Grass looks green; sand feels rough; grasshoppers make a high pitched noise, etc.), but if they write figuratively, they will use their imaginations to describe their observations. This might include using similes, metaphors, hyperbole, and personification. For example, the grass looks like spiky green hair; sand is solid water; grasshoppers are fiddlers who play their legs, etc.\n- Using the Flip Book Student Interactive, have students create a page for each of the three to five nouns they underlined. (Each student should complete at least three pages.) On each page, they will develop these nouns by adding sensory-rich, figurative descriptions of them in paragraph or poetry form. The goal is to describe each noun using as many of the five senses and as much figurative language as possible. Encourage students to be imaginative for this process. What might an ant sound like? How might a rock smell?\n- Students may need to finish their Flip Books outside of class, or you might reserve some class time tomorrow to finish these up.\n- Give students the opportunity to share their finished pieces with the class.\n- Encourage students to develop their flip book pages further by illustrating them.\n- Students might also use an additional page in their flip books to create a piece of writing such as a short story, poem, or reflection about the natural world. Encourage them to find connections between the nouns in their list. How might that list become one piece of writing instead of three to five separate pieces?\n- Discuss ways students can use these writing techniques to improve other writing that they are doing. You might ask students to review one of their past writing assignments and underline places where they might add detail or figurative language in order to develop their ideas.\nAs long as students participate fully in the freewriting activity and complete at least three pages on their Flip Books, they should receive full credit for this activity. If you would like to turn the Flip Book into a graded assignment, you might require that each page include at least three sensory images and one instance of figurative language. Students might also earn credit by reading one of their pages aloud in front of the class.", "id": "<urn:uuid:8cf98c0c-e0b8-4ae1-bab9-f1a8b60aaa2b>", "dump": "CC-MAIN-2013-48", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/creative-writing-natural-world-30607.html?tab=4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00034-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9602940082550049, "token_count": 1236, "score": 4.125, "int_score": 4}
{"text": "Students begin working with descriptive language during their elementary years, so high school activities dealing with descriptions must demand a higher level of thought. Instead of relying on simple adjectives that only describe the obvious senses, students must identify and write complex descriptions that incorporate all five senses. Work with familiar objects and events to help your students relate to and analyze the subject more easily.\nGive each student a piece of chocolate or other small morsel of food, instructing your class not to eat the food yet. Guide your students in describing the sample using all five senses, beginning with sight before working up to taste. Students may include a few simple adjectives but should also describe the food in more complex ways. For example, students might draw comparisons between the sample and unrelated objects. For sound, students must describe how the food sounds when being unwrapped, broken or otherwise handled. Students must describe taste last, at which point they can eat the food.\nPass a photograph or other picture around the class. Choose a picture with a subject that most students can relate to, such as a family gathering or school event. Instruct students to describe the setting of the photograph using all five senses. At the high school level, students must use complex descriptions instead of simple adjectives. For instance, instead of saying that a person in the photograph sitting near a fireplace feels \"hot,\" students might describe the sensation of the sweat likely beading on the individual's skin.\nHelp students understand the difference between weak and strong descriptive language through identification. Pass out samples of prose containing multiple examples of sensory descriptions. Instruct students to read through the samples several times, underlining or highlighting descriptions that use one of the five senses as they go along. Afterward, ask students to take several examples from the text and identify whether the language is simple and weak or vivid and strong.\nIdentifying Objects by Description\nPromote the importance of strong descriptive language by challenging your high school students to identify an unknown object based entirely on its description. Give students two descriptions of the same object. One description should use very little detail, only relying on basic adjectives to describe the object. The second example should use vivid, complex descriptions that make use of all five senses. Ideally, students will identify the object more easily from the second description than the first.\nOne Sense at a Time\nFocus your lesson on descriptive language by instructing students to practice writing about the senses one at a time. Instruct students to write a short poem or block of prose describing the sights involved with a memorable event, such as a favorite family vacation. After they complete that assignment, instruct students to describe the same event by describing the sounds involved. Continuing assigning writing exercises based on the same event until students finish writing about a smell, taste and touch associated with the event, as well.\n- Alabama Learning Exchange: Hershey Kiss Descriptive Essay\n- Kentucky Department of Education - Jefferson Schools: Teaching Students to Write and Read Poetry\n- Yale-New Haven Teachers Institute: Elements of the Short Story\n- Warren Wilson College: Creative Writing Prompts\n- Lesson Tutor: Using Senses of Sensible Writing\n- Photo Credit Hemera Technologies/AbleStock.com/Getty Images", "id": "<urn:uuid:2098bb1b-c8bb-444e-97de-7f5b28d57bfe>", "dump": "CC-MAIN-2013-48", "url": "http://www.ehow.com/info_12168105_high-school-activities-descriptive-language-using-five-senses.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163811461/warc/CC-MAIN-20131204133011-00031-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9284666180610657, "token_count": 652, "score": 4.15625, "int_score": 4}
{"text": "Meade School District\n\u201cTo Build Knowledge and Skills for Success Today and Tomorrow\u201d\nSixth Grade Reading\nMeade School District provides students with a comprehensive, integrated, standards-based language\narts program. Learners are actively involved in authentic and meaningful reading, writing, speaking and\nlistening experiences. Students are provided with research-based learning strategies to become effective\nand efficient communicators.\nRead at increasing levels of complexity for a variety of purposes.\nEvaluate literary elements within various texts.\nInterpret and respond to a diversity of works representative of a variety of cultures and time\nAccess and evaluate information from a variety of sources.\nRecognize and analyze words to improve reading.\nComprehend their reading material with 80% accuracy.\nUse appropriate listening and viewing skills.\nMeet their individual AR goals.\nRead using appropriate reading strategies.\nExpress themselves and participate in discussion.\nLearn to summarize information from the text.\nMajor Course Projects:\nQuality grade level literature books (novels)\nUse of the new language arts text book\nLetter grades for the course are based on the guidelines outlined below.\nStudent evaluation will be based on:\nCompletion of daily assignments\nCompletion of required projects\nAttainment of a minimum 80% average on tests\nAdvanced A 98 - 100\nA- 94 - 97\nProficient B+ 92 - 93\nB 89 - 91\nB- 87 - 88\nPage 1 of 3\nBasic C+ 85 - 86\nC 82 - 84\nC- 80 - 81\nBelow Basic D+ 78 - 79\nD 75 - 77\nD- 73 - 74\nF 72 & below\nAntonyms, Synonyms, 6.R.1.1 Students can expand Reading basal, novel text sets,\nhomonyms, acronyms, word meanings using word teacher generated materials,\nabbreviations, prefixes, suffixes, categories and word parts. and resource materials.\nroot words, and root origins\n6.R.1.2 Students can utilize\nDictionary Skills and context context to comprehend words\nclues with multiple meanings.\nReading basal, novel text sets,\nConnect to prior knowledge, 6.R.2.1 Students can utilize teacher generated materials\nquestion, visualize, monitor for direct and implied meaning to and resource materials.\nmeaning, infer, synthesize and comprehend text.\n6.R.2.2 Students can\nFluency \u2013 accuracy, rate, demonstrate the elements of\nexpression/voice and phrasing fluency to comprehend text\nCompare/contrast, sequence, 6.R.3.1 Students can describe Reading basal, novel text sets,\ndescription, stanza, and verse text structures to determine teacher generated materials\nmeaning in fiction, nonfiction, and resource materials.\nCharacterization, setting, conflict and poetry.\nresolution, plot, theme and point\nof view. (Literary elements: 6.R.3.2 Students can describe\nProblem, rising action, climax, literary elements to determine\nfalling action, meaning in fiction, nonfiction,\nconflict/resolution) and poetry.\nFigurative Language (simile, 6.R.3.3 Students can describe\nmetaphor, alliteration, literary devices to determine\npersonification, onomatopoeia meaning in fiction, nonfiction,\nand idiom), imagery, and poetry.\nforeshadowing and flashback\nLocate and gather information to 6.R.4.1 Students can compare Reading basal, novel text sets,\nPage 2 of 3\ncompare and contrast cultures, and contrast text from teacher generated materials\ntime periods and historical different time periods, and resource materials.\nevents. cultures, and historical events.\nExpository, persuasive and 6.R.5.1 Students can compare Reading basal, novel text sets,\nprocedural text and contrast information on teacher generated materials\none topic from multiple and resource materials.\nFact from opinion, author\u2019s 6.R.5.2 Students can evaluate\npurpose, credibility, expository, the credibility of informational\npersuasive and procedural. texts.\n6.R.5.3 Students can utilize\nsources to locate information.\nNovels Used: My Side of the Mountain, Island of the Blue Dolphin, Summer of the Swans, Behind\nthe Bedroom Wall, Tuck Everlasting, Charlie and the Chocolate Factory, There\u2019s a Boy in the Girls\nBathroom, The Art of Keeping Cool, Bill Wallace Unit(4 novels), Hatchet, Bridge to Terabithia,\nWhere the Red Fern Grows, Snow Treasure, Pinballs, Julie of the Wolves, Esperanza Rising, Anne\nFrank, Old Yeller\nText- Glencoe Literatue Reader\u2019s Choice\nPage 3 of 3", "id": "<urn:uuid:c8760c1b-099b-421d-8bd1-0a76c1f15714>", "dump": "CC-MAIN-2013-48", "url": "http://www.docstoc.com/docs/129330280/6-grade-Reading-course-planner-07-08", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163976781/warc/CC-MAIN-20131204133256-00033-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8040081858634949, "token_count": 1011, "score": 3.96875, "int_score": 4}
{"text": "Educators Call for an Expanded Definition of Literacy\nWhen Doug Pusey prepares his Earth Systems students at Canyon View Jr. High School in Orem, Utah, for a study of \u201cthe genetic relationships between lizards,\u201d he starts with something his students know well: The Simpsons.\nAs he describes in a commentary for The Science Teacher (December 2002), Pusey asks students for the first names of Bart Simpson\u2019s immediate family and grandparents to create a family tree that will later serve as a model for lining out lizard relationships.\nNext he shows students a species of lizard that inhabits the Canary Islands before posing this question: \u201cHow could lizards travel from one island to another if they can\u2019t swim?\u201d Creativity increases as the answers pour forth.\nFinally, Pusey passes out the lesson\u2019s reading and an assignment. The approach is called \u201cfrontloading,\u201d which he explains as the teacher\u2019s conscious effort \u201cto lay the foundation for the lesson at hand.\u201d He\u2019s found it successful in reaching students, both boys and girls, and capable of unlocking something in boys.\n\u201cMy junior high boys seem to be particularly in need of getting the right mind-set or frame-of-reference before they can make connections in a mental way. It seems that boys are particularly resistant to learning if they are missing frontloading, or the \u2018painted scenery of the educational pathway.\u2019\u201d\nAn Urgent Problem\nFinding ways to reach boys in school has taken on increased urgency in light of reports that show they are falling behind. For example, girls bested boys in reading in the 22 countries that took the Programme for International Student Assessment (PISA), according to research by Stephen Gorard of Cardiff University, who also found this gap has existed since the mid-1970s when testing began (Education Daily, March 17, 2005). And according to the U.S. Department of Education\u2019s Trends in Educational Equity of Girls & Women: 2004, \u201cearly childhood education experiences are similar for girls and boys. In elementary and secondary education, however, girls consistently outpace boys in reading and writing in all grades\u201d (School Reform News, The Heartland Institute, March 1, 2005).\nJeffrey Wilhelm, a well-known researcher on boys\u2019 literacy and an associate professor at Boise State University, Idaho, says he\u2019s worked with many teachers, including Pusey, who are hungry for ideas about an inquiry approach to teaching.\nDescribing his work as director of a national demonstration site in adolescent literacy, Wilhelm explains: \u201cWe ask teachers to bring in a unit that kids have trouble with and we have them reframe it as inquiry. So instead of teaching Romeo and Juliet, you teach what makes a good relationship. . . . You start with where kids are and [with] a problem they have that is also a problem in the culture that you don\u2019t know the answer to and use the text as a way to interrogate that issue. Shakespeare didn\u2019t write Romeo and Juliet to torture ninth or tenth graders, he wrote it to explore a human problem. The reason that we still read that play, make movies of it, and perform it, is that problem is still alive.\u201d\nWilhelm has found that this form of connecting, or making literacy more like life, is a way to hook boys into reading and writing. Wilhelm and Michael Smith wrote about their research shadowing 52 students for a year in \u201cReading Don\u2019t Fix No Chevys\u201d: Literacy in the Lives of Young Men and in a follow-up study being published this fall, Going with the Flow: Making School Literacy More Like Life.\nWilhelm says that all the boys in the study could find literacy that appealed to them\u2014literacy that had a clear purpose, provided immediate feedback, imparted a sense of competence or control, instilled a feeling of improvement, and allowed them to be in the moment and be part of a social network.\nSchool literacy, he says, usually didn\u2019t hold this appeal. Wilhelm says the boys often felt that teachers broke a \u201csocial contract to care. They felt teachers assigned stuff and evaluated them but never helped them. They wanted teachers to be passionate about what they were teaching. One kid said, \u2018the teacher doesn\u2019t even bring her game to school; the teacher wouldn\u2019t even do this crap.\u2019 We heard this over and over again.\u201d\nWilhelm thinks changing teaching to reach more students is both simple and complex. \u201cI think it\u2019s simple because all you have to do is reframe what is already in the curriculum. [However], it goes against the salience of American education and the pressure to teach how you were taught.\n\u201cI would argue that we need a wider view of literacy and literate practices, and to find ways to bridge the literacies from boys\u2019 lives with the literacies we would like them to practice, valuing both equally.\u201d\nArticle Offers Insight\nJane Braunger, chair of NCTE\u2019s Commission on Reading, echoes this perspective. \u201cI think the issue of choice is very important; boys and girls both need to know that the literacy practices and interests they pursue outside of school\u2014for example, computers, the Internet\u2014are valued and can be built on in school literacy.\u201d\nTo consider the issue of a boys\u2019 literacy gap, she turns to Donna Lester Taylor\u2019s \u201c\u2018Not Just Boring Stories\u2019: Reconsidering the Gender Gap for Boys\u201d (Journal of Adolescent and Adult Literacy, December 04/January 05), which rounds up recent research about boys and literacy.\nBraunger summarizes some of the article\u2019s recommendations as honoring preferences for informational texts; teaching ways to read and discuss narrative such as engaging students in think-alouds; and offering support for challenging texts so readers can expect to be successful.\n\u201cDon\u2019t Give Up on Boys\u201d\nExpanding the definition of \u201cwhat counts\u201d as literacy and encountering teachers who don\u2019t give up on boys are two things that Thomas Newkirk, English professor at the University of New Hampshire, thinks would go a long way toward helping boys with reading and writing.\nThe author of \u201cMisreading Masculinity: Speculations on the Great Gender Gap in Writing\u201d (Language Arts, March 2000), Newkirk believes there are enduring cultural messages about novel reading as something for women. \u201cTo the extent schools define \u2018reading\u2019 with novel reading, I think boys can check out.\n\u201cI think teachers need to be more open to forms of popular culture that boys love\u2014humor, parody, adventure, amazing facts, suspense, sports. It\u2019s hard for some teachers because these cultural attractions may not have been part of their childhood or their literacy. I think boys resist some slow-moving plots that focus on character development\u2014as one boy put it \u2018fifty pages about the next five minutes of your life.\u2019\n\u201cI also think that teachers need to be careful that they don\u2019t give up on boys. Boys may say, \u2018I hate reading,\u2019 but that may just mean they don\u2019t feel successful at it. I\u2019m particularly worried at half-baked \u2018brain research\u2019 claims about this difficulty coming from boys\u2019 hardwiring. I think that\u2019s just as pernicious as people claiming that girls are not \u2018naturally\u2019 good at math\u2014because girls are certainly disproving that.\n\u201cI think that boys may disengage from the kind of novel reading stressed in schools. But I suspect that other kinds of reading continue outside of school\u2014magazines, newspapers, news on the Internet, instant messaging. Sometimes I meet men who say they are not \u2018readers.\u2019 I ask them, \u201cDo you read the paper?\u201d\n\u201cDo you read for your job?\u201d\n\u201cDo you have hobbies you read about?\u201d\n\u201cThen I want to ask: \u2018Then who the hell convinced you you weren\u2019t a reader?\u2019\u201d", "id": "<urn:uuid:b29c1f87-058b-442c-a864-ae2318ffe7ee>", "dump": "CC-MAIN-2013-48", "url": "http://www.ncte.org/magazine/archives/122024", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00035-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9615845680236816, "token_count": 1740, "score": 3.515625, "int_score": 4}
{"text": "From a digital storytelling learning experience, students would have the opportunity to gain the following skills: written communication skills to describe, inform, entertain, and/or to explain; oral communication skills for narration and an oral presentation; non-verbal communication skills through the use of other media, such as still pictures and video; technological skills such as using audio effect, video effects, editing, inserting text overlays, applying transitions, using jpg files and program files, folders, camera skills and filming; other planning and organizing skills such as utilizing an outline, a storyboard, following through with the project; and if working within a group, cooperation skills, communication skills, and conflict resolution skills.\nFor a teacher to properly implement the use of digital storytelling in his/her classroom, the teacher will need to have an understanding of digital storytelling and should have completed an example him/herself to be able to demonstrate and model the process. Training could be from personal research on digital storytelling via the internet, software instructions/directions, workshops, classes, professional development courses, etc. In short, the amount of preparation and training will depend upon the individual teacher and his/her previous knowledge and experience with technology. As seen in our lab for this course, the spectrum of previous knowledge/experience of the teacher candidates is wide and varied. However, it must be noted that if a teacher would like to utilize digital storytelling but does not have a strong background with technology, there are plenty of resources and examples available on the internet for the teacher to be successful with the lesson.\nDigital storytelling would be beneficial to shy, quiet students because the student would be able to produce the final product without having to leave his/her 'comfort zone'. However, if an oral presentation is required of the final product, this may hinder the shy student. Also for students struggling with writing skills, so 'shy' in the sense of a lack of confidence in his/her writing ability, the digital story will also make available to them another form of communication. Exposure to digital storytelling for a shy and/or quiet student may open an avenue for that student that he/she never knew existed, allowing him/her to have an outlet for expression. Digital storytelling may also help this student to realize his/her potential in communication.\nFor an outspoken student, digital storytelling will provide for him/her an opportunity to express him/herself in ways other than verbal while also exposing him/her to technology and creativity as additional channels to progress with communication skills.\nFor integrating digital storytelling into the classroom, I've learned that I must take into account the spectrum of technological experience/knowledge of each student, allow ample time and practice for those who lack technological skills to be successful with the assignment, when considering my obejectives for digital storytelling I will also need to consider the spectrum of communication skills of the student, and most of all, to allow the students to have 'fun' with this assignment rather than seeing it as merely an assignment to complete. Digital storytelling has a wide range of uses for history, science, language arts, and most other areas of concentration; each student will learn more by teaching others.", "id": "<urn:uuid:37043b91-7925-4160-8239-93496ee7c6c8>", "dump": "CC-MAIN-2013-48", "url": "http://edtechclass.blogspot.com/2011/10/week-six-digital-storytelling.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163042403/warc/CC-MAIN-20131204131722-00035-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9475616812705994, "token_count": 641, "score": 3.84375, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\nMemoirs Teacher Resources\nFind Memoirs educational ideas and activities\nAre you working on an autobiographical or narrative writing unit? Bring this lesson to your class, as it takes young writers through the process of drafting and sequencing an autobiography. After observing and demonstrating steps of the writing process, they read and discuss examples of poetry, and write a letter to themselves. Additional activities include reading a passage from a memoir, creating a friendship graffiti wall, and writing about an adventure.\nEighth graders explore Civil War campaigns. In this Civil War lesson, 8th graders collaborate and conduct research to create presentations that focus on specific Union or Confederate generals and battles. Students take on the roles of photographers, reporters, and biographers.\nExplore the concept of literal and figurative language in this language arts language lesson plan. After reading an excerpt from Gary Paulsen's memoir, middle schoolers then classify the information in the memoir by drawing conclusions, inferring information, and identifying literal or figurative language.\nStudents explore terrorist interrogation issues. For this human rights lesson, students read articles and documents related to torture in terrorist investigations. Students respond to discussion questions regarding the articles. Students write position papers on the topic.\nHigh schoolers comprehend how the past affects individuals and society. They comprehend how to perceive past events with historical empathy. Students produce written work that makes connections to related topics or information. They recognize a range of literary elements and techniques and use these elements to interpret the work.\nStudents investigate why the Treaty of Versailles took the form that it did. They read an interactive memoir of a soldier after he returned home after WWI, conduct research on the Treaty of Versailles, and write the front page of a German newspaper the day that the peace treaty was announced.\nDid you know the word memoir is related to the word memory? It makes sense once you study the root word. This presentation starts with an introduction into memoirs and what characteristics will set a written memoir apart from the rest. This presentation focuses on how to write a powerful, telling memoir.\nExplore nonfiction writing with your class. They will identify elements in nonfiction by reviewing elements of fiction. Then they use biographies, memoirs, menus, Time for Kids, and text books to identify elements of nonfiction. They will respond to the text using thoughtful questions.\nHelp your writers get started with these hooks! Twenty-five opening lines from the \"Lives\" column in the New York Times Magazine act as prompts for creative writing. Have your learners choose one prompt and write an original essay. Scholars can write memoirs, poems, plays, etc.", "id": "<urn:uuid:1174e404-c285-427e-96a3-f9dbc1ffd207>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/memoirs/4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163992799/warc/CC-MAIN-20131204133312-00035-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9081438183784485, "token_count": 549, "score": 4.34375, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\n- Jenna H., Teacher\nClimax Teacher Resources\nFind Climax educational ideas and activities\nFifth graders identify the role succession plays in the adaptation of our environment. Students identify pioneer and climax species and order habitats in succession. They recognize that different characteristics of species make them more suitable to early or late succession.\nStudents review the literary elements of plot and conflict. In this plot and conflict lesson, students read a story and answer questions about the plot and conflict within. Students create a concept map for the novel to identify the conflicts outlined in the novel. Students complete daily activities for the analysis of the text and make their own Powerpoint for the lesson.\nBinoculars are used as a metaphor for good descriptive writing. Class members first view a small picture and then an enlarged view of the same image in which the details come into focus. Next, learners examine a paragraph lacking sensory details and one rich in description. Finally, class members craft their own personal narratives. Prompts, story ideas, check lists, and assessments are included in this richly detailed plan.\nScholars demonstrate the ability to evaluate authors' use of literary elements such as metaphor, simile, personification, imagery, and onomatopoeia. They are provided with a checklist and must shop for poems that contain the poetry terms on their list. Poems can be posted around the room or in hallways. Learners are assessed on their accuracy in finding the literary terms on the checklist.\nUse the Visual Thesaurus to predict the subject matter of Rick Riordan's book The Lightning Thief. A pre-reading activity encourages middle schoolers to use context clues and word meaning to discover what the book is about. After they finish the activity, they read the first chapter of the book and research Olympian gods.\nBeginning a persuasive writing unit with your middle schoolers? Approach it through something that persuades us all: advertising! Through studying video and print advertisement, your class will practice Common Core skills for reading informational texts. They will also sharpen their narrative writing prowess as they study and craft emotional charged stories meant to persuade. Includes several handouts that are sure to help any ELA teacher lead up to a more in-depth persuasive writing unit.\nDive your class into a reading of Island of the Blue Dolphins with this in-depth study guide. Breaking the novel into three parts, the resource begins each section with a focus activity that identifies a specific theme or question to be addressed in the reading. Learners are then provided with background information, key vocabulary, and a graphic organizer to use while taking notes, before answering a series of five comprehension questions. Each of the three sections concludes with extension ideas for writing and discussing key concepts from the book. Also included are reading guides for five additional pieces of writing that encourage young scholars to expand their learning and make connections between multiple texts. A thorough resource that supports students in reading and understanding this award-winning novel.\nHere is a widely applicable set of materials to enhance any reading task. You'll find graphic organizers, response to literature activities, writing prompts, a reading schedule, study guides, a story plot flow chart, and a character map. Resource is designated for Steinbeck's Of Mice and Men, but these materials would work for any literary text, at home or in the classroom.\nWhy just show your class a movie when you could teach them how to critique film the same way they do literature? While this lesson uses Battlestar Galactica as its visual text of choice, this plan could be used with any film selection. It would be perfect to use with the film adaptation of any literary work. Teens learn what it means to critique as well as how to identify literary and technical aspects of film as they watch various films.\nThorough and all-encompassing, this study guide summarizes an entire semester, or possibly a year, of language arts vocabulary words. Vocabulary from The Diary of Anne Frank, Night, Romeo and Juliet, and various short stories is listed for review, as well as the elements of drama, stories, and literature. Concepts for MLA format and grammar finish the worksheet. Use the study guide as a way to plan your semester, substituting any stories or concepts that you cover instead.\nThe principles of levers and simple machines are presented here. An easy-to-make lever is constructed by each group of scientists, and they use it to explore how this simple machine makes heavy things so much easier to lift and move. A good lab sheet is embedded in the plan, as are some terrific extension activities. Fabulous!\nPrepare for a wild ride on the plot roller coaster! Budding authors outline their novel plots through this set of visual and entertaining worksheets. They follow the story of Boris the Unicorn, which demonstrates the various stages of a typical fiction plot. Thankfully, the story is hilarious and will have your kids wanting more. For anticipation, have them read it only one section at a time, filling out their own plot in the space provided as they go through the six sections.\nIf your pupils are studying plot development, consider taking a look at this resource. The video models a read-aloud of a series of passages that reflect the rising action, climax, and resolution of \"The Story of Arachne, Nature's Weaver.\" After reading, the narrator charts each virtual sticky note on a plot development chart. Class members can follow along and then practice with the additional materials provided on the page or a text of your choice. Take a look at the presentation and the printable assessment.\nAuthor Pearl Buck's, The Good Earth is the central focus of this terrific eighth grade language arts lesson. Essentially, it is a very thorough study of the book. While reading, there are worksheets embedded in the plan to be completed. There are many postreading assignments as well, all supported with worksheets. This is a fine educational resource to complement the study of this book.", "id": "<urn:uuid:88828d1b-b75c-49f1-a7b0-bdf7c3b8cae4>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/climax/6", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164583265/warc/CC-MAIN-20131204134303-00029-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9416730403900146, "token_count": 1230, "score": 4.03125, "int_score": 4}
{"text": "Slave and Slaveholder Descendants Break Free of History's Trauma\u2014Together\n\u201cCollective trauma\u201d happens to large groups of people\u2014attempted genocide, war, disease, a terrorist attack. Its effects are specific: fear, rage, depression, survivor guilt, and physical responses in the brain and body that can lead to illness and a sense of disconnection or detachment. Collective trauma can be transmitted down generations and throughout communities.\nIt is further described as historical, transgenerational, cultural, or ancestral. \u201cEach of these terms has its own nuances,\u201d says Sousan Abadian, a former fellow at the MIT Dalai Lama Center for Ethics and Transformational Studies, who wrote her doctoral thesis on collective trauma and international development work. For example, she says the term \u201ccultural trauma\u201d reflects that \u201ctrauma is not just at the level of the individual, it\u2019s at the level of culture\u2014that culture has been damaged, meaning institutions, cultural practices, values, and beliefs.\u201d\nDr. Maria Yellow Horse Brave Heart is one of the pioneers of applying the concept of historical trauma to native people in the Americas. For them, she writes, \u201cGenocide, imprisonment, forced assimilation, and misguided governance have resulted in the loss of culture and identity, alcoholism, poverty, and despair.\u201d She says she was looking at native historical photos at one point in the late 1970s when \u201cIt was almost like a light bulb went off in my head, like some kind of spiritual transformation.\u201d She began making connections between indigenous people and Jewish survivors of the Holocaust. Historical trauma, she says, \u201cis cumulative emotional and psychological wounding across generations, including one\u2019s own lifespan, because everything up to a minute ago is history.\u201d\nFor historical trauma, Brave Heart identifies four necessary steps for healing: confronting trauma, understanding it, releasing the pain, and transcendence.\nRay Daw, a Navajo who currently works as a health administrator in Alaska, is one of many people using this model of historical trauma in work with Native communities.\nAs a result of 9/11, Hurricane Katrina, and mass shootings, collective trauma is something that all Americans have experienced, according to Daw. \u201cThe idea of historical trauma has really grown across the United States,\u201d he says, \u201cparticularly among Native people.\u201d Daw sees the Idle No More movement as bringing indigenous models of healing to the forefront and doing a lot to catalyze healing from the wounds of history.\nInstead of being stuck with behaviors generated by anger or sadness, Daw says identifying the effects of trauma can help us \u201cthink of ways to not feel as angry or as sad, and connect with others who feel the same way.\u201d And through this process, regardless of ethnicity, \u201cWe all begin to create a better world for ourselves.\u201d\nThe trauma of Hurricane Katrina, and the lack of adequate government response, catalyzed the creation of the Kindred Southern Justice Healing Collective, a network of more than 100 healers and activists of color and their allies in the southern United States. They envision emergency response teams of healers, nurses, and doctors who could be ready in the face of any future disaster.\nCollective member Cara Page says that Kindred roots itself within a Southern understanding of how transgenerational trauma is connected to a history of slavery, unethical medical testing, and economic displacement. \u201cHealing generational trauma is not separate from political liberation,\u201d she says.\nUnacknowledged historical trauma can keep social activists in a cerebral, disconnected state which has the potential to tear movements apart.\nCollective resilience can be an antidote to collective grief. In Kindred\u2019s recording, \u201cGood Medicine,\u201d Southern healers and activists of color challenge the current capitalist model of medicine and celebrate the healing traditions that kept their ancestors going: song, art, prayer, touch, and community.\nAmerica\u2019s legacy of slavery and continuing racial injustice has led to \u201csurvival behaviors\u201d in both blacks and whites, says Dr. Joy DeGruy, a professor of social work and author of Post Traumatic Slave Syndrome: America\u2019s Legacy of Enduring Injury and Healing. In whites, one such behavior is a denial of the past, which obscures the causes of current privilege. Unresolved historical trauma can render us invisible to one another. \u201cRe-spect,\u201d says DeGruy, is another way of saying \u201cLook again.\u201d\nWhether the historical trauma was caused by slavery or genocide, the \u201clooking again\u201d that DeGruy describes\u2014at ourselves, our history, and at one another\u2014can lead to the last stage in Brave Heart\u2019s four stages of healing: transcendence.\n\u201cThe lesson of centuries of torture and millions of human sacrifices, including of my own people, on the altars of extremists and fanatics is not a lesson for exacting revenge,\u201d writes Israeli author Avraham Burg in The Holocaust is Over; We Must Rise From Its Ashes. \u201cRather, in the name of those who went through it all and saw the inferno\u2019s flames firsthand, we must prepare the ground for a better world.\u201d Burg, along with other Jewish writers, has written about Israel as a nation formed from the collective trauma of the Holocaust, with fear driving it to be like the \u201cbattered boy\u201d who becomes an abusive father. Without transcendence, or what Abadian would call \u201creframing the post-traumatic narrative,\u201d collective trauma in any nation or ethnic group can play itself out on the personal and group level as paranoia or inflicting internalized trauma on others.\nFor Armand Volkas, a psychotherapist and child of Holocaust survivors, exploring and owning the potential perpetrator in all of us is an important part of the reframing process. Using techniques of drama therapy, ritual, and storytelling, he facilitates workshops between groups with a history of collective trauma between them: Jews and Germans, Israelis and Palestinians, Turks and Armenians, Japanese and Chinese, African Americans and European Americans. \u201cHumanizing the enemy is one of the first steps,\u201d he says. \u201cJust the act of bringing people together.\u201d\nLike what you\u2019re reading? YES! is nonprofit and relies on reader support.\nClick here to chip in $5 or more to help us keep the inspiration coming.\nIn his workshops, individuals can reach personal catharsis and transcendence of national or ethnic conflicts that have played out over generations. In one instance, on the day a restaurant was bombed in Jerusalem, emotions in a workshop were running high as a group of Israelis and Palestinians passed around an invisible flame of hope during a warm-up exercise. When someone dropped the imaginary flame, an Israeli woman burst into tears and a Palestinian woman took her in her arms and held her.\nBut are compassion and empathy enough? What about justice?\n\u201cI know a lot of people say without justice, healing cannot take place. And I completely agree on one level,\u201d says Abadian, who acknowledges the importance of changing institutions and cultures damaged by trauma. \u201cOn another level, if we wait around for justice, or think that our feelings or well-being are dependent on others changing their stance, or having our pain recognized by them, or making some sort of reparation, we are not free. \u2026 If we were to truly recognize the importance of healing collective trauma, it would reframe and transform our approach to everything, including international economic development, diplomacy, and nation-building.\u201d\nAn embrace between an Israeli and a Palestinian, remembered by a roomful of people. Health workers re-envisioning a medical model that values our rich and distinct cultural traditions. People speaking out about how we hold collective memory in our bodies, our relationships, and our institutions. These may seem like small gestures when faced with the enormity of collective trauma. But for those who are working toward healing, they are the beginnings of a new social tapestry of respect, understanding, and hope.\nLisa Gale Garrigues wrote this article for Love and the Apocalypse, the Summer 2013 issue of YES! Magazine. Garrigues is a writer, teacher, and healing consultant based in San Francisco. For information, go to: healingcollectivetrauma.com\n- Israelis and Iranians Feel the Love\nAs their leaders talk violence, some residents of Israel and Iran are reaching out to each other directly with a promise of peace.\n- World-Healing Wisdom: Karen Armstrong's Vision for a Compassionate Future\nArmstrong believes that we can find the wisdom we need by looking to the origins of today\u2019s world religions.\nThat means, we rely on support from our readers.\nIndependent. Nonprofit. Subscriber-supported.", "id": "<urn:uuid:444eaf2b-5f6a-4995-995f-3f1ca393934c>", "dump": "CC-MAIN-2013-48", "url": "http://www.yesmagazine.org/issues/love-and-the-apocalypse/free-yourself-from-the-past", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163039773/warc/CC-MAIN-20131204131719-00034-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9456781148910522, "token_count": 1843, "score": 3.875, "int_score": 4}
{"text": "Better Students Ask More Questions.\nWhy is the power of speaking, swearing oaths, and making promises important in Beowulf?\n1 Answer | add yours\nHigh School Teacher\nBeowulf is an Anglo-Saxon poem which reflects the code of honor and action of that time. Because they believed that Fate (Wyrd) was in control of their destinies, what a man promised or swore or endeavored to do was more important than being able to do it.\nThis epic poem is full of actions and speeches (plot) more than character development, and the characters in the poem are defined only by what they say they are going to do and then actually endeavor to do. Beowulf says:\nI had a fixed purpose when I put to sea\u2026\nI meant to perform to the uttermost\nwhat your people wanted or perish in the attempt\u2026\nAnd I shall fulfill that purpose,\nprove myself with a proud deed\nor meet my death.\nHrothgar promises to build a great hall from which he can reward his people for their deeds, and he does it. Beowulf promises to help Hrothgar and his people defeat Grendel, and he does; then he makes a vow to defeat Grendel without weapons, which he also does. But if he had made the attempt and failed, there still would have been glory for Beowulf (and reflected glory for Ecgtheow, his king) in the effort. You see, it was the oath and the effort that mattered; the outcome of the actual battle was up to fate.\nExamine Unferth for a moment, a man who does much speaking and vowing but who is considered a coward because he is a man of talk and no action. The most we ever see Unferth do is hand Beowulf a sword (offering to let his sword fight but not offering to fight himself), which would not be considered particularly valiant in any culture. He does not even try, which is what makes him a coward in this culture.\nBeowulf does his exploits not because he will get a reward for doing them but because the only thing that will truly last is the glory and honor which come from making oaths and promises and then endeavoring to keep them. Even the dragon's hoard of treasure is meaningless and is buried with Beowulf.\nThey let the ground keep that ancestral treasure,\ngold under gravel, gone to earth,\nas useless to men now as ever it was.\nKnowing the risks, the men of valor and honor (like Beowulf) were not reckless but willing to take the risks involved with doing honorable and valorous deeds.\nAt a time when courage was valued above all things, heroic men like Beowulf promised to do courageous deeds and then took action on their oaths. Whether they won a victory or suffered a loss was immaterial; fighting the battle was more important than defeating the foe. To the Anglo-Saxons then, Beowulf's last battle, against the dragon, is no less heroic than his battle against Grendel or his mother just because he lost.\nIn the Middle ages, chivalry will take oath-making and promises to an entirely new dimension, but for the Anglo Saxons, speaking oaths and promises (and then acting on them, win or lose) was their means of achieving honor and lasting glory.\nPosted by auntlori on September 9, 2013 at 8:40 PM (Answer #1)\nRelated QuestionsSee all \u00bb\nJoin to answer this question\nJoin a community of thousands of dedicated teachers and students.", "id": "<urn:uuid:cd674285-306e-4913-a07e-54e26a477d0c>", "dump": "CC-MAIN-2013-48", "url": "http://www.enotes.com/homework-help/why-power-speaking-swearing-oaths-make-promise-452853", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163976781/warc/CC-MAIN-20131204133256-00032-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9817489385604858, "token_count": 746, "score": 3.671875, "int_score": 4}
{"text": "We made some additional modifications to the arrangement of the room in order create more space for the children's dominant play themes. In order to emphasize and expand our puppet theater and storytelling, the puppet theater and materials have replaced the dramatic play kitchen. In order to promote and better facilitate paper puppet making, those materials have been moved under the loft for greater access and closer proximity to the puppet theater. This will allow teachers to help guide children's thinking while creating their puppet characters to act out various stories. Name writing strips have been added to the writing table in order to scaffold children's alphabet knowledge as well as letter and name writing. The class will also continue to expand their ideas and knowledge regarding seasonal change as we build homes and habitats for woodland animals out of clay, match animals to their homes at the science table, and observe live footage of animal behavior in their habitats on the computer.\n-Materials: Clay, plastic woodland animals, cardstock, construction paper, tape, popsicle sticks, toilet paper rolls, found objects, watercolor paint, brushes, paper.\n-Rationale: Children will continue to explore the clay and will apply their knowledge of animal homes by creating clay homes for the various animal figurines. Paper projects continue to be of great interest in the classroom so we added found objects to expand the creation of the children's increasingly complex three dimensional paper sculptures. The paper puppet making materials have been moved under the loft in order to allow greater access, facilitation by teachers and close proximity to the puppet theater. The light table will continue to be used for watercolor painting as many children have displayed interest in this activity.\n-Skills: fine motor development, creative problem solving, eye-hand coordination, representational creativity, self-expression, divergent thinking and functional representation.\n-Materials: Moist sand, containers, buckets, scoops, shovels and hand rakes.\n-Rationale: Children will apply their skills of scooping, sifting, filling containers and exploration of new sensory materials to moist sand. Children will be able to apply their knowledge of building structures to the moist sand as it will keep its form when compacted in various containers.\n-Skills: sensory awareness, creative thinking, spatial awareness, large motor, fine motor and construction skills.\n-Materials: animal pelts, acorns, antlers, feathers, the computer, animal home matching activity, paper and colored pencils, Boxy the box turtle, and Bart the python.\n-Rationale: Children will continue to learn about what animals do to prepare for seasonal change. This will continue to build awareness of hibernation and animal homes. For children who are more familiar with the concepts of hibernation and migration, a matching game is provided in which the children match the animal to their home. The computer will still be used to show videos of various animals' homes, food collecting habits, and sleeping habits as colder temperatures set in. Children will be given the opportunity to represent their observations of the live footage or items on the science table with paper, colored pencils and clay.\n-Skills: learning about natural science, information gathering, observation, representation, matching, critical thinking and inquiry.\nMath and Manipulatives\n-Materials: Assortment of Lego pieces, people and platforms, puzzles, shoe strings with large wooden beads and alphabet beads, and lacing cards.\n-Rationale: To encourage greater interest in beading, small alphabet beads will be added. In order to facilitate more complex Lego building, Lego people and platforms have been added for inspiration.\n-Skills: Hand-eye coordination, spatial relationships, whole/part relationships, fine motor skills, and small-scale constructive play.\nDramatic Play and Blocks\n-Materials: Baby dolls, baby bed, baby accessories, cardboard boxes, and various fabrics.\n-Rationale: To promote dramatic play and interest in the baby dolls, baby accessories and furniture will be added to the classroom. Cardboard boxes will continue to be available to children as they combine them with their hollow block structures to act out imaginative stories. Fabrics will continue to be available to facilitate character development or to contribute to their structures during dramatic play.\n-Skills: Role-play, pretend-play, peer-interaction, creating imaginary scenarios, construction skills, communication, negotiation and collaboration, and care taking.\n-Materials: Animal puppets, puppet theater stage, our classroom community book, paper and writing utensils available in the classroom, simple multi page paper books, model name strips with child's picture and blank paper strips.\n-Rationale: The new puppets and puppet theater will replace the kitchen area in order to provide more space and attention for utilizing these materials in meaningful ways. Children will continue to create increasingly longer stories with the multi page books in the writing center and will be encouraged to write/draw stories that they act out in dramatic play. In order to support writing, children's names will be written on paper strips with their picture. Blank paper strips of the same size will be provided to encourage name writing and letter consistency.\n-Skills: Receptive and expressive language, cooperation, negotiation, creative thinking, divergent thinking, creative representation, alphabetic knowledge, letter consistency and fine motor skills.\n-Materials: Monkey bar swings, bumpy slide rope climb, A-frame with ladder bridge, uneven mat obstacle course, climbing wall, Pedalo. Outside there are shovels, buckets, bikes, and wagons.\n-Rationale: Many changes have been made to the gym this week. The Pedalo was added to promote balance, coordination, lower body strength, and turn taking. The A frame obstacle course is set up as a ladder bridge suspended between the two A-frames, which are connected to a course of bolsters to walk across. A rope has been added to the rolling slide so children can climb up the slide. On the monkey bars we have added ropes for children to practice swinging. These new additions to the gym will provide opportunities to practice skills such as grasping, jumping, balancing, and even upper/lower body strengthening. The wall ladder will remain in the gym for children to practice climbing. On the playground we will continue to promote meaningful play through process skills facilitated by raking, shoveling, hauling and unloading.\n-Skills: Dynamic balance, lower body strength, spatial awareness, turn-taking, jumping and landing, sliding, upper body strength, grasping strength, risk taking, eye-hand/foot coordination, climbing, coordination, and climbing.\nMonday - Crackers & craisins\nTuesday - Frozen peas & pretzels\nWednesday - Bananas & milk\nThursday - Bagels & pumpkin butter\nFriday- Trail mix", "id": "<urn:uuid:f126cc4e-8d78-49ef-adec-b394f3347aa1>", "dump": "CC-MAIN-2013-48", "url": "http://blog.lib.umn.edu/icd/labschool/amy/2013-2014/amys-weekly-plans-f13/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164888618/warc/CC-MAIN-20131204134808-00034-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9193660616874695, "token_count": 1384, "score": 3.765625, "int_score": 4}
{"text": "\u2022Dec. 1492: Columbus discovers\nHaiti (the island of Hispaniola)\n\u2022ca. 1600: Native Carib population\n(Taino-Arawak Indians) virtually\nwiped out. African slaves begin to\narrive in increasing numbers.\n\u20221600s: Rise of British, French, and\nDutch activity in Caribbean.\n\u20221697: The Spaniards cede the\nwestern third of Hispaniola to the\nFrench crown at the Treaty of\nRyswick. Haiti is now called\nHaitian History 2\n\u20221697-1791: Saint Domingue becomes the richest\ncolony in the world. Its capital, Cap Francis, is known\nas the Paris of the New World.\n\u2022August 1791: The first major black rebellion takes\nplace. This begins the markings of civil war between\nthe black dominated north and the mulatto dominated\n\u20221796: Toussaint L'Ouverture emerges as the leader of\nthe former slaves in the north. He restored order, ended\nthe massacres, and restored some of Saint Domingue's\nHaitian History 3\n\u2022January 1804: Jean-Jacques Dessalines proclaimed\nthe independent black Republic of Haiti in the\nnorthern half of the island (the first independent\ncountry of former slaves in the world). The name\nof the new country, \"Haiti,\" is the name that had\nbeen given to the land by the former Taino-Arawak\npeoples, meaning \"mountainous country.\"\n\u20221843 to 1915: Haiti sees 22 heads of state, most of\nwhom leave office by violent means. Rivalry\ncontinues among the whites, the mulatto elite, and\nHaitian History 4\n\u20221915: President Guillaume Sam is dismembered and\nthe Americans invade the country. They remain for\n\u20221934: The Americans leave Haiti, which is now\nprospering once again.\n\u20221937: Thousands of Haitians living on border of\nthe Dominican Republic are massacred by General\nTrujillo's soldiers. (background to The Farming of Bones)\n\u20221957: Francois Duvalier (\u201cPapa Doc\u201d) was elected\npresident, terrorized the country, rooting out any\nand all opponents to his administration and ensured\nHaitian History 5\n\u2022his power through his private militia, the tontons\nmacoutes (which means in kreyol, \"uncle\n\u20221964: Duvalier changes the constitution so that he\ncan be elected president for life.\n\u20221971: Duvalier dies and is succeeded by his son\nJean-Claude, age 19 (also known as 'Baby Doc').\nBy this time Haiti is the poorest country in the\nwestern hemisphere (and remains so to this day).\n\u20221972: Haitian \"boat people\" begin to flee to US.\nEdwidge Danticat--Biographical Sketch\n\u2022born in Port-au-Prince, Haiti\nJanuary 19, 1969, under the\ndictatorship of Duvalier.\n\u2022raised by her uncle and aunt\n(parents in New York)--moved\nto America at 12--remained\nsilent for most of her teens--\n\u201cI sought solace in books, read\na lot, and kept journals written\nin fragmented Creole, French,\nEdwidge Danticat--Biographical Sketch 2\n\u2022wrote her first short story at 9\n(about a girl who was visited by a\nclan of women each night)\n\u20221990--undergraduate degree in\nFrench from Barnard College.\n\u2022wrote Breath, Eyes, Memory as her\nMFA thesis at Brown University\n\u20221995--Pushcart Short Story Prize\n\u2022List of Works\n\u2022Breath, Eyes, Memory (1994)\n\u2022Krik? Krak! (1995)\n\u2022The Farming of Bones (1998)\nDanticat on Literature and Writing\n\u2022 \u201cLiterature is a society mirror. I think that\nempathy is necessary for our common surviving.\nLiterature teaches us to step into the other.\nLiterature doesn\u2019t only teach the secrets of our\nhearts, but of the others\u2019 hearts as well\u2026.\u201d\n\u2022 \u201cFor me, writing has always been about bearing\nwitness and trying to understand who you are and\nyour writing context in the world. Being a child of\nmigrants I think my life was always a kind of\nsearch and writing is a way for me to interpret that\n\u2022a mixture of French, Spanish, African, and English\ncalled Creole, or \"Kreyol\u201d--Danticat was taught\nFrench in school, but spoke Haitian Creole at home.\nCreole was her first and primary language; English\nis her third language.\n\u2022her writings as attempts to represent the cadence of\na recent speaker of English: getting to the point,\nlisting important events, incorporating less literary\n\u2022a finalist for the National Book Award in 1995.\n\u2022 Krik? Krak! represents the call and response of after-\nsupper storytelling: krik? is the call asking if anyone\nhas a story to tell, and krak! is the reply. --usually what\nfollows the formula are light stories, jokes, riddles\n\u2022using her autobiographical experiences in Haiti--\"to\nraise the voice of a lot of people that I knew growing\nup, and this was, for the most part, . . . poor people\nwho had extraordinary dreams but also very amazing\n\u2022translated into Kreyol for Haitian radio broadcast.\n\u201cChildren of the Sea\u201d\n\u2022What is special about the narrative form?\n\u2022the two narrative voices--the man and the girl letters\nthat can never be sent\n\u2022Identify some of symbols, or possible symbols, of the\n\u2022Butterflies (5, 25, 28-29); children of the sea\n\u2022Who are the \u201cchildren of the sea\"?\n\u2022the comparison of the escape to Miami to the\nexperience of the middle passage--going to bathroom\non the boat (15); the young man has to throw his\nnotebook overboard (27-28)\n\u201cChildren of the Sea\u201d 2\n\u2022Who is identified by name in the story? Who is not,\n\u2022Madan Roger; Celianne; Lionel; Swiss; Justin Moise\nAndre Nozius Joseph Frank Osnac Maxilmilen\n\u2022How do people react to tragedy, calamity, and\nbrutality in the story?\n\u2022powerless (17); escape; fight\n\u2022What do you think about the ending of the story?\nWhat are the attitudes toward the future? Do they", "id": "<urn:uuid:a4dfb54c-7c12-4adb-897a-097be4227baf>", "dump": "CC-MAIN-2013-48", "url": "http://www.docstoc.com/docs/44307740/Haitian-History", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345775423/warc/CC-MAIN-20131218054935-00036-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9078688621520996, "token_count": 1436, "score": 3.625, "int_score": 4}
{"text": "- NAME: Homer\n- OCCUPATION: Poet\n- BIRTH DATE: c. 800 BCE\n- DEATH DATE: c. 701 BCE\n- PLACE OF BIRTH: Greece\n- PLACE OF DEATH: Greece\n- Full Name: Homer\n- AKA: Hom?ros\nBest Known For\nAlthough very little is known about the life of Greek poet Homer, credited with being the first to write down the epic stories of The Iliad and The Odyssey, the impact of his tales continue to reverberate through Western culture.\nThink you know about Biography?\nAnswer questions and see how you rank against other players.Play Now\nThe Greek poet Homer was born sometime between the 12th and 8th centuries BC, possibly somewhere on the coast of Asia Minor. He is famous for the epic poems The Iliad and The Odyssey, which have had an enormous effect on Western culture, but very little is known about their alleged author.\n\"Hateful to me as the gates of Hades is that man who hides one thing in his heart and speaks another.\"\n\"Yet, taught by time, my heart has learned to glow for other's good, and melt at other's woe.\"\n\"Light is the task where many share the toil.\"\nHomer is a mystery. The Greek epic poet credited with the enduring epic tales of The Iliad and The Odyssey is an enigma insofar as actual facts of his life go. Some scholars believe him to be one man; others think these iconic stories were created by a group. A variation on the group idea stems from the fact that storytelling was an oral tradition and Homer is the one who took the time to write it down.\nHomer\u2019s style, whoever he was, falls more in the category of minstrel poet or balladeer, as opposed to a cultivated poet who is the product of a fervent literary moment, such as a Virgil or a Shakespeare. The stories have repetitive elements, almost like a chorus or refrain, which suggests a musical element. However, Homer\u2019s works are designated as epic rather than lyric poetry, which was originally recited with lyre in hand, much in the same vein as spoken-word performances.\nAll this speculation about who he was has inevitably led to what is known as the Homeric Question\u2014whether he actually existed at all. This is often considered to be the greatest literary mystery.\nMuch speculation surrounds when Homer was born, because of the dearth of real information about him. Guesses at his birthdate range from 750 BC all the way back to 1200 BC, the latter because The Iliad encompasses the story of the Trojan War, so some scholars have thought it fit to put the poet and chronicler nearer to the time of that actual event. But others believe the poetic style of his work indicates a much later period. Greek historian Herodotus (c. 484\u2013425 BC), often called the father of history, placed Homer several centuries before himself, around 850 BC.\nPart of the problem is that Homer lived before a chronological dating system was in place. The Olympic Games of classical Greece marked an epoch, with 776 BC as a starting point by which to measure out four-year periods for the event. In short, it is difficult to give someone a birthdate when he was born before there was a calendar.\nOnce again, the exact location of Homer\u2019s birth cannot be pinpointed, although that doesn\u2019t stop scholars from trying. It has been identified as Ionia, Smyrna or, at any rate, on the coast of Asia Minor or the island of Chois. But seven cities lay claim to Homer as their native son.\nThere is some basis for some of these claims, however. The dialect that The Iliad and The Odyssey are written in is considered Asiatic Greek, specifically Ionic. That fact, paired with frequent mentions of local phenomena such as strong winds blowing from the northwest from the direction of Thrace, suggests, scholars feel, a familiarity with that region that could only mean Homer came from there.\nprofile name: Homer profile occupation:\nSign in with Facebook to see how you and your friends are connected to famous icons.", "id": "<urn:uuid:233449b6-71db-48cb-9c50-e600d935bba5>", "dump": "CC-MAIN-2013-48", "url": "http://www.biography.com/people/homer-9342775", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00036-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9814168810844421, "token_count": 878, "score": 3.75, "int_score": 4}
{"text": "A pedagogical term for any form of writing that conveys information and explains ideas: exposition.\nAs one of the four traditional modes of discourse, expository writing may include elements of narration, description, and argumentation, but unlike creative writing or persuasive writing, its primary goal is to deliver information about an issue, subject, method, or idea.\nExpository Writing Strategies:\n- Cause and Effect\n- Process Analysis\nExamples of Expository Writing:\n- A Definition of Pantomime, by Julian Barnes\n- Hot Hands, by Stephen Jay Gould\n- Process Analysis in Barry Lopez's \"Migration\"\n- Jessica Mitford on the Embalmer's Art\n- Contrast in Rybczynski's \"Home\"\n- Process Analysis in Richard Selzer's \"The Knife\"\n- Examples in Frank Trippett's \"Loaded Words\"\n- Barbara Tuchman's Historical Narrative: The Black Death\n- Academic Writing\n- Advanced Composition\n- Business Writing\n- Critical Essay\n- Technical Writing\n- \"Expository writing analyzes and explains information to inform or educate your reader. As we move to expository writing, your knowledge of description and narration will help you provide the vividness and interest essential to effective expository writing. With its emphasis on logic and organization, expository writing is most likely the type of writing you will be doing in college and throughout your career. When you enter the workforce, you will find that expository writing is necessary in almost any profession and that your ability to write exposition requires the same skills necessary to succeed in many careers: thinking critically, analyzing complex situations, and presenting information clearly to coworkers.\"\n(Luis Nazario, Deborah Borchers, and William Lewis, Bridges to Better Writing. Wadsworth, 2010)\n- \"The worst catastrophe that could befall the study of English literature would be to allow the programs in expository writing to become separate empires in the universities and colleges, wholly cut off from the departments of English and American literature. . . .\n\"I do not minimize the difficulties involved in keeping expository writing and the study of literature together. Nor do I minimize the changes that will be necessary in the present structure of programs in literature, from basic courses for freshman and sophomores on through the most advanced graduate seminars. I view the development of integrated programs in reading well and in writing well as the major challenge to our profession at the present time.\n\"'Rhetorical study' is the key to this integration.\"\n(Joseph Hillis Miller, Theory Now and Then. Duke Univ. Press, 1991)\n- Dissatisfaction With the Concept of Expository Discourse\n\"[E]xpository writing has been the dominant form of text throughout the 19th and 20th centuries. In the last several decades, however, dissatisfactions with traditional conceptions of expository discourse have grown.\n\"There are at least three concerns. First, some scholars find the definitional ambiguity of the phrase expository writing problematic. Critics argue that the same phrase has been ambiguously used, referring in some contexts to a particular aim or aims and at other times to patterns of organization or modes.\n\"A second dissatisfaction concerns the realist epistemologies in which the notion of expository writing is rooted. . . . [C]ontemporary scholars are increasingly thinking about writing in terms of writers' and readers' purposes rather than the organizational forms necessary for clear exposition. . . .\n\"A third concern about traditional conceptions of expository writing arises from doubts about the utility of having students identify and practice expository forms as principal means by which they learn to write effective academic and professional prose. . . . Currently, while appreciation of these forms of organization is seen as important, scholars increasingly maintain that instruction should focus on helping writers to identify their goals and those of their readers and on selecting text forms that best achieve relevant goals in particular contexts.\"\n(Katherin E. Rowan, \"Exposition.\" Encyclopedia of Rhetoric and Composition, ed. by Theresa Enos. Taylor & Francis, 1996)", "id": "<urn:uuid:d7323d64-b684-45c5-bb48-a6113b722cf2>", "dump": "CC-MAIN-2013-48", "url": "http://grammar.about.com/od/e/g/Expository-Writing-term.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164972407/warc/CC-MAIN-20131204134932-00034-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9056979417800903, "token_count": 839, "score": 4.0625, "int_score": 4}
{"text": "Structured character education has flourished as schools seek to instill the values of integrity, respect, responsibility, fairness, honesty, caring, and citizenship in their students to strengthen the social fabric of the school and community. Though not without criticism, these efforts to strengthen children's character through school-based programs are welcomed by parents who want their children educated in a strong culture of respect, integrity, and self-control.\nChildren's character development certainly can't come from the classroom alone. The qualities of character develop through an interplay of family, school, church, and community influences, and the child's individual temperament, experiences, and choices. What can parents do to encourage their child's development of the qualities of good character? We have many opportunities and tools for this important task. Using them will give us the joy and satisfaction of seeing our child grow into a person of integrity, compassion, and character.\nSocial Learning - A Family Culture of Character\nParents who exhibit the qualities of good character powerfully transmit their values by modeling the choices and actions that are essential to being a person of good character. Are we honest, trustworthy, fair, compassionate, respectful, involved in the greater good of our family and community? How do our children know this? They see it in our everyday actions and choices. They see that it brings a sense of joy, satisfaction, and peace to their family life. Children also learn that when they violate these guiding ethics, parents will implement consequences with fairness and dignity.\nIn her books on moral development in children, Michelle Borba teaches that the first step is empathy. Empathy is the necessary condition in the parent-child relationship that allows us to teach all of the other character values to our children. When our children feel that we understand and care about them deeply, they have the intrinsic motivation to learn the lessons of love and character we share.\nDirect Instruction - Teachable Moments to Build Character\nDiscipline strategies are an important tool to use teachable moments to build character. We should always take the opportunity to explain why our child's behavior is wrong when we correct him. Make a habit of identifying in your own mind the value you wish to teach the child based on the particular behavior. Choose a consequence that is appropriate to teach that value. One natural consequence that we can use is to 'make amends'. For example, dishonesty is best resolved when we confess and are held accountable. Sometimes an apology to the person wronged is enough; other times we must take action to right the wrong. Brief, but direct instruction about why we have a family rule and the underlying value we hold helps the child learn from consequences and discipline.\nStory Telling - Learning Qualities of Character from Literature and Life\nParents and teachers used stories to teach moral lessons long before the books were invented; and if you think about it, we still do. As we tell the stories of our lives and the world around us, we convey lessons of virtue and ethics to our children. Discussions about the stories we see on TV are opportunities to reinforce our values. Listening and responding to our child's stories about school and peers, we can help them think through the right thing to do. Being mindful of our children listening to the stories we tell other adults, we teach that our values guide all aspects of our life.\nChildren's literature abounds with great books that illustrate important values. Great books reach the inner child and teach their lessons without the parent's interpretation or instruction. About Children's Books will guide you to finding some good children's literature choices that teach character. Sharing real-life stories from the news and internet with our children inspires us all to pursue our values in life.\nExperiential Learning - Practicing Qualities of Character\nWe know from education models that we must practice what we learn before it comes naturally to us. We can learn vicariously when we see it and learn directly when we hear it. But, we need to do it and feel it to know the true meaning of character in our selves. We can use opportunities for decision-making to help our child take ethical action and see the positive results in their daily lives. We can also find opportunities to be involved in social and community action that is accessible for our children. Find ways for your children to learn altruism through good deeds.", "id": "<urn:uuid:245a43a4-f9df-4567-9697-06f69fc42722>", "dump": "CC-MAIN-2013-48", "url": "http://childparenting.about.com/od/emotionaldevelopment/a/charactered.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163047052/warc/CC-MAIN-20131204131727-00033-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9521597027778625, "token_count": 875, "score": 3.765625, "int_score": 4}
{"text": "Children love to hear stories, and reading with your child is an excellent way to help her develop a love of reading, as well as an enjoyable way to spend time together.\nHowever, not all stories need to be read from books. You can keep your child interested and entertained with your own stories, whether they are true accounts, paraphrasing of stories you have heard before, or tales you create together.\nChildren love to hear stories about themselves, about you, or stories that have been passed down from other family members.\n\u2022 The story of the day your child was born might be a favourite. If you tell the story often, try to use some of the same descriptive words and phrases so he can help tell the story.\n\u2022 Talk about some of her firsts: her first word, the first time she crawled or walked, or cute things she did as a baby. Hearing stories about her life helps her see how much she has grown and how many things she has learned and accomplished. This helps her develop self-confidence.\n\u2022 Share some events from your own childhood that made you feel proud, excited, scared, or embarrassed.\n\u2022 Keep your family\u2019s history alive by sharing stories you remember hearing as a child.\nPlaying storytelling games can allow your child to use his imagination and expand his literacy skills.\n\u2022 Leave one word out of a made-up story and let your child fill in the blank. \"Once upon a time, there lived a _______.\" After she chooses a word that fits, start the next sentence and let the story take on a life of its own.\n\u2022 Preschoolers and school aged children can help tell a story one full sentence at a time. The more people involved in the game, the more interesting it becomes. When each person takes a turn making up a sentence, you are teaching cooperation, patience and good listening skills.\n\u2022 \u2018Fortunately/Unfortunately\u2019 is a fun game for older children. Participants take turns building the story one sentence at a time, but this time the sentences must alternate between including the words \u2018fortunately\u2019 or \u2018unfortunately\u2019. For example: \"Once there was a family of mice who, fortunately, were all happy and healthy.\" \"Unfortunately, a big, hungry cat moved in next door.\" \"Fortunately, the cat was a vegetarian and they became great friends.\" And so on.\nSharing stories with your child can be a great learning tool, a helpful distraction, or a wonderful bonding experience. Take some time to brush up on a few tales and memories, and get ready to share the art of storytelling!\nShawna Munro works at the Elspeth Reid Family Resource Centre, a facility of Child and Family Services of Western Manitoba that offers\nparenting information and support.\n\u00bb 255 Ninth St., Brandon\nRepublished from the Brandon Sun print edition October 31, 2013", "id": "<urn:uuid:9d2d6c45-2b04-47fc-98dc-c8032571ce7c>", "dump": "CC-MAIN-2013-48", "url": "http://www.brandonsun.com/community/parenting-points---sharing-the-art-of-storytelling-230045621.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164045928/warc/CC-MAIN-20131204133405-00033-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9676913022994995, "token_count": 593, "score": 4.0625, "int_score": 4}
{"text": "In Year 4, children are expected to take responsibility for their own equipment, making sure they have what they need on the correct day, e.g. musical instruments, PE kit. Pupils receive set prep work to do at home on a weekly basis, as well as reading and spelling practice.\nThe children are encouraged to develop a quiet and sensible work ethos as a greater level of independent learning is introduced. It is also important that pupils are happy, courteous and considerate of others. All of this contributes positively to pupils\u2019 increasing self-confidence and the ability to be proud of their work.\nMaths \u2013 The Heinemann scheme for Mathematics is used as the foundation in which to provide a stimulating and challenging curriculum that can be accessed by pupils of all abilities. There is a firm emphasis on mental maths agility and development is achieved through a diverse range of teaching styles and progress is partly measured via a weekly mental maths test. Pupils are required to use their mathematical skills across the curriculum.\nEnglish- Year 4 will work from the CGP Scheme where all the building blocks and subtle conventions of English are covered and they will also do creative writing and poetry. Through careful cross curriculum planning, pupils will be challenged to use the skills garnered in English lessons across all subjects.\nThere will be a weekly spelling test along with a class novel which will be read by the class teacher and opportunities for them to also have a weekly session of independent reading. It is expected that each individual pupil will continue to develop a fluent, expressive and confident reading style along with a good understanding of the text. By this stage, pupils should be able to select a wider range of personal reading material, encompassing fiction and information books. Pupils develop their writing skills with continued attention to punctuation and the appreciation of writing for different purposes.\nScience-Over the three terms the children will cover areas of Forces, Electricity-Conductors and Insulators, Micro-organisms and our environment. These will all entail the children to plan, carry out and evaluate their own experiments.\nGeography- Out topics this year are Volcanoes and Mountains, Deserts and St.Lucia. Children will build on the skills, knowledge and understanding in which they have previously acquired. Geography will develop and stimulate the children\u2019s interests in, and foster a sense of wonder of, places and the world around them; they will consider important issues about their environment and recognise how people from all over the world are linked.\nReligious Education- Islam, Holy symbols and Christianity: the Ten Commandments.\nPhysical Education- Taught by a specialist teacher. There will also be a weekly session of swimming.\nMusic \u2013 Year four will have one lesson per week taught by Mrs Price, a music specialist.\nHistory- Aztecs, Pirates and Christopher Columbus. They will develop their curiosity about the past, the characteristics of different periods, from early times to the present, and the ways in which they are different from each other and from the present. The will engage in stimulating and focused historical enquiry using a wide range of sources.\nWelsh & Modern Foreign Language- Year four will be grouped together when having their Welsh lessons. We aim to promote the use of Welsh in and around Llandovery Prep through the use of everyday language. They will also have a weekly session of French. From within Llandovery Prep, a MFL club will be offered every week where pupils will learn about France, Spain and Wales along with certain language skills.\nArt & Design Technology- This year we will be covering Visual language of art and design, Shape/observational drawing and seasonal art. Children will use a variety of materials and processes and communicate their ideas and feelings through visual, tactile and sensory language. Exploration, appreciation and enjoyment in art and design enrich learners\u2019 personal and public lives. They will be taught to design and make simple products by combining their designing and making skills. They will be encouraged to be creative and innovative in their designing and making while being made aware of issues relating to sustainability and environmental issues.", "id": "<urn:uuid:89ffafc4-b471-4913-bb8b-1a71b210308b>", "dump": "CC-MAIN-2013-48", "url": "http://www.llandoverycollege.com/default.asp?page=1260", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00036-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9575405120849609, "token_count": 833, "score": 3.546875, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\n- Kristina C., Special Education Teacher\n- Covina, CA\nJasper Johns Teacher Resources\nFind Jasper Johns educational ideas and activities\nStudents analyze the work of three artists whose art work illustrates important political and social events. In this art analysis lesson, students analyze the art of Jasper Johns, Charles Moore, and Andy Warhol. Students complete image based discussion and three related projects.\nBetsy Ross - fact and myth. As an introduction to American Literature, class members become detectives and search web sites to find information about the flag, prominent places it has been displayed (on the moon, at ground zero, in films, etc.), and treatment of the flag. A photo montage and a quiz are mentioned but not included.\nStudents analyze three dimensional art that uses a variety of materials and is part of Minimalist art. In this art analysis lesson, students explore artists' choices for materials and their use of space. Students complete image based discussion and four related activities.\nStudents analyze Pop artists and their art. For this art analysis lesson, students consider the choices and mediums Pop art artists Andy Warhol, Roy Lichtenstein, Claes Oldenburg, and Jasper Johns. Students make connections between culture and art by completing image based discussion. Students research prints and multiples created by Pop artists in the 1960s. Students select an everyday object and create a nontraditional self-portraits.\nFirst graders discover artists who used numerals in their artwork. Using chalk pastels, they experiment with what the medium can do to a new piece of art. They review warm and cool colors, the concept of overlapping and how to use stencils. They practice adding number sentences as well.\nVisual arts lessons don't always mean the children need to make art. Here, they will practice using their visual literacy skills to analyze four images through the compare and contrast method. The first two images deal with gender identity and portrait art, the second two utilize geometric parts to create a whole. Both sets of images are interesting and are sure to inspire great classroom discussions.\nYoung art enthusiasts will create an imaginative animal painting, write a story, and hold a storytelling conference. Next, they research the inspiration of one piece of politically charged art. These three fun activities are inspired by the Sufi artist Gora Mbengue. Interesting background information on the artist, his philosophy, and art is included to kick-start these activities.\nWho was Andy Warhol? According to this slide show, he was one of the most famous artists in the world. Share a biographical, image-rich presentation as you cover the life of the grandfather of pop art. Note: This presentation would make a good example for learners to use as they set out to research other famous artists.\nStudents analyze geographic maps. In this map analysis lesson, students analyze the symbols in geographic maps and the impact of cultural, historical, and political concepts. Students compare and contrast maps in various mediums by artists from varying backgrounds. Students complete image based discussion and related activities.\nStudents analyze the folk art 'Flag Gate' and complete analysis activities it. In this art analysis lesson, students complete analysis of the folk art using the careful looking questions, discussion questions, and context questions. Students may also complete activities for the lesson.\nSixth graders complete activities to demonstrate various math concepts in visual art. In this math concepts and line art instructional activity, 6th graders review optical illusions and complete a related worksheet. Students discuss symmetrical balance and create their own versions of line art. Students then discuss negative and positive space and create a composition incorporating symmetrical balance, color gradation, and positive and negative space.\nStudents explore art of the 1950s. In this art history lesson, students examine works by Kofman, Groky, deKooning, Indiana, Hamilson, and Warhol as they identify the attributes of Abstract Impressionism and pop art. Students sketch selected examples of the art presented in the lesson.\nEighth graders investigate modern-dance choreographer Merce Cunningham's historically significant contribution to dance-making history. Specifically, 8th graders explore and practice Merce Cunningham's choreographic use of chance operations (probability), through kinesthetic and movement exploration.\nEleventh graders produce a work of art that symbolizes peace and their experiences with it. In this peace symbolism lesson, 11th graders sketch symbols associated with peace view art examples of peace images. Students complete a reflective writing activity and complete a project with peace imagery.", "id": "<urn:uuid:676a2983-8425-435c-ba1e-3702b6a25748>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/jasper-johns", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163976781/warc/CC-MAIN-20131204133256-00038-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9157845973968506, "token_count": 939, "score": 3.796875, "int_score": 4}
{"text": "As parents, most of us have heard how important it is to encourage a love of reading and writing early in our children\u2019s developmental process. The United Nations Educational, Scientific and Cultural Organization (UNESCO) defines literacy as the \u201cability to identify, understand, interpret, create, communicate and compute, using printed and written materials associated with varying contexts. (Source: www.unesco.org).\nThe key to literacy is ones reading development that begins with comprehension of spoken words and the ability to decode written words. There are several tips that Literacy Connections.com has provided to encourage parents to become active in establishing a love of reading and writing in their children.\nStart to read to your children at a very young age. You don\u2019t need to wait until your child is old enough to be read to. Literacy Connections recommends this habit of reading to your child start well before their first birthday.\nMake reading at bedtime a habit. This might take some time to get established but soon you will both be looking forward to this nightly habit.\nHave your child help pick out the books he/she would like to have in their regular rotation. This can be hard if they want you to read the same books over and over again \u2013 but your child will gain a lot from these repeated readings.\nMake it fun. Look at the pictures together and roar like a lion, squeak like a mouse or just be silly together looking at the illustrations. The more a child has a positive connection to reading the more likely they will continue reading on their own for enjoyment once they learn how to read.\nMake up new stories. The art of storytelling and writing is a wonderful skill that can be developed with practice. You can use pictures from children\u2019s books or magazines and create a whole new story. (Source: www.literacyconnections.com)\nPrograms that Support Literacy\nSome programs that support literacy include First Book and Jet Blue and PBS Kids \u201cSoar with Reading\u201d program \u2013 both provide books to low income families and communities who might not have the money to purchase books for their children or centers.\nMrs. P, one of the most popular entertainment and educational sites for kids on the Internet, promote a love of reading and writing by hosting an annual Be-A-Famous Writer Contest that students from the ages of 4-13 years of age can enter. Kathy Kinney of the Drew Carey Show acts as Mrs. P and offers storytelling via You Tube.\nThey work with teachers that make this writing contest a classroom project! The winners in the two categories 4-8 years of age and 9-13 years of age have their book professionally illustrated and made into a hard cover book. This year they are working with some top judges including Julia Roberts, Melina Gerosa Bellows, the VP and CCO of the National Geographic Kids and Mary Frances Smith Reynolds, a teacher.\nI had a chance to speak to Ms. Kinney who says that \u201cshe is convinced that children who read and exercise this skill will grow up to help solve problems and world affairs.\u201d You can read more about the contest and what Mrs. P has to offer at www.mrsp.com.\nIt is so wonderful to see organizations such as Jet Blue/PBS Kids \u201cSoar with Reading\u201d program and Mrs. P provide books and contests that encourage these important life skills. Literacy is a lifelong intellectual process that benefits individuals and the world around them!\nOriginally posted on Mom It Forward: http://momitforward.com/literacy-love-reading-and-writing\nThe United Nations Educational, Scientific and Cultural Organization (UNESCO) www.unesco.org\nLiteracy Connections: www.literacyconnections.com\nMrs. P Be-A-Famous-Writer Contest: www.mrsp.com\nJet Blue/PBS Kids \u201cSoar with Reading\u201d Program: www.soarwithreading.com\nFACEBOOK PARTY August 30th at 5:30 pm PST with Mrs. P! Come join us to celebrate the love of reading and storytelling with Mrs. P! She will be joining us on Penelope\u2019s Facebook Page. We will also be handing out some goodies including a gift card, signed copies of books, original artwork, and more! See you then and tell your friends!", "id": "<urn:uuid:cf4a58f5-e494-4e16-bbd3-c67b0204127f>", "dump": "CC-MAIN-2013-48", "url": "http://melissanorthway.com/2012/08/promoting-literacy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164944725/warc/CC-MAIN-20131204134904-00038-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9462592601776123, "token_count": 905, "score": 3.625, "int_score": 4}
{"text": "How to Teach with Technology: Language Arts\nStudents fire off ideas for using digital tools to learn language and literature.\nCredit: David Julian\nCheck out these tips from students and educators for high tech teaching:\n\"I think students would retain a lot more information if they made a video about the person they're studying or created an instant message dialogue in which they imagine a fictional conversation between characters, as opposed to just taking a test or writing an essay.\n\"If every class could use some type of blog or Web page, students could post their questions and the teacher would be able to respond for the whole class to see. This means the teacher wouldn't have to answer the same question multiple times, and students would understand homework better. The class could use this blog in other ways, too.\n\"For example, students could respond to a prompt on the blog for homework, or students could check their answers on the blog to review for a test. This site could also help a lot with students who are absent. In my math class, the teacher created a Web site where students can access all the worksheets. This is a big help to students, because they can complete makeup work more easily, and kids are always losing their worksheets.\"\nEvery Picture Tells a Story\n\"With Photo Story, you tell a story with pictures. You get pictures for your story, you add voice, and, as an option, you can put in effects or music. It helps me with voice and dialogue in my writing, which you need to keep your listener interested.\"\nPhoto Story is a free application within the Windows XP operating system that allows users to create a digital presentation of sounds and images. Fifth-grade students at Denton Avenue School, in New Hyde Park, New York, use the program as part of the language arts curriculum.\nIn a recent project, students wrote narratives about the teachers at their school. The added layers of images, timing, visual effects, and music help students think critically about narrative and audience.\n\"Last year, my teacher used Skype in a different way. We read the book The Mysteries of Harris Burdick, by Chris Van Allsburg. We had to come up with a story about each picture in the book, and we worked on the stories with a class in Florida! We were able to work on stories with kids in an entirely different state without even getting on a plane.\"\nSkype is a simple way to conduct phone and video calls free of charge through the Internet. For a free download, visit Skype.com.\nGive Bios a Backbeat\n\"Students could use Apple GarageBand to come up with a song for English class about their lives, instead of writing in a journal. If I were a teacher, I would first ask the students to write an entry about their life. Then I would ask them to add in words to make the song rhyme. I would also show them how to add beats, change their voice, and remix a favorite song and add it to their song.\n\"This would give the students freedom, and it would help them work on their grammar skills. I would also advise teachers of other subjects to use this idea. For example, in social studies, we could use GarageBand to come up with a song about a famous historical person and write it as if the person were speaking during a year in which he or she lived. We could then take all the songs and burn them onto a CD so every student had a copy.\"\n\"When I'm writing a story by myself in a Word document, I'm usually at a loss for what to say. I'm always going back and changing things or messing around with fonts. But when my friend and I use the online chat tool Google Talk, we make a story. Line by line, going back and forth, we add on to our crazy plots.\n\"See, when you chat, you're not alone. Someone is always there to add on. Also, you cannot go back and change things. It keeps the story moving forward, and it's great for rough drafts. I think people could definitely use this in the classroom for creative writing.\n\"Once you've made your chat, it can be automatically saved and you can easily print it out. When you want to edit the story, all you have to do is copy and paste it into a Word document. It's a way to work together, get out your ideas, and use technology.\"\n\"I would use VoiceThread to record responses to poems. Kids think about poems differently than adults. VoiceThread helps kids express their thoughts easily and record their feelings, emotions, and understanding.\"\nVoiceThread is collaborative slide show software that allows users to contribute audio, images, and video. Students in Lisa Parisi and Christine Southard's fifth-grade class at Denton Avenue School use VoiceThread to recite poetry and voice their responses to literature as well as to connect with students around the world. For example, an ongoing project on their class Web site uses VoiceThread to share common phrases in dozens of languages.\nStudy Homer with a Hedgehog\n\"If we're studying Homer's Odyssey, I would like the opportunity to learn about it in ways other than just reading. For example, an opportunity to use movies, photographs, or games (such as Sonic Odyssey, which takes Sega's Sonic the Hedgehog character through Homer's Odyssey) would make learning more enjoyable and easier.\nStudents could relate to the events a lot better and maximize what they get out of it. The option to create a digital presentation (a movie, cartoon, drawing, or online debate) for testing and homework purposes would make it even better.\"\n\"For drawing, I use Adobe Photoshop and Adobe Flash. (I am not much of an artist, but they are the ones I like the most.) I recently found Doozla, and my five-year-old cousin loves to draw with it. For cartoons and comics, I use an application called Comic Life.\"\nThe Mural of the Story\n\"In art class, we made murals in groups. We wrote down a script about different aspects of our mural and then recorded audio tours using GarageBand. Then, we loaded the recordings onto iPods. We're going to display the murals with the iPods so people can listen to our audio tour.\"\nGarageBand is free software in the Macintosh operating system that encourages users to learn the basics of piano and guitar. It also allows you to record, mix, and edit multiple audio tracks. Visit GarageBand online for explanations and tutorials.\nSara Bernard is a former staff writer and multimedia producer at Edutopia.\nGo back to the main article, \"How to Teach with Technology.\"", "id": "<urn:uuid:98e81e2a-ca55-4716-ba02-31322dc8c311>", "dump": "CC-MAIN-2013-48", "url": "http://www.edutopia.org/digital-generation-language-arts-lessons", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345777253/warc/CC-MAIN-20131218054937-00037-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9656627178192139, "token_count": 1376, "score": 3.546875, "int_score": 4}
{"text": "AYU RIA WULANDARI, DYAH (2006) THE ROLE OF STORY TELLING IN IMPROVING THE FIFTH YEAR STUDENTS\u2019 VOCABULARY ACHIEVEMENTAT SDN BANJAREJO KEDIRI. Other thesis, University of Muhammadiyah Malang.\nDownload (82Kb) | Preview\nNow, Indonesia has special attention in English teaching. It has been proven by giving the English subject to elementary school students. The Decree of Ministry of Education and Culture (R.I/No 0487/4/1992, Chapter VIII) states that an elementary school can include extra lessons in its curriculum as long as they are not in contradiction with the objectives of national education. One of the language components to be given to the learners is vocabulary. It is written in the English syllabus that they have to master 500 words by the end of Elementary School year, 150 words for the fourth grade/class, 150 words for fifth and 200 words for sixth respectively. Teaching English vocabulary to young learners is not easy. Teacher must have many ideas. The introduction of the review of vocabulary items should be carried by means of instructional media and oral presentation. Picture and the media support meaning. One way to make English more interesting is storytelling that can be used to increase student\u2019s vocabulary. This study used an experimental method because it was intended to know the better method of teaching vocabulary for young learners. The subject in the study was fifth year students of elementary school in SD BANJAREJO KEDIRI. The number of this grade was 30 students. Then the writer divided them into two groups randomly, a half of the students as an experimental group and the other half of the students as control group. The instrument of this study was vocabulary test. The type of vocabulary test was multiple choices. This study focuses on investigating whether or not telling story in vocabulary teaching improves the students\u2019 vocabulary achievement. Therefore, to find out whether or not there is difference between the two groups (experiment and control groups) in the case of vocabulary achievement, t-test formula is used. The finding is, then, interpreted by utilizing the table of significance of t-table. The result of computation shows that the counted t is 2.944, which exceeds 2.048 at .05 and 2.763 at .01 level of significance. It means that the alternative hypothesis is accepted. From the result, it can be stated that teaching vocabulary by using storytelling is more effective than teaching vocabulary without story telling. Therefore, story telling is worthwhile applying in the teaching of vocabulary for young learners.\n|Item Type:||Thesis (Other)|\n|Subjects:||L Education > L Education (General)|\n|Divisions:||Faculty of Teacher Training and Education > Department of English|\n|Depositing User:||Rayi Tegar Pamungkas|\n|Date Deposited:||31 May 2012 02:39|\n|Last Modified:||31 May 2012 02:39|\nActions (login required)", "id": "<urn:uuid:8e0abbed-8756-4b08-a440-502a80ef2c9f>", "dump": "CC-MAIN-2013-48", "url": "http://eprints.umm.ac.id/6219/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00038-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9243237376213074, "token_count": 631, "score": 3.625, "int_score": 4}
{"text": "Earth Day is Everyday\nby Donna M. Duresne\nDirector, Ragged Hill Woods\n4-H Environmental Education Program, Brooklyn CT\nYoung people are increasingly aware of an concerned about the environment. As parents, teachers, and day care providers, we can help them to explore the outdoors and develop their environmental awareness. The iridescent wings of a Japanese Beetle; a spider's web draped in dew; the inconspicuous hole made by a meadow vole, are some of the magical discoveries children can make in their own backyard.\nTheir enthusiasm for the smallest details can be infectious. Sharing the outdoors with children heightens our own awareness and inspires young people to nurture a sense of respect for the world in which they live. The following activities can be accomplished in a backyard setting, or a city park. Most can be duplicated in an urban area. Wilderness is not necessary to the discovery of wildness!\nACTIVITIES AGES 3-5\nACTIVITIES AGES 5-7\nACTIVITIES AGES 7-9\nBesides the activities above, day care providers can help to cultivate a healthy environmental attitude by separating and recycling trash, and composting food scraps. Young people can be encouraged to swap old toys and to hand down their clothes rather than discard them. Choose an animal or habitat of the month to study and talk about and Native American Storytelling resources for outdoor activities with young people, but first, read Rachel Carson's book A Sense of Wonder!.\nBaylor, Byrd, The Other Way to Listen. Charles Scribner's Sons, N.Y.\nCaduto, Michael J. and Bruchac, Joseph, Keepers of the Earth. Folcrum Press, 1988, Golden CO.\nColumbe, Deborah A. The Seaside Naturalist: A Guide To Nature Study at The Seashore. Prentice-Hall, Inc., NJ, 1984.\nCornell, Joseph Bharat, Sharing Nature With Children. Ananda Publications, 1979.\nHunken, Jorie, Botany For All Ages (Discovering Nature Through Activities Using Plants). Globe-Pequot Press, Chester CT, 1989.\nSisson, Edith A., Nature With Children Of All Ages. Prentice-Hall Inc., 1982, NJ.\nRockwell, Robert E., Sherwood, Elizabeth A., & Williams, Robert A., Hug A Tree: And Other Things To Do Outdoors With Young Children. Gryphon House Inc.,1986, MD.", "id": "<urn:uuid:32cf1508-e33e-4a25-a84f-af2d5fc6e92a>", "dump": "CC-MAIN-2013-48", "url": "http://www.canr.uconn.edu/ces/child/newsarticles/CS5546.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00039-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.830135703086853, "token_count": 514, "score": 3.703125, "int_score": 4}
{"text": "Childcare workers nurture and teach children of all ages in childcare centers, nursery schools, preschools, public schools, private households, family childcare homes, and before- and afterschool programs. These workers play an important role in a child\u2019s development by caring for the child when parents are at work or away for other reasons. Some parents enroll their children in nursery schools or childcare centers primarily to provide them with the opportunity to interact with other children. In addition to attending to children\u2019s basic needs, these workers organize activities that stimulate the children\u2019s physical, emotional, intellectual, and social growth. They help children to explore their interests, develop their talents and independence, build self-esteem, and learn how to get along with others.\nPrivate household workers who are employed on an hourly basis usually are called babysitters. These childcare workers bathe, dress, and feed children; supervise their play; wash their clothes; and clean their rooms. They also may put them to bed and waken them, read to them, involve them in educational games, take them for doctors\u2019 visits, and discipline them. Those who are in charge of infants, sometimes called infant nurses, also prepare bottles and change diapers.\nNannies generally take care of children from birth to age 10 or 12, tending to the child\u2019s early education, nutrition, health, and other needs. They also may perform the duties of a general housekeeper, including general cleaning and laundry duties.\nChildcare workers spend most of their day working with children. However, they do maintain contact with parents or guardians through informal meetings or scheduled conferences to discuss each child\u2019s progress and needs. Many childcare workers keep records of each child\u2019s progress and suggest ways in which parents can stimulate their child\u2019s learning and development at home. Some preschools, childcare centers, and before- and after-school programs actively recruit parent volunteers to work with the children and participate in administrative decisions and program planning.\nMost childcare workers perform a combination of basic care and teaching duties. Through many basic care activities, childcare workers provide opportunities for children to learn. For example, a worker who shows a child how to tie a shoelace teaches the child while also providing for that child\u2019s basic care needs. Childcare programs help children to learn about trust and to gain a sense of security.\nYoung children learn mainly through play. Recognizing the importance of play, childcare workers build their program around it. They capitalize on children\u2019s play to further language development (storytelling and acting games), improve social skills (working together to build a neighborhood in a sandbox), and introduce scientific and mathematical concepts (balancing and counting blocks when building a bridge or mixing colors when painting). Thus, a less structured approach is used to teach preschool children, including small-group lessons, one-on-one instruction, and learning through creative activities, such as art, dance, and music.\nInteraction with peers is an important part of a child\u2019s early development. Preschool children in childcare centers have an opportunity to engage in conversation and discussions, and to learn to play and work cooperatively with their classmates. Childcare workers play a vital role in preparing children to build the skills they will need in school. (Teacher assistants\nas well as teachers\u2014preschool, kindergarten, elementary, middle, and secondary\nschool are discussed elsewhere in the Handbook.)\nChildcare workers in preschools greet young children as they arrive, help them to remove outer garments, and select an activity of interest. When caring for infants, they feed and change them. To ensure a well-balanced program, childcare workers prepare daily and long-term schedules of activities. Each day\u2019s activities balance individual and group play, and quiet and active time. Children are given some freedom to participate in activities in which they are interested.\nConcern over school-age children being home alone before and after school has spurred many parents to seek alternative ways for their children to constructively spend their time. The purpose of before- and afterschool programs is to watch over school-age children during the gap between school hours and their parents\u2019 work hours. These programs also may operate during the summer and on weekends. Workers in before- and after-school programs may help students with their homework or engage them in other extracurricular activities. These activities may include field trips, learning about computers, painting, photography, and participating in sports. Some childcare workers may be responsible for taking children to school in the morning and picking them up from school in the afternoon. Before- and afterschool programs may be operated by public school systems, local community centers, or other private organizations.\nHelping to keep young children healthy is an important part of the job. Childcare workers serve nutritious meals and snacks and teach good eating habits and personal hygiene. They ensure that children have proper rest periods. They identify children who may not feel well or who show signs of emotional or developmental problems and discuss these matters with their supervisor and the child\u2019s parents. In some cases, childcare workers help parents to locate programs that will provide basic health services.\nEarly identification of children with special needs\u2014such as those with behavioral, emotional, physical, or learning disabilities\u2014is important to improve their future learning ability. Special education teachers often work with these preschool children to provide the individual attention they need. (Special education teachers\nare discussed elsewhere in the Handbook.)", "id": "<urn:uuid:0e2e91e7-002d-4384-a343-c2eb30dd4fd5>", "dump": "CC-MAIN-2013-48", "url": "http://jobbankusa.com/career_employment/childcare_workers/job_descriptions_definitions_roles_responsibility.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053330/warc/CC-MAIN-20131204131733-00035-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9680283069610596, "token_count": 1115, "score": 3.546875, "int_score": 4}
{"text": "Redirected from Alexander Pushkin\nHe pioneered the use of vernacular speech in his poems and plays. He created a style of storytelling, mixing drama, romance and satire, that has been associated with Russian literature ever since and greatly influenced later Russian writers. His Romantic contemporaries were Byron and Goethe, and he was influenced by the satire of Voltaire and by the tragedies of Shakespeare.\nAleksandr Sergeevich Pushkin was born in Moscow on May 26, 1799. His father was a descendant of one of the Russian gentry's oldest families, while his mother was the grand-daughter of Ibraham Petrovich Gannibal[?], a slave from Abyssinia (Ethiopia) who became the adopted godchild and Engineer-General of Peter the Great.\nPushkin published his first poem at fifteen. By the time he finished as part of the first graduating class of the prestigious Imperial Lyceum in Tsarskoe Selo[?], he was already seen as a force on the Russian literary scene.\nAfter finishing school, Pushkin installed himself in the vibrant and raucous intellectual youth culture of the capital, St. Petersburg. When his political satire was deemed seditious, however, he was exiled to south Russia, where from 1820 to 1823 he wrote two poems which brought him wide acclaim, The Captive of the Caucasus and The Fountain of Bakhchisaray. The latter was finished in Odessa, where he transferred to resume his cosmopolitan and promiscuous lifestyle.\nPuskin's political leanings led to his virtual imprisonment on his mother's estate in north Russia from 1824 to 1826. He was allowed to visit Tsar Nicholas I to petition for his release, which was granted. But his early political poems had been found among the insurgents in the Decembrist Uprising[?] in St. Petersburg, and soon Pushkin found himself under the strict control of government censors and unable to travel or publish at will. He had written what was to be his most famous play, the drama Boris Godunov, while at his mother's estate, but was not allowed to publish it until five years later.\nLater, Pushkin and his wife, whom he married in 1830, became regulars of court society. When Pushkin was given an honorary title by the Tsar, he became enraged, feeling this was done simply so that his wife, who had many admirers--including the Tsar himself--could properly attend court balls. In 1837, falling into greater and greater debt while his wife was having a scandalous affair, Pushkin challenged her lover to a duel which left both men injured, Pushkin mortally. He died two days later, on January 29, 1837.\nThe government feared a political demonstration at his funeral, which was moved to a smaller location and made open only to high society members. His body was spirited away secretly at midnight and buried at his mother's estate.\nCritics have labelled many Pushkin works as masterpieces, including the poem The Bronze Horseman and the drama The Stone Guest, a tale of the fall of Don Juan. Pushkin's own favorite was his verse novel Eugene Onegin, which he wrote over the course of his life and which, starting a tradition of great Russian novels, follows a few central characters but varies widely in tone and focus.\nPerhaps because of his political influence on generations of Russian rebels, Pushkin was one of only a few Russian pre-Revolutionary writers who escaped condemnation by the Bolsheviks during their attacks on bourgeois literature and culture.", "id": "<urn:uuid:2fb165af-023f-4350-b12c-9f9c57c010cf>", "dump": "CC-MAIN-2013-48", "url": "http://encyclopedia.kids.net.au/page/al/Alexander_Pushkin", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164972407/warc/CC-MAIN-20131204134932-00039-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9914490580558777, "token_count": 732, "score": 3.640625, "int_score": 4}
{"text": "The only chance many of today's students have to learn the traits of solid character is from a caring, committed teacher. But do you know how to teach them? Included: Five steps to teaching character traits.\nThe teacher read Alfred's misbehavior report and shook her head. It was his third playground citation this week and like the others, it was about his derogatory comments. \"Alfred, you can't keep saying negative things to people,\" she explained. \"You've got to start acting more respectfully.\" \"I'll try,\" he sadly responded. \"It's just that I don't know what respectfully means.\"\nTeachers everywhere are voicing a concern: far too many of their students do not know the meaning of critical character traits. As a result, a growing number of students are failing in a core subject needed for successful living: solid character. Psychologists tell us that one way students learn character traits is by watching others do things right. Recall just a few incidents children have seen recently on national television -- professional baseball players spitting in umpire's faces, a champion boxer biting a chunk off his opponent's ear, Super Bowl Sunday events requiring airing delays because of what an entertainer might reveal to the kiddies. Then there is the litany of national scandals involving everyone from politicians to priests to corporate officials to teachers. Now ask yourself, \"To whom are your students looking to learn sound character traits?\" The answer is troubling.\nThe breakdown of appropriate role models certainly is not the only reason for the decline in character development. Dr. Thomas Lickona, author of Character Matters, cites an increase in ten troubling youth trends in our society that point to an overall moral decline: violence and vandalism, stealing, cheating, disrespect for authority, peer cruelty, bigotry, bad language, sexual precocity and abuse, increasing self-centeredness and declining civic responsibility, and self-destruction. It's yet another reason why so many of today's students lack solid character.\nThe fact is that school might very well be the last beacon of hope for many students. Where else will they have a chance to understand the value of a trait called \"responsibility\" or \"caring\" or \"respect\" or \"cooperation?\" Where else will they have the opportunity to watch someone model those traits appropriately? Where else but from a caring, committed teacher will many of today's students have a chance to learn the traits of solid character?\nHow do we help students develop strong character? The answer is found in this premise: Character traits are learned; therefore we can teach them. It means that educators have tremendous power because they can teach students critical character traits. But building students' character involves a few steps.\nNo matter what character trait you choose to enhance -- perseverance, determination, empathy, responsibility, respect, caring, or another -- there are five minimum steps to teaching it. The steps can be integrated easily into your lesson plans, but each is equally important to ensure that your students develop stronger character.\nThe five teaching steps are:\nStep 1. Accentuate a Character Trait\nThe first step to teaching any new character trait is simply to accentuate it to students. Many schools have found that emphasizing a different character trait each month can be a successful, practical first step approach. When everyone at your site is reinforcing and modeling the same trait, students are more likely to learn that character trait. As each new character trait is introduced, a student campaign committee can start a blitz, creating banners, signs, and posters to hang up around the school to convince other students of the trait's merit. Four of the simplest ways to accentuate a character trait are:\nStep 2. Tell the Value and Meaning of the Trait\nThe second step in teaching a character trait is to convey to students exactly what the trait means and why it is important to learn. Explain the trait to students within their realm of experiences; never assuming they've been exposed to the trait. Many have not. Ways to define new traits to students include:\nStep 3. Teach What the Trait Looks and Sounds Like\nThere is no perfect way to teach the trait, but research on teaching new skills says telling students hw to do the behavior is not nearly as important as showing them the behavior. You can make a significant difference by modeling the trait and making your character education lessons as concrete as possible. Three ways you can do that are:\nStep 4. Provide Opportunities to Practice the Trait\nGenerally students must be provided with frequent opportunities to practice the new behaviors. Learning theory tell us it generally takes 21 days of practice before a new behavior is acquired. This is an important rule to keep in mind as you try these activities with your students. Three ways you can help students review their character progress are:\nStep 5. Provide Effective Feedback,\nThe final step in teaching any character trait is to reinforce to students appropriate or incorrect trait behavior as soon as convenient. Doing so helps clarify to the student: \"You're on the right track; keep it up,\" or \"Almost, but this is what to do instead.\" Catching students doing a behavior wrong before it becomes a bad habit increases the student's chances of acquiring more positive character traits. Here are a few reminders about giving effective feedback:\nWith the growing number of today's students lacking solid character development, it is imperative that schools incorporate ongoing character education. Keep in the mind, the best character lessons are ones that blend naturally into your existing plans. There are endless ways to use literature, videos, music, quotations, news articles, and historical figures that embody the themes of strong character. Perhaps the simplest way to enhance your students' character development is to accentuate a character trait each month. Doing so optimizes students' chances of developing solid character they'll use not only now, but for the rest of their lives. Above all, never forget your own impact on your students' character development. You do make a difference!", "id": "<urn:uuid:4e7b29ed-1c33-4a53-88ad-0bfcede674f9>", "dump": "CC-MAIN-2013-48", "url": "http://www.educationworld.com/a_curr/profdev/profdev135.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386165000886/warc/CC-MAIN-20131204135000-00039-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9598158597946167, "token_count": 1211, "score": 3.625, "int_score": 4}
{"text": "Common Core Standard 7 for Reading presents teachers with many possibilities for mixing all kinds of art forms with literature. Music, photography, painting, sculpture, and many other media are easily brought into the classroom today because of the internet\u2026the important thing is to use these resources heuristically.\n7. Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden\u2019s \u201cMus\u00e9e des Beaux Arts\u201d and Breughel\u2019s Landscape with the Fall of Icarus).\nTeaching students to analyze subjects or scenes in comparative forms gives us an opportunity to explore with them the traditions of storytelling\u2014the many and various ways stories can be told and have been told throughout history. Poetry, short stories, plays, and even novels and epic tales have important connections to art and present new, thoughtful ways to analyze and evaluate themes.\nTo start, you might explore the J. Paul Getty Museum\u2019s \u201cTelling Stories in Art\u201d website where you will find a wide variety of art to connect to literature as well as lesson plans and other resources. The Getty Museum\u2019s stated goal here directly supports standard seven: \u201cTo build students\u2019 awareness of how stories can be told visually and how artists use color, line, gesture, composition, and symbolism to tell a story.\u201d These lessons encourage students to think critically about how writers use particular elements to tell stories compared to how artists tell stories similarly but with different elements such as color, line, and gesture.\nIn the Classroom\nThough it is listed for grades 6-8, the lesson titled \u201cPainting Europa\u201d is especially useful for our purposes of meeting standard seven. Integrating technology effectively means teaching students to apply it heuristically\u2014to discover ideas and to solve problems. Try approaching the lesson with students this way: Tell students to imagine they are editors for an online, multimedia textbook that will include an illustration for a selection from Ovid\u2019s Metamorphoses. Two paintings are being considered. Students must submit their choices along with a brief explanation as to why the chosen painting best illustrates the selection. Expand further by having them also choose music to accompany the selection. You might pair them and have each team create a wiki with the chosen text, images, and music. Try wikispaces\u2026it\u2019s an excellent tool for online classroom collaboration.\nI hope you find the resources at the J. Paul Getty Museum and at Wikispaces useful. Standard seven is one we can easily revisit often and technology affords us the ability to make each activity meaningful and beneficial to our students.", "id": "<urn:uuid:3ac001df-4d51-4919-b6be-fbc2ae072474>", "dump": "CC-MAIN-2013-48", "url": "http://interactivelanguagearts.com/2011/11/11/blending-art-literature-and-problem-solving-at-the-j-paul-getty-museum/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163047052/warc/CC-MAIN-20131204131727-00038-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9440073370933533, "token_count": 554, "score": 4.09375, "int_score": 4}
{"text": "The Victorian Era was in many ways like our own. It was the first age of consumerism, and the Industrial Revolution was the forerunner of the current Technological Revolution. New discoveries and inventions revolutionised manufacturing processes in the Victorian age. Railways and steamships made travel faster and cheaper, rapidly shrinking the world. Mass production and increased international trade made more and more products available and affordable. And with the growth in industry and trade, the middle classes grew in number and wealth, and wanted to buy as much as possible of what was on offer.\nYet while the Middle Classes prospered in the Victorian era, the working class did not. Work in factories, sweat-shops and mines was dirty and dangerous; hours were long and poorly paid. Children had to work, in order for families to survive, and working conditions were often worse for children than they were for their parents. Towns and cities grew quickly to house the workers, but much of the housing was poor quality and overcrowded. Vast slum areas sprung up, putting pressures on water supplies and the disposal of waste. Coal fires and factories filled the air with smoke and other pollutants. The reaction to living conditions and the gap between the haves and have-nots generated rebellion and revolt in many parts of Europe, as people fought for basic human rights. These first lines from \u201cA Tale of Two Cities\u201d by Charles Dickens are certainly amongst the best openings to a novel ever written. But not only do they set the tone and atmosphere of the book and give a flavor of what is to come, they also capture a taste of the challenges and uncertainties of the Victorian era.\n\u201cIt was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way...\u201d\nNowhere were these contradictions in Society more obvious than in the Morality of the Victorians. They say the Victorians invented Childhood, treating the child as someone who needed to be protected and nurtured, and yet children as young as five were working in mines and factories, quite legally, during much of Queen Victoria\u2019s long reign. Women too, in the middle-class household were regarded almost as saints, \u201cprotected\u201d from anything that might offend or morally corrupt. Yet they were often little more than prisoners in their own homes with few freedoms in terms of what they could own or how they could behave, and outside the home, prostitution and pornography were rife. We also know that drugs were readily available in Victorian times. Sir Arthur Conan Doyle\u2019s fictional detective, Sherlock Holmes injects cocaine when there are no stimulating cases to occupy his mind, much to the disapproval of Dr Watson. Opium dens also feature in Dickens\u2019 \u201cThe Mystery of Edwin Drood\u201d and Oscar Wilde\u2019s \u201cThe Picture of Dorian Gray.\u201d Yet the real drugs \u201cproblem\u201d in Victorian times was not with the illicit drugs that they frowned upon, but the propriety medicines they consumed in great quantities. Numerous popular household remedies and tonics contained substantial amounts of opium and yet could be bought over the counter. These included \u201cDr Collis Browne\u2019s Chlorodyne\u201d a general nerve tonic, \u201cDover\u2019s Powder\u201d used to treat a wide variety of common complaints and \u201cGodfrey's Cordial\u201d which was commonly given to children and infants to \u201chelp\u201d them sleep. Opium and a range of other drugs were also used by brewers to strengthen beer Opium Dens were publically condemned and the smoking of opium was seen as a mainly Oriental vice, though few questioned the fact that China had been forced into accepting opium by the British. The wealthier classes in Victorian England had an almost insatiable demand for tea, silk, porcelain, and manufactured goods from China, but had nothing that the Chinese wanted to trade in return. So the East India Company began sending them opium until addiction was rife. The Chinese government resisted the trade, writing to Queen Victoria asking her to stop it. Eventually they dumped 20,000 chests of opium in the sea. Britain\u2019s response was to go to war with China and impose the drug trade. My first novel \u201cAvon Street,\u201d is set in Bath in 1850. In writing it I have tried to bring the Victorian era to life, with all its contradictions and its similarities to modern life. \u201cAvon Street\u201d takes the reader on a journey behind the fine Georgian facades of Bath to expose the darker side of the city. It\u2019s there that James Daunton has to fight for his life. His survival depends on the help of others, but who can he trust \u2013 the gentleman, the actress, the seamstress, the doctor, the priest, or the thief? \u2013 and how far can he trust them? Paul Emanuelli\nPaul Emanuelli was born in Stoke-on-Trent, of Welsh parents and Italian grand- parents. He went to University in Cardiff and stayed in Wales for a few years before moving to Shropshire and then toSomerset. He is married and has two children who have now flown the nest. Paul studied creative writing for several years at his local further educationcollege and on occasional courses at Bath University, concentrating at first on short stories. He was a prize winner in the short story competition at the Wells Literary Festival in 2004. \"Avon Street\" is his first novel. It is set in Victorian Bath in 1850, a city which by then was in decline. Going behind the Georgian facades beloved of innumerable period dramas, it exposes a city rife with poverty, crime and hypocrisy. Paul is now working on a second historical novel, also based in Somerset. Visit Paul Emanuelli's site", "id": "<urn:uuid:f2e5a261-3500-4841-babf-1cebcd6db8a2>", "dump": "CC-MAIN-2013-48", "url": "http://en.paperblog.com/author-guest-post-paul-emanuelli-avon-street-a-tale-of-murder-in-victorian-bath-252580/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164944725/warc/CC-MAIN-20131204134904-00041-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9858621954917908, "token_count": 1270, "score": 3.515625, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\nCritical Thinking Skills Teacher Resources\nFind Critical Thinking Skills educational ideas and activities\nTurn your 6th graders into detectives while growing their love of reading. Using critical thinking skills, they will be able to describe the five basic elements of detective fiction, read detective novels, make predictions, use the scientific method, and write their own detective story. This engaging activity includes all plans and questions.\nGet your young scientists excited about geology through the study of dinosaur tracks! They will use their power of observation to learn how tracks are made and use critical thinking strategies to suggest a scenario in which they were made. The suggested inquiry activity could be whole group or individual projects. They will be assessed on inference and sequence of events. While this lesson isn't detailed, the ideas for outcomes are very strong and highly engaging.\nWhat is a haibun? With this interesting activity, writers will experience the Japanese writing form haibun, identify elements important to Japanese writing styles, analyze a haibun, and compose their own. Different from the typical journal you'd see in the West, the goal of this style is to condense and intimate, rather than expand and explain. Critical thinking is promoted with this challenge.\nChapters 28 \u2013 31 of Harper Lee\u2019s To Kill a Mockingbird are the focus of a series of critical thinking questions. Responders are encouraged to refer directly to the novel to support their inferences and interpretations. Consider dividing the questions amoung groups and then having them share their findings with the whole class.\nWhat are the structures in cells and what are their functions? Budding biologists discover the answers to these questions through an in-depth examination of cells and organelles. Using the 5E learning cycle, learners explore the types of organelles using an electron microscope, research, draw, and describe the function of each one, explain how different cell types make up different kingdoms, then design and execute an experiment to determine the effect of pH on algae.\nStudents develop critical thinking and awareness about the complexity of natural resource use, wealth distribution, population densities, poverty, and the environment. They think about people living in different parts of the world and about the varying effects of population vs. consumption in rich and poor countries.\nStudents integrate Author and Biography study with Students personal perspective. They make connections between research and creative writing. Students enrich research and critical thinking skills. They encourage students to think about and develop their own life stories.\nExperiment with electric circuits and conductivity. Young scientists will model and discuss how an electric circuit works. First they will draw a model of the flow of electrons and then build an actual circuit. Finally, they will explain the circuit path and test the conductivity of a variety of materials. They use critical thinking skills to explore circuits and conductivity of materials. Be sure to check the materials list before planning for this activity.\nExperimental data for a chemical reaction is available in a table. Chemistry cohorts use critical thinking skills to analyze the data and answer questions about reaction rates and reaction order. This activity is neatly formatted, user-friendly, and comprehensive in its coverage of these concepts. Assign it as homework when covering reaction rates.\nWhere does an electron reside? Chemistry scholars determine an electron's \"address,\" that is, what orbital it can be found in. This resource is both instructional and practical, providing a thorough explanation of energy levels and orbitals, as well as several critical thinking challenge questions. Consider using this as a foundation for teaching these chemistry concepts.", "id": "<urn:uuid:38ca23a0-15fa-4db6-b387-26048599cc6a>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/critical-thinking-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163045217/warc/CC-MAIN-20131204131725-00039-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9359809160232544, "token_count": 729, "score": 4.03125, "int_score": 4}
{"text": "Literacy is changing\u2013not at its core necessarily, but certainly at its edges as it expands to include new kinds of \u201creading.\u201d\nDigital media is quickly replacing traditional media forms as those most accessible to most 21st century learners. The impact of this change is extraordinarily broad, but for now we\u2019ll narrow it down to changes in how learners respond to the media they consume.\nThe most fundamental pattern of formal academia is to read something and then write about it. Sometimes this writing comes in the form of responding to questions, while other time it\u2019s in the form of an essay. And sometimes the reading is watching, playing with, or otherwise interacting with a digital media. So I thought it might make sense to compile a list of \u201cthings\u201d learners can do as the result of \u201cconsuming\u201d a digital media.\nSome of these tasks will look familiar, especially to English teachers. But it needn\u2019t be only for them.The Common Core standards call for literacy efforts across content areas, and while much of the list below is indeed English Teacher oriented, it might help all educators see the fundamental ways media are changing.\nAlso, I know that medium is the singular form and media the plural, but to me the connotation of the word medium hints at the form (e.g., film, text, video), whereas the media seems more apt to refer to a specific example of a media form (Schindler\u2019s List, The Odyssey, Charlie Bit Me). Hopefully this grammatical \u201cerror\u201d isn\u2019t too confusing.\nYou also might notice that many of them apply to both traditional and digital media. That is by design.\nI\u2019ll be updating this list, revising it to add better examples, alter clunky phrasing, and so on. So, below are 50 ways teachers across content areas\u2013and homeschooled learners too\u2013can promote digital media literacy. I may even categorize them roughly by Bloom\u2019s Taxonomy. Overall, these are specific, practical, and rigorous tasks that will place a cognitive demand on the student, and can be used as a go-to list for teachers to bridge formal academic study with the new demands of digital media.\n50 Activities To Promote Digital Media Literacy In Students\n- Infer the author\u2019s purpose.\n- Distinguish between primary and secondary audiences.\n- Summarize the media by identifying its 3-5 most important ideas or events.\n- Identify and diagram the literary elements (e.g., setting, characters, conflict, etc.)\n- Identify and analyze characters as major or minor; flat or round; static or dynamic; symbolic or non; protagonist, antagonist, or neither.\n- Analyze the relationship between character and plot development.\n- Identify obvious and non-obvious literary devices.\n- Infer what an author\u2019s position on issue X might be after consuming an otherwise unrelated media (Infer what Emily Dickinson\u2019s position on social media might be given only a reading of her poetry\u2014or the themes of a single poem).\n- Revise and repackage a given media so that it is optimized for another platform (e.g., an essay to a YouTube video to a blog post to a Jux.com image to an infographic, etc.)\n- Debate the author\u2019s choice in publishing platform.\n- Analyze the structure of the media, and determine its impact on its purpose.\n- Evaluate the medium for relevant ideas that were left unsaid.\n- Revise the media for a new audience.\n- Create a graphical representation of the relationship between the text and subtext of the media, and include evidence from the text to support any response.\n- Anticipate the cause-effect relationship between various self-selected media elements by altering them (e.g., revising the diction would impact the audience this way, revising the structure would impact the available publishing platforms this way, etc.)\n- Evaluate the impact of the publishing platform (e.g., blog, storify, YouTube, etc.) on the purpose and tone.\n- Experiment with new chronological styles of narrative or argument sequence, and analyze the effect of each.\n- Recreate the media from another perspective (another character, a different narrator, etc.)\n- Design a \u201cmodal antithesis,\u201d where some or all of a medium\u2019s given modalities are revised to their opposites (e.g., identify the basic structure and tone of \u201cSouthern Man\u201d by Neil Young, and revise it to create their respective opposites).\n- Estimate the stage of the writing process that was most crucial to the media\u2019s success.\n- Design or outline an app to supplement a given media\u2019s purpose.\n- Based on some important and self-selected element of this text, what does it make sense to consume next?\n- Critique or defend the sequence of ideas (idea organization).\n- Judge where supporting details are inadequate to support the thesis or theme.\n- Identify the ways making a selected media social impacts its use of the writing process.\n- Interpret the themes, tone, or other media component through a given critical position (e.g., Predict what John Locke would\u2019ve said about the possibility of mobile learning given his stance on human consciousness).\n- Experiment with various syntactical styles, and analyze the effect of any changes in a basic diagram.\n- Analyze the ratio of pathos, ethos, and logos in the media.\n- Evaluate only the credibility of a piece, and identify three ways it might be improved.\n- Alter the ratio of pathos/ethos/logos in the media, and analyze the impact of any changes.\n- Analyze the relationship between the sound, color, text features, and text.\n- Critique or defend the author\u2019s choice in diction.\n- Prioritize the implicit and explicit ideas for their immediate relevance for a given context.\n- Analyze the media to extract the theme.\n- Criticize or defend a given media\u2019s form (e.g., this book would\u2019ve been better as an app for this reason)\n- Criticize or defend the media\u2019s balance of substance and whimsy.\n- Separate the information the media offers that\u2019s new and what\u2019s been heard before.\n- Concept-map the thesis and primary and secondary supporting details.\n- Propose sources that would improve over stated sources cited (e.g., these three sources would\u2019ve improved the overall credibility of the media).\n- Identify the three modalities most critical to the media\u2019s purpose.\n- Question the media\u2019s brevity, intensity, or duration.\n- Analyze the tone, and identify the primary contributors to that tone.\n- Identify the most visual, most useful, and most natural methods of sharing a given media, and analyze the strengths and weaknesses of each.\n- Determine the most elegant, most useful, and most natural methods of curating a given media, and analyze the impact of each.\n- Discuss the relationship between the media\u2019s style, the author\u2019s style, and the apparent audience.\n- Describe the relationship between the tone and mood.\n- Analyze the relationship and/or tension between implicit and explicit themes.\n- Image the most logical follow-up media creation based on a self-selected and stated purpose or goal. (e.g., based on the author\u2019s goal of increasing awareness of pancreatic cancer, a natural follow up to this blog post would be\u2026)\n- Design an innovative diagram that analyzes the media in concept map form.\n- Collect and categorize convergent elements of divergent media (e.g., a tweet, poem, video game, and folk song with similar tone but clearly divergent structures).\nImage attribution flickr user flickeringbrad", "id": "<urn:uuid:a46aeade-d232-4282-982d-0451d83a7d6c>", "dump": "CC-MAIN-2013-48", "url": "http://www.teachthought.com/trending/50-activities-to-promote-digital-media-literacy-in-students/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164722336/warc/CC-MAIN-20131204134522-00040-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8960689306259155, "token_count": 1674, "score": 3.84375, "int_score": 4}
{"text": "Children and the Media (page 2)\nToday, all members of our society are influenced both directly and indirectly by powerful media vehicles, including printed materials, television, sound recordings, and the Internet. Publicists, promoters, and sales personnel have at some point used all of these media to advocate what people should wear, what they should eat, and what values they should hold. Vivid colors and language tell us what is happening in the world and how to react to the events shown. Although much of our society\u2019s media seems dominated by superficial chitchat, hyped news events, and depictions of violence, it is also a source of education, humor, and nonviolent entertainment. Just remember that the effect of media will vary with a child\u2019s age and stage of development.\nMost realize that although the different media forms can be used elegantly for mediated learning, their major objectives are entertainment and product promotion. In the following section, we discuss what we broadly term the entertainment industry in its role as a general, society-wide influence on young children. We first discuss two of its primary forms, print and television, and then treat other current media under the rubric of the industry in general.\nThe kind of books and other print media that children read and have read to them influences and supports their emotional, social, and intellectual development both directly and indirectly. Print materials, such as books, magazines, and newspapers, reach the child indirectly, through parents, caregivers, and teachers, and directly, such as when children participate in a library presentation or select particular publications to buy or borrow. The printed material made available to children implies the values of the home, school, and community (Aldridge & Kirkland, 2006).\nPrint media affect children\u2019s development indirectly through the publications their parents read. Books and magazines inform adults how to lead healthy and productive lives and proclaim the dangers of unhealthy practices. Advertising affects the types of clothing, food, and (especially) toys bought for children. Some toys engage children\u2019s imagination and are designed for groups of children playing together. Other toys are more suitable for children playing alone. Children\u2019s potential for social and intellectual development is affected by which type of toy adults are motivated to buy.\nStudies on early literacy indicate that the amount and types of printed materials that adults have in the home, as well as how adults interact with these materials around children, affect the children\u2019s interest and literacy achievement (Desmond, 2001). From the books that adults read to children, children internalize attitudes, feelings, and biases about their own and other cultures. Zach, in the chapter\u2019s opening vignette, had a chance to express aggression in acceptable ways through Three Billy Goats Gruff. He was influenced in the kind of clothes he wanted by the story Max\u2019s Dragon Shirt. Books, like peers, provide children with a vision of their world that sometimes reaffirms their own lives and sometimes challenges their perspectives.\nTelevision\u2019s substantial impact on all growing children began in the 1950s with the proliferation of TV sets. Three generations of children have been raised with TV, and very different role models, interaction modes, and experiences are now visited on American youth. Today, more than 99% of American households contain at least one television set, and children start the viewing process early even before they reach 2 years of age. Conservative estimates are that preschool children watch nearly 3.5 hours of TV per day (Gentile & Walsh, 2002), and this average continues through age 18 (Singer & Singer, 2001). In the 21st century, however, television viewing is becoming somewhat diminished because of increased use of computer games and the Internet, and also because children now spend more time in child-care, school, and after-school-care programs.\nTelevision influences children in direct proportion to both time spent viewing and the overall effect of what is viewed (American Academy of Pediatrics, 1990). Certainly, eating habits, family interactions, and use of leisure time are considerably influenced by television (Hewlett & West, 2005; Horgen, 2005; Winn, 2002). Commercials take up 12 to 14 minutes of every hour of television, and in that time, advertisers try to influence viewers with all types of consumerism. Schools and parents are far behind advertisers in finding the most effective ways of using media.\nChildren are especially susceptible to electronic media, and televised advertising has a huge effect. Heavy viewers are drawn to the advertised products, including unhealthy food products, and they tend to eat more snack foods and be overweight. Social interactions are also affected: Heavy viewers hold more traditional sex-role attitudes, behave more aggressively, are less socially competent, and perform more poorly in school compared to light or nonviewers. (Arendell, 1997; Desmond, 2001).\nNot all TV advertising is negative, of course. There have been efforts through TV to modify behaviors such as smoking, drunken driving, and poor nutritional habits (Van Evra, 2004). How children are affected by both positive and negative advertisements also depends on such factors as parent\u2013child interactions, how children are disciplined, and even to some degree on social\u2013economic factors (Strasburger & Wilson, 2002).\nAdvertising is not the only way in which television influences viewers. Two additional, concerns about the effects of television are the amount of violence, in both commercials and programs, and the amount of time children\u2019s television watching takes away from more creative and intellectual pursuits.\nResearch on the impact of television viewing on academic achievement indicates that such influence is complex in nature. Television viewing takes time away from important social interactions, such as conversation, storytelling, imaginative play, and for primary-school children, the leisure reading that promotes literacy. We must remember, however, that the amount of viewing, the kind of programs watched, IQ, and socioeconomic status are all factors that affect children\u2019s attitude and achievement (Gunter, Harrison, & Wykes, 2003; Winn, 2002).\n\u00a9 ______ 2008, Merrill, an imprint of Pearson Education Inc. Used by permission. All rights reserved. The reproduction, duplication, or distribution of this material by any means including but not limited to email and blogs is strictly prohibited without the explicit permission of the publisher.\n- Coats and Car Seats: A Lethal Combination?\n- Kindergarten Sight Words List\n- Signs Your Child Might Have Asperger's Syndrome\n- Child Development Theories\n- GED Math Practice Test 1\n- 10 Fun Activities for Children with Autism\n- Social Cognitive Theory\n- Why is Play Important? Social and Emotional Development, Physical Development, Creative Development\n- The Homework Debate\n- Problems With Standardized Testing", "id": "<urn:uuid:9ab300cd-bcf9-4a95-8975-8e7265999b3b>", "dump": "CC-MAIN-2013-48", "url": "http://www.education.com/reference/article/media-influence-children/?page=2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164647809/warc/CC-MAIN-20131204134407-00041-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9511119723320007, "token_count": 1377, "score": 3.828125, "int_score": 4}
{"text": "This is the question we parents are always trying to answer. It's good that children ask questions: that's the best way to learn. All children have two wonderful resources for learning-- imagination and curiosity. As a parent, you can awaken your children to the joy of learning by encouraging their imagination and curiosity.\nHelping Your Child Use the Library is one in a series of books on different education topics intended to help you make the most of your child's natural curiosity. Teaching and learning are not mysteries that can only happen in school. They also happen when parents and children do simple things together.\nFor instance, you and your child can: sort the socks on laundry day--sorting is a major function in math and science; cook a meal together--cooking involves not only math and science but good health as well; tell and read each other stories--storytelling is the basis for reading and writing (and a story about the past is also history); or play a game of hopscotch together--playing physical games will help your child learn to count and start on a road to lifelong fitness.\nBy doing things together, you will show that learning is fun and important. You will be encouraging your child to study, learn, and stay in school.\nAll of the books in this series tie in with the National Education Goals set by the President and the Governors. The goals state that, by the year 2000: every child will start school ready to learn; at least 90 percent of all students will graduate from high school; each American student will leave 4th, 8th, and 12th grades demonstrating competence in core subjects; U.S. students will be first in the world in math and science achievement; every American adult will be literate, will have the skills necessary to compete in a global economy, and will be able to exercise the rights and responsibilities of citizenship; and American schools will be liberated from drugs and violence so they can focus on learning.\nThis book is a way for you to help meet these goals. It will give you a short rundown on facts, as well as many simple, fun activities for you and your child to do together.\nAs U.S. Education Secretary Lamar Alexander has said:\nThe first teachers are the parents, both by example and conversation. But don't think of it as teaching. Think of it as fun.\nSo, let's get started. I invite you to find activities in this book that fit the needs of your child and try them.\nand Counselor to the Secretary", "id": "<urn:uuid:fba48b5d-b579-48b6-bc46-d45047edcff0>", "dump": "CC-MAIN-2013-48", "url": "http://www2.ed.gov/pubs/parents/Library/Foreword.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164456039/warc/CC-MAIN-20131204134056-00042-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9649388194084167, "token_count": 517, "score": 3.640625, "int_score": 4}
{"text": "Story Common Narrative Structures and How to Reproduce Them Foundations \u2022 first theory of narrative formulated by Aristotle in The Poetics \u2022 his theory is still the basis of all mainstream storytelling \u2022 came up with \u201cBeginning, Middle, End\u201d (What does this really mean?) According to The Poetics: \u2022 the beginning is that which has no cause, and causes other things \u2022 the middle is that which has a cause, and also causes other things \u2022 the end is that which has a cause, and causes nothing else Two important observations: \u2022 the basic relation in narrative is cause and effect \u2022 causal relations are filtered by relevance (seems obvious, but this is belied by the existence of crap) \u2022 relevance implies that causation is not merely physical, but psychological \u2022 characters are provoked, do stuff which provokes other characters Conflict \u2022 protagonist wants something, can\u2019t get it \u2022 usually because some other character wants the opposite \u2022 or an impersonal situation prevents it Result: characters act against one another, or against their situation (again, seems obvious, but belied by crap) Types of Conflict: \u2022 person vs. person \u2022 person vs. self \u2022 person vs. nature \u2022 person vs. God (not mutually exclusive; distinctions between them may be fuzzy) Leads to well-known three-part structure: 1. development - status quo is perturbed; characters act and take sides 2. climax - conflict reaches its height; protagonist wins or loses 3. resolution - things settle back down (different people use different terms) 3-part structure actually insufficient - need 5-part stucture 1. development - as before 2. first climax - gives false sense of security, exposes deeper problems in situation and protagonists 3. nightmare/living hell - situation at its worst; protagonists truly struggle 4. second climax - protagonists either grow and win, or don\u2019t grow and lose 5. resolution - as before \u2022 purpose of first climax and nightmare/living hell phases is to reveal character flaws \u2022 forces characters to overcome their own flaws in order to prevail in the second climax \u2022 shows the importance of character development \u2022 (also useful for providing extra length) Star Wars 1. Luke wants to join the Rebellion, become a Jedi, rescue the princess, etc. 2. Escape from the Death Star! 3. Kenobi dead; Death Star tracks Luke & Co. to the rebel base. 4. Destroy the Death Star! 5. Happy ending. Every romantic comedy ever made 1. Boy and girl meet. 2. Boy and girl become romantically involved (\u201cclimax\u201d, get it?). 3. Boy and girl have some sort of huge misunderstanding. 4. Boy and girl overcome their problems and re-unite permanently. 5. Boy and girl live happily ever after. Cars 1. Talking cars that race! 2. Lightning McQueen wins first race, shows himself to be an jerk. 3. Jerkiness causes him to get stranded in Radiator Springs, where he learns good ole\u2019 rural values. 4. Loses the second race, but wins AT LIFE. 5. Goes back to Radiator Springs and lives happily ever after. 1. Afredo and Remy find themselves at Ratatouille Gusto\u2019s restaurant. 2. Initial success with the soup; Alfredo and Remy team up and become professional chefs. 3. Alfredo\u2019s a fraud; Remy\u2019s still a rat. They alienate everyone and raise Skinner\u2019s suspicions. 4. Gusto\u2019s is shut down, but not before they win over Ego with the ratatouille. 5. The three start their own restaurant and live happily ever after. Extra stuff \u2022 when to resolve conflicts? \u2022 reversals \u2022 recognition \u2022 repetition and foreshadowing Conflict Resolution \u2022 a non-trivial story typically has many conflicts \u2022 if resolution of a conflict is necessary to advance the plot, then resolve as needed \u2022 if a conflict exists only to add suspense and place a psychological burden on the protagonists, then resolve after the climax \u2022 reversal - pretty much what it sounds like; things end up the opposite of what\u2019s expected \u2022 recognition - protoganist learns something profound that he didn\u2019t know before, which changes everything Foreshadowing & repetition \u2022 creates suspense \u2022 prevents the appearance of randomness \u2022 encourages economy and re-use \u2022 creates emotional resonance Application Tom & Jerry: \u201cPuppy Tale\u201d \u2022 5-part structure \u2022 \u201crule of three\u201d \u2022 recognition \u2022 reversal \u2022 foreshadowing & repetition How can I create good stories when I have limited time, education, and experience? Steal. (also known as:) \u2022 borrowing \u2022 re-using \u2022 imitating \u2022 emulating \u2022 finding inspiration \u2022 alluding \u2022 referring \u2022 parodying \u2022 paying tribute \u2022 making an homage \u2022 etc. One source: Design \u2022 Patterns (a.k.a archetypes) the quest \u2022 slaying the monster (Star Wars) \u2022 rags to riches (Ratatouille) \u2022 rebirth (Cars) \u2022 voyage and return (~Wall-E) \u2022 comedy (every romatic comedy ever made) \u2022 tragedy (Revenge of the Sith [video clip!]) (Booker, The Seven Basic Plots) Another source: steal from the best or oldest \u2022 Myths, legends, folklore \u2022 Fairy tales, nursery rhymes, urban legends \u2022 Literature Example: Pygmalion (Ancient Greek myth) Pygmalion, a great sculptor, carves a statue of his idea of the perfect woman and falls in love with it. Aphrodite pities him and turns the statue into a real woman. Pygmalion and the ex-statue live happily ever after. Pygmalion (Ancient Greek myth) Pygmalion (Theatrical play, 1912) My Fair Lady (Musical & film, 1956) She\u2019s All That (Teen movie, 1999) Not Another Teen Movie (Vulgar parody, 2001) (video clips!) Trans-historic Cross-genre Arc of Narrative Re-use (not a real thing) Myth & Legend Literature/High Art Mainstream/Pop Art Value Parody/Trash Art Time Amleth (Scandinavian legend) Hamlet (Shakespeare) Hamlet (Mel Gibson) Value Hamlet (Simpsons, South Park) Time Biblical & mythological allusions Moby Dick (Melville) Moby Dick (Gregory Peck) Value \u201cDicky Moe\u201d (Tom & Jerry) Time Yet another source: steal from yourself \u2022 personal experiences \u2022 personal issues, crushing psychological trauma, etc. \u2022 re-use or extend stories you\u2019ve already created Example: James Bond \u2022 recurring plot #1: manipulation of supowers into military conflict, escalation to World War 3 \u2022 recurring plot #2: artificial scarcity and monopolization of a precious commodity Tomorrow Never Dies (1997) 1. Villain stages military incidents between Britain and China. 2. Britain and China blame each other. 3. Escalation to WW3. 4. ??? 5. Profit! The Spy Who Loved Me (1977) 1. Villain launches nuclear missiles at New York and Moscow. 2. USA and USSR blame each other. 3. Escalation to WW3. 4. ??? 5. Profit! You Only Live Twice (1967) 1. Villain captures US and Soviet spacecraft. 2. USA and USSR blame each other. 3. Escalation to WW3. 4. ??? 5. Profit! (video clips!) Goldfinger (1964) 1. Villain attempts to detonate atomic bomb in Fort Knox. 2. US gold supply is irratiated. 3. Value of villain\u2019s gold stockpile increases tenfold. 4. Bonus: economic collapse of the West. A View to a Kill (1985) 1. Villain attempts to destroy Silicon Valley. 2. US semiconductor production halts. 3. Villain\u2019s semiconductor cartel monopolizes the market. 4. Bonus: economic collapse of the West. The World Is Not Enough (1999) 1. Villain attempts to cause a nuclear meltdown in a major oil distribution hub. 2. Pipelines relying on that hub become useless. 3. Villain\u2019s pipeline monopolizes oil distribution. 4. Bonus: economic collapse of the West. Quantum of Solace (2008) 1. Villain dams up subterranean rivers in Bolivia. 2. Creates drought, controls most of Bolivia\u2019s water supply. 3. Villain becomes Bolivia\u2019s new utilities provider. 4. (Economy of the West already collapsing.) (video clips!) The Moral: \u2022 Go ahead and steal. Everyone does it. \u2022 There\u2019s nothing new under the sun. \u2022 All of this stuff is much older than you think.", "id": "<urn:uuid:65b95639-d089-428f-aef5-8ffea883ab71>", "dump": "CC-MAIN-2013-48", "url": "http://www.docstoc.com/docs/85077764/story", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00041-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8789941668510437, "token_count": 1806, "score": 3.5625, "int_score": 4}
{"text": "How can I help my child to develop literacy skills?\n- Establish routines\n- Experiential learning\n- Meaningful activities\n- Read aloud\n- Exposure to reading and writing\n- Evidence-based recommended practices\nWhen routines are established, children begin to learn about objects and vocabulary associated with certain activities. Active participation in all steps of a routine can reinforce concepts and language skills. Routines can also help a child to develop sequencing skills (first/then; start/finish), and some tasks can be arranged in left to right order, such as setting the table, laying out clothes, or arranging materials for any activity.\nChildren who are blind or visually impaired need the opportunity to experience things through hands-on activities that are meaningful and fun. As mentioned above, they will often need specific instruction because of the lack of access to information through incidental learning. For example, a book about a farm will be much more meaningful if the child has first had a chance to visit an actual farm, touch different kinds of animals, touch their fur or feathers, feel how big they are, listen to their calls (moo, neigh, quack), examine what they eat (hay, grain), and learn about what they produce (e.g. milk, eggs, wool).\nThe development of a wide range of vocabulary and concepts are essential to success in literacy. Model appropriate language for your child throughout the day. For example, \"Let's put on your smooth rubber boots today. It's raining and they will help keep your feet dry.\" Or \"Let's put the cold milk in the red plastic cup. Can you help me pour it?\" Just adding some adjectives (wet/dry, rough/smooth, big/little) and more detailed descriptions can help to expand a child's vocabulary and to reinforce concepts.\nMany children benefit from reading aloud. It is a time for them to enjoy special individual attention, to reinforce language and concept development, and to work on book handling skills. In order for the experience to be pleasant and meaningful, however, it is important to follow a few basic tips.\n- Reading a book with a young child should be fun for both the adult and child.\n- Choose a book that relates to the child's own experiences.\n- Read at a pace that is appropriate to the child.\n- Provide props to supplement the illustrations. Concrete objects, movements, and sounds may all be helpful.\n- Modify the book to meet a child's individual needs and interests. Add texture, color, tactile cues, or anything to enhance the experience and make the book more accessible to the child.\nFor more ideas about reading aloud, see Enriching the Reading Experience for Children with Visual Impairments: Reading to Young Children with Vision Loss by Holly Allen.\nInclude the child in the process of reading and writing lists, directions, recipes, menus, messages or letters to friends and family, and any other activities that occur within routine activities. Because they may not be able to observe you reading or writing, you will need to be creative in finding ways to make these activities accessible. For example, before going to the grocery store, ask the child to help you think of what things you might need to buy. Have him or her help you look in the refrigerator or cupboards to see the supply (e.g. \"This carton of milk is almost empty! It feels light and I can hear it sloshing around in there. Let's add it to our shopping list, so we'll remember to buy more when we get to the store.\") Be sure to refer back to the list once you get to the store, and even check it when you get back home again, to be sure that you got everything on the list.\nFor more ideas, see also: Essential Literacy Experiences for Visually Impaired Children by Eva Lavigne (TSBVI)\nThis article suggests a way to individualize literacy experiences for visually impaired students in order to promote meaningful reading and writing. It includes a list of global experiences and suggestions of how to use the essential literacy experiences for students with a visual impairment. A blank form of Sample Essential Literacy Experiences for the Visually Impaired Student can be downloaded; available in English and Spanish.\nMove, Touch, Read is an informal collection of sample units by Wendy Drezek that provide simple techniques for adapting print books. It grows out of the belief that experiential learning can help children who are blind to develop concepts, motor skills, and an understanding of the world that are at the foundation of braille literacy skills. Beginning with movement and sensory-based experience, vocabulary and concepts are introduced or reinforced, and tactile symbols using real objects supplement each story with a hands-on component. Story boxes or props help to make each story more meaningful to the child through tactile exploration. Each unit includes an introduction, vocabulary, concepts, skills, symbols, and suggestions for movement, touch, and reading activities.\n\"To facilitate emergent literacy in young children with disabilities, early interventionists should provide collaborative, family-centered support that is developmentally appropriate and based on evidence-based and recommended practices that result in functional outcomes within naturally occurring learning opportunities.\"\n-- Early Intervention Training Center for Infants and Toddlers with Visual Impairments\nStrategies and interventions to facilitate emergent literacy focus on the development of the six key components:\n- oral language\n- phonological awareness\n- concept development\n- knowledge of the conventions of print/braille and print/braille intentionality\n- alphabetic knowledge\n- rich literacy environments\nDevelopmentally appropriate strategies and interventions that promote functional outcomes include:\n- routines-based literacy\n- responsive literacy environments\n- shared storybook reading (especially dialogic reading, storybook preview, and storybook sounds)\n- storytelling, including decontextualized language\nTo learn more, see the power point presentation What Is Emergent Literacy? from the Early Intervention Training Center for Infants and Toddlers With Visual Impairments, FPG Child Development Institute, 2005\nYoung children must develop skills in a wide range of areas, including tactile, fine motor, listening & attention, concept, and book & story. This chart shows a variety of prerequisite skills and concepts that will help future braille readers to be successful.", "id": "<urn:uuid:f838088a-49a7-47df-90c1-b3d856a004c0>", "dump": "CC-MAIN-2013-48", "url": "http://www.pathstoliteracy.org/helping-young-children-develop-emergent-literacy-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053883/warc/CC-MAIN-20131204131733-00040-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9271785616874695, "token_count": 1298, "score": 4.53125, "int_score": 5}
{"text": "Tips for Writing Mysteries\nBy Laura Backes, Children's Book Insider\nMysteries are very popular with middle grade readers. They are generally fast-paced stories that build self-confidence by allowing the reader to solve the crime. Simple mysteries for this age group follow a clear formula where the author lays out clues for the reader in a predictable fashion, using escapes, setbacks and coincidence. The Nancy Drew and Hardy Boys books fall into this category.Copyright 2001, Children's Book Insider, LLC.\nAs readers become adept at solving mysteries, they reach for books that require careful scrutiny to discern clues. Goody Hall by Natalie Babbitt and Mystery of Drear House by Virginia Hamilton are good examples. The following are tips to keep in mind when writing mysteries for children.\n* Unlike other types of children's books, the child protagonist in a mystery does not go through major character development during the story. His or her character must be strong at the beginning of the book, and have qualities the reader will identify with or admire. However, one of the protagonist's character traits (such as having a photographic memory) can be used to solve the mystery, as long as the readers know about it.\n* Another difference between mysteries and other types of fiction is that in mysteries there is little or no underlying theme to the story (such as loneliness, peer pressure, etc.). The plot drives the story, and the conflict and tension is derived from what happens to the main characters from without, rather than what's going on inside themselves.\n* The child in the story must be as smart, or smarter, than the adults. Adults can help in certain situations in order to make the story believable, but the child must uncover the major clues and solve the case.\n* The clues to the crime, as well as the crime itself, must be accessible to children in real life in order for the story to be realistic. This also helps the reader solve the mystery. A child would not know, for example, how someone could alter the brakes on a car, but he or she could probably figure out how this was done to a bicycle.\n* The reader must have access to all the clues available to the protagonist. It's not fair for the author to withhold information.\n* It helps if the author rehashes the entire crime and rounds up all the clues at the end of the story. Often this is done by the protagonist summarizing the crime to another character right before solving the case. This will remind readers of the clues, and give them a better chance of coming up with the solution on their own.\nABOUT THE AUTHOR:Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about writing children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com\nReprinted with permission.\nFollow this link to the Children's Book Insider website.", "id": "<urn:uuid:97eb9b0a-a8d0-484e-8c2a-f87079abd83d>", "dump": "CC-MAIN-2013-48", "url": "http://www.right-writing.com/child-mysteries.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163052713/warc/CC-MAIN-20131204131732-00042-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9489622712135315, "token_count": 612, "score": 3.53125, "int_score": 4}
{"text": "- Content Type\nTen Timeless Persuasive Writing Techniques Want to convince your readers to do something or agree with your point of view? Okay, that was a silly question. Of course you do. Persuasion is generall...\nBrief History of Psychology\nBefore we begin, let's ask ourselves-what is psychology?\n|Psychology is the\nacademic and applied scientific study of mental processes and\nbehaviour. Psychology also involves the application of knowledge to\nvarious spheres of human activity, from daily life, work and family\nto the treatment of severe mental health problems.\nPsychology revolves around such broad areas as emotions, perception, individuality and personality, relationships, social dynamics and functions, plus many other subjects. Psychology also attempts to identify the physical, biological processes that underlie mental functioning.\nThe earliest origins of psychology are, unsurprisingly, found in the ancient civilizations of Greece, Egypt, China and India. This took a highly philosophical form though- the early psychology involved theories on the mind, body and soul and how they all operate together, so they weren't really what we would call psychology today. However, these great early psychological philosophers identified things like the brain and speculation of its functions, basics of human nature, and the \"self\".\nThe Medieval Times saw more psychological progress. As early as the 700s Medieval Muslim had built insane asylums and practices to help patients with diseases of the mind. Ahmed ibn Sahl al-Balkhi was among the first to suggest that if the mind gets sick, the body may eventually develop a physical illness. He recognized and analyzed what we modernly call depression.\nSeveral other modern psychological phenomena and neuropsychiatric conditions were emerging: hallucination, mania, dreams, nightmares, epilepsy, paralysis, stroke, vertigo, psychotherapy and musical therapy, social psychology, neurophysiology, and the subconscious. Western Psychology Emerging\nThe Ancient writings were preserved thanks to Islamic translators, and together with their theories and experiments became the basis for modern psychology which started to emerge during the Renaissance. While early psychology involved the study of the soul, modern psychology focused more on brain functions. During the Enlightenment period, thinkers like Descartes, Thomas Willis, and John Locke, discussed the nature of mind and soul, but also supported the development of clinical psychology as a discipline of medicine.\nThose times also saw the rise of popular yet false psychological developments. This included the science of hypnotism, developed by Anton Mesmer as a way to cure diseases using the \"magnetism of the mind\". Phrenology, the study of the brain and skull structure to establish personality traits and mental disposition.\nAll the while though, psychology was treated as just a branch of philosophy. Scientific, empirical psychology was not seen as plausible or acceptable, since the mind and soul were abstract concepts.\nExperimental Psychology is Born\nDuring the Scientific Revolution, concepts that were thought to be philosophical were fused with mathematical and scientific thoughts to come up with profound disciplines such as economics and early engineering. Psychology was no exception. Johann Friedrich Herbart was among the first to try and apply a mathematical basis for a scientific psychology.\nAs a result, more research followed. Fechner attempted to mathematically relate external stimuli and resulting sensations, coining psychophysics in the process. Bessel, Donders, and other scientists measured things like reaction times and the speed of mental decisions. During the later 1800s, Wilhelm Wundt, the father of psychology, founded the first laboratory dedicated exclusively to psychological research in Germany.\nExperimental psychology became important during the late 1800s especially in Germany, but also in Russia, the US, and the rest of Western Europe. Pioneers like Ebbinghaus and Pavlov made important discoveries in the areas of memory, learning processes and more.\nIn the 1890s, psychoanalysis was developed. Sigmund Freud, probably the most well-known psychology theorist, developed this method of study of human psychological functioning and behavior through interpretive methods and observation. He became famous after tackling taboo subjects such as sexuality, repression, and the unconscious mind, and he influenced Carl Jung who developed analytical psychology. This laid basis to many modern psychological concepts still used today.\nBehaviorism, Humanism, Cognitivism, and other Modern Developments\nExperimental psychology led to the use of things like recollecting childhood experiences and analyzing them subjectively and introspectively. Opposition to this led to the development of behaviorism, which states that all things which organisms do can be regarded as behaviors, which can be described scientifically without recourse either to internal physiological events or to hypothetical constructs such as the mind. This was developed by John B. Watson and B.F. Skinner, and based on animal experimentation.\nBehaviorism was popular in the US for the first half of the 1900s. In the 50s, drawing from psychoanalysis, behaviorism and existentialist philosophy, humanistic psychology was developed. It focused on human issues such as self-identity, death, aloneness, freedom, and meaning. Maslow's Heirarchy of Needs and Carls Rogers's client-centered therapy are humanistic developments still used today.\nCognitivisim is another psychological school of thought. It accepts the use of the scientific method, rejecting introspection (and pscyhoanalysis), and it acknowledges the existence of internal mental states (unlike behaviorism). Cognitive psychology sees mental functions as information processing, and is advancing thanks to computerized developments and a better understanding of how the brain and neural systems work.\nWhere is psychology going?\nModern psychology incorporates all of these fields to provide useful solutions to mental problems. Using psychoanalytical therapy, behavioral theories, humanist concepts and cognitive understanding, psychologists can learn and offer the best solutions possible.\nFuture developments and questions that need to be answered in psychology are numerous. The application of genetic research and the discoveries of new genes that relate to behavior and personality will pose a challenge for psychologists. Using new bioengineering and computerized techniques can help develop medicines and cures for neuropsychological symptoms.\nAs well, new social concepts have to emerge to explain changing, modern societies. With depression and eating disorders constantly on the rise, psychological answers are in high demand. In engineering and technology, the development of artificial intelligence will require thorough psychological understanding of human intelligence.\nPsychology went through a lot, but there's a lot more to be done.\nStudy Psychology in the USA by starting here!", "id": "<urn:uuid:d9a44ed7-7598-4783-9a78-ae82c43c5d7f>", "dump": "CC-MAIN-2013-48", "url": "http://psychology.learnhub.com/lesson/3833-origins-of-psychology", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345777253/warc/CC-MAIN-20131218054937-00043-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9446314573287964, "token_count": 1326, "score": 3.5625, "int_score": 4}
{"text": "When you adapt course or teaching materials to the online environment, be sensitive to the advantages and disadvantages of the Virtual Classroom. Web-based learning is well suited for communications, collaboration, and information acquisition, but not for reading long text files. It is difficult to read screen after screen of text on a computer, although recent developments in e-readers and tablet computing may be changing that. In the Virtual Classroom, text-based lectures should be short and few. With that, where will students get the information they need to meet the learning objectives?\nDesign the curriculum of an online course to cause dialogue among the students. During online discussions, the participants collect information and send it to the virtual classroom for comments, critiques and more discussion. In order to generate this type of information, students must actively seek out the required material. The synergy of the discussion is itself a learning tool. With that in mind, the participants themselves discover and share much of the information presented to the class.\nThey are used for the following purposes:\nAssign a segment of a chapter to an individual.\nAssign a segment of a chapter to a team.\nProvide discussion questions that require students to summarize the reading, or ask students to come up with their own discussion questions.\nProvide discussion questions that require students\nto synthesize the material.\nProvide an activity that requires students to apply\nthe information from the reading.\nThey are relatively inexpensive.\nStudents do not need any additional equipment to\nuse the material.\nStudents can go back and retrieve information when\nthey need it.\nSome learners need the hardcopy for reading and\nThey require distribution by mail or retail network.\nThey convey information only by written language and figures.\nThey do not afford a channel to give direct feedback to or ask questions of the author.\nBasic concept of the course content subject or resources for the virtual classroom discussion can be provided through video. Whole films can be used in online courses in ESL, literature, any foreign language, creative writing, etc. Students can watch the film outside of \"class\" and then discuss/critique it in the virtual classroom. During online discussions, students can compare the film to the book, discuss character profiles, plot, theme, symbolism, historical context, etc.\nFacilitator can distribute information such as visual or procedural concepts that are hard to express in textbooks. For example: in a manufacturing management class, a short film showing a real factory may effectively illustrate certain concepts and provide a springboard for discussion questions.\nSupplemental video may help learners whose basic learning style is not text-based.\nIf all the students view the same material, assign discussion questions or projects on the topic.\nIf publishing to the web is available, the information can be accessed asynchronously, with each student viewing the material at his or her convenience.\nTV broadcasts can be recorded for later study or\nStudents need to have the corresponding viewing equipment.\nSome programs are only available at certain designated\nPhysical media can only be distributed by mail or retailing network.\nWhen distributed via the WWW, video files are\nlarge, require long download times, and use substantial memory. These issues are diminishing with time.\n/ Radio Programs\nBasic concept of the course content subject or resources\nfor virtual classroom discussion can be provided.\nThe cost and technical requirements are less than\nfor video and/or TV.\nAudio files can be downloaded from the Internet.\nIf all the students listen to the same material,\nthen discussion questions or projects can be assigned to generate discussion\non the topic, the information will be presented equally as well as\nusing a textbook or related articles.\nRadio broadcasts can be recorded for later study.\nAudio files lack a visual component.\nAlthough much smaller than video files, audio files\nare quite large and slow to download.\nGuest speakers can be invited to hold either a synchronous chat session with\nthe class, or post a lecture and be available for 2-3 days to answer questions\nfrom the group.\nStudents can learn about what is happening today\nin the real world pertaining to the course content subject.\nThe guest speaker is able to bring outside resources\nto the course.\nIt may be difficult to find an appropriate person to invite as a guest speaker. If your guest is unfamiliar with your technology or the basic principles of online learning, supporting them becomes your job.\nFor synchronous chat sessions: (see drawbacks below)\nAs with video, material which is not easily adapted\nto text format can still be covered in the course.\nPrograms can contain short tutorials for specific\nskills/information that students need to know, then require them to\napply that knowledge in exercises.\nSoftware can be distributed through the Internet.\nStudents must have the software in hand to use it (download or purchase media)\nLearners must know or learn HOW to use the software.\nfrom Web Sites\nEach participant finds outside, related articles on the Internet; then reads, summarizes, and shares a critique with the other participants. Classmates can then choose to access the article themselves, and/or comment on their classmate's critique in a discussion forum format. A lot of learning can come from this activity.\nIt allows students to choose what to focus on and\ntake control of their own learning experience.\nThe number of articles and amount of information\nwhich students can access is unlimited.\nIt brings outside resources into the course.\nIt provides participants with an extensive list\nof summaries of related resources that they can choose to read, or\narchive for later use.\nStudents are learning and practicing research skills--searching,\nsummarizing, demonstrating what has been learned, integrating new information\ninto already-learned material.\nInformation literacy is assumed of participants.\nWeb sources vary in their accuracy, legitimacy, and reliability.\nNewsgroups and Weblogs\nThis includes subscribing to or even just browsing newsgroups on topics related\nto course content.\nThere is a large quantity of material generated\nMost newsgroups and blogs have excellent archives of previously\nThere is often a\nhigh percentage of \"noise\" (garbage)\nto sift through.\nThese are focused email discussions on topics supplemental to course work.\nDiscussion lists exists on virtually every academic\nsubject and/or related field.\nDiscussion provide an exchange of ideas with people\nnot enrolled in the class who are, nevertheless, good resources on\na given topic.\nReading time may increase exponentially when there is a large\nnumber of messages generated by a busy discussion list.\nThese include web sites where users can read information updates,\nview stills and video, and listen to audio related to their course\nwork. For example, the\nESL Cafe http://www.eslcafe.com puts\nESL students in touch with other language learners around the world as well\nas offers expert help in grammar and vocabulary and a chance for students to\npublish their writing online.", "id": "<urn:uuid:31786c1e-be35-41f4-9514-3f41f421d49b>", "dump": "CC-MAIN-2013-48", "url": "http://www.ion.uillinois.edu/resources/tutorials/pedagogy/alternative.asp", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00043-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8952882289886475, "token_count": 1436, "score": 4.1875, "int_score": 4}
{"text": "An epic is a long narrative poem in an elevated style that deals with the trials and achievements of a great hero or heroes. The epic celebrates virtues of national, military, religious, political, or historical significance. The word \"epic\" itself comes from the Greek \u00e9pos, originally meaning \"word\" but later \"oration\" or \"song.\" Like all art, an epic may grow out of a limited context but achieves greatness in relation to its universality. It typically emphasizes heroic action as well as the struggle between the hero's ethos and his human failings or mortality.\nIncreasingly, scholars distinguish between two types of epic. The first, the primary epic, evolves from the mores, legends, or folk tales of a people and is initially developed in an oral tradition of storytelling. Secondary epics, on the other hand, are literary. They are written from their inception and designed to appear as whole stories.\nNote: References throughout are to Robert Fagles' poetic translation, Homer: The Odyssey (New York: Penguin Putnam Inc., 1996). Citations are by book and line; for example, line 47 in Book 3 is represented as (3.47).\nThe Odyssey as Epic\nComposed around 700 BC, The Odyssey is one of the earliest epics still in existence and, in many ways, sets the pattern for the genre, neatly fitting the definition of a primary epic (that is, one that grows out of oral tradition). The hero is long-suffering Odysseus, king of Ithaca and surrounding islands and hero of the Trojan War. He has been gone 20 years from his homeland, his wife, Penelope, and his son, Telemachus. Odysseus embodies many of the virtues of ancient Greek civilization and in some ways defines them. He is not, however, without his flaws, which sometimes get him into trouble.\nEpics usually open with a statement of the subject and an invocation to the Muse or Muses \u2014 the nine sister goddesses in Greek mythology, the daughters of the king of gods, Zeus, and Mnemosyne (\"Memory\"). Certain Muses preside over song and poetry, which are joined in epics. Sometimes Muses are assigned to all the liberal arts and sciences. Clio is usually thought of as the Muse of history. Erato takes care of lyrical love poetry. Calliope is the Muse most often associated with epic poetry.\nHaving invoked the Muse, the epic poet then begins in the middle of the tale; teachers sometimes use a Latin term, in medias res (\"in the middle of things\"), to identify this technique. Beginning in the middle of the action, the poet then fills in significant prior events through flashbacks or narration.\nThe Odyssey also employs most of the literary and poetic devices associated with epics: catalogs, digressions, long speeches, journeys or quests, various trials or tests of the hero, similes, metaphors, and divine intervention.\nAlthough few contemporary authors attempt to compose epics, the influence of the genre and of The Odyssey is extensive. Many critics consider James Joyce's Ulysses (1922), which uses Odysseus' Latin name (\"Ulysses\") for the title and places a very flawed non-hero in Dublin, to be the most important novel of the twentieth century. Other works that students might compare to The Odyssey include Mark Twain's Huckleberry Finn (1884), J. D. Salinger's The Catcher in the Rye (1951), John Cheever's short story \"The Swimmer\" (in the collection The Brigadier and the Golf Widow, 1964), and Donald Barthelme's The Dead Father (1975).\nThe Setting of Ithaca\nWhile it includes recollections of earlier times, most of the action in The Odyssey takes place in the ten years following the Trojan War. Historically, was there ever such a war? W. A. Camps (An Introduction to Homer, 1980, \"Preliminary\") argues impressively that there probably was but that it was much different from Homer's depiction in The Iliad or the recollections of the characters in The Odyssey. Archaeological evidence indicates that the war may have taken place around 1220 bc and that the city Homer calls Troy was destroyed by fire. The Odyssey was likely composed about five hundred years after these events.\nIn the interim, countless bards had worked over the stories. What we see (or hear) in Homer, is not a depiction of history but a world created out of legend, folk tales, at least one poet's imagination, and a little bit of history. The \"Wanderings of Odysseus,\" as his travel adventures are often called, take place largely in a reality beyond our own; the settings vary widely. Ithaca, on the other hand, is a constant for Odysseus and Homer's audience.\nPolitically, the system in Ithaca is less formal than a city-state, but it does provide structure based on power. Odysseus is not just a great warrior or excellent seaman, although those are important talents. He also is the best carpenter that Ithaca has known, the best hunter of wild boar, the finest marksman, and the leading expert on animal husbandry. Odysseus can plow the straightest furrow and mow the largest stretch of meadow in a day. In fact, it is his superior skill, his intelligence, and his prowess that enable him to maintain his power even after many years of absence. As long as he or his reputation can maintain control, Odysseus remains king of Ithaca and surrounding islands.\nAlong with power, of course, comes wealth. Because Ithaca has no coined money, wealth is measured by livestock, household furnishings, servants, slaves, and treasure. Slavery is not only accepted and encouraged in Homer's world, but slaves are viewed as symbols of wealth and power. Piracy, war, and raids on foreign cities are all accepted means of increasing wealth. The first thing that Odysseus does after leaving Troy, for example, is to sack Ismarus, stronghold of the Cicones. In addition to plunder, he captures the women.\nSocial traditions are strong in this community; ironically, it is the social tradition of hospitality that proves dangerous for Odyssey's wife, Penelope, and his son, Telemachus.\nFinally, the people of Ithaca believe strongly in fate and the right of the gods to alter human life at any time. They hope that virtue will be rewarded, but they accept the vicissitudes of fortune. If an Ithacan stubs his toe in the garden, he may say, \"Some god sent that rock to alter my path!\" Odysseus himself is proof that, if the gods choose, anything might happen, even to a king.\nKing Odysseus of Ithaca has been gone from home for 20 years. The first 10 he spent fighting heroically and victoriously with the Greeks in the Trojan War; the last 10, he spent trying to get home. From other sources, we know that the goddess Athena arranged for storms to blow the Greeks off course as they attempted to sail home from the war. She was outraged because a Greek warrior had desecrated her temple by attempting to rape Cassandra (daughter of the last king of Troy) in that sacred place. Worse, the Greeks had not punished the man. Although Athena intervenes on Odysseus' behalf repeatedly throughout the epic, her curse originally causes his wanderings.\nWith Odysseus gone, all that he has \u2014 his kingship, his wealth, his home, and his wife and son \u2014 is in jeopardy. His wife Penelope finds herself surrounded by unwanted suitors because she is the key to the throne and to Odysseus' wealth. Her new husband would, at the very least, have a distinct advantage in the competition for a new king. Like her son, Telemachus, Penelope lacks the power to eject the suitors who have invaded her home and are bent on forcing her to marry.\nIn his absence, Odysseus' son, Telemachus, is referred to as the heir apparent and, as such, is constantly in danger, the more so as he becomes a man and is perceived as a threat by his mother's suitors. Telemachus lacks the stature of his father, and although he can summon the Achaeans (Greeks) on the island to full assembly, he cannot accomplish his goals \u2014 namely to rid his home of the unwanted suitors who have abused a custom of hospitality. Not only does Telemachus lack power to maintain control, but he also has no formal system of laws or courts to support him. Telemachus himself acknowledges that he may, at best, be ruler only of his own house.\nIf Telemachus were to assume the crown without sufficient resources to defend it, which he currently lacks, he risk being deposed and, most likely, killed. If Penelope stalls much longer in selecting a suitor, Ithaca could find itself in civil war, and she and her son may well be among its first victims. If she chooses a husband, her son is still in danger unless he is willing to abdicate his claim to the throne. As repugnant as marriage seems, it may be necessary for Ithaca's and (possibly) her son's survival.", "id": "<urn:uuid:5b7ba4ca-d5f0-4bbf-9e22-f2aa355d072b>", "dump": "CC-MAIN-2013-48", "url": "http://www.cliffsnotes.com/literature/o/the-odyssey/about-the-odyssey", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164888618/warc/CC-MAIN-20131204134808-00041-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.973677933216095, "token_count": 1956, "score": 3.78125, "int_score": 4}
{"text": "Classroom Guide for\nby Tony Medina, illustrated by David Diaz\n| Teaching Tip|\nThis is an excellent selection to include in your collection of holiday books.\nPrereading Focus Questions\nBefore introducing the book, share the background information with students. Then you may wish to set the stage for reading with questions such as the following.\n- Why do people celebrate holidays? What are some ways they celebrate them?\n- What is your favorite holiday? Why? What is special about it?\n- With whom do you usually spend your holidays?\n- Why is education important? How can it make a difference in your life?\n- What are some things you enjoy sharing with others? How does sharing make you feel?\nExploring the Book\nDisplay the book and discuss the title with students. Ask them what might Christmas make them think about. What thoughts might the boy in the story be having?\nStudy the illustrations and encourage students to determine how the artist created them.\nRead the dedications. Ask students if they offer clues to the story, and to the author\u2019s and illustrator\u2019s feelings.\nSetting a Purpose for Reading\nHave students read to find out why Christmas makes the boy think and what he thinks about.\nStudents will be familiar with most words in this book, but you can reinforce meaning with this activity. Draw two large outlines of Christmas stockings on the chalkboard. Label the first stocking nouns and the second stocking adjectives, and write the words below in each stocking. Review that a noun names a person, place, or thing, and an adjective describes a noun. Then have students take turns making up oral sentences using at least one word from each stocking.\n|Stocking 1:||Nouns||Stocking 2:||Adjectives|\nAfter students have read the book, use these or similar questions to generate discussion, enhance comprehension, and develop appreciation. Encourage students to refer back to the book to support their responses.\n- Who is telling this story? How do you know?\n- How does the boy feel about Christmas in the beginning of the story? How do his feelings change? Why do they change?\n- Why does the boy worry about Christmas trees?\n- How does the boy change his mind about turkeys and pigs at Christmas?\n- What does the boy realize about his toys and clothes?\n- Why does the boy think he should share his presents?\n- What does the boy mean by being \u201cnew\u201d Santas?\n- What is the message of this book?\nIf you use literature circles during reading time, students might find the following suggestions helpful in focusing on the different roles of the group members.\n- The Questioner might use questions similar to those in the Discussion Questions section of this guide to help group members explore the book.\n- The Passage Locator might look for ways that the boy\u2019s feelings change.\n- The Illustrator might draw scenes from the book using different media.\n- The Connector might find other books with holiday themes.\n- The Summarizer should provide a brief summary of each section that the group has completed.\n- The Investigator might collect books and other materials with ideas for helping in a school or community.\nThere are many resource books available with more information about organizing and implementing literature circles. Three such books you may wish to refer to are: Getting Started with Literature Circles by Katherine L. Schlick Noe and Nancy J. Johnson (Christopher-Gordon, 1999), Literature Circles: Voice And Choice in Book Clubs and Reading Groups by Harvey Daniels (Stenhouse, 2002), and Literature Circles Resource Guide by Bonnie Campbell Hill, Katherine L. Schlick Noe, and Nancy J. Johnson (Christopher-Gordon, 2000).\nUse the following questions or similar ones to help students practice active reading and personalize their responses to what they have read. Suggest that students respond in reader\u2019s journals, oral discussion, or drawings.\n- Do you agree with the boy\u2019s ideas of how to celebrate Christmas? Why or why not?\n- What would you give up to make things better for someone else?\n- The boy suggests that people could just visit a tree and give it presents. What present would you give a tree?\n- Lots of children have toys they don\u2019t ever play with. What ideas do you have for \u201crecycling\u201d such toys?\n- How could people make Christmas last \u201ca week, a month, or even a year\u201d?\nOther Writing Activities\nYou may wish to have students participate in one or more of the following writing activities. Set aside time for them to share and discuss their work.\n- After reading Christmas Makes Me Think, students might write their own holiday stories.\n- Some students may wish to write a proposal for a class activity to help others. Suggest students brainstorm ideas with a partner or in a small group beforehand.\n- Have students turn to the page showing the boy sitting on a pile of presents. Ask them to imagine a gift that might be in one of the packages and then write a description of the gift without naming it. Students can then read their descriptions aloud for classmates to guess the gift.\n- Some students might enjoy writing a menu for a holiday celebration.\nELL/ESL Teaching Strategies\nThese strategies might be helpful to use with students who are English language learners or who are learning to speak English as a second language.\n- Make key words as concrete as possible by linking them to the art. Use the list of nouns in the Vocabulary section to help students make associations.\n- Read the story aloud slowly, repeating lines for emphasis. Invite students to join in on subsequent readings.\n- Use the illustrations in the book to expand students\u2019 understanding and vocabulary. For example, for the first illustration the following statements could be made: The boy has on a blue jacket. He is carrying two bags. His mother is coming out of a store. There is a bike in the store window. There is a tree in the window.\nTo help students integrate their reading experiences with other curriculum areas, you might try some of the following activities.\n- Point out to students that some of the lines in this book rhyme, then challenge students to identify the rhyming words. Follow up by having students write their own rhymes about a holiday they enjoy.\n- Draw attention to the line \u201cand presents piled to the moon.\u201d Explain that this is an exaggeration. Tell students that writers sometimes use exaggeration to get the attention of readers when making a point. Encourage students to think of common exaggerations that people use and then to try writing their own.\n- At the end of the book, the author lists several ways that students can help out in their community. You might use the book as a way to launch your own class project for making a difference in terms of the environment, service programs, or helping the needy.\n- Start a bulletin board display of news clippings about different kinds of community celebrations. Place a United States map in the center of the display. Arrange the articles around the map and use colored yarn and thumbtacks to link each celebration with the town or city in which it takes place.\nRemind students that in the book, the boy hands out hats and gloves and scarves to homeless people. Present math problems relating to this idea. For example: It costs two dollars for a pair of mittens. How much will the boy need to buy ten pairs to give away? Have each student make up a problem, then set aside time for students to present their problems to the class for solving.\nIn the story, the boy thinks it would be better to visit a tree and give it presents rather than cut down lots of trees to decorate. Have students look into other ways that communities deal with Christmas trees. For example, some people buy living trees that can be planted later. Others buy artificial trees that can be used for many years. Some communities recycle discarded trees by making mulch from them.\nWhen students have completed their research, hold a tree conference. Based on their findings, students might consider making recommendations to your own community.\nAbout the Author\nTony Medina grew up in the projects in the South Bronx of New York city. He graduated from Baruch College with a B.A. in literature, and is currently an associate professor of creative writing at Howard University. Medina is known as a children\u2019s book author and a poet, and was chosen by Writer\u2019s Digest as one of the top ten poets to watch in the new millennium. In addition to Christmas Makes Me Think, Medina is the author of the children\u2019s books I And I: Bob Marley, Love To Langston, and DeShawn Days, and is a contributor to Love To Mam\u00e1: A Tribute To Mothers. As an advocate for literacy among today\u2019s youth, Medina emphasizes not only the importance of being able to read, but of loving to read. As a young reader, his favorite book was Flowers for Algernon by Daniel Keyes. Medina has also written extensively for an adult audience, including several volumes of poetry.\nAbout the Illustrator\nChandra Cox is an artist whose paintings and sculptures have been exhibited throughout the United States. She earned her B.A. at Hampton University and an M.F.A. at The Ohio State University. She has traveled extensively in West Africa and much of her work reflects African patterns and forms. Cox is presently the Director of the College of Art and Design at North Carolina State University in Raleigh. Christmas Makes Me Think was her first picture book. The illustrations were created from cut paper, paint, pastel, and colored pencil.\nDownload this guide in PDF\nLearn more about Christmas Makes Me Think\nAlso by Tony Medina\nLove To Langston\nBookTalk with author Tony Medina", "id": "<urn:uuid:208ee435-3e1a-436a-80c8-78f012dd8f8b>", "dump": "CC-MAIN-2013-48", "url": "http://www.leeandlow.com/p/christmas_tg.mhtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164573346/warc/CC-MAIN-20131204134253-00044-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9450616240501404, "token_count": 2041, "score": 4.5625, "int_score": 5}
{"text": "In the days immediately following the September 11, 2001 terrorism attacks, PBS pulled together\nresources to help educators teach students about peace, tolerance, war, patriotism, geography, and\nother related issues. Although time has passed, educators can continue to use these valuable resources\nto teach lessons on these important subjects.\nAfghanistan Today: Civil War and Human Rights\nYour students (grades 9-12) may be hearing a lot in the news about Afghanistan and the Taliban. Help students understand the Taliban's position within Afghanistan, how the Taliban's practices have raised concerns about human rights, and the economic and cultural climate in Afghanistan today. Students may use this knowledge to postulate about what a war would mean for the Afghan people, short- and long-term.\nAfghanistan And Its Neighbors: Model Summit\nAs U.S. officials plan retaliation to the terrorist attacks on September 11, help students in grades 11-12 understand the complex relationships America has with countries in Central Asia and the Middle East. Students will research the recent political history of one country in the region and represent its interests at a model international summit designed to debate response to the terrorist attacks on America and propose measures to achieve long-term stability in that part of the world.\nA World At Peace\nDesigned for younger students (grades 2-6), this lesson plan invites students to brainstorm the basic rights of people everywhere, explore the United Nation's Declaration of Human Rights, and then use international photography galleries as part of a multimedia creative writing assignment imagining a world at peace.\nA Nation of Many Cultures\nDesigned for younger students (grades K-5), this cultural lesson invites students to create a visual representation of themselves to include\ntheir family, heritage, and interests. The creations are then used to compare and contrast\nsimilarities and differences of the students. The lesson culminates with the creation\nof an American Flag for the bulletin board.\nTolerance in Times of Trial\nDesigned for middle-high school students, this lesson plan uses the treatment of citizens of Japanese and German ancestry during World War II--looking specifically at media portrayals of these groups and internment camps--as historical examples of ethnic conflict during times of trial, and about the problems inherent in assigning blame to populations or nations of people. Students will look at contemporary examples of ethnic conflict, discrimination, and stereotyping at home and abroad.\nDesigned for middle school students, this lesson plan introduces students to governmental and humanitarian response mechanisms for natural and man-made disasters. Students research and report on a variety of organizations, including the Red Cross, FEMA, and more; as an extension, students learn about locally- and regionally-based resources like the National Guard.\nThis lesson plan for high school students poses the question, \"Who can stop international terrorism?\" Students learn about different international agencies working to eliminate terrorism, study the recommendations of various international summits and conferences, and debate the effectiveness of various proposed measures.\nThe American Flag\nDesigned for grades PreK-5, this lesson plan offers information on the American\nFlag, including its history, what the\nsymbols represent, and the proper way to display it. Also provided is a list of links to\nflag and patriotic crafts for all ages.\nUse political maps of the world to provide geographical\nknowledge of Afghanistan, the United States of America, and other relevant countries.\nLearn the history of Afghanistan and the Taliban as they relate to U.S. foreign policy\nand actions. Using conflict resolution skills, brainstorm possible solutions to the\nconflict between the United States, Afghanistan, and the Taliban. Write an opinion\npaper on possible solutions.\nAccess information for educators available elsewhere online.\nResources for Parents and Caregivers\nAccess content to help kids cope with tragedy, from Mister Rogers, Sesame Workshop and other providers.", "id": "<urn:uuid:c3099c56-1059-4988-9660-dba0a72d7423>", "dump": "CC-MAIN-2013-48", "url": "http://www.pbs.org/americaresponds/educators.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345777253/warc/CC-MAIN-20131218054937-00040-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9180122017860413, "token_count": 785, "score": 4.28125, "int_score": 4}
{"text": "Investigating the Titanic Disaster and the Historical Commemoration\nCompare/Contrast: Students view the one or more of movies made about the sinking of the Titanic \u2013 for example: Titanic, 1953 with Barbara Stanwyk, Robert Wagner, A Night to Remember, 1958 (no fictional subplots), James Cameron\u2019s Titanic, 1997, or even The Unsinkable Molly Brown (1964). Compare the stories with known facts. Discussions can include historical fiction, and how the facts figure into the story, how fictional elements contribute dramatic effect, and effectiveness of the story elements and construction. Students can also specifically study visual elements of storytelling such as lighting, camera angles, movement and composition to enhance visual literacy. You can generate inquiry through the use of the motion picture analysis tool from the Teachers\u2019 Page.\nWebsite Analysis: Students can use or develop a rubric or checklist to determine how legitimate and accurate Titanic-related websites are. As we approach the 100th anniversary, more \u201ccommemorative\u201d sites are appearing. Have students consider newer sites as well as those which have been available for some time.\nMemorials: Investigate the types of memorials \u2013 monuments, commemorative ceremonies or other items for the Titanic and compare/contrast to our memorials for other large scale tragedies or natural disasters. Study the purpose of such memorials, who initiated each, how the media played a role and if there were any controversies. Evaluate these similarities and differences and determine the elements of \u201cnational (or international) memory.\u201d A possible reference is the lesson plan on natural disasters.\nCharacter Analysis: Research one of the passengers or survivors of the Titanic to determine who really acted in a heroic manner at the time of the tragedy. First construct a rubric to define the term hero. Second, choose a person and research his or her life and what documents have reported about his or her actions during the tragedy. Third, apply the rubric to those actions, and write a defense of your opinion of whether the term hero applies.\nAdditional online ideas for Titanic activities (outside the Library of Congress website):\n- Math activity plan\n- Buoyancy experiment\n- Science lesson\n- Multiple elementary-level ideas\n- Read the book Finding the Titanic by Robert Ballard and use lesson worksheets based on the Ballard book\n- The Wreck of the Titanic, a poem by Horace Greeley available as an e-book.\n- The Library of Congress references some background information about the Titanic on the Main Reading Room research page under Maritime History.", "id": "<urn:uuid:9244fc57-08ae-46cf-a983-99ea5bee6281>", "dump": "CC-MAIN-2013-48", "url": "http://www.unctps.org/Titanic4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00046-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9124210476875305, "token_count": 524, "score": 4.0625, "int_score": 4}
{"text": "This resource helps students answer questions by picturing the concepts behind them. Highly-visual content bridges the gap between concrete and abstract language.\n- Communicate with less frustration\n- Answer questions about feelings and comprehend these question forms: why/because, going to, what if, what happened, what do you need, what do you do when, and what should\nClick here for more information on Digital Downloads.\nSimple illustrations help students understand the logic behind the question and respond appropriately. Students look at the picture, read the question or statement at the top of the page, and respond. The complexity of response can range from single-word answers to complex utterances. Visual prompts can be faded and question forms intermixed to facilitate generalization of the question concepts.\nEight chapters include:\n- Describing Feelings: Students answer the question, \"How does he/she feel?\" and identify emotions of hurt, mad, sad, happy, and scared.\n- What Happened: Students answer the question, \"What happened?\" and explain situations like spilling a drink or breaking an object.\n- What Do You Do When: Students draw from personal experiences or the experiences of others to answer the question, \"What do you do when . . . ?\" This section gives practice in answering questions in novel, yet logical ways.\n- Why/Because: Students give logical reasons for questions such as \"Why is she taking her medicine?\" and \"Why is she mad?\"\n- Going To: Students learn to make and express predictions and draw conclusions as they answer questions that pertain to related objects (e.g., \"He has a drum and drumsticks. What is he going to do?\" ) .\n- What Do You Need: Students name two items needed to complete tasks like washing hands or drawing a picture (e.g., \"Name two things you need to make toast\"). Simple organizational skills like verbal sequencing and basic storytelling are developed.\n- What Should: Students demonstrate beginning logic and problem-solving skills by stating solutions to simple problems like what to do if a glass breaks (\"John broke a glass. What should he do?\").\n- What If: Students hypothesize about events they may not have experienced themselves (\"What happens if you let go of a balloon?\").\nYou may purchase Autism & PDD Answering Questions Level 1 individually or in a 2-book set, which consists of:\nCopyright \u00a9 2001\n- Many children with autism spectrum disorders learn more readily through the visual modality (Taylor-Goh, 2005).\n- Asking wh- questions is a common method of teaching. Difficulty answering wh- questions affects a child academically, linguistically, and socially (Parnell, Amerman, & Hartin, 1986).\n- Explicitly teaching and reinforcing inference-making leads to better outcomes in overall text comprehension, text engagement, and metacognitive thinking (Born\u00e9 et al., 2005).\n- Reasoning skills encourage critical thinking and meta-awareness of internal thought processes. Reasoning skills support students' logical judgments based on conscious reflection and sensitivity to multiple viewpoints (Little, 2002).\n- Reasoning and critical thinking are necessary skills for competence across the curriculum. They require students to examine, relate, and analyze all aspects of a problem or situation. Students engaged in critical thinking must make associations that connect problems with their prior knowledge (Pellgrini, 1995).\nAutism & PDD Answering Questions Level 1 incorporates these principles and is also based on expert professional practice.\nBorn\u00e9, L., Cox, J., Hartgering, M., & Pratt, E. (2005). Making inferences from text [Overview]. Dorchester, MA: Project for School Innovation.\nLittle, C. (2002). Reasoning as a key component of language arts curricula. The Journal of Secondary Gifted Education, 13(2), 52-59.\nParnell, M.M., Amerman, J.D., & Hartin, R.D. (1986). Responses of language-disordered children to wh- questions. Language, Speech, and Hearing Services in Schools, 17, 95-106.\nPellegrini, J. (1995). Developing thinking and reasoning skills in primary learners using detective fiction. Yale-New Haven Teachers Institute, 1. Retrieved March 11, 2009 from http://www.yale.edu/ynhti/curriculum/units/1995/1/95.01.05.x.html\nTaylor-Goh, S. (2005). Royal college of speech & language therapists: Clinical guidelines. United Kingdom: Speechmark.", "id": "<urn:uuid:334bcfb6-5e19-427c-b577-e1bdfc791078>", "dump": "CC-MAIN-2013-48", "url": "http://www.linguisystems.com/products/product/display?itemid=10179", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00047-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8957724571228027, "token_count": 953, "score": 4.8125, "int_score": 5}
{"text": "What is a picture book biography? Its simple title gives us everything we need to know: it is a picture book and it is a biography, and it is both of those things simultaneously and symbiotically. Imagine two spotlights on a stage. One light illuminates picture books, where story and style and the turn of the page combine in a book begging to be shared. Another light exposes biography, with authoritative research and impartial presentation offering an informative and compelling biographical portrait. To identify the picture book biography, we look at the books that exist in the space where those two lights overlap. To identify the excellent picture book biography, we look within that shared space, the overlapping lights, to find the books that shine.\nSpotlight on picture book elements\nFirst and foremost, a picture book must engage its young readers, talking to and with them, rather than at them. Deborah Hopkinson and John Hendrix fulfill this requirement admirably with their collaboration on Abe Lincoln Crosses a Creek. Engaging in direct dialogue with both her audience and her illustrator, Hopkinson invites the reader to speculate about history, to imagine the experience of Abe and Austin, his childhood friend. Illustrator Hendrix complements her tone as he sketches and then re-sketches what might have happened to the two young boys. While biographical purists might dismiss the effort, the engaging meta-narrative provides a very accessible and human introduction to Lincoln where the young reader is as much a player in the story as a recipient of it.\nIn a well-crafted picture book, text and illustration share the storytelling duties, with the art often adding detail not found in the narrative. A picture book biography offers the illustrator an opportunity to do the same thing, using sophisticated imagery to complement the narrative with a sense of the time and place of the subject\u2019s life. With his illustrations for What to Do About Alice? Edwin Fotheringham does not provide a photographic likeness of Alice Roosevelt. Instead, he shows us her energy and vivacity. His illustrations, rendered in a saturated palette that includes Miss Roosevelt\u2019s signature \u201cAlice blue,\u201d match the lively tone of Barbara Kerley\u2019s text. Stylized depictions of the clothing, hairstyles, modes of transportation, and even child-rearing practices at the turn of the twentieth century inform the reader about the era in which Alice lived, and reflect her youthful exuberance.\nSummer Birds, by Margarita Engle, illustrated by Julie Paschkis, about a young naturalist born in Germany in the 1600s, breaks with biographical convention by relating the story in first person. This stylistic choice invites an intimacy between the reader and the text that one expects in a work of fiction. Engle chooses to include much of her biographic detail in an appended historical note, thus leaving the bulk of the text free to engage in the storytelling function. Paschkis\u2019s illustrations are based in a folk-art tradition that puts the viewer in mind of the era in which Maria Merian lived and worked. Her occasional use of bold black backgrounds calls attention to the ever-important dramatic page turn. In addition to providing a biographical story that is both visually and verbally engaging, the author and illustrator together acknowledge their subject\u2019s commitment to carefully observing and recording the natural world. The rich character development adds depth to the story and provides young readers with a valuable insight into scientific methodology.\nAll biographers must determine what to include and exclude when writing about an individual\u2019s life. The parameters of the picture book format make these decisions even more crucial and often limit a biography\u2019s scope. While thirty-two or forty-eight pages won\u2019t allow for a comprehensive, cradle-to-grave exploration of a subject\u2019s life, ingenious biographers can communicate the essentials, carefully excerpting struggles and accomplishments, and reinforcing their expression with appropriately resonant words and imagery. In Georgia Rises, author Kathryn Lasky and illustrator Ora Eitan paint an indelible portrait of the artist within a day\u2019s activity. Recounting O\u2019Keeffe\u2019s arthritic morning ritual, pulling on her stockings and arranging her hair, Lasky reveals volumes about the painter\u2019s work ethic and passion. The inspiration derived from a simple encounter with a raven exemplifies O\u2019Keeffe\u2019s life-long relationship with the natural world. For her part, Eitan matches Lasky\u2019s spare, lyrical musings with flat, elegant, determined paintings, capturing the quiet strength of O\u2019Keeffe\u2019s work and the landscapes that inspired it.\nWhile the picture book format invites creative abbreviation, the biography demands the same documentation required of its longer counterparts. A biographical account, however essential, must rest upon a foundation of rigorous research. In Bad News for Outlaws Vaunda Micheaux Nelson and R. Gregory Christie offer a compelling yarn both adventurous and sympathetic \u2014 and documented. Nelson supports her candid account with comprehensive back matter: a photograph of the hero at the end of the story signals a transition to the facts, followed by a glossary, a historical timeline, a bibliography for further reading, some background information on other players, and a selected bibliography including some notes about her own research. With such appendices, the book\u2019s veracity is inarguable. But strong documentation need not be straightforward to be effective. The same meta-awareness that enhances the irresistible storytelling in Abe Lincoln Crosses a Creek also highlights that book\u2019s informational integrity. By breaking the fourth wall to discuss the story\u2019s origins with the reader, Hopkinson and Hendrix simultaneously document their research and offer the reader a rudimentary lesson in the process of historical inquiry.\nAcknowledging the audience\nIlluminated within the shared spotlight that defines the picture book biography, there are a variety of titles crafted to inform and delight children of every age. Replete with naive sweetness and scientific substance, Patrick McDonnell\u2019s account of primatologist Jane Goodall\u2019s childhood, Me\u2026Jane, squarely entertains the preschool audience with a simple story designed for sharing. A young Jane, stuffed monkey in tow, investigates the wildlife around her country home, imagining one day traveling to the jungles of Africa to do the same. Period spot illustrations and a collection of Goodall\u2019s own childhood drawings accompany McDonnell\u2019s gentle watercolors, complementing Jane\u2019s genial enthusiasm with a seriousness of purpose. At story\u2019s end, the child Jane goes to sleep in her bedroom and awakes, an adult, in Tanzania. A photo of the naturalist reaching out to a chimpanzee completes a singular picture of a remarkable woman\u2019s fascination with and abiding commitment to the world\u2019s wildlife, perfectly calibrated for the biography\u2019s intended audience.\nJen Bryant and Melissa Sweet deliver an equally well-tuned picture book biography for an older child audience in A River of Words. Bryant\u2019s narrative both tells and shows. The text directly conveys information, affording the young reader straightforward facts about the poet\u2019s life and work. At the same time, the spare beauty of the writing communicates the power and influence of poetry in an indirect way. Sweet adds story-extending detail with her round, ebullient collage work. Her inclusion of text in virtually every illustration reinforces the importance of words in the life of William Carlos Williams. Built on ledgers, lined paper, and newsprint evocative of the time when Williams was composing, the illustrations include multiple iterations of his poems, hinting at his relentless dedication to writing. Together, author and illustrator have crafted a book of subtle and layered meaning suited to the growing understandings and aesthetic sensibilities of an older audience.\nThere are as many opportunities for successful picture book biographies as there are children to consume them. The lives of real people offer countless varieties of inspiration. Some open a page on a forgotten hero. Others expand appreciation of an iconic figure. By offering varied pictures of achievement, from the personal to the monumental, picture book biographies demonstrate that there are countless avenues to individual success. In sharing the literary spotlight, the writers and illustrators of picture book biographies illuminate another type of success as well. Through their efforts to honor two literary traditions within a single book, they shine a light on both genres and allow us the opportunity to celebrate creative cooperation. We can only hope that the two spotlights they have so carefully focused will continue to shine on.\nGood Picture Book Biographies\nA River of Words: The Story of William Carlos Williams (Eerdmans, 2008) by Jen Bryant; illus. by Melissa Sweet\nSummer Birds: The Butterflies of Maria Merian (Holt, 2010) by Margarita Engle; illus. by Julie Paschkis\nAbe Lincoln Crosses a Creek: A Tall, Thin Tale (Introducing His Forgotten Frontier Friend) (Schwartz & Wade/Random, 2008) by Deborah Hopkinson; illus. by John Hendrix\nWhat to Do About Alice?: How Alice Roosevelt Broke the Rules, Charmed the World, and Drove Her Father Teddy Crazy! (Scholastic, 2008) by Barbara Kerley; illus. by Edwin Fotheringham\nGeorgia Rises: A Day in the Life of Georgia O\u2019Keeffe (Kroupa/Farrar, 2009) by Kathryn Lasky; illus. by Ora Eitan\nMe\u2026Jane (Little, Brown, 2011) by Patrick McDonnell\nBad News for Outlaws: The Remarkable Life of Bass Reeves, Deputy U.S. Marshal (Carolrhoda, 2009) by Vaunda Micheaux Nelson; illus. by R. Gregory Christie\nFrom the March/April 2011 issue of The Horn Book Magazine.", "id": "<urn:uuid:b1dec483-9de3-4e2b-a321-a0d664c7ee58>", "dump": "CC-MAIN-2013-48", "url": "http://www.hbook.com/2013/06/choosing-books/horn-book-magazine/what-makes-a-good-picture-book-biography/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164647809/warc/CC-MAIN-20131204134407-00046-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.911785900592804, "token_count": 2044, "score": 3.5, "int_score": 4}
{"text": "Prompt: What message does Le aim to convey through \u201cLove and Honor\u2026?\u201d Think about family, oral traditions and lessons on storytelling.\nIn Love and Honour and Pity and Pride and Compassion and Sacrifice, Nam Le tells the story of a young author who is faced with a dilemma of whether or not to \u201csell out\u201d and write about his \u201cethnic story\u201d in order to meet an upcoming deadline. The young author in the short story eventually relents and writes an \u201cethnic story\u201d but is unable to submit it after his father burns the only copy of the story. However what appears to be an act of betrayal, in hindsight, is yet another example of the young author\u2019s father saving the young author from himself. Through this compelling short story, Le offers an empathetic view of Americans, Asians, and Asian-Americans, ultimately showing the reader that conflicts arise between these groups from a lack of knowledge, not malice.\nIn the short story, Le makes clear distinctions between Asian, American, Asian-American people and their values. Le has characters throughout the short story that are symbolic of each kind of culture. Le introduces characters that represent American culture such as the young author\u2019s girlfriend Linda, a young white woman who does not understand the young author\u2019s insistence on staying in contact with his father, and some of the young author\u2019s friends who encourage him just to write an ethnic story to gain \u201ceasy\u201d notoriety. Also Le has characters that represent Asian culture (the young author\u2019s father) and Asian-American culture (the young author). Through his portrayal of these characters Le makes a firm statement on the intentions of these particular groups of people.\nEven though, in the story, Anglo-Saxon Americans are portrayed as somewhat antagonistic to many aspects of the background of Asians and Asian-Americans, Anglo-Saxon Americans are never portrayed to be truly antagonistic and instead suffer from a lack of understanding. One of the young author\u2019s fellow writers describes to the young author what he perceives to be the cheap story telling that comes with ethnic literature. The friend even discounts the young author\u2019s ethnic background as something the young author can \u201cexploit\u201d rather than respecting the young author\u2019s ethnic background as a legitimate struggle. However the young author\u2019s frustrated friend, while disrespectful, never objects to the struggles of ethnic people but the cheap writing he associates with it. And while it is unfair to tie the two together, the young author\u2019s friend, a representation of Anglo-Saxon Americans, does not hold negative feelings towards ethnic people. If anything, expressing his disdain for ethnic literature has made the friend feel like \u201ca bad person.\u201d The young author\u2019s girlfriend Linda has misunderstandings about Asian culture as well, as she struggles to understand the young author and his insistence to keep in contact with his father, who she simply sees as abusive. This misunderstanding can be accredited to the young author himself, as that is the only way Linda learned and misinterpreted the actions of the young author\u2019s family. Ultimately Linda, a symbol of an Anglo-Saxon American, can not truly be antagonistic as she herself is dating an Asian-American man, not something to be expected out of a person who is truly antagonistic against Asians or Asian-Americans.\nThe young author\u2019s struggle between his father is symbolic of a larger intrinsic disagreement between first generation Asian-Americans and their Asian parents. Throughout the short story the young author is conflicted between western and eastern culture. On one hand, the young author treats his father as an annoyance and shows such a disconnect to his Asian heritage that he blatantly exploits his father\u2019s background instead of showing restraint and respecting his father\u2019s story. However despite his reservations about his father, the young author still willingly takes care of his father\u2019s need during his father\u2019s visit and is angered when his friend suggests that ethnic stories were cheaply done. At the end of the story, when the young author\u2019s father burns the ethnic story, the young author expresses remorse (retrospectively) at the angry way the author reacted. This suggests that the young author\u2019s conflict with his father, and the Asian-American first generation struggle with their Asian parents, can be reconciled with understanding. While much as in real life the understanding is not immediate nor is it guaranteed, the young author demonstrates that with time it is possible to reach an understanding.\nConflicts between Anglo-Saxon Americans, Asians and Asian-Americans can be contributed to a lack of understanding and not ill-intentions. In the short story, Anglo-Saxon Americans display antipathy toward some Asian-Americans and Asians but ultimately just need more understanding and already have the good intent necessary to do so. Similarly, the conflict between Asian-Americans and Asians suffers from a lack of understanding but the story expresses promise for understanding over time.\nPost Submitted by: Jesse Chiang", "id": "<urn:uuid:e46b6f85-1da0-4719-9bba-f5e10bcb1530>", "dump": "CC-MAIN-2013-48", "url": "http://wspucla.wordpress.com/2011/04/15/short-essay-love-and-honour-and-pity-and-pride-and-compassion-and-sacrifice/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164583265/warc/CC-MAIN-20131204134303-00047-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9692450165748596, "token_count": 1037, "score": 3.640625, "int_score": 4}
{"text": "Respect for One Another and Respect for Self\nFor Native Americans, storytelling is important in teaching responsibility, respect, and how to live in a good way.\nListen for the lessons as Little Hawk shares his account of \u201cThe Two-Legged Nation.\u201d This story tells how we are all one family living in different rooms of the same house and that respectful behavior is a choice each of us makes.\n\u201cHow Helping Hands Got His Name\u201d is an enchanting tale about a Native American child who was a bully, but learned that to make others feel bad makes us have bad feelings about ourselves.\nThis is an interactive assembly that addresses Character Development and Anti-Bullying issues in an enjoyable, effective way. Little Hawk captures audiences with his words, actions and manner - drawing students in and encouraging them to think about the type of person they want to be, the choices that they make, and their contribution to \u201cThe Two-Legged Nation\" that they live in.\nGrades K-12; College & Adult \u2022 Great Family & Community Program Available\nCLICK HERE TO VIEW VIDEO OF LITTLE HAWK'S TWO LEGGED NATION\nKenneth Little Hawk\nKenneth Little Hawk webpage\nChris Marksbury; CM Photos\nBefore attitude is a problem\u2026\nBefore peer pressure is a problem\u2026\nBefore alcohol and drugs are a problem\u2026\nSELF ESTEEM IS THE ANSWER.\nScot Cannon brings students through one full day of school in this stage presentation, portraying an adolescent trying to make all the choices and decisions necessary to keep him going in the right direction.\nThe first 30 minutes is silent pantomime with an original background score of music and sound effects.\nIn the second half, Scot removes his make-up on stage and delivers his comic monologue filled with questions for the audience.\nUsing the memories of his struggle with an adolescent speech problem, Scot brings students closer to this message: \"If you think you can or you think you can't... you're right.\" (Henry Ford) His battle to be understood and accepted gives hope and encouragement to kids desperately trying to pull it all together.\nThis Character Education program focuses on self-esteem and making good choices.\nIn this powerful mime & music presentation, Scot Cannon begins in make up and brings the audience through a series of fast paced skits. On the surface it seems simply to be a fun, entertaining, engaging show.\nThe program shifts dramatically when Scot removes his make-up, breaks his mime silence, and speaks to the audience about acceptance of people despite our differences.\nUsing his own experiences with a childhood speech problem as a springboard, Scot explains that a kind word, an extra moment spent or a simple wave can change a bad day for someone - and that those simple things can sometimes be a defining moment and be remembered for a lifetime.\nScot uses the skits he performed to strengthen his simple message of kindness, and finishes with a five-minute mime class for the audience, to further reinforce his program.\nThis is a Character Education program focusing on bullying, tolerance, acceptance and compassion.\n|Chris Marksbury; CM Photos", "id": "<urn:uuid:07c2ebec-5c38-4933-81b7-0734f9a6ed63>", "dump": "CC-MAIN-2013-48", "url": "http://www.projectimpact.org/assembliesdescriptions.php?p=no&id=55&nav_order=55", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164583265/warc/CC-MAIN-20131204134303-00047-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9423496127128601, "token_count": 654, "score": 3.734375, "int_score": 4}
{"text": "Communities that are isolated from the mainstream population often develop distinct, rich cultures, based on a firmly established set of values and practices. There are many examples of these communities in Canada, from sea to sea to sea.\nYet, a strong set of values is no guarantee that community or its culture will persist. And what holds true for communities, also applies to organizations and groups.\nCommunities and cultures under siege\nHaida people have occupied Haida Gwaii, on Canada\u2019s Pacific north-west coast, since time immemorial. The aboriginal Haida Nation population was in the tens of thousands in pre-contact times. With the arrival of the explorers in the 18/19th centuries, and smallpox, pre-contact population in tens of thousands was reduced to 600. Entire villages were lost. Traditions were lost. Structures were pillaged. A few years ago I visited the Chicago Museum, and was astonished to see a large showroom filled with Haida (and other west coast aboriginal art) artifacts, removed from Haida communities to meet the needs of the 1893 Chicago World\u2019s Fair. Today, the Haida work hard to gain autonomy over their lands, return stolen artifacts, and put their values into practice.\nIn the Canadian North, on the Arctic Ocean, is Nunavut, our largest federal territory. The people are mostly aboriginal, with Inuit forming the bulk of those people. And like the Haida, the Inuit have not entirely benefited from contact. Long-standing values and practices, which were communicated to younger Inuit through stories and song, have been interrupted by outside influences and new institutions. Inuit are looking for ways to build these beliefs (e.g., storytelling) into what we do today so that once again these beliefs become the value system for Nunavut.\nAnd on Canada\u2019s east, Atlantic coast, is an island community I\u2019ve visited many times, Cape Breton. Initial island inhabitants were ancestors of the Micmaq aboriginal peoples. During the first half of the early 19th century, the Highland Clearances saw an influx of 50,000 Scots to Cape Breton, who brought their rich musical traditions with them. The community and culture remained almost untouched for almost 150 years. Today, a causeway connects the island to the mainland, economic realities see much of the local population working in Alberta oil patch, and cultural traditions are being impacted.\nWhat keeps the community flame burning?\nAcross these three different communities, I see three common attributes being applied today:\n- Re-commitment to core values\n- Celebrating the best of features of the community; e.g., through arts and culture\n- Adapting strategies, congruent with values, to the current situation\nAnd in your community?\n- What are your organizations guiding principles and values?\n- How do you appreciate the core strengths and attributes of the people you work with?\n- How are you adapting your organizational strategies and actions to current possibilities?\nAnd for you?\n- What and your personal beliefs and values?\n- What is unique about you?\n- Are you aligning your values with your current thoughts and actions?\nAnd if you\u2019re having difficulty with answers to the above, maybe it\u2019s time to go offline, and re-connect with your core, in your outpost of choice! Make sense?\nPhoto credit: Sam Beebe / Ecotrust", "id": "<urn:uuid:60312e6d-bcf1-42de-a152-2158533b8e2e>", "dump": "CC-MAIN-2013-48", "url": "http://collaborativejourneys.com/lessons-in-community-values-and-culture-from-the-canadian-outposts/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163047052/warc/CC-MAIN-20131204131727-00048-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9603516459465027, "token_count": 707, "score": 3.796875, "int_score": 4}
{"text": "Creative writing is at the forefront of many educational plans, especially in the earlier grades. Being able to write creatively is a sign of a well developed mind and taking the reader outside of a traditional essay and into your imagination is a skill only solid writers can do well.\nWhen you think of creative writing, a wealth of material should spring to mind. Your creative writing classes might have included poetry, prose, plays, narratives, and much more. For your child, she is likely still back in the entry levels of creative writing which centers on the imaginative, or fiction based, story. That is, she\u2019s making up stories and writing them down.\nIf your child has always been creative, she likely has some terrific stories and make-believe characters. Getting those ideas onto the paper is a different matter entirely for most children.\nThe Common Scenario\nMost children who can tell a story, start to write the story as they would tell it. But many fizzle out after only a few lines or paragraphs. There is simply too much in the brain to get onto the paper. Many of these children bog down in the details and can\u2019t move the story forward.\nThe other common scenario for children that have difficulty with creative writing is failing to find a foothold in a topic or idea. They stare at the white piece of paper and experience the worst kind of writer\u2019s block. Helping your child become a better creative writer is an investment in the long-term, but the process itself is straightforward.\nCreative Writing Breakdown\nWhen trying to write a story, taking it from your head to the paper is frustrating for many children unless they are writing only a paragraph or two. The story becomes convoluted and the brain can process much more quickly than the pencil or fingers. To get around this problem, you should simply add a step between the thinking, or brainstorming, and the actual writing.\nGenerate an idea and then start to sketch that idea on paper. You can use many different forms of prewriting, but for the most part, you\u2019re not actually writing more than just a few words or possibly a sentence as your child learns to organize her ideas. One common way to prewrite to make lists on a separate piece of paper.\nMake one list of characters in the story much like you would see in a play. Consider this a running list you can add to as she writes more of the story. Your next list will be a list of action in the story itself, i.e. what\u2019s going to happen to those characters? If she already has an idea for the story itself, making a list is much easier than writing the full paper.\nShe simply jots down ideas such as:\n- Fights evil troll.\n- Loses fight and becomes slave in his kingdom.\n- Meets prince in disguise.\n- Makes plan to escape.\n- Runs away.\n- Prince fights off troll once and for all.\n- Married and lives happily ever after to prince.\nAs you can see from the short series of action steps, there are three primary characters in the story that show up in the character list \u2013 the main character, presumably your daughter herself or another female, the evil troll and the prince in disguise. She can add extra characters as she pleases, but the story should center on the main three.\nExpand the Lists\nLists are only one way to get thoughts in order during the prewriting stage. Your child might put together a full outline, draw a timeline and write out the action sequence on that, create a bubble web that fall into place, or do anything that helps her sort out the pieces all clashing together in her mind.\nOnce your thoughts are in order in front of you and your child, it\u2019s a good time to flash out the lists a bit. Look for gaps that might be expanded and add details. How do the prince and the main character escape in the above example? What plan did they make? How did the prince fight the troll \u2013 with weapons and skill or clever tricks? Which weapons, which tricks, etc\u2026\nWriting the Story\nFinally, when the bulk of the urgent questions have been answered, it\u2019s time to start the story itself. With your child\u2019s story outlined in a list in front of her, it\u2019s simply to put those thoughts into detailed sentences and begin to write. As she writes, she should be focused on the following aspects of creative writing:\n- Add details to make the scene and story more interesting \u2013 don\u2019t just fight the troll, for example, show the audience through words what sights, sounds and smells there were during the fight.\n- Keep the plot moving forward. Don\u2019t get so bogged down in details and descriptions that you lose the story. Quality details are meaningful; the color of the main characters shoes and eyelashes is not.\n- Develop your characters as necessary. The troll might be there just to be the bad guy, but if the reader is following the actions of the female telling the story, it\u2019s nice to be able to hear her thoughts and emotions as well. Develop characters as much as possible to make them resonate with readers.\n- Build the plot up. The story your child is writing should be building to the climax. In the troll story this is likely the part where the troll catches the two escaping and the prince must fight for their lives. Explain the power of a thriller movie to your child. Perhaps even let her watch a tamer one to see how things build and build until you\u2019re breathless with anticipation. You can show her in many of her favorite books as well, especially mysteries, dramas and horror stories. Encourage her to do the same with her story.\n- Use a creative ending. If you have a brand new idea for a story, it shouldn\u2019t end with the same tired ending that\u2019s been used ad nausea. Encourage her to use a clever new way of ending the story. They can wind up together, but does it really have to be \u201chappily ever after?\u201d", "id": "<urn:uuid:4f98d2a3-a602-4915-8b52-d262cce8dc48>", "dump": "CC-MAIN-2013-48", "url": "http://www.eydcp.com/writing/improving-your-childs-creative-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00047-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9610083103179932, "token_count": 1267, "score": 3.53125, "int_score": 4}
{"text": "What is Kathak Dance?\nis among the six major classical dances of India and one of\nthe most dynamic theater arts in the world. The word Kathak\nis derived from katha, meaning \"the art of storytelling.\"\nIt is also synonymous with the community of artists known as\nKathakas whose hereditary profession it was to narrate history\nwhile entertaining. With dance, music and mime these storytellers\nof ancient India would bring to life the great scriptures and\nepic so ancient times, especially the great Indian epics - the\nMahabharata and the Ramayana - and the Puranas of Sanskrit literature.\nFrom its early form as a devotional expression dedicated to\nthe Hindu gods, Kathak gradually moved out of the temples and\ninto the courts of the rulers; the Hindu maharajas and the Muslim\nnawabs (kings). With these rulers' cultural wealth and preoccupation\nwith lavish entertainment, a class of dancing girls and courtesans\nemerged to entertain the palaces. Much later, during the mid-1800's,\nKathak enjoyed a renaissance and gained prominence among the\nkings and zamindars (feudal overlords) not only as a form of\nentertainment, but as a classical art form.\nIn the Hindu courts of the vast semi-desert of the principality\nof Rajasthan, kathak developed in the Jaipur gharana (school),\na regional style emphasizing the technical mastery of pure dance.\nTo the east in the court of Wajid Ali Shah, the last nawab of\nOudh and himself a student of Kathak, the dance emphasized dramatic\nand sensuous expression and developed into the style characteristic\nof the Lucknow gharana.\nThis gharana is said to have originated with Wajid Ali Shah's\ncourt dancer Thakur Prasadji.\nThe lineage of Kathak dance can\nbe traced from generation to generation, father to son, guru\nto disciple. Thakur Prasadji's nephews, Binda Din Maharaj and\nKalka Prasad, excelled in the study of Kathak. Binda Din's three\nnephews, Achhan, Lacchu and Shambhu Maharaj, helped carry the\nKathak tradition into the twentieth century. Achhan Maharaj,\nand upon his death, Shambhu Maharaj, had among his many disciples\nRam Narayan Misra and Prohlad Das, respectively guru and father\nof Chitresh Das.", "id": "<urn:uuid:b5cd7f71-cb10-4d94-be6a-2f5b29ef0877>", "dump": "CC-MAIN-2013-48", "url": "http://www.kathak.org/site/kathak/section.php?id=4176", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164647809/warc/CC-MAIN-20131204134407-00046-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9260217547416687, "token_count": 545, "score": 3.59375, "int_score": 4}
{"text": "How to Write a Short StoryPosted by\nHow to Write a Short Story\nSay you need to write a short story for a school project, or you want to write a short story just to unleash your creative potential. You have your inspiration, you have your characters, and you have just about everything you need, except that you don\u2019t know how to write the story down. Here are ways and tips that can help you write a short story.\nStructure of the Story\nThere is no one way to write a short story, but it helps to have a structure to make writing your story more convenient. Think of the structure as the \u201cframe\u201d or \u201cskeleton\u201d where you fill in the details with plots, characters, and other events that make up your short story.\nA typical short story follows the same pattern of a dramatic sequence:\n- The exposition provides an introduction to your story. Here you can introduce some characters, describe the setting, and provide a background to the events that will take place in your story.\n- The rising action narrates the pace of the story as it reaches its turning point. Here you can provide some conflicts, use plot devices, or write down the story as it goes along.\n- The climax is the turning point of the story. Think of the climax as the height of the story, where you draw out emotions and impressions from the reader.\n- The falling action is where the story winds down, and gives the reader an idea of how the conflict is resolved in the story.\n- The resolution, also called the d\u00e9nouement, is where the story ends. You can opt to give your story a happy ending or a sad ending, although some authors prefer not to give their short story an ending at all.\nMake It Simple and Interesting\nThere\u2019s a saying among writers that goes, \u201cWrite to express, and not to impress.\u201d Unlike novels, a short story is meant to be read quickly, but land a lasting impression on the reader\u2019s imagination. Avoid using long sentences and complicated words. Always simplify your sentences and phrases; if there\u2019s a way to simplify the thought, then you should always go for the simpler choice.\nJust because you\u2019re keeping things simple doesn\u2019t mean that your story should sound childish. While you\u2019re not out to make life-changing epiphanies, your story should be meaningful enough to land a lasting impression on whoever reads it. Keep the plot straightforward, but at the same time give your readers the room to think about your story.\nIt\u2019s often easier to write a long story or a novel than to write a short story. You may feel the urge to cram as many details about events and characters into your story, to the point that your story becomes longer than expected. Think of a simple short story as an action-packed narrative of a single episode; instead of cramming in details about events and characters, you should focus on one or two events surrounding one or two characters.\nWhen writing your short story, focus on the plot, the conflict, and how it is resolved. Don\u2019t allow yourself to wander off into too many directions; your story should be tight, concise, and descriptive. If it\u2019s your first time to write a short story, it may help to focus on only one plot thread. Remember that even the most experienced short story writers are very challenged when forced to work with two plot threads in a single story.\nWhether you want to express thoughts or experiences, or if you\u2019re filing applications for a short story-writing contest, these tips should help you write your story the way you best want to express it.", "id": "<urn:uuid:606649ef-b049-49d5-bd35-bc003df22fd7>", "dump": "CC-MAIN-2013-48", "url": "http://monsterguide.net/how-to-write-a-short-story", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163048614/warc/CC-MAIN-20131204131728-00046-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9435272216796875, "token_count": 768, "score": 3.703125, "int_score": 4}
{"text": "year, work in the elementary class begins with five important\nstories, called the \"Great Lessons\". These stories dramatize\nknown facts about the universe and the progression of human\ncivilization. Dramatic stories, experiments, charts timelines,\nand illustrations center the children's interests by helping\nthem create a picture of the whole universe at work. From here,\nthe classroom opens up to endless possibilities as students\nfollow their own particular interests with a large measure of\nfreedom. This unit of study forms the backbone that integrates\nthe daily curriculum.\nGreat Lessons are part of what Montessori called \"Cosmic\nEducation\". This is the child's gradual discovery of how all\nthings on earth in the past, present and future are\ninterrelated. Through this work, the children develop a greater\nglobal vision of their world.\nHistory work in the elementary class begins with the development of the\nsolar system and early life on earth. Students study aspects of early\ncivilizations, the development of humankind, and recorded history. Students\nlearn how the contributions of humankind throughout history have brought us\nto where we are today.\nElementary students extend their knowledge of continents and countries with\nfurther research about the people, language and cultures of different\nlands. Map work continues with the study of geographical features and\nlandforms. Project work crosses several subject areas, and students strive\nto achieve their own personal best while cooperating with others.\nIn this area, the children's natural curiosity is stimulated through\ndiscovery projects and experiments, from which they draw their own\nconclusions. The first science experiments are designed to give the\nchildren basic knowledge, which will help them to understand the development\nof the solar system, the earth and its configurations, life on earth and the\nneeds of plants and animals. As they progress, the curriculum encompasses\nphysics, chemistry, botany, biology and zoology. Students learn how to\ncollect and analyze data, observe systematically and carry out experiments\nusing appropriate scientific methods.\nLANGUAGE AND LITERATURE\nThe elementary language curriculum emphasizes creative and expository\nwriting, interpretive reading of literature and poetry. The elementary\nlanguage curriculum emphasizes creative and expository writing, interpretive\nreading of literature and poetry. The focus is on word study, spelling,\ngrammar, punctuation, penmanship and capitalization. Research skills are\nintroduced, practiced through individual project work and refined as\nstudents work with a wide range of research materials. The computer is used\nfor some research. The children are encouraged to present their projects\nand read their stories with confidence, clarity and expression,\nstrengthening their oral language skills. Good literature is always\navailable in the classroom library. The children enjoy well-written story\nand information books on all subject areas of the curriculum. In addition,\nthe classroom uses SRA Reading Comprehension books. Students practice and\nuse their reading and writing skills throughout the curriculum supplemented\nby weekly writers' workshops and daily independent reading time.\nThe mathematics curriculum is presented with concrete materials, which\nreveal arithmetic, geometric, and algebraic connections. Work with the\nMontessori mathematics materials ensures that mathematics is not simply\nmemorized, but understood. These concrete materials help the student\ntransition into working mathematical concepts abstractly. The children\ufffds\nknowledge of the decimal system is extended as they explore its quantities &\nqualities. Students practice operations of addition, subtraction,\nmultiplication and division. Number hierarchy, fractions, decimals,\nnegative numbers, squaring & cubing are studied. Throughout math work, what\nis learned is continuously applied to daily situations. Elementary students\ncontinue exploring geometry on a sensorial level. Students gain a strong\nunderstanding of fundamental geometric concepts through consecutive lessons\nwith Montessori materials. Students gradually begin to study geometry\nabstractly. Students begin with a study of congruency, similarity,\nequivalence, and fractions which prepare them for later area and theorem\nwork. The study of lines, measurement of angles and the construction of\ngeometric figures is also introduced.\nSelf-expression is nurtured in all children. Children experience visual\nart, music, poetry, theatre, writing, dance and other forms of creative arts\nwith confidence and passion. As current research continues to indicate the\nimportance of this area of study, we find it a very natural part of our\nAppreciation and Art History is as natural part of the curriculum\nas technique and use of various media. We learn about art as we do\neverything else, from the perspective of history. We study the various\nforms of media as we study the artists who created and used them.\nWeekly formal art instruction from Art and Montessori trained teacher\nKelly Rauscher introduces new techniques, materials, and art\nis an important part of our classroom as well. Daily singing and\nlistening are accentuated by weekly training on rhythm and singing from\nour specialist, Dr. David Eslick. The arts are naturally\nintegrated into cultural studies and language (creative writing).\nSpecial guests will join the class occasionally to share cultural art\nforms. The students attend at least one performance of children's\ntheatre each year. Classroom-based drama production and performance\nencourages the public speaking, poise, self-control, and games.\nContinuing our commitment to\nforeign language instruction that began in the Early Childhood\nEnvironment, each Elementary student receives instruction in\nSpanish language. The children are\nintroduced to vocabulary, conversation, music and dance. Spanish is\nspoken frequently in the classroom, both by teachers and students.\nSupplemental Spanish language materials will be available in the\nclassroom for independent study.\nLarge muscle skills are a heavy focus during this stage. Games and team\nsports are encouraged to teach good sportsmanship skills. Each week, the\nstudents attend Physical Education class to develop stretching, flexibility,\ncoordination, balance, breath-awareness and strength-building techniques.\nThis is in addition to daily largely unstructured outdoor time.\nThe 6 to 12 year-old child is eager to be part of a community. Acceptance,\njustice and fairness are of supreme importance. With the Cosmic Curriculum\nas the foundation, peace education and conflict resolution are taught daily\nso that children learn to be part of a warm, respectful and supportive\ncommunity. Our peace education emphasis also reaches beyond the classroom,\nthrough community service projects and pen pals. The students are closely\ninvolved in both school-wide and classroom-based community service projects.\nOur gardens and animals provide an indoor-outdoor classroom for our\nelementary students. Life science studies will have direct correlation to\nour botanical and zoological resources. Ecology, environmental studies and\nconservation are integral to the children's outdoor activities. Students\nhave opportunities to experience first-hand care of animals, care of earth,\nand gardening. Weekly animal husbandry and gardening experiences are\nincorporated into the integrated cultural curriculum.\nThe computer is a vital learning tool for the elementary student. Students\nlearn basic word processing and design skills to enable independent and\nefficient computer use. In addition to practicing basic keyboarding and\ncomputer operation skills, students learn how to conduct research using\neducational software and how to safely navigate the internet. The worldwide\nweb provides unique and exciting opportunities for the older student to\ninteract with the world, and to be part of a truly global community.", "id": "<urn:uuid:d0889ee7-a5c7-4178-b0e9-03e77fd7824d>", "dump": "CC-MAIN-2013-48", "url": "http://westendmontessori.com/wems-school/subject%20areas.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163052286/warc/CC-MAIN-20131204131732-00048-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9261090159416199, "token_count": 1554, "score": 3.8125, "int_score": 4}
{"text": "The WDS K/1 is an exciting classroom where children engage in creative play to ignite their imaginations and create community while becoming mathematicians, authors and readers. We start each day with a Morning Meeting which helps us create a common repertoire of songs, games and activities. Throughout the day, students are challenged to work cooperatively with many hands on group activities and can often be found making use of our beautiful campus as we take our clipboards and journals outside to explore our natural world.\nMath and Language Arts are separated by grade. The Kindergarten and First Grade join together for Morning Meeting, Lunch, Choice Time and Social Studies.\nSocial Studies in the K/1 is a time when the K/1 is combined, often working in small groups on hands-on projects. Each year begins with a focus on the social aspects of being in a community and being a unique individual. We use the Tribes Agreements as our guides to explore how we treat each other, ourselves and the classroom. The five Tribes Agreements are Mutual Respect, Listening, No Put Downs, Participation, and Appreciations and Apologies. We do many different activities and games that help teach and reinforce these important life skills.\nFor the rest of the year, the Social Studies Curriculum is divided into an A and B year. During the A year, we focus on Communities and during the B year we focus on United States Geography. Throughout the A year, we explore various communities that we are a part of beginning with our families, our classroom, our school and finally spreading outward to our towns. We go on various field trips to learn about community helpers and institutions like the firehouses, farms, post offices and local merchants. We also explore the natural community around us to find out what animals and plants live in our community and how we effect and are affected by them. During our B year, we \u201ctravel\u201d around our country learning about the food, key features, states and ecosystems that make up our country. We begin by exploring geographical elements like landforms, borders, maps, and regions to create a common language and skill set that we can use when we explore our country. Students get their hands dirty cooking food from various regions, making up songs in the style of different regions and creating various landforms and environments that they would find across our country.\nThe Kindergarten Language Arts curriculum is rich and exciting, as the children are taking their first steps towards literacy. We have a balanced approach to guiding students on their journey of reading and writing. The children are provided with daily opportunities for oral language through storytelling, sharing and discussions. Students have the opportunities to explore a variety of genres through quality literature and texts. The students learn recognition and reproduction of uppercase and lowercase letters. They develop phonemic awareness as they learn the letter names and sounds and gain an understanding of the conventions of print through daily games and lessons. Emergent literacy skills and strategies are developed through authentic reading and writing opportunities during Reader\u2019s and Writer\u2019s Workshop and explored during literacy stations. Our goal is for all of our students to enjoy the purpose and process of reading and writing, as well as view themselves as readers, authors, and illustrators.\nOur Math program is based on the understanding that children learn in different ways. Our studies are integrated throughout various subjects such as Language Arts, Social Studies and Science and Nature. Our young mathematicians participate in metacognitive strategies such as Math journaling, where they monitor their own thought processes. Manipulatives and hands-on games help students explore new concepts and encourages active learning. Students often choose to work with Math materials during free play time; creating games and transferring their learning into new situations. In Kindergarten, students learn to match, sort, order, and identify shapes and patterns. They experiment with length, weight, time, and money, compare and contrast, and begin to add and subtract numbers up to twenty.\nThe curriculum as a whole is inquiry based and multidisciplinary. We use thematic studies and many of our lessons combine components from several disciplines. Like so much of the Kindergarten work, the Science curriculum utilizes a lot of hands on situations. We are grateful to have the resources of our beautiful campus. We go on several nature walks a week. We model for the children how to be a scientific observer and give them the opportunity to be observers themselves. We have a science table in our classroom where we always have things for them to explore. Children learn about what is alive and what is not and what plants and animals need, and do, to survive. We do a lot of measurement and graphing. The curriculum includes Earth science and life science, especially in the spring, when we do a unit about sprouting seeds and planting, etc. Some anatomy is included in our \u201call about me\u201d study, where we talk about our senses and how our amazing bodies work. Physical geography and astronomy is fascinating to young children and we have many discussions, such as the fact that the sun is the center of the universe and everything spins around it. We do a float tank to see what floats and what sinks and we do experiments with snow when it arrives, melting it and seeing how much space it takes up etc. Of course we are always talking about ecology and how to best take care of our Earth.\nDuring First Grade Language Arts, students explore reading and writing in many genres. We write and perform plays and songs based on stories we read, we write letters to our buddies around campus, poetry during our nature research reports bad on our social studies curriculum to name a few. We use a four blocks approach to our Language Arts program. Guided Reading is where students read in small groups with the teacher to focus on comprehension, fluency, and strategies for decoding. During Self-Selected Reading, students read independantly to apply strategies we are working on and build an appreciation of literature. During Writer\u2019s Workshop, students apply writing concepts, experience the joy of writing and sharing a story and editing. Working with Words is where we play with words, spelling patterns and endings.\nThe SRA Math curriculum includes Mental Math exercises, teacher demonstrations, concept reinforcement, thinking stories, and mastery checkpoints. We use a Problem of the Day and re-teaching strategies for additional support. In Unit 1, students solve problems involving adding and subtracting 1, 2, and 3 using counting up, counting back, and counting on a number line. Lessons in Unit 2 develop memorization of basic facts with numbers 0 \u2013 10 and introduce subtracting numbers through 20 and one digit numbers. Unit 3 extends work to numbers through 40 and introduces counting by tens to 100. Unit 4 promotes mastery of basic facts through 10 + 10 and gives an informal introduction to two-digit addition and subtraction with regrouping.\nScience for the First Grade is a transition from the unstructured exploration of Kindergarten science to the more structured unit study of First Grade. In First Grade three categories of science are introduced: Life science, Earth science, and Physical science. By introducing them to several different branches of science, they become more aware of the world around them from many different aspects. Encouraging them to ask questions and to get pleasure from their own discovery of the answer is very important in First Grade. The year begins with an introduction of rocks and their formation, progresses through a study of five animal groups and their characteristics, we then look at matter, and conclude with magnets and magnetism.\nThe Music class explores singing and classroom instruments through an integrative arts approach. Songs are interwoven with creative movement, artwork, and stories, thus creating depth of understanding and connection to the songs we sing. The 1/2 Music class learns several songs in a variety of styles. We learn and compose pattern pieces with simple rhythm, including whole notes, half notes, quarter notes, and rests. Pitch and rhythm syllables are introduced as precursors to standard notation. Active listening, music games, and in-class performance are all be a part of learning developmentally appropriate music concepts.\nOver the course of the year the children are placed in situations where they can learn through movement exploration and put their imaginations to work. Basic movement patterns such as running, galloping, skipping, jumping, rolling and leaping will be emphasized. All sorts of objects are manipulated including jump ropes, beanbags, a plethora of balls, hula-hoops, scooters and the parachute. Students move to music, act out stories and play what seems like five-dozen variations of tag. Personal Space and Body Awareness are important themes at this age. This allows students to move and learn in a safe environment. Students are also put in situations in which cooperation and teamwork are important. Last and perhaps most important, the students have fun while learning.\nIn our class, students begin their adventure into the elements of design and the classical arts. This is done first subtly by using the language of art and then a bit later by actually studying the color wheel, mixing colors, painting, using clay, printmaking, collage, etc. Some of their art work is done solely to learn the different mediums and some of it is done in conjunction with their classroom studies.", "id": "<urn:uuid:af51631f-adde-40ca-91c2-951787bf1491>", "dump": "CC-MAIN-2013-48", "url": "http://www.woodstockdayschool.org/?page_id=1095", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163042403/warc/CC-MAIN-20131204131722-00046-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9544754028320312, "token_count": 1887, "score": 3.703125, "int_score": 4}
{"text": "Serious Play: Writing and Performing Plays With Children\n- Why is Play Important? Social and Emotional Development, Physical Development, Creative Development\n- Second Grade: Play is the Business of Children\n- Musical Instruments for Young Children\n- Dramatic Play-Creative Arts: Ages 3-5\n- Why Creative Play Matters\n- Toys and Materials for Preschool Play\n- Technology Materials, Creative Thinking, Play, and the Arts\n- Housekeeping and Play Development\n- Activities for Sensory Play\nThere are many ways of sorting people into groups. One of the most important groupings for a parent to be aware of is extrovert vs. introvert. Extroverts outnumber introverts three to one. Extroverts are natural performers, but writing and acting out plays isn\u2019t only for them. Introverts can also experience the important challenges, liberation and fun of performing.\nDoes your child take a big step back and say, \u201cI can\u2019t\u201d when asked to present a project in front of the class? She, like many children who resist presenting in class, may be a perfectionist whose standards are so high they are hard to meet. She may dread failure, but when the task is performing as a character, she suddenly relaxes. It\u2019s a liberating experience that often leads to increased achievement in writing as well as speaking.\nMaggie Shepherd is a veteran kindergarten teacher at Marin School in Albany, California, who has been doing plays with children for decades. \u201cThere are so many skills they are honing, being able to interpret their character\u2019s emotions, developing more language experience, memorizing, self-discipline and being a team player,\u201d she says.\nThe benefits of writing and performing plays are not limited to youngsters. When John Camera taught creative writing at several colleges in New York City, he invited students to transform stories and poems into plays. Camera found that students \u201cfelt free to not only express their own ideas but express them in a way unique to them.\u201d As Camera suggests, writing and performing plays is an exciting challenge. All that\u2019s needed to put on a play\u2014at home or at school\u2014is a good story or poem and a few items you already have on hand.\nMake a play from a poem. Invite children to act out the lines of a poem. For example, Sky Seasoning, a poem in Shel Silverstein\u2019s famous book Where the Sidewalk Ends, describes a piece of sky falling into a bowl of soup. Children get to imagine what a piece of sky looks like and stage the fall, which is punctuated in the poem with a huge \u201cKerplop!\u201d Imagine the energy building up as your child and a couple of friends read the poem and memorize the lines.\nThey call first for the literal props and you oblige with a folding table, an old tablecloth and the plastic salad bowl you use for picnics. Then they start talking about that piece of sky. How big is it? What color? Can it be made from cardboard? What about a piece of packing foam? As the set comes together, the children run through their lines. Your creative genius comes up with the idea of making the \u201cKerplop!\u201d echo by repeating it. It\u2019s hard to decide what\u2019s more fun\u2014getting ready for the performance or the performance itself\u2014but one thing is for sure: The thought, visualization and creative use of language that go into a play are all valuable.\nImprovise and record a play. Children naturally follow the classic piece of writing advice: Write what you know. Let children invent their own plays by improvising with hand puppets and homemade masks. Their characters will be themselves, friends and family, pets, TV personalities and heroes from familiar stories. Encourage them to run through the same scene several times and then write the lines down. A few minutes of dialogue can develop into a scene with characters, setting, conflict and resolution\u2014everything you need to create a play. When the play is ready for performance, record it and send it to family and friends. Your child will love to see herself on stage, and positive feedback from the virtual audience is a powerful incentive to do more plays.\nToday on Education.com\n- Kindergarten Sight Words List\n- Signs Your Child Might Have Asperger's Syndrome\n- Coats and Car Seats: A Lethal Combination?\n- Child Development Theories\n- GED Math Practice Test 1\n- The Homework Debate\n- Graduation Inspiration: Top 10 Graduation Quotes\n- Social Cognitive Theory\n- 10 Fun Activities for Children with Autism\n- First Grade Sight Words List", "id": "<urn:uuid:9b1660f6-a8e7-4c2f-a979-fe224a217b07>", "dump": "CC-MAIN-2013-48", "url": "http://www.education.com/magazine/article/serious-play/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345760572/warc/CC-MAIN-20131218054920-00046-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9450928568840027, "token_count": 982, "score": 3.671875, "int_score": 4}
{"text": "Why Use Graphic Novels:\n\"Although comic books or cartoons are often considered subliterature and hardly appropriate for schools, these genres make an interesting bargain with young readers. According to read-aloud specialist Jim Trelease (2001), to become proficient readers people need to master a set of about 5,000 'rare words' that appear infrequently in conversation. In the average adult novel, these words appear 52 times per 1,000 words of text. In comic books, they appear 53 times per 1,000 (Hayes & Athens, 1988). Consequently, comic books don't reduce the vocabulary demand on young readers, but they do provide picture support, quick and appealing story lines, and less text. The comic book-like Captain Underpants series, wildly popular with reluctant boy readers, fits this pattern, not by over-simplifying vocabulary, but by drawing readers in with the visual story of a principal-turned-superhero in cape and briefs.\"\nEducational Leadership September 2006 \"Media and Literacy: What's Good?\"\nGraphic novels can:\n- help poor or unmotivated readers by engaging them to practice their reading skills\n- benefit English Language Learners who can use the pictures to increase their understanding of vocabulary\n- engage readers who learn visually, and who are comfortable with visual media such as video games and computer graphics\n- develop vocabulary\n- encourage readers to explore different genres\n- teach positive messages such as helping others, being selfless, working to one's best ability, participating in teamwork, and perseverance\n- help readers develop an appreciation for different literary and artistic style\n- open a reader's mind to new ways of storytelling, and increase their imagination, through the unique combination of text and pictures to convey a story\nComics and Multiple Intelligences\nAn activity in which students create their own comic or graphic novel taps into Howard Gardner's \"Multiple Intelligences.\"\nWhat are some of the things your character says or thinks? There is no limit to what words can do in a comic. On the other hand, some artists have made comics using almost nothing but words.\nCartoon drawings are naturally visual. Placing the characters in sets and backgrounds encourages spatial learning.\nComics has a long history of formalism, which has always involved mathematical arrangements of panels.\nWhat is your character doing? Artists across the globe will attest to the physicality of drawing their characters. Students can make the faces their characters make, and get into their positions in order to draw them.\nWho are your character's friends? Collaborative games can lead to brainstorming.\nWhat are your character's moods? What does he or she think? Comics has a rich history of exploring the Intrapersonal.\nWhere is your character placed? Explore his or her natural surroundings.\nComics tell stories in rhythmic ways. Repetition of panels, and innovative and abstract stories are fostered in comics.\nFor more information on this topic, read Jenn's article for the Diamond Bookshelf, titled \"Why Teach with Comics?\"", "id": "<urn:uuid:3ef68fc9-2f2d-45e3-9bd1-2e310071a02f>", "dump": "CC-MAIN-2013-48", "url": "http://comicsintheclassroom.ca/why.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051140/warc/CC-MAIN-20131204131731-00048-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9413966536521912, "token_count": 627, "score": 4.0625, "int_score": 4}
{"text": "What are they?\nDigital stories combine the art of traditional story-telling with the use of new technologies, making stories more compelling, educational, engaging and creative. Digital story-telling allows students and teachers to tell their own stories by using simple multimedia software to combine the use of video, photos, art and audio such as music, narration and/or sound effects into a single presentation. See also Animation and Presentation Tools.\nWhat do they look like?\nWhat's happening in Victorian schools?\n- Saving Nak \u2212 the students at Thornbury High were stirred into action when they learned a popular student was forcing deportation. They protested, sang, and discovered politics. Their film was featured on the ABC's Video Lives: Your place your story.\nIdeas for the classroom\n- Connect Primary and Connect Secondary \u2212 these Department sites include an excellent range of digital stories. Search for 'online stories' or 'digital stories'. You can also click 'listen', 'watch', 'make a movie', 'animate', 'read' under the Backpack heading on the Primary site. See: FUSE Primary and FUSE Secondary\n- Youth Central \u2212 digital stories vault and excellent tutorials on Microsoft Photo Story, see: Youth Central. You can download a free version of Photo Story from Microsoft\n- Australian Centre for the Moving Image (ACMI) \u2212 student and teacher digital stories workshops. These workshops are supported with funding from the Department. For information on sessions, see: ACMI Digital Stories. There are also a selection of digital stories at: Made by Kids.\n- ePotential \u2212 there are many excellent examples and resources to assist teachers in the creation of digital stories in ePotential. You can find them by logging in using your 8 digit pin/TO number and then searching for 'digital stories'.\nTools for creating digital stories\n- Microsoft PhotoStory 3.1 \u2212 is a free application that allows users to create a show and tell presentation from their digital photos. The software allows adding narration, effects, transitions and background music to create a Windows Media Video movie file with pan and zoom effects.\n- Kahootz \u2212 all Victorian government schools received Kahootz 3.0 at the beginning of Term 2, 2008. The Australian Children\u2019s Television Foundation (ACTF) developed Kahootz to provide students with dynamic tools to create, share and collaborate with digital curriculum content. With a range of exciting new features, Kahootz 3.0 provides students with even more ways to create amazing stories, inventions, habitats, games, movies and soundtracks.\n- Microsoft MovieMaker \u2212 is video creating/editing software that is included in recent versions of Microsoft Windows. It contains features such as effects, transitions, titles/credits, audio track and timeline narration.\n- Microsoft PowerPoint \u2212 is a presentation program and part of the Microsoft Office system that runs on Microsoft Windows and Macintosh OS operating systems. In PowerPoint, text, graphics, movies, and other objects are positioned on individual pages or 'slides'. The slides can be animated, and voice, sounds and hyper-links can be added to create a story, games or movies.\n- iPhoto \u2212 is a software application made by Apple Inc. exclusively for their Mac OS X operating system. It is part of the iLife suite of applications and comes bundled with every new Macintosh computer. iPhoto can import, organise, edit, print and share digital photos. It is often compared to Google's Picasa and Adobe's Photoshop Album.\nHow it works \u2212 iCan is found on the Sfett.com website. It is a short film festival inspired by Marco Torres, produced by students from San Fernando, CA, USA. The movies are projects for school assignments as well as projects for community building. Digital storytelling is their way of promoting the arts, celebrating culture, and improving communications with the world.\nSafety information \u2212 videos are selected for uploading to the site. There are no stated guidelines for appropriate content.\nPortable Film Festival\nHow it works: the Portable Film Festival is an Australian-based international festival of short films just for portable devices including play station portables (PSPs), iPods and MP4 players, 3G phones, netbooks and laptops. The site is also a portal to digital video resources and collections.\nSafety information: the site is available for use by people over the age of 13. Minors are advised they require parental consent to submit content.\nThe One Minutes Jr\nHow it works: sixty second videos made by young people aged 12 - 20 years from all over the world. The One Minutes Jr site is a project of the European Cultural Foundation, The One Minutes Foundation and UNICEF. 'The network gives young people, especially those who are underprivileged or marginalised, the opportunity to have their voices heard by a broad audience.' Workshops are run throughout the world and there is an annual competition for youth-created videos.\nSafety information: videos are approved before they are published on the site. There is copyright information. There are no stated guidelines for appropriate content.", "id": "<urn:uuid:c6cf4d66-fe3f-40e7-9d91-06f0ed6af3ea>", "dump": "CC-MAIN-2013-48", "url": "http://www.education.vic.gov.au/school/teachers/support/Pages/stories.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163049608/warc/CC-MAIN-20131204131729-00050-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9154139161109924, "token_count": 1033, "score": 3.5, "int_score": 4}
{"text": "Worksheet One: Learning Stories The aim of this worksheet is to give you some hints and tips for learning stories. These are the techniques that I was taught when I first started storytelling and still use to a greater extent today. Although not exhaustive they will hopefully help you to get started and find your own voice as a storyteller. The first and most obvious step is to read stories. Lots of stories. Read as many stories form as many different sources as possible. Read traditional folktales, epic myths, the classics and modern writers (Ted Hughes, Terry Jones, Peter Dickinson, Joy Chant, Ursula Le Guin and Angela Carter to name but a few). Phillip Pullman says that he reads like a butterfly and writes like a bee, and I find this a great attitude to apply to finding new, good stories. The more stories you read the more familiar you\u2019ll become with their different structures, contents and styles. When you find a story that you like (and it really is important that you like the stories and want to share them with others), read it properly a few times. On your first reading you are interested in where the story is taking you (just as your listeners will be when you re-tell it) and can miss some of the subtler aspects of the plot. On subsequent readings you will get a better feel for the story. This is important as it will help you understand which parts have a direct influence on events later on in the story; many stories have long unrelated pre-ambles and red herrings and though these add character to the story, they are not the essential blocks of the story\u2019s structure. I wouldn\u2019t advocate getting rid of these elements without due consideration but it is important to distinguish between the plot and the trimmings. Once you feel that you know the story well enough, try telling it out loud. Hide the text so you\u2019re not tempted to have a sneaky look to remind yourself what happens next. Do this at home or whilst out walking the dog, it doesn\u2019t matter. The aim is to show yourself that you do know your way through the main events of the story, that you could explain the plot if you had to. Check the text again if you need to and then tell it out loud again until you feel comfortable that you know the story. Next tell the story to a friend or colleague. This can be a nice informal telling without all the embellishment that creeps in later. Tell a couple more people if you need to, just to reassure yourself. Once you\u2019ve told someone else, and seen that you do actually know the story, you are ready for a more formal telling. It is important to note that learning a story isn\u2019t the same as learning a play script or memorising a poem. You don\u2019t need to learn the story as it is written down word for word and in fact doing so will make the re-telling a lesser thing. The beauty of storytelling is that every time you tell a story it becomes richer and will change to suit the needs and mood of each particular audience. If you need a boost to learning your first few stories here\u2019s a handy tip. An easy way to learn a story is to break it down into seven main parts (I don\u2019t know why seven, it just seems to work for most stories). When I was first learning the art of storytelling I was told to think of these as a fish\u2019s bones with each telling adding flesh and eventually scales to these bones. These seven points are your steppingstones through the story and as you learn more stories you will become adept at knowing where they naturally fall. Finding your seven points isn\u2019t a case of breaking the text into seven equal parts but rather finding the main events and plot blocks of the story. Learn the stepping-stones and you learn the story. Remember that your troll or princess or hero will be different to anyone else\u2019s with your unique description and voice so you don\u2019t need to memorise someone else\u2019s descriptive words for characters or places in the story. Joseph Collins 2005 | Freelance Storyteller | Visit www.pocketuniverses.co.uk for more information about storytelling. Worksheet One: Learning Stories Once you know the plot you need to get into the story. You need to know how the story feels, looks, sounds and smells. An easy way to do this is to think about one scene from your story, one that most strikes you. Picture the scene in as much detail as you can; think about the lighting, the sounds, the characters, the smells, the mood. This is your doorway into the story so try and fix as much detail as possible in your mind. You might not ever use all this detail in an actual telling but it is important that it is there in your head. This done, pick a few other scenes or events and do the same with them (if you have used the seven plot point method above, it helps to do this for each point). Now you have learnt the story practise, practise and yea verily thrice practice. Only by telling your stories to real audiences do they gain life as you add flesh to their bones. You will find some bits work on an audience and some don\u2019t. Don\u2019t try to control the story. Let it live and let it find its natural rhythm, highs and lows. Jokes will creep in, characters will find their voice and even the plot might take a few twists that you hadn\u2019t expected. Don\u2019t be scared to scrap bits or add extra elements as you see fit either. It is all too easy to become precious about the purity of traditional stories. It is just a story not a sacred artefact. Finally, and absolutely most importantly, enjoy yourself. If you are having fun with the story and the audience it will show and your telling will be that much richer for it. Learning stories really is that simple and it gets easier with practice. So now you have no excuse not to learn a couple of stories even if you start with the ones we all know \u2013 Three Billy Goats, Cinderella, Snow White. Seeing these and other characters and places come to life in front of us and not on the flat screen of a TV is something we have all been deprived of for far too long! Joseph Collins 2005 | Freelance Storyteller | Visit www.pocketuniverses.co.uk for more information about storytelling.", "id": "<urn:uuid:30596239-c884-4d39-8396-524b1b082503>", "dump": "CC-MAIN-2013-48", "url": "http://www.docstoc.com/docs/17688808/Learning-Stories-Worksheet-One-Learning-Stories-The-aim-of-this-worksheet-is", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345771844/warc/CC-MAIN-20131218054931-00050-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9608914852142334, "token_count": 1334, "score": 3.59375, "int_score": 4}
{"text": "A Graphic Design Primer, Part 2: The Principles of Design\nIn the last part, we covered the elements that make up most designs. In this part, we\u2019ll cover the principles you can apply to those elements to create a design. All of these principles can be applied to any project, and have a direct impact on the success of that design.\nLearning to recognize and apply these design principles to your own work is a key step in becoming a better, more competent designer. Some of these elements are inherent in any design, regardless of whether they were consciously applied or not. The key to creating better designs is learning how to master these principles and apply them proactively to your design work, so that you use each to its maximum effect.\nBalance is the way elements are distributed throughout a design. Good balance lends stability to the design. Bad balance leaves it looking off-kilter and skewed. However, it is possible to create designs that are slightly off-balance, in order to emphasize one element of the design over others.\nThere are three basic types of balance: symmetrical, asymmetrical, and radial. Symmetrical balance occurs when two sides of a design are the same. Generally, this happens along a vertical line, though sometimes it can also happen along a horizontal line (and sometimes both).\nAsymmetrical balance is when the two sides of a design aren\u2019t the same, but have elements that compliment one another and still provide the same kind of stability a symmetrical design provides. Asymmetrical designs are generally more visually interesting than symmetrical ones.\nRadial balance occurs when design elements are laid out in a circular pattern. Radial balance can give a real sense of movement to a design, though it\u2019s also one of the most difficult to achieve in a web design environment while still maintaining good user experience.\nBalance can be achieved through the use of shapes, lines, colors, textures and other elements. Think of each element as having a \u201cweight\u201d, with brighter, larger, and more visually striking elements being heavier than other elements. The goal is to balance a scale set on the imaginary center line of the design. So on one side you might have a small but bright red element, while on the other side you have a larger gray element. The brightness of the one element offsets its smaller size, making it have the same visual weight as the larger element.\nScribble and Tweak\nAn example of slightly asymmetrical balance, especially in the header.\nQuirky Kid Clinic\nA good example of a symmetrical design.\nProportion is the scale of elements in relation to one another. Proportion has a strong effect on the dominance of elements, with larger elements having a stronger visual impact than smaller ones, all other things being equal.\nThe proportion of elements in your designs is an effective way to indicate what\u2019s important in the design and what isn\u2019t. The most important parts of a design should logically be larger than the less important elements.\nNotice how your eye automatically falls on the largest rectangle in the layout below. This is an example proportion effects our impression of what\u2019s important.\nSimpleGeo uses proportion of different elements to place emphasis on different areas of the page.\nThe very large slideshow is a good example of using proportion to draw the eye to a specific element.\nDominance and Priority\nThe priority of elements within a design can make the difference between a good user experience and a bad one. Without some kind of priority or dominance among elements in a design, it\u2019s difficult for the user to figure out what they\u2019re supposed to do. Dominance of one element over another gives us a sense of what\u2019s important and what\u2019s not.\nThere are generally three levels of priority. Primary elements are the most important. In a website design, these are things like a call to action or headline.\nSecondary elements are important, but they\u2019re not vital. These are things like the images you use to illustrate a point or your navigation. They need to be easy for a visitor to find, but they\u2019re not the most important part of the design by any means.\nTertiary elements are mostly unimportant. These are things like meta information on blog posts, some navigation elements, or footer links. Tertiary elements, to an extent, sort of \u201cblend in\u201d with the rest of the page\u2019s design, rather than calling attention to themselves.\nThere\u2019s a definite sense of priority and hierarchy on this page.\nAnother site with a definite sense of priority in the design.\nContrast is fairly self-explanatory. Good designs have sufficient contrast between elements so that each element stands out as much as needed. Note that in some cases, contrast is minimal, because the intention is for elements to blend together. In other cases, contrast is high, because each element needs to be distinct.\nThe most basic method of creating contrast is through color. But you can also have contrast with style (this is especially common in typography), texture, shape, and other elements. Contrast should be used to reinforce the priority of elements on a page.\nA good example of a site design that has varied contrast for different elements within the design.\nThe varied contrast among different elements effects the emphasis placed on each.\nRhythm and Flow\nThe rhythm of a page directs the visitor from one element to the next. There are a handful of different rhythm patterns. Regular rhythm is orderly and even. There\u2019s no variation in a regular rhythm. Think of it like a staircase: each step is the same height and width, and the same distance from the previous step.\nFluid rhythm is more organic in nature. There\u2019s variation between the elements, and movement between them is not in a regular, orderly pattern. Think of fluid rhythm as a river: all the water is flowing in the roughly same direction, but there\u2019s variation in how it moves.\nProgressive rhythm could also be called sequential rhythm. There\u2019s a definite sequence in how the eye moves from one element to the next. Progressive rhythm could best be thought of as like a fanned-out deck of cards.\nThere\u2019s a definite regular rhythm to this layout.\nThe Cornerd site is a good example of a fluid rhythm in design.\nHarmony and Unity\nEven if you follow all the principles listed above, without unity and harmony, it\u2019s impossible to create a good design. When all of the elements of your design are working together, you achieve unity.\nWithout that unity, all you have is a bunch of individual elements on a page, without any real \u201cdesign\u201d. The elements should complement one another, and work together to create a design that\u2019s both functional and pleasing to the eye.\nAll the elements here work together, while following the principles above.\nThe Moove site uses all of the elements above to great effect, creating a unified design.\nMore Examples of Design Principles in Action\nKeith Homemade Cakes\nThis design gives a good sense of priority, and uses both symmetrical and asymmetrical balance in different sections of the site.\nInternational Storytelling Center\nA great example of a site with asymmetrical balance and excellent proportion used to influence the priority of elements on the page.\nAnother site that uses roughly symmetrical balance, as well as a regular rhythm.\nPlatform45 is a great example of how proportion effects priority. The site also has excellent unity throughout.\nSiteOptimizer uses slight progressive rhythm in their header, as well as proportion to make some elements dominate others.\nWade | A Retrospective\nOne of the few successful site designs out there that uses radial and asymmetrical balance, as well as fluid rhythm effectively.\nAn excellent example of good contrast, regular rhythm, and symmetrical balance.\nA good example of a site with moderate contrast and a symmetrical design.\nVery creative use of balance, proportion, dominance, and contrast.\nTurks & Caicos Sporting Club\nA great example of how proportion is used to create a visual hierarchy.\nIn the third installment of this graphic design primer, we\u2019ll cover different composition methods and guides, including the rule of thirds, Gestalt principles, and grid layouts.\n- The Principles of Design\nA comprehensive overview from Digital Web Magazine.\n- Basic Principles of Graphic Design\nAnother overview article, this time from Gonzoblog.\n- Graphic Design/Principles of Design\nAn overview from Wikibooks.\nCameron Chapman is a professional Web and graphic designer with many years of experience. She writes for a number of blogs, including her own, Cameron Chapman On Writing. She\u2019s also the author of Internet Famous: A Practical Guide to Becoming an Online Celebrity.", "id": "<urn:uuid:859ce942-41c2-45ae-8ac5-7df3ed1c10f9>", "dump": "CC-MAIN-2013-48", "url": "http://www.noupe.com/design/a-graphic-design-primer-part-2-the-principles-of-design.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164004837/warc/CC-MAIN-20131204133324-00052-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9055063128471375, "token_count": 1836, "score": 3.6875, "int_score": 4}
{"text": "- slide 1 of 5\nAccording to the book, \"Brain-Based Instruction for the 21st Century, For The Learner's Sake,\" by Judy Stevens and Dee Goldberg, stressful learning environments cause the brain to produce chemicals that interfere with learning. Through the use of small group activities such as the ones presented here, the learning environment is less likely to produce stress for students.\nBarbara Gross Davis, author of \"Tools for Teachers,\" includes information in her book that supports the use of small group learning for increasing students' learning success, regardless of the subject being taught. Small group activities also encourage healthy social-emotional development of children, supporting appropriate peer interaction as modeled and monitored by teachers. The activities and lesson circumstances presented here support a stress-free learning environment which encourages positive social and emotional development of your first grade students.\n- slide 2 of 5\nPeer Tutoring Trios\nBy grouping students into peer tutoring trios, high level students apply newly learned skills by teaching it to others and on level and low level students observe and collaborate within the group to master that same skill. Using this small group idea for your first graders will move them toward independent application of the newly learned skill while deepening the high achievers understanding. To employ this method in your classroom, do the following:\n- identify a mathematics skill recently taught, but not mastered by the majority of students.\n- identify the top third of the students who mastered the skill (each of these students will lead a tutoring trio).\n- place two students with each of the high-end learners to form the trio.\nHomework reviews are ideal for this type of grouping. Another option: re-teach a skill through a mini-lesson for the whole group before splitting students into their trios. Following the mini lesson, hand out worksheets for students to complete within their groups. Helpful hint: to ensure success with this activity, outline specific group expectations on the board such as the following:\n- use indoor voices\n- use kind words and actions\n- take turns speaking\n- ask peer tutor for help\n- check your work together\nReminding students of group expectations consistently and posting the expectations in the classroom will assist in establishing the routine for this specific small group activity, making future tutoring trios effortless research-based practice used in your classroom.\n- slide 3 of 5\nCircle Story Groups\nIn first grade, students identify the beginning, middle and ending of stories. Students' understanding of narrative structure increases with the use of circle story groups. To conduct this activity, do the following:\n- Group students into four and provide each student with a piece of paper folded into four separate boxes.\n- Inform students they will create stories within their groups.\n- Direct each student to draw a picture of their favorite characters in the first box on their papers.\n- Inform students that everyone's story will be about a lost pet.\n- Instruct students to draw a picture showing their characters interacting with their pets (feeding, washing, etc.) in the next box.\n- Direct students to draw a picture in the third box showing what happens when the pet goes missing.\n- Instruct students to raise their left hands (show which is left) and pass their papers to the student seated to that side of them.\n- Direct students to read the picture stories on the papers and create a picture ending in the last box.\n- Allow students to take turns telling each other's stories in the small groups.\nBy following these simple steps and monitoring students' behaviors throughout the activity, circle story groups will certainly become a student favorite.\n- slide 4 of 5\nPeer Reading Time\nTo increase students' reading fluency, group students on the same reading level together for peer reading time. This small group idea for first graders provides for classroom reading time while allowing for peer interaction. The reading materials selected for each group should be on-level reading text for each group, so grouping students by same reading levels is necessary. Students take turns reading sections of the text. Provide students with a choice of activities to do after the reading. Allow student groups to choose from a list of three activities. Some activities that can be listed:\n- identify action words from the story by writing words in a list.\n- draw a picture of your favorite part of the story.\n- Create a different ending to the story in a drawing.\nUse the first grade reading series as a resource for finding activities that can follow this group reading activity. Helpful hint: be sure to read the list to the students and include simple drawings next to each item for easy student identification.\n- slide 5 of 5\nFrequent use of small group activities for first graders assists in building community in the classroom. Using these small group activities supports students' efforts and encourages positive social interaction within the classroom. Students are more willing to ask for assistance in a classroom where peer interaction is a regular practice and the social climate is positive and supportive. Many names have been assigned to group learning: cooperative learning, literacy circles, shared reading and many others. Though the names may change the purpose and relevance of small group activities does not - these activities increase students' learning; that alone makes it a useful and relevant practice in your first grade classroom.\n- Gross Davis, Barbara. Tools for Teaching. Jossey-Bass Publishers.1993. University of California, Berkeley. http://teaching.berkeley.edu/bgd/collaborative.html\n- Sanoff, Henry. \"Research Based Design of an Elementary School\" http://ncsu.academia.edu/HenrySanoff/Papers/100768/Research_Based_Design_of_an_Elementary_School\n- Stevens, Judy, et. al. Brain-Based Instruction for the 21st Century: For The Learners Sake. Zephyr Press. 2001.", "id": "<urn:uuid:eead2b59-64ba-4a06-8f05-4f885bbc0d39>", "dump": "CC-MAIN-2013-48", "url": "http://www.brighthubeducation.com/lesson-plans-grades-1-2/123346-creative-small-group-ideas-activities-for-first-graders/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00050-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9268015623092651, "token_count": 1208, "score": 4.0, "int_score": 4}
{"text": "Making Geography Happen\nMaking Geography Happen is an Action Plan funded project about good quality, innovative curriculum-making. It focuses on the work done by students in geography lessons and how this contributes to their wider understanding of the world.\nFive schools participated in the project and their work is available on these web pages. In addition, King Edward VII School, Sheffield is being used for a longitudinal study, tracking four students through the whole of their Key Stage 3.\nThe school projects\nA Village Comparison\nPerton First School, Staffordshire - Year 4\nDuring this unit the children compared their own place - a new, modern, urban village - to Brewood, an old, traditional, rural village approximately seven miles away. The main focus was a full day's field visit to Brewood.\nNorth Reddish School, Stockport - Year 4 & 5\nThis unit aimed to develop the children's idea of place through the people who live there and built upon an existing school link with Saudi Arabia. It was extremely cross-curricular and included literacy, art, drama, DT and science.\nStopsley High School, Luton - Year 7\nThe 'School of the Air' unit helped students explore the key underlying concept of place by thinking about life in remote areas of Australia. It also incorporated the geographical concepts of space and physical and human processes.\nKing Edward VI Five Ways School, Birmingham - Year 9\nIn this unit of work Year 9 students focused on uneven development in different places and at different scales. They were encouraged to be critical about what they saw and consider why it is important to learn about development.\nUnderstanding the Local Area\nSt Peter's Smithills Dean CE Primary School, Bolton - Years 3 & 5\nThis unit aimed to help students develop a greater knowledge and understanding of their local area, Barrow Bridge. It incorporated elements of place, interdependence and connectedness within a wider cross-curricular context.\nBottesford Primary School, Leicestershire - Year 5\nYear 5 pupils were introduced to the Lincolnshire coastal town Skegness. Through field visits and classroom activities, the pupils learned about coastal environments, erosion and sea defences in a contrasting locality.\nHigh Arcal School, Dudley - Year 8\nIn this series of lessons, students learned about the basics of plate tectonics, how and why earthquakes happen and how countries can minimise their impact. The activities included creative writing, practical tasks and drama.\nAbout the Making Geography Happen project\nBackground information on this Action Plan for Geography funded project and what it hopes to achieve. You can can also read about the participating schools and find out what materials are available on these pages.\nThinking about progression in geography\nA key aim of the Making Geography Happen project is to understand progression in geography. This page explains progression in more detail and contains additional information about curriculum planning and assessment.\nThoughts and advice from teachers who participated in the project including their opinions on curriculum-making, progression, how to involve students, encouraging creativity, combining geography with other subjects and fieldwork.\nComment on this page\nComments made by GA members appear instantly and don't require security words to be entered - make sure you're logged in! Guest comments will be sent to a moderator for approval.", "id": "<urn:uuid:9a60b987-78a5-40a9-a493-68b18a11bdcd>", "dump": "CC-MAIN-2013-48", "url": "http://www.geography.org.uk/projects/makinggeographyhappen", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163056670/warc/CC-MAIN-20131204131736-00051-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9443361163139343, "token_count": 674, "score": 3.609375, "int_score": 4}
{"text": "Parents - How do children learn to read and write?\nWhat does this website have to offer you?\nLearning to Read and Write lays the Foundation for Academic Success\nAll parents want their children to be successful in school and this website is dedicated to supporting children\u2019s school learning. How well children learn to read and write in the early elementary years plays a central role in how much success they experience in all academic subjects of school.\nWhen children are successful in learning to read and write they are more likely to feel happy and to flourish in school.\n- This website is primarily aimed at assisting teachers and school administrators provide your children with the type of instruction that will help ensure their success but the site also has a great deal to offer you.\nDoes learning how to read and write seem somewhat of a mystery to you?\nYou are not alone if you answered yes... For many parents just how children learn to read and write is something of a mystery.\nWhat do children need in order to grow in literacy?\nThe simple answer is a \u201chealthy and appealing literacy diet\u201d that contains the appropriate Food Groups for literacy. These \u201cfoods for literacy\u201d cannot be purchased at the grocery store!\nThis website will explain what these foods for literacy are and will provide some \"free samples\" in the form of brief videos.\nIt will introduce you to the types of strategies (Recipes for Literacy) that effective teachers use to help children develop their literacy skills.\nYou will be able to view examples of such the strategies in the hundreds of How-To Videos on the site.\nIt will also explain how children\u2019s literacy diet requirements change as they develop literacy skills across Stages of Literacy Development in the elementary school years.\n- You may also be interested to have a peek into some exemplary classrooms through the Virtual Tours to see what teachers at different grade levels do to make literacy programs exciting and effective for their students.\nWhere to learn more about literacy development:\nWe hope that you enjoy exploring this website and that many of your questions about how children learn to read and write will be answered. To further extend your access to useful information about literacy learning we recommend that you visit the following websites:\n- Reading Rockets offers a wealth of literacy information and resources for parents\nFree websites that support children's reading and writing at home:\nStarFall is an outstanding website to support beginning reading at home and at school\nA wealth of spelling activities and resources can be found at Vocabulary Spelling City\nThe Sesame Workshop engages children in storytelling to enhance early reading and writing\nAt Storyline Online actors read storybooks aloud, supporting language growth and love for books\nFather and Son enjoy Nightly Read Together", "id": "<urn:uuid:ef5623c7-4fe6-4e43-8672-20e7decaf50b>", "dump": "CC-MAIN-2013-48", "url": "http://www.oise.utoronto.ca/balancedliteracydiet/Parents.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164583265/warc/CC-MAIN-20131204134303-00051-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9575243592262268, "token_count": 555, "score": 3.875, "int_score": 4}
{"text": "readers engage in a close transaction with text, totally immersing\nthemselves in the text world.\nare text worlds in your mind full of a vast horizon of possibilities.\nSuccessful readers actively live in these text worlds during\ntheir reading experience and through it build rich literary\nall readers create meaning by unconsciously utilizing the envisionment-building\nprocess, less successful readers have difficulties applying\nthese skills to what they read in order to create a rich interaction\nwith the text.\nterm stance refers to a mental process that readers employ\nin order to make meaning out of what they read, no matter what\nreading ability they have achieved. Stances reflect the way\nreaders stand in relationship to the text at any given point\nin reading. Effective readers adapt four basic stances as needed,\ncreating their own unified understanding of the text.\nbuilding is not a teaching method imposed on readers, but rather\nit describes how successful readers interact with texts and\nsuggests ways to help students build competence.\ndemonstrates that many language arts instructional practices\nare based on the premise that literary texts are seen as sources\nof information to be mined, rather than as text worlds that\ninvite interaction and reflection. Many teachers have been taught\nthis way and trained to teach this way. Thus, techniques such\nas gathering plot summaries and searching for the best interpretation\nof the text have often been ingrained in their pedagogical practices.\nYet, teachers want their students to have rich literary experiences,\nand they need to find new ways to accomplish that.\ncan help students grow as envisionment builders by creating\nliterary communities that allow for thoughtful discussions by\nproviding opportunities for students to think about text in\nmultiple ways, from a wide assortment of perspectives.\nThe Four Stances:\nBeing Out and Stepping Into an Envisionment\nWhen readers step into the text world, they search for clues\nin order to form initial impressions about the literature and\ntheir journey through it. Readers stand in this position from\nthe first moment they pick up the book. This relationship to\nthe text also occurs when readers are confounded by new information\nin the text, and are then forced to return to this stance to\nclarify or adjust an envisionment.\nBeing In and Moving Through an Envisionment\nBeing In and Moving Through text allows readers to connect personal\nexperiences and background knowledge to the text world. Here,\nreaders move through the text world, observing the lives of\nthe characters, breathing in the setting, conflicts and dilemmas,\nand wondering what they might do if they were in the characters'\nsituations. Readers become part of the text world through their\nown cognitive journey. As they take multiple perspectives and\nconsider possibilities, their understandings deepen.\nStepping Out and Rethinking What One Knows\nWhen readers Step Out and Rethink, they use the text as an opportunity\nto reconsider aspects of their own lives, reflecting upon decisions,\nexperiences, and dilemmas. This is one of the most powerful\nreasons we read literature to understand ourselves and the\nworld around us better. In this stance, readers have an opportunity\nto examine their past lives, their present lives, and the lives\nthat lie ahead of them.\nStepping Out and Objectifying the Experience\nThis stance provides readers with the opportunities to critique\nthe text as a literary work, analyzing the author's craft, use\nof imagery, language, structure and allusions and objectifying\ntheir interpretations of the text. In this position, readers\nhave the opportunity to see how the literary elements relate\nto the whole work's meaning, as well as how the work relates\nto other texts.\nPrinciples of an Envisionment-Building Classroom:\nTeachers can offer support to students as they grow as\nenvisionment builders by:\n- Students are treated as life-long envisionment builders.\n- Questions are treated as part of the literary experience.\n- Class meetings are a time to develop understandings.\n- Multiple perspectives are used to enrich interpretation.\n- Providing framed questions that provoke students to respond\nto text in multiple ways.\n- Building a literary community of engaged readers where\nmutual respect is the basis. Here, students have respect\nfor the text, for one another, and for the unique perspectives\nthat each community member offers, and for well-developed\nand well-explained interpretations.", "id": "<urn:uuid:9b45bc05-61ce-4812-b53c-1769a5bbc337>", "dump": "CC-MAIN-2013-48", "url": "http://www.learner.org/workshops/conversations/conversation/envisioning/key_points.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164033438/warc/CC-MAIN-20131204133353-00050-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9180874824523926, "token_count": 926, "score": 3.8125, "int_score": 4}
{"text": "Introduction for Teachers\nThis site offers a flexible curriculum for teaching all or portions of Uncle Tom's Cabin in a\nhigh school literature or American history class. The lesson plans offered here integrate an\nexploration of the novel's central issues with skills-based activities in close reading, critical\nand creative writing, research, and oral presentation. While parts of the site may be used by\nclasses without internet access, several of the activities offer ways to integrate the Uncle\nTom's Cabin and American Culture site, as well as other helpful web materials, into a high\nSpecial Features of the Site\n- Progression of Selected Chapters\nRanging in length from 400 to 600 pages depending on the publisher's format, Uncle Tom's\nCabin is too long for most high school classes. The Progression of Selected Chapters\nsuggests several options for assigning excerpts of the novel. Links in this section allow\nteachers to move directly to the online novel to print their selections.\n- Lesson Plans\nTeachers may choose to use all or only a portion of the activities suggested in the three units here, depending\non the length of time allotted. Each unit consists of three lessons. Most lessons are designed to last only a day or two. While\nthe unit names suggest a sequence, the lessons may also be rearranged or used singly.\nUnit 1: Starting Out\nThe three lessons in this unit are designed to introduce students to Uncle Tom's\nCabin. Lesson 1, \"America in the 1850s,\" uses primary documents to provide\nstudents with important background about Stowe's historical moment. Lessons 2\nand 3 suggest activities designed to run throughout a class's reading of the novel.\nUnit 2: Reading the novel\nThe three lessons in this unit focus on the novel's central themes: anti-slavery,\nwomen readers and characters, and religion. Each theme focuses on a single chapter\nin the novel -- with the exception of the lesson on religion, which focuses on two of the\nnovel's final chapters.\nUnit 3: Finishing the novel\nThis unit focuses on readers' reactions to Uncle Tom's Cabin and incorporates\nmaterials from the Uncle Tom's Cabin and American Culture website. The lessons\nin this unit examine reviews by Stowe's northern and southern contemporaries, visions of a post-slavery America, and\nthe transformation of Uncle Tom's Cabin into popular culture.\n- Student Site\nMost lessons on this site offer printable worksheets, primary documents, and other lesson-\nspecific materials. The materials may be accessed and printed directly from the lessons in\nthis Teacher's Guide, or teachers may opt to send students directly to the companion site for\nstudents. The student site offers: printable materials students will need for each lesson, brief\noverviews of each lesson, resources for additional research, and links to the novel online.\n- This section suggests books, essays, websites, and teaching materials for further study of\nUncle Tom's Cabin and its historical moment. Also included here are links to websites that\nprovide plot summaries of the novel's chapters, which might be helpful supplements for\nclasses not reading the novel in its entirety.\nCreated by Ellen Greer Harris\nMA Program in American Studies\nUniversity of Virginia", "id": "<urn:uuid:4459365a-2105-4387-96ca-1a31f0c8540e>", "dump": "CC-MAIN-2013-48", "url": "http://xroads.virginia.edu/~ma02/harris/utc/intro.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163049608/warc/CC-MAIN-20131204131729-00049-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9313727617263794, "token_count": 674, "score": 4.09375, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\nArabic Teacher Resources\nFind Arabic educational ideas and activities\nStudents discuss the stereotypes they have heard mentioned against the Arab community. Using examples, they identify the uses of discrimination, hate crimes or stereotyping these individuals. As a class, they discuss ways to prevent discrimination and hate crimes and explore the accomplishments of those in the Arab community.\nCreate a language mosaic to reveal the linguistic diversity in your community. Pupils interview a person with a home language other than English and contribute to a bulletin board display representing the variety of languages spoken. The activity is part of the 1996 Canadian Census Results Teacher\u2019s Kit. A link to other activities and materials is provided. Although the background information and statistics are based on Canadian census data, the concepts could be applied to any country or area\nStudents explore the basis of Iago's persuasive power by analyzing Shakespeare's use of rhetoric and figurative language. In this Othello lesson, students analyze Iago's rhetoric in monologues and dialogues with other characters. Students identify rhetorical terms and the power of language. Students complete the related links and worksheets for the lesson.\nLearn about the diversity of the culture of Lebanon through this series of cross-curricular lessons. Compare and contrast various cultures through activities and readings. An introduction to the culture of Lebanon is included along with explanations of food, religion, and recreation. Learners will be able to compare their own culture to that of an Arab culture.\nYou can use this lesson plan with English language learners, a young language arts class, or speakers of a foreign language. The phrases learned are I need and I don't need. The teacher collects several items around the room, and learners practice using their new target language.\nThis lesson combines math, visual art, and language arts activities that all focus on the making, and bailing of hay. The activities can be adjusted to address different age ranges. Most of the activities focus on gainin proficiency with numbers, counting, and patterns. The worksheets embedded in the plan are terrific, and provide you with everything you need to successfully implement this fine plan.\nFlowering learners explore the concept of figurative language as it relates to poems, songs, or creative written expression. In this creative writing lesson, they complete several phrases using similes, metaphors, and personifications. Teach them to use questioning techniques while reading a selected poem. The lesson concludes when the individuals compose an original poem using figurative language.\nEighth graders examine the linguistic and cultural impact of the Arabic language and Islamic culture on the Spanish language. They analyze and label maps, listen to and differentiate between Spanish and Arabic music, and compare and contrast modern Eastern and Western popbmusic with traditional flamenco music and modern pop fusions.\nYoung scholars observe global cultures by listening to music and watching videos. In this Latin American dance lesson, students define merengue, salsa and other dances from the Hispanic culture while listening to Latin rhythm music. Young scholars view educational DVD's which discuss reggae as well as the tango.\nPrepare yourself for a top-notch presentation on colonialism in Africa! Discussed are the reasons for African multilingualism. Maps and a country-by-country look at various colonists that made their mark on the African continent are explored. A case study and look at the effects of colonialism are covered in sociolinguistic terms. Remember that language houses culture and the shifts seen therein.\nStudents complete activities to study the traveling Jewish theatre and the ideas of tolerance. In this theatre study lesson, students read information about the Traveling Jewish Theatre and learn about the project to unit artists from the US and the Middle East, Jews and Muslims, and Israelis and Palestinians. Students complete several activities to learn how theatre can help students explore important social issues.\nStudents discover the 3 heritages of Africa. In this African studies lesson plan, students discover how these heritages combine in African culture as they examine the Oral History and the Bakari Scrapbook in which Bakari\u2019s life comes alive and then identify how the three heritages influenced Bakari\u2019s life.\nYoung scholars compare indigenous Africa, Islamic Africa, and European Africa. In this African studies lesson, students read about Bakari Bakari on the provided handout. Young scholars discuss the three cultural heritages that Bakari experiences after they complete Venn diagrams about them.", "id": "<urn:uuid:0fd66cd4-4483-470d-ae30-a8a0360ba6fd>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/arabic", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051140/warc/CC-MAIN-20131204131731-00050-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9203053712844849, "token_count": 910, "score": 4.5, "int_score": 4}
{"text": "I. OVERVIEW OF THE LESSON\nA. April 10, 2012\nB. 45 minutes\nC. Eileen Black\nD. 2nd grade, Language Arts, Jan Brett\nII. BIG IDEA\nA. Comprehension requires and enhances critical thinking and is constructed through the intentional interaction between reader and text.\nIII. ESSENTIAL QUESTION\nA. How do we think while reading in order to understand and respond?\nIV. PENNSYLVANIA STATE STANDARDS\nA. Reading, Analyzing, and Interpreting Text 1.2.2.D: Make inferences from text when studying a topic (e.g., science, social studies) and draw conclusions, citing evidence from the text to support answers.\nB. Reading, Analyzing, and Interpreting Literature 1.3.2.C: Identify literary elements (characters, setting, and plot) in selected readings\nV. GENERAL OBJECTIVE\nA. Students will understand that essential ideas, details, and literary elements inform meaning.\nVI. BEHAVIORAL OBJECTIVE\nA. Students will be able to identify the main idea, characters, topics, events, setting, and/or plot.\nB. Students will be able to make predictions and draw inferences from text.\nVII. INSTRUCTIONAL MATERIALS\nA. The Hat by Jan Brett\nB. Animal Masks\nD. Story Map Worksheet\nIX. INSTRUCTIONAL PROCEDURES\ni. The teacher will introduce the students to the book, The Hat, by Jan Brett. The teacher will ask the students to make predictions about the story based on the front cover.\ni. The teacher will tell the students that there are two stories going on in this book. She will tell them to pay close attention to both storylines as she reads the book aloud.\ni. The teacher will give the students a prediction worksheet for them to fill out while she reads the book aloud. The teacher will pause periodically throughout the book and allow students to make predictions about what will happen next. The teacher will ask the students to share some of their predictions.\nii. Once the teacher has finished reading the book aloud, the students will be invited to come to the carpet. The students will now participate in a reader\u0150s theater version of The Hat. Each student will receive a part to play in the book.\niii. After the students have finished reading the book, they will be asked to go back to their seats. The students will each receive a story structure worksheet. The students will complete the worksheet, recalling the information they gathered from the book.\niv. If students finish the worksheet early, they will be encouraged to complete the learning centers that will be available to them.\nD. Strategies for Diverse Learners\ni. The teacher will make sure that all the students are included and active in the reader\u0150s theater version of the book.\nii. The teacher will also walk around and help any students that are having trouble completing the story structure worksheet.\nE. Summary and Closure\ni. The teacher will go over the story structure worksheet with the class, while asking for students to share some of their answers. The teacher will ask the students if they could complete a story structure web for the border story as well.\ni. The teacher will look at the students\u0150 story structures to gage how well they understood the book. The teacher will also look for active participation from the entire class in terms of volunteering answers.\nXI. Reflection & Self-Evaluation\nW: The teacher will introduce the book to the students before she begins the lesson. The teacher will also explain that it is important to make predictions while reading and to use the text as evidence.\nH: The students will hook students\u0150 interests by encouraging them to pay special attention to both storylines in The Hat. She will tell them to follow along because they will be stopping periodically to make predictions about the next part of the book.\nE: The students will be participating in a reader\u0150s theater version of the book so that they can really get involved in the story. All of the students will be engaged and be able to have success in their reading.\nR: The students will reflect, revisit, and rethink their learning when they are completing the story structure worksheet. They will have to look back on what they read in the story in order to recall the different aspects of the book.\nE: Students will self-evaluate by filling out the story structure worksheet and completing the centers. The students will express their understanding by sharing their answers with the class.\nT: The teacher will pay special attention to struggling students when they are working on their story structure maps. She will aid them if they are having any trouble recalling the information and question them to gage their understanding.\nO: The teacher and class will work on the prediction worksheet together and then the students will be on their own when they are doing the story structure worksheet. The class will come together at the end to discuss everyone\u0150s responses and to discuss the story overall.", "id": "<urn:uuid:5db8e685-bb64-400c-a5d3-572f6c467e06>", "dump": "CC-MAIN-2013-48", "url": "http://home.moravian.edu/students/b/stemb03/jan%20brett.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00053-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9361525774002075, "token_count": 1072, "score": 4.15625, "int_score": 4}
{"text": "\u201cOur children constantly have their eyes fixed on some kind of computer screen.\u201d\n\u201cIt seems that every time we turn around there\u2019s some new gadget that everyone needs.\u201d\n\u201cYou never see anyone with a book or doing anything productive on those things.\u201d\n\u201cThe amount of time the tech generation spends on computer games can\u2019t be good for them.\u201d\nKarl Kapp, professor of instructional technology, would argue there\u2019s a benefit to each of these statements. In fact, in his latest publication, Games, Gadgets and Gizmos: Tools for Transferring Knowledge from the Boomers to the Gamers, he says this technology can be used to train and teach people a variety of skills.\nThe book encompasses the work he has done on what he calls \u201cgamification,\u201d defined as \u201cusing game-based mechanics, aesthetics and game thinking to engage people, motivate action, promote learning, and solve problems.\u201d\nKapp actively blogs on his gaming research and related tech topics.\n\u201cWe talk about information overload, but these kids have never had information underload,\u201d Kapp says. \u201cThey create behaviors to adapt to continual communication stimulus.\n\u201cIt\u2019s a shame that walking into some classrooms is like getting on an airplane: \u2018Turn off all electronic devices.\u2019 Students end up using electronics all the time, except in the classroom.\u201d\nKapp believes that discouraging the use of digital devices in a professional atmosphere leads to the illusion that members of older generations are out of touch with this new digital era. \u201cThese games can teach,\u201d he says. \u201cWe know from research that strong emotions tie learning events together.\u201d\nWhen Kapp\u2019s son played Age of Empires, for example, the learning was secondary to the fun of playing the game. If you enjoy it, you\u2019ll play again and again \u2026 and that\u2019s how we learn.\n\u201cIt helps you encode knowledge more richly and deeply for future recall. Additionally, video games teach problem solving and higher-level thinking skills,\u201d he adds.\nKapp is sharing his perspective on the role of video games at a conference in Las Vegas. He will discuss the use of 3-D avatars to change learner behaviors and how storytelling as part of a video game helps learners memorize facts.\n\u2014 C.J. Shultz \u201913", "id": "<urn:uuid:8bc2e3ec-fa7e-483b-a00b-34314dc43a9e>", "dump": "CC-MAIN-2013-48", "url": "http://kepler.bloomu.edu/2012/04/16/its-all-in-the-game/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163906438/warc/CC-MAIN-20131204133146-00050-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.953698456287384, "token_count": 518, "score": 3.578125, "int_score": 4}
{"text": "Tips for Inside the College Classroom (page 2)\nDo's and Don'ts of Class Notes\nListen and Learn: Note taking is helpful, not only because it gives you a record of what was covered in class, but also because it prompts you to really digest the ideas. Here are some tips for getting the most of your effort.\nListen actively: Good note-taking begins with active listening -- keeping your attention focused:\n- Come to class prepared, having done the reading and reviewed your notes from the previous class. Be ready to ask questions and take notes.\n- Sit where you can see and hear what's being presented without being distracted.\n- Commit to being interested in what you're listening to. This will help you pay attention and retain the information.\n- Question what the speaker is saying and think about how it ties in with the assigned reading, with your other classes, and with your other activities and interests.\n- Look for how the speaker organizes the ideas presented, paying attention to elements like a general introduction, a summary of the previous lecture, an emphasis on larger themes, the inclusion of illustrative examples, a developing argument through the course of the lecture, or a comparison that gives structure to the material presented.\nPay attention to clues from the speaker, such as a raised voice or arm gestures, that accompany the presentation of important ideas. Also, watch for when your teacher:\n- mentions that a particular point is important\n- writes a sentence or quote on the board\n- repeats a point\n- spends a lot of time presenting or asking the class about a particular idea.\nUse a system: The key to note taking itself is having a notebook in which to write and having a system for getting information down quickly and accurately. Here are some tips for taking notes:\n- Date and number pages so that you can keep them in order.\n- Have a binder, clipboard, or notebook in which you keep your notes all together.\n- Write in convenient shorthand. Use contractions, abbreviations, and symbols.\n- Leave space in your notes to add points or explanations later.\n- Put a question mark next to anything you miss or don't understand and clarify after class.\n- Get down the speaker's main points. You don't need to have a word-for-word copy of every lecture.\n- Indicate the notes that reflect your own responses or ideas rather than what the lecturer says. For example, you can write the word \"me\" next to your own ideas.\n- Jot down key words, which include new vocabulary, important facts, and formulas.\n- Organize your notes as you write. The lecturer often helps with this task by enumerating points or stating a contrast. Underline or put a mark next to larger points, with subsidiary points listed underneath.\n- As soon as you can after class, review your notes and fill in missing points that you remember but didn't write down. Highlight important points, and mark anything you want to ask about at the next class meeting. Make sure you can read and understand everything you've written.\n- Write a brief summary of each lecture to reinforce the main idea.\nIf you start getting confused about what to write or where the lecture is heading, there's a good chance that other students are confused, too. Do yourself and other students a favor by asking questions if the material presented is unclear.\nCultivating Relationships With Faculty\nGet To Know Your Professors: After listening to your biology professor lecture for an hour and a half on the Krebs cycle, you may be less than inspired to linger after class for further discussion on cellular respiration.\nDon't hesitate, though, to approach your professors outside of the classroom. Professors genuinely want to get to know you -- that's a good part of why they became teachers. Getting to know them will enrich many parts of your college experience, such as:\nYour understanding of coursework: If you have a question after a lecture or doing some reading, take the time to ask your professor about it after class or during office hours. The professor will probably be pleased that you're interested enough to discuss issues and will give you the information you need to better grasp the material.\nYour motivation: Even if you have a perfect understanding of the class material, your professors can still help you push yourself to do your best. For example, they can give you suggestions for related reading or help you explore and choose topics for an assignment.\nYour grades: A huge advantage of seeing your professor before turning in a paper or taking a test is that the professor gains insight into how hard you prepared. This will be an important factor when it comes to grading your work, since it makes your professor more likely to give you the benefit of the doubt and to give you credit for your effort. If you don't get to know the professor, by contrast, she has no way of knowing whether your work has flaws because you didn't take enough time on it, or, as you may have explained in office hours, because it is the first lengthy research paper you've ever written.\nYour letters of recommendation: When it comes time to apply for internships, jobs, or graduate school, you'll probably need professors to write letters of recommendation for you. They can write much better letters, of course, if they know you as more than a face in a crowd.\nYour networking opportunities: Your professors may be able to help you plug into a professional community or even find an internship or job. For example, let's say you can't get enough of contemporary fiction, and you're considering becoming a book editor. Your creative writing teacher may be able to tell you about local author readings, invite you to book parties, or put you in touch with a publishing house.\nGranted, some professors may be more approachable than others. You may get someone to answer a question after class, or someone who ends up being a mentor. But whatever role they play, they're there to help you learn. They're a resource that you shouldn't pass on.\nReprinted with the permission of White House Initiative on Educational Excellence for Hispanic Americans\n- Coats and Car Seats: A Lethal Combination?\n- Kindergarten Sight Words List\n- Child Development Theories\n- Signs Your Child Might Have Asperger's Syndrome\n- 10 Fun Activities for Children with Autism\n- Social Cognitive Theory\n- Why is Play Important? Social and Emotional Development, Physical Development, Creative Development\n- GED Math Practice Test 1\n- The Homework Debate\n- Problems With Standardized Testing", "id": "<urn:uuid:ada73719-4ec0-44bc-8b2f-9fa76a21db60>", "dump": "CC-MAIN-2013-48", "url": "http://www.education.com/reference/article/tips-inside-college-classroom/?page=2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164020217/warc/CC-MAIN-20131204133340-00052-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9465829133987427, "token_count": 1357, "score": 3.953125, "int_score": 4}
{"text": "Franklin Delano Roosevelt's Four Freedoms and the Short Story\n|Overview:||This lesson will explore a seminal document, President Roosevelt's Message to Congress, and the theme of freedom from fear-one of the four points of President Roosevelt's speech. After listening to the speech, the class will read and discuss an excerpt from Desert Exile: The Uprooting of a Japanese-American Family by Yoshiko Uchida and explore the theme of freedom from fear.|\nAs a results of this lesson, students will be able to:\n|Time Required:||Two class periods of 45 minutes|\n|Era:||Great Depression/World War II, 1929-1945|\n|Illinois Learning Standards:|\n1-Read with understanding and fluency.\n1.B-Apply reading strategies to improve understanding and fluency.\n1.C-Comprehend a broad range of reading materials.\n2-Read and understand literature representative of various societies, eras, and ideas.\n2.A-Understand how literary elements and techniques are used to convey meaning.\n2.B-Read and interpret a variety of literary works.\n3-Write to communicate for a variety of purposes.\n3.B-Compose well-organized and coherent writing for specific purposes and audiences.\n|Analysis Tools:||Photo Analysis Worksheet and Graphic Organizer (print page 4-5 of PDF).|\n|Library of Congress Items:||Title of Source:Freedom of expression, of religion, from want, from fear everywhere in the world.|\n|Title of Source:Four Freedoms|\n|Title of Source:Civilian exclusion order #5, posted at First and Front streets, directing removal by April 7 of persons of Japanese ancestry, from the first San Francisco section to be affected by evacuation.|\n|Title of Source:Santa Anita reception center, Los Angeles, California. The evacuation of Japanese and Japanese-Americans from West Coast areas under U.S. Army war emergency order. Registering Japanese-Americans as they arrive|\n|Title of Source:Japanese-american camp, war emergency evacuation, (Tule Lake Relocation Center, Newell, Calif.|\n|Title of Source:Sumiko Shigematsu, foreman of power sewing machine girls, Manzanar Relocation Center, California|\n|Online Resource:||Title:Franklin Delano Roosevelt Presidential Library and Museum|\n|1.||Show LOC Item Freedom of expression, or religion, from want, from fear ask what the two images are, who/what is represented. Then explain and discuss pirctures.|\n|2.||Show LOC Item Four Freedoms. Play an excerpt from FDR's speech.|\n|3.||Show LOC Item Civilian exclusion order #5 and ask What are the four freedoms.|\n|4.||Show LOC Item Santa Anita reception center and discuss image.|\n|5.||Hand out graphic organizer (page 3 of PDF) and have students list what they know about Japanese internment camps and then discuss.|\n|6.||Show LOC Item Japanese-american Camp, War emergency evacuation and out Photo Analysis worksheet (page 4 of PDF), complete with class. Shwo LOC Item Sumiko Shigematsu, give time for students to complete photo analysis. Discuss student's answers.|\nEvaluation will be derived from the students' graphic organizer and the follow-up discussion the following day.\nThis lesson is the first of four lessons focusing on the different themes highlighted in FDR's Four Freedoms Speech. After discussing the short story that related to Freedom from Fear, the lesson will progress through the other three themes and related short stories/poems/ excerpts: Freedom from Want (The Weary Blues), Freedom of Speech (The Censors), and Freedom of worship (excerpt from Elie Wiesel's Night). Each short story, poem and excerpt will include a graphic organizer or follow-up questions. At the end of the unit, the students will be given a writing assignment to choose one of the themes and compose a fictional narrative.\nCharleston High School", "id": "<urn:uuid:f7a41841-4110-438f-96d2-e0a43274b25c>", "dump": "CC-MAIN-2013-48", "url": "http://www.eiu.edu/~eiutps/CA_H2.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00052-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8439725637435913, "token_count": 854, "score": 3.875, "int_score": 4}
{"text": "Editor Krista Marino spoke at the 2011 SCBWI LA Conference and shared the following insight on how to perfect your YA voice:\nThere are Two Types of Voice:\n- Authorial Voice \u2013 this is when you know a book is by a certain author. For example you know when you\u2019re reading a John Irving or Meg Cabot book.\n- Narrative Voice \u2013 This is the voice invented by the author and the voice of the protagonist.\nWhat is Voice?\n- Voice is illusive and hard to define.\n- Marino\u2019s says voice is made up of: diction, perspective, characterization, and dialog.\nDiction as Voice:\n- Diction is vocabulary choices and a style of expression.\n- Think word choice!\n- Marino used an example from The Forest of Hands and Teeth by Carrie Ryan. She pointed out how the author does not use contractions in the novel to reflect the \u201cold fashioned\u201d sensibility of the town/people, but when a scene started to pick up in pace the author would begin to use contractions (Cannot vx. Can\u2019t).\n- Focus on your character\u2019s distinct vocabulary or expression. This doesn\u2019t mean slang. This will reveal how the protagonist relates to the world.\n- Does your character use cultural references (X-men, animal planet) to define how they relate to the world? This is part of his or her diction.\n- Beware of leaning on cultural references too much for your voice. That will become a crutch. Take a look at Frank Portman\u2019s King Dork as an example of teen voice that feels current without using specific cultural references.\nPerspective as Voice:\n- This is the mental view of the character and how it affects the storytelling.\n- This is not point of view.\n- How does the limited teen experience influence how they view the world and the way they speak? For example look at the movies BIG and 17 Again. In Big you have a kid in an adult body. How does this \u201cadult\u201d act and speak to reveal they are really a kid? Or in 17 Again you have an adult in a kid\u2019s body, how does action/speech reveal that they are really an adult with an adult way of thinking?\n- How does the setting (historical fiction or futuristic) change the experiences of your character?\n- Voice can convey info about character, age, gender, hobbies, religion, motivation, ambitions, looks, etc.\n- You must know everything about your protagonist.\n- Everything in the book with be filtered through the protagonist.\n- Character driven books are amazing because the character feels real and you (the reader) will follow them anywhere. The secret is to have an amazing character and a plot to sell to a larger audience.\n- Think about the protagonist in your favorite book and write down reasons why you like them. Why did they come to life for you? Was it their speech? Actions?\n- A solid 3D character will come to life and have a believable voice.\n- You need to know your characters and you want to know them emotionally.\nDialog as Voice:\n- This is about the verbal exchange in the book (not interior monologue).\n- Dialog directly reflects a character\u2019s voice and personality.\n- This is about more than just the words.\n- Dialog needs to feel real, not like on a sitcom.\n- Dialog doesn\u2019t exist just hanging there in space. If they just say something but there is no context for it, the reader won\u2019t understand who they are and what they are thinking.\nInterior Monologue as Voice:\n- Interior monologue is what the character is thinking and gives context to the dialog.\n- The #1 thing that Krista Marino finds is missing in manuscripts is interior dialog or interior monologue.\n- Interior monologue is important, if not most important to conveying the feelings, reactions, and judgments of your character.\n- Interior monologue shows a character\u2019s perception of a scene and their feelings.\n- Without interior monologue we lose the inner emotional stakes of the scene.\n- All dramatic irony is lost without interior monologue.\n- You need interior monologue to create empathy, rather than having the reader observe and make guesses about the character.\n- You loose back-story, sarcasm, and emotion without interior monologue.\n- We always want to know what a character (on the page) is thinking.\nStay Tuned for Part 2 \u2013 Coming Soon!\nKrista Marino is a senior editor at Delacort Press where she edits and acquires young adult and middle grade novels. Books she has edited include King Dork, The Necromancer, The Maze Runner, and The Forest of Hands and Teeth.", "id": "<urn:uuid:085d343a-018f-4b78-b3bf-4159041252c2>", "dump": "CC-MAIN-2013-48", "url": "http://ingridsnotes.wordpress.com/tag/dialog/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00051-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9344847798347473, "token_count": 1009, "score": 3.609375, "int_score": 4}
{"text": "montgomery place app\nUnion Church App\nPinkster is a holiday that was celebrated over several days by African and Dutch New Yorkers throughout the 1700s.\nPinkster was brought to the New World by Dutch settlers in the 1620s and flourished in the areas of heaviest Dutch settlement: the Hudson Valley, northern New Jersey, and western Long Island. These same areas also had significant populations of enslaved Africans from the 1600s until emancipation in New York in 1827. For enslaved people, the year offered few holidays or breaks from tedious and often grueling work. For rural captives in particular, who were often isolated from larger African communities, Pinkster became the most important break in the year.\nDespite Pinkster\u2019s Dutch origins, Africans in New York and New Jersey were so successful at incorporating their own cultures into the celebration that by the early 1800s Pinkster was actually considered an African-American holiday\nPinkster was celebrated over several days. The Dutch observed Pinkster by attending church services, and important church functions like baptisms and confirmations were often held during the festival. Neighbors visited one another, and children dyed eggs and ate gingerbread.\nSlave-owning families granted time off to captive men and women. The Pinkster holiday afforded enslaved Africans the opportunity to reunite with loved ones and family members who often lived some distance away. Many journeyed from rural areas into New York City, with its significantly larger population of both free and enslaved Africans. By the mid-1700s, markets in New York and Brooklyn were attracting large gatherings at Pinkster time. Enslaved men and women sold such items as berries, herbs, sassafras bark, beverages, and oysters at these markets, and in turn used the money earned to participate in the Pinkster celebration.\nAfricans and Europeans alike enjoyed drinking, game-playing, dance, and music at these gatherings. Vendors adorned market stalls with greenery and flowers (azaleas are associated with Pinkster), and European vendors hired skillful African dancers to draw crowds to their booths. Dances such as the \u201cjig,\u201d \u201cbreakdown,\u201d or \u201cdouble shuffle\u201d synthesized African and European elements with newly invented steps and were the forerunners of tap and break dancing.\nPinkster Becomes an African-American Holiday\nPinkster as an African-American creative expression reached its zenith in Albany during the period between 1790 and 1810. In the weeks prior to the holiday, temporary shelters woven from brush and clearly based on African forms, were set up on three sides of a square at the top of \u201cPinkster Hill\u201d (the present-day site of the New York State Capitol).\nDuring these years Pinkster was always presided over by King Charles, a figure of great local renown and preeminence within Albany\u2019s African community. Charles, an Angola-born captive claimed by the Mayor of Albany, was tall, handsome, an athletic and tireless dancer, and a gifted speaker. As the Master of Ceremonies, he was responsible for directing the event and keeping up the spirits of participants during the long sessions of drumming and dancing that crowned the celebration. The style of dance and the complex layering of contrasting rhythms by the drummers and clappers attest to the survival and retention of West African traditions.\nAlthough Pinkster still attracted African Americans, Euro-Americans, and Native Americans to its festivities, by the early 1800s it was viewed by observers as a primarily African-American holiday. The Dutch had shifted their focus to newer American holidays like Election Day and Independence Day.\nThe Meaning of Pinkster\nPinkster meant different things to different people. To Dutch celebrants, Pinkster was a religious holiday, a break from work, and an opportunity for visiting. For enslaved people, gathering in rural areas or at urban markets, the holiday was all this and more. African men and women enjoyed temporary independence, made money, and purchased goods. More importantly, Pinkster meant the opportunity to reunite with family and loved ones and the chance to preserve, reshape, and express African traditions despite the restrictions of enslavement.\nDuring the late 1700s and early 1800s, the festival in Albany was presided over by a King who was himself a captive \u2013 an inversion of the usual social order. The crowning of the Pinkster King, like the election of generals or governors during other holidays celebrated by African people elsewhere in the northeast, invested respected members of the African community with symbolic power over the whole community and with distinction within their own community. Celebrations featuring this sort of inversion of rank can be traced both to West African and European antecedents. Pinkster is related in this way to more famous New World festivals such as Mardi Gras.\nAnother significance of Pinkster was the opportunity for enslaved Africans to slyly mock their white captors through caricatures of European fashions and behavior, and to voice their own anguish through speeches, storytelling, and improvised call and response singing.\nPhilipsburg Manor, a nationally significant historic site in Sleepy Hollow, New York, continues the Pinkster tradition today. The Pinkster festival at Philipsburg Manor is a fun, educational event for visitors of all ages. The event acknowledges both the oppression of slavery in New York and the ultimate triumph over it. It is the only authentic re-creation of Pinkster in North America, combining some of the most vibrant elements from over a hundred years of Hudson Valley Pinkster celebrations. From the Dutch tradition come children\u2019s games like ninepins and stilts, special baked goods of the holiday, egg-dyeing, and European-style country dancing. From the African tradition come storytelling, drumming, dance, a grand parade, and the election of a Pinkster King.\nIn the colonial period, Philipsburg Manor\u2019s Upper Mills property consisted of over 50,000 acres owned by the Philipses, wealthy Dutch merchants. A community of 23 enslaved Africans lived there year-round, overseeing the operation of a grist mill and large farm. European tenants, many of them Dutch, rented manor land from the Philipses and grew wheat as a cash crop.\nWe do not know whether the African and Dutch residents of the manor held their own Pinkster festivities at Philipsburg in the 1700s or if they traveled to one of the larger urban celebrations nearby.\nAn account in the New-York Weekly Journal newspaper in March, 1737, describes a Pinkster gathering in fields just outside of New York City. In particular it notes the use of African-style musical instruments during Pinkster. Market festivities during Pinkster are described in Thomas DeVoe\u2019s The Market Book: A History of the Public Markets of the City of New York, which was published in 1862 but drew on memories of earlier, first-hand experiences. James Fenimore Cooper includes a description of an 18th-century Pinkster celebration in his novel Satanstoe, published in 1845.\nTwo important descriptions document Pinkster at Albany, including details about the character and role of King Charles. A detailed account appeared in the Albany Centinel in June 1803. In the same year, a pamphlet appeared in Albany entitled \u201cThe Pinkster Ode,\u201d written by Absalom Aimwell (probably a pseudonym). This lengthy poem has satiric elements, but also a strong abolitionist viewpoint. It was reprinted in 1952 in the New York Folklore Quarterly, Vol. Eight. Another eyewitness account is provided by Dr. James Eights in \u201cPinkster Festivals in Albany Sixty Years Ago,\u201d which appeared in Collections on the History of Albany, Vol. 2 (Albany, 1867).\nThe following books are of interest for their treatment of Pinkster and other African American festivals.\nRoger D. Abrahams, Singing the Master (Penguin, 1993)\nGraham Russell Hodges, Slavery and Freedom in the Rural North (Madison House, 1997)\nShane White, Somewhat More Independent (University of Georgia, 1991)\nA.J. Williams-Myers, Long Hammering (Africa World Press, 1994)\nSharon Dennis Wyeth, Once on This River (Random House, 1998)", "id": "<urn:uuid:0b4f9c76-a1d0-4f95-8326-b2b71ae8bf4a>", "dump": "CC-MAIN-2013-48", "url": "http://www.hudsonvalley.org/education/pinkster", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00050-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9631152749061584, "token_count": 1696, "score": 4.15625, "int_score": 4}
{"text": "Heroes in the Classroom: Comic Books in Art Education\nBerkowitz, Jay, Packer, Todd, Art Education\n\"I think the only real difference between fine art and commercial art is a deadline.ff (caputo, 1997, p. 62)\nHow would you like to put some \"POW!\" into your arts instruction? A lesson in comic books-history, design, story, and production --can make your classes come alive! In the following article, we present some background, guidelines, and a lesson plan to help you use comics and cartoons in developing these artistic skills of students. So, as they say, \"Up, up and away!\"\nComics and cartoons provide a wealth of pedagogical opportunities. By placing comics in historical, aesthetic, educational, and empowering contexts,we present a new approach to using these materials to build artistic skills and involve students in art appreciation. After a brief history and critical analysis of comic books and cartooning, we provide a lesson plan and guidelines for using these materials in teaching children and adults.\nMany art teachers have met students who state that they hate drawing or that they can't draw-yet often these students get reprimanded by other teachers for drawing in class instead of paying attention. These students may even have a notebook full of drawings that were produced every place except in an art class. Why?\nAs an art teacher, Berkowitz has noticed how many students interested in comic books and cartoons did not perform well in art class. Students who could not stay focused in a 40-minute art class would spend hours drawing comic book characters. They also were interested in comic book history.\nComic books and cartooning can be valuable for art teachers, but little has been written about these in the\nliterature of art education. Brent and Marjorie Wilson (1976,1977,1980) suggest that children should be permit ted to copy comics. Other educators have written of using comics to educate children (Smith, 1985; Marston, 1944). Scott McCloud's (1993, 2000) sophisticated analyses of comics, presented in comic book format, provide ample resources for links between comics and art history. His definition of \"comics\" as \"juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer\" (p. 9) provides a frame to link traditional art history to the medium of comics. Will Eisner (1995), a renowned comics artist, places comics in the history of art, literature, and storytelling with analysis of graphic narrative; he defines \"comics\" as \"The printed arrangement of art and balloons in sequence, particularly as in comic books\" (p. 6).\nComic books are a big business and a major presence in the lives of children and adults. According to Caputo (1997), \"In recent years, comic book sales have exceeded $4 billion worldwide.\" Many adults, including teachers, grew up reading comic books, and they form a background for many cultural and visual references.\nStudents can learn traditional art concepts through the history and design of comic books. For example, children who like the Teenage Mutant Ninja Turtles'' will also be interested in learning about the artists after whom they were named (Michelangelo, Donatello, Raphael, and Leonardo). Batman fans would be interested to learn that his costume was originally based on a drawing by Leonardo Da Vinci. The students could even be introduced to fine artists such as Roy Lichtenstein or Roger Shimomura, who use comics as a source of inspiration in their work.\nAs a motivational and educational tool, comic books can be used with adults and children in a variety of teaching and training settings. Teachers can focus on line drawing technique, history, aesthetics, empowerment\n(i.e., student as super-hero) or creative writing. Comic books present a lowcost, accessible, familiar, and highly engaging medium to guide, entertain, and inspire students in many areas.\nBerkowitz (1996) designed an informal \u2026\nQuestia, a part of Gale, Cengage Learning. www.questia.com\nPublication information: Article title: Heroes in the Classroom: Comic Books in Art Education. Contributors: Berkowitz, Jay - Author, Packer, Todd - Author. Magazine title: Art Education. Volume: 54. Issue: 6 Publication date: November 2001. Page number: 12+. \u00a9 National Art Education Association Mar 2009. Provided by ProQuest LLC. All Rights Reserved.\nThis material is protected by copyright and, with the exception of fair use, may not be further copied, distributed or transmitted in any form or by any means.", "id": "<urn:uuid:5c21b33f-6272-44bc-8ab1-7d89ab00f17d>", "dump": "CC-MAIN-2013-48", "url": "http://www.questia.com/read/1P3-92775713/heroes-in-the-classroom-comic-books-in-art-education", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163052713/warc/CC-MAIN-20131204131732-00054-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9546422362327576, "token_count": 958, "score": 3.921875, "int_score": 4}
{"text": "Six blind men meet an elephant for the first time and each man touches a different part of the elephant and makes predictions about what the elephant is like. (See the story)\nThe sequence and activities suggested below could be spread over two or three lessons depending on the amount of detail you wish to go into to. Aim to finish the before storytelling activities and possibly the first telling of the story in lesson one. Begin and end each subsequent lesson with a retelling of the story.\n- To learn elephant and story-related vocabulary\n- To listen and respond to instructions\n- To learn adjectives to describe objects\n- To listen and understand the general meaning of a story and make predictions\n- To learn an elephant rhyme to practice rhythm and rhyme\n- To help children understand the importance of using all evidence and listening to other people before coming to a conclusion\n- To ask simple yes/no questions using adjectives\n- A sheet of white A4 paper for each child for the picture dictation\n- Objects for the feely box or bag\n- Rehearse picture dictation and instructions\n- Read the story through and rehearse reading it aloud. Read the section on storybooks and storytelling techniques in the CIEP mallette p\u00e9dagogique.\nStage 1: Picture dictation\nTell children you are going to tell them a story but first they are going to draw a picture of an animal and they must guess what it is.\n- Explain that you are going to dictate some instructions to draw the animal. Use mime to help convey the meaning of unfamiliar words.\n- Draw a semi-circle on the board and two small eyes on the left side. It is best to practice this activity a few times yourself before doing it with the children to ensure that you give them clear instructions.\n- Now dictate the following instructions at least twice:\n'Copy the semi-circle and eyes on to the middle of your paper. Hold up a sheet of paper to show pupils. Draw four legs. Draw two big ears. Draw a long, thin tail. Draw a long trunk. Draw two tusks.'\n- Repeat the instructions again, adding each feature to your drawing on the board. Say the words pointing to the eyes, ears, legs, body, tail, trunk, tusks and invite pupils to repeat.\n- When the drawings are competed ask pupils to show them to each other and then to colour them. Check everyone has an elephant!\nStage 2: Vocabulary check\nCheck understanding of the vocabulary by asking pupils to come to the board and point to different parts of the elephant: 'Nicole, point to the tail'! 'Henri, what's this?'\n- Ask pupils to label their elephants and then display their drawings. If appropriate, ask children to show you where elephants come from by pointing to a world map (Africa, Asia). Tell pupils, later you are going to tell them a story about an elephant from India.\nStage 3: Feely bag or box\nPlay this game to teach or revise adjectives. You need a cardboard box with a hole cut out for pupils to put their hands in, or a bag. Ask children to close their eyes or use a blindfold but don't use this if they feel uncomfortable. When they put their hand in the box they have to describe what they feel.\n- Here are some ideas for the feely bag/box and the adjectives that can be elicited. An effective way to help children learn the adjectives is by comparing objects and learning opposites, e.g., rough, smooth; long, short, etc.\n- A pencil with a sharp point at one end and a rubber at the other: sharp, short, thin, smooth\n- An orange: round, rough, big, large\n- An apple: round, smooth, hard\n- A ping pong ball: round, light, round, smooth, small\n- A tennis ball: round, soft\n- Sand paper: rough, light\n- A piece of string: thin, long, wiggly\n- A piece of wood: hard\n- A piece of cotton wool: soft, light\nStage 4: Six blind men and the elephant\nRead the story below aloud to the children acting it out using your elephant drawing on the board as your main visual support.\n- Cover you eyes on the word blind and 'feel' the parts of the elephant. When you get to each of the features, read 'It felt big and wide. An elephant is like a \u2026.?' and invite suggestions from pupils. It doesn't matter if they say these words in their mother tongue - the importance is to get them predicting and thinking.\n- Translate the words they say in English. Hopefully, a child will say 'wall' - point to a wall in your classroom and draw one on the board and repeat 'An elephant is like a wall' and encourage children to repeat.\n- Continue telling the story in this way. At the end of the story, you should have your elephant surrounded by drawings of a wall, a spear, a snake, a tree, a fan and a rope.\n- Read the story again, inviting as much participation as possible using the drawings on your board as prompts to activate vocabulary and encourage participation.\n- Invite children to act out the story.\nThe Story of the Six Blind Men and the Elephant\nOnce upon a time there were six blind men. They lived in a town in India. They thought they were very clever. One day an elephant came into the town. The blind men did not know what an elephant looked like but they could smell it and they could hear it. 'What is this animal like?' they said. Each man touched a different part of the elephant.\nThe first man touched the elephant's body. It felt hard, big and wide. 'An elephant is like a wall' he said.\nThe second man touched one of the elephant's tusks. It felt smooth and hard and sharp. 'An elephant is like a spear' he said.\nThe third man touched the elephant's trunk. It felt long and thin and wiggly. 'An elephant is like a snake' he said.\nThe fourth man touched on of the legs. It felt thick and rough and hard and round. 'An elephant is like a tree' he said.\nThe fifth man touched one of the elephant's ears. It felt thin and it moved. 'An elephant is like a fan' he said.\nThe sixth man touched the elephant's tail. It felt long and thin and strong. 'An elephant is like a rope' he said.\nThe men argued. It's like a wall! No, it isn't! It's like a spear! No it isn't! It's like a snake! They did not agree. The king had been watching and listening to the men. 'You are not very clever. You only touched part of the elephant. You did not feel the whole animal. An elephant is not like a wall or a spear or a snake, or a tree or a fan or a rope'.\nThe men left the town still arguing. A little girl heard them and said 'Each of you is right but you are all wrong \u2026 but I know what you are talking about'\n(Printer friendly version of story)\nStage 5: Elephant rhyme\nIntroduce the following rhyme. If appropriate, children can walk around slowly swinging from side to side, head down and one arm hanging down as a trunk.\nThe elephant is big and strong\nHis ears are large, his trunk is long.\nHe walks around with heavy steps,\nTwo tusks, one tail and four thick legs.\nStage 6: Guessing game: What am I thinking of?\nIn the children's mother tongue, discuss the importance of using all evidence and listening to other people before coming to a conclusion.\n- Pre-teach or revise questions and adjectives as appropriate. Demonstrate, by saying what you are thinking of, for example, an animal, an item of food, an object, etc.\n- You could re-use the objects from your feely box or bag if you wish or introduce or recycle other vocabulary.\n- The class has 10 chances to ask yes/no questions. Explain that they should first ask strategic questions, for example, Is it hard/soft, rough/smooth, heavy/light, made of wood? Has it got a tail, four legs, etc? Is it like a snake? Once they have gathered evidence, they can ask specific questions like, Is it a dog? Is it a pencil?\nProject: Our senses\nMake a poster for the classroom listing all the things in the school that children can see, hear, touch, taste and smell.\nOur senses at school\n|Our senses at school|\nProject: Researching elephants\nIf appropriate, children could use the Internet or reference books to research the differences between African and Asian elephants and produce a classroom display or small project. A couple of good sites on elephants are:\nBy Gail Ellis", "id": "<urn:uuid:08acd2bb-abf5-4582-aaa0-beae71db4256>", "dump": "CC-MAIN-2013-48", "url": "http://www.teachingenglish.org.uk/language-assistant/primary-tips/six-blind-men-elephant", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00045-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9337077736854553, "token_count": 1879, "score": 3.96875, "int_score": 4}
{"text": "BIG DIPPER STORY WHEEL\nBackground: The circumpolar constellations are the basis for this story from Canada. It is important to emphasize to the students that the people who told this story were describing the apparent motion of the Big Dipper and other constellations around the pole star (Polaris). We now know that it is the motion of the Earth that allows us to see the stars in different positions (a) from hour-to-hour throughout a night and (b) from month-to-month during a year. Remember that there is a season for storytelling in Native American traditions (approximately late Fall to early Spring)! Storytelling is not done at other times of the year.\nObjectives: The students will learn about a Canadian Indian tale and will compare the action in the story to the scientific facts about the motion of the Earth and apparnet motion of the stars.\n1 large sheet construction paper per student\n1 paper plate per student\nglue or rubber cement\nmarkers, crayons, paper scraps for decorating\nNever-Ending Bear Hunt story\n1. Attached is a summary of the story. The full text can be found in North American Indian Stories: More Star Tales by G. W. Mayo, 1990; an alternate version appears in The Dance in the Sky Native American Star Myths by J. Monroe and R. Williamson, 1987. A pattern for the constellations and a template for folding the large construction paper are linked with the write-up.\n2. Share the story of the Never-Ending Bear Hunt with the students. You may want to discuss seasons, constellation patterns, the Big Dipper asterism (asterism = a recognizeable pattern of stars that is not one of the 88 official constellations), Polaris (the North Star, Pole Star), navigation, etc. as part of the lesson.\n3. You will need one paper plate (sturdy ones with raised edges do not work well), one pattern sheet, one brass fastener, and one large piece of construction paper for each student. Crayons or markers for decorating the constellations and/or the construction paper foreground, glue, and a stapler are also needed.\n4. Decorate the constellation pictures on the circular pattern. Cut it out and glue it to the center of a paper plate.\n5. Using the large template (or the measurements from the template), locate and mark the position of Polaris on a large sheet of construction paper. Caution: Our template is for 11x14 inch copier paper, which is not an exact match for 12x18 inch construction paper. Follow the written instructions on the template. Option: Prefold the paper and mark the positions for Polaris and the side staples for younger students.\n6. Push the brass fastener through the Polaris on the paper plate pattern and again through the mark on the construction paper. Secure the fastener.\n7. Fold the construction paper up from the bottom edge as indicated. Staple slong the side edges, close to the edge. Be sure the staples are not too close to the top (horizontal) folded edge; the paper plate needs clearance in order to rotate, as Polaris is not in the center.\n8. Slowly rotate the paper plate counterclockwise, allowing the bear to exit her den and the hunters to fall below the horizon, as described in the story. If the horizon is too low, the students can add trees, rocks, or other decorations to help rise the horizon. Continue to decorate the construction paper foreground with crayons, markers, construction paper scraps, etc.\n9. Share the story again. The teacher or student(s) can rotate the pape plate to illustrate the changing positions of the constellations throughout the seasons.\n10. Be sure to emphasize again that it is not the stars that move, but the motion of the Earth that makes them move. Early cultures used star positions and stories to mark seasons, especially planting and harvesting times, even though the science might not be as accurate as our current knowledge!\nReturn to Project ARTIST Home Page", "id": "<urn:uuid:efb85c33-b0fc-4367-b051-0b3c96d68360>", "dump": "CC-MAIN-2013-48", "url": "http://www.u.arizona.edu/~lebofsky/dipper.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00053-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9058546423912048, "token_count": 850, "score": 3.890625, "int_score": 4}
{"text": "Newborn babies turn towards their mother's scent or voice, preferring her to everyone else. This strong biological bond continues throughout life but is most powerful during the early years. Although children are born with basic temperament characteristics, mothers -- and fathers -- help mold those characteristics through example, daily interactions and direct teaching.\nChildren must feel safe and secure to develop normally. A warm, nurturing mother provides this sense of security. When a child is hurt, for example, he usually goes to his mother for comfort, even if other people are nearby. These early feelings of trust and safety give children the freedom to explore, learn and develop. When children lack these early experiences, normal development is thwarted. During the 1980s and 1990s, abandoned children in Romania were sent to orphanages, rather than placed in foster care. These children's basic needs were met, but the children received little individual care or attention. Most of the children displayed abnormal personality development, including lack of language development, head banging, aggression and the inability to form attachments, notes Charles A. Nelson of Harvard University. Brain scans found that the children's brains were actually smaller than normal.\nChildren rely on the feedback they get from the adults around them to learn appropriate behaviors and character development. Mothers encourage persistence, independence and confidence through gentle encouragement. Young children also learn norms for acceptable behaviors through their mothers. A disapproving look lets a child know when she's crossed a line. A warm embrace rewards positive behavior. Mothers transmit character and values by their own behavior, as well.\nYoung children are born with an innate temperament and interests, but mothers do play a role in shaping these characteristics. A rough and tumble toddler may prefer blocks, trucks and active play to all else. But this same toddler might sit on mom's lap enjoying a quiet story before bedtime. Mothers can encourage and support natural interests while introducing children to other hobbies and activities. This doesn't mean you have to rush out to buy the latest educational toy or stock up on the flash cards, according to Po Bronson and Ashley Merryman, authors of \"NurtureShock: New Thinking About Children.\" Simply spend time working and learning together. Rake the leaves, work on a puzzle, listen to music and have family dinners together.\nSocialization and Emotional Development\nA mother's social and emotional well-being can have profound effects on a child's early development. A child whose mother suffers from untreated depression, for example, is three to five times more likely to have some form of mental illness than other children, according to the Royal College of Psychiatrists. On the other hand, emotionally healthy moms can teach young children important social and emotional skills, such as sharing and taking turns, communicating and expressing emotions appropriately. While mothering styles vary, depending on cultural norms, personality and individual circumstances, the most effective mothering style is one of nurturing warmth and strong leadership, according to Stephan B. Poulter, author of \"The Mother Factor.\"\n- Time: Measures of a Mother's Love: How Early Neglect Derails Child Development\n- The Harvard Crimson: HMS Professor Studies Orphanage Impact on Brain Development\n- Royal College of Psychiatrists: Maternal Mental Illness and Mother-Child Relations\n- The Mother Factor; Stephan B. Poulter\n- NatureShock: New Thinking About Children; Po Bronson and Ashley Merryman\n- Jupiterimages/Comstock/Getty Images", "id": "<urn:uuid:8c68ff7f-a9cc-4a0f-9cc6-85ffbd213266>", "dump": "CC-MAIN-2013-48", "url": "http://everydaylife.globalpost.com/roles-mothers-play-early-personality-development-1996.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00054-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9449124932289124, "token_count": 693, "score": 3.5625, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\nDiscriminant Teacher Resources\nFind Discriminant educational ideas and activities\nStudents read story excerpts from the BBC WW2 People's War archive to discover the contributions and obstacles faced by Asian and Black participants in World War 2 British forces. They prepare a radio report describing the commonwealth troops' war effort, prepare a leaflet on preventing discrimination in the military, and explore the lives of Asian and Black war heroes.\nStudents examine the contributions made to our country by Barbara Jordan. They read and discuss the books \"The Sneetches\" and \"Building a Bridge,\" write journal entries, participate in a discrimination simulation, create a class bulletin board, and create a poster about tolerance.\nStudents explore quadratic equations. Using dry erase boards, students graph solutions to quadratic equations and solve problems using the quadratic formula. They explore the quadratic formula and the use of the discriminant to predict the number of solutions. Links are provided to a quadratic calculator and animation of the derivation.\nStudents analyze racism and justice. In this legal system discrimination lesson, students listen to their instructor lecture on disparities in the legal system. Students respond to discussion questions following the lecture and evaluate proposals put forth to prevent discrimination in the criminal justice system.\nEleventh graders analyze the role of women in the workplace. They study laws that protect women from discrimination in the workplace. They role-play scenarios where women are discriminated or harassed. They discuss times when they have been discriminated and compare to women's roles in the workplace.\nStudents examine how artists can be influential in shaping human values, discuss how art addresses social and global issues such as poverty, starvation, crime, and discrimination, research specific artist and his/her social philosophy, and engage in debate on value of art in shaping social awareness and social values.\nFourth graders read the book \"Teammate\" after participating in pre-reading activities that include examining the concepts of segregation and discrimination. In this six week literature study, they make timelines, discuss what they know about the concepts, study vocabulary, conduct interviews, and examine the art of storytelling as they read the book.\nStudents explore multicultural tolerance. In this multicultural character development and social studies activity, students define and discuss words related to multicultural intolerance. Students view \"Molly's Pilgrim\" and discuss examples of discrimination. Students research a country of their choice, make a construction paper flag representing that country, and compete a questionnaire. Students discuss and share their research with classmates.\nStudents are introduced to the United Nations Declaraion on the Elimination of All Forms of Intolerence and of Discrimination Based on Religion or Belief. Using the document, they discuss issues raised about the source of rights linked to one's freedom to belief in any religion. They use the Declaration to discover its relationship to the human rights framework.\nFifth graders interpret stereotyping and discrimination as limiting and hurtful behaviors and demonstrate how to address these behaviors in a positive manner. In this discrimination lesson plan, 5th graders use the poem The Woman Who Outshone the Sun to prompt critical thinking and deep discussion on the impact of making judgments about people based on stereotypes.\nFifth graders create a KWL chart on discrimination and human rights. While reading different stories, they take notes on each character in the books. To end the lesson, they discuss the forms of discrimination today and how African Americans gained more rights during the Civil Rights movement.\nHigh schoolers read the decision of the Michigan Supreme Court in the Ferguson v. Gies, a case dealing with discrimination in a restaurant. They participate in a class discussion about the case and the justices that presided over it. They develop a guide for helping people read primary source documents, such as court cases.\nIntroduce learners to the discriminant. The discriminant, used to find the number of real solutions to a quadratic equation, is part of the quadratic formula. The video shows where in the formula you can find it, and provides an example with a real quadratic equation. A decent resource.\nStudents investigate the pass laws that resulted in the Sharpeville Massacre. In this racism lesson, students find information about the massacre and attempt to find similarities to their own lives. They determine how similar incidents make a statement about race relations in the US. They investigate racial profiling.\nStudents compare and contrast price and age discrimination and discuss their own experiences with discrimination. They relate discrimination to airline ticket pricing and discuss how two competitive airlines can charge different prices for flights to the same destination. Finally, they examine the Robinson-Patman Act which defines illegal discrimination practices.", "id": "<urn:uuid:8cdfa9ad-ed54-4cde-8874-ff0cb61da286>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/discriminant/3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00055-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9121823906898499, "token_count": 953, "score": 4.34375, "int_score": 4}
{"text": "is the largest area of ELT and is often divided into Upper Intermediate,\nIntermediate and pre-intermediate. It is a good time to start using\nsimpler authentic material and really build students vocabulary.\nI find that Intermediate students can often handle magazines aimed\nat the teenage market and I always try to collect magazines such\nas Cleo and Just 17.\nVAK Learning Styles\nThis is a simplified Visual Audio Kinaesthetic (VAK)learning style quiz designed to make it quicker for students to have a better understanding of their learning styles and techniques that they can use to help them remember things better.\n- Handout version (56KB PDF)\nComplete quiz with helpful advice sheet\n- Interactive version (269KB Flash)\nThis version asks 12 questions, calculates your score and provides simple advice on what you can do to improve your learning.\n- Downloadable version (1.08MB EXE)\nThis version can be downloaded to a Windows PC for school or class rollout.\nResources on this Website\nComplete Lesson Walkthroughs\nEach of these lessons is ideal for new teachers with minute-by-minute\nguides as to what to do. I did them during my CELTA training\nand each lesson was very well received. They also contain\nWord files with matching cards, which are good templates for\nnovice Word users.\nReading expressions with prepositions\n(332KB PDF) Handouts (200KB Zipped\nElectronic Flipchart file (506KB)\nLesson Plan (265KB\nPDF) Handouts (28KB Zipped\nElectronic Flipchart file (188KB)\nHandouts and Exercises\n- Create a Money Board Game (158KB PDF)\nThis enables students to create a money board game, which is both useful for reviewing some business concepts and encouraging creativity.\n- Sentencing (240KB PDF)\nA look at crime and punishment in England. This would make a nice starter for discussing cirme particularly for ELT students studying citizenship or preparing for the Life in the UK test.\n- Football (203KB PDF)\nintroductory guide to football that will not only provide insight into\nBritish English, but also provide some interesting Trivia about the\nworld's Number 1 game.\n- Top 10 Games of 2007 (116KB PDF)\nshort reading exercise with vocabulary, discussion and writing\nexercises to encourage students to discuss their hobbies. Could also\nlead into a review writing lesson.\n- Describing Feelings (116KB PDF)\nA handout to encourage students to describe their emotions\nand talk to each other.\n- Top 5 Inventions (131KB PDF)\nA reading exercise that can lead into superlatives and comparitive\ngrammar presentation or a compare and contrast essay.\n- Children of East\nAsia (181KB PDF)\nAn exercise that explores children's values, aspirations\nand expectations in East Asia. It includes, a vocabulary\nexercise, reading comprehension, discussion and writing\nquestions and an IELTs style Writing task 1.\n- House Plan (216KB\nA good discussion exercise. Also revises prepositions of\nplace and furniture lexis.\nto make a vocab book (62KB pdf)\nStep by step guide to making your own vocabulary book.\n- Dress Codes (317\nComplete Lesson plan with Matching cards and exercises\nto assist students understanding of dress codes.\n- How Do You\nLike To Learn? (52KB PDF)\nSurvey to encourage student centred learning\n- Getting To Know You Survey (53KB PDF)\nA simple survey to encourage students to get to know each\nother. Also useful for creative writing sessions.\nFor Girly classes\nIdeal handouts for all-girl classes...\nOther Useful pages\n- Top 20 Fillers\nWe provide a First Aid kit sure to revive any English lesson\nHow to use comics in lessons\nHow to use TV in lessons\n- Sound Scripting\nyour speeches and presentations more natural\nHow to use the International Phonetic alphabet\n- Using Realia\nHow to use real life material in your class\nOur Intermediate guide to writing essays\nHandouts and tips for teaching and learning grammar", "id": "<urn:uuid:ea7f24bf-4078-42aa-8af5-03ec7e58de38>", "dump": "CC-MAIN-2013-48", "url": "http://www.jamesabela.co.uk/intermediate/index.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164120234/warc/CC-MAIN-20131204133520-00055-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8457868099212646, "token_count": 876, "score": 3.734375, "int_score": 4}
{"text": "Part Two: The Theory of Second Language Acquisition\nStages of Language Acquisition - Sample Teaching Strategies at Each Stage of Language Development [For further information on English Language Proficiency Standards, go to: http://www.nj.gov/njded/bilingual/resources].\n|Stage I: Preproduction\nDefinition: Students at this stage tend to be non-verbal. Most of what is spoken in English is completely incomprehensible. Students will exhibit some level of frustration, anxiety, and withdrawal, characterized as \u201cculture shock.\u201d Students will focus intensively on listening and viewing what is happening in the classroom. They will copy from the board and repeat what they hear with little or no comprehension at first. Please note: Students may exhibit inattentiveness at times. However, it should be noted that the language overload of second language learning can be exhausting. Suggestions for the classroom are:\n- Use of visuals, real objects, manipulatives.\n- Response through physical movement or manipulation of objects.\n- Allow students to listen, observe. Do not force students to speak. Provide many listening opportunities.\n- Group students with more advanced ELLs or cooperative mainstream peers for group activities.\n- Provide reading materials with simplified text and numerous pictures.\n|Stage II: Early Production\n|Definition: Students will begin to repeat language commonly used in social conversation and will be able to use routine expressions. They will make statements and ask questions with isolated words or simple phrases. They will decode according to the phonetic rules of first language. Students can identify people, places, and objects and can participate in class activities by relating information to this type of information. Students may continue to exhibit inattentiveness at times, but not to the frequency and intensity noted for students at Stage One. Suggestions for the classroom are:\n- Use simplified, abbreviated text materials, focusing on the main idea[s].\n- Continue to provide listening activities with visual support.\n- Begin writing activities, such as dialogue journals for reflection and response to learning materials.\n- Ask yes/no questions, or questions requiring a 1-3 word response.\n- Response to assessments can take the form of actions, manipulation of materials and/or simplified response.\n- Introduction of predictable books with limited words, more pictures and/or graphics for primary age ELLs.\n- Introduction of structured retelling activities, with the use of physical responses, visuals, manipulatives for primary age ELLs.\n|Stage III: Speech Emergence\nDefinition: Students will exhibit increased proficiency in decoding and comprehending second language words and text. Students will begin, with or without phonics instruction, to decode according to second language rules and from expanded experiences with oral interactions and text. Students will demonstrate an increased understanding of conversations, dialogues, simple stories containing a few details and factual or simple procedural information from content area texts. Teachers will note that written expression will include an expanding vocabulary and the emergence of a writing style. Students can edit writing with guidance [e.g. checklists, peer editors, teacher assistance] and will be able to self-evaluate writing. Suggestions for the classroom are:\n- Develop activities with content and context embedded practice in all four skill areas.\n- Ask open-ended questions, but provide models for response orally or through word banks.\n- Shared or partnered reading and writing activities.\n- Expanded use of predictable books containing more text, with primary-age ELLs.\n- Use of content area picture books, with expanded text [fiction and non-fiction] to support learning of content [e.g. science and social studies, such as Adler, David A. A picture book of Sacagawea; illustrated by Dan Brown. New York: Holiday House, 2000. ISBN 082341485X. A biography of the Shoshone woman who joined the Lewis and Clark expedition. See \u201cResources\u201d for a short list of other suggested content area picture books.\n- Expanded writing opportunities in a variety of genres\u2014descriptive, narrative, instructive, etc.\n- Introduce learning strategies instruction examples. [See CALLA in Part Four.]\n|Stage IV: Intermediate Fluency\nDefinition: There is a marked increase in listening, speaking, reading, and writing comprehension and accuracy of response. Students will demonstrate an increased use of strategies for word attack and comprehension of content reading materials. In addition, the student can read and understand a wider variety of genres in literature. He/she can summarize, make simple inferences, and can use language to express and defend opinions. First language background knowledge and strategies become a resource for the student. Overall, the student, at this stage, can perform well in the classroom, but teachers will need to provide structure, strategies, and guidance. Suggestions for the classroom are:\n- Provide guided instruction in the use of reference/research materials for middle-high school ELLs.\n- Expand learning strategies instruction.\n- Provide practice in making inferences from content reading.\n- Model appropriate language for expressing abstract concepts from content learning by providing students with response \u201cstems.\u201d\n- Example One: For students studying Colonial America and the events that led up to the Revolution, teachers want to help students learn to make inferences and reflect on different points of view about historical events and be able to discuss the underlying causes of events, a teacher might ask one or more of the following structured question types, with a provided \u201cstem\u201d for student response:\n- Question: What was Great Britain trying to show the colonists by putting a tax on tea?\n- Student response \u201cstem\u201d:\nThe British were trying to ** that:\n- Place a choice of response words appropriate for the ELLs current level of comprehension, such as: **show, prove, demonstrate, illustrate, confirm, uphold, etc.\n- Example Two: For students studying light, light waves, reflection, refraction, and telescopes, teachers would want students to be able to compare the differences between how each telescope works and the purposes for which they are used. A teacher might ask one or more of the following structured question types, with a provided \u201cstem\u201d for student response:\n- Question: How is the view through a reflective telescope different from the view through a refractive telescope?\n- Student response \u201cstem\u201d: The view through a reflective telescope  a refractive telescope :\n- Place a choice of response words appropriate for the ELLs current level of comprehension, such as:\n is different from, differs from, is dissimilar to\n because, since, in that, given that\n- Move toward expanded text reading to include supporting details and extended reading activities.\n- Expand writing repertoire to include various types of letters, newspaper journalism, and creative writing experiences.\n- Can begin to work in collaborative groups for content activities.\n|Stage V: Advanced Fluency\nDefinition: At this stage of development, the student performs \u201calmost\u201d like a native speaker. He/she can produce language that is highly accurate, incorporating more complex vocabulary and grammatical structure in his/her communicative discourse. The student\u2019s reading interests broaden and he/she can read independently for information and/or pleasure. His/her writing skills are at a near native English level. The student continues to use his/her native language as a source to enhance comprehension of English. Although most English Language Learners are exited at this level of performance, students may still need a \u201clifeline\u201d for clarification of new concepts and/or vocabulary. Suggestions for the classroom are:\n- Continue to build concepts through advanced content area reading.\n- Continue to expand on learning strategies instruction.\n- Continue to provide enriched writing activities.\n- Help to build an expressive vocabulary to match the strength of the receptive vocabulary development.\n- Work in collaborative groups for content activities.", "id": "<urn:uuid:973be7aa-bebf-424f-8576-2c910d637a53>", "dump": "CC-MAIN-2013-48", "url": "http://www.state.nj.us/education/bilingual/ell_mainstream/part_two/acquisition.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00054-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9071434736251831, "token_count": 1636, "score": 4.15625, "int_score": 4}
{"text": "The Power of Family Literacy\nChildren exposed to reading and storytelling at home have greater success in school. Second in a series of nine, this NebGuide suggests language- and literacy-related activities.\nJanet S. Hanna, Kayla M. Hinrichs and Carla J. Mahar, Extension Educators\nJohn D. DeFrain and Tonia R. Durden, Family Life Specialists\n- Family Activities That Prepare Young Children for School\n- Parental Involvement\n- How Families View Literacy\n- Tips for Building a House of Literacy for All Families\n|StoryQUEST\u2019s Vision: High-quality early relationships and experiences throughout their daily routines provide each infant and toddler with the tools and skills to build a strong foundation for future school readiness. Families, caregivers, and communities as a whole collaborate to enable all children to become highly competent in language and literacy. This series was developed as part of a national research project \u2014 StoryQUEST \u2014 through the California Institute on Human Services, Sonoma State University.|\nVirtually all parents want their children to learn to read, write, and succeed in school, and are eager to provide any support necessary.\nFamily involvement in everyday language- and literacy-related activities has a significant impact on children\u2019s language development and acquisition of early literacy skills. Early language and literacy activities at home contribute to differences when children enter school.\nParental attitudes and activities convey messages about schooling, work, the joy of learning, and the value of education. Children who see literacy as a family value and learn early on that reading, writing, and communicating orally are pleasurable, important, and meaningful are more successful in school.\nResearch found that children who had fewer language experiences in their homes in the first years of life started school behind peers who had richer language experiences. This gap continued until age 9 when the study was concluded.\n- Talking and singing with children\n- Reading books and other print and environmental materials with children\n- Adults reading books and other print and environmental materials for their own enjoyment\n- Accessing community resources, including libraries and museums, as a family\n- Using reading and writing and oral storytelling in everyday activities\n- Father involvement at home and school may be linked to higher literacy achievement of boys.\n- Factors outside the home that contribute to challenges children experience in school include lack of access to social, political, and economic support for families in dealing with housing, health, and other social problems.\n- Research shows that the more education the parent has, the greater their accessibility to quality educational resources for their child and the better the child tends to do in school.\nNumerous issues affect how families view and deal with literacy. Many factors impact families\u2019 willingness and ability to engage in literacy-related activities, such as reading to children or pursuing their own education. They include:\n- their own reading ability\n- their self-confidence\n- daily economic struggles\nSome families use literacy differently than it is used in the traditional school culture. For example, they may use storytelling or popular literacy activities such as TV viewing, cartoons, and video games rather than reading books, writing, and using educational materials.\nSome families may view literacy as work rather than an activity to engage in for personal enjoyment and pleasure. They may focus on mechanical skills (e.g., letter naming, decoding) rather than engaging in playful communication or meaningful interactions around print and oral language. As a result, they may think literacy activities are inappropriate for infants and toddlers. Also, families may not see how literacy experiences are all around, beyond simply the words in a book.\nEstablish Trust. \u201cIf you tell me that the way my Momma raised me was wrong, I\u2019m probably not going to listen to you. If I learn to trust you and find other things you tell me to be useful, I might just think about what you have to say about raising children.\u201d (Mikulecky, 1996).\nDevelop Collaborative Relationships. Families and professionals should build collaborative partnerships based on explicit dialogue and collaboration that stress reciprocal understanding.\nThe family\u2019s role:\n- Share your thoughts, beliefs, and practices about language, literacy, and learning honestly.\n- Talk about the role that literacy plays in their daily lives.\n- Remember that children with disabilities are children first.\n- Think about how the parent(s) could make a difference in a child\u2019s success at school.\n- Start by working just one new thing into what they already do each day.\n- Identify mutual goals and specific practices to help reach these goals in the home, in socialization, and/or in child care.\nThe professional\u2019s role:\n- Reflect on your own thoughts, beliefs, and practices about literacy and learning.\n- Listen to the family.\n- Recognize your own thoughts, beliefs, and practices, and respect the families\u2019 views \u2014 even if you disagree with them.\n- Acknowledge, honor, and respect the family\u2019s beliefs and practices.\n- Honor the time it takes families to trust a new person in their lives.\n- Build trust slowly and don\u2019t demand a lot before everyone is ready.\n- Talk about the role that literacy plays in the family\u2019s daily lives.\n- Consider the unique issues faced by families of children with disabilities and find ways to address language and literacy activities in that context.\n- Share specific information with families about how they can make a difference in their child\u2019s future school success.\n- Make concrete suggestions that are compatible with what the family already does and with items already in the home that support children\u2019s literacy development.\n- Identify mutual goals and specific practices to reach these goals in the home, in socialization and/or in child care.\nThe authors would like to acknowledge the contributions of the 2003-2004 StoryQUEST \u2013 Central Nebraska Community Services team.\nGonzalez-Mena, J. (2009). Child, family and community: Family centered early care and education (5th ed.). Columbus: Pearson.\nMikulecky, L. (1996). Family literacy: Parent and child interactions. Family Literacy: Directions in Research and Implications for Practice. (Retrieved February 7, 2003 from http://www/ed/.gov/pubs/FamLit)\nThis publication has been peer reviewed.\nVisit the University of Nebraska\u2013Lincoln Extension Publications Web site for more publications.\nIssued January 2010", "id": "<urn:uuid:41de854d-9a32-40c7-a603-d70656d2569a>", "dump": "CC-MAIN-2013-48", "url": "http://www.ianrpubs.unl.edu/epublic/pages/publicationD.jsp?publicationId=1252", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163045217/warc/CC-MAIN-20131204131725-00054-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9450487494468689, "token_count": 1345, "score": 3.609375, "int_score": 4}
{"text": "Essays are concise pieces of writing often required by most educational programs and institutions. This type of composition allows the student to illustrate his or her writing ability and convey individual thoughts and ideas as well as comprehension of texts and presented evidences.\nEssays can be grouped into four main categories: narrative, expository, descriptive, and persuasive. All four are general to different types of academia and may be requested quite often in literature-based courses such as English, Journalism, Psychology, and the Humanities. Most likely, if you can think of a type of essay, you can find it in one of these categories. Advertisements? Persuasive. Autobiography? Narrative. Cause and effect? Exposition. And so on.\nIn this article we will explain each type of essay, its format and structure, common examples, and the major elements to be included in each.\n*Note: One frequently assigned writing that would not fall under one of these categories would be the research paper; research writing is considered to be a separate category.\nA major objective in writing is to tell a good story. Narrative essays\nare usually just that-storytelling. As a very common type of narrative is a short story. Short stories are assigned to students all throughout their primary and secondary years and are familiar to many. The details may get a bit more complex as you get older but the structure is the same. A short story is made up of four main elements: a narrator, characters, plot, and setting.\nYet, every narrative is not a story that can be explained in such a way. An example of this would be a book report. A book report falls under the narrative category but follows a more distinct format of simply restating information presented in a book.\nAnother type of narrative essay would be the autobiography. An autobiography is a story about yourself written by you (hence the prefix auto) and is a good example of the incorporation of I in narrative writing. Unlike other categories it is permissible to use the pronoun I when formulating this type of essay.\nThings to remember\nWhen writing your narrative you want to make sure to:\nClearly indicate the main objective of your essay and the type of narrative you are writing:\nLet your reader know where you will be taking them. This is important if you are not telling a traditional story with a beginning, middle and end. If you are relaying a personal experience or specific event be sure to indicate that in your essay's introduction.\nIdentify your point-of-view:\nWill you be writing from a first-person, or third-person point-of-view (note-there are three types of third person; dramatic, omniscient, and limited omniscient)? Whichever point-of-view you choose, be sure to show clarity and consistency throughout your writing.\ngenerally ask you to explain or evaluate concepts and ideas and inform the reader of specific information. Therefore a thesis statement is essential to an expository essay. A thesis statement is one or two sentences that explicitly tell the reader what you will be covering and your main purpose or objective in writing. In addition to this, your essay should include support statements that will further explain and aide your thesis statement. A dependable and candid method of forming your paper would be to follow the five-paragraph\nformat of writing; i.e. introductory paragraph (1) support paragraphs (3) and conclusion paragraph (1).\nPlease note that this is not the only method of formulating an expository essay. Its a good idea to engage your reader in any type of writing so try and experiment with other formats as well.\nCommon examples of expository essays include; comparison and contrast\n, cause and effect\n, problem and solution and definition essays\n. Out of these examples it is clear that the writer will be supplying the reader with clear evidence to support their main objective or thesis within their paper.\nTo begin thinking about descriptive essays try to identify the color Jorge Luis Borges is describing in his essay Blindness; \"that great color, which shines in poetry, and which has so many beautiful names in many languages. Think of scharlach in German, scarlet in English...\"\nDid you guess it? The color is red. Take note of the very detailed and descriptive way it is explained by the author. This is a great example of a descriptive essay.\nDescriptive essays are essays that address your sense of touch, smell, sight, sound and taste. In the above example the author, Borges appeals to our sense of sight in imagining this astonishing color as well as our sense of sound in formulating the articulation of each word variation presented.\nTypes of descriptive essays\nDescriptive essays can further be categorized by type. Some types include:\n- functional descriptions - detailed descriptions of primary physical characteristics (the thing described can be a person, place or thing)\n- character profile and sketch - character profiles and character sketches differ in that profiles are descriptions reserved for real or actual people while sketches are descriptions of fictional characters\n- observations - a description of something the writer witnessed or experienced (should be nonfiction)\nA persuasive essay attempts to convince or persuade the reader to agree with the author's position on an important issue. This essay is also known as an argumentative essay\nand involves a great deal of research and effort on the part of the writer. Convincing someone that your opinion is the right one can be a hefty task outside of writing so you can imagine the weight of each word when writing a persuasive essay\n. The main areas of focus are the evidential portions of your paper which will prove to your reader, in a sense, the validity of your points. A persuasive essay like the exposition should have a precise and clear thesis statement as well as strong support statements. A quick outline of your persuasive piece is as follow;\nPersuasive essay outline\nThis area should house your thesis statement, a brief introduction of the topic and its significance.\nThe body of your essay should include your researched evidences to support your thesis statement. For example, if you would like to argue that background checks are necessary for employment in public child care settings you should therefore provide examples of cases or news reports in which a negative outcome resulted from a child care provider not being properly screened prior to employment.\nThis portion of your essay should highlight the most striking evidences presented as well as revisit your thesis statement and give your reader a final thought or idea to ponder over. A suggestion for writing conclusions in general is to leave the reader with a \"call to action\" requesting that they make some sort of change, provide the reader with an ending solution to the problem addressed, or to make statements about the future or advancement of the issue or idea.\nA key area not to be overlooked in persuasive essay\npreparation is the investigative or research aspect of this type of writing. It is not simply about stating your opinion but providing the necessary research required and then formulating an informed, logical and clear response. Book reviews for example require that the reviewer first read the book in question and obtain an amount of background information on the author before writing the review.\nPersonal essays are interesting to note as they do not exactly fall under any one of the categories presented. A personal essay is a nonfiction piece of self-expression that reveals the personal experiences, thoughts or ideas of the writer. The personal essay\nmay be a narrative in which the author decides to tell you a story or a sort of persuasive essay in which the author speaks freely about his or her opinion on a matter. These types of essays are also known as personal opinion essays and do not follow the same guidelines as other persuasive essays. The approach is much more relaxed and informal and may not provide substantial evidence to support opinions stated. Though this type of writing does allow for a bit of freedom and flexibility writers should still be cautious of proper organization and comprehensiveness while writing. Example topics for personal essays include; analysis of personal growth and development, memories, and major incidents or events that occurred in the author's life.\nThe essays discussed cover a wide range of writing types and styles. Knowing them will hopefully improve your writing ability and give you a comprehensive understanding of the formats and guidelines expected of you as a student and as a writer.", "id": "<urn:uuid:8b423e49-3f54-4484-b0f8-07cef8a198c7>", "dump": "CC-MAIN-2013-48", "url": "http://www.bestcustomwriting.com/blog/essay-writing/essay-types-general-review-of-academic-essays", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163037851/warc/CC-MAIN-20131204131717-00055-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9448410272598267, "token_count": 1692, "score": 3.828125, "int_score": 4}
{"text": "Source and activity 2\nFairy tale characters: The hero\nMost fairy tales feature at least one hero. Heroes can be male or female, rich or poor, children or adults.\nThis illustration is from 'Little snow white and other fairy stories' from about 1898. Download hero illustration (PDF: 2.09 MB; 1 page).\nChallenges a hero might face\nThe hero is usually faced with a problem which has to be solved. This may involve going on a journey, solving a riddle or puzzle, or undertaking a difficult task or impossible test.\nThe hero often has to face danger and difficulties, but wins through in the end.\nThe hero often has to defeat or capture the villain in the story in order to survive.\nSometimes the hero has to rescue someone else who is in trouble or danger, as for example the sister in 'The six swans'. At other times, the hero has to save himself or herself, for instance Hansel and Gretel who manage to escape from the witch who lives in the gingerbread house.\nWhat makes a hero?\nThe hero is often described as:\nThe hero does what needs to be done, even though it might be difficult or challenging. The hero may be reluctant or fearful about going on a journey or taking on a task, but does it anyway.\nThe hero doesn't usually have magic powers, but sometimes he or she has access to magic helpers or objects. At other times, the hero has to rely on outwitting his or her enemy.\n- Read the following stories:\n- Ask the pupils to decide:\n- Who is the hero in the story?\n- What problem does the hero have to solve?\n- How does he or she eventually solve the problem, and what resources do they use?\n- What do the heroes in the stories have in common?\n- Ask the pupils to think of words and images that they associate with the word 'hero'. Can they think or name any modern day heroes? What heroic qualities do these people have?\n- Find examples of heroes in recent news\nstories. What kind of people are described as heroes today? Take\none example of a news story, and decide who is the hero, what\nproblem they had to solve or overcome, and how they achieved this.\nAsk the pupils to try re-writing the news story in the style of a\ntraditional fairy tale.\n[LIT 1-14a; LIT 2-14a]\n- Read or tell the story of 'Hansel and Gretel'. Who is the hero\nin this story, and why? What problem does the hero have to solve,\nand what dangers do they have to face along the way? Encourage the\npupils to consider that there might be more than one hero in this\nstory. How do the brother and sister work together to solve the\nproblem? What do each of them contribute?\n[ENG 1-19a; ENG 2-19a; ENG 1-17a; ENG 2-17a]\nDownload character comparison activity (PDF: 47KB; 2 pages)\nRelated material at NLS\nFind out more about fairy tales and the Brothers Grimm in NLS collections:\nSearch our main catalogue for books about fairy tales and the Brothers Grimm.\nDiscover more about the Brothers Grimm in our past treasures display.\nTake part in our exciting Hansel and Gretel creative writing competitions.\nRead a news story about the Grimms' Scottish connections in a letter that Jacob Grimm wrote to Sir Walter Scott.", "id": "<urn:uuid:a4d175fc-eaf0-4ce9-8e1c-b3110ce90820>", "dump": "CC-MAIN-2013-48", "url": "http://www.nls.uk/learning-zone/literature-and-language/themes-in-focus/fairy-tales/source-2", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163037851/warc/CC-MAIN-20131204131717-00055-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9503856301307678, "token_count": 731, "score": 3.875, "int_score": 4}
{"text": "Mr. Thompson's Fourth Grade Class\nLanguage Arts Curriculum\nLanguage/Creative Writing: Grammar skills are integrated with creative writing, using the writing process. (See attached sheet). Also, students write in their journals almost daily to build these skills. In addition, the reading series incorporates the identified language skills that are required for the students to master. The students will be assessed over many of the language and grammar skills that are used in the reading series.\nHandwriting is D\u2019Nealian style. (See attached sheet). Cursive writing will begin in January.\nOur district has adopted the Treasures reading series by Macmillan McGraw- Hill. It incorporates reading with language arts: grammar, creative writing, handwriting, phonics, and spelling. Sight words are attached that your child needs to know. Practice these words until your child has mastered them.\nDuring the school year, the students will be reading for Reading Counts. After testing your child\u2019s reading level, each student will read a book and take a test on the computer to earn points. Students receive prizes for points earned.\nWhole Group (Shared) Instruction:\nTogether as a class, we will read stories, write, edit, and practice grammar and spelling.\nI plan to meet with small groups of students to give them instruction that is on their current reading level. I conduct guided reading and writing conferences. I will read individually or in small groups with every student several times a week.\nSelf-Selected (Independent) Reading:\nStudents will read on their own daily. Students will eventually be responding in writing to their reading.\nStudents will participate in many cooperative activities to build on their learning. I plan many activities where students can edit, read, or write together.\nWe will work on many skills in second grade. These include:\n\u00a7 Basic phonic skills and letter sounds\n\u00a7 Decoding and identifying digraphs, blends, and high frequency words\n\u00a7 Reading skills including predicting, summarizing, retelling, and sequencing\n\u00a7 Connecting reading and writing to self, world, and other texts, Study skills\n\u00a7 Sight words and word families\n\u00a7 Spelling, grammar, and handwriting\n\u00a7 The writing process\u2014from prewriting to publishing\n\u00a7 Following directions and being active listeners\n\u00a7 Sharing, contributing, and respecting ideas\nDIBELS Reading Assessment: This test is given individually to each student at three different times during the year. Usually one in October, January and May. I may have a substitute for the day and pull children out to read with them. This test will help me determine your child\u2019s ability to meet specific reading benchmarks for first grade.\nThis is an informal assessment that I will occasionally do during guided reading with individual students. It allows me to monitor their instructional reading level by counting the number of words read correctly (usually out of 100 words) in a reading passage.\nSpelling: There will be a spelling test each week. The students will get the words to study at the beginning of the week (typically on Monday) and they will be assessed over those words at the end of the week (typically on Friday).\nSight Word Testing: I will occasionally check off the sight words a student can read immediately (within 3 seconds) without help or sounding out. I will be sure to keep you aware of the words your child knows. See the website for additional information on the Fry list.\nWe are very excited about Investigations Math, our new math curriculum. Investigations Math uses a hands-on approach to make math more meaningful to students. It is very different from our previous math adoption in many ways:\n\u00b7 Students will play games almost daily to reinforce basic facts and math concepts. I will use observation to assess during periods of game play. I will let you know in my weekly newsletter when I have introduced a new game.\n\u00b7 There are homework pages that will take 10-15 minutes to complete. It is extremely important to complete and return this homework, as we will use the completed assignments in the next day\u2019s whole-group lesson.\n\u00b7 Students will not be bringing home many worksheets because second graders use their Math Journals. These stay in their desks all year. You are welcome to come look through your child\u2019s Math Journal at any time.\n\u00b7 Investigations Math looks different than what you might be used to seeing. Reading the Family Math Newsletters and Homework pages will help you understand the different strategies we are introducing. If you feel you need further explanation, feel free to contact me.\nThese assessments will be administered during second grade:\n\u00b7 Investigation Tests: After administering a test at the end of the investigation t, you will receive your child\u2019s progress.\n\u00b7 Units Benchmarks: At the end of each unit of study, a test covering all of the skills that have been learned up to that point will be given. We will report these scores to you as well and provide you with recommendations when benchmarks are not being met.\n\u00b7 Performance Tasks: These are problems that your child is expected to solve independently. The problem is usually multi-step and can usually be solved in more than one way. It is crucial to show work, or a child cannot receive full credit. We will be sure to show our work as we do problems throughout the year. Performance tasks may be included in the quarterly benchmarks.\nAddition and subtraction facts tests are on Fridays. Practice sheets will go home to study for Friday\u2019s facts test.\nThese three subjects will be formally covered all day on Fridays. We call it \u201cDiscovery Day\u201d. Read alouds and dialogue will take place during the course of the week pertaining to the topics covered.\nNewsletters are sent home on Friday. These outline the units for the following week and share the skills and concepts being taught. I will try to post them to the internet for you to view from home. (Just in case one doesn\u2019t arrive home!)\nFirst grade students have the opportunity to be a Homework Hero by completing required homework. I will send home a reading log for the first full week of school. I expect students to complete around 30 minutes of homework a night, as outlined below:\n\u00b7 15 minutes of reading together (initially the parent will do some of this reading)\n\u00b7 15 minutes for reviewing spelling words, reading activities, math assignment, etc.\n\u00b7 All work is required to be completed and returned the next school day unless otherwise stated on the assignment.\nTypically, students have the following homework activities:\n* Vocabulary/Reading on Monday\n* Take Home Books on Wednesday\n* Math response page on Tuesday\n* Spelling Activity on Thursday\nMr. Thompson's Fourth Grade Class", "id": "<urn:uuid:2ca31b8e-92c3-41e6-8013-7fb7d954f215>", "dump": "CC-MAIN-2013-48", "url": "http://www.mrthompsonsclassroom.com/curriculum_overview", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9529026746749878, "token_count": 1384, "score": 3.59375, "int_score": 4}
{"text": "The Writing Style of Beatrix Potter\nWhen thinking of classic children's literature, one of the first names that may come to mind is Beatrix Potter. Her series of illustrated \"little books,\" referred to canonically as the 23 Tales, became very popular upon publication in the early 20th century. The Tale of Peter Rabbit, her first book, combined imagination with cruel and realistic situations, whimsical illustrations, and clearly-written language to create an enjoyable, memorable experience for the reader. Potter utilized this combination of techniques throughout her 33 publications, causing her to become the most famous children's author of the post-Victorian era.\nGood writers of books for children employ imagination in their prose, and Potter was no exception. She created a world where animals had human-like characteristics. The animals in her books had family structures and expressed human emotions. While this idea seems fantastical to adult audiences, it appeals to children. Stuffed toys in animal shapesstill a relatively new product during the early 20th centurystimulate a child's desire for imaginary play. Potter satisfied this desire by creating literary adventures featuring animals often sold in toy form.\nContrasting with this world of imagination, Potter's works provided a cruel, yet realistic balance. Humans were creatures to be feared in Potter's world, as they would often try to harm, ward off, or kill the animal characters. For example, in Peter Rabbit, Mr. McGregor, the antagonist, spends much time trying to capture Peter Rabbit because rabbits are considered to be garden pests. Peter later encounters other evil predators until, after a wild chase, he finally arrives at his family's rabbit hole. These cruel situations are a direct application of Potter's expertise as a keen natural scientist and conservationistroles that she could not publicly participate in as a Victorian woman.\nAnother literary application of Potter's scientific knowledge was her ability to illustrate her books with whimsical, charming watercolors. Prior to becoming a children's book writer, Potter drew and painted scientific illustrations. This gave her the skills necessary to create richly detailed pictures, an aspect of Potter's work that is a large part of its appeal to children. The aesthetic used in her paintings was timely for the period and added to the audience's ability to believe in the world that Potter had created within her books. Enhancing the anthropomorphic characteristics of her animals, she depicted them wearing clothing appropriate to the character's social class and role in the story.\nThe clarity of Potter's prose is another reason why she is considered one of the world's best children's writers. With careful word selection, and emphasis on simple, appropriate language, Potter's works display an elegant style that utilizes rich descriptions. Although her books are illustrated, it is possible to fully understand the action in each scene without the accompanying picture. Potter also utilizes onomatopoeia and short, rhyming verses to break up her prose. These add tonal diversity, making the works more interesting when read aloud to a child at bedtime.\nBeatrix Potter employed a number of elements to create popular children's books. By crafting an imaginary world where animals wear clothing, live human lives, and go on grand adventures, Potter's books appeal to a broad, wide audience of young children. This connection with her audience, combined with strong descriptive skills, made Beatrix Potter one of the world's best-selling authors.\n\u00a9 Creative Writing Software 101 . com | Read more articles", "id": "<urn:uuid:7302afb6-1ae1-4913-bf27-5b9134a1482f>", "dump": "CC-MAIN-2013-48", "url": "http://www.creativewritingsoftware101.com/articles/writing-style-of-beatrix-potter.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163049608/warc/CC-MAIN-20131204131729-00057-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9593042135238647, "token_count": 696, "score": 3.515625, "int_score": 4}
{"text": "September 11 terrorist attack on the United States has left many students frightened\nNewsHour Extra has\nprovided a forum space\nfor students to discuss the devastating emotions and difficulties of this\ndeveloping situation and a background\nreport on what happened.\nThe following lesson\nplans can help teachers and parents form learning experiences out of this ongoing\nToday: Civil War and Human Rights\n(grades 9-12) may be hearing a lot in the news about Afghanistan and the Taliban.\nHelp students understand the Taliban's position within Afghanistan, how the Taliban's\npractices have raised concerns about human rights, and the economic and cultural\nclimate in Afghanistan today. Students may use this knowledge to postulate about\nwhat a war would mean for the Afghan people, short- and long-term.\nAnd Its Neighbors: Model Summit\nAs U.S. officials\nplan retaliation to the terrorist attacks on September 11, help students in grades\n11-12 understand the complex relationships America has with countries in Central\nAsia and the Middle East. Students will research the recent political history\nof one country in the region and represent its interests at a model international\nsummit designed to debate response to the terrorist attacks on America and propose\nmeasures to achieve long-term stability in that part of the world.\nin Times of Trial:\nfor middle-high school students, this lesson plan uses the treatment of citizens\nof Japanese and German ancestry during World War II--looking specifically at media\nportrayals of these groups and internment camps--as historical examples of ethnic\nconflict during times of trial, and about the problems inherent in assigning blame\nto populations or nations of people. Students will look at contemporary examples\nof ethnic conflict, discrimination, and stereotyping at home and abroad.\nDesigned for middle school students,\nthis lesson plan introduces students to governmental and humanitarian response\nmechanisms for natural and man-made disasters. Students research and report on\na variety of organizations, including the Red Cross, FEMA, and more; as an extension,\nstudents learn about local and regional resources, like the National Guard.\nDesigned for high school students,\nthis lesson plan asks the question, \"Who can stop international terrorism?\" Students\nlearn about international justice (including the U.N.'s call for an international\ncriminal court) and debate the effectiveness of various proposed measures.\nWorld At Peace:\nfor younger students (grades 2-6), this lesson plan invites students to brainstorm\nthe basic rights of people everywhere, explore the United Nation's Declaration\nof Human Rights, and then use international photography galleries as part of a\nmultimedia creative writing assignment\nimagining a world at peace.\nIn this time of strife,\nthere has been a lot of intolerance directed at Arab Americans. Already, there\nis much concern within Arab American communities in our nation about the backlash\nthat resulting from Tuesday's attacks.\nthe attacks in school papers\nASNE for high school newspaper advisors and journalists covering local stories\nemerging from the Sept. 11 attacks.\nare more lesson plans in our teacher resource\nIf you would like to\nhelp create curriculum for this page, please contact Leah Clapman at firstname.lastname@example.org", "id": "<urn:uuid:7016e3d8-26fd-4907-9d21-2ff24f2c1c70>", "dump": "CC-MAIN-2013-48", "url": "http://www.pbs.org/newshour/bb/military/terroristattack/teachers/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164014919/warc/CC-MAIN-20131204133334-00046-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9134212136268616, "token_count": 662, "score": 4.15625, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\nFlashback Teacher Resources\nFind Flashback educational ideas and activities\nFlashback to the time just before the turn of the century. The industrial revolution was in full swing, but why? Investigate key innovations and inventions that made it all possible. Covered are things like, steel, steam, oil, railroads, cars, communication, and airplanes. Tip: Have learners investigate the impact of each invention.\nHere's a real life research project that should get those upper graders excited! They conduct research into everything they'll need to know before moving out on their own. They compare university tuition, housing, textbooks, living arrangements, leases, credit card offers, and financial aid packages. This lesson is top-notch, and it offers essay tips, financial aid links, and motivational speech links.\nAnalyze and create a well-known, but little studied form of literature: the fable. After learning important vocabulary associated with this genre, use the well-known fable, The Hare and the Tortoise to illustrate the various parts of a fable. This collaborative work as a class should prepare your class for the next creative step: writing and performing their own fable! This resource is great because in addition to an easy-to-follow lesson plan, it provides all the worksheets, graphic organizers, and rubrics students need to feel supported. Note: You will need to provide fables for your class to work with, as this resource only contains the one.\nDiscover how authors design narrative and thematic structure with these practice activities for McLaurin\u2019s \u201cThe Rite Time of Night.\u201d Learners are encouraged to track repeating patterns such as references to nature or types of conflicts experienced by the characters in the story, and annotate them by color. From their findings, pupils can create their own story with a narrative structure similar to structures used by a professional.\nSpend a productive hour in the classroom as your scholars develop their context clues skills by working with short newspaper or magazine articles. The exercise introduces these skills and allows time to practice and discuss the strategies that need to be taken in identifying the context of words in question. Practice begins with articles that are provided by the teacher and learners practice the newly learned context procedure. Modify the lesson with short fiction pieces and practice context clues in other genres of writing.\nNeed a quick but comprehensive reading strategies exercise? Even your most reluctant readers will be engaged by the story of a nuclear reactor explosion at a top-secret Idaho base. After reading the short passage, learners answer nine multiple choice questions. The answer sheet includes detailed explanations of the strategies used to determine the correct response, which models how to approach reading assessments. Use the instructional activity as in-class practice or for homework.\nPrepare your classes for the impending state testing! Give each student the reading passage and questions, and then set the timer. Encourage them to use specific reading strategies to improve comprehension. They could start by reading the questions before beginning to read the passage.\nTeach your class the basics of narrative writing! The resource first describes the Common Core standard for narrative writing in-depth, and then moves into how to apply the standard. Show your class the example essay and quiz them briefly before moving on to explain their writing assignment. While an assignment is not included, you could easily figure one out by reading through the example and quiz.\nTrace the mental breakdown and suicide of a character in William Faulkner's The Sound and the Fury. After a close reading of chapter two, discussion focuses on Quentin\u2019s watch and the symbolism of stunted times signifying the lack of success in the lives of the Copson family and in the Old South. Stream of consciousness as a narrative technique is also examined. Lesson two of the curriculum unit William Faulkner\u2019s The Sound and the Fury.\nViewing Tent City launches a study of the frame story and how authors use this format to draw attention to their theme. The richly detailed plan from Futurestates Community Classroom includes pre-viewing activities, discussion questions, viewing guide, suggested assessments and resource links. A great addition to your curriculum library.\nThe final exercise in a series of lessons about writing a novel, this resource focuses on how to begin a story. The directions are clear, examples are plentiful, and practice activities provide writers with several possible options. Whether they start at the beginning, start with an inciting incident, start in the middle of things, or start at the end, your writers will be well prepared to draft their novel or a narrative of any length.\nIf a blue jay could talk, what would it say? Find out by reading Mark Twain's \"Jim Baker's Blue-jay Yarn\" with your class. Make sure to discuss dialect beforehand and adopt the accent while you read. Compare and contrast American English and dialect by examining quotes and filling out a Venn diagram. Once your learners have a grasp of dialect, and once you have modeled how to write in dialect, have pairs compose and perform brief fables that feature birds that speak in dialect.\nStudents develop vocabulary skills and create a logbook. In this Touching Spirit Bear lesson plan, students make predictions, write chapter summaries, and create a detailed character sketch. Students participate in a sharing circle and discuss their thoughts and reflections on the reading.\nStudents keep a learning log and role-play to discover how a positive attitude can affect their lives. In this Touching Spirit Bear and optimism/pessimism instructional activity, student discuss optimism and pessimism in scenarios and in learning circles before reading passages from the novel and writing vocabulary words.\nCombine the study of poetry with the NACC tournament and March Madness? Sure! After a study of narrative poetry (\u201cThe Highwayman,\u201d \u201cThe Walrus and the Carpenter,\u201d and \u201cCasey at the Bat,\u201d etc.) class members are assigned a team from the NCAA regions and begin gathering data. They then compose a narrative poem about their team following guidelines developed by the class. The richly detailed unit plan includes a materials list, technology resources, activities, and assessments.\nThis comprehensive and detailed resource offers a solid set of ideas for exposing early high school readers to the complexity of Kafka\u2019s The Metamorphosis. The lessons offer strong pre-reading discussion questions, effective activities for analysis, close reading practice, and recognition of basic elements of story, and possible symbols. The instructor is offered multiple options for assessment that explore Kafka\u2019s purpose in writing The Metamorphosis, and his use of complex literary devices.\nLearners of any age can participate in this imagination and improve development activity. With the use of a small box, they work through a series of questions or situations posed by the teacher. Each group uses the box to create short improved scenes. This could also be a good way to develop storytelling skills.\nNinth graders explore contemporary Korea, as well as pre-war Korea. They do this by reading One Thousand Chestnut Trees. After reading, they participate in classroom discussions about excerpts from the novel. They also research historical and cultural topics related to the novel.", "id": "<urn:uuid:9603d356-20f1-4f8d-9b68-cf77585b21e1>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/flashback/4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345766127/warc/CC-MAIN-20131218054926-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9368480443954468, "token_count": 1476, "score": 4.125, "int_score": 4}
{"text": "Oscar Wilde biography\nBorn on October 16, 1854 in Dublin, Irish writer Oscar Wilde is best known for the novel The Picture of Dorian Gray and the play The Importance of Being Earnest, as well as for his infamous arrest and imprisonment for being gay.\nOscar Fingal O'Flahertie Wills Wilde was born on October 16, 1854 in Dublin, Ireland. His father, William Wilde, was an acclaimed doctor who was knighted for his work as medical advisor for the Irish censuses. William Wilde later founded St. Mark's Ophthalmic Hospital, entirely at his own personal expense, to treat the city's poor. Oscar Wilde's mother, Jane Francesca Elgee, was a poet who was closely associated with the Young Irelander Rebellion of 1848, a skilled linguist whose acclaimed English translation of Pomeranian novelist Wilhelm Meinhold's Sidonia the Sorceress had a deep influence on her son's later writing.\nWilde was a bright and bookish child. He attended the Portora Royal School at Enniskillen where he fell in love with Greek and Roman studies. He won the school's prize for the top classics student in each of his last two years, as well as second prize in drawing during his final year. Upon graduating in 1871, Wilde was awarded the Royal School Scholarship to attend Trinity College in Dublin. At the end of his first year at Trinity, in 1872, he placed first in the school's classics examination and received the college's Foundation Scholarship, the highest honor awarded to undergraduates.\nUpon his graduation in 1874, Wilde received the Berkeley Gold Medal as Trinity's best student in Greek, as well as the Demyship scholarship for further study at Magdalen College in Oxford. At Oxford, Wilde continued to excel academically, receiving first class marks from his examiners in both classics and classical moderations. It was also at Oxford that Wilde made his first sustained attempts at creative writing. In 1878, the year of his graduation, his poem \"Ravenna\" won the Newdigate Prize for the best English verse composition by an Oxford undergraduate.\nUpon graduating from Oxford, Wilde moved to London to live with his friend, Frank Miles, a popular portraitist among London's high society. There, he continued to focus on writing poetry, publishing his first collection, Poems, in 1881. While the book received only modest critical praise, it nevertheless established Wilde as an up-and-coming writer. The next year, in 1882, Wilde traveled from London to New York City to embark on an American lecture tour, for which he delivered a staggering 140 lectures in just nine months.\nWhile not lecturing, he managed to meet with some of the leading American scholars and literary figures of the day, including Henry Longfellow, Oliver Wendell Holmes and Walt Whitman. Wilde especially admired Whitman. \"There is no one in this wide great world of America whom I love and honor so much,'' he later wrote to his idol.\nUpon the conclusion of his American tour, Wilde returned home and immediately commenced another lecture circuit of England and Ireland that lasted until the middle of 1884. Through his lectures, as well as his early poetry, Wilde established himself as a leading proponent of the aesthetic movement, a theory of art and literature that emphasized the pursuit of beauty for its own sake, rather than to promote any political or social viewpoint.\nOn May 29, 1884, Wilde married a wealthy Englishwoman named Constance Lloyd. They had two sons: Cyril, born in 1885, and Vyvyan, born in 1886. A year after his wedding, Wilde was hired to run Lady's World, a once-popular English magazine that had recently fallen out of fashion. During his two years editing Lady's World, Wilde revitalized the magazine by expanding its coverage to \"deal not merely with what women wear, but with what they think and what they feel. The Lady's World,\" wrote Wilde, \"should be made the recognized organ for the expression of women's opinions on all subjects of literature, art and modern life, and yet it should be a magazine that men could read with pleasure.\"\nBeginning in 1888, while he was still serving as editor of Lady's World, Wilde entered a seven-year period of furious creativity, during which he produced nearly all of his great literary works. In 1888, seven years after he wrote Poems, Wilde published The Happy Prince and Other Tales, a collection of children's stories. In 1891, he published Intentions, an essay collection arguing the tenets of aestheticism, and that same year, he published his first and only novel, The Picture of Dorian Gray. The novel is a cautionary tale about a beautiful young man, Dorian Gray, who wishes (and receives his wish) that his portrait ages while he remains youthful and lives a life of sin and pleasure.\nThough the novel is now revered as a great and classic work, at the time critics were outraged by the book's apparent lack of morality. Wilde vehemently defended himself in a preface to the novel, considered one of the great testaments to aestheticism, in which he wrote, \"an ethical sympathy in an artist is an unpardonable mannerism of style\" and \"vice and virtue are to the artist materials for an art.\"\nWilde's first play, Lady Windermere's Fan, opened in February 1892 to widespread popularity and critical acclaim, encouraging Wilde to adopt playwriting as his primary literary form. Over the next few years, Wilde produced several great plays\u2014witty, highly satirical comedies of manners that nevertheless contained dark and serious undertones. His most notable plays were A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895), his most famous play.\nPersonal Life and Prison Sentence\nAround the same time that he was enjoying his greatest literary success, Wilde commenced an affair with a young man named Lord Alfred Douglas. On February 18, 1895, Douglas's father, the Marquis of Queensberry, who had gotten wind of the affair, left a calling card at Wilde's home addressed to \"Oscar Wilde: Posing Somdomite,\" a misspelling of sodomite. Although Wilde's homosexuality was something of an open secret, he was so outraged by Queensberry's note that he sued him for libel. The decision ruined his life.\nWhen the trial began in March, Queensberry and his lawyers presented evidence of Wilde's homosexuality\u2014homoerotic passages from his literary works, as well as his love letters to Douglas\u2014that quickly resulted in the dismissal of Wilde's libel case and his arrest on charges of \"gross indecency.\" Wilde was convicted on May 25, 1895 and sentenced to two years in prison.\nWilde emerged from prison in 1897, physically depleted, emotionally exhausted and flat broke. He went into exile in France, where, living in cheap hotels and friends' apartments, he briefly reunited with Douglas. Wilde wrote very little during these last years; his only notable work was a poem he completed in 1898 about his experiences in prison, \"The Ballad of Reading Gaol.\"\nDeath and Legacy\nWilde died of meningitis on November 30, 1900 at the age of 46.\nMore than a century after his death, Wilde is still better remembered for his personal life\u2014his exuberant personality, consummate wit and infamous imprisonment for homosexuality\u2014than for his literary accomplishments. Nevertheless, his witty, imaginative and undeniably beautiful works, in particular his novel The Picture of Dorian Gray and his play The Importance of Being Earnest, are considered among the great literary masterpieces of the late Victorian period.\nThroughout his entire life, Wilde remained deeply committed to the principles of aestheticism, principles that he expounded through his lectures and demonstrated through his works as well as anyone of his era. \"All art is at once surface and symbol,\" Wilde wrote in the preface to The Picture of Dorian Gray. \"Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex and vital.\"", "id": "<urn:uuid:0a48912d-fe25-49a1-8f3b-8477713b7377>", "dump": "CC-MAIN-2013-48", "url": "http://www.biography.com/print/profile/oscar-wilde-9531078", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164010865/warc/CC-MAIN-20131204133330-00051-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9859357476234436, "token_count": 1701, "score": 3.515625, "int_score": 4}
{"text": "Atomic bomb dropped on\nNagasaki, Japan in 1945.\nCharles Levy - Wikimedia Commons\nStudents use history knowledge, critical thinking and digital literacy skills to tweet clues and guess the historical figure, period or event related to those clues.\nTwitter, history, tweet, digital literacy, critical thinking, creative writing, historical, figures, events, review, game, activity\nThis lesson makes a great review activity and can be done in either a single class period or over the course of several weeks (by setting aside a few minutes per class).\nFirst, ensure that all students have created individual Twitter accounts and that each student will have access to an Internet-connected device.\nNOTE: For those uncomfortable with using Twitter in the classroom, or for teachers in schools that block access to Twitter, here are some alternatives, all of which are free, and some of which do not require individual accounts:\nTodaysMeet.com is a quick and easy discussion tool that can be used to set up a chat room in seconds. The room is accessible via a link on the Web. It takes two minutes to set up the room, and it's an easy discussion or brainstorming space for students.\nChatzy.com is another type of instant chat tool for class discussions. It allows you to create a password-protected virtual chat room. The room is shared with a simple link and can be set up within minutes, even from an iPad.\nCoveritLive.com is a very powerful liveblogging tool for classroom discussions that can be logged and stored on your Web site for later viewing. It\u2019s free, and it works on the iPad. Setup for the administrator takes longer because it does require an account, but it gives you the ability to moderate the chat and embed it into a Web site.\nNext, decide which historical periods/events/figures will be used. Select ones relevant to what students have been studying in class. In case students guess the answers quickly, have a relatively large number of people and events ready. You may wish to serve as the \u201cquizmaster\u201d who will tweet clues about these people and events. If you decide to add to the challenge by having kids serve as quizmasters, write the people and events on slips of paper and place them in a bowl for random selection by students.\nDecide how you\u2019d like students to make their guesses (on paper, on individual dry-erase boards, verbally, etc.) and set rules for participation (raise your hand to share your guess, no shouting out guesses, etc.). Also decide if you will award prizes to winners. (Consider awarding prizes both for correct guesses and for the best or most creative sets of clues, since good clues require deep understanding of history content.)\nThen choose one of the following activity options and adapt them to suit the size and climate of your class:\nNext, create a hashtag for each game. You may want to use a numbering system to keep track of them. (An example hashtag for guessing game #1 in Mr. Cameron\u2019s class at George Washington High would be #MrCameronGWH1.)\nIt is important to remember that these hashtags will be public. As such, when students begin using them, their friends will be able to see them. It is unlikely that the hashtags will be trolled, since this activity would be public. You will, however, want to monitor them. Since Twitter can open the door to distractions, you\u2019ll also want to keep an eye on students to ensure that they remain on task during the lesson.\nIf you are using an alternative to Twitter, simply set up a chat room on your chosen platform and provide the link to students. Within the chat, make it clear where a new game begins by entering GAME 1, GAME 2, etc. into the conversation at appropriate points.\nExplain to students that Twitter has changed the way people communicate today. But what if this technology had existed in the past? Imagine Colonial Americans tweeting about their lives, or think about what the Twitter feed of someone like Napoleon might have looked like. How many followers would Socrates have amassed? Let\u2019s use our history knowledge, digital literacy skills and imaginations to explore famous people and events from the past.\nDivide students into teams as needed, get everyone logged in and describe how the game will proceed. If applicable, provide the list of hashtags on a dry-erase board or projection screen. Make sure to erase already-used hashtags as the games proceed, so that students can always see the most current one. If you\u2019re using alternatives to Twitter: These platforms will not place a 140-character limit on the length of clues, so remind quizmaster students to keep their clues brief.\nPrior to playing, it might be helpful to run through a few examples with students. If students will be providing clues, remind them that their clues should be neither too easy nor too hard, and have them do planning on paper prior to beginning the game. Decide whether you will allow students to use textbooks or other sources in order to plan their clues. Let guessing students know whether they will be allowed to send inquiring tweets (requests for \u201chints\u201d) to the quizmaster(s) during the game.\nHere are a few sample clues and answers:\nAnswer: The late former British Prime Minister Margaret Thatcher\nAnswer: U.S. dropping of atomic bombs on Hiroshima and Nagasaki, Japan at the end of WWII\nOnce the games are underway, keep track of scores and winners on a blackboard, dry-erase board or projection screen and award prizes accordingly.\nThis activity offers a fun, informal end-of-class or end-of-unit formative assessment to check for student understanding. You may leave the activity ungraded and use it simply for motivation and engagement, or you may choose to grade students on the creativity and accuracy of their tweets, as well as their success in identifying historical figures, time periods or events based on the clues provided.\nLesson Plan Source\nJason Tomaszewski, EducationWorld Associate Editor\nNSS-WH.5-12.6 Emergence of the First Global Age\nNSS-WH.5-12.7 Age of Revolutions\nNSS-WH.5-12.8 Half a Century of Crisis and Achievement\nCopyright \u00a9 2013 Education World", "id": "<urn:uuid:fcadfbb4-c544-4f78-ab3e-65fbfe686aaf>", "dump": "CC-MAIN-2013-48", "url": "http://www.educationworld.com/a_lesson/twitter-tweets-critical-thinking-history-shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164944725/warc/CC-MAIN-20131204134904-00056-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9250714182853699, "token_count": 1313, "score": 3.765625, "int_score": 4}
{"text": "Copyright, Creative Commons & Mix & Mash: Lesson Plan\nStudents understand how to legally adapt and reuse Creative Commons and public domain material. This means that students:\n- understand what copyright is;\n- understand the range of Creative Commons licences;\n- can choose and apply a creative commons licence for their own work;\n- find content that can be reused and remixed;\n- learn how to correctly attribute remixed works; and,\n- understand plagiarism.\nWork produced here may be entered in Mix & Mash 2013: The New Storytelling.\nIn general, copyright works cannot be copied, adapted, remixed, reused or shared without the copyright holder\u2019s permission. In New Zealand, copyright lasts for the life of the author plus fifty years. For more information, see the Copyright Council\u2019s Introductory Factsheet.\nWhen material falls out of copyright, it enters the public domain. In New Zealand, all works produced by an author who died in 1962 or earlier are in the public domain.\nRemember, copyright also applies on the Internet.\nCreative Commons Aotearoa New Zealand provides a series of licences which give users permission to share and adapt copyright works.\nThis video provides basic information about the licences: Creative Commons Kiwi\nMore resources explaining the Creative Commons licences can be found at Creative Commons Aotearoa New Zealand.\nCreative Commons International provide a more philosophical take on remix and adaptation: Building on the Past.\nHow to Adapt, Remix and Attribute Your Sources\nAll Creative Commons licences require users to attribute their sources. If you fail to attribute properly, you violate the terms of the licences. While attribution can take several difference forms, in essence you should include:\n- the name of the author or creator;\n- the title of the work;\n- a link to the work\u2019s URL;\n- a link to the Creative Commons licence the author or creator used;\n- any additional information required in the licence statement.\nYou can put this information at the end of your work, or on the work\u2019s webpage.\nThis Free to Mix guide outlines how to find and reuse digital content.\nThis fact sheet from Creative Commons Australia goes into more detail about using attributing Creative Commons works.\n- \u2018Building on the Past\u2019 argues that all creativity builds on the past. Is this true? Discuss some examples of famous artists\u2014such as Shakespeare, Walt Disney and Peter Jackson\u2014who famously adapted earlier works. Is all creative work a remix of one kind or another?\n- Discuss with students the differences between copyright, the Creative Commons licences and the public domain, using a scale from \u2018most free\u2019 to \u2018most restrictive.\u2019\n- Discuss with students the difference between remix and plagiarism, leading into a discussion of the importance of attribution. Students should always credit the original creator when reusing work. Highlight the importance of note taking, summarising and referencing to keep track of all sources.\nThis game reinforces the different licences and makes students think about how you can mix and match different licence types.\n- What is the purpose of copyright?\n- If we didn\u2019t have copyright, would we still have creative work? Why or why not?\n- What\u2019s the difference between plagiarism and \u2018inspiration\u2019?\n- What\u2019s the difference between owning a song and owning a car?\n- Give your own definition of plagiarism.\nIn this activity, students will create a new work that creatively re-uses and adapts source material provided by DigitalNZ, Creative Commons Aotearoa New Zealand and the National Library of New Zealand. Students may submit their work to Mix & Mash 2013: The New Storytelling for showcasing.\n1) Check out the material provided at the Mix & Mash 2013 set at DigitalNZ.\nThe Mix & Mash set.\n2) Search for additional material here, remembering to takes notes on all your sources.\n3) Generate ideas\n4) Find the tools you need to realise your idea.\nPixlr, free online photo editor\nFotoflexer, distort and retouch photos online\nGIMP, open source photo-editing program, free to download to your computer\nSlideshare, to make a presentation using your remixed images\nAudacity, a free-to-download, open source software for recording, editing, and converting audio files\n5) Tell your story.\n6) Attribute your sources.\nThere are many ways to provide attribution. See above for what kinds of information to include.\n7) Choose your Creative Commons licence, to enable others to share, remix and reuse your work.\nUse the simple Creative Commons licence chooser.\n8) Enter Mix & Mash 2013: The New Storytelling!\nDisplay this poster to explain the Creative Commons licences.\nRead the Free to Mix Guide\nRead Helen Baxter\u2019s series of Remix Columns\nLawrence Lessig Ted Talk: In this 20 min presentation, Creative Commons co-founder and Harvard Law Professor Lawrence Lessig argues that the current copyright regime restricts, rather than encourages, creativity.\nLawrence Lessig\u2019s Free Culture: Chapter One, pages 20-30, discusses the story of Disney\u2019s use of public domain material in the early 20th century to produce Mickey Mouse.\nEverything is a Remix Kirby Ferguson speaks about the impact of remixing on creativity through a series of videos and presentations.\nCreative Commons for Teachers\nIn most situations, the works produced by a teacher in a school (handouts, resources, lesson plans) are owned by their employer\u2014which in New Zealand is the school\u2019s Board of Trustees. Technically, this means that teachers who want to share their teaching and learning materials need to gain written permission from their employer before they can legally do this. Some schools make the process of sharing easier by adopting a Creative Commons Policy which makes all material produced by a teacher available under a CC-By licence. Examples of Creative Commons policies include:\nOther schools to use Creative Commons licensing include Tawa Intermediate and Wellington High School. Read more about New Zealand schools using Creative Commons policies at Creative Commons Aotearoa New Zealand\u2019s Education Portal.\nThis work is partially based on Wikieducator\u2019s New Zealand Digital Citizenship Module on \u2018Copyright, Copyleft and Plagiarism.\u2019 That work is made available under a Creative Commons Attribution Share Alike 3.0 Unported licence.\nThis work also draws on material from the National Library of New Zealand Te Puna M\u0101tauranga o Aotearoa\u2019s Free to Mix Guide. That work is made available under a Creative Commons Attribution 3.0 New Zealand licence.\nThis work is made available under a Creative Commons Attribution-ShareAlike 3.0 Unported Licence", "id": "<urn:uuid:bdaeac8c-740b-42e5-a15b-877b65ac7170>", "dump": "CC-MAIN-2013-48", "url": "http://creativecommons.org.nz/copyright-creative-commons-mix-mash-lesson-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8532733917236328, "token_count": 1420, "score": 3.59375, "int_score": 4}
{"text": "The past tense is a verb tense expressing action, activity, state or being in the past of the current moment (in an absolute tense system), or prior to some other event, whether that is past, present, or future (in a relative tense system).\nEach of these may also be found in the progressive (continuous) aspect.\nSimple past is formed for regular verbs by adding \u2013ed to the root of a word. Example: He walked to the store. A negation is produced by adding did not and the verb in its infinitive form. Example: He did not walk to the store. Question sentences are started with did as in Did he walk to the store?\nSimple past is used for describing acts that have already been concluded and whose exact time of occurrence is known. Furthermore, simple past is used for retelling successive events. That is why it is commonly used in storytelling.\nPast progressive is formed by using the adequate form of to be and the verb\u2019s present participle: He was going to church. By inserting not before the main verb a negation is achieved. Example: He was not going to church. A question is formed by prefixing the adequate form of to be as in Was he going?. Past progressive is used for describing events that were in the process of occurring when a new event happened. The already occurring event is presented in past progressive, the new one in simple past. Example: We were sitting in the garden when the thunderstorm started. Use is similar to other languages' imperfect tense.\nPresent perfect simple is formed by combining have/has with the main verb\u2019s past participle form: I have arrived. A negation is produced by inserting not after have/has: I have not arrived. Questions in present perfect are formulated by starting a sentence with have/has: Has she arrived?\nPresent perfect simple is used for describing a past action\u2019s effect on the present: He has arrived. Now he is here. This holds true for events that have just been secluded as well as for events that have not yet occurred.\nPresent perfect progressive is formed by prefixing have/has before the grammatical particle been and the verb\u2019s present participle form: We have been waiting. A negation is expressed by including not between have/has and been: They have not been eating. As with present perfect simple, for forming a question, have/has is put at the beginning of a sentence: Have they been eating?\nPresent perfect progressive is used for describing an event that has been going on until the present and may be continued in the future. It also puts emphasis on how an event has occurred. Very often since and for mark the use of present perfect progressive: I have been waiting for five hours / I have been waiting since three o\u2019clock.\nFurthermore, there is another version of past tense possible: past perfect, similar to other languages' pluperfect tense. my6cel\nPast perfect simple is formed by combining the simple past form of to have with the simple past form of the main verb: We had shouted. A negation is achieved by including not after had: You had not spoken. Questions in past perfect always start with had: Had he laughed?\nPast perfect simple is used for describing secluded events that have occurred before something else followed. The event that is closer to the present is given in simple past tense: After we had visited our relatives in New York, we flew back to Toronto.\nPast perfect progressive is formed by had, the grammatical particle been and the present participle of the main verb: You had been waiting. For negation, not is included before been: I had not been waiting. A question sentence is formed by starting with had: Had she been waiting?\nIf emphasis is put on the duration of a concluded action of the past, since and for are signal words for past perfect progressive: ''We had been waiting at the airport since the 9 P.M. flight. / They had been waiting for three hours now.\nIn South Germany, Austria and Switzerland, the preterite is mostly used solely in writing, for example in stories. Use in speech is regarded as snobbish and thus very uncommon. South German dialects, such as the Bavarian dialect, as well as Yiddish, and Swiss German have no preterite, but only perfect constructs.\nIn certain regions, a few specific verbs are used in the preterite, for instance the modal verbs and the verbs haben (have) and sein (be).\nIn speech and informal writing, the Perfekt is used (eg, Ich habe dies und das gesagt. (I said this and that)).\nHowever, in the colloquial language of North Germany, there is still a very important difference between the preterite and the perfect, and both tenses are consequently very common. The preterite is used for past actions when the focus is on the action, whilst the present perfect is used for past actions when the focus is on the present state of the subject as a result of a previous action. This corresponds to the English usage of the preterite and the present perfect.\ninstance, has an imperfect tense of similar form to that of German but used only for past habitual contexts like \"I used to...\". Similar patterns extend across most languages of the Indo-European family right through to the Indic languages but also exist in non-Indo-European languages of these same regions.Semitic languages tripartite non-past/past imperfective/past perfective systems similar to those of most Indo-European languages are found, in the rest of Africa past tenses have very different forms from those found in European languages. Berber languages have only the perfective/imperfective distinction and lack a past imperfect.\nMany non-Bantu Niger-Congo languages of West Africa do not mark past tense at all and only have a form of perfect tense derived from a word meaning \"to finish\". Others, such as Ewe, distinguish only between future and non-future, comprising both present and past time frames.\nIn complete contrast, Bantu languages such as Zulu have not only a past tense, but also a less remote proximal tense which is used for very recent past events and is never interchangeable with the ordinary past form. These languages also differ substantially from European languages in coding tense with prefixes instead of such suffixes as English -ed.\nOther, smaller language families of Africa follow quite regional patterns. Thus the Sudanic languages of East Africa and adjacent Afro-Asiatic families are past of the same area with inflectional past-marking that extends into Europe, whereas more westerly Nilo-Saharan languages often do not have past marking.\nA number of Native American languages like Northern Paiute stand in contrast to European notions of tense because they always use relative tense, which means tense relative to a reference point other than the time an utterance is made.\nPapuan languages of New Guinea almost always have remoteness distinctions in the past tense (though none are as elaborate as some native American languages), whilst indigenous Australian languages usually have a single past tense without remoteness distinctions.\nThe acquisition of past tense in preschool children with specific language impairment and unaffected controls: regular and irregular forms *.\nMar 01, 2003; Abstract The main aim of this study was to provide an analysis of the acquisition of past tense in preschool children with...\nInterpreting Dissociations between Regular and Irregular Past-Tense Morphology: Evidence from Event-Related Potentials\nJun 01, 2008; Neuropsychological dissociations between regular and irregular English past-tense morphology have been reported using a lexical...\nImaging the Past: Neural Activation in Frontal and Temporal Regions during Regular and Irregular Past-Tense Processing\nSep 01, 2005; This article presents fMRI evidence bearing on dual-mechanism versus connectionist theories of inflectional morphology. Ten...", "id": "<urn:uuid:943e6dd5-301c-4e3a-aaca-3fdeffb2f924>", "dump": "CC-MAIN-2013-48", "url": "http://www.reference.com/browse/past%20tense", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164583265/warc/CC-MAIN-20131204134303-00050-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.966942310333252, "token_count": 1660, "score": 4.28125, "int_score": 4}
{"text": "Common Core Through the Eyes of a Storyteller\nThe first time I looked at the Common Core website, I remember feeling a little bit overwhelmed. Even looking at the all the information with a very tight focus\u2014in my case, what the standards say about reading informational books\u2014it felt like a lot to process.\nIt took me a little while to understand that there are ten big standards, the Anchor Standards for Reading, and that each of these standards then has grade-specific guidelines for implementation.\nThe Anchor Standards discuss aspects of writing from an educator\u2019s viewpoint, with educator vocabulary\u2014and I\u2019m a writer, not a teacher. So understanding what each Standard was asking students to do took a little processing as well.\nBut I am coming to understand that many of the Standards address things I think about all the time as I am working on storytelling.\nTake Standard 2, for instance. It asks students to identify the main theme of a text, and I think about the main theme of every book I write. The theme is the big picture idea, the \u2018so what?\u2019 of every story. Why the story matters. What we can learn from it. We can enjoy reading about all of Alice Roosevelt\u2019s antics, but the takeaway is what matters: \u201ceating up the world.\u201d Having a zest for life. That\u2019s the theme.\nStandard 3 asks students to look at how people interact, something I thought about constantly as I tried to show the development of the relationship between Adams and Jefferson\u2014how two total opposites could come together to work for a common purpose.\nStandard 4 is all about word choice and figurative language\u2014a writer\u2019s dream standard, if you will. Finding just the right word to express an idea is my favorite part of the job, capturing, for example, Walt Whitman\u2019s passion for taking notes everywhere he went in his little notebooks, and how these notebooks were \u201cfertile ground for the seeds of his poems.\u201d\nStandard 5 looks at structure, and boy is that a big part of crafting a story. Every story needs a beginning, middle, and end, and especially in a picture book, the opening lines are crucial to set the story in motion and establish the promise to the reader that will be fulfilled by the story\u2019s end. And so when we learn that Susy Clemens is \u201c\u2019annoyed\u2019\u201d that everyone is wrong about her famous father, and that she is \u201cdetermined to set the record straight,\u201d we\u2019re launched into the story of how she does this by creating her own biography of Mark Twain\u2014excerpts of which were eventually published for all to read.\nAnd finally, Standard 6, which asks students to think about how an author\u2019s purpose shapes the text. This ties into everything I do when crafting a story. How do I present the facts of a person\u2019s life in a way that illustrates my theme, shows character development, and gives a satisfying ending to the story just read? Which events, quotes, and details do I choose to include, when I\u2019m limited by the fact that a picture book text must be short\u2014and that every word counts.\nWhen I think about the Standards and how they apply to nonfiction books, what I understand is that the Standards will change the way that students interact with nonfiction texts. Students won\u2019t just be reading nonfiction books to gather information. They\u2019ll be reading books and analyzing how that information is presented.\nAnd for someone who cares deeply about storytelling, this is very good news indeed.", "id": "<urn:uuid:cde7bae0-33dc-4711-817b-d94f9a9f7b11>", "dump": "CC-MAIN-2013-48", "url": "http://inkrethink.blogspot.com/2013/10/common-core-through-eyes-of-storyteller.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9638779759407043, "token_count": 758, "score": 3.515625, "int_score": 4}
{"text": "Here's a snapshot of the historic figure\nJoe Blundo's Blog\nGet Email Updates\nLincoln's casket in the Statehouse rotunda on April 29, 1865\nMany people regard Abraham Lincoln as one of our greatest presidents.\nBest-known, perhaps, as the president who worked to abolish slavery in our nation, Lincoln helped keep the Union from permanently splitting during the Civil War.\nAs we recognize Lincoln's 200th birthday on Thursday, it's a fitting time to look at the 16th president and his life.\nJust how much do you know about this legendary figure?\nHere is a sampling of interesting facts:\n\u2022 Lincoln was the first president born outside the original 13 states.\n\u2022 He had no middle name.\n\u2022 His paternal grandfather's name was also Abraham Lincoln.\n\u2022 His parents, Thomas Lincoln and Nancy Hanks Lincoln, were pioneer farmers.\n\u2022 When possible, Abe and his sister, Sarah, were spared their chores so they could go to a log schoolhouse where they learned reading, writing and \"cipherin' \" (solving math problems).\n\u2022 As a boy, he shot a wild turkey, but the sight of the dying bird filled him with such sadness that he vowed to never hunt game again.\n\u2022 At 8 years old, he was big for his age and had learned to use an ax. He helped his father build their cabin in Indiana. Although he was good at plowing fields and splitting logs, he wasn't fond of manual labor.\n\u2022 Although Abe had less than a year of formal schooling, he craved reading and learning. He was known to walk long distances to borrow books.\n\u2022 He often carried a book along with his ax, and by age 11 had read The Autobiography of Benjamin Franklin, Robinson Crusoe and A Thousand and One Arabian Nights.\n\u2022 At night, he read by the light of the fireplace. Like other kids of his time, he made his own arithmetic textbook, a few pages of which still exist at the Library of Congress in Washington, D.C.\n\u2022 Even as a boy, Abe showed great ability as a speaker. He often amused himself and others by imitating a preacher or politician who had spoken in the area.\n\u2022 Lincoln worked at a variety of jobs, including piloting a steamboat, storekeeping and surveying land. He also was a postmaster.\n\u2022 He was interested in new technology and is the only U.S. president to hold a patent -- for \"a device for buoying vessels over shoals.\" It was never marketed.\n\u2022 As a lawyer, Lincoln \"traveled the circuit\" for six months each year. He loved this kind of life. The small inns where lawyers stayed had few comforts, but they offered many opportunities for meeting people. Lively talk and storytelling appealed to Lincoln. He also liked the long rides across the prairies.\n\u2022 Lincoln developed traits as a lawyer that made him well-known throughout Illinois. He could argue a case strongly and sometimes persuaded clients to settle their differences out of court, which meant a smaller fee, or no fee at all, for him. In court, Lincoln could present a case so that 12 jurors, often poorly educated, could understand it. He could also argue a complicated case before a well-informed judge. He prepared his cases thoroughly and was unfailingly honest.\n\u2022 The largest fee he ever received, $5,000, was for his successful defense of the Illinois Central Railroad in a tax case. After 1849, Lincoln's reputation grew steadily. In the 1850s, he was known as one of the leading lawyers in Illinois.\n\u2022 When William Berry, his business partner in a general store, died, Lincoln was liable for the debts of the partnership, about $1,100. It took him several years to pay what he jokingly called his \"national debt.\" His integrity earned him the nickname \"Honest Abe.\"\n\u2022 He wore a signature stovepipe hat in which he would stash his letters, bills and notes.\n\u2022 He was statuesque -- at 6 feet 4 inches, he is the tallest of the 44 U.S. presidents.\n\u2022 Lincoln signed a proclamation in 1863 that set the precedent for the national Thanksgiving Day we celebrate today.\n\u2022 One year, he used his presidential power to \"pardon\" a turkey that was supposed to be the White House Christmas dinner. (Each Thanksgiving, the president of the United States \"pardons\" a turkey, just as Lincoln did.)\n\u2022 Lincoln wrote most of his own letters and all of his speeches. For several hours each week, he saw everyone who chose to call.\n\u2022 During his years in office, he was away from the capital less than a month.\n\u2022 Lincoln received thousands of letters from well-wishers and critics. After issuing the Emancipation Proclamation, he received a flood of mail, mostly supporting his action.\n\u2022 Lincoln found some relaxation in taking carriage drives, and he enjoyed the theater. He read the works of Shakespeare and the Bible.\n\u2022 Lincoln visited Columbus twice: On Sept. 16, 1859, while a presidential candidate, he gave a speech at the east door of the Statehouse. A plaque there commemorates the event. And on Feb. 13, 1861, he stopped at the Statehouse on his way to Washington. While here, he received a telegram notifying him that the Electoral College had officially made him the 16th U.S. president.\n\u2022 A week before his death, Lincoln had a dream of someone crying in the White House. In the dream, when he found the room, he looked in and asked who had passed away. The man in the room said, \"The president.\" When Lincoln looked in the coffin, \"it was his own face he saw,\" his friend and bodyguard recalled.\n\u2022 On the night he was assassinated, Lincoln was carrying these items in his pockets: two pairs of eyeglasses, a lens polisher, a pocketknife, a linen handkerchief, a watch fob, a brown leather wallet with a $5 Confederate note, and nine newspaper clippings.\n\u2022 Before he was buried, Lincoln's body lay in state, viewed by thousands of mourners, under the Capitol's newly completed dome in Washington.\n\u2022 The nine-car funeral train left Washington on April 21, 1865, bound for Springfield, Ill., where Lincoln was entombed May 4. The train passed through Maryland, Pennsylvania, New Jersey, New York, Ohio and Indiana. Mourners lined the tracks. The train made a stop in Columbus, and Lincoln's body lay in state in the Statehouse rotunda on April 29.\n\u2022 The horse Lincoln rode while he traveled the legal circuit, Old Bob, was brought out of retirement to lead Lincoln's funeral procession in Springfield. The horse was draped in a mourning blanket, and a pair of boots turned backward were placed in the stirrups.\n\u2022 As president, Lincoln had been bitterly criticized. After his death, however, even his enemies praised his kindly spirit and selflessness. Millions of people called him \"Father Abraham.\"\n\u2022 He has no living descendants. His great-grandson Robert Lincoln Beckwith died in 1985, and he left no heirs.\nALL THINGS LINCOLN\n\u2022 The Lincoln Highway, dedicated in 1913, was America's first major memorial to President Lincoln. It was the first automobile road across America and runs through northern Ohio.\n\u2022 The Lincoln Memorial, with its famous statue of Lincoln by Daniel Chester French, was dedicated in Washington in 1922. Carved into the walls are Lincoln's Gettysburg Address and his second inaugural address.\n\u2022 His likeness is on our penny and $5 bill, and he's immortalized in stone on Mount Rushmore in South Dakota.\n\u2022 Lincoln, Neb., and many other American cities are named after him.\n\u2022 Lincoln Logs, the classic toy introduced in 1916, are a tribute to the president's childhood cabin.\nSources: World Book Encyclopedia; Abraham Lincoln Birthplace National Historic Site; Lincoln Home National Historic Site; Library of Congress (American Memory); The World Almanac for Kids; Dispatch research", "id": "<urn:uuid:f6336449-0cec-4229-a8b8-41d578a30238>", "dump": "CC-MAIN-2013-48", "url": "http://www.dispatch.com/content/stories/life_and_entertainment/2009/02/11/1AA_LINCOLN_FACTS_ART_02-11-09_D7_JMCQUGE.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164944725/warc/CC-MAIN-20131204134904-00049-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9846714735031128, "token_count": 1679, "score": 3.546875, "int_score": 4}
{"text": "Now that I feel the kids are comfortable with each bird and what each bird means and also a strategy to handle each level of anger; we have moved on to creating our own birds. I directed the students by telling them they are allowed to create an Angry Bird of their own. The bird can represent anger or a calming technique. I was (happily) surprised by some of their responses. Some students that I thought would choose to do anger actually chose to develop a calming technique! Am I getting through to them???? Goodness, I hope so!!\nI found these great creative writing templates at TpT about creating our own Angry Birds. They are free for download at SmartChicks TpT store or by clicking below to read on Scribd. I use pages 1, 2, 6, 7, and 8. There are some very interesting creative writing ideas within in this document, but I used what I needed to fulfill my needs.\nAngry Bird Project Make Your Own New Type of Angry Bird Free\nHere are the birds my kiddos came up with:\n1. Twister Bird: Angry Bird, His anger level is between the throwing objects bird (the white bird) and the body out of control bird (bomb bird). When this get bird gets angry he twists his body like a tornado and wipes out everything in sight.\n2. Raining Bird: Angry Bird. His anger level is between cutting words (yellow bird) and throwing objects (white bird). When he gets really angry he begins to cry (rain).\n3. The Luck of the Irish: Calming Bird. His calming technique is to play the flute when feeling anger. This student expressed that he likes to listen to music when he is upset, because it helps him feel better. (The name comes from something they are learning in music class and it's March, soooo....Leprechauns, Irish, you get the picture!) (In the game this bird would lull the pigs to sleep with his Irish music)\n4. Steam Off: Calming Bird. His calming technique is to imagine yourself outside in the snow when you are mad. When we are mad we our temperature rises and we become very hot. If you imagine yourself in the snow then you would cool off very quickly and the heat from your body would turn to steam. LOVE!! :) (In the game this bird would freeze the birds into blocks of ice that the bird could smash)\nMy students completed the pages in the packet to plan and create the bird. After all of the planning and writing was complete the student used whatever decorations we could find to create the birds!\nHope you enjoy! Next up in this little series is the PIGS!! :) Stay tuned!", "id": "<urn:uuid:0b95b448-f0e4-4783-8b05-313bd101c537>", "dump": "CC-MAIN-2013-48", "url": "http://mrshsresourceroom.blogspot.com/2012/03/angry-birds-part-3.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163048614/warc/CC-MAIN-20131204131728-00054-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9696860909461975, "token_count": 560, "score": 3.53125, "int_score": 4}
{"text": "I just finished facilitating a session that aimed to make explicit connections between technology activities and specific pedagogical theories of learning. It went okay \u2014 we struggled a bit with the challenge of speaking about pedagogy in sufficiently specific terms, in the context of technology activities. Two or three people invoked multiple pedagogical constructs for a single technology example. While this might authentically reflect the real complexity of actual classroom work, I also feel that we would benefit from at least narrowing the conversation to one pedagogical construct at a time in order to truly understand the reason for its effectiveness.\nParticipants expressed interest by posting stickies under the session description.\nHere are our notes from today\u2019s session:\n- Behaviorism: rewards, grades, stars, stickers, reinforcements\n- Cognitivism: intellectual complexity, Socratic method, programming, debating\n- Constructivism: building meaning based on experience, building knowledge base, socially, based, Montessori, project-based learning, not one authority\n- Connectivism: working in a highly connected environment, using your network, blogging, lurking on backchannel (sidebar convos, perhaps) chat\n- Engagement, joyful participation\n- Differentiated Instruction\n- Inquiry model, studio\n- Understanding by Design\n- Universal Design for Learning: multiple representations\nInternet Safety \u2014 5th and 6th graders\n- Lecture, poster or comic about one safety rule\n- Build a web page and publish it, demonstrating that they can follow the rule\n- Connectivism, Understanding By Design: project is available for any student to be successful with, every student completes the task; more than constructivist, because of group work, connected to all teachers, working with and supporting each other\nArt/music collaboration: history of silent films, background in nonverbal communication, drama, what it takes to create a movie\n- students created storyboard, ideas for how they would create a silent movie\n- how can we make this more open to different kinds of students? break students into groups? not so product driven?\nPodcast project with ninth grade\n- vignettes, write about an experience in their lives, added music and sound effects\n- extraordinary podcasts in terms of writing and expression, correcting themselves as they were speaking it aloud\n- one kid in particular related his experience with parents getting divorced\n- very personal, not shared outside of the class\n- differentiated \u2014 being able to express themselves in a different way\n- kids who had decided they were not good writers\n- read vignettes written by other people\nDigital Storytelling \u2014 fifth grade\n- kids had a personal narrative, Macs, iMovie, Garageband\n- music, sounds effects, parents made up the audience\n- blogged and podcasted so that relatives far away and teachers could also enjoy it\n- behaviorism: rewarded for their work\n- constructivism, engagement, personal narrative\n- can add to story by including random elements, discussing how that impacts the story\n- using photos may not be easier, especially if gathering other peoples\u2019 images\n- visual literacy: how are images interpreted? How do you tell a story well with images?\nGoogle Tools: teachers investigating tools themselves and thinking about how they could use them in their classrooms, present the tool to the rest of the class\n- larger group response and feedback to the tool\n- greater opportunity for creativity \u2014 more ideas about how tools could be used\nVoiceThread: bridging podcasts and vodcasts\n- focus on the up-front preparation before you get to the technical tool\n- could also have value to throw kids directly into the tool to explore it (e.g., Scratch)\n- teachers didn\u2019t think that one would be allowed to submit a research paper as a VoiceThread\n- when is the purpose of the lesson exploration? (especially when it is something new). No matter how teacher-directed an activity is, learners find the opportunity to explore.\n- exploration is highly constructivist \u2014 building your own representation of the tool based on your toying around with it\n- power of exploration when there is a direction to it: e.g., \u201cbuild a house\u201d \u201cbuild a bicycle\u201d. Need to have some kind of goal, allow the time to explore, fewer projects, more time per project.\n- Able to accept as research once you set the bar high for product expectations\nSimple repetition: elementary school students record own stories and then, on their own, decide to re-record over and over in order to improve them.", "id": "<urn:uuid:78e79a2f-e081-4123-9276-31287964d50d>", "dump": "CC-MAIN-2013-48", "url": "http://www.kassblog.com/tag/pedagogy/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163048614/warc/CC-MAIN-20131204131728-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9443047642707825, "token_count": 935, "score": 3.640625, "int_score": 4}
{"text": "Promoting Family Literacy: Raising Ready Readers\nBy NCLD Editorial Staff\nThe research is clear: Children raised in homes that promote family literacy grow up to be better readers and do better in school than children raised in homes where literacy is not promoted. We know that promoting family literacy is important to future reading and school success, but does that mean parents should be prepared to read 100 books a week to their preschoolers? Of course not. While family literacy activities are often based in reading, there are lots of other ways families can conduct literacy activities at home through picture books, songs, poetry and storytelling.\nFamily literacy is defined as home literacy activities that provide literacy skill-building opportunities for young children while enhancing literacy skill development in all members of the family. While researching family literacy you will often come across terms like, \"literacy-rich homes,\" \"family-focused reading\" and the importance of building strong \"home-school communication.\" All of these components are essential for promoting family literacy activities and raising ready readers. This month's feature will provide you with ideas for promoting family literacy in your home that go beyond reading storybooks, as well as provide you with free resources to use at home or to distribute to parents in your setting or school.\nBooks: Key Members of Your Family\nOne of the easiest ways to show your child the importance of reading is to make a special place to store your child's books. Assigning a place for your child's books shows your child that books are special and deserve an organized storage place all their own. Making room on a bottom shelf of the family bookcase or placing books in a drawer within your child's reach are great ways to create a home library. Parents and family members should model how to organize books on the shelf and teach children how to handle books as a way to promote ownership of the library.\nHave you ever flipped through a friend's photos and imagined a story to go along with them? Young children love to use their imaginations to create stories to go along with pictures. One of the earliest literacy skills children develop is the concept of sequencing, or telling a story from start to finish in order. One way to practice this skill at home is to create your own picture books, or books without words. Using photos, pictures from magazines or your child's drawings, books can be created and placed in the home library for easy access. Family members can \"read\" the story with the child by asking him or her to take them through the story. As the child gets older, family members should have the child dictate the story to them so they can write it down and then move on to encouraging the child to write the words themselves.\nStorytelling: Talking about Family History and Creating New Adventures\nOne of the best ways to help foster family literacy in the home is to encourage all family members to engage in storytelling. Not only is storytelling a great way to share family history, it is also a great way to engage all members of the family -- especially those who are building literacy skills regardless of their age. Start by having an older member of the family tell a story about a major family event (wedding, birthday, graduation). Afterward, ask a younger member of the family to re-tell the story in his or her own words. Family members should be supportive when the child misses an important element and help the child pronounce key vocabulary words like names of relatives, locations, etc. This activity helps build vocabulary, understand sequencing and recall information.\nWriting Notes: Connecting Family and Friends\nLearning to read and learning to write go hand in hand. It is important to practice and encourage emerging writing skills with young children and those new to learning a language. One way to encourage writing practice is to have family members leave notes for one another on a regular basis. Leaving a note in a lunch box, taping a note to the mirror in the hallway or slipping a note under a pillow are great ways to reinforce the importance of writing to communicate information. Children should be encouraged to send notes at every stage of their development -- from scribbles to sentences.\nAnother way to encourage written communication between family members is to send each other frequent e-mail messages. This is a great way to help young children keep in touch with distant relatives or friends. Working with an adult, have the child dictate or attempt to type a short message. If the child has typed the message without help, the adult can type a translation of the message underneath it. All attempts at typing and dictating should be encouraged. Engaging in a frequent email exchange with relatives and friends builds a child's letter recognition skills and provides practice organizing thoughts and ideas.\nUsing the Library with the Whole Family\nVisiting the library together is a great way to foster family literacy activities. Not only do libraries often offer access to books on a wide range of literacy levels and subjects, libraries often have books in several languages as well. Adults and children can improve their literacy skills by reading books in the family's first language and then reading the same book in English. By doing this, family members will build vocabulary, the ability to use context clues to learn new words, and enable adults to ask the child questions about the illustrations and predict what will happen next. Families should also visit the library to connect with community literacy projects, storytelling, tutoring and reading clubs.\nLearning to love to read starts at an early age and often starts at home. If families make the effort to encourage, support and engage all aspects of literacy in their homes, children and family members will enjoy reading and writing together for the rest of their lives.\nSome of these tips were taken from the U.S. Department of Education's booklet, Helping Your Child Become a Reader. Visit the Department of Education's \"Reading Tips for Parents\" online to read and order free copies of the booklet and to get additional suggestions for building family literacy at home.\nGet Ready to Read! has a great Home Literacy Checklist (available in English and Spanish) that can help you or the parents you create a literacy-friendly home. Download it free today.\nRead Books New Ways\nDoes it feel like you\u2019ve read the same story 100 times? Read it a new way: Ask the child questions about what they think will happen next and encourage them to tell you what they see in the illustrations. Learn more >", "id": "<urn:uuid:315d1b26-b33f-4c10-8892-25248633a25f>", "dump": "CC-MAIN-2013-48", "url": "http://www.getreadytoread.org/early-learning-childhood-basics/early-literacy/promoting-family-literacy-raising-ready-readers", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051140/warc/CC-MAIN-20131204131731-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9574365019798279, "token_count": 1295, "score": 3.890625, "int_score": 4}
{"text": "The Board of Education Criteria for Character Education (PDF)\nThe Character Education Partnership (CEP), a nonprofit, nonpartisan and nonsectarian organization that supports and promotes social, emotional and ethical development in youth defines character education as \"the deliberate effort by schools, families, and communities to help young people understand, care about, and act upon core ethical values.\" (1999) The Council of Chief State School Officers states that \"character education holds that certain core values form the basis of 'good character,' i.e., the kinds of attitudes, beliefs, and behaviors that the school wants from, and is therefore committed to teach to, its children.\" (1997)\nCharacter Education is a national movement creating schools that foster ethical, responsible, and caring young people by modeling and teaching good character through an emphasis on universal values that we all share. It is the intentional, proactive effort by schools, districts, and states to instill in their students important core, ethical values such as respect for self and others, responsibility, integrity, and self-discipline. It provides long-term solutions that address moral, ethical, and academic issues that are of growing concern about our society and the safety of our schools. Character education may address such critical issues as student absenteeism, discipline problems, drug abuse, gang violence, teen pregnancy, and poor academic performance. Parents are the primary moral educators of their children. An effective character education program in the schools supports the home by encouraging positive character development. At its best, character education integrates positive values into every aspect of the school day.\nThomas Lickona in Educating for Character (1991) states there are 9 classroom strategies and 3 school-wide strategies for an effective comprehensive approach to character education.\n- The teacher as caregiver, model, and ethical mentor: Treating students with love and respect, encouraging right behavior, and correcting wrongful actions.\n- A caring classroom community: Training students to respect and care about each other.\n- Moral discipline: Using rules and consequences to develop moral reasoning, self-control, and generalized respect for others.\n- A democratic classroom environment: Using the class meeting to engage students in shared decision making and in taking responsibility for making the classroom the best it can be.\n- Teaching values through the curriculum: Using the ethically rich content of academic subjects as vehicles for values teaching.\n- Cooperative learning: Fostering students\u2019 ability to work with and appreciate others.\n- The \u201cconscience of craft\u201d: developing students\u2019 sense of academic responsibility and the habit of doing their work well.\n- Ethical reflection: Developing the cognitive side of character through reading, research, writing, and discussion.\n- Conflict resolution: Teaching students how to solve conflicts.\n- Caring beyond the classroom: Using role models to inspire altruistic behavior and providing opportunities for school and community service.\n- Creating a positive moral culture in the school: Developing a caring school community that promotes the core values.\n- Parents and community as partners: Helping parents and the whole community join the schools in a cooperative effort to build good character.\nStrategies to start, evaluate and enhance your school-based character education programs:\n- Form a leadership group, including students, parents, teachers, counselors, and administrators.\n- Develop a knowledge base: Study the Eleven Principles of Effective Character Education at www.character.org\n- Look at your school\u2019s Mission Statement. Does it indicate the school\u2019s responsibility for promoting character development?\n- Conduct a survey that gets input from staff, students, and parents. Use the data to discover areas of strength and weakness.\n- Involve all staff (custodians, cafeteria workers, administrators, bus drivers, etc.) in a planning meeting. Brainstorm ways you currently promote character development and consider an additional approach to expand or enhance your focus.\n- Identify target virtues for your program.\n- Obtain feedback on how to focus or enlarge the school\u2019s program.\n- Design an action plan for implementation to include evaluation points.\n- Hold regular meetings to evaluate and reflect on progress.\n- Share your school\u2019s focus and publish activities and celebrations.\n- Educating for Character: A Virginia Tradition\nThis is a series of video modules written and produced in 2004 by the Virginia Character Education Partnership. It begins with a short history of character education development within Virginia, including a discussion of the Code of Virginia, which requires character education within all schools.\n- Training guide and sample lesson plans (PDF)\n- Module 1 \u2013 Introduction & Background (MPG)\n- Module 2 \u2013 Why Character Education in Virginia Public Schools? (MPG)\n- Module 3 \u2013 What is Character Education? (MPG)\n- Module 4 \u2013 How Do I Begin? (MPG)\n- Module 5 \u2013 What Does Character Education Look Like? (MPG)\n- Module 6 \u2013 How Do I Integrate Character Education Into What I Am Already Doing? (MPG)\n- Module 7 \u2013 How Do I Know It Is Working? (MPG)\n- Center for the 4th and 5th R's\n- Character Education Partnership\n- Character Education and Life Skills Lessons\n- Character Counts\n- Character Development Group\n- Character Development & Leadership\n- Good Character\n- I Am Going To College\n- Peace Learning Center\n- Youth Leadership Initiative\n- National Service Learning Partnership\n- U.S. Department of Education, What Works Clearinghouse\n- Josephson Institute\n- Learning For Life\n- Virginia Rules\n- Wings \u2013 Helping Kids Soar", "id": "<urn:uuid:de8bc532-9060-4a49-bb79-bea4fd83c123>", "dump": "CC-MAIN-2013-48", "url": "http://www.doe.virginia.gov/instruction/character_ed/index.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164456039/warc/CC-MAIN-20131204134056-00059-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9173368811607361, "token_count": 1151, "score": 3.921875, "int_score": 4}
{"text": "While at IATEFL Glasgow 2012, I was lucky enough to see Khulood Al-balushi\u2019s presentation, in which she shared various ideas for using movies with your students, as well as offering advice on how to choose suitable movies, especially important in the Kingdom of Bahrain, where she works as a Curriculum Specialist at the Ministry of Education. I asked her to share her ideas via my blog, and she agreed. Over to Khulood:\nHow can you make your students benefit from watching movies they like ?\nSince movies are a rich source for language learning and they are considered to be fun and enjoyable, here are some practical ideas that you can implement to make use of movies in the English Classroom:\n- Make students watch a movie trailer of the movie you intend to use and present the following activity:\nThis will help you motivate your students to watch and respond to the movie and can tell you if the movie is favored by the students. Otherwise you can look for a different movie.\nWatching movie clips\nYou can make your students watch movie clips if the length of your lesson is short or if you intend to present a specific language skill such as reading, speaking, grammar or writing. The following are a few examples:\n- Students can watch a scene of the movie \u201cThe Cat in the Hat\u201d and write down the process the cat uses to make cupcakes.\n- Students watch a scene from the movie \u201cVolcano\u201d and answer the following question: \u201cWhat would you do if you were in this situation?\u201d to promote critical thinking and present a lesson about natural disasters.\n- Ask students to watch a scene from the movie\u201d Cast Away\u201d and ask them to think about the following question \u201cWhat would you do if you were trapped on a remote island?\u201d (critical thinking and second conditional)\n- Students watch a scene from the movie \u201cTitanic\u201d and answer an activity that involves reading and vocabulary and promotes critical thinking by comparing the actual story and the selected scene. Click to download the activity: Titanic movie task\n- Students watch the movie trailer of the movie \u201cInkheart\u201d and answer the following question: \u201d What if you had the power to bring a book to life by simply reading it aloud?\u201d to promote speaking and critical thinking.\n- For creative writing and speaking, you can show your students a clip from \u201cSpy Kids 2\u2033 movie and ask them to imagine being in a virtual reality game and ask them to describe their game in writing and present it to their classmates.\nWatching full-length movies\n- Students watch \u201d Charlie and The Chocolate Factory\u201d and answer an activity that aims at discussing characters:\n- Students watch the movie \u201cOliver\u201d and read the book and then compare between the movie and the actual story by answering a given activity. Click to download the activity: The Movie versus the Book\n- Student watch a full-length movie and answer the activity sheets which are designed for two different levels. Click to download an example: Harry Potter and the Chamber of Secrets\n- Students watch the movie \u201cFinding Nemo\u201d and asked to produce a creative project such as drawing, creating bookmarks, designing a puppet show, performing a play\u2026etc.\nOf course, all of these activities can be modified based on your needs and your students.\nBy: Khulood Al-balushi", "id": "<urn:uuid:3f8a1a1a-df2b-4dad-b442-026c204221d3>", "dump": "CC-MAIN-2013-48", "url": "http://sandymillin.wordpress.com/2012/05/05/watching-movies/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164944725/warc/CC-MAIN-20131204134904-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9580882787704468, "token_count": 713, "score": 3.640625, "int_score": 4}
{"text": "three Olympic values \u2013 Friendship, Respect and Excellence \u2013 along with the four Paralympic ... suggested books and activities. For schools ..... teaching pack and series of lesson plans (KS1 and KS2).\nPersonal Development and Mutual Understanding: Key Stage 2, Year 5. Strand 2 : Mutual .... Suitable story, for example. 'Charlotte's ..... friend which items on the list are basic needs and why. Provide ...\nPersonal Development and Mutual Understanding: Key Stage 2, Year 5. Strand 2 : ... asked to give a personal response to, for example, a story, piece of music ... knowing how to be a good friend; and.\nthe form of a summary of outcomes (including quotes from the boys interviewed) ... It is someone who is a critical friend.\nof conflict \u2013 sectarian; racist and family; war and friendship \u2013 key stage 2/3. Reid Banks, Lynne, Broken Bridge (New ...\nmaintaining identity; adoption; parent/child relationships \u2013 key stage 2/3. Carville, D & Roisin .... their friendship in spite of the odds against a background of economic hardship \u2013 key stage 2/3. Piers H ...\nKey Stage 2. Croydon Agreed ... Through the use of story, video, artefacts and visits, pupils .... Muslim friend can eat it.\nThe king made sure that all Siddattha's friends were young and healthy. No-one was ever allowed to look sad or ill ...\nfor Key Stage 2 ... BEN: Maybe. What are some differences between a play and a story? .... What about their friends?\nINSPIRING CREATIVE WRITING AT KEY STAGE 2 ... structure stories by following a strand of Shakespeare's plot ... arguing with her father, and her story also deals with relationships and friendship.\nRef: Children's Reading Book List KS2 Y5 (9-10yrs).doc ... Just So Stories, The Jungle Book ... Secrets. Best Friends.\nforgive us when we see one of our friends hurting, but do nothing to help. Jesus, may your story be our story. Article 18: ...\nDiscovery Zone Curriculum Links at KS2. 11 .... stories and secondary ..... Jan - John Lennon asks his friend, Stuart.\nand the selection of Buddhist stories to illustrate the Dharma and Precepts ... Buddhism Key Stage 2 is accompanied by a Teacher's ...... ferences, they were good friends and always found things.\nKS2 Poems concerning growing from birth to adulthood. ... Loneliness can make you aggressive, but friendships can start in strange ways. ... KS1 Non fiction through stories to demonstrate bravery.\nstory this project would not have been possible. ... This KS2 pack is an additional resource and compliments. Crossing the White ..... friend. Can I say more! Except that I hope that those who remain may.\nThis unit aims to promote friendship and belonging through activities ... story scenarios, and the activities are designed ...\nKey Stage 2 ... The programme also features a story about two cousins who don't always see eye ... Composing poems.\nA powerful story of friendship across generations, species and abilities. KS1/2 ( JP) Relationships. Foreman, M.\nconsidering the meanings of stories, symbols and language for members of faith communities ... demonstrate by the end of Key Stage 2. ..... (e.g. Friends of the Western Buddhist Order, Theravada,.", "id": "<urn:uuid:53548768-aacb-4c74-aa62-84e75fe3dda4>", "dump": "CC-MAIN-2013-48", "url": "http://www.mybookezzz.org/friendship-stories-for-ks2/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164573346/warc/CC-MAIN-20131204134253-00059-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9334444403648376, "token_count": 707, "score": 3.515625, "int_score": 4}
{"text": "The first thinkers in the arts, literature, drama and poetry were the Greeks. They generated the first analysis of art performed, and elaborated the first qualitative distinctions for it. The two greatest thinkers of the arts in the Greek world were Aristotle and Socrates.\nAristotle said that art is mimesis, i.e. a copy of reality. Making words, drawings, paintings and others are simply means of the imitation of reality, and that the beauty in art lies in the mimesis of nature.\nIn contrast, we find Socrates, who argues that the beauty of art lies not in mimesis, but the ability to make us think and meditate. As the arts must submit a thesis and reflect a problem appealing to our reality.\nWe might understand the thesis of Socrates as opposed to Aristotle, but on the contrary, both must be understood as complementary. Aristotle gives us the way we produce art, and Socrates gives us a sense in which we produce art.\nToday we do not speak of mimesis, but subtraction, subtract and rearrange elements of our paradigm for the creation of the arts. We cannot create anything new, and what we create as artists is simply what we know. Making a story of an unknown emotion is impossible for our minds, for we can only subtract and dissect the emotion. But, if we align it too, the emotion ends up being misunderstood, so it would have failed according to the thesis of Socrates.\nIn drama, our work is similar. We operate around the abduction and seek the nomination of thesis, but unlike a painting or a sculpture, our narrative approach is the action of characters and the conflict against them. That is why the characters are one of the most important elements in the drama, they are the vehicles of history and those who defend our thesis.\nWe understand that the character of every fictional being from a story, fable, tale, or novel has a conscious and personality inside the story. Even if they come from reality, there are still fictional characters because they mimic the real character. The author has to make the character independent from his or her ideas, to refrain from sharing information that may mistakenly change the character\u2019s identity.\nClassifications of the Character\nThe characters are divided into different types, which we will see three classifications: classification according to role, development, and objective.\nClassification According to Roles\nThe classic typology of characters that we were taught in school, are the characters by role. Among these are:\n\u201cIt represents one of the forces in the play, and that is in conflict.\u201d<1>\n\u201cIt represents the force opposing the protagonist.\u201d<1>\n\u201cThey do not represent any conflicting forces, but if they support one of the two.\u201d<1>\n\u201cIndividual characters that represent a collective.\u201d<1>\n\u201cIncarnation of abstractions.\u201d<1>\nThe protagonist and antagonist, originally called Hero and Villain, are the most important characters in the story, the protagonist being the action force of the play and who struggle against the opposing forces. And the antagonist, who uses Machiavellian mean of moving the opposing forces against the protagonist. An antagonist may not be a character, and there can only be one antagonistic force in the story.\nClassification by Development\nInside the classification of character development we can see there are two types, the linear characters and the circular characters.\nThe linear characters are those described by a basic feature and that behave the same way throughout the story.<2> The linear characters only have a few personality traits and are simpler and less credible.<3> A linear character is Rorschach, who never sacrificed his principles, as he says, even at Armageddon day.\nWho say`s that only circular characters are interesting?\nThe circular characters are those that are characterized as the action takes place, evolving naturally throughout the story.<2> The former are designed with many features of personality and tend to be complex, more realistic and credible.<3> A circular character would be Scott Pilgrim, who is oblivious against his own evil and bad deeds, only to face the true and acknowledge his evil as his good, changing his way of thinking and doing, so he can achieve his goal.\nClassification According to Objective/Goal\nWhen it comes to objectives or needs, characters are divided into two sections: those with objectives and those with no purpose. The characters with objectives are those who want something; they are the classic heroes who face adversity with a specific goal or the anti-heroes who are bent by circumstance. While aimless characters are more complex, since they have no goals and should use other characters or action that over come the character to maintain interest and the end approach of the thesis. A character that falls into this more complex classification is Gustav Klimt played by John Malkovich in the film Klimt, where the character has no goal or purpose and the events over come his own actions.\nWe will focus on the characters with goals, as they are focusing on the central conflict of action, which is the classic spinal of comics and video games. If you want to write a story for a video game I recommend you to focus on the characters with goals, because video games are based on action and reaction according to reasons, so a story with a character with no goal runs counter to that concept. There are games like Minecraft, that have been able to clear the objective of the character, but not the objective of the player.\nSo far, we have seen how the characters are classified into the narration and our minds. However, a big question remains in the air about the characters: how do we create a character? So now we will go into different authors and visions of how to make a character.\nThe explorations around the problem of building the character are oriented around two poles:\nEssentialist view of the character: created in a container of attributes or quality, being completed by a set of essences and data. By analog, it is like a character role, in which he/she fills a set of attributes to understand who he/she is.<4>\nDynamic view of character: understood as a set of activities, changes in a unified representation that makes sense and provides meaning to the extent that it represents an action. That is, the character is what the character does.<4>\nSome authors suggest that a character must have the following features:\nThe character\u2019s name.\nA one-sentence summary of the character\u2019s storyline.\nThe character\u2019s motivation (what does he/she want abstractly?)\nThe character\u2019s goal (what does he/she want concretely?)\nThe character\u2019s conflict (what prevents him/her from reaching this goal?).\nThe character\u2019s epiphany (what will he/she learn, how will he/she change?\nA one-paragraph summary of the character\u2019s storyline.<5>\nSome of those are extremely important, as the goal, conflict and motivation, but others might not be important for you, like the epiphany, and others you might want to go deeper, like the character\u2019s storyline.\nA leading author those who are interested in writing should read is Lajos Egri. In his book The Art of Dramatic Writing, he writes about the theoretical and methodological foundations of how we writers create drama and create stories in a deep and educational way. Lajos Egri shows that because things have 3-dimensions, so must a character, which in the case of the characters they are: physiology, sociology and psychology. But these dimensions need a \u201cwhy\u201d; an atheist character is nothing without a reason for his position.\nLajos Egri sit us in the first vision, the essentialist vision, where before we can write, first we must know who our characters are. For when the story is told, the actions of the characters will be the reaffirmation of its principles and so it\u2019s an idea planted by the author in the middle of the action.<6>\nBut the character does not come to body and life in a prior space to writing, as this has a life only within the narrative. Thus the question arises, how do we go from this fictional individual to a narrative individual? That is why we now go into the art of storytelling.\nAn important and timeless writer is Miguel de Cervantes, who made his mark in history with Don Quixote, a work that has been brought to life not only on paper but also in theater and in film with a failed attempt (Man of La Mancha was about trying to make film adaptation that failed). Cervantes built his characters through how they are defined (archetypes), their acts, and by how other characters define and judge them. Moreover, the narrator provides descriptions of physical and moral qualities of these characters and tells their actions.<3>\nWhen we work on comics, our storytelling system is not as different as the one in which M. de Cervantes used. The display in each panel is equal to telling the actions or describing features, moments, dialogues and the thoughts of the characters. They are judgments that work in building the narration of who the character is. So every time we write a script, we need to think like Cervantes, giving an image of the moment and characters supported by dialogues and thoughts.\n6. The Art of Dramatic Writing by Lajos Egri\nThe Art of Dramatic Writing by Lajos Egri\nThe Poetics by Aristotle", "id": "<urn:uuid:f1904396-7bb7-453f-a639-955adb3e12eb>", "dump": "CC-MAIN-2013-48", "url": "http://www.mangatutorials.com/2011/guide-for-the-beginning-storyteller-part-1-introduction-character/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164120234/warc/CC-MAIN-20131204133520-00056-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9551159143447876, "token_count": 1981, "score": 3.84375, "int_score": 4}
{"text": "Of all the languages, English has the largest vocabulary -- approaching 2 million words. Perhaps the pre-historic history of the European languages descended from the Ice Age Cro-Magons or from the mysterious Basques of North Spain and Southwest France.\nTheir language, the sole survivor of the Aboriginal tongues of Western Europe, is unique -- not resembling in sound or spelling any dead or alive European language.\nAlthough somewhat displaced around 8,000 years ago by those of the Indo-European family, according to Adelita Castro, it remains useful in road, street and commercial signs and names among the Basque people. Along with Castillian Spanish, it became the official language of the Basque Country in 1978.\nIts otherwise displacement occurred in the general area north of the Black Sea -- maybe in the valley of the middle Danube near Hungary/Romania/Bulgaria. People of this area, called the Aryans, were of the pastoral, bronze-working, horse-breeding type.\nSome think they inhabited the steppes of Central Asia around 4500 B.C. Over the next 3,000 years they migrated in all directions, but mainly westward. For example, some went to Iran and India where their idioms or dialects developed into the sister languages, Old Persian and Sanskrit.\nAs the Aryans (a linguistic group and not a race) spread, their ancestral tongue diverged to give several Indo-European languages where there once had been only one.\nThe more important of these branches included: (1) Indo-Iranian (e.g. India Sanskrit, Persian Iran, Hindi); (2) Slavic (e.g. Russian, Polish); (3) Hellenic (Greek); Italic (Latin and derivative Romance languages, such as Italian, French, Spanish); (5) Celtic (e.g. Gaelic, Welsh, Breton); and (6) Germanic (English, Dutch, German, Yiddish, the Scandinavian languages, and the now extinct Old Norse and Gothic).\nAncient Languages (4000 BC to 500 AD): While Indo-European languages were developing in the late pre-historic times (10,000 BC to 4000 BC). Germanic, Greek, and Latin were well-developed and mature by 100 BC.\nIn the interim, ancient religions and magic were generating various beliefs, legends, folklore, and myths. Religion was originated by those earliest of Africans who revered and humbly and earnestly prayed to a powerful divinity for good luck.\nIt united the people into a moral community by their awe concerning the power of the one universal High God. It was from this setting that storytelling arose. By contrast, Magic was aimed at trying to control supernatural forces situated below the one high God by invoking supernatural powers.\nThese gave rise to another type of storytelling and practices related to superstitions, sorcerers (or black magic magicians) and, particularly in Europe, witchcraft and werewolves.\nStories originating in Africa, especially in relationship to the gods, were either carried into or borrowed by the Greeks, Romans, Scandinavians, Eastern Europeans (African migrations occurred there and in Central America 35,000 years ago), and elsewhere.\nIn general, the gods were believed to have great power over human emotions, reactions, and conditions. Gods of the Egyptians were of a more stern and moralistic nature.\nEgypt was the center of the crossroads of the ancient world, with caravans moving through it to Palestine, Mesopotamia, and Arabia. In the process, languages were intertwined and carried throughout the ancient world.\nLanguage cross-fertilization spread endlessly as travel on the seas became common.\nJoseph A. Bailey, II, M.D\n|< Prev||Next >|", "id": "<urn:uuid:1d3eb7a3-335d-4977-8c68-a8e296d4f46f>", "dump": "CC-MAIN-2013-48", "url": "http://www.blackvoicenews.com/more-sections/commentary/35643-the-history-of-english-part-i.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163054548/warc/CC-MAIN-20131204131734-00057-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.950575590133667, "token_count": 769, "score": 3.9375, "int_score": 4}
{"text": "1. Introducing Arts Education\nThis program includes three segments: What Is Arts Education? (14 minutes) shows a montage of insights from teachers and administrators, plus examples of successful arts instruction in classrooms across America. What Are the Arts? (5 minutes) presents teachers, administrators, students, and parents who offer thoughtful and sometimes humorous comments on what the arts mean to them. In How Do You Know They're Learning? (4 minutes), educators from several schools tell how they know if their students are \"getting it.\" Go to this unit.\n2. Expanding the Role of the Arts Specialist\nThree arts teachers work with colleagues around their schools, using collaborative techniques that go beyond the traditional work of arts specialists. Kathy DeJean is a dance artist at Lusher Alternative Elementary School in New Orleans; Mary Perkerson is the visual art teacher at Harmony Leland Elementary School in Mableton, Georgia; and Amanda Newberry is the theatre specialist at Lusher. Go to this unit.\n3. Teaching Dance\nTwo teachers with contrasting training and approaches to teaching bring rich dance experiences to students at their artsbased schools. Kathy DeJean, the dance specialist at Lusher Alternative Elementary School in New Orleans, promotes inquiry and self-expression in a multi-grade dance class. Scott Pivnik, a former physical education teacher at P.S. 156 (The Waverly School of the Arts) in Brooklyn, New York, uses African dance as a gateway to geography, writing, and personal growth for a class of secondgraders. Go to this unit.\n4. Teaching Music\nTwo music specialists from artsbased schools demonstrate different approaches to serving diverse student populations. At Harmony Leland Elementary School in Mableton, Georgia, all 500 students study the violin. Their classes with Barrett Jackson become lessons in character and discipline. At Smith Renaissance School of the Arts in Denver, Sylvia Bookhardt and a class of fifthgraders explore the Renaissance through choral singing. Go to this unit.\n5. Teaching Theatre\nTwo specialists work on basic theatre skills with children of various ages, and use theatre education as a gateway to other kinds of learning. At Lusher Alternative Elementary School in New Orleans, Amanda Newberry's lesson in improvisation with a thirdgrade class stimulates students' imagination, heightens language and listening skills, and encourages critical thinking. At Barney Ford Elementary School in Denver, George Jackson teaches basic movement skills to a firstgrade class, invites fourthgraders to take center stage as they explore a script, and works with fifthgraders to create masks that reveal inner feelings. Go to this unit.\n6. Teaching Visual Art\nTwo visual art specialist teachers use contrasting interpretations of the human face to explore inquirybased instruction and various techniques in visual art. Pamela Mancini, the visual art teacher at Helen Street School in Hamden, Connecticut, uses portraits to foster inquiry and self-expression with a class of fifth-graders. At Ridgeway Elementary School in White Plains, New York, MaryFrances Perkins introduces maskmaking to a secondgrade art class. In making their own masks, students examine the concept of symmetry, study the vocabulary word for the day, and learn that masks are found in cultures throughout the world. Go to this unit.\n7. Developing an Arts-Based Unit\nA team of first and secondgrade teachers at Lusher Alternative Elementary School in New Orleans plans a yearend project that will let students show what they have learned in science, math, and English. The students write and perform an original play, using a painting by Breughel and an opera by Stravinsky as their starting points. Go to this unit.\n8. Working With Local Artists\nStudents and teachers at P.S. 156 (The Waverly School of the Arts) in Brooklyn, New York, benefit from the school's established relationships with artists from local organizations. This program focuses on a firstgrade class creating original works with visiting artists a dancer and a writer. Go to this unit.\n9. Collaborating With a Cultural Resource\nA fourthgrade teacher and a museum educator in New Orleans collaborate to develop a unit of study with ties to language arts, social studies, and visual art. Students explore the work of a wellknown artist, visit an exhibition of his work, meet for a drawing lesson alongside the Mississippi River, and create poems and pictures that they proudly display to their parents. Go to this unit.\n10. Bringing Artists to Your Community\nSuccessful collaborations between classroom teachers and artists who come for a residency enrich the curriculum of this rural school in Idalia, Colorado. A visiting actor brings storytelling and vocabulary to life for kindergarten and fourthgrade students and their teachers, while a musician engages first and thirdgrade students in writing songs that relate to subjects they are studying. Go to this unit.\n11. Students Create a Multi-Arts Performance\nA team of arts specialists and classroom teachers at Lusher Alternative Elementary School in New Orleans guides kindergarten and fourthgrade students in creating an original work based on Cirque du Soleil's Quidam. The program presents highlights of the creative process, including brainstorming about characters' emotions, creating speech and movement for the characters, constructing costumes, and performing. Go to this unit.\n12. Borrowing From the Arts To Enhance Learning\nTo add vitality and context to daytoday learning experiences, three teachers use techniques drawn from the arts that engage their students' minds, bodies, and emotions. In Denver, a teacher uses rhythm, color, movement, and handson projects to engage her class of fourth and fifthgrade boys. In White Plains, New York, thirdgrade students create short skits that help them understand the concept of cause and effect. In Lithonia, Georgia, a fifthgrade social studies unit on family history culminates with students using favorite objects to make visual representations of their lives. Go to this unit.\n13. Three Leaders at Arts-Based Schools\nThree administrators provide instructional leadership and solve daytoday challenges at artsbased schools serving diverse student populations. In Brooklyn, principal Martha RodriguezTorres describes her role as \"politician, social worker, parent, and police officer,\" and says that her primary responsibility is to \"provide teachers the resources they need to fulfill the program.\" In Georgia, principal Sandra McGaryErvin encourages use of the arts to achieve the school's priority goal of literacy. And in Denver, assistant principal Rory Pullens uses his own arts background to ensure that the arts play a prominent role in daytoday learning. Go to this unit.\n14. Leadership Team\nAt Lusher Elementary School in New Orleans, principal Kathleen Hurstell Riedlinger works closely with a Leadership Team of classroom and arts teachers. The team's central role in management is part of a longterm strategy to protect the school's commitment to artsbased learning. We meet individual members of the team and see them work together on a diverse agenda, including the school's annual Arts Celebration, the increased demand for enrollment from outside the school's neighborhood, and orientation of new teachers to the school's artsbased curriculum. Go to this unit.", "id": "<urn:uuid:0cfafba6-5d6a-45b6-bf74-bfa4dcbd059c>", "dump": "CC-MAIN-2013-48", "url": "http://www.learner.org/resources/series165.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163844441/warc/CC-MAIN-20131204133044-00058-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9323328733444214, "token_count": 1451, "score": 3.703125, "int_score": 4}
{"text": "The Content of the Reading Test\nWhen we say \u201cthe content of the Reading Test,\u201d we are\nactually referring to two different things. The first type of content\nrefers to the subject matter of the passages. The second type refers\nto the sorts of questions asked about the passages.\nThe Reading Test consists of four passages: Prose Fiction,\nSocial Science, Humanities, and Natural Science\u2014always appearing\nin that order. Prose Fiction is the only fiction passage on the\ntest; the other three are nonfiction. All four passages are given\nequal weight in scoring.\nLater in this chapter, we will present and analyze sample\npassages covering the four content areas. For now, read below for\nbrief descriptions of each passage type.\nThe Prose Fiction passage is the only fiction piece on\nthe Reading Test. Prose Fiction passages are usually excerpts from\nnovels or short stories. You should approach this passage as you\nwould an assignment for your high school English class, not as you\nwould a book you read in your spare time. When you read fiction\nfor pleasure, you may be tempted to read simply for the story. Yet\nwhile the plot is an important element of most fiction, and one\non which the questions will test you, it is certainly not the only\nIn addition to the plot of the passage, pay attention\nto character development. Since plot and character are usually essential\nto a story, your ability to identify and comprehend them are probably\npretty strong already. You should also pay attention to tone, style,\nand mood when reading the passage. Ask yourself questions like:\n\u201cWho is the narrator?\u201d \u201cDoes the narrator exhibit any sympathies\nor biases?\u201d \u201cWhat are the relationships between the characters?\u201d\nThese questions will help you keep on top of the passage as you read.\nThe Social Science passage can cover a variety of subjects\nranging from anthropology to economics to politics. All of the subjects\nthat appear in the Social Science passage essentially deal with\nthe ways societies and civilization work, and most of them have\na political context.\nWhen reading the passage, you should pay attention to\nthe key names, dates, and concepts mentioned, and you want to underline\nthis information as you read over the passage. Because the subject\nof this passage is often historical, you should also pay attention\nto cause-effect relationships and the chronology of events.\nSocial Science writing is often research-based and, as\na result, relatively formal in tone. Despite the relative objectivity\nimplied by words like \u201cresearch\u201d and \u201cscience,\u201d the authors of Social\nScience passages often express strong and controversial views on\ntheir subjects. You should try to decipher the author\u2019s standpoint\u2014if\nhe or she has one\u2014from the general argument of the passage and individual\nHumanities passages cover cultural matters, particularly\nart and literature. These passages tend to be written analytically\nor journalistically. On rare occasions, you might encounter a Humanities\npassage that is an excerpt from a personal essay.\nIn some respects, the Humanities passage closely resembles\nthe Social Science passage. They both deal with either historical\nor contemporary figures and events, so they are both full of specific\ninformation. The difference between the two types of passages lies\nin their emphasis. Whereas the Social Science passage usually provides\na political context for figures and events, the Humanities passage\nfocuses on their artistic or literary significance.\nAs in the Social Science passage, the writer of the Humanities\npassage will often have a slant or bias, and your reading of the\npassage should be sensitive to that.\nNatural Science passages discuss, unsurprisingly, scientific\ntopics. These passages present scientific arguments or experiments\nand explain the reasoning behind them and their significance.\nThese passages are usually heavy on facts and scientific\ntheories. You should keep an eye out for cause-effect relationships\nand comparisons when reading Natural Science passages.\nThe 40 questions found on the Reading Test can be broken\ndown into several types according to what they test. Most broadly,\nthe questions can be categorized by the way in which they force\nyou to interact with the passage. One type will ask you to deal\nwith the passage in a very straightforward way, and to identify\ndetails, facts, and specific information that is clearly stated\nin the passage. The second type will ask you to take a further step, and\nto use the information in the passage to figure out larger issues\nsuch as the main idea, relationships, point of view, etc.\nMore specifically, the different types of questions test\nyour ability to:\nIdentify specific details and facts\nthe meaning of words through context\ninferences from given evidence\ncharacter and character motivation\nthe main idea of a section or the whole passage\nthe author\u2019s point of view or tone\ncomparisons and analogies\nSome of the question types apply primarily\u2014and sometimes\nsolely\u2014to certain passages. For instance, understanding character\nquestions appear only on the Prose Fiction passage, since it\u2019s the\nonly passage that will have characters. On the other hand, you won\u2019t\nfind a main idea question on the Prose Fiction passage, since works\nof fiction generally don\u2019t present arguments.\nThe list above is designed to give you a general impression\nof the questions asked on the Reading Test. We will cover each question\ntype in far more detail later in the section, when we provide sample\npassages and questions.", "id": "<urn:uuid:cd53ba08-6bc8-456a-903d-71818a8d01cb>", "dump": "CC-MAIN-2013-48", "url": "http://www.sparknotes.com/testprep/books/act/chapter11section3.rhtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163056670/warc/CC-MAIN-20131204131736-00056-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9013879895210266, "token_count": 1172, "score": 3.609375, "int_score": 4}
{"text": "How Writing Develops\nAlmost every interaction in a child's world is preparing them to become a reader and writer. This article outlines the stages of writing development, and tips for adults to help along the way.\nYoung children move through a series of stages as they are learning to write. The stages reflect a child's growing knowledge of the conventions of literacy, including letters, sounds and spacing of words within sentences. Almost every interaction in a child's world is preparing them to become a reader and writer. The indicators of hallmarks within stages are described below.\nIt's important to remember that there will be variations in the way kids move through writing stages; it may not happen in the same way or at the same time and the lines between the stages can be blurry. Many models of writing development and word study label stages with their own terms using various descriptors. The descriptions below are designed to communicate common writing characteristics.\nMost children begin their writing career by scribbling and drawing. Grasping the crayon or pencil with a full fist, a young scribbling child is exploring with space and form. He is creating a permanent record of his ideas and thoughts. These first scribbles can be proud accomplishments! Thick markers, crayons, and unlined paper are good writer's tools for this stage.\nLetter-like forms and shapes\nAt this stage of writing development, children begin to display their understanding that writers use symbols to convey their meaning. Writing begins to include shapes (circles, squares) and other figures. A writer in this stage will often write something and ask, \"What does this say?\" There's little orientation of forms and shapes to space (i.e., they appear in random places within the writing or drawing). Tubs of markers, crayons, and paper remain good writer's tools.\nAs a child's writing continues to develop, she will begin to use random letters. Most children begin with consonants, especially those in the author's name. Pieces of writing are usually strings of upper-case consonants, without attention to spaces between words or directionality. At the beginning of this stage, there remains a lack of sound-to-symbol correspondence between the words they are trying to write and the letters they use. Later efforts may include letters for the salient sounds in words and include the author's own name. Different types of paper, including memo pads, envelopes, lined paper and some smaller pens and pencils are good writer's tools at this stage. Tubs of foam letters and letter magnets are also handy.\nLetters and spaces\nAs beginning writers practice their craft, they are learning many concepts about print. When a child points to individual words on a page when reading, and works to match their speech to a printed word, a concept of word is developing. This awareness of the purpose and existence of spaces separating words and that spoken words match to printed words is known as a concept of word. Often called the watershed event of kindergarten, adults watch young writers insert these important spaces in their own work. Guided either by an index finger in-between each word or by lines drawn by the teacher, children demonstrate one-to-one correspondence with words.\nAt this stage, children write with beginning and ending sounds. They also may begin to spell some high frequency words correctly. Vowels may be inserted into words. As students transition to more conventional writers, they will begin to write words the way they sound. Punctuation begins as writers experiment with forming sentences.\nConventional writing and spelling\nAt this stage, children spell most words correctly, with a reliance on phonics knowledge to spell longer words. Writers use punctuation marks correctly and use capital and lower case letters in the correct places. Writing for different purposes becomes more important. First and second grade students often write signs for their bedroom doors or a letter to a friend. Storybook language, \"Once upon a time,\" and \"happily ever after,\" become a part of writing samples as the child joins the league of writers with a storytelling purpose. As students progress through the writing stages, various pieces become more automatic and fluent. Handwriting becomes easier, as does the spelling of a majority of words.\nAt all stages, it's important to honor the writing efforts of your young child. Find opportunities to have your child share his work with others. Display efforts on the wall or on the refrigerator. Ask your child to read his work at the dinner table or by sitting in a special author's chair.\nClick the \"References\" link above to hide these references.\nBloodgood, J. (1999). What's in a name? Children's name writing and literacy acquisition. Reading Research Quarterly, 34, 342-367.\nClay, M. (1975). What did I write? Exeter, NH: Heinemann.\nGentry, J. R. (1982). An Analysis of Developmental Spelling in GNYS AT WRK. The Reading Teacher, 36, 192-200.\nMorrow, L. M. (2001). Literacy development in the early years: Helping children read and write (4th ed.). Boston: Allyn & Bacon.", "id": "<urn:uuid:f8669b29-318c-420b-b2f8-8e85525e2c97>", "dump": "CC-MAIN-2013-48", "url": "http://www.readingrockets.org/article/36969/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00057-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9531126022338867, "token_count": 1062, "score": 4.0, "int_score": 4}
{"text": "<< Back to Learning Tools\nLearn about multiple intelligences and your child's development.\n\"My sister, Di, was the person who suffered my first efforts at storytelling (I was much bigger than her and could hold her down).\"\n- J. K. Rowling, author of Harry Potter and the Sorcerer's Stone and three sequels.\nWho doesn't love a good story? Or a joke, or a riddle, or a beautiful poem? If your child loves telling them as well as hearing them, he likely has a high degree of Linguistic Intelligence. In his book 7 Kinds of Smart: Identifying and Developing Your Multiple Intelligences, author Thomas Armstrong, Ph.D., says that this is \"perhaps the most universal\" of the intelligences in Multiple Intelligence theory.\nAccording to Dee Dickinson, author of Teaching and Learning Through Multiple Intelligences (Allyn and Bacon, 1996), children who have a high degree of Linguistic Intelligence are interested in storytelling, rhymes, plays on words, and \"things that go beyond normal conversation.\" The components of this form of intelligence, according to Armstrong, include sensitivity to the sounds, structure and meanings of words, as well as a talent for using language to entertain, persuade, or instruct an audience/reader.\nThere are many ways to help your child develop his Linguistic Intelligence. Dickinson, founder of New Horizons for Learning, a nonprofit international education network, says that jokes, riddles, crossword puzzles and word games are among them, as is reading. \"One of the most important things, from birth or even from before birth, is to read aloud with children,\" Dickinson says. Also important are singing, poetry, and what Dickinson calls meaningful conversation. \"Not just talking at children, but talking with them,\" she explains.\nBecause Linguistic Intelligence is so highly valued in our society, and such a large focus in our schools, parents who want to work with children at home to develop it must be careful not to push too hard. \"All of the things that parents do at home should be things that keep communication alive, and create strong, warm connections between parents and children,\" says Dickinson. So have fun with things like telling stories together, or writing down stories your child tells you. To spur your child's creativity, Dickinson suggests that you can start the story, then stop in the middle of telling it and ask your child what she thinks is going to happen next.\nOlder kids can write down their own stories, or keep a journal. To get your child started, don't be too open ended. Focus on a question, such as \"What was the best thing that happened to you today?\" or \"What was something that happened today that you wish could have been different?\" suggests Dickinson.\nAgain, be careful not to make your activities seem too much like classroom work. \"When kids are doing creative writing, forget about correcting their spelling and punctuation. Let that happen in school,\" urges Dickinson. Only correct technical things if your child asks for help. Instead, focus on the good stuff, the ideas. Play with words together, and have fun.\nKinds of Multiple Intelligences\n<< Back to Learning Tools", "id": "<urn:uuid:0ee2eefa-da32-475e-a88a-2ee32ef056d5>", "dump": "CC-MAIN-2013-48", "url": "http://reg.knowledgeadventure.com/jumpstart/learning/mi_linguistic.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386165000886/warc/CC-MAIN-20131204135000-00059-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9696335792541504, "token_count": 656, "score": 3.6875, "int_score": 4}
{"text": "The key to working with children is variety. Any good teaching\nmethod can become routine if overworked. Therefore you must always\nlook for creative ways to teach children.\nUsing a lot of different teaching methods adds an element of\nsurprise to your children's ministry. Children become more\ninterested. They guess what will happen next.\nRepetition is important to help kids learn, so use a variety of\nmethods to teach the same concept. If you want children to learn\nthat Jesus loves them, for example, teach it over and over again by\nusing music, a story, an object lesson, a game, memorization and\nrole-play-all in one lesson!\nSo how can you creatively present information to children?\nChapters 5 to 8 give in-depth information on active learning,\ngames, crafts and music. This chapter explores five other\npresentation methods: puppets, storytelling, clowning, drama and\nPuppets With a Purpose\nOne of the most dynamic teaching tools is a hand puppet with a\nmoving mouth. Of course, you can use different kinds of puppets,\nbut Sesame Street has trained children to expect puppets with\nYou don't need a lot of expertise to use puppets. You can buy a\ncommercially made puppet and have the puppet lip-sync to a song\nplayed on a nearby tape recorder. As you gain experience, you can\neventually write your own scripts and create different voices.\nWhether you're a veteran puppeteer or a first-timer, it's\nimportant to know the basics. Open the puppet's mouth once for each\nsyllable spoken. Be sure the eyes of the puppet look at the\naudience. Make sure the audience can see the puppet's body, arms\nIn addition to knowing the basics of operating puppets, it's\nimportant to gear puppetry to the audience's age. Some approaches\nthat work well with older children don't always work well with\nyoung children, and vice versa. We've found the following methods\nto be effective for the different ages:\nWith preschoolers, use soft, touchable puppets to assist you as\nanother voice in the classroom. It's amazing how much more\nattentive preschoolers are when a teacher says something and a\nfriendly puppet agrees. Create a personality for the puppet that\ndiffers from your own. If possible, give the puppet a cutesy voice\nthat children will enjoy listening to.\nFor preschoolers, action and repetition are more important than\nclever, funny scripts. Adapt nursery rhymes or familiar tunes for\nthe puppet to use in teaching children some basic lessons.\nFor example, we've created various messages to the tune of \"The\nFarmer in the Dell.\" One message that works with the tune is: \"I\nlike you. I like you. I want a lot of friends, so I like you!\"\nAnother message: \"Roses are red. Daisies are white. Let's take\nturns and never fight!\" Or sing: \"Roses are red. Grass is green.\nIt's not nice to hit or be mean.\"\nOne Christmas we had 3- and 4-year-olds each make lambs by\nstuffing a lunch sack with newspaper, closing the end with a rubber\nband and covering the bag with cotton balls. We also used\nmedium-size sacks with one side cut out to make shepherds'\nheadpieces for each child to wear.\nThe children walked around the room carrying their lambs,\nsearching for green pasture. When they got to a predetermined spot,\nan angel puppet appeared over the side of a \"hill\" and told them\nall about the baby Jesus born in Bethlehem. The children sure\nremembered that story!\nOther ways to use puppets with preschoolers include:\n- Use knock-knock jokes.\n- Have puppets ask children yes-and-no questions.\n- Have children clap or raise their hands if they hear the puppet\nmake a mistake when saying a Bible verse or singing a song they\n- Invite preschoolers to sing along with the puppet or sing a\nsong for the puppet.\nWith this age group, use a puppet as a guest in your classroom.\nDress the puppet as a Bible character or visitor from another\ncountry. Have the children ask the puppet questions.\nConsider using a puppet to help with discipline. When discipline\nproblems occur, have the puppet tell the children what went wrong.\nIf done sensitively, the puppet's rapport with the children allows\nit to address the issue more freely without hurting feelings.\nA puppet can be a great storyteller or contribute to the story\nthe teacher tells. The puppet is something fun and colorful for the\nchildren to watch, and a puppet can confirm lesson truths for\nChildren at this age also enjoy repeating their memory work for\na special puppet. Think about having a professor puppet or a wise\nowl for children to tell what they learned.\nWith older children, use puppets to play games. For example,\nplay 20 Questions with a puppet where kids must ask 20 yes-or-no\nquestions to figure out the person, place or event the puppet has\nchosen. The child who guesses the correct answer becomes the next\nHave a puppet comment on how kids are doing at a craft or\nproject. Or have a puppet who is a \"cool\" musician, disc jockey,\nguitar player or drummer lead the singing.\nChildren at this age can also make puppets and write their own\nscripts. Have them present puppet shows to younger children in your\n5 Inexpensive Puppet Stages\nYou don't need to buy an elaborate, expensive puppet stage to\npresent your puppet shows. Even if you have zero dollars in your\nbudget, you can still put on a puppet show. Try these ideas:\n- Have two people hold a blanket between them to create a\n- Turn a table on its side.\n- Cut a window in a refrigerator box. Paint the box to look like\na TV set.\n- In summer, string rope between two trees about 3 feet from the\nground. Hang a dark sheet or blanket over the rope.\n- Have a carpenter build a wooden stage that has hinges so you\ncan fold it up. (Use pine or paneling so it won't be too\n-D.V. and L.V.\nTake advantage of discarded hat boxes, bags, a file cabinet or\nanother container to house your puppets so children can't see or\nplay with the puppets until you're ready to use them.\n-L.V. and D.V.", "id": "<urn:uuid:bb087c8a-c2b2-4d0d-aac9-515d20c201ae>", "dump": "CC-MAIN-2013-48", "url": "http://childrensministry.com/articles/presentations-with-a-purpose", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00059-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9362545013427734, "token_count": 1397, "score": 4.0, "int_score": 4}
{"text": "Inquiry 2: How Can I Learn More About Animal Vision?\nSeveral of the activities that follow encourage students to research different animals and how they see, where their eyes are located, and why these animals have special adaptations. The book, Extraordinary Eyes: How Animals See the World by Sandra Sinclair (ISBN 0803708068) is an excellent resource that students can use as a starting point or to provide context for their animal vision projects.\nModel - Have students research and make a model of the eye and all of its parts, including a written description of how the eye parts work together to produce an image. Encourage them to investigate materials that have the same properties as lenses, such as clear gelatin.\nResearch - Some animals have eyes in different places. The position of an animal's eyes determines what it can see. Have students choose an animal that has eyes in an unusual place (for example a hammerhead shark, a starfish, a snail, or a scallop), and find out where their eyes are located and what they can see. Students report on their findings.\nArt/Writing - Students could draw a picture of themselves with eyes in different places and write a short story about how these new eyes would help them see.\nCreative Writing - Humans and other animals have binocular, or 3-D, vision. Have students research what would happen if they did not have two eyes. Then ask them to write a story explaining the consequences of being able to see out of only one eye.\nMythology - In Greek mythology, the Cyclops were a race of giants that had only one eye. Read to students the story of the Cyclops and have them imagine what these giants would see as compared to what two-eyed humans see.\nArt - Some animals have compound eyes, which are made of many lenses rather than just one. Insects, spiders, and crustaceans (crabs, lobsters, shrimp, and crayfish) are examples of animals that have compound eyes. Have students research what these animals can see and then design an imaginary animal that has compound eyes. The drawing of the animal should be neat and any features that are unusual should be labeled. Encourage students to make up a name for their animal and write a short description of where the animal lives, what it eats, and how the eyes work to help it survive in its environment.\nInterview - Humans and some other animals are able to see color. Have students research why we can see colors what it means for someone to be colorblind. Then have them interview someone who is colorblind and share their results with the rest of the class. Approve questions before students schedule their interviews. You could also invite a guest speaker to address the class instead of requiring students to carry out their own interviews.\nCollage - Have students find pictures of birds in magazines and create bird collages. This will provide a frame of reference with which they can complete the rest of this activity. The eyes of birds are more advanced than many animals and some can see very far distances. Students should choose a type of bird to study and draw the head and eyes of that bird. Have students compare drawings while paying attention to issues such as how the eyes of birds that hunt for food are different from the eyes of birds that eat seeds. Discuss their findings as a class.\nReading - Read aloud Silverwing by Kenneth Oppel (ISBN 0689825587). Although this is a fictional account of a family of bats, there is a lot of information on how bats navigate, why they fly at night and not during the day, and how echolocation is used. Comparisons are made between bats and other animals. Afterwards, have students answer the following questions in their science notebooks:\nAre bats really blind?\nHow do bats gather food?\nAre there different kinds of bats?\nWhat kinds of bats are found in Florida?\nHow are bats like other nocturnal animals?\nHow are the eyes of bats like those of other nocturnal animals?\nLocal nurseries often provide workshops on making bat houses and producing environments that will encourage bats to live there. Attending a workshop such as this and then presenting this information to the class is a way to tie class work to real-world applications.\nCareers - There are several careers that involve the study and care of eyes. Students can research these careers or interview an ophthalmologist, an optometrist, or an optician. As a class, design a questionnaire that they can use as a guide, including topics such as how much education is required, what they like best about their job, what they like least about their job and what the potential salary in the field is. Groups of students could present their findings to the class.\nQuestions or comments? Send us an email.\n\u00a9 1995-2013 by Michael W. Davidson, the Center for Integrating Research and Learning, and The Florida State University. All Rights Reserved. No images, graphics, software, scripts, or applets may be reproduced or used in any manner without permission from the copyright holders. Use of this website means you agree to the Legal Terms and Conditions set forth by the owners.\nThis website is maintained by our", "id": "<urn:uuid:a2b1e72b-a36a-49ae-8a5a-a6053387164e>", "dump": "CC-MAIN-2013-48", "url": "http://www.micro.magnet.fsu.edu/optics/activities/teachers/animalvision.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164456039/warc/CC-MAIN-20131204134056-00061-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9609674215316772, "token_count": 1070, "score": 4.59375, "int_score": 5}
{"text": "Monday, December 09, 2013\nThe Rules of Writing-Syntax-The Sentence-Compound Sentences\nBy OFW chief editor:\nPublished: June 16, 2013\nA compound sentence contains two or more clauses or simple sentences. These may be connected by coordinating conjunctions or punctuation. (A traditional mnemonic device to remember coordinating conjunctions is FANBOYS: For, And, Nor, But, Or, Yet, So.)\nI wanted to practice a jig.\nThe previous clause is a simple sentence, and so is:\nDonna wasn\u2019t in the mood.\nAdd a conjunction and we have a compound sentence:\nI wanted to practice a jig, but Donna wasn\u2019t in the mood.\nThe simple sentences might have dissimilar lengths, as in \u201cTimmy brought two peanut sandwiches to the riverside,\u201d and \u201cBrenda brought two cans of soda.\u201d Adding a conjunction and getting rid of the repeated verb transforms them into a passable compound sentence:\nTimmy brought two peanut sandwiches to the riverside, and Brenda two cans of soda.\nOne more example:\nSonia is cute. I hate her.\nSonia is cute, but I hate her.\nIn creative writing, the compound sentence is an excellent device to show balance between two concepts or strike a contrast between two similarly structured ideas. Example:\nThe negotiators did not agree.\nThe generals drew their swords.\nEach of the above sentences contains well-defined ideas. Joining them, the compound sentence gathers strength.\nThe negotiators did not agree, so the generals drew their swords.\nChildren use compound sentences early to connect ideas and deliver them chatterbox-fashion when excited:\n\u201cI was at the back and Timmy had a coconut and he hit it with a stone and it didn\u2019t break and I took a turn and it breaked...broke... and it was full of water and...\u201d\nThough a silly example, it highlights the danger of joining too many simple sentences. Aware of the need to balance paragraphs with short and longer sentences, many inexperienced writers use conjunctions with abandon and string their sentence pearls into childish necklaces.\nTo get rid of choppy constructions, the writer can join multiple simple sentences to add variety. Three simple statements like:\nSue bought the small-sized dress.\nThe dress fit like a glove.\nWe can rewrite as:\nSue bought the small-sized dress; it fits like a glove, so she\u2019s elated.\nAs we pointed out earlier, punctuation is another way to join simple sentences into compound ones. In some instances, a semicolon might be appropriate to replace a coordinating conjunction.\nMichael has a drinking problem; his wine cellar is empty.\nI am twelve years-old; she is only eleven.\nThere\u2019s magic in prose, a wonder that expresses itself in the nuances. These are the humble details that separate good writing from keyboard diarrhea. The difference between the simple sentences \u201cSonia is cute\u201d \u201cI hate her\u201d and the compound \u201cSonia is cute, but I hate her\u201d goes beyond a comma and a conjunction.\nYin and Yang in their construction, the first sentence is affirmative and the second negative. The first is positive, the second pejorative. Yet, there\u2019s no connection between the two statements; they could belong to different players, even different books, or chapters. Add a humble coordinating conjunction and a comma to transform these two sentences into the clauses of a compound one and magic happens:\nSonia is cute, but I hate her.\nSame ideas, same ingredients, save for one extra word. The writer has tamed hate; he didn\u2019t need the first clause to express abhorrence. Rather than loathe, the new compound sentence blushes with the feeling of an endearment.\nWriters who carelessly fling their words onto paper like chicken feed miss out on the endless possibilities of prose.\nNow a warning about the effect of the dreaded comma splice and the run-on sentence. Although we\u2019ll review these horrors elsewhere, this is an excellent place to warn about their mechanics.\nAs we\u2019ve seen above, we need at least one independent clause to have a complete sentence.\nShermaine has polished her manuscript.\nBut there\u2019s nothing to stop our adding another independent clause to the first, such as:\nShe\u2019s over the moon.\nWhether we end with a comma splice, a run-on, or a well-written sentence depends on the way we join these two independent clauses.\nIf we add them with nothing in between, we create a run-on.\nShermaine has polished her manuscript she\u2019s over the moon.\nWe can join them with a comma for a comma splice.\nShermaine has polished her manuscript, she\u2019s over the moon.\nBut if we summon a comma and a handy coordinating conjunction, we have a correct compound sentence.\nShermaine has polished her manuscript, and she\u2019s over the moon.\nOf course, there are other ways. Rather than a compound sentence, we might strive for a complex one. If so, we can begin it with a subordinating conjunction:\nSince Shermaine has polished her manuscript, she\u2019s over the moon.\nThis leads us to the next section.\nRenee Miller & Carlos Cortes\nto leave a comment, or Login using\nNo Comment Found.\nFact or Fiction?\nQuote of the Day\nThe Craft of Writing\nTerms of the Trade\nTerms of Service\nWork with Us\nCopyright \u00a9 2011 OFW. All Rights Reserved.", "id": "<urn:uuid:b903b274-2697-4c67-9da5-ce03ffa89f80>", "dump": "CC-MAIN-2013-48", "url": "http://onfictionwriting.com/contests/The-Rules-of-Writing-Syntax-The-Sentence-Compound-Sentences/188/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163954634/warc/CC-MAIN-20131204133234-00062-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9153168201446533, "token_count": 1206, "score": 4.125, "int_score": 4}
{"text": "What is this?\nThis interactive writing tool has enormous potential for developing creativity among other higher order thinking skills. Inklewriter is a tool for writing interactive stories. It allows users to start a story and then branch out with different options, which can then be put back together thereby creating one story with mutliple developments.\nWhy is the content good for language learning/teaching?\n- Absolutely intuitive, simple and attractive interface\n- Stories not only include text but may include pictures from the Internet\n- Stories can be easily shared\n- Stories can be turned into e-books (and sold thereafter by paying a small fee)\nSome ideas about how to use it in a teaching context\n- Use inklewriter to stimulate creative writing in your classroom. Firstly, negotiate with your students the topic of the story to write; it can be based on a picture or a real life experience common to the group. Then follow this procedure: split the class into four groups and ask group 1A to write the beginning of a story, ask 1B, 1C, and 1D to come up with an alternative continuation for that beginning. Finally, gather all the accounts, assemble the story and then share it among the students.\n- Building on the first activity, if the teacher has different classes of the same level, the story can be given to class 2 to develop the story even further. Once again, split the class into groups, preferably into 3 this time (2A, 2B, 2C). Students can now work on creating even more \"alternative accounts\". Once sufficient variations have been created, the story could be published online when finances allow.\n- Have group of students vote and select a celebrity they would like to write about. Then in groups, learners use inklewriter to write a biography for their celebrity of choice. Each section could deal with a different aspect. Assuming that they choose a singer, Option 1 could be the story of this public figure, Option 2 a description of their most popular songs including information such as the meaning, the period in which they were written, etc. With inklewriter, learners can use online pictures to enrich their presentations.\n- Learners can also use this tool to come up with a great story of their own (group work mainly) and then exploit grammar/vocabulary points. To illustrate, imagine that learners are writing about a crime that took place in London last month. In their stories, they could write paragraphs with some words/sentences missing and then provide three options. Learners then have to choose the word/sentence that completes the paragraph (as in a multiple choice sort of exercise).\n- None encountered", "id": "<urn:uuid:475911a7-83dd-4ec9-aacf-06386a3d81b4>", "dump": "CC-MAIN-2013-48", "url": "http://www.speechyproject.org/resources-a-la-carte/french/fr-writing-websites/item/92-inklewriter", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163045217/warc/CC-MAIN-20131204131725-00063-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9469448328018188, "token_count": 543, "score": 3.53125, "int_score": 4}
{"text": "Visual Latin is an unusual Latin program. It uses humor, short videos and Latin reading to make learning effective and engaging.\nEach Visual Latin lesson contains three parts. A short video and worksheet go together to create part of a whole lesson, which teaches Latin in a fun, easy to remember way.\n- Part A is always grammatical concepts. The grammar concepts are taught in a clear, concise way. Watching the video covers two different modes of learning, visual and auditory. Then a PDF worksheet adds a third mode of learning, reading.\n- Part B is sentences. This is where the grammar in part A becomes real. Latin sentences are broken apart in the same way again and again. Then a PDF worksheet allows kids to practice what they watched on the video.\n- Part C is translation. Kids listen to Dwane Thomas read a passage from the Latin Vulgate Bible. Then he reads the passage again slowly, and the kids read along with him. Finally a PDF worksheet has the same passage that the kids translate themselves. Because the text comes from a familiar source, kids have a known narrative structure for the new language.\nVisual Latin is recommended for ages 9 and up. The website says that kids need to be able to read. There are 30 lessons in Visual Latin 1. For the elementary through junior high ages,this can be taught one lesson a week over the year. For high school level, it is recommended that Visual Latin 1 be taught the first semester, then supplementing with Lingua Latina Pars 1 and Lingua Latina Exercita 1 for the second semester. Visual Latin 2 is also available for a second year of Latin study.\nVisual Latin is available as a DVD or a digital download in iTunes M4V format. Because the program is through iTunes, (which is a free download if needed) it becomes a very portable program. It is able to play on any Mac or PC as well as iPods, iPhones, or iPads.\nVisual Latin is available through The Compass Store. There are a few options on how to obtain the lessons. Visit the store for more complete pricing options.\n- A DVD containing Lessons 1-30 is available for $80. If you prefer breaking up the lessons and the cost, 3 individual DVD\u2019s are available each containing 10 lessons for $30 each.\n- The download version of Visual Latin 1 is available in blocks of 10 lessons. Each block is $25.\nBen and Rebekah working on the worksheets after watching the video.\nVisual Latin has been a good program for our family. I primarily used this with Ben (9) and Rebekah (8), although Sarah (14) watched the videos as well. Ben and Rebekah have had no previous Latin experience and Sarah has had about a semester of Latin at the high school level. Ben has been asking to learn Latin, so he was very enthusiastic to start this program. Rebekah, being the youngest, always wants to do what the older ones are doing, so she was excited to start as well.\nBecause Sarah has had some Latin, she mainly watched the videos, but did not use the worksheets. She really enjoyed the videos though, it was a great way for her to review vocabulary she has been previously taught. She enjoyed Dwane Thomas\u2019s humor and found the videos interesting.\nBen and Rebekah were the ones that truly used this program as it was intended. We would watch the video, then work on the worksheets. We did approximately one lesson per week with Ben and Rebekah. Each lesson is divided into three parts and we would do one part a day. The age range for Visual Latin is 9 and up so Ben and Rebekah are at the low end of the age range. This did not pose a problem for us, we just took things slower.\nI was impressed at how much the kids retained. Each lesson ends with a translation exercise, taken from the Latin Vulgate bible. The idea is that if the kids are familiar with the story being translated, it will make translating less of a daunting task. It worked in our family. Each week, I was surprised to hear both Ben and Rebekah going over their translations and saying \u201cI don\u2019t have to look that word up, I already know what it is.\u201d Because they were able to be successful quickly, they enjoyed the program and have not complained at all about their Latin lessons.\nNo complaining about the lessons also comes from the videos that begin each lesson. Dwane Thomas\u2019s humor and presentation style makes what could be a dry and boring video into an enjoyable watching experience. Another plus for our family is the length of each video. Each one is between 8 and 10 minutes long. Complete information is packed into each video with no fluff, just gentle humor. The worksheets are also a good length. Each worksheet we have done is one page long and follows what was taught on the video.\nI keep mentioning the humor that is involved during the videos. This comes in the form of gentle \u201cLatin\u201d jokes or stories and just Dwane Thomas laughing at himself if he makes mistakes. I have enjoyed that about this program. When watching a DVD you do not always expect the teacher to make mistakes, but Dwane will at times and then go back to correct himself or the video will show words on the screen saying something to the effect of \u201cthis is what it should be\u201d. I like that my kids see that they can make mistakes and learn from them. One lesson my kids found hilarious was when the video started and Dwane was not in the screen and then walked in apologizing for being late.\nThe worksheets are PDF files and with the purchase of the lessons you are given permission for an individual/family license so you are legally able to make as many copies as you need for your family. An answer file is also included to make grading the worksheets easy.\nI would highly recommend the Visual Latin program. In my opinion, it is a great program, simple to use but highly effective. We were given the first 10 lessons to review and I have already bought the next 10 because I know this is a program that we will continue with all year. The Compass store is offering the first 4 introductory lessons (no worksheets needed) and the 1st two lessons of Visual Latin for free. Click here to access the page with the free lessons. This is a great introduction to using the Visual Latin program.\nThere were many other Homeschool Crew members who reviewed Visual Latin. Visit the Crew blog to read what other bloggers have to say about the program.\nAs an Independent contractor for The Old Schoolhouse and member of TOS Homeschool Crew I received Visual Latin Lessons 1-10 as a download from Visual Latin for free, in exchange for my honest review of their product.", "id": "<urn:uuid:42e3be50-8ae8-4640-9396-47a41eeda6f0>", "dump": "CC-MAIN-2013-48", "url": "http://clarkclancraziness.blogspot.com/2011/10/visual-latin.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00063-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9713653326034546, "token_count": 1416, "score": 3.671875, "int_score": 4}
{"text": "Some thoughts and ideas produced for older people intending to mentor or tutor younger children in a school environment:\nChildren of the same age may resemble each other in certain respects but they\nalso differ from one another in many ways. A combination of physical, emotional\nand environmental forces plays a role in every child?s growth. You can support students most effectively when you recognize\nimportant characteristics of their development.\n2. Five- to Seven-Year-Olds\nIn general, children in this age group:\n- Are very active; need frequent breaks from tasks to do things that fun;\n- Need rest periods, good quiet activities include reading books together or doing simple art projects;\n- Like to talk and are rapidly increasing their vocabulary;\n- Have difficulty making decisions;\n- Are very imaginative and involved in fantasy-playing.\nRespond to the shifting interests and short attention spans of five- to seven- year-olds with patience and flexibility. Observe your mentee's energy level for cues about when to shift gears. Stimulate interest by starting a new activity, taking a five-minute break, stretching, or taking a walk down the hall.\nProvide opportunities for the child to express himself and for you to express your interest in him. Share something about yourself and then ask the student about himself. For example, I had a delicious chocolate milkshake today. Chocolate is my favorite flavor. Do you like milkshakes? Ask the child if anything good or bad happened at school that day. The more open-ended a question is, the easier it will be to continue the conversation. Some openers might be:\nI bet your teacher reads stories to your class. One of my favorites is The Cat in the Hat. What are some of your favorite stories?\nI love all different animals. My favorite is the cheetah because it can run very fast. Are there any animals that you like?\nI know lots of kids watch television. What are some TV shows that you like to watch?\nOffer your ideas but focus most on what the child says. The goal is to encourage the child to speak. A good prompt is, That's interesting. Tell me more.\nSolicit your mentee's own ideas for writing or drawing. Provide some suggestions, if necessary, to spark his thinking, but avoid guiding him through every step of the process. Give explicit praise to reinforce his efforts:\nI noticed you corrected yourself when you realized that sentence didn?t make sense. Good readers are always checking to make sure their reading makes sense.\nI see you looking at the pictures to help you make a prediction about what will happen next. That?s a great strategy.\nNice job sounding out _________! I can tell by the way you were reading that you were really paying attention to the punctuation.\n3. Eight- to Ten-Year-Olds\nIn general, children in this age group:\n- Are capable of prolonged interest;\n- Are eager to answer questions;\n- Want more independence while knowing they need guidance and support;\n- Exhibit wide discrepancies in reading ability;\n- Show interest in people; show awareness of differences; show a willingness to give more to others but also expect more;\n- Often idolize heroes, television stars, and sports figures;\n- Spend a great deal of time in talk and discussion.\nRecognize eight- to 10-year-olds' increasing independence by offering choices in your mentoring sessions. Providing choices promotes independence, responsibility for learning, and personal investment in the activity.\nThe language you use when offering choices is critical. Avoid asking yes-or-no questions unless you're willing to accept no as an answer. If you decide to work on a phonics game in the session, present it to the child as a plan rather than a choice: Now we're going to play a matching game versus Do you want to play this matching game now? There are many instances when it is appropriate for you to decide the content and sequence of a lesson.\nInvite children to make suggestions and share their feelings about the work you do together. Look for ways to integrate your mentee's personal interests into your lesson. If the student is very interested in dogs, bring some books about dogs that are on the appropriate reading level. If your mentee lives with his grandmother, read books about other children who live with their grandparents or ask him to draw or write about his grandmother. When discussing a child's personal life, however, be aware that some subjects may be uncomfortable. Watch and listen closely; use your judgment as to appropriate subjects for discussion and those that are better left alone.\nChoose your words carefully when offering praise or suggestions for improvement. Since eight- to 10-year-olds can be very critical of themselves and others, convey your support clearly and consistently. For example:\nI can see you worked very hard on writing this story. Let?s reread it together to hear how it sounds.\nYou seem pretty tired this afternoon. Would it be helpful to take a short break and walk to the water fountain to help you wake up a bit?\nThis is an interesting book but it may still be a bit of a stretch for you to.\nread on your own. It?s a good one to read with a grown-up right now and someday you will be able to read it independently.\nPositive and honest feedback is important and, as with children of all ages, it is best to give explicit praise to reinforce the child's good behavior or performance.\n4. Eleven- to Thirteen-Year-Olds\nIn general, children in this age group:\nNeed help with organization, thoughts, schoolwork, writing\nHave more interest in current events and social issues\nLove to argue and can begin to see more than one side of an issue\nFeel challenged rather than defeated by reasonably hard work\nTend to be perfectionists; if they try to attempt too much, may feel frustrated\nCan be both playful and serious\nMay have bad diet and sleep habits and, as a result, low energy levels\nEnjoy testing limits; may exhibit a know-it-all attitude\nAre very concerned with what others say and think about them\n11- to 13-year-olds are at a challenging crossroad. No longer children but not yet adults, they waver between a growing need for independence and a continuing need for support. Collaborate with 11- to 13-year-olds so they feel some control over what takes place in your mentoring sessions. While you still need to establish and maintain your role as the authority figure, you can accomplish this while giving students choices and asking for their suggestions about how you spend your time together.\nBy this age, children may have experienced frustration with their academic experiences. 11- to 13- year olds often lack interest in subjects of classroom study and they may not get enough exposure to compelling books at the appropriate reading level. Ask your mentee to bring reading material that interests him and make time in each session to read it together; it may be a book, a magazine, a comic book, or even a shopping catalog. Make an effort to introduce new texts and ask librarians and teachers for assistance in your search.\nShow your enthusiasm for language, reading, and writing. Find ways to share your own reading material with your mentee; a newspaper article, a favorite book,or a piece of mail you received. Organize projects that integrate language skills in diverse ways, such as reading, writing, exploring computers and the Internet, storytelling, painting, sculpting, drawing, and writing descriptive paragraphs or stories to accompany the artwork.\n11- to 13-yearolds may have diminished self-confidence, which hinders their willingness to take risks in their learning. Be supportive by honestly sharing some of your own challenges and successes. Cite examples from your own life or the lives of others and you can also find well-written books that tell inspiring personal tales.\nDevelopmental characteristics adapted from \"Child Development Seminar.\" Volunteer Education and Development Manual. 1991. Big Brothers Big Sisters of America.\nCopyright Northwest Regional Educational Laboratory", "id": "<urn:uuid:ce883b81-e719-4017-9a98-208564e9b234>", "dump": "CC-MAIN-2013-48", "url": "http://www.yess.co.nz/DifferentStagesofDevelopment513.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163045217/warc/CC-MAIN-20131204131725-00059-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.958058774471283, "token_count": 1674, "score": 3.78125, "int_score": 4}
{"text": "In a previous article, 5 arguments against the Common Core state standards were articulated. The standards were summarized as the following:\nThe Common Core State Standards Initiative (CCSI) came about in 2009 when the National Governors Association pursued development of new educational expectations. The NGA collaborated with the Council of Chief State School Officers (CCSSO) and released CCSI in 2010. The hope is to create a more modern and competitive education model for the US.\nThere are currently 45 states opting into the standards, with a few proposing legislation to remove itself from it.\nAs a response to the points made, here are 5 arguments in support of Common Core:\n1. Students will be more competitive in a global economy\n\"Common Core standards are meant to reflect cultural diversity of different states.\"\nCommon Core outlines more rigorous standards to help high school students develop higher level skills to be competitive in a job market. Some argue that schools will lack diversity by abiding to the same curriculum. However, graduates will be more prepared for what employers around the country are looking for.\n2. Standards were developed by a consortium of education experts and officials\nDespite claims of Common Core being a national curriculum, it was led by two organizations formed by state officials. Both the NGA and the CCSSO decided on what core standards would look like. States decide whether or not to opt in.\nAs a result, the standards are meant to reflect cultural diversity of different states. Despite the federal government incentivizing Common Core adoption, it is not the same top-down reform seen in the past (i.e. No Child Left Behind).\n3. The standards reflect a modern society\nIntegrated in Common Core\u2019s reform of mathematics and English is the incorporation of STEM (Science Technology Engineering and Math). The inclusion of non-fictional texts can open discussions on the concepts of STEM. The structure of math standards are reflective of what is useful in engineering and science.\nSpecific science and engineering standards are currently in development, known as Next Generation Science Standards.\n4. Clearer goals and expectations\nThe standards create clearer goals and students will better understand what is expected of them. Each grade level has outlines for what needs to be learned. There are also guides for teachers on how to help student meet those goals.\nSome argue this sacrifices flexibility for teachers to run their classrooms.\n5. Room for flexibility in teaching remains\nThere is room for flexibility in teaching since the standards act as a guide, not a governing law or curriculum. About 85 percent of the standards are set in stone, but the rest provides room for teachers to include what they believe is important.\nThere are no cookie-cutter lesson plans to follow either \u2014 preferred teaching styles do not have to be sacrificed.\nThere are important details to consider on both sides of the Common Core debate. Whether you believe states should follow a common path for education reform or develop their own, the effectiveness of a high school diploma is still an issue. Creators of Common Core are willing to address it. Pros and cons will always be present in any reform movement, but such is the nature of policymaking.\nBe sure to check out previous coverage of the issue on IVN:\nJoin the discussion Please be relevant and respectful.\nI'm going through this hell they call \"common core\" It isn't doing anything but make things harder for both teachers and students.\nI STRONGLY DISAGREE!!!!! Common core is nothing more than a desensitization of our society. Another step toward socialism/ communism\nWhen I was in public school in the 1950's and 1960's, we were given achievement tests at the end of the school year to see how much we had learned since the previous year. The rest of the year we were graded based on quizes, 6-week tests, semester tests and a final exam at the end. We learned penmanship and the basics. Social studies, language arts (reading, creative writing, grammar, etc.) and we learned practical skills like how to count money and make change and how to fill out checks and other forms. My grandchildren who are in the public schools in Virginia, are taught only what they need to know to make an acceptable score on their sols (standards of learning). I have grandchildren who cannot read and write cursive writing, don't know how to tell time on a non-digital clock and have a hard time filling out job applications.\nDisagree, only a forced approval of immorality in our society. Instituted by whom else, but our \"leader?\"\nDisagree. We don't need national standards. We need teachers who teach without intimidation by unions OR school officials.\nThis is going to be like obabmacare. The People don't want it but it is being shoved down our throats.\njust another way for the government to interfere in our lives. we have too many people in govt telling us what to do as it is. its time for the states to take back control and tell the federal govt to jump off a cliff\nDisagree! They kept voting & voting on Long Island, The people do not want it, so now they're holding closed door meetings. WTF?????\nDisagree with CC. It's not that I don't believe in national standards. I have big issues with the lesson plans and assignments. They leave a lot to be desired. I also don't care for the fact that states have been bribed with federal money in order to get them to accept this program. If it's so wonderful than it should sell itself.\nHaha read it Curt...for Gods sake why are people so lazy? If you don't put a link I can click on you are a liar! Good lord\nThere are positives and negatives to homogenous education standards. On the one hand, it holds everyone to the same standard, on the other hand, it neglects the individual needs of a specific community.\nI just got my Master's in teaching this spring. We were taught that, love it or hate it, it's the future, so get used to it.\nReading some of the comments attached to the article, it appears that our education system is definitely lacking. Pleural and possessive usage of the apostrophe needs to be emphasized more. I try usually to go by the content of what someone writes for their opinion, but when they constantly make the same grammar errors while trying to explain that we don't need standards...I've got to wonder.\nOh, and as far as a job market - there isn't one. Unless flipping burgers is considered a career now. Most families cannot afford college, and students who do qualify for student loans can expect to be paying for them well into their 30's.\nOne of the text books containing the \"Constitution\", completely re-wrote the 2nd Amendment to read something like this: \"The right to bear arms as part of a militia.\" Which of course, completely skews the meaning of the Amendment. Tests are given to grade school students which contain wording such as the following: \"All orders given by the government must be followed completely.\" A grade school in Wisconsin recently raised controversy when it produced a play which contained wording such as, \"I will serve Obama\". If this kind of indoctrination doesn't scare the hell out of you, then you are probably a socialist.\nMost countries have a national set of standards, which keep the schools up to the mark. My understanding of this program is that the curriculum has not been developed by any government agency, but by a national organization of educators, completely independent of government (sort of organization that libertarians should be in favor of!), and endorsed by the government. The real question should always be not who developed the ideas, but whether the idea is a good one, and how it measures up against what was in place beforehand. Schools must change continually in order to keep preparing the next generation for the future, not the past (real or imagined).\nThe fact that the teachers union backed common core-ruption proves that they are unfit for involvement in the American school system. Our colleges have been failing us for years. Time to let each state set its own standards, They all have elected officials. Then we will see what works better or worse for American students.\nAs an educator myself, I must disagree. But more importantly, Common Core asserts the idea that children can be STANDARDIZED.\nPolitical Indoctrination ? Propaganda ? I feel concerned for any children that will have to endure Public Education as it is let alone Common Core............ Disagree !\nNC, GA, TX all started it. GA is talking about only do half the plan. Had to be dems seeing how these states are involved.\nHowever, I watched a video of someone who asked a question concerning this! He received a police escort and somehow was detained in Md. ;)\nSo in short the states are doing this and the feds are just giving money to the state's to increase education. Many states have got this money and have not done anything with common core. The state's just need to come up with a plan. My opinion on this is the governors came up with this idea to get some extra federal money. But beside that point we do need to increase our educational standards.\nCheck out the page independent voter put up 25 minutes ago. After that maybe a few Google's of actual real life sources and not a blog.\nThe problem is our teachers are teaching to a known test. If they actually taught all the skills required for the grade the kids would not have a problem. We see every new technic being taught throughout the years. We even had the latest greatest abacus when I was in school. But if the kids are taught the foundation's and master them the problem will be solved when test time comes. Tired of hearing about teaching to a test.\nA little note on this. This was developed among a group of states at the request of the governors association and note the Fed's.", "id": "<urn:uuid:54355874-b524-4d06-ba12-f2782fc4b57b>", "dump": "CC-MAIN-2013-48", "url": "http://ivn.us/2013/06/17/5-arguments-in-support-of-common-core-standards/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051140/warc/CC-MAIN-20131204131731-00064-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9721229076385498, "token_count": 2045, "score": 3.65625, "int_score": 4}
{"text": "Digital literacies in adult literacy education ABEABC Annual Conference Harrison Hot Springs, BC May 11-12, 2011\nA \u201cwiki-mediated\u201d workshop Log in to the wiki for this workshop http:adultdigitalliteraciesinbc.wikispaces.com Username: digital_guest Password: guest_password\nSession overview What are digital literacies and who has access? Why digital literacies in ABE? A webquest: Explore and contribute tools and technologies in your practice Building a digital literacy community of practice\nWhat is digital literacy? Digital Literacy includes the ability to read and interpret media (text, sound, images), to reproduce and create data and images through digital manipulation, and to evaluate and apply new knowledge gained from digital environments. According to Gilster,5 the most critical of these is the ability to make educated judgments about what we find online. -Jones-Kavallier & Flannigan, 2008. para 5.\nDigital tools Computer Laptop Mobile phone Camera DVR iPad\nDigital technologies Blog Wiki Video Podcast Moodle and conferencing platforms Facebook Twitter Flickr, RSS, voicethread (combinations of these: e.g. digital storytelling)\nIn small groups: What digital tools and technologies do you currently use in your teaching practice? What are the benefits and challenges to incorporating digital literacies into your teaching practice? What do you most hope to learn in this workshop?\nDigital literacies Anchored in a Web 2.0 world Include: privacy literacies, attention literacies, critical information literacies, multimodal literacies\u2026 Capacity to craft texts for different audiences Recognizes that some literacies are more powerful, and/or are \u201cdeeper\u201d than others. What digital literacies do adult learners have access to?\nWeb 2.0 \u201cRead-Write web\u201d Social sharing options Social networking options Non-linear (hyperlinked and networked) Opportunities for scaffolded practice: learn through play! Authentic audience (different literacies for different domains/purposes)\nImplications for ABE People are able to be producers and ACTIVE consumers of content People construct knowledge collaboratively: Crowd Wisdom The meanings of literacy are expanded to include multi-modal meaning making Social interaction leads to knowledge creation This is a \u201csocial constructivist\u201d pedagogy\nWhy digital literacies in ABE? Access to powerful literacies: social capital Reflect changes brought by a digital culture: how we communicate, learn and work Inclusion: Universal Design\nWeb Quest: Guiding Questions 1. How would you describe this digital technology to another educator? In other words, What is it? 2. What kinds of literacies/essential skills can students learn/develop? Make a list. 3. Can this tool support student learning in your setting? If not, why? If yes, in what ways? 4. What is the level of technological knowledge required to use the tools effectively? 5. Any other thoughts?\nWeb Quest findings Take notes and upload them to the \u201cDigi-literacies\u201d WebQuestwiki page Choose one or two key points/ideas to share with the workshop group\nExamples: Incorporating digital technologies in ABE/adult literacy\nACCESS!! Do adult literacy learners have access to \u201cpowerful\u201d digital literacies? Share your views and experiences What needs to happen or change?\nStill and always (even more) important Engagement Affirmation, Discipline (practice) Inspiration A purpose Love (Morell, 2010) http://ucla.academia.edu/ErnestMorrell/Blog\nWhat next? Fill in the web survey (print-based or electronically) Contribute to the \u201cdigi-literacies\u201d wiki Keep in touch! Suzanne Smythe: firstname.lastname@example.org", "id": "<urn:uuid:d7010000-34b4-4a8f-af7d-855b5ddbd46b>", "dump": "CC-MAIN-2013-48", "url": "http://www.slideshare.net/sksmythe/abeabc-workshop-powerful-literacies", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345777253/warc/CC-MAIN-20131218054937-00064-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8598012328147888, "token_count": 784, "score": 3.59375, "int_score": 4}
{"text": "Free, fun lesson plans for use in your homeschool. Some are online and some are printable. For students pre-K throught 12th grades.\nAN A TO Z RESOURCE\nA sortable database for free curriculum online and off. Sort by age, topic, and specific terms.\nDiscovery School Lesson Plans\nFind hundreds of original lesson plans, all written by teachers for teachers. Use the pull-down menus below to browse by subject, grade, or both. Also lesson plans to support Assignment Discovery and TLC Elementary School programming.\nEasy Fun School\nMaking homeschooling more enjoyable for both child and parent.\nLesson Plans \u2013 Worksheets \u2013 Teacher\u2019s Lesson Plans \u2013 WebQuests \u2013 Primary Teacher Resources \u2013 Math Lesson Plans \u2013 Writing Lesson Plans \u2013 Reading Lesson Plans \u2013 Science Lesson Plans \u2013 Technology Lesson Plans \u2013 Social Studies Lesson Plans.\nFrom the National Endowment for the Humanities. Lessons and units for art and culture, literature and language arts, foreign language, and history and social studies.\nEducation World Lesson Plan Center\nA resource for lesson plans and research materials.\nEducational Resources and Lesson Plans\nOver 1000 links to lesson plans and other resources of potential use to homeschoolers. It also includes lesson plans and resources unique to this site.\nFile Folder Farm\nSets of learning games to print out and store in file folders. Topics are Pre-K through 2nd Grade.\nPrint out unlimited copies of your favorite projects including art, deals, and greeting cards. This is the most comprehensive site offering every kind of easily-printed activity that you can simply copy on your home computer.\nCross-curricular lesson plans on all sorts of fascinating topics.\nGateway to Educational Materials\nThe key to one-stop, any-stop access to high quality lesson plans, curriculum units and other education resources on the Internet!\nGoogle for Educators\nThis website is one of the ways we\u2019re working to bolster that support and explore how Google and educators can work together.\nGrade Level Skills Help Pages\nThese links are grade specific to help students practice on specific concept areas. Caution: As a teacher, you know that if a child doesn\u2019t understand a skill, they will still not know it if they are put on the computer to practice it. These skill practices are suggested to be used with adult or peer assistance until the student has a basic skill knowledge that can be improved with some extra practice.\nHomeschool Huskies and Ponies\nSets of workbooks and projects in different topics. Patches given as awards for completion.\nAt this point there are several hundred files (forms, unit studies, lapbook templates, worksheets, etc) created and uploaded by various members of the site \u2013 with several more being added each week.\nHomeSchooler Network: Lessons & Activities\nFind innovative ideas for learning at home with our large inventory of resources and materials. Search by subject and your child\u2019s age.\nIdeas For Homeschoolers\nMarty Layne, of Victoria, BC, posts her monthly newsletter in her delightful writing style that will delight and enthral you.\nA part of the iTunes Store featuring free lectures, language lessons, audiobooks, videos and more, that you can enjoy on your iPod, iPhone, Mac or PC. Explore over 200,000 educational audio and video files from top universities, museums and public media organizations from around the world.\nKitchen table Classroom\nTips and tidbits on how to make learning fun! On this site, we offer a new tidbit each day, so come back often.\nK to the 8th Power\nOver 600 lessons which are organized into integrated and cross-curricular lessons. The integrated lessons teach a computer skill and apply it to grade level academic content.\nLayers of Learning\nLayers of learning refers to the scaffolding all people need as they learn. The more we can connect ideas together ast teachers, the more meaningful the ideas become.\nA program of the University of North Carolina at Chapel Hill School of Education, finds the most innovative and successful practices in K-12 education and makes them available to teachers and students.\nEach week there\u2019s a new online lesson that takes learners on a thematic journey across cyberspace. Lessons are tied to current events and help learners extend their knowledge on a wide range of topics.\nA Guide to Educational Activities for Families that covers a lot of topics: reading, math, science, geography, history, writing, responsible behavior, and many more. For each topic, there are activities that you can do with your children to reinforce learning. Most are simple, everyday activities.\nThe Teachers.Net Lesson Bank is your opportunity to share your most precious asset \u2013 your teaching ideas and lesson plans.\nUse LessonPathways.com as a core curriculum or as a hands-on supplement to your existing curriculum. Mix and match Pathways from various grade levels and subjects. Use our Planner tool to customize your child\u2019s curriculum. Create learning plans for multiple children.\nLesson Plan Center\nLet TeacherVision.com help you create innovative plans quickly with our large inventory of ideas and materials.\nLesson Plan Page\nFar more than just a \u201cpage,\u201d this site has plans in all typical subjects, as well as holiday units, computer science, and even PE. Add your own plans to the project.\nFree reproducible lesson plans, unit studies and print ready worksheets for all levels, all abilities and all subjects of Grade School and High School. Featured articles will give you general teaching and learning encouragement, references and support.\nNewton\u2019s Apple: Teacher\u2019s Guides\nA complete collection of Teacher\u2019s Guides from season 9 through 15 is available. Mostly science lessons, though a few from other topics as well.\nNY Times Lesson Plan Archive\nThe archive contains hundreds of free lesson plans for grades 6-12. You may perform a keyword search to retrieve a lesson, browse the archive by subject, or scroll down the page to view the most recently published lessons.\nOutta Ray\u2019s Head\nA collection of lesson plans with handouts for writing, literature, poetry, and using the library, by Ray Saitz and many contributors.\nPBS Teachers Source\nUpdated monthly. Resources so you can integrate PBS shows with your unit studies.\nPraetor Education Technology\nHow to use open source software to develop free curriculum online. Free Java lessons for educators. Good math and science resources already developed.\nEach scripted lesson already comes with fully-inclusive content developed around a single homeschool curriculum, the hours that you would have spent putting these lessons together yourself represents time saved for you. Covers some topics in American history and science.\nRead Write Think\nAccess to the highest quality practices and resources in reading and language arts instruction through free, Internet-based content.\nScholastic Lesson Plans & Reproducibles\nPick a grade level pre-k through 8th grade and then a topic to locate a variety of lesson plans teaching that skill.\nFree weekly units, free worksheets for online and offline study, and software to download.\nArts, Language Arts, Science and Social Studies plans.\nOffers teachers FREE access to lesson plans, printable worksheets, over 150,000 reviewed web sites, rubrics, educational games, teaching/ technology tips, advice from expert teachers, and more.\nTeach With Movies\nThrough movies, introduce children to major events in history, principles of science, extraordinary people, literature, drama, dance, art, character development, and ethics. Low annual subscription rate for hundreds of movies.\nTeacher Created Materials\nFree monthly activities, lesson plans, and brain teasers. New each month as well as archives.\nLessons categorized by monthly and holiday or date themes, mostly for young children.\nTexas Instruments Activities Exchange\nBrowse by subject area or submit your own activity ideas. Learn to use TI calculators to solve real-world problems.\nRelevant, creative materials that can help you make good use of new technology. Look here for planning guides, teaching techniques, activities, projects, and more.", "id": "<urn:uuid:9d1e407f-c1b9-44eb-aa15-18ffc1f4c17f>", "dump": "CC-MAIN-2013-48", "url": "http://a2zhomeschooling.com/materials/curriculum_shop/free_curriculum/lesson_plans_free/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163906438/warc/CC-MAIN-20131204133146-00061-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9150211215019226, "token_count": 1705, "score": 3.578125, "int_score": 4}
{"text": "In play therapy, children are encouraged to express, through play, all the things they may have difficulty saying or contextualizing into words. As a consequence of this primary focus, play therapy has expanded to include most of the expressive art forms including drawing, painting, sculpturing, music, dance, drama, movement, poetry, and storytelling. So while the mainstay of play therapy is still the playroom with its selection of symbolic toys, the play therapist has greatly expanded the medium for nonverbal and verbal expressions.\nSelecting Appropriate Activities\nActivities in play therapy aim to engage the child and enable the child to tell their story and in the telling reshape it accordingly. When selecting an activity, it is important for the therapist to note that each child is different both in personality and presenting issues. It is therefore important to match the play therapy activity with the child\u2019s abilities and needs (Geldard & Geldard, 2008). Three key factors to consider when selecting a play therapy activity include the following:\nAdapted from: (Geldard & Geldard, 2008)\nActivities for Expressing Feelings and Emotions\nSome activities that can be used to promote expression of feelings and emotions include the following: Clay tends to promote expression of anger, sadness, fear and worry as it allows the child to be creative and it is through this creativity that the emotion of the child is likely to emerge or be expressed. Drawing allows the child to get in touch with their thoughts and emotions. For example: Children can be asked to create a representation of what has made them angry. Finger painting tends to promote emotions of joy, celebration, and happiness.\nIt is important to work with the child in determining which activities they prefer and also which activities promote a clarity and freedom of expression with their emotions.\nActivities to Develop Social Skills\nSocial skills include the ways in which the child relates to others in order to make friends, get their needs met, be assertive, employ boundaries and cooperate. In order to develop social skills effectively, it is important that the child understands and experiences different behaviours and their consequences. To achieve this in play therapy, a therapist may use the following activities:\nAn imaginative pretend play to help the younger child learn about social skills and practice them. For example: if a child is engaged in playing as a mother, looking after and feeding the baby (doll), the counsellor could ask, \u201cWhat should I do now\u201d Dolly hasn\u2019t eaten her cereal and I\u2019m her big sister\u201d This gives the child an opportunity to interact with the counsellor in the imaginative pretend play, gaining empathy for the mother and also gaining an understanding of their own position as the big sister.\nPuppets and soft toys can help the child learn and practice socially acceptable behaviours too. By getting involved in the puppet play with the child, the therapist can create situations that require the child to respond to various social situations by using their puppets. In this way, the child can indirectly explore the appropriateness of their own social behaviour. For example: a therapist can invite the child to start the puppet show by introducing the characters. Therapist: \u201cwhy don\u2019t you show me all the characters in your play and introduce them one by one\u201d. As the child introduces the characters, the therapist can engage in a conversation with each character as it is presented. For example: \u201cHello Tom. I like your big red tie\u201d.\nActivities to Build Self Esteem and Self Concept\nChildren\u2019s self concepts and self esteem are almost inevitably affected whenever they experience troubling events or trauma (Hebert & Ballard, 2007). In order to help build a constructive self esteem and self concept within the child, the therapist needs to select activities that promote self fulfilment and independence in the child by enabling the child to explore, accept and value their strengths and weaknesses (Geldard & Geldard, 2008). Examples of activities that aim to achieve this are listed below.\nDrawing can be used to illustrate the development of the child\u2019s own strengths. For example: a child may show through a drawing, their progression from infancy to the present day to highlight memorable milestones and how much they have developed and grown and accomplished over the years. Games can be used to target the child\u2019s specific skills to give them an opportunity to perform well and experience their strengths.\nImaginative pretend play can be used to help the child experience various roles that either represents their current strengths or the qualities that they would like to have. For example: playing as a leader or a helper. Specific worksheets can be used to address issues that directly relate to the child\u2019s self esteem and self concept.\nActivities to Improve Communication of Problems\nBy expressing themselves symbolically through toys in play therapy, children are allowed to distance themselves from difficult feelings and memories, which are frequently too hard for them to talk about directly with others. Creating an opportunity for children to communicate their fears, worries, problems, wishes, and desires to others, even if it is done symbolically through toys can be very beneficial.\nThrough such a process, the therapist can obtain a better understanding of child\u2019s inner world, which also helps the counsellor obtain a better understanding of what the child may need in order to provide the appropriate type of help and support for them. Some of the activities that can be used to improve the child\u2019s communication of problems include the following:\nActivities for Dealing with Loss, Grief and Death\nFor most children, death is a new experience. And like all new experiences, the unknown can be confusing and frightening. Most children do not know what to expect following the loss of a family member or friend or even a pet. Young children may not understand what death really means and may be confused or even frightened by the reactions of other family members (Perry & Rubenstein, 2002). Some of the activities that can help the child express loss and grief include:\nDrawing: to allow the child to get in touch with their thoughts and emotions. For example, a child can be asked to draw their family before and after the loss.\nTelling stories: the child is encouraged to create their own story as opposed to reading story books. It is highly likely that the child will project ideas from their own life onto the characters and themes in the story. The child may even include themselves in the story. Telling stories enables the child to express their wishes, fantasies and hopes. This is particularly useful for children who are experiencing painful life events as it gives them opportunity to express their hurt.\nUse of clay: clay allows the child to be creative and it is during this creativity that the emotions within the child are likely to emerge and be expressed. Clay allows the child to express a wide range of emotions. For example: a child may calmly stroke the clay or aggressively punch the clay or pull it apart in frustration. As such, the emotions that the child may be withholding are more likely to be expressed outwardly and with cathartic effect.\nSand tray work: this can provide the child with an opportunity to tell their story using symbols etched out in the sand. Through telling their story in such a way, the child has the opportunity to recreate the events and situations from past to present and explore possibilities for the future.\nAuthor comments are in a darker gray color for you to easily identify the posts author in the comments", "id": "<urn:uuid:6090baf5-3d84-4bf6-9873-e6a975e99e01>", "dump": "CC-MAIN-2013-48", "url": "http://www.counsellingconnection.com/index.php/2011/07/18/play-therapy-activities-to-engage-children/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164583265/warc/CC-MAIN-20131204134303-00064-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9556298851966858, "token_count": 1535, "score": 4.25, "int_score": 4}
{"text": "Curriculum. Overview. Sample. Lessons. SECOND GRADE. Oak Meadow ..... Crafts; Animal Stories; Just So Stories;.\n2ND GRADE. Adapted by ... Write down the predictions and have the class look at them after they have seen the play. ... Tell the students that the play Just So Stories was originally written as stories to.\nA Unit for Second through Sixth Graders* ... read/tell pourquoi stories to the class and have them read more on their own. ... Why the Big Toe is So Much Bigger than the Other Toes .... Just So Stories.\nThis unit explores various aspects of India: its geography, its religions, its culture, and its literature. Students ... Content from the Core Knowledge Sequence (2nd Grade). 1. ... Kipling, R. Just So Stories.\n2007 Core Knowledge\u00ae National Conference, Second Grade, Conquering ... Knowledge topics (i.e., Lesson One \u2013 The Blind Men and the Elephant can be taught when ... How the Camel Got His Hump (a \u201cJust-So\u201d story by Rudyard Kipling) p.\nThis session represents the official launch of your second-grade writing ... didn't just come up with a story and \u201cpoof! ..... when I was your age and I got a big role in the class play\u2014I was so scared, ...\no Unit 5. ESSENTIAL QUESTION. Why do we hand down stories? Grade 2 \u25bb Unit 5. Hand-Me-Down Tales From.\nHomelessness Fact Sheet for Kindergarten-Second Grade Students. What Does It Mean To Be Homeless? Most people ...\nLesson 1: Identifying Story Elements (2nd grade) ... saved the Tosis family, so the family decided to keep her. Setting: The house and ...... could call the fire department to help, Hannah could just wait for.\nFamily FUNdamentals for Summer Learning\u2014Grade 2 ..... Talk about what you read and write so your child can hear. Say: \u201cI don't have ...... view. After reading a story or book with your child, just ask a.\nMATHEMATICS \u2022 GRADE 2\u2022 UNIT 2: Becoming Fluent with Addition and .... out two fingers on their chest and so on. ... to solve addition and subtraction computation as well as story problems. 6.\nGrade 2: Two- and Three-Digit Addition and Subtraction ... Solving Story Problems: Students count by tens from any given 2-digit ..... \u201cSo 57 is composed of 5 tens and 5 ones.\u201d ..... The first worksheet has students just add or subtract tens.\n94 in G Major \u201cSurprise,\u201d second movement ... ti-ti rhythms, using hand signs for So and Mi, and playing a mallet instrument. ... Each lesson plan has been designed specifically for the grade K-2 age.\n... teachers forget facts they consider essential to stories being read aloud. ... book in a particular series, I suggested that they just go ahead to the next one. ... into your classroom so that you and your second graders can get the most out of this ...\n25 Jun 2013 ... 8 + 2 = 2 + 2, just as 72 \u2013 8 = 70 \u2013 8 + 2 = 62 + 2. ... foundation for Grade 2's work towards mastery of fluency with the ... multiple (e.g., 7 \u2013 5 = 2, so 47 - 5 = 42.) ..... Worksheets, story problems, and other problem sets can be ...\nAs always, in so many ways your talent has helped to ... ideas, and all primary teachers of Southlawn Elementary School, Liberal, KS ..... They become familiar with story structure and framework such as.\nThe students of grade 2 enjoy stories with visual aids and different sounds. ... Grade 2 v. The Lesson. Church Education Service is divided into: ..... After few days Jesus was taken away by soldiers from the disciples just as He had said to the.\nGrade Lesson Plan \u2014\u2014 Storytelling. Overview .... Storytelling is more than just reading the words of a story out loud. It takes .... Say the words clearly so that everyone can understand you. ... A little while later, the second Billy Goat Gruff came.\n(Suggested lesson submitted by Criss Smith, LMS @ Lee Elementary) ... Kipling's \u201cJust So\u201d stories fall into this category.", "id": "<urn:uuid:f5dcd30d-6865-4b53-b53e-6a260c377b59>", "dump": "CC-MAIN-2013-48", "url": "http://www.mybookezzz.org/just-so-stories-lessons-for-second-grade/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163039773/warc/CC-MAIN-20131204131719-00066-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9470453262329102, "token_count": 929, "score": 3.6875, "int_score": 4}
{"text": "Taking a Look at Nonfiction Conventions\nNonfiction reading material can be a powerful tool in grabbing the attention and interest of otherwise reluctant readers. However, reading lessons often focus primarily on fiction features (plot, character development, etc.). With this in mind, I thought it might be useful to share some of the resources and materials I have used in my classroom to help readers learn to read, interpret, and eventually write nonfiction texts independently.\nPhoto: You can download four printables in this post, including the nonfiction conventions posters shown above.\nNonfiction Supplies: Avoid the Literary Desert!\nI've used the analogy of teaching in a literary desert before. As elementary teachers we know that we must have a plethora of classroom books for our students. According to Richard Allington, an elementary classroom should have 1,500 books as a base. Two thirds of that should be nonfiction and informational texts. That can be a real challenge, but it is so important when our students are reading to learn to have those books in the collection.\nAre you feeling low in this department? One easy solution is to purchase used magazines. Most of my collection has been donated or purchased from garage sales. Magazines are also great because you don't feel too bad when you cut things out to discuss with your class.\nPhoto: Ripped-out magazine pages on display.\nPhoto: Red bins in our classroom indicate nonfiction. We currently house 2,500+ books.\nAlthough there are fantastic books to read on teaching nonfiction, it doesn't have to be so complicated. Let me save you some time researching and reading. Are you ready? It's really very simple. Study it, talk about it, try it out:\n1. Talk about how nonfiction and fiction are organized differently and have different conventions. This is where you would want to pull out a variety of nonfiction material to show to your class. Better yet, use a nonfiction big book to demonstrate some of the nonfiction conventions to the whole group. Here are some anchor charts we created this year and the previous year:\n2. Copy and pass out various examples of nonfiction passages, and ask your students to record what conventions are being used and why. This might include using different types of print, making comparisons, or labeling drawings. Download this guide on the purposes of the conventions.\n3. Do a mini-lesson on comparisons. In my experience, examples of nonfiction comparisons can be a little harder to find. An excellent book totally dedicated to this nonfiction convention is Steve Jenkins's Biggest, Strongest, Fastest. Each page takes those numbers and compares them to something familiar (e.g., the Empire State Building). Reading this book is a great mini-lesson in and of itself.\n4. Help your readers create nonfiction convention notebooks or flip-books. This idea comes straight from Debbie Miller, except we used a Dinah Zike flip booklet instead of Miller's notebooks. Under each convention, the student adds an example. They also add the purpose for the convention. If you have a lot of magazines around, you can pass these around the room and have students go on a scavenger hunt for these features.\n5. Apply it through writing. I usually find that writers can only write as well as they read. I believe this applies for nonfiction writing, too. The more we talk about and look at nonfiction pieces, the better prepared students are to try the conventions out in their own writing. When you see a student trying some of these conventions in their writing, make sure to show it to the class. Other students will begin to try it out on their own as well.\n6. On a final note, just give your students the time and opportunity to look at, read, and discuss books in your classroom this year. Fiction and nonfiction. The more they read, the better equipped they will be across the curriculum. I am blessed to be working in a school that doesn't advocate basal-prescribed reading instruction or extrinsically motivated reading programs. It makes a world of difference, and I know we are creating lifelong readers and writers using the workshop approach in our room. To learn more about how Readers Workshop functions in my classroom, watch a video overview of Readers Workshop.\nMore Anchor Charts/Bulletin Board Ideas\nLast year I wrote a post that included several of the anchor charts and bulletin boards in our room. This included a nonfiction convention bulletin board made by students. It has now been turned into an article, \"Reading Strategy Charts and Bulletin Boards.\"\nPhoto: We use Scholastic's Navigating Nonfiction to discuss various ways that nonfiction articles are organized (compare/contrast, problem/solution, etc.). You can find a link on the main page, if you are interested in ordering it for your class.", "id": "<urn:uuid:9836efad-2505-4019-ad0c-1c043d57dac2>", "dump": "CC-MAIN-2013-48", "url": "http://www.scholastic.com/teachers/top_teaching/2011/01/taking-a-look-at-nonfiction-conventions", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163811461/warc/CC-MAIN-20131204133011-00065-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9493409395217896, "token_count": 998, "score": 3.75, "int_score": 4}
{"text": "A Leap Ahead in Writing: 3rd Grade\nIn 3rd grade you\u2019ll likely see a significant leap cognitively in your child, and as a result more will be expected of him at school. Your child will not only learn how to write in cursive, with letters joined together, he\u2019ll stretch beyond the paragraph writing of the 2nd grade and begin to compose short essays.\nTeaching to the Test\nStates are required to test students annually in language arts, beginning in the 3rd grade. These tests assess standards for reading, listening, and writing. Tests generally consist of two types of questions: multiple-choice and open-ended. In reading, students read several passages representing a variety of genres, then answer questions that demonstrate their understanding of the passages. For listening, students hear a passage read out loud, then answer comprehension questions.\nAlong with formalized testing, another hallmark of 3rd grade is learning to write in cursive, or longhand. For many 8 year olds, cursive separates them from the little kids \u2014 and they love it. In the majority of classrooms across the country, cursive is taught in 3rd grade (although some 2nd grade teachers introduce it toward the end of the school year).\nOver the years, some letters have been modified to make them easier to write and recognize. Today\u2019s cursive Q and X may look quite different to someone who learned to write them a generation ago. Now that cursive has made a comeback, teachers begin the school year by devoting one week to each letter and spending a few minutes each day in review.\nUpping the Vocabulary Ante\nIn 3rd grade, students are ready for solid work in written composition. Their thinking is more abstract and their stories less simplistic. Using transitions and writing in paragraph form remain challenging, but your child will have plenty of opportunities to practice these difficult skills. Now your child will work to enrich his stories through word choice, with a continued emphasis on using adjectives to enliven his compositions. In addition, your child will be introduced to reference books, such as the thesaurus (a book of synonyms and antonyms), to help him select more interesting words.\nWriting as Process\nWriting as a craft is a fairly new classroom concept. \u201cLearning to write well isn\u2019t considered a one-shot deal,\u201d says Cynthia Graves, a 3rd grade teacher at Forest Avenue School in Verona, New Jersey. \u201cIt\u2019s a process that evolves over time.\u201d While the focus may vary from school to school, you can expect that your child\u2019s work will progress through the following phases:\n- Prewriting, or brainstorming, includes activities such as creating a story web with ideas related to a main topic.\n- The first draft, or \u201csloppy copy,\u201d is a student\u2019s initial attempt at converting his thoughts into sentences and paragraphs.\n- Feedback involves sharing the first draft with classmates and/or the teacher to strengthen the work. The reviewer reads the piece, then tells the writer what\u2019s good, bad, or confusing about the story.\n- The student incorporates the feedback during rewriting.\n- Correcting grammar, punctuation, and spelling mistakes takes place during the proofreading phase.\n- The final copy is either handwritten or typed on the computer.\n- Publishing is the last step, and each teacher handles it differently. It may mean turning the story into a book with illustrations, adding it to a class book, reading the work out loud to the class, or submitting it to a children\u2019s publication.\nAs in 2nd grade, in 3rd grade your child will be expected to write in a variety of genres. A narrative assignment might ask your child to write about a personal experience, such as her favorite day. A typical nonfiction assignment in 3rd grade would require her to write a simple report using facts gleaned from different sources of information (for example, an encyclopedia, a Web site, or a book on the subject). An informative writing assignment might ask her to explain how to make or do something (for example, my daughter wrote instructions for doing a handstand). Persuasive writing could be a letter to the editor, and finally, penning a poem might cover creative writing.\nRecommended Products for Your Child Ages 8-10", "id": "<urn:uuid:9cbaa3e7-8d71-43aa-a80f-44ce0cdd67ad>", "dump": "CC-MAIN-2013-48", "url": "http://www.scholastic.com/parents/resources/article/what-to-expect-grade/leap-ahead-writing-3rd-grade", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164796892/warc/CC-MAIN-20131204134636-00066-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9568964242935181, "token_count": 905, "score": 3.65625, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nMedia Literacy: Examining the World of Television Teens\n|Grades||6 \u2013 8|\n|Lesson Plan Type||Standard Lesson|\n|Estimated Time||Five 60-minute sessions|\nNew Haven, Connecticut\nMATERIALS AND TECHNOLOGY\n- Computers with Internet access\n- One classroom computer with a projection screen (optional)\n- One taped episode of a television program popular with students on a VHS tape or DVD\n- Television and VCR or DVD player\nGrades 6 \u2013 12 | Student Interactive | Inquiry & Analysis\nStudents can map out the key literary elements of character, setting, conflict, and resolution as prewriting for their own fiction or as analysis of a text by another author in this secondary-level interactive.\nThe goal of this lesson is to help students increase their awareness of media, and become critical, reflective, and active viewers and producers of media. These skills emerge as students increase their awareness of how and why media is made, how different viewpoints and perspectives are portrayed, and how character, plot, and motivation are developed in the various media programs they view.\nIn this lesson, students have the opportunity to analyze why certain television shows are more popular with teenagers than others. With these observations in mind, students create their own idea for a show. This is an important part of the lesson because responding to media and becoming active \"readers\" and producers of media are essential parts of developing media literacy skills.\n|1.||Informally chat with a few of your students about what their favorite television shows are. This will give you an idea of what programs they will indicate as their favorites when you conduct the class-wide survey. Familiarize yourself with the characters and general story lines of these shows by watching them or visiting their websites. Once your class votes on the most popular show, you will have to record one episode for students to view in class during Session 2.\n|2.||Identify, preview, and bookmark websites about the television shows on the computers your students will be using. Remember that it is critically important to give students time to explore the websites independently and without any prescribed direction. Give students the opportunity to discover and learn in ways that may not be apparent to you. Computer learning is often about discovery.\n|3.||If you are not familiar with the online Literary Elements Map, you may want to complete one prior to working on it with your students in Session 2. Add this tool to the Favorites on the computers your students will be using and make sure that it is working properly on all computers. If you experience difficulty, make sure that computers have the most recent version of the Flash plug-in, which can be downloaded for free from the ReadWriteThink Site Tools page.", "id": "<urn:uuid:d2a3e16a-f85e-4e49-b997-6071a8c2ebd7>", "dump": "CC-MAIN-2013-48", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/media-literacy-examining-world-966.html?tab=3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00065-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.939490795135498, "token_count": 689, "score": 4.03125, "int_score": 4}
{"text": "are another person's exact words--either spoken or in print--incorporated into\nyour own writing.\na set of quotation marks to enclose each direct quotation included in your\na capital letter with the first word of a direct quotation of a whole sentence.\nDo not use a capital letter with the first word of a direct quotation of part of\nthe quotation is interrupted and then continues in your sentence, do not\ncapitalize the second part of the quotation.\nMr. and Mrs. Allen, owners of a\n300-acre farm, said, \"We refuse to use that pesticide\nit might pollute the nearby wells.\"\nMr. and Mrs. Allen stated that\nthey \"refuse to use that pesticide\" because of possible\n\"He likes to talk about\nfootball,\" she said, \"especially when the Super Bowl is coming\nare not exact words but rather rephrasings or summaries of another person's\nwords. Do not use quotation marks for indirect quotations.\nAccording to their statement to the local papers, the Allens refuse to use pesticide because of potential water pollution.\nOmitted words in a quotation\nyou leave words out of a quotation, use an ellipsis mark to indicate the omitted\nwords. If you need to insert something within a quotation, use a pair of\nbrackets to enclose the addition. For example:\nThe welfare agency representative said, \"We are unable to help\nevery family that we'd like to help because we don't have the funds to do so.\"\nomitted material The welfare agency representative said, \"We are unable to help\nwith ellipsis every family . . . because we don't have the funds to do so.\"\nThe welfare agency representative explained that they are \"unable\nwith brackets to help every family that [they would] like to help.\"\nMLA style requires any quote that goes to four lines to be done block style (APA requires block style after 40 words). Block quotes begin on a new line, indented ten spaces and do not use quotation marks. Notice how the quotes are introduced AND that there is a follow-up to the quote. The first is APA; the second is MLA.\n1. This method exemplified by those above and many others was a common procedure; it was not until\nthe 1960's that scholars began to focus on capturing the performance of the storyteller rather than just\nthe story itself. There are several reasons to consider for the lack of attention to narrative structure.\nFirst, as Tedlock points out, there were no tape recorders to aid the field worker who was more likely to\nbe interested in content rather than style since the substance was the story, not the manner in which it\nwas told (Finding the Center 37). Also, without the tape recorder, the field worker was forced to\nrepeatedly stop the storyteller in order to write out the dictation, which hampered any possibility of\nhearing the normal pauses and breaks (\u201cTranslation\u201d 29). Second, many believed that style was\nuntranslatable anyway. Both Boas and A. L. Kroeber believed that the literary form was a property of\nthe native language and hence, could not be rendered into English. As Arnold Krupat discusses in \"On\nthe Translation of Native American Song and Story: A Theorized History,\" translators had to recognize\nthat native languages were both like and unlike European languages (8). He states:\nAll English translations from Native language performances cannot help but place\nthemselves in relation to Western conceptions of art (literature) or of (social) science as they\ninevitably privilege either the Sameness of Native American verbal expression in forms aspiring\nto what is accessibly recognizable as literary, or its Difference, in forms committed to scientific\nauthenticity and accuracy. (8)\nMost did not look for the similarity in the native language and only perceived the dissimilarity and\nto make the narrative appear as the audience would expect.\n2. George and Shoos pose two questions concerning the teacher\u2019s role in this type of class that seem\nsuggest that silence may be due to the teacher\u2019s position:\nHow do we, as composition instructors using a cultural studies approach, design our classes so\nthat we do not judge our students\u2019 positions by how closely they mimic our own? How do we\nset up true \u2018communication and dialogue\u2019 as Friere suggests we must if real education is to\nThey suggest choosing texts for study that we find perturbing or disturbing so that meaning is as\nunstable for us as it is for our students. In those texts, instead of looking for definitive answers to the\nquestions we pose about the text, we need to explore how cultural forms and subjectivity play a role in\nthat text (207-9).\nQuote with a change from the original (MLA)\n3. One of the more prevalent problems of teaching with a cultural studies approach is that in encouraging students to critique their culture, they may misunderstand our intentions and believe that we are either asking them to discard their experiences as trivial or to conform to our way of thinking about those experiences. This perception would surely cause some students to remain silent rather than challenge us. George and Shoos note that \u201casking students to become critical readers of their culture does not mean demanding that they reject that culture\u201d (201). They further note, \u201c[I]f we judge our students\u2019 work by whether or not they come to the same conclusions as we do, we not only send them conflicting messages about their own worth as thinkers but also insure our own failure as teachers\u201d (201). Thus, it is plausible that part of the silence we encounter comes from students who mistakenly believe we want them to conform to our beliefs, so we must guard against sending that message.\nOther samples in MLA\nTedlock has employed the former criteria in translating Zuni narratives.\nHe felt \"unhappy with the\nflat prose format which had always been used in presenting\" field\nnarratives (xviii). So as he\nlistened to taped oral performances, he worked out a mode of presentation which\ncombined the poetic with the dramatic features.\nThese elements combined with the narrative form mark a\npattern Hymes identifies as form-meaning covariation. He states that\n\"while certain elements regularly serve to mark verses, this role is\ndependent upon the organization of the whole\" (440).\nSo one of the particles may occur with its normal lexical meaning and\nwould not indicate a narrative pattern.\nThe narrative particle that occurs the least number of\ntimes is hig\u00fa 'still, now, yet';\ntwice it occurs with zhige 'again' and\ntwice without any suffixes. Its\nfunction seems to refer to the progression of events through narrative time, much\nlike White described its use in referring \"to the arrival of the present\nsection which continues the story\" (Winnebago Narratives 17). In the first occurrence of hig\u00fa-zhige,\nit begins a new verse, and here, it refers back to an action that is now to be\n7. White has stated that zheeg\u00fa refers to \"that which has continued going by,\" indicating that zheeg\u00fa is some kind of marker of connection (\u201cTrickster\u201d 54). In some cases, it clearly does mark a connection.\nDanker, Kathleen A. \u201cBecause of This I am Called the Foolish One: Felix White, Sr.'s,\nInterpretations of the Winnebago Trickster.\u201d New Voices in Native American Literary\nCriticism Ed. Arnold Krupat. Smithsonian Series of Studies in Native American\nSmithsonian Institute Press, 1993. 505-528.\nKathleen A. The\nWinnebago Narratives of Felix White, Sr.: Style,\nU of Nebraska. Lincoln,\nBarbara F., Ed. The Ethnologue.\n13th ed. 1996. 8 Nov. 1998\nBible. Revised Standard\nVersion. Thomas Nelson & Sons:\nGrammar of Winnebago. New York:\nKing's Crown Press. 1945\nRoad of Life and Death. 1945.\nBollingen Series V. Princeton,\nU Press. 1973.\nthe Center: Narrative Poetry of the Zuni Indians. New York:\nDial Press. 1972.\nDennis. \u201cOn the Translation of\nStyle in Oral Narrative.\u201d Smoothing the\nGround: Essays on Native American Oral Literature. Ed. Brian Swann. Berkeley, CA:\nof California Press, 1983. 57-77.", "id": "<urn:uuid:8fa0e4a5-dbe5-401b-a47d-73d59d16d5de>", "dump": "CC-MAIN-2013-48", "url": "http://faculty.uca.edu/lburley/new_page_6.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163037851/warc/CC-MAIN-20131204131717-00065-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9291171431541443, "token_count": 1806, "score": 3.5625, "int_score": 4}
{"text": "Add To Favorites\nSee the world in a new way--with the breads people eat. Explore cultural attributes and world populations with a pictograph bulletin board.\nExplore the world! Find out which countries have the most people, beginning with China, India, the United States, Indonesia, and Brazil. Or survey your school\u2019s students and their international heritages. Learn about breads people traditionally bake and eat.\nPrepare your bulletin board. What kind of graph could you make to show each country\u2019s population? One way is to create a pictograph. Cut colorful paper with Crayola\u00ae Scissors to cover a bulletin board. On construction paper, use Crayola Gel Markers to create a colorful border and write each country's name. Attach country labels with a Crayola Glue Stick.\nModel the breads. Model small breads as symbols to represent the population of each country. Decide how many people each piece of bread will represent on your pictograph. Use Model Magic to form miniature loaves, rolls, tortillas, or other breads. To create different colors of dough, knead washable marker colors into Model Magic to blend. Roll modeling compound between palms, flatten with fingers, cut, and press with a craft stick to create different textures. Air-dry pieces for 24 hours.\nAssemble the chart. Stick pieces of hook and loop fastener tape on the back of each bread. Press matching sticky pieces in strips to the right of each country's label on your bulletin board. Stick on the breads. Make a key for your bulletin board, showing how many people each bread represents.\nDisplay the 7 principles of Kwanzaa in a one-of-a-kind accordion window book.\nAdd To Favorites\nPeople around the world give thanks for their food. Celebrate a harvest of pineapples, pumpkins, or pomegranates-and sho\nPaper-bag puppets hold original poetry about pirates, pets, or any preferred topic. Young writers put the puppet's arms\nStorytelling and mathematics merge when students discover that by arranging and rearranging a set of seven geometric til\nCreate a Model Magic\u00ae finger puppet of a president you research then use puppets to interview other presidential finger\nUse ordinary wooden clothespins to create original versions of Guatemalan worry dolls. These minipeople hold important p\nPicasso\u2019s art career spanned many decades and included a variety of styles and influences. Create a portrait collage ins\nUpdate an ancient craft with contemporary designs and art materials. These holiday ornaments are light and unbreakable,\nOur crayons have been rolling off the assembly line since 1903, and you can see how it\u2019s done.\nVisit us \u00bb", "id": "<urn:uuid:867148be-e37a-47d9-a33b-6ecd55266f20>", "dump": "CC-MAIN-2013-48", "url": "http://www.crayola.com/lesson-plans/the-breads-we-eat-lesson-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163052713/warc/CC-MAIN-20131204131732-00066-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.881271243095398, "token_count": 573, "score": 3.515625, "int_score": 4}
{"text": "Family Literacy Resources\nWhat are family literacy programs?\nFamily literacy programs provide learning activities and opportunities for parents, caregivers, children and other members of the family. Some programs that the NWT Literacy Council has developed are:\nThe 1-2-3 Rhyme with Me program promotes young children\u2019s oral language development through the use of rhymes, songs and stories. The program is directed at parents and teaches them the skills they need to enhance their children\u2019s oral language development. Good language development at a young age will help children develop good literacy skills in the future.\nThe Books in the Home program is based on the belief that parents are children's first and most important teachers. In this program, parents learn to read and share books with their children in positive and enjoyable ways. The program promotes reading and writing of both parents and children.\nFamily Tutoring is a family literacy program that supports school-aged children to develop reading and writing skills. The program works with parents, teacher\u2019s assistants, and tutors to strengthen the English literacy skills of the whole family. Program participants learn reading and writing strategies to support their learner\u2019s reading and writing development. Family Tutoring works with adults who tutor children at the emerging and early reader stages. Usually these children are in grades 1 to 4. Program strategies can also adapt for older children and youth who struggle with reading and writing.\nReading circles encourage parents and other community members to help children become enthusiastic and positive about reading. In a reading circle, parents, community members and children meet once a week for an hour to share stories and books. The focus is on discussion, and the enjoyment of families reading and talking together. The reading circle is informal, and can be easily integrated into existing programs and services for families.\nSpecial family literacy events that encourage literacy related activities for holidays. These activities will include: storytelling, sewing, crafts, cooking traditional foods, celebrating holidays like Christmas, Valentine\u2019s Day, etc.\nOther family literacy programs are:\n- Books and Bannock \u2013 Families come together once a week to read and eat bannock.\n- Story Time on the Radio \u2013 Each week someone reads a story on the radio in English and their Aboriginal language. Families listen to the story together then answer questions to win a prize.\n- Elders and Children \u2013 Elders tell stories to the children at the daycare or school. They talk about the past and what it was like when they were young.\n- Traditional Skills \u2013 Each week, Elders teach boys and girls traditional skills. Boys and girls learn to sew, trap, tan hides, make tools and go dogsledding.\nThere may be a family literacy program in your community that you can attend. Ask your local school, daycare, family support program or library if they have a family literacy program you can attend. It is a great way to support your child\u2019s learning and a lot of fun too.\nHow can I get a family literacy program going in my community?\nThe NWT Literacy Council can help people or organizations get family literacy programs going in their community. We travel to communities to give workshops and training and provide free resources. We also offer family literacy funding for people who have taken our family literacy training.", "id": "<urn:uuid:ea13ec8e-968d-4ce3-9c94-e9f45f139e0c>", "dump": "CC-MAIN-2013-48", "url": "http://www.nwt.literacy.ca/familyliteracy/familyliteracyprograms.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00068-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9594298005104065, "token_count": 672, "score": 3.59375, "int_score": 4}
{"text": "With 70% of our planet covered in it, you can be sure water is a global issue. The topic of water can link into teaching and learning about issues such as climate change, economics, energy, health and human rights, for all age ranges.\nDid you know that out of all the water in the world, only 0.01% is clean, fresh water available for use? This is actually sufficient for all the world\u2019s needs if distributed evenly. However, that is a big IF. Some countries (like Canada and Brazil) have a plentiful supply and some countries and regions (like sub-Saharan Africa) have a limited amount. Added to these fundamental differences are issues such as mismanagement and overuse, pollution, large populations, climate change, privatisation and conflict. The good news is that with careful management, political will and new technologies, there is enough water for everyone\u2019s needs, and it can be used as a sustainable energy source.\nThere are lots of opportunities in the curriculum to use water in lessons. The ideas discussed below give examples of how you can use water to bring a global dimension into your lessons. Each area provokes different opinions and could lead to some great opportunities for research and discussion in class. There are also lots of links at the bottom to more information.\nWhy is water important?\nAs my Grandfather says \u2018Water is nature\u2019s champagne\u2019. It is a universal and essential requirement for life. Whether you live in the UK or Uganda, water is required for personal, agricultural and industrial use. In the UK we have fresh, clean water at the twist of a tap, but are vulnerable to flash flooding, rising sea levels and even water shortages. In Uganda, a land-locked country, coastal floods are not a threat but over half the population do not have access to safe, clean water. For a country reliant on agriculture, access to water is really important. It is used for personal and health hygiene and sanitation, to ensure successful harvests and to raise livestock.\nIt is now common for people to talk about climate change as a global issue \u2013 but what effect will it have on water supply? There are two main areas discussed by scientists. The first concern is that increasing global temperatures could lead to rising sea levels and coastal flooding. This puts coastal and island communities in danger of losing their homes \u2013 if they become uninhabitable, millions of people could become refugees.\nThe second area of concern is rainfall. In places where less rain falls the frequency and length of droughts could increase. This would result in crop failure and livestock losses, leading to many more incidents of starvation. Other areas may receive more rain than normal or have flash floods, which can also damage crops, houses and workplaces.\nWhat can we in the UK do to help? At the moment the rich world emits 50% of the world\u2019s CO2 each year (despite only making up 15% of the world\u2019s population). In simple terms, reducing our CO2 emissions could help slow climate change and make a huge difference to countries all over the world. Students could explore the debates about climate change and actions that can be taken to prevent it.\nAs populations grow and quality of life improves, more water is required to meet all of our personal, agricultural and industrial needs. As there is only a limited amount of fresh water available, competition for use is increasing. For example, where rivers and lakes are shared by more than one country, such as the Nile, water usage has become a political issue. Discussions about who should have access to fresh water and how much each country is allowed can lead to international tensions. Some people even say that the next major war could be over water. Students could research areas of water stress to find out what factors contribute to the growing demand for fresh water and which countries are most affected.\nPrivatisation of public services is often controversial in the UK. Clean water is an essential service and, in a global context, with the added complications of poverty, aid policies and the global reach of multinational companies it is even more hotly debated.\nGlobal institutions such as the IMF, individual donor countries and companies that stand to make a profit often champion privatisation. In countries where the public sector is struggling to provide water to local people, farmers and industry, privatisation can seem an attractive option. However, there are cases, such as that of Bolivia, where privatisation of water services caused prices to rise by up to 200%. This led to mass protest and a reversal of policy.\nWater is so clearly a universal human need that it provides a useful way in for young people to investigate issues around aid policies, the influence of multinational companies, and access to natural resources, the role of international campaigning organisations and the power of popular protest in challenging politics.\nWater and technology can work together to be both the means and the ends.\nFor example, innovative ideas make it easier for people to collect water when they don\u2019t have a piped supply. What inventions could your pupils think of to help meet water needs?\nWater can also be used to provide cheap, clean energy. Both small and large-scale projects can provide sustainable systems to meet technological needs. A great example of a small scheme can be found at the Centre for Alternative Technology in Wales who use water to power their cliff railway. Large ventures such as hydroelectric dams can even power big towns bringing energy to many people. However, there can also be negative impacts. Re-routing a river thorough a dam can result in less water flowing downstream. In this case, people who rely on the river as their main water source may find they face a shortage. Students could consider both the benefits and problems that these examples present.\nWhy teach about water?\nWater is a basic human need \u2013 but we don\u2019t all have equal access to this essential resource. Teaching about the issues can help children to understand how important water is, why people don\u2019t have equal access to resources and what difficulties this presents. It also allows students to develop concern and understanding for the environment and make decisions on how their actions can influence these areas in the future.\nThe curriculum has many entry points to teaching about water in subjects such as Geography, English, Maths, Science and Citizenship. It can be easy to add a global dimension to lessons that you have already planned. For example, when discussing weight, why not look at a case study of someone who collects water. You could calculate the weight of the water they carry. Or when studying graphs and percentages look at the number of people that don\u2019t have access to safe drinking water versus the number that do. Water-related photographs could be used as a stimulus for creative writing, or when teaching about electricity you could study hydroelectric dams. In Citizenship you could ask students to research dams and hydro-electric power in the UK, and compare it to systems in other countries.\nAn interactive world map showing the world\u2019s water flashpoints.\nA range of articles on the theme of water, including a facts and figures\nInformation on appropriate technologies and low cost sanitation approaches\nSustainable Technology Education Project (STEP)\nSome excellent case studies from the UK and other countries and teaching activities related to water and sustainable development.\nBackground information on water-related issues, fact-sheets and teaching resources for all ages in WaterAid's Learn Zone.", "id": "<urn:uuid:a393e14b-b093-4257-a9e9-a09dc288b42b>", "dump": "CC-MAIN-2013-48", "url": "http://globaldimension.org.uk/news/item/13657", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00067-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9512806534767151, "token_count": 1513, "score": 4.03125, "int_score": 4}
{"text": "An Introduction to Copywork\nWhat is copywork? Quite simply, it is writing out by hand, or copying, words from a written model. In the very early stages, children may trace or copy the letters of the alphabet, but once they have had some practice with this, they progress to words and phrases. Later on, sources for copywork include a great variety of written materials: poetry, Bible passages, other writings of great men, to name just a few. Some people equate copywork with handwriting, and this is certainly part of it \u2013 but there is far more to copywork than just handwriting.\nCopywork has a long and noble history. The term itself seems to be a recent one , but the practice is almost as old as education itself. Archaeologists in the Near East have discovered clay tablets from Mesopotamia, on which trainee scribes used to copy down proverbs and wise sayings, more than 2000 years before Christ. Egyptian schoolboys received similar training. Hebrew kings were required to make their own handwritten copy of the Scriptures (Deuteronomy 17:18), which they were then expected to read, study, and put into practice throughout the rest of their lives.\nComing down to more recent days, during the 16th-18th centuries AD, people used to keep \u201cCommonplace books\u201d. A commonplace (so the dictionary says) was \u201ca notable passage or quotation entered in a book for future use\u201d. Later still, children used to practise their handwriting in copybooks, using the same kind of mottoes and verses that little girls would stitch on their samplers.\nBy and large, the greatest writers in the English language developed their writing skills through copywork and narration. Neither Shakespeare nor Jane Austen ever enrolled in a creative writing course; Dickens never studied journalism; Robert Louis Stevenson did not take classes in How to Write for Children (or for anyone else, for that matter)! Living before the invention of photocopy machines and computers, anything they wanted to keep a written record of, had to be copied down by hand: so copywork was a normal part of everyday life. Our children obviously live in a different age, but if we hope for them to become great writers, we can do no better than provide them with the same kind of training as these, and other, writers of the past.\nCopywork carries with it a number of benefits.\nGoing on from the benefits to the practical questions. How do we teach copywork in our home schools?\nIn our home, I assign copywork about four days a week. A lesson generally takes between 5 and 15 minutes, depending on the child\u2019s ability and the length of the passage they copy \u2013 though some children are quite capable of dragging out a 10-minute selection to 2 or 3 hours, if allowed! Using a timer or assigning a specific time limit helps to prevent this from happening.\nThe younger members of the family copy from my own hand-written model. First they (or I) read through the selection, and I may note new punctuation; then it is time to write. Copywork may seem easy, but it is actually quite an intensive part of the day\u2019s lessons, as it requires the child\u2019s full attention \u2013 and initially the full attention of the parent as well. When our 5-year-old first began, I would sit with him, verbally directing him as he copied the letters (\u201cstart at the top, now go round and down to the bottom line, then back up to where you started, and down\u201d). Several months later I found less need to do that, though it was still necessary to keep a close eye on what he did, and give assistance if needed.\nLittle children begin with tracing the alphabet. A good \"first\" copywork passage is this alphabet rhyme, from one of Arthur Mee's books. One of my sons spent several weeks copying it, half a line at a time. It gave him practice with all of the letters: both upper and lower case.\nOnce they are familiar with all of the letter-forms, children go on to copying very short selections; and as their ability increases, so does the length of the passages. My 5-year-old normally copies a 5 to 10 word selection; the 8-year-old writes a couple of sentences; older children copy whole paragraphs or poems. I always assign specific passages to the youngest children. Slightly older children are allowed more flexibility in their choice of copywork.\nAt various times, I have used long lists of English proverbs or Bible verses with our six and seven-year-olds. I would print out these lists and then use Scripture one day, and proverbs the next. Doing this made it easy to assign a page at a time and allow the children to choose one or two sentences a day. Once they had copied half-a-dozen selections from one page, we would go on to the next . Charlotte Mason recommended that children choose their own selections; but too much choice can be overwhelming (an eight-year-old can easily spend four hours choosing a selection which he can copy in five minutes), which is why it is better to provide some direction, at least.\nImmediate feedback is very important. When correcting work, focus on one or two things to improve or practice \u2013 any more may be overwhelming. Show excellent work to Daddy, or to grandparents, or to anyone else who will be as excited as you are!\nCopyright \u00a9 Ruth Marshall 2005\n Charlotte Mason, the early 20th century British educator, called it \u201ctranscription\u201d \u2013 which literally means \u201cwriting across\u201d.\n Another way we could have done this is to cut the pages into individual sentence strips and place them in a jar, allowing the child to take out one or two each day. This idea is sometimes called the \u201ccandy jar copywork\u201d method, after Penny Gardner's description on her website. Mrs Gardner is the author of the Charlotte Mason Study Guide.\nNote: This article is an edited version of one which first appeared in A Living\nEducation, a quarterly publication devoted to \"applying Charlotte Mason\nin Australian Homeschools\".", "id": "<urn:uuid:14b08067-7a40-413f-87ac-20388d77f7fa>", "dump": "CC-MAIN-2013-48", "url": "http://wonder.riverwillow.com.au/home_education/english/copywork.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164023632/warc/CC-MAIN-20131204133343-00067-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9689954519271851, "token_count": 1276, "score": 3.84375, "int_score": 4}
{"text": "Lectures & discussions\n9.1 The narrative arc/9.2 The elements of a narrative arc\nThis is one chapter where you really should ask students to read the essay ahead of time. However, you know how unengaging and dull it can be to simply run over a reading saying \u201cso, did you read X section? Any questions?\u201d\nWe suggest, instead, that you start with the narrative arc chart, on the board. Get students to define a protagonist for you, and a spark (the two most complex concepts here). Then, use Cinderella and/or other stories to run over the function of the arc multiple times. You might also invent your own story, as we do with the Roderick/Rodrigo example. You could even finish that one for us (send it in if you do!).\nDepending on the kind and level of students you have, you might use the Archies, classic superhero stories (new ones have arcs that are too long and twisty), or other comics of your choice. Or you can discuss the arcs of novels, shorts stories, and movies. The important thing in driving this lesson home, however, is to engage the students. If they aren\u2019t forced to think the chain of events in an arc through, and identify their parts, they will not internalize the ideas.\nOne other trick: have students use the basic shape of the arc chart to literally chart other stories. That is, have them write the applicable points at the right places on the chart, and explain their reasoning. You can have students do narrative arc book reports, as well, where they pick a story, and chart the arc of the story, then present it to class. Repetition is key.\nFeel free to send in your best arc analyses. We\u2019d like to include some on the site!\nDepending on your artistic philosophy, you may have issues with teaching the narrative arc. Of course, you should teach the way you want to. However, we think we make a good argument for teaching this structure to students so that they have it available to them as a tool. We don\u2019t believe the narrative arc is the be-all and end-all of narrative structure, but it is one of the most important structures out there. Its flexibility and ability to sink into the background when necessary make it one of the most basic skills a storyteller needs, in our opinion. If you\u2019re reluctant to teach this using something like Die Hard (a very clear example, by the way), you should pick a story or stories that reflect the arc in a more subtle and complicated manner.\n\"The Crush\" is carefully designed to hit all the major points in the narrative arc essay. You might do a few verbal analyses (Cinderella, et al.), then move on to this story as a group. Note one of the questions in the talking points: how do the obstacles build on the previous obstacles? This is something we don't cover much in the essay, so you might want to spend some time on it. The sense of building and interconnection are vital to a tight arc. One other point we don't bring up is that the spark ties in with the particularities of the protagonist. Clay is a bit geeky, shy, and an adolescent boy\u2014this means seeing a cool girl and crushing out is going to be more of a challenge to him than it might be to, say, a self-confident team captain. A strong spark is designed to dovetail with the protagonist's strengths and weaknesses.\nTV writer make-believe\nThis activity can easily be folded right into your lecture/discussion. Choose whichever set of characters make sense to use, and continue with the examples and troubleshooting you did on Cinderella and whatever else you used. Alternately, you can set students loose in small groups to work on this independently, and then have them write and turn in their arcs, or present them to the class. You can have them write the various stages of the arc on an arc chart, if that appeals to you.\nSyd Field, Screenplay: The Foundations of Screenwriting\nDavid Mamet, On Directing Film\nRobert McKee, Story: Substance, Structure, Style, and the Principles of Screenwriting\nDennis O\u2019Neil, The DC Comics Guide to Writing Comics\nThumbnails for a six-page story with a narrative arc\nThis is the first stage of a project that will carry your students through the end of the book. It's also the first time we've set them so free with regard to topic, so many students may need their hands held so as not to get writer's block right out of the gate. For these students, focus on the utility of the narrative arc chart\u2014as soon as they've got one element in place, they can use the chart to figure out what they still need to figure out. Emphasize what we say in the \"materials\" section: writing a story really is 99 percent perspiration. It will not come to them whole cloth, but, rather, will require that they use their initial inspiration to build carefully the scaffolding of their story. If students are still under the impression that stories (any kind of stories) flow seamlessly from the fingers of writers, this is the moment to disabuse them of that idea. All storytellers work at it, and make conscious decisions about their arcs that may feel artificial in the moment of decision, but end up making the whole contraption hang together. Students should understand that they need to allow the needs of the story to be paramount, even if that means jettisoning some scene, character, or setting that is close to their hearts. One of Jessica's in-class refrains is \"kill your babies!\"\u2014that is, make the hard decisions about what belongs in the story. That's what real artists do.\nA note about the stories students decide to work on: we recommend to them in the text that they start from scratch, and not work on a story they'd previously thought of\u2014especially if it's long. This won't be enough for some students. Many of them have been harboring dreams of launching their series or graphic novel for a long time, and want to get started right away. There are obvious reasons this isn't a good idea: their skills are not likely to be up to the task of a huge undertaking like this yet. However, the more subtle reason is that students who have been thinking about a story for a long time are going to be really stubborn about it. When you suggest that they jettison some aspect or another, or modify the story in order to accommodate a narrative arc in six pages, they're going to fight it. The story is too developed to submit to critique and modification, yet (likely) too undeveloped to be useful as is. Suggest (or require\u2014we do) that they set aside their epic stories for a little while longer while they get ready to do them right.\nThe structure set up for students to follow in the homework is very helpful; it breaks down the story across space in such a way as to help make clear where it's over-padded or thin. It also helps to think about rhythm right from the outset. You should decide how much preparatory work you want students to do: how many maps, how many sketches? Be specific if you want this material to get done.\nThumbnail a three-page Chip and the Cookie Jar comic\nChapter 9: Thumbnails for a six-page story with a narrative arc\nThe crit guidelines in Appendix B are fairly extensive. But one further note: your job will be primarily to troubleshoot the narrative arcs. Make sure both you and the students understand how the arc is implemented in each story. Naming the scenes, and figuring out if each scene moves the story forward, as suggested in the talking points, is a very helpful technique in tightening the story and cutting bloat. It's also a good moment to check how much real estate has been carved out for each scene, and to question whether that pace feels right for the story.", "id": "<urn:uuid:50e441dd-ff98-415d-9b24-f6cac550459b>", "dump": "CC-MAIN-2013-48", "url": "http://dw-wp.com/2010/03/teaching-guide-chapter-9/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164014919/warc/CC-MAIN-20131204133334-00067-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9611421823501587, "token_count": 1671, "score": 4.25, "int_score": 4}
{"text": "Over a period of almost four centuries, four milion Africans were transported to North America and the Caribbean Islands in the Atlantic slave trade. Captured from their homeland and seperated from their tribes and families they were enslaved in a new world, where all familiar customs were absent. The African diaspora is the story of how Africans, though scattered disperesed, managed to retain their traditions and reform their identities in a new world. Elements of African culture such as religion, language, and folklore endured and were their links to their past lives. In the process of americanization, Africans formed another culture known as Afro-Americans or Creoles.\nThe transatlantic slave trade was the largest forced migration in the world. It created permanent ties between Africa and North America. Africans were shipped from many regions of Africa but mostly from those areas along the coast. The Bantu, along the Guinea coast had largest homogenous culture followed by the Mande, thus the culture of African-Americans was influenced the most by the people of these regions.\nIn the colonies the economic demand for slaves and the demographics of the slave population had an enormous effect on the developement of Afro-American culture. Never did their exist one Afro-American culture, for each area had a different social, economic, and political relience on slavery, which characterized a unique slave culture. For example, areas that depended on plantation farming such as the deep South and the Chesepeake had a huge number of slaves, while in comparison the North had relitively few slaves. As a result, the southern colonies more frequently imported new African slaves which constantly re-established African traditions. Each area in the colonies had the developement of a specific Afro-American culture.\nThough Afro-American culture was specific to each area, there were several general cultural themes that ran throughout the Afro-American population in the colonies, one was religion. Christianinty is an execellent example of how Africans merged their own beliefs with the existing religion, and produced a theology of their own. Christianity spread rapidly throughout the slave communities during the Great Awakening, a surgence of evangelical Christianiy which swept the colonies. This movement illuminated the mystical and magical elements of Christianinty, a side which the Africans could understand and identify with. It is ironic, for white slaveholders originally used Christianinty as a tool to perpetuate obedience and docility in slaves; yet, Africans recognized the hypocrsy in the white's version of Christianity, realizing they were equal in God's eyes. Africans took the tool ment to manipulate them and used Christianinty to give them hope for the future and to strenghten their bonds between one another. While slaves were Christianized and assimilated to white culture they kept elements of their native culture alive.\nAfrican Americans blended old style with new when cooking, smithing, woodcarving, storytelling, and gospel singing traditions. Africans added their own spices and cooking style to some pre-existing European dishes. Slaveowners were also influenced by African cooking styles which is an example of the blending of the cultures. Many African traditions were kept alive by placing familiar, symbols (such as the snake) in smithed gates and window frames. The wood that the carver chose played an important role in native culture preservation. This meticulous tradition lead the way for woodcarvers to make canes, statues, and sculptures such as chains, to show the bondage they endured. The carvings were very detailed and had relevance to the family and friends of the woodcarver. Songs that began in the fields of the plantations to pass the work day evolved into a new type of music, gospel. Gospel music combined the themes of salvation and freedom of Christianity with a native style of singing and dancing. These examples show the integration of native culture with traditional european culture.\nIn the past the Pigeon English spoken by Africans was seen as proof that Africans were not intelligent enough to learn the English language. Through recent studies, we have learned that in the English spoken by African Americans, ties to African Languages can be traced. The Creole languages like Gullah and Pigeon English, still spoken in parts of the U.S. today, reflect pieces of the African culture that survived slavery, not an inability to learn English.\nThe English spoken by the slaves was greatly influenced by their native languages. Gullah was influenced by the languages of the Fante, Ga, Kikongo, Kimbundu, Mandinka, Twi, Ewe, Ibo and Yorba. As time went on, the Creole languages (influenced and) were also influenced by the languages of settlers, such as, French, German, Spanish, Portuguese, as well as Native Americans such as theCreek, Cherokee and many others. By mixing parts of the languages spoken around them, African-Americans created a way to express themselves and communicate with others in the \"New World.\"\nWilliam D. Pierson. Black Yankees(Boston, 1988)\nCharles Joyner. Down by the Riverside(Chiacgo, 1984)\nIra Berlin, \"Time, Space, and the Evolution of Afro-American Society on the British Mainland North America\"American Historical Review 85, 1(1980)\nJoseph E. Holloway, ed. Africanisms in American Culture(Indiana, 1990)\nMichael L. Conniff and Thomas J. Davis, Africans in the Americas(New York, 1994)\nAlbert J. Raboteau, Slave Religion(New York, 1978)\nBlack People and their Culture, Selected Writings from the African Diaspora,(Washington D.C., 1976)\nThe roots of Afro-American music can be explored in Native African Music.\nLook at Documents of the History of African Descents throughout the World or the Library of Congress\nlinks to brush up on African history.", "id": "<urn:uuid:12eda961-b01a-4316-9483-971c673a604e>", "dump": "CC-MAIN-2013-48", "url": "http://www2.coloradocollege.edu/dept/hy/hy243ruiz/research/diaspora.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00066-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9666136503219604, "token_count": 1202, "score": 4.1875, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nFighting Injustice by Studying Lessons of the Past\n|Grades||6 \u2013 8|\n|Lesson Plan Type||Unit|\n|Estimated Time||Seven 45-minute sessions|\nGrades 3 \u2013 5 | Lesson Plan | Standard Lesson\nStudents critically explore the moral issue of slavery through reading fiction and nonfiction children's literature about the Underground Railroad, and they extend their understanding through creative writing projects.\nGrades 6 \u2013 9 | Lesson Plan | Standard Lesson\nAfter reading or viewing The Diary of Anne Frank, students will make connections between audience and purpose and revise a journal entry with an outside audience in mind.\nGrades K \u2013 12 | Student Interactive | Organizing & Summarizing\nThis interactive tool allows students to create Venn diagrams that contain two or three overlapping circles, enabling them to organize their information logically.\nGrades 9 \u2013 12 | Calendar Activity |\u00a0 December 7\nStudents use the Interactive Venn Diagram to compare the bombing of Pearl Harbor to the attacks on America on September 11, 2001.\nGrades 3 \u2013 10 | Calendar Activity |\u00a0 December 19\nStudents listen to a news article about the LA race riots and then read Smoky Night to discuss how a younger observer might be affected by these events and their perceptions.\nGrades 1 \u2013 5 | Calendar Activity |\u00a0 February 11\nStudents read one of Jane Yolen's books, retell the story in the form of a puppet show, research animals in the book, and document their findings with the Animal Study interactive tool.\nGrades 9 \u2013 12 | Calendar Activity |\u00a0 November 9\nTo help understand the thinking of German leaders during the Holocaust, students write about a time when they failed to come to the assistance of someone who needed help.\nGrades 5 \u2013 12 | Calendar Activity |\u00a0 June 12\nStudents learn about eyewitness reports through a lesson that is grade-level appropriate. Then, groups use primary source documents and research an event using eyewitness accounts.\nGrades 7 \u2013 12 | Calendar Activity |\u00a0 September 30\nStudents compare and contrast two views of the Holocaust from different authors. Students may also research stories of other survivors who may or may not be published and create a presentation on this survivor.\nGrades K \u2013 12 | Printout | Graphic Organizer\nStudents use this graphic organizer to describe similarities and differences between three objects or ideas.", "id": "<urn:uuid:dfa0562c-f040-45d2-b241-779e4112ad5a>", "dump": "CC-MAIN-2013-48", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/fighting-injustice-studying-lessons-125.html?tab=5", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164014919/warc/CC-MAIN-20131204133334-00069-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8851330876350403, "token_count": 606, "score": 3.953125, "int_score": 4}
{"text": "-Chronological order text is similar to narrative structure.\n-Chronological order matches what students experience in their lives.\n-Chronological order is easy to understand and analyze.\nThis year, I went carefully through my collection of texts to try to find the texts that my students would find the most interesting and engaging. One of my favorite kinds of chronological order text is the animal life cycle text. Last fall, I wrote a new set of texts that includes a text about how peregrine falcons raise their young. This text was a good starting point for students, as it follows a fairly short span of time. (And peregrine falcons are awesome!)\nAfter reading the text, we went online to check out the peregrine falcon cams. Our local peregrine, up the road in Harrisburg, was at the nest when we checked. And she laid her first egg between Tuesday and Wednesday! This was so amazing. Kids started going back to the text to see when the eggs might hatch.\nAfter we worked through the animal life cycle texts, I wanted students to experience a procedural text. Procedural texts exist in kind of hypothetical time. They do not explore events that have actually happened, but look at steps in a process. We talked about the organization of procedural texts as I displayed a few examples of recipes and crafts projects. Then, students read the \"Fabric Scrap Easter Eggs\" text from Chronological Order Texts.\nReading procedural texts with the goal of answering questions is much different from reading procedural texts with the goal of completing the task. Today's tests, of course, value answering questions over performing tasks. (Anyone else remember the MSPAP tests of the 90s? Kids actually had to perform the tasks on those tests...which probably led to its own set of challenges.)\nI love the Easter eggs text because it is about the way that we always dyed eggs when I was little. My students had little patience for the process. When they got to Step 5, some of them were downright annoyed. \"You mean you could go through all of those steps, get all that fabric and cut it up, and then have it not even work? Why would anyone want to do this?\" Ah well, these are the questions that we ask of procedural text.\nI was tempted to give the assessment at this point. I am trying to be more efficient this year, and compact topics into more manageable chunks. But I just couldn't do it. I wanted students to have some experience with a chronological order text about a historical event.\nTo make the task a little more interesting, I didn't give students the texts right away. Instead, they had some pictures and a map. \"What will this text be about?\" I asked them. \"What clues do you have?\" They pieced together the evidence and tried to make some guesses. There was a building on fire,horses pulling an old-fashioned fire truck, and an untitled map of a city along Lake Michigan. The map did have some labels of locations.\n\"This is a fire truck, because I've seen it in a museum,\" one girl told her partner. In another group, a student found the 10-point font \"Chicago Railroad\" on the map and said, \"I bet this is about Chicago.\" Another student looked up at my Student Learning Map, which I had posted two weeks before, and said, \"Look, that text says 'Great Chicago Fire' and we have some pictures of buildings on fire. So I bet that's the text that we're going to read.\" (Honestly, I'd forgotten that I'd put it up there!)\nThis fifteen-minute activity helped to get the students much more engaged in the text, which they read with their partners. Our next step will be to use the figures to act out the action and to create our own graphic organizers. Will students be able to merge content and structure to make a creative organizer? I hope so.\nEvery year I wonder if I should come up with one theme to unite all of my text structure readings...and every year I enjoy putting together a patchwork of different texts. In the weeks to come, as we look at other structures, we'll revisit the peregrine falcon and the Great Chicago Fire, as well as look at some other topics.", "id": "<urn:uuid:8d2eafe1-1945-4d73-95f1-d80d2a06298e>", "dump": "CC-MAIN-2013-48", "url": "http://emilykissner.blogspot.com/2013/03/peregrine-falcons-chronological-order.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164722336/warc/CC-MAIN-20131204134522-00068-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9748279452323914, "token_count": 894, "score": 3.5625, "int_score": 4}
{"text": "Education: The Importance of Creative Writing for Children\nEducation\u2014The importance of artistic and creative development is something that can be encouraged at a young age. Parents and educators can help nurture and foster creativity in children with some simple games and activities. Creative writing helps to encourage this development and plays an important role in one\u2019s ability to communicate.\nFun Ways to Nurture a Child's Creative Writing Ability\nThere are some fun ways to nurture this development in your child. By allowing your child\u2019s creative juices to run wild and unhindered, this helps to develop and strengthen their written and verbal skills. Some of the activities that parents can do to stimulate the creative juices in their children include:\nActivity 1: Read a favorite story.\nHave your child choose a favorite story that either you or they read \u2013 depending on their reading ability. Have them change the ending of the story. For example, in the bestseller: LadyBug Girl, does she decide to start her own baseball team because her big brother won\u2019t let her play with him? Who does she include on her team? Her silly dog? Do they play in her backyard or at the school baseball field? Do they use pink bats or brown bats? By asking questions about their story, it helps them to formulate a more thorough idea of where they want to take the story.\nActivity 2: Recall a favorite family story.\nAs most parents can attest, our little ones have amazing memories! They can recall things that we forgot (or never absorbed) quite often. Have them remember a fun or silly family story. What time of year did this event happen? Was it during the warm or cold months? What part of the story did they think was the funniest? Who laughed the hardest? This activity is guaranteed to be a fun one!\nActivity 3: Take a tour of their favorite or imagined place.\nHave them take you on a tour of their favorite place. This could be at Disneyland, a rainforest, or on the plains of Africa. Have them describe the animals, colors and sights they see. They can even make up new creatures and inventions. Disney\u2019s Phineas and Ferb, is one of our favorite shows because the boys are always coming up with new inventions. This activity can really get your child\u2019s imagination flowing!\nDepending on your child\u2019s age, you can have them tell you their stories and you can write them down. For older children, maybe a special journal or notebook with funky paper and cool pens could encourage them to make the connection that writing should be fun and exhilarating.\nI hope these ideas helped get your creative juices flowing on how to encourage children to start writing for fun. One way to do this to have your child enter MrsP.com Be-A-Famous Writer\u2019 Contest. MrsP.com is an award-winning and free interactive digital storybook destination. Mrs. P is played by TV actress and author, Kathy Kinney, from the Drew Carey Show.\nMrsP.com was founded in 2008 by Hollywood team Clay Graham, Dana Plautz and Kathy Kinney. They were brought together by a love of reading and a desire to help spark that same passion in young people everywhere (Source: MrsP.com). I had a chance to speak to Ms. Kinney about MrsP.com and their upcoming 3rd Annual Be-A-Famous Writer\u2019 Contest. She said the group started the contest to encourage children to celebrate the joy of reading and writing \u2013 as well as to inspire them.\nThe contest is open to children 4 to 13 years of age. There will be two (2) Grand Prize winners\u2019 stories that will be read by Mrs. P and original illustrations will be created. How fun is that! The contest submissions open September 1, 2011. Ms. Kinney encourages children to enter the writing contest by stating \u201cIf you can tell a story \u2013 you can write a story!\u201d Go here to read more about the Be-A-Famous-Writer Contest: http://www.contest.mrsp.com/Default.aspx.\nMelissa Northway is a mom, writer of children\u2019s picture books, and has written a storybook app and book called Penelope the Purple Pirate. She supports the Be-A-Famous-Writer Contest and is donating signed Penelope copies to the first 10 submissions received in the 4 to 8 years of age category. Go here to see the fun prizes the final contestants will win: http://www.contest.mrsp.com/Prizes.aspx. You can read more about Penelope and Melissa at: www.melissanorthway.com.", "id": "<urn:uuid:d124f8d0-b18b-4db2-b2d8-f417b141725a>", "dump": "CC-MAIN-2013-48", "url": "http://momitforward.com/education-the-importance-of-creative-writing-for-children", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00068-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9598991870880127, "token_count": 972, "score": 3.65625, "int_score": 4}
{"text": "Fun and Interesting Ways To Teach Your Child About Internet Safety\nThe internet has afforded children, some as young as preschool-aged, new and exciting ways to learn and to discover. It has also shown itself to be a platform through which predators can slink undetected. The internet can be as dangerous as it is useful. For this reason, many parents enforce strict guidelines in terms of search time, websites and appropriate chat rooms.\nThis may not be the best approach. Restriction ultimately leads to rebellion. The objective here is to make internet safety training as interactive as possible, so that your child understands the risks associated with irresponsible behavior, has fun while learning, and makes the decision to reinforce those caveats in themselves while surfing with limited supervision.\nHere are some fun ways to teach your children internet safety.\nThere are some computer programs that promote internet safety (like PBS's webonauts) by roleplaying certain situations, like an instant message from an unknown user. The child must choose between accepting the message and blocking the user. If they make the right choice, they earn rewards and have access to more levels. Because of the complexity of the role plays, children are made aware of insidious behaviors that predators operate on.\nAfter each level, explain the significance of defensive behaviors and reward them. Reinforce what they\u2019ve learned by setting up contracts where they promise to follow safety protocol while using the internet, in exchange for you being open and honest when they have safety-related questions. Hang the contract by the computer in highly visible location so they always know where it is and can refer to it in situations that may be questionable or inadvisable. No child under the age of fourteen should be allowed to use the internet without supervision.\nAge-Appropriate Role Plays\nAs children age, they go through stages of comprehension that increase with time, and games may no longer hold their interest. In order to instill internet safety in children and capture their attention, lessons must be interactive, challenging and enjoyable. This means tailoring your lessons to their age-group, so that as they age and respective safety challenges emerge, areas of interest are targeted squarely, ensuring that your techniques are easy to understand and effective long-term.\nMaking learning fun and interactive is the best way to let your children know that you are there for them in any situations where they need advice in terms of internet safety. Help your children make the right choices when it comes to internet safety by instilling in them the dangers of irresponsible internet use and reinforcing good decisions through role play and rewards.\nDownload our infographic to get advice on how to keep your kids safe and happy online: \u201cSafety Net: A Parent\u2019s Guide to Internet and Mobile Safety.\u201d\nAbout the Author:\nTim Woda is an Internet safety expert, and a passionate advocate for empowering families and protecting children from today\u2019s scariest digital dangers. Woda was on the founding team of buySAFE, an Internet trust and safety company, and he started working on child safety issues after his son was targeted by a child predator online. While his son was unharmed, the incident led Woda to to kick-start uKnow.com.\nYou can follow Tim on Twitter or on his blog.", "id": "<urn:uuid:2be9fb6c-cc7a-4066-b1c3-65f09f35ad79>", "dump": "CC-MAIN-2013-48", "url": "http://info.uknowkids.com/blog/bid/302895/Fun-and-interesting-ways-to-teach-your-child-about-internet-safety", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164583265/warc/CC-MAIN-20131204134303-00064-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9558241367340088, "token_count": 666, "score": 3.59375, "int_score": 4}
{"text": "Anyone who has spent a brief moment of time with someone from Folger Education knows that we are avid believers in introducing students to Shakespeare through performance-based teaching, that is, an interactive approach to the study of literature in which students participate in a close reading of text through intellectual, physical, and vocal engagement. Certainly, that may include students participating in language-based activities, working on scenes from the text, or putting together a full or truncated production of the play being studied. But what is the total extent of performance-based teaching? Are there other interactive approaches that can engage a student intellectually, physically, and vocally?\nOne of the things I have come to appreciate most about Folger Shakespeare Library is the diversity of approaches that the Folger as an institution takes towards the study of Shakespeare. While other establishments may be a theatre, a museum, a library, or a research organization, the Folger houses all of these. Additionally, we are a conservation lab, an early music consort, a poetry and lectures hotspot, and a place where students from grade three through post-graduate studies can learn more about Shakespeare.\nI don\u2019t mention these things to brag. I say this because I love the fact that the very nature of the Folger reflects what I believe about the study of Shakespeare: that the methods of approach are as diverse as people are, and the possibilities are only limited by our own creativity.\nThe Folger\u2019s High School Fellowship program includes a component known as an illumination project. The illumination project allows students to take Shakespeare\u2019s text and apply it to a different medium in order to explore meaning, enhance understanding, and present a point of view. It is an opportunity for students to integrate new thoughts, ideas, and attitudes explored through the works of Shakespeare with a pre-existing interest or area of study. It is a chance to carry out a valuable, in-depth study of Shakespeare through a medium that is connected to their own interests and to experience how Shakespeare may be applied to other fields of study.\nIn the past, illumination projects have been approached in a number of ways and have involved a variety of mediums. Here are some examples of the types of approaches that could be used in this project:\n- Visual Art \u2013 i.e., creating drawings, photographs, mixed media, comic book, etc. that integrates Shakespeare\u2019s text.\n- Music \u2013 i.e., \u201cscoring\u201d text to self-written songs, composing music for Shakespeare\u2019s songs or other pieces of Shakespeare\u2019s text, etc.\n- Technology \u2013 i.e., remixing Shakespeare through Audacity or Garageband, creating a photo montage with sounds and text through Photostory, designing a website, animation, powerpoint, or podcasts, etc.\n- Creative Writing \u2013 i.e., writing/illustrating a children\u2019s story that distills Shakespeare\u2019s text, fusing personal poetry with Shakespeare\u2019s text, etc.\n- Theatrical Design \u2013 i.e., designing costume renderings, a set model, soundscape, and/or light plot based on your own directorial concept of a scene, etc.\nPerhaps there are students in your class who would rather eat hot coals than stand in front of a group of people and act in a play. Perhaps, for whatever reason, this is not the year your school will be able to produce a Shakespeare play. Do not be daunted. See what happens when you let your students loose on Shakespeare\u2019s text with their own creative outlets. The results may be surprising, exciting, and delightful.\nTo see examples of past student work, visit the High School Fellowship Program online gallery.", "id": "<urn:uuid:a89d7f4e-6bc8-4e0a-b76a-c50dcc20d00d>", "dump": "CC-MAIN-2013-48", "url": "http://folgereducation.wordpress.com/2010/03/23/illuminating-shakespeare/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163844441/warc/CC-MAIN-20131204133044-00068-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9372135400772095, "token_count": 766, "score": 3.609375, "int_score": 4}
{"text": "Teaching with Technology: Tech That Explores Diversity\nNew technology is at its best when it brings diverse people together to share common issues, including those that center on our most precious resource, our children.\n- Grades: PreK\u2013K, 1\u20132\nWEB SITES that \"Set Their Sights\" on Kindness and Diversity\nAnti-Defamation League (www.adl.org)\nCan hate be \"unlearned\"? The group dedicated to fighting hate and bigotry has several articles for teachers, including \"Talking to Your Child About Hatred & Prejudice\".\nEducators for Social Responsibility (www.esrnational.org)\nThis excellent online resource for teachers is designed to help children understand cultural diversity.\nERIC's Early Childhood Education Section (http://ericeece.org)\nTeachers will find a variety of great articles on kindness and diversity, such as \"Teaching Young Children About Native Americans\".\nSouthern Poverty Law Center (tolerance.org)\nThis site offers a nice variety of lesson plans designed to teach tolerance.\nPrecious Children (www.PBS.org)\nSixty U.S. teachers are tracked during their trip to China. Learn more about the documentary, and don't miss the wonderful collection of links and articles on teaching diversity.\nPeace Gallery: Pictures from Around the World (http://www.peacegallery.org/)\nPeace Corps volunteers display thousands of images from around the world. The pictures show the amazing diversity and similarities of people.\nI've recently come across an interesting Web site, www.peacegallery.org, where you can see thousands of images from hugely diverse cultures-many of young children-as viewed through the cameras of America's Peace Corps volunteers. At first glance, I noticed how different everyone looks-different skin, eyes, and clothing But look closely, and you start noticing the similarities: People in the pictures are playing, eating, cuddling, crying, and laughing.\nToday's early childhood classroom is the first \"melting-pot\" experience for many families. It may also be the first time children meet others who are \"different\" from themselves. Here are some ways you can use technology to help children better understand one another and develop an appreciation for other cultures.\nSpotlight Similarities and Differences\n- Digital Camera: Make a face gallery. Every family gets up in the morning and sends its best \"cultural messenger\" to you in the form of their child. Take your digital camera, turn the flash off, and zoom in close on each child's face. Capture every detail, and then print out each picture on an 8 1/2\" x 11\"I sheet of paper and make a \"face gallery\" bulletin board. If you don't have a color printer, don't worry-- the pictures look great in black and white.\n- APS Camera: Bring home to school. Offer parents a classroom camera to take home for the weekend. Provide a \"shot list\" of ideas that includes their child's bedroom, pets, favorite toys, and so on. Any 2.1 MP (MegaPixel) or digital camera works fine. Use the photos to make a bulletin board that features that child. If you don't have an APS camera, you can purchase a disposable camera at your local grocery store.\n- Tape Recoder: Listen in on home. Encourage children to record the sounds of family members who may speak a different language, the music they enjoy, foods sizzling on the stove, and family activities. When you play the tape in the classroom, see if children can identify the different languages spoken or guess what kinds of foods are cooking in the kitchen!\n- Word Processor. Create a recipe book. Ask each family for a favorite recipe and use your word processor to type them up. (You can also ask families to submit recipes on disk-a nice tech lesson for their child.) Print a copy for each child and send it home. Have fun naming the dishes-- Lucy's Lovely Lasagna, for example.\nSoftware That Supports Your Curriculum\nHere are some software programs you can use in the classroom to introduce children to different places, cultures, and people. You can also recommend these to parents to support learning at home:\nClifford Musical Memory Games\nTeaches: music, sequence, logic. In this fourth release from the Clifford series, children go back to Birdwell Island to fix the island's music. Players collect objects to reconstruct instruments, play a seashell sound-concentration game, and experiment with the 10 main keyboard notes. Parents will appreciate the musical focus. Scholastic Consumer Software, 800-724-527; www.scholastic.com; Win/Mac; $19.99. Ages 4-6.\nCurious George Reading and Phonics\nTeaches: letter sounds, phonics, early reading. The Man with the Yellow Hat has a present for George, but the map to its location has been torn apart and the pieces scattered all over the town. Children guide George through different locations, playing five word games along the way to earn back pieces of the map. The activities are delightful and involve playing cards with George to spell words, washing windows to match upper- and lowercase letters, and sorting rhyming words as they come down a conveyor belt. Knowledge Adventure, 800-545-7677; www. knowledgeadventure.com; Win/Mac; $19.99. Ages 3-6.\nTeaches: writing, creativity. This 1997 \"classic\" may be a bit dated, but it is still one of the most innovative programs ever made. Orly is a little Jamaican girl with a penchant for storytelling. She invites players to create characters, vehicles, and buildings at a well-stocked pop-up art center For instance, while telling a story, she'll stop and say, \"Hey! We need a submarine for this story. Can you make one?\" Players then create a submarine, and when the story resumes, there is their submarine, cruising across the screen. There's also a writing center so children can write their own stories, choose music and sound effects, and of course, illustrate their work. Orly's stories are engaging and emphasize the importance and benefits of friendship.\nBroderbund (The Learning Company), 800-716-8506; www.learningco.com; Win/Mac; $10. Ages S-10. ECT", "id": "<urn:uuid:fc5324ce-d80c-4c75-9b24-a2f2407f4ea8>", "dump": "CC-MAIN-2013-48", "url": "http://www.scholastic.com/teachers/article/teaching-technology-tech-explores-diversity", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164944725/warc/CC-MAIN-20131204134904-00068-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9269784688949585, "token_count": 1335, "score": 3.75, "int_score": 4}
{"text": "Building the Classroom Community With Picture Books\n- Grades: 1\u20132, 3\u20135, 6\u20138\nTolerance, perseverance, self-confidence . . . the list of community values we want to instill in our students goes on and on. Character education is always important, but it feels even more urgent at the beginning of school, when I am trying to set the tone for the entire year. In my classroom, picture books are the perfect springboards for rich conversations on heavy topics. Here are some of the picture books that I rely on to jump-start my classroom community.\nUsing Picture Books With \u201cBig Kids\u201d?\nPicture books are one of the most powerful tools in a teacher\u2019s arsenal, even in the upper elementary classroom. Picture books marry writing and art to create a form that is more than the sum of its parts. The short format of picture books means that you can get to the meat of the story in a single sitting. The illustrations provide an entry point for a wide range of students. And to be honest, I think picture books speak best to the heart \u2014 a requisite when talking about community values.\nPicture Books That Wear Many Thematic Hats\nWe\u2019ve all seen long lists of children\u2019s books that are organized thematically \u2014 books for discussing bullying, for teamwork, for multiculturalism. And while these lists are certainly helpful, picture books can often be used for a wide range of themes and topics, not just the topic suggested on a reading list. The layers of meaning in these stories run deep, so we teachers have license when choosing picture books to match our community-building themes with the perfect book.\nWhile the purpose of these early read-alouds is really community building, I can\u2019t help but squeeze in some instruction about literary elements as well. This is a perfect time to start discussing themes, or \u201cbig ideas,\u201d with my students, and it helps them focus on the social and emotional content of the stories as well.\nI adapted Beth Newingham\u2019s wonderful theme posters to create a \u201cWhat\u2019s the Big Idea?\u201d door in my classroom. Each time we finish a picture book, my students hold a lively debate about which theme is the best fit for the book. This introduces multiple perspectives, too, since the books rarely fit just one theme. The students practice accountable talk and using textual evidence as they defend their thematic choices for the book. Finally, we put it to a vote and tack a small, laminated printout of the book cover onto the corresponding section of the door. (For more ideas for teaching literary themes, see Angela Bunyi\u2019s blog post \u201cFinding THE MEssage.\u201d)\nColored masking tape and laminated theme cards transformed the back of a door into an interactive bulletin board. We use sticky tack to add book covers to the door as we finish books.\nMy Back to School MVP(b) List (Most Valuable Picture Books)\nDuring the first few weeks of school, I read to my students many times throughout the day. Read-alouds are a wonderful way to build a common knowledge base, to extend the length of time my students can sit without wriggling, and to foster a sense of joy and wonder around reading. This means that we read many, many high quality picture books during September \u2014 and I love all of those books dearly! Here is a very abbreviated list of some of my favorite back-to-school read-alouds.\nSwimmy by Leo Lionni\nDon\u2019t write this book off as little kid stuff. The simplicity of this poetic classic belies its multitude of themes, and I always find that it leads to the very best grand conversations in my classrooms. Last year, my students discussed the messages in this book and how it relates to our classroom for an uninterrupted forty minutes! Anything that can spur a conversation like that during the first week of school is pure magic, in my book.\nIsh by Peter H. Reynolds\nPeter Reynolds has made himself the ambassador for creativity, and his heartfelt books about living an artistic life bring tears to my eyes. Ish is the second book in his \u201ccreatrilogy\u201d that also includes The Dot and Sky Color. I read my students Ish on the first day of school to send a clear message: creativity, academic risks, and coloring outside of the lines is a requirement in my classroom!\nAfter sharing this book with my students, they head back to their seats for a follow up art activity. Each student gets ten wax-covered Wikki Stix strings to make an unusual sculpture. Then, each student in the class walks around our ad hoc sculpture gallery, writing down titles for each sculpture on index cards. The students marvel at all of the possible interpretations of their sculptures, and I point out how much fun divergent thinking can be. (FYI, September 15 is International Dot Day if you want a timely celebration of creativity.)\nA student adds his title to the list of possible titles for this Wikki Stix creation.\nHeroes by Ken Mochizuki\nThis is one of the more mature picture books that I use with my class at the beginning of the year. It tells the story of a Japanese American boy who is upset when his \u201cfriends\u201d always make him play the villain in their pretend games. This book introduces historical fiction, a thoughtful discussion of prejudice, and a wide range of themes including teasing, acceptance, heroism, family relationships, and bravery. The publisher puts out this useful guide for teaching with the book, and Scholastic has an interview with the author.\nCrickwing by Janell Cannon\nThe eponymous cockroach is transformed from misunderstood bully to culinary hero in this creative jungle story. I adore Cannon\u2019s dazzling illustrations and her generous use of challenging vocabulary. I find this book particularly useful for discussing empathy, forgiveness, and teasing. Cannon also writes Stellaluna, Verdi, and Pinduli, and together her books are great for a brief author study that focuses on social/emotional themes.\nSam Johnson and the Blue Ribbon Quilt by Lisa Campbell Ernst\nFarmer Sam Johnson challenges the gender-biased norms in his small town when he decides that men should be allowed to quilt just like women, and he starts his own quilting bee to prove that men can succeed at it. Eventually the men and women quilters join together for the greatest success of all. This book can be used for both encouraging group work and for more sophisticated discussions about gender roles and prejudices.\nAfter we read this book, we celebrate the beginning of our strong classroom community with a quilting bee of our own. I use a tie-together quilting kit like this Knot-a-Quilt kit, and the students paint personal messages onto the fabric squares before they tie their quilt together. Constructing our quilt takes a lot of teamwork and patience, but it pays off when the students proudly display their custom quilt, a beautiful metaphor for our classroom community.\nStudents patiently work on knotting the quilt together.\nWhat are your favorite read-alouds to begin the school year? Please share your book suggestions and project ideas with us!", "id": "<urn:uuid:99591d5a-d124-4ab9-8086-56278336e584>", "dump": "CC-MAIN-2013-48", "url": "http://www.scholastic.com/teachers/classroom-solutions/2012/09/building-classroom-community-picture-books", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163037851/warc/CC-MAIN-20131204131717-00066-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9501551985740662, "token_count": 1503, "score": 3.640625, "int_score": 4}
{"text": "Stress is how the body reacts when confronted with a physical or emotional situation that alters lifes normal balance, or that presents change. Another way to describe stress is pressure on the outside that causes pressure on the inside. While the early childhood years are often thought of as lighthearted and happy-go-lucky, even the youngest children can be affected physically, emotionally, and behaviorally by stress.\nChange is a constant in life, and children are more vulnerable than adults because they have less understanding and control of their worlds. Stress can be physical, like an uncomfortable temperature or a painful injury, or psychological, like feeling ignored, neglected, or rejected. Some stress is a normal and expected part of life.\nStressors can be positive, like moving from a crib to a big bed or promotion to a new age level in preschool. Other stressors, like homelessness, natural disasters, or family violence, are negative. Whether stress is positive or negative, when it is prolonged, overwhelming, or unmanageable, it can become a problem.\nStress in the Childcare Setting\nA caring and consistent childcare environment is an important part of a childs support system, and understanding the causes and symptoms of stress will make you both more effective and more comfortable when dealing with a stressed child.\nLike adults, children have different personalities and temperaments, so what stresses one child may have little effect on another. Children who are ill or have developmental delays or physical challenges may be more susceptible to stress. If children have a predictable, stable, and emotionally and physically nurturing environment, then any form of loss (inconsistent routines, inadequate sleep, or improper nutrition) will cause them less stress.\nNegative events that affect the family, like poverty, divorce, or the illness or death of a relative or pet, cause children stress. Positive family events, like the birth of a sibling or a birthday party, also can be stressful for young children.\nFamily events that adults consider positive, such as a career promotion that requires the family to relocate, may cause children tremendous stress because it represents apparent disruption in the predictable world.\nEven normal growth and development can be stressful for children. Skills of independence, like self-feeding, toilet training, and separating from the parent can cause a young child stress, as can social development of skills like sharing and taking turns. Like adults, children also can be stressed by events covered by the media, such as war, famine, and natural disaster.\nGenerally, childrens behavior offers clues to whether they are stressed. Some children may become increasingly aggressive when stressed, while others may become more withdrawn. Sometimes it is challenging to accurately detect stress in young children, because the behavior of a stressed child may be the same behavior that indicates normal developmental milestones.\nInfants who are stressed may cry and fuss more than other babies and may struggle with adjusting to new environments, including childcare. Toddlers may show stress by displaying abnormal eating and sleeping habits, having more frequent tantrums than other children their age, and/or being more distracted than normal. Stressed toddlers also may be aggressive, trying to bite or hit other children more frequently than is typical for that age.\nPreschoolers who are stressed may regress into infant or toddler-like behaviors, or be abnormally irritable, angry, or fearful. They may cry excessively or have disrupted eating and sleeping patterns. They also may act jittery, nervous, or agitated, or they may withdraw from people or situations.\nHelping with Stress\nChildren who receive support from adults cope better with stress, and they develop ways to manage stress that serve them throughout life. A key factor is consistency. Infants and toddlers, especially those who are stressed, find comfort in predictability. When possible, avoid introducing new routines, different schedules, or unfamiliar foods when you suspect an infant or toddler is stressed.\nSometimes, personnel changes in your childcare setting may require children to adjust to different caregivers. This can be particularly difficult for infants and toddlers who struggle with change. To make the transition easier, keep routines and the environment consistent and calm; keep familiar, trusted caregivers with the child as much as possible.\nRemember that laughter and fun are anecdotes to stress. Running, skipping, and jumping provide children opportunities to develop gross motor skills, and also to expend energy and relieve stress.\nArt experiences in which children can express themselves can be helpful to stressed preschoolers, particularly painting, coloring, and working with dough or clay-like materials. Playing in sand or water and similar hands-on sensory activities also can give young children an outlet for relieving the pressures of stress, as can dramatic play and puppets.\nBooks and storytelling in a restful, relaxed environment can help children who are stressed. Consider adding soft cushions, pillows, and other comforting objects to make the story area more appealing.\nPreschoolers benefit from consistency and predictability, just like infants and toddlers, so keep this in mind when considering routines and activities. Preschool-age children who are stressed may need increased personal space and alone time. Look for ways to help children fulfill those needs within the childcare environment.\nBe aware of your own perceptions and susceptibility to stress. One of the most important ways adults can help children manage stress is to model healthy behavior. If you become stressed during your childcare day, you may pass on that stress to the children in your care. As you work to help children who are experiencing stress, realize that this in itself can be stressful for you as a childcare provider. Remember to take time for yourself, do things you enjoy, and seek out people who support and nurture you.\nParent Educator, Asheville, NC, City Schools Preschool\nCaring for Kids: Children and Stress, Penn State Cooperative Extension Service; betterkidcare.psu.edu/CaringForKids/CaringForKids2-3.pdf\nChildren and Stress: Caring Strategies to Guide Children, Virginia Cooperative Extension Service; www.ext.vt.edu/pubs/family/350-054/350-054.html\nHelping Children Cope with Stress, North Carolina Cooperative Extension Service; www.ces.ncsu.edu/depts/fcs/human/pubs/copestress.html and www.ces.ncsu.edu/depts/fcs/human/disas3.html\nStress and Children, U.S. Department of Health & Human Services, Head Start Bureau; www.bmcc.edu/Headstart/As_I_Am/stress_children.htm\nStress Management for Childcare Providers, www.childhealthonline.org/stressman.htm\nStress Reduction Among Childcare Providers, All Family Resources, www.familymanagement.com/childcare/practices/stress.reduction.practices.htm\nTeachers Helping Young Children in Times of Stress, Ohio State University Extension Service; ohioline.osu.edu/flm99/fs07.html", "id": "<urn:uuid:20e30d60-4b7f-4899-9e34-f7ddd70da09a>", "dump": "CC-MAIN-2013-48", "url": "http://healthychild.net/TheMedicineChest.php?article_id=339", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163047052/warc/CC-MAIN-20131204131727-00071-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9365254044532776, "token_count": 1439, "score": 3.578125, "int_score": 4}
{"text": "Better Students Ask More Questions.\nHow do you draw a character map for literature?I'm reading The Cosmic Poachers by...\n1 Answer | add yours\nThe principle behind creating a character map of an existing character is that the reader analyzes the story to find the elements of the character's life, the \"backstory\" that may or may not be explicitly (directly) told in the story.\nFor instance, the author or character may state that because s/he is an orphan, s/he was raised by Aunt Willimetta in Nebraska after having been born in Montana. This would be directly told information about the character that would go in a character map.\nAs another instance, a character may speak crossly to everyone reporting to him at work. The author may never state that the character is obnoxious, but the reader can hear for themselves through the dialogue that the character is obnoxious. This would be indirect information about the character that would go in a character map.\nThere are specific questions you'll want to answer about the character, in your case, Captain Shure. You'll put each answer in your character map. You'll want to answer who the character is: who the parents are, who raised the character, interests that define her/im, etc. You'll want to ask what are her/is character traits, attitudes, beliefs, and why does s/he have or hold these traits, attitudes or beliefs. You'll want to ask where the character is from: Did s/he grow up in the same place where born? Does s/he work in the same place where raised? Etc. When is usually also important to the story and, therefore, to the characters in the story. You'll want to ask relevant when-questions: born in 1950? working in 1929? Queen in 1560?\nYou'll want to ask how is s/he involved in the story: the heroine, the best friend, the one in trouble, the one causing the trouble, the one looking on and narrating? Etc. You'll also want to ask if s/he is involved in the solution of the problem/conflict in the story and if so, how? You'll also ask: How does the resolution affect this character? Does s/he go through any character development so that s/he is different in the end or has learned something or has a changed belief or attitude?\nA character map is constructed in a couple of ways. You can make a sideways vector map that has multiple branches out to the side from the character name, one for each answer to your questions, or you can make it with branches extending downward from the name. Or you can put the character name in the center and have branches encircling the name, going clockwise or counterclockwise.\nEach branch extending from the name connects to a box, circle or space in which you write the briefest possible answer to your questions, bearing in mind that answers may have branches also. For instance, answering Who, you'd write Parents at the end of one branch extending from the name. Then you'd add two more branches to your map extending from Parents, one for mother's name and one father's name. Perhaps the mother dies when the character is eight years old; this would require another branch, which would extend from mother's name. You'd continue like this, adding branches where and as needed, until all your questions are answered. Bear in mind that character maps are for brief answers.\nPosted by kplhardison on July 12, 2010 at 3:09 AM (Answer #1)\nRelated QuestionsSee all \u00bb\nJoin to answer this question\nJoin a community of thousands of dedicated teachers and students.", "id": "<urn:uuid:ecf4a3e4-edc7-4118-a49e-292371bca8c2>", "dump": "CC-MAIN-2013-48", "url": "http://www.enotes.com/homework-help/can-you-draw-character-map-captain-shure-cosmic-155893", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164014919/warc/CC-MAIN-20131204133334-00065-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9673519134521484, "token_count": 762, "score": 4.09375, "int_score": 4}
{"text": "[What is below was shared with Rwandan caregivers and counselors. It is written in simpler English and has no footnotes. Academically oriented readers will recognize the interventions come from narrative exposure therapy models for children].\nCounselors invite others to tell their stories of pain, heartache, fears, and traumas so that they can find relief from their troubles. However, not every way of talking about past problems is helpful and some ways of talking can actually harm the person. So, it is important that all caregivers and counselors understand how to help others tell their difficult stories in ways that invite recovery and do not harm.\nGood Storytelling Practices\nCounselors who do the following can encourage healthy and safe storytelling of difficult events:\n- Allow the client to tell their story at their own pace without pressure\n- Allow the client not to tell a part of their story\n- Use silence and body language to show interest\n- Encourages the use of storytelling without words (art, dance, etc.) or with symbols\n- Ensures the difficult stories start and end at safe points\n- Encourages good coping skills before story telling\n- Points out resiliency and strength in the midst of trauma\n- Encourages the story to be told from the present rather than reliving the story\nHere are some things that we should avoid doing when helping another tell a difficult story\n- Frequent interruptions\n- Forcing the person to tell their story\n- Asking the person to relive the story\n- Avoiding painful emotions\n- Exhorting the person to get over the feelings; telling them how to feel\n- Only talking about the trauma, ignoring strengths and other history\n- Ending a session without talking about the present or a safe place\n**Trigger Warning: rape, threatened violence\nA Case Study With 2 Storytelling Interventions\nPatience, a 13 year old girl, suffered a rape on her way to school last month. The rapist\u2019s family paid a visit to the girl\u2019s family and offered money as a token of penance. The girl\u2019s father accepted the money because, \u201cnothing can make the rape go away so we will take the money for now.\u201d Patience was told by some family members to not tell anyone about the rape and to just act as if it never happened. However, Patience is suffering from nightmares, refuses to go to school, and sometimes falls down when she catches a glimpse of the rapist in town. Her father has threatened to beat her if she doesn\u2019t return to school or help out with the chores at home. Her favorite aunt, a counselor/caregiver, learns about the rape and asks her to come for a visit in a nearby city.\n[Warning: these two interventions are not designed to rid a person immediately of all trauma symptoms. In addition, these interventions must be used only after a counselor has formed a trusting relationship with the client.]\n- Symbolic story telling. The aunt tells Patience that keeping a story bottled up inside can cause problems, like shaking a bottle of soda until it bursts out. Using a long piece of rope (representing her entire life) and flowers (representing positive experiences) and rocks (representing difficult experiences), the aunt directs Patience to tell her life story. They start with her first memories of her mother, father and two brothers. She tells of her going to school, the time when her mother got really sick but then got better again, the time when her cousins moved away, and the time when a boy told her he liked her. Patience noticed how she had many flowers along the rope and only a few rocks. Then, they put a large stone down on the rope representing the rape. Patience had difficulty saying much at all. She remembered being afraid, the weight of the man, the pain, and worry that her family would reject her. She remembered getting up and going to school and acting as if nothing happened. Her aunt noted that Patience was a strong girl\u2014she had gone to school for a week before telling her mother. So, Patience placed a tiny flower next to the rock to represent that strength. After stopping for a cup of tea and some bread, the aunt asked Patience to notice how much more rope was left. This represented her future. Patience was surprised to see the rope and said that she didn\u2019t think she would have a future now that she was spoiled. Her aunt encourages her to consider what she would like to be in her future. They continued to discuss this over the next day. By the time Patience returned home, she was able to see that she still had a future. Seeing the rapist still bothered her. However, she was able to go to school with two friends along a new path so that she would feel safe. Patience kept a drawing of the rope with the flowers and rocks and extra rope to remind her that she had a good future.\n- Accelerated Storytelling. About six months later, Patience visited her aunt again. She was still going to school and able to do more chores (getting firewood and buying food in the market). However, she still suffered from nightmares and sometimes fell down when she heard footsteps behind her. This time, her aunt asked her to help create a \u201cmovie\u201d of event. Before Patience was to narrate the rape, they first recounted the safety she felt at home before the rape and the safety she felt when she told her mother about the rape and was comforted. Next, her aunt asked her to identify all of the \u201cactors\u201d in the play: her mother, father, herself, brothers who went to school without her, classmates, teacher, and rapist. Patience then made a figurine out of paper for each actor and drew a small map of her village including the path from home to school. Then, the aunt asked her to tell her story as fast as she could from safe place to safe place and to only look at the figurines (and to move them along the map). Her aunt noted those places where Patience slowed down in the story. When she paused, the aunt asked her to try to keep moving. Once the story was complete (when she told her mother about the rape), she asked Patience to tell the story backwards as quickly as possible. Then, she instructed Patience to tell the story forwards again twice as fast. However, this time, Patience stopped part way through the story. She added one detail she had not disclosed before. She recalled that a young boy of about 5 was peering at them from behind some bushes. Her aunt encouraged her to finish the story and thanked her for her courage. Patience indicated that she was so ashamed of being seen in such a position. Again, her aunt thanked her for working so hard but asked her to tell her story forwards and backwards one more time. Patience noticed that she was less upset by the presence of the 5 year old than she had been the first time through the story.", "id": "<urn:uuid:f98a8bdf-96fc-4ea2-9327-01784368375c>", "dump": "CC-MAIN-2013-48", "url": "http://wisecounsel.wordpress.com/2013/07/25/telling-painful-memories-recommendations-for-counselors/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163052286/warc/CC-MAIN-20131204131732-00071-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9837899804115295, "token_count": 1445, "score": 3.6875, "int_score": 4}
{"text": "Add To Favorites\nUncover the history behind modern shoes and the similarities between styles of the past and those of today. Show off your sense of style by designing a shoe with Crayola\u00ae Model Magic\u00ae!\nDo you have a favorite pair of shoes? What do you like about them? When do you wear them?\nWhy do people wear shoes? Shoes can be traced back to prehistoric times. Cave paintings show images of shoes in the most basic form, as bags, likely made from fur or animal hide, wrapped around people\u2019s feet. That protective covering provided a shield against sharp rocks, hot sand, and other extreme terrain while hunting and performing daily activities.\nAs societies evolved, so did the style and functions of shoes. In ancient Egypt, shoes were status symbols. Even the color of shoes could be used to identify one\u2019s class. Ancient Rome also used shoe color to define social lines. Similarly, in ancient Greece, shoes were an indicator of one\u2019s profession. Greeks become highly skilled in shoemaking, and were known for the elaborately woven styles they created. Other countries focused on making shoes more durable and comfortable.\nMake a list of different shoe styles on the board with your class. How many can you think of? How do these styles differ from shoes created by ancient cultures? How are they the same? Do some research with your class to find examples of how shoes changed throughout history. What purpose did the styles serve in society during those times? What did they represent about the people wearing them? What do the shoes of today say about our society?\nImagine you\u2019re a shoemaker. What style of shoe would you like to create? What would be the function of those shoes? Why would people want to wear them? Design a shoe of your own using Crayola Model Magic! Use the research you found as inspiration for your design. Consider the style, function, and symbolism of the shoe when molding it.\nCover your work area with recycled newspaper to work on for easy cleanup. Model Magic that is fresh from the pack will stick to itself. Dried pieces can be glued together. Be creative! Add colors and details to enhance your shoe. Explore swirling, rolling, and twisting the Model Magic for interesting effects! Jewels, buttons, and beads can be added using Crayola No-Run School Glue. Store the completed shoe in a safe area and allow it to dry completely over 1-3 days.\nWhat inspires you to create art? With Crayola Twistables\u00ae Slick Stix\u2122 Super-Smooth Crayons, your colors can be as bright\nAdd To Favorites\nSimulate the Underground Railroad and design dream homes for fictional former slaves.\nBring attention to good causes with an awesome fundraising container. Turn the container into a reusable surface with cl\nExperiment with primary colors and geometric shapes in the style of Piet Mondrian! Create a template to make one huge, u\nCrawling geckos! Jumping geometrics! Without fabric or sewing a stitch, design a traditional appliqu\u00e9-like mola using th\nStorytelling meets visual arts in the style of Jacob Lawrence, African American artist and storyteller.\nGeorgia O'Keeffe's landscapes inspire a study of deserts and creation of detailed desert ecosystem drawings.\nIntroduce Genre painting with the work of post-Expressionist George Bellows then create a dramatic original painting of\nOur crayons have been rolling off the assembly line since 1903, and you can see how it\u2019s done.\nVisit us \u00bb", "id": "<urn:uuid:0860fcf4-6dfb-4c08-a05e-d9c17230d126>", "dump": "CC-MAIN-2013-48", "url": "http://www.crayola.com/lesson-plans/high-heeled-art-lesson-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164926426/warc/CC-MAIN-20131204134846-00073-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9370184540748596, "token_count": 737, "score": 3.53125, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nTell Me Your Story: Video-Inspired Vocabulary Writing\n|Grades||9 \u2013 12|\n|Lesson Plan Type||Recurring Lesson|\n|Estimated Time||Recurring 30\u201345 minute sessions|\n- Demonstrate an understanding of vocabulary words and creative writing practices by responding to a variety of videos\n- Construct better understanding of vocabulary words by analyzing and justifying their evaluation of a peer\u2019s creative writing piece\n- Briefly review with students any vocabulary words you\u2019re studying, and tell students that they will be using these words within a creative writing exercise.\n- Display the video you\u2019ve chosen on your projector, interactive whiteboard, or tablet. Remind students they are going to respond to the video in writing and should pay close attention to the video and think about how they can respond using vocabulary words.\n- Pass out the Creative Writing Prompt to accompany the video, and ask students to write quietly. The first time you do the activity, walk students through the example provided in the prompt before they begin to write. Circulate and answer questions about the vocabulary as needed.\n- When students have completed the writing, pass out the Peer Analysis Guide. Group students into pairs and have them trade papers and complete the peer analysis for each other\u2019s stories. Circulate and answer questions as needed.\n- Collect students\u2019 completed Creative Writing Prompt and Peer Analysis Guide. Use the Grading Rubric to grade each student\u2019s final product.\nYou can continue this lesson series throughout the year, either by choosing your own video clips and inventing short creative writing prompts, or by inviting students to take turns doing it. Note that if students choose the clips, they should be submitted to the teacher for approval in advance.\n- Informally assess students\u2019 understanding of the vocabulary by reviewing their selections and explanations on the completed Peer Analysis Guide.\n- Formally assess students\u2019 understanding of the vocabulary and their effort in creative writing by using the Grading Rubric.", "id": "<urn:uuid:77b60bd9-4754-4544-bac7-335102ac09cd>", "dump": "CC-MAIN-2013-48", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/tell-your-story-video-30949.html?tab=4", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386165000886/warc/CC-MAIN-20131204135000-00071-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9120103120803833, "token_count": 535, "score": 3.53125, "int_score": 4}
{"text": "The following links provide information and resources for using technology with young children in a center or classroom setting.\n- Activating Children Through Technology Tools\nThis site contains technology integration activities and samples of kindergarten, first, and second grade products using digital cameras, microscope, and a variety of software applications as tools in the curriculum. Children\u2019s creations include books, movies, slideshows, and podcasts.\nTechnology Review's Software Evaluation Instrument\nThis webpage on the\nChildren's Technology Review's site contains an instrument for evaluating software\nto use with young children.\n- Document Cameras\nPre-K Pages website contains a variety of ideas for integrating the use of a document camera into classroom activities.\n- Document Cameras in the Classroom\nThis section of the Educational Technology Network website provides information on using a document camera in the classroom and ideas for how to use it in preschool and primary grades.\nIntroduction to Computer Environment - Sample Workshop\nThis online workshop\ndeveloped by the Early Childhood Technology Integrated Instructional System at\nthe Center for Best Practices in Early Childhood, Western Illinois University,\ncontains physical environment considerations and equipment requirements for a\npreschool computer center. Users can register for other free workshops at the\nThis site contains a variety of links to resources for integrating technology into all areas of the curriculum.\nOnline - Technology Integration Workshop\nThis workshop developed by the\nInteractive Technology Literacy Curriculum Project at Western Illinois University\ncontains activities and strategies for integrating technology into early literacy\nDesign the Future\nUniversity of Maryland's Human-Computer Interaction\nLab site contains video examples of children designing and using technology in\n- Learning and Teaching Scotland: ICT in the Early Years\nLearning and Teaching Scotland has a variety of resources related to learning and teaching with technology. On the \"Sharing practice\" section of their website, you can read about the use of a variety of technology tools, including whiteboards with case studies and comments from various classrooms.\n- Learning, Digital Media and Creative Play in Early Childhood\nSpotlight on Digital Media and Learning website contains Featured Stories with archived articles on topics related to technology integration and Videos section which shows examples of classroom use including some which focus on early childhood.\n- Northwest Education Technology Consortium\nUnder Focus on Effectiveness, the site has classroom examples of how Internet applications and technology, such as a digital microscopes and projectors, can be used in early elementary classrooms.\n- Queensland Government SMARTClassrooms\nIdeas for integrating a variety of technologies into preschool through third grade curriculum are presented in a table format which includes examples of how technology can enhance learning, key learning areas, and sample resources.\n- Technology Integration Matrix\nThe Technology Integration Matrix Grade Level Index contains video segments which show early elementary level students using various types of technology, including digital cameras, video cameras, and the Internet to explore topics in math, science, and language arts.\n- Use of SMART Boards for teaching, learning, and assessment in kindergarten science\nThis link downloads a pdf version of an article from the June 2008 issue of teachingscience that provides information on what SMART Boards are and how they can be used in a kindergarten classroom.\nAll Young Learners\n- Apps for Stages\nThis site provides lists of recommended apps organized around seven Stages of skill development ranging from cause and effect to functional skill achievement. Some of the early stages are applicable for younger children.\n- Alliance for Technology Access Resource Hub\nResourceHUB on this site contains publications related to assistive technology and its use with young children which can be downloaded as pdf files.\nfor Best Practices in Early Childhood Education\nThe Center housed at Western\nIllinois University has federally-funded projects focusing on the use of technology\nand assistive technology in early childhood. The site contains articles, curriculum\nideas, and research reports.\nCenter on Technology and Disability\nThe website hosted by this federally\nfunded project contains newsletters, discussions, AT organizations and resources,\nfact sheets on aspects of technology including adaptive toys, and AT success stories.\nThe Let's Play Project at the Center for Assistive Technology,\nUniversity at Buffalo, provides educators and families with ways to play with\ntheir infants and toddlers with disabilities, through the use of assistive technology.\nInformation on toy selection, universal design, and other AT resources are included.\nThis national research project's website contains a variety of\nideas for using AT with infants and toddlers for communication, mobility/positioning,\nDesign for Learning\nCAST: Center for Applied Special Technology provides\narticles, policies, and publications related to designing learning experiences\nfor all children.\nOnline Activities for Children\nThe following links are websites that contain interactive activities for children to use with other children or with an adult. Most of the activities are designed for children to explore visual effects and sounds, learn early math and literacy concepts, or to create artwork or stories.\nThis website contains a variety of activities related to drawing, counting, categorizing, letter recognition, and mouse manipulation.\nChildren can make visual effects appear and change as they move the mouse. This simple activity helps children explore mouse movement and activation in an appealing way.\nThis website contains a blank slate and drawing tools for children to create different visual effects which can be made into a drawing to save for later printing.\n- Count Us In\nA variety of math activities can be downloaded in Windows or Macintosh format from this website. A teacher or parent would need to set this up ahead of time and select activities, such as patterns, that would be interactive and appropriate for preschool children.\nThis website contains open-ended activities for young children to draw, create a picture, or make a story. The many options at this site insure interactivity for children.\nEducators can use this collaborative storytelling site to help children read stories created by others or to create their own stories using the many choices of colorful characters and scenery. Created stories can be saved for private viewing or can be shared with others outside the classroom.", "id": "<urn:uuid:ba5e9d25-ffb3-4b2f-8ebc-acb1a821c3f4>", "dump": "CC-MAIN-2013-48", "url": "http://www.techandyoungchildren.org/children.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163811461/warc/CC-MAIN-20131204133011-00075-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8973544239997864, "token_count": 1221, "score": 3.65625, "int_score": 4}
{"text": "Wordless books provide an opportunity that no other book can offer\u2014a personally crafted storytelling experience from you to your baby. \u201cReading\u201d aloud from picture books with few or no words promotes creativity, is accessible regardless of reading level or language, and allows flexibility while honing in on what the baby likes most. You can take your baby on an imaginative journey\u2014building vocabulary, comprehension skills, and emotions\u2014just by adding your own words to a picture book.\nHere are some tips for telling a story with wordless books!\n- Pick a book that is visually interesting to you. Your level of engagement as you create the story will be much higher if you are looking at something you like!\n- Look around the page for things that are happening. Are there characters? What are they doing? Is there scenery? What does it look like? Describe aloud what you see. This is your story. There is no right or wrong way to tell it\u2014it\u2019s up to you!\n- Focus on facial expressions. Babies love faces, both in pictures and in person. Identify characters in the pictures and mimic their expressions and actions. Make up things that those characters might say, or faces that they might make, and see how your baby responds. Tailor the story to reinforce positive responses!\n- Vary the tone and voices you use throughout your story. You can go from a low, slow voice to a higher, faster one. Your baby will follow changes in sound and be further engaged in this sensory experience.\n- Sing your story! You can select characters to communicate musically (birds or whistlers, for example) and tell their parts in song. Even adding simple humming broadens the range of audio exposure for your baby.\n- Incorporate exaggerated movements and gestures. Physical expression adds entertainment and helps develop motor skills. Clap your baby\u2019s hands together, wave them in the air, pretend you\u2019re a plane\u2014act out movement together!\n- Tell the story in different languages. If you live in a multi-lingual environment, wordless books provide the perfect opportunity for others to tell the story in their own languages. Encourage family members and friends to participate using familiar verbal dialects of their own!\n- Let the story go where you want to take it! You don\u2019t need an ending, nor does it need to make sense. You can use the same pictures to tell a different story every time. You can make a new story out of one picture. You can even create your own story for books that already have one! The most important thing is that you\u2019re relaxed, happy, and bonding with your baby through a dynamic and imaginative exchange.\nJust like playing make-believe, there is no one way to do something\u2014it\u2019s up to you and your imagination when you \u201cread\u201d wordless books. Everything you share is a unique moment between you and your baby that strengthens a loving bond and healthy developmental growth. Have fun, be silly, and enjoy sharing a story!\nHere are some recommended wordless books for storytelling:\n- The Red Book by Barbara Lehman (Houghton Mifflin, 2004)\n- Wonder Bear (Dial, 2008) and Bunny Days (Dial, 2010) by Tao Nyeu\n- Wave(Chronicle Books, 2008) and Shadow (Chronicle Books, 2010) by Suzy Lee\n- Dinosaur by Peter Sis (Greenwillow, 2000)\n- Where\u2019s Walrus by Stephen Savage (Scholastic, 2011)\n- The Snowman by Raymond Briggs (Random House, 1999)\n- Pancakes for Breakfast by Tomie De Paola (Sandpiper, 1978)\n- A Boy, a Dog, and a Frog by Mercer Mayer (Dial, 2003)", "id": "<urn:uuid:cb1b959e-0644-48d5-a3a7-ec927ea4257f>", "dump": "CC-MAIN-2013-48", "url": "http://www.pampers.com/diapers/show-me-the-pictures-the-importance-of-storytelling-and-reading-aloud-without-words", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164722336/warc/CC-MAIN-20131204134522-00075-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9280538558959961, "token_count": 792, "score": 3.5625, "int_score": 4}
{"text": "Add To Favorites\nHow did you remember that? Students create original color memory games to assist with developing fine motor skills and visual-spatial abilities.\nPrior to students creating original memory games, play some well-known memory games with them to stimulate their interest and familiarize them with the process of playing this type of game.\nAdults find or mix eight different colors of Crayola\u00ae Washable Tempera Paint. Organize students into small groups and ask them to put on their Crayola\u00ae Art Smocks before covering the work area for their group with recycled newspaper.\nDistribute 16 index cards (3\" x 5\") to use as cards. This number can be increased or decreased depending upon the age and skill set of the group. Using Crayola\u00ae Crayons or Colored Pencils, students sketch the outline of a favorite shape (square, circle, triangle, etc.) on two cards for the game.\nOnce the set of cards has been outlined, students use Crayola\u00ae Brushes to paint the inside of each shape, matching the colors with the shapes. For example, if Joan outlined two squares, her two squares will both be painted with the same color paint. Allow cards to dry overnight.\nBefore returning to the game cards, play another round of an established memory game. Verbalize the thinking and concepts involved. For instance, \"I remember Kylie turned over a green card on her last turn. Let's see\u2026where was that card? I think it was in the left column.\"\nReturn to student groups and organize the game cards for a round of their memory game. By the way, did students name their game?\nTo play Color Memory: Play with 2-3 friends. Mix the cards. Place them face down in four equal rows. Each player, in turn, selects two cards. Name the colors turned over. If the cards have matching color, keep the cards and take another turn. If the colors are different, turn the cards face down for the next player's turn. The game is over when all cards are matched.\nLet's make something!\nStudents identify favorites in this exciting activity!\nAdd To Favorites\nBecome a numeral or math symbol so your class can act out solutions to math problems. Addition, subtraction, multiplicat\nCreate a plate to look like your favorite animal then add Crayola\u00ae Dry-Erase Crayons and you\u2019ll have tons of reusable fu\nTell a story using only shapes with an interactive class activity.\nCount on your alien to help you practice reading, labeling, and counting while playing a fun matching game.\nStorytelling and mathematics merge when students discover that by arranging and rearranging a set of seven geometric til\nPeople around the world give thanks for their food. Celebrate a harvest of pineapples, pumpkins, or pomegranates-and sho\nA word blend game makes learning grammar easy!\nOur crayons have been rolling off the assembly line since 1903, and you can see how it\u2019s done.\nVisit us \u00bb", "id": "<urn:uuid:32fc53f7-92fa-4f80-ac26-3c77576851f4>", "dump": "CC-MAIN-2013-48", "url": "http://www.crayola.com/ece-lesson-plans/color-memory-lesson-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164004837/warc/CC-MAIN-20131204133324-00074-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9358694553375244, "token_count": 638, "score": 4.125, "int_score": 4}
{"text": "Robert Baden-Powell created the BOY SCOUTS which grew rapidly into an international educational youth movement before 1914. He wrote Scouting for Boys in 1908, and also coauthored the Girl Guides manual, How Girls Can Help Build Up the Empire, with his sister Agnes in 1910.\nThe Boy Scout scheme was a system of character development and citizenship training that, while based on a manual of military scouting, was firmly grounded in both contemporary psychological theory and educational methods. The aim was to create model adolescents and ultimately model adult citizens through Boy Scout training\u2013complete with its own moral code (encapsulated in the Scout Promise and Scout Law)\u2013and by its public service roles in ambulance, fire fighting, and lifesaving. Boy Scouts were to be replete with the skills and virtues of backwoodsmen and frontiersmen by taking a whole series of scout tests such as cooking without utensils, shelter building, and knots and lashings.\nScouting was designed as an \"all-embracing game\" by Baden-Powell to be pursued all year round both indoors and out, that contrived to mold boys' character and moral values. For younger boys scouting could provide an adult-inspired \"escape\" from the suffocating domestic conventions of childhood combined nonetheless with custodial supervision. For fourteen year olds it was intended as a diversion from adult recreational forms (notably smoking and gambling) widely adopted by precocious school leavers in Edwardian Britain.\nMajor-General Baden-Powell, the Boer War's \"hero of Mafeking,\" had an upbringing with a Progressive educationalist mother. Following public school Baden-Powell did so well in the entrance exam that he bypassed officer training and went straight to his regiment. He was to prove an unconventional and unorthodox regular soldier who advocated the use of irregular volunteer forces and wrote the military manual Aids to Scouting\u2013subsequently adapted as the core theme for citizenship training in the Boy Scouts. Later RUD-YARD KIPLING's Jungle Book was used as the basis for his Wolf Cub program for boys below scout age.\nPrior to the publication of Scouting for Boys, Baden-Powell developed scouting for the Boys Brigade at the invitation of its founder, W. A. Smith. Scouting then grew largely by being adopted by existing youth organizations like the Boys' Clubs, SUNDAY SCHOOLS, and church choirs, who would establish a scout troop so as not to lose their members completely to the new fashionable movement.\nBaden-Powell's concept of scouting was shaped by an eclectic blend of influences and ideas. He borrowed the idea of self-governing clubs from American Charles Stelzle, who helped operate boys' clubs starting in the 1880s; the scout's secret handshake and notion of a scout brotherhood came from Freemasonry; the Scouts Farm schools and emigration policy imitated the Salvation Army plan. Baden-Powell also drew heavily from MARIA MONTESSORI's ideas on PLAY and G. STANLEY HALL's biogenetic psychology\u2013including the idea that children recapitulated the cultural history of the race in their development and play as they grew up. Accordingly, the Wolf Cub program was designed for those in Hall's \"Savage or Barbaric stage\" and the Boy Scouts, for those over ten years in the \"Tribal or Clan stage.\" The sixboy Scout Patrol was meant as a \"fraternity gang.\" Maria Montessori greatly admired the Scout movement and saw it as an invaluable preparation for \"going out.\"\nDespite being a product of Edwardian England's intellectual and cultural climate and its socioeconomic preoccupations, scouting had widespread appeal and proved equally applicable in many diverse national contexts. By 1914 it had spread to fifty-two other countries, dominions, and colonies including France, Germany, Austria, Japan, Russia, the United States, Peru, Australia, and Canada. Baden-Powell actively encouraged this by making a six-month world tour to promote his brain child in 1912. In 1918 there were 750,000 Boy Scouts overseas and 155,000 in Britain.\nScouting has been modified and kept up to date since then (for example, the Beavers were started for the pre\u2013Wolf Cub age group) and the uniform altered to accommodate changes in fashion (short trousers were abandoned). Nevertheless, the Scout movement's aims, objectives, and most of its activities are fundamentally the same at the start of the twenty-first century as they were in 1908.\nAitkin, W. Francis. 1900. Baden-Powell, the Hero of Mafeking. London: S. W. Partridge and Co.\nDedman, Martin J. 1993. \"Baden-Powell, Militarism and the 'Invisible Contributors' to the Boy Scout Scheme 1904-1920\" Twentieth Century British History 4, no. 3: 201-23.\nMARTIN J. DEDMAN", "id": "<urn:uuid:6cbaf06c-683a-4812-a93b-93236eb007cc>", "dump": "CC-MAIN-2013-48", "url": "http://www.faqs.org/childhood/Ar-Bo/Baden-Powell-Robert-1857-1941.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053330/warc/CC-MAIN-20131204131733-00071-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9709538221359253, "token_count": 1021, "score": 3.8125, "int_score": 4}
{"text": "- slide 1 of 4\nDialogue is an extremely important aspect of storytelling and creative writing. Playwrites use almost exclusively dialogue to tell their tales. In Creative Writing and English classes it is good to \"raise the stakes\" when teaching students how to write dialogue by having them practice writing a short play (or just part of a short play). The experience of trying to tell a story with only dialogue makes embellishing a story with dialogue much easier.\n- slide 2 of 4\nHear the Voice\nThe first step is to choose each character's voice. It is most helpful to choose a voice you have heard and give the character that same style and pattern of speech.\nTell students to think about the various people in their lives. They can think about their closest family and friends, but remind them to think about, for example, the old man who chatted with them on the bus one day, or the loud neighbor gossiping in her yard. People whose speech patterns have a personal, unique flair are very useful to think about in this context.\nTell students to remember what people sounded like when speaking. Remember their speech patterns, their quirks, the types of phrases they would repeat. Did they speak slowly or quickly? Were they especially verbose or concise? Writers must listen to those individual voices in their memories.\n- slide 3 of 4\nMonologues & Dialogues\nTo get warmed up, students should write a short monologue or speech of each character talking. Focusing on the individual character and his or her speech patterns prepares the writer to maintain a consistent and unique voice when they are ready to use this character in a conversation.\nAs I stated above, before going back to the story writers can benefit greatly by engaging two or more characters in dialogue or conversation. The exercise is to tell the story with the dialogue only. This causes the writer to stretch and infuse more information and emotion into the characters' speech.\nWhen going back to creative writing, the dialogue in the essay will be more colorful, unique and personal to each character and even convey information in a captivating, not dry, way.\n- slide 4 of 4\nA Little Fun\nGroup your student writers in pairs. Each pair must share a pad of paper and pen or pencil. You read that correctly: each pair gets only one paper and one pen or pencil.\nAll writing will be in the form of speech. One students starts to write, the other may not respond unless and until s/he has hold of the pen and paper. It can get interesting, for example, if one student wants to interrupt the other, s/he must physically grab the paper and pen out of the hands of the other student.\nTry this fun activity and see what your creative writing students think of it.", "id": "<urn:uuid:916f9093-9361-44ea-9200-76eb266a93b0>", "dump": "CC-MAIN-2013-48", "url": "http://www.brighthubeducation.com/middle-school-english-lessons/14962-three-creative-writing-teaching-strategies-for-colorful-dialogue/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164573346/warc/CC-MAIN-20131204134253-00072-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9606059789657593, "token_count": 567, "score": 4.125, "int_score": 4}
{"text": "Related Web Resources\nPlease visit the following websites for additional information regarding topics introduced in the Civil War 150 readers.\nThe Gilder Lehrman Institute of American History\u2019s History by Era\nMaterial on nineteenth-century culture and the Civil War\nThe Gilder Lehrman Institute of American History\u2019s Online Journal History Now\nPrimary Sources on Slavery (Issue 2, Winter 2004)\nAbolition (Issue 5, Fall 2005)\nLincoln (Issue 6, Winter 2005)\nAbraham Lincoln in His Time and Ours (Issue 18, Winter 2008)\nNew Interpretations of the Civil War (Issue 26, Winter 2010)\nUnited States Civil War\nBasic background information concerning the Civil War.\nNational Park Service Civil War Website\nA critical analysis of the Civil War through the stories, people, and places that were central to the war.\nThe Making of America\nA digital library of primary source material covering the antebellum period through Reconstruction. Search collection by title, author, or subject to find Civil War resources.\nCivil War Trust\nCivil War battlefield information as well as educational resources.\nThe Civil War\nA companion site to Ken Burns\u2019 Civil War documentary. Includes an image browser, maps, biographies, and related links.\nCivil War and Reconstruction, 1861\u20131877\nSelected primary source content available online at the Library of Congress.\nThe United States Civil War Center\nLinks to other valuable resources, including Civil War collections and book reviews.\nDocumenting the American South\nA wide range of maps, photographs, printed works, Confederate currency, manuscripts, and diaries.\nThe Valley of the Shadow\nA collection of original letters, diaries, newspapers, and speeches detailing the lives of two American communities, one Northern and one Southern.\nCivil War Potpourri\nA variety of articles on the Civil War. Topics include causes, battles, compromises, slavery, diplomacy, and roles of women and youth during the war.\nResources to help teachers and students learn about various Civil War topics and events through art.\nA Sampler of Civil War Literature\nOnline access to fifteen Civil War stories from the pages of Harper\u2019s Weekly.\nHave Fun with History\nA compilation of short videos pertaining to different topics throughout the Civil War.\nThe Presidential Elections 1860\u20131912\nCartoons, posters, campaign materials, and other information concerning key presidential elections during the Civil War and beyond.\nA House Divided: America in the Age of Lincoln\nA useful overview of the Civil War, including its causes, content, and consequences.\nVarious drafts of the war\u2019s most famous address with supporting documents and commentary from the Library of Congress.\nCivil War Maps\nMaps collected from the Library of Congress, the Virginia Historical Society, and the Library of Virginia.\nRare Map Collection\nA collection of reproductions of rare maps from the Civil War.\nCivil War Battles by State\nA selection of Civil War maps organized by state.\nThe War of Rebellion\nA compilation of the official records of the Union and Confederate armies during the Civil War.\nThe Official Records of the War of the Rebellion\nOfficial documents and descriptions of important military confrontations organized by battle.\nPoetry and Music\nA collection of poems and songs written during and after the war.\nBand Music from the Civil War Era\nPrinted and manuscript music selected from the collections of the Music Division of the Library of Congress and the Walter Dignam Collections of the Manchester Historic Association.\nCivil War: Letters and Diaries\nA collection of letters, journals, and diaries of soldiers who fought in the Civil War.\nCivil War Biographies\nA collection of short biographical descriptions of some of the major Union and Confederate military personalities with regards to their involvement in the Civil War.\nCivil War Treasures from the New-York Historical Society\nDigital reproductions of the New-York Historical Society\u2019s archive of the Civil War.\nCivil War 150: National Portrait Gallery\nLinks to a series of seven exhibitions from the Smithsonian related to the Civil War and the presidency of Abraham Lincoln.\nSelected Civil War Photographs\nScenes of military personnel, preparations for battle, and battle after-effects.\nPictures of the Civil War\nA collection of images from the Civil War of civilians and civilian activities; military personnel, equipment, and activities; and the locations and aftermaths of battles.\nGardner\u2019s Photographic Sketch Book of War\nDigitized images from Gardner\u2019s Photographic Sketch Book of the War with their original captions.\nPhotographs of African Americans during the Civil War\nPhotographs from the Civil War Photograph Collection that include African Americans.\nBorn in Slavery: Slave Narratives from the Federal Writer\u2019s Project, 1936\u20131938\nA collection of more than 2,300 first-person accounts of slavery and 500 black-and-white photographs of former slaves collected in the 1930s as part of the Federal Writer\u2019s Project of the Works Progress Administration (WPA).\nThe Samuel J. May Anti-Slavery Collection\nAn extensive collection of anti-slavery pamphlets, literature, and correspondence.\nThe Emancipation Proclamation\nBackground information regarding the Emancipation Proclamation as well as access to digital copies of the original document.\nCivil War Women: Women and the Home Front\nA collection of women\u2019s diaries, letters, and memoirs from the Civil War. (After selecting a topic, refine your search to archival materials on the left-hand sidebar to access primary source materials).\nFor Young Audiences\nLessons on Slavery, the Crisis of the Union, and the Civil War and Reconstruction\n(6\u201312) Lesson plans from the National Endowment for the Humanities EDSITEment website are built upon the analysis of primary sources, through which students are asked to critically examine the Civil War.\nDiscovering the Civil War\nInformation concerning the National Archives\u2019 Civil War exhibit as well as additional educational materials to accompany the exhibit. (To access additional resources select the Resources or Education links on the main page).\nCivil War Trust\n(K\u201312) A resource for students with maps, photos, and games.\nThe Civil War\n(9\u201312) Lesson plans and activity ideas for topics in the Civil War.\nThe American Civil War\nExtensive information regarding the Civil War, covering its causes, famous battles, and leaders.\nThe Lincoln/Douglas Debates of 1858\n(9\u201312) A comprehensive collection of transcriptions from Democratic and Republican newspapers covering the Lincoln-Douglas debates. This site also includes a video discussing the debates and a series of images, maps, and lesson plans.\n(6\u20138) Information regarding Lincoln\u2019s life from Illinois to his role as president. Includes valuable links to Lincoln\u2019s writings.\nAbraham Lincoln Papers at the Library of Congress\nA collection of nearly 20,000 documents. Includes correspondence, speeches, notes, and other printed material related to Lincoln and the Civil War era.\nLetters, Telegrams, and Photographs Illustrating Factors that Affected the Civil War\n(6\u20138) A lesson plan including creative writing assignments, oral history projects, and document analysis. Students are asked to use documents and photographs from the period to discuss important factors in winning the war.\nHistorical Maps of the Civil War\nDigital reproductions of maps created during the Civil War era organized by battle.\n(K\u20135) A collection of oral histories meant to encourage students to look at the lives of slaves and compare slave life to the lives of free African Americans after the Civil War.\nAfricans in America: The Civil War and Reconstruction\n(9\u201312) A collection of images, documents, stories, and biographies that relate to the debate over slavery in America and the changing role of African Americans over time.\nThe Battle of Bentonville: Caring for Casualties of the Civil War\n(6\u20138) Images and lesson plans that ask students to discuss changes in caring for the Civil War wounded.\nCivil War Medicine\n(9\u201312) A series of articles outlining the changes occurring in medical care for soldiers throughout the Civil War through primary sources. This site also summarizes the introduction of women onto the battlefront as nurses.\nNot Just a Man\u2019s War\n(9\u201312) A lesson plan that looks at the role of women during the Civil War.\nFamous American Trials: Trial of the Lincoln Assassination Conspirators, 1865\n(9\u201312) A detailed review of the trial of John Wilkes Booth and his conspirators. Includes extra educational resources and games.", "id": "<urn:uuid:de79c193-88da-439e-ac35-d674ec2a6a5a>", "dump": "CC-MAIN-2013-48", "url": "http://www.librarypoint.org/cw150exhibit_web_resources", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164014919/warc/CC-MAIN-20131204133334-00076-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8934354186058044, "token_count": 1800, "score": 3.546875, "int_score": 4}
{"text": "Anthropomorphism in literature is a common theme throughout the ages. While many tales about animals are directed toward children, simply because adult writers feel that young people are better able to connect with animals or simply because they feel that involving too many human characters would be overwhelming. Despite the host of possible reasons for why so many animal stories exist for children, it is important to also consider the way these stories continue to affect adults.\nAs one of the main themes in \u201cThe Life of Pi\u201d that lies under the surface, the anthropomorphism complicates the task of reading. While many adult readers would feel \u201cdemeaned\u201d reading an animal tale since it is associated with low-level reading, the fact remains that adults still retain the tendency to anthropomorphize. The only difference in this act of projecting human characteristics onto animals in adults is that their greater life experiences change the ideas they project.\nGenerally, when in terms of anthropomorphism in literature, one images that children are likely to impose more basic traits on animals (imagining them speaking in strange accents, seeing them as equals, feeling the ability to communicate) adults project \u201cbig issues\u201d. Given the fact that so many adults deny their capacity and inherent tendency to anthropomorphize, it seems strange so that so much literature involving human and animal relationships is devoted to children.\nOne of the exceptions to this idea\u2014that a book about such relations must be confined to children\u2014is \u201cThe Life of Pi\u201c. While this is in many senses an adventure/animal story for younger readers, it is filled with some of the most provoking adult themes; the quest spirituality, truth, the meaning of life, and many others. In some ways, through the use of anthropomorphism in \u201cThe Life of Pi\u201d by Yann Martel, recognizing the tendency across age groups to anthropomorphize, accepts this and even encourages readers to engage in projecting human traits on the animals.\nThroughout the history of storytelling\u2014from the oral traditions of primitive peoples to the canon of modern literature\u2014animals have been represented extensively. Fables employed animals to present moral lessons and animals have also been depicted in a more postmodern sense to glorify or mourn this \u201closs of touch\u201d with the natural world. Most importantly, the role of animals is especially prominent in children\u2019s literature. For some reason, adults tend to confine themselves to tales of the everyday and consider animal tales to be strictly a part of a child\u2019s intellectual world. On the same note, animals are still a vital part of the cultural life of many adults, serving as pets and the objects of less literary entertainment (zoos, sophisticated nature programming, etc). The question becomes, why are animals confined, in the mind of many adults, to the children\u2019s literature genre? What is it about animal and human interactions that are not suitable for the adult world?\nIn addressing this question about anthropomorphism in literature, adult fiction writer Ursula K. Le Guin observes, \u201cit appears we give animal stories to children and encourage them to be interested in animals because we see children as inferior, mentally \u2018primitive,\u2019 not yet fully humanized, thus pets and zoo animal stories are \u2018natural\u2019 steps in the child\u2019s way up to adult, exclusive humanity\u2014rungs on the ladder from mindless, helpless babyhood to the full glory of intellectual maturity and mastery\u201d (Le Guin, 2004). While Le Guin addresses the somewhat condescending nature of devoting animal stories to children, she recognizes one of the deeper truths about children and their relation to animals\u2014they have not yet learned that animals don\u2019t really speak or communicate, not because they are mentally inferior and underdeveloped, but because they still proudly display the empathetic connection with the animal world while adults are more likely to dismiss the idea that animals are similar to us and are capable of mirroring our darkest secrets. Along with this idea, it is also important to discuss the role anthropomorphism plays in literature for children and more specifically, how this transposing of human characteristics on humans should be just as meaningful and useful for adults as for children.\nOne of the most pertinent modern examples of human and animal relationships in literature is Yann Martel\u2019s novel, \u201cThe Life of Pi\u201d This work offers young readers a familiar foray into the world of animal and human encounters by presenting anthropomorphism in \u201cThe Life of Pi\u201d by Yann Martel, while still balancing the very adult themes of seeking and maintaining spirituality and contemplating the grand order of life. In short, the novel follows a teenage boy through his life in India (told initially in retrospect by an author who is interviewing an aged Pi) and his quest to explore religions that will help him grow closer to God. During this quest, he becomes Catholic, Muslim, and is already Hindu thus proving himself to be accepting of the love of God in all its many forms\u2014remaining free of the dogma that dominates the lives of adults who attempt to persuade him that he must only choose one religion to practice. This spiritual quest forms the backdrop for much of the foreshadowing of Pi\u2019s eventually loss at sea with a Bengali tiger as his only companion. As the tale winds on, Pi and the tiger, named \u201cRichard Parker\u201d due to a clerical error at the zoo, must survive adrift on the ocean for 227 days. While the story of their survival is not one filled with the sentimental human-animal bonding one would typically associate with children\u2019s literature, they do make a connection even if it is based on survival instinct and knowledge of behavior. The adult themes of religion in \u201cThe Life of Pi\u201d by Yann Martel make this an animal story not confined to children and children are engaged by the story of survival and close communion with the animal world.\nThe use of anthropomorphism in \u201cThe Life of Pi\u201d by Yann Martel is almost endless once Pi leaves normal society. With a potentially dangerous tiger as his only companion (aside from God) Pi and the tiger almost trade places. While the tiger is always thought to be the savage one, it is actually Pi who turns to savagery for survival. This is almost like a case of double anthropomorphism since Pi attributes human characteristics on the tiger while at the same thinks of himself in animal terms. At one point, after killing fish and other ocean creatures to survive, Pi remarks on this anthropomorphic reversal in one of the more important quotes in \u2018Life of Pi\u201d by Yann Martel, \u201cIt became an unmistakable indication to me of how low I had sunk the day I noticed\u2014with a pinching of the heart\u2014that I ate like an animal. That this noisy-frantic-unchewing wolfing-down of mine was exactly the way Richard Parker ate\u201d (Pi 225). In terms of crossing the line (in terms of its status as an \u201canimal story) between the adult theme of man as animal and the children\u2019s literary theme of physically associating so closely with animals and speaking with them (although Richard Parker doesn\u2019t speak back) this makes \u201cLife of Pi\u201d an animal tale that is readable to both children and adults, much in the same way Kipling novels such as \u201cJungle Book\u201d were read across age groups.", "id": "<urn:uuid:b1d5d170-954e-41d5-9066-ae2b85701a61>", "dump": "CC-MAIN-2013-48", "url": "http://www.articlemyriad.com/anthropomorphism-literature-life-pi/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163055633/warc/CC-MAIN-20131204131735-00072-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9580208659172058, "token_count": 1535, "score": 3.53125, "int_score": 4}
{"text": "Based on the article by Barrett, \"Digital Storytelling facilitates the convergence of four student-centered learning strategies: student engagement, reflection for deep learning, project based learning, and the effective integration of technology into instruction.\"\nWhile digital storytelling is fun, engaging and powerful in the eyes of students and teachers, data is going to be detrimental to administrators in order to rationalize the money that will be needed to fund the staff development and technology tool costs associated with digital storytelling in schools. Data is also detrimental to the persuasion tactics that some administrators and staff developers will need to engage unwilling educators to participate in the digital storytelling revolution.\nSince the advent of digital cameras, video cameras and cell phones with camera/film capabilities, digital storytelling has become an easy new learning tool for willing teachers and students across all grade levels. Applications like PhotoStory, MovieMaker and Frames have to be purchased, but there are also free online story telling tools such as VoiceThread, Xtranormal, Animoto and Mixbook.\nTeachers that are interested in learning more about digital storytelling should start by visiting the Center for Digital Storytelling. The Center for Digital Storytelling assists educators around the world in using digital media to share, record and value the stories of their lives. It is the goal of the center to promote artistic expression, health and well-being, and justice. Other resources for digital storytelling include Alan Levine's CogDogRoo site: 50+ Ways to Tell a Digital Story, as well as Silvia Tolisano's Langwitches' Blog Post on Digital Storying. Larry Ferlazzo also has a great post on the Best Digital Storytelling Resources on his Website of the Day Blog.\nPersonally, I love using digital storytelling with my students. Most recently we finished a storytelling unit on Tall Tales where groups of students were given the task of retelling and elaborating on an assigned Tall Tale story. The video below was inspired by Lee LeFever and Common Craft videos and it was created using a Flip Camera and edited within MovieMaker.\nWhile my students were provided with a very specific rubric at the beginning of this particular Tall Tale assignment, I know that this type of assessment does not indicate or document the impact that the digital storytelling process has on student learning, motivation and engagement, nor does it show how teaching practices and strategies change with technology integration.\nI will say, however, that there has been an improvement in the quality of student work since we began introducing this year's class to digital storying this past September. While the visually appealing end result is engaging to on-lookers, there was a lot of note-taking, research, reading, writing, editing and digital literacy skills that are involved in digital storytelling. These are the same skills involved in writing essays and reports, but from my perspective: digital storytelling is so much cooler in the eyes of a child.\nIf you haven't tried using any of these digital storytelling tools with your students, I would hope you would make the effort to try. While you might not officially collect data on the impact digital storytelling has on student learning, motivation and engagement, you'd give yourself the opportunity to practice with the tools and the strategies that would make digital storytelling successful for you.\n\u201cThe only real failure in life is the failure to try.\" ~Anonymous", "id": "<urn:uuid:f5a20508-5a63-4e72-86bb-5d1c60567342>", "dump": "CC-MAIN-2013-48", "url": "http://christinesouthard.blogspot.com/2009/05/digital-storytelling-as-deep-learning.html?showComment=1312941475116", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163056670/warc/CC-MAIN-20131204131736-00074-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9556728005409241, "token_count": 672, "score": 3.578125, "int_score": 4}
{"text": "Math Writing Prompts offer Fabulous Creative Writing Ideas\nMath prompts made easy! Here are samples of math instructional prompts for creative writing across the curriculum . Each math writing prompt below is written using the RAFTS technique.\nSee this page for a quick refresher and to help you design your own math prompts. I wrote these math prompts to address specific National Council of Teachers of Mathematics (NCTM) standards. Use these math prompts to begin the important work of writing about math!\n- Role: you\n- Audience: the restaurant manager\n- Format: comment\n- Topic: someone else's dinner bill\n- Strong Verb: revise and express\nYou are dining with your family at your favorite restaurant. You order three hamburgers with French fries at $6.50 each, one Caesar salad at $5.35, three iced teas at $1.29 each, a lemonade at $1.39, and four desserts at $3.99 each. But when you receive your bill, you discover that you've been charged for an extra hamburger and an extra iced tea. Correct your bill to get an accurate total. Then write a comment to the restaurant manager, expressing your concern regarding the restaurant's overcharging ways and document how you corrected the error.\nThe Field Trip\n- Role: teacher\n- Audience: parents of students\n- Format: expository letter\n- Topic: field trip costs\n- Strong Verb: explain\nYou are a teacher of elementary-aged students. Write a letter to the parents of your students, explaining how much it will cost to take a field trip to the natural science museum. Be sure to include fees for transportation, admission prices, and lunch, as well as suggested amount for gift shop spending money.\n- Role: you in your math class\n- Audience: your classmates\n- Format: notes for a step-by-step demonstration\n- Topic: how to solve 565 x 24\n- Strong Verb: create and explain\nYou are an excellent math student. For a class review, your teacher has asked you to create a step-by-step demonstration of how to solve the problem 564 x 24. Be sure to explain each step in the process, so classmates will understand how you got the correct answer.\nTreasure Map Grid\n- Role: the pirate treasure-master\n- Audience: the captain of the ship\n- Format: mapped grid\n- Topic: co-ordinates of the treasure on a desert island\n- Strong Verb: identify\nYou are the treasure-master for a swashbuckling pirate crew. Your job is to keep records of the locations of treasures your ship has hidden on a desert island. For your ship's captain, create a grid of the island where your most recent treasures are buried. Identify the exact co-ordinates of each treasure.\n- Role: puzzle and toy designer\n- Audience: young kids\n- Format: puzzle and simple instructions\n- Topic: puzzles in geometric shapes\n- Strong Verb: design and include\nYou are a puzzle and toy designer for a major toy company. The sales team reports that young children enjoy large colorful puzzles in geometric shapes. Design a puzzle for this age group, creating it so that all the pieces interlock. Give your puzzle a catchy name and include simple instructions for assembly.\nDream Day at School\n- Role: you\n- Audience: the principal of your school\n- Format: schedules in 30 minute time periods\n- Topic: a dream-day schedule\n- Strong Verb: create\nYour school administration is thinking of redesigning the daily schedule and the principal is asking for input from students. Create a dream-day schedule, breaking everything down into 30 minute segments.\nNew Lunch Menus\n- Role: spokesperson\n- Audience: school lunch oficials\n- Format: persuasive letter\n- Topic: new meals\n- Strong Verb: argue\nStudents at your school are interested in changing the lunch menus, and you have agreed to be their spokesperson. After surveying your classmates to collect their preferences for healthy yet tasty meals, write a letter to the school lunch officials, arguing a case for new meals your fellow students would enjoy. In your letter, include the survey information you collected to build a case.\n- Role: you\n- Audience: you and your parent\n- Format: recipe\n- Topic: take a favorite dessert recipe and triple it\n- Strong Verb: record\nYour mom or dad has agreed to make your favorite dessert. Take the original recipe and triple it, so that there is enough dessert for everyone in the family, as well as some of the neighbors. Record the new recipe so that your mom or dad can start baking.\n- Role: math tutor\n- Audience: students\n- Format: story problems\n- Topic: how multiplication is used in everyday life\n- Strong Verb: think and write\nYou are a math tutor for students at an elementary school. The teacher has asked you to help younger children understand the importance of math by connecting it to real-life situations. Think of three examples where multiplication is used in everyday life and write them out in story problems for your students to solve in tutoring sessions.\n- Role: gardener\n- Audience: yourself\n- Format: plan\n- Topic: rows of potatoes\n- Strong Verb: calculate and write\nYou are a gardener who is planning your potato patch. You know that if you plant one row, you will harvest enough potatoes for several family meals, but you want more than that. Calculate how many rows of potatoes you need to feed your family for at least two months. Write out your plan so know how many seeds to plant.\n- Role: reporter\n- Audience: Math Magic readers\n- Format: list of questions\n- Topic: strategies to get kids interested in everyday math skills\n- Strong Verb: interview\nYou are a reporter for the magazine Math Magic\n. For your next article, you plan to interview a local math teacher about recommended strategies for getting kids interested in everyday math, such as planning a garden, making change, or calculating recipe ingredients. Write the list of questions you intend to ask.\nThe Weather Report\n- Role: meteorologist\n- Audience: television viewers\n- Format: the evening weather segment\n- Topic: daily temperatures\n- Strong Verb: average and chart\nYou are a meteorologist at the local television station. Each week, your report features the average daily temperature for that week. Design a graph that charts the daily temperatures to share with your viewers, then write a short script for your segment that includes the average temperature.\nMath Average in the Gradebook\n- Role: you\n- Audience: your parents\n- Format: reflection\n- Topic: average your math grades to a median score\n- Strong Verb: calculate and write\nYou record your grades in a small notebook. Calculate your grades to a median score to share with your parents. Write a reflection for your parents about your strengths and any weaknesses in math.\nAs you can see, creative writing ideas for math prompts are hidden in plain sight within any math concept: numbers and operations, geometry and measurement, data analysis and problem solving. Design your own math prompts to help your students write creatively, thinking deeply and productively about math everyday! Who knew that math prompts and creative writing could go hand-in-hand! Imagine!\nReturn from Math Prompts to Creative Writing Ideas\nReturn from Math Prompts to Creative Writing Ideas and Activities\nHelping You Write Across the Curriculum!\ncopyright 2009-2013 www.creative-writing-ideas-and-activities.com", "id": "<urn:uuid:251f89cc-3493-47a1-a66c-e30aa107174a>", "dump": "CC-MAIN-2013-48", "url": "http://www.creative-writing-ideas-and-activities.com/math-prompts.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163037851/warc/CC-MAIN-20131204131717-00070-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.915975034236908, "token_count": 1580, "score": 3.671875, "int_score": 4}
{"text": "Jeremiah Handley Lesson Plan\n2nd Place, Best Lesson Plan Contest 2011-2012\nBy Todd Searing\nLiving a young man's life during the Civil War\nGrade Level: Middle School\nApproximate Length of Time: Four, 45-minute periods\nStudents will understand choices someone close to their age in 1861 might have faced during the American Civil War.\n1. Students will apply historical knowledge to the condition of a hypothetical individual, demonstrating understanding through creative writing.\n2. Students will engage in goal-oriented primary source analysis to accomplish an individualized creative task.\nAll materials used can be downloaded with the lesson plan on the right side of this page.\nPrimary Source materials (linked below)\nPrimary Source analysis sheets (linked below)\n\"Jeremiah Handley's Story\" (included with lesson plan) for each student\n\"Interview with Jeremiah\" response sheet for each student\nPages 1-3 of the original story of fictional character, Jeremiah Handley. Activate prior knowledge of events and issues of the early Civil War and build student ownership in leading up to the first choice to be made.\n1. Have students read a selection of the primary source materials provided below and discuss as a class or in groups.\n- Accounts from the Battle of Shiloh\n- Battlefield Tragedy\n- Carnage at Antietam\n- Sherman's March to the Sea\n- Recollections of the Battle of Perryville\n- The Humane Hero of Fredericksburg\n- National Archives Civil War Photographs\n- Images from the Library of Congress\n2. While reading selected documents and viewing images, students can fill out these analysis forms.\n3. Have students read Jeremiah's story, making choices as to how his life will play out until reaching an \"ending\" on one of the last eight pages (11-18).\n- Depending on where students are in terms of background knowledge, a read aloud and discussion of pages 1-3 can be a good beginning to the lesson.\n- In making the choices, small groups can get together and make the initial decisions or each individual can take time to explore the story.\n- If students read individually, they can then join a partner or a small group and come to a consensus on the \"ending\" the group will reach. Alternatively, groups can be assigned based on the choices individuals made.\n4. At the end of the story (pages 11-18), students will answer the questions that are provided. They will use their knowledge from the primary sources and the events of their chosen path of Jeremiah to address these questions\n5. Have students complete the \"Interview with Jeremiah\" response.\n- Students should imagine themselves in the role of interviewer and interviewee, writing responses as Jeremiah.\n- All four questions give opportunities to include learning from the primary source analysis in step two and question four is designed to specifically focus students' attention on the issues left open on the \"ending\" page they reached.\nSharing responses among students can be confusing if everyone is not familiar with all of the possible endings. One remedy is to close with a survey of what choices were made and what endings were reached. With some explanation, students can then concentrate on sharing what was most informative to them when analyzing the primary sources. Some groups may decide to record the interview responses as a performance as well.\nThe two areas of assessment are participation as a group member according to expectations and evidence of primary source research included in the written interview responses.", "id": "<urn:uuid:90a2858b-37d6-4ce4-820d-ba1f72876235>", "dump": "CC-MAIN-2013-48", "url": "http://www.civilwar.org/education/teachers/lesson-plans/jeremiah-handley-lesson-plan/jeremiah-handley-lesson.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164647809/warc/CC-MAIN-20131204134407-00075-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9346740245819092, "token_count": 711, "score": 3.71875, "int_score": 4}
{"text": "Total: $0.00Close Cart\neBook & Document Store\nBasic Literary Elements\nExcerpt From this Document\nTRUE OR FALSE\n- Outer space could be the setting for a story.____________________\n- A character\u2019s personality can be revealed by the things he/she does and says.______________\n- Human v. Nature is when a character in a story is struggling with another character.___________________________________________\n- In third person point of view stories, the narrator uses the words \u201cI\u201d \u201cwe\u201d or \u201cour\u201d to show their perspective.________________________________\nCIRCLE THE BEST ANSWER\n- If a narrator is omniscient, it means that: a. He/she is a minor character b. He/she knows everything about all characters c. He/she is a \u201cgood guy\u201d in the book d. He/she has no clue what is going on\n- The ______________ of a story is the most intense moment. a. Resolution b. Exposition c. Climax d. Rising Action\n- The resolution of the story is the ______________________ a. First thing you read b. How the conflict is solved at the end c. The climax d. The story that occurs before the climax\n- In the exposition stage, readers learn about a. Characters b. Setting c. Both a and b d. None of the above\n- The process by which an author reveals the personality of a character is___________. a. Conflict b. Point of View c. Characterization d. Setting\n- Internal conflict is a. A struggle with an outside force b. A struggle against mother nature c. A struggle against oneself d. A struggle for life or death\n- External conflict includes a. Human v Nature b. Human v Society c. Human v Human d. All of the above\n- When an author uses the pronouns I, me, my, mine, us, it indicates that he/she is writing in the _______________ point of view. a. Human v. Nature b. Conflict c. Third Person d. First Person\n- A __________ character is a type of flat character that relies on some type of stereotype. a. Round b. Dynamic c. Flat d. Stock\n- A_____________ character undergoes at least one mental or emotional change from the beginning of the book to the end. a. Round b. Dynamic c. Flat d. Stock\n- ______________ occurs before the climax and ___________________ occurs after the climax. a. Flat action and Round action b. Rising action and Falling action c. Stock action and Flat action d. Falling action and Rising action\n- Please write briefly about an internal conflict faced by one of the characters in a story we have read.\n- Please name a dynamic character from a story we have read and discuss an internal, emotional change that he/she went through. State what kind of person the character was at the beginning vs. the kind he/she was at the end.\n- Describe the setting of one of the stories we have read.\n- Name the theme from one of the stories we have read\u2014please be sure to list the story name as well.\n- The universal message that an author wants the reader to be able to take away from a piece of writing is called the____________ a. Theme b. Plot c. Conflict d. Story\nAbout this Document\nI used this with Freshman as we were studying literary elements as they applied to various short stories.", "id": "<urn:uuid:9276e8e2-0d63-40ed-9343-84a5ccb03563>", "dump": "CC-MAIN-2013-48", "url": "http://www.enotes.com/documents/basic-literary-elements-1759", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345771844/warc/CC-MAIN-20131218054931-00077-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.889104425907135, "token_count": 731, "score": 3.53125, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\nLibrary Skills Teacher Resources\nFind Library Skills educational ideas and activities\nMaking the transition to a higher-tech school library or computer lab? This plan suggests 5th graders undertake a scavenger hunt and make a PowerPoint to educate younger schoolmates about how to use information resources in an increasingly tech-outiftted facility. Underlying principle is that students fluent in the use of any library will be better equipped to take advantage of the next generation of resources available. Not much procedural detail, but important ideas for moving forward.\nStudents become familiarized with the layout of the library utilizing a map unit in the classroom. They role play as explorers and their territory is the library within the scenario. Each student relates library skills to classroom lessons to help surface relevance to their studies.\nCyber Dewey? Dewey Made Fun? Do the Dewey Game? After a librarian-led tour of the school library and an explanation of the Dewey Decimal System, class members use the Internet to access MAGNOLIA, a site with resources devoted to library skills and the Dewey Decimal System. Pupils are then given a list of books that they must successfully locate.\nStudents examine how historical events have helped to shape society, the roles played by singers and protest songs in the movement for civil rights, and the role American citizens played in shaping their society. Students make posters and PowerPoint presentations, create time lines, participate in debates, write a newspaper article, and compose a creative writing in this project.\nOrienting learners to the resources at your school library enables access to information and encourages discernment about the validity of sources. Includes link to a PowerPoint slide show that explores plagiarism and clarifies when, how, and why to cite sources. Refers to a teacher-made movie that may take some time and work to acquire. Alternatively, see if your school library has an orientation video of its own.\nWord relationships, connotation, and denotation are the focus of an activity to teach the use of a thesaurus. Scholars seek out vocabulary words to replace common starter words; they use the new vocabulary words to write three grammatically correct sentences that demonstrate the different connotations of each.\nAuthor Pearl Buck's, The Good Earth is the central focus of this terrific eighth grade language arts lesson. Essentially, it is a very thorough study of the book. While reading, there are worksheets embedded in the plan to be completed. There are many postreading assignments as well, all supported with worksheets. This is a fine educational resource to complement the study of this book.\nThe Great Depression is one of the landmark time periods in American History. Use these lessons to lead your seventh graders into a thorough study of how the Great Depression came about, how long it lasted, and how people got through this difficult time. The 12-page packet has many terrific activities designed to help learners gain a deep understanding of the economics of the times and how President Roosevelt's New Deal helped bring the country back on its feet.\nFourth graders identify books based on the Dewey Decimal System. In this library skills instructional activity designed to be used after introducing the Dewey Decimal System, 4th graders play a game collecting books from each category of the Dewey Decimal system while using a digital card catalog to identify the location of each book.\nSecond graders practice using technology to gather information. In this online research lesson, 2nd graders use technology to find information for a research project. Students write a research paper, and give a presentation to the class effectively demonstrating knowledge of the topic, and the resources used to find the information.\nPrimary graders master library skills as they explore the work of beloved author and artist Eric Carle. Rotating through four centers, children learn about the author while navigating a website, browsing books on display, listening to audio versions of Carle stories, and checking out books. Teachers need to prepare research questions in advance. Comprehensive accommodation ideas for every need are attached.\nStudents review and practice many of the skills they have learned in the library throughout the year. They create a Library Handbook for next year's incoming third grade students.They are excited about the project because they love the idea of being authors and illustrators of such a valuable resource for other students.", "id": "<urn:uuid:cdcb0156-4362-4b17-9231-99f06e5e8cbf>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/library-skills", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053883/warc/CC-MAIN-20131204131733-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9282252788543701, "token_count": 888, "score": 4.46875, "int_score": 4}
{"text": "Native American Facts For Kids was written for young people learning about the Shawnees for school or home-schooling reports. We encourage students\nand teachers to look through our main Shawnee language\nand culture pages for in-depth information,\nbut here are our answers to the questions we are most often asked by children, with\nShawnee pictures and links we believe are suitable for all ages.\nHow do you pronounce \"Shawnee?\" What does it mean? Shawnee is pronounced \"shaw-NEE.\"\nIt comes from the Shawnee word shawanwa, which means \"southerner.\" In history books, you can sometimes see the same name spelled Shawano or\nWhere do the Shawnees live? The original Shawnee\nhome land was in Ohio,\nIndiana. But the Shawnees were far-ranging people.\nShawnee villages were located as far north as New York state and as far south as Georgia.\nHere is a map showing Shawnee and other Indian migrations.\nToday, most Shawnees live in Oklahoma, where they were deported by the US government.\nHow is the Shawnee Indian nation organized?\nThere are three Shawnee bands in Oklahoma.\nLike most Native American tribes, the Shawnee Indian tribes are autonomous. That means each tribe has its own government, laws,\npolice, and services, just like a small country. However, the Shawnee are also US citizens and must obey American law.\nIn the past, each Shawnee village or band was governed by its own chief and tribal council. The Shawnees also had war chiefs, who were chosen\nby other warriors based on their bravery and military skill. But all of them owed allegiance to one main principal\nchief. The principal chief was a member of the ruling clan who the other Shawnee leaders chose to be in charge of the entire tribe. The Shawnee\nprincipal chief was a powerful figure, but he needed the support of his people to stay in power-- otherwise he could be replaced.\nToday each Shawnee tribe is governed by a tribal committee that is elected by all the tribal members.\nDo the Shawnee live on reservations?\nTechnically, no. The lands belonging to the Shawnee and other Oklahoma Indian tribes are trust lands, not reservations. There are some\nlegal differences between these two kinds of lands, but they are not very important. Many Oklahoma Indians call their homelands a reservation anyway.\nWhat language do the Shawnees speak?\nShawnee Indians all s peak English today. Some elders also speak their native Shawnee language,\nwhich is songlike and has complicated verbs with many parts. If you'd like to know a few easy Shawnee words,\n\"bezon\" (pronounced bay-zone) is a friendly greeting and \"neahw\" (pronounced nay-aw) means \"thank you.\"\nYou can listen to Shawnee being spoken here\nand read a Shawnee picture glossary here.\nToday Shawnee is an endangered language because most children aren't learning it anymore.\nHowever, some Shawnee people are working to keep their language alive.\nWhat was Shawnee culture like in the past and today?\nHere are the home pages of the Absentee Shawnee and\nEastern Shawnee tribes, where you can learn about the Shawnee people past and present.\nHow do Shawnee Indian children live? They\ndo the same things any children do--play with each other, go to school and help around the house. In the past, Shawnee kids had more chores\nand less time to play, just like early colonial children. But Shawnee children did have dolls,\ntoys and games, like miniature bows\nand arrows and hand-held ball games. Like many Native Americans, Shawnee mothers traditionally carried their babies in\non their backs--a custom which many American parents have\nWhat were men and women's roles in the Shawnee tribe?\nShawnee men were hunters and sometimes went to war to protect their families. Shawnee women were farmers and also did child care and cooking.\nBoth genders took part in storytelling, artwork and music, and traditional medicine. In the past, Shawnee principal chiefs were always men, but\neither a man or a woman could be a village chief.\nWhat were Shawnee homes like? The Shawnees didn't live in tepees. They lived in\nsmall round dwellings called wikkums, or wigwams.\nHere are some images of American Indian wigwams like\nthe ones Shawnee Indians used.\nEach Shawnee village also included a larger council house built from wood.\nToday, Native Americans only build a wigwam for fun or to connect with their heritage, not for shelter. Most Shawnees live in modern houses and\napartment buildings, just like you.\nWhat was Shawnee clothing like? Did they wear feather headdresses and face paint?\nShawnee women wore skirts with leggings. Shawnee men wore breechclouts and leggings.\nShirts were not necessary in the Shawnee culture, but both men and women often wore ponchos in cool weather.\nThe Shawnees wore moccasins on their feet.\nAs they migrated from place to place, the Shawnees adopted clothing styles from many other Indian tribes and\nfrom white settlers as well. Here is a picture of Shawnee\nIndian clothing, and photos and links\nabout American Indian dress in general.\nThe Shawnees didn't wear headdresses like the\nSioux. Sometimes they wore a beaded headband with a feather\nor two in it. Shawnee people usually wore their hair long, though Shawnee warriors sometimes\nshaved their heads in the Mohawk style.\nMany Shawnees painted designs onto their faces, and some wore tribal tattoos.\nToday, some Shawnee people still have a traditional headband or moccasins, but they wear modern clothes like jeans instead\nof breechcloths... and they only wear feathers in their hair on special occasions like a dance.\nWhat was Shawnee transportation like? Did they paddle canoes?\nYes, the Shawnees made dugout canoes by hollowing out large trees.\nHere is a website with pictures of different Indian canoes.\nOver land, the Shawnee tribe used dogs as pack animals.\n(There were no horses in North America until colonists brought them over from Europe.) Today, of course, Shawnee people also use cars... and non-native people also use canoes.\nWhat was Shawnee food like in the days before supermarkets?\nThe Shawnees were farming people. Shawnee women planted and harvested corn and squash. Shawnee men hunted in the forest\nfor deer, turkeys, and small game and went fishing in the rivers and lakes. Shawnee Indian food included soup, cornbread, and stews.\nHere is a website with more information\nabout traditional Native American Indian food.\nWhat were Shawnee Indian weapons, tools and artifacts like?\nShawnee hunters and warriors used bows and arrows, stone tomahawks, and spears. Shawnee fisherman used spears and nets.\nHere is a website of pictures and information about Native American weapons.\nWhat are Shawnee art and crafts like?\nThe Shawnee tribe is known for their\nLike other eastern American Indians, the Shawnee also crafted wampum out of white and purple shell beads. Wampum beads were\ntraded as a kind of currency, but they were more culturally important as an art material. The\ndesigns and pictures on wampum belts often told a story or represented a\nWhat other Native Americans did the Shawnee tribe interact with?\nThe Shawnee were a very far-ranging tribe, so they interacted with many different nations. Further to the north, the Shawnees were allies\nof the Delaware Indians and enemies of the\nIroquois tribes. Further to the south, the most important\nneighbors of the Shawnee tribe were the Cherokee,\nCreek Indians. Sometimes the Shawnees traded with these\ntribes, and other times they fought them.\nWhat kinds of stories do the Shawnees tell?\nThere are lots of traditional Shawnee legends and fairy tales. Storytelling is very important to the\nShawnee Indian culture. Here is one well-known tale about a Shawnee man who married\na sky daughter.\nWhat about Shawnee religion?\nReligions are too complicated and culturally sensitive to describe appropriately\nin only a few simple sentences, and we strongly want to avoid misleading anybody. Here are links to learn more about\nShawnee mythology or this site about\nIndian religion in general.\nHow do I cite your website in my bibliography?\nYou will need to ask your teacher for the format he or she wants you to use. The authors' names are Laura Redish and\nOrrin Lewis and the title of our site is Native Languages of the Americas. We are a nonprofit educational organization\nworking to preserve and protect Native American languages and culture. You can learn more about our organization\nhere. Our website was first created in 1998 and last updated in\nThanks for your interest in the Shawnee Indian people and their language!", "id": "<urn:uuid:4dccf7da-a42a-4c74-b774-5743dfd17994>", "dump": "CC-MAIN-2013-48", "url": "http://www.bigorrin.org/shawnee_kids.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164647809/warc/CC-MAIN-20131204134407-00077-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9693344235420227, "token_count": 1908, "score": 3.796875, "int_score": 4}
{"text": "Lesson PlansBack to lesson plans archive September 24, 2013\nLesson Plans for PBS \u201cLatino Americans\u201d Documentary\nLATINO AMERICANS is the first major documentary series for television to chronicle the rich and varied history and experiences of Latinos, who have helped shape North America over the last 500-plus years and have become, with more than 50 million people, the largest minority group in the U.S. The changing and yet repeating context of American history provides a backdrop for the drama of individual lives. It is a story of immigration and redemption, of anguish and celebration, of the gradual construction of a new American identity that connects and empowers millions of people today. Trailer- Click here to watch\nLatino Americans Series Lesson Plans\nSeptember 15 to October 15 is National Hispanic Heritage Month, and to celebrate, PBS is releasing its Latino Americans documentary. To teach your classroom about the ways in which Latino Americans have contributed to the rich and diverse history of the U.S., use these 12 lesson plans that were designed to accompany the documentary.\nUrge your students to watch along at home, or you can use web versions of the episodes after they air. Find all episodes here as they appear.\nIn this lesson plan, students consider their own preconceptions of Latinos, view a trailer for the documentary series Latino Americans and identify new topics questions to investigate further. Who are Latinos? What does the term Latino American reference?\nIn this lesson plan, students examine the evolution of Latino electoral participation with specific reference to the growth of voter participation in South Texas and New York in the 1950s \u2013 70s, as well as the impact of Latino voters in major elections of the early 2000s. Students will explore early efforts to mobilize disenfranchised voters, examine watershed campaigns and elections and consider major issues \u2013 including the politics of immigration. They will reflect on the major paradigm shifts that have occurred within the last 60 years. Teachers can complete the entire sequence of activities or choose just one of the activities as a stand-alone lesson.\nIn this lesson plan, students will trace the varied stories of becoming Latino in the United States\u2014and dispel common generalizations. Latinos have come to be part of the United States through many different avenues: immigrants seeking a better life, refugees driven by war, and those who did not move at all, but who found themselves on the other side of redefined borders as the United States expanded. Students will document details of historical characters from the program and plot their movements on a map. In this activity, students will trace firsthand, the varied stories of becoming Latino in the United States \u2013 and dispel common generalizations. In addition, they will compare and contrast these stories with the arrival experiences of their own families.\nIn this lesson plan, students evaluate preconceptions and stereotypes about Latinos and how they have come to the United States. A reflective pre-activity is followed by analysis of statistical graphs from the Pew Research Center.\nIn this lesson plan, students evaluate preconceptions and stereotypes about Latinos and how they have come to the United States. After completing reflective writing on the experience of being stereotyped, students will review current studies and graphs from the Pew Research Center and Latino Decisions to contrast assumptions with realities.\nIn this lesson, students examine the involuntary deportations of Mexican immigrants and U.S. citizens of Mexican heritage during the 1930s. This displacement is only one of many legally sanctioned, forced relocations in our nation\u2019s history. It also is an example of how a certain population may be scapegoated during times of economic downturn \u2013 and how there is an ongoing tie between immigration policies on the one hand, and economic trends on the other. Students analyze primary accounts and images from the 1930s, develop new vocabulary related to relocation, and demonstrate their understanding through creative writing. (Elements of this lesson were adapted from Learn NC).\nIn this lesson plan, students explore rising consciousness and activism among Latino youth in the 1960s. Students view a clip on the situation of Mexican American students in Los Angeles, examining how self-concepts and expectations began to change during the Chicano Movement. Students can respond individually or in small groups, in writing, or through discussion. The last set of questions connects the historical study to student\u2019s own civic participation. Two extensions offer options for connecting the history to current student activism.\nIn this activity, students reflect on their own family\u2019s arrival to the U.S. by filling in a family tree of as many generations as possible. Students research and fill in as much information as possible on the names and birthplaces of themselves, their parents, grandparents and so on. Next, they plot the names and birthplaces on a world map. More important than establishing the exact detail of their family tree is the process of understanding the migration/settlement story of those that came before them. Students complete reflective questions that compare and contrast their family\u2019s story of arrival with the rich arrival stories of characters from the documentary. Two extensions are available.\nIn this lesson plan, students analyze how regions such as Texas, New Mexico and California had established Mexican and Indigenous communities already in place as the United States expanded westward in the mid 1800s. Students review the different ways that Mexican citizens come to terms with the expansion of the United States and the ways in which they became foreigners in their own lands within a very short time.\nIn this lesson plan, students examine Puerto Rican experiences of the United States throughout the 20th century. How did the Spanish American War shape the connection between the island and the U.S.? How has this shaped the question of identity for Puerto Ricans? What are the issues surrounding Puerto Rican migration and settlement in New York? Four extensions available.\nIn this lesson plan, students explore the conditions faced by farm laborers in the mid-20th century and meet the advocates who led efforts to improve those conditions. Students view a clip on the emergence of the farm worker movement and respond through discussion questions. Students can respond individually or in small groups, in writing, or through discussion. Two extensions offer additional activities and investigation.\nIn this lesson plan, students examine place-names around North America that tell the story of Indigenous, Spanish and Mexican settlements that pre-date the United States\u2019 presence. The investigative questions can be used alone or in conjunction with the map analysis and plotting activities.\nFor more resources please visit Latino Americans and PBS Learning Media\nTooltip of related stories\nMore Lesson Plans\nTooltip of more video block\nTooltip of RSS content 3\nIntroduction In this lesson plan, students will use text from Mandela\u2019s autobiography \u201cLong Walk to\u2026civil rightsMandelaNelson MandelaWorldWorld & Geography\nNelson Mandela, the former president of South Africa known as a symbol of the movement\u2026World\nzeit\u2022geist noun, often capitalized \\\u02c8ts\u012bt-\u02ccg\u012bst,\u02c8z\u012bt-\\ : the general beliefs, ideas, and spirit of a time\u2026Arts & CultureWorld\nDOWNLOAD VIDEO Today the United Nations (U.N.) is set to vote to send a peacekeeping\u2026World\n150 years ago on December 2, construction was completed on the Capitol Dome in Washington,\u2026U.S.", "id": "<urn:uuid:eb7a94c3-aad4-4d88-ba24-5474d32df044>", "dump": "CC-MAIN-2013-48", "url": "http://www.pbs.org/newshour/extra/lessons_plans/lesson-plans-pbs-latino-americans-documentary/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163844441/warc/CC-MAIN-20131204133044-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9471454620361328, "token_count": 1480, "score": 4.09375, "int_score": 4}
{"text": "UNIVERSITY OF PENNSYLVANIA - AFRICAN STUDIES CENTER\n(DEPENDING ON THE TEACHER AND/OR GUEST SPEAKER - AND THE STORIES THAT ARE USED - THIS LESSON PLAN COULD PROBABLY BE ADAPTED FOR USE IN ALMOST ANY GRADE: K-12)\nI. ORAL TRADITIONS IN THE PAST A. THE STORYTELLER 1.Background/training/experience 2. Age/gender 3. Social role and status B. THE STORY 1. Give an example (or several) of African folktales to the class. This can be done orally or by using an audio- visual method since many films and filmstrips are commercially available./ 2. Characteristics of the story: a. Characters, plot, symbolism involved, ironies, allegories, etc. b. Deal with the purpose of the story (especially what values or moral lessons are being conveyed) C. THE SETTING 1. The time and place for storytelling 2. The age and make-up of the audience\nII. ASPECTS OF MODERNIZATION A. THE LEGACY OF COLONIALISM 1. Affects on languages, borders, desires for independence, etc. 2. Affects on story themes, etc. B. SINCE INDEPENDENCE 1. Affects of modernization: ie. urbanization, industrialization, \"new\" religions, \"formal\" education, etc. 2. Impact of new ideas: ie. \"Revolution of Rising Expectations\", \"Global Village\", etc.\nIII. ORAL TRADITIONS IN CONTEMPORARY AFRICA A. THE STORYTELLER 1. Refer back to I.A. - What things have changed, if any, and why? B. THE STORY 2 Refer back to I.B. - What things have changed, if any, and why? C. THE SETTING 1. Refer back to I.C. - What things have changed, if any, and why?\nIV. CLASS REACTIONS AND DISCUSSION\nA. SOME QUESTIONS FOR DISCUSSION\n1. Why hasn't the ancient art of storytelling disappeared\n2. Of what value are oral traditions today?\n3. In general, in what areas has modernization had its\ngreatest impact on African oral traditions?\n4. What parallels are there between African oral traditions\nand anything comparable in the United States?\n5. As even more modern forms of technology spread\nthroughout Africa, what might their effect be on oral\nB. A POSSIBLE ACTIVITY\n1. Have the students choose several animals and several\nmorals (ie. being truthful, respectful or loyal) and\nhave them work in sets of items.\n2. Have the student s present their stories to the class.\n3. Make comparisons (if known) to any African oral\nEditor: Dr. Ali B. Ali-Dinar, Ph.D.\n|Previous Menu||Home Page||What's New||Search||Country Specific|", "id": "<urn:uuid:982fbfab-c225-4cd8-bb71-0789ae851124>", "dump": "CC-MAIN-2013-48", "url": "http://www.africa.upenn.edu/K-12/Oral_Traditions_16163.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163048614/warc/CC-MAIN-20131204131728-00074-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8104373216629028, "token_count": 647, "score": 4.5625, "int_score": 5}
{"text": "School is in full swing, the leaves are changing, and temperatures are falling \u2014 all indications that autumn is here. What better way to celebrate October \u2014 punctuated by Halloween's ghost stories, pumpkins, monsters, and costumes \u2014 than with EDSITEment's lesson plans and educational websites? Give your students a treat and explore the ghostly historical and the ghoulishly dramatic with a variety of online resources.\nOne of the most well known creatures of horror is the monster of Frankenstein. While often portrayed as a lumbering creature with outstretched arms, Mary Shelley\u2019s scarred monster became both physically and intellectually superior to his creator, Victor Frankenstein. Shelley's novel Frankenstein, or A Modern Prometheus, written in 1818, warned against hubris in its portrayal of a battle of wills between a scientist and his creation that stretched from Europe to the depths of the Arctic. Learn more about this foundational gothic novel and the rest of the genre with EDSITEment's lesson Tales of the Supernatural. The lesson not only explores Shelley's Frankenstein by drawing on resources available on the EDSITEment-reviewed website Romantic Circles, but also leads students to explore the subsequent gothic heritage in America through such writers as Nathanial Hawthorne and Edgar Allan Poe.\nTo continue the horror, EDSITEment has two other lesson plans about Poe that are suitable for grades 9-12: Edgar Allan Poe, Ambrose Bierce, and the Unreliable Narrator and Edgar Allan Poe, Ambrose Bierce, and the Unreliable Biographers. Still students' hearts through a close reading of Poe's \u201cThe Tell-Tale Heart\u201d or hold a ghastly masquerade with his \u201cThe Masque of the Red Death.\u201d Both stories (and more) are available through the EDSITEment-reviewed resource American Studies at the University of Virginia and are explored in the lessons listed above.\nOf course, few tremble at the knees as well as Washington Irving's Ichabod Crane in \u201cThe Legend of Sleepy Hollow.\u201d Many students are familiar with Tim Burton's film version or the Disney rendition of the story, but there are some surprising differences between the Hollywood adaptations and Irving's original tale. In EDSITEment's lesson The Legend of Sleepy Hollow, students analyze the characterization of Ichabod Crane and Brom Bones and seek to answer an enduring literary mystery: what happened to Ichabod Crane?\nIf the Headless Horseman makes you squeamish, look for less ghoulish creatures in the EDSITEment lesson Unicorns, Dragons, and Other Magical Creatures, suitable for students in the K-2 range. By taking advantage of children's curiosity about fantastic creatures, this lesson helps them examine the many cultural meanings embedded in make-believe creatures. Of course, children dress as all types of creatures and in all sorts of costumes for Halloween. Since wearing a mask is often part of this process, take the opportunity to explore with students how masks work in cultures beyond our own. The EDSITEment lesson The Meaning Behind the Mask helps younger students (grades K-2) explore the cultural significance of masks. After recalling some of the contexts in which masks are worn in the United States, students look at images of African masks online and investigate the role masks play in various African cultures. By reading several folktales, students will explore how storytelling is used along with masks and costumes to preserve and pass on the society's values, morals, religion, and traditional and historical heritage. The EDSITEment lesson What Masks Reveal extends this exploration for students in grades 6-8, adding masks from Puerto Rico and the Yup'ik people of Alaska to the lesson.\nEntice your older students with a classic tale of temptation and murder. Shakespeare's Macbeth functions as a great Halloween story, containing all of the requisite elements: intrigue, dark castles, witches, and ghosts. EDSITEment's lesson Shakespeare's Macbeth: Fear and the \u201cDagger of the Mind\u201c helps students understand how Shakespeare's language dramatizes fear. Use this lesson as a precursor to Shakespeare's Macbeth: Fear and the Motives of Evil, another EDSITEment lesson that delves more deeply into the concept of fear by using online search tools and concordances to navigate specific themes within the play. By doing so, students learn the particular ways that Shakespeare\u2019s language helps shape the tone of fear and dread. Such discussion also leads to inquiries into the role of the supernatural in Macbeth; as an extending exercise, students are encouraged to investigate the role of the witches\u2014the Weird Sisters\u2014in the play by researching the cultural significance of witches in the 17th century.\nOf course, few tales of witchcraft hold as much power in the popular imagination as the Salem witch trials, dramatized by Arthur Miller in his play The Crucible. In the EDSITEment lesson Dramatizing History in Arthur Miller's \u201cThe Crucible,\u201d students in 9th to 12th grade explore how Miller interpreted the facts of the witch trials and successfully dramatized them. Drawing on sources such as the EDSITEment-reviewed website Witchcraft in a Salem Village, students further examine the relationship between history and art by researching historical documents, learning about the religious and cultural life of the Puritans, and developing a close reading of the play.\nA \"witch's house\" in Maine. Image courtesy of American Memory at the Library of Congress.", "id": "<urn:uuid:6e58e38b-3d72-46b2-a534-d5dae4c817c0>", "dump": "CC-MAIN-2013-48", "url": "http://edsitement.neh.gov/feature/harrowing-halloween-spooky-supernatural-and-suspenseful", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00072-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9327829480171204, "token_count": 1134, "score": 3.96875, "int_score": 4}
{"text": "A Study Guide is available for The Greedy Sparrow and offers questions for discussion and activities that will enhance the reading experience with both younger and older students.\nDownload a pdf version of The Greedy Sparrow guide.\nClick here for a study guide to accompany the Cobblestone issue on Armenian Americans.\nClick here for an Addendum to the Appendix B appearing in the book, Armenia: A Rugged Land, an Enduring People.\nThe Greedy Sparrow: An Armenian Tale\nA 2013 Nautilus Silver Award winner in the Children's Picture Book category.\nChosen as an Honor Book in the 2012 Storytelling World Resources Awards.\nA Discussion and Activity Guide for Teachers, Parents and Students\nPart I: Story discussion\nPart II: Armenian geography and culture\nPart I: Story discussion\nOVERVIEW: The characters in The Greedy Sparrow agreed to help the sparrow because he looked gentle and seemed to be in genuine need. But can looks be deceiving? Should a person always do what someone else asks him or her to do? It depends, as wise adults know, on the situation. Children (and adults, too) must exercise good judgment to protect themselves, their families, and their friends. They should be kind, but also careful. We must all stand up for ourselves when necessary.\nThe tale of the sparrow (jin-juh-ghoog or dzeed, in Western Armenian and Eastern Armenian dialects, respectively) has been in the Armenian oral tradition for centuries. The Greedy Sparrow, Lucine Kasbarian's retelling of this tale, contains a plot variant that also existed in the oral tradition. While this slight twist from the most common version of the ending does not change the ageless lessons in the story, The Greedy Sparrow's surprise ending has a particular message for today's children and parents.\nAt first glance, the story is about a sparrow who takes advantage of people, \"trading up\" his ill-gotten gains to further his ambition of becoming a minstrel. The ending is very satisfying, as we learn that manipulation, trickery and bad intentions are -- thank goodness -- not rewarded.\nWhat are the deeper lessons in The Greedy Sparrow? Here are some thought-provoking questions that teachers and parents may pose to children (and to themselves) to explore further:\n- Do you think the sparrow stumbled upon the characters in this story by accident, or did he intend to take advantage of them from the very beginning? Why or why not?\n- Do you think the characters in the story realized that they were taking a risk by agreeing to mind the sparrow's property? Should they have agreed to help the sparrow in the first place? Why or why not?\n- Was the sparrow being honest and reasonable when he returned and demanded something in return for his lost property? Did each person do the appropriate thing when he or she complied with the sparrow's demand? Explain your answer.\n- If you were the baker, shepherd, groom or minstrel, would you have acted differently?\n- Should the baker have taken the thorn out of the sparrow's foot? Should the baker have tossed the thorn into the oven? What do you think the baker should have answered when the sparrow demanded, \"Give me the thorn or give me some bread\"?\n- Should the shepherd have agreed to mind the bread just because the sparrow asked him? What would you have said to the sparrow? Should the shepherd have eaten the bread just because he became hungry? Did the shepherd really owe the sparrow a sheep, or anything at all? Would you have given the sparrow anything?\n- Should the groom have agreed to mind the sheep? Did the groom have the right to slay, cook and serve the sheep? What would you have done if you were the groom? Did the groom have the right to hand over his bride to the sparrow? What should the bride have said or done? What would you have said or done?\n- Should the minstrel have agreed to mind the bride? Does anyone ever have the right to give a person to someone else? If you were the bride, what would you have done? If you were the minstrel, would you have given the sparrow your lute?\n- When the sparrow fell from the apricot tree and again caught a thorn in his foot, were you sad or happy about that, and why? If you were near the apricot tree at the very end, what would you have said to the sparrow and what would you have done? Would you have offered to remove the thorn from his foot?\nSUMMARY: Do you think the sparrow learned a lesson from his experience, or do you think that he will just repeat his behavior again? And how about the characters in the story? Do you think they learned a lesson?\nPart II: Geography and culture\n- FOR ALL AGES: The locations described in The Greedy Sparrow are real places. Together, study the map of Armenia below and locate areas in the book such as Mount Ararat, the Arax (also spelled Araks) River, Lake Sevan and Lake Van. Which of those areas are part of present-day Armenia? Which are not?\nFOR OLDER STUDENTS: How long were the regions described in The Greedy Sparrow inhabited by native Armenians, and what real-life events caused that to change? Read these articles (one and two) for clues.\n- FOR ALL AGES: In Biblical history, for what is Mt. Ararat famous? Read this article and discuss.\n- In The Greedy Sparrow, the baker is baking bread in a \"tonir.\"\nFOR ALL AGES: Watch/listen to the \"lavash song\" and ask a child to explain how a tonir works.\nFOR OLDER STUDENTS: Read this article to learn and discuss how a tonir works.\n- FOR ALL AGES: In The Greedy Sparrow, the wedding takes place at the Cathedral of the Holy Cross on the island of Aghtamar. On the map provided, locate Aghtamar (also spelled Akhtamar). Read about the legend of Aghtamar. How did the island get its name?\n- FOR OLDER STUDENTS:What is the history of the Cathedral of the Holy Cross? How has the Cathedral been featured in the news lately? Read these articles (one and two)\nand, depending depending on student age level, discuss accordingly. What are some pros and cons regarding the renovation of this Cathedral? In The Greedy Sparrow, a cross sits atop the Holy Cross Cathedral. Does the cathedral have a cross in the present day? Are Armenians today able to pray in this structure? How is the building used today and why? Ask students to discuss who constructed, owned and used the Cathedral in the past, and who claims ownership of it now, and why.\n- FOR ALL AGES: Following Armenian tradition, the bridal veil is white (symbolizing purity), while the costume is red (symbolizing sacrifice) and green (symbolizing fertility). Together, read this article and another about Armenian wedding traditions and explain what a narod is.\n- FOR ALL AGES: Minstrels (called ashughs or kousans/gusans in Armenian) held respected positions in Armenian society and culture. Why? Read the following articles (one and two) and discuss. Who was the most famous minstrel in Armenian history?\nStudy guide written by Lucine Kasbarian, 2011\nMap credit: Lucine Kasbarian & Ortelius Design.", "id": "<urn:uuid:f1e7f656-2474-4d30-b9d6-7982eb94abbc>", "dump": "CC-MAIN-2013-48", "url": "http://lucinekasbarian.com/activities.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164573346/warc/CC-MAIN-20131204134253-00077-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9608532190322876, "token_count": 1585, "score": 3.515625, "int_score": 4}
{"text": "Add To Favorites\nWords count! Discover the power of words in poetry such as Maya Angelou\u2019s Life Doesn\u2019t Frighten Me. Then create a changeable wheel of communication.\nHave you ever found yourself in an argument when you thought \"What did I say?\"? Word choices can either soothe or enflame communication. How do you feel when someone says \"You \u2026\"? Attacked and wanting to attack back, right? What if they had said \"I feel \u2026 when \u2026\"? Wouldn\u2019t it help you to understand what was going on and not feel defensive? Words go a long way to resolve conflict peacefully.\nIdentify word pairs.Read poetry or other literature that highlights the power of words, such as Life Doesn\u2019t Frighten Me. Brainstorm words that divide people, such as them or but. Come up with another word that communicates what needs to be said without escalating upset feelings, such as us or and. List as many word pairs as you can with Crayola\u00ae Erasable Colored Pencils. It\u2019s easy to make spelling corrections! Then create a spinning word wheel using your geometry skills. Here\u2019s how we made ours.\nDraw speech bubbles. On a recycled file folder, sketch two people speaking to one another. Draw a speech bubble that comes out of both of their mouths and merges into one near the top of the page. Mark an area where each person\u2019s mouth is, near the center of the page. Use Crayola Scissors to cut out the mouths and the area where the bubbles intersect.\nCreate word circles. From a file folder, cut out at least one circle with a circumference large enough to fill the holes you made for the mouths and speech bubble. Poke a brass paper fastener through your drawing and into the center of the circle behind it.\nWrite a word that tends to divide people on the part of the circle that shows in the speech bubble (such as <EM>but</EM>). Sketch frowns in the mouth areas to look like the people are upset.\nTurn the circle to an empty spot. Write a word with a similar meaning that could unite people (<EM>and</EM>). Draw smiles on their faces. Continue until you fill the circles. Remember, you can erase if necessary!\nUse Crayola Twistables Colored Pencils and Multicultural Markers to permanently color your word wheel and people.\nShare your words. Twist the circle to show people\u2019s reactions when different words are said to each other. Team up with a classmate. Show each other your \"divider\" words and think of several similar \"uniter\" words.\nCreate a Model Magic\u00ae finger puppet of a president you research then use puppets to interview other presidential finger\nAdd To Favorites\nThis powerful diorama pays tribute to Dr. Martin Luther King, Jr. Celebrate his historic civil rights speech on the step\nUpdate an ancient craft with contemporary designs and art materials. These holiday ornaments are light and unbreakable,\nDisplay the 7 principles of Kwanzaa in a one-of-a-kind accordion window book.\nStorytelling and mathematics merge when students discover that by arranging and rearranging a set of seven geometric til\nPicasso\u2019s art career spanned many decades and included a variety of styles and influences. Create a portrait collage ins\nWhat do you know about Japan---its geography, culture, sports, and industries? Decorate a fan with symbols of the countr\nBuild an imaginative fortress, castle, or chateau using Crayola\u00ae Model Magic\u00ae.\nOur crayons have been rolling off the assembly line since 1903, and you can see how it\u2019s done.\nVisit us \u00bb", "id": "<urn:uuid:12b2777f-9ccc-4809-8cb7-382855659596>", "dump": "CC-MAIN-2013-48", "url": "http://www.crayola.com/lesson-plans/words-that-unite-lesson-plan/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163992799/warc/CC-MAIN-20131204133312-00080-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9194186925888062, "token_count": 786, "score": 4.03125, "int_score": 4}
{"text": "When students enter the 1st Grade they experience a significant transition between the Early Childhood classes (or other Kindergarten programs) and the Grade School. First grade provides a strong framework for classroom dynamics, desk-based work, group interactions. The curriculum introduces daily routines, methods and exercises from which academic, communicative and social skills develop.\nThe first graders are introduced to the letters of the alphabet. Via both oral and visual traditions of storytelling the teachers move the children\u2019s exposure through a transformation from pictures to symbols. In their storytelling, letters become familiar characters that the students relate to (rather than trying to conceive of them as abstract symbols). Sound and symbol relationships are practiced and students begin writing short sentences that they have memorized. These activities prepare children for the transition into reading as another form of narrative and constructing meaning.\nTo develop numeracy skills, students first experience numbers through stories that identify their qualities and root them in a comprehensible world for the first grader. The students begin with the operation of division. Students are then introduced to the four primary mathematical operations as four characters in a story. Math is supported experientially through rhythmic movements and lively counting and sequencing work as well as through movement. After considerable practice with manipulatives and mental math, the written symbols for the four arithmetic operations and the equal sign are introduced.\nIn addition to letters and math, the curriculum explores the natural sciences, ancient legends, handwork, music, painting, drawing and modeling. An awareness of history is explored through various folk tales. And finally first graders are exposed to foreign language instruction in Spanish.\nMain Learning Objectives\n- Main Lesson Skills: Learning and modeling classroom behaviors, Listening and speaking in constructive ways, Experiencing stories and texts and repeating and reflecting on their themes, situations and outcomes\n- Language Arts: Writing is taught first, then ABC letter & sound symbols, pre-reading skills taught through storytelling\n- Mathematics: Introduced through division, the four math operations (addition, subtraction, multiplication, division) are introduced simultaneously and integrated into stories demonstrating the themes and functional interactions of these operations\n- Sciences: Nature stories\n- Exercise: Students have multiple recesses, games classes, and frequent field trips to energize their bodies and activate their minds in social play, group dynamics, and exploration of the physical environment.\n- Art: Beeswax Modeling\n- Painting & Drawing: Form Drawings and Wet-on-Wet Painting for developmental (rather than artistic) exploration and assessment\n- Foreign Language: Spanish\n- Handwork: Knitting (for coordination skills)\n- Music: Singing\n- Games: Establishing Timing, Coordination and Spatial Awareness", "id": "<urn:uuid:7c50e634-abce-40a7-ad5d-67b61dae754b>", "dump": "CC-MAIN-2013-48", "url": "http://www.fourwindswaldorf.org/pages/curriculum/gradeone.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9371383786201477, "token_count": 555, "score": 4.125, "int_score": 4}
{"text": "The Use of Animation as a Teaching and Learning Tool to Engage Students\u2019 Interest in the Classroom\nFrom simply being seen on television and movies in the past, animation has recently become a common tool in classroom teaching and learning. The book, Learning with Animation (2007), notes that it can actually increase interest and motivation in learning. A module brochure of VIA University College in Denmark, entitled \u201cAnimation as a Learning Tool\u201d, further promotes the use of animation as a fun and effective tool to encourage learning among children. It says that by using animation, \u201cchildren develop skills and competences in storytelling, visual communication, cognition, emotional ethic and aesthetic aspects, observation and sensitive aspects, concentration, and problem-solving and innovative aspects.\u201d\nThe development of more Web 2.0 tools has allowed animation to be produced much more easily and inexpensive than in the past years (Educational Animation, 2010). The technology that used to be so specialized has now become accessible and possible for teachers and students, even without intensive technical training, to create their own animations. Two of these free tools include Go!Animate and FluxTime Studio.\nIn the Box of Tricks website, the writer describes how he made use of Go!Animate as an assessment tool for his German language class, an alternative he used instead of asking his students to write a dialogue on paper or exercise book. A sample output by his12-year old pupil is showcased on the web page. On the other hand, FluxTime, which has an online and standalone version, promotes the use of animation in education in children through projects such as the Liverpool History Animation initiative, European Animation Project, and their latest animation competition called Mission to Titan, which was participated by 4 to 14-year old students.\n\u201cYoung people are fascinated by animation and they enjoy the opportunity to create their own\u201d (FluxTime Studio, 2010). Moreover, the animation module brochure of VIA University College, claims that \u201cchildren in particular, are said to learn best and most when they enjoy what they are doing\u201d. With these, the use of animation in teaching and learning appears to be more appropriate and effective in young students, though not to be labeled superior to static graphics, as mentioned in the article of Lowe (2001). He further explains that animation, as compared to static graphics, can be more informative, closer to the characteristics of the subject matter, more explicit, more explanatory and clearer.\nAnimation, certainly, provides a sure means to capture and maintain students\u2019 interest in the classroom, given that many people grew up watching animations on television and in movies. However, the effectiveness of using animation, and other Web 2.0 tools in classroom teaching and learning, will always depend on the type of learning experience that the teacher designs for a class. Knowing the students\u2019 context and interests will help provide a learning environment where a particular instructional and learning tool, like animation, can be used, and eventually meet the learning objectives set for a class.\nAnimate Your Homework! (2008). Technology and Education Box of Tricks . Retrieved September 21, 2010, from http://www.boxoftricks.net/?p=489\nAnimation as a learning tool. (2010). VIA University College (module brochure). Retrieved September 21, 2010, from http://www.viauc.com/exchange/tools/Pages/tools.aspx\nEducational animation. (2010). Wikipedia, the free encyclopedia. Retrieved September 21, 2010, from http://en.wikipedia.org/wiki/Educational_animation\nFluxTime Studio. (2010). Animation for kids \u2013 Create animation online with FluxTime Studio. Retrieved September 21, 2010, from http://www.fluxtime.com/\nLearning with Animation: Research Implications for Design. (2007). New York: Cambridge University Press.\nRuffini, M. F. (2009). Creating Animations in PowerPoint to Support Student Learning and Engagement. EDUCAUSE Quarterly 32(4). Retrieved September 21, 2010, from http://www.educause.edu/EDUCAUSE+Quarterly/EDUCAUSEQuarterlyMagazineVolum/CreatingAnimationsinPowerPoint/192966\nLowe, Richard. (2001) Beyond \u2018Eye-Candy\u2019: Improving Learning with Animations. Apple University Consortium.", "id": "<urn:uuid:698af6b2-8f37-4ac7-be22-81e1304e8ec7>", "dump": "CC-MAIN-2013-48", "url": "http://raustria.wordpress.com/2010/09/24/the-use-of-animation-as-a-teaching-and-learning-tool-to-engage-students-interest-in-the-classroom/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164033438/warc/CC-MAIN-20131204133353-00074-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9295420050621033, "token_count": 909, "score": 3.859375, "int_score": 4}
{"text": "For today's students, the leap from playing video games to programming video games isn't necessarily a big one. Even elementary school students who enjoy filling some down-time with a favorite game can begin exploring the logic and sequencing involved in designing a video game.\nBefore sitting down at a computer, encourage your students to work on mapping out a storyboard as they think through the premise (or plot) of their game. Who are the main characters? What is the goal? What kinds of problems will be encountered? What skills do you need to win?\nAnswering these questions is an important first step and gives the game designer a chance to think about the concept of game levels or stages and the need to develop traps, challenges, and objectives for each level -- as well as the need to build in ways for main characters to successfully handle each situation. This stage in the development also encourages solid grounding in \"process-oriented thinking.\" It's easy to envision A, D, and Z, but what steps happen in between? If a storyboard for a video game ends up looking like a massive flow-chart filled with conditional if-then statements (if this happens, then this will happen), chances are they are on the right path - and they are demonstrating the kinds of detail-oriented and conditions-based thinking necessary for computer programming.\nStoryboarding gets the ball rolling, but the magic lies in working with software that enables the designer to begin bringing the story (and the game) to life.\nAs a parent or teacher watching a student's first steps in game design, it can be eye-opening to see the cycle of development as it unfolds. Having grown up with first-wave Atari systems and having spent time learning to program on a Commodore 64 system in my own pre-teen days, my history with video games is one steeped in games like Pac-Man, Ms. Pac-Man, Asteroids, Centipede, and other \"vintage\" games.\nWhen I saw the game my 8-year-old designed as part of a week-long LEGO camp this summer, I was amazed to see familiar principles from those early games peeking through, as well as features and concepts he's absorbed from games he's played on the LEGO site (e.g. JunkBot and WorldBuilders) and from his own experience with hand-held games.\nWith computers already an established part of the routine for many students and in many classrooms and learning environments, working with video game programming software can be viewed as an extension of computer literacy efforts and can increase a student's familiarity with technology as well as result in a project (and product) that she enjoys, is invested in, and is proud of. When it comes to introducing students to computers, there is room to do more than simply have them cut and paste digital stickers or use a \"paint bucket\" in a graphics program or learn to type a report in word processing software. For some, the grasp of digital storytelling and the programming that lies beneath it is innate, and with GUI-based game design software like Scratch from MIT, there's ample room for students to experiment.\nFor those interested in programming but not in gaming, working with LEGO Mindstorms can provide introductory grounding in principles of programming, circuitry, timing, and robotics. Maybe your class will end up with a small bot that can help clean pencils up from the tables and floors!\nThe following Science Buddies Project Ideas can get you and your students started:\n- Want To Make a Video Game? Here's How! (Science Buddies difficulty rating: 5-7)\n- Go, Gadget, Go! Building Robots with LEGO\u00ae Mindstorms\u00ae (Science Buddies difficulty rating: 6)\nIf you have high-school-aged girls interested in computer programming, video game design, digital design, or another computer-related field, be sure and check out the NCWIT Award for Aspirations in Computing. National winners will receive a $500 cash award, a laptop, and a trip to the awards ceremony.\nThe application period runs from September 15 to November 1, 2009. For more information on the award or the NCWIT, please visit: www.ncwit.org.", "id": "<urn:uuid:1a93310d-2378-4da7-abc5-e5114c6d1fc6>", "dump": "CC-MAIN-2013-48", "url": "http://www.sciencebuddies.org/blog/2009/08/from-storyboard-to-computer-design.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163999838/warc/CC-MAIN-20131204133319-00072-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9553946852684021, "token_count": 863, "score": 3.75, "int_score": 4}
{"text": "Anchor Activities (or Sponge Activities) are designed for students to work on either immediately at the beginning of class time or after their class work has been completed, so that their instructional time is maximized. These activities are intended to review or extend learning of the subject matter, not to be busy-work. Activities may be designed for students to complete independently or in small groups.\nYou may choose to assign particular students to particular tasks or to allow them to choose, when appropriate. All tasks should be relevant to the concepts being developed in class, but some may be more complex than others; there are times when students need the opportunity to do something that is low-stress and less demanding.\nAnchor Activity Ideas:\nArt Projects Related to Content:\n- Draw a picture to represent a concept recently studied (a map, a model, a diagram, etc.)\n- Build a 3-D model using Play-Doh\n- Math facts, Spelling, Vocabulary, Matching\n- Use blank, printable business cards to make your own, or have students make them\nIdeas for Prompts:\n- What questions do you currently have about _________?\n- Write 3 sentences describing what you learned about _______ this week.\nCreative Writing Related to Content:\n- What would have happened if Christopher Colmbus had landed on Antarctica instead of in the Caribbean?\n- What would happen if a volcano erupted with chocolate instead of lava?\n- Try to write three sentences without using the letter \"i\"\nOpinion Related to Content:\n- Which biome would you prefer to live in? Why?\n- Was ________ right to do what he/she did at/in __________?\n- Which part of this unit so far have you liked the best?\nOnline Sources for Academic Games and Activities:\n- FunBrain - Math and other Games (for younger and middle level students)\n- Starfall - For beginning readers\n- Brain Pop - Learning Activities for Math, Health, Science, Technology, English, and Social Studies\n- Zoomerang - Create quizzes for students to take on-line\nOnline Sources for Brain Teasers, Critical Thinking and Logic Puzzles:\nPreassessment and Content Review:\n- Give each student one or more sticky notes. Have them write one fact or characteristic of a topic of study on each sticky note (ie. George Washington, the Coriolis Effect, a story recently read in class). Have students put sticky notes on a board and then work in small groups to organize the notes into clusters or rows of similar ideas. Notes can be revisited after the lesson to add or adapt based on new knowledge.\n- Post 2-3 questions on the board. Have students respond in a journal. Answers can be revised after lessons and/or submitted to the teacher.\n- Have students respond to a question on the board on a sticky note or index card that are then submitted to the teacher immediately. This allows the teacher to get a immediate sense of how well the class understands/remembers the information.\n- Have students respond to a more complicated question on the board by discussing possible answers with a neighbor or preassigned partner. Then discuss as a whole class once class begins.\n- Allow students to choose (ie. may be recreational reading)\n- Assign reading, possibly 2-3 paragraphs from a chapter in the text (review or new information to be discuss further in class)\n- Consider using a tool such as Lexile measures to make sure the material students are given to read is at a level they can each successfully read independently", "id": "<urn:uuid:d42676cf-8322-4b6b-a8cb-95e6d76bf39b>", "dump": "CC-MAIN-2013-48", "url": "http://www.foridahoteachers.org/anchor_activities.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051776/warc/CC-MAIN-20131204131731-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9263216853141785, "token_count": 744, "score": 4.0625, "int_score": 4}
{"text": "policy and advocacy\nSteps to Art Early Childhood Arts Education Initiative\nFact Sheet About the Benefits of Arts Education for Children\nBenefits of Arts Education\nSource: Americans for the Arts, 2002\n- Stimulates and develops the imagination and critical thinking, and refines cognitive and creative skills.\n- Has a tremendous impact on the developmental growth of every child and has proven to help level the \"learning field\" across socio-economic boundaries.\n- Strengthens problem-solving and critical-thinking skills, adding to overall academic achievement and school success.\n- Develops a sense of craftsmanship, quality task performance, and goal-setting\u2014skills needed to succeed in the classroom and beyond.\n- Teaches children life skills such as developing an informed perception; articulating a vision; learning to solve problems and make decisions; building self-confidence and self-discipline; developing the ability to imagine what might be; and accepting responsibility to complete tasks from start to finish.\n- Nurtures important values, including team-building skills; respecting alternative viewpoints; and appreciating and being aware of different cultures and traditions.\nSource: Young Children and the Arts: Making Creative Connections, 1998, Introduction\n- Plays a central role in cognitive, motor, language, and social-emotional development.\n- Motivates and engages children in learning, stimulates memory, facilitates understanding, enhances symbolic communication, promotes relationships, and provides an avenue for building competence.\n- Provides a natural source of learning. Child development specialists note that play is the business of young children; play is the way children promote and enhance their development. The arts are a most natural vehicle for play.\nThe Need in Preschools\nSource: Americans for the Arts, 2002\n- Preschool care and education, except for certain low-income programs, is considered a private service and receives little or no federal funding.\n- While the importance of early childhood arts education has received greater attention in recent years, the majority of funding and programming is directed to grades K\u201312, with preschools being largely underserved.\n- Arts education should not be considered a frill, but a necessity. Since preschools are not part of the public school system, funding sources vary greatly. When budgets are tight, arts programs, teachers, and supplies are often cut first.\n- More than four million children attend preschool programs nationwide.\nSource: Arts Education Partnership, Children\u2019s Learning & the Arts: Birth to Age Eight\n- Preschool-age children are primed for learning and greatly accepting of most art forms.\n- Compelling evidence exists that early arts experience has an impact on all aspects of a child\u2019s learning and development and that, in many ways, \u201cearlier is better.\u201d\n- Early childhood thus presents both a unique opportunity and a unique challenge; a part of that challenge is to engage and support all who care for and educate young children in making the arts an integrated and vital part of their earliest experiences.\n- We know that \"art,\" understood as spontaneous creative play, is what young children naturally do\u2014singing, dancing, drawing, and role-playing. We also know that the arts engage all the senses and involve a variety of modalities including the kinesthetic, auditory, and visual. When caregivers engage and encourage children in arts activities on a regular basis from early in life, they are laying the foundation for\u2014and even helping wire children's brains for\u2014successful learning.\nAdults Agree on Importance of Arts Education\nSource: Americans for the Arts national public opinion survey, January 2001\n- Ninety-one percent of respondents believe the arts are vital to a well-rounded education.\n- Ninety-five percent of respondents believe the arts teach intangibles such as creativity, self-expression, and individualism.\n- Seventy-six percent of respondents somewhat or strongly agree that arts education is important enough to get personally involved. However, just thirty-five percent of those who are closely involved in the life of a child have done so.\n- Sixty-seven percent say they do not know how to get involved.\n- Eighty-nine percent of respondents believe that arts education is important enough that schools should find the money to ensure inclusion in the curriculum.\n- Ninety-six percent agree the arts belong to everyone, not just the fortunate or privileged.\nThe Social and Academic Impact of Arts Education\nSource: Eisner, E. W., Ten Lessons the Arts Teach, (January 1998)\n- Art is defined as something aesthetic to the senses. A \u201cwork of art\u201d is both an activity and a result; it is a noun and a verb. \u201cOne of the great aims of education is to make it possible for people to be engaged in the process of creating themselves. Artists and scientists are alike in this respect.\u201d\n- Arts curricula is typically process-driven and relationship based, so its impact on academic performance is often underestimated and undervalued. The arts provide a logical counterbalance to the trend of standardized testing and should not be marginalized just because the curriculum is more difficult to measure.\n- The emphasis and time given to a particular school subject sends a message to students about how important that subject is in life.\n- Arts programs, especially those including trained professionals, can help draw students out of \u201cformal\u201d ways of approaching relationships, outcomes, and perceptions.\n- The arts can play a crucial role in improving students\u2019 abilities to learn, because they draw on a range of intelligences and learning styles, not just the linguistic and logical-mathematical intelligences upon which most schools are based. (Eloquent Evidence: Arts at the Core of Learning, President\u2019s Committee on the Arts and Humanities, talking about Howard Gardener\u2019s Theory of Multiple Intelligences, 1995)\nThe Physical and Sensory Impact of Arts Education\nA student making music experiences the \u201csimultaneous engagement of senses, muscles, and intellect. Brain scans taken during musical performances show that virtually the entire cerebral cortex is active while musicians are playing.\u201d (Learning and the Arts: Crossing Boundaries, 2000, p. 14)\n\u201cDramatic play, rhyming games, and songs are some of the language-rich activities that build pre-reading skills.\u201d (Young Children and the Arts: Making Creative Connection, 1998, p. 1)\n\u201cPreschoolers who were given music keyboard lessons improved their spatial-temporal reasoning\u2026used for understanding relationships between objects such as calculating a proportion or playing chess.\u201d (Education Leadership, November, 1998, p. 38)\n\u201cCreative activity is also a source of joy and wonder, while it bids its students to touch, taste, hear, and see the world. Children are powerfully affected by storytelling, music, dance, and the visual arts. They often construct their understanding of the world around musical games, imaginative dramas and drawing.\u201d (Hamblen, Karen A., Theories and Research That Support Art Instruction for Instrumental Outcomes, 1993)\n\u201cRegular, frequent instruction in drama and sign language created higher scores in language development for Head Start students than for a control group.\u201d (Young Children and the Arts: Making Creative Connections, 1998, p. 1)\n\u201cListening to music for just an hour a day changes brain organization\u2026EEG results showed greater brain coherence and more time spent in the alpha state.\u201d (Malyarenko, et al., 1996)\nArt Experiences that Promote Preschool Learning\nSource: Young Children and the Arts: Making Creative Connections, 1998, pp. 11\u201312\n- Dance helps build motor control, body relationships, and a sense of direction.\n- Drawing, sculpting, and other visual arts develop spatial acuity.\n- Group activities, such as learning dance steps or singing songs, build social skills.\n- As children describe people and things in their world using pictures, body movements, and mime, they enhance their descriptive, nonverbal, cognitive capabilities.\n- Repeating stories, poems, and songs strengthens memory.\n- The art supplies children choose for their work reflects their approach to process and outcomes.", "id": "<urn:uuid:90c611d9-6e71-4a0e-9c92-25a1f1e23e8f>", "dump": "CC-MAIN-2013-48", "url": "http://www.artsusa.org/get_involved/advocacy/funding_resources/default_005.asp", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053330/warc/CC-MAIN-20131204131733-00077-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.938055157661438, "token_count": 1707, "score": 3.875, "int_score": 4}
{"text": "Creative Writing - Fiction\nedited: Wednesday, August 09, 2006\nBy Patrick H Dent\nRated \"G\" by the Author.\nPosted: Wednesday, August 09, 2006\nBecome a Fan\nThis article will address 7 of the key components of writing good fiction: Plotting, Characterization, Scene, Dialogue, Point of View, Genre, and Narrative Voice.\nWhen writing fiction, the author must rely upon his/her instincts and experiences to create a story. This article will provide an overview of 7 of the major elements of writing fiction in good form, i.e., the form editors expect.\nPlotting and characterization carry the other elements of the book. The plotting must be believable, plausible, and interesting. It is a sequence of events connected in a cause-and-effect manner. Generally the plot consists of a series of increasingly more intense conflicts, a climax (the most intense part of the book), and a final resolution. The plot must advance as the book unfolds. Usually the closer to the end of the book the climax is placed the better.\nLong works like novels can have many subplots and secondary climaxes and resolutions. Avoid using subplots in order to have clich\u00e9 characters. Avoid too many coincidences.\nFlashbacks have been overused. A book is stronger when it runs chronologically.\nThe reader should be able to identify with and care about the characters in the sense that the characters seem real to the reader. The characters must do something, and what they do must seem reasonable for them to have done it.\nCharacters should be introduced early in the book. The more often a character is mentioned or appears, the more significance the reader will attach to the character. Also, the main character should be introduced before setting, so that the setting can be introduced from the point of view of the character.\nThe nature of characters can be brought out through minimal description and the actions, thoughts, and dialogue of the characters. The author should allow the reader to make judgments about the characters; the author should avoid making the judgments for the reader. The feelings of the character should be demonstrated rather than told by the narrator.\nYet, there are some very good books in which much of the narrative voice is about a character's feelings and thoughts or in which the narration goes into great detail and analysis of a character's feelings and thoughts at some point. So one rule about writing fiction is that there are no rules, or maybe: If it works, it works.\nScene includes the place and time in which the book takes place. The scene should be described in specifics to make the book seem real, to set the atmosphere and mood of the book, to place limitations on the characters, or to help establish the basic conflict of the book. Weather can be an important part of a scene.\nThe scene can be used for contrast, having something taking place in an unexpected place. Also, the more unfamiliar the reader is with the setting, the more interesting the scene.\nDialogue makes fiction seem real. However, dialogue that copies reality may actually slow down a book. Avoid unnecessary or repetitive dialogue.\nDialect in dialogue can be difficult to read. A small amount of it can be used to establish the nature of a character, but overuse will intrude on the book. The level of use of language by the characters- pronunciation, diction, grammar, etc.- is often used to characterize people in a book. Most often the main characters use the best English.\nProfanity and vulgarisms can be used where they seem appropriate. Overuse amounts to author intrusion and can interrupt the reader's belief in the book.\nToo much exposition through dialogue can slow down a book. Characters should not repeat in dialogue events which have already happened in the book.\nAlso, one character should not tell another character what the second character should already know just so the author can convey information to the reader.\nThe form of dialogue should be varied to keep the reader interested. However, don't try to find too many different ways to say \"said.\"\nInterior dialogue is what a character is thinking. Dramatic dialogue is a character thinking out loud, without response from other characters. Indirect dialogue is the narrator telling what a character said.\nDialogue should be used to develop character or to advance the book. It should not be used just to hear characters talk.\nPoint of View\nFirst person point of view has the main character telling the story or a secondary character telling the main character's story. Everything that happens in the book must be seen or experienced by the character doing the narration. The reader's judgment of other characters in the book will be heavily influenced by the narrator. This can be very limiting. Also, a book written in first person usually means that the main character won't die in the plot. However, first person point of view gives a sense of intimacy to the book.\nThird person point of view can be objective or omniscient. An objective narrator describes actions but not the inner thoughts or feelings of the characters. An omniscient narrator can describe all the actions of all of the characters but also all of their inner thoughts and feelings as well.\nGenre is the main category into which a book fits. Most stories meet the criteria for multiple genres, but you should have some focus, identifying a market before you begin writing fiction.\nNarrative voice is the way the author uses language. The longer the work the less important language becomes. Above all, the author's work must tell a story. The author should not be more concerned with the words used than with the tale the author is trying to tell. Don't be a fanatic about words. The language is less important than characterization and plotting. However, a combination of a good story and good narrative voice will be a delight to read. Mistakes in English amount to author intrusion and detract greatly from the book. The most effective writing uses the active voice, and nouns and verbs so specific that they require no modifiers. The choice of words can help set the tone of the book.\nBeginning authors often miss one critical fact about writing fiction. It is up to the author to please the reader, not the other way around.\nPatrick Dent, author of the new covert ops thriller, Execution of Justice, at\nThe online resource to help new authors refine their writing and marketing skills.", "id": "<urn:uuid:e7bf07f3-34fd-4277-abdf-2656a6a74945>", "dump": "CC-MAIN-2013-48", "url": "http://www.authorsden.com/visit/viewarticle.asp?AuthorID=31773", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163048614/warc/CC-MAIN-20131204131728-00079-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.946853756904602, "token_count": 1301, "score": 3.5, "int_score": 4}
{"text": "Fairy Tale Dice\nStorytelling is a wonderful and engaging learning tool to get your child to exercise his imagination and build up his reading and writing skills. You can inspire and encourage the inner storyteller in your child with this activity by having him create some fairy tale dice! All you need are some Styrofoam cubes, markers, and adhesive paper, and you'll have dice with story elements to play around with. Just roll the dice and sit back, as your child weaves his own innovative and adventurous story.\nWhat You Need:\n- 2 Styrofoam cubes\n- White construction paper\n- Clear laminate sticker, or adhesive paper\nWhat You Do:\n- Measure one side of a styrofoam square. With the measurements, help your child cut down the white construction paper into squares to cover each side of both dice. There will be 12 white squares total.\n- Set aside 6 white square pieces of paper.\n- On each of the 6 pieces of white paper, write the name of a different fairy tale character. Some examples are: Queen, Fairy, Jester, Wicked Witch, Princess, Knight.\n- On one styrofoam cube, help your child tape a drawing to each side.\n- Set this cube aside and begin on the second cube.\n- On the other set of square sheets of paper, write six different locations that exist in a fairy tale. Some examples are: Castle, Cave, Tower, Dark Woods, King's Chambers.\n- Help him tape these drawings on to each side of the cube.\n- Assist him in covering both cubes with clear laminate to protect the drawings.\n- Time to tell a story!\n- Have your child roll the die with characters on it. The story begins, \"Once upon a time there was a...\"\n- Whichever character is on the top of the die, will be the main character for the story.\n- He can then roll the second die, and continue with, \"...who lived in a ...\"\n- Have him continue the story until he needs to add another element. Then, have him roll the dice again.\n- If he gets stuck, ask him what actions or verbs his characters are doing, or what may happen next to his characters to encourage story development.\nConsider recording your child's fairy tale to share with friends and loved ones! Also, put the new fairy tale book in your child's library. Now he has his own published story to share with others and enjoy!", "id": "<urn:uuid:e4978dd5-c454-434a-b78b-8ebec1ed9f4b>", "dump": "CC-MAIN-2013-48", "url": "http://www.education.com/activity/article/fairy-tale-dice/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163048614/warc/CC-MAIN-20131204131728-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9408330321311951, "token_count": 514, "score": 3.859375, "int_score": 4}
{"text": "Video games can increase literacy in the classroom\n3 October 2012\nAre video games just a distraction in the classroom, or can they be used as a tool to increase literacy skills? And do educators have a responsibility to adapt methods of teaching based on culture and technology, or should more traditional methods be upheld?\nIn a special guest presentation at the Faculty of Education and Social Work, Professor of Media Education at the University of London\u2019s Institute of Education Andrew Burn, has said that when children study video games in the classroom, they gain a deeper understanding of a wide range of concepts central to English.\n\u201cGames are often a kind of interactive narrative, sometimes even adapted from literature: there\u2019s even a computer game of Beowulf!\u201d Professor Burn said.\nProfessor Burn said he believed that making games and using authoring softwares in schools could promote similar creativity to writing poems and stories, and that the games are, in a sense, artforms, like literature and drama.\n\u201cComputer games are a relatively new artform, and vary enormously in genre and style. They are often the medium of choice for people to engage with large adventure narratives, historically-themed stories and horror scenarios,\u201d he said.\n\u201cIt has taken 100 years to for film to be considered as a legitimate curriculum medium: we shouldn't leave it so long with games if we want to engage with the cultural worlds familiar to young people.\u201d\nProfessor Burn said the negative side effects of introducing games into the learning environment appeared to be negligible.\n\u201cThere are no obvious negative effects to using games in the classroom. The \u2018negative\u2019 effects offered for games as a leisure medium - addiction, dumbing down, solitary pleasures - can all be levelled at certain kinds of literature too. It\u2019s about discriminating choices, proper respect for popular culture, and sound pedagogy\u201d, he said.\nProfessor Burn\u2019s lecture outlined recent research projects and \u2018curriculum interventions\u2019 in which school students make horror games, adventure games, and games based on Shakespeare.\n\u201cI\u2019ve worked with The Globe Theatre\u2026so that students could make games based on Macbeth. The 13 year olds who tried it out made some very interesting games, developing not only themes of blood and death, but also elaborate visual metaphors such as the sewers of Lady Macbeth\u2019s mind.\u201d\nDr Jen Scott Curwood, a lecturer in Secondary English and Media Studies agreed that there should be a focus on alternate ways of learning in schools.\n\u201cI think in this era of high stakes assessment, Andrew shows the value of children\u2019s play, of children\u2019s multimodal literacies and their gaming practices. Andrew\u2019s research in both school context and out of school context helps to understand the literacy that children bring to bear on their learning,\u201d Dr Scott Curwood said.\n\u201cAndrew\u2019s talk at the University of Sydney has offered an opportunity for practising teachers, research candidates and scholars to learn about his important work. He is just brilliant.\u201d", "id": "<urn:uuid:763ff58b-fa91-4fee-ba4b-8d622369edf6>", "dump": "CC-MAIN-2013-48", "url": "http://sydney.edu.au/news/edsw/880.html?newsstoryid=10182", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164888618/warc/CC-MAIN-20131204134808-00080-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9548897743225098, "token_count": 647, "score": 3.59375, "int_score": 4}
{"text": "German Canadians, Canada's third-largest ethnic group, hail from a variety of national and cultural backgrounds: GERMAN, Austrian, SWISS, MENNONITE and others.\nGerman Canadians, Canada's third-largest ethnic group, hail from a variety of national and cultural backgrounds: GERMAN, Austrian, SWISS, MENNONITE and others. Common to them are their language (High or Low German, or a variety of dialects), the experience of leaving the Old World and finding roots in the New World, and that of learning the new language(s) and adapting to new customs. Reflecting their experience, first-generation writers generally perceive and portray the new country from their perspective of the old, and in their native tongue; the next generation, having acquired the new cultural traditions and at least one of the official languages, contributes to one of Canada's mainstream literatures, usually English Canadian.\nChronology and locations of developing literary activity are related to settlement. In 1750 the first Germans arrived in Nova Scotia and established LUNENBURG. At the time of the American Revolution the Loyalists - among them some of German origin - moved north. During the 1830s many Mennonites from Pennsylvania settled in the Berlin [Kitchener, Ont] area. Large waves of German immigration came from Europe to Ontario from 1830-80, and to western Canada from 1880-1910. The most significant influxes followed the 2 world wars, and during the same periods many Mennonites came, mainly to Manitoba.\nThe pioneers had little time for literature, but newspapers and periodicals provided an early forum for creative writing. One of the earliest publications, Der Neu-Schottl\u00e4ndische Calender (1788-1801), featured anonymous poems and short prose. Among the numerous German-language newspapers, the Berliner Journal (Waterloo) is of special interest for its humorous and entertaining dialect letters to the editor by John A. Rittinger. Spiritual leaders published religiously oriented didactic literature in early church bulletins, such as the Kirchenblatt der Evangelisch-Lutherischen Synode von Canada (1869-1909) and Der Deutsche Lutheraner (1920-22); samples from 14 contributors are contained in the collection Hier la\u00dft uns H\u00fctten bauen. Deutsche Gedichte Lutherischer Pfarrer in Ontario (1869-1930) (Gerhard Friesen, ed, 1984). These poems, along with book-length publications by Father Eugen Funcken (1831-88) and Heinrich Rembe (1858-1927), for example, reflect strong influences of German classicism and romanticism, as does early Canadian Mennonite devotional didactic literature, which was written in Low German for a Mennonite audience.\nA significant departure in Mennonite literature is the recording of the experience of being uprooted from Russia, migrating to Canada and starting anew. Dietrich Neufeld's diary, Ein Tagebuch aus dem Reiche des Totentanzes (1921), and Hans Harder's In Wologdas weissen W\u00e4ldern (1934; tr A Russian Dance of Death, 1977, and No Strangers in Exile, 1979, respectively), and the novels of Gerhard Toews (pseud Georg de Brecht) deal with these chaotic times and events. Other important works are Arnold B. Dyck's educational, autobiographical novel Verloren in der Steppe (1944; tr Lost in the Steppes, 1974) and the vivid poetry of Gerhard Friesen (pseud Fritz Senn).\nBeginning in 1935, the periodical Die Mennonitische Warte encouraged literary activity. The anthologies Harvest (ed William de Fehr et al, 1974) and Unter dem Nordlicht (ed G.K. Epp, 1977) feature poetry and short prose in High and Low German and in English by more than 40 Mennonite contributors. Most significant in contemporary Mennonite literature is a new generation of writers born in Canada and writing in English, including Rudy WIEBE, Clint Toews, David Waltner-Toews, Menno Wiebe and Patrick Friesen.\nWriters who had made their debut in German-speaking Europe continued to publish there. Else Seel (1894-1974) came from Berlin in 1927 to the BC wilderness, where she wrote poetry, short prose and a diary reminiscent of the work of Catharine Parr TRAILL and Susanna MOODIE. Walter Bauer (1904-76), well known as an author in Germany, came to Canada in 1952. His books on Canadian themes reflect his European view of Canada. A small part of his work is available in English translation: The Price of Morning (1968) and A Different Sun (1976; both tr Henry Beissel) and A Slight Trace of Ash (1976, tr H. Milnes). Swiss-born Hermann B\u00f6schenstein (1900-82), author of expressionist prose, wrote, besides scholarly publications on German literature, short stories and a novel dealing perceptively with the immigrant experience. Some writers who were at home in both German and English made their mark in English Canadian literature: Felix Paul Greve, under his adopted name Frederick Philip GROVE, became one of Canada's most important realists; his work is deeply rooted in the literary traditions of German naturalism and neoromanticism.\nThree writers came to Canada during WWII via internment in England: Carl Weiselberger (1900-70), already known in Vienna, served as the art and music critic of the Ottawa Citizen after his internment, and wrote short stories and newspaper articles reflecting a refreshing enthusiasm for his new homeland. Henry KREISEL, born in Vienna, Austria, has written short stories and 2 novels, The Rich Man (1948) and The Betrayal (1964), with themes concerning Europe and Canada. Charles Wassermann (1924-78), reporter, broadcaster and writer, became an important intermediary between the Old World and the New.\nThe writers who came to Canada at an early age were most successful in adopting English as their creative medium: Henry Beissel, born in 1929 in Cologne, Germany, came to Canada in 1951 via England. His work dealing with Indian and Inuit themes, his epic Cantos North (1982) and his subjective Kanada, Romantik und Wirklichkeit (1981) are sensitive statements about the Canadian experience. Derk Wynand, born in 1944 in Bad Suderode, Germany, came to Canada in 1952 and became known as the translator of H.C. Artmann and as an author of modernist poetry and short prose in English.\nAndreas Schroeder, born in Hoheneggelsen, Germany, in 1946, was educated in Canada and is known as an editor and translator from German and an author of prose and poetry in English. Ulrich Schaffer, born in 1942 in Germany, came to Canada in 1953. Though he writes in both English and German, his audience is primarily in German-speaking western Europe. His writing, often inspired by the Canadian landscape, is sometimes reminiscent of Kafka. Those writers who continue to write in German well after their arrival in Canada invariably have to contend with the problems of both publication in a minority language and reaching an audience. Rolf Windthorst, born in 1909 in Dortmund, Germany, and living in Alberta since 1956, and Valentin Sawatsky, born in Ukraine in 1914 and living in Ontario since 1950 - to name but 2 of the more prolific writers - have not been able to find the readership their works may deserve.\nThe anthologies edited by Friesen as well as Ahornbl\u00e4tter (comp Heinz Kloss and Arnold B. Dyck, 1961) and Nachrichten aus Ontario (ed Hartmut Fr\u00f6schle, 1981) feature samples of work by over 60 authors. The latter also contains a comprehensive introduction to German Canadian literature, a useful \"Who's Who\" and a selected bibliography. Critical attention to the writing of German Canadians is recent. The most important forums are the German-Canadian Yearbook (ed Hartmut Fr\u00f6schle, 1973- ), the proceedings of symposia on German Canadian studies and 2 series of critical editions and studies of German Canadiana.\nK. G\u00fcrttler, ed, Symposium (6 vols, 1976- ); H. Loewen, ed, Mennonite Images (1980); W.E. Riedel, ed, The Old World and the New (1984).", "id": "<urn:uuid:3fcba436-e008-48df-a7e4-2ff08f016ca8>", "dump": "CC-MAIN-2013-48", "url": "http://www.thecanadianencyclopedia.com/en/article/german-writing/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164033438/warc/CC-MAIN-20131204133353-00079-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9412485957145691, "token_count": 1793, "score": 3.5625, "int_score": 4}
{"text": "Tests designed to measure creativity in children or adults.\nCreativity tests, mostly devised during the past 30 years, are aimed at assessing the qualities and abilities that constitute creativity. These tests evaluate mental abilities in ways that are different from\u2014and even diametrically opposed to\u2014conventional intelligence tests. Because the kinds of abilities measured by creativity tests differ from those measured by intelligence quotient (IQ) tests, persons with the highest scores on creativity tests do not necessarily have the highest IQs. Creative people tend to have IQs that are at least average if not above average, but beyond a score of 120 there is little correlation between performance on intelligence and creativity tests.\nMost creativity tests in use today are based at least partially on the theory of creativity evolved by J. P. Guilford in the 1950s. Guilford posited that the ability to envision multiple solutions to a problem lay at the core of creativity. He called this process divergent thinking and its opposite\u2014the tendency to narrow all options to a single solution\u2014convergent thinking. Guilford identified three components of divergent thinking: fluency (the ability to quickly find multiple solutions to a problem); flexibility (being able to simultaneously consider a variety of alternatives); and originality (referring to ideas that differ from those of other people). Early tests designed to assess an individual's aptitude for divergent thinking included the Torrance (1962) and Meeker (1969) tests.\nThe most extensive work on divergent thinking was done under Guilford's direction at the University of Southern California by the Aptitudes Research Project (ARP), whose findings between the 1950s and 1970s produced a broad structure-of-intellect (SI) model which\n- Word Fluency: writing words containing a given letter\n- Ideational Fluency: naming things that belong to a given class (i.e., fluids that will burn)\n- Associational Fluency: writing synonyms for a specified word\n- Expressional Fluency: writing four-word sentences in which each word begins with a specified letter\n- Alternate Uses: listing as many uses as possible for a given object\n- Plot Titles: writing titles for short-story plots\n- Consequences: listing consequences for a hypothetical event (\"What if no one needed to sleep?\")\n- Possible Jobs: list all jobs that might be symbolized by a given emblem\nThe figurai ARP tests, which measure spatial aptitude, include the following:\n- Making Objects: drawing specified objects using only a given set of shapes, such as a circle, square, etc.\n- Sketches: elaborating on a given figure to produce sketches of recognizable items\n- Match Problems: removing a specified number of matchsticks from a diagram to produce a specified number of geometric shapes\n- Decorations: using as many different designs as possible to outline drawings of common objects\nDivergent thinking tests are generally evaluated based on the number and variety of answers provided; the originality of the answers; and the amount of detail they contain (a characteristic referred to as elaboration). A number of creativity tests currently in use include sections that measure divergent thinking. The Creativity Assessment Packet (ages 6-18) is composed of Test of Divergent Thinking as well as Divergent Feelings Test that measures traits including imagination, curiosity, risk-taking, and complexity. A Divergent Production subtest is part of the Screening Assessment for Gifted Elementary Students (SAGES) (ages 7-13), together with a Reasoning subtest that emphasizes the identification of relationships and a multiple-choice School Acquired Information subtest. The goals of the Test of Creative Potential (TCP) (ages 2-adult) are described using the language of divergent thinking theory: fluency, flexibility, and elaboration. Like the ARP tests, it has a figurai section (Picture Decoration) to measure nonverbal ability, as well as a verbal section and a symbolic section. Among the oldest of the divergent thinking tests are the Torrance Tests of Creative Thinking (TTCT) (ages 5-adult), which also have both verbal and figurai sections and measure fluency and other standard categories.\nRather than ways of thinking, some creativity tests evaluate attitudes (based on the child's answers), behavior (based on descriptions by an observer familiar with the child, usually a parent or teacher), creative perception, or creative activity. The Creativity Attitude Survey (CAS) (grades 4-6), composed of 32 statements for which the child indicates agreement or disagreement, assesses confidence in one's own ideas; appreciation of fantasy; theoretical and aesthetic orientation; openness to impulse expression; and desire for novelty. The Preschool and Kindergarten Interest Descriptor (PRIDE) (ages 3-6) is one of the tests completed by an observer rather than by the person being evaluated. It includes 50 items that assess children's behavior in the following areas: Independence-Perseverance, Imagination-Playfulness, Originality, and Many Interests. The Scales for Rating the Behavioral Characteristics of Superior Students (SRBCSS) (child and adolescent) include 95 questions by which teachers evaluate students in such areas as motivation, leadership, art, music, dramatics, and both precise and expressive communication. The Creativity Checklist (CCL) (grades K-graduate school) is also filled out by an observer; it measures resourcefulness, constructional skill, ingenuity or productiveness, independence, and positive self-referencing behavior, as well as the more standard fluency, flexibility, and complexity that are common to divergent thinking tests.\nSome creativity tests specifically address the problem of assessing creativity in minority populations, who are at a disadvantage in tests that place a strong emphasis on verbal and semantic ability. The SOI-Learning Abilities Test (ages 2-adult) includes such categories as constancy of objects in space; auditory attention; psychomotor readiness; auditory concentration for sequencing; and symbolic problem-solving. The use of creativity tests such as this can aid in identifying gifted minority students, who, as a group, do not perform as well on standard IQ tests as non-minority students and are thus overlooked in the allocation of resources for talented students. (In one minority-populated school in Florida, only four out of 650 students were labeled as gifted according to aptitude standard tests.) The Eby Gifted Behavior Index (all ages) reflects the growing view of creativity as specific to different domains. It is divided into six talent fields: verbal, social/leadership, visual/spatial, math/science problem-solving, mechanical/technical,\nCreativity tests have been found reliable in the sense that one person's scores tend to remain similar across a variety of tests. However, their validity has been questioned in terms of their ability to predict the true creative potential of those who take them. In one study, there was little correlation between the scores of both elementary and secondary students on divergent thinking tests and their actual achievements in high school in such creative fields as art, drama, and science. Creativity tests have also been criticized for unclear instructions, lack of suitability for different populations, and excessive narrowness in terms of what they measure. In addition, it may be impossible for any test to measure certain personal traits that are necessary for success in creative endeavors, such as initiative, self-confidence, tolerance of ambiguity, motivation, and perseverance. Tests also tend to create an anxiety-producing situation that may distort the scores of some test takers. Teresa Amabile, a well-known researcher in the field of creativity, has advocated assessing creativity by observing a child's creative activities in a natural setting, such as painting or storytelling.\nCritiques of tests that involve divergent thinking have also been based on the conclusion of many researchers that creative accomplishment actually requires both divergent and convergent thinking. Besides being original, the successful solution to a problem must also be appropriate to its purposes, and convergent thinking allows one to evaluate one's ideas and reject them if they cannot withstand further scrutiny.\nAmabile, Teresa. The Social Psychology of Creativity. New York: Springer-Verlag, 1983.\n\u2014\u2014. Growing Up Creative: Nurturing a Lifetime of Creativity. New York: Crown Publishers, 1989.\nGuilford, J. P. The Nature of Human Intelligence. New York: McGraw-Hill, 1967.\nSternberg, R. J. The Nature of Creativity. New York: Cambridge University Press, 1988.\nTorrance, E. P. Guiding Creative Talent. Englewood Cliffs, NJ: Prentice-Hall, 1962.", "id": "<urn:uuid:d49934d9-22e4-484f-b54e-da0e2cd44a1b>", "dump": "CC-MAIN-2013-48", "url": "http://www.healthline.com/galecontent/creativity-tests", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163056670/warc/CC-MAIN-20131204131736-00081-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9410581588745117, "token_count": 1796, "score": 3.9375, "int_score": 4}
{"text": "The first specimen of Paranthropus boisei, also called Nutcracker Man, was reported by Mary and Louis Leakey in 1959 from a site in Olduvai Gorge, Tanzania.\nCredit: Nicolle Rager Fuller, National Science Foundation.\nThe evolution of the distant ancestors of humans and other primates may have been driven by dramatic volcanic eruptions and the parting of continents, according to a controversial new theory.\nScientists remain skeptical about the idea, however.\nAccording to prevailing theories, primates originated in a small area. From this center of origin, they dispersed to other regions and continents.\nThe problem with this idea is that it has \"resulted in all sorts of contradictory centers of origin,\" from Africa to Asia to the Americas, said researcher Michael Heads at the Buffalo Museum of Science in New York. It has also led to perhaps improbable suggestions that primates rafted across the Mozambique Channel to reach Madagascar or even across the Atlantic to reach South America, \"imaginary migrations\" that are \"incompatible with ecological evidence,\" Heads noted.\nInstead, Heads suggests the ancestors of primates and their nearest relatives were actually widespread across different parts of the supercontinent Pangaea some 185 million years ago, back when the lands that make up our continents nowadays were fused together. These ancestors could have evolved into the primates in central-South America, Africa, India and southeast Asia, the flying lemurs and tree shrews in southeast Asia, and extinct creatures known as plesiadapiformes in North America and Eurasia.\nThe big split\nDramatic geological events on Pangaea \u2014 major volcanic eruptions and the splitting up of the continent \u2014 might have then helped split the primates into different lineages.\nFor instance, Heads suggested that at roughly the same time as intense volcanic activity in Africa about 180 million years ago, the group that includes humans, other simians, and tarsiers \u2014 altogether known as the haplorhines, or dry-nosed primates \u2014 split from the strepsirrhines or curly-nosed primates, which include the lemurs and lorises.\nThere are more examples he poses as well. He speculated the lemurs of Madagascar diverged from their African relatives at roughly the same time as the opening of the Mozambique Channel some 160 million years ago, while New and Old World monkeys diverged with the opening of the Atlantic about 130 million years ago.\nHeads detailed his concept in the journal Zoologica Scripta.\nBehind the theory\nHeads reached these conclusions by incorporating spatial patterns of primate diversity and distribution as historical evidence for how they might have evolved. Prior research looked solely at the fossil record and genetic data, he said.\nStill, doubts remain. Evolutionary biologist Anne Yoder at Duke University in Durham, N.C., bluntly stated, \"I believe that Heads' theory is absurd.\"\nWhile Heads conjectures that primates were widespread across Pangaea some 185 million years ago, the ages of the oldest primate fossils known to date suggest they emerged some 56 million years ago, while genetic data suggested they originated some 80 to 116 million years ago. Primatologist John Fleagle at Stony Brook University in New York added that Heads' findings \"are inconsistent with all other evidence we have about the timing of major events in primate evolution.\"\nHeads notes that fossils often serve as an incomplete record for what and when animals actually existed. He added that genetic data might also potentially lead scientists to underestimate ages by tens of millions of years.\nAlthough Fleagle noted it was reasonable to assume that the fossil record is imprecise when it comes to what species emerged when, \"the question is how far off is the fossil is record likely to be.\" For instance, \"Why don't we find even a hint of a primate in the very rich fossil record of South America between 180 million years ago and 26 million years ago, if they there were actually there?\"\nIndeed, new research suggests primates could have rafted from Africa to Madagascar. Computer simulations detailed online Jan. 20 in the journal Nature suggest powerful ocean surface currents flowed eastward for a few million years from northeast Mozambique and Tanzania to the island about 50 million years ago.\nThese could have rapidly carried the ancestors of Madagascar's mammals outward, following storms that washed them out on natural rafts of trees or large vegetation mats.\n\"I was very excited to see this paper,\" Yoder said. This kind of dispersal had been an idea without actual data backing it up. \"This takes it out of the realm of storytelling and makes it science,\" she added.\n- Top 10 Things That Make Humans Special\n- Top 10 Mysteries of the First Humans\n- Human Origins: Our Crazy Family Tree", "id": "<urn:uuid:0d26708a-9a3a-4e92-a369-a5a7abf13e0f>", "dump": "CC-MAIN-2013-48", "url": "http://www.livescience.com/8051-theory-primate-origins-sparks-controversy.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164020217/warc/CC-MAIN-20131204133340-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9596953392028809, "token_count": 976, "score": 4.15625, "int_score": 4}
{"text": "Complicity: How the North Promoted, Prolonged, and Profited From Slavery, By Anne Farrow, Joel Lang, and Jenifer Frank, Ballantine, 255 pp., $25.95\nA startling new history exposes the plantations, slave ships, and rebellions in the North, upending the notion that slavery was a peculiarly Southern institution.\nIn 1641, Massachusetts became the first colony to recognize slavery by statute. Four years later, a Boston ship made one of the earliest known slave voyages from New England to Africa.\nBy the late 1700s, tens of thousands of blacks were living as slaves in the North. ''Complicity\" shows just how integral slavery was to the region's economy.\nWhile the authors are careful to say that slavery was never as widespread in the North as it was in the South, the scope of the North's involvement with slavery is staggering to anyone raised with the notion that slavery was limited to the South.\nIn the mid-1800s, Charles Sumner, a Bay State abolitionist, railed against the unholy alliance ''between the cotton-planters and flesh-mongers of Louisiana and Mississippi and the cotton spinners and traffickers of New England -- between the lords of the lash and the lords of the loom.\" In 1861, the mayor of New York suggested the city -- long a hub of illegal slave trade -- secede from the Union in large part so cotton trade with the South could continue.\n''Complicity\" grew out of The Hartford Courant's investigation of slavery throughout Connecticut. The reporters discovered that more than 5,000 Africans were enslaved in Connecticut during the year before the American Revolution. Now three Courant veterans have produced a rich history of slavery in the North that adds new dimensions to what you might have learned in school.\nThe successful voyage of a slave ship was 10 times as profitable as an ordinary trading voyage from New England to the West Indies. Rhode Island entered the slave trade in a big way, shipping nearly 50,000 slaves in less than 20 years. By the mid-18th century, plantations in the Narragansett area matched the plantations of Virginia's Tidewater region in acreage and numbers of slaves.\nFor more than a century, Ivoryton and Deep River, Conn., were an international center for milling elephant tusks into piano keys. As many as 2 million enslaved Africans carried tusks hundreds of miles to the coast so the tusks could be shipped to America. Two industry leaders were abolitionists who ignored the contradiction between their business and their politics.\n''Complicity\" joins a number of books published over the past year that have taken a closer look at slavery. ''Runaway America: Benjamin Franklin, Slavery, and the American Revolution\" by David Waldstreicher analyzes Franklin's history as an indentured servant and, later in life, a slaveholder. ''New York Burning: Liberty, Slavery, and Conspiracy in Eighteenth-Century Manhattan\" by Jill Lepore examines the fires of New York City in 1741 to which ''Complicity\" devotes a chapter. The fires were thought to be a slave rebellion and 30 slaves were executed.\nUnlike the tighter focus of those two books, ''Complicity\" ranges across a wide swath of territory and time. This is the book's weakness as well as its strength. Each chapter moves to a new place and another facet of the North's entanglement with slavery. A reader can be forgiven for feeling that this is history for the fast-paced MTV generation.\nYet the sheer volume of numbers and narratives from Northern states brings home the extent to which slavery was a part of everyday life in a region largely defined by its antipathy toward the institution. Much of what's in ''Complicity\" was gleaned from old newspapers and more than 100 period drawings, photos, and documents bring a sense of immediacy to the storytelling. This is history at its best, a story not only of the government officials who made front-page news, but a story of the fugitive slaves for whom a bounty was offered in the classified ads.", "id": "<urn:uuid:b58144a6-b885-49ef-b03e-e754b4c946e5>", "dump": "CC-MAIN-2013-48", "url": "http://www.boston.com/ae/books/articles/2005/10/25/complicity_uncovers_norths_ties_to_slavery/?camp=pm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163055633/warc/CC-MAIN-20131204131735-00079-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9629091024398804, "token_count": 843, "score": 3.53125, "int_score": 4}
{"text": "Writing an Autobiography\n- Grades: 6\u20138\n- Learn about the process of writing; brainstorm ideas, write draft, revise, edit, finalize draft and share work.\n- Be able to write effectively and with detail about their personal history (family, friends, neighborhood), growth and goals over time.\n- Read and critique published autobiographies to help understand effective writing techniques used.\n- Read and respectfully critique the work of their peers.\n- Final product will be completed as a published piece.\nWorksheets, timelines, selection of autobiographies for reference, pencil, pen and notebook paper and supplies for scrapbooks\nSet Up and Prepare\nExplain the meaning and purpose of writing an autobiography. Review autobiographies that would be of interest to your students. Discuss what devices authors use to make the stories compelling. Provide worksheets for students to use to help them generate ideas and support their writing. Review the writing process.\nPart I \u2014 Learning From Our Pasts\nTell students they will be writing about their personal family history and important events in their lives that have shaped who they are today. Discuss that a family is composed of people living together and functioning as a unit. Give them a copies of the Birth Certificate and Family page and ask them complete them to the best of their knowledge. They can take the worksheets home to ask family members for help completing any missing information.\nPart II \u2014 Who I Am Today\nExplain to students that family is composed of people living together and functioning as a unit. Ask students to complete the Friends and Folks in My Neighborhood worksheets. Using the Family and other related worksheets as reference, students will write and describe their neighborhoods and significant relationships with family, friends, teachers or community members as a way to write about and define how these people have impacted and influenced who they are today.\nPart III \u2014 Preparing for the Future\nAsk students to complete the Scenario, Things I Like to Do and Want Ads worksheets. Explain that a scenario is an account or synopsis of a projected course of action or events. Ask them to make projections for and write about various stages of their lives, e.g., 10, 20 or 50 years from now, etc.\nPart IV \u2014 The Final Product\nStudents will use the three written parts to complete the final draft of their autobiography. This piece will be peer reviewed and teacher reviewed before publishing. The timeline and scrapbook pieces can be used to support their writing.\nUse worksheets as guide to complete a visual timeline about important events their lives. Students choose \"firsts\" events to use on their timelines, such as: my first birthday, Christmas, first day of school, first haircut, visit to the dentist, first night away from home, etc. Use worksheets to make autobiographical scrapbooks.\nStudents are encouraged to talk to their parents and family members about their writing. They can discuss important events in their childhoods such as, the day they were born, learning to walk and talk, funny things they use to do, etc. After students complete their information gathering, they can work on their autobiographical timelines and scrapbooks.\n- Brainstorm a list of possible writing ideas/topics to provide focus for writing stories with more details.\n- Use worksheets and ten-minute sessions of directed writing for students having difficulty beginning their writing\n- Write first draft\n- Revise first drafts through peer conferences\n- Edit revised work through teacher conferences\n- Share final drafts\n- Did students understand and follow the writing process?\n- Did students enjoy thinking about their personal lives, families, and goals for the future?\n- Did writing an autobiography change their thinking about their future goals?\n- Books for Teaching Successful Autobiography Writing by Elizabeth Ramos\n- Website for Timeline: http://www.ourtimelines.com\nAsk students to find a partner to read and respectfully critique their writing using the following criteria:\n- Is this story in good order? Are the events in sequence?\n- How are the paragraphs? Are all the ideas about one subject/event grouped together?\n- Does this story have a good beginning, middle, and end? Which parts, if any, need more information?\n- Are there any parts of this story that could be left out? Why?\n- Does this story have well-structured sentences? Which need more work?\n- Are there grammar mistakes?\n- Are there spelling mistakes?\n- Does this writing make you feel any particular way? Why?\n- What parts of this story are you able to visualize?\n- What did you like best about this story?", "id": "<urn:uuid:cc6481aa-c6c0-47f5-a360-f4d45fbf4f52>", "dump": "CC-MAIN-2013-48", "url": "http://www.scholastic.com/teachers/lesson-plan/writing-autobiography-0", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164944725/warc/CC-MAIN-20131204134904-00080-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9472540020942688, "token_count": 957, "score": 4.0625, "int_score": 4}
{"text": "Spacial (see, draw, visualize it, mind-mapping)\nVisual-Spatial intelligence makes it possible for people to perceive visual or spatial information, to transform this information, and to recreate visual images from memory. Well-developed spatial capacities are needed for the work of architects, sculptors, and engineers. The students who turn first to the graphs, charts, and pictures in their textbooks, who like to \"web\" their ideas before writing a paper, and who fill the blank space around their notes with intricate patterns are also using their spatial intelligence. While usually tied to the visual modality, spatial intelligence can also be exercised to a high level by individuals who are visually impaired.\nPeople with well developed spatial- visual intelligence enjoy drawing, designing, looking at pictures and images, slides, videos, and films. They are especially proficient at imagining, visualization, sensing changes, doing puzzles, and reading charts and maps. They absorb information best through visualizing, using the \"mind's eye\", and by manipulating and working with pictures and images. This intelligence can serve a variety of scientific ends; as a useful tool, as an aid to thinking, as a way of capturing information, and a way to formulate and solve problems, and graphically represent patterns.\nVisual/ Spatial intelligence: Perceives objects accurately, relies on sight and ability to visualize, forming mental pictures, imagining, able to manipulate mental images and represent things graphically.\nPreferred Activities: Guided imagery, collages, labelling, pictures, pretending.\nthink it, conceptualize)\nLogical-mathematical intelligence enables individuals to use and appreciate abstract relations. Scientists, mathematicians, and philosophers all rely on this intelligence. So do the students who \"live\" baseball statistics or who carefully analyze the components of problems--either personal or school-related before systematically testing solutions.\nPeople with well developed logical mathematical intelligence are sensitive to logical patterns and relationships, to functions, propositions, and hypotheses. They can easily use categorization, classification, inference, generalization, and calculation. They are \"natural\" critical thinkers, and adeptly handle long chains of reasoning. These individuals learn best when provided with opportunities to classify, categorize, and work with abstractions and to experiment. They like to figure things out by asking questions, exploring and finding the order and logic in the content to be learned. They are usually good at math and in logical problem-solving.\nLogical/mathematical intelligence: works with numbers, deductive and inductive thinking, recognizes abstract patterns, performs complex calculations, and is able to reason scientifically.\nPreferred Activities: Calculations, numbers, scientific thinking, sequencing, logical problems\nwrite, talk about it, listen to it)\nLinguistic intelligence allows individuals to communicate and make sense of the world through language. Poets exemplify this intelligence in its mature form. Students who enjoy playing with rhymes, who pun, who always have a story to tell, who quickly acquire other languages--including sign language--all exhibit linguistic intelligence.\nPeople with well developed linguistic intelligence find their fullest identity in writing or in verbal storytelling. They are articulate, accurate spellers, and avid readers. They often think in words, and learn well by listening to others speak, by reading, writing, and verbalizing. They love to play with language, are good at remembering names, places, dates, and trivia. If these people are given the opportunity to hear, see, and say words associated with the desired outcome, they will readily learn practically anything of interest to them.\nLinguistic intelligence: Those with this intelligence can analyse their own use of language, have a good memory, understand grammar well.\nPreferred Activities: Creative writing, reading, explanations, journal writing, biographies, feelings, reports\nBody Kinesthetic intelligence allows individuals to use all or part of the body to create products or solve problems. Athletes, surgeons, dancers, choreographers, and crafts people all use bodily-kinesthetic intelligence. The capacity is also evident in students who relish gym class and school dances, who prefer to carry out class projects by making models rather than writing reports, and who toss crumbled paper with frequency and accuracy into wastebaskets across the room.\nPeople with well developed bodily - kinesthetic intelligence process knowledge through their bodily sensations and learn best by touching, manipulating, and moving. They often have a natural sense of how their body should act and react in demanding physical situations. Learning is best facilitated by providing a kinetic component, where the learner can interact with space in some way to help them process and remember the new information through their body.\nBodily/Kinaesthetic intelligence: Have a good wisdom of bodily movements and can connect mind and body. They have good awareness and control of body movements.\nPreferred Activities: Dancing, acting, drama, role playing, inventing, physical gestures\nMusical intelligence allows people to create, communicate, and understand meanings made out of sound. While composers and instrumentalists clearly exhibit this intelligence, so do the students who seem particularly attracted by the birds singing outside the classroom window or who constantly tap out intricate rhythms on the desk with their pencils.\nPeople with well developed musical intelligence excel at remembering melody, noticing the rhythms of life, and usually keep perfect time. They are hummers of tunes, singers of songs, probably play an instrument, and often listen to music. These learners get new information by listening to melodies, writing musical notations, or in using rhythm to help them master new concepts. They are able to hear music and rhythm accurately, to remember, master, and eventually produce musical sequences.\nMusical intelligence: These people possess a sensitivity to tone and sound, also a sensitivity to the structure of music\nPreferred Activities: Chants, music, singing, rhythmic patterns, humming, instrumental sounds\ncooperative learning, social)\nInterpersonal intelligence enables individuals to recognize and make distinctions about others' feelings and intentions. Teachers, parents, politicians, psychologists and salespeople rely on interpersonal intelligence. Students exhibit this intelligence when they thrive on small-group work, when they notice and react to the moods of their friends and classmates, and when they tactfully convince the teacher of their need for extra time to complete the homework assignment.\nPeople with well developed interpersonal intelligence have a strong sense of empathy and concern for others. They are often natural leaders, and take others \"under their wing\". They are almost always with a group of people and have a wide circle of friends and acquaintances. They like to talk with others, to teach others, and to organize, mediate and communicate in group activities. They generally understand people and instinctively know how to work with them. They learn best when given the opportunity to interview others, share ideas, and to cooperate and collaborate to complete any task.\nInterpersonal intelligence: These people are cooperative in groups, good at role play, discussion, communication and teamwork, and have the ability to see all points of view and are good at group projects.\nPreferred activities: Feedback, co-operative groups, discussions, group projects, teamwork, interviews, team assessment\nto personal life, make choices, independent)\nIntrapersonal intelligence helps individuals to distinguish among their own feelings, to build accurate mental models of themselves, and to draw on these models to make decisions about their lives. Although it is difficult to assess who has this capacity and to what degree, evidence can be sought in students' uses of their other intelligences--how well they seem to be capitalizing on their strengths, how cognizant they are of their weaknesses, and how thoughtful they are about the decisions and choices they make.\nThese type of people have an ability to reflect on internal states, have a good metacognitive awareness, good concentration, higher order reasoning, and an awareness of personal feelings.\nPeople with well - developed intrapersonal intelligence have an accurate picture of their inner self - their strengths and weaknesses, their inner moods, goals, intentions, motivations, temperament, beliefs, and desires. They have the capacity to cultivate superb self - discipline, self - understanding, and high self - esteem. They seem to be self - motivating, need their own quiet space to work in, and \"march to the beat of a different drummer\". These learners take in knowledge more easily through independent study and self - paced instruction. They absorb new information best when involved in individual projects.\nPreferred Activities: Reflection, autobiography, focusing, goal setting, higher order reasoning, awareness of personal feelings\nSpiritual (Naturalist) intelligence allows people to distinguish among, classify, and use features of the environment. Farmers, gardeners, botanists, geologists, florists, and archaeologists all exhibit this intelligence, as do students who can name and describe the features of every make of car around them.\nSpiritual(Naturalist) intelligence. These type of people find it easy to categorise plant names and recognize animals.\nPreferred Activities: History, philosophy, religion, botany, geology\nare independent of each other and help explain a person's specific abilities\nin certain areas. The multiple intelligences framework also helps identify\nparticular strengths in specific areas of intelligence. All individuals\nare different in their learning styles and intellectual profiles.\n(1) We have to consciously learn through our strongest intelligence(s), which may be different from the intelligences emphasized in the main; and, while emphasizing your unique learning style, you will also (2) enhance your brain power by using your full range of brain skills.\nIt would be very useful to you, at this point, to learn what YOUR unique learning style is.\nCLICK HERE FOR LEARNING STYLE", "id": "<urn:uuid:b507e4fe-13d0-4381-b684-e3491abb4c7d>", "dump": "CC-MAIN-2013-48", "url": "http://whgbetc.com/mind/inteldiv2.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345766127/warc/CC-MAIN-20131218054926-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9396612644195557, "token_count": 1998, "score": 3.640625, "int_score": 4}
{"text": "Help your child learn to write well (and enjoy doing it) with these 10 expert tips.\nSkilled writing is important not only from elementary school through college, but throughout adulthood. Good writing skills help your child do well in school, enjoy self-expression and become more self-reliant.\nUnfortunately, research consistently shows that many students have difficulty writing with clarity, coherence or organization. Surprisingly few students can write persuasive essays or competent business letters. As many as one out of four students have serious writing difficulties, and the number of students who report that they enjoy writing decreases the older they get.\nYou can make a big difference in helping your child learn to write well and to enjoy doing it!\n1. Provide appropriate tools and space.\nProvide plenty of paper\u2014lined and unlined\u2014and different kinds of writing utensils including pencils, pens, markers and crayons. Allowing your child to choose a special pen or journal will help promote a willingness to write. Make sure the lighting is adequate and that the writing surface and chair are comfortable for your child.\n2. Allow time.\nHelp your child spend time planning a writing project or exercise. You may even want to set aside a daily writing time at home. Writing for twenty minutes per day is equally as important as reading the same amount of time.\nRespond to the ideas your child expresses. Focus first on what your child has written, not how it was written. In the beginning, you can ignore minor errors while your child is just getting ideas together. After you acknowledge and respond to the content of your child's writing, go back and correct errors or misspelled words.\nAlways say something good about your child's writing. Is it accurate? Descriptive? Thoughtful? Interesting?\n5. Write together.\nHave your child help you with writing, even such routine ones as to-do lists and thank-you notes. This helps the child see a variety of ways in everyday life that writing is important.\n6. Make it real.\nYour child needs to do real writing. Encourage your child to write letters or send email to relatives and friends or to help with shopping lists.\n7. Suggest notes and postcards.\nEncourage your child to take notes on trips or outings. Store-bought or handcrafted postcards can provide an additional impetus for your child to write about the experience.\nTalk with your child as much as possible about his impressions. Encourage your child to describe people and events in detail.\n9. Encourage keeping a journal.\nThis is excellent writing practice as well as a good outlet for venting feelings. Encourage your child to write about things that happen at home and school, or about special friends. Encourage your child to write about personal feelings\u2014pleasures as well as disappointments. A personalized journal\u2014one your child selects\u2014will encourage journal keeping.\n10. Practice creative writing.\nEver read a story and have your child disagree with the ending? Did he side with the villain? Did he complain that a character's decision was foolish, or a plot twist seemed unfair? Encourage your child to try writing a different version. Maybe one of the ugly stepsisters nabs the prince instead of Cinderella. Maybe Beth from Little Women can be resurrected. Or perhaps your child can insert himself inside the tale to talk sense into the characters and put the story to right.\nDon't worry if writing is too advanced for your child. Let him dictate to you, while he illustrates each page. Punch holes in the paper and tie it together with string for a finished book. Before long he'll be trying to sell the movie rights!\nFlip's Fantastic Journal\nBy Angelo Decesare\nPuffin (Ages 7\u201310)\nThe Secret Diary of Adrian Mole, Aged 13 \u00be\nBy Sue Townsend\nAvon (Ages 10 and up)", "id": "<urn:uuid:e107aa1f-d2f3-4ca7-b33d-07b8a3efeeba>", "dump": "CC-MAIN-2013-48", "url": "http://www.leapfrog.com/en-us/learning-path/articles/article-10-tips-for-building-writing-skills.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164014919/warc/CC-MAIN-20131204133334-00081-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9510778784751892, "token_count": 803, "score": 3.828125, "int_score": 4}
{"text": "Animation: Activity 3\nCel animation is the most familiar type of animation, but a good animator can bring clay models, sand, paper, puppets, or pins to life. Shapes or figures are cut out and photographed against a backlight for silhouette animation or arranged and shot from above to create collage animation. A more three-dimensional effect can be achieved by using stop-motion photography to animate movable figures made of clay, wood, or other materials.\nIn the two types of animation called \"time-lapse photography\" and \"pixilation,\" a camera is set to snap one frame at regular intervals. Time-lapse compresses time, reducing the blooming of a flower, for instance, to a few seconds of screen time. Pixilation works in a similar manner, but with actors performing in real time.When the film is played back, the action appears jerky, something like an old silent movie when it is projected at the speed of sound movies.\nAnimated films can also be made by drawing or scratching directly on the film, painting scenes on glass, moving wire-thin black pins on a white pinboard or even by using the photocopying machine.\nNo matter what the material, each step of an animated film is worked out beforehand on storyboards, a representation of a film in outline form, using sketches, small drawings, and captions. Since every second of a typical animated film involves 12 to 24 changes (more than 50,000 visuals for a 70-minute film), it is too expensive and time-consuming to complete an entire animation sequence and then scrap it. Even if the animator is not telling a story but has an abstract design in mind, he or she plans in detail the progression of images and how they can be combined to achieve the desired effect. The storyboard is an indispensable tool for the animator and is revised often.\nComic strips, with their captions, close-ups, long shots, and other storytelling techniques, are similar to storyboards and can help your students understand the format. Encourage them to study comic strips or graphic novels to learn the components of visual storytelling. Discuss the way pacing, dialogue, color, line, shape, and composition create moods, convey emotion and move the story forward. Consider the way movement is depicted in a still drawing. Then have students storyboard the key moments in a sequence from one of their own stories or from a selected animated film, using some of the techniques they have studied.\nShow students a sequence or short film made without the use of cels. Some suggestions from the list at the beginning of this teacher's guide are Crac (pastel-on-paper drawings), Closed Mondays, Creature Comforts, A Close Shave, and Wallace & Gromit in The Curse of the Were-Rabbit (all four done in clay), The Street (washes of watercolor and ink), The Sand Castle (sand), Mindscape (pinboard), Neighbours (pixilation), Pas de Deux (optical printing), and Coraline and Fantastic Mr.Fox (stopmotion puppets). Have students create a short animated film using an alternative medium like one of the above,or by using puppets, dolls, silhouettes, shadows, or construction paper.", "id": "<urn:uuid:596f1d7c-4e07-47bb-abc0-efb508d8eb82>", "dump": "CC-MAIN-2013-48", "url": "http://www.oscars.org/education-outreach/teachersguide/animation/activity3.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164033438/warc/CC-MAIN-20131204133353-00075-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9354134798049927, "token_count": 675, "score": 4.34375, "int_score": 4}
{"text": "You may think your story is unimportant. However, how many times have your kids asked what the world was like when you grew up? They love to hear stories of you and themselves. By documenting your own story, not only can others experience your stories, they can see how you interact with your world.\nNOTE: This badge program builds on \u201cTell My Story\u201d which encourages sharing stories of your life through storytelling.\n1. What do you want to leave behind?\nPerhaps you want to leave stories of your life? Dreams you have achieved? A special experience that changed your life? Make a list of the items you wish to share with future generations. This might be your own stories or from your family.\nTelling your story\n2. Short stories.\nYou might be interested in telling short stories. Think of a funny or embarrassing moment in your life. Make notes about how you might tell that story.\n3. Long stories.\nPerhaps you want to go beyond just a moment in time. Create a brief outline of a longer event such as a vacation or sport season you participated in. Make notes about how you might tell the story.\nMost people think of written stories when they think of telling a story. Write a short story about yourself. It can be short or long, encompassing something as simple as the first time you did something or complicated like experiences during a week at summer camp.\nOral traditions have been around longer than written ones. Tell your story to others. Record your telling as well as the questions you are asked afterwards. Use the questions to help improve your oral story.\n6. Skit or plays.\nSkits or plays allow you to tell your story through many mouths. After documenting your story, ask others how they perceived the same events. Create a skit trying to keep to the authenticity of many points of view.\nCreate a puppet show based on your story. You can use shadowgraphs, sock puppets, marionettes or any other movable personification of yourself to tell your story. Perform your story for others.\nCreate a piece of art that reminds you of a story. Share your story with someone else. Ask if they can see the links between your art and story.\nYou can have photos of people and locations in your stories. A series of photos can allow you to tell a story as well. Try telling your story through photos alone. Add brief quotes or comments as triggers to remember the story behind the photo.\n10. Combining words and art.\nJournals, whether written or art, are a great way to tell your story. When you open a diary or journal, you feel like you are taking a glimpse into someone else\u2019s life. Start a journal to tell your story.\nTell your story with digital media. Record your story as an audio or video file. Perhaps you might want to start a personal blog or podcast. Perhaps digital photos can be included in your legacy. Send these files / links to friends or distribute on YouTube.\nCreating a story\nIf you feel like you don\u2019t have a story to tell, start one today. Find a way to start making a change in your life, the lives of those you love or your community. Explore your passions and start now. Keep track of your story as you create it.\nGiving service to others affects your life as well as other in a positive way. Find ways to give service that allow you to start creating a story.\nStart and build a business. Build your reputation with organizations where your expertise can benefit them. Start your own cause or significantly improve another. Build a garden to share with your community. Move beyond \u201cService\u201d in Step 13 and push yourself to make a difference.\nCreate art. Create music. Create a blog that offers inspiration and hope. Create something from your own mind that you can share as a story.\n16. One on one.\nChoose a person who needs help and build a relationship. Help them start their own legacy. Document their stories. Or perhaps just spend time to brighten someone\u2019s day and record their stories to carry on their traditions instead of your own.\n17. Participate in an event.\nAt a family reunion or get-together, have a few stories prepared and ready to go. Record the event to get additional ideas, stories and more. Once started, you\u2019ll find many people like to share their stories.\nSelect a theme for your stories and ask others to contribute their own stories. Create a contest for your family and friends to join. You can give serious or silly awards for your contest. Create a montage of stories and share it with others to vote on so even if someone doesn\u2019t participate, they can be part of the fun.\n19. Online archive.\nCreate an online archive for yourself or allow others to join. You can have as much or little control over submissions, organization and more. Ask others to help maintain the archive if they are better at certain tasks than you.\nCollect your stories and publish them to offer inspiration for others to start building their own legacy. You might want to publish a single story or a group of them. You might instead choose to share how you took your own journey or help others to start theirs.", "id": "<urn:uuid:da90c8ce-4f17-4c19-8244-44cb55910223>", "dump": "CC-MAIN-2013-48", "url": "http://larajla.com/tag/art/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164020217/warc/CC-MAIN-20131204133340-00079-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9586278200149536, "token_count": 1087, "score": 3.671875, "int_score": 4}
{"text": "The School Story Lesson Plan\n- Grades: 3\u20135\nAbout this book\nSubject area: Language Arts\nReading Level: 3.5\nTwelve-year-old Natalie Nelson is a gifted writer who's just written a powerful novel. Her mom is a children's book editor, but Natalie doesn't want special favors. Zoe Reisman, Natalie's best friend, is determined to get her friend's book published. She's smart and aggressive \u2014 perfect agent material. With lots of secrecy, great daring, and much humor, the girls find a way for everyone to come out a winner.\nStudents will be introduced to the writing, editing, and publishing process.\nStandard: Students will become familiar with editing and publishing strategies for written work (e.g. proofreading using a dictionary and other resources, editing for grammar, punctuation, capitalization, and spelling at developmentally appropriate levels).\nMy Favorite Book\nGet students thinking about why a favorite book is a favorite.\n- Ask each student to come up with a (short) list of his or her favorite books.\n- Have each include one or two reasons why the particular books were chosen.\n- One at a time, have each student share his or her list, including reasons, with the class. Does one (or more) book appear on several students' lists?\n- Hold a classroom discussion about what makes a good read.\n- In The School Story, Natalie learns a lot about character development, plot progression, action, and motivation. Talk about these elements with your class, introducing them with appropriate language.\nSomething's Wrong Here!\nHere's a creative way to train attentive editors!\n- Choose a passage from a children's book and try to find an excerpt that your class is most likely not familiar with. Several paragraphs, or even a whole chapter, will work best.\n- Retype the selected passage with the goal of introducing errors.\n- Include grammatical errors, punctuation errors, spelling errors, and \u2014 if possible \u2014 plot errors. (These may be achieved by simply deleting crucial sentences.)\n- Make copies of your \"revised\" passage and distribute the papers to your students, along with pencils (with erasers!).\n- Ask students to read through the passage and correct any errors they may find and to write a note or question in the margin for other suggestions or questions they have. Encourage them to pay attention to details both small and large.\n- Have each student compare his or her marked-up copy with your answer key.\n- Talk about any non-tangible (less concrete) changes students may have suggested. These may include action, motivation, or plot issues.\nWriter to Editor\nWhat does it feel like to be a writer? an editor?\n- Announce to your students that they will each be writing a short story. Depending on the abilities of your class, you may wish to assign a topic (or even characters and plot).\n- Allot a certain amount of class time to the writing of these stories.\n- At the end of the allotted time, ask each student to pass his or her story to the person to his or her right.\n- This student will act as an editor. He or she should conduct a careful reading of the story, making any corrections or suggestions necessary.\n- After a set period of time (or the next day, if more feasible), ask the \"editor\" to return the story to the \"writer.\"\n- Hold a classroom discussion about what it felt like to be a writer, to be an editor, and to be an edited writer.\nOther School Stories\nDear Mr. Henshaw\nby Beverly Cleary\nLeigh begins writing to an author as part of a school assignment. He never dreams that he'll still be corresponding with Mr. Henshaw years later\u2026or the impact that correspondence will have on his life.\nJake Drake: Teacher's Pet\nby Andrew Clements\nJake is a hard-working third-grader, but he doesn't like being the teacher's pet. He sets out to change the class opinion of himself with humorous results.\nSideways Stories from Wayside School\nby Louis Sachar\nSachar's beloved Wayside School is the setting for these outlandish stories about peculiar students.\nOther Books by Andrew Clements\nThe Laundry News\nThe Janitor's Boy\nTeaching Plan by Rebecca Gomez", "id": "<urn:uuid:a7b3226b-0c60-43bb-ab0d-a032923a49a9>", "dump": "CC-MAIN-2013-48", "url": "http://www.scholastic.com/teachers/lesson-plan/school-story-lesson-plan", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163037851/warc/CC-MAIN-20131204131717-00083-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.940843403339386, "token_count": 912, "score": 3.65625, "int_score": 4}
{"text": "What is cultural learning?\nPublished 24 October 2011\nNew terms and definitions\nAs a result of our extensive consultation over the summer we are now able to share with you the Guiding Principles and Definitions for Cultural Learning that you helped us to hone and shape.\nThese will form the back-bone of the CLA strategy and arguments going forward and should give us all some shared touchstones and language to use as we lobby for Cultural Learning in our own practice.\nThe Principles of Cultural Learning\n- Every child and young person should have equality of access to a baseline\nof quality cultural learning opportunities.\n- Cultural learning happens inside and outside of schools and colleges, and\nin a wide range of settings.\n- Families, parents and carers are important providers of cultural learning.\n- Young people shape the cultural landscape and are the arts\nprofessionals of the future. They should be empowered and supported to\nengage with, lead and drive the cultural learning agenda.\n- Cultural learning involves diverse practice and encompasses the arts,\nheritage and knowledge valued by all individuals, cultures and communities.\n- Arts subjects taught in schools and other settings as part of the curriculum\nhave depth, rigour and an established canon of knowledge. They are of\nequal weight, status, value and importance within the curriculum as other\nsubjects, and require equal resource and provision.\n- Partnership, collaboration, a shared commitment and a collegiate approach\nfrom those who use cultural learning in their work with young people are key\nto its successful delivery.\n- Cultural learning enriches our national life and intrinsically makes\na contribution to our society. It is critical to the development of our\neconomy. Through cultural learning young people gain the skills to\nbecome creative and cultural professionals and to contribute effectively\nto the wider workforce.\n- It inspires civic engagement and helps neighbourhoods to make positive\nchanges through collective ownership of culture. This leads to personal,\nsocial and community benefit and a shared sense of place.\n- Cultural learning has clearly evidenced educational and social\noutcomes. Young people who have the opportunity to learn through and\nabout culture are better equipped to achieve across the curriculum, and to\ntake responsibility for their own learning. Attendance, attitude and wellbeing\nare all improved by engagement with culture. Cultural learning practice\nshould be informed by rigorous research and evaluation into impact\nCultural learning is an active engagement with the creation of our artsand heritage.\n- \u2018The arts\u2019 is a broad term that includes a wide range of disciplines from theatre, dance, literature, storytelling, music, craft and visual arts to film, spoken word, digital media, photography and beyond.\n- The term \u2018heritage\u2019 encompasses an individual\u2019s understanding of themselves, their material culture and the world around them. Cultural organisations and specialists such as museums, libraries, archives, archaeological sites, historic houses and other built environment institutions safeguard and contribute towards this knowledge and understanding.\nCulture, in all its richness and diversity, can be experienced as listening, playing, seeing, watching and interacting, performing, devising, designing and composing, making, writing and doing. Arts and cultural subjects in schools\ninclude English, Drama, Art and Design, Music, Dance, History and Performing Arts. Good cultural learning takes place across all subjects, including science\nand the humanities, and through digital means. Cultural learning involves both learning through culture, and learning about culture\n, and involves critical thinking, creativity and the development of original ideas and action.\nThe CLA uses the term \u2018children and young people\u2019 to mean individuals from 0-19 years of age. It also includes young people from 19-25 who do not have the opportunity to access cultural learning independently. Equality\nof access to cultural learning does not involve every child accessing the same thing: it involves every child experiencing a parity of access to regular, ongoing opportunities for meaningful engagement.\nYoung people, teachers, families and communities can create, participate in \u2013 or be audiences for\n\u2013 culture: they are its makers and consumers. Cultural learning leaders practise at all levels in organisations and communities. They\ninnovate and drive cultural learning. They can include young people, parents, professionals and practitioners.\nThe term \u2018cultural learning settings\n\u2019 encompasses a wide range of provision, including: formal and informal youth and early years settings and services; local authority provision; voluntary, community and private sector provision; services for vulnerable young people, disabled young people, looked-after children and those at risk; cultural organisations and their initiatives; children\u2019s centres, education settings; FE provision, universities and schools.", "id": "<urn:uuid:1dc74626-d9eb-498e-8710-c943917cdbbf>", "dump": "CC-MAIN-2013-48", "url": "http://www.culturallearningalliance.org.uk/news.aspx?id=66", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164573346/warc/CC-MAIN-20131204134253-00084-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9337600469589233, "token_count": 952, "score": 4.03125, "int_score": 4}
{"text": "Famine remains one of the worst calamities that can befall a society. Mass starvation--whether it is inflicted by drought or engineered by misguided or genocidal economic policies--devastates families, weakens the social fabric, and undermines political stability. Cormac \u00d3 Gr\u00e1da, the acclaimed author who chronicled the tragic Irish famine in books like Black '47 and Beyond, here traces the complete history of famine from the earliest records to today.\nCombining powerful storytelling with the latest evidence from economics and history, \u00d3 Gr\u00e1da explores the causes and profound consequences of famine over the past five millennia, from ancient Egypt to the killing fields of 1970s Cambodia, from the Great Famine of fourteenth-century Europe to the famine in Niger in 2005. He enriches our understanding of the most crucial and far-reaching aspects of famine, including the roles that population pressure, public policy, and human agency play in causing famine; how food markets can mitigate famine or make it worse; famine's long-term demographic consequences; and the successes and failures of globalized disaster relief. \u00d3 Gr\u00e1da demonstrates the central role famine has played in the economic and political histories of places as different as Ukraine under Stalin, 1940s Bengal, and Mao's China. And he examines the prospects of a world free of famine.\nThis is the most comprehensive history of famine available, and is required reading for anyone concerned with issues of economic development and world poverty.\n\"This is why Cormac \u00d3 Gr\u00e1da's latest book is so surprising. He is an optimist. According to him, famines are becoming less common. Even better: they will probably decline in frequency even further. Is it time to declare famine history? \u00d3 Gr\u00e1da says 'yes'. This is a thesis not to be lightly dismissed. \u00d3 Gr\u00e1da is a distinguished economic historian. He is the world's foremost authority on the Irish economy, and has written eloquently on the Great Famine of the late 1840s, in which around one million Irish men and women died. Furthermore, this book is packed with facts, all eloquently presented. Although it is a compact little book with generous margins, it is truly global in nature and spans the period from the beginning of written history to the present.\"--Joanna Bourke, The Times (UK)\n\"Cormac \u00d3 Gr\u00e1da's indelible new book Famine: A Short History emphasizes the symbiotic relationship between famine and a plethora of other social ills, including crime, slavery, infanticide, and prostitution.\"--Evan R. Goldstein, Chronicle of Higher Education\n\"Despite its modest title this is an impressive book. . . . Apart from the author's encyclopaedic knowledge, this book is distinguished by its attention to detail, insistence on evidence to back up arguments, and clever structure, which enables the reader to engage easily with cutting-edge arguments about the nature and evolution of famine. It is likely to become the standard academic text on the subject, but its accessible style, clarity and illustrations make it of much wider interest and significance.\"--P\u00e1draig Carmody, The Irish Times\n\"This persuasive argument for global development is intricate enough to satisfy policy wonks but written with a larger audience in mind.\"--Publishers Weekly\nTable of Contents\nOther Princeton books authored or coauthored by Cormac \u00d3 Gr\u00e1da:", "id": "<urn:uuid:030feec1-49a1-4850-b0fe-a8cd3509287a>", "dump": "CC-MAIN-2013-48", "url": "http://press.princeton.edu/titles/8857.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163042403/warc/CC-MAIN-20131204131722-00084-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9233635067939758, "token_count": 699, "score": 3.71875, "int_score": 4}
{"text": "Are You Into It?\nDo you love to tell stories using digital technology? In this project you get to tell your story or the stories of others by learning all about the production process and technologies that make it possible. Zoom in on animation, video production, editing, sound production, image manipulation, and the secrets to telling a great story.\n- To develop interest, knowledge, and skills related to digital storytelling\n- Develop problem solving and logical reasoning skills\n- Improve communication and teamwork skills by working the way they do in the real world \u2013 in production teams\n- Develop responsible attitudes about technology and how technology relates to our everyday world and people\u2019s lives\n- Gain experience in problem solving and decision making using science process skills\nHere\u2019s what you can do all year!\nStarting Out / Basic Level 1\n- Discover the world of digital storytelling from the process of creating stories to the technology that makes it possible.\n- Learn about cameras and microphones and their functions\n- Discover light and sound techniques that make quality presentations possible.\n- Analyze various media forms and evaluate their use in different situations.\nLearning More / Intermediate Level 2\n- Use digital storytelling tools to create an image, video, or audio project\n- Play with audio and video editing software.\n- Discover how audio can enhance the quality of video production.\n- Discover how design elements and art principles impact your message.\nWork with the different media styles and evaluate when each would be the most effective at telling a story\nExpanding Horizons / Advanced Level 3\n- Use digital storytelling hardware, software and communication principles to tell a compelling story.\n- Use your skills to create a 4-H story for member recruitment in your county\n- Enter a research project in a science or technology fair\n- Use your digital storytelling skills to bring awareness to a need in your community.\n- Organize a local media event for youth to exhibit and share their media pieces.\nTake It Further!\nHere are other opportunities to explore the digital storytelling:\n- Contact your county ISU Extension Office for local workshops, activities, and events.\n- Contact your County Extension Office for local workshops, activities, camps, and events on video, audio, or image production (http://www.extension.iastate.edu/4h/contactus/countystaff.htm)\n- Check out the Iowa 4-H Center for camps focused on digital storytelling sciences (http://www.extension.iastate.edu/4h/center/)\n- Are you in high school? Think about state youth conference (http://www.extension.iastate.edu/4h/StateConference/) or join the Iowa 4-H Technology Team (http://techteam.iowa4h.org/)\n- Join Iowa Studio 4-H (http://iowastudio4h.iowa4h.org/) and hone your digital storytelling skills with the advice of professional mentors\n- Become a 4-H TV crewmember\u2014create audio and video news stories for local and state 4-H events! (http://www.extension.iastate.edu/e-set/4htv.html)\n- Is it fair time? Consider taking an exhibit, about digital storytelling processes or technologies to your county fair\nStep It Up!\nPass it on! Now that you know how, share it with others. Here are ideas to get you started.\n- Enter video in a youth film festival such as the Iowa 4-H Film Festival http://www.extension.iastate.edu/4h/StateFair/filmfestival.htm\n- Create an exhibit for your county fair or do an educational presentation about one of the technologies or techniques used\n- Use video or audio production to inspire community members or your city council to take action on a topic important to you\n- Use your digital storytelling skills to help a local non-profit\n- Organize a fieldtrip to a local lab, business, or industry to learn how they use digital storytelling\n- Teach a workshop on video production or image editing during a day camp\n- Join the State 4-H Youth Technology Team\n- Develop a presentation or working exhibit that shows a technique in digital storytelling.\n- Do a working exhibit on how to do layout a poster\n- Make a poster on the different shot angles for videos\n- What impact does sound have on video production? Find out and share your findings in a video\n- Create a timeline with visuals of significant events in the development of media and media messaging\n- Agriculture & Natural Resources\n- Creative Arts\n- Family & Consumer Sciences\n- Personal Development\n- 4-H STEM Projects\n- Project Helpers\n- Filmmaking tips on the Iowa 4-H Film Festival webpage http://www.extension.iastate.edu/4h/StateFair/filmfestival.htm\n- 4-H Filmmaking Studio and Workshop, the online space to learn about filmmaking, digital storytelling, and videography webpage 4-H Filmmaking Studio and Workshop\n- 4-H Yearly Summary (4H 0096)\n- Basic 4-H Project Record (4H 0096A)\n- Experienced 4-H Project Record (4H 0096B)\n- Advanced 4-H Project Record (4H 0096C)\n- Recordkeeping Self-Evaluation (4H 98, PDF)\nConnect with others doing this project! http://iowastudio4h.iowa4h.org\n- University Houston\u2019s Educational uses of Digital Storytelling\n- For free clips, sound effects, and music you can use in your videos, check out: http://digitalstorytelling.coe.uh.edu/public_domain.html or http://digitalstorytelling.coe.uh.edu/royalty.html", "id": "<urn:uuid:1cd32339-15ce-4368-b4bf-d63354e969e5>", "dump": "CC-MAIN-2013-48", "url": "http://www.extension.iastate.edu/4h/projects/digital-storytelling", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163052286/warc/CC-MAIN-20131204131732-00080-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8440952301025391, "token_count": 1217, "score": 3.921875, "int_score": 4}
{"text": "While readers typically remember a story's high-stakes climax and conclusion the most, it's the opening that lays the foundation for the plot that follows. Exposition is the initial setup for a work of fiction where audiences are introduced to the world of the story. It is also where they learn any information they need to understand the plot. Elements of effective fictional exposition include introducing the main characters, revealing backstory and establishing setting and mood.\nThe most memorable, successful stories include characters that audiences find fascinating, likable or easy to relate to. Therefore, part of a story's exposition needs to be spent introducing the protagonist, antagonist and other major characters. Characters are also typically introduced in a memorable way that reveals their personality. In the Disney film \"Beauty and the Beast,\" audiences first meet Belle as she strolls through the marketplace reading a book, oblivious to the townsfolk gossiping about her dreamy nature. Through the exposition of the opening sequence, audiences learn that Belle desires adventure that her modest village can't provide for her.\nA significant part of expositional character development is backstory -- any significant events that occurred prior to the story. Sometimes backstory is revealed through a prologue, such as in the opening of \"Beauty and the Beast,\" where the audience learns how the prince became the Beast. Other stories establish backstory through dialogue between characters. Another tactic is to have the narrator share the backstory, either in the first-person voice of the protagonist or a more distant third-person narrator. Flannery O'Connor's \"Good Country People\" uses a third-person narrator to reveal the history of the tense relationship between the protagonist, Hulga Hopewell, and her mother.\nConflict is the source of tension in a story, where one character wants something and another is bent on stopping him from getting it. Therefore, one purpose of exposition is to put the opposing forces in place before the story gets underway. Audiences should know early on what the protagonist's objective is and what he is up against. Ayn Rand's \"The Fountainhead\" opens with the main character, aspiring architect Howard Roark, being expelled from a major university for his unorthodox design ideas. This exposition provides a glimpse of the conflict he will face as he fights to be accepted in his profession.\nA story's setting often plays a significant role in establishing both plot and theme. Exposition introduces setting by showing the characters' interactions with their environment and the role it plays in their lives. This is especially important for stories set in unfamiliar or fictional places, such as foreign countries or the alternate universes of science fiction. Lois Lowry's \"The Giver\" takes place in a dystopian society that has sought to create a perfect world by eliminating pain and suffering through frightening and morally questionable means. Lowry uses exposition to introduce readers to the rules and procedures of this setting.\nWithout descriptions of thunder, lightning and spooky castles, the opening of a scary story wouldn't strike nearly as much fear in readers. Exposition is often carefully written to create a story's emotional atmosphere, commonly called mood. In \"The Lottery,\" Shirley Jackson creates a mood of expectancy and dread as the townspeople assemble for the annual lottery, where one member of the community is randomly selected to be sacrificed to ensure a profitable harvest. This initial mood of nervous anticipation gives readers a glimpse of the unsettling events that will develop.\n- Goodshoot/Goodshoot/Getty Images", "id": "<urn:uuid:36e81849-a5b6-4ce4-b251-d2e5748d9bec>", "dump": "CC-MAIN-2013-48", "url": "http://classroom.synonym.com/elements-fiction-exposition-2290.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164972407/warc/CC-MAIN-20131204134932-00083-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9566666483879089, "token_count": 694, "score": 4.0, "int_score": 4}
{"text": "- Students will understand and be able to define in-group favoritism\n- Students will identify ways they participate in in-group favoritism\n- Students will identify ways they can cross social boundaries and guard against in-group favoritism\nAccording to Social Identity Theory, social groups influence inter-group relations because people strive to maintain or enhance a positive social identity. The desire for positive self-esteem is thought to lead to the tendency to evaluate one's own group favorably in comparison to other groups, or \"in-group favoritism.\"\nIn-group favoritism at its best offers a positive sense of belonging and affiliation, i.e. debaters enjoy debating with others who enjoy debating, football players encourage each other's athletic best. At its most insecure, however, in-group favoritism can lead to highly destructive and hurtful behaviors: gossiping against others, scapegoating and bullying and pressuring group members to do what they individually do not respect or feel comfortable doing.\nSlowly begin leading students from the global to the local using the following examples of in-group favoritism. Be sure to make specific local connections based on your area. For example, if you're from West Virginia, are you a West Virginia University Mountaineers fan or a Marshall University Thundering Herd fan? The purpose of this activity is to slowly lead students to identify their own in-group favoritism and then identify ways to cross these social boundaries.\n- Global in-group favoritism \u2013 Nationalism is one kind of in-group favoritism that plays out on our global stage. We see this when professional athletes compete against each other at events such as the World Cup, the Tour de France or Wimbledon. We see it at the Olympics. We see it at The Oscars when an actor from, say, Australia wins and that entire country cheers.\n- State in-group favoritism \u2013 You see an example of state in-group favoritism play out in national events like the Miss America Pageant, when people from a given state root for their state representative.\n- City in-group favoritism \u2013 City in-group favoritism often manifests in people's sense of place \u2014where someone lives within the city. One side of town is generally known as the \"right\" side to be from, and the other is \"the wrong side of the tracks.\" Sometimes family members want their children to only play with children from a certain area.\n- School in-group favoritism \u2013 Is there place in your school where only the seniors are allowed? Does your school promote competitions where the juniors are against the seniors? Do the athletes always sit together and appear easily identifiable\"? Do Advanced Placement (AP) students only hang out with other AP students?\nNow that students have multiple examples of in-group favoritism, work with students to brainstorm a list of in-groups and out-groups in your school and community. Then ask these questions regarding the positive and negative impacts of in-group favoritism:\n- What favors or special privileges do people in the same groups tend to give to each other?\n- How do you think it makes them feel to support their own group members over others?\n- How do you think it makes others who are outside their group feel?\n- What negative peer pressure (ostracism), superiority/inferiority \"storytelling\" and hurtful behaviors might be linked with in-group favoritism?\n- How would you explain these behaviors?\n- Do you know anyone who is popular and has found a way to avoid, even transcend, in-group favoritism and can relate to many groups without problem?\n- How have they done so?\n- If you saw in-group favoritism playing out, what might you be able to do to confront or stop it?\nIn-group favoritism may be a global phenomenon, but it plays out in schools across the country. Mix It Up is a national program focused on getting groups to see the importance of crossing social boundaries.\nHave students bring in articles and advertisements from their local newspapers that demonstrate in-group favoritism. Make connections to national issues.", "id": "<urn:uuid:8f8fb0da-152e-4c7d-954a-46c35ca0a1c7>", "dump": "CC-MAIN-2013-48", "url": "http://www.tolerance.org/lesson/group-favoritism", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164583265/warc/CC-MAIN-20131204134303-00083-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.948427140712738, "token_count": 843, "score": 3.796875, "int_score": 4}
{"text": "Standards Based Grammar is a daily grammar program that systematically teaches your students every grammar skill required at the third grade level. The purpose of Standards Based Grammar is to give the students the spoken and written rules of the English language in an easy, step-by-step program. It seeks to teach, assess, and add to prior knowledge.\nStandards Based Grammar doesn\u2019t just ask students to identify grammar errors. They learn grammar rules and apply them immediately into their writing. Furthermore, it provides the teacher the exact knowledge of the strengths and weaknesses of each student and allows the teacher to communicate that information to the parents.\nStandards Based Grammar shows your students how to become grammar experts. Not only will they be able to understand each grammar rule, they will be able to articulate the logic behind each rule. Best of all, it\u2019s easy to teach and simple to administrate.\n- Student Worksheets \u2013 Over a hundred worksheets provide practice for every standard required for your grade level. Each worksheet comes complete with lesson, examples, and student practice. Simply review the lessons (often, only minutes are needed), and you are ready to teach.\nClick here to see a sample Worksheet\n- Journal Prompts \u2013 If your students are not applying grammar rules into their writing, do they really understand the concept? These journal extensions give your students immediate practice as they apply each new grammar skill within an actual creative writing setting.\nClick here to see a sample Journal Prompt\n- Assessments \u2013 Each skill is assessed at the end of every unit. Use each test to assess your students' abilities. Then, use each assessment to form groups for re-teaching and review.\n- Parent Checklists \u2013 There are plenty of worksheets to help students meet each grammar standard. Unfortunately, some concepts may be difficult for some students to learn. All teachers know that there is a point when you just have to move on to other topics. So what do we do with those students who are being left behind? As a parent, I would want to know if my child was having a hard time with certain concepts. The parent checklist provided after each test gives the parents a report about their child\u2019s progress on each skill. Impress the parents of your students with detailed knowledge of their child's achievements, and give them the opportunity to work on skills as the class moves forward to new concepts.\nClick here to see a sample Parent Checklist\n- Student Checklists \u2013 Keep track of student progress over the course of the year. The two biggest advantages are: 1) Before state testing, use the student checklist to create review groups. Allow students to practice only the skills they need to prepare for state testing. 2) Give next year\u2019s teacher a precise record of each student\u2019s abilities. Your students' future teachers will be amazed at the thorough language preparation given to their new students.\nClick here to see a partial Student Checklist\n- Teacher Checklists \u2013 Worried about teaching every standard before state testing? This checklist reminds you what standards you\u2019ve taught and what standards still need to be taught.\nClick here to see a partial Teacher Checklist\n- Table of Contents for Standards Based Grammar: Grade 3\nGrade 3 Table of Contents \u2013 Pg. 1\nGrade 3 Table of Contents \u2013 Pg. 2\nAs a complete grammar program, Standards Based Grammar\u2019s value is second to none! Although this is a complete grammar program, it is so affordable that it can be purchased and used strictly as a supplement for your existing grammar program. We are confident that after using several of the worksheets you\u2019ll be anxious to try the others. However, the versatility of the program allows you to:\n- Use entire units or just use individual worksheets to supplement what you are already doing.\n- Use the assessments to measure student growth.\n- Use the worksheets to prepare for state testing.\n- Use the checklists to keep track of your yearly pacing of grammar.\nMany teachers have gone to teacher supply stores looking for grammar books because they need some worksheets to help their students with a certain skill. They spend $9.95 on a workbook and may use only three or four worksheets from it. Then they do it again for another skill, then another. Over the course of a few years, they\u2019ve spent a small fortune just for a few worksheets that only cover a few skills.\nWith Standards Based Grammar you get almost TWO HUNDRED worksheets covering over twenty-five standards. You\u2019ll never buy another supplement again.\nEasy Lesson Plan:\nMost elementary school teachers teach over thirty lessons a week. You DON\u2019T need another subject that requires lesson planning. With Standards Based Grammar you have hundreds of lesson plans ready to go. Each worksheet has the skill and lesson at the top of the page. Most lessons require just a few minutes of review, and you\u2019re ready to go. The lessons on each page also serve as an excellent review when students need to review certain skills.\nImproved Test Scores:\nEvery worksheet in Standards Based Grammar has been tested in the classroom. The worksheets have been written and rewritten for maximum effectiveness. The advantage of Standards Based Grammar is unmistakable. Language scores improve with Standards Based Grammar. Several classrooms surveyed have shown growth in language tests scores of over 12%. Many students are receiving perfect scores in language. Even some Title 1 students are scoring in the seventieth and eightieth percentiles.\nEnglish Language Learners:\nClearly, beginning language learners need intensive practice with English to achieve the basics of the English language. Many English learners pick up just enough English to survive. Many teachers are tricked into believing that, just because the child can speak English, he/she does not need English language instruction. Most states require that students receive daily instruction in English until they achieve Fluent English Proficiency (FEP). While many English learners acquire enough English proficiency to achieve survival status, they become stuck below (FEP) because they can \u201cget by\u201d with their current English abilities.\nStandards Based Grammar forces them to acquire a deeper understanding of the English language. Furthermore, Standards Based Grammar helps the teacher keep track of the skills they are learning. NO child sneaks through the year without the teacher being aware of his/her abilities. Classrooms with predominately ELL students have also shown dramatic results with students achieving FEP status on state tests.\nWhat About My District\u2019s Language Arts Program?\nMany district language arts programs are one-size-fits-all programs. They combine reading, writing, grammar, language, and oral language skills into one program. In addition, they try to teach ELL, high functioning, middle functioning, and low functioning students all at once.\nUsing these programs, grammar is taught side-by-side with each reading unit. What if you don\u2019t teach every story in your district\u2019s reading program? What if you teach a grammar concept using the ONE worksheet they give you, and your students still need more practice? How do you know your students are mastering every grammar skill required on state tests? There is simply too much to monitor with these programs. Standards Based Grammar gives you confidence that every skill is being taught effectively. At the very least, you can use Standards Based Grammar along side your current language arts program to guarantee the success of your students.\n|Order Now by clicking the image below and receive these Free Gifts:\nand become THE language expert at your school!\n- Over 200 worksheets\n- 8 Assessments\n- Over 100 journal prompts\n- Teacher Checklists\n- Parent Checklists\n|Standards Based Grammar: Grade 3\nNote: The eBook version may be purchased for $8.00 with the purchase of the soft cover edition (see below). Just click \"Add eBook\" during checkout.\nStandards Based Grammar: Grade 3\nNote: The eBook version may be purchased for $8.00 with the purchase of the soft cover edition. Just click \"Add Ebook\" during checkout.\nFor Information on Student Consumables Click Here", "id": "<urn:uuid:7708e0c4-bb99-4ca1-ad9a-9c53b480b744>", "dump": "CC-MAIN-2013-48", "url": "http://www.createbetterwriters.com/Grade_3.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163042403/warc/CC-MAIN-20131204131722-00086-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9330650568008423, "token_count": 1700, "score": 4.34375, "int_score": 4}
{"text": "The year, according to Javanese Mythology of the Saka era, was around AD 230. Legendary King Sang Hyang Guru needed a signal to summon the gods. How exactly it happened, we do not know, but an elegant solution appeared: The gong. Not one gong, but multiple gongs to send complex messages. The Gamelan, so the story goes, was born.\nGamel: \"strike or hammer\". The suffix \"an\" makes the root a collective noun. Gamelan.\nToday, Gamelan is the thriving indigenous music of Indonesia, most readily found on the islands of Java and Bali. The word refers more to the set of instruments than to the players. This may include metalophones, xylophones, drums and gongs, bamboo flutes, bowed and plucked strings. Vocalists also may also perform. There are hundreds of different types of gamelan ensembles, differing in size, instrumentation, tuning proportions, cultural role and place of origin. Altogether, each gamelan orchestra is a distinct entity. The instruments are built and tuned to stay together and it is rare that instruments from different orchestras can be interchanged.\nMusically, gamelan is known for its uniquely tuned relative scales (called \"Pelog\" and \"Slendro\" which bear no resemblance to the relationship of the notes in the western and western tempered scale), its interlocking melody lines and graceful merger of percussion and melody. In Bali there is a specific caste of people who have, for generations, been responsible for making and tuning the instruments. (These people have built and tuned the instruments that make up the Gamelatron.)\nIn Java, the cultural significance of Gamelan music has dramatically changed over the last centuries. It is less common than it once was in the daily life of the cities and villages but still plays a prominent part of an honored tradition in the courts of Yogyakarta and Surakarta in Central Java.\nIn Bali, in contrast, the music remains woven into the Hindu traditions of daily life. The music is understood as having the power to bring harmony, protection, spiritual insight, ease and understanding. Hundreds of orchestras entertain and serve a ritual function in rites of passage and in all matters of the local temples. Young children learn to play at a very early age and almost all the music is transmitted by ear. There is both an extraordinary liturgy of classic compositions and an ever expanding oeuvre of new work by young and old. The music is often woven together with dance, puppetry and storytelling. Every village has a set of instruments that, on special occasions or a night that the villages feel called to gather, will be played and heard far out over the rice fields.\nABOUT THE GAMELATRON ROBOTICS\nThe Gamelatron features sets of classic instruments often presented in ornate frames or sculptural mounts outfitted with custom robotic counter parts. We have hand-machined out of architectural aluminum casings and levers that hold mallets. MIDI* sequences are fed to proprietary MIDI decoding microprocessors which send pulses of electricity to solenoid electromagnets. This actuates the levers to move the mallets and strike the instruments. Settings can be scaled to accommodate velocity sensitivity and to map different MIDI notes to any actuator. The Gamelatron in its largest incarnation used 170 different actuators.\n*MIDI (Musical Instrument Digital Interface) is an music industry-standard protocol that enables electronic musical instruments to communicate and synchronize with each other by sending event messages and digital musical notation.wikipedia.org/wiki/MIDI", "id": "<urn:uuid:51ae0200-c2d9-4079-b939-bf417602beeb>", "dump": "CC-MAIN-2013-48", "url": "http://gamelatron.com/about.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00084-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9336490035057068, "token_count": 754, "score": 3.546875, "int_score": 4}
{"text": "What is Communication and Why Is It Important?\nFrom Caring For Infants and Toddlers - Volume I\nAccording to Chapter 6 in Caring for Infants and Toddlers, to communicate means to express and share ideas, desires and feelings with other people. In young babies communication can be recognized by their cries, smiles, coos. Most infants, according to this chapter are saying a word or two by the time they are at the end of their first year.\nAs adults, besides, words and gestures, we also communicate through images and pictures, which can represent ideas and feelings. While all communication is important, the ability to communicate through spoken language is most significant. Without spoken language our communication is restricted to some degree.\nCommunication skills in a child are built by being around caring adults who communicate with them and respond to their efforts to communicate. Just by talking to a toddler or an infant can encourage them to communicate. In order to help children develop listening and speaking skills, storytelling, books, poems, finger plays, songs and records should be utilized.\nimitate the infants cooing sounds\nencourage children to talk to each other. Tell them what to say.\nTalk about what both of you are seeing.\nModel correct speech, even though you accept a child's way of speaking.\nName and talk about feelings with the child\nHelp them express their verbal and non verbal feelings.\nAlso caregivers can provide materials and activities that promote communication skills by playing peek-a-boo, using puppets, creating small activities for children to playa together, commenting o what children are doing and experiencing, posing questions, encouraging dramatic play by pulling out real props, making picture labels for toys and materials, writing children's dictation and labeling their drawings when they go along wit your idea to write. A caregiver can ask the child, \"What would you like me to write?\"\nTo help infants and toddlers develop listening and speaking skill a caregiver can talk often in normal voice and use adult language. The authors of this chapter feel that using what we know as \"baby talk\" sends the wrong message to young children who are trying to learn how language really works. Caregivers should encourage children to identify pictures in a book, listen to and identify sounds in their environment, make books about topics that are important to children, familiarize yourself with the language of the children whose language might be different from yours. As a caregiver you can take advantage of the different languages spoken by children's families to enrich you language environment, by saying something like \"Hai;s sister is taking with her in Vietnamese. Let's ask them to teach us a few words.\" Also, if you take notice of a child's speech pattern and notice any impairments, these should be reported for the purpose of assessment.\nSince communication skills are central to our ability to relate to others, in order to understand what other have to say, we need to do three things:\nreceive the message;\ninterpret the message; and\nsend back an appropriate response.\nTo avoid messages being misinterpreted we should use question that help clarify the message, such as:\nAre you saying that..?\nDo you mean....?\nDo I understand correctly that....?\nIt sounds like you want....?\nCaregivers should use their knowledge of Infant and toddler development to promote communication skills by sharing our pleasure and excitement at first words, because our enthusiasm will encourage an infant to learn words. Modeling speech is an excellent way to improve a child's communication skills, as well as reading books and encouraging writing. Caregivers should read simple stories with pictures about things toddlers know.\nSince we know that infants and toddlers develop communication skills by being around adults who respond to them and talk to them, we should strive to develop a trusting, responsive relationship with each child.\nRespond to crying as a form of communication\nTake advantage of daily routines a opportunities to communicate\nPlay games in which you interact and have fun together, such as Pat-a-cake, This Little Piggy and Open, Shut them.\nIn summary, this chapter encourages the following things to develop communication skills in toddlers and infants:\nUsing your normal tone of voice\nUsing words with interesting sounds\nTalking with children about their feelings\nPlaying with the language (making up rhymes and silly words)\nUsing songs and finger plays\nProviding puppets, dolls and dress-up clothes, and\nbeing quiet sometimes, because is you are always talking, you can never be listening.", "id": "<urn:uuid:291f1a26-de4b-4413-b9da-cac46a528745>", "dump": "CC-MAIN-2013-48", "url": "http://condor.admin.ccny.cuny.edu/~gwilgus/fl02/language/what_is_communication_and_why_is.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163045217/warc/CC-MAIN-20131204131725-00084-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9535439014434814, "token_count": 927, "score": 3.890625, "int_score": 4}
{"text": "The site is called P22 Music Text Composition Generator and you can find it at: http://p22.com/musicfont/\nWhat the site does is to convert a written text into musical notation with a midi music file to play the notation.\nIt's quite simple to do. You just copy and paste your text into the field, give it a file name (with no spaces or punctuation) choose the speed and instrumentation, then just click to generate the notation and midi file.\nThen you get a printable copy of your notation and a midi music file that you can download and play.\nI copied and pasted this blog text in and generated this music file with it.\nWell I can hear people thinking; \"What's this got to do with language teaching?\" and that's a really good question, so here's how this 'might' work.\nHow to use this with students\n- You could produce a music file to play as background while students read the text used to create it. This could build up associations between the music and text and might help them to revise and review elements of the text. You just play the music file a week or so later and see what they can remember from the text (vocabulary, main points).\n- It could also be interesting to build up a music text library and see if your students can remember which text went with each composition. Just play a music file and see which text they think it is.\n- Students could produce musical versions of dialogues and see if listening to the music can help them to remember the dialogue.\n- You can produce the musical accompaniment to stories or plays and use it as background to reading the words.\n- Get your students to play with the speed and instrumentation and produce the best accompaniment to a text. They could listen to each other's composition and choose the most appropriate one and try to explain why it works best for that text.\n- For students who like creative writing such as stories or poems it might be nice for them to also have their own musical version of the text.\n- You or your students could create short musical versions of example sentences that show how vocabulary or grammar points are used.\n- Students could write a text about themselves and then generate their own personal music.\n- If you have any musical students you get them to try to play the notation.\nWhat I like about the site\n- It's free, quick and easy to use.\n- It produces something that to my knowledge is quite unique\n- The midi files it produces are very small and could be emailed (The one I produced 0f this text is 30 mins long, but still less than 30K)\n- I like the musical angle and the appeal to different learning styles\n- Nice to see anything that promotes the ideas and musical concepts of John Cage\nWhat I'm not so sure about\n- Would be great to have an embed code for the midi file so that you could upload to a blog more easily (I hyper linked to mine, but might put it on my own server space then link to it as it might not stay on te website server for very long)\n- Would be great to be able to select more than one instrument\n- Good idea to select either a short text or a fast speed as the compositions can be quite long\n- Karaoke with a Social Network\n- Transcribed Videos for EFL ESL\n- Great New Karaoke Site\n- Another Great New Karaoke Site\n- Music related activities for students", "id": "<urn:uuid:1a4e90f3-18a9-44cb-8357-07b299fab935>", "dump": "CC-MAIN-2013-48", "url": "http://nikpeachey.blogspot.co.uk/2009/02/can-music-aid-memory-of-text.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00082-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9459150433540344, "token_count": 727, "score": 3.6875, "int_score": 4}
{"text": "The job of a teacher, regardless of subject, involves communicating concepts. These abstract ideas - with no single, objective interpretation - can More\u2026 prove troublesome.\nHow, for example, do you explain courage? There is behaviour that we can point to and say, \u201cthat person is being courageous\u201d or \u201cthat is an example of courage\u201d, but there is no single, universal interpretation of what courage is. What about \u201cloveliness\u201d, \u201cgood\u201d or \u201cchoice\u201d? People can have vastly different views on what those words mean, too. Concepts are usually contestable like this; they are not objectively provable one way or the other.\nYet concepts are integral to our language, to how we communicate and to our understanding of each other, ourselves and the wider world. Hence, they are also infused in the fibres of every subject area. So how do you go about teaching something so hard to pin down? Fortunately, there are a number of transferable activities you can use to bring concepts to life in any lesson.\nCase studies are great for helping students to access, understand and use new concepts (or refine their use of existing ones). They make use of the simplicity and accessibility of concrete thought to present students with a route into more abstract and difficult ideas.\nIn a geography lesson, for example, we may be introducing students to the idea of deindustrialisation. Simply learning the definition of the concept, coupled with a range of illustrative facts around a historical period when it occurred, may mean that the student reaches a position where they can describe the meaning of the word - as well as repeat the examples that illustrate it - but they will not have begun to understand the concept in real terms.\nA case study can mitigate that. For example, we may present students with a resource explaining the impact of deindustrialisation on the mining communities of South Wales in the UK. This would include an explanation of what actually happened there, along with a series of stories explaining the impact this had on different individuals such as miners, local shopkeepers and young children.\nSuch a resource serves two purposes. First, it provides students with a means of contextualising the concept of deindustrialisation, enabling them to flesh out their basic understanding of what the word means. Second, the case study contains a wide range of concrete material. This provides a recognisable path that helps to lead students towards more complex ideas.\nA second tool to call on when introducing students to concepts is narrative. Storytelling is a powerful means through which to introduce new and complex ideas. Take, for instance, the teaching of the concept of human rights. There is a great deal of abstract information for students to absorb, with each of the 30 rights predicated on various concepts such as free speech, religion and freedom.\nNarratives give students a way through this conceptual minefield. For example, the charities Amnesty International and Oxfam provide teaching materials that centre on individuals or groups who have suffered human rights abuses. These narratives introduce students to the idea of human rights (as well as the ideas behind it) through, for example, the concrete experience of a child in a war-torn country.\nWhile narrative and case studies are the two primary routes into concepts for students, three other activities are worth employing, too.\nFirst, card sorting can be very effective. Ask students to work in pairs or threes. Provide each group with a set of cards on which a series of different concepts connected to the lesson are written. Challenge students to do one or more of the following: match the concepts; sort the concepts into groups; or rank the concepts according to a set of criteria (for example, most to least important).\nWhatever you ask students to do, be sure to remind them that they will need to justify their decisions using reasons, examples and evidence. The cards allow students to manipulate concepts physically. This is easier than dealing with them in a purely abstract sense.\nThe second method is real-world scenarios. Using relevant real-world scenarios in the classroom gives students the opportunity to put their conceptual understanding to the test. For example, in an English lesson you could explain to students that there has been a major terrorist threat detected within the UK and that the prime minister has asked for help in drafting an appropriate speech in response. Students will have to call on their understanding of concepts such as fear, safety and anger in order to do this, which will test their abstract thought.\nFinally, there is making models. Ask students to work in pairs. Give each pair some material they can use to make a model of one of the concepts connected to the lesson. Allow between three and five minutes for this. When the time is up, ask half the class to remain seated. The remaining students walk around the room, visiting various models. They engage their peers in discussion about the models as they go. The halves then swap over and repeat the process.\nThe activity has two major benefits. First, it gives students the chance to create a physical manifestation of a concept, reinforcing and refining their understanding of it. Second, when the students are walking around the room and engaging each other in discussion about the models, they are actually talking about the concepts. This further develops their understanding by making them think in more depth.\nOnce these introductions to concepts have been made, you can then challenge students to push their understanding further. When they use concepts in class, you can question that usage to force them to think more carefully about what they are saying. You can also ask them to consider context: a football fan\u2019s use of the word \u201cgood\u201d may differ from a surgeon\u2019s use. Understanding how context can change a concept leads to a more in-depth understanding of its usage and interpretation.\nDiscussion is another useful tool. You can tailor activities such as speed debating, formal debates and speech-writing so that students are doing specific things with specific concepts. This may include evaluating, analysing or defending. In any case, they will be further developing their understanding and building more detailed mental maps connected to the idea in question.\nConcepts, then, are tricky for teachers, but there are many ways into conceptual thinking that make it easier for students to manipulate, understand and critique the various notions they encounter. In so doing, we provide them with a means by which to think more clearly, more logically and more effectively - which is very much what we are employed to do.\nMike Gershon is a teacher, trainer and writer. He has written seven books on pedagogy, all of which are available at Amazon.co.uk\nLiz Lightfoot explores the benefits of philosophy for children: bit.ly/SchoolPhilosophy\n- Concepts are a tricky area for teachers as they have no single, universal explanation or interpretation.\n- Understanding of concepts is crucial to a student\u2019s ability to think clearly, logically and effectively.\n- There are a number of ways for teachers to aid a student\u2019s understanding of concepts: case studies, narratives, real-world scenarios, card sorting and modelling. Each of these provides a way into concepts through more physical, concrete terms.\n- Once students have grasped the concepts by means of these methods, use discussions to extend their understanding by challenging their usage of the concepts, particularly with regard to the context they are being employed in.\nPhoto: Using case studies such as the 1989 student protests in Tiananmen Square in Beijing will illustrate concepts in a memorable way. Photo credit: Jeff Widener/AP/PA\nOriginal headline: Classroom Practice - A concrete plan to explore the abstract", "id": "<urn:uuid:9af19e70-ead2-4e89-a025-5a0083b0ffe5>", "dump": "CC-MAIN-2013-48", "url": "http://www.tes.co.uk/teaching-resource/How-to-help-your-class-grasp-abstract-concepts-6333650/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163047052/warc/CC-MAIN-20131204131727-00084-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9566494226455688, "token_count": 1561, "score": 4.4375, "int_score": 4}
{"text": "- The Times\n- The Issues\n- The Music\n- Then & Now: View the Timeline\nResources for Educators\nOn What\u2019s Going On, Marvin Gaye sang about the world around him\u2014war and social upheaval, environmental disaster, economic injustice, and urban decline. These themes are as resonant today as they were then, and offer rich opportunities to connect to a range of curricular topics and creative experiences.\nThis project uses three \u201clenses\u201d to explore the historical, musical, and intellectual themes of What\u2019s Going On:\n- History & Culture, to frame discovery and thinking about the world then and now.\n- Musicality, to learn through the lens of music composition and arrangement.\n- Issues & Ideas, to look into the essential themes of the album and judge their connection to today.\nThrough this framework, we invite young people to think about how their \u201cnow\u201d compares with Marvin\u2019s \u201cthen,\u201d and to create original artworks in response to the critical question, what\u2019s going on now?\nWhat's Going On...Now Lessons\nThrough these lessons, teens in grades 8-12 will:\n- Research, assess, and reflect on then and now, and the change between them through investigation of the history, culture, and art of the Vietnam era and contemporary times.\n- Use (and/or become familiar with) a variety of different \u201cartistic lenses\u201d or ways of seeing. This can include storytelling through digital media as well as other forms of artistic expression and performance.\n- Find and incorporate the tools, primary sources, and best practices for communicating ideas or creating variety of inspired new performances that leverage the music of What\u2019s Going On itself.\nThese lessons and investigations are designed for 45-minute teaching blocks. Prior to beginning the lessons, make time to orient students to WhatsGoingOnNow.org, and introduce the music, the times, and the issues section. Here is a way to introduce the campaign to your students.\nThe first four lessons provide the foundation for learning around the issues, songs, and historical contexts. We recommend that you teach each of these lessons and investigations in the following order:\nMusic and Civil Society [PDF]:The first lesson of the series examines the role of music in society, through a conversation around contemporary songs and their themes. Students will analyze and reflect on popular music of today, and begin to understand the changing standards (and unchanging themes) in popular music over time.\nCulture and Music [PDF]: This lesson examines the ways music reflects the social, political, and cultural climate in which it was created. Students will understand the complex issues of the Vietnam Era, and begin to assess the ways music both captures and creates culture.\nThe Role of the Artist [PDF]: In this lesson, students reflect on the role of artists in society, through the lens of socially-conscious music. They debate the responsibility of the artist to be a change-leader, and listen to contemporary songs that reflect the issues of today.\nGuided Listening: \"What's Going On\" [PDF]: This lesson dives deeply into the album through guided listening and discussion of the key issues and ideas it addresses. The framework for this lesson provides multiple pathways for teachers to create a variety of positive listening environments, develop skills in active listening, and support student critique and reflection.\nAt the conclusion of these four lessons, student groups will choose an Issue/Song for deeper investigation and creative production. We suggest that you choose one or two lessons for group focus.\nThe investigations below center on:\n- Examining the issue in the context of \u201cthen\u201d and \u201cnow,\u201d\n- Exploring essential questions, and\n- Examining the connection between the song and the theme. Each closes with a \u201ccall to creative action,\u201d prompting students to choose an art form and/or media type to create their final project.\nVeterans Issues/ \u201cWhat\u2019s Happening Brother\u201d [PDF]: From the struggles of returning Vietnam veterans to the issues faced by our modern day soldiers and their families, this lesson examines how we, individually and as a country, return to normal after war.\nAddiction / \u201cFlyin\u2019 High (In the Friendly Sky)\" [PDF]: This lesson examines historical attitudes toward addiction and drugs through the lens of popular music. Students survey how addiction is impacting their communities today.\nSocial Responsibility / \u201cSave the Children\u201d [PDF]: This lesson asks students to challenge who is responsible for the health and well-being of our future world. It assesses the ways that music brings people together around issues of civic action, and the ways that spirit may be evident in their communities.\nThe Environment / \u201cMercy, Mercy Me (The Ecology)\u201d [PDF]: In this lesson, students discuss issues around balancing economic and environmental sustainability, and how advances in technology both protect and threaten the environment. They analyze two songs about the environment from two different eras, looking for differences and similarities between them.\nPersonal Truth / \u201cWholy Holy\u201d [PDF], \u201cGod Is Love\u201d [PDF], \u201cRight On\u201d [PDF]: Music has often been used as a vehicle for the expression of personal truths. This lesson allows listeners to take any of the songs listed above to look at how Marvin Gaye professes his personal ideas about Faith, God, and Love, and discuss their own.\nPoverty / \u201cInner City Blues (Make Me Wanna Holler)\u201d [PDF]: This lesson examines poverty in America\u2014where it is, who it affects\u2014and how it is portrayed in the popular media.\nideas for group activities\nHost a Film Screening. From Standing in the Shadows of Motown to documentaries of the music and cultural issues of the Vietnam Era and today, there are countless videos to increase understanding and dialogue around the issues Marvin grappled with.\nThrow a Listening Party. Aside from listening to the album itself, there are lots of ways to engage around music:\n- Motown Quality Control listened to the weekly charts to see how their songs fit into the context of popular music. We\u2019ve made Spotify playlists of hit songs from each year between 1960-1971, and 2000-2011. Listen to these summer hits, and talk about how tastes in popular music have changed over time.\n- What\u2019s Going On is seen as a collection of protest songs. What other protest songs were popular during the era? What music from 2000 to today could be considered protest music? Use Spotify to create playlists of songs from a range of eras and discuss.\nDiscussion starters. Each module in the Issues/Songs section has \u201cessential questions\u201d that can be used to guide and prompt discussion.\n- Can a song written in response to a specific event transcend time and place to have a lasting appeal? Why do people still care about the song, \"Four Dead in Ohio.\" Are there current popular songs dealing with the issue we have learned about that will, in your opinion, stand the test of time? Why? Play it for the group, and discuss.\n- In what ways was the Vietnam War a defining event for an entire generation of Americans? Has there been a defining moment for your generation?\nUsing the Site to Support Learning\n- The Times section of the site connects users to the Vietnam Era and to contemporary life, from 2000-today. Read the articles in this section, and use the Interactive Timeline to explore \u201cMarvin\u2019s then\u201d and \u201cour now.\u201d\n- Each module in the Issues/Songs section contains essential questions that can be used to guide and prompt group discussion, written response, or media creation.\n- Remind students that the CREATE section gives step-by-step instructions for contributing, as well as guidelines and rubrics for selection, production tips, ideas, and more.\nTips for Introducing Students to the Project\nThis project asks young people to use media to create their own responses to the critical question, What\u2019s Going On\u2026Now? Tell your students that there are three easy ways to get started:\n- Familiarize yourself with the issues and think about how they touch you. If you have a personal or emotional connection to the subject, your piece will be that much stronger.\n- Listen to the music, and spend some time looking at how the world was in Marvin\u2019s day. Connecting the \u201cthen\u201d to the \u201cnow\u201d is an important part of this project.\n- Do some research. It will help inform and inspire your work. There is plenty to get you started on this site, and links to other, bigger collections on our Primary Source page. You might even find things to use in your own piece.\nSelected lesson plans, ideas, and other materials for teaching:\nTeaching History, Then and Now\n- Teachable Moment\n- Tapped In - The Vietnam War Then & Now\n- Discovery Education - Opposing Views on the Vietnam War\n- National Museum of American History - September 11th\nMotown, Music and Society", "id": "<urn:uuid:efb42e0b-bd51-4618-b384-8508719be16a>", "dump": "CC-MAIN-2013-48", "url": "http://www.whatsgoingonnow.org/resources-educators", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053883/warc/CC-MAIN-20131204131733-00087-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9255968332290649, "token_count": 1902, "score": 3.875, "int_score": 4}
{"text": "\"What we do is Jazz\" Modesto Tamez\nPaul Doherty, Exploratorium Teacher Institute\nClick here for the images that accompany this presentation.\nThe Exploratorium Teacher Institute seeks to inspire learners by showing them how science is interesting, relevant and fun. We begin by having participants experience the real phenomena of science. Encountering science phenomena in person naturally leads to questions created by each individual, they ask their own question and they truly want to know the answer, we then provide resources where they can do the work, sometimes hard work necessary to understand the phenomena. Along the way we can guide them to resources with correct science or at least science that is not wrong.\nWe provide participants with materials, often simple materials, then give them sparse instructions, and turn them loose to explore. Turning the participants loose to explore and report on what they see means that a class will not progress according to a rigid plan. As a presenter you have to know how to deal with the resulting flow of ideas, it is like being a jazz performer in education, you have to be a superb musician/educator and go with the flow, all the while keeping track of where you want to take your audience.\nWhen designing a science exploration:\nBegin with the phenomena.Make it as real as possible.\nThen ask, \"What do you see?\"\nThere is no wrong answer. The answer helps the presenter understand where the observer is in their understanding of what they are seeing.\nModesto Tamez suggests that the phenomena include a touch of the unexpected. That way it becomes a \"provocacione\" a stimulus to question and explore.\nThink about going one step further.\nDo the classic blind spot activity. This involves an object to focus on and and object that disappears.Do this with the right eye and then the left eye. Then do it with both eyes at the same time blinking back and forth between eyes, the object that you focus on with one eye is the object that disappears in the other eye.\nWhen you provide participants with materials pay attention to what they discover.\nLook through a black film can at a pinhole in the bottom. Do it in a bright room and open and close the opposite eye. The pinhole seems to grow and contract. This was discovered by a participant in a workshop.\nMake explorations social activities.\nHead Harp Wrap a string around your head, pluck the string and make music. Then wrap the string around 2 people.\nKeep it simple\nModel the black drop effect by squeezing your fingers together\nMake it human\nTell about the discoverer as a person.\nH.G. Wells, as a science teacher did the disappearing glass roods demo, then wrote the Invisible Man.\nHans Christian Oersted, discovered the connection between electric current and magnetism during a public demonstration.\nHe did what any presenter would do when something unexpected happened, hoped the audience didn't notice, then go home to research it.\nLook at a string\nUse the tools of classic storytelling\nRepeat things 3 times\nPlay with scale, start with the normal, go to the small, then go giant\nCorrugated tube singing\nBell on a straw oboe\nReduce the number of parts to a ridiculously small number\nMoshe Rishpon: Reduces the bed of nails to one single giant nail and invites participants to sit on it. They get the point.\nAllow the participants to be creative by providing them a tool rich environment.\nIn our workshops we provide many simple materials, these are stored in rolling carts.\nCombine the above ideas two or 3 at a time\nPerception and make it human\nNewton was seen wiggling one eye ball with a knitting-needle-like-rod inserted beside his eye to see how it altered his perception.\nScientists teachers and students\nA scientist looks at something that everyone has looked at\nand sees something that no one has seen.\nA teacher helps students to see things\nthey have never noticed before.\nStudents ask questions that will help teachers\nsee things they have never noticed before.\nAlmost all my explorations will be found here Exploration Index\nHere are some of the ones you might be most interested in.\nSpinning Cylinder What cuases the patterns to appear when you soin a cylinder.\nString crossing Stretch a string in front of you, what do you see.\nFind the Rays Look at a bright point of light do experiments to find the location of the rays radiating from the light.\n3D afterimage Move a bright point of light in front of you in a 3D pattern, observe the afterimage.\nGray step, print your own gray step exploration\nLaser Speckle Observe how it moves and learn about yourself.\nLaser Speckle Explanation use ray tracing to understand laser speckle.\nPinhole images Explore inversion by your eye and brain\nBlinky Light Explorations Inova microlights can be made to blink 100 times a second and used to document motion.\nBall Bounce Drop a tennis ball on top of a basketball, observe how the gravitational slingshot is used by spacecraft.\nGravity Well Explorations Many museums have gravity wells, how can they be used?\nCompact disk light explorations, reflect sunlight from a CD onto a white shady wall.\nProject a spectrum, use a holographic diffraction grating and an overhead projector to project a spectrum.\nProject an anti spectrum, observe a spectrum made from cyan,magenta and yellow.\nInterference colors in a soap film, soap film in a can, soap film interference model, origin of soap film color\nMirror pairs explore your image and its rotation in two mirrors.\nLeft right reversal in a mirror and in multiple mirrors\nWhirlies, singing corrugated tubes.\nRinging aluminum rod, explore the sound patterns in a 1.4 m long aluminum rod using your fingers.\nHead Harp wrap a string around your head and pluck it.\nSound reflection from an open ended tube\nAdding a bell to a straw oboe\nMagnet lesson series, using ceramic disk magnets\nRepel a grape using a neodymium magnet\nHot Hands Arrange people by hand temperature\nBoil water at room temperature in a syringe\nLava lamp salt powered\nTape Electroscope Use Scotch tape as an electric charge detector\nMultimeter electroscope Use an FET input VOM to measure electrostatic charge\nRectified Globe place a globe in the sun with your location at top dead center and the polar axis aligned with the earth to see the light on the earth.\nMeasure the brightness of the sun, Use a grease spot photometer.\nSome common science errors, polar bear fur,airplane flight, lightning safety,glass is a liquid, water rise in a jar with a burning candle.\nThe MR diagram, plotting everything in the universe on a graph of mass versus radius.\nAerodynamics, how to airplanes fly, Newton Bernoulli and circulation theory.\nDid you want to do any construction , soldering, PVC?\nEnergy versus color, find the voltage necessary to light LED's of different color.\nDownhill Racer Measure slow acceleration.\nScientific Explorations with Paul Doherty\n7 July 2012", "id": "<urn:uuid:882adabc-d4e6-4cd4-af96-f8fa47abdfc0>", "dump": "CC-MAIN-2013-48", "url": "http://exo.net/~pauld/Master%20Class%202012/Master%20Class%202012.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163976781/warc/CC-MAIN-20131204133256-00086-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9001531004905701, "token_count": 1509, "score": 3.71875, "int_score": 4}
{"text": "According to the Center for Digital Storytelling, a digital story is a short, first-person video-narrative created by combining recorded voice, still and moving images, and music or other sounds. Joe Lambert, one of the pioneers of this project-based multimedia activity, describes digital storytelling as a process that infuses new media and technology tools with a compelling written narrative. Jason Ohler (2008), an advocate of multimedia pedagogy in the classroom, indicates that digital storytelling is the ideal vehicle for blending traditional (reading, writing and speaking) and emerging (information technology) literacy development. In order to understand the composition of, and ultimately produce, a digital story, Lambert (2003) provides a conceptual framework of seven elements that serve as a guide throughout the writing, production, and publishing process.\nThese elements are: point of view, a dramatic question, emotional content, the gift of your voice, economy, pacing and the power of a soundtrack. Each element, as interpreted by Kenneth Warren, is described hereafter:\nPoint of view\nThe point of view element focuses on both the story\u2019s purpose and perspective of the author. The purpose of a story or narrative can be to inform the listener about an experience or an idea, and, depending on how its communicated, persuade them to change, engage them to discuss and inspire them to act. These stories can be told in the first-person (personal and reflective), where the digital storyteller is speaking from first-hand experience; or they could be in the third-person (historical and analytical), where the digital storyteller describes someone else\u2019s life or presents information about an interesting topic.\nA dramatic question\nThe dramatic question is the key theme that holds the listener\u2019s attention. Often times, digital stories are most powerful when the problem, conflict or dilemma is introduced at the beginning of the narrative. This can instantly capture the listener\u2019s attention. Once captured, the digital storyteller should provide enough detail that describes the context and evidence that pertain to this inquiry. Here\u2019s an example of a digital story with a strong dramatic question that asks, \u201cHow does one communicate in a foreign land when they feel as if they being perceived as an \u201cother\u201d?\u201d . When honing in on a question, storytellers should think about any ethical, moral, legal, cultural, historical or controversial issues that connect to the story. This is usually where drama exists. Ultimately, the digital storyteller has to resolve this question and \u201csort out this drama\u201d by the end of the story or provide enough information to the listener so they can resolve it themselves.\nEach story or narrative should seek to include an aspect of emotional content that connects to its listeners\u2019 feelings and evokes a response, whether visceral or subliminal. Written narratives can convey emotions of humor, empathy, fear, anxiety, solitude, amongst many others. Addressing the emotional content of a story can be challenging because it requires storytellers to deeply consider the perspectives of their listeners, as well as think about how the story may be interpreted through the use of rhetoric, images and vocal tone. For instance, if you\u2019re trying to convey humor, think about the use of language, timing and visuals that make people laugh. Also, think about the pace and rhythm of your music if this is to enhance the listener\u2019s response. Certain emotions, like humor, can be a difficult communicate because what may be funny to one person may be offensive to someone else. It\u2019s always a great idea to get constant feedback about your story during each step of the production process!\nThe gift of your voice\nThe storyteller\u2019s voice is a gift that must not be taken for granted, but rather recognized and nurtured as it is the vehicle that delivers the story\u2019s message\u2026 and makes an impact! The voice carries varying degrees of richness, context, character, and personality that strengthen the narrative. Distractions such as background noise, vibrating cell phones, the sound of turning pages, repeating statements, mumbling and a low volume of voice will affect the impact of the story \u2013 no matter how well it is written. If a storyteller has a noticeable accent or pronounces certain words in a unique way, this could affect how the listener perceives the story. However, remember that the storyteller\u2019s voice is a gift and it takes lots of practice (and patience) to master the art of oral communication. Be sure to read your story multiple times so that when you record your audio, you will know what words, statements, and style to expect. Knowing your story will help you to deliver clear and compelling multimedia presentation.\nA good length for your written narrative is about two double spaced pages \u2013 approximately 500 words. This will result in a three minute digital story. If the digital story is longer than three minutes, the storyteller takes the risk of losing their listener\u2019s attention. Think about the most important elements that belong in your story, you may need to edit, revise, and, quite possibly, re-record. If you still have a lot of information that must be conveyed, consider making more than one digital story. For instance, if you are producing a digital story about stem cell research for a science course, you might create one DST that analyzes the research, and another, more subjective DST, that reflects the storyteller\u2019s personal opinions about the consequences, effects or impacts of the research.\nPacing is connected to the gift of your voice and sequence of images. A digital storyteller\u2019s voice should be clear, inflect emotion, a have proper cadence. To achieve this, the entire narrative must be recorded in one take, from the first word to the last word. No interruptions or digital edits. Storytellers should pause for each comma, semi-colon and period that they see, while seeking adequate breath control when recording into the microphone. A vocal change should also be heard when communicating inquiry with a question mark (?) or projecting excitement with an exclamation mark (!). Additionally, storytellers should consider their use of images and how they transition from one to another. A three-minute story may use 15 or more images and storytellers will need to decide how long images appear on the screen. However, images may also be shown more than once and the longer an image remains on the screen, the more time a listener has to process what they are both seeing and hearing.\nThe power of a soundtrack\nA digital story\u2019s soundtrack can include music or other sound effects that help amplify the emotional content of the story\u2019s theme and dramatic question. However, this element should be approached cautiously as music (especially music with audible lyrics) will add an additional layer of information to the digital story. This could be distracting as it may compete with the existing audio of the storyteller\u2019s voice. Moreover, issues concerning music availability, copyright and attribution can determine whether or not its appropriate to include a soundtrack. It is advised that storytellers especially those with limited experience, ensure that the \u201cGift of Your Voice\u201d audio is flawless before proceeding to utilize the power of a soundtrack.\nYou can also learn more about digital storytelling and how these 7 elements are now evolving into what is known as the \u201c7 steps\u201d. Take a look at Joe Lambert\u2019s new book here: Digital Storytelling: Capturing Lives, Creating Community\u201d", "id": "<urn:uuid:034346f5-bdce-4fb3-a226-2ca47933d463>", "dump": "CC-MAIN-2013-48", "url": "http://learndst.richmond.edu/what-is-dst/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00087-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9325190186500549, "token_count": 1551, "score": 3.875, "int_score": 4}
{"text": "EducationWorld is pleased to present this article contributed by Aimee Hosler, a writer for onlineschools.com and mother of two. Passionate about education and workplace news and trends, Hosler holds a B.S. in journalism from California Polytechnic State University in San Luis Obispo.\nBullying. Peer pressure. Social anxiety. Their negative effects can reach well beyond the classroom. In this information age, even distance-learning students can be targets of cyberbullying.\nTeachers have long been aware of these social concerns, and increasingly, parents and policymakers are getting involved. Addressing these challenges in the classroom has never been easy, but has always been important. Research suggests that when schools promote positive social and emotional development, it not only reduces negative social behaviors, but also has a long-term positive impact on children\u2019s success in a variety of areas.\nWhy social, emotional and character development matter\nFor most parents and teachers, the reasons for promoting social, emotional and character development in the classroom are obvious: They want children to be kind, emotionally competent and respectful to others.\nThe benefits of social-emotional learning extend far beyond that, however. According to Harvard University\u2019s Center on the Developing Child, a child's \u201cenvironment of relationships\u201d in the first years of life can actually shape her developing brain's architecture, creating circuits that can influence academic performance, mental health and interpersonal skills for the rest of her life.\nMany schools or districts have adopted structured social-emotional and character development programs to help cultivate these important student skills. There are also many informal ways in which teachers can support social-emotional learning in the classroom and at the school level.\nHow to promote social, emotional and character development in the classroom\nTeachers must establish a classroom environment that promotes social and emotional development right from the start\u2014their students\u2019 long-term success depends on it. Rules and expectations should be clear and reinforced often, and should prioritize behaviors such as kindness, honesty and good citizenship. This is only the beginning, however.\nTKCalifornia, a program designed to support early education teachers and administrators, emphasizes that in order to promote social-emotional development in the classroom, teachers must model effective social behavior at all time and intentionally teach skills such as conflict resolution and problem-solving. These guidelines may sound great on (virtual) paper, but how, precisely, do they play out in the classroom? Here are a few strategies that might help.\nStrategy 1: Create a consistent, but play-based, classroom structure\nAccording to the American Academy of Pediatrics, \u201cPlay is integral to the academic environment. It ensures that the school setting attends to the social and emotional development of children as well as their cognitive development.\u201d TKCalifornia notes that one of the most powerful ways to nurture social or emotional development in the classroom is by establishing routines that are fun at the core. For instance, using songs, chants or games during challenging times\u2014such as during periods where children must wait in line or take turns\u2014can minimize negative behaviors, giving teachers an opportunity to reinforce positive ones.\nStrategy 2: Teach\u2014and reinforce\u2014empathy\nHelping a child understand people\u2019s behaviors, feelings and thoughts is the first step toward teaching them how to respect and relate to others. Teachers can model empathy by comforting a child who is upset or by verbally acknowledging students\u2019 feelings, but they can also incorporate these lessons into existing curricula.\nFor example, when reading a book, ask children to identify characters\u2019 emotions and discuss how other characters or events have contributed to their feelings. You may also choose to role play with puppets or with the children themselves. By giving children a broader emotional vocabulary, and by emphasizing that everyone has feelings, teachers can hone or reinforce students\u2019 empathy.\nStrategy 3: Actively teach conflict resolution\nWhen children begin to fight or argue\u2014as they often do\u2014it is easy for teachers to step in as mediators and resolve the conflict themselves. It might be more beneficial in the long run, however, if they use these opportunities to teach children how to resolve conflict themselves. For instance, if two children are fighting over a toy, rather than telling them to take turns and setting a timer, ask them how they could go about sharing the item. Talk through solutions. Educators can also model problem-solving skills throughout the day. For example, allow children to vote for the book they want to read, or encourage them to take turns leading their peers during transition periods.\nGreat teachers are students, too\nTeachers can modify their methods and philosophies to accommodate students\u2019 evolving needs, which can be influenced by everything from technological innovation to the economy. What works well for one classroom might not in the next. Consider investing in a little continuing education on the topic of social-emotional development, whether it means attending a formal workshop or simply keeping tabs on the latest research. Your students will thank you.\nPromote Social-Emotional Development With Proven Programs\nEnhancing Students\u2019 Social and Emotional Growth\nSite Review: Collaborative for Academic, Social and Emotional Learning\nBeyond Icebreakers: Building Student Connectedness\nAnti-Bullying Lessons, Resources and Strategies\nHow to Accentuate Respect and Eliminate Disrespect in Students\n25 Activities for Building Student Character, School Community\nCopyright \u00a9 2013 Education World", "id": "<urn:uuid:b7cd9399-0af7-404d-bb2e-70ed4691d748>", "dump": "CC-MAIN-2013-48", "url": "http://www.educationworld.com/a_curr/promote-students-social-emotional-development.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164888618/warc/CC-MAIN-20131204134808-00087-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9465815424919128, "token_count": 1115, "score": 3.75, "int_score": 4}
{"text": "\u00a9 Copyright BabyClassroom\nIf I had to choose two words to represent the magic of early childhood, they would be: \"Let's pretend!\" After all, who else but a young child can pilot a bunk bed to the moon, share afternoon tea with a teddy bear, or vanquish aliens as they emerge from a closet? And not only does pretend play offer hours of silly, giggly fun, it also offers incomparable opportunities for children to develop cognitively, socially and emotionally.\nSo Much to Learn:\nPretend play, says Angeline Lillard, a professor of psychology at the University of Virginia who's done extensive research on the topic, gives young children the unique opportunity to be in control. \"They can do what they're interested in,\" she says. \"They can make choices about what they're going to do and who's going to be what and what's going to be what and how the story's going to unfold.\"\nAs their play becomes more advanced -- where they take on different personas -- they begin to see things from the perspective of others, to understand that other people have thoughts and feelings and emotions that drive their behaviors. When they begin pretending with peers, they learn how to communicate effectively and develop problem solving and negotiation skills.\nWith pretend play, children can work through difficult emotions in a safe, self-directed environment. Playing mommy and baby can help a child come to terms with the arrival of a new sibling. Playing school can make him more comfortable starting preschool. Playing hospital can alleviate his fear of doctors. Playing superhero can help him gain control over his fear of monsters.\nAdditionally, when children begin to use objects symbolically -- pretending a block is a telephone, for example -- they begin to develop an understanding of symbolic representation. Later, this can translate to reading (the letters C-A-T represent the animal cat, for example) and math (the numeral \"5\" represents a set of five items). As their plot lines become more elaborate, children develop storytelling skills that can strengthen reading comprehension, and a well-developed imagination is useful for visualizing concepts -- whether historical, geographic, or literary -- when they hear or read about something new and unfamiliar.\nThe Birth of Pretend Play\nIt's difficult to tell exactly when pretend play begins, says Lillard, because we can't be sure if toddlers are imitating something they've seen us do or actually pretending to be engaged in the activity. If your little one puts a spoon in her toy duck's mouth, for example, is she simply using a spoon the way she knows it's meant to be used, or is she pretending to feed the duck?\nTypically, though, pretend play is thought to begin around 18 months of age. Developmental psychologist Jean Piaget believed we can tell when a child is pretending by his \"coy smile,\" says Lillard, and many experts still follow that assumption. However, she adds, \"we don't know definitively.\"\nWhat we do know is that early pretend play most often centers on familiar activities. Young children play house, store, restaurant, or doctor. They pretend to feed a doll, drive a car, talk on the telephone, or put a stuffed animal to bed. \"For early childhood,\" says Lillard, \"they'll pretend just with reality and what's domestic because that's what they need to learn about.\"\nBeyond the Familiar\nAs children enter the preschool years, their themes become more elaborate, moving from the domestic to the more fantastical. They might fly space ships, for example, sail with pirates, become princesses or slay giants. This is also the stage when children typically begin to take on the roles of characters they create and to participate in pretend play with peers, although children with older siblings, and those whose parents play along, often enter this phase earlier.\nWhat Can Parents Do?\nPlay Your Part: When children first begin pretending, the best thing a parent can do is play along. \"Children's pretending is more advanced when they pretend with their parents or with their older siblings than when they pretend alone or with their age mates,\" says Lillard. Just remember that your child is in charge and be sure to follow his directions. If you're a customer in his restaurant and he serves you pretend pizza with ice cream on top, better to enjoy it and pay the bill than tell him people don't serve pizza that way.\nOnce your child has progressed to more advanced pretend play, it's often a good idea to step back and let him play alone or with friends. When they first begin to pretend, however, your participation can \"bring it up to a higher level and help children engage in it,\" Lillard says.\nHelp Set The Stage: \"Pretending is facilitated by the kinds of materials one has around,\" says Lillard, so parents can encourage pretend play by providing the right props. While props need not be elaborate or numerous, early pretending is often facilitated by toys that look somewhat realistic. A very young child, for example, is more likely to talk on a toy telephone than to pretend a block is a phone. \"As they get older,\" says Lillard, \"they'll take any object and turn it into a telephone, (but) early on children have trouble overriding the functions that something is supposed to have in order to have it do something else.\"\nKitchen sets, doctor kits, toy tools, grocery-related props and other toys with familiar life themes are ideal for early \"domestic\" pretend play. Dolls, toy animals and small vehicles also are useful, especially because they can fit into so many stories and settings.\nDoes Pretend Have To End?\nMost psychology texts teach Piaget's theory that pretend play ends around age 6, when children begin to accept the reality in which they live. But Lillard and her colleagues don't believe it -- and neither would anyone whose 8-year-old still battles aliens in his backyard. Her latest research indicates that children pretend well into their elementary years, and some of the undergraduates involved in her study admit they still pretend \"when nobody's looking!\"\nSo go ahead, explore the world of make believe with your little ones. You'll be helping them develop important life skills, including the ability to dream and have fun for many years to come!\nAt Baby Classroom, we're excited to offer a line of toys specifically designed for pretend play. You can choose from Pretend & Play Snack Shop, School, Office, Animal Hospital, World Traveler, and Gym Bag, as well as Ocean Animals, Jumbo Farm Animals and Jumbo Pets for years of fantastic fantasy fun!\nShop securely online or phone our order hotline between 8:00am and 4:30pm CST\nCopyright \u00a9 2011 Renaissance Discover This, LLC - All rights reserved", "id": "<urn:uuid:cd9df33f-94a5-4e6d-8d42-739224c589a0>", "dump": "CC-MAIN-2013-48", "url": "http://www.babyclassroom.com/article-lets-pretend.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164010865/warc/CC-MAIN-20131204133330-00086-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9666858315467834, "token_count": 1396, "score": 3.6875, "int_score": 4}
{"text": "A term paper is usually assigned to students as a research assignment that covers most of the material covered over an academic term: a semester, or a whole academic year. It is used by examiners and instructors to estimate how well a student has understood, researched and incorporated the set material and activities associated with the course.\nHow an instructor or lecturer determines what is meant by term paper is usually their choice, since the expression is a loose one that may or may not involve extensive research, and may or may not cover all the work in a semester or \u2018term\u2019.\nStages for Writing a Term Paper\n- Selecting a subject or topic is usually the first step. This is either set by the instructor or chosen from a short list by the student.\n- Seeking materials associated with the topic in journals, articles, books and websites is usually the next step in the creation of a term paper.\n- Reading the material to gain understanding, and taking copious notes is a good practice.\n- Writing a solid outline based on the notes is the next step.\n- The first draft of the central part, or body, of the term paper comes next.\n- Devising a fitting conclusion that summarizes the findings follows.\n- The hardest step is writing the introduction, which must include a good thesis statement.\n- Reading, editing and proofing comes last.\nDepending on the subject being studied, students can choose some excellent topics on which to base a term paper to demonstrate how well they have understood the work or research covered during the term. Science, arts, business, communications and engineering subjects all provide absorbing topics that can be used, but care must be taken to devise a topic that engages most of the material studied in a comprehensive way. Term papers are important when it comes to grading a student\u2019s progress, so a term paper must showcase as much ground covered as possible.\nA good example can be taken from a student researching primitive and early art during a semester in an arts course. A good topic would be \u201cReligious Art: Primitive Icons of 9thth century AD\u201d. A good topic for a chemical engineering term paper might be, \u201cRedesigning the Manufacturing Process of Analgesic Tablets.\u201d An excellent topic for a literature term paper might be, \u201cEpistolary Literature: Authors Writing to Authors.\u201d These topics are specific to their subject, but they are general enough to allow the student scope for extensive research and comprehensive reading and writing on the topic.\nKey Points to Consider\n- Assemble all the materials before starting to read and take notes. Keep all applicable books together, and mark the passages and pages of relevant material. Card systems do work for some students \u2013 others like to open a word processing folder and type the notes. These are then easily re-worked into paragraphs.\n- Remember that facts and figures are more important than ideas and opinions. Remember too that all facts and figures must be supported by properly formatted referencing, using APA, MLA or Chicago/Turabian styles.\n- A self-devised note-taking system is best. It will help to keep notes and cuttings in order. The less confusion and fragmentation the better: organization is valuable, and time-management skills come into play here.\n- It is important to use effective writing techniques in a good term paper. Three basic persuasion techniques are: use facts and evidence, apply logic and reason, and appeal to the intelligence and emotion of the reader. Combine the three to create valid points.\n- Each point can be built into a paragraph, using notes and paraphrased material from sources such as books, websites, articles, videos, audio files and websites.\n- The salient, main points must be combined with minor ones, to contribute to the overriding premise or thesis. Each paragraph can lead with an important point, then proceed to explain it, and then introduce a minor point closer to the end to support the initial statement.\n- Deciding on a writing style is not difficult: your writing must be semi-formal, academic and precise: do not fall into the habit of using conversational language, since it is inappropriate for a work as important as a term paper.\nDos and Don\u2019ts\n- It is a mistake to build an argumentative essay in place of a term paper, which should be mainly based on research and the ground covered over a long period of study.\n- The most common mistake found in term papers is using all new material rather than the set texts or reading material used during the period covered by the term.\n- It is not wise to change arguments as the paper develops. A stance or opinion should be maintained throughout, and demonstrated with material used during the term. It is perfectly acceptable to show both sides of an argument, but care must be taken not to write down an entire debate instead of demonstrating knowledge of material.\n- A frequently seen flaw is rushed or unprepared writing. Research all the material thoroughly, making sure the notes you write are clear and cogent, and create paragraphs of well-prepared writing steadily and surely. Hesitation is another aspect that weakens an otherwise well-researched paper: take a stance and sustain your position.\n- A lack of structure or a missing central premise is often found to weaken a student\u2019s work. It is important to make a plan or outline for a successful term paper. Randomly listing facts, arguments and data found in the literature without organizing it in a logical sequence to demonstrate your understanding of it is not an effective way to persuade an examiner of how well you have covered the material and absorbed the topic.\n- Poor language skills, inappropriate or irrelevant vocabulary, the wrong tone and errors of punctuation, grammar, syntax and structure demonstrate low aptitude. A term paper needs to demonstrate that a student will go out into a working life well-equipped to communicate ideas, research and present concepts in clear language.\nNow that you have acquainted yourself with the basic term paper writing tips and rules, you can check our best term paper samples to link theory with practice.", "id": "<urn:uuid:6d7ba285-1863-4d06-9604-5d572ac775aa>", "dump": "CC-MAIN-2013-48", "url": "http://academichelp.net/academic-assignments/write-term-paper.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164023632/warc/CC-MAIN-20131204133343-00080-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9384815692901611, "token_count": 1255, "score": 3.703125, "int_score": 4}
{"text": "Painting Presidential Portraits\nSubjects: Social Studies/Language Arts\nEstimated Time of Completion: six fifty minute class periods\n- I. Summary\n- II. Objectives\n- III. Materials Needed\n- IV. Procedure\n- V. Classroom Assessment\n- VI. Extensions and Adaptations\n- VII. Relevant Standards\nThis lesson offers the opportunity for children to look at the duties of the president. The featured guide for this lesson is the online game, \"President for A Day.\" The students can express themselves through art and creative writing, as they design new U.S. currency with presidential portraits, facts, and figures.\n- Students will know the duties and powers of the president.\n- Students will use timelines.\n- Students will recognize former presidents.\n- Students will identify important events of the past associated with presidencies.\n- Students will research to find information.\n- Students will improve communication skills.\n- Students will recognize the importance of the arts in documenting historical information.\n- Students will chronologically sequence material.\n- Students will increase vocabulary related to government.\n- Students will improve reading and listening skills.\nIII. Materials Needed\n- Computers with Internet access\n- Picture of the Presidential Seal\n- Portrait of a well-known president\n- White board or chalk board\n- Art paper\n- Crayons, markers or coloring pencils\n- Desktop publishing software such as Broderbund's Print Shop (optional)\n- Play an audio file of \"Hail to the Chief,\" found at Grolier's Online Presidency site. Ask if students recognize this music; explain that this is a special tune that has been used to announce the president?all the way back to 1837! Why are presidents so special in this particular year? Identify that it is an election year, and explain that students will be learning more about the important duties of the U.S. President.\n- The students will visit the online activity, \"Be President for a Day\" to learn what the president has to do during the day. Brainstorm some of the words, symbols, pictures and colors associated with the president. Questions to spark discussion might be: What does a president do all day? With whom does he or she talk or work? What things are important to him or her? Where does the president work? How powerful is he or she? What decisions does the president make? After discussion, instruct students to design a new presidential seal for homework (review the current presidential seal and explore the choice of images and detail there). Make sure that they incorporate some of the brainstorming ideas. Completed seals may be displayed and discussed.\n- Explain to the class that presidents usually have portraits made during their term in office; a collection of these is available online through the Portraits of Presidents and First Ladies site by the Library of Congress. Explain that a portrait is a picture of a person. The portrait may be \"painted\" in pictures or in words and knowledge.\n- Ask students where presidential portraits appear (answers may include: buildings, textbooks, and money). Elaborate on the \"money\" idea by explaining that the U.S. Treasury uses the portraits of six historical figures?most of them presidents?on paper money ranging from $1 to $100. For more information about paper currency, visit the PBS Online NewsHour feature, \"On2 Money\" or NOVA's \"Secrets of Making Money.\"\n- Explain that the U.S. Treasury is currently redesigning paper money (if possible, show examples of the old versus new $20 or $10 to illustrate what you mean). Ask students to imagine that the Treasury wants to use six different people on the new paper money, and it's their job to select six former presidents for the new bills.\nResearch these sites that offer historical presidential information:\n- White House Historical Association\n- The American President\n- The White House\n- American Presidents: Life Portraits\nSuggestions for research are birth dates, death dates, famous quotations, inauguration, friends, enemies, wars occurring during term, domestic and foreign problems or triumphs, family, previous careers, political offices, changes in the White House, famous members of his staff, hobbies, assassinations, pets, home state, monuments, presidential library and funeral.\n- Design new paper money featuring selected U.S. presidents. Students should also write paragraphs defending their choices and providing details about that president's life. (Note: for younger students, teachers may wish to limit the activity to redesigning the $1 bill with a new president, and offer students two to three former presidents to research and choose from.)\n- Conduct a poll to see which past president is most popular. Assign students to poll other classes, other teachers or students' parents. Compare and contrast results.\nV. Classroom Assessment\n- Presidential seal shows elements discussed during brainstorming session\n- Research yields detailed information about former presidents' lives and accomplishments\n- Students present persuasive evidence for their new presidential currency choices in written paragraphs\nVI. Extensions and Adaptations\n- Send students' currency redesigns to Treasury Department officials. Contact information is available at the U.S. Treasury Web site.\n- Add a presidential face to a print of Mount Rushmore.\n- Make a Top 10 newsletter pertaining to the presidency (e.g., oldest, most children, longest time in office, longest speeches, etc.). A print resource for this activity would be Lives of the Presidents: Fame, Shame and What the Neighbors Really Thought by Kathleen Krull.\n- Read the Mouse books (by Peter W. Barnes and Cheryl Shaw Barnes and Betty Shepard) to understand a president's interaction with other branches of government.\n- Students could try \"Positively Presidential,\" an online presidential quiz.\nVII. Relevant National Standards\nThese are established by McREL:\n- Understands ideas about civic life, politics and government\n- Knows that the United States is one nation and that it interacts with every other nation in the world\n- Knows what political leaders do and why leadership is necessary in a democracy\n- Knows the major duties, powers, privileges and limitations of a position of leadership (e.g., class president, mayor, state senator, tribal chairperson, president of the United States); and knows how to evaluate the strengths and weaknesses of candidates in terms of the qualifications required for a particular leadership role\n- Understands how certain character traits enhance citizens' ability to fulfill personal and civic responsibilities\n- Understands the importance of political leadership, public service and a knowledgeable citizenry in American constitutional democracy responsibilities", "id": "<urn:uuid:77f61838-beaa-4c8c-94e5-0b7d1b0938d8>", "dump": "CC-MAIN-2013-48", "url": "http://pbskids.org/democracy/parents-and-teachers/be-president/presidential-portraits/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163999838/warc/CC-MAIN-20131204133319-00085-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9214451909065247, "token_count": 1363, "score": 4.15625, "int_score": 4}
{"text": "|CREATING A POETRY WEB SITE\nHOW IT WORKS\nUsing poems that illustrate the use of figurative language, tone, repetition, imagery, and refrain, high school English students write short essays, first in small groups and then by themselves. Afterwards, they answer questions on the poem they have selected as their favorite and write about it. Along with the poems, these essays make up the Favorite Poem classroom Web site. Students scan the poems, and artwork can also be incorporated. Then they compare and contrast their classroom site to a national Favorite Poem Web site. There are also video and audio readings of some of the poems on the national site. Students can also analyze and write about some of these poems.\nStudents are assessed by their comprehension of the poems\u2019 content and the literary devices used, as well as by the essays they write.\nWHAT YOU NEED\nThis project takes ten or more class periods to complete. Computers with an Internet connection and word processing equipment, as well as a scanner, are necessary. Students should have a basic working knowledge of computers and the Internet. Teachers must be knowledgeable in creating a Web site.\nI covered this unit with 9th and 12th graders in New York City. The ability level can be wide.\nOnce students have learned how to recognize literary devices in poems and use this understanding to see the author's tone and theme, they can deepen their interpretation of new poems. After reacting to and analyzing more than eight poems, two of which are on the national site, students write essays about their favorite poems and create a class site. They also examine poems new to them on the national Favorite Poem site. Their appreciation and analysis is heightened by audio and video readings. Students put to use what they have learned about applying their knowledge of literary devices to analyze the poet\u2019s tone and theme.\nMy students can find similes with almost no problem and explain the comparison well. They look for the words \"as\" or \"like,\" but most need more help understanding and identifying metaphors and symbolism.\nTechnology: Students develop note-taking, drafting, writing, and editing skills\nthrough use of the computer; use critical thinking and establish research skills to\nevaluate the credibility and appropriateness of Web sites and the validity of the available information. They compile, analyze, and evaluate the data collected while visiting a Web site.\nEnglish Language Arts: Students develop several main points relating to a single thesis and analyze and revise work for clarity and effect. They recognize literary elements and techniques, read and interpret poems, write interpretive and responsive essays, and support their ideas by using references to the text.\nProject URL: http://teachnet.org/TeachNetProject/ny/fklane/pmaslow-poem.htm\nPeggy Maslow, a New York City high school English teacher for 23 years, has used technology in the classroom for over 16 years. She has also been her school's newspaper advisor for almost two years. She has taught all levels of students ranging from those with reading difficulties to honors, and has taught courses in journalism, mystery, American literature and other topics.", "id": "<urn:uuid:d518fab1-6252-4895-ad04-c2eb60543d57>", "dump": "CC-MAIN-2013-48", "url": "http://teachersnetwork.org/teachnetnyc/pmaslow/poetry.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163049608/warc/CC-MAIN-20131204131729-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9532003402709961, "token_count": 646, "score": 4.15625, "int_score": 4}
{"text": "My sister is a professional storyteller. Mary can get into character and affect age, voice, and mannerisms to invite the audience into the world she is creating. She also uses storytelling as a tool to train on leadership and teambuilding \u2013 with great results.\nThe use of stories in the learning environment can be one of the most powerful instructional techniques in your arsenal. It can help you get the learners\u2019 attention and aid with the retention of course information. You can use storytelling at the beginning of, during, or at the end of training. Yet, in order to have the greatest impact, you need to know your purpose in telling a story and keep some purpose-related guidelines in mind.\nAt the beginning of a course, use stories to:\n1. Help set the tone for the course.\n2. Establish rapport.\n3. Help create a comfortable /safe environment.\nDuring the course, use stories to:\n4. Help make a connection between the old and the new.\n5. Create a link between complex concepts/ideas.\n6. Increase learners\u2019 attention.\n7. Appeal to different learning styles.\n8. Aid in the retention of information.\nAt the end of the course, use stories to:\n9. Aid in the retention of the information.\n10. Illustrate what has been learned.\nGuidelines for Storytelling\n- Know your audience and select stories that are appropriate to that group.\n- Check your story for anything that may make someone uncomfortable. Even true stories can embarrass someone if they were around when it happened. For example, telling a story about an associate who made a foolish mistake that cost the company a lot of money may be very risky if the incident is relatively recent, the name of the associate who made the mistake is known, or if s/he has a friend, colleague, or relative in the class.\n- Be especially wary of stories that accidently make fun of a culture or belief.\n- Make sure the story makes sense and is relevant to the course content. If not, why tell it? Make sure the connection between the story and the course content is clear for the learners.\n- Make the story short and to the point. Even a good story that goes on too long loses steam.\n- Find a way to get the learner involved in the storytelling. For example, give them the beginning of the story and let them finish it. Provide them with clear instructions on what you would like them to produce as it relates to the course.\nRegardless of when you tell a story, there are several other delivery guidelines to keep in mind:\n- Be real; tell stories that fit who you are.\n- Pay attention to your tone, pace, volume, and non-verbal cues.\n- Use the story to teach, not preach. This can be a turn-off for the adult learner.\n- Practice, practice, practice your delivery beforehand.\nWith thought and planning storytelling can be a powerful tool to grab learners\u2019 attention and help with the retention of course information. So go ahead, enhance your presentation skills by telling a story!\nWhat other storytelling tips would you like to share with our readers?", "id": "<urn:uuid:2c136421-b894-4d76-9889-770499968853>", "dump": "CC-MAIN-2013-48", "url": "http://www.langevin.com/blog/2012/04/02/10-best-practices-for-using-storytelling-in-training/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164120234/warc/CC-MAIN-20131204133520-00088-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9385637044906616, "token_count": 661, "score": 3.859375, "int_score": 4}
{"text": "- Students will examine ideas surrounding good and evil and will recognize that there are often complexities in life that make choices more challenging.\n- Students will be introduced to the powerful artworks of Henry Darger in which the issues of good and evil are clearly drawn. Using Darger text and image as motivation, students will develop critical sensitivity to the power and appeal of both good and evil.\n- Students will investigate why people have been fascinated with the ideas surrounding good and evil in literature, art, philosophy and religion from biblical times to the present.\nThroughout history, people have been fascinated with ideas surrounding good and evil. These ideas are considered in a variety of art forms including fairy tales, fables, the latest books, television programs, cartoon strips and video games. Good usually triumphs over evil but not without many challenges along the way. Concluding a series of harrowing trials and complex adventures, narrated in thousands of pages of original text and several hundred compelling watercolor paintings, Henry Darger's characters, the seven heroic Vivian Girls, emerge triumphant.\nRelated Video Clips\nHenry Darger had a difficult childhood that influenced his views on good and evil. (Please note: Some of the clips below depict violence and may be inappropriate for younger children. Please view before sharing with students.)\nLESSON PLAN I:\n- Students will learn about the artist Henry Darger and consider what may have motivated him to devote so many years of writing and art-making to the subject of good and evil.\n- Students investigate how Darger intensifies the drama in his images with use of color, characters depicted and arrangement of pictorial elements.\nStudents write a brief answer to the question: What is good and what is evil?\n- Image: At Jennie Turner Children tied to trees in path of forest fires. In spite of exceeding extreme peril, Vivian girls rescued them I Vivian girl Jennie observes with spyglass great massacre of children and brings the attention of her sisters to it.\n- Colored pencils, marking pens, paper\nShare image with students. Some suggestions for guiding discussion:\n- Danger and evil are sometimes more \"thrilling\" when the villains are absent. Where are the villains in the image?\n- In this image, we recognize vulnerable tortured children tied to trees. Though unseen, how do we recognize the villains?\n- How does Darger's use of color make you feel? Some thoughts: His use of color heightens the drama. The dark palette suggests sinister forces lurking through the tree bark and the contrasting hot oranges and yellows indicate fire and destruction.\n- Why do you think Darger paired the picture on the left with the picture on the right? Some thoughts: Darger enhances the sense of evil by strongly contrasting the painting on the left with the one on the right (that includes seven Vivian sisters with their white horses standing nearby in what appears to be a grassy patch). The soft yellow, purple and green colors contribute to the calm setting. Consider Darger's composition placing figures on the right side of the image in a smooth horizontal plane and the figures in the picture on the left side in a more chaotic arrangement.\nCreate an image of a dramatic moment, from your imagination or life experience, in which good and evil play a role.\nA consideration of good and evil helps a person understand himself/herself and the world in which he/she lives. Through stories and pictures, a person can create a universe and gain control over his/her world.\nExamine comic strips and find as many examples as you in which issues of good and evil are expressed graphically. Bring examples to class.\nLESSON PLAN II:Aim/Objective:\n- To relate concepts of good and evil to the heroes, villains and anti-heroes in Henry Darger's visual art work.\nThroughout history, rules of conduct for individuals and society have fascinated historians, philosophers, clerics and artists. Artists often personalize complex concepts such as good and evil through story and song. In Henry Darger's world, the heroine Vivian sisters, with some assistance from an assortment of generals and others, conquer the forces of evil. The Vivian Girls are always heroines in the story and the children they protect are always good.\nWhat examples of good and evil did you find represented in comics or magazine pictures? What about the image led you to define it as either good or evil? Was it difficult to locate these images?\n- Image: Untitled (Battle scene during lightning storm, children carry rifles)\n- Paper and pencils or wire, fabric, recycled materials\nConsider heroes and villains you know from games and movies. Generate a list of these characters with students.\nSome questions for discussion:\n- What is the appeal of the hero? (Some thoughts: attractiveness, courage, unselfishness, kindness, cleverness and cunning).\n- What is the appeal of the villain? (Some thoughts may include many of the same strengths as those of the hero such as: good looks, strength, cunning, power, competition, challenge and mastery).\n- Why do stories and games about pitting the forces of good and evil against each other continue to have universal appeal? (Among other thoughts, human nature is complex with potential for good and evil).\nExamine the image to continue the discussion.\n- What do you see? (Notice: Unclothed children fleeing and others are dead. Children are also drawn prominently in the foreground shooting at an unseen enemy.)\n- What does Darger do to enhance the feeling of turbulence and disjunction in the scene? (Notice: Along with the poised rifles, notice the storm, lightning and darkness in the background.)\n- Why do you think Darger painted large pretty flowers in this horrific scene? (One possibility might be that the flowers make the war imagery more palatable. Another is that the scene is imaginary. A third idea is that flowers and birds symbolize \"goodness.\")\n- Is war ever justified? (For further thought: characters like Robin Hood, Zorro and James Bond break laws in order to fight injustice. Discuss the appeal of these characters.)\nHow are concepts of good and evil related to the heroes, villains and anti-heroes in Henry Darger's visual artwork?\nDraw or create a figure that has symbolic and literal elements of \"goodness\" enabling them to protect, befriend and support you. Take note of what this figure first looks like as you imagine it in your mind. What does this tell you about your perceptions of what characteristics are equivalent to \"good\" and what are \"evil\"? What visual clues can you use to communicate your concept (color, value, symbols, location of figure in a setting etc.)?\nLESSON PLAN III:\nStudents will create a personal journal or sketchbook.\nAsk students to write a brief answer to the following question:\nWhat are some of the differences between writing (or drawing) in a personal journal (or sketchbook) and writing (or creating artwork) that will be viewed by other people?\n- Composition books or spiral notebooks\n- Construction paper or oak tag\n- Colored masking tape (available in art supply stores)\n- Narrow ribbon (24 per book)\n- Glue sticks\n- Diagram for creating book (located in this unit)\nFor a few minutes, have students write a brief answer to the \"Do Now\" question. Ask volunteers to share their answers. Topics may include privacy, spontaneity, freedom of expression, lack of concern over criticism. Ask students if any of them keep journals, diaries, or sketchbooks.\n- Cut paper to fit covers (inside and outside covers) of notebooks. (You may wish to have paper ready before class begins.)\n- Cut ribbon to 12-inch lengths.\n- Have students open books. Using glue sticks, students should glue end of ribbon to left inside edge of cover, about midway down its length. Only about half to one inch of ribbon will be glued down; the rest will extend outside the book. Repeat process on the back cover. This will become a tie for privacy.\n- Now have students glue down one paper to cover the end of ribbon and line the inside cover. Repeat process on the back cover.\n- Have students close the book and glue down papers to cover the outside cover, front and back. Use masking tape to create a decorative edge; half of tape will be folded over front, half over back.\nStudents may use collage or drawing to further personalize the books. The books may be used for creative writing projects, journal writing, sketching, etc.\nThe following lesson plans will relate to these Learning Standards:\nNYS Learning Standards for the Arts:\nStandard 3: Responding to and analyzing works of art\nStandard 4: Understanding the cultural dimensions and contributions of the arts\nNYS Learning Standards for English Language Arts:Standard 1: Using language for information and understanding\nStandard 3: Using language for critical analysis and evaluation\nMcRel Standards for Visual Arts:\nStandard 1: Understands and applies media, techniques and processes related to the visual arts\nStandard 4: Understands the visual arts in relation to history and cultures\nStandard 5: Understands the characteristics and merits of one's own artwork and the artwork of others\nMcRel Standards for Language Arts:\nStandard 9: Uses viewing skills and strategies to understand and interpret visual media\nThese lesson plans are excerpted with the permission of the American Folk Art Museum. \u00a9 2005, American Folk Art Museum.", "id": "<urn:uuid:85a0c6db-5d44-499f-acfc-b10ebc4d25a7>", "dump": "CC-MAIN-2013-48", "url": "http://www.pbs.org/pov/intherealms/lessonplan2.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345760572/warc/CC-MAIN-20131218054920-00088-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9240476489067078, "token_count": 1963, "score": 3.90625, "int_score": 4}
{"text": "view a plan\nHere students write the story of Anne Frank\u2019s life if she had survived\nLanguage Arts, Social Studies\nTitle \u2013 Alternate Ending\nBy \u2013 Jacqueline Eich\nPrimary Subject \u2013 Social Studies\nSecondary Subjects \u2013 Language Arts\nGrade Level \u2013 4-5\n\u201cDiary of Anne Frank\u201d has been identified as a classic because it\u2019s read the world over. Being that it was published after the end of the war and there were still so many anti-Semitic feelings, it humanized the Jewish people. The book is a primary source, non-fiction first-hand account and a historical document. It is not only popular in the states, but is an incredible piece celebrated in multiple countries.\nObjective(s): Knowing the time frame of Anne Frank\u2019s death and the end of the concentration camps, the students will write a story of Anne Frank\u2019s life as if she had survived.\nSunshine State Standards:\nLa.a.1.2.2-selects from a variety of simple strategies, including the use of phonics, word structure, context clues, self-questioning, confirming simple predictions, retelling, and using visual cues to identify words and construct meaning from various texts, illustrations, graphics, and charts.\nfocused, purposeful, and reflects insight into the writing situation;\nconveys a sense of completeness and wholeness with adherence to the main idea;\nhas an organizational pattern that provides for a logical progression of ideas;\nhas support that is substantial, specific, relevant, concrete, and/or illustrative;\ndemonstrates a commitment to and an involvement with the subject;\nhas clarity in presentation of ideas;\nuses creative writing strategies appropriate to the purpose of the paper;\ndemonstrates a command of language (word choice) with freshness of expression;\nhas varied sentence structure and sentences that are complete except when fragments are used purposefully; and\n- has few, if any, convention errors in mechanics, usage, and punctuation.\nLa.a.1.2.4-clarifies understanding by rereading, self-correction, summarizing, checking other sources, and class or group discussion.\nLa.a.2.2.2-identifies the author\u2019s purpose in a simple text.\nLa.a.2.2.4-identifies specific personal preferences relative to fiction and nonfiction reading\nl.a.b.1.3.1-organizes information before writing according to the type and purpose of writing.\nLa.b.1.3.2-drafts and revises writing that is\nDiary of Anne Frank\n2. pencil and pen\nThis lesson should be taught during the period in which history of the Holocaust and World War II are being taught and when writing and literature during Language Arts is relevant\n1. Have the students read and discuss (whole-group, not teacher lead) the diary and history of Anne Frank and the Holocaust. Encourage them to take notes from the story and ask comprehension and guide discussions throughout the reading of the book.\n2. Instruct them to write either journal entries as if they were the survived Anne Frank or a story about her surviving from another person from that era\u2019s perspective.\n3. Allow them to write as much as possible instructing them to use proper grammar, punctuation and spelling. Also allow their creativity to show if they\u2019d like to use different types of paper, a word processor or any other manipulative to enhance the project.\nProvide the time to make a semantic map of the story, if possible get a translated version of the book, but have all students complete the required assignment. Use technology, such as the internet to show pictures of the anything pertaining to Anne Frank and the story (some materials should be monitored).\nGrade based on proper punctuation, grammar and knowledge of the book. You may choose to speak to students to know if they have comprehended the story.", "id": "<urn:uuid:53a98fbc-1a5b-42bb-addf-48433fcf8806>", "dump": "CC-MAIN-2013-48", "url": "http://lessonplanspage.com/sslaalternatediaryofannefrankending45-htm/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163056670/warc/CC-MAIN-20131204131736-00082-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9146155118942261, "token_count": 832, "score": 4.1875, "int_score": 4}
{"text": "Langauge B - Chinese, French, Japanese, Spanish (HL and SL)\nWHAT ARE THE AIMS OF THE COURSE?\nThe aims of the IB course are to develop the ability to communicate accurately and effectively in both speech and writing in a variety of contexts. The course provides students with insights into the culture of the countries where the language is spoken, and encourages students to see language learning as an integral part of the modern world, either in a social or recreational context or as an essential tool for the word of work.\nWHO IS THE COURSE SUITABLE FOR?\nThe Higher Level course is suitable for those students who have been very successful at GCSE level (or the equivalent) and who are happy to pursue their foreign language education to a much more sophisticated level. Higher level is both challenging and rewarding for those students who attain a B grade or above at GCSE, and who may wish to pursue their language studies at University.\nThe Standard Level course follows the same course outline as the Higher Level, but with reduced content. Students need to have completed a GCSE level course (or equivalent) in their chosen language to a Grade C or above and should feel happy to continue improving their foreign language skills beyond the everyday approach of the GCSE. The Standard Level group will be taught separately from the Higher Level. At both Standard and Higher level there is focus on the use of language and language manipulation skills. Students who have found their GCSE language very challenging, or who wish to broaden their languages having achieved highly at GCSE should consider Ab Initio as the IB option.\nWHAT TOPICS WILL BE STUDIED?\nThere is no set list of books or texts for the course; the themes are explored by exposing students to the widest possible variety of foreign language materials. These will include newspaper articles, films, radio bulletins and, at Higher Level, some literary sources. Students will engage frequently in oral and listening activities throughout the course with particular emphasis on the discussion of issues arising from the three themes. Written work will be of a varied nature and will, for example, include letters, imagined conversations, reports, discursive essays and possibly some creative writing.\nHOW WILL STUDENTS BE ASSESSED?\nThere are two written papers, one containing questions on a variety of texts, the other requiring candidates to write an essay style question on one of a choice of themes.\nThe oral component of the course consists of a number of assessed oral activities, including the preparation of an individual topic for discussion.", "id": "<urn:uuid:dd989fe7-fa8d-41ee-9cab-c3525066d10f>", "dump": "CC-MAIN-2013-48", "url": "http://www.shatincollege.edu.hk/langauge-b-chinese-french-japanese-spanish-hl-and-sl", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163055633/warc/CC-MAIN-20131204131735-00086-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9494961500167847, "token_count": 513, "score": 3.578125, "int_score": 4}
{"text": "Lesson Plans and Worksheets\nBrowse by Subject\nSetting Teacher Resources\nFind Setting educational ideas and activities\nSetting and conflict are the focus of an image-rich presentation that asks viewers to imagine the story behind the picture. Each principle is illustrated with examples from published stories. Practice exercises are included in this PowerPoint that deserves a place in your curriculum library.\nDo the actions of a character in a story change based on the setting the writer provides? Learners explore the concept of character action in relation to story setting by investigating the setting and events in the story Science Friction. They start by discussing how the main character's actions change throughout the story as the setting in the story changes. They also work specifically on using context clues to anticipate what the character might do at the end of the story.\nHatchet, by Gary Paulsen, is an often-read, dramatic book about a boy who is forced to mature rather quickly. This plan is divided into 11 days and includes chapter summaries, unfamiliar words, suggested teaching points, and reading activities for learners to complete independently. A great start to creating your unit plan!\nCreative kids read, discuss, play-act, and sketch to examine the cultural significance of Old Man Coyote. They listen to several stories involving Coyote, analyze the Harry Fonseca painting Shuffle Off to Buffalo, and write Coyote stories of their own. Tons of great background information will make discussing the painting a breeze.\nMany classic tales, like \"Cinderella,\" can be found worldwide. Bacis events are similar, but each retelling is molded by the culture in which it exists. Present your class with several version of tale (links provided) and have them discuss the unique qualities of each. Pupils then write their own ultra-modern version of the Cinderella tale and present it along with a critique of how it compares to the French one composed by Charles Perrault.\n\"What my father had anticipated was now actually happening.\" The Chosen explores the complicated relationships between parents and their children. Readers make personal connections to Chiam Potok's story, set in Brooklyn's Hasidic community of the 1940s, through a series of problematic situation activities and discussions. Step-by-step directions and worksheets are included in the detailed plan.\nStudents define adjectives and use adjectives and descriptive phrases to write a descriptive paragraph. They write a description of a sensory item, and read and discuss a five senses chart. Students then complete a chart using adjectives or descriptive phrases to describe nouns, and write a descriptive paragraph to describe a painting.\nKids listen to the story, How I Became a Pirate and analyze the painting, Our Lady of the Victory of Malaga. So, what do these to things have in common? The art depicts the time period and style. And, the story sets their imaginations afloat with a fun pirate theme. They research both the art and the art of piracy, then paint an original pirate piece.\nTeach your third graders to compare and contrast literary elements in two different works on related topics. A pre-assessment activity asks young readers to identify story elements such as character, setting, plot, and main idea. Pairs then record the similarities and differences between the two poems or stories on a Venn diagram. Instructional tips, differentiated instructional support, and extensions are included.\nWhat is the initiating event? What is the protagonist's goal? What attempts are made to achieve this goal? What is the outcome? Model for your class how to map out the structure of any narrative. Readers then search for answers as the progress through a story. Although designed for use with Les Miserables, the approach could be used with any text. A worksheet is included.\nYoungsters construct a map of treasures that they find along a nature trail as they hike. They also make sketches and create place names of some of the spots along the trail. Once back in class, pupils use their treasure maps to help them construct a story based on the map and their detailed observations. The engaging lesson does a nice job of combining language arts with life sciences. The teacher would be wise to have a treasure map journal made up ahead of time to show the class what they should be creating out on the trail.\nEngage your class in shared reading and writing activities with this group of lessons. They work practice using phonemes and story elements while they read aloud books by Mem Fox and Kit Wright. They also participate in shared writing as they write about the memories that are used in the stories.\nIt's always fun to make up something together as a class. This fine instructional activity has children make up and illustrate a collaborative adventure story. The essential elements of a good story (setting, characters, plot, help, conclusion) are all here. You can be sure that the final product will be a source of great pride for the whole class. This instructional activity is based on the Arthur episode: \"Arthur's Faraway Friend.\"\nAn extensive lesson on art analysis, storytelling, critical thinking, and observation awaits your class! They learn to observe and read art the way they would a story; paying attention to details, historical context, and visual cues that describe a place, time, and thought. The lesson is broken into four parts, where learners discuss what they see, review content specific vocabulary, and finally create a work of art that expresses a story. Note: The lesson could be used in either an art or language class.", "id": "<urn:uuid:d56adc38-2425-49bc-ae96-c8b7f7206b1c>", "dump": "CC-MAIN-2013-48", "url": "http://www.lessonplanet.com/lesson-plans/setting/3", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163976781/warc/CC-MAIN-20131204133256-00078-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9488741755485535, "token_count": 1122, "score": 4.40625, "int_score": 4}
{"text": "A Togolese Tale: The Big Fire\n- Africa, Togo\n- Grades 9-12\n- Language Arts & Literature\nStudents will examine the universal nature of folk tales and evaluate the meaning of a tale told in Togo.\nAfter studying the letter and engaging in different activities, students should be able to explain how or why folk tales represent the cultures where they originate.\n- The author felt dissatisfied with the ending of the story.\n- People can make friends by sharing stories and common elements of their cultures.\n- Telling the truth always has its merits.\nThe Folk Tale\nOutline for students the structural elements on which most folk tales are based: an introduction, a development, a climax, a conclusion, and a moral. Retell a familiar story, such as \"The Three Little Pigs\" or \"Goldilocks,\" and then ask the students to identify each of these elements. You might draw a graphic organizer to help students in the process and have them identify specific elements in the story below the line:\n- Ask students to identify each of these elements in Esso's story.\n- Ask students why Koehler was initially confused by the ending of Esso's story. Was it because one of the elements of a folk tale seemed to be missing? Or that the ending didn't conform to a more typical Western folk tale? Or that a sense of justice seemed to be missing?\n- Ask what the moral is in Esso's story. (Students may have different ideas on what Esso's story teaches. It might be helpful to remind students that a moral doesn't have to be explicitly expressed by the author; it can be implied by the story.)\n- Do students think the moral in Esso's folk tale is unique to Togolese culture? Why or why not?\n- Ask students what aspects of Esso's tale ring true in their own culture. What similarities can they identify between Esso's outlook and their own?\nHold a class discussion centered on these points:\n- There seems to be a question of justice in this folk tale. Do you think the honest brother experienced justice in the end? If so, how? If not, why not?\n- Do you think the wicked brother experienced justice in the end? If so, how? If not, why not?\n- Koehler observes that the folk tale seems to show that crime does not always get punished. If there was some good that came out of the story (e.g., the wicked brother no longer misbehaves), does that qualify as a kind of overall justice?\n- Outline for students the structural elements on which most folk tales are based: an introduction, a development, a climax, a conclusion, and a moral. Retell a familiar story, such as \"The Three Little Pigs\" or \"Goldilocks,\" and then ask the students to identify each of these elements. You might draw a graphic organizer to help students in the process and have them identify specific elements in the story below the line:\nThe Frame Story\n- Once you have discussed the folk tale itself, have students identify and reread the narrative sections that come before and after the folk tale itself. Ask students why the author took the trouble to describe Esso and set the scene rather than just telling the story. What information do these sections add?\n- Define frame story as a story that contains one or more additional stories. [With older students, you might give examples such as Boccaccio's Decameron or Chaucer's Canterbury Tales. Younger students will probably be familiar with the story of Aladdin and would probably enjoy hearing the story of Sheherazade's storytelling in The Thousand and One Nights.] Why doesn't the author retell for the reader his own story about the boys who fell down the well? Why does he feel he needs to change the details in his story, such as the boys' names?\n- What are the advantages and disadvantages of the Togolese tradition of taking in the children of poorer relatives?\n- Ask students: Do you agree with Koehler's assessment of the story? Would you rewrite the story?\n- Define the term oral tradition and explain that when stories are told orally instead of being written down, it is much more likely that many variations of the story will appear.\nFrameworks & Standards\nFramework and Standards\n- Folk tales exist in all cultures and teach important lessons about life.\n- Folk tales contain universal themes that transcend their culture of origin.\n- What life lessons can we learn from folk tales?\n- What does this folk tale teach me about my culture and other cultures?\n- Have students devise and write their own folk tale, based on the structural elements suggested in A #1 above. This would be a good opportunity for students to work in small groups. You might use the brief account Koehler gives the reader about his own story as a springboard, and see how many different stories your class can create from the same starting point.\n- Have each student locate another folk tale and retell it to the class in his or her own words, as expressively as possible. Older students might enjoy visiting younger classes to tell their stories, after practicing with peers.\n- Ask students to create an illustrated version of a folk tale. You might have the results spiral-bound at a local business-supply store to use as a classroom resource in the future.", "id": "<urn:uuid:75231225-e327-484e-91cb-911c7babec0e>", "dump": "CC-MAIN-2013-48", "url": "http://www.peacecorps.gov/wws/lesson-plans/togolese-tale-big-fire/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163047052/warc/CC-MAIN-20131204131727-00082-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9540877342224121, "token_count": 1118, "score": 4.25, "int_score": 4}
{"text": "- Get Involved\n- Education & Events\n- Publications & Research\n- About ACA\nResearch Notes: Moral Dilemma Discussions\nby Gwynn Powell\nIn the broadest sense, what are elements in a child's environment that influence character development? What processes lead to the development of moral maturity? Nature versus nurture? Peers versus parents? Researchers ask these questions in an effort to understand the developmental process and its effect on behavior. While some investigate the \"either/or,\" others question the removal of the dichotomy and investigate the interaction. For example, what are the effects of peers and parents on growth? It is often said, \"a camp counselor is a cross between a parent and a friend to the camper\"; therefore, research into the interaction of peers and parents on a child's moral development may offer some useful insight for camp counselors and leadership staff.\nIn order to investigate the relationships between interactions and moral-reasoning development, Walker, Henning, and Krettenauer (2000) recorded a series of conversations between teens (boys and girls ages thirteen to sixteen) and a parent, as well as between teens and a friend. The conversations contained both hypothetical moral dilemmas (to allow for comparison between participants) and actual moral dilemmas. The latter were situations reported by the participants, involving themselves (to allow for comparison across contexts). In addition, each participant's stage of moral-reasoning development was rated annually, using a standard process (Colby & Kohlberg, 1987), so that an investigation of moral growth could extend over a four-year period. The results of the study revealed different types of interactions with peers and parents that could be used as predictors of growth in moral reasoning. Three main areas of insight relevant to summer camp are: types of moral-dilemma discussions, types of interactions, and relationships of interactions to moral-reasoning growth.\nTypes of Moral Dilemma Discussions\nA common way to lead cabin-group discussions is to pose a hypothetical what-if situation and encourage discussion among campers. Earlier research (Berkowitz & Gibbs, 1983) categorized such types of discussions, generally, as one of two types: representational and operational. A representational discussion involves campers seeking to understand another person's reasoning process, using paraphrasing as a tool for verifying comprehension. In contrast, an operational discussion reflects a critical or questioning approach, involving campers who seek to either act on a situation, as if they were using the other person's strategy, or attempt to challenge and change the other person's line of reasoning. As the discussion leader, knowledge of the two approaches gives insight into the thought processes of the campers and can also lead to the following springboard questions.\nTypes of Interactions\nThe process of analyzing the recorded conversations by Walker, et al., centered on classification of the \"conversational turn\" by each participant. The researchers classified the turns in the following categories:\nThe ability of a counselor to recognize and label the types and goals of specific responses provides a more stable base from which to lead, understand, and support discussions.\nRelationships of Interactions to Moral-Reasoning Growth\nWalker, et al., initially examined the relationship between the different types of interactions (both peer and parent) and the rate of moral-reasoning growth of the participant. Their findings indicated differences in growth rate that could be predicted by type of interaction.\nNext, they investigated the specific difference between parent-child interaction and friend-child interactions. The primary difference between the two groups of interactions was that parents generally interacted with cognitive discussions, using both operational and representational comments. Friends, however, generally interacted with more informative and interfering comments. With both groups, the hypothetical-situation discussions yielded more of an intellectual exercise, while the real-life-situation discussions resulted in more questions and paraphrasing in regards to conflict with another person.\nAmong both peers and parents, representational interaction predicted high rates of moral development, while peers engaging in operational interaction were associated with minimal growth (perhaps due to defensiveness related to the challenge). Informational interactions from peers or parents may have been perceived as lectures, thus explaining the association with slow-growth rates. Among peers, when supportive interactions were combined with representational ones, growth was predicted, yet when combined with informational, it was not. The interfering category was related to minimal growth in the parental context, yet was related to rapid growth among peers. The researchers' explanation is that freer expression of conflict occurs more among peers than among unequals.\nThe Bottom Line\nWhile this research offers insight, it also brings to the surface areas in need of greater understanding. As a camp counselor seeking to lead discussions that will generate greater moral development, results which show that parents and friends play different roles, based on their interactions, may be of comfort. At different times during the camp experience, the counselor may play a variety of roles (never fully parent and never fully peer).\nRegardless of the role of the counselor, participation by campers in discussions based on real-life cabin dilemmas may contribute to increased moral-reasoning development, especially if the questions and probes lead to greater understanding of another's perspectives and thought processes. Knowledge of different types of interactions and their relationships to growth rate may assist counselors in their leadership and give them confidence in leading discussions pertaining to character issues.\nGwynn Powell is an assistant professor at the University of Georgia teaching recreation and camp administration. She has twelve years of professional year-round experience in camping. Please contact Powell through e-mail, email@example.com for further information regarding article content or to share research ideas.\nOriginally published in the 2001 January/December issue of Camping Magazine.", "id": "<urn:uuid:8b238132-06bb-43fd-84f8-985083f9477f>", "dump": "CC-MAIN-2013-48", "url": "http://www.acacamps.org/members/knowledge/participant/cm/rn011moral", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163055633/warc/CC-MAIN-20131204131735-00087-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9460353255271912, "token_count": 1177, "score": 3.546875, "int_score": 4}
{"text": "At-Risk Youth Topics\nPreparing At-Risk Youth for the Future\nA large fraction of American youth perform poorly in high school, and many of these youth fail to obtain a high school degree. The costs of failure in high school are growing, both for the individual student and for society overall. Mathematica researchers have conducted many of the most important studies of at-risk youth and interventions designed to address their educational needs.\nWe have studied a diverse array of dropout prevention approaches, ranging from small programs in a single school to those designed to address the dropout problem in clusters of schools or entire school districts. Mathematica's staff are also principal investigators for the What Works Clearinghouse comprehensive review of evaluations of dropout prevention programs. Our staff are assessing the strength of the evidence on the effectiveness of dropout prevention initiatives and synthesizing the lessons from these studies for policymakers and educators.\nYouth who drop out of high school represent a loss of human potential. For the Office of Vocational and Adult Education within the U.S. Department of Education, Mathematica conducted case studies of six dropout recovery programs that help youth ages 16 to 21 return to school, earn a high school credential (either a diploma or GED), and prepare for further education and jobs. Drawing on site visit interviews and an analysis of school records, the study examined program goals and partners, admissions and attendance policies, instructional approaches and academic outcomes, methods for addressing participants' personal issues, and strategies to connect participants to specific postsecondary programs and jobs.\nMany educational programs and services target youth at risk of dropping out. To help educators better identify these youth, Mathematica uses national longitudinal data sets to identify variables that can predict which students will eventually drop out. This information can be valuable for helping dropout prevention programs better target their services. By drawing on recent and older longitudinal data, we are examining how the predictors of dropping out have changed over time. This research builds on Mathematica's previous studies of factors that predict whether or not students will drop out.\nEducators and policymakers have been exploring strategies to encourage students to develop useful social skills and habits and refrain from violent, disruptive, or self-destructive behaviors. We are evaluating the impact of mandatory random drug testing programs. In addition, our evaluation of social and character development is assessing programs designed to promote positive social and character development and reduce negative behaviors among elementary school children.\nMany school districts have sought to create special environments, called alternative schools, that focus on encouraging highly at-risk students to graduate from high school. Our analysis revealed that programs with a more academic focus seemed to improve instruction, but alternative schools have had mixed success in achieving their primary objective. Although alternative school students were more likely to attend school, go to school more days, and earn more credits, after three years in these programs, only about 40 percent had graduated.\nIn preparing for postsecondary education, disadvantaged youth often must overcome a variety of hurdles. Many struggle to secure the requisite academic skills, financial assistance, or information about alternative postsecondary programs and application procedures. Mathematica has evaluated several programs designed to help high school students overcome these hurdles. Upward Bound provides instruction, tutoring, and postsecondary counseling during the school year and summer. Talent Search provides postsecondary guidance, including assistance in applying to specific postsecondary programs and in securing financial aid. The Quantum Opportunities Project was an intensive after-school program offering case management and mentoring, supplemental educational and developmental services, and financial incentives to participate. The results of these evaluations have informed efforts to refine the design of these three programs.\nSchools are increasingly used to deliver a variety of programs for at-risk youth. For example, efforts to teach young people about responsible behavior through sex education programs have done little to reduce teenage sexual activity. As a result, abstinence education programs have been developed that emphasize abstinence from any sexual activity outside of marriage. These programs do not discuss the reproduction cycle or successful contraception methods, but focus solely on the social, economic, psychological, and health gains to be realized through abstinence. Our national evaluation found that youth in abstinence education were no more likely than their peers not participating in programs to have abstained from sex. They were also no more likely to have engaged in unprotected sex.", "id": "<urn:uuid:9f62768b-d15a-430c-8f03-66edf1ddd3f4>", "dump": "CC-MAIN-2013-48", "url": "http://www.mathematica-mpr.com/education/edatrisk.asp", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164573346/warc/CC-MAIN-20131204134253-00086-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9557079076766968, "token_count": 873, "score": 3.53125, "int_score": 4}
{"text": "Standing for What You Believe\nFrom Knocking collection, lesson plan 4 of 4\n(90-120 minutes + assignments)\nGrade Level: 9-12, College\nSubject areas: Social Studies, Language Arts, Debate, Sociology, Ethics, Psychology, Religious Studies, Current Events\nPurpose of the lesson: People often claim that they are \u201ctaking a stand\u201d or arguing something \u201cbased on principle,\u201d but how many people would actually stand for what they say they believe when faced with a life-or-death situation? This lesson examines how Jehovah\u2019s Witnesses have stood for their beliefs historically and calls on students to examine their own belief systems and what they would be willing to endure to uphold their own ideas and principles.\n- learn about the role of Jehovah\u2019s Witnesses as civil rights activists\n- respond to a writing prompt using a short narrative\n- utilize critical reading and viewing skills\n- utilize interview skills to talk with someone outside of class about related topics\n- participate in class discussions and debates\n- conduct research and summarize findings to share with classmates in an oral presentation\n- create a piece of creative writing in response to the theme of the lesson\n- share their creative writing and provide oral feedback about it for classmates\nNarrative writing, stating and supporting opinions in class discussion, critical reading and viewing, interviewing, research, summarizing information, creative writing.\n- student and teacher handouts (provided with guide)\n- Film Modules 1 and 2\n- access to Internet and library resources\nNational teaching standards addressed:\nNational standards from the following organizations were used in developing this lesson plan. See recommended national standards in the Educator\u2019s Guide for full descriptions of standards employed.\nCurriculum Standards for English Language Arts, National Council of Teachers of English and the International Reading Association\nCurriculum Standards for the National Council for the Social Studies\nExpectations of Excellence, National Council for the Social Studies\nCurricula writer: Lisa Prososki\nLisa Prososki is an independent educational consultant who taught middle school and high school English, social studies, reading and technology courses for 12 years. Prososki has worked extensively with PBS, authoring and editing many lesson plans for various PBS programs and TeacherSource.\nSee Educator Guide for full listing of credits\nDirect students to pair up. Have students write a short answer to the prompt below, and give the pairs 3-4 minutes to share their responses with one another.\n- Describe a time when you\u2019ve had to \u201ctake a stand\u201d about something you believed in. Be sure to describe the outcome of your actions.\nFacilitate a short discussion about different ways people stand for their beliefs. Encourage students to provide historical examples along with sharing their personal experiences.\nDistribute the Student Handout D: Standing for What You Believe and review the directions. View Knocking Film Module 1 and Module 2 as a class. Provide students time between clips and at the end to complete the chart on the handout.\nNOTE: The Knocking film quotes are referenced in this step and could be distributed to students for use during discussion.\nDiscuss the \u201cStanding for What You Believe\u201d handout. Focus on what students think they would have done in a similar situation. During the discussion, refer to the Knocking Study Guide pages 8-9, 30-31, and 34-35. Focus attention on the Nazi persecution of Jehovah\u2019s Witnesses and the documents they could sign to escape the concentration camps. Also consider individual Witnesses who took their cases all the way to the U.S. Supreme Court in order to secure their rights, even though they personally faced difficulties. Additional information can also be found in the lecture series \u201cJehovah\u2019s Witnesses and the Holocaust\u201d and \u201cJehovah\u2019s Witnesses in Nazi Germany\u201d available on the Knocking DVD.\nAsk students to discuss the \u201cStanding for What You Believe\u201d with a family member or friend as an out-of-class activity. Students should complete the area below the table by describing whom they talked with and how the individual reacted to the ideas related to standing for personal beliefs.\nWhen the out-of-class activity has been completed, facilitate a classroom discussion based on the feedback students received when exploring this subject with their friend/family member. This could be done as a large group or by having students share their experience in small groups or pairs.\nDirect students to use 20-30 minutes of class time to review newspapers, news magazines, Internet articles and other primary sources for examples of situations worldwide in which people are currently standing up for their beliefs. Students should select the story they find most moving and summarize it for their classmates, describing the facts surrounding the event, specific things people are doing to stand for their beliefs and the outcome of these activities. Students should work in small groups to share their articles. Each group should have a short discussion about whether or not they agree with the stance taken by the person/group featured in each article. They should also share what they believe they would do in a similar situation.\nNOTE: A list of reliable news sources is provided in the Teacher Handout A: Supplemental Materials for Activity Four References.\nAs a final activity, have students complete a piece of creative writing (a poem, short story, play, song, etc.) that addresses a cause they feel they might stand up for or support or that addresses the theme of standing up for personal beliefs. Encourage students to make the project as personal as possible and truly explore their ability to face adversity because of their principles.\nOffer students the opportunity to share their creative writings in small groups when the assignment has been completed.\nThere is no extension activity with this lesson plan.", "id": "<urn:uuid:c7e04eb4-ae6f-4b9b-9614-df8f212c4f56>", "dump": "CC-MAIN-2013-48", "url": "http://itvs.org/educators/collections/knocking/lesson_plans/standing-for-what-you-believe", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163954634/warc/CC-MAIN-20131204133234-00090-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9453471899032593, "token_count": 1189, "score": 3.5, "int_score": 4}
{"text": "These patterns of common objects from Houghton Mifflin Harcourt can be used in lots of ways with children learning Spanish. I usually use shape books to make mini books related to the object or animal, but they also make excellent stick puppets, props for storytelling, craft materials kids can decorate and writing paper. Most of these shape books are available with and without lines. Also, the website gives permission to print and copy the pages for classroom use.\nKids can use the shape books to make mini books with the language they have been learning. They write a simple sentence on each page and illustrate it. You can also write the sentences in before you make copies. You can staple the books together or tie them with ribbon or yarn.\nFor example, some of my units are about animals. We use el cerdo, el le\u00f3n, or el pez to make a mini book with verbs that kids have used in class. The sentences can be simple and follow one pattern: El le\u00f3n corre. El le\u00f3n come. El le\u00f3n bebe. El le\u00f3n salta. El le\u00f3n duerme. For some of the shapes, like the house and the child, kids can add details to the shape itself. We read the books in class when they are done, and then the kids can read the mini book to their family when they take it home.\nHere are a few more examples of the kinds of simple sentences you can use in the mini books.\nMini books \u2013 Sample Text for Shape Books\nLa casa \u2013 Kids can add the details to the shape instead of drawing a separate picture\nLa casa tiene ventanas. / Hay ventanas en la casa.\nLa casa tiene una puerta. / Hay una puerta en la casa.\nLa casa tiene un techo. / Hay un techo en la casa.\nLa casa tiene flores. / Hay flores en la casa.\nLa casa tiene una familia. / Hay una familia en la casa.\nEl ni\u00f1o/ La ni\u00f1a \u2013 Kids can add the details to the shape instead of drawing a separate picture\nTengo dos ojos.\nTengo una boca.\nTengo dos brazos.\nTengo dos manos.\nTengo dos piernas.\nTengo dos pies.\nLa camioneta / El coche \u2013 The minivan (The word for minivan varies from country to country.)\nVamos al supermercado.\nVamos a la escuela.\nVamos al parque.\nVamos al zool\u00f3gico.\nVamos a casa.\nLa manzana and La flor (Flower 1 is easier to cut out)\nThese books work well for counting.\nKids can draw apples or flowers for una manzana/flor, dos manzanas/flores, tres manzanas/flores\u2026\nFor colors, kids can color the flower and label the color or colors on each page.\nYou may also be interested in this post: Free Printable Mini Book for Spring", "id": "<urn:uuid:f41ba7ea-0628-47a0-af4b-f88d9697ea20>", "dump": "CC-MAIN-2013-48", "url": "http://www.spanishplayground.net/shape-books-make-mini-books-kids-learning-spanish/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164038825/warc/CC-MAIN-20131204133358-00092-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.6821817755699158, "token_count": 674, "score": 3.796875, "int_score": 4}
{"text": "Fun and \u201cStealth\u201d Educational Activities Keep Kids Sharp this Summer \u2013 Without Them Even Knowing!\nVirtual School Connections Academy Offers Ten Tips to Keep Learning Alive Over the Summer\nBALTIMORE, June 6, 2009\nFor kids, summer is synonymous with fun and games and a welcomed break from school. And although no summer is complete without a little R & R, research shows that \u201csummer learning loss\u201d is an issue for many students when they do not engage in educational activities. Studies also show that for some students, participation in summer learning opportunities can result in higher graduation rates and better preparation for college.\n\u201dChildren need ongoing opportunities to learn and practice essential skills, particularly during the summer months,\u201d said Dr. Patricia Hoge, Vice President for Curriculum and Instruction for Connections Academy, a leading virtual public school. \u201dFortunately, most summer activities can be optimized for learning -- often it is just a matter of recognizing the opportunity and approaching it from an educational angle. Our teachers have come up with a great list of ideas for parents who might not know where to begin -- ten fun and engaging ways to keep children\u2019s minds stimulated and prevent summer learning loss.\u201d\nExperts in learning outside of the traditional classroom, Connections Academy educators suggest the following summer learning opportunities:\nFor more information about this article:\nAthena Public Relations\n- Transform everyday routines into \u201cteachable moments\u201d\n\u2014 The simplest daily tasks offer a wealth of learning opportunities. Cooking is a great way for kids to practice basic measuring and math skills. Writing a grocery list promotes vocabulary, spelling, and handwriting. In the garden, young learners can identify colors and shapes;\nolder students might identify the parts of plants and study how\nthey grow. Improve sorting skills while doing the laundry.\n- Record summer memories in a journal \u2014 Summer activities abound and there is no better way to capture those memories than by keeping a journal. Writing about daily events allows children to tell a story, boost their vocabularies, and practice grammar and spelling.\n- Take a learning \u201cstay-cation\u201d \u2014 A trip to a local museum, zoo, or pool can become a mini-field trip. Visit places that offer children\u2019s activities, like being \"art detectives\" or \"geologists for a day.\" Make a scavenger hunt for your outing. For example, at a museum ask your children to \"find three sculptures\" or \"find a painting of a child.\" When you return home, encourage your children to write about their day.\n- Write and publish a book \u2014 Promote creative writing and drawing and practice grammar and spelling with this rewarding activity. Ask children to write and illustrate their own story. Once their manuscript is complete, you could send it to a bookmaker, like www.lulu.com, or create a homemade book.\n- Put on a show! \u2014 Music, art, and theater are proven to help foster well-rounded learners. Encourage kids to write their own play or musical, design sets, and perform for friends and family. If your child likes visual arts like painting and drawing, turn the living room into a gallery and host an opening reception. And be sure to take advantage of local children\u2019s theaters and art museums.\n- Conduct \u201ckitchen science\u201d experiments \u2014 There are numerous science experiments that can be done at home, including making slime polymer, reacting baking soda and vinegar to erupt volcanoes, making stalagmites and stalactites using baking soda or sodium bicarbonate, and growing sugar crystals to make rock candy. Check out your local library for science books with kid-friendly science activities.\n- Enter or host a game tournament \u2014 Participating in a game tournament is an engaging way to boost logic skills and sportsmanship and make new friends. Encourage children to enter a chess, scrabble, spelling, or trivia tournament, or suggest that they plan and host their own tournament with friends.\n- Get your green on \u2014 Designate your children as the household\u2019s enviro-specialists. Ask them to learn about your town\u2019s recycling program and to make sure you are following guidelines. Invite them to assess whether or not you are making environmentally-conscious decisions in the home. Encourage them to read about and investigate the implications of long showers, light bulb choice, etc.\n- Make the most of a rainy day \u2014 When faced with a rainy day \u2013 talk about it! Together, research the hows and whys of rain. Ask children to write a story or draw a picture of the weather. Encourage creative and descriptive language \u2014 see how many words they can use to describe rain.\n- And everyday...read \u2014 Summer break is a great time to visit your local library. Reading stimulates children\u2019s minds \u2013 opening doors to imaginary worlds and providing a view into places children may never have the opportunity to see firsthand. Encourage your children to start a book club with their friends. This is a great way for children to practice interpreting what they read as well as promote their public speaking skills.\nAbout Connections Academy\nConnections Academy is a leading national provider of high-quality, highly accountable virtual public schools in fourteen states operated in partnership with charter schools, school districts, and state departments of education. Connections Academy schools deliver top quality, personalized education for students that combines certified teachers, a proven curriculum, technology tools, and community experiences to create a supportive and successful environment for children who want an individualized approach to education. In Connections Academy's Personalized Performance Learning\u00ae approach, students use daily lesson plans and curriculum materials provided by Connections Academy. Teachers develop a learning plan for each student, utilizing a proprietary, web-based Learning Management System to deliver, track, and administer the learning. In 2008-09 Connections Academy serves students in Arizona, California (Southern and Central), Colorado, Florida, Idaho, Minnesota, Missouri (through the Missouri Virtual Instruction Program), Nevada, Ohio, Oregon, Pennsylvania, South Carolina, Texas and Wisconsin. Connections Academy offers grades K through 12, though some schools do not offer all grades. For more information, call 800-382-6010 or visit www.ConnectionsAcademy.com.", "id": "<urn:uuid:3acbe112-b20b-4ab7-8461-14f71da691dd>", "dump": "CC-MAIN-2013-48", "url": "http://www.connectionsacademy.com/news/summer-learning-tips.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00092-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9279885292053223, "token_count": 1288, "score": 3.53125, "int_score": 4}
{"text": "In the Artists' Own Words\nOne of the main characteristics that separate human beings from other animals is the ability to communicate through language, and one of the fundamental forms of communication is storytelling. It is believed that early cave painting was a form of narrative, and the development of writing widened the dissemination of stories. The tales of mythology have been hugely popular throughout the ages, with these so-called \"false stories\" serving as a narrative to explain how the world and humankind came to be in their present form. In a broader sense, myths can refer to any traditional story.\nMadrigals\u2014the most polished form of secular choral music, often evoking the pastoral, amorous, or philosophical world of mythology\u2014first emerged in Italy in the early 1530s, swiftly supplanting a somewhat unsophisticated repertoire of native songs. The great popularizer of madrigals in England was Thomas Morley, who in his Plaine and Easie Introduction to Practicall Musicke, wrote the following:\n\"As for the music, it is\u2014next to the motet\u2014the most artificial and, to men of understanding, most delightful. You must possess yourself with an amorous humor so that you must, in your music, be wavering like the wind, sometimes wanton, sometimes drooping, and sometimes grave and staid, otherwhile effeminate, and the more variety you show the better you shall please.\"\nAlthough the madrigal era was over by 1630, so great were the composers\u2014such as Morley's contemporaries Thomas Weelkes (ca. 1576\u20131623), John Bennet (ca. 1575\u20131614), and Thomas Tomkins (1572\u20131656)\u2014and their collections that it is rightly remembered as a golden age of music.\nOne of the best-known collections, The Triumphs of Oriana, was compiled by Morley in 1601 in honor of Queen Elizabeth I. This royal gift comprised 25 madrigals by 23 composers, and each madrigal was linked by the same refrain: \"Then sang the shepherds and nymphs of Diana: Long live fair Oriana!\" Oriana was one of Elizabeth's nicknames, and it links her to the Elysian world of the gods and goddesses of mythology.\nThe Triumphs of Oriana was inspired by the 1592 Italian madrigal collection Il trionfo di Dori. Published in Venice by Angelo Gardano, the collection was dedicated to Leonardo Sanudo (1544\u20131607), a nobleman from one of Venice's most respected families. It is believed that the madrigals were written for, or in commemoration of, the marriage of Sanudo to Elisabetta Zustinian in 1577. Again the world of mythology inspired the texts, with each madrigal ending with the refrain \"Viva la bella Dori\" (\"Long live fair Dori\"), a reference to the Greek sea-goddess Doris, the daughter of Oceanus and Tethys.\nThe influence of Il trionfo di Dori seems to have been felt first in England in 1597 with the publication of Giovanni Croce's \"Ove tra l'herbe e i fiori\" in Nicholas Yonge's Musica transalpina II. The work was given a new English text under the title Hard by a Crystal Fountain. It is likely that Morley was familiar with the entire collection, but he pays special homage to Croce in his own identically named madrigal.\nBerlioz said of Camille Saint-Sa\u00ebns, \"He knows everything but lacks inexperience.\" This was a shrewd assessment of someone who had perfect pitch, wrote his first piano piece at the age of three, gave a concert at which he played concertos by Mozart and Beethoven from memory at the age of 10, and in later years had all the Mozart concertos in his repertory\u2014an astonishing feat at a time when only a handful of them were at all well-known. In \"Saltarelle,\" jolly melodies match \u00c9mile Deschamps's witty, almost irreverent poem, in which the villagers' Carnival revelry appalls old women. The young priest turns a blind eye, and the Madonna in her oak tree pardons them, veiling her face when she must. Benedictine monks file out with a melancholy chant, and Carnival ends in a \"rain of Lenten bulls.\"\nFrancis Poulenc composed his four-movement cantata Un soir de neige during the years of Nazi occupation in France. The text was written by Paul \u00c9luard while serving with the French resistance and dispatched to Poulenc in secret. On the surface, the text brings to life the harshness of a winter night in a French forest, but closer examination reveals images of war and of the great dangers \u00c9luard and his fellow fighters faced from the German army.\nThe first movement describes how the incessant and inescapable cold weighs heavily on those trapped in it. The second movement warns of the dangerous yet beautiful wolf-a reference to the German soldiers in their splendid uniforms. The third movement finds the poet lost in the forest, helpless as if adrift on a frozen sea. In the final movement, the poet hides from the German soldiers by concealing himself underground. But this only increases his feeling of isolation, and the forest becomes a prison from which he cannot escape.\nGoffredo Petrassi's Nonsense dates from 1952 and uses for its text nonsense verse (in the form of limericks) by 19th-century English poet and painter Edward Lear, translated into Italian by Carlo Izzo.\nPetrassi, who had been a choirboy in Rome, featured choral music quite heavily in his catalog throughout his distinguished career. He was influenced early on by teacher and composer Alfredo Casella, who guided his artistic outlook to contemporary movements outside Italy, notably to the music of Hindemith and Stravinsky. The non-emotional and objective approach of these two composers is mirrored by Petrassi in Nonsense, in pieces that are at once both concise and witty.\nJoby Talbot's extended work Path of Miracles charts the world's most enduring route of Catholic pilgrimage, the Camino Franc\u00e9s, through its four main staging posts in Spain. Talbot describes \"Leon\"\u2014the third movement and the final post he celebrates before arriving in Santiago\u2014as a \"Lux Aeterna\"; and like the interior of the magnificent Le\u00f3n Cathedral, it is bathed in light. A medieval French refrain-an ode to the sun-punctuates simple observations of lands traversed and hardships overcome. The hypnotic pulse of the pilgrims' walking remains constant throughout the piece, as in other movements of the Path of Miracles, but here the mystical events present no danger. Even the relentless sun, though it may dazzle, does not burn our travellers.\nThis evening, The King's Singers are delighted to be performing the world premiere of this new arrangement of \"Leon,\" created especially for the ensemble by former King's Singer Philip Lawson.", "id": "<urn:uuid:3d80a9c9-44ab-4c83-96c7-0d9ebd5eb1bc>", "dump": "CC-MAIN-2013-48", "url": "http://www.carnegiehall.org/Event.aspx?id=10737418308&pn=10737418307", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163049608/warc/CC-MAIN-20131204131729-00091-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.962976336479187, "token_count": 1476, "score": 3.515625, "int_score": 4}
{"text": "Storytelling has been found in many aspects of the humanities. Storytelling is an effective way to share ideas, facts and to persuade. This can link storytelling closely to journalism where writers want to reach their audience, persuade their readers, and reach deep emotional levels with their followers. In order to reach their audience, journalists have researched ways storytelling can be used to reach their audience. Storytelling can be used in journalism but at a price. Many journalists who create stories may leave out facts in order to fill their space with emotion. This leads many people to disregard these articles for columns they believe are more fact based.\nBut, with the idea of storytelling in journalism it has brought about Civic Journalism. This type of journalism puts the power of the writing into the hands of the people in the community. These journalists are not necessarily classroom taught journalists. These are people who see injustice in their community and want to speak out as a part of activism. Storytelling can bring forward community efforts as well as activism into a type of journalism that can educate and highlight community members. These types of journalists must understand the correct way to emotional stir their audience while also keeping their story factually correct.\nRecent studies sponsored by the Knight Foundation and Knight Commission demonstrate the importance of community members to be effective producers of information, not just effective consumers. While individual voice is an important direct impact of the storytelling process, these studies are also finding that storytelling and citizen journalism can also serve as a critical starting point for professional writers to become aware of important but unreported issues and events within a community. Further, raising awareness through community engagement in the storytelling process can put pressure on professional writers to themselves report on these issues.\nA great article that examines how to blog and how blogging can be used to advance ideas of community is available online at http://rising.globalvoicesonline.org/guides/. This article should be read by anyone interested in this topic and would like to further their own ideas in blog or any other multimedia fashion.\nFor more information please see:\nBarkin, Steve M. \u201cThe Journalist as Storyteller: An Interdisciplinary Perspective.\u201d American Journalism Winter (1984): 27-33.\nCoberst. \u201cDemocracy, Critical Thinking, & Journalism \u2013 SciForums.com.\u201d SciForums.com \u2013 Science Forums. 18 Oct. 2007. <http://www.sciforums.com/>.\nDeuze, Mark. \u201cTowards Professional Participatory Storytelling in Journalism and Advertising.\u201d First Monday 10.7 (2005).\nAgarwal, Amit. \u201cDifference Between Blogging and Journalism.\u201d Digital Inspiration: A Technology Blog on Software and Web Applications. 27 Sept. 2007. http://www.labnol.org/internet/blogging/difference-between-blogging-and-journalism/1421/.\nCarter, Kristi. \u201cCitizen Journalism vs. Television Journalism: Differences Between TV Journalism and Journalism for Citizens.\u201d Suite101.com: Online Magazine and Writers\u2019 Network. 4 Jan. 2010. <http://www.suite101.com/content/citizen-journalism-vs-television-journalism-a185487>.\nJarvis, Jeff. \u201cIs Journalism Storytelling? \u00ab BuzzMachine.\u201d BuzzMachine. 8 Dec. 2009. Web. 06 Dec. 2010. <http://www.buzzmachine.com/2009/12/08/is-journalism-storytelling/>.\nSchaffer, Jan, \u201cNew Voices: What Works, Lessons From Funding Five Years of Community News Startups.\u201d http://www.kcnn.org/nv_whatworks/pdf\nThe Knight Commision on the Imformation Needs of Communities in a Democracy, \u201cInforming Communities: Sustaining Democracy in the Digital Age.\u201d http://www.knightcomm.org/read-the-report-and-comment/", "id": "<urn:uuid:ba17f99c-d85c-45de-b783-7e6dc4442340>", "dump": "CC-MAIN-2013-48", "url": "http://www.prairienet.org/op/stories/the-importance-of-digital-storytelling/storytelling-and-journalism/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164796892/warc/CC-MAIN-20131204134636-00091-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9163609743118286, "token_count": 826, "score": 3.703125, "int_score": 4}
{"text": "LESSON PLAN Date: February 17, 2012 School: Jose Campeche Teacher: ___Mr. Sosa_____________ Grade: 12th I. Theme: Writing WorkshopComments: II. Phase: Exploration X Conceptualization Application III. Integration: ArtsHere the students are IV. Standard(s) and Grade Level Expectation:going to read the essayand identify it. By this I Content Standards 12th Grade Expectationsmean they will tell LISTENING/SPEAKING: _X_ L/S.12.1 Listens carefully during a read aloud, presentation, or performance from a variety of literature, periods, genres, and styles towhere the introduction, The student uses the English language interpret and analyze character development, dialogue, and setting; makesconclusion, thesis to interpret oral input, construct connections to text; evaluates tone, voice, and mood.statement, among other meaning, interact with confidence both ___ L/S.12.2 Listens and responds to synthesize, explain, describe, analyze,concepts is. The verbally and nonverbally, and express justify, and debate information; answers and formulates closed and ideas effectively in a variety of openended questions.homeworks were for personal, social, and academic ___ L/S.12.3 Uses appropriate language structure to analyze and evaluatethis exact reason: to contexts. issues, to problem solve, to explain a process, and to express opinionsknow the concepts of integrating comparison and contrast statements. _X_ L/S.12.4 Expresses thoughts and opinions to evaluate text, debatethe essay in order to current events, concepts, and literary elements; makes predictions andthen identify it. inferences, as well as draws conclusions from listening to a variety of texts, performances, and multimedia sources; listens to sort and prioritize information. ___ L/S.12.5 Analyzes and explains the main idea or topic and important details from learned concepts or readings from a variety of persuasive texts; summarizes, evaluates, and judges effectiveness of the text, performance, speech, or literature. READING: _X_ R.12.1 Evaluates context clues, reference sources, and vocabulary The student uses reading strategies, expansion strategies to assess word meaning; utilizes Greek and Latin root literary analysis, and critical thinking words to extend vocabulary; classifies, applies, and analyzes vocabulary as skills to construct meaning and develop academic, cultural, or contemporary based on current trends. an understanding as well as an ___ R.12.2 Argues on characterization techniques and character development appreciation of a variety of genres of using text evidence to justify responses; evaluates the setting in fiction and both fiction and nonfiction. nonfiction; classifies point of view using text evidence to supp ort responses. ____ R.12.3 Classifies genre, analyzes plot, establishes cause and effect; makes connections, predictions, and inferences in a variety of texts; draws conclusions; analyzes and determines conflict and resolution; uses text evidence to validate responses. _X_ R.12.4 Distinguishes between fact and opinion, infers and supports the main idea in a variety of texts; debates the theme or topic using text evidence to justify and validate position. ___ R.12.5 Uses elements of poetry and plays to analyze, interpret, and compare and contrast styles, genres, topics, and themes; debates using text evidence to justify position. WRITING: ___ W.12.1 Analyzes and assesses word choice to convey meaning; incorporates transitions, correct grammar, syntax, and style. The student effectively communicates ___ W.12.2 Evaluates and applies a variety of organizational techniques to to a variety of audiences in all forms write effective narrative, expository, and persuasive essays using the writing of writing through the use of the process; demonstrates a preferred style of writing. writing process, proper grammar, and ___ W.12.3 Uses creative writing styles to produce poems and other literary age appropriate expressive vocabulary. forms.DOK Level: 2 ___ 12.4 Compares, contrasts, evaluates, and critiques two or more forms ofRecognize writing on similar topics to write a critical essay.Identify ___ W.12.5 Organizes, synthesizes, outlines, and evaluates information toClassify write a research paper; demonstrates voice and knowledge of topic throughout the writing.Contemplate V. Depth of Knowledge: ___ L1 Recall _X_ L2 Skills/Concepts ___ L3 Strategic Thinking ___ L4 Extended Thinking\nVocabulary Words:Essay VI. Objectives:Draft Conceptual: Given the essay \u201cThe Hazards of Movie Going,\u201d the student will recognizeTopic the patterns of the essay by exploring it.Thesis statementParagraph Procedural: Given the essay \u201cThe Hazards of Movie Going,\u201d the student will classify theIntroduction patterns of the essay orally.StructureSupporting ideas Attitudinal: Given the essay \u201cThe Hazards of Movie Going,\u201d the student will contemplate theConclusion essay with a new level of appreciation.Concluding StatementRestate Thesis VII. Materials:Topic SentenceComposition a. Curriculum Material: \u201cYou Can Write\u201d and \u201cWriting for the Real World\u201d textbooksCopyWriting b. Teaching Devices: Hand-out \u201cThe Hazards of Movie Going\u201d c. Technological Materials: board, marker, eraser VIII. Procedure:Guide Questions: a. Initial Activities: 1. _X_ Greetings 2. _X_ Date 3. _X_ AttendanceWhat is (a, an, or the)? 4. _X_ Review on: The parts of the essay and the homework given 5. Motivation Act. Reflection.Thesis statementRestate thesis 6. Other Activities: Diversity, X Creativity, Leadership, and Soc. Trans.Concluding statement Develop creative writing skills through the reading of essays.Supporting detailsDraft 6. Statement of Aims: OK students, today we are going to read the essayTopic sentence \u201cThe Hazards of Movie Going.\u201d b. Developmental Activities: The students will: Read the essay \u201cThe Hazards of Movie Going\u201d Identify: - The topic - The introduction - Thesis statement - Body - Topic sentence - Supporting ideas - Conclusion - Restate thesis c. Closing Activities: The students will discuss what they have learned today. IX. Assessment Techniques: _X_ reflective diary __ collage _X_ summary __ conceptual map _X_check list __ rubric __ interview _X_ group discussion __ concrete poems __ debate __ drama __ graphic organizer __ comic strips __ projects __ illustration __ painting/drawing\n__ portfolio __ games _questionnaire _X_ anecdotic record __oral reports __ skitX. Homework:XI. Special Accommodations offered: None todayXII. Teacher\u2019s Reflections (material, method, and objectives): Today\u2019s objectives took place effectively. Still, the students did not want to participate. Almost all students lowered their heads. It was Friday, what was to expect? Nonetheless, they were supposed to participate in class. I believe I need more techniques in order to promote class participation. Even though students are like this, I have to look for a way to really do things right. I would change the way I do things, but first I must learned how.", "id": "<urn:uuid:3971aafe-05d0-426b-a758-35c6721ff030>", "dump": "CC-MAIN-2013-48", "url": "http://www.slideshare.net/michael_uprh/lesson-plan-february-17", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345771844/warc/CC-MAIN-20131218054931-00090-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8724688291549683, "token_count": 1521, "score": 4.21875, "int_score": 4}
{"text": "This archived Web page remains online for reference, research or recordkeeping purposes. This page will not be altered or updated. Web pages that are archived on the Internet are not subject to the Government of Canada Web Standards. As per the Communications Policy of the Government of Canada, you can request alternate formats of this page on the Contact Us page.\nThe Story Blanket\n- Select a story for the class to perform. It may be:\n- one of the stories from the website, Our Voices, Our Stories;\n- a story found through your school library; local public library or through interlibrary loan.\n- one of the stories written by the students in Lesson 1.\n- Make sure the story can be performed easily. It should have a simple plot with few characters.\n- Over the course of 2 to 4 classes, students will be immersed in the story, reading it over several times to recall all the main parts.\n- In a class discussion, divide up the story into the beginning, middle and end. Have students identify the integral parts of the plot and characters.\n- Write a class synopsis on chart paper (a large sheet of paper that can be taped to the blackboard or wall) for everyone to see. As a class, summarize the story in point form.\n- Practice retelling the story, as a class, first with and then without the summarized points of the text. As a group, incorporate some of the Storytelling Hints to get the students accustomed to oral storytelling techniques.\n- Divide the class into 2 groups. Each group will perform the story separately.\n- Divide up the parts of the story for each group. Assign a part of the story to each student.\n- Have each student re-write their part of the story in their own words.\n- Ensure that each group reads through all of their scenes aloud to check for continuity. Each part of the story should flow smoothly into the next to create a cohesive whole.\n- Students should edit the scenes to achieve an even flow in the script, as necessary.\n- Have each group practice the story and make a plan for how they would like to perform or \"tell\" it.\n- Encourage students to be creative. Add music, props, incorporate costumes, sounds or rhythmic movements. Each group should incorporate at least 3 to 4 ideas from Storytelling Hints.\nStudents may wish to act out the story behind a lit screen (a bed sheet can be hung up that is back-lit by an overhead projector to achieve this).\nNote: Please see Evaluation Tools to evaluate student participation.", "id": "<urn:uuid:b35320b6-7b20-4c24-9694-99c192ace220>", "dump": "CC-MAIN-2013-48", "url": "http://www.collectionscanada.gc.ca/stories/020020-4008-e.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00090-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9081706404685974, "token_count": 532, "score": 4.46875, "int_score": 4}
{"text": "Point of View in Literature -- Perspectives\nIn order to fully understand point of view in literature, we need to explore the different perspectives from which a story may be told. Bear in mind that the Perspective is the scene as viewed through the eyes/mind of the chosen character. The story, however, can be told from any one of several points-of-view regardless of the perspective chosen.\nSingle Major Character Viewpoint\nThe story can be told from first, second or third person POV but it is told throughout by just one character. The reader discovers everything in the story at exactly the same time as the viewpoint character does. You cannot hint at things that are to come if the main character doesn\u2019t know they are coming. You cannot give the character unnatural foresight-unless of course he is psychic.\nThe single-character perspective is the most common viewpoint used in children\u2019s literature and a lot of adult literature as well. It allows you all the descriptive forces of third person and almost as much intimacy as first person. It is much easier for the reader to identify with just one character.\nMinor Character Viewpoint\nAgain the story can be told from the first, second or third person POV. It is told from the perspective of only one character just like the example above--except it is a minor character doing the telling. This technique is used in The Great Gatsby. Nick is merely an observer of the story, while Gatsby is the protagonist.\nThis method isn\u2019t chosen very often in modern literature, but can be used to good effect in literary works where you need to keep some distance to really see what is happening. Or perhaps you need a more sympathetic character than your protagonist. Or perhaps you need to keep information which is known to the protagonist secret from the audience in order to maintain an air of mystique as in the Sherlock Holmes stories.\nBasically, omniscient perspective means that the story is not told by any one of the characters, but is rather commented on by a god-like, omnipotent being who can choose to dip into the head of any of the characters and reveal things that have occurred in the past or which will happen in the future.\nThis was once a very popular method of storytelling. It is less so now, especially in the North American market. But as I said earlier, Joseph Conrad was a master of this and, if it is done well, it can add dimension to your writing.\nIt is essential that each character have a distinctive voice so that the reader is never confused about who he is listening to at the moment. This is an interesting device for an epic novel which explores a theme with several tangled subplots.\nThis is another popular perspective in stories today. The story is told by only one character at a time, but the viewpoint character switches between two or more characters throughout the course of the novel. This can be a very effective tool when used for the right reasons. Remember, it has to add something to your story to have it told from different points of view because you lose intimacy and sometimes momentum by switching from one character to the next and then you increase the danger of losing your reader unless the transitions are well done.\nConsider what are you going to gain from the switch: Needed information? A different perspective to explore a good subplot? A chance to switch locations?\nIncidentally, this is probably my favorite perspective to write from. You aren\u2019t stuck with the same character throughout the entire story and you get to reveal the story from several different angles which can keep the story fresh. This is a popular form in many genres including romance, horror, literary fiction, mysteries, and science fiction.\nIt can be done effectively, by switching viewpoints with alternating chapters or scenes. Or it can be done in a more relaxed manner where you slip from one mind to the next in a crowd, for example. One person bumps into the next and we change heads. You don\u2019t always need to distinguish a point of view from one scene to the next. But as a writer you do need to know exactly whose head you\u2019re in at any particular moment and the various voices must be different enough that your readers know as well.\nIt is a great device when it works well. If you aren\u2019t sure which perspective is best for a particular scene, write it from both perspectives and then pick the one that works best.\nTo add to the confusion, the creative writer can also mix points of view. For example, in a novel with three or four different viewpoints you could use first person for the scenes in which your protagonist is the filter and then switch to third person for the other viewpoints as Justine Larbalestier does in her Magic or Madness trilogy. This gives us a clear, strong first person connection with the main character and the benefit of added angles of other viewpoints in third person.\nPoint of view is one of the most important tools for a writer and choosing the most effective POV can help you find the right voice for your novel. Once you have chosen your perspective and the POV, consistency is the key point. Understanding the workings of these creative devices will help you avoid annoying or confusing your reader.\nPoint of View in Literature\nFirst Person Point of View\nSecond Person Point of View\nThird Person Point of View\nOmniscient Point of View", "id": "<urn:uuid:7e339d05-5436-4bfb-98ec-312915ee81c4>", "dump": "CC-MAIN-2013-48", "url": "http://www.the-writers-craft.com/point-of-view-in-literature-perspectives.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386165000886/warc/CC-MAIN-20131204135000-00090-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9648991227149963, "token_count": 1097, "score": 3.640625, "int_score": 4}
{"text": "Language and Communication\nThe word \"Apache\" comes from the Yuma word for \"fighting-men\". It also comes from a Zuni word meaning \"enemy\". The Zuni name for Navajo was called \"Apachis de Nabaju\" by the earliest Spaniards exploring New Mexico. Their name for themselves is N'de, Inde or Tinde (\"the people\"). The Apaches are well-known for their superior skills in warfare strategy and inexhaustible endurance. Continuous wars among other tribes and invaders from Mexico followed the Apaches' growing reputation of warlike character. When they confronted Coronado in 1540, they lived in eastern New Mexico, and reached Arizona in the 1600s. The Apache are described as a gentle people; faithful in their friendship.\nApache spoke the language Athapaskan. Athapaskan is the widely used language among Native Americans. In the old days the Apaches and the Navajos spoke Athapaskan. Athapaskan was one of the three major language families among Native Americans. Seven tribes spoke Athapaskan including the Apache.\nApache is a language closely related to Navajo. It is spoken in the United States, unusual because most Athabaskan languages are spoken in the northwest of Canada and Alaska. Like most Athabaskan languages, Apache shows various levels of animacy in its grammar, with certain nouns taking different verb forms from others according to their rank in this animacy hierarchy. Apache's phonology is very similar to that of Navajo. It has four vowels a, e, i and o, and these may all be nasalised, long, high in tone or combinations of the three.\nAthapaskan was used in stories. Apache told animal stories. The wolf is the main character. In one of the stories, the wolf brought fire to people. The wolf was very smart. The firefly village is where the wolf fire. The wolf got chased from the firefly village after he tricked the fireflies. Storytelling is a way Apache communicated\nApache communicated different ways. Apache used smoke signals for long distance. They have symbols, pictures, and poems. Sign-language was used while they traded. Apache used a calendar stick to keep track of days and what happened those days.\nKiowa - Native North Americans, whose language is thought to form a branch of the Aztec-Tanoan linguistic stock. The Kiowa, a nomadic people of the Plains area, had several distinctive traits, including a pictographic calendar and the worship of a stone image, the taimay. The Kiowa Apache, a small group of North American Native Americans traditionally associated with the Kiowa from the earliest times, now live with them on their reservation. The Kiowa Apache retain their own language.\nSome dialects of Apache include Jicarilla, Lipan, Kiowa-Apache, Chiricahua, Mescalero and Western Apache. Lipan and Kiowa-Apache are nearly extinct. Western Apache has a number of subdialects: Cibeque, Northern and Southern Tonto, San Carlos and White Mountain. Today, the Chiricahua Apache speak English as well as Apache.\nIndian languages are losing to English, however. The language is gradually disappearing. There are very few people my age who are fluent. As tribes become more sophisticated, fewer need to speak the native language.\nAn Apache dictionary (Western Apache-English Dictionary: A Community-Generated Bilingual Dictionary) was recently published by Dorothy Bray and the White Mountain Apache Tribe in 1998. Some of the classification and pronunciation information has been challenged, but this remains the best reference available at present.\nDaniel A. Campos, a GS-12 civilian project manager with the San Antonio Air Logistics Center, worries that fewer native people speak the old dialects. A three-quarter Apache and Nauhau and part Portugese on his father's side, Campos was born on a Texas ranch but spent summers as a boy on an Arizona reservation. Campos himself speaks little Apache.\n\"We are not going to let our language go away,\" he says determinedly. \"Up till now we have watched our languages fade as each generation produces fewer and fewer fluent speakers.\" He supports various cultural movements that promote native language study. \"Language is deep down at the roots level,\" he says. \"Before, we needed English,\" he says, but for natives to preserve a core part of themselves \"we have to preserve our language.\"\nA native heritage activist who belongs to a gourd society of native veterans, Campos predicts greater interest in native languages as more American Indians succeed in the mainstream and want to know more about their origins. Many tribes, among them the Apaches, Pimas and Crows, often with the assistance of missionaries, have translated their languages into phonetic primers.\n\"This is our country and these are our languages,\" Campos said. \"Our prophesies foretold that we would undergo sorrowful times, but that we would survive through it all and become strong again as a people.\"\nCampos says he also is a main-streamer. He left the reservation 15 years ago, but says, \"I can't forget who I am. Society won't let me forget who I am. I have a lot of pride in that.\"\nIn their own language, the Fort Sill Apache identify themselves as members of one of the four divisions of the nation anthropologists call the Chiricahua Apache tribe. The Chiricahua sometimes used the term Nd\u00e9, meaning 'people' to refer to themselves. The Fort Sill designation comes from the reservation where they were held as US prisoners of war.\nThe Lipan, or Lipan-Apache, (Tindi) were among the more important subgroups of Apaches in Texas. They ranged the furthest eastward and had the most contact with the early Texas settlements. The Lipan fought the Texans fiercely, but on some occasions in the nineteenth century they were allies.\nThe Castro Family History of the LIPAN APACHE Band of Texas The word Apache means, \"People of the Mountains,\" the word Lipan means, \"Warriors of the Mountains.\" However, to the Lipan Apache Band of Texas, they called themselves the \"Tindi,\" which means the above mentioned in their Native language.\nJicarilla Apache tribal member Lorene Willis said the Apache Cultural Center in Dulce, N.M. where she works stresses the importance of Native American elders and the need to keep the language alive. Willis said that 20 percent of 3,000 people are fluent in the Apache language.", "id": "<urn:uuid:d793d603-4306-440e-8f21-93e85b58bd5e>", "dump": "CC-MAIN-2013-48", "url": "http://www.greatdreams.com/apache/Apache-Language.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163052713/warc/CC-MAIN-20131204131732-00088-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9623916745185852, "token_count": 1381, "score": 4.15625, "int_score": 4}
{"text": "Linguistic Features of African American English\nIn the following paragraphs, I provide a description of African American English.\nThere are several phonological and grammatical features that are described as being characteristic of African American English. In the area of phonological variation, African American English differs from Standard American English in word, sound, and contrast variability. Some of the most common phonological features are discussed in the following paragraphs.\nPhonological Variation. In the area of phonological variation, one can see that African American English differs from Standard English in a number of ways such as word, sound, and contrast variability. Moreover, it has come to be recognized that African American English has systematic rules for consonant reduction and the use of final consonants.\nWord Variability. Word variability is random pronunciation of words such as skreet for street, thew for threw, ax for ask, bidness for business, and posed to for sup, posed to (Labov & Cohen, n.d., English in Black and White). There are also a few words that stress the first syllable instead of the second as in Standard English usage. For example, PO-lice and DE-troit are words that use this stress pattern.\nSound Variability. The vowel sounds have noted variability between Black speakers and White speakers, according to Burling (1973). Blacks who were raised in the North preserved characteristics of the southern pronunciation /ail in words such as time, my, find, nde, etc. In African American English, vowel contrasts are lost under limited linguistic environments. These contrasts are not lost in Standard English. In addition, there are words that are homonyms in African American English. For example, oil becomes all and during becomes doing, to name a few (Dandy, 1991).\nThe Standard American English /th/ sound can be produced voiced or voiceless in the beginning position. In the production of the word this, the /th/ sound is voiced, while in the word think, the /th/ sound is voiceless. In African American English, in place of the voiced /th/ the /dl sound is substituted so that this becomes dis; in the voiceless production thin becomes tin. In ME, the middle and ending /th/ can be pronounced as If/ or /v/. An example of /th/ substitution is baf for bath. Wiv for wife is an example of /v/ substitution of /th/.\nQuestia, a part of Gale, Cengage Learning. www.questia.com\nPublication information: Book title: Understanding Storytelling among African American Children: A Journey from Africa to America. Contributors: Tempii B. Champion - Author. Publisher: Lawrence Erlbaum Associates. Place of publication: Mahwah, NJ. Publication year: 2003. Page number: 109.\nThis material is protected by copyright and, with the exception of fair use, may not be further copied, distributed or transmitted in any form or by any means.", "id": "<urn:uuid:6a8be6a1-ad41-4c34-8305-5e85d1d132d9>", "dump": "CC-MAIN-2013-48", "url": "http://www.questia.com/read/106215687/understanding-storytelling-among-african-american", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345760572/warc/CC-MAIN-20131218054920-00090-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.942356526851654, "token_count": 615, "score": 3.890625, "int_score": 4}
{"text": "Technology possesses the ability to enrich the mathematics. Teachers must be knowledgeable decision makers in determining when and how their students can use technology most effectively. Effective teachers maximize the potential of technology to develop students\u2019 understanding, stimulate their interest, and increase their proficiency in mathematics. When technology is used strategically, it can provide access to, as well as personalize the learning of, mathematics for all students (NCTM).\nTechnology is also a means to sharing best practices throughout the education community and encouraging open-source technologies to foster social networking (Deloitte, 2009).\nThe following MentorMob details technologies which foster the communication and creativity thinking of mathematics.\nSeptember 23, 2013\nSimulations have the potential of providing students with an engaging and authentic opportunity to investigate, hypothesize, analyze and share data. Many of the Math and Science Curricula Outcomes can be demonstrated through the use of simulations.\nThe 5 components of a Simulation:\n- A driving question\n- A design\n- Sharing with a purpose\nCreating a Chart or A Graph\n- Excel- available on SPS laptops.\n- Google Spreadsheet\nDemonstrating/Sharing the Learning\nTools Used During Workshop\nMarch 12, 2013\nWeb 2.0 Tools For Your Learners\nI have modeled one of the tools (JOGTHEWEB.COM) for you with a list of Web 2.0 Tools that you might be able to use with your students.\nJog The Web is a neat little tool that allows you to set up several links, each with their own page and description, that viewers can move through in order. To model its use, I added in a page for each of the sites I think you might be able to use with younger learners. To see my JOG \u2013 go to:\nAs you will see, you can move through the links on the left and see both the website and my description and it makes it easy for me to pick good sites for you to visit, rather than having you search on your own. This could be useful with students when you want them only visiting three sites YOU have evaluated in advance for readability and content.\nThe rest of the tools highlighted on the JOG are:\nWriting and Storytelling\nDecember 8, 2010\nYou can try out a free trial of the software at: http://www.inspiration.com/\nWhat is Kidspiration?\nCreated for K-5 learners, Kidspiration\u00ae uses the proven principles of visual learning to strengthen reading and writing skills, build conceptual understanding in math, and develop thinking skills across the curriculum.\nUse these examples and resources to help you start using Kidspiration with confidence and creativity.\nWatch the Quick Tour \u2013 MOVIE\nFor examples of HOW one might use Kidspiration in Social Studies, Math, Science and Language Arts, please visit the resource page on the Inspiration website. Or SEARCh the examples and lesson plans database.\nCan I use this with my SMART Board?\nYES!! See the tutorial \u2013 http://www.inspiration.com/videos/Kidspiration - scroll down to the Interactive Whiteboard Support under the OVERVEIW section at the bottom.\nScroll down to the list at the bottom of this page, http://www.inspiration.com/videos/Kidspiration and you will see a heading called Curriculum Applications. Each listing under this heading contains a quick movie that explains how to use Kidspiration across the curriculum.\nApril 21, 2010", "id": "<urn:uuid:56aab9b0-146f-4e64-8e49-9c062dca98f7>", "dump": "CC-MAIN-2013-48", "url": "http://schools.spsd.sk.ca/curriculum/techyteacher/tag/math/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163976781/warc/CC-MAIN-20131204133256-00091-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.872372031211853, "token_count": 713, "score": 3.734375, "int_score": 4}
{"text": "Tools for Balancing Literary and Informational Text in the Common Core Standards\nImplementation of the Common Core State Standards is an area of crucial focus in almost all states. Successfully meeting this challenge requires educators to remain cognizant of big-picture goals while deeply investigating detailed, interrelated subcomponents and building capacity for application.\nIn other words, Common Core State Standards require us to see the forest and the trees. Thinking Maps, a research-based instructional tool, can help us do just that. Thinking Maps are a series of eight graphic organizers designed to visually represent thought processes. One of these, the Brace Map, shows part-to-whole relationships and can be a powerful construct for seeing both the big picture and finer details.\nAt Sullivan County Board of Cooperative Educational Services (BOCES) in New York, we have done a great deal of work with teachers and administrators to support implementation of the Common Core English Language Arts/Literacy Standards. Initial stages of professional development targeted the instructional shifts for English language arts and literacy in history/social studies, science, and technical subjects. The shifts, as outlined on http://engageny.org, provide helpful guideposts for teachers to align their instruction and assessment practices.\nThe leap from understanding the theoretical descriptions of key instructional shifts to actually embodying the shifts in classroom practice, however, is one that requires concrete support in the form of examples, tools, and templates. The Text Genre Brace Maps below were designed to support teachers and schools in understanding the different text structures and incorporating them into the curriculum.\nElementary Grades K\u20135 Text Genres Brace Map\n(Click on image to see the full size.)\nGrades 6\u201312 Text Genres Brace Map\n(Click on image to see the full size.)\nThe Sullivan County BOCES website, www.scboces.org/commoncore, features these Text Genre Brace Maps and many other resources for implementing the Common Core standards. Reprinted with permission.\nOn the surface, the balance of informational text and literature seems straightforward enough. The Common Core State Standards Initiative, with reference to the National Assessment of Educational Progress, shows the percentage of informational text students need to read at the elementary, middle school, and high school levels, and these percentages are presented in the Brace Maps.\nBut in working with teachers and administrators, we learned that they often had differing interpretations of what was actually called for in practice, and they needed help to implement the appropriate balance of informational and literary text.\nUsing Text Genre Brace Maps to Balance Informational Texts and Literature\nAlthough the teachers we worked with consistently agreed that myths and folktales are literary works and science journals and social studies textbooks are classified as informational, other genres sparked debate. Initially, some teachers expressed plans to fulfill the 50 percent focus on informational text by reading additional narrative nonfiction, such as biographies and memoirs. Other teachers suggested reading more historical novels and realistic fiction that presented factual information. The Brace Map helped these teachers and administrators come to a common interpretation of the different genres, balance text types, select texts that represent a variety of text structures, and connect reading and writing across text types and text structures.\nTo help define classifications of text, Lynn Miller, Sullivan County BOCES library systems director, consulted with fellow librarians and referenced the Dewey Decimal System. Judy Carr, a consultant and ASCD Faculty member, color-coded the Brace Maps to distinguish narrative and expository text.\nThe results were these two categorical definitions that teachers could use to plan the appropriate balance of instruction in literary and informational texts:\n- Literature: Stories, drama, and poetry. Realistic fiction and historical fiction fall into the literature category and do not qualify as informational text.\n- Informational text: Predominantly follows an expository text structure rather than a narrative form and often includes print features, captions, tables of contents, indices, diagrams, glossaries, and tables. Although biographies and memoirs are informational in terms of their content, their narrative structure excludes them from being the predominant focus for instruction of informational text.\nThese conclusions are further supported by continued attention to the \"forest,\" or big picture. One of the big-picture goals of Common Core implementation is for college- and career-ready students to build content knowledge across disciplines through reading informational text. If teachers predominantly define biographies, autobiographies, and memoirs as informational texts, students\u2019 acquisition of content knowledge may be compromised significantly.\nProviding a graphic summary of texts\u2019 multiple structures makes clear the variety of structures that need to be taught and assessed. On a broader scale, districts can use the Brace Maps strategically to audit the range of texts to determine whether students have opportunities to read the appropriate balance of texts. Different structures, such as compare and contrast, cause and effect, and problem/solution, are essential aspects that students can use to both better understand texts and organize their own writing of similar types of texts (see Deborah Wahlstrom's resources on Text Structures for Different Types of Writing [PDF]). The structure of the text is also one aspect that can be examined through text-dependent questions when students are engaged in academic conversations (Zwiers & Crawford, 2011) about a text. Differing structures can be examined as part of the exploration of multiple texts.\nAs units and curriculum maps are refined to align with the Common Core standards, the Text Genre Brace Maps will support teachers and districts as they balance informational texts and literature to support implementation of the Common Core standards and the big-picture goal of college- and career-ready students.\nZwiers, J., & Crawford, M. (2011). Academic conversations: Classroom talk that fosters critical thinking and content understanding. Portland, ME: Stenhouse Publishers.\nDenise Alterio is an independent educational consultant and staff developer for Sullivan County BOCES.\nASCD Express, Vol. 7, No. 21. Copyright 2012 by ASCD. All rights reserved. Visit www.ascd.org/ascdexpress.", "id": "<urn:uuid:583aafb9-411e-4883-8ba9-31ed464471a7>", "dump": "CC-MAIN-2013-48", "url": "http://www.ascd.org/ascd-express/vol7/721-alterio.aspx", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163049608/warc/CC-MAIN-20131204131729-00087-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9182113409042358, "token_count": 1257, "score": 3.734375, "int_score": 4}
{"text": "Chickasaw Indian Facts\nThese Native Americans are a relatively small Indian tribe who settled in the Southeast U.S.\nafter migrating from the west. This area included river banks and waterways\nthroughout the states of Alabama, Mississippi, Tennessee, Missouri and Kentucky. The facts below will give\nyou information and insight into who the Chickasaw are, what they are known for, where they lived,\nand how their daily lives were structured.\nGeneral Chickasaw Indian Facts\n- When translated, the word Chickasaw means rebel or rebellion. It's a fitting term as these Indians had many\nenemies. They were known for their warlike tendencies and constant fighting with both surrounding tribes\nand the French.\n- They were forced to sell their land and move to Oklahoma by the U.S. government during the Indian Removal\nperiod in the 1830s and many Chickasaw still live there today.\n- They ate a diet of vegetables consisting mainly of beans, corn and squash. They also enjoyed a variety of\nnuts, fruits, and herbs. Tribal men hunted deer, bear, turkey, and other wildlife. They often made food such as porridge and hominy and drinks such as sassafras tea.\n- Today, English is spoken by most Chickasaw people, however preservation of the language is very important to the Chickasaw and there are about 1000 people that still speak Chickasaw today, most of them elders. The\nlanguage is described as easy on the ear and even musical sounding.\n- The tribe was known to use very specific and extreme forms of punishment such as execution, public whipping, beatings, hair cropping for women who participated in adultery, and even the use of dried snake teeth raked\nagainst the skin.\n- The Chickasaw tribe was named as one of the Five Civilized Tribes by white settlers. The Chickasaw,\nChoctaw, Cherokee, Creek and Seminole all most likely garnered this distinction because of their conversion\nto Christianity and their relatively advanced form of government. There tribes were not an alliance.\n- The Chickasaws were known for their beautifully colored baskets and containers. They would use natural\nresources such as sassafras root and sumac to make beautiful colored dyes for baskets and other arts and\ncrafts. Also popular were woodcarvings and pottery, known for its dark clay color. When materials for these items became scarce after the move to Oklahoma, beadwork and bead jewelry gained in popularity.\nFacts about Chickasaw Tribe Houses\n- The Chickasaw were a semi-nomadic tribe. Families lived in villages comprised of mini-complexes with more\nthan one house per family and sometimes up to 200 families.\n- The winter house was the largest shelter and built to protect against the cold winters. The summer house was\nsectioned into two rooms with plenty of ventilation and raised beds to maximize space.\n- There was also a ball field, a council house, a fortified stockade for shelter against attacks, a corn or\ngrain storage building and a ceremonial building.\nFacts about Chickasaw Roles of Men and Women\n- Although Chickasaw society was matrilineal and women controlled their own land and raised crops, they also\nheld traditional roles in the Chickasaw tribe. They tended to domestic life by cooking, cleaning and\nlooking after children. Women also looked after slaves which were often obtained through war with other\ntribes. Young girls had the option of spending their day as they wished but often chose to help their\n- The men were fierce hunters and warriors favoring the use of bows and arrows. They would often travel great\ndistances to hunt. Boys began training for warfare and hunting at a very young age.\n- Storytelling was an important way to pass down traditions and legends from one generation to the next and\nboth sexes participated.\n- Both men and women enjoyed music, arts, and crafts.", "id": "<urn:uuid:4164bf52-72d6-487e-95a1-74d00dd14ffc>", "dump": "CC-MAIN-2013-48", "url": "http://native-american-indian-facts.com/Southeast-American-Indian-Facts/Chickasaw-Indian-Facts.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163037851/warc/CC-MAIN-20131204131717-00093-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9830275177955627, "token_count": 818, "score": 3.890625, "int_score": 4}
{"text": "Writing is a medium of communication that represents language through the inscription of signs and symbols. In most languages, writing is a complement to speech or spoken language. Within a language system, writing relies on many of the same structures as speech, such as vocabulary, grammar and semantics, with the added dependency of a system of signs or symbols, usually in the form of a formal alphabet. The result of writing is generally called text, and the recipient of text is called a reader. Motivations for writing include publication, storytelling, correspondence and diary. Writing has been instrumental in keeping history, dissemination of knowledge through the media and the formation of legal systems. Under the influence of technologies such as data storage and computer networks, the pace of correspondence and potential for collaboration increased.\nAs human societies emerged, the development of writing was driven by pragmatic exigencies such as exchanging information, maintaining financial accounts, codifying laws and recording history. Around the 4th millennium BCE, the complexity of trade and administration in Mesopotamia outgrew human memory, and writing became a more dependable method of recording and presenting transactions in a permanent form. In both Ancient Egypt and Mesoamerica writing may have evolved through calendrics and a political necessity for recording historical and environmental events.\nIn restaurant terminology a table d'h\u00f4te menu is a menu where multi-course meals with only a few choices are charged at a fixed total price. Such a menu may also be called prix fixe (\"fixed price\"). The terms set meal and set menu are also used. This is because the menu is set; the cutlery on the table may also already be set for all of the courses.\nTable d'h\u00f4te contrasts with \"\u00c0 la carte\", where customers may order any of the separately priced menu items available if given.\nMcDonald's Corporation (NYSE: MCD) is the world's largest chain of hamburger fast food restaurants, serving around 68 million customers daily in 119 countries. McDonald's traces its origins to a 1940 restaurant in San Bernardino, California. After expanding within the United States, McDonald's became an international corporation in 1967, when it opened a location in Richmond, Canada. By the end of the 1970s, McDonald's restaurants existed in five of the Earth's seven continents; an African location came in 1992.\nIn order to cater to local tastes and culinary traditions, and often in respect of particular laws or religious beliefs, McDonald's offers regionalized versions of its menu among and within different countries. As a result, products found in one country or region may not be found in McDonald's restaurants in other countries.\nFood is any substance consumed to provide nutritional support for the body. It is usually of plant or animal origin, and contains essential nutrients, such as carbohydrates, fats, proteins, vitamins, or minerals. The substance is ingested by an organism and assimilated by the organism's cells in an effort to produce energy, maintain life, or stimulate growth.\nHistorically, people secured food through two methods: hunting and gathering, and agriculture. Today, most of the food energy consumed by the world population is supplied by the food industry.", "id": "<urn:uuid:7a15df9a-c835-4d76-9c0f-90b5e5145bad>", "dump": "CC-MAIN-2013-48", "url": "http://answerparty.com/question/answer/what-time-does-the-lunch-menu-begin-at-mcdonalds", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163051140/warc/CC-MAIN-20131204131731-00084-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9429594278335571, "token_count": 642, "score": 3.8125, "int_score": 4}
{"text": "Copyright \u00a9 University of Cambridge. All rights reserved.\nChildren are born with an ability to make sense of the world\nthrough play and storytelling. By creating narratives, they act out\nconcepts and ideas that confuse them or that they find fascinating.\nExamining the world in this way they are able to explore and relate\nto the variety of topics and subjects that the world throws at\nThis power of story to convey concepts and ideas to children has\nlong been recognised by educationalists. By connecting a topic to\nyoung children through narrative we are truly able to engage their\nemotions, and to help them understand the power of the ideas being\nexplored. Children are pulled in physically as they 'sit on the\nedges of their seats' wondering what will happen next and how a\ntense drama will be resolved. This is the power of a good\nA number of writers about narrative and education have considered\nthis. One of these is Canadian educationalist Kieran Egan (1989)\nwho suggests that children will engage with new ideas more readily\nif they are presented in the form of stories which have at their\nheart dramatic tensions between Binary Opposites, e.g. good and\nbad, hope and fear, love and hate. Egan suggests that it is\nprecisely these Binary Opposites that have the power to engage\nchildren as these are the tools they use in their everyday life.\nHis account is mainly theoretical although he does offer some story\nmodels through his numerous publications.\ngrains of rice by matching\nArtistic Director Trisha Lee and Arts Education Director Isla\nTompsett from MakeBelieve Arts became interested in Kieran Egan's\nwork having read \"Teaching as Storytelling\". They became fascinated\nin the idea that you could teach anything in this way, even\nmathematics. Something about the use of story and mathematics\nexcited and scared them. Supposing it was possible to to enrich a\nsubject that they had approached with trepidation? They enlisted\nthe help of Jenni Back, the Primary Coordinator of NRICH.\nWith only a belief in the power of story, MakeBelieve Arts felt\ninspired to devise narratives to be used in primary schools that\nwould present maths to children using this model. They felt that it\nwas vital to their approach that they took advice from NRICH to\nhelp them present the mathematical ideas and to make suggestions\nabout the curriculum areas that would lend themselves to this\napproach. Trisha, Isla and Malika Booker, a freelance poet and\nstoryteller began to explore how story could be used to engage\nchildren in mathematics.The project was funded by 'Creating\nSuccess' an Excellence in the City Action Zone and took place in a\nprimary school in Lewisham, London.\nAt the start of the project, Jenni Back worked with MakeBelieve\nArts and a small group of teachers drawn from the zone who were\ninterested in storytelling and mathematics. She worked with the\ngroup on material that is available here on the NRICH website to\nillustrate some stories with mathematical content and the group\nalso looked at stories that have a mathematical component like 'The\nHungry Caterpillar' by Eric Carle. In this story the mathematics is\nan 'add on' to the story, in the sense that the numbers are chosen\nin order, but they don't need to be there for the purposes of the\nnarrative. The group looked at some of the stories in The Tangram\nproblems found on the NRICH website, written by Lyndon Baker, which\nis presented as dialogue and involves children talking about\nmathematics and its meaning. By examining a variety of the existing\nstory forms available around mathematics the group became aware of\nthe lack of Binary Opposites or dramatic urgency in these\nThe afternoon was then spent in a workshop considering the Binary\nOpposites necessary for a good story and following the story model\ncreated by Kieran Egan. They began creating a series of narratives\nwith mathematical ideas at their core.\nIn an examination of the topic of standard and non-standard\nmeasurements the group questioned what is at the core of this\nlesson. What is fundamentally exciting about the topic? The\nconclusion lay in the fact that if you measure with, for example,\nyour hands, then a person with larger hands would measure larger\nquantities than a person with smaller hands. If they were providing\nyou with cloth for a dress then one person's measurements would be\nmuch smaller than another. The binary opposite of 'fair' and\n'unfair' arose out of this exploration and a story about a merchant\nwho was taken ill and replaced by his daughter and her tiny hands\n|Jenni Back left MakeBelieve Arts to develop their stories and\nreturned a few weeks later to view their progress. She watched them\npresent their work to a class of Year 1 pupils. This first story in\na series of five was set on the island of Sunobia and was about\ncounting using base ten. The king needed to count his army to avoid\nthe threat of invasion but couldn't manage this efficiently until\nhe had adopted counting in base ten. Before that he had trouble\nkeeping track of where he was in his counting and ended up with\npiles of pebbles that matched his soldiers but with no idea of the\nnumber in the pile. The children were actively engaged in the story\nas well as the practical activities.\ntrying to count grains of rice\nThe children offered a lot of\npositive feedback when asked about the experience three weeks\nlater. One group remembered that they tried to find out ...\n\"How many children were in the\nclass and they tried just counting them, and then the second\ncounsellor put everyone by a rock and then they made a pile of\npebbles and then had 10 pebbles each and a basket and that way it\nThe children came up with imaginative ideas about the sort of\nstories that they would like to explore ...\n\"We could do stories where we count\nin 10s or 2s or 5s.\"\n\"We could have a story where we\ncollect and count shells.\"\n\"I liked putting pebbles in the\nbaskets and counting was best.\"\nMakeBelieve Arts are continuing to develop this work further in\nconsultation with Jenni Back and there are plans to expand the work\nto cover topics from throughout Key Stage 2 and the Foundation\nStage curriculum. They are happy to send out a termly newsletter to\nany setting interested in their approach. Trisha Lee can be reached\nat MakeBelieve Arts, 4 Millmark Grove London SE14 6RQ, telephone\n020 8692 8886. The e-mail address is: email@example.com.\nEgan, K. (1989). Teaching as Storytelling Routledge", "id": "<urn:uuid:57e19107-c007-4181-b2f6-a97f5abe2b21>", "dump": "CC-MAIN-2013-48", "url": "http://nrich.maths.org/2433/index?nomenu=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163065409/warc/CC-MAIN-20131204131745-00091-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9704544544219971, "token_count": 1441, "score": 3.609375, "int_score": 4}
{"text": "FOLK ARTS & CULTURE\nFolk Tales & Legends\nTraditional storytelling, like other traditional folk arts, is a form of cultural expression. John Thorn, in his Play column in Voices [\u201cAh Fib,\u201d, 34(1\u20132), 2008] asserts, \u201cMy take is that you can\u2019t spell \u2018history\u2019 without \u2018story,\u2019 and stories are things we make up to reassure ourselves that the world as we know it will continue.\nIn \u201cThe Grateful Terrorist: Folklore as Psychological Coping Mechanism,\u201c Trisha Smith et al. [Voices, 36(1\u20132), 2010) subscribe to D\u00e9gh\u2019s postulate that stories about \u2018horrible criminal acts, devastating natural catastrophes, alien invasions, life-threatening conspiracies against common people by powerful interest groups or governments...have spread like wildfire because they mesh perfectly with the anxieties of ordinary people...\u2019 They discuss the legend of the grateful terrorist in the context of 9/11, noting that it became so prevalent, that Coca-Cola posted a product safety reassurance to their customers. The themes of this modern urban legend can be traced across 2000 years.\nJack Gladstone. Photo: Karen Vaughn\n|Jack Gladstone, a great great grandson of Chief Red Crow, retells \u201ctraditional Blackfeet tales, honoring those stories sacred to Blackfeet and other nations\u2019 cultural histories, restoring oral history through oratory (what he calls \u2018storatory\u2019)\u2014everything in language that reminds us that all life is fundamentally spiritual...\u201d The stories were told to him by his grandmother, passed down through his family. \u201cShe recounted the stories of her life and the mythology of their Blackfeet Indian people, something Gladstone holds sacred to this day.\u201d|\n[From \u201cOral Culture and History Today: Joanne Shenandoah and Jack W. Gladstone\u201d by Linda Rosekrans, in Voices 33(3\u20134), 2007]\nLibby Tucker, writes about legend quests to explore supernatural events. She reviews the literature, including Linda D\u00e9gh\u2019s articles on adolescent trips to haunted sites, and Bill Ellis who has written on the legend trip\u2019s meaning, as an act of rebellion involving storytelling, invocation of a supernatural presence, and resultant discussion. He describes antisocial behavior, such as defiling tombstones. Libby explains that for college students, these quests are more meaningful. \u201cWhat seems to intrigue college students most is the opportunity to play a role in a strange\u2014perhaps supernatural\u2014drama linked to past tragedies. By visiting legend sites, students try to discover whether supernatural forces are real and to answer other important questions. They also build up intense feelings that range from excitement to horror and fear.\u201d [\u201cLegend Quests,\u201d by Libby Tucker, in Voices 32(1\u20132), 2006.\nAVAILABLE IN OUR ONLINE BOOKSTORE:\nLibby also writes a regular \u201cGood Spirits\u201d column for Voices exploring stories of ghosts of the ICU, ghosts that refuse to go away, ghosts in photographs and videos, haunted dolls, inns, houses of horror, and many more tales of the supernatural.\nSteve Zeitlin writes about scientists as storytellers. He discusses how scientists use stories to explain their theories, that they \u201cshare an evolving body of stories and metaphors\u2014a kind of folklore of science\u2014that can convey their ideas in lay terms.\u201d [\u201cScientists as Storytellers,\u201d by Steve Zeitlin, in Voices 29 (3\u20134), 2003]\n\u201cAmong East Hampton\u2019s fishing folk,\u201d John Eilertsen writes that, \u201cthese stories and many like them educate youngsters about the \u2019things they ought to know about life,\u2018 as one fisherman once explained to me.\u201d Read \u201cTales of an Island: Fishing and Fishermen on Long Island\u2019s East End.\u201d here. [New York Folklore Society Newsletter, Fall/Winter 1998].\nThe New York Folklore Quarterly (NYFQ) is a rich source for collections of tales. Many of these issues are no longer available, but it\u2019s possible to order single articles. Check the tables of contents for order forms. Here\u2019s of sampling of what you can find:\n\u201cCountry People and Yankee Storytellers: New Hampshire Local Anecdotes,\u201d by Ben A. Botkin, NYFQ XX(4), 1964.\n\u201cThe Little People: Some Irish Lore of Upstate New York,\u201d by Louis C. Jones, NYFQ XVIII(4), 1962.\n\u201cTales from Tug Hill,\u201d by Marion Williams, NYFQ XIII(1), 1957.\n\u201cItalian Tales in New York City,\u201d by M. Jagendorf, NYFQ XI(3), 1955.\n\u201cTales of Buried Treasure in Rochester,\u201d by Dorothy Dengler, NYFQ II(3), 1946.\n\u201cHorse Tales,\u201d by Helen Ireland Hays, NYFQ XX(4), 1964.\n\u201cLegends of an Adirondack Grandfather,\u201d by Miriam Whitney White, NYFQ XXII(2), 1966.\n\u201cIl Paisano \u2014 Immigrant Italian Folktales of Central New York,\u201d by Rosemary Agonito, NYFQ XXIII(1), 1967.\n\u201cAmerican Folktales from the Recent Wars,\u201d by Catherine Harris Ainsworth, NYFQ XXIX(1), 1973.\n\u201cThe St. Lawrence River Skiff and the Folklore of Boats,\u201d by Richard Lunt, NYFQ XXIX(4), 1973.\nBill Smith: Traditional Storyteller and Adirondack Basket Weaver\n|Bill Smith is a well-known storyteller and basket maker who tells traditional tall tales of the Adirondacks as well as stories of his growing up in the North Country. He mixes narratives about the humorous antics of relatives and community members with song to present portraits of life in this region of the State.\nREAD a transcript of this documentary from Voices, Fall-Winter 2001.\nHEAR THE DOCUMENTARY\nSee also \u201cThe Game Warden\u201d by Bill Smith in the New York Folklore Society Newsletter, Fall/Winter 1998.\nAdditional titles in Voices on legends and their study include:\n\u201cLegends, High School History Classes, and the Scholarship of Teaching and Learning,\u201d by Sandra K. Dolby, Voices 31(1\u20132), 2005\n\u201cHumor, History, and Tall Tales: Rereading the Adirondack College Student,\u201d by Andrew Shawn Andermatt, Voices 33(3\u20134), 2007\n\u201cThe Absentminded Professor: A Case Study of an Academic Legend Cycle,\u201d by Michael Taft, Voices 33(1\u20132), 2007", "id": "<urn:uuid:7b05c908-ada0-4fba-873c-4bccd55c6c04>", "dump": "CC-MAIN-2013-48", "url": "http://www.nyfolklore.org/tradarts/tales.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163999838/warc/CC-MAIN-20131204133319-00094-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9178798794746399, "token_count": 1483, "score": 3.5, "int_score": 4}
{"text": "A critical analysis suggests that the short story's \"hidden\" message can be decoded and determines if it was clearly conveyed. The student must decide what the story is about and defend that decision with examples from the story itself.\nItems you will need\n- Short story\n- Specific directions from instructors for this assignment\n- Opinions about the story's meaning and construction\nState, Support, and Judge the Meaning of the StoryStep 1\nDecide what the meaning of the story is. State it in one sentence. Because of their brevity and selective number of characters, short stories generally aim to evoke a single emotional response in a reader. What was the point the author tried to make to the reader? If the story has more than one meaning, choose the most important for this essay.\nAnalyze the story's literary elements. Study the theme, characters, setting, plot, conflict, tone, point of view, and irony for clues as to how the author tried to make his point. Do the characters have flaws that readers can relate to? Does the conflict come about through misunderstanding? Who is narrating the story and how are events altered from this perspective? If the story contains irony, point out how it relates to the story's meaning.\nUse quotes from the short story to support your idea. Point out passages that show the author's meaning as it unfolds. Perhaps a character is manipulative. Quote dialogue from that character showing she assumed she knew what's best for everyone. Continuing with that example, if the author's message is that people who try to control everyone else are the most predictable and therefore most easily manipulated, quote parts of the story that convey this idea.\nBe critical and judge the short story. This is where opinions count. If the author conveyed meaning well and consistently, say so. If clarity was lacking or the meaning got lost in places, explain that. For example, in \"The Necklace,\" a short story by Guy De Maupassant, incidents in the life of a French couple in the 1800s show how materialistic, resentful, and uncaring a woman is toward her husband. The reader might be left with the impression that the husband is long-suffering, patient, and loving as he gives up his inheritance to pay for a necklace his wife borrowed and lost. In a critical analysis, however, it could be stated that De Maupassant did a poor job of showing both sides of the story and could have related more realistically the passive-aggressive traits of the husband, who after all, has chosen to indulge a materialistic partner.\nRestate your ideas in brief by summarizing previous paragraphs. End the paper by repeating the meaning of the story in one sentence.\n- Public Domain/wikimedia.org", "id": "<urn:uuid:f6d27eb8-5d56-42ba-8dd5-d6b06f09942b>", "dump": "CC-MAIN-2013-48", "url": "http://classroom.synonym.com/write-critical-analysis-short-story-4546.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163811461/warc/CC-MAIN-20131204133011-00095-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9638943672180176, "token_count": 560, "score": 4.0, "int_score": 4}
{"text": "Trail of Tears Commemorative Park\nand Heritage Center\nHopkinsville, KentuckySummary/About the Location | Teachers Guide | Sample Trip Outline\nPLANNING TIP: Videotape your day at the park. Then, back in the classroom, give your students an opportunity to respond to the field trip activities they performed.\nDescription of Field Trip\nThe Trail of Tears Park is a little-known Kentucky treasure that provides students with a combination indoor/outdoor field trip location at which it is possible to incorporate history, nature, and the arts. The benefit to students at this venue is that they have an opportunity to see firsthand the consequences of the so-called Trail of Tears for the Cherokee nation.\nThe dramatic nature of the Cherokee experience on the Trail of Tears is one that students can explore in mime, tableau, spoken word, and ceremonial (including dance) activities. Visual art activities can also be introduced into the event. Giving students opportunities to act out traditional Cherokee myths and legends, as well as stories from the Trail of Tears, gives them not only experience with the elements of performance, but also a chance to use their imaginations to re-create the experiences of another culture.\nThe key to making this field trip work is to determine how many (or few) activities you can reasonably accomplish with the time that you have and the number of students and parent chaperones available to you. For example, older students may be able to develop and perform several scenes in small-group work, while younger students would benefit from one or two scenes and/or formal dances in which they all have a role. While it is a more rounded experience to include multiple art forms (e.g., making a dreamcatcher, writing a poem, performing a scene, learning a ceremonial dance), if each of these is so rushed that there is no time for reflection, you will be better off selecting one or two activities that the students can really spend time on. Evaluating the day can be accomplished through written reflections back in the classroom and a pre- and post-field trip test to assess vocabulary and content.\nPLANNING TIP: Before or after the field trip, show students the video of master storyteller Marilou Awiatka telling the traditional Cherokee story Little Deer and Mother Earth from the Storytelling Sampler in the Drama Arts Toolkit. Program 7 of the KET series Telling Tales also includes contextual background and discussion.\nIdeally, students should prepare for this field trip by learning about the Cherokee culture in the classroom. A good resource for learning about the history and culture of the Cherokee is the www.cherokee.org web site, which includes a student section. Reading Cherokee myths and legends should also be part of the preparation; books include Two Bad Boys and many compilations of Native American stories. After reading the stories, students can begin to create short scenes through improvisation, adpating the story that theyve heard, and creating dialogue from the narrative. The Hopkinsville park also has a number of resources that can be used in the classroom, including information about tribal dress, dances, and the Cherokee alphabet.\nBack in the classroom, follow-up activities can include adapting traditional stories, myths, and legends from African culture (or other cultures included in the Core Content) into plays. This project reinforces the use of drama to enhance reading. Students can also write personal narratives of what the Trail of Tears experience might have been like, based on the information they learned at the park.\nExpanding the Idea\nMany field trip locations can be used as backdrops for dramatizations of the stories of the people who once lived there and the context of the venue. Re-creating a Native American-specific field trip would mean finding another location rich in the history of a particular tribe or family. Many other historic homes and sites also have stories to tell about our Commonwealth that can enrich classroom work and come alive through the use of drama, dance, and the other arts.", "id": "<urn:uuid:b9e5c511-e404-4cef-9d00-1522f61aa5bf>", "dump": "CC-MAIN-2013-48", "url": "http://www.ket.org/artstoolkit/general/trips/trailoftears_guide.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164038825/warc/CC-MAIN-20131204133358-00096-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9490629434585571, "token_count": 819, "score": 3.53125, "int_score": 4}
{"text": "Storytelling has been around since time began- it was the way people passed down their history and legends before we started writing and storing things. Storytelling is still a valid and important part of society.\nEncouraging storytelling in your family builds imagination. It helps children to think outside the square. It helps them to stretch their imagination, especially when they\u2019re told that anything is possible in a story.\nStorytelling is different to just reading a book or a story to your children. Storytelling can involve the whole family, everyone being involved in the story making process. Something that comes to mind in this case is a movie, Bed Time Stories with Adam Sandler. If you don\u2019t know the movie, Adam Sandler\u2019s character\u2019s life changes when he starts telling his niece and nephew bed time stories. They were pretty special stories because they magically came true.\nThis is the sort of effect we want to have on children when storytelling. Children have an amazing capacity to dream and imagine. If bed time stories were told rather than read, everyone can have a chance to say what they want in the story.\nTelling oral stories has a place in life. It is especially used in tribal family groups in order to pass down legends and family history. In the past, these stories passed down morals and values to children in this process and because these stories are told from when the child is very young, they subconsciously remember it and it will hopefully guide the way they live or behave.\nAs children grow, they are able to take part in the storytelling process, as long as they know that anything\u2019s possible in a story. There should be ground rules- turn taking and one person at a time and all that sort of thing, but the most important rule should be that they are allowed to say anything- they have to use their imagination.\nStorytelling has even more advantages- it helps to improve a child\u2019s literacy skills and helps them to predict what is going to happen next- they learn to tell stories, they learn to use their imagination and they learn to predict, to look into the future. This is a skill that they\u2019ll be able to use in other areas of life.\nChildren will also be able to learn vital life lessons from storytelling- especially story telling as a group. They will learn that their a consequences for actions and that when you make a choice or a decision on something, it affects more than just them. Story telling can also boost a child\u2019s confidence and will help them to build on their vocabulary and language skills. Story telling will help children to develop communication and conversation skills.\nWhile reading stories to kids is great and does help them to an extent, actual story telling where it\u2019s a complete creation on its own will help to develop far more skills. Telling stories is a way to tell history- get out family photos and tell of the time you were running in the street and hurt yourself. Tell of times you were travelling and what you had to do.\nTo help your child to learn literacy skills, keep structure in your story telling. Set the scene and the characters. Have a complication that helps children to learn consequences for actions. Most of all, though, make it fun- children will come back for more. Use toys and props- as characters and settings and other parts of the story. The children will love it, even more so if they can be a part of it!\nEnjoy story time with your children. They grow up so fast that before too long, they won\u2019t be interested in it anymore!", "id": "<urn:uuid:a0f9d43d-6a3b-4e7d-b133-6140b4e007bb>", "dump": "CC-MAIN-2013-48", "url": "http://www.eileengeiger.com/the-importance-of-story-telling/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163048614/warc/CC-MAIN-20131204131728-00096-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9738389849662781, "token_count": 738, "score": 3.828125, "int_score": 4}
{"text": "Free Creative Writing Worksheets\nThis section of our web site features over 100 creative writing activities for young people. Our printable classroom materials include thank you notes, blank themed writing paper, poetry activities, and more. It is our hope that your students enjoy all aspects of the writing process and learn about themselves and the world around them in the process.\nIn order to view and print these worksheets you will need to have Adobe Reader version 6 or later. You may download the latest version of the free Adobe Reader here.\nPrinting Tip: If a worksheet page does not appear properly, reload or refresh the .pdf file.\nCreative Writing Worksheets\nPoetry Worksheets and ActivitiesMy Alphabet Poem - Choose from two page designs and write a poem about yourself beginning each line with a letter of the alphabet.\nMonths of the Year Acrostic Poems - This file includes 12 pages, one for each month of the year, providing students with the opportunity to write a new poem each month.\nSpring Acrostic Poem - Write a poem about spring and begin each line with a letter from the word spring.\nSunflower Acrostic Poem - Write a cheerful, acrostic poem about sunflowers!\nAutumn Acrostic Poem - Write a poem about this season using the letters in the word autumn.\nQuotation Worksheets and ActivitiesQuote Worksheet #11 - Read the quote from Ralph Waldo Emerson and write what it means to you.\nQuote Worksheet #10 - Read the quote by Ralph Waldo Emerson and answer the question.\nQuote Worksheet #9 - Was Charles Dickens giving his readers advice when he wrote this? Write about what this advice means.\nQuote Worksheet #8 - Do you think Helen Keller said this because she was deaf and blind?\nQuote Worksheet #7 - Henry David Thoreau has a simple thought full of meaning. Write about it!\nQuote Worksheet #6 - This quote from John Adams is a great talking point for history class!\nQuote Worksheet #5 - Read this quote. Do you think Nathan Hale was patriotic?\nQuote Worksheet #4 - Read this quote from Abigail Adams then write what it means to you and list three ways in which young people can be of service to others.\nQuote Worksheet #3 - Thomas Paine is quoted here on the importance of character. Can you write about character then list three honorable character traits?\nQuote Worksheet #2 - Read this quote from Thomas Jefferson, write about it and tell about a time you rebelled.\nQuote Worksheet #1 - Do you agree or disagree with Benjamin Franklin? Either way, write about it!\nMiscellaneous Creative Writing and Language Arts WorksheetsStory Solutions - Write an ending to each brief story.\nSeed Story Worksheet 3121 - Write a story to accompany the pictures.\nCreative Writing Activity 1 - Write a story to go with the picture of a boy showing his mother something in a box. For primary grades.\nCreative Writing Activity 2 - Write a short story about what this cowboy sees in the package. For upper elementary grades.\nA Serious Question - This file includes a coloring page with the poem A Serious Question and a worksheet page in which students re-write the poem and draw a picture to accompany it.\nLook, Think, and Write Worksheet Set 1 - Select any one of ten different illustrations for your students to write about.\nWrite a Story 1 - Write a story to accompany the picture of a boy chasing a frog.\nMy Favorite Things - On these four pages you students will write about such things as their favorite toy, foods, and activities. Students will also illustrate each favorite thing they write about.\nStegosaurus Words Make words using the letters in stegosaurus, color the picture, and list facts you know or learn about this dinosaur.\nPachycephalosaurus - List facts and make words from the letters in this dinosaurs name.\nMy Feelings - First, students will complete the data sheet about things that make them happy, sad, afraid, etc. Students will use the information to write a book of acrostic poetry about their feelings. This activity requires five sheets of paper to make the book.\nWhen I Went to. . . - Students will write about a place they have been to.\nBiography - Write a short biography about someone you know.\nMy Vacation Journal - Help your students continue to improve their writing and fine motor skills this summer. This 38 page printable book includes a full 14 days of writing activities as well as a place to draw pictures and add photographs.\nStationery and Writing PaperFriendly Spider Paper - This file includes three styles of writing paper adorned with cute spiders. Print the style of paper best suited to your child or students for their next Halloween writing activity.\nFall Stationery - This file includes two color and two black and white decorated papers, lined and unlined for drawing.\nFall Stationery #2 - Four pages of fall themed writing or drawing paper, two color and two black and white.\nPresident's Day Stationery - Choose the line style you like and have students write about a past or present president.\nTropical Stationery - Four styles of tropical themed paper for writing and drawing activities.\nTruck Paper Writing activity - You preschool or kindergarten child can color the truck, write a story, and personalize it by pasting their picture in the cab of the truck!\nThemed Thank You Notes\nTo some, the writing of thank you notes is a lost art. They simply ignore a gift or kindness or perhaps send an email or text message as an acknowledgement. I truly believe your child or students will benefit from the practice of writing thank you notes. They will have the opportunity to practice their handwriting and grammar as well as learn to be grateful when others think of them with a gift or through a kind act. Who can your child thank today?\nOne thank you note per page for primary grades.\nDog Theme Thank You Note\nWhale Theme Thank You Note\nPorcupine Theme Thank You Note\nTurtle Theme Thank You Note\nMouse Theme Thank You Note\nKoala Theme Thank You Note\nTwo Dog Theme Thank You Notes\nTwo Whale Theme Thank You Notes\nTwo Porcupine Theme Thank You Notes\nTwo Turtle Theme Thank You Notes\nTwo Mouse Theme Thank You Notes\nTwo Koala Theme Thank You Notes\nAll worksheets created by Tracey Smith\nYou may also like. . .\nBanish Boring Words!\n350 Fabulous Writing Prompts\n500 Writing Prompts for Kids: First Grade through Fifth Grade\nCliffhanger Writing Prompts: 30 One-Page Story Starters\nDid you know that . . .\nThis page has over 126 creative writing worksheets and related printables.", "id": "<urn:uuid:659d6176-55c2-4e11-8761-efcbe7af0667>", "dump": "CC-MAIN-2013-48", "url": "http://www.tlsbooks.com/languageartscreativewriting.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386165000886/warc/CC-MAIN-20131204135000-00095-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9020549058914185, "token_count": 1411, "score": 3.578125, "int_score": 4}
{"text": "ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you.\nFind the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.\nTeacher Resources by Grade\n|1st - 2nd||3rd - 4th|\n|5th - 6th||7th - 8th|\n|9th - 10th||11th - 12th|\nLife is Beautiful: Teaching the Holocaust through Film with Complementary Texts\n|Grades||10 \u2013 12|\n|Lesson Plan Type||Standard Lesson|\n|Estimated Time||Five 50-minute sessions|\nAfter students have read a book about the Holocaust, such as The Diary of Anne Frank or Night by Elie Wiesel, students will view Life is Beautiful and complete discussion questions that challenge their ability to analyze literature using film. When the film is complete, students will write a letter to the director conveying their opinion of the film.\n- Letter Generator: Students use this interactive to write letters to the director of the film they view in this lesson.\n- Exit Slips: This strategy/tool is one of the many ways that the teacher can check for students' understanding in this lesson.\nIn Reading in the Dark: Using Film as a Tool in the English Classroom, John Golden writes, \"[W]e know, or strongly suspect, that the skills [students] use to decode the visual image are the same skills they use for a written text, and our goal, therefore, is to use that immediate interest in and uncanny ability with film and make it work for us\" (xiii). In this lesson, an entire film is used to support a complimentary text that has the same themes.\nUsing a high-interest and entertaining film, it will allow the students to engage in the post reading activity and further support the skills that they would use if using only the print text. There are many benefits to teaching an entire film with corresponding texts. The film can introduce students to film technique, narrative structure, and allow them to examine a variety of genres. Furthermore, young adults tend to be visually oriented in these contemporary times. Teaching an entire film to a class has sometimes been looked down upon as a waste of time or inefficient. However, if done correctly, teaching an entire film can offer students an opportunity to learn about prediction, characterization, themes and setting.\nGolden, John. 2001. Reading in the Dark: Using Film as a Tool in the English Classroom. Urbana, IL: NCTE.", "id": "<urn:uuid:4a4f9e1c-eb28-4e71-a210-5a4589a1d945>", "dump": "CC-MAIN-2013-48", "url": "http://www.readwritethink.org/classroom-resources/lesson-plans/life-beautiful-teaching-holocaust-30851.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164035500/warc/CC-MAIN-20131204133355-00094-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9221732020378113, "token_count": 561, "score": 4.15625, "int_score": 4}
{"text": "The Rider, the Elephant, and Storytelling\nThrough the centuries, generations have passed on wisdoms about the mind. Recently cognitive and social psychology research has indicated that a lot of this wisdom was true. In his book The Happiness Hypothesis, Jonathan Haidt discusses ten such wisdoms and how they can be applied to our lives today. Haidt also discusses the evolution of certain parts of the mind. In this commentary, I will be focusing on the origins of the storyteller and how it advises and explains our intuitive gut reactions.\nBuddha described the mind as a wild elephant, who will do as it pleases. Plato also used a similar metaphor, describing the soul as a chariot and the rational part of the mind as the charioteer, who must control the chariot. Similarly, Freud suggested that the mind is divided into the ego, the superego and the id. The ego is rational, the superego is committed to the rules of society and the id is the desire for pleasure. Haidt describes their interaction as that of a horse and buggy in which the ego is the driver trying to control the noncompliant horse and the superego is the father of the driver informing him about what he is doing wrong.\nA division in the brain which is analogous to these metaphors is that between controlled processes and automatic processes. Automatic processes are those mental processes that occur automatically without our conscious control. Most of our mental processes are automatic. Controlled processes are those processes that require conscious effort, thus can only be done one at a time. Automatic processes developed as the brain evolved and became more and more efficient. Controlled processes however, evolved only after language developed as planning and analyzing different choices requires words. Since they have not evolved as much as automatic processes, they are not as perfect. Haidt compares these two processes to the rider and the elephant. The rider (controlled processes) developed to attend to the elephant (automatic processes). The elephant is responsible for quick and dependable actions, while the rider advice the elephant and helps make better choices, but cannot order the elephant to do something. In fact, if the elephant, which also consists of gut feelings, emotions, and intuitions, does something inexplicable, the rider makes up a story to explain the behavior.\nThis delicate balance and mismatch between the rider and the elephant can explain the irrationality with which humans often behave and the lack of willpower humans often exhibit. In a study conducted in 1970, children were asked if they would rather have one marshmallow now or two after a little while (assuming the child likes marshmallows). If the children chose the latter, the experimenter left for a few minutes instructing the child to ring a bell if he wants the marshmallow before he returns, in which case he will be given one marshmallow. However, if the child is able to wait the whole time, he or she will get two marshmallows. It was found that children who were able to wait longer possessed greater control over their desires and thus were more emotionally intelligent. As teenagers, they were able to better focus on their studies and went to better universities. These people have a skilled rider who knows how to control the elephant without aggravating it.\nStorytelling was an idea often talked about during this course. Science was described as a storytelling process in which we explain a set of observations and revise the explanation if we observe something different. One of the tasks of the rider is to explain all behavior of the elephant; to tell a story about why it behaved the way it did. Our brain is constantly putting together everything it observes about the world and tells us a story about the world. Brand naming is an attempt to give meaning to an object and tell a story about it. When I look at a painting I know instantly whether I like it or not. However, it is only after someone asks me why, do I think what exactly it is about the painting that I like. Do I like the colors or the way it is painted or the theme of the painting? Liking or disliking the painting is my gut reaction from the elephant, which the rider tries to explain later. Similarly, morality is both an individual and a social story. The elephant immediately judges actions to be moral or immoral and the rider must come up with a persuasive answer describing why. Sometimes we cannot come up with a reason why an action is immoral, but we just know that it is. All of these are ingrained in our cognitive unconscious and we create stories to justify these feelings.\nThe rider has evolved to serve the automatic processes of the elephant. It can see into the future and advise the elephant on choices. It is also a storyteller and creates stories to justify the actions of the elephant. Often these are stories that we not only tell ourselves, but also share with the world. Storytellers can learn from each other and contribute to each other\u2019s stories. They and govern our interactions and shape the sort of people we are.\nHaidt, Jonathan. The Happiness Hypothesis. New York: Basic Books, 2006.", "id": "<urn:uuid:5bc36e8b-eef4-4333-b6be-1a969b27a97a>", "dump": "CC-MAIN-2013-48", "url": "http://serendip.brynmawr.edu/exchange/node/4307", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00095-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9714517593383789, "token_count": 1045, "score": 3.53125, "int_score": 4}
{"text": "The Six Pillars of Character:\nWho Developed the \"Six Pillars of Character\"?\nThe language itself came out of a summit conference on character education convened by the Josephson Institute in 1992 in Aspen, Colorado. The diverse group of educators, youth leaders and ethicists who gathered there to investigate ways of working together agreed unanimously that these six values are clearly central to ethical people's lives, regardless of their differences. Whose values? Some 40 states and almost 1,000 cities, counties, school districts and chambers of commerce (plus the President, the U.S. Senate and House of Representatives) have endorsed CHARACTER COUNTS! and its \"Six Pillars\" approach to community-wide character education.\nTeaching Children About the \"Six Pillars of Character\":\nThe most important thing that children should take away from character development training is that:\nThe teacher's role in character education is to introduce a lesson/topic of the \"Six Pillars\" one at a time. Dr. Borba, author of Character Builders, says there are five steps to building these character traits. The first is to target the desired behavior for 21 days. The second is to define the needs and values of the trait. The third step is to teach what the trait looks like and sounds like. The fourth is to provide structured practice for 21 days. The fifth is to reinforce the trait through immediate feedback and encourage uses for the trait in life.\n- Their character counts and their success and happiness will depend on who they are inside\n- That people of character know the difference between right and wrong and that these people use the \"Six Pillars of Character\" as a guide to their thoughts and their actions.\nBuilding character in children can also be reinforced through the use of visual and activity tools throughout the day. Posters, activity books and other small, creative and fun ideas can make this a project in which kids want to participate!\nOnce the process of character building has begun, the Josephson Institute suggests teachers and parents:\n- Be Consistent. The moral messages you send must be clear, consistent and repetitive. Thus, everything you say and do, and all that you allow to be said and done in your presence, either reinforces or undermines the credibility of your messages about the importance of good character. Be as firm and consistent as you can be about teaching, advocating, modeling and enforcing these \"Six Pillars of Character\". The intention is to foster the virtues of good behavior via constant \"teachable moments\".\n- Be Concrete. Building character and teaching ethics is not an academic undertaking, it must be relevant to the lives and experiences of your children. Talk about character and choices in situations that your children have been in.\n- Be Creative. Effective character development should be creative. It should be active and involve the child in real decision-making that has real consequences. Games and role-playing are also effective. Look for \"teaching moments,\" using good and bad examples from TV, books, movies, and the news.\nSumming It Up:\nDr. Kevin Ryan outlines the teaching of character development education best in his article, The Six E's Of Character Education:\nThe end result of character development education: Children who, as adults, will contribute to the community, and whose moral leadership, values and citizenship will make the world a better place.\n- Example. Example is probably the most obvious way to model character education. Another method for moral modeling is to teach the moral truths embedded in literature and history.\n- Explanation. We need to practice moral education by means of explanation - not simply stuffing students' heads with rules and regulations, but engaging them in great moral conversations about the human race.\n- Exhortation. Used sparingly and with explanations, helps children and employees understand that a a good student or worker is someone who makes class contributions, does homework and assists other students.\"\n- Ethos. Providing an ethical environment - climate within a classroom promotes a steady and strong influence in the formation of character and the student's sense of what's right and wrong.\n- Experience. Providing students both in-and out-of-school opportunities to serve.\n- Expectation of Excellence. Excellence in school work and behavior will encourage students to develop qualities like perseverance and determination, and those virtues will affect every aspect of the children's lives as they mature.", "id": "<urn:uuid:d22ff6d9-4110-468e-bbbe-0964f09e2f14>", "dump": "CC-MAIN-2013-48", "url": "http://www.albioncharacter.org/six_pillars.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345777253/warc/CC-MAIN-20131218054937-00097-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9501487612724304, "token_count": 898, "score": 3.765625, "int_score": 4}
{"text": "To be a functioning adult in a mediated society, one needs to be able to distinguish between different media forms and know how to ask basic questions about everything we see, read or hear.\nAlthough most adults learned through literature classes to distinguish a poem from an essay, it\u2019s amazing how many people do not understand the difference between a daily newspaper and a supermarket tabloid, what makes one website legitimate and another one a hoax, or how advertisers package products to entice us to buy.\nSimple questions about the media can start even at the toddler stage, planting important seeds for cultivating a lifetime of interrogating the world around us. Parents, grandparents, even babysitters can make a game of \u201cspot the commercial\u201d to help children learn to distinguish between entertainment programs and the commercial messages that support them. Even children\u2019s picture books can help little ones grasp the storytelling power of images\u2014\u201dAnd what do you think will happen next?\u201d\nSometimes a media \u201ctext\u201d can involve multiple formats. A new animated Disney film, for example, involves not only a blockbuster movie released in thousands of theaters but also a whole campaign of advertising and merchandising\u2014character dolls and toys, clothes, lunchboxes, etc.\u2014as well as a website, storybooks, games and perhaps eventually, a ride at one of the Disney theme parks.\nUncovering the many levels of meaning in a media message and the multiple answers to even basic questions is what makes media education so engaging for kids and so enlightening for adults. Here are some questions to start thinking about the impact media has on our society:\nDoes TV have too much sex and violence?\nAre the news media biased?\nHave TV talk shows gone too far with their sensationalized topics?\nShould the content of Internet be regulated?\nAre media shaping our values?\nIs TV harmful for our children?\nDo media drive foreign policy?\nAre newspapers insensitive to minorities?\nIs emphasis on body image harmful to our society?\nShould the names of rape victims be reported?\nShould tobacco advertising be restricted?\nShould the media cover criminal trials?\nDo media reports of crime heighten the fears of citizens?\nIs coverage of political campaigns fair?\nIs advertising ethical?\nDo paparazzi threaten First Amendment Rights?\nDoes concentration of ownership jeopardize media content?\nDoes the globalization of media industries homogenize media content?\nBefore you can begin answering these questions, you need to gain an understanding of mass communication and the five core concepts of media literacy. These five core concepts are very similar to the five key questions that you may have learned about in another packet.\nThis slide show lists the five core concepts of media literacy and explains each one in detail.\nSophia college courses cost up to 80% less than traditional courses*. Start a free trial now.", "id": "<urn:uuid:9b045398-bf1d-4cee-8a24-a4e74e4835ef>", "dump": "CC-MAIN-2013-48", "url": "http://www.sophia.org/tutorials/5-core-concepts-of-media-literacy", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163066444/warc/CC-MAIN-20131204131746-00095-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9184670448303223, "token_count": 584, "score": 3.859375, "int_score": 4}
{"text": "Historical Thinking Standards\nIntroduction to Standards in Historical Thinking\nThe study of history, as noted earlier, rests on knowledge of facts, dates, names, places, events, and ideas. In addition, true historical understanding requires students to engage in historical thinking: to raise questions and to marshal solid evidence in support of their answers; to go beyond the facts presented in their textbooks and examine the historical record for themselves; to consult documents, journals, diaries, artifacts, historic sites, works of art, quantitative data, and other evidence from the past, and to do so imaginatively--taking into account the historical context in which these records were created and comparing the multiple points of view of those on the scene at the time.\nReal historical understanding requires that students have opportunity to create historical narratives and arguments of their own. Such narratives and arguments may take many forms--essays, debates, and editorials, for instance. They can be initiated in a variety of ways. None, however, more powerfully initiates historical thinking than those issues, past and present, that challenge students to enter knowledgeably into the historical record and to bring sound historical perspectives to bear in the analysis of a problem.\nHistorical understanding also requires that students thoughtfully read the historical narratives created by others. Well-written historical narratives are interpretative, revealing and explaining connections, change, and consequences. They are also analytical, combining lively storytelling and biography with conceptual analysis drawn from all relevant disciplines. Such narratives promote essential skills in historical thinking.\nReading such narratives requires that students analyze the assumptions--stated and unstated--from which the narrative was constructed and assess the strength of the evidence presented. It requires that students consider the significance of what the author included as well as chose to omit--the absence, for example, of the voices and experiences of other men and women who were also an important part of the history of their time. Also, it requires that students examine the interpretative nature of history, comparing, for example, alternative historical narratives written by historians who have given different weight to the political, economic, social, and/or technological causes of events and who have developed competing interpretations of the significance of those events.\nStudents engaged in activities of the kinds just considered will draw upon skills in the following five interconnected dimensions of historical thinking:\n1. Chronological Thinking\n2. Historical Comprehension\n3. Historical Analysis and Interpretation\n4. Historical Research Capabilities\n5. Historical Issues-Analysis and Decision-Making\nThese skills, while presented in five separate categories, are nonetheless interactive and mutually supportive. In conducting historical research or creating a historical argument of their own, for example, students must be able to draw upon skills in all five categories. Beyond the skills of conducting their research, students must, for example, be able to comprehend historical documents and records, analyze their relevance, develop interpretations of the document(s) they select, and demonstrate a sound grasp of the historical chronology and context in which the issue, problem, or events they are addressing developed.\nIn short, these five sets of skills, developed in the following pages as the five Standards in Historical Thinking, are statements of the outcomes that students need to achieve. They are not mutually exclusive when put into practice, nor do they prescribe a particular teaching sequence to be followed. Teachers will draw upon all these Thinking Standards, as appropriate, to develop their teaching plans and to guide students through challenging programs of study in history.\nFinally, it is important to point out that these five sets of Standards in Historical Thinking are defined in the following pages largely independent of historical content in order to specify the quality of thinking desired for each. It is essential to understand, however, that these skills do not develop, nor can they be practiced, in a vacuum. Every one of these skills requires specific historical content in order to function--a relationship that is made explicit in Chapters 3 and 4, which presents the standards integrating historical understandings and thinking for history for grades 5-12.", "id": "<urn:uuid:7b13a16d-c9cd-4574-890f-b89f402f9771>", "dump": "CC-MAIN-2013-48", "url": "http://www.nchs.ucla.edu/Standards/historical-thinking-standards-1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163054548/warc/CC-MAIN-20131204131734-00097-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9483484625816345, "token_count": 812, "score": 3.953125, "int_score": 4}
{"text": "Education centre > People, Plants and Habitats \u2013 a Lifelong Connection\nPeople, Plants and Habitats \u2013 a Lifelong ConnectionAmong the important questions botanical garden educators and conservationists grapple with are 'How can we sensitize and motivate children to care about endangered plants and habitats?' and 'How can we develop a conservation ethic in young children?' Endangered plants often finish a distant second behind students' concern for animals, yet few students will ever hold an endangered animal as they can an endangered plant.\nThe importance of protecting habitats and the concept of plants as foundations of healthy habitats are not always well understood by children. Georgia students are gaining personal experience with endangered plants through their work with the Georgia Endangered Plant Stewardship Network (GEPSN). This program is making important, potentially life-long, connections between people, plants, and their habitats.\nZack Williams, a 7 year old student at Colham Ferry Elementary School, Oconee County, Georgia, is one of many children who has actually held and planted endangered species. He states, 'Wow, this plant is endangered just like the whales and sea turtles. It might become extinct if we don't help. \u2018Zack and hundreds of other children in Georgia are caring for endangered plants right on their school site through the GEPSN project. As the children plant, hold and care for these endangered plants, they begin to care about the larger environment and the seeds of environmental stewardship are nurtured.\nThe Georgia Endangered Plant Stewardship Network\nTo participate in this network, teachers attend a 20 hour training workshop to learn about Georgia's endangered species and habitats, propagation, and related science inquiry activities. Four GEPSN workshops have been held to date with approximately 90 teachers trained. Anne Shenk, Education Coordinator, and Jennifer Ceska, Conservation Coordinator, both with The State Botanical Garden of Georgia, developed the Green Plant Blues workshop and teacher notebook.\nStudents between 7 - 15 years embark on this project and become stewards for the environment by propagating rare plants from seed and by establishing these plants on their school sites. Some schools may be involved in propagating plants that will be returned to the wild during local restoration projects. Students collect data including germination rate, flowering period, pollinator visits, and seed counts and report their findings to GEPSN Headquarters.\nInitially classes undertake a plant species count of their school site. Through this process they collect baseline data about the number and diversity of plant species on site. Then, through the GEPSN project, students work to increase the number of plants on their school grounds by adding common and endangered species native to Georgia. At the beginning of the school year, GEPSN teachers are sent a list of available wildflower and endangered plant seeds and then during the school year, students grow these plants under lights in their classroom to add to designated plots on their school sites. As the number of species increase, species diversity and the importance of biodiversity start to become meaningful concepts.\nPrior to receiving seeds, teachers and their students must apply for a permit from the Georgia Natural Heritage Program to grow endangered plant species on their site. The permitting process provides a meaningful lesson to students on legal issues related to endangered plants and on the importance of taking special care of the rare plants they are being permitted to grow.\nEndangered Plants on the School Site\nEndangered plant seeds provided to schools include protected plants such as the Atlantic White-cedar (Chamaecyparis thyoides), a tree threatened by over-harvesting for telephone poles and wooden barrels, and herbaceous species such as Mohr's Barbara Buttons (Marshallia mohrii) threatened by loss of wet meadow habitats. Teachers are trained to prepare raised beds and amend the soil in preparation for planting. Students are involved in designing the outdoor classroom, calculating the costs and amount of supplies needed, developing a plan for implementing the design, planting the collection, and caring for the plants. Students have overcome unattractive obstacles such as air-conditioning units and forbidding fences by planting vines to soften the landscape and attract pollinators.\nA Pitcher Plant Habitat at Jackson County Elementary\nt;Building pitcherplant bogs has been particularly appealing to participating classes because of their carnivorous habit. Children are surprised to learn how the pitcherplants \"eat\" bugs (and occasionally small frogs). Most people think of plants as passive organisms photosynthesizing quietly in the garden. Pitcherplants (Sarracenia sp.) found in eastern North America are carnivorous plants that capture prey with modified leaves through passive means (as opposed to active capture like the grasping \"hands\" of the Venus Flytrap). Nectar glands line the opening of the pitcher, luring insects within the lip. Once inside, stiff, downward pointing hairs force the insect deeper and deeper within. The more the insect struggles, the further it descends. The inside surface is glaucous (smooth and slippery). At the bottom of the pitcher, a pool of digestive enzymes waits to digest the prey!\nCarol McDonald, a teacher at Jackson County Elementary School in Danielsville, Georgia, found that the students could not understand how the insects could be trapped within the open tube. They repeatedly asked \u2018Why don't they just fly out?\u2019 After dissecting a pitcherplant leaf from their bog garden and discovering the stiff hairs and smooth interior, they soon understood.\nMcDonald finds the GEPSN project a valuable experience for her students 'The children are taught that plants are unique and special, just like people, and they need to be cared for.' She believes the students gain a fundamental understanding and compassion for the environment because, '...they are a part of the solution, protecting the environment; it is easy to tell them about conservation, but when they actually see they make a difference, they learn these concepts better and this has more influence on what they do in their lives.'\nHigh School Project Enhances Team Building and Leadership Skills\n'I feel using the student leader approach gave the team ownership in the project' says Paul Dallas, science teacher and project facilitator. 'Being owners of the bog, the students take pride in their accomplishments and demonstrate enthusiasm in educating the school and community. Now that the project is completed, it continues to provide the team with challenges. Unforeseen events such as strong winds and hail as well as rodents and weed eaters have threatened the bog; but since the team considers the habitat their own, they have accepted these challenges with enthusiasm.'\nStorytelling and Puppet kits\nAs problems are presented in stories, the door is opened to content learning and problem solving needed to help the characters. Some plants are admirable characters that provide humor and innocence. Donna Rosa, a Pink Ladyslipper orchid, is portrayed as a well known beauty queen who asks visiting reporters, 'Have you come to admire me? You can look but do not touch!' She encourages people not to pick her since overcollecting is a major threat to her species. The children identify with the plant characters and their emotions and concern are engaged. They want to help these plants which might otherwise seem like obscure weeds.\nPlant heroines convince children that they can make a difference through their work. Richard Pitcher Plant speaks lovingly of the kind human who rescued him from the tyranny of a bulldozer in a plant rescue and carried him to his present home in a botanical garden.\nGEPSN Science Kits (currently under development) include puppets and scripts for teachers to instruct and entertain young students. Teachers will perform the endangered plant puppet shows for, or with, their children. High school classes and upper elementary students will carry puppet shows to classes of young students and pass on their concern and knowledge for endangered plants to these children. Puppet and story characters can help young children become stewards of our plant communities.\nJim Affolter, Chair, Georgia Plant Conservation Alliance, and Director of Research, State Botanical Garden of Georgia, states, \u2018The GEPSN project makes learning about endangered plants fun and stimulating, for both teachers and students. Because there are so many facets to the program - teacher training sessions, field work and gardening projects on the school sites, puppet shows and study kits - everyone has a chance to participate. Coupled with the program's well conceived teaching philosophy and strong follow-up support, this approach provides a recipe for success that could be repeated in many communities, wherever teachers are searching for ways to engage young students in issues and methods of plant conservation.\u2019\nThe project has been supported with funds from the Eisenhower Plan for Math and Science Education, the Georgia Initiative in Math and Science, the Turner Foundation and The Garden Club of Georgia.", "id": "<urn:uuid:dd2d4f7f-69b7-4dfb-a997-1c23a436dbf9>", "dump": "CC-MAIN-2013-48", "url": "http://www.bgci.org/education/people_plants_habitats/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163049608/warc/CC-MAIN-20131204131729-00095-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9547919631004333, "token_count": 1775, "score": 3.65625, "int_score": 4}
{"text": "On the definition of memory, the Oxford English Dictionary (OED) outlines the various functions of this complex and varied noun. It offers the cognitive function of remembering, the physical site of retention and custody of sensory experiences of the past. The theme of corporeality continues in a discussion of memory as the capability of an organism to manifest the previous effects or state in another setting, to retain an impression from a past experience. Similarly, the OED discusses memory as subject-specific, by which I mean outlined as a personal repository of experiences. It posits memory as a middle ground for the unconscious, the place that acts as a medium of recovery from the inaccessibility of the unconscious. Implicit in this is the accessibility of memory, the interaction of the will on the brain to recover, to preserve sensory experiences.\nSingular instances, impressions, also are signified by the term memory. The OED offers such moments as recollections, acts or instances of remembering, specific persons or things remembered, or the fact or condition of being remembered. Similarly, the word can connote a loss or an absence, as in the sense of a memorial or for a person or state no longer present. Objects can also function as such, in the sense of a physical, symbolic replacement for something lost or gone: a memento, monument, or memorial would be an example.\nImplicit in the above defined uses are that memories are simply an impression of a past experience, importantly that they are no longer present, but rather are a retrieval of a particular previous moment. In this manner, memory functions as a medium of storage, as an intervening substance between temporally past sensory impressions and present consciousness. Memories are a temporal channel, a time machine of sensory traces of the past.\nThe Encyclopedia of Philosophy offers that memory need not refer exclusively to the past, that one could remember an event that is presently occurring or will occur sometime in the future, but argues that memory most often refers to a past experience. \"Despite this variety of uses, philosophers writing on memory have tended, until recently, to concentrate on those uses of \"remember\" in which it takes as its object an expression referring to a particular past event or action.\"  The OED also points to the importance of temporality for the concept of memory, showing temporality as an element of recollection, specifically the span of time in which a reminiscence passes. Movement along the temporal echoes the process of sensory experience, and links the issues of memory to the Hegelian problematization of sense-certainty.\nFrances Yates chronicles the historical usages of memory in rhetoric in her article Three Latin Sources for the Classical Art of Memory. Utilizing a spatial conceptualization of mnemonic processes, Roman rhetors were capable of recounting lengthy orations with little difficulty or error. By a process of visualization of the space of memory, one could 'place' elements in a linear movement throughout the conceptualized architecture and recapture them through 'moving' again through this image. Yates also likens the mnemonic process to linguistic structures, stating \"(t)he art of memory is like an inner writing\"  . By imagining a spatial inscription or attribution, the orator would be able to revisit the symbolic recollection and summon up the information.\nSimilarly, Walter Benjamin reflects on the social uses of memory in his essay entitled The Storyteller. He contrasts storytelling, a communicative form relying solely on memory, to information, which he defines as the communications of modernity. He sees memory functioning as a medium between generations and varied experiences. \" Memory creates the chain of tradition which passes a happening on from generation to generation...in the first place among these is the one practiced by the storyteller. It starts the web which all stories together form in the end.  Memory, and more specifically, collective memory, serves to unite and make links between the generations, provide a sense of shared heritage.\nShared remembrances, as distinct from individual memories, sit often in a contested place. I would define Collective memory as the communal narratives regarding a past event that enjoy relative acceptance or consensus by a group. There remains however, the possibility of conflict between professional historical methodology and collective knowledges. In the telling of previously marginalized or ignored histories, conflicting narratives raise the question of validity in memory. The accuracy of memory as a media of information regarding the past becomes politicized in this discrepancies. Culture wars occur increasingly around issues of representation and the past. Public History organizations and exhibits present an arena for such disputes. One need only look to the debate regarding the Smithsonian's National Air and Space Museum's 1994 exhibit on the WWII plane the Enola Gay for an example of contestations over the past. The controversy surrounding the proposed exhibit and ensuing backlash from veterans claiming historical revisionism in the name of political correctness cogently portrays the potential contestation between professional history and collective memory, as well as between different collectives.\nIn his chapter \"Narrative, Memory, and Slavery,\" W.J.T. Mitchell problematizes the notion of memory as a direct representation of the past. He argues \"representation... not only 'mediates' our knowledge...but obstructs, fragments, and negates that knowledge...(memory) provide(s) something more like a site of cultural labor, a body of textual formations that has to be worked through interminably\"  . For Mitchell, memory is not interesting for what it tells us, but rather what it hides from us. Calling memory a \"medium\", he posits it as a process of meaning creation that is both selective and akin to a facade. In describing memory as \"a technology for gaining freedom of movement in and mastery over the subjective temporality of consciousness and the objective temporality of discursive performance\"  , Mitchell politicizes the function of memory. Rather than a recalling of a sensory input of the past, memory is a process by which a subject narrates the past, explains the experiences and gains power over the world he inhabits.\nWe can see how all the uses of memory as outlined above suggest a system of storage and a medium of recovery. Whether referencing the human mental capacity for storing past sensory traces or an artificial system or technology of retrieval, a temporal transmission and mediation is a necessary component of memory. The possible tension in discrepancies between academic history and collective memories demonstrate the politics of remembering and forgetting.", "id": "<urn:uuid:e401c6a7-36cf-400d-9395-54dfe41c9aa7>", "dump": "CC-MAIN-2013-48", "url": "http://csmt.uchicago.edu/glossary2004/memory.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345771844/warc/CC-MAIN-20131218054931-00099-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9422577619552612, "token_count": 1305, "score": 3.734375, "int_score": 4}
{"text": "IASL 2012 Conference, 11 to 15 November 2012\nBy taking part in the GiggleIT Project your students will have opportunities to develop a range of skills and demonstrate a number of learning outcomes. You can use these as a guide, but add your own to suit individual programs and different teaching-learning contexts.\nthink objectively, critically and creatively about written texts;\nfurther develop oral and written communication skills;\nfurther develop information research skills;\nexpand their use and knowledge of language in a number of contexts;\nwork collaboratively in a team environment and independently as a responsible team member;\nwork collaboratively with students from other cultures/countries; and\ndevelop understandings about how people from other cultures use language for communication.\nStudents use language to understand, develop and communicate ideas and information and interact with others (West Australian Curriculum Framework).\nStudents will develop critical literacy skills:\nunderstand that the way language is used and varies according to context;\ndevleop creative writing skills;\nuse a drafting/editing/publishing process;\nexplore different types of literature \u2013 poetry, school yard rhymes, limericks, sayings, jokes/gags, short stories;\nuse a range of language and build vocabulary; and\nuse correct language conventions appropriate to audience, purpose and context.\nStudents recognise when and what information is needed, locate and obtain it from a range of sources and evaluate, use and share it with others (West Australian Curriculum Framework).\nStudents will develop critical information literacy skills:\nthey will develop mindmaps and graphic organisers as tools to develop critical thinking and comparative skills;\nthey will locate/research, collect, group and collate, evaluate and deconstruct meaning from a range of information sources;\nthey will discuss and redefine information and reconstruct it to make meaning within a new context; and\nthey will examine and compare different types of literature from their own and other countries to develop cross cultural understandings about information.\nStudents select, use and adapt technologies (West Australian Curriculum Framework).\nDuring the course of the project, students will have opportunities to use a range of technologies (email, digital mindmaps and graphic organisers, electronic portfolios, Wordprocessing and desktop publishing, the Internet/World Wide Web, digital data projectors, computers, and digital cameras). They may adapt these technologies to produce their formal presentations, discussion tasks and creative writings.\nStudents will develop critical technology skills:\nto locate and explore information;\nresearch using a variety of formats and delivery modes, through research of national identity as found in humorous national literature;\nmanaging, collating, reconstructing information, referencing using a range of technologies;\nevaluation of electronic resources and student publications, progress and process; and\nto communicate using appropriate conventions with others around the world.\nStudents will develop critical social cultural understandings and skills:\nStudents will not only explore the language and humour of peoples from other countries, but they will also find out where they live, information about the participating students, how they live and how they see themselves.\nStudents value and implement practices that promote personal growth and well being (West Australian Curriculum Framework).\nThe GiggleIT Project is a partner with the International Children's Digital Library\nLast updated May 2013 (ER)", "id": "<urn:uuid:975b6482-31bb-483b-99ab-1cf854a46723>", "dump": "CC-MAIN-2013-48", "url": "http://iasl-online.org/sla/giggleIT/outcome.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164888618/warc/CC-MAIN-20131204134808-00094-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8951523900032043, "token_count": 677, "score": 3.765625, "int_score": 4}
{"text": "Arrowheads of the Past and Present\nLook closely at the National Park Service arrowhead symbol and you will see the purpose of the National Park System-the protection and understanding of all the objects illustrated there-the trees and bison for plant and wildlife, the mountain and river for landscapes and water resources, and all this inside an arrowhead representing the human history of our nation. The arrowhead is a fitting symbol for our history; it is part of the beginning of the human story of our nation.\nThe story of American Indians in the New River Gorge area of southern West Virginia is very rich, but often misunderstood. Most of the stories involving native peoples center on \"historically\" documented tribes and their interaction with the European and African peoples who came into this area in the mid-1600s. What we usually consider the beginning of the story is actually an ending.\nThe story of American Indians in West Virginia began hundreds of generations before the written history. The keys to this amazing story are literally found in the arrowheads and multitudes of other artifacts and historic sites left behind by these ancient peoples.\nThe oldest artifacts from New River Gorge are Clovis points. Made more than 11,000 years ago over much of North America, these intricately-shaped stone spear points were used by ancient nomadic hunter-gatherers, Paleoindians, to kill mammoth, mastodon, and other Ice Age creatures.\nLater artifacts found in excavated village sites, such as pieces of pottery, stone and bone tools, seeds, beads, and arrowheads, show the development of thriving agricultural-based permanent communities connected by well-established systems of trails.\nPeoples of the Archaic and Woodland periods lived in our area for thousands of years (from approximately 8,000 B.C.E. to 1,200 C.E.), constructing palisade villages and elaborate burial mounds, progressing from spears to bow and arrows, producing clay and stone pottery and art objects, and extensively cultivating corn, squash, and beans. They were the ancestors of the people we know of today in eastern North America as the Cherokee and Shawnee.\nDating artifacts and archeological sites is the first step in unfolding the history of humanity. To carelessly remove or disturb archeological sites is like tearing out chapters from an ancient book or throwing away pieces to a puzzle-the story of our past will never be complete.\nThe National Park Service arrowhead symbols reminds us all of our responsibility to protect and preserve our nation's heritage. The lands of New River Gorge National River, Bluestone National Scenic River, and Gauley River National Recreation Area protect 400 documented Indian archeological sites. These sites range from temporary rock shelter campsites to small villages. All artifacts and objects in the parks are protected, and may be collected and studies only by the park archeologist, or authorized university or preservation organizations.\nThe Sandstone Visitor Center includes an exhibit concerning American Indian peoples and a sample Clovis point. The park occasionally offers special programs, including the display of ancient artifacts, storytelling, and demonstrations of American Indian lifestyles by costumed\nDid You Know?\nOver one million visitors come to New River Gorge National River each year. Park rangers assist visitors and help them better understand the park and the park resources.", "id": "<urn:uuid:2ff4efc9-7821-4222-9430-f3c574745a52>", "dump": "CC-MAIN-2013-48", "url": "http://www.nps.gov/neri/historyculture/arrowheads-of-the-past-and-present.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164972407/warc/CC-MAIN-20131204134932-00098-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9369016885757446, "token_count": 673, "score": 3.609375, "int_score": 4}
{"text": "Last Thursday marked the 237th anniversary of this nation\u2019s founding, when a group of men announced a set of \u201cself-evident\u201d principles, whereby \u201call men are created equal\u201d and endowed with the inalienable rights of \u201clife, liberty and the pursuit of happiness.\u201d As President Obama said in his second inaugural address, \u201cWhile these truths may be self-evident, they\u2019ve never been self-executing.\u201d The country\u2019s history is rife with examples of how reality often falls fall short of the Founding Fathers\u2019 ideals. That the Founders declared a universal equality at a time when the original sin of slavery suppressed 20 percent of the population is a contradiction that haunts everyone in the country to this day.\nAs a quintessentially American art form, and one invented by African-Americans, jazz has long reflected the battles that have been fought in order to form \u201ca more perfect Union,\u201d most notably with respect to race. In his seminal 1963 book, Blues People, writer Amiri Baraka traces the history of jazz from the African perspective, placing a particular emphasis on the music\u2019s blues roots. Beginning with slavery, continuing through Reconstruction and the Great Migration to northern cities, and concluding with his then-contemporaries, Baraka traces the influence of jazz and blues on American culture. In this book and his scathing assessment of jazz criticism, \u201cJazz and the White Critic\u201d (1960), Baraka argues that jazz music cannot be separated from the socio-historical context in which it is created. He says that its context has been, and continues to be, that of a people whose roots were cut from underneath them, and who therefore invent modes of expression in order to maintain spiritual and social connections \u2013 to the past, a brighter future, each other \u2013 in the face of an oppressive authority.\nThe facts of jazz\u2019s evolution bear out Baraka\u2019s argument. In 19th century New Orleans, when jazz\u2019s roots were taking hold, Creoles \u2013 or African Americans of some white extraction \u2013 were not initially subject to Jim Crow laws. They embraced European musical traditions and many aspects of its culture, trying to distance themselves from other African Americans. When Jim Crow settled into the Crescent City, Creoles were relegated to lower-class status. The more they worked alongside Black musicians, the more they infused Western classical techniques into \u201cjass,\u201d helping to inject a new type of anti-authoritarian energy into the form.\nThis connection between the plight of African Americans and the music they created continued through much of the 20th century, as jazz musicians would find themselves front-and-center during the Civil Rights Movement. In 1957, Louis Armstrong famously cancelled a State Department tour of Russia to protest the Eisenhower administration\u2019s equivocal position on desegregation. And there is no doubt that the urgency of bebop had at least some roots in the racial dynamic of the day. In 1960, Charles Mingus released the vocal version of his \u201cFables of Faubus,\u201d mocking the Arkansas governor who refused to integrate high schools in Little Rock. Just as explicitly, drummer Max Roach, lyricist Oscar Brown and vocalist Abbey Lincoln collaborated on We Insist! Max Roach\u2019s Freedom Now Suite, which traces a throughline from the Emancipation Proclamation to political movements across the African diaspora. Then there was the iconic Miles Davis, whose entire lifestyle was a middle finger to white authority.\nAs influential and as crucial as these recordings and actions were in the context of the Civil Rights Movement, they don\u2019t necessarily tell today\u2019s story. In order to remain relevant, the social and political commentary coming out of the American jazz community has to go beyond just black and white and reflect the current state of affairs. In 2008, after Obama\u2019s election, Washington pundits started making references to a \u201cpost-racial\u201d society, an utterly laughable concept. With issues of race being so intertwined with American history, the notion that race might no longer be a factor in society\u2019s discourse or distribution of privilege is one whose time will probably never come. We definitely don\u2019t live in a post-racial country \u2013 it\u2019s just more racially diverse. So there are more stories to be told, and jazz has proven an accommodating canvas on which to depict those pictures.\nIt remains an important music for African-American storytelling and sophisticated protest: Terence Blanchard\u2019s work in the wake of Hurricane Katrina brought attention to the tragedy of the storm, and the largely racial divisions that separated those affected from those left unscathed \u2013 and it spoke more broadly to the country\u2019s growing economic inequality.\nThe topics that today\u2019s jazz musicians address stretch into many realms. On his two most recent albums, Yesterday You Said Tomorrow and Christian aTunde Adjuah, Christian Scott (a.k.a. Christian aTunde Adjuah) deals with themes as wide ranging as gay rights and the inequities of our penal system. Vijay Iyer\u2019s collaborations with Mike Ladd have focused on the plight of veterans returning from Iraq and Afghanistan, and the societal effects of media saturation.\nThere are also musicians whose very presence within the community is a statement in and of itself. The rise of women and immigrant populations has had a profound effect on jazz. Allison Miller has written eloquently about her experience as a queer, female drummer and makes no bones about the fact that this informs her music. As of 2010, there are over 1.6 million African born people living in the United States, with approximately one-third of them coming from West Africa: Guitarist Lionel Loueke and bassist Richard Bona are among the most sought-after musicians on the scene, and their West African upbringings are front-and-center in their music. Violinist Jason Kao Hwang is one of over 3 million Chinese Americans living in the United States; his Far East Side Band establishes a pan-Asian connection to jazz.\nThe immediate effect of this progression is that the music itself draws from a much wider vocabulary, and therefore, in order to keep up with its developments and receive what these artists are trying to communicate, jazz\u2019s audience must adopt a more eclectic sensibility. No longer can blues-based expression define the boundaries of jazz, nor can writers use lazy words like \u201cexotic\u201d to describe an Arabic or Romani melody line.\nThe open-minded listener will also receive intangible inputs that come from the different philosophies that inform musicians of varied backgrounds. For example, one reason behind the power of African-American music is that while it comes from a place of suffering \u2013 slavery and apartheid \u2013 it still reflects the joy of a resilient ethos. On another hand, a composition that incorporates an Indian raga is drawing from a religious tradition that reaches back thousands of years. This tie to the very earliest human civilizations offers a different pathway to spirituality.\nThough the relevance of Blues People has become more complicated in light of society\u2019s complexity, that does not mean that it is irrelevant. Baraka\u2019s assertion that jazz is always defined by a social context remains true \u2013 it\u2019s just that the context has changed. New blues people are now part of the jazz chronicle. An update is in order.\nSriram Gopal is CapitalBop\u2019s monthly columnist. He can be reached at firstname.lastname@example.org. His column typically appears on the first Thursday of every month, but this month it was delayed a week due to the July 4 holiday.", "id": "<urn:uuid:92937d5c-4e34-460e-9512-eeef9db645e0>", "dump": "CC-MAIN-2013-48", "url": "http://capitalbop.com/2013/07/11/blues-people-in-a-so-called-post-racial-america/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164896464/warc/CC-MAIN-20131204134816-00000-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9603385329246521, "token_count": 1591, "score": 3.9375, "int_score": 4}
{"text": "The Common Core Standards are the cornerstones of the Smarter Balanced and PARCC assessments, Webb\u2019s Depth of Knowledge (scale of cognitive demand) and Blooms Revised Taxonomy (levels of intellectual ability) are the framework and the structures that will be used to evaluate students. Assessing curriculum, developing formative assessments, evaluation curriculum, and evaluation of students knowledge at the highest levels is being shared by two progressive cognitive matrices. Depth of knowledge, and complexity of knowledge is the heart of the more rigorous assessments being implemented in 2014. They share many ideas and concepts yet are different in level of cognitive demand, level of difficulty, complexity of verbs vs. depth of thinking required, and the scale of cognitive demand. Teachers need to learn how the frameworks are used to develop curriculum and how to use them to enhance instructions. Teachers and students can use Blooms Questions Stems and Webb\u2019s DOK questions stems to create higher order thinking and improve achievement. 80% of the PARCC assessments will be based on the highest levels of blooms and the deepest levels of Webb\u2019s DOK. Are you ready to use the DOK or Blooms daily in your class?\n- Levels of Thinking in Bloom\u2019s Taxonomy and Webb\u2019s Depth of Knowledge\n- Hess\u2019 Cognitive Rigor Matrix & Curricular Examples | Revised Bloom\u2019s Taxonomy |\n- Webb\u2019s Depth of Knowledge Guide\n- Depth of Knowledge: Assessing Curriculum with Depth and Meaning\n- Blooms and Webb Comparison\n- Depth of Knowledge Consistency\n- Developing Higher Order Thinking Questions Based on Webb\u2019s DOK andFCAT Content Complexity\n- PARCC Transition Information: AIMS Test and Common Core\n- DOK Question Stems\n- Depth of Knowledge (DOK) Levels\n- INTRODUCTION TO WEBB\u2019S DEPTH-OF-KNOWLEDGE LEVELSMathematics Depth-of-Knowledge Levels\n- Depth-of-Knowledge Levels for Four Content Areas\n- What conclusions can you draw from each sister refusing to keep the golden nugget?\n- How would you react to finding a golden nugget?\n- Can you predict the outcome if the sisters did not have great virtue?\n- What is your interpretation of the author\u2019s main idea or moral to this fairytale?\n- How would you describe the sequence of events and their importance to the story?\n- Can you elaborate on the reason why the author used a snake in the story?\n- What would happen if the fairies left three golden nuggets?\n- Can you formulate a theory for why the fairies are leaving nuggets of gold in the forest?\n- Can you explain what it means when Anna feels ground to the bone by her boss?\n- How would you compare the tone of The Golden Nugget with Hansel & Gretel?\n- How are The Golden Nugget and Hansel & Gretel Different?\n- How would you summarize the feeling of the sisters for each other?\n- What do you notice about the authors use of figurative language?\nFiction DOK STEM | What key details or examples (e.g. dialogue or feelings) in the text can you draw on too explain the antagonists reactions?\nFiction DOK STEM | What evidence do you cite when determining the main idea? Explain why you think that is the main idea!\nNon Fiction DOK STEM | What text features (e.g. charts or illustrations) can you use to appraise facts for validity? Are charts an illustrations always based on facts?\nNon Fiction DOK STEM | Did you asses the authors use of literary elements or literary techniques when drawing conclusions\n/inferences from the text? How does the author use literary elements or literary techniques to develop key ideas?", "id": "<urn:uuid:e733b0a1-7a46-4bc6-9943-af8ef2ab9029>", "dump": "CC-MAIN-2013-48", "url": "http://reading-sage.blogspot.fr/2013/01/webbs-depth-of-knowledge-dok-blooms.html?m=1", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164020217/warc/CC-MAIN-20131204133340-00099-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8923572301864624, "token_count": 798, "score": 3.890625, "int_score": 4}
{"text": "Fun Practice For The Simple Past\nDrilling games and communicative activities for intensive practice of the Past Simple\nThe Simple Past is in many ways easier than the Present Simple, with no third person S to worry about. Students can still need intensive practice, especially to stop themselves from slipping into present tenses halfway through a story and to be able to produce irregular forms quickly and with good pronunciation. Some students might also need some help with understanding and/or producing the pronunciations of \u201ced\u201d endings. Here are some ideas of how to do so:\nWe often use present tenses and other past tenses such as Past Continuous to give our anecdotes a bit of colour, but it is perfectly possible to construct a simple linear story with just the Simple Past. Perhaps the easiest way to prompt storytelling is to give groups of students a set of cards to make a story from, with each card being a word, phrase or picture. To practise the regular and/or irregular verb forms, those cards could be verbs in the infinitive.\nThe most common thing to tell stories about is yourself. As people like talking about themselves, anything on anecdotes tends to work well. The challenge is to give the person listening a reason to do so. Things they could do while listening include working out which anecdotes aren\u2019t true, asking as many questions as they can when the anecdote is finished, and interrupting the anecdote as much as they can to ask questions. You can add intensive practice of particular verbs by giving them ones they have to include in their stories, especially if they are allowed to make some of the stories up.\nVideo tasks for Simple Past\nThe obvious way of using a video for past tenses might seem to simply describe what happened, but in fact this is difficult to do without using Past Perfect and Past Continuous. One more controlled way of using a video is to give them a list of verbs and ask them to put up their hands when they think they can use one to describe what just happened. Another one is to give them pairs of actions and ask them to predict the order, e.g. \u201cMr Bean bought some balloons and then snatched a bow and arrow\u201d, then watch and check. Alternatively, you could ask them to make any true sentences about what just happened in the video that they can, but only using irregular verbs, verbs with a particular vowel sound, or verbs with a particular pronunciation of the -ed ending.\nWhat did the teacher do then?\nYou can do something similar to the video tasks above by doing a string of actions and asking the students to say or write all the things you did. This has most impact if you don\u2019t tell them what you are going to do but simply start the lesson in an unusual way such as turning round twice and kicking the bin. Do about ten more strange actions and then walk out the door. When you come back in, ask them to say or write all the things you did. They could then work in groups to write down sequences of strange actions to do and test other groups with in the same way that you just did. As the ultimate challenge, they could all do their lists of actions at the same time and the people watching could also try to remember who did what action.\nWho did what?\nThis is similar to the last idea above. Students are given some cards with verbs or whole actions on (e.g. \u201cJump\u201d or \u201cJump next to the teacher\u2019s desk twice\u201d). Several students stand up and do their actions at the same time, and the people sitting down have to say or write down who did what, plus in what order if each student had more than one card.\nGuess my life\nStudents can also do something similar with actions that they did outside the classroom. In one version, students say an action they did yesterday or this morning and the other students try to make true sentences including the time, e.g. \u201cYou brushed your teeth at 7:30\u201d. The person whose action it is gives hints like \u201cNo, much later\u201d until their partners get it exactly right. You can also do it the other way round by one student giving the time and the others trying to guess what they did at that time. You can also do similar things with months and years, e.g. \u201cYou lived in England in 2000\u201d.\nAnother possibility is to tell the story of someone\u2019s day or life in order. In groups of three or four, one person has his or her story told and corrects the other people if they say something which isn\u2019t true. One person says \u201cYou got up\u201d and the next person continues with anything that happened soon (but not necessarily just) after that, e.g. \u201cYou made a cup of coffee\u201d. They can continue that way through the whole day or stop whenever someone makes a mistake and switch roles.\nAs well as the communicative ideas above, it is well worth spending some time on drilling the forms and pronunciation of the Simple Past. The easiest way is to give them tables of irregular verbs and ask them to test each other in pairs. A more fast-paced drilling game is Past Forms Tennis, where the person serving does so with an infinitive and the person returning must do so with the correct past form. With young learners you can even do this with a real beach ball, making it more like Past Forms Volleyball.\nAn even more intensive game is Grammar Reversi. Prepare cards with the infinitive on one side and the past on the other. Students have to guess the form on the other side to be able to turn the card over and continue their turn, either to play a whole game of Othello (as in the original game in the book Grammar Games) or just to work their way along the entire length of a set of these cards that have been put on the table in a row.\nA more physically active game for the same language is Stations. Students must react in one of two ways depending on what they hear, e.g. raise their right hands if they hear a word whose past tense ends with /t/ or run and touch the right hand wall if they hear or see a word whose past form has a the same vowel sound as \u201cmore\u201d.", "id": "<urn:uuid:0f50545c-9d4b-4d83-9059-90d9f2ecb200>", "dump": "CC-MAIN-2013-48", "url": "http://edition.tefl.net/ideas/grammar/fun-practice-simple-past/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164722336/warc/CC-MAIN-20131204134522-00095-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9677578210830688, "token_count": 1310, "score": 4.3125, "int_score": 4}
{"text": "What Will Kids Learn in 1st Grade?\nFor many kids, 1st grade is a year to feel \"big.\" They're no longer the youngest in the school, they can read a little bit and they've most likely experienced a physical growth spurt since kindergarten. First grade teachers use that bigness as a way to challenge students to learn bigger things this year. Reading takes off, math becomes more complex and science and social studies explore beyond kids' inner circles. State-by-state, lessons and topics may vary, but there are some common topics 1st grade kids will learn this year.\nFirst grade is a year to explore and introduce a number of different concrete building blocks of math, such as problem solving, operations and number sense. Last year, your 1st grader learned to count with one-to-one correspondence, recognize numerals and sort into groups. This first grade year continues to build on these concepts, using hands-on manipulatives like Cuisenaire rods and snap cubes to more concretely visualize the numbers as your child begins basic addition and subtraction.\nShe will learn to use an analog clock to tell time to the minute, be asked to recognize coins, count money, solve simple word problems, count beyond 100 and understand basic place value.\nFirst grade is the year when students seemingly begin to read overnight. By now your child is able to recognize her name and some other core words in print, is able to write, recognize and have sound correspondence of most of the letters in the alphabet and, even if she's not reading yet, she has a good grasp on concepts about print.\nThis year she will continue to build phonemic awareness with more complicated sounds like blends and digraphs. She will be taught a number of strategies for decoding words she doesn't know or is unable to sound out and start to answer questions about the meaning of what she's read.\nYour child's fine motor skills have improved a great deal since she began kindergarten, providing the control she needs to really begin writing. Expect your child to begin formal work on handwriting skills this year in addition to creative writing tasks. Some teachers will focus on inventive spelling, allowing children to write the sounds they hear in words, while also instructing students using weekly spelling words. Your 1st grader will learn how to use punctuation and capitals, but, more importantly, she will start to use writing as a tool for communication.\nLike math, science in 1st grade focuses on finding patterns, though in science the patterns explored are in the natural world. Your child will spend time learning about insects and their common characteristics and may even follow the life cycle of a butterfly.\nShe'll learn about weather patterns and how they contribute to the water cycle, as well as learning how the water cycle is a pattern for sustaining life. Other areas of study include: dental hygiene, magnets and animal and plant life.\nExpect your child to begin exploring the concept of community beyond her family this year. She'll learn about how neighborhoods make up cities, cities make up states and states make up nations, with a focus on how all of those components work together to create a cohesive unit. For many students, this year brings a number of field trips to neighborhood businesses, local government and public institutions like the library.", "id": "<urn:uuid:fd318bc3-1c0f-4cf3-80b6-8b5e6bfb083f>", "dump": "CC-MAIN-2013-48", "url": "http://childparenting.about.com/od/schoollearning/a/what-kids-learn-in-1st-grade.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164120234/warc/CC-MAIN-20131204133520-00096-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9595779776573181, "token_count": 672, "score": 3.609375, "int_score": 4}
{"text": "- slide 1 of 4\nVisual Storytelling with Comics: Lesson Plan Background\nTopics Covered: Media/Art/Literacy/English\nLesson Aim/Objective: To learn visual storytelling through comics using a three-panel strip, showing a beginning, a middle, and an end.\n- To show understanding of storytelling through the creation of a three-panel comic strip.\n- To be able to illustrate a story with a beginning, middle, and an end using drawings, photographs and/or clip art.\n- To tell a story using narrative and/or dialogue through the comics.\n- slide 2 of 4\nPreparations for Lesson\n- Print out blank 3-panel comic strip templates, as well as some blank speech and/or thought bubbles for the comics. There are a variety of different templates available online or you can create one of your own.\n- Have clip art and/or photographs ready for those who may choose to use them.\n- Make sure to give students a background lesson on storytelling with the use of beginnings, middles, and endings, as well as a lesson on narration and dialogue.\n- Collect comic strips that you can use as examples. Create some of your own using some of these comic making tools, if you don't have any existing ones handy.\n- slide 3 of 4\n- Start the lesson with a review of storytelling elements (e.g., beginning/middle/end, as well as narration and dialogue).\n- Talk about how pictures enrich a story, particularly through comic strips. Give examples of comics, particularly comic strips with three panels. Explain the beginning, middle and end of each comic strip. About three examples should suffice, if students are able to understand the concept.\n- Hand out the blank 3-panel comic templates to students. Ask them to create their own comics using the template. Let them know that they can use photographs, clip art, or their own drawings.\n- Give them time to complete their work. Move around the classroom to check if anyone needs help.\n- Collect the completed comic strips. You can assess them using the suggested criteria below.\n- slide 4 of 4\n- Title (Does it show originality and creativity?)\n- Illustration/Photography/Art (Do they tell the story appropriately from start to finish?)\n- Narration/Dialogue (Were they used correctly and creatively to tell the story?)\n- Story (Does it have a beginning, a middle, and an end?)", "id": "<urn:uuid:ca61416e-8ea7-41de-893a-e2d8941ffa2a>", "dump": "CC-MAIN-2013-48", "url": "http://www.brighthubeducation.com/elementary-school-activities/35504-visual-story-telling-lesson-through-comic-strips/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164004946/warc/CC-MAIN-20131204133324-00001-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9131651520729065, "token_count": 513, "score": 4.71875, "int_score": 5}
{"text": "Beowulf exists in only one manuscript, and that manuscript has had some close calls. In 1731, the British library in which it was stored caught fire. Although someone carried the ancient poem to safety, it was badly scorched. The manuscript has deteriorated since that time, with parts of it flaking away. Fortunately, a Danish scholar named Thorkelin had two copies of the poem made in 1786, before the damage became too severe. Since he lived long before the invention of photocopy machines or cameras, these two copies of the 3,200-line poem had to be written carefully in longhand.\nThen, as if the poem had some lingering evil curse on it left over from the days of the monster Grendel and his mother, Thorkelin's exhaustive twenty-year study and analysis of Beowulf suffered a serious setback during the Napoleonic wars. A British bombardment of Copenhagen, Denmark, in 1807 destroyed all of Thorkelin's valuable notes on the poem! Luckily, his copies were not damaged, and he used them to issue the first published edition of Beowulf in 1815. Today, the original, fire-damaged manuscript is carefully protected in the British Museum in London, England, and many different translations of the Old English poem have appeared.\nBecause Beowulf gives us only a hazy glimpse into long-forgotten times, the epic poem continues to fascinate readers. Although we may no longer believe that mythical dragons and monsters dwell in the fog-shrouded swamps, we can experience the mystery and sadness of the poem. We can also appreciate the literary masterpiece's underlying universal messages: courage in the face of great odds, loyalty even in the teeth of terror, and friendship to the very end.\nBeowulf was composed by an unknown poet, so you would think we wouldn't know very much about the author. In a way that's true, but we can make some educated guesses. To begin with, the poet was probably a scop, or court poet. The Old English poem Widsith gives us a good idea of what such a poet was like. He went from place to place, searching for a king who would give him a home. In return, the poet entertained the nobles with his songs and even wrote songs about the king, so that the king's fame \"may last under heaven.\"\nPicture an English banquet hall in the dead of winter. Outside, snow falls and the wind howls. Inside, the atmosphere is stuffy, crowded, and noisy as people eat and talk loudly to their neighbors. Then a short, slight man seated near the king rises, holding a small harp. Everyone falls silent. He begins to play a melody on the harp, and in a clear, high voice he sings the words of a heroic poem. Everyone listens attentively, imagining the action of the poem battles and raids, monsters and great deeds. After a few minutes, the scop ends his song and sits again, and people nod their appreciation.\nThe scop was essentially an entertainer, of course, but he was much more than that. He was the memory of the people at a time when very few people knew how to read or write. His songs were an important part of the oral tradition of storytelling. They kept the past alive and made history seem real. If the scop was very good at his craft -- like the one who first sang about Beowulf his poem would last and become part of our literature. That is why, more than one thousand years after the tale was first told, we can read today of Beowulf's heroism, strength, and sacrifice.\nAbout Brad Strickland\nBrad Strickland is a writer and college professor who lives in Oakwood, Georgia. As an associate professor of English at Georgia's Gainesville College, he has often taught Beowulf and is always stirred by the poem's heroics. He is sure that a daring character like Wishbone would find the tale a fascinating adventure.\nIn addition to writing Be a Wolf!, Brad has authored Salty Dog, a Wishbone adventure based on Scottish writer Robert Louis Stevenson's classic pirate tale, Treasure Island. He has also written or co-written twenty-two other novels, fifteen of them for young readers. Brad's first young-adult novel was Dragon's Plunder, a story of adventure on the high seas. With his wife, Barbara, Brad has co-written stories for the Star Trek and Are You Afraid of the Dark? novel series. He also co-wrote four books with the late John Bellairs, and he continues to write books in Bellairs's popular young-adult mystery series, most recently The Hand of the Necromancer.\nBrad and Barbara have two children, Jonathan and Amy. In addition to teaching and writing, Brad enjoys photography, travel, and amateur acting. In fact, he once played the role of a dragon on radio -- and remembering that role helped him get in the mood to write the exciting last part of the Be a Wolf! story. The Strickland family is home to a menagerie of pets, including cats, ferrets, a rabbit, and two dogs, neither of which has so far shown much interest in books.", "id": "<urn:uuid:4d1384cd-3617-4ce9-9afd-766e49801f60>", "dump": "CC-MAIN-2013-48", "url": "http://www.wwwishbone.com/html/books/adven1Learn.asp", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163042403/warc/CC-MAIN-20131204131722-00099-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.982416033744812, "token_count": 1077, "score": 3.796875, "int_score": 4}
{"text": "In the 20th century literacy was simply the \u201cability to read and write\u201d. The subset of skills necessary to be called literate has changed greatly and the definition has expanded to encompass the, \u201d \u2026ability to identify, understand, interpret, create, communicate, compute and use printed and written materials associated with varying contexts. Literacy involves a continuum of learning in enabling individuals to achieve their goals, to develop their knowledge and potential, and to participate fully in their community and wider society.\u201d (United Nations Educational, Scientific and Cultural Organization) With the advent of the internet and social media students have been challenged to add new resources to their tool set to be prepared to be productive citizens in the information age. Modern literacy in the information age calls for lifetime learners with a set of skills that are constantly evolving and is permeated by dynamic, participatory media (social), and web-based tools that aid collaboration and information sharing.\nIn the book \u201cUsing Participatory Media and Public Voice to Encourage Civic Engagement,\u201d Howard Rheingold wrote: \u201cIf print culture shaped the environment in which the Enlightenment blossomed and set the scene for the Industrial Revolution, participatory media might similarly shape the cognitive and social environments in which twenty first century life will take place (a shift in the way our culture operates). For this reason, participatory media literacy is not another subject to be shoehorned into the curriculum as job training for knowledge workers.\nParticipatory media include (but aren\u2019t limited to) blogs, wikis, RSS, tagging and social bookmarking, music-photo-video sharing, mashups, podcasts, digital storytelling, virtual communities, social network services, virtual environments, and videoblogs.\u201d\nModern youth multi-task more often, multi-task more effectively and have shorter attention spans than any up to this point in history. This student demands the use of rich multimedia learning environments and, project-based instruction that engages the student and challenges him to use dynamic web-based tools and participatory media. Terms like \u201cConnectivism\u201d and \u201cNetworked Learning\u201d are now being used to describe the new processes that are emerging. Here is a excellent video that explains these new paradigms and what they mean for the 21st century classroom.\nThis is a key reason teaching must change to keep up with the new paradigms called for in the information age. The lecture-based educational model is obsolete and role of the teacher has morphed from the \u201csage on the stage\u201d to the \u201cguide by a students side\u201d.\n- Let kids \u2018Tweet\u2019 in class, says expert (cbc.ca)\n- The presence of a teacher (deangroom.wordpress.com)\n- Hunger to learn (news.bbc.co.uk)\n- Re:Reinventing Project Based Learning (deangroom.wordpress.com)\n- The Future Is Now \u2014 21st Century Teaching And Learning (slideshare.net)\n- Why we need another great education debate (guardian.co.uk)\n- Techno Literacy (slideshare.net)\n- Literacy -> Digital Flow: moving beyond Traditional Literacy. (dougbelshaw.com)\n- Mrs. Cassidy\u2019s Classroom: Media Literate 6-year-olds (wired.com)", "id": "<urn:uuid:2e5e9c62-d481-4b44-805f-94f5bfd9779c>", "dump": "CC-MAIN-2013-48", "url": "http://thelearningcollective.net/2010/02/14/literacy-connectivism-and-the-modern-student/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053894/warc/CC-MAIN-20131204131733-00000-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.920048177242279, "token_count": 705, "score": 3.640625, "int_score": 4}
{"text": "BY ANDREA ZEVENBERGEN, ASSOCIATE PROFESSOR, SUNY FREDONIA\nWhat did we do at the beach?\u201d Susan asked her daughter, 2-year-old Makenna. Makenna says, \u201cMade castle!\u201d Susan and Makenna are telling a family member about the day\u2019s events. It\u2019s fun to talk about past events with one\u2019s child, to see what the child remembers and hear the child\u2019s perspective on the events. Parents also talk about shared events with their child because it can increase emotional closeness, and can also help the child understand why events occur. Researchers have shown that shared storytelling between parents and young children can also assist in the child\u2019s language and later literacy development.\nThe ways in which personal stories are told do vary across cultures, but in many cultural groups, parents and children tend to co-construct personal stories together; that is, they tell the stories together rather than having the child just listen while the parent tells the story. The parent asks the child questions to give the child a chance to tell part of the story, even if the parent knows the answers to the questions. For example, Susan knows that they made castles at the beach, but wants to give Makenna a chance to talk about the parts of the beach trip that were most exciting to her.\nThere are many ways to facilitate children\u2019s language development through shared storytelling. Researchers have made the following recommendations:\n1. Take time each day to talk with your child about shared past events. Conversations can take place in the car, on a walk, in a store, eating supper, anywhere!\n2. Particularly in the early preschool years, children can more easily contribute to discussions about shared past events compared to events that only they experienced. Conversations about shared past events can be directed to another family member or friend, or the parent can review the event with the child even if no one else is present. For example, a conversation can begin with something like, \u201cWhat did you like best at the picnic?\u201d\n3. When talking with your child about past events, ask questions that will keep the conversation going as long as possible, such as \u201cwho\u201d, \u201cwhat\u201d, and \u201cwhere\u201d questions. Asking your child questions such as, \u201cWhat happened next?\u201d will help the child to see the event as a chronologically-organized set of smaller events. Use open-ended questions to elicit longer statements from your child, particularly as he/she gets older. For example, you might ask your child, \u201cWhat did we do today? Tell Aunt Rose all the places we had to go to today.\u201d\n4. If your child does not know the answer to a question you ask when telling a story together (i.e., the child does not remember), provide the answer and ask the child to provide another detail. Here\u2019s an example: Steven (father): \u201cHow old was Matty at the birthday party?\u201d Noah (son): \u201cUh.\u201d Steven: \u201cYou don\u2019t remember? He\u2019s 5 now. Do you remember what he got for a present at the party?\u201d Noah: \u201cA plane!\u201d\n5. Provide positive feedback to your child when he or she contributes to the shared storytelling. Saying, \u201cYou\u2019re right!\u201d and \u201cThat\u2019s great you remember all that\u201d are very encouraging to your child. Repeating what the child says shows you are listening to the child\u2019s contributions. Even brief comments such as \u201cUh, huh\u201d and \u201cWow\u201d reinforce the child\u2019s efforts to tell the story.\n6. Stay on one topic as long as possible, rather than switching quickly from one topic to another. This will help your child to understand more fully the past event you are talking about together, and give him/her more chances to contribute his/her words to the discussion.\nResearchers Peterson, Jesso, and McCabe showed that parents\u2019 using these strategies in conversations about past events with their preschoolers lead to significant vocabulary improvement and greater ability to tell stories independently in the preschoolers. So, it\u2019s definitely a double-bonus: staying connected, while helping to prepare a child for kindergarten!\nAndrea Zevenbergen is an associate professor of psychology at SUNY Fredonia. She has been conducting research related to parent-child shared reading since 1990. She lives with her husband and son, who is now a fifth-grader, in Chautauqua County.", "id": "<urn:uuid:e7609832-2e79-417b-b2df-3abc3e5dab93>", "dump": "CC-MAIN-2013-48", "url": "http://timesobserver.com/page/content.detail/id/535431/Shared-Storytelling-with-Toddlers-and-Preschoolers.html?nav=5108", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163977808/warc/CC-MAIN-20131204133257-00001-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9637344479560852, "token_count": 980, "score": 3.5, "int_score": 4}
{"text": "\u2022 Grade One \u2022\n\u2022 Grade Two \u2022\n\u2022 Grade Three \u2022\n\u2022 Grade Four \u2022\n\u2022 Grade Five \u2022\n\u2022 Grade Six \u2022\n\u2022 Grade Seven \u2022\n\u2022 Grade Eight \u2022\n\u2022 Overview \u2022\nSixth Grade Overview\nTeaching changes significantly in the sixth grade to address new conceptual capacities that are awakening in the children as they approach adolescence. The curriculum, as well as the needs of individual students, becomes increasingly complex through the next few years. The newly and often chaotically emerging individuality of the pre-adolescent yearns to find a place within the world that is unique and recognized and respected by others. The sixth grade is a firm, intentional step into the outer world. It is an arrival upon the earth. Changes in the physical body as the children approach age 12 become noticeable. There is an increased awareness of gravity and weight; hormones begin to affect the feeling and emotional life as well as physical maturity; and differences between male and female development become a source of interest. The themes explored over the course of this school year are chosen expressly to assist both the inner and outer questing of these young people.\nSixth Grade Curriculum\nRhythm of the Day\nEach day begins with Main lesson. The main subjects, such as history, language arts, science and mathematics are taught in blocks of 2 hours per day, with each block lasting from 3 to 6 or even 8 weeks long.\nThe sixth grade mornings continue to include movement and speech work: handclap, beanbag, drama and movement games.\nAfter Main lesson the children have a hearty snack (brought from home) and time to play outdoors.\nThe afternoon consists of subject classes including handwork, movement, french, music and art, as well as lunch (brought from home) and more time to play outdoors.\nMathematics work continues with all the processes learned in previous years with the addition of ratio, percentage and an introduction to algebraic formulae. Mathematics from real life is explored in depth with the introduction of economics and Business Math, barter and money economies and the moral uses of money. During business math some classes set up a trial business studying banking, interest rates, discount and commission. Some of the first laws of algebra and the processes involved in manipulating a formula to find the unknown are introduced. The students also learn how to read and construct line, bar and pie graphs. The first block of the school year is often spent exploring geometric constructions. Many movements from circle time and Eurythmy are now executed with precision and artistry as geometric forms. While brought freehand geometry work in previous years, the children, now using compass, straight-edge, and lead pencil, learn the importance of following directions and using precision to lay out and describe various geometric problems. The children learn how to bisect a line segment, construct a parallel segment, bisect an angle, construct a perpendicular, construct a square, a pentagon, isosceles and equilateral triangles, and to divide a circle by three, four, five, six, twelve and twenty-four using a compass. This subject allows the children to use logic in exploring necessary relationships in two-dimensional space.\nThe story curriculum begins where the teacher left off at the end of grade five, often with the story of the Trojan War, this time told from the Roman perspective. The Roman epoch represents in a historical sense what the children are experiencing in their bodies and in the development of intellect. Of all the ancient peoples, the Romans most strongly dominated the physical world. Each student might explore a topic of personal interest and construct a model of something from Roman times. The life of the Roman citizen, the slave and the gladiator are studied. The life of Christ and his followers, the biographies of the Caesars, Peter and Paul in Rome and the early Christian experience, the Crusades, the Feudal system and the Dark Ages, the life of Muhammad and the rise of Islam are all explored in the sixth-grade year.\nReading and writing work in grade six is extensive and varied. Most teachers include daily practice of short quotes or form drawings to improve penmanship and regular dictation from the lessons. Also, there is a greater emphasis on writing and grammar. Students are expected to proofread their own and others\u2019 work and correct their own spelling errors. Each student writes several reports and is responsible for retelling stories from lessons in his or her own words. Basic spelling rules and sentence forms are explored. The eight parts of speech from previous study are practiced, and students learn to write in active and passive moods. The subjunctive mood is introduced. The children often do research and some creative writing. Words with Latin roots are studied. Students practice identifying subject and predicate, proper punctuation and capitalization, compound subjects and predicates as well as work with parts of speech such as nouns, verbs, adjectives, etc., including phrases and clauses, paying particular attention to prepositional and verbal phrases. Each child usually recites a daily verse, and the class perfects several group recitations during the year. Reading work consists of a combination of whole-class reading assignments and reading-level-appropriate individual reading work. Some classes assist younger students from other grades with their reading goals.\nFlute playing is an integral and daily part of classroom life; most teachers switch midyear to work with alto and/or soprano recorders.\nThe sixth grade performs at least one play with greater expectations placed on dramatic presentation and complexity.\nPainting class often moves from a weekly activity to a biweekly event due to scheduling demands, but an additional upper grades art class begins once each week. Nearly all teachers also do curriculum-related artistic projects throughout the year.\nScience and History\nAs the child of this age develops more of a sense of self inwardly, a distance is created between the self and the outside world. One result is a sharpening of the powers of observation. Although students of this age may act as if they have seen, heard and experienced everything, they are moved and awed by simple phenomena, such as a candle shining in a dark room or the whirling pattern of convection currents rising in a brightly colored tank of water. Sixth-grade science begins to explore the lawfulness of natural phenomenon through the formal study of physics: acoustics, optics, thermodynamics, magnetism and static electricity. To explore geography, geology and astronomy in grade six, the world is viewed as a whole: from the perspective of the contrasts and configurations of land and water masses, which leads to the identification of continents, oceans, seas, mountain ranges and tributaries; from a historical/conceptual perspective, comparing the perceptions of the Earth of peoples of the past; from the perspective of what we can see with the naked eye from where we stand on the earth (the changes of the sun, moon, stars and planets); and finally, to examine the earth from the inside-out with the study of geology and mineralogy. Here the students experience a reflection of their own process of physical development as they move more fully into their own bodily experience and become conscious of their own circulation, muscles and bones. They take up the study of rocks, rivers, stars, mountains and oceans. A study of the sun and its movement, shown through changing shadows, is recapitulated in physics study and in both drawing and painting work.\nSixth-grade history follows the transition from ancient to modern. The students are, at this age, involved in a parallel transition as they move from a more poetic consciousness to a search for truth in the form of scientific concepts. Twelve-year-olds are ready to grasp history as a sequence of cause and effect relationships.\nSome classes host a Medieval Games tournament with a nearby school in the late spring.", "id": "<urn:uuid:751f0bfc-3e05-4e81-9bc7-3aae6d5fc461>", "dump": "CC-MAIN-2013-48", "url": "http://mnwaldorf.org/grade-six/", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164928424/warc/CC-MAIN-20131204134848-00001-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9572309255599976, "token_count": 1601, "score": 3.5625, "int_score": 4}
{"text": "Volume 2, Issue 10\nAlgorithmic Music Composition\nTired of hearing the same music over and over again? Computer science can allow you to become a creator, not just a listener of cool music!\nSee students in action as they create music through programming at: http://www.usatoday.com/video/hip-hop-tracks-composed-with-computer-code/1733703278001\nMusicians have been using computers to make music since the 1950s, when the first digital computers became available at university and research labs. Using programming can enable a musician to have control over their music composition so that it can be exactly what they want. This algorithmic composition allows musicians to automate tedious tasks, easily experiment, make random decisions, and ultimately turn anything \u2013 current temperature, value of the stock market, number of people in the room, lyrics of poems, and even pixels of a photo - into music by mapping data to music notes.\nThe ability to take non-auditory information and convert it into an auditory message is known as data sonification. Think about a Geiger counter that plays audio clicks that are directly dependent on the radiation level around the device. Similarly, a composer can take any data and input it into a program, which in turn generates music based on the properties of that data.\nA student working with Earsketch. Photo courtesy of Georgia Institute of Technology.\nUsing a learning environment called EarSketch, high school students in the Atlanta, Georgia area are doing just that! After the students input data in the program, they can analyze properties of the resulting sound files and easily change the composition based on musical properties like timbre (tone), pitch, or loudness. Students learn how to mix music while also learning computer science in a fun and engaging way by writing Python code that can control musical samples, effects, and beats. Because EarSketch starts with musical samples (the project has a growing library thanks to Young Guru who recently became a partner of the project) instead of individual notes, students with no background in music theory or composition are able create their own music immediately.\nImage of Professor Brian Magerko.\nWho Thinks of this Stuff?! Brian Magerko is an Assistant Professor at Georgia Tech and head of the Adaptive Digital Media (ADAM) Lab, the home of EarSketch. Professor Magerko created EarSketch in conjunction with his research partner, Dr. Jason Freeman of the Georgia Tech School of Music, and an army of graduate and undergraduate students. Professor Magerko\u2019s research interests explore the themes of computation and creativity, which results in such expressive fields as interactive narrative, digital performance, artificial intelligence-based computer game design, and educational media. He is a computer scientist, who is able to combine his work with his love of art in his lab. Brian enjoys playing accordion and trombone in his spare time, and as a member of a gypsy jazz group, often performs with a local circus, The Imperial Opa.\nLearn more about EarSketch at: http://earsketch.gatech.edu/.\nRead how EarSketch uses hip-hop to teach computer science at: http://www.gatech.edu/newsroom/release.html?nid=139831.\nWatch videos of different computational music experiences by students and teachers at the University of Massachusetts Lowell using the programming language of Scratch: http://teaching.cs.uml.edu/~heines/TUES/ProjectResources.jsp#videos.", "id": "<urn:uuid:a0738560-23bb-4eb0-ba94-a079dbf9e190>", "dump": "CC-MAIN-2013-48", "url": "http://nsf.gov/cise/csbytes/newsletter/vol2/vol2i10.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1387345760669/warc/CC-MAIN-20131218054920-00002-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9430466890335083, "token_count": 739, "score": 3.609375, "int_score": 4}
{"text": "Frozen tableau is a strategy in which students create a scene and freeze the action, then discuss what is happening and their reactions to it. Using physical poses, gestures, and facial expressions, students convey the characters, action, and significance of a historic moment.\nFrozen Tableau in Laina Jones's Clasroom\nLaina Jones uses the frozen tableau strategy to help her students contextualize The Watsons Go to Birmingham -- 1963. Her goal is to help them understand what it was like to live during the civil rights movement and feel the emotions of that turbulent time.\nJones presents students with five emotionally charged images, including Rosa Parks being fingerprinted and Elizabeth Eckford being stopped by soldiers outside Little Rock High School. The students then write answers to questions, below, about how they feel when they look at each picture. Jones leads a class discussion afterward to clarify any misunderstandings about the photographs.\nThen Jones asks groups of students to pose like the people in the photographs. Playing the role of a reporter, Jones asks each student/\"character\" what is happening and how they feel about it. Finally, as an extension, Jones asks the students to write poems about the emotions of the civil rights movement.\nSteps for Creating the Frozen Tableau\nPreparation With the Whole Class\nTeachers should begin by selecting photographs from a particular historic moment. Photos that depict the emotional impact of an event on people will engage students best, especially if the pictures depict a range of emotions and attitudes. To help the students understand diverse perspectives, teachers might want to select photos that show people in conflict over an issue -- though not necessarily physical conflict. One photo Laina Jones chose for her civil rights unit, for instance, shows an African American and two white supporters at a lunch counter sit-in. The anger of the crowd behind them is palpable.\nTo begin, project one photograph for the class and ask the students to discuss the following questions:\nAfter the class has discussed these questions, ask students to volunteer to \"become\" the people in the picture. As they arrange themselves in their frozen tableau, the teacher can guide their poses, gestures, facial expressions, and spatial relationships. The students observing the frozen tableau can compare their classmates' representation with the photograph on the overhead and suggest ways to improve the accuracy of the scene.\n- If you were the photographer, what title would you give this shot? Why?\n- What's going on in this picture?\n- Who are the people in this picture? What emotions do you think they are feeling?\n- Choose one person in the photograph. What do you think he or she is thinking at this moment?\n- If you were showing this photograph to other people, what message would you want them to come away with about this event?\nWhen the students pose in their frozen tableau, the teacher or a student can play the role of a television reporter. The reporter \"unfreezes\" characters in the scene by touching their shoulder. The reporter can ask the unfrozen character questions such as \"Who are you? What is going on in this scene? What are you feeling? What brought you to this moment? What do you think will happen next? What do you want the viewing audience to know about this event?\" Each character responds to the reporter's questions, then returns to position.\nAfter modeling a tableau with the whole class, the teacher should divide the class into small groups and ask the students to create their own tableaux. Each small group should select a different photo and use the original discussion questions to deduce what the scene depicts. When each group has finished creating a tableau, they can show it -- and the photo that inspired it -- to their classmates. Viewers might make suggestions on how each small group can more accurately represent its photograph. The teacher can clarify any misunderstandings the students may have about the photograph's events.\nAt the end of the activity, the teacher may ask the students to write or speak about how the frozen tableaux affected their understanding of history. The teacher might ask, \"What do you know or understand now about this time in history that you didn't know or understand before?\" or \"Choose one character depicted in any of the tableaux today, and, in that person's words and from that person's point of view, tell what you think about this historical event.\"\nTips and Variations for the Frozen Tableau\nBenefits of the Frozen Tableau\n- This strategy can also be used with scenes from multicultural fiction, such as The Watsons Go to Birmingham -- 1963. Students can create frozen tableaux that represent important conflicts among characters or powerful scenes in the text. To help student groups move from copying poses to inferring what a fictional scene might look like, teachers can ask all the groups to use the same scene in a novel or story, such as the \"Wool Pooh\" scene or the scene where Kenny tries to find Joetta in church. As the groups share their tableaux, the students can see a range of interpretations. The whole class might then discuss which tableau seemed to capture the original text best.\n- Alternatively, the frozen tableau strategy can be used to deepen the classroom discussion of themes or issues brought out in a text. In the case of The Watsons Go to Birmingham -- 1963, for example, the teacher might ask the students to identify scenes that illustrate incidents of racism. Small groups can then choose appropriate scenes and rehearse them in private. As each small group presents its scene, the class might guess which scene they chose and how it speaks to the particular theme or issue. Next, students or the teacher might interview some of the characters in the frozen tableau, asking them questions that range from \"How are you feeling right now?\" to \"What would you say to teenagers today about this issue or theme?\"\nBy analyzing photographs and other students' frozen tableaux, students become more observant of how history is both made and told through storytelling -- whether the storyteller is a writer, a speaker, or a photographer.\n- Through this exercise, students see how interpretation is born of an interaction among a storyteller, historical events, and the reader. The strategy also enables students to \"live\" the past and discover history as stories of people taking risks, making decisions, and addressing problems. When students create frozen tableaux based on multicultural literature, they also visualize a written text, infer what individual characters might feel, imagine how to distill and capture the main idea of a scene, and empathize with people of diverse cultures and epochs.", "id": "<urn:uuid:62f48a42-dbd4-4550-9ef3-e14fe16e1e0c>", "dump": "CC-MAIN-2013-48", "url": "http://www.learner.org/workshops/tml/workshop5/teaching.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164023947/warc/CC-MAIN-20131204133343-00000-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9460596442222595, "token_count": 1346, "score": 4.0625, "int_score": 4}
{"text": "If you are learning English as a new language, view\nThe Grade 3 classroom is a busy, exciting place. Grade 3 students take eight required subjects: Art, English Language Arts, Health and Life Skills, Mathematics, Music, Physical Education, Science and Social Studies. Some schools may offer additional optional subjects.\nEnglish Language Arts (REQUIRED SUBJECT)\nA spotted cow walked through the deep grass. Grade 3 students use their language skills to describe things in greater detail. They make their own stories more interesting and notice how they can add excitement by saying certain words louder or at a higher pitch. Words become more colourful than ever!\nMathematics (REQUIRED SUBJECT)\nI\u2019m learning how to multiply and divide! Your child will explore numbers to 1000, using place value and counting in different ways. They\u2019ll use their own strategies to add and subtract 2-digit numbers, and they\u2019ll learn how to multiply and divide. Your child will solve problems involving number, patterns, measurement and data collection.\nScience (REQUIRED SUBJECT)\nCan you hear me? Grade 3 science students learn about sound and about rocks found on Earth\u2019s surface. They test and evaluate building materials and apply problem solving strategies to build structures for a specific classroom challenge. These young scientists also study the life cycles and needs of animals.\nPhysical Education (REQUIRED SUBJECT)\nWhat are the benefits of an active lifestyle? Your child will take part in various activities that will help them to lead a healthy, active lifestyle. They will grow to appreciate the importance of physical activity, while discovering essential life skills, such as cooperation, leadership, fair play and teamwork.\nHealth and Life Skills (REQUIRED SUBJECT)\nI know what to do if someone tries to give me a cigarette. Thanks, but NO WAY! Your child will become more confident about saying no to bullies and taking a stand in making safe and healthy choices. They will know what to do in an emergency and how to express feelings, even anger, in an appropriate way.\nArt (REQUIRED SUBJECT)\nI can make it look even better! Your Grade 3 child will focus on improving the things they make and on making their art look more realistic. They will look closely at the qualities of objects to make their work as good as possible. Your child will also use art to express feelings and ideas.\nMusic (REQUIRED SUBJECT)\nFeel the beat! In Grade 3, students listen to different kinds of musical instruments and recognize that sounds are made in different ways. Through movement, dance and singing, your child will explore various kinds of music and discover different beats and dynamics of music.\nDrama (OPTIONAL SUBJECT)\nExpress yourself! Drama students experiment with dramatic play and discover creative ways to express themselves. Through puppetry, storytelling and other types of dramatic play, students discover who they are and discover the connections they have with others.\nLanguages (OPTIONAL SUBJECT)\nLanguages open the door to other cultures and new ways of thinking. A variety of language courses are offered across Alberta. Your child may have the opportunity to learn a First Nations language or an international language.\nLearn more about:", "id": "<urn:uuid:5cff34af-3ca6-45e0-a519-2c9dde455be2>", "dump": "CC-MAIN-2013-48", "url": "http://www.learnalberta.ca/content/mychildslearning/grade3.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164653483/warc/CC-MAIN-20131204134413-00001-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9375761151313782, "token_count": 665, "score": 3.5625, "int_score": 4}
{"text": "Writing and Research with a Manatee Theme\nStephanie, k-5 resource teacher\nThis two week multidisciplinary unit incorporates technology, research methods, and written expression through creative writing activities and friendly letters--all through the theme of manatees.\n- Access to internet and printer\n- Notebook paper\n- Roll paper (for hallway display)\n- Friendly Letter example or format\nUnit Lesson Plans\n- Lesson One - Familiarize students with Internet as research tool.\n- Lesson Two - Introduce research topic of manatees, students form questions.\n- Lesson Three - Students work in groups to answer questions.\n- Lesson Four - Students write \"Tale From a Manatee.\"\n- Lesson Five - Students write a friendly letter.\n- Lesson Six - Students create a hallway display to show what they have learned.\nLesson Plan One:\nGoal- To familiarize students with the Internet as a research tool and on line library.\n- Students will understand internet terms like search engine, web site, Internet, book marking, URL, WWW, scroll, and any others you feel important.\n- Students will demonstrate understanding of basic internet usage after teacher demonstration and guided practice by finding various random facts in groups and as individuals.\nLesson Plan Two:\nGoal- To introduce the research topic of Manatees.\n- Students will create a \"What we know\" list about manatees as a whole group.\n- Students will then have a \"question web\" demonstrated on the board before they create their own question web that will list \"What they want to know\" about manatees.\n- Class will combine individual question webs to create one web to use for research.\nLesson Plan Three:\nGoal- Students will work in groups and as individual to find answers to questions from the class question web about manatees.\n- Students will work in groups of three to five productively and efficiently.\n- As a group, the students will tilize the internet as a research tool to find and record information about manatees.\n- Students will gather data and combine it to result in a presentation of their findings by the third day of research.\n- Students will present their findings on manatees.\nNOTE: Teacher should assign each group with specific questions from the question web. Each group should have different questions and know exactly what they are looking for in their research.\nLesson Plan Four:\nGoal- To encourage creative writing and strengthen written expression abilities.\n- Students will write a \"Tale From A Manatee\", taking the view point of a manatee. Children will be encouraged to use details from the information researched about manatees and their habitat, migration, dangers, etc.\nLesson Plan Five:\nGoal- To introduce and practice the Friendly Letter Format.\n- The students will choose an organization that protects manatees and write them a friendly letter, thankng them for their support and efforts in the save the manatee cause.\nLesson Plan Six:\nGoal: To summarize the manatee unit and create a hallway display of the creative writing activities, facts they found, as well as drawings and internet print out pictures to share with\nthe rest of the school.\n- Students will write a summary papragraph about the unit and what they learned, liked or disliked.\n- Students will draw a picture of a manatee to add to the display.\nThis is an easy way to service resource students with a learning difference in written expression in the whole classroom, and all students benefit from the unit. Try going in to the regular classroom for thirty/fourty-five minutes a day and team teach with the regular educator. Between the two of you, plenty of assistance can be provided to those students who need the additional help and they will experience success in the classroom. Pull out asssitance can still be provided as needed at other times during the day.", "id": "<urn:uuid:cf1e2a43-6cb0-42df-b8d5-2796a7ff9849>", "dump": "CC-MAIN-2013-48", "url": "http://www.atozteacherstuff.com/pages/361.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163053380/warc/CC-MAIN-20131204131733-00003-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9103906154632568, "token_count": 822, "score": 4.125, "int_score": 4}
{"text": "Each chapter of the novel is told by a different narrator. Discuss the effect that this narrative technique creates. To what purpose does it serve?\nOn the most obvious level, the multiple narrators allow for the story to be told in a communal rather than an individual way. Gaines has carefully selected these narrators across a broad spectrum. They are black, white, male, female, young, old, educated, not educated, liberal, and racist. Each of these narrators understands the murder of Beau Bauton in a different manner. When their different perspectives are placed side by side, the reader is able to understand the novel's events from not just one, but from multiple points of view. Furthermore, the ability to see into fifteen characters' minds as they speak in the first person allows for the reader to become intimately acquainted with them. This ability becomes especially important with the old black men who narrate. When the thoughts of these old men are visible, it becomes clear that most of these men have operated for years with a dual consciousness. They have lived in a world of silent acceptance but entertained dreams of action in their mind. By giving each of these old men voice, Gaines allows them the opportunity to finally tell their stories. Storytelling is a theme within the book, and a motif that persists in African-American literature. The importance of mastering language and its connection to self-realization can be seen in African-American texts from The Autobiography of Frederick Douglass to the The Invisible Man. Most of the old men in Gaines's novel are not literate, meaning that they will never write their own stories. By granting them narrative control with his novel, Gaines grants them the power of self-definition. For these old men, the act of defining themselves with words is as important as redefining themselves with action. Overall, Gaines's narrative technique allows for a complex rendition of his Louisiana community where the perspectives of all characters, white, black, and Cajun, can be known with a greater complexity than if they were not able to explain themselves in their own words.\nMany of the old men express gratitude for the fact that they can confess to Beau's murder, even though they did not kill him. Why would they feel grateful when they could be possibly punished for their confessions?\nThe old men feel gratitude for the chance to confess because it will allow them to redefine themselves. These men have spent their lives trying to avoid trouble with the local whites. The racist system of the South long has relegated them to a subhuman existence. Now in their final years, Beau's murder gives these men the opportunity to salvage some of their dignity before they die. Suddenly these old men are prepared to rise up and fight against the injustice that they have suffered through the years. By deciding to help Mathu, these men are seizing power over their lives and reaffirming their humanity and their manhood. Although there is only one murderer of Beau, each black man has longed to commit the same murder in his mind. Beau is only one man, but he represents all of the white men who have subjugated the blacks over the years. To claim to have killed Beau provides each man with the chance to revenge a social order that has disdained and abused him. The murder of Beau allows the men to act and through their action they are able to discard the cowardice that has haunted them for many years. It is their ability to now take a stand for themselves and against their previous persecution that makes them grateful.\nDiscuss the character of Gil Bauton. Discuss the symbolism of his role in the \"Salt and Pepper\" duo on the Louisiana State Football Team.\nGil Bauton is a white Louisianan who represents the new South. As a football halfback, his offensive moves depend upon the work of Cal Harrison, a black running back. Because of their white and black combination, the press has labeled them \"Salt and Pepper.\" Gil and Cal together have made the Louisiana State Team a success. Gaines compares the dependency of these two players to the dependency of two hands on a baseball bat: without one another neither would succeed. The success of their combination has made the issue of their races unimportant. The racial unity that they symbolize has caught the attention of the black and white communities of local Baton Rouge, as well as the rest of the country. Gil Bauton's desire to become an \"All-American\" player also depends upon his work with Cal. It is only by working together that the two men can become All-American. Effectively, Gaines suggests with this symbolism that true Americanism can only be found with racial unity and cooperation, not division. Just as Cal and Gil work together on the football field, so too must whites and blacks work together in the South and in the entire country. It is only through such joint cooperation that all Americans can become all-American. Gil and Cal's football duo represents the possibility of future of racial harmony in the United States.\nAlthough book seems to deal mostly with men, black women are quiet but still strong characters in the novel. Discuss their role.\nThe book deals with many serious issues of miscarried justice. What do you think of the judge's final verdict? Why does the author choose to close the book with a comical courtroom scene after dealing with such serious issues?\nGaines frequently reports upon how the blacks have different skin tones. Why does Gaines think that this fact is important? Using at least three blacks as examples discuss their skin color in relation to their personality and the community.\nOn the way to Mathu's house, why do the old men linger in the cemetery? What does the graveyard represent?\nSheriff Mapes sits down and seems to give up during the shootout even though he is barely hurt. Why does he do this?\nDiscuss the character of Jack Marshall. Why does he spend his days in a drunken stupor? How do his daily actions relate to his family's history?\nHello my dear,\nmy name is miss Marijane, l meet\nyour profile today on this site so that is why l contacted you.\nl want us to be friends.write back to me so that l will send to you my beautiful\npictures. my email; ( email@example.com )\nl wait for your reply.\nmy email ( firstname.lastname@example.org )\n2 out of 7 people found this helpful", "id": "<urn:uuid:e13fdbe6-246d-47e7-b107-3d51d28bd753>", "dump": "CC-MAIN-2013-48", "url": "http://www.sparknotes.com/lit/gatheringofoldmen/study.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164029436/warc/CC-MAIN-20131204133349-00098-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9762763977050781, "token_count": 1331, "score": 3.921875, "int_score": 4}
{"text": "Short Stories for Point of View in Literature\nWhen the point of view changes, the story changes. Teach the importance of point of view with these short stories\nELA Common Core Standards Covered\nTeaching point of view in short stories may cover the following ELA Common Core Standards. This is for your administrator, not your kids. Kids need student-friendly worded objectives.\n- RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.\n- RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.\n- RL.9-10.10 By the end of grade 9, read and comprehend literature, including stories, dramas, and poems, in the grades 9-10 text complexity band proficiently, with scaffolding as needed at the high end of the range. By the end of grade 10, read and comprehend literature, including stories, dramas, and poems, at the high end of the grades 9-10 text complexity band independently and proficiently.\nPoint of View in Literature Defined\nWe all teach that point of view is the perspective from which a story is told, but teaching mastery requires learning more than just a definition. Here are the levels of learning in regards to teaching imagery.\n- Define point of view: You can teach a monkey to recite a definition. It's simple memorization. It is necessary for mastery but does not come close to achieving it.\n- Identify a story's point of view: You'd have trouble teaching a monkey to identify the point of view in a story (unless it's a really smart monkey). Most high school students know it when they see it. Simply identifying it, however, has no practical application outside of a classroom. It is not mastery.\n- Interpret point of view: Now we're approaching mastery. Students who can explain the author's purpose in using a particular point of view and how the point of view relates to the overall theme of the literary work are using critical thinking skills, skills that can be applied outside of the classroom.\n- Choose point of view with a purpose: Students who can use point of view to suit a specific purpose in writing or in speech have mastered the concept and are one step closer to becoming a master of words.\nShort Stories for Teaching Point of View in Literature\n- \"Content's of the Dead Man's Pocket\" by Jack Finney - Tom Benecke compiles a report that just may get him his big raise, but as the piece of yellow paper flies out the window and onto a ledge, Benecke must decide whether to risk his life and retrieve the paper or let it go. The reader sees the story develop from a third-person limited point of view, knowing the thoughts and actions of the story's protagonist. Gain the perspective of another character -- Tom's wife, a passerby on the street below, his boss -- by rewriting a particular passage or by conducting a mock interview.\n- \"The Secret Life of Walter Mitty\" by James Thurber - Walter Mitty is a brow-beaten middle-aged man who dreams of so much more. Join Walter on his life-and-death adventures in James Thurber's most popular short story. Thurber employs a third-person limited point of view and entertains his readers with Mitty's daydreams. Taking a look at how his wife views the situation would be entertaining indeed.\n- \"The Scarlet Ibis\" by James Hurst - Break out the tissues as you read the first person account of Doodle's death from his brother. By employing first person point of view, Hurst allows the reader to identify with his narrator.\n- \"The Cask of Amontillado\" by Edgar Allen Poe - Montresor's chilling first person account of his plan to kill Fortunato has been a high school favorite for years. Making a character chart comparing the two main characters, from both Montresor's and Fortunato's perspective makes for an interesting class discussion. It's also fun to imagine Fortunato as the first person narrator.\n- \"The Celebrated Jumping Frog of Calaveras County\" by Mark Twain - Twain's frame story encompasses a third person account from Simon Wheeler from a first person narrator who's been the recipient of a prank. Laugh along with Twain as he takes his narrator on a labyrinthine diatribe. Discuss the elements of a frame story by creating a frame with \"The narrator asks Simon Wheeler about Leonidas W. Smith.\" Inside the frame write \"Simon Wheeler narrates the following stories\"\nAnother Point of View on Point of View\nPoint of View can also refer to the cultural perspective from which a story is told. The following lesson plan on point of view can help students understand both aspects of point of view.\n- Read a story.\n- Instruct students to rewrite a scene from a different point of view. This different point of view can be the literary point of view or the cultural/gender point of view or both.\n- This activity works well in a group setting with one person in each group writing from the perspective of a different character, an omniscient narrator, or an outsider.\n- Share the same story from a different point of view with the class.\nTeaching Literary Elements with Short Stories\nUnderstanding literary elements is necessary for literary analysis. These short stories will help you teach literary elements.", "id": "<urn:uuid:62596a65-caef-494b-b1f4-4c6e4c3267b0>", "dump": "CC-MAIN-2013-48", "url": "http://www.elacommoncorelessonplans.com/short-stories-for-teaching-point-of-view.html", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164014919/warc/CC-MAIN-20131204133334-00094-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9406255483627319, "token_count": 1141, "score": 4.28125, "int_score": 4}
{"text": "Digital literacies4138 oct13Presentation Transcript\nDigital Literacies C&T 4138 Fall 2010 multimodality Digital storytelling 21 st -century literacies Ting Yuan\nWhy digital literacies? What are the possible relationships between digital literacies and the school literacy curriculum?\nPerhaps the greatest demand, however, is to imagine a curriculum that helps children to draw on their knowledge of different ways to represent and communicate ideas and that acknowledges and builds teachers\u2019 professional expertise\u2014a curriculum for the twenty-first century. (Bearne, 2005, p. 26)\nDigital Storytelling An example\nBlogging More examples : Students in Ms. H , Ms. B , and Ms. M\u2019s grade five classrooms at International School Bangkok (Thailand) connect with students in 4 other schools around the world using blogs and podcasts to share their reading and writing strategies as they learn to become better readers and writers with the TCRWP approaches.\n\u201c Supporting developing writers is partly about encouraging them to find a voice , to explore the power and practical significance of writing.\u201d (Merchant, 2005, p.81)\n\u201c For the children producing, designing and re-designing episodes and segments included in their podcast created a space to get at the notion that texts are socially constructed and that literacy is most definitely not a neutral technology. \u201d (Vasquez, 2011)\nPodcasting How to make classroom podcasting\nBlog - Vlog - Glog ? One more example about personal digital portrait\n\u201c Using new technology can help young writers to develop their identity-in-writing as well as their identity-as-writers.\u201d (Merchant, 2005, p.81)\nComic Life E-book Converting Tool: ISSUU\nProfessor Garfield An online tool for creating comic strips\nToondo An online comic book tool\nStorybird A collaborative e-book tool for young children\nScratch A programming tool for children to create stories, games, music and art works\n\u201c New\u201d literacies are categorized as new \u201c technical stuff \u201d and new \u201c ethos stuff \u201d by Lankshear and Knobel (2007). The former focuses on the functional use of new technologies, while the latter brings students immersive learning experiences which are \u201cmore \u2018participatory\u2019, \u2018collaborative\u2019, and \u2018distributed\u2019 in nature than conventional literacies.\u201d (p. 9)\nA participatory culture \u2014\"a social ethos based on knowledgesharing\u201d (Jenkins et al, 2006, p. 50) brought by the web 2.0 era is replacing the web 1.0 culture, the culture about passive content consumption.\n\u201c ... a culture with relatively low barriers to artistic expression and civic engagement , strong support for creating and sharing one's creations , and some type of informal mentorship whereby what is known by the most experienced is passed along to novices. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection with one another (at the least they care what other people think about what they have created).\u201d (Jenkins et al, 2006, p. 3)\nManyvoices as an Example @manyvoices was an ongoing collaborative story started by Mr. Mayo's 8th grade students in Maryland. The collaborative story was written by over 100 elementary and middle school students in six different countries using Twitter.com .\n\u201c Digital media and the new forms of communication provide rich possibilities for redefining interaction and establishing kinds of participation and production that reach out beyond spaces\u2026 \u201d (Merchant, 2005, p. 80)", "id": "<urn:uuid:d1e77cd7-9c9f-4610-8eb1-0d79f4242dd9>", "dump": "CC-MAIN-2013-48", "url": "http://www.slideshare.net/tingyuan/digital-literacies4138-oct13-6735159", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163915534/warc/CC-MAIN-20131204133155-00000-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9307689070701599, "token_count": 764, "score": 3.5, "int_score": 4}
{"text": "What Are Open-Ended Materials?\nOpen-ended materials have potential use (typically re-use) for purposes different than for which the items were originally manufactured. Research and practice has demonstrated that open-ended materials are a powerful, economic and often-overlooked resource in education where stimulation of creativity is an important ingredient. Open-ended materials take many forms including\n\u2022 Different sizes, textures, shapes, and colors of paper, fabric, carpet, plastic and metal.\n\u2022 Pre-made blank books.\n\u2022 Envelopes, folders.\n\u2022 Canvas and plastic bags.\n\u2022 Jar lids and bottle caps.\n\u2022 Containers, jars, vases, and boxes.\n\u2022 CDs, CD cases. audio tapes and cases.\n\u2022 Seasonal decorations and components thereof.\n\u2022 Manufacturing scrap.\n\u2022 Packaging such as foam, styrofoam, and bubble wrap.\n\u2022 Out-of-date promotional items.\n\u2022 Foam core and poster board (even if used on one side).\n\u2022 Picture frame molding, corners, and mat samples.\nHow are Open-Ended Materials Used?\nThe follow links to indicated articles contain a wealth of information on how others have used open-ended materials in effective ways. Check them out and you might find some ideas you can try.\n\u2022 Promoting Creativity for Life Using Open Ended Materials.\n\u2022 Endless Possibilities: Free play helps your child build knowledge, skills, and creativity at his own pace.\n\u2022 Introduction to Open-ended Materials.\n\u2022 Creating with Open-Ended Materials.\n\u2022 Early Childhood Open Ended Art Projects.\n\u2022 Writing to Share \u2013 Open-Ended Materials.\n\u2022 Open-Ended Play with Blocks and Simple materials.\n\u2022 Open-Ended Inquiry in Science Education.\n\u2022 Your Inspiration.\n\u2022 A to Z Teacher Stuff: Lesson Plans.\nA Great Example\nTo learn about a great example of how a Waste Not Center member used open-ended materials in a creative writing class visit: http://www.cosa-oh.org/wnc_creativity.php.\nWhere Do I Find Open-Ended Materials?\nThe Waste Not Center is stocked with open-ended materials. If you do not live in Columbus, OH we may be able to direct you to a similar resource in your area. Give us a call at (614) 278-9445 or send us an email at email@example.com.", "id": "<urn:uuid:6ed285e4-e5c1-42cd-bc67-513c14f014a7>", "dump": "CC-MAIN-2013-48", "url": "http://www.cosa-oh.org/wnc_materials.php", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164653483/warc/CC-MAIN-20131204134413-00002-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.8194831013679504, "token_count": 514, "score": 4.03125, "int_score": 4}
{"text": "- Basic Writing\n- International Literacy Day\n- Readability Formula\n- Secondary Orality\nEtymology:From the Latin, \"letter\"\n- \"Literacy is a human right, a tool of personal empowerment and a means for social and human development. Educational opportunities depend on literacy.\n\"Literacy is at the heart of basic education for all, and essential for eradicating poverty, reducing child mortality, curbing population growth, achieving gender equality and ensuring sustainable development, peace and democracy.\"\n(\"Why Is Literacy Important?\" UNESCO, 2010)\n- \"The notion of basic literacy is used for the initial learning of reading and writing which adults who have never been to school need to go through. The term functional literacy is kept for the level of reading and writing which adults are thought to need in modern complex society. Use of the term underlines the idea that although people may have basic levels of literacy, they need a different level to operate in their day-to-day lives.\"\n(David Barton, Literacy: An Introduction to the Ecology of Written Language, 2nd ed. WileyBlackwell, 2006)\n- \"To acquire literacy is more than to psychologically and mechanically dominate reading and writing techniques. It is to dominate those techniques in terms of consciousness; to understand what one reads and to write what one understands: it is to communicate graphically. Acquiring literacy does not involve memorizing sentences, words or syllables--lifeless objects unconnected to an existential universe--but rather an attitude of creation and re-creation, a self-transformation producing a stance of intervention in one's context.\"\n(Paulo Freire, Education for Critical Consciousness. Sheed & Ward, 1974)\n- \"There is hardly an oral culture or a predominantly oral culture left in the world today that is not somehow aware of the vast complex of powers forever inaccessible without literacy.\"\n(Walter J. Ong, Orality and Literacy: The Technologizing of the Word. Methuen, 1982)\n- \"We expect the contradictory and the impossible. . . . We expect to be inspired by mediocre appeals for 'excellence,' to be made literate by illiterate appeals for literacy.\"\n(Daniel J. Boorstin, The Image: A Guide to Pseudo-Events in America, 1961)\n- Women and Literacy\n\"In the history of women, there is probably no matter, apart from contraception, more important than literacy. With the advent of the Industrial Revolution, access to power required knowledge of the world. This could not be gained without reading and writing, skills that were granted to men long before they were to women. Deprived of them, women were condemned to stay home with the livestock, or, if they were lucky, with the servants. (Alternatively, they may have been the servants.) Compared with men, they led mediocre lives. In thinking about wisdom, it helps to read about wisdom--about Solomon or Socrates or whomever. Likewise, goodness and happiness and love. To decide whether you have them, or want to make the sacrifices necessary to get them, it is useful to read about them. Without such introspection, women seemed stupid; therefore, they were considered unfit for education; therefore, they weren\u2019t given an education; therefore they seemed stupid.\"\n(Joan Acocella, \"Turning the Page.\" Review of The Woman Reader by Belinda Jack [Yale University Press, 2012]. The New Yorker, October 15, 2012)\n- Time for a New Definition of Literacy?\n\"We need a radical redefinition of literacy, one that includes a recognition of the vital importance that orality plays in shaping literacy. We need a radical redefinition of what it means for society to have all the appearances of literacy and yet to abandon the book as its dominant metaphor. We must understand what happens when the computer replaces the book as the prime metaphor for visualizing the self. . . .\n\"It is important to remember that those who celebrate the intensities and discontinuities of postmodern electronic culture in print write from an advanced literacy. That literacy provides them the profound power of choosing their ideational repertoire. No such choice--or power--is available to the illiterate young person subjected to an endless stream of electronic images.\"\n(Barry Sanders, A Is for Ox: Violence, Electronic Media, and the Silencing of the Written Word. Pantheon, 1994)\n- From the Website of California Literacy, Inc.\n\"The literacy rate in the US has many educators in search of answers about this problem that has plagued our country for decades. Instead of decreasing, the numbers of literacy has steadily increased over the years. This raises a lot of questions about our education system, how it is ran, and why there is such a problem with illiterate people in our country.\"\n(quoted by The New Yorker, Nov. 22, 2010)", "id": "<urn:uuid:e8194aee-e658-422a-a192-87a132a68c91>", "dump": "CC-MAIN-2013-48", "url": "http://grammar.about.com/od/il/g/literacyterm.htm", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164033639/warc/CC-MAIN-20131204133353-00003-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9316291809082031, "token_count": 1011, "score": 3.546875, "int_score": 4}
{"text": "Teaching Oral Communication Skills in the K-8 Classroom\nThis course is occasionally offered in Summer Session\nDates and Times for this class: Not currently scheduled for 2012\nCredits/Clock hours available\nMany children and adults fear speaking in public. Teaching students at a young age how to speak with skill, enthusiasm and confidence will not only serve to meet the WA state EALR in communication, but will give children the foundation of a vital life-long skill. This workshop will cover specific teaching methods for giving children the tools they need to develop effective oral and physical communication skills, and reduce communication apprehension, through storytelling, reader's theatre, oral interpretation of literature, and public speaking.\nOral Communication skills learning is a vital component of the WA state Arts and Communication EALRs. However, the majority of communication teaching in k-8 schools is focused on interpersonal, written and media communication rather than public presentation skills. There has been a reduction in the teaching of oral communication skills in recent years due to a greater emphasis on subjects more strongly included in standardized testing. Teachers also attribute this reduction (along with larger class sizes and less time) to an inadequate understanding of how to teach specific oral and physical delivery skills and a certain sense of inadequacy in terms of their own public communication effectiveness. This course will increase teachers\u2019 understanding of the importance of early communication skills learning and will inspire them to employ more specific and effective techniques in teaching these skills.\nStudies indicate that children who learn the art of public communication at an early age, with specific skills comprehended, are less likely to suffer from communication apprehension and continue to be more confident in their speaking in subsequent years. Currently most \u201cpublic speaking\u201d instruction is given in secondary and higher education settings, yet the most effective time for students to learn oral communication skills is during the elementary education years.\nTopics covered in course:\n- Psychology of communication apprehension in child development, and benefits of early oral skills learning.\n- Justification for oral communication activities and creative drama as meeting educational requirements and supporting learning across the curriculum.\n- Methods of teaching oral and physical delivery skills to differing age levels.\n- Specific and varied activities in speaking and creative drama and be used to help children learn, practice and improve communication skills:\n- Theatre Games\n- Reader\u2019s Theatre\n- Oral Interpretation of literature\n- Public Speaking\nGoals or learner outcomes:\n- to recognize the roots, causes and psychology of communication apprehension in children (and, subsequently, adults).\n- to learn techniques to reduce communication apprehension in children while giving them the tools to develop effective oral communication skills.\n- to appreciate the differences and connections between oral communication and written communication skills learning and the necessity of both to meet the state\u2019s Essential Academic Learning Requirements (EALRs).\n- to develop the leadership and role modeling skills to effectively draw out the best in children by using a variety of oral communication activities in their own classrooms.\n- to leave the workshop with a plan of action and specific tools to include more oral communication activities in their classroom teaching.\nFor registration information and details on other summer courses offered by Woodring College of Education, please go to the webpage of the Professional Development Resource Center.", "id": "<urn:uuid:d611b346-7b64-4f72-95cb-fa8648cf8260>", "dump": "CC-MAIN-2013-48", "url": "http://www.wwu.edu/storytelling/oralcomm_home.shtml", "file_path": "s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386163816314/warc/CC-MAIN-20131204133016-00003-ip-10-33-133-15.ec2.internal.warc.gz", "language": "en", "language_score": 0.9391105771064758, "token_count": 658, "score": 3.609375, "int_score": 4}